Theater

YEAR IN REVEW 2019: Farewell Michael Kahn

Departure of legendary Shakespeare Theatre Company founder among 2019 notable D.C. theater happenings

Published

5 years ago

January 2, 2020

2019 theater, gay news, Washington Blade — **Max von Essen** (left) and **Nick Adams** in ‘Falsettos.’ (Photo by Joan Marcus, courtesy Kennedy Center) and **Vaughn Ryna Midder** as The Black Rat in ‘Native Son.’ (Photo by Iwan Bagus; courtesy Mosaic Theater Co.)

Undoubtedly, the year’s big D.C. theater story was legendary director Michael Kahn’s departure. After helming the Shakespeare Theatre Company since 1986, the out artistic director packed up and headed back to his native New York City. It was an amicable parting, one that Kahn had contemplated for a couple seasons. And though he’s missed in Washington, we’re comforted by the memories and thriving company he created.

Last spring, Kahn ended his tenure on a high note with his brilliant staging of “The Oresteia,” Aeschylus’s tragedy adapted especially for STC by playwright and actor Ellen McLaughlin (the original Angel in “Angels in America”). While Kahn might have closed with something less complicated, he didn’t. In fact, when a patron with deep pockets offered to bankroll any last project of his choosing, Kahn instantly selected the Greek trilogy. According to him, it was the ultimate challenge and Kahn likes a challenge.

Another prominent story in 2019 was the nonbinary actor. Of course, they aren’t new to the scene, but nonbinary actors have become increasingly visible. Last year’s standouts included rising-star Latinx trans/nonbinary Avi Roque who deftly played multiple roles in Shakespeare Theatre Company’s season-opener “Everybody,” out playwright Branden Jacobs-Jenkins’ contemporary, fun, gender-inclusive take on the medieval morality play.

At Round House Theatre, gifted nonbinary comic actor Moriamo Temidayo Akibu memorably played an awkward school girl in Jocelyn Bioh’s impactful teen comedy, “School Girls; Or, The African Mean Girls Play.”

In spring, D.C.’s company dedicated to the LGBT experience, Rainbow Theatre Project, mounted a haunting take on the seldom produced “Clothes for a Summer Hotel,” Tennessee Williams haunting work about the last days of F. Scott Fitzgerald and Zelda Fitzgerald.

And more recently, Rainbow presented an engaging new work, “Blue Camp,” by out writing team Tim Caggiano and Jack Calvin Hanna. The story of gay soldiers awaiting discharge at the beginning of the Vietnam War, it gives a glimpse into a neglected piece of queer history. Moses Bossenbroek gave a winning performance as a southern soldier who wants it all — drag and serve honorably.

Perhaps it’s the current political climate, I’m not sure, but there’s been a little surge in productions of “Richard III,” Shakespeare’s tale of a loathed, evil leader. Last winter at Shakespeare Theatre Company, director David Muse gave a deliciously gory take on the classic, starring talented Matthew Rauch as the twisted monarch. And in spring, Synetic Theater’s terrific cyberpunk version titled “Richard iii” starred out actor Alex Mills as the title villain. Helen Hayes Award-winning actor Philip Fletcher played Richard’s older brother King Edward.

Especially memorable works from 2019 include Mosaic Theatre Company’s production of Nambi E. Kelley’s same-titled take on Richard Wright’s seminal novel, “Native Son.” It’s the story of Bigger Thomas, a young black man who, in search of opportunity in Depression-era Chicago, goes to work for a wealthy white family where he unintentionally sets off a chain of tragic events.

Out actor Vaughan Ryan Midder strikingly played the the Black Rat, an omniscient character who serves both as a gnawing reflection of how the hostile world sees central character Bigger as a 20-year-old black man and a survival guide.

At the Kennedy Center, golden-throated Max von Essen was terrific as Marvin, the gay dad in “Falsettos,” William Finn and James Lapine’s musical about a complicated New York City family, and the devastation of AIDS. Out actor Nick Adams played Marvin’s cute, younger partner Whizzer Brown.

Eleasha Gamble impressed audiences as the title queen in Olney Theatre’s “Mary Stuart” based on Friedrich Schiller’s widely read 1800 take on the ill-fated royal. Adapted and staged by Olney’s out artistic director Jason Loewith, the work is an exploration of the chilling rivalry between England’s Elizabeth I and her Scottish cousin. Prior to this production, I had mistakenly thought of Gamble as chiefly a singer. No longer.

And at Studio Theatre, there was Jeff Hiller’s hilarious one-man tour de force “Bright Colors and Bold Patterns.” Set against an agonizingly tasteful Palm Springs same-sex wedding, it’s the story of a boozy, embittered gay guy sliding ungracefully into middle age.

