Reaching the Heights at Toby's



The ensemble for In The Heights at Toby's Columbia

Qué espectáculo! There are 96,000 reasons to love In The Heights now playing at Toby’s The Dinner Theatre in Columbia through July 21.  But space constraints permit me to go over just a few.  Toby Orenstein and Lawrence B. Munsey ably co-directed this production and took it to new heights with outstanding orchestration, a talented likeable cast, and a superb set.

Lin-Manuel Miranda composed the music and lyrics, and Quiara Alegria Hudes wrote the book for the four-time 2008 Tony Award-winning show, which captured Best Musical among the statues.  It also won a Grammy for Best Musical Album.  Miranda wrote the first draft in 1999 as a sophomore in college, and it was an ongoing project until it moved to Broadway.

The action takes place in the gritty, largely Hispanic Washington Heights neighborhood of Upper Manhattan, near the George Washington Bridge during a typically sultry three-day period surrounding July 4.  Each character has his or her story, but they are all connected in some fashion.  A youthful, vibrant ensemble added spice to this rich mixture of contemporary urban hip-hop, Latin rhythms, family drama, economic hard times, community, love, devotion, expectations, dreams realized and those not fulfilled. 

The setting is realistically amplified by the creative design work by David A. Hopkins.  Placing a series of three dimensional panels depicting New York’s skylines around the upper walls of the theater, it allows Lighting Director Lynn Joslin to illuminate a silhouetted sky to coincide with the time of the day—a wonderful effect.  So detailed is Hopkins that he even had chewing gum stuck to the neighborhood’s light posts.

In the Heights contains many high points in the way of individual musical performances, either as solos or duets.  The main performers along with the rest of the ensemble also burnished their talents in the stirring high-energy production numbers like “96,000,” “Blackout,” and “Carnaval Del Barrio.” 

The ensemble sang and danced with dazzling energy to the music that in some instances contained a mix of Spanish and English lyrics.  However, the songs were composed in a way that one didn’t have to know Spanish to understand their messages.  While some of the numbers are not necessarily melodious, they are all solid because of the powerful and affecting lyrics as well as the amazing vocals by the cast members. 

Numbers, such as “In The Heights,” “Breathe,” “Inutil,” “No Me Diga,” “Paciencia Y Fe,”  “When You’re Home,” “Sunrise,” and “Everything I Know” stood out.  Most of the high tempo songs (and the better ones) are performed in the first act while more ballads can be heard in the second—a distinct change in mood.

Christen Svingos’ choreography presented solid, realistic urban Latino dancing to the thumping beats supplied by the magnificent orchestra led by Cedric D. Lyles.

David Gregory is remarkable in the role of Usnavi, a Dominican-born owner of a small bodega (corner store)  who is a central character throughout.  His passion and hopes are conveyed with great skill.  Most of his dialogue and songs are performed in rap, and he is quite proficient at it.

Crystal Freeman is moving as Abuela (Grandmother) Claudia who practically raised Usnavi after his parents died.  She is the neighborhood’s loveable matriarch, the moral anchor.  Her stellar voice is evident in the tender “Paciencia Y Fe” and “Hundreds of Stories.”

Nadia Harika who plays Vanessa, Unvavi’s love interest, also possesses a glorious singing voice. Her performance in “It Won’t Be Long Now” shined.

Also spectacular with her vocals is Alyssa V. Gomez as Nina.  She was the one member of the “barrio” (neighborhood) who went off to college (Stanford University) on a scholarship only to fail in her first year, deeply disappointing her parents. Her rendition of “Breathe” is memorable, and fortunately she performed in a few other selections.

Nina’s father, the overprotective Kevin and owner of the local taxicab business played by David Bosley-Reynolds, is sturdy in both acting and singing.  He brought his commanding baritone voice that audiences loved as Tevye in Toby’s recent presentation of Fiddler On The Roof  to this production, especially in his emotional solo “Inutil (Useless).”

The always reliable and talented Tina Marie DeSimone is wonderful as Nina’s strong-willed mother Camilla. Skillful in her acting, she shined in her powerful rendition of “Enough.”

Another standout is Marquise White as Benny, who is in love with Nina and an employee of Kevin’s taxi service and is the only non-Hispanic character.  Also possessing strong acting and musical ability, Mr. White was particularly effective in the duets “When You’re Home” and “When The Sun Goes Down” with Ms. Gomez.

Santina Maiolatesi as Daniela, the chatty owner of a beauty salon, was effective in that role and also demonstrated her vocal prowess in “No Me Diga.”  Her employee, Carla, was played well by Olivia Ashley Reed.

Then there is Usnavi’s cousin Sonny, who works with him at the bodega.  Played fabulously by Ryan Alvarado, the character provided most of the comedic moments in the show.  Mr. Alvarado’s timing and stage movements excelled.

Rounding out the sterling cast is Tobias Young, another strong vocalist, as the Piragua Guy and Calvin McCullough as Graffiti Pete.

This production of In The Heights at Toby’s soared thanks to the amazing work in all the theatrical elements as well as the efforts from an enthusiastic, youthful and talented ensemble.

Running Time: Two hours and thirty minutes with an intermission.

In the Heights runs through July 21 at The Dinner Theatre of Columbia, 5900 Symphony Woods Rd., Columbia, MD 21044.  For tickets and information, call 410-730-8311, 1-800-88TOBYS or online.  hocoblogs@@@

The Senseless Loss of Dennis Lane

With Dennis (l.) and Paul Skalny (r.)  on his podcast in 2011

I was devastated by the shocking news of the murder of a great guy Dennis Lane. I was honored to have been a guest on his excellent podcast "And Then There's That," and he made me feel so welcome and comfortable while asking probing questions about the progress of marriage equality in Maryland. 

Dennis cared deeply about the citizens in Howard County and those of Maryland. This is a tragic loss and Dennis will surely be missed by so many. 

My heart goes out to all the people who loved Dennis and were touched by his affability, intelligence and class.

