MuMo will be presented with a Proclamation from the City of West Hollywood for Service to the Community.

Nearly every Monday night for 16 years, throngs of musical theatre lovers, from the LGBTQ community and beyond, have gathered together to celebrate the arts and community. MuMo has become the ideal safe and creative space with a diverse crowd that reflects the Los Angeles community. Everyone is welcome as MuMo go-ers sing along to video clips from Broadway, movies and more, while some of the crowd get up and shadow cast what’s happening on the screen.

The evening, now residing at The Chapel at The Abbey, culminates in “The Live Spot,” featuring some of the best live performances L.A has to offer. Headliners change every week, ranging from cast members from Broadway national touring shows, to local theatre members, to names from the cabaret world. This is where theatre professionals come to play.

The energy and love in the air are electric and for many, this is the one night during the week that everyone can escape and shut out the trials of the outside world and immerse themselves in love, laughs, and musical magic. MuMo fans are fierce and loyal. As part of the “Your Name Under the Stars” initiative at The Hollywood Bowl, the crowd raised funds to have brass plaques put on three seats in section Q1. These plaques read “Musical Mondays Los Angeles”, “The Fans of MuMo,” and “And one for Mahler!”

Some of Broadway’s best–including a few Tony Award winners–have joined MuMo in the audience and on stage. Broadway legends like Neil Patrick Harris, Lin-Manuel Miranda, Billy Porter, Laura Benanti, Sutton Foster, Alex Newell, Valerie Pettiford, Obba Babatunde, Lillias White, Corbin Bleu, Matt Lucas, Megan Hilty, Jai Rodriguez, Terri White, Davis Gaines, Gedde Watanabe, Michael Feinstein, Bruce Vilanch and Blake Hammond have stopped by to enjoy the show.

On April 21^st, MUMO will be presented with a Proclamation from the City of West Hollywood for Service to the Community, organized through the offices of Assemblymember Rick Chavez Zbur (AD-51) and WeHo City Council Member Danny Hang.

Photo credit MUMO

The masterminds behind MuMo are Ishka Maher, a long-time and fierce ally of the queer community and the evening’s emcee, Darin Sanone, a veteran in showbiz. The two of them make a veritable team as they continue their mission to provide a safe space for all to come and celebrate the arts. We caught up with them in anticipation of their big anniversary celebration.

Ishka Maher:

What was your inspiration for starting Musical Mondays?

We started Musical Mondays because there was simply a need for a theatrical musical event in WeHo. No one else was doing it or realized there was such an interest. What it’s grown into is very organic.

Musical Mondays has such a die-hard fan base that has been long-lasting. What makes the event so popular?

Our fan base has grown with the night. They grew with us. They are a part of who we’ve become.

What is it about musicals that brings everyone together?

Musicals are emotional magic. Unlike stories told on the screen, an audience watching a musical is encouraged to react and be a part of the action. It is emotional crowdsourcing.

What has been one of your favorite memories from Musical Mondays?

Every single week, there is a moment of joy when I get to witness a performer realize they’ve rocked it. Or the fans of MuMo have the audience howling with laughter. Or the bravery of a first-time singer. Or a group of friends meeting up in their favorite corner every week. These things bring me joy. Big events like our “Wicked” show nights, I’ll always remember.

What do you want audiences from Musical Mondays to walk away with the most?

When our audience walks away I want them to have felt like they’ve been a part of something special and unique. And to feel seen and welcomed into our goofy MuMo family.

What can we expect from Musical Mondays in the future?

I’m working constantly for our unique event to stay strong and be a part of the community. I know we have a strong fan base but I love it when celebrities and casts from touring shows hang out with us. I hope for more of that.

What do you love most about working in queer nightlife?

I’ve been working in the gay community of WeHo for 35 years. I feel blessed. It’s always dynamic, and you never know what to expect.

What is your message to Musical Mondays fans?

I want MuMo Fans to know that the night is strong in this space. We have the support of the Abbey and their amazing staff, and we plan to build on what we’ve been doing so successfully. It’s my favorite night of the week!

Photo credit MUMO

Darin Sanone:

You have been on stage and behind the scenes in Weho for quite a while. How has nightlife changed the most?

I have been on stage and behind the scenes in Weho for 26 years.  Nightlife has changed tremendously.  When I started in Weho in 1999 the vibe was definitely the circuit vibe.  The Music was fast and hard and the party scene was fast and hard.  Drugs were the norm and widely used.  The bars were packed and people went out to meet potential dates or relationship candidates.  Now people go out to dance or drink and leave dating and relationship searches to Apps on their phones.  The music has changed, and so has the culture.  Hip-hop is the preferred music of the people in clubs, and weed is the preferred substance to escape.  People still drink alcohol, but they usually pregame at home or in their cars, and weed is much more popular than designer drugs or alcohol.  Bar owners have to really work hard to get people into the clubs and then to get them to buy drinks.  Without promoters and promotions, clubs cannot survive.  Since Covid-19 almost every bar [and] nightclub in WeHo has changed ownership at least once.  Some have changed owners twice and are well on their way to a third owner. 

You are the emcee extraordinaire for Musical Mondays. What do you love most about doing this event week after week?

It is the highlight of my week! 

The thing I love most about doing the Musical Mondays every week is the people!  We get the best singers in L.A every week at Musical Mondays, both in the Live Spot Singer Showcase and after for Broadway Karaoke.  It is the most accepting and supportive crowd in all of WeHo.  Many people can feel intimidated by the West Hollywood crowd and scene.  At Musical Mondays, everyone is welcomed and embraced.  No one is made to feel less than.  Almost every week, I am brought to tears by the singers who grace our stage.  I have been a musical theater lover my entire life and have been performing musical productions since I was a very young child.  The musical is the greatest contribution to the giant umbrella of music America has made.  I love Musical Mondays and am grateful to be a part of the musical magic that happens at the Chapel every Monday night!

Photo credit Darin Sanone at MUMO

In your opinion, what makes Musical Mondays so popular in the community?

I believe what makes Musical Mondays so popular in Weho is a quadruple combination!  This is our secret recipe!  First, we have an amazing sound team.  Keith Jacobson spins the best in Broadway and movie musical clips, and Greg Watkins is the best sound engineer in all of Weho!  Greg makes every singer and musician sound phenomenal. I have had the pleasure of working with Greg on shows I have produced and hosted for 23 years.  There is no one better in L.A!  Our Second secret ingredient is the Fans of MuMo!  The Fans of MuMo evolved organically back when Musical Mondays was at Club 11.  The Fans, or as we sometimes call them, the “MuMo’s,” perform lip sync comedy routines to almost every video Keith plays.  They are the most unique and talented crew of actors you will find in California, and they show up every week and pour their heart and soul into every Monday night.  The third secret element to our success is the Live Spot, which is where I join the show.  The Live Spot is a singer showcase with professional singers from L.A and the world.  We have all of the best local musical productions showcasing their shows and many of the Broadway National Tours that pass through L.A!  The caliber of singers [and] actors in our Live Spot is paralleled only by Broadway in New York City.  The final ingredient to Musical Mondays’ success is the Broadway Karaoke segment.  You never know who might show up for our Karaoke portion!  We get professional Broadway and film actors, karaoke die-hards, influencers, drag superstars, beginning singers and a rainbow of beautiful souls!  It is the most supportive community you will ever find at a karaoke event.  Everyone shines!

