Theater
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McNally pays tribute to Albee, his ex, at Helen Hayes Awards
Itās not every day that two ex-boyfriends take center stage to sing one anotherās praises before a rapt audience. But thatās exactly what happened at the 26th annual Helen Hayes Awards at the Warner Theatre on Monday night.
In what was arguably the high point of an exceedingly lively evening, famed gay playwright Terrence McNally, 70, warmly presented the Helen Hayes Tribute to his āfriend, colleague, and ex,ā the even more famous gay playwright Edward Albee (the pair were lovers in the 1960s). McNally lauded Albeeās genius as evidenced by a long list of extraordinary works, including āWhoās Afraid of Virginia Woolf?,ā āThe Zoo Story,ā and āA Delicate Balance;ā as well as the 82-year-old playwrightās serious dedication to bolstering the careers of younger artists.
In return, Albee, whose career will be celebrated in a festival next season at Arena Stageās revamped Southwest complex, spoke eloquently of McNallyās courage to tackle the difficult issues, citing his controversial āCorpus Christi,ā a passion play with gay male characters, as an example. Impishly, Albee slipped in an account of when he first met McNally at a Manhattan cocktail party ā āA knockout blonde ā he had hair then.ā Clearly these great writers share a history, a sense of humor and a mutual respect.
While the theater elders were indeed honored, so too were the up-and-comers. Particularly the wildly enthusiastic young cast of The Keegan Theatreās hot production of the musical āRentā who were named outstanding ensemble for a resident musical. Cast member Parker Drown was singled out as outstanding lead actor in a resident musical for his high-energy take on Angel, a feisty drag queen percussionist battling gentrification and HIV/AIDS.
Each year the Helen Hayes Awards are doled out to reward standouts in Washington-area professional theater. The nominees and recipients are painstakingly selected by 63 judges.
Rather than rely on a single emcee, Mondayās show was hosted by an ever-changing pair of presenters comprised of local talent. Livening up the proceedings was a group of talented singers and dancers including John Lescault, Amy McWilliams, Aaron Reeder, Lauren Williams, and Bobby Smith who graced the āIn Memoriamā portion of the show with a poignant rendition of āAny Time (I Am There)ā from āElegiesā).
Holly Twyford was named outstanding actress in a resident play for her performance as Diane, the Hollywood super agent in Signature Theatreās production of gay playwright Douglas Carter Beaneās comedy āThe Little Dog Laughed.ā Impressively, Twyford was also nominated in the same category for work in Folger Theatreās āArcadia,ā and Theatre Jās āLost in Yonkers.ā Looking chic in a simple black dress and deep red heels, Twyford, who has been out her entire career, thanked her parents for taking her to the theater as a kid and her longtime partner (now fiancĆ©e) for her unflagging support.
Cate Blanchett won outstanding actress in a non-resident production for her luminous portrayal of Blanche Dubois in the Kennedy Centerās āA Streetcar Named Desire.ā Karl Miller, who played Prior Walter, a gay man with AIDS, in Forum Theatreās āAngels in America: Millennium Approaches,ā shared outstanding actor in a resident play honors with Stacy Keach who played the title role in Shakespeare Theatre Companyās āKing Lear.ā
Jim Brochu was named outstanding lead actor in a non-resident production for his work in āZero Hourā at Theatre J. The affable gay actor charmingly thanked everyone connected with the show (currently playing off-Broadway at the DR2 Theater), and gave a special shout out to his partner of 25 years: āHeās the wind beneath my wings, and it takes a lot of wind to lift me.ā
The always-entertaining Maurice Hines took choreography honors for a resident musical for MetroStageās “Cool Papa’s Party,” an original piece based on the life of Sammy Davis Jr. When the trophy fell apart in the gay dancerās hands, Hines let loose a quick expletive and moved on like the professional he is, thanking colleagues, past teachers, his brother (the late Gregory Hines), and then plugged his next project- Arena Stageās soon-to-open production of āSophisticated Ladiesā at the Lincoln Theater.
