a&e features

Charles Busch reflects on the paths he didn’t take in new book

‘Leading Lady’ a riveting memoir from legendary entertainer

Published

2 years ago

August 31, 2023

'Leading Lady: A Memoir of a Most Unusual Boy' comes out on Sept. 12.

“Charles, I’m telling you, I go to plays in rat-infested basements where I’m the only one who shows up,” the late queer icon Joan Rivers once told the queer, legendary playwright, actor, director, novelist, cabaret performer and drag icon, Charles Busch. “I can see the actors peeking through the curtain and groaning, ‘Oh God, that old bitch in the fur coat is here. Does that mean we’ve gotta go on?’”

Busch reminded Rivers that she’d seen him perform in a rat-infested basement.

This is just one of the many stories that Busch, born in 1954, tells in his riveting memoir, “Leading Lady: A Memoir of a Most Unusual Boy,” which comes out on Sept. 12.

“Leading Lady” is a page-turner. Some of its tales of Busch’s life and career, such as his account of a Christmas party with Rivers as a guest, are dishy. Others, like his memories of trying to care for his beloved Aunt Lil, when he knew she was dying, would make even the Wicked Witch in Oz tear up.

The memoir, is, as Busch says on his website (charlesbusch.com), the story of “a talented artist’s Oz-like journey.”

“Leading Lady” isn’t linear. This isn’t a detriment. Busch deftly intertwines memories of his life and career from his mom dying when he was seven to being raised by his loving Aunt Lil to being the author and star of the cult classic “Vampire Lesbians of Sodom” to watching Kim Novak handle fans to being the Tony-nominated writer of “Tales of the Allergist’s Wife” to being creative during the pandemic.

“Storytelling is a huge part of my life,” Busch told the Blade in a lengthy phone interview, “I get into various adventures and, I think, this could be a good story to tell.”

Interviewing Busch is like chatting with a fab storyteller over coffee or a glass of wine. Except that you’re talking to a legend who’s entertained and inspired queers (and discerning hetero audiences) for decades. (I’m wearing my “Vampire” T-shirt as I write this.)

As a playwright, Busch writes “linear” plays, with a beginning, middle and an end, he said. As a cabaret singer, “the way I sing songs is telling a story,” Busch said.

Since childhood, he’s been creating vivid scenes in his imagination. From early on, Busch has felt as if he’s both a spectator and star in the movie of his life.

It seemed inevitable that he’d write a memoir. It’s the ultimate form of storytelling. “You reach a certain point in your life,” Busch said, “where you’re more reflective and see your life as a whole.”

“You reflect on the paths you didn’t take,” he added.

Busch spent his childhood in Hartsdale, N.Y. He had two older sisters, Betsy and Margaret. His mother’s death was devastating for Busch. His Aunt Lil and Joan Rivers have been among the women who have been “mothers” to Busch since his mom died.

Once, Busch said he and Rivers dined with friends. “Joan Rivers said ‘I wish I had a gay son I could phone at midnight and discuss whatever movie was on TCM,’” he recalled.

Busch would have loved to have been Rivers’s “gay son.”

Life in Hartsdale was hard for Busch after his mother passed away. His father was often absent and showed little interest in his children.

Things were miserable for Busch when his grandmother, for a time, cared for the family. He knew, as a boy, that he was gay and hated going to school where a movie-and-theater-loving kid who liked to draw wasn’t one of the cool kids.

Yet Busch forgave his “father’s failings,” he writes in “Leading Lady, “because he gave me the theater.”

Busch became entranced with the theater when his father, an aspiring opera singer who performed in summer stock, took him to the old Metropolitan Opera House in New York City to hear Joan Sutherland sing the role of Amina in Bellini’s “La Sonnambula.”

Busch was saved from a life of boredom and bullying when Aunt Lil, his mother’s sister, took him to live with her in Manhattan. There, like Auntie Mame, she raised him. She prodded him into applying to the High School of Music and Art in New York City. He was accepted there.

