Arts & Entertainment
One final theatrical prank
Cherry Red closes shop this weekend with raunch-fest ‘The Aristocrats’

‘The Aristocrats’
Sat at 8:30 and 11 p.m.
Cherry Red Productions
Warehouse Theater
645 New York Ave N.W.
$30

Ian Allen, Cherry Red’s artistic director. He lives in New York but has continued working in Washington. (Photo by Isabel Sinistore; courtesy of Cherry Red)
After 16 years of making D.C. audiences laugh, wince and gag, Cherry Red Productions is calling it quits. Since its creation, the company has attracted a loyal following who appreciate an insane sensibility, late night performances and small venues (sometimes bars). For those reasons, and a vacillating oeuvre of dark and light plays with titles like “Thumbsucker” and “Cannibal Cheerleaders on Crack,” Cherry Red will be sorely missed.
“We knew that we couldn’t go on forever,” says Ian Allen, Cherry Red’s artistic director. “And now that we’re ending, we’re presented with the opportunity to go out on an unmistakable Cherry Red high. Of course that’s something we’d never pass up. It’s going to be awkward, insane and fun.”
The smutty swan song to which Allen alludes is titled “The Aristocrats.” Inspired by a joke about a showbiz family whose act includes incest, bestiality and murder, the play — written and directed by Allen (who’s gay) and longtime company member Kate Debelack — is rumored to truly go there. Unlike Paul Provenza’s same-titled 2005 documentary, which features comedians telling their own versions of the joke, Cherry Red’s interpretation calls for 40 of the company’s alumni to reenact the filthy gag onstage.
There will be no holding back, promises Allen. Cherry Red’s design teams and actors have developed a lot of skills over time. Past productions have required staging insane violence including scalping, projectile body fluids and all sorts of sex acts. No doubt, there’ll be lots of that. Also, Cherry Red’s website offers a sneak peek featuring an actor igniting a part of his anatomy that is ordinarily kept under wraps. If this is an indication of what’s in store, Cherry Red may be reaching new heights of raunchiness.
After less than two days of rehearsal, “The Aristocrats” will play for one night only (two performances) on Saturday at the Warehouse Theater. Proceeds benefit District of Columbia Arts Center (DCAC), a nonprofit organization that proved instrumental in the company’s early development.
“Cherry Red’s demise is bittersweet,” says Debelack who also teaches acting at Studio Theatre. “Honestly, there’s not a lot left for us to do, but I’ll still miss it. Collaborating on this final project with Ian has been so much fun. Where else will I be able to come up with so much ridiculousness and actually put it onstage?”
She credits the company with allowing her to let go and be bold onstage. And whether attacking a zombie cat or leading a bevy of mean teens in “Worm Girl” (one of my favorites), she has always taken her Cherry Red work seriously.
Cherry Red, says Allen, has always produced shows that speak first to the body and then to the mind. The goal is to elicit an immediate response: sexual arousal, disgust or fear. What’s unique about theater is that it’s always present; it can actually threaten audience members. Allen seamlessly references an example: “When we were doing ‘Dingleberries,’ it called for the actors to eat pooh. From the audience you could smell that it was chocolate — Snickers bars dipped in pudding to be exact — but the impression was still too much for some people and sent them running from the theater.”
“Cherry Red has never been anyone’s day job,” Allen says. “But our company members have always been a combination of experience and enthusiastic youth. We’ve lasted by the sheer indecent determination on the part of many people and now we’re done.”
Eight years ago Allen moved from Washington to New York where he is marketing director for the MCC Theater in the West Village. Since then he has happily made the trip south now and then to work on Cherry Red productions. Despite the company’s closing, Allen hopes to continue to be involved in interesting local projects.
“After all,” he says, “D.C. is where my friends are.”
Books
From genteel British wealth to trans biker
Memoir ‘Frighten the Horses’ a long but essential read

‘Frighten the Horses: A Memoir’
By Oliver Radclyffe
c.2024, Roxane Books/Grove Atlantic
$28/352 pages
Finding your own way.
It’s a rite of passage for every young person, a necessity on the path to adulthood. You might have had help with it. You might have listened to your heart alone on the quest to find your own way. And sometimes, as in the new memoir, “Frighten the Horses” by Oliver Radclyffe, you may have to find yourself first.

If you had observed Oliver Radclyffe in a random diner a few years ago, you’d have seen a blonde, bubbly, but harried mother with four active children under age seven and a distracted husband. You probably wouldn’t have seen trouble, but it was there.
“Nicky,” as Radclyffe was known then, was simmering with something that was just coming to the forefront.
As a young child, Nicky’d been raised in comfort in a family steeped in genteel British wealth, attended a private all-girl’s school, and never wanted for anything. She left all that behind as a young adult, and embraced the biker lifestyle and everything it entailed. The problem now wasn’t that she missed her old ways; it was that she hated life as a wife and mother. Her dreams were filled with fantasies of “exactly who I was: a man on a motorbike, in love with a woman.”
But being a man? No, that wasn’t quite right.
It took every bit of courage she had to say she was gay, that she thought constantly about women, that she hated sex with men. When she told her husband, he was hurt but mostly unbothered, insisting that she tell absolutely no one. They could remain married and just go forward. Nothing had to change.
But everything had already changed for Nicky.
Once she decided finally to come out, she learned that friends had already suspected. Family was supportive. It would be OK. But as Nicky began to experiment with a newfound freedom to be with women, one thing became clear: having sex with a woman was better when she imagined doing it as a man.
In his opening chapter, author Oliver Radclyffe shares an anecdote about the confusion the father of Radclyffe’s son’s friend had when picking up the friend. Readers may feel the same sentiment.
Fortunately, “Frighten the Horses” gets better — and it gets worse. Radclyffe’s story is riveting, told with a voice that’s distinct, sometimes poker-faced, but compelling; you’ll find yourself agreeing with every bit of his outrage and befuddlement with coming out in a way that feels right. When everything falls into place, it’s a relief for both author and reader.
And yet, it’s hard to get to this point because this memoir is just too long. It lags where you’ll wish it didn’t. It feels like being burrito-wrapped in a heavy-weighted blanket: You don’t necessarily want out, but you might get tired of being in it.
Still, it remains that this peek at transitioning, however painful, is essential reading for anyone who needs to understand how someone figures things out. If that’s you, then consider “Frighten the Horses” and find it.
Celebrity News
Is Karla Sofía Gascón’s apology too little, too late?
Netflix has removed transgender actress from Oscars campaign

