Dallas-produced ‘The Visit’ posts closing notice

loftisAfter Sunday night’s Tony Awards ceremony, which saw two new musicals garnering the lion’s share of awards, The Visitco-produced by Dallas’ Terry Loftis and starring stage legend Chita Rivera — saw that a boost in box office after the awards wasn’t in the card. Yesterday, the show posted its closing notice for June 14. I should close with 61 total performance, plus 32 previews.

While this will be the last original Kander & Ebb musical ever — and, realistically, Rivera’s last trodding of the boards — it’s not the end of the road for Loftis, who told me last month he already has two more shows in the words as a producer … revivals of Kander & Ebb shows. The dream continues.


—  Arnold Wayne Jones

DSM, PAFW announce 2015–16 seasons

THE-PHANTOM-OF-THE-OPERADallas Summer Musicals and Performing Arts Fort Worth, which this season teamed up to present several shows together (first in Dallas, then in Cowtown), chose a few hours before the Tony Awards to announce their upcoming 2015-16 seasons, which will again have several cross-over shows.

DSM’s season will kick off with a new version of The Sound of Music (Nov. 3–22), followed by the Christmas show Elf (Dec. 8–20), The Bridges of Madison County (which last year won the Tony for its score, Feb. 2–14, 2016), the return of The Little Mermaid (March 11–27), Ragtime (May 24–June 5), the recent Bullets Over Broadway (June 14–26), 42nd Street (June 28–July 10), plus a bonus presentation of Wicked (April 20–May 22).

PAFW begins its season with The Book of Mormon (Dec. 1–6), Motown (Jan. 13–17, 2016, which will play in July at DSM), a new production of The Wizard of Oz (June 7–12) and Phantom of the Opera (Oct. 20–30). It will co-present Little Mermaid (March 29–April 3, right after DSM’s run), 42nd Street (July 12–17. after DSM) and The Sound of Music (Aug. 17–21) with DSM. Add-on productions of Joseph and the Amazing Technicolor Dreamcoat (Sept. 18–20), Rudolph the Red-Nosed Reindeer (Nov. 24–25), Blue Man Group (Feb. 19–21, 2016) Mamma Mia! (May 20–22),  and will also be in the line-up.

In addition, Performing Arts Fort Worth has two shows at the McDavid Studio, one of which we exclusively broke earlier this year: Dixie’s Never Wear a Tubetop While Riding a Mechanical Bull (and 16 Other Things I Learned While I Was Drinking Last Thursday) (Nov. 11–22, 2015) and Back to School Catechism: The Holy Ghost and Other Terrifying Tales (Oct. 5–9, 2016).

—  Arnold Wayne Jones

Tony Award nominations are always a theater queen’s wet dream

Chita Rivera, a Tony nominee for ‘The Visit’

When the Oscar and Emmy and Grammy nominations come out, many of those who follow the awards have already seen (or heard) the contenders, or plan to soon, and have an opinion about who was robbed and who was justly feted. Not so the Tony Award nominations, which came out this morning. Some of the nominated shows opened as recently as last weekend, so that only a handful of New Yorkers have even had a chance to take them in; some closed after brief runs months ago.

But theater queens being who they are, they still can’t wait to hear who made the shortlist … which, more so than any other major award, is flush with GLBT folks.

Take for instance The Visit, with book by gay author Terrence McNally and co-starring out actor Roger Rees. Here’s all you need to know: 82-year-old Chita Rivera, who stars in it, is nominated for best actress in a musical. Who doesn’t get goosebumps hearing that? Then again, she has to face off against a few other icons of the theatuh, including Kristin Chenoweth (On the Twentieth Century) and Kelli O’Hara (The King and I). (Rees, a former Tony winner, is not among the male acting nominees.)

A lot of shows with big buzz are also in the running for awards, which will be handed out Sunday, June 7. Lesbian cartoonist Alison Bechdel’s acclaimed musical Fun Home is hotly fancied for best musical and best score. And Broadway has a way of wooing movie and TV stars into prime jobs — Helen Mirren (The Audience), Elizabeth Moss (The Heidi Chronicles), Bradley Cooper (The Elephant Man), and and Bill Nighy and Carey Mulligan (Skylight) are all up for acting awards, as is North Texas native (and former Tony winner) Julie White.

