Arts & Entertainment
Queer creator blends Shakespeare with iconic music of Pat Benatar
Could LA’s production of ‘Invincible’ make it to Broadway?
For millions of GenX-ers, the music of Pat Benatar and Neil Giraldo – Benatar’s longtime lead guitarist, collaborator, and producing partner, and her husband since 1982 – has been an iconic generational touchstone for more than four decades. This might be especially true for queer GenXers, who found inspiration during their formative years in the defiant spirit that resonated through many of the duo’s songs.
One of those queer GenXers was Bradley Bredeweg, the out co-creator of another queer touchstone, television’s “The Fosters,” which became a hit for five seasons on FreeForm with its story of a lesbian couple raising five adopted children. Now, Bredeweg – a self-described “theater kid” – is helping to bring Benatar and Giraldo’s music to a new generation of rebellious youth with “Invincible,” a new musical that intricately weaves the couple’s legendary catalogue with inspired new songs to re-imagine Shakespeare’s “Romeo and Juliet” for the 21st century.
“When I got into writing for television, I realized that I missed the equal exchange that happens between the people on the stage and the audience,” explains Bredeweg, who spoke with the Blade ahead of his show’s Nov. 22 opening at Beverly Hills’ Wallis Center for the Performing Arts. “I love film and television, obviously, I’m so grateful for it, but after a couple of years of doing it, I was like, ‘I miss that inner theater child, so I’m gonna moonlight.’”
The result of his “moonlighting” turns Shakespeare’s classic Verona setting into a modern, war-torn metropolis, and places his timeless tale of star-crossed lovers in a time of great transformation. Love and equality are forced to battle for survival as a newly elected chancellor works to return the city to its traditional roots and destroy a progressive resistance that is trying to imagine peace in a divided world – and if you think that sounds familiar, it’s by design. Its current run at the Wallis is its world premiere, but if things go as hoped, this is just the first step toward Broadway.
According to Bredeweg, however, it’s far from the beginning of his show’s journey.
“About 12 years ago, I realized I hadn’t read ‘Romeo and Juliet’ since high school and decided to read it again,” he tells us. “The next day I had to take a road trip – this was back in the era when I still had a CD book in my car – and I came across the “Best of” album of Pat Benatar and Neil Giraldo, so I popped it in and started driving. And because the story was obviously fresh in my head, I was listening to all these songs and realizing that if you line them up a certain way they totally tell the tale of ‘Romeo and Juliet.’ I wrote a first draft a couple of weeks later and then I just put it away and forgot about it.”
Much later, in 2015, he walked into a Los Feliz bar called the Rockwell (“It was this really cool kind of spot that we don’t have a lot of in LA, because we’re not a theatrical town”), where cabaret performances were sometimes mounted by visiting Broadway talent and Jeff Goldblum would do a gig every Wednesday night. Inspired by the vibe, he suddenly remembered, “this thing I had come up with all those years ago” and impulsively pitched the idea of putting it on to the bar’s manager. I said, ‘I’ve got this crazy idea where I want to combine Shakespeare with Pat Benatar,’ and she said, ‘That’s insane, but I’m a huge fan of your show and I love it, so let’s do it.’”
This early incarnation (then called “Love is a Battlefield”) was an unprecedented hit, enjoying a six-month run to sold out houses – that is, until Benatar and Giraldo’s manager attended a performance and recorded a video of the whole thing on his iPhone. He showed it to Benatar and Giraldo, and they were intrigued; but at the time, unbeknownst to Bredeweg, they were working on developing their own life story as a musical using their songs, so they sent a “cease and desist” letter to the Rockwell and the show was forced to shut down.
“It was heartbreaking, for all of us,” says Bredeweg, “because we knew we had something with real potential.”
Then, a year later, he got a call from a producer who told him Benatar and Giraldo wanted him to come to New York and discuss his musical.
“Of course, I said yes and got myself there immediately. We took a meeting on their tour bus, and we started talking about the musical they were developing, and suddenly we all started to move in the direction of doing ‘Love is a Battlefield.’ By the end of it we were all laughing about how we had started out with a ‘cease and desist’ order and here we were talking about coming together to do a show.”
In part, says Bredeweg, the couple was convinced to change course by their discussion of the proliferation of so-called “jukebox musicals” that have increasingly populated Broadway in recent years.
