In this week’s issue, director David France (How to Survive a Plague) shares gritty inside details about Welcome to Chechnya, a powerful new HBO documentary about LGBTQ refugees running for their lives. Click on the cover below to read the issue now or download it for reading on any device later.
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Also: We talk to Rufus Wainwright about his new album (which gets a 4-Star review from our critic), The High Note director Nisha Ganatra, reviews of Netflix’s The Old Guard and Mucho Mucho Amor, and offer up a ton of news and vintage scene from the year 1998.
In a tense House hearing, a pair of congressional Democrats blasted Pentagon officials for stripping gay rights icon Harvey Milk’s name from a Navy ship, accusing the military of erasing LGBTQ history. U.S. Rep. Eric Sorensen (D-Ill.), an out gay Democrat, directly confronted Navy Secretary John Phelan over the decision during the June 11 Armed Services Committee meeting.
"I just wanted to take a moment to talk about a veteran who served on a submarine as a diving officer during the Korean War," Sorensen said, referring to Milk's biography before actually naming him.
Returning to the scene of an uproarious crime, Everyman Theatre revives Charles Ludlam's cross-dressing farce The Mystery of Irma Vep: A Penny Dreadful, with several key players from the company's hit 2009 production back in all their glory.
First, Ludlam's spoof of Victorian manor mysteries and melodramas absolutely holds up as a well-built laugh machine powered by an indomitable cast of two. Created in the midst of the AIDS crisis expressly to provide levity at a time of despair and uncertainty, The Mystery of Irma Vep is as apt as ever in providing an outlet for processing the absurdity all around us.
Much like the recent Akira Kurosawa Explains His Movies and Yogurt (with Live & Active Cultures!) at Woolly Mammoth, Emily Burns' Frankenstein, now at The Shakespeare Theatre, clings to the bumper of a more established artist's life and work.
Whereas Akira wrapped itself around one of film's finest auteurs, Burns uses Mary Shelley's gothic classic along with context from Shelley's life to make points, various and sundry. Although there is more substance here than in Akira, hitching a ride with Frankenstein feels equally unnecessary. Because, shed the gothic set and references to a monster, and this play is basically a portrait of a modern marriage.
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