Arts & Entertainment
Queer creator blends Shakespeare with iconic music of Pat Benatar
Could LA’s production of ‘Invincible’ make it to Broadway?
For millions of GenX-ers, the music of Pat Benatar and Neil Giraldo – Benatar’s longtime lead guitarist, collaborator, and producing partner, and her husband since 1982 – has been an iconic generational touchstone for more than four decades. This might be especially true for queer GenXers, who found inspiration during their formative years in the defiant spirit that resonated through many of the duo’s songs.
One of those queer GenXers was Bradley Bredeweg, the out co-creator of another queer touchstone, television’s “The Fosters,” which became a hit for five seasons on FreeForm with its story of a lesbian couple raising five adopted children. Now, Bredeweg – a self-described “theater kid” – is helping to bring Benatar and Giraldo’s music to a new generation of rebellious youth with “Invincible,” a new musical that intricately weaves the couple’s legendary catalogue with inspired new songs to re-imagine Shakespeare’s “Romeo and Juliet” for the 21st century.
“When I got into writing for television, I realized that I missed the equal exchange that happens between the people on the stage and the audience,” explains Bredeweg, who spoke with the Blade ahead of his show’s Nov. 22 opening at Beverly Hills’ Wallis Center for the Performing Arts. “I love film and television, obviously, I’m so grateful for it, but after a couple of years of doing it, I was like, ‘I miss that inner theater child, so I’m gonna moonlight.’”
The result of his “moonlighting” turns Shakespeare’s classic Verona setting into a modern, war-torn metropolis, and places his timeless tale of star-crossed lovers in a time of great transformation. Love and equality are forced to battle for survival as a newly elected chancellor works to return the city to its traditional roots and destroy a progressive resistance that is trying to imagine peace in a divided world – and if you think that sounds familiar, it’s by design. Its current run at the Wallis is its world premiere, but if things go as hoped, this is just the first step toward Broadway.
According to Bredeweg, however, it’s far from the beginning of his show’s journey.
“About 12 years ago, I realized I hadn’t read ‘Romeo and Juliet’ since high school and decided to read it again,” he tells us. “The next day I had to take a road trip – this was back in the era when I still had a CD book in my car – and I came across the “Best of” album of Pat Benatar and Neil Giraldo, so I popped it in and started driving. And because the story was obviously fresh in my head, I was listening to all these songs and realizing that if you line them up a certain way they totally tell the tale of ‘Romeo and Juliet.’ I wrote a first draft a couple of weeks later and then I just put it away and forgot about it.”
Much later, in 2015, he walked into a Los Feliz bar called the Rockwell (“It was this really cool kind of spot that we don’t have a lot of in LA, because we’re not a theatrical town”), where cabaret performances were sometimes mounted by visiting Broadway talent and Jeff Goldblum would do a gig every Wednesday night. Inspired by the vibe, he suddenly remembered, “this thing I had come up with all those years ago” and impulsively pitched the idea of putting it on to the bar’s manager. I said, ‘I’ve got this crazy idea where I want to combine Shakespeare with Pat Benatar,’ and she said, ‘That’s insane, but I’m a huge fan of your show and I love it, so let’s do it.’”
This early incarnation (then called “Love is a Battlefield”) was an unprecedented hit, enjoying a six-month run to sold out houses – that is, until Benatar and Giraldo’s manager attended a performance and recorded a video of the whole thing on his iPhone. He showed it to Benatar and Giraldo, and they were intrigued; but at the time, unbeknownst to Bredeweg, they were working on developing their own life story as a musical using their songs, so they sent a “cease and desist” letter to the Rockwell and the show was forced to shut down.
“It was heartbreaking, for all of us,” says Bredeweg, “because we knew we had something with real potential.”
Then, a year later, he got a call from a producer who told him Benatar and Giraldo wanted him to come to New York and discuss his musical.
“Of course, I said yes and got myself there immediately. We took a meeting on their tour bus, and we started talking about the musical they were developing, and suddenly we all started to move in the direction of doing ‘Love is a Battlefield.’ By the end of it we were all laughing about how we had started out with a ‘cease and desist’ order and here we were talking about coming together to do a show.”
In part, says Bredeweg, the couple was convinced to change course by their discussion of the proliferation of so-called “jukebox musicals” that have increasingly populated Broadway in recent years.
“We talked about how they have a shelf life, especially if they’re focused on a specific artist. They have a built-in audience, but beyond that, how can they stand the test of time? The real test of a timeless musical is if, in 40 years, every high school is doing it. I think that’s why we went back to using their iconic music to reinvent this epic, timeless tale.”
