Arts & Entertainment
Faith of our fathers
40-year-old gay Catholic group defies Vatican yet seeks communion
All the mainline Christian denominations by now have gay subgroups that have formed and many in the U.S. — Episcopalians, United Methodists and others — can point to huge strides they’ve made over the last several decades in persuading their hierarchies to acknowledge their presence.
Dignity/Washington, the largest chapter of the LGBT Roman Catholic group DignityUSA, has made so little progress making Vatican teaching less gay-condemning, the group, in many ways, has moved on to other goals it considers more realistic and achievable. The lone victories its members can count on that front are being invited indoors for a 1978 rainstorm during a weekend-long prayer vigil they held at the National Conference of Catholic Bishops at its former headquarters on Massachusetts Avenue (it didn’t foster a long-term dialogue) and a wave from current Pope Benedict XVI (Joseph Ratzinger) in the summer of 2010 (accompanying soon-to-be Cardinal Donald Wuerl did not follow suit).
If anything, the Vatican has become more anti-gay over the years. Though several regional parishes had long allowed Dignity groups to meet on their property, in 1986 Ratzinger, writing as the Vatican’s official keeper of church morality, issued a letter stating that gays and lesbians are “intrinsically disordered” and that gay organizations were no longer allowed the use of church property. It’s only gotten worse in recent years — in January, Pope Benedict condemned same-sex marriage efforts and called gay marriage, in an ironic choice of words, a threat “to human dignity and the future of humanity itself … pride of place goes to the family based on the marriage of a man and woman.”
And it wasn’t just talk — the Roman Catholic Church gave $2 million this year to unsuccessful efforts to outlaw same-sex marriage with November’s ballot initiatives in Maine, Maryland, Minnesota and Washington state, according to the Human Rights Campaign. As pro-LGBT efforts of any kind have taken root elsewhere, the Vatican has increasingly dug in its heels. Official church teaching is that although gays should “be accepted with respect, compassion and sensitivity,” “homosexual acts are intrinsically disordered” and “sexual activity only exists for the purpose of procreation.”
DignityUSA, however, has persevered. The Washington chapter, formed in the fall of 1972 (three years after the national group) and one of 45 active U.S. chapters, has its 40th anniversary events (“Forty and Fabulous on the First”) this weekend. On Saturday evening, a reception and dinner will be held at Clyde’s Restaurant (707 7th St., N.W.) with gay actor/singer Will Gartshore providing entertainment. On Sunday, Sr. Jeannine Gramick (Sisters of Loretto) will give the homily at a special “anniversary Mass.” The group meets weekly for a 6 p.m. Mass at St. Margaret’s Church, an Episcopal parish at 1820 Connecticut Ave., N.W. Details are at dignitywashington.org.
The sheer numbers are daunting. The Roman Catholic Church is the world’s largest Christian church with more than a billion members worldwide. It claims it is the one true church founded by Jesus Christ, that its bishops are the successors of Christ’s apostles and Pope Benedict is the successor to the biblical figure Peter. Though there was no recognized papacy until later centuries, Rome has named an unbroken line of bishops that dates to Peter and the first century. The Archdiocese of Washington did not respond to a request for comment for this article. Dignity/Washington members say relations with it are prickly at best.
“There’s no sense that the local archdiocese has evolved at all,” says Tom Bower, a gay member for almost the whole time the D.C. group has existed, a board member for eight years and co-chair for the anniversary committee. “They absolutely find us quite beyond the pale.”
DignityUSA, a U.S. group as its name implies (similar but unaffiliated gay Catholic groups exist in other countries), has about 6,000 dues-paying members, according to Executive Director Marianne Duddy-Burke, a lesbian, and an operating budget at the national level of about $550,000 though the chapters have their own budgets.
It’s a big weekend for the organization — the Boston chapter is also celebrating its 40th anniversary. San Diego, Chicago and New York also formed chapters in 1972. Dignity/Washington started with a group of about 20 at its first Mass. It moved from twice-monthly to weekly Mass in 1976. Membership and Mass attendance peaked at about 500 and 350 respectively in the late ‘80s. By late 1990, it had become the largest Dignity chapter in the U.S., a feat it maintains to this day, though membership is now about 200 with an average of 90-100 believers attending weekly Dignity Mass in D.C.
It owns its own building in Eastern Market that houses offices and provides space to other LGBT organizations such as Brother Help Thyself and Imperial Court. As with most Dignity chapters, Dignity/Washington prefers to let other churches host its services rather than build its own sanctuary.
