a&e features
Sean Hayes on new film, saying farewell to Jack
Actor plays female lead in ‘Lazy Susan’
Even though he’s sheltering in place with his husband Scott Icenogle, this April is going to be a very busy month for award-winning actor Sean Hayes.
He’s starring as the lead female character in “Lazy Susan,” a movie he also co-wrote and co-produced, which drops on VOD and streaming channels on April 3.
Then on April 23, Hayes’s role as the exuberant Jack McFarland on “Will & Grace” comes to an end when the long-running NBC series broadcasts its final episode.
The press tours for these projects have been cancelled, but Hayes is promoting the projects from the comfort and safety of his own home. “Luckily,” the multi-talented star says, “we can do interviews over the phone to get the word out about shows that you can watch at home, so this whole process adheres to the rules of this horrible virus.”
When he’s not promoting his latest projects, Hayes has been watching some of his favorite movies and shows with his husband. “I’m a big sci-fi fantasy nerd,” he says. “I like all the classics like ‘Star Wars,’ ‘The Lord of the Rings,’ ‘Harry Potter’ and ‘Stranger Things,’ but I’m always on the lookout for great new shows.
He also admits that he’s a big fan of “This Old House.”
Hayes and Icenogle, a music producer, have been together for almost 14 years and have been married since 2014. He says the secret to their relationship, and to surviving social distancing together, is respect. “You have to fall in respect with somebody, not in love. Love will happen if there’s respect.”
Hayes’s latest project, “Lazy Susan,” has its roots in his career as a stand-up comedian (he’s an alumnus of Chicago’s famed Second City improvisational theatre troupe). “When I was 21 years old and living in Chicago,” he recalls, “I got a call from my agent for an audition to replace ‘the white guy’ on the sketch show ‘In Living Color.’”
“They were talking about Jim Carrey,” he adds.
“I went in with a bunch of character ideas and voices and wigs and things like that. One of the characters was Susan, who was just a girl who couldn’t get her life together. She always had excuses and she was never really happy. She dreams about having it all, but she does nothing to get it.”
“Decades later,” he continues, “a friend of mine suggested that I resurrect the character because we had so much fun with her. She came up with the name ‘Lazy Susan,’ and I thought ‘what a genius title.’”
Hayes developed the script with two old friends, Carrie Aizley and Darlene Hunt, both of whom also appear in the movie. Aizley plays Corrin, Susan’s long-suffering bandmate, and Hunt, who created the Showtime series “The Big C” and appears as Maggie in Apple TV’s “Dickinson,” plays Wendy.
The image of the kitchen turntable helped Hayes and his co-writers turn the character sketch into a full-length movie script. “We loved the built-in metaphor of a ‘lazy Susan,’” Hayes says, “of someone spinning around in circles, who can’t get their life together.” Hayes notes that alert viewers can spot lots of spinning motifs in the film, like when Susan and her friend Corrin are in the playground.
As the script took shape, Susan became Susan O’Connell who idly spends her days stealing magazines from her neighbors to create elaborate collages of her dream life while borrowing money from her mother to pay her rent. She’s looking for someone to take care of her, but when her world starts to crash around her, she finally finds a job and starts to take care of herself.
Working closely with director Nick Peet (“Grimm”), Hayes decided to play the character straight. Usually, when a man puts on a dress to play a female character, it’s played for laughs. Hayes and his colleagues wanted the comedy to come from the character and her outrageous life, not from the fact that he was wearing a skirt. “I always enjoy an acting challenge,” he says. “I like finding new voices. I wanted the challenge of playing a woman, not a guy in drag, not a transgender person. I wanted to play her as a real person, and not get laughs just because I was a man dressed as a woman.”
In addition to Aizley and Hunt, Hayes was able to recruit his dream cast for the movie. “It never, ever happens that the people you have in mind when you are writing the script say yes to being in the movie,” he says. “But we were very lucky to get the cast we wanted.”
The cast includes Allison Janney as Susan’s nemesis Velvet (“she is brilliant in everything she’s in,” gushes Hayes) and Margo Martindale as Susan’s mother (“who is such a funny, wonderful person”), as well as Jim Rash, who won an Oscar for “The Descendants” as Susan’s love interest and Matthew Broderick as Susan’s landlord.
Hayes thinks that audiences will be drawn to the off-beat movie and that the time is right for a movie that’s just trying to entertain. “I’m very proud of “Lazy Susan,” he says, “and very proud of everyone involved. I think it’s super fun and quirky and odd and a little creepy and hilarious. For me, it’s a throwback to the old independent movies of the ’90s like ‘Welcome to the Dollhouse’ and ‘Napoleon Dynamite’ that I’m such a fan of.”
