Applause: Joel Ferrell is the hardest working man at the DTC (Sorry, Kevin!)

Over a 30 year career, Joel Ferrell has gone from journeyman actor and dancer to one of the driving creative forces at the Dallas Theater Center

IMG_0183
Joel Ferrell gets a brief respite from his busy schedule with the Theater Center, and gets to sit where the audience does for a change: In the lime green seats of the Wyly Theatre

CLICK HERE FOR MORE STORIES FROM APPLAUSE: THE DALLAS VOICE VISUAL & PERFORMING ARTS GUIDE 2011

ARNOLD WAYNE JONES  | Applause Editor

Joel Ferrell is the first one to admit that he “[doesn’t] do well in giant windowless buildings,” so when Kevin Moriarty tapped him to join the Dallas Theater Center staff as an “associate artist” —basically the No. 2 on the artistic side of the venerated troupe, tasked with directing about a third of the shows there and helping to produce others — he might have balked. Ferrell, like a lot of theaterfolk, has a gypsy’s nature: He likes to move around, trying new things, exploring different theaters and companies and stages. It’s how he’s made his living for 30 years.

But the call from Moriarty came with more than the promise of a steady paycheck and a corporate title. It came with the opportunity to help reinvent how theater could be done. And though he would surely dispute it, almost as much as Moriarty, Ferrell has been instrumental in testing the limits of the Wyly Theatre and bringing the DTC to national prominence.

Ferrell could fairly be called the hardest working man at the DTC, if not in all North Texas theater.

“I don’t know about that — Kevin works much harder,” he says demurely.

But look at the facts: This past season alone, Ferrell produced the acclaimed sell-out comedy Arsenic and Old Lace at the Kalita, and directed the DTC’s best shows back-to-back: The Horton Foote comedy Dividing the Estate, immediately followed by his staggeringly complex and affecting revision of the musical Cabaret, which he also choreographed. He’s also the man responsible for conceiving (and directing and choreographing most productions) of DTC’s holiday staple A Christmas Carol, a task he returns to this winter in addition to helming the regional premiere of God of Carnage.

In some ways, this is a cakewalk compared to the pace Ferrell maintained in his five seasons with Fort Worth’s Casa Manana, where he directed and/or choreographed more than three dozen musicals. It was great experience, Ferrell concedes, but not a fulfilling one.

“I was always a square peg in a round hole there,” he says. “What we did was in essence summer stock, with me playing producer, directing the designers, deciding whether to rent costumes. I was fighting to make Casa an arts organization that did art from the ground up. After years of poking my finger in that bear I gave up. It was invaluable and energizing and I wouldn’t trade it at all, but I’m so glad I’m not doing it now.”

What he wanted was what all artists crave: Freedom to experiment with the limits of their imagination, and “this place has done that for me, with me, to me … in spades,” he says.

By “this place,” Ferrell is referring both to the Theater Center itself and its new home in the Wyly Theatre. The building has not been without its critics: An overly steep entrance, uncomfortable chairs (recently, and expensively, updated last year), confusing and crowded accessways … and that’s just from the audience’s perspective.

“There’s no typical backstage where a director can stand and pace when you’re watching the opening of your new show,” Ferrell notes about the configuration. But he’s adjusting.

“It took significant getting used to because it is unlike any theater building I have been in,” he says. “There have been hiccups, but I have to say — having bopped around the country working at a number of theaters — lot of things are fantastic. But probably the luckiest thing is that Kevin Moriarty was the first artistic director to move into the building.”

Ferrell credits Moriarty with encouraging his creative team to make inventive use of the stage. “This is not a place for directors who want a proscenium,” Ferrell cautions. “I really like working in the theater that is so flexible and with very few limitations about how you can create your space.”

For his part, the depth of that creativity came with Ferrell’s radical staging of Cabaret earlier this spring: Working with his set designer, he turned part of the Wyly stage into the floor of the Kit Kat Klub in the 1930s, complete with café tables, tea lights and beverage service. It was a far more complicated undertaking than merely coming up with an idea.

