Arts & Entertainment
Accompanying ‘Florence’
‘Big Bang’ star plays gay in new Meryl Streep vehicle

Simon Helberg as accompanist Cosmé McMoon in ‘Florence Foster Jenkins.’ (Photo courtesy Paramount Pictures)
Fans who only know Simon Helberg as the super nerd Howard Wolowitz on “The Big Bang Theory” will be surprised and delighted to see him in his latest role: Meryl Streep’s shyly flamboyant accompanist in the new movie “Florence Foster Jenkins,” opening Friday, Aug. 12 in wide release.
Madame Florence, played by Streep, was a wealthy New York socialite and patron of the arts. Although she was a classically trained pianist who played at the White House when she was a child, her claim to musical fame was an infamous 1944 Carnegie Hall performance that showcased her complete lack of singing ability.
Helberg plays Cosmé McMoon, Madame Florence’s long-suffering but supportive pianist. He started developing his character by zeroing in on the work of screenwriter Nicholas Martin.
“First and foremost is the script,” Helberg says. “He wrote these characters who are very vivid and very full. There were so many clues in the script. I took every word and direction as gospel.”
From there, Helberg turned to the historical record, discovering he was born in Mexico to Irish immigrants who later moved to San Antonio and New York.
“I went to research who he really was. There wasn’t a lot of information on him, but there were these little insights,” he says. “I thought he must have felt somewhat alien.”
As for McMoon being gay, everything pointed to it. McMoon was, after all, an accompanist. He was fascinated with muscle magazines and body-building competitions. He worked at a bathhouse and never married.
But Helberg decided to approach the character’s sexual orientation in a subtle manner, reflecting both the character and the period. McMoon starts out the movie “completely innocent.” But, as he starts to move about in the glittering social circles that Jenkins and her husband St. Clair Bayfield (Hugh Grant) inhabit, he becomes more aware of his sexuality. By the end of the movie, McMoon rushes backstage for the Carnegie Hall concert, explaining his lateness by breathlessly gushing, “I was attacked by lots of sailors.” As Helberg dryly notes, it’s not exactly clear what has happened, but “the light bulb has started to flicker.”
As for McMoon’s delightful physical mannerisms, they’re rooted in Helbing’s own training as a piano player: arms weighted to the floor and fingers dancing over the keys. Cosmé, Simon says, “has the posture that a classically trained pianist would be taught.”
Helberg, in fact, nearly became a professional pianist.
“I’m good,” he says. “I used to obsessively play and practice all the time in high school. But once I started acting, then I just started playing for fun. I threw away that career path. Because being an actor is so much easier than being a jazz pianist.”
“I kept playing for fun,” he says, “but never anything classical or opera. Then this came along. I really wanted to be in this movie and thought how great that I can play the piano. At least I’ll be able to put my hands in the right place and make it look real when a classically trained pianist plays the music. Maybe I’ll get to play a song or two.”
But things turned out slightly differently. Director Stephen Frears wanted a pianist who could really play Strauss and Mozart. Once he got the part, Helbing started a crash course in classical music. Then, once he got on set, Helberg started a crash course with Meryl Streep. Luckily, Helberg says, “I’m really good at making people sound worse.”
Streep and Helberg hey had a week and a half to rehearse before filming started.
“We had this great collaboration,” Helberg says. “We really had to go into this intimate and intense training. We had to work it and work it and work it. It was incredibly tough and satisfying to actually sit there and do it.”
Initially, Streep and Helberg assumed they would perform to pre-recorded tracks.
“I know Meryl always wanted to sing it live, but at first that didn’t seem possible,” the actor says. “We prerecorded at Abbey Road Studios, but once we did that, the producers said, ‘Well, they can really do it. Let’s just have them do it live. Screw that album.’”
Working with Streep, Helberg says, “was honestly a dream for me. She’s very aware of people and she’s very open and she’s grounded. She’s about making the best movie she can and it’s not about her. There’s something very effortless about it.”
Since McMoon becomes a confidante to both Madame Florence and her husband, Helberg also spent a lot of time working with Hugh Grant, whom he calls “hilariously self-deprecating and neurotic.”
“I thought that was my job but were battling for who was most neurotic. He was completely consumed with making the film the best it could be. I know he was also nervous about working with Meryl and even Meryl was nervous about being Meryl. That’s a lot of pressure.”
The scene, however, that was must challenging for the actor was McMoon’s delayed burst of laughter after he finally hears Madame Florence sing.
“It’s so hard to laugh that way when you’re having an uncontrollable fit of laughter.”
He asked Meryl Streep for advice, and she said, “Well try to cry, that always makes me laugh.” Helberg rejected that advice, fearing he’d actually cry.
He tried recording a couple of things on his phone, but finally realized, “I just had to surrender to it. Stephen had a conversation with me about how I saw that scene, about how I saw it being shot and how I saw it being cut together, and how I saw the elevator and how many people should be in it. He really was asking me questions that I felt less qualified to answer than he, but he really wanted to know what I thought. It was a tricky scene for everyone involved, but it did turn out nicely.”
