Arts & Entertainment
Powerhouse PR firm launches new multicultural division, taps Stephen Macias to lead
Entertainment PR powerhouse Rogers & Cowan PMK have announced its first major move since their merger just over seven months ago.
According to the Hollywood Reporter, the firm has launched a new multicultural communications division, to be headed by veteran executive Stephen Macias, as a means toward offering its talent and brand clients an expanded outreach to “LGBTQ+ communities, communities of color and female-driven initiatives.”
The new division will create and execute partnerships and programs with multicultural communities, as well as targeting placements in traditional, earned, digital and social media, and coming up with integrated marketing – as well as offering crisis communications, a service that has become increasingly valuable as clients, particularly “legacy brands,” navigate the adjustment to a new, demographically audience.
Macias, who was hired by Roger & Cowan PMK to lead the new practice, was most recently senior vice president, diversity and inclusion practice lead at MWWPR, overseeing a team working with companies like Comcast, FX, Netflix, Amazon Studios, Kellogg’s, and Hilton Worldwide. Before that, he was the founder of Macias Media Group LLP, which became one of the leading “boutique” PR firms focused on LGBTQ+ markets. He has worked as executive vice president and GM for Here Media Inc., and as entertainment media director for GLAAD, as well as for nonprofits like the National Gay and Lesbian Task Force, Outfest, the Los Angeles Gay and Lesbian Film Festival, Equality California, the U.N. and the Global Equality Fund. He serves on the Board of Directors for Equality California.
His role at R&C PMK will be as an Executive Vice President of Entertainment, reporting to both entertainment division chair Alan Nierob and brands president Shirley Hughes.
In a statement, Macias said, “I’m thrilled to join Rogers & Cowan PMK and help grow this next evolution of the agency’s capabilities and expertise. Rogers & Cowan PMK has a strong track record of leading the industry on many levels, in who they represent and how they serve their clients. The industry and our country are changing and wisely becoming more inclusive and strategic in reaching new segments and diverse communities. As such, smart companies are understanding that communicating with all audiences is not just the right thing to do, but the only way to do business.”
The firm’s CEO, Mark Owens, said in a statement, “With the expansion of R&C PMK over the last three years, and our continuing growth into new capabilities, adding Stephen to our already strong management team – and launching a multicultural communications division – is an important next step in our business and who we are as an agency. Stephen has a reputation for designing innovative campaigns and strategies, and with his expertise this new division will help our clients reach important and growing audiences, and transform the next generation of their businesses.”
Rogers & Cowan PMK, among other recent work in the multicultural space, served as agency of record for the LA Pride Festival. They also helping to promote the 2019 Cannes Lions award-winning documentary “5B,” about the nurses and caregivers who opened the first AIDS ward at San Francisco General Hospital, and work with such prominent clients such as Elton John, Michael B. Jordan, Rosalia, J Balvin, Caitlyn Jenner and Eugenio Derbez.
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’
