#ResistMarch: Showing some Pride in Los Angeles

Photographer James Franklin, formerly of Dallas, shared some of his photos of the #ResistMarch, held Sunday, June 11, in Los Angeles, with Dallas Voice.

According to organizers, more than 100,000 people turned out for the LA event, which was held in conjunction with the Equality March for Unity and Pride in Washington, D.C., and marches across the country, including in Dallas, Fort Worth, Austin, Texarkana and Abilene — all held on Sunday.

More than “100,000 of you showed up in the spirit of unity and action that’s going to be needed to get our country back on the right track,” LA march organizers said in an email on Monday, June 12. “Just the sight of you en masse has inspired those marginalized by today’s political climate and scare the crap out of those attempting to take our rights away. … WE ARE A FORCE!”

Check here for photos of the Dallas march by Chuck Marcelo with Marcelo Media

And watch this Friday’s print issue of Dallas Voice for John Selig’s photos from the Dallas Equality March.

—  Tammye Nash

Maddening man

Cheyenne Jackson CD shows vocal chops, but stumbles on song selection


ARNOLD WAYNE JONES  | Executive Editor

Judges on shows like American Idol often disparage singers by saying their voices are “too cabaret,” or “too Broadway.” It’s a puzzling criticism, because it’s no criticism at all. Broadway and cabaret are incredibly important and successful genres of music that not only endure, but delight and even excite. (Hamilton, anyone? Or ever heard of Streisand?) The implication of such snipes is that because such styles are not radio-friendly “pop,” not “contemporary,” not “hip, young” music, they have no musical value on a singing competition show.

Screw that. Such ignorant critiques merely reveal a lack of imagination on the part of judges. Heck, one of the Idol arbiters in the last years was Harry Connick Jr., whose main genre derives from imitating the Big Band era of the 1940s. Pop music is what we make of it.

Cheyenne-Jackson-CD-CoverSo it is no insult to say that Broadway veteran Cheyenne Jackson’s new album, Renaissance, projects an old-school commitment to “classic” music. From its opening song — “Feelin’ Good,” popularized by retro crooner Michael Bublé but originally written for the 1960s musical Stop the World, I Want to Get Off — Jackson shows an unabashed appreciation for a flamboyant, bombastic show-stopper. With his 22-piece backing orchestra, Jackson demonstrates a facility and great vocal ability in a variety of genres. The message is clear: musical chops are what matter. It’s the singer, not the song.

Well, sort of.

An individual song is one thing; Jackson shows clarity and power on “Feelin’ Good,” and most of the other tracks included. But the mark of great album is cohesion — a carefully curated lineup of numbers that join together into a theme. A compilation of favorite songs is just a vanity project without direction.

Truth is, Renaissance is an expansion of a series of concerts Jackson gave “inspired by the music of the Mad Men era.” But that’s an unwieldy and wide net — Mad Man took place over the course of the entire ’60s, a decade as musically diverse and constantly changing as any has ever been. Even the TV series moved from underground jazz clubs in its pilot to acid rock hippie music by its series finale seven seasons later.

How do you thread that needle? The answer is: Not all that successfully.

A strangeness emerges in the interplay of his song selection. The brassy second track on the album, “Americano,” swings like an old-school standard. Jackson’s phrasing is clear and his voice catchy,  although his reliance on clarity almost comes in the way. His diction is so precise, it lacks the sense of spontaneity that the best jazz must have. “Angel Eyes” is a moody, haunting number — the kind Nelson Riddle used to arrange to great effect — but it seems out of place here. (He could have accomplished more with the intoxicating mystery song “Nature Boy.”)

