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      In Rare Move, Japanese Pop Star Comes Out Publicly as Gay

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      “I don’t want people to struggle like me,” said Shinjiro Atae, making an announcement that is extremely unusual in conservative Japan.At first, there was total silence. Then, there were shrieks, wild applause, weeping and shouts of “I love you!”Fans of Shinjiro Atae, a J-pop idol who has been on a nearly two-year performance hiatus, had come to hear him talk about “the challenge of my life.” Standing onstage in a dark auditorium in front of 2,000 fans in central Tokyo on Wednesday night, he revealed something he has kept hidden for most of his life: He is gay.“I respect you and believe you deserve to hear this directly from me,” he said, reading from a letter he had prepared. “For years, I struggled to accept a part of myself. But now, after all I have been through, I finally have the courage to open up to you about something. I am a gay man.”Such an announcement is extremely unusual in conservative Japan, the only G7 country that has not legalized same-sex unions. Earlier this summer, the Japanese Parliament passed an L.G.B.T.Q rights bill but it had been watered down by the political right, stating that there “should be no unfair discrimination” against gay and transgender people.In making a public declaration, Mr. Atae, who spent two decades performing with AAA, a hit Japanese pop group, before embarking on a solo career, said he wanted his fans to know his true self. He also hopes to comfort those who might be grappling with anxieties about their sexuality.“I don’t want people to struggle like me,” he said.Activists said they could not recall an instance when a Japanese pop star of his stature had publicly declared they were gay, because of anxieties about losing fans or sponsors.“I think he has decided to come out in order to change Japan,” said Gon Matsunaka, a director and adviser to Pride House Tokyo, a support center for the gay and transgender community.Mr. Atae, who began dancing with AAA when he was just 14, said he has been preparing for — and fearing — this public coming-out for years.For most of his performing life, “I thought if I was found out it would end my career, and so I couldn’t tell anyone,” said Mr. Atae during an hour-and-a-half interview the day before his announcement at the apartment of his elder sister in western Tokyo, where he sat on a lime green straw mat in a gray T-shirt and baggy black faux leather shorts.Mr. Atae with his stylist and makeup artist during an interview in Tokyo on Tuesday.Noriko Hayashi for The New York TimesThe decision to open up about his sexuality, he said, evolved over seven years of living in Los Angeles, where he saw how freely gay couples could show affection in public and built an extensive support network.“Everyone was so open,” he said. “People would talk about their vulnerabilities. In Japan, people think it’s best not to talk about those things.”Gay and transgender performers who regularly appear on television do not talk explicitly about their sexuality.“Japanese society is not a place where people strictly state their sexuality,” said Satoshi Masuda, a researcher specializing in Japanese popular music at Osaka Metropolitan University. “Rather, it naturally comes to be known.”Mr. Atae, the youngest of three children, grew up in a town between Kyoto and Osaka.His mother insisted that he play baseball until the end of elementary school. Sticking with it, she told him, would teach him “gaman” — the Japanese word for endurance.When he discovered a local hip-hop dance studio, the discipline became an instant passion. “I just thought: ‘This is it,’” he said.His instructors encouraged him to try out for a new pop group. On a lark, he sent in a résumé and auditioned by video though he was still in middle school. After two weeks of training in dance, singing and acting in Tokyo, Mr. Atae was selected by the management company, Avex, as one of eight initial band members.AAA debuted in 2005, with Mr. Atae, the youngest member, forgoing high school. He performed mostly as a dancer, and began appearing in TV series and movies.His sexuality perplexed him. “It was a time when on TV, comedians would say two men kissing was gross,” he said. If anyone asked if he had a girlfriend, he just said he was too busy working.AAA rapidly scored with fans, eventually recording eight top 10 hits on Billboard Japan’s Top 100 chart. But as Mr. Atae wrote in a memoir, “Every Life Is Correct, But Incorrect,” published last year, “my mental state was in shambles.” He said he spent a period with AAA “stuck in a marsh of negative thinking,” frustrated that he was not as well known as other band members.What he left out was that he was terrified that a gossip magazine or fans would discover he was gay.Mr. Atae in Yoyogi Park in Tokyo, where he used to perform at the beginning of his career.Noriko Hayashi for The New York TimesIn 2016, as some of the members of AAA embarked on solo acts, Mr. Atae moved to Los Angeles, where he attended entertainment business classes and studied English on his own.But when he visited neighborhoods popular with the L.G.B.T.Q. community, he ran into Japanese tourists and expats, and feared someone might leak a photo of him at a gay club or out with a male date.“I thought, everything is over,” he said. Then the long-ago baseball lessons from his mother kicked in. “I thought there had to be a way,” he said.Gradually, Mr. Atae made friends he could trust with his secret. He began to plan his public revelation.He would have to tell his family, his mother first. “It was the most nervous I have ever been in coming out,” he said.“I was super surprised, and I had never imagined it,” said his mother, Suzuko, 66, who asked to keep her surname private to avoid harassment.Although she supported her son personally, she balked when he said he wanted to go public. She was anxious about Mr. Atae facing online attacks or discrimination. Now, she said, “I am 200 percent supportive.”On Wednesday night, his mother sat in the back row of the auditorium, across the aisle from her two other children and their families, crying as he broke down sobbing as he told the audience that he once “thought my feelings were wrong.”Even as Mr. Atae started recording solo songs with lyrics like “Pretty girl, I still adore you,” he had started telling more people about his sexuality. His solo career has been modest, with no chart-topping hits.To his friends, the news was often a surprise. But many, including fellow band members from AAA, showed up on Wednesday to cheer him on. “The word ‘diversity’ started becoming more common, but how to take in that word is still a very difficult issue in Japan,” said Misako Uno, 37, a AAA member, in a backstage interview. “I want to be a good cushion” for him.Writing his memoir, Mr. Atae said, was a way to soft-pedal his eventual announcement to fans.“I figured it was not a good idea to just suddenly say ‘I am gay,’” he said.Mr. Atae’s decision, he said, was not political. All he wanted, he said, was to “normalize” being gay.On the day before his announcement, a stylist, a makeup artist, a publicist and several assistants trailed Mr. Atae during a photo shoot where he wore a Céline shirt and John Lawrence Sullivan trousers. He seemed relaxed, despite repeating how nervous he felt.Coming out, he knew, would likely draw criticism. “Whatever you do, there will be haters,” he said. “I can only focus on the people I might be helping.”After the announcement on Wednesday night, Miku Tada, 23, an art student in Tokyo, said her heart broke to think of how Mr. Atae had “struggled on his own.” But now, she said, “I think that he can have a lot of influence on other kids who may be feeling the same way.”Reiko Uchida, 43, a housewife from Saitama, a suburb outside Tokyo, said that normally, she would be taken aback if someone told her they were gay or lesbian. But with Mr. Atae, she said, “I see him as someone whose personality I like and a person that I respect.”The evening closed with a music video broadcast of Mr. Atae’s single, “Into the Light”:“I spent so long being these versions of myself/I forgot who I was, I was somebody else/You give me something I’ve been missing my whole life/I’m coming into the light.” More

