Arts & Entertainment
Dance: Lords of the dance
Gay creative energy abounds in season’s visiting performance troupes


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 8th 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 10th 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 8th 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 8th 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.

The fifth annual Fredericksburg Pride march and festival was held on Saturday, June 28. A march through the streets of downtown Fredericksburg, Va. was followed by a festival at Riverfront Park.
(Washington Blade photos by Michael Key)



















India
Anaya Bangar challenges ban on trans women in female cricket teams
Former Indian cricketer Sanjay Bangar’s daughter has received support

Anaya Bangar, the daughter of former Indian cricketer Sanjay Bangar, has partnered with the Manchester Metropolitan University Institute of Sport in the U.K. to assess her physiological profile following her gender-affirming surgery and undergoing hormone replacement therapy.
From January to March 2025, the 23-year-old underwent an eight-week research project that measured her glucose levels, oxygen uptake, muscle mass, strength, and endurance after extensive training.
The results, shared via Instagram, revealed her metrics align with those of cisgender female athletes, positioning her as eligible for women’s cricket under current scientific standards. Bangar’s findings challenge the International Cricket Council’s 2023 ban on transgender athletes in women’s cricket, prompting her to call for a science-based dialogue with the Board of Control for Cricket in India and the ICC to reform policies for transgender inclusion.
“I am talking with scientific evidence in my hand,” Bangar said in an interview posted to her Instagram page. “So, I hope, this makes an impact and I will be hoping to BCCI and ICC talking with me and discussing this further.”
On Nov. 21, 2023, the ICC enacted a controversial policy barring trans women from international women’s cricket. Finalized after a board meeting in Ahmedabad, India, the regulation prohibits any trans player who has experienced male puberty from competing, irrespective of gender-affirming surgery or hormone therapy. Developed through a 9-month consultation led by the ICC’s Medical Advisory Committee, the rule aims to safeguard the “integrity, safety, and fairness” of women’s cricket but has drawn criticism for excluding athletes like Canada’s Danielle McGahey, the first trans woman to play internationally. The policy, which allows domestic boards to set their own rules, is slated for review by November 2025.
Bangar shared a document on social media verifying her participation in a physiological study at the Manchester Metropolitan University Institute of Sport, conducted from Jan. 20 to March 3, 2025, focused on cricket performance. The report confirmed that her vital metrics — including haemoglobin, blood glucose, peak power, and mean power — aligned with those of cisgender female athletes. Initially, her fasting blood glucose measured 6.1 mmol/L, slightly above the typical non-diabetic range of 4.0–5.9 mmol/L, but subsequent tests showed it normalized, reinforcing the study’s findings that her physical profile meets female athletic standards.
“I am submitting this to the BCCI and ICC, with full transparency and hope,” said Bangar. “My only intention is to start a conversation based on facts not fear. To build space, not divide it.”
In a letter to the BCCI and the ICC, Bangar emphasized her test results from the Manchester Metropolitan University study. She explained that the research aimed to assess how hormone therapy had influenced her strength, stamina, haemoglobin, glucose levels, and overall performance, benchmarked directly against cisgender female athletic standards.
Bangar’s letter to the BCCI and the ICC clarified the Manchester study was not intended as a political statement but as a catalyst for a science-driven dialogue on fairness and inclusion in cricket. She emphasized the importance of prioritizing empirical data over assumptions to shape equitable policies for trans athletes in the sport.
Bangar urged the BCCI, the world’s most influential cricket authority, to initiate a formal dialogue on trans women’s inclusion in women’s cricket, rooted in medical science, performance metrics, and ethical fairness. She called for the exploration of eligibility pathways based on sport-specific criteria, such as haemoglobin thresholds, testosterone suppression timelines, and standardized performance testing. Additionally, she advocated for collaboration with experts, athletes, and legal advisors to develop policies that balance inclusivity with competitive integrity.
“I am releasing my report and story publicly not for sympathy, but for truth. Because inclusion does not mean ignoring fairness, it means measuring it, transparently and responsibly,” said Bangar in a letter to the BCCI. “I would deeply appreciate the opportunity to meet with you or a representative of the BCCI or ICC to present my findings, discuss possible policy pathways, and work towards a future where every athlete is evaluated based on real data, not outdated perceptions.”
Before her transition, Bangar competed for Islam Gymkhana in Mumbai and Hinckley Cricket Club in the U.K., showcasing her talent in domestic cricket circuits. Her father, