Arts & Entertainment
Tituss Burgess calls Andy Cohen a ‘messy queen’ after awkward ‘WWHL’ interview
The ‘Unbreakable Kimmy Schmidt’ star defends Eddie Murphy
Tituss Burgess called Andy Cohen a “messy queen” following the actor’s tense appearance on “Watch What Happens Live” on Sunday.
During the show, Cohen asked Burgess what it was like working with Eddie Murphy on their upcoming film “Dolemite Is My Name.”
“Did you get to chat with him at all?” Cohen asks.
“Of course I did. Why wouldn’t I?” Burgess replies.
“Yeah, of course. Well, no, I wonder if you got close at all. He was very problematic for the gays at one point when I was coming up,” Cohen says referencing Murphy’s homophobic jokes from his stand-up routines in the 1990s.
“Oh, I see. He wasn’t problematic for Tituss, and we had a wonderful time,” Burgess responds. “Any troubles he may have had with gay people I guess are gone because he loved me.”
Cohen moves on but Burgess, who appears to be irritated, is seen mouthing something to someone off-screen. When Cohen asks what he said Burgess replies, “Keep going, girl. Do your show.”
Burgess addressed the interview in an Instagram comment calling Cohen a “messy queen.”
“She can be a messy queen! Yes I said it! Don’t care he knows either! He should remember his talk show isn’t an episode of the ‘Real Housewives of Atlanta’! It’s a place where artists come to talk about art and have a little fun. NOT a place to rehash old rumors or bring a star negative press,” Burgess writes. “Sunday was a display of ratchet behavior by a well connected man having blatant disregard for one of his guests,” he continued. “If only time were taken to know who I am and not assuming that I am the character I play on TV he would know how to conduct a proper interview with at all! I received 4 Emmy nominations for acting! NOT for being myself. He was lucky I had my wits and Christian values THAT day. Always keep it classy. Being friends with other talented celebrities doesn’t make you talented it makes you friends with other famous celebrities! He should rip a page from Anderson Cooper and learn how to do his job.”
Burgess addressed the interaction with Cohen again while appearing on “The Wendy Williams Show” on Tuesday.
“I will not tolerate the dismantling of anyone’s legacy, especially not my own,” the “Unbreakable Kimmy Schmidt” star said. “And who we were speaking about has done a beautiful job being the comedic giant that he is. And he has a wonderful movie coming out, and I was not going to participate in talking about that.”
“Andy asked Tituss, ‘How was it working with Eddie Murphy? Eddie was not kind to gays back in the day.’ And you said, ” Williams says.
“I said what I said,” Burgess replies.
“Obviously it was wonderful working [with Murphy], and Andy might have been trying to trap you into saying something, and you didn’t say it,” Williams explains.
“Tituss will not be trapped,” Burgess retorts. “No. We have way too much work to do. We have far more important things to talk about.”
WorldPride 2025 concluded with the WorldPride Street Festival and Closing Concert held along Pennsylvania Ave., N.W. on Sunday, June 8. Performers on the main stage included Doechii, Khalid, Courtney Act, Parker Matthews, 2AM Ricky, Suzie Toot, MkX and Brooke Eden.
(Washington Blade photos by Michael Key)
The 2025 WorldPride Parade was held in Washington, D.C. on Saturday, June 7. Laverne Cox and Renée Rapp were the grand marshals.
(Washington Blade photos by Michael Key and Robert Rapanut)
Theater
A hilarious ‘Twelfth Night’ at Folger full of ‘elegant kink’
Nonbinary actor Alyssa Keegan stars as Duke Orsino
‘Twelfth Night’
Through June 22
Folger Theatre
201 East Capitol St., S.E.
$20-$84
Folger.edu
Nonbinary actor Alyssa Keegan (they/them)loves tapping into the multitudes within.
Currently Keegan plays the melancholic Duke Orsino in Folger Theatre’s production of Shakespeare’s romantic comedy “Twelfth Night.” Director Mei Ann Teo describes the production as “sexy, hilarious, and devastating” and full of “elegant kink.”
Washington-based, Keegan enjoys a busy and celebrated career. Her vast biography includes Come From Away at Ford’s Theatre; Cat on a Hot Tin Roof (Helen Hayes Award, Best Actress) and Paula Vogel’s How I Learned to Drive, both at Round House Theatre; Diana Son’s Stop Kiss directedby Holly Twyford for No Rules Theatre Company; and Contractions at Studio Theatre, to name just a few.
In addition to acting, Keegan works as a polyamory and ethical non-monogamy life and relationship coach, an area of interest that grew out of personal exploration. For them, coaching seems to work hand in hand with acting.
WASHINGTON BLADE: You’re playing the lovesick Orsino in Twelfth Night. How did that come about?
ALYSSA KEEGAN: The director was looking to cast a group of actors with diverse identities; throughout auditions, there were no constraints regarding anyone’s assigned sex at birth. It was really a free for all.
BLADE: What’s your approach to the fetching, cod-piece clad nobleman?
KEEGAN: Offstage I identify as completely nonbinary; I love riding in this neutral middle space. But I also love cosplay. The ability to do that in the play gives me permission to dive completely into maleness.
So, when I made that decision to play Orsino as a bio male, suddenly the part really cracked open for me. I began looking for clues about his thoughts and opinions about things like his past relationships and his decision not to date older women.
Underneath his mask of bravura and sexuality, and his firmness of feelings, he’s quite lonely and has never really felt loved. It makes sense to me why his love for Olivia is so misguided and why he might fall in love with the Cesario/Viola character.
BLADE: As an actor, do you ever risk taking on the feelings of your characters?
KEEGAN: Prior to my mental health education, yes, and that could be toxic for me. I’ve since learned that the nervous system can’t tell the difference between real emotional distress and a that of a fully embodied character.
So, I created and share the Empowered Performer Project. [a holistic approach to performance that emphasizes the mental and emotional well-being of performing artists]. It utilizes somatic tools that help enormously when stepping into a character.
BLADE: Has changing the way you work affected your performances?
KEEGAN: I think I’m much better now. I used to have nearly debilitating stage fright. I’d spend all day dreading going onstage. I thought that was just part of the job. Now, I’ve learned to talk to my body. Prior to a performance, I can now spend my offstage time calmly gardening, working with my mental health clients, or playing with my kid. I’m just present in my life in a different way.
BLADE: Is Orsino your first time playing a male role?
KEEGAN: No. In fact, the very first time I played a male role was at the American Shakespeare Center in Staunton, Va. I played Hipolito in Thomas Middleton’s The Revenger’s Tragedy.
As Hipolito, I felt utterly male in the moment, so much so that I had audience members see me later after the show and they were surprised that I was female. They thought I was a young guy in the role. There’s something very powerful in that.
BLADE: Do you have a favorite part? Male or female?
KEEGAN: That’s tough but I think it’s Maggie the Cat. I played the hyper-female Maggie in Tennessee Williams’ Cat on a Hot Tin Roof at Round House. In the first act she didn’t stop talking for 51 minutes opposite Gregory Wooddell as Brick who barely had to speak. That lift was probably the heaviest I’ve ever been asked to do in acting.
BLADE: What about Folger’s Twelfth Night might be especially appealing to queer audiences?
KEEGAN: First and foremost is presentation. 99% of the cast identify as queer in some way.
The approach to Shakespeare’s text is one of the most bold and playful that I have ever seen. It’s unabashedly queer. The actors are here to celebrate and be loud and colorful and to advocate. It’s a powerful production, especially to do so close to the Capitol building, and that’s not lost on any of us.
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A hilarious ‘Twelfth Night’ at Folger full of ‘elegant kink’
