Reverend’s Interview: Eating Out with Mink Stole

Eating Out: All You Can Eat, opening in New York this Friday, Los Angeles on October 16 and expanding from there, is the third film in the gay comedy franchise originated by writer-director Q. Allan Brocka. It may begin with the funeral of a major character from the previous entry in the series, but don’t let that fool you into thinking the sequel is in any way a serious drama.

As soon as actress Mink Stole opens her mouth to eulogize the deceased, fans of Eating Out and Eating Out 2: Sloppy Seconds will find themselves back in hilariously tasteless territory. Reprising her role as Helen from Eating Out 2, Stole plays a woman who is arguably a little too accepting of first her son’s and then her nephew’s homosexuality.


“I was trying really hard to be a good gay mom in the second film,” the outspoken and delightful Stole told me in a recent phone interview. In the new sequel, Stole says her character “has embraced the gay lifestyle wholeheartedly; after all, they call me ‘the coolest mom in the world’ in the film!”

Stole (who was born Nancy Paine Stoll in 1947) is best known for her work in virtually all the movies made by her longtime friend, gay filmmaker John Waters. She is considered one of the “Dreamlanders,” the name given to Waters’ ensemble of regular cast and crewmembers.


“John and I first met through a mutual friend back in Provincetown in the 1960’s,” Stole explained. “Although we’re both from Baltimore, we lived in different neighborhoods and probably never would have met there.” Stole still lives in Baltimore, directly across the street from the house in which she was raised.

I asked Stole whether she has a favorite role or film out of her extensive body of work with Waters. She replied: “I have several: Taffy Davenport in Female Trouble; Pink Flamingos I love because it was such a shocker and made such a statement; and I loved working with Kathleen Turner in Serial Mom.”


Of her turn as prim and proper Dottie Hinkle in Waters’ cult fave Serial Mom, Stole says “It’s not every actor who gets to say to Kathleen Turner, ‘You’re a mother-fucking cocksucker’!” She still keeps in touch with Turner, and it is clear Stole thinks fondly of her former co-star.

I had to inquire as to what Stole thinks of the phenomenal success Waters’ Hairspray has had, first as a well-received movie, then as a splashy Broadway musical, and finally as a big-budget movie musical. Stole played Corny Collins’ assistant, Tammy, in the original 1988 film.


“I liked Hairspray a great deal and it’s so much fun, but I never thought it would have the life it has had. But then, I never thought any of the films we made would have the life they’ve had.”

Other GLBT-interest films Stole has appeared in that weren’t directed by Waters include But I’m a Cheerleader, Leather Jacket Love Story, Splendor and Out at the Wedding. “I’m thrilled to have so many gay fans,” Stole told me. “We act to do good work, but our fans make the opportunities possible.”


Expanding on the topic of homosexuality, Stole said, “I worry about young gay kids, so every time there is a message that it’s OK to be who you are, it’s a good thing.” It is this concern that led Stole to play the role of Helen in the Eating Out films. “I think it’s really important that the message be as loud and persistent as possible.”

Eating Out: All You Can Eat centers on the efforts of young, new-to-town Casey (played by Daniel Skelton), Helen’s nephew, to win over the volunteer manager of the local Larry Craig LGBT Center (the gorgeous Chris Salvatore). Of course, it wouldn’t be an Eating Out movie if outrageous complications didn’t ensue, many of them engineered by the returning Tiffani, once again portrayed by the very funny Rebekah Kochan. Leslie Jordan of Sordid Lives and Will & Grace fame is also featured.


“I had worked with Allan Brocka (who produced the new film) several years ago on a film called Roberta Loved,” Stole recalls of what led to her involvement in the Eating Out series. “I also liked the part (of Helen); it’s a fun part! Also, in a film full of beautiful gay men, I loved that they give the best parts to women.”

Stole, who has always been single “partly by choice and partly by fate” despite being engaged at one point, is a dedicated supporter of same-sex marriage. “I’m all for it!” she exclaimed. “Why not? If two people want to make a commitment, they should be able to.”

“I don’t understand why straight people seem to think the expansion of rights is a threat to themselves,” she continued. Stole likened the growing, national battle over the right for partners of the same sex to marry to the fight over women’s right to vote in 1920. “People said back then that the nation would go to hell if women were allowed to vote, and we’re still here.”


