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

It’s a bore! It’s plain! It’s Superbland!

DTC’s reboot of the ’60s musical about the Man of Steel doesn’t fly

ARNOLD WAYNE JONES | Life+Style Editor

Wyly Theatre, 2400 Flora St.
Through July 25. $15–$78. ATTPAC.org


HARDLY BULLET PROOF | Lois (Zakiya Young) never reaches the heights that Superman (Matt Cavenaugh) can achieve — in fact, neither does he. (Photo courtesy Brandon Thibodeaux)

I have a rule of thumb about the character of Superman: He should be taller than Lois Lane. Even in his superboots as the Man of Steel in the Dallas Theater Center’s re-written revival of It’s a Bird … It’s a Plane … It’s Superman, Matt Cavenaugh barely achieves eye level with Zakiya Young as Lois. And that’s only the first — and in many ways, smallest — problem in this highly problematic production.

It wasn’t an easy task to make this show work. The source material wasn’t the best — a jokey, ’60s-era piece of snark with dated songs. Playwright Robert Aguirre-Sacasa completely retooled the book, moving the action to 1939 (a year after Superman actually debuted in Action Comics) and giving it some smart, perhaps even smart-alecky, zingers (anachronistic gags about cell phones and illegal aliens; cheeky disbelief that no one sees that Clark and Superman are the same person).

That was a good start, but the show lacks focus: Is it a post-modern, winking satire of the genre or a gosh-durn, sincere throwback to Broadway of yesteryear? I doubt anyone associated could tell you; or maybe they’d say, “Both.” And therein lurks the real villain.

The plot is comic-book compatible. Daily Planet reporter Clark (Cavenaugh) tries wooing Lois (Young) but she’s only got eyes for Superman. Salieri to Supe’s Mozart is Max Menken (Patrick Cassidy), Metropolis’ most famous and powerful citizen — apparently a master scientist, zillionaire playboy-philanthropist-businessman (think Bill Gates with fashion sense). He also wants Lois, so he assembles the Secret Society of Supervillains to defeat Superman.

New orchestrations give the songs contemporary pep, and the flying effect is admittedly fairly cool to watch, but mostly the production droops along like Superman’s cape. What possessed director Kevin Moriarty to crook the proscenium? If he was trying to achieve a comic “panel” effect, he failed.

Do not imagine that Cavenaugh is suffering from a head cold to explain his nasal, quavering vocal performance; that’s how he wants to sound. It becomes annoying quick, and also robs Superman of his surefooted authority. (That he sounds exactly the same whether dressed as Clark or his alter ego demonstrates a lack of invention.)

At least Cavenaugh gives his all trying to make his hero, well, heroic; Young gives no performance to speak of. Oh, she can sing well enough, and it’s not like she stumbles over her lines. But where’s the energy, the panache? This is a comic book adaptation, for crissakes; better to overact than do nothing at all. (Julie Johnson, Bob Hess and Cedric Neal get that; as some of the supervillains, they camp it up outrageously.)

They’re all put to shame, though, by Jennifer Powers as the gossip columnist Sydney Sharp. Her big number, “You’ve Got Possibilities” — also a smash in the ’60s when Linda Lavin belted it out — is such a forceful, star-making bolt of electricity it actually poisons the rest of the show: Once you see what can be done with the music and the production, everything that follows pales by comparison.

Well, not everything. Cassidy’s cackling, obsessed Max (let’s be honest: He’s just Lex Luthor with hair) and Cara Statham Serber as his secretary (squealing like Lina Lamont) could be in their own spinoff.

In fact, maybe that’s what needs to happen here. Ditch Clark and Lois and give us something delish to hang our cape on. It might not soar, but at least it could take off.

This article appeared in the Dallas Voice print edition July 02, 2010.

—  Kevin Thomas

SUPERMAN Comes Out! (sort of)

Gay playwright and comic book author Roberto Aguirre-Sacasa puts a queer twist on comicdom’s straightest superhero with his adaptation of the ’60s musical ‘It’s a Bird… It’s a Plane… It’s Superman’

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

TRUTH, JUSTICE AND THE AMERICAN WAY Roberto Aguirre-Sacasa transforms from mild-mannered comic book author to rockin’ musical playwright atop the Wyly Theatre as his ‘Superman’ adaptation enters previews this week. (Arnold Wayne Jones/Dallas Voice)

Wyly Theatre, 2400 Flora St.
Through June 18­–July 25 in previews through June 24).
$15–$78. ATTPAC.org.

Roberto Aguirre-Sacasa, like most gay men, knows something about having a secret identity. Although he grew up with worldly parents who had an appreciation for musical theater (he would listen to their cast recordings of Hair and Man of La Mancha), Aguirre-Sacasa tried to hide from them his own favorite showtunes from the first album he ever bought: The Rocky Horror Picture Show soundtrack.

“It felt sometimes like when ‘Sweet Transvestite’ and ‘Toucha-a Touch-a, Touch Me’ were playing, that’s when my parents would come into the room,” he now confesses.

