Arts & Entertainment
Fetishes and festivities
This weekend’s Mid-Atlantic Leather convention has new location
Mid-Atlantic Leather Weekend 2011
Hyatt Regency Hotel Capitol Hill
400 New Jersey Ave. NW
Friday
* Registration — Ballroom level foyer — 4-10:30 p.m.
* Leather Exhibit Hall — exhibit area, Ballroom Level 5-11 p.m.
* Opening Reception (cash bar) — Yorktown Ballroom — 9-11 p.m.
* MAL Bar Crawl Bus — 10 p.m.-2 a.m.
Saturday Jan. 15
* Registration continues — 10 a.m.-5 p.m.
* Leather Exhibit Hall continues — noon-8 p.m.
* Leather Cocktails — Regency Ballroom — 6:30-9 p.m.
* CODE Party — The Crucible — 9 p.m.-2 a.m.
* MAL partner event — discounted admission
for MAL 2001 Full Weekend package holders
* MAL Bar Crawl Bus -—10 p.m.-2 a.m.
Sunday
* MAL Brunch — main lobby — 10 a.m.-noon
* Leather exhibit hall continues
* Mr. Mid-Atlantic Leather Contest — Regency Ballroom — 1 p.m.-5 p.m. (separate tickets are available for this event)
* Reaction — 9:30 Club — 10 p.m.-5 a.m. (separate tickets are available for this event)
The Bootblack Brigade hosts a bar night Saturday starting 10 p.m. at Green Lantern, 13335 Green Court, N.W. — no admission fee
And at D.C. Eagle, 639 New York Ave. N.W., the MAL Weekend welcome begins 7 p.m. Friday and continues through Monday starting at 8 p.m.
More details are here.
It’s back for another year — Mid-Atlantic Leather Weekend.
Once again, Washington becomes this weekend a fantasy scene of leather chaps and cigars, slave collars and chains — with hankie-flagging people seeking the endorphin rush of erotic heat as they cruise hotel lobbies and prowl upstairs corridors for private play parties or hunt exotic thrills at live demos of kink at the Code party. But it’s also the chance to meet old friends and make new ones within the special brotherhood (and sisterhood) of the men and women who embrace leather.
And this year’s gathering happening this weekend, this time at a new hotel, promises once again, according to the sponsoring organization, the Centaur Motorcycle Club of D.C., on its website, to be “one of the hottest leather/fetish events in North America and the world’s largest leather club run.”
“Thousands of leathermen, gearheads, kinksters, rubber freaks and even curious novices from all over the world,” says the promo material, will “come to the nation’s capitol for a weekend of hot, horny fun.”
“We’re literally looking for thousands of people to come for the weekend,” says a confident Larry Barat, the Centaur M.C. promotions chair for the weekend. About 600 or 700 people are expected to register for the full, three-day package, he says, “but we anticipate 2,000 or 3,000 or possibly more to participate in side events organized around the weekend and at the bars,” especially, he said, at the D.C. Eagle and Green Lantern.
The three-day package is $180 in advance or $200 at the door, a package including access to all events and exhibits, said Barat, who also pointed out that “an important new change for MAL 2011” is that entry into the weekend area at the hotel, including for the Leather Exhibit Hall but not the special events, will now require a “Weekend Admission Pass.” The cost for such a three-day pass is $25 if purchased on Friday, $20 on Saturday, or $10 on Sunday or alternatively $10 for any one of those days only.
The D.C.-based Centaur club, now in its 41st year, according to Barat currently consists of about 30 active members. It has sponsored MAL, now in its 31st year, from the beginning. After more than a decade of being housed at the Washington Plaza Hotel at Thomas Circle, it moves this year to the Hyatt Regency on Capitol Hill, because “we simply outgrew that hotel,” Barat says. The Washington Plaza has only 360 rooms, while the Hyatt has about 800.
“Obviously with a new home for MAL, we’re excited about that, but also a little nervous,” he adds, but he has been meeting with Hyatt staff, along with other Centaur event planners, and believes everybody feels that the weekend will be a success.
Another MAL Weekend coordinator, its chairman and fellow Centaur member Patrick Grady met Monday for another meeting “with about 30 hotel managers in the room,” and Grady says “everybody at the Hyatt is very enthusiastic indeed.”
This year, they have booked only about three-quarters of the Hyatt’s rooms because, says Barat, “we were trying to be a bit conservative this year and not over-extend ourselves.” Even so, weekend registration has spilled over into rooms reserved at the Liaison Hotel across the street.
All MAL attendees will be on the same floors. Organizers hope next year to fill the entire hotel.