“Most of our chapters are kind of hand to mouth,” Duddy-Burke says. “We pay our rent and our basic expenses, we have the weekly bulletins and we underwrite memberships for low-income people and most of our chapters give back to their own communities in some way. … Our model really isn’t based on the institutional model. We focus on the church as more of a community than a building.”
Despite the daunting odds, the group is celebrating. Bower says the group’s mere survival is a reason to be ecstatic.
“The official church would very much like us to disappear,” he says. “We show that you can be gay and Catholic at the same time and happily so and despite the major efforts of a much bigger organization to throw us out. We’re part of a national organization and when the Pope comes out against something gay, we’re able to say, ‘No, that’s wrong.’”
Bob Miailovich, a member for 35 years — someone left a Dignity brochure on his car while he was in a gay bar — agrees.
“This small group of gay men got together back in the early ‘70s — who would have ever envisioned this thing being as big as it is and the ongoing evolution of this group. I mean we’re a small group of sort of churchy guys, but it’s really opened up and I think we’re more broadly attuned to the world at this time and to what faith is all about.”
Despite the political and spiritual cold shoulder, DignityUSA wants to be recognized by the Holy See, the Roman Catholic Church’s central governing body. It’s a key component to the organization’s mission. While many LGBT Christian groups, Catholic and otherwise, have started their own denominations with no interest whatsoever in swaying the Vatican, Dignity, at its very core, feels that it’s important to stay within the church and fight as much as possible. Though many gay Christians cannot fathom wanting anything to do with the Roman Catholic Church after centuries of anti-gay teaching, Dignity members say it’s essential.
“People think, ‘Oh, why do you keep banging your head against the wall?’” Bower says. “That’s why we call it faith. It’s a belief that there is within the larger view of what it means to be Catholic, there’s something there that you just don’t have with other groups.”
Miailovich says despite the anti-gay teachings, he still “find(s) more truth in the Catholic Church than I do in other religions. It’s not perfect and I don’t buy everything at the end of the day but from what I know of other religions and what they teach and believe, I find more truth on the Catholic side than elsewhere else.”
As one might expect considering its size, millions have left the Catholic Church for all kinds of reasons and to varying degrees. Hard though it may be for LGBT people to fathom, there are even strains of Catholicism that have broken off from Rome because they feel the Vatican has gotten too liberal.
The most notorious is the Mexico City-based New Jerusalem, a gated community of about 3,000 that was founded in 1973 as a reaction to the Second Vatican Council of 1962-1965, a hugely influential change in Church teaching that allowed Masses to be said in languages besides Latin among many other things. Several “Traditionalist Catholic” splinter groups also revolted against Vatican II reform, but New Jerusalem is widely regarded as the most extreme — TV, radios, alcohol, makeup and pants for women are forbidden. Residents attend church three times daily, don’t recognize any post-Vatican II Roman church leaders and think Benedict is the anti-Christ. Fundamentalist splinter groups occur in other religions as well — the Fundamentalist Church of Jesus Christ of Latter-day Saints received massive media attention in recent years when its leader was convicted of two felony counts of child sexual assault.
Other groups have broken away on the opposite side of the theological spectrum. The North American Old Catholic Church considers itself a “2,000-year-old church with Apostolic succession” and teaches the “full inclusion of LGBT persons in our religious life, sacraments and clergy.” It also advocates for “the full inclusion of LGBT persons throughout society.” Two gay-welcoming Old Catholic churches were launched in Washington — one in 2011 and another this year— but appear to be inactive. Neither Presiding Bishop Rev. Michael Seneco, who’s gay, nor Rev. Kerolos Saleib of Saint Damien of Molokai Parish responded to multiple requests for comment or had recently updated websites. The churches that hosted them say they’re no longer meeting there. Salieb held a series of Masses at National City Christian Church during the International AIDS Conference this summer but fled the country soon after under mysterious circumstances. Duddy-Burke says many similar groups have come and gone over the years.
Denomination hopping between Episcopalians and Catholics, perhaps the two most stylistically similar denominations in the U.S., has been going on for all kinds of reasons for decades. Many progressive believers left the Catholic Church to find more gay- and women-friendly theology among Episcopalians, the Anglican Church in the U.S. The Catholic Church in recent years has started welcoming a spate of disenfranchised former Episcopalians who left disappointed that the church had become more gay-friendly. Others Episcopalians still, as has been widely reported, left their U.S. dioceses to align with more conservative Anglicans in other countries.
