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Arts briefs: April 13

Events of note for the region — Washington and Baltimore

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Victory Fund to host annual brunch

The Victory Fund is having its National Champagne Brunch on Sunday at the Washington Hilton (1919 Connecticut Ave., N.W.) at 11 a.m. featuring Tammy Baldwin.

This year’s theme is “Strength in Numbers” and Victory Fund will be honoring the eight openly gay and lesbian members of the Maryland legislature: Luke Clippinger, Bonnie Cullison, Anne Kaiser, Richard Madaleno, Maggie McIntosh, Heather Mizeur, Peter Murphy and Mary Washington.

Individual tickets are $150 and a table with ten seats is $1,500.

For more information and to purchase tickets, visit victoryfund.org.

Illumination time for Ward 8

Saturday marks the opening of a series of spaces opening in the commercial corridor of Historic Anacostia with Lumen8Anacostia, a 12-hour festival of light, art, music and more starting at noon.

Events begin at noon at Lightbox (2235 Shannon Place, S.E.) with opening remarks on the cargo bay stage and SHAM pop up shop and DJs on the main stage. Both stages will have various performers, the cargo bay stage closing at 6 p.m. and the main stage remaining busy until midnight.

There’s also the “Party Behind the Big Chair” (2020 Shannon Place, S.E.) with performers such as Yung Yeaga and Cee Love, starting at 4:15 p.m.

Part of a project by D.C.’s Office of Planning, vacant and underutilized storefronts and empty lots have been transformed into an artist showcase/village for three to six months.

This event is free and open to the public. For more information, visit lumen8anacostia.com.

Scott Nevins (Photo courtesy MCC-DC)

Scott Nevins plays two shows at MCC-DC

Openly gay comedian, celebrity and television personality Scott Nevins will be appearing at Metropolitan Community Church (474 Ridge St., N.W.) tonight and Saturday at 8 p.m.

Nevins, who appears on truTV’s show, “The Smoking Gun Presents,” has worked with some of Hollywood’s biggest starts including Barry Manilow, Susan Lucci, Idina Menzel, Hal Sparks and more.

Nevins has been awarded an Out There award, was nominated for a HX Award and Glammy Award in 2004 and a MAC Award in 2007 and was chosen by “New York Magazine” in their “Best of New York” issue.

Tickets are $25 and can be purchased online at mccdc.com. Proceeds will benefit the outreach and service programs at MCC.

Gay Broadway star at the Birchmere Sunday

Original Broadway cast members of “Rent” Adam Pascal and openly gay Anthony Rapp play the Birchmere Music Hall (3701 Mount Vernon Ave., Alexandria) Sunday at 7:30 p.m.

Rapp, who came out when he was 18, originated the role of Mark Cohen, best friend and roommate of Pascal’s Roger Davis. He has also released a solo album, “Look Around,” and appeared in many theatre productions, TV shows and films including the film version of “Rent.”

Rapp has also written a memoir “Without You: A Memoir of Love, Loss, and the Musical Rent,” which was released in 2006 and premiered as a show at the Pittsburgh City Theatre in 2008.

Tickets are $39.50 and available online at ticketmaster.com.

BALTIMORE BRIEFS: 

Ball, screening among Alliance offerings

The Creative Alliance at the Patterson (3134 Eastern Ave.) has two events coming up this week.

On Saturday, the Patterson will be transformed into Wonderland for its “Alice in Wonderland”-themed 2012 Marquee Ball.

The ball begins with a preview dinner at 6 p.m. to honor arts lawyer, Scott Johnson with the Golden Formstone Award and Terry Rubenstein for her family’s lifetime achievements in the arts. The dance party begins at 9 p.m.

Tickets are $40 in advance for the party, $35 for CA members and $185 for the dinner.

On Thursday, the Alliance is screening the film “From the Back of the Room,” by D.C.-based director, Amy Oden, about women’s involvement in DIY punk featuring interviews by women like Kathleen Hanna of Bikini Kill and Le Tigre, Allison Wolfe of Bratmobile and many more.

Tickets for the screening are $10, $5 for Alliance members. Doors open at 6:30 p.m. For more information on either events and to purchase tickets, visit creativealliance.org.

