Arts & Entertainment
Out actor relishes ‘Superstore’ role
Nico Santos says playing gay and Filipino is double blessing
Nico Santos, front left, as Mateo in ‘Superstore.’ (Photo by Chris Haston; courtesy NBCUniversal)
While big-box retail store customers have their own set of problems, such as navigating the endless aisles, employees dwell in their own retail hell. “Superstore” is NBC’s latest workplace comedy from the executive producer of “The Office” and stars America Ferrera (Amy) and D.C. native Ben Feldman (Jonah). Employee frustrations are amplified at the fictional Cloud 9, a Walmart-esque superstore, such as assisting irate customers and accidentally marking electronics at $0.25 instead of 25 percent off causing a riot in the store.
Mateo, played by Nico Santos, 37, is a newly hired Cloud 9 associate who won’t let the annoyance of retail, or anyone, stand in the way of his ambition to succeed at work. Mateo also happens to be a gay Filipino man and undocumented illegal immigrant.
Santos and Mateo have a lot in common — Santos is also a gay Filipino man, but is launching a professional acting career instead of working the sales floor. Born and raised in the Philippines, Santos immigrated to the United States at 15 years old and has been immersed in the performing arts ever since.
Speaking to the Washington Blade in between filming the show’s Halloween episode, Santos talked the horrors of retail, Mateo’s upcoming love interest and how wearing chaps might be the hardest part of being a cowboy.
WASHINGTON BLADE: How did you get into acting?
NICO SANTOS: I was in a few high school plays and musicals and I majored in theater as well. But I kind of deviated from that and my background mostly is in stand-up comedy. When I lived in San Francisco, I started stand up comedy there. I moved to Los Angeles six years ago doing stand up and just trying to get my half-hour Comedy Central special going and trying to get my name into comedy clubs here. But I auditioned for the CBS Diversity Showcase, which is an industry showcase here that’s presented to agents and casting directors. And that’s how I got my agent. I started going out on auditions and started booking small roles here and there. Then “Superstore” came along and it’s been my first professional acting job. I still can’t believe that all of this is happening. It’s a new world to me.
BLADE: When you first auditioned for “Superstore” did you immediately connect with the character of Mateo?
SANTOS: I did. Mateo was originally written as a straight, Latino guy. Sort of like a tough gangster guy. But I was reading the text of the materials that were sent to me and he comes from the same sort of immigrant background and had a large family, and I came from the same background. So it was something I was drawn to. But I was reading the text and I was thinking to myself there’s no way I can play a butch, Latino gangster. I can play butch, but not that butch. So I just kind of scanned the text and was like, “I can totally picture a shady queen saying these words.” So I kind of made it my own, and they loved my take on the character and changed the character to be a gay Filipino.
BLADE: That’s a rare representation on TV. How do you feel about that?
SANTOS: I’m so happy that I get to be a part of this new way of Asian representation that’s happening right now. The last couple years you’ve had shows like “Fresh Off the Boat” and “Dr. Ken” and now “Superstore.” But certainly the representation of Asian Americans and Asians in general has been a lot better these last couple of years. But it is so rare to see a gay Filipino character in television. I’ve talked to all my other Filipino actor friends and a lot of times we get asked to play other Asian parts. Like the auditions we go to we get asked to play Japanese or Chinese or Korean. We never get to play Filipino, which still boggles my mind because we are one of the largest Asian minorities in the United States, but we’re hardly represented in the media. I’m definitely so happy that I get to represent not only the LGBT side of my community, but the whole Filipino community as well.
BLADE: “Superstore” is a workplace comedy comparable to other shows like “The Office” and “Parks and Recreation.” Do you ever feel any pressure to live up to that?
SANTOS: Yes and no. Obviously I would love for our show to have such a long and successful run like “The Office” and “Parks and Recreation.” I certainly hope that’s in our future. I know we’ve been compared to those shows, but I think we are very unique and have found our own voice early on. I will say the one main difference that separates us from those shows is not everyone has worked in an office. But everybody has been in one of these stores whether you have been behind the register or in front of the register. It’s something we’ve all experienced. I think that’s why it’s struck a chord with everybody. Not only do you see or recognize these characters and everyone in the cast but it’s something you experience every day. You have to go to a store every day to get your necessities.
BLADE: Have you ever worked in a big-box store like Cloud 9?
SANTOS: I’ve never worked in a big-box store, but I have plenty of retail experience. When I used to live in San Francisco and started doing stand up comedy, my day job was working retail. But I worked in high-end luxury retail. So I worked at Neiman’s and Jimmy Choo and Dior. Honestly once I started working on this show, I was able to draw on that retail experience and use it. I was like, “All eight years of working retail finally paid off.” Because it doesn’t matter whether you’re selling $0.99 toilet paper or a $10,000 gown, it’s all the same crazy customers that you have to deal with.