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      How the Indigo Girls Brought Barbie ‘Closer to Fine’

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      A 1989 song about soul searching has maintained cultural relevance for three decades, but the band has also long been the target of homophobic jokes. Fans are savoring a moment of vindication.In Greta Gerwig’s Barbieland, where every day is the best day ever, pop stars like Lizzo, Dua Lipa and Charli XCX provide a bouncy soundtrack as the live-action dolls go about their cheery, blissful lives. That is, until Margot Robbie’s “stereotypical” Barbie cues a record scratch with a rare and shocking existential query: “Do you guys ever think about dying?”To resolve this disruption to her otherwise perfect life, she hops in her pink Corvette and belts along to a track filled with strummed acoustic guitars and close harmonies. “There’s more than one answer to these questions, pointing me in a crooked line,” she sings with a smile, before thrusting a manicured pointer in the air.Barbie’s song of choice on her way to the Real World is the Indigo Girls’ “Closer to Fine.”The Indigo Girls, a folk duo from Georgia who have released 15 studio albums since 1987, featured “Closer to Fine” as the opening track on their self-titled 1989 LP. Emily Saliers wrote the song after she and her fellow singer and guitarist, Amy Ray, graduated from Emory University in Atlanta and were regularly playing a local bar called Little Five Points. It became a staple of the Girls’ live show that spread thanks to college radio play and an opening slot on tour with another Georgia band, R.E.M.It’s a song about seeking, Saliers said by phone this month: “I searched here and I searched there, and if I just try to take it easy and get a little bit of knowledge and wisdom from different sources, then I’m going to be closer to fine.”“Closer to Fine,” with its four-chord verses, octave-jumping chorus and slightly inscrutable lyrics, has been a staple of dorm room singalongs, karaoke excursions and car rides for years, and it is the Indigo Girls’ most identifiable tune. “Indigo Girls,” their first album for a major label, went double platinum and won a Grammy.“It’s got a very easy melody and really easy chorus, and the chorus repeats,” Saliers said. “When you get to a chorus of a song that you’re into and you can just sing it at the top of your lungs, I think just structurally, melodically, it’s really a road trip song and I think that’s why you see it in those kinds of scenes.”Ray said “Closer to Fine” represents 80 percent of the band’s licensing, but the duo are generally told very little about how their music will be used. They don’t allow commercials, but have had successful soundtrack and onscreen placements in films like “Philadelphia” and TV shows including “The Office” and “Transparent.” In 1995, the duo starred as Whoopi Goldberg’s house band in the movie “Boys on the Side.”“I think it was really important at that time for us to reach more people,” Ray said in a phone interview. “Those kinds of things are just invaluable for an artist.”The Indigo Girls have a similar hope for “Barbie,” already a global phenomenon with powerhouse marketing and intergenerational brand recognition. A “Closer to Fine” cover by Brandi and Catherine Carlile appears on the expanded edition of the movie’s soundtrack.“I always felt that song was really defining of who they were in that era,” Brandi Carlile said in an interview. “That, even more than lesbians, what they were was intellectuals. They were offering up a life beyond the life that young people knew. And it’s a very young person’s song,” she added. “It’s about seeking out more than you thought you believed.”Ryan Gosling and Margot Robbie in the movie. “It’s really a road trip song,” Saliers said of the band’s most recognizable tune.Warner Bros. PicturesStill, given little context in an initial call from their manager, Saliers said she was nervous. “I didn’t know who was directing it or anything, and I was like, ‘Oh, this is about Barbie? We better check to make sure this is kosher,’” she recalled. “But as it turned out, it’s in the hands of Greta and it’s just this amazing thing that happened. It was a complete surprise to me and Amy.”Ray called it a gift: “It’s just absolutely wonderful that they’re using it.”“Closer to Fine” recurs in the film three times and appears in its official trailer, but it’s been recirculating in pop culture organically, too. In March, a video of the comedian Tig Notaro singing it on a party bus alongside a crew that included Glennon Doyle, Abby Wambach and Sarah Paulson blew up online. The band’s latest album, “Long Look,” arrived in 2020, and they have been on a tour (typically closing with the tune) that touches down in Ireland and Britain next month.“You don’t imagine a folk lesbian duo to be in this hot-pink Barbie movie,” said Notaro, who has been a fan since seeing the “Closer to Fine” video on MTV’s alternative rock show “120 Minutes.” “Kind of just selfishly and personally, I feel like, ‘Yeah, we were onto something all these years,’ you know? It’s validating. Obviously it’s been a huge hit forever, but this is so next level.”“When I hear a song like that,” she added, “it feels like just my chest bursts open with joy and hope.”The Indigo Girls are also the subject of a documentary, “It’s Only Life After All,” directed by Alexandria Bambach, which premiered at Sundance in January. The film serves as a reminder of how Saliers and Ray, both openly queer and from religious Southern backgrounds, endured scrutiny and prejudice as “Closer to Fine” put them in an early spotlight.“For the longest time I always felt we were the brunt of lesbian jokes in kind of a lowest common denominator,” Saliers says in the documentary. Ray echoed those sentiments in the film, saying, “It seemed like the most derogatory thing you could be is a female gay singer-songwriter.”Critics would refer to them as too earnest or overly pretentious, if they covered them at all. The duo were used to comic effect on “Saturday Night Live” and “South Park”; even Ellen DeGeneres employed them as a punchline after her character came out on national television on her sitcom “Ellen.”“That time period that really was just so critical of women — of queer women, of women that didn’t present the way that a patriarchal system wanted them to,” Bambach said. “I think it’s a really critical time for us to be looking back at, you know, just things that we scoffed or laughed off or said were OK.”Brandi Carlile said after watching the duo take so many shots over the years, the “Barbie” moment is extra sweet. “The real injustice of how the Indigo Girls have been treated throughout these last few decades is that they’ve been used as kind of this dog whistling acceptable way to sort of parody lesbians, and I always felt destabilized by it,” she said. “And so seeing something like this happen for them on this scale and watching them and that iconic kind of life-affirming song make its way to new ears is probably one of the coolest things I’ve seen in years.”The singer-songwriter Katie Pruitt, 29, found the Indigo Girls in high school but further embraced them in college, when she said their music gave her the confidence to write personal and descriptive lyrics from her experiences as a gay woman.“Representation in culture is the biggest, the single most important thing I think for people to fully embrace themselves,” she said. “You need all these different examples of who you’re allowed to be, and the answer is anybody — you’re allowed to be anybody.”Pruitt called “Closer to Fine” the “northern star” of songwriting. “It’s incredible that it’s having a resurgence in 2023” in “a franchise that I grew up associating with extreme heteronormativity,” she said. “I love how now they’re rebranding it as something incredibly inclusive.”Bambach, who discovered the Indigo Girls during singalongs led by counselors at youth summer camp, saw “Barbie” on opening weekend in Atlanta and said there were screams of joy and recognition when “Closer to Fine” played onscreen.“It’s very gratifying to think that there’s something that this very fine director saw in the song that had cultural relevance in this day and time,” Saliers said. But above all, she appreciates that time has allowed listeners to step back and appreciate the band’s music as simply music.“We’re finally allowed to just be us,” Saliers said. “I guess we’ve stuck around long enough and it’s like, ‘Oh, it’s just Amy and Emily.’ We no longer are the brunt of a joke and we’re flourishing in certain ways in terms of this relevancy, which is gratifying. It’s strange, you know, to watch culture change and move — and it really has changed for us.” More