The latest in the scandal involving “Emilia Peréz”’s trans star and Best Actress nominee Karla Sofía Gascón is Netflix deciding to part ways with her even after her public apology and statement regarding not withdrawing from the nomination.
“I have been labeled a racist and I need to be clear that I am not. I feel like I’ve been judged, sentenced, crucified, and stoned without a fair trial and without an option to defend myself,” said Gascón in an interview with CNN en Español.
According to Variety and the Hollywood Reporter, Netflix has cut Gascón out of the campaign for the Oscars. This move comes even after Gascón issued an apology through a statement on her social media and in an interview with CNN en Español. On Thursday she was set to be seated with co-star Selena Gomez, Zoe Saldaña and the film’s writer-director, Jacques Audiard for the AFI Awards luncheon — a gathering at the Four Seasons in Beverly Hills. On Friday, she was set to attend the Critics Choice Awards. On Saturday, she was set to serve as presenter at the Producers Guild Awards, which happen to be going on at the same time as the Directors Guild Awards. According to THR, she will not be attending the events.
The Spaniard actress found herself at the center of controversy surrounding the Netflix original being nominated for 13 Oscars after freelance culture writer Sarah Hagi uncovered the actress’s stream of consciousness on display on X, formerly Twitter. Hagi found tweets from as far back as 2020, revealing Gascón’s views on Muslims, George Floyd, China, and vaccines.
In her hour-long interview with CNN en Español, she defended her position on the issue stating that she feels that she was unfairly targeted, while not being given the opportunity to defend the position she stood behind while writing those tweets.
She goes on to say that she “supports the Black Lives Matter movement obviously” and that the tweets about George Floyd “were taken out of context.” In the interview, she goes on to say she was highlighting the hypocrisy of humanity in that moment in history. According to Gascón, what she noticed during that time was that only after Floyd’s death did people care about him, but prior to his death, they did not help him or care about his struggles.
“I do not identify with any political party and I have my own opinions about issues that might have been one thing in the past, but have now shifted because I have learned many things about respect, love and with the spiritual practice of Buddhism,” said Gascón.
In the interview, she also pulls the “I have a friend who’s Black, so I’m not racist,” card by saying she has a very close family friend who is Muslim, in response to the line of questioning about her being Islamophobic and only through very heavy discussions with her, has Gascón truly come to understand the implications of her words against the culture and religion, as well as the differences between the cultures.
“Emilia Peréz” was already facing an upward battle to gain popularity, as it was a French production about México. Audiences criticized the film for various reasons and yet, it was still nominated for Best Picture, Critics Choice Award for Best Picture, Academy Award for Best Directing, and many others.
Gascón deleted her X account shortly after the tweets were discovered and is now facing the cold shoulder from Netflix. Variety and THR, reported that the streaming giant is no longer directly communicating with Gascón – only through representatives.
Whether or not this is a witch hunt for a trans actress at the height of her career, Gascón now has first-hand experience in dealing with what it means to misuse a platform by sharing her views on issues she said herself, she did not understand.
Out & About
Camp Rehoboth Theatre Company kicks off new season
Poetry jam to be followed by ‘5 Lesbians Eating a Quiche’

CAMP Rehoboth Theatre Company will kick off its 2025 season with its first-ever poetry jam followed by a full-stage production of “5 Lesbians Eating a Quiche” on Friday, Feb. 21 at 5 p.m. at CAMP Rehoboth’s Elkins-Archibald Atrium.
CAMP Rehoboth Poetry Jam Poets / Performers include: Debbie Bricker, Kari Ebert, Shelley Blue Grabel, Lavance John, Vanita Leatherwood, Syd Linders, Ellie Maher, Jane Miller, Gwen Osborne, Coco Silveira, Guillermo Silverira, Laura Unruh, Paul Unruh, and Sherri Wright.
“5 Lesbians Eating A Quiche,” which will run from March 7-9 debuted at CAMP Rehoboth in fall of 2022, and features returning cast members Karen Laitman, Kelly Sheridan, Gwen Osborne, Darcy Vollero, and Shelley Kingsbury, and is directed by Teri Seaton. The absurdist comedy follows the Susan B. Anthony Society for the Sisters of Gertrude Stein having their annual quiche breakfast in 1956. Winner of the 2012 NYC International Fringe Festival as Best Overall Production, “5 Lesbians Eating A Quiche” is a tasty recipe of hysterical laughs, sexual innuendos, unsuccessful repressions, and delicious discoveries. For more information, visit CAMP Rehoboth’s website.
-
Canada4 days ago
Canadian LGBTQ group cancels WorldPride participation over Trump policies
-
District of Columbia24 hours ago
Booz Allen withdraws as WorldPride corporate sponsor
-
Out & About3 days ago
Camp Rehoboth Theatre Company kicks off new season
-
Commentary4 days ago
Trump’s return threatens Uganda’s gender equality and trans community