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Webre’s farewell

Long-time Washington Ballet artistic director reflects

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Septime Webre, gay news, Washington Blade
Septime Webre, gay news, Washington Blade

Septime Webre, artistic director of the Washington Ballet since 1999, says he worked to fuse classical ballet elements with contemporary and popular art during his tenure. (Washington Blade photo by Joey DiGuglielmo)

Imagination Stage Presents ‘The Little Mermaid’
 
 
In collaboration with the Washington Ballet
 
 
Continues through Aug. 14
 
 
Lerner Family Theatre
 
 
4908 Auburn Ave., Bethesda
 
 
Tickets start at $10
 
 
imaginationstage.org
 

Septime Webre didn’t plan on ‘The Little Mermaid,’ an Imagination Stage production produced in collaboration with the Washington Ballet, to be his swan song. It just kind of worked out that way.

But the 54-year-old co-choreographer says everything the Ballet has done this season — he mentions the April “Carmina Burana” performances and the “Bowie & Queen” rock show in May — as being fitting farewells. He wrapped his tenure at the Ballet this week and will join the S&R Foundation, a non-profit started in 2000 by Sachiko Kuno and Ryuji Ueno to support artists and scientists, as its artistic director.

During a Washington Blade interview, Webre — who lives in Adams Morgan with his partner of five years, Marc Cipullo — shared his philosophies, struggles and plans. His comments have been edited for length.

WASHINGTON BLADE: Why are you leaving?

SEPTIME WEBRE: I feel great about my accomplishments here. It’s grown amazingly. But particularly in the last few years, I’ve had a yearning to be in the studio a bit more. Being the director of a company, there are administration duties, PR duties, marketing duties, all that’s involved in overseeing an organization that has grown from a $2 million to a $12 million budget, so I had already been thinking that maybe another chapter would be interesting to really focus on creativity and less institution building for a while. That coincided with a blossoming of my work as a freelance artist in the last few years.

BLADE: Was the managerial aspect stultifying?

WEBRE: No. I’ve enjoyed all that institution building and felt like I wanted to do that while I was still somewhat young and energetic, or at least while my Grindr age was still young. I’m 54 but I skew young. I’m an energetic kind-of guy. So those duties weren’t stultifying, but they certainly got in the way of creating new work. In the last several years, I’ve done full-length ballets based on “The Great Gatsby,” on Hemingway’s “The Sun Also Rises,” last year I did a Washington Irving project and also “Alice in Wonderland.” These works have been much in demand over the last five or six years and I’ve also had some commissions by other companies.

BLADE: I assume the name recognition of these works helps?

WEBRE: That’s part of it but it’s also the return of narrative works in ballet after the era of modernism, which was my generation, and an aesthetic dominated by George Balanchine and Merce Cunningham. These were abstract artists and from the mid-century through the time I was dancing, serious choreographers really didn’t tackle narratives. It was not considered serious. But during my choreographic career, I began to tackle them because in many ways, it’s who I am. There’s something inside of me, this boisterous Cuban family and the brothers on the weekend, all we do is get together and drink cold Mexican beer and tell stories. So I was naturally drawn to these great books and they also happen to sell tickets.

BLADE: You were part of a larger trend with this?

WEBRE: I would say I was an early adopter of the return to narrative. … You could feel it in the air, particularly in the ‘90s. … It was a convergence of factors — the death of George Balanchine in the early ‘80s, we had been through modernism and that era and something new was needed. … Also just with the financial realities in the world, ballet companies were increasingly having to rely on box office in a financially challenging market and those story ballets sold better. … I was just on the front of a trend.

BLADE: How much of your work roughly has been choreographing vs. other duties at the Washington Ballet and did that change over time?

