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Radcliffe goes glam, last weekend for ice show, Fleming at the Kennedy Center and more

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Radcliffe goes glam in new photo shoot

Still boyish at 21, Daniel Radcliffe may portray the teen wizard as more geeky than gonzo on the big screen as Harry Potter. But now you can see Radcliffe show off his inner wild man, going full wizard indeed to promote his upcoming film, the last of the series, “Harry Potter and the Deathly Hallows, Part 2.”

Little Harry has grown up. Check out his cover photo shoot for the feature story “The Boy Magician Shape Shift,” in Dazed and Confused magazine. With festive face and body paint, at times grotesque, at other times glammed to the nines with feathers, Radcliffe is always sensual. He’s shown his wilder side before. A much-ballyhooed nude scene on stage at age 17 in Peter Shaffer’s 1973 play “Equus” happened in 2007 on London’s West End.

Next stop for Radcliffe is a planned 2011 revival of “How To Succeed in Business Without Really Trying,” in which he is reportedly seeking to re-sculpt his body, hoping for six-pack slimness for shirtless scenes as the musical’s window-washer.

He also sent a recent message to gay teens as a new spokesman for the Trevor Project, the LGBT youth crisis-prevention 24-hour hotline. Speaking of the recent rash of gay teen suicides, he said that “it has been heart-breaking for me (that) these young people were bullied and tormented by people that should have been their friends.”

(Photo courtesy of Gaylord National Resort)

Last weekend for ‘Grinch’ ice exhibit

This is the last weekend to see the impressive ice-sculpted show ‘How the Grinch Stole Christmas” as it closes Sunday. Featuring the artistry of Chinese ice carvings, it’s housed in a special 15,000-square foot pavilion at the waterfront Gaylord National Harbor Resort. It’s near the Beltway at the Wilson Bridge, right across the Potomac River from Old Town Alexandria, and it closes Sunday.

This one is perfect for kids of all ages, an indoor wonderland just 9 degrees above zero inside. Parkas are handed out to keep warm. It features 10 scenes from the 1957 Dr. Seuss classic story of the “Whoville-hating” Grinch, carved from two million pounds of ice, as well as a complete exhibition of the actual storybook artwork and commercial-art illustrations by Theodor Seuss Geisel, the American writer and cartoonist who died in 1991. For tickets and times, go to wefrozethegrinch.com or call 301-965-4000.

From left, Austin Johnson as Fritz, Emily Whitworth as Louise and Dalles Tolentino as the Nutcracker in Synetic's 'Nutcracker,' which continues through Jan. 16. (Photo by Ulia Kriskovets; courtesy of Synetic)

Synetic’s ‘Nutcracker’ features original music

Equally kid-friendly is a striking new twist on this tinseled old favorite — the original E.T.A. Hoffman tale of the enchanted Nutcracker Prince who saves a young girl from a nightmare attack of scampering mice — given it by educator and director Lilia Slavova. This version, which runs through Jan. 16 at the Synetic Family Theater’s Crystal City stage, 1800 S. Bell St. in Arlington, is virtually non-stop action and filled with whimsy and wonder, magic and movement, bright fun and broad farce.

Slavova’s re-imagining is shorn of most of Tchaikovsky’s music from the ballet suite and in its stead music from Synetic in-house composer Konstantine Lortkipandize is heard along with Bach, Beethoven and Stravinsky. For acting and dancing, including credible Russian-style leg-kicks and break-dance stunts, pay special attention to cute 22-year-old Austin Johnson who plays “Fritz” as a goofy 9 year old full of mischief, and lithe and limber Dallas Tolentino as the Nutcracker Prince. Tickets at 800-494-8497 or synetictheater.org.

Katz to speak at Foundry on controversial exhibit

Then there’s visual art, including, of course, the art world’s breakthrough museum show, “Hide/Seek: Difference and Desire in American Portraiture.” As has been widely reported, this is a display of the depiction of same-sex attraction in American art from the 19th century to today. It closes at the National Portrait Gallery, 8th and F St N.W., on Feb 13.

The show’s co-curator Jonathan Katz, director of the doctoral program in visual studies at the State University of Buffalo, will discuss the firestorm over the recent political intervention in the exhibit to force the removal of the video “A Fire in the Belly,” at D.C.’s Foundry Gallery, 1314 18th St. N.W., Saturday Jan 15 at 4 p.m. Attendance at the lecture is free.

Transformer Gallery began showing the censored video after its removal from the show. Also there is a special exhibit there from through Jan. 30 to celebrate D.C.’s historic passage last year of the same-sex marriage law. The show features a juried selection from an “open call” for entries for visual representations of the theme of gay marriage. One of the artists featured is Bill Travis, a photographer of male nudes and art historian who recently moved to D.C. from New York City and whose show “Bodyscapes” just ended its own run at the D.C. Center on Jan 5. The reception for the show’s opening is tonight from 6 to 8.

Opera legend Renee Fleming plays the Kennedy Center this weekend. (Photo by Andrew Eccles)

Opera diva Fleming in recital this weekend

Grand opera’s sumptuous soprano celebrated by critics for her “creamy, generous tone” is expected to be as gorgeous as ever vocally when she appears in a Kennedy Center Concert Hall recital at 8 p.m. Saturday – a Washington Performing Arts Society (WPAS) event. Tickets at $47 to $125 are available through wpas.org or 202-785-WPAS.

Known as “the people’s diva,” Fleming sets the bar high for opera and lieder with such signature roles as the Countess Almaviva in Mozart’s “Le nozze di Figaro” and Desdemona in Verdi’s “Otello.” Fleming also stars on Jan. 31 in another of her great roles, as Violetta in Verdi’s “La traviata,” when “Opera in Cinema” kicks off its new season, now presented at D.C.’s new West End Cinema. Tickets for $20 are at www.westendcinema.com.

‘Seasons’ suites to be heard at Cathedral

Just when cold winter releases its latest icy grip comes a vision from Vivaldi that there are indeed four seasons, celebrated in a centerpiece selection of three masterworks by the Shakespeare Library’s Folger Consort — in concert tonight and Saturday night in the majestic nave of Washington National Cathedral, located at Massachusetts and Wisconsin Avenues, N.W.

Violinist Julie Andrijeski leads the baroque orchestra in the classic Vivaldi “Four Seasons” and also 17th century English composer Christopher Simpson’s fantasia suites for strings, “The Seasons.”

Rounding out the concert is the atmospheric music for John Cage’s 1947 ballet “The Seasons” — arranged for baroque instruments. American-born Cage, a composer and artist whose romantic partner for most of his life was dancer and choreographer Merce Cunningham, died in 1992 at age 78.

Get tickets from $30 at folger.edu/consort or 202-544-7077. Robert Aubry Davis also leads a free pre-concert discussion with Folger Consort artistic directors and musicians tonight at 6:30 p.m. in the cathedral’s Tower auditorium.

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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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