“You had to be aware of where it would be coherent to have tables, what the number of seats to be sold could be, the safety, ADA compliance. The decision just where to put the service tables for the waiters was a big one. I worked a supper club theater in New York years ago and it was a lot of work. Very quickly it became understood it took a lot of departments working together to make it work. It is a great collaborative process here working with an evolving building.”

Ferrell is quick to share the credit with all the people who help make a show come together.

“I have been lucky to have such astonishing designers working with me — there’s no need for me to lead them by the nose. During tech week on Dividing the Estate someone told me she was in awe of the process, mesmerized by the speed at which the [artists] work. Someone said to me, ‘I don’t know when you sleep!’ During tech week, I don’t sleep.”

His generosity of spirit probably comes from starting out as an actor (he became a member of Actors Equity 30 years ago, he crows) before moving into choreography and eventually directing. He first worked at the DTC when Richard Hamburger, the former artistic director, hired him for a new production of A Christmas Carol in 1991.

“Then about eight years ago, Hamburger hired me to choreograph My Fair Lady — the last show performed at the old Arts District Theater. That was the most collaborative I have even been with Richard,” he says.

Ferrell decided to take a breather when in 2008 he received a call from Moriarty, who had only recently been appointed the new A.D.

“He asked, would I choreograph The Who’s Tommy. It became very apparent he was testing the waters with me, to see if it made sense for me to be connected with the Theater Center. Even still, coming on staff? I did not see that coming.”

Ferrell thinks Moriarty has been instrumental in “making the Theater Center more relevant to Dallas than it had been in a long time, arguing that it should be doing innovate stuff and regain a national footprint. It feels like we’ve made some great progress in that way,” he says.

As for Ferrell himself, he’s still excited about his new role in shaping the North Texas theater scene, and has found a sense of serenity.

“There was a time when I thought the amount of shows I did was the barometer of my success,” Ferrell admits.

Not so much anymore. He’ll take quality over quantity any day. If only he could just slow down.

This article appeared in the Dallas Voice print edition August 26, 2011.

—  Kevin Thomas

Dallas Opera cancels production with out soprano

To get a handle on its finances, the Dallas Opera announced that it will cancel one of the five scheduled full main-stage productions of next season, and the victim is Katya Kabanova, which was to star out soprano Patricia Racette. In a lengthy press release, the DO explained how the move to the Winspear proved more costly than anticipated, and to “stabilize company finances as rapidly and prudently as possible,” the Russian opera, which was to be the second production of the 2011-12 season, would be canceled. Subscribers will be given a full refund.

This doesn’t mean Dallas won’t get to see Racette perform, however — she is still set to headline a special patron recital in November.

Katya Kabanova was the obvious choice to trim; the other four major productions are among the most popular in the repertoire: Lucia di Lammermoor, Tristan & Isolde, La Traviata and Die Dauberflote (The Magic Flute). A fifth “chamber” opera, which will mark the opera directing debut of DTC’s Kevin Moriarty, will go on as planned.

—  Arnold Wayne Jones

Wiz, meet Liz

IMG_6317
OFF TO SEE THE LIZ | Mikel tackles a villainous character in ‘The Wiz’ at DTC before (fingers crossed) returning to New York for a hoped-for Broadway production of ‘Lysistrata Jones.’ (Photo by David Leggett)

After a devastating fire and the loss of her mom, Dallas’ Liz Mikel wowed NYC — but there’s no place like home

ARNOLD WAYNE JONES  | Life+Style Editor
jones@dallasvoice.com

Liz Mikel sprinkles her conversation with terms of endearment like “baby” and “child” the way others sprinkle sugar on cereal: Liberally, and to sweeten you up.

Mikel deserves a little sweetness in her life. 2010 proved to be a daunting year for the actress. She was in tech rehearsals for the world premiere musical Give It Up! at the Dallas Theater Center when her house burned to the ground. Four months later, her mother passed away.

“She was a brilliant shining light,” Mikel says, tearing up. “She had a doctorate but she always encouraged me [in acting and singing]. I had no choice — performing chose me.”

