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Howard renaissance

Historic D.C. theater reopens with lesbian Sykes headlining

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Wanda Sykes
8 p.m. (doors open 6)
April 13
Howard Theatre
630 T Street, NW
$95 general admission tables, $125 booths

Wanda Sykes returns to D.C. next weekend to open the Howard Theatre. (Photo courtesy Howard)

 

Some venues, especially large arenas and sheds named after financial institutions or phone companies, are just venues — big sterile caves with concrete slab floors and tacky concession stands selling hot dogs and nachos in the lobby. They usually have less personality than your average shopping mall.

Then there are spots whose walls practically hum with historic significance — the Apollo, Radio City Music Hall, Red Rocks and so on. One of the country’s lost gems has been rediscovered and after a $29 million restoration, is almost ready to be unveiled — D.C.’s Howard Theatre, the Shaw-based concert hall that hosted singers such as Duke Ellington, Ella Fitzgerald, Marvin Gaye and the Supremes. The refreshingly cool catch? One of the anchor performers for opening weekend is an out-and-proud lesbian — comedian Wanda Sykes.

And Sykes is psyched.

“I’m really honored they asked me to come help open it,” she says during a phone interview last week from Australia where she’s touring. “I was like, ‘Of course, yeah,’ I’m very excited, very honored. It’s pretty spectacular. They wanted to send me some pictures, but I said, ‘No, let me wait and see it when it’s fully done.’ I wanna get the full impact in person.”

The 12,000-square-foot space, which, depending on the show, can accommodate either 650 seated or 1,100 standing, opened in 1910 as a spot for vaudeville, theater, talent shows and two performance companies, the Lafayette Players and the Howard University Players (it’s never been affiliated with nearby Howard University). After the stock market crashed in 1929, it was briefly a church until 1931 when it was changed back into a performance space and launched with Washingtonian Duke Ellington playing the first night. Fitzgerald and Billy Eckstine won early talent contests there. After black performers as diverse as Lena Horne, Pearl Bailey, Aretha Franklin, James Brown, Smokey Robinson and more played there over the years, it suffered a blow after the 1968 D.C. riots and eventually closed in 1980.

The rapper Wales, a D.C. native, is officially the first performer for the refurbished theater. He plays a soft opening on Monday. A grand opening gala and tribute concert for Motown founder Berry Gordy is Thursday with performers Robinson, Al Jarreau, Keb Mo and others. Then Sykes plays next weekend with shows on April 13, 14 and 15.

But she’s not just an of-the-moment contemporary black performer who happened to be available. Reps from the theater say she’s a logical successor to Moms Mabley, the late great comedian who did lesbian stand-up routines as far back as the ‘20s.

“Wanda is perfect to re-launch the Howard Theatre because she really represents a continuum between herself and Moms Mabley,” says Marc Powers, director of marketing for the Howard. “Moms Mabley was one of the leading women comedians in America in the ‘20s and ‘30s and she really got her start here at the Howard. Wanda Sykes is also kind of that charming, girl-next-door type. She helps people get close to her as she criticizes America about sexuality, about class warfare … Moms Mabley was much the same thing and even though people say she wasn’t a lesbian, she was … Moms Mabley was cutting edge and there’s a very strong gay and lesbian history at the Howard.”

Other performers slated for the coming months include the Roots (April 15), Chaka Khan (May 5), Esperanza Spalding (May 12) and Bettye LaVette (Oct. 27). Bi bassist/singer Meshell Ndegeocello plays April 25.

The venue will be managed by Blue Note Entertainment Group. After being added to the National Register of Historic Places in 1974 and tagged on President Clinton’s “Save America’s Treasures” list in 2000, a non-profit Howard Theatre Restoration was formed in 2006 to raise funds for the restoration. The Restoration raised nearly $2 million — city government gave $12 million in grants and tax credits while Eagle Bank stepped in with the remainder. Work began in September 2010.

Powers says there’s a lot of buzz and excitement at the theater as staff gear up for next weekend’s opening festivities. Some finishing touches are still being added — seat padding, sound system and lighting tweaks, paneling.

He says the Howard won’t be a relic — it’s designed to be a versatile, thriving space where music of many genres and performers of all races can thrive.

“We’re going to have such an array of talent, it’s really going to be what the Howard has always been — the theater of the people,” Powers, who’s straight, says. “The people of D.C. are diverse, so we’ll represent that and there will be shows that appeal to people from all walks of life.”

Sykes busy with touring, film

Wanda Sykes says life is good. During a mid-week chat last week from Australia where she’s performing a two-week mini-standup tour, she says she’s having fun.

“They’re very nice here, but it’s kind of a phony nice,” she says from her hotel in Melbourne. “It’s that passive-aggressive-type nice. Like the other day at breakfast, I asked for a mimosa and she looked at me kinda funny. I said, ‘You know, Champagne and orange juice,’ and she smiled but it was that fake smile like she was saying, ‘That’s the shit you drink for breakfast.’”

Sykes and her wife, Alex, have twins who will be 3 at the end of the month. She says they’re “doing great” and though both parents travel extensively for work, they’re in a solid routine that works.

“When I’m there, we get the real quality time together and they’re used to both of us traveling so it just works,” she says.

Sykes is mainly touring these days though she just finished an independent film called “Hot Flashes.” Listen for her in “Ice Age 4” this summer.

When we talked, Sykes hadn’t heard of her former co-star Jane Fonda’s latest turn as Nancy Reagan but says she’ll be curious to see the film when it’s finished.

“I love Jane and we keep in touch,” Sykes says. “She’s great. She’s just totally Hollywood royalty and she was so gracious when we worked together. I was nervous [about “Monster-in-Law”]. I’m thinking, ‘Oh my God, I’m gonna be in this movie with Jane Fonda,’ but after you meet her, you just calm down and you realize she’s just a good broad, she really is.”

Sykes says other than getting invited to every LGBT event imaginable, the biggest difference in her work since coming out is her ability to be freer on stage.

“It was so liberating,” she says. “There’s nothing hanging over my head, so it’s been great career wise. There hasn’t been anything that would make me go, ‘Oh no, I regret it.’ It’s all been very positive. I’m very happy and grateful.”

JOEY DiGUGLIELMO

 

 

 

 

 

 

 

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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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