The D.C. love-in continued: Broadwayās Christiane Noll couldnāt say enough about the local theater scene as she picked up her best actress prize for her role in the Kennedy Centerās āRagtimeā (book by Terrence McNally) And presenter John Glover (who is wowing audiences as Mendy the opera queen in Terrence McNallyās āThe Lisbon Traviataā at the Kennedy Center through April 11) stressed that D.C. is āFab-u-lous!ā
The John Aniello Award for outstanding emerging company was presented to 1st Stage of Tysons Corner. A well-loved patron of the D.C. arts scene, the late Aniello was the longtime partner of Helen Hayes Chairman Victor Shargai.
Prior to naming Shakespeare Theatre Companyās āKing Learā outstanding resident play, Shargai expressed a heartfelt thanks to the members of the Washington theater community for the joy they bring to his life. By measure of the explosive applause, those in attendance on Monday night couldnāt have agreed more.
For a complete list of Helen Hayes Awards winners and nominees visit helenhayes.org.
Theater
Stephen Mark Lukas makes sublime turn in āFunny Girlā
Updated take at Kennedy Center features fabulous score
![](https://www.washingtonblade.com/content/files/2024/06/Stephen_Mark_Lukas_insert_courtesy_Stephen_Mark_Lukas.jpg)
āFunny Girlā
Through July 14
The Kennedy Center
$49-$189
Kennedy-center.org
With his striking good looks and sublime singing voice, out actor Stephen Mark Lucas is the ideal musical theater leading man, a title he both nails and thoroughly enjoys.Ā
Heās played Elder Price in “The Book of Mormon” both on Broadway and on tour, and regionally, heās wowed audiences performing classic parts like Sky Masterson in “Guys and Dolls,” Joe Hardy in “Damn Yankees,” Lancelot in “Camelot,” and Curly in “Oklahoma.ā
Heās now playing Nick Arnstein, the love interest of Katerina McCrimmonās Fanny Brice in the national tour of the Broadway revival of āFunny Girl.ā Composed by Jule Styne and Bob Merrill, itās the musical story of comedian Briceās rise from anonymity to stardom via vaudeville, Ziegfeld Follies, radio, and some film. While cementing the Brice legend, the show also became inextricably linked to Barbra Streisand through the 1964 Broadway hit and later movie musical that made her a star.
When we meet Arnstein, a suave, mustachioed gambler, he seems on top of the world, but that soon proves otherwise. Lukas says, āHe serves as a bit of an antagonist, but his shortcomings are what pave the way for Fannyās triumphant ending.ā
Certainly, the show still features fabulous tuneful hits like “Don’t Rain On My Parade,” “I’m the Greatest Star,” and “People.ā But now thereās an updated book from Harvey Fierstein based on the original classic by Isobel Lennart, which strives to make Arnstein a little more likeable, he says.
Lukas, who understudied Ramin Karimloo as Nick while on Broadway before taking the part on tour, says, āMy character exists in relation to Fanny. The musical is her memories. So, the way I do the role has a lot to do with the actor whoās playing Fanny. So far there have been six including the well-received Lea Michele.āĀ
The quality of Fannyās ambition is stronger in the first act while the second act spotlights the demise of her romantic life with Nick, something audiences donāt always anticipate, says Lukas.
He says McCrimmon captures the blind ambition of the younger Fanny, adding, āher voice is out of this world. People arenāt prepared for what she brings to the part vocally. Sheās young yet possesses an old Hollywood quality, and she gets the humor of the role. My favorite song is a duet added to the second act. Itās really beautiful.ā
Lukas says heās never had a problem playing straight romantic characters, explaining that his acting takes care of that.
He has noticed that over the years the business has changed from more of a ādonāt ask donāt tellā policy to something freer: āWhen I started in the profession, it was a different time. The public perception of queerness for actors has changed.ā
For instance, Lukas is very open about his longtime relationship with former Broadway dancer Brian Letendre ā the pair are slated to tie the knot after the āFunny Girlā tour ends.
Most of his roles have dealt with masculinity in some way, says Lukas. āA lot of characters I play start with confidence and unravel as the show goes on. What does it mean to be a man? What is masculinity? What does it mean to be a husband and a father?ā
Growing up in Kennebunkport, Maine, he enjoyed annual visits to New York to see Broadway shows. He boarded at the prestigious Phillips Exeter Academy in New Hampshire, and studied theater at NYU. Heās remained based in New York City thereafter.
