Arts & Entertainment
Oscar announcement brings LGBT surprises
Nominations abound but will any of them take home the gold?
(Photo courtesy AMPAS)
By JOHN PAUL KING
The Oscar nominations for 2017 have been announced, and while there are, as usual, a few surprises as to who has been included and who has been left out, most savvy film aficionados will find the list of competitors a close match to their expectations.
It’s been an unusually rich year for “award bait” movies. In many (if not most) past Oscar races, there have been one or two clearly worthy front-runners and the rest of the crop has seemed like filler.
Even so, the Oscars have never been about quality alone; politics have always played a part in determining nominations and especially winners. In this year’s contest, not surprisingly in a cultural context rife with polarizing controversy, that observation may be truer than ever.
Categories that are traditionally all-male include women. Greta Gerwig received a nod for her direction of “Lady Bird” and “Mudbound” garnered a nomination for its cinematographer, Rachel Morrison, the first female to be so-recognized.
Black talent has also been acknowledged. Jordan Peele earned well-deserved (and pleasantly surprising) nominations for both directing and writing his brilliant blend of horror and social satire “Get Out,” which was also included as a Best Picture contender. That movie’s star, Daniel Kaluuya, is also a nominee for Best Actor as is Denzel Washington, for his work in “Roman J. Israel, Esq.,” a rare instance of two black performers included in the running for that prize.
The most obvious area of improvement this time out, however, is the amount of recognition the Academy has given to LGBT-themed movies and performances.
Most prominent, of course, is “Call Me By Your Name.” This gay coming-of-age story may have generated some controversy over the age gap between its two protagonists (especially after the revelations about Kevin Spacey’s long history of age-inappropriate sexual advances), but it overcame such concerns to become one of the best received and most recognized films of the year. Its nomination for Best Picture is no surprise, nor is its presence in the categories of Best Actor and Best Adapted Screenplay, though its nod for Sufjan Stevens’ “Mystery of Love” in the Best Original Song category may have raised some eyebrows.
What’s disappointing and telling is the exclusion of co-star Armie Hammer (considered as a likely bet for a Best Supporting Actor bid) and, even more shocking, Luca Guadagnino for the Best Director prize. The latter snub seems particularly pointed, considering that Guadagnino is one of the film’s few openly gay contributors, underscoring the not-unfair criticism that, though “Call Me” is an LGBT-themed movie, its participants (including both lead actors) are straight.
On the other hand, James Ivory, who is also an out gay man, was nominated for his adaptation of André Aciman’s book; no stranger to Oscar attention (“A Room With A View,” “The Remains of the Day” and “Howard’s End”), he is considered a front-runner to take home the statuette.
Unfortunately for fans of Timothée Chalamet, his chances of a win are far less likely. Though he grabbed some trophies early in this year’s awards season, he has since been eclipsed by Gary Oldman’s powerhouse turn as Winston Churchill in “The Darkest Hour,” which has dominated the Best Actor category at most of the recent ceremonies. Oldman is a well-loved performer who has been passed over several times for past work; on top of that, “Darkest Hour” proved its popularity among industry insiders by making a surprising show in the Oscar list, even grabbing an unexpected slot in the Best Picture roster. Both of those factors make it impossible to doubt that Chalamet, despite giving us one of the most unforgettable film performances in recent memory, will be going home empty-handed.
There are other LGBT-relevant films singled out in this year’s nominations.
Though not explicitly gay-themed, Gerwig’s “Lady Bird” does feature a tenderly handled subplot involving a gay character. That film is well-represented in the competition, and stands a reasonable chance of winning any of its nods for Best Picture, Director, Original Screenplay, Actress (Saorise Ronen) or Supporting Actress (Laurie Metcalf).
Likewise, Guillermo Del Toro’s “The Shape of Water,” which leads the nomination tally with a total of 13, is not an LGBT movie but an exploration of “otherness” in a world dominated by straight, white, cis-gendered male identity. It also prominently features a gay character, an older commercial artist whose happiness is blocked at every turn by homophobia and the psychology of the closet, played by actor Richard Jenkins.
For his likable performance, he has been nominated for Best Supporting Actor; like Chalamet, though, his chances are overshadowed by a powerhouse front-runner — Sam Rockwell, whose work as an evolving racist cop in “Three Billboards Outside Ebbing, Missouri” is considered the clear favorite for the win.
