Arts & Entertainment
Starting the conversation
Whitman-Walker plans series of LGBT-specific health meetings
Whitman-Walker's June Crenshaw and Don Blanchon at a previous event. (Blade file photo by Michael Key)
Whitman-Walker Health is planning a series of LGBT-specific town hall-style events this year called Community Conversations. The first, slated for Thursday at the Clinic’s Elizabeth Taylor Center (1701 14th Street, NW), is dubbed “New Year, New Start: Substance Abuse.”
“Throughout our history, Whitman-Walker has worked to meet the unique health care needs of the LGBT community,” Don Blanchon, the Clinic’s executive director, said in a statement. “One of our goals … is to empower participants with the knowledge and resources to improve not only their health but the health of the family, friends and loved ones around them.”
Chip Lewis, the Clinic’s deputy director of communications, says the series was Blanchon’s idea and that he wanted “a mechanism to build this dialogue between Whitman-Walker and the community.” Chris Dyer, an LGBT liaison in former Mayor Adrian Fenty’s administration, suggested the format.
Lewis says the staff hopes the series is a two-way street.
“It’s an opportunity to start a dialogue with the community about health issues it faces,” he says. “It can help us present the LGBT health issues that we service but we also want to hear from them and find out what they’re seeing and hearing about. It’s an opportunity for a dialogue for Whitman-Walker and the larger LGBT community as a whole.”
Thursday’s panelists are treatment advocate Jimmy Garza, addictions counselor Christina Oseth and nightlife impresario Ed Bailey. Moderator Josh Reilly is manager of addiction treatment programs for Whitman-Walker. The discussion starts at 7 p.m. It’s free and open to the pubic and those interested in attending will be directed to the meeting room from the front lobby.
Nine conversations are planned. A Feb. 23 discussion on “healthier hookups” will also be at the Elizabeth Taylor Center. On March 29, “Why Safe Sex Matters” will be held at the True Reformer Building and on April 30, “Aging and the LGBT Community” will be at the D.C. Center. Dates and locations are still being set for the remaining installments. Topics slated include “Women’s Health,” “Take Pride in Your Health,” “HIV Testing,” “I’m a Survivor: Living Long Term With HIV” and “Transgender Health.” Go to whitman-walker.org for more information. The Blade will also run details as they are announced.
Lewis says things are going well for the Clinic overall and he expects that it will soon be announced that 2011 was another successful year. It’s now operating “in the black” (there was a half-million-dollar surplus in 2010 Lewis says) after finishing 2007 and 2008 millions in the hole. The numbers for 2009 found the Clinic running a $750,000 deficit. Revenue sources have changed and Medicare, Medicaid and pharmacy sales have provided a more stable source of revenue, he says.
But misconceptions abound about the Clinic, Lewis says. A broadening of services has “de-gayed” the Clinic, some critics have claimed, but Lewis says a higher percentage of those seeking services today self-identity as LGBT than a few years ago (it’s about half, he says).
“You can come here for mental health, support groups, primary care, gynecological care — there was a sense for a long time that this was just where you went if you were facing HIV and AIDS and that’s never really been the case,” Lewis says. “[These Conversations] are another opportunity for us to get across to people that we offer a lot of health services.”
The Community Conversations are expected to last between one and two hours depending on the number of questions and comments.
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Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
Amy Madigan’s win in the supporting actress category puts her in serious contention to win the Oscar for ‘Weapons’
From Chelsea Handler shouting out Heated Rivalry in her opening monologue to Amy Madigan proving that horror performances can (and should) be taken seriously, the Critics Choice Awards provided plenty of iconic moments for queer movie fans to celebrate on the long road to Oscar night.
Handler kicked off the ceremony by recapping the biggest moments in pop culture last year, from Wicked: For Good to Sinners. She also made room to joke about the surprise hit TV sensation on everyone’s minds: “Shoutout to Heated Rivalry. Everyone loves it! Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”
The back-to-back wins for Jacob Elordi in Frankenstein and Amy Madigan in Weapons are notable, given the horror bias that awards voters typically have. Aunt Gladys instantly became a pop culture phenomenon within the LGBTQ+ community when Zach Cregger’s hit horror comedy released in August, but the thought that Madigan could be a serious awards contender for such a fun, out-there performance seemed improbable to most months ago. Now, considering the sheer amount of critics’ attention she’s received over the past month, there’s no denying she’s in the running for the Oscar.
“I really wasn’t expecting all of this because I thought people would like the movie, and I thought people would dig Gladys, but you love Gladys! I mean, it’s crazy,” Madigan said during her acceptance speech. “I get [sent] makeup tutorials and paintings. I even got one weird thing about how she’s a sex icon also, which I didn’t go too deep into that one.”
Over on the TV side, Rhea Seehorn won in the incredibly competitive best actress in a drama series category for her acclaimed performance as Carol in Pluribus, beating out the likes of Emmy winner Britt Lower for Severance, Carrie Coon for The White Lotus, and Bella Ramsey for The Last of Us. Pluribus, which was created by Breaking Bad’s showrunner Vince Gilligan, has been celebrated by audiences for its rich exploration of queer trauma and conversion therapy.