Bower says for him, converting to the Episcopal faith is not feasible.
“There are some basic theological differences between Catholicism and Episcopalianism,” he says. “Even in something as basic as Communion and the notion of transubstantiation. We really believe there is a change in the body and blood. They see it more as a memorial. And there’s a whole historical precedent of difference between the Roman and English churches.”
Others are pushing as far as they can under Vatican leadership and not just on LGBT issues. A lengthy article in the current edition of Rolling Stone magazine tells the stories of Sister Simone Campbell, Sister Margaret Farley and others who are “refusing to back down from the Catholic Church itself up to and including the Pope. On issues ranging from gay rights to abortion, the nuns are either openly contradicting church dogma or quietly undermining it with their silence, choosing instead to embrace a radical notion of missionary work that wouldn’t be out of place at an Occupy Wall Street rally: income inequality, universal health care, corporate responsibility, immigration reform,” and elsewhere reproductive rights. A group called Roman Catholic Womenpriests includes former nuns, ordains women as priests and holds women-led Masses.
Campbell, who didn’t immediately respond to a Blade interview request, told Rolling Stone, the same anti-LGBT beliefs are equally as harmful to women in the exclusively male-led Vatican.
“You’ve got to realize that any crowd that took 350 years to figure out Galileo might be right is not noted for rapid change,” she told Rolling Stone. “This is about a cultural clash between monarchy, in which the monarch is always right, and democracy where everybody has equal dignity, responsibility and opportunity, women and men. The whole idea that we live in a pluralistic society is news to these guys.”
The combined effect of all this shifting is a diminished Vatican hurt by a range of factors, from those turned off by its increasingly right-leaning teachings to millions lost and incalculable damage incurred by the clergy abuse scandals of recent years. Benedict, at times, has seemed almost cavalier about the loss, advocating for a “smaller, purer” church and saying that a church that seeks “above all to be attractive is already on the wrong path.”
Regardless of one’s political or religious views, the numbers are surprising — a third of those reared Catholic in the U.S. leave the church and, according to a Pew Research Study, 10 percent of all Americans are former Catholics. The losses have been partially offset by the disproportionately high number of immigrants who are Catholic.
Gramick, in a lengthy phone interview this week from her home in Mt. Ranier, Md., says the Roman Catholic “institution is unraveling.” Gramick, who declines to give her sexual orientation, was present at the first meeting to form Dignity/Washington in the cafeteria of the National Shrine of the Immaculate Conception with five others in 1971. She later formed New Ways Ministry, which she calls “a peace and justice center focused solely on the issue of lesbian and gay rights.”
Of the Church’s continual anti-gay teaching, she says it’s “causing a lot of dissonance and alienation among the Catholic community and a lot of Catholics out there in the pews, they’re no longer in the pews. Mass attendance has decreased dramatically in the last 20-30 years and actually what I think we’re seeing is the beginning of the dissolution of the institutional church. The institution is unraveling but the faith of the people is continuing and growing.”
Is it conceivable to imagine a post-Vatican world in another generation or two?
“If you’re talking erasure, I don’t think I’d go that far, but it’s unraveling certainly … it’s getting increasingly frayed and not only at the edges. It’s really closer to the center and it’s coming apart at the seams.”
Dignity Catholics don’t want that. At the most basic level, they believe the Vatican is simply wrong on the traditional view of Christian teaching and homosexuality, though opinions vary as to the reasons.
“We say basically go back and look at the theological arguments presented and they’re false,” Bower says. “We’re not picking and choosing which teachings to abide by. This is what you get when you look at the gospels. There really are no statements about LGBT people the way we think of it today. The type of homosexuality they were referring to was basically idol worship and temple prostitution.”
Having worked on these issues for decades, Gramick says the Vatican’s gay and lesbian theology is “not really based on the Bible.”
“It’s really more based on philosophy and natural law that uses scriptural quotes as backup,” she says. “It doesn’t really use scripture as the basis for its objection. They say homosexuality is unnatural without any acknowledgement that nature changes. What you see with the Vatican is an unwillingness to acknowledge change. If you have a 13th century mind, you would understand their position but with a 21st century mind and the science we’ve discovered, the human person is not what the Vatican thinks a person is. … Psychology has come so far since then. They didn’t know anything about Freud. When they come out with these views of it being a disorder, this is just not an enlightened view of psychology.”