Why is celebrating musicals so important right now?

Celebrating musicals is so important right now for many reasons.  Most importantly is the fact that the LGBTQ community is under assault in America right now.

Secondly, musical theater embraces and celebrates diversity.  It is 100% supportive of the LGBTQ community and of all races in our globe.  As America moves back toward racism and homophobia, Broadway marches forward, spotlighting racial diversity and sexual identity inclusion. Music and the musical unite people in love through song and dance.

As a performer, how do you feel with politics getting so involved with the arts right now? How do we fight back?

Politics has always been so involved in the arts.  The best music is political.  The best theatre is political.  Politics is what fuels much of the arts.  The Beatles, U2, Marvin Gaye, Bob Marley, Bob Dylan, Nina Simone, Pink Floyd, Willie Nelson, Johnny Cash, Crosby Stills Nash and Young, Bruce Springsteen, Joan Baez, The Sex Pistols, Green Day, The Police, Madonna, and Lady Gaga are all famous because they were and are political. 

ART IS POLITICAL!  MUSIC IS POLITICAL IF IT’S GOOD!  THEATER IS POLITICAL IF IT’S GOOD! 

We fight back by voting, protesting, boycotting and most importantly by loving.

What do you love most about working in LA queer nightlife?

What I love most about working in WeHo nightlife is the beautiful colors of the rainbow. WeHo is for everyone, not just the LGBTQ community.  West Hollywood has become much more like Europe in the last 25 years. The LGBTQ community now parties with the straight community.  Nobody in the younger generations cares a bit what someone does in the bedroom. The youth of America don’t segregate themselves. The only way the LGBTQ community will survive in America during this dangerous time is if our straight friends stand up for us.  We must allow our WeHo spaces to be safe for all of the rainbow.  If WeHo doesn’t embrace everyone, especially our straight allies, the LGBTQ community will be in concentration camps wearing pink stars or worse.  The greatest power is love.  WeHo nightlife is ever evolving and as Darwin teaches us, survival happens for the most adaptable. 

Adapt or perish! 

Embrace all of the people. Musical Mondays is for everyone Gay, Straight. Bisexual, Trans, Black, White, Brown, and Pink!  We are the Pink Pony Club–never forget that.

What is your message to Musical Mondays fans? 

Thank you for supporting me, live performance and the greatest contribution of America to the genre of music–the Broadway Musical.

  God bless WeHo!  God Bless America!  God bless Musical Mondays!

Photo courtesy of MUMO

For more information on MUMO, head to MuMoWeHo.com

LA Opera is bringing back its Pride Night on Wednesday May 7, in partnership with the Opera League of Los Angeles. 

LGBTQ members and allies will come together for Pride Night to indulge in a performance of “Ainadamar,” at the Dorothy Chandler Pavillion. The discounted tickets for Pride Night include access to a complimentary post-show party at Vespaio hosted by the Opera League of Los Angeles, featuring Cal-Italian bites from Chef Agostino Sciandri. 

“Ainadamar” is a tribute to Spanish poet and queer icon, Federico García Lorca. 

“This season, we celebrate with ‘Ainadamar,’ a powerful tribute to Spanish poet and queer icon Federico García Lorca. These pairings matter. They highlight that opera is a living, evolving art form—one that speaks to all people and reflects the diversity of the world we live in,” said Christopher Koelsch, president and CEO of LA Opera.  

The central plot of “Ainadamar,” which is the Arabic meaning for ‘fountain of tears,’ follows Ana María Martínez as Margarita Xirgu, an actress who spent half of her career portraying Mariana Pineda, who was a 19th-century Spanish liberalist heroine, in Lorca’s play. Pineda was a political martyr who was executed for embroidering a flag with the slogan “Equality, Freedom and Law,” in protest of the absolutist Spanish regime.

The production, running at approximately one hour and 20 minutes, sets the stage with a throwback, recounting Lorca’s life and his last days in the Spanish Civil War. 

“At the heart of our Pride Night celebration is the belief that everyone should feel seen onstage and off. Opera is a space for community and belonging, where our audiences can recognize themselves not only among fellow attendees, but also in our artists, our music and the stories we tell,” said Koelsch.

This major company premiere, led by resident conductor Lina Gonzáles-Granados, is sung in Spanish, with English and Spanish subtitles. Grammy-winning composer Osvaldo Golijov produces the dramatic, flamenco-inspired score that meets the poignant libretto by David Henry Hwang. 

During the COVID-19 shutdowns, live performances at the LA Opera were put on hold and the journey to bring back Pride Night, among many other in-person performances, was a struggle filled with many moving parts. 

“COVID-19 suspended live performances across the board and during our return season we were navigating the different timelines for audiences returning to live theater. It was very much a matter of listening to our community and learning what had changed for them as well as us: some opted for livestream options, others preferred only outdoor events, and so on,” said Koelsch. “Once we found our stride, we were excited to bring back Pride Night the following season during ‘The Marriage of Figaro.’”

This year the LA Opera is celebrating their 40th anniversary by launching their 40th Anniversary Campaign to raise resources needed to continue funding their organization.The show opens on Saturday, April 26 and runs through May 18. Purchase tickets by clicking here.

In this new “Meet Your Locals” column, we highlight the journey of a talented local dancer and emerging musical artist as part of Los Angeles Blade’s mission to get to know our community, we continue to do a deep dive into the personalities who make up the queer culture of Los Angeles.

Across queer bars along the West Coast, audiences and nightlife enthusiasts have come to appreciate Prince Joshua’s electrifying dance performances during his go-go sets. While renowned for his impressive dance skills, Prince took a career pivot last year by reintroducing himself as a musical artist with the release of “Coochie” by Baddie Gang.

In January of this year, Prince released his debut EP, “Crowned.” The project offers a deep dive into his personal experiences within nightlife culture, touching on themes such as navigating catcalling, dating, celebrating life and more.

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We sat with Prince Joshua to get the exclusive insight on his new music.

Tell us your story of moving to LA:

I had always dreamed of moving to Hollywood and being on stages entertaining people. It’s amazing to fast-forward to living that exact lifestyle with dancing at bars like the world famous Abbey [bar] every weekend and entertaining my community as my job. Growing up in a small conservative town I never felt like the world was made for someone like me, the world I grew up in was made for heterosexual people who live ordinary lives. As I grew into the eccentric and charismatic homosexual that I am, I realized I needed to live somewhere where the things I was bullied for, would be celebrated. West Hollywood was made for people like me, people who dress up to express themselves, who aren’t afraid to be unapologetically themselves, and most importantly genuinely be who they are.

