Arts & Entertainment
Summer sizzle
Gay pop culture offerings abound in region and beyond

Summer has officially started and there is so much to do. Here’s a preview of things to come during these hot months.
MUSIC
July 4th brings the annual National Symphony Orchestra concert “A Capitol Fourth” at 8 p.m. on the West Lawn of the U.S. Capitol. The broadcast will have a new host, Tom Bergeron, and will feature performances by Matthew Broderick, Megan Hilty, Kool & the Gang and more. There will also be a special tribute to Team USA, hosted by Apolo Anton Ohno. Gates open at 3 p.m. for this free event.
The 9:30 Club (815 V St., N.W.) has several concerts coming up this summer. The Scissor Sisters will be there on July 2-3. Tickets are $40. The Mighty Mighty Bosstones will be there on Aug. 7. Tickets are $30. Bob Mould performs on Sep. 8. Tickets are $25. Tickets to all shows are available online at 930.com.
The National Symphony Orchestra has several concerts happening this season at Wolf Trap (1645 Trap Rd., Vienna). On July 6, the Orchestra will be performing “Broadway ROCKS!” at 8:15 p.m. The show will feature Rob Evan, Morgan James, LaKisha Jones and Doug LaBrecque singing Broadway showstoppers from musicals such as “Mamma Mia!,” “Hairspray” and more. Tickets for this concert range from $20 to $52.
On July 14, NSO will be playing the score to “The Wizard of Oz” as the movie is shown on the huge screens in-house and on the lawn. Tickets for this concert range from $20 to $52. On Aug. 3, NSO will be backing of Broadway star Idina Menzel in a one-night-only exclusive performance with Steven Reineke conducting. The show is at 8:15 p.m. and tickets range from $20-$55.
Wolf Trap will be hosting a bevy of other concerts as well.
The B-52s return to the area on July 19 at 8 p.m. Tickets range from $25-$42. Rufus Wainwright and Ingrid Michaelson perform back-to-back on July 24 at 8 p.m. Tickets range from $30-$40. On Aug. 22 at 8 p.m., Dave Koz, who’s openly gay, will be performing with BeBe Winans and special guest Average White Band. Tickets range from $25 to $42.
Tickets for Wolf Trap events are available online at wolftrap.org.
Shawn Colvin plays the Birchmere (3701 Mount Vernon Ave., Alexandria) with Kat Edmonson on July 19 and 20. Ticket are $49.50 and available online at birchmere.com. Kenny Loggins plays there July 26. Tickets are $79.50. Melissa Ferrick will also be playing Birchmere on Sept. 8 with special guest Astra via. Tickets are $25. These concerts are all at 7:30 p.m.
Indie band “Girl in a Coma,” featuring two openly lesbian members, play the Red Palace (1212 H St., N.E.) on July 13 at 8 p.m. Tickets are $10 in advance and $12 day of show. Doors open at 7 p.m.
Don’t forget the pop music icon Madonna is coming to the D.C. area on Sept. 23-24 for two concerts at the Verizon Center (601 F St., N.W.) at 8 p.m. Tickets range from $93-$358 and can be purchased online at ticketmaster.com.
Concerts are always fun, but sometimes its nice to just sit at home and listen to some new music.
Maroon 5’s newest album, “Overexposed,” with the single “Payphone,” is slated to be released June 26.
Chris Brown has a new album, “Fortune,” coming out July 3. Passion Pit’s “Gossamer” is schedule to be released July 24 and Deadmau5’s “The Veldt” will be released July 25.
MOVIES
There are some big movies coming out this summer.
Channing Tatum’s “Magic Mike,” based on his brief stint as a stripper before getting into acting, opens June 29. The movie also stars Matt Bomer, who recently came out.
The Spider-Man series isn’t over yet. “The Amazing Spider-Man,” starring Andrew Garfield and Emma Stone, opens July 3.
Another comic book hero, Batman, also gets another movie with “The Dark Knight Rises,” starring Christian Bale and Anne Hathaway as Catwoman, opening July 20.
August 17 brings the opening of “Sparkle,” starring Jennifer Hudson and the late Whitney Houston.
Ellen DeGeneres may not be getting the sequel to “Finding Nemo” that she wanted, but the film is to be re-released in 3D on Sep. 14.
There’s also the Capital Fringe Festival coming up July 12-29. This year’s festival will feature films such as “Despertar,” “Bareback Ink,” “Stopgap” and more. For a complete list of films, venues and prices, visit capfringe.org.
TELEVISION
A few of the summer series have already started, like ABC Family’s “Pretty Little Liars,” TNT’s reboot of “Dallas” and HBO’s “True Blood,” but there are a few that have yet to premiere.
