Wednesday, November 30, 2011

Oh, Mary… "Little House on the Ferry"

Review by Nic Dris
Photos by Iannelli Photography & Peter Lau Photography

It’s a tale as old as Falcon Studios time. A group of gay friends go on vacation somewhere with hidden dunes, alcohol, and men. Drama happens when a sexy boy gets added into the mix. Said group of friends sleep with each other and knockdown brawls reach intense peaks. However, there’s always a happy ending on the horizon (…after the after-party).

Set on a present-day early summer weekend, a band of friends travel to Fire Island --- a gay man’s Pleasure Island. Leading man Randall (Seph Stanek) is determined to take his relationship to “the next level” with his uptight sophisticated boyfriend Timothy (Sean Loftus). Newbie Antonio (Kit Balcuns) wants to get the entire Fire Island experience and when he spots their housemate, Max (beloved Colton Ford), love strikes a merry threesome tune. All the while, annoyingly acerbic House Mother Donnie (Matt Rodriquez) lives his youth vicariously through this young clan. What good gay farce isn’t complete without the ex-boyfriend coming out of nowhere though? When Randall’s charming ex-boyfriend Key West Jake (Chris Van Kirk) unexpectedly drops in, Randall must decide which of the two is his true heart’s desire! What’s a boy to do when he’s caught between two boyfriends and their hard place(s)?

Little House on the Ferry shares much in common with your typical night out in Hell’s Kitchen. It always seems like a good idea at first until a little while after it’s started. You may even have some fun and find yourself laughing at the silliest things. A dirty gay joke is funny the first few times, but after twenty of them, you start tuning them out. And there’s always the long, painful regret of the inevitable hangover the next morning and you rethink why you went in the first place. As much fun as this little musical wants you to believe the cast is having, Little House on the Ferry is one doomed sinking ship.

Seph Stanek’s quirky and sweetly mixed-up Randall doesn’t know whether to play the faithful, dedicated boyfriend or the passionate, DJing lovesick puppy to Chris Van Kirk’s endearingly sweet Key West Jake. It’s not that hard when Loftus plays Randall’s boyfriend, Timothy, as vain and self-involved as he does. Speaking of lovesick puppies, gay porn’s critically acclaimed Colton Ford plays the usual part he was born to play – a heartthrob hunk of muscular man flesh. Colton Ford’s huge talents are underutilized except when his character Max hums an addictive risqué tune, “After Hours,” where tableaus of various sexual positions are illustrated downstage (to their fullest). After all, what’s a good Colton Ford project without a little group sex?

The hard working ensemble does their best to act beyond their rock hard abs and pop-infused voices while playing their campy stereotypically Adonis roles with stand-out numbers such as the deer-led “Jump That Fence.” A boy band of deer serenade the drugged out Randall to make a decision about the two men in his Fire Island life.

Little House on the Ferry carries club-hoppin' show tunes that you’ll find a hard time thump-a-thumpin’ out of your mind. Their title anthem, “We’re on Fire Island,” showed the ensemble’s own exuberant spirit that was a treat to watch. There were some clunkers that the musical could do without and besides, who needs a song about a “Steroid Queen?” Homage to cult fan favorites like “Grease” is paid with songs such as the silly-school-girl “Did You Score?” This camp piece of work tiptoes on the line of being too earnest with lithe songs like the saccharine sweet “With a Friend Like Me” where House Mother Donnie tries to cheer up Randall. When the musical doesn’t try so hard to be funny and embraces the natural camp of it all, it works at its best.

These men could carry a conversation, but like their meek cosmos --- not very strong. Gould & Wechter’s dialogue carried far too many jokes fueled by endless cheap sexual innuendoes. In the program, there was a Fire Island vocabulary provided in case you couldn’t figure out what really complex terms such as “Bottom,” “Top,” or “Grindr” were. But who needs a vocabulary list? Gould & Wechter’s book stopped mid-action where one character would explain to the other the rules and terminology of Fire Island living. “What’s a ½ Share? Let me tell you!” became the running, tiresome diatribe and dynamic exchanged between these Love! Valour! Compassion! misfit wannabes.

While Wetcher struggled with providing the voices of these men, he even struggled more with providing them a sense of direction. Wechter’s direction left the actors traipsing around the stage with nothing to do (but pat the occasional bottom or four). The pacing for the set changes in between scenes was so awkwardly large that you could carry a full five minute cocktail conversation in between them. Much of the ballads were wrongly played out on the second floor as the ensemble stole the audience’s attention with ballet dance or suggestive sexual staging on the first floor. I’ll admit though --- it’s hard to keep your eyes off an ensemble of chorus boys in speedos.

Considering most of this musical takes place in either a brothel, a townhouse, or a club – the versatile and suggestive set fulfilled its duty to give off a brotherly Fire Island vibe. Leuck’s costume design must have been the simplest job since the boys wore either their underwear or their everyday preppy wear. The clichéd and stereotypically Broadway-styled choreography and musical staging gestures do nothing new to add for the camp factor, except the continual reminder that yes, this IS a gay musical. 

Does this musical know what it wants to be? Not quite yet, but it’s getting there. Clocking in at almost three hours, this musical can’t decide whether it wants to be an earnest classic romantic comedy or a campy, farcical work of fluff. Like its leading man Randall who’s too confused with emotions to make a decision about men --- this musical carries that confusion in its tone. It should learn a lesson or two from its doe-stopping number and jump that fence. Little House on the Ferry is one boat ride you can afford to miss catching.


Little House on the Ferry

Featuring: Seph Stanek (Randall), Kit Balcuns (Antonio), Chris Van Kirk (Jake), Sean Loftus (Timothy), Matt Rodriquez (Donnie), Colton Ford (Max)

Conceived by Robert Gould
Co-Authors: Robert Gould & Jeremy Wechter
Music, Lyric, & Composition: Robert Gould & Robert Arbelo
Directed by Jeremy Wechter
Scenic Design by Courtney Smith
Lighting Design by Kate Febles
Costume Design by Vanessa Leuck
Sound Design by Sean Brennan
Choreography by Sean Roschman
Production Stage Manager: Nicole Gross

Presented at the American Theatre of Actors
314 W. 54th Street
LITTLE HOUSE ON THE FERRY ran through Nov. 20 at ATA.
For more information, see www.littlehouseontheferry.com
Closed: November 20, 2011

Thursday, November 17, 2011

Four More Chances to see "Shadow Boxing," Part of the 2011 Brits Off Broadway festival at 59E59 Theaters

Produced by Cross Cut, SHADOW BOXING is part of THREE BRITISH SOLOS, three solo shows performed in rep. Single tickets are $25 ($17.50 for 59E59 Members). A three-show package is available for $50; a two show package is $35. To purchase tickets, call Ticket Central at (212) 279-4200 or go to www.59e59.org.  For more information, visit www.britsoffbroadway.com.


Through Sunday, November 20th 
Thur at 8:30 PM, Sat at 2:30 PM & 9:30 PM, Sun at 7:30 PM

The son of a boxer who couldn't win, Flynn becomes a successful fighter through utter dedication. But is his gruelling training merely an avoidance tactic? A crisis builds as he moves to the title fight and the drama hurtles to a shattering conclusion.

Jonny Collis-Scurll delivers an emotionally intense and highly physical performance hailed for “effortless precision” (The Scotsman) and called "one of the most intense and hypnotic solo performances of the year" (Broadwaybaby.com). 