Things I wish I’d seen in 2019 but didn’t, include 1st Stage’s production Carson McCullers’ “The Member of the Wedding” directed by Cara Gabriel. A heartrending coming-of-age story set in a small southern town, the play — adapted from the bisexual writer’s same-titled novella — is an expression of McCullers’ enduring longing to connect.

Also, sorry I missed the legendary Betty Buckley in the national tour of out composer Jerry Herman’s chestnut “Hello, Dolly!” at the Kennedy Center. This was the same revival production that famously featured Bette Midler on Broadway. Reportedly, Buckley gave a gorgeous, heartfelt performance.

Out actor/directors were busy in 2019.

Holly Twyford played an emancipated Nora in Round House Theatre’s production of Lucas Hnath’s “A Doll’s House, Part 2” (a sequel to Ibsen’s 1879 proto-feminist classic). It was a well-made and finely acted production of a play that I anticipated liking more. More recently, Twyford directed the brilliant Caryl Churchill’s “Escaped Alone” at Signature Theatre.

Rick Hammerly skillfully staged Factory 449’s production of “Agnes of God,” John Pielmeier’s 1979 play about a young nun who mysteriously becomes pregnant. It featured a cast of three — Felicia Curry, Nanna Ingvarsson, and Zoe Walpole — who convincingly portrayed a trio of damaged women.

Hammerly then donned his actor’s hat and a fatty suit to reprise the role of loveable Mr. Fezziwig in Ford’s Theatre’s delightfully durable production of Michael Baron’s “A Christmas Carol.” What a lovely way to see out the year.

Theater

A hilarious ‘Twelfth Night’ at Folger full of ‘elegant kink’

Nonbinary actor Alyssa Keegan stars as Duke Orsino

Published

6 days ago

June 8, 2025

Patrick Folliard

Alyssa Keegan (Photo courtesy Folger Theatre)

‘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.

Theater

‘We Are Gathered’ a powerful contemplation of queer equality

Arena production dives fearlessly into many facets of same-sex connection

Published

2 weeks ago

May 31, 2025

Patrick Folliard

Nic Ashe (Free) and Kyle Beltran in ‘We Are Gathered.’ (Photo by T Charles Erickson Photography)

‘We Are Gathered’
Through June 15
Arena Stage
1101 Sixth St., S.W.
$70-$110
Arenastage.org

Aptly billed as a queer love story, Tarell Alvin McCraney’s terrific new play “We Are Gathered” (now at Arena Stage) dives deeply and fearlessly into the many facets of a same-sex connection and all that goes with it.

McCraney’s tale of two gay men’s romance unfolds entertainingly over two acts. Wallace Tre (Kyle Beltran), a tense architect, and his younger partner Free (Nic Ashe), a campy and fun-loving musician with a deep sense of quiet and peace are contemplating marriage after five years together, but one of the two isn’t entirely comfortable with the idea of imminent matrimony.

At 14, Wallace Tre (nicknamed Dubs) first learned about gay cruising via renowned British playwright Caryl Churchill’s seminal work “Cloud Nine.” It was an intoxicating introduction that led Dubs to an exciting world of sex and risk.

Soon after, a nearby park became a thrilling constant in his life. It remains a source of excitement, fun, danger, and fulfillment. The local cruising zone is also a constant in McCraney’s play.

One memorable evening, Dubs experienced a special night in the woods, a shadowy hour filled with exhilaration and surprise. That’s when Dubs unpredictably learned something he’d never felt before. That night in the park, he met and fell madly in love with Free.

In addition to being a talented playwright, McCraney is the Academy Award-winning Black and queer screenwriter of “Moonlight,” the 2016 film. He’s happy to be a part of WorldPride 2025, and grateful to Arena for making space for his play on its stage. McCraney says he wrote “We Are Gathered” as a contemplation of queer marriage and the right for same-sex couples, like opposite-sex couples, to marry anywhere in the United States.

For Dubs, it’s important that Free speak openly about how they met in the park. He’d like Free to share the details of their coming together with his supportive grandparents, Pop Pop (Craig Wallace) and Mama Jae (out actor Jade Jones). As far as they know, their grandson met Dubs at a lovely gathering with a nice crowd assembled under a swanky canopy. When in truth it was a park busy with horny guys cruising beneath a canopy of leafy verdure.

Understandably, Free is more than a tad embarrassed to reveal that he enjoyed al fresco sex with Dubs prior to knowing his boyfriend’s name. Clearly, in retrospect, both feel that their initial meeting is a source of discomfort, tinged with awkwardness.

There is a lot more to “We Are Gathered” than cruising. Dubs and Free are ardently liked by friends and family. Both are attractive and smart. Yet, they’re different. Free is quite easy going while Dubs is, at times, pricklier.

While Free is part of a happy family, Dubs’s people aren’t entirely easy. He grew up with a strung-out mother and a cold father (Kevin Mambo). Yet, his sister Punkin (Nikolle Salter), an astronaut, is very caring and close to him. While she doesn’t necessarily like “the gay stuff,” she very much wants to live in a world where there’s room for her gay brother.

