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The Trouble With Fabulous: The Solitary Saga of Allan Carr

A transitional character in Hollywood’s gay life



Director Jeffrey Schwarz (Vito, I Am Divine) returns with this fascinating look at Allan Carr, one of the most extravagant Hollywood figures of the 1970s and 80s. (Photo courtesy Outfest)

Like all his films Jeffrey Schwarz’s The Fabulous Allan Carr is a documentary that should find favor with audiences, whether they’re familiar with the subject dealt within it or not. But for LGBT viewers The Fabulous Allan Carr has a special resonance. For Carr, a film and stage impresario whose career ups and downs are of roller coaster proportions inadvertently exemplifies what has happened to “Gay Culture” over the last part of the last century to those not ready to deal with it.  Once “coming out” was avant-garde now “staying in” was increasingly harder to do — and far from as desirable. Carr’s career traverses a  period when “Gay” stood right on the edge of being mentioned in “polite conversation” but not quite there yet.  So, often as not, the rhetorical condom of “flamboyant” was slipped over it.

Allan Carr was “flamboyant” in every way and shape of his singular form — a very short fat man given to covering his avoirdupois in colorful floor-length caftans. His career highs include the lavish film version of the Off-Broadway musical Grease (1978) and the 1984 stage musical version  of the 1979 French farce La Cage Aux Folles. But then there are the lows like Can’t Stop The Music  (1980), his ill-advised attempt at turning the gay disco group “The Village People” into something resembling the “Mouseketeers.”  Worst of all was his production of the infamous 1989 Oscar telecast in which actor Rob Lowe and an aspiring actress named Eileen Bowman, dressed as Snow White sang and danced to, for reasons Carr only knows, “Proud Mary.”

Born in 1933 Carr’s career began as one of the producers of the fondly recalled TV show Playboy’s Penthouse in which Playboy magazine editor Hugh Hefner on a set resembling a swank apartment, always filled with chic guests, hosted an evening of casual sophisticated entertainment featuring Jazz musicians, pop singers and, most memorably, comedian Lenny Bruce. It’s safe to say that Carr took his cue from this show in real life as he was an inveterate party-thrower who loved mixing highbrow and lowbrow types together.

But instead of Hef’s “Bunnies” Carr had “twinks” — male hustlers hoping a casual dalliance or threesome would be a ticket to stardom. What went on at Carr’s Havenhurst Drive home was, needless to say, “the talk of the town.” But as such “talk” was, by its very nature salacious, it stayed well within the bounds of Hollywood “gossip” only being “put on the record” with Robert Hofler’s book Party Animals (on which Schwarz’s film is partially based), which at one point notes “As his faithful publicist Kathie Berlin put it, ‘The parties were always great. Only the movies stank.’ “

“Boy Parties” were scarcely new thing in Hollywood, but in the past they were circumspect affairs and very much reserved.

The Sunday afternoon poolside get-togethers George Cukor hosted for his gay pals with male “talent” supplied by Scotty Bowers were not orgies. People could “make dates” for later but if anyone got busy on the premises, they were shown the door. This decorousness was one of the reasons why Cukor’s gayness wasn’t known to the non-Hollywood world until after his death. And the same goes for other directors in Gay Hollywood like James Whale, Charles Walters to Dorothy Arzner.

On-screen talents wouldn’t be so daring as to “out” themselves.  In fact the privacy Hollywood afforded its players was one of the reasons why so many gays and lesbians wanted to get into the business to begin with. You could “be yourself” in Tinseltown — within reason — in ways other social realms wouldn’t allow.

But by the time of Allan Carr things had changed. The “closet” had big glass doors on it, and everyone was peeking inside.

While Carr knew he lived in a different world from that of Hollywood past, he largely functioned as if it were still the old one. Anyone with an eye for male pulchritude could see that Carr chose the male layers in his pop epics like Grease with homoerotic care. Yet at the same time Grease promoted an image of apple pie innocence.

