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Out & About: DC and Baltimore events

Swimsuit show and WTF at Town, several black LGBT theater events, a Whitney Houston tribute in Baltimore and more

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A production still from ‘The Ice Child,’ being staged now in Washington. (Photo courtesy Factory 449)

‘Ice Child’ play finds inspiration in creepy Poe tales

Inspired by the chilling tales of Edgar Allan Poe, Factory 449 company members Lisa Hodsoll, Hunter Styles and Rick Hammerly (who is gay) have co-written “The Ice Child,” a terrifying hour-long theater piece guaranteed to resonate with audiences.

Now in production at Mead Theatre Lab at Flashpoint, “The Ice Child” centers on Catherine (Sara Barker), a young woman who awakens to find herself imprisoned in a coffin-sized freezer. Held captive by former co-worker Kidd (Dexter Hamlett), Catherine soon learns her release is not imminent and escape from what could easily be a lethal situation depends on not angering her creepy captor. Meanwhile outside the freezer, Catherine’s treatment and fate is being considered as well.

Slickly produced, “The Ice Child” is compellingly told through a mash up of performance, film, and projected photos. It runs through June 3 at the Mead Theatre Lab at Flashpoint (916 G Street, NW). Tickets are $20. Visit factory449.com for details or call 866-811-4111.

Swimsuits and WTF at Town this weekend

Town (2009 8th St., N.W.) has a couple events happening this weekend.

On Saturday, the club is hosting a swimwear fashion show featuring models in “2xist” swimsuits courtesy of Universal Gear. DJ Chord spins. Doors open at 10 p.m. and cover is $7 until 11 p.m. and $12 afterward.

Sunday brings the return of “WTF” and this week’s theme is airlines. The night will feature several DJs including the Pocket Gays, Aaron Riggins and Ed Bailey. Doors open at 10 p.m. and cover is $5.

Attendees must be 21 or older for both events.

Several black LGBT theater events on weekend slate

Tonight and Saturday, “She’Baltimore” by Ira Kip is premiering in the D.C. area at Warehouse Theater (645 New York Ave.,) as an official part of Black Pride at 8 p.m.

The play, which takes place in Baltimore, deals with issues of battery and abuse in the LGBT community. Admission is $25.

Another official Black Pride theater event is a reading of “The Four of Us” at Mead Lab Theater (916 G St., N.W.) on Saturday at 2 p.m. Admission is $20 and includes a small reception.

Although not an official part of Pride, the African-American Collective Theater is observing the 20th anniversary of its first D.C. Black Pride theater showcase on Sunday with two stage readings of “Here. And Now.” by ACT founding directo Alan Sharpe at Warehouse Theater at 5 and 8 p.m. The play is a family drama in which the relationship of a middle-aged, male couple with two sons is tested. Tickets are $15. Contact [email protected] for more information and advance tickets.

Komen race to benefit Mautner Project

The 23rd annual Susan G. Komen Global Race for the Cure will happen June 2 on the National Mall in Washington. The annual breast cancer benefit awarded a $200,000 grant to lesbian health organization the Mautner Project, which expanded its breast cancer program. The grant was awarded in 2011 and runs for two years.

The event starts at 8 a.m. It’s still possible for those wishing to participate to register. Details are at globalraceforthecure.org. Or call 1-877-GOKOMEN.

Soulful Symphony to honor Houston

Hippodrome Theater at the France-Merrick Performing Arts Center (12 North Eutaw St.) hosts the Soulful Symphony on June 1 at 8 p.m. as it honors the late Whitney Houston.

The concert will feature Houston’s hits ranging from gospel to pop, R&B to film music and more.

This performance will also act as the groups season-ending gala event.

Tickets range from $30 to $250 and are available online at ticketmaster.com. Special gala tickets include dinner, concert and VIP after party.

For more information on Soulful Symphony, visit soulfulsymphony.org.

Grand Central has specials, theme nights and more

Grand Central (1001/1003 N. Charles St.) has several events this week.

Tonight is the club’s weekly dance party with $2.50 drinks until 11 p.m. Sappho’s is having its own happy hour from 8 to 10 p.m.

Saturday has two-for-one drinks until 8 p.m. and Glow with DJ Arturo. Admission to Glow is $5.

Sunday is the club’s kick off to summer beach party with DJ Arturo.

Monday and Tuesday, Grand Central has karaoke with host Nikki Cox from 10 p.m. to 1 a.m.

Wednesday is “Hump Wednesdays,” an electropop, alternative, indie dance night with DJ Arturo.

The week ends Thursday with ladies night featuring DJ Lems and $2.50 drinks until 11 p.m.

Sci-fi/fantasy convention in town this weekend

Balticon 46, the Maryland regional science fiction and fantasy convention, runs today through Monday at Marriott’s Hunt Valley Inn (245 Shawan Rd.) with special guests Jody Lynn Nye, Jim Odbert, Heather Dale, Ben Deschamps and William D. Phillips.

There will be a variety of panels and workshops covering topics such as anime, dance, gaming, music, video and more.

There will also be an art show, various dealers selling books, memorabilia and more.

Registration ranges from $17 for a single day to $62 for the whole weekend for adults and $9 to $31 for children ages 6 through 12.

For more information and to register online, visit balticon.org.

Trans, poz, coming-out groups to meet at Center

The GLBT Community Center of Baltimore and Central Maryland (241 West Chase St.) has several programs this week.

Three groups are slated to meet Saturday: Sufficient As I Am, a group for youth 24 and younger dealing with issues of sexuality, coming out, relationships, family and more, meets in room 201 at 12:30 p.m.; GIG: Baltimore Trans-Masculine Alliance, a FTM support group, meets at 6 p.m. in room 202; and GIG: Tran*quality, a MTF support group, meets at 8 p.m. in room 202.

On Monday, Men Like Me, a support group for adult men who love other men, is facilitated by licensed clinicians and meets 6 p.m. in room 202.

POZ Men, an LGBT-affirming peer support group for all HIV-positive men, meets Wednesday in room 202 at 6 p.m.

Women of Color, a social and discussion group, meets Thursday at 7:30 p.m. in room 202.

The center also has HIV and STD testing on Wednesdays from 5 to 8 p.m. provided through a collaboration between the GLCCB Health Committee and the Baltimore City Health Department.

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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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