Perhaps some of the pleasantest awards, though, already have winners. John Cameron Mitchell, who wrote, directed and starred in the original off-Broadway production (and film) of Hedwig and the Angry Inch, is being honored with a special Tony; Texas native Tommy Tune is being honored with a special Tony for lifetime in the theater; and after 40 years in the business but no Tony statuette to show for it (he does have a few Oscars, as consolation), legendary B’way composer Stephen Schwartz (Wicked, Godspell, etc.) is the winner of the Isabelle Stevenson Award.

Here is a full list of the nominees:

Best Musical: An American in Paris; Fun Home; Something Rotten!; The Visit.

Best Play: The Curious Incident of the Dog in the Night-Time; Disgraced; Hand to God; Wolf Hall Parts 1 and 2.

Best Revival of a Musical: The King and I; On the Town; On the Twentieth Century.

Best Revival of a Play: The Elephant Man; Skylight; This Is Our Youth; You Cant Take It With You.

Best Leading Actor in a Play: Steven Boyer, Hand to God; Bradley Cooper, The Elephant Man; Ben Miles, Wolf Hall Parts 1 and 2; Bill Nighy, Skylight; Alex Sharp, The Curious Incident of the Dog in the Night-Time.

Best Leading Actress in a Play: Geneva Carr, Hand to God; Helen Mirren, The Audience; Elisabeth Moss, The Heidi Chronicles; Carey Mulligan, Skylight; Ruth Wilson, Constellations.

Best Leading Actor in a Musical: Michael Cerveris, Fun Home; Robert Fairchild, An American in Paris; Brian dArcy James, Something Rotten!; Ken Watanabe, The King and I; Tony Yazbeck, On the Town.

Best Leading Actress in a Musical: Kristin Chenoweth, On the Twentieth Century; Leanne Cope, An American in Paris; Beth Malone, Fun Home; Kelli O’Hara, The King and I; Chita Rivera, The Visit.

Best Book of a Musical: An American in Paris, Craig Lucas; Fun Home, Lisa Kron; Something Rotten!, Karey Kirkpatrick and John O’Farrell; The Visit, Terrence McNally.

Best Original Score (Music and/or Lyrics): Fun Home, Music: Jeanine Tesori, Lyrics: Lisa Kron; The Last Ship, Music and Lyrics: Sting; Something Rotten!, Music and Lyrics: Wayne Kirkpatrick and Karey Kirkpatrick; The Visit, Music: John Kander, Lyrics: Fred Ebb.

Best Featured Actor in a Play: Matthew Beard, Skylight; K. Todd Freeman, Airline Highway; Richard McCabe, The Audience; Alessandro Nivola, The Elephant Man; Nathaniel Parker, Wolf Hall Parts 1 and 2; Micah Stock, It’s Only a Play.

Best Featured Actress in a Play: Annaleigh Ashford, You Can’t Take It with You; Patricia Clarkson, The Elephant Man; Lydia Leonard, Wolf Hall Parts 1 and 2; Sarah Stiles, Hand to God; Julie White, Airline Highway.

Best Featured Actor in a Musical: Christian Borle, Something Rotten!; Andy Karl, On the Twentieth Century; Brad Oscar, Something Rotten!; Brandon Uranowitz, An American in Paris; Max von Essen, An American in Paris.

Best Featured Actress in a Musical: Victoria Clark, Gigi; Judy Kuhn, Fun Home; Sydney Lucas, Fun Home; Ruthie Ann Miles, The King and I; Emily Skeggs, Fun Home.

Best Direction of a Play: Stephen Daldry, Skylight; Marianne Elliott, The Curious Incident of the Dog in the Night-Time; Scott Ellis, You Can’t Take It with You; Jeremy Herrin, Wolf Hall Parts 1 and 2; Moritz von Stuelpnagel, Hand to God.

Best Direction of a Musical: Sam Gold, Fun Home; Casey Nicholaw, Something Rotten!; John Rando, On the Town; Bartlett Sher, The King and I; Christopher Wheeldon, An American in Paris.

Best Choreography: Joshua Bergasse, On the Town; Christopher Gattelli, The King and I; Scott Graham & Steven Hoggett, The Curious Incident of the Dog in the Night-Time; Casey Nicholaw, Something Rotten!; Christopher Wheeldon, An American in Paris.

Best Scenic Design of a Play: The Curious Incident of the Dog in the Night-Time; Skylight; Wolf Hall Parts 1 and 2; You Can’t Take It with You.

