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Rebels with a Cause

Jaq Bayles visits the stunning Rebel Dykes Art & Archive Show, and looks back at the Lesbian Avengers as their famous handbook is re-released with bonus content.

Rebel Dykes, Lesbian Avengers – the activists from the ‘80s and ‘90s with major attitude are back. The fact that an important new art show and the release of an updated edition of the original Homemade Revolution Guide have coincided seems fitting in light of the LGBTQ+ community’s current political mood.

Certainly, the Rebel Dykes Art & Archive Show at Space Station 65 in London’s Kennington fuses a celebration of the achievements of the original Rebel Dykes with work by younger generations who “join them in continuing to disrupt the world today”.

Clearly, the spirit of rebellion is rising once more to confront the fact that misogyny and homophobia continue in the UK, despite the positive achievements of recent decades, and that spirit has resulted in a joyous, evocative collection of photographs, artworks and recordings that unite underrepresented cultural histories of four decades ago with contemporary dyke culture.

For anyone who remembers the 1980s, this exhibition, which is “rooted in the stories of the Rebel Dykes, featured in the recently premiered documentary, who met through Greenham Common peace camps and squatting together in Brixton in the 1980s” – will also surely reignite some sparks of anger while reminding them just how active the Rebel Dykes were in fighting for their freedoms.

Siobhan Fahey, a director of Rebel Dykes History Project CIC and the producer of Rebel Dykes, the movie, started the archiving process in 2014, calling out for articles, artwork, books etc from the period.

In the press release for the exhibition, she says: “It is the intergenerational aspect of this exhibition that excites me most. Over recent years there seems to have been a host of misunderstandings and distrust between different generations of queers and dykes. This is at a time when we need to work together more than ever to ensure we don’t lose what older queers fought for. Younger queers need powerful, helpful role models and mentors, and older queers need to know that their earlier struggles are appreciated and that we will be remembered and cared for as we age.

“By holding this powerful creative conversation between generations, exploring each other’s art and influences, we are hoping to help heal our painful rifts and are aiming to build future community.”

“When the film Pride (2014) came out, it told our story from the 1980s but really downplayed the lesbian role, so I think one of the initial things was that it was a bit of a response to that,” she says.

“I got some funding about a year ago from the Heritage Lottery Fund for the exhibition and then some private funding for the film [due for general release in the late autumn].

“The whole exhibition is based on archive. We asked the younger artists to respond to that archive so quite a few new works have been created for the exhibition. The aim of the whole project is intergenerational debate and community, so it was important for us to have two curators, one from the older Rebel Dykes community [Atalanta Kernick] and a younger curator, so we were working with Kat Hudson who runs a magazine called Lesley and is very in touch with younger artists.”

Looking at the broad and varied collection displayed in the gallery, it’s hard to understand why such works have not previously attracted more attention – there is everything from the wit of Jill Posener’s photographs of graffiti defaced posters, to never-before-exhibited works by Del LaGrace Volcano, to Eleanor Louise West’s fascinating Greenham Common Quilt.

“I think one of the reasons why our art is being ignored is because of the self-esteem or confidence of the artists themselves – some of the artists were really shocked and surprised when we approached them to be included in the exhibition. Dixie Thomas’ work is amazing – it’s a triangular wall of black & white photos and they haven’t done anything with them for 30 years until they were asked. I think we hold ourselves back sometimes in not realising our own worth, our own art.”

And there’s another very important reason this exhibition needs to be shown, says Siobhan:

“We are ageing and dying, so we have to capture these images and stories now, while there’s still chance.

“I think present-day life is really tough, there’s a big interest in the past and nostalgia and golden eras. Although we had all the homophobia and that sort of stuff, which was difficult – we were certainly very ostracised by our families and by society – but what we had instead was much tighter communities than young folk have today. Much more space – squats, bars, venues – to meet in real life and create in real life.”

She adds that it’s important to be understanding of the issues facing younger queer people today, such as the “terrible housing situation and the isolation that young queers feel today compared to the community we had”.

Indeed, “at some of our events I’ve had younger dykes crying because they are so moved and so upset because of their isolation. People feel they have no community. They might have an identity but in real life they don’t have a community so people have found it very moving to see the community in the past.”

Siobhan adds the project has seen friendships and a community being built up between younger and older lesbians, with elders being role models and mentors and younger people helping them to better understand today’s groups.