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      Malaysia Halts Festival After Kiss Between The 1975 Members

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      The episode comes as rights groups have warned of growing intolerance against lesbian, gay, bisexual and transgender people in the country, where homosexuality is a crime.Malaysia’s government halted a music festival in the capital, Kuala Lumpur, on Saturday, a day after the frontman of the British pop rock band The 1975 kissed a male bandmate onstage and criticized the country’s anti-L.G.B.T. laws.“There will be no compromise against any party that challenges, disparages and violates Malaysian laws,” Fahmi Fadzil, the country’s communications minister, said on Twitter after meeting the organizers of the Good Vibes Festival, a three-day event set to run until Sunday.The 1975 have also been banned from performing in Malaysia, said a government committee that oversees filming and performances by foreigners.Homosexuality is a crime in Muslim-majority Malaysia. Rights groups have warned of growing intolerance against lesbian, gay, bisexual and transgender people.In videos posted on social media late on Friday, Matty Healy, the band’s frontman, was seen kissing the bassist, Ross MacDonald, after criticizing Malaysia’s stance against homosexuality in a profanity-laden speech to the festival audience.“I made a mistake,” he said. “When we were booking shows, I wasn’t looking into it.” He added that he did not understand the purpose “of inviting The 1975 to a country and then telling us who we can have sex with.”Mr. Healy later cut short the set, telling the crowd: “All right, we’ve got to go. We just got banned from Kuala Lumpur, I’ll see you later.”The band could not immediately be reached for comment. Mr. Healy had faced criticism for kissing a male fan at a 2019 concert in the United Arab Emirates, which also has laws against homosexual acts, according to news media reports.The festival’s organizer, Future Sound Asia, apologized for the show’s cancellation after Mr. Healy’s “controversial conduct and remarks.” It said The 1975’s management had promised that the band would obey performance guidelines.“Regrettably, Healy did not honor these assurances,” it said in a statement.Mr. Fahmi, the communications minister, said Malaysia was committed to supporting the development of creative industries and freedom of expression.“However, never touch on the sensitivities of the community, especially those that are against the traditions and values ​​of the local culture,” he said.The government in March introduced stricter guidelines, including on dress code and conduct, for foreign acts coming to Malaysia, citing the need to protect sensitivities, the news media reported.Friday’s episode ignited an uproar on Malaysian social media, including among some members of the L.G.B.T. community, who accused Mr. Healy of “performative activism” and said his action was likely to expose the community to more stigma and discrimination.The 1975 are on Sunday scheduled to play at a festival in Jakarta, the capital of Indonesia, the world’s most populous Muslim country, where a recent L.G.B.T. event was canceled amid security threats. More

