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.”
A super-cute, tech-savvy update of William Shakespeare's most famous lovers' tragedy, The Folger's Romeo + Juliet has a nice wow-factor. Not only is it literally just the ticket for a Shakespeare-curious Gen Z'er, but it still largely delivers for the diehards in need of a classical fix.
In fact, setting the star-crossed teenagers in the very thick of the present day is multi-level inspired. It's exceedingly fun to watch director Raymond O. Caldwell and his team so creatively integrate all manner of modern life and its attendant frenzies into the story, but it also brings a much-needed logic.
Life imitates art, and not favorably, in Josh Sticklin's uneven staging of The Woman in Black at the Keegan Theatre. The play, by Stephen Mallatratt, based on Susan Hill's gothic horror novel, opens with older Englishman Arthur Kipps (Robert Leembruggen) reciting the tale of a past incident that still haunts him.
Kipps, alone on the stage of a Victorian theater, meekly reading from a script, is critiqued by an actor (Noah Mutterperl) watching from the empty house. Planted among the Keegan audience, the actor tries to coax from Kipps a more compelling delivery, coaching him to try to bring his words to life so vividly that his intended audience might visualize every detail, and experience every emotion.
The wily 23-year-old exotic dancer who's the heart, eyes, and soul of writer-director Sean Baker's Anora is also remarkably naïve, even for a stripper with a heart of gold. Played by Scream (2022) standout Mikey Madison, Anora, or Ani to friends and customers, honestly has no idea what she's getting herself into when she accepts an offer from one especially enthusiastic customer to be his "horny girlfriend" for the week.
Loaded, in every sense of the word, 21-year-old Russian heir Ivan "Vanya" Zakharov (Russian newcomer Mark Eydelshteyn) takes such a liking to Ani that he whisks her from the strip club to his mansion overlooking Brooklyn's Jamaica Bay to a penthouse suite in Vegas.
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