Theater
A feud for the ages
Beauty product legends clash in Gala production
‘Señorita y Madame: The secret War of Elizabeth Arden & Helena Rubinstein’
Through Feb. 28
3333 14th St., NW
$15-50
202-2354-7174
When you think epic female feuds, typically Bette Davis and Joan Crawford, or Queen Elizabeth I and Mary Queen of Scots come to mind. Now you can add beauty biz pioneers Helena Rubinstein and Elizabeth Arden to the ranks.
In his play “Señorita y Madame: the secret War of Elizabeth Arden & Helena Rubinstein,” now making its U.S. premiere at Gala Hispanic Theatre, Venezuelan playwright Gustavo Ott proffers a detailed recount of the intense rivalry. Contemporaries born in the latter 19th century, Arden and Rubinstein essentially introduced makeup and beauty creams to the world. With new stylishly packaged products and never-before-seen marketing techniques, they revolutionized an industry. Driven by rivalry and fierce oneupmanship, both women garnered power and riches beyond their wildest ambitions.
Details of the fabled feud unfold in retrospect with Rubinstein (Ana Verónica Muñoz) and Arden (Luz Nicolás), both at the apex of their success and power, telling their stories to a poised reporter (Cecilia De Feo) and her cameraman (Manuex) whose footage is projected as outsized images on the set. As they recollect, each initially refuses to utter her counterpart’s name. But eventually it becomes impossible not to discuss their own successes without describing the influence of their respective archrivals.
As the dueling dames, Muñoz and Nicolás are a complementary team: Munoz’s Rubinstein is a steely, businesses woman who’ll stop at nothing to succeed. In her cream-colored Chanel suit, she expresses disdain with the raising of an eyebrow. Like her salon’s trademark red doors, Nicolás’ Arden is bold and passionate. She flails and screeches. Her fiery, plunging dress and a glamorous loose pageboy are antithetical to her rival’s studied reserve.
Both had salons worldwide, but it was in New York City where the pair’s rivalry intensified. And though it seems their paths would have certainly crossed, the women astonishingly never met in real life. But playwright Ott imagines a strained meeting in which they amusingly size each other up.
Performed in Spanish with English surtitles, “Señorita y Madame” places two heavyweight personalities in a light comedy. Still, there are darker moments — despite her money and power, Rubinstein loses two sisters in the holocaust and Arden is forced to defend herself against accusations of anti-Semitism.
Director Consuelo Trum’s staging is lively and varied, making a few expository dry spells easier to get through. The broader comedy moments could benefit from reining in. Christopher Annas-Lee’s serviceable set with its obligatory red door and vintage advertisements is fine, but it doesn’t reflect the luxe of the ladies’ establishments and products. Claudia Aponte’s composition and sound moves the story through the decades.
Lorena Sabogal and Thais Menéndez admirably assay a multitude of women — mothers, sisters, assistants, clients and celebrities. Out actor Carlos Castillo plays all the men’s parts. With great nuance he goes from lawyers to lovers to husbands to Nazis, and most notably the ladies’ eventual big competition Charles Revlon.
These vowed enemies left similar legacies as trailblazing entrepreneurs.
Theater
D.C.’s spring theater scene offers ‘Macbeth,’ ‘Peter Pan,’ Sedaris and more
Queer themes well represented in season’s productions
There’s a lot on for theater this spring. And here’s a queer heavy sampling.
If it’s “Company” you’re after, try the Kennedy Center. The national tour of the Tony-winning, gender-swapped revival of out legend Stephen Sondheim’s hit musical withBritney Colemanas forever single Bobbie is moored to the Opera House through March 31. Kennedy-center.org
Signature Theatre in Arlington presents “Penelope” (through April 21), a one-woman musical featuring out Broadway star Jessica Phillips. With glass of bourbon in hand, Penelope, the wife of Odysseus, gets a few things off her chest. Think Trojan War. Sigtheatre.org
At Studio Theatre, nonbinary playwright Bryna Turner’s “At the Wedding” is currently making its regional debut in a production helmed by out director Tom Story. It’s a queer comedy about a woman crashing her ex’s wedding with the intention of not making a scene. Good luck with that. Out actor Holly Twyford plays Maria, mother of the bride. Studiotheatre.org
At Woolly Mammoth Theatre, Helen Hayes Award-winning actor Justin Weaks is workshopping his new play “A Fine Madness” (March 17-24)). The solo piece is inspired by the talented out actor’s 2016 HIV diagnosis and the ensuing years he spent alone and processing. (Tickets are pay what you will – starting at $5.)
