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Queer company Sean Dorsey Dance preps weekend D.C. performances

Out choreographer says social justice for LGBT people is key motivation

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Sean Dorsey Dance, gay news, Washington Blade

The cast of ‘Boys in Trouble,’ a Sean Dorsey-choreographed work. (Photo by Lydia Daniller)

Sean Dorsey Dance
 
‘Boys in Trouble’
 
Saturday, May 19 at 8 p.m.
 
Sunday, May 20 at 7 p.m.
 
Dance Place
 
3225 8th St., N.E.
 
$15-30

Transgender choreographer Sean Dorsey had a love for dance from a young age but was always surrounded by cis-gender dancers. He became discouraged by the lack of representation and decided to shelve his dream.

“I never saw a single person like me, namely a transgender person, in dance. I think a part of my brain kind of shut that off as an option for my life’s journey,” Dorsey says.

At 25, Dorsey, who was pursuing a career in social justice community organizing, decided he could fuse his love for social justice with storytelling through movement. 

Now 45, Dorsey is the first transgender modern dance choreographer in the U.S. The Vancouver, British Columbia native spearheads Sean Dorsey Dance, an all-queer dance company, that uses dance to tell LGBT stories. It’s a privilege Dorsey says is not given to many LGBT dancers. While Dorsey is the only transgender member of the dance company, he notes that cis-gender, LGB dancers have their own struggles.

“There is a great and tragic irony that there are many, many LGBQ in the dance field but very little work that allows those LGBQ people to be their full, authentic, out-of-the-closet selves on stage,” Dorsey says. “While there are many cis-gender gay, bisexual, lesbian, queer professional dancers and choreographers, what they mostly create or perform is work that’s rooted in heterosexual narratives with very binary movement, costumes and roles. Our company is really celebrated for breaking out of those things.”

One such work the company is performing is “Boys in Trouble,” a project Dorsey started working on three years ago. Dorsey’s choreography for the dance formed through his experience teaching free movement workshops to cis-gender, transgender, gender-non-conforming and other members of the LGBT community who identify on the masculine spectrum. He also traveled the U.S. and recorded interviews with people on the topic of masculinity.

Dorsey learned through speaking with people that there was an artistic hole for the issue of masculinity.

“We’ve really heard so loudly from communities that people’s struggles with things like toxic masculinity and peer pressure from within trans and queer communities to be the right kind of man or to be trans enough and the continued struggles of black communities and communities of color dealing with a nation founded on white supremacy,” he says. “We hurt so passionately in these communities that people are so hungry not for just dialogue about these issues but also an artistic conversation that would allow them to respond to the work and also to begin their own healing around these issues.”

“Boys in Trouble” will embark on a two-year, 20-city tour across the country following its two-night engagement at Dance Place. This is the first time the project will be on tour but Dorsey has toured with other LGBT-focused performances before.

“The Missing Generation,” which the company will simultaneously tour with along with “Boys in Trouble,” received a positive response from audiences ranging from large cities to rural areas. The performance “gives a voice to trans and queer longtime survivors of the early AIDS epidemic,” according to Dorsey. He recorded 75 hours of oral history from these survivors which was used to inspire the work.

Dorsey says that even though his projects are LGBT-focused, they can be enjoyed and understood by straight audiences as well. He believes the performance’s key themes can resonate with anyone regardless of gender identity or sexuality.

“Straight audiences are deeply moved by the work,” he says. “They tell us that seeing transgender and queer bodies on stage feels extremely resonant to them and really succeeds revealing truly universal themes and narratives like difference, loss, love or all of our deep longing to be connected to other humans.”

It’s a process Dorsey works hard to conceptualize for that exact response. Dorsey uses storytelling as a key element to bring emotional themes and social justice issues to life on stage.

“I don’t create modern dance that is just dance for dance’s sake and it’s not just random, abstract, movements. Everything that I create is driven by the themes and concepts that I’m working on.”

Sean Dorsey Dance members have a busy summer ahead of them. The company will perform at dance festivals including Fresh Meat Festival, a festival of transgender and queer performances, in San Francisco June 14-16. Fresh Meat Festival is produced by Fresh Meat Productions, a transgender and queer arts production company started by Dorsey.

The company also booked its first European gig in Stockholm, Sweden this summer. Dorsey says all these bookings are notable for a transgender choreographer.

