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FALL ARTS 2019: THEATER — ‘Cats,’ ‘Cabaret,’ ‘Assassins’ ‘Doubt’ and more

Newly discovered Tennessee Williams one act ‘Lady’ among fall theatrical highlights

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Doubt, gay news, Washington Blade, 2019 Theater
Sarah Marshall (left) and Tiffany M. Thompson in ‘Doubt: a Parable.’ (Photo by Teresa Wood)

First, a few odds and ends: 

More of a concert but worth nothing is “Coat of Many Colors: the Music of Dolly Parton,” a tribute event featuring Joan Osborne, Garrett Clayton, Neyla Pekarek, Morgan James, Nova Payton, Jess Eliot Myhre, Rita Castagna and the American Pops Orchestra on Saturday, Sept. 21 at 8 p.m. at Arena Stage (1101 6th St., S.W.). Tickets are $25-75 at arenastage.org

theatreWashington’s Theatre Week! features discounted tickets on many area shows at $15 and $35 through Sept. 29. Details at theatreweek.org

The D.C. Queer Theatre Festival continues its reading series of new and unpublished full-length plays on Saturday, Sept. 28 at 7 p.m. at The D.C. Center (2000 14th St., N.W., suite 105). Details at thedccenter.org/queertheatrefest

Now, on to the regular productions. 

Signature Theatre (4200 Campbell Ave., Arlington) continues with its season opener, a terrific production of Stephen Sondheim’s musical “Assassins” (through Sept. 29). Beautifully staged by Signature’s out artistic director Eric Schaeffer, the Tony Award-winning dark comedy tells the story of nine would-be and successful presidential assassins ranging from John Wilkes Booth to Lee Harvey Oswald. 

Also, at Signature, out Helen Hayes Award-winning actor Holly Twyford is directing “Escaped Alone” (Sept. 24-Nov. 3). This newish play by brilliant British playwright Caryl Churchill (“Could Nine,” “Top Girls”) centers on three old friends gathered in an English garden “who are joined by a neighbor to engage in amiable chitchat — with a side of apocalyptic horror.” Sounds intriguing. Full details at sigtheatre.org.

Through Oct. 6, “Cabaret” runs at Olney Theater Center (2001 Olney-Sandy Springs Road, Olney, Md.). Based on out writer Christopher Isherwood’s literary classic “Berlin Stories,” John Kander & Fred Ebb’s stunning musical records the rise of fascism in Weimar Berlin through the lens of life in a seedy cabaret. Alexandra Silber stars as striving cabaret singer Sally Bowles and Mason Alexander Park is the Kit Kat Klub’s genderfluid Emcee. Helen Hayes Award-winning out director Alan Paul directs. Full details at olneytheatre.org.

Then at Olney it’s Marco Ramirez’s “The Royale,” a co-production with 1st Stage in Tyson’s Corner (Sept. 25-Oct. 27). Inspired by the true story of African-American boxer Jack Johnson, this look into the mind of an early 20th century boxer is directed/choreographed by Paige Hernandez and features out actor Jaysen Wright. 

Woolly Mammoth Theatre Company (641 D St., N.W.) has begun its season with “Fairview,” through Oct. 6. Penned by Jackie Sibblies Drury and directed by Stevie Walker-Webb, this hard-hitting and inventively imagined and staged drama about family and race features a strong cast including Shannon Dorsey, Cody Nickell and Kimberly Gilbert. “Fairview” is the winner of the 2019 Pulitzer Prize for Drama. Full details at woollymammoth.net.

Studio Theatre (1501 14th St., N.W.) enters fall with playwright John Patrick Shanley’s “Doubt: A Parable,” through Oct. 6. The Pulitzer Prize-winning play concerns the suspicions of Bronx Catholic school principal Sister Aloysius (out actor Sarah Marshall) surrounding a young priest’s keen interest in a little boy, the school’s first and only black student. Matt Torney directs. Full details at studiotheatre.org.

GALA Hispanic Theatre (3333 14th St., N.W.) is presenting a commissioned adaptation of Pedro Calderón de la Barca’s classic “La vida es sueño (Life Is a Dream),” through Oct. 13. Adapted by out playwright Nando López, the new take on a timeless work of Spanish Golden Age theater, explores free will, fate and tyranny. The cast of familiar faces features out Spanish actor Mel Rocher. Hugo Medrano directs. Full details at galatheatre.org.