Now that “Florence Foster Jenkins” is in theaters, Helberg is getting ready to start filming season 10 of “The Big Bang Theory.” The actor admits he doesn’t know a lot about what’s in store for Howard and his friend.
He says we’ll be seeing more of Christine Baranski, Laurie Metcalf and Judd Hirsch and meet Penny’s brother and mother.
“I literally have no idea.” he says. “They don’t tell us anything ever until we get the script the night before the table read. What I do know, based on my rudimentary knowledge of biology, is that he will be having a baby, because Bernadette is pregnant and I hear that’s how it works. Their baby will come in the first half of the season and they will be navigating that and figuring out who the bigger baby is, him or the baby.”
Arts & Entertainment
The very few queer highlights of the Oscars
Streisand’s live performance, a shocking tie, and more
LOS ANGELES — While Sunday’s Academy Awards saw the expected winners “One Battle After Another” and “Sinners” nab a collective 10 Oscars throughout the evening, dominating most of the major categories, there were a few moments for queer film fans to celebrate.
During the ceremony’s prolonged and emotional In Memoriam segment, which paid tribute to Robert Redford, Rob Reiner, and Catherine O’Hara, queer icon Barbra Streisand went on stage and gave a rare live performance of “The Way We Were” as a tribute to Redford, who died last September at the age of 83. Before singing, Streisand said, “Now, Bob had real backbone on and off the screen. He spoke up to defend freedom of the press, protect the environment, and encouraged new voices at his Sundance Institute — some of whom are up for Oscars tonight, which is so great. He was thoughtful and bold.”
Both “I Lied to You” from “Sinners” and “Golden” from “KPop Demon Hunters” were performed live; Alabama Shakes front woman Brittany Howard performed during the evening’s powerful rendition of “Sinners’” “pierce the veil” scene. “Golden” ended up winning the Best Original Song award.
One of the most shocking moments of the night arrived early on when Kumail Nanjiani presented the Best Live Action short category, which was a tie between “The Singers” and “Two People Exchanging Saliva” — only the seventh tie in Oscars history (one of which involved Streisand’s 1969 win for “Funny Girl”). The latter short, which is currently streaming on The New Yorker, is described as “a dystopian version of Paris where kissing is forbidden and purchases are made through small acts of violence” and follows the unexpected connection between two women.
When accepting the award, “Two People Exchanging Saliva” director and producer Natalie Musteata said: “Thank you to the Academy for supporting a film that is weird, and that is queer, and that is made by a majority of women!”
“One Battle After Another’s” editor, Andy Jurgensen (who collaborated with Paul Thomas Anderson on “Licorice Pizza” and “Phantom Thread”), kissed his husband before going on stage to accept his award for film editing. He said, “To my partner, Bill, who brings so much joy to my life every day.”
Overall, the 2026 award season did not feature many queer films or actors in the lineup, and that was reflected in both the Oscar nominees and eventual winners. Smaller award shows like the Gotham Awards and the Film Independent Spirit Awards provided opportunities for indies like “Sorry, Baby,” “Twinless,” and “Lurker” to get proper recognition. “One Battle After Another” won Best Picture and Best Director for Paul Thomas Anderson; “Sinners” star Michael B. Jordan won Best Actor; and “Hamnet’s” Jessie Buckley won Best Actress.
The annual fantasy, comics and science fiction convention Awesome Con was held at the Walter E. Washington Convention Center on March 13-15. Featured guests included openly gay actor, author and activist, George Takei. The convention included LGBTQ panels and a “Pride Alley” with LGBTQ-specific booths in the exhibit hall.
(Washington Blade photos by Michael Key)






















Ideally, spring is our season of renewal – personal, emotional, and social. Lucky for those in the DMV, there’s a lot of exhilarating new theater to help make it happen.
At Arena Stage, there’s still time to catch the world premiere production of “Chez Joey” (extended through March 22). Set around the 1940s Chicago jazz scene, this smart reboot of the Broadway classic “Pal Joey” effervesces with music by Rodgers and Hart and a terrific cast brimming with big talent (including Myles Frost, Awa Sal Secka, and out comedic actor Kevin Cahoon).
