Arts & Entertainment

‘Lots of tacos and strong margaritas’

‘Top Chef’ finalist brings bold flair to Bandolero

Published

14 years ago

July 12, 2012

Jonathan Howard

Mike Isabella of Bandolero, one of the hot new must-try D.C. restaurants. (Submitted photo by Greg Powers)

Mike Isabella’s idea of a perfect dinner out has three essential components — a welcome feel, cocktail in hand and delicious food at the ready.

Those are the elements the “Top Chef All Stars” runner-up is incorporating at his new restaurant Bandolero (3241 M Street, N.W.) where he likes to “have fun with his food by changing flavors and textures” in the traditional Mexican dishes he offers up with new twists.

A reservation for eight is difficult to get at Bandolero, but in my opinion it’s the perfect number to experience all Bandolero has to offer. We walked in, the hostess greeted us warmly, brought us to the remainder of our party, and we were seated. Our waiter approached, explained the small plates concept, and took our drink orders. In moments drinks were being passed around the table. Throughout the evening the exceptional staff including general manager, James Horn, served us and others attentively but not intrusively. Our glasses were always full, we never searched for a plate and there was always food on the table.

When opening Bandolero, Isabella wanted two things: “lots of tacos and strong margaritas.” Drinks by head mixologist, Sam Babcock, are not only strong but delicious renditions of classics. Each drink is perfectly balanced. The basic margarita falls short on flavor, but don’t waste time on the basic when standouts like the frozen prickly pear margarita exist; it’s Isabella’s favorite. Other well-crafted drinks include the El Dorado with a five-spice syrup that adds a deep warmth to the cocktail, the fresh Jesus Malverde has cucumber, lime, agave and pork barrel hellfire bitters, and the Casa En Fuego was a mouth full of rich fire from a habanero-infused tequila.

The moment the first dish arrived, flavors began exploding in our mouths. The guacamole is tangy and fresh, and not only does Bandolero succeed with its guacamole but it also serves up an exquisite dip called sikil pak composed of pumpkin seeds, jalapenos and orange. After the dips, we moved on to taquitos and tostadas, a course we quickly dubbed “Mexican sushi.” These fresh raw bites were perfect combinations of unexpected flavors. The blue crab with coconut and red chili was too good to pass up, even though I’m sensitive to shellfish. The tuna with ginger and sweet potato as well as the snapper with charred mango and jicama were the two overall favorites at the table.

Then it was time for tacos. We couldn’t wait to try the crispy mahi mahi with chipotle, avocado and lime but we ended up being blown away by the complexity of flavors in the suckling pig tacos with apple and habanero mustard. Each bite of this taco with its fresh ingredients was absolute perfection. The BBQ chicken taco however, was dry and bland.

We started getting full, but couldn’t resist ordering a few more items. I had been eying the nachos with crispy goat and goat cheese and they turned out to be amazing. Also, the queso fundido with duck confit, manchego and egg was delectable. The sweet plantains were almost as good as my Cuban grandmother’s. After such fantastic courses, we couldn’t possibly eat anything else, at least until dessert. We ordered the sopapillas — fried donuts with dulce de leche, the besitos de coco (little coconut cookies) and the spicy chocolate ice cream. Before we knew it the plates were scraped clean.

As I look back at the meal I realize that Bandolero gets high marks with almost every drink and dish. Isabella’s menu is creative, playful and full of unexpected combinations. The Day of the Dead theme of the restaurant feels authentic, but it also creates a very dark and loud dining room. We found ourselves yelling across the table when conversing. However, the bar at the front of the restaurant is a bright warm spot with reclaimed materials where the playfulness of the theme shines through. Bandolero is an absolute must try, and without a doubt serves up some of the best Mexican cuisine I have tasted in the city.

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Madonna headlines World Pride Music Festival in Amsterdam

Kylie Minogue made surprise appearance alongside gay icon

Published

3 hours ago

August 2, 2026

Michael K. Lavers

Kylie Minogue with Madonna at the World Pride Music Festival in Amsterdam on Aug. 2, 2026. (Photo courtesy of Cejlon Studio)

AMSTERDAM — Madonna on Sunday headlined the final night of the World Pride Music Festival in Amsterdam.

The gay icon took the stage shortly before 2:30 a.m. local time (8:30 p.m. ET on Saturday) during Club Confessions, a set that MISTR, a telehealth platform that offers free access to PrEP, Doxy PEP, STI testing, and long-term HIV care, organized.

“Mother is here and this is gay heaven,” said Madonna when she took the stage inside Amsterdam’s AFAS Live concert hall that can hold up to 6,000 people.

Stuart Price, who produced Madonna’s 2005 “Confessions on a Dance Floor” album and “Confessions II,” which debuted on July 2, DJed the set.

Kylie Minogue made a surprise appearance. She and Madonna performed a new remix of “Love Sensation” from “Confessions II.”

