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Underage gender identity is a family matter in ‘A Kid Like Jake’

It’s no longer safe to assume this show will be welcomed with open arms

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Kid Like Jake review, gay news, Washington Blade

‘A Kid Like Jake’ continues its Pasadena Playhouse run through Nov. 3. (Photo by Adam Shapiro)

When Daniel Pearle’s “A Kid Like Jake” was first performed in 2013, the world was a very different place.

Early in the second term of the Obama administration, the play – about two young Brooklyn parents grappling with the possibility that their 4-year-old son’s fondness for playing dress-up might be an early attempt at alternative gender expression – was met by a progressive and open-minded cultural climate that was ready and willing to welcome it into the growing public conversation about gender identity.

Nevertheless, six years after its debut, as Pearle’s re-tooled version is poised to make its West Coast premiere in an IAMA Theatre Company guest production at the Pasadena Playhouse, it’s no longer safe to assume the show will be welcomed with open arms.

That’s not because understanding about gender dysphoria has evolved, although it certainly has; the playwright himself has commented that when he first wrote the script, “it was before ‘Transparent,’ before Caitlyn Jenner and Laverne Cox, before ‘gender expansiveness’ was part of our cultural lexicon.” The changing landscape around the subject, however, was always part of the dynamic that made the play tick, and the rewrites undertaken by Pearle after his work on the film version (which debuted at Sundance in 2018 and went on to a limited theatrical run) presumably bring the conversation up to date for a new production.

What makes its reception an uncertain proposition is the shift that in the culture since 2016, the regressive backlash from conservatives that has reminded us that the struggle for LGBTQ acceptance – especially with regard to trans and other gender non-conforming individuals – is a long way from being over.

Discussion about the issue becomes particularly virulent when it relates, as it does in Pearle’s play, to someone who is underage.

Consider, for example, the case of Desmond Napoles, better known as “Desmond Is Amazing,” the now-11-year-old drag performer who has been in the public eye since an appearance at 6 in a Jinkx Monsoon music video. Identifying as gay and genderfluid, Desmond has gone beyond the fame of his popular Instagram presence and his public performances to become a widely recognized advocate and spokesperson for LGBTQ issues. Yet he has also been met with criticism from social conservatives, who claim that his supportive parents are “sexualizing and exploiting” a minor. Social media is rife with other such cases, where online bullying and even death threats are a daily occurrence, arising from the kind of outdated thinking that conflates gender identity with sexuality, and being queer with pedophilia.

With that kind of heated tempest as part of the social backdrop, it’s easy to imagine that “A Kid Like Jake,” might be returning into a political firestorm of its own. Yet according to director Jennifer Chambers, speaking to the Blade in advance of the show’s October 3 opening, it’s a play that slips past the political to focus on the personal.

“The play is about Jake, but it’s also not,” she explains. “We never see Jake, at all. He’s talked about, but he never appears onstage as an actual character. It’s about his parents, and how they work out where they are with their son.”

She elaborates. “They are considering getting him into special programs for kindergarten, and as they’re going through the school application process, things start being revealed about who he is, or who he might be. It becomes a discovery about gender identity, and how as parents… when you think things are one way, and your child is finding their own self and their own voice… how as parents, you navigate that. And then when that hits upon your old belief systems, your old ways of thinking, how that affects your relationship with your son, and your marriage, and how you navigate through that.”

Reflecting on how the play handles the situation, Chambers adds, “I think these parents really begin from a place of ‘we’re doing absolutely the best things for our son, we know what’s best for our kid and we’re making exactly the right decisions for him’ – and then as things progress, as things get to revealed, that gets called into question. There are the older blind spots, and biases – fears, really – about who your kid is, or might be, and about how because of it he… or she or they… is not safe. You want to protect your kid, but you also need to allow my kid to be who they are. It’s really all about the parents’ journey, and how they open up and fall apart and get put back together inside of that conversation.”

As for many of the hot button-issues surrounding young people who grapple with their gender identity – the prejudice, the bullying, the sexualization – the director says the play doesn’t really go there. “We do touch on a few of those boundaries, of where, inside of our biases, we might go; Alex, the mom, out of her own fear, out of her sense of feeling the ground being pulled out from under her feet – there’s a time when she says things that, if she were thinking and were not fueled by that fear, she would absolutely never say. It touches into that – but otherwise no, it’s very much contained inside the family, and inside of the process of just applying to kindergarten.”