He could also add his first full-length film, the delightful “Billy’s First Hollywood Screen Kiss” (1998) to that list.
While Hayes was working on “Lazy Susan,” he was also filming the final episodes of the groundbreaking NBC sitcom “Will & Grace.” Hayes originated the award-winning role of Jack when the series was initially released in 1998 (months after the premiere of “Billy”) and recreated the role when the series was revived in 2017.
The actor is proud of the legacy the show leaves in its wake. “I think it had a very positive impact,” he says. “It opened up a dialogue in America about LGBTQ inclusion and acceptance. A lot can be accomplished through the power of comedy. We succeeded in educating Americans without them even knowing it.”
Looking back over the experience, Hayes says, “I’m extremely grateful for the opportunity to play Jack and especially for the audience’s desire to see the show come back. That’s the only reason we did it, but now it feels like it’s time. I think the timing is perfect.”
The energetic star is working on two exciting new projects. Through his production company Mills Hazy, he’s developing an animated series for Netflix. “It’s about a spy who happens to be gay,” he says, “the gay James Bond. There’s a great cast involved, but I can’t say anything about it yet.”
He’s also in the midst of casting for a new play by out playwright Doug Wright called “Good Night Oscar.” Wright won the Pulitzer Prize for his one man-show “I Am My Own Wife;” he also wrote the books for the musicals “Grey Gardens” and “War Paint” and the play “Quills,” which premiered at D.C.’s Woolly Mammoth Theatre. The play will be helmed by out director Leigh Silverman.
Drawing on his own experience as a talk-show host and classical pianist, Hayes will play composer and raconteur Oscar Levant. Known for his rapier wit and encyclopedic recall, Levant was a regular on quiz shows and variety hours on both television and radio; he also had featured roles in classic Hollywood musicals like “Rhapsody in Blue,” “An American in Paris” and “The Band Wagon.”
The production was slated to premiere at Chicago’s Goodman Theatre in January 2021, with an anticipated transfer to Broadway, but plans are currently on hold. The unplanned break gives Hayes extra time to practice Levant’s quips, including the infamous line, “I knew Doris Day before she was a virgin.”
Hayes has an impressive theatrical resume. He played Mr. Applegate (the Devil) in Encores! Concert production of “Damn Yankees” and appeared as God on Broadway in the play “An Act of God” and with Kristin Chenoweth in the Burt Bacharach musical “Promises, Promises.” Hayes also hosted the Tony Awards in 2010.
In the meantime, fans can also enjoy “viral music video masters” Sean Hayes and Scott Icenogle on their official YouTube channel “The Kitchen Sync,” where they perform a hysterical mix of lip-sync and parody videos.
a&e features
Queery: Meet artist, performer John Levengood
Modern creative talks nightlife, coming out, and his personal queer heroes
John Levengood (he/him) describes himself as a modern creative with a wide‑ranging toolkit. He blends music, technology, civic duty, and a sharp sense of wit into a cohesive artistic identity. Known primarily as a recording artist and performer, he’s also a self‑taught music producer and software engineer who embodies a generation of creators who build their own lanes rather than wait for one to appear.
Levengood, 32, who is single and identifies as gay and queer, is best known as a recording artist who has performed at Pride festivals across the country, including the main stages of World Pride DC, Central Arkansas Pride, and Charlotte Pride.
“Locally in the DMV, I’m known for turning heads at nightlife venues with my eye-catching sense of style. When I go out, I don’t try to blend in. I hope I inspire people to be themselves and have the courage to stand out,” he says.
He’s also known for hosting karaoke at Freddie’s Beach Bar in Arlington, Va., on Thursday nights. “I like to create a space where people feel comfortable expressing themselves, building community, and showcasing their talents.”
He also creates social media content from my performances and do interviews at LGBTQ+ bars and theatres in the DMV. Follow the Arlington resident @johnlevengood.
How long have you been out and who was the hardest person to tell?
I have been fully out of the closet since 2019. My parents were the hardest people to tell because my family has always been my rock and at the time I couldn’t imagine a world without them. Their reactions were extremely positive and supportive so I had nothing to fear all along.
I remember sitting on the couch with my mom, dad, and sister in our hotel room in New Orleans during our winter vacation and being so nervous to tell them. After I finally mustered up the nerve and made the proclamation, I realized my dad had already fallen asleep on the couch. My mom promised to tell him when he woke up.
Who’s your LGBTQ hero?
My LGBTQ heroes are Harvey Milk for paving the way for gays in politics and Elton John for being a pioneer for the fabulous and authentic. My local heroes in the DMV are Howard Hicks, manager of Green Lantern, and Tony Rivenbark, manager of Freddie’s Beach Bar. Both of them are essential to creating spaces where I’ve felt welcome and safe since moving to the DMV.
