Arts & Entertainment
Bold but vague
Out playwright explores political speech in new satire
Playwright Peter Sinn Nachtrieb’s new play is in the midst of a multi-city rollout premiere. (Washington Blade photo by Michael Key)
‘The Totalitarians’
Through June 29
Woolly Mammoth Theatre Company
641 D St., N.W.
$45-75
202-393-3939
In Peter Sinn Nachtrieb’s new political comedy “The Totalitarians,” it takes three words — “freedom from fear” — to turn a lopsided election around.
Former roller derby queen and all-around loose cannon Penelope Easter has political aspirations. Though she has zero knowledge of the issues and stands for nothing, Penny is undeterred. She’s rightfully confident that her big hair and her gay husband’s enormous fortune will open doors. But still, she needs help connecting with voters, low information and otherwise. That’s where Francine Jefferson comes in. Francine is a wannabe political operative with a talent for words. She believes that one killer speech with a catchy slogan repeatedly delivered by an appropriately passionate Penny could put this unlikely candidate on the path to becoming Nebraska’s lieutenant governor.
Meanwhile Francine’s doctor husband Jeffrey wants her to have a baby and stay at home. Besides, he doesn’t trust Penelope — even less when his young terminally ill patient Ben warns him of Penelope’s connection with a nefarious 1 percent cabal seeking to control all American politics. He joins militant Ben in trying to snuff out Penelope’s campaign.
Nachtrieb is tall (6’6”) and rangy. At 39, the gay playwright retains boyish charm and exudes a quiet intelligence. The inspiration for the “The Totalitarians,” he explains, came from a frustration with the language of politics and rhetoric; and whether anyone is actually saying anything or is it all just sound bites? He felt a need to dive into that.
“Penelope is very seductive cipher,” he says. “Whether she is left or right is uncertain. Seems like she’s fighting for something but you can’t pin down on what she stands for on any issue. Still Francine’s dream gets married to Penny’s. She writes some soaring, beautiful imagery reminiscent of early Obama’s — inspirational but with few specific references.”
And though Nachtrieb purports Penelope is not a commentary on any single party or person, her over-the-top vulgarity definitely come off more like Sarah Palin than Elizabeth Warren. Penelope is so outrageous, says the playwright, that in a different production she could easily be played by a male actor in drag.
“There is an attraction between Francine and Penelope. And the dynamic between Jeffrey and Ben is just shy of being a gay relationship. There are those clandestine meetings in cruisy parks. And the long hernia examination that Jeffrey gives to Ben is interesting.”
Commissioned by the New Play National Network, “The Totalitarians” is currently undergoing a year-long rolling premiere that kicked off at Southern Rep in New Orleans and is now playing at Woolly Mammoth. Later this year it will play at Z Space in San Francisco where Nachtrieb is playwright in residence.
Woolly’s production is staged by talented gay playwright and director Robert O’Hara. The cast features local actors Emily Townley and Dawn Ursula as Penelope and Francine, respectively. Jeffrey is played by Sean Meehan who played Morton in HBO’s production of “The Normal Heart,” gay dramatist Larry Kramer’s seminal AIDS play. Chicago actor Nick Loumos plays Ben. It’s Nachtrieb’s second collaboration with Woolly Mammoth. The first was his dark, apocalyptic comedy, “boom.”
Growing up in affluent Marin County, the suburb across the Golden Gate Bridge from San Francisco, Nachtrieb who’d been bullied in middle school, found a safe haven participating in musical theater. He majored in theater and biology at Brown University. While there, he came out during a production of “West Side Story.” (“All the other Jets were gay. I thought I must be too.”) He returned to the Bay Area where he entered the San Francisco State MFA Playwriting program, and earned his MFA in creative writing in 2005.
Today Nachtrieb lives in San Francisco’s Mission District with his partner of 13 years, Mark Marino, a nurse. Sometimes his relationship and feelings are reflected in his work, sometimes through straight characters: “Francine and Jeffrey talk about having children and the challenges of busy work schedules. Those are discussions my partner and I have, too.
“And for instance, Ben, the young activist, has a monologue that isn’t just about wanting equality but sometimes you want a little vengeance as well for being treated badly.”
Next up, Nachtrieb is working on a new play concerning house tours. “It’s all about shame,” he says, “and the pleasures of hiding things.”
Theater
Out dancer on Alvin Ailey’s stint at Warner Theatre
10-day production marks kickoff of national tour
Alvin Ailey American Dance Theater
Through Feb. 8
Warner Theatre
513 12th St., N.W.
Tickets start at $75
ailey.org
The legendary Alvin Ailey American Dance Theater is coming to Washington’s Warner Theatre, and one of its principal veterans couldn’t be more pleased. Out dancer Renaldo Maurice is eager to be a part of the company’s 10-day stint, the kickoff of a national tour that extends through early May.
“I love the respectful D.C. crowd and they love us,” says Maurice, a member of esteemed modern dance company for 15 years. The traveling tour is made of two programs and different casting with Ailey’s masterwork “Revelations” in both programs.
Recently, we caught up with Maurice via phone. He called from one of the quiet rooms in his New York City gym where he’s getting his body ready for the long Ailey tour.
Based in North Newark, N.J., where he recently bought a house, Maurice looks forward to being on the road: “I enjoy the rigorous performance schedule, classes, shows, gym, and travel. It’s all part of carving out a lane for myself and my future and what that looks like.”