Folger Theatre (201 E. Capitol St., S.E.) has kicked off its season with Shakespeare’s “1 Henry IV” (through Oct. 13). The compelling history play directed by Rosa Joshi, stars Edward Gero as Falstaff and Avery Whitted as Prince Hal. 

Then next on Folger’s docket, it’s out Londoner Richard Clifford directing Nick LaMedica as Mozart and Ian Merrill Peakes as Salieri in gay playwright Peter Shaffer’s sensational Tony Award-winning play “Amadeus” (Nov. 5-Dec. 22). Accomplished D.C. scenic designer Tony Cisek is creating the sets for both Folger productions. Full details at folger.edu/folger-theatre.

The Kennedy Center presents “Cats” (Sept. 17-Oct. 6). Based on poems by T.S. Eliot, Andrew Lloyd Webber’s Tony Award-winning mega hit musical tells the story of one magical night when an extraordinary tribe of cats gathers for its annual ball to rejoice and decide which cat will be reborn. If you haven’t yet witnessed a bewhiskered thespian sing “Memory,” resist no more. Now’s the time to see it. Full details at kennedy-center.org.

At Round House Theatre (4545 East-West Highway, Bethesda) Nicole A. Watson is directing Jocelyn Bioh’s hit off-Broadway comedy “School Girls; Or, The African Mean Girls Play” (Sept. 18-Oct. 13). When the new girl arrives in Ghana from America loaded with Western ideas and superior beauty products, she threatens to steal of the crown from her new boarding school’s reigning queen bee. Hilarious battle ensues. The eight person of color cast includes out actor Jade Jones and Temidayo Akibu who recently came out as nonbinary. More details at roundhousetheatre.org.

Taffety Punk (Capitol Hill Arts Workshop, 545 7th St., S.E.) presents “Riot Grrrls: Othello” (Sept. 19-Oct. 12). Directed by Kelsey Mesa, the all-women cast stars terrific actors Danielle A. Drakes, in the title role, and Lise Bruneau as evil Iago. Details at taffetypunk.com.

For fall, Synetic Theater (1800 South Bell Street, Chrystal City) is reprising its 2013 movement-based interpretation of Shakespeare’s “The Tempest” (Sept. 25-Oct. 20). Along with the water-filled stage that made this take on the Bard’s irreverent comedy so memorable, Synetic is keeping it fresh by casting gifted company co-founder Irina Tsikurishvili as “Prospera.” The cast also includes talented out actor Alex Mills as Ariel. Full details at synetictheater.org.

Spooky Action Theater is set to present Tennessee William’s “The Lady from the Village of Falling Flowers” for one performance only (Sept. 21) before it moves on for a short run in Provincetown, Mass. (Sept. 26-29). The newly discovered and never-before-produced one act directed by Natsu Onoda Power mixes Japanese kami-shibai style street theater with storytelling performers in “a punchy send-up of love, the perils of first impressions and our earthly attempts to touch something eternal.” Details at spookyaction.org.

Shakespeare Theatre Company (Lansburgh Theatre, 450 7th St., N.W.) kicks off new artistic director Simon Godwin’s inaugural season with “Everybody” (Oct. 15-Nov. 17). Penned by hot out playwright Branden Jacobs-Jenkins, it’s a takeoff of the 15th-century play “Everyman.” It’s described as “an irreverent, rollicking ride that asks deep questions of all who see it. Remixing the archetypal medieval morality play into an explosive experiment of wit and emotion.” The diverse nine-person cast includes local favorite Nancy Robinette as Death, and nonbinary actor Avi Roque as Somebody. Trans identifying Will Davis directs. Full details at shakespearetheatre.org.

At Theater Alliance (Anacostia Playhouse, 2020 Shannon Pl. S.E.), co-directors Raymond O. Caldwell and Angelisa Gillyard are staging an imaginative retelling of Douglas Turner Ward’s 1965 play, “Day of Absence” (Oct. 5-Nov. 3). Expect a “comedic and pointed commentary on systemic racism that still bears relevance today.” Full details at theateralliance.com.

For fall, Constellation Theatre Company (1835 14th St., N.W.) is doing “Little Shop of Horrors” (Oct. 17-Nov. 17). Set in an obscure Skid Row flower shop, Howard Ashman and Alan Menkin’s zany musical plumbs the mad depths of success, love and bloodthirsty posies with doo-wop and Motownesque sounds. Nick Martin directs. Full details at constellationtheatre.org.

