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    Turning VHS Tapes of Gay Men’s Choruses Into a Powerful Celebration

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    Matthew Leifheit’s “No Time at All,” culled from recordings made at the height of the AIDS crisis, plays through speakers nestled in the New York City AIDS Memorial.On a recent sunny morning in Lower Manhattan, Matthew Leifheit heard applause.It wasn’t for a live performance, but for many old ones — the source material for “No Time at All,” his sound installation that continues through June 30 at the New York City AIDS Memorial in the West Village.Culled from 53 VHS tapes, the piece is a continuous mix of music and songs performed by gay men’s choruses from 1985 to 1995, complete with the distortions and degradations that occur when magnetic tape ages and deteriorates.The piece runs 65 minutes, followed by 10 minutes of silence, a quieting that tells as much of a story as the golden baritones. There are seven “recitals,” as Leifheit calls them, that play every day through June from speakers nestled within the memorial’s 18-foot white steel canopy.Leifheit, 37, said he deliberately included music from concerts that took place in the middle of the darkest early years of the AIDS crisis before the use of highly active antiretroviral treatments (HAART) in the United States. It was a decade, he said during an interview at the memorial, when many gay chorus members “were reckoning with what they were going through, through music.”Leifheit said the project’s title refers to how the passage of time might feel to people who remember going to so many funerals — and to the haste with which AIDS killed many of the men whose anonymous voices carry through the memorial.Documenting the loss, and musical joys, of those early AIDS years was his artistic attempt to “dramatize the absence” and honor chorus members who “are still with us and thriving.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      Broadway Dreams Were Dashed, Then Rob Madge Knocked on Some Doors

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      The British performer is bringing “My Son’s a Queer (but What Can You Do?)” to City Center this week, after an earlier run was canceled.“Everybody needs a good setback in their life and gosh, 2024 did that for me.”That was Rob Madge, speaking on video last month from their London home. A theater maker who identifies as nonbinary, Madge smiled wide into the camera and, wearing a crisp white guayabera-style shirt that was mostly buttoned, looked as if they were on their way to a “White Lotus” resort happy hour.But Madge wasn’t talking about cocktails and island intrigue. They were recalling dashed Broadway dreams.In February 2024, the Broadway run of Madge’s autobiographical show “My Son’s a Queer (but What Can You Do?)” was postponed just weeks before it was to begin preview performances at the Lyceum Theater. There was talk of opening on Broadway the following season, but that never materialized.In a statement last month, the show’s producers, Tom Smedes and Heather Shields, said “the heartbreaking decision” to call off a Broadway run was because “the risks of launching and sustaining the production were simply too great” for the show’s “long-term health.”The actor in the production, which incorporates projected scenes from the “living room shows” that Madge performed as a kid.Mark SeniorMadge, 28, said having Broadway fall through prompted them to consider difficult and dueling questions, the likes of which plague any theater artist putting work into the world.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      For Pride, Stream These Queer Horror Movies

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      Standouts include a lesbian-coded vampire thriller and a Mexican folk-horror drama.In horror movies, to be queer is to be different, “which cinema has continually rewritten as a form of danger,” Peter Marra writes in his new book, “Queer Slashers.”Dangerous, queer, different: Sounds like my kind of horror movie. Here are some of my favorites.‘Dracula’s Daughter’ (1936)Rent or buy it on major platforms.“She Gives You That WEIRD FEELING!”: That’s how one poster advertised Lambert Hillyer’s lesbian-coded vampire thriller, a follow-up to “Dracula,” a hit for Universal Pictures in 1931. Hillyer’s movie centers on Countess Marya Zaleska (Gloria Holden), a Dracula progeny who kidnaps a young woman in Transylvania. Holden’s performance is predatory but feminine, menacing but soft-eyed — a powerful example of how lesbian subtext in early Hollywood paved the way for future Sapphic vampires.‘The Seventh Victim’ (1943)Rent or buy it on major platforms.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 150 Shares111 Views

      in Theater

      Her Books and Movies Provoked France. Will Her Plays Do the Same?

