Ohio Queers: Columbus couple featured in groundbreaking photo book ‘Gay in America’ – RELEASED TUESDAY!

Columbus natives Jonathan and Paul are featured in the the portrait book “Gay in America” by Scott Pasfield that’s being released nationally tomorrow.

Here’s an except from the book about Jon and Paul:

“I’ve lived in Ohio since I was fourteen, and have been out and proud since I was eighteen. I’m forty-four and a sober alcoholic. My partner Jonathan and I have been together twenty-one years. We have three boys with a lesbian couple from Columbus—six-year-old twins and a ten- year-old. My partner Jonathan is the biological father of the twins.” – Jonathan and Paul, Columbus, OH

You can purchase the book on Amazon.com.

And here’s an interview with Pasfield from GLADD. (Posted with permission from “Gay in America’s” publicist, Popular Publicity.)

GLAAD Interviews Scott Pasfield Creator of  GAY IN AMERICA
by Aaron McQuade, Deputy Director Of News And Field Media for GLAAD

Aaron McQuade: Where did the idea for this book come from?

Scott Pasfield: People always tell you to shoot what you love. You have to start with yourself. The epiphany came one night at home. I was surfing the web and realized what a powerful tool it had become for connecting gay men across the country, from all over, and it just dawned on me. I decided that I would meet men from every state, and photograph them in the hopes that I could do a book that would change opinions and educate. And that started with shooting who I was and what my passions were.

AM: Why gay men?

SP: That goes back to shooting what I am, and what I know. I originally thought that I would like to try and shoot men and women from every state, but I really think that a woman, or a lesbian, has to go out and do that project, to make it as strong, to be one of them, as this project is for me and gay men. I tried at first, but it became obvious terribly fast that I would’ve had to masquerade as a lesbian to do the same project.

AM Would a book like this have made a difference to your own coming out story?SP: Absolutely. I wish there was a book like this when I was growing up and that is why I did it, really. I wanted to know that I could live wherever I chose, in any place, in any state, in any situation, in any city, in any town, and do whatever I wanted. I think there’s a tendency today for people to stereotype gay men and while some of those creative and flamboyant qualities might ring true, we are more than that. There is as much diversity within the gay community as there is the heterosexual one. If I knew earlier all the options one has as a gay man, it would have made a difference to me in accepting myself earlier and in knowing that I’m not alone.AM: What is your favorite photograph in the book?SP: I think, having made a point of never leaving a shoot until I had a photograph or portrait worthy of being in a book, really makes them all favorites. I love them all.

AM: Tell me what you want people to get out of this book. You mentioned your story, and obviously gay people who aren’t out themselves are going to get one thing out of it, but what about somebody who’s never met a gay person?

SP: I want the book to be an introduction to gay people for those that need it. I want it is a voice for the gay community. I want people to know that gay men are everywhere, and in many instances, live quietly under the radar, contributing to society. I want young people to have it as a resource as they move forward in their lives. I want people to understand us better and I want us to understand ourselves better.  This is hopefully what this book will do

AM: Tell us about your cover choice?

SP: Up until this last year, having a uniformed gay soldier on the cover would not have been possible. Today it is, thanks to people like Dan. His stand against Don’t Ask Don’t Tell and the injustice that it is/was is admirable. He helped right such an incredible wrong that was the basis for so much hatred. When I shot him in his uniform out on that snow-covered street in Cambridge, I saw a man that was proud of all he was and all that he had accomplished and just happened to be gay. Like every man that is in the book. What the image does though is makes you take a second look. It made you question your preconceived beliefs on what a gay American is.

AM: This book is a collection of essays in addition to a collection of portraits; each portrait coincides with an essay. Which should people look at first?

SP: Each spread has one essay and one photograph. You can’t help but look at the photography first. And then you read the story. They are so beautifully written. I chose everyone for their stories, and once I started the ball rolling, I tried never to repeat something. Even now, after having familiarity with these stories for years, as I read them, they’re so honest, beautiful and powerful; they’re so emotional for me. Hopefully that will resonate with people, too, because it is the stories that I think are going to have the most effect.

AM: Why the focus on every state?

SP: It was a goal I set for myself. I said: fifty states, I have to go to them all. It became an obsession. I had done a lot of traveling before, but there were many states that I had never been to and I saw it as a great opportunity to see what gay life is really like, especially outside of the big cities. I think as a collection, it really proved to be fascinating.

AM: Were there certain places that surprised you? Did you find somebody in Boston who you would have expected to see in Montana?

SP: Oh, absolutely. You’d always get big cowboy types coming from real urban areas, or the Midwest, but there would also be the guys more typical of the area. In the West I got a lot of farmers and ranchers, and cowboys writing to me. I was always surprised to see who wrote.

AM: Did any of the stories make you laugh out loud?

