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John Waters is bringing back the drive-in — with masks — at Md. Film Festival

Will cicadas spoil the show or add to the fun?

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John Waters is a fan of drive-in movies.’ (Washington Blade photo by Michael Key)

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.

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Theater

‘The Inheritance’ is most-nominated at this year’s Helen Hayes Awards

42nd annual celebration of excellence in local theater set for May 18

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Jamar Jones (bottom left), David Gow, Hunter Ringsmith, Jonathan Atkinson, and Floyd Thomas in ‘The Inheritance, Parts One and Two.’ (Photo by Margot Schulman) 

Helen Hayes Awards 2026
May 18, 2026
For tickets go to theatrewashington.org

Last year, when out director Tom Story took on the daunting task of directing Round House Theatre’s production of “The Inheritance, Parts One and Two,” he knew that casting would be important, maybe even paramount, to the endeavor’s success. So, Story didn’t mess around.

Penned by queer playwright Matthew López, “The Inheritance” (inspired by E.M. Forster’s 1910 novel “Howards End”) is based on gay culture in the wake of the AIDS crisis. 

Story looked at actors he knew, and some he didn’t. He wanted low drama and maybe players who could relate to the LGBTQ experience. In the end, the production’s 13-person cast was entirely queer except for brilliant local favorite Nancy Robinette as Margaret, the wise housekeeper.

Clearly, Story’s vision resonated with audiences. Round House’s production of “The Inheritance” is the most-nominated work of this year’s Helen Hayes Awards, earning 14 nominations. It’s also one of Round House’s highest grossing popular successes ever.

The queer cast members whose ages ranged from about 22 to 60, worked hard and enjoyed the process, and along the way garnered an Outstanding Ensemble in a Play (Hayes) nomination for their efforts. 

The ensemble included Jamar Jones as Tristan, a brilliant doctor who leaves New York for Canada after deciding there’s no place for a gay, HIV-positive Black man in America. For the experienced actor, being part of “The Inheritance” was profound: “I think it was a divinely orchestrated production.”  

He adds “I really feel that it’s so rare that you get to work on a show of that magnitude…size, time, where virtual strangers genuinely fell into rhythm. We became a cohort. I never felt a sense of unease, or reluctance to try things. I could be as big or bold as I wanted to be; or I could be small. Fail, mess up, try again. I didn’t feel judged.”

Jones considers Richmond his home, but says “I’m based where the work is.” Currently, he’s back at Round House rehearsing “Sally & Tom” (May 27-June28), a play within a play/meta exploration of the relationship between Thomas Jefferson and Sally Hemings by Suzan-Lori Parks. 

Jones plays both a contemporary violinist and an enslaved fiddler, parts that have required him to learn to “air fiddle.” He’s all over it: “I want to represent the art and to be as precise as possible. Taught by an instructor, I’ve made strides with movement of the bow; next up is finger placement.” 

Will he leave the play a violinist? “I’ll report back on closing night. Maybe I will have added something to the special skills list on my resume.”

For about a decade, Jones worked in living history, interpreting, performing, and writing pieces about the enslaved people of Colonial Virginia. Among the many historical characters he portrayed was Jupiter (Thomas Jefferson’s longtime enslaved manservant), an experience that’s proved a connection and preparation for his current role.   

The 42nd Helen Hayes Awards celebration recognizing excellence in professional theater in the DMV will be held on Monday, May 18, 2026 at The Anthem on the District Wharf in Washington, D.C. Named for Helen Hayes, the legendary first lady of Broadway, the program consists of the awards presentation hosted by Felicia Curry, Awa Sal Secka, and Derrick Truby, followed by an after-party at nearby Whitlow’s. 

With works selected from 149 eligible productions presented in the 2025 calendar year, nominations were made in 41 categories and grouped as either “Helen” (non-Equity/small Equity presence) or “Hayes” (Equity-heavy).

The many nominations are the result of 49 vetted judges considering 1,997 pieces of work, such as design, direction, choreography, performances, and more. The productions under consideration included 42 musicals, 107 plays, and 33 world premieres.

The following are more of this year’s queer nominees. 

