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MCC bids Hughes farewell

Gay church choir joined by GMCW; Chaka Khan and Meshell Ndegeocello also had recent D.C. appearances

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Metropolitan Community Church of Washington (MCC-D.C.) pulled out all the stops for its Christmas concert this year but even with another diva in the house — guest singer Oleta Adams — it was still Shirli Hughes’ night, as it should have been.

Shirli Hughes at Saturday night's MCC Christmas concert. (Blade photo by Joey DiGuglielmo)

Hughes, the church’s minister of music (and a lesbian), has resigned and Saturday night’s concert was her swan song after a decade running the church’s music program. It felt as though she decided to go out with a bang — the concert was held at the Lincoln Theater (usually all MCC concerts are held at the church) and there were two big guests: Adams and a healthy fraction of the Gay Men’s Chorus of Washington which has its own holiday show the weekend of the 16th (go here for details).

That Adams sang beautifully was almost a given. She owned the stage during a three-song mini-set late in the second half during which she accompanied herself on electric piano with her hit “Get Here” and an exquisite cover of Amy Grant’s “Mary’s Song (Breath of Heaven)” that’s also on Adams’ Christmas album. Initially I thought she sounded too muscular for the tender lullaby but she settled into a moving rendition of the song marked by dead-on phrasing and vocal nuance.

And, of course, I know rehearsal time is often either highly limited or non-existent when you bring in a big-name artist, but it was almost tragic to hear the canned backing vocals on her opening number “Hark the Herald Angels Sing” considering the bounty of choral talent that was sitting back stage. Thankfully she joined them on closing song “Joy to the World” (mostly the Three Dog Night version but not entirely), which gave the concert a less compartmentalized feel among its participants which, prior to that, had been totally insular (the MCC choir didn’t sing a note with the GMCW; they’re much different outfits, of course, but some sort of collaboration would have been refreshing).

Natalie Carter, left, accompanied by Shirli Hughes, in red. (Blade photo by Joey DiGuglielmo)

The concert, playing to a packed house, was designed to give the church a chance to show off its abundance of talent. Several soloists — especially Marcia Newbill, Gbenimah Slopadoe, Jeffrey Herrell and Yartumo Gborkorquellie — have pro-caliber voices and could be on Broadway or in Los Angeles recording studios if they wished. Equally good, Natalie Carter’s warm, silky solo on “My Sweet Lawd” was understated yet powerful. And old MCC standbys Lisa Carrol, Tanya Harper and Michelle Lanchester (Hughes’ partner) were each in fine voice. Carrol, who possesses a lovely alto timbre, has excelled under Hughes’ guidance and has found new range in her interpretive abilities. And Lanchester, a soul growler who can ad lib with all the passion and fire of any big-name gospel act, sounded better than ever last night. She has, at times, been hampered by muddy acoustics and ill-tempered mics in the MCC sanctuary but last night the balance was perfect. There were some howling mics here and there, sadly, but they were mostly worked out by the time she came on.

Lisa Carrol (Blade photo by Joey DiGuglielmo)

Hughes opened the second half with two solos — “Ave Maria” and “O Holy Night,” both of which she’s performed previously at the church. The latter, especially, was lovely and allowed her to show off her interpretive finesse and range to their fullest. They also exemplified, by contrast, what makes Hughes such a rare talent — she can kick back and throw down with the most sanctifying gospel grooves but on her solo selections she proves she’s got great classical sensibilities as well and is undeniably a trained singer. It’s quite rare to find a musician, whether he or she is singing or directing (or accompanying as Hughes also does), who can pull off both extremes so successfully. Though mercurial at times — and she would likely admit to that — she leaves enormous shoes for the church to fill. Music can totally make or break a worship service.

The Gay Men’s Chorus sounded lovely as usual — their harmonies, tighter and more refined (but also more staid) than MCC’s — are undeniably great. Their overall pitch is as precise as a tuning fork. They continue to excel under Jeff Burhman’s sturdy leadership.

