This Can't Be Broccoli

  Two years ago, I started interviewing people in the theater world about the problems within that community. All the subjects of the interviews remained anonymous to encourage people to speak directly and plainly without worrying that there would be consequences down the line. (Of course, even then, some people felt like outing themselves and getting in hot water, but we're going to leave that water under another bridge.) When I decided it was time to bring the series to a close, it was partly because I thought it had run its course, and partly because I had a new topic I wanted to tackle. While I've had my issues with theater and the people who do it, I've never felt like I didn't belong there, whereas from the moment I came out, I've never truly felt like a part of the gay community. To be clear, that probably has way more to do with me than the community, but it's something I wanted to explore, and I knew how I wanted to do it. The theater interviews were al

A month ago, I got an offer I should have refused. It was for one of those monthly clothing subscription boxes where you pay a little over a hundred dollars every month, a website creates a "personal styling profile" for you, and then they send you clothes that fit that style. Now, as a gay man in 2021, clothing is a tricky issue, because while a decent number of us want to look presentable, some of us are theater gays who want to show up everywhere looking like Billy Porter at the Met Gala. And that is not...easy. I understand that women deal with a slew of issues when it comes to clothing, but I'm always envious that women's fashion does seem to understand that women do like to stand out every so often, whereas most mainstream male clothing seems designed to have you blend in at a variety of yachting events. Years ago, I wrote about how men's clothes are also anti-short torso/long legs and how most button-downs seem to be designed for guys above eight feet tall,

Two years ago, I started interviewing people in the theater world about the problems within that community. All the subjects of the interviews remained anonymous to encourage people to speak directly and plainly without worrying that there would be consequences down the line. (Of course, even then, some people felt like outing themselves and getting in hot water, but we're going to leave that water under another bridge.) When I decided it was time to bring the series to a close, it was partly because I thought it had run its course, and partly because I had a new topic I wanted to tackle. While I've had my issues with theater and the people who do it, I've never felt like I didn't belong there, whereas from the moment I came out, I've never truly felt like a part of the gay community. To be clear, that probably has way more to do with me than the community, but it's something I wanted to explore, and I knew how I wanted to do it. The theater interviews were alwa

  Just when I thought I didn't need another streaming service in my life, I realized I hadn't watched Taxi  in awhile. I don't know why that thought popped into my head. Maybe part of having too much time on your hands and an endless amount of streaming has caused all of us to think about shows and movies we thought we'd forgotten about just to see where they've landed, be it Hulu or Netflix or the Kohl's Channel (Is that real? The fact that it sounds like it could be is...concerning). My first and last experience with Taxi  was when I was a child and Nick at Nite exposed my generation to people like Judd Hirsch and Marilu Henner, creating a strange time pocket where a ten-year-old in the early nineties could develop a deep appreciation of a young Tony Danza. (In my case, it was a very  deep appreciation.) I remembered a silly show with characters like Jim and Latka that I could only watch on special nights when I was allowed to stay up way past my bedtime. I us

  Two years ago, I started interviewing people in the theater world about the problems within that community. All the subjects of the interviews remained anonymous to encourage people to speak directly and plainly without worrying that there would be consequences down the line. (Of course, even then, some people felt like outing themselves and getting in hot water, but we're going to leave that water under another bridge.) When I decided it was time to bring the series to a close, it was partly because I thought it had run its course, and partly because I had a new topic I wanted to tackle. While I've had my issues with theater and the people who do it, I've never felt like I didn't belong there, whereas from the moment I came out, I've never truly felt like a part of the gay community. To be clear, that probably has way more to do with me than the community, but it's something I wanted to explore, and I knew how I wanted to do it. The theater interviews were al

This is a list of all the theater interviews I did over the course of two years in chronological order. There are also some bonus episodes posted on the Epic Theatre Company Patreon page, which you can access by going to www.Patreon.com/EpicTheatreCo and becoming a supporter (The lowest tier is $3.50 a month and you'll have access to all the interviews, including the very popular 5-part Charlie series.) Here are the interviews: 1.   On Quitting Theater, and Other Things I (Might) Do This Year 2.   A Conversation About Giving Up 3.   Another Conversation About Giving Up 4.   On Giving Up: Let's Take the Gloves Off 5.   On Giving Up: Let's Talk About Support 6.   On Giving Up: Go and Come Back 7.   On Giving Up: Auditions 8.   On Giving Up: The Reviews Are In 9.   Let's Talk About Grad School 10.   Theater and New York 11.   Theater and the Gays 12.   Theater and the Gatekeepers 13.   Theater and the Business Side 14.   Theater and the Business Side Pt. 2 15.   Theater,