Arts & Entertainment
Recent wins for LGBTQ families
At home and abroad, progress in 2019
March arrived like the proverbial lion with a wave of good news for LGBTQ families.
New Jersey Gov. Phil Murphy (D) signed a bill Feb. 19 expanding the state’s paid family leave law in a number of ways, including by expanding the definition of “family” to include chosen families and expanding the definition of “parent” to include foster parents and those who become parents via gestational surrogacy.
“New Jersey is now the first state in the nation to offer paid family leave that is inclusive of all families,” according to the Center for American Progress.
A bill also passed the New York Assembly Judiciary Committee Feb. 27 that would more effectively protect families created through assisted reproductive technologies. The Child-Parent Security Act would legalize gestational surrogacy in the state and simplify the procedure for securing the legal rights of non-biological parents. It has yet to pass the full Assembly and Senate, but Gov. Andrew Cuomo (D) has expressed his support.
And in Virginia, the General Assembly on Feb. 22 passed an update to its surrogacy laws that will now give same-sex couples and single parents the same rights as different-sex couples. The legislation, known as Jacob’s Law, is named after the son of two dads who had to fight for their rights to him after he was born with the help of a surrogate. A Virginia court had refused to recognize their Wisconsin surrogate contract, precipitating a long legal battle.
On the federal level, Judge John F. Walter of the U.S. District Court for the Central District of California on Feb. 21 recognized the birthright citizenship of Ethan Dvash-Banks, the son of U.S.-citizen Andrew Dvash-Banks and his Israeli husband Elad Dvash-Banks. Two-year-old Ethan was previously denied recognition of his citizenship—even though his twin brother was granted it.
That means that at least one other family, that of U.S. citizen Allison Blixt and her spouse Stefania Zaccari, an Italian citizen, must continue to fight for their children’s right to be U.S. citizens. Like the Dvash-Banks’, they married abroad while the Defense of Marriage Act was still in effect, and then had two sons, Lucas and Massi. The U.S. State Department refused to recognize their marriage and said that Massi was Allison’s son because she had given birth to him, but Lucas, who was carried by Stefania, was not. It thus has refused to recognize Lucas’ citizenship. The Dvash-Banks victory is thus a step forward, but not the end of the story.
In news from abroad, France’s National Assembly passed legislation Feb. 19 that will require schools to use “Parent 1” and “Parent 2” on all school forms, instead of “Mother” and “Father,” in order to recognize the variety of families today. Any queer parent (in France or elsewhere) who has had to cross out and write in the appropriate parental titles on a school form will likely applaud the measure.
In business news, mega-corporations Samsung and AT&T in February each unveiled commercials featuring same-sex parents — and in both cases, the parents’ queerness was not the focus of the ad. AT&T’s ad touts the idea that “just OK is not OK” in either babysitters or wireless networks. It shows a two-dad couple realizing that their babysitter’s assertion “I’m pretty okay with children” means she doesn’t really have the childcare skills they want in a sitter. Samsung’s ad, which ran during the Academy Awards, among other times, shows two women, one of whom is pregnant, lying in bed viewing an ultrasound on their phone. It’s part of a longer commercial showing people using Samsung products, which ends by displaying the text “What we create today lets you create the future.” Kudos to both companies for showing that same-sex parents are simply a part of society today.
This flurry of good news should not blind us to the significant challenges that remain for LGBTQ families, but I hope it reminds us that we can still make progress, even in difficult times.
Dana Rudolph is the founder and publisher of mombian.com, a GLAAD Media Award-winning blog and resource directory for LGBTQ parents.
Team DC, the umbrella organization for LGBTQ-friendly sports teams and leagues in the D.C. area, held its annual Night of Champions Awards Gala on Saturday, April 20 at the Hilton National Mall. The organization gave out scholarships to area LGBTQ student athletes as well as awards to the Different Drummers, Kelly Laczko of Duplex Diner, Stacy Smith of the Edmund Burke School, Bryan Frank of Triout, JC Adams of DCG Basketball and the DC Gay Flag Football League.
(Washington Blade photos by Michael Key)
The 2024 National Cannabis Festival was held at the Fields at RFK Stadium on April 19-20.
