Arts & Entertainment
Affirming their faith
Lutheran LGBT group holding D.C. conference this weekend
The 2010 ReconcilingWorks conference in Minnesota. (Photo courtesy ReconcilingWorks)
A contingent of LGBT Lutherans will be in Washington this weekend for its biennial conference and while the denomination is still celebrating a 2009 decision that allows partnered gay and lesbian clergy to live openly, the group says it still has much work to do.
ReconcilingWorks — Lutherans for Full Participation was founded in 1974 by six people when it was known as Lutherans Concerned for Gay and Lesbian People. This year’s gathering, which runs Friday through Tuesday based at Luther Place Memorial Lutheran Church (1226 Vermont Ave., N.W.) will find a few hundred LGBT believers and allies here to fellowship, lobby, hear a keynote address from Presiding Bishop Mark Hanson and more. Those interested in attending can still get involved — visit reconcilingworks.org for information.
“Our primary purpose is always movement building,” says Emily Eastwood, executive director of ReconcilingWorks, a life-long Lutheran and lesbian. “We gather for personal transformation and support as well as skills building, education and action planning.”
Despite the 2009 decision, she says the group’s work is not done.
“As we know from the years of history with the Civil Rights Movement, when policies change, when laws change, that doesn’t mean the practice of it is immediately implemented or that the cultural shifts have occurred,” she says. “We believe full inclusion will take a period of years, perhaps even the rest of my life, to make sure the new policies become fully practiced within our denomination.”
Only about 500 of the 10,000 or so individual churches within the Evangelical Lutheran Church in America (ELCA) are “reconciling in Christ,” the group’s term for openly welcoming LGBT Christians. The D.C. area has more percentage wise — about 20 of the 70-odd ELCA churches that are part of the Metro D.C. Synod are “reconciling,” according to Philip Moeller, convener of the D.C. ReconcilingWorks chapter since 1991.
“What we’re basically saying is that it is possible to reconcile differences on these issues and move ahead in a way that’s commensurate with the gospel,” Moeller says.
Members say it’s a huge step for the entire denomination to have Hanson address their group. Moeller says Hanson was always sensitive to their issues but measured in his public stance prior to the 2009 vote. He’s been more unequivocal in his support since then, members say, and his appearance is unprecedented for the 4.2 million-member ELCA.
“This is the first time we’ve ever had a presiding bishop address us and it really says something about the change that’s happening within the church,” Moeller says.
On Tuesday, members will visit Capitol Hill for a lobbying effort.
Phil Soucy, the organization’s director of communications, says it’s part of the group’s belief that its work matters in the context of society at large.
“We’re going to be going to our representatives to tell them our thoughts to make sure they’re aware of the things we consider important in our lives as Lutherans and as citizens,” Soucy, who’s gay, says.
So how has ReconcilingWorks managed to make further strides within its denomination compared to other gay Christian groups working within the Roman Catholic Church or the United Methodist Church? Is it a matter of activism, theology or both?
“You’ve got a real tough issue with the Roman Catholic Church in that it’s very hard to change the Vatican,” Moeller, who’s also gay, says. “In terms of the Protestant denominations, I think the reason we’ve been so successful is that we really understood early on that confrontation gets you nowhere. If you’re in somebody’s face, you’re not going to change their mind about anything. You can even write a friendly discourse on theology and it won’t accomplish anything. What works is hearing the stories of people who have faith and who are LGBT. We haven’t left the church, we’re still in the church. We don’t want to be welcomed back, we want to be fully welcomed with all the same rights and privileges as everybody else has. … It’s really a matter of having a shift from confrontation to constructive engagement.”
Eastwood says her church’s belief on the nature of the grace of Christ, is central to their progress.
“The primary tenet of our faith is that we are saved through our faith and that that’s a gift from God,” she says. “It’s not through any kind of work that we do on our own, so our heritage seems to be a bit more progressive than other denominations.”
She also says relationship building has been essential.
“It’s about meeting people and walking with them for a time to build relationships rather than resorting to debate,” she says.
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Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
Amy Madigan’s win in the supporting actress category puts her in serious contention to win the Oscar for ‘Weapons’
From Chelsea Handler shouting out Heated Rivalry in her opening monologue to Amy Madigan proving that horror performances can (and should) be taken seriously, the Critics Choice Awards provided plenty of iconic moments for queer movie fans to celebrate on the long road to Oscar night.
Handler kicked off the ceremony by recapping the biggest moments in pop culture last year, from Wicked: For Good to Sinners. She also made room to joke about the surprise hit TV sensation on everyone’s minds: “Shoutout to Heated Rivalry. Everyone loves it! Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”
The back-to-back wins for Jacob Elordi in Frankenstein and Amy Madigan in Weapons are notable, given the horror bias that awards voters typically have. Aunt Gladys instantly became a pop culture phenomenon within the LGBTQ+ community when Zach Cregger’s hit horror comedy released in August, but the thought that Madigan could be a serious awards contender for such a fun, out-there performance seemed improbable to most months ago. Now, considering the sheer amount of critics’ attention she’s received over the past month, there’s no denying she’s in the running for the Oscar.
“I really wasn’t expecting all of this because I thought people would like the movie, and I thought people would dig Gladys, but you love Gladys! I mean, it’s crazy,” Madigan said during her acceptance speech. “I get [sent] makeup tutorials and paintings. I even got one weird thing about how she’s a sex icon also, which I didn’t go too deep into that one.”
