Arts & Entertainment
‘Patriot’ missile
Kathleen Turner plays Molly Ivins in Arena season kick-off
‘Red Hot Patriot’
Aug. 23-Oct. 28
Arena Stage
1101 Sixth Street, S.W.
Arlene and Robert Kogod Cradle
$79-$109 at various performances
Kathleen Turner as Molly Ivins in the 2010 Philadelphia Theatre Company production of ‘Red Hot Patriot: the Kick-Ass Wit of Molly Ivins.’ The show opened this week in Washington at Arena Stage where it plays through Oct. 28. (Photo by Mark Garvin via Arena)
It’s a very hot day in Missouri.
“Oh God, some of the hottest weather I’ve ever experienced,” says Kathleen Turner by phone from her mother’s house where she’s enjoying a mid-summer visit.
Mom’s doing “swell” and Turner is too, she says. The rheumatoid arthritis that’s plagued her off and on for years is under control and she feels great.
“I’m in remission and off the medication,” she says in her trademark throaty growl of a voice. “Which is lovely. The medication is life saving, but it’s nice not to have to take it every day, I do confess.”
They’ve been to the movies. Turner saw “The Intouchables” and “loved it.”
“I laughed out loud — I don’t often do that.”
This morning she filled the bird feeders and notices a hummingbird enjoying the flavored water she put out as we chat.
It’s the calm before a busy fall when we talked two weeks ago. This week she opened in Washington for a two-month-plus run of “Red Hot Patriot: the Kick-Ass Wit of Molly Ivins,” a 75-minute, one-woman show Turner first read at Arena in 2009 before playing it in Philadelphia in 2010 and again in January and February at the Geffen Playhouse in Los Angeles. It’s Turner’s first appearance at Arena in more than 30 years. She last played at the storied company in a 1981 production of “A Midsummer Night’s Dream,” the same year she catapulted to national stardom in the film “Body Heat.”
Turner says she enjoys returning to the material, a tribute of sorts to the late Texan liberal newspaper columnist of the title.
“Every time I’ve gone back to a piece, whether it’s ‘Virginia Woolf’ or ‘High’ or this, it’s gotten cleaner. Clearer. There’s less fuss over the emotionalism of building the character and the production. It gets toned down, just clearer, sharper. I love going back to a piece.”
Ivins, a syndicated political columnist who died at age 62 in 2007 of breast cancer, has added relevance this election year, Turner says. Twin sisters Margaret Engel and Allison Engel wrote the piece using Ivins’ writings, interviews and speeches and interviews with her friends and colleagues.
“I really want to have Molly in Washington just before the election,” Turner says. “We need Molly here and Arena said they’d take us.”
Director David Esbjornson — he’s straight but says he’s an “honorary” gay for having directed so much gay-themed theater like “Angels in America” and two pieces by Larry Kramer — agrees.
“I think [‘Patriot’] has more to say now than it did before,” he says. “I think people right now are really desperate to hear Molly’s voice and they will really love spending an evening listening to her words and thinking about what she had to say.”
Esbjornson, who also did the show in Austin, Texas, without Turner (Barbara Chisholm played Ivins there), says Ivins “fought for the common man, the person who doesn’t have all the advantages financially and otherwise.”
Turner, who met Ivins, says the role was an easy choice. “Our positions are very much the same,” she says.
“It’s kind of a personality piece, very intimate. It’s really me talking to the audience directly, there’s nobody else up there. So it creates a real storytelling exercise kind of like combining acting and public speaking. It’s a wonderful mix and it surely suits me. … And the response has just been incredible. I’d come off in L.A. and be like, ‘What just happened?’ I was flabbergasted.”
Turner says the character couldn’t be more different from another legendary figure she played about 10 years ago in another one-woman show — Tallulah Bankhead.
“Tallulah was a real broken woman, terribly flawed,” Turner says. “Molly was no saint, but she didn’t have any false ideals. Her commitment to country and her knowledge and political savvy were just extraordinary. Tallulah was so self involved.”
Turner indulges a few quick questions about her craft before we part.
Having met Ivins was helpful, but not necessary — “I’m an actor, I don’t imitate. This is my interpretation.”