SP: I think they made me cry more than anything. So many gay men have such a tough time growing up in our country. It’s not easy. Things are changing, there’s hope, but more often than not, it was giving men a great opportunity to tell their story. And a lot of them had hard stories to tell, or tough things to say.

AM: Did the instructions specifically lead people to go down that road, or is that what naturally came about? Did you say, “Tell me your story?”

SP: Usually I did use the word “story.” And I did say that I was traveling the country. The ad went something like, “looking for great, out men who live their lives without second guessing, and are proud of who they are, and happy with where they live. I’m looking for men to share their stories about that, to some degree. I’m also looking for your path – where you’ve come from, stories of coming out, or growing up, or your family, or careers, things that define you, in addition to being gay.”

AM: What is it about this project that speaks to you as an artist?

SP: It was a way to really push myself and my art; you show up and have the person that you’re going to be photographing with you the whole time, you have to engage them, keep them involved in the process without boring them, and move fast so that it can happen quickly. Usually two to three hours is what it takes me to do one of these shoots, so somebody has to dedicate a little bit of time to it. But I think the challenge is just never knowing what you’re walking into and really pushing yourself to try and get something to happen in front of the camera that is an insight into that person.

AM: Was the choice to shoot these on the home turf of your subjects a storytelling choice or was it an artistic challenge choice on your part?

SP: Both. To truly give viewers an honest glimpse into these men’s worlds, I felt that photographing in or near their homes was needed.

AM: Any last thoughts?

SP: I think it’s needed in our time and culture. With what’s going on in our country with gay rights, the voting bloc, with issues being decided for us and how we live our lives, every one of us needs to do what we can to make life better. I think if more people did that and chose to take their love, and do something good with it, we’d make the world a better place. There needed to be a book that America could understand. I’ve become an unintentional activist with this project, and I think it’s a great thing. I think more people should do it if they can.

AM: Do you think of your subjects as activists?

SP: Many of them are, absolutely. Just by coming forward, they become activists, even if many of them never stepped foot in a gay and lesbian center, or marched in a parade, or wanted to change anybody’s opinion. They’re just living their lives out and proud and by doing so, they are in a position to change people’s minds.

Queer Film Spotlight: ‘The Lavender Scare’

I know it’s extremely early to be talking about next summer, but as the weather gets colder here in Ohio, I’m already starting to long for Summer 2012. And for more reasons than one, as it’s also the slated release date for the new documentary “The Lavender Scare,” a real life suspense thriller about the men and woman effected by  Executive Order 10450, which prohibited gays and lesbians from working for the federal government in the ’50s and ’60s.

Here’s a synopsis from the film’s Web site:

“The Lavender Scare” is the first feature-length documentary film to tell the story of the U.S. government’s ruthless campaign in the 1950s and ’60s to hunt down and fire every Federal employee it suspected was gay.

While the McCarthy Era is remembered as the time of the Red Scare, the headline-grabbing hunt for Communists in the United States, it was the Lavender Scare, a vicious and vehement purge of homosexuals, which lasted longer and ruined many more lives.

Before it was over, more than 10,000 Federal employees lost their jobs. Based on the award-winning book by historian David K. Johnson, ”The Lavender Scare” shines a light on a chapter of American history that has never received the attention it deserves.

It examines the tactics used by the government to identify homosexuals, and takes audiences inside interrogation rooms where gay men and women were subjected to grueling questioning. These stories are told through the first-hand accounts of the people who experienced them.

“The Lavender Scare” shows how the government’s actions ignited an anti-gay frenzy that spread throughout the country, in an era in which The New York Times used the words “homosexual” and “pervert” interchangeably, and public service films warned that homosexuality was a dangerous, contagious disease.

While the story is at times infuriating and heartbreaking, its underlying message is uplifting and inspiring. Instead of destroying American homosexuals, the actions of the government had the opposite effect: they stirred a sense of outrage and activism that helped ignite the gay rights movement.

I know it makes me a huge nerd, but I’m too excited about this film. I’ve heard Johnson’s book (which you can purchase here) is pretty amazing, but I think it’s going to be pretty powerful to hear about this massive injustice from the mouths of those who actually lived it. The film also includes annonymous interviews with some of the bigoted officials who actually did the ousting, which I think is an extremely interesting side of the story to highlight. And also featured is famed gay rights activist Dr. Franklin Kameny who was honored by President Obama just a few years ago for his work fighting to have Executive Order 10450 repealed (which it was in 1995).

The film’s creators, led by writer/director Josh Howard, released a full length trailer for the documentary back in July. You can check it out below:

For updates on “The Lavender Scare” follow the documentary on Facebook and Twitter.

Local Theater Spotlight: Shadowbox’s ‘Killer Blues’

Kara Wilkinson in Shadowbox's "Killer Blues" (photo by Studio 66)

They say you can’t have rock ‘n’ roll without the blues, a fact on full display in Shadowbox Live’s new Wednesday night showcase, “Killer Blues,” showing at the troupe’s new Brewery District location (503 S. Front Street, Columbus) through Nov. 9.

