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 after 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.

There's No Place Like 'Home' at Rep Stage



Fatima Quander, Robert Lee Hardy and Felicia Curry 
Photo: Stan Barough

Who says you can never go home again?  In the case of Home, presented by Rep Stage which is in its 20^th year, it is clear that returning home can bring a desirable outcome.  Through its main character the play mirrors the migration of African-Americans from the South to the North in the 1950s and 60s and then a migration back to their Southern roots in the 70’s and beyond. hocoblogs@@@

Home, a 1979 expressive and imaginative work written by Samm-Art Williams, was a Tony and Drama Desk Award nominee in 1981 when it was originally produced by the Negro Ensemble Company.  Under the superb direction of Duane Boutte, making his Maryland directing debut, Home, over three decades later, is performed in the round at the Studio Theatre on the campus of Howard Community College. 

…with this outstanding cast, director and crew, ‘Home’ is a good play to see.

It is normally a risky venture to stage a play in that configuration when the work consists mainly of dialogue. But it succeeds here, thanks to Boutte’s attention to details, emphasis on movement and pacing and the stellar performances from the three-person cast.

In reviewing Home on the second night of four previews one could have anticipated a few rough spots to iron out. Other than a minor fumbling of a line, little ostensibly needs to be fixed.

The story depicts the plight of hardworking Cephus Miles, played powerfully by Baltimore native Robert Lee Hardy, a farmer in the fictional rural town of Crossroads, North Carolina. Cephus is a likeable, good-natured young black man who from his early life and virtually throughout his journey can’t catch a break. He chalks up his misfortunes to “God taking a vacation in Miami”—a theory that he repeated at various turns in the play.

Through his impassioned and, at times, humorous storytelling, Cephus recounts the events that shaped his life. Tragic deaths of family members left Cephus to fend for himself as a youth. There was a brief romantic relationship with Patti Mae (Felicia Curry) who left him for college, never wrote him and eventually married someone else. He lived his younger years in this town but not finding greater opportunities despite his indomitable spirit.

The turning point occurred when Cephus resisted the draft during the Vietnam War and was sentenced to a five-year term in a Raleigh jail. This portion of the play was its weakest because of Williams’ casual treatment of such a pivotal sequence. There is no convincing rationale why Cephus would refuse to serve other than quoting the Sixth Commandment, “Thou shalt not kill.” No evidence suggested during the play that Cephus was particularly religious and even if he were, why would he not serve as a Conscientious Objector rather than facing imprisonment at the age of 19?

While in jail Cephus encountered guards and others who convinced him to go to the big city—“the promised land”—to try his fortunes there. The city is unnamed but the audience is told there is a subway. When his term ended, he meets up with unsavory characters from street hustlers, a gold-digging woman and drug addicts who swallow him up. His jail record causes him to lose his job and ultimately his apartment as well as almost losing his life to the dangers the big city presents.

Sensing a continuation of this tragic spiral, Cephus returns to Crossroads where despite his reputation as a “traitor” by some, the ending provides a much-needed smile.
Throughout this journey, Mr. Hardy is accompanied by two sterling actresses—Felicia Curry, a Helen Hayes Award winner, and Fatima Quander—who successfully play a staggering array of characters (male and female) from teasing children to dominating older folks who were part of Cephus’ life. With the simple addition or subtraction of an article of clothing—a scarf here, a hat there, a sweater, a handbag, etc. Ms. Curry and Ms. Quander transform easily into their countless roles and played them to the hilt with passion and intensity.

Director Boutte ensured there was plenty of physicality and movement throughout. Mr. Hardy trekked around the blond-wood, double-platform center stage —at times pacing, occasional sitting, and sometimes emulating working the fields. but always mindful of the in-the-round set-up.

Ms. Curry and Ms. Quander are forces in motion throughout. For example, as teasing children they energetically encircle the outside perimeter of the stage dancing and chanting. (Ms. Curry effectively conveys tenderness and innocence as Patti Mae). When not in a particular scene they wait in opposite corner platforms readying the next costume addition or a stage prop but never a distraction as Mr. Hardy during his monologues commands the stage and the audience’s attention. At times the cast gets to sing a bit; not enough unfortunately for they possess rich voices.

