Arts & Entertainment
Standouts from the stage
Gay-fueled creativity abounds on local theater scene
Gay actress Delia Taylor as Winnie in WSC’s ‘Happy Days’ featuring the imaginative set design work of Tony Cisek, also gay. (Photo courtesy WSC Avant Bard)
The fall theater season is here. With that comes a deluge of new productions and for one longstanding local company, a new name. What was the Washington Shakespeare Company is now WSC Avant Bard, a clever adjustment better fitting the troupe’s mission to boldly interpret the classics.
WSC’s season opens with Samuel Beckett’s “Happy Days” (through Sept. 25). Mostly a monologue, the 1961 absurdist work spotlights Winnie, an upbeat, chirpy woman who passes her days chatting endlessly while becoming increasingly immobilized in the hot sun in the middle of nowhere. And yet she remains cheery, unfazed by her situation. As Winnie, Delia Taylor, who’s gay, brings intelligence, sensitivity and a lot of humor to the tough role.
Beckett calls for his heroine to be stuck in a mound and most productions comply with some sort of sandy or rocky pile, but not here. Set designer Tony Cisek, also gay, takes another tack ingeniously locking Winnie into endless yards of fabric. Trapped in her dress like a little doll in a giant doll cake, she sits atop her sartorial prison talking, arranging her cocktail hat and rummaging through a capacious satchel in search of necessities ranging from a toothbrush to a long barreled pistol. Her confined world is backed by an endless curve of beautiful blue sky.
Splendidly staged by director Jose Carrasquillo (gay too), the surprisingly poignant production comments on optimism and the fleeting nature of life. Carrasquillo also displays terrific timing as Winnie’s uncommunicative, slug-like husband Willie who makes his home in a hole behind his wife’s skirts. (wscavantbard.org)
Up-and-coming No Rules Theatre Company kicks off its season with Diane Son’s “Stop Kiss” (through Oct. 2) at the H Street Playhouse. It’s the story of two young women who are brutally assaulted after kissing in public. Acclaimed local actor Holly Twyford (who’s gay) makes her directorial debut. (norulestheatre.org)
Shakespeare Theatre Company’s gay artistic director Michael Kahn begins his season with a world premiere production of Jean-François Regnard’s 1708 farce “The Heir Apparent” (through Oct. 23) adapted by the brilliant David Ives. (shakespearetheatre.org)
Venus Theatre opens with the world premiere of “The Stenographer” (through Sept. 25) by Greek playwright Zoe Mavroudi. The two-hander featuring local bi actor Frank Britton and Amy Rhodes is essentially a tale about writing and what happens when writing implicates the writer. Housed in an intimate storefront venue in Laurel, Md., Venus’ mission is to foster the voices of women and children in the theater. (venustheatre.org)
Ganymede Arts may have closed its doors, but the LGBT-centric company’s former artistic director Jeffrey Johnson remains active. In October, Johnson and singer/songwriter Tom Goss (both gay) are joining forces for two nights of music titled “Under the Covers” (Oct. 21-22) at the Black Fox Lounge. The show offers a rare chance to see Johnson perform as himself and not his pink-haired alter ego. (pinkhairedone.com).
The Studio Theatre starts off with “The Habit of Art” (through Oct. 16) by Alan Bennett, the gay playwright who wrote “The History Boys.” Based on a fictional meeting between poet W.H. Auden and composer Benjamin Britten (both Brits, both gay), the 2009 work is described as “wistful and filthily funny.” The strong cast includes a talented trio: Ted van Griethuysen, Patxon Whitehead and gay actor Cameron Folmar.
