‘Some Like It Hot’
Nov. 25 – Dec. 7
The National Theatre
1321 Pennsylvania Ave., N.W.
Tickets starting at $67
Broadwayatthenational.com

For more than a year, out actor Edward Juvier has been part of the national tour of “Some Like It Hot,” the musical adaption of the 1959 classic comedy starring Marilyn Monroe and written and directed by Billy Wilder. 

Juvier, 49, plays Osgood Fielding III, a cheery millionaire in Depression-era America.  

With music by Marc Shaiman, lyrics by Scott Wittman and Shaiman, and a book by Matthew López and Amber Ruffin, the 2022 musical is quite different as well with diverse casting, increasingly complicated backstories, and a non-binary character (Daphne). 

A talented tenor and Houston native, Juvier is a Cuban American who’s been working in musical theater since graduating from the Boston Conservatory in 2000.

“I personally love touring,” says Juvier. “I like the life on the road and visiting these old theater houses across the country. Seeing the locals that I remember and my friends and family that live all over. For me, a transient life is great. Maybe not so great for others.” 

Early in his career, he toured with “Phantom of the Opera” for six years. He began in the ensemble and covered two principal roles, and moved to swing which gave him the longevity covering 11 different roles in that show, a life-changing gig that he remembers fondly.

WASHINGTON BLADE: As a gay actor touring in a hot musical with some queer themes do you feel that you make an impact?

EDWARD JUVIER: Oh yeah, it’s important for queer people to see representation on stage. Our version of the show is a sneak attack; it doesn’t hit you over the head with themes. Seeing an old story that takes a turn where you’re left to accept what’s happening onstage and by that time, you’re in love and rooting with the characters. You feel it from the audiences and we play some of the reddest of states. 

Queer, trans, nonbinary people meet us at the stage door in tears thanking us for the representation. They didn’t even know when they came to the show that they’re going to see something with such an affirming message to their lives, and they’re thrilled when they find that out. 

BLADE: How were you drawn into musical theater?

JUVIER: I was lucky that my Texas high school made annual trips to New York to see Broadway shows.  On one trip, I remember seeing “Will Rogers Follies,” I felt like Keith Carradine was looking and talking right to me. 

And the next day, we saw “Falsettos,” the original production. After seeing those two very different shows it was as if I blasted off into the Broadway world. 

BLADE: Did “Falsettos,” a musical about AIDS, resonate with you as young gay student? 

JUVIER: Absolutely. It shook me to the core. 

BLADE: Has being gay made you a better actor?

JUVIER: I think what makes a great actor is somebody who has enormous empathy, able to put themselves in someone else’s shoes, and what better than a queer artist to be able to empathize. 

I came out pre- “Will and Grace.” A different time to be coming out than it is now, which shows immense progress but also put us through challenges. It’s been a part of my journey. 

I’m lucky to have the best, most supportive family. No Trumpers to deal with when I go home for the holidays. So, I’m grateful for that especially at this time of year.

BLADE:  How do you approach a comic character like Osgood. 

JUVIER: I approach him with honesty and simplicity and try to get out of the way of cheap jokes. 

When I’m feeling that I’m pushing myself I remind myself to just say the words. I think the musical is so beautifully crafted in a way to brings the show to a new audience. Changes aren’t a diss on the original but the world has changed. 

BLADE: Are you a big fan of the original?

JUIVIER: I respect the original. It’s been with me all my life especially being a queer artist. We grew up watching “Some Like It Hot.” This takes old themes and jokes that don’t land so well and brings it to a new audience.

Particularly with my role played originally and so brilliantly by famed comedian Joe E. Brown. In the movie he’s not a multi-dimensional character. He’s more of an old, rich pervy guy. That’s just how it was back then. And I’ve had the great privilege to play him differently.  

‘A Case for the Existence of God’
Through Dec. 14
Mosaic Theater Company at Atlas Performing Arts Center
1333 H St,, N.E.
Tickets: $42- $56 (discounts available)
Mosaictheater.org

With each new work, Samuel D. Hunter has become more interested in “big ideas thriving in small containers.” Increasingly, he likes to write plays with very few characters and simple sets. 