After high school, Busch graduated with a bachelor’s degree in drama from Northwestern University in 1976.

“My Aunt Lil is the leading lady [of the title of his memoir],” Busch said, “she was the most influential person in my life.”

One of the reasons why Busch wrote “Leading Lady” was to paint a full portrait of her. “It was important that it not be this kind of gauzy, sentimental memory piece,” he said, “making her out to be a saint.”

Aunt Lil adopted Bush when he was 14. Her goal was that he would go to college, become independent, be a survivor – make a place for himself in the world.

“I don’t know what would have happened if she hadn’t stepped in,” Busch said.

“She was very intellectual,” he added, “I’ve never met anyone [else] with such a pure devotion to thinking. It was a little intimidating.”

Aunt Lil’s standards for caring – for giving of oneself – were so high that it was almost impossible to meet them. “She believed that you should anticipate what people would need,” Busch said, “before they told you.”

Looking back, Busch is most proud of himself when, “I’ve gone past my natural self-absorption,” he said, “when I’ve thought of someone else.”

Busch is being too hard on himself. In “Leading Lady,” and when interviewed, he’s caring and curious as well as witty, savvy, and as you’d expect, a bit campy.

His sister Margaret died recently. “She declined gradually over nine months,” Busch, said, choking up, “I gave her my bedroom and I slept on my sofa.”

Like many of her generation, Aunt Lil didn’t understand queerness or drag. But she loved Busch. She didn’t go to see his productions, he said. “She could have gone like other parents,” he said, “and been tight-lipped. And said something nice that she didn’t believe.”

But “she didn’t want to lie or be hurtful,” Busch added, “so, for her, it was: can’t I just love and support you, and not go?”

Aunt Lil didn’t get Busch’s sexuality. But she knew about secrecy. Busch learned of a terrifying secret that his aunt had long kept hidden. In the 1930s, during the Depression, Aunt Lil worked as a nurse. One day, when she worked overtime, one of the patients suffered a burn. She had to leave nursing. “Her sister in a nasty mood revealed this,” Busch said, “Aunt Lil never discussed it.”

In the 1970s, Busch had trouble getting into theater because there were only roles for actors playing straight male characters. “The only way I could get on stage was to write my own roles,” he said, “I have a rather androgynous nature.”

Busch found that the feminine within him was a place of authority and strength. “I’m fine when I play male characters,” he said, “but I’m better when I play female characters.”

Why this is so liberating for him is a bit of a mystery to Busch. “But I accept and love it,” he said.

Times have changed since Busch made his first big splash with “Vampire Lesbians of Sodom.” “In 1985, being a drag queen was considered a negative,” Busch said, “my generation of drag performers bristled at being referred to as drag queens.”

Busch no longer bristles. “I feel like the characters,” he said, “I enjoy costumes and getting the right wig.”

“But, I go from male to female not through trickery or anything visual, I transfer through my soul.”

In “Leading Lady,” Busch recalls AIDS and other dark moments from the past. Many of his friends and colleagues died from AIDS. “AIDS was the World War II of our generation,” he said.

But Busch, in his memoir and in his life, isn’t only looking back. He’s very much in the present. Busch is embarrassed to say he was lucky. During the pandemic, devastating to many, he made art. He did play readings on Zoom and finished writing “Leading Lady” which he’d worked on for 14 years.

During the pandemic, Busch with Carl Andress co-wrote and co-directed the movie “The Sixth Reel.” The film’s cast includes Busch, Julie Halston (Busch’s longtime muse), Margaret Cho and Tim Daly.

Busch describes the film, an homage to the Hollywood madcap movies of the 1930s, as “a comic, caper movie.”

“I play a disreputable dealer in movie memorabilia,” Busch said, “a legendary lost film is found, and I see it as my ticket out of debt.”

The “Sixth Reel” is playing from Sept. 21 to Sept. 27 at the LOOK Dine-In Cinema West 57th Street in New York City.