Gramick’s iconoclastic work has not gone unnoticed — she says in the last 11 years, her religious community has received nine letters from the Vatican advising her superiors to have her dismissed from the Sisters of Loretto. The three presidents in that time have backed her, though the Church does play hardball — last month Rev. Roy Bourgeois was “canonically dismissed” for ordaining a woman at a Unitarian church in Kentucky in 2008.
Duddy-Burke says the decades of Vatican opposition have brought both a change of approach from DignityUSA and unexpected advantages.
“I think we’ve actually moved from trying to get acceptance from the Vatican to really leading the rest of the Church into being a more just Church,” she says. “I think we sort of feel like our job now is to hold our leadership accountable for the damage they’ve done and at the same time model a better way of living out the Gospel.”
She says slowly this approach has “caused people to see that the Church not only belongs to the Bishop and the Vatican. All of us who are baptized Catholics own the Church as well as the rites that are part of it. … If people ever caught on it would be like, ‘Wow, you’re governing it, you’re saying who preaches and presides, you decide if you want to use the new Roman Missel or not.’ Because we’ve been so excluded, we’ve had this opportunity to create the Church that we deserve and it’s an opportunity that a lot of Catholics haven’t had.”
Despite the Vatican’s refusal to bend, there’s growing evidence, both anecdotally and in serious research, that its official teachings are out of step with the majority of its laity — a summer poll conducted by the Pew Forum on Religion and Public Life found that 58 percent of Catholics favor same-sex marriage with 33 percent opposed. On matters as far-ranging as whether an unexcused absence from weekly Mass warrants a mortal sin to use of contraception, U.S. Catholics and many of their counterparts in other countries have long been a body of believers who haven’t felt they had to adhere to all church doctrine to stay in the church. Many parishes and clergy — even some who perform Dignity Masses — are quietly gay welcoming. They keep it low key to avoid interference from church leaders, but can sometimes be more welcoming than many would realize. So much so, in some cases, that it’s eaten into Dignity’s roster.
That’s partially why Dignity members say they don’t want to leave the church.
“The church really is the people of God,” Miailovich says. “It’s a horizontal assembly, not some vertical thing where you have the Pope at the top and an triangle going down with everyone else. Out there in the pews, there’s a great deal of support for a more progressive agenda, for women’s ordination, for married priests, you have the nuns on the bus for social justice. Everybody in the church does not believe 100 percent of everything that may be promulgated from on high.”
He also says there’s an “attitude that it’s my church and you can’t take it away from me.”
“I can’t leave what is mine and that leaves you with a sense that some day, somehow, change will be made. You’re right, there are people who’ve said, ‘Why spend a lifetime working with these people, let’s go start our own thing and not worry about what’s left behind.’ But I’m not going to change. This is who I am. This is how I pray and how I worship and here I am. We pray for our church leaders because we feel they need enlightenment.”
Bower agrees.
“We’ve found a peace and reconciliation within ourselves,” he says. “It’s more like a ‘We think we’re right and we’re here if you ever want to talk’-kind of thing. There’s less time today spent trying to articulate and debate all these issues because there’s really nobody to talk to on the other side.”
Despite, the ongoing dissent, Gramick says the occasion is a celebration.
“They’ve had a marvelous ministry here for 40 years ministering to local LGBT Catholics,” she says. “It’s really a time to rejoice.”
Friday, April 10
Center Aging Monthly Luncheon With Yoga will be at 12 p.m. at the DC Center for the LGBT Community. Email Mac at [email protected] if you require ASL interpreter assistance, have any dietary restrictions, or questions about this event.
Women in their Twenties and Thirties will meet at 8 p.m. on Zoom. This is a social discussion group for queer women in the Washington, D.C. area. For more details, visit Facebook.
Saturday, April 11
Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.
The DC Center for the LGBT Community will host a screening of “Love Letters” at 1:30 p.m. This movie is a tender, intimate look at love, parenthood, and the quiet fight to claim your place in your own family. For more details, visit the DC Center’s website.
Sunday, April 12
Spark Social will host “Tea Time! A Local DC Drag Comedy Show” at 3 p.m. This event features the hilarious TreHER and Tiara Missou Sidora. This dynamic duo will have guests cackling as they discuss the “Latest Tea” in DC. Have drama in your own life? TrevHER and Tiara are ready to provide advice and rate how hot your tea is. Hottest tea wins a piece of Spark merch. Tickets cost $13.26 and can be purchased on Eventbrite.