His 2022 two-person play, “A Case for the Existence of God,” (now running at Mosaic Theater Company) is one of these minimal pieces. “Audiences might come in expecting a theological debate set in the Vatican, but instead it’s two guys sitting in a cubicle discussing terms on a bank loan,” says Hunter (who goes by Sam). 

Like many of his plays, this award-winning work unfolds in rural Idaho, where Hunter was raised. Two men, one gay, the other straight (here played by local out actors Jaysen Wright and Lee Osorio, respectively), bond over financial insecurity and the joys and challenges of single fatherhood. 

His newest success is similarly reduced. Touted as Hunter’s long-awaited Broadway debut, “Little Bear Ridge Road” features Laurie Metcalf as Sarah and Micah Stock as Ethan, Sarah’s estranged gay nephew who returns to Idaho from Seattle to settle his late father’s estate. At 90 minutes, the play’s cast is small and the setting consists only of a reclining couch in a dark void. 

“I was very content to be making theater off-Broadway. It’s where most of my favorite plays live.” However, Hunter, 44, does admit to feeling validated: “Over the years there’s been this notion that my plays are too small or too Idaho for Broadway. I feel that’s misguided, so now with my play at the Booth Theatre, my favorite Broadway house, it kind of proves that.” 

With “smaller” plays not necessarily the rage on Broadway, he’s pleased that he made it there without compromising the kind of plays he likes to write.

Hunter first spoke with The Blade in 2011 when his “A Bright Day in Boise” made its area premiere at Woolly Mammoth Theatre. At the time, he was still described as an up-and-coming playwright though he’d already nabbed an Obie for this dark comedy about seeking Rapture in an Idaho Hobby Lobby. 

In 2015, his “The Whale,” played at Rep Stage starring out actor Michael Russotto as Charlie, a morbidly obese gay English teacher struggling with depression. Hunter wrote the screenplay for the subsequent 2022 film which garnered an Oscar for actor Brendan Frazier.

The year leading up to the Academy Awards ceremony was filled with travel, press, and festivals. It was a heady time. Because of the success of the film there are a lot of non-English language productions of “The Whale” taking place all over the world. 

“I don’t see them all,” says Hunter. “When I was invited to Rio de Janeiro to see the Portuguese language premiere, I went. That wasn’t a hard thing to say yes to.”

And then, in the middle of the film hoopla, says Hunter, director Joe Mantello and Laurie (Metcalf) approached him about writing a play for them to do at Steppenwolf Theatre in Chicago before it moved to Broadway. He’d never met either of them, and they gave him carte blanche.

Early in his career, Hunter didn’t write gay characters, but after meeting his husband in grad school at the University of Iowa that changed, he began to explore that part of his life in his plays, including splashes of himself in his queer characters without making it autobiographical. 

He says, “Whether it’s myself or other people, I’ve never wholesale lifted a character or story from real life and plopped it in a play. I need to breathing room to figure out characters on their own terms. It wouldn’t be fair to ask an actor to play me.”

His queer characters made his plays more artistically successful, adds Hunter. “I started putting something of myself on the line. For whatever reason, and it was probably internalized homophobia, I had been holding back.” 

Though his work is personal, once he hands it over for production, it quickly becomes collaborative, which is the reason he prefers plays compared to other forms of writing.

“There’s a certain amount of detachment. I become just another member of the team that’s servicing the story. There’s a joy in that.”

Hunter is married to influential dramaturg John Baker. They live in New York City with their little girl, and two dogs. As a dad, Hunter believes despite what’s happening in the world, it’s your job to be hopeful. 

“Hope is the harder choice to make. I do it not only for my daughter but because cynicism masquerades as intelligence which I find lazy. Having hope is the better way to live.”