“We talked about how they have a shelf life, especially if they’re focused on a specific artist. They have a built-in audience, but beyond that, how can they stand the test of time? The real test of a timeless musical is if, in 40 years, every high school is doing it. I think that’s why we went back to using their iconic music to reinvent this epic, timeless tale.”
Another part of the appeal was how aptly the couple’s songs fit into Shakespeare’s classic – a coincidence, perhaps, but one that might be better described as synchronicity.
“When Pat and Neil met back in the late ‘70s it was supposed to just be a working relationship, but they fell head over heels in love with each other,” Bredeweg says. “When I got close to them, they told me they had been called the ‘Romeo and Juliet of the music world’ because the labels and managers and PR people were trying to break them up. They wanted Pat to stand on their own and Neil to just be her producing partner, and so much of what the two of them were creating at that time was about that struggle, about fighting that music industry system and saying, ‘let us figure this out for ourselves.’ That’s why so much of their music works inside of this story.”
For Bredeweg, the chance to realize his vision struck an intensely personal chord, too.
“I was always obsessed with the classics, but as a gay kid growing up in the ‘80s, I knew I felt different from everyone else, and as much as I loved them, I couldn’t really ‘attach’ to any character inside them. Nothing felt familiar to me, everything was from the point of view of a white cisgender person – and I always had these dreams, if I ever had any say, that I would love to tackle these classics in a different way and reposition them for a more diverse audience.”
In keeping with this mission, “Invincible” doesn’t just make Verona into a more modern city, but a more diverse one as well. The Capulet and Montague houses are run by the women, whose husbands are both dead; Romeo’s chum Benvolio is nonbinary, and falls in love with Juliet’s nurse; Juliet’s cousin Tybalt is secretly in love with her would-be husband, Paris; Paris himself is the city’s new chancellor, seeking the marriage as a means to control the vast Capulet fortune and deploy it to shore up his political power. In Bredeweg’s updated take on the tale, it’s a story about powerful men with powerful motives, with a matriarchy fighting against the traditional patriarchy and a younger generation trying to take control of its own destiny – and to ensure that it includes the freedom to love who they want.
“That’s obviously something the queer community can really understand,” says Bredweg. “We’ve been there and done that, the fight for marriage equality is all about that. It’s very much at the center of the show, and it was a big reason why I wanted to tackle the story, why I’ve rewritten so many characters with queer identities – taking these figures we thought we knew and giving them a more modern point of view.”
“Our culture is shifting in such huge ways,” he continues. “It goes back to my experience of not being able to find myself in these old tales. We are looking at our past, and pieces of art or the written world, or things in our politics, and we’re trying to reinvent these pinnacle moments in a way to make sure that history doesn’t always repeat, to move forward in different directions that are better for all of us. Especially the younger generations – they’ve stepped into this world where they’ve had no say in how chaotic things feel, and they are trying to take control of their identities and their path forward. That’s really what’s at the heart of our show.”
“Invincible” is not, of course, the first time “Romeo and Juliet” has been deconstructed and rebuilt as a musical; apart from the obvious example of “West Side Story,” the recent London import “& Juliet,” now a hot ticket on Broadway, presents an alternative version of the story in which the title character doesn’t kill herself, set to the music of pop songwriter Max Martin – responsible for hits from Britney Spears, the Backstreet Boys, NSYNC, and Céline Dion, among others.
Bredeweg isn’t worried about the competition.
“I never think about that kind of thing,” he tells us. “There’s always room for interpretation with classics of this stature. There’s space for both.”
His production, of course, has the added advantage of showcasing the music of two deeply beloved icons whose recent induction into the Rock and Roll Hall of Fame has catapulted their names back into the public arena in a big way – not that they were ever very far out of it.
For Bredeweg, though, the Benatar/Giraldo connection has always been much more than just a way to make his show marketable. It’s the whole reason “Invincible” even exists.
“Pat captured my heart as a young gay kid for obvious reasons. There was something about her music, and her energy and messaging.
“It made me feel that if someone as powerful as her could exist, then I could, too.”
“Invincible” continues its run at the Wallis until Dec. 18. For tickets and more details, visit their website.
Movies
‘Thelma and Louise’ remains landmark of unspoken queer rebellion
Celebrating iconic film 35 years after its release
Hard as it is to believe for those who were around when it happened, “Thelma and Louise” celebrates the 35th anniversary of its release this year.
