One man’s quest to fly under the gaydar

Director David Thorpe (center) and friends in Do I Sound Gay?
Director David Thorpe (center) and friends in Do I Sound Gay?

By Richard Ades

David Thorpe likes being gay. He just doesn’t like broadcasting his sexual orientation every time he opens his mouth.

Thorpe’s attempt to avoid that is the subject of his new documentary, Do I Sound Gay?

The flick’s theme is bound to raise questions right off the bat. For starters: Why would an openly gay man want to disguise his gayness, especially in an era when society finally seems to be becoming more open-minded about homosexuality?

Thorpe has trouble answering this question, noting only that he’s in his 40s, still single and lacks confidence—all of which “might be why I’m obsessed with sounding gay,” the first-time director says.

But if Thorpe has trouble explaining why he wants to get rid of his gay voice, at least he does a good job of explaining what a stereotypical gay voice is. While careful to note that not all gay men sound gay—and, conversely, not all men who sound gay really are gay—he has a speech therapist lay out its components. They include nasality, high pitch, careful enunciation and a tendency to prolong vowels and “s’s.”

With the therapist’s help, Thorpe works to expunge any such qualities from his speech patterns. At the same time, he talks to friends about their own attitudes toward “sounding gay.”

Also interviewed on the subject are gay celebs such as sex columnist David Savage, Project Runway’s Tim Gunn and Star Trek alum George Takei. Most say it really doesn’t matter what one sounds like, but David Sedaris reveals mixed feelings about his own high-pitched voice. The writer admits that he sometimes worries it will turn off other gay men and the world in general.

Other gay men? The film points out that gay porn invariably features actors with deep, manly voices. Sounding gay is fine in the living room, it suggests, but a no-no in the bedroom. Hmm, maybe we’re getting to the root of Thorpe’s motivation.

The film covers lots of other territory, including the long history of stereotypically gay characters in Hollywood movies.

In one of the more serious segments, it also acknowledges that sounding and acting gay can be dangerous, even in our supposedly enlightened era. The proof is Zach, a flamboyant teen who proudly labels himself a diva but is secretly traumatized by the backlash he receives from classmates.

Thorpe is familiar with such backlash, recalling that, as a youngster, he toned down his own flamboyant tendencies to avoid being bullied by classmates. It wasn’t until much later, he learns from a cousin, that he reclaimed his gay mannerisms.

Given the director’s closeness to the topic, it’s not surprising that Do I Sound Gay falls short of being a great documentary. After more or less stumbling into the controversial subject and attacking it from every possible angle, Thorpe walks a tightrope at the end, trying to wrap things up in a way that placates anyone he might have offended.

Even so, give him credit for tackling the prickly topic in the first place and for examining it in a way that’s entertaining and sometimes even enlightening.

Rating: 3 stars (out of 5)

Do I Sound Gay? (unrated) opened Aug. 7 at the Gateway Film Center, 1550 N. High St. For information, visit gatewayfilmcenter.org.

Are you now or have you ever been a homosexual?

Donnie Lockwood, Brent Alan Burington, Adam Latek, Mark P. Schwamberger and David Vargo (from left) in The Temperamentals (Evolution Theatre Company photo)
Donnie Lockwood, Brent Alan Burington, Adam Latek, Mark P. Schwamberger and David Vargo (from left) in The Temperamentals (Evolution Theatre Company photo)

By Richard Ades

If you’re like most people, you think America’s gay rights movement began with New York’s 1969 Stonewall rebellion.

Well, it did and it didn’t. The uprising was a prime catalyst, but a few brave souls were already fighting anti-gay discrimination nearly two decades earlier. Their efforts are the subject of Jon Marans’s The Temperamentals.

The play is set in Los Angeles in the early 1950s, a red-baiting era when homosexuals are treated with as much suspicion as communists. And it so happens that the main protagonists, Harry Hay (Brent Alan Burington) and Rudi Gernreich (Adam Greenbaum Latek), are both.

Though outwardly more conservative than Rudi, Harry is the one who seems determined to challenge the status quo.

Taking advantage of costume designer Rudi’s connections, he approaches Hollywood bigwigs such as Vincente Minnelli (David Allen Vargo) and asks them to sign a manifesto he’s drawn up on the rights of “temperamentals” (the euphemistic 1950s term for homosexuals). Not surprisingly, Minnelli and others are afraid to have anything to do with the document.

Eventually, Harry and Rudi do gather a tiny group of like-minded men and found the Mattachine Society, an organization devoted to the cause of equality. However, they accomplish little until Dale (Donnie Lockwood) is arrested on the trumped-up charge of soliciting sex from an undercover cop.

Such ruses are common in these pre-enlightened times, as gay men are so desperate to keep their sexual identity a secret that they willingly pay a hefty fine to make the charge go away. But when Dale says he can’t afford to take that route, Harry suggests a bold alternative: Admit his homosexuality while declaring his innocence. Members of the jury will be so impressed by his brave honesty, Harry reasons, that they’ll have to believe him.

In a perfect world, such a courageous act would inspire more courageous acts, all of which would lead to the kind of acceptance the Mattachine Society was seeking. But our world isn’t perfect, and it was even less so in the 1950s. Thus, The Temperamentals is the story of a movement that proves to be ahead of its time.

Because it remains true to history, with its mix of triumphs and disappointments, the play lacks an overall dramatic arc. But it makes up for it by documenting the huge barriers early gay activists faced. And not all the barriers were external; a big first step was learning how to communicate with each other about their shared heartaches and frustrations.

Director Douglas Whaley helps us understand these struggles by drawing relatable performances out of his cast. Burington anchors the production as the abrasive, impatient Hay, while Latek offers contrast as the more diplomatic Rudi. Besides Lockwood’s Dale, other founding members of the Mattachine Society are Chuck (Vargo) and Bob (Mark Phillips Schwamberger).

In addition to their central roles, all of the actors except for Burington play multiple supporting roles, both men and women. For the most part, they rise to the multitasking occasion.

Like Evolution Theatre Company’s spring production of Yank! The Musical, The Temperamentals is an imperfect but engrossing work that offers insights into gay life in the mid-20th century. That makes it invaluable.

Evolution Theatre Company will present The Temperamentals through July 18 at the Columbus Performing Arts Center, 549 Franklin Ave., Columbus. Show times are 8 p.m. Thursday-Saturday. Running time: 2 hours, 30 minutes (including intermission). Tickets are $20, $15 students/seniors. 1-800-838-3006 or evolutiontheatre.org.