“A lot of language seems to have changed so fast and gender identity has changed so fast, and a lot of older queers find it quite confusing. The only way round that is for us to meet each other and talk, because we have much more in common. We may have used the word ‘androgynous’ instead of ‘non-binary’, but we certainly had the same concepts. We might not have thought about the whole pronoun thing, but I’m sure if we had we would have used it. There’s nothing new under the sun, there’s just different ways of explaining it.”

Lesbian Avenger Handbook relaunched

“Long before there was marriage equality, or out lesbians on TV, the Lesbian Avengers were in the streets fighting for the visibility and survival of lesbians worldwide. They ate fire to call attention to the fire-bombing deaths of a black lesbian and white gay man in Oregon, commandeered homophobic radio and TV stations, crisscrossed the US in Pride Rides, unleashed plagues of crickets on ungodly ministries, and marched en masse in cities including Washington DC, New Orleans, Vancouver, and London.”

This group of non-violent activists decided to pull together the talents of their collective to create a guide offering advice from journalists, artists and other influencers to help others wanting to form similar groups across the world.

Now their handbook has been released in a new edition, giving step-by-step instructions on organising a direct action group, including covering such topics as how to hold a meeting, create mind-blowing actions, attract press, and deal with cops.

The new edition also offers bonus material including essays on LACROP (Lesbian Avenger Civil Rights Organising Project) and additional pages of Avenger communiqués reporting on fire-eating demos, fear-defying zaps, and provocative kiss-ins. The handbook is now also being touted as a great resource for historians and scholars focused on media and social change.

Kelly Cogswell, of the Lesbian Avenger Documentary Project, says in the preface: “We release this new edition… as lesbian rights and liberation face renewed attacks. The bulk of this extraordinary resource is unchanged, though we’ve cleaned up typos, and acknowledged advances in technology for activists still using it today. We’ve also added important bonus material, including tips for demonstrating when civil rights are being trampled.”

Kelly adds: “The handbook has also become a kind of Lesbian Avenger history told in our own words, reminding us of how much we accomplished, and how much is still left to do in this world where lesbophobia, that cocktail of misogyny and homophobia, still reigns supreme.”

Produced by the Lesbian Avenger Documentary Project and distributed through Ingram books, it can be ordered from Amazon or local bookshops.

The Rebel Dykes Art & Archive Show runs Thursday–Saturday 12–6pm at Space Station Sixty-Five, Building One, 373 Kennington Road, London, SE11 4PT, until September 17.

For more info, visit: www.rebeldykeshistoryproject.com/rebeldykes-art-and-archive-show

Win tickets to ‘Bottom’

Willy Hudson’s one-man show Bottom is coming to the Ironworks, Brighton, on August 27, and Pride is offering two free tickets to a lucky Scene reader through a prize draw. Simply click on the link here for your chance to win.

Bottom focuses on Willy locked in his bathroom during a tragic third date, asking: are you a top or a bottom?

Bottom is about bums, Beyoncé and burnt fish fingers.

Join Willy for a queer coming-of-age remix, as he questions if ‘bottom’ in the bedroom means ‘bottom’ in life – and whether Beyoncé can help put his love on top.

With a cracking soundtrack, Willy’s funny, honest and open-hearted storytelling yanks the lid off the queer experience.

This is for anyone who hates making the first move.

Anyone who thinks they are unlovable.

Anyone that’s ever tried to be someone they’re not.

Tickets are available from the Ironworks with £1 from every sale going to the Brighton Rainbow Fund. The prize draw closes at midday on Friday August 20.

Willy Hudson is a performer and writer from Devon who likes to confront social hang-ups with autobiographic storytelling, comedy, fusion of theatrical form and cracking soundtracks. And Beyoncé. He runs workshops exploring comedy and writing for performance and he recently graduated from The Oxford School of Drama.

WIlly’s an Associate Artist of the Exeter Phoenix and his recent acting credits include: Peter Pan (Regent’s Park Open Air Theatre), Islanders (Soho Theatre), Noble Nine (VAULTs Festival) as well as his hit one man show, Bottom.

Dave Pop! serves up ‘Seaside Sauce’

Artist Dave Pop! has a new exhibition at the Fishing Quarter Gallery from August 18 – 24.

Seaside Sauce is based on Dave’s love of the fairground art found on Brighton’s pier and seafront.

Dave, who has lived in Brighton for more than 25 years, says: “With swirling Baroque scrolls, fancy lettering, decorative sashes and dynamic colours made to lure customers to spend their money on thrills and spills, pleasures and delights, this is a very early form of Pop art.