Eric McCormack of “Will & Grace,” takes on a new role as an eccentric professor helping the FBI in the new TNT series “Perception,” premiering July 9.
Bomer will also be on the small screen when the USA series “White Collar,” premieres July 10 as well as “Covert Affairs” starring Piper Perabo. USA also has a new series “Political Animals,” which premieres July 15 starring Sigourney Weaver playing a former first lady-turned-secretary of state.
Those with DirecTV can watch Chloe Sevigny play a transgender assassin in “Hit and Miss” starting July 11.
For those fans of science fiction, “Warehouse 13” and “Alphas” both premiere their new seasons on SyFy on July 23.
A few reality series also start up over the summer. CBS’s competition “Big Brother” premieres July 12, as does Showtime’s “The Real L Word.”
THEATER
The traveling production of “The Addams Family” comes to D.C. by way of the Kennedy Center (2700 F St., N.W.). The show will run from July 10-29, including a theater look-in on July 17 prior to that days performance. Tickets range from $39 to $115. Tickets are available online at kennedy-center.org.
Keegan Theatre (1742 Church St., N.W.) concludes its 2011-2012 season with “August: Osage County” directed by Mark A. Rhea and starring Stan Shulman, Rena Cherry Brown and more. The show runs from Aug. 3-26.
Signature Theatre (4200 Campbell Ave., Arlington) is putting on its own production of “The Best Little Whorehouse in Texas” opening Aug. 14 and running through Oct. 7.
Kathleen Turner brings her one-woman show “Red Hot Patriot: The Kick-Ass Wit of Molly Ivins” to Arena Stage (1101 6th St., S.W.) starting Aug. 23. The show will run through Oct. 28. This is the first show of Arena’s 2012/13 season. For more information, visit arenastage.org.
OTHERS
The Queer Queens of Qomedy will be at the Birchmere on Aug. 16 at 7:30 p.m. featuring Poppy Champlin, Zoe Lewis and Michele Balan. Tickets are $25 and available online at birchmere.com.
The D.C. Center’s (1318 U St., N.W.) OutWrite LGBT Book Fair will run Aug. 3-4 and will feature reading by Wayne Hoffman, David Pratt, Sampson McCormick and more. There will also be discussions on social justice and intersectional activism and gay pulp fiction. For more information and a complete schedule of events, visit outwritedc.org.
Sports
English soccer bans transgender women from women’s teams
British Supreme Court last month ruled legal definition of woman limited to ‘biological women’

The organization that governs English soccer on Thursday announced it will no longer allow transgender women to play on women’s teams.
The British Supreme Court on April 16 ruled the legal definition of a woman is limited to “biological women” and does not include trans women. The Football Association’s announcement, which cites the ruling, notes its new policy will take effect on June 1.
“As the governing body of the national sport, our role is to make football accessible to as many people as possible, operating within the law and international football policy defined by UEFA (Union of European Football Associations) and FIFA,” said the Football Association in a statement that announced the policy change. “Our current policy, which allows transgender women to participate in the women’s game, was based on this principle and supported by expert legal advice.”
“This is a complex subject, and our position has always been that if there was a material change in law, science, or the operation of the policy in grassroots football then we would review it and change it if necessary,” added the Football Association.
The Football Association also acknowledged the new policy “will be difficult for people who simply want to play the game they love in the gender by which they identify.”
“We are contacting the registered transgender women currently playing to explain the changes and how they can continue to stay involved in the game,” it said.
The Football Association told the BBC there were “fewer than 30 transgender women registered among millions of amateur players” and there are “no registered transgender women in the professional game” in England, Scotland, Wales, and Northern Ireland.
The Scottish Football Association, which governs soccer in Scotland, is expected to also ban trans women from women’s teams.
Theater
Theatre Prometheus spreads queer joy with ‘Galatea’
Two girls dressed as boys who find love despite the odds

‘Galatea’
Through May 10
Theatre Prometheus
Montgomery College Cultural Arts Center
7995 Georgia Ave, Silver Spring, Md.
$27
Theatreprometheus.org
In a timely move, Theatre Prometheus thought it would be a beneficial thing to spread a little queer joy. And since the company’s mission includes engaging audiences and artists in queer and feminist art, there was nothing to stop them.
Co-artistic directors Tracey Erbacher and Lauren Patton Villegas, both queer, agree they’ve found that joy in John Lyly’s “Galatea,” an Elizabethan-era comedy about Galatea and Phillida, two girls dressed as boys who find love despite some rather slim odds.