Grady says his first MAL Weekend began when he joined the Washington Plaza Hotel as its director of catering in 1997 and a month later hundreds of MAL Weekend participants thronged the hotel, the second year at that venue, and he got his first real look close-up at the leather community.
“I was a newbie in ’97,” he says, “and I didn’t know their community even existed.”
He was taken in by the friendly vibes and soon, he says, he began to frequent the Eagle and then to hang out with the Centaurs. By 1999 he had sunk his own roots deep into the leather world.
Grady says that after that first weekend, “I couldn’t wait to see everybody back in ’98,” and he was drawn to the sense of community that he found, especially in the Centaur MC. Yes, he knows that some LGBT people are uncomfortable with the more taboo aspects of the leather world — the BDSM sexuality — but he says the reality is that the leather world — and the Centaur club — is “very diverse.”
“We have members who have motorcycles and those who don’t, who are large and skinny, tall and short, and the only real common denominator is that we like one another,” he says. “Some are hard-core leather folk and others are just out for a good time.” But he admits that “when we gather together sometimes we are a little much for some people — we tend to be very gregarious.”
His objective this year is simple: “to make new friends and renew old acquaintances,” a goal echoed by Barat, who says “our aim is to have fun and make sure everybody who comes has fun, so they can meet new people and explore new things.”
The signature events, says Barat, are the Leather Cocktails reception Saturday evening, the buses for the MAL bar-crawl, the CODE party at the Crucible S&M club Saturday night into the wee hours of Sunday morning, the Mr. Mid-Atlantic Leather Contest Sunday afternoon, and the finale event, the Reaction dance at the 9:30 Club from 10 p.m. Sunday until 5 a.m. Monday. Throughout the entire weekend also, another big draw is the Leather Exhibit Hall located on the hotel’s Ballroom level, with dozens of vendors of gear, books and other paraphernalia.
The MAL Weekend in 1998 was “the first big leather event” he ever attended, though he had lived a leather lifestyle “on and off” since he was 19. Now 50 and a U Street resident for the past seven years, by day Barat works on international public health issues for the U.S. Government.
For him, owning a bike is important to the leather lifestyle, and though he recently sold his own Harley Davidson “Fat Boy,” now he says he can’t wait until the weather gets warm again to get his next new bike. Though he says another D.C.-based club, the Spartans, “are more into motorcycles,” the Cenatur M.C. still sponsors runs two or three times a year, usually to Skyline Drive and into West Virginia and back.
Like Grady, Barat was won over by the welcoming vibes of community he felt at his first MAL Weekend: “I was really kind of shocked at how friendly everyone was,” and how eager people were to teach him about the things he didn’t know, and he also began to understand the wide variety of lifestyles subsumed under the leather label.
The gay male leather subculture has existed, according to most accounts, since the late 1940s, when it grew out of gay men who had typically worn uniforms during World War II and mustered out and were looking for a way to sustain the homosocial world and its rituals and rules of masculine identity they had experienced during wartime. Soon these men found their way into the culture of biker clubs, and for them the lure of leather signified a code of dress rooted for most — though not all — in sexual activities, often defined by the sexual practices loosely grouped under the label of BDSM.
“Leather is a term that includes dressing up and getting into sexual scenes when dressed up, acting out certain sexual fantasies like getting flogged, at one end of the spectrum, but you don’t need to dress for BD events,” Barat says.
At the other end of the spectrum, he says, people just like the feel of leather and the thrill of the road and the ride.
“And it’s everything in between,” he says,”plus, it’s not just leather alone anymore – there’s rubber, there’s sports-gear, there’s uniforms. And now there’s also a lot of young guys into dressing up as super heroes and comic book heroes.”
“It’s a whole range of of people and the nice thing about the community is that it’s very accepting,” Barat says. “You see a guy in full leather gear talking to a guy dressed up like Batman talking to a guy dressed up in full rubber.”
For many, participation is a chance to distinguish themselves from mainstream sexual activities. For some it can mean immersion in sexual kink. For others, just wearing the trappings of black leather is the main point, an erotic fashion statement expressing heightened masculinity.
The pioneering gay motorcycle clubs — the Satyrs of Los Angeles, established in 1954, and others like the Warlocks of San Francisco — reflected that same sense of disaffection with the postwar mainstream. It also provided an archetype for gay men who resisted effeminate stereotypes. For years, Larry Townsend’s “Leatherman’s Handbook” was the guide by which rank in the leather community — slave, boy, sir and master — was determined.
But by the 1980s, and perhaps even earlier, a rebellion arose against old guard role rigidity, and instead there was a new emphasis upon choices and personal self-identity, in which a person might consent to begin and end as either slave or master or switch back and forth. In this new world of greater flexibility, leather practitioners defined themselves as “new guard,” and an increasing number of pan-sexual clubs evolved as well.
“There’s a generational aspect to it,” Barat says. “The old guard has to do with fixed attitudes concerning dominance and submissiveness, and in the old guard ‘D’ and ‘s’ is not just something that one does in sexual play, but something one lives 24/7.”
He says it’s now more flexible and all a matter of self-identification, not following rules.
Barat says he is a good example of this transition.
“I began as old guard and in the past I identified as a boy and more recently as a sir, but now as I get older I’ve stopped labeling myself, and now I see myself as a new guard kind of guy.”
As for the Centaurs, he says that some are into BDSM and others are not, but it’s not a primary focus of the club.
“Some of us wear leather and are into gear and not so kinky, and there others who are kinky and don’t necessarily wear a lot of leather.
Meanwhile, pop culture itself has absorbed the look of leather and the feel of erotic alternatives. Witness the numerous popular images of Elvis from the 1960s fully clothed in black leather and then 1970s heavy-metal bands such as Kiss, Black Sabbath and Judas Priest who were cloaked in leather. The latter’s lead singer Rob Halford, himself openly gay, wore a leather costume on stage as early as 1978. Soon codpieces and even harnesses proliferated on metal-rock costumes, as such gear became appropriated by internationally successful bands like the L.A. metal band Motley Crue.
Now numerous lesbians also identify as leatherwomen and a leather pride sticker adorns the guitar of singer Joan Jett. San Francisco leather and lesbian activist Pat Califa co-founded one of the first lesbian S&M groups, Samois, and became a prolific contributor to lesbian BDSM literary erotica and sex handbooks. Leather and Lace, an “old guard” woman’s BDSM social group, was founded in Los Angeles in 1980, and in New York City there was LSM – the Lesbian Sex Mafia.
Another demographic shift in leather, says Barat, has come as younger leathermen and leatherwomen enter the worlds of leather kink, fetish and gear. It used to be mostly men over 40 graduating into the leather lifestyle, he says, “but now guys get into this lifestyle at a very young age and we’re seeing guys at our events in their early twenties.”
Barat admits, however, that leather “was once so taboo and is still not fully accepted within the larger gay community.” He hopes these attitudes are changing, but that “large parts of the gay community are still very intolerant of leather folk.” He says “there are very conservative gay people, who think we should all be monogamous, live in the suburbs, have children and go to church.”
Several entertainment guests will perform. Comedy duo Dick and Duane (Richie Cohen and Duane Tragis) are slated along with the traditional Mr. MAL 2011 contest Sunday afternoon and the Reaction party at which DJ Susan Morabito will spin.
Photos
PHOTOS: Winchester Pride
Annual LGBTQ celebration held at the Museum of the Shenandoah Valley
The 2026 Winchester Pride Festival was held at the Museum of the Shenandoah Valley in Winchester, Va. on Saturday, Oct. 3.
(Washington Blade photos by Michael Key)


















Theater
‘Merrily’ is for Sondheim super fans, the uninitiated, and anyone in between
Experience it in an intimate setting with beautiful design, incredible cast
‘Merrily We Roll Along’
Through Nov. 1
Signature Theatre
4200 Campbell Ave., Arlington, Va.
Tickets start at $47
Sigtheatre.org
Unfaithful. Compromised. A sellout. Just a few descriptors that might fit Frank Shepard, the talented composer in the Stephen Sondheim musical “Merrily We Roll Along.”
“Personally, I think he gets a bad rap,” says Jason Gotay, the gay actor who’s currently playing womanizing Frank at Signature Theatre in Arlington. “At his core he wants to be loved. He’s concerned with making those around him happy and he’s a people pleaser. That’s my window into Frank.”
Whatever your thoughts, by show’s end, we know Frank started out as a nice guy. “Merrily” famously moves in a reverse chronological order. We meet Frank and friends, lyricist Charley Kringas (Jake Loewenthal) and writer Mary Flynn (Melanie Field), disillusioned in a New York penthouse in 1976. Ensuing scenes filled with disappointments and broken relationships move toward more hopeful times, eventually leaving the trio on a rooftop in 1957, young and full of promise searching the night sky for a happy future.
“Moving backward makes it difficult to build on the prior scene,” explains Gotay. 37. “You live heightened moments followed by 30-second costume changes, and you’re meant to forget everything you just did. To be honest, it’s a bit of a mind fuck.”
