Arts & Entertainment

Dance: Lords of the dance

Gay creative energy abounds in season’s visiting performance troupes

Published

13 years ago

February 27, 2013

A promo still from ‘The Rambler,’ a performance by the Joe Goode Performance Group. Goode, a gay San Francisco-based artist, will be in Rockville this weekend for two performances — Saturday at 7:30 p.m. and Sunday at 2 p.m. at American Dance Institute (1570 E. Jefferson Street in Rockville). Visit americandance.org for details. (Photo courtesy Joe Goode Performance Group)

Last year at this time we were saying farewell to the famous D.C. Cowboys, but just because the Cowboys have performed their last dance doesn’t mean there aren’t plenty of other important dance offerings in the region this spring. Many feature gay performers, gay themes or gay directors, so make sure to mark your calendar for your favorites.

Bowen McCauley Dance, led by dancer and choreographer Lucy Bowen McCauley performs at the Atlas Intersections Festival tonight at 10 p.m. at the Atlas Performing Arts Center (1333 H Street N.E.). This performance will combine dance and rock music and a live performance by Half Brother. On April 5-6, Bowen McCauley Dance performs at the Kennedy Center (2700 F Street N.W.) at 7:30 p.m. They will be celebrating the centennial anniversary of “Rite of Spring” and other pieces. Tickets range from $36-40.

On March 7-8, gay dancer and choreographer Helanius J. Wilkins performs his powerful piece “Closer” two final times at the Atlas Performing Arts Center (1333 H Street N.E.) as part of the Atlas Intersections Festival. In this piece, Wilkins navigates his way from questions to statements while exploring newfound realizations of dance. For more information visit hjwedgeworks.com.

David Burkholder is the artistic director of The Playground, which performs “The Chemistry of Lime Trees” at The Mead Theatre Lab @ Flashpoint (916 G Street N.W.) March 14-24. This piece explores the impact of real and perceived boundaries in our lives.

Gay helmed VT Dance/Vincent Thomas celebrates 10 years of dancing with VT Dance Looking Back, Moving Forward on March 16-17 at the Theatre Project Baltimore (45 W Preston Street, Baltimore). For more information visit www.theatreproject.org.

From March 20-24, The Washington Ballet performs “Cinderella.” which combines magnificent beauty with ravishing costumes in the retelling of this classic romance. This piece is choreographed by gay director and choreographer Septime Webre and will take place at the Kennedy Center Eisenhower Theatre (2700 F Street N.W.). Tickets are available starting at $25.

The New York City Ballet performs at The Kennedy Center Opera House March 26-31. The company will dance two signature mixed reparatory programs accompanied by the New York City Ballet Orchestra. For more information or tickets go to kennedy-center.org.

At Dance Place (3225 8^th Street N.E.) on April 6-7, Abraham.In.Motion performs Pavements, which is “Boyz in the Hood” re-imagined as a dance work investigating the state of black America.

On April 13, gay choreographer Dana Tai Soon Burgess and his company dance at Episcopal High School (1200 North Quaker Lane, Alexandria Va).

The 2013/2014 season marks the 10^th anniversary season for the gay lead dance outfit Dakshina/Daniel Phoenix Singh Dance Company. On April 13 and 14 they perform a mixed show of Sokolow work, classical Indian dance and fusion at Dance Place (3225 8^th Street N.E.).

On May 3-5 at the Davis Performing Arts Center at Georgetown University (3700 O Street N.W.) Derek Goldman presents “Once Wild: Isadora in Russia” written by gay award-winning playwright Norman Allen and choreographed by Cynthia Word. This progressive multidisciplinary production offers a bold new vision of Isadora Duncan. For tickets or more information go to performingarts.georgetown.edu.

From May 8-12 the Washington Ballet performs Septime Webre’s newest exploration into American literature with Heminway’s “The Sun Also Rises.” Tickets start at $25 for this Kennedy Center performance. For more information on to purchase tickets visit kennedy-center.org.

The Washington Ballet also performs “Peter and the Wolf” at the THEARC Theater May 18-19. To purchase tickets or for more information, visit thearcdc.org.

Gay choreographer and artistic director Josh Beamish of Move presents “Pierced” at the American Dance Institute (1570 East Jefferson St, Rockville) May 18-19.

Edgeworks Dance Theater, lead by openly gay choreographer Helanius J. Wilkins, returns to the Millennium Stage at the Kennedy Center (2700 F Street NW) on June 3. This predominately African-American Dance Company will dance a mixed repertory program featuring signature and new works.

Dance Place (3225 8^th Street N.E.) has many additional offerings throughout the spring including Revision Dance Company, Karen Sherman and Idan Cohen among others. For more information and a full listing of performances visit danceplace.org

The D.C. Lambda Squares, an LGBT square dance/social club, has numerous square dance events and class sessions coming up this spring including a community dance on March 9 with a Mardi Gras theme. Monday night beginner classes continue until May 20 from 7:30-9 p.m.

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Celebrity News

Madonna headlines World Pride Music Festival in Amsterdam

Kylie Minogue made surprise appearance alongside gay icon

Published

10 hours ago

August 2, 2026

Michael K. Lavers

Kylie Minogue with Madonna at the World Pride Music Festival in Amsterdam on Aug. 2, 2026. (Photo courtesy of Cejlon Studio)

AMSTERDAM — Madonna on Sunday headlined the final night of the World Pride Music Festival in Amsterdam.

The gay icon took the stage shortly before 2:30 a.m. local time (8:30 p.m. ET on Saturday) during Club Confessions, a set that MISTR, a telehealth platform that offers free access to PrEP, Doxy PEP, STI testing, and long-term HIV care, organized.