Now playing at Montgomery College Cultural Arts Center on the Takoma Park/Silver Spring campus, the upbeat offering is a mix of contemporary and period, and strives to make audiences happy. Galatea’s cast includes Amber Coleman and Cate Ginsberg as the besotted pair.
Erbacher, also the production’s director, adds “queer joy is something that I prioritized in casting actors and interviewing production people. I asked them what it means to them, and resoundingly the reply — from both them and the play — is that queer joy is the freedom to be yourself without having to think about it.
“Galatea” was first brought to Prometheus’s attention by Caitlin Partridge, the company’s literary director. Erbacher recalls, “she strongly suggested I read this very queer play. I read it and fell absolutely in love. And because it’s a comedy — I really like directing comedy — I knew that I could lean into that while not neglecting its universal themes of young love.”
Villegas, who’s not ordinarily drawn to the classics, was also instantly smitten with Galatea.
“Usually with classics, the language doesn’t jump out at me the way modern works do,” she says. “But not so with ‘Galatea.’ The first time I heard it read aloud, I found it easy to follow and entirely accessible in the best way.”
Whether Lyly deliberately wrote a queer play isn’t known. What’s definitely known is the play was written with an all-boy performing troupe in mind; that’s partly why there are so many young female roles, the parts 10-year-old boys were playing at the time.
There’s not a lot known about Lyly’s personal life, mostly because he wasn’t wildly famous. What’s known about the times is that there wasn’t a concept of “gay,” but there were sodomy laws regarding homosexual activity in England geared toward men having sex with men; it was all very phallocentric, Erbacher says.
She categorically adds, “Women’s sexuality wasn’t considered in the equation. In fact, it was often asked whether women were even capable of having sex with other women. It just was not part of the conversation. If there wasn’t a dick involved it didn’t count.
“Perhaps that’s how the playwright got around it. If there were two male characters in the play he could not have done it.”
Prometheus has done adaptations of ancient myths and some classics, but in this case it’s very faithful to the original text. Other than some cuts winnowing the work down to 90 minutes, “Galatea” is pretty much exactly as Lyly wrote it.
And that includes, “girls dressed as boys who fall in love thinking girls are boys,” says Erbacher. “And then they start to clock things: ‘I think he is as I am.’ And then they don’t care if the object of their affection is a boy or a girl, the quintessential bisexual iconic line.”
And without spoiling a thing, the director teases, “the ending is even queerer than the rest of the play.”
Erbacher and Villegas have worked together since Prometheus’s inception 11 years ago. More recently, they became co-artistic directors, splitting the work in myriad ways. It’s a good fit: They share values but not identical artistic sensibilities allow them to exchange objective feedback.
In past seasons, the collaborative pair have produced an all-women production of “Macbeth” and a queered take on [gay] “Cymbeline,” recreating it as a lesbian love story. And when roles aren’t specifically defined male or female, they take the best actor for the part.
With Galatea, Prometheus lightens the current mood. Erbacher says, “the hard stuff is important but exhausting. We deserve a queer rom-com, a romantic sweeping story that’s not focused on how hard it is to be queer, but rather the joy of it.”
Movies
Jacob Elordi rides high in ‘On Swift Horses’
Sony Pictures’ promotions avoid referencing queer sexuality of main characters

You might not know it from the publicity campaign, but the latest big-screen project for breakout “Euphoria” actor and sex symbol Jacob Elordi is 100% a gay love story.
Alright, perhaps that’s not entirely accurate. “On Swift Horses” – adapted from the novel by Shannon Pufahl and directed by Daniel Minahan from a screenplay by Bryce Kass – actually splits its focus between two characters, the other of which is played by “Normal People” star Daisy Edgar-Jones; but since that story arc is centered around her own journey toward lesbian self-acceptance, it’s unequivocally a “Queer Movie” anyway.
Set in 1950s America, at the end of the Korean War, it’s an unmistakably allegorical saga that stems from the marriage between Muriel (Edgar-Jones) and Lee (Will Poulter), a newly discharged serviceman with dreams of building a new life in California. His plans for the future include his brother Julius (Elordi), a fellow war vet whose restlessly adventurous spirit sparks a kindred connection and friendship with his sister-in-law despite a nebulously strained dynamic with Lee. Though the newlyweds follow through with the plan, Julius opts out in favor of the thrill of a hustler’s life in Las Vegas, where his skills as a card shark gain him employment in a casino. Nevertheless, he and Muriel maintain their friendship through correspondence, as he meets and falls in love with co-worker Henry (Diego Calva) and struggles to embrace the sexual identity he has long kept secret. Meanwhile, Muriel embarks on a secret life of her own, amassing a secret fortune by gambling on horse races and exploring a parallel path of self-acceptance with her boldly butch new neighbor, Sandra (Sasha Calle), as Lee clings obliviously to his dreams of building a suburban family life in the golden era of all-American post-war prosperity.