Credit James Fouchard for the simplistic yet very functional set. Dan Covey’s clever lighting effects are in sync with the play’s many changes of scenes and moods. And Neil McFadden did a fine job of using sound effects judiciously—blues music, wind, and a car, for instance—adding to this expertly staged play.

Home was written before the advent of personal computers and the Internet. But we all know how comfortable we are at a home page after exploring an unfamiliar website. That is the message of Home: a good, comfortable place to return. And with this outstanding cast, director and crew, Home is a good play to see.

Running Time: Two hours with no intermission.

Advisory: This show contains profanity and sexual situations and is not appropriate for children.

Home runs through March 17 at the Studio Theatre of the Horowitz Visual and Performing Arts Center on the campus of Howard Community College, 10901 Little Patuxent Parkway, Columbia, MD 21044. Tickets may be purchased by calling 443-518-1500 or email the Box office at BoxOffice@howardcc.edu.

It's Partisanship That Should be Sequestered

There are countless worthy causes to get behind—too many to name here.  Surely, among them are: “World Peace,”  “Stop Hunger,”  “End Homelessness,” “End Poverty,”  “Eradicate Disease,”  “End Violence,” “End Racism,”  “End Homophobia,” “End Transphobia,” and (gasp!) “Promote Unity within the LGBT Community (really).” 

Good causes, right?  I fully support each one and believe humankind would benefit.  If only we can wave a magic wand and make it happen.  But none of these goals will be fulfilled in our lifetimes simply because it’s not realistic.  There will always be wars.  There will always be disease.  There will always be hatred.

Every generation believes that subsequent generations will cure the ills plaguing the current one.  We’re still waiting.  Of course, I am more optimistic that today’s youth will succeed in ending homophobia and transphobia as well as putting a good dent in racism.  Yet, as in the case of wars, disease and hatred, there are other problems that seem intractable.  And one of those is political partisanship.

I admit I’m guilty of partisanship, too.  But I acknowledge certain Republicans who do good deeds and I despise some Democrats, especially a few state legislators.

The so-called “sequestration” process that was preceded by the “fiscal cliff” and other economic and political skirmishes highlight the intense political partisanship that is causing our government to be dysfunctional.  To be fair, this is not a recent phenomenon.  Such partisanship has existed throughout our history and, at times, more vitriolic than today’s combat.  Moreover, partisanship does not reside solely in the U.S.  So divided are the governments of Italy and Israel, for example, that they are finding it difficult to put together a governing coalition.

Back in the U.S.A., while it would be unfair and inaccurate to lay the responsibility on one political party, I don’t think any reasonable person would dispute the notion that the election of Barack Obama—the country’s first African-American president—touched off a tsunami of thinly veiled (if veiled at all) racist attacks and intense partisanship. 

We witnessed it during the 2008 campaign where Obama was characterized as a socialist and other provocative labels, which were patently untrue.  We saw the racist signs held by rally-goers as well as bumper stickers depicting him as a monkey.  We heard that pathetically ill-informed woman at a McCain town hall accuse Obama of being a terrorist and an Arab.  And, of course, we had to endure the “birther” movement led by the repulsive Donald Trump and other idiots who literally forced the president to prove he was born in Hawaii.

While the Affordable Care Act was being debated, more ugliness ensued as passions were easily aroused, fueled again by false information, rumors and FOX News-produced talking points.

Adding to this was the leader of the Senate Republicans, Mitch McConnell, saying in an interview with the National Journal in October 2010, “The single most important thing we want to achieve is for President Obama to be a one-term president.”  He repeated the same point at a Heritage Foundation event two months later.  While this statement occurred after the president’s significant legislation was already passed, it signaled an obstructionist strategy that would continue throughout the remainder of the president’s first term overflowing like untreated sewage into his second.

The mid-term elections in 2010 that gave the tea party an incredibly strong hand in economic policy within the GOP contributed even more partisanship, which has led to the current impasse.  Mainstream Republicans are being intimidated by the tea party crowd from threats they will be “primaried” if they don’t fall in line. 

And so poisoned is the GOP partisan well that the most popular Republican in the country, Gov. Chris Christie, was not invited to the big conservative CPAC confab ostensibly because of his praise for President Obama after Hurricane Sandy.

Clearly, Republicans do not corner the market on partisanship.  Democrats are guilty of that, too, but not as graphically.  No one is demanding that House Speaker John Boehner prove his place of birth.

