Arts & Entertainment
Big on the Pig
New EatWellDC venture lets nothing go to waste
EatWellDC owners (from left) Andrew Howells, Billy McCormick and Josh Hahn at the Pig, their new venture. (Blade photo by Michael Key)
Logan Tavern, Commissary, The Heights and Grillfish are all well-known neighborhood restaurants in Washington operated by restaurant management company EatWellDC, a conglomerate run by three gay business partners, David Winer, Winer’s nephew Josh Hahn and Antonio Oquendo. Last month they opened their fifth restaurant in the District, The Pig (1320 14th Street NW).
On opening weekend I visited this pork-centric restaurant, which focuses on snout-to-tail dishes from locally sourced ingredients and ethically raised animals. I met Hahn at the restaurant a few weeks after my first visit and discussed the new eatery, the first few weeks of business and the concept behind The Pig.
The idea of whole animal cooking was a trend emerging in the United States a few years ago, Hahn says, and he and his partners agreed if they were going to open another restaurant in the Logan area it would need to be different. The Pig is still a neighborhood restaurant that is socially conscious but it’s not an American Tavern, “meat-and-potatoes”-type venue. Instead the restaurant specializes in small plates.
“The coursing and rhythm of the meal is different and it is a more service-oriented type of establishment,” Hahn says. The 72-seat space is purposefully smaller then EatWellDC’s other restaurant in order to facilitate the different pace and make sure meals aren’t rushed out of the kitchen.
You notice the more intimate space as soon as you walk in. Visitors are greeted by a venue that’s decorated with rustic reclaimed products. Old barn wood lines the walls along with the iconic EatWellDC chalkboards. An expansive butcher block-topped bar resides in the back of the restaurant. It feels like a comfortable country cabin. The only time you may feel uncomfortable is if you excuse yourself to the washrooms to discover the decoupage-covered walls with pig miscellany, including a pig upside down in a meat grinder.
At The Pig, they’re trying to use as many cuts of the animal as the menu will allow and if the full cut is not featured as a center of the plate item, then Chef Garret Fleming tries to incorporate it in some way.
“Some of the items may read a bit strange, but they aren’t really scary,” Hahn says. Although, quite a few at my table found the chocolate ice-cream with pig blood frightening, and we all steered clear of the porchetta which mentions brains in the description. Other than these two items, all other dishes are approachable. There are even some vegetarian and vegan options available as well.
Hahn’s favorite items are the braised cheek with Spanish sofrito and stone grits and the boar spoon bread with truffles and mushrooms. One of my favorite items was also the braised cheek, which was moist and tender as well as the Little Pig platter, a savory selection of cured meats, house pickles and grilled breads. Slightly disappointing however, were the bland meatballs of pork, lamb and stewed tomato sauce, the mushroom beurre blanc where the mushrooms were undercooked on two occasions, and the burger which was not finished by all five of us who were sitting at the table.
To be fair these were the non-pork centric dishes we ordered. I hope to soon return for the wild boar ragu that sounds deliciously promising, but has been unavailable each time I’ve visited. We were even daring enough to try the Sundae Bloody Sundae which features pasteurized pig blood-infused chocolate ice cream, and were pleasantly surprised by the richness of the chocolate and overall appeal of the dessert.
The Pig is a conceptual restaurant that willingly pushes patrons out of their comfort zone but still delivers a good dining experience. The pork-centric menu has some plates that shine and others that leave the diner wanting more. It’s an experience that is worth having at least once, and when the restaurant hits its stride it has the potential to be excellent. The Pig is open for dinner at 5 p.m. and will soon be opening for brunch as well.
Theater
‘Octet’ explores the depths of digital addiction
Habits not easily shaken in Studio Theatre chamber musical
‘Octet’
Through Feb. 26
Studio Theatre
1501 14th Street, N.W.
Tickets start at $55
Studiotheatre.org
David Malloy’s “Octet” delves deep into the depths of digital addiction.
Featuring a person ensemble, this extraordinary a capella chamber musical explores the lives of recovering internet addicts whose lives have been devastated by digital dependency; sharing what’s happened and how things have changed.
Dressed in casual street clothes, the “Friends of Saul” trickle into a church all-purpose room, check their cell phones in a basket, put away the bingo tables, and arrange folding chairs into a circle. Some may stop by a side table offering cookies, tea, and coffee before taking a seat.
The show opens with “The Forest,” a haunting hymn harking back to the good old days of an analog existence before glowing screens, incessant pings and texts.
“The forest was beautiful/ My head was clean and clear/Alone without fear/ The forest was safe/ I danced like a beautiful fool / One time some time.”
Mimicking an actual step meeting, there’s a preamble. And then the honest sharing begins, complete with accounts of sober time and slips.
Eager to share, Jessica (Chelsea Williams) painfully recalls being cancelled after the video of her public meltdown went viral. Henry (Angelo Harrington II) is a gay gamer with a Candy Crush problem. Toby (Adrian Joyce) a nihilist who needs to stay off the internet sings “So anyway/ I’m doing good/ Mostly/ Limiting my time/ Mostly.”
The group’s unseen founder Saul is absent, per usual.