Another part of the appeal was how aptly the couple’s songs fit into Shakespeare’s classic – a coincidence, perhaps, but one that might be better described as synchronicity.
“When Pat and Neil met back in the late ‘70s it was supposed to just be a working relationship, but they fell head over heels in love with each other,” Bredeweg says. “When I got close to them, they told me they had been called the ‘Romeo and Juliet of the music world’ because the labels and managers and PR people were trying to break them up. They wanted Pat to stand on their own and Neil to just be her producing partner, and so much of what the two of them were creating at that time was about that struggle, about fighting that music industry system and saying, ‘let us figure this out for ourselves.’ That’s why so much of their music works inside of this story.”
For Bredeweg, the chance to realize his vision struck an intensely personal chord, too.
“I was always obsessed with the classics, but as a gay kid growing up in the ‘80s, I knew I felt different from everyone else, and as much as I loved them, I couldn’t really ‘attach’ to any character inside them. Nothing felt familiar to me, everything was from the point of view of a white cisgender person – and I always had these dreams, if I ever had any say, that I would love to tackle these classics in a different way and reposition them for a more diverse audience.”
In keeping with this mission, “Invincible” doesn’t just make Verona into a more modern city, but a more diverse one as well. The Capulet and Montague houses are run by the women, whose husbands are both dead; Romeo’s chum Benvolio is nonbinary, and falls in love with Juliet’s nurse; Juliet’s cousin Tybalt is secretly in love with her would-be husband, Paris; Paris himself is the city’s new chancellor, seeking the marriage as a means to control the vast Capulet fortune and deploy it to shore up his political power. In Bredeweg’s updated take on the tale, it’s a story about powerful men with powerful motives, with a matriarchy fighting against the traditional patriarchy and a younger generation trying to take control of its own destiny – and to ensure that it includes the freedom to love who they want.
“That’s obviously something the queer community can really understand,” says Bredweg. “We’ve been there and done that, the fight for marriage equality is all about that. It’s very much at the center of the show, and it was a big reason why I wanted to tackle the story, why I’ve rewritten so many characters with queer identities – taking these figures we thought we knew and giving them a more modern point of view.”
“Our culture is shifting in such huge ways,” he continues. “It goes back to my experience of not being able to find myself in these old tales. We are looking at our past, and pieces of art or the written world, or things in our politics, and we’re trying to reinvent these pinnacle moments in a way to make sure that history doesn’t always repeat, to move forward in different directions that are better for all of us. Especially the younger generations – they’ve stepped into this world where they’ve had no say in how chaotic things feel, and they are trying to take control of their identities and their path forward. That’s really what’s at the heart of our show.”
“Invincible” is not, of course, the first time “Romeo and Juliet” has been deconstructed and rebuilt as a musical; apart from the obvious example of “West Side Story,” the recent London import “& Juliet,” now a hot ticket on Broadway, presents an alternative version of the story in which the title character doesn’t kill herself, set to the music of pop songwriter Max Martin – responsible for hits from Britney Spears, the Backstreet Boys, NSYNC, and Céline Dion, among others.
Bredeweg isn’t worried about the competition.
“I never think about that kind of thing,” he tells us. “There’s always room for interpretation with classics of this stature. There’s space for both.”
His production, of course, has the added advantage of showcasing the music of two deeply beloved icons whose recent induction into the Rock and Roll Hall of Fame has catapulted their names back into the public arena in a big way – not that they were ever very far out of it.
For Bredeweg, though, the Benatar/Giraldo connection has always been much more than just a way to make his show marketable. It’s the whole reason “Invincible” even exists.
“Pat captured my heart as a young gay kid for obvious reasons. There was something about her music, and her energy and messaging.
“It made me feel that if someone as powerful as her could exist, then I could, too.”
“Invincible” continues its run at the Wallis until Dec. 18. For tickets and more details, visit their website.
Arts & Entertainment
A reign defined by commitment and human impact
Nicole Murray Ramirez defined era in International Imperial Court System
Writing about the reign of Nicole Murray Ramirez and the close leadership of King Father Terry Sidie requires far more than listing achievements, because what has been built over these years cannot be reduced to titles, ceremonies, or public recognition. It must be understood as the result of a sustained vision rooted in service, memory, solidarity, and the real ability to build bridges within and beyond the LGBTQ community.
