Arts & Entertainment
A trans Scientologist’s memoir
Brutally honest book by woman cast out by religion
‘A Queer and Pleasant Danger’
By Kate Bornstein
Beacon Press
$25.95/288 pages
(Beacon Press)
You are a pretty tame human being.
Oh, sure, you break out sometimes and go a little wild, but overall, you’re no threat to most people. You were domesticated years ago, you know when to hide your claws, and you stopped biting in preschool. You’re even housebroken.
But uncivilized? Hardly.
Menacing? Never!
Author Kate Bornstein isn’t either, but there’s a significant group of people that, she says, have labeled her as a “potential trouble source.” In her new book “A Queer and Pleasant Danger,” she explains how she got to be so hazardous.
At four-and-a-half years old, most kids are just learning their ABCs, but Albert Bornstein knew at that age that he wasn’t a boy, so he must be a girl. He also knew that wasn’t what people wanted to hear, so he never spilled his secret; instead, he grew up wanting to be Audrey Hepburn — and if not Hepburn, there were other choices.
He always loved women. There were so many he could imagine being.
It was mid-1970 when Bornstein – twenty-something, anorexic, altruistic, and seeking spiritual meaning – started a cross-country pilgrimage that landed him in Colorado. There, while looking for new boots, he found a Scientology center.
He entered… and stayed.
Happy in his newly embraced “applied religious philosophy,” Bornstein became the perfect Scientologist: charming and silver-tongued, he quickly developed into a top-performing salesman of high rank. Two years after joining the organization, he was married; a year after that, he was a father.
He also began acting upon his girlish urges, but wasn’t bothered by it. Scientology taught that humans were spiritual beings called thetans, and thetans had no gender… so what was the harm in wearing women’s clothing and sleeping with men? His inner woman seemed unstoppable.
Then, 12 years after joining, when everything came crashing down (due to a still-dizzying misunderstanding), Bornstein was cast out of the community he’d embraced for a third of his life. Feeling bereft, and overwhelmed he sought therapy and a community of a different sort.
What he found was the person she was all along.
There are a lot of adjectives that one can use to describe “A Queer and Pleasant Danger:” snarky, funny, anguished, frightening. Heartbreaking. Brave. Honest.
Author Kate Bornstein worked six years on this memoir that she started for her daughter (whom Bornstein assumes will never read it), and for the teenage grandchildren who will likewise be denied the story because they’re Scientologists and Bornstein is essentially dead to them. What Bornstein doesn’t say about Scientology, in fact, is more chilling than what she does say.
In writing this memoir, Bornstein puts on a certain bravado that doesn’t last in the presence of the vulnerability she often displays. This is a softer, sometimes sorrowful, side of the always-outspoken Kate Bornstein, and I loved it.
Be aware that there are painfully graphic scenes in this book, and some that are brutally blunt. If you can stand those (appropriate-to-this-memoir) paragraphs, though, “A Queer and Pleasant Danger” is a wildly wonderful read.
The DC Center for the LGBTQ Community, SMYAL and Rainbow Families sponsored Gay Day at the Zoo on Sunday at the Smithsonian National Zoo. The Smithsonian marked International Family Equality Day with special exhibits and an event space.
(Washington Blade photos by Michael Key)
Covering Gay Day at the Zoo for @WashBlade . Here at @NationalZooDC pic.twitter.com/LqgGNOOAiM
— Michael Patrick Key (@MichaelKeyWB) May 5, 2024
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.”
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