What’s Washington’s best nightspot, past or present?
Trade tops the list for me because of the dance floor and outdoor space. It’s so nice to get a break from the music every once and a while to be able to have a conversation.
We live in challenging times. How do you cope?
I’m still figuring this out. What is working right now is writing music and spending time with family and friends. I’ve also been spending less time on social media going to the gym at least three times a week.
What streaming show are you binging?
After “Traitors” Season 4 ended, I was in a bit of a show hole, but “Stumble” has me in a laughing loop right now. The writing is so witty.
What do you wish you’d known at 18?
At 18, I wish I would have known how liberating it is to come out of the closet. It would have been nice to know some winning lottery numbers as well.
What are your friends messaging about in your most recent group chat?
We are planning our next trip to New York City. If you can believe it, I visited NYC for the first time in 2025 for Pride and I’ve been back every quarter since. Growing up in the country, I was subconsciously primed to be scared of the city. But my mind has been blown. I can’t wait to go back.
Why Washington?
It’s the closest metropolitan area to my family, but not too close. I love the museums, the diversity, the history, and the proximity to the beach and mountains. It’s also nice to live in a city with public transportation.
Aging RFK Stadium has come down, but the RFK grounds are still getting lit up. Welcome back to the stage Project GLOW, D.C.’s homegrown electronic festival, on May 30-31. Back for its fifth year on these musically inclined acres, Project GLOW returns with an even more diverse lineup, and one that continues to celebrate LGBTQ antecedents, attendees, and acts.
Project GLOW 2026 headliners include house and techno star Mau P, progressive house legend Eric Prydz, hard-techno favorite Sara Landry, and bass acts Excision b2b Sullivan King, among the lineup of trance, bass, house, techno, dubstep, and others for the fifth anniversary year.
President & CEO Pete Kalamoutsos — born and raised in D.C. — founded Club GLOW in 1999. In 2020, GLOW entered into a partnership with global entertainment company Insomniac Events to produce live events like Project GLOW, which kicked off in 2022.
As in past years, Project GLOW not only makes space, but is intentionally inclusive of the LGBTQ community, one of its most dedicated fan bases. The festival’s LGBTQ-focused Secret Garden stage blooms again — a more intimate dance area that stands on the strength of DJs and musicians who draw from the LGBTQ community. D.C.’s LGBTQ nightlife mastermind Ed Bailey is the creative mind behind Secret Garden again. He joined Project GLOW in 2023.
“Kalamoustos says that “he’s proud of his partnership with Ed Bailey, along with Capital Pride and [nightlife producer] Jake Resnikow. It’s amazing to collaborate with Bailey at the Secret Garden stage, especially after the curated lineup we worked on at Pride last year.”
The Secret Garden will be a bit different from other stages: Eternal (“At the Eternal stage, time stands still. Lose yourself in the dance of past, present, and future, surrendering to the eternal rhythm of the universe”) and Pulse (“Feel the rhythm of the beat pulse through your veins as the heartbeat of the crowd synchronizes into one. Here, every moment vibrates with life as it guides you through a new dimension of euphoria”). The Secret Garden stage is in the round, surrounded by 16 shipping containers. The containers play canvas to muralists from around the world, who are coming in to paint them in a vibrant garden-style vibe. “We gave this stage some extra love with this layout,” K says, “ we finally cracked the code.”
K says that this will be the biggest lineup yet for the Secret Garden, featuring Nicole Moudaber b2b Chasewest, Riordan b2b Bullet Tooth, Ranger Trucco, Cassian, Eli & Fur, Cosmic Gate and Hayla. The stage is also the largest yet, featuring an expanded dance floor and 360-degree viewing.
Across all stages, K says that his goal for the fifth anniversary is “More art and fan interactive experience, more like a festival, strive to be like a Tomorrowland, as budget grows to add more experience.” Last year’s Project GLOW alone drew 40,000 attendees over two days.
K, however, was not satisfied with one festival this spring. GLOW recently announced a “pop-up” one-day event. Teaming up with Black Book Records, GLOW is set to throw a first-of-its-kind dance-music takeover of Pennsylvania Avenue, N.W., headlined by electronic music star Chris Lake. Set for April 18, this euphoric block party will feature bass and vibes blocks from the White House. Organizers expect as many as 10,000 fans to attend. Beyond music, there will be food, activations, and plenty of other activities taking place around 6th St and Pennsylvania Ave NW – a location familiar to many in the LGBTQ community, as this sits squarely inside the blocks of the Capital Pride party that takes place in DC every June.