Just Kidding Comedy Collective will host “Best of DC at the Woke Mob Comedy Festival” at 5 p.m. at Pikio Taco. The Woke Mob Comedy Festival celebrates everything that makes this region the best and showcases the DMV’s funniest comedians, especially highlighting BIPOC, women, LGBTQ+ and gender-queer performers, plus a few “prodigal” comics who got their start here before heading national. Tickets cost $15.18 and can be purchased on Eventbrite.
Monday, April 13
Center Aging: Monday Coffee Klatch” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ adults. Guests are encouraged to bring a beverage of choice. For more information, contact Adam ([email protected]).
Genderqueer DC will be at 7 p.m. on Zoom. This is a support group for people who identify outside of the gender binary, whether you’re bigender, agender, genderfluid, or just know that you’re not 100% cis. For more details, visit www.genderqueerdc.org or Facebook.
Tuesday, April 14
Trans Discussion Group will be at 7 p.m. on Zoom. This event is intended to provide an emotionally and physically safe space for trans people and those who may be questioning their gender identity/expression to join together in community and learn from one another. For more details, email [email protected].
Coming Out Discussion Group will be at 7 p.m. on Zoom. This is a safe space to share experiences about coming out and discuss topics as it relates to doing so — by sharing struggles and victories the group allows those newly coming out and who have been out for a while to learn from others. For more details, visit the group’s Facebook.
Wednesday, April 15
Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.
The DC Center for the LGBT Community will host “Movement for Healing” at 3 p.m. This trauma- and yoga therapy–informed class is designed to help guests gently reconnect with their body and their breath. Through mindful movement, somatic awareness, and grounding practices, guests will explore how to release tension, increase mobility, and cultivate a deeper sense of safety and ease within. For more details, visit the DC Center’s website.
Thursday, April 16
The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. People will be informed on Wednesday at 5:00 pm if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245.
Virtual Yoga Class will be at 7 p.m. on Zoom. This free weekly class is a combination of yoga, breathwork and meditation that allows LGBTQ+ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC Center’s website.
Movies
A Sondheim masterpiece ‘Merrily’ rolls onto Netflix
Embracing raw truth lurking just under the clever lyrics
It’s been long lamented by fans of the late Stephen Sondheim – and they are legion – that Hollywood has hardly ever been successful in transposing his musicals onto the big screen.
Sure, his first Broadway show – “West Side Story,” on which he collaborated with the then-superstar composer Leonard Bernstein – was made into an Oscar-winning triumph in 1961, but after that, despite repeated attempts, even the most starry-eyed Sondheim aficionados would admit that the mainstream movie industry has mostly offered only watered-down versions of his works that were too popular to ignore: “A Little Night Music” was muddled into an ill-fitted star vehicle for Liz Taylor, “Sweeney Todd” became a middling entry in the Tim Burton/Johnny Depp canon, “Into the Woods” mutated into a too-literal all-star fantasy with most of its wolf-ish teeth removed, and we’re still waiting for a film version of “Company” – not that we would have high hopes for it anyway, given the track record.
Of course, most of those aficionados would also be able to tell you exactly why this has always been the case: erudite, sophisticated, and driven by an experimental boldness that would come to redefine American musical theater, Sondheim’s musicals were never about escapism; rather, they deconstructed the romanticized tropes and presentational glamour, turning them upside down to explore a more intellectual realm which favored psychological nuance and moral ambiguity over feel-good fantasy. Instead of pretty lovers and obvious villains, they showcased flawed, complicated, and uncomfortably relatable people who were just as messed-up as the people in the audience. Any attempt to bring them to the screen inevitably depended on changes to make them more appealing to the mainstream, because they were, at heart, the antithesis of what the Hollywood entertainment machine considers to be marketable.
To be fair, this often proved true on the stage as well as the screen. Few of Sondheim’s shows, even the most acclaimed ones, were bona fide “hits,” and at least half of them might be considered “failures” from a strictly commercial point of view – which makes it all the more ironic that perhaps the most purely “Sondheim” of the stage-to-screen Sondheim efforts stems from one of his most notorious “flops.”