Also slated for Woolly is “Amm(i)gone” (April 20–May 12). Created and performed by queer theater maker Adil Mansoor, the personal story is about inviting his Pakistani mother to translate “Antigone” into Urdu as means of exploring the tensions between family and faith. Woollymammoth.net
At Atlas Performing Arts Center on H Street, N.E., Mosaic Theater presents Rhiana Yazzie’s “Nancy” (March 30- April 21), a tale of ambition and ancestry soaked in ‘80s nostalgia. Staged by out director Ken-Matt Martin, the seven-person cast includes Lynn Hawley as Nancy, out actor Michael Kevin Darnall as Ronnie, and Anaseini Katoa is Esmeralda, a Navajo woman advocating for her community. Mosaictheater.org
Wolf Trap in Vienna, Va., delivers divas. Meow Meow, the post-post-modern phenom from down under, brings her globally celebrated act to the park’s Barns venue on March 21. And on June 8, a single show featuring both Patti LaBelle and Gladys Knight promises to light up Wolf Trap’s cavernous Filene Center with legendary star power.Wolftrap.org
Arena Stage presents “Unknown Solder” (March 29-May 5), Daniel Goldstein and Michael Friedman’s sweeping musical about a woman in search of her family’s past. The topnotch cast includes Lori Lee Gayer, out actor Adam Chanler-Berat, and Broadway’s Judy Kuhn. Arenastage.org
At 1st Stage in Tysons, Va., wonderful out actor Michael Rusotto plays the titular sissy in Douglas Carter Beane’s “The Nance” (April 4-21). Set in 1930s New York, the action follows a queer burlesque actor as he navigates his way through a world where it’s safer to be gay onstage than off. Nick Olcott directs. 1ststage.org
Broadway at the National moves musically into spring with “Peter Pan” (April 9-21). Playwright Larissa FastHorse’s fresh adaptation of the eternal boy’s classic tale feels fresh without losing the familiar including terrific tunes like “I’m Flying,” “I Gotta Crow,” and “I Won’t Grow Up.” Broadwayatthenational.com
Shakespeare Theatre Company (STC) presents “Macbeth” (April 9-May 5) starring movie star Ralph Fiennes as the Thane of Glamis, and Indira Varma as sleepwalking Lady M. Staged by STC’s artistic director Simon Godwin, the production won’t be performed in the company’s usual digs but rather a borrowed former BET soundstage (1301 W St., N.E.) where the world of the Scottish play will be created. Exciting stuff. Shakespearetheatre.org
Attention dance lovers! In Fairfax, GMU Center of the Arts presents Martha Graham Dance Company — the oldest modern dance ensemble in the country— for just one night (April 13) with a program that showcases the company’s legacy through iconic classics and new work. Cfa.gmu.edu
Also on April 13, bestselling gay author David Sedaris brings his inimitably hilarious take on life to the Strathmore in North Bethesda. Strathmore.org
Kennedy Center’s Terrace Theater presents Opera Lafayette’s modern premiere of “Mouret’s Les Fêtes de Thalie” (May 3 and 4), an opéra-ballet that broke with serious French operas by putting contemporary characters on stage. Renowned French conductor/musician Christophe Rousset conducts. Operalayette.org
At GALA Hispanic Theatre, it’s Gustavo Ott and Mariano Vale’s “The Return of Eva Perón: Momia en el closet” (May 9–June 9), a dark musical comedy filled with “historical intrigue and spine-chilling entertainment.” (Performed in Spanish with English surtitles.) Galatheatre.org
This spring, Creative Cauldron in Falls Church presents Kirsten Childs’ new musical “The Bubbly Black Girl Sheds Her Chameleon Skin” (May 16-June 9), the humorous and pointed story of a seemingly confident woman’s journey through racism, sexism, showbiz, and finally self-acceptance. Angelisa Gilyard directs. Creativecauldron.org
For one night only, the Alden Theatre in Mclean, Va., presents “Mama, I’m a Big Girl Now — The Three Leading Ladies of ‘Hairspray’” (Saturday, June 8) with Marissa Jaret Winokur, Kerry Butler, and Laura Bell Bundy. Broadway’s original Tracy, Penny, and Amber are staging a rare reunion to celebrate the hit musical’s 20th anniversary. Mcleancenter.org
And on time for Pride, the Gay Men’s Chorus of Washington presents what promises to be a beautifully rendered multidisciplinary event. Titled “Portraits” (Sunday, June 16 at Lincoln Theatre), the concert features visual art, music, and dance, representing a vibrant spectrum of sexual, gender, racial, ethnic, and cultural identities in a nine-movement commission combining the work of nine visual artists, nine composers, nine choreographers, and sung by the Chorus and featuring 17th Street Dance. Gmcw.org
Theater
‘Avaaz’ traces journey from Iran to California
Olney production brings comedy, singing, improv, and even magic
‘Avaaz’
Through April 7
Olney Theatre Center
2001 Olney-Sandy Spring Road
Olney, MD 20832
$55-$90
Olneytheatre.org
How better to understand your own mother’s psyche than by playing her on stage?