Nonetheless, when I recently posted an article from NBC News on my Facebook page that noted over 100 Republicans—some going back to the Reagan administration—had signed on to a friend-of-the-court brief supporting same-sex marriage in the Prop 8 case to be argued in the Supreme Court this month, some of my Democratic friends reacted with, um, partisanship.  They reasoned the Republicans were doing this only to moderate their image to pander for votes, even though many of them were no longer in politics.

I pointed out that people do evolve (as did President Obama) in addition to the fact that one of the lead litigators in the case against Prop 8 is former Solicitor General Ted Olson, a staunch conservative.

In fairness to these friends, there is justification for their cynicism.  The GOP has been almost universally opposed to same-sex marriage and LGBT rights in general.  The marriage stance is ingrained in the party’s platform.  Only a few legislators in blue state Maryland crossed party lines and GOP doctrinaire and supported marriage equality here.

But the times are indeed changing.  Electorally, the GOP does need to soften their hard line image on a number of issues if the party is to remain relevant—a view shared by such Republican stalwarts as Newt Gingrich. 

I believe we need a strong two-party system where debating issues should be fact-based, respectful as well as robust. The way things look now, however, any reduction in partisanship is just a dream.

Toby's Delivers 'Fiddler' in Fine Tradition

Photo by Kirstine Christiansen

If there ever was a character in theatre who one feels compelled to root for, it has to be Tevye, the nearly impoverished milkman who resides in Anatevka, a small village in Czarist Russia in 1905.  His strong-willed wife has a sharp-tongue, and he is struggling to house, feed and clothe his five daughters.   The three oldest of them eschew deeply ingrained Jewish traditions to which Tevye so desperately tries to cling in favor of pursuing lives of their own fueled by changing social mores.  And on top of that, Tevye and his family as well as the other Jews in Anatevka face constant anti-Semitism and intimidation from Russia’s Czar.

That is the fundamental storyline in the classic musical Fiddler on the Roof, which is now playing at Toby’s, the Dinner Theatre of Columbia.  This production has enough gusto and energy to light that village of Anatevka and perhaps some of Columbia’s villages as well.

For full review, visit MD Theatre Guide.

 

Black History Month: Moving Forward

As we near the end of Black History Month and having viewed the excellent documentary Brother Outsider, which presented the life of civil rights leader Bayard Rustin, it is easy to smile and reflect upon the progress in the relations between the African-American and LGBT communities. 
A promising visionary and activist in the civil rights movement, Rustin had been arrested in Pasadena, Calif. on a “morals” charge, which outed him as a homosexual.  As a key associate of Dr. Martin Luther King, Jr., Rustin organized the spectacular March on Washington, D.C. in 1963.  

But his being gay held Rustin back from rising up the ranks in the civil rights movement’s hierarchy as did perhaps his affiliation with a campus Communist group.

This is one example of the tensions between the LGBT and African-American communities.  A major reason for discord has been many African-Americans’ perception of racism by gays, or if not overt racism, then a lack of inclusiveness.  Clearly, there is truth to that.  There is also some resentment among blacks that gays and lesbians have couched the quest for marriage equality as one of civil rights.

Coretta Scott King would be pleased today

On the other hand, a significant portion of black culture sees homosexuality as a taboo, which particularly hurts Same Gender Loving African-Americans. This has been reinforced by church-going blacks who have viewed homosexuality as a sin—a mantra that for decades has been constantly repeated by pastors and became more prevalent during the ongoing efforts to achieve marriage equality. 

Despite these strains, civil rights leaders have understood the philosophy of Dr. King and applied it towards LGBT folks.  The late Coretta Scott King, Dr. King’s widow, had been a champion in using her husband’s words to combat homophobia. 
“I still hear people say that I should not be talking about the rights of lesbian and gay people and I should stick to the issue of racial justice,” she said in 1998. “But I hasten to remind them that Martin Luther King Jr. said, ‘Injustice anywhere is a threat to justice everywhere.’”

She also recognized that gays and lesbians walked arm-in-arm with blacks during those iconic marches of the 1960’s.  They joined forces, even risked their lives, to help blacks achieve the right to vote without undue barriers. 