“Merrily We Roll Along” was originally conceived and created more than 40 years ago, a reunion of Sondheim with “Company” book-writer George Furth and director Harold Prince, based on a 1934 play by George Kaufman and Moss Hart. Telling the 20-year story of three college friends who grow apart and become estranged as their lives and their goals diverge, it wasn’t ever going to be a feel-good musical; what made it even more of a “downer” was that it told that story in reverse, beginning with the unhappy ending and then going backward in time, step by step, to the youthful idealism and deep bonds of camaraderie that they shared in their first meeting. On one hand, getting the “bad news” first keeps the ending from becoming a crushing disappointment; but on the other hand, the irony that results from knowing how things play out becomes more and more painful with each and every scene.
The original production, mounted in 1981, compounded its challenging format with the additional conceit of casting mostly teen and young adult actors in roles that required them to age – backwards – across two decades; though the cast included future success stories (Jason Alexander and Giancarlo Esposito, among them), few young actors could be expected to convey the layered maturity required of such a task, and few audiences were capable of suspending their disbelief while watching a teenager play a disillusioned 40-year old. This, coupled with a minimalist presentation that left audiences feeling like they were watching their nephew’s high school play, turned “Merrily We Roll Along” into Sondheim’s most notorious Broadway flop – despite raves reviews for the show’s intricately woven score and the xtinging candor of its lyrics.
Fast forward to 2022, when renowned UK theater director Maria Friedman staged a new revival of the show in New York. In the interim, “Merrily” had undergone multiple rewrites and conceptual changes in an effort to “fix” its problems, abandoning the concept of using young performers and opting for a more “fleshed-out” approach to production design, and the show’s reputation, fueled by a love for its quintessentially “Sondheim-esque” score, had grown to the level of “underappreciated masterpiece.” Inspired by an earlier production she had helmed at home a decade earlier, Friedman mounted an Off-Broadway version of the show starring Jonathan Groff, Daniel Radcliffe, and Lindsay Mendez – and suddenly, as one critic observed, Sondheim’s biggest failure became “the flop that finally flew.” The production transferred to Broadway, winning Tony Awards for Groff and Radcliffe’s performances, as well as the prize for Best Revival of a Musical, in 2024.
Sondheim, who died at 91 in 2021, participated in the remount, though he did not live to see its premiere, nor the success that officially validated his most “problematic” work.
Fortunately, we DO get the chance to see it, thanks to a filmed record of the stage performance, directed by Friedman herself, which was released in limited theaters for a brief run last year, but which is now streaming on Netflix – allowing Sondheim fans to finally experience the show in the way it was designed to be seen: as a live performance.
Embracing the conventions of live theatre into its own cinematic ethos, this record of the show gives viewers the kind of up-close access to its performances that is impossible to experience even from the front-row of the theatre. The performances it gives us are impeccable: Groff’s raw and deeply deluded Frank Shepard, the ambitious composer who sells out his values and alienates his friends on the road to success and wealth; Radcliffe’s mawkishly loyal Charlie Kringas, who remains loyal to the dream he shared with his best friend until he can’t anymore; and Mendez’ heartbreaking perfection as Mary Flynn, the wisecracking good-time girl who rounds out their trio while concealing a secret passion of her own – each of them bring the kind of raw and vulnerable honesty to their roles that can, at last, reveal both the deep insights of Sondheim’s intricate lyrics and the discomforting emotional conflicts of Furth’s mercilessly brutal script.
Yes, it’s true that any filmed record of a live performance loses something in the translation; there’s a visceral connection to the players and a feeling of real-time experience that doesn’t quite come through; but thanks to unified vision that Friedman shepherded and instilled into her cast – including each and every one of the brilliant ensemble, who undertake the show’s supporting characters and embody “the blob” of show-biz hangers-on who are central to its cynical theme.
Honestly, we can’t think of another Sondheim screen adaptation that comes close to this one for embracing the raw truth that was always lurking just under the clever lyrics and creative rhyme schemes. For that reason alone, it’s essential viewing for any Sondheim fan – because it’s probably the closest we’ll ever get to having a “real” Sondheim film that lives up to the genius behind it.
a&e features
New book celebrates 1970s dance music icons
‘A Night at the Disco’ features interviews with Donna Summer, Debbie Harry, more
If you’re a fan of 1970s-era dance music, don’t miss the irresistible new book by Christian John Wikane and Alice Harris, “A Night at the Disco,” which revisits more than 90 interviews conducted with some of the biggest names in pop culture.