Best Scenic Design of a Musical: An American in Paris; On the Twentieth Century; The King and I; Fun Home.

Best Costume Design of a Play: The Audience; You Can’t Take It with You; Wolf Hall Parts 1 and 2; Airline Highway.

Best Costume Design of a Musical: Something Rotten!; An American in Paris; On the Twentieth Century; The King and I.

Best Lighting Design of a Play: The Curious Incident of the Dog in the Night-Time; Wolf Hall Parts 1 and 2; Skylight; Airline Highway.

Best Lighting Design of a Musical: The King and I; An American in Paris; Fun Home; The Visit.

Best Orchestrations: An American in Paris; Fun Home; Something Rotten!; The Last Ship.

Special Tony Award for Lifetime Achievement in the Theater: Tommy Tune.

Isabelle Stevenson Tony Award: Stephen Schwartz.

Regional Theatre Tony Award: Cleveland Play House.

Special Tony Award: John Cameron Mitchell, Hedwig and the Angry Inch.

Tony Honors for Excellence in the Theater: Arnold Abramson; Adrian Bryan-Brown; Gene O’Donovan.


—  Arnold Wayne Jones

Billy Porter: The gay interview


With our Applause Edition coming out Friday, we thought we’d prime the pump a little with some Broadway glamour. And you don’t get much more glamorous nowadays that the sexy leather thigh-highs of Kinky Boots, which will be on tour in North Texas twice in 2015 (as you can read about Friday in Applause!).

For his first solo album since becoming a Tony and Grammy award-winner, Billy Porter — Broadway’s kinkiest drag queen — is taking off the corset and stepping out of those iconic heels. With Billy’s Back on Broadway, the crooner continues to honor his passion for musical theater, taking on songs made popular by some of the most revered legends: Liza Minnelli (“But the World Goes ’Round”), Judy Garland (“Happy Days Are Here Again / Get Happy”) and Barbra Streisand (“Don’t Rain On My Parade”).

With the Tony Award nominations just out this week, we decided to chat with last year’s toast of B’way. Porter talks with our Chris Azzopardi about his fondness for strong women, how he aspires to be Cyndi Lauper (whom he calls “one of the godmothers of individuality”) and the personal catharsis he’s experienced while transforming into a woman for Kinky Boots.

Dallas Voice: Was winning the Tony for best actor in a musical last year one of those surreal moments where you give your speech, and then walk away and it all becomes a haze and you wonder what the hell you just said?  Billy Porter: No — because I wrote it! I had to write it down. I have amazing people and friends, and my manager of 23 years, Bill Butler, and one of my dear friends Jordan Thaler, both said to me before it happened, “Look, you have a one in five chance of winning. Write something down. Write it down!” And they know I’m not the kind of person who wants to come across as being cocky or anything, so they both were like, “It’s not being cocky; it’s honoring the moment. It’s better to be prepared and to be able to look back at this time and, if it happens, have had said something intelligent.” I said what I wanted to say as opposed to getting up there and fooling around, so I’m glad that they made me write it.

You’re right, though: Some people think it comes off as cocky when people prepare a speech.  And it’s actually really not. Lemme write something down so I don’t look like Boo Boo the Clown up there.

—  Arnold Wayne Jones

Tony Awards are, once again, very gay

NPH performingPlano native Brian J. Smith was the unfortunate runner-up to three-time winner Mark Rylance at the Tony Awards last night, but our disappointment is lessened slightly by some noteworthy victories.

Six plays and six musicals split the 15 awards handed out Sunday night, which failed to see a clear favorite: Two shows won four awards apiece, and two won three.

Rylance took the first award of the evening, for best featured actor in a play, for Twelfth Night, defeating Smith in The Glass MenagerieMenagerie won only one award, for lighting of a play; Twelfth Night also won for best costume design of a play. Robert Schenkkan’s All the Way, a one-man show with Bryan Cranston playing Texan LBJ, won best play and best actor in a play.

Audra McDonald made history, winning her sixth acting Tony (she now has one in every female acting category, this time for lead actress in a play) playing Billie Holliday in Lady Day at Emerson’s Bar & Grill.

The big winner for plays, though, was A Raisin in the Sun, which won revival of a play, director of a play (Kenny Leon) and featured actress in a play (Sophie Okonedo).

