Arts & Entertainment
Romance and religion
Gay-themed play explores prickly subjects with humor
‘Next Fall’
Round House Theatre
Through Feb. 26
Chris Dinolfo as Luke, left, and Tom Story as Adam in ‘Next Fall’ at Round House Theatre. (Photo by Danisha Crosby; courtesy Round House)
Sex and spirituality — or the lack thereof — intersect in thought-provoking ways in the flawed-but-worthy play ‘Next Fall,” a 2009 piece that’s enjoying a post-Broadway local run at Round House Theatre in Bethesda, Md.
Luke (Chris Dinolfo) and Adam (Tom Story) meet when the former gives the latter the Heimlich maneuver to ease a panic attack at a party. He later admits it was just an excuse to get his arms around Adam, who’s older (he reluctantly admits to 40), a neurotic hypochondriac drifting through life. Luke is young and cute, a promising actor whose career is about to take off. Opposites attract, of course, and a one-night stand turns into a long-term committed relationship.
The premise may sound like a Hollywood screwball comedy, but playwright Geoffrey Nauffts (who’s played Adam in previous productions) soon dives into more serious territory. There’s another serious difference between the two men — Luke’s a devout fundamentalist Christian and Adam’s a committed agnostic. And unlike a typical screwball comedy, Nauffts’ fascinating script focuses not so much on what brings the characters together in the first place, but on what keeps them together over the years.
The play opens in a hospital. Luke has been struck by a taxi and his anxious family and friends keep vigil in the hospital waiting room. They have been summoned by the tightly wound Brandon (Alexander Strain in a somewhat underwritten role), Luke’s estranged friend who’s a thriving real estate mogul who is also struggling with Christianity and homosexuality. Adam’s friend Holly (Dawn Ursula) runs the candle shop where both Luke and Adam work at various times and who searches for meaning (and men) in a variety of New Age activities. Luke’s divorced parents have arrived from Tallahassee, Fla. Arlene (Kathryn Kelley) is fighting her own demons and the ruggedly pious Butch (Kevin Cutts) willfully ignores the signs that his son is gay. As the present-day medical drama unfolds, flashbacks move fluidly through time, tracing how the two men meet, move in together and negotiate the many compromises necessary in any relationship.
Unfortunately, the heavy-handed production at Round House Theatre frequently tramples on Nauffts’ finely wrought structure and delicately crafted language. Where the scenes should flow seamlessly together, director Mark Ramont and his design team stop the action cold after every scene with slow fades, overwrought music and awkward set changes. These painful transitions stop the play in its tracks, leaving the actors to struggle to regain their momentum when the action resumes.
This fumbling treatment also extends to some of the acting. Kelley struggles unsuccessfully with the role of Luke’s troubled hardscrabble mother Arlene who abandoned Luke when he was a toddler. She never finds her way through the complex vocal and emotional shadings of the character, missing the potent combination of desperation and guilt and anger that fuel the character and fighting against the complex rhythms of the dialogue.
Luckily, Story and Dinolfo bring passion and electricity to the central characters. The openly gay actors display an easy physicality in their onstage relationship. We see the deep physical and emotional bonds that pull them together and we also see the tense spiritual doubts that push them apart. Luke desperately and sincerely wishes that Adam could find faith so they can spend eternity together. Adam hates the fact that Luke prays for forgiveness after they have sex and refuses to come out to his parents. Story and Dinolfo make these tensions palpable and draw us into their compelling story.
They also expertly use Nauffts’ rich language to full effect. For all its serious themes and moving drama, “Next Fall” is often funny. Among other things, Nauffts explores the intriguing way humor is used in different situations: as a strategic defense, as a coping mechanism, as a weapon, as seduction, as social lubricant, as a world view. He also depicts spirituality in a sensitive and robust manner, embracing the many ways his characters find their way through an uncertain religious and ethical universe. All of them are on serious spiritual quests, whether they acknowledge it or not, and these issues come naturally to the fore as Luke battles for his life. Nauffts also captures the ebb and flow of the various long-term relationships with nuance and naturalness. It’s a rare play that tells us everything we need to know about the characters yet leaves us wanting more.
The Gay Men’s Chorus of Washington perform “The Holiday Show” at Lincoln Theatre (1215 U St., N.W.). Visit gmcw.org for tickets and showtimes.
(Washington Blade photos by Michael Key)
Santa will be very relieved.
You’ve taken most of the burden off him by making a list and checking it twice on his behalf. The gift-buying in your house is almost done – except for those few people who are just so darn hard to buy for. So what do you give to the person who has (almost) everything? You give them a good book, like maybe one of these.