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      Steve Pieters, Pastor Who Spoke of AIDS in Famed Interview, Dies at 70

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      He had the disease and was interviewed on the PTL network in 1985 by Tammy Faye Bakker, a broadcast that was said to have changed minds and hearts.In 1985, when fear and homophobia were still driving much of the conversation surrounding AIDS, the Rev. A. Stephen Pieters, a gay pastor who had the disease, was a decidedly different voice.That May, at the St. Augustine by-the-Sea Episcopal Church in Santa Monica, Calif., presiding at a mass for people with AIDS attended by hundreds, he declared: “Rather than feel deserted by God, I have never been more sure of God’s love for me. God did not give me this disease. God is with me in this disease.”That September, he spoke to The Los Angeles Times about the ostracism people with AIDS were encountering.“Some people ask, ‘How is it different from cancer?’” he said. “Well, most people with cancer aren’t asked not to use the bathroom in a friend’s house or served dinner on paper plates. I’ve had more meals on paper plates in the last year than I’ve had in my whole life.”One appearance he made that year had a particularly profound impact: In November 1985 he was interviewed by Tammy Faye Bakker on the PTL (Praise the Lord) television network, which reached millions of Christian viewers, most of them conservative.It was a sympathetic interview in which Mr. Pieters spoke forthrightly about being gay and about his illness, and Ms. Bakker (who was then married to the televangelist Jim Bakker) urged her audience to be governed by compassion rather than intolerance and fear.“How sad,” she said, “that we as Christians, who are to be the salt of the earth, and we who are supposed to be able to love everyone, are afraid so badly of an AIDS patient that we will not go up and put our arm around them and tell them that we care.”The PTL network had an audience of millions, and in the years since, that interview has been credited with helping to change at least some viewers’ perceptions of gay people, AIDS and faith. Some televangelists had been implying or stating outright that AIDS was divine retribution for homosexuality. Ms. Bakker (who after a divorce and remarriage was later known as Tammy Faye Messner) called on Christians to instead show empathy.Among those impressed with her stand, many years later, was the actress Jessica Chastain, who won an Oscar last year for her role as Ms. Bakker in “The Eyes of Tammy Faye,” in which the interview with Mr. Pieters, portrayed by Randy Havens, was a pivotal scene. (A stage musical, “Tammy Faye,” which opened last year in London, also incorporated the 1985 interview.)“That interview was why I needed to make the movie,” Ms. Chastain told Variety at the movie’s New York premiere in 2021. “It was rebellious and brave and courageous and badass. I’m 100 percent convinced that there were people — conservative Christians watching at home — who realized that they had judged their family members unlovingly. I’m convinced that that interview saved families and saved lives.”If Ms. Bakker defied expectations with that interview, Mr. Pieters long defied AIDS, surviving for decades despite repeated health struggles. He died on July 8 at a hospital in Glendale, Calif., near Los Angeles. He was 70.His spokesman, Harlan Boll, said the cause was a sepsis infection.Mr. Pieters, who had continued his ministry and since 1994 had performed with the Gay Men’s Chorus of Los Angeles, was looking forward to the publication next year of his book, “Love Is Greater Than AIDS: A Memoir of Survival, Healing, and Hope.” In it, he said he was often asked why he thought he survived AIDS when so many others didn’t.“Whatever the reason,” he wrote, “I feel deeply grateful to be alive. So many gay men of my generation did not get to grow old. What a privilege to have reached the age of 70, still dancing with joy.”Albert Stephen Pieters was born on Aug. 2, 1952, in Lawrence, Mass. His father, Richard, was a mathematics teacher and wrestling coach at Phillips Academy, and his mother, Norma (Kenfield) Pieters, was a tax accountant and homemaker.“I knew that I was different from the time that I was about 3,” Mr. Pieters told Ms. Bakker in the 1985 interview, “and I grew up feeling like I didn’t quite fit in.”When he was a teenager, he said, he recognized that he was gay and talked to his pastor at a Congregational church about it.“He was freaked out,” he said. “He told me, ‘Don’t tell anybody; never say anything to anybody about it.’”He said that after graduating from Northwestern University in 1974 with a bachelor’s degree in speech, he joined the Metropolitan Community Church in Chicago and felt called to a ministry focused on gay people, that church’s main audience. He earned a master of divinity degree at McCormick Theological Seminary in 1979, then became pastor of the Metropolitan Community Church of Hartford, Conn., before moving to Los Angeles in the early 1980s. There he took a post at the Metropolitan Community Church of North Hollywood and, in 1984, received a diagnosis of AIDS, although he had been showing symptoms as early as 1982.He faced numerous health problems over the years, but just being around to face them was something of a victory: He said he’d been told in 1984 that he wouldn’t live out that year. The next year he spoke before a task force on AIDS in Los Angeles convened by Mayor Tom Bradley and Ed Edelman, a county supervisor, urging officials not to write off those who had already been diagnosed.“If I had succumbed to the hopelessness I constantly hear about AIDS,” he said, “I might have given up and not lived to see 1985.”Mr. Pieters is survived by a brother.At the 2021 opening of “The Eyes of Tammy Faye,” Mr. Pieters commented on the impact of his 1985 interview.“I’ve had so many people over the years come up to me and say, ‘I saw your interview live, because my mother always had PTL on, and it changed my life because I realized I could be gay and Christian at the same time,’” he said. “Or, ‘It changed my life because I realized that AIDS was a reality, and I had to start taking care of myself.’”Kirsten Noyes contributed research. More

