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I will survive

New documentary uses archival video footage to explore early days of AIDS

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Peter Staley, How to Survive a Plague
Peter Staley, How to Survive a Plague

Peter Staley in a scene from ‘How to Survive a Plague.’ (photo by William Lucas Walker courtesy Sundance Selects)

As a journalist, openly gay writer David France is pretty fearless. The award-winning author has tackled such topics as the AIDS crisis, sexual abuse in the Catholic Church, the coming-out of former New Jersey governor James McGreevey and the brutal murder of Private Barry Winchell.

But, when he was poised to make the leap to documentary filmmaker, there was one thing that terrified him — the soundtrack.

“That aspect of film-making was nerve-wracking,” he says. “I couldn’t sleep. I write in total silence. I don’t play any music at all. Print journalists don’t have to deal with music. There has never been any musical accompaniment to anything I have done before.”

Luckily, he found great partners to help him develop the soundtrack of his first film, the documentary “How to Survive a Plague,” which chronicles the early years of AIDS activism. He turned to the Red Hot Organization, a non-profit musical production company that raises money to support the fight against HIV/AIDS. They suggested he listen the work of Arthur Russell, an avant garde gay songwriter and performer who was living in downtown Manhattan during the time frame covered by the film who died of AIDS-related causes in 1992.

France says that the suggestion was “an inspired proposal.” Paul Heck, executive director at Red Hot, describes Russell’s work as “captivating, personal and profoundly beautiful music that is accessible yet complex all at once.” Heck introduced France to composers Stuart Bogie and Luke O’Malley who began work on the score based on Russell’s music. At first, the collaboration was a challenge for France, who says, “I didn’t have the words to talk about the music.” Luckily, he learned to trust his instincts.

“I just started talking about how it felt, and that’s how we worked out the score.”

The narrative and visual aspects of documentary filmmaking came more easily to the novice director.

“I’ve always been a long-form journalist, so I’ve always been a storyteller. I decided to undertake a major project and look at the early days of AIDS activism, to try and make sense of what happened. What more could time tell us about those early days?”

He knew the New York Public Library had an extensive collection of amateur and professional movies made by AIDS activists during that period, so he dove in.

“I immediately jumped to the footage. I got captivated by how immediate and intensely personal and up-close it was. It reminded me how we felt in those early days.”

In the end, France and his team assembled several hundred hours of footage and began editing the material into a feature-length documentary. Aside from a few filmed interviews, this remarkable and powerful film consists entirely of this archival material, primary historical documentation captured by a then-emerging technology: the video camera.

“How to Survive A Plague” uses this riveting archival material, largely shot by the activists themselves at meetings and protests around the country, to tell the story of ACT-UP (the AIDS Coalition to Unleash Power) and TAG (the Treatment Action Group). As Franco points out, these direct-action groups saved millions of lives by battling hatred, ignorance, complacency and apathy in the face of the emerging plague.

Ultimately they changed the way health care is delivered in this country. By demanding attention, they achieved incredible things.

“The biggest thing is why not ask for the moon? Why not ask for it all? That’s what they did. There was not a single pill and they demanded a cure. Science was not even thinking like that. As total outsiders to that process, they were able to develop an agenda that everyone felt was out of reach and they were able to get close. We don’t have a cure yet, but we’re much closer than we would have been.”

France feels this kind of broad vision is missing from the LGBT movement today.

“We’ve overly narrowed our agenda for the community. Now it’s marriage. There is so much more we could be advocating for more, including a push to combat HIV. There are still high transmission rates for men who have sex with men and the national LGBT groups are not paying attention to that.”

“How to Survive A Plague” opens Oct. 12 at Landmark Theatres in the D.C. area.

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Italy

44 openly LGBTQ athletes to compete in Milan Cortina Winter Olympics

Games to begin on Friday

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(Public domain photo)

More than 40 openly LGBTQ athletes are expected to compete in the Milan Cortina Winter Olympics that open on Friday.

Outsports.com notes eight Americans — including speedskater Conor McDermott-Mostowy and figure skater Amber Glenn — are among the 44 openly LGBTQ athletes who will compete in the games. The LGBTQ sports website also reports Ellis Lundholm, a mogul skier from Sweden, is the first openly transgender athlete to compete in any Winter Olympics.

“I’ve always been physically capable. That was never a question,” Glenn told Outsports.com. “It was always a mental and competence problem. It was internal battles for so long: when to lean into my strengths and when to work on my weaknesses, when to finally let myself portray the way I am off the ice on the ice. That really started when I came out publicly.”

McDermott-Mostowy is among the six athletes who have benefitted from the Out Athlete Fund, a group that has paid for their Olympics-related training and travel. The other beneficiaries are freestyle skier Gus Kenworthy, speed skater Brittany Bowe, snowboarder Maddy Schaffrick, alpine skier Breezy Johnson, and Paralympic Nordic skier Jake Adicoff.

Out Athlete Fund and Pride House Los Angeles – West Hollywood on Friday will host a free watch party for the opening ceremony.

“When athletes feel seen and accepted, they’re free to focus on their performance, not on hiding who they are,” Haley Caruso, vice president of the Out Athlete Fund’s board of directors, told the Los Angeles Blade.

Four Italian LGBTQ advocacy groups — Arcigay, CIG Arcigay Milano, Milano Pride, and Pride Sport Milano — have organized the games’ Pride House that will be located at the MEET Digital Culture Center in Milan.

Pride House on its website notes it will “host a diverse calendar of events and activities curated by associations, activists, and cultural organizations that share the values of Pride” during the games. These include an opening ceremony party at which Checcoro, Milan’s first LGBTQ chorus, will perform.

ILGA World, which is partnering with Pride House, is the co-sponsor of a Feb. 21 event that will focus on LGBTQ-inclusion in sports. Valentina Petrillo, a trans Paralympian, is among those will participate in a discussion that Simone Alliva, a journalist who writes for the Italian newspaper Domani, will moderate.

“The event explores inclusivity in sport — including amateur levels — with a focus on transgender people, highlighting the role of civil society, lived experiences, and the voices of athletes,” says Milano Pride on its website.

The games will take place against the backdrop of the U.S. Olympic and Paralympic Committee’s decision to ban transgender women from competing in women’s sporting events.

President Donald Trump last February issued an executive order that bans trans women and girls from female sports teams in the U.S. A group of Republican lawmakers in response to the directive demanded the International Olympics Committee ban trans athletes from women’s athletic competitions.

The IOC in 2021 adopted its “Framework on Fairness, Inclusion and Nondiscrimination on the Basis of Gender Identity and Sex Variations” that includes the following provisions:

• 3.1 Eligibility criteria should be established and implemented fairly and in a manner that does not systematically exclude athletes from competition based upon their gender identity, physical appearance and/or sex variations.

• 3.2 Provided they meet eligibility criteria that are consistent with principle 4 (“Fairness”, athletes should be allowed to compete in the category that best aligns with their self-determined gender identity.

• 3.3 Criteria to determine disproportionate competitive advantage may, at times, require testing of an athlete’s performance and physical capacity. However, no athlete should be subject to targeted testing because of, or aimed at determining, their sex, gender identity and/or sex variations.

The 2034 Winter Olympics are scheduled to take place in Salt Lake City. The 2028 Summer Olympics will occur in Los Angeles.

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Theater

Out dancer on Alvin Ailey’s stint at Warner Theatre

10-day production marks kickoff of national tour

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Renaldo Maurice (Photo by Dario Calmese)


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. 

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Out & About

This queer comedy show will warm you up

Catfish Comedy to feature LGBTQ lineup

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(Promotional image via Eventbrite)

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

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