Throughout the 1980s, videographer Nelson Sullivan used his developing camera skills and sincere love of the downtown New York art scene to capture and preserve many of the distinctive talents of that special time and place. In partnership with his childhood friend James “Dick” Richards, host of a long-running access channel LGBT variety show, he put RuPaul on a path to stardom. As he experimented with newer equipment and continued to evolve his technique, he sometimes included himself in the frame. When he died at 41 of an apparent heart attack, he left behind a body of work credited with forming the template for the type of short form personal videos that proliferate YouTube.
Now a behind the scenes look at Sullivan’s life and work has been fashioned into Camera Ready, a new play with music written and directed by his friend, artist/playwright/filmmaker Gary LeGault. The sprawling cast of twenty much resembles the streets outside with its array of ages, races, and body types. The ensemble brings unadulterated enthusiasm to each scene such as “Friday Evening in New York,” a celebration of Nelson’s first night out on the town with his camera. There is a genuine sweetness to Jack Warren Lewis’s uplifting interpretation of the documentarian. Other standouts include Bryce Payne’s dazzling RuPaul, JC Augustin gravely voiced Jackie Curtis, and a versatile Alexa Echevarria as Sullivan’s mother, musician Rhonda Granger, and a truly horrible Mona Robson in rehearsal at La Mama. Her performance in the upbeat “All the Money” is a hoot.
Though working on an obviously tight budget, creative thought has gone into the design. The majority of the songbook (arrangements by Chris Glik and Michael O’Dell) has a breezy, clubby style that comes through on the solo piano. The backdrop, drawn by LeGault, is reminiscent of Edward Hopper had the artist worked in crayon. Lola Saenz, under the direction of set designer Lytza Colon, installed bricks which adorn the central staircase. Night scene costumes and wigs by Diana Chaiken have the perfect dramatic flair.
Oddly, it is LeGault’s obvious affection for Sullivan that flattens the story. He has recorded history with heart, which makes for a valid but blurry lens. There is too much emphasis on tiny interactions and it is doubtful anyone under the age of 60 would recognize the celebrities about whom Sullivan exclaims. A key relationship with housemate Choux (Dave Onofre) is underdeveloped and the parade of houseguests doesn’t achieve substantial impact. The current script also skirts the remarkable implications of Sullivan’s legacy. Ultimately the piece gets bogged down in less significant details and crosses the finish line at a hefty 2 ½ hours.
With the show having completed its off-off-Broadway run on July 6 at Theater for the New City, LeGault has an opportunity to expand his private portrait into a deeper, more meaningful tribute to Nelson’s work. This would also further highlight the gifts of Drag Queens and trans performers featured in Sullivan’s videos. A rethinking would likely require LeGault to collaborate with an editor who could provide enough distance to make the appropriate refinements. However, a more examined celebration would elevate not just Nelson’s legacy but the contributors to the American art scene he so valued.
The Unforgettable Line 