Arts & Entertainment

Differing directions

MCC music program adjusting to new leadership, styles

Published

14 years ago

April 5, 2012

WBadmin

Darius Smith, one of the new choir directors at MCC-DC. (Blade photo by Michael Key)

By MALI KRANTZ

The two Sunday morning services held each week at Metropolitan Community Church of Washington have always had slightly different styles, but the distinction has become more pronounced as each has its own choir director now.

In December, Shirli Hughes resigned from her position as minister of music there. After a decade of service at the District’s largest predominantly LGBT church, the lesbian music minister left big shoes to be filled in the church’s music department.

“She had a big job,” says Jeff Herrell who sang in her choir for about 10 years.

Hughes led both Sunday services at 9 and 11 a.m. as well as occasional performances for holidays and special events. She was also a full-time employee.

Her succession came in the form of two interim music ministers, Justin Ritchie, who leads the 9 a.m. Sunday service, and Darius Smith, who leads a more contemporary service at 11. They’ll both be on board for this Sunday’s Easter services, the highest holy day in Christendom. A Good Friday service is tonight at 7. Visit mccdc.com for details.

“It has worked out well to have two of us,” Ritchie says. “Because each service is very different and they play to each of our strengths … the 9 a.m. and 11 a.m. service have always had their own personality.”

Ritchie, whose service is more traditional, came from the MCC choir. In addition to his musical success at MCC, he’s also a featured vocalist with the Gay Men’s Chorus of Washington and a member its 14-person a cappella group, Potomac Fever.

Smith, a graduate of Howard University’s Music Department and New York University’s Graduate Musical Theatre Writing Program is an assistant professor of musical theater at Howard. He has also written original music for a number of plays in the D.C. area including “U.G.L.Y.,” a new musical.

Smith’s service leans toward pop and contemporary styles.

“It’s interesting. It’s fun,” says Herrell of the new musical content.

Both Herrell and Ritchie estimate that the choruses have grown over the past few months.

“I think people are really receptive to Justin’s style of music … and new people want to be a part of Darius’ ministry,” Herrell says. “Yeah it’s cool. It’s different.”

While Rev. Dwayne Johnson, the church’s senior pastor, recognizes that Hughes brought an extraordinary talent to MCC’s music ministry, he’s enthusiastic about the church’s new direction.

“We have a long tradition of excellent music,” Johnson says. “And Justin and Darius are continuing that tradition. It’s an exciting time to see what gifts they have to bring to the table.”

While much of the music is changing, a few traditions remain such as having drums and bass accompany services. Each choir director does his own accompanying.

During the transition period after Hughes left, Acoustic Praise, a subgroup of MCC’s music ministry, stepped up to fill in while they looked for new staff members. Though the church has an organ, it’s rarely used.

“They’ve really worked hard during this transition filling in on Sundays,” says Tommie Adams, Herrell’s partner and an Acoustic Praise member. “It’s still a transitional period. Both people have great musical backgrounds and Darius brings kind of a youthful mood to music too, so it’s a nice variety.”

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Photos

PHOTOS: ‘Studio 69’

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Published

4 hours ago

May 11, 2026

Michael Key

'Studio 69' was held at Bunker on Friday. (Washington Blade photo by Michael Key)

Glitterati Productions held the “Studio 69” party at Bunker on Friday, May 8.

(Washington Blade photos by Michael Key)

Arts & Entertainment

Washington Blade’s Pride on the Pier returns June 13 to kick off D.C. Pride week

Pride on the Pier officially launches Pride Week in D.C.

Published

10 hours ago

May 11, 2026

Staff reports

The Washington Blade’s annual Pride on the Pier celebration returns to The Wharf on Saturday, June 13, 2026 from 4-9 p.m., bringing thousands of LGBTQ community members and allies together for an unforgettable waterfront celebration to kick off Pride week in Washington, D.C.

Now in its eighth year, Washington Blade Pride on the Pier extends the city’s annual celebration of LGBTQ visibility to the bustling Wharf waterfront with an exciting array of activities and entertainment for all ages. The District Pier will offer DJs, dancing, drag, and other entertainment. Alcoholic beverages will be available for purchase for those 21 and older.

“Pride on the Pier has become one of the signature moments of Pride in D.C.,” said Lynne Brown, publisher of the Washington Blade. “There’s nothing like watching our community come together on the waterfront with live music and incredible energy as we kick off Pride week.”

Pride on the Pier is free and open to the public, with VIP tickets available for exclusive pier access to the Dockmaster Building. To purchase VIP tickets visit www.prideonthepierdc.com/vip.

Additional entertainment announcements, sponsor activations, and event details will be released in the coming weeks.