 “Gays and lesbians stood up for civil rights in Montgomery, Selma, in Albany, Ga. and St. Augustine, Fla., and many other campaigns of the Civil Rights Movement,” Ms. King said at the 25^th Anniversary Luncheon for the Lambda Legal Defense and Education Fund a day later. “Many of these courageous men and women were fighting for my freedom at a time when they could find few voices for their own, and I salute their contributions.”

Since then other prominent African-American leaders joined in the struggle to end discrimination against LGBT people. Most notable of these were Rep. John Lewis, the Reverend Jesse Jackson, the Reverend Al Sharpton, Julian Bond and more recently Benjamin Jealous who is the CEO of the NAACP.

Nonetheless, uneasiness between the two groups remained a point of concern.  Following the Proposition 8 ballot initiative in 2008, fingers were pointed by gay activists towards the African-American community for voting to uphold Prop 8, thereby denying marriage equality to same-sex couples in California.  While a majority of black voters supported Prop 8,  a review of post-election data concluded that various other factors contributed to Prop 8’s support at the polls, such as the generation gap. 

Numbers  guru Nate Silver pointed out on his fivethirtyeight.com website that “At the end of the day, Prop 8's passage was more a generational matter than a racial one. If nobody over the age of 65 had voted, Prop 8 would have failed by a point or two.”

As Maryland braced for a marriage referendum battle last year, the concerns about the African-American community and how they would vote highlighted the pre-referendum handicapping.  The theory, according to pundits, was that if the pro-equality forces could make sufficient inroads with black voters, then that would put us over the top.

The effort to win over African-American voters in Question 6 was bolstered by President Obama’s disclosure last May that same-sex couples deserve the same rights as their heterosexual counterparts.  The national NAACP joined in with their support. 

Later, the campaign featured prominent religious African-American Reverends Donte Hickman and Delman Coates as part of the TV advertising.  In addition, Baltimore Ravens linebacker Brendon Ayanbadejo—a mixed race advocate for marriage equality—engaged in a verbal tussle with homophobic Delegate Emmett Burns that received national exposure.

All along, Baltimore Mayor Stephanie Rawlings-Blake was a strong vocal supporter of marriage equality.  When the votes were ultimately counted, Baltimore City had a sizable plurality for Question 6, and Prince George’s deficit was much smaller than anticipated. Consequently, the hateful comment by a pastor stating gays and supporters “are deserving of death” most likely did not sit well with fair-minded voters regardless of race.

All the momentum was on the side of equality.  It is safe to say that the favorable outcome did not occur in spite of African-Americans but because of them.  The myth that marriage equality could not be achieved because of black opposition should finally be put to rest.

Still there are problems between the two groups.  Racism continues to exist but should be diminished considerably by future generations.  Anti-gay rhetoric is still spewed from the pulpits in black churches. 

But the trend looks very positive now, and I believe Coretta Scott King is looking down and smiling over the progress that has been made.

Teens Learn the Hard Way in 'Spring Awakening'

Consider the following thorny issues that society grapples with today: abortion, homelessness, child abuse, rape, unplanned pregnancy, homosexuality, and teen suicide.  Now imagine how these same topics were candidly portrayed in an 1891 German book Spring Awakening written by Frank Wedekind.  It didn’t go over so well then as it was banned in that country for some time.

Photo: Stan Barough

Undaunted, the rock musical called Spring Awakening based on that controversial work was crafted by Grammy Award-winning songwriter Duncan Sheik with book and lyrics by Steven Sate.  The production opened on Broadway in 2006 and captured eight Tony Awards, including Best Musical, Direction, Book, Score and Featured Actor, and four Drama Desk awards plus a Grammy. The female lead was played by Glee’s Lea Michelle prior to her move to TV.

After a successful run on Broadway and London and touring productions in the U.S. and Canada, Spring Awakening arrived at the Olney Theatre Center, which is celebrating its 75^th anniversary.  Director Steve Cosson, aided by an attractive talented cast and an imaginative creative team, blended the often dark and heavy storyline that was set in late 19^th century Germany with modern rock music, lighting and staging to present a sparkling and moving production.

It is a great challenge to mesh 19^th century European mores with contemporary optics and sound.  That dichotomy is left to the audience to work out.  In its totality, despite that challenge, the production succeeds.