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      Virginie Despentes is pivoting to theater. Playgoers “really show up, even for demanding or radical works,” she says.Over the past three decades, Virginie Despentes has cemented her place as one of the most admired — and argued over — feminist authors in France. “King Kong Theory,” her 2006 book about sex, gender and her own experience of rape, sparked conversations around sexual violence in the country; her award-winning “Vernon Subutex” trilogy of novels, released between 2015 and 2017, drew international attention for its vivid depiction of misfits adrift in French society. (The first volume made the Booker International Prize shortlist in 2018.)Yet recently, Despentes, 55, has been quietly pivoting from books toward writing and directing for the stage. In 2024, she wrote the play “Woke” with three other authors, Julien Delmaire, Anne Pauly and Paul B. Preciado; in it, they confronted France’s reaction to progressive ideas on race and gender.Despentes directed the production at the Théâtre du Nord in Lille, in northern France, and now she’s back with a follow-up: “Romancero Queer,” which had its premiere last week at Théâtre National de la Colline in Paris and runs through June 29. In “Romancero Queer,” she explores power imbalances in the making of a stage show: Behind the scenes of a new production of Federico García Lorca’s “The House of Bernarda Alba,” a fictional group of actors struggle with their older male director for greater creative control.While Despentes has directed several movies, including “Baise-Moi” (2000) and a documentary about pro-sex feminists, “Mutantes (Féminisme Porno Punk)” (2009), she said in an interview in Paris that theater has turned out to be a better fit. Shortly after “Romancero Queer” had debuted, she spoke about the art forms that she has tried her hand at: literature, film and theater. The conversation has been edited for length and clarity.What prompted your pivot to theater?I attend a lot of plays, and I realized that theater audiences are very curious. They really show up, even for demanding or radical works, which made me want to try it. I feel good when I’m in a theater auditorium — and these non-virtual moments feel important nowadays. I’m not at all technophobic — I spend quite a bit of time online — but I enjoy this kind of counter-rhythm, away from social media. During performances of “Romancero Queer,” I sit in the back, behind the audience, and I have yet to see anyone take out their phone.A rehearsal of “Romancero Queer,” the new play by Despentes.Teresa SuarezWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Theater

      ‘We Are Gathered’ Promises to Love, Honor and Cherish

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      When JaDonna Harris and Marquian Harris married in 2015, they did it alone, before a justice of the peace. As their 10th anniversary approached, they contemplated a do-over that would include friends and family. But the cost was an issue, as was agreeing on a venue. Then JaDonna Harris received an email from Arena Stage. An upcoming play was looking for real couples interested in getting married or renewing their vows. She and her wife replied immediately.“We were like, this is kismet,” JaDonna Harris recalled.That play, “We Are Gathered,” is a new work by Tarell Alvin McCraney that began Friday, overlapping with Washington’s World Pride festivities. A celebration of love, each performance will culminate with what Arena Stage is calling “Love Takes Center Stage,” an immersive experience in which one or more couples will join the actors for a real marriage ceremony or vow renewal. One of the stars, Craig Wallace, has been ordained. Over the course of the show’s 30 scheduled performances, several dozen couples will participate. After each show, Arena Stage will hold a reception with cake, champagne and dancing.“We’re going to be discovering a great deal each night,” said the director Kent Gash, right, with the playwright Tarell Alvin McCraney.Maansi Srivastava for The New York TimesThe Harrises can’t wait.“We are happy to celebrate queer love, to celebrate the love in general all over the world and everybody’s ability to find a person that they are attached to,” JaDonna Harris said. “That’s all that matters.”McCraney began to dream up “We Are Gathered” during World Pride in Sydney, Australia, in 2023. A theater there was staging a revival of his 2012 play “Choir Boy,” a drama about a young gay man at an all-Black preparatory school. McCraney admired the production, but he wished that the play, which deals with anti-gay prejudice, didn’t feel quite so relevant. He decided that by the time the next World Pride came around, two years later, he would offer actors a script that felt more playful, more joyful.In searching for a subject, McCraney, now 44 and the artistic director of the Geffen Playhouse in Los Angeles, kept returning to the idea of marriage. When he was growing up, marriage wasn’t available to gay men, but a 2015 Supreme Court decision had changed that. Now friends were asking him why he wasn’t married and he was beginning to ask that question of himself. Recent opposition to gay rights and transgender rights — including book bans and a Florida law nicknamed “Don’t Say Gay” — had made that question feel more urgent. “Those things were happening pretty regularly and beginning to remind me there isn’t a lot of time and nothing is promised,” he said. “I decided, OK, I’m going to find out what this means to me.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 150 Shares149 Views