Fashion show tries alternate approach

The Maryland Institute College of Arts presents the 19th annual benefit fashion show Transcend on Saturday in the Brown Center in Falvey Hall (1301 W. Mount Royal Ave.) at 8 p.m.

The designers featured in the show were asked to go beyond the expected and their norm and audience members will be able to see the workings of their brains and the manifestations of their inner thoughts and aspirations.

After the show, everyone is invited to mix and mingle with the designers and view an exhibition of fashion-inspired photography, illustration and fiber arts, including fashion pictorials of the students’ designs captured by celebrity photographer Derek Blanks.

Tickets are $20 for general admission and $15 for students.

For more information and to purchase tickets, visit mica.edu.

Gay group to hold tax program

The Maryland Corporate Council, a networking group for LGBT professionals, is hosting “Tax Wise,” an LGBT tax program for anyone who is or hopes to be partnered at the Inn at Henderson’s Wharf (1000 Fell St.) on Thursday from 6 to 8 p.m.

The program will feature a short presentation covering tax implications of LGBT relationships including joint property ownership and obtaining and protecting deductions, from Denise Dodson, the executive director at Ernst & Young Tax Practice.

Registration is free for members and $15 for guests.

For more information and to register, visit marylandcoporate.org.

Estate planning for LGBT residents planned

FreeState Legal Project is hosting “Will-Power Party: Estate Planning for the Rest of Us,” a workshop and pro bono assistance event at the Gay, Lesbian, Bisexual, Transgender Community Center of Baltimore (241 W. Chase St.) on Tuesday from 6 to 8 p.m.

During the event, people in need of simple wills, powers of attorney and advance directives will be matched with attorneys and receive assistance in drafting their estate documents.

FreeState Legal Project is a group that advocates for the rights of low income LGBT individuals through direct legal services, education and community outreach in the Greater Baltimore region.

For more information, visit freestatelegal.org.

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Theater

Talented pair of local queer actors tackles ‘Little Shop of Horrors’

Ford’s production features terrific score

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Chani Wereley (Audrey) and Derrick D. Truby Jr. (Seymour) in the 2024 Ford’s Theatre production of Little Shop of Horrors. (Photo by Scott Suchman)

‘Little Shop of Horrors’ 
Through May 18
Ford’s Theatre
511 10th St., N.W.
$33-$95
Fords.org 

Ever since premiering off-Broadway in 1982, “Little Shop of Horrors” has drawn a devoted following of avid audiences as well as performers eager to act in the show. Now playing at Ford’s Theatre, the doo-wop, dark comedy features a terrific cast including a wildly talented pair of local queer actors who’ve longed to appear in the show since they were kids. 

Set in the urban 1960s, Alan Menken and Howard Ashman’s hit show with a terrific score follows the wacky rise of Seymour, a nebbishy florist in a Skid Row shop who changes his fortunes by unintentionally marketing an exotic, human eating plant.  

Chani Wereley, 28, who plays Seymour’s love interest Audrey, a hyper femme downtowner with an edge, has had her on eye the role for years. Wereley says, “Audrey’s been around the block more than once, but I approach her as a person who moves through the world with love and hope.”

The queer D.C. native adds, “On long trips to visit family in Canada or Florida, the first thing we’d do is pop a ‘Little Shop of Horrors’ video [film version] into the car’s VHS player. I’ve watched is so many times, I could quote the whole movie to you.”

After auditioning to play Audrey in director Kevin S. McAllister’s production at Ford’s, Wereley never thought she’d book the part, and when they said she got it, she cried.  

Similarly, Tobias A. Young, 34, the pansexual actor who voices the part of the bloodthirsty plant affectionately dubbed Audrey II, explains his intense interest in the work: “I started watching the film in ’86. Growing up as a little gay boy in Calvert County, Md., I wanted to be blonde Audrey [played by Ellen Green in the movie]. I didn’t know much about musicals at the time, but I was absorbed.” 

When asked by Ford’s to play the voracious plant Audrey II without auditioning, his reply was an unhesitant “yes.” 

Voicing a role requires Young to sing from backstage in a black box rigged with monitors and a mixing board. He says, “people ask if I’m singing from inside of the ever-growing, scary plant. No, I’m not, and that’s fine. But let’s face it, actors love to be seen on stage, but I don’t feel entirely unseen as Audrey II.”

