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Escapism on skates

Signature’s ‘Xanadu’ is well-executed camp fun

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‘Xanadu’
Signature Theatre
4200 Campbell Ave.
Arlington, VA
Through July 1
703-820-9771

Charlie Brady, center, as Sonny in Signature’s ‘Xanadu.’ (Photo by Scott Suchman; courtesy Signature)

The “Xanadu” chracter Muse Calliope is onto something when she says the roller derby in the show is like “children’s theater for 40-year-old gay people.”

On stage now at Arlington’s Signature Theatre, this trashy movie-turned-Tony-winning Broadway adaptation is near-perfect theatrical escapism.

It’s based on the 1980 turkey that derailed the budding movie career of singer Olivia Newton-John and that featured the last movie appearance of the legendary dancer Gene Kelly as the tycoon who has chosen commerce over art. The basic plot remains the same.

Clio (Erin Weaver) is the leader of the Muses, the Greek demigoddesses who bring artistic inspiration to mortals. Disguised an Australian woman named Kira (a comic nod to  Newton-John’s indelible cinematic performance), she descends to earth to bolster the confidence of Sonny (Charlie Brady), a sidewalk artist who dreams of opening a roller disco. She also encounters Danny, a real estate mogul who rejected Kira’s inspiration. Danny still owns the theater he built under her influence, and he and Sonny become business partners. Needless to say, despite a few curses, several broken rules, and some heartbreak and confusion, Sonny and Kira/Clio fall in love and skate off to their happy ending.

Writer Douglas Carter Beane (“The Little Dog Laughed” and “To Wong Foo, Thanks for Everything, Julie Newmar”) nimbly fleshes out the movie plot with campy pop culture references and a delicious new subplot featuring the nasty machinations of Clio’s jealous sisters, the muses Melpomene and Calliope. He also expands the movie soundtrack with other period pop tunes by Jeff Lynne (ELO) and John Farrar. As you might expect, the openly gay Beane brings a light touch to the clichéd plot, but he also brings some unexpected emotional depth to the story. Although the evening moves along briskly (90 minutes without an intermission), there are some slow spots (most notably the flashbacks between the ageless Clio and the young Danny) and Beane’s adaptation never fully embraces the movie’s sappy-yet-moving theme that the elusive Xanadu is the pursuit of love and art.

Under the assured hand of director and choreographer Matthew Gardiner, Signature Theatre’s openly gay associate artistic director, the creative team stitches together a frothy and effective show that is truly “an Acme of all the arts” (to use Sonny’s description of his roller disco dreams). Gardiner’s witty and energetic choreography cannily combines a send-up of disco moves for the mortals with a spoof of Martha Graham routines for the Muses and Greek gods.

He gets solid support from his designers, especially the lighting by Chris Lee (with the mandatory mirror balls) and the costumes by Kathleen Geldard (with lovely flowing Grecian robes, the requisite sequins and de rigueur leg warmers that play a surprisingly important role in the plot). They mine the comedy for all it’s worth, hit all of the right notes of the 1980s pop score (kudos to Music Director Gabriel Mangiante and his four-piece band) and put together lovely stage pictures.

Gardiner also gets strong performances from his likeable leads and a versatile ensemble that appear in a variety of roles from Centaurs to Muses to an endless array of back-up singers. Brady and Weaver play the comedy just right, with the proper balance of naiveté and campy self-awareness. Both are strong and attractive singers and dancers who bring unquenchable enthusiasm to the bubbly material.

The show shines most brightly, however, when Nora V. Payton takes center stage as Melpomene, the evil Muse of tragedy. She gets the best material in the script and she delivers with zest and finesse. Payton (who inspired audiences as Motormouth Maybelle in “Hairspray” and will no doubt thrill audiences as Effie in next season’s “Dreamgirls”) lights up the stage with her wicked sense of style, an incredible vocal presence and her gleeful delivery of verbal and physical zingers. She is given great comic and vocal support from her evil henchwoman Calliope (played by Sherri L. Edelen who also shines in a giddy cameo as a Francophile Aphrodite, goddess of love). Their duet of the rock classic “Evil Woman” is a highlight of the evening.

The skating, under the guidance of Gregory Vander Ploeg, is impressively staged and includes the tender duets between Kira and Sonny, Kira’s hilarious descent down on a staircase wearing only one skate, and the rollicking finale which brings the entire cast to the new roller disco.

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Puerto Rico

Bad Bunny shares Super Bowl stage with Ricky Martin, Lady Gaga

Puerto Rican activist celebrates half time show

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Bad Bunny performs at the Super Bowl halftime show on Feb. 8, 2026. (Screen capture via NFL/YouTube)

Bad Bunny on Sunday shared the stage with Ricky Martin and Lady Gaga at the Super Bowl halftime show in Santa Clara, Calif.

