Arts & Entertainment
Year in review: A taste of Washington
Sampling many of the new restaurants in D.C. this year kept one food fan busy
A sampling of the array of baked goodies available at Grassroots Gourmet (Washington Blade photo by Michael Key)
New restaurants, new chefs, new menus and new food all kept a food lover and restaurant column writer busy this year in D.C.
Every day a new place was opening, some I was able to review, others are still on my list. When all was said and done however, I had the opportunity to dine in some of the best restaurants in town and enjoy some of the finest food offerings available. And in the process I got to expand my own horizons.
Since taking on this project, friends and family have asked how such a picky eater has taken on the task of reviewing restaurants. The answer is always the same: “I fell into it, but why does being picky disqualify me from writing about restaurants?”
Then, in August, I realized that I may be in a bit over my head, so I brought two knowledgeable foodies to Izakaya Seki, the first restaurant I was concerned about not being knowledgeable enough to cover fairly.
Izakaya Seki opened in August by father and daughter Hiroshi and Cizuka Seki; this new establishment features traditional Japanese dishes and delicacies. Delicacies such as cuttlefish; at that point I had no idea how it was even supposed to taste. Other items like the fresh scallop Carpaccio were delightful and set the tone for three hours of delicious food. Izakaya Seki still remains one of my most challenging and rewarding columns to date.
While Japanese cuisine was outside my comfort zone, there were many other restaurants this year I felt well prepared to write about. Ristorante Posto, in Logan Circle, was serving a new spring selections when I first set foot into this unsuspecting location, and a new pastry chef was dishing out delicious deserts. The pastry chef has since left, but Posto remains a favorite spot for delicious Italian food and brick oven pizzas. In May, at a Taste of Pride featured special, I discovered Jack Rose Dining Saloon. The food was excellent and in an environment where whiskey bottles reached toward the ceiling, I discovered I enjoy scotch.
Mike Isabella, gay chef Jamie Leeds, and Taylor Gourmet all opened new locations this year. Isabella’s Bandolero in Georgetown serves up his take on traditional Mexican dishes and strong margaritas. Standouts included the course we dubbed “Mexican Sushi,” like the blue crab taquito with coconut and red chili. The suckling pig tacos and the nachos with crispy goat and goat cheese also pleased all the diners at the table.
For Leeds, and her new Hank’s on the Hill she teamed up with “mixtress” Gina Chersevani, whose Eddy Bar is a key component of the new space. This new 40-seat location serves up Leed’s classics like the lobster roll and the Meat and Two option, as well as Chersevani’s exquisite “storytelling” cocktails. Longtime friends Casey Patton and David Mazza opened up a third Taylor Gourmet on 14th Street this year. These traditional Philadelphia-inspired sandwiches battled against sandwich shop Sun-de-Vich — Taylor won for best cold cut-based sandwiches and Sun-de-Vich won for its creative and worldly offerings. Sandwich lovers are in for a treat at either location.
Carnivores also have plenty of new options.
Gay business partners David Winer, Josh Hahn and Antonio Oquendo opened their fifth restaurant in D.C. called The Pig, a pork-centric restaurant that focuses on snout-to-tail dishes from locally sourced ingredients. The braised pork cheek was a favorite and if you’re up for the challenge, try the Sundae Bloody Sundae that includes pasteurized pig’s blood. Another meat-lovers paradise is Kangaroo Boxing Club in Columbia Heights. If you love barbeque, then there’s a dish on the menu for you here.
This year 14th Street began its transformation into a prime dining location. Pearl Dive Oyster Palace opened just over a year ago, the new Matchbox has opened, Ted’s Bulletin and many others are scheduled to open in the near future. Part of this transformation includes the new Masa 14 rooftop, which opened at the start of the summer. Masa 14 also welcomed new executive chef Adam Goldman to the mix at this Latin-Asian fusion restaurant. Another newcomer to the street called The Drafting Table has become the new local gastro pub in the former ACKC space.
No dinner is complete without a little sweetness at the end. I can never review a restaurant without at least a sampling of the desserts. One of my favorite meals this year took place at gay-helmed Art and Soul. We all had delicious entrees and to finish up the party, we tasted most of the items on the dessert menu. And to end my reviews for the year, I sampled all the delicious sweets available at Bloomingdale bakery Grassroots Gourmet. Every item at this gay-owned and -operated bakery was divine. A sweet ending to a year filled with delicious food and reviews.
Team DC, the umbrella organization for LGBTQ-friendly sports teams and leagues in the D.C. area, held its annual Night of Champions Awards Gala on Saturday, April 20 at the Hilton National Mall. The organization gave out scholarships to area LGBTQ student athletes as well as awards to the Different Drummers, Kelly Laczko of Duplex Diner, Stacy Smith of the Edmund Burke School, Bryan Frank of Triout, JC Adams of DCG Basketball and the DC Gay Flag Football League.
