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‘Midnight at the Never Get’ captures gay 1960s NYC

Virtual play from Signature tells story of young musical couple

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Christian Douglas and Sam Bolen in ‘Midnight at the Never Get.’ (Photo by Christopher Mueller)

‘Midnight at the Never Get’
Streaming through June 21
Signature Theatre
$35
sigtheatre.org

Signature Theatre’s latest virtual offering, “Midnight at the Never Get,” a terrific backstage musical romance set against 1960s New York City, tells the story of a young gay couple struggling to succeed personally and professionally in a world where being who they are isn’t always easy.

It’s relayed in mostly sung flashbacks by Trevor Copeland (Sam Bolen), a sassy, campy singer who goes to New York to be gay and pursue a career in music. He finds happiness – for a while – with reserved pianist and aspiring composer Arthur Brightman (Christian Douglas).

As an Iowa farm boy, Trevor repeatedly listened to the soundtrack of Judy Garland’s “A Star Is Born” in the barn. Little did he know then that “The Man That Got Away” would prove a major theme of his adult life.

Staged by out director Matthew Gardiner, the 90-minute show presents like a cabaret with two actors in black tie and baby grand on a small stage moodily lit by Adam Honoré and surrounded by small cafe tables topped with fringe shaded lamps. Filmed by Justin Chietb and produced and edited by James Gardiner, the story unfolds. There is no visible audience.

The guys meet cute. Trevor has left the Midwest for New York. After a string of hookups, he eventually cozies up to Arthur at the Checkerboard Lounge, a gay-friendly downtown bar where Arthur plays standards from the Great American Songbook as well as some of his own compositions.

From the start, Trevor and Arthur share clever banter and a frisson, but perhaps most importantly, they both love music.

The pair quickly becomes pretty much inseparable, though they don’t live together. At second rate nightclubs, Trevor sings Arthur’s songs, striving to make a name for themselves; and despite money being short, occasionally the couple splashes out on an evening at top notch cabarets like the Blue Angel or the Bon Soir to see headliners do their thing.

On a particular night at Café Wha? (a night spot best known as an emerging folk music space – not really Trevor and Arthur’s scene), the pair decide that Trevor will sing one of Arthur’s same-sex love songs without changing any pronouns.

Despite a few heckles, the song is mostly well received, and the evening leads to a standing gig at the Never Get, “a grimy gorgeous little nightclub” where gays happily gather to meet and drink. There, the guys introduce their act, Midnight at the Never Get, a sensibly named event that specifies time and place. At the Get, they’re given the freedom to explore their relationship and the current day politics through music.

In the mid-60s gay clubs were illegal. A place like the Never Get was technically “a bottle club” – essentially a members’ only spot run by the mafia. Typically, queer meeting places were raided twice a month, but usually paid-off cops would warn bartenders in advance who in turn would give a heads up to gay patrons who’d beat a hasty exit out the side door and find somewhere else to party.

As their act grows increasingly popular, the couple becomes more and more different. Arthur isn’t into rock music or protests. His fierce ambition takes him on frequent trips to L.A. where he writes jingles and later songs for singers like Connie Francis, Eydie Gormé, and Peggy Lee. Trevor remains in New York and befriends activists.

Scored and written by the tremendously talented Mark Sonnenblick, “Midnight at the Never Get” opened off-Broadway in 2018. With its torchy tunes, ballads, and upbeat numbers, there’s nothing farcical about the show. It vividly reflects an era.

At the end of the show, out actor Bobby Smith joins the cast as the older Trevor. In one beautifully sung song he captures the character’s life and longings.

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Theater

Queer actor on new role: ‘Playing villains is a blast’

Jaye Ayres-Brown returns as a contemptible Londoner in ‘Red Velvet’

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Jaye Ayres-Brown in ‘Red Velvet’ at Shakespeare Theatre Company. (Photo by Teresa Castracane Photography)

‘Red Velvet’
Through July 17
Shakespeare Theatre Company 
Michael R. Klein Theatre at the Lansburgh, 450 7th St., N.W.
$35-$120
Shakespearetheatre.org

After a five-year absence from the stage, actor Jaye Ayres-Brown (queer, gender fluid, non-binary, and trans-femme) returns to the boards as a contemptible cisgender Londoner in playwright Lolita Chakrabarti’s “Red Velvet” at Shakespeare Theatre Company’s Klein Theatre.

Possessed of presence and genuine warmth, Ayres-Brown, 27, is playing Charles Kean, the smug and dubiously talented son of legendary English actor Edmund Kean. Charles is also the essential antagonist in Chakrabarti’s exploration of the life and career of renowned early 19th century African-American Shakespearean actor, Ira Aldridge (Amari Cheatom).  

When Aldridge is tapped to play Othello on the London stage, Charles, who’s slated to act opposite the star as evil Iago, quits the show. It’s 1833 and Charles is deeply opposed to a Black actor playing a Black lead character, and he’s even less pleased that his real-life fiancée Ellen Tree (Emily DeForest) is assaying Othello’s romantic obsession Desdemona in the production.  