BLADE: How would you compare yourself and Mateo as employees?
SANTOS: There’s a lot of me in Mateo and that’s why I love playing him. I’m maybe not as backstabby. Mateo will backstab anybody who gets in his way. When I’m working on the job I want to do it well and I kind of obsess over it. I always make sure that the job that I take is something that I enjoy. So there’s definitely a whole lot of me in Mateo.
BLADE: Being an out, gay actor, what’s it like representing the LGBT community on a show that has such a wide reach as “Superstore”?
SANTOS: I’m really happy to do that. LGBT representation has sort of changed throughout the years. With shows like “Will and Grace,” you have Will who is sort of like a more masculine character, but the character Jack got a lot of criticism for being flamboyant. And now a character like mine who is more on the feminine side I think even like five years ago would have been criticized like, “Oh, you guys are playing a stereotype.” To me, I always get so annoyed when people criticize gay men for being feminine. Being feminine is not a bad thing. That’s part of the spectrum of the LGBT community. Just because a gay man is feminine that’s not a stereotype. Feminine gay men exist, and they need to be represented. Especially for me, I am feminine in real life and not having seen those characters before as just a regular guy on television I think is important.
BLADE: What can you tell us about Mateo’s upcoming love interest this season?
SANTOS: It’s great because how it comes about is really unexpected. For Mateo, he’s still figuring out does he like this guy, how is this going to benefit him. There’s always that question in the back of his head of what’s in it for him. I think the storyline is really great. My love interest is being played by this great actor Michael Bunin who is so funny and so charming. I think audiences will get a real kick out of it.
BLADE: Any sneak peaks about the Halloween episode that you’re filming?
SANTOS: All I can tell you right now is that I’m a cowboy for this episode and I’ve been wearing cowboy boots and chaps all day. After doing all my scenes in chaps and cowboy boots, I have a newfound appreciation for cowboys. I will certainly be watching “Brokeback Mountain” with a completely different lens now.
Nico Santos as Mateo in ’Superstore.’ Though he says he’s less ‘backstabby’ in real life, Santos identifies with his character. (Photo by Chris Haston; coutesy NBCUniversal)
Theater
‘Jonah’ an undeniably compelling but unusual memory play
Studio production draws on scenes from the past, present, and from imagination
‘Jonah’
Through April 19
Studio Theatre
1504 14th St., N.W.
$55-$95 (discounts available)
Studiotheatre.org
Written by Rachel Bonds, “Jonah” is an undeniably compelling but unusual memory play with scenes pulled from the past, some present, and others seemingly imagined. Despite its title, the play is about Ana, a complicated young woman processing past trauma from the fragile safety of her usually quiet bedroom.
Studio Theatre’s subtly powerful production (through April 19) is finely realized. Director Taylor Reynolds smartly helms an especially strong cast and an inspired design team.
As Ana, out actor Ismenia Mendes radiates a quiet magnetism. She nails the intelligent woman with a hard exterior that sometimes melts away to reveal a warm curiosity and sense of humor despite a history of loss.
When we first meet Ana, she’s a scholarship student at a boarding school where she’s very much on the radar of Jonah, a sensitive day student (charmingly played by Rohan Maletira). Initially reluctant to know him, Ana soon breaks the ice by playfully lifting her shirt and flashing him. It’s a budding romance oozing with inexperience. And just like that, there’s a blast of white light and woosh, Jonah’s gone. Literally sucked out of an upstage door.
Clearly romanticized, the scenes between Ana and Jonah are a perfect memory captured in time that surely must be too good to be entirely true.
“Jonah,” a well-made nonlinear work, is pleasing to follow. Each of Bond’s scenes end with a promise that more will be revealed. And over its almost two hours, Ana’s story deftly unfolds in some satisfying ways, ultimately piecing together like a puzzle.
Next, Ana is a college writing student. She’s alone in her dorm room when volatile stepbrother Danny (Quinn M. Johnson) visits the campus. Growing up in Detroit, Danny was Ana’s protector taking the brunt of her stepfather’s abuse after the untimely death Ana’s mother. Now, he’s sort of a clinging nuisance; nonetheless, they maintain a trauma rooted relationship.
And finally, 40ish and still guarded, Ana is a published writer. While working in her bedroom at a rural writer’s retreat, she’s joined by a nerdy stranger, Steven (Louis Reyes McWilliams). At first annoyed by this fellow writer’s presence, Ana is ultimately won over by his dogged devotion, sincerity, and kind words. What’s more, he’s not unacquainted with abuse, and he’s willing to delve into discussions of intimacy. Again, is it too good to be true?