‘LIZZIE’
Through Nov. 30
Keegan Theatre
1742 Church St., N.W.
$54-$65
Keegantheatre.com

Lizzie Borden put Fall River, Mass., on the map. When the 32-year-old, seemingly respectable woman was charged with the axe murder of her father Andrew and stepmother Abby in the summer of 1892, it sent shock waves across the community and far beyond. 

In time, the gruesome tale would weave its way into the annals of American crime lore, always remembered through that popular nursery rhyme “Lizzie Borden took an axe, gave her father 40 whacks…” Well, you know the rest. 

The astoundingly terrific “LIZZIE” (now playing at Keegan Theatre, a short walk from Dupont Circle Metro) builds on the legend. The rock musical with book by Tim Maner, music by Steven Cheslik-deMeyer and Alan Stevens Hewitt, and lyrics by Cheslik-deMeyer and Maner, follows the days leading up to the grisly murders (unseen offstage) through Lizzie’s acquittal, bringing to the fore matters of abuse, oppression, and queer identity. 

Shrewdly staged and choreographed by Jennifer J. Hopkins, the show begins with a haunting version of “Forty Whacks (Prologue),” featuring the talented cast of four women who can sing, act, move, and deliver the occasional laugh-out-loud line. 

Clearly, frustrated Lizzie (powerfully played by Caroline Graham) and dominant older sister Emma (Sydne Lyon), both unmarried and still at home, are angsty and deeply unhappy. They resent their father for a litany of reasons including his extreme Yankee frugality. While one of the richest men in Fall River, he chooses to live on a sad street and go without indoor plumbing rather than set up housekeeping in posh digs across town. But it’s when they see Andrew’s great fortune slipping away to their stepmother that their fury reaches new heights. 

Much of “LIZZIE” takes place at the scene of the crime, the Borden residence – cleverly suggested by scenic designer Josh Sticklin with some clapboard siding, stairways, a bit of period wallpaper and a purposely incongruous, large Borden family coat of arms. 

Lighting designer Sage Green, convincingly and evocatively, summons at turns a bona fide rock concert experience, dimly lit parlor, or an intimate setting in a small yard. 

And costume designer Logan Benson savvily adds to the atmosphere. Lizzie’s somber dresses with their accurate to the era leg-of-mutton sleeves give way to something altogether glitzier and more revealing after the murders.

There is dialogue, but the Riot Grrrl-inspired work is mostly sung through with punk rock anthems, ballads, and character driven songs. Whether spoken or sung, “LIZZIE” makes no bones about the title character’s guilt while introducing varying levels of collusion among the other women.

A knowing wry smirk from the house maid Bridget (Brigid Wallace Harper) says a lot about the family dynamic (“there’s a lock on every door / In every room a prisoner of a long, silent war”) as well as what went down that summer morning at the Borden house.  

Lizzie’s secret girlfriend Alice (golden throated Savannah Blackwell) who conveniently lives next door, is besotted and watches her every move. Just after the murders, she saw Lizzie burn a dress in the yard.  

The hard driving score is played by a passionate half-dozen strong band led by Marika Countouris. Sometimes, the instruments overpower the amplified singers and a lyric or two is lost, but that’s not so unusual with rock musicals. 

At 90 minutes with a leisurely intermission (well-earned by the band and cast, especially Graham as Lizzie who’s onstage throughout, often incorporating frenetic movement and strenuous air guitar into her many songs), the first half explores feelings of entrapment and the second liberation. 

Lizzie goes to trial. Despite a shaky alibi, the defendant seems to be winning over the jury. Looks like she might get that grand house on the hill after all. 

The Borden story has been shared in varied ways including innumerable books and documentaries, Jack Beeson’s opera “Lizzie Borden” (1965), Agnes de Mille’s ballet “Fall River Legend” (1954), and the memorable 1975 TV movie starring Elizabeth Montgomery (best known as the perky reluctant witch Samantha Stevens on TV’s sitcom “Bewitched”) playing against type. 

Today, the legend endures with “LIZZIE” at Keegan.