a&e features
Gay ‘Elm Street’ actor takes charge of his narrative in new doc
Patton revisits controversy over homoerotic camp of ‘Freddy’s Revenge’
When Mark Patton landed his first leading role in a major motion picture, he believed his dream of becoming a movie star was coming true.
That motion picture was 1985’s “A Nightmare On Elm Street 2: Freddy’s Revenge,” and instead of being launched, his career was destroyed.
Now, Patton is returning to the big screen — as himself, this time — with the documentary “Scream, Queen: My Nightmare On Elm Street,” which tells the story of how his “big break” became a controversial flash point for Hollywood homophobia and drove him away from the industry for 30 years.
Directed by Roman Chimienti and Tyler Jensen, it explores Patton’s experiences while also examining how “Revenge” was branded as “the gayest horror movie ever made.” It then goes on to follow Patton, now 62, as he embarks on a quest to confront David Chaskin, the “Freddie’s Revenge” screenwriter, who originally claimed not to have intended a queer subtext and implied that it was Patton’s performance that introduced that element into the film. No word yet on a D.C.-area screening, but it made the rounds this summer screening at Outfest in Los Angeles in late July and also at Inside Out (Toronto), QDoc (Portland), Frameline (San Francisco) and more.
Patton says he initiated the project because he felt it offered a valuable window on hidden gay history.
“This was not old Hollywood,” he says. “The tropes that existed in the ’30s, ’40s and ’50s were not the same. This was after the ’70s, there had been a liberation. We were beginning to break through. Then HIV/AIDS arrived, and that ended that, very quickly.”
As the sequel to one of the most successful horror films of its era, “Freddy’s Revenge” was a hit, financially speaking; but in 1985, with the AIDS crisis in full bloom, many audiences were uncomfortable with what they perceived as an overtly “gay” subtext. Patton’s character, a teenager possessed by the spirit of murderer Freddy Krueger, essentially assumes the role of the “last girl.” His screams are noticeably feminine and the script is peppered with unabashed double entendres (“He’s inside me and he wants to take me again!”). To make matters worse, he is subjected to a series of homoerotic scenarios, including sequences in a locker room shower and a leather bar, that make the movie’s queer undercurrent impossible to ignore.
In an early display of toxic fan culture, the movie was denounced by many viewers. Patton — who was himself gay and suddenly at the center of a controversy that put his private life under scrutiny — soon found the homophobic environment of the movie industry had become too much for him. He turned his back on Hollywood and disappeared for nearly three decades.
Then, in the new millennium, “Freddy’s Revenge” enjoyed a reassessment from fans and critics, claiming its “gayness” as a campy badge of honor. In 2010, Patton, who had by then been living in Mexico for years, working as an interior designer and artist, was invited to participate in a documentary about the “Elm Street” franchise (2010’s “Never Sleep Again”). At that point, says Patton, he “had no idea” the movie was now being embraced.
He began traveling to horror conventions, meeting with fans and signing autographs. It was at these events, where he encountered both enthusiastic welcome and still-festering homophobia, that he realized it was important for him to take control of his own narrative and set the record straight about what happened.
In the early ’80s, he explains, things had gotten easier for gay people in Hollywood.
“I was in a position as a film star where I could have a private life and a public life,” he says. “You could have both, you just had to learn to put those things together.”
That relative freedom was over when AIDS came along.
“It was no longer acceptable. You just had to disappear. You just didn’t talk about it. And then, after 1985, you just never shut up again,” he says. “It was too important. The death of a whole generation of people was more important than making a movie. At least it was to me.”
Patton believes the setbacks of that time may have felt like a crushing blow, but that they were ultimately a catalyst for change because people were fighting for their lives.
“It was painful,” he says. “It was hideous, but I don’t think gay marriage would have happened so quickly without HIV.”
“Scream, Queen” brings much of this to the surface as it tells Patton’s story, underscoring his intent to make a film that educates queer audiences about their history.
“I have a good sense of humor, but I’m deadly serious about this stuff,” he says, “because I don’t think that young people really quite understand what they’re dealing with here. I’m cynical enough at this point in my life to think, ‘What if the protease inhibitors stop working? What if they’re only good for 20 years and then the virus mutates? What if this all happens again?”
