Los Angeles theatre audiences are enjoying a packed run of the Stephen Sondheim review “Old Friends,” which is here for a limited engagement before heading to Broadway. Actor Jacob Dickey represents the queer community starring opposite of Broadway’s Bernadette Peters and Lea Salonga and captivating audiences with his take on roles from “Into the Woods,” “Sunday in Park with George” and “West Side Story,” among others.

In between shows, we caught up with the visiting actor to chat about his career, his experience with Old Friends, and the evolution of Broadway.

Dickey was raised in a military family and moved around a bit. His love of singing started at an early age.

“I got my start in church choirs and church production and then similarly transitioned to community theater. We moved all the time, so it was like always finding a little community and it eventually became community theater as my community, and I did it through high school and went to college for that. And here we are,” said Dickey.

Jacob made his Broadway debut in Disney’s production of “Aladdin” first understudying the title role, then taking it over. It was an extremely proud moment for him, and a touching one as well.

“My mom came [to see the show] on Mother’s Day and singing ‘Proud of Your Boy’ to your mom who dressed you up as Aladdin when you were four years old for Halloween was unreal, unmatchable,” he continued. “To see my own growth as an actor and a person through the character of Aladdin was really special. I feel like I walked away a better person and a performer because of it.”

Another career highlight was joining the Broadway revival of Company, also starring Patti LuPone. For Jacob, having the opportunity to play an updated version of the character Paul is the role that has spoken to him the most.

“That was my first experience playing a ‘my age contemporary gay man’ who’s in a happy relationship and just in love with his husband. I haven’t actually played a lot of gay characters, so it was a very special thing for me, and especially to do it on Broadway and obviously opposite of Matt Doyle,” said Dickey. “But I realized how special it was to just be able to kind of go on stage and be myself. Especially in a musical like “Company,” that was really, really incredible. Paul gets a really emotional moment, which is so nice to just like let go like that in front of so many people. It’s one of my favorite things to do. So, it was really juicy and I loved it.”

The update of “Company” changed the characters’ sexualities and genders. The typically male lead was cast as a woman and Jacob’s character became part of a gay relationship. Taking the show on the national tour and outside of the bubble of New York caused a mixed reaction, with some audience members claiming the show was ‘too woke.’ Jacob was here for it.

“As much as I love classic, feel-good theater, I also love polarizing theater. Do I think ‘Company’ with a woman as the lead is polarizing? Personally?” said Dickey. “No, because it makes so much sense if you look at the text. Flipping it into a woman, all of those themes just became even more prevalent in this society, in America.

“Whether people want to accept that or not, that was just kind of up to them. So I would rather it be exciting than the same old, same old. If you’re going to revive something, do something with it.”

Jacob has received critical and fan acclaim for his performance in Old Friends. The show features an all-star cast, an embarrassment of riches. Jacob spends much of his stage time performing directly opposite of Bernadette Peters (his final call back was a chemistry test with her) while Lea Salonga also fills the stage with her expansive talent.

Does Jacob ever get starstruck?

“I definitely was deeply starstruck by Bernadette Peters and Lea Salonga. I mean, the second I first heard [Lea] singing, I was like: ‘That’s the voice I grew up with. “Reflections” [from Mulan]. That is my song!’ Like when I first saw that movie in theaters, it was stuck in my head weekly.

Such a little gay boy song. Bernadette is so playful, every night she does something, The other night she flicked a curl that was on my hair, and she pats my chest. And it’s insane that it’s Bernadette Peters, but also just so fun to do every night. But yeah, I get absolutely starstruck.”

Watching Old Friends is like coming home. Many of us theatre gays were raised on everything Sondheim. With everything crazy going on in the world, revisiting songs that we listened to over and over to get through different moments of life offers a magical relief. The fact that the show offers a fresh take on these classics makes it vibrant and relevant. In Dickey’s opinion, Sondheim will also be a part of what is happening on Broadway.

“The direction of Broadway is getting more commercial, that’s what sells. I feel like any time there’s a revival of Sondheim, it’s a little hit of, oh, this is why we’re here. Brilliant musical theater writers who are writing these musicals based on IP and movies and books, I guarantee every single one of them will be like, Sondheim is the reason I’m here’ because he is the archetype.

“He created musical theater in many ways. Sondheim’s language and his music, he’s the GOAT.  Sondheim will never go away and it’s such a beautiful thing to see it.”

Jacob does not portray any gay characters in Old Friends. In fact, his wolf in “Into the Woods” is very much not gay. But with Sondheim being a gay man, Dickey feels that queer sensibility and pathos through the work. The show ends with a powerful but tearful version of “Being Alive” from Company, with Jacob leading the beginning of the song. A very special moment for the actor.