Stole is as busy now as she’s ever been. She has several other movies awaiting release, is hoping to film John Waters’ next anticipated project — a holiday-themed comedy called Fruitcake — and sings in her own band.

“I’m still doing new things,” she said. “I’m a firm believer that it’s never too late to try new stuff. I love for people to take chances. Jumping off cliffs is good for the soul … although not literally!”

Eating Out: All You Can Eat will be released on DVD November 10. Click hereto pre-order from Amazon.com. Click here to watch the trailer (NSFW).

Interview by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Orange County and Long Beach Blade.

Queer Ear for the Movie Musical Soundtrack

This post is part of Film Babble Blog's "Soundtrack September".
As every good show queen worth their Playbill collection knows, nothing beats a good show tune, whether belted out on the Great White Way or on the Silver Screen.

So, as a service to our readers (as well as sexually confused high school drama students everywhere), we here at Movie Dearest have compiled the following list (in no particular order) of our 25 Favorite Movie Musical Soundtracks, a.k.a. the "Gayest" Soundtracks of All Time. Not all of the following movies are gay (and one isn't even technically a musical), but they — and their soundtracks — certainly have their gay fans.

The Wizard of Oz(1939): Judy sings "Over the Rainbow". 'Nuff said.

A Star is Born(1954): Judy sings "The Man Who Got Away". Ditto.

Cabaret(1972): And now it's Liza's turn, old chum, in this Kander and Ebb classic.


Grease(1978): Dig the homoeroticism in "Greased Lightning" (even with that whole "pussy wagon" thing) as well as "good girl gone bad" Olivia Newton-John doing a fierce "You're the One That I Want".

Xanadu(1980): Speaking of ONJ ... The movie may be terrible, but who can resist such hits as "I'm Alive", "Suddenly" and the roller disco title track.

The Rocky Horror Picture Show(1975): From Tim Curry's "Sweet Transvestite" to the audience participation-ready "Time Warp", you'll know why this was a midnight movie staple for years.


Hedwig and the Angry Inch(2001): The hard rockin'-est of the lot, featuring tour de force vocals from John Cameron Mitchell.

Hairspray(2007): Marc Shaiman and Scott Wittman's Tony Award winning score is brought to life with an all-star cast. (And the soundtrack for John Waters' 1988 original is none to shabby either.)

Beauty and the Beast(1991): We had to include at least one Disney toon tunefest, and this one's Oscar winning music by Alan Menken and Howard Ashman fits the bill ... especially with Gaston singing about how "every last inch of me's covered with hair."


Hair(1979): Speaking of hair ... A hunky Treat Williams sings all about his in the titular song ... as well as his tits in "I Got Life".

West Side Story(1961): You'll feel "pretty and witty and gay" with the landmark Stephen Sondheim/Leonard Bernstein score.

Zero Patience(1993): The most obscure of the bunch, this musical about AIDS (really) is well worth seeking out, both on DVD and CD.


The Sound of Music(1965): Admit it: you twirl around like Julie Andrews on that hilltop every time you hear it.

Victor/Victoria(1982): Speaking of Julie ... she bends her gender, rolls her shoulders and gives us her best "Le Jazz Hot".

The Adventures of Priscilla, Queen of the Desert(1994): Not exactly a musical per se, but from the lip-synced wonders of "I've Never Been to Me" to the finale "Finally", you won't care. No more f*cking ABBA ...?


Mamma Mia!(2008): Not quite. Yes, Pierce Brosnan's croaking is unlistenable, but the marvelous Meryl Streep and awesome Amanda Seyfried more than make up for him.

Funny Girl(1968): Early Barbra Streisand at her very best, from her signature song "People" to the show-stopping "Don't Rain on My Parade" to channeling Fanny Brice in "My Man".

Yentl(1983): More Babs, all Babs, all sublime.


Can't Stop the Music(1980): Now to the ridiculous ... But just try to listen to the Village People anthem "Y.M.C.A." without doing the "Y.M.C.A." arms.

Moulin Rouge!(2001): First, a sexy Nicole Kidman purrs "Diamonds Are a Girl's Best Friend", than a dreamy Ewan McGregor croons "My Song", then they cap it off with the ultimate romantic duet "Come What May". And who can forget the "Elephant Love Medley"?