Those twin tragedies challenged Mikel, but did not defeat her. Indeed, Give It Up! (now renamed Lysistrata Jones) has become a flashpoint for her career. When the producing team decided to bring it to New York, Mikel was brought along to recreate her role as a sassy madam — a casting decision that led to a full-color photo of her in the Sunday Arts & Leisure section of the New York Times.

“That still boggles my mind,” she says, slightly aghast. “I did not know the magnitude of that. I was just grateful they found a way to get me up there. You plant seeds, and then it opens a different universe for you.”

That universe includes talk of moving the musical to Broadway with Mikel intact (there’s already buzz she’d be in serious contention for a Tony Award), and though she’s crossing her fingers “waiting for the call,” Mikel prefers not to think too much about it. “It’s still just an out-of-body experience,” she says. “I don’t even know how to put it in words.”

But Dallas doesn’t need to worry too much about losing Mikel to the Great White Way. “This is my home, baby!” she says almost defensively. “I’ve been [with the DTC, where she is now a member of the resident acting company] since 1990. I’m not going anywhere.” She continues that association with the DTC when she opens in The Wiz tonight.

But Mikel has been familiar to Dallas’ gay community even longer. “If I had been born a man, I would have been a drag queen,” says the 6-foot-1 actress who rarely wears flats in public. “I was about 18 when I started going to The Landing, which is where you’d go to see drag shows. I forced my best friend, whom I had known since the fifth grade, to come out to me by telling him he had to take me there.”

Mikel began singing in piano bars, where she developed a reputation as a full-throated diva with a gospel urgency to her voice. That has translated well onto the stage, especially in musical roles. But her current part, playing the wicked Evilene in The Wiz, is something of a departure for her.

“I usually do nurturing roles, but this is just over-the-top from the word ‘go,’ cracking the whip and screaming at people.”

It’s also a chance for Mikel to take on a role in one of her favorite musicals — sort of.

“I loved watching The Wizard of Oz on TV,” she says, “waiting for that moment when Judy Garland goes from black and white to color.”

The message of the show rings especially true for Mikel after the trials of 2010, as she knows that, no matter what 2011 and beyond may bring, there’s no place like home.

This article appeared in the Dallas Voice print edition July 15, 2011.

—  Kevin Thomas

Bunny hop

Lady Bunny comes out! (as more than a drag queen DJ)

LADY BUNNY
Axiom Sushi Lounge,
4123 Cedar Springs Road.
June 3 at 8 p.m. 214-443-3840.

………………………

The Lady Bunny is most recognizable as that funny queen who created Wigstock, or as the DJ spinning at a circuit party in full drag. But the lady has a lot on her mind that’s not all fun and games. Though she’s never far from the sass.

“I really like to talk about issues because there is a lot of fluff on TV,” she says. “How great would it be if a gay channel would take on gay issues? I’d love that. Hear that, Logo?”

Bunny, who has practically made Dallas a second home lately, returns for a double gig this weekend: On Saturday, she shares the bill with Tony-nominee Kelli O’Hara as the DJ for the Dallas Theater Center’s Centerstage benefit. But Friday she returns to her performing roots for a birthday dinner and roast at Axiom Sushi Lounge at the ilume. And she knows the fish jokes should be easy that night.

“I am that tacky,” she laughs. “For me, I love sushi but drag and dinner only mix if there’s a girdle handy.”

Bunny is deeper than she usually gets credit for. Seeing Larry Kramer’s The Normal Heart on Broadway forced her to recall activism then vs. now. Minus the makeup and music, Bunny is impassioned about that which affects LGBT people today.

“I think that gay people have to a large extent lost their fight,” she says. “I don’t really know how putting ‘Equality’ as your middle name on Facebook, or a piece of tape over your mouth, helps. I can’t see how these trendy campaigns substitute for hard work.”

She’s also inspired by her work as the Dean of Drag on the upcoming season of RuPaul’s Drag U. With an increased role this time out, Bunny still keeps the camp but adds heart for her makeovers. Real life women get makeovers, but also come with dramatic back-stories.