A marvelous but humble tenor, he begrudgingly acknowledges his artistic versatility. At New York City Center he sang Che in “Evita” (contemporary almost operatic), and he was solemn Henrik in Lincoln Center’s “A Little Night Music,” (classical Sondheim). On Broadway, he played Homer, the loyal brother in “Floyd Collins” (folksy bluegrass), and he’s sung the sweeping songs of a few Disney princes.
“I’m asked to do a lot of things because vocally I sing in many styles; it’s something I can do and I love doing it.”
Growing up in residential Dyker Heights, Brooklyn, Gotay was immersed in school plays and community theater. For high school, he attended the Professional Performing Arts School in midtown Manhattan with a focus on musical theater.
He continued on the same track for a year at Emerson College in Boston followed by Marymount Manhattan before graduating in 201l. A year later, he made his Broadway debut as Randall in Lin-Manuel Miranda’s hip-hop inspired “Bring It On: The Musical.”
Along the way, Gotay became a huge Sondheim fan. As a musical theater kid, he was introduced to the composer’s enduring classics all written before Gotay was born: “Into the Woods,” “Sweeney Todd,” and the actor’s forever favorite “Sunday in the Park with George.”
To many theatergoers’ surprise, “Merrily” flopped badly when it premiered on Broadway in 1981. But over many years of tweaks, reimaginings and revivals, the show became a major Broadway hit in 2023, with Jonathan Groff winning a Tony Award for playing Frank.
While he was aware of “Merrily,” Gotay didn’t make a deep dive into its wild provenance until he was asked to audition for the Broadway revival. (Briefly it looked like Groff, long attached to the show, might come up against some film conflicts.) It was during this short time that Gotay fell in love with Frank.
The experience left him further determined to sink his teeth into the complex character along with Sondheim’s lush melodic score with songs like “Not a Day Goes By,” “Old Friends,” and “Our Time.” So, when Gotay learned that Signature was slated to do “Merrily” this season, he reached out to Matthew Gardiner, the company’s artistic director as well as the production’s director/choreographer, asking how the role of Frank might be his. Long story short, he sought it, got it, and is ecstatically happy that it has worked out.
Several years ago, when Audible (Audible.com) came calling with an invitation to record a cabaret entirely of his own creation, he was thrilled.
“It’s probably the most personal thing I’ve ever done. My own story is a love letter to the women – my mother, friends, mentors, Broadway icons – who helped to shape my life; it’s about self-acceptance and what it is to grow up queer.”
He titled the solo show “Where You’ll Find Me,” a nod to his first love Dorothy Gale from “The Wizard of Oz.”
Often described as “a television heartthrob” (something the once chubby 12-year-old sometimes finds hard to process), Gotay is not unfamiliar with screens large and small. He’s remembered for various screen roles including his turn as Rafa Caparros, a prep school classics teacher who becomes entangled with a male student in HBO Max’s reboot of “Gossip Girl.”
Gotay recommends Signature’s “Merrily” for Sondheim superfans, the uninitiated, and anyone in between. He says, “It’s a great opportunity to learn about this once niche now increasingly mainstream musical. And if you have seen it before, this is a chance to experience it in an intimate setting with beautiful design and an incredible cast that truly brings the show to life.”
Television
Engrossing ‘Tip Toe’ delivers tension and an ominous warning
A chilling reminder that violent homophobia is on the rise
Whenever a new project comes from queer Welsh screenwriter and producer Russell T Davies – who created the original “Queer As Folk” in 1999 before spearheading the revival of the classic BBC sci-fi series “Dr. Who” as head writer and showrunner in the mid-2000s – it generally leaps to the top of every queer “must watch” list, and with good reason.
A genuinely versatile creative force who can move easily between genres without losing the core of humanity that keeps us engaged, he’s particularly known for his unequivocal, unsentimental, and always fearlessly candid narratives about queer life, set within a social context that’s barely tolerant, at best. He has a knack for capturing both the transient beauty and persistent hardships that seem to define our beleaguered community. His most recent such endeavor, 2021’s “It’s a Sin,” took us back to the harrowing years of the AIDS epidemic, following a group of gay young Londoners as the disease – and the societal homophobia that surrounded it – wreaked its merciless havoc, even as they began to break free from their closets and embrace their queer identities; and while it may have broken our hearts, it was also somehow empowering, a tale that reminded us not just of what we lost, but of what we have survived.
His latest miniseries, however, takes place in the here and now, and it offers a markedly bleaker assessment of the state of things.