That Carr thought the same sort of thing could be done with the Village People is inadvertently hilarious –especially when he surrounds his would-be stars with Valerie Perrine, June Havoc, Barbara Rush and Altovise Davis — not “love interest” just high-end “Fag Hags.” Amusing too is the way Schwarz notes the way sports star Bruce Jenner’s “masculinity” is displayed in Can’t Stop the Music.  Caitlin Jenner — the woman who Bruce would become — clearly wasn’t available to be interviewed by Schwarz.

That Carr would misread public taste as drastically as he did with Can’t Stop the Music is odd in light of his career. He successfully guided Ann-Margaret from her early Bye Bye Birdie days straight through to her splashy Vegas nightclub act and her emergence as a serious actress with Carnal Knowledge.  He also at one point or another handled the likes of Peter Sellers, Marvin Hamlisch, Tony Curtis, Dyan Cannon and Joan Rivers. This sort of savvy is why he was called in for advice on the debut of The Deer Hunter, which he cannily opened in two theaters (one in New York and one in L.A.) with special “tastemaker” screenings, then  “breaking it wide” to a raft of theaters afterwards — thus inventing what came to be known as “platform booking.”

It should not be forgotten that in his early days Carr was  responsible for the opening of the Civic Theater in Chicago, where he underwrote ”The World of Carl Sandburg,” with Bette Davis and Gary Merrill; Tyrone Guthrie’s production of ”Mary Stuart,” starring Eva Le Gallienne, and Tennessee Williams’ ”Garden District,” with Cathleen Nesbitt and Diana Barrymore. That’s quite a ways away from Where The Boys Are ’84 with Lorna Luft, Alana Stewart and the comely Russell Todd.

The simple explanation is for all his “smarts” there was an underlying level of “stupids” — especially regarding what can only be called the low end of “Camp” as reflected in his legendarily awful 1989 Oscar Telecast. Carr was enamored of “Beach Blanket Babylon” a San Francisco nightclub revue featuring “wholesome” cartoon characters involved in blackout sketches featuring giant hats depicting such sights as the Golden Gate Bridge. Carr felt he could bring this show to Oscar adding appearances by Hollywood stars of the past alongside newcomers who would be “stars of tomorrow” (eg. Rikki Lake) This was why the show featured Merv Griffin on a set reproducing Hollywood Coconut Grove nightclub signing “I’ve Got a Lovely Bunch of Coconuts” to Roy Rogers and Dale Evans, Dorothy Lamour, Cyd Charisse and other eminences of yore. Carr seemed to believe their mere presence was enough. Were this was one of Carr’s parties it would have been. But the Oscars is a show, not a soiree.

Rain Man was the Oscar winning film that night, but what everyone was talking about the next day was Carr’s show — and how awful it was. In an open letter, 17 prominent Hollywood figures, including past Academy president Gregory Peck, proclaimed the ceremony “an embarrassment to both the Academy and the entire motion picture industry. It is neither fitting nor acceptable that the best work in motion pictures be acknowledged in such a demeaning fashion.

In effect the Oscar debacle ended Carr’s career. When he died ten years later it, rather than any of his substantive achievements made the first paragraph of his obituaries.

At the end of his life Carr was utterly alone.

As one of the boytoys who was favored by him for a short while notes in the film Carr didn’t let anyone get really close to him. It’s an excess of caution common to gay men of a previous era, even though Carr with his twink orgies was going into realms the decorous wouldn’t dare to tread. He was “out there” yet the “general public” was somehow obliged to ignore all that.

In his own mind he thought of himself as a purveyor of mass entertainment for the whole family. The Village People weren’t for the whole family. They weren’t even for the whole LGBT family. That would be RuPaul’s “Drag Race.”

Something tells me Carr wouldn’t have approved of Ru. But then at heart, like so many gay men of his generation Allan Carr didn’t approve of himself either.

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Queer representation did not sit quiet at Emmy Awards

This year- 50% of the best drama series, 25% of the best comedy, & 60% of the best limited series featured LGBTQ characters or plot lines



Gay actor Murray Bartlett won Best Supporting Actor for a Limited or Anthology Series for The White Lotus (Screenshot/YouTube)

LOS ANGELES – The pandemic is over (in award show world anyway), and glitz and glamour have returned. That is the prevailing impression from this year’s 74th Annual Emmy Awards. The show was stunning and exciting from the outset, but even with the pomp and loud noise of celebration, a queer presence was not to be drowned out.

