Arts & Entertainment
Message in the music
Gay Men’s Chorus reaching out to region’s queer youth with concert, program
Gay Men’s Chorus of Washington
‘The Kids are All Right’
With guests Candace Gingrich-Jones and Dreams of Hope
Saturday at 8 p.m.
Tickets: $20-$50
G.W. Lisner Auditorium
730 21st Street, N.W.

The Gay Men’s Chorus of Washington has a one-off youth-themed performance scheduled for this weekend. (Blade file photo by Michael Key)
As a veteran high school music teacher and counselor, Jeff Buhrman saw first-hand the need for affirmation and support for LGBT youth. When he became artistic director of the Gay Men’s Chorus of Washington, he made it a priority to start a youth outreach program.
Though the Chorus’s GenOUT program has been in existence since 2001 offering free concert tickets to local LGBT youth, the Chorus has ramped up its efforts in the “It Gets Better” era. Saturday’s “The Kids are All Right” concert, the Chorus’s second of the current season, is especially created to dovetail with the program. It’s a busy time for the Chorus — last weekend its Rock Creek Singers ensemble performed with the Camp Rehoboth Chorus. Its all-male production of “The Rocky Horror Show” debuts in mid-March.
“(Saturday’s concert) is designed especially to serve the mission of our GenOUT program,” Buhrman says. “We are specifically reaching out to youth for ‘The Kids Are All Right.’ We’re sharing our stories we think they will relate to … the support of a mother who helps us get through, having a safe place in school like the high school music room or the theater room so we don’t have to go into the scary cafeteria during lunch … we’re using video, songs and narration to share our stories about the times we felt different growing up and exploring how it gets better.”
The Chorus will be joined by Candace Gingrich-Jones (Newt’s lesbian half-sister), who’ll provide narration for a musical dramatization of the story “Oliver Button is a Sissy,” and Dreams of Hope, a Pittsburgh-based teen performance ensemble whose 12 guests will use self-penned material such as poetry, song and dance to, as Buhrman puts it, “share their feelings about being teenagers in today’s world.”
The Chorus will pull with its usual eclectic reaches — everything from Broadway to country — to perform songs that flesh out the queer-affirming theme (the title is merely borrowed from the 2010 film — it’s not a musical telling of that story).
Buhrman knew of the Dreams of Hope chorus through an association of gay choruses of which the Washington Chorus is also a member. Dreams will perform a 25-minute segment then join the GMCW for the finale.
“It’s a joy when we are able to actually share the stage with another group,” Buhrman says. “It’ll be fun working with them.”
Jay Garvey, a 27-year-old GMCW baritone who works as a co-facilitator of the GenOUT program, agrees.
“We’re gonna see some beautiful stories shining through and that’s what the Chorus does best,” he says. “There are these little moments in life that every LGBT person can understand and relate to, so we hope audiences will find themselves in these narratives, especially youth who are going through it now.”
But while the intentions are obviously great, does quality suffer when so much of the material is new, autobiographical and unproven? Buhrman, who has solid classical training, says it’s not an issue.
“If you had been at our rehearsal the other night, you wouldn’t ask that question,” he says. “Music, and good music, is at the heart of everything we do. You’ll hear a range of styles, expansively beautiful melodies, great lyrics — we can always find music that will correspond to our experiences as LGBT people and if we can’t find something ourselves, we either commission it … or find something and have one of our people arrange it. … It’s why it sometimes takes us one-to-two years to plan a show. We want to find exactly the right music to speak at that exact moment.”
The GenOUT program is run by GMCW staff such as Taunee Grant, its director of marketing and communications, and co-facilitators Garvey, Nic Baker and Richard Bennett, Chorus members who volunteer their time to the program. About 94 schools and organizations in the region attend Chorus shows through the program which gives free tickets to about 300 LGBT students each season. “Pink Nutcracker,” the Chorus’s well-received 2011 holiday show, brought 175 free tickets through the GenOUT program. “Red & Greene,” the 2012 holiday show, found 225 guests. Members hope to continue adding tickets each year.