Memoir and biography
The person who loves digging into a multi-level memoir will be happy unwrapping “Blessings and Disasters: A Story of Alabama” by Alexis Okeowo (Henry Holt). It’s a memoir about growing up Black in what was once practically ground zero for the Confederacy. It’s about inequality, it busts stereotypes, and yet it still oozes love of place. You can’t go wrong if you wrap it up with “Queen Mother: Black Nationalism, Reparations, and the Untold Story of Audley Moore” by Ashley D. Farmer (Pantheon). It’s a chunky book with a memoir with meaning and plenty of thought.
For the giftee on your list who loves to laugh, wrap up “In My Remaining Years” by Jean Grae (Flatiron Books). It’s part memoir, part comedy, a look back at the late-last-century, part how-did-you-get-to-middle-age-already? and all fun. Wrap it up with “Here We Go: Lessons for Living Fearlessly from Two Traveling Nanas” by Eleanor Hamby and Dr. Sandra Hazellip with Elisa Petrini (Viking). It’s about the adventures of two 80-something best friends who seize life by the horns – something your giftee should do, too.
If there’ll be someone at your holiday table who’s finally coming home this year, wrap up “How I Found Myself in the Midwest” by Steve Grove (Simon & Schuster). It’s the story of a Silicon Valley worker who gives up his job and moves with his family to Minnesota, which was once home to him. That was around the time the pandemic hit, George Floyd was murdered, and life in general had been thrown into chaos. How does someone reconcile what was with what is now? Pair it with “Homestand: Small Town Baseball and the Fight for the Soul of America” by Will Bardenwerper (Doubleday). It’s set in New York and but isn’t that small-town feel universal, no matter where it comes from?
Won’t the adventurer on your list be happy when they unwrap “I Live Underwater” by Max Gene Nohl (University of Wisconsin Press)? They will, when they realize that this book is by a former deep-sea diver, treasure hunter, and all-around daredevil who changed the way we look for things under water. Nohl died more than 60 years ago, but his never-before-published memoir is fresh and relevant and will be a fun read for the right person.
If celeb bios are your giftee’s thing, then look for “The Luckiest” by Kelly Cervantes (BenBella Books). It’s the Midwest-to-New-York-City story of an actress and her life, her marriage, and what she did when tragedy hit. Filled with grace, it’s a winner.
Your music lover won’t want to open any other gifts if you give “Only God Can Judge Me: The Many Lives of Tupac Shakur” by Jeff Pearlman (Mariner Books). It’s the story of the life, death, and everything in-between about this iconic performer, including the mythology that he left behind. Has it been three decades since Tupac died? It has, but your music lover never forgets. Wrap it up with “Point Blank (Quick Studies)” by Bob Dylan, text by Eddie Gorodetsky, Lucy Sante, and Jackie Hamilton (Simon & Schuster), a book of Dylan’s drawings and artwork. This is a very nice coffee-table size book that will be absolutely perfect for fans of the great singer and for folks who love art.
For the giftee who’s concerned with their fellow man, “The Lost and the Found: A True Story of Homelessness, Found Family and Second Chances” by Kevin Fagan (One Signal / Atria) may be the book to give. It’s a story of two “unhoused” people in San Francisco, one of the country’s wealthiest cities, and their struggles. There’s hope in this book, but also trouble and your giftee will love it.
For the person on your list who suffered loss this year, give “Pine Melody” by Stacey Meadows (Independently Published), a memoir of loss, grief, and healing while remembering the person gone.
LGBTQ fiction
For the mystery lover who wants something different, try “Crime Ink: Iconic,” edited by John Copenhaver and Salem West (Bywater Books), a collection of short stories inspired by “queer legends” and allies you know. Psychological thrillers, creepy crime, cozies, they’re here.
Novel lovers will want to curl up this winter with “Middle Spoon” by Alejandro Varela (Viking), a book about a man who appears to have it all, until his heart is broken and the fix for it is one he doesn’t quite understand and neither does anyone he loves.
LGBTQ studies – nonfiction
For the young man who’s struggling with issues of gender, “Before They Were Men” by Jacob Tobia (Harmony Books) might be a good gift this year. These essays on manhood in today’s world works to widen our conversations on the role politics and feminism play in understanding masculinity and how it’s time we open our minds.
If there’s someone on your gift list who had a tough growing-up (didn’t we all?), then wrap up “I’m Prancing as Fast as I Can” by Jon Kinnally (Permuted Press / Simon & Schuster). Kinnally was once an awkward kid but he grew up to be a writer for TV shows you’ll recognize. You can’t go wrong gifting a story like that. Better idea: wrap it up with “So Gay for You: Friendship, Found Family, & The Show That Started It All” by Leisha Hailey & Kate Moennig (St. Martin’s Press), a book about a little TV show that launched a BFF-ship.