R.I.P Dennis

An Eyewitness to 10 Years of History

The debut article in Baltimore OUTloud

One of the blessings of writing a regular column for Baltimore OUTloud over the past ten years has been the opportunity to witness and report on the myriad events—good and bad—that shaped the continuing progress of LGBT rights.  It has been an eye-opening ride, and I am happy to have chronicled the movement over the years, having missed only three issues during that time.

Of course, I had been writing for Gay Life and before that, the Baltimore Gay Paper, for two decades prior to OUTloud’s debut.  So providing commentary about political and social issues was not new to me. 

Ironically, my first column in the May 16, 2003 issue of Baltimore OUTloud did not discuss an LGBT-specific topic.   Instead, the column titled “Tale of Two Cities” pointed out the economic dysfunction that was taking place in Annapolis and the war-torn morass that was just beginning in Baghdad.  Here, I was surprisingly prophetic; I correctly predicted just two months into the initial attack on Iraq that the conflict would eventually devolve into a quagmire with enormous casualties.

The next installment changed gears dramatically as I opined that the defeat of Clay Aiken in the finale of Season 2 of American Idol was caused in part by his mannerisms and appearance that may have been perceived by the public as his being gay.  That stereotyping probably turned off numerous people who voted instead for the less vocally gifted Ruben Studdard.  For his part, Aiken denied being gay and remained in the closet until just a few years ago.

The “OUTspoken” moniker didn’t occur until the April 1, 2005 issue.  That article, “Come Out and Play Ball,” presented reasons why it would be advantageous for a gay baseball player to come out amidst the steroid scandal that was besetting the sport.  I was proud that piece found its way onto Outsports.com—a site that relates LGBT issues to the world of sports at all levels.

Through the years, covering several hundred editions of the paper, I focused on political matters pertaining to our community both nationally and locally.  The presidential elections of 2004, 2008 and 2012 were illustrative of the challenges we faced and how, as time passed, attitudes towards LGBT folks have shifted. 

We saw the advent of same-sex marriage in Massachusetts and the predictable backlash that was a key component of the 2004 election.  We also witnessed the repeal of “Don’t Ask, Don’t Tell,” arguably the greatest achievement thus far for LGBT equality at the federal level.

The climate for gays in Maryland was dim but improving.  The gubernatorial elections of 2006 and 2010 saw Governor Martin O’Malley defeat the not-so-gay-friendly Robert L. Ehrlich, Jr.  In 2012 O’Malley was able to come to terms with his religious beliefs and enthusiastically backed marriage for same-sex couples.  Following previous failures in the legislature this development, along with other factors, led to the historic victory of marriage equality in the General Assembly and at the ballot box, which was unprecedented.

While political roads were traveled frequently in my column during this 10-year period, numerous other issues were explored.  Among them were the plight of LGBT homelessness, the impact of our youth on future achievements, hate crimes, homophobia and race, the meaning of Pride (an annual staple), the dangers of political apathy, strategizing to win over the persuadable political center, transgender discrimination and violence, how the legalization of same-sex marriage would benefit all LGBT folks regardless of their relationship status, the challenges of gays in sports, trashing opponents of LGBT rights, and a number of columns devoted to the influence of our culture, especially television, on our community.

My greatest thrill in writing over this period was being stationed just a few feet from Governor O’Malley’s historic signing of the bill that legalized same-sex marriage for Marylanders and the ensuing raucous celebration.  With his stroke of the pen (and the eventual victory on Election Day) the lives of gay and lesbian families in Maryland were profoundly changed and there existed the sense that all of us—married or not—are no longer considered second class citizens in the eyes of the law.  Following that was the joy of covering the first same-sex marriages that took place in Baltimore’s City Hall on New Year’s Eve.

While I can pat myself on the back for making some predictions that were ultimately correct and being afforded the opportunity to cover significant milestones in the LGBT rights movement, I must also slap myself on the wrist for failing to bring to light other matters involving our community.

In an effort to be positive, I overlooked information I received pertaining to several local LGBT organizations that included mismanagement and the lack of transparency.  Despite the column header “OUTspoken,” in these matters, I confess I had been anything but.  When one is in journalism, there is a responsibility to enlighten readers as to any defects that may exist within those institutions to which community members provide donations.

Journalists who offer their opinions are duty bound to demand accountability from these organizations and not be concerned that their officials will lash out and blame the messenger for their own failures. 

Again, in trying to be positive, I fell into the trap of letting things slide, looking the other way, or not doing due diligence in investigating specific charges in order to avoid being accused of trying to destroy these organizations.  That was never a goal; rather it would simply be to expose these weaknesses and allow the community to demand better results.  Who could argue with that?

During the next 10 years, I hope to improve upon that record and truly be “OUTspoken.”

Brooklyn Should Net This Trailblazer

 

 National Basketball Association journeyman Jason Collins, a free agent, came out with a superbly written and personal essay for Sports Illustrated online.  His story as to how and why he decided to come out (“I’m a 34-year-old NBA center. I’m black. And I’m gay”) is appearing in the May 6 publication.

His coming out should open doors for closeted athletes everywhere and will turn him into an instant hero for gay kids.  There is no way one can overstate the significance of this development.  It is yet another seminal event in the history of gay rights.

The 12-year veteran is well-known and from all indications, he is well-liked around the NBA. Collins bounced around, playing on a half dozen teams, the last being the Washington Wizards.  At no point in his career was his average point total over 6.4 per game.  Since the 2006-2007 season, he never played more than in half the game.   And at age 34 and a marginal producer, it is questionable if another NBA team was willing to take a chance on this free agent.

Until now.

Jason Collins has thrust himself into the glare of the media spotlight—a situation that clearly would not have taken place without his disclosure.  We hear that David Stern, the NBA Commissioner, badly wants a team to sign him, if nothing else, for the betterment of the league’s image and its place in social history.

Should that transpire, the signing team would surely have to cope with the media attention and the resulting distractions.  While most of his teammates will undoubtedly embrace him, Collins would still have to deal with fans, especially in other cities.

Would he be subject to taunting, ridicule, death threats, and other forms of horrific treatment?  Not likely, but nothing would be surprising today given that a guy would unload over a 100 bullets into 6 year-old kids.  Plus there are still a large number of gay-hating people out there. 

