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Calendar: March 2

Parties, exhibits, meetings and more through March 8

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‘Memorial to a Marriage,’ a bronze sculpture featuring artist Patricia Cronin and her partner in a tender embrace, is one of the works in the ‘Bodies and Soul’ exhibit at Connor Contemporary Art. (Image courtesy Connor)

TODAY (Friday) 

Busboys & Poets presents “Live! from Busboys: Open Mic and Talent Showcase” tonight at 11 p.m. in the Langston Room at its 14th and V streets location (2021 14th St., N.W.) hosted by Ne’a Posey. This showcase opens the floor for all performers, not just poets. There is a $5 cover. For more information, visit busboysandpoets.com.

“Saturday Night Live” alum Tim Meadows plays Baltimore Comedy Club tonight at 8 and 10:15 p.m. Tickets are $20 and can be purchased online at baltimorecomedy.com. Meadows will also perform Saturday at 7 and 9:15 p.m.

The Creative Alliance is hosting the Baltimore premiere of the African film “Paparazzi: Eye in the Dark” at the Patterson (3134 Eastern Ave., Baltimore) tonight at 7:30 p.m. “Paparazzi” tells the story of a music producer, a mysterious murder and the ripples of its repercussions. Tickets are $12 for general admission and $7 for CA members. For more information and to purchase tickets, visit creativealliance.org.

Atlas (1333 H St., N.E.) presents “Intersections: A New American Arts Festival” with performances by Tom Goss and Potomac Fever at 9:30 p.m. in the Lang Theatre. Tickets are $20. All-girl band The Pushovers will be giving a free performance from 8 to 10 p.m. in the Kogod lobby. The night ends with an after party hosted by DCypher Dance at 11 p.m. For more information and to purchase tickets, visit atlasarts.org.

Woolly Mammoth Theatre Company (641 D St., N.W.) presents “Civilization (all you can eat)” tonight at 8 p.m. The show brings a corporate lecturer, a career waitress and an anthropomorphic pig all together to look at corruption, consumption and enterprise in the Obama age. Tickets range from $55 to $67.50 and can be purchased online at woollymammoth.net.

Saturday, March 3

Black Cat (1811 14th St., N.W.) presents Hellmouth Happy Hour where every week an episode of “Buffy the Vampire Slayer” will be screened and drink specials will be offered. This week the episode is “Doppelgängland.”

The Imperial Court of Washington will be at the Czar’s Ball and Royal Convention for the “Mad, Mad, Mad, Mad Russian Tea Party” tonight at Remington’s (639 Pennsylvania Ave., S.E.) from 4 to 8 p.m. The candidates for Emperor and Empress will be announced. Tickets are $20. For more information, visit imperialcourtdc.org.

DJ Drew G sings at Town (2009 8th St., N.W.) tonight at 10 p.m. Cover is $8 before 11 p.m. and $12 after. Attendees must be 21 or older.

Code has its monthly installment tonight at Green Lantern (1335 Green Court, N.W.). Gear, rubber, skin, uniform or leather dress code will be strictly enforced. Music provided by DJ Frank Wild. Admission is $10. All attendees must be 18 or older. There will be an open bar from 9 to 10 p.m.

Servicemembers Legal Defense Network is having its 20th annual national dinner tonight at the National Building Museum (401 F St., N.W.) starting with a reception at 6:30 p.m. Individual tickets range from $225 to $2,500 and 10 tickets ranging from $2,500 to $250,000. For more information and to purchase tickets, visit sldn.org.

Sunday, March 4

Singer/songwrighter Glen Phillips of rock group Toad the Wet Sprocket plays Wolf Trap (1645 Trap Rd., Vienna) tonight at 7:30 p.m. Tickets are $20 and can be purchased online at wolftrap.org.

Nellie’s (900 U St., N.W.) presents Drag Brunch hosted by Shi-Queeta Lee today at 11 a.m. with a $20 brunch buffet.

SMYAL’s Youth Arts Ensemble and Dance Exchange’s Teen Exchange will be performing at Atlas Performing Arts Center (1333 H St., N.E.) today at 3 p.m. as part of the Intersections festival. For more information, visit intersectionsdc.org. This is a free event.

Monday, March 5

Boyz II Men plays the Birchmere (3701 Mount Vernon Ave., Alexandria) tonight at 7:30 p.m. Tickets are $59.50 and can be purchased online at ticketmaster.com.

The D.C. Center (1318 U St., N.W.) is having its monthly volunteer night tonight from 6:30 to 8:30 p.m. Tonight’s activities could range from sorting through book donations, cleaning up around the Center and taking inventory for Fuk!ts, as well as socializing. Pizza will be provided. For more information, visit thedccenter.org.

Tuesday, March 6

Irish band Altan plays Wolf Trap (1645 Trap Rd., Vienna) tonight at 8 p.m. Tickets are $25 and can be purchased online at wolftrap.org.

The Chesapeake Squares, a gay square dancing group, are having a mainstream-through-advanced club night tonight at the Waxter Center (1000 Cathedral St.) in Baltimore from 8 to 10 p.m. For more information, visit chesapeakesquares.org.

Wednesday, March 7

Band White Rabbits play the Black Cat (1811 14th St., N.W.) with Tennis and Daughter. Tickets are $18 and can be purchased online at blackcatdc.com. Doors open at 8 p.m.

Conner Contemporary Art (1358 Florida Ave., N.E.) presents Patricia Cronin’s first solo exhibition in D.C. with “Bodies and Soul.” The exhibit features “Memorial to a Marriage,” a bronze sculpture depicting the sleeping figures of Cronin and her partner, artist Deborah Kass. The gallery is open from 10 a.m. to 5 p.m. and by appointment. For more information, visitconnercontemporary.com.

Thursday, March 8

 Irish tenor Karl Scully plays Wolf Trap (1645 Trap Rd., Vienna) tonight at 8 p.m. Tickets are $25 and can be purchased online at wolftrap.org.

Comedian Kathleen Madigan plays the Birchmere (3701 Mount Vernon Ave., Alexandria) tonight at 7:30 p.m. Tickets are $49.50 and can be purchased online atticketmaster.com.

D.C. Strokes Rowing Club is having its Spring Rush tonight at Nellie’s (900 U St., N.W.) from 6 to 9 p.m. For more information, visit dcstrokes.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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