      in Music

      Jill Sobule, Singer of ‘I Kissed a Girl,’ Dies in House Fire

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      Ms. Sobule, 66, died Thursday morning in Woodbury, Minn., her publicist said. She had been scheduled to perform songs from her musical later in the week.Jill Sobule, the singer and songwriter whose hit “Supermodel” and gay anthem “I Kissed a Girl” were followed by three decades of touring, advocacy and a one-woman musical, died on Thursday morning in a house fire in Woodbury, Minn., according to her publicist. She was 66.The Public Safety Department in Woodbury, a Minneapolis suburb, said that firefighters had responded at 5:30 a.m. to a house that was engulfed in flames. The homeowners said one person was possibly still inside. Firefighters found the body of a woman in her 60s inside the house, the department said.The cause of the fire was not immediately clear.Ms. Sobule was scheduled to perform songs from her one-woman musical, “F*ck7thGrade,” on Friday at the Swallow Hill Music venue in her hometown, Denver, according to her publicist. She was staying with friends in Minnesota while she rehearsed for the musical, the publicist said.A free, informal gathering will be held in Ms. Sobule’s honor instead.On her 1995 self-titled album, Ms. Sobule, who was bisexual, featured “I Kissed a Girl,” which tells the story of a woman kissing her female friend. The song came out when it was “dicey” to be a queer musician, Ms. Sobule recalled. But it broke into the mainstream, making its way onto the Billboard charts.“Supermodel,” a rebellious rock song from the same album, was included on the soundtrack of the romantic comedy “Clueless” and further cemented Ms. Sobule’s popularity.“People call me a one-hit wonder,” Ms. Sobule said in a 2022 interview with The New York Times. “And I say, ‘Wait a second, I’m a two-hit wonder!’”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      ‘Lavender Men’ Review: Daring to Reimagine ‘America’s Daddy’

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      A writer rethinks queer history through Abraham Lincoln’s political ambitions, but needs a few present-day edits.What if Abraham Lincoln’s presidential pursuit was sparked amid some playful, shirtless roughhousing with his legal clerk Elmer Ellsworth? Now imagine another twist — a tree in full drag regalia is a witness.That’s some of the reinterpreted history in the unconvincingly staged new film “Lavender Men.”The film begins with Taffeta (Roger Q. Mason), the mistreated stage manager of a community theater production about Lincoln, who is fed up with the current state of the play. Taffeta, who is nonbinary, seizes control of the narrative, granting “America’s daddy” romantic agency and his own gay love story.Through this queer lens, Taffeta critiques Lincoln for his role in upholding white supremacy while also connecting with him as another “lonely queen,” using the encounter to reframe Taffeta’s own story. In this act of reclamation, Taffeta inhabits a kaleidoscope of roles — from army cadet to Mary Todd Lincoln to that all-knowing, unseen tree. “This is my fantasia, honey,” they proclaim to the camera. (The queering of Lincoln is also present in “Oh Mary,” Cole Escola’s Broadway hit.)Drawing a line from modern repression to the 16th president’s sexuality is a bold premise, and “Lavender Men,” which was originally a play written by Mason, struggles to fully realize its world onscreen. The director Lovell Holder, who wrote the screenplay with Mason for this adaptation, tackles the idea of inherited trauma by breaking the fourth wall, yet the film remains narratively inert, reaching for profundity with the earnestness of poetic fan fiction.Tonal whiplash — farcical comedy, heavy drama, even a musical number — undermines the film’s emotional stakes. You want a better story for Taffeta, and for Lincoln and Ellsworth, too. “Lavender Men” rewrites the past, but it could use edits in the present.Lavender MenNot rated. Running time: 1 hour 42 minutes. In theaters. More