Over on the TV side, Rhea Seehorn won in the incredibly competitive best actress in a drama series category for her acclaimed performance as Carol in Pluribus, beating out the likes of Emmy winner Britt Lower for Severance, Carrie Coon for The White Lotus, and Bella Ramsey for The Last of Us. Pluribus, which was created by Breaking Bad’s showrunner Vince Gilligan, has been celebrated by audiences for its rich exploration of queer trauma and conversion therapy.
Jean Smart was Hack’s only win of the night, as Hannah Einbinder couldn’t repeat her Emmy victory in the supporting actress in a comedy series category against Janelle James, who nabbed a trophy for Abbott Elementary. Hacks lost the best comedy series award to The Studio, as it did at the Emmys in September. And in the limited series category, Erin Doherty repeated her Emmy success in supporting actress, joining in yet another Adolescence awards sweep.
As Oscar fans speculate on what these Critics Choice wins mean for future ceremonies, we have next week’s Golden Globes ceremony to look forward to on Jan. 11.
(Washington Blade photos by Michael Key)
It’s been a year filled with drama and music, re-imaginings and new works. There was a lot on offer in 2025, and much to enjoy. Here are 10 now-closed productions that come to mind.
On Valentine’s Day at Folger Theatre on Capitol Hill, out actor Holly Twyford served as narrator for “The Love Birds” a Folger Consort work that melds medieval music with a world-premiere composition by acclaimed composer Juri Seo and readings from Geoffrey Chaucer’s “A Parlement of Foules”
Standing behind a podium, Twyford beautifully read Chaucer’s words (translated from Middle English and backed by projected slides in the original language), alternating with music played on old and new instruments.
While Mosaic Theater’s “A Case for the Existence of God,” closed in mid-December, it’s proving a production not soon forgotten. Precisely staged by Danilo Gambini, and impressively acted by Lee Orsorio and Jaysen Wright, the soul-searching two hander by out playwright Samuel D. Hunter, tells the story of two men who form an unlikely friendship based on single-fatherhood, a specific sadness, and hope.
The action unfolds in a small office in southern Idaho, where the pair discuss the perplexing terms of a mortgage loan while delving deep into their lives and backgrounds. Nothing is left off the table.
Shakespeare Theatre Company’s spring production of “Uncle Vanya” gave audiences something both fresh yet enduring. Staged by STC’s artistic director Simon Godwin, the production put an impeccably pleasing twist on Russian playwright Anton Chekhov’s classic. It ranks among the very best area productions of the year.
Featuring a topnotch cast led by Hugh Bonneville (TV’s “Downton Abbey”) in the title role, the play was set on an unfinished stage cluttered with costume racks and assorted props, all assembled by crew uniformed in black and actors in street clothes. Throughout the drama tinged with comedy, the actors continued to assist with ever increasingly period set changes accompanied by an underscore of melancholic cello strings. It was innovative and wonderful.
GALA Hispanic Theatre’s production of Manuel Puig’s “Kiss of the Spider Woman” was an intimate and affecting piece of theater. Staged by José Luis Arellano, it starred out actors Rodrigo Pedreira and Martín Ruiz as two very different men whose paths cross as convicts in an Argentine prison.
Arena Stage scored with a re-imagined and updated take on the widely liked musical “Damn Yankees.” Directed by Sergio Trujillo, the Broadway bound production has been “gently re-tooled for its first major revival in the 21st century,” moving the action from the struggling Washington Senators baseball team to the turn-of-the-century Yankees lineup. Ana Villafañe’s charmingly seductive Lola and a chorus of fit ball players made for a good time.
Also at Arena, out playwright Reggie D. White’s new work “Fremont Ave.” was very well received. A semi-autobiographical glimpse into home and the many definitions of that idea specifically relating to three generations of Black men, the work boasts a third act with a deeply queer storyline to boot.
Before his smash hit “Hamilton” transformed Broadway, Lin-Manuel Miranda wrote “In the Heights,” a seminal musical set against the vicissitudes of an upper Manhattan bodega. Infused with hip-hop, rap, and pop ballads, the romance/dramedy takes place over a lively few days in the vibrant, close-knit Latin neighborhood, Washington Heights.
Signature Theatre’s exciting take on “In the Heights” featured a talented cast including out actor Ángel Lozado as the bodega owner who figures prominently in the barrio and the action.
Studio Theatre’s recent production of lesbian playwright Paula Vogel’s newest work “The Mother Play,” a drama with humor, is about a well put together alcoholic mother and her two gay children living under difficult circumstances in the less glitzy parts of suburban Maryland. With nuanced performances and smart direction, the production was terrific.
Keegan Theatre surpassed expectations with its production of “Lizzie” a punk rock opera about Miss Borden, the fabled axe wielding title character. Performed by a super all-female cast, they belted a score that hits hard on subjects like money, queerness, and strained (to say the least) family relationships.
Round House Theatre impressed autumn audiences with “The Inheritance,” a two-part drama sensitively staged by out director Tom Story and acted by a mostly queer cast that included young actor Jordi Bertrán Ramírez in a breakout performance.
Penned by out playwright Matthew López, the epic work inspired by E.M. Forster’s novel “Howards End,” explores themes of love, legacy, and the AIDS crisis through the lives of three generations of gay men in New York City.
Prior to opening, Story commented that with the production’s predominately queer cast you get actors who “really understand the situation, the humor, and the struggle. It works well.” And he was right.
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