Arts & Entertainment
‘Rocketman’ star Taron Egerton says he feels ‘at home’ at gay clubs
The actor isn’t comfortable in ‘the bro’ role
Taron Egerton, who stars in the upcoming Elton John biopic “Rocketman,” opened up about how he feels more “at home” going to gay clubs than he does going to a football match in a new interview for GQ UK.
Egerton says he’s always felt “like something of an imposter” as “The ‘guy’, the ‘bro’, the ‘stunt guy'” like his role in “Kingsman.”
“I’m not someone who really subscribes to this binary view of male and female archetypes or ways of behaving. … Our concept of what a straight man or gay man looks like or is expected to behave in 20 years will be nothing like it is now,” Egerton says.
Egerton also commented on the gay sex scene from “Rocketman” between John (Egerton) and John’s manager and lover John Reid (Richard Madden) which was said to be censored but director Dexter Fletcher called the reports “nothing but rumors.”
“Well, the stuff we shot was pretty explicit. I mean, that’s why I made the film,” Egerton says. “And for me, especially as a heterosexual actor, not to push the envelope as far as I can or try to make it a wholehearted celebration of being a gay man would be wrong. … What’s an extra $25 million at the box office? What are you willing to do for that? Sacrifice sleeping at night because you watered the whole thing down?”
GQ UK also spoke with John’s husband David Furnish, who is a producer on the film, about why Egerton was the choice for John.
“When I first met Elton I was quite taken by his masculinity. He’s quite a blokey gay man. You can take him and put him in these costumes, pile up the feathers or the crazy stuff, and it all just kind of lands on him in a very masculine way. Taron has real gravitas and it’s very similar. He has the incredible -sensitivity and gentleness that Elton has, but he also has this manliness too. It’s a very complex quality,” Furnish says.
Furnish also added that he doesn’t want “Rocketman” to face the same censorship in other countries that “Bohemian Rhapsody” did in China.
“I heard Bohemian Rhapsody is going to China with any reference to Freddie being gay taken out of it. Well, you can’t do that with our film, I’ll tell you that. It’s integral to Elton’s journey as an individual and as an artist,” Furnish says.
“Rocketman” hits theaters on May 31.
The 2026 Mr. Mid-Atlantic Leather competition was held at the Hyatt Regency Capitol Hill on Sunday. Seven contestants vied for the title and Gage Ryder was named the winner.
(Washington Blade photo by Michael Key)
Theater
Voiceless ‘Antony & Cleopatra’ a spectacle of operatic proportions
Synetic production pulls audience into grips of doomed lovers’ passion
‘Antony & Cleopatra’
Through Jan. 25
Synetic Theater at
Shakespeare Theatre Company’s Klein Theatre
450 7th St., N.W.
Synetictheater.org
A spectacle of operatic proportions, Synetic Theater’s “Antony & Cleopatra” is performed entirely voiceless. An adaptation of the Bard’s original (a play bursting with wordplay, metaphors, and poetic language), the celebrated company’s production doesn’t flinch before the challenge.
Staged by Paata Tsikurishvili and choreographed by Irina Tsikurishvili, this worthy remount is currently playing at Shakespeare Theatre Company’s Klein Theatre, the same venue where it premiered 10 years ago. Much is changed, including players, but the usual inimitable Synectic energy and ingenuity remain intact.
As audiences file into the Klein, they’re met with a monumental pyramid bathed in mist on a dimly lit stage. As the lights rise, the struggle kicks off: Cleopatra (Irina Kavsadze) and brother Ptolemy (Natan-Maël Gray) are each vying for the crown of Egypt. Alas, he wins and she’s banished from Alexandria along with her ethereal black-clad sidekick Mardian (Stella Bunch); but as history tells us, Cleopatra soon makes a triumphant return rolled in a carpet.
Meanwhile, in the increasingly dangerous Rome, Caesar (memorably played by Tony Amante) is assassinated by a group of senators. Here, his legendary Ides of March murder is rather elegantly achieved by silver masked politicians, leaving the epic storytelling to focus on the titular lovers.
The fabled couple is intense. As the Roman general Antony, Vato Tsikurishvili comes across as equal parts warrior, careerist, and beguiled lover. And despite a dose of earthiness, it’s clear that Kavsadze’s Cleopatra was born to be queen.
Phil Charlwood’s scenic design along with Colin K. Bills’ lighting cleverly morph the huge pyramidic structure into the throne of Egypt, the Roman Senate, and most astonishingly as a battle galley crashing across the seas with Tsikurishvili’s Antony ferociously at the helm.
There are some less subtle suggestions of location and empire building in the form of outsized cardboard puzzle pieces depicting the Mediterranean and a royal throne broken into jagged halves, and the back-and-forth of missives.
Of course, going wordless has its challenges. Kindly, Synectic provides a compact synopsis of the story. I’d recommend coming early and studying that page. With changing locations, lots of who’s who, shifting alliances, numerous war skirmishes, and lack of dialogue, it helps to get a jump on plot and characters.
Erik Teague’s terrific costume design is not only inspired but also helpful. Crimson red, silver, and white say Rome; while all things Egyptian have a more exotic look with lots of gold and diaphanous veils, etc.
When Synetic’s voicelessness works, it’s masterful. Many hands create the magic: There’s the direction, choreography, design, and the outrageously committed, sinewy built players who bring it to life through movement, some acrobatics, and the remarkable sword dancing using (actual sparking sabers) while twirling to original music composed by Konstantine Lortkipanidze.
Amid the tumultuous relationships and frequent battling (fight choreography compliments of Ben Cunis), moments of whimsy and humor aren’t unwelcome. Ptolemy has a few clownish bits as Cleopatra’s lesser sibling. And Antony’s powerful rival Octavian (ageless out actor Philip Fletcher) engages in peppy propaganda featuring a faux Cleopatra (played by Maryam Najafzada) as a less than virtuous queen enthusiastically engaged in an all-out sex romp.
When Antony and Cleopatra reach their respective ends with sword and adder, it comes almost as a relief. They’ve been through so much. And from start to finish, without uttering a word, Kavsadze and Tsikurishvili share a chemistry that pulls the audience into the grips of the doomed lovers’ palpable passion.
Out & About
Love board games and looking for love?
Quirk Events will host “Board Game Speed Dating for Gay Men” on Thursday, Jan. 22 at 7 p.m. at KBird DC.
Searching for a partner can be challenging. But board games are always fun. So what if you combined board games and finding a partner?
Picture this: You sit down for a night of games. A gaming concierge walks you through several games over the course of the night. You play classics you love and discover brand new games you’ve never heard of, playing each with a different group of fun singles. All while in a great establishment.
At the end of the night, you give your gaming concierge a list of the folks you met that you’d like to date and a list of those you met that you’d like to just hang out with as friends. If any two people put down the same name as each other in either column, then your gaming concierge will make sure you get each other’s e-mail address and you can coordinate a time to hang out.
Tickets cost $31.80 and can be purchased on Eventbrite.
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Comings & Goings