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      in Theater

      School Plays Are the Latest Cultural Battleground

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      At a time when lawmakers and parents are seeking to restrict what can and cannot be taught in classrooms, many teachers are seeing efforts to limit what can be staged in their auditoriums.Stevie Ray Dallimore, an actor and teacher, had been running the theater program for a private boys’ school in Chattanooga for a decade, but he never faced a school year like this one.A proposed production of “She Kills Monsters” at a neighboring girls’ school that would have included his students was rejected for gay content, he said. A “Shakespeare in Love” at the girls’ school that would have featured his boys was rejected because of cross-dressing. His school’s production of “Three Sisters,” the Chekhov classic, was rejected because it deals with adultery and there were concerns that some boys might play women, as they had in the past, he said.School plays — long an important element of arts education and a formative experience for creative adolescents — have become the latest battleground at a moment when America’s political and cultural divisions have led to a spike in book bans, conflicts over how race and sexuality are taught in schools, and efforts by some politicians to restrict drag performances and transgender health care for children and teenagers.For decades student productions have faced scrutiny over whether they are age-appropriate, and more recently left-leaning students and parents have pushed back against many shows over how they portray women and people of color. The latest wave of objections is coming largely from right-leaning parents and school officials.Stevie Ray Dallimore taught theater for a decade at a private boys’ school in Chattanooga, Tenn. After a year of tensions over the content of plays, the school eliminated his position.Greg Kahn for The New York TimesThe final act in Dallimore’s yearlong drama in Chattanooga? He learned that his position at McCallie School, along with that of his counterpart at the nearby Girls Preparatory School, was being eliminated. They were invited to apply for a single new position overseeing theater at both schools; both educators are now out of the jobs.“This is obviously a countrywide issue that we are a small part of,” Dallimore said. “It’s definitely part of a bigger movement — a strongly concerted effort of politics and religion going hand in hand, banning books and trying to erase history and villainizing otherness.”A McCallie spokeswoman, Jamie Baker, acknowledged that the two school theater positions had been eliminated so the programs could be combined but said that “implying or asserting in any way that the contract of McCallie’s theater director was not renewed because of content concerns would be inaccurate.” She noted that the school has a “Judeo-Christian heritage and commitment to Christian principles,” and added, “That we would and will continue to make decisions aligned with these commitments should be no surprise to anyone.”Drama teachers around the country say they are facing growing scrutiny of their show selections, and that titles that were acceptable just a few years ago can no longer be staged in some districts. The Educational Theater Association released a survey of teachers last month that found that 67 percent say censorship concerns are influencing their selections for the upcoming school year.“The Prom,” which opened on Broadway in 2018, has a school edition for use by students, but some schools are unwilling to produce it because the protagonist is a lesbian.Sara Krulwich/The New York TimesIn emails and phone calls over the last several weeks, teachers and parents cited a litany of examples. From the right there have been objections to homosexuality in the musical “The Prom” and the play “Almost, Maine” and other oft-staged shows; from the left there have been concerns about depictions of race in “South Pacific” and “Thoroughly Modern Millie” and gender in “How to Succeed in Business Without Really Trying” and “Bye Bye Birdie” and “Grease.” And at individual schools there have been any number of unexpected complaints, about the presence of bullying in “Mean Girls” and the absence of white characters in “Fences,” about the words “damn” (in “Oklahoma”) and “bastards” (in “Newsies”) and “God” (in “The Little Mermaid”).Challenges to school productions, teachers say, carry far more weight than they once did because of the polarized political climate and the amplifying power of social media.“We’re seeing a lot of teachers self-censoring,” said Jennifer Katona, the executive director of the Educational Theater Association, an organization of theater teachers. “Even if it’s just a bunch of girls dressed as ‘Newsies’ boys, which would not have been a big deal a few years ago, that’s now a big deal.”Teachers now find themselves desperately looking for titles that are somehow both relevant to today’s teenagers and unlikely to land them in trouble.“There’s a lot of not wanting any controversy of any kind,” said Chris Hamilton, the drama director at a high school in Kennewick, Wash. Hamilton said this past year was the first time, in 10 years of teaching, that a play he proposed was banned by school administrators: “She Kills Monsters,” a comedy about a teenager who finds solace in Dungeons & Dragons that is the seventh most popular school play in the country, and which features gay characters. “The level of scrutiny has grown,” Hamilton said.Around the country, in blue states as well as red, theater teachers say it has become increasingly difficult to find plays and musicals that will escape the kind of criticism that, they fear, could cost them their jobs or result in a cutback in funding. “People are losing their jobs for booking the wrong musical,” said Ralph Sevush, the executive director of business affairs at the Dramatists Guild of America.“A polarized society is fighting out the culture wars in high schools,” he added.Stephen Gregg, a longtime playwright in the school market, said removing gay characters from plays, as he has been asked to do, “sends a terrible message.”Alex Welsh for The New York TimesStephen Gregg, a playwright who has successfully been writing for high school students for three decades, said he was startled this year when his publishing house forwarded him an email seeking “major edits” to his science fiction comedy “Crush,” seeking to replace an anecdote about a gay couple with a straight one and explaining, “As we are a public school in Florida, we can’t have gay characters.”Gregg turned down the request, thinking, he said, that “you probably have gay kids in your theater program, and it sends a terrible message to them.”Several school productions made news this year when they were canceled over content concerns. In Florida’s Duval County, a production of “Indecent” was killed because of its lesbian love story. In Pennsylvania, the North Lebanon School District barred “The Addams Family,” the most popular school musical in the country, citing its dark themes.“There was a very clear streak of teacher cancellations this whole school year, and it is happening in parallel to, and related to, the efforts to ban books,” said Jonathan Friedman, the director of free expression and education programs at PEN America. “Sometimes it affects plays in production, and sometimes it affects the approval of plays in the future. The whole climate is impacted.”Some productions have overcome objections. In New Jersey, Cedar Grove High School canceled a production of “The Prom,” a musical whose protagonist is a lesbian, but then relented and staged it after public pressure. In Indiana, after Carroll High School in Fort Wayne canceled a production of “Marian, or The True Tale of Robin Hood,” which is marketed as “a gender-bending, patriarchy-smashing, hilarious new take on the classic tale,” students staged it anyway at a local outdoor theater.A Florida school district canceled a production of “Indecent,” shown here on Broadway in 2018, because it concerns a lesbian love affair.Sara Krulwich/The New York TimesAutumn Gonzales, a teacher at Scappoose High School in Oregon, faced objections over a production of “The 25th Annual Putnam County Spelling Bee,” a musical that has a character with two gay dads. She stuck with it — the show had been chosen by her students — and the production was allowed to proceed. But she is being extra cautious about next year. When her students expressed an interest in “Heathers,” which has suicide themes, she told them, “That is not going to happen.”“I’ve always tried to go for a middle ground,” she said.“We’re not going to do ‘Spring Awakening,’” she said, referring to the 2006 musical about young people and sexuality. “This just isn’t the community for that. But I’m also not going to deny the existence of gay people — that’s not any good for my student actors. I’m not going to be inflammatory for art’s sake, but I’m also not going to shy away from deeper messages.”The constraints, advocates say, are having an effect on the education of future artists and audience members.“Students deserve to have the opportunity to be exposed to a wide variety of work, not only the safest, most benign, most family-friendly material,” said Howard Sherman, the managing director of New York’s Baruch Performing Arts Center, who has been tracking the issue for years.In some areas, the contested plays cannot even be read: In Kansas, the Lansing school board, responding to objections from a parent, barred high school students from reading “The Laramie Project,” a widely staged and taught play about the murder of Matthew Shepard, a gay student in Wyoming.“Every year there have been a few schools that have banned a production, but this is the first time the play has been banned from being read,” said the play’s lead author, Moisés Kaufman, whose theater company offered to send its script to any Lansing student who asked. “I don’t want to be an alarmist, but it is alarming.” More

