Spotlight On: David Nunner
Connecticut Theatre Company’s “Spotlight On…” series continues with a look into the cast of Sordid Lives. Get to know David Nunner who is portraying Earl “Brother Boy” Ingram in our production!
Introduce yourself to our audience.
I’m David Nunner, President of CTC and I have the distinct, glittery honor of playing Brother Boy in this fabulous production!
What drew you to your specific character in this “sordid” world?
Brother Boy is hugely dramatic and goes on a big journey during his scene. He is literally fighting for his identity in a world that wants to “cure” him. The draw was the resilience. Despite the tragedy of his situation, he has this incredible, defiant joy. Plus, who could say no to the wardrobe?
How are you approaching the balance between playing a cartoonish character and keeping them real/grounded, as the script demands?
The cartoonish part of my character is the drag: the wigs, the makeup, the Tammy Wynette obsession. But the grounded part is the loneliness he feels, being shut away in an institution. I play Brother Boy as a man who finds his only safety and power through these country queens. Playing into that desperation, the feathers and aquanet don’t look like a joke, they look like armor.
What is the biggest challenge of taking on this role, particularly with the required West Texas accent?
Brother Boy’s version of the West Texas accent has a touch of Nashville glamour. His vocal quality plays into the twang, while honoring the starlet he really is.
Which line are you most excited to deliver?
“Well, It ain’t a workin!” It’s the moment Brother Boy confronts Dr. Eve, and truly commits to who he actually is.
“Sordid Lives” is a massive ensemble piece. How are you collaborating with the cast to create that specific, chaotic family chemistry?
How did you first discover the world of Sordid Lives (the movie, the series, or the play)?
I remember seeing the 2000 film and loving Leslie Jordan’s performance. I loved how his character balanced being so flamboyant and also deeply tragic. It stayed with me for years, and getting to step into those heels is a full-circle moment for me.
How do you think your character has evolved—or hasn’t—if you were to imagine them years after the play ends?
I like to imagine Brother Boy makes it out of Texas to a gay friendly neighborhood. I don’t think he ever stops being “Brother Boy,” but I think he finds a community where he doesn’t have to explain himself. He’s probably running a Tammy Wynette tribute night and finally getting the standing ovation he deserves.
What do you hope the audience takes away from this specific production of the show?
I hope they laugh until they cry, but I also hope they realize that shame is a wasted emotion. If Brother Boy can find a way to love himself while locked in a padded cell, there’s hope for all of us to be a little more authentic in our own lives.
“Sordid Lives” opened on March 13th and runs through March 22nd at Connecticut Theatre Company. Tickets on sale now!
“What I really liked about SORDID LIVES was that, despite all of the ridiculousness, it wasn’t just funny. Don’t get me wrong, it was very funny! But it was also moving.” — KRISTA GARVER of BroadwayWorld.com
“Playwright Del Shores is the master of characters: dude-at-the-bar characters, one-Coors-too-many characters, hell-hath-no-fury-like-a-woman-done-wrong characters, and men-who-adore-Tammy Wynette characters.” — LANA SWEETEN-SCHULTS of Times Record News
“Chain smokin’ and fast talkin’ housewives, crazy and eccentric characters, bizarre situations, a ‘coming out’ story, are loosely based on real life stories, as observed by young Shores who grew up in a small Texan town as “a Southern Baptist preacher’s damaged by religion child,” and lived through his own ‘coming out’ later in life. The authenticity of the characters explains the power and popularity of Sordid Lives with both gay and non-gay audiences. “Not only is it (the play) funny, but people really relate to the characters and feel safe to share it outside the gay community” Shores has said.” — ELIZA ANNA FALK of DC Theater Arts
