Caught in the Act: Annual Variety Shows That Spiked Community Spirit
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A founding board member of Common Bond, Jon Hull created the Caught in the Act variety shows as an annual fundraiser for our nonprofit. Jon’s goal was for gay women and men in Albuquerque to have an opportunity to demonstrate their talents and for the community as whole to have a great time.
"Hey kids, let's put on a show!"Which Mickey Rooney/Judy Garland M-G-M musical is that line from? “Babes on Broadway” is one of the likely sources, but somewhere along the way, Jon Hull got the inspiration to do for Albuquerque what Arthur Freed did for Hollywood (and the world).
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David Seidel, Jon’s longtime companion recalls, “Jon dedicated every free moment to the production of the Caught in the Act shows, all year round. Gathering equipment, script writing, songwriting, lighting...it really was his passion. In 2000, when he was diagnosed with high blood pressure, he decided to slow things down, but he didn't retire from it totally. He went on to arrange music, sound and video for the Dolls shows, Anjelica and the Del Rios, Kenny Chavez and the Honeybees, as well as providing sound and video for the Albuquerque Social Club. He never charged anyone a cent. He loved the Albuquerque gay community!
For years, Jon was involved in almost every Dolls show -- be it financial assistance, sound equipment, lighting/projection equipment, arrangements, recordings. He loved theater! After Caught in the Act ended, Jon spent a few years "joined at the hip" with Mathew Bubb (Geneva Convention of the Dolls) from one show into the next, creating soundbites, arrangements, videos and early on, he would actually run the live shows’ sound cues.
This all went on pretty much up until the pandemic hit and shut everything down. In his last days, he was talking about writing a sequel to his mini-musical, Michael's Song. I just can't say how proud he was of the Albuquerque gay community and how far it has moved forward. Until the day he died, producing Caught in the Act was his legacy and proudest achievement of his life!”
Kenneth Ansloan (Tequila Mockingbyrd of the Dolls) commented “Jon was responsible for discovering so many people and giving them their first time on stage. He really was a great producer and had an amazing eye for talent (no matter how raw)! I know that Jon’s mini-musical, Michael's Song, was autobiographical, and he did the music and songs for that.
Jon was exceptional at doing sound editing. For our first few Dolls shows (before Jon started doing our sound cues), we actually used an old-fashioned tape recorder that someone would have to press Stop and Play. We were definitely very primitive. Jon took us into the 20th century and beyond!
We would get all the sound cues ready, then Jon would edit them together. Hours upon hours went into this. Jon was so patient with us. He was so technical savvy (which Matt and I certainly were not). He did a lot of filming for us that we used in shows and did all of our fabulous prologues! He also videotaped all of the Dolls shows.
I did not do Caught in the Act during the early years, but this was during the AIDS crisis and I know that his shows were so valuable to the community during those frightening times. It really did bring the community together.”
Comedian Echo Dobie appeared in six Caught in the Act shows. When contacted for this History Project, she said she has many recollections from those days. “One memory stands out. Once a year, Jon would call me to say: I need women! It was not an expression that escaped his mouth at any time other than the lead-up to CITA when he would be looking for acts from the lesbian community. So I would dutifully look mostly for what I called DWAGs (Dykes with a Guitar) or the like.
There was also the time I had left my personal grooming go until the last minute. I went out to the stage and asked, ‘Can anyone here cut my hair before tonight's show? I KNOW there's a hairdresser in here somewhere.’ I think Dean Squibb cut my hair. Another reason I adore him.
I also remember a particular skit we performed at the show. I think the idea was mostly Jon's. I don't know for sure, but I was brought into it by Jon. I got to play a superhero of sorts, the Lesbian Avenger! I made my own costume (I still have the cape that I sewed). Our antagonist was "Gosh Limpballs". He was trying to prevent gay marriage.
Anyway, the day of the show, someone suddenly produced a a flash ring device meant to show the awesome super powers of the Lesbian Avenger. It had a little charge in it and I simply had to strike it just so in order to create a sudden spark on stage. The staff of the KiMo went nuts. We were going to have to have two fire extinguishers just off stage on each side held by people ready to pounce on any fire that might result. More important to me was that it was a challenge to get the ring to work properly…and I was afraid of it.
