Arts & Entertainment
Blind to barriers
Bi theater head recalls emerging sexuality
Ike Schambelan, artistic director of Breaking Through Barriers, an off-Broadway theater outfit in New York. (Photo courtesy Ike Schambelan)
The artistic director of the only disability-specific off-Broadway theater in New York, knows a few things about being different.
The 72-year-old head of Breaking Through Barriers recalls during a phone interview his early sexual explorations.
“I’d gone to a folk sing in a dorm,” Ike Schambelan says. He was at Swarthmore College when another male student invited him to his room. “I was told,’ Don’t do that, stay on the sofa,” he says. “I knew without anything being verbalized that I was being protected. I did not want to be protected.”
He co-founded Theater Breaking Through Barriers (then known as Theater By the Blind) in 1979 not to be altruistic, but to “support my directing addiction,” Schambelan says.
It’s the only off-Broadway theater, and one of the few in the country, dedicated to advancing actors and writers with disabilities. The company can be a tough sell to people wary of disability, Schambelan says.
“They spend five minutes trying to figure out who’s disabled and who’s not, often getting it wrong. But, then they relax and get into the play.”
Schambelan, who was raised in West Philadelphia with the theater bug embedded in his DNA, grew up with many of the conflicts around sexuality held by many of his generation.
“My grandmother, who went blind, lived with us until I was 10,” he says. “Every Monday night, we’d listen to Lux Radio Theater and I’d brush her hair. I came to associate blindness, affection and theater.”
When Schambelan was in junior high a friend invited him to go to a drama at school.
“I was hooked,” Schambelan says. “I acted in high school. When I went to college I mostly stage managed, which I loved, as I wasn’t a very good actor.”
In his junior year, Schambelan directed the annual Thanksgiving musical.
“It was a big hit and I was hooked to a discipline, directing,” he says.
After graduating from Swarthmore in 1961, Schambelan earned a degree from Yale Drama School in 1967.
There, his passion for the theater and his burgeoning, conflicted sexuality merged.
“On my first night at the Drama school, a med student picked me up,” Schambelan says. “We had sex. Then, I … didn’t have sex until the end of the year. I dated women a little, but I didn’t do a lot of sex.”
In the 1960s during the pre-Stonewall era, being queer was more openly accepted at the Drama School and in the theater than in other parts of society, Schambelan says. Despite this, he was “conflicted.”
“It was internalized homophobia — feeling it was wrong to have sex with men.”
In the ‘60s and ‘70s, Schambelan directed productions at such companies as Playwrights Horizons and the George St. Playhouse. He shot a TV commercial with Farrah Fawcett (“She was lovely to work with,” he says) before she was famous.
Over these years, Schambelan dated women and men.
“I’d take up with a woman during the summer and the romance would last until the fall,” he says.
He married a woman in 1980, Joan, who remains his wife. She’d been a dancer so she’d known gays and just felt her husband’s bisexuality made him “more interesting.”
For years, he saw a psychotherapist who “… wanted me to be straight,” Schambelan says. “But, then, being gay had just been removed as the list of mental illnesses by the American Psychiatric Association.”
The therapist he sees today is completely accepting of his bisexuality, Schambelan says.
He admits it’s not always an easy thing to explain.
“The LGBT community doesn’t always get what it means to be bisexual,” he says. “Sometimes people have worked so hard to come out as gay, they have difficulty understanding the greater complexity of being bi. They want you to be gay.”
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
Why trans suffering is more palatable than trans ambition
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