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All the D.C.-regional galleries have bounteous fall exhibits planned

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Many galleries have new exhibits opening this fall season including Touchstone Gallery’s ‘Color Grids’ featuring works by Charlie Dale such as ‘Chesapeake Waterman.’ (Photo courtesy Touchstone)

There are a lot of galleries all over the D.C. area and they all have new shows starting this fall season.

The Corcoran Gallery of Art (500 17th St., N.W.) has many events coming up. On Saturday, from 10 a.m. to 5 p.m., performer, choreographer and filmmaker Maida Withers will be giving an interactive performance with improvisation and a temporary installation. On Sep. 27 at 7 p.m. for Cosmo Couture 2012, the gallery will be holding “Fashion, Identity and Interiors: The Cosmo Couture Creative Process.” Tickets to this event are $15 for the public and $12 for members.

The gallery is having the first of what is planned to be an annual community day on Oct. 20 from 10 a.m. to 3 p.m. This event is free and for all ages. There will also be an exhibit entitled “Decades: 100 Years of Style and Fashion” on display on Oct. 25 at 7 p.m.

For more information on Corcoran and its upcoming events and exhibits, visit corcoran.org.

The Smithsonian’s Freer|Sackler Gallery (105 Independence Ave., S.W.) has a variety of exhibits coming up this season.

On Sep. 28, the gallery will be hosting “Asia After Dark: Asian Soundscape with DJ Spooky” at 7 p.m. The event will feature music set against Asian silent films. Attendees will be able to make their own eco-friendly drum and learn how to play rhythms from Asia. Tickets are $25 in advance,$30 at the door and $15 for Silk Road Society members.

“Nomads and Networks: The Art and Culture of Ancient Kazakhstan” featuring gold objects and gilded horns will be on display through Nov. 12.

“Road of Arabia: Archaeology and History of the Kingdom of Saudi Arabia” opens Nov. 17. It will feature recently discovered archaeological material never seen in the U.S. including alabaster bowls, glassware, earrings and more. The exhibit will be on display through Feb. 24.

The Peacock Room will be on display, restored for the first time to its appearance in 1908. The room will be open through spring.

For more information, visit asia.si.edu.

Touchstone Gallery’s (901 New York Ave., N.W.) exhibits “Color Grids,” featuring paintings by Charlie Dale and “Seen/Unseen” featuring works by Rosemary Luckett, have already opened, but there will be an event on Sep. 20 from 6 to 8:30 p.m.

They gallery also has a few exhibits opening in October including a members show, Photoweek show and exhibits featuring work by Ai-Wen Wu Krats, Rhona Schonwald and Michael Lant. In November, a show featuring works by Gale Wallar opens.

For more information on Touchstone and the upcoming shows, visit touchstonegallery.com.

The Virginia Museum of Fine Arts (200 North Blvd.) has multiple exhibits this season.

“Gesture: Judith Godwin and Abstract Expressionism” features 25 paintings by Godwin exploring a critical period in the artist’s development, will run through Jan. 27. “Fine Arts and Flowers” will feature work from more than 75 garden clubs through Virginia interpreting masterworks in VMFA’s collection with floral arrangements and will run through Oct. 28.

“Photography and Abstraction in the 1950s and ‘60s” will open Nov. 17 featuring work by photographers such as Aaron Siskind, Harry Callahan, Minor White and Gita Lenz. The exhibit will be on display through July.

For more information, visit vmfa.museum/exhibitions.

Artisphere (1101 Wilson Blvd., Arlington) is celebrating its second anniversary weekend in October with several exhibits. Opening Oct. 4 is “Craig Colorusso: Sun Boxes” at Freedom Park and Waterview Plaza at Le Meridien Hotel. “Forro in the Dark and Alma Tropicalia,” a party featuring Brazilian music and more is Oct. 6 at 8 p.m. in the Ballroom. Tickets are $20. On Oct. 7, there will be a free family day open house from 1 to 4 p.m.

Artisphere will also be holding Yarn Bomb meet-ups and stitch sessions on Wednesdays from 6 to 9 p.m. starting Oct. 17.

There are a few exhibits currently on view that will run throughout the fall including “Beyond the Parking Lot: The Change and Re-Assesment of Our Modern Landscape” will run through Nov. 4 and was inspired by the Joni Mitchell song “Big Yellow Taxi” and features contemporary landscapes by artists who are observing these changes, exposing the use of the environment in compromising ways and instigates the discussion of “where do we go from here?”

For more information, visit artisphere.com.

Torpedo Factory (105 North Union St.) is having a free event during the Alexandria King Street Art Festival. The sixth annual Art Activated will give festival attendees not only a place to cool down, but also several hands-on activities. Visitors can do screen-printing, bubble gum art, create their own button and more. There will also be a Q-Art Code Scavenger Hunt with a chance to win a $150 gift certificate to the Torpedo Factory.

For more information, visit torpedofactory.org/artactivated.

Other galleries that always have interesting exhibits and are worth checking out include Aaron Gallery at 2101 L Street NW (aarongallerydc.com), The Art League in Alexandria at 105 North Union Street (theartleague.org), Hillwood Estate, Museum and Gardens at 4155 Linnean Ave., N.W. (hillwoodmuseum.org), the Fridge D.C. at 516 8th Street, S.E. (thefridgedc.com) the Kreeger Museum at 2401 Foxhall Road, N.W. (kreegermuseum.org), the National Gallery of Art at 4th and Constitution Ave., N.W. (nga.gov) and the brand new Northern Virginia Art Center at 2120-A Crystal Plaza Arcade in Arlington (novaartcenter.org).

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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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