Arts & Entertainment
Holliday triumphs with choir
Gay Men’s Chorus 30th anniversary concert welcomes ‘Dreamgirls’ diva
Jennifer Holliday with the Gay Men's Chorus of Washington. (Blade photo by Joey DiGuglielmo)
Jennifer Holliday’s powerful singing ability, on display last weekend during two local concerts with the Gay Men’s Chorus of Washington for its 30th anniversary, is, of course, well known and loved.
But two things about Saturday night’s concert stood out — how soft spoken and perhaps even shy she seems when she speaks and how vocally invested she is in each note she sings. The reservation she exhibits during between song patter makes for a real jolt when contrasted with the unabashed vocal fire she utilized when she sang. To some ears not steeped in black gospel musical traditions it may have sounded histrionic and overwrought, but nobody could claim she wasn’t giving 110 percent.
Her selections — four solos and two with the Chorus — were chosen clearly to give her plenty of room to wail, shout and grunt with as much abandon as she could muster. And she mustered plenty. You know she could take the middle-of-the-road Anita Baker approach if she wanted, but so could a zillion other female singers. It was way more fun to hear her let it rip and utilize the vast bounty of vocal reserves of which she possesses.
Her 1983 single “I Am Love” and a Mahalia Jackson cover, “Come Sunday” were fine, but the two “Dreamgirls” numbers — “I Am Changing” and, of course, her showstopping signature song “And I Am Telling You I’m Not Going,” were clearly what everyone was clamoring to hear.
“Changing,” especially, brought down the house as she repeatedly growled the climactic lines — “stop-aaaah …. Me-aaaaah!” From a pre-show mini-musical (more on that in a minute), the extremely predictable (but not in a bad way) set list and Holliday’s interpretations, this was clearly not an evening for subtlety. But sometimes that’s OK.
After a donation pledge from Chorus director David Jobin, who made a joke of having to come on stage immediately after Holliday finished “And I Am Telling You,” the singer returned to do two covers with the Chorus, a welcome change of pace that featured live accompaniment (Holliday sang her solos to pre-recorded tracks) and powerful, gospel-style backing vocals from the Chorus’s nearly 300 male singers.
Both were knockouts — R. Kelly’s “I Believe I Can Fly,” which closed the show, and the clear standout of the entire evening, a passionate and rousing arrangement (by Steve Milloy) of Bill Withers’ “Lean On Me” that everyone involved clearly had fun with.
During her solo set, a soft-spoken Holliday joked about menopause, a mid-life crisis and how she’s much happier and content at 50 than she was in her 20s and 30s. She seemed relaxed and genuinely happy to be there.
It was a long wait for Holliday, who didn’t appear until the second half. The first consisted entirely of a new one-act musical, “Alexander’s House,” by partners Michael Shaieb and Brent Lord that the Chorus commissioned.
Like many Chorus productions, it was performed with a small ensemble of actor/singers — all Chorus members — out front while the Chorus stood behind providing frequent vocal backing. “House” tells of a gay man who died leaving his partner and grown son to meet and hand over a summer beach house. Dramatically, it was maudlin, predictable and conceived without even a word or syllable that wasn’t instantly accessible and none-too-subtly crafted to elicit tears from the types who well up over Hallmark cards. But musically, it featured some lovely moments, especially the title tune which climaxed with the Chorus singing full throttle and offering the loveliest harmonies of the evening.
Other highlights were Alan Shorter’s “The Older I Get,” featuring soloist extraordinaire Justin Ritchie, and recognition of the Chorus’s “first decaders,” those who’d been in the group in the 1980s.
Team DC, the umbrella organization for LGBTQ-friendly sports teams and leagues in the D.C. area, held its annual Night of Champions Awards Gala on Saturday, April 20 at the Hilton National Mall. The organization gave out scholarships to area LGBTQ student athletes as well as awards to the Different Drummers, Kelly Laczko of Duplex Diner, Stacy Smith of the Edmund Burke School, Bryan Frank of Triout, JC Adams of DCG Basketball and the DC Gay Flag Football League.
(Washington Blade photos by Michael Key)
The 2024 National Cannabis Festival was held at the Fields at RFK Stadium on April 19-20.
