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In the spirit

Region offers array of holiday entertainment

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A dancer from Washington Ballet’s ‘The Nutcracker.’ (Photo by Steve Vaccariello; courtesy Washington Ballet)

The Gay Men’s Chorus of Washington presents “Winter Nights,” Nov. 30 and Dec. 1 at the Lisner Auditorium, (730 21st Street NW), featuring a pageant of glittering winter “Rockettes,” a Bollywood number and even a visit from Mrs. Claus with the song “Santa Won’t You Please Come Back.” Tickets range from $13 to $35 and can be purchased at gmcw.org.

Wolf Trap (1645 Trap Rd.) in Vienna presents its free annual holiday sing-a-long on Dec. 1, featuring Christmas carols and Hanukkah songs by choir and vocal groups and the United States Marine Band.

The Kennedy Center (2700 F St., N.W.) has several holiday performances and events coming up in December. First, Utah’s preeminent ballet company, Ballet West, brings America’ oldest complete “Nutcracker” to the center from Dec. 5-9. The beloved ballet features the Kennedy Center Opera House Orchestra and National Cathedral School Lower School Singers. Tickets range from $45-$150.

The Kennedy Center teams with National Public Radio for the annual “A Jazz Piano Christmas” on Dec. 8, featuring top jazz pianists such as Master Ellis Marsalis, Jason Moran, Geri Allen and Taylor Eigsti performing their favorite holiday songs. Tickets are $65.

Also at the Kennedy Center, the National Symphony Orchestra, conducted by Rolf Beck, will be performing Handel’s “Messiah” Dec. 20-23. Featured singers will be soprano Katherine Whyte, countertenor Anthony Roth Costanzo, tenor Sunnyboy Vincent Diadia and bass-baritone Panajotis Iconmou. Tickets range from $10 to $85.

The National Philharmonic will perform the “Messiah” on Dec. 8 and Dec. 22-23 with Stan Engebretson conducting at the Music Center at Strathmore (5301 Tuckerman Lane) in North Bethesda. Tickets range from $30 to $85.

Washington Symphonic Brass (Photo courtesy the company)

On Dec. 18, the National Philharmonic’s associate Conductor Victoria Gau will lead the Washington Symphonic Brass and National Philharmonic Chorale in a holiday concert at the Music Center. The critically acclaimed 17-member brass and percussion ensemble will ring in the holidays with arrangements of holiday favorites, including a medley by WSB Director Phil Snedecor called “Christmas Memories,” an arrangement by Tony DiLorenzo of “’Twas the Night Before Christmas” and an exuberant version of Beethoven’s “Ode to Joy” with the National Philharmonic Chorale. Tickets range from $28 to $48.

The National Philharmonic Singers, under the direction of conductors Stan Engebretson and Victoria Gau, will present a free holiday concert on Dec. 15 at Christ Episcopal Church (107 South Washington St.) in Rockville. The concert will feature famous carols, including the “Hallelujah Chorus,” Benjamin Britten’s “A Ceremony of Carols” with harp and “The Blessed Son of God from Hodie” by Ralph Vaughan Williams. Other highlights include music from various periods, with a special audience sing along.

Washington Ballet welcomes the holiday season by presenting “The Nutcracker” Nov. 30 through Dec. 23 at the historic Warner Theatre (3515 Wisconsin Ave, NW). Septime Webre’s critically acclaimed ballet transports audiences back in time to historic Washington in a one-of-a-kind production set in 1882 Georgetown and starring George Washington as the heroic Nutcracker, King George III as the villainous Rat King, Anacostia Indians, frontiersmen and many other all-American delights. Tickets range from $34-$99.

The Baltimore Symphony Orchestra performs its “Holiday Pops Celebration” from Dec. 12-16 at the Music Center at Strathmore under the baton of Robert Bernhardt. Daniel Narducci serves as host and guest vocalist. Tickets range from $25-$85.

For those looking for some non-traditional entertainment, they won’t be disappointed.

Town (2009 8th St. NW) will present “A Nightmare Before Xmas” with Sharon Needles, a drag queen famous for winning “RuPaul’s Drag Race,” on Dec. 15. The club will also feature DJ Summer Camp (aka Shea Van Horn in a fabulously slutty dress).  The night begins at 10 p.m., but a private meet-and-greet cocktail party is available with Needles for $50. A limited amount of tickets are available at groovetickets.com.

Coyaba Dance Theater (3225 8th St NE) welcomes the young performers of the Coyaba Dance Academy and special guests Soul in Motion and Cheick Hamala Diabaté for its annual multi-generational Kwanzaa Celebration Dec. 14-16. The performance includes traditional dance and drumming. Tickets begin at $22.

Gay filmmaker John Waters will offer his take on the holiday season with his show “A John Waters Christmas” playing the Birchmere (3701 Mount Vernon Ave.) in Alexandria on Dec. 10. Delving into his passion for lunatic exploitation Christmas movies and the unhealthy urge to remake all his own films into seasonal children’s classics, “The Pope of Trash” will give you a Joyeaux Noel like no other. Tickets are $49.50.