At this point, looking back and assessing this period means acknowledging that this was not just another chapter in the history of the International Imperial Court System. It was a time shaped by far-reaching initiatives, a clear commitment to concrete causes, and a style of leadership that moved confidently between symbolic representation and public action. In that context, Nicole Murray Ramirez’s announcement that her reign will conclude in February 2027, along with the coronation of the person who will assume the throne as the new Queen Mother of the Americas, should not be read simply as the end of an era, but as a moment to fully recognize what has been built while also understanding that a new chapter is about to begin.
One of the most defining aspects of this reign has been its understanding that visibility alone is not enough. Visibility matters, but it only becomes meaningful when it leads to action, support, and measurable change. That has been a consistent strength of the work led by Nicole Murray Ramirez alongside key figures such as Terry Sidie.
The Jose Nicole Terry Scholarship and Educational Fund reflects that commitment. Reaching $400,000 is significant, but what matters most is what that represents in terms of opportunity and access.
This leadership also prioritized historical memory through initiatives like the National LGBTQ Wall of Honor at the Stonewall Inn and the recognition of Jose Julio Sarria.
Efforts such as the Harvey Milk postage stamp, the USNS Harvey Milk, and multiple recognitions for Sarria reflect a sustained commitment to public recognition and justice.
International outreach, financial support to global causes, advocacy for transgender communities, and engagement with organizations beyond national borders further define this period.
The expansion into Canada and the opening of a new chapter that includes Puerto Rico highlight the evolving nature of this leadership. The upcoming June coronation marks an important step in that direction.
Acknowledging that the reign was not perfect does not weaken its legacy. It reinforces its authenticity.
This was not an individual effort. It was collective work supported by a broad network.
As the transition toward Feb. 5, 2027, continues, what remains is a legacy built on action, commitment, and responsibility.
Theater
Diverse cast tackles ‘Aguardiente’ at GALA Hispanic Theatre
Best friends rediscover their Caribbean heritage in new musical
‘Aguardiente: Where Magic Transcends Borders’
Through May 24
GALA Hispanic Theatre
3333 14th St., N.W.
$25–$65
Galatheatre.org
(surtitles in English and Spanish)
With its latest musical offering “Aguardiente: Where Magic Transcends Borders,” GALA Hispanic Theatre has cast its net wide in gathering a blend of talent including the production’s diverse 18-person cast.
Commissioned by GALA, the spanking new musical is about best friends Alberto and Alejandro (two New York writers from Puerto Rico and Colombia respectively). Together, within a short timeline under unrelenting pressure, they struggle to write the project musical of their dreams.
Along the way, the friends rediscover their Caribbean heritage through cumbia, bomba, currulao, and the magical realism of García Márquez.
Offstage, the work has been created by Luis Salgado (book), and Daniel Alejandro Gutiérrez (music), also respectively from Puerto Rico and Colombia. Multiple Helen Hayes Award-winning Salgado is directing and choreographing the GALA production.
In the role of Alejandro, out actor Sebastián Treviño is making his GALA debut opposite Samuel Garnica who plays librettist Alberto. Alejandro is the music composer who doesn’t come from a musical background. He’s simply a lover of Latin music.
Is Alejandro recognizably similar to Gutiérrez?
“Oh yeah,” says Treviño, 36. “Like Gutiérrez, Alejandro doesn’t necessarily follow musical theater rules and etiquette, and it’s his uniqueness that brings a spark to their partnership.
“I got to know him and Luis [Salgado] while touring with ‘On Your Feet!’ in 2022. You really get to know people by spending endless hours together on a bus.”
Language and voice are intertwined for Treviño, and fortunately for the amiable New York-based actor, he enjoys the challenge of a new way of speaking. To play Alejandro, it helps to sound Colombian.
As a native of Monterrey, Mexico, Spanish and Mexican dialects are Treviño’s first languages. He attended American school starting in kindergarten, consequently acquiring flawless English; and because his mother is Colombian, he is familiar with that accent too.
GALA Spanish speaking patrons can be a tough crowd. For instance, when a Mexican actor is playing a Cuban character, they know at once. And while they may embrace the performance and the production, there sometimes remains a niggling dislike for what feels a vocal inaccuracy.
“Since I’ve arrived in D.C., I’ve been practicing my Colombian accent at restaurants and other places. When a Spanish speaking server asks if I’m from Colombia, I know I’m doing something right.”
“Aguardiente” (translates as “Firewater”) is composed of several layers of reality. He explains: “First it’s us creating the show, the work, and all of those pressures and limitations that the industry places on Latino centered projects; and then there’s the fantasy layer.”
