Trans performer Elliott Jenetopulos announced to the audience at Steppenwolf's Upstairs Theatre that the pronoun is "they" for them before the latest production. Young Jean Lee directs this latest show titled Straight White Men. The storyline follows a father and three sons celebrating together around the Christmas holiday. When one of their privileged lives doesn't work out as planned emotions run high and comedy quickly turns into drama.
Jenetopulos originated the same role as Elliott first at The Public Theater in 2014 and now at Steppenwolf through March 4.
Windy City Times: Where are you from?
Elliott Jenetopulos: I am from southern New England.
WCT: Did you study theater in school?
EJ: I studied theater, tech and design at Rhode Island College. I never thought I would be an actor, but somehow I have had to turn down more Equity opportunities than many of my musical-theater friends.
I am a part of this show because I was the assistant stage manager, which is something else I don't normally do. I usually do lighting design for experimental dance.
They needed an assistant stage manager back in 2014 and that led me to being a part of the show.
WCT: Was this when Straight White Men was at The Public Theater?
EJ: This was even before that. It was in the process of being written.
Young Jean has a very particular view on the labor of theater. She always likes to frame the transitions between scenes in a very intentional way. I was in charge of the props and scene changes. Young Jean was looking for someone for the show like me. I just volunteered to do it, because I have no boundaries.
WCT: Sounds like you fell into it!
EJ: Yes. I just had to learn how to energetically protect myself in front of a room full of people who may or may not hate me because of the music being played.
WCT: Who's idea was the music being blasted before the show?
EJ: I think it was a combination of Young Jean and Chris Giarmo, one of the two sound designers from the original production. Chris is also an incredible drag performer and performed with Big Dance Theater in New York.
He crafted the music for Straight White Men and blended it all together.
WCT: The intention is for it to be loud?
EJ: We have tested it and it is not damaging to anyone's eardrums. I think because the subwoofers are so cranked up and their chairs are vibrating, they feel violated by the pussy rap!
WCT: What would you tell readers about Straight White Men?
EJ: It is part of a series about identity that Young Jean Lee has been creating and directing for a number of years. I think she would call this her experiment in naturalism. There are a lot of one act plays about straight white men but none of them call themselves that. They just think they are the neutral experience but there isn't really one. I think that is what the title is trying to say.
WCT: Describe the plot.
EJ: There are three adult sons and their dad at Christmastime. The oldest son, the golden child, at some point has moved home with dad. Despite being given all these opportunities in life and being extremely well educated, he is taking a step back and reevaluating everything. He is enjoying doing household work, doing a temp job, and making dinner with the guy at the grocery store. When the two younger brothers come home they see what he is doing through their own lens.
One brother thinks he has given up on life and the other thinks he's purposely martyring himself. They get dad to come to their side and projects his own side of things. The son, named Matt, tells them all the truth but no one is listening.
WCT: Where is their mom?
EJ: Mom has died about five years prior to the play. Enough time has passed that it is not a fresh wound for anyone.
WCT: What is the purpose of posing the characters by you in the show?
EJ: The Steppenwolf version is a rewrite of the original script. That includes these scene changes. I used to move all the props around. Now at the start of every scene Will Wilhelm and I are putting the actors in starting positions for every scene. We are both gender nonconforming and both light skinned people of color.
There was a lot of talk from Young Jean how to contextualize us and the piece, that we might be part of the experiment in straight white maleness or possibly zookeepers. We settled on that we are simply setting up the scene.
This makes me think of the poster for the show. It is a feminine hand and definitely a person of color holding the ornaments of straight white men. I think it is reflected in the scene changes. We are the ones presenting these scenarios. We give the audience the opportunity to examine what is happening.
WCT: How have audiences treated your part of the production?
EJ: If they don't know what to do with me and Will they tend to erase us completely. In some of the talk backs they don't rememberer other people. In some reviews or blog posts we are not even mentioned. We spend the first half hour in the audience before the show and then announce ourselves at the beginning. We are at the top of every scene.
WCT: This is upsetting to hear.
EJ: It is a part of my everyday life.
WCT: Maybe they were engrossed in the story?
EJ: Maybe, but if you are a straight white man then it might be easier to identify with the male characters in the show.
WCT: What would you like audiences to get out of the story?
EJ: Will and I are the caretakers of this straight white crowd, usually of an older age. If people are offended by the music all they have to do is make eye contact with me and I will let them know I am here to help them.
We are not wearing a sign that says "earplugs." We are just being attentive to everyone. All they have to do is acknowledge me as a human being to get them the help that they need, which feels like my entire life. If they could be challenged by something they don't understand then maybe their world would be a little better.
WCT: I wanted to see more of you in the play.
EJ: I think Young Jean's other work centers around people like me who are not straight white males, so maybe this is an experiment for her.
WCT: What are you doing next?
EJ: I am going back to New York. I am doing some lighting work for a few dance pieces. I am going to lay low and assess everything. I want to learn how to interact with the world in a better way. Maybe I will get an MFA or leave the country!
Straight White Men is now extended through March 26. Head straight to Steppenwolf.org or call 312-335-1650 for ticket information.