“The same thing applies to the things that are happening politically in this country,” he says. “There’s a wave going on right now and unless you’re really tuned in and you’re paying attention, you say, ‘Oh you’re exaggerating, you’re making too much of this.’ And that’s the thing that people said to Larry Kramer and those guys, in the 1970s and ’80s — ‘You’re making too big a deal out of this, we’re fine.’ I think it’s better to be cautious.”
Still, he adds that it’s important to “keep your eye on history and also celebrate the victories you are having right now.” He cites the story of Connor Jessup, a young actor (“American Crime”) who recently came out as gay for his 25th birthday.
“He just decided it was time,” Patton says. “I’m so inspired by that. I love that it’s happening. It’s a wave and it will really break when the first person becomes a movie star being out from the very beginning, and not only after achieving success.”
As for his own achievements, Patton’s rise and fall in Hollywood was only the beginning of a long personal journey in which he faced not only shame and hurt over his movie experience, but dire challenges to his physical health; ultimately, he emerged from those struggles transformed, more deeply spiritual and able to revisit the events which cast such a shadow over his life in order to seek closure.
In the process of making “Scream, Queen,” did he find it?
“I found it within myself,” he says, withholding further detail in order to avoid spoilers. “I’m looking forward to putting all of this aside, to be honest. It’s been a long journey for me.”
a&e features
Queery: Meet artist, performer John Levengood
Modern creative talks nightlife, coming out, and his personal queer heroes
John Levengood (he/him) describes himself as a modern creative with a wide‑ranging toolkit. He blends music, technology, civic duty, and a sharp sense of wit into a cohesive artistic identity. Known primarily as a recording artist and performer, he’s also a self‑taught music producer and software engineer who embodies a generation of creators who build their own lanes rather than wait for one to appear.
Levengood, 32, who is single and identifies as gay and queer, is best known as a recording artist who has performed at Pride festivals across the country, including the main stages of World Pride DC, Central Arkansas Pride, and Charlotte Pride.
“Locally in the DMV, I’m known for turning heads at nightlife venues with my eye-catching sense of style. When I go out, I don’t try to blend in. I hope I inspire people to be themselves and have the courage to stand out,” he says.
He’s also known for hosting karaoke at Freddie’s Beach Bar in Arlington, Va., on Thursday nights. “I like to create a space where people feel comfortable expressing themselves, building community, and showcasing their talents.”
He also creates social media content from my performances and do interviews at LGBTQ+ bars and theatres in the DMV. Follow the Arlington resident @johnlevengood.
How long have you been out and who was the hardest person to tell?
I have been fully out of the closet since 2019. My parents were the hardest people to tell because my family has always been my rock and at the time I couldn’t imagine a world without them. Their reactions were extremely positive and supportive so I had nothing to fear all along.
I remember sitting on the couch with my mom, dad, and sister in our hotel room in New Orleans during our winter vacation and being so nervous to tell them. After I finally mustered up the nerve and made the proclamation, I realized my dad had already fallen asleep on the couch. My mom promised to tell him when he woke up.
Who’s your LGBTQ hero?
My LGBTQ heroes are Harvey Milk for paving the way for gays in politics and Elton John for being a pioneer for the fabulous and authentic. My local heroes in the DMV are Howard Hicks, manager of Green Lantern, and Tony Rivenbark, manager of Freddie’s Beach Bar. Both of them are essential to creating spaces where I’ve felt welcome and safe since moving to the DMV.
What’s Washington’s best nightspot, past or present?
Trade tops the list for me because of the dance floor and outdoor space. It’s so nice to get a break from the music every once and a while to be able to have a conversation.
We live in challenging times. How do you cope?
I’m still figuring this out. What is working right now is writing music and spending time with family and friends. I’ve also been spending less time on social media going to the gym at least three times a week.
What streaming show are you binging?
After “Traitors” Season 4 ended, I was in a bit of a show hole, but “Stumble” has me in a laughing loop right now. The writing is so witty.
What do you wish you’d known at 18?
At 18, I wish I would have known how liberating it is to come out of the closet. It would have been nice to know some winning lottery numbers as well.
What are your friends messaging about in your most recent group chat?
We are planning our next trip to New York City. If you can believe it, I visited NYC for the first time in 2025 for Pride and I’ve been back every quarter since. Growing up in the country, I was subconsciously primed to be scared of the city. But my mind has been blown. I can’t wait to go back.