(Washington Blade photos by Michael Key)
The 2024 National Cannabis Festival was held at the Fields at RFK Stadium on April 19-20.
(Washington Blade photos by Michael Key)
Covering the @NatlCannaFest at RFK Stadium for @WashBlade . Stop by the LGBTQ+ booth and pick up a paper if you are here. pic.twitter.com/is7hnsaPns
— Michael Patrick Key (@MichaelKeyWB) April 20, 2024
Theater
‘Amm(i)gone’ explores family, queerness, and faith
A ‘fully autobiographical’ work from out artist Adil Mansoor
‘Amm(i)gone’
Thorough May 12
Woolly Mammoth Theatre
641 D St., N.W.
$60-$70
Woollymammoth.net
“Fully and utterly autobiographical.” That’s how Adil Mansoor describes “Amm(i)gone,” his one-man work currently playing at Woolly Mammoth Theatre.
Both created and performed by out artist Mansoor, it’s his story about inviting his Pakistani mother to translate Sophocles’s Greek tragedy “Antigone” into Urdu. Throughout the journey, there’s an exploration of family, queerness, and faith,as well as references to teachings from the Quran, and audio conversations with his Muslim mother.
Mansoor, 38, grew up in the suburbs of Chicago and is now based in Pittsburgh where he’s a busy theater maker. He’s also the founding member of Pittsburgh’s Hatch Arts Collective and the former artistic director of Dreams of Hope, an LGBTQ youth arts organization.
WASHINGTON BLADE: What spurred you to create “Amm(i)gone”?
ADIL MANSOOR: I was reading a translation of “Antigone” a few years back and found myself emotionally overwhelmed. A Theban princess buries her brother knowing it will cost her, her own life. It’s about a person for whom all aspirations are in the afterlife. And what does that do to the living when all of your hopes and dreams have to be reserved for the afterlife?
I found grant funding to pay my mom to do the translation. I wanted to engage in learning. I wanted to share theater but especially this ancient tragedy. My mother appreciated the characters were struggling between loving one another and their beliefs.
BLADE: Are you more director than actor?
MANSOOR: I’m primarily a director with an MFA in directing from Carnegie Mellon. I wrote, directed, and performed in this show, and had been working on it for four years. I’ve done different versions including Zoom. Woolly’s is a new production with the same team who’ve been involved since the beginning.
I love solo performance. I’ve produced and now teach solo performance and believe in its power. And I definitely lean toward “performance” and I haven’t “acted” since I was in college. I feel good on stage. I was a tour guide and do a lot of public speaking. I enjoy the attention.
BLADE: Describe your mom.
MANSOOR: My mom is a wonderfully devout Muslim, single mother, social worker who discovered my queerness on Google. And she prays for me.
She and I are similar, the way we look at things, the way we laugh. But different too. And those are among the questions I ask in this show. Our relationship is both beautiful and complicated.
BLADE: So, you weren’t exactly hiding your sexuality?
MANSOOR: In my mid-20s, I took time to talk with friends about our being queer with relation to our careers. My sexuality is essential to the work. As the artistic director at Dreams of Hope, part of the work was to model what it means to be public. If I’m in a room with queer and trans teenagers, part of what I’m doing is modeling queer adulthood. The way they see me in the world is part of what I’m putting out there. And I want that to be expansive and full.
So much of my work involves fundraising and being a face in schools. Being out is about making safe space for queer young folks.
BLADE: Have you encountered much Islamophobia?
MANSOOR: When 9/11 happened, I was a sophomore in high school, so yes. I faced a lot then and now. I’ve been egged on the street in the last four months. I see it in the classroom. It shows up in all sorts of ways.
BLADE: What prompted you to lead your creative life in Pittsburgh?
MANSOOR: I’ve been here for 14 years. I breathe with ease in Pittsburgh. The hills and the valleys and the rust of the city do something to me. It’s beautiful, it’ affordable, and there is support for local artists. There’s a lot of opportunity.
Still, the plan was to move to New York in September of 2020 but that was cancelled. Then the pandemic showed me that I could live in Pittsburgh and still have a nationally viable career.
BLADE: What are you trying to achieve with “Amm(i)gone”?
MANSOOR: What I’m sharing in the show is so very specific but I hear people from other backgrounds say I totally see my mom in that. My partner is Catholic and we share so much in relation to this.
I hope the work is embracing the fullness of queerness and how means so many things. And I hope the show makes audiences want to call their parents or squeeze their partners.
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