“A gay man singing the beginning of ‘Being Alive.’ That is one of Stephen Sondheim’s most personal songs. Bobby is one of his most personal characters because he was always the outsider looking in, trying to find his way as a gay man in a society that didn’t want him to be gay. To be there center stage with a spotlight on me being my out gay self singing the words that he wrote really about himself, I think is so incredibly special.

“Then that song turns into this massive, stunning orchestration with everybody singing it. It becomes everybody’s story, which is absolutely what Sondheim would’ve wanted. He wanted to write for everybody and so for that story to then extrapolate to everybody finding their own version of it, it’s everything.”

Old Friends runs at the Ahmanson until Sunday, March 9.

For many years, members of the LGBTQ+ community have been feeling increasingly “isolated” from the rest of the world due to Republicans pushing anti-LGBTQ+ rhetoric.

Now more than ever, with the return of President Donald Trump to office, the LGBTQ+ community has raised awareness about resources available to help individuals feel safe and start a family. Services like PregnantTogether, a virtual LGBTQ+ community, is making a difference for couples who want a family, but don’t have many resources.

Marea Goodman, the founder and licensed midwife, said this inspired them to create PregnantTogether.

“There really hasn’t been a space for queer folks growing our families. And something that I hear over and over from clients and community members and that I experienced myself when I was in the process of trying to get pregnant and being pregnant is really just the sense of isolation that many of us experience going through this process,” Goodman said.

PregnantTogether offers “tons of recorded, self-paced content and courses about every stage of preconception, pregnancy, birth and postpartum.” They also offer discounts on fertility tests, sperm bank donor catalogs and prenatal vitamins, among other things. People with insurance can either use their Health Savings Account (HSA) or a Flexible Spending Account (FSA) for the services as well.

Goodman said in an introductory video, that going down a rabbit hole on Google about fertility questions is one of the reasons PregnantTogether exists. Goodman argues that “five to ten-minute” once-a-month doctor or mid-wife sessions for a prenatal visit aren’t enough to truly help queer people through this process.

That sentiment of not having adequate support is echoed by Jenai Mars, a member of the PregnantTogether community, who says the journey to parenthood can feel isolating, with few role models or community spaces to turn to for support.

“I am one of the first my family and friends, let alone queer community, to go through the process of building a family. My spouse and I felt somewhat isolated and overwhelmed as we began the [trying to conceive] process and wanted to connect with other queer folks going through similar experiences,” she told the Los Angeles Blade.

According to Mars, the community has proven to be a lifeline during the rise of political discourse throughout the United States. 

“PregnantTogether has been such an important source of community, comfort, education and inspiration during my pregnancy and through these tough political times,” she said of PregnantTogether. “I’m so grateful for the deep connections and friendship this community has helped foster both in person in NYC and across the country and world.”

Despite the current political climate, LGBTQ+ individuals aren’t putting off their family planning in 2025. In fact, they are tapping into the resources at PregnantTogether.

“As a queer, genderqueer person hoping to start building my family this year, PregnantTogether has meant so much to me,” said Vera Leone, a member of the community. “I have gotten ideas and inspiration for the next steps on my path, and resources for supporting the questions I’m working through around sourcing donor genetic material and processing the grief that inevitably accompanies life, loving, conception and beyond.”

Creating a family is essential for Leone, who moved to the Midwest after having moved around a lot, and “as an elder millennial coming to fully explore my queerness only later in life,” said Leone. “I am still in the process of growing into a strong queer community and networks of care rooted in my local city,” they added.

With growing political hostility and a shift away from traditional social media spaces, building community has become more essential than ever for the LGBTQ+ community seeking support and connection, Goodman noted.

“We’ve always obviously been like a minority group. But I think, especially now being kind of like the target of much of the negative political discourse, coming together in community is so essential for our mental health,” Goodman said. “I’m also hearing that people are not feeling like they want to participate in Instagram and Facebook and like the public social media sphere in the same way.”

“In these times of fear and overwhelm and attacks on the very existence of trans people, I feel really called towards building all the connection, support and collective care and resilience that I can,” Leone said of the PregnantTogether community. 

The Los Angeles Blade will be on the scene as The Queerties Awards return for their 13th year, shining a spotlight on the most impactful moments in LGBTQ+ entertainment and culture. The big affair will take place on Tuesday, March 11, at The Avalon in Hollywood.

The event promises a night of celebration, recognition, and community. Non-local fans of Queerty can watch the awards on WOW Presents Plus starting March 18, joining the platform’s diverse library of LGBTQ+ content, which includes original series, World of Wonder-produced documentaries and the global Drag Race franchise.

The Queerties, produced by Queerty and its parent company Q.Digital, honor excellence across music, television, film, literature, and more. The awards uniquely focus on LGBTQ+ creators, tastemakers, and storytellers who often go unrecognized by mainstream award shows.