Whether it’s introducing marginalized communities to audiences or giving a voice to audiences that felt silenced, Dorsey wants everyone to leave the theater connected by the same emotion.

“I hope that audiences will leave with a heart full to overflowing and a feeling in their body of having been altered or changed in some ways and to have experienced some kind of loving shift in their mind,” Dorsey says. “This is a work so far that has just really cracked open people’s hearts and minds.”

Sean Dorsey says there are too many binary strictures in most contemporary dance. (Photo by Lydia Daniller; courtesy SDD)

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Photos

PHOTOS: Pride on the Pier

Blade’s WorldPride celebration ends with fireworks show

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The Washington Blade's Pride on the Pier. (Washington Blade photo by Michael Key)

The Washington Blade’s second day of Pride on the Pier at The Wharf DC ended with a fireworks show on Saturday, June 7. The fireworks show was presented by the Leonard-Litz LGBTQ Foundation.

(Washington Blade photos by Michael Key)

The Washington Blade’s Pride on the Pier (Photo by Cedric Craig for Wild Side Media)
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Out & About

‘Lou’s Legacy’ to make TV debut next week

New documentary features Blade news reporter

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Lou Chibbaro, Jr. (Washington Blade photo by Michael Key)

The new documentary “Lou’s Legacy: A Reporter’s Life at the ‘Washington Blade’” will make its broadcast TV premiere next week. 

WETA will broadcast Lou’s Legacy on Saturday, June 21 at 8 p.m. and Monday, June 23 at 9:30 p.m. Maryland Public Television will feature it on June 28 at 10 p.m. People anywhere in the U.S. can livestream the film at WETA.org, PBS.org, the PBS App, and on YouTube TV, Hulu + Live, and Amazon Prime. After the June 21 broadcast, viewers can stream the documentary on-demand on the PBS App, PBS.org, or WETA.org.

The documentary from Emmy-nominated D.C. filmmaker Patrick Sammon tells the story of the legendary Blade news reporter, Lou Chibbaro Jr., as he works on an article about the return of drag icon Donnell Robinson – also known as Ella Fitzgerald — to the Capital Pride stage. Donnell and Chibbaro reflect on their careers and discuss the ongoing backlash against the LGBTQ community, including laws targeting drag performers. 

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Movies

20 years later, we still can’t quit ‘Brokeback Mountain’

Iconic love story returns to theaters and it’s better than you remember

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Jake Gyllenhall and Heath Ledger in ‘Brokeback Mountain.’ (Photo courtesy of Focus Features)

When “Brokeback Mountain” was released in 2005, the world was a very different place.

Now, as it returns to the big screen (beginning June 20) in celebration of its 20th anniversary, it’s impossible not to look at it with a different pair of eyes. Since its release, marriage equality has become the law of the land; queer visibility has gained enough ground in our popular culture to allow for diverse queer stories to be told; openly queer actors are cast in blockbuster movies and ‘must-see’ TV, sometimes even playing queer characters. Yet, at the same time, the world in which the movie’s two “star-crossed” lovers live – a rural, unflinchingly conservative America that has neither place nor tolerance for any kind of love outside the conventional norm – once felt like a place that most of us wanted to believe was long gone; now, in a cultural atmosphere of resurgent, Trump-amplified stigma around all things diverse, it feels uncomfortably like a vision of things to come.

For those who have not yet seen it (and yes, there are many, but we’re not judging), it’s the epic-but-intimate tale of two down-on-their-luck cowboys – Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhall) – who, in 1963 Wyoming, take a job herding sheep on the titular mountain. There’s an unmistakable spark between them, and during their months-long shared isolation in the beautiful-but-harsh wilderness, they become lovers. They part ways when the job ends and go on about their lives; Ennis resolutely settles into a hardscrabble life with a wife (Michelle Williams) and kids, while Jack struggles to make ends meet as a rodeo rider until eventually marrying the daughter (Anne Hathaway) of a wealthy Texas businessman. Yet even as they struggle to maintain their separate lives, they reconnect, escaping together for “fishing trips” to continue their forbidden affair across two decades, even as the inevitable pressures and consequences of living a double life begin to take their toll.

