Arts & Entertainment
John Waters is bringing back the drive-in — with masks — at Md. Film Festival
Will cicadas spoil the show or add to the fun?
Writer and filmmaker John Waters says he grew up going to drive-in movies.
“We went every single night. With the same movie playing.“
He had a certain routine.
“I used to…drive in alone with two cases of beer covered in a blanket and with four people in the trunk.”
Now Waters is working to introduce a new generation to drive-in movie theaters, which are making a comeback because of the COVID-19 pandemic.
“When the pandemic happened, it did bring drive-ins back,” he said in a recent interview. “Most young people have never been to a drive-in. I think it’s a good answer [to the pandemic], and it’s a good atmosphere for certain types of movies.”
Waters is getting ready to host a double feature drive-in movie night on May 21, as part of the Maryland Film Festival that runs from May 19 to May 27. The theme is “Russian Shock Night at the Drive-In,” because he selected two Russian films to present: Why Don’t You Just Die! and The Road Movie.
This will be the third time during the pandemic that Waters has hosted a drive-in night for a film festival, after double features last year for the Provincetown International Film Festival, at the Wellfleet Drive-In Theatre on Cape Cod, and the New York Film Festival, at The Bronx Zoo.
This time the venue is Druid Hill Park, home of the Maryland Zoo in Baltimore. The film festival is creating a pop-up drive-in theater on the sloping lawn of the Mansion House, the zoo’s headquarters, in conjunction with Baltimore’s Department of Recreation and Parks. It will have a 52-foot-wide inflatable screen and space for 93 vehicles. The price of admission is $25 per car, and tickets sold out in a day.
The film festival is the first organization to get a permit for an in-person outdoor gathering on public property in more than a year from the city of Baltimore, where Mayor Brandon Scott has been cautious about allowing public events. The mayor wouldn’t allow the annual July 4th fireworks show at the city’s Inner Harbor or the annual Artscape festival in July.
“I’m proud to the first one,” said Waters, who came up with the idea for a drive-in during the festival. “I’m thankful that they’re letting us do it.”
Based on his experience at the other festivals, Waters said, he’s confident it will be successful. “I love the idea of the drive-in. I think it will be good, and it is safe. Everybody’s in their car. Even if you haven’t been vaccinated. Well, I hope you don’t come if you haven’t been vaccinated. But still, everybody’s in their car. It’s at a social distance.”
Waters, who lives in Baltimore, traditionally introduces a movie of his choice on Friday night of the annual film festival, and it’s a highlight of the event. Last year it didn’t happen because the festival was cancelled due to the pandemic.
This year the festival is back as mostly a virtual event, because the theater where it’s held is still subject to COVID-related seating restrictions. Organizers asked Waters to bring back his signature movie night. He didn’t want it to be online.
“I said, I hate virtual. I’m so sick of virtual,” he recalled. “They knew I had done a drive-in at the New York Film Festival, where we showed Salo and the Gasper Noe movie, Climax…It works well in the drive In.”
Film festival organizers, led by executive director Sandra Gibson, collaborated with city officials to identify the site and figure out the details. “You don’t have to be vaccinated, but you will have to wear masks…if you’re outside your car,” Gibson said.
The parks department didn’t place a limit on the size of vehicles or the number of people in a vehicle, although larger ones will be located towards the back of the lot, she said.
“If you have a hatchback, we’ll let you open your hatchback and sit in the hatchback,” she said. “We’ll let you sit in the back of a flatbed truck as long as you have a mask on. If you have an SUV that holds eight people, we’re fine with that as long as everybody can see. But they have said you have to stay in your car.”
Waters describes Why Don’t You Just Die! as “a grindhouse, seat-ripping blood-drenched family revenge comedy that begs to be seen in a drive-in with a crazy audience cheering from their cars,” and The Road Movie as “a dash cam documentary from hell that puts you live in the car accidents and near misses all for your rage viewing pleasure.”
He said the two movies are in line with the ones he usually picks for screenings in the film festival’s Parkway Theatre, “but these two I think are even better for a drive-in setting.”