Leisurely, pensive, and deeply infused with a sense of impossible yearning, it’s the kind of movie that might easily, on the surface, be viewed as a nostalgia-tinged romantic triangle – albeit one with a distinctively queer twist. While it certainly functions on that level, one can’t help but be aware of a larger scope, a metaphoric conceit in which its three central characters serve as representatives of three conflicting experiences of the mid-century “American Dream” that still looms large in our national identity. With steadfast, good-hearted Lee as an anchor, sold on a vision of creating a better life for himself and his family than the one he grew up with, and the divergent threads of unfulfilled longing that thwart his fantasy with their irresistible pull on the wife and brother with whom he hoped to share it, it becomes a clear commentary on the bitter reality behind a past that doesn’t quite gel with the rose-colored memories still fetishized in the imagination of so many Americans.
Fortunately, it counterbalances that candidly expressed disharmony with an empathetic perspective in which none of its characters is framed as an antagonist; rather, each of them are presented in a way with which we can readily identify, each following a still-unsatisfied longing that draws them all inexorably apart despite the bonds – tenuous but emotionally genuine – they have formed with each other. To put it in a more politically-centered way, the staunch-but-naive conformity of Lee, in all his patriarchal tunnel vision, does not make him a villainous oppressor any more than the repressed queerness of Muriel and Julius make them idealized champions of freedom; all of them are simply following an inner call, and each can be forgiven – if not entirely excused – for the missteps they take in response to it
That’s not to say that Minahan’s movie doesn’t play into a tried-and-true formula; there’s a kind of “stock character” familiarity around those in the orbit of the three main characters, leading to an inevitably trope-ish feel to their involvement – despite the finely layered performances of Calva and Calle, which elevate their roles as lovers to the film’s two queer explorers and allow them both to contribute their own emotional textures – and occasionally pulls the movie into the territory of melodrama.
Yet that larger-than-life treatment, far from cheapening “On Swift Horses,” is a big part of its stylish appeal. Unapologetically lush in its gloriously photographed recreation of saturated 1950s cinema (courtesy of Director of Photography Luc Montpellier), it takes us willingly into its dream landscape of mid-century America – be it through the golden suburbs of still-uncrowded Southern California or the neon-lit flash of high-rolling Las Vegas, or even the macabre (but historically accurate) depiction of nuclear-age thrill-seekers convening for a party in the Nevada desert to watch an atom bomb detonate just a few short miles away. It’s a world remembered by most of us now only through the memories and artifacts of a former generation, rendered with an artful blend of romance and irony, and inhabited by people in whom we can see ourselves reflected while marveling at their beauty and charisma.
As lovely as the movie is to look at, and as effective as it is in evoking the mix of idealism and disillusionment that defines the America of our grandparents for many of us at the start of the second quarter of the 21st century, it’s that last factor that gives Minahan’s film the true “Hollywood” touch. His camera lovingly embraces the beauty of his stars. Edgar-Jones burns with an intelligence and self-determination that underscores the feminist struggle of the era, and the director makes sure to capture the journey she charts with full commitment; Poulter, who could have come off as something of a dumb brute, is allowed to emphasize the character’s nobility over his emotional cluelessness; Calle is a fiery presence, and Minahan lets her burn in a way that feels radical even today; Calva is both alluring and compelling, providing an unexpected depth of emotion that the film embraces as a chord of hope.
But it is Elordi who emerges to truly light up the screen. Handsome, charismatic, and palpably self-confident, he’s an actor who frankly needs to do little more than walk into the scene to grab our attention – but here he is given, perhaps for the first time, the chance to reveal an even greater depth of sensitivity and truth, making his Julius into the film’s beating heart and undisputed star. It’s an authenticity he brings into his much-touted love scenes with Calva, lighting up a chemistry that is ultimately as joyously queer-affirming as they are steamy.
Which is why Sony Pictures’ promotions for the film – which avoid directly referencing the sexuality of its two main characters, instead hinting at “secret desires” and implying a romantic connection between Elordi and Edgar-Jones – feels not just like a miscalculation, but a slap in the face. Though it’s an eloquent, quietly insightful look back at American cultural history, it incorporates those observations into a wistful, bittersweet, but somehow impossibly hopeful story that emphasizes the validity of queer love.
That’s something to be celebrated, not buried – which makes “On Swift Horses” a sure bet for your must-see movie list.
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