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When Marans resurfaced to recruit Urie for the showcase of the play in New York City’s Studio Theatre last April, Urie says he was hardly reluctant.
“When I was deciding whether to do it, the biggest negative was that it was another gay character who works in fashion,” he remembers, “but I knew I would be doing something very different than what I do on extended its limited 2009 engagement for several weeks, finally closing at the end of August.
It’s .”Taking its name from an early euphemism for gay men, the play not only delivers an enlightening, poignant lesson on gay proto-activism, it also reveals another side of Urie, who nimbly renders Gernreich as the conflicted, driven professional he was.
In late February, however, Urie will return for the show’s third off-Broadway incarnation at New York’s New World Stages, the production again coinciding with shooting for .
Audiences who see this latest version will notice that while Urie’s depiction of Gernreich is at times caustic and comical, it’s a considerable cry from his reliably campy turn as Marc.
“It was just too soon,” says Urie, explaining why the group failed to leave a deeper footprint on gay history.
“Almost 20 years later was Stonewall, and that was very dramatic.