Of her increasingly theater-heavy oeuvre, Turner is fine with it, except that it “pays so poorly, which is a damn shame.” She loves the “extraordinary magic” of it, though.
Learning lines is always a physical thing for her — she never does it sitting down. It starts with “roping together” thoughts and links in the script.
Esbjornson says the show shifts and surprises in a way that keeps it tight, despite the lean mechanics.
“You never let people settle in fully and feel they know where this is going,” he says.
Turner arrives for an 8 p.m. curtain about 6 and does vocal warm-ups. Vocal stamina over a run is not a problem, “unless you get sick, then that’s a whole other thing.”
After a performance, Turner is low-key. She’s usually back to her apartment cooking or watching TV. “You get tired of eating out all the time,” she says. “And I’m a very good cook.”
The legendary actress is especially insightful on her gay sensibility, which she doesn’t hesitate to acknowledge.
“I don’t take myself so seriously,” she says. “I have a ‘fuck you’ attitude and I think gay people like that.”
Theater
‘The Inheritance’ is most-nominated at this year’s Helen Hayes Awards
42nd annual celebration of excellence in local theater set for May 18
Helen Hayes Awards 2026
May 18, 2026
For tickets go to theatrewashington.org
Last year, when out director Tom Story took on the daunting task of directing Round House Theatre’s production of “The Inheritance, Parts One and Two,” he knew that casting would be important, maybe even paramount, to the endeavor’s success. So, Story didn’t mess around.
Penned by queer playwright Matthew López, “The Inheritance” (inspired by E.M. Forster’s 1910 novel “Howards End”) is based on gay culture in the wake of the AIDS crisis.
Story looked at actors he knew, and some he didn’t. He wanted low drama and maybe players who could relate to the LGBTQ experience. In the end, the production’s 13-person cast was entirely queer except for brilliant local favorite Nancy Robinette as Margaret, the wise housekeeper.
Clearly, Story’s vision resonated with audiences. Round House’s production of “The Inheritance” is the most-nominated work of this year’s Helen Hayes Awards, earning 14 nominations. It’s also one of Round House’s highest grossing popular successes ever.
The queer cast members whose ages ranged from about 22 to 60, worked hard and enjoyed the process, and along the way garnered an Outstanding Ensemble in a Play (Hayes) nomination for their efforts.
The ensemble included Jamar Jones as Tristan, a brilliant doctor who leaves New York for Canada after deciding there’s no place for a gay, HIV-positive Black man in America. For the experienced actor, being part of “The Inheritance” was profound: “I think it was a divinely orchestrated production.”
He adds “I really feel that it’s so rare that you get to work on a show of that magnitude…size, time, where virtual strangers genuinely fell into rhythm. We became a cohort. I never felt a sense of unease, or reluctance to try things. I could be as big or bold as I wanted to be; or I could be small. Fail, mess up, try again. I didn’t feel judged.”
Jones considers Richmond his home, but says “I’m based where the work is.” Currently, he’s back at Round House rehearsing “Sally & Tom” (May 27-June28), a play within a play/meta exploration of the relationship between Thomas Jefferson and Sally Hemings by Suzan-Lori Parks.
Jones plays both a contemporary violinist and an enslaved fiddler, parts that have required him to learn to “air fiddle.” He’s all over it: “I want to represent the art and to be as precise as possible. Taught by an instructor, I’ve made strides with movement of the bow; next up is finger placement.”
Will he leave the play a violinist? “I’ll report back on closing night. Maybe I will have added something to the special skills list on my resume.”
For about a decade, Jones worked in living history, interpreting, performing, and writing pieces about the enslaved people of Colonial Virginia. Among the many historical characters he portrayed was Jupiter (Thomas Jefferson’s longtime enslaved manservant), an experience that’s proved a connection and preparation for his current role.
The 42nd Helen Hayes Awards celebration recognizing excellence in professional theater in the DMV will be held on Monday, May 18, 2026 at The Anthem on the District Wharf in Washington, D.C. Named for Helen Hayes, the legendary first lady of Broadway, the program consists of the awards presentation hosted by Felicia Curry, Awa Sal Secka, and Derrick Truby, followed by an after-party at nearby Whitlow’s.
