Arts & Entertainment
Journey to stardom
New MetroStage production follows a young Baker to early fame
‘Josephine Tonight’
Through March 18
MetroStage
1201 North Royal Street
Alexandria
$45-$50, $25 students
703-548-9044

From left: James Alexander, James T. Lane, Zurin Villanueva, Aisha de Haas and Debra Walton in ‘Josephine Tonight.’ (Photo by C. Stanley Photography; courtesy MetroStage)
Before she was Josephine Baker, the toast of Jazz Age Paris wowing audiences at the Follies Bergère, she was Josie McDonald, a skinny kid doing the chicken dance for spare change in front of the Piggly Wiggly back in St. Louis. It’s this metamorphosis from girl to ravishing young star that’s portrayed in the musical “Josephine Tonight,” currently premiering at MetroStage.
Broadway vets Sherman Yellen (book and lyrics) and the late Wally Harper (music) frame Baker’s bio as a Cinderella story. (Lyrics mention the would-be princess and her pink silk ball gowns more than once.) And though young Josephine derives support from her no-nonsense washerwoman mother, besotted young husband, and assorted showbiz folks, there is definitely no fairy godmother in this tale. As presented here, the magic that transforms our heroine from Josie to Josephine comes from within. She’s her own creation.
It’s tough to cast the role of a legendary figure like Baker, whom most people know as the almost naked dancer portrayed in the iconic posters from “Le Revue Nègre” (the 1925 Parisian show that shot her to stardom). Happily, Zurin Villanueva portrays the young Baker with a natural confidence and effervescent energy that feels just right. She looks the part too: Tall and lithe with an expressive beauty.
Villanueva’s Josephine subtly matures during the show (aging from 14 to early 20s). Along with Josephine, we learn that she’s too big for segregated Post World War I America. We watch approvingly as she nonchalantly trades her increasingly boring husband for a French lover and alludes to her sexual experiences with women. It’s a juicy part and Villanueva has fun with it.
The four remaining top-notch cast members definitely earn their paychecks playing multiple roles (mostly key figures in Josephine’s early life to which the show is fairly faithful). Talented triple threat James T. Lane is terrific as Josephine’s husband Eddie Baker and as her French lover Paul. James Alexander and Debra Walton are delightfully versatile as corny vaudevillians, racist whites and other parts.
At a recent matinee, Roz White stepped in for an absent Aisha De Haas as Josephine’s wry mother Carrie and her boozy, blues-singing mentor Big Bertha Smith — both great roles. White’s take on “Bertha’s Blues,” a song that segues from blues to gospel was among the show’s highlights. With arrangements and orchestrations by musical director David Alan Bun, the lively score is packed (probably too much) with ragtime, blues and Broadway-style tunes.
“Josephine Tonight” is directed and choreographed by Maurice Hines (openly gay) who first gained fame long ago tap dancing with his late brother Gregory. He successfully mines the backstory for humor and keeps things moving at a brisk pace. His choreography — including Baker’s famous jungle dance — harks back to the era. Reggie Ray’s costumes are wonderfully evocative of the time as well, but one can’t help but wonder what he might have done with a bigger budget. Scenery/projection designer Klyph Stanford supplies a discreet art deco proscenium arch. Underneath hangs a translucent scrim on which he projects images pertinent to Baker’s life: a laundry line, the Cotton Club sign, the Eiffel Tower. Behind the scrim, the hot five-piece band can be seen playing.
The show ends just when Josephine achieves celebrity. We see her dance in the iconic skimpy banana skirt and walk the stage as a sequined and plumed main attraction. Baker went on to scale more performance peaks, work undercover for the French Resistance during World War II, and assemble a rainbow family of adopted children. And though she returned to the U.S. for work until her death in 1975, she was a citizen of France and made her home there. But those are details for another musical.
History
Julius’ Bar ‘sip-in’ laid groundwork for Stonewall
Tuesday marked 60 years since four gay activists held protest
While Stonewall is widely considered the birthplace of the modern LGBTQ rights movement in the U.S., a lesser-known protest inside a Greenwich Village bar three years earlier helped lay critical groundwork for what would follow.
Tuesday marked 60 years since the Julius’ Bar “sip in.”
On April 21, 1966, four gay rights activists — Dick Leitsch, Craig Rodwell, John Timmons, and later Randy Wicker — walked into Julius’ Bar and staged what would become known as a “sip-in” to challenge state liquor regulations on serving alcoholic beverages to gay men — with a drink.
Modeled after the sit-ins that challenged racial segregation across the American South, the protest was designed to confront discriminatory practices targeting LGBTQ patrons in public spaces.
