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Celebrating the 2024 Helen Hayes Awards nominees

38th annual event returns next week ‘building on last year’s success’

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Justin Weaks as Belize and Nick Westrate as Prior in ‘Angels in America, Part One: Millennium Approaches’ at Arena Stage. (Photo by Margot Schulman)

2024 Helen Hayes Award
May 20, 2024
For tickets go to theatrewashington.org

It’s that time of year again when the DMV’s theater pros and those who love them getdolled up and show up to celebrate the best of last year’s work. 

On Monday (May 20), Theatre Washington’s Helen Hayes Awards marks its 38th year with a splashy ceremony at The Anthem on the District Wharf. With two parts, a non-rushed intermission, and a lively after party, the program is long but the format allows time to celebrate award recipients, enjoy the entertainment, and talk about some serious issues without racing to the end.

Co-directed by Will Gartshore and Raymond O. Caldwell, the show features four terrific hosts — out actor Tom Story, Felicia Curry, Maria Rizzo, and Rayanne Gonzales along with an ensemble of five singer/dancers (dubbed the Fab Five) peppering the show with some fun numbers. 

“We’re building on last year’s success,” says Amy Austin, Theatre Washington’s out president and CEO. “Again, dinner will be served during the show à la Golden Globes on the first floor for mostly nominees and their guests, and the second floor offers lots more affordable stadium seating.” 

Austin’s approach harks back to the sumptuous Helen Hayes Awards of yesteryear, which she cleverly remembers as the “ice sculpture age.” Ultimately, the goal is to create something fun, memorable, and meaningful: “It’s such a collaborative community and that’s why the Helen Hayes Awards are special; it’s a reunion of people who’ve worked together.” 

Still, the doling out of awards remains the focus of the long evening. And that leaves a lot of nominees waiting on tenterhooks to see just who will go home with prizes named for the legendary first lady of American theater, Miss Helen Hayes. 

The awards selection process is no simple task, she adds. Recognizing work from 151 eligible productions presented in the 2023 calendar year, nominations were made in 41 categories and grouped in “Helen” or “Hayes” cohorts, depending on the number of Equity members involved in the production with Hayes counting more. 

The nods are the result of 49 carefully vetted judges considering 2005 individual pieces of work, such as design, direction, choreography, performances, and more. Productions under consideration in 2023 included 44 musicals, 107 plays, and 36 world premieres.

As one of this year’s nominees, out actor Justin Weaks says he isn’t about beating the competition. He concedes it may sound cliché, but it’s a privilege simply to be nominated, especially with all the work done in the DMV. And certainly, with three wins and multiple nominations under his belt, he’s in a position to know. 

And now, he’s nominated for Outstanding Supporting Performer in a Play, for his notable turn as Belize/Mr. Lies in Arena Stage’s production of Tony Kushner’s seminal masterwork “Angels in America, Part One: Millennium Approaches.”

For Weaks, a longtime D.C. actor who relocated to New York in 2021, the “Angels” experience was singular: “It’s one of those great, very American plays that remains relevant, and that it’s centered on the gay experience and HIV/ AIDS makes it especially impactful for the queer community.”

Often noted for creating roles in new plays, Weaks enjoyed being part of a piece that so many hands have touched since its premiere more than 30 years ago. He was thrilled to work with the production’s Hungarian director János Szász who, Weak says, approached the piece as a new work, treating it like fresh text.

And does Weaks have a speech prepared? 

“The morning of the awards, I’ll journal about my experience with ‘Angels,’ and if my name is called, I’ll get up and give an abbreviated version of what I wrote. But mostly for me, it’s a reunion, a chance to be cute, get dressed up and celebrate the work.” 

In the Outstanding Lighting Design category, Brooklyn-based Venus Gulbranson is nominated for Woolly Mammoth Theatre Company & The Wilma Theater’s “My Mama and the Full-scale Invasion”. It’s the proud and out Filipino designer’s second nomination (last year she received a nod for Monumental Theatre’s “tick, tick… BOOM!”). 

“Lighting design is underrated in the eye of theatergoers,” explains Gulbranson who earned her lighting stripes as an Arena Stage fellow. “Scenic and costume design are somehow more tangible to them; they don’t often realize that it’s lighting designers who navigate the mood of the story. 

“It’s a very empathetic skill, and a good designer can take you there emotionally.  When you’re tearing up watching a scene, the lighting has a lot to do with it. We also spend a lot of time making scenes transition smoothly,” she adds. 

“We half-jokingly say ‘a compliment to set design is a compliment to us.’ We are the reason there are beautiful colors on stage. Scenery is our canvas.” 

