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Kathleen Turner tackles ‘Magical Thinking’

Stage and screen icon channels Joan Didion in new Arena Stage production

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Kathleen Turner, gay news, Washington Blade

Kathleen Turner as Joan Didion in ‘The Year of Magical Thinking’ at Arena Stage. Turner says the work helped her deal with the loss of her mother. (Photo by Tony Powell; courtesy Arena Stage)

‘The Year of Magical Thinking’ 

 

By Joan Didion

 

Arena Stage

 

Arlene and Robert Kogod Cradle

 

1101 Sixth St., S.W.

 

Oct. 7-Nov. 20

 

$40-90

 

arenastage.org

 

Kathleen Turner has done one-woman plays before — she played Tallulah Bankhead in “Tallulah” in 2000-2001 and the title role in “Red Hot Patriot: the Kick-Ass Wit of Molly Ivins” at Arena Stage in 2012.

But this time, it’s different. For her latest production — Turner has become almost as well known in recent years for her stage work as her film roles, which date back to 1981’s “Body Heat” — Turner will play legendary author Joan Didion, whose stunningly frank 2005 memoir “The Year of Magical Thinking” told of the aftermath of the loss of her husband, the author John Gregory Dunne who died suddenly in 2003.

The “magical thinking” of the title refers to the phenomenon of the mind in deep stages of grief where rational thought is sometimes circumvented as a coping mechanism. Didion wrote that at times she felt she couldn’t give away Dunne’s shoes, for surely he’d need them upon returning. Didion won the National Book Award in 2005 for the book, something of a career capstone for the author, known for California-centric writing in works like “Slouching Towards Bethlehem” and “The White Album” as well as screenplays she wrote with Dunne.

Didion adapted the book to the stage in 2007 with Vanessa Redgrave. Turner spoke to the Blade last week by phone from Washington where she was in early rehearsals for the Gaye Taylor Upchurch-directed Arena version.

WASHINGTON BLADE: Tell us how you discovered this work and how things are going so far.

KATHLEEN TURNER: We’ve only had one full-day rehearsal, so I think it’s much too soon to say how anything’s going although we had a very nice open reading, just a table reading, the first day that I enjoyed. I was aware of the book, you know, years ago when it was published but I had not thought of it or seen it as a play at all and then I was, well, my mother passed, my mother died last year and it was, oh, it was a life-changing experience. We were close. We had a really wonderful relationship and I knew how much I would miss her. So trying to figure out how all that was going to change, what I could do, how I could handle it and then, of course, I had thought again of “The Year of Magical Thinking” and went back to look at it and discovered the play version and thought, “Well, this is really what I want to put my heart into now.”

BLADE: How old was your mom?

TURNER: Ninety-three so we had a good long time together.

BLADE: Have you met Joan Didion?

TURNER: Yes, I have met Joan over the years. I’ve been in New York and in this business for a very long time now. I think next year will be 40 years that I’ve been doing this professionally. But she’s very frail now. She’s not very well. She won’t be involved, I’m sorry to say, with this.

BLADE: I’ve never met her but she strikes me as very small. A bit of a waif, perhaps, even when she was younger.

TURNER: Oh, not the woman’s mind, honey. No, no, no. This is one of the strongest minds, with the most ruthless thinking. I mean, she’s so clear headed. She says, “To say this correctly and to some of us, myself included, correctness is a big ego point.” She’s very specific. It’s so amazing to see this brilliant mind who locks down details and chooses words so specifically, so exactly, that this mind could adapt and adopt a whole other way of thinking, of reality, it’s extraordinary.

BLADE: I was thinking more in physical terms. She seems rather demure and you seem so formidable. I only know the book, but it doesn’t strike me as obvious casting.

TURNER: Well certainly physically we’re not at all alike. She’s a tiny little thing, but this is not an imitation. I’m not pretending to be Joan Didion in that way. I just don’t really understand. You think I’ll be less believable for that reason? That they’ll expect to see some little waif?

BLADE: No, I just wondered if that sort of factored into your approach at all or where your head is in tackling this.

