a&e features
Trans actors face casting challenges despite milestones
Directors ‘did not know what to do with me’
Actor Elliot Page came out as transgender in December and Netflix admirably affirmed his name and pronouns on past and current work, but local gender-diverse performers still struggle against cisgender and heteronormative casting expectations.
“There’s still a cis-het person sitting behind the [casting] table,” Samy Nour Younes Figaredo told the Washington Blade during a discussion about his experiences as a gay trans male actor who identifies as nonbinary. “Even in 2018, I had been on an audition, and I had that I was trans on my resume, and I could hear people behind the table whispering, ‘What am I supposed to do with that?’ even as I am walking in.”
Baltimore-area actor and firefighter Alicia Horton, also found herself stuck hiding her developing breasts and wearing “a really funky wig” early in her transition in order to find work auditioning for cis-male roles.
“I had to audition for ‘Dream Girls’ my junior year of college in 2011,” Horton said while soothing her dog Zuko, a pit bull mix she rescued from a shelter in August. “I was on hormones and my hair was super long and they put it in a really funky wig to try to make me look more masculine. The girls showed me how to pin-curl my hair so it would fit under the wig. I wish I had a picture of it — it just looked so bad.”
Despite the visibility and growing support for award-winning nonbinary and transgender performers, including Sam Smith and Eddie Izzard to name two, Figaredo and Horton are not alone in their challenges finding affirming work and building careers since coming out.
A landmark 2013 survey of more than 5,000 Screen Actors Guild members found that while 80 percent of respondents agreed transgender actors should be considered for cisgender roles, the industry’s “economic imperative” to reach a “broad market” could “create potential risks for casting LGBT actors in roles that the viewing public may not accept.”
However, SAG-AFTRA also notes public and industry support for gender diverse actors has been steadily increasing in the past eight years.
“The last few years have seen a growing acceptance of trans and non-binary actors accompanied by open discussions of the challenges they may still face,” a representative told the Blade in an email. “The encouraging response to ‘The Umbrella Academy’s’ transgender star, Elliot Page, including a supportive statement from Netflix, is a sign of the industry moving in the right direction.”
Still, Figaredo says he’s had little success with television casting auditions since transitioning in 2010.
Figaredo is a Lebanese-Puerto Rican actor and a queer person of color activist who now lives and works in New York City, though he got his start in the D.C. area. He is an experienced stage performer who had a brief role on Amazon’s “Transparent” and appeared with his partner in Citibank’s trans-inclusive ad campaign.
He said a major problem for him, as an out transgender actor who includes his gender identity and his proper pronouns on his resume, is not only does he have to convince casting personnel that he is an experienced professional, but “that I am a person” as well.
“People did not know what to do with me or how to cast me,” Figaredo said. “Casting directors adhere to types, based on a preconceived conception of the role when the gender doesn’t necessarily have to do with the story.”
Figaredo, who did community theater work early on, found himself cast in a lot of female roles “when people didn’t know how to address me or assumed I was a boyish woman,” including the role of “Juliet” in a University of Maryland production of Shakespeare’s play.
Though that director who cross-gender cast him later became his friend, he said the experience was less than affirming, unlike his experience on the set of “Transparent,” which he said had many transgender people on and off-camera.
Figaredo was cast as an Arab-American activist during an episode set in Israel. While the role was male, whether it was cis or trans didn’t matter to the storyline, so Figaredo played it as trans. He said the racial, cultural, sexual and gender diversity of those working both on and off-camera encouraged an open and authentic environment that elicited better on-screen performances.
“A major plot point changed because a member of the crew had an experience with being queer in Palestine and related to the cast,” Figaredo said. “Someone rewrote a character to be in that situation.”
Figaredo emphasized the importance of normalizing people’s differences and fostering an open culture in the entertainment industry “where people feel empowered and accept the diversity around them.”
He said he said he has experienced “major strides” in trans casting in the past two years particularly, and noted the Citibank ad campaign he was a part of.
“Citibank unrolled an ad campaign of trans people and couples due to their preferred name campaign,” he said. “I was cast with my partner who identifies as cis-male and uses he/him pronouns.”
Figaredo and Horton said it is important to have more transgender people working both on stage and behind the scenes and to have more trans stories told. This is so more trans actors can find authentic and affirming work.
Horton, who holds a bachelor’s of fine arts degree in dance from Towson University, said she auditioned as a “male” early in her career, despite experiencing physical changes that had to be awkwardly concealed for performances, because that was the only way she could find work.
But last year she was hand-picked for a role in a production about Andy Warhol because she identified as a trans woman. She said this should happen more often.