“Mix in some risqué humour from saucy seaside postcards and Carry On films, and we have perfect Brighton Pop Art inspiration.”

Entry to Seaside Sauce is free and the gallery on the seafront is open from 9am-5pm.

Find out more about Dave, CLICK HERE

Get ready for Seahaven Pride!

Seahaven Pride & Family Festival is gearing up for its big day on August 29 at the Martello Fields in Seaford from 11am-9pm, with a stellar line-up of well-known local acts and world-renowned tribute artistes.

Set up to cover the Seahaven area of Peacehaven, Newhaven and Seaford, Seahaven Pride & Family Festival is promising a main stage chocka with top-notch entertainment, alongside locally sourced street food and drink and “lots of other entertainment”.

Among the main stage acts are tributes Killer Queen, Surely Bassey, Maybe Gaga, Simply the Best, Kylie On Show and the Dolly Show, while drag comes courtesy of Miss Jason, Cherry Fakewell & Friends and Alfie Ordinary.

Dolly Rocket

Dolly Rocket is Mistress of Ceremonies and other confirmed acts include Brighton School of Samba and Seaford-based singing and performance school, Vocal Repertoire.

The festival is not-for-profit, inclusive and sustainable, aiming to “give back to the community and fund further not-for-profit events”.

Further information CLICK HERE

Pride at the Ironworks kicks off in style

Brighton’s new Ironworks Studio immediately established itself as a destination venue with its inaugural sold-out event, the Pride Gala Launch, on Saturday July 31.

A sleek, welcoming space with tiered seating for 150 and a handful of small tables stage-side (making capacity 180 in total), the studio proved a huge hit with an audience keen to celebrate the launch of the 2021 Pride season, which sees an extensive season of LGBTQ  cultural events throughout August and September.

Photo © Chris Jepson

Saturday’s theatregoers were treated to a 10-strong line up of queer artists introduced by razor-sharp Kween of the mostest hostess Felix Le Freak, who held the evening together deftly, defiantly, delicately and decadently, with Brighton cabaret favourite Billie Gold kicking off the night in grand chanteuse style.

Photo © Chris Jepson

From drag king Sammy Silver’s unique take on interview culture to Lorraine Bowen’s show-stopping, Britain’s Got Talent-famous musical comedy, the event was just the tonic for pandemic-weary punters, for many experiencing their first proper night out in months. The venue is quietly sophisticated, fully accessible and has quite the impressive sound and light rig – West End quality and chic cabaret club vibe. The 3D projections are thrilling and there’s even a catwalk, which was strutted down by most of the high heeled performers. It’s an intimate venue, with every seat in the house giving clear views and excellent sight lines to the stage.

Photo © Chris Jepson

The extravaganza of drag, singing, performance, comedy, and searing thrilling queerness kept coming courtesy of The Harlequeens, Brandy Bex, Lydia L’Scabies, Rhys’ Pieces, Dick Day and Alfie Ordinary

Photo © Chris Jepson

Closing with a crowd-pleasing sing a-long-a-queer anthem led by Alfie Ordinary looking like a Pride popper going off in a tinsel factory, we couldn’t have asked for a more queer start to the Ironworks or a more Pride feeling to the end of this rather superb show.

Alfie brought everyone to their feet, many joining hands and singing along, a superb community moment to carry the very happy capacity crowd out into the night.  The whole Pride team should be proud of all their hard work in bringing this unique new space to life so quickly and making sure it’s a fierce venue to be reckoned with. Who else has a rotating stage this side of the Thames!!

Photo © Chris Jepson

Apart from a few hiccups with the microphone, which Felix Le Freak turned to their comedy advantage, production was slick and seamless, the diverse acts showcasing the versatility of the space, which has plenty of other Pride events lined up, check out the programme, or book tickets here: 

Photo © Chris Jepson

With both bar and online table service available throughout the performance, this smart new multimedia venue taps into the hospitality industry’s new and ongoing trends, and proved from the off with a widely mixed audience that it is a groundbreaking LGBTQ  community hub.

Pride at the Ironworks is supported by Tesco, with all productions helping local causes and community groups, including the Brighton Rainbow Fund and Pride Cultural development fund.

Photo © Chris Jepson

Also currently on show at the Ironworks, as well as Jubilee Library and Chalk as part of Pride’s festival of cultural arts, is Brighton-based photographer Chris Jepson’s The Identity Project, exploring what it means to identify as a member of the LGBTQ+ community today.