The Road Movie, featuring footage compiled from Russian dashboard cameras, has a car-oriented theme that fits with the drive-in set-up and will be the second film of the night. “You’ll drive home safely after this one, I guarantee you,” Waters said.
He chose a Russian theme, he said, “just because I loved these movies and I knew that Russia was especially kind of unmentionable these days. I’m not a fan of Russia either, but maybe everybody could come dressed as Nikita Khrushchev and his wife, or Putin.”
Given the climate in Russia, “it’s just kind of amazing that these two movies ever got made there,” he said. “They’re pretty radical movies. Especially Why Don’t You Just Die!”
Waters said the location brings back fond memories, in part because the zoo is there and he lived nearby: “I’ve always liked Druid Hill…I used to live across the street at Temple Gardens Apartments for many years.”
He jokes that he’s a little suspicious that the city permitted his event but not the Fourth of July fireworks, citing COVID-19 as the reason.
“Maybe they hope we all get it,” he said. “That’s a new one. We had the censor board. Maybe this is a different way to censor.”
He said he hopes the 17-year cicadas, insects that are just coming out of the ground in Maryland after a 17-year hiatus, make an appearance when his movies are showing.
“I wouldn’t even be mad,” he said, if they “were smashing into the windshields while we were watching. But then we should have shown The Swarm.”
Given the park setting, “you can bet there might be some,” he went on, imagining the possibilities of an insect invasion on his movie night. “It would only add to the disaster theme and the insaneness of the event, to be attacked by nature at Druid Hill Park and watching crazy Russian movies.”
According to the website DriveInMovie.com, there are about 325 drive-in movie theaters currently operating around the United States, down from a peak of more than 4,000 in the 1950s.
Besides the ones in operation, “there are many more that are permanently closed but still remain standing and could potentially be reopened at some point in the future,” says the website, which lists the drive-ins in every state and those that have closed in the past 20 years. “In fact, there have been several drive-in theaters that have been reopened the past couple of years after sitting dark for 20 or even 30 years.”
The first “true” drive-in, the website states, was the “Automobile Movie Theatre” in Camden, New Jersey. It was opened on June 6, 1933 by Richard Hollingshead, a movie buff who initially experimented with showing movies in the driveway of his home.
Hollingshead got a U. S. patent for his drive-in, which the drive-in website describes as essentially a movie screen tied to some trees, a radio placed behind the screen for sound, a film projector on the hood of a car, and a strategy for spacing out cars. His slogan was “The whole family is welcome, regardless of how noisy the children are.”
But Hollingshead’s patent was later declared invalid, and that allowed others to follow his formula without paying him royalties. “Maybe one of the reasons Drive-In Movies are so much more popular in the United States than in other countries is because the drive-in movie is truly an American invention,” the website states.
Today, both vintage drive-ins and pop-up drive-ins are being put to a variety of uses, from sites for fundraisers to filming locations to settings for socially-distanced music performances. When traditional movie theaters were shuttered because of the pandemic, drive-ins became an alternative because the audience remains outdoors.
In some cases, the land is used for swap meets and flea markets when movies aren’t being shown. Joe Biden held drive-in rallies when he was running for President, and voters applauded by honking horns and flashing headlights.
Waters, who just turned 75 and has filmed all of his movies in and around Baltimore, is a drive-in aficionado.
“I’ve spent my whole life in the drive-in,” he said. “I’ve written about them. I grew up in the Timonium Drive-In…The Bengies Drive-In, we filmed Cecil B. Demented in for a week. I spent a week on the roof of that concessions stand.”
In Polyester, “I had an art drive-in,” he said. “The joke was that they showed art movies, and in the concessions stand they had caviar and champagne. That was filmed at the Edmondson Drive-in” in Baltimore.
For him and others in his generation Waters said, the drive-in was “the first apartment’ where “kids could actually get away from their parents.”
It also taught him about saving money by sneaking people in — something he doesn’t want to see on his night.
“I’ll be catching you if you try to sneak in in the trunk, let me warn you,” he said. “I know all the tricks sneaking in the drive-in.”
