{"id":358,"date":"2026-06-04T11:07:56","date_gmt":"2026-06-04T11:07:56","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=358"},"modified":"2026-06-04T11:07:56","modified_gmt":"2026-06-04T11:07:56","slug":"the-rise-of-the-meta-gay-show","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=358","title":{"rendered":"The Rise of the Meta-Gay Show"},"content":{"rendered":"
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In the opening moments of Morgan Bassichis\u2019s bright, mournful \u201cCan I Be Frank?,\u201d they stand center stage at the tiny Soho Playhouse, clutching a mike and shrieking a denunciation of a closeted celebrity: \u201cLiberace, Liberace, can you hear me, Liberace? You died<\/em>. You lied. You died of AIDS<\/em> and you lied.\u00a0.\u00a0.\u00a0. You could have helped so many people\u2014sorry, Gloria, can we get the lights?\u201d Bassichis twitches as if emerging from hypnosis, then apologizes: it\u2019s not really them<\/em> yelling, they explain, it\u2019s a bit by Frank Maya, an artist who died of AIDS<\/em>-related complications in 1995. And Maya\u2019s uncut rage may be too hot a way to open this one-person show\u2014so can they start over? And add some context?<\/p>\n

Read more Peru\u2019s Politics Are a Disaster, but Does It Matter?<\/a><\/p>\n

The context: Bassichis, a nonbinary performance artist, became obsessed with Maya after meeting his brother at an artists\u2019 residency and thrilling to the parallels between their work. Maya, like Bassichis, did an act that was a bit standup, a bit performance art, broken up by dreamy, oddball songs. Maya, too, was a confessionalist and a pop-culture obsessive\u2014he was known for his \u201crants,\u201d manifestos that involved \u201ctearing to shreds\u201d other gay artists, a tradition that Bassichis describes, puckishly, as \u201cone of our ancestral healing practices.\u201d And Maya, like Bassichis, craved fame, the mainstream sort that he was tiptoeing toward when he died at forty-five, just as drugs for AIDS<\/em> were becoming available. As a result, he became a cultural footnote, having exited the scene two years before Ellen DeGeneres\u2019s \u201cYep, I\u2019m Gay\u201d Time<\/em> cover hit newsstands, two decades before the Supreme Court legalized same-sex marriage\u2014and long before the hideous backlash of recent years, as school boards and state legislators worked to snuff out the queer history that Bassichis\u2019s show celebrates.<\/p>\n

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The performance is intended as a sort of s\u00e9ance, an attempt to summon the spirit of Maya\u2014and, through him, the queer demimonde lost to the plague. But Bassichis\u2019s arch joke is that what we\u2019re watching is only a rough draft, a \u201cpreview\u201d in which one thirsty artist struggles to celebrate another, only to get derailed by their own solipsism. There\u2019s no pretense that Bassichis is truly embodying Maya: the real Maya, whose work is on YouTube, was, as Bassichis acknowledges, more butch and more chill, with a regular-dude affect. (His energy reminded me a bit of Tony Danza\u2019s, and was surprisingly similar to that of another gay pioneer, this one fictional: Jodie Dallas, Billy Crystal\u2019s character on the late-seventies TV show \u201cSoap.\u201d)<\/p>\n

Bassichis has their own bracing charisma: an elegant schnoz, sparkling eyes, and a slinky body that wriggles like a Squirmles toy as they glide over the stage, tugged to and fro by audience banter. That craving for attention is the aspect of Maya\u2019s work that Bassichis focusses most closely on, as they tangle themself in the mike cord like Liza Minnelli on quaaludes, then cue up audience members to read sycophantic questions off notecards. There aren\u2019t a lot of details here about Maya\u2019s life: it\u2019s a very different project from, say, Matt Wolf\u2019s brilliant documentary \u201cPee-wee as Himself,\u201d which gently but insistently cuts to the core of Paul Reubens\u2019s mystique. Instead, it\u2019s more of a vaudeville act with YouTube links, or a campy riff on \u201cPale Fire,\u201d a clinging vine of commentary wrapped around Maya\u2019s act, concealing as much as it exposes.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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At times, this approach can wear thin, the air quotes so enormous that they dwarf what\u2019s inside them. But, when the method clicks, it captures something profound: the deep craving to understand, cross-generationally, queer art that refused to play it small. At one juncture, Bassichis recounts a routine that Maya did about coming out as gay to his father, a devout Catholic who reassured him that their family would pay any price for a cure. Maya wisecracked that everybody already knew the cure for homosexuality\u2014fame. Then Bassichis explains the gulf between then and now: when they first heard the joke, they thought the point was that gay men were showboaters, striving class-president types, whose traumas got healed by the limelight. But Maya\u2019s real joke was that getting famous meant you could no longer be<\/em> gay\u2014you needed to retreat to the closet, like Liberace and Reubens did.<\/p>\n