“The Queerties gives voice to the LGBTQ+ community,” said Scott Gatz, CEO of Q.Digital. “It’s the pop culture awards show where queer people honor the best of the best, voting for the talent and creatives who inspire and pave the way for the next generation of queer youth.”

Headlining this year’s ceremony will be the queen of entertainment, Bob the Drag Queen, known for winning RuPaul’s Drag Race, competing on The Traitors, hosting HBO’s We’re Here, and authoring the novel Harriet Tubman: Live in Concert. As usual, Bob brings charisma, humor and activism to the role, making them the perfect emcee for the evening.

“It’s important to devote more focus to LGBTQ+ artists and content due to the attacks coming from the current administration that attempt to not only minimize but essentially erase the existence of people,” said Bob the Drag Queen. “Which is not possible, but they’re trying to make people feel unacknowledged.”

Bob emphasizes the deeper significance of LGBTQ+ representation in media. “Engaging with queer content builds community. It does more than you could imagine,” they added. The Queerties stand as a testament to that mission, highlighting the creative achievements and resilience of the LGBTQ+ community.

This year’s Queerties includes an impressive nominee list, reflecting a groundbreaking year of LGBTQ+ representation and success. Check out the “Badass” category, which honors the year’s top LGBTQ+ newsmakers and includes pop sensation Chappell Roan and trans Latina filmmaker and actress Nava Mau, leading the nominations.

Representing the world of fashion, the “Style Icon” category celebrates individuals whose personal style transcends trends and makes a cultural impact. This year’s nominees include Emmy-winning actress Laverne Cox (Clean Slate) and visionary Filipino-American fashion designer Zaldy Goco, known for his avant-garde creations that have graced stages and red carpets worldwide.

The “Coming Out for Good” category, which recognizes individuals who shared powerful coming-out stories in 2025, features an inspirational lineup. This year’s nominees include chart-topping singer Khalid for his heartfelt public revelation, country star Maren Morris for her advocacy and visibility within the LGBTQ+ community, and Drag Race alum Detox, who continues to use their platform to champion queer causes.

Outstanding performances in film and television are also celebrated. Elliot Page earns a nomination in the “Film Performance” category for his role in Close to You, while Justice Smith is recognized for his work in the psychological thriller I Saw the TV Glow. In the television categories, Cooper Koch (Monsters: The Lyle and Eric Menendez Story), Yasmin Finney (Heartstopper), and Aubrey Plaza (Agatha All Along) are honored for their dynamic and memorable performances. Film and television continue to bring our stories to the forefront.

The music world sees its own share of rising LGBTQ+ stars in the “Breakout Musical Artist” category. Young Miko, Joy Oladokun, and Drag Race alum Luxx Noir London are all vying for the title, each bringing their unique sounds and stories to the forefront of the industry.

This year’s Queerties also shine a spotlight on LGBTQ+ literature at a time when book bans and censorship efforts are on the rise. The “Best Queer Read” category includes American Teenager by Nico Lang, Rebel Girl by Kathleen Hanna, and The T in LGBT by Jamie Raines, all of which offer profound insights into queer identities and experiences.

The voting process is completely community-driven. Nominees are selected by Queerty’s editorial team, but the winners are chosen by the readers themselves, ensuring that the awards truly reflect the voices and opinions of the LGBTQ+ community.

As the entertainment landscape continues to evolve, the Queerties stand as a beacon of inclusivity and recognition. In a world where LGBTQ+ representation still faces significant challenges, the awards offer a moment to celebrate resilience, creativity, and the power of queer storytelling.

Don’t miss the 13th Annual Queerties Awards on March 11 at The Avalon in Hollywood, or catch the nationwide stream on WOW Presents Plus starting March 18. For more information, visit www.queerty.com/Queerties and subscribe to WOW Presents Plus at www.wowpresentsplus.com to explore their extensive library of LGBTQ+ content.

Colman Domingo is riding on a career high, with back-to-back Best Actor Academy Award nominations–last year, playing Bayard Rustin, the gay advisor to Martin Luther King Jr. and this season, starring and executive producing Greg Kwedar’s mesmerizing film, “Sing Sing.”

One thing is clear watching any of Domingo’s films and television series–among them being “Selma,” “The Color Purple,” “Ma Rainey’s Black Bottom,” and “HBO’s “Euphoria”—he completely gives his heart and soul into every role he takes on. 

It’s no wonder then, why the charismatic performer recently received the Montecito Award from Executive Director Roger Durling at the 40th annual Santa Barbara International Film Festival. 

“As a devoted admirer of Colman Domingo for so long, what is enthralling to see is how his early work in theater—the specificity, the dexterity, the research, the conviction and the intelligence that this performer displayed on the boards is now being finally utilized,” said Durling. “His potential that always was there is now realized.” 

In a lengthy chat about his career with Durling, Domingo addressed his perseverance throughout his illustrious television and film career, telling attendees, “I just kept going and believed that the love I was seeking would also be seeking me. I just always believed that.”