“I hope the run in New York will encourage people to distribute this little movie,” Busch said.

Up Next

Cuisine and culture come together at The Square

Don't Miss

Meet ‘one of the most powerful disabled people on the planet’

FUND LGBTQ JOURNALISM

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

Published

1 day ago

January 30, 2026

Lou Chibbaro Jr.

Pitchers is for sale at an undisclosed price. (Washington Blade file photo by Michael Key)

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 18^th 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

Published

2 days ago

January 29, 2026

Susan Hornik

Harry Melling and Alexander Skarsgård star in ‘Pillion,’ which premieres in the U.S. on Feb. 6. (Photo courtesy of A24)

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.”

a&e features

MISTR’s Tristan Schukraft on evolution of HIV prevention

From ACT UP to apps, embracing stigma-free care

Published

1 week ago

January 22, 2026

AJ Sloan

Tristan Schukraft (Photo courtesy of Schukraft)

It was not too long ago that an HIV diagnosis was read as a death sentence. In its earlier decades, the HIV/AIDS crisis was synonymous with fear and loss, steeped in stigma. Over recent years, open conversation and science have come together to combat this stigma while proactively paving the way for life-saving treatments and preventive measures like PrEP. Now, in 2026, with discreet and modern platforms that meet people where they’re at in their lives, HIV prevention has evolved from hushed words of warning into something far more sex-positive and accessible. Game-changing services like MISTR are a testament to this shift, showing our community that healthcare doesn’t have to feel clinical or shaming to work. It can be empowering and, dare I say, celebratory.

Few people embody this evolution quite like Tristan Schukraft, founder of MISTR. With one hand in healthcare and the other high-fiving through queer nightlife, Schukraft gets that, from the bar to the bedroom and beyond, prevention happens in person and in real life. His approach has helped turn PrEP, DoxyPEP, and testing into normalized parts of our daily queer life, reaching hundreds of thousands of people across the US.

In our conversation, Schukraft shares candidly about stigma, policy, and why the future of sexual health depends on keeping it real.

BLADE: You have one hand in healthcare and the other in nightlife and queer spaces. Can you share with us how these two spheres impact and inform each other? How do they impact and inform you?

SCHUKRAFT: Honestly, for me, they’ve never been separate. Nightlife and queer spaces are where people meet, date, hook up, fall in love, and make friends. That’s real life. Being in queer spaces all the time keeps me grounded and reminds me who we’re building MISTR for.

BLADE: MISTR markets sexual health in a sex-positive, stigma-free fashion. Can you share with us how you measure the impact of this approach?

SCHUKRAFT: This year, we held the first-ever National PrEP Day. Dua Lipa performed, and Cardi B was there. After the event, Cardi B went on her Instagram live to encourage people to sign up for PrEP.

When you make sexual health stigma-free and sex positive, people talk about it. We see it in how people use the platform. When 700,000 people are willing to sign up, get tested, start PrEP, and add things like DoxyPEP, that tells us we’ve made it feel safe and normal instead of scary or awkward. And then we see it in the results. Since we expanded DoxyPEP, STI positivity among our patients dropped by half.

BLADE: How have you seen the conversation of sexual health in our LGBTQ+ community change in mainstream culture in recent years?

SCHUKRAFT: Ten years ago, nobody was casually talking about PrEP, and if they did, it likely referenced one being a Truvada whore. Now it’s part of the culture. Popstars like Troye Sivan post pictures of their daily PrEP pill on social media. Cardi B goes on Instagram Live telling people to get on PrEP.

For many sexually active gay men, taking PrEP is simply part of the gay experience. For people in more remote areas, it might not be as talked about. Particularly in rural or more conservative places, MISTR can be a life-changing option. No awkward visits to the family doctor or the local pharmacy where everybody knows your business. It’s all done discreetly online and shipped straight to your door.