Using a strong score under the direction of Christopher Youstra with great work from the orchestra, the storyline delicately and ably weaves a series of subplots into a dramatic tapestry involving adolescents discovering their feelings about sexuality and intimacy.  Parents of these kids were loathe to have frank “birds and bees” conversations, so the youngsters had to learn about such matters on their own in various ways while dealing with the effects of puberty.

Wendla, played tenderly by Alyse Alan Louis, never received sexual guidance from her mother and paid the ultimate price.  She caught up with a friend from her early childhood years, Melchior, a handsome, intelligent, and rebellious fellow (performed splendidly by Matthew Kacergis) who, through book learning, was aware of the mechanics of sex and enjoyed his intimacy with a naïve Wendla.  Sadly, this encounter ultimately had tragic consequences as two lives were lost.

Matthew Kacergis and Alyse Alan Louis  Photo: Stan Barough

Then there is Moritz, played solidly by Parker Drown.  He, too, had his issues involving his sexual feelings but was even more victimized by evil, unscrupulous schoolteachers (played deliciously by Ethan Watermeier and Liz Mamana, who also perform other adult roles) and his unsympathetic father.

Ernst (David Landstrom) and Hanschen (Austin Vandyke Colby) find love with each other.  Happily, this gay couple is among the few who did not experience sadness, frustration or tragedy and provided some of the lighter moments in the production.

Other characters include Ilse (Maggie Donnelly) who runs away from home to escape abuse; Martha (Marylee Adams) who was abused by her father; Georg (Chris Rudy) who fantasizes about his voluptuous piano teacher; and Otto (Christopher Mueller) who dreams about his mother.  You get the picture.

There were some comedic moments, such as a masturbation, uh, autoeroticism scene, with the good-looking Colby as Hanschen constantly being interrupted by his father.  And the exchange later on between him and Ernst (Landstrom) is quite enjoyable.

The music is electric and was performed wonderfully by the entire cast.  Alyse Alan Louis’ rendition of “Mama Who Bore Me” is gorgeous as she exudes her frustration of her mother’s reticence about discussing sex.  She also shines with Matthew Kacergis as Melchior in “The Word of Your Body” (a song that is reprised two more times with other characters) and “Whispering”.  Her acting is spot on as her character draws significant empathy from the audience

Kacergis, who recently played in Olney’s well-received Cinderella, has charismatic leading man looks and a stellar singing voice.  His acting skills are right for the role, demonstrating a take-charge and defiant persona inherent to Melchior.  Kacergis’ numbers are all performed well but his touching performance of “Left Behind” is truly magnificent as it showcases his full tenor range.

Parker Drown effectively plays the complex and emotional character Moritz.  It would be tempting to overact in such a role but thankfully he does not cross that line.  Drown, a Helen Hayes Award winner, morphs effectively from the 19^th century Moritz character to a modern rock performer in “And Then There Was None”.  He also excels in “Don’t Do Sadness”.

Although mostly appearing in the ensemble, Christopher Mueller’s singing talent stands out.  A great resonating voice, Mueller delivers as Otto in the reprise of “The Word of Your Body”.  The company performs the outstanding numbers “The Bitch of Living” and “Touch Me” extremely well.

Sam Pinkleton’s choreography is particularly exceptional in “Totally F*cked” with the ensemble moving around the stage with high energy and cohesion and using chairs as props. 

Also needing to take a bow is the lighting designer Robert Wierzel.  Employing three rows of LED lights forming a boxy arch around the sides and top of the stage and coordinating lights in the rear to illuminate a forest, Wierzel effectively mixes colorful combinations to coincide with the mood of a particular song or the dramatic dialogue. 

And credit costume designer Sarah Beers for nicely outfitting the girls in period plaid skirts and simple white blouses and the boys in their gray jackets, black vests, white shirts, striped ties, knee-length shorts and high socks. 

Though it’s a sad story for the most part, Spring Awakening is riveting and entertains with especially good musical numbers and fine acting by the cast, well deserving of the standing ovation it received the night this performance was reviewed.

_______

Running Time: Two hours with an intermission.
Spring Awakening plays through March 10 at Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832.  Tickets may be purchased by calling 301-924-3400 or visiting it online.  

This City is for the Birds

LGBT Ally Brendon Ayanbadejo celebrates after win

Wow! What an amazing run to the Super Bowl trophy!  I still see purple all over my clothes, my food, and my towels.  With the heart-pounding finish to the record-breaking game in which the Ravens outlasted the San Francisco 49ers, 34-31, the impromptu celebrations and the fabulous parade, Baltimore fans from all walks of life came together as one.  It seems like only wars and sport championships can unite otherwise disparate people.  And this was no exception.