In his solo show “Avaaz,” queer actor/writer Michael Shayan pretty much does just that. As “Roya” (not his mother’s actual name), he explores how a woman’s fun, larger-than-life presence might belie a deeper sadness. It’s a party but not without truth and moving drama.
And now, after a successful world premiere run in California’s South Coast Repertory last spring, his play is at Olney Theatre Center (through April 7) before kicking off on a national tour.
“Avaaz,” a Farsi word for “a song as it is being sung,” follows Roya’s journey from Tehran to what Shayan cheekily tags “Tehran-geles, CA, formerly known as Westwood.” It’s here where the courageous single mother carves out a life for herself and her closeted queer son.
Recently, via phone, Shayan offered a glimpse into his show, describing how we first meet Roya in her heavily chandeliered L.A. living room where she’s marking Nowruz (Persian New Year) with a lavish party; but despite the festive atmosphere there’s some detectable tension in the air.
Over 80 minutes, Roya’s story unfolds, alternating between dark revelations and her return to fabulous hostess mode. After all, Roya is entertaining guests – in this case it’s the 200 theatergoers seated in Olney Theater’s intimate Mulitz-Gudelsky space.
He adds, “There’s a lot going on. This show brings everything together: writing, acting, comedy, a little singing, lots of improv, and even some magic.”
For Shayan, an early and ardent interest in magic set the stage for theater: “As an illusionist, I was big on the bar mitzvah circuit. With magic, you’re a one man show. There was acting, directing, learning about audience and theatricality. I learned a lot.”
He also did characters — Elaine Stitch, Bernadette Peters, all the divas, but other than a few snippets of her Persian accent, never his mom.
Higher education lured Shayan eastward. A Harvard grad with an MFA in playwriting from Brooklyn College, his bio includes gigs such as Emmy-nominated writer and consulting producer on “The Book of Queer” for Max and worked on “We’re Here,” the Emmy-winning Max show featuring former “Drag Race” contestants.
But the actual genesis of Roya, and in turn “Avaaz,” was sparked at a Lambda Literary Retreat. “We were doing an exercise where you put your hand on your heart and feel the heartbeat of a character. I felt my mom’s heartbeat, and listened to what she had to say.
“I’d always wanted to better understand my mother and had even interviewed her in the past, but it was at the Lambda retreat that a first draft really poured out. And still, more continues to be revealed about her past and our dynamic.”
When asked exactly how he approaches the part, Shayan, who exudes warmth and humor, replies, “It’s about the channeling of energy and personality.”
Visually, he’s not exactly going for total realness. Shayan paints his nails but keeps his full beard. Emmy-winning costume designer Joshua “Domino” Schwartz dresses him in a golden Persian-inspired robe over pants emblazoned by a single outsized Gucci logo.
“When I put that on, I become Roya, baby,” Shayan says. “It’s very powerful. It’s a ritual. There are several pieces. My posture changes.”
Roya’s over the top décor comes compliments of Tony Award-winning set designer Beowulf Borritt.
And because Roya leans on humor to pivot away from what’s uncomfortable, Shayan indulges in a bit of standup: “Tony-nominated director Moritz von Stuelpnagel and I share a language – not Farsi, but humor. Recently he surprised me by singing a Persian pop song pitch perfect and almost word perfect. I call him Persian adjacent. He’s a comic genius.”