Offstage, Ayres-Brown is Aldridge’s biggest fan: “He was way ahead of his time. A hundred years before Stanislavsky, Aldridge was introducing a proto naturalist approach to acting. In retrospect, it’s hard to disentangle the public’s reaction to him. He was something so different. But were white audiences reacting to his innovative acting style or were they showing their racial bias?” 

“In the play, I’m that bias,” says the New York-based actor. 

WASHINGTON BLADE: Joan Crawford famously said, “I love playing bitches. There’s a lot of bitch in every woman — a lot in every man.” 

JAYE AYRES-BROWN: Oh yeah, playing villains is a blast. Ira Aldridge was such a spectacularly heroic person, an amazingly gifted and resourceful artist, he deserves a good villain to push against, a meaningful villain who makes us admire the hero even more. And Amari [Cheatom], the actor who plays Aldridge, is a great artist who deserves a strong antagonist too. 

BLADE: Are you enjoying your stay in London 1833? 

AYRES-BROWN: No, I hate it!  But my character loves it. Charles enjoys tremendous privilege – racial and professionally. He’s a cisgender white supremacist committed to the patriarchal power structure of the time. But me, Jaye as a person, is less than charmed by it.

BLADE: But aesthetically, it’s quite fine? 

AYRES-BROWN: Yes, You-Shin Chen’s sets are impeccable, and the period costumes are beautifully rendered by Rodrigo Muñoz. Sometimes, I do feel a little bit like a drag king in Charles’ attire. It’s a performance of masculinity. 

I have an expansive experience of gender in which I include masculinity and I think I have something interesting to say and a unique perspective. Language about gender nonconforming identity didn’t exist in 1833, but the people existed, getting by the best way they could. Everyone was either a man or a woman. Who knows today how any of these characters would identify? 

My objective is to cram as much humanity in the character as I can. The play is deeply considered with questions about who gets to play what roles. And I try to bring as much of myself to each role regardless of their gender.

BLADE: Charles is very far from who you are?

AYRES-BROWN: For me, the work of playing a character like this is derived largely from the racist lessons all Americans learn. The stereotypes are things that I’ve been exposed to as someone who grew up white in America. There’s the initial desire to distance and highlight contrasts, but ultimately you must mine your own experience even if it’s uncomfortable.

BLADE: How is it to be working in live theater again?

AYRES-BROWN: Like Christmas morning! It’s my first play in five years, and still my training kicks in. I re-balance on my bike and it’s like I’ve never stopped riding. But mostly, I’m trying to have as much fun as I can. 

BLADE: And how was working with young director Jade King Carroll? 

AYRES-BROWN: Wonderful! The play deals with some difficult moments, harmful language and ideas.  Jade created a space in our rehearsal room where people could be playful while engaging with that. Dealing with concepts of history requires the seriousness it demands, but there’s also a need for humor and lightness, and Jade made that possible.

BLADE:  Any thoughts on “Red Velvet” being stuck in time? 

AYRES-BORWN: No, I think this play is a shockingly contemporary telling of a lost history that feels overwhelmingly resonant as it’s related to identity politics and the push for representation. I hope the audience sees a period but appreciates the present-day dynamics, discussions, and language. It’s also surprisingly human and very entertaining. To me it’s a very funny show. Anyone interested in laughing at posh British folks being stupid might agree.

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Theater

Be prepared to clap for ‘Nollywood Dreams’ at Round House

Theatergoers asked to play audience of Nigerian chat show

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Joel Ashur (Wale Owusu) and Jacqueline Youm (Adenikeh) in ‘Nollywood Dreams’ at Round House Theatre. (Photo by Margot Schulman Photography)

‘Nollywood Dreams’
Through July 3
Round House Theatre
4545 East-West Highway, Bethesda, MD 20814
$55-$78
Roundhousetheatre.org

If you see “Nollywood Dreams” at Round House Theatre, be prepared to clap a lot, whether you like it or not.  For almost a third of Jocelyn Bioh’s 100-minute-long comedy, theatergoers are asked to play the audience of an Oprahesque Nigerian chat show with a big personality host and large projected words (cheer, applause) prompting the house to make lots of noise. It’s tough not to comply. 

Set in ‘90s Nigeria, it’s all about Nollywood, the nickname for the Lagos-based film industry that ranks above Hollywood and second only to India’s Bollywood in the number of films produced annually. 

Decked out in fabulous traditional attire, the spirited finger-snapping TV host Adenikeh (Jacqueline Youm) leads with niceties before going in for the kill. Her big-name guests prove central to the story:  director Gbenga Ezie (Yao Dogbe) recently returned home from America and looking to make a Nollywood hit; gorgeous veteran star Fayola (Yetunde Felix-Ukwu), who’s counting on a comeback to revive a slipping career; and Wale Owusu, Nigeria’s “Sexiest Man Born,” played by the faultlessly cast Joel Ashur. 