A past Helen Hayes Award recipient and nominee, Fran Tapia is competing against herself this year in the Outstanding Lead Performer in a Musical (Helen) category. Nominated for her memorable turn as the diva barkeep in GALA Theatre’s “Columbia Heights Bolero Bar,” an immersive musical centered on songs of longing and immigration set in a diverse neighborhood on the eve of a divisive presidential election

“It was a challenging time, because a lot of what was happening in the show was happening in the neighborhood,” says Tapia who lives in Columbia Heights just eight minutes from GALA. 

Based in D.C. since 2019, Tapia says “Being recognized in a country that is not my homeland but where I’m building my artistic home, is deeply meaningful. And the variety of roles I have been able to play speaks to the richness of DC theater and the collaborators who trusted me with these roles.”

Her other individual nomination is for the title role in Spooky Action Theater’s “Professor Woland’s Black Magic Rock Show,” a passionately comedic political satire. She approached the mysterious central character as nonbinary. 

Tapia (“Chilean, Latina, queer and proud immigrant”) says while very different, both performances involved particularly strong characters. She’s grateful audiences responded positively to her work. 

Stanley Bahorek, who moved to D.C. with his husband four years ago, is best known as an accomplished actor with a long list of Broadway and regional credits (including playing Carl, the gay son in Studio Theatre’s recent production of “The Mother Play”). Now, he is nominated for Outstanding Music Direction (Helen) for his work on “A Strange Loop,” a production of D.C.’s Visionaries of the Creative Arts (VOCA) in collaboration with Deaf Austin Theatre. He shares this nomination with Walter “Bobby” McCoy.

Michael R. Jackson’s Tony and Pulitzer wining play “A Strange Loop,” is the story of Usher, a Black, queer theater usher trying to write a musical.  VOCA’s take on the work is seen through a deaf BIPOC lens with a deaf Usher played by a deaf actor (out actor Gabriel Silva). Invited by director and longtime friend Alexandria Wailes (who is deaf), Bahorek (who is hearing) joined the creative team as a sort of hybrid associate director/ music supervisor. 

“I’m fluent in conversational American Sign Language (ASL),” he says. “I sort of functioned as a sherpa between the hearing and deaf and hard-of-hearing creatives. It’s been a great thrill to be a part of VOCA’s biggest production to date.” 

If he and McCoy take home the prize, who makes the acceptance speech? Bahorek takes a beat before replying “That’s something we still need to talk about. And soon.” 

A full list of award recipients will be available at theatrewashington.org on Tuesday, May 19, 2026. 

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Out & About

DC Black Pride is around the corner

Anthony Oakes hosts comedy show on Thursday

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Comedian Anthony Oakes (Washington Blade photo by Michael Key)

Anthony Oakes will host “DC Black Pride Comedy Show” on Thursday, May 21 at 7 p.m.

Oakes will workshop his new hour about addiction, incarceration, recovery, and redemption with special guests.

This event will be hosted by the hilarious Apple Brown Betty with TJ So Silly, Howl Cooper, and featuring Patrice Deveaux. DJ Art.is will be spinning on the 1’s & 2’s. Libations will be provided by Drink Alchy. Images by RGF ENT. Tickets are $28.52 and can be purchased on Eventbrite

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Out & About

United Night Out set for Saturday

Team DC hosts evening of soccer, Pride, music, drag and community

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A scene from the 2023 United Night Out. This year’s event will be held on Saturday. (Washington Blade photo by Michael Key)

On Saturday, May 16, Team DC is taking over Audi Field for United Night OUT as D.C. United faces St. Louis SC.

Come out for an evening of soccer, Pride, music, drag, and community. The night kicks off with pre-game fun featuring DC Different Drummers, DJ Heat, and a Pride Night OUT Party at the Heineken Rooftop. Then get ready for a 7:30 p.m. match, including the National Anthem sung by Dana Nearing and a halftime drag performance.

After the match, the celebration continues at the Post-Game Rooftop Party with DJ Heat and the After Party at Dacha Navy Yard. Game tickets and after party tickets are available now through Zeffy. After party tickets are $20 and include one drink. 

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