The evening highlighted Domingo’s powerhouse performance as John “Divine G” Whitfield in “Sing Sing.” In the film, which is based on a true story, an imprisoned man—wrongfully put in jail for a crime he didn’t commit—finds a renewed sense of purpose by acting in a theatre group, “Rehabilitation Through the Arts,” also known as RTA, alongside other incarcerated men.

The riveting script had immense appeal to the veteran actor.

“I started my career in educational theater,” said Domingo. “I would go to local San Francisco Bay Area high schools to perform while also teaching kids about important issues such as HIV, AIDS, or conflict resolution. We were the arts program, coming in, performing, and maybe doing a few classes. And influence the children with art, in much the same manner that RTA did in the New York prison system.”

He continued: “So I already understood it—the idea of an arts program coming into a maximum security prison is revolutionary. It goes completely against the system that got them there in the first place.” 

Domingo saw “Sing Sing” not as a prison story, but as a human story. 

“It is a triumphant story, of course and determination, of fighting against a system that’s broken,” he noted. “Rodessa Jones said, ‘But art just might be the parachute that saves us all.’ That is certainly true of the men of RTA. We all have choices we make—every day—to try to be better, to go to our better angels. That’s what this film is about, ultimately.”

Domingo’s interest and passion for the film transcended signing onto the role; he and his husband Raúl Domingo’s production company, Edith Productions, joined to executive produce. They were instrumental in helping assemble the cast and faithfully guide the storytelling.

He referred to the film as a “quiet act of revolution” because of its poignant depiction of tenderness and compassion between Black men.

“It’s about putting myself on the line in every single way as an artist. If I’m going to have an impact, if I’m going to do this work that I think is meaningful and can really change lives … I think a film like ‘Sing Sing’ is really changing lives. It’s actually doing work. So, I have to give everything.”

Being able to connect deeply with his characters has always been an important part of Domingo’s acting process. During the q and a, describing his performance in “Rustin.” he noted how connected he felt portraying the role.

“It felt like we were in alignment. That Rustin’s journey and my journey were meeting at the exact moment, and I was the actor to help pull this black, queer, civil rights revolutionary out of the shadows of history, while I was being pulled into new history. I needed every year, every step, every misstep in my career, to enable me to play Bayard Rustin.”

The Santa Barbara recognition follows his win at New York’s Gotham Awards, where Domingo took home the honor for Outstanding Lead Performance. 

He also received the Spotlight Award at the Palm Springs Film Festival. Chairman Nachhattar Singh Chandi acknowledged Domingo’s “raw and captivating” performance. “We are so thrilled to honor the remarkable talent of Colman Domingo at the Palm Springs International Film Awards for the second year in a row.”  

Domingo ongoingly keeps a busy schedule–he can currently be seen in Netflix’s series “The Madness” created by Clement Virgo. He also recently wrapped production on ‘Michael’ playing Joe Jackson, directed by Antoine Fuqua. Lionsgate will release the film Oct. 3, 2025. 

And that’s not all–he will voice Norman Osborn in the upcoming Disney+ animated series “Your Friendly Neighborhood Spider-Man,” and is currently in production on NETFLIX’s “The Four Seasons,” alongside Tina Fey and Steve Carrell. He will play Michael Jackson’s dad in “Michael.”

Drag queen Jackette Knightley was inspired to write a song that she hopes will not only unite the communities, but also provide immediate relief to people directly impacted by the fires that tore through Los Angeles in January, through a collaboration with a local initiative. 

The Eaton Canyon and Pacific Palisades fires were ongoing while Knightley was writing the song at her home and in the studio in L.A., adding an emotional layer to her urgency.

The performer and activist said she wrote her latest single “Together You and Me Strong,” the day of Trump’s inauguration, emotional and hoping to bring together communities targeted by the Trump administration. In an initiative called Defense Against Deportation & Relief for SoCal Fire Victims, proceeds of the song will go toward the Coalition for Humane Immigrant Rights Los Angeles in an effort to support the undocumented community. 

As Donald Trump was sworn into office–soon to sign a slew of executive orders attempting to roll back advancements on Diversity, Equity and Inclusion, immigration and gender-affirming healthcare–drag queen Jackette Knightley was compelled to write the song. 

The song shares a title with the charity event Knightley is hosting alongside Disco Dollie Saturday, March 8, which will also be benefiting CHIRLA and their SoCal LGBTQ+ Defense Against Deportation Charity Drive. The night of ‘Drag for a Cause’ will feature the performances of nine drag artists, including Chad Michaels, Marty Mars, ChiChi Fuera, Keex Rose, Jaxxlene East Coast, Glitz Glam, Maya Glitterzone, Strawberry and Mariam T. 

