Arts & Entertainment
‘Sense8’ star Brian J. Smith comes out as gay
Brian J. Smith, one of the sexy stars of the cult Netflix series “Sense8,” has come out of the closet.
In an interview with Attitude magazine, the 38-year-old actor talks about the difficulties of growing up in a rural Texas town where he says he “could never be who I was.”
“I was terrified,” says Smith. “At school, I really couldn’t fit in anywhere. I wasn’t a jock or a nerd. Forget about any LGBTQ union or groups. There was absolutely nothing. I was completely alone. I heard all the names: p*ssy, f*ggot… I was constantly having to check myself and make sure I wasn’t looking at someone too long or making someone feel uncomfortable.
“I had to be very, very careful about telling the people the truth about myself.”
It was through his interest in acting that he says he began to find himself.
“In front of an audience,” he says, “I disappeared and became someone else. I had 600 students at school, all of whom probably thought I was an absolute idiot, a nerd. On stage, they paid attention to me, and they saw that I had something. And that’s when I didn’t feel alone.”
Eventually, Smith’s talent earned him a place at the prestigious Julliard School for Acting. He made his Broadway debut in a 2008 revival of “Come Back, Little Sheba,” then scored Tony and Drama Desk nominations for his featured role as the Gentleman Caller in the acclaimed 2013 revival of Tennessee Williams’ “The Glass Menagerie,” in which two of his co-stars, Zachary Quinto and Cherry Jones, were both out actors.
It was with his role as Chicago police officer Will Gorski on “Sense8” that Smith gained widespread recognition. The Netflix sci-fi series debuted in 2015 and gained an enthusiastic following with its unique story of eight young strangers from different parts of the world who discover they are part of a human subspecies bound together by a deep psychic connection. Created by trans filmmakers Lana and Lilly Wachowski with J. Michael Straczynski, the LGBTQ-inclusive show’s large cast and international locations made it expensive to shoot, and Netflix cancelled it after only two seasons – though demand from its loyal fan base resulted in a decision to film a feature length series finale resolving the show’s storyline, which aired in 2018.
Of his experience on that series, Smith says, “I remember being so relaxed. I thought, ‘Finally, I can just be myself, I don’t have to put on airs for any of these people.’”
The actor says he didn’t come out to his parents until he was 30 years old, but it turned out his fears about it proved unfounded.
“I was surprised. When I came out to my parents they were wonderful. They said they were just waiting for me to say something. They were a lot more advanced than I gave them credit for.
“I think that’s when I became OK with it, too. Just in terms of being, ‘Oh that’s the world, it’s not as dangerous as I thought it was.’”
Asked what he would say now to his younger self, Smith says, “I just would hug him and say ‘It’s OK.’”
“There weren’t enough people there to say to me: ‘You don’t need to be someone different, you don’t need to change who you are.’ What that kid needed was somebody to pick him up and say, ‘You’re perfect as you are, it’s OK.’”
Smith can currently be seen in the new USA Network series “Treadstone,” a spin-off of the Jason Bourne franchise, and is also featured in the BBC One series “World on Fire” in the UK.
Out & About
Blade Foundation to host fundraiser in Rehoboth on Sept. 12
Mayor-elect Stewart, state Rep. Snyder-Hall to give remarks
The Washington Blade Foundation will host a fundraiser on Saturday, Sept. 12 in Rehoboth Beach featuring remarks from Rehoboth’s Mayor-elect Susan Stewart and Delaware state Rep. Claire Snyder-Hall.
The Foundation funds fellowships for aspiring queer journalists and enterprise journalism projects.
The event will be held at a private home in Rehoboth. Tickets are $100 and include open bar from Diego’s, catered appetizers from the Blue Moon, entertainment, guest speakers, and an auction. Tickets are available here.
Books
New book examines fashionista Audrey Smaltz’s fabulous life
‘Every Inch a Lady’ reveals finding true love with another woman
‘Every Inch a Lady’
By Audrey Smaltz with Alina Mitchell
c.2026, Amistad
$27.99/256 pages
Snaps, zippers, buttons, ties.
Toss that garment on, pull it up, wrap it around, you know what you like and how to wear it. The color is perfect for your skin tone, the fabric enhances your form. Yep, you always look your best and, as in the new book “Every Inch a Lady” by Audrey Smaltz (with Alina Mitchell), that best is fabulous.
”Born, bred, toasted, buttered, jellied, and honeyed in Harlem” in 1937, Audrey Smaltz was a force to be reckoned with almost from the time she could walk. Her parents imbued confidence in her, they nurtured her creativity and sent her to charm school, but they never allowed her to create a stir.
“That,” says Smaltz, “is not what ladies did.”
By the time she was a teenager, Smaltz was modeling for New York City designers. Shortly thereafter, she started working for a married man with whom she had an affair, and whom she loved very much. She broke up with him, attended college, worked a series of jobs that taught her about fashion and jobs that didn’t seem to fit her. An ill-fated marriage took her to Chicago where she ultimately landed a position that sent her to work in Ebony magazine’s New York office.
Working at Ebony was a career-changer, in a way. Smaltz was able to travel the world and learn more about fashion, but she didn’t exactly get along with her boss.
Finally, seizing an opportunity, Smaltz decided to launch her own company, Audrey Smaltz, Inc., a “fashion production business,” but she couldn’t get any designers to take a chance on her. Undaunted, she reorganized, re-branded, hit the streets, and knocked on doors until she finally found one client, which led to many others.
Through it all, her personal life was a whirlwind. She dated “more men than you can shake a book at,” settling down occasionally, briefly. Fashion had always been her first love, but she accidentally found real love, “the love of a woman,” at a leadership course.
