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‘The Inheritance’ actors reflect on two-part AIDS drama as Broadway production winds down
Great White Way premiere last fall drew mixed reaction but inspired gay players in the cast
‘The Inheritance’
Wednesdays/Saturdays/Sundays at 1 p.m.
Thursdays/Fridays at 7 p.m.
‘Part 2’
Wednesdays/Saturdays/Sundays at 7 p.m.
Through March 15
Ethel Barrymore Theatre
243 W. 47th St.
New York
A group of four young actors in the cast of “The Inheritance” on Broadway have more in common than a numeric designation noting their membership in the writer’s workshop/internal dialogue that yielded Matthew Lopez’s two-part, nearly seven-hour play.
Set to close on March 15 after 138 post-preview performances (86 of “The Inheritance” and 52 of “The Inheritance Part 2”), this adaptation of E. M. Forster’s “Howards End” sees thematic motifs, plot points and personal fortunes from the 1910 novel play out in a world where PrEP-savvy, politically astute contemporary gay Manhattanites bond, sometimes spar, with counterparts who came of age in Gotham during the HIV/AIDS epidemic’s plague years.
It debuted in London in early 2018 and opened on Broadway last September to largely favorable reviews but a recurring critique has been that unlike its obvious predecessor “Angels in America,” its dramatic heft doesn’t always justify its luxurious length. A New York Times review drew such polarized reader response that the paper had playwright Lopez write a highly unusual piece last month on what inspired the work and why he thought response had been so mixed.
Although there are straight actors playing gay roles in the cast, actors Jordan Barbour, Jonathan Burke, Carson McCalley and Arturo Soria, all identify as either queer or gay and deliver performances that set off ping after ping on the LGBTQ authenticity radar.
As for the four young men on deck at the Ethel Barrymore Theatre, “They’re sort of the blurred line between the characters we’re playing and ourselves,” says Jordan Barbour (Young Man 6), recalling a rehearsal note from playwright Lopez, who explained each of them represents, “a different facet of (lead character) Eric Glass’s brain. They’re the manifestations of the ideas he has while writing the story, which will become the play the audience is watching.”
People can change, the play constantly reminds us, and the sum total of their actions determine whether they’ve faced the final curtain having left a legacy, or squandered their inheritance. To that end, each Young Man maintains a presence throughout the play, occasionally popping up to provide juicy narrative tidbits, or exercise author’s prerogative to revise, setting certain characters down different paths.
Jason and Stephen are two notable beneficiaries of the play’s fondness for sudden pivots. Both mutual friends of Eric, Jason is a first grade teacher in a relationship with Stephen, whose career changes when Young Man 8 declares him to be “a high school science teacher,” cutting off Young Man 2 in mid-sentence, to reboot a timeline that once saw him working as “a human rights —.”
But Young Man 2 does have his say, when a rapid-fire volley with Young Man 8 sees Stephen’s relationship with Jason go from boyfriend, to partner, to husband. What’s more, Stephen’s name is now the same as his husband, giving the couple their own coveted shorthand moniker (“The Jasons”).
Just prior to those alterations, we learn Eric and Tristan met shortly after college. Three dates yielded no romance, but their chemistry proved the perfect formula for a best friend dynamic that remains intact, a seed that takes root when tensions arise down the road.
Barbour, who identifies as gay, says he’s proud to play the role of Tristan, although he does not share his character’s status as a person living with HIV.
That said, notes Barbour, “I wanted that aspect of Tristan to be just that, another part of him, not a defining characteristic. But I do feel like I have a great deal of responsibility on my shoulders, because that is sorely represented in theater, and pop culture in general — not just HIV-positive men, but black gay men.”
As one of many friends who circle their wagons when Eric’s rebound love interest shows the classic signs of a toxic mismatch, straight-shooting Tristan excels at lobbing the kind of quality zingers one expects at a social event where alcohol mixes with the largely gay guest list. But when he engages in debate with the new guy, a billionaire whose support of Trump is unabashedly rooted in the quest for better profit margins, Tristan’s return volley reveals a firm grasp of history and lands, for the most part, on the right side of civility.