WEBRE: I’ve been creating a new work about every two years. That’s probably been the average. In the early years we did one a year, but they were smaller works. I would put my work into three different buckets. One is the creation of new ballet, the second is programmatic creativity, which I found really exciting. Curating repertoire, teaching, developing dancers, developing ancillary programs that are not creating ballets, but they’re really creative like the beerballet&bubbly series that brought thousands and thousands of Millennials in to watch rehearsals. … A third would be institution building.

BLADE: Did you ruffle many feathers along the way?

WEBRE: I never felt I ruffled feathers precisely, but I tried to push the envelope. I took over the Washington Ballet from Mary Day, who was 89 years old when I became the director. She was a fabulous visionary, but the company was a bit sleepy. She had a great aesthetic and she loved classical ballet and she loved new work, so there was a connection I had with her. But right away, the company began to grow. The audiences began to grow, we had standing ovations at every show the first run. In my first year, I took the Washington Ballet to Cuba, we produced a “Carmina Burana” that was, at that time, very unprecedented for us. Those first programs were so popular that a buzz developed very early on.

BLADE: You make it all sound so easy, though. What obstacles did you encounter?

WEBRE: Well, without a doubt our huge labor dispute in 2005. That was immense. We had grown so rapidly over the course of my first five years — the number of performances had probably doubled — we had grown, but the admin support hadn’t grown with it. …. We were working on a huge, new version of “The Nutcracker,” a huge project, and in the midst of that, the dancers very appropriately decided to join a union. That was the right time in our organization’s history to do that, but over the course of negotiating that first contract, which took a year, our “Nutcracker” was canceled and we lost a million dollars. The dancers were out of work for months and there was so much acrimony. We were in the Washington Post every day for 19 days, I think. …. But we were eventually able to settle it when we got the lawyers out of it. We settled in March 2006 and went back to work in April. That was a big one. …. Another challenge was in 2009 when the City Council eliminated earmarks. They rescinded that appropriation two months into our fiscal year and so suddenly we had a million dollar hole and we had to scramble. We had to cancel our “Nutcracker” orchestra to save $350,000 and we performed to taped music, just because otherwise we were not going to survive.

Septime Webre, gay news, Washington Blade

Septime Webre in rehearsal for ‘The Little Mermaid’ at the Washington Ballet studios on Wisconsin Avenue on June 10. (Washington Blade photo by Joey DiGuglielmo)

BLADE: What kind of learning curve did you have here?

WEBRE: I had some strong mentors and I was able to steal some of their ideas. But before this, although I had a little bit of training when I was a director for six years in Princeton, N.J., so my work there really impressed on me that you have to take your work with the audience a step further. You’re not in an ivory tower. You can’t just sort of hang the shingle and hope they’ll come and understand what you’re doing. You have to connect with them more deeply. I’d had some trial and error with that in New Jersey. So I came here with a conviction that the Washington Ballet had to connect with the social fabric of the city and we’ve done that in multiple ways with our outreach programs in Anacostia, Dance DC in public schools, beerballet&bubbly for young professionals, our Latino programs, etc.

BLADE: How have the dancers changed over the time you’ve been here?

WEBRE: About five years into my tenure here, just before the labor dispute actually, we’d never done any full-length classical ballets. No “Giselle,” “Coppelia” or “Don Quixote.” Mary Day never chose to do that because American Ballet was already doing that kind of repertoire at the Kennedy Center. I sensed a kind of unspoken inferiority complex around the organization. No one said it, but I could sense that the dancers thought we couldn’t handle it, our staff thought we couldn’t handle it, our audiences thought we couldn’t do it. A dancer’s career is so short, a dancer wants to dance the full repertory they were trained for, so I made a decision about four years in to slowly, methodically begin to introduce some full-length 19th Century classical works into the repertoire. … I think that helped us be seen as a grown-up company and that’s led to really, really high-powered dancers and a higher quality of dancer. Younger dancers today are coming in with a lot more technique and what a dancer can do now compared with 15 years ago or when I retired 20 years ago, oh my God — they’re doing all this crazy crap that hadn’t even been invented yet. Just like in athletics, the technique has risen, risen, risen.