“These women, they give up everything for their kids and their man,” she says. “I cried a few times. It made me appreciate that nurturing vibe that mothers have. I don’t think gay men know that kind of sacrifice. This season has been a real eye opener.”

For now, she snarkily warns of her own eye opener Friday.

“Well, I have this delightful tribute to Burlesque,” she says. “Did you see the movie? Ugh.”

— Rich Lopez

This article appeared in the Dallas Voice print edition June 3, 2011.

—  Michael Stephens

Gender roles

KAP_0854-rs
ONE OF THESE GIRLS IS NOT LIKE THE OTHER | Walter Lee Cunningham Jr., right, plays his character Frenchie sometimes as a girl, sometimes as a cross-dresser, in Dallas Theater Center’s wild and sexed-up production of ‘Cabaret.’ (Photo courtesy Karen Almond)

Life is a drag-aret, old chum — at least it is for Walter Lee Cunningham Jr., who gets all girlie for his role in DTC’s sexy, edgy ‘Cabaret’

ARNOLD WAYNE JONES  | Life+Style Editor
jones@dallasvoice.com

Getting cast in Cabaret was a plum gig for Walter Lee Cunningham Jr. Since moving to Dallas from his native Abilene in 2007, Cunningham has been performing around town in shows like The 25th Annual Putnam County Spelling Bee and Caroline, or Change. But he had taken off nearly a year before he auditioned for the Dallas Theater Center’s spring musical.

So when he got that call that he’d been cast as Frenchie, “one of the dancers in the Kit Kat Klub,” he was thrilled to be making his DTC debut.

Then he showed up for the first costume fitting,

“That’s when I found out I would be playing a girl,” he says.

Yes, he would be in the ensemble — only not as a Kit Kat boy as he had assumed, but playing one of the female chorines.

That was a surprise for sure, but wasn’t such a big deal for Cunningham: Since 2004, he’s performed drag under the name Jada Fox at clubs around North Texas, including Station 4, the Drama Room and the Rainbow Lounge. No, it was really when he saw his costume that he had his first big gulp! moment — there simply wasn’t that much of it.

“It kind of freaked me out a bit,” he says. “When I do drag, I wear pads to give myself the physique of a girl. Without them, I have the body of a boy.”

Being clad only in a bra, lace panties and sheer stockings didn’t give him much to play with — or hide behind.

As with drag, maintaining the illusion of femininity requires a man to, ummm, “tuck.” That’s not so hard when donning an evening gown for a 20-minute drag show; it’s quite another for a two-hour musical that requires high kicks.

Let’s just say Cunningham has to work harder than anyone else onstage not to let his Pride flag wave too proudly.

“I have to worry about my junk,” he says frankly. “Something could very well pop out. You just have to make it work.” (So far during previews, that hasn’t happened, though it has occurred backstage at unexpected moments.) He also has to sing an octave above his normal range. All in all, it gives new meaning to Faith Whittlesey’s dictum, “Ginger Rogers did everything Fred Astaire did — only backwards and in heels.”

Performing as a female impersonator certainly prepared Cunningham for this role. As with acting, drag requires the creation of a character, and Jada Fox has been described as “a black Barbie doll — I’m not the bitchy queen, it’s just not me.” (When pressed, he compares his persona to Sahara Davenport, the Season 2 contestant on RuPaul’s Drag Race.)

It’s all part-and-parcel with the concept of the show, a sexed-up, wildly racy updating of “the divinely decadent Sally Bowles,” a British showgirl living in Weimar Germany when everyone was sleeping around with everyone else — male, female … even Nazi. Joel Ferrell directs and choreographs, turning the floor of the Wyly Theatre into a real cabaret with some café-table seating. That gives Cunningham the opportunity to interact with the audience in ways neither he nor most of the attendees are quite used to.

“There’s definitely a game of ‘spot-the-boy,’” he says. “I can see the audience, especially the women, trying to figure me out, It’s kind of funny. It gives me a bit to play with. I’m not trying to freak anyone out, but there was this number [at a preview] where I was looking at these guys and they refused to look at me.” He took it as a challenge.

