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Geffen actress connects with hidden queer history in swashbuckling ‘Revenge Song’

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Margaret Odette stars as Julie d’Aubigny, a real-life 17th-Century Frenchwoman who defied gender boundaries, in the Geffen Playhouse production of “Revenge Song: A Vampire Cowboys Creation” (Photo Credit: Jeff Lorch)

Vampire Cowboys have taken up residence in the Geffen Playhouse, and they’re inviting you to come and pay them a visit.

Before anyone becomes alarmed, rest assured that statement is not nearly as frightening as it sounds. Vampire Cowboys are an OBIE Award-winning theatre company that is about to take the stage in the Gil Cates Theater with their newest creation, a work commissioned by the Geffen from their co-artistic director, Qui Nguyen – who is also a lauded playwright (his “Soul Samurai” was a GLAAD Media Award nominee) and TV/Film writer.

The latest work from Nguyen and his troupe is titled “Revenge Song: A Vampire Cowboys Creation,” and it tells the story of Julie d’Aubigny, a real-life 17th century Frenchwoman who became a scandalous and legendary figure as a cross-dressing swordswoman and opera singer after spending her youth in the court of King Louis XIV, where she had been a concubine from the age of 13.

The company, which rose to New York success as purveyors of “Geek Theatre,” is known for a  trademark mélange of fiercely theatrical elements, blending drama, humor, music, and action, as well as for its dedication to diversity in its casting; the new production is no exception, promising in its press release to turn this historical fantasia into “a hilarious, historical comedy with hip hop, rock and epic fight scenes.”

Actress Margaret Odette, who plays Julie, spoke to the Blade about her role, the show, and what it’s like to be a Vampire Cowboy.

Our conversation is below:

 

Los Angeles Blade: Let’s start with your character. What can you tell us about Julie d’Aubigny?

Margaret Odette: She’s kind of difficult to describe because her life was so vast and so different from a lot of women existing in her time – and I’m sure from a lot of women existing today.

Blade: History doesn’t tell us much about her beyond the basic facts of her life.

Odette: History is very patriarchal, in its reporting, so unless you are royalty or you had some kind of political activism within your lineage, as a woman, you just fade into the abyss – but that’s what’s so exciting about getting to portray her, and about getting to bring her into people’s consciousness. [Laughing] Even though, in our production, we are exploding the information we have about her into a Vampire Cowboys aesthetic.

Blade: From what we do know, it seems that she lived what from our modern perspective looks like a queer life.

Odette: I’m not clear on what language existed around gender expression and sexual identity in 17th-Century France – certainly it was not as comprehensive and expansive as we have today. I’m not sure that Julie would identify [as queer] back then, but I think in today’s terms, she would certainly be along the spectrum of gender expression, and sexuality expression as well. It’s so exciting to learn about someone like this, from this time, because we think the struggle for sexual and gender identity is a modern experience – but it’s as old as socialized human existence, and it’s been swept into the closet… for lack of a better expression.

Blade: Her story also resonates with the struggle for women’s rights. Wasn’t she essentially sold by her father as a concubine to a count?

Odette: That becomes the driving force behind what she wants, throughout our tale. It’s in the journey to this revenge, against this person who committed this cardinal sin against her, that she encounters people that expand her notions of what love and intimacy can be. And she gets to kick a lot of ass.

What’s wonderful about working with Vampire Cowboys is that all of their projects put women at the forefront of the narrative, and put people of color in roles that may not have historically been a person of color – and they are not the ‘sidekicks,’ they are always the heroes, not just of their own lives but of the universe within the play. In my experience as an actress of color, that’s really still quite rare.

It’s exciting to get to share this with audiences, and have them see multiple bodies of color playing out heroic figures on stage – and having just a kick-ass time, you know? Just having fun on stage.

Blade: Vampire Cowboys is also known for taking a blockbuster approach to theatre, right? Mixing singing, dancing, action, drama – kind of an entertainment spectacular?