BLADE: You have publicly argued that cuts to government HIV prevention funding are of high risk. Would you please elaborate for us on what those budget decisions mean on an individual level?

SCHUKRAFT: It means real people fall through the cracks. Someone doesn’t get tested. Someone waits too long to start PrEP. Someone finds out they’re HIV-positive later than they should have. Community clinics will be the hardest hit, especially those in underserved communities. The good news is that MISTR is ready to help people who might lose their access to care. All you need to do is sign up at mistr.com, and it’s totally free with or without insurance.

BLADE: From your (and MISTR’s) perspective, how do these funding cuts threaten ongoing efforts to end the HIV epidemic?

SCHUKRAFT: For the first time, we have all the tools to end HIV. If everybody who is HIV negative is taking PrEP and everyone HIV+ is virally suppressed, we can end all new HIV transmissions in the United States. We have everything we need today. All we need is to get more people on PrEP. Cutting funding risks losing that momentum. Ending HIV requires scale and consistency. Every time funding gets cut, you lose momentum, trust, and infrastructure, and rebuilding that takes years.

HIV transmissions don’t pause because budgets change.

BLADE: In our current climate of decreased federal investment, what role do you feel private healthcare and business should play in sexual health?

SCHUKRAFT: With reports that the current administration is considering cuts to HIV and prevention funding, we face a moment of reckoning. At the same time, some employers are seeking to exclude PrEP and HIV prevention from their coverage on religious freedom grounds. If these challenges succeed, and if federal funding is slashed, the consequences for public health will be devastating. But this is where the private sector must step up to fill the gap, bridge divides, and deliver results.

Businesses have the power and platform to normalize HIV prevention and drive measurable outcomes. At MISTR, we see firsthand what’s possible: since introducing DoxyPEP, STI positivity rates among our patients have been cut in half. But it’s not just about medication. It’s about messaging.

Our sex-positive, stigma-free marketing speaks directly to our community, making sexual health part of everyday life. No awkward doctor visits, no needles, no paperwork — just free online PrEP and STI testing, prescribed by real physicians and delivered to your door. That kind of impact could grow exponentially if more employers embraced this approach and made HIV prevention part of their employee wellness programs.

Employers, this is your call to action. Start by making sure your health plans cover PrEP and DoxyPEP. Partner with platforms like MISTR to give employees private, stigma-free access to care. Offer on-site testing. Talk openly about sexual health, not just during Pride, but every day of the year. This is not political — this is about protecting lives, strengthening communities, and building a healthier, more productive workforce. Because healthy employees aren’t just good for public health — they’re good for business.

When the private sector steps up, outcomes improve. And when businesses align with platforms like MISTR, scaling impact isn’t just possible — it’s happening.

BLADE: Has MISTR experienced any direct effects from these recent shifts in public health funding?

SCHUKRAFT: MISTR’s unique model is totally free for patients with or without insurance, and we don’t cost the government or taxpayers a penny. We are scaling up our efforts to reach people who might be losing their access or care.

BLADE: What would be your message to policymakers who are considering further cuts to HIV/AIDS programs?

SCHUKRAFT: During his first term, President Donald Trump committed unprecedented resources to the Ending the HIV Epidemic initiative here at home. Bipartisan support has shown what’s possible when bold leadership meets smart strategy. To policymakers: I urge you to reconsider any cuts to HIV prevention funding. This is not the time to pull back. It’s the time to push forward. Ending HIV is within reach — but only if government, private industry, and community organizations stand together.

BLADE: What is one perhaps overlooked win from last year that impacted you on a personal level?

SCHUKRAFT: Seeing our STI positivity rate drop by half after expanding DoxyPEP.

BLADE: Looking at the year ahead, what are MISTR’s most significant priorities for sexual health in 2026?

SCHUKRAFT: Expanding access, especially in the South and in communities that still get left out. Rolling out injectable PrEP. And just continuing to make sexual healthcare easier and more normal.