A talented tenor, his lengthy bio includes Mexico City (“Wicked,” “Rent”), Off Broadway (“Kowalski”) and North American national tours (“On Your Feet!”).
He says his “Aguardiente” solo specifically feels like ‘80s Latin rock. Also, he enjoys a fun medley number where they’re playing around with “Tropipop” (Colombian pop), classic Broadway sounds, and there’s even a Beatles moment.
In this show, we meet two determined friends, one is holding an American passport because he’s Puerto Rican, while the other, a Colombian, struggles to secure a visa.
“It’s not a stretch for me to relate to that. I’m here on a working visa, so I know all about the stress and costs that comes with that,” says Treviño.
“So much reflects their own story. That includes the setbacks and obstacles faced when trying to build something from very little, and writing about themes that aren’t considered mainstream to white American audiences.”
At just eight years old, Treviño saw “A Chorus Line” at Mont Tecnológico de Monterrey, the same college that he’d later attend. He remembers, “Seated in the second row, the young actors were rock stars to me. When I asked my father who loved the arts if one day I could perform onstage, he said yes, instantly his son’s new dream.”
Looking forward, is there a role he yearns to play? Treviño ponders the trite query with some seriousness before answering “I think it’s yet to be written.”
Books
New books reveal style trends for a more enlightened century
Guidelines that hint about gendering clothing are out
Books about Fashion and Style
By various authors
c.2026, various publishers
$19.95 – $29.95
Don’t look now, but your legs are showing.
It’s OK, it’s almost summertime and you want to show both skin and style. So how about a few hints for looking your best? Check out these great books and get stylin’.
Who says there are rules about fashion? Wearing white before Memorial Day is OK; socks with sandals not so much? Fine, but in “Bending the Rules: Fashion Beyond the Binary” by Camille Benda with Gwyn Conaway (Princeton Architectural Press, $29.95), you’ll see that any guidelines that hint about gendering clothing are oh-so-last century.
Along with lively, fun narrative, there are lots of photos in this book, ads for how clothing used to be worn along male-female lines, and short biographies of some of today’s best designers. Here, you can check out prom dresses from the 1950s and new haute couture gowns practically right off the runway – and see how one parallels with the other. The timeline reaches back centuries, so you get a nice idea of where certain kinds of clothing originated and how it’s relevant today – making what’s inside here perfect for browsing.
Pick up this book, in fact, and you might also pick up some ideas for filling your closet and creating your very own style.
The fashion you wear on your body isn’t all you’ll find in “Pretend to Be Fancy: A Field Guide to Style and Sophistication” by Whitney Marston Pierce (Chronicle Books, $19.95). You’ll also read about other nice things you can have.
So you’re not a pinky-in-the-air kind of person, whatever. You can easily hang with those who are, once you read and absorb this book.
Tongue-tied at fancy soirees? Not anymore, there are tips for talking here. What do you know about canapes, hors d’oeuvres, and the kind of foods you don’t get at the corner c-store? How do you make a charcuterie that everyone will Ooooooh over? And how do you give a gift for the person whose taste seems scads better than yours? That’s all in here, along with what to drink, how to dress, and how to make every corner of your home look like something right out of a high-end magazine.
Will this book make you chic? Possibly, yes. Will it help you get invited to all the best parties? Maybe, but for sure, it’ll make you laugh, it’ll make you feel fabulous, look fabulous, and live your best life with the surroundings you deserve. Out May 5, so put it on your list.
But let’s say you need more ideas. You have questions or thorny issues with fashion that you really need answering. That’s when you ask for a talented fashionista at your local bookstore or library, that knowledgeable someone knows books and knows how to get what you need to be your most dazzling, best-dressed, finest-appointed self in a home you can be proud of, with comfortable furniture that will be the envy of everyone who sees it.
In the meantime, grab the above titles, because these books got legs.
Key West Pride’s state funding pulled
DOE investigates Smith College’s trans-inclusive policy
A reign defined by commitment and human impact
Ukrainian MPs advance new Civil Code without protections for same-sex couples
Gay ICE detainee freed after 150 days in detention
Republicans attach five anti-LGBTQ riders to State Department funding bill
Tennessee’s trans data bill a frightening omen
The university that refuses to let go
Judge issues revised order in Capital Pride stalking case
Calendar: May 1-7
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Federal Government5 days agoRepublicans attach five anti-LGBTQ riders to State Department funding bill
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Opinions4 days ago
Tennessee’s trans data bill a frightening omen
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Noticias en Español5 days ago
The university that refuses to let go
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District of Columbia5 days ago
Judge issues revised order in Capital Pride stalking case
