From the Coming Up Events Calendar See page 28 Saturday, November 26 - The Lion King – Through Dec 31 @ SHN Orpheum Theatre, 1192 Market St. Broadway touring company production. shnsf.com
Wednesday, November 30 - Light in the Grove – 6 PM @ National AIDS Memorial Grove, Golden Gate Park. Artistic illuminations, candlelight reflections and more. aidsmemorialgrove.org
Romantic Gay Drama Lazy Eye Features Seductive, Sensitive and Very Eye-Catching Male Leads
Film Gary M. Kramer In writer/director Tim Kirkman’s poignant, romantic drama Lazy Eye, recently released on DVD, Dean (Lucas Near-Verbrugghe) is a Los Angeles-based graphic designer with the titular ocular problem. One day, out of the blue, he gets an email from Alex (Aaron Costa Ganis), his ex from 15 years ago in New York City. After some email exchanges, the pair arrange to meet in Dean’s Joshua Tree home for sex, true confessions, and a possible second chance at their relationship. The film, basically a two-hander, pivots on the dynamics between the attractive leads as they reveal secrets and lies, reflect on memories, and experience loneliness, honesty, and maturation. But what will catch the eyes, and hearts, of viewers is Near-Verbrugghe’s sensitive performance— he makes Dean’s despair palpable— and Costa Ganis’ seductive turn as Dean’s ex.
In a recent phone interview, writer/ director Kirkman spoke with me for the San Francisco Bay Times about Lazy Eye.
Tree to inform the characters. Can you discuss how you created each setting?
Gary M. Kramer: Your film is about seeing things clearly, be they relationships or objects. What prompted you to write Lazy Eye?
Ti m K irk ma n: The desert is isolated, but it’s also romantic. I thought it was a great place for a romantic tryst. I moved from New York to Los Angeles, and that’s an ongoing conversation I have with friends from both coasts. In Los Angeles, there is a comfort and ease of life I never found in New York. It takes a tough person to live in New York: you battle the elements, other people, and the sidewalks. The humanity of it is more intense, and there’s more of it in a more compact place. The flashbacks to New York give a sense of the romance of the city—a life that’s gritty and full of romance and hope when you’re young. I was capturing the memories I have of that. These guys are haunted by these memories; they can’t help but think about the other. They have to deal with it to move forward
Tim Kirkman: Around the time I turned forty, my eyes started to change. I have amblyopia, and out of the blue, an ex contacted me. It was at a disruptive moment in my life, so I thought about the choices I made in my life. It’s a luxury to look at your life and be self-reflective. But it’s so common that I wanted to write about it. Eyes changing had a metaphorical significance, but it’s also about the way you see the world shifting. You reflect on being a younger person and letting go of that and embracing who you are in middle age. Gary M. Kramer: Yes, I love when Dean admits about his lazy eye, “If I’d done what I was supposed to, I’d see the whole differently now.” Can you talk about the theme of change? Tim Kirkman: Yes, I thought that had I done my eye exercises, I could have corrected the whole problem. I wish I had. It’s about regret, and the choices you make in your life. Gary M. Kramer: Lazy Eye uses the environments of the couple’s early days in New York to Dean’s life in LA, to their weekend in Joshua
Gary M. Kramer: What prompted you to tell the story with flashbacks and triggers? Tim Kirkman: Looking back on your 20s, you try to rationalize and intellectualize things. I’m a grown up now. That’s why Dean is not accusatory when they reunite. But his emotions can be triggered by something
like a smell. I like the idea of revisiting one day. This night in New York was sexually charged. I wanted to address the carnality of that moment, which is a magnet in the film: The longing for that kind of freedom when you approach middle age is really appealing. They are thinking back to the moment they first met. That would be foremost in their memories. Gary M. Kramer: Can you talk about the visual approach you took to the film? Tim K irkman: The f irst thirty minutes is almost a silent film. You are watching Dean be by himself. It’s all about isolation and loneliness. The visuals are all still, but once Alex arrives, the camera is handheld. There’s more tension. There is an unsettled
feeling even during the dinner scene. I tried to capture that tension. Gary M. Kramer: Was there ever one that got away for you? Tim Kirkman: Yes, and it’s fictionalized. We all have those people and they may not be lovers, but teachers, or family members. But you will be one of either of those people—the one who looks for someone or the one who is pursued—because we’re more connected than ever before. We have to figure out ways of dealing with it. The way I dealt with it is that I made a movie. © 2016 Gary M. Kramer Gary M. Kramer is the author of “Independent Queer Cinema: Reviews and Interviews,” and the co-editor of “Directory of