Finally, in the category of Best Foreign Language Film, the Chilean/German co-production, “A Fantastic Woman,” secured a nomination. The story of a transgender woman fighting transphobia for the right to mourn after the death of her lover, it should also have gotten recognition for its star, trans actress Daniela Vega, who gave one of the strongest performances of the year, by any standard. As a foreign performer, and a relatively inexperienced and unknown one, she didn’t stand much of a chance. But the Academy missed a chance to show support and solidarity with the trans community by giving her a nod. Even so, the film’s nomination is a major step, although the omission of “BPM (Beats per Minute)” within the same category, is a disappointment.
It’s too early in the race to make predictions. Though “Three Billboards” is currently considered the favorite to win (along with its star Frances McDormand and the previously mentioned Rockwell), controversy over its handling of racist themes (as well as some critical backlash over the contrivances of its story) may lower its chances as the big night draws nearer and “Shape of Water” made such a strong showing in the nominations that its popularity among Academy voters is impossible to ignore.
Even given such causes for doubt, however, it seems certain that Oscar will not be duplicating the triumphant validation it delivered for queer awareness with its selection of “Moonlight” for Best Picture.
This year, it looks like the LGBT community will be an also-ran.
Books
Love or fear flying you’ll devour ‘Why Fly’
New book chronicles a lifetime obsession with aircraft
‘Why Fly’
By Caroline Paul
c. 2026, Bloomsbury
$27.99/256 pages
Tray table folded up.
Check. Your seat is in the upright position, the airflow above your head is just the way you like it, and you’re ready to go. The flight crew is making final preparations. The lights are off and the plane is backing up. All you need now is “Why Fly” by Caroline Paul, and buckle up.
When she was very young, Paul was “obsessed” with tales of adventure, devouring accounts written by men of their derring-do. The only female adventure-seeker she knew about then was Amelia Earhart; later, she learned of other adventuresome women, including aviatrix Bessie Coleman, and Paul was transfixed.
Time passed; Paul grew up to create a life of adventure all her own.
Then, the year her marriage started to fracture, she switched her obsession from general exploits to flight.
Specifically, Paul loves experimental aircraft, some of which, like her “trike,” can be made from a kit at home. Others, like Woodstock, her beloved yellow gyrocopter, are major purchases that operate under different FAA rules. All flying has rules, she says, even if it seems like it should be as freewheeling as the birds it mimics.
She loves the pre-flight checklist, which is pure anticipation as well as a series of safety measures; if only a relationship had the same ritual. Paul loves her hangar, as a place of comfort and for flight in all senses of the word. She enjoys thinking about historic tales of flying, going back before the Wright Brothers, and including a man who went aloft on a lawn chair via helium-filled weather balloons.
The mere idea that she can fly any time is like a gift to Paul.
She knows a lot of people are terrified of flying, but it’s near totally safe: generally, there’s a one in almost 14 million chance of perishing in a commercial airline disaster – although, to Paul’s embarrassment and her dismay, it’s possible that both the smallest planes and the grandest loves might crash.
If you’re a fan of flying, you know what to do here. If you fear it, pry your fingernails off the armrests, take a deep breath, and head to the shelves. “Why Fly” might help you change your mind.
It’s not just that author Caroline Paul enjoys being airborne, and she tells you. It’s not that she’s honest in her explanations of being in love and being aloft. It’s the meditative aura you’ll get as you’re reading this book that makes it so appealing, despite the sometimes technical information that may flummox you between the Zen-ness. It’s not overwhelming; it mixes well with the history Paul includes, biographies, the science, heartbreak, and exciting tales of adventure and risk, but it’s there. Readers and romantics who love the outdoors, can’t resist a good mountain, and crave activity won’t mind it, though, not at all.
If you own a plane – or want to – you’ll want this book, too. It’s a great waiting-at-the-airport tale, or a tuck-in-your-suitcase-for-later read. Find “Why Fly” and you’ll see that it’s an upright kind of book.
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Theater
Out actor Kevin Cahoon on starring role in ‘Chez Joey’
Arena production adapted from Broadway classic ‘Pal Joey’
‘Chez Joey’
Through March 15
Arena Stage
1101 Sixth St., S.W.
Tickets start at $93
Arenastage.org
As Melvin Snyder in the new musical “Chez Joey,” out actor Kevin Cahoon plays a showbiz society columnist who goes by the name Mrs. Knickerbocker. He functions as a sort of liaison between café society and Chicago’s Black jazz scene circa 1940s. It’s a fun part replete with varied insights, music, and dance.