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      in Music

      A Queer Revolutionary Classic Book, Now Onstage With Music

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      Philip Venables and Ted Huffman’s latest work adapts a utopian, fantasy cult favorite by Larry Mitchell.Many operas in the standard repertoire are based on fairy tales and fantasy. But few of those describe a global queer-feminist revolution, and fewer still have main characters whose names begin with “Warren” and end with an unusual moniker for a genital appendage.Both can be found in “The Faggots and Their Friends Between Revolutions,” a new piece of music theater by the composer Philip Venables and the writer-director Ted Huffman. After premiering at the Manchester International Festival on Thursday, it will travel, with its original roster of 15 performers, to the Aix-en-Provence Festival in early July, then elsewhere, including NYU Skirball in New York this fall.Venables and Huffman’s two previous collaborations — the operas “4.48 Psychosis,” based on Sarah Kane’s play about mental illness and suicide, and “Denis & Katya,” about teenage lovers in Russia who died in a 2016 livestreamed standoff with Russian police — have won them acclaim as artists who find beauty at the extremes of form and subject matter.Their new show, freely adapted from a gay liberation fantasy novel of the same name that was self-published by the activist Larry Mitchell in 1977, is both a continuation of that broader project and, as Venables said dryly in a video interview, “a tonal shift.”The piece, like the novel, covers thousands of years of human history, telling the story of the rise of an imperialist capitalist patriarchy called Ramrod; the resistance to that patriarchy by the sexual and racial Others it has created; and its eventual defeat by a revolutionary queer coalition.Katherine Goforth, front left, with Eric Lamb in rehearsal for the show, which will travel to NYU Skirball this fall.Tristram Kenton“There are two important things to remember about the coming revolutions,” this fairy tale reads, on the page and onstage. “The first is that we will get our [expletive] kicked. The second is that we will win.”Over the show’s 90 minutes, Rosie Elnile’s deceptively simple, bare stage becomes a model of this improvisatory, revolutionary utopia. Everything you hear, you see: The 15 performers play a largely memorized score on a mixed ensemble of baroque and modern instruments. A harpsichord, a theorbo and a viola da gamba sound alongside an upright piano and an electric organ.The result is a romp through history that’s both joyous and politically serious. “These stories of oppression and resistance are performed with and for each other,” Venables said, “as part of our processing of and resistance to oppression.” And the piece proposes and enacts the destruction of what it calls “the men’s categories” — the classifications of race, gender, expertise and taste that, it argues, stop the global majority from becoming free.“We all, at some stage in a utopia, want to get past identity politics to this universalism,” Venables said.The actor-choreographer Yandass, who narrates large portions of the show, said in a video interview that the show’s form echoes its politics: “Everyone is multiskilled in so many ways. I would imagine that’s how the utopia that’s dreamed of in this piece would be, everyone having different talents, having to rely on each other for cues, engaging in real teamwork.”The actor-choreographer Yandass, who narrates portions of the show.Tristram KentonWhen Mitchell wrote his book, he was inspired by Lavender Hill, a gay commune that he was a founding member of in Ithaca, N.Y. Such communes, which rejected both straight society and a gay movement that they saw as consumerist and assimilationist, peppered late 1970s and early 1980s America. They were places filled with political theorizing, collective cultural expression, and folk and baroque music. “Carl later gave the visiting harpsichordist a copy of ‘Eros and Civilization,’” reads a representative quote from a diary of life at a mid-1970s commune in the gay liberation journal RFD.Activists — many of whom, like Mitchell, settled on the word “faggot” to imply a gender-expansive, sex-positive and politically radical gay subjectivity — believed that collective movement had the power to change the world, and that folk and baroque dances were forms infused with political radicalism.In a video interview, Venables called this a “politics of pleasure and joy and play and community,” one he has sought to express in a musical style in which “form and genre are a way of putting on costumes and telling stories, with folk and baroque music references having to do with community music making, social gatherings and social rituals.”One aria, for example, starts as a duet between the soprano Mariamielle Lamagat and the harpist Joy Smith, before the gambist Jacob Garside joins in — on glockenspiel, and wearing a multicolored evening gown — helping to initiate a transformation of the tune into a swinging bossa nova, and eventually an accordion-accompanied shanty.Kit Green said that the production gives the sense “that we are a part of something bigger.”Tristram KentonThe book that inspired all this — despite, or perhaps because of, how rooted it is in its specific political moment — has had a recent revival. After years of being out of print, with copies and PDFs circulating among gay artists and activists like samizdat, it was republished in 2018.