“I thought, you know what? Something that really encapsulates all of this is [ idea of] ‘Together, You and Me Strong’,” said Knightley. “There’s so many battles that we’re facing on so many fronts right now within our worldwide LGBTQ communities that I felt like [the song] was something that was really important to write.”

Knightley said she was also inspired by Martin Luther King Jr. Day., which this year happened to overlap with Trump’s inauguration day.

Knightley was also inspired by the civil rights movements of the 60s. 

While she is often encouraged by others to stick to more modern, relatable music influence, Knightley aims to invoke the advocacy and unity of the past with church organ sounds. 

 ”I want the music to be able to reflect the message that we’re alive,” Knightley said. “Maybe a part of those marches in the 60s could relate to today’s audiences or today’s generations as well.” 

Many of the songs that Knightley writes are dedicated to a specific cause, with the proceeds donated to a nonprofit working on the issue. The songs are published under Jackette Knightley Music, under which Knightley started organizing the informal group called Queens and Kings for Causes in 2020, during the COVID shutdowns.

“I really quickly realized the need for mutual support within our community, but also continuing to reach out to our communities who were really isolated at home and really in need of escapism, as well as performers really needing to perform.”

Knightley said she recognized her privilege of having a full-time job and being able to stay employed through quarantine, so she knew she had to help fellow drag artists without stable jobs get work to pay their bills.

According to an initiative of the Webby Awards called the Anthem Awards, of which Knightley has won five times, Knightley has accomplished her goal of expanding how people think of queer artistry. Her work aims to maintain the visibility of drag as a form of art, inclusive of original music and a key to ‘unite diverse people within and beyond BIPOC, LGBTQ+ communities.’

In a  Facebook post, Knightley mentions drag as an art form rooted in advocacy, referring to the history of the queer community supporting one another in moments of struggle or oppression.

“During the AIDS crisis during the 80s and beyond, it was our drag community that was out there doing these kinds of charity drives, raising awareness, raising funds and raising resources for those that were suffering and dying at the time with HIV and AIDS. Now, a lot of our drag performers continue to do that kind of work.”

Knightley continues to create community by planning events with other artists and leaders, making appearances to perform her songs in drag and promote her causes. She often hosts shows or performs at Pride events, such as the Laguna Beach Pride 365 in 2023, where she was emcee of the festival.

While she loves the work that she does, Knightley is moved to tears at the exhaustion the LGBTQ+ community and other marginalized communities are experiencing under the Trump administration. She said she is hopeful that change will come soon. 

“I’m looking forward to a day where we don’t have to do this anymore,” Knightley said. “ I’m looking forward to having our rights restored and to a day where these rallies–which are super imperative right now–a day where there’s not a need for them anymore.”
Tickets for the ‘Together You and Me Strong’ event at Urban Mo’s in San Diego are available online. Information about tickets and dates for more of Knightley’s events can be found on her Instagram page.

OUTtv’s latest content for the queer community Drag House Rules, hit the screen on Friday. Truth be told, we got a sneak peek but had to keep our lips sealed until its release. For those who think the Drag Race franchise has gotten a bit full of itself and the fandom a bit too serious, you will love this take on the drag competition world.

Drop Dead Gorgeous meets Drag Race’s Untucked as seven drag queens live under one roof to compete in a series of challenges to see who will win a cash prize of $100K. Scratch that, a prize VALUED at $100K. As one queen puts it, it could be $100K worth of paperclips for all they know. Where most competition shows place their competitors in expanse mansions. These queens have to live in a less-than-functional reality TV house with random smells, roaming crew members and handymen clunking around getting in the way of filming. This fun trope excuses the actual budgetary restraints for the show, while using it as fodder.

What can we say about the cast? It is a colorful and motley crew that employs Drag Race queens Jujubee, Manila Luzon, Silky Nutmeg Ganache, Laganja Estranja, Rock M. Sakura, Tammie Brown and Dragula’s Biqtch Puddin’, as the show’s contestants. And SoCal personality, Tony Moore as child-actor-turned-host.

These cast members couldn’t be more random and somehow it all works.

The differences in personalities, looks, sense of humor, and fandom clash in a delicious way. It is like someone shook a box full of Housewives and came up with a new cast.

What’s fun about the style of the show is that we get to see these queens stretch their acting chops and remind us why they are fan favorites. Most of these one-liners work and the clash of personalities makes for fun situations. Some of the humor is expected and a little low-reaching, but this fun take makes us want to see who wins while we really want to see who’s gossiping about who.

Tammie Brown, known for her eccentricity, practically walks away with the first episode with her random observations and outbursts that just seem home here. Her addition to the show adds a bit of Christopher Guest-style characterization that bolsters the show. As the show’s only non-Drag Race personality, Biqtch Puddin’ is a welcome foil who does not subscribe to the ego or pageantry often associated with the franchise.