(Washington Blade photos by Michael Key)
Covering the @NatlCannaFest at RFK Stadium for @WashBlade . Stop by the LGBTQ+ booth and pick up a paper if you are here. pic.twitter.com/is7hnsaPns
— Michael Patrick Key (@MichaelKeyWB) April 20, 2024
Theater
‘Amm(i)gone’ explores family, queerness, and faith
A ‘fully autobiographical’ work from out artist Adil Mansoor
‘Amm(i)gone’
Thorough May 12
Woolly Mammoth Theatre
641 D St., N.W.
$60-$70
Woollymammoth.net
“Fully and utterly autobiographical.” That’s how Adil Mansoor describes “Amm(i)gone,” his one-man work currently playing at Woolly Mammoth Theatre.
Both created and performed by out artist Mansoor, it’s his story about inviting his Pakistani mother to translate Sophocles’s Greek tragedy “Antigone” into Urdu. Throughout the journey, there’s an exploration of family, queerness, and faith,as well as references to teachings from the Quran, and audio conversations with his Muslim mother.
Mansoor, 38, grew up in the suburbs of Chicago and is now based in Pittsburgh where he’s a busy theater maker. He’s also the founding member of Pittsburgh’s Hatch Arts Collective and the former artistic director of Dreams of Hope, an LGBTQ youth arts organization.
WASHINGTON BLADE: What spurred you to create “Amm(i)gone”?
ADIL MANSOOR: I was reading a translation of “Antigone” a few years back and found myself emotionally overwhelmed. A Theban princess buries her brother knowing it will cost her, her own life. It’s about a person for whom all aspirations are in the afterlife. And what does that do to the living when all of your hopes and dreams have to be reserved for the afterlife?
I found grant funding to pay my mom to do the translation. I wanted to engage in learning. I wanted to share theater but especially this ancient tragedy. My mother appreciated the characters were struggling between loving one another and their beliefs.
BLADE: Are you more director than actor?
MANSOOR: I’m primarily a director with an MFA in directing from Carnegie Mellon. I wrote, directed, and performed in this show, and had been working on it for four years. I’ve done different versions including Zoom. Woolly’s is a new production with the same team who’ve been involved since the beginning.
I love solo performance. I’ve produced and now teach solo performance and believe in its power. And I definitely lean toward “performance” and I haven’t “acted” since I was in college. I feel good on stage. I was a tour guide and do a lot of public speaking. I enjoy the attention.
BLADE: Describe your mom.
MANSOOR: My mom is a wonderfully devout Muslim, single mother, social worker who discovered my queerness on Google. And she prays for me.
She and I are similar, the way we look at things, the way we laugh. But different too. And those are among the questions I ask in this show. Our relationship is both beautiful and complicated.
BLADE: So, you weren’t exactly hiding your sexuality?
MANSOOR: In my mid-20s, I took time to talk with friends about our being queer with relation to our careers. My sexuality is essential to the work. As the artistic director at Dreams of Hope, part of the work was to model what it means to be public. If I’m in a room with queer and trans teenagers, part of what I’m doing is modeling queer adulthood. The way they see me in the world is part of what I’m putting out there. And I want that to be expansive and full.
So much of my work involves fundraising and being a face in schools. Being out is about making safe space for queer young folks.
BLADE: Have you encountered much Islamophobia?
MANSOOR: When 9/11 happened, I was a sophomore in high school, so yes. I faced a lot then and now. I’ve been egged on the street in the last four months. I see it in the classroom. It shows up in all sorts of ways.
BLADE: What prompted you to lead your creative life in Pittsburgh?
MANSOOR: I’ve been here for 14 years. I breathe with ease in Pittsburgh. The hills and the valleys and the rust of the city do something to me. It’s beautiful, it’ affordable, and there is support for local artists. There’s a lot of opportunity.
Still, the plan was to move to New York in September of 2020 but that was cancelled. Then the pandemic showed me that I could live in Pittsburgh and still have a nationally viable career.
BLADE: What are you trying to achieve with “Amm(i)gone”?
MANSOOR: What I’m sharing in the show is so very specific but I hear people from other backgrounds say I totally see my mom in that. My partner is Catholic and we share so much in relation to this.
I hope the work is embracing the fullness of queerness and how means so many things. And I hope the show makes audiences want to call their parents or squeeze their partners.
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‘Amm(i)gone’ explores family, queerness, and faith
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