In time for Halloween, Rorschach Theatre presents Qui Nguyen’s “She Kills Monsters” (Oct. 18-Nov. 10). The 2014 inspiring comedy rife with homicidal fairies, nasty ogres and ’90s pop culture, has been re-imagined for 2019, this production will include site-specific elements that bring audiences into unseen places throughout the Atlas Performing Arts Center (Center, 1333 H St., N.E.). Details at rorschachtheatre.com

The always timely Mosaic Theater Company (Atlas Performing Arts Center, 1333 H St., N.E.) presents “Theory,” playwright Norman Yeung’s techno thriller set against a campus free speech debate (Oct. 23-Nov. 17). Victoria Murray Baatin directs. 

Following “Theory” is California-based playwright Jonathan Spector’s “Eureka Day” (Dec. 4-Jan. 5). A mumps breakout at a prestigious day school in liberal Berkeley, Calif., pushes thoughts on facts, consensus and social justice into the spotlight. Mosaic’s talented out managing director and producer Serge Seiden directs a cast of topnotch actors including Regina Aquino, Lise Bruneau, Erica Chamblee, Sam Lunay, and Elan Zafir. Full details at mosaictheater.org.

D.C.’s company dedicated to the LGBT experience, Rainbow Theatre Project (D.C. Arts Center, 2438 18th St., N.W.), kicks off the season with the world premiere of “Blue Camp” (Oct. 31-Nov. 24). Penned by out writers Tim Caggiano and Jack Calvin Hanna and directed by Christopher Janson, it’s described as a Vietnam War story of discrimination in the military, as relevant now as it was then. Details at rainbowtheatreproject.org.

At Theater J (1529 16th St., N.W.), it’s legendary gay playwright Edward Albee’s “Occupant” (Nov. 7-Dec. 8). In this late career work, Albee (“Who’s Afraid of Virginia Woolf?”) probes the life and times of famed sculptor Louise Nevelson. Local actor Susan Rome plays Nevelson and Aaron Posner directs. Details at theaterj.org

A few other odds and ends: “19: the Musical,” which tells of women who fought for women’s voting rights, runs Nov. 25-27 at the National Museum of Women in the Arts (1250 New York Ave., N.W.). Details at nmwa.org. “My Barking Dog” is Oct. 4-13 at Caos on F Street (923 F St., N.W.). Details at universeplayers2.tix.com. “Paris! the Show” is Tuesday, Oct. 22 at GW Lisner. Tickets are gwutickets.com. And Young Artists of America presents “Once Upon a Mattress” on Sunday, Oct. 27 at 4 p.m. at the Clarice Smith Performing Arts Center in College Park, Md., and Saturday, Nov. 2 at 6 p.m. at the Kennedy Center. Details at youngartistsamerica.org.

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Woman crashes ex-girlfriend’s wedding to a man in new play

Nonbinary playwright Bryna Turner brings ‘At the Wedding’ to Studio

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Playwright Bryna Turner (Photo by Lila Barth)

‘At the Wedding’
Through April 21
Studio Theatre
1501 14th St., N.W.
$45-$99
Studiotheatre.org

For nonbinary playwright Bryna Turner, the way to theater was first as an actor. But as gender non-conforming, they couldn’t really see a future in it, so they decided to write their own plays.

“At the Wedding,” Turner’s play about a woman named Carlo who crashes her ex-girlfriend’s wedding to a man, is currently making its area debut at Studio Theatre with a production staged by out director Tom Story.  The comedy made its world premiere at LCT3 at Lincoln Center Theater and was featured in the New York Times Best of 2022 “Unforgettable Theatrical Moments” category. 

Brooklyn-based Turner, 33, is inspired by experience, storytelling, and language. With “At the Wedding,” they humorously explore loneliness, estrangement, and a love for living.

WASHINGTON BLADE:  How do we meet Carlo? 

BRYNA TURNER: In the opening monologue, Carlo is at the kids table at a wedding reception telling them not to make her mistake. You’ll fall in love but that will only break your heart. That kicks the show off and this is who we’re dealing with.  

BLADE: How was falling in love for you? 

TURNER: My experience when I fell in love was that I was joining the human race. But then comes heartbreak…. that other thing everyone was always talking about. Poems and music took on new meaning. 

BLADE: But you can find a laugh in pain? 

TURNER: Comedic tone is important to me because that’s how I view the world. I like to have a laugh when things are hard or sad. 