The Pride Ironworks well and  truly arrived in style on Saturday, seriously watch this space!! A new Queer Space on the block has arrived, redefining what it means to go out and BE OUT in Brighton & Hove.

All photos © Chris Jepson

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News From Nowhere exhibition

 

 

Walking through Brighton’s North Laine, if you look into one of the windows of the new LGBT+ Ledward Centre on Jubilee Street you’ll be confronted with Boris Johnson’s face staring out from the bum of Leonardo de Vinci’s drawing of ‘The Proportions of the Human Body According to Vetruvius’.

 

Alqumit Alhamad- Boris X De Venci

The poster is an enlarged version of Alqumit Alhamad’s controversial Boris x Da Vinci, a digital illustration of the prime minister with the Arabic word AssFace. Alqumit, a gay Syrian artist and refugee, created the work as a response to Johnson calling gay people “Bum boys” as well as his calling Hijab-wearing women “letterboxes”.

This piece is featured alongside other political and activist artworks in the exhibition ‘News from Nowhere’, produced by Brighton’s Socially Engaged Art Salon (SEAS). The exhibition features more than 20 local and international artists who explore political and social issues around migration, displacement and the politics of visibility.

 

Robin Hammond – Withness Change

Highlights of News from Nowhere include infographics from SOGICA, a research project funded by the European Research Council and based at the University of Sussex, exploring the difficulties of LGBT+ individuals who suffer persecution to seek asylum in Europe. On a similar subject the photographer Robin Hammond exhibits the project Where Love Is Illegal, which is now more than five years in the making. This photographic project tells the stories of LGBT+ people escaping persecution, abuse and torture.

The exhibition marks the 70th Anniversary of 1951 Refugee Convention that is celebrated across the world in the last week of July. For this occasion, SEAS will organise a tour to view the other part of the exhibition at SEAS’s Studio at the Black & Minorities Ethnic Community Partnership (BMECP) Centre. There, visitors will be led one by one into the hard hitting and immersive ‘Message in a Bottle’ project  by Jane Lancashire and Gil Mualem-Doron that commemorates the lost lives of thousands of refugees who drown in the Mediterranean Sea.

 

The project took two years to complete with the help of more than 200 participants from Brighton and Sussex. In addition the event will include the screening of the disturbing short film ‘Twinkle Twinkle Little Star’ by Gil Mualem-Doron, that highlights the death of refugee children while crossing the Mediterranean and the betrayal of the promise given to refugees in the UN 1951 Refugee Convention. The film has a trigger warning and will be shown at the BMECP in a separate room.

The event will take place from 11am-3pm on 31st July at the Black and Ethnic Minorities Partnership Centre (BMECP) and it is free. However, priority will be given to visitors who registered in advance. To book your place, please visit:www.seasbrighton.org/post/closing-event-news-from-nowhere-exhibition

Participant artists: Alqumit Alhamad, Colette Batten-Turner, Márcio Carvalho, Hong Dam, 江峰 Jiang Feng, Tokini Fubara, Robin Hammond / Witness Change, Jean Marc Joseph, Eman Khokhar, Jane Lancanshire, Layla Madanat and Eleanor Nawal, Gil Mualem-Doron, Dimitris Pagonis & Menelas Siafakas, CJ Reay, Anna & Maja Spasova, SOGICA, Mathilda Della Torre, Visualising Palestine and Rami Yasir.

The exhibition is supported by The Art Council England, The Rainbow Trust, the BMECP and Sanctuary on Sea.

Exhibition runs until 31st July 2021 in The Ledward Centre, BMECP and online at www.seasbrighton.org

 

 

SEAS announces ‘News From Nowhere’ exhibition

Walking through Brighton’s North Laine, if you look into one of the windows of the new LGBTQ+ Ledward Centre on Jubilee Street you’ll be confronted with Boris Johnson’s face staring out from the bum of Leonardo de Vinci’s drawing of The Proportions of the Human Body According to Vitruvius.

The poster is an enlarged version of Alqumit Alhamad’s controversial Boris x Da Vinci, a digital illustration of the prime minister with the Arabic word AssFace. Alqumit, a gay Syrian artist and refugee, created the work as a response to Johnson calling gay people ‘bum boys’ as well as his calling Hijab-wearing women ‘letterboxes’.

This piece is featured alongside other political and activist artworks in the exhibition ‘News from Nowhere’, produced by Brighton’s Socially Engaged Art Salon (SEAS), which features more than 20 local and international artists who explore political and social issues around migration, displacement and the politics of visibility.

