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Tone balancing

Screen-to-stage adaptation is multi-media delight

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Brief Encounters, theater, gay news, Washington Blade
Brief Encounters, theater, gay news, Washington Blade

The cast of Kneehigh’s U.S. tour of ‘Brief Encounters’ by Jim Cox. (Photo courtesy STC)

‘Brief Encounter’

Through April 13

Shakespeare Theatre Company

The Lansburgh Theatre

450 7th Street, NW

$30-75

202-547-1122

ShakespeareTheatre.org

Conventional wisdom says don’t mess with a classic. Typically the result is a letdown. But there are exceptions. Case in point is the UK-based Kneehigh Theatre’s delightful production of “Brief Encounter,” an adaptation of the same-named 1945 British film.

In bringing the iconic screen romance to the stage, director/playwright Emma Rice blends theater and film incorporating projections, musical numbers and myriad clever touches, all now on display at the Shakespeare Theatre Company’s Lansburgh Theatre.

The David Lean film is based on Noël Coward’s “Still Life,” one of many plays the gay sophisticate wrote and performed with longtime pal Gertrude Lawrence. It follows the short-lived romance of two married people who meet cute at a train station when Alec, a handsome doctor, removes a cinder from housewife Laura’s eye. The pair begin meeting weekly, mostly in the station tearoom or restaurants, and though their feelings are intense, their relationship remains chaste, never going beyond a kiss. And while the inevitable return to their respective respectable lives and practical mates happens as expected, it’s still a painful outcome. Rice’s adaptation draws from the film and the play.

The action kicks off in the Lansburgh lobby with a zippy string quartet of cast members dressed as ‘40s movie theater ushers performing a selection of vintage tunes. Inside, the stage’s usual curtain has been swapped out for one that’s brighter and redder, reminiscent of those found in old movie palaces. There’s a big movie screen that plays black-and-white footage, a nod to the source film and an exploration of the protagonists’ experience. When not on stage, Alec (Jim Sturgeon) and Laura (Hannah Yelland in her Tony-nominated role from when the show ran on Broadway in 2010) can sometimes be found seated amongst the audience; after all, their first date was a trip to the cinema. They also may slip through a slit in the movie screen only to reappear as bigger-than-life projections.

While meeting in public, the pair is reserved. Their muted passion is represented by film of fast moving clouds and raging tides. As the romantic tension mounts, Laura begins to grapple with doing the right thing. It’s she who suggests they part ways.

Director Emma Rice’s precise and inventive staging is wondrous, the cast is superb and her team’s spectacular technical, multi-media design is top notch. Neil Murray’s set is ingeniously serviceable and his period costumes are impeccably drawn. As the besotted but staid lovers, Yelland and Sturgeon play it straight, never mocking the necessarily formal dialogue. But the supporting ensemble has no such restraints. They’re free to camp it up and play for laughs, and they do, expertly. It’s an effective balance.

The tearoom’s other regulars are its manager Myrtle (Annette McLauglin), an amusingly genteel type whose breaks are spent trysting with the amorous station manager Fred (Joe Alessi); and Beryl (Dorothy Atkinson), a cheeky waitress who is dating the cute young station snack seller, Stanley (Damon Daunno). The cast play multiple parts and along with Dave Brown and James Gow, they also sing and play instruments. Songs include Coward’s “Mad About the Boy,” “A Room with a View,” and melodic original music.

The music is put to especially good effect with another Coward song, “Go Slow, Johnny” sung poignantly by Daunno during a key scene in which the Alec and Laura are alone drying off after having fallen out of a rowboat.

Most of the play takes place in the train station. Not surprisingly, there’s a moment when it seems that Laura might throw herself on the tracks and end it all. But no, she’s too sensible for that. Instead, she returns home (two leather club chairs and a big radio) where her patient husband (Alessi, again) and young son and daughter (a pair of life-sized puppets) are waiting.