What do you love most about life in LA? 

I love being surrounded by people with as much ambition and dreams as I have. There’s so much room in the sky for every star to shine and it makes me so excited when I hear that my friends are working on something new to achieve their goals and dreams. We’re all out here putting in hard work to make our art stand out and be seen, being around so much creativity and creatives helps push myself to chase my own dreams and hustle to achieve them.

Many people know you for your dancing, What got you into making music?

I’ve always had a love for poetry and have written songs and poems before, but my friend Tokeyo really pushed me into making music when he asked me to feature a verse on his song “Coochie.” I have such strong love for hip-hop and rap that once I learned the process of making my own verse, I wanted to continue making more. I began finding beats and writing songs which lead me to release my first EP with six songs and three music videos. 

Who is your favorite artist?

None other than the queen of rap herself – Nicki Minaj. From her undisputed discography of hits, iconic visuals and unique delivery, she has inspired all of today’s current rappers from her use of voice animation, flow switching, metaphors and punch lines all in a perfectly constructed way.

Who is your favorite queer artist?

Kim Petras has been one of my favorite pop girls since 2018. When I heard heart to break I instantly loved the artist. “Turn Off The Light” projects volumes one and two are some of my favorite works of hers. Spooky horror inspired pop music & she’s queer – it can’t get any better than that!

What do you hope to accomplish with your music?

I hope to give anyone who listens to my music the confidence to unapologetically be themselves and bust a move. I want people to dance, be themselves and not be ashamed by doing so. I used to get insecure when others would hear what music I listened to or saw me dancing or singing along, but I’ve learned something that has really reshaped my thoughts on that; no one’s opinion matters but your own, if it brings you joy and doesn’t harm anyone in the process, then go for it!

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What do you love most about performing in the queer LA nightlife?

I just love the energy and fashion from my community. Seeing the incredible outfits of each individual expressing themselves their way with their own aesthetic is such a beautiful sight. When people see how hard you hustle and how much work you put into your art it’s an amazing feeling to see a crowd sing along, dance, or even stand shocked at what I’m doing on the stage. Just like Lady Gaga’s iconic, “I Live For The Applause.” 

What are some misconceptions people have performers in LA?

A lot of people mistake dancers for porn stars and while they both have some similarities, not every dancer is a porn star and vice versa. Coming from a cheer background I put so many elements into my dancing and rap performances, such as kicks, splits, toe touches, etc. It’s so much more work than just having a nice body. While I respect and appreciate what porn actors do, I wish people wouldn’t put go-go dancers and porn actors in the same categories as they usually do. We entertain in very different ways, both taking a lot of hard work, but still very different worlds. 

What are your favorite places to perform and why? 

I love performing for music festivals. OutLoud’s WeHo Pride is one of my favorite events where I’ve not only had the opportunity to go-go dance but also perform my own music on stage. Seeing so many people in the crowd, being part of a sickening line up and getting to go all out in my ‘Princely’ way brings me a feeling of accomplishment and adrenaline like none other.

SUMMERTRAMP is another queer festival I’ve had the chance to perform at which I’m so grateful for. Every time I get to share my music to my community if I inspire just one person in the crowd to smile, dance, or embrace their inner selves then I know I’ve done my job.

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How does being queer inform your music?

As I’ve stated before, this world was made for heterosexual, ordinary people. My music is made to take you out of that pouring world and into my eccentric queer and royal fantasy. Not many queer people can relate to the regular top 40 songs because they are all from a heterosexual lens. With my music, I hope that people can relate to my experiences or at least my experience as a queer person and be able to embrace their sexuality by giving them music that is made for them. 

How do you balance your personal life with your professional life?

When you are chasing a dream while hustling as an entertainer your entire life is consumed with said dream. In my free time I am often stretching, working out, writing new music, or planning my next music video or photo shoot. My passion is my job so I never feel like my personal life is suffering when I’m consumed with working on what I love to do, but making sure I give myself time to rest and recharge is a vital key to ensuring I don’t burn out. I try to always give myself one day a week where I don’t focus on work or projects and allow myself to rest and recharge.

Any advice to people who want to start making music or dancing?

Just go for it! You’re always gonna be your own worst critic, but at the end of the day, you will see so much growth when you just allow yourself to put out the art that you’ve created and continue making new art. Find a support group that can help you level up whatever it is. You’re passionate about and continue pushing yourself to be better than you were the day before.

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What’s next for your music career?

Right now im working on my next EP and I’m so thrilled because I know it’s better than my first. Being able to see my own growth inspires me so much to keep creating. You can also expect some collaborations with other up and coming queer artists!

What message do you have for the queer community?

Every day you wake up, you have the chance to genuinely be yourself and encourage others to do the same. While there’s so much in this world working against us, there are so many of us in the community to lean on and look for support when you feel alone. Be unapologetically yourself, stand strong with your friends and family within the community and take up as much space as you can by using your voice, sharing your art and being yourself.

To keep up with Prince, follow him on Instagram.

Rose Montoya is a renowned, award-winning, Trans, Latina, writer, advocate, educator, model, actor and viral content creator.

Isaac Mizrahi’s talents are many, equally at home in the worlds of fashion, entertainment and theatre. As a designer, he redefined elegance and innovation, making his mark with iconic collections and runway shows. But Mizrahi’s artistry doesn’t stop there. He’s captivated audiences as a Broadway star, a beloved television personality and a multifaceted performer with a gift for storytelling and humor. His unique ability to seamlessly blend wit, charm and deep creative expression, has earned him fans across every medium he touches.

Now he’s taking his talents back to the stage with an exciting new cabaret tour.

Ahead of his anticipated tour, we sat with Mizrahi to talk about his artistic process, stepping back into the spotlight and what to expect from his upcoming performances.

Can you give us a taste of your conception process? Share with us some of the inspiration for your upcoming show.

Though I think my act plays as well on a larger stage as it does in a cabaret, I think about the show I do as something that changes a lot the way a cabaret show does. My process starts with collecting ideas and writing monologues which I internalize, and which are always evolving. The music rehearsals are really important, in terms of coming up with arrangements that sound fresh. Also there’s a chemistry I have with the musicians that motivates me to express myself, to entertain them, make them laugh.

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When did you first get the itch to step into the spotlight and how did it feel to step onto the stage for the first time?

You might know I was a trained performer before I was a clothing designer. I went to Performing Arts High School in NYC and I had every intention of continuing my ambition in show business but I got scared because I was a fat kid, not attractive, in a class full of gorgeous people whom I thought were much more cast-able than me. So I did the grown-up thing and subverted into the clothing business which was not a terrible idea. I’m pretty good at that too. But now I’m focusing my efforts in show business and when I step on stage and do well, the rewards are huge. It’s a dream come true, to use a very cliche phrase that in this case really nails the feeling.