Jean Smart was Hack’s only win of the night, as Hannah Einbinder couldn’t repeat her Emmy victory in the supporting actress in a comedy series category against Janelle James, who nabbed a trophy for Abbott Elementary. Hacks lost the best comedy series award to The Studio, as it did at the Emmys in September. And in the limited series category, Erin Doherty repeated her Emmy success in supporting actress, joining in yet another Adolescence awards sweep.
As Oscar fans speculate on what these Critics Choice wins mean for future ceremonies, we have next week’s Golden Globes ceremony to look forward to on Jan. 11.
(Washington Blade photos by Michael Key)
It’s been a year filled with drama and music, re-imaginings and new works. There was a lot on offer in 2025, and much to enjoy. Here are 10 now-closed productions that come to mind.
On Valentine’s Day at Folger Theatre on Capitol Hill, out actor Holly Twyford served as narrator for “The Love Birds” a Folger Consort work that melds medieval music with a world-premiere composition by acclaimed composer Juri Seo and readings from Geoffrey Chaucer’s “A Parlement of Foules”
Standing behind a podium, Twyford beautifully read Chaucer’s words (translated from Middle English and backed by projected slides in the original language), alternating with music played on old and new instruments.
While Mosaic Theater’s “A Case for the Existence of God,” closed in mid-December, it’s proving a production not soon forgotten. Precisely staged by Danilo Gambini, and impressively acted by Lee Orsorio and Jaysen Wright, the soul-searching two hander by out playwright Samuel D. Hunter, tells the story of two men who form an unlikely friendship based on single-fatherhood, a specific sadness, and hope.
The action unfolds in a small office in southern Idaho, where the pair discuss the perplexing terms of a mortgage loan while delving deep into their lives and backgrounds. Nothing is left off the table.
Shakespeare Theatre Company’s spring production of “Uncle Vanya” gave audiences something both fresh yet enduring. Staged by STC’s artistic director Simon Godwin, the production put an impeccably pleasing twist on Russian playwright Anton Chekhov’s classic. It ranks among the very best area productions of the year.
Featuring a topnotch cast led by Hugh Bonneville (TV’s “Downton Abbey”) in the title role, the play was set on an unfinished stage cluttered with costume racks and assorted props, all assembled by crew uniformed in black and actors in street clothes. Throughout the drama tinged with comedy, the actors continued to assist with ever increasingly period set changes accompanied by an underscore of melancholic cello strings. It was innovative and wonderful.
GALA Hispanic Theatre’s production of Manuel Puig’s “Kiss of the Spider Woman” was an intimate and affecting piece of theater. Staged by José Luis Arellano, it starred out actors Rodrigo Pedreira and Martín Ruiz as two very different men whose paths cross as convicts in an Argentine prison.
Arena Stage scored with a re-imagined and updated take on the widely liked musical “Damn Yankees.” Directed by Sergio Trujillo, the Broadway bound production has been “gently re-tooled for its first major revival in the 21st century,” moving the action from the struggling Washington Senators baseball team to the turn-of-the-century Yankees lineup. Ana Villafañe’s charmingly seductive Lola and a chorus of fit ball players made for a good time.
Also at Arena, out playwright Reggie D. White’s new work “Fremont Ave.” was very well received. A semi-autobiographical glimpse into home and the many definitions of that idea specifically relating to three generations of Black men, the work boasts a third act with a deeply queer storyline to boot.
Before his smash hit “Hamilton” transformed Broadway, Lin-Manuel Miranda wrote “In the Heights,” a seminal musical set against the vicissitudes of an upper Manhattan bodega. Infused with hip-hop, rap, and pop ballads, the romance/dramedy takes place over a lively few days in the vibrant, close-knit Latin neighborhood, Washington Heights.
Signature Theatre’s exciting take on “In the Heights” featured a talented cast including out actor Ángel Lozado as the bodega owner who figures prominently in the barrio and the action.
Studio Theatre’s recent production of lesbian playwright Paula Vogel’s newest work “The Mother Play,” a drama with humor, is about a well put together alcoholic mother and her two gay children living under difficult circumstances in the less glitzy parts of suburban Maryland. With nuanced performances and smart direction, the production was terrific.
Keegan Theatre surpassed expectations with its production of “Lizzie” a punk rock opera about Miss Borden, the fabled axe wielding title character. Performed by a super all-female cast, they belted a score that hits hard on subjects like money, queerness, and strained (to say the least) family relationships.
Round House Theatre impressed autumn audiences with “The Inheritance,” a two-part drama sensitively staged by out director Tom Story and acted by a mostly queer cast that included young actor Jordi Bertrán Ramírez in a breakout performance.
Penned by out playwright Matthew López, the epic work inspired by E.M. Forster’s novel “Howards End,” explores themes of love, legacy, and the AIDS crisis through the lives of three generations of gay men in New York City.
Prior to opening, Story commented that with the production’s predominately queer cast you get actors who “really understand the situation, the humor, and the struggle. It works well.” And he was right.
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