Also, I feel like it’s a way to bring people in. You relate to a character who makes you laugh. Two of my plays begin with a lesbian yelling at the audience. It’s almost like crowd work.

BLADE: Were you ever hesitant about writing queer plays? 

TURNER: I was lucky at Holyoke [Mount Holyoke College where Turner was an undergrad]. Director Brooke O’Hara was teaching there when I attended and she brought in some queer plays; she showed me there was a canon to join and that was exciting.

BLADE: When did you first identify as nonbinary? 

TURNER: In 2022. I’d been butch-presenting for over a decade. Then during the pandemic, I began spending more time alone. When alone, you grant yourself more permission to think. 

For me, I’d always wanted to be independent and not ask for anything, to be butch on my own. As nonbinary, suddenly I had to ask people to use my pronouns. Also, it granted the opportunity to allow people to surprise me in mostly positive ways.

BLADE: Was becoming a produced playwright tough?

TURNER: I wanted to be a playwright at 21 and I had a play produced when I was 27. Now, looking back, I can see it happened pretty quickly, but at the time it felt like forever.  

While doing my MFA in playwriting at Rutgers University, I was working in the box office at the Public Theater in New York where I managed to see things like “Fun Home” and “Hamilton.” 

If I wasn’t working, I was commuting to Rutgers in New Jersey, and I was always writing. I had to be diligent. I’m a perfectionist, but I got things done. I wrote scenes in between waiting for customers at the box office or on the train. It took a lot of energy; drive pushes you. 

BLADE: A while before “At the Wedding,” you wrote “Phases of the Moon” about lesbian poet Elizabeth Bishop. What sparked that interest? 

TURNER: It’s about her time at Vassar College when she fell in love with a woman. It’s set in the 1930s but it’s bit anachronistic. There’s a scene with a Tegan and Sara song. 

Bishop identified as a socialist vegetarian while at one of the most expensive women’s colleges during the height of the Great Depression. I thought to myself, ‘I know that girl, too.’ I love how we can know this person across nearly 100 years.

BLADE: Can you describe your formative years? 

TURNER: I grew up the youngest of four in a small coastal town surrounded by redwoods. It was pretty rural but included an enclave of hippies. Despite being a shy kid, I developed an interest in theater. My parents were relieved. I had tried a lot of things and quickly lost interest: soccer, ballet, Tee-Ball. I remember striking out and all my family laughing. I threw down the bat and that was it. 

BLADE: Do you think about who you’re writing for? 

TURNER: I do. I’m thinking of a queer audience, and writing things that I want to see. In doing that, I’ve been happily surprised that straight people want to come along too.

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D.C.’s spring theater scene offers ‘Macbeth,’ ‘Peter Pan,’ Sedaris and more

Queer themes well represented in season’s productions

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Out actor Adam Chanler-Berat to play Andrew the archivist in ‘Unknown Soldier’ at Arena Stage (March 29-May 5). (Photo courtesy Arena)

There’s a lot on for theater this spring. And here’s a queer heavy sampling. 

If it’s “Company” you’re after, try the Kennedy Center. The national tour of the Tony-winning, gender-swapped revival of out legend Stephen Sondheim’s hit musical withBritney Colemanas forever single Bobbie is moored to the Opera House through March 31. Kennedy-center.org 

Signature Theatre in Arlington presents “Penelope” (through April 21), a one-woman musical featuring out Broadway star Jessica Phillips. With glass of bourbon in hand, Penelope, the wife of Odysseus, gets a few things off her chest. Think Trojan War. Sigtheatre.org

At Studio Theatre, nonbinary playwright Bryna Turner’s “At the Wedding” is currently making its regional debut in a production helmed by out director Tom Story. It’s a queer comedy about a woman crashing her ex’s wedding with the intention of not making a scene. Good luck with that. Out actor Holly Twyford plays Maria, mother of the bride. Studiotheatre.org

At Woolly Mammoth Theatre, Helen Hayes Award-winning actor Justin Weaks is workshopping his new play “A Fine Madness” (March 17-24)). The solo piece is inspired by the talented out actor’s 2016 HIV diagnosis and the ensuing years he spent alone and processing. (Tickets are pay what you will – starting at $5.)