The tone of representation was launched immediately as announcer, queer comic, Sam Jay, looking sharp in her black tuxedo, took the mic. On camera even more than host Kenan Thompson, Jay was a presence and a personality and decidedly queer. If her gay power was not enough, the point was made when Thompson and out actor Boen Yang joked on stage. Thompson accused Yang of a comment being “a hate crime”, Yang retorted “Not if I do it. Then it’s representation.”

Representation was going to be made this evening. The visibility was significant considering, according to the GLAAD Where We Are on TV Report, out of 775 series regular characters only 92 are LGBTQ (less than 12 percent). That 11+ percent is a record high of LGBTQ characters in all of TV history. The record was set by an increase in lesbian, bisexual and transgender characters, but a decrease in gay male characters from the previous year.

For the Emmy nominations, 50% of the best drama series nominees, 25% of the best comedy, and 60% of the best limited series featured LGBTQ characters or plot lines. As far as queer talent, that was more sporadic, heavily slanted towards “supporting categories” and often with queer talent all in the same category against each other.

Regardless, we showed up, as did other individuals who scored recognition for their identities. Some of the key LGBTQ representative moments included:

  • Early in the show, Hannah Einbinder did a hard flirt from the stage for Zendaya, saying that she was not on the stage to present, but rather to stare at the beautiful actress.
  • Gay actor Murray Bartlett won Best Supporting Actor for a Limited or Anthology Series for The White Lotus. He thanked his partner Matt, but strangely did not mention the famous “salad scene” (Google it…)
  • The White Lotus also won the Best Limited or Anthology series category, and bisexual Mike White won Best Director for Limited Series as well. White is the son of gay clergyman, author, and activist Mel White. They appeared on the Amazing Race as a father and son team.
  • Jerrod Carmichael won the Emmy for Outstanding Writing of a Variety Special for his heartfelt Rothaniel in which he comes out as gay as part of the show. Carmichael wowed in a brilliant white, flowing fur coat over his bare medallioned chest.
  • Out actress Sarah Paulsen and Shonda Rhimes, who singlehandedly is responsible for 17% of all LGBTQ characters on TV, presented the Governors Award to Geena Davis for her organization Institute of Gender in Media.  The mission of the organization is representation of women in media. Davis stood before a video featuring various women artists including transgender actress Laverne Cox. The organization is the only public data institute to consistently analyze representations of the six major marginalized identities on screen: women; people of color; LGBTQIA+ individuals; people with disabilities; older persons (50+); and large-bodied individuals in global Film, Television, Advertising and Gaming.
  • Lizzo broke RuPaul’s streak to win Best Competition program. RuPaul showed up later in the show do present a major award anyway. Lizzo has not felt the need to label herself in the LGBTQ spectrum but has said, “When it comes to sexuality or gender, I personally don’t ascribe to just one thing. I cannot sit here right now and tell you I’m just one thing. That’s why the colors for LGBTQ+ are a rainbow! Because there’s a spectrum, and right now we try to keep it black and white. That’s just not working for me.”

Beyond the rainbow scope of queer representation, intersectional, iconic and historic representation was also on hand:

  • LGBTQ icon Jennifer Coolidge won Best Supporting Actress in a Limited or Anthology Series for The White Lotus. It was her first award win ever. Squeals of delight could be heard in space from gay Emmy watch parties. OK. I don’t know that for a fact, but I would put money on it.
  • LGBTQ icon Jean Smart won Best Actress in a Comedy Series for Hacks, a series of which its producer called about “women and queer people.”
  • Lee Jung-jae became the first South Korean actor and first Asian actor to win Outstanding Lead Actor in a Drama Series for Squid Game
  • Zendaya became the youngest person ever to win in the leading acting categories two times as she won for the second season of “Euphoria”
  • Hwang Dong-hyuk became the first South Korean to win Outstanding Directing for a Drama Series for Squid Game
  • Sheryl Lee Ralph won Outstanding Supporting Actress in a Comedy Series for Abbott Elementary becoming only the second black woman in history to win in this category after 35 years.  Jacké Harry won for 227 in 1987. “I am an endangered species,” she sang as her acceptance. “But I sing no victim’s song.”