BLADE: How has being gay affected your career or has it?

WEBRE: The dancers themselves are much less gay than the public imagines. … As I was getting into admin work and started working with board members … I actually found it to be an asset. This is going to sound very retro, but it gave me a kind of exoticism. … They were a lot of businessmen who didn’t necessarily have gay friends, so now they did and it made them feel good about themselves.

BLADE: Are classical works and pop/contemporary works strange bedfellows in the ballet world?

WEBRE: Well, “Giselle” sold significantly less well than “The Great Gatsby” or than “Bowie & Queen.” “Don Quixote” sold less than “The Sun Also Rises” or “The British Invasion.” What I found was that when classical, lofty art remained itself and didn’t get a bit dirty, it was less popular from a ticket sale standpoint. So we remained ballet, but we got down and dirty with Freddie Mercury wailing sometimes. That collision creates a buzz and a connection. … But things are always colliding and mixing in a postmodern world. I mean, I wish everyone loved “Giselle” as much as I do, but it’s also exciting because ballet is a language just like you use the same English language for Shakespeare, Emily Dickinson or Mad Magazine.

Septime Webre, gay news, Washington Blade

The cast of ‘The Little Mermaid.’ (Photo courtesy Imagination Stage)

Jesse Arnholz contributed to this interview.

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Visit Cambridge, a ‘beautiful secret’ on Maryland’s Eastern Shore

New organization promotes town’s welcoming vibe, LGBTQ inclusion

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Cambridge, Md., is home to quaint shops, restaurants, and Victorian homes on Maryland’s Eastern Shore. (Photo courtesy James Lumalcuri)

CAMBRIDGE, Md. — Driving through this scenic, historic town on Maryland’s Eastern Shore, you’ll be charmed by streets lined with unique shops, restaurants, and beautifully restored Victorian homes. You’ll also be struck by the number of LGBTQ Pride flags flying throughout the town.

The flags are a reassuring signal that everyone is welcome here, despite the town’s location in ruby red Dorchester County, which voted for Donald Trump over Kamala Harris by a lopsided margin. But don’t let that deter you from visiting. A new organization, Proudly Cambridge, is holding its debut Pride event this weekend, touting the town’s welcoming, inclusive culture.

“We stumbled on a beautiful secret and we wanted to help get the word out,” said James Lumalcuri of the effort to create Proudly Cambridge.

The organization celebrates diversity, enhances public spaces, and seeks to uplift all that Cambridge has to share, according to its mission statement, under the tagline “You Belong Here.”

The group has so far held informal movie nights and a picnic and garden party; the launch party is June 28 at the Cambridge Yacht Club, which will feature a Pride celebration and tea dance. The event’s 75 tickets sold out quickly and proceeds benefit DoCo Pride.

“Tickets went faster than we imagined and we’re bummed we can’t welcome everyone who wanted to come,” Lumalcuri said, adding that organizers plan to make “Cheers on the Choptank” an annual event with added capacity next year.

One of the group’s first projects was to distribute free Pride flags to anyone who requested one and the result is a visually striking display of a large number of flags flying all over town. Up next: Proudly Cambridge plans to roll out a program offering affirming businesses rainbow crab stickers to show their inclusiveness and LGBTQ support. The group also wants to engage with potential visitors and homebuyers.

“We want to spread the word outside of Cambridge — in D.C. and Baltimore — who don’t know about Cambridge,” Lumalcuri said. “We want them to come and know we are a safe haven. You can exist here and feel comfortable and supported by neighbors in a way that we didn’t anticipate when we moved here.”

James Lumalcuri and Lou Cardenas sailing in Cambridge, Md. The couple bought a second home there and are spreading the word about the town’s pro-LGBTQ culture. (Photo courtesy the couple)

Lumalcuri, 53, a federal government employee, and his husband, Lou Cardenas, 62, a Realtor, purchased a Victorian house in Cambridge in 2021 and embarked on an extensive renovation. The couple also owns a home in Adams Morgan in D.C.