James Gaddas (playwright) is a British stage and television actor of long experience. He had a continuing role in the iconic television series, Coronation Street. More recently, he  played Captain Hook in the British classic, Peter Pan, and was in the West End production of Billy Elliot. In 2005, he was a parliamentary candidate.

Donald Pulford (director) is an Australian director and academic now living in the UK. His Australian production of Weepie won the Members’ Choice Award for Best Production at the Blue Room and the English production won Best Production at the international Absolut Gay Theatre Festival in Dublin. Shadow Boxing achieved five 5-star reviews and a ‘MUST SEE!’ from the British theatre trade paper, The Stage. He is currently rehearsing a play inspired by the music of British cult band, The Smiths.

Jonny Collis-Scurll’s (actor) recent credits include lead roles in two award-winning British productions in international festivals in Dublin and Poland amongst other internationally touring productions and pieces of new writing in the North of England.

Saturday, October 29, 2011

"Divine Madness," a Tribute to Bette Midler and Lady Gaga, to Benefit the Trevor Project on Halloween

An Evening of DIVINE MADNESS
The Divine MISS B. JEN BROOKS & SPECIAL GUESTS
Dance Party & Cash bar follow the show!

Monday, Oct 31st, 2011
9:30 PM - 11:45 PM
An Evening of DIVINE MADNESS
Starring:
The Divine Miss B: Jen Brooks
The Bathhouse Bettie's: Landen Jones as Chelsea Piers & Jared Ross as Velvytte Winters
The Haus of Mimosa's:
Travis Barr as Anita M Buffem
Steven Incammicia as Gina Marie Rittale
Plus Special Guests!

Reservations highly recommended
Dance party and Cash bar to follow show!

All proceeds will go to Trevor Project. http://www.thetrevorproject.org/

Tickets: $20 general admission/ 2-drink minimum
-----------------------------------------------

Three easy ways to get your tickets! 
* Purchase your Tickets securely online by credit card  
* Or make a Reservation online at no charge and pay cash at the door 
* Or call the 24/7 ticket hotline at 1-800-838-3006.

Thursday, October 27, 2011

Earl Dax Presents "Pussy Faggot!" Tonight at The Delancey

Earl Dax Presents
PUSSY FAGGOT!
Guest Co-curated by Edwin Ramora
Resident hosts Penny Arcade & Jordan Fox
Photo booth by Liz Liguori
Door by La China Loca

Thursday, October 27 | 8pm-4am
The Delancey
168 Delancey St. (at Clinton), New York, NY
THREE Floors! 5 DJs! Over 20 Performers! Rooftop Installations! Video Art!
$10 cover / $6 with RSVP to rsvp@pussyfaggot.net

Queer Comedy Showcase at 8p | Open Vodka Bar 9-10p | $3 Well Drinks Midnight-12:30a

It's that time again... PUSSY FAGGOT! returns home to The Delancey for the first time since April. For this edition they have instituted a new "guest co-curator" role, and Edwin Ramoran has exceeded all expectations. Building on his background as a curator for fine art institutions, he has brought a stronger visual arts element to the event with video screenings (including the premiere of a new video by Ivan Monforte, New Sound Karaoke and Robert Melee's "Home Movie Montage"), mixed-media installastions by Jeffrey Owen Ralston, Paulo Rojas, it/EQ (Carol Quispe + Ethan Shoshan) and Jordan Eagles and the roaming performance installation that is Jacolby Satterwhite. Together he and Earl have gone a long way toward making the event more diverse, more inclusive and more surprising -- exactly what was hoped for when the guest co-curator position was conceived.

Things kick off at 8 pm with another PUSSY FAGGOT! first -- a Queer Comedy Showcase hosted by Sirius Radio personality Keith Price and featuring Obie-nominated playwright, performance and comic Marga Gomez. You'll also the exceptional comic talents of Janine Brito, Jessica Halem, Ben Lerman and Greg Walloch.

The open vodka bar happy hour (9-10p) is hosted by This is FYF. Join them at the main bar (street level) for the Monforte and Melee videos as well as music provided by DJ Cody Critcheloe. Cody recently relocated to NYC from Kansas City, and his band Ssion has quickly become one of the most exciting musical acts in town. Street level performances throughout the night by David Antonio Cruz, Raul de Nieves, Lotus Eater Machine and Coco Chizzle.

Downstairs the evening shifts into high gear as Penny Arcade takes the reins as host of a performance set beginning around 10p featuring Warhol poet Taylor Mead, Tomashi Jackson, Machine Dazzle, Nicholas Gorham, and Gio Black Peter. Later in the evening, our late night host, Jordan Fox, is sure to regale you with tales of his adventurous road trip for PUSSY FAGGOT! NOLA. Performances by Lawrence Graham-Brown, Shane Shane, Clifton, Sick Cell, Nana Nazario, Z Collective and Neko (with the House of Old Navy).

DJs throughout the evening include Designer Impostor, Austin Downey, Chauncey Dandridge and Michael Paul, so you know that this is set to turn into a serious late night dance party!

Thursday, October 20, 2011

Paige Turner Talks About "So You Think You Can Drag" -- Finale Will Be October 26th

By Byrne Harrison

Showbiz Spitfire Paige Turner has been working the NYC scene for the past few years - with a little retro flair and a whole lot of showstopping theatrics. She is everybody’s girl, not to mention the ultimate Barbie!

Her trademark phrase “Slurp!” has become an epidemic, and she currently headlines at Vlada, Stonewall and Splash. Her hosting skills have landed her with Logo, the Grammercy Club, Gotham Comedy Club, Pride, Fire Island and corporate events for Rite-Aid and Microsoft. Michael Musto of the Village Voice says “Paige is the Holly Golightly of drag,” and the NY Times says “Paige ALWAYS gets everyone to sing along.”

Paige is also the host of “So You Think You Can Drag” at New World Stages, showcasing the hottest new queens on the scene.


"So You Think You Can Drag" is coming up on its finale (Wednesday, October 26th at 10:30 PM). How has the competition been this year?

Incredible, we've had to turn contestants away. The response has been overwhelming, and everyone who has competed has come to win this thing! I'm very proud of everyone involved both onstage and behind the scenes.

Any highlights that particularly stand out in your memory?

I have to say what stands out is the dedication and the spirit. You know sometimes you forget why you do drag or maybe why you should be doing it. There has been a lot of joy and celebration this year in watching people not only improve each time, but consistently give it their best! It has really been about the performing and entertaining aspects this year.

Who will be judging the finale?

Cast members from Priscilla Queen of the Desert! How perfect right? Emily Mcnamara is our resident judge and my partner in crime throughout the season, and they will join her.

What can the audience expect for the finale?

They can expect a group number with me and the girls, lots of outfits and quick changes, not to mention show stopping performances from last season's winner and other special guests!

I think the audience won't know who to vote for because the final five will be in it to win it! There have been about a dozen girls competing weekly since the start, but we narrow it down to five for the finale.

How did SYTYCD get started?

The producers of New World Stages had an idea for a drag competition -- they have a very successful karaoke competition every year. I judged that and they started talking to me about hosting the drag competition. They brought in promoter Austin Helms from 21st Century Life and we started meeting and discussing how we can make something fresh and different and still celebrate the spirit of drag. Doing it in a theater venue really helps that.

What else is coming up for you this year?

