Arts & Entertainment
‘Hello Gorgeous’
Gay biographer deconstructs Streisand’s ascent to superstardom
Jewish Literary Festival: William Mann
Closing Night
Wednesday, 7:30 p.m.
D.C. Jewish Community Center
1529 16th Street, NW
Tickets: $10
Barbra Streisand in the recording studio for Columbia in New York, mid-1960s. (Photo from the Collection of Stuart Lippner, courtesy Houghton Mifflin Harcourt)
It’s an interesting time for Barbra Streisand fans.
She’s on tour and played New York last weekend (no D.C. dates scheduled).
A (sort of) new album dropped Oct. 9 called “Release Me” that collects 11 previously unreleased outtakes from various album projects going back to the beginning of her career in the early ‘60s. The faithful legion, of course, are beside themselves finally getting to hear rare cuts like her interpretations of Jimmy Webb’s “Didn’t We” and “Home” from “The Wiz.” Her MusiCares tribute concert, in which she was serenaded last year by Diana Krall, Barry Mainlow, Seal, Stevie Wonder and others, is out on DVD and Blu-ray from Shout! Factory Nov. 13.
But just as interesting is the new book “Hello, Gorgeous: Becoming Barbra Streisand,” also released this month from gay author William J. Mann, who, in addition to several novels, has penned well-received bios on William Haines, John Schlesinger, Katharine Hepburn and Elizabeth Taylor. Mann, an iconoclast who doesn’t smash his subjects but delights in deconstructing widely parsed anecdotes of show biz folklore, zeroes in on Streisand’s early years from early 1960 (when she was 17) to the spring of ’64 by which time she had opened in the long-delayed “Funny Girl” on Broadway and recorded three platinum-selling albums for Columbia.
Mann focuses on her early years because he says “everything we think we know about her can be traced back to this seminal period … She arrived in New York in 1959 as a penniless teenager without any connections or experience. Less than five years later she was the top-selling female recording artist in the country and the star of one of Broadway’s biggest smash hits. Going in as close as I have in this book has allowed me to really shed light on how she accomplished such a feat.”
Mann’s in Washington Wednesday on his book tour at the D.C. Jewish Community Center for a 7 p.m. Streisand presentation after which he’ll sign copies of the book. During two phone chats this week, the 49-year-old author talked about the process of bringing the book — he wasn’t particularly a Streisand fan before — to fruition and how writing it compared to his mammoth Hepburn and Taylor tomes.
Mann says focusing on Streisand’s early years turned out to be an unexpected advantage. Because few of the key players are still in touch with the notoriously private and exacting legend, they felt freer, Mann says, to cooperate. He wasn’t on a mission to bash Streisand, but he did want an honest and fresh take.
“These very, very famous people really live in a bubble,” he says. “It becomes virtually impossible to get an unvarnished opinion because any colleague you talk to is going to have nothing but superlatives and that becomes very difficult. … About 90 percent of the people I spoke to didn’t continue on with her. … so they could be candid. They didn’t have to think, ‘Gee, is Barbra gonna be pissed at me, I have to work with her next month.’”
Gay historian and author William J. Mann (Photo by Michael Childers; courtesy Houghton Mifflin Harcourt)
Despite calling the book “notable for its breadth of detail and fair mindedness,” biographer James Gavin writing for the New York Times said “little” of the book is new, a point Mann counters with his biggest coup — being granted the right to delve into the Jerome Robbins (the Broadway legend who worked on “Funny Girl”) papers at the New York Public Library, which had not previously been plumbed for any Streisand book and are not available to researchers (Mann got an exception through the Robbins’ estate).
And even though Streisand’s first boyfriend, Barry Dennen has written an entire book (1997’s “My Life with Barbra”) on their relationship, Mann says he got fresh material from the gay actor for “Gorgeous.”
One of Mann’s favorite experiences was visiting Phyllis Diller, who became a pal and mentor of the young Streisand during their time performing at seedy New York nightclub the Bon Soir in the early ‘60s. (Diller died in August.)
“She was such a hoot,” Mann says with a laugh. “That interview was probably the most enjoyable of the process. I got to go to her house and she was flirting and laughing. I asked her if she’d give me one of her trademark laughs and she did. I just sat there thinking, ‘I love my job.’”
Other “gets” weren’t so splashy but proved equally invaluable. Though scads of Streisand material has been released and is on YouTube, Mann says the Streisand aficionados — almost all gay — were helpful. He thinks his track record on the Hepburn and Taylor books helped open doors on several fronts.
“There’s one fan, and of course he’s made me promise never to reveal who he is, who had some really amazing stuff. There was a DVD (Streisand) was planning to put out maybe five-six years ago of all her old TV appearances but for whatever reason, it never came out. This guy had a bootleg copy of it, which was extraordinarily helpful. Another fan had some of her original contracts. Which is crazy. Who knows how they get this stuff. You’d think she’d have those herself, but somehow they had them and those were very helpful as well. And of course once you get in those fan circles, one things leads to another and another. I didn’t write it for the fans, because then you’d end up censoring it to please them, but they were a great help.”