“Something Stupid” (the comically romantic ballad creepily popularized as a duet between frank Sinatra and his daughter Nancy) is a perfectly pleasant duet with Jackson and pal Jane Krakowski, although it would have been nicer if he had paired up with another man to give it a proper gay twist — the chance to improve upon an inherently silly song and turn it into a modern gay anthem was sadly missed. “Besame Mucho’s” slow samba doesn’t meld well with the with the jazzy swing, or the Broadway blow-out, of the other numbers.

|“I (Who Have Nothing)” sounds as if Jackson may be auditioning to sing the title track in Quentin Tarantino’s next film. I’d actually love to see that happen. His voice is spectacular, but this CD is more compilation than concept album, an audition reel that proves the artist’s talent … but not his judgment.

This article appeared in the Dallas Voice print edition July 15, 2016.

—  Arnold Wayne Jones

Action Jackson!

Out actor Cheyenne Jackson is ready for his closeup


Has Lady Gaga touched your butt lately?  It’s a box Cheyenne Jackson can happily check off after his recent run on American Horror Story: Hotel, playing a bisexual fashion designer who, by the grace of Gaga, got felt up by Mother Monster herself. Of course the screen and stage singer-actor’s resume is far more extensive: Jackson has starred in a wide range of projects including 30 Rock, HBO’s Liberace biopic Behind the Candelabra, Glee and the 9/11-inspired Flight 93, portraying late gay hero Mark Bingham.

Jackson’s latest is Day Out of Days, directed by Zoe Cassavetes, the daughter of filmmaker John Cassavetes and actress Gena Rowlands. In the film, now streaming via Digital HD and VOD, he plays a gay dermatologist lending his expertise to friend Mia (Alexia Landeau) as she tries to survive age-obsessed Hollywood. As an out gay man, Jackson knows the struggle, but he’s stopped caring.

In our interview with Jackson, the actor discusses his “fuck it” attitude at 40 (no more Botox for him), the butt-grab GIF Lady Gaga sent him and his passionate feelings on the Hollywood closet.

— Chris Azzopardi


Dallas Voice: You’ve played just about every variation of gay. How do you know if a gay character is right for you?  Cheyenne Jackson: I never pick something based on if it’s gay or not. I just pick something if the character’s right for me. I play a pretty healthy mix, although these days I’ve been playing a lot of bisexuals. I was bisexual on Horror Story and then I just finished a film where I also played bisexual, so I’m in a bi phase right now. Honestly, just the part has to appeal to me. I really do love that there’s such a broad spectrum I’ve played: gay guys who were more straight down the middle, and — though I hate this phrase — “straight-acting,” and all the way to Behind the Candelabra where I was just, you know, super cunt-y.

When it comes to roles in general, how many scripts do you end up passing on?  I make no bones about it: I’m not in a world where I just get offered all of these movies by any means. I’ve never put a number on it. I would say maybe five to seven offers a year and I’ll do a few. It just depends. Doing a movie, especially an indie movie, you really have to love the subject and you really have to love the writer / director. It’s such a labor of love — and I know it’s an overused phrase — but it is if you’re gonna be putting your blood, sweat and tears into it. And also, I don’t wanna take time away from my husband and my home and my family just to do a little thing.

While shooting Love Is Strange with Alfred Molina and John Lithgow, it was said that you informed them on gay vernacular, such as what it means to be a “bear.” As the gay guy on set — maybe sometimes the only one — do you find yourself schooling your straight co-stars on everything gay?  Oh, well, I’ve never been the gay actor on set — maybe I’m the only openly gay actor. But yeah, listen, I’m happy to be the go-to if people wanna know what shit means. I’ve been out since I was 19, so I gotta do something with all this information I have!

You suggest that you’ve worked with many closeted gay actors, and we talk a lot about the Hollywood closet. Where do you stand on that?  It’s a personal thing. I mean, everybody should do their own thing, what is right for them. I hate it when people try to pull people out of the closet — who wants that? It’s not good for them, it’s not good for us; for whatever their own reasons are, they’re not ready. Just leave people to do their own thing on their own time. I fully believe that. I mean, I came out when I wanted to because it was my time, and I hate the whole witch-hunt aspect. Just mind your own business.