Million Dollar Question: what are the most undeniable differences between performing for East and West Coast audiences?

Especially now in this crazy world we are living in, I feel very little difference between the West and East coast. I did a few shows last month in Florida and Arizona where I was treading lightly. When I started those shows I was a little scared they might not react in the way I expected but it was incredible because they were with me the entire time. But I will say those shows I did have to temper slightly. This kind of entertainment is inherently political. The minute a performer takes the stage they show who they are, it’s political whether it’s cabaret or concert. An audience knows who they are looking at. In the West [or] East coast of it right now, I’m really looking forward to being in California, a state that I feel very at home in.

You’re no stranger to reality television. Here’s a two-parter, brace yourself: Can you share one story with us about a reality tv appearance of yours that will make our readers gasp? Between RuPauls Drag Race, Project Runway and The Apprentice, which host called on the most foundation?

I will say in retrospect, having been on The Apprentice makes me gasp! And it wasn’t once I was on that show as a judge – twice. And though there’s no need to apologize, it does bear saying that even when I got the booking, I was furious at my manager for accepting it! Even before he was president, he was distasteful. But who knew?

What are some of your thoughts on today’s politics and their impact on the arts and the lives of the artists creating it?

I’m feeling devastated and exhausted not just about the policies on the arts but on every policy. And not just the obvious ones. The crazy trade wars that are being waged. This is only going to mean that everything is going to get even harder. And not just that t-shits and jeans are going to get more expensive. Tickets will be harder to sell. Food will be triple the price. What a disaster.

Fashion design, cabaret performer, actor, seems like you know how to keep yourself busy from one project to the next. That said, there’s no denying the importance of self care. What are some things you do to disconnect and reset on your downtime (assuming that you have downtime)?

I have a small place in Bridgehampton where I stay when I’m not working. I have two dogs and a husband. I love being there together with them. I love cooking. I love reading. And when I’m in the city I love going to the theatre and museums. I guess this sounds really boring.

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With all that you do, I’m sure there have been some unexpected hiccups over the years. Can you share with us an experience of a time when things did not go to plan?

I feel like life is one long hiccup. When it seems obvious to the world that I’m experiencing a hiccup, as in 1998 when I closed my couture business or 2013 when I closed it for the second time, those times were weirdly freeing. Right now I feel very threatened by the current economy, by the instability of all industries and in the chaos being sown around the world. Right now, I would say, is a huge hiccup time.

Would you rather: grab brunch with Stephen Sondheim or have a spa day with Heidi Klum?

Sondheim and I were great friends. I wish he were alive to have lunch, though he wasn’t much for lunch, I suspect we would have dinner and then go see a show or play bridge… we played bridge together. I like Heidi too!

In one elaborately phrased sentence, can you tell us what to expect when we come to see your upcoming cabaret show?

In one sentence – when you come see my show you will be surprised and hopefully you will laugh and hear stories and music you did not expect to hear.

For tour information and tickets, head to his website.

Editor’s note: The interview with Chef Juan featured in this article was done in Spanish and translated accordingly for this article, but kept in its original format.

Juan Raigosa Chavez is the living embodiment of the American dream that many can only hope for. During his 40-year culinary journey, he was able to become a legal citizen and has enjoyed the privileges of living and working in Los Angeles for four decades.

Chef Juan migrated here from Zacatecas, Mexico in 1985 and since then he has worked his way up to his current position as one of West Hollywood’s most beloved chefs in the LGBTQ+ bar scene. 

He started his journey as a dishwasher and through his hard work, dedication to achieving the American dream and meticulous work ethic, he was able to climb the ranks in the kitchen team hierarchy. 

“Primero empecé lavando platos en 1985 en Marix Tex Mex [Café]  en Hollywood. Y después me hice preparador, después me hice cocinero. Y luego me hicieron kitchen manager, primero de Marix y luego de Basix Café haciendo creatividad de menús, variedad de comida, y más,” nos dice Chef Juan.  “Me mandaron a las mejores escuelas culinarias de San Francisco pagados por la dueña de Basix.” 

“First, I started washing dishes in 1985 at Marix Tex Mex [Café] in Hollywood. Then, I was promoted to food prep, then kitchen cook. Finally, I became kitchen manager—first at Marix and then an Basix Café—creating menus and a variety of dishes,” said Chef Juan. “[The restaurant owners] sent me to the best culinary schools in San Francisco, all paid for by the owners.”

Chef Juan was living the American dream and had worked very hard to get to the position he was in when Covid-19 hit and many restaurants, including both Marix and Basix were forced to close. As of earlier this year, it seems like Marix Tex Mex Café is apparently set to re-open at the same location, while the location Basix was in, is still up for lease. 

WeHo times first reported that workers have been adding finishing touches to the exterior of the building, but the significant delay in re-opening is due to extensive water damage that happened while the location was closed.

“Mucha gente lloró, porque teníamos más de cuarenta personas a mi cargo allí,” recalls Chef Juan. 

“A lot of people cried because there were over forty people who worked under my leadership during that time,” said Chef Juan. 

He was laid-off for two years and then when he stopped receiving federal assistance, he uploaded his resume online and the previous owners of GymBar WeHo, immediately called him up to hire him as their chef. 

During his time at Marix and Basix, he says he gained a lot of valuable experience and gained a  deep respect for the rich and diverse community of Hollywood. 

Within three days of uploading his resume, he was hired. 

“No duraron ni tres días cuando ya estaba contratado por que, como te dire–me hice un poco famoso,” Chef Juan tells the Los Angeles Blade. “Muchos de la ‘community’ me reconocen.”

“Not even three days passed until I was fully hired, because how do I say this? I guess I got a little bit famous,” Chef Juan tells the Los Angeles Blade. “A lot of people in the community recognize me.”

At that moment, a patron from the restaurant kindly interrupted the interview to say goodbye to Chef Juan and thank him for the food.  

“Si ves, siempre me saludan porque me conocen y saben quién soy,” nos dice Chef Juan. 

“See? People always say hello to me because they recognize me and know who I am,” Chef Juan tells us. 

He also tells us that many people who know that he started working at GymBar have asked him to recreate some of his famous dishes from when he worked at Marix and Basix. 

Chef Juan says his favorite part about working in a kitchen is his ability and freedom to create new dishes and elevate recipes that have always been staple dishes in his life and culture. 

Due to his heartwarming attitude, friendly face and incomparable work ethic, he is now a sought-after chef and iconic member of the Hollywood community. 

“Bastante gente me ha buscado desde que empecé aquí,” said Chef Juan. 

“Plenty of people have looked for me here since I started,” said Chef Juan. 

When asked how he wins over new customers, he said he likes to start off by asking customers what their favorite dishes are and then he builds on that until he’s able to find something that they are excited to try. 

