David Magazine v7_i47 | Giving Thanks

V7-47 11.22.23

Chappell Roan

In Her Element

The New Dimensions Of

Cirque du Soleil

Open Hand Expands its Impact

+ Photos & More

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Ahead of bringing easily one of the queerest pop shows to a sold-out crowd in Detroit, rising performer Chappell Roan made a request to Michigan fans on her Instagram — wear something rainbow.

By Chris Azzopardi Photos: Ryan Clemens, Lucienne Nghiem

Midwest Princess In Her Element

At the October St. Andrews Hall show, Roan explained that she wanted to give everyone a chance to go fullon gay; openly queer herself, she acknowledged an understanding that things aren’t great for LGBTQ+ people right now, and so to her queer fans, she conveyed a heart-filled message: “You are safe here.”

That night, there were so many rainbows that you would be spotted for not sporting one. Pride colors were bedazzled on shirts, printed on socks and painted on glitter-speckled faces. October felt like June as Roan turned the Detroit venue into an average day on the streets of West Hollywood. (She’ll hit the road next year too, playing to arena crowds when she opens for pop megastar Olivia Rodrigo.)

Both through her defiant music and her less assured stage banter, which emphasized her completely uncaged pop persona, Roan made affirming statements that a mostly Gen Z crowd ate up. Some of it was about her own journey to self-discovery, some about kissing whoever you want to kiss. The song “Kaleidoscope” was dedicated directly to the queer community. “This is your song,” she said about the achingly beautiful slow piece, on which she describes love as multidimensional — “never just a shape alone.”

Watching Roan perform for the first time in a small club, I was reminded of Lady Gaga’s debut show in Michigan at the Royal Oak Music Theatre in 2009 during The Fame Ball tour. Gaga, at the time, was just a couple more singles away from meat-dress-wearing pop stardom, and her show then was also a love letter to the queer community. Roan and Gaga share space in a parallel pop universe, and based on how Roan perfectly covered “Bad Romance” at her recent show, Gaga’s sandbox is one Roan is happy to play in. But the Gaganess of Roan’s own pop music — the theatrics, the camp, the unserious messiness of it all — can be heard throughout her promising debut album, “The Rise and Fall of a Midwest Princess.”

Like so many queer pop artists who set their eyes on shinier sights, Roan, whose real name is Kayleigh Rose, outgrew her Midwest roots. Her own small-town queer experience will resonate with anyone who grew up without the kind of visibility that makes it easier to be who you are. But Roan, who has known she was queer since seventh grade and is now being called the “queer pop moment” by Vogue, didn’t know any queer girls in Willard, Missouri, where “gay boys in my school who were out got terrorized, slurred, threatened.”

“It was horrible,” she tells me during a Zoom call before her Detroit stop. “I saw what would happen if you came out, and I knew that it was a sin at the time, and I think that to grow into the queer girl that I am today, I obviously had to stop dating men who were not it. I had to stop settling for losers and start dating women and getting rid of that shame. I have a girlfriend now, and I just struggle with it still, but it’s taken baby steps to get to the confident drag queen version of myself.”

At 18, she left the Midwest and moved to West Hollywood, where she turned the volume up on all things queer. It was there she experienced drag queens, the outwardly queer kind, for the first time, even though the Disney princesses she met as a kid at Disney World was her first “drag” inspiration. It’s her earliest memory of being in “such awe of the makeup, the hair, the outfits, the dancing, the songs.”

“I think what this project is honoring is that inner child of mine and proving to her that she deserves to be that version and that she does exist.”

With drag performance as an entry-point into queerdom, “The The stage isn’t just her playground, though. Even now at 25, just a Rise and Fall of a Midwest Princess,” then, was destined to be few years into her career, Roan knows the power of her platform, proudly rooted in the art form. Roan describes the album as “super and she knows how to use it as a queer artist. obnoxious and very tongue in cheek, and I think that’s exactly what drag queens do.”

