Arts & Entertainment
‘Danish Girl’ masterfully realized
Trans-themed biopic is A-lister Oscar bait
Eddie Redmayne in ‘The Danish Girl.’ (photo courtesy Focus Features)
It all starts out in one seemingly ordinary moment.
Prima ballerina Ulla is once again late for a sitting with portraitist Gerda Wegener (Alicia Vikander). Frustrated, Gerda asks her husband, famous landscape artist Einar (Eddie Redmayne), to sit in for their friend since she’s only working on the delicately extended foot. It opens today (Friday, Dec. 11) in the D.C. area.
Einar puts on the stockings, crams his feet into the slippers and holds the dress against himself as Gerda picks up her brushes and starts to paint. Einar slowly begins to caress the fabric as long-suppressed thoughts and emotions begin to emerge. Thus begins a remarkable journey for a devoted couple and a remarkable collaboration for a talented cinematic team.
Based on the largely forgotten true story of transgender pioneer Lili Elbe, one of the first people to undergo gender-reassignment surgery, “The Danish Girl” is an exceptional film. Director Tom Hooper (“The King’s Speech” and “Les Misérables”) coaxes powerful performances out of his top-notch cast and collaborates smoothly with his entire creative team.
The movie, set mainly in Copenhagen and Paris in the 1920 and 1930s, looks splendid. Working seamlessly with cinematographer Danny Cohen and production designer Eve Stewart, Hooper makes the most of place and period, contrasting the rigid lines of Copenhagen (and Einar’s harsh airless landscape paintings), with the color and light of Art Nouveau Paris which supports Gerda’s emergence as an artist and Lili’s emergence as a women.
The script by Lucinda Coxon, based on the novel by David Ebershoff, is supple and sensitive, as eloquent when the actors are silent as when they are speaking. Several key sequences unfold wordlessly. Coxon does a marvelous job balancing contemporary sensitivities about gender with the realities of the time period. With incredible subtlety, she makes it clear that Lili is not gay man in drag or a straight man donning a costume, but a woman becoming her true self.
Redmayne’s performance is even more powerful than his Academy Award-winning portrayal of wheelchair-bound scientist Stephen Hawking, due in part to a stronger script and cast. With the support of movement choreographer Alexandra Reynolds, who also worked with him on “The Theory of Everything,” Redmayne has developed an amazingly detailed physical vocabulary that guides him from the rigid mask of masculinity that constricts Einar to the freer expression of femininity that allows Lili to flourish. Redmayne also displays an emotional vulnerability and transparency that makes Lili’s journey incredibly compelling.
Vikander’s performance as Gerda is equally stunning and multi-faceted. As the movie opens, Gerda is deeply in love with Einar, but is also somewhat jealous of his success. He has found artistic satisfaction and popular acclaim with his detailed landscapes; she is frustrated with her attempts at conventional portraiture. When she convinces Einar to pose for her dressed as a woman, it starts as a game, but it quickly turns more serious. She finds a life-long muse, but ultimately loses a husband. With her cigarette holder clenched tight, sometimes in concentration, sometimes in frustration, sometimes in flirtation, Vikander (“Ex Machina”) brings a fascinating character to incandescent light.
The supporting cast is also excellent. Amber Heard (“Magic Mike XXL”) is a delightful find in the surprisingly pivotal of Ulla. The hard-working but fun-loving ballerina serves as a godmother of sorts to the emergent Lili. Her character helps to establish the strong bond between Einar and Gerda, but she is also the first to recognize Lili in public and recommends the clinic where Lili can finally find supportive care. Heard’s light-hearted performance brings a welcome humor and humanity to the proceedings.
Matthias Schoenaerts (“Far From the Madding Crowd”) is sleek and dapper as Parisian art dealer Hans Axgil, a childhood friend of Einar’s who helps Lili and Gerda through their transitions. Out actor Ben Whishaw (“Spectre,” “Suffragette,” “In the Heart of the Sea”) is engaging as a gay bohemian who initially misunderstands Lili’s intentions, but then becomes a supportive friend and guide. Adrian Schiller is charming as the windy but well-connected art dealer Rasmussen and Sebastian Koch is warm and wise as the doctor who finally comes to Lili’s rescue.
“The Danish Girl” may well be the finest LGBT release of 2015, although the year it is not over yet. It is definitely already in contention for well-deserved recognition in the 2016 awards races. Director Tom Hooper and a talented cast and crew have cast a powerful light on a little-known piece of LGBT history, and their moving and beautiful movie makes us reflect on how we are still learning about the mysteries of the human spirit.
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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