Arts & Entertainment
Finally, a film for ‘Follies’
Fans of composer/lyricist Stephen Sondheim will be “losing their minds” over the latest news from the theatre icon: at long last, a film is being made of his classic 1971 Broadway musical, “Follies.”
At the helm of the new movie will be Dominic Cooke, a four-time Olivier Award-winning and BAFTA nominated theatre, TV and film director and writer. The British filmmaker is known for the quiet drama, “On Chesil Beach,” but he also directed an acclaimed London revival of “Follies” for the National Theatre in 2017. A videotaped performance of that production was screened in film theaters across the UK and US, and it also returned to the West End for an encore run earlier this year.
The show, which includes musical theatre standards such as “Broadway Baby,” “Losing My Mind,” and I’m Still Here,” was written by Sondheim in collaboration with the late James Goldman, who penned the libretto. Centered on former performers of a Ziegfeld-style musical revue of the thirties and forties, it takes place on the night of a reunion party held in the soon-to-be-demolished theatre in which they had their heyday, as they reflect on – and attempt to come to terms with – the choices they have made about their lives and careers in the decades since. In the course of the action, the characters perform songs and dance numbers paying tribute to the American musical theatre of their younger years.
The original 1971 production has the reputation for being a flop, despite being nominated for eleven Tony Awards and winning seven; factually, the show was widely praised by critics and ran for 522 performances, but as the second-most expensive Broadway production ever mounted at that time, it ultimately lost its entire investment. The musical has since had several major revivals, including the recent National Theatre production and a Tony-winning 2011 remount starring Bernadette Peters.
Several attempts have been made in the past to develop a film version, most recently in 2015 when director Rob Marshall was reported to be behind the camera for an adaptation starring Meryl Streep. Observers have often cited the show’s dark anti-nostalgia and its cast of middle-aged or older characters as reasons for the failure of these earlier efforts to reach fruition in an industry concerned with the bottom line.
“Over the years, there have been many attempts to bring Follies to the screen, but not until Dominic Cooke’s brilliant production at the National Theatre of Great Britain did it seem like it could be a real movie. I’m more than delighted, I’m thrilled, that it’s finally going to happen,” Sondheim said in a statement.
No cast or release date have yet been announced for the new film version, which will be produced by David Heyman, Rose Allison, and Rose Garnett.
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’