With works selected from 149 eligible productions presented in the 2025 calendar year, nominations were made in 41 categories and grouped as either “Helen” (non-Equity/small Equity presence) or “Hayes” (Equity-heavy).
The many nominations are the result of 49 vetted judges considering 1,997 pieces of work, such as design, direction, choreography, performances, and more. The productions under consideration included 42 musicals, 107 plays, and 33 world premieres.
The following are more of this year’s queer nominees.
A past Helen Hayes Award recipient and nominee, Fran Tapia is competing against herself this year in the Outstanding Lead Performer in a Musical (Helen) category. Nominated for her memorable turn as the diva barkeep in GALA Theatre’s “Columbia Heights Bolero Bar,” an immersive musical centered on songs of longing and immigration set in a diverse neighborhood on the eve of a divisive presidential election
“It was a challenging time, because a lot of what was happening in the show was happening in the neighborhood,” says Tapia who lives in Columbia Heights just eight minutes from GALA.
Based in D.C. since 2019, Tapia says “Being recognized in a country that is not my homeland but where I’m building my artistic home, is deeply meaningful. And the variety of roles I have been able to play speaks to the richness of DC theater and the collaborators who trusted me with these roles.”
Her other individual nomination is for the title role in Spooky Action Theater’s “Professor Woland’s Black Magic Rock Show,” a passionately comedic political satire. She approached the mysterious central character as nonbinary.
Tapia (“Chilean, Latina, queer and proud immigrant”) says while very different, both performances involved particularly strong characters. She’s grateful audiences responded positively to her work.
Stanley Bahorek, who moved to D.C. with his husband four years ago, is best known as an accomplished actor with a long list of Broadway and regional credits (including playing Carl, the gay son in Studio Theatre’s recent production of “The Mother Play”). Now, he is nominated for Outstanding Music Direction (Helen) for his work on “A Strange Loop,” a production of D.C.’s Visionaries of the Creative Arts (VOCA) in collaboration with Deaf Austin Theatre. He shares this nomination with Walter “Bobby” McCoy.
Michael R. Jackson’s Tony and Pulitzer wining play “A Strange Loop,” is the story of Usher, a Black, queer theater usher trying to write a musical. VOCA’s take on the work is seen through a deaf BIPOC lens with a deaf Usher played by a deaf actor (out actor Gabriel Silva). Invited by director and longtime friend Alexandria Wailes (who is deaf), Bahorek (who is hearing) joined the creative team as a sort of hybrid associate director/ music supervisor.
“I’m fluent in conversational American Sign Language (ASL),” he says. “I sort of functioned as a sherpa between the hearing and deaf and hard-of-hearing creatives. It’s been a great thrill to be a part of VOCA’s biggest production to date.”
If he and McCoy take home the prize, who makes the acceptance speech? Bahorek takes a beat before replying “That’s something we still need to talk about. And soon.”
A full list of award recipients will be available at theatrewashington.org on Tuesday, May 19, 2026.
Anthony Oakes will host “DC Black Pride Comedy Show” on Thursday, May 21 at 7 p.m.
Oakes will workshop his new hour about addiction, incarceration, recovery, and redemption with special guests.
This event will be hosted by the hilarious Apple Brown Betty with TJ So Silly, Howl Cooper, and featuring Patrice Deveaux. DJ Art.is will be spinning on the 1’s & 2’s. Libations will be provided by Drink Alchy. Images by RGF ENT. Tickets are $28.52 and can be purchased on Eventbrite.
Out & About
United Night Out set for Saturday
Team DC hosts evening of soccer, Pride, music, drag and community
On Saturday, May 16, Team DC is taking over Audi Field for United Night OUT as D.C. United faces St. Louis SC.
Come out for an evening of soccer, Pride, music, drag, and community. The night kicks off with pre-game fun featuring DC Different Drummers, DJ Heat, and a Pride Night OUT Party at the Heineken Rooftop. Then get ready for a 7:30 p.m. match, including the National Anthem sung by Dana Nearing and a halftime drag performance.
After the match, the celebration continues at the Post-Game Rooftop Party with DJ Heat and the After Party at Dacha Navy Yard. Game tickets and after party tickets are available now through Zeffy. After party tickets are $20 and include one drink.
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