In the darkest of dark comedies, it can be hard to tell the heroes from villains.
That might go double for the audacious Down Low, starring Zachary Quinto and Lukas Gage as an epically repressed, recently out gay man and the masseur he’s hired for his first homo happy ending who team up to hide the accidentally dead body of an internet hookup.
Gage — perhaps best known as the White Lotus bellhop who had his salad tossed by Murray Bartlett — co-wrote the script with writing partner Phoebe Fisher, and then encouraged producer FilmNation to pass it along to Rightor Doyle to direct.
“We had known each other for years,” says Doyle, also the creator, writer, and director of Netflix’s provocative comedy series Bonding, loosely based on Doyle’s experiences as a fresh-faced gay New Yorker working for his dominatrix best friend as her bodyguard. One can safely assume the actor-turned-director has seen his share of crazy worker-client situations, and even he was shocked reading the script for Down Low.
“I read the first ten pages and said, ‘I can’t believe someone is going to make this,'” Doyle recalls. “And then I thought, ‘Wait, maybe I should be the one to make it.’ And I think it’s something that, particularly with queer cinema, gay cinema — I love a good, uplifting story, I love a good coming out story — but my sense of humor and the things that I like to watch felt very aligned with this darker, sort of button-pushing version of what it is to be queer or what it is to explore queer identity. And I just jumped at it. I begged to do it.”
For his persistence, Doyle not only got the gig, but then assembled an enviable cast that also includes Simon Rex in a role not to be spoiled, and powerhouses Judith Light, in a drop-dead hilarious turn as a nosy neighbor, and Tony Awards queen Audra McDonald, in a brief but searing appearance as the ex-wife of Quinto’s former closet case.
“She’s incredible,” Doyle raves of McDonald, who shot her part in a day, much to Doyle’s eternal gratitude. “She has been my hero for my entire life. [As a kid,] I saved up all of my money and walked to the nearest CD store and bought Way Back to Paradise, you know? And I told her this, literally, as she’s getting her hair and makeup done.”
While Quinto’s and Gage’s characters try to get away with almost-murder, McDonald’s ex-wife shows up to ensure her former husband doesn’t get off scot-free for upending their marriage, or for living a lie for decades. On the other hand, his sexuality apparently was a revelation to him, too.
As Doyle notes, part of “the beautiful complexity around the movie, but also just around being a human” is that “you can be right and wrong all at the same time.” But these guys are still totally wrong for trying to hide a dead body, right? Even if they do have their reasons? “I’m not here to answer any of those questions,” Doyle offers slyly.
“Good storytelling for me, asks more questions than it answers,” he says. “I would like to leave more curious than when I came. And I hope that this movie does that, whether you love it or hate it. I think the movie wants you to love it or hate it. I think it’s asking you to have a big opinion about it. And I don’t think it’s afraid of you having an opinion. So you can have an opinion, either way. And I think the movie allows for that.”
There isn't a great deal of originality in Jamie Wax's new play, Call Me Izzy, but it may well mark the first time a white porcelain toilet has been featured so prominently in a Broadway production.
The 90-minute, one-woman show opens in the bathroom of a mobile home, situated in a trailer park in rural Louisiana, where Isabelle "Izzy" Scutley (Jean Smart, Hacks) spends much of her time, scribbling on sheets of toilet paper with a mascara pen. Poetically, she describes the various shades of blue produced by the disinfectant tablets that she gingerly drops in the tank. To her, they are beautiful. To her husband, Ferd, not so much.
Dating in these times is not for the faint at heart. Some singles are out here playing games of sexual catch-and-release, while others, according to Celine Song's astute romance Materialists, have reduced relationships to X's and O's, concerned less with love than with checking off boxes.
Age, height, income, education, family background, future potential earnings, and, of course, attractiveness are the key measurements for the movie's modern daters seeking the help of Manhattan matchmaker Lucy (Dakota Johnson) to find a mate.
Life is a cabaret at the titular bolero bar in GALA Hispanic Theatre's Botiquín de Boleros de Columbia Heights. Of course, for this lively, immersive staging, directed and choreographed by Valeria Cossu, we, the audience, are the patrons at the Columbia Heights Bolero Bar.
Seated at cabaret tables onstage, at stage level, or in regular seats throughout the house, audience members may find themselves in the midst of the action for Rubén Léon's heartfelt backstage musical revue, adapted by GALA artistic director Gustavo Ott.
Formerly a mainstay of D.C.'s diverse Columbia Heights neighborhood, the fictional boîte was "one of the hottest cabarets" in town, we're told. But due to the pandemic, it has sat dormant for years, until now -- now being November 2024, just ahead of a presidential election that will prove particularly pivotal for immigrants like some of the performers who call the club home.
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