Would he receive the broad hostile treatment Brooklyn Dodger Jackie Robinson had to endure when he broke the color barrier in baseball back in 1947 as brilliantly portrayed in the film 42?  Probably not.  Gay rights have advanced so far, so quickly to suspect that outcome.  Racial prejudice was deep-seated then, and it included Robinson’s own teammates and Brooklyn fans.

Which team would be willing to sign Jason Collins given that his basketball skills are not in demand any longer?  It would have to be a team that can handle the distractions, at least in the short term.  It would be best if that team played in a city with a vibrant LGBT community.  I could be wrong, but I suspect the Oklahoma City Thunder would not be the first on the list.

Perhaps the Portland Trail Blazers.  It has a great LGBT community, an open-minded progressive population; heck, it even had a gay mayor.  Moreover, the name “Trail Blazers” would be a perfect moniker for Collins.

But I would hope it would be the Brooklyn Nets.  When the franchise moved from Newark, NJ to Brooklyn in 2012, I thought this was good karma.  Jackie Robinson broke the color barrier in Brooklyn; it would be great if Jason Collins breaks the rainbow barrier in the same borough.  Perfect symmetry.

Brooklyn possesses a growing LGBT community and no one can question the vibrancy of New York City’s overall LGBT community.  Unquestionably, any team playing in New York is battle-tested regarding the media and its hyper-scrutiny.  The Nets would endure.

One of the minority owners of the Nets but one who is most visible is rap icon Jay-Z.  Reacting to President Obama’s announced support for same sex marriage last year, Jay-Z said, “What people do in their own homes is their business, and you can choose to love whoever you love. That’s their business. It’s no different than discriminating against blacks. It's discrimination, plain and simple.”

Here’s another point.  Jason Collins began his career with the Nets.  He should end it with them as well.  Again, perfect symmetry.

Still Plenty of Room on the Bandwagon

Hillary Clinton comes out in support of marriage equality

Momentum for marriage equality is so powerful right now it’s surreal.  Much has happened over the past year in this regard; it’s nearly impossible to chronicle in limited space.  But since March alone, major steps to knock down previously sturdy barriers have taken place.

Most of these developments occurred before, during and after the justices of the U.S. Supreme Court heard oral arguments on two central cases (Prop 8 and DOMA) that potentially can cover the landscape in rainbows.  How the justices will rule will be determined in June—Pride month no less—and regardless of the outcome, the march towards equality will continue.

What is driving this momentum is a shift in attitudes among Americans regarding marriage equality.  The most recent of these surveys, the NBC/WSJpoll, shows that 53 percent of Americans now support same-sex marriage, which is an uptick of two points since December. Some other polls indicate even greater support.  This is a dramatic sea change over the past ten years.

Though politicians are often slow to follow the attitudes of the electorate (e.g. gun control, immigration reform, etc.), they seem to be jumping on the marriage equality bandwagon rather rapidly.  A couple of weeks prior to the Supreme Court arguments, Senator Rob Portman, a Ohio Republican who was a possible VP candidate on the Romney ticket, became the first GOP senator to publicly support same-sex marriage.  He did so because his son, Will, is gay, which clearly put a family member’s well-being above party dogma. 

“It allowed me to think of this issue from a new perspective, and that’s of a dad who loves his son a lot and wants him to have the same opportunities that his brother and sister would have — to have a relationship like Jane and I have had for over 26 years,” Portman was quoted as saying.

Republican Senator Mark Kirk (IL) swiftly followed suit as did a number of Dems, resulting in 54 senators supporting marriage equality and still counting.  Only three Democrats have not as yet: Sens. Mark Pryor (Ark.), Joe Manchin (W.Va.) and Mary Landrieu (La.)—all representing red states.

A little over a week before the Supreme Court proceedings, former Secretary of State Hillary Clinton also climbed aboard the bandwagon.  In a six-minute video for HRC Clinton said, “LGBT Americans are our colleagues, our teachers, our soldiers, our friends, our loved ones, and they are full and equal citizens and deserve the rights of citizenship. That includes gay marriage.”   Many political pundits saw this as an important step if she decides to run for president in 2016.

Despite the two Republican senators announcing support, the fact that many Republicans submitted friends-of-court briefs to advocate for marriage rights in the Supreme Court arguments, and the party rhetoric saying that the GOP needs to be more inclusive, it is clear their rank-in-file is not ready to approve same-sex marriage.  In that same NBC/WSJ poll, two-thirds of Republicans oppose marriage equality—most of whom are in rural areas.  But the numbers are improving, albeit slower than Democrats and Independents.

The Republican National Committee on April 5 approved a resolution that stated: “The Republican National Committee affirms its support for marriage as the union of one man and one woman, and as the optimum environment in which to raise healthy children for the future of America; and be it further resolved, the Republican National Committee implores the U.S. Supreme Court to uphold the sanctity of marriage in its rulings on California’s Proposition 8 and the Federal Defense of Marriage Act.”

This is the trap the GOP officials are falling in: they continue to pander to their rural and shrinking base and ignore the fact younger people including young Evangelicals are supporting same-sex marriage.  The issue most likely will hurt the party in 2016 and beyond as these younger people vote and the older, more conservative voters leave us, resulting in more elected officials jumping on the bandwagon.

Evan Wolfson, President and Founder of Freedom to Marry, commented: “With Republican support for the freedom to marry increasing every day—aided by the journeys of leaders like Senators Mark Kirk and Rob Portman—the RNC is showing itself out of touch with this resolution.”

Aside from marriage there is also some LGBT progress in the world of sports, which is by no means insignificant.  Although those in the sports industry do not make laws, their influence on our culture cannot be overstated.  Los Angeles Dodgers co-owner Magic Johnson (who has a gay son) and Mark Cuban, owner of the NBA’s Dallas Mavericks both said they would welcome a gay player on their team.  A growing number of hockey players as part of the You Can Play Project have also publicly stated their acceptance of a gay teammate should one come out.

Ex-Raven Brendon Ayanbadejo told the Baltimore Sun that he is in discussions with as many as four gay players in the NFL who may come out soon as a group in a coordinated effort to mitigate the pressure that would normally be heaped on one individual under that circumstance.