He’s worked hard and successfully with formidable puppeteers Ryan Sellers and Jay Frisby to bring parts of himself to the carnivorous plant — his sassiness, own movements, and even a tilt of his head; their efforts have drawn the actual Young into the show. 

Both Wereley and Young possess gorgeous, emotive voices as evidenced by Wereley’s striking rendition of Audrey’s “Suddenly Seymour,” and Young’s soulful “Feed Me (Git It).” Additionally, both actors are also big on queer representation in theater. 

When her young pals were listening to Britney Spears, Wereley was dancing to retro tunes like “Mashed Potato Time,” and her favorite song to this day, the Shirelle’s girl group anthem “Will You Still Love Me Tomorrow.” As Audrey, Wereley eschews the character’s usual platinum hair for a bouncy brunette, cherry-streaked wig, tight pencil skirts, swing coats, and her very own half-sleeve tattoo. 

“It’s important for people to see themselves on stage,” she says. “Seeing me or someone like me is inherently interesting. Being that person on Instagram or with the institution, cast, or audiences is meaningful. It’s important.”

In 2011, a couple years after finishing high school, Young landed a part in “Dream Girls” at Toby’s Dinner Theatre, and he’s been working professionally ever since. Growing up, he didn’t see a lot of himself – Black and queer – on social media. He now wants to be open and honest for those out there who might not feel seen, he says

An introvert who lets everything loose on the stage, Young says, “theater is a safe space for queer people. That’s the first place we feel safe, particularly in school. And this is why we need theaters in schools, now more than ever.”

He adds, “What’s great about Ford’s is its surprises, especially when they switch up casting. It’s meaningful to see the shows you love, but why not see them with a twist? Using unexpected actors and incorporating queer people just makes it that much better.”

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Nightlife

D.C.’s gay DJ collective CTRL returns

Electropop group resurfaces at Trade on March 30

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CTRL is back after a six-year absence.

Finger lasers, confetti cannons, drag shows, photo booths, throwback tunes, and a touch nerdy: after a long break, D.C.’s gay DJ collective CTRL is throwing its first party in six years.

Born in an Eritrean restaurant more than a decade ago, this longstanding gay nightlife electropop group is resurfacing with a comeback event at Trade on March 30.

Gay DJs Adam Koussari-Amin, Jeff Prior, Devon Trotter, and Brett Andreisen hosted the first CTRL party at now-closed restaurant Dahlak, on the corner of 18th and U Streets. After a year of hosting pop-ups in that restaurant’s dining room, they upgraded down 18th Street to now-closed gay club Cobalt. There, the parties grew: drag shows, a pop-up photo booth from David Claypool, and quirky activations like throwing hot dogs into print-outs of Putin’s mouth. Their productions grew as well, like producing the now-defunct Brightest Young Gays (BYG) Pride events at Wonderbread Factory and Union Market and the ‘Get Wet’ pool party with David Brown’s Otter Crossing at the Capitol Skyline Hotel.

CTRL wasn’t done. The group received its biggest stage yet after a call from Ed Bailey, the owner of now-closed gay club Town, as well as current gay bars Number 9 and Trade. At Town, the opportunity “allowed our creativity to flourish with even bigger performances, bigger photo experiences, crazier hand-outs, and the same electropop dance vibes our fans had come to know us for,” says Koussari-Amin.

CTRL pressed pause when Town shut down, which “was a huge loss to the LGBTQIA+ community and D.C. nightlife in general,” says Koussari-Amin. After that, it hosted an occasional spinoff called QWERTY. Post-pandemic, Koussari-Amin has spent a few nights solo as DJ at Trade and other venues.

After connecting with Jesse Jackson, the Trade general manager, as well as with Bailey, who agreed to host the inaugural event, Koussari-Amin was determined to shift CTRL back to life.

However, getting the old band back together proved to be a challenge. While the rest of the group have either left Washington, D.C., or are pursuing other projects, Koussari-Amin received their blessing to stay on and find new members. 

“When it came to finding new partners, both DJ Dez [Desmond Jordan] and DJ Lemz [Steve Lemmerman] were obvious choices,” he says, noting that “they also have distinct styles and interests.” Dez has a residency at Pitchers and Kiki as well as pop-ups, and Lemz throws events like Sleaze and BENT.