“I think we need to have more trans stories,” she said. “More diverse trans stories. We see the sex workers and how he or she feels so terrible and about being born in the wrong body, but what else is there? Can we get a love story or something where being trans is the least important part of the story?”
Horton said she and her friends who are trans women often laugh and joke with each other that they could make a good ensemble TV show cast with their diversity of experiences and backgrounds. She is hopeful to see such stories in the future.
“As we have more trans visibility, we’ll have more trans storytellers,” she said.
Figaredo also said that things change fast and “that bodes well for the future of trans people in Hollywood.”
In December, Gottmik, a high-femme drag artist, was announced as the first transmasculine contestant on season 13 of RuPaul’s ‘Drag Race,’ and follows season 9’s Peppermint, a trans woman and the first transgender performer cast.
Figaredo said he looks forward to more diversity in trans representation as the industry grows and becomes more inclusive.
Still, the SAG-AFTRA study concluded despite ongoing positive change, which includes a growing acceptance for LGBTQ performers, the survey results suggest “additional work needs to be done to address discrimination and harrassment,” which keeps many from using their talents to enrich the industry and the culture as a whole.
a&e features
Marc Shaiman reflects on musical success stories
In new memoir, Broadway composer talks ‘Fidler,’ ‘Wiz,’ and stalking Bette Midler
If you haven’t heard the name Marc Shaiman, you’ve most likely heard his music or lyrics in one of your favorite Broadway shows or movies released in the past 50 years. From composing the Broadway scores for Hairspray and Catch Me if You Can to most recently working on Only Murders in the Building, Hocus Pocus 2, and Mary Poppins Returns, the openly queer artist has had a versatile career — one that keeps him just an Oscar away from EGOT status.
The one thing the award-winning composer, lyricist, and writer credits with launching his successful career? Showing up, time and time again. Eventually, he lucked out in finding himself at the right place at the right time, meeting industry figures like Rob Reiner, Billy Crystal, and Bette Midler, who were immediately impressed with his musical instincts on the piano.
“Put my picture under the dictionary definition for being in the right place at the right time,” Shaiman says. “What I often try to say to students is, ‘Show up. Say yes to everything.’ Because you never know who is in the back of the theater that you had no idea was going to be there. Or even when you audition and don’t get the part. My book is an endless example of dreams coming true, and a lot of these came true just because I showed up. I raised my hand. I had the chutzpah!”
Recalling one example from his memoir, titled Never Mind the Happy: Showbiz Stories from a Sore Winner ( just hit bookshelves on Jan. 27), Shaiman says he heard Midler was only hiring Los Angeles-based artists for her world tour. At the young age of 20, the New York-based Shaiman took a chance and bought the cheapest flight he could find from JFK. Once landing in L.A., he called up Midler and simply asked: “Where’s rehearsal?”
“Would I do that nowadays? I don’t know,” Shaiman admits. “But when you’re young and you’re fearless … I was just obsessed, I guess you could say. Maybe I was a stalker! Luckily, I was a stalker who had the goods to be able to co-create with her and live up to my wanting to be around.”
On the occasion of Never Mind the Happy’s official release, the Bladehad the opportunity to chat with Shaiman about his decades-spanning career. He recalls the sexual freedom of his community theater days, the first time he heard someone gleefully yell profanities during a late screening of The Rocky Horror Picture Show, and why the late Rob Reiner was instrumental to both his career and his lasting marriage to Louis Mirabal. This interview has been edited and condensed.
BLADE: Naturally, a good place to start would be your book, “Never Mind the Happy.” What prompted you to want to tell the story of your life at this point in your career?
SHAIMAN: I had a couple of years where, if there was an anniversary of a movie or a Broadway show I co-created, I’d write about it online. People were always saying to me, “Oh my God, you should write a book!” But I see them say that to everybody. Someone says, “Oh, today my kitten knocked over the tea kettle.” “You should write a book with these hysterical stories.” So I just took it with a grain of salt when people would say that to me. But then I was listening to Julia Louis-Dreyfus’ podcast, and Jane Fonda was on talking about her memoir — not that I’m comparing myself to a career like Jane Fonda’s — but she felt it was time to take a life review. That really stuck in my head. At the time, I was sulking or moping about something that had not gone as well as I wished. And I guess I kind of thought, “Let me look back at all these things that I have done.” Because I have done a lot. I’m just weeks short of my 50th year in show business, despite how youthful I look! I just sat down and started writing before anyone asked, as far as an actual publisher.
I started writing as a way to try to remind myself of the joyous, wonderful things that have happened, and for me not to always be so caught up on what didn’t go right. I’ve been telling some of these stories over the years, and it was really fun to sit down and not just be at a dinner party telling a story. There’s something about the written word and really figuring out the best way to tell the story and how to get across a certain person’s voice. I really enjoyed the writing. It was the editing that was the hard part!