Also at the Birchmere, The Four Bitchin Babes, combining humor with music, will be presenting its “Jingle Babes” celebration Dec.14-15. The four women play their own guitars, bass, piano, Irish Bodhran, mandolin and ukulele as they entertain for the holidays. Tickets are $35.

Looking for a little theater this holiday season? There are plenty of offerings to whet any theatrical appetite.

‘White Christmas.’ (Photo courtesy the Kennedy Center)

The Kennedy Center will stage Irving Berlin’s “White Christmas,” based on the popular movie, in its Opera House from Dec. 11 to Jan. 6. Tickets start at $25.

The National Theatre (1321 Pennsylvania Ave. NW) stages Cameron Mackintosh’s new 25th anniversary production of “Les Misérables” from Dec. 13-30. The new production features glorious new staging and spectacular reimagined scenery inspired by the paintings of Victor Hugo. Ticket prices start at $40.

The Olney Theater (2001 Olney-Sandy Spring Rd.) in Olney is bringing back storyteller Paul Morella in a one-man performance of “A Christmas Carol: A Ghost Story of Christmas.” Tickets for all shows at Olney start at $26 and can be purchased by calling the box office at 301-924-3400.

Olney will also stage Rodgers and Hammerstein’s classic musical “Cinderella” from now until Dec. 30. The musical includes memorable songs such as “In My Own Little Corner,” “Impossible” and “Ten Minutes Ago.” Tickets are $26-$54.

The BlackRock Center for the Arts (12901 Town Commons Drive) in Germantown is getting into the holiday spirit with a theatrical performance of “A Charlie Brown Christmas” on Dec. 8 and “It’s a Wonderful Life” on Dec. 15. Tickets range from $15-$29.

BlackRock also hosts “A Ceremony of Carols,” with the National Philharmonic Singers and harpist Rebecca Smith on Dec. 16. Tickets are $23-$25 and can be purchased at blackrockcenter.org.

Signature Theatre (4200 Campbell Ave.) in Arlington will present “Holiday Guys,” a two-man cabaret starring three-time Tony Award nominee and Signature favorite Marc Kudisch and Astaire Award nominee Jeffry Denman. The non-traditional holiday show is complete with song, dance and silliness and will play Dec. 11-16.

Back by popular demand to Signature is the festive series “Holiday Follies,” featuring a wonderful wintry line-up of special guest performers, along with a host of Signature’s closest friends and artists. Performances are scheduled from Dec. 18-23. Tickets for both Signature shows are $41.

Whether a fan of jazz, pop or classical, music lovers can get their fix all holiday season.

The Bohemian Caverns Jazz Orchestra (2001 Eleventh Street NW) performs its holiday concert, “A Bohemian Christmas,” featuring holiday classics from the libraries of Claude Thornhill, Count Basie, Stan Kenton and the entire Duke Ellington/Billy Strayhorn adaptation of “The Nutcracker Suite” on Dec. 10. Tickets are $10.

On Dec.8, Saxophonist Tim Warfield returns to Bohemian Caverns to host his annual Jazzy Christmas Show. Tickets are $25.

Saxophone extraordinaire Dave Koz, who’s openly gay, is celebrating his 15th annual “Dave Koz and Friends Christmas Concert” at the Music Center at Strathmore (5301 Tuckerman Lane) in North Bethesda on Dec. 3. Special guests include David Benoit, Javier Colon and Sheila E. The concert begins at 8 p.m. and tickets range from $38 to $72.

The Christ Church Episcopal (118 N. Washington St.) in Alexandria is presenting “A Festival of Nine Lessons and Carols” on Dec. 2 at 5 p.m. The Christ Church Choir, the Canterbury Choir, the Cherub Choir, guest organist Daniel Aune and a brass quintet will join to offer music for the Advent season. A wine-and-cheese reception will follow the free performance.

DC Swing!, with its new conductor, Matt Leonhardt, will perform a holiday benefit gala with live holiday music, hors d’oeuvres and a cash bar on Dec. 15th, at Nage Bistro (1600 Rhode Island Ave NW), from 7-10 p.m. The LGBT-friendly group is part of D.C. Different Drummers. Tickets start at $30.

Metropolitan Community Church of Washington (474 Ridge St. NW), D.C.’s largest mostly gay church, presents its annual Christmas concert “Christmas Miracles” Nov. 30 and Dec. 1 at 7:30 both nights. The church will also offer a special Christmas concert and community dinner on Dec. 7 and a family Christmas concert on Dec. 8. Visit mccdc.com for more information.

The Philadelphia Brass Quintet will perform a world premier-commissioned work for Candlelight Concert Society’s 40th anniversary on Nov. 24 at the Horowitz Performing Arts Center, Smith Theatre, on the campus of Howard Community College (10901 Little Patuxent Parkway) in Columbia. The concert features an array of classical and contemporary music by Susato, Bach, Durufle, Ewazn, Weill, Elgar, Lichtenberger, Van Heusen and Duke Ellington. Tickets range from $12-$30.

 

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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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