Raised by a single mother of three in Gary, Ind., Maurice, 33, first saw Alvin Ailey as a young kid in the Auditorium Theatre in downtown Chicago, the same venue where he’s performed with the company as a professional dancer.
He credits his mother with his success: “She’s a real dance mom. I would not be the man or artist I am today if it weren’t for the grooming and discipline of my mom. Support and encouragement. It’s impacted my artistry and my adulthood.”
Maurice is also part of the New York Ballroom scene, an African-American and Latin underground LGBTQ+ subculture where ball attendees “walk” in a variety of categories (like “realness,” “fashion,” and “sex siren”) for big prizes. He’s known as the Legendary Overall Father of the Haus of Alpha Omega.
WASHINGTON BLADE: Like many gay men of his era, Ailey lived a largely closeted public life before his death from AIDS-related complications in 1989.
RENALDO MAURICE Not unusual for a Black gay man born during the Depression in Rogers, Texas, who’s striving to break out in the industry to be a creative. You want to be respected and heard. Black man, and Black man who dances, and you may be same-sex gender loving too. It was a lot, especially at that time.
BLADE: Ailey has been described as intellectual, humble, and graceful. He possessed strength. He knew who he was and what stories he wanted to tell.
MAURICE: Definitely, he wanted to concentrate on sharing and telling stories. What kept him going was his art. Ailey wanted dancers to live their lives and express that experience on stage. That way people in the audience could connect with them. It’s incredibly powerful that you can touch people by moving your body.
That’s partly what’s so special about “Revelations,” his longest running ballet and a fan favorite that’s part of the upcoming tour. Choreographed by Alvin Ailey in 1960, it’s a modern dance work that honors African-American cultural heritage through themes of grief, joy, and faith.
BLADE: Is “Revelation” a meaningful piece for you?
MAURICE: It’s my favorite piece. I saw it as a kid and now perform it as a professional dance artist. I’ve grown into the role since I was 20 years old.
BLADE: How can a dancer in a prestigious company also be a ballroom house father?
MAURICE: I’ve made it work. I learned how to navigate and separate. I’m a principal dancer with Ailey. And I take that seriously. But I’m also a house father and I take that seriously as well.
I’m about positivity, unity, and hard work. In ballroom you compete and if you’re not good, you can get chopped. You got to work on your craft and come back harder. It’s the same with dance.
BLADE: Any message for queer audiences?
MAURICE: I know my queer brothers and sisters love to leave with something good. If you come to any Ailey performance you’ll be touched, your spirit will be uplifted. There’s laughter, thoughtful and tender moments. And it’s all delivered by artists who are passionate about what they do.
BLADE: Alvin Ailey has been a huge part of your life. Thoughts on that?
MAURICE: I’m a believer in it takes a village. Hard work and discipline. I take it seriously and I love what I do. Ailey has provided me with a lot: world travel, a livelihood, and working with talented people here and internationally. Alvin Ailey has been a huge part of my life from boyhood to now. It’s been great.
Catfish Comedy will host “2026 Queer Kickoff Show” on Thursday, Feb. 5 at A League of Her Own (2319 18th Street, N.W.). This show features D.C.’s funniest LGBTQ and femme comedians. The lineup features performers who regularly take the stage at top clubs like DC Improv and Comedy Loft, with comics who tour nationally.
Tickets are $17.85 and can be purchased on Eventbrite.
Arts & Entertainment
Catherine O’Hara, ‘Schitt’s Creek’ star and celebrated queer ally, dies at 71
Actress remembered for memorable comedic roles in ‘Beetlejuice’ and ‘Home Alone’
Catherine O’Hara, the varied comedic actor known for memorable roles in “Beetlejuice,” “Schitt’s Creek,” and “Home Alone,” has died at 71 on Friday, according to multiple reports. No further details about her death were revealed.
O’Hara’s death comes as a shock to Hollywood, as the Emmy award-winning actor has been recently active, with roles in both “The Studio” and “The Last of Us.” For her work in those two shows, she received Emmy nominations for outstanding supporting actress in a comedy series and outstanding guest actress in a drama series.
In 2020, O’Hara won the Outstanding Lead Actress in a comedy series award for her work in the celebrated sixth and final season of “Schitt’s Creek.” She was also known as a queer ally and icon for her theatrical and often campy performances over multiple decades. In “Schitt’s Creek,” she played Moira Rose, the wig-loving mother of David Rose (played by series creator Dan Levy). David is pansexual, but the characters around him simply accept him for who he is; the show was embraced by the LGBTQ community with how naturally David’s sexuality was written and portrayed. That show ran from 2015 to 2020 and helped bring O’Hara and her co-stars into a new phase of their careers.
In a 2019 interview with the Gay Times, O’Hara explained why the show got LGBTQ representation right: “Daniel has created a world that he wants to live in, that I want to live in. It’s ridiculous that we live in a world where we don’t know how to respect each other and let each other be. It’s crazy. Other shows should follow suit and present the world and present humans as the best that we can be. It doesn’t mean you can’t laugh, that you can’t be funny in light ways and dark ways. It’s all still possible when you respect and love each other.”
Additional credits include “SCTV Network” (for which O’Hara won a writing Emmy), “Beetlejuice Beetlejuice,” “Curb Your Enthusiasm,” “Six Feet Under,” “Best in Show,” “Home Alone 2: Lost in New York,” and “Dick Tracy.” O’Hara also lent her voice to “The Nightmare Before Christmas,” “Chicken Little,” “Monster House,” and “Elemental.” O’Hara was expected to return for Season 2 of “The Studio,” which started filming earlier this month.
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