Chronology be damned, these three male characters come and go, dismissed and recalled. It’s through them that Ana’s emotional journey is reflected. They pursue, but she allows them into her life in different ways for different reasons.
Bonds, whose plays have been produced at Studio in the past (world premiere of “The Wolfe Twins” and “Curve of Departure”), and Reynolds who scored a huge success directing Studio’s production of “Fat Ham” in 2023, are well matched. Reynolds’s successful intimate staging and obvious respect for the script’s serious themes without losing its lighter moments are testimony to that.
Essential to the play is Ana’s bedroom created by set designer Sibyl Wickersheimer. It’s a traditional kind of bedroom, all wooden furniture with a neat and tidy kind of farmhouse feel to it. There are two large window frames with views of darkness. It could be anywhere. The only personal items are writing devices and maybe the lived-in bedding, but other than that, not a lot indicates home.
Movies
The Oscar-losing performance that’s too good to miss
‘If I Had Legs I’d Kick You’ now streaming
Now that Oscar season is officially over, most movie lovers are ready to move on and start looking ahead to the upcoming crop of films for the standouts that might be contenders for the 2026 awards race.
Even so, 2025 was a year with a particularly excellent slate of releases: Ryan Coogler’s “Sinners” and Paul Thomas Anderson’s “One Battle After Another,” which became rivals for the Best Picture slot as well as for total number of wins for the year, along with acclaimed odds-on favorites like “Hamnet,” with its showcase performance by Best Actress winner Jessie Buckley, and “Weapons,” with its instantly iconic turn by Best Supporting Actress Amy Madigan.
But while these high-profile titles may have garnered the most attention (and viewership), there were plenty of lesser-seen contenders that, for many audiences, might have slipped under the radar. So while we wait for the arrival of this summer’s hopeful blockbusters and the “prestige” cinema that tends to come in the last quarter of the year, it’s worth taking a look back at some of the movies that may have come up short in the quest for Oscar gold, but that nevertheless deserve a place on any film buff’s “must-see” list; one of the most essential among them is “If I Had Legs I’d Kick You,” which earned a Best Actress Oscar nod for Rose Byrne. A festival hit that premiered at Sundance and went on to win international honors – for both Byrne and filmmaker Jane Bronstein – from other film festivals and critics’ organizations (including the Dorian Awards, presented by GALECA, the queer critics association), it only received a brief theatrical release in October of last year, so it’s one of those Academy Award contenders that most people who weren’t voters on the “FYC” screener list for the Oscars had limited opportunity to see. Now, it’s streaming on HBO Max.
Written and directed by Bronstein, it’s not the kind of film that will ever be a “popular” success. Surreal, tense, disorienting, and loaded with trigger-point subject matter that evokes the divisive emotional biases inherent in its premise, it’s an unsettling experience at best, and more likely to be an alienating one for any viewer who comes to it unprepared.
Byrne stars as Linda, a psychotherapist who juggles a busy practice with the demands of being mother to a child with severe health issues; her daughter (Delaney Quinn) suffers from a pediatric feeding disorder and must take her nutrition through a tube, requiring constant supervision and ongoing medical therapy – and she’s not polite about it, either. Seemingly using her condition as an excuse to be coddled, the child is uncooperative with her treatment plan and makes excessive demands on her mother’s attention, and the girl’s father (Christian Slater) – who spends weeks away as captain of a cruise ship – expects Linda to manage the situation on the home front while offering little more than criticism and recriminations over the phone.
Things are made even more stressful when the ceiling collapses in their apartment, requiring mother and child to move to a seedy beachside motel. Understandably overwhelmed, Linda turns increasingly toward escape, mostly through avoidance and alcohol; she finds her own inner conflicts reflected by her clients – particularly a new mother (Danielle Macdonald) struggling with extreme postpartum anxiety – and her therapy sessions with a colleague (Conan O’Brien, in a brilliantly effective piece of against-type casting) threaten to cross ethical and professional boundaries. Growing ever more isolated, she eventually finds a thread of potential connection in the motel’s sympathetic superintendent (A$AP Rocky) – but with her own mental state growing ever more muddled and her daughter’s health challenges on the verge of becoming a lifelong burden, she finds herself drawn toward an unthinkable solution to her dilemma.
With its cryptic title – which sounds like the punchline to a macabre joke and evokes expectations of “body horror” creepiness – and its dreamlike, disjointed approach, “If I Had Legs I’d Kick You” feels like a dark comedic thriller from the outset, but few viewers are likely to get many laughs from it. Too raw to be campy and too cold to invite our compassion, it’s a film that dwells in an uncomfortable zone where we are too mortified to be moved and too appalled to look away. Though it’s technically a drama, Bronstein presents it as a horror story, of sorts, driven by psychological rather than supernatural forces, and builds it on an uneasy structure that teases us with expectations of “body horror” grotesquerie while forcing us to identify with a character whose lack of (presumably) universal parental instinct feels transgressive in a way that is somehow even more disquieting than the gore and mutilation we imagine might be coming at any moment of the film.