Sleep hopefully! I was just nominated for a GLAMMY Award for Best Comedy Performer! These next few months will be crazy. I have several weddings I'm doing, my 1-year anniversary show for SLURP! at Vlada. Many Halloween shows, then I will be back at New World Stages December 10th for A Paige Turner Christmas with lots of guest stars and special performances. Very much like a retro Xmas TV special! You can find me at www.paigeturnernyc.com or sit on my facebook and watch my demo!

So You Think You Can Drag - Finale
Wednesday, October 26th at 10:30 PM
Lower Theater Lobby of New World Stages
340 W. 50th Street
$5 COVER at the door

Monday, October 17, 2011

"Southern Comfort" - A Polished and Nuanced Production

Review by Rob Hartmann
Cross-posted from StageBuzz.com

Southern Comfort (playing through October 29th at CAP 21 Theatre Company) is a new musical adaption of Kate Davis’ award-winning 2001 documentary about the life and death of Robert Eads, a transgender man living in rural Georgia. This polished and nuanced production has the relaxed and comfortable feel of an off-Broadway hit enjoying a long run; the ensemble cast, lead by Annette O’Toole in a striking performance as Eads, creates a world that feels authentic, lived-in and familiar.

The musical (like the documentary) follows Eads in the last year of his life, from Easter through the following winter. Eads, diagnosed with ovarian cancer, found it difficult to find proper medical treatment, as doctors and hospitals claimed their other patients would be made uncomfortable by his presence.

Although the gradual progress of Eads’ illness provides the underlying tension, the musical does not wallow in sentimentality or anger. Instead, the smart and understated book and lyrics by Dan Collins chronicle the close-knit community of individuals surrounding Eads, detailing their family rituals and traditions in tiny Toccoa, Georgia. Robert sings in the opening sequence of a backyard Easter celebration:

Family’s an iceberg we ride into the sea
The parts that break away we gotta lose.
But it could melt entirely and I know I’ll still be
Kept above the water by the family I choose.

Jeff McCarthy (as Lola Cola, left)
and Annette O'Toole (as Robert Eads)
Photo by Matthew Murphy
At the Easter gathering, Robert has invited his new girlfriend, Lola Cola, to meet his “chosen family”, who gather every Sunday: transman Cas and his wife, Stephanie (Todd Cerveris and Robin Skye); and Maxwell, a young transman (the impish Jeffrey Kuhn) who has a sometimes-testy father-and-son relationship with Robert. Lola (played by Urinetown’s Jeff McCarthy, in a sharp performance which evokes a mixture of Allison Janney and Anjelica Huston with a basso Kathleen Turner voice), is less comfortable in her own skin than the others. In one of the standout songs of the evening, “Bird”, Lola sings of her desire to escape her masculine frame and deep voice, as she strips away her women’s attire to resume her everyday male identity, John, proprietor of a heating-and-cooling repair shop.

In the song, McCarthy duets with a member of the band, Lizzie Hagstedt (also playing bass), whose pure soprano is what Lola wishes her own voice could be. Hagstedt and three other actor-musicians (Allison Briner on percussion, David M. Lutken on guitar and Joel Waggoner on violin) function as singing storytellers, occasionally stepping into the story in the roles of outsiders (primarily medical personnel and estranged parents – including standout work from Briner and Lutken as Eads’ mother and father, who stubbornly call him by his birth name, Barbara.) Astonishingly, they all play the score from memory (led by music director and pianist Emily Otto.)

As time passes, Lola becomes part of the circle, while Maxwell finds a girlfriend of his own, transwoman Cori.  As the group prepares to attend Southern Comfort, the annual Atlanta transgender conference, conflict arises between Robert and Maxwell over the younger man’s decision to pursue phalloplasty – what the characters refer to as “the bottom surgery.” The script delves into the conflicting opinions surrounding the procedure without becoming didactic.

ROBERT: This is crazy.  We always agreed that man or woman was about what’s in your heart and your head, not between your legs.

MAXWELL: Then why’d we start takin’ testosterone?  Why’d we get the top surgery? 

ROBERT: That’s just about bein’ able to function out in the open as who we are without gettin’ ourselves killed. We gotta pass.

MAXWELL: Well, I want to pass more.

ROBERT: So what does that make me?

MAXWELL: Ain’t about you, it’s about me.

ROBERT: Like Hell it ain’t about me.  You think what’s happenin’ to me – my cancer –  is just Barbara eatin’ me up inside cuz I ain’t real.

Being ‘real’ and what that means is one of the central themes of the story: in the CAP21 space, the audience surrounds the stage – throughout the evening, you are aware of watching the audience watch the performers. This awareness adds an extra layer of tension to the performance – underlining the constant stress the characters are under to “pass.”   Unlike some film-to-stage adaptations, the piece reveals itself to be innately theatrical because it is so much about the actors’ performance of gender, in every variation. This aspect of the show is distilled in the joyous and energetic second act song “Walk the Walk”, when Cori (a luminous Natalie Joy Johnson) leads a seminar on ‘Sensual Feminine Movement’ at Southern Comfort:

Cuz a girl ain’t what she’s wearin’
And a boy ain’t how he’s born.
You’re the moves you make n’ they gotta take you
Past the things you’ve worn
Cuz what a body is or not
Is just a whole lot a’ talk
You gotta walk the walk.

Annette O'Toole (as Robert Eads)
Photo by Matthew Murphy
The cast’s work is subtle, detailed and completely believable. Annette O’Toole, perhaps most widely known for her role as Martha Kent on Smallville, throws herself into the role of Robert Eads in a fearless and full-bodied performance. Her voice, throaty and clear, is well-suited to composer Julianne Wick Davis’ folk and bluegrass score. Davis, also responsible for orchestration, builds interesting instrumental textures, and sensuous, layered vocal harmonies. The music is at times restrained, at times soaring, finding rhythmic complexity in the folk idiom. Occasionally the density of the text setting makes lyrics difficult to catch on first hearing, but the joy of hearing natural, unforced and unmiked voices in the intimate space is worth losing a word or two here and there. Davis makes clever use of vocal ranges, often placing male and female voices in unison.

Robin Skye (as Stephanie, left)
and Todd Cerveris (as Cass)
Photo by Matthew Murphy
The costumes, by Patricia E. Doherty, instantly define character in their bulls-eye specificity, from Robert’s western-cut leather jacket with bolo tie to Lola’s Talbot’s-pantsuit ensembles; the warmly humorous Robin Skye as Stephanie wears Wal-mart pharmacy eyeglass frames exactly right for a particular type of Southern trailer-park gal whose culinary specialty is Snickers salad (“Snickers, green apples, cool whip and vanilla puddin’.  Secrets in the puddin’.  It’s gotta be instant!”) The hair and wig design by David Brian Brown, along with April Schuller’s makeup design, bring the characters to fully realized life, while never veering into Southern-eccentric caricature. The hair and makeup work comes into play in one small but moving moment when Cas (the low-key and affecting Todd Cerveris) shaves off his beard, as he prepares to visit the family who only know him as their daughter Debbie.

The set, by James J. Fenton, transforms the small CAP21 black box into Robert’s weathered porch and backyard. Shelves illuminated by small sconces filled with curios and bric-a-brac line the walls: closer inspection reveals that the objects are totems of masculinity and femininity (a toy truck, a ‘Skipper’ doll carrying case, a tobacco can.) In one subtle effect, the sconces light up during Robert’s song about his childhood, “Barbara”, illuminating actual photos of Robert Eads as a young girl.  (Careful observers will also spot a small photo of Eads as you enter the theater.)