“A Night at the Disco” (ACC Art Books) was published on March 24, and distributed by Simon & Schuster. It celebrates more than 100 artists who sparked a phenomenon in dance music from 1970-1979 and features excerpts from interviews with everyone from Donna Summer to Debbie Harry.

Lost City Books (2467 18th St., N.W.) will welcome author Christian John Wikane for a book signing and conversation about “A Night at the Disco” on Thursday, April 16 at 6 p.m. Details at lostcitybookstore.com. Bird in Hand Coffee & Books in Baltimore (11 E. 33rd St.) )will also host a Q&A with the author on Wednesday, April 15 at 6 p.m. Details at theivybookshop.com.
Below is an excerpt from “A Night at the Disco.”
“I’ll let in anyone who looks like they’ll make things fun.” Steve Rubell is guiding a New York Times reporter through Studio 54 as resident DJ Richie Kaczor dazzles the crowd with records by CHIC, Odyssey, and T-Connection. “Disco, that’s where the happy people go,” The Trammps sing as dancers spin and twirl underneath tubes of flashing lights. Seven months since Rubell and co-owner Ian Schrager opened Studio 54 in April 1977, it’s welcomed untold numbers of “happy people” … at least those lucky enough to pass through the doors.
“We were part of the chosen few,” says André De Shields, who immortalized the title role in The Wiz on Broadway at the time. “We could show up at Studio 54 and the doorman at the velvet stanchion would look over everyone and point to us from The Wiz to come in, that kind of thing.” As the lead vocalist in the GRAMMY-nominated Dr. Buzzard’s Original Savannah Band, whose debut modernized big band sophistication for the discothèques, Cory Daye had carte blanche in the club. “The energy was like a New Year’s Eve party every night,” she says. “I would go up to the mezzanine and watch the mechanical light pillars go up and down, metallic confetti falling from the ceiling, the spoon and the moon. I was so fascinated and enamored by it.
“When a certain song came on, the people would just rush to the dance floor. There was no contact dancing — the hustle was pretty much on its way out — but it was just an amazing experience to see all the cultures together. It was a fusion of cultures, which described my life and my band, so I was right at home there.”
“Studio 54 was the place,” adds Linda Clifford. “Crazy parties. If you could think it, you would see it. It was like a circus. Just an amazing place to be. I worked 54 so many times. It was like a second home to me. The people there treated me so well. The crowd always seemed to enjoy my show. I always had a good time with them. That was the most important thing: making sure that they had fun.”
Well before Studio 54 opened, disco had become a business juggernaut. “A four billion dollar market and still growing,” Billboard announced in February 1977, with dance music offering more variety than ever. “There is no longer a single, readily identifiable disco beat, but a kaleidoscope of sounds that are melodic and danceable,” Tom Moulton told the magazine. In the clubs, records by veteran artists like Stevie Wonder and the Bee Gees were mixed in with a range of new acts like Grace Jones, Boney M., and The Ritchie Family, while everyone from ABBA to Marvin Gaye scored number one pop hits with songs that had club-centric storylines.
Beyond the charts, disco itself remained as idiosyncratic as ever, especially on several productions by Laurin Rinder and W. Michael Lewis, whose studio creations, El Coco (“Let’s Get It Together,” “Cocomotion”) and Le Pamplemousse (“Le Spank”), joined their own “Lust” from Seven Deadly Sins (1977) among the most tantalizing releases on AVI Records. Rinder & Lewis also produced acts for the newly hatched Butterfly Records in Los Angeles, where Saint Tropez (“On a Rien à Perdre”) and Tuxedo Junction (“Moonlight Serenade”) reflected the duo’s high gloss sound, spanning everything from European sophistication to a more literal translation of the ’40s sensibilities popularized by Dr. Buzzard’s Original Savannah Band.
12-inch singles had also grown as the preferred format to approximate the club music experience at home. Nearly a year after Atlantic Records introduced its series of promotional 12-inch singles for DJs, New York-based Salsoul Records released the industry’s first commercially available 12-inch single, “Ten Percent” by Double Exposure, in May 1976. A year later, T.K. Records was the first label to certify a gold record for a 12-inch single when Peter Brown’s “Do You Wanna Get Funky With Me” tallied one million sales.— Christian John Wikane
(From “A Night at the Disco” by Alice Harris & Christian John Wikane. Published by ACC Art Books.)
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