It becomes easier to spot-the-boy during Act 2, where Cabaret ventures toward Zumanity territory with explicit nudity — none of which bothers Cunningham.

“I personally don’t care — I’m very comfortable with my body,” he says. (At 25, he says he eats all he wants to and only occasionally works out and yet still maintains his lean physique.)

So, is Frenchie a real girl, or just a cross-dressing guy living the gay life in decadent interregnum Berlin? Even Cunningham’s not sure.

“They never told me exactly what they wanted,” he says. “It’s a choice I get to make. I kind of play with it — sometimes I’m really a girl and sometimes not.”

Unless, of course, he pops out of his costume during a performance. At that point, the audience pretty much gets to make the decision for him.

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

—  Kevin Thomas

Weekly Best Bets

Friday 03.18

Footes won’t fail you now
Honoring the Texas playwright, the theater community unites for the first Horton Foote Festival. The fest kicks off with DTC’s Dividing the Estate. but even a touch of gay can be found with The Young Man from Atlanta, which Uptown Players will perform in April.
DEETS:
Various theaters and venues. Through May 1. Visit HortonFooteFestival.com for details.

Friday 03.18

When wine strolls attack
Savor Dallas is upon us again, filling the weekend with food, wine and fabulosity. The event starts off with an Arts District Wine Stroll within the museums and venues. Just don’t get tipsy and spill the wine on the art. That’s a whole lot of bad karma. And look for local celebrichefs like Stephan Pyles and Blythe Beck. Bon appetit!
DEETS:
Various venues. 5 p.m. $35. Through Saturday. Visit SavorDallas.com for schedule.

Saturday 03.19

Hey, why don’t you go take a walk
Designer Anthony Chisom took issues into his own hands starting the Anthony Chisom AIDS Foundation and creating the inaugural South Dallas AIDS Walk. Seeing the impact of AIDS beyond the gayborhood, Chisom’s foundation strives to expand the city’s vision of where AIDS impacts. After all, it is the same fight for the cure.
DEETS: South Dallas Cultural Center, 3400 S. Fitzhugh Ave. 8 a.m. SouthDallasAIDSWalk.org.

—  John Wright

Stage: Year In Review 2010

ARNOLD WAYNE JONES  | jones@dallasvoice.com

1-GE6_81212010 proved to be an oddly uninvolving season at the theater.

The tours, even the good ones, were often retreads of past shows (I love Avenue Q and Wicked, but have seen them already — a lot) or dreadfully overproduced, crap (the unwatchable Dr. Seuss’ How the Grinch Stole Christmas, the appalling Shrek).

Local companies tried to be creative, with mixed results. There were high points — and when they were high, they were spectacular — but mostly it was middle-of-the-road stuff and disappointing, unfulfilled promise. And when things were bad, as they were with the disastrously under-realized reinvention of It’s a Bird! It’s a Plane! It’s Superman! at the Dallas Theater Center, they almost made me red-faced with rage. But there was still enough to warrant a “best of” list, and here they are.

10. August: Osage County and 9. Spring Awakening (Lexus Broadway Series). The two best tours of the year were both part of the new series at the Winspear. Neither was quite as good as the New York productions, but August, with its epic take on the family dynamic, and Awakening, with its frank, modern spin on sexual yearning, made the hassles of going to the Arts District worth the effort.

2-GE1_9612
WINNER’S CIRCLE | Fort Worth’s Circle Theatre managed two of the best shows of the year: ‘Opus,,’ left, and ‘Bach at Leipzig,’ both of which made classical music exciting.

8. The Beauty Plays (Dallas Theater Center). Give credit to the DTC for tackling three Neil LaBute plays often relegated to more “alternative” theater companies by putting them in rep in the 99-seat Wyly black box. These are uncomfortable plays to watch, with the versions of Fat Pig and Reasons to Be Pretty outlapping The Shape of Things, but the series itself was a welcome bit of daring programming.