Gay fave Neil Patrick Harris, pictured, was a popular favorite when he won for best actor in a musical for his turn in the cross-dressing rock opera Hedwig and the Angry InchHedwig won three other awards: best featured actress for Lena Hall, best lighting of a musical and best revival of a musical.

A Gentleman’s Guide to Love and Murder, the standout hit of the season, took the prizes for best musical, book of a musical, director of a musical and costumes for a musical. Beautiful, the musical based on the life of songwriter Carole King, won best actress in a musical (Jessie Mueller), best sound and set design for a musical. The score award went to The Bridges of Madison County, which also won for best orchestrations.

The show clocked in at just more than three hours, with Hugh Jackman as host. Many of the technical awards were presented off-camera and only announced during the broadcast, and there was no “in memoriam” for those theater folks who have died. There was, however, time for a performance of a musical about Peter Pan, Finding Neverland, which has not opened and has not even booked an opening date yet.

Additional winners:

Featured actor in a musical: James Monroe Iglehart, Aladdin

Choreography: After Midnight

Set design of a play: Act One.

Sound design of a play: Lady Day at Emerson’s Bar & Grill.

—  Arnold Wayne Jones

Cyndi Lauper, who’ll be at HOB on Wed., talks ‘Kinky Boots,’ gay rights

Cyndi2Even before this year’s Tonys, the legendary Cyndi Lauper was already considered a champion: A champion of the Grammys. A champion of the pop charts. A champion of gay rights.

But as a teary-eyed Lauper accepted her Tony statuette for composing the music for the smash Kinky Boots (it also was named best musical of the year, and four other Tonys), the coming-of-age sensation about a drag queen and a shoemaker as unlikely business partners, she was recognized for something she had never been before: The girl who just wanted to have fun, with her apple-red hair and heavy Queens accent, is now a champion of Broadway.

Between gigs on her She’s So Unusual Tour, which opens at the House of Blues in Dallas on Wednesday, Lauper gave our Chris Azzopardi a ring recently to chat about her emotional night at the awards ceremony, freaking out rock stars with her “wildly nutty” persona and the reason she’s always stood up for her gay fans. Read the full interview below.

—  Arnold Wayne Jones

Tony noms are, as always, super-gay

Kinky Boots

When it comes to the Oscars and the Emmys, gay folks often latch onto minor categories to get our queer fix: Jim Parsons and Neil Patrick Harris and Jane Lynch for TV, more obscure categories like documentary short and adapted screenplay for the movies having the gay nominees; when a movie like Brokeback Mountain gets nominated a lot, we salivate.

One needn’t look nearly so hard with the Tony Awards, however. The announcement this morning of the nominees in theater is fairly flush with gay-interest candidates. (Heck, even Jesse Tyler Ferguson announced the nominees with the queens’ favorite Sutton Foster.)

The big vote-getter was Kinky Boots, pictured, with 13 nominations, including for it gay author (Harvey Fierstein), gay director/choreographer (Jerry Mitchell) and gay star (Billy Porter, who is up against Dallas native Stark Sands). Porter and Sands will compete against Bertie Carvel as a cross-dressing headmistress in the hit transplant from London, Matilda The Musical. (Adored gay rights activist Cyndi Lauper is also nominated for her score for Kinky Boots.)

Douglas Carter Beane, who re-wrote the script for Rodgers and Hammerstein’s Cinderella, was nominated for book of a musical against Fierstein, though Bring It On‘s gay scribe, Jeff Whitty, was unfairly overlooked for his clever script. The show itself, however, is up for best musical and best choreography (well deserved) for out director/choreographer Andy Blankenbuehler.

In the play category, two of the authors of best play nominees (Richard Greenberg and Christopher Durang) will be up against each other for The Assembled Parties and Vanya and Sonia and Masha and Spike, respectively. And on Broadway, even the actors are proudly out: Nathan Lane (The Nance) and David Hyde Pierce (Vanya and…) are both up for best leading actor in a play.

Some gay faves are also in the running, including Stephanie J. Block (her first nomination!) for The Mystery of Edwin Drood, Judith Light for The Assembled Parties and the Rum Tum Tugger himself, Terrence Mann, in Pippin. And Holland Taylor snapped up a best actress nod playing Texas legend Ann Richards in her tour de force show Ann.

