Ever been to a theatrical production or seen a film and asked yourself, or the person next to you, how someone built up the courage to perform a nude scene? Better yet, have you ever marveled at how realistic the sex scene was or the perfection of the characters' intimacy?

Nathan Lee Graham is crystal clear about his personal and professional identity. 

"My pronouns are he, him—diva. And I'm a very proud Black gay man," he says. 

A conversation with the legendary actor Andre De Shields is a master class.

The Tony-award-winning actor is currently receiving rave reviews as Ben Loman in the Broadway revival of Arthur Miller's "Death of A Salesman." De Shields plays the successful and wealthy older brother of Willy Loman (Wendell Pierce), a salesman grappling with a fruitless life in a burgeoning America. The latest production of "Salesman" makes history as the first Broadway revival of the dramatic masterpiece to feature African American actors in the leading roles.

A celebrated Black queer artist, De Shields began his professional career in a 1969 Chicago production of "Hair." His star turn in the title role of the 1978 Broadway hit, "The Wiz," opposite Stephanie Mills, has endeared him to audiences across the globe.

De Shields insists that his most challenging role is always the one directly in front of him. Whether performing for an entire house or in scenes with Neil Patrick Harris in the hit Netflix comedy “Uncoupled,” or standing before a classroom filled with fresh-faced students. Each time he steps on stage, he does so as an advocate. Over the last five decades, he's prioritized helping audiences understand and accept what it means to be human.

"As an actor-activist, I want to fill intimate spaces with enormous beauty," De Shields proclaimed.

Three Black gay men—a Pulitzer and Tony Award-winning playwright, a Tony award—nominated actor, and a possible future Grammy award-winning singer/songwriter— are having the time of their lives professionally and creatively. And to some extent, they credit the coronavirus pandemic.

Rob Milton, 33, is one of them.

While pundits and social scientists have debated whether the pandemic has led to a “Great Revelation” of some sort, Milton, and others, credit the pandemic with giving him the motivation needed to have the career he always wanted.

“I have pretty much surrounded myself with people who are creative, and post-pandemic, a beautiful thing has happened,” Milton told The Reckoning. “In some respects, the pandemic leveled the playing field. It caused a lot of the people I know to stop and think about how important it is to do the thing or things you are called to do.”

Playwright Robert O’Hara knew exactly what he was doing when he named his hit 2011 play “Bootycandy.” The provocative title generates interest and all kinds of assumptions about the semi-autobiographical comedy deeply entrenched in the Black queer experience. On May 14, Atlanta audiences will be able to experience O’Hara’s play when it opens at Actor’s Express.

”Bootycandy,” tells the story of Sutter (Damian Lockhart), who is on an outrageous odyssey through his childhood home, his church, dive bars, motel rooms, and even nursing homes. O’Hara weaves together scenes, sermons, and sketches to create a kaleidoscope that interconnects to portray growing up Black and gay.

Charlotte-based director Martin Damien Wilkins is at the helm of the Atlanta production. Wilkins has a long history with Actor’s Express and “Bootycandy,” having directed the show for Actor’s Theater of Charlotte in 2017. Like O’Hara, Wilkins is intentional about amplifying the Black gay experience in "Bootycandy," particularly after a 2017 performance where he says an audience member rejected the existence of a Black gay experience during a post-show talkback.

It’s been 40 years since Pulitzer Prize-winning novelist Alice Walker released her magnum opus “The Color Purple,” and since then, the critically acclaimed novel has been adapted for the screen and the Broadway stage, winning the prestigious Tony Award for Best Revival of A Musical in 2016. Now, Walker’s story is being presented to Atlanta audiences in a new production at City Springs Theatre currently running through May 22, that harnesses the brilliance of Walker’s words, the cultural shift propelled by the film, and the unrestricted celebration of the Black and queer experience on stage.

With a soul-stirring score featuring jazz, ragtime, gospel, African music, and blues, “The Color Purple” tells the story of Celie (Felicia Boswell) in early 20th century Georgia as she is subjected to and ultimately triumphs despite physical, emotional, and sexual abuse at the hands of both her father and husband, Mister (Gavin Gregory). The all-Black cast and creative team are led by Kamilah Long (Oregon Shakespeare Festival), in a rare appointment as a Black woman director of a show traditionally led by white men.