The writing does much of the heavy lifting here, but it’s given additional dimension by the actor and director Steven Daltry’s commitment to create a Tristan who reflects the fact that Barbour is the first African American to be cast in the role.
“So as far as that scene goes,” says Barbour, of the sparring session with wealthy conservative Henry Wilcox, “this is a gay black man who is in a room with a Trump voter, whose entire platform has been built on hate, so the challenge was to find how this character is able to unleash his frustration, but also maintain a certain level-headedness. … I often find myself in circles where I can’t lose my cool, because if you unleash your anger, you get labeled as ‘the angry black man.’ And Tristan, he really should have anger at Henry, but he manages to share it in a manner that is not destructive.”
Arturo Luis Soria, who identifies as queer, was also asked to bring his background to the forefront.
“In previous productions,” he says, “I don’t think Jason (2)was Latino.” But Matthew (the playwright) came up to me and said, ‘I want you to put some Spanish in the show.’”
During the rehearsal process, recalls Soria, “I was encouraged to ad lib. Matthew and the director were like, ‘Play, play play!’ All of a sudden, there was a salsa number in the show. I get to dance. I mention flan! It was great to bring my culture, and the language of my family, to the stage.”
And with Jason, adds Soria, “I also get to step into this unapologetically queer force of joy and energy and camp, and I love playing that. When I approached this play, I didn’t want to cut that, or the cultural side, out of me. This was an opportunity to say, ‘Yes, we’re here. Our stories need to be told.’”
Soria says the Broadway production’s commitment to tell those stories has not gone unnoticed.
“A lot of people, a lot of Latinos I’ve spoken to after the show, they’re really happy to see that.”
Count Supreme Court Justice Sonia Maria Sotomayor among those who’ve issued favorable rulings.
“She said some beautiful things to me, about my portrayal of Jason,” Soria says. “That was a huge honor, to hear it from her.”
Others in the cast have similar stories.
Jonathan Burke, who plays Young Man 5, a voice of reason/talent agent, and Charles Wilcox (son of Henry Wilcox) recalls a post-performance conversation with an older person who lived through the plague years.
“There’s a point where we mention names of people who died during the epidemic,” says Burke, “and two of them, back to back, were the names of him and his partner, who died. He said, “I felt his presence with me, like I was with him.’ What more can we ask for, if he feels that love and energy again? And a lot of young people are very moved by it, because they’ve not seen the story of the epidemic played out so honestly and vividly. It’s made them aware of what people before us went through.
Burke, who describes his Young Man 5 as “a baseline of who I am, as a black, gay young man living in the 21st century,” found in Charles (son of Henry) Wilcox “a character so far from myself, who has a completely different perspective from a lot of other characters in the play. He’s not a villain. He just wants what’s best for his family, to make sure their legacy stays strong. I wanted to find the humanity in a character who may seem villainous to some.”
Queer-identified Carson McCalley plays Young Man 3 and, in his portrayal of young Henry Wilcox, brings shades of gray to the character’s highly polarizing contemporary incarnation.
“I was never scared of showing him as flawed,” McCalley says. “The play has an incredible range of queer people, and I don’t think showing someone who (does what he does because he) is scared, is dangerous to the community. In fact, I think it’s an opportunity.”
He relates.
“For a long time, I’ve been really scared. It’s hard being an actor in general, and harder being a queer actor. You’re always thinking about how you’re being viewed. There’s this subconscious bias that the industry has, boxing people in. … But I have never, in my life, been able to connect to anything in a deeper way. So although it’s scary to be a queer actor, the payoff is unimaginable, when you have an opportunity to tell a story that you can own 100 percent, that’s in your blood.”
a&e features
Author of new book empowers Black ‘fat’ femme voices
After suicidal thoughts, attacks from far right, a roadmap to happiness
In 2017, Jon Paul was suicidal. In nearly every place Paul encountered, there were signs that consistently reminded the transgender community that their presence in America by the far right is unwelcomed.
Former President Donald Trump’s anti-trans rhetoric is “partly” responsible for Paul’s suicidal contemplation.
“I’m driving out of work, and I’m seeing all of these Trump flags that are telling me that I could potentially lose my life over just being me and wanting to be who I am,” Paul said. “So, were they explicitly the issue? No, but did they add to it? I highly would say yes.”