So I suggested that instead of this device, my Lesbian Avenger's secret weapon should be...my armpit! You know, because lesbians in general have some fearsome underarms. The guys in the skit (I remember Ray Rivera and Jim Johns among others) expressed concern that this could be seen as offensive. I assured them that it would be fine, I could make it work, and it would be hilarious. Indeed, brandishing my armpit brought the house down. The Lesbian Avenger vanquished Gosh Limpballs and saved gay marriage!
Jon was a kind of mentor when I began producing Funny Lesbians for a Change. I did not produce it in its first year, but I was sharing that role with my then girlfriend from year two through the tenth and final year. He loaned us his personal audio equipment. He freely gave advice regarding everything from securing paid advertisers for the event's programs to using the KiMo stage to its best advantage. He got me in touch with the right Common Bond people to umbrella our organization, Lesbians for Change, under the organization's 501(c)(3) status when we moved the show to the KiMo.
Jon was committed to nearly every LGBTQ+ theatrical performance in Albuquerque. He rarely said no when asked. He seemed to expect the same of others. Once he called and asked me to operate the followspot at a Dolls show at the South Broadway Cultural Center where he was functioning as the stage manager. I could not say no to Jon. Whatever stage knowledge or abilities you possessed, why would you not want to contribute? And he had helped to train a small army of sound and lighting operators and set designers throughout the years of being the driving force of Caught in the Act.”
Ann Nihlen, a founding member of the Women Studies Program at the University of New Mexico, and a previous lead facilitator for Common Bond’s Under 21 Group, said “I remember going to so many of these shows. They were often the only such event in town and it filled a void for the LGBTQ+ community to socialize and raise money for needy community causes. That said, it was primarily gay men’s culture on display, and the drag troupe ”The Dolls” was ready to call that out in wonderful style when they emerged towards the end of the shows’ run. The comedian Echo always was there and told it like it was. I learned to love drag and the queens.
In the early days gay men, who generally had more money and better jobs, led the organizations that existed. The show was there to support local LGBTQ+ groups and it helped Common Bond with funding as it grew. That said, as a white lesbian I was very aware that most of the early LGBTQ+ movement activities in town were male oriented. The horror of AIDS did mobilize all of us to help, particularly the men, and we gave generously.”
Brian Lanter, an original member of the New Mexico Gay Men’s Chorus, appeared in eight Caught in the Act shows. He recalls, “Jon permitted only cheerful and/or humorous songs. For instance, we once did a lively version of “Calendar Boy.” Personally, I also performed as a backup singer/dancer in a small group called Sluttage (the individual members being designated “sluts”), in which a charismatic lead singer (first John Burns, then Dean Squibb) sang songs which, performed by gay men in sometimes skimpy costumes, were essentially parodies.”
For years, Jon was involved in almost every Dolls show -- be it financial assistance, sound equipment, lighting/projection equipment, arrangements, recordings. He loved theater! After Caught in the Act ended, Jon spent a few years "joined at the hip" with Mathew Bubb (Geneva Convention of the Dolls) from one show into the next, creating soundbites, arrangements, videos and early on, he would actually run the live shows’ sound cues.
This all went on pretty much up until the pandemic hit and shut everything down. In his last days, he was talking about writing a sequel to his mini-musical, Michael's Song. I just can't say how proud he was of the Albuquerque gay community and how far it has moved forward. Until the day he died, producing Caught in the Act was his legacy and proudest achievement of his life!”
Kenneth Ansloan (Tequila Mockingbyrd of the Dolls) commented “Jon was responsible for discovering so many people and giving them their first time on stage. He really was a great producer and had an amazing eye for talent (no matter how raw)! I know that Jon’s mini-musical, Michael's Song, was autobiographical, and he did the music and songs for that.
Jon was exceptional at doing sound editing. For our first few Dolls shows (before Jon started doing our sound cues), we actually used an old-fashioned tape recorder that someone would have to press Stop and Play. We were definitely very primitive. Jon took us into the 20th century and beyond!
We would get all the sound cues ready, then Jon would edit them together. Hours upon hours went into this. Jon was so patient with us. He was so technical savvy (which Matt and I certainly were not). He did a lot of filming for us that we used in shows and did all of our fabulous prologues! He also videotaped all of the Dolls shows.
