It’s one of those moments that theater fans live for: A performer delivers a monologue or a move or a song that stops the show — literally. Strangers become friends, applauding as one in the dark, all thinking the same thought: “Start writing your Tony Award speech now.”
One of those moments happens when the character of “Lulu” explains her philosophy of life to a gob-smacked conman who has invaded the lives of the citizens of Cobb County in the Broadway musical “Shucked.” (Judgment of the show depends on your tolerance for a relentless stream of puns, many involving corn.)
But on one thing those who have seen the show could agree: Once Alex Newell finished the final notes of “Independently Owned,” it was just a question of when, not if, they would hold Broadway’s most prestigious award, a Tony for best featured actor in a musical. Newell, who identifies as non-binary, said at the recent awards show: “Thank you for seeing me, Broadway.” Mom got a shout-out as well, “for loving me unconditionally.”
It was a scene that triggered cheers in the house and some jeers in other quarters, predictable in a time when red states are rushing to pass laws to restrict the rights of non-binary Americans.
But it shouldn’t have, at least not from the folks who bleat about the loss of meritocracy in America. They should be applauding, too, because, with all due respect to the talented nominees, the best person won.
All the reactions to history-making scenes surface the hypocrisy of those afraid of an America they increasingly do not recognize. The so-called changing country has always been there, just hiding — well, forced to hide. And that worked, unless you were the one in the closet or at the back of the bus.
If you were someone with a race, gender, creed or identity who was barred from jobs, schools and neighborhoods or the Broadway spotlight, you spent so much time worrying about presenting a non-threatening façade — with the stakes often your survival — not much energy was left for living out your wildest dreams.
