Gold’s Gym spokesman: Rowling doesn’t see any profits and San Francisco franchisees are lying

This morning we put a call in to Gold’s Gym’s gayest location in Dallas, at 2425 McKinney Ave. in Uptown, to find out whether management there had any thoughts on the controversy over Robert Rowling’s $2 million in contributions to American Crossroads, the Karl Rove co-founded group that is working to help elect several anti-gay candidates across the country this election cycle.

Rowling, a Highland Park billionaire, is the CEO for TRT Holdings, which is the ownership group for both Gold’s Gym and Omni Hotels. And his contributions have led to a petition calling for Gold’s Gym to stop supporting anti-gay candidates.

We ended up talking with Brad Bean, who happens to be the district manager for Gold’s Gym’s four corporate-owned locations in Dallas. The company’s other six locations in Dallas are franchises, Bean said.

“From a corporate perspective, diversity is a core part of our organization, and we don’t discriminate,” Bean said. “We have zero tolerance. We’re not a political organization, and we don’t use our revenue source to fund political organizations.”

Bean’s statement is essentially a shortened version of the one released by Gold’s Gym International on Monday, which we’ve posted below. A copy of the statement was sent over this morning by Dave Reiseman, vice president of communications for Gold’s Gym International, which happens to be headquartered at 125 E. John Carpenter Freeway in Irving.

We also spoke with Reiseman briefly this morning, and he stressed that Rowling is not the CEO for Gold’s Gym; he is the CEO for TRT Holdings, which is the ownership group.

“Not a nickel of Gold’s Gym’s money, from our members or our franchisees or our employees, went to American Crossroads or any other political organization,” Reiseman told Instant Tea. “Gold’s Gym is an apolitical organization, and we do not donate to political causes or candidates of any kind.”

But doesn’t the company generate a profit for Rowling, who could then have given that money to American Crossroads?

“I think one day if the company is ever sold, he may make a profit there, but right now they just re-invest all the profits back into the business,” Reiseman said. “Needless to say, the LGBT community is hugely important to us. We’re proud to have a strong membership base. A lot of our employees are part of the LGBT community, and so are a lot of our employees here at the corporate office and our franchisees.”

And speaking of franchisees, Reiseman says two of them in San Francisco were flat out lying when they announced Monday that they’re leaving the brand over Rowling’s American Crossroads contributions. Rather, discussions about termination of their franchise agreements for unrelated reasons began months ago, Reiseman said. This statement is below as well.

—  John Wright

Flu shots available in Oak Lawn

The flu vaccine is available in Oak Lawn

Flu shots are available.

According to the Centers for Disease Control, this year’s vaccine includes protection for swine flu (H1N1) and two other influenza viruses (H3N2 virus and an influenza B virus). It is an inactivated vaccine (containing killed virus), which means you cannot get the flu from the shot. However, side effects include soreness, redness or swelling where the shot is given, low-grade fever and aches.

Although the vaccine is recommended for everyone, two groups the CDC says should get protected are:

  1. People 50 years of age and older
  2. People of any age with certain chronic medical conditions (which includes people with HIV)

Those who should not get the vaccine:

  • People who have a severe allergy to chicken eggs.
  • People who have had a severe reaction to an influenza vaccination.
  • People who developed Guillain-Barre syndrome within six weeks of getting an influenza vaccine.
  • Children less than 6 months of age (influenza vaccine is not approved for this age group)
  • People who have a moderate-to-severe illness with a fever (they should wait until they recover to get vaccinated.)

This year the shots are widely available and are offered at both doctors’ offices and retail locations. (Last year, Oak Lawn area doctors were reporting trouble in obtaining the vaccine).

Among Oak Lawn retailers offering the vaccine:

Walgreens

3802 Cedar Springs Road at Oak Lawn: Walk-ins welcome. Available 24 hours a day.

3418 McKinney Ave. at Lemmon: Walk-ins welcome. Easiest when the most pharmacists are on duty from 11 a.m. to 7 p.m.

CVS

Go to website to find when flu clinics taking walk-ins are available at any store.

