Arts & Entertainment
Jaleo turns 20
Spanish tapas restaurant has renovated décor, creative offerings
Jaleo, newly renovated, features a bounty of exquisite tapas. (Photo courtesy of Jaleo)
A couple of weeks ago my mother was passing through Washington on a night when I was planning on prepping for a column. My mother knows me as the picky child who refused to try anything new and wiped peas off noodles in her pasta carbonara before eating it.
So, I thought having a meal with her son who tries all sorts of new foods and writes about them could be fun. That is when I remembered that Jaleo (480 7th Street NW) had been renovated semi-recently and was celebrating its 20th year in D.C. I texted my mother with the suggestion, letting here know it was a Spanish tapas-style restaurant, and when she responded with, “Oh, sounds good,” I made the reservation.
Jaleo is a Spanish word that means revelry and fun and you feel this festive spirit the moment you step into this redesigned space, from the foosball dining tables to the murals on the wall. The restaurant is full of bold colors and sleek furnishings and the artwork clearly embodies the meaning of the work jaleo. This playful space was truly pleasurable to dine in.
For drinks we decided on the sangria de cava, which is a whole bowl of sangria mixed tableside. The sangria was sweet, fresh and an excellent pairing for the food that followed. Our first course would be a selection of cheeses and an assortment of cured iberico meats. The manchego, one of my favorites, was tangy and served with compressed apples in muscatel and the cana de cabra was a luscious goat cheese served with a delectable fig jam. The iberico meats were fresh delicate slices of meat from the legendary acorn-fed black-footed iberico pigs of Spain. It was a great way to start the meal.
As we finished our first course we decided on a few other items to order, including the “setas al ajillo con la serena,” which are sautéed seasonal mushrooms in a cheese potato puree and a plate of seared piquillo peppers stuffed with goat cheese. Both dishes were brilliant but the perfectly prepared mushrooms in the rich, fluffy potato puree were a favorite. Then the dates wrapped in bacon arrived; this was a superb rich and sweet combination. Another item in this course, which did not want to be overshadowed by the bacon wrapped date, was the chorizo wrapped in crispy potato, which was scrumptious.
The seafood portion of the menu was up next. I made sure we ordered the “Gambas al Ajillo,” described as the “very, very famous tapa of shrimp sautéed in garlic.” We also ordered the seared scallop and the jumbo lump crabmeat salad. While the shrimp may have been the “famous tapa,” and it was enjoyed, it was not the winning item in our opinion.
That was a tie between the other two tapas: the scallop with pine nuts and Pedro Ximenez, each amazing. They were cooked perfectly, smooth and tender with a hint of sweetness and they melted in your mouth. The cold lump crabmeat salad with cucumbers, peppers and tomatoes in a brandy sauce was crisp and refreshing. We tried a few other dishes on the menu including the brussel sprout special. My mother discovered she liked them, though I still think they look and taste like alien eyeballs. Each dish that arrived at the table was very good, some were extraordinary and many more piqued our interest, so another visit may soon be in order.
With the savory portion of the night behind us, we tried a couple items off the dessert menu. With our waiter’s assistance we decided on two desserts: the Manzanas “Carlota” al PX and the Gin and Tonic sorbet, Jose Andres favorite cocktail made into a dessert. The apples Charlotte was a delicious option, however at least in the opinion of the four of us at the table, gin and tonic should remain a drink not a dessert.
When all was said and done, Jose Andres and his head chef at Jaleo D.C. Paul Yeck deliver an excellent dining experience in an energetic atmosphere. All our courses were luscious, the company was entertaining and my mother appreciated her meal. So, whether you are dining with mom or friends, Jaleo is a worthwhile flavor adventure and the food is just part of the fun.
WorldPride 2025 concluded with the WorldPride Street Festival and Closing Concert held along Pennsylvania Ave., N.W. on Sunday, June 8. Performers on the main stage included Doechii, Khalid, Courtney Act, Parker Matthews, 2AM Ricky, Suzie Toot, MkX and Brooke Eden.
(Washington Blade photos by Michael Key)
The 2025 WorldPride Parade was held in Washington, D.C. on Saturday, June 7. Laverne Cox and Renée Rapp were the grand marshals.