The beautifully textured lighting design, by Ed McCarthy, manages to depict not only the Georgia sun in every seasonal variation from summer to winter, but also the unforgiving harshness of blue-white hospital lights for several crucial sequences.

Thomas Caruso’s fluid direction nimbly handles the script’s shifts from naturalistic scenes to documentary-style direct address, to the more abstract moments when the musicians enter the story as peripheral characters. The pace is leisurely at times, but does not drag: Caruso trusts that the small, nuanced moments of the story will hold our interest (which they do), and does not try to rush the story unduly.

Southern Comfort is also very funny: bookwriter Collins deftly punctuates the script with sly humor that feels true to the characters. The script handles the more emotional moments skillfully, never descending into oversentimentality or cliché. The show stealthily builds to an emotional climax: a substantial percentage of the audience was reaching for tissues to dab at suddenly-moist eyes. The message of Southern Comfort is universal and simple:

            Down with living your life under there.
            Up with spring.
            Oh, spring up everywhere.

With Southern Comfort, CAP21 continues their tradition of presenting intelligent and moving new musicals. One hopes that this production will find the backing it needs to make the transition to an open-ended run. This is a powerful evening.

Southern Comfort runs through October 29 at the CAP21 Black Box Theater, 18 West 18th Street. Show times are Wednesday-Saturday at 7 PM.

Tickets are $18 and are available through OvationTix or online at http://www.cap21.org/.

Thursday, October 6, 2011

Matt Alber Hides Nothing For His Provincetown Debut

Interview by Greg Waagner
Photo by Rob Davidson

On Saturday, October 8th, the Crown and Anchor welcomes Matt Alber to the Paramount for his Provincetown singing debut. Alber released his solo album, "Hide Nothing," in November of 2008, an autobiographical and sentimental collection of love songs reminiscent of singers like Ben Folds, Iron & Wine and Imogen Heap, all of whom Alber counts as influences. Matt enjoyed five years, seven albums and two Grammy awards as a soprano in America's premier classical a cappella ensemble, Chanticleer.

As Matt prepared in Seattle for his first weekend in Provincetown, GT-NYC's Greg Waagner called from the Cape to catch up with the singer about music and life and the upcoming release of Matt’s as-of-yet untitled second album.

Greg Waagner: I won’t be coy, Matt. I think "Hide Nothing" is a beautiful collection of music, and I have no sense that I’m alone in this estimation.

Matt Alber: Aww, thanks Greg.

GW: Have you been surprised by responses to your album?

MA: Yes, all the time.

GW: How so?

MA: I’m surprised every time people show up for the concert, even after three years. I keep thinking this time it’ll be all over and no one will be there. But they do.  They keep showing up…and it’s great, and you all really seem to like what I’m doing.

GW: Matt, thank you. I heard “End of the World” for the first time at exactly the ideal moment for me to do so. I already had the breaking heart, but your song - and delightful video - made it okay to feel all the pain and complicated emotions while still shining that ray of sunlight on the hope for what would come after. The power of the song is that it comes from your own real experience. What’s it been like sharing something so personal?

MA: I wrote that on a bus in San Francisco, remember scribbling on a bank statement as it all came to me, notes, chords… and started to feel like it wanted to be a song. Maybe a good one. It’s been cool how this one song has introduced me to so many people.

GW: Did singing him the song get your guy back up in that giant balloon?

MA: What? Oh, it did not. It didn’t work very well in that regard.

GW: But what a song. Your music resonates with honesty and hope and seems to go hand-in-hand with so many great things we’ve seen recently: advances in marriage equality, the It Gets Better campaign, the repeal of Don’t Ask, Don’t Tell. How does it feel to be some part of that, to be making the sort of music that you must have longed to hear as a gay kid growing up in Missouri?

MA: I’m grateful to have survived life as gay kid, to have grown up to be where we are now. I remember, as a little kid, watching a Superman movie and imagining what it would be like to be Lois, to be there in the Fortress and lay my head on a strong man’s chest, to fly with him. You’re right, there is this wave of momentum and it does feel good to be some part of it. It’s good to let young people know that they’re okay, that they have every right love someone, to hold hands. But it’s a little bittersweet, too. It’s exciting to be in the cities of change – New York, San Francisco, Seattle and so on – but in places not at all far away from those cities are other places where there’s nothing for the same kids, except maybe the Internet, with no protections or safety.

There’s a church not far from here that has a program called The Tower of Light, which is essentially teaching young homosexuals that they should “find their holiness” by rejecting what they feel, who they are. It’s outrageous. And I try to figure out why it works and I see how they can suck these kids in and prey on their fears and shame and such that comes of the dark places a young queer kid is still forced to go to find answers, which is usually some cruising spot or Internet sex hook-up website. And all the while they have to sneak around, because ‘it’s wrong.’ They’re told it’s wrong and shameful. And I’m not saying get rid of Manhunt or Craigslist or whatever, those things are fine for adults, but its too easy to click a button and say ‘sure, I’m eighteen’ and find yourself into something more than you were ready for.

GW: I seem to recall at a younger age I really just wanted to talk to someone who felt the same way about things as I did, somebody I could ask all kinds of questions of. Perhaps that’s one of the coolest things about “It Gets Better”, that it is – I hope – something that queer kids can easily find on the Internet that gives them some reason to believe.

MA: Yes, exactly. Dan and Terry hit the nail on the head with this. It Gets Better is so amazing, so positive. We need to keep creating more positive and visible, accessible safe places for young gay kids. We need to keep asking the question, how to make it better. Answering those questions and being part of the change, that makes better futures.

I guess we should be talking about the music more.

[It’s at this point the interviewer wishes he’d had the presence of mind to point out that we were, still, talking about Matt’s music, that he is already creating safe friendly spaces for queers young and old, with his songs about romance and love and heartache and holding hands, songs in which pronouns don’t need to be changed. Songs about self-discovery, like "Monarch," or gay history like "Beotia," in which he pays tribute to the Sacred Band of Thebes and in so doing reminds us there was once a strong and brave army of male lovers who can’t be erased from history.]

GW: Matt, I think we’re all lucky you’ve decided to explore a solo career, but you’ve spent so much of your life involved with chorale groups one way or another. Chorale singing is the sort of powerful experience that sticks with a person. Do you miss it? Are you singing with a chorus these days?

MA: Yes. Yes! I’m blessed to be able to sing with the chorale ensemble Conspirare - which means “to breath together” in Latin - in Austin, Texas. The group was started by Craig Hella Johnson, who brought me into Chanticleer back in San Francisco. In early December there’s a sort of non-Christmas Christmas concert: there’s so very much to celebrate in the season beyond Christ and we have a great time.

GW: Your show at the Crown and Anchor this Saturday is, I believe, your singing debut in Provincetown, but is this also your first trip to the Cape of Cods?

MA: Yes, finally! Ever since I saw the movie “Splash” I’ve wanted to visit the Cape. It’s where he meets Daryl Hannah. So often I’ve wanted to dive into the sea and the arms of a beautiful mer-man.

GW: So Matt, are you traveling with a Field Trip Buddy to Provincetown this weekend?

MA: Yes, my boyfriend’s coming along on the trip and we’re looking forward to it.

GW: What’s on your Must See/Must Do list for the weekend?

MA: We don’t really have a list. We’ll be on the red-eye Wednesday, so at first just a lot of recovery from that, but we’re looking forward to walking around and taking it all in, exploring the town. Saturday is the concert, so most of that day I’ll be rehearsing, getting ready for that. You might find us out dancing at some point.