During Trump’s time as president, he often disapproved of those who identified as transgender in America; the former president imposed a ban on transgender individuals who wanted to join the U.S. military.
“If the world keeps telling me that I don’t have a reason for me to be here and the world is going to keep shaming me for being here. Then why live?” Paul added.
The rhetoric hasn’t slowed and has been a messaging tool Trump uses to galvanize his base by saying that Democrats like Vice President Kamala Harris “want to do transgender operations on illegal aliens that are in prison.” Trump made that claim at the presidential debate against Democratic presidential nominee Kamala Harris.
Not only do Trump’s actions hurt Paul, but they also affect 17-year-old Jacie Michelleé, a transgender person at Friendly Senior High School.
“When former President Donald J. Trump speaks on transgender [individuals] in a negative light, it saddens my heart and makes me wonder what he thinks his personal gain is from making these comments will be,” Michelleé said.
“When these comments are made toward trans immigrants or the transgender community, it baffles me because it shows me that the times are changing and not for the better,” Michelleé added.
The Congressional Black Caucus Foundation responded to Trump’s rhetoric that opposes the transgender community and how it affects democracy through programming at its Annual Legislative Conference in Washington.
“Our agendas are not set by what other groups are saying we should or shouldn’t do. It is set by our communities and what we know the needs and the most pressing needs are for the Black community, and we know that our global LGBTQAI+ communities have needs; they are a part of our community,” said Nicole Austin-Hillery, president and CEO of the Congressional Black Caucus Foundation.
One pressing need is suicide prevention, which the National Institute of Health deems necessary, as 82% of transgender individuals have reported having suicidal thoughts, while 40% have attempted suicide. This research applies to individuals like Paul, who reported contemplating suicide.
But instead of choosing to self-harm, Paul met Latrice Royale, a fourth-season contestant on “RuPaul’s Drag Race,” who was awarded the title of Miss Congeniality while on the show. Paul said that meeting brought meaning when there was barely any left.
“It was like I met them at a time where I really, truly, not only needed to see them, but I needed to be able to actively know ‘girl’ you can live and you can have a really a good life, right? And Latrice was that for me,” Paul said.
Though Trump is representative of a lot of movements that are clashing with society, the Democratic Party is actively pushing back against anti-transgender movements and says there is “still much work to be done.”
Not only did Royale model success for Paul, but they also share the same appearance. Paul proudly identifies as “fat” and uses this descriptor as a political vehicle to empower others in the book “Black Fat Femme, Revealing the Power of Visibly Queer Voices in the Media and Learning to Love Yourself.”
“My book, my work as a Black, fat femme, is inherently political. I say this at the very front of my book,” Paul said. “All three of those monikers are all three things in this world that the world hates and is working overtime to get rid of.”
“They’re trying to kill me as a Black person; they’re trying to get rid of me as a fat person. They are trying to get rid of me as a queer person,” Paul added.
Besides Paul’s political statements, the book’s mission is to give those without resources a blueprint to make it across the finish line.
“I want them to look at all the stories that I share in this and be able to say, ‘wow,’ not only do I see myself, but now I have a roadmap and how I can navigate all of these things that life throws at me that I never had, and I think that’s why I was so passionate about selling and writing the book,” Paul said.
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Jussie Smollett asserts innocence while promoting new film
‘I know what happened and soon you all will too’
Jussie Smollett, the actor and musician who was convicted of lying to the police about being the victim of a homophobic and racist hate crime that he staged in 2019, attended a screening of his latest film “The Lost Holliday” in a packed auditorium of the Martin Luther King Jr. Memorial Library on Aug. 28.
In an interview with the Washington Blade that took place before the screening, he continued to assert his innocence and responded to concerns within the LGBTQ community that his case has discouraged real victims from reporting hate crimes.
The former “Empire” star wrote, produced, and directed “The Lost Holliday,” his second feature film to direct following 2021’s “B-Boy Blues.” Produced through Smollett’s company, SuperMassive Movies, he stars in the film alongside Vivica A. Fox, who also served as a producer and attended the library screening with other cast members.