“Mother is here and this is gay heaven,” said Madonna when she took the stage inside Amsterdam’s AFAS Live concert hall that can hold up to 6,000 people.

Stuart Price, who produced Madonna’s 2005 “Confessions on a Dance Floor” album and “Confessions II,” which debuted on July 2, DJed the set.

Kylie Minogue made a surprise appearance. She and Madonna performed a new remix of “Love Sensation” from “Confessions II.”

(Washington Blade video by Michael K. Lavers)

“Throughout my career, I’ve always supported efforts to fight HIV and AIDS, and that fight begins with education and access,” said Madonna in a MISTR press release. “With MISTR, (CEO) Tristan (Schukraft) is expanding access to HIV prevention and sexual healthcare for everyone. Through this work, he’s helping preserve and strengthen LGBTQ+ spaces while investing in the communities and culture that have long sustained us.”

Minogue in an Instagram post thanked Madonna, Price, Schukraft, and MISTR.

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A post shared by Kylie Minogue (@kylieminogue)

Madonna appeared at The Abbey in West Hollywood, Calif., in April. Madonna in June celebrated Pride month with a pop-up performance in New York’s Times Square.

Jake Resnicow and Insomniac produced the World Pride Music Festival that also featured Bebe Rexha and Paris Hilton, among others.

“Pride has always been about bringing our community together,” said Resnicow. “At a moment when too many people are being told to hide or make themselves smaller, gathering openly, joyfully, and without apology matters more than ever. I couldn’t be prouder of what this festival brought to life in Amsterdam — one dance floor, completely free.”

Theater

Reggie White relishing first season as artistic director of Woolly Mammoth

First five shows a reminder that ‘pressure is a privilege’

Published

19 hours ago

August 2, 2026

Patrick Folliard

Reggie D. White (Photo by Ambe J. Williams)

Madly talented and preternaturally energetic, Reggie D. White, 38, is about to launch his first season as artistic director of D.C.’s boundary-pushing Woolly Mammoth Theatre Company.

White brings a lot to the job. As actor, playwright, and director, his varied resume includes a 2019 Broadway acting debut in Matthew López’s Tony Award–winning play “The Inheritance,” his semi-autobiographic play “Fremont Ave.” that opened to acclaim last season at Arena Stage, and a number of exciting regional directing credits.

A longtime admirer of Woolly, the out theater-maker was selected from a pool of candidates before receiving the offer last November and starting work in January. His season of five world premieres kicks off with gay playwright Steve Yockey’s “Venus” (Sept. 9-Oct. 4), a darkly funny study of modern relationships told through two lesbians looking back on their first encounter.

White was introduced to Woolly Mammoth as a pre-law student at Cal State Hayward in the San Francisco Bay Area, long before he foresaw a life in the arts. “As part of a random theater history course, I was assigned to write a paper on a counterculture company called Woolly Mammoth,” he recalls “Strange name. I was like what the hell is that?”

Nineteen-year-old White was intrigued. Research acquainted him with Howard Shalwitz who co-founded Woolly in 1980, and the company’s commitment to living playwrights and new work. He also learned how theater could be used as a tool for difficult conversations and shape the way people thought about social issues by employing imagination and rigor.

“Never in a million years did young me envision that one day I’d be Woolly’s third artistic director in its 46-year history,” says White. “It’s kind of serendipitously insane.”

WASHINGTON BLADE: Was there a moment when the enormity of the job hit you?

REGGIE D. WHITE: After I’d signed my contract and finished all the paperwork, I got my keys and sat in the theater by myself in the dark and thought about what an incredible honor it is to be trusted with what happens in this beautiful space [in D.C.’s Penn Quarter]. I might have cried. Sometimes I have to pinch myself to remember it’s real.

BLADE: Are you curating the upcoming 2026–2027 season?

WHITE: Yes, I am. It’s very rare that an incoming artistic director gets to program their first season, but I was lucky in terms of time. After being hired late last year, I asked Woolly’s managing director Kimberly E. Douglas, if she thought it would be crazy if I programmed the season. She warned me it would be hard.

I invoked tennis legend Billie Jean King’s maxim “pressure is a privilege” and got to work.

These plays [dubbed White’s “first five”] represent both the kind of theater that Woolly can do really well and speak directly to my voice as curator and how I want to contribute to the larger theatrical conversation in the DMV.

Getting here has meant a lot of late nights. But I knew the juice would be worth the squeeze.

BLADE: As a queer artistic director, what makes you unique?

WHITE: When I was playing in “Inheritance” on Broadway, after a performance, U.S. Supreme Court Justice Sotomayer came backstage to meet the cast. She spoke about how her lens on the world as a Puerto Rican woman shapes her decisions. Similarly, because I’m a queer Black man I see through a lens that shapes my work.

I know I’m not the only queer artistic director in town. For me, it influences how I make editorial decisions. Out of this season’s five plays there are explicitly queer characters in four [“Venus,” “Chanukkah Spectacular,” “Ten Grand,” and “Love I Awethu Further”] and I’m directing two [“Venus,” “Ten Grand”].

BLADE: Will we see familiar faces?

WHITE: Every show this season will feature a Woolly Mammoth company member in its cast. Our company also includes designers and directors who we’ll include. I’m invested in continuing to provide a showcase for their work.

BLADE: How do you think queer audiences will receive the season?

WHITE: Very well, I think. For queer people who’ve had to navigate the world subversively and solve problems in unique ways, I think it will be especially interesting. I find theater a potent place for questions.

Like all artistic directors. I’ll show up for the job in my own way. I’m just excited that I’ve been invited to bring the fullness of myself to the role.