By keeping the focus squarely on the people directly involved in the process of discovery depicted in the play, “Jake” keeps the situation free from the complications imposed by a larger world, allowing its characters to explore the limits of their own boundaries – a process that is complicated enough on its own. It’s this breaking down of what has become a public issue into the private, the setting of the conflict in an intimate arena instead of a social one, that made Chambers – who is herself the mother of two children, seven and nine – want to jump at the chance to direct this new production.

“More than anything I really love Daniel’s writing,” she says, “I love his rhythms, I love his humor. But also, I’m a parent, myself, and my kids are growing. It’s a process – how you support your kids, when they’re your babies and they’re so much a part of who you are, and then they grow and they differentiate. It’s brutal, and it’s beautiful, and it’s heartbreaking – and I don’t think there’s an easy way to navigate it, as they become their own self. The essence of that is what hooked me into this and what keeps pushing me. It’s so simple and so complicated at the same time, which is what is so exciting to me.”

Given the involvement of a director with such a deeply felt personal connection to the material, working with a talented cast that includes Sharon Lawrence, Olivia Liang, Tim Peper, Sarah Utterback, “A Kid Like Jake,” is likely to carry much of that excitement to LA audiences as it continues its Pasadena Playhouse run through Nov. 3.

For performance schedule and tickets, visit iamatheatre.com.

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Broadway gathers to honor Sondheim in Times Square

They were gathered to pay homage to legendary Tony, Academy Award, and Grammy Award-winning composer and lyricist Stephen Sondheim

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Broadway gathers to honor Stephen Sondheim (Screenshot via YouTube)

NEW YORK – Light snow flurries swirled around the stars of theatre and stage of New York City’s ‘Great White Way’ as they gathered Sunday in Times Square- members of every Broadway company assembled singing in a powerful chorus “Sunday,” the powerfully emotional act one finale to “Sunday in the Park with George.”

They were gathered to pay homage to legendary Tony, Academy Award, and Grammy Award-winning composer and lyricist Stephen Sondheim. That piece being performed had garnered Sondheim a Pulitzer Prize for Drama in 1985.

Broadway’s best were joined by Lin-Manuel Miranda, Sara Bareilles, Josh Groban, Kathryn Gallagher and Lauren Patton at ‘Sunday’ Performance in Times Square.

The man who was heralded as Broadway and theater’s most revered and influential composer-lyricist of the last half of the 20th century died at 91 Friday at his home in Roxbury, Connecticut.

“This felt like church,” Bareilles told Variety after the performance on Sunday. “In his remembrance, we did what theater does best. We sang and raised our voices and came together in community.” 

Variety also noted that during the celebration, Miranda offered a sermon of sorts. Foregoing a speech, he opened Sondheim’s “Look I Made A Hat,” an annotated anthology of the composer’s lyrics, and read from a few passages before the crowd.

“Sunday” from Sunday in the Park with George memorial for Stephen Sondheim

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Words never fail in MacIvor double bill by Open Fist Theatre

The playwright offers a contemplation of life and death, experience & memory, honesty & deceit, that make up human existence

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Schuyler Mastain, David Shofner, and Scott Roberts in THE SOLDIER DREAMS (Photo Credit: Frank Ishman)

LOS ANGELES – There has long been debate among theatrical scholars about whether going to a play has been traditionally considered an auditory or a visual experience.

The argument goes that, before the advent of modern technology which enabled cinema and other forms of filmed entertainment, the theatre was a place where sound was the primary vehicle by which an audience’s imagination could be transported out of the here and now, and that visual elements such as costumes, props, or mechanical stagecraft were secondary factors meant to reinforce and enhance the effect; for evidence of this, many point to Shakespeare, who in “Hamlet” had his lead character say “we’ll hear a play” (a phrase which was subsequently long-used preferentially by many theatre-goers in his homeland) and whose works are still renowned five-and-a-half centuries later for their masterful use of language to accomplish… well, pretty much everything required, from setting the scene and telling the story to exploring the deepest nooks and crannies of the human psyche.