Other queer nominees include Bobby Smith (Studio Theatre’s “Fun House”), Billie Krishawn (Arena’s “Angels in America”), Miss Kitty (Spooky Action Theatre’s “Agreste”), Michael Urie (The Kennedy Center’s “Monty Python’s Spamalot”), costume designer Frank Labovitz (Constellation Theatre Company’s “The School for Lies”), director Jason Loewith and set designer Tony Cisek (Round House Theatre & Olney Theatre Center’s “Ink”), and most likely more.  

Both the Helen Hayes Awards’ choreographer and a nominee, David Singleton is up for Outstanding Choreography in a Musical for NextStop Theatre Company’s “Ride the Cyclone,” a wildly entertaining dark comedy.

“The show’s score is eclectic, so I could do a little bit of everything. I had to find anchor points for each number where I draw most inspiration, and go with it. I have a strong jazz background, both street and musical theater jazz, but I’m also really into tap and some ballet.”  

Singleton began performing professionally in “Dreamgirls” at Toby’s Dinner Theatre in 2017, but he hit his stride with “really fierce” choreography post pandemic. 

A dancer first, Singleton says his energies are divided into thirds: performer, choreographer, and drag queen (Tiara Missou, an “incredibly vain but kind queen” who’s regularly featured at D.C. bars Pitchers and Shakers). When Singleton was 18, he volunteered to work the Helen Hayes Awards. He recalls thinking “I’ll be part of this one day, for what exactly I’m not sure” and now he says, “I’m here and I feel honored.”  

And what about a prepared speech? “Oh, definitely. I’m a rambler.”  

Break legs nominees! 

A full list of award recipients will be available at theatrewashington.org on Tuesday, May 21.

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Theater

Queers win big at 77th annual Tony Awards

‘Merrily We Roll Along’ among winners

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(Photo courtesy of the Tony Awards' Facebook page)

It was a banner night for queer theater artists at the 77th annual Tony Awards, honoring the best in Broadway theater at the Lincoln Center in New York on Sunday. Some of the biggest honors of the night went to the revival of the Stephen Sondheim musical “Merrily We Roll Along” and the dance-musical based on Sufjan Stephens’ album “Illinoise.

“Merrily We Roll Along,” which follows three friends as their lives change over the course of 20 years, told in reverse chronological order, picked up the awards for Best Revival of a Musical and Best Orchestrations. 

Out actor Jonathan Groff picked up his first Tony Award for his leading role as Franklin Shepard in the show, while his costar Daniel Radcliffe earned his first Tony Award for featured performance as Charley Kringas. 

Groff gave a heartfelt and teary acceptance speech about how he used to watch the Tony Awards as a child in Lancaster County, Pa.

“Thank you for letting me dress up like Mary Poppins when I was three,” he said to his parents in the audience. “Even if they didn’t understand me, my family knew the life-saving power of fanning the flame of a young person’s passions without judgment.”

Groff also thanked the everyone in the production of “Spring Awakening,” where he made his Broadway debut in 2006, for inspiring him to come out at the age of 23.

“To actually be able to be a part of making theatre in this city, and just as much to be able to watch the work of this incredible community has been the greatest pleasure of my life,” he said. 

This was Groff’s third Tony nomination, having been previously nominated for his leading role in “Spring Awakening” and for his featured performance as King George III in “Hamilton.” 

Radcliffe, who is best known for starring in the “Harry Potter” series of movies, has long been an ally of the LGBTQ community, and has recently been known to spar with “Harry Potter” creator JK Rowling over her extreme opposition to trans rights on social media and in interviews. It was Radcliffe’s first Tony nomination and win.

Lesbian icon Sarah Paulson won her first Tony Award for her starring role in the play “Appropriate,” about a family coming to terms with the legacy of their slave-owning ancestors as they attempt to sell their late father’s estate. It was her first nomination and win.

In her acceptance speech, she thanked her partner Holland Taylor “for loving me.” Along with Paulson’s Emmy win for “American Crime Story: The People vs. O.J. Simpson,” she is halfway to EGOT status.

The Sufjan Stephens dance-musical “Illinoise,” based on his album of the same name, took home the award for Best Choreography for choreographer Justin Peck. It was his second win.

During the ceremony, the cast of “Illinoise” performed “The Predatory Wasp of the Palisades is Out to Get Us!”, a moving dance number about a queer romance.

A big winner of the night was the adaptation of the S.E. Hinton novel “The Outsiders,” which dominated the musical categories, earning Best Director, Sound Design, Lighting Design, and Best Musical, which earned LGBTQ ally Angelina Jolie her first Tony Award.

Also a big winner was “Stereophonic,” which dominated the play categories, winning the awards for Best Play, Featured Actor, Director, Sound Design, and Scenic Design.