“I know for my project, I am very adamant about giving back to the queer community,” she says, “and I think that is what I encourage One song, “Casual,” features a “mermaid drag girly” in the video; to other artists, whether they’re queer or not, just giving back to in another, for “My Kink Is Karma,” Roan appears as “literally a the community that supports them so much, whether that be by drag clown devil situation.” For the video, she learned how to do lowering ticket prices to what they can, or lowering merch prices drag brows by watching makeup tutorials on YouTube by beauty to what they can, or donating a portion of every ticket or doing expert Patrick Starrr, who appeared as a guest judge on “Drag charity events. I think that’s the most important part, because no Race Philippines.” one’s going to stand up for queer people. It’s got to be us. We “I think the songs themselves have drag elements,” she says, “but have to support each other. We have to do mutual aid funding and more so in the visual aspects of how I do my makeup. All the songs mutual safe spaces.” are very camp, and I think if you’re taking it seriously, you see it Proceeds from every ticket sold on her tour are going to For The as tasteless, but the reality is that’s just drag; it’s supposed to be Gworls, a Black- and trans-led charity based in New York. As for tacky.” her openers, she’s sharing the stage with those who have inspired her — drag queens. Three Detroit queens, ANTI, Perry Dox and Go back even earlier to her biggest single to date, “Pink Pony Aphrodite, opened for her at St. Andrews. At the show, Roan Club,” released in 2020 but still finding new audiences even now, pointed people to their Venmos so they could tip them. and you’ll hear Roan envisioning how her mother might react to seeing her dress entirely different. Roan can picture what her mom Whether that’s the drag queens onstage or queer pop peers like — melodramatically shocked — would say while she’s dancing Kiyoko and Fletcher, Roan is one with the “little pop girlies” now — at a strip club: “God, what have you done?” The song, which a phrase it’s hard to imagine her even thinking about using when references a club just outside of Willard, was inspired by Roan’s “Die Young” came out. obviously transformative visit to the gay bar The Abbey in West Hollywood. “I can’t ignore the crazy visions of me in L.A.,” she But in Detroit, freer to be herself in all her aspirational queer glory, sings, “and I heard there’s a special place where boys and girls a different artist emerged. It was clear that night Roan hadn’t just can be queens every single day.” accomplished what she was inspired by McKenna to do — “I feel like I was put on this earth to throw fun parties” — but she made In the video, she prances around on stage in a rhinestone encrusted that party seem like a homecoming for anyone who also knows the cowboy hat at a biker bar — you can imagine some of those feeling of wanting to break free. grizzled guys batting an eyelash at what’s about to come — and then, suddenly, Roan lets loose with drag queens Porkchop and “I feel really at peace, which is something that I didn’t really know Meatball and a posse of harness-clad leather daddies. Midwest I would feel,” Roan says. “But I just feel gratitude and peace. I’m princess reborn! proud that I kept going through all of the part-time jobs, through “I think what this project is honoring is that inner child of mine and being dropped by a label, through all the breakups, through all proving to her that she deserves to be that version and that she the times my bank account was nearly empty. I think as long as does exist,” Roan says.

I’m literally putting on shows that make people happy, or playing music that makes people feel seen and heard, I can’t ask for Outside of immersing herself in the freewheeling L.A. life, it was anything else.” opening up for U.K. pop-rock artist Declan McKenna, whose spectrum of queer sexuality is ever-changing, in 2018.

“I was so jealous of them, because they had glitter on their faces every night, and they threw balloons in the audiences and they were jumping off amps and speakers and everyone was screaming,” she says. “There’s no reason to be doing this job if it doesn’t feel like that.”

“I love seeing other queer artists, of course, and I love talking to them,” she adds. “I feel like there’s a little alliance with all the queer girlies. I was literally talking to Reneé Rapp this morning, and then Hayley Kiyoko and I are friends.”

In regards to her own musical journey, Roan attributes attending summer camp at Interlochen in Michigan, a place that “literally changed my life,” to a pivotal professional breakthrough.

“I’ve never met creative kids before that camp, and it changed my trajectory forever,” she says. “I’d never been with other songwriters before in my life that were my age. Everyone was a fucking hippie, and I’m from Trump country. I’m from a heavily church background, and this is not that. There were kids from all over the world there. It was just so inspiring.”