There’s an old saying that writers need to add lots of “color” into their stories. Read a little of “Every Inch a Lady,” and you’ll notice immediately that author Audrey Smaltz (with Alina Mitchell) quite literally takes that to heart by mentioning nearly every color of the spectrum here. Hmm.
That oddity aside, Smaltz is a wonderfully lively storyteller, speaking with the energy of a woman much younger to the heart of anyone who loves fashion. That glee extends to collectors of vintage clothing, who will be delighted to read about the industry long ago and the way things worked then. Smaltz says she experienced racism, which is not unusual for pre-Civil Rights America, but doors were surprisingly closed for other reasons that will astound anyone who’s savvy about the fashion industry, even today.
There’s quite a bit of name-dropping in this book but most of it belongs in the anecdotes, so you likely won’t mind. If you’re a fashionista, too, find “Every Inch a Lady,” and snap it up.
The Blade may receive commissions from qualifying purchases made via this post.
Theater
Actress takes on bisexual ‘Ma’ Rainey in new Round House production
Haskins relishes playing ‘impassioned Black woman who sticks to her guns’
‘Ma Rainey’s Black Bottom’
Sept. 9-Oct. 11
Round House Theatre
4545 East-West Highway
Bethesda, MD 20814
$50 and up
Roundhousetheatre.org
Among the Black blues women of the 1920s and 1930s, being “in the life” wasn’t uncommon. Self-supporting and often on the road, they followed the Great Northern Migration to places like Chicago and Harlem, where they lived independent lives, made music, enjoyed same-sex relationships, and partied with like-minded ladies.
Gertrude “Ma” Rainey, best known as the “mother of the blues,” fit the bill. A big star, Ma toured the country and sold hit records nationwide. She lived an openly bisexual life.
In 1925, hosting an “indecent” all-female party at a Chicago apartment, landed Ma in jail, but blues singer Bessie Smith, Ma’s protégée and erstwhile girlfriend, promptly bailed her out. Three years later, Ma released a popular track whose lyrics included “Went out last night with a crowd of my friends / They must’ve been women, ’cause I don’t like no men.”
She was also a woman who knew her value. Ma’s voice was a powerful passport.
Ma Rainey is the ultimate force of strength and resistance in August Wilson’s 1982 play, “Ma Rainey’s Black Bottom,” the first of the late playwright’s brilliant Century Cyle, a collection of mostly Pittsburgh-set plays that chronicle the 20th century African-American experience.
Poised to kick off a month-long run at Round House (Sept. 9-Oct. 11), the production (co-produced with Olney Theatre Center) is directed by Lili-Anne Brown and features out actor and powerhouse vocalist Nicole Michelle Haskins making her Round House debut as Ma Rainey.
Set in a Chicago recording studio in 1927, the drama follows Ma, her Black band members and white producers as they try to record a new album of her sons. Tensions over artistic control, racial exploitation, and personal ambitions come to the fore. Amid the difficulties and a fair bit of humor, arises a serious clash involving hotheaded young trumpet player Levee (Yao Dogbe) who wants to alter musical arrangements on the titular song.
Playing blues icon Ma Rainey wasn’t on Haskins’s radar. Because the bulk of her work is in musical theater, Haskins never foresaw being tapped to do a Wilson play.
“It’s kind of like Shakespeare. Not restrictive but respected; not everyone gets a ticket to the party. So, I figured that I just wouldn’t pursue that,” she says matter-of-factly.
However, fate would dictate differently. Haskins and director Brown are longtime friends and collaborators. They recently worked together on “The Color Purple” at Chicago’s prestigious Goodman Theatre where Haskins played Sofia, another powerful Black woman who, not unlike Ma, is navigating life in a patriarchal white world.
When the opportunity came up to play Ma at Round House, Brown encouraged Haskins to audition. She did and got the part. “I’m so grateful to be working with a wonderful director like Lili-Anne, especially during my introduction to Wilson’s work. He is a theater god, and I’m swept every day.”
And is it special to be queer and playing queer? “For me, it’s special to play any role where there is an impassioned Black woman who sticks to her guns and fights for the things she deserves. Her sexuality is the icing on the cake.”
The production adheres to Wilson’s text and the text describes a woman who is in a relationship with another woman. Though her sexuality is provocative, it’s not the only thing about her that’s compelling. She’s also portrayed as an artist, businesswoman, and a loving aunt.
Haskins, a New York-based actor who made her name on the Chicago theater scene, grew up in Detroit. At 12, she became involved with the Mosaic Youth Theatre of Detroit; after high school she went on to earn a BFA at Detroit’s Wayne State University. Detroit is also where Haskins learned storytelling: “It’s very natural for a Detroit native to greet people on the street. There’s an expectation to be open to someone else’s story and to share your own. I’ve done this many times.”
Queer characters are famously underrepresented in Wilson’s work. “I see that, but do we really know for sure? After the first day’s read through of the play, some of the actors, for different reasons, wondered if in addition to Ma, perhaps one or two of the other characters might be queer too. Now wouldn’t that be interesting? That’s something I’d like to see.”
Blade Foundation to host fundraiser in Rehoboth on Sept. 12
New book examines fashionista Audrey Smaltz’s fabulous life
Actress takes on bisexual ‘Ma’ Rainey in new Round House production
‘Here the Whole Time’ delivers queer coming-of-age comedy
Pentagon expands testosterone screening as trans troops face hormone therapy restrictions
Markey’s primary win deemed success for LGBTQ activists
The mastery of love
Enlarging the Supreme Court keeps making more sense
Gloria Steinem dies at 92