The program also features “hubs” in the Lisner lobby at each GMCW concert where queer youth can meet up before and after the shows. And it’s not just for high school students — the Chorus is in the process of getting a college internship program started as well.
More than 40 openly LGBTQ athletes are expected to compete in the Milan Cortina Winter Olympics that open on Friday.
Outsports.com notes eight Americans — including speedskater Conor McDermott-Mostowy and figure skater Amber Glenn — are among the 44 openly LGBTQ athletes who will compete in the games. The LGBTQ sports website also reports Ellis Lundholm, a mogul skier from Sweden, is the first openly transgender athlete to compete in any Winter Olympics.
“I’ve always been physically capable. That was never a question,” Glenn told Outsports.com. “It was always a mental and competence problem. It was internal battles for so long: when to lean into my strengths and when to work on my weaknesses, when to finally let myself portray the way I am off the ice on the ice. That really started when I came out publicly.”
McDermott-Mostowy is among the six athletes who have benefitted from the Out Athlete Fund, a group that has paid for their Olympics-related training and travel. The other beneficiaries are freestyle skier Gus Kenworthy, speed skater Brittany Bowe, snowboarder Maddy Schaffrick, alpine skier Breezy Johnson, and Paralympic Nordic skier Jake Adicoff.
Out Athlete Fund and Pride House Los Angeles – West Hollywood on Friday will host a free watch party for the opening ceremony.
“When athletes feel seen and accepted, they’re free to focus on their performance, not on hiding who they are,” Haley Caruso, vice president of the Out Athlete Fund’s board of directors, told the Los Angeles Blade.
Four Italian LGBTQ advocacy groups — Arcigay, CIG Arcigay Milano, Milano Pride, and Pride Sport Milano — have organized the games’ Pride House that will be located at the MEET Digital Culture Center in Milan.
Pride House on its website notes it will “host a diverse calendar of events and activities curated by associations, activists, and cultural organizations that share the values of Pride” during the games. These include an opening ceremony party at which Checcoro, Milan’s first LGBTQ chorus, will perform.
ILGA World, which is partnering with Pride House, is the co-sponsor of a Feb. 21 event that will focus on LGBTQ-inclusion in sports. Valentina Petrillo, a trans Paralympian, is among those will participate in a discussion that Simone Alliva, a journalist who writes for the Italian newspaper Domani, will moderate.
“The event explores inclusivity in sport — including amateur levels — with a focus on transgender people, highlighting the role of civil society, lived experiences, and the voices of athletes,” says Milano Pride on its website.
The games will take place against the backdrop of the U.S. Olympic and Paralympic Committee’s decision to ban trans women from competing in women’s sporting events.
President Donald Trump last February issued an executive order that bans trans women and girls from female sports teams in the U.S. A group of Republican lawmakers in response to the directive demanded the International Olympics Committee ban trans athletes from women’s athletic competitions.
The IOC in 2021 adopted its “Framework on Fairness, Inclusion and Nondiscrimination on the Basis of Gender Identity and Sex Variations” that includes the following provisions:
• 3.1 Eligibility criteria should be established and implemented fairly and in a manner that does not systematically exclude athletes from competition based upon their gender identity, physical appearance and/or sex variations.
• 3.2 Provided they meet eligibility criteria that are consistent with principle 4 (“Fairness”, athletes should be allowed to compete in the category that best aligns with their self-determined gender identity.
• 3.3 Criteria to determine disproportionate competitive advantage may, at times, require testing of an athlete’s performance and physical capacity. However, no athlete should be subject to targeted testing because of, or aimed at determining, their sex, gender identity and/or sex variations.
The 2034 Winter Olympics are scheduled to take place in Salt Lake City. The 2028 Summer Olympics will occur in Los Angeles.
Theater
Out dancer on Alvin Ailey’s stint at Warner Theatre
10-day production marks kickoff of national tour
Alvin Ailey American Dance Theater
Through Feb. 8
Warner Theatre
513 12th St., N.W.
Tickets start at $75
ailey.org
The legendary Alvin Ailey American Dance Theater is coming to Washington’s Warner Theatre, and one of its principal veterans couldn’t be more pleased. Out dancer Renaldo Maurice is eager to be a part of the company’s 10-day stint, the kickoff of a national tour that extends through early May.