(Washington Blade photos by Michael Key and Robert Rapanut)
Theater
A hilarious ‘Twelfth Night’ at Folger full of ‘elegant kink’
Nonbinary actor Alyssa Keegan stars as Duke Orsino
‘Twelfth Night’
Through June 22
Folger Theatre
201 East Capitol St., S.E.
$20-$84
Folger.edu
Nonbinary actor Alyssa Keegan (they/them)loves tapping into the multitudes within.
Currently Keegan plays the melancholic Duke Orsino in Folger Theatre’s production of Shakespeare’s romantic comedy “Twelfth Night.” Director Mei Ann Teo describes the production as “sexy, hilarious, and devastating” and full of “elegant kink.”
Washington-based, Keegan enjoys a busy and celebrated career. Her vast biography includes Come From Away at Ford’s Theatre; Cat on a Hot Tin Roof (Helen Hayes Award, Best Actress) and Paula Vogel’s How I Learned to Drive, both at Round House Theatre; Diana Son’s Stop Kiss directedby Holly Twyford for No Rules Theatre Company; and Contractions at Studio Theatre, to name just a few.
In addition to acting, Keegan works as a polyamory and ethical non-monogamy life and relationship coach, an area of interest that grew out of personal exploration. For them, coaching seems to work hand in hand with acting.
WASHINGTON BLADE: You’re playing the lovesick Orsino in Twelfth Night. How did that come about?
ALYSSA KEEGAN: The director was looking to cast a group of actors with diverse identities; throughout auditions, there were no constraints regarding anyone’s assigned sex at birth. It was really a free for all.
BLADE: What’s your approach to the fetching, cod-piece clad nobleman?
KEEGAN: Offstage I identify as completely nonbinary; I love riding in this neutral middle space. But I also love cosplay. The ability to do that in the play gives me permission to dive completely into maleness.
So, when I made that decision to play Orsino as a bio male, suddenly the part really cracked open for me. I began looking for clues about his thoughts and opinions about things like his past relationships and his decision not to date older women.
Underneath his mask of bravura and sexuality, and his firmness of feelings, he’s quite lonely and has never really felt loved. It makes sense to me why his love for Olivia is so misguided and why he might fall in love with the Cesario/Viola character.
BLADE: As an actor, do you ever risk taking on the feelings of your characters?
KEEGAN: Prior to my mental health education, yes, and that could be toxic for me. I’ve since learned that the nervous system can’t tell the difference between real emotional distress and a that of a fully embodied character.
So, I created and share the Empowered Performer Project. [a holistic approach to performance that emphasizes the mental and emotional well-being of performing artists]. It utilizes somatic tools that help enormously when stepping into a character.
BLADE: Has changing the way you work affected your performances?
KEEGAN: I think I’m much better now. I used to have nearly debilitating stage fright. I’d spend all day dreading going onstage. I thought that was just part of the job. Now, I’ve learned to talk to my body. Prior to a performance, I can now spend my offstage time calmly gardening, working with my mental health clients, or playing with my kid. I’m just present in my life in a different way.
BLADE: Is Orsino your first time playing a male role?
KEEGAN: No. In fact, the very first time I played a male role was at the American Shakespeare Center in Staunton, Va. I played Hipolito in Thomas Middleton’s The Revenger’s Tragedy.
As Hipolito, I felt utterly male in the moment, so much so that I had audience members see me later after the show and they were surprised that I was female. They thought I was a young guy in the role. There’s something very powerful in that.
BLADE: Do you have a favorite part? Male or female?
KEEGAN: That’s tough but I think it’s Maggie the Cat. I played the hyper-female Maggie in Tennessee Williams’ Cat on a Hot Tin Roof at Round House. In the first act she didn’t stop talking for 51 minutes opposite Gregory Wooddell as Brick who barely had to speak. That lift was probably the heaviest I’ve ever been asked to do in acting.
BLADE: What about Folger’s Twelfth Night might be especially appealing to queer audiences?
KEEGAN: First and foremost is presentation. 99% of the cast identify as queer in some way.
The approach to Shakespeare’s text is one of the most bold and playful that I have ever seen. It’s unabashedly queer. The actors are here to celebrate and be loud and colorful and to advocate. It’s a powerful production, especially to do so close to the Capitol building, and that’s not lost on any of us.
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A hilarious ‘Twelfth Night’ at Folger full of ‘elegant kink’