Odette: At the core we’re really all a bunch of nerds in this company – we grew up loving comic books, and watching action movies, loving things that we could only experience on those pages or on the silver screen. And we love juxtaposing really high octane, funny moments right up against moments where it’s just the characters, on a deep level. You get a nuanced emotional landscape out of these plays.

What’s so fun about these plays is that because of all these stage elements that we bring to it, you’re truly getting an experience you can only have live, it’s like you’re seeing a movie, in live action, in front of you.

In this show, we use all those big elements to get Julie to that core enemy that she’s had since she was a kid. And you’ll have to come see to find out how she handles that in the end.

Blade: In playing Julie, was there a personal connection that helped you find her journey?

Odette: What excites me about getting to inhabit her is how universal the experience of being an outsider is – the feeling of not fitting, especially as a woman of color in an industry that is still dominantly white, cisgender, heteronormative, and male. It’s a space where I often feel like I am “the only,” or one of the “very few,” and it sometimes seems like something that just isn’t built for me.

Julie created spaces for herself everywhere she went – she had to in order to survive, and to thrive as the person she continually discovered herself to be. I find a lot of parallel to that in my life – with her fighting her way in and thriving in that space, with the support of her colleagues.

Blade: Is that where you are now?

Odette: I feel completely on the path that I’m meant to be on, as an artist, in my life, and I love using the opportunities that I have to bring more artists of marginalized experience into this world that is so enjoyable and so fulfilling for me.

Blade: What do you hope the audience will get out of “Revenge Song,” besides a swashbuckling good time?

Odette: Hopefully they are not just entertained, but really excited to see more stories about women that come from the vast canon of historical experience. I hope it inspires people, not just audiences, but other artists and writers, to think about incorporating more women characters that expand our notion of what historical women were like.

And it’s really fun to watch women kicking ass onstage!

 

“Revenge Song” runs February 14 – March 8 at the Geffen Playhouse. For schedule and tickets, visit their website.

 

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For better and for worse, Oscar makes history again

The biggest queer moment of the night was Ariana DeBose’s historic win as the first out woman to win the Oscar for Best Supporting Actress

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Jessica Chastain accepts the Oscar for Lead Actress (Screenshot/ABC)

HOLLYWOOD – By the time you read this, the biggest moment from this year’s Oscars will already be old news – but before we can move on to a discussion of what the wins and losses reveal about the state of LGBTQ+ representation, inclusion, and acceptance in the Hollywood film industry, we have to talk about it anyway.

When Will Smith stepped up onto that stage at the Dolby Theatre to physically assault Chris Rock – a professional comedian, doing the job he was hired to do in good faith that he would be safe from bodily harm while doing it – for making an admittedly cheap and not-very-funny joke, it was a moment of instant Oscar history that overshadowed everything else about the evening.

There’s been enough discussion about the incident that we don’t need to take up space for it here – tempting as it may be – other than to assert a firm belief that violence is never a good way to express one’s disapproval of a joke, especially during a live broadcast that is being seen by literally millions of people.

Smith, whether or not he deserved his win for Best Actor, succeeded only in making sure his achievement – which could have been a triumphant and historic moment for Black representation in Hollywood, not to mention an honorable cap for his own long and inspiring career – will be forever marred, and the palpably insincere non-apology that replaced what could otherwise have been his acceptance speech was only a textbook example of putting out fire with gasoline.

Yet that polarizing display also allows us a springboard into the much-more-important subject of queer visibility in the movies, thanks to another Smith-centered controversy (and there have been so many, really) from the early days of his career that sheds a lot of light on the homophobic attitudes of an industry almost as famous as playing to both sides of the fence as it is for the art it produces. 

Back in 1993, riding his success as a hip-hop artist-turned actor and springboarding from his “Fresh Prince of Bel-Air” fame into a movie career, Smith appeared in the film adaptation of John Guare’s critically-acclaimed play “Six Degrees of Separation,” playing a young con artist who preys on a wealthy Manhattan couple (played by Donald Sutherland and Stockard Channing), convincing them to give them money and even move into their home before they eventually discover the truth after coming home to find him in bed with a male hustler.

