Arts & Entertainment

Social Agenda for Feb. 19

Published

15 years ago

February 18, 2010

Friday, Feb. 19

Get down to Bell Biv Devoe, TLC and C&C at the “No Scrubs: 90’s Dance Party with DJs Will Eastman and Brian Billion” at 10 p.m. at the 9:30 club, 815 V St., N.W. There’s a $10 cover and this quarterly event is nearly sold out.

From ice dancing to men’s hockey, watch the Olympics at Nellie’s Sports Bar all day, 900 U St., N.W.

Gay organist Stephen Harouff of Baltimore plays a free recital today at 12:15 p.m. at National City Christian Church as part of its “Magical, Mystical, Musical Machine” organ recital series. NCCC’s Charles Miller, who’s also gay, play on the 26th. The recitals are a half hour each. The church is at 5 Thomas Circle, N.W.

Gay District meets tonight. The group was formerly known as the Twenties Group but has expanded its age range for gay, bi, trans and questioning men from 18 to 35. The group meets for weekly discussion from 8:30 to 9:30 every Friday at St. Margaret’s Church located at 1830 Connecticut Ave. Members dine afterwards then go dancing. The group is changing its contact information but for now, those interested can visit the group on Facebook under the name “GD: Gay District.”

Saturday, Feb. 20

Relive the glory days at 80s alt-pop dance night with DJ lil’e backstage at the Black Cat, 1811 14th St., NW. There’s a $7 cover, starts at 9:30 p.m.

Love him or hate him, there’s no denying his stage presence. John Mayer plays Verizon Center tonight, 8 p.m. with special guest Michael Franti and Spearhead, tickets $42.50-78.00. Visit ticketmaster.com.

A concert by members of D.C.’s “Different Drummers,” a gay ensemble, called “Intimate Winds” is today at 2 p.m. in the Adirondack Room at Hillwood Museum Estate. Fischer Tull’s “Liturgical Symphony,” Richard Strauss’ “Serenade,” and more will be performed. Tickets are $20 ($10 for seniors and students) and are available at the door. Visit dcdd.org for more information.

D.C. Icebreakers, an LGBT ice skating social group, has a game night tonight from 7:30 to 11:30 in Ballston with co-hosts NOVA GL Professionals and Gay District. The event is at a party room within walking distance from the Ballston Metro station. For directions, RSVP to [email protected]. Visit dcicebreakers.com for more information about the group.

Photographer Jason Horowitz, who’s straight, opens a new show called DRAG tonight at the Curator’s Office from 6 to 8 p.m. Featuring up-close and large-scale photos of local drag queens including Shi-Queeta Lee and others, the show, the artist says, seeks to reveal and challenge hidden biases about femininity and masculinity, beauty and ugliness, gay culture, race, sexuality and aging. The Curator’s Office is located at 1515 14th St., N.W., Suite 201.

Town has a Mardi Gras party with DJ Dan Deleon tonight. Doors open at 10. Town is located at 2009 8th St., N.W. Visit towndc.com for more information.

Sunday, Feb. 21

The Bolshoi Ballet wraps up its engagement at the Kennedy Center today at 1:30 p.m. Tickets are $47-135.00. Visit kennedy-center.org for information.

A discussion called “Bagels, Brunch and Islam” is being held today at the D.C. Center from 11:30 a.m. to 2:30 p.m. Iman Daayiee Abdullah, who’s gay, will discuss the relation between Islam and Judaism and the lives of gay and lesbian Muslims. This study brunch is hosted by Bet Mishpachah, a local gay synagogue. The event is free and open to the public. The Center is located at 1810 14th St., N.W.

Adodi D.C., a gay group for men of color who celebrate their African heritage, meets today at the D.C. Center today from 3 to 6 p.m. The Center is at 1810 14th Street N.W. Visit thedccenter.org for more information.

Local drag queen Shi-Queeta Lee hosts drag brunch every Sunday at Nellie’s Sports Bar, located at 900 U Street, N.W. Brunch buffet is $20. Miss Lee performs at 11 a.m. and 2 p.m. Visit nelliessportsbar.com for more information.