His life on the road is enjoyable yet disciplined. Lukas says, āthe spaces where we perform are interesting for this show in particular. āFunny Girlā is in many ways a show about theater, and we play some of the old vaudeville theaters and movie palaces where Fanny Brice in fact performed.ā
While moving from town to town, Lukas takes care of his voice. He makes sure to eat and sleep well, and works out regularly as evidenced by his impressive build. He also prioritizes visits with his partner whenever possible.
āThese older book musicals are character driven and have great scores,ā says Lukas. āItās what makes them relevant today. On the surface they might feel dated, but thereās also the contemporary humor and romance.ā
Whatās more, the work is never stagnant, he adds.
āIncreasingly, I approach the work as an actor first and thatās what informs the singing; itās that intersection that goes from scene into song, and that makes a difference.ā
Theater
Sophie Zmorrod embracing life on the road in āKite Runnerā
First national tour comes to Eisenhower Theater on June 25
![](https://www.washingtonblade.com/content/files/2024/06/Sophie_Zmorrod_insert_courtesy_Sophie_Zmorrod.jpg)
āThe Kite Runnerā
June 25 – 30
The Kennedy Center
$39-$149
Kennedy-center.org
Newly single, Sophie Zmorrod is enjoying life on the road in the first national tour of āThe Kite Runner,ā Matthew Spanglerās play with music based on Khaled Hosseini’s gripping novel about damaged relationships and longed for redemption.
āItās a wonderful time for me,ā says Zmorrod. āIām past the breakup pain and feeling empowered to explore new cities. A lot of us in the cast are queer, so we figure out the scene wherever the show goes.ā
Whatās more, the New York-based actor has fallen in love with the work. āI love how the playās central character Amir is flawed. He is our antihero. He has faults. As a privileged boy in Kabul, he bears witness to his best friendās assault and doesnāt intervene. He lives with that guilt for decades and gets that redemption in the end.ā
āHe does what he can to right wrongs. For me whoās regretted things, and wished I could go back in time, it resonates. Watching someone forgive themselves and do the right thing is beautiful.ā
Via phone from Chicago (the tourās stop before moving on to Kennedy Center Eisenhower Theater on June 25), Zmorrod, whose background is Lebanese, happily chats about sexuality, ethnicity, and acting.
WASHINGTON BLADE: Looking at your resume, I see youāve been cast in roles traditionally played by men. And have you played queer characters?
SOPHIE ZMORROD: Oh yes, both. Whether or not theyāre written on the page as queer, they sometimes turn out that way. And that holds true for this show too.
With āThe Winterās Taleā at Trinity Rep, I played Leontes ā the king who banishes his wife ā as a woman. So, in that production it was about two women and touched on the violence that women sometimes inflict on other women.
And there was Beadle Bamford in Sondheimās āSweeney Toddā also at Trinity Rep; I played him as a woman who was masculine and wore a suit. It was a great opportunity to explore myself and gender expression. That was a really good experience.
BLADE: Are you an actor whoās often be called in for queer roles?
ZMORROD: Not really. Iām what you might call straight passing. Sometimes Iāve had to advocate for my queerness. To be a part of something.Ā
Similarly with my ethnicity. Iām called in to audition for the white and Arab roles. It gets tricky because Iām not the exactly the white girl next door and Iām not exactly Jasmine from Disneyās āAladdinā either.
This is one of the reasons, I really want people to come see āThe Kite Runner,ā Audiences need to experience the reality of the wide diversity of Middle Eastern people on the stage. Weāre all very different.
And not incidentally, from this 14-person cast, Iāve met some great people to add to those I know from the Middle Eastern affinity spaces and groups Iām connected to in New York.
BLADE: In āThe Kite Runnerā what parts do you play?
Ā ZMORROD: Three characters. All women, I think. In the first act, Iām an elderly eccentric pomegranate seller in the Afghan market, waddling around, speaking in Dari [the lingua franca of Afghanistan]; and the second act, Iām young hip and sell records in a San Francisco market; and at the end, Iām a buttoned-down American immigration bureaucrat advising Amir about adoption.
BLADE: Your training is impressive: BA cum laude in music from Columbia University, an MFA in acting from Brown University/Trinity Repertory Company, and youāre also accomplished in opera and playwrighting, to name a few things. Does āThe Kite Runnerā allow you to flex your many muscles?