Though the whole question might seem a bit pedantic in today’s world, it certainly touches on a major difference between the way we experience live theatre and the way we experience a film or television show, one which hinges on the main route these related-but-separate art forms take – through the ears or through the eyes – in transmitting information to the human brain. And if you want a good example of what a difference that difference makes, you couldn’t find a much better illustration than the plays of Candadian wordsmith Daniel MacIvor – two of which are currently being performed by the Open Fist Theatre Company at Atwater Village Theatre.

MacIvor, who is known also as a filmmaker and actor, garnered acclaim in the 1980s and 1990s for a series of plays, crafted in a minimalist style and reliant on an intricately constructed tapestry of words to convey situation, narrative, and intent. Standard conceits of theatrical storytelling, such as a linear flow or the assumption of a fourth wall, are often jettisoned in these works, which invite comparisons to absurdists like Beckett and Pinter and challenge audiences to connect the dots as they go in order to decipher meaning. 

Two of these pieces, both directed with a confident hand by Open Fist’s associate artistic director Amanda Weir, are paired by Open Fist into a brisk and engrossing double bill which leans hard into the award-winning playwright’s unique, meta-theatrical approach to maximum advantage.

The shorter of the two works, “Never Swim Alone,” is the more directly abstract. Taking place on stage that is bare save for a lifeguard stand and two chairs, it presents a ruthless competition of one-upmanship between two men, Frank and Bill (Bryan Bertone and Dylan Maddalena), who demonstrate an escalating series of scenarios under the watchful eye of “The Referee” (Emma Bruno) – a young woman with a secret connection to the boys these men used to be. Slyly witty and unexpectedly suspenseful, it examines the competitive machismo hidden beneath the slick and stylish suits of these two “Type A” businessmen with a dark and scathing sense of humor, as it slowly draws a connection between their never-ending battle for supremacy and the deep trauma of a shared childhood experience.

Originally produced in 1991, the roughly 30-minute exercise taps into the rich vein of toxic masculinity in order to make its points about the deep-seated fears and insecurities that drive so much of what our culture has long accepted as “typical” male behavior, with the two men vying for “points” against each other – awarded, of course, by the female referee, who holds absolute and irrefutable power in the game despite the clear lack of regard with which each of the participants reveals themselves to hold women in general.

It’s unapologetically clever and disarmingly comedic, reveling in its theatricality and its tactics as it explores the men’s rivalry and breaks each confrontation down into the all-too-familiar clichés in which they are mired. The elegant simplicity of its construction, which distills a far-reaching and deep-rooted phenomenon into clear and concise shapshots of social dysfunction, feels as effective today as it surely did over two decades ago.

From a 2021 perspective, however, the subject matter no longer seems as fresh. In the last few years (especially since the “Me Too” movement), the topic of bad male behavior has been rehearsed so frequently, and in so many different and brilliant ways, that many audiences may find themselves getting ahead of the play’s revelations before they fully land, and the conceit which ties the whole thing together – which we’ll not reveal here – may ultimately strike some viewers as too pat an explanation for what makes these men (and presumably, somehow by extension, all of them) tick.

Nevertheless, MacIvor’s wordplay never fails to be crisp and exciting as it trips from the talented tongues of the players (especially the charismatic Bertone and the sublimely expressive Maddalena, who take on the lion’s share of the work), and those who enjoy watching skillful actors engaged in an exercise of their craft are bound to find the pleasures of doing so more than enough to make up for the familiarity of the themes being explored.

More satisfying from a narrative standpoint, and more engaging on an emotional level, is “The Soldier Dreams,” which MacIvor – who is gay – wrote in 1998 as a response to the AIDS crisis. Again, the setting is sparse, suggesting an empty nightclub with a single bed, occupied by an ailing man, facing upstage in the center.

The man is David (David Shofner), who is in the process of dying as his lover Richard (Conor Lane) and dysfunctional family spar with each other over his comatose form, each clinging to their own perceived special relationship with him and examining their memories to find an answer to the lingering mysteries about his life. Meanwhile, David himself is revisiting a secret memory, from years before, involving a one-night stand with a German student (Schuyler Mastain) that may or may not have led to something more important to him than any of the people standing around his soon-to-be deathbed.