Adeptly directed by Kent Gash, the production is memorable, and it’s not his first collaboration with McCraney. Ten years ago, Gash, who’s Black and queer, staged McCraney’s “Choir Boys” at Studio Theatre, another well-written and finely staged work.

“We Are Gathered” is performed in the round in Arena’s cavernous Fichandler Stage. The space is both a forest and various rooms created by designer Jason Sherwood and lighting designer Adam Honoré. It’s a world created by elevating a circular platform surrounded by charming street lamps both hanging overhead and lining the perimeter.

Ultimately, what takes place in “We Are Gathered” is a party, and something even more; it’s a paean to marriage, and a call to a sacrament.

Theater

Trans performer, juggler premiering one-woman show

Published

3 weeks ago

May 24, 2025

Patrick Folliard

Lucy Eden stars in ‘Circus of the Self’ at Spooky Action Theater. (Photo courtesy of Spooky Action Theater)

Circus of the Self
May 29-June 6
Spooky Action Theater
1810 16th St., N.W.
Pay-What-You-Can: May 2
All other performances: $35
Spookyaction.org

For Lucy Eden, tricks have proved a way into theater.

The Oakland, Calif.-based trans performer and juggler is premiering her one-woman show “Circus of the Self” at Spooky Action Theater in conjunction with WorldPride.

Directed by Spooky Action’s artistic director Elizabeth Dinkova, the autobiographical busking show is a unique blend of circus and serious storytelling.

Juggler first met director several years ago in Atlanta. Eden explains, “She was working at a theater down the street from the juggling club where I spent a lot of time. She needed people for a street fair. I agreed. Another collaboration soon followed.”

Previously, Eden had worked mostly as a roaming performer at Atlanta corporate events and street style pre-game shows for the Braves: “Those environments were a good way to work on material, to learn what tricks make people stop their talking and turn their attention to me,” she says.

Now based in Oakland, Calif., Eden, 40, has created a 77-minute-long one-woman show infused with burlesque, expert juggling, and a personal, sometimes difficult, story.

While she hesitates to say it’s the obligation of all trans people to tell their stories, she says, “In these times, if you get the opportunity, I believe you ought to take it.”

Recently, she took a break from preparations, to talk life and showbiz.

BLADE: How exactly did you learn circus tricks?

EDEN: I’m autodidactic. I taught myself to juggle in the last semester of college. Things had gone wrong and I was looking for distraction. So, when I found a “three ball learn to juggle” kit, I never looked back. That lead to advanced juggling, unicycling, and balancing objects on my face.

Things began to look up. Today, I try to resist everything in my life going back to circus tricks, it almost always does.

BLADE: It sounds almost preordained.

EDEN: For sure. It changed everything. Circus skills force you to face your own failure. When you drop a ball, you can’t convince yourself or the audience that it didn’t happen. Performing, like life, forces you to develop capacities to deal with internal and external failures.

It teaches us not take ourselves, societal rules, or the idea of what’s success too seriously.

BLADE: Juggling at a cocktail party to baring your past before a rapt audience must be quite a stretch.

EDEN: It is, but rather than making a dramatic leap, I leveraged the fun and draw of circus to engage people in a more difficult conversation.

BLADE: Spooky Action’s website warns about “frank discussions of transphobia and mental health.”

EDEN: Well yeah, I grew up in rural Georgia in the 1990s. You can only imagine. Trans is integral to my identity, and a hot button term right now. I think everyone sees and hears a lot of things about trans people that don’t in fact come from actual trans people.

A big part of why I wrote this show and brought it to D.C. is because I really want audiences to have as intimate and revealing look at me as a trans persona as I can give them. I think it’s only through knowing that we can get beyond all the noise, misinformation, and fear mongering.

BLADE: Lately I hear a lot of artists bandying about the term “queer joy.” Woolly’s website uses the term in describing aspects of your show. What does it mean to you?

EDEN: It’s an important thingfor us all to be focused on right now, but we’re in a place where joy is hard to access. So, to me, it’s complex; it’s an important yet nuanced pursuit.

BLADE: As a part of the vast and promising WorldPride (through June 8) entertainment lineup, what makes your show stand out?

EDEN: It’s fun. I wrote “Circus of the Self” with a queer audience in mind. I spend a lot of time and creative energy performing for a general audience. I want this to be different. As far as I know, there’s nothing quite like my show out there.

There are a lot of shows that are a combination of storytelling and circus parts but they tend to be surface level entertainment. I think of this as more standup with circus layered on; it’s modeled after queer comedians like Hannah Gadsby and Tig Notaro whose work is driven more by personality than jokes.

I have tried to write a show for a queer audience. It has all the things I need to see for myself but never have.