Last year, Uptown Players launched its first-ever Pride Performing Arts Festival to coincide with the Dallas Pride celebration. It was a hit, and the festival is coming back for a 10-day series of gay plays and performances.
Already announced will be the regional premiere of 8, the play by Oscar winner Dustin Lance Black based on the actual transcript of the challenge to California’s Proposition 8 law, banning same-sex marriage. Rene Moreno will direct the staged reading in the Kalita Humphreys main stage. (Sept. 6.)
Also on the main stage will be Songs for a New World, a song cycle by composer Jason Robert Brown, directed by Bruce Coleman and music directed by Kevin Gunther. (Sept. 9, 11 and 15.) [EDITOR'S NOTE: Uptown Players has announced that Songs for a New World has been removed from the schedule.]
The remaining shows will all be performed in Frank’s Place, the upstairs venue at the Kalita. Among the lineup:
• Speech & Debate, about three teenaged misfits united by a town sex scandal. (Sept. 7, 8 and 10.)
• The Madness of Lady Bright, starring Larry Randolph as a drag queen slowly going insane; it played last year at the Festival of Independent Theatres, winning Randolph awards for his performance. (Sept. 8, 9 and 15.)
• Still Consummate, in which master comedienne Marisa Diotalevi, pictured, revisits her award-winning one-person show The Consummate Woman. It will be on a double bill with Paul J. Williams’ standup act Triple Crown Queen, about growing up gay. (Sept. 8, 11 and 14.)
• A-GAYS, Stillwater, Oklahoma. Young performance artist John Michael Colgin reprises his one-man show about being gay at OSU, and the ptifalls of finding a boyfriend. (Sept. 8, 9 and 15.)
• Why Am I Not Gay. Straight guy Jason Kane loves musical theater and looks like a bear on the prowl at a Hidden Door beer bush, but — gasp! — prefers girls. He pokes fun at the stereotypes of gay folks, and being on the other side of them. (Sept. 9, 12 and 15.)









J. Edgar gets off to a shaky start, but it grows on you. Our first sight of Hoover is of DiCaprio pinched into an overdone old-man latex mask that looks comical, like Lord Voldemort in a Brooks Bros. suit. The film is bookended by the sunset of Hoover’s life while recording his memoirs, and the start of his career, only until about 1935; that leaves a generation of villainy during the Cold War and Civil Rights Movement almost untouched by Black and director Clint Eastwood. Some things had to come out, of course; but the gap feels gaping.
You can read my review of J. Edgar
Last week, 