“Chez Joey” is adapted from the Broadway classic “Pal Joey” by Richard Rodgers and Lorenz Hart. It’s inspired by John O’Hara’s stories based on the exploits of a small-time nightclub singer published in The New Yorker.
A warm and humorous man, Cahoon loves his work. At just six, he began his career as a rodeo clown in Houston. He won the Star Search teen division at 13 singing songs like “Some People” from “Gypsy.” He studied theater at New York University and soon after graduating set to work playing sidekicks and comedic roles.
Over the years, Cahoon has played numerous queer parts in stage productions including “Hedwig and the Angry Inch,” “La Cage aux Folles,” “Rocky Horror” as well as Peanut in “Shucked,” and George the keyboardist in “The Wedding Singer,” “a sort of unicorn of its time,” says Cahoon.
Co-directed by Tony Goldwyn and the great Savion Glover, “Chez Joey” is a terrific and fun show filled with loads of talent. Its relevant new book is by Richard Lagravenese.
On a recent Monday off from work, Cahoon shared some thoughts on past and current happenings.
WASHINGTON BLADE: Is there a through line from Kevin, the six-year-old rodeo clown, to who we see now at Arena Stage?
KEVIN CAHOON: Anytime I want to land a joke in a theater piece it goes back to that rodeo clown. It doesn’t matter if it’s Arena’s intimate Kreeger Theatre or the big rodeo at the huge Houston Astrodome.
I was in the middle stadium and there was an announcer — a scene partner really. And we were doing a back and forth in hopes of getting laughs. At that young age I was trying to understand what it takes to get laughs. It’s all about timing. Every line.
BLADE: Originally, your part in “Chez Joey” Melvin was Melba who sings “Zip,” a clever woman reporter’s song. It was sort of a star feature, where they could just pop in a star in the run of “Pal Joey.”
CAHOON: That’s right. And in former versions it was played by Martha Plimpton and before her Elaine Stritch. For “Chez Joey,” we switched gender and storyline.
We attempted to do “Zip” up until two days before we had an audience at Arena. Unexpectedly they cut “Zip” and replaced it with a fun number called “I Like to Recognize the Tune,” a song more connected to the story.
BLADE: Wow. You must be a quick study.
CAHOON: Well, we’re working with a great band.
BLADE: You’ve played a lot of queer parts. Any thoughts on queer representation?
CAHOON: Oh yes, definitely. And I’ve been very lucky that I’ve had the chance to portray these characters and introduce them to the rest of the world. I feel honored.
After originating Edna, the hyena on Broadway in “The Lion King,” I left that to do “Hedwig and the Angry Inch” as standby for John Cameron Mitchell, doing one show a week for him.
Everyone thought I was crazy to leave the biggest musical of our time with a personal contract and getting paid more money that I’d ever made to get $400 a week at the downtown Jane Street Theatre in a dicey neighborhood.
At the time, I really felt like I was with cool kids. I guess I was. And I never regretted it.
BLADE: When you play new parts, do you create new backstories for the role?
CAHOON: Every single time! For Melvin, I suggested a line about chorus boys on Lakeshore Drive.
BLADE: What’s up next for Kevin Cahoon?
CAHOON: I’m about to do the New York Theatre Workshop Gala; I’ve been doing it for nine years in a row. It’s a huge job. I’ll also be producing the “Cats: The Jellicle Ball” opening on Broadway this spring; it’s a queer-centric uptown vogue ball with gay actor André de Shields reprising his role as “Old Deuteronomy.”
BLADE: There’s a huge amount of talent onstage in “Chez Joey.”
CAHOON: There is. I’m sharing a dressing room with Myles Frost who plays Joey. He won accolades for playing Michael Jackson on Broadway. We’ve become great friends. He’s a miracle to watch on stage. And Awa [Sal Secka], a D.C. local, is great. Every night the audience falls head over heels for her. When this show goes to New York, Awa will, no doubt, be a giant star.
BLADE: Do you think “Chez Joey” might be Broadway bound?
CAHOON: I have a good feeling it is. I’ve done shows out of town that have high hopes and pedigree, but don’t necessarily make it. “Chez Joey” is a small production, it’s funny, and audiences seem to love it.
The Capital Pride Alliance held the annual Pride Reveal event at The Schuyler at The Hamilton Hotel on Thursday, Feb. 26. The theme for this year’s Capital Pride was announced: “Exist. Resist. Have the audacity!”
(Washington Blade photos by Michael Key)
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