Of course, not everyone we wanted got nominated. Bette Midler was overlooked for best actress playing hard-driving Hollywood agent Sue Mengers in I’ll Eat You Last from gay writer John Logan. Well, we do need something to bitch about …

—  Arnold Wayne Jones

The Tonys, as always, are super-gay

The Tony Awards are hands-down the gayest of the major awards shows, from host Neil Patrick Harris (who called it “50 Shades of Gay”) to presenters and performers like Jesse Tyler Ferguson, Ricky Martin and Raul Esparza … hell, even the nominees (Cynthia Nixon, writer Joe DiPietro) and winners (Newsies lyricist Jack Feldman, Death of a Salesman producer Scott Rudin) are gay, or gay-adjacent (Patti LuPone, Bernadette Peters, Judith Light). And with Hugh Jackman presented a special award by his wife (in terrible shoes) and the Judas from Jesus Christ Superstar clad in crotch-hugging iridescent pants and Dallas’ own Cedric Neal clearly featured in best revival of a musical winner Porgy & Bess … well, it was a queerly delicious evening.

It was even better from the seats in the Winspear Opera House, where ATTPAC hosted a free Tony-watching party, marred only by co-host Sandie Newton’s ghastly banter (she cooed over how pretty Bernadette Peters looked, then sniped at John Larroquette as looking old while taking the cop-out “it’s a four-way tie!” approach to the costume contestants, when the team from Evita clearly won).

The big winner was the musical Once, with eight awards, and the play Peter and the Starcatcher with five. Only one of the four musical nominees was not based on movie; sigh.

Here are the winners:


Musical — Once

Revival — Porgy and Bess

Director — John Tiffany, Once

Actor — Steve Kazee, Once

Actress — Audra McDonald, Porgy and Bess

Featured Actor — Michael McGrath, Nice Work If You Can Get It

Featured Actress — Judy Kaye, Nice Work If You Can Get It

Lighting Design — Once

Set Design — Once

Costume Design — Follies

Sound Design — Once

Score — Newsies

Book — Once

Orchestrations — Once


Play — Clybourne Park

Revival — Death of a Salesman

Director — Death of a Salesman

Actor — James Carden, One Man, Two Guvnors

Actress — Nina Arianda, Venus in Fur

Featured Actor — Christian Borle, Peter and the Starcatcher

Featured Actress — Judith Light, Other Desert Cities

Lighting Design — Peter and the Starcatcher

Set Design — Peter and the Starcatcher

Costume Design — Peter and the Starcatcher

Sound Design — Peter and the Starcatcher

—  Arnold Wayne Jones

Dallas connections to the 2012 Tony noms

The 2012 Tony Award nominations came out this morning, with the new musical Once (based on the Irish film) getting the most nominations (11). But actually a couple of other productions are even more interesting to Dallas audiences.

The Gershwins’ Porgy and Bess, which features Dallas actor Cedric Neal, received 10 noms, including best revival of a musical. And Lysistrata Jones, which began as a world premiere at the Dallas Theater Center (under the name Give It Up) received a nom for best book of a musical for Douglas Carter Beane. He’ll go up against fellow gay writer Joe DiPietro for Nice Work If You Can Get It. Unfortunately, Liz Mikel, who wowed Dallas and New York audiences, was not singled out for her performance.

This is the Tonys, so gay nominees abound. The revival of Sondheim’s Follies scored a number of nominations (including, for my money, likely winner Jan Maxwell). Gay playwright Jon Robin Baitz got a nod for best play for Other Desert Cities. Gore Vidal’s The Best Man (with a gay twist) was nominated for best revival of a play as well as best actor James Earl Jones; he’ll face against John Lithgow, who was nominated for another gay play, The Columnist (which also features former Dallasite Brian J. Smith as Lithgow’s  six-pack-ab’d trick). Lesbian actress Cynthia Nixon is up for her performance in Wit.

Jeff Calhoun, whom I interviewed last year, is nominated for best director of a musical for Newsies. Spider-Man: Turn Off the Dark got only two design nominations, though ironically, the new movie Spider-Man, Andrew Garfield, was nominated for best featured actor in a play for Death of a Salesman.

—  Arnold Wayne Jones

Whitty banter

Gay ‘Ave. Q’ scribe Jeff Whitty builds a pyramid of laughs in cheer-full musical ‘Bring It On’


CHEER UP | Whitty swore off writing musicals — but changed his mind to take on two new ones.