Though much work in other areas needs to be done, the marriage efforts have been paying dividends as well as a possible improvement in the sports environment.  The bandwagon still has lots of room for those to jump on.  France, for instance, is about a month away from approving same-sex marriage. Bienvenue à bord!

Shakespeare Factory Produces a Fresh 'Romeo & Juliet'



Brendan Edward Kennedy (Romeo)

and Kathryn Zoerb (Juliet) Photo: Will Kirk

William Shakespeare’s Romeo and Juliet is an ancient play as it was written sometime between 1591 and 1595.  The language used, Elizabethan English, is rather arcane.  And the costumes reflect 16^th century everyday wardrobe.  But the Baltimore Shakespeare Factory’s production of Romeo and Juliet, though staying true to the original work, adds a dose of freshness and contemporary whimsy that makes it a fun experience—the play’s tragedies notwithstanding.  An unexpected moment, for example, occurs when cast members begin to dance to “Call Me Maybe” during the play.

The Baltimore Shakespeare Factory prides itself on presenting their plays that are authentically Shakespeare in the manner in which they are staged.  Three productions this season take place in a venue that was once a church but is formatted so that the seating, all pews, is arranged on both sides of the stage as well as in front.  (Two other plays this season will be performed in an outdoor setting.) 

To read full review, visit MD Theatre Guide.

Lots of Horsepower in Spotlighters' Equus

When Spotlighters Theatre Artistic Director Fuzz Roark enthusiastically told the audience prior to the performance of Equus that this production is “special,” he rather understated it.  In fact, Roark would have been on target had he called it a “masterpiece,” for that it surely is.

The 1973 play was written by Peter Shaffer and won a Tony Award for Best Play in 1975.  It tells the story of a child psychiatrist Dr. Martin Dysart attempting to treat a 17 year-old boy, Alan Strang, after the lad blinded five horses with a hoof pick.  Shaffer was inspired by an actual similar incident in Suffolk, England and crafted the play as a fictional account to uncover what could have led to this act without his knowledge of the crime’s details.

As Shaffer pens it, Alan has an abnormal obsession with horses that encompasses religious worshiping of and a sexual attraction to them.  Dysart’s mission is get to the core of the problem while dealing with what appears to be his own rather insipid existence.

Director Sherrionne Brown, who is no stranger to the cozy, in-the-round stage at Spotlighters, does an exemplary job of handing the powerful script over to the talented cast while staging a picture perfect play.  At one point, Ms. Brown deviates from previous productions of Equus and with the guidance of choreographer Alani Harris, presented a superb, mesmerizing dance scene by five horses that slowly surround Alan in a graceful but heart-pounding experience. 

Donned in velour leggings and leather harnesses (some readers may recognize) and sporting spectacular silver horse heads and hooves that were provided by San Francisco’s American Conservatory Theatre, the dancers emulated large majestic horses in appearance and movement.  It is a striking scene that allows the audience to take in what Alan is experiencing.

Credit Ms. Brown again for her ability to impeccably transition to numerous short scene changes without the choppiness that such tasks would ordinarily entail.  Some of these locales include Dysart’s office, Alan’s room, a beach, Dysart’s mind, stables, a cinema, etc. So to accomplish these varied settings with only three benches that comprise the Spartan set is quite creative.  Brad Ranno’s lighting design is also a key component of these effects.  By keeping the set simple, Ms. Brown places all the focus directly on the performers as it should be in this performer-driven play. 

Another unique staging approach is that the actors who are not in a particular scene are seated as observers off on the side but still in view of the audience.  When called upon, they effortlessly appear on stage and by doing so in this manner, contribute to the fluidity of the action.

As exceptional as the staging and costuming are in this production, the acting takes it to another level.  In previous versions of Equus, there had been such theatrical heavyweights as Anthony Hopkins, Richard Burton, Anthony Perkins as well as Charles S. Dutton (when it appeared in Baltimore’s Longrove Alley Theatre in 1979) who played the part of Dr. Martin Dysart.  I cannot see how Phil Gallagher in this production could have taken a back seat to any of them. 



Martin Dysart (Phil Gallagher) comforts Alan Strang (Thomas Bowers)

It would be tempting to overact in the Dysart role, but Mr. Gallagher does not cross that line.  Instead, he offers a commanding performance, displaying impassioned determination in ferreting out the underlying issues with Alan while realizing the emptiness in his own life.  Dysart pulls out from his bag of tricks such techniques as hypnotism and placebo truth drugs, to untangle the mystery as to why Alan could perform such a dastardly act. Never missing a line even during several hard-driving, passionate soliloquies, the Cambridge University (England) graduate and stage veteran puts on an acting clinic.  Gallagher also serves as an Assistant Director in this production.

Making his debut on a main stage, American University student Thomas Bowers also came through, effectively exhibiting the rage and stubbornness bottled up in the Alan Strang role.  The tension between the two main characters is palpable, which is how the play is designed.  Feeding off each other’s frustrations, they executed their lines and movements flawlessly with an abundance of chemistry and flair.  A sexual moment Alan experiences while on the back of a horse is tastefully but realistically presented as is the nude scene towards the play’s end.

Alan’s mother is an extremely devout Christian and his father is an atheist.  (What could possible go wrong with that?)  But it’s his mother, Dora, played solidly by Kathryn Falcone, who seemed to have the most influence on him by constantly reading to him from the Bible. 

Alan’s father, Frank Strang, well-played by Frank Vince, was concerned that Alan was mostly focused on the violent aspects of Scripture.  He destroyed a violent picture of the Crucifixion Alan had placed at the foot of his bed.  The boy replaced it with one of a horse with large staring eyes.

Also in the cast is Karina Ferry as Hesther Salomon, a court magistrate, who is one of the saner characters in the play.  She provides a steadying, soothing hand for Dysart.  Ms. Ferry, who had performed well in Tea and Sympathy, another Spotlighters hit, is also strong in this role.

Kerry Brady played nicely by Jill Mason, is a young woman who attempted to seduce Alan with tragic results.  Stephy Miller plays the Nurse, and David Morey is effective as the stables owner Harry Dalton.