“We saw the opportunity here and wanted to share it with others,” Cardenas said. “There’s lots of housing inventory in the $300-400,000 range … we’re not here to gentrify people out of town because a lot of these homes are just empty and need to be fixed up and we’re happy to be a part of that.”

Lumalcuri was talking with friends one Sunday last year at the gazebo (affectionately known as the “gayzebo” by locals) at the Yacht Club and the idea for Proudly Cambridge was born. The founding board members are Lumalcuri, Corey van Vlymen, Brian Orjuela, Lauren Mross, and Caleb Holland. The group is currently working toward forming a 501(c)3.

“We need visibility and support for those who need it,” Mross said. “We started making lists of what we wanted to do and the five of us ran with it. We started meeting weekly and solidified what we wanted to do.”

Mross, 50, a brand strategist and web designer, moved to Cambridge from Atlanta with her wife three years ago. They knew they wanted to be near the water and farther north and began researching their options when they discovered Cambridge.

“I had not heard of Cambridge but the location seemed perfect,” she said. “I pointed on a map and said this is where we’re going to move.”

The couple packed up, bought a camper trailer and parked it in different campsites but kept coming back to Cambridge. 

“I didn’t know how right it was until we moved here,” she said. “It’s the most welcoming place … there’s an energy vortex here – how did so many cool, progressive people end up in one place?” 

Corey van Vlymen and his husband live in D.C. and were looking for a second home. They considered Lost River, W.Va., but decided they preferred to be on the water.

“We looked at a map on both sides of the bay and came to Cambridge on a Saturday and bought a house that day,” said van Vlymen, 39, a senior scientist at Booz Allen Hamilton. They’ve owned in Cambridge for two years.

They were drawn to Cambridge due to its location on the water, the affordable housing inventory, and its proximity to D.C.; it’s about an hour and 20 minutes away.

Now, through the work of Proudly Cambridge, they hope to highlight the town’s many attributes to residents and visitors alike.

“Something we all agree on is there’s a perception problem for Cambridge and a lack of awareness,” van Vlymen said. “If you tell someone you’re going to Cambridge, chances are they think, ‘England or Massachusetts?’”

He cited the affordability and the opportunity to save older, historic homes as a big draw for buyers.

“It’s all about celebrating all the things that make Cambridge great,” Mross added. “Our monthly social events are joyful and celebratory.” A recent game night drew about 70 people.

She noted that the goal is not to gentrify the town and push longtime residents out, but to uplift all the people who are already there while welcoming new visitors and future residents. 

They also noted that Proudly Cambridge does not seek to supplant existing Pride-focused organizations. Dorchester County Pride organizes countywide Pride events and Delmarva Pride was held in nearby Easton two weeks ago.

“We celebrate all diversity but are gay powered and gay led,” Mross noted.  

To learn more about Proudly Cambridge, visit the group on Facebook and Instagram.

What to see and do

Cambridge, located 13 miles up the Choptank River from the Chesapeake Bay, has a population of roughly 15,000. It was settled in 1684 and named for the English university town in 1686. It is home to the Harriet Tubman Museum, mural, and monument. Its proximity to the Blackwater National Wildlife Refuge makes it a popular stop for birders, drawn to more than 27,000 acres of marshland dubbed “the Everglades of the north.”

The refuge is walkable, bikeable, and driveable, making it an accessible attraction for all. There are kayaking and biking tours through Blackwater Adventures (blackwateradventuresmd.com).

Back in town, take a stroll along the water and through historic downtown and admire the architecture. Take in the striking Harriet Tubman mural (424 Race St.). Shop in the many local boutiques, and don’t miss the gay-owned Shorelife Home and Gifts (421 Race St.), filled with stylish coastal décor items. 