Regarding American Horror Story: Can we expect you in future seasons?  I hope so. We don’t know yet. I think we’ll all be finding out in the next few months.

How aware are you that you’ve made just about every gay man jealous by having your butt touched by Mother Monster?
  Oh, I knew! I knew as we were shooting it. We got to that scene, and it wasn’t in the script exactly like that. But Gaga is so playful and comfortable with scenes like that and with her body. She was really fun and she put me at ease because I had never done a scene like that. So, we were just kind of playing around and she and I have such a comfort with each other, so between set-ups I laid down for a minute and she just started, you know, rubbing my butt and I’m like, “Ooh!” The director was like, “Oh, great; let’s just do that,” and that became a thing and I thought, ‘Oh, shit. I can see the screen caps now.’”

You know, there’s actually a GIF out there.  I know. She sent it to me that night.

Who was guiding who during that sex scene?  It was definitely a give and take. I was nervous going into it because I had never really done nudity onscreen, but she’s just great. I echo what everyone else says about working with her: She’s a total pro.

I was surprised to hear that you hadn’t done a sex scene up until that point.  I mean, I’ve done kissing scenes and I’ve done post sex scenes and pre sex scenes, but nah. I’m definitely not shy about it. I’m totally into it. And since Horror Story, I’ve already done a film where I have sex with a woman and then I have sex with a man. So, I’m hitting it.

What’s the film?  It’s called Hello Again by Michael John LaChiusa — it’s based on his musical. Really great cast: Rumer Willis, Audra McDonald, Martha Plimpton and Tyler Blackburn.

What’s next for you?  I have a couple of things in the works. Right now I’m in New York doing The Secret Garden at Lincoln Center and I have a couple of other things lined up but can’t talk about them because they’re not signed on the dotted line. And I’m actually recording [a new album] in March in New York. I don’t know if I wanna talk about what’s on it yet, but it’s definitely some covers and new stuff — stuff I’ve kind of been touring with the last few years, but I don’t wanna say some of the names just yet.

Like Mia in Day Out of Days, you’re also 40. Have your experiences in Hollywood been similar or different from Mia’s? And in what ways?  Yeah, definitely different, because I’m a man. It’s a different thing for women. Aging in Hollywood, as we all know, can be brutal, especially if you’re a woman. It’s a subject that people have talked about before and even made art about, but I like this particular story that Zoe’s telling just because it’s from one woman’s perspective, and I thought it was pretty great. Personally, I like getting older, and as a man, I like what’s happening to my face. Yeah, sometimes it’s hard to see more wrinkles and grey hair, which I’m totally getting, but it’s way easier for men — way easier.

I’ve been thinking about this since doing this movie, when you do see the occasional actress who doesn’t do anything to her face, like Kate Winslet — I saw something recently, and we’re the exact same age — and she has some wrinkles and she looks gorgeous and I loooove it. Oh my god do I love it. It’s so beautiful.

While we’re on the topics of ageism and sexism, I recall your nude leak. I wonder if there’s a gender disparity when this sort of thing happens like it did to you a few years ago, when a video surfaced. Do you think there’s a difference in the way the public reacts to a male celebrity’s leak — in this case yours — versus a woman’s?   I’m not gonna speak to that at all.

Fair. Let’s move on. As a gay man, what kind of effect has sexuality had on your career?  That’s a good question, but there’s really no way to know what would have happened. I have been out my whole career. I came out during my very first big job in All Shook Up [2005] on Broadway. It was in The New York Times, and I just decided to get it out of the way so it wasn’t a thing. What effect has it had? I have no idea. Do I think I have missed out on things because I am gay? Maybe. Probably. But there’s no way to prove it. And if that’s really how something would go down, I wouldn’t want that [project] anyway. But things are definitely changing, and it’s funny that you say “as a gay man” because I find pressure on gay men, especially in our society, to look young. It’s almost like it is for women now. I see all these guys at the gym and everybody’s — well, not everybody, but a lot of guys — have a lot of stuff going on with their face.