Yes, there was a day in the not long ago past where the mention of a single same sex spouse, or a renegade pro-lgbtq comment, made our queer hearts spill over. Those days are passed. We are getting a place at the table. Representation is starting to stand up and be heard.

For those who rightfully seek it, and seek more of it, the best advice came from Sheryl Lee Ralph: “To anyone who has ever, ever had a dream, and thought your dream wasn’t, wouldn’t, couldn’t  come true, I am here to tell you that this is what believing looks like, this is what striving looks like, and don’t you ever, ever give up on you.”

Supporting Actor in a Limited or Anthology Series or Movie: 74th Emmy Awards:

Murray Bartlett accepts the Emmy for Supporting Actor in a Limited or Anthology Series or Movie for The White Lotus at the 74th Emmy Awards.
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Daisy Edgar-Jones knows why ‘the Crawdads sing’

Actress on process, perfecting a southern accent, and her queer following



Daisy Edgar-Jones as Kya Clark. (Photo courtesy Sony/Columbia)

Daisy Edgar-Jones is an actor whose career is blossoming like her namesake. In recent years, she seems to be everywhere. LGBTQ viewers may recognize Edgar-Jones from her role as Delia Rawson in the recently canceled queer HBO series “Gentleman Jack.” She also played memorable parts in a pair of popular Hulu series, “Normal People” and “Under the Banner of Heaven.” Earlier this year, Edgar-Jones was seen as Noa in the black comedy/horror flick “Fresh” alongside Sebastian Stan. 

With her new movie, “Where the Crawdads Sing” (Sony/Columbia), she officially becomes a lead actress. Based on Delia Owens’ popular book club title of the same name, the movie spans a considerable period of time, part murder mystery, part courtroom drama. She was kind enough to answer a few questions for the Blade.

BLADE: Daisy, had you read Delia Owens’s novel “Where the Crawdads Sing” before signing on to play Kya?

DAISY EDGAR-JONES: I read it during my audition process, as I was auditioning for the part. So, the two went hand in hand.

BLADE: What was it about the character of Kya that appealed to you as an actress?

EDGAR-JONES: There was so much about her that appealed to me. I think the fact that she is a very complicated woman. She’s a mixture of things. She’s gentle and she’s curious. She’s strong and she’s resilient. She felt like a real person. I love real character studies and it felt like a character I haven’t had a chance to delve into. It felt different from anyone I’ve played before. Her resilience was one that I really admired. So, I really wanted to spend some time with her.

BLADE: While Kya is in jail, accused of killing the character Chase, she is visited by a cat in her cell. Are you a cat person or do you prefer dogs?

EDGAR-JONES: I like both! I think I like the fact that dogs unconditionally love you. While a cat’s love can feel a bit conditional. I do think both are very cute. Probably, if I had to choose, it would be dogs.

BLADE: I’m a dog person, so I’m glad you said that.


BLADE: Kya lives on the marsh and spends a lot of time on and in the water. Are you a swimmer or do you prefer to be on dry land?

EDGAR-JONES: I like swimming, I do. I grew up swimming a lot. If I’m ever on holidays, I like it to be by the sea or by a nice pool.

BLADE: Kya is also a gifted artist, and it is the thing that brings her great joy. Do you draw or paint?

EDGAR-JONES: I always doodle. I’m an avid doodler. I do love to draw and paint. I loved it at school. I wouldn’t say I was anywhere near as skilled as Kya. But I do love drawing if I get the chance to do it.

BLADE: Kya was born and raised in North Carolina. What can you tell me about your process when it comes to doing a southern accent or an American accent in general?

EDGAR-JONES: It’s obviously quite different from mine. I’ve been lucky that I’ve spent a lot of time working on various accents for different parts for a few years now, so I feel like I’m developed an ear for, I guess, the difference in tone and vowel sounds [laughs]. When it came to this, it was really important to get it right, of course. Kya has a very lyrical, gentle voice, which I think that North Carolina kind of sound really helped me to access. I worked with a brilliant accent coach who helped me out and I just listened and listened.

