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Cowboys’ last hurrah

Local hunks wrap up storied run; gay-led classical troupes plan performances

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Look for the D.C. Cowboys’ farewell performance this summer at Capital Pride. (Blade file photo by Michael Key)

Several of the region’s dance offerings feature gay performers, themes and directors. Among the highlights:

The D.C. Cowboys, a gay line dancing company, are saying farewell this season after 17 years of performing with several upcoming events in D.C. and across the country. The first stop on the “Farewell Tour” is a performance at D.C. Jewish Community Center (1529 16th Street N.W.) Purim Party hosted by GLOE on Saturday from 8:30 to midnight. Tickets are $20 in advance and $30 at the door and can be purchased at dcjcc.org. The tour comes to a close in June at the Capital Pride Festival. Take this moment to say goodbye to your favorite dancers. For more information visit dccowboys.org.

On Sunday at 3 p.m. Intersections Presents SMYAL’s Youth Arts Ensemble and Dance Exchanges Teen Exchange. SMYAL (The Sexual Minority Youth Assistance League) engages youth in the arts as part of its programs to support self-confident, healthy, productive lives for LGBT youth. Dance Exchange’s Teen Exchange offers young people opportunities to grow as movers and thinkers. This is a free performance that will take place at the Atlas Performing Arts Center (1333 H Street N.E.).

VT Dance/Vincent Thomas premieres “Shadows” Sunday and Monday at the Theatre Project Baltimore in Baltimore (45 West Preston Street). “Shadows” explores the ideas of manhood and masculinity. Tickets are $20 and can be purchased btp.taxato.com. They will also take the Kennedy Center Millennium Stage (2700 F Street N.W.) on June 13.

On March 30-April 1, Ballet Preljocaj, led by artistic director Angelin Preljocaj, brings Blanche Neige (Snow White) to the Kennedy Center Eisenhower Theater (2700 F St., N.W.). With costumes designed by Jean Paul Gaultier, the gay designer who’s designed beautifully outlandish costumes for Madonna and Lady Gaga, this retelling is bound to be a delight. Tickets start at $18 and are available at kennedy-center.org.

American tap dancer and prodigy Savion Glover will take the stage at the Warner Theatre (1513 13th Street N.W.) on March 30-31 with his performance SoLe Sanctuary. Tickets are available at warnertheatredc.com and range from $29-$59.

The renowned New York City Ballet will perform twice at the Kennedy Center Opera House (2700 F Street N.W.) and will be accompanied by the Opera House Orchestra April 3-8. Tickets are $25-$85 and are available at kennedy-center.org.

Gay choreographer Dana Tai Soon Burgess and his company will kick off their 20th anniversary season April 4-5 with performances showcasing the highlights of The Dana Tai Soon Burgess and Company performances. This performance will include the works “Becoming American,” “Hyphen,” “Khaybet” and “Fractures.” The dance company will take the stage at The George Washington University Dorothy Betts Marvin Theatre (800 21st St., N.W.). This is the same theater where Burgess launched his company two decades ago. Tickets are $15 for students, $22 for artists and $25 for general admission. For information, visit dtsbco.com.

Dana Tai Soon Burgess and company will also dance at the National Portrait Gallery (800 F St., N.W.) on May 18.

The Washington Ballet presents the world premiere of “Alice (in Wonderland)” at the John F. Kennedy Center for the Performing Arts Eisenhower Theater (2700 F St., N.W.) April 11-15. This piece is choreographed by gay director and choreographer Septime Webre. Tickets range from $50-$155 and can be purchased at kennedy-center.org.

The Washington Ballet also premieres its piece “Once Upon a Time” this spring at the THEARC Theater (1901 Mississippi Ave., S.E.) on May 19-20. This piece is inspired by fairy tales around the world and includes dancer Lucy Bowen McCauley. Tickets are $50.

