Lynch, pinned

Jane Lynch has elevated the calm, withering quip to high art. Whether plying her craft in Christopher Guest mockumentaries like Best in Show or A Mighty Wind, or feature films like Talladega Nights and The 40-Year-Old Virgin, she’s become one of the most iconic comic actresses working today.

She’s also been one of the most visible gay celebrities, especially since her Emmy winning role on the hit series Glee, where she plays homophobic right wing high school coach Sue Sylvester. In September, her memoir Happy Accidents moved her influence to the written page.

Lynch, in town this week at a benefit for the Black Tie Dinner, she sat down to discuss Sue, her comic sensibility and her approach to activism.

— Arnold Wayne Jones

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Jane Lynch

Dallas Voice: You hosted the Emmys two months ago and you were a nominee. How did you juggle those competing pressures?  Jane Lynch: I really didn’t have time to think about how I was a nominee. I was focused on the moment and I was very aware that I was only the third woman [after Angela Lansbury and Ellen DeGeneres] to host the Emmys solo, and only the second lesbian.

You’re in town promoting your new book Happy Accidents. Do you feel it’s too early to write an autobiography?  Well, it’s a memoir, not an autobiography where you write about a whole life — I’m certainly not there. A memoir is instead a book about yourself built around a theme. I kept saying to my wife, I could write 15 different books. But this is the one about suffering over my suffering.

Did you write it yourself or have help?  My wife and I wrote it together — she’s definitely the co-author. [I didn’t want to use a ghost writer because] it had to sound like me. I’m not like Susan Lucci — I have a voice people know.

How did you end up working with Dallas’ Black Tie folks?  I was in Dallas before speaking at an HRC event, and I’ll tell you: You guys are organized, enthusiastic and rich. I have been getting people from here emailing me about coming back [ever since].
You very casually refer to your wife in conversation, which I think can really change the dialogue among people oppsed to same-sex marriage.  We’re very aware of that. We aren’t activists in the [overt] political way, but we let the fact we’re living our life be the example. In red carpet, people ask me about my wife now. They don’t play games referring to wife as “life partner” or “girlfriend.”

Your big break was in the Christopher Guest film Best in Show. Did working with Guest give you your comic sensibility or did having that sensibility get you the job?  Hmmm, I’m not sure. Chris Guest says he can tell within five minutes of meeting an actor [at an audition] whether they can do his stuff, and stuff like that has been cracking me up my entire life, the whole “less is more” style of comedy.

Sue Sylvester is your breakout role. How do you approach her? She seems very unlike you.  It’s all about understanding her psychology. She lives to shock. But Sue’s a warrior. It’s why she wears that track suit: It’s her uniform. She has a lieutenant in Becky; the Cheerios are her soldiers. I think of Patton when I do her. In the Madonna episode, we took a speech right out of Patton. Everything is a fight with her and she’ll create one out of whole cloth if she needs to.

I’m reading the Steve Jobs biography, and it occurs to me: He was Sue Sylvester. He lies to himself with all those false deadlines and unreasonable expectations. Everything was a fight. If he didn’t get what he wanted, he cried. Sue would never cry, but she’s suffering in her own way. Every so often she does something tender.

I think my biggest disappointment in Mr. Shuster is he keeps taking it easy on Sue and she turns on him.  Yes, for some reason, people keep forgiving her. That’s gotta end some time.

Do know what’s up for her this season?  Everything’s very late this season. Every once in a while, [creator] Ryan [Murphy] will pop in every so often and say “We’re writing some very baroque monologues for you.” We’ll see.

This article appeared in the Dallas Voice print edition November 4, 2011.

—  Kevin Thomas

Fears For Queers 2 Film Festival announces date and is now open to submissions


Today we received the press release announcing the second Fears for Queers film fest. Last year, the event kind of took us by surprise, but we’re on it now. Local filmmaker Shawn Ewert and his production company Right Left Turn Productions have been keeping us in the loop as the event nears.

But first, they need more films and the call for submissions has officially been placed. Any budding or established LGBT filmmakers are encouraged to submit their short and feature films for inclusion. And there’s no cost to submit. Score!

Click the thumbnail to read the official press release. Fears for Queers is also presented by DOA Blood Bath Entertainment and is scheduled for June 25 at the Texas Theatre in Oak Cliff. Proceeds from the event will benefit Youth First Texas.

 

—  Rich Lopez

‘Trinity River Plays’ tonight at the Wyly

Dallas is the backdrop for actress-playwright Regina Taylor’s new trilogy

For Dallas native Regina Taylor, it was important to set The Trinity River Plays in her hometown. It’s something she intimately knows, which allows her characters to be grounded in a reality that’s close to home physically and spiritually.

“It’s not autobiographical, but it is set at home,” she says. “And that is as palpable as the womb in terms of identity.”

