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
Out dancer on Alvin Ailey’s stint at Warner Theatre
10-day production marks kickoff of national tour
Alvin Ailey American Dance Theater
Through Feb. 8
Warner Theatre
513 12th St., N.W.
Tickets start at $75
ailey.org
The legendary Alvin Ailey American Dance Theater is coming to Washington’s Warner Theatre, and one of its principal veterans couldn’t be more pleased. Out dancer Renaldo Maurice is eager to be a part of the company’s 10-day stint, the kickoff of a national tour that extends through early May.
“I love the respectful D.C. crowd and they love us,” says Maurice, a member of esteemed modern dance company for 15 years. The traveling tour is made of two programs and different casting with Ailey’s masterwork “Revelations” in both programs.
Recently, we caught up with Maurice via phone. He called from one of the quiet rooms in his New York City gym where he’s getting his body ready for the long Ailey tour.
Based in North Newark, N.J., where he recently bought a house, Maurice looks forward to being on the road: “I enjoy the rigorous performance schedule, classes, shows, gym, and travel. It’s all part of carving out a lane for myself and my future and what that looks like.”
Raised by a single mother of three in Gary, Ind., Maurice, 33, first saw Alvin Ailey as a young kid in the Auditorium Theatre in downtown Chicago, the same venue where he’s performed with the company as a professional dancer.
He credits his mother with his success: “She’s a real dance mom. I would not be the man or artist I am today if it weren’t for the grooming and discipline of my mom. Support and encouragement. It’s impacted my artistry and my adulthood.”
Maurice is also part of the New York Ballroom scene, an African-American and Latin underground LGBTQ+ subculture where ball attendees “walk” in a variety of categories (like “realness,” “fashion,” and “sex siren”) for big prizes. He’s known as the Legendary Overall Father of the Haus of Alpha Omega.
WASHINGTON BLADE: Like many gay men of his era, Ailey lived a largely closeted public life before his death from AIDS-related complications in 1989.
RENALDO MAURICE Not unusual for a Black gay man born during the Depression in Rogers, Texas, who’s striving to break out in the industry to be a creative. You want to be respected and heard. Black man, and Black man who dances, and you may be same-sex gender loving too. It was a lot, especially at that time.
BLADE: Ailey has been described as intellectual, humble, and graceful. He possessed strength. He knew who he was and what stories he wanted to tell.
MAURICE: Definitely, he wanted to concentrate on sharing and telling stories. What kept him going was his art. Ailey wanted dancers to live their lives and express that experience on stage. That way people in the audience could connect with them. It’s incredibly powerful that you can touch people by moving your body.
That’s partly what’s so special about “Revelations,” his longest running ballet and a fan favorite that’s part of the upcoming tour. Choreographed by Alvin Ailey in 1960, it’s a modern dance work that honors African-American cultural heritage through themes of grief, joy, and faith.
BLADE: Is “Revelation” a meaningful piece for you?
MAURICE: It’s my favorite piece. I saw it as a kid and now perform it as a professional dance artist. I’ve grown into the role since I was 20 years old.
BLADE: How can a dancer in a prestigious company also be a ballroom house father?
MAURICE: I’ve made it work. I learned how to navigate and separate. I’m a principal dancer with Ailey. And I take that seriously. But I’m also a house father and I take that seriously as well.
I’m about positivity, unity, and hard work. In ballroom you compete and if you’re not good, you can get chopped. You got to work on your craft and come back harder. It’s the same with dance.
BLADE: Any message for queer audiences?
MAURICE: I know my queer brothers and sisters love to leave with something good. If you come to any Ailey performance you’ll be touched, your spirit will be uplifted. There’s laughter, thoughtful and tender moments. And it’s all delivered by artists who are passionate about what they do.
BLADE: Alvin Ailey has been a huge part of your life. Thoughts on that?
MAURICE: I’m a believer in it takes a village. Hard work and discipline. I take it seriously and I love what I do. Ailey has provided me with a lot: world travel, a livelihood, and working with talented people here and internationally. Alvin Ailey has been a huge part of my life from boyhood to now. It’s been great.
Catfish Comedy will host “2026 Queer Kickoff Show” on Thursday, Feb. 5 at A League of Her Own (2319 18th Street, N.W.). This show features D.C.’s funniest LGBTQ and femme comedians. The lineup features performers who regularly take the stage at top clubs like DC Improv and Comedy Loft, with comics who tour nationally.
Tickets are $17.85 and can be purchased on Eventbrite.
Arts & Entertainment
Catherine O’Hara, ‘Schitt’s Creek’ star and celebrated queer ally, dies at 71
Actress remembered for memorable comedic roles in ‘Beetlejuice’ and ‘Home Alone’
Catherine O’Hara, the varied comedic actor known for memorable roles in “Beetlejuice,” “Schitt’s Creek,” and “Home Alone,” has died at 71 on Friday, according to multiple reports. No further details about her death were revealed.
O’Hara’s death comes as a shock to Hollywood, as the Emmy award-winning actor has been recently active, with roles in both “The Studio” and “The Last of Us.” For her work in those two shows, she received Emmy nominations for outstanding supporting actress in a comedy series and outstanding guest actress in a drama series.
In 2020, O’Hara won the Outstanding Lead Actress in a comedy series award for her work in the celebrated sixth and final season of “Schitt’s Creek.” She was also known as a queer ally and icon for her theatrical and often campy performances over multiple decades. In “Schitt’s Creek,” she played Moira Rose, the wig-loving mother of David Rose (played by series creator Dan Levy). David is pansexual, but the characters around him simply accept him for who he is; the show was embraced by the LGBTQ community with how naturally David’s sexuality was written and portrayed. That show ran from 2015 to 2020 and helped bring O’Hara and her co-stars into a new phase of their careers.
In a 2019 interview with the Gay Times, O’Hara explained why the show got LGBTQ representation right: “Daniel has created a world that he wants to live in, that I want to live in. It’s ridiculous that we live in a world where we don’t know how to respect each other and let each other be. It’s crazy. Other shows should follow suit and present the world and present humans as the best that we can be. It doesn’t mean you can’t laugh, that you can’t be funny in light ways and dark ways. It’s all still possible when you respect and love each other.”
Additional credits include “SCTV Network” (for which O’Hara won a writing Emmy), “Beetlejuice Beetlejuice,” “Curb Your Enthusiasm,” “Six Feet Under,” “Best in Show,” “Home Alone 2: Lost in New York,” and “Dick Tracy.” O’Hara also lent her voice to “The Nightmare Before Christmas,” “Chicken Little,” “Monster House,” and “Elemental.” O’Hara was expected to return for Season 2 of “The Studio,” which started filming earlier this month.
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