Dignity Washington, a local gay Catholic group, celebrates Mass for the LGBT community every Sunday at 6 p.m. at St. Margaret’s, located at 1820 Connecticut Ave., N.W. Call 202-546-2245 for more information or visit dignitywashington.org.

Monday, Feb. 22

D.C. Center’s Elder Think Tank meets tonight at 6:30 p.m. and typically on the fourth Monday of each month. The group is an intergenerational group working on education, advocacy and services to the local aging LGBT population. The Center is at 1810 14th Street, N.W. Visit thedccenter.org for more information.

A youth support group for gay, lesbian and bi teens meets today from 4:30 to 6 p.m. at the GW Center Clinic located at 1922 F Street N.W., suite 103. Fees for therapy and the group are on a sliding scale.

Metropolitan Community Church of Washington, the District’s largest mostly gay church, has an HIV-positive support group for people of faith every Monday at the church. For more information, contact Matt Senger at 202-546-2159 or e-mail him at [email protected]. MCC-DC is located at 474 Ridge Street, N.W. Visit mccdc.com for more information about the church.

Tuesday, Feb. 23

“In the Heights,” winner of four 2008 Tony Awards including best musical, opens at the Hippodrome Theatre in Baltimore, 12 N. Eutaw St., Baltimore, 410-837-7400. For tickets, visit broadwayacrossamerica.com.

“When Someone You Love Loves Meth” meets tonight at 7 at DC Center, located at 1810 14th Street, N.W. Visit thedccenter.org for more information. Also at the Center tonight is a meeting for those planning Gay Men’s Health Summit 2012 and AIDS 2012.

Washington Renegades, a gay-welcoming local rugby team, resumes practice for its spring season today at 6:45 p.m. at Cardozo High School at 1300 Clifton Street, N.W. Newcomers curious about the group can attend with out having to join. Visit dcrugby.com for more information.

The United ENDA Coalition meets on Tuesdays and Wednesdays from 6 to 9 p.m. at the National Gay & Lesbian Task Force headquarters to encourage LGBT supporters to help pass the Employment Non-Discrimination Act. Training and pizza are provided. The Task Force is at 1325 Massachusetts Ave., N.W., sixth floor. For more information, contact Aaditi Dubale at [email protected].

Cobalt has “Flashback,” a retro night, every Tuesday at 10 p.m. Rail vodka drinks are free from 10 to 11 p.m. Cobalt, a gay bar and dance club, is at the corner of 17th and R streets, N.W.

Wednesday, Feb. 24

Ziegfeld’s/Secrets hosts its monthly amateur dancer contest at 11 p.m., signup begins at 10 p.m., 1824 Half St., S.W., 202-863-0670. Hosted by Destiny B. Childs.

The Hollaback Transgender Support Group meets tonight at 6:30 p.m. at DC Center, located at 1810 14th St., N.W. Hollaback is a social and support group for the trans community and is a program of the D.C. Community AIDS Network. The group meets on the second and fourth Wednesday of each month.

Ladies First night is tonight and every Wednesday at Fab Lounge, located at 1805 Connecticut Ave., N.W. For more information, visit myspace.com/ladiesfirst.

Thursday, Feb. 25

Phase 1, the country’s oldest lesbian bar, begins its 40th anniversary festivities tonight at 9 p.m. at the Phase, located at 525 8th Street, S.E. The anniversary celebration continues through Sunday at 3 a.m. Staff members are seeking Phase-related photos from long-time patrons. They can be e-mailed to [email protected] or scanned at the bar. Patrons with Phase stories to share are also encouraged to come forward. A kick-off rock show is tonight with performers Hunter Valentine, the Pushovers and Kaylan Rexer. Visit phase1dc.com for more information.

D.C. Lambda Squares, a local gay square dancing group, meets every Thursday for square dancing. For more information about the group or to find out when beginner classes are available, visit dclambdasquares.org.

Friday, Feb. 26

Phase One 40th anniversary festivities continue tonight with a Miss Phase One Pageant at the bar from 7 to 10:30 p.m., which features a $200 cash prize. Hopefuls will compete in several categories. Send a photo, short bio and description of your talent to [email protected] to compete. Lesbian history through the ’70s, ’80s, ’90s and ’00s will be honored with photos, videos and music from each era tonight and Saturday. Visit phase1dc.com for more information.