The song she wrote at Interlochen, “Die Young,” ended up being the most significant in her professional career as a recording artist, when “a few months later, I was sought out by record labels Chris Azzopardi is the Editorial Director of Pride Source and six months later got signed for five years.” She was only 17 Media Group and Q Syndicate, the national LGBTQ+ wire and already picked up by a major label (after Atlantic Records service. He has interviewed a multitude of superstars, dropped her in 2020, she released her full-length debut on Island including Cher, Meryl Streep, Mariah Carey and Beyoncé.

Records).

His work has also appeared in The New York Times, Vanity Fair, GQ and Billboard. Reach him via Twitter @ “Die Young” was released as the first single from her 2018 EP, chrisazzopardi.

“School Nights,” an era in her career that she describes as “dark alt-pop girl vibe.”

“That was really just not fun. Gay clubs are much more fun than straight clubs,” she says.

New Dimensions of Cirque Du Soleil

By Matt Bearden Photos courtesy pf Cirque du Soleil, Matt Bearden, MH

Do you think about the world you create?

Do you think about how you interact with the environment?

Do you think about the animals we share Earth with?

ECHO, Cirque du Soleil’s 20th Big Top show, will get you thinking about these questions.

Jaw-dropping acrobatics, hilarious comedy acts, and dimension-breaking props will bring you face-to-face with the exploration and building of the world around us.

An inquisitive girl. FUTURE. Her companion. Ewai the Dog. Our world. The CUBE. FUTURE and Ewai “navigate the phases of evolution” with a menagerie of animal characters as they learn that their “actions have the power to shape the world.”

Inspired to collaborate, FUTURE and the menagerie of ECHO’s cast come together to rebuild our planet, the CUBE, piece by piece, creating the world we all want to live in.

Unsurprisingly, Cirque du Soleil challenges how we interact with space, people, and our environment.

Performance art, especially, is a commentary on social, political, and cultural climates. While all Cirque du Soleil shows bring a spectacular story performed through modern-day circus acts, ECHO goes further.

ECHO embraces technology and texture more than I have ever seen a Cirque show do. To bring the CUBE to life, to break dimensions, there are 10 projectors set up inside the Big Top—the most a Cirque show has ever used. The projectors show the CUBE dismantling and rebuilding. It gives new imagery and movement as characters interact.

The CUBE, essentially the size of a 2-story apartment building, is made of various materials, such as foam or carbon fiber, in addition to its sturdy structure.

One act that audiences will love is the first-of-its-kind dual slackwire act—with fire! When talking to artistic director Fabrice Lemire, this act concerns animals and wildfires. (I thought I was watching a live cinematic experience during this act.)

At its core, ECHO is “fueled by the power of invention.”

ECHO invites the audience to participate in a universe of color, wonder, and infinite possibilities. The comedic duo, DOUBLE TROUBLE, plays with the boxes pulled from the CUBE. In a way, they’re exploring how the pieces stack and interact together. With FUTURE, they interact with the blocks as pieces get scattered in the audience. As all Cirque shows have an element of audience participation, the purpose of ECHO becomes meta as audiences actively build the CUBE.

Charlotte O’Sullivan and Penelope Elena Scheidler are ECHO’s hair suspension act. One of my favorite acts of the show, these two performers came to Cirque du Soleil as a pair with their own choreographed routine. O’Sullivan praises the trust Lemire and his team have for her and Scheidler. She remarks that it has given them the freedom to create under the Big Top. When watching this act, take in the synergy the two performers share. The grace and beauty in their movements invite you to “suspend” your disbelief in the near impossible. And…while your jaw may be on the floor, imagine if you were hanging 20 or 30 feet in the air from it. You’ll see what I mean.

Interestingly, not all performances of ECHO are the exact same. The show I saw may not be the exact one you’ll see. Live entertainment has its own obstacles and contingency plans. Every act in ECHO has backup acts ready to be swapped in. If the CUBE or some other technical difficulty occurs, the cast has ways to work around it—ways in which you won’t know are swap-ins! The magic of live performance knows no bounds. This means you will always get a spectacular experience whenever you see ECHO or any Cirque du Soleil show.

Art is inviting. It begs the onlookers to put themselves in a position of introspection and introspection. As queer people, we often ask where our representation in the art is. Sometimes, it’s evident through the rainbow’s presence or outward demonstration of queer love. Other times, it’s more subtle.