Early signs are good.
(Courtesy Houghton Mifflin)
According to Nielsen BookScan, the book has already sold about 2,000 copies. And a glowing USA Today review said Mann’s “meticulous research and insightful analysis go deeper than any previous (Streisand) biography.” Liz Smith called it “excellent.” Amazon reader feedback has been highly positive and perhaps the surest sign that the writer did his homework, there’s been nary a peep, at least so far, from the Streisand camp (she devotes a whole section of her official website to debunking what’s written about her — check out the juicy reads on her tangles with Larry Kramer over a never-made film adaptation of “The Normal Heart” she wanted to do).
At more than 500 pages, “Gorgeous” makes for a lengthy yet brisk read. Mann, who splits his time between New York and Provincetown (where he does most of his writing), is happy to engage a few questions the book inspires, one common enough that he’s written a Huffington Post piece on the topic: that is, surely it’s no coincidence that Streisand, who had several key gay men in her life very early on in her career, ended up one of the biggest gay entertainment icons of all time, right?
“It’s not a coincidence at all,” he says. “She was shaped by so many gay influences … in various ways. The way she dressed, the way she put a song across, the way she styled her songs, they way she interacted with an audience, it’s so obvious all her early mentors were gay and I believe that when those early audiences went to see her, they responded to something familiar. The way she laughed, the way she moved, her campy humor. There was something there gay men recognized and thought, ‘Oh, we can relate to this chick.’ And she was not the first one to have this happen either. It goes all the way back to Mae West and the drag queens she worked with in New York. You see it with Judy (Garland) with Roger Edens, with Joan Crawford and Billy Haines … with Madonna it was the same thing.”
Barbra Streisand with first husband, actor Elliott Gould en route to the Tony Awards on April 29, 1962. (Photo from the collection of Stuart Lippner, courtesy Houghton Mifflin Harcourt)
And since Mann, with the Taylor and Streisand books especially, has focused on the nature of fame and how it was achieved — a dissection of the lucky breaks versus the raw material — another question occurs: given Streisand’s undeniable talent and famous drive, was her legend and success inevitable?
Mann says no.
“She would like us to think that, but no, I don’t think it was at all. I think she benefited form some really shrewed salesmanship and a degree of luck. Just the fact that there were some major parts with ‘I Can Get it For You Wholesale’ and “Funny Girl’ for unusual looking Jewish girls, she was lucky that she was there for those parts at the time they came along. Of course she’s brilliantly talented but there are lots of people who were. You hear some of these other singers from the nightclub era like Blossom Dearie or Joanna Beretta and you’re like, ‘Wow, they’re every bit as good as Barbra,’ but they lacked something — either a very shrewd publicity campaign on their behalf or perhaps their own ambition … it took a terrific amount of PR to make it happen.”
Game time: Kate, Liz or Babs?
William J. Mann has written well-received bios of three of the most famous legends the 20th century produced: Katharine Hepburn, Elizabeth Taylor and now, Barbra Streisand. At the end of an interview, Mann was game for a “lightening round” in which he considers how the three icons stack up. He had to answer each question with one of the three names.
Of the three, which had:
- the most raw talent? “Streisand”
- the most career triumphs? “Taylor”
- Was the most personally content? “Taylor”
- Whose personality evolved the most over the decades? “Hepburn”
- Which was the most fan friendly? “Taylor, by far.”
- The most private? “Streisand. Hepburn was private, but she also put things out there, although not always her true self. So I guess Streisand.”
- Whose work has best stood the test of time? “That’s kind of a draw. They all have. You look at Hepburn in a film like “Alice Adams,” which is this beautiful, brilliant, heartbreaking film that totally stands up. Or Elizabeth in ‘Virginia Woolf’ and you just think, ‘Wow, nobody could have done that better.’ Or one of Barbra’s albums.”
- Which had (or has) the most ardent fans? “Streisand”
- Was the toughest to research? “I suppose Hepburn but she had just passed away so that opened some doors. The other two were alive when I was writing.” (Taylor died shortly after the Mann book came out.)
- Had the most gays in her personal life? “Taylor”
- Had the easiest path to stardom? “Taylor. It was practically handed to her.”
- The toughest? “Streisand, even though it was really fast.”
- And just for fun, any word on how Streisand or Hepburn felt about tying for the Best Actress Oscar in ’68? “They both probably hated to share it,” he says. “Hepburn made a big show of not caring about the Oscars but of course she cared a great deal. … Streisand was very gracious when she accepted (Hepburn did not attend) and said she was ‘in great company.’ It was probably unlike either of them to send the other a congratulatory note, but I don’t fully know the answer to that or whether anybody ever tried to get them together for a photo. I suspect neither of them would have been too wild about that.”
— Joey DiGuglielmo
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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