Why Washington?
It’s the closest metropolitan area to my family, but not too close. I love the museums, the diversity, the history, and the proximity to the beach and mountains. It’s also nice to live in a city with public transportation.
Aging RFK Stadium has come down, but the RFK grounds are still getting lit up. Welcome back to the stage Project GLOW, D.C.’s homegrown electronic festival, on May 30-31. Back for its fifth year on these musically inclined acres, Project GLOW returns with an even more diverse lineup, and one that continues to celebrate LGBTQ antecedents, attendees, and acts.
Project GLOW 2026 headliners include house and techno star Mau P, progressive house legend Eric Prydz, hard-techno favorite Sara Landry, and bass acts Excision b2b Sullivan King, among the lineup of trance, bass, house, techno, dubstep, and others for the fifth anniversary year.
President & CEO Pete Kalamoutsos — born and raised in D.C. — founded Club GLOW in 1999. In 2020, GLOW entered into a partnership with global entertainment company Insomniac Events to produce live events like Project GLOW, which kicked off in 2022.
As in past years, Project GLOW not only makes space, but is intentionally inclusive of the LGBTQ community, one of its most dedicated fan bases. The festival’s LGBTQ-focused Secret Garden stage blooms again — a more intimate dance area that stands on the strength of DJs and musicians who draw from the LGBTQ community. D.C.’s LGBTQ nightlife mastermind Ed Bailey is the creative mind behind Secret Garden again. He joined Project GLOW in 2023.
“Kalamoustos says that “he’s proud of his partnership with Ed Bailey, along with Capital Pride and [nightlife producer] Jake Resnikow. It’s amazing to collaborate with Bailey at the Secret Garden stage, especially after the curated lineup we worked on at Pride last year.”
The Secret Garden will be a bit different from other stages: Eternal (“At the Eternal stage, time stands still. Lose yourself in the dance of past, present, and future, surrendering to the eternal rhythm of the universe”) and Pulse (“Feel the rhythm of the beat pulse through your veins as the heartbeat of the crowd synchronizes into one. Here, every moment vibrates with life as it guides you through a new dimension of euphoria”). The Secret Garden stage is in the round, surrounded by 16 shipping containers. The containers play canvas to muralists from around the world, who are coming in to paint them in a vibrant garden-style vibe. “We gave this stage some extra love with this layout,” K says, “ we finally cracked the code.”
K says that this will be the biggest lineup yet for the Secret Garden, featuring Nicole Moudaber b2b Chasewest, Riordan b2b Bullet Tooth, Ranger Trucco, Cassian, Eli & Fur, Cosmic Gate and Hayla. The stage is also the largest yet, featuring an expanded dance floor and 360-degree viewing.
Across all stages, K says that his goal for the fifth anniversary is “More art and fan interactive experience, more like a festival, strive to be like a Tomorrowland, as budget grows to add more experience.” Last year’s Project GLOW alone drew 40,000 attendees over two days.
K, however, was not satisfied with one festival this spring. GLOW recently announced a “pop-up” one-day event. Teaming up with Black Book Records, GLOW is set to throw a first-of-its-kind dance-music takeover of Pennsylvania Avenue, N.W., headlined by electronic music star Chris Lake. Set for April 18, this euphoric block party will feature bass and vibes blocks from the White House. Organizers expect as many as 10,000 fans to attend. Beyond music, there will be food, activations, and plenty of other activities taking place around 6th St and Pennsylvania Ave NW – a location familiar to many in the LGBTQ community, as this sits squarely inside the blocks of the Capital Pride party that takes place in DC every June.
Over the past two decades, Club GLOW has produced thousands of events, from club nights to large-scale festivals including Project GLOW, Moonrise Festival, and more. Club GLOW also operates Echostage.
a&e features
New book celebrates 1970s dance music icons
‘A Night at the Disco’ features interviews with Donna Summer, Debbie Harry, more
If you’re a fan of 1970s-era dance music, don’t miss the irresistible new book by Christian John Wikane and Alice Harris, “A Night at the Disco,” which revisits more than 90 interviews conducted with some of the biggest names in pop culture.