When the rock ‘n’ roll and sketch comedy aficionados moved their operation downtown earlier this summer, they did so with the promise that a bigger space would mean more programming. To fulfill this promise the troupe brings back their blues and drama program that was so popular at previous side venture 2Co’s, located in the Short North more than five years ago. An excited and eager 2Co’s fan base met the troupe for the opening of “Killer Blues” on Sept. 21.

Though completely out of synch from their normal rock and laugh heavy Thursday through Saturday showcase, it’s great to see the troupe’s key players show a softer, sexier side we don’t often get to see.

Case in point: longtime Shadowbox vets Julie Klein and Tom Cardinal, whose stunning performances, as a homeless subway dweller and the lawyer she “enlightens” on a typical late night inNew York City, during Roy Berkowitz’s “Killer Blues,” had much of the audience in tears.

The night is filled with goose-bump inducing performances. Such as Kara Wilkinson’s piercing rendition of “Oh Darlin’” by The Beatles, Nikki Fagin’s sultry “Love Me Like a Man” by Bonnie Raitt and Jennifer Hahn’s show-stopping take on Led Zeppelin’s “You Shook Me” (sung in apropos style alongside co-band leader and husband Matthew Hahn).

Noelle Grandison is also a welcome surprise as an angry woman scorned by society, during her delivery of the poem “The World is aBeautiful Place” by Lawrence Ferlinghetti.

Director Stev Guyer didn’t completely leave the troupe’s funny bone at the door. Fagin also puts in a hilarious portrayal of a bumbling, slacker college student who thinks her poor performance on a paper is the fault of everyone but herself, during the Martha King DeSilva’s satire “For Who theBell, Like, Tolls.” And Mary Randle brings out that signature Shadowbox timing during the comedic “It’s Not Just a Cubicle” (also by DaSilva), as a woman who threatens everything up to and including suicide if she is not moved away from sitting next to an annoying co-worker.

I wasn’t fortunate enough to ever catch a 2Co’s show during the side project’s heyday in the early 2000’s, but if this is what those shows were like, it’s no wonder everyone’s rejoicing over its return.

“Killer Blues” runs 7:30 p.m. Wednesday nights through Nov. 9 at Shadowbox Live (503 S. Front Street, Columbus). Tickets are $30 for adults and $20 for students/seniors. For more information call 614-416-7625 or visit www.shadowboxlive.org.

Local Theater Spotlight: Broadway in Columbus 2011-12

When I heard about the new CAPA/Broadway Across America season in Columbus this year, I have to admit I squealed with delight. Some of my favorites and a couple shows I’ve been dying to see are coming our way this year and next!

The first show that immediately caught my eye was “Billy Elliot the Musical.” I’ve been wanting to see this show since I heard they were finally turning it into a musical in 2008 and especially when the show swept the Tony Awards in 2009. It’s based off the AMAZING 2000 movie that was directed by Stephen Daldry and written by Lee Hall, who also wrote the musical with Elton John.  I’m bummed they had to move the show from earlier in the fall to March, due to scheduling conflicts with the tour, but happy it’s coming nonetheless.

I was also excited to see “Memphis” on the list. I don’t know too much about this show, but it did pull an upset at the 2010 Tony’s, winning for Best Musical and few other big awards. According to Wikipedia, it’s about famed radio DJ Dewey Phillips, who was one of the first white DJs to play black music in the 1950s. It’s supposed to be amazing, so I can’t wait to learn more about it.

Some old favorites are also joining us this season. “Mamma Mia” and “West Side Story” (which recently saw a Tony-winning revival on Broadway). “Mamma Mia” is always a crowd pleaser and you can’t doubt the classic brilliance of “West Side Story.” I’m not too thrilled about “Shrek” or “Blue Man Group,” though I’ve heard the latter is pretty good, but we’ll see how those go.

Check out the full schedule below. All shows at the Ohio Theatre (39 E. State Street, Columbus) or Palace Theatre (34 W. Broad Street, Columbus). For tickets head to Ticketmaster.com or call 614-469-0939.

“Mamma Mia,” Dec. 13-18, 2011, Palace Theatre

“Shrek The Musical,” Jan. 10-15, 2012, Ohio Theatre

“Blue Man Group,” Feb. 7-12, 2012, Palace Theatre

“Billy Elliot,” March 20-25, 2012, Palace Theatre

“West Side Story,” April 17-22, 2012, Ohio Theatre

“Memphis,” May 29-June 3, 2012, Ohio Theatre

What do you think? Are you excited? Hate this season’s list? Sound off in the comments!

Closeted YouTube soldier reveals face, comes out to father on camera

The closeted solider who has been popularly documenting his coming out process on YouTube for nearly six months has finally shown his face to the world.