In November, Studio’s gay artistic producing director Serge Seiden stages German playwright Roland Schimmelpfennig’s “The Golden Dragon” (Nov. 2- Dec. 11), a comic look at people whose lives are interconnected by a Chinese restaurant. The five- person cast (including the terrific Sarah Marshall, who’s — you guessed it — gay) cross age, race, and gender to play 15 characters. (studiotheatre.org)
At Gala Hispanic Theatre, Spain-based gay director José Luis Arellano-García is staging “¡Ay, Carmela!” (Sept. 15-Oct. 9), the story of a vaudeville team forced to perform for Franco’s fascist troops during the Spanish Civil War. According to Gala’s associate producing director Abel Lopez, “The playwright [José Sanchis Sinisterra] pays homage to gay Spanish poet and playwright Federico García Lorca by referring to him in a scene when Carmela speaks about meeting Lorca in the afterlife. The similarities surrounding Lorca’s assassination by the fascists and Carmela’s execution are striking. Both stood up for their beliefs and paid dearly for it.” (galatheatre.org)
The green-eyed monster is poised to stride the boards at Folger Theatre. Staged by Robert Richmond, the company’s “Othello” (Oct. 16–Nov. 27) features Owiso Odera in the title role, and reunites members of the creative team behind last season’s “Henry VIII” including celebrated gay designers William Ivey Long (costumes) and busy Tony Cisek (sets). Zehra Fazal who’s best known for her one woman tour de force “Headscarf and the Angry Bitch” plays Bianca. (folger.edu)
Signature Theatre’s fall season begins with two musical premieres: “The Boy Detective Fails” (through Oct. 16), the story of a kid sleuth who grows up to investigate the mystery surrounding his own sister’s death. It’s staged by Joe Calarco and composed by Adam Gwon (both gay). “The Hollow” — based on Washington Irving’s classic tale — is staged by Matthew Gardiner and composed by Matt Conner (also both gay).
Next up at Signature, E. Patrick Johnson performs his one-man play “Sweet Tea: Black Gay Men of the South” (Sept. 13-Oct .9). In this new work based on his acclaimed book, Johnson, chair of the Department of Performance Studies at Northwestern University, relays his own story and those of a dozen other men he’s interviewed and come to know.
And later in the season, Signature’s gay artistic director Eric Schaeffer stages the musical “Hairspray” (Nov. 21-Jan. 29) adapted from John Waters’ 1988 Baltimore-set flick about big girls, big hair and racial segregation. In what might prove a stroke of casting genius, Schaeffer has tapped radio personality Robert Aubry Davis to play Edna, everyone’s favorite plus size house frau. We’ll just have to wait and see. (signature-theatre.org)
Photos
PHOTOS: Taste of Point
Annual fundraiser held for LGBTQ youth scholarship, mentorship organization
The Point Foundation held its annual Taste of Point fundraiser at Room & Board on May 2.
(Washington Blade photos by Michael Key)
Theater
Miss Kitty tackles classical mythology in ‘Metamorphoses’
Folger production seen through the lens of the African diaspora
‘Metamorphoses’
May 7-June 16
Folger Theatre
201 East Capitol St., S.E.
$20-$84
Folger.edu
Miss Kitty’s words are thoughtful and measured, occasionally punctuated by flamboyant flourishes and uplifting proclamations. Her tried and tested tagline is “live in fierce not fear.”
She describes herself as “AMAB (assigned male at birth), nonbinary, genderqueer, transfemme” as well as “chanteuse, noble blacktress, and dancer.”
Currently, Miss Kitty is testing her talents in Mary Zimmerman’s “Metamorphoses” at Folger Theatre on Capitol Hill.
At 90 minutes, “Metamorphoses,” is made up of interwoven vignettes from classical mythology including the tales of Midas and his daughter, Alcyone and Ceyx, and Eros and Psyche.
“It’s all stories that relate to the human condition: the follies, the happiness, the love, the loss,” Miss Kitty explains. “And a thorough knowledge of mythology isn’t a requirement for enjoyment.”
The language is contemporary and with its 11-person ensemble cast – comprised exclusively of Black or indigenous people of color – they’re adding their own spin to its present-day feel, she adds.
In Zimmerman’s famously staged premiere production, the actors performed in and around a pool of water. At Folger, director Psalmayene 24 has ditched actual aquatics; instead, he suggests the element by introducing Water Nymph, a new character constructed around Miss Kitty.
Water Nymph doesn’t speak, but she’s very visible from the opening number and throughout the play on stage and popping up in unexpected places around the venue.
“It’s a lot of dancing; I haven’t danced the way Tony Thomas is choreographing me in a very long time. At 40, can she still make theater with just my body as her instrument?
The name “Miss Kitty” was born over a decade ago.
Miss Kitty recalls, “She was still presenting as male and going by her dead name. Someone commented that with the wig she was wearing for a part, she looked like Eartha Kitt whom she deeply admires.”
Her penchant for illeism (referring to oneself in third person) isn’t without good reason. She explains, “It’s to reiterate that however she might look, she’s always there; and if you misgender, she will let you know.”