“Brief Encounter” is part of the really terrific STC Presentation whose mission is to present world class international productions to D.C. audiences. This memorable production is a testament to both the vibrancy of theater and Coward’s enduring genius.

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Egypt

Iran, Egypt play in World Cup ‘Pride Match’

FIFA allowed Pride flags inside Seattle stadium

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(Screen capture via KOMO News/YouTube)

Iran and Egypt on Friday faced off during the World Cup’s “Pride Match” in Seattle.

Iran is among the handful of countries in which consensual same-sex sexual relations remain punishable by death. Discrimination and persecution based on sexual orientation and gender identity is commonplace in Egypt.

Friday’s match coincided with Pride weekend in Seattle. The Egyptian Football Association and the Football Federation Islamic Republic of Iran both objected to playing in the “Pride Match.”

Egypt and Iran tied 1-1.

FIFA, for its part, allowed Pride flags inside the stadium during the match.

“The FIFA World Cup 2026 is an inclusive event that welcomes people from all backgrounds,” a FIFA spokesperson told the Washington Blade in a statement. “Fans of all sexual orientations and gender identities are welcome at matches and events. General statements of human rights, including rainbow flags and other flags representing sexual orientation and gender identity, are permitted under the FIFA World Cup 2026™ Stadium Code of Conduct and may be displayed inside stadiums provided they are used in a manner consistent with the code.”

Human Rights Watch welcomed FIFA’s decision to allow Pride flags inside the stadium. Outright International, a global LGBTQ and intersex rights group, distributed Pride flags in Seattle on Friday, which was Pride Match Day.

“Visibility matters,” said Outright International Executive Director Maria Sjödin. “Pride is now being celebrated in more than 100 countries, including this weekend in Seattle. For many LGBTIQ people, seeing a Pride flag in public is a reminder that they are not alone, and that their rights and dignity are recognized.”

FIFA President Gianni Infantino earlier this year told Die Weltwoche, a Swiss magazine, that “there will be no ‘Pride Match’ at the (FIFA) World Cup.”

“There will be a FIFA World Cup match in Seattle, and on the same day, events organized by external organizations will be taking place in the city,” said Infantino. “But that has nothing to do with the match itself.”

Peter Tatchell, a long-time LGBTQ activist from the U.K. who is director of the Peter Tatchell Foundation, was among those who traveled to Seattle for Friday’s match. Tatchell accused FIFA of not vetting World Cup teams — specifically Iran, Egypt, Saudi Arabia, Ghana, Senegal, Qatar, Tunisia, Morocco, Iraq, Uzbekistan, and Algeria — over whether they would allow gay players.

“FIFA is protecting LGBT+ visibility in the stands while failing to protect LGBT+ players on the pitch,” said Tatchell.

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Photos

PHOTOS: Frederick Pride Parade

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A scene from the 2026 Frederick Pride Parade. (Washington Blade photo by Michael Key)

The second annual Frederick Pride Parade was held in the streets of downtown Frederick, Md. on Friday, June 26.

(Washington Blade photos by Michael Key)

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Theater

Carla Hall goes from ‘Top Chef’ to the stage

Solo show ‘Please Underestimate Me’ premieres at Olney

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Carla Hall stars in ‘Please Underestimate Me.’ (Photo by Marvin Joseph)

‘Please Underestimate Me’
Through July 12
Olney Theatre Center
at Mulitz-Gudelsky Theatre Lab
2001 Olney-Sandy Spring Rd.
Olney, Md.
$47-$101
Olneytheatre.org

Carla Hall gained celebrity status from Bravo TV’s “Top Chef.” She was funny and fun, and with her kooky signature catch phrase “Hooty hoo” and the southern-inspired recipes she lovingly cooked, Hall stood out in a kitchen crammed with contestants. 

Now the D.C.-based Hall is taking revisiting her earliest love with the world premiere of her solo show “Please Underestimate Me,” currently running at Olney Theatre Center’s intimate and revamped Mulitz-Gudelsky Theatre Lab. 