He spoke passionately about how much he loves to win over new customers and continue to impress his loyal customers. He says that to avoid mistakes, he likes to personally train each person who works under him, saying this is how he ensures the quality of the food is consistently to his standards. 

“Es hacer las cosas con amor—porque cuando estás enojado no te va a salir bien—la comida te sale perfecta,” said Chef Juan. 

“It’s about doing everything with love so it comes out perfect, because when you’re angry, nothing will taste right,” said Chef Juan. 

It goes without saying that he is an icon and when we asked him how he felt about his entire career and legacy being built around the LGBTQ+ community of West Hollywood as a Latin American person, his answer was heartwarming. 

“I love my people of West Hollywood, my neighborhood and for me it’s all normal,” said Chef Juan in both English and Spanish. “For many people, I understand it’s scary, but I understand [them] and I love my people no matter what they do.” 

Chef Juan continues his legacy as he celebrates his 40th year, now working at WeHo’s GymBar, which is run by one of the Dodgers executive’s, along with his husband. As an avid Dodger fan, Chef Juan has also had the opportunity to participate in cooking demonstrations led by chefs at Dodger Stadium. GymBar WeHo is actually one of the only other locations in LA—other than Dodger Stadium that sells the authentic Dodger Dog. 

Now that baseball season is underway, Chef Juan invites everyone in the nearby communities to join them for a game and a Dodger Dog.

P3 Theatre Company, a long-standing staple in Long Beach’s theatre scene, has officially relocated to Los Angeles. While the company remains close to its Long Beach roots, this move signals a fresh chapter and opportunity to connect to a broader audience.

Jon Peterson, Executive Director and Founder of P3 Theatre Company, discusses the transition.

“After the pandemic lifted, the venue we were renting in Long Beach was no longer available to us,” explained Peterson. “After some time, we decided to look in the Greater Los Angeles area. There are so many great venues available, and there’s definitely a huge demand for the arts.”

P3 Theatre’s first major production in Los Angeles will be “Day After Day” (The Life and Music of Doris Day), a sentimental and nostalgic celebration of the legendary singer and actress. The choice to revive this show was intentional — it was P3’s last production before the Covid-19 shutdown.

“‘Day After Day ‘ was a very successful production,” said Peterson, noting that it earned Deborah Robin the Best Performer in a Musical title at the Orange County Theatre Guild Awards. “It’s such an endearing show with tons of recognizable music and the dynamic story of Doris Day.”

While dazzling performances are integral to P3’s mission, the company is equally committed to community outreach. Peterson emphasized that the move to the West Hollywood and Hollywood areas, offer opportunities to collaborate with other nonprofits and expand access to the arts for marginalized groups.

“There is a huge demand for the arts in this region,” said Peterson. “We look forward to bringing shows that audiences are excited to see, as well as introducing new works that will enhance their theatrical experience.”

One of P3’s signature initiatives is P3 Educates+, a program designed to provide performing arts workshops to underserved communities. Catering to all ages – which Peterson describes as 0-100+ – the workshops include improvisation, acting, and singing.

“It provides more than just an education of theatre,” Peterson explained. “[It provides] a level of entertainment that marginalized communities may not have an opportunity to experience otherwise.”

Supporting LGBTQ+ stories and artists is also a core priority for P3 Theatre Company. Peterson highlighted the company’s commitment to producing both new LGBTQ+ works and celebrated classics.

“Our stories need to be told and heard,” Peterson emphasized. “What better way to do so than through the arts?”

Among P3’s proudest achievements are the world premieres of two acclaimed works by playwright Jiggs Burgess. The Red Suitcase won the prestigious Del Shores Playwright Competition, while Wounded earned multiple awards at the Hollywood Fringe Festival in 2023. The latter’s success secured an off-Broadway run at Soho Playhouse in New York City, with performances continuing in 2024 and 2025.

P3 Theatre Company has ambitious long-term goals for its future in Los Angeles. Peterson hopes to build a strong audience and donor base while eventually securing a permanent performance space.

“P3 Theatre Company’s long term goal is to grow a solid audience and donor base in Los Angeles – and to find ‘the perfect theatre’ to hang our hat in.” Peterson said. “It is our plan to call Los Angeles our home and to continue to produce professional theatre in a community where theatre is thriving.”

For those eager to experience P3’s return to the stage, tickets for Day After Day (The Life and Music of Doris Day) are now available. As Peterson says with confidence, “We know the audiences will love it!”

For more information about P3, head to www.p3theatre.biz

‘The Cost of Fear’
By Meg Stone
c.2025, Beacon Press
$26.95/232 pages

The footsteps fell behind you, keeping pace.

They were loud as an airplane, a few decibels below the beat of your heart. Yes, someone was following you, and you shouldn’t have let it happen. You’re no dummy. You’re no wimp. Read the new book, “The Cost of Fear” by Meg Stone, and you’re no statistic. Ask around.

Query young women, older women, grandmothers, and teenagers. Ask gay men, lesbians, and trans individuals, and chances are that every one of them has a story of being scared of another person in a public place. Scared – or worse.

Says author Meg Stone, nearly half of the women in a recent survey reported having “experienced… unwanted sexual contact” of some sort. Almost a quarter of the men surveyed said the same. Nearly 30 percent of men in another survey admitted to having “perpetrated some form of sexual assault.”

We focus on these statistics, says Stone, but we advise ineffectual safety measures.

“Victim blame is rampant,” she says, and women and LGBTQ individuals are taught avoidance methods that may not work. If someone’s in the “early stages of their careers,” perpetrators may still hold all the cards through threats and career blackmail. Stone cites cases in which someone who was assaulted reported the crime, but police dropped the ball. Old tropes still exist and repeating or relying on them may be downright dangerous.

As a result of such ineffectiveness, fear keeps frightened individuals from normal activities, leaving the house, shopping, going out with friends for an evening.

So how can you stay safe?

Says Stone, learn how to fight back by using your whole body, not just your hands. Be willing to record what’s happening. Don’t abandon your activism, she says; in fact, join a group that helps give people tools to protect themselves. Learn the right way to stand up for someone who’s uncomfortable or endangered. Remember that you can’t be blamed for another person’s bad behavior, and it shouldn’t mean you can’t react.

If you pick up “The Cost of Fear,” hoping to learn ways to protect yourself, there are two things to keep in mind.

First, though most of this book is written for women, it doesn’t take much of a leap to see how its advice could translate to any other world. Author Stone, in fact, includes people of all ages, genders, and all races in her case studies and lessons, and she clearly explains a bit of what she teaches in her classes. That width is helpful, and welcome.

Secondly, she asks readers to do something potentially controversial: she requests changes in sentencing laws for certain former and rehabilitated abusers, particularly for offenders who were teens when sentenced. Stone lays out her reasoning and begs for understanding; still, some readers may be resistant and some may be triggered.