Biqtch is that rebel cousin we see at family Thanksgiving who we want to appear cool in front of and who we want to sneak off with and get lit.

The show is written and directed by John Mark Hostetler who knows what the audience wants to see but also lets the actors explore the material and expects these queens to bring it. For the most part, they do. The show does a good job of making a small budget work, and the intros and edits look sleek and add some class to the show. The show is six episodes long and, according to the trailer, has some surprises and more appearances in store.

Los Angeles Blade was there for the release party last week held at WeHo’s Beaches Tropicana, where cast members and fans mingled for a first viewing. The audience cheered and was entertained by the whole affair. Hopefully, the series will be a hit and spawn more seasons where more queens can play freely.

Drag House Rules is now streaming on OUTtv.

When it was announced that the Sondheim tribute Old Friends, was headed to the Ahmanson from its West End run–we the queer musical theatre nerds–went into a tizzy.

When we found out that Broadway royalty Bernadette Peters and Lea Salonga were continuing their run with the show, we just about passed out.

We were there on opening night at the Ahmanson with a star-filled audience to witness a truly five-star production where everything just fits right. The long-lasting roaring applause that met the entrance of the show’s two stars did not end and the evening took the audience on a roller coaster of emotions. This is old-school theatre excellence made fresh for today’s audience. Sondheim’s material is alive and well.

There have been musical revues of this Broadway icon before. This production fares very well by focusing on Sondheim’s collaborations with other Broadway icon Cameron Mackintosh. All of your favorites are there – Company, Into the Woods, Follies, West Side Story, Sweeney Todd, and more, with many surprises from his other shows.

Some of the musicals are presented as full sequences–and Sweeney Todd and West Side Story segments were full mini-musicals, with sets and all. Other numbers were presented with a twist, adding a fresh take that allowed the actors to shine. Though some of the material is considered classic Broadway, it all comes off as glossy and relevant.

The set, costumes, and lighting were top-notch. Quick transitions were masterfully orchestrated and the whole affair seemed made for the Ahmanson. Some traveling shows have that temporary or makeshift energy, not here. While musical theatre is often limited by budget when it comes to pit musicians, this orchestra, led by musical director Annbritt duChateau, is absolutely rich with texture and lush with sound. It gave the material the quality it deserved.

What can we say about the performers? Yes, Peters and Salonga are huge names and big personalities to lead the evening. There is not one weak player here. The cast is full of Tony Award winners and nominees–and it is obvious.

The beauty of Old Friends, is that the show gives everyone the opportunity to shine–and they take it. The chemistry of the cast is palpable and every player hands over the spotlight graciously. No one runs away with the show–they all do.

Peters, Sondheim’s main muse, continues her reign as one of Broadway’s greats. When she hits the stage, you can feel the energy and you know you are witnessing theatre royalty. Over the years her voice may have lost a little of that shine, but her emotion and pathos add a layer to the material that could never be replicated. Seeing her reprise her role as Dot in Sunday in the Park with George, is truly special.

Salonga’s voice seems to know no limits.

She skillfully masters Mrs. Lovett and brings down the curtain with her version of “Everything’s Coming Up Roses.” She may not have the emotional range as Peters, but she is the perfect lead for this show. Every other actor could have their own review, they are just that good. Special shout out to Tony Winner Beth Leavel who tore the stage apart with her take on “Ladies Who Lunch,” not an easy feat when most of us have echoes of Elaine Stritch and Patti LuPone in our minds.

She makes the material her own and the audience couldn’t get enough. Two-time Tony nominee Gavin Lee, brings the comedy and the drama to his performance, enchanting the audience with his “Could I Leave You?”

Broadway heartthrob Jacob Dickey leads a powerful and new take on “Being Alive” and also somehow makes the role of the Wolf from Into the Woods his own.

Truth be told, this winning production is best suited for Sondheim fans. I would be hesitant to take a non-theatre lover or someone who just likes movie musicals as my plus one. You don’t have to be a Sondheim aficionado, but this is a very deep dive into the material and is best appreciated by those in the know. Thank goodness there are many of us out there. What was plain to see by the audience in attendance, is how far Sondheim’s music has reached. Young, old, queer, fancy, casual, celebrity, everyone became one audience to enjoy this magical evening.

With everything going on in today’s world, it is so comforting to come home in a sense, to music that has made such an impression in our lives. There is safety in enjoying the known, like watching a TV show that you’ve binged for the umpteenth time and, in this show fraught with love and sincerity, is able to make it new again.

Old Friends plays at the Ahmanson for a limited run until March 9^th before heading to Broadway. Tickets are available on the Center Theatre Group website.

Luke Nero is a party monster with class. He has dominated the nightclub scene on both the East and West coasts and this week, one of his most infamous parties returns to Los Angeles for one magical night. Bringing in all feelings of nostalgia, Mr. Black, co-presented with nightlife impresario Andres Rigal comes to Bardot in Hollywood on Saturday, Mar. 1^st.