Unsurprisingly (it was 1993, after all), some of the play’s homosexual content was “softened” for the film version, but Smith was still called upon to perform in a scene depicting a kiss between himself and co-star Anthony Michael Hall. After initially agreeing, he abruptly changed his mind (due to advice from friend-and-mentor Denzel Washington, who warned him that kissing a man onscreen could negatively impact his future career) and refused to do the kiss, necessitating the use of camera trickery to accomplish the scene.

Decades later, Smith expressed regret at the choice, saying it was “immature” and that he should have gone ahead with the kiss – but the story nevertheless provides some insight about the pressure placed on actors in Hollywood to appear heterosexual for their audiences, no matter what.

Despite advancements, that pressure continues today – and Smith, whose unorthodox and publicly rocky marriage already has put him under an arguably unfair microscope, has also been alleged (most notoriously by trans actress Alexis Arquette, who made controversial comments about the couple shortly before her death in 2016) to be participating in a sham marriage in an effort to conceal both his own and his wife’s queer sexuality, may well have been feeling it when he was moved to assert his masculinity at the Academy Awards.

True or not, such rumors still have the potential for ruining careers in Hollywood; and while it may be a facile oversimplification to assume that homophobia was behind Smith’s ill-advised breach of decorum, it’s nevertheless a topic that goes straight to the heart of why the Academy, even in 2022, has such an abysmal track record for rewarding – or even including – openly queer actors on Oscar night.

Granted, things have improved, at least in terms of allowing queerness to be on display at the ceremony. On Sunday night, out Best Actress nominee Kristen Stewart attended with her fiancée, Dylan Miller, with the couple sharing a public kiss on the red carpet as they arrived for the festivities; the trio of female hosts – which included out woman of color Wanda Sikes alongside fellow comedians Amy Schumer and Regina Hall – called out Florida’s “Don’t Say Gay” bill with a defiant joke during their opening presentation.

Jessica Chastain – who won Best Actress for playing unlikely LGBTQ ally and AIDS advocate Tammy Faye Baker in “The Eyes of Tammy Faye” – made an emotional speech decrying anti-LGBTQ legislation and advocating for all people to be “accepted for who we are, accepted for who we love, and to live a life without the fear of violence or terror.”

Numerous participants in the evening, whether male or female, queer or straight, took the opportunity to push gender boundaries with their couture for the evening (thanks for that, Timothée Chalamet). Elliot Page, joining Jennifer Garner and JK Simmons for a “Juno” reunion, became the first trans man to be a presenter at the Academy Awards. Finally, two beloved queer icons shared the stage for the evening’s finale, as Lady Gaga was joined by wheelchair-bound Liza Minnelli, frail but full of obvious joy at being there, to present the award for Best Picture.

The biggest queer moment of the night, of course, was also one of the first: Ariana DeBose’s historic win as the first out woman to win the Oscar for Best Supporting Actress. Accepting the award (for which she was considered by far the front-runner), De Bose proudly highlighted her queerness alongside her other intersecting identities, saying “You see an openly queer woman of color, an Afro-Latina, who found her strength and life through art. And that is, I think, what we’re here to celebrate.”

The evening’s other queer nominees did not fare so well. “Flee,” the Danish documentary about a gay Afghan refugee’s escape from his homeland as a teen, made history by scoring triple nominations as Best Documentary Feature, Best International Feature, and Best Animated Feature, but it went home empty-handed. Stewart – the only other openly queer acting nominee – lost to Chastain for Best Actress, and the divisive but queer-themed “Power of the Dog” lost its bid for Best Picture to “CODA,” as well as all of its multiple acting nominations – though its director, Jane Campion, already the first woman to be nominated twice for the Best Director Prize, became the third woman to actually win it.

Of course, the Oscar, like any other award, should be bestowed upon the most deserving nominee regardless of sexuality, gender, or any other “identity” status, and it seems unreasonable to expect all the queer nominees to win – though some might feel a little reparative favoritism wouldn’t necessarily be a bad thing when it comes to balancing the scales. Even so, nobody has a chance to win if they’re not even nominated, and that’s where Oscar has repeatedly and persistently fallen short.