In the film, Smollett plays Jason Holliday, a man grappling with the sudden death of his husband Damien (Jabari Redd). Things are complicated when Damien’s estranged mother, Cassandra Marshall (Fox), arrives in Los Angeles from Detroit for the funeral, unaware of Damien’s marriage to Jason or of their adopted daughter. Initially, Jason and Cassandra clash — Cassandra’s subtle homophobia and Jason’s lingering resentment over her treatment of Damien fuel their tension –– but they begin to bond as they navigate their grief together.
Smollett, Fox, Redd, and Brittany S. Hall, who plays Jason’s sister Cheyenne, discussed the film in an interview with the Washington Blade. Highlighting the wide representation of queer identities in the film and among the cast, they stressed that the story is fundamentally about family and love.
“What we really want people to get from this movie is love,” Smollett said. “It’s beneficial for people to see other people that are not like themselves, living the life that they can identify with. Because somehow, what it does is that it opens up the world a little bit.”
Smollett drew from personal experiences with familial estrangement and grief during the making of the film, which delves into themes of parenthood, reconciliation, and the complexities of family relationships.
“I grew up with a father who was not necessarily the most accepting of gay people, and I grew up with a mother who was rather the opposite. I had a safe space in my home to go to, but I also had a not-so-safe space in my home, which was my father,” he said.
“The moment that he actually heard the words that his son was gay, as disconnected and estranged as we were, he instantly changed. He called me, after not speaking to him for years, and apologized for how difficult it must have been all of those years of me growing up. And then a couple years later, he passed away.”
Smollett began working on “The Lost Holliday” eight years ago, with Fox in mind for the role of Cassandra from the outset. He said that he had started collaborating on the project with one of the biggest producers in Hollywood when “‘2019’ happened.”
In January 2019, Smollett told Chicago police that he had been physically attacked in a homophobic and racist hate crime. He initially received an outpouring of support, in particular from the LGBTQ and Black communities. However, police soon charged him with filing a false police report, alleging that he had staged the attack.
After prosecutors controversially dismissed the initial charges in exchange for community service and the forfeiture of his $10,000 bond, Smollett was recharged with the same offenses in 2020. Meanwhile, his character in “Empire” was written out of the show.
In 2021, a Cook County jury found him guilty on five of the six charges of disorderly conduct for lying to police, and he was sentenced to 150 days in jail and 30 months of probation, along with a $120,000 restitution payment to the city of Chicago for the overtime costs incurred by police investigating his initial hate crime claim.
LGBTQ people are nine times more likely than non-LGBTQ people to be victims of violent hate crimes, according to a study by the Williams Institute at UCLA School of Law. Upon Smollett’s conviction, some in the LGBTQ community felt that the case would discredit victims of hate crimes and make it more difficult to report future such crimes.
Smollett seemed to acknowledge these concerns, but denied that he staged the attack.
“I know what happened and soon you all will too,” he told the Blade. “If someone reported a crime and it wasn’t the truth, that would actually make it more difficult [to report future crimes], but I didn’t. Any belief that they have about the person that I’ve been played out to be, sure, but that person is not me, never has been,” he said. “So I stand with my community. I love my community and I protect and defend my community until I’m bloody in my fist.”
“And for all the people who, in fact, have been assaulted or attacked and then have been lied upon and made it to seem like they made it up, I’m sorry that you have to constantly prove your trauma, and I wish that it wasn’t that way, and I completely identify with you,” he added.
An Illinois Appellate Court upheld his guilty verdict last year, but Smollett has since appealed to the Illinois Supreme Court, which in March agreed to hear the case. He has served six days in jail so far, as his sentence has been put on hold pending the results of his appeals.
The screening at the MLK Jr. Library concluded with a conversation between Smollett, Fox, and David J. Johns, CEO and executive director of the National Black Justice Coalition. Smollett discussed his current mindset and his plans for the future, revealing he is working on a third movie and will be releasing new music soon.
“I’m in a space where life is being kind,” he said.