“I love the respectful D.C. crowd and they love us,” says Maurice, a member of esteemed modern dance company for 15 years. The traveling tour is made of two programs and different casting with Ailey’s masterwork “Revelations” in both programs.
Recently, we caught up with Maurice via phone. He called from one of the quiet rooms in his New York City gym where he’s getting his body ready for the long Ailey tour.
Based in North Newark, N.J., where he recently bought a house, Maurice looks forward to being on the road: “I enjoy the rigorous performance schedule, classes, shows, gym, and travel. It’s all part of carving out a lane for myself and my future and what that looks like.”
Raised by a single mother of three in Gary, Ind., Maurice, 33, first saw Alvin Ailey as a young kid in the Auditorium Theatre in downtown Chicago, the same venue where he’s performed with the company as a professional dancer.
He credits his mother with his success: “She’s a real dance mom. I would not be the man or artist I am today if it weren’t for the grooming and discipline of my mom. Support and encouragement. It’s impacted my artistry and my adulthood.”
Maurice is also part of the New York Ballroom scene, an African-American and Latin underground LGBTQ+ subculture where ball attendees “walk” in a variety of categories (like “realness,” “fashion,” and “sex siren”) for big prizes. He’s known as the Legendary Overall Father of the Haus of Alpha Omega.
WASHINGTON BLADE: Like many gay men of his era, Ailey lived a largely closeted public life before his death from AIDS-related complications in 1989.
RENALDO MAURICE Not unusual for a Black gay man born during the Depression in Rogers, Texas, who’s striving to break out in the industry to be a creative. You want to be respected and heard. Black man, and Black man who dances, and you may be same-sex gender loving too. It was a lot, especially at that time.
BLADE: Ailey has been described as intellectual, humble, and graceful. He possessed strength. He knew who he was and what stories he wanted to tell.
MAURICE: Definitely, he wanted to concentrate on sharing and telling stories. What kept him going was his art. Ailey wanted dancers to live their lives and express that experience on stage. That way people in the audience could connect with them. It’s incredibly powerful that you can touch people by moving your body.
That’s partly what’s so special about “Revelations,” his longest running ballet and a fan favorite that’s part of the upcoming tour. Choreographed by Alvin Ailey in 1960, it’s a modern dance work that honors African-American cultural heritage through themes of grief, joy, and faith.
BLADE: Is “Revelation” a meaningful piece for you?
MAURICE: It’s my favorite piece. I saw it as a kid and now perform it as a professional dance artist. I’ve grown into the role since I was 20 years old.
BLADE: How can a dancer in a prestigious company also be a ballroom house father?
MAURICE: I’ve made it work. I learned how to navigate and separate. I’m a principal dancer with Ailey. And I take that seriously. But I’m also a house father and I take that seriously as well.
I’m about positivity, unity, and hard work. In ballroom you compete and if you’re not good, you can get chopped. You got to work on your craft and come back harder. It’s the same with dance.
BLADE: Any message for queer audiences?
MAURICE: I know my queer brothers and sisters love to leave with something good. If you come to any Ailey performance you’ll be touched, your spirit will be uplifted. There’s laughter, thoughtful and tender moments. And it’s all delivered by artists who are passionate about what they do.
BLADE: Alvin Ailey has been a huge part of your life. Thoughts on that?
MAURICE: I’m a believer in it takes a village. Hard work and discipline. I take it seriously and I love what I do. Ailey has provided me with a lot: world travel, a livelihood, and working with talented people here and internationally. Alvin Ailey has been a huge part of my life from boyhood to now. It’s been great.
Catfish Comedy will host “2026 Queer Kickoff Show” on Thursday, Feb. 5 at A League of Her Own (2319 18th Street, N.W.). This show features D.C.’s funniest LGBTQ and femme comedians. The lineup features performers who regularly take the stage at top clubs like DC Improv and Comedy Loft, with comics who tour nationally.
Tickets are $17.85 and can be purchased on Eventbrite.
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