Arts & Entertainment
SAGE honors Vilanch, Jewel Thais-Williams in L.A.
‘We did the bravest thing — we came out’
Honorees Bruce Vilanch and Jewel Thais-Williams
LOS ANGELES — The fundraiser for SAGE USA March 4 in the Hollywood Hills felt like a reunion, a coming together of a generation of LGBT people with shared memories and a desire to confront aging, an issue, SAGE Board Development chair Bill Weinberger said, he heretofore had avoided thinking about. Honorees Jewel Thais-Williams and Bruce Vilanch, however, exemplify how LGBT people can age as respected elders with grace, continued activism, and humor.
Weinberger introduced Phill Wilson, founder of the Black AIDS Institute, whom he has known since the early 1980s. Shortly after, Wilson discovered he was HIV positive. He noted that while “many of us were dealing with whether we would survive or not, SAGE has always believed we would.” Wilson shared how Thais-Williams bravely opened Jewel’s Catch One Disco as a refuge for LGBT people desperate for a place where they could be themselves.
“Jewel has been a leader, a hero, and a visionary and an advocate for a long, long time,” Wilson said. “Jewel was one of those ‘bridge’ people,” linking the LGBT African-American community to organizations such as AIDS Project Los Angeles and her alma mater, UCLA. You always speak up, whether you’re afraid or not.”
Thais-Williams joked that she was honored to be honored, having spent the last 42 years at Catch One “partying,” adding that she will turn 78 in a couple of months. “To be of service to my community has been a great joy,” she said. “But there is still a lot of work to do. Remember to always reach out to those in need.”
“There has never been a more important time to come together,” SAGE CEO Michael Adams told the diverse crowd of SAGE board members, staffers and supporters at the elegant home of James Frost and William Yi. “We are living in very challenging times,” a notion received with a knowing chuckle for its understatement.
A civilization is historically measured by how it cares and supports its children and most vulnerable and how it supports its elders, Adams said, not just the “right kind of elders….We owe it to our elders, the pioneers who paved the way for the equality we celebrate today….We need the wisdom of our pioneers, our elders.”
SAGE (Services and Advocacy for GLBT Elders) was founded in 1978 in Greenwich Village by two activists and a handful of supporters to provide a visiting program and drop-in center for LGBT seniors. It is now a national organization with 30 SAGENet affiliates in 20 states and D.C., and is partnering with the Williams Institute at UCLA School of Law. Adams also had kind words for the LA LGBT Center and its programs caring for LGBT seniors.
Demographic estimates predict that there will be 6 million LGBT people age 65 years or over in America by 2030. That sets the stage for a potentially disastrous future since, as SAGE notes, LGBT seniors are “twice as likely to be single, twice as likely to live alone, and four times more likely to be without children than their heterosexual peers.” And, Adam said, facilities that take care of the aging population are “woefully unprepared” to take care of LGBT seniors who fear having to go back in the closet in order to get care and treatment without discrimination.
In introducing comedic writer/actor Bruce Vilanch, SAGE Board co-chair Elizabeth Schwartz—whose co-chair is former LA-based board activist Kevin Williams—said Vilanch’s appearances on “Hollywood Squares” were “instrumental in shaping gay images.” Watching him, “we didn’t have to speculate obsessively” about whether he was gay “as I did over Kristy McNichol.” She was also grateful that he was also out about being chubby. Vilanch, she said, has a “tireless dedication to the LGBT community.”
In accepting the handsomely shaped glass award, the legendary Oscar writer said that when he was told he was being honored by SAGE, his first thought was: “You have the wrong envelope,” referring to the Best Picture mishap at the Academy Awards.
However, a recent interview with a young journalist underscored that he is now arcing “into my dotage.” The young gay man had no idea who Ted Mack was, though “Ted Mack’s Amateur Hour,” the variety-show precursor to shows like “American Idol,” launched the careers of such future celebrities as Pat Boone and Ann-Margret. The young man sat stone faced at the mention of her name.