In his stead Paula, a welcoming woman played with quiet compassion by Tracy Lynn Olivera, leads. She and her husband no longer connect. They bring screens to bed. In a love-lost ballad, she explains: “We don’t sleep well/ My husband I/ Our circadian rhythms corrupted/ By the sallow blue glow of a screen/ Sucking souls and melatonin/ All of my dreams have been stolen.”
After too much time spent arguing with strangers on the internet, Marvin, a brainy young father played by David Toshiro Crane, encounters the voice of a God.
Ed (Jimmy Kieffer) deals with a porn addiction. Karly (Ana Marcu) avoids dating apps, a compulsion compared to her mother’s addiction to slot machines.
Malloy, who not only wrote the music but also the smart lyrics, book, and inventive vocal arrangements, brilliantly joins isolation with live harmony. It’s really something.
And helmed by David Muse, “Octet” is a precisely, quietly, yet powerfully staged production, featuring a topnotch cast who (when not taking their moment in the spotlight) use their voices to make sounds and act as a sort of Greek chorus. Mostly on stage throughout all of the 100-minute one act, they demonstrate impressive stamina and concentration.
An immersive production, “Octet” invites audience members to feel a part of the meeting. Studio’s Shargai Theatre is configured, for the first, in the round. And like the characters, patrons must also unplug. Everyone is required to have their phones locked in a small pouch (that only ushers are able to open and close), so be prepared for a wee bit of separation anxiety.
At the end of the meeting, the group surrenders somnambulantly. They know they are powerless against internet addiction. But group newbie Velma (Amelia Aguilar) isn’t entirely convinced. She remembers the good tech times.
In a bittersweet moment, she shares of an online friendship with “a girl in Sainte Marie / Just like me.”
Habits aren’t easily shaken.
Sports
Blade, Pride House LA announce 2028 Olympics partnership
Media sponsorship to amplify stories of LGBTQ athletes
The Los Angeles Blade and Washington Blade on Friday announced a media partnership with the Out Athlete Fund, which will produce Pride House LA for the 2028 Summer Olympics.
Pride House is the home for LGBTQ fans and athletes that will become a destination during the L.A. Summer Games in West Hollywood in partnership with the City of WeHo. This 17-day celebration for LGBTQ athletes and fans will include medal ceremonies for out athletes, interactive installations, speakers, concerts, and more.
The Los Angeles Blade will serve as the exclusive L.A.-area queer media sponsor for Pride House LA and the Washington Blade will support the efforts and amplify coverage of the 2028 Games.
The Blade will provide exclusive coverage of Pride House plans, including interviews with queer athletes and more. The parties will share content and social media posts raising awareness of the Blade and Out Athlete Fund. The Blade will have media credentials and VIP access for related events.
“We are excited to partner with the Washington Blade, the oldest LGBTQ newspaper in the United States and the Los Angeles Blade, already a strong supporter of Out Athlete Fund and Pride House LA/West Hollywood,” said Michael Ferrera, CEO of Pride House LA. “Our mission is about increasing the visibility of LGBTQ+ athletes and fans to challenge the historical hostility toward our community in the sports world. Visibility is what publications like the Washington and Los Angeles publications are all about. We know they will play a key part in our success.”
“LGBTQ visibility has never been more important and we are thrilled to work with Out Athlete Fund and Pride House LA to tell the stories of queer athletes and ensure the 2028 Summer Games are inclusive and affirming for everyone,” said Blade Editor Kevin Naff.
Out Athlete Fund is a 501(c)3 designed to raise money to offset the training cost of out LGBTQ athletes in need of funding for training. The Washington Blade is the nation’s oldest LGBTQ news outlet; the Los Angeles Blade is its sister publication founded nine years ago.
In honor of Black History Month, the DC LGBTQ+ Community Center will host a series of events uplifting the histories, artistry, and resilience of Black LGBTQ+ communities through dialogue, film, and intentional gathering.
The series begins with “Ballroom Culture: Rhythms of Resilience,” a panel discussion on Tuesday, Feb. 10, 2026 at 7 p.m. Artists, activists, and leaders from the ballroom community will explore ballroom’s historical, cultural, and political significance as a site of resistance, kinship, creative expression, and social justice within Black, Latinx, and LGBTQ+ communities.
On Friday, Feb. 13 at 12:30 p.m., the Center will host a screening of the groundbreaking documentary “Paris is Burning,” which chronicles New York City’s ballroom scene and house culture while examining themes of race, class, identity, and survival through the voices of legendary performers including Willi Ninja, Pepper LaBeija, and Dorian Corey.
The month will conclude with “Soul Centered: A Black LGBTQ+ Gathering” on Saturday, Feb. 21, 2026 at 3:30 p.m. This free, RSVP-required event invites Black LGBTQ+ community members into a space of rest, connection, and reflection centered on love in all its forms. The gathering will feature a panel conversation with Black LGBTQ+ creatives, healers, and community members, followed by intentional speed connections and a closing social mixer.
For more details and to RSVP, visit the Center’s website.
‘Octet’ explores the depths of digital addiction
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District of Columbia4 days ago
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