Glued to the TV in the office of the family travel business, sisters Dede and Ayamma Okafor (played by Renea S. Brown and Ernaisja Curry, respectively) faithfully watch Adenikeh’s eponymous program, breathlessly taking in every Nollywood scoop and subsequent development. While elder sister Dede is content to swoon over male pulchritude, Ayamma has aspirations to be more than a fan, she wants to act. When director Gbenga holds an open casting call to find a fresh face for his new love triangle romance, “The Comfort Zone,” she grasps at the chance. 

A broad comedy broadly acted by an appealing cast, Bioh’s storyline is predictable, a Cinderella story without surprise. It’s a loud world seemingly inhabited by stock characters – the heartthrob, a shady film auteur, an aging film actress, squabbling sisters – but despite all, they aren’t without nuance. The characters prove dimensional and worthy of some investment.  

Also, along with the over-the-top comedy, Bioh’s work refreshingly shows an Africa that isn’t always presented on stage. People’s dreams, desires, and relationships are set against a bustling urban sprawl culturally glued together by the cult of celebrity.

The action plays out on Jonathan Dahm Robertson’s terrific revolving (sometimes dizzyingly so) set made up of three locales — the travel office, daytime TV set, and Gbenga’s well-appointed Nollywood Dreams Studio (with the outsized signage to prove it). It’s an energizing and memorable design. 

Brandee Mathies’s costumes are almost a show in themselves. Exuberantly colorful, they cleverly bring together traditional garb and western silhouettes with joyful flourishes of Nigerian flare. The showbiz folks are costumed, well, showier. It’s short skirts and glittery stilettos for fan favorite Fayola, long touted for her Tina Turner legs.

A Ghanian-American writer, playwright and actor, Bioh grew up on Nollywood flicks. In fact, “Beyonce: The President’s Daughter” (2006), one of her favorites, was an inspiration for “Nollywood Dreams.” Her debut work “School Girls; Or, the African Mean Girls Play,” an entertaining tale of teenage trials and tribulations set at a boarding school in provincial ‘80s Ghana was a great success for Round House in 2019.

And at the helm of Round House’s current offering is Theater Alliance’s producing artistic director Raymond O. Caldwell. As gay, Black, and Asian, Caldwell sometimes refers to himself as third culture. In this instance, the Helen Hayes-winning director has heartily plunged into Bioh’s vision and with relish and created a piece rife with fun and feeling.

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Theater

‘Atemporal’ explores intersection of misdiagnosis, identity

Sianna Joslin to star in D.C.’s latest one-person show

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At age 16, Sianna Joslin learned they had a disability. They were diagnosed with temporal lobe epilepsy, a disorder associated with seizures caused by the excessive release of electrical signals from some of the brain’s nerve cells. It would not be until a decade later they found out that, from the beginning, they had been misdiagnosed.

This unexpected discovery spurred a period of deep self-reflection, Joslin explained. When coming to terms with her initial diagnosis, she created a 20-minute standup show entitled “Temporal,” discussing disability and sexuality. This July, she plans to circle back to her first performance with a new, autobiographical one-person show: “Atemporal,” which explores misdiagnosis, disability, trans identity and grief.

“I just naturally gravitated towards the idea of having another show about it,” she explained. “It’s kind of a requiem for the version of myself that I had built out of this trellis of having a disability.”

The show delves into their experience navigating relationships with both disability and gender identity, following Joslin’s discovery that they were non-binary in the years following their diagnosis.

“When I got off my epilepsy meds, I realized that I was experiencing some form of gender dysphoria,” they said. With “my brain kind of resetting, I viewed myself in an entirely different way. There’s so many different intersections between disability, sexuality (and) gender identity.”

In the performance, Joslin also looks at the experience of losing her father, and the grief that came from the experience. She never came out to him before his death, which complicates her experiences with memory and identity. The show also opens and closes with musical performances, tapping into Joslin’s lifelong passion for music.

“Having done a similar show before, I know that it’s emotionally draining,” Joslin noted. “But it’s so worth it at the end to be able to share something that’s so personal.”

Joslin hopes that those who do not hold identities examined in the performance — be they cisgender, straight or able-bodied — will be able to learn about experiences that differ from their own. And, perhaps more personally, they want those who relate to experiences outlined in the show to know that they are seen.

“Having been diagnosed with epilepsy for a decade is not something that happens every day,” she said. “The individual experiences that I’ve had going to a club and not being able to look at the strobe lights or going to a concert and having to wear sunglasses, that impacts a lot of people with epilepsy.”

“This is something that a lot of people experience,” Joslin added, “and we can get through it together.”

“Atemporal” will be performed in 3 Stars at 3270 M St. NW, Washington, D.C., on July 15 at 9:30 p.m., July 16 at 2:15 p.m., July 17 at 7 p.m., July 23 at 5 p.m. and July 24 at 6:30 p.m.

The show takes part in the 2022 Capital Fringe Festival, a series of shows hosted by local arts nonprofit Capital Fringe. Tickets can be purchased for $15, and more information can be found at the Capital Fringe Festival website or the show’s webpage.

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