BLADE: You recall experiences that made you fall in love with the world of theater and music, from the days you would skip class to go see a show or work in regional productions. What was it like returning to those early memories?
SHAIMAN: Wonderful. My few years of doing community theater included productions that were all kids, and many productions with adults, where I was this freaky little 12-year-old who could play show business piano beyond my years. It was just bizarre! Every time a director would introduce me to another cast of adults, they’d be like, “Are you kidding?” I’d go to the piano, and I would sightread the overture to Funny Girl, and everybody said, “Oh, OK!” Those were just joyous, wonderful years, making the kind of friends that are literally still my friends. You’re discovering musical theatre, you’re discovering new friends who have the same likes and dreams, and discovering sex. Oh my god! I lost my virginity at the opening night of Jesus Christ Superstar, so I’m all for community theater!
BLADE: What do you recall from your early experiences watching Broadway shows? Did that open everything up for you?
SHAIMAN: I don’t remember seeing Fiddler on the Roof when I was a kid, but I remember being really enthralled with this one woman’s picture in the souvenir folio — the smile on her face as she’s looking up in the pictures or looking to her father for approval. I always remember zooming in on her and being fascinated by this woman’s face: turns out it was Bette Midler. So my love for Bette Midler began even before I heard her solo records.
Pippin and The Wiz were the first Broadway musicals I saw as a young teenager who had started working in community theater and really wanted to be a part of it. I still remember Pippin with Ben Vereen and all those hands. At the time, I thought getting a seat in the front row was really cool — I’ve learned since that it only hurts your neck, but I remember sitting in the front row at The Wiz as Stephanie Mills sang Home. Oh my god, I can still see it right now. And then I saw Bette Midler in concert, finally, after idolizing her and being a crazed fan who did nothing but listen to her records, dreaming that someday I’d get to play for her. And it all came true even before I turned 18 years old. I just happened to be in the right place at the right time, and met one of her backup singers and became their musical director. I was brought to a Bette Midler rehearsal. I still hadn’t even turned 18, she heard me play and said, “Stick around.” And I’ve stuck around close to 55 years! She’s going to interview me in L.A. at the Academy Museum. Would I have ever thought that Bette Midler would say yes to sitting with me, interviewing me about my life and career?
BLADE: That’s amazing. Has she had a chance to read the book yet?
SHAIMAN: She read it. We just talked yesterday, and she wants to ask the right questions at the event. And she even said to me, “Marc, I wasn’t even aware of all that you’ve done.” We’ve been great friends for all these years, but sometimes months or almost years go by where you’re not completely in touch.
a&e features
D.C. LGBTQ sports bar Pitchers listed for sale
Move follows months of challenges for local businesses in wake of Trump actions
A Santa Monica, Calif.-based commercial real estate company called Zacuto Group has released a 20-page online brochure announcing the sale of the D.C. LGBTQ sports bar Pitchers and its adjoining lesbian bar A League of Her Own.
The brochure does not disclose the sale price, and Pitchers owner David Perruzza told the Washington Blade he prefers to hold off on talking about his plans to sell the business at this time.
He said the sale price will be disclosed to “those who are interested.”
“Matthew Luchs and Matt Ambrose of the Zacuto Group have been selected to exclusively market for sale Pitchers D.C., located at 2317 18th Street, NW in Washington, D.C located in the vibrant and nightlife Adams Morgan neighborhood,” the sales brochure states.
“Since opening its doors in 2018, Pitchers has quickly become the largest and most prominent LGBTQ+ bar in Washington, D.C., serving as a cornerstone of D.C.’s modern queer nightlife scene,” it says, adding, “The 10,000+ SF building designed as a large-scale inclusive LGBTQ+ sports bar and social hub, offering a welcoming environment for the entire community.”
It points out that the Pitchers building, which has two years remaining on its lease and has a five-year renewal option, is a multi-level venue that features five bar areas, “indoor and outdoor seating, and multiple patios, creating a dynamic and flexible layout that supports a wide range of events and high customer volume.”
“Pitchers D.C. is also home to A League of Her Own, the only dedicated lesbian bar in Washington, D.C., further strengthening its role as a vital and inclusive community space at a time when such venues are increasingly rare nationwide,” the brochure says.
Zacuto Group sales agent Luchs, who serves as the company’s senior vice president, did not immediately respond to a phone message left by the Blade seeking further information, including the sale price.