“I had questions about how Ted wanted to stage it because it felt uncomfortable doing some halcyon utopian thing set in the 1970s,” said Kit Green, one of the show’s narrators. “He is doing it in a way, though, where we are not part of the book. We’re telling it; there’s a distance. We’re on this massive time continuum, and when things feel hopeless, this sense that time rolls on, that we are a part of something bigger, feels different and exciting. We need that revolutionary zeal — but what does it mean now? We should all be asking that question.”As the performers gathered onstage during a dress rehearsal this week, Yshani Perinpanayagam — the music director, as well as a member of the cast — said: “There have been so many beautiful moments of connection today on- and off-set. If something doesn’t go as expected, just yes/and it. Go with it.”In the show, feats of technical bravado — in one early scene, Garside plays complex music on gamba while lying on his back on a blanket being dragged across the stage — are paired with simpler collective actions, like an aria accompanied both by the trained violin playing of Conor Gricmanis, as well as by much of the cast playing on the open strings of violins, a simple echoing of harmonies. Perinpanayagam gives some cues, but mostly the musicians play without a conductor.From left, Kerry Bursey, Collin Shay, Conor Gricmanis and Yshani Perinpanayagam in rehearsal.Tristram Kenton“We wanted to make it feel like a community onstage, to try to break down some of the hierarchies and traditional relationships that different art forms have onstage, especially classical music stages,” Huffman said in a video interview. “Asking everyone onstage to participate in everything is not a spirit of amateurism but of willingness to test one’s creativity, of finding beauty in simple things.”The challenge of the score, the flutist Eric Lamb said, is in “the physicality, the movement.” He added that he hoped audiences would “witness this love and understanding of 15 people onstage who inhabit various spaces within the queer community holding each other up and caring for each other.”These artists believe that the revolutions the piece aims to incite are both current and urgent. “Everything that I’d thought about my life made sense,” Yandass said, describing reading the book for the first time. “This is how I should have been living. I felt called out in terms of not sticking to my queerness, not sticking to my being. It helped me understand my thinking and my instincts.”Green mentioned the final section — in which the performers scream, “And the third revolution engulfs us all!” — and added, “I had a proper feeling of ‘Let’s do this! Let’s go out and start it!’” More

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      in Movies

      ‘Rock Hudson: All That Heaven Allowed’ Review: Living a Double Life

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      Stephan Kijak’s new documentary seems keenly interested in the ways in which the closeted actor’s sexuality manifested itself, largely unintentionally, in his movies.“Rock Hudson’s Home Movies,” the director Mark Rappaport’s landmark 1992 video essay about the life and death of the famous gay actor, is a playful, provocative and singular meditation on celebrity, homosexuality and the nature of truth onscreen. Through a combination of archival footage from Hudson’s filmography and invented narration by an actor playing Hudson, the movie offers a speculative, pseudobiographical portrait of Hudson’s innermost thoughts, using what we know about him now to imagine what he might have been thinking then.More than 30 years later, Stephen Kijak’s “Rock Hudson: All That Heaven Allowed” is a more straightforward account of Hudson’s life and death, centering on the details of his biography and the testimony of those who knew him. We hear from lovers, co-stars and friends about how hard it was for Hudson to live as a closeted gay man in Hollywood in the 1950s and ’60s while representing the movie industry’s platonic ideal of the straight romantic lead, forced by circumstance to live a double life and publicly repress his true desires and needs.But like Rappaport, Kijak seems keenly interested in the ways in which Hudson’s sexuality manifested itself, largely unintentionally, in his movies — coded but legible on the surface of the image. Rappaport demonstrated this wittily, by taking gestures and stray lines of dialogue from various Hudson films out of context and emphasizing their gay connotations and undertones, and by skewering the actual gay innuendo rampant in Hudson’s films with Doris Day and Tony Randall as screamingly obvious. This device is so effective, in fact, that Kijak borrows it wholesale, repeatedly interposing these moments of gay serendipity, many of them identical to those in “Home Movies.”Kijak thanks Rappaport in the credits, so we can charitably describe this as homage rather than plagiarism. But the comparison to Rappaport’s superior film does “All That Heaven Allowed” no favors. The historical context it provides for Hudson’s rise through the studio system in the early 1950s is thin and superficial, leaning on several rather broad pronouncements about the trends of the era from experts such as the film scholar David Thomson; while its efforts to shape a coherent narrative out of Hudson’s career lead to a number of dubious claims Kijak makes very little effort to actually support, including the specious characterization of Anthony Mann’s great western “Winchester ’73” as a “cheap adventure film” and the flippant, totally unfair dismissal of Douglas Sirk’s delightful 1952 comedy “Has Anybody Seen My Gal?” as having been somehow “beneath” Hudson’s standards.The latter half of the film shifts its focus from Hudson’s life of deception as a closeted movie star and toward his declining status, deteriorating health and his eventual death from an AIDS-related illness in 1985. The movie is clearer and more persuasive about this chapter of Hudson’s story, adopting a more plaintive tone as it explores an atmosphere of disdainful hysteria that prevailed at that time.Kijak threads together interviews, archival footage and tabloid news headlines to show how Hudson’s fame helped bring the AIDS crisis into the (straight) public consciousness — and how the society that had embraced him as a heterosexual matinee idol swiftly abandoned him in his time of need. (The film is justly, satisfyingly hard on Nancy Reagan, who curtly rejected Hudson’s pleas for help as he was dying.) In the end, with only Hudson to deal with, Kijak gets the big picture.Rock Hudson: All That Heaven AllowedNot Rated. Running time: 1 hour 44 minutes. Watch on HBO platforms. More