BLADE: While I was watching “Where the Crawdads Sing” I thought about how Kya could easily be a character from the LGBTQ community because she is considered an outsider, is shunned and ridiculed, and experiences physical and emotional harm. Do you also see the parallels?

EDGAR-JONES: I certainly do. I think that aspect of being an outsider is there, and this film does a really good job of showing how important it is to be kind to everyone. I think this film celebrates the goodness you can give to each other if you choose to be kind. Yes, I definitely see the parallels.

BLADE: Do you have an awareness of an LGBTQ following for your acting career?

EDGAR-JONES: I tend to stay off social media and am honestly not really aware of who follows me, but I do really hope the projects I’ve worked on resonate with everyone.

BLADE: Are there any upcoming acting projects that you’d like to mention?

EDGAR-JONES: None that I can talk of quite yet. But there are a few things that are coming up next year, so I’m really excited.

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LA Blade Exclusive: L Morgan Lee, Broadway’s newest icon sings her truth

She is the first ever trans actress to receive a Tony Award Nomination & the first trans performer to be in a work that has won a Pulitzer



L Morgan Lee exclusively photographed by Andrey Strekoza for the Los Angeles Blade June, 2022

NEW YORK CITY – “I am just a girl,” L Morgan Lee tells me. That simple statement is her self-definition, a girl taking life one step at a time.

To the rest of us, L Morgan Lee is so much more. She is the award-winning actress starring on Broadway in the hit show of the season, A Strange Loop. Her singing talent matches that of any legendary diva, she is creating landmark theatrical projects on womanhood and New York Times articles are being written about her. She is the “girl” in the spotlight now.

She is also, the first ever transgender actor or actress to receive a Tony Award Nomination.

While she is not the first trans performer to be seen on a Broadway stage, she seems to have broken the glass (or some might say, cement) ceiling of being recognized in the upper echelon of talent. She is the first transgender performer to be in a work that has won a Pulitzer. While the Pulitzer recognizes the author, whom she was not, certainly her creative input was weaved into the final book of the play.

L Morgan has journeyed a complex path to self-awareness. “For me, even in terms of being trans, the idea of being anything outside of what I was assigned at birth was just laughable and crazy to me as a child,” she says. “It just, it made no sense. It was not something that I was comfortable saying out loud to anyone or voicing. How would I be looked at by my parents, by anyone else? So, I would sit and dream. The dreaming is, I think, what forms, much of so many queer people’s lives and experiences.   Those dreams become our lifelines. I would dream and dream. I have a memory of when I was maybe six years old, in the middle of the night, looking up at my ceiling in my bedroom. Waking up soaked with tears. Saying, if I could wake up and be a girl, a girl, everything would be okay.” She adds. “That is why I am so excited to have gotten my first opportunity to be on Broadway, excited to have gotten a Tony nomination. Because I know that there is some kid somewhere, who is also looking up at the ceiling saying that same thing.”

L Morgan’s first adventure into performing was as a kid and ironically projected her future identity fluidity: she costumed up and performed “Karma Chameleon” in nursery school. She allowed herself to explore her true identity under the guise of a Halloween costume quite a few years later. She went in fully fashion glammed drag, and it changed her world forever. “The minute I did it, I felt a jolt of energy I had never felt before. I finally felt free in so many ways. It’s as if like it’s as if I finally got to breathe.”

When she started work on A Strange Loop, she had been cast under the assumption that she was a cisgender man playing female parts. As the years of work into the play went on, L Morgan’s transgender journey escalated, and she attempted to resign from the play as she realized she was no longer the person they thought they had hired. Not only were they aware, as many close loved ones can be, of her journey, but they embraced her and assured her that she belonged more than ever.

“The characters I played allowed me to, in some ways hide until I was able to be more public about who I am. And once I did that, it certainly brought another layer of depth to what I was doing. I have been that much more comfortable in my own skin. I’ve grown. Transition has settled in more. So, both my viewpoints about the show, the people I’m playing, and my lens of life in general, has evolved through the process. So, certainly the woman I am today, views the show and the script, and the characters I play in a very different way than I did when I first sat down to do it in 2015.” 