Here, the same linguistic tricks used by MacIvor to form the intellectual exercise of “Swim” are employed to illuminate the web of human relationships at the center of a bittersweet story; as a result, they strike us with deeper resonance and more urgency than in the other piece.

Through the myriad pathways of language, the playwright offers a contemplation of life and death, experience and memory, honesty and deceit, and a host of other dualities that make up human existence. There’s sharp humor and cutting observation along the way, along with a fair amount of painful and hard-to-watch bitterness, but it’s all tempered with compassion and the three-dimensional layers revealed by each character as we go, and in the end, we are left in a place of hope – or, at least, of acceptance. And making it all come together, a talented cast succeeds in the essential task of breathing life into MacIvor’s words, with Shofner, Lane, and Mastain as standouts among a solid and capable ensemble.

The two complementary plays continue their run at Atwater Village Theatre through December 12. Check the Open Fist website for performance dates and times.

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Theater

L.A.’s most iconic theater legacy & its most intriguing future

It stands not only proud in its contribution to the artistic past, but as a beacon to the magnificence that theater is yet to become

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Courtesy of The Montalbán Theater, Hollywood, California

HOLLYWOOD – If one follows the paths of legends of Hollywood, breathing in the air of the greats from the myths and truths of movie industry lore, it is difficult not arriving at the corner of Hollywood and Vine. It is here that the historic pulse seems to emanate beneath the magic.

It is also here that feet away, and part of that pulse, is one of the oldest theaters in Los Angeles. It is one that stands not only proud in its contribution to the artistic past, but as a beacon to the magnificence that theater is yet to become. That theater is The Montalbán.

The Montalbán is the most recent, and likely forever permanent name to a theater that has evolved and fought for its place in the theatrical history books.  It was originally envisioned in drawings done in 1925.

As the brainchild of the famous Wilkes Brothers, its beginnings were notorious. The Wilkes Family was the foremost theater family in the United States at the time. The brothers were the grand nephews of the Lincoln assassin John Wilkes Booth who emerged from a play on stage one fateful night, to shoot the president.

The brothers fought with Paramount on the location of their new theater, and while they won that battle, they were to lose a later one when one of the brothers was criminalized for racketeering and money laundering to the tune of 12.5 million dollars.

In any case, theater landscape of Los Angeles was forever affected by the presence of the Wilkes Brothers Vine Street Theater.

Wilkes Vine St. Theatre as it appeared in 1928
(Photo Credit: Los Angeles Public Library Collections)

Years later it would become the Huntington Hartford, then the James Doolittle.  UCLA bought it then to use as a theatrical annex while its theater department on the Westwood campus was re-tooled. During that timespan, the theater saw many incredible pre- and post-Broadway productions represented for Los Angeles audiences.

Meanwhile, another legacy was being formed in Hollywood.  A young debonair Latin actor was making his way through the ranks of Hollywood, at MGM studios and on Broadway.  His name was Ricardo Montalbán. Through roles as the fantasy giving Mr. Rourke of Fantasy Island, the wrathful Khan of Start Trek fame and the uber-classy spokesperson for the elegant Chrysler for many years, Ricardo not only broke stereotypes of Latino men, but became ever enshrined as a unique icon himself.

He was dignity and grace, the ideal vision of a “gentleman.” Behind the scenes, he was more of a renegade and a cultural hero.  He fought Hollywood’s cliché depictions of Mexicans.  He was told Latinos in movies were to be “colorful characters.”  He fought back and was black-listed. He retreated to Broadway where he starred on stage with Lena Horne, and down the street from Sammy Davis Jr.  They each brought inter-racial relationships to the stage in the various productions—all challenging the status quo and sensibilities of the day.

In 1970, Montalbán would found the organization Nosotros, which today has become the oldest Latino arts advocacy organization. He held a lifelong vision to give Latino artists a path towards success and authentic representative careers in film, theater and television.

Friends with the then Chancellor of UCLA, Ricardo was given the opportunity to take over the former Wilkes Brothers/Huntington Hartford/ Doolittle theater—and he went for it.

Ricardo Montalbán died in 2009.  Today, he would be 101.

His legacy is as alive as ever, carried on by two men who each in his own way, embodies the Montalbán heritage.  The first of these men is Gilbert Smith, who came to Ricardo through a Hollywood-esque type love story.

