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For Heather Matarazzo, ‘Equal’ is still a cause worth fighting for

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Heather Matarazzo (R) with Shannon Purser in ‘Equal.’ (Photo courtesy HBO Max)

The HBO Max docuseries, “Equal,” which debuts this week, is designed to shore up our education by profiling various pioneers in a movement for LGBTQ equality that might never have happened if not for their refusal to stay invisible. It’s “infotainment” in the best sense of that term, blending real-life archival footage with newly filmed “re-enactments” to deliver a concise overview of pre-Stonewall history.

That means in addition to giving us a queer history lesson, “Equal” also gives us a host of queer actors paying homage to their forebears by standing in for them in the newly filmed sequences. There’s a long list: Cheyenne Jackson and Anthony Rapp (Dale Jennings and Harry Hay), Jamie Clayton (Christine Jorgensen), Samira Wiley (Lorraine Hansberry), and Hailie Sahar of “Pose” (Sylvia Rivera) are some of the better known – but among these familiar faces is also someone who is something of an icon in her own right.

Heather Matarazzo’s breakthrough performance at 13 as middle school outcast Dawn Weiner in Todd Solondz’s 1995 counter-culture classic, “Welcome to the Dollhouse,” made her a touchstone for a whole generation of traumatized teenagers. Later, she won a new flock of fans as BFF Lilly in “The Princess Diaries” movies, as well. 

Now, she is appearing in “Equal” as Phyllis Lyon – who with partner Del Martin (played by Shannon Purser) co-founded the Daughters of Bilitis in 1955. The pair went on to become the first LGBTQ couple married in San Francisco in 2008.

 Playing Lyon seems a natural fit for Matarazzo, given her own history as a vocal advocate for feminist and LGBTQ social justice issues, which were still very much on her mind as she spoke with the Blade last week about her participation in “Equal.”

Our conversation is below.

BLADE: How did you feel about playing Phyllis? Was there a sense of personal connection?
HEATHER MATARAZZO: It’s such an interesting question, right? Because history is history is history and so on, and so it goes. I got to feel safe enough to come out thanks to those who came before me, and put their bodies and their reputations on the line, in order for me to say, “Yes, I’m a lesbian,” and be able to say that publicly. I mean, really, I came out because I clearly didn’t have any other choice. It was so spontaneous, and it was so honest, and it was in the moment – and yet, within that, I get to look at those that came before me, in one way or another, and I get to see how their bravery allows me to be brave, too.

BLADE: And now you get to be that for others.
MATARAZZO: I do my best to receive any praise that I’m given, especially by those who say that my coming out helped enable them to come out – especially people that are younger than me, that knew me from “Princess Diaries” and whatnot, and then were like, “Oh my god, Lilly’s a LESBIAN?” I receive it as best as I can, because at the end of the day – and I say this in the most grounded of ways – we really, truly are all lights for each other.

BLADE: Like links in a chain.
MATARAZZO: Yeah, exactly. It’s a collective.

BLADE: What was your takeaway from playing Phyllis?
MATARAZZO: I think both she and Del were wonderful women who really stuck their necks out in order to build a safe community of lesbians. I was just talking about this with my wife the other night, about pre-Stonewall, and the risks that were continually taken in order for us, as members of the LGBTQ community, to be able to organize and meet with each other, in order to have a semblance of “normalcy.”

That’s what I love about Phyllis and Del, their ability, seemingly, to exhibit defiant joy. There’s a lot of joy that I see in their interviews together, about their story, how they met, the sneaking around… it almost becomes like a “Great Muppet Caper.” You know? Where it’s “We’re gonna do whatever it is we have to do to get to wherever it is we desire to be.” And I’m grateful that they both got to have that full experience before they passed, unlike so many that didn’t get it, or haven’t gotten it yet.