As they put it–it is a hedonistic cathedral for the fabulous, the freakish and the fashionably unhinged.

Elevating the nightclub scene is in Luke’s blood. In New York, he moved from coat check hottie to manager, where he learned all the ins and outs of the party scene. After moving to L.A, he and Andres dominated the club scene for almost 10 years with parties like Mr. Black LA, Rasputin, Evita, Summertramp and Plastic Fantastic. For many of us, his parties were not just an elevated nightlife experience, they were a safe space for us to explore and express ourselves. The celebrity world loves him, as he’s thrown parties for Katy Perry, Angelina Jolie, and Cher just had to stop by Rasputin to check it out.

After a decade running the party scene, he decided it was time to open his own club. He took some time to design and put together not only one of the best clubs in Orange County but one of the last-standing queer spaces for the community. Strut and its lounge Birdcage, have become the hot spot for OC and from the moment you walk in, you know it’s a Luke Nero experience. From the space age-lighted corridor, to the fashionably nude mannequins, to the mirrored room just made for selfies, to walls of playfully sensual art, to a lighting system and stage made for Vegas–it has Luke’s signature touch on every aspect. Strut made the news when they put up a huge Dolly Parton mural–a wall that has become a queer influencer hot spot for photo op’s.

We chatted with Luke as he was knee-deep in putting in the final touches (and some surprises) for this week’s Mr. Black nightlife reunion:

What can we expect from this week’s Mr. Black?

It’s going to be nostalgia on steroids. Same historic venue, same old Hollywood vibe— it will be a reunion with major flashbacks, the famous assless cocktail waiters. Think of it like stepping into a time machine, the young club kids who owned the dance floor, now own industries. So I’m excited.

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You have witnessed the evolutions of the LA queer club scene. In your opinion, how has it changed the most?

The queer scene used to be its own world, a core part of queer social life. Now, while queer culture is everywhere, actual queer venues are disappearing fast. The challenge isn’t just keeping the industry alive—it’s ensuring these spaces stay relevant. They’re more than nightclubs; they’re places for expression, connection, and community. Yet, the word “nightclub” doesn’t capture all they do, and the urgency to protect them often gets overlooked.

Why is it so important to keep the party going in today’s social and political times?

Because queer joy is resistance. In a world that still tries to police who we are and who we love, our spaces are more than just dance floors—they’re sanctuaries, proving that we exist, we thrive, and we refuse to be erased.

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You have created one of the only places for the queer community to celebrate with the creation of Strut/Birdcage Lounge. What are the biggest challenges you have in keeping that space thriving?

Queer nightlife has always had to fight for survival—whether it’s gentrification, post-pandemic shifts, or just keeping people off their couches and onto the dance floor. The biggest challenge? Making sure the space isn’t just a bar but a cultural hub where people feel seen, safe, and celebrated.

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What is one of your craziest club stories?

There are too many that can’t be printed without legal repercussions. And a gentleman never kisses and tells.

What has been one of your biggest achievements in the club scene?

My biggest achievement is that people still take the time to get dressed, put on a look, and drive to a space I’ve created—where every detail, from the lighting to the sound to the cocktails, has been carefully curated. For most, it’s a night out. For me, it’s watching people step inside an immersive experience that I’ve designed from the ground up. It’s my art, and the real reward is seeing people lose themselves in it without even realizing.

You have grown up in the nightclub world. How have you changed personally the most over your years in the biz, and how does that affect the club scenes you now create?

I started out just wanting to create incredible nights—now, I understand every layer of what makes a nightlife space truly work. Owning a club has given me the skill set to not only design immersive experiences but also run the entire operation, from security to bartenders to management. It’s rare to have both the creative vision and the operational expertise, but that balance is what makes a space thrive. Nightlife isn’t just about going out—it’s about creating culture.

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What kind of legacy do you want to create with your club spaces and events?

I want people to look back and say, “That was an era.” That I helped shape moments in queer nightlife that were vibrant, glamorous, and necessary. A place where people felt free, seen, and maybe just a little bit famous for the night.

What is your message to the queer nightclub world for 2025?

Go bigger. Take risks. Be intentional. Queer nightlife has always been at the forefront of culture—let’s keep pushing it forward and remind the world why we’ve always been the blueprint.

See you at Mr. Black!

‘Cleavage: Men, Women, and the Space Between Us’
By Jennifer Finney Boylan
c.2025, Celadon Books
$29/256 pages

When it came to friends and family, your cup used to runneth over.

You had plenty of both and then, well, life and politics wedged an ocean-sized chasm between you and it makes you sad. And yet – are you really all that far apart? As in the new memoir, “Cleavage” by Jennifer Finney Boylan, maybe you’re still two peas in a pod.

