Arts & Entertainment

2 memoirs show power of parenthood

Expanding our sense of what an LGBT family looks like

Published

12 years ago

March 21, 2014

Dana Rudolph

(Image courtesy of Soft Skull Press)

Two new, very different memoirs continue to expand our sense of what an LGBT family looks like. One is the story of a lesbian mom struggling against her son’s anti-gay Catholic school while grappling with her relationship to the church and to her own mother. The other is about a butch lesbian and her experience being pregnant—the print version of a graphic novel first serialized online.

Michelle Theall’s “Teaching the Cat to Sit” (Gallery Books) is a beautifully crafted tale about the power—and pitfalls—of faith, family and love. Theall, the editor-in-chief of Alaska Magazine and an award-winning adventure and fitness writer, weaves the story of attempting to raise her son Catholic with the story of her own childhood and coming out. She deftly intertwines anecdotes that take us back to her childhood in Bible Belt Texas and forward to her life as a parent in Colorado, moving us through her Catholic upbringing, sexual abuse by a neighbor, coming out during college in the 1980s, meeting her now-partner Jill, and adopting their son.

The narrative begins in Colorado in 2009, when she and Jill are first sensing a reluctance from their priest to baptize their son. The boy also attends the Catholic school run by the same church, and the family has been welcomed by the school community. The priest, however, eventually warns them that he is reconsidering whether they can stay, since being gay goes against Catholic teaching.

Despite the insult, Theall hesitates to withdraw their son, knowing that it would hurt her strongly Catholic mother, who also suffers from depression. Theall has struggled her whole life for her mother’s acceptance, and their relationship nearly ended when Theall came out to her.

Through her story, she shows us the harm—to individuals as well as entire families—of a view of the world in which lesbian and gay people exist only as sinners and deviants. While she pulls no punches about the church’s hypocrisy and failings, her book is far from a condemnation of religion.

A. K. Summers’ “Pregnant Butch: Nine Long Months Spent in Drag” (Soft Skull Press) has an entirely different style and tone—irreverent and often caustic, with bold images that both capture the details of everyday life and exaggerate its incongruities. This is not a children’s comic. The tale, first serialized starting in 2011 at the Web comic collective site Act-i-vate, is semi-autobiographical, with the protagonist Teek standing in for Summers.

Summers grew up in California and Georgia, went to college in Ohio and Illinois, and now lives in Rhode Island. Trained as a printmaker, she is the creator of the comic zine Negativa: Chicago’s Astute Lezbo Fantasy Mag, as well as several short animated films.

She was adopted herself, which gave her “an emotional longing to experience a biological relationship to somebody,” she told me in an interview in 2011. Getting pregnant—often seen as the ultimate womanly act—took on different overtones when she did so as a butch woman, however. “Pregnant Butch,” she said, “is about my attempts to hold on to my butch self and also to allow myself to be transformed by the process [of pregnancy], and where that could occur and be positive.”

Summers explores what it means to be butch, the lack of positive role models, and how she and her partner negotiated their relationship and roles as they headed toward parenthood. She charts her changing interactions with friends and neighbors as they encountered the dissonance of her masculine gender expression and her pregnant belly.

Summers writes in her introduction that she thinks there has been a shift in the 10 years since she was pregnant. Young queers are now less likely to use the term “butch.” Nevertheless, Summers felt it was important to capture her experience, both to ”make the unseen visible” and to document a point in time before the enormous positive shift in public attitudes toward gay people in the last few years.

Dana Rudolph is the founder and publisher of Mombian, an award-winning blog and resource directory for LGBT parents.

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Photos

PHOTOS: ‘Studio 69’

Glitterati Productions hold party at Bunker

Published

8 hours ago

May 11, 2026

Michael Key

'Studio 69' was held at Bunker on Friday. (Washington Blade photo by Michael Key)

Glitterati Productions held the “Studio 69” party at Bunker on Friday, May 8.

(Washington Blade photos by Michael Key)

Arts & Entertainment

Washington Blade’s Pride on the Pier returns June 13 to kick off D.C. Pride week

Pride on the Pier officially launches Pride Week in D.C.

Published

14 hours ago

May 11, 2026

Staff reports

The Washington Blade’s annual Pride on the Pier celebration returns to The Wharf on Saturday, June 13, 2026 from 4-9 p.m., bringing thousands of LGBTQ community members and allies together for an unforgettable waterfront celebration to kick off Pride week in Washington, D.C.

Now in its eighth year, Washington Blade Pride on the Pier extends the city’s annual celebration of LGBTQ visibility to the bustling Wharf waterfront with an exciting array of activities and entertainment for all ages. The District Pier will offer DJs, dancing, drag, and other entertainment. Alcoholic beverages will be available for purchase for those 21 and older.

“Pride on the Pier has become one of the signature moments of Pride in D.C.,” said Lynne Brown, publisher of the Washington Blade. “There’s nothing like watching our community come together on the waterfront with live music and incredible energy as we kick off Pride week.”

Pride on the Pier is free and open to the public, with VIP tickets available for exclusive pier access to the Dockmaster Building. To purchase VIP tickets visit www.prideonthepierdc.com/vip.

Additional entertainment announcements, sponsor activations, and event details will be released in the coming weeks.

