Arts & Entertainment
Short stories spanning centuries
‘Astray’ makes magic with slice-of-life tales
‘Astray’
By Emma Donoghue
Little, Brown and Company
$25.99
275 pages
(Image courtesy Little Brown and Co.)
The lady in the picture was wearing the biggest scowl you’d ever seen.
The photo was taken long ago and it made you wonder what happened that day to make her so snarly. Was there a death, lost crops, an accident, bad weather or did the photographer make her angry?
You’ll never know but you wonder, just like the portrait makes you wonder about her life. And in the new book “Astray” a collection of short stories by Emma Donoghue, imagination becomes possibility.
Perhaps the woman in the picture had just gotten out of bed. It was her third time rising that day, but she had to do what she could to keep a roof over her head and food in her child’s belly. Not even 30 years old, she felt worn, detesting her situation, loving her family. She hated her life but “she wouldn’t swap it for any other.”
Or, as you’ll see in “The Widow’s Cruse,” the scowling woman could’ve been on her way to meet her lawyer. Newly widowed by a smallpox plague, she was frightened and unsure. She feared destitution. Her lawyer should have feared her.
Maybe the woman was escaping. In the photograph, she appeared to be white, but that doesn’t mean anything. A man who’s cruel to his slaves can be cruel to his wife, too. Or perhaps she was escaping to another country, making a journey with her children to join a husband who was never going to meet her at any pier.
It’s possible, too, that the woman was scowling because she met a man who’d never love her. When men team up to seek fortune and pan for gold, they often forget that Yukon winters can be long and ferociously cold. Men do things to stay warm and sane. When that happens, women are mostly forgotten.
And then again, that woman you see scowling in the picture? There’s something about her that you just can’t quite figure out. Maybe – just maybe, as you’ll see in “Daddy’s Girl” – she’s not really a woman, down deep.
“Astray” is written with a great premise: take an old newspaper article, story, fictional tale, or even a passing mention from any source, and imagine how that single episode in someone’s life might have actually happened.
It sounds like a seventh-grade writing assignment, but in author Emma Donoghue’s hands, it works to a level of impressiveness.
Moving through the centuries with her short stories, Donoghue turns everyday situations and period-piece slice-of-life situations into something of which O. Henry and Paul Harvey would be proud. Indeed, some of these tales start with a little sleight of word, poking our emotions in one way, then slowly twisting them into another direction before giving us the real story. You never know where these tales will end, and that’s a good thing.
My only complaint about this book is that it didn’t last long enough. I wanted more, and if that’s the kind of book you have to have, then “Astray” is one to picture yourself reading.
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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