There was only one misstep of the evening but unfortunately, in my estimation anyway, it was a huge one — a medley of Hanukkah songs the GMCW closed its mini-set with. While musically they provided the show with a nice change of pace, thematically it was jarring and completely out of place. I’m all for diversity and respect of other faiths especially during the holidays, but MCC is a Christian church and this was a Christmas concert. A few secular songs that were included — a slightly wobbly “Christmas Song” by the church’s string ensemble and a medley of “I’ll Be Home for Christmas” and “Merry Christmas Darling” by the GMCW — were fine. And I’m not of the mindset, as are many Christians, that everything performed during a church program has to be explicitly religion in text. Yes, Jesus Christ was Jewish himself, but to include a selection of material that rejects the divinity of Christ at a Christian Christmas concert was offensive. I was probably in the minority on this point though — the number was as heartily applauded as any of the night. It’s a shame, though, as the GMCW has several gorgeous sacred Christmas numbers in its repertoire — much more appropriate would have been selections like the Bass “Gloria,” or the Mendelssohn “Say Where He is Born” or “There Shall a Star” they performed at their own concert last year.

Oleta Adams after the concert. (Blade photo by Joey DiGuglielmo)

But that’s quibbling — overall, it was a great, great night. Kudos to Adams for graciously singing autographs and posing for photos after the show.

I’ve been meaning to blog, too, about two other concerts I caught in recent weeks that are both of considerable queer appeal. Chaka Khan played a tight half jazz/half pop/funk concert during a two-night run at the Birchmere last week. I caught the first show Monday night. And bi bassist Meshell Ndegeocello was also at the Birchmere a couple weeks before (on Nov. 15) for her “Weather Tour,” supporting her brand new album. I interviewed both of them (here and here) prior to their appearances.

Chaka Khan at the Birchmere last week. (Blade photo by Joey DiGuglielmo)

Khan’s was far tighter and more generous. Playing an hour-and-45-minute set, she opened with standards like “I’ll Be Around,” “To Sir With Love” and “My Funny Valentine” before putting her own stamp on a four-song set of Joni Mitchell covers, only one of which (“Ladies Man”) she’s recorded herself. The standouts were the moody — it’s perhaps the darkest song in Mitchell’s entire canon — “Two Grey Rooms” and a highly unusual take on “Man From Mars” that gave her kick-ass band time to solo and jam. You wouldn’t think they’d pick that kind of a song on which to solo — Mitchell’s version is slow and atmospheric — but somehow it worked.

Khan closed her show with several hits — “Everlasting Love,” “Tell Me Something Good” and “What Cha Gonna Do 4 Me” (but not “I’m Every Woman”). She gamely sang an a cappella verse and chorus of “Fool’s Paradise” at a request, and gave her testimony of getting clean during an emotional reading of “Through the Fire.” She was in dazzlingly fine voice — her extraordinary pipes are as bright and strong as they’ve ever sounded. Her voice is a feat of nature — she could blow Aretha Franklin, Whitney Houston and Gladys Knight away with a sneeze and I’m not exaggerating.

Meshell Ndegeocello at the Birchmere in November. (Blade photo by Joey DiGuglielmo)

Meshell, conversely, is almost an anti-singer, an anti-entertainer. She’s much more a funky groove chef than a great singer. Her vocals are wispy and non-committal, but armed with her bass and a tight band, there were smoldering sonic stews being conjured throughout her hour-and-20-minute set. She also does exactly as she pleases. There were no hits (unless you count the one “Plantation Lullabies” song she performed, “Outside Your Door”) and 11 of the 17 songs she did are from the new album. I’m all for artistic license and unpredictability — you don’t go to a Meshell show expecting hits — but even that was, admittedly a bit self indulgent on her part. But she doesn’t care and that’s part of her charm. She did make some small talk and said she was enjoying herself — but she’s so laid back and “chill” it can be a bit polarizing. Nobody expects her to be Wayne Newton, of course, but I mean c’mon — isn’t there some middle ground she could stomach without feeling like a human juke box?

