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Music of the season

Gay productions among upcoming holiday concerts and shows

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Wolf Trap’s Holiday Sing-A-Long, featuring the U.S. Marine band and members of local choirs and vocal groups is Dec. 4. (Photo by Sam Kittner, courtesy Wolf Trap)

The holiday season has officially begun with Thanksgiving over and it’s time for holiday concerts and shows. Washington and the region have a rich bounty slated — you could go to concerts almost every night between now and Christmas and still not see everything.

The Gay Men’s Chorus of Washington has its annual holiday concert, “Red & Greene,” for four performances from Dec. 16-18 at Lisner Auditorium (730 21st St., N.W.) featuring Ellen Greene, Broadway’s original Audrey from “Little Shop of Horrors.” Tickets range from $25 to $50 and can be purchased at gmcw.org.

The Gay Men’s Chorus will also be joining Metropolitan Community Church of Washington for its “Joy All Over the World” Christmas concert at Lincoln Theater on Dec. 3. Oleta Adams will make a special appearance. Orchestra seats are $30; balcony seats are $20. This is lesbian music minister Shirli Hughes’ swan song with the church. Go to mccdc.com for more information or ticketmaster.com for tickets.

Wolf Trap (1645 Trap Rd.) in Vienna has two holiday shows coming up. Starting Wednesday is Steve Solomon’s “My Mother’s Italian, My Father’s Jewish & I’m Home for the Holidays.” Solomon uses impersonations to tell the story of a family reunion in his one-man show, the longest running one-man show in Broadway history. The show runs through Dec. 2. Tickets are $32 and can be purchased online at wolftrap.org.

Dec. 4 brings Wolf Trap’s free annual holiday sing-a-long featuring Christmas carols and Hanukkah songs by choir and vocal groups and the United States Marine Band.

The Kennedy Center (2700 F St., N.W.) has a bevy of different holiday performances and events coming up in December.

The American Ballet Theatre will be performing “The Nutcracker” from Dec. 8-11 featuring the Kennedy Center Opera House Orchestra, the Norwood Middle School Choir and the National Cathedral School Choir. Tickets range from $45 to $150.

The National Symphony Orchestra, conducted by Matthew Halls, will be performing Handel’s “Messiah” starting Dec. 15. The show will run through Dec. 18 and tickets range from $20 to $85.

Before the Orchestra’s performance, the Kennedy Center will have Yvonne Caruthers give a comprehensive history of “Messiah” performances throughout the years in “Searching for the Real Messiah” on Dec. 10 at 2 p.m. Tickets are $15.

Tickets for all Kennedy Center performances can be purchased online at kennedy-center.org.

The Cantate Chamber Singers will be giving their “Holiday in Venice” concert on Dec, 11 at St. Mark Episcopal Church (118 3rd St., S.E.) at 3 p.m.

If too much “Messiah”/”Nutcracker”-type traditionalism has you reaching for the eggnog, there are some less reverential offerings as well.

Gay filmmaker John Waters brings his eponymous Christmas show to the Birchmere on Dec. 18. Tickets are $45 at birchmere.com.

And the Kinsey Sicks, a “dragapella” beauty-shop quartet, are back in D.C. with their show “Oy Vey in a Manger” at Theater J (1529 16th St., N.W.) for four performances from Dec. 24-26. Tickets range from $25 to $65 and can be purchased online at theaterj.org.

The Bohemian Caverns Jazz Orchestra will be performing its holiday concert, “A Bohemian Christmas,” featuring holiday favorites re-imagined with a jazz bent, at The Mansion at Strathmore (10701 Rockville Pike) in North Bethesda on Dec. 18 at 5:30 and 7:30 p.m. Tickets are $20.

Grammy Award nominee Dave Koz, who’s gay, is coming to the Music Center at Strathmore (5301 Tuckerman Lane) in North Bethesda on Dec. 5 for his Christmas tour with special guests Rick Braun, Jonathan Butler and Candy Dulfer. The concert will feature songs from Koz’s holiday albums. The concert begins at 8 p.m. and tickets range from $38 to $72.

The Baltimore Symphony Orchestra will be performing “Holiday Cirque de la Symphonie” on Dec. 8 at the Music Center at 8 p.m. The concert will be performed on and above the stage.

The orchestra will also perform Handel’s “Messiah” on Dec. 3 at 8 p.m. featuring Edward Polochick and concert artists of Baltimore Symphonic Chorale.

Tickets for both Orchestra performances range from $28 to $88.

The National Philharmonic will also be performing Handel’s “Messiah” with two performances on Dec. 10 and 11 featuring Stan Engebretson conducting. Kids from 7 to 17 can attend this concert for free. Tickets range from $32 to $79. There will also be a free lecture before the concert on Dec. 10.

On Dec. 12, Pink Martini (featuring Thomas Lauderdale, who’s openly gay) will be performing at the Music Center at 8 p.m. Tickets range from $55 to $125 and can be purchased online at ticketmaster.com. All Strathmore tickets can be purchased online at Strathmore.org unless otherwise noted.

The BlackRock Center for the Arts (12901 Town Commons Drive) in Germantown will have the “Lift Every Voice: A Holiday Gospel Celebration” concert on Dec.3 at 8 p.m. featuring vocal performances by Solomon Howard, EXTOL and Nischka Higginbotham. Tickets are $25 and can be purchased online at blackrockcenter.org.

The Olney Theater (2001 Olney-Sandy Spring Rd.) has two holiday shows coming up in December. First up is “The Nutcracker” starting Dec. 9 and running through Dec. 24. This is the Olney Ballet Theatre’s 50th anniversary production of the show. And starting Dec. 14, Paul Morella returns to Olney with his performance of “A Christmas Carol: A Ghost Story of Christmas.” Tickets for all shows at Olney start at $26 and can be purchased by calling the box office at 301-924-3400.

The Christ Church Episcopal (118 N. Washington St.) in Alexandria has “A Festival of Nine Lessons and Carols” on Dec. 4 at 5 p.m. The traditional service will feature hymns and anthems, including music by gay composters Joel Martinson, Richard Webster and David Ashley White. This is a free event, but an offering will be taken to benefit the music program at Mount Vernon Woods Elementary School. A wine-and-cheese reception will follow the performance.

D.C. Different Drummers’ holiday concert is Dec. 11 at the Columbia Heights Education Campus Auditorium (3101 16th St., N.W.) at 3 p.m. The performance will include music from D.C. Swing!, the Capitol Pride Symphonic Band and several of the groups small ensembles, almost all of whom are LGBT. Tickets to the concert are $21 for adults and $11 for students and seniors and can be purchased online at dcdd.org.

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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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