I’ve featured him on Queer Corner a few other times. He’s 21, from Alabama, a servicemember who was serving in Afghanistan, but is stationed in Germany, and was deeply in the closet. Before his first video April 18, he’d never told anyone, not even his parents, and obviously not his girlfriend.

At about 3 a.m. this morning the now famous, yet still nameless, recruit filmed himself back in in his quarters on base in Germany coming out to father over the phone, to celebrate Obama and the military officially lifting Don’t Ask, Don’t Tell. This time, however, he showed his entire face. It was probably one of the most powerful YouTube videos I’ve seen. His father, who sports a thick Southern accent, was great, reiterating the fact that he would always love his son, no matter what, throughout the call.

I’ve been watching this soldier’s YouTube videos for some time now and am happy to see he’s finally coming into his own and embracing his true self. He’s obviously gone viral and his chiseled features have also made him pretty popular in the gay blogosphere. I still maintain this is the most revolutionary piece of activism I’ve ever seen. This dude is definitely changing the game and changing lives in the process.

You can check out the moving video below:

Check out all of his videos at his YouTube page, AreYouSuprised, and you can also follow him on Twitter.

Air Force Airman Randy Phillips

UPDATE (9/21, 2:08 a.m.): The “headless soldier” has gone mainstream. He was featured on CNN last night, where his name was revealed (Randy Phillips) and he talked about his experience coming out to his mother. Click HERE to check out the CNN report

Glee-cap: ‘The Purple Piano Project’

Glee’s back! Yay!

Well, sort of. The season three premiere of “Glee” was mostly a shop keeping episode. The writers have been telling the press all summer that this season is all about getting “back to the basics,” which they stayed true to. This episode was all about the characters. But it just felt like variations on the same theme to me.

Quick-cap: The New Directions are down three and need to recruit (again). Sam’s family moved because his dad got a job out of state. Zizes wants to be cool again. And Quinn is in the midst of an existential crisis (again). So Mr. Shu puts pianos around school so the kids can burst into random song and advertise the club to the school (again). Speaking of Mr. Shu, he and Emma are back together (again), and living together this time. Sue is running for Congress and is out to destroy the Glee Club (again) and she decides her platform will be to cut arts education at all schools in Ohio. In response, Mr. Shu glitter bombs Sue (something this dude should be getting royalties for). Shu also gets up the nerve to reject an audition, a tone-deaf student named Sugar, with a sharp (Brittany like) wit and self-diagnosed Aspergers. Santana’s doing Sue’s bidding (again), but this time it gets her kicked out of Glee Club. Kurt and Rachel are now friends (that’s new) and trying to get into the same arts college in New York. They visit a group of super talents who are also applying (led by “The Glee Project” finalist Lindsay Pearce). They cry over it, then persevere. Blaine is back and decides to switch schools for Kurt. And after Sue, a food fight and a fire destroy the donated pianos, the New Directions sing their troubles away with a big closing number (again) using “Hairspray’s” “You Can’t Stop the Beat.”

And that’s what you missed on…GLEE.

Fave moment: Blaine transferring to McKinley. That scene in the hallway when Blaine tells Kurt was too cute.

Annoying moment: Santana going back to “work” for Sue. I don’t understand why that was necessary. I love the bitchy part of her character, but if this means we’re not going to hear as much of Naya Rivera’s voice I’m not going to be happy.

Fave quote: “I’ve put plastic on your chair, so feel free to wet yourself with excitement.” ~Sue Sylvester

Fave song: It’s cliche, but I loved the “Hairspray” number. I liked how they changed the arrangement and started off slow before kicking it up in chorus, and Mercedes is awesome, per usual. I also loved Blaine’s swoon-worthy “It’s Not Unusual,” but I may have been slightly blinded by lust.

You can watch full episodes of Glee here.

DADT REPEAL OFFICIALLY GOES INTO AFFECT TODAY!!!

For the first time in America’s history gays can now openly serve in the military.

Sept. 20th marks the official repeal date set by President Obama, the Pentagon and the Joint Chiefs. And the press has been having a field day with the coverage leading up the momentous occasion. Here are few stories that have popped up already:

• AP (via USA Today): Navy Officer, Partner Wed in Vt. as Ban Ends 
• The Huffington Post: Gay Officer Says ‘This Is Going To Take Some Getting Used To’
• The Washington Post: U.S. military prepares for end of ‘don’t ask don’t tell’
• CNN: Repeal of ‘don’t ask, don’t tell’ seen as ‘tipping point’ in gay rights movement
• Marine Times: We’re gay, get over it
  
• HBO aired a new documentary at midnight entitled “The Strange History of Don’t Ask, Don’t Tell” (Here’s a review from AfterElton.com)
  

I’m sure there will be lots more coverage throughout the day to get soldiers’ coming out stories, interviews with new gay recruits and reactions on bases across the world.