For this week’s event, the plan is that Waters will be there and will be visible on screen, introducing the movies. Though he’s been vaccinated, there won’t be a Meet-and-Greet session with fans, for safety reasons. “He knows that we’ve got restrictions and he may have his own,” Gibson said. “He’s really conscious that it’s still a pandemic.”
The city has come up with a list of rules and regulations for those with tickets. Besides the requirement that people wear masks when outside the vehicle, no food or drink may be consumed outside of vehicles. Car windows must be up when eating. Tailgating isn’t allowed. Everyone must pre-register and sign a parks department waiver before arriving.
Waters said he read all the rules and couldn’t find any restrictions against having sex in a vehicle during a movie.
“I guess that means you can have sex,” he said. “When I was young, that’s what everybody did.”
The same goes for drinking in a vehicle, he said. “That’s something you always did at the drive-in too.”
The list of rules and regulations is part of the traditional drive-in experience, because every drive-in has rules. In a way, Waters said, it also goes along with the theme for the night:
“It will feel like the Russian government is watching.”
Although the drive-in night is sold out, other tickets are still available to the Maryland Film Festival, including Pride Night and eight LGBTQ-oriented films viewable online. Information about the lineup is at mdfilmfest.com.
Theater
‘Inherit the Wind’ isn’t about science vs. religion, but the right to think
Holly Twyford on new role and importance of listening to different opinions
‘Inherit the Wind’
Through April 5
Arena Stage
1101 Sixth St., S.W.
Tickets start at $73
Arenastage.org
When “Inherit the Wind” premiered on Broadway in 1955 with a cast of 50, its fictional setting of Hillsboro, an obscure country town described as the buckle on the Bible Belt, was filled with townspeople. And now at Arena Stage, director Ryan Guzzo Purcell has somehow crowded Arena’s large Fichandler space with just 10 actors, five principals and a delightful ensemble of five playing multiple roles.
Inspired by the real-life Scopes Monkey Trial of 1925, Jerome Lawrence and Robert E. Lee’s fictionalized work pits intellectual freedom against McCarthyism via the imagined trial of Bertram Cates (Noah Plomgren), a Tennessee educator charged with teaching evolution. Drawn into the fracas are big shot lawyers, defense attorney Henry Drummond (Billy Eugene Jones), and conservative prosecutor, Matthew Harrison Brady (Dakin Matthew). On hand to cover the closely watched story is wisecracking city slicker and Baltimore reporter E.K. Horneck (played by nonbinary actor Alyssa Keegan).
Out actor Holly Twyford, a four-time Helen Hayes Award winner who has appeared in more than 80 Washington area plays, is part of the ensemble. In jeans and boots, she memorably plays Meeker, the bailiff at the Hillsboro courthouse and the jailer responsible for holding Cates in the days leading to his trial.
Twyford also plays Sillers, a slack jawed earnest employee at the local feed store who’s called to serve on the jury. And more importantly she plays Brady’s quietly strong wife Sarah whom he affectionately calls “Mother.”
When Twyford makes her memorable first entrance as Meeker, she’s wiping shaving cream from her face with a hand towel. With shades of Mayberry R.F.D., the jail is run casually. Meeker says Cates isn’t the criminal type, and he’s not.
“There’s a joke among actors,” says Twyford. “When an actor gets his shoes, they know who their character is. And it’s sort of true. When you put on boots, heels, or flip flops, there’s a different feeling, and you walk differently.”
Similarly, shares Twyford, it goes for clothes too: “When Mother slips a pink coat dress over her cowboy boots, dons a little hat and ties her scarf, or Meeker puts on his work shirt, I know where I am. And all of that is thanks to a remarkable wardrobe crew.
“Additionally, some of the ensemble characters are played broadly which is helpful to the actors and super identifying for the audience too.”
During intermission, an audience member loudly described the production as “a proper play” filled with beautifully written passages. And it’s true. Twyford agrees, adding “That’s all true, and it’s also been was fun for us to be a part of the Arena legacy as well. Arena took ‘Inherit the Wind’ to the Soviet Union in the early ‘70s when the respective governments did a cultural exchange. At the time, the iron curtain was very much in place, and they traveled with a play about a man with his own thoughts.”