Dramatic storytelling is nothing new for Taylor, whose previous work as a playwright include Crowns and Drowning Crow. She’s also an accomplished actress with an amazing résumé spanning theater, television and feature films. She was the first black woman to play Juliet in Broadway’s Romeo and Juliet, but is probably best known for her role as Lilly Harper in the television series I’ll Fly Away, for which she won a Golden Globe and two Emmy nominations. More recently, she starred in CBS’ The Unit alongside Dennis Haysbert.

Yet even with her acting success, writing has always been one of Taylor’s truest loves.

“I started as a writer from as far back as I can remember,” she recalls. “I was writing my own children’s stories when I was little and it was with the encouragement of my mother who wanted me to live a creative life and empower me with the possibilities in terms of creating my own worlds. That changes your perspective on how you face the world and move through the world. It’s something I truly cherish.”

DEETS: The Trinity River Plays, Wyly Theatre, 2400 Flora St. Nov. 5–Dec. 5 (in previews through Nov. 11). $15–$85. DallasTheaterCenter.org.

—  Rich Lopez

A ‘River’ runs through it

Dallas is the backdrop for actress-playwright Regina Taylor’s new trilogy

STEVEN LINDSEY  | Contributing Writer stevencraiglindsey@me.com

Actress and Dallas native Regina Taylo
HOME AGAIN | Actress and Dallas native Regina Taylor comes home for inspiration for her new plays.

THE TRINITY RIVER PLAYS
Wyly Theatre, 2400 Flora St.
Nov. 5–Dec. 5 (in previews through Nov. 11). $15–$85.
DallasTheaterCenter.org.

……………………………………..

For Dallas native Regina Taylor, it was important to set The Trinity River Plays in her hometown. It’s something she intimately knows, which allows her characters to be grounded in a reality that’s close to home physically and spiritually.

“It’s not autobiographical, but it is set at home,” she says. “And that is as palpable as the womb in terms of identity.”

Dramatic storytelling is nothing new for Taylor, whose previous work as a playwright include Crowns and Drowning Crow. She’s also an accomplished actress with an amazing résumé spanning theater, television and feature films. She was the first black woman to play Juliet in Broadway’s Romeo and Juliet, but is probably best known for her role as Lilly Harper in the television series I’ll Fly Away, for which she won a Golden Globe and two Emmy nominations. More recently, she starred in CBS’ The Unit alongside Dennis Haysbert.

Yet even with her acting success, writing has always been one of Taylor’s truest loves.

“I started as a writer from as far back as I can remember,” she recalls. “I was writing my own children’s stories when I was little and it was with the encouragement of my mother who wanted me to live a creative life and empower me with the possibilities in terms of creating my own worlds. That changes your perspective on how you face the world and move through the world. It’s something I truly cherish.”

The trilogy consists of three plays, Jar Fly, Rain and Ghost(story), which unfold sequentially at each performance in the Dallas Theater Center production, co-produced with Chicago’s Goodman Theatre.

They follow the life of Iris Sparks, who is a writer, as she moves through these defining transforming moments in her life.

In Jar Fly, we see her when she turns 17 — the same age when jar flies (cicadas) go from little grubby worms living underground to insects climbing up a tree in the dark until the light of day hits it and it can shed its skin and spread its wings.

“It has this incredible voice that’s jarring,” Taylor says, “so you have this young woman trying to find her voice as a writer and a human being. It is the occurrences of this day that take her on this journey that will absolutely transform her life. And it’s what we do with these obstacles, this hard rain that inevitably comes in every life, many times and many seasons, and how we move through that.”

The second play, set 17 years later, focuses on that same hard rain.

“Iris is ready to face another storm as she’s 34 years old. It’s after the disintegration of her marriage and the diagnosis of her mother with cancer. You see this mother and daughter taking this journey together. And with that, there’s a transformation. Do we run away from the hard rain, try to outrun it, or do we stand our ground and take the nourishment from it to grow? We’re tested by life. How we meet those tests on a daily basis defines who we are. It’s an exploration of the human spirit and the tenacity of the human spirit.”

The trilogy closes with Ghost(story), which takes place the day before Iris’ mother’s funeral, then offers a glimpse at what her life is like — again, 17 years later.

“She’s trying to figure out where she’s going to go to move forward. And in that she wrestles with and embraces her ghosts. And that’s what we do. Our past is our shadows. Moving forward, we’re always circling back to deal with and wrestle with our ghosts,” explains Taylor.

Taylor wants audiences to embrace the humor and warmth of her Trinity River Plays, but most importantly, she wants to transport them to another place — even if the stories are set just a few miles from the Wyly.

“You have this arc, this journey, this development of the human spirit,” she says. “I think there’s poetry to the pieces.”

This article appeared in the Dallas Voice print edition November 5, 2010.

—  Michael Stephens