What about you, Greg? Are you bringing a Field Trip buddy to the show?

GW: Oh, no. Not really. I guess I’m sort of comfortably single these days. But it has been about three years now since the End of the World, so I keep an open mind. For now I’m content to be in love with our whole tribe.

MA: Three’s a magic number, you know. Better bring that open mind on Saturday. Sometimes things happen at my shows, between the people who show up. I’m just saying.

GW: And are there still Field Trip Buddy t-shirts available through your marketing people (or suitcase)?

MA: There are only about ten left, sadly all Mediums. I promise we’ll do another run once we get the new album out.

GW: "Hide Nothing" holds such delightful diversity. What can we expect from the new album in November? Is there a working title?

MA: I have a couple ideas I’m considering. Maybe “These Tall Tales”…o r “Taller Tales.”

GW: T-a-l-e-s?

MA: Ha, yes. Or maybe “Atoms”.

GW: Like molecules? That’s kinda catchy… and there’s the whole homophone thing. Adams.

MA: …like Atom and Steve…

GW: Yah, like that. Can you tell us about some of the new tunes you’re most excited about, or are you all about building suspense for the show on Saturday?

MA: I do wanna try out some new stuff. I haven’t decided yet. If I’m feeling really brave, you might hear “Old Ghosts”. You may hear “Wallingford.” It’s a neighborhood in Seattle, where Dave Matthews is from. But it’s not about that, but an incredible date I went on there once…

GW: I can’t wait for the concert. What else would you like us to know, Matt?

MA: Whatever I call the new album, I’ll be releasing it on November 15th. Watch my website at http://www.mattalber.com/ for all the details. And come join us at the show in Provincetown Saturday night!


The Crown and Anchor presents Matt Alber: One Night Only.

Saturday, October 8th, 2011.
8:30 p.m.
Paramount.

Tickets are $35/$25 and available online at http://www.onlyatthecrown.com/.
Preferred seating for Central House Dinner Patrons.
The Crown and Anchor, 247 Commercial Street, Provincetown MA.

(508) 487-1430

Sunday, October 2, 2011

Noċtú

Looking for something to do today?  Check out Noċtú, the dance performance that Judd Hollander of StageBuzz.com calls, "one of the best shows of the 2011-2012 season and one that should definitely be seen by all - and as many times as possible."

Check out some amazing photos from the show (Photos by Carol Rosegg).





Noċtú

Dancers: Jack Anderson, Peta Anderson, Ellen Bonner, Orlagh Carty, Joseph Comerford, Niamh Darcy, Gyula Glaser, James Greenan, Kyla Marsh, Megan McElhatton, Ashlene McFadden, Kienan Melino, Nick O'Connell, Katrina O'Donnell, Aislinn Ryan, Callum Spencer

Conceived and directed by Breandán de Gallaí
Lighting Design: Michael O'Connor
Costume Design: Nikki Connor
Original Music: Joe Csibi
Script Consultant Seán De Gallaí

Irish Repertory Theatre
132 West 22nd Street
Tickets: 212-727-2737 or http://www.irishrep.org/
Running Time: 75 Minutes

Closes: October 2, 2011

Saturday, September 17, 2011

This Month's Title Photo

This month's title photo comes from Redd Tale Theatre Company's production of Will Le Vasseur's Gabriel.  It features Michael Wetherbee and Will Le Vasseur.

Monday, August 29, 2011

Hurricane Irene Can't Beat At Hand's The Big "A"

It looked like The Big "A" had been bested by Hurricane Irene when the Fringe Festival's final weekend was cancelled, but Dan Horrigan won't be stopped that easily.  The Big "A" is getting one more performance on September 1st as part of the FringeNYC Make-Up Series.

AT HAND THEATRE COMPANY PRESENTS

THE BIG "A"

Written by Dan Horrigan
Directed by Matthew DiCarlo

The Laurie Beechman Theatre

407 West 42 Street
...

Armed with only his wit, Dan Horrigan does battle with evil bosses, giant hairy nipples, sassy nurses, and living with HIV... all while searching for the perfect set of kitchenware. Come and find out if laughter really is the best (anti-retroviral) medicine!

From NY Daily News: "People have told me I'm funny," he says. "But what if I could make people laugh and challenge them by talking about something that's difficult. Being positive is a very different situation than in the '80s. But there's still shame and stigma. The story is about a person who is growing up and confronting things."

"Run, don't walk to see The Big "A"... Dan shares his story with passion, razor sharp comedic timing and gentleness." - nytheatre.com

"Dan knows how to hold your attention for 70 minutes with his amazing mixture of humor and heart!" - adamubellesquest.com
THURSDAY, SEPTEMBER 1st @ 7:00PM

Tickets $15 plus food and drink! https://web.ovationtix.com/trs/pr/871005

Writer / Performer: Dan Horrigan
Director: Matthew DiCarlo
Stage Manager: Shelley Miles
Lighting Design: Josh Bradford
Producer: Justin Scribner
Associate Producer: Nick Catania
Company Manager: Laura Wright

Redd Tale Theatre Company Presents Its Take on Mary Shelley's Frankenstein in Two One-Acts

By Byrne Harrison
Reposted from StageBuzz.com

As part of their "Summer of Creation," Redd Tale Theatre Company breathes life into a pair of one-act plays inspired by Mary Shelley's "Frankenstein."

The first, Frankenstein With Mary Shelley, is an adaptation of Shelley's work by Virginia Bartholomew, who also performs the piece.  This outstanding one-person play has Bartholomew at turns playing Shelley, Victor Frankenstein and his Creation, as Shelley recounts how the story came to be and brings it to life for her audience.  Bartholomew is a versatile actor and seamlessly moves from character to character, bringing a remarkable depth to her performance.  Her tormented Creation is particularly moving and effective.

Ably directed by Redd Tale Artistic Director Will Le Vasseur, Frankenstein With Mary Shelley is a wonderfully atmospheric piece, dark and somewhat creepy.  Le Vasseur's set and Jason Richard's lighting for the show successfully recreates the feel of a dark drawing room where supernatural things are bound to occur.

Across the board an excellent play, Frankenstein With Mary Shelley will no doubt be brought back for future productions (and if that isn't already in the works, it should be).

The second play of the evening is Gabriel, Will Le Vasseur's take on the Frankenstein story.  In it Le Vasseur plays Henry, an exceedingly wealthy man with a scientific bent, who discovers an astounding secret in human DNA.  With the unwitting help of his colleagues Susan and Pierce (Cameran Hebb and James Stewart), he is able to leapfrog human evolution by 2 million years.  The result is Gabriel - not a monster, but like Shelley's original, something unique, out of place and lonely.  To add to the sense of otherworldliness, Gabriel is played by two actors; Michael Wetherbee, who performs Gabriel onstage and Michael Komala, who voices the telepathic Gabriel from offstage.  It takes some getting used to, but it is an effective portrayal.

Le Vasseur's Gabriel is intriguing and does a good job of bringing the Frankenstein story out of the age of electricity and reanimated corpses and into the modern era of molecular biology and space travel.  The exploration of the ethical implications of creating something so different and strange is fascinating and well thought out by Le Vasseur, not to mention his exploration of the bonding that occurs between creator and creation, between a lonely man and the lost soul that he has brought to life.

The acting in the piece is strong, with particular praise going to Wetherbee for his child-like Gabriel, and Hebb for her comic timing.  Michael Komala does an excellent job with a potentially difficult part (playing a disembodied voice is no doubt challenging).  Stewart and Le Vasseur acquit themselves well, as usual, with Le Vasseur doing particularly effective work with Henry's longing - whether it be for love or to create a legacy.