Initially, the moniker was a drag persona at Capital Pride or the occasional fabulous cabaret performance at a nightclub.
But as time passed, she realized that Miss Kitty was something she couldn’t take off. She had always been a part of her.
“She’s helped me to grow and flourish; she’s given me the strength that I never would have had before. I’m so proud of myself for realizing that before it was too late.”
Bringing Miss Kitty into her theatrical career presented some concerns. Would theater folks be open to the new her, especially those she’d worked with before?
Not always, but she’s found new companies who’ve welcomed Miss Kitty with open arms including Avant Bard, Spooky Action Theater, and now Folger.
Last fall, Miss Kitty appeared in Spooky Action’s Agreste (Drylands), a stunning queer story penned by gay Brazilian playwright Newton Moreno.
After being invited to audition and reading the script, Miss Kitty was determined to be a part of the production.
A work dealing with love and being trans, and transphobia, and how people can turn on a dime once they learn the truth about someone, resonated deeply with the actor.
“The play speaks to the idea that if people just let people be who they are and love who they want to love we’d all be a lot happier,” she says.
For her sublime efforts, Miss Kitty nabbed a Helen Hayes Award nomination in the Outstanding Lead Performer category (winner to be determined on Monday, May 20 during a ceremony at The Anthem).
It’s her first time nominated and first time attending. She’s thrilled.
Miss Kitty grew up in Oxen Hill, Md., and now lives near Washington Harbor. Her entry into performance was through music followed by high school plays. She graduated from Catholic University with a degree in music/concentration in musical theater, and from there dove directly into showbiz.
Looking back, Miss Kitty says, “being a person of color AND queer can be a double whammy of difficulty. You have to live in light and do the things you’re afraid to do. That’s the game changer.”
Presenting “Metamorphoses” through the lens of the African diaspora (the cast also includes Jon Hudson Odom and Billie Krishawn, among others) helps us to realize that every story can be universal, especially for marginalized people — South Asian, Native American, or fully queer perspectives, she says.
“Having an all-Black ensemble opens all new worlds for everyone.”
Las Vegas, known for its vibrant and inclusive atmosphere, embraces LGBTQ culture with open arms, making it a thriving hub for the community. Iconic events like the annual Las Vegas Pride Parade and Festival bring together people from all walks of life to celebrate diversity and unity. The 2024 Las Vegas Pride festival is scheduled for Oct. 12, so start planning now.
The city’s commitment to inclusivity is reflected in the diverse range of LGBTQ-friendly accommodations, ensuring that visitors feel welcome and respected. Beyond the nightlife, Las Vegas hosts a variety of LGBTQ-focused community organizations, support groups, and cultural events that contribute to the rich tapestry of the city’s inclusive ethos. Whether exploring the famous entertainment offerings or participating in community-driven initiatives, LGBTQ individuals and allies alike find a warm and accepting home in the vibrant tapestry of LGBTQ culture in Las Vegas.
Ever since I was young, I have always wanted to stay at Bellagio. Its iconic foundations have fascinated me for decades. The hotel stands as an epitome of luxury and sophistication, offering an unparalleled experience that seamlessly blends opulence, entertainment, and fine dining. From the moment you step into the grand lobby, it’s evident that Bellagio is committed to providing a world-class stay, especially when you glance at the ceiling adorned with Chihuly glass sculptures.
I stayed in a recently renovated room in the Spa Tower with an unobstructed view of the Vegas Strip and the fountains. The attention to detail is evident in the tasteful decor, plush furnishings, and modern amenities. Beginning at 3 p.m. on weekdays and noon on weekends, the choreographed water show set against the backdrop of the Las Vegas Strip is a mesmerizing display of artistry, combining music, light, and water in perfect harmony. It sets the tone for the exquisite experiences that await within Bellagio.
Bellagio is also home to the famous Conservatory and Botanical Gardens, a lush oasis that undergoes seasonal transformations, displaying stunning floral displays and thematic installations. This botanical escape provides a serene contrast to the lively atmosphere of the casino and the bustling Strip. During our stay, the staff were completing the new springtime exhibition, which gave us Alice in Wonderland vibes.
For those seeking entertainment, Bellagio offers the spectacular “O” by Cirque du Soleil, a water-themed extravaganza that complements the hotel’s overall theme. Bellagio Gallery of Fine Art is another cultural gem within the hotel, featuring rotating exhibitions that display masterpieces from around the world.