4207 Lemmon Ave. at Douglas: Best to call to make sure pharmacist is available. 214-528-0328. She will be in Mon. Oct. 4 from 3 p.m.-10 p.m.; Tues. Oct. 5 from 8 a.m.-3 p.m.

5659 Lemmon Ave. at Inwood: Call anytime to schedule appointment. 214-252-0121.

—  David Taffet

Another robbery victim kidnapped at gunpoint in Uptown Dallas, forced to drive to ATM

The second incident began at 4151 McKinney Ave. early Monday morning.

Dallas police say the same suspect may be responsible for two recent aggravated robberies in the Uptown and Oak Lawn area that involved victims being kidnapped and forced to drive to ATMs to withdraw money.

The first incident, which we reported on Tuesday, occurred late Sunday and began in the Office Depot parking lot on Oak Lawn Avenue, at 2929 Oak Lawn Ave.

The second incident began at 6:45 a.m. Monday in an alleway at 4151 McKinney Ave., according to police reports. The victim reportedly is an employee at the Katy Trail Animal Hospital.

“Detectives are looking to see if they are related,” DPD Sr. Cpl. Kevin Janse said of the two incidents on Wednesday. “The suspect description is very similar. We suggest people call ahead to their place of business or home and have someone waiting on them when they arrive to make sure they get inside safely. This lady [the second victim] did the right thing and complied with the demands.”

The suspect is described as a black male about 40 years old, 5 feet 5 inches tall and weighing about 220 pounds. He has a scar under his right eye and was wearing a white T-shirt, blue jeans and a black hat at the time of the first incident. Anyone with information should call 214-671-4071 or 911.

If you’ll recall, there was a similar rash of aggravated robberies in Oak Lawn last year. The suspect in those cases was finally caught after David Ethridge, a gay victim, chased him down and obtained a license plate number from his vehicle.

—  John Wright

Ladies: fair, well or other

Lyric brilliantly does Shaw; KDT feels ‘Betrayal;’ Echo wants us to get ‘Well’

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

LOVERLY  |  Kimberly Whalen and J. Brent Alford give soaring performances in Lyric Stage’s masterful version of ‘My Fair Lady,’ with a 38-piece orchestra.
LOVERLY | Kimberly Whalen and J. Brent Alford give soaring performances in Lyric Stage’s masterful version of ‘My Fair Lady,’ with a 38-piece orchestra.

ON THE BOARDS
MY FAIR LADY at the Irving Arts Center, 3333 N. MacArthur Blvd., Irving. Through Sunday.

BETRAYAL at the MAC, 3120 McKinney Ave. Through Oct. 10.
WELL at the Bathhouse Cultural Center, 521 E. Lawther Drive. Through Sept. 25.

The opening overture to My Fair Lady was, to every gay boy with a turntable between 1956 and about 1986, the soundtrack that began the coming out process. Hearing the clipped joy of “You Did It,” followed by the romantic strains of “On The Street Where You Live” and “I Could Have Danced All Night” while staring at the Al Hirschfeld drawing on the LP, started many a musical theater queen’s career.

And I’m sorry, but modern musical productions, with their synthesizers and five-piece combos, just can’t compare to hearing a full 38 musician orchestra in a pit recreate what opening night must have been like in the heyday of Broadway.

I know this for a fact, because Lyric Stage has tackled My Fair Lady like no one anywhere has, probably in a generation. A painted curtain; a dancing and singing ensemble well into double-digits. And actors who really know what they’re doing. The cost is so prohibitive that even with arts grant checks in hand, it can run only two weekends; this is the second; and you must see it.

The familiar tale of ‘enry ‘iggins (J. Brent Alford, all but channeling the ghost of Rex Harrison) who turns common guttersnipe Eliza Doolittle (Kimberly Whalen, who should have a few Tony Awards by now if talent had anything to do with it) is perhaps the best musical ever. It’s about two gay men (Higgins and Pickering — what, no one told you?) who play dress-up with a teenager who becomes their living doll.