Dance Place (3225 8th St., N.E.) has a wide selection of exciting performances set for spring. For details, visit danceplace.org

Gay choreographer Wally Cardona comes to Dance Place on April 6-7 at 8 p.m. with Jennifer Lacey to present “Tool is Loot.” Tickets are $22 and are available at danceplace.org.

Dakshina/Daniel Phoenix Singh Dance Company has several events planned for spring in the area including an appearance at Dance Place on April 29. This gay-helmed outfit is celebrating its eighth year. For more information on their spring season, visit dakshina.org.

The D.C. Lambda Squares, an LGBT square-dancing social group, has many square dance events coming up in the spring including community dances and club format dance nights. For more information, visit dclambdasquares.org. Lambda DanceSport D.C. is an organization that supports the art and sport of same-gender dancing across all genres and has classes taught in Dupont Circle. For more information and a schedule of classes, visit LambdaDanceSport.com.

 

 

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At 15, restored ‘Shortbus’ is still a movie ahead of its time

Depictions of real sex among actors raised eyebrows

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Paul Dawson and PJ DeBoy in ‘Shortbus.’ (Photo courtesy of Oscilloscope Laboratories)

When it debuted in 2006, John Cameron Mitchell’s “Shortbus” – which this month receives a special 15th anniversary re-release in the form of a sumptuous new 4K restoration – was described by Variety as being “unquestionably the most sexually graphic American narrative feature ever made outside the realm of the porn industry.”

That description arguably still holds true, and it was not hyperbole. Mitchell, fresh off the success of both the stage and film versions of “Hedwig and the Angry Inch,” had deliberately set out to make a film exploring “the language of sex as a metaphor for other aspects of the characters’ lives.” He solicited videotaped submissions from would-be cast members – whether they were trained actors or not – who were open to the experience of performing in sexually explicit material, then collaborated with the chosen players over a two-and-a-half-year process of improvisational workshops to create the story and script. When the cameras finally started rolling, the cast had already developed a level of emotional and physical intimacy that allowed them to deliver unprecedented authenticity. Almost all the sex scenes were un-simulated – and indeed, according to Mitchell, all but one of the many orgasms that take place in the film are real.

It’s not surprising that “Shortbus” would garner a lot of attention 15 years ago for its bold approach to onscreen sex, considering that real sex on film is still largely considered a taboo in the mainstream. What’s surprising is that it generated relatively little outrage or backlash from the conservative crowd. There were detractors, of course, whose pearl-clutching reaction to the idea of such a film was simply to decry it as “pornography,” and it was banned in some foreign markets with draconian censorship laws regarding sexual content; nevertheless, thanks to Mitchell’s established reputation as an artist and the enthusiastic response it received at the Cannes Film Festival, the movie managed a reasonably widespread release across major markets in the United States without raising too many eyebrows, meeting with a mostly favorable response from both critics and audiences – at least the audiences who weren’t too squeamish to go and see it.

Those who did quickly found themselves drawn into the lives of a collection of young New Yorkers, all struggling to find meaning, connection, and gratification in a city still reeling from the tragedy of 9/11 and the frustrations of Bush-era politics. There’s Sofia (Sook-Yin Lee), a sex therapist who has never had an orgasm, and her attentive but increasingly bewildered husband Rob (Raphael Barker), whose own sexual needs are not being met, either; there’s Jamie (PJ DeBoy) and James (Paul Dawson), a former child TV star and his ex-hustler boyfriend who are looking to open up their relationship to others, and Caleb (Peter Stickles), a voyeuristic neighbor who lives vicariously through stalking them and obsessively following their lives; and finally, there’s Severin (Lindsay Beamish), a professional dominatrix frustrated over her inability to make emotional connections. Along with other sexual pilgrims of the New York underground scene, they come together at Shortbus, a weekly “salon” dedicated to art, music, politics, and polysexual carnality.