BLADE: Do you think it’s important to tell their stories for a generation that maybe doesn’t have it as hard?
MATARAZZO: The older I’ve gotten, on one hand it doesn’t seem like being out is that big of a deal anymore – and yet, even as I say that, we are looking at the fucking clown show that is this Supreme Court nomination process.

Let’s be clear, the United States is abysmal in its human rights practices. That’s not something that went away when we got marriage equality. I mean, look at all of the Black trans women that have been murdered here, this year alone? And I don’t think that we can talk about sexual orientation without also talking about race, without also talking about gender – there are so many different intersections, because when you talk about one, you can’t NOT talk about the other.

We all desire to be seen, and held, in our humanity. And we shouldn’t have to spend so much time fighting for our humanity and our fucking right to exist. Every single person deserves to feel safe, and not fear for their lives simply based upon one’s sexual orientation, or the color of one’s skin, or one’s religion, or one’s gender identity, or one’s – there are so many things. So, for me, it’s all so connected, it’s a microcosmic experience of something much larger. 

BLADE: That ties in with your first-hand experience with sexism in Hollywood. You spoke up in support of Rose Byrne when she helped bring #MeToo and the Harvey Weinstein scandal into the spotlight. What would you say about that subject now?
MATARAZZO: I’m glad Weinstein’s in jail. I hope he stays there, and I hope he rots. 

Here’s the thing, we still have a long way to go. Because again, MeToo was pretty much cis-gender, hetero white ladies speaking out about it, and so, you know, it’s synonymous now with cis-gender, hetero fucking white ladies – when the movement was founded by fucking Tarana Burke. And when you have 63 percent of white women voting for a fucking person who literally said, “I grab women by their pussies?” I mean, I think that white women just need to shut the fuck up, and finally listen to black women, for once.

Right now, the truth is that we are living in precarious times – we always have been, to one degree or another, depending on where you are in the disparity that is this American caste system.

BLADE: Do you hope that the current resurgence of the equality movement will help bring about change in those who oppose it?
MATARAZZO: Sure. Or, we could just leave them by the wayside.

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Theater

‘Hadestown’ comes to the Kennedy Center

Levi Kreis discusses return to live theater

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Levi Kreis is an out actor who plays Hermes in the national tour of ‘Hadestown’ soon opening at the Kennedy Center. (Photo courtesy of Levi Kreis)

Hadestown
Through Oct. 31
The Kennedy Center
$45.00 – $175.00
Kennedy-center.org
For Covid-19 safety regulations go to Kennedy-center.org/visit/covid-safety/

Early in September at New York’s Walter Kerr Theatre, out singer/actor Levi Kreis was in the audience for the long-awaited Broadway reopening of “Hadestown,” Anaïs Mitchell’s rousing musical reimagining of the Orpheus myth in which the legendary Greek hero descends into the underworld to rescue his lover Eurydice. 

After almost 18 months of pandemic-induced closure, the Tony Award-winning folk opera was back and the house was full. In a recent phone interview, Kreis describes the evening as “love-filled, and electrifying and emotional after such a difficult time.” Now, Kreis is onstage in the national tour of “Hadestown,” currently launching at the Kennedy Center. As Hermes, the shape-shifting god of oratory, Kreis is both narrator and chaperone to the story’s young lovers. 

A Tennessee native, Kreis, 39, has triumphantly survived turbulent times including a harrowingly prolonged coming out experience that included six years of conversion therapy, education disruptions, and music contract losses. He officially came out through his acclaimed album “One of the Ones” (2006), which features a collection of piano vocals about past boyfriends. And four years later, he splendidly won a Tony Award for originating the role of rock and roll wild man Jerry Lee Lewis in the rockabilly musical “Million Dollar Quartet.” 

Throughout much of the pandemic, Kreis leaned into his own music and found ways to reconnect with his largely gay fan base. But he’s happy to now be touring, noting that all the “Hadestown” cast have been hungering to perform before a real live audience.

When not on the road, he’s based in New York City with his husband, classical-crossover recording artist Jason Antone. 

WASHINGTON BLADE: Hermes is the same role for which André De Shields—the brilliant African American actor, also gay, and some decades your elder won a Tony and has resumed playing on Broadway, right?

LEVI KREIS: That’s right. It’s really a testament to the creative team. Rather than laying us over what Broadway created. They’re creating a tour that’s uniquely different; still true to the beauty of the story but with a different flavor. 

BLADE: What attracted you to the part?

KREIS: First, I fell in love with the show. My own musical sensibilities understand the origins of where this music comes from. It’s very bluesy and gospel. Southern and rootsy. And that’s everything I’ve created in my career as a singer/songwriter.

BLADE: With your life experience, do you feel called to mentor?

KREIS: The biggest effort I’ve given to this narrative is being a pioneer of the out-music movement starting in 2005 which was a moment when gay artists were not signed to major labels. I want through eight major labels—when they found out I was gay things always went south. 

It’s been amazing to be a voice in LGBTQ media when no one was speaking about these things. It’s popular now, but back when it mattered it was a lot harder to start my career as an openly gay artist and speak about these issues rather than keep quiet, cash in, and only then come out. 

BLADE: Where did that nerve come from?

KREIS: Less about nerve and more about being beaten down. How many things have to happen before you give up and decide to be honest?  

BLADE: For many theatergoers, “Hadestown” will be their return to live theater. Other than it being visionary and remarkably entertaining, why would you recommend it? 

KREIS: We need encouragement right now. But we also need art that facilitates a lot of important conversation about what’s happening in the world. This has both elements.  

“Hadestown” is not a piece of art that you easily forget. You’re going to walk out of the theater with a story that sticks with you. You’ll realized that your own voice matters. There’s a part in the show, Orpheus’ song, when the gods encourage him to get the balance of the world back again by telling him that his voice matters. 

BLADE: Is it timely?

KREIS: Art is here to change the world. And this piece of art hits the nail right on the head. I’m a purist when it comes to art and song. There’s a reason why we do it. people are listening now in a way they haven’t listened before. To miss that is to miss the role of society, I think. 

BLADE: And going forward? 

KREIS: It’s going to be interesting. We could double down on super commercialized theater or we may decide to really go the other direction and reclaim innovation. That remains to be seen. 

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Books

Book details fight to repeal ‘Don’t Ask, Don’t Tell’

Clinton-era policy was horrific for LGB servicemembers

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‘Mission Possible: The Story of Repealing Don’t Ask, Don’t Tell’
By C. Dixon Osburn
c.2021, self-published $35 hardcover, paperback $25, Kindle $12.99 / 450 pages

When Senior Airman Brandi Grijalva was stationed at Tyndall Air Force Base, she talked with a chaplain’s assistant about some problems she had at home. The chaplain’s assistant said what she told him would be confidential. But when she revealed that she was a lesbian, the chaplain’s assistant no longer kept her conversation with him confidential. Grijalva, after being investigated was discharged.

Craig Haack was a corporal in the Marines serving in Okinawa, Japan. Haack, who had made it through boot camp, felt confident. Until investigators barged into his barracks. Looking for evidence “of homosexual conduct,” they ransacked everything from his computers to his platform shoes. Haack was too stunned to respond when asked if he was gay.

In 1996, Lt. Col. Steve Loomis’ house was burned down by an Army private. The Army discharged the private who torched Loomis’ house. You’d think the Army would have supported Loomis. But you’d be wrong. The army discharged Loomis for conduct unbecoming an officer because a fire marshal found a homemade sex tape in the ashes.

These are just a few of the enraging, poignant, at times absurd (platform shoes?), all-too-true stories told in “Mission Possible: The Story of Repealing Don’t Ask, Don’t Tell” by C. Dixon Osburn.

As a rule, I don’t review self-published books. But “Mission Possible” is the stunning exception that proves that rules, on occasion, are made to be broken.