“Tip Toe,” which appeared on the UK’s Channel 4 last summer, debuts on U.S. screens via the Starz streaming service on Oct. 2, and it lets us know from its first few minutes that things are not going to end well; that’s not a spoiler – it’s a warning, because if you’re looking for a happy ending, you’re not going to find it here.
A tale of resurgent and emboldened homophobia in a modern-day Britain where open hate for the queer community has surged at an alarming rate, it’s the story of two men whose intertwining destinies feel almost like a tragic accident of fate. Leo (Alan Cumming) is a Gen-X AIDS survivor who has become a beloved figure in Manchester’s queer community, the owner of a popular gay bar that has always been a safe space for the queer, trans, and questioning souls who are struggling toward self-acceptance; his next-door neighbor, Clive (David Morrissey), is a working-class electrician with a floundering marriage and two sons who live secret lives he knows nothing about. He’s an old-school “macho man” whose ingrained misogyny and homophobia have grown increasingly unfiltered with the rise of online “culture war” rhetoric; and while there’s a kind of forced “neighborly” friendship between himself and Leo, there’s also a clear-cut line of judgement – on both sides – that gives their interactions a sense of barely concealed hostility.
When Leo is locked out of his apartment after a messy hook-up gone wrong, Clive comes to his rescue, but uses the opportunity to impose himself on Leo’s privacy. He levies the situation into an opportunity for work – an electrical revamp of Leo’s bar, where he makes no secret of his disdain for the queer “lifestyle” – and the tension between them continues to build despite Leo’s best efforts at being polite. The escalation reaches a boiling point when the secrets and lies in his own household lead Clive to suspect Leo of being a sexual predator, turning their precarious relationship into a minefield of hostility and inevitably pushing both men into a confrontation that will end in a shocking act of violence.
It might go without saying that “Tip Toe” is not the kind of show most of us would watch “for fun.” Russell’s script starts the relationship between its two antagonists at the threshold between a simmer and a boil, and shows us the outcome before either of them has even said a word, so it’s mostly impossible to avoid the sense of dread that hangs over everything that comes after. This is not a weakness; instead, aided by Peter Hoar’s masterful direction, it gives the show’s five episodes a slow build of tension that keeps us watching with morbid fascination, like the scene of a horrible road accident we’re forced to drive past in slow motion. We’re allowed to feel some hope along the way – after all, we’ve only had a glimpse of what is to happen, and there are other characters with storylines in which we can become invested along the way – but it’s a kind of grim hope, and it perfectly captures the fearful cultural zeitgeist-of-the-moment that the series is ultimately about.
The characters, too, are richly drawn and layered enough to avoid a simplistic “good guy/bad guy” dynamic. Clive is a brute – arrogant, uncivil, and forcefully antagonistic with a hair trigger that responds to anything or anyone that doesn’t meet his approval – but there’s enough broken humanity underneath all that to allow us to see a glimmer of potential for redemption. Likewise, Leo is mostly good-natured and likable, but he has an arrogance of his own, as well as some bitter resentments (most of them related to his ex-husband Curtis played by Charlie Condou), who left him for a woman), which – more than occasionally – surface to provide him with some ugly moments.
There are others, too; Melba (Paul Rhys), Leo’s gender-bending longtime bestie, who sees the growing danger in the world around them and voices it with the resigned stoicism of a reluctant Cassandra; Steph (Elizabeth Barrington), Leo’s straight friend who is not afraid to let him know when he’s too full of himself; Saul (Joseph Evans), Clive’s 20-something son who has evolved a more tolerant and easy-going outlook than his father, and teenaged George (Jackson Connor), Clive’s other son, whose struggles with his own identity take him on a roller-coaster ride of conflicted emotions; Marie (Pookie Quesnel), the wife who despises Clive but is unable to escape her unhappy existence with him; and Zee (Iz Hekseth), Leo’s employee who is trying to choose a name for herself after coming out as trans – along with a variety of other young, queer supporting players who have found refuge at the bar. All of them are written with depth and nuance, even those who remain more or less in the background, and brought to life through excellent, measured performances.
It is, however, Cumming and Morrissey who give the show its irresistible pull, their complex, bristling characters endowed with a palpable authenticity that makes us forget they are merely actors playing roles. They fully inhabit these two thorny men, creating a dynamic between them that feels like a force of nature, and it’s they who provide the terrible power that keeps us from looking away, no matter how much we might occasionally want to.
That’s a good thing, because “Tip Toe” is less a television event than it is a grim reminder that being “out” may no longer be as safe as we were finally beginning to think it was – and just because the alarm bell is coming from the UK, that doesn’t mean we shouldn’t heed its warning on our side of the Atlantic, too.