(Washington Blade video by Michael K. Lavers)

“Throughout my career, I’ve always supported efforts to fight HIV and AIDS, and that fight begins with education and access,” said Madonna in a MISTR press release. “With MISTR, (CEO) Tristan (Schukraft) is expanding access to HIV prevention and sexual healthcare for everyone. Through this work, he’s helping preserve and strengthen LGBTQ+ spaces while investing in the communities and culture that have long sustained us.”

Minogue in an Instagram post thanked Madonna, Price, Schukraft, and MISTR.

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A post shared by Kylie Minogue (@kylieminogue)

Madonna appeared at The Abbey in West Hollywood, Calif., in April. Madonna in June celebrated Pride month with a pop-up performance in New York’s Times Square.

Jake Resnicow and Insomniac produced the World Pride Music Festival that also featured Bebe Rexha and Paris Hilton, among others.

“Pride has always been about bringing our community together,” said Resnicow. “At a moment when too many people are being told to hide or make themselves smaller, gathering openly, joyfully, and without apology matters more than ever. I couldn’t be prouder of what this festival brought to life in Amsterdam — one dance floor, completely free.”

Theater

Reggie White relishing first season as artistic director of Woolly Mammoth

First five shows a reminder that ‘pressure is a privilege’

Published

12 hours ago

August 2, 2026

Patrick Folliard

Reggie D. White (Photo by Ambe J. Williams)

Madly talented and preternaturally energetic, Reggie D. White, 38, is about to launch his first season as artistic director of D.C.’s boundary-pushing Woolly Mammoth Theatre Company.

White brings a lot to the job. As actor, playwright, and director, his varied resume includes a 2019 Broadway acting debut in Matthew López’s Tony Award–winning play “The Inheritance,” his semi-autobiographic play “Fremont Ave.” that opened to acclaim last season at Arena Stage, and a number of exciting regional directing credits.

A longtime admirer of Woolly, the out theater-maker was selected from a pool of candidates before receiving the offer last November and starting work in January. His season of five world premieres kicks off with gay playwright Steve Yockey’s “Venus” (Sept. 9-Oct. 4), a darkly funny study of modern relationships told through two lesbians looking back on their first encounter.

White was introduced to Woolly Mammoth as a pre-law student at Cal State Hayward in the San Francisco Bay Area, long before he foresaw a life in the arts. “As part of a random theater history course, I was assigned to write a paper on a counterculture company called Woolly Mammoth,” he recalls “Strange name. I was like what the hell is that?”

Nineteen-year-old White was intrigued. Research acquainted him with Howard Shalwitz who co-founded Woolly in 1980, and the company’s commitment to living playwrights and new work. He also learned how theater could be used as a tool for difficult conversations and shape the way people thought about social issues by employing imagination and rigor.

“Never in a million years did young me envision that one day I’d be Woolly’s third artistic director in its 46-year history,” says White. “It’s kind of serendipitously insane.”

WASHINGTON BLADE: Was there a moment when the enormity of the job hit you?

REGGIE D. WHITE: After I’d signed my contract and finished all the paperwork, I got my keys and sat in the theater by myself in the dark and thought about what an incredible honor it is to be trusted with what happens in this beautiful space [in D.C.’s Penn Quarter]. I might have cried. Sometimes I have to pinch myself to remember it’s real.

BLADE: Are you curating the upcoming 2026–2027 season?

WHITE: Yes, I am. It’s very rare that an incoming artistic director gets to program their first season, but I was lucky in terms of time. After being hired late last year, I asked Woolly’s managing director Kimberly E. Douglas, if she thought it would be crazy if I programmed the season. She warned me it would be hard.

I invoked tennis legend Billie Jean King’s maxim “pressure is a privilege” and got to work.

These plays [dubbed White’s “first five”] represent both the kind of theater that Woolly can do really well and speak directly to my voice as curator and how I want to contribute to the larger theatrical conversation in the DMV.

Getting here has meant a lot of late nights. But I knew the juice would be worth the squeeze.

BLADE: As a queer artistic director, what makes you unique?

WHITE: When I was playing in “Inheritance” on Broadway, after a performance, U.S. Supreme Court Justice Sotomayer came backstage to meet the cast. She spoke about how her lens on the world as a Puerto Rican woman shapes her decisions. Similarly, because I’m a queer Black man I see through a lens that shapes my work.

I know I’m not the only queer artistic director in town. For me, it influences how I make editorial decisions. Out of this season’s five plays there are explicitly queer characters in four [“Venus,” “Chanukkah Spectacular,” “Ten Grand,” and “Love I Awethu Further”] and I’m directing two [“Venus,” “Ten Grand”].

BLADE: Will we see familiar faces?

WHITE: Every show this season will feature a Woolly Mammoth company member in its cast. Our company also includes designers and directors who we’ll include. I’m invested in continuing to provide a showcase for their work.

BLADE: How do you think queer audiences will receive the season?

WHITE: Very well, I think. For queer people who’ve had to navigate the world subversively and solve problems in unique ways, I think it will be especially interesting. I find theater a potent place for questions.

Like all artistic directors. I’ll show up for the job in my own way. I’m just excited that I’ve been invited to bring the fullness of myself to the role.