Once upon a time not so long ago, Jennifer Finney Boylan was one of “a group of twelve-year-old Visigoths” intent on mischief. They hung around, did normal boy stuff, setting off rockets, roughhousing, roaming, rambling, and bike-riding. The difference between Boylan and the other boys in her group was that Jim Boylan knew she was really a girl.

Then, she vowed that it was a “secret no soul would ever know,” and James went to college, enjoyed a higher metabolism, dated, fell in love too easily, then married a woman and fathered two boys but there was still that tug. Boylan carried the child she once was in her heart – “How I loved the boy I’d been!” – but she was a woman “on the inside” and saying it aloud eventually became critical.

Boylan had a hard talk with her wife, Deedie, knowing that it could be the end of their marriage. She’s eternally grateful now that it wasn’t.

She’s also grateful that she became a woman when she did, when politics had little to do with that personal decision. She worries about her children, one who is trans, both of whom are good, successful people who make Boylan proud. She tries to help other trans women. And she thinks about the words her mother often said: “Love will prevail.”

“Our lives are not a thing to be ashamed of,” Boylan says, “or apologized for, or explained. Our lives are a thing of wildness, and tenderness, and joy.”

Judge “Cleavage” by its cover, and you might think you’ll get a primer on anatomy. Nope, author Jennifer Finney Boylan only has one chapter on the subject, among many. Instead, she leans heavily on her childhood and her transition rather late in life, her family, and her friends to continue where her other books left off, to update, correct, and to share her thoughts on that invisible division. In sum, she guesses that “a huge chunk of the population… still doesn’t understand this trans business at all.”

Let that gentle playfulness be a harbinger of what you’ll read: some humor about her journey, and many things that might make your heart hurt; self-inspection that seems confidential and a few oh-so-deliciously well-placed snarks; and memories that, well told and satisfying, are both nostalgic and personal from “both the Before and the After.”

This book has the feel of having a cold one with a friend and Boylan fans will devour it. It’s also great for anyone who is trans-curious or just wants to read an enjoyable collection of work from a born storyteller. No matter what you want from it, what you’ll find in “Cleavage” is a treasure chest.

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Legacies of shame and abuse play out in surprising ways in Rogue Machine Theatre’s
production of British playwright Sophie Swithinbank’s award-winning play Bacon, which follows two boys in a London high school as they form a fraught and manipulative relationship.

Rogue Machine isn’t saying much else about the play – even getting that much of log line required an email to the company’s marketing director and a referral to the play’s publisher. The company is hoping that audiences will come into the show blind and be completely surprised by what they see. So far, director Michael Matthews says the audiences who are turning up are appreciating the play’s twists and turns.

“Right before it goes to the blackout at the end of the show, there’s always a gasp, which is
always like, you got it, you’re with it,” Matthews said. “If you come see my show, I want you to
come in one way, but I want you to exit another. Even if this is a smile on your face, or like a tear or something, but to have some sort of movement. The audience is, so far from what I’ve witnessed, they’ve been along on the journey.”

Swithinbank’s own playwright’s note for the show says it’s ‘about what happens when teenagers learn to bully and humiliate each other before they learn to love,’ and that it was inspired by an act of bullying she witnessed and a toxic relationship she experienced growing up.

Matthews says when Rogue Machine approached him about directing the the play, the script gripped him from the first page, which isn’t surprising given the splash Bacon made when it debuted across the pond in 2022, earning three Off-West End Awards, and previously earning Soho Theatre’s Tony Craze Award for Playwrighting.

“It’s not just that I see myself in a play, but that my heart is pulled a certain way. That’s just me
knowing that this is something that I have to do,” Matthews said of the script.

And Swithinbank has been involved with this production as well, workshopping the script to fit it to Rogue Machine’s young cast, which features Brazilian-American actor Wesley Guimarães and Chicago native Jack Lancaster – you may have seen him on “The Bear.”

“One of actors is Brazilian, and so [Swithinbank] changed a lot of her words to add in that his
mother was Brazilian inside the play. She went so far as to put in Portuguese into the show,
which just adds on a richness that just works so beautifully. And then the other actor, his family is from Dublin, and so we changed a lot of the characterizations to have that Irish authenticity,” Matthews said.

That authenticity is essential, especially as the show is playing in Rogue Machine’s
intimate Henry Murray Stage, which seats just 37 people.

“It’s supposed to feel very intimate, like you’re walking into like some place you’re not supposed to be and you’re observing something you’re not supposed to be observing. And so you have that thing inside of you when you’re watching, like I should help. This is a foot away from me. I should do something, but you can’t, right? So it gives intimacy a whole brand new name,” Matthews said.

Bacon plays at The Matrix, 7657 Melrose Avenue, Los Angeles, CA 90046, through March 30.
Fri and Mon at 8pm, Sat-Sun at 5pm. Tickets available at The Rogue Machine Theatre site.