Sister Dana Sez: Words of Wisdumb from a Fun Nun
By Sister Dana Van Iquity Sister Dana sez, “I know I threatened to move to Canada if the election didn’t turn out my way, but it turns out Thanksgiving is here, and I can’t do that in Canada. Oh hell, I can’t do ANYTHING in Canada. So I’ll just stay here in good ol’ EssEff and stick it out with the rest of you!” And speaking of the election rejection, I received an invitation from Chris Verdugo, Executive Director of the SAN FRANCISCO GAY MEN’S CHORUS that beautifully addressed my sad state, saying, “While the events of the last few days have left us rattled and dis-
mayed, our intention this evening is to create space to come together. A time to acknowledge what is good and wonderful, to take comfort with one another while celebrating the success and vision of the San Francisco Gay Men’s Chorus. Thank you for your commitment and support. See you tonight.” So, of course, I RSVP’ed at once. It was the annual “CRESCENDO KICKOFF ” taking place at a new venue to me, Tank18, 1345 Howard Street. There I joined other sad, shocked, sorrowful lovers of music for a healing. At the event, Verdugo pointed out how another occasion of shock and sadness had brought out the SF Gay Men’s Chorus to the steps of City Hall to help heal us after the horrible murder of gay activist Supervisor Harvey Milk in the Chorus’ very first public performance. He noted we queers have been fighting for over 50 years, and we will continue to fight for civil rights. And sing all the way! He said the funds raised for SFGMC would help them travel the country bringing the joy of gay men singing and healing hearts.
The 11th annual “Crescendo” fundraiser will be a dinner on Sunday, March 12. Longtime Chorus member and former board chair Michael Tate introduced 20 other members to sing Backstreet Boys’ “Larger Than Life,” with the very apropos lyrics: “All you people can’t you see, can’t you see/How your love’s affecting our reality/Every time we’re down/You can make it right!” They followed with the hilarious “If You Were Gay, But I’m Not Gay” from the musical Avenue Q. Their next offering was a medley of Frankie Valli and The 4 Seasons with “Can’t Take My Eyes off You,” “Sherry Baby,” “Walk Like a Man,” and “Let’s Hang On.” And, finally, they went into a Christmas set—but I’m sorry not sorry, I just can’t. Not yet. Too soon. But I’ll be ready by December 9 and 10 for SFGMC with “BABES IN JOYLAND: DREAMING OF A PINK CHRISTMAS” at the Nourse Theater and their annual “HOME FOR THE HOLIDAYS” on December 24 at the Castro Theatre. It has been announced that SFGMC will pursue a “RED
STATE FREEDOM TOUR” in the summer of 2018. While the exact itinerary has not been determined, it is their plan to go on a whistle stop tour through those states where the LGBTQ community is struggling, and likely feeling even further marginalized after the election results. sfgmc.org THE RUBBER WOMEN OF SAN FRANCISCO and WAGZ PACK at ARTSAVES LIVES GALLERY, 518 Castro Street, held a festive formal fundraiser benefitting both clubs, celebrating the arts and abundant talent within the Leather Community. The night was hosted by Mistress Eden Alexander, RWSF President. Starting with a Spanish dinner, guests were seated “parlour style” to enjoy classical dance, music, literature, and cinema all performed or produced by folks within the Leather community. Complimentary wine and beer were served by collared service submissives and sissy maids. Entertainment was provided by Kippy Marks on electronic violin with impressive originals; Damien Alvarez gave
us a rousing flamenco dance demonstration—burning up the floor; Chelsea Poe provided an Independent Art Film Short Screening; Julia Austenfeld sang four 17th century opera arias, including some Handel; Grace Towers executed dramatic modern lyrical dance to the Maya Angelou poem, “Still I Rise;” and Bella Vendetta closed out the evening with an art film short screening. Dress Code was Formal Leather and Fetishwear. Rubber was encouraged. Black tie was optional. Great fun was had by all. THE GRASS ROOTS GAY RIGHTS FOUNDATION concluded its 2016 fundraising season of events at a margarita party at Folsom Street Foundry. The Foundation produces the annual “REAL BAD” fundraising party that follows San Francisco’s world-renowned Folsom Street Fair, the REACH Pride T-Dance party during San Francisco Pride, and the RECOVERY T-Dance party that immediately follows the Castro Street Fair. The Grass Roots Gay Rights Foundation announced that (continued on page 30)
S AN F R ANC IS C O BAY T IM ES NOVEM BER 24, 2016
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