In the 90-minute piece (written by Hall, Lori Kaye, and Kaye’s partner Leslie Thomas; and directed by Lili-Anne Brown), Hall leads with food but quickly swerves into her personal and other aspects of her professional life. Built around an immersive fictional TV cooking show, her new play draws on experiences from her seven seasons (2011-2019) co-hosting cooking/chat show “The Chew”an ABC daytime proving ground, and her heady years on “Top Chef.” (2008, 2010). 

Born and raised in Nashville, Hall wanted to attend Boston University to major in theater, but was rejected. Instead, she went to Howard University at her mother’s urging, where she ultimately majored in accounting. After graduating in 1986, she donned a bespoke business suit and briefly worked as a CPA for Price Waterhouse. 

Business wasn’t for Hall. Tall and slender, she walked the runways in Paris for a while before ultimately finding her niche as a chef. Cooking seemed to come from her heart, something she learned from her grandmother who not incidentally bankrolled Hall’s way through culinary school.  

Now she’s bringing the vibrancy and good humor that made her a “Top Chef” fan favorite and a popular TV host to the stage with “Please Underestimate Me.” 

WASHINGTON BLADE: You seem a natural live performer. Were at all you nervous about doing this? 

CARLA HALL: Anytime you step outside of what you’re known for you have to take a risk and make it happen. I’d been working on this the idea for seven years. I decided that I really wanted to do a variety show and really wanted to step back into my original love of theater. 

I didn’t know what that looked like so I was asking a lot of people, actors and friends, about how to break into it. Can they see me as more than a chef? So, I told my agency to book me for voice overs, cameo roles. I got an acting coach and I was seeing a lot of single person shows. I literally embodied the thing that I wanted.

BLADE: Have you always been a vocal and public ally of the queer community?

HALL: For me, it’s natural. I came from the theater and dance world. I have a lot of gay and queer friends. 

There’s something about people being gay and queer that goes with a need to be authentic to yourself. I think that’s why you find a lot of queer people in the arts. Dare to be you. Dare to be different, right? I like that. 

BLADE: Long ago, I remember stopping by a Safeway in Wheaton to grab a sheet cake for a party. Your second or first episode of “Top Chef” had just aired. I wanted to yell “Hooty hoo” across the aisles, but was too shy. 

CARLA HALL: My catering kitchen was near that Safeway.You should have yelled. I’d have given you a hug. I’ll hug almost anyone. 

BLADE: Thanks. I think. You hear actors saying there’s nothing quite like TV fame because you’re invited into people’s living rooms. What were those days like when you started being recognized?

HALL: I like people. I tell Matthew [Matthew Lyons, Hall’s husband of 20 years], when fans say hello it’s my chance to get to learn about them. I owe them a lot; without them I wouldn’t be working.

BLADE: At Olney, Lauren M. Nichols’ surprise-filled set and Kelly Colburn’s projections of your personal snapshots from over the years are really wonderful. 

HALL: It becomes really emotional. At the end of the show, I see 12-year-old me. I’m looking at that girl, and they did a put a little crown on my head, and I’m living her dream 50 years later.

BLADE: Is the pace hard?

HALL: Seven shows a week isn’t easy. I used to say “Top Chef” was my most grueling experience…well, that was before I did this. 

BLADE: And is it gratifying?

HALL: At the end of the day, yes. Look, this play is filled with personal highs and lows and emotionally it’s exhausting. It’s also rewarding. Two weeks before the show started, I wasn’t sure I could do this. 

BLADE: But of course, you are doing it. And you’re doing it so well. 

HALL: A while back, I reached out to the executive producer of “The Chew” and thanked him for being the messenger of my lessons. Without those experiences I wouldn’t be here now doing “Please Underestimate Me.” My confidence has definitely grown. I’m a firm believer that everything that happens to you is for you. 

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