Deeply popular with both critics and audiences at the time, its reputation continues to ride high; it’s a movie that manages to exist within a nexus of intersecting genres – the “buddy picture”, the “crime thriller,” the “action adventure,” the” “western,” the “neo-noir” – by blending them seamlessly into a crowd-pleasing wild ride of a story, all while delivering a powerful feminist message of outrage, defiance, and empowerment.
And no, “Thelma and Louise” is not a “queer movie” – but it feels like one.
That’s partly because It exists within another genre, too: “lesbian noir,” which blossomed in its wake with films like “Bound” (1996) and has re-emerged in recent films like “Love Lies Bleeding” (2024) and “Honey, Don’t” (2025) – but that also stretches back across decades into the days of old Hollywood, when coded queer characters were a regular fixture in the seedy film noir classics of their time, never overtly identified as such but obvious to spot for anyone savvy enough to read the subtext. That’s why “Thelma and Louise” resonated (and continues to resonate) with lesbian and bisexual audiences who see themselves reflected in its two lead characters, even if there is nothing queer about their relationship — on the surface at least.
Of course, that can be a sore subject; subtext might seem like a “cop-out” for those who long for more open representation for LGBTQ people on the screen – but it’s everything when it comes to recognizing the queerness of older movies (and a lot of newer ones, too), and just because something is not explicitly stated, that doesn’t mean it’s being hidden. After all, most good stories rely on the transcendent power of nuance, which always relies on subtext to shine through. And if any movie relies upon subtext, “Thelma and Louise” is certainly one of them. In its masterfully crafted narrative of a weekend “girl’s trip” that goes horribly wrong, a lot of the most important information is left unspoken.
Take Thelma (Geena Davis), to start with: a naive young housewife whose husband Darryl (Christopher McDonald) treats her like a possession, she blithely ignores his mediocrity and disregards – or at least, pretends to – his repressive tactics to control her, choosing instead to live in a tenuous illusion of “traditional” marriage dynamics; yet when her bestie Louise (Susan Sarandon) offers her a chance to escape for a weekend, she jumps at it – even if she has to skip the part where she asks his permission.
Louise (Susan Sarandon), a bit older and a lot more worldly, is a waitress who spends her days fending off the insults and advances of her male customers at the diner where she works; she sees Thelma’s situation clearly, and hopes that a temporary respite from Darryl will help her recognize the dead-end reality of her marriage. We understand this immediately, even though a direct word is never said about it, and she’s right, of course. They’ve barely even gotten on the road before Thelma’s longing for attention from someone other than her inadequate husband – a honky-tonk Lothario (Timothy Carhart) she meets in a roadhouse where they stop for drinks on the way out of town – leads to an attempted rape that is only prevented when Louise shoots the predator dead in the parking lot.
That killing is the catalyst that turns them into fugitives; as Louise rightly understands, there’s no evidence of sexual assault, just a dead body and a pair of runaway women, and the letter of the law is not on their side. But in truth, that fatal shot is fired not to save Thelma, who has already been freed from her would-be rapist’s clutches when it happens, but because Louise has traumatic memories – and a chip on her shoulder – over something that “happened in Texas,” years before. We never find out what it was that happened, and we don’t need to; our imaginations tell us all we need to know, just as we know that the killing, while it may have been cold-blooded murder, is a justifiable homicide all the same.
There’s more of that subtextual nuance throughout, from the perversely inspiring motivations of hitchhiking hustler J.D. (Brad Pitt, in the sex-on-a-stick performance that launched him on his trajectory to stardom), who takes advantage of Thelma’s gullibility to rob the heroines even as he teaches her the tactics that will soon launch them on their fateful ride-or-die fugitive adventure; to the self-serving “chivalry” of Louise’s erstwhile boyfriend (Michael Madsen) as he casts himself as the “martyr” in letting her go. And yes, even to the benignly sublimated patriarchal programming that drives police investigator Hal Slocumb (Harvey Keitel in an uncharacteristically empathetic role) to act as the would-be savior of these two “fallen” women, though they want no part of his well-meaning attempts to “rescue” them from the consequences of their choices. And when the two fugitives terrorize a piggish trucker (Marco St. John) before blowing up his big-rig tanker, nobody says – or needs to say – why it feels to them like the right thing to do; it simply IS the right thing, and we, as the audience, know it. What we have seen up to that point has placed us firmly on Thelma and Louise’s side already, and we’re as ready to watch the puerile patriarchy burn as they are.