De-Lovely(2004): Everyone from Robbie Williams to Alanis Morissette to John Barrowman get a crack at the legendary Cole Porter song book.

Evita(1996): Well, I couldn't forget Madonna, could I?


Dreamgirls(2006): Sure, it's got Beyoncé, but Jennifer Hudson brings the house down with her blistering interpretation of "And I'm Telling You I'm Not Going".

Were the World Mine(2008): For those who wanted a gay High School Musical ... OK, an overtly gay High School Musical. "Faeries away!"

That's Entertainment!(1974-1994): From Singin' in the Rain to The Band Wagon to Gigi, the deluxe CD box set is a crash course in MGM musical history.

Click on the titles to purchase the CDs from Amazon.com.

Reel Thoughts: Love 'Em or Leave 'Em on the Screen

When a movie is turned into a stage musical, it’s a huge gamble that can pay off handsomely, or sting the nostrils for years to come. I’ve been lucky enough to miss most of the misses, but I have seen all of the hits, so here are my Top 10/Worst 10. (Xanadu belongs near the top, but since it is almost a parody of the film, I didn’t include it on my list.)

The Best:
1) Hairspray: Hairspray is a smart, funny and infectiously entertaining show that reinvented its 1988 John Waters inspiration. Likewise, the film version of the stage version of the film (confused yet?) was a new creation altogether, and all three succeed in proving that sometimes the Hefty Hideaway girl can get the guy!

2) The Producers: It may be heresy to say, but I can’t watch the original Mel Brooks film, what with Gene Wilder’s shrieking and Zero Mostel’s bellowing. But the musical? Brilliant! Brooks’ canny eye about what works on stage combined with his love of old-fashioned musicals made this one of the funniest and most entertaining nights I’ve had at the theater.

3) The Lion King: If you’re going to remake an animated movie about a lion cub with daddy issues (and big-time “uncle issues”), it helps to infuse the show with gorgeous ethnically diverse and respectful imagery that celebrates the beauty and wildlife of Africa. Like The Producers, I don’t particularly enjoy the film inspiration, but on stage only one word suffices: Wow!

4) Beauty and the Beast: Disney’s first screen-to-stage translation was a smart, eye-popping spectacle that kept all of the great Alan Menken/Howard Ashman music that made the movie feel like a Broadway musical in the first place, but added stage magic that enchanted audiences and was more responsible than any other show for inspiring a generation of children to love the theater. The dishware sang “Be Our Guest” and I was more than happy to oblige.

5) La Cage aux Folles: Okay, so it was a stage play before a film, but Jerry Herman and Harvey Fierstein’s ode to non-traditional families and “being who you are” definitely followed the film plot-wise, but burst forth with everything that is wonderful about Broadway musicals. "The Best of Times" indeed.


6) Reefer Madness: So maybe it isn’t wise to try and turn Citizen Kane into a musical comedy (“Rosebud!”), but why not try and turn something terrible into something great? Reefer Madness takes the awful 1930’s Scare Film about the dangers of the demon weed and makes it sublimely hilarious. This time, the humor’s intentional!

7) Little Shop of Horrors: This selection could land anywhere on the list, but it replaces The Full Monty only because I enjoy the rest of the shows personally, regardless of their pedigree or lack of critical approval. This was the show that proved that films should be musicals, and that schlocky films about man-eating plants named Audrey II are a better source material than beloved classics (Breakfast at Tiffany’s, The Thin Man, High Society, et al).

8) Victor/Victoria: I know, I know! What’s this doing on the list? Simply put, I found the show a hoot to watch and would go see it again. Adding songs that were so delicious/awful as “Paris Makes Me Horny” (“It’s not like Californie…”) and “Louis Says” added to the thrill of seeing Julie Andrews in her last big musical performance. The pro-GLBT message of the show certainly didn’t hurt either! Thoroughly Modern Millie won the Tony (over Urinetown no less ... and without "Tap-Tap-Tapioca"!), but V/V is the Julie show I prefer.