We’ve still got a long ways to go where gay rights is concerned, but if only for today, I’m going to revel in the historical beauty.

Emmys 2011 Gay Roundup

The cast of Modern Family accept Best Comedy Series at the 2011 Emmys.

There were really only two major things that gayed up this year’s 63rd Annual Primetime Emmy Awards that aired last night on Fox. Jane Lynch and “Modern Family.” But they also dominated much of the show.

“Modern Family” took home fives of the night’s major comedy awards including Best Supporting Actress in a Comedy (Julie Bowen), Best Supporting Actor in a Comedy (Ty Burrell), Best Directing in a Comedy (Michael Alan Spiller), Best Writing in a Comedy Series (Steven Levitan and Jeffrey Richman) and Outstanding Comedy Series. During his acceptance speech Richman thanked his partner.

Jane Lynch hosted and did an amazing job. She started off the show with a full on song and dance number and kept the night interesting with a slew of tasteful zingers. Her style definitely reminded me of Ellen DeGeneres.

In straight news: “Mad Men” took home a fourth consecutive win for Best Drama Series, Charlie Sheen showed up and was creepy, Ashton Kutcher and John Cryer also showed up and weren’t funny and Kyle Chandler finally won for long-time role on “Friday Night Lights.”

Local Theater Spotlight: ‘Falsettos’ by Available Light Theatre

Christopher Storer and Scott Wilson as lovers Whizzer and Marvin in 'Falsettos' by Available Light Theatre

Full Disclosure: I’m a long-time fan and official member of the Available Light Theatre.

Family drama never gets old. A fact on view at Vern Riffe Center (77 S. High Street, Columbus) courtesy of Available Light Theatre’s flawless performance of the modern classic “Falsettos,” which is running through Oct. 1.

Winner of the 1992 Tony for Best Book and Best Score, the William Finn/James Lapine musical follows the tale of Marvin (Scott Wilson) who leaves his wife (Kim Garrison Hopcraft) and son (Adam Crawford) for his younger male lover (Christopher Storer). Finn and Lapine combine two of their Off-Broadway hits “March of the Falsettos” and “Falsettoland,” each written and presented nearly10 years apart, for a funny and effecting look into a family in crisis.

When first staged in 1981, and later in 1990, the musical was definitely shocking to audiences in the midst of dealing with onset of the AIDS epidemic. But now the play seems more outdated than modern as we live in a post-AIDS scare world. The score was definitely created in the old school musical styles of Richard Rogers, Oscar Hammerstein and Irving Berlin.

Director John Dranschak, who also helmed AVLT’s first and extremely successful foray into musicals with “Merrily We Roll Along” last year, assembles a stunning cast for “Falsettos.”

Wilsonembodies lovesick schmuck and aimless father as Marvin, a man who tries to start a new life while maintaining a relationship with his 12-year-old son. Hopcraft holds much of the show together with her commanding grace as Marvin’s ex-wife, Trina. She’s as equally compelling in the hilarious “I’m Breaking Down” as she is during the emotional aria “Holding to the Ground.”

Another great choice by Dranschak? Casting a local teenager in the role of Marvin’s son Jason. Adam Crawford stays closest to his character as an apathetic, coming-of-age pre-teen dealing with flailing dysfunctional parents, a even more dysfunctional bar mitzvah and the death of a close friend. His tearful “Another Miracle of Judaism” is one of the show’s most touching moments.

Storer pulls out a powerful, yet subtle performance as Marvin’s aloof and ailing lover Whizzer. He quietly grows into the friend Jason needs and gives a tear-jerking rendition of “You Gotta Die Sometime” as his body succumbs to the AIDS virus.

The supporting players also shine just as prominently. Nick Lingnofski is an enjoyable cad (and an amazing dancer) as Mendel the psychiatrist and Trina’s eventual second husband. Danielle Mann and Kate Gersing are a welcome addition in the second act as the perky doctor-caterer lesbian couple living next door. Mann’s “Something Bad is Happening” adds historical realness to an unexplainable disease that was beginning to take so many lives.

Darin Keesing goes with a simple set design, with just a wall of empty frames that the actors move in and out of during some of the songs, and a few furniture set pieces. The band also takes a minimalist approach with just a four-man orchestra consisting of Spencer Channell (synthesizer), Mark Donavan (clarinet, flute, alto and soprano sax), Rick Soriano (percussion) and Andrew Willis (piano), led by Pam Welsh-Huggins.

“Falsettos” is a family tale that will take you on an old-fashioned ride, but in the hands of Available Light, it’s a ride that you’ll not soon want to depart.

Available Light Theatre’s “Falsettos” runs through Oct. 1 in Studio One of the Vern Riffe Center (77 S. High Street, Columbus). Tickets are on AVLT’s popular Pay What You Want System. For more information visit http://avlt.co/falsettos11.