“Suffs,” a musical about the fight for women’s suffrage in the U.S., which acknowledges the lesbian relationship that suffragist Carrie Chapman Catt had in song called “If We Were Married,” took home awards for Best Book of a Musical and Best Score, both for creator Shaina Taub. 

Had “Suffs” also won for Best Musical, producers Hilary Clinton and Malala Yousafzai would have won their first Tony Awards. 

Other winners include Maleah Joi Moon for her lead role and Kecia Lewis for her featured role in the Alicia Keys musical “Hell’s Kitchen,” Jeremy Strong for his lead role in An Enemy of the People, and Kara Young for her featured role in “Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch.”

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‘Rose: You Are Who You Eat’ an irreverent romp at Woolly Mammoth

Solo performance by John Jarboe offers much to consume

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John Jarboe in ‘Rose: You Are Who You Eat’ at Woolly Mammoth Theatre Company. (Photo by Teresa Castracane)

‘Rose: You Are Who You Eat’
Though June 23
Woolly Mammoth Theatre Company
641 D St., N.W.
$60-$82
Woollymammoth.net

With “Rose: You Are Who You Eat,” a solo performance by John Jarboe (she/her), now at Woolly Mammoth Theatre Company, there’s a lot to uncover and consume.  

For much of the show, you might think the appealing Jarboe is playing dress up in a pair of tighty-whities and sparkly go-go boots, but it’s something else and she’s ready to go there. 

Jarboe is a cannibal. Not in the usual sense. She learned from a well-meaning aunt that while still in the womb, she ate her twin, and that’s what made Jarboe the way she is (a reference to gender queerness).

Despite the aunt’s awkward delivery of family dish, the prenatal news struck a chord with Jarboe: the vanishing twin who would have been named Rose, became increasingly connected to her own identity. Along with the inevitable jokes about eating her sister’s spaghetti thin hair and tasty eyeballs, there’s meaty matter unfolding onstage. 

Not entirely unexpected, Jarboe also harbors mommy issues. Mom, here referred to as “Mother” for the sake of anonymity, is a buttoned-down tax accountant who the more perturbed she becomes the wider her forced smile grows. And while Jarboe needs to have that long overdue talk with Mother, something always seems to get in the way; invariably it’s tax season.

Assisted by some primary source props (a baby book, notes, a string of pearls filched from Mother’s jewelry box), Jarboe further digs into gender expression and identity. Her performance career began in her child bedroom closet with a flashlight and makeshift costume, an obsession to which her parents initially subscribed, later not as much. 

Among the 75-minute-long show’s highlights are five or so songs, rock numbers and redolent ballads composed by Jarboe, Emily Bate, Daniel de Jesús, Pax Ressler and Be Steadwell. 

It’s definitely a solo show conceived and delightfully performed by Jarboe; however, she’s supported by a terrific four-person band (costumed in what appeared from Row D to be rosebush inspired jumpsuits) including Mel Regn, Yifan Huang, Daniel de Jesús, and music director Emily Bate. Bate is a singer, composer and performer who runs a queer and trans community chorus in Philadelphia called Trust Your Moves, an experiment in collective singing designed around liberation and co-creation.

As Jarboe moves into her 30s, she celebrates and incorporates her lost twin as part of herself with a new intensity. She writes letters, yearning for even the most tepid reply. Her obsession with Mother remains a thing too.

Dressed in a sylphlike rosy red gown (by costume designer Rebecca Kanach) Jarboe uses call-and-response (with the audience standing in for Mother) in search of some resolution. It’s beautifully done. 

With various kinds of backing coming from CulturalDC, the Washington Blade, Capital Pride, the Bearded Ladies Cabaret and other New York-based groups, there’s nothing itinerant cabaret looking about “Rose.” Directed by MK Tuomanen, it’s an elevated, visually engaging production. 

For instance, set and video designer Christopher Ash’s projections shown on both a serviceable scrim and later a wondrously huge toile curtain, beautifully feature photos from an ostensibly idyllic Midwestern childhood. We see a young Jarboe not only enjoying hockey, fishing, and hunting, but also pulling off a strikingly girly, cheesecake pose.  

At the top of the show, there’s live video of Jarboe’s outsized mouth devouring wings fished from a bucket of fried chicken. Hints of cannibalism? 

“Rose: You Are Who You Eat” is an irreverent romp, deeply personal yet relatable. It’s an evening of poignantly performed moments, off the cuff laughs, and some awkward/sexy audience interaction. 

As a performer, Jarboe lays herself bare, exposing strengths (rich melodious voice, presence, ingenuity) and weaknesses (garrulity and more than a few un-landed jokes) in equal turns. 