If ECHO’s message is “the “world is yours to create,” where can queer audiences find themselves in this show? Lemire has the perfect answer: FUTURE and the CUBE. You draw your path. We don’t know where we’re going as gay people, so just go and explore. Being different is important. You must force yourself to find those places to be accepted. A message of hope in the way everyone gets together.

When connecting queerness and FUTURE, you should look at her outfit: clouds and camouflage.

Blending in. She hasn’t fully realized herself, much like how we queer people are still realizing who we are. We search for our tribes. We blend in with specific environments. But ultimately, we become our true selves by creating our paths.

The impact we make on our world leaves a permanent mark. I know for me, and I hope for you, too, that we are creating a beautiful and hopeful world. A world where we won’t need to hide. Where our sisters and brothers can become who they truly are in creating art and poetry—creating a better future.

Cirque du Soleil’s ECHO is at Atlantic Station through January 21, 2024. As with every Cirque show, there is no bad seat in the house. When arriving, enjoy the preshow’s jugglers and clowns mingling and teasing patrons. Pick up popcorn, cold drinks, and merchandise, too! You can purchase general admission, VIP, or Premium Backstage Tour packages all through Cirque du Soleil’s website. While on the website, check out the content about costuming, set design, characters, and more through videos and an immersive app!

Post, rave, and enjoy Cirque du Soleil’s newest show, ECHO!!

Get tickets at cirquedusoleil.com/echo, tag Cirque du Soleil’s ECHO using #ECHOcirque on their social platforms!

Open Hand leadership, Board Members, Campaign Committee, and representatives from the construction team at Moeller Purcell and architecture firm Terminus.

Open Hand Expands its Impact in Atlanta Edited by Mikkel Hyldebrandt organization serves over 11,000 medically fragile individuals annually through targeted nutrition services. In 2022 alone, Open Hand provided nearly 1.4 million made-from-scratch meals, each meticulously approved by a registered dietitian In response to the escalating demand for its before reaching clients’ homes. invaluable services, Open Hand, a cherished nonprofit within the LGBTQ+ community, is Despite this impressive scale of operation, the embarking on a significant expansion in metro demand for Open Hand’s expertise continues to Atlanta. The driving force behind this growth is the grow. As Georgia’s leading provider of targeted pressing need for Open Hand’s medically tailored nutrition interventions, Open Hand anticipates a meal and nutrition services, a demand that has 50 percent increase in demand for its meals and surged not only in Atlanta but also beyond. services over the next five years. The new 43,000 square-foot headquarters, located at 1380 W. Heading this transformative initiative is Matt Marietta Street, is poised to be a catalyst for further Pieper, the dedicated Executive Director of Open growth, enabling Open Hand to expand its reach Hand. Pieper is at the forefront of addressing the and provide the healing power of food to even ever-increasing demand for Open Hand’s services, more neighbors in need. emphasizing the crucial role the organization plays in providing medically tailored meals and nutritional With plans to move into the new facility by late support.

Spring 2024, Open Hand’s innovative approach to addressing nutritional needs underscores its Open Hand recently marked a groundbreaking commitment to making a lasting impact on the moment by initiating the construction of its new health and well-being of the community it serves. headquarters in the Gove Park neighborhood and Westside Park. This strategic move is a direct response to the surging demand for their services and is funded by the organization’s largest capital campaign to date—a $19.5 million initiative titled “The Healing Power of Food: A Healthy Life Delivered.”

The groundbreaking ceremony was attended by a collaboration of campaign and organizational leadership, the board of directors, construction and architecture teams, symbolizing the collective effort and commitment to Open Hand’s mission.

Open Hand has evolved into the Southeast’s largest community-based supplier of homedelivered meals and nutritional counseling and ranks among the largest in the nation. Currently preparing and delivering 5,000 meals daily, the

PIctured L-R: Matthew Pieper, Executive Director Open Hand, Shirley Powell, Open Hand Board Chair, Johanna Ellis Reisinger, Open Hand Campaign Chair, Katie MacKenzie, Senior Director of Resource Development and Marketing

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