Rounding out the cast are the five horses: Ruta Douglas Smith, Megan Farber, Kevin Gordon, Alani Harris, and Alan’s favorite horse “Nugget,” Warren Smith.  Kudos to all.

Equus is not your everyday boy and his horse story.  It is an intense, psychological drama that is gripping and that has the audience on the edge of their seats.  The production at Spotlighters is magnificent to the core in every respect—a complete masterpiece—and should not be missed.

Running Time: Two hours and 20 minutes with an intermission.

Advisory: The play contains adult themes and full nudity and is not recommended for children.

__________________

Equus plays through May 5 at the Spotlighters Theatre, 817 St. Paul St. in Baltimore.  Tickets can be obtained by calling 410-752-1225 or online. 

Photos by Ken Stanek Photography 

The Ball is in Their Court

Ever since the passage and signing of the repeal of “Don’t Ask, Don’t Tell” the march towards LGBT equality has picked up in pace that would have been considered inconceivable just five years ago.  Aside from the setback in this year’s Maryland General Assembly where comprehensive non-discrimination protections for trans folks failed to advance again, the rainbow path recently has been lined with victories.

This is especially true in the progress towards marriage equality.  Following President Obama’s announced support for same-sex marriage last spring, the tide has swung in earnest towards the seemingly improbable goal that gay and lesbians in the U.S. will finally no longer be treated as second class citizens.

The apex of this momentum was reached on Election Night as voters in three states, including Maryland, chose marriage equality while a fourth beat back an attempted ban—developments that had never occurred before.

Most recently, March 26 and 27 became another landmark period in LGBT history as two cases contesting the manner gay and lesbian couples are treated with respect to marriage rights made it to the highest court in the land.  Oral arguments were heard by the nine justices of the U.S. Supreme Court that on the first day saw the challenge to California’s Prop 8. 

Several hundred marriage equality advocates braved the cold temperatures and assembled in front of the Court in a colorful, raucous rally.  Opponents were fewer in number but they attempted to drown out the pro-equality rally with a lot of noise, chanting their dwindling number of rational arguments against same-sex marriage.

While it is nearly impossible to predict what the Court will ultimately decide based on questioning during this phase, conventional wisdom imparted by legal experts indicate that the Court will either strike Prop 8 down or even more likely revert back to the lower court’s ruling in that the measure is unconstitutional in California only. 

In that case, gay and lesbian couples in that state will again be able to marry.  If that occurs, some 30 percent of all U.S. same-sex couples would then be living in states that legally allow such marriages with several more looming on the horizon. 

There will likely be no sweeping edict that would affect same-sex couples in the rest of the country.  In other words, the Court is not likely to say in general terms that gays and lesbians have the legal right to marry, which is what marriage equality advocates had hoped for.  The least likely scenario, however, is that the Court will uphold Prop 8.

The picture seemed brighter and somewhat clearer following arguments on the second day. The constitutionality of Section 3 of the Defense of Marriage Act or DOMA, which denies over 1,100 federal benefits to legally married same-sex couples, was being questioned.  At least five justices had key problems with DOMA’s purpose and constitutionality.   

The case had been brought to this point by Edie Windsor, 83, who had to pay $363,000 in federal estate taxes after her spouse, Thea Spyer, died. Because Windsor would have been eligible for an estate tax exemption had Spyer been a man, she argued that DOMA's Section 3 violates her equal protection rights under the Fifth Amendment.

Again, it is not certain if the Court will grant eligibility for the 1,100 federal benefits to same-sex couples that are legally married.  Should that happen, it would constitute a huge victory for those couples married in the nine states (including Maryland) plus D.C.  Social Security survivors’ benefits and tax breaks would be among the major benefits if Section 3 of DOMA was struck down.  And it could form a precedent for future litigation.

The U.S. Supreme Court has a well-deserved reputation for being plodding and incremental and often lagging behind the social attitudes of the general public.  Sweeping landmark cases are rare, and these two could (and should) have been among them. 

The punditry noted correctly that attitudes on “gay marriage” shifted dramatically since 2004 when Republicans used the issue as a wedge among Democratic voters.  Indeed, according to a recent NBC/Wall Street Journal Poll, support for marriage equality has increased in virtually every demographic, region and party affiliation except those from rural areas and those between the ages of 50 to 64.  Blue collar workers represent the largest increase in support.

African-Americans, long seen as a group that had not supported marriage equality, increased their support by 19 percent since 2009 alone.  Analysts credit Obama’s change in his position on the subject as a significant contributor to the shift.

Moreover, young adults who will be playing a larger role in elections and are overwhelmingly supportive, will be replacing the older generation as they leave us.  But even though folks over 65 do not favor same-sex marriage (37% - 54%), their support has increased substantially since 2004 (16% - 80%). 

The justices’ votes have already been tabulated, and their rulings will be announced in June.  As most of the LGBT community will be celebrating Pride that month, the announcement will be eagerly anticipated.  

The justices would be wise to consider the trends in public acceptance because if the rulings do not unequivocally confer the same legal rights, benefits and responsibilities for all Americans, you can be sure the younger people will be back again knocking on the Supreme Court’s door.  For now, the ball’s in their court.

Iron Crow’s 'Slipping' is Sure-Footed Drama



Tanner Medding as Eli and Rich Buchanan as Jake

We know how complicated love can be.  With all its obvious pleasures associated with it, we recognize how many challenges exist and how they must be overcome to sustain a loving relationship.  Tricky as that proposition is, imagine how it must be for a teenager to cope with figuring out what true love is.   Then add to that mixture the pain of family loss, his own self-loathing, a past that maintains a strong grip on his psyche, and his dealing with a sexual orientation that society frowns upon albeit to a lesser degree than years ago.

This is what Eli, the central character in Daniel Talbott’s powerful first full-length play, Slipping, currently presented by the Iron Crow Theatre Company, has to confront.   According to Talbott, the play was inspired by among other factors, his own experiences with his best friend in high school.

Iron Crow’s artistic director Steven J. Satta tightly helmed the Baltimore offering and did so with his usual expertise and meticulous attention to detail.  Aided by a strong cast and technical crew, Slipping portrays the angst that most teenagers feel as they grow up especially in matters of the heart.