Saturday, Feb. 27

Gay & Lesbian Outreach & Engagement has its third annual Masquerade & Mischief Purim Party tonight at the Washington D.C. Jewish Community Center at 16th and Q streets, N.W. at 9 p.m. Attendees are encouraged to wear costumes. Those who do have open bar access all night. D.C. Cowboys and trans comedian Riki Wilchins will perform. Tickets are $18 in advance; $20 at the door. A costume prize will be awarded. Contact [email protected] or 202-777-3253 for more information.

Variety show Crack is back tonight with a new show called “Once Upon a Time” at Town from 9 p.m. to midnight tonight. The production is billed as an “outrageous cabaret that spoofs the fantastic world of fairy tales and nursery rhymes.” Crack hosts Shea Van Horn, Chris Farris and Karl Jones will perform. Cover is $10. Show starts at 10. Attendees are encouraged to dress in fairy tale- or nursery rhyme-inspired costumes to receive a $2 discount. Town is at 2009 8th Street N.W.

Send calendar listings two weeks prior to your event to Joey DiGuglielmo at [email protected].

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Movies

Wes Anderson’s elaborate ‘Scheme’

Director ditches the quirk for an esoteric experience

Published

36 minutes ago

June 12, 2025

John Paul King

The cast of ‘The Phoenician Scheme.’ (Photo courtesy of Focus Features)

There was a time, early in his career, that young filmmaker Wes Anderson’s work was labeled “quirky.”

To describe his blend of dry humor, deadpan whimsy, and unresolved yearning, along with his flights of theatrical fancy and obsessive attention to detail, it seemed apt at the time. His first films were part of a wave when “quirky” was almost a genre unto itself, constituting a handy-but-undefinable marketing label that inevitably became a dismissive synonym for “played out.”

That, of course, is why every new Wes Anderson film can be expected to elicit criticism simply for being a Wes Anderson film, and the latest entry to his cinematic canon is, predictably, no exception.

“The Phoenician Scheme” – released nationwide on June 6 – is perhaps Anderson’s most “Anderson-y” movie yet. Set in a nebulously dated (but vaguely mid-20^th century) world, it’s the tall-tale-ish saga of Anatole “Zsa-Zsa” Korda (Benicio del Toro), a ruthlessly amoral arms dealer and business tycoon with a history of surviving assassination attempts. The latest – a bomb-facilitated plane crash – has forced him to recognize that his luck will eventually run out, and he decides to turn over his financial empire (on a trial basis, at least) to his estranged daughter Liesl (Mia Threapleton), currently a novice nun on the verge of taking her vows, in hopes of mending their relationship before it’s too late. She conditionally agrees, despite the rumors that he murdered her mother, and is drawn into an elaborate geopolitical con game in which he tries to manipulate a loose cadre of “world-building” financiers (Tom Hanks, Bryan Cranston, Riz Ahmed, Mathieu Amalric, and Jeffrey Wright) into funding a massive infrastructure project across the former Phoenician empire.

Joined by his new administrative assistant and tutor, Mr. Bjorn (Michael Cera), Korda and Liesl travel the world to meet with his would-be investors, dodging assassination attempts along the way. His plot is disrupted, however, by the clandestine interference of a secret international coalition of nations led by an American agent code-named “Excalibur” (Rupert Friend), who seeks to prevent the shift of geopolitical power his project would create. Eventually, he’s forced to target a final “mark” for the money he needs to pull it off – his own half-brother Nubar (Benedict Cumberbatch), with whom he has had a lifelong and very messy rivalry – or lose his fortune, his oligarchic empire, and his slowly improving relationship with his daughter, all at once.

It’s clear from that synopsis that Anderson’s scope has widened far beyond the intimate stories of his earliest works – “Bottle Rocket,” “Rushmore,” “The Royal Tenenbaums,” and others, which mostly dealt with relationships and dynamics among family (or chosen family) – to encompass significantly larger themes. So, too, has his own singular flavor of filmmaking become more fully realized; his exploration of theatrical techniques within a cinematic setting has grown from the inclusion of a few comical set-pieces to a full-blown translation of the real world into a kind of living, efficiently-modular Bauhaus diorama, where the artifice is emphasized rather than suggested, and realism can only be found through the director’s unconventionally-adjusted focus.

