Arts & Entertainment
Little Nas X opens up in Variety cover story
Little Nas X rode a wave of accomplishment throughout the second half of last year, and now that wave is cresting again with a brand-new cover story in Variety.
The 20-year old music artist burst onto the music scene with his song “Old Town Road,” which went viral on the video-sharing app TikTok and spent 20 weeks on Billboard’s Hot 100 chart. He subsequently made headlines in June when he came out as gay via a post to his Twitter account. He went on to become the first out gay artist to win Song of the Year at the MTV Music Awards, and the first out gay artist to win a Country Music Association Award in any category, and to receive an American Ingenuity Award for Youth from Smithsonian Magazine. He has been nominated for six 2019 Grammy Awards, the most for any male artist, including Record of the Year, Album of the Year and Best New Artist, and he’s slated to perform “Old Town Road” at the Grammy ceremony on January 26.
In the feature story, Nas opens up to interviewer James Patrick Herman about his decision to come out.
“It could have gone either way,” the musician says of fan reactions, which proved to be overwhelmingly supportive. “I hope my actions are enough to inspire other young LGBTQ children coming up to not be afraid to be themselves, but I feel pressure to be a role model for the community.”
Coming out has also had an impact on his relationship with his father, Nas reveals, “We have become closer. I mean, especially now because I don’t have anything to hide. It was a shock for him. It’s still the beginning phase. I’m not comfortable bringing a guy around yet.”
On the subject of guys, he adds, “I have met a lot of great people this year. Relationships are hard because either I end up being too busy or I end up falling for another person. I fall super-easily.”
The rising music star touches on a number of subjects, such as finding his place in the music industry (“I don’t feel like any specific place in the music industry accepts me as a whole”), his strained relationship with his mother (“She’s an addict so we don’t have the closest relationship… But there’s still love”), and his plans to release an album by mid-2020 so that he can go on tour.
“This generation supports the artists themselves more than the music, and I want to meet my fans,” he explains. “I want to put together an actual show and not just do karaoke on stage.”
Based on his success so far, there’s little doubt that Little Nas X is up to that challenge. What comes across loud and clear in his interview is the drive and determination that has taken him this far.
“I want to rule the world, baby,” says the young star. “There is a difference between wanting to be a star or a superstar. And I want the superstardom.”
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’