Stop for breakfast or lunch at Black Water Bakery (429 Race St.), which offers a full compliment of coffee drinks along with a build-your-own mimosa bar and a full menu of creative cocktails.

The Cambridge Yacht Club (1 Mill St.) is always bustling but you need to be a member to get in. Snapper’s on the water is temporarily closed for renovations. RaR Brewing (rarbrewing.com) is popular for craft beers served in an 80-year-old former pool hall and bowling alley. The menu offers burgers, wings, and other bar fare.

For dinner or wine, don’t miss the fantastic Vintage 414 (414 Race St.), which offers lunch, dinner, wine tasting events, specialty foods, and a large selection of wines. The homemade cheddar crackers, inventive flatbreads, and creative desserts (citrus olive oil cake, carrot cake trifle) were a hit on a recent visit.

Also nearby is Ava’s (305 High St.), a regional chain offering outstanding Italian dishes, pizzas, and more.  

For something off the beaten path, visit Emily’s Produce (22143 Church Creek Rd.) for its nursery, produce, and prepared meals.

“Ten minutes into the sticks there’s a place called Emily’s Produce, where you can pay $5 and walk through a field and pick sunflowers, blueberries, you can feed the goats … and they have great food,” van Vlymen said.

As for accommodations, there’s the Hyatt Regency Chesapeake Bay (100 Heron Blvd. at Route 50), a resort complex with golf course, spa, and marina. Otherwise, check out Airbnb and VRBO for short-term rentals closer to downtown.

Its proximity to D.C. and Baltimore makes Cambridge an ideal weekend getaway. The large LGBTQ population is welcoming and they are happy to talk up their town and show you around. 

“There’s a closeness among the neighbors that I wasn’t feeling in D.C.,” Lumalcuri said. “We look after each other.”

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James Baldwin bio shows how much of his life is revealed in his work

‘A Love Story’ is first major book on acclaimed author’s life in 30 years

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(Book cover image courtesy of FSG)

‘Baldwin: A Love Story’
By Nicholas Boggs
c.2025, FSG
$35/704 pages

“Baldwin: A Love Story” is a sympathetic biography, the first major one in 30 years, of acclaimed Black gay writer James Baldwin. Drawing on Baldwin’s fiction, essays, and letters, Nicolas Boggs, a white writer who rediscovered and co-edited a new edition of a long-lost Baldwin book, explores Baldwin’s life and work through focusing on his lovers, mentors, and inspirations.

The book begins with a quick look at Baldwin’s childhood in Harlem, and his difficult relationship with his religious, angry stepfather. Baldwin’s experience with Orilla Miller, a white teacher who encouraged the boy’s writing and took him to plays and movies, even against his father’s wishes, helped shape his life and tempered his feelings toward white people. When Baldwin later joined a church and became a child preacher, though, he felt conflicted between academic success and religious demands, even denouncing Miller at one point. In a fascinating late essay, Baldwin also described his teenage sexual relationship with a mobster, who showed him off in public.

Baldwin’s romantic life was complicated, as he preferred men who were not outwardly gay. Indeed, many would marry women and have children while also involved with Baldwin. Still, they would often remain friends and enabled Baldwin’s work. Lucien Happersberger, who met Baldwin while both were living in Paris, sent him to a Swiss village, where he wrote his first novel, “Go Tell It on the Mountain,” as well as an essay, “Stranger in the Village,” about the oddness of being the first Black person many villagers had ever seen. Baldwin met Turkish actor Engin Cezzar in New York at the Actors’ Studio; Baldwin later spent time in Istanbul with Cezzar and his wife, finishing “Another Country” and directing a controversial play about Turkish prisoners that depicted sexuality and gender. 

Baldwin collaborated with French artist Yoran Cazac on a children’s book, which later vanished. Boggs writes of his excitement about coming across this book while a student at Yale and how he later interviewed Cazac and his wife while also republishing the book. Baldwin also had many tumultuous sexual relationships with young men whom he tried to mentor and shape, most of which led to drama and despair.