“The Lost Holliday” recently secured a distribution deal for a limited release with AMC Theatres and will be out in theaters on Sept. 27.
a&e features
DIK Bar cements its status as LGBTQ institution, prepares to expand
Dupont Cantina coming soon to the former Malbec space
Two immigrant brothers who could not return home, Michael and Tony Askarinam, turned instead to making a community space of their own. Nearly 40 years after debuting their casual, gay-friendly restaurant, the (straight) owners of Dupont Italian Kitchen are expanding, reinforcing their status as a center of gay life on 17th Street. By early fall, they plan to debut a casual Mexican restaurant, complete with a spacious patio, tons of tacos, and big margarita energy that will please outdoor diners and karaoke singers upstairs alike.
DIK Bar, as it is affectionately known, still serves fan-favorite lasagna and eggplant parmesan, though no longer for a cool $4.25 from its opening menu. Michael, who moved to the U.S. from Iran to study in 1974, graduated in 1980 – less than a year after the Iranian revolution. Part of a Jewish family, he felt unsafe going back to his homeland with the new regime, and has never returned. Instead, he and his brother, who also fled, opened a restaurant that still sits on the same corner as the day it opened. Though he is not Italian, Michael had plenty of relevant experience: He had worked in Italian restaurants during summers while studying, and another brother owned the now-closed restaurant Spaghetti Garden (where Pitchers stands today). The menu, he admits, pulled heavily from his family influence.
Opening on 17th Street in the mid-‘80s, the brothers knew the community vibe. Annie’s, just a block away, was already well known as an LGBTQ-friendly institution. At the time, he says, the street was a bit grittier — not the well-manicured lane it is today. Still, they decided to open a restaurant and Italian Kitchen was born. His brother at Spaghetti Garden suggested adding “Dupont” in front to help ground the location, and DIK came into being. “At the beginning I admit I was a little uncomfortable with the name, having young kids. But it grew on me,” he says. Leaning in, he’s embraced the name.
A few years later, the restaurant expanded vertically: taking over the apartments upstairs to turn it into a bar; a new chef came in who introduced DIK Bar’s popular brunch. But he and his brother never really relinquished the cozy space that he had envisioned. Each pushing 80 years old, they come in nearly daily: cooking, bartending, even washing dishes.
DIK has evolved, but only slightly. Eggplant and chicken parm, lasagna, pizza, pasta, and a $1 garden salad: the opening menu from the ‘80s reads like a genuine old-school Italian joint. Today, you will still find classic gems, though now they are nestled alongside Brussels sprouts and arugula salads.
As longtime patrons know, the restaurant is more than the sum of its pasta parts. “It’s an atmosphere where everybody is welcome. I got that from my mother,” he added, noting that she had experienced discrimination as part of the Jewish minority in Iran. Given this background, it was logical for them to build a space where “you have a place to be who you are and feel comfortable.”
In 2020, as the restaurant’s lease was expiring, he had the opportunity to buy the building, which included adjacent Argentine restaurant Malbec. “The landlord let us know that they felt we deserve to own the building after being here for so long,” says Michael.
It was a blessing; to him, it meant the sustainability of Dupont Italian Kitchen. Earlier this year, when Malbec’s lease expired, they decided against finding another tenant and instead they would make it their own. The two eateries already shared one storage basement, where the Malbec kitchen was located. Saving costs by sharing procurement, staff, and utilities (as well as liquor), they took the leap. “Plus, we can be our own great tenant,” he said with a smile.
The refurbishment thus far has included a new HVAC system and a new bar. The new restaurant allows them access to a more spacious kitchen that can cook up sizzling Mexican favorites with speed and in volume. Customers at upstairs DIK Bar have always requested more bar-style finger food, he says, and tacos are better suited to a drinking atmosphere than fettuccine alfredo or creamy Cajun sausage pasta. Mexican food is also well suited to the patio. He also has a family tie to Mexico: relatives own Johnny Pistolas in Adams Morgan. The rest of the menu is being developed, including shareable small plates and “Mexican pizza.” Drinks will feature tequila, mezcal, and margaritas; and there is a happy hour in the works. “I’m hoping this expansion can help cement our future,” he says.
The opening timeline is early fall.
Looking back on almost 40 years and looking forward with the expansion, he mused that the restaurant still maintains its authenticity and its central role in LGBTQ life in D.C. “I’m really proud of the fact that it caters to this community. We are an institution, we want to continue to be part of this place.”
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