CHEATERS  |  A romantic triangle gets its post-mortem in Nobel Prizewinner Harold Pinter’s ‘Betrayal’ at Kitchen Dog. (Photo by Matt Mrozek)
CHEATERS | A romantic triangle gets its post-mortem in Nobel Prizewinner Harold Pinter’s ‘Betrayal’ at Kitchen Dog. (Photo by Matt Mrozek)

There’s no real romance — barely even a kiss. The closest it comes to big production numbers are the sidewalk busking of Cockneys, led by Alfie (Sonny Franks, who’s electrifying). The costumes are frivolous and extravagant, the scene changes numerous and necessary. It shouldn’t work at all. And it works completely.

Director-choreographer Len Pfluger doesn’t fuss much with the original, down to the exquisitely dressed “Ascot Gavotte” number — a high point of Act 1 in which none of the stars appear. You simply don’t find a musical so led by plot more than personality, by character more than conceit, anymore. The Carpenter Performance Hall transmogrifies from a stage to a time machine before our eyes: We’re back when Broadway shaped pop culture. Half a century later, My Fair Lady is again the can’t-miss production of the year.

The first act of My Fair Lady is longer than the entirety of Harold Pinter’s Betrayal, now at Kitchen Dog Theater; it doesn’t feel that way. Pinter plays tend to be so… so… Pinteresque: Long pauses, awkward silences, not too much humor.

And there’s the plotting, often labyrinthine, moody and obscure. But when it clicks — even if just for moments — it can be exhilarating. This production has too few of those moments.

Betrayal is one of Pinter’s most celebrated plays, telling the story of a romantic triangle in reverse chronological order: We start with the adulterers (Leah Spillman, Max Hartman) after their affair has ended and work our way back to its inception.

The conceit sounds gimmicky, but it’s actually quite astute. We all experience relationships, especially failed ones, retrospectively. “How did we get here?” we ask. What signs did I miss?” It’s the post-mortem we all want to do with clarity.

Only it’s Pinter, so clarity is a secondary, even tertiary concern. What is the bigger betrayal: cheating on your husband or on your lover with your husband? Or is it really the men (Hartman and Cameron Cobb), best friends, who are cheating on each other with a woman? (Pinter often deals in the subtext of repressed homosexuality.) Can you consent to be being betrayed, or is tacit betrayal called something else entirely — like “life?”

This production, directed by Tina Parker, raised these questions but, like Bryan Wofford’s expressionistic set, doesn’t answer them or even come close. Without much energy to sustain it, it gets its dramatic oomph from tension. And I just didn’t feel much. Passive-aggression is infuriating in real life; it’s not much better on stage.

If I correctly interpreted the message to Well, presented by Echo Theatre at the Bathhouse Cultural Center — and there’s a good chance I didn’t — it’s that lesbianism cures allergies. Yeah, I probably got that wrong.

This quasi-autobiographical tale is about how playwright and actress Lisa Kron (Kristin McCollum) grew up in a family, and a community, where sickness was presumed. It’s not quite hypochondria, but it’s not healthy, either. Lisa herself was intensely studied for severe allergies, which (and the play never makes this clear) may have been all in her head, planted there by her mother Ann (Sylvia Luedtke).

Well is more akin to performance art than play; it interacts with the audience directly, but preciously so (when things go wrong, they are meant to seem like they are going wrong in real time, even though they are scripted). It’s part and parcel with a whole slew of po-mo theater pieces, including The Road to Qatar! and [title of show], where the shows are about the making of themselves. It’s a funhouse mirror room that has begun to wear thin.

This show is a little too loosey-goosey (and, at 90 minutes, too long), though the performances by McCollum, Luedtke and Molly Milligan as uber-sick patient Joy are engaging. I might like to see it on a double-bill with Sick; we could choose a winner and the other would close the next night. That would be Darwinian theater at its finest.

This article appeared in the Dallas Voice print edition September 17, 2010.

—  Kevin Thomas