At the time of its initial release, “Shortbus” felt for many – perhaps even most – like a glimpse into another world, an erotic utopia where sexual freedom and experimentation were not only “normal” but incorporated into a holistic view of life and used as a valid avenue for achieving personal growth. Seen today, what strikes the viewer most is just how far ahead of its time Mitchell’s purposefully transgressive movie really was. Though we haven’t quite reached a cultural place where the freewheeling and permissive sexuality it depicts has been fully embraced by all, many of the then-arcane sexual concepts it presents – polyamory, BDSM, “pegging” – no longer carry the same sense of transgressive danger they once did in the mainstream cultural imagination. More importantly, the attitude of sex-positivity it champions has become far more widespread in our modern world, thanks in no small part to the increased visibility and acceptance of “non-traditional” sexual practices in popular media.

There’s also an unexpected – indeed, almost eerie – resonance to be found in the underlying zeitgeist of the film’s post-9/11 New York, as reflected in the existential crises with which its characters resignedly grapple. This is particularly notable in the secretly depressed James (Dawson’s sensitive portrayal of his mental health struggles provides the emotional heart of the movie), but any of the characters could easily be transplanted into the COVID-exhausted world of 2022 and seem just as much at home.

For all that looming heaviness in the air, though, “Shortbus” remains as refreshingly upbeat and unexpectedly joyful as it was 15 years ago – and that’s not just because of the sex. Mitchell, in talking about making the film, says he did not “necessarily seek to be erotic.”

“In the years I was making ‘Hedwig,’ he says, “I welcomed the fact that movies were exploring sexual frankness again, as some had in the ‘60s and ‘70s, but I regretted the fact that most of the new ones were so grim and humorless. Sex seemed just as connected to negativity as it was for, say, Christian conservatives. I guess it’s understandable. I was brought up in a strict Catholic/military environment where sex was the scariest thing imaginable, which, of course, made it fascinating. I decided to make a New York-style, emotionally challenging comedy that would be sexually frank, thought-provoking, and, if possible, funny.”

True to that goal, “Shortbus” feels for most of its running time like a light-hearted romp. Justin Vivian Bond, playing themself as the host of the film’s titular salon, brings a buoyant sense of humor to the movie that pervades even when they’re not onscreen, and the colorful community of background characters – including an Ed Koch lookalike who confides in a young potential hook-up that he was “once the mayor of New York City” – provide a constant stream of memorable comedic moments throughout. There’s even an overtly farcical sequence involving a remote-control orgasmic egg, which would not seem at all out of place in a 1960s screwball comedy from Blake Edwards.

Still, to downplay the sexiness of “Shortbus” would be to ignore its most enduring legacy. After all, it’s a film that features graphic sex between various combinations of gender, including extended scenes of three-ways, orgies, rimming, cunnilingus, fellatio, self-sucking, and full-on penetration of multiple orifices. Yes, some of it may arouse you – but the real power of sex in this film has to do with the fact that, unlike porn or even most “tasteful” Hollywood sex scenes, the intention is not so much to turn us on but to help us get over it.

As Mitchell puts it, “In the current and important campaign to correct social wrongs, sometimes sex itself gets a bad name. To some today, any kind of sex on screen is exploitation… Let’s not let our need for safety and justice boomerang us back to our default American Puritanism. Sex between consenting respectful adults is one of the great joys and mysteries of our lives. No need to panic. 

“Let’s just lie back and think of each other.”

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Arts & Entertainment

Amy Schneider’s Jeopardy! winning streak ends at 40 games

Transgender contestant is the highest-earning woman in competition’s history

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(Photo Courtesy Casey Durkin/ Jeopardy Productions, Inc.)

Amy Schneider‘s record-setting Jeopardy! winning streak came to an end on Wednesday’s show after getting tripped up on the Final Jeopardy! clue.

Schneider is the first transgender contestant to qualify for the Tournament of Champions, and she’s the highest-earning woman in the competition’s history, with a total of $1,382,800 from 40 wins.