Also slated for Woolly is “Amm(i)gone” (April 20–May 12). Created and performed by queer theater maker Adil Mansoor, the personal story is about inviting his Pakistani mother to translate “Antigone” into Urdu as means of exploring the tensions between family and faith. Woollymammoth.net

At Atlas Performing Arts Center on H Street, N.E., Mosaic Theater presents Rhiana Yazzie’s “Nancy” (March 30- April 21), a tale of ambition and ancestry soaked in ‘80s nostalgia. Staged by out director Ken-Matt Martin, the seven-person cast includes Lynn Hawley as Nancy, out actor Michael Kevin Darnall as Ronnie, and Anaseini Katoa is Esmeralda, a Navajo woman advocating for her community. Mosaictheater.org

Wolf Trap in Vienna, Va., delivers divas. Meow Meow, the post-post-modern phenom from down under, brings her globally celebrated act to the park’s Barns venue on March 21. And on June 8, a single show featuring both Patti LaBelle and Gladys Knight promises to light up Wolf Trap’s cavernous Filene Center with legendary star power.Wolftrap.org  

Arena Stage presents “Unknown Solder” (March 29-May 5), Daniel Goldstein and Michael Friedman’s sweeping musical about a woman in search of her family’s past. The topnotch cast includes Lori Lee Gayer, out actor Adam Chanler-Berat, and Broadway’s Judy Kuhn. Arenastage.org

At 1st Stage in Tysons, Va., wonderful out actor Michael Rusotto plays the titular sissy in Douglas Carter Beane’s “The Nance” (April 4-21). Set in 1930s New York, the action follows a queer burlesque actor as he navigates his way through a world where it’s safer to be gay onstage than off. Nick Olcott directs. 1ststage.org

Broadway at the National moves musically into spring with “Peter Pan” (April 9-21). Playwright Larissa FastHorse’s fresh adaptation of the eternal boy’s classic tale feels fresh without losing the familiar including terrific tunes like “I’m Flying,” “I Gotta Crow,” and “I Won’t Grow Up.” Broadwayatthenational.com

Shakespeare Theatre Company (STC) presents “Macbeth” (April 9-May 5) starring movie star Ralph Fiennes as the Thane of Glamis, and Indira Varma as sleepwalking Lady M. Staged by STC’s artistic director Simon Godwin, the production won’t be performed in the company’s usual digs but rather a borrowed former BET soundstage (1301 W St., N.E.) where the world of the Scottish play will be created. Exciting stuff. Shakespearetheatre.org

Attention dance lovers! In Fairfax, GMU Center of the Arts presents Martha Graham Dance Company — the oldest modern dance ensemble in the country— for just one night (April 13) with a program that showcases the company’s legacy through iconic classics and new work. Cfa.gmu.edu

Also on April 13, bestselling gay author David Sedaris brings his inimitably hilarious take on life to the Strathmore in North Bethesda. Strathmore.org 

Kennedy Center’s Terrace Theater presents Opera Lafayette’s modern premiere of “Mouret’s Les Fêtes de Thalie” (May 3 and 4), an opéra-ballet that broke with serious French operas by putting contemporary characters on stage. Renowned French conductor/musician Christophe Rousset conducts. Operalayette.org

At GALA Hispanic Theatre, it’s Gustavo Ott and Mariano Vale’s “The Return of Eva Perón: Momia en el closet” (May 9–June 9), a dark musical comedy filled with “historical intrigue and spine-chilling entertainment.” (Performed in Spanish with English surtitles.) Galatheatre.org

This spring, Creative Cauldron in Falls Church presents Kirsten Childs’ new musical “The Bubbly Black Girl Sheds Her Chameleon Skin” (May 16-June 9), the humorous and pointed story of a seemingly confident woman’s journey through racism, sexism, showbiz, and finally self-acceptance. Angelisa Gilyard directs. Creativecauldron.org 

For one night only, the Alden Theatre in Mclean, Va., presents “Mama, I’m a Big Girl Now — The Three Leading Ladies of ‘Hairspray’” (Saturday, June 8) with Marissa Jaret Winokur, Kerry Butler, and Laura Bell Bundy. Broadway’s original Tracy, Penny, and Amber are staging a rare reunion to celebrate the hit musical’s 20th anniversary. Mcleancenter.org

And on time for Pride, the Gay Men’s Chorus of Washington presents what promises to be a beautifully rendered multidisciplinary event. Titled “Portraits” (Sunday, June 16 at Lincoln Theatre), the concert features visual art, music, and dance, representing a vibrant spectrum of sexual, gender, racial, ethnic, and cultural identities in a nine-movement commission combining the work of nine visual artists, nine composers, nine choreographers, and sung by the Chorus and featuring 17th Street Dance. Gmcw.org

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‘Avaaz’ traces journey from Iran to California

Olney production brings comedy, singing, improv, and even magic

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Michael Shayan in ‘Avaaz.’ (Photo by Jenny Graham)

‘Avaaz’
Through April 7
Olney Theatre Center
2001 Olney-Sandy Spring Road
Olney, MD 20832
$55-$90
Olneytheatre.org

How better to understand your own mother’s psyche than by playing her on stage? 