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      in Television

      Murray Hill Is Ready to Share His Personal Life

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      “I’m really inspired by the younger generation to be more open,” said the famous drag king, who shared photos of his very busy Pride month.Murray Hill’s signature catchphrase is a percussive “Showbiz!” When he began performing as a drag king in New York during the mid-90s on stages he recalls being “the size of a postage stamp,” shouting “Showbiz!” called out the irony of his Vegas showman persona against the gritty and grimy environs of underground drag clubs.Today, at age 51, with roles as Fred Rococo on HBO’s “Somebody Somewhere,” which was recently renewed for a third season, and as host of Hulu’s new game show “Drag Me to Dinner,” the distance between Mr. Hill and the mainstream is shrinking. Still, his life isn’t wall-to-wall glamour. “I’m in a two-bedroom apartment right now, the second bedroom being my bathroom where I’m talking to you,” he told me from his home in Greenpoint, Brooklyn, during our video call.For Pride season, which lasts the month of June, we unleashed Mr. Hill on the town with his iPhone to capture some of his most “Showbiz!” moments.These are edited excerpts from the interview.I love “Family Feud.” With everything that’s going on in the country, to have us on their daytime slot, I thought it was pretty subversive and radical. Steve Harvey did not know what to do with us. That’s me with Haneefah Wood (above, middle) and Bianca Del Rio (above, left). I knew Bianca when she was just starting. We’re cut from the same cloth, but she’s more Joan Rivers; I’m more Don Rickles. And you know what? She bought a house in Palm Springs with a pool. There’s a whole economy around drag that was never there before. Thinking back to the ’90s — those dirty, stinky clubs — that is mind-blowing to me.That was at Susanne Bartsch’s “New York, New York” Pride kickoff party at the Public Hotel. Susanne Bartsch (above) is like the mother of the queer community. She’ll book Joey Arias and Amanda Lepore, who were the generation before me, and then she’ll book Charlene and all these Brooklyn kids. I don’t know anyone else who does this. I was on “Today With Hoda & Jenna” with Neil Patrick Harris. We’re talking mainstream here, a dream come true. So Jenna and Hoda and Neil were all doing cakes and I’m so short I couldn’t see what he was actually doing. He made a cake of me.Neil Patrick Harris is the producer of “Drag Me to Dinner.” I’m pretty sure I’m the first drag king — transmasc, whatever I am — to host a TV show in history. Neil Patrick Harris and his husband, David Burtka, had me host one of their Restaurant Week gigs. I didn’t know at the time, but I think that was my audition. Robert Evans says, “There’s no such thing as luck, it’s opportunity that you’re prepared for.” They gave me an opportunity.I’m a sports guy. When I got to Mets stadium, I was so excited, I was like a child. I was in the owner’s suite behind home plate and they presented me with that jersey. The back says “Mr. Showbiz.” When I had gone to a Yankees game many, many years ago, I wore a whole Derek Jeter uniform and I actually got harassed a lot. So to go back for a dedicated Pride night, it was such a different experience.I saw a lot of posts from these young drag kings saying that they weren’t getting enough Pride bookings. I always say this: If you don’t see yourself represented, go out and represent yourself. So I said, “Let’s put on our own show.” We had 20 drag kings at 3 Dollar Bill and it was completely sold out. I still have goose bumps, because I’ve never seen a show like that. And there was so much sex appeal! It was like “Magic Dyke” instead of “Magic Mike.”On Sunday at the “Pride Across America” broadcast on ABC and Hulu, I was the guest broadcaster. Lea DeLaria jumped off the parade route to talk to us. She’s the O.G. butch comedian. I’ve known Lea since the ’90s and we often get confused for each other, people calling me “Lea” and her “Murray.” When we took this picture, she goes, “We’re both in the same place at the same time. Now people know we’re two different people.”I never would have imagined sharing a picture of a partner, and I’ve never done it before. When I was coming up, there was this drag etiquette where you never broke character. You never knew anybody’s dead name, you never discussed where you were from, what your family life was like, or what your hardships were. I’m really inspired by the younger generation to be more open and not have things be “on” and “off,” they can actually be everything at once.I am in a loving, amazing, queer relationship at a senior age. Her name is Michelle Casino. This is the first girlfriend that I’ve had in my life that I actually liked. They would all agree. I have this line in my act: I go, “I’ve made a lot of mistakes and many of them are in this room tonight.” More