I did not do Caught in the Act during the early years, but this was during the AIDS crisis and I know that his shows were so valuable to the community during those frightening times. It really did bring the community together.”
Comedian Echo Dobie appeared in six Caught in the Act shows. When contacted for this History Project, she said she has many recollections from those days. “One memory stands out. Once a year, Jon would call me to say: I need women! It was not an expression that escaped his mouth at any time other than the lead-up to CITA when he would be looking for acts from the lesbian community. So I would dutifully look mostly for what I called DWAGs (Dykes with a Guitar) or the like.
There was also the time I had left my personal grooming go until the last minute. I went out to the stage and asked, ‘Can anyone here cut my hair before tonight's show? I KNOW there's a hairdresser in here somewhere.’ I think Dean Squibb cut my hair. Another reason I adore him.
I also remember a particular skit we performed at the show. I think the idea was mostly Jon's. I don't know for sure, but I was brought into it by Jon. I got to play a superhero of sorts, the Lesbian Avenger! I made my own costume (I still have the cape that I sewed). Our antagonist was "Gosh Limpballs". He was trying to prevent gay marriage.
Anyway, the day of the show, someone suddenly produced a a flash ring device meant to show the awesome super powers of the Lesbian Avenger. It had a little charge in it and I simply had to strike it just so in order to create a sudden spark on stage. The staff of the KiMo went nuts. We were going to have to have two fire extinguishers just off stage on each side held by people ready to pounce on any fire that might result. More important to me was that it was a challenge to get the ring to work properly…and I was afraid of it.
So I suggested that instead of this device, my Lesbian Avenger's secret weapon should be...my armpit! You know, because lesbians in general have some fearsome underarms. The guys in the skit (I remember Ray Rivera and Jim Johns among others) expressed concern that this could be seen as offensive. I assured them that it would be fine, I could make it work, and it would be hilarious. Indeed, brandishing my armpit brought the house down. The Lesbian Avenger vanquished Gosh Limpballs and saved gay marriage!
Jon was a kind of mentor when I began producing Funny Lesbians for a Change. I did not produce it in its first year, but I was sharing that role with my then girlfriend from year two through the tenth and final year. He loaned us his personal audio equipment. He freely gave advice regarding everything from securing paid advertisers for the event's programs to using the KiMo stage to its best advantage. He got me in touch with the right Common Bond people to umbrella our organization, Lesbians for Change, under the organization's 501(c)(3) status when we moved the show to the KiMo.
Jon was committed to nearly every LGBTQ+ theatrical performance in Albuquerque. He rarely said no when asked. He seemed to expect the same of others. Once he called and asked me to operate the followspot at a Dolls show at the South Broadway Cultural Center where he was functioning as the stage manager. I could not say no to Jon. Whatever stage knowledge or abilities you possessed, why would you not want to contribute? And he had helped to train a small army of sound and lighting operators and set designers throughout the years of being the driving force of Caught in the Act.”
Ann Nihlen, a founding member of the Women Studies Program at the University of New Mexico, and a previous lead facilitator for Common Bond’s Under 21 Group, said “I remember going to so many of these shows. They were often the only such event in town and it filled a void for the LGBTQ+ community to socialize and raise money for needy community causes. That said, it was primarily gay men’s culture on display, and the drag troupe ”The Dolls” was ready to call that out in wonderful style when they emerged towards the end of the shows’ run. The comedian Echo always was there and told it like it was. I learned to love drag and the queens.
In the early days gay men, who generally had more money and better jobs, led the organizations that existed. The show was there to support local LGBTQ+ groups and it helped Common Bond with funding as it grew. That said, as a white lesbian I was very aware that most of the early LGBTQ+ movement activities in town were male oriented. The horror of AIDS did mobilize all of us to help, particularly the men, and we gave generously.”
Brian Lanter, an original member of the New Mexico Gay Men’s Chorus, appeared in eight Caught in the Act shows. He recalls, “Jon permitted only cheerful and/or humorous songs. For instance, we once did a lively version of “Calendar Boy.” Personally, I also performed as a backup singer/dancer in a small group called Sluttage (the individual members being designated “sluts”), in which a charismatic lead singer (first John Burns, then Dean Squibb) sang songs which, performed by gay men in sometimes skimpy costumes, were essentially parodies.”