And we do imagine it, even expect it to come, which is as much to do with the near-oppressive claustrophobia that results from Bronstein’s use of near-constant close-ups as it does with the hint of impending violence that pervades the psychological tension. It’s not just that our frame of vision is kept tight and limited; her tactic keeps us uncertain of what’s going on outside the edges, creating a near-constant sense of something unseen lurking just beyond our view. Yet it also helps to put us into Linda’s state of mind; for almost the entire film, we never see the face of her daughter – nor do we ever know the child’s name – and her husband is just a strident voice on the other end of a phone call, and the effect places us squarely into her dissociated, depressed, and desperate existence.
Anchoring it all, of course, is Byrne’s remarkable performance. Vivid, vulnerable, and painfully real, it’s the centerpiece of the film, the part that emerges as greater than the whole; and while Oscar may have passed her over, she delivers a star turn for the ages and gives profound voice to a dark side of feminine experience that is rarely allowed to be aired.
That, of course, is the key to Bronstein’s seeming purpose; inspired by her own struggles with postpartum depression, her film feels like both a confession and an exorcism, a parable in which the expectations of unconditional motherly love fall into question, and the burden placed on a woman to subjugate her own existence in service of a child – and a seemingly ungrateful one, at that – becomes a powerful exploration of feminist themes. It’s an exploration that might go too far, for some, but it expresses a truth that those of us who are not mothers (and many of us who are) might be loath to acknowledge.
Uncomfortable though it may be, Bronstein’s movie draws us in and persuades our emotional investment despite its difficult and unlikable characters, thanks to her star player and her layered, puzzle-like screenplay, which captures Linda’s scattered psyche and warped perceptions with an approach that creates structure through fragments, clues and suggestions; and while it may not land quite as squarely, in the end, as we might hope, its bold and transgressive style – coupled with the career-topping performance at its center – are more than enough reason to catch this Oscar “also-ran” before putting this year’s award season behind you once and for all.
Friday, March 27
Center Aging Monthly Luncheon With Yoga will be at 12 p.m. at the DC Center for the LGBT Community. Email Mac at [email protected] if you require ASL interpreter assistance, have any dietary restrictions, or questions about this event.
Go Gay DC will host “LGBTQ+ Happy Hour” at 7 p.m. at Dupont Italian Kitchen. This is a chance to relax, make new friends, and enjoy happy hour specials at this classic retro venue. Attendance is free and more details are available on Eventbrite.
Trans and Genderqueer Game Night will be at 7 p.m. at the DC Center for the LGBT Community. This is a relaxing, laid-back evening of games and fun. All are welcome and there’ll be card and board games on hand. Feel free to bring your own games to share. For more details, visit the DC Center’s website.
Trans Discussion Group will be at 7 p.m. on Zoom. This event is intended to provide an emotionally and physically safe space for trans people and those who may be questioning their gender identity/expression to join together in community and learn from one another. For more details, email [email protected].
Saturday, March 28
Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.
The DC Center for the LGBT Community will host “Sunday Supper on Saturday” at 2 p.m. It’s more than just an event; it’s an opportunity to step away from the busyness of life and invest in something meaningful, and enjoy delicious food, genuine laughter, and conversations that spark connection and inspiration. For more details, visit the Center’s website.
Black Lesbian Support Group will be at 1 p.m. on Zoom. This is a peer-led support group devoted to the joys and challenges of being a Black Lesbian. For more details, email [email protected].
Monday, March 30
“Center Aging: Monday Coffee Klatch” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ adults. Guests are encouraged to bring a beverage of choice. For more information, contact Adam ([email protected]).
“Tea Time! A Local DC Drag Comedy Show” will be at 3 p.m. at Spark Social. This is a live drag comedy show where drag legends TrevHER & Tiara Missou Sidora host spill all the tea in the DMV. This event is free and more details are available on Eventbrite.
Tuesday, March 31
Visibili-TEA Party will be at 6 p.m. at Restoration Station. Guests are encouraged to come sip, celebrate, and shine together. This event is a Trans Day of Visibility celebration and a special collaboration between Auntie’s Home and Damien Ministries. This is a boozy tea party with intention and the dress code reflects the vibe. More details are available on Eventbrite.
Wednesday, March 1
Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.
Thursday, April 2
The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245.
Virtual Yoga Class will be at 7 p.m. on Zoom. This free weekly class is a combination of yoga, breathwork and meditation that allows LGBTQ+ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC Center’s website.
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