Adapted from a novella by Annie Proulx, (in an Oscar-winning screenplay by co-producer Diana Ossana and acclaimed novelist Larry McMurtry), and helmed by gifted Taiwanese filmmaker Ang Lee (also an Oscar winner), the acclaim it earned two decades ago seems as well-deserved as ever, if not more so. With Lee bringing an “outsider’s eye” to both its neo-western setting and its distinctly American story of stolen romance and cultural repression, “Brokeback” maintains an observational distance, uninfluenced by cultural assumptions, political narratives, or traditional biases. We experience Ennis and Jack’s relationship on their terms, with the purely visceral urgency of instinct; there are no labels, neither of them identifies as “queer” – in fact, they both deny it, though we know it’s likely a feint – nor do they ever mention words like “acceptance, “equality,” or “pride.” Indeed, they have no real vocabulary to describe what they are to each other, only a feeling they dare not name but cannot deny.

In the sweeping, pastoral, elegiac lens of Lee’s perceptive vision, that feeling becomes palpable. It informs everything that happens between them, and extends beyond them to impact the lives they are forced to maintain apart from each other. It’s a feeling that’s frequently tormented, sometimes violent, and always passionate; and while they never speak the word to each other, the movie’s famous advertising tagline defines it well enough: “Love is a force of nature.”

Yet to call “Brokeback” a love story is to ignore its shadow side, which is essential to its lasting power. Just as we see love flowing through the events and relationships we observe, we also witness the resistant force that opposes it, working in the shadows to twisting love against itself, compelling these men to hide themselves in fear and shame behind the safety of heterosexual marriage, wreaking emotional devastation on their wives, and eventually driving a wedge between them that will bring their story to a (spoiler alert, if one is required for a 20-year-old film) heartbreaking conclusion. That force, of course, is homophobia, and it’s the hidden – though far from invisible – villain of the story. Just as with Romeo and Juliet, it’s not love that creates the problem; it’s hate.

As for that ending, it’s undeniably a downer, and there are many gay men who have resisted watching the movie precisely because they fear its famously tragic outcome will hit a little too close to home. We can’t say we blame them. 

For those who can take it, however, it’s a film of incandescent beauty, rendered not just through the breathtaking visual splendor of Rodrigo Prieto’s cinematography, but through the synthesis of all its elements – especially the deceptively terse screenplay, which reveals vast chasms of feeling in the gaps between its homespun words, and the effectiveness of its cast in delivering it to performance. Doubtless the closeness between most of its principal players was a factor in their chemistry – Ledger and Gyllenhall were already friends, and Ledger and Williams began a romantic relationship during filming which would lead to the birth of their daughter. Both Williams and Hathaway bring out the truth of their characters, each of them earning our empathy and driving home the point that they are victims of homophobia, too. 

As for the two stars, their chemistry is deservedly legendary. Ledger’s tightly strung, near-inarticulate Ennis is a masterclass in method acting on the screen, with Gyllenhall’s brighter, more open-hearted Jack serving in perfectly balanced contrast. They are yin and yang to each other, and when they finally consummate their desires in that infamous and visceral tent scene, what we remember is the intensity of their passion, not the prurient details of their coupling – which are, in truth, more suggested than shown. Later, when growing comfort allows them to be tender with each other, it feels just as authentic. Though neither Ledger nor Gyllenhall identified as gay or bisexual, their comfort and openness to the emotional truth of the love story they were cast to play is evident in every moment they spend on the screen, and it’s impossible to think of the movie being more perfect with anyone else but them.

What made “Brokeback” a milestone, apart from the integrity and commitment of its artistry, was that it emerged as a challenge to accepted Hollywood norms, simply by telling a sympathetic story about same-sex love without judgment, stereotype, identity politics, or any agenda beyond simple humanistic compassion. It was the most critically acclaimed film of the year, and one of the most financially successful; though it lost the Oscar for Best Picture (to “Crash,” widely regarded as one of the Academy’s most egregious errors), it hardly mattered. The precedent had been set, and the gates had been opened, and the history of queer cinema in mainstream Hollywood was forevermore divided into two eras – before and after “Brokeback Mountain.”

Still, its “importance” is not really the reason to revisit it all these years later. The reason is that, two decades later, it’s still a beautiful, deeply felt and emotionally authentic piece of cinema, and no matter how good you thought it was the first time, it’s even better than you remember it.

It’s just that kind of movie.

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