But while his alter ego (gay theater queen) was finally revealed, it all worked out for the best: Aguirre-Sacasa became a respected playwright and TV writer (Big Love), as well as comic book author of one of the Spider-Man imprints. And now he’s combining those passions, adapting the 1960s musical It’s a Bird… It’s a Plane… It’s Superman for the Dallas Theater Center.

While he’s best known for his work on Marvel Comics, it’s difficult not to see the physical similarities between Aguirre-Sacasa and the fictional DC superhero’s own alter ego. He’s tall and seems born to wear the mantle “mild-mannered;” he even sports the same boxy black rim eyeglasses as Clark Kent. Could he be hiding something under that button-down?


“I did not pick the glasses because they were Clark Kent’s, but I definitely was aware that they were Clark Kent glasses,” he says. “It’s more that I’m hard to satisfy.”

Despite closeted gay kids finding solace in parallels between superhero comics and their own dual identities, Aguirre-Sacasa resists pop psychologizing about his motivations and how — if at all — his personality winds its way into his comic book work … or his stage adaptation of a cartoon ubermensch.

“I get that, absolutely, but for me it’s hard to reconcile,” he says. “I feel Superman is the straightest of superheroes; and I first worked on the Fantastic Four, also the straightest in the Marvel universe” — despite the fact, he acknowledges, that one of the Four’s signature phrase is “Flame on!” “But I don’t say, ‘Oh, I’m attracted to the comic books because they allow me to play out subtextual symbolism.’ I do know I have gay fans — I’ve met both of them,” he jokes. “But it’s not something I am conscious of in my work.”

Nevertheless, he has brought an undeniable gay sensibility to this Superman adaptation, with lesbian characters and a *sigh* factor to the hunky Man of Steel, played by Matt Cavenaugh.

And he was definitely conscious of turning Superman into an old-fashioned musical comedy, the kind that will make people say, “They don’t do ’em like that anymore.”
“I do feel superpowers are larger than life — a quite natural fit to musical theater,” says Aguirre-Sacasa.

Still, fitting the very ‘60s-era musical into a post-modern world familiar with decades of superhero culture was daunting. Aguirre-Sacasa grew up listening to (and enjoying) the original Broadway cast recording, but the songs were all he heard; he hadn’t read the script until he saw a staged reading a few years ago.

“It was very jokey — just skits strung together. That was the driving impulse. Character was sacrificed at the expense of the material. Who Superman was — honest, patriotic — was a joke. It was very tonally different from the first two Superman movies; more like the third one,” he says.

Aguirre-Sacasa — and for that matter Kevin Moriarty, the artistic director of the DTC and a superhero-obsessed overgrown kid — wanted something that would fit within the contemporary construct. The original authors (including Waxahachie-bred co-author Robert Benton) gave their blessing for a re-imagining of the book.

Aguirre-Sacasa streamlined the multitude of romantic subplots in the original and let them fall in expected ways (Superman with Lois Lane, for instance) and gave more stage time to editor Perry White. Among the biggest challenges: A more legitimate opponent for Superman.

“One of the tricky things was to have a worthy villain,” he says. “Max Menken and Dr. Segdwick [the bad guys in the original script] didn’t really work together until the second half of Act 2. Our Max is more like the industrialist in Iron Man, like Al Capone.”

But, he admits, still no Lex Luthor. What gives?

A couple of things prevented that, mostly the idea that “Lex Luthor just wouldn’t sing. And making Max formidable was real attractive to me.”

Shoe-horning the existing songs into his new script was another feat.
“There was not a lot of Superman singing, and not a lot specific to Superman” in the original score, Aguirre-Sacasa notes.

The songs did get restructured, and there has been additional tweaking and reshuffling, including commissioning four original composers Charles Strouse and Lee Adams to write four new songs. But in his original draft, Aguirre-Sacasa “pretty much followed the score structure, though I didn’t think they had to be sung by the same characters.” That meant in one instance swapping the lyrics in a duet, so Clark gets to sing the woman’s part.

That made me wonder: Just how gay will this production be? I mean, other than being a musical with a hot guy in tights?

Well, that’s what’s called a cliffhanger. Tune in to find out.

This article appeared in the National Pride edition in the Dallas Voice print edition June 18, 2010.

—  Dallasvoice

Leaders of the PAC

Josh Prince-Ramos is totally swoonworthy.
Josh Prince-Ramos is totally swoonworthy.

Yesterday, as I sat down to a nice catered luncheon in the cafe of the Winspear, having just completed my “final” tours of the opera house and the Wyly Theatre,  Dallas Opera artistic director Jonathan Pell and TITAS executive director Charles Santos asked me what the most impressive thing I saw was.

“Ummm… Josh Prince-Ramus’ eyes?” I responded.

I was only joking a bit. Prince-Ramus is hunky —after his remarks, he asked for questions from the journos. “Are you really that dreamy?” I nearly sighed. All the women and gay men, and I would wager half the straight men, who go to bed with him if he asked. He, with Rem Koolhaas, co-designed the Wyly, which is pretty impressive.

See lots of pics after the jump.

—  Arnold Wayne Jones