Check out the below video of Wilson, Storer, Mann and Gersing discussing their characters in “Falsettos.”

Ohio Queers: GetEQUAL’s Day of Discontent to ‘celebrate’ DADT repeal

On September 20th Don’t Ask Don’t Tell will officially be repealed and for the first time in America’s history gays and lesbians will be allowed to serve openly in the military.

This is a cause for celebration right?

Nope. Not according to GetEQUAL, a activism group that has a chapter here in Ohio run by Tom Morgan. The Ohio chapter is planning a “Day of Discontent” protest outside the Ohio Statehouse in downtown Columbus on Tuesday in order to send the message that “Don’t Ask, Don’t Tell isa start but…it’s not enough. We still are not equal!,” according to the demonstration’s Facebook event page.

Though it might be an unpopular sentiment, Morgan and GetEQUAL do have a point. Gays and lesbians will be able to serve openly, but they won’t be allowed access to the pension, housing and medical benefits reserved for those in the military who are married. Think of this way, a gay or lesbian recruit with a partner of 10 years with two adopted children would not be able to bring his/her family with him if he’s stationed on a base in Germany, as a straight married couple would. And that’s just one example.

And that’s, of course, not to mention the rising gay hate crime rate, the fact that you still can’t be openly transgender in the military, the thousands of unequal marriage laws, the dozens of states with gay marriage bans, and the general daily spew of hate at LGBT individuals coming from televangelist and Republicans (generally the Tea Party. Did you see that CNN debate!? I wanted to throw my T.V. out the window.)

GetEQUAL Ohio are asking people to increase their support of pro gay legislation by contacting their legislatures. (Find contact info HERE and HERE.)

And join them for the protest in downtown Columbus on Broad Street Tuesday from 3 p.m to 6 p.m. Morgan suggests participants bring signs that say things like: “WE’RE STILL NOT EQUAL,” “FULL FEDERAL EQUALITY,” “I AM A PERSON,” “I DESERVE EQUALITY,” “DEMANDING MY EQUALITY,” “CIVIL RIGHTS NOW!” And they won’t be alone, as several GetEQUAL chapters around the country are planning similar protests.

Local Theater Spotlight: ‘Rocky Horror’ returns to Shadowbox

Billy DePetro as Rocky Horror and JT Walker III as Frank N. Furter in Shadowbox Live's "The Rocky Horror Show" (photo by Studio 66)

Shadowbox Live brought back an oldie but a goodie for their first full-length musical in their new downtown space, with Richard O’Brien’s cult classic “The Rocky Horror Show,” for a nice and svelte two-hour opening last night.

I’ve been waiting for to see what Shadowbox’s new digs meant for their Sunday musicals series, as it is my favorite part of the Shadowbox experience. Strong showcases of “Jesus Christ Superstar,” “A Funny Thing Happened on the Way to the Forum,” “Back to the Garden” and “Rent” over the past few years have set the group up as a musical theater powerhouse in Columbus. This also isn’t the first time the troupe has taken on “The Rocky Horror Show,” but new cast members and a new stage has reinvigorated the 1975 sleeper hit.

The sexually ambiguous tale follows straight-and-narrow, newly engaged couple Brad and Janet (John Boyd and Leah Haviland) as they happen upon the mansion of evil alien scientist Dr. Frank N. Furter and his merry band of horny “sweet transvestites” from the planet Transylvania. The couple finds themselves, willingly and not-so-willingly, forced into one compromising situation after another.

For Shadowbox’s rendition Director and Executive Producer Stev Guyer trades flashy set pieces for keen character work, inspired staging and a much larger costume budget. During “Over at the Frankenstein Place,” as Brad and Janet make their way to the suspicious looking Frank N. Furter mansion after an unlucky flat tire in the rain, they weave their way through the crowd as chorus members pop up, interpretive dance style,  amongst the audience, guiding them to the castle. Katy Psenicka’s choreography continues to impress as the cast flanks themselves throughout the audience during many scenes, taking advantage of the larger space.

The actors were also in rare form. Boyd and Haviland are perfectly perky as the do-gooder couple, set off nicely by Edelyn Parker and Amy Lay as the perfectly mischievous Magenta and Columbia respectively. Tom Cardinal does a foreboding and annoyed Riff Raff well, while a nearly-naked, pecks-flexing Billy DePerto adds charm and naïveté to the clueless Rocky Horror, a hunky Frankenstein-style creation of Frank N. Furter’s.

Supporting characters also shined, such as Betsy Shortt who fully committed to making the Narrator shine. She spent much of her time either quick-changing backstage or entertaining the audience with a new accent. She hilariously morphed from stilt-walker to dwarf to overgrown child to an overweight male eating popcorn. But “The Rocky Horror Show” is really only as good as it’s Frank N. Furter and JT Walker III is a transsexual force to be reckoned with. He struts, he belts, he whips wit and kills with ease. All the necessary traits needed to master the iconic gender-bending character.

