“What sort of resources did you have in terms of resource for research, or did it all just come during rehearsals?” an audience member asked an actor during a NT Platform panel regarding a six hour long play, reports GayTimes UK.
The actor responded, per GayTimes’ reportage:
“The preparation had begun before (rehearsals began) with a lot of my friends. (The play is) As much devoted to my friends in the gay community as it is those that passed during the epidemic.”
[He] later revealed that a certain drag superstar’s show has helped him find his character: “I mean every single series of RuPaul’s Drag Race. I mean every series.
“My only time off during rehearsals – every Sunday I would have eight friends over and we would just watch Ru. This is my life outside of this play. I am a gay man right now just without the physical act – that’s all.”
The play was Tony Kushner’s Angels in America: A Gay Fantasia on National Themes. The actor was Andrew Garfield. His role as Prior Walter leaves him with the difficult work of playing a gay man living with AIDS and a prophet, whose message to humanity is overwhelming.
This isn’t really a story, more of a quick anecdote about his acting process. But a story was picked up nonetheless, with places like Attitude and Out Magazine decrying the actor’s comments as insensitive, specifically regarding the “I am a gay man right now, just without the physical act” bit. Read the rest of this entry »
Once every season, RuPaul gathers her remaining gurls, brings them to the front of the “Werk Room”, gives them fake frames to hold over their faces like a monocle, and announces elegantly, “In the grand tradition of Paris is Burning, the library is now open.” The queens, on RuPaul’s Drag Race, proceed to read – make snarky insults at one another, kind of like a roast – the rest of the queens, and whomever makes the cleverest and wittiest jabs wins the mini-challenge. This is what is left of Paris is Burning. The embers that still glow are, shall we say, a bit appropriative. “Werk”, “Realness”, “Shade”, and the rest of them have all entered into a cultural lexicon that is no longer exclusive to the community from whom it was basically taken (some of the vernacular stems from AAEV), and though Jennie Livingston’s documentary still exists as a cultural touchstone, it’s only in the most “basic” of ways. Read the rest of this entry »