MCC’s set:
1. Andaluza (piano solo)
2. The Christmas Song (strings)
3. Gloria We Sing
4. Hallelujah
5. Amen
6. My Sweet Lawd
7. Emmanuel Medley
8. Jesus Brings Joy
9. Perfect Praise
10. Wonderful Child Medley
11. Ave Maria
12. O Holy Night
13. In the Bleak Midwinter (GMCW)
14. I’ll Be Home For Christmas/Merry Christmas Darling (GMCW)
15. Music of Hanukkah (GMCW)
16. Hark the Herald Angels Sing/Angels We Have Heard on High (Oleta Adams)
17. Breath of Heaven (Oleta Adams)
18. Get Here (Oleta Adams)
19. Carols from around the world — a cappella (various soloists)
20. Joy to the World (MCC w/ Oleta Adams)

Chaka Khan’s set
1. High Wire
2. I’ll Be Around
3. To Sir With Love
4. My Funny Valentine
5. Hissing of Summer Lawns
6. Two Grey Rooms
7. Man From Mars
8. Ladies Man
9. Angel
10. Everlasting Love
11. Through the Fire
12. Tell Me Something Good
13. Fool’s Paradise
14. What Cha Gonna Do 4 Me
15. Ain’t Nobody (encore)

Meshell Ndegeocello’s set
1. Grace
2. Faithful
3. Dirty World
4. A Bitter Mule
5. Bright Shiny Morning
6. Lady Cab Driver (Prince)
7. Outside Your Door
8. Blood on the Curb
9. Feeling for the Wall
10. Chance
11. Objects in Mirror Are Closer Than They Appear
12. Oyster
13. Crazy and Wild
14. Weather
15. Rapid Fire
16. Don’t Take My Kindness for Weakness
17. Dead End (encore)

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Out & About

Gala Hispanic Theatre’s Flamenco Festival returns

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Rafael Ramírez (Photo by Juan Carlos Toledo)

Gala Hispanic Theater will host the 21st Annual “Fuego Flamenco Festival” from Thursday, Nov. 6 to Saturday, Nov. 22. 

The festival will feature American and international artists who will gather in the nation’s capital to celebrate the art of Flamenco. Guests can save 20% on tickets with a festival pass. 

The festival kicks off now through Nov. 10 with the D.C. premiere of Crónica de un suceso, created, choreographed and performed by Rafael Ramírez from Spain, accompanied by renowned flamenco singers and musicians. In this new show, Ramírez pays homage to the iconic Spanish Flamenco artist Antonio Gades who paved the way for what Flamenco is today. GALA’s engagement is part of an eight-city tour of the U.S. by Ramírez and company.

The magic continues Nov. 14-16 with the re-staging of the masterpiece Enredo by Flamenco Aparicio Dance Company, a reflection of the dual nature of the human experience, individual and social, which premiered at GALA in 2023.

For more information, visit the theatre’s website

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Calendar

Calendar: November 7-13

LGBTQ events in the days to come

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Friday, November 7

“Center Aging Friday Tea Time” will be at 12 p.m. in person at the DC Center for the LGBT Community’s new location at 1827 Wiltberger St., N.W. To RSVP, visit the DC Center’s website or email [email protected]

Go Gay DC will host “LGBTQ+ Community Social” at 7 p.m. at Silver Diner Ballston. This event is ideal for making new friends, professional networking, idea-sharing, and community building. This event is free and more details are available on Eventbrite

Saturday, November 8

Go Gay DC will host “LGBTQ+ Community Brunch” at 12 p.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including allies, together for delicious food and conversation.  Attendance is free and more details are available on Eventbrite.

Sunday Supper on Saturday will be at 2 p.m. at the DC Center for the LGBT Community. This event will be full of food, laughter and community. For more information, email [email protected]

Monday, November 10 

“Center Aging: Monday Coffee Klatch” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ adults. Guests are encouraged to bring a beverage of choice. For more information, contact Adam ([email protected]).