Event Details:

📍 Location: District Pier at The Wharf (101 District Sq SW, Washington, DC)
📅 Dates: Friday, 13, 2026

⏱️ 4-9PM
🎟️ VIP Tickets: www.PrideOnThePierDC.com/VIP

Theater

National tour of ‘Gatsby’ comes to National Theatre

Out actor Edward Staudenmayer talks playing the show’s gangster

Published

1 day ago

May 10, 2026

Patrick Folliard

Edward Staudenmayer plays Meyer Wolfsheim in ‘The Great Gatsby.’ (Photo courtesy National Theatre)

‘The Great Gatsby’
May 12-24
The National Theatre
1321 Pennsylvania Ave., N.W.
$59-$196
Thenationaldc.com

Often dubbed “The Great American Novel” for its depiction of ambition and self-invention alongside the reversals of success, F. Scott Fitzgerald’s “The Great Gatsby” says it all in a fast read.

Set against the excesses and energy of the Roaring Twenties, “The Great Gatsby,” novel and now the same-titled hit Broadway musical with a jazz/pop original score by Jason Howland and Nathan Tysen, tells the story of Nick Carraway and his friendship with Jay Gatsby, an enigmatic millionaire intent on reuniting with ex-lover, Daisy Buchanan.

It was during a four-month 2025 run in Seoul, South Korea, that out actor Edward Staudenmayer first played the show’s heavy, Meyer Wolfsheim, a gangster who helped Gatsby make his murkily acquired fortune. As Meyer, Staudenmayer opens the second act with, appropriately enough, “Shady.”

Now three months into a year-long North American tour, the show is poised to enjoy a brief run at Washington’s National Theatre (5/12-5/24).

While putting on his eyeliner prior to a recent Wednesday matinee at Chicago’s Cadillac Palace Theatre, the upstate New York-based actor shared about Gatsby and a life in theater.

WASHINGTON BLADE: Despite your good looks and terrific voice, you’re rarely the leading the man. How is that?

EDWARD STAUDENMAYER: I’m definitely a character man. I’ve been painting lines on my face to play old men since I was in high school. I was the youngest freshman in college playing old Uncle Sorin [in Chekhov’s “The Seagull”].

There have been many villains. Some darker than others. Meyer Wolfsheim is a very bad guy, but he doesn’t haunt me once I’m offstage. I play a lot of pickleball.

BLADE: Is it true that like so many of Fitzgerald’s characters, Wolfsheim is famously based on someone the writer encountered in life.

STAUDENMEYER: That’s true, Wolfsheim is pretty much a direct portrayal of real-life mobster and 1919 World Series fixer [Arnold Rothstein].

BLADE: When did the 1925 novel first surface on your radar?

STAUDENMAYER: Like many of us, I was assigned “The Great Gatsby” in high school. It was short, and filled with sex and illicit activities. I thought it was great. Definitely wasn’t a Judy Blume novel.

Interestingly, the book wasn’t originally a huge a success for Fitzgerald, but because it was about war and having the girl at home, they gave it to GIs leaving for WWII. After returning, a lot of those guys went on the GI Bill and became English teachers. They assigned the book to their students.

BLADE The idea that the book’s first-person narrator, Nick Carraway, is gay and enamored with Jay Gatsby is long discussed among readers and scholars. Does the musical touch on that?

STAUDENMAYER: Yes, there’s conjecture about Jay and Nick, and it’s implied in our show. It’s also implied about Jordan Baker, Jay’s fleeting romantic interest. Ultimately, she’s a confirmed bachelor, and a professional golfer who only wears pants.

Our performers are really good. Josh Grasso who plays Nick is fantastic. I’ve had to stop watching him in his last scene; it’s not good for Meyer Wolfsheim to take his curtain call crying. Our Gatsby, Jake David Smith, is good too. He’s gorgeous like Superman and sings like an angel.

BLADE: Do you ever imagine backstory for your characters whose sexuality is undefined?

STAUDENMAYER: I do, but not with Wolfsheim. I don’t see it. I’m trying to be as butch as possible with this ruthless killer.

BLADE: Have you had to do that in your career?

STAUDENMAYER: For a long time, I wore a mask to hide my gayness. I worked hard on being believable, that I was into the girl or that I was a tough guy.

It’s a different world now, and it’s so refreshing to be around the younger actors today; they’re remarkably open and comfortable.

BLADE: What was your coming of age like?

STAUDENMAYER: I played high school football in Palm Springs [he chuckles, alluding to the arid gay mecca], and I was pretty good too. But much to the chagrin of my parents and coaches, I quit the team to act in our senior year play. My super butch dad played semi-pro football and he was an ex-cop. I’m named after him. While I didn’t become my dad, I’ve played him often on stage. He was a true Gaston [the bumptious rival in “Beauty and the Beast”]. And like Gaston, he used antlers in all his interior decorating.

BLADE: Did he live to see your success in theater?

STAUDENMAYER: He did. Life was challenging growing up but the last 10 years of his life we couldn’t get off the phone with each other [his voice catches with emotion]. He accepted me entirely, and we became very close.

BLADE: Looking ahead, is there a part you’d especially like to play?

STAUDENMAYER: Like all baritones I’d love to play Sondheim’s “Sweeney Todd.” I’ve come close but it hasn’t happened yet. There’s still time.