Alqumit Alhamad- Boris X De Vinci

Highlights of News from Nowhere include infographics from SOGICA, a research project funded by the European Research Council and based at the University of Sussex, exploring the difficulties of LGBTQ+ individuals who suffer persecution to seek asylum in Europe. On a similar subject, the photographer Robin Hammond exhibits Where Love Is Illegal, which is now more than five years in the making. This photographic project tells the stories of LGBTQ+ people escaping persecution, abuse and torture.

The exhibition marks the 70th Anniversary of 1951 Refugee Convention that is celebrated across the world in the last week of July. For this occasion, SEAS will organise a tour to view the other part of the exhibition at SEAS’s Studio at the Black & Minorities Ethnic Community Partnership Centre (BMECP). There, visitors will be led one by one into the hard hitting and immersive ‘Message in a Bottle’ project  by Jane Lancashire and Gil Mualem-Doron that commemorates the lost lives of thousands of refugees who drown in the Mediterranean sea.

Robin Hammond – Witness Change

The project took two years to complete with the help of more than 200 participants from Brighton and Sussex. In addition the event will include the screening of the disturbing short film ‘Twinkle Twinkle Little Star’ by Gil Mualem-Doron, that highlights the death of refugee children while crossing the Mediterranean and the betrayal of the promise given to refugees in the UN 1951 Refugee Convention. The film has a trigger warning and will be shown at the BMECP in a separate room.

The event will take place from 11am-3pm on July 31 at BMECP and it is free. However, priority will be given to visitors who registered in advance. To book your place, CLICK HERE.

Participant artists: Alqumit Alhamad, Colette Batten-Turner, Márcio Carvalho, Hong Dam, 江峰 Jiang Feng, Tokini Fubara, Robin Hammond / Witness Change, Jean Marc Joseph, Eman Khokhar, Jane Lancashire, Layla Madanat & Eleanor Nawal, Gil Mualem-Doron, Dimitris Pagonis & Menelas Siafakas, CJ Reay, Anna & Maja Spasova, SOGICA, Mathilda Della Torre, Visualising Palestine and Rami Yasir.

The exhibition is supported by Arts Council England, the Rainbow Trust, BMECP and Sanctuary on Sea.

Exhibition runs until July 31, 2021 in The Ledward Centre, BMECP and online HERE.

Jane Lancashire

Nail your public speaking with Aneesa Chaudhry

Scene magazine caught up with confidence coach and Rainbow Chorus musical director Aneesa Chaudhry about her new Presenting With Confidence course, which begins on Wednesday, July 7.

What prompted you to set up this course?

Since training as a barrister over 20 years ago I’ve always wanted to give a voice to the voiceless and my career has led me to coaching people on their Public Speaking & Presentation Skills in community and corporate settings. I’ve done this alongside performing on stage as a professional singer and running five community choirs. The thing I’ve loved doing most is to help them get from not believing they can do it, to doing it with confidence and brilliantly!

How do you think the pandemic has affected people’s confidence levels?

People’s confidence has been knocked massively. Some people have lost their confidence to interact in social settings and many dread having to reintegrate and do important presentations at work.

Aneesa

How can the course particularly help members of the LGBTQ+ community?

We all have an inner voice, a calling that needs to be heard, and my work to help people find their inner voice has led me to see that many people have ignored theirs. Our voice, our messages, our ability to be heard and self-expressed sometimes needs nurturing and guidance to get out. For some of us it’s about finding and releasing our identity so that we can truly be who we are. For others it’s finally listening to our dreams and ambitions and living authentically. For many it’s about taking the next step and sharing something powerful that can help improve other people’s lives. If we can learn to talk about these things effectively and with passion so many people could benefit.

There are always opportunities to speak up and speak out in the LGBTQ+ community but if you don’t know how to get your message across you can be left with a feeling of being unimportant and ignored. My mission has always been to make a positive difference to people’s lives so that they can make a difference to our crazy, yet beautifully fragile world. I will always have time for our community be it in my choirs, in courses or 1-2-1 sessions. I always offer a free space on the course to anyone who can complete the application form and provide a compelling reason as to why it would change their lives to take part in such a course.

Aneesa

Why is it important to you to reach out to the LGBTQ+ community on this?

Because the LGBTQ+ community have helped me my whole life and it’s my duty and honour to help, nurture and empower in return. I often have the privilege of having a platform to speak from, including stages at Prides and as a singer who can weave the importance of causes and politics into my performances. The fight for equality around sexuality & intersectionality etc matters to all of us. Together we are much stronger and I believe that equipping one another to be able to speak up passionately and from a place of power makes a positive difference.