In his solo show “Avaaz,” queer actor/writer Michael Shayan pretty much does just that. As “Roya” (not his mother’s actual name), he explores how a woman’s fun, larger-than-life presence might belie a deeper sadness. It’s a party but not without truth and moving drama. 

And now, after a successful world premiere run in California’s South Coast Repertory last spring, his play is at Olney Theatre Center (through April 7) before kicking off on a national tour. 

“Avaaz,” a Farsi word for “a song as it is being sung,” follows Roya’s journey from Tehran to what Shayan cheekily tags “Tehran-geles, CA, formerly known as Westwood.” It’s here where the courageous single mother carves out a life for herself and her closeted queer son.

Recently, via phone, Shayan offered a glimpse into his show, describing how we first meet Roya in her heavily chandeliered L.A. living room where she’s marking Nowruz (Persian New Year) with a lavish party; but despite the festive atmosphere there’s some detectable tension in the air.

Over 80 minutes, Roya’s story unfolds, alternating between dark revelations and her return to fabulous hostess mode. After all, Roya is entertaining guests – in this case it’s the 200 theatergoers seated in Olney Theater’s intimate Mulitz-Gudelsky space. 

He adds, “There’s a lot going on. This show brings everything together: writing, acting, comedy, a little singing, lots of improv, and even some magic.”  

For Shayan, an early and ardent interest in magic set the stage for theater: “As an illusionist, I was big on the bar mitzvah circuit. With magic, you’re a one man show. There was acting, directing, learning about audience and theatricality. I learned a lot.” 

He also did characters — Elaine Stitch, Bernadette Peters, all the divas, but other than a few snippets of her Persian accent, never his mom. 

Higher education lured Shayan eastward. A Harvard grad with an MFA in playwriting from Brooklyn College, his bio includes gigs such as Emmy-nominated writer and consulting producer on “The Book of Queer” for Max and worked on “We’re Here,” the Emmy-winning Max show featuring former “Drag Race” contestants.

But the actual genesis of Roya, and in turn “Avaaz,” was sparked at a Lambda Literary Retreat. “We were doing an exercise where you put your hand on your heart and feel the heartbeat of a character. I felt my mom’s heartbeat, and listened to what she had to say.

“I’d always wanted to better understand my mother and had even interviewed her in the past, but it was at the Lambda retreat that a first draft really poured out. And still, more continues to be revealed about her past and our dynamic.”

When asked exactly how he approaches the part, Shayan, who exudes warmth and humor, replies, “It’s about the channeling of energy and personality.”

Visually, he’s not exactly going for total realness. Shayan paints his nails but keeps his full beard. Emmy-winning costume designer Joshua “Domino” Schwartz dresses him in a golden Persian-inspired robe over pants emblazoned by a single outsized Gucci logo.  

“When I put that on, I become Roya, baby,” Shayan says. “It’s very powerful. It’s a ritual. There are several pieces. My posture changes.”

Roya’s over the top décor comes compliments of Tony Award-winning set designer Beowulf Borritt.

And because Roya leans on humor to pivot away from what’s uncomfortable, Shayan indulges in a bit of standup: “Tony-nominated director Moritz von Stuelpnagel and I share a language – not Farsi, but humor. Recently he surprised me by singing a Persian pop song pitch perfect and almost word perfect. I call him Persian adjacent. He’s a comic genius.”

As both performer and writer, his solo show is serving up new opportunities for the Iranian American theater maker. 

Playwright Stephen Adly Guirgis, whom Shayan describes as both an inspiration and a friend, has given him parts in several readings of some funny and moving new works. He says, “I’d like to be acting more, but my writing career is busier than ever.”

These days, Shayan very happily splits time between New York and L.A., depending on when and where he’s needed for each of his many projects. 

There isn’t a lot of down time, and he couldn’t be happier. 

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