My only issues with Gabriel have to do with its length and the juxtaposition of this play and Frankenstein With Mary ShelleyFrankenstein With Mary Shelley draws much of its atmosphere from Gothic horror.  Gabriel is a much lighter piece, with dry humor and even some moments of farce (there is a wonderful bit of comedy between Hebb and Stewart after Hebb's Susan is accidentally put into sexual overdrive by Gabriel's telepathy).  This is a stark contrast to the creepy and intimate Frankenstein With Mary Shelley, and it is a bit jarring, even with the intermission between the two pieces.

But more to the point, Gabriel is a bit overstuffed.  Le Vasseur has a lot that he wants to explore in the play, and as a result some of the show, especially the love story between Henry and Gabriel, feels rushed.  This is not to say that Gabriel needs to be cut, rather that Gabriel deserves to be explored and nurtured into something larger.  I, for one, would like to see a full-length version of this play where Le Vasseur has time to fully explore his characters and themes.

With the loss of Nicu's Spoon Theatre, this will be the last full performance from Redd Tale this year (though I hold out hope that they will continue their one-off sci-fi movie festivals, radio shows, etc., until they find a new performance space), but they will be back with full productions in 2012.

Frankenstein With Mary Shelley
Adapted by Virginia Bartholomew
Directed and Edited by Will Le Vasseur
Featuring: Viriginia Bartholomew (Mary Shelley/Victor/Creation)

Gabriel
Written by Will Le Vasseur
Directed by Lynn Kenny
Featuring: Will Le Vasseur (Henry), Cameran Hebb (Susan), James Stewart (Pierce), Michael Komala (Gabriel's Voice) and Michael Wetherbee (Gabriel)

Set/Lighting/Website Design - Will Le Vasseur
Stage Manager - Brittany Ray
Assistant Stage Manager - Michael Komala
Poster Design - Graeme Offord
Ligting Design/Production Photos - Jason Richards

Thursday, August 25, 2011

Del Shores: More Sordid Confessions To Play This Friday at The Laurie Beechman

Del Shores, creator of the cult favorite TV series Sordid Lives (starring Olivia Newton-John, Rue McClanahan, Leslie Jordan and Caroline Rhea), brings his hilarious standup back to New York City. On August 26, The Laurie Beechman Theater presents DEL SHORES: MORE SORDID CONFESSIONS for one night only.


Whether he's recalling details of his "slut" years or calling out the assholes and bitches he's worked with, there is no subject off-limits in DEL SHORES: MORE SORDID CONFESSIONS. "Del says what most people think. He has no censor -- on or offstage. Audiences love him because of his ‘bless-their-hearts’ Texas charm," explains Caroline Rhea. "Look, I'm on Paxil and I don't give a shit anymore," Shores warns.

Del Shores is a writer, director, producer, activist and comic. His career took off with the 1987 play Daddy’s Dyin’ (Who’s Got The Will?) and the subsequent 1990 film. He is best known for his 1996 play Sordid Lives which became a film in 1999 and later gave birth to an acclaimed 2008 TV series for Logo. His other plays include Southern Baptist Sissies, The Trials and Tribulations of a Trailer Trash Housewife and mostly recently Yellow, which was just nominated for three Ovation Awards, including one for Shores for Best World Premiere. His work has garnered countless other awards including GLAAD Media Award, NAACP Award, Los Angeles Drama Critics Circle Award, Back Stage West Garland Award, Ovation Award, Drama-Logue Award and LA Weekly Award (including their 2006 Career Achievement Award). Shores has also written for TV shows including Queer As Folk, Dharma and Greg and Ned and Stacey. In 2006 he was given a star on the Palm Springs Walk of Stars. He is married to actor/Billboard Top 20 recording artist Jason Dottley and is the father of two daughters.

DEL SHORES: MORE SORDID CONFESSIONS will be presented Friday, August 26 at 7:30pm. The Laurie Beechman Theatre (inside West Bank Cafe at 407 West 42nd Street -- at Ninth Avenue, accessible from the A,C,E,N,R,V,F,1,2,3 trains at 42nd Street). Tickets are $18 with a $15 food/drink minimum per person, available at 212-352-3101 or http://www.spincyclenyc.com/.  Or click here for tickets.

Thursday, July 21, 2011

NYC: Broadway Stands Up for Freedom

Save the date for Broadway Stands Up for Freedom, the annual star-studded concert to support the youth programs of the New York Civil Liberties Union.

7:30 p.m. Monday, July 25, 2011
Skirball Center for the Performing Arts
566 LaGuardia Pl. at Washington Square South
Performers Include...

• Tony Winner Beth Leavel (Baby it’s You!, The Drowsy Chaperone)
• Tony Winner Nikki M. James (The Book of Mormon)
• Tony Nominee Andrew Rannells (The Book of Mormon)
• Tony Nominee Moisés Kaufman (The Laramie Project, Bengal Tiger)
• Tony Nominee Celia Keenan-Bolger
• Tony Nominee Gavin Creel (Hair)
• Tony Nominee Daphne Rubin-Vega (Rent)
• Tony Nominee De'Adre Aziza (Passing Strange)
• Tony Nominee John Tartaglia (Avenue Q, Shrek)
• Gbenga Akinnagbe (The Wire, Nurse Jackie)
• Nellie McKay (Get Away From Me)
• Krysta Rodriguez (Addams Family)
• Lindsay Mendez (Everyday Rapture, Grease)
• Carly Rose Sonenclar
• Erich Bergen (Jersey Boys)
• Kyra Da Costa (Baby It's You!)
• Crystal Starr Knighton (Baby It's You!)
• Christina Sajous (Baby It's You!)
• Liana Stampur
• Clinton Curtis
• The Bengsons
• Gray Reindhard
• Kate Ferber
• Marcelo Arias
• Justin Goldner

To purchase tickets, click here.

Friday, July 1, 2011

Interview with Jeff Key of "The Eyes of Babylon"

By Byrne Harrison

Jeff Key (playwright/actor) is a former Marine, Iraq war veteran, peace activist and queer civil rights activist. He sits on the Board of Directors for Iraq Veterans Against the War and is the founding board member of The Mehadi Foundation, which provides support for returning veterans and develops philanthropic projects; specifically, clean water supplies and other basic necessities in Iraq and Afghanistan. Key is an award-winning playwright, performer and author of The Eyes of Babylon and two other plays in development. He is also the subject of the Showtime documentary Semper Fi. Key lives in Salt Lake City with his husband, Adam, a second-year medical student at the University of Utah.

Tell me a little bit about Eyes of Babylon.

Never heard of it. THE Eyes of Babylon is my solo show. That’s a little writers’ joke there. Tennessee Williams often lamented the constant lopping off of the “the” in front of The Night of the Iguana. He was quoted as saying that a writer spends hours of anguish debating over the placement of a single article or preposition only to have it severed completely in a hastily written press release. I take no offense. I only mention it in hopes that Cousin Tom is somewhere up there enjoying a mint julep and smiling down at me as I struggle along a path he knew all too well.