Martin came out as gay in 2010. Gaga, who headlined the 2017 Super Bowl halftime show, is bisexual. Bad Bunny has championed LGBTQ rights in his native Puerto Rico and elsewhere.

“Not only was a sophisticated political statement, but it was a celebration of who we are as Puerto Ricans,” Pedro Julio Serrano, president of the LGBTQ+ Federation of Puerto Rico, told the Washington Blade on Monday. “That includes us as LGBTQ+ people by including a ground-breaking superstar and legend, Ricky Martin singing an anti-colonial anthem and showcasing Young Miko, an up-and-coming star at La Casita. And, of course, having queer icon Lady Gaga sing salsa was the cherry on the top.”

La Casita is a house that Bad Bunny included in his residency in San Juan, the Puerto Rican capital, last year. He recreated it during the halftime show.

“His performance brought us together as Puerto Ricans, as Latin Americans, as Americans (from the Americas) and as human beings,” said Serrano. “He embraced his own words by showcasing, through his performance, that the ‘only thing more powerful than hate is love.’”

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Drag

PHOTOS: Drag in rural Virginia

Performers face homophobia, find community

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Four drag performers dance in front of an anti-LGBTQ protester outside the campus of James Madison University in Harrisonburg, Va. (Blade photo by Landon Shackelford)

Drag artists perform for crowds in towns across Virginia. The photographer follows Gerryatrick, Shenandoah, Climaxx, Emerald Envy among others over eight months as they perform at venues in the Virginia towns of Staunton, Harrisonburg and Fredericksburg.

(Washington Blade photos by Landon Shackelford)

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Books

New book explores homosexuality in ancient cultures

‘Queer Thing About Sin’ explains impact of religious credo in Greece, Rome

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(Book cover image courtesy of Bloomsbury)

‘The Queer Thing About Sin’
By Harry Tanner
c.2025, Bloomsbury
$28/259 pages

Nobody likes you very much.

That’s how it seems sometimes, doesn’t it? Nobody wants to see you around, they don’t want to hear your voice, they can’t stand the thought of your existence and they’d really rather you just go away. It’s infuriating, and in the new book “The Queer Thing About Sin” by Harry Tanner, you’ll see how we got to this point.

When he was a teenager, Harry Tanner says that he thought he “was going to hell.”

For years, he’d been attracted to men and he prayed that it would stop. He asked for help from a lay minister who offered Tanner websites meant to repress his urges, but they weren’t the panacea Tanner hoped for. It wasn’t until he went to college that he found the answers he needed and “stopped fearing God’s retribution.”

Being gay wasn’t a sin. Not ever, but he “still wanted to know why Western culture believed it was for so long.”

Historically, many believe that older men were sexual “mentors” for teenage boys, but Tanner says that in ancient Greece and Rome, same-sex relationships were common between male partners of equal age and between differently-aged pairs, alike. Clarity comes by understanding relationships between husbands and wives then, and careful translation of the word “boy,” to show that age wasn’t a factor, but superiority and inferiority were.

In ancient Athens, queer love was considered to be “noble” but after the Persians sacked Athens, sex between men instead became an acceptable act of aggression aimed at conquered enemies. Raping a male prisoner was encouraged but, “Gay men became symbols of a depraved lack of self-control and abstinence.”

Later Greeks believed that men could turn into women “if they weren’t sufficiently virile.” Biblical interpretations point to more conflict; Leviticus specifically bans queer sex but “the Sumerians actively encouraged it.” The Egyptians hated it, but “there are sporadic clues that same-sex partners lived together in ancient Egypt.”

Says Tanner, “all is not what it seems.”

So you say you’re not really into ancient history. If it’s not your thing, then “The Queer Thing About Sin” won’t be, either.

Just know that if you skip this book, you’re missing out on the kind of excitement you get from reading mythology, but what’s here is true, and a much wider view than mere folklore. Author Harry Tanner invites readers to go deep inside philosophy, religion, and ancient culture, but the information he brings is not dry. No, there are major battles brought to life here, vanquished enemies and death – but also love, acceptance, even encouragement that the citizens of yore in many societies embraced and enjoyed. Tanner explains carefully how religious credo tied in with homosexuality (or didn’t) and he brings readers up to speed through recent times.

While this is not a breezy vacation read or a curl-up-with-a-blanket kind of book, “The Queer Thing About Sin” is absolutely worth spending time with. If you’re a thinking person and can give yourself a chance to ponder, you’ll like it very much.

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