As both performer and writer, his solo show is serving up new opportunities for the Iranian American theater maker.
Playwright Stephen Adly Guirgis, whom Shayan describes as both an inspiration and a friend, has given him parts in several readings of some funny and moving new works. He says, “I’d like to be acting more, but my writing career is busier than ever.”
These days, Shayan very happily splits time between New York and L.A., depending on when and where he’s needed for each of his many projects.
There isn’t a lot of down time, and he couldn’t be happier.
Theater
Tony Thomas brings ‘Tempestuous Elements’ to DC
Ann Julia Cooper play will be at Arena Stage through March 17
‘Tempestuous Elements’
Through March 17
Arena Stage
1101 Sixth St., S.W.
$56-$95
Arenastage.org
Tony Thomas isn’t shy about his talent. The accomplished choreographer says, “With every show I work on, the artists continue to grow. They leave wanting to keep moving and to expand that part of their artistry.”
Over the years, he’s successfully carved out a niche as a choreographer of plays with music and/or movement. For many of these “playsicals” as he whimsically dubs them, his creative credit reads “choreography consultant.”
Once an actor who danced a lot, he’s now passionate about helping other actors do the same. Currently, he’s serving as choreographer and associate director for the world premiere production of “Tempestuous Elements,” at Arena Stage’s in the round Fichandler space. Penned by Kia Corthron and staged by Psalmayene 24, it’s the true-life story of Ann Julia Cooper (played by Gina Daniels), a Black principal at D.C.’s historic M Street School who, against all odds, fights for her students’ rights to an advanced curriculum.
WASHINGTON BLADE: Is this a D.C. story?
TONY THOMAS: In part. It’s more a story of its time. Anna understood she was poised to be somebody, but still feel the pushback. Superintendent white doesn’t approve of the classic curriculum she’s created for Black students. Hers is a turn of 20th century Black middle-class life with high tea and much finery. More importantly, Black people are being seen as human beings. It’s an opportunity to really be someone, but the fight isn’t over. People are boxed in another systemic way.
BLADE: And how does choreography work within a play?
THOMAS: With plays, I need to demonstrate the choreography. The actors want to see it. It’s not like with dancers when we speak the same vocabulary.
I realize energy is one of my selling points. I’ll be 45 in April and apparently my turns and jumps are still on point.
BLADE Is there a difference between beautiful movement and not just actor movement?
THOMAS: There’s a difference. With “Tempestuous Elements,” I taught them a little ballet, warmed them up and imbued them with the dignity needed for the story they’re about to tell. Some of the cast already move like dancers while others understand tempo. When choreographing plays with movement, you have to trust the actors.
BLADE: Is that tough for a trained dancer?
THOMAS: No, not really. I have a concert dance background — ballet, modern, jazz — and have studied with Debbie Allen, Shawn Cosby and Mike Malone. I don’t expect that level of training from actors. I like the freedom to move and put their characters into it. They’re not like ten concert dancers who need to look like one person. They are moving as characters — students, different adults.
BLADE: For a decade, you stepped away from showbiz?
THOMAS: I stopped in my mid-20s. I turned Ailey down twice. Then I went to art school and pursued a degree in interior architecture at Academy of Art University in San Francisco.
BLADE: And you returned theater?
THOMAS: Now I do both theater and interior architecture, but in 2012 friends dared me to come along on an audition for the Broadway “West Side Story.” Well, I did and I booked a national tour. That got me back in the business. Not long after, I played Richie in “A Chorus Line” at Olney Theatre. And around 2015, I did “The Shipment” with Psalm, and ever since I’ve done all of the choreography and movement for his plays.
BLADE: Tell me how you connect with “Tempestuous Elements”?
THOMAS: Who was your first teacher? We asked the actors to come to this production with that in mind, and to let that warm their hearts as we developed this original piece.
I grew up as a child actor doing TV, film and theater shuttling back and forth from D.C. to New York, and I took that from my mom who was an actor, singer, and dancer. I watched her teach, dress as a clown and put on parties for kids, and there were all sorts of performance-related things that I learned from her.
BLADE: And does that continue?
THOMAS: Oh yeah. Increasingly, I enjoy being the process. I’ve grown past the point of just coming in and doing my job. I feel more invested. More and more, I want to be part of the creation process.
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