Over the past two decades, Club GLOW has produced thousands of events, from club nights to large-scale festivals including Project GLOW, Moonrise Festival, and more. Club GLOW also operates Echostage.
a&e features
New book celebrates 1970s dance music icons
‘A Night at the Disco’ features interviews with Donna Summer, Debbie Harry, more
If you’re a fan of 1970s-era dance music, don’t miss the irresistible new book by Christian John Wikane and Alice Harris, “A Night at the Disco,” which revisits more than 90 interviews conducted with some of the biggest names in pop culture.
“A Night at the Disco” (ACC Art Books) was published on March 24, and distributed by Simon & Schuster. It celebrates more than 100 artists who sparked a phenomenon in dance music from 1970-1979 and features excerpts from interviews with everyone from Donna Summer to Debbie Harry.
Lost City Books (2467 18th St., N.W.) will welcome author Christian John Wikane for a book signing and conversation about “A Night at the Disco” on Thursday, April 16 at 6 p.m. Details at lostcitybookstore.com. Bird in Hand Coffee & Books in Baltimore (11 E. 33rd St.) )will also host a Q&A with the author on Wednesday, April 15 at 6 p.m. Details at theivybookshop.com.
Below is an excerpt from “A Night at the Disco.”
“I’ll let in anyone who looks like they’ll make things fun.” Steve Rubell is guiding a New York Times reporter through Studio 54 as resident DJ Richie Kaczor dazzles the crowd with records by CHIC, Odyssey, and T-Connection. “Disco, that’s where the happy people go,” The Trammps sing as dancers spin and twirl underneath tubes of flashing lights. Seven months since Rubell and co-owner Ian Schrager opened Studio 54 in April 1977, it’s welcomed untold numbers of “happy people” … at least those lucky enough to pass through the doors.
“We were part of the chosen few,” says André De Shields, who immortalized the title role in The Wiz on Broadway at the time. “We could show up at Studio 54 and the doorman at the velvet stanchion would look over everyone and point to us from The Wiz to come in, that kind of thing.” As the lead vocalist in the GRAMMY-nominated Dr. Buzzard’s Original Savannah Band, whose debut modernized big band sophistication for the discothèques, Cory Daye had carte blanche in the club. “The energy was like a New Year’s Eve party every night,” she says. “I would go up to the mezzanine and watch the mechanical light pillars go up and down, metallic confetti falling from the ceiling, the spoon and the moon. I was so fascinated and enamored by it.
“When a certain song came on, the people would just rush to the dance floor. There was no contact dancing — the hustle was pretty much on its way out — but it was just an amazing experience to see all the cultures together. It was a fusion of cultures, which described my life and my band, so I was right at home there.”
“Studio 54 was the place,” adds Linda Clifford. “Crazy parties. If you could think it, you would see it. It was like a circus. Just an amazing place to be. I worked 54 so many times. It was like a second home to me. The people there treated me so well. The crowd always seemed to enjoy my show. I always had a good time with them. That was the most important thing: making sure that they had fun.”
Well before Studio 54 opened, disco had become a business juggernaut. “A four billion dollar market and still growing,” Billboard announced in February 1977, with dance music offering more variety than ever. “There is no longer a single, readily identifiable disco beat, but a kaleidoscope of sounds that are melodic and danceable,” Tom Moulton told the magazine. In the clubs, records by veteran artists like Stevie Wonder and the Bee Gees were mixed in with a range of new acts like Grace Jones, Boney M., and The Ritchie Family, while everyone from ABBA to Marvin Gaye scored number one pop hits with songs that had club-centric storylines.
Beyond the charts, disco itself remained as idiosyncratic as ever, especially on several productions by Laurin Rinder and W. Michael Lewis, whose studio creations, El Coco (“Let’s Get It Together,” “Cocomotion”) and Le Pamplemousse (“Le Spank”), joined their own “Lust” from Seven Deadly Sins (1977) among the most tantalizing releases on AVI Records. Rinder & Lewis also produced acts for the newly hatched Butterfly Records in Los Angeles, where Saint Tropez (“On a Rien à Perdre”) and Tuxedo Junction (“Moonlight Serenade”) reflected the duo’s high gloss sound, spanning everything from European sophistication to a more literal translation of the ’40s sensibilities popularized by Dr. Buzzard’s Original Savannah Band.
12-inch singles had also grown as the preferred format to approximate the club music experience at home. Nearly a year after Atlantic Records introduced its series of promotional 12-inch singles for DJs, New York-based Salsoul Records released the industry’s first commercially available 12-inch single, “Ten Percent” by Double Exposure, in May 1976. A year later, T.K. Records was the first label to certify a gold record for a 12-inch single when Peter Brown’s “Do You Wanna Get Funky With Me” tallied one million sales.— Christian John Wikane
(From “A Night at the Disco” by Alice Harris & Christian John Wikane. Published by ACC Art Books.)
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