Register for the course by clicking here.

The next round begins on October 6, 2021. People wishing to sign up individually or in a group of six for that round can email an expression of interest – aneesa@aneesachaudhry.com.

PREVIEW: ‘History Bois: Adventures in Time & Gender’

History Bois: Adventures in Time & Gender, is a free-to-attend residency onboard the ONCA Barge at Brighton Marina, comprising an exhibition, installation work, performances and workshops. It is supported by the University of Brighton and co-curated by transgender, trans-disciplinary artist EM Parry and multi-disciplinary artist and writer SL Grange, who draw on their work in queer history, performance, gender studies and drag. Both are PhD candidates and theatre-makers.

The programme is as follows, with full details and booking links available HERE.

  • Wednesday, June 23, 6 – 9pmHistory Bois: Adventures in Time & Gender residency launch party event hosted by Jacobethan drag king Mal Content. Historical fancy dress encouraged with prizes for innovation, effort, and starching.
  • Wednesday, June 23 – Saturday, June 26We Elizabethans – a cluster of sibling works: Closet Dramas – photographic exhibition; Fag Ends // Fag Breaks -installation & performances; A Lucky Resurrection – live writing / seance.
  • Thursday, June 24, 2.30 – 3.30pmPolitical Drag workshop with Leah Kirby AKA CYRO. Creating art inciting change & incorporating non-Western performance techniques, Leah Kirby/ Cyro explores socio-economic & political issues through non-traditional formats. This event will be supported by a BSL interpreter.
  • Friday, June 25, 3 – 4.30pmMeeting the Unruly Dead with SL Grange. This online workshop run by poet, drag king and artist SL Grange is for folks wanting to connect with their queer tr/ancestors.
  • Friday, June 25, 7.30 – 9pmONCABarge: Fag Ends // Fag Breaks performance / installation – Fag Ends // Fag Breaks lurks in the margins between performance, installation, seance, conversation, and queerly unravelling lecture. It is accompanied by A Lucky Resurrection – a live, improvised writing event by SL Grange.
  • Saturday, June 26, 2.30 – 4.30pmShow Thyself! – queer history self- fashioning workshop. SL Grange and E.M. Parry invite you to an exploration of historically-inspired queer self-fashioning. Combining creative writing with photographic portraiture and dressing up, expect a gentle, playful process that invites you to explore an alternate self, play at being someone else, and/or meet your unruly dead tr/ancestors by becoming them. This event will be supported by a BSL interpreter.

Tales of the City actor Marcus D’Amico dies

Best known for his portrayal of Michael ‘Mouse’ Tolliver in the original TV adaptation of Armistead Maupin’s Tales of the City books, actor Marcus D’Amico has died at the age of 55. His sister Melissa D’Amico announced that he died on December 16 at his home in Oxfordshire. The cause of death was bronchial pneumonia.

The 1993 Channel 4 miniseries of Tales of the City brought to the screen Maupin’s colourful depiction of LGBTQ+ characters living in San Francisco at 28 Barbary Lane, overseen by eccentric trans landlady Anna Madrigal (Olympia  Dukakis). ‘Mouse’ was a sweet and genial gay gardener, one of a group of friends helping naïve Mary Ann Singleton navigate her way in California’s most eclectic city. D’Amico’s role in the 1998 follow-up series was played by Paul Hopkins, while Murray Bartlett had the part in the 2019 Netflix revival.

Born on December 4, 1965, in Frankfurt, Germany, and raised in the UK, D’Amico’s West End debut was in 1977 in the title role of Oliver!, with further London stage credits including Julius Caesar at the Young Vic and The Boys Next Door at the Comedy Theatre. In 1992, he was nominated for the Laurence Olivier Award for best actor for his role as Louis in Angels In America.

His movie appearances included Superman II (1980) and Stanley Kubrick’s Full Metal Jacket, while more recent roles included TNT‘s The Alienist: Angel of Darkness, in 2018.

His sister said in an Instagram post: “Not only have I lost my beautiful brother, but the world has lost an incredibly talented actor and director. Words cannot express how much I miss him.”

The Metro reported tributes pouring in and quoted journalist Patrick Strudwick as saying: “So sad to hear of the death of Marcus D’Amico at just 55. His tender, big-hearted performance of Mouse in the first series of Tales of the City is etched into my psyche forever. To watch him searching for love in that role – a gay Everyman – gave me hope. Rest peacefully, Marcus.”

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