“Don’t Ask, Don’t Tell” (DADT) was the official U.S. policy on gay, lesbian and bisexual people serving in the military. Former President Bill Clinton announced the policy on July 19, 1993. It took effect on Feb. 28, 1994.

Sexual orientation was covered by DADT. Gender identity was covered by separate Department of Defense regulations.

Congress voted to repeal DADT in December 2010 (the House on Dec. 15, 2010, and the Senate on Dec. 18, 2010). On Dec. 22, 2010, Former President Barack Obama signed the repeal into law. 

DADT banned gay, lesbian and bisexual people who were out from serving in the U.S. military. Under DADT, it was not permitted to ask if servicemembers were LGB. But, LGB servicemembers couldn’t be out. They couldn’t talk about their partners, carry photos of their girlfriends or boyfriends or list their same-sex partner as their emergency contract.

It took nearly a year for the repeal of “Don’t Ask, Don’t Tell” to go into effect. On Sept. 20, 2011, Obama, Secretary of Defense Robert Gates and Adm. Mike Mullen, chairman of the Joint Chiefs of Staff “certified to Congress that implementing repeal of the policy {DADT} would have no effect on military readiness, military effectiveness, unit cohesion or recruiting and retention,” Osburn writes.

Before DADT, out LGBT people weren’t permitted to serve in the military. “Don’t Ask, Don’t Tell” was intended to be a compromise—a policy that would be less onerous on LGB people, but that would pass muster with people who believed that gay servicemembers would destroy military readiness, morale and unit cohesion.

Like many in the queer community, I knew that DADT was a horror-show from the get-go. Over the 17 years that DADT was in effect, an estimated 14,000 LGB servicemembers were discharged because of their sexual orientation, according to the Veterans Administration.

But, I had no idea how horrific “Don’t Ask, Don’t Tell” was until I read “Mission Possible.”              

In “Mission Possible,” Osburn, who with Michelle Benecke, co-founded the Servicemembers Legal Defense Network (SLDN), pulls off a nearly impossible hat trick.

In a clear, vivid, often spellbinding narrative, Osburn tells the complex history of the DADT-repeal effort as well as the stories of servicemembers who were pelted with gay slurs, assaulted and murdered under DADT.

Hats off to SLDN, now known as the Modern Military Association of America, for its heroic work to repeal DADT! (Other LGBTQ+ organizations worked on the repeal effort, but SLDN did the lion’s share of the work.)

You wouldn’t think a 450-pager about repealing a policy would keep you up all night reading. But, “Mission Possible” will keep you wide-awake. You won’t need the espresso.

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Arts & Entertainment

NSYNC star Lance Bass & husband Michael Turchin welcome twins

Singer, husband, and popular West Hollywood nightclub owner, now adds the job of ‘Dad’ to his resume

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Lance Bass and Michael Turchin via Instagram

WEST HOLLYWOOD – Former boy-band NSYNC star and co-owner of the popular LGBTQ+ nightspot Rocco’s, Lance Bass, announced that he and husband Michael Turchin are the proud parents of twins, Violet Betty and Alexander James.

In his announcement on Instagram, Bass wrote; ‘The baby dragons have arrived!! ❤️❤️❤️❤️❤️ I can not express how much love I feel right now. Thank you for all the kind wishes. It meant a lot. Now, how do you change a diaper??! Ahhhhhhhh!”

The babies were carried via surrogate, the singer noted saying that Alexander, born one minute before his sister on Wednesday, weighed 4 lbs., 14 oz. Violet weighed 4 lbs., 11 oz. Bass said in his Instagram post.

His husband also announced the news on his Instagram account. “Introducing the newest members of the Turchin-Bass household: Violet Betty and Alexander James!!!! They’re pure perfection and yes that includes the dozens of poops we’ve already dealt with. Our hearts our full!!! Thank you everyone for the well wishes 🥰🥰🥰”

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