Do you feel like you’ve been pressured to look a certain way?  Of course I feel the pressure — and I succumbed to it. I’m not against saying I used to do Botox and fillers for about three years. I got really into it.

Why did you decide to stop?  I looked crazy. I didn’t look like me. I think especially on men, Botox and filler doesn’t make you look younger — I think it makes you look like you have Botox and fillers. It changed the shape of my eyes. I didn’t have any wrinkles on my forehead, and it was crazy. And then I started to obsess about every little thing. Then three years ago I was like, “Fuck it. I’m just gonna let my face do what it’s gonna do,” and I’m so happy I did.

This article appeared in the Dallas Voice print edition April 8, 2016.

—  Dallasvoice

Cast set for Dustin Lance Black’s ‘8’

Dustin Lance Black

The American Foundation for Equal Rights & Broadway Impact have added actors to the lineup of Dustin Lance Black’s world premiere play 8. Bob Balaban, Larry Kramer, John Lithgow and Bradley Whitford are among the celebrities joining the staged reading, which takes place at a one-night-only event on Sept. 19. They join the previously announced cast that includes Anthony Edwards, Morgan Freeman, Cheyenne Jackson, Christine Lahti, Rob Reiner, Yeardley Smith and Marisa Tomei. They will play historical figures, including Judge Vaughn Walker, attorneys David Boies and Theodore Olson, and Evan Wolfson of Freedom to Marry.

The  play chronicles the historic trial in the federal legal challenge to Prop 8, California’s constitutional amendment banning same-sex marriage. It is based on the actual transcripts of the lawsuit. Black, who won an Oscar for his screenplay for Milk, has been widely active in gay rights causes.

—  Arnold Wayne Jones

Weekly Best Bets • 08.19.11

Saturday 08.20

Homecoming queenVial
This week’s cover story focuses on the reunion of Jane Doe, but let’s not forget that it’s a big night for Deborah Vial too. The singer returns to Dallas to host the CD release of Stages and Stones. It’s gonna be like a vintage night out at Sue Ellen’s in the ’90s but like huge. Yeah. They’re even playing the big room at HOB.

DEETS: House of Blues, 2200 N. Lamar St.
7:30 p.m. $10. HouseOfBlues.com.


Wednesday 08.24

‘Green’ screen
In The Green, Michael and David have the ideal suburban life in Connecticut. But an accusation turns their world around and Michael has to defend himself against suspicious coworkers and even his partner’s doubts. Q Cinema’s Fall Film Series returns with this drama starting Jason Butler Harner and Glee’s Cheyenne Jackson.

DEETS: Four Day Weekend Theater,
312 Houston St., Fort Worth. 8 p.m. $10.


Thursday 08.25


How’s this for a cast party?
WaterTower Theatre hosts a launch party for its WTT Pride series of three shows geared to LGBT theater fans. Theater, dancing, cocktails and disco? Will wonders never cease?

DEETS: Station 4, 3911 Cedar Springs Road. 9 p.m.
Email GPatterson@WaterTowerTheatre.org or call 972-450-6227.


This article appeared in the Dallas Voice print edition
August 19, 2011.

—  Kevin Thomas

It’s not easy being ‘Green’

First-time filmmaker Steve Williford teams with the Verizon Guy (seriously!) for ‘The Green,’ a movie about homophobia and suspicion

IDYLLS OF THE QUEENS | A quiet couple (Dallas theater veteran Jason Butler Harner and ‘30 Rock’s’ Cheyenne Jackson) becomes immersed in controversy when one is accused of an affair with a teen in the USA Film Festival entry ‘The Green.’