7. SubUrbia (Upstart Productions). Taking on its second Eric Bogosian play in a year, and on the heels of This Is Our Youth, Upstart showed an admirable facility with modern plays about aimlessness.

6. Boom and 5. Charm (Kitchen Dog Theater). Two vastly different comedies — Boom, a futurist tale about a gay guy wanting to repopulate the world, and Charm, a period piece about a feminist icon — turned basically unfunny ideas into beautiful, almost surrealist bits of whimsy.

4. Our Town (WaterTower Theatre). After a few disappointing seasons, WaterTower got back on track with this American classic. Defying conventional wisdom that it’s an “easy” piece of sentimental tripe, director Terry Martin fathomed its iconic, homespun realism. It’s a more peculiar piece than it gets credit for, and the realization here was exquisite.

5-Charm-PR-George-&-Margaret-copy
FEMINISM GONE WILD! | Tina Parker, right, played an independent woman in 19th century America in Kitchen Dog’s aptly named ‘Charm.’

3. My Fair Lady (Lyric Stage). The best musical on the list was Lyric Stage’s gussied-up, NEA-granted, original orchestrated mounting of one of theaterdom’s crowning glories. (It’s probably the best book of a musical ever written … which you can attribute to Shaw.) Magnificently costumed and designed, and directed with panache by Cheryl Denson, it was like a time machine to 1954, and proved why Steven Jones is North Texas’ finest theater producer.

2. Bach at Leipzig and 1. Opus (Circle Theatre). Fort Worth had it all over Dallas (and Irving!) with the two best shows on the year. In Bach, playwright Itamar Moses conceived of his play — a comedy about Baroque composers — as a theatrical fugue, and director Robin Armstrong made it happen with gorgeous sets and a cast that understands that farce is more than pie-throwing, but the melding of wordplay and swordplay in equal doses. But Circle Theatre also claimed the best show of the year, also about music, with Opus, in which a gay couple’s breakup nearly ruins a famed string quartet. If all classical music were this enchanting, Mozart will still be on the pop charts.

…………………………………….

ACTOR OF THE YEAR

The stage — especially local theater — is a great medium for actors to stretch themselves. There were some strong ensembles this year, in both of the top plays, Bach at Leipzig (especially Steven Pounders and Andy Baldwin — and excluding the actor who played Bach himself, who missed his only cue) and Opus, as well as the three leads in the No. 3 show, J. Brent Alford, Kimberley Whalen and Sonny Franks in My Fair Lady. Terry Martin made a good Stage Manager in Our Town, but it was the performances he elicited as the director from Joey Folsom, Maxey Whitehead and Ted Wold that stood out most. Folsom was strong, too, in SubUrbia. Tina Parker led a great cast in Charm with her patented wide-eyed energy.

DTC_031010_FATPIG_dress_078Sometimes what most impresses you, though, is someone good in a show that doesn’t deserve it. Morgana Shaw made Closer to Heaven a hoot (despite a deeply problematic script), and Gregory Lush’s flamboyant turn in Sherlock Holmes in the Crucifer of Blood gave the show a jolt. Wendy Welch transformed the likeable revue Forbidden Broadway’s Greatest Hits into the comic highlight of the fall. And the up-and-down revision of Henry IV was made hilarious with the return to the DTC of Randy Moore. R Bruce Elliot’s interpretation of Beethoven in 33 Variations almost saved that rambling show. Almost.

But the actor who I will judge 2010 by will always be Regan Adair. He took on two roles in DTC’s Beauty Plays  — Fat Pig, where he played a conflicted yuppie (pictured above with Christina Vela), and Reasons to Be Pretty, as a working class lech — so vastly different you could hardly recognize him from show to show. His way with Shakespearean dialogue in Henry IV and his harried but touching take on Bob Cratchit in A Christmas Carol showed how effortlessly he can assault a variety of genres.

Adair is moving away from Dallas in 2011 — a terrible loss to our artistic community; he’s been a frequent finalist on my year-end list. But even if he weren’t leaving, he deserves to be recognized as the actor of the year.