Keep that in mind, and “The Cost of Fear” is a great book for a young adult or anyone who needs to increase alertness, adopt careful practices, and stay safe. Take steps to have it soon.

The Blade may receive commissions from qualifying purchases made via this post.

Q Con, SoCal’s only LGBTQ+ comic convention, is set to return Saturday, May 3, bringing in dozens of LGBTQ+ speakers, vendors, artists and community voices to their lineup. 

“LGBTQIA+ people of all ages and backgrounds need to see themselves and their stories represented in the arts – to know they are okay, they are accepted and they are powerful. Q Con gives us the opportunity to do this – to raise queer voices in comic books and graphic novels, bring the community together and have a lot of fun at the same time,” said Ted Abenheim, president of Prism Comics.

Mark your calendars and start scheming up your queer cosplay outfits for a costume contest that celebrates the LGBTQ+ representation and visibility in one of the most queer-coded industries in media ahead of Pride month. 

Prism Comics, the nonprofit organization championing LGBTQ+ representation and diversity in comic books, graphic novels and pop media, announced their 4th annual Q Con, happening in West Hollywood’s Plummer Park. The convention will take place in West Hollywood from 11AM to 6PM at Fiesta Hall. 

The nonprofit established in 2003, is deemed the “LGBTQ+ Comics Central,” at San Diego Comic Con, WonderCon Anaheim, Los Angeles Comic Con and other conventions. Prism prides itself on providing a safe space for the LGBTQ+ community to unite over mutual passion, interest and love for comics, novels and more. This is the space where comic creators, readers, librarians, educators and families can come together and celebrate, discuss and enjoy the representation the community needs and deserves. 
Find free tickets and more information regarding guest speakers, panels and vendors here.

Q Con is also currently seeking LGBTQ+ comic creators and businesses who are interested in setting up a table at the event. If interested in tabling or volunteering, email Ted Abenheim, President of Prism Comics at  [email protected].

There are people in the entertainment biz, and then there are people in the entertainment biz, such as Craig Ramsay.

He has done just about everything: ballet, Broadway, reality TV, Pride events, fitness forums – he’s been there, done that and he’s far from slowing down any time soon.

A native Canadian, Ramsay earned a full scholarship to the esteemed Royal Winnipeg Ballet’s Professional Division. After his studies, he packed up his dance shoes and headed to Broadway, appearing in an early production of Mamma Mia! as well as Fiddler on the Roof, Chitty Chitty Bang Bang, Cats, Hair, and many others.

He made his national TV debut with his husband, Brandon Liberati, as one of Bravo TV’s earliest featured gay couples on “Newlyweds.” Ramsay would go on to appear on “Thintervention,” “Shahs of Sunset,” and “Real Housewives,” and hosted his own fitness show, “He’s Fit, “on OutTV. Splitting his time between Southern California and Canada, life has come full circle as he is brought back to the world of ballet and a return to reality TV, by way of a beautiful friendship forged in his early days.

When Ramsay met Catherine Wreford while studying at the Royal Winnipeg Ballet in 1996, it became an instant and long-lasting friendship. In addition to their friendship, their careers have now been linked as the two competed – and won – the “Amazing Race” in Canada. They also made a return to the Royal Winnipeg as Lord and Lady Capulet in a production of “Romeo and Juliet,” taking the stage where they met so many years before. Their reunion is about more than friendship, it is about perseverance and the courage to celebrate life to its fullest.

Ramsay and Wreford are bringing their story to the stage with “Behind the Curtain,” an intimate evening of music and storytelling, on Monday, Apr. 21, at Revolutionary Stage Company in Palm Springs.

In 2013, Wreford was diagnosed with terminal brain cancer and given a limited time to live. Now, more than a decade later, she continues to defy the odds and though performing may sometimes offer unique challenges, she continues to take her bow.

We caught up with Ramsay in between performances of his second return to the Royal Winnipeg Ballet for its production of “Jekyll and Hyde” to chat about his career, the power of friendship and his upcoming cabaret.

You have done all kinds of reality TV. What inspired you to do the Amazing Race? It was totally different than what you had done before!

My best friend—and Amazing Race partner—Catherine is a medical miracle. She was given 2 to 5 years to live after being diagnosed with terminal brain cancer … 12 years ago. She thrives on challenges that push her both physically and cognitively, and few things are more intense than The Amazing Race. When I suggested the idea to her, she didn’t hesitate for a second. She said: “We’re doing it—and we’re doing it together.”

It was also the first reality show that appealed to me in a completely different way. Unlike other formats I’ve been part of, “The Amazing Race” doesn’t rely on producers engineering drama or plot lines. You don’t know what’s coming next, and neither does anyone else. It felt like a rare opportunity to do reality TV that’s truly grounded in, well… actual reality. That unpredictability, combined with the chance to take on something extraordinary with Catherine, was the perfect kind of wild.

What did you learn most about yourself from getting through Amazing Race?

What I learned most about myself from “The Amazing Race” was that in moments of chaos, I can find calm, and in that calm, I find clarity. Despite being diagnosed with ADHD and told it would be a lifelong obstacle, I discovered my ability to hyper-focus was actually a superpower on the [The Amazing Race]. It helped me dial in, think fast and power through challenges with my teammate like a laser-focused tornado. Turns out, my brain was built for the pressure!

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You have returned to the stage in many ways, ballet and your duo-cabaret! What has it been like for your body and your mental psyche to get back into ballet? Life has come full circle!

Returning to ballet in my late 40s has been a full-circle moment—and a full-body wake-up call. I’ve got way more going on now personally and professionally than I did in my 20s or 30s, and while I’m proud that my body can still meet the demands of roles like Danvers Carew in “Jekyll & Hyde” with the Royal Winnipeg Ballet, I’d be lying if I said it was easy. My brain takes longer to lock in choreography, but I’ve learned that if I lead with the storytelling, the steps follow. It’s a more actor-driven approach to dance—one I wish I used in my youth. As for revisiting my 20s-era dance numbers in our cabaret “Behind the Curtain?” Let’s just say I’m doing them … slightly out of breath and trying not to have a heart attack mid-sequin spin in front of a live audience.

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“Behind the Curtain,” what is it like hitting the stage without a role, totally vulnerable and intimate, just you and Catherine telling your own stories with songs? 

Hitting the stage without a role to hide behind—just me, Catherine, a mic, and our stories—has been the most vulnerable and freeing experience of my career. When we created “Behind the Curtain,” every moment we debated cutting for being too raw, too shocking, or too hilariously honest… we kept it in. We don’t hold back. Every Broadway chorus veteran has wild stories—we’re just bold (or foolish) enough to share ours. Playing characters is easy. Telling the truth about who we are? That’s the real performance. Most of what we reveal on stage has only ever been shared between the two of us. In this show, you get to know us more intimately than any reality show ever could. It’s terrifying but thrilling at the same time.  

What makes this performance different than anything you have done before?