 “It seemed important to come back to the nightlife table with an experience that could complement all the amazing experiences that have even built up since CTRL threw its last event at Town. Bringing back both the DJ collective and the CTRL event with Dez and Lemz means new voices, perspectives, sounds, and excitement.”

“CTRL is an opportunity for the community to come together, enjoy music, drinks, and good vibes,” adds Jordan, noting that for him, it’s an event that celebrates queer identity.

And after months of planning, CTRL will kick off its monthly party series at Trade on March 30 for the first gig after its glow-up.

The trio says that its core inspiration “is driven by the indie and electropop favorites of new and old, like Goldfrapp, Ava Max, Charli XCX, … We’re also all huge fans of slut and trash pop music like Kim Petras, Slayyyter, Cupcakke,” as well as pop diva remixes, new bops, and songs that reside inside and far beyond the expanse of Top 40.

CTRL is also bringing back its activations that complement the tunes. Summer Camp is set for drag performances, David Claypool is back with his photo booth, and Koussari-Amin promises “to have all sorts of weird and wacky handouts like we used to.”

After the March premiere, April’s party is “CTRLella”, a Coachella send-up. Future events will feature various different themes, and they plan to throw a party during Capital Pride; they’re also looking to be a central part of Trade’s expansion into the adjacent space.

 Koussari-Amin says that “the event’s signature experience [is] a lynchpin in connecting D.C.’s expanding generations of queer folks, giving everyone a safe space to let loose and feel a rush no matter who they are.” 

For his part, Bailey continues to support CTRL and its collective intention, expressing its essential nature as a party for partiers by partiers. “CTRL is the kind of party that represents what people want. It’s just a real party by real people that just want to hear good music and dance with their friends.”

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Celebrity News

HRC releases ‘Queer Renaissance Syllabus’

Beyoncé’s hit album inspired curriculum

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Beyoncé performs at FedEx Field in Landover, Md., on Aug. 6, 2023. The Human Rights Campaign has released a curriculum that her "Renaissance" album inspired. (Washington Blade photo by Isabelle Kravis)

In a move aimed at celebrating the beauty, brilliance and resilience of the LGBTQ community, the Human Rights Campaign unveiled the “Queer Renaissance Syllabus” that Beyoncé’s “Renaissance” album inspired. 

Curated by Justin Calhoun, Leslie Hall and Chauna Lawson of the HRC’s Historically Black Colleges and Universities Program, the syllabus includes a variety of academic articles, essays, films and other media rooted in Black queer and feminist studies. Each piece is directly inspired by the tracks on Beyoncé’s Billboard 200-topping dance album, “Renaissance.”

Beyoncé’s album “Renaissance” stands as a cultural milestone, celebrating the Black queer roots of dance music while shedding light on overlooked Black queer artists. Inspired by her late-Uncle Johnny, the album not only garnered critical acclaim but also shed light on the often marginalized contributions of Black queer artists. Winning four Grammys and yielding chart-topping hits like “Break My Soul” and “Cuff It,” the album sparked discussions about economic impact and cultural representation.

Amid its success, legislative challenges arose, with Florida and Texas enacting bans on DEI initiatives in public colleges. Recognizing the album’s transformative potential, HRC developed the “Queer Renaissance Syllabus” to leverage its impact for education and activism.

Tailored for educators, youth-serving professionals, DEI practitioners, higher education leaders and admirers of Beyoncé’s artistry, the syllabus aims to encourage meaningful discussions, enrich lesson plans, and explore innovative ways to honor the vibrancy and significance of LGBTQ individuals and their culture.

With six themes anchoring the syllabus, ranging from “intersectionality and inclusivity” to “social justice and activism,” it provides a comprehensive exploration of various facets of LGBTQ experiences and expressions. Fan-favorite tracks from the album are paired with scholarly readings, offering insights into empowerment, self-acceptance and the transformative power of artistic expression. The syllabus also reinforces HRC’s efforts to highlight, amplify and re-center Black and queer voices.

By providing links to articles, books, podcasts and interviews, each associated with a song from the album, it celebrates the rich cultural heritage and contributions of the Black queer community.

The concluding section of the syllabus includes Beyoncé’s tribute to O’Shea Sibley, a young Black queer person who was murdered in Brooklyn, N.Y., last July while voguing to “Renaissance” songs at a gas station. HRC also includes a statement that condemns hate crimes.

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