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      in Music

      Andy Bey, Jazz Singer Renowned for His Vocal Range, Dies at 85

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      An admirer of Nat King Cole, he began as a child performer and as part of a family trio before emerging as a master of the American Songbook.Andy Bey, a jazz singer, pianist and composer whose silky, rich bass-baritone and four-octave vocal range placed him among the greatest interpreters of the American Songbook since Nat King Cole, his role model, died on Saturday in Englewood, N.J. He was 85.His nephew, Darius de Haas, confirmed the death, at a retirement home.Mr. Bey’s life in jazz spanned over 60 years, from his early days as a child prodigy singing in Newark and at the Apollo Theater in Manhattan, to a late-career run of albums and lengthy tours that kept him active well into his eighth decade.The sheer reach of his voice, and his expert control over it, could astound audiences. Not only could he climb from a deep baritone to a crisp tenor, but he could also do it while jumping ahead of the beat, or slowing to a crawl behind it, giving even well-worn songs his personal stamp.At a typical show, he might start out singing and playing piano, alongside a bass and drums, then switch between them, sometimes singing without piano, sometimes playing the piano alone.Mr. Bey performed as part of the Charlie Parker Jazz Festival at Marcus Garvey Park in Harlem in August 2015. He was rediscovered late in his career. Jack Vartoogian/Getty ImagesEven long into his 70s, Mr. Bey had a commanding, compelling voice, projecting from his baby face beneath his signature porkpie hat, a look that made him seem younger than his years.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      ‘Pink Narcissus’: A Home Movie Both Abject and Erotic

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      Originally released anonymously, this homoerotic fantasia by James Bidgood gets its first theatrical run in 54 years at Metrograph.As its title suggests, “Pink Narcissus” is something of a hothouse flower. A feature-length movie, shot over a period of seven years on eight-millimeter film and elaborate sets constructed in the filmmaker’s tiny Manhattan apartment, it’s also a labor of love — focusing largely on a single actor.Originally released anonymously, this homoerotic fantasia created by the photographer James Bidgood, newly restored by the film and television archive at the University of California, Los Angeles, gets its first theatrical run in 54 years at Metrograph, starting April 11.The breathtaking opening sequence in which a full moon is glimpsed through a tangled forest is as fastidious as a late 1930s Disney animation, an association supported by a musical track heavy on program music like Mussorgsky’s “Night on Bald Mountain.” Soon, amid busy butterflies and fluttering flowers, Bidgood’s young star, known as Bobby Kendall, makes his first appearance.The movie has no dialogue and, so far as I can tell, no women. Dressed variously in tight white jeans and short kimonos, but most often posed as a nude odalisque, Kendall plays a kept rent-boy whose fantasies provide a succession of set pieces, as when he imagines himself as a matador whose bull is a hard-charging biker. Kendall also participates in a toga party and is entertained by a provocative belly dancer in a male seraglio.Sex acts are implied and full nudity coyly veiled. Explicit yet decorous, “Pink Narcissus” is founded on a dialectic between the erotic and the abject. The rococo apartment and an idealized natural world of rosy sunsets vie with a dank public urinal and an invented, garbage-strewn Times Square where pushcarts sell vibrators and other sex toys. Charles Ludlam can be glimpsed among the denizens of this sordid domain, but more than Ludlam’s “ridiculous” theater, Bidgood’s precursors are taboo-breaking movies like Jack Smith’s “Flaming Creatures” and Kenneth Anger’s “Fireworks.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More