Her growth within the show, and the growth of the show itself are intertwined. Certainly, some of the magic of the show is that it is not “performed” as much as it is lived out of the souls of the actors in it. L Morgan describes, “The experience of A Strange Loop has been beautiful, complex, layered and ever evolving, for me in particular.  Every time I’ve come back to the rehearsal room with this project, my own lens has been slightly evolved or has moved forward in some ways.”

“The piece is as strong as it is because the lens itself, the lens through which the story is told, is very specific and very honest. Inside of that specificity, there are lots of complications and layers and messy stuff. There are things that you don’t ‘talk about out loud’ taboo to discuss. There are things that people see as problematic. There are so many things inside of all of that, but it’s honest and it’s human. It is a 25-year-old, who’s about to turn 26, sort of raging through life, feeling oppressed and unseen and shouting out to find how he fits into the world. It is how he can find his truest voice in a world that doesn’t really allow him to feel like he’s enough. Because it is so specific about those things the show touches so many different people.”

L Morgan demonstrated coming out as a confident transgender actress, with her vulnerabilities unhidden, on the opening night of the play and decisions she made as she stepped into the public spotlight. “I feel a responsibility. It feels like a dream, it feels wonderful. It feels exciting. It’s like everything I’ve ever asked for but the, the most poignant feeling for me is the responsibility. How could I show up for that person that needs to find me.”

“On my opening night on Broadway, we were trying to figure out what I was going to do with dress and hair and all these things. You only get a first time once. You get your debut one time. So how do I make the most of this moment? I felt raw and excited. I needed to show like the most honest and clear-cut version of me I could. I needed to show my shaved head because that’s something that’s important to me. It’s something, I almost never show. I stepped out revealed, exposed and vulnerable on the very public red carpet, speaking to cameras with my buzzed head. Our relationship with hair runs very deep, especially for trans people, and there was something about it, that just felt like, I needed to do it. That kid somewhere under the covers needs to see this trans woman who is in her Broadway debut and she’s in a pretty dress and she has a shaved head, and she seems like she’s comfortable. Then when you hear her talking about it, you hear about her vulnerability and hear that she felt nervous, and you hear that she was dealing with dysphoria and she was dealing with confidence and she was dealing with all these things that we attached to our hair and she reveals those things. Not only because they’re true but because when we reveal Our Truth, our humanness, there is universality there. There is connection inside of our vulnerability.”

While the Tony nomination escalates her Broadway experience, L Morgan does not lose sight of her mortal existence. “On the day that the Tony nominations happened, I fell apart, completely losing it in my bedroom. Then I realized, I still needed to get a couch, and clean up the apartment. I still feel regular. It’s been a wild dream and at the same time, your real life just keeps on going. I am just trying to put one foot in front of the other.”

On the night of the Tonys. L Morgan will be up against some heavy hitters. Not the least of these is Broadway Legend Patty LuPone. L Morgan is ok with that. Her dream has been to see her face in one of the camera boxes on television of the nominee hopefuls.  

“The biggest reason I do, what I do is one because I love storytelling. My experience is black, my experience is trans, but I’m just, I’m just a woman. I am a woman who had a trans experience. That’s my story. I know that somewhere there’s s a kid, as I have said, who is just like I was. It is extremely important for me to make that kid proud and make that kid feel seen and make that kid know that it’s possible.” 

“I want that kid to be able to know that most importantly, they already are who they are dreaming to be. The world is telling you something different, but you know who you are. There’s nothing wrong with you, there is nothing wrong with us. The world has never told us that we were an option.”  

“That kid needs to find my story. They need to know that we exist. It is the reason it took me so long to be public about things and to start speaking, because I wasn’t seeing enough examples. There’s a quote, ‘she needed a hero, so that’s what she became.’ I really live by that.”

She needed to see a transwoman Tony Nominee. So that’s what she became.

When they call the winner on Tony Night, it will be between a Broadway legend and Broadway’s newest icon.

However it goes, another ceiling has been broken forever, and somewhere a trans girl in hiding will realize her dream too can come true.


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