At times, the show reminded me of David Drake\u2019s \u201cThe Night Larry Kramer Kissed Me,\u201d from 1992, in which Drake argues that the then popular Chelsea \u201cclone\u201d aesthetic wasn\u2019t about vanity so much as self-defense: get bashed enough and you, too, might adopt a shield of muscle. Bassichis argues for something similar: that gay-male narcissism can be a form of political defiance, a refusal to be ignored. Watching him, I was flooded with memories of that lost era, back when debates erupted in response to OutWeek<\/em> magazine, which took shots at all the famous figures who chose security over solidarity. Mostly, I flashed back to Buddy Cole, a character created by Scott Thompson on the Canadian sketch show \u201cThe Kids in the Hall,\u201d which d\u00e9buted in 1988. It was my first glimpse of the razzle-dazzle of gay fury: Cole, a haughty queen who held court from his barstool, similarly took aim at his peers, tearing into homophobic comics such as Sam Kinison and Andrew Dice Clay, during a time when grabbing the mike back from bigots was a radical act. \u201cCan I Be Frank?\u201d performs the opposite of a takedown\u2014it throws its arms around the painful past, as if it were an old friend you might never see again, someone who might have a few sharp ideas about how to survive the present.<\/p>\n

Read more The Men Who Lie About Their Height<\/a><\/p>\n

Just uptown from the Soho Playhouse, you can find a more cheerful variant of queer fandom in \u201cHeated Rivalry: The Unauthorized Musical,\u201d an adaptation of last year\u2019s surprise television hit about closeted gay hockey players, one sweetly Canadian, one gloomily Russian. You might assume, not unreasonably, that this parody would be dumb, disposable fun\u2014for superfans only. You\u2019d be wrong! To my shock and delight, \u201cHeated Rivalry,\u201d written with unsettling swiftness by Dylan MarcAurele, is a flat-out terrific musical, no caveats necessary. I saw it with somebody who hadn\u2019t watched the show, and she loved it, too.<\/p>\n

Like \u201cCan I Be Frank?,\u201d \u201cHeated Rivalry\u201d arrives in ironic air quotes: a trio of horny housewives, all named Susan, sing a rollicking homage to their preferred binge-watch, a series about \u201cHockey players, with big butts \/ Sucking dick, but they\u2019re sad<\/em>.\u201d The prima donna of the group (the fabulous Ryann Redmond, in a haystack wig) explains that this is all a sacred ritual, an attempt, during the show\u2019s hiatus, \u201cto keep the spirit of Shane and Ilya\u201d\u2014the show\u2019s central couple\u2014\u201calive through this endless winter.\u201d Yet what Susan narrates, as she guzzles \u201cAmbien margaritas,\u201d is not a rude satire; in fact, it\u2019s actually a pretty solid distillation of the show\u2019s narrative. For all the raunchy puns about \u201cheavy loads\u201d and meta-references to the fandom (the YouTube videos of Connor Storrie, the original Ilya, come into play), the show delivers much of the same emotional kick of the series, from its enemies-to-lovers frisson to the psychic burden of the celebrity closet. That makes sense, really: Aren\u2019t Broadway musicals and romance novels the art forms best designed to tap buried feelings that can\u2019t be repressed?<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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All<\/em> the songs are good, from Ilya\u2019s hilariously mournful introductory number, \u201cBig Ass, Cold Heart,\u201d to the peculiarly affecting ballad \u201cThis Fuck Is Different,\u201d a romantic-breakthrough number delivered with such resolute, distressed sincerity by Jimin Moon, who plays the Canadian goofball Shane Hollander, that a man near me clutched his chest. Key sequences from the show\u2014like a cruising scene in a hotel gym\u2014are reproduced, efficiently, using basic props. The sex is staged vertically, up against mattresses, or using \u201cAvenue Q\u201d-esque puppets; the Susan trio juggle multiple roles, from Ilya\u2019s cruel dad to Shane\u2019s hovering mom\u2014and, each night, one lucky audience member is invited onstage to play the hunky zaddy Scott Hunter.<\/p>\n

Best of all are the adorable Moon and Jay Armstrong Johnson, as Ilya, who do much more than mug as the star-crossed lovers. It\u2019s impossible to say how Frank Maya might greet a crossover phenomenon like this: As schlock? As progress? But, in the midst of a Broadway season overflowing with high camp, from \u201cTitan\u00edque\u201d to \u201cThe Jellicle Ball,\u201d there\u2019s some room to spare for a humble, handmade valentine, d\u00e9coupaged with X\u2019s and O\u2019s.\u00a0\u2666<\/p>\n

Read more When Dance in New York Took Center Stage<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Emily Nussbaum reviews Morgan Bassichis\u2019s \u201cCan I Be Frank?\u201d and Dylan MarcAurele\u2019s \u201cHeated Rivalry: The Unauthorized Musical,\u201d in which gay fandom generates funny and moving new material.<\/p>\n","protected":false},"author":1,"featured_media":357,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[29],"tags":[],"class_list":["post-358","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-theatre"],"yoast_head":"\nThe Rise of the Meta-Gay Show - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=358\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Rise of the Meta-Gay Show - 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