None of this is spoken aloud, nor is it even alluded to, but it comes through, nonetheless. Chalk it up, if you like, to the power of cinema, especially in the hands of a versatile, stylish, and seasoned director like Ridley Scott, to communicate what is inherently beyond the power of words.
Thelma and Louise may not be “a couple,” but we can’t help but notice as their clothing evolves from frilly-femme to “butch” utilitarianism along the way, or how their connection to the men in their lives easily dissolves without fanfare. And by the time we reach the movie’s thrilling denouement, when all they have left is their commitment to simply stand up against all the things that have kept them feeling incomplete, unfulfilled, and unacceptable, it’s an achingly familiar feeling for any queer viewer who has experienced the same.
We all know what happens, so it’s no spoiler to say that, when they drive off into oblivion in the Grand Canyon, they choose freedom over life itself – and when they head over that cliff, fully embracing their fate as a feminist iteration of the Bonnie and Clyde brand of “noble” outlaws, they seal their fate with a kiss.
At that point, no explanation is needed. Their love for each other transcends anything they’ve felt with the inadequate men in their lives; and in that final freeze-frame moment, when they drive off the cliff and sail into oblivion, we like to think that their car – like Danny Zuko’s at the end of “Grease” – simply flies away into the bliss of an endless summer, and you can’t get any queerer than that.
Out & About
LGBTQ Military Happy Hour set for Sept. 15
In-person gathering to be held at Tom’s Watch Bar
Modern Military Association of America will host “Pride in Service: An LGBTQ+ Military Happy Hour” on Tuesday, Sept. 15 at 4 p.m. at Tom’s Watch Bar.
This in-person gathering is the perfect chance to connect, share stories, and celebrate the diversity within the military community. Come relax, meet fellow LGBTQ+ service members and allies, and enjoy a fun, supportive atmosphere. Don’t miss out on an evening full of pride, camaraderie, and good vibes. Visit Eventbrite for more details.
Friday, September 11
Go Gay DC will host “Out in DC LGBTQ+ Community Social” at 7 p.m. at Hotel Zena.This is a chance to relax, make new friends, and enjoy happy hour specials at this classic retro venue. Attendance is free and more details are available on Eventbrite.
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, September 12
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 LGBTQ+ Community Center will host screenings of “Princess Sparkles” and “Kiloran Bay” at 1:30 p.m. “Kiloran Bay” is a 13-minute musical short set amid the wild beauty of the Scottish Hebrides and the fierce joy of a wedding cèilidh. “Princess Sparkles” is about a girl who accidentally signs up to pet-sit a princess only to discover she’s actually a nippy, Fox News-watching pig. More details are available on the DC LGBTQ+ Community Center’s website.
Sunday, September 13
“Nellie’s DC Drag Brunch” will be at 12 p.m. at Nellie’s Sports Bar. Come get served like a queen by a queen. Join Sapphire Blue, Deja Diamond and their team of amazing drag performers for the most fun you’ll have all weekend. Tickets are $58.51 and are available on Eventbrite.
Monday, September 14
“Center Aging: Monday Coffee Klatch” will be at 10:00a.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]).
Tuesday, September 15
Center Bi Pan+ Roundtable will be at 7 p.m. on Zoom. This is an opportunity for people to gather in order to discuss issues related to bisexuality or as Bi individuals in a private setting. Visit Facebook or Meetup for more information.
Wednesday, September 16
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 LGBTQ+ Community Center 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, September 17
The DC Center’s Fresh Produce Program will be held all day at the DC LGBTQ+ Community Center. 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 LGBTQ+ Community Center’s website.
‘Thelma and Louise’ remains landmark of unspoken queer rebellion
Comings & Goings
LGBTQ Military Happy Hour set for Sept. 15
Calendar: September 11-17
Multi-billion-dollar 9/11 Victim Compensation Fund to continue until 2090
Nominate your favorites for the Blade’s 25th annual Best Of LGBTQ DC Awards
Md. groups receive state grants to fight hate crimes
PHOTOS: SUNFESTIVAL
Gloria Steinem’s life of substance and consequence