“Soulfully Queer: LGBTQ+ Emotional Health and Spirituality Drop-In” will be at 3 p.m. at the DC Center for the LGBT Community. This group will meet weekly for eight weeks, providing a series of drop-in sessions designed to offer a safe, welcoming space for open and respectful conversation. Each session invites participants to explore themes of spirituality, identity, and belonging at their own pace, whether they attend regularly or drop in occasionally. For more details visit the DC Center’s website.

Genderqueer DC will be at 7 p.m. on Zoom. This is a support group for people who identify outside of the gender binary, whether you’re bigender, agender, genderfluid, or just know that you’re not 100% cis. For more details, visit genderqueerdc.org or Facebook.

Wednesday, November 12 

Job Club will be at 6 p.m. on Zoom. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.

“Gay Men Speed Dating” will be at 7 p.m. at Public Bar Live. This is a fresh alternative to speed dating and matchmaking in a relaxed environment. Tickets start at $37 and are available on Eventbrite

Thursday, November 13 

The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245. 

Virtual Yoga Class will be at 7 p.m. on Zoom. This is a free weekly class focusing on yoga, breathwork, and meditation. For more details, visit the DC Center for the LGBT Community’s website.

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Sports

Gay speedskater racing toward a more inclusive future in sports

Conor McDermott-Mostowy says anti-DEI push is driving away corporate sponsors

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Conor McDermott-Mostowy

LOS ANGELES — As the countdown begins to the February Winter Olympic Games in Milan, Pride House LA is shining a spotlight on queer athletes who are breaking boundaries both on and off the field. Among them is Team USA speedskater Conor McDermott-Mostowy – a fierce competitor and proud member of the queer community. With blistering speed on the ice and a steadfast commitment to equity in sports, Conor is doing so much more than winning medals – he’s redefining what it means to represent one’s country while representing one’s community.

McDermott-Mostowy is one step closer to the 2026 Winter Olympics after winning the recent silver and bronze medals at the U.S. Championships in speedskating. He appeared at a Nov. 1 event presented by Out Athlete Fund/Pride House LA in the organization’s efforts to raise funds to support Conor and other out athletes as they pursue their Olympic dreams in Milan 2026 and beyond.The Blade spoke to the star athlete to talk about resilience, representation, and the legacy he hopes to leave one day.

Blade: Huge congrats, Conor! Winning a World Cup gold is no small feat. Do you feel like this win proved something to the world – or more importantly, to yourself?

McDermott-Mostowy: Winning gold with my team last year was definitely a major goal achieved. That said, the event we won isn’t yet an Olympic event. The races that have had the most profound impact on me actually happened two years ago.

The first was the team pursuit in Obihiro, Japan. I’d always been more of an alternate for that event, since it’s typically raced by skaters who compete in both the 1500m and 5000m. But I’d been itching for the opportunity to race it at the World Cup level. I finally got that chance when a teammate had to pull out at the last minute due to a back issue. We led the race through six of eight laps, ultimately finishing third. While it was a little disappointing to fall out of the lead, I was proud to prove that I could contribute meaningfully and help the team medal.

The second race was later that year in Salt Lake City, my home ice. After competing in Japan, I came down with a lung infection that affected my performance at the next few World Cups. Fortunately, I had time to recover before the North American World Cups and World Championships. At the Salt Lake City World Cup, I was balancing competition with completing my undergraduate degree. I didn’t know what to expect, but I ended up finishing fifth in the 1000m—my highest individual finish ever—and posted a time of 1:06.91. That’s a very significant time in speedskating; only three other Americans have gone under 1:07 in that event, all of whom became world champions. That result felt like a turning point, showing me that an Olympic or World Championship medal wasn’t just a dream—it was within reach.

Blade: This PrideHouse LA event is a huge moment. What does that support from the queer community mean to you?