The book carefully examines Baldwin’s development as a writer. “Go Tell It on the Mountain” draws heavily on his early life, giving subtle signs of the main character John’s sexuality, while “Giovanni’s Room” bravely and openly shows a homosexual relationship, highly controversial at the time. “If Beale Street Could Talk” features a woman as its main character and narrator, the first time Baldwin wrote fully through a woman’s perspective. His essays feel deeply personal, even if they do not reveal everything; Lucian is the unnamed visiting friend in one who the police briefly detained along with Baldwin. He found New York too distracting to write, spending his time there with friends and family or on business. He was close friends with modernist painter Beauford Delaney, also gay, who helped Baldwin see that a Black man could thrive as an artist. Delaney would later move to France, staying near Baldwin’s home.

An epilogue has Boggs writing about encountering Baldwin’s work as one of the few white students in a majority-Black school. It helpfully reminds us that Baldwin connects to all who feel different, no matter their race, sexuality, gender, or class. A well-written, easy-flowing biography, with many excerpts from Baldwin’s writing, it shows how much of his life is revealed in his work. Let’s hope it encourages reading the work, either again or for the first time.

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Looking back at 50 years of Pride in D.C

Washington Blade’s unique archives chronicle highs, lows of our movement

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Gay Pride Day 1976 (Washington Blade archive photo)

To celebrate the 50th anniversary of LGBTQ Pride in Washington, D.C., the Washington Blade team combed our archives and put together a glossy magazine showcasing five decades of celebrations in the city. Below is a sampling of images from the magazine but be sure to find a print copy starting this week.

D.C.’s Different Drummers march in the 2006 Capital Pride Parade. (Washington Blade archive photo by Adam Cuthbert)

The magazine is being distributed now and is complimentary. You can find copies at LGBTQ bars and restaurants across the city. Or visit the Blade booth at the Pride festival on June 7 and 8 where we will distribute copies. 

Thank you to our advertisers and sponsors, whose support has enabled us to distribute the magazine free of charge. And thanks to our dedicated team at the Blade, especially Photo Editor Michael Key, who spent many hours searching the archives for the best images, many of which are unique to the Blade and cannot be found elsewhere. And thanks to our dynamic production team of Meaghan Juba, who designed the magazine, and Phil Rockstroh who managed the process. Stephen Rutgers and Brian Pitts handled sales and marketing and staff writers Lou Chibbaro Jr., Christopher Kane, Michael K. Lavers, Joe Reberkenny along with freelancer and former Blade staffer Joey DiGuglielmo wrote the essays. 

The 1995 Lesbian and Gay Freedom Festival was held on Freedom Plaza on June 18. (Washington Blade archive photo by Clint Steib)

The magazine represents more than 50 years of hard work by countless reporters, editors, advertising sales reps, photographers, and other media professionals who have brought you the Washington Blade since 1969.

We hope you enjoy the magazine and keep it as a reminder of all the many ups and downs our local LGBTQ community has experienced over the past 50 years.

I hope you will consider supporting our vital mission by becoming a Blade member today. At a time when reliable, accurate LGBTQ news is more essential than ever, your contribution helps make it possible. With a monthly gift starting at just $7, you’ll ensure that the Blade remains a trusted, free resource for the community — now and for years to come. Click here to help fund LGBTQ journalism.

The D.C. Black Gay Men & Women’s Community Conference table at Gay Pride Day in 1978. (Washington Blade archive photo by Jim Marks)
A scene from 1985 Gay and Lesbian Pride Day. (Washington Blade archive photo by Doug Hinckle)
A scene from the 1988 Gay and Lesbian Pride Day. (Washington Blade archive photo by Doug Hinckle)
A scene from the Capital Pride Block Party in 2018. (Washington Blade photo by Daniel Truitt)
Keke Palmer performs at the 2024 Capital Pride Festival. (Washington Blade photo by Michael Key)
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