Towson University student Tanner Medding was blessed with taking on the complex role of Eli to demonstrate his proficient acting skills as well as his ability to remove and put on clothing at a frenetic pace throughout. 

Eli left San Francisco following his father’s death in a car accident to move to Iowa with his mother Jan (played by Michele Minnick).  He had a difficult time in adjusting. 

Eli is gay.  The factors leading to his father’s death troubled him, and he regrets he never had the opportunity to tell his dad the truth about himself.  He is constantly haunted by a crush back home, Chris (Christopher H. Zargarbashi) whose internalized homophobia prevented them from forming a loving relationship.  When he moved to Iowa, Eli seemed out of place (dying his hair a sort of pinkish hue didn’t help his assimilation) and was burdened by the memories of his past.

He is befriended by a new boy, 17 year-old Jake (Rich Buchanan), a handsome, popular, seemingly straight baseball player, who discovers his own attraction to Eli.  Suspicious of Jake’s motives, Eli at first rejects a sexual encounter with Jake but ultimately relents.

They remain friends with benefits for months with the entire school becoming aware of their “relationship.”  But each time Jake tries to solidify that relationship, the angry, jaded, often-sullen Eli pushes back.

As a subplot, the audience learns that Jan was never in love with her husband, that she cheated on him, and didn’t wait long enough “for the insurance to be settled” before she engages in her own sexual encounters.  One thing in her favor, which mitigated Eli’s already difficult adolescence, is that she is supportive of his sexual orientation.
Nonetheless, the melancholy Eli continues a problematic self-mutilation practice of “cutting” that began in San Francisco—the consequences of which open the play.

Through flashbacks to events in San Francisco and rapid back flips to the present in Iowa, Talbott constructs the foundation of Eli’s character and opens the window into his sexuality.  Eli is timid while in San Francisco but transforms into a bitter yet vulnerable youth in Iowa. 
Christopher Zargarbashi, having appeared in Iron Crow’s Love and Human Remains and Swimming in the Shallows, played the dangerous Chris with dramatic verve.  His physical attractiveness and penchant for dominating Eli explain why Eli was so hung up on him.   “I wanted to be owned by him,” Eli laments.  But that was not going to happen.

Appearing in five scenes, Chris presents a dark, scary caricature who abhors the fact that he and Eli had sexual encounters and projects that hatred onto Eli by mistreating him.  As they say, love is blind.   Chris warns Eli of the consequences “if any of this gets out,” and in a heart-pounding moment says, “Every time I see you at school I want to just rip you apart.”

Rich Buchanan, who was stellar in Iron Crow’s The Soldier Dreams, is more than up to the task of playing Jake.  His polished acting skills, energy, voice inflections and movements are clearly on display in this role.  Jake’s youthful sexual chemistry with Eli is flawless.

Michele Minnick, another Iron Crow veteran, was solid as Jan.  As Eli’s mother, she was challenged by his suspicions that his father’s death was somehow caused by her.  Eli was closer to his father than Jan, and it is evident in the dynamics of their relationship. 

Tanner Medding is outstanding.  Onstage for almost all of the scenes, Medding plays brooding Eli expertly, playing opposite each of the other three characters who all have conflicts with him.

One device the play employs is that Eli would go off occasionally to the side of the stage in a spotlight and speaking into a microphone to deliver soliloquies on his reflections. The mic isn’t needed as the echo chamber effects of the sound amplification interferes a bit with the monologue.  Other than that, Sound Designer Todd Mion aptly used music in scene changes to great effect.

Tanner Medding as Eli and Rich Buchanan as Jake

Another device was the role of two stage hands in interacting with Eli.  They are frequently called upon to move props on and off the cozy Theatre Project stage as one would expect.  But with subtle gestures, they either help Eli to stand up or prod him to move a chair—almost metaphorically trying to assist him on his path towards happiness.

Eli is often seen as an unlikable character whose journey is fraught with danger, sadness and disappointment.  But as the play progresses and his hardships exposed, empathy for him gains traction.

This is not a feel-good story in that it poignantly examines gay teen angst.  Talbott does sprinkle in some humor and jokes, however, to lighten the mood a tad.  But Slipping is a sturdy drama, directed and performed with sure-footed skill.
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Running Time: One hour and 30 minutes with no intermission.

Advisory: This play contains full nudity and profanity and is not recommended for children.

Slipping runs through April 13 at the Theatre Project, 45 East Preston St. in Baltimore.  For tickets, visit Iron Crow Theatre online or call 443-637-CROW (2769).

Lazaro Haters Are Missing the Point

With the elimination of Devin Velez on March 28's American Idol, the blogosphere has lit up with "why hasn't Lazaro been eliminated yet?" mantra.  People opine that Lazaro Arbos is not a top-notch vocalist (in fact, many say he's horrible), there are better singers than him who have been eliminated, and that American Idol is a singing competition whereby only the best singer should win the title or at least advance to the finals. 

They also argue that Lazaro's success so far in avoiding eleimination is attributable to "the cute factor" and "the pity vote" ostensibly because of his severe speech impediment and his penchant to shed a tear or two when things don't go right for him.

These folks are completely missing the point.

American Idol does bill itself as a singing competition.  However, the real purpose of the show is to find a new artist who is popular and potentially successful commercially.  That's what it is all about: to discover someone who can sell records and make record producers, songwriters and studios even richer than they are.

The idea that Elvis Presley was technically the very best singer in America for three decades is laughable.  That The Beatles were the best vocalists technically in the world is also comical.  They weren't, and they even knew that.  The true great singers in this world are not being discovered and hence, do not have huge careers in commercial music.

What these superstars had was a unique ability to record a song with sufficient studio assistance to amplify their vocals and cover up any weaknesses and perform in such a way that girls from all over--the ones who drive the record industry--would go nuts over them. 

In essence, that is what American Idol is seeking: "the wow factor. " The winners of this so-called singing competition with a few exceptions had lesser careers so far than those who failed to make it to the top.  Clay Aiken, David Archuleta, Jennifer Hudson, Chris Daughtry, Adam Lambert and others did not win the competition outright and were better vocalists than the ones who had won.   Yet they have launched successful recording careers.  But David Cook, Lee DeWyze, Kris Allen and Taylor Hicks did win.  Where are they today?