TURNER: No. I don’t think of Joan’s physicality at all.

BLADE: Great books don’t always adapt well to the stage. How do you feel this adaptation works?

TURNER: No, not necessarily at all, do they. I think the biggest challenge for this, of course, is the incredibly specific word choices that she makes. I really don’t want to fall into any pattern of approximation, of saying words like the words she chose. This is a huge challenge because there’s so much material but I believe there’s a real reason for her word choices. And part of the thing about magical thinking is that it doesn’t really make sense, some of it. It’s not exactly logical, so to follow it, to follow this path of thinking sometimes is a bit challenging.

BLADE: How does it feel returning to Arena?

TURNER: I love being back here, I really do. It’s just such high quality and I love the people. The production values are great, the people are terrific to work with. I actually really like Washington these days. And I’m happy to be here during the election season so that on my days off or during my days once we’re in performance, I might be able to, oh, I don’t know, raise a little hell you know?

BLADE: What was it like doing Molly Ivins during the last election cycle? That must have been fun.

TURNER: Oh, it was great are you kidding? We had to keep cramming in I don’t know how many seats we actually got into the theater. I think we broke all records and had to extend the run as I recall. It was great. I had a ball doing it.

BLADE: Are D.C. audiences different in any perceptible way?

TURNER: One of the things I’ve noticed over the years is that D.C. audiences seem more integrated. I see more non-white, or whatever the correct wording would be, than I do in a lot of other theaters. I like that. It’s a professional class and not based on race.

Kathleen Turner, gay news, Washington Blade

Edward Albee with Kathleen Turner in Washington in 2011. Albee said Turner brought Martha in his play ‘Virginia Woolf’ alive in a way he hadn’t felt since Uta Hagen originated it in the ‘60s. (Washington Blade file photo by Michael Key)

BLADE: I’m almost certain you’re supporting Hillary, right?

TURNER: Of course I’m supporting Hillary. Anything else I think is absolutely unthinkable. I think she’ll be an extraordinary executive in chief. She’s proven that. It’s just such a bizarre time. I just read a wonderful column in the New York Times — I’m trying to think if it was David Brooks or who it was — but the point that seemed so perfect to me was that you can take a die-hard Donald Trump supporter and say, “Donald Trump said this, but here are the actual facts. You know, this is absolutely incorrect. It’s absolutely a lie” and the Trump supporter would probably say, “Well, I don’t feel it’s a lie.” Somewhere along the way in our time, how you feel became just as important as the actual facts or even the idea that they are equatable, you know? I just find that extraordinary, but it’s the only explanation I think.

BLADE: So is that a manner of magical thinking of its own perhaps? Is there a correlation there?

TURNER: There may be. But if you follow Joan’s path of coping, she exposes it to us as magical thinking and there I think is the difference because I don’t think they know they’re doing any sort of magical thinking.

BLADE: Where were you when you heard about the Supreme Court ruling on same-sex marriage last year and how did you feel?

TURNER: I was home in New York City. I’m on the board of People for the American Way for, I think, 31 years now I’ve been working with them and we had a large effort out country wide to support this decision. It was thrilling. Absolutely thrilling.

BLADE: Does any filming experience stand out in your mind as especially memorable?

TURNER: Oh darling, all these years (laughs). Well I always used to love, before I got rheumatoid arthritis, I used to love doing as much of my own stunts as they would allow. I was always just throwing myself around. I always enjoyed things like the adventure films, you know. Things like “Romancing the Stone” or something, they were just such fun for me.

BLADE: How is your daughter and what is she doing these days?

TURNER: She is very well, thank you for asking. She has decided to go back to school and work on pre-law, she says.

BLADE: The line in “Serial Mom” where you berate the woman for her white shoes has become such a gay quotable line. How do you really feel about white shoes after Labor Day?

TURNER: (laughs) Actually no, I won’t wear white shoes after Labor Day. But more than that, I won’t wear white shoes period. I think it’s kind of upstaging. I don’t want people looking at my feet. I just don’t think they’re classy, frankly.