(Washington Blade photos by Michael Key)
Covering the @NatlCannaFest at RFK Stadium for @WashBlade . Stop by the LGBTQ+ booth and pick up a paper if you are here. pic.twitter.com/is7hnsaPns
— Michael Patrick Key (@MichaelKeyWB) April 20, 2024
Theater
‘Amm(i)gone’ explores family, queerness, and faith
A ‘fully autobiographical’ work from out artist Adil Mansoor
‘Amm(i)gone’
Thorough May 12
Woolly Mammoth Theatre
641 D St., N.W.
$60-$70
Woollymammoth.net
“Fully and utterly autobiographical.” That’s how Adil Mansoor describes “Amm(i)gone,” his one-man work currently playing at Woolly Mammoth Theatre.
Both created and performed by out artist Mansoor, it’s his story about inviting his Pakistani mother to translate Sophocles’s Greek tragedy “Antigone” into Urdu. Throughout the journey, there’s an exploration of family, queerness, and faith,as well as references to teachings from the Quran, and audio conversations with his Muslim mother.
Mansoor, 38, grew up in the suburbs of Chicago and is now based in Pittsburgh where he’s a busy theater maker. He’s also the founding member of Pittsburgh’s Hatch Arts Collective and the former artistic director of Dreams of Hope, an LGBTQ youth arts organization.
WASHINGTON BLADE: What spurred you to create “Amm(i)gone”?
ADIL MANSOOR: I was reading a translation of “Antigone” a few years back and found myself emotionally overwhelmed. A Theban princess buries her brother knowing it will cost her, her own life. It’s about a person for whom all aspirations are in the afterlife. And what does that do to the living when all of your hopes and dreams have to be reserved for the afterlife?
I found grant funding to pay my mom to do the translation. I wanted to engage in learning. I wanted to share theater but especially this ancient tragedy. My mother appreciated the characters were struggling between loving one another and their beliefs.
BLADE: Are you more director than actor?
MANSOOR: I’m primarily a director with an MFA in directing from Carnegie Mellon. I wrote, directed, and performed in this show, and had been working on it for four years. I’ve done different versions including Zoom. Woolly’s is a new production with the same team who’ve been involved since the beginning.
I love solo performance. I’ve produced and now teach solo performance and believe in its power. And I definitely lean toward “performance” and I haven’t “acted” since I was in college. I feel good on stage. I was a tour guide and do a lot of public speaking. I enjoy the attention.
BLADE: Describe your mom.
MANSOOR: My mom is a wonderfully devout Muslim, single mother, social worker who discovered my queerness on Google. And she prays for me.
She and I are similar, the way we look at things, the way we laugh. But different too. And those are among the questions I ask in this show. Our relationship is both beautiful and complicated.
BLADE: So, you weren’t exactly hiding your sexuality?
MANSOOR: In my mid-20s, I took time to talk with friends about our being queer with relation to our careers. My sexuality is essential to the work. As the artistic director at Dreams of Hope, part of the work was to model what it means to be public. If I’m in a room with queer and trans teenagers, part of what I’m doing is modeling queer adulthood. The way they see me in the world is part of what I’m putting out there. And I want that to be expansive and full.
So much of my work involves fundraising and being a face in schools. Being out is about making safe space for queer young folks.
BLADE: Have you encountered much Islamophobia?
MANSOOR: When 9/11 happened, I was a sophomore in high school, so yes. I faced a lot then and now. I’ve been egged on the street in the last four months. I see it in the classroom. It shows up in all sorts of ways.
BLADE: What prompted you to lead your creative life in Pittsburgh?
MANSOOR: I’ve been here for 14 years. I breathe with ease in Pittsburgh. The hills and the valleys and the rust of the city do something to me. It’s beautiful, it’ affordable, and there is support for local artists. There’s a lot of opportunity.
Still, the plan was to move to New York in September of 2020 but that was cancelled. Then the pandemic showed me that I could live in Pittsburgh and still have a nationally viable career.
BLADE: What are you trying to achieve with “Amm(i)gone”?
MANSOOR: What I’m sharing in the show is so very specific but I hear people from other backgrounds say I totally see my mom in that. My partner is Catholic and we share so much in relation to this.
I hope the work is embracing the fullness of queerness and how means so many things. And I hope the show makes audiences want to call their parents or squeeze their partners.
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