So how valid is the voting that allows up to 50 votes per person?  If this is, in fact, a pure singing competition that ignores the popular appeal of the contestant no matter the reason, then only qualified judges should decide the outcome and leave the viewers out of the selection process.  Of course, that would negatively impact ratings and advertising dollars.

To suggest that Lazaro Arbos has survived the Top 7 because of sympathy or his appeal to young tweens is not incorrect.  But it is exactly what the producers are looking for--a popular artist who can sell records.  With coaching and professional handling, Lazaro could be successful in the industry given that he already is popular in key demographic blocs.   See: Justin Bieber. 

These fans have been completely loyal to Lazaro.  How long that loyalty will hold out is speculative.  But  denouncing him because he is not a great singer completely misses the point of the show. hocoblogs@@@

'American Idol’s' Lazaro Inspires Us All

In what has been shaping up as a rather ho-hum 12^th season for the hit TV show American Idol, one narrative stood out early on and appears to be holding.  It’s the back story surrounding Lazaro Arbos, the utterly adorable 21 year-old ice cream scooper who has made it to the Top 9 despite a severe stuttering problem. 

During the course of the series’ run there have been plenty of sob stories related to particular contestant’s health, finances, family and loss.  These emotional stories may have helped individuals advance in the short run and have endowed those auditioning for a record contract and fame with real humanity.

For some reason, Lazaro’s courageous attempt to overcome his speech impediment through song has inspired not only those who are afflicted with the condition but the viewing public in general.  Moreover, he inspires those young students who have been shunned by other kids or even bullied.

Lazaro was born in Cuba and developed the stuttering problem at the age of 6.  His family moved to Naples, Florida when he was 10, and instead of the problem subsiding, it grew worse.  His parents sought treatment but to no avail.  So when Lazaro appeared in Chicago for the first audition of this season in January, he captured the hearts of America.

At the audition, when introducing himself to the judges, Lazaro struggled to get the words out.  The judges were sympathetic but seemed a tad uncomfortable.  Then he applied his rich, sweet voice to the Grammy Award-winning “Bridge Over Troubled Water” and wowed the judges not only with his solid rendition of the mega-hit but also the fact his stuttering vanishes when singing.

The Idol interview shown during this segment tugged at our hearts.  “No one wanted to hang out with me in school because I had no friends to go out with, so I had to stay home,” Lazaro confided as his voice was shaking and tears filling his eyes.  I’m pretty certain the viewers’ eyes filled up as well.

Realizing that he was always alone, Lazaro turned to music.  Even his Mom told him to “sing it to me” when he needed to say something to her but couldn’t get the spoken words out. 

His stuttering pushed him into the job of ice cream scooper following his 2009 Gulf Coast High School graduation.  “It’s the only job I can get where I don't have to do ‘smart people’ stuff like talking.” Lazaro points out.

It is not clear if Lazaro was ever overtly bullied in school but he was shunned, which is a form of bullying.  When kids continue to taunt or bully other kids based on the child’s race or religion, or for being overweight, having acne, wearing glasses or braces, being short, or being gay, lesbian, bisexual or transgender, it is not a stretch to believe Lazaro was bullied because of his severe stuttering. 

As we know, bullying (including cyberbullying) has led to too many suicides among teens or pre-teens.  It has even led to mass killings when the victim’s back is against the wall.  Statistics indicate that LGBT kids are the most common victims of bullying. People are becoming more aware of the effects of bullying and action, albeit insufficient in most cases, is being taken. 

Lazaro’s story is inspirational and should bring more awareness to bullying.  He makes other people feel good through his talent and courage.  I know he has attracted a large following that includes gay fans, which has helped propel him to advance as of the March 14 results show to the Top 9.  In fact, decked out in splendid South Beach-like pastels that remind me of a front man of a swing band,  Lazaro was ranked 4^th that week and received the highest number of “votes” of all the male performers.

When asked about his success so far, Lazaro was direct. “I loved the reaction towards me, I loved that they loved me for what I love, so that is the most amazing thing,” he told the Hollywood Reporter about being selected as a Top 10 finalist.

With the female talent so formidable this season, it is unlikely Lazaro will be the next American Idol. His singing is solid but may not be sufficient to topple Candice, Angie and other strong vocalists.  But American Idol is a popularity contest and voting is propelled by tweens using cell phones to vote dozens of times for the contestant of choice.  Therefore, who knows what the outcome will be?  Lazaro already said his goal is to make the Top 5 so he can receive a trip to Disneyworld.

For all the gay kids and others who have been victims of bullying or simply cast off by others in school, take heart.  Lazaro Arbos is your new champion and your next American Idol regardless of the official results.  He stood there in front of a camera on a widely watched television program and bared his soul to all.  He displays his talent undeterred by his speech impediment and admitted his sad loneliness in school.

And to his detractors who avoided him and kept him lonely even though he had no control over his condition, Lazaro is too modest and sweet to say it, but I will:  “Look at me now, you ________ (fill in the blank).  I’m on national television and could very well come away with a record and/or book deal.  Where are you now in your life?”

[UPDATE - March 21: Lazaro survived the judges' bashing of his March 20 performance ("In My Life") as well as Jimmy Iovine's statement that he was "the bottom of the bunch" and "by far the worst singer of the night" to advance.  In this contest, it's the voting public that counts more than the judges' evaluations.]

[UPDATE - March 28: Again, Lazaro survived the night afeter singing Stevie Wonder's "For Once in My Life."  The judges said he was much better than last week but it came off as a backhanded compliment.  On Results Night, Jimmy Iovine predicted (incorrectly) that Lazaro will be sent home.  Devin did instead after an emotional "save" performance of "It's Impossible."  That was an apt title as the judges will not save anyone until there are 5 or 6 contestants remaining.  Meanwhile, Lazaro lives to sing another night in the final 7.]