Kathleen Turner, gay news, Washington Blade

An illustration for Arena Stage’s production of ‘The Year of Magical Thinking’ starring Kathleen Turner as Joan Didion. (Illustration by Montse Bernal; courtesy Arena Stage)

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Girls Rock! DC empowers young people through music, social justice education

Organization founded in October 2007

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Youth leaders of Girls Rock DC! (Washington Blade photo by Michael Key)

Girls Rock! DC, an organization operating at the intersection of art and activism, is dedicated to empowering young people through music and social justice education. 

Since its founding in October 2007; Girls Rock! DC has been creating a supportive, inclusive and equitable space that centers around girls and nonbinary youth, with a special emphasis on uplifting Black and Brown youth. At the core of Girls Rock! DC’s mission is a unique approach to music education, viewing it through a social justice and equity lens. 

“It’s a place where people can come explore their interest in music in a safe environment, figure out their own voice, and have a platform to say it,” Board Vice Chair Nicole Savage said.

This approach allows D.C.’s young people to build a sense of community and explore their passion for social change through after-school programs, workshops and camps.

The organization’s roots trace back to the first rock camp for girls in August 2001 in Portland, Ore. Similar camps have emerged worldwide since then, forming the International Girls Rock Camp Alliance. Girls Rock! DC is a member of this alliance, contributing to the larger community’s growth and advocacy for inclusivity in the music industry.

Girls Rock! DC’s annual programs now serve more than 100 young people and 20 adults, offering after-school programs and camps. Participants receive instruction on the electric guitar, the electric bass, keyboards, drum kits and other instruments or on a microphone and form bands to write and perform their own original songs. Beyond music, the program includes workshops on underrepresented histories in the music industry, community injustice issues and empowerment topics that include running for office and body positivity.

“I’ve been playing shows in the D.C. music scene for about six years, and I feel like Girls Rock! DC is the perfect amalgamation of everything that I stand for,” said Outreach Associate Lily Mónico. “So many music spaces are male dominated and I think there is a need for queer femme youth in music.”

Lily Mónico (Washington Blade photo by Michael Key)

The organization’s commitment to diversity and inclusion is evident not only in its leadership but also in the way it creates a safe space for queer and nonbinary individuals. Language is a crucial component, and Girls Rock! DC ensures that both campers and volunteers embrace inclusivity. 

“It is a very open and creative space, where there’s no judgment,” Zadyn Higgins, one of the youth leaders, emphasized. “It is the first time for a lot of us, to be in a space where we’re truly able to be ourselves.”

In creating a safe environment, Girls Rock! DC implements practices that include name tags with preferred names and pronouns, along with pronoun banners that help kids understand and respect diverse identities. 

“It’s really cool to watch these kids understand and just immediately get it,” said Higgins. 

Zadyn Higgins (Washington Blade photo by Michael Key)

Girls Rock! DC is also more than a music education organization; it’s a community where individuals can embark on a transformative journey that extends beyond their initial participation as campers. Many start their Girls Rock! DC experience as enthusiastic campers, learning to play instruments, forming bands and expressing their creativity in a supportive environment. The organization’s impact, however, doesn’t stop there. This inspiration leads them to volunteer and intern within the organization. 

The unique progression from camper to volunteer or intern, and eventually to a full-fledged role within the organization, exemplifies Girls Rock! DC as a place where growth is not confined to a single week of camp but extends into an ongoing, impactful journey. It’s a testament to the organization’s commitment to nurturing talent, empowering individuals and fostering a lifelong connection with the values for which Girls Rock! DC stands.

One of the highlights of Girls Rock! DC is its summer camp, where kids between 8-18 learn to play instruments, form bands, write songs and perform in just one week. Higgins shared a poignant moment from a showcase,

“To see them go from, like, crying a little bit about how scared they were to going out on the stage and performing their little hearts out was so sweet,” said Higgins.

(Photo courtesy of Frankie Amitrano of Girls Rock! D.C.)

Nzali Mwanza-Shannon, another youth leader, agreed that the camp is the highlight of the program. 