Screenshot of Gil Smith and Jay North
1959 Dennis the Menace Episode: Dennis Goes to the Movies

Gilbert had been a child actor and seen on such shows as Dennis the Menace.  Acting was not his thing, however, even though he hung out on the movie lot with the likes of Jay North, Billy Mumy, Ron Howard and others.  He found himself enamored with the magic of visual arts instead.  As a young man he jumped into various image projects looking for opportunities to create. He was doing a shoot with a lovely model named Anita, and together they began brainstorming on a fashion layout for a client.  The photo layout did not work out, but the collaboration sure did. They became inseparable to this day. “She has been my life long partner in business, in love, in passion and in art,“ Gilbert told me.

Anita, is the daughter of Ricardo Montalbán.  

Ricardo became Gilbert’s true father figure.  Years later, as Ricardo was stepping away from the theater’s leadership, the Artistic Director Margarita Martinez-Cannon brought Gilbert on to represent him.  She felt the board needed to have the Montalbán family involved. 

He is now the theater’s CEO.

Margarita also brought on another gentleman, who would soon become her successor to run operations, Ricardo Ortiz-Baretto.  Ricardo had been named after Ricardo Montalbán. “My mom named all of us after the biggest Latino celebrities of the day. It was a spiritual kismet that I came to this theater to carry on his legacy,” Ricardo says.

Gilbert has been a mastermind of innovation, visual presentation and technique.  The theater has been remodeled from bottom to rooftop in a creative and flexible space.  The orchestra level of the audience has been built out so that it is level to the stage—giving the opportunity for both Covid-regulated distancing or avantgarde theatrical presentations. 

Ricardo, who moved back to Los Angeles after he and his husband raised four sons, has worked to bring in diverse and creative productions to live up to the legacy and vision that Ricardo Montalbán established. Besides Latino and Black theatrical troupes, the theater has been involved in various charities from AIDS to fostercare.

“Gilbert’s vision is huge, and a lot of what we are now being able to bring into the theater is because he is willing to take a chance,” Ricardo said. “He has the dedication to Ricardo’s vision, that it is realized. Theater in LA will bounce back from the pandemic shutdown.  There is a lot of good theater in LA. That will never go away—it is why people are here in LA.”

The current production, Rooftop Screams, is on the Montalbán’s rooftop oasis. The rooftop venue is outfitted with a bar, concession stand, and kitchen, providing an open-air movie theater complete with a large projection screen, state-of-the-art projector, noise-canceling headphones, and fresh popcorn.  

Rooftop Screams includes wickedly scary and horrifically spooky films from the past 50 years.  It started Friday, October 1, 2021 with the 1996 American satirical slasher Scream, directed by Wes Craven. Other fan-favorites this month: The Shining, Friday the 13th, The Exorcist, It, Hocus Pocus, Beetlejuice, and Pan’s Labyrinth. There will be a double-feature presented on October 31st with The Nightmare Before Christmas followed by The Rocky Horror Picture Show.  The program includes live interactions with many of the movies’ stars and dignitaries appearing on Zoom, and in person.

There will be weekend programs non-stop throughout the holiday season.  As the pandemic restrictions continue to fall away, the Montalbán Theater is locked and loaded.  “We have a number of productions that are just waiting for us to say ‘go’.” Ricardo Ortiz-Baretto promises. 

In 1993 Ricardo Montalbán won the SAG Lifetime Achievement Award.  In his speech, he teased about about his name.  His son-in-law Gilbert sat in the audience with his daughter Anita and Ricardo remarked,  “I would like to thank my wonderful daughter Anita, to whom I gave a glorious name, Anita Montalbán … but she got married. And now she is … Anita Smith.”

Anthony Quinn with fellow actor Ricardo Montalban (Photo credit: Courtesy of the Screen Actors Guild)

Fear not Ricardo.  Your glorious name lives. Fear not to the artists of color seeking to achieve greatness.  Your legacy will go on forever, as permanent to Hollywood as the famous sign in the hills, thanks to a man named Ricardo, and a man named Smith.

And the theater forever named The Montalbán.

********************

Listen to the complete interview on Rated LGBT Radio with Rob Watson:

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