According to a recent report from Professor Russell Robinson, Faculty Director of Berkeley Law’s Center on Race, Sexuality & Culture, analysis of more than half a century of Academy Award acting nominations reveals that out of 68 nominations (and 14 wins) for performers playing LGBTQ roles, only two nominees – neither of whom went on to win – were LGBTQ-identified in real life.

While actors like Tom Hanks (“Philadelphia”), Sean Penn (“Milk”), Penélope Cruz (“Parallel Mothers” and “Vicky Cristina Barcelona”), and the late William Hurt (“Kiss of the Spider Woman”) garnered career-boosting acclaim along with their Oscars for playing queer characters, there are no equivalent success stories for queer actors playing straight roles – indeed, only eight openly queer performers have gotten a nomination for ANY role, queer or otherwise, in the entire history of the Oscars, and no transgender performers have ever received one at all.

While one might believe statistics like this are at least beginning to change, bear in mind that both of Benedict Cumberbatch’s two Oscar nods so far were for playing gay men, including this year’s “Power of the Dog” (the first was for playing real-life queer hero Alan Turing in “The Imitation Game”).

The topic of whether straight actors playing queer characters is appropriate at all is of course a hotly-debated one, with reasonable arguments – and queer voices in support of them – on both sides. We won’t attempt an in-depth examination of that issue here, but what is obvious even without the above statistics is that the Academy – or rather, looking at it from a wider scope, Hollywood itself – has a deeply-ingrained prejudice against queerness, regardless of how loudly it proclaims itself to be an ally.

Yes, progress has undeniably been achieved, especially within the last few years; the strong showing of films like “Moonlight,” “Call Me By Your Name,” “Bohemian Rhapsody,” and other LGBTQ-oriented titles on recent Oscar nights has gone neither unnoticed nor unappreciated.

Yet the Academy – as well as the industry it represents – has a pattern of responding to criticism over its inclusiveness in half-measures. It takes more than a hashtag to end sexual harassment of women in the workplace, no matter how many times it’s flashed on the screen during an awards show, and it takes more than a token nomination every few years to give an underrepresented population a fair place at the table, too.

This year’s ceremony was not without its missteps. The choice to bump awards from the broadcast for time while simultaneously devoting minutes to a James Bond tribute or a performance of a song (“We Don’t Talk About Bruno” from Disney’s “Encanto”) that wasn’t even nominated; accompanying the annual “In Memoriam” tribute to the year’s dearly departed with a choreographed dance and vocal performance; the insensitivity of rushing some winners (like “Drive My Car” director Ryusuke Hamaguchi, accepting when his film won for Best International Feature) to finish their speeches while letting others continue uninterrupted; these and other ill-considered decisions had already blemished the show before “the slap heard ‘round the world” ever happened.

Nevertheless, this Oscar show felt more authentic than many in recent memory. There was a raw, unpredictable quality to it, perhaps rooted in the Academy’s controversial choice to relegate several “lesser” awards to a pre-show presentation, that manifested itself in the uncomfortable response of the audience to the often sharp humor of hostesses Sikes, Schuman, and Hall – who mercilessly skewered Hollywood’s say-one-thing-do-another approach to sexism, racism, homophobia and more throughout the show, often with visible apprehension over how their jokes might land.

Nervousness notwithstanding, their presence and their comedic calling-out of industry hypocrisy, along with the willingness of the celebrities in the house to laugh about it, was an element that lifted the proceedings enough to make them not only bearable, but sometimes even enjoyable.

That doesn’t mean the Academy can rest on its laurels. While it’s become common for their awards show – and all the others, for that matter – to serve as a kind of celebrity roast, where jokes are made and laughed at about the industry’s hot-button issue of the day, the persistent problems in Hollywood can’t be corrected just by allowing its workers to blow off steam by making fun of them once a year.

The film industry thinks that by going along with self-mocking humor about its own misogyny, racism, and homophobia, it gets a pass to continue ignoring the growing demand from the public to eliminate those same toxic ingredients from its standard recipe.