McDermott-Mostowy: It’s incredibly meaningful. Being queer in Olympic sport can be very isolating, both inside and outside the sport. I barely have time to socialize outside of skating, and relocating to Salt Lake City doesn’t exactly help when it comes to queer community. So having that kind of solidarity and support from the wider LGBTQ+ community really means a lot.

Blade: Do you remember the moment you realized skating could take you all the way to the Olympics?

McDermott-Mostowy: There hasn’t been one single moment. It’s been a series of them. Over the years, I’ve had many races that shattered the limits I thought I had and inspired me to reach higher. That Salt Lake City race was one of them. It made me realize I shouldn’t just aim for the Olympics. I should aim for medals.

Another key moment came in 2018 at my last Junior World Cup, when my teammate and I finished 2nd and 3rd in the mass start. That event is similar to short track but held on a long track. It was my first full year focusing on long track after previously dabbling in it, and we had no expectation of medaling. But after we did, I realized I might actually have a future in this discipline—and that I could be competitive on the world stage. It was a pivotal realization, especially as I was trying to decide whether to continue skating or pursue a traditional college experience.

Blade: What initially drew you to speedskating? How did you get into the sport—and what’s kept you motivated?

McDermott-Mostowy: I grew up on skates. I started at age two and became a strong skater early on. But I never had any interest in hockey or figure skating. One winter, I was skating with my family on the C&O Canal in Washington, D.C., when a guy skated past us on these wild-looking speed skates. I was immediately intrigued. My parents found a local club, which happened to be run by three-time Olympian Nathaniel Mills, and I was hooked.

What’s kept me going is simple: I love it. This isn’t a sport you get rich in. I’ve only earned more than $20,000 a year twice in my career, and you can’t use it to pay for college either. The motivation has to come from within—the pursuit of excellence, the dream of going to the Olympics, and pure love for the sport.

Blade: What’s been your toughest race to date, and what did it teach you?

McDermott-Mostowy: That would be the team pursuit in Japan. I wasn’t expecting to race it and had already competed in a full weekend of events before getting the call. Team pursuit is arguably the toughest event in speedskating. Stepping up without being mentally or physically prepared was a challenge, but I did it. It showed me I could push through, even under extreme circumstances.

Blade: You’ve made headlines not just for your speed, but for your openness. What was it like coming out publicly in the world of elite sport?

McDermott-Mostowy: By the time I was publicly identified as gay, I had already been out to anyone who asked. So “coming out” doesn’t feel like the right term. It wasn’t a big declaration. I had the benefit of growing up seeing openly gay athletes and being part of a supportive community. I never felt the need to hide who I was.

Eventually, as I started achieving more on the ice, people began noticing me and the content I posted, and they put two and two together. When I was asked to speak publicly about being an openly gay athlete in speedskating, I didn’t hesitate.

Blade: What have been the biggest challenges in your career – physically, mentally, or otherwise?

McDermott-Mostowy: Honestly, my entire career has been about overcoming challenges. The two biggest obstacles have been illness and finances.

I’ve dealt with asthma, a norovirus that derailed my chances in 2022, and a fatigue condition last season that affected my performance. These setbacks take a toll. Not just physically, but mentally. When you invest everything into your sport, being forced to pause or scale back is a huge emotional hurdle.

Financially, speedskating is a tough path. Even as a consistent top-20 skater in the world, I’ve only broken $20k twice in a year, and we’re paid for just nine months, even though we train year-round. I’ve leaned on friends and family for support many times just to make ends meet.

Blade: Have you ever been told – explicitly or implicitly – that being openly gay could hurt your chances with sponsors or coaches?

McDermott-Mostowy: Never with coaches. In our sport, selections are based on the clock, not someone’s opinion. My coaches have always been great.

But when it comes to sponsorships, especially over the past year, I’ve noticed a shift. As anti-DEI sentiment grows, brands are backing away from anything that could be seen as “controversial.” Being openly gay seems to fall into that category now. Since most of our income comes from sponsorships, that retreat is deeply felt.

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