I only took issue with “Hot Patootie,” sung by Furter’s former lover, Eddie (Jamie Barrow), just before Furter murders him amidst a romping dance number, and “Planet Schmanet – Wise Up Janet Weiss.” Both were significant moments that came off underwhelming.

Shadowbox house band Bill Who? effortlessly took on O’Briens rock score. In there old space at Easton Town Center, a shoddy sound system often had the band overpowering the vocals to the point of being unable to hear the lyrics, a problem that’s gladly no longer an issues at the new space.

After nearly four years of attending Shadowbox performances, the costumes for their “Rocky” return are the best I’ve ever seen from the troupe. It’s as if there’s been an explosion of creativity in the Shadowbox Art Department. Art Director Amy Lay and Costume Designer Kaitlin Descutner properly dress up the men in fishnet and stilettos, but add a sparkled, psychedelic Alice in Wonderland/Cirque-du-Soleil theme to the cast’s overall costuming. Many times simply what the actors were wearing was enough to steal the show. Pre-recorded video and other projections also helped increase the production value.

Despite a phenomenal showcase, I did think the Shadowbox crew dropped the ball on the audience participation factor that’s become such a necessary part of the “Rocky Horror” fabric. The program includes a list of audience do’s and don’ts, alluding to the pandemonium that typically takes place at “shadow cast” versions of “The Rocky Horror Picture Show” practiced in many movie theaters around the country. A few people shouted the popular “shadow cast callback script” at the stage, which became more distracting than amusing. (Personally, I don’t think there’s room for any of the “shadow cast” antics during a staging of the original play.) However during the popular “Time Warp,” when participation is expected, only two people in the crowd stood up to sport their pelvic thrusts. With such a large space, this could have easily been remedied by the cast members returning to the audience and playfully forcing a few people out of their chairs, allowing everyone else to follow suit.

During any version of “Rock Horror” the crowd has to participate in the “Time Warp,” I’m pretty sure it’s in The Constitution. But this isn’t the main reason why one goes to see a production of “Rocky Horror.” Why does one? Men in lingerie, of course. And this show has the latter in spades.

“The Rocky Horror Show” runs 2 p.m. and 7 p.m. Sundays through November 13 at Shadowbox Live (503 S. Front Street, Columbus). Tickets are $30 for adults and $20 for students/seniors. For more information call 614-416-7625 or visit www.shadowboxlive.org.

Local Theater Spotlight: ‘Titus Andronicus’ by Shepherd Productions

 

Jim Azelvandre and the cast of "Titus Andronicus"

Most theater company directors shy away from staging William Shakespeare’s “The Lamentable Tragedy of Titus Andronicus,” the overly bloody and horridly written tale of a Roman General caught in a revenge cycle with a war-hungry queen. However, Andy Batt isn’t most directors.

Known to most in Columbus as the head director of MadLab Theatre, which typically produces only new works bent toward the controversial, Batt’s side venture, Shepherd Productions, is taking a step in the other direction by staging one “little-produced and unheralded classic” a year. (Click here to donate to the new troupe’s Kickstarter campaign.)

Though a completely separate company, Batt’s decision to stage “Titus” as Shepherd’s premiere is definitely MadLab-esque. If MadLab were ever to take on an unadulterated Shakespeare production, the controversial and oft-loathed “Titus” would be the perfect choice.

Even Shakespeare fanatics are known to run in the opposite direction when they see the words “Titus Anronicus” and critics have spent centuries deriding the classic as one of the bard’s worst. However modern renderings of the bloody tale over the last few decades (most notably Julie Taymor’s 1999 film “Titus” starring Anthony Hopkins and Jessica Lange) have introduced the revenge tragedy to a new and more appreciative audience, an audience that has grown up on the ultra violence of video games and “The Saw” franchise.

The story follows the demise of theRoman Empire, circa. 3 A.D., through the tragic tale of Roman General Titus Andronicus. After a slew of war victories Titus returns home to a new and inept emperor who marries the queen of the nation he’s just defeated. An extremely bloody cycle of revenge ensues between Queen Tamora and Titus as they try to “one-up” the wrongs done them by the other. Once the dust settles, the play ends with a body count that’s more than twice that of “Hamlet.”

Kate Tull takes on the daunting task of adapting the script specifically for Shepherd, stripping the cast down from 30 to 16 and trimming many of the play’s lengthy monologues. However all the adapting in the world couldn’t make this play’s scripting bearable, but the combination of Tull’s efforts and Batt’s staging makes for a more than entertaining evening at theater.

Batt predictably chooses MadLab All-Star Jim Azelvandre to herald Shepherd’s maiden voyage. A Shakespeare vet, Azelvandre easily slips into the vile benign that is Titus. He adds interesting nuance to the general, who spends much of the play draped in the insanity brought by vengeance.