Although it is possible to never leave the hotel, we wanted to experience other MGM Resorts properties, so we headed to LPM at the Cosmopolitan of Las Vegas for dinner. LPM offers an exquisite dining experience that effortlessly marries Mediterranean charm with the vibrant energy of the Strip. From the moment you step through the entrance, you are greeted by an ambiance that strikes a perfect balance between sophistication and conviviality.
LPM’s interior is a visual feast, adorned with chic decor, warm lighting, and an intimate atmosphere. The combination of contemporary design elements and classic French accents creates a welcoming space that feels both elegant and comfortable. Whether you’re celebrating a special occasion or seeking a romantic dinner, LPM’s ambiance sets the stage for an unforgettable dining experience.
LPM’s menu is a culinary triumph, highlighting the rich and diverse flavors of the French Riviera. The emphasis on fresh, high-quality ingredients is evident in every dish. We began our meal with a variety of appetizers, including the Yellowtail Carpaccio, Escargots, and their signature Burrata prepared with heritage tomatoes and basil and topped with white truffles. For our main courses, we decided to focus on seafood entrees, so we tried the Lobster Risotto and grilled Chilean Bass. Both were prepared to perfection and paired very well together if you are looking to share entrees.
Of course, one of the biggest attractions of Las Vegas is the Strip itself. Spend a few hours meandering through each hotel and taking in the Vegas vibe. There is no other place in the world quite like it.
If you are in the mood for a little adventure, head to Area15, located about 10 minutes from the strip. Area15 is an immersive entertainment complex that blends art, technology, and entertainment in a unique and captivating way. Boasting an otherworldly exterior and a dynamic interior, Area15 is home to a variety of innovative experiences, including interactive art installations and virtual reality adventures. Its anchor tenant, the Meow Wolf’s Omega Mart, is a surreal supermarket-like environment filled with mind-bending art and hidden mysteries. The venue also hosts concerts and live events including Beyond Brunch, a variety show hosted by drag queen extraordinaire Andrew Ryan. The two-hour spectacle includes a wonderful buffet and performances by talented acts ranging from hoop dancers to Cirque-style entertainers. The show is well worth the price of admission; it is not your typical drag brunch.
Spend the afternoon touring Area15 or head to The Sphere, Las Vegas’s newest concert venue. Rock icons U2 opened the venue with a 40-night run, but guests can purchase tickets to Darren Aronofsky’s multi-sensory film “Postcard from Earth.”
For a trip down memory lane, especially if you are in you were born in the ‘70s or ‘80s, check out Retro by Voltaggio at Mandalay Bay. The restaurant owned by Top Chef stars, Bryan and Michael Voltaggio, takes diners on a nostalgic journey through time, blending modern culinary techniques with comforting flavors reminiscent of classic American dishes set in a retro-chic environment. The space is adorned with quirky memorabilia, neon accents, and a colorful palette that captures a sense of nostalgia without feeling overly kitschy, creating a welcoming environment for diners to unwind and enjoy the culinary adventure.
Retro by Voltaggio’s menu is a playful exploration of classic American favorites. We started our dinner with the deviled eggs with smoked trout roe along with the beet steak tartare, which was incredible. Next came the bluefin tuna ceviche served over coconut crushed ice. For our entrees we tried the trout meuniere, which was served in a lemon and caper sauce, as well as the lobster thermidor with lobster waffles — yes, you read that correctly. It was as delicious as it sounds.
Save room for the dessert cart, which contains innovative creations that satisfy the sweet tooth. Whether you’re a fan of nostalgic flavors or simply seeking a unique and enjoyable meal, Retro by Voltaggio is worth the visit.
After dinner, catch a performance of Michael Jackson “ONE” by Cirque du Soleil also at Mandalay Bay. The show is a captivating tribute to the King of Pop that seamlessly blends the magic of Cirque du Soleil with the timeless music and iconic choreography of Michael Jackson. From the moment the lights dim to the final bow, the show is a high-energy, emotionally charged celebration of the legendary entertainer’s life and legacy. This isn’t your typical Cirque du Soleil show and is more like a concert featuring all of Michael’s greatest hits, memorable dance moves, and state-of-the-art production. I felt like “ONE” is the type of concert Michael would have wanted to perform if he were still with us.
The thing I like most about Vegas is it is always evolving. Every time you visit, there is something new to see or do. Viva Las Vegas!
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