Even though Catherine and I have played major roles on Broadway, this show feels like the biggest undertaking of our careers. It’s just the two of us, holding the stage for two full hours—no cast, no set pieces, no costumes to hide behind. Just our voices and our stories. Honestly, it feels like we’re at our own celebration of life… except we’re not dead—we’re just killing the audience with our stories.

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Why is it so important for you and Catherine to continue telling your stories with “Behind the Curtain?”

We actually talk about this in the show—because the truth is, with the uncertainty around how much time Catherine has left, “Behind the Curtain” is our way of getting it all out there. It’s the legacy she deserves. It’s raw, it’s pretty, it’s messy… it’s us. And that’s what makes life beautiful. We want this show to inspire people to live fully, love fiercely, and honor the friendships and chosen family that carry us through it all.

Catherine is such an inspiration in so many ways. How did your friendship evolve, and what can we all learn from her?

What people might not know is that our friendship started with me playing the role of the responsible older brother, trying to rein in Catherine’s fearless, defiant teenage fire. We entered the industry young and had to be everything for each other—mentors, lifelines, protectors. Our bond has evolved through so many chapters, that it feels like it’s had seven lives. Honestly, we don’t think we’d be alive without one another. And as wild as it sounds, we both believe our higher selves are holding hands, plotting these incredible, often chaotic moments that turn into stories we’re meant to share with the world. We’re connected in this life… and beyond.

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With so many different entertainment projects you’ve done, what direction do you head to next?

It wasn’t something we originally set out to do, but after the overwhelming feedback from “Behind the Curtain,” we feel the next step is Off-Broadway. That’s where the show is headed. At the same time, we’ve taken the inspiring stories we’ve lived—centered on friendship, kindness, and compassion—and created something new: the first-ever keynote presentation told through story, song, and dance. It’s called “Survival of the Friendliest,” and we’re partnering with the Speakers Bureau of Canada to bring it to audiences across the country.

What is your message to your fans?

Our show “Behind the Curtain,” is resonating with people in such different and personal ways, that it wouldn’t feel right to narrow it down to one message. At this point in our lives, careers, and friendship, the best thing we can do is share our stories honestly and let them land however people need them to. If we’re bringing “Behind the Curtain” to your city—or somewhere nearby—we’d love for you to come experience it. And if you’re part of an organization or business that hosts keynote events, reach out! We’d be honored to inspire, entertain, and connect with you.

Tickets can be purchased here.

It’s been a long time – maybe 25 years when “Will & Grace” debuted – since there’s been so much excitement about a new, queer sitcom premiering. “Mid-Century Modern,” which debuted on Hulu last week, is the creation of Max Mutchnick and David Kohan, the gay men who were also behind “Will & Grace.” 

Set in Palm Springs, Calif., following the death of the one of their closest friends, three gay men gather to mourn. Swept up in the emotions of the moment, Bunny (Nathan Lane) suggests that Atlanta-based flight attendant Jerry (Matt Bomer) and New York-based fashion editor Arthur (Nathan Lee Graham) move into the mid-century modern home he shares with his mother Sybil (the late Linda Lavin). Over the course of the first season’s 10 episodes, hilarity ensues. That is, except for the episode in which they address Sybil’s passing. The three male leads are all fabulous, and the ensemble cast, including Pamela Adlon as Bunny’s sister Mindy, and the stellar line-up of guest stars, such as Jesse Tyler Ferguson, Vanessa Bayer, Richard Kind, and Cheri Oteri, keep humor buzzing. Shortly before the premiere of “Mid-Century Modern,” Mutchnick made time for an interview with the Blade.

BLADE: I’d like to begin by saying it’s always a delight to speak to a fellow Emerson College alum. In ways would you say that Emerson impacted your professional and creative life?

MAX MUTCHNICK: I think Emerson was the first place that reflected back to me that my voice, my thoughts were good, and they were worth listening to. I developed a confidence at Emerson that did not exist in my body and soul. It was a collection of a lot of things that took place in Boston, but I mean we can just put it all under the Emerson umbrella.

BLADE: Before “Will & Grace,” you co-created the NBC sitcom “Boston Common,” which starred fellow Emerson alum Anthony Clark. Is it important for you to maintain those kinds of alumni relationships?

MUTCHNICK: Because Emersonians are such scrappy little monkeys and they end up being everywhere in the world, you can’t help but work with someone from Emerson at some point in your career. I’m certainly more inclined to engage with someone from Emerson once I learn that they went to my alma mater. For me, it has much more to do with history and loyalty. I don’t think of myself as one of those guys that says, “Loyalty means a lot to me. I’m someone that really leans into history.” It’s just what my life and career turned out to be. The longer I worked with people and the more often I worked with them, the safer that I felt, which means that I was more creative and that’s the name of the game. I’ve got to be as comfortable as possible so I can be as creative as possible. If that means that a person from Emerson is in the room, so be it. (Costume designer) Lori Eskowitz would be the Emerson version. And then (writer and actor) Dan Bucatinsky would be another version. When I’m around them for a long time, that’s when the best stuff comes.

BLADE: Relationships are important. On that subject, your new Hulu sitcom “Mid-Century Modern” is about the longstanding friendship among three friends, Bunny (Nathan Lane), Jerry (Matt Bomer), and Arthur (Nathan Lee Graham). Do you have a friendship like the one shared by these three men?

MUTCHNICK: I’m absolutely engaged in a real version of what we’re projecting on the show. I have that in my life. I cannot say that I’m Jerry in any way, but the one thing that we do have in common is that in my group, I’m the young one. But I think that that’s very common in these families that we create. There’s usually a young one. Our culture is built on learning from our elders. I didn’t have a father growing up, so maybe that made me that much more inclined to seek out older, wiser, funnier, meaner friends. I mean the reason why you’re looking at a mouthful of straight, white teeth is because one of those old bitches sat across from me about 25 years ago at a diner and said, “Girl, your teeth are a disaster, and you need to get that fixed immediately.” What did I know? I was just a kid from Chicago with two nickels in my pocket. But I found three nickels and I went and had new teeth put in my head. But that came from one of my dearest in the group.

BLADE: Do you think that calling “Mid-Century Modern” a gay “Golden Girls” is a fair description?

MUTCHNICK: No. I think the gay “Golden Girls” was really just used as a tool to pitch the show quickly. We have an expression in town, which is “give me the elevator pitch,” because nobody has an attention span. The fastest way you can tell someone what David (Kohan) and I wanted to write, was to say, “It’s gay Golden Girls.” When you say that to somebody, then they say, “OK, sit down now, tell me more.” We did that and then we started to dive into the show and realized pretty quickly that it’s not the gay “Golden Girls.” No disrespect to the “Golden Girls.” It’s a masterpiece.

BLADE: “Mid-Century Modern” is set in Palm Springs. I’m based in Fort Lauderdale, a few blocks south of Wilton Manors, and I was wondering if that gay enclave was ever in consideration for the setting, or was it always going to be in Palm Springs?