Event Details:

📍 Location: District Pier at The Wharf (101 District Sq SW, Washington, DC)
📅 Dates: Friday, 13, 2026

⏱️ 4-9PM
🎟️ VIP Tickets: www.PrideOnThePierDC.com/VIP

Theater

National tour of ‘Gatsby’ comes to National Theatre

Out actor Edward Staudenmayer talks playing the show’s gangster

Published

1 day ago

May 10, 2026

Patrick Folliard

Edward Staudenmayer plays Meyer Wolfsheim in ‘The Great Gatsby.’ (Photo courtesy National Theatre)

‘The Great Gatsby’
May 12-24
The National Theatre
1321 Pennsylvania Ave., N.W.
$59-$196
Thenationaldc.com

Often dubbed “The Great American Novel” for its depiction of ambition and self-invention alongside the reversals of success, F. Scott Fitzgerald’s “The Great Gatsby” says it all in a fast read.

Set against the excesses and energy of the Roaring Twenties, “The Great Gatsby,” novel and now the same-titled hit Broadway musical with a jazz/pop original score by Jason Howland and Nathan Tysen, tells the story of Nick Carraway and his friendship with Jay Gatsby, an enigmatic millionaire intent on reuniting with ex-lover, Daisy Buchanan.

It was during a four-month 2025 run in Seoul, South Korea, that out actor Edward Staudenmayer first played the show’s heavy, Meyer Wolfsheim, a gangster who helped Gatsby make his murkily acquired fortune. As Meyer, Staudenmayer opens the second act with, appropriately enough, “Shady.”

Now three months into a year-long North American tour, the show is poised to enjoy a brief run at Washington’s National Theatre (5/12-5/24).

While putting on his eyeliner prior to a recent Wednesday matinee at Chicago’s Cadillac Palace Theatre, the upstate New York-based actor shared about Gatsby and a life in theater.

WASHINGTON BLADE: Despite your good looks and terrific voice, you’re rarely the leading the man. How is that?

EDWARD STAUDENMAYER: I’m definitely a character man. I’ve been painting lines on my face to play old men since I was in high school. I was the youngest freshman in college playing old Uncle Sorin [in Chekhov’s “The Seagull”].

There have been many villains. Some darker than others. Meyer Wolfsheim is a very bad guy, but he doesn’t haunt me once I’m offstage. I play a lot of pickleball.

BLADE: Is it true that like so many of Fitzgerald’s characters, Wolfsheim is famously based on someone the writer encountered in life.

STAUDENMEYER: That’s true, Wolfsheim is pretty much a direct portrayal of real-life mobster and 1919 World Series fixer [Arnold Rothstein].

BLADE: When did the 1925 novel first surface on your radar?

STAUDENMAYER: Like many of us, I was assigned “The Great Gatsby” in high school. It was short, and filled with sex and illicit activities. I thought it was great. Definitely wasn’t a Judy Blume novel.

Interestingly, the book wasn’t originally a huge a success for Fitzgerald, but because it was about war and having the girl at home, they gave it to GIs leaving for WWII. After returning, a lot of those guys went on the GI Bill and became English teachers. They assigned the book to their students.

BLADE The idea that the book’s first-person narrator, Nick Carraway, is gay and enamored with Jay Gatsby is long discussed among readers and scholars. Does the musical touch on that?

STAUDENMAYER: Yes, there’s conjecture about Jay and Nick, and it’s implied in our show. It’s also implied about Jordan Baker, Jay’s fleeting romantic interest. Ultimately, she’s a confirmed bachelor, and a professional golfer who only wears pants.

Our performers are really good. Josh Grasso who plays Nick is fantastic. I’ve had to stop watching him in his last scene; it’s not good for Meyer Wolfsheim to take his curtain call crying. Our Gatsby, Jake David Smith, is good too. He’s gorgeous like Superman and sings like an angel.

BLADE: Do you ever imagine backstory for your characters whose sexuality is undefined?

STAUDENMAYER: I do, but not with Wolfsheim. I don’t see it. I’m trying to be as butch as possible with this ruthless killer.

BLADE: Have you had to do that in your career?

STAUDENMAYER: For a long time, I wore a mask to hide my gayness. I worked hard on being believable, that I was into the girl or that I was a tough guy.

It’s a different world now, and it’s so refreshing to be around the younger actors today; they’re remarkably open and comfortable.

BLADE: What was your coming of age like?

STAUDENMAYER: I played high school football in Palm Springs [he chuckles, alluding to the arid gay mecca], and I was pretty good too. But much to the chagrin of my parents and coaches, I quit the team to act in our senior year play. My super butch dad played semi-pro football and he was an ex-cop. I’m named after him. While I didn’t become my dad, I’ve played him often on stage. He was a true Gaston [the bumptious rival in “Beauty and the Beast”]. And like Gaston, he used antlers in all his interior decorating.

BLADE: Did he live to see your success in theater?

STAUDENMAYER: He did. Life was challenging growing up but the last 10 years of his life we couldn’t get off the phone with each other [his voice catches with emotion]. He accepted me entirely, and we became very close.

BLADE: Looking ahead, is there a part you’d especially like to play?

STAUDENMAYER: Like all baritones I’d love to play Sondheim’s “Sweeney Todd.” I’ve come close but it hasn’t happened yet. There’s still time.