The play is based on my Iraq War journals. In fact, more than simply based on them, the monologues that appear on stage are pretty much straight out of those sandy pages. I wrote in my journals in present tense while I was in Iraq so the entries lend themselves easily to the sort of Southern storytelling format of the play. With the exceptions of excerpts of three letters, The Eyes of Babylon takes those journal entries in order and allows the audience member to take the journey I took. The three letters in the play are one to my fellow artists and actors back in Hollywood, one to the family of a guy in my unit who died and my coming out letter to my commanding officer. Upon returning from Iraq, because of my growing fury over the Bush Administration’s injurious foreign and domestic policies and because of my unwillingness to continue to serve under the ludicrous “don’t ask, don’t tell” policy, I wrote to my CO and admitted that I was gay thereby forcing the military to discharge me. I then began to speak very publically about my opposition to the occupation of Iraq, about veterans’ issues and about Queer Civil Rights in America. Although I miss the Marine Corps every single day, I have never regretted that decision. At the same time that I sent the letter, I went on CNN’s Paula Zahn, Now and came out of the closet in an interview, thereby saying to five million people what I at one time would not have said to one other person.

The first incarnation of the play was actually my reading it to my fellow Marines in the desert. One day, quite by “accident,” I ended up reading one of the entries I had written about this stray dog to a Marine who had sort of “adopted” the dog. He was very taken with what I had written so he began to ask me each day what I had written. Word spread and soon I was reading to several Marines each day about the things that we were all experiencing together. I think humans naturally use humor to get through hard times so in the journals, as in the play, there is a lot of laughter. I think it helped us all to weather what could be at times a very difficult experience.

The title comes from one of the journal entries. It’s part of an admonition to my fellow Americans back in the states. While at war, as my concerns about the way the war was begin orchestrated grew, I began to question the entire direction in which our nation had begun to travel. I wrote, “ We stand at a crossroads. The choice? To hold true to the principles for which we say we stand, or to go the way of every other military empire in the history of the world. Choose wisely, the eyes of Babylon are upon you.”

What made you decide to adapt your war journals and letters into play?

I felt that I had to speak out. I don’t really like it when people congratulate me on my decision to do so, because I didn’t feel like I had much of a choice. I was pretty sure that keeping quiet about the war and about “don’t ask, don’t tell” was a path to self-destruction. But I wasn’t really interested in debating the war. I was pretty depressed when I got back and the depression only grew as I came to realize that I would have to leave the Marine Corps that I loved if I was to be true to my own conscience. A big part of that was my straight Marine buddy’s unqualified support of me. In so many ways, by becoming a Marine, I had entered the brotherhood that I had always felt eluded me. For the first time in my life, I was accepted among the pack—my sexuality notwithstanding. The commitment of blood that is shared among that Band of Brothers trumps any silly, trite prejudices continually parroted by right-wingers to keep the poor voting against their best interest.

So when people asked about my time in Iraq, I was always say the same thing. “I’ll read to you from my journals.” They all said the same thing: “You have to do something with these. Publish them!” I wasn’t opposed to the idea but the depression kept me paralyzed. I had lost about twenty pounds while I was at war. When I came back, I just lived off coffee, cheeseburgers and cigarettes. The depression was exacerbated by my extreme lack of physical fitness and my extreme lack of physical fitness exacerbated the depression. It was a vicious cycle which I’m sure would sound familiar to many post-deployment servicemembers. I was in a downward spiral and I feared the worse. I was several years sober at the time (and continue to be to this day). If I had thought that taking a drink would have given me some relief, even for a few minutes, I would have done it. But it had been proven to me over and over that drinking simply doesn’t work for me. So I put other things into the hole in my spirit that I once tried to fill with alcohol. Even though I wasn’t drinking, the addictive pattern was still alive and well in my life and was destined to destroy me. I pretty much lived in the sex clubs of Los Angeles or on on-line hook up sights. I ate the unhealthiest foods I could get my hands on. I smoked like a fiend and drank so much coffee it’s a wonder I didn’t have a heart attack. I also would spend any little bit of money I got my hands on on stupid and useless shit just for the few minutes of relief the purchase seemed to bring. I knew I had to do something or I was going to be sucked all the way down. I prayed for help as I had done when I had hit my alcoholic bottom years earlier. I decided that I had to reach out even more to other alcoholics who were living sober lives. Also, getting back into physical shape was a good next step. I went back to the gym.

One day, after a particularly grueling workout, I spotted this smoking-hot guy toweling off in the locker room. In keeping with my “always on the make” lifestyle at that time, I approached him and said hello. When he spoke, I noticed he had a Middle Eastern accent, I asked him where he grew up (a Southerner’s version of “where are you from?”). He said that he lived in New York but had grown up in Tel Aviv. “Oh, I just got back from the Middle East.” I told him. “I went to Iraq as a Marine.” An IDF veteran of the 1982 Israel/Lebanon war and also a gay man himself, he was curious about my experience at war. I said to him what I always said to people when they asked me that, “I don’t really want to talk about it, but I’ll read to you from my journals.” We got dressed and went to a nearby coffee house. This man, Yuval Hadadi, is the prototype for typical Israeli male; brooding, serious, doesn’t wear his feelings on his sleeve. But when I read to him from my journals, he couldn’t conceal his passion for my writing. Even though we had those other experiences in common; war, serving in the military as gay men, it was really his connection to my writing that began the relationship.

I had a degree in Theatre before I ever joined the Marine Corps (I might have been the only Theatre major in the whole USMC!)

Yuval was about to wrap up a film that he had been directing in LA. He said that he would stay on his own dime if I would consent to let him direct me in a solo performance piece using the journals as the script. His belief in me and in my writing helped to start the long process of pulling out of my PTSD paralysis and depression and into action. He kicked my ass. We flirted and fought our way through a six-week rehearsal process until, on a warm October evening in a small theatre in Hollywood, The Eyes of Babylon opened.

Clearly this is a timely topic both with the continuing war in Iraq and Afghanistan, and the recent developments with Don't Ask Don't Tell. I'm interested in your thoughts about the possible repeal of DADT.

Mostly I’m furious. That sounds awful to say and I am forever grateful to the other people who have worked for so long to end this very un-American policy but at the same time I am absolutely astounded that it has taken this long. I certainly don’t think that’s the fault of the good people working so hard to lift the ban. With all the very serious issues facing our nation; multiple wars, a disastrous economy, how the hell can we continue to justify spending so much time and money on something so asinine as forcing people who are willing to give their lives for this ungrateful country to lie about who they are? It is unforgivable and history will look very dimly on those who have fought so hard on the wrong side, just in the ways it looks back unkindly on those who fought so hard against other forms of Civil Rights. America is for all of us. Otherwise, we might as well close up shop.

I have a straight buddy who’s currently deployed to Afghanistan, and yes he really is straight. On opening night when I got to my dressing room, he had sent flowers from a combat zone! Another man who’s deployed there, whom I’ve never met but saw the Showtime documentary about the play (Semper Fi: One Marine’s Journey) found me on Facebook and sent me a message. “I won’t get home from Afghanistan until August but I want to buy my mom a ticket so she can come.” Can you believe that?! What a great son. What a great man. I’ll bet he’s a great Marine as well. Of course I wrote back to him and told him there was no way in hell I was going to let him buy his mother a ticket. She will come as my guest. My own mom is flying from Alabama to see her baby on stage in New York and that’s Marine’s mom will come with her to see it. What an honor it will be to perform to those two women.

As you mentioned, you came out very publicly on CNN. What was that like and what sort of reaction did you get?