ZMORROD: Very much. Playing multiple roles is always fun for an actor ā we like malleability. Also, there are instruments on stage. I like working with the singing bowl; itās usually used in yoga as a soothing sound, but here we save it for the dramatic, uncomfortable moments. I also sing from offstage.
We are creating the world of the play on a very minimal set. Oh, and we do kite flying. So yeah, lots of challenges. Itās great.
BLADE: It sounds like youāre in a good place both professionally and personally.
ZMORROD: Itās taken a long time to feel comfortable. But Iām on the journey and excited to be where I am, and who I am.
![](https://www.washingtonblade.com/content/files/2024/06/77th-annual-Tony-Awards.jpg)
It was a banner night for queer theater artists at the 77thĀ annual Tony Awards, honoring the best in Broadway theater at the Lincoln Center in New York on Sunday. Some of the biggest honors of the night went to the revival of the Stephen Sondheim musicalĀ “Merrily We Roll Along”Ā and the dance-musical based on Sufjan Stephensā albumĀ “Illinoise.“
“Merrily We Roll Along,” which follows three friends as their lives change over the course of 20 years, told in reverse chronological order, picked up the awards for Best Revival of a Musical and Best Orchestrations.Ā
Out actor Jonathan Groff picked up his first Tony Award for his leading role as Franklin Shepard in the show, while his costar Daniel Radcliffe earned his first Tony Award for featured performance as Charley Kringas.
Groff gave a heartfelt and teary acceptance speech about how he used to watch the Tony Awards as a child in Lancaster County, Pa.
āThank you for letting me dress up like Mary Poppins when I was three,ā he said to his parents in the audience. āEven if they didnāt understand me, my family knew the life-saving power of fanning the flame of a young personās passions without judgment.ā
Groff also thanked the everyone in the production of “Spring Awakening,” where he made his Broadway debut in 2006, for inspiring him to come out at the age of 23.
āTo actually be able to be a part of making theatre in this city, and just as much to be able to watch the work of this incredible community has been the greatest pleasure of my life,ā he said.
This was Groffās third Tony nomination, having been previously nominated for his leading role inĀ “Spring Awakening”Ā and for his featured performance as King George III inĀ “Hamilton.”Ā
Radcliffe, who is best known for starring in theĀ “Harry Potter”Ā series of movies, has long been an ally of the LGBTQ community, and has recently been known to spar withĀ “Harry Potter” creator JK Rowling over her extreme opposition to trans rights on social media and in interviews. It was Radcliffeās first Tony nomination and win.
Lesbian icon Sarah Paulson won her first Tony Award for her starring role in the playĀ “Appropriate,” about a family coming to terms with the legacy of their slave-owning ancestors as they attempt to sell their late fatherās estate. It was her first nomination and win.
In her acceptance speech, she thanked her partner Holland Taylor āfor loving me.ā Along with Paulsonās Emmy win forĀ “American Crime Story: The People vs. O.J. Simpson,” she is halfway to EGOT status.
The Sufjan Stephens dance-musicalĀ “Illinoise,” based on his album of the same name, took home the award for Best Choreography for choreographer Justin Peck. It was his second win.
During the ceremony, the cast ofĀ “Illinoise”Ā performed āThe Predatory Wasp of the Palisades is Out to Get Us!ā, a moving dance number about a queer romance.
A big winner of the night was the adaptation of the S.E. Hinton novelĀ “The Outsiders,” which dominated the musical categories, earning Best Director, Sound Design, Lighting Design, and Best Musical, which earned LGBTQ ally Angelina Jolie her first Tony Award.
Also a big winner wasĀ “Stereophonic,” which dominated the play categories, winning the awards for Best Play, Featured Actor, Director, Sound Design, and Scenic Design.
“Suffs,” a musical about the fight for womenās suffrage in the U.S., which acknowledges the lesbian relationship that suffragist Carrie Chapman Catt had in song called āIf We Were Married,ā took home awards for Best Book of a Musical and Best Score, both for creator Shaina Taub.Ā
HadĀ “Suffs”Ā also won for Best Musical, producers Hilary Clinton and Malala Yousafzai would have won their first Tony Awards.Ā
Other winners include Maleah Joi Moon for her lead role and Kecia Lewis for her featured role in the Alicia Keys musicalĀ “Hellās Kitchen,” Jeremy Strong for his lead role inĀ An Enemy of the People, and Kara Young for her featured role inĀ “Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch.”
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