“The summer camp, I’ve met so many friends, and it’s always kind of scary coming up to the end, but after we get to perform and everything, I’m so grateful that I’ve gotten the opportunity to perform and meet new people and be so creative and do it all in a week,” said Mwanza-Shannon.

Forty-three young people who showcased their original songs and DJ sets at D.C.’s legendary 9:30 Club attended the first Girls Rock! DC camp in 2007. They performed to a crowd of 700 enthusiastic fans. The organization since then has grown exponentially, with each passing year bringing more energy, vibrancy and fun to the camp experience.

Since the pandemic, however, the organization has struggled financially, experiencing a funding shortage as well as reduced growth in attracting new members. 

Augusta Smith, who is a youth leader and a member of the band Petrichor, expressed concern about the potential impact on the unique and friendly environment that Girls Rock! DC provides. 

“We’ve kind of been really slow and barely making enough money. And this year, we’re having a funding shortage,” said Smith. 

The impact of Girls Rock! DC extends beyond musical skills, fostering leadership, self-expression and a passion for social change through creative collaboration and community power-building. Mwanza-Shannon hopes to be a part of Girls Rock! DC for a long time, 

“I want to keep on meeting new people,” said Mwanza-Shannon. “I want to keep on being able to perform at these different places and have different experiences.”

(Photo courtesy of Frankie Amitrano of Girls Rock! DC)
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‘Blindspot’ reveals stories of NYC AIDS patients that haven’t been told

Former Blade reporter’s podcast focuses on POC, women, trans people

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Kai Wright, a former Blade reporter, hosts the podcast ‘Blindspot.’ (Photo by Amy Pearl)

“We said that people had The Monster, because they had that look,” activist Valerie Reyes-Jimenez, said, remembering how people in her New York neighborhood reacted when people first got AIDS.

They didn’t know what to call it.

“They had the sucked in checks,” Reyes-Jimenez, added, “They were really thin…a lot of folks were saying, oh, you know, they had…cancer.”

“We actually had set up a bereavement clinic where the kids would tell us what they wanted to have when they die,” Maxine Frere, a retired nurse who worked at Harlem Hospital for 40 years and was the head nurse of its pediatric AIDS unit said, “How did they wanna die?”

“Nobody wanted to come on,” said former New York Gov. David Paterson, who in 1987 was Harlem’s state senator.

At that time, Manhattan Cable Television gave legislators the chance to do one show a year. “So I decided to do my show on the AIDS crisis and how there didn’t seem to be any response from the leadership in the Black community,” Paterson added.

These unforgettable voices with their searing recollections are among the many provocative, transformative stories told on Season 3 of “Blindspot,” the critically acclaimed podcast. 

“Blindspot: The Plague in the Shadows” is co-produced by the History Channel and WNYC Studios. The six-episode podcast series, which launched on Jan. 18 and airs weekly through Feb. 22, is hosted by WNYC’s Kai Wright with lead reporting by The Nation Magazine’s Lizzy Ratner.

The show is accompanied by a photography exhibit by Kia LaBeija. LaBeija is a New York City-based artist who was born HIV positive and lost her mother to the disease at 14. The exhibit, which features portraits of people whose stories are heard on “Blindspot,” runs at the Greene Space at WNYC through March 11.

If you think of AIDS, you’re likely to think of white cisgender gay men. (That’s been true for me, a cisgender lesbian, who lost loved ones to AIDS.)

From the earliest days of the AIDS epidemic, most media and cultural attention has been focused on white gay men – from playwright and activist Larry Kramer to the movie “Philadelphia.”   

“Blindspot” revisits New York City, an epicenter of the early years of the HIV epidemic.

The podcast reveals stories of vulnerable people that haven’t been told. Of people of color, women, transgender people, children, drug-users, women in prison and the doctors, nurses and others who cared and advocated with and on their behalf.

“Blindspot,” through extensive reporting and immersive storytelling, makes people visible who were invisible during the AIDS epidemic. It makes us see people who have, largely, been left out of the history of AIDS.