This article appeared in the Dallas Voice print edition December 31, 2010.

—  Kevin Thomas

Moriarty’s contract with DTC extended to 2014

Kevin Moriarty

Kevin Moriarty, the gay artistic director of the Dallas Theater Center, will be in town a little longer.

Moriarty, who took over the post in 2007, had his contract extended this week through the end of the 2013-14 season, keeping him as head of the 52-year-old company through August 2014.

The DTC also finished its fiscal year in the black for the eighth time in 10 years, with a budget surplus, despite spending exorbitantly on the revamped musical It’s a Bird, It’s a Plane, It’s Superman.

The DTC’s managing director, Mark Hadley, announced his departure earlier this year; this month represented his last show with the organization. He will be working with a church in Arlington. A search is currently under way for his replacement.

—  Arnold Wayne Jones

A curtain falls

Propmaster Rick Gilles, DTC’s butchest employee, leaves to be with his man

RICH LOPEZ  | Staff Writer lopez@dallasvoice.com

Rick Gilles
GO WEST | While finishing up work at DTC’s production studio, Gilles is planning his big move to California — for love. (Rich Lopez/Dallas Voice)

Two loves separated by long distance. One left for his future. The other stayed for their future. But now, happily ever after is about to begin.

Quick, what is that? Tagline in a movie trailer for the next sappy Reese Witherspoon rom-com? No, but it is based on a true story. After 14 years in Dallas, Rick Gilles is packing up and heading west to be with his partner Shannon Swindle. Once they are reunited after a year-and-a-half separation, the plan for Gilles is to settle in, get a job and begin planning their wedding next year (initially scheduled for this year). It’s a real-world romance just in time for Prop 8 being overturned.

“I started realizing that I wasn’t going to get the wedding I wanted,” Gilles laughs. “We had been talking about it for a little while, but with the stress of moving, we postponed until next year. We want it outdoors in Napa Valley with close family and friends. And that isn’t going to come particularly cheap.”

Swindle built a sweet reputation as the pastry chef at Craft in Dallas’ W Hotel, but last year he was transferred to the Los Angeles location. He’s been living in an apartment, waiting for Gilles. But as the properties master for the Dallas Theater Center, Gilles had his own full plate — namely, moving into the new Wyly Theatre. After 14 seasons working at the DTC, he couldn’t bring himself to just leave without seeing it flourish.

“Part of the reason the move didn’t happen earlier was I had been working on getting this theater open,” he says. “I really wanted to see that to fruition and see it go through a full season.”

When Gilles wasn’t constructing sets and working on props for the stage, he was an active member of the Leather Knights (see sidebar), where he found something beyond his leather interest: He could also make an impact on the local LGBT community that he doesn’t foresee in L.A.
“When I lived there before it took a lot more effort, time and money to be involved,” he says. “With Leather Knights, I could fit into my schedule and help the community and contribute my talents.”

Perhaps the hardest part of Gilles’ move isn’t just leaving his longtime tenure at DTC, but chiefly because, he isn’t all that ready to leave Dallas. Coming here from Buffalo (though originally from California), Gilles has made his connection to the city.

“I’ll be really sad to leave here,” he admits. “Dallas has treated me exceptionally well. I love this job and I love Dallas a lot. But ultimately, I’m really excited about the future. We’ve been living apart long enough.”

This article appeared in the Dallas Voice print edition August 6, 2010.

—  Michael Stephens

Casting news; B'way hunk Matt Cavenaugh will be Superman

CavenaughThe Dallas Theater Center’s updating of the ’60s-era musical It’s a Bird… It’s a Plane… It’s Superman! gets its first major casting announcement. Matt Cavenaugh — who played Jerry and Joseph Kennedy Jr. in the Broadway production of Grey Gardens — will take on the role of Clark Kent/Man of Steel. I guess this means I need to spend even MORE time at the gym … if I want to be Jimmy Olsen.game mobilконтекстная реклама на сайт

—  Arnold Wayne Jones