Jeff Whitty will probably spend the rest of his life living down the legacy of creating the musical that turned Muppets … sorry, puppets — into sexed-up losers. Avenue Q became the surprise hit of the 2003-04 Broadway season, sweeping the Tony Awards (including one for Whitty’s book) and forever changing our view of Sesame Street.

One of Whitty’s collaborators on Q went on to co-write The Book of Mormon, but Whitty himself has been busy as well, opening two musicals in the past 13 months, including the cheerleading comedy Bring It On: The Musical, which opened this week at Fair Park.

The gay librettist, who is also an actor (he’s in rehearsals to appear in a play he wrote, in which he’ll star in drag — a first) chatted about his love of cheerleading, his failed promise never to do another musical and the filthiest show he’s ever seen.

Arnold Wayne Jones

Dallas Voice: Here’s something the librettist never hears: My favorite thing about Avenue Q is not actually on the cast recording, it’s the name of a character, Miss Thistletwat.  Jeff Whitty: Thank you. I was in Paris with one of the [French] producers and we had this great lunch with champagne at 1 in the afternoon and everything. I asked her, “How did you translate the name of Miss Thistletwat?” She got really embarrassed, but she told me; it would translate as, like, Miss Grassmuncher, which [is slang there] for lesbian.

I also love when Kate fingers Princeton. That’s the audience’s fault — they are putting that in, I don’t actually say it. There are actually only 13 swear words in Avenue Q, and they are carefully placed — like five “fucks”, one “pussy” and four “shits” …. By the way, I’ve seen four international productions of Avenue Q and Paris was the filthiest. Kate rimmed Princeton. Even to me, that’s a little much.

Since last year, you’ve opened two other musicals: Tales of the City and Bring It On, which is now in Dallas. I didn’t want to do another musical after Avenue Q after learning how hard they are. I said no to everything for quite a while. Then on a plane to London [while watching DVDs of the miniseries Tales of the City], suddenly a bolt of lightning struck that said there could be this really chewy, big musical made out this material. I know Jake Shears of Scissor Sisters [who co-wrote the score] and we opened last spring. The show was not finished and we didn’t have enough previews to nail it, but we’re figuring out what the next step for that show will be.

Your colleagues on Bring It On are composer-lyricist Lin-Manuel Miranda, who did the barrio hip-hop musical In the Heights, and Tom Kitt, who composed Next to Normal, a musical about mental illness. Who said, “Wow, those guys would make a great team to write a musical about cheerleading.” It’s a funny story, how that evolved. I have been wanting to do a cheerleading musical since 2004. Real athletic cheerleading is amazing to watch, if you see it on ESPN; plus, it has a built-in performance component that is so helpful in a musical. A cheerleading structure is perfect and it’s something you can see live that a lot of people haven’t.

My agent knew [of my interest] and told me about Bring It On; I said “Sign me up!” I’d never done a movie adaptation but I was totally onboard. Plus at the first meeting, the [producers] said they’d be interested in doing an original story instead of basing it on the first movie or one of the four [direct-to-video] sequels, so this was a huge opportunity. [Director] Andy Blankenbuehler had choreographed In the Heights [so he had worked with Lin-Manuel]. So that’s how that came together.

It’s a different style for you, too, not just Miranda and Kitt. Yes, Tales is full of angel dust, pot-smoking and child pornographers and Avenue Q is called the “potty-mouthed puppet musical.” So I really wanted to do a musical I could bring my nieces to. There are these warnings of sexual content, but really?

All three of the musicals have been excruciating. You have to get all of these disparate parts to have this one sensibility and have cohesion. I was working with great collaborators [in Bring It On], people I loved to be in the room with. When they start to click they are truly exciting. It’s been a great

Here’s a very gay question: Among you, Miranda and Kitt, who has the bigger Tony Award? You ever whipped ’em out and compared? They actually made the stand bigger since I won! But I’d say Tom [Kitt] wins, because he has a Pulitzer, too.

Where do you keep your Tony?  I have this trophy collection I pick up from flea markets — weird, old stuff, like senior body building trophies. So my Tony sits among all those.

You’re the only gay guy on the creative team for Bring It On. Do you still like to gay it up? It is a musical, after all.  Absolutely, I always try to put gay characters in my shows. I didn’t wanna go with a cliché in Bring It On, but without giving anything away, you’ll see there’s a character there that’s definitely a first-of-her-kind in a musical. I found a fresh take.

This article appeared in the Dallas Voice print edition February 17, 2012.

—  Kevin Thomas