Who doesn’t have a giftee who loves music? You sure do, so wrap up “The Secret Public: How Music Moved Queer Culture from the Margins to the Mainstream” by Jon Savage (Liveright). Nobody has to tell your giftee that queer folk left their mark on music, but they’ll love reading the stories in this book and knowing what they didn’t know.
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Theater
Studio’s ‘Mother Play’ draws from lesbian playwright’s past
A poignant memory piece laced with sadness and wry laughs
‘The Mother Play’
Through Jan. 4
Studio Theatre
1501 14th St., N.W.
$42 – $112
Studiotheatre.org
“The Mother Play” isn’t the first work by Pulitzer Prize-winning lesbian playwright Paula Vogel that draws from her past. It’s just the most recent.
Currently enjoying an extended run at Studio Theatre, “The Mother Play,” (also known as “The Mother Play: A Play in Five Evictions,” or more simply, “Mother Play”) is a 90-minute powerful and poignant memory piece laced with sadness and wry laughs.
The mother in question is Phyllis Herman (played exquisitely by Kate Eastwood Norris), a divorced government secretary bringing up two children under difficult circumstances. When we meet them it’s 1964 and the family is living in a depressing subterranean apartment adjacent to the building’s trash room.
Phyllis isn’t exactly cut out for single motherhood; an alcoholic chain-smoker with two gay offspring, Carl and Martha, both in their early teens, she seems beyond her depth.
In spite (or because of) the challenges, things are never dull in the Herman home. Phyllis is warring with landlords, drinking, or involved in some other domestic intrigue. At the same time, Carl is glued to books by authors like Jane Austen, and queer novelist Lytton Strachey, while Martha is charged with topping off mother’s drinks, not a mean feat.
Despite having an emotionally and physically withholding parent, adolescent Martha is finding her way. Fortunately, she has nurturing older brother Carl (the excellent Stanley Bahorek) who introduces her to queer classics like “The Well of Loneliness” by Radclyffe Hall, and encourages Martha to pursue lofty learning goals.
Zoe Mann’s Martha is just how you might imagine the young Vogel – bright, searching, and a tad awkward.
As the play moves through the decades, Martha becomes an increasingly confident young lesbian before sliding comfortably into early middle age. Over time, her attitude toward her mother becomes more sympathetic. It’s a convincing and pleasing performance.
Phyllis is big on appearances, mainly her own. She has good taste and a sharp eye for thrift store and Goodwill finds including Chanel or a Von Furstenberg wrap dress (which looks smashing on Eastwood Norris, by the way), crowned with the blonde wig of the moment.
Time and place figure heavily into Vogel’s play. The setting is specific: “A series of apartments in Prince George’s and Montgomery County from 1964 to the 21st century, from subbasement custodial units that would now be Section 8 housing to 3-bedroom units.”
Krit Robinson’s cunning set allows for quick costume and prop changes as decades seamlessly move from one to the next. And if by magic, projection designer Shawn Boyle periodically covers the walls with scurrying roaches, a persistent problem for these renters.
Margot Bordelon directs with sensitivity and nuance. Her take on Vogel’s tragicomedy hits all the marks.
Near the play’s end, there’s a scene sometimes referred to as “The Phyllis Ballet.” Here, mother sits onstage silently in front of her dressing table mirror. She is removed of artifice and oozes a mixture of vulnerability but not without some strength. It’s longish for a wordless scene, but Bordelon has paced it perfectly.
When Martha arranges a night of family fun with mom and now out and proud brother at Lost and Found (the legendary D.C. gay disco), the plan backfires spectacularly. Not long after, Phyllis’ desire for outside approval resurfaces tenfold, evidenced by extreme discomfort when Carl, her favorite child, becomes visibly ill with HIV/AIDS symptoms.
Other semi-autobiographical plays from the DMV native’s oeuvre include “The Baltimore Waltz,” a darkly funny, yet moving piece written in memory of her brother (Carl Vogel), who died of AIDS in 1988. The playwright additionally wrote “How I Learned to Drive,” an acclaimed play heavily inspired by her own experiences with sexual abuse as a teenager.
“The Mother Play” made its debut on Broadway in 2024, featuring Jessica Lange in the eponymous role, earning her a Tony Award nomination.
Like other real-life matriarch inspired characters (Mary Tyrone, Amanda Wingfield, Violet Weston to name a few) Phyllis Herman seems poised to join that pantheon of complicated, women.
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