[UPDATE - April 4:  Lazaro stunned the "experts" by landing in the Top 3 this week after last week's Bottom 2 finish.  the night before he covered Queen's "We Are the Champions" and did not get reamed by the judges this time (Jimmy, yes, as for the 2nd consecutive week his prediction of a Lazaro defeat went unfulfilled).  In fact, Randy sort of apologized (seemingly aware of the blogosphere's blasting Lazaro) when he said, "I gotta call 'em as I see 'em" when he said that Lazaro's performance was better than the previous week.  The young fellow is the last man standing of the final 6.  Nobody would have predicted that.  I beleive next week is the last opportunity for the judges to save someone--an option they would most certainly have to use even if it is Lazaro or the season would be finished a week too early.  It's an interesting dynamic and a conundrum for the producers as well as the judges.]

[UPDATE - April 11:  The journey ends.  After two dismal performances the night before, the legions in Lazaro Nation were not enough to prevent the inevitable--much to the relief of Jimmy Iovine, the judges and the producers of FOX who saw his remaining while others were eliminated as a farce.  Good luck Lazaro, whatever you decide to do.  You took the pounding better than most would have.]

Everyman Offers Laughter and 'Carnage'



Photo: Stan Barough

Deborah Hazlett as Veronica, Christopher Bloch as Michael, Megan Anderson as Annette and Tim Getman as Alan

The story of God of Carnage starts before the play begins with a pair of 11 year-old schoolboys involved in a playground altercation with one of them using a stick to knock out two teeth of the other.  By play’s end, the audience wonders who really behaved like children—the kids in that fight or their parents.

The Pulitzer prize-winning French play written by Yasmina Reza and translated into English by Christopher Hampton debuted on Broadway in 2009 after a run in London and copped three Tony awards including Best Play.  It was since made into a film Carnage directed by Roman Polanski. 

God of Carnage is the second production to grace the Everyman Theatre’s sparkling new Fayette Street location, and it’s a hoot.  It centers on the uproarious, if not insane, interactions of two Brooklyn, NY yuppie couples who are the parents of the combatants.

Alan Raleigh (Tim Getman) and Annette Raleigh (Megan Anderson) are the parents of the attacking boy.  They were invited to the home of Michael Novak (Christopher Bloch) and Veronica Novak (Deborah Hazlett) to discuss the fight and resulting damage to the Novak kid in a futile attempt to resolve the dispute in a civil manner through a simple apology.

Starting off well with gentle pleasantries, sharing French pastries and having agreed (after some lawyerly-style debate) that the aggressor was not “armed” with a stick but instead was “furnished” with one, the tranquility was compromised by alcohol-fueled honesty and continual annoying interruptions from cell phone calls.  The meeting devolved into a verbal slugfest. 

Playwright Reza once said in an interview:  “What motivates me most about writing about people who are well brought up and yet, underneath that veneer, they break down.”  That’s what occurs in God of Carnage.

The characters exhibited what most parents’ instincts direct them to do: defend their own children regardless of the circumstances.  As soon as Veronica states that her son was “disfigured” from the fight and points out repeatedly the teeth lost were incisors, Annette recoils and argues there must have been a reason for her son to strike the other boy.

The play then becomes a runaway brakeless truck rolling faster and faster down a hill. Civility turns into calamity as each character reveals their weaknesses and vulnerabilities we all have but won’t ever admit to.  

Shocking scenes such as Annette throwing up all over the coffee table and books, her ripping off the tops of expensive tulips and the inevitable fate of that obnoxious cell phone interspersed with the ever-increasing profane but hilarious dialogue, elicited strong audience reactions. 

Eleanor Holdridge, possessing a solid resume of directing stage plays, made strong use of the actors’ skills in displaying precise comedic timing, facial expressions and movement around the stage.  

Bruce R. Nelson, an Everyman staple, was originally tapped to play Alan.  An unfortunate injury prior to the play’s run sidelined Nelson, and he was replaced by veteran actor Tim Getman.  That substitution worked out quite well. 

Mr. Getman flawlessly portrayed Alan, the corporate lawyer who is frequently on the phone defending a questionable drug company.  He really never bought into the need for this meeting with the Novaks and would have preferred to be anywhere but here.  But here Alan was, delivering many laugh lines. 

His wife, Annette Raleigh (Alan nicknamed her “Woof-Woof”), played by Megan Anderson, was also funny (and later disgusting).  Starting off mild, she evolves into rage as the play progresses and even yields to some homophobia.  My only gripe with Ms. Anderson’s performance is that she didn’t sufficiently project her voice especially at the beginning.  Otherwise, she was outstanding.

Michael Novak, played by Christopher Bloch, is a successful wholesaler with an ill mother.  Also armed with a plethora of gag lines and comedic gestures, Mr. Bloch came through wonderfully. 

Michael was assailed by the Raleighs and Veronica for allowing his daughter’s pet hamster to “escape” only for it to face the realities of street survival.  He was also chided by Veronica for being wishy-washy during the arguments involving his son.  

Dutifully, Michael frantically uses a hair drier to clean up the mess Annette left on Veronica’s table and precious art books.   Michael comes off as a peace-loving, liberal, open-minded soul but his inner self screams “F***ing Neanderthal.” Mr. Bloch could not have been better for this role.

Then there is Veronica, the intense and, at times, whacko mother of the victim and author of an upcoming book on Darfur.  Deborah Hazlett, another Everyman resident actor, plays the role brilliantly and realistically while displaying a full range of emotions and passion throughout. 

Timothy R. Mackabee’s set is functional if odd.  Behind the ordinary living room furniture in what is probably a brownstone apartment is a super-sized, dominating painting of a pack of dogs pouncing on a prey, which undoubtedly is a metaphor for carnage.

God of Carnage is a funny play and should not be missed. While the comedy is sometimes dark, most of us can imagine how we’d react to every one of the provocations in the play and can readily identify on some levels to these people. hocoblogs@@@

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Running Time: Eighty-five minutes with no intermission.

Advisory: This show contains profanity and is not recommended for children.
God of Carnage plays through April 7 at the Everyman Theatre, 315 West Fayette St., Baltimore.  For tickets, call 410-752-2208 or visit everymantheatre.org.