This town goes crazy for the Ravens—as it should.  Sure, there are plenty of Ravens-hating Steelers fans here, and Sunday’s game was their worst nightmare.  And for certain, it seemed like most of the country were hoping the Ravens would fail.  Much of this was caused by the never-ending saga and drama of Ray Lewis’ retirement and how the future Hall of Famer is perceived beyond the Beltway.   

But rallying behind a sports team and willing it to the ultimate prize temporarily puts significant everyday problems on the back burner.  It’s great for the psyche as well as the spirit.  As one, most of us greeted each other with “Go Ravens!”

This victory should have surprised no one given that when states pass marriage equality, their football team immediately wins a Super Bowl: Massachusetts and the Patriots, New York and the Giants, and now Maryland and the Ravens.

The run for the Ravens’ title that included spectacular victories over the Colts, Broncos and Patriots also had an LGBT undercurrent, which is most unusual for major sports championships.  One of our allies in the fight for marriage equality in Maryland was Ravens’ linebacker and special teams guy Brendon Ayanbadejo.  He told the New York Times, Athlete Ally and others that he intended to use the weeklong run-up to the game as a platform to advance marriage equality and to decry bullying.

He may have though I didn’t see any of that covered locally.  After all, how can Baltimore’s news outlets squeeze in important social issues when they are obsessed with Ray Lewis and the Harbaugh brothers?   

But Ayanbadejo did react to 49ers cornerback Chris Culliver’s homophobic comments that were in response to a hypothetical question regarding the acceptance of a gay player in the team’s locker room.  On media day, Culliver told a radio station, “We don’t got no gay people on the team. They gotta get up out of here if they do.” 

He later apologized through the team. “I was really not thinking,” Culliver told reporters at the 49ers’ media session. “Or, something I thought, but not something that I feel in my heart. I’m not trying to bring any distraction to the team.”  Something he thought but not something in his heart?  Hmm.

For his part, 49er coach Jim Harbaugh said the team did not agree with Culliver’s earlier comments.  “We reject what he said. That’s not something that reflects the way the organization feels, the way most of the players feel. . . . I think it’s going to impact him going forward. I think it’s something that he will learn about himself.”

Interestingly, his brother John who is the Ravens’ head coach never, to my knowledge, publicly embraced the idea of a gay player possibly being on the Ravens.  But San Francisco is a different market with stronger LGBT activism making the 49er coach’s response pragmatic.

Ayanbadejo commented, “I’d say 50% of the people think like Culliver.  I’d say 25% of the people think like me. And then 25% of the people are religious. They don’t necessarily agree with all the things I agree with, but they’re accepting. So it’s a fight. It’s an uphill battle.”

He added, “No matter who you are or what you do, if you’re doing something that you love, you should be able to do that. You should be able to express who you are. Then you do things that you love to do (and) you’ll be better at them instead of always worrying about hiding who you are.”  San Francisco wide receiver Randy Moss backed Ayanbadejo’s points.

Kudos to Ayanbadejo for taking on this fight.  A few years ago, it would have been unthinkable for an active professional male athlete to advocate for LGBT equality.

As the confetti and hoopla dissipate in the afterglow of the Ravens’ improbable achievement, Baltimore’s love affair with birds will gravitate towards our adored Orioles.  Last year’s Cinderella team is poised to make another run for the American League East title and beyond.  We don’t have an equivalent to Ayanbadejo on the O’s yet, but several players made a video for the “It Gets Better Campaign” a couple of years ago, and that’s a promising sign.

While professional basketball, football and hockey had made strides to alleviate concerns over a gay player in their midst, baseball has lagged behind.  However, many teams have “Nights Out” events as part of their schedules whereby LGBT groups can sit together at the game, be publicly recognized and perhaps take part in the pre-game ceremonies.

Washington D.C. is among several major league cities to hold these events.   Given how Maryland passed marriage equality at the ballot box, and that owner Peter Angelos contributed significantly to the cause, it is high time that Baltimore began holding a Night Out at Camden Yards.  We need to persuade the O’s management to plan that for our community, who love those Birds as much as we do the Ravens.