When the ensemble was cast, actors didn’t know which tracts exactly they were going to play. “What came together was a cast, diverse in different ways. Some directors, including myself when I direct, are interested in assembling a cast that’s a good group. No time for egos. It’s more about who will make the best group to help me tell this story.”
At one point during rehearsal, ensemble members began to help one another with minor onstage costume changes, like jackets and hats: “We just started doing it and Ryan [Guzzo Purcell] picked up on it, saying things really began to come alive when we helped each other, so we went with that.”
“For me, it was reminiscent of ‘The Laramie Project’ [Ford’s Theatre in 2013] when we played five different parts and we’d help each other with a vest or jacket in a similar way. It worked so well then too,” says Twyford.
“Inherit the Wind” isn’t about science versus religion. It’s about the right to think, playwright Jerome Lawrrence has been quoted as saying. And it’s a quote that makes the play that much more relevant today.
Twford remembers a chat in a hair salon: “I was getting my hair cut and the woman next to me shared that she was tired of message plays. Understandably there are theater makers who believe that message plays are the point, while others think it’s all about entertainment. I feel like ‘Inherit the Wind’ sits in a nice place in the middle.”
She adds “the work is a creative way of showing different opinions and that, I think, is what we should be paying attention to right now. Clearly, it’s not right or wrong to express what you think.”
Out & About
‘How We Survived’ panel set for March 25
‘Living History’ discussion to be held at Spark Social
Friends of Dorothy Cafe will host “Part One, Living History: How We Survived,” will take place on Wednesday, March 25 at 7:30 p.m. at Spark Social House.
This event will be moderated by Abby Stuckrath, host of the “Queering the District” podcast. Panelists include: Earline Budd, activist, trans rights advocate; TJ Flavell of Go Gay DC; DC LGBTQ+ Center Board Member David Bissette; and Alexa Rodriguez, founder and executive director, Trans-Latinx DMV.
This event is part of a four-part storytelling series called “Living History,” which centers LGBTQ elders, activists, artists, and icons sharing their lived experiences and reflections with younger generations. The conversations explore themes like resilience, community organizing, chosen family, and the lessons earlier generations hope today’s LGBTQ+ and ally communities will carry forward.
Saturday, March 21
Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.
The DC Center for the LGBT Community will host “Sunday Supper on Saturday” at 2 p.m. It’s more than just an event; it’s an opportunity to step away from the busyness of life and invest in something meaningful, and enjoy delicious food, genuine laughter, and conversations that spark connection and inspiration. For more details, visit the Center’s website.
Sunday, March 22
LGBTQ+ Community Coffee and Conversation will be at 12 p.m. at As You Are. This event is for people looking to make more friends and meaningful connections in the LGBTQ community. Attendance is free and more details are available on Eventbrite.
Monday, March 23
Center Aging: Monday Coffee Klatch” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more information, contact Adam ([email protected]).
Queer Book Club will be at 7 p.m. on Zoom. The Queer Book Club meets on the fourth Monday of the month to discuss queer books by queer authors. For more details, visit the DC Center’s website.
Tuesday, March 24
Coming Out Discussion Group will be at 7 p.m. on Zoom. This is a safe space to share experiences about coming out and discuss topics as it relates to doing so — by sharing struggles and victories the group allows those newly coming out and who have been out for a while to learn from others. For more details, visit the group’s Facebook.
Genderqueer DC will be at 7 p.m. on Zoom. This is a support group for people who identify outside of the gender binary, whether you’re bigender, agender, genderfluid, or just know that you’re not 100% cis. For more details, visit www.genderqueerdc.org or Facebook.
Wednesday, March 25
Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit www.thedccenter.org/careers.
Thursday, March 26
The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245.
Virtual Yoga Class will be at 7 p.m. on Zoom. This free weekly class is a combination of yoga, breath work and meditation that allows LGBTQ+ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC Center’s website.
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