“When queens don’t know who Ann-Margret is, we’re in trouble,” Vilanch said to an uproar of laughter.
“Senior gays are not venerated,” he said. “But we are valued because we can pick up the check or write it.”
As to his decision to be openly gay at a time when being out was a brave decision, Vilanch noted that he worked in the more accepting entertainment industry. But early on, he worked as a journalist writing features for the Chicago Tribune and tried to get gay stories into the paper. Vilanch cited a quote that stuck with him: “A faggot is a homosexual gentleman who just left the room.” He determined to be “the faggot who stayed in the room.”
LGBT progress is result of taking action. “We did the bravest thing—we came out and that changed everything,” Vilanch said. But the LGBT community cannot rely on help from outside. “We have to do it for ourselves….[and] we’re not done yet.”
SAGE CEO Michael Adams also announced the launch of a new initiative in conjunction with AARP—SAGETable— to build “intergenerational connections in the LGBT community” by “breaking bread with your LGBT family on May 18. Visit sagetable.org.
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Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
Amy Madigan’s win in the supporting actress category puts her in serious contention to win the Oscar for ‘Weapons’
From Chelsea Handler shouting out Heated Rivalry in her opening monologue to Amy Madigan proving that horror performances can (and should) be taken seriously, the Critics Choice Awards provided plenty of iconic moments for queer movie fans to celebrate on the long road to Oscar night.
Handler kicked off the ceremony by recapping the biggest moments in pop culture last year, from Wicked: For Good to Sinners. She also made room to joke about the surprise hit TV sensation on everyone’s minds: “Shoutout to Heated Rivalry. Everyone loves it! Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”
The back-to-back wins for Jacob Elordi in Frankenstein and Amy Madigan in Weapons are notable, given the horror bias that awards voters typically have. Aunt Gladys instantly became a pop culture phenomenon within the LGBTQ+ community when Zach Cregger’s hit horror comedy released in August, but the thought that Madigan could be a serious awards contender for such a fun, out-there performance seemed improbable to most months ago. Now, considering the sheer amount of critics’ attention she’s received over the past month, there’s no denying she’s in the running for the Oscar.
“I really wasn’t expecting all of this because I thought people would like the movie, and I thought people would dig Gladys, but you love Gladys! I mean, it’s crazy,” Madigan said during her acceptance speech. “I get [sent] makeup tutorials and paintings. I even got one weird thing about how she’s a sex icon also, which I didn’t go too deep into that one.”
Over on the TV side, Rhea Seehorn won in the incredibly competitive best actress in a drama series category for her acclaimed performance as Carol in Pluribus, beating out the likes of Emmy winner Britt Lower for Severance, Carrie Coon for The White Lotus, and Bella Ramsey for The Last of Us. Pluribus, which was created by Breaking Bad’s showrunner Vince Gilligan, has been celebrated by audiences for its rich exploration of queer trauma and conversion therapy.
Jean Smart was Hack’s only win of the night, as Hannah Einbinder couldn’t repeat her Emmy victory in the supporting actress in a comedy series category against Janelle James, who nabbed a trophy for Abbott Elementary. Hacks lost the best comedy series award to The Studio, as it did at the Emmys in September. And in the limited series category, Erin Doherty repeated her Emmy success in supporting actress, joining in yet another Adolescence awards sweep.
As Oscar fans speculate on what these Critics Choice wins mean for future ceremonies, we have next week’s Golden Globes ceremony to look forward to on Jan. 11.
(Washington Blade photos by Michael Key)
It’s been a year filled with drama and music, re-imaginings and new works. There was a lot on offer in 2025, and much to enjoy. Here are 10 now-closed productions that come to mind.
On Valentine’s Day at Folger Theatre on Capitol Hill, out actor Holly Twyford served as narrator for “The Love Birds” a Folger Consort work that melds medieval music with a world-premiere composition by acclaimed composer Juri Seo and readings from Geoffrey Chaucer’s “A Parlement of Foules”
Standing behind a podium, Twyford beautifully read Chaucer’s words (translated from Middle English and backed by projected slides in the original language), alternating with music played on old and new instruments.