News of Perruzza’s decision to sell Pitchers and A League of Her Own follows his Facebook postings last fall saying Pitchers, like other bars in D.C., was adversely impacted by the Trump administration’s deployment of National Guard soldiers on D.C. streets
In an Oct. 10 Facebook post, Perruzza said he was facing, “probably the worst economy I have seen in a while and everyone in D.C. is dealing with the Trump drama.” He told the Blade in a Nov. 10 interview that Pitchers continued to draw a large customer base, but patrons were not spending as much on drinks.
The Zacuto Group sales brochure says Pitchers currently provides a “rare combination of scale, multiple bars, inclusivity, and established reputation that provides a unique investment opportunity for any buyer seeking a long-term asset with a loyal and consistent customer base,” suggesting that, similar to other D.C. LGBTQ bars, business has returned to normal with less impact from the Trump related issues.
The sales brochure can be accessed here.
a&e features
Alexander Skarsgård describes ‘Pillion’ in 3 words: lube, sweat, leather
Highly anticipated film a refreshingly loving look at Dom-sub life
Whether you’ve seen him in popular HBO series like “True Blood,” “Succession,” or “Big Little Lies,” the dynamic Swedish actor Alexander Skarsgård has that smoldering gaze that immediately draws viewers in.
Following in the footsteps of his father Stellan, (who just won the Golden Globe for “Sentimental Value”) the Golden Globe, Emmy, and SAG winner Skarsgård continues to be an actor who is fearless in the roles he takes on.
That courageousness is evident in Skarsgård’s latest film, the BDSM black comedy “Pillion,”which he also executive produces. He plays Ray, the handsome, hyper-dominant leader of a gay bike gang. The film was written and directed by Harry Lighton, and is based on the 2020 novel “Box Hill,” by Adam Mars-Jones.
“This was a small film by a first time filmmaker and it wasn’t financed when I read it,” Skarsgård told journalists at a recent awards news conference. “And I felt that, if I could help in any small way of getting it financed, I wanted to, because I thought it was such an incredible screenplay and I believe in Harry Lighton so much as a filmmaker. And it felt tonally unlike anything I’d ever read. It was such an exciting, surprising read.”
Skarsgård was blown away by the quality of the unconventional script. “When I heard BDSM relationship, biker culture, I expected something very different. I didn’t expect it to have so much sweetness and tenderness and awkwardness.”
For the sex scenes and nudity with co-star, Harry Melling — who excels in his portrayal as Ray’s submissive Colin — Skarsgård talked very early on with Lighton about how he wanted to shoot those scenes, and why they were in the film.
“I often find sex scenes quite boring in movies because a lot of the tension is in the drama leading up to two people hooking up, or several people hooking up, as in our movie. But what I really enjoyed about these scenes — they are all pivotal moments in Colin’s journey and his development. It’s the first time he gets a blowjob. It’s the first time he has sex. It’s the first time he has an orgasm. And these are pivotal moments for him, so they mean a lot. And that made those scenes impactful and important.”
Skarsgård was happy that Lighton’s script didn’t have gratuitous scenes that shock for the sake of just shocking. “I really appreciated that because I find that when this subculture is portrayed, it’s often dangerous and crazy and wild and something like transgressive.”
He continued: “I really love that Harry wanted it to feel real. It can be sexy and intense, but also quite loving and sweet. And you can have an orgy in the woods, rub up against a Sunday roast with the family. And that kind of feels real.”
One of the obstacles Skarsgård had to work with was Ray’s emotionally distant personality.
“Ray is so enigmatic throughout the film and you obviously never find out anything about him, his past. He doesn’t reveal much. He doesn’t expose himself. And that was a challenge to try to make the character interesting, because that could easily feel quite flat…That was something that I thought quite a lot about in pre production…there are no big dramatic shifts in his arc.”
For the film, Lighton consulted the GMBCC, the UK’s largest LGBT+ biker club, attending their annual meetup at which 80 riders were present.
“Working with these guys was extraordinary and it brought so much texture and richness to the film to have them present,” said Skarsgård. “They were incredibly sweet and guiding with us — I can’t imagine making this movie without them. I’d go on a road trip with them anytime.”
Added Skarsgård: “To sum up ‘Pillion’ in three words: lube, sweat, and leather. I hope people will connect with Colin and his journey, and come to understand the nuance and complexity of his bond with Ray.”
This year is shaping up to be a busy one for Skarsgård. “Pillion” premieres in select cities on Feb. 6 and then moves into wide release on Feb. 20. After that for Skarsgård is a role in queer ally Charli XCX’s mockumentary, “The Moment,” which premieres at the Sundance Film Festival. HIs sci-fi comedy series, Apple TV’s “Murderbot,” which he also executive produces, will begin filming its second season. And this weekend, he hosts “Saturday Night Live.”
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