“A Night at the Disco” (ACC Art Books) was published on March 24, and distributed by Simon & Schuster. It celebrates more than 100 artists who sparked a phenomenon in dance music from 1970-1979 and features excerpts from interviews with everyone from Donna Summer to Debbie Harry.
Lost City Books (2467 18th St., N.W.) will welcome author Christian John Wikane for a book signing and conversation about “A Night at the Disco” on Thursday, April 16 at 6 p.m. Details at lostcitybookstore.com. Bird in Hand Coffee & Books in Baltimore (11 E. 33rd St.) )will also host a Q&A with the author on Wednesday, April 15 at 6 p.m. Details at theivybookshop.com.
Below is an excerpt from “A Night at the Disco.”
“I’ll let in anyone who looks like they’ll make things fun.” Steve Rubell is guiding a New York Times reporter through Studio 54 as resident DJ Richie Kaczor dazzles the crowd with records by CHIC, Odyssey, and T-Connection. “Disco, that’s where the happy people go,” The Trammps sing as dancers spin and twirl underneath tubes of flashing lights. Seven months since Rubell and co-owner Ian Schrager opened Studio 54 in April 1977, it’s welcomed untold numbers of “happy people” … at least those lucky enough to pass through the doors.
“We were part of the chosen few,” says André De Shields, who immortalized the title role in The Wiz on Broadway at the time. “We could show up at Studio 54 and the doorman at the velvet stanchion would look over everyone and point to us from The Wiz to come in, that kind of thing.” As the lead vocalist in the GRAMMY-nominated Dr. Buzzard’s Original Savannah Band, whose debut modernized big band sophistication for the discothèques, Cory Daye had carte blanche in the club. “The energy was like a New Year’s Eve party every night,” she says. “I would go up to the mezzanine and watch the mechanical light pillars go up and down, metallic confetti falling from the ceiling, the spoon and the moon. I was so fascinated and enamored by it.
“When a certain song came on, the people would just rush to the dance floor. There was no contact dancing — the hustle was pretty much on its way out — but it was just an amazing experience to see all the cultures together. It was a fusion of cultures, which described my life and my band, so I was right at home there.”
“Studio 54 was the place,” adds Linda Clifford. “Crazy parties. If you could think it, you would see it. It was like a circus. Just an amazing place to be. I worked 54 so many times. It was like a second home to me. The people there treated me so well. The crowd always seemed to enjoy my show. I always had a good time with them. That was the most important thing: making sure that they had fun.”
Well before Studio 54 opened, disco had become a business juggernaut. “A four billion dollar market and still growing,” Billboard announced in February 1977, with dance music offering more variety than ever. “There is no longer a single, readily identifiable disco beat, but a kaleidoscope of sounds that are melodic and danceable,” Tom Moulton told the magazine. In the clubs, records by veteran artists like Stevie Wonder and the Bee Gees were mixed in with a range of new acts like Grace Jones, Boney M., and The Ritchie Family, while everyone from ABBA to Marvin Gaye scored number one pop hits with songs that had club-centric storylines.
Beyond the charts, disco itself remained as idiosyncratic as ever, especially on several productions by Laurin Rinder and W. Michael Lewis, whose studio creations, El Coco (“Let’s Get It Together,” “Cocomotion”) and Le Pamplemousse (“Le Spank”), joined their own “Lust” from Seven Deadly Sins (1977) among the most tantalizing releases on AVI Records. Rinder & Lewis also produced acts for the newly hatched Butterfly Records in Los Angeles, where Saint Tropez (“On a Rien à Perdre”) and Tuxedo Junction (“Moonlight Serenade”) reflected the duo’s high gloss sound, spanning everything from European sophistication to a more literal translation of the ’40s sensibilities popularized by Dr. Buzzard’s Original Savannah Band.
12-inch singles had also grown as the preferred format to approximate the club music experience at home. Nearly a year after Atlantic Records introduced its series of promotional 12-inch singles for DJs, New York-based Salsoul Records released the industry’s first commercially available 12-inch single, “Ten Percent” by Double Exposure, in May 1976. A year later, T.K. Records was the first label to certify a gold record for a 12-inch single when Peter Brown’s “Do You Wanna Get Funky With Me” tallied one million sales.— Christian John Wikane
(From “A Night at the Disco” by Alice Harris & Christian John Wikane. Published by ACC Art Books.)
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