While Mosaic Theater’s “A Case for the Existence of God,” closed in mid-December, it’s proving a production not soon forgotten. Precisely staged by Danilo Gambini, and impressively acted by Lee Orsorio and Jaysen Wright, the soul-searching two hander by out playwright Samuel D. Hunter, tells the story of two men who form an unlikely friendship based on single-fatherhood, a specific sadness, and hope.
The action unfolds in a small office in southern Idaho, where the pair discuss the perplexing terms of a mortgage loan while delving deep into their lives and backgrounds. Nothing is left off the table.
Shakespeare Theatre Company’s spring production of “Uncle Vanya” gave audiences something both fresh yet enduring. Staged by STC’s artistic director Simon Godwin, the production put an impeccably pleasing twist on Russian playwright Anton Chekhov’s classic. It ranks among the very best area productions of the year.
Featuring a topnotch cast led by Hugh Bonneville (TV’s “Downton Abbey”) in the title role, the play was set on an unfinished stage cluttered with costume racks and assorted props, all assembled by crew uniformed in black and actors in street clothes. Throughout the drama tinged with comedy, the actors continued to assist with ever increasingly period set changes accompanied by an underscore of melancholic cello strings. It was innovative and wonderful.
GALA Hispanic Theatre’s production of Manuel Puig’s “Kiss of the Spider Woman” was an intimate and affecting piece of theater. Staged by José Luis Arellano, it starred out actors Rodrigo Pedreira and Martín Ruiz as two very different men whose paths cross as convicts in an Argentine prison.
Arena Stage scored with a re-imagined and updated take on the widely liked musical “Damn Yankees.” Directed by Sergio Trujillo, the Broadway bound production has been “gently re-tooled for its first major revival in the 21st century,” moving the action from the struggling Washington Senators baseball team to the turn-of-the-century Yankees lineup. Ana Villafañe’s charmingly seductive Lola and a chorus of fit ball players made for a good time.
Also at Arena, out playwright Reggie D. White’s new work “Fremont Ave.” was very well received. A semi-autobiographical glimpse into home and the many definitions of that idea specifically relating to three generations of Black men, the work boasts a third act with a deeply queer storyline to boot.
Before his smash hit “Hamilton” transformed Broadway, Lin-Manuel Miranda wrote “In the Heights,” a seminal musical set against the vicissitudes of an upper Manhattan bodega. Infused with hip-hop, rap, and pop ballads, the romance/dramedy takes place over a lively few days in the vibrant, close-knit Latin neighborhood, Washington Heights.
Signature Theatre’s exciting take on “In the Heights” featured a talented cast including out actor Ángel Lozado as the bodega owner who figures prominently in the barrio and the action.
Studio Theatre’s recent production of lesbian playwright Paula Vogel’s newest work “The Mother Play,” a drama with humor, is about a well put together alcoholic mother and her two gay children living under difficult circumstances in the less glitzy parts of suburban Maryland. With nuanced performances and smart direction, the production was terrific.
Keegan Theatre surpassed expectations with its production of “Lizzie” a punk rock opera about Miss Borden, the fabled axe wielding title character. Performed by a super all-female cast, they belted a score that hits hard on subjects like money, queerness, and strained (to say the least) family relationships.
Round House Theatre impressed autumn audiences with “The Inheritance,” a two-part drama sensitively staged by out director Tom Story and acted by a mostly queer cast that included young actor Jordi Bertrán Ramírez in a breakout performance.
Penned by out playwright Matthew López, the epic work inspired by E.M. Forster’s novel “Howards End,” explores themes of love, legacy, and the AIDS crisis through the lives of three generations of gay men in New York City.
Prior to opening, Story commented that with the production’s predominately queer cast you get actors who “really understand the situation, the humor, and the struggle. It works well.” And he was right.
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