At the time, the Mattachine Society — one of the country’s earliest gay rights groups — was actively pushing back against policies enforced by the New York State Liquor Authority. One of those policies could have resulted in the loss of liquor licenses for serving known or suspected gay men and lesbians. The participants had visited multiple establishments, openly identified themselves as homosexual, and requested a drink — with the anticipation of being denied.
Their final stop was Julius’, where reporters and a photographer had gathered to document the moment. When Leitsch declared their identity, the bartender covered their glasses and refused service, reportedly saying, “I think it’s against the law.” The next day, the New York Times ran a story with the headline, “3 Deviates Invite Exclusion by Bars,” cementing the moment in the public record.
Though initially framed with disrespect — the term “sip-in” itself was coined as a play on civil rights protests — the action marked a turning point. It brought national attention to the systemic discrimination LGBTQ people faced and helped catalyze changes in how liquor laws were enforced. In the years that followed, the protest contributed to the emergence of licensed, more openly gay-friendly bars, which became central social and organizing spaces for LGBTQ communities.
The Washington Blade originally covered when the bar was officially added to the National Park Service’s National Register of Historic Places in 2016.
Today, historians and advocates increasingly recognize the “sip-in” as a key pre-Stonewall milestone. According to the New York City LGBTQ Historic Sites Project, the protest not only increased visibility of the early LGBTQ rights movement but also exposed widespread surveillance and entrapment tactics used against the community.
Marking the 60th anniversary of the event, commemorations have taken place in New York and across the country. Reflecting on its enduring legacy, Amanda Davis, executive director of the NYC LGBTQ Historic Sites Project, spoke about the event.
“Julius’ Bar is a place you can visit and viscerally connect with history,” said Davis. “We’re thrilled to have solidarity locations across the country join us in commemorating the ‘sip-in’’s 60th anniversary and the queer community’s First Amendment right to peaceably assemble.”
For current stewards of the historic bar, the responsibility of preserving that legacy remains front of mind.
“It’s a privilege and a responsibility to be the steward of a place so important to American and LGBTQ history,” said current owner of Julius’ Bar, Helen Buford. “The events of the 1966 Sip-In here at Julius’ resonated across the country and inspired countless others to stand proud for their rights.”
The timing couldn’t have come at a more important moment, Kymn Goldstein, executive director of the June L. Mazer Lesbian Archives, explained.
“At a time when our community faces renewed challenges, coming together in resilience and solidarity reminds us of the power in our collective resistance,” Goldstein said.
The American Civil Liberties Union, an organization dedicated to defending rights and liberties guaranteed by the Constitution, is currently tracking 519 anti-LGBTQ bills across the U.S. The majority are targeted at restricting transgender rights — particularly related to gender-affirming care, sports participation, and the use of public bathrooms.
Some additional groups and bars that held their own “sip-in” as solidarity events to uplift this historic milestone are from across the country include:
Alice Austen House at Steiny’s Pub, Staten Island, N.Y.
Bellows Falls Pride Committee at PK’s Irish Pub, Bellows Falls, Vt.
Brick Road Coffee, Mesa, Ariz.
Brick Road Coffee, Tempe, Ariz.
Dick Leitsch’s Family at Old Louisville Brewery, Louisville, Ky.
The Faerie Playhouse & LGBT+ Archives Project of Louisiana at Le Cabaret, New Orleans
Harlem Pride & John Reddick at L’Artista Italian Kitchen & Bar, New York
JOYR!DE KiKi at Loafers Cocktail Bar, New York
Matthew Lawrence & Jason Tranchida / Headmaster at Deadbeats Bar, Providence, R.I.
Mazer Lesbian Archives at Alana’s Coffee, Los Angeles
New Hope Celebrates at The Club Room, New Hope, Pa.
Queer Memory Project at the University of Evansville Multicultural Student Commons / Ridgway University Center, Evansville, Ind.
Sandy Jack’s Bar, Brooklyn, N.Y.
St. Louis LGBT History Project at Just John Club, St. Louis
The LGBTQ+ Victory Fund National Champagne Brunch was held at Salamander Washington DC on Sunday, April 19. Gov. Andy Beshear (D-Ky.) was presented with the Allyship Award.
(Washington Blade photos by Michael Key)



















The umbrella LGBTQ sports organization Team D.C. held its annual Night of Champions Gala at the Georgetown Marriott on Saturday, April 18. Team D.C. presented scholarships to local student athletes and presented awards to Adam Peck, Manuel Montelongo (a.k.a. Mari Con Carne), Dr. Sara Varghai, Dan Martin and the Centaur Motorcycle Club. Sean Bartel was posthumously honored with the Most Valuable Person Award.
(Washington Blade photos by Michael Key)