Wright, 50, who is Black and gay, cares deeply about history. He is host and managing editor of “Notes from America with Kai Wright,” a show about the unfinished business of our history and its grip on our future.

Recently, Wright, who worked as a reporter at the Washington Blade from 1996 to 2001, talked with me in a Zoom interview. The conversation ranged over a number of topics from why Wright got into journalism, to how stigma and health care disparities still exist today for people of color, transgender people and poor people with AIDS to the impact he hopes “Blindspot” will have.

“I came to work at the Blade in 1996,” Wright said, “the year after I got out of college.”

He’d done two six-month stints at PBS and “Foreign Policy.” But Wright thinks of the Blade as his first proper journalism job.

From his youth, Wright has been committed to social justice and to understanding his community. Reporting, from early on, has been his connection with social justice. “I often say, journalism has been my contribution to social justice movements,” Wright said.

His first journalistic connection to the Black community came when he was 15. Then, Wright became an intern with the Black newspaper, the Indianapolis Recorder.

“That’s how I got the [journalism] bug,” Wright said.

Since then, Wright said, he’s worked almost exclusively with media that have a connection with the community.

Wright grew up in Indianapolis and went to college at Emory University in Atlanta. He didn’t intend to be a journalist, he wrote in an email to the Blade. At Emory, he studied international politics.

Wright’s life and work changed direction when he began working at the Blade. “I was a kid,” Wright said, “I’d just come out. I used journalism to find out what it meant to come out.”

Wright, when he came to Washington, D.C., was, as he recalled, just a kid. He didn’t know anyone in D.C. and there was a Black, queer community. This helped Wright to come out. “I couldn’t have told you that at the time,” he said, “but in retrospect I can see that I moved to  D.C. to come out.”

Journalism was Wright’s way of finding his way through coming out.

“I didn’t know if the Blade was hiring,” Wright said, “I just walked in.”

He didn’t have a deep resume but he had a lot to say. The Blade hired him and immediately put him to work reporting on AIDS.

“It was a pivotal cultural and political moment – a pivotal moment for the community,” Wright said.

That year, when Wright began working with the Blade, life-saving treatments (early drug cocktails) were emerging for AIDS.

“There was no way that HIV and AIDS wouldn’t become a central part of my journalism,” Wright said, “I really wanted to report on it.”

With the emergence of treatments, white gay men with health insurance began to feel that they were turning the page and that AIDS was no longer a death sentence.

“But, as a reporter, I was meeting Black gay men who were going into emergency mode about the AIDS epidemic,” Wright said.

Black people, poor people, drug users and others without health insurance and access to treatment were still dying and transmitting AIDS. “‘This is getting more and more dire,’ the activists said,” Wright recalls.

They told Wright, “The rest of the community is starting to turn the page. We can’t turn the page.”

In D.C., Wright could see, through his reporting, the racial discrimination in the community at large in the AIDS epidemic, and in the queer community.

Two things are true simultaneously, Wright said, when asked if there is still stigma and discrimination around HIV and AIDS today.

“Science has made so much progress,” Wright said, “It’s no longer necessary for any of us to die from HIV.”

“I take a pill once a day to prevent me from catching HIV,” he added, “I can do that. I am a person with insurance…with a great deal of social and economic privilege.”

But many people in the United States don’t have health insurance, and exist outside of the health care system. The divergence in treatment and stigma that he saw as a young reporter in 1996 are still there today, Wright said.

“The divergence in class and race has grown even more profound,” he said, “among people of color, young people – transgender people.”

Wright hopes  “Blindspot” will make people who lived through the epidemic and whose stories weren’t told, feel seen. And that “they will hear themselves and be reminded of the contributions they have made,” Wright said.

The queer press plays an important role in the LGBTQ community, Wright said. “We need a place to hash out our differences, share stories and ask questions that put our experience at the center of the conversation,” he emailed the Blade.

“There’s more space for us in media than when I started my career at the Blade,” Wright said, “but none of it is a replacement for journalism done by and for ourselves.”