His work is no longer “quirky” – instead, it has grown with him to become something more pithy, an extension of the surreal and absurdist art movement that exploded in the tense days before World War II (an era which bears a far-too-uncomfortable resemblance to our own) and expresses the kind of politically-aware philosophical ideas that helped to build the world we are living in now. It is no longer possible to enjoy a Wes Anderson movie on the basis of its surface value alone; it is necessary to read deeper in the cinematic language that he has honed since the start of his career, informed by a deep knowledge of art, history, and intellectual exploration to which he pays open and unapologetic homage on the screen. Like all auteurs, he makes films that are shaped by his personal thought and vision, that follow a meticulous logic he has created himself, and that are less interested in providing entertainment than they are in providing insight into the wildly conflicted, often nonsensical, and almost always deplorable human behavior.

By typical standards, the performances in “Phoenician Scheme” – like those in most of Anderson’s films – feel stylized, distant, even emotionally cold. But within his meticulously stoic milieu, they are infused with a subtle depth that comes as much from the carefully maintained blankness of their delivery as it does from the lines themselves. Both del Toro and Threapleton manage to forge a deeply affecting bond while maintaining the detachment that is part of the director’s established style, and Cera – whose character reveals himself to be more than he appears as part of the story’s progression – begs the question of why he hasn’t become a “Wes Anderson regular” long before this. As always, part of the fun comes from the appearances of so many familiar faces, actors who have become part of an ever-expanding collection of regular players – including most-frequent collaborator Bill Murray, who joins fellow Anderson troupers Willem Dafoe and F. Murray Abraham as part of the “Biblical Troupe” that enact the frequent “near-death” episodes experienced by del Toro’s Korda throughout, and Scarlett Johansson, who shows up as a second cousin that Korda courts for a marriage of financial convenience – and the obvious commitment they bring to the project beside the rest of the cast.

But no Anderson film is really about the acting, though it’s an integral part of what makes them work – as this one does, magnificently, from the intricately choreographed opening credit sequence to the explosive climax atop an elaborate mechanical model of Korda’s dream project (a nod to Jean Renoir’s classic “The Rules of the Game,” which also examines the follies of the economic elite on the cusp of its own downfall). In the end, it’s Anderson himself who is the star, orchestrating his thoroughly-catalogued vision like a clockwork puzzle until it pays off on a note of surprisingly un-bittersweet hope which reminds us that the importance of family and personal bonds is, in fact, still at the core of his ethos.

That said, and a mostly favorable critical response aside, there are numerous critics and self-identified fans who have been less than charmed by Anderson’s latest opus, finding it a redundant exercise in a style that has grown stale and offers little substance in exchange. Frankly, it’s impossible not to wonder if they have seen the same movie we have.

“The Phoenician Scheme,” like all of its creator’s work, is ultimately an esoteric experience, a film steeped in language and concepts that may only be accessible to those familiar with them – which, far from being a means of shutting out the “unenlightened,” aims instead to entice and encourage them to explore and expand their knowledge, and with it, their perspective. It might be frustrating, but the payoff is worth it.

In this case, the shrewdly astute political and economical realities he illuminates behind the “Hollywood” intrigue and artifice touch so profoundly on the current state of our world that, despite its lack of directly queer subject matter, we’re giving it our deepest recommendation.

Photos

PHOTOS: WorldPride Street Festival and Closing Concert

Doechii, Khalid among performers

Published

22 hours ago

June 11, 2025

Michael Key

Doechii performs at the WorldPride Closing Concert on Sunday, June 8. (Washington Blade photo by Michael Key)

WorldPride 2025 concluded with the WorldPride Street Festival and Closing Concert held along Pennsylvania Ave., N.W. on Sunday, June 8. Performers on the main stage included Doechii, Khalid, Courtney Act, Parker Matthews, 2AM Ricky, Suzie Toot, MkX and Brooke Eden.

(Washington Blade photos by Michael Key)