You know what? When I walked out of the CNN bureau in Los Angles that day, I felt like the weight of the world had been lifted off my shoulders. And as difficult as it was, I knew that I would never, could never lie about who I was ever again. No one should ever have to hide who he or she is because of the stupidity of other people. There is absolutely nothing wrong with being gay and the viciousness toward young kids who are LGBTQ and have to live day after day in self-loathing and secrecy is unconscionable. On that day, I just kept thinking that maybe there was some twelve year-old version of myself out there watching that interview who could see me and say, “Well he seems to be okay with who he is. Maybe there’s hope for me.”

These kids are our kids and it’s up to us to protect them. I’m all for being (somewhat) patient as Americans continue to gain education around LGBTQ issues but we must never allow that process to take precedence over looking out for the well-being of our precious queer kids. The ignorance of the masses is not the fault of the kids. They deserve an equal chance at life and all the joy it can bring.

If you could offer any advice to someone who is struggling with the decision to come out, what would you say?

I would say that sometimes the feared repercussions of coming out are real. Unfortunately some people based on their lack of understanding will withdraw from us. But the ones that matter don’t mind and the ones that mind don’t matter. Even some who have a rough time with our becoming honest will ultimately come around. When I came out to my parents, my mother said, “You can’t expect us to accept this” and my dad said, “You know what the bible says about that.” But over time they grew in understanding, and ultimately they were in my wedding along with my straight Marine buddies who performed the famed “arch of swords” as Joan Baez sang “Gracias a la Vida.” It really does get better.

My ongoing recovery from alcoholism has taught me the great value in reaching out to others who have gone down that path before me. The same goes for when people decide to live their lives honestly regarding their sexuality. Seek out people who’ve gone through the experience themselves and let their wisdom and love carry you through.

We care about you! Your other family is waiting for you.

You're active with Iraq Veterans Against the War and are the founding board member of The Mehadi Foundation. Tell me a little bit about these organizations and your involvement with them.

I was one of the early members of Iraq Veterans Against the War. I love those people with all my heart and have been on the front lines of the peace movement with them for years. It takes great courage to speak out, especially when it is unpopular to do so. IVAW has three “points of unity,” 1) To bring the troops home now, 2) take care of them when they get here and 3) make reparations to the innocent civilians in Iraq and Afghanistan who have suffered because of the US invasions and occupations. I still very much support these points of unity. I do have a concern for the organization as well as for the “left-wing” in America in general. I came to the anti-war movement because I believed (and still do believe) that America’s war policy in Iraq was dangerous, illegal under the Geneva Conventions and immoral. I care very deeply for our troops and to me, their lives were being squandered for monetary gain. But as soon as I went public on this issue, I noticed that I was being “pulled” toward some platforms that do not reflect my point of view. I can see the injury that unrestricted capitalism causes, but I am also not a communist. I don’t trust the government with the money and power we give them now. (They’ve proven they cannot me trusted.) Why in the hell would I want to afford them more money and power? Also, when I was a little boy, I can remember coming up on roadblocks set up to raise money for the Ku Klux Klan. I mean there were literally men standing there in their white sheet costumes taking up money to help spread their message of hate! I just sat there in the back seat and shook and hoped they couldn’t see my homosexuality. A lot of their hatred was directed toward blacks but they also had a blanket contempt for gays and Jews. In the 90s the anti-Semitic/homophobic voice found its home in the neo-Nazi/skinhead movement. In 2011, I have to question where that voice is now. I know that vicious anti-gay rhetoric floods continuously from the pulpits of right-wing Christian fundamentalist churches but where is that voice that wants the destruction of Israel and calls for the killing of Jews? I believe it has found a comfortable home hidden away in the comfortable guise of advocating for the Palestinians. Now don’t get me wrong, I’m an advocate for the Palestinians as well and would love to see an end to their suffering. I also know that Israel (like my own nation) has committed horrible atrocities, mostly out of fear (again, like my own nation.) But I do not want to see the nation of Israel destroyed. In fact, as a gay man who’s people died alongside the Jews in the camps in Europe during the Holocaust, I’ll be damned if I’m going to start fighting on the wrong side. Compare life for gays in Tel Aviv to life for gays in Tehran. There is no comparison. The way to helping the Palestinians is definitely not by granting legitimacy to organizations who advocate for the execution of gay people. Hamas, Fatah, the Hezbollah and The Palestinian Authority all do. When they come for me and my Jewish friends this time to disappear us away to death camps, they will meet me at the end of my 2nd Amendment. I know that makes me a bad “peace activist” but that’s the way it is. And I don’t care who in the American left gets pissed off to hear me say so.

There is a resolution which will come to a vote at the Iraq Veterans Against the War convention in August which calls for Israel to return to 1948 borders. If it passes, I will resign from the Board of Directors and leave the organization. (http://www.ivaw.org/)

The Mehadi Foundation is named for a young Iraq boy I met while deployed there. His spirit of hope in great adversity to me symbolized all that I wanted my charity foundation to stand for. We have two missions. 1) To support veterans of the Iraq and Afghanistan Wars and 2) to support philanthropic/humanitarian efforts to help the innocent civilians in those two countries who have suffered so immeasurably over the last ten years. The main way we aspire to help the veterans (especially those who have begun to self-medicate PTSD with drug, alcohol and process addiction) is to teach creativity as a healing practice. In other words, I want to help them to learn to do what I have done; tell their own story through some creative outlet. It has been my salvation. We also want to get the vets involved in fulfilling the second part of our mission. Helping those who’ve suffered seems to provide solace for those who were involved in causing that suffering. That coupled with the “simple” benefit of helping others makes for a wonderful experience. We have gotten badly needed water filter into schools and provided wheelchairs for those who would otherwise have no access to them. Our dream is to continue to grow in our ability to help with regard to both sides of our mission. We are an IRS recognized 501(c)3 and survive by the donations of those who believe in what we stand for. http://www.mehadifoundation.org/

You have the play and your nonprofit work. What else is going on in your life?
About seven years ago, I decided to stop looking for the man of my dreams and become him instead. I came to a place where I was tired of looking for someone to “complete” me. I am complete person on my own and I think any person who brings “part of a person” to a relationship in hopes that it will complete him, dooms the relationship from the start. I began to love who I was. It wasn’t long after that that I meant Adam Nelson. (The story of our meeting could make for an entire interview so I won’t go into it here.) He is the kind of man that, every single day I look at him and say, “Really?! He’s really mine?” He is my best friend, my biggest fan, he welcomes my support as he pursues his goals and dreams of becoming a physician. He’s a third-year medical student at the University of Utah in Salt Lake where we live with our four-legged, furry babies. I basically commute to New York as I pursue my goals and dreams as a writer, actor and travel the nation as an activist. We’re hoping that he will be able to do his residency in New York so we can be together all the time again. It’s hard, but our marriage is forged in fire so I think we’ll make out just fine. Incidentally, I think he is the sexiest man alive and I’m getting turned on just writing about him.

If you could say anything to your potential audience, what would it be?

I would say stop being a “potential” audience member and become and audience member. This play is my love letter to the world. It’s what I learned as I walked through war. Please don’t let that be wasted. I’m a man of meager means but I care about humanity. I care about what happens to my country and to all people. We go up against big budget productions who have millions for advertising and we depend on word-of-mouth and the press to fill the seats. If you care about peace, if you care about what’s happening to our troops and if you care at all about “don’t ask, don’t tell” and LGBTQ Civil Rights in general, please take the time to stop in and hear what I have to say. I can promise you a lot of laughs along the way and hopefully you’ll leave feeling inspired to keep marching forward with the rest of us who knew that the brightest days are still ahead.