Hers is a world that invites audiences to just let go and go with it. Jarboe’s intrepid journey melds the familiar and the startling. In short, it’s a trip worth taking. 

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Theater

‘Portraits’ offers thoughtful storytelling told through art, music, dance

Kennedy Center world premiere on June 16 features lesbian artist Joan Cox

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‘Night Hunger,’ a painting by Joan Cox

‘Portraits’
Gay Men’s Chorus of Washington
Sunday, June 16, 5 p.m.
The John F. Kennedy Center for the Performing Arts
2700 F St., N.W. 
$25–$80
Gmcw.org

Right on time for Pride, the Gay Men’s Chorus of Washington, D.C. (GMCW), presents “Portraits,” a one night only, not to be missed, world premiere concert at the Kennedy Center Concert Hall. 

Without the camp found in some of GMCW’s terrific holiday programming, “Portraits” is 90 minutes of thoughtful storytelling told through visual art, music, and dance. Several years in the making, the uniquely collaborative effort covers a lively spectrum of sexual, gender, racial, ethnic, and cultural identities in a nine-movement oratorio commission, combining the stunning work of nine visual artists, nine composers, and nine choreographers, sung by the Chorus and featuring 17th Street Dance.

“For Us,” one of the nine musical pieces, is anchored by “Night Hunger,” a striking oil painting by Baltimore-based lesbian artist Joan Cox. Selected through open competition, her compelling piece is a double portrait featuring the artist and her wife Mare at home reclining on a couch in their lived in home. With her canvas, Cox simultaneously achieves a sense of strength and profound yet casual intimacy. 

“It’s a big painting (50 x 60 inches). Really big, featuring partners on a sofa perfect to hang over a sofa,” she says with a chuckle. “For ‘Portraits,’ the idea is my painting and the other exciting works will be projected onstage at the Kennedy Center with music and dance sort of like mini-musicals.”

Completed in 2012, while Cox was part of a Massachusetts College of Art and Design residency program in Provincetown, “Night Hunger” proved a seminal moment for the artist both personally and professionally. “I’d been closeted for a long time, and this work helped me to deal with outness and where I wanted to go as an artist,” she says. 

With its figures’ recumbent poses and direct engagement with the viewer, the work harks back to the Odalisque, a genre traditionally painted by and for men. But not so here. Cox says, “You can come into this intimate space, but not too far.”

The musical element of the collaboration comes compliments of Richard Clawson, a longtime singing member and commissioned composer for Atlanta’s OurSong, an LGBTQ choral group with a rich history and a strong commitment to promoting acceptance, diversity, and social justice through music. 

After hearing Cox reflect on her painting, about it not being geared toward the male gaze, Clawson had an increasingly clearer vision as to what her vibrant painting was all about. Admittedly, he is guided more by words than images. He says, “words tell me where I’m going.”

Not comfortable as a lyricist, Clawson tapped friend Caroline Peacock, an amateur lesbian poet and fellow chorister at OurSong, to provide the words. She was happy to oblige.

When neither writing nor singing, Peacock is an Episcopal priest and chaplain educator who directs the Spiritual Health program at Emory Winship Cancer Institute. She says the lesbian connection with a work isn’t its only strength. It must be celebrated for its kindness and tenderness too. 

The final bit of magic sprinkled upon the collaboration is choreography. With “For Us,” it’s James Ellzy, a family physician at the Defense Health Agency by day, and choreographer/dancer/chorister the rest of the time, who brings it together. 

“By the time it gets to me, the painter, composer, and lyricist are done. But for the choreographer, it’s just starting,” Ellzy says. “My job is to explore the back story and bring it to life. For this piece, I’m using two blankets from the original painting and bringing them out to something new.”

A lyric from “For Us” reads “not for the gaze of men” The choreographed piece includes a female couple and dance corps who are purposely not looking at the two women at times, especially when the “gaze of men” is sung. 

Ellzy’s connection with GMCW began as a guest artist in 2010 and then joining in 2011. He’s a baritone in the Chorus as well as a board member, and describes the interdisciplinary “Portraits” as extremely unusual but possibly comparable to Stephen Sondheim’s “Sunday at the Park with George” in which the painting comes to life. 

All the “For Us’” artists are honored to have been selected to participate, and are looking forward to their respective efforts being shown/sung/heard at the Kennedy Center, especially during Pride month. It’s not an everyday occurrence, they agree.

Cox is thrilled how the collaborative team has been absorbed by the artistic and personal details involving her 23-year long love story. She’s delighted by the experience, saying the work validates her journey as an artist and an LGBTQ advocate.

And Peacock, speaking for the group, sums it up: “It’s incredibly gratifying to do things that bring us joy, and when those things have a place in our world, it’s a great gift.”

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