Also at Arena, is “Inherit the Wind” (through April 5), the extraordinarily timely work based on the real-life Scopes “Monkey” Trial. It’s a courtroom drama that pits two towering legal minds against each other in a small-town battle over science, religion, and the right to think. The large, talented cast includes Billy Eugene Jones, Dakin Matthews, and out actors Holly Twyford and Alyssa Keegan. Arenastage.org
La Pluma Theatre, a queer Latin company housed in Dupont Underground, presents “The Ladybird of Saint John” (April 6-12), a powerful story about two sisters navigating immigration, separation, and the fragile bonds of family. @laplumatheatre – Instagram
Great gay playwright Tennessee Williams’ “A Streetcar Named Desire” (April 20–May 4) is also coming to the Dupont Underground space. Directed by out actor/director Nick Westrate, the touring production of Williams’s classic work set in New Orlean’s steamy Vieux Carré is performed with neither set nor props. It focuses on the words. Lucy Owen and Brad Koed star as fragile Blanche Dubois and her brutal brother-in-law Stanley. Dupontunderground.org
Folger Theatre is serving up one of the Bard’s best comedies, “As You Like It” (through April 12). Staged by out director Timothy Douglas, Folger’s production “offers a love note to D.C., imbuing the forest of Arden with the familiar vibes, culture, and characters that mark the District as a singular, resilient, and redemptive place of belonging.” Folger.edu
As part of the country’s semi-quincentennial celebrations, Ford’s Theatre presents “1776” (through May 16), a Tony Award-winning musical about the Second Continental Congress’s struggle to adopt the Declaration of Independence in Philadelphia. Directed by Luis Salgado, the show features a large cast including queer talent like Tom Story, Jake Loewenthal, Jimmy Mavrikes, and Wood Van Meter. Fords.org
In Falls Church, Creative Cauldron presents “Twelve Dancing Princesses” (through March 29), a Learning Theater Production targeting both kids and adults. Adapted from a Brothers Grimm tale, the eerie story features Spanish language elements and original music by husbands Matt Conner and Stephen Gregory Smith. Creativecauldron.org
The National Theatre presents “Disney’s Beauty and the Beast” (March 18–April 5). This musical “tale as old as time” is a love story involving Belle, a cursed beast, and the arrogant and famously spurned Gaston played out actor Stephen Mark Lukas, a beauty in his own right. Broadwayatthenational.com
At Mosaic Theater Company, Michael Bahsil-Cook plays the titular activist/congressman in Psalmayene 24’s “Young John Lewis: Prodigy of Protest.” (March 26–May 3). Staged by Mosaic’s out artistic director Reginald L. Douglas, focuses on Lewis’s formative years of ages 18-28, revealing the budding humanity and heart of this mighty historic figure. Talented out actor Vaughn Ryan Midder plays legendary civil rights activist Medgar Evers and other parts. Mosaictheater.org
At Olney Theatre Center, it’s the anticipated area premiere of “Appropriate” (March 18–April 19). Penned by Tony Award-winning out playwright Branden Jacobs-Jenkins, the darkly comic work follows a dysfunctional white family that gathers on a plantation home to liquidate their late father’s estate where they uncover a dark history of racism.
Excellent area actors Kimberly Gilbert and Cody Nickell play siblings battling over possessions as well as their father’s shady legacy. Performed in Olney’s black box Mulitz-Gudelsky Theatre Lab, the company promises a unique staging of this important American play. Jason Loewith directs.
Also at Olney Theatre, celebrity chef and longtime queer ally Carla Hall debuts her one-woman show, “Carla Hall — Please Underestimate Me” (June 3–July 12). Olneytheatre.org
British imports are striding the boards at Shakespeare Theatre Company this spring. The first is “Hamnet” (March 17–April 12), the U.S. premiere of the Royal Shakespeare Company’s 2023 stage adaptation of Maggie O’Farrell’s best-selling novel about the life of Shakespeare’s wife, Agnes, and the death of their son.
And then it’s “Eddie Izzard in the Tragedy of Hamlet” (March 27–April 11), a one-woman show in which the British comedian takes on 23 characters in a unique re-telling of the renowned work. Shakespearetheatre.org
Woolly Mammoth Theatre presents “Travesty” (March 24–April 12). Created and performed by gender fluid drag performer Sasha Velour, the one-person show is part performance art, part history, and part call to action.
Also at Woolly, out actor Justin Weaks stars in his solo piece “A Fine Madness” (June 2–21), in which the Helen Hayes Award-winning actor shares his personal experience as a Black gay man receiving a positive HIV diagnosis. Woollymammoth.net
Spring at Studio Theatre is Rachel Bonds’ “Jonah” (through April 19), an exploration of a woman’s life through relationships with three men. Directed by Taylor Reynolds, the young five-person cast includes Rohan Maletira in the title role and Ismena Mendes as Ana. Mendes is an accomplished stage and screen actor whose described as bisexual/queer in her IMBD bio. Studiotheatre.org
In Arlington, Signature Theatre’s out artistic director Matthew Gardiner stages “Pippin” (May 12–July 26), Stephen Schwartz’s musical about a young prince searching for a terrific life guided by a theatrical troupe. The original 1972 production featured stars like Ben Vereen and Irene Ryan (best known as TV’s Granny Clampett). Signature’s production’s big names have yet to be shared. Sigtheatre.org
Exciting stuff ahead.
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