MARK LOWRY  | Special Contributor

Although Steve Williford never felt any homophobia directed at him when he lived in southwestern Indiana, his perception of what others thought of him as a gay man was something that stuck with him for many years. At dinner parties and social events, his sexuality was a subject that came up often, usually as a result of others’ curiosity.

“Months went by and I started to wonder if I was the poster boy for gay,” he says. “I always wondered what would happen if something in my life happened that brought my sexuality to the forefront, like if I was at a party and kissed my partner.”

That question would eventually lead him to his first feature film as a director, The Green, currently on the festival circuit and screening at USA Film Festival Saturday. The screenplay is written by Paul Marcarelli, best known as Verizon’s “can you hear me now?” guy, who recently came out publicly.

The story they ended up with concerns a high school teacher, played by Jason Butler Harner, who is accused of an inappropriate relationship with a male student. It causes tension with the teacher’s partner, played by out Broadway hunk Cheyenne Jackson (also known for his recurring roles on 30 Rock and Glee), and in the community.

Williford directed nearly 150 episodes of the recently axed soap opera All My Children from 2004 to 2011, but his background is in theater (he directed a production of Driving Miss Daisy in the early 1990s at Dallas’ Park Cities Playhouse, back when it was called the Plaza Theatre). So it’s not surprising that his cast is filled with actors who come from the theater world, too — not just Jackson, but Harner, who played Hamlet at the Dallas Theater Center in 2003. That may explain why Williford’s film has something in common with several plays, notably Lillian Hellman’s The Children’s Hour, Arthur Miller’s The Crucible and John Patrick Shanley’s Doubt.

Screen shot 2011-04-28 at 5.27.05 PM“We’re a proud cousin of all of those works,” Williford says. “We are trying to examine a situation that can illustrate to us how slippery truth and clarity really is and how quickly it can slip away from us.”

“Paul and I are both big lovers of ambiguity to a certain degree,” he adds. “I had always modeled this story in my heart and mind on what I love about the Chekhov short stories: We leave certain things open and free to be interpreted. For the bulk of the story, you’re really not sure if he has done what he’s being accused of, but there are some significant issues that do get resolved, quite clearly I think.”

And of course, he knows the audience won’t trust if they don’t believe in the relationship as portrayed by Harner and Jackson, and takes a dramatic turn from the comic roles he has done on TV.

“I completely believe in Jason and Cheyenne as a couple. That’s one of my complaints when I see LGBT couples represented in film: I feel like there’s a link missing a little bit. I don’t feel that way about them, in the work environment or what has come together for the film.”

This article appeared in the Dallas Voice print edition April 29, 2011.

—  Kevin Thomas

Dallas’ USA Film Festival announces schedule for 41st season (and we’ve got the gay in it)

Dallas’ USA Film Festival kicks off its 41st season with a tribute to bisexual actor Cary Grant and with several gay guests in attendance.

• The centerpiece of the festival is Remembering Cary Grant: An Evening with Jennifer Grant, the actor’s daughter with Dyan Cannon. Jennifer will sign her memoir about her father and host a 55th anniversary screening of To Catch a Thief. Cary, of course, was among the most suave of golden era leading men, but in addition to women has a long romance with cowboy actor Randolph Scott. (April 27)

The Perfect Host — Gay TV icon David Hyde Pierce (Niles from Frasier) will be in attendance for the screening of this psychological thriller, which stars the Tony and Emmy winning actor. (April 27)

Take Me Home — This comedy-drama features Victor Garber (Alias, Milk) who we hope will be among the cast members who may be in attendance. (April 28)

• The Green — A gay couple (Jason Butler Harner, Cheyenne Jackson) are challenged when one is accused of inappropriate behavior toward a student. The filmmakers will be in attendance. (Presented with the support of Equality Texas.) (April 30)

Warriors of the Discotheque — This documentary about the legendary Starck Club, which opened 27 years ago and was radical in its acceptance and tolerance of all lifestyles. (April 30)



—  Arnold Wayne Jones