MUTCHNICK: You just asked a really incredible question! Because, during COVID, Matt Bomer and I used to walk, because we live close by. We had a little walking group of a few gay gentlemen. On one of those walks, Matt proposed a comedy set in Wilton Manors. He said it would be great to title the show “Wilton Manors.” I will tell you that in the building blocks of what got us to “Mid-Century Modern,” Wilton Manors, and that suggestion from Matt Bomer on our COVID walks, was part of it.

BLADE: Is Sybil, played by the late Linda Lavin, modeled after a mother you know?

MUTCHNICK: Rhea Kohan (mother of David and Jenji). When we met with Linda for the first time over Zoom, when she was abroad, David and I explained to her that this was all based on Rhea Kohan. In fact, some of the lines that she (Sybil) speaks in the pilot are the words that Jenji Kohan spoke about her mother in her eulogy at the funeral because it really summed up what the character was all about. Yes, it’s very much based on someone.

BLADE: The Donny Osmond jokes in the second episode of “Mid-Century Modern” reminded me of the Barry Manilow “fanilows” on “Will & Grace.” Do you know if Donny is aware that he’s featured in the show?

MUTCHNICK: I don’t. To tell you the truth, the “fanilow” episode was written when I was not on the show. I was on a forced hiatus, thanks to Jeff Zucker. That was a show that I was not part of. We don’t really work that way. The Donny Osmond thing came more from Matt’s character being a Mormon, and also one of the writers. It’s very important to mention that the writing room at “Mid-Century Modern,” is (made up of) wonderful and diverse and colorful incredible humans – one of them is an old, white, Irish guy named Don Roos who’s brilliant…

BLADE: …he’s Dan Bucatinsky’s husband.

MUTCHNICK: Right! Dan is also part of the writing room. But I believe it was Don who had a thing for Donny, and that’s where it comes from. I don’t know if Donny has any awareness. The only thing I care about when we turn in an episode like that is I just want to hear from legal that we’re approved.

BLADE: “Mid-Century Modern” also includes opportunities for the singers in the cast. Linda Lavin sang the Jerome Kern/Ira Gershwin tune “Long Ago (And Far Away)” and Nathan Lane and the guys sang “He Had It Coming” from “Chicago.” Was it important to give them the chance to exercise those muscles?

MUTCHNICK: I don’t think it was. I think it really is just the managers’ choice. David Kohan and I like that kind of stuff, so we write that kind of stuff. But by no means was there an edict to write that. We know what our cast is capable of, and we will absolutely exploit that if we’re lucky enough to have a second season. I have a funky relationship with the song “Long Ago (And Far Away).” It doesn’t float my boat, but everybody else loved it. We run a meritocracy, and the best idea will out. That’s how that song ended up being in the show. I far prefer the recording of Linda singing “I’ll Be Seeing You” over her montage in episode eight, “Here’s To You, Mrs. Schneiderman.” We were just lucky that Linda had recorded that. That recording was something that she had done and sent to somebody during COVID because she was held up in her apartment. That’s what motivated her to make that video and send it. That’s how we were able to use that audio.

BLADE: Being on a streaming service like Hulu allows for characters to say things they might not get away with on network TV, including a foreskin joke, as well as Sybil’s propensity for cursing.

MUTCHNICK: And the third line in the show is about him looking like a “reluctant bottom.” I don’t think that’s something you’re going to see on ABC anytime soon. David and I liked the opportunity to open up the language of this show because it might possibly open the door to bringing people…I’m going to mix metaphors…into the tent that have never been there before. A generation that writes off a sitcom because that language and that type of comedy isn’t the way that they sound. One of the gifts of doing this show on Hulu is that we get to write dialogue that sounds a little bit more like you and I sound. As always, we don’t want to do anything just to do it.

BLADE: It didn’t feel that way.

MUTCHNICK: It’s there when it’s right. [Laughs] I want to have a shirt made with Linda’s line, as her mother always used to say, “Time is a cunt.”

BLADE: “Mid-Century Modern” also utilizes a lot of Jewish humor. How important is it for you to include that at this time when there is a measurable rise in anti-Semitism?

MUTCHNICK: I think it’s important, but I don’t think it’s the reason why we did it. We tried very hard to not write from a place of teaching or preaching. We really are just writing about the stuff that makes us laugh. One of the things that makes something better and something that you can invest in is if it’s more specific. We’re creating a character whose name is Bunny Schneiderman and his mother’s name is Sybil and they made their money in a family-run business, it gets Jewy, and we’re not going to shy away from it. But we’re definitely not going to address what’s going on in the world. That doesn’t mean I don’t find it very upsetting, but I’m writing always from the point of view of entertaining the largest number of people that I can every week.

BLADE: “Mid-Century Modern” has a fantastic roster of guest stars including Jesse Tyler Ferguson, Vanessa Bayer, Billie Lourd, Cheri Oteri, Richard Kind, Rhea Perlman, and Judd Hirsch. Are there plans to continue that in future seasons?

MUTCHNICK: Yes. As I keep saying, if we’re so lucky that we get to continue, I don’t want to do “The Love Boat.” Those are fine comic actors, so I don’t think it feels like that. But if we get to keep going, what I want to do is broaden the world because that gives us more to write about. I want to start to introduce characters that are auxiliary to the individuals. I want to start to meet Arthur’s family, so we can return to people. I want to introduce other neighbors, and different types of gay men because we come in so many different flavors. I think that we should do that only because I’m sure it’s what your life is and it’s what my life is. I’ve got a lot of different types. So, yes, we will be doing more.

BLADE: Finally, Linda Lavin passed away in December 2024, and in a later episode, the subject of her character Sybil’s passing is handled sensitively, including the humorous parts.

MUTCHNICK: We knew we had a tall order. We suffered an incredible loss in the middle of making this comedy. One of the reasons why I think this show works is because we are surrounded by a lot of really talented people. Jim Burrows and Ryan Murphy, to name two. Ryan played a very big role in telling us that it was important that we address this, that we address it immediately. That we show the world and the show goes on. That wasn’t my instinct because I was so inside the grief of losing a friend, because she really was. It wasn’t like one of those showbizzy-type relationships. And this is who she was, by the way, to everybody at the show. It was the way that we decided to go. Let’s write this now. Let’s not put this at the end of the season. Let’s not satellite her in. Let’s not “Darren Stevens” the character, which is something we would never do. The other thing that Jim Burrows made very clear to us was the import of the comedy. You have to write something that starts exactly in the place that these shows start. A set comedy piece that takes place in the kitchen. Because for David and me, as writers, we said we just want to tell the truth. That’s what we want to do with this episode and that’s the way that this will probably go best for us. The way that we’ve dealt with grief in our lives is with humor. That is the way that we framed writing this episode. We wanted it to be a chapter from our lives, and how we experience this loss and how we recover and move on.