9) Catch Me If You Can: It’s too early to know how the show will evolve prior to its Broadway debut, but in Seattle it was a cool, cool night at the theater. A stellar cast including super-hot Aaron Tveit, Norbert Leo Butz and Tom Wopat really helped reinvent the 2002 Steven Spielberg film, and once again Marc Shaiman, Scott Wittman and Terrence McNally prove that they know what works on stage.

10) Cry-Baby: This is the most unfairly-maligned musical of recent history, and I truly think it’s because its ironic name (also the title character's) is fun for people to put down. Was the show as naughty and campy as its John Waters inspiration? No. Still, when Cry-Baby was on fire (Alli Mauzey’s incredible “Screw Loose”, the license plate jailhouse stomp of “A Little Upset”, and many other entertaining musical moments), Cry-Baby was exactly the show I wanted it to be, and I had a blast.

Of course, just because you can make a musical out of a movie doesn’t mean you should, and these are my worst ten musical mistakes, and the reasons I think so.


10) Big: Remembering this show, which underwent huge rewrites prior to touring and is now considered a great show for schools to perform, I was reminded how much I enjoyed much of it. However, the bland Daniel Jenkins in the lead, and the dreaded “Happy Birthday Josh! Birthday Josh!” nightmare scenes will haunt me until I find a Zoltar Speaks machine to wipe out the memory.

9) Young Frankenstein: Lightning doesn’t strike twice, especially when the producers of Young Frankenstein exhibited the same hubris of their title character. Huge ticket prices, a cavernous theater and a lackluster score of unmemorable songs did not bring the film to life, even with a stellar cast that included Sutton Foster, Megan Mullally and Roger Bart.

8) Tarzan: Josh Strickland’s amazing body notwithstanding, nothing in this amplified theme park show justified its existence, proving that Phil Collins is no Elton John, much less a Menken or Ashman. The biggest stumble with Tarzan (and The Little Mermaid) was their need to be blockbusters that blanched out any risk-taking.

7) The Wedding Singer: The hallmark of poor film to stage adaptations is losing what made the film special, which in this case meant Drew Barrymore and the usually unbearable Adam Sandler. The completely unmemorable score and book make the show little more than a non-audience participatory Awesome 80s Prom.

6) High School Musical: This is what I call “Rice Cake Theater”, a show with absolutely no flavor or value intended simply to cash in on the goodwill generated by its small screen original. Still, it gets kids interested in live theater, although in this case, it could just as easily be HSM on Ice.


5) Footloose: Take an 80’s movie without much going for it except its soundtrack, regurgitate it on stage with little or no originality and you’re ready to "cut loose, footloose". Believe me, when you watch it, you’ll think somebody cut loose.

4) Saturday Night Fever and Urban Cowboy: Apparently, if one John Travolta movie musical was successful (Grease), everything he did must be aching for the musical treatment. How else can you explain stage versions of Saturday Night Fever and its lesser cousin, Urban Cowboy? Fortunately, neither show inflicted itself on audiences very long.

3) Dance of the Vampires: On first glance, a stage version of Roman Polanski's The Fearless Vampire Hunters might not be an automatic flop. To really put it over the top, you need terrible music, an awful book and a cast (including a hammy Michael Crawford as Count Giovanni Von Krolock) unable to overcome either one.

2) Singin’ in the Rain: I can’t tell you if this show is always as god-awful as the production I saw, but it definitely begs the question: “Why?! For Pete’s sake, why??!” It’s virtually impossible to cast leads as charismatic as Gene Kelly, Debbie Reynolds and Donald O’Connor, nor is the title song ever going to match Kelly’s splish-splashing high-kicking delivery. “All wet” is an understatement.


1) Carrie: What part of this infamous catastrophe was worse? The malt shop scene where the kids dressed like leather bar habitués ? Lyrics like “It's a simple little gig, you help me kill a pig”? The death of Margaret White transported from Carrie’s grubby house in the film to some surreal “Stairway to Heaven”? The answer is “All of the above”. Carrie was quite simply the perfect storm of misguided musicals, which lives on in the hearts and minds of those few lucky or unlucky enough to witness it.

Click here for Chris' best and worst from screen to stage, and feel free to weigh in with your reactions and/or your personal picks in the comments section below!

Review by Neil Cohen, resident film critic of Movie Dearest and Phoenix's Echo Magazine.