Perhaps the Smith incident, based as it seems to have been in a show of masculine dominance, will prompt some soul-searching within the entertainment community over its own rampant hypocrisy. Let’s hope so, because if the Academy Awards are ever to be truly inclusive in their representation of every segment of our society, no matter who they are or who they love, that’s something that has to happen first in the movies their prizes are meant to honor.

We’ve come a long way, to be sure, but we’re not there yet.

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

Jessica Chastain Accepts the Oscar for Lead Actress:

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First openly queer woman of color, Ariana DeBose wins an Oscar

It was DeBose’s first academy award nomination and Oscar. The awards ceremony was held at the Dolby Theatre in Hollywood

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Ariana DeBose in 'West Side Story' courtesy of Amblin Entertainment & 20th Century Studios

HOLLYWOOD – North Carolina native Ariana DeBose, who identifies as a Black-biracial queer Afro-Latina, won the Oscar for Best Supporting Actress Sunday for her portrayal of Anita in Steven Spielberg’s film adaptation of West Side Story.

The film was based on the 1957 Tony award-winning Broadway musical production directed and choreographed by Jerome Robbins with music by Leonard Bernstein, lyrics by Stephen Sondheim, and a book by Arthur Laurents.

DeBose in the category for Best Supporting Actress has previously won a Screen Actors Guild Award, a Golden Globe and a BAFTA. She was awarded the Oscar over her fellow nominees in the category including Aunjanue Ellis for King Richard, Kirsten Dunst for The Power of The Dog, Jessie Buckley for The Lost Daughter, and Dame Judi Dench for Belfast.

“Imagine this little girl in the back seat of a white Ford Focus. When you look into her eyes, you see an openly queer woman of color, an Afro Latina, who found her strength in life through art. And that’s what I believe we’re here to celebrate,” DeBose said in her acceptance speech.

“So to anybody who’s ever questioned your identity ever, ever, ever or you find yourself living in the gray spaces, I promise you this: There is indeed a place for us,” she added.

It was DeBose’s first academy award nomination and Oscar. The awards ceremony was held at the Dolby Theatre in Hollywood and were hosted by Out lesbian comedian Wanda Sykes, actors Regina Hall and Amy Schumer.

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The Associated Press: Oscars Special, editor’s picks

For the first time in two years, the Academy Awards are rolling out the red carpet at Hollywood’s’ Dolby Theatre

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Los Angeles Blade graphic

NEW YORK – As the entertainment, motion picture and film communities gather in Los Angeles for the 94th annual Oscars ceremony at the Dolby Theater in Hollywood Sunday evening, the editors of the Associated Press have curated the news agency’s top six stories prior to this evening’s gala.

Oscars set for return to normal, except all the changes

LOS ANGELES (AP) — For the first time in two years, the Academy Awards are rolling out the red carpet at Los Angeles’ Dolby Theatre for what the film academy hopes will be a…Read More

The Oscars are tonight. Here’s how to watch or stream live

The 94th Academy Awards are right around the corner with just enough time to squeeze in watches of some of the 10 best picture nominees before the lights go down in the Dolby…Read More

Oscar Predictions: Will ‘Power of the Dog’ reign supreme?

Ahead of the 94th Academy Awards, Associated Press Film Writers Lindsey Bahr and Jake Coyle share their predictions for a ceremony with much still up in the…Read More

List of nominees for the 94th Academy Awards

LOS ANGELES (AP) — Nominees for the 94th Academy Awards, which were announced Tuesday via a livestream. Winners will be announced on March 27 in Los Angeles. Best actor:…Read More

Oscars to celebrate ‘Godfather,’ ‘Bond’ anniversaries

LOS ANGELES (AP) — James Bond didn’t get an Oscar nomination this year, but that doesn’t mean that he won’t be part of the ceremony. It’s the 60th anniversary of the first…Read More

Oscars celebrate May, Jackson, Ullmann and Glover

LOS ANGELES (AP) — Elaine May was the last to arrive and the first to leave at the Governors Awards on Friday in Los Angeles. Her fellow honorees, Samuel L. Jackson, Liv…Read More

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