When filling out the rest of the cast, however, Batt, spread his wings and pulled in actors from all corners ofColumbus’ theatre scene. It was refreshing to see so many new faces on the MadLab stage. Courtney Deuser also wore vengeance well as Tamora, Queen of the Goths. Deuser revels in the queen’s evil character, wrought by the death of her eldest son at the hands of Titus. Tamora’s slave/lover Aaron (Franklin Grace) is famously the most loathsome of the cast. Grace kept a gleeful smirk throughout that aptly accented Aaron’s true passion for evildoing.

The true casualties of the two-act, two-hour Titus-Tamora showdown are the pair’s offspring, who end up being some of this cast’s strongest players. Paul Moon adds emotional depth to Titus’ eldest, Lucius, who, even after watching Titus kill his brother and his sister, ends up following in his father’s murderous footsteps. David Tull and Jeff Potts are nearly too convincing as Demetrius and Chiron, Tamora’s sons and creatures of pure hateful lust. Their ravishing and brutal mutilation of Titus’ daughter Lavinia (Erin Fisher) kept the audience grimacing in utter horror.

Fisher nearly steals the show as the tortured Lavinia. Her unfailing commitment to the character’s suffering was truly captivating. There’s a particularly effecting scene when Fisher is convulsing about after her bloody encounter with Tamora’s sons. The brutes have dismembers her hands and cut out her tongue to keep her from revealing what they’ve done. In a great special effects moment, blood spurts from her mouth, forcing a gasp from more than a few in the audience. Fisher effortlessly portrays each of Lavinia’s emotions clearly without the use of her hands or speech.

Travis Horseman adds equal parts camp and rage to clueless Saturninus, Emperor of Rome, ultimately a pawn in the execution of Tamora’s wrath. And kudos to Batt for snagging local theater icon John Feather for the role of Marcus, Titus’ much wiser older brother. Feather, of course, offers a seamless performance, as if he’d been born speaking Shakespeare’s Elizabethan verbiage.

Set and lighting designer Doug Northeim takes a minimalist, yet high-impact approach, adding only a Roman Colonial-style staircase and pillars that the actors moved about, and two LED screens that flash art deco paintings of the actors’ period surroundings. The projections also feature large red slashes and slasher sound effects whenever someone is killed (which is often). His lighting scheme is also equally compelling, juxtaposing hues of stark red and cool blue, while Jennifer Feather Youngblood’s ancient Roman costumes add necessary authenticity and legitimacy to the production.

Shepherd’s inaugural showcase is definitely worth the price of the ticket, but audience members of the American Idol generation might refer to it as a “poor song choice, with brilliant delivery.”

Check out Shepherd’s “Titus Andronicus” below:

“The Lamentable Tragedy of Titus Andronicus” by Shepherd Productions runs through September 17 at MadLab Theatre (227 N. Third Street,Columbus). Tickets are $15 for adults and $10 for students/seniors. Click here to purchase tickets online, or call 614-221-5418. For more information visit www.shepherd-productions.com. 

Mistrial declared in trial of gay student Larry King’s killer

Brandon McInerney and Larry King

Today a judge in California declared a mistrial after a week of deliberation by jurors in the Brandon McInerney murder case.

For those unfamiliar, McInerney was the 14-year-old who shot 15-year-old Larry King for allegedly hitting on him in 2008. The incident shook the nation and prompted several high-profile celebrities to create PSAs against anti-gay bullying and even revived the national debate on anti-gay bullying legislation.

After eight weeks of testimony, which included 100 witnesses, the jurors came to a 7 to 5 vote in favor of McInerney being guilty of voluntary manslaughter. They had communicated to the judge earlier this week that they could not come to a decision, but the judge asked them to continue deliberations, until discussions hit a stall earlier today. The prosecution now has to decide if they will refile the murder and hate crime charges against McInerney.

Shortly after the mistrial verdict was delivered, GLSEN (The Gay, Lesbian & Straight Education Network) released the following statment:

The mistrial declared today is hardly a surprise. This was always destined to be a case with little resolution and no winners, whatever the verdict. The central facts remain the same: homophobia killed Larry King and destroyed Brandon McInerney’s life, and adults failed both young men because of their own inability to deal forthrightly and compassionately with the multiple challenges they each faced. The jury’s indecision is a sad reflection of our collective inability to find common ground and invest in a better future for all youth and a culture of respect for all.

I completely agree with this statement. What’s extremely sad about this whole situation is the very dangerous message that it’s sending to our youth. During the trial, it was reported that McInerney’s lawyers were using the “gay panic defense” (a defense also used during the trial of Matthew Shepard’s murders), which basically sends the message that homophobia can’t be controlled. It’s the fault of gays and transgenders for being that way. The whole thing sickens me to my core. Though McInerney is definitely at fault and should be put away forever, it was really our intolerant society that failed both these boys.