For many Black gay men, there are certain films in the Black theatrical cannon that continue to resonate decades after their release—” Waiting To Exhale,” the 1995 blockbuster based on the best-selling novel by author Terry McMillan and directed by Forest Whitaker, is one of those films. The impact of the original goes far beyond the popular gif of Bernadine (Angela Bassett) flicking a cigarette as she walks away from her husband’s torched luxury car. Now, writer and director Anthony Green (Cagebird Productions) is taking the commercial and cultural success of the film and adapting it for the stage in “When Boys Exhale,” an original reimagining centering the experiences of Black gay men inspired by the classic film.

After a sold-out premiere run in 2019 at Anacostia Arts Center in Washington, D.C, Green, in partnership with Tre Productions, is bringing “Exhale” to the Atlanta area on April 22. It’s an exciting time for the D.C.-based artist and his cast, who says he never imagined his play would mount a full production, only to have the pandemic completely halt all plans for the show’s immediate future.

“After we had those sold-out shows, we were going to do some more in DC because the demand was high, but then COVID hit and we had to cancel that, and I had to put When Boys Exhale on the shelf. I wasn't going to even touch it again,” Green says.

Upon learning the play’s origin, it’s plausible that Green’s “Exhale” would have been placed on the shelf following its initial success and not given a second thought by the man who penned the script.

In the first national tour of “Ain’t Too Proud: The Life and Times of The Temptations,” Broadway actor James T. Lane, 44, transforms into Paul Williams, the embattled original lead singer, and choreographer of the legendary Motown singing group. The tour will begin a six-day residency at Atlanta’s Fox Theatre on March 8. Nominated for 12 Tony Awards, and winner for Best Choreography, “Ain't Too Proud” tells the thrilling story of brotherhood, family, loyalty, and betrayal, as the group's personal and political conflicts threatened to tear them apart during a decade of civil unrest in America.

For eight shows a week, the openly gay actor embodies the highs and lows of a tortured artist incapable of escaping his own demons. It’s a story that parallels a period in Lane’s life that makes his casting feel more like a divine assignment than an additional credit on an already impressive resume. From the moment he showed up to audition for the role, to belting out Williams’ signature song, “For Once In My Life,” Lane has been appointed for such a time as this.

“The final audition was an in-person audition in New York City at Pearl Studios and there was no one there for the role,” Lane says. “I don't know what was happening, but I was the only one there. I couldn't get through the song [“For Once In My Life”] in the audition without bursting out into tears because it just meant so much,” he said.

For decades, Black queer creatives have used the art of storytelling to empower themselves and others by telling boldly unique stories created specifically for the Black LBGTQ+ community. However, not very long ago, there was a dire need for Black queer representation, even more so than it is today. In response to that void, pioneering San Francisco based Black gay theater troupe the Postmodern African American Homosexuals (affectionately referred to as Pomo Afro Homos) dominated stages during the early 1990s with their mix of humor, heart, and transparency in the wake of the burgeoning HIV epidemic and ongoing racial disparities.

Singer and “artivist" Mykal Kilgore says, in many ways, he feels like he is starting over. Having achieved success on Broadway (Motown The Musical, The Book of Mormon, HAIR!) and television (The Wiz Live!, Jesus Christ Superstar Live In Concert), Kilgore made history in 2021 when he became the first openly queer singer to receive a Grammy nomination for Best Traditional R&B Performance. Now, Kilgore is laser-focused on his budding recording career and “The Man In The Barbershop Tour,” which kicks off in Atlanta on February 3 at Vinyl.

It feels appropriate that he would begin his 13-city east coast tour in Atlanta now that he’s a new resident. Kilgore’s sit down with The Reckoning was his first matter of business and official welcome to the South after getting settled into his new Atlanta address. Without hesitation, he made it clear why he chose to make Atlanta home.

To say that 2016 was a whirlwind for Academy-Award-winning screenwriter Tarell Alvin McCraney would be an understatement. Five years after the film release of “Moonlight,” based on McCraney’s play “In Moonlight Black Boys Look Blue,” and four years since taking home the top prize of Best Picture during an unprecedented live television mix-up—McCraney’s ascension from Liberty City, Florida, to Chair of Playwriting at The David Geffen Yale School of Drama, to creating the OWN series “David Makes Man”—now in its second season — has made the MacArthur “Genius” Grant recipient a creative force of stage and screen. In his first interview with The Reckoning, McCraney opens up about his queer identity, collaborating with director Barry Jenkins to create a masterpiece, being awkward and reveling in going unnoticed on the street, and reactions to the last 20 minutes of “Moonlight,” and why much of it, for him, was troubling.

Prentiss Matthews III is a playwright, director, actor, and singer who made quite an impression after we met a few months back. I wanted to learn more about his work, artistic vision, and his approach to his craft. He graciously agreed to sit down and chat with me. Here is what we discussed.