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Valentine’s Day gifts for the queers you love

From pasta and chocolate to an Aspen getaway

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Share the love on Feb. 14 with our thoughtful Valentine’s gift picks for everyone you like and lust.

Centrolina V-Day Pasta Kit

Washington, D.C.-based Centrolina’s seasonally inspired restaurant menu gets the delivered-to-your-door treatment with Chef Amy Brandwein’s holiday gift baskets featuring four handmade pastas and from-scratch sauces, including heart-shaped beet ravioli with ricotta and lemon butter, a mushroom and black truffle ragu, sunchoke tagliolini and oyster cacio pepe, and chestnut pappardelle, among other elevated-Italian recipes that you and your lil’ meatball can whip up on date night. $175, CentrolinaDC.com

La Maison du Chocolat

Heart-shaped candy clichés are much more palatable when the contents within are made in Paris instead of Hershey, Pa., and your intended will be sufficiently satisfied with La Maison du Chocolat’s selection of premium confections – including melt-in-your-mouth ganaches, pralinés and bouchées, oh my – available in festive and indulgent 14- and 44-piece boxes. $60-$140, LaMaisonDuChocolat.com

‘Spread the Love’ Plantable Pencils

SproutWorld’s set-of-eight Love Edition pencils set themselves up for seed-spreading jokes given Cupid’s context, but the real sentiment is sweeter: Plant the lead-free, graphite writing utensils (engraved with romantic quotes on certified wood) in potted soil and enjoy striking flowers and fragrant herbs in one to four weeks. $15, Amazon.com

W Aspen Getaway

Missed Aspen Gay Ski Week? No sweat. You’ll fight fewer crowds as the season winds down – without compromising your commitment to luxury – during a late-winter getaway to the heart of Colorado’s Rocky Mountains at the W Aspen. Book unforgettable outdoor adventures, like heliskiing and dog sledding, with the property’s always-available concierge; spend après hour on the rooftop WET deck before diving into delicious dishes at onsite restaurant 39 Degrees; see and be seen at Ponyboy, the property’s cocktail-focused modern speakeasy rooted in New York City nightlife; and pour yourself a nightcap from your in-room mini bar before relaxing in the suite’s deep soaking tub – because, ya know, all in a day’s work. Marriot.com

Nexgrill Ora Pizza Oven

Not a fan of fancy dining out? Slip into those grey sweats he won’t let you wear in public, top off the Veuve, and fire up Nexgrill’s Ora 12 portable propane pizza oven wherein a to-temp cordierite baking stone will cook your personalized pies to perfection at up to 900 degrees. That’s burnin’ love, baby. $299, HomeDepot.com

‘Just Happy to Be Here’ YA Novel

Have a they/them in your life excited to expand their winter reading list? Gift a copy of Naomi Kanakia’s newly published YA coming-of-age novel, “Just Happy to Be Here,” about Tara, an Indian-American transgender teenager seeking quiet support and acceptance within her school’s prestigious academic group but instead becomes the center of attention when she draws the ire of administrators and alumni. $16, Amazon.com

Perfect Pairings 

Set it off this Valentine’s Day with a curated selection of wine and spirits, including the Pale Rosé, created by Sacha Lichine, of Whispering Angel fame; Flat Creek Estate’s red-blend trio, featuring the 2017 Super Texan, 2018 Four Horsemen, and Buttero; Ron Barceló’s Imperial Premium Blend 40th Aniversario rum; and the Bourbon Rosemary cocktail-in-a-can from Spirited Hive. $17-$199

Moon Bath Bomb

Stars aligned for that little meet-cute you told everybody about on TikTok, and you can trust the universe to provide ample relaxation when you plop Zodica Perfumery’s Moon Bath Bomb in the tub – there’s a specific formulation for every sign, which promises vibe-setting aromatherapy, activated charcoal for deep cleansing, and skin-soothing olive oil for the self-love glow-up you’ve been waiting for. $18, ZodicaPerfumery.com

Mikey Rox is an award-winning journalist and LGBT lifestyle expert whose work has been published in more than 100 outlets across the world. Connect with Mikey on Instagram @mikeyroxtravels.

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