Schneider was leading by $10,000 as the contestants headed into the all-important “Final Jeopardy!” category, she failed to answer the clue. It was, “The only nation in the world whose name in English ends in an H, it’s also one of the 10 most populous.” Contestant Rhone Talsma managed to overtake Schneider when she answered, “What is Bangladesh?” the correct response. Schneider ended up with $19,600 versus Talsma’s $29,600.

“I think that the best part for me has been being on TV as my true self, expressing myself and representing the entire community of trans people,” Schneider told Good Morning America this week. “And just kind of showing a different thing than maybe some people have seen, of just being a smart, confident woman and just doing something super normal, like being on Jeopardy!.”

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A Revolution for Women in Baseball

Last week, they announced that Rachel Balkovec will become the first woman to manage a team in minor league baseball.

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Rachel Balkovec was hired as a hitting coach in the Yankees’ system in 2019. She will now manage the Class A Tampa Tarpons.Credit. Photo Courtesy of Rachel Balkovec/Instagram.

The Yankees were late on introducing an African-American player to their roster, adding Hall of Famer Elston Howard to the team in 1955, eight years after Jackie Robinson starred for the Brooklyn Dodgers.  The Yankees seem determined not to repeat that bad history.  Last week, they announced that Rachel Balkovec will become the first woman to manage a team in minor league baseball when she takes the helm of the Tampa Tarpons this spring. 

It has been just over ten years since Justin Siegal threw batting practice to the Cleveland Guardians and five since she was the first woman to coach a MLB squad with the Oakland Athletics.  Two years ago, Kim Ng became the first female General Manager of any of the four major professional sports when the Marlins hired her to run their team.  In the two years since then, the dam has burst.  Women have been hired to important on-field positions with professional baseball at an impressive clip.  As baseball has lagged behind other professional sports in bringing women into the game, the current pace of hires indicates that baseball’s embrace of analytics and objective measures have finally penetrated the walls of one of the most enduring old boys clubs in the U.S. and given talented women opportunities they have long been denied.

Ten women will be coaching with major or minor league teams in 2022.  In 2021, Bianca Smith became the first African-American woman to coach in the minors when the Red Sox hired her. Alyssa Nakken became the first woman in uniform during a Major League Baseball game when she coached first base for the Giants in a July 2020 exhibition against the Oakland A’s.  Her jersey now belongs to the National Baseball Hall of Fame.  Cuban-American Veronica Alvarez is not only the coach of the U.S. Women’s National Baseball team, she also served as a spring training coach for the Oakland A’s.

The proliferation of women in baseball is not an accident.  More girls than ever are playing baseball.  Here, in the DC area, 160 girls participated with D.C. Girls Baseball in 2021.  Baseball for All, an organization that supports and promotes girls in baseball, held a tournament last summer that drew nearly 600 girls who play baseball.  There are more women than ever on collegiate baseball rosters.  Major League Baseball has also devoted significant resources to girls and women in baseball, running several development camps for girls in baseball.  Six of the women now coaching professional baseball participated in MLB’s Take the Field initiative, which is designed to help place women into baseball positions. To top it all off, the classic film about the All-American Girls Professional Baseball League, A League of Their Own, is getting a reboot on Amazon Prime this year.

The pace of hiring is exhilarating.  Unfortunately, every report of a woman being hired is followed by predictable hateful commentary on social media.  Many cannot imagine that a woman may be hired for a baseball position on merit and resort to making sexist and derogatory comments.  As women in baseball, the coaches are used to that vitriol and have developed thick skin and sophisticated defense mechanisms.  However, also reading are thousands of girls who are inspired by the achievements of these women and they are, sadly, learning that to achieve in baseball means enduring the sexist taunts, gross come-ons, and hurtful comments.

Baseball has a long way to go.  Other leagues have women officiating games, so it should be reasonable to expect that baseball will have women umpires in the near future.  The possibility of women playing professional baseball is tantalizingly close as 17 year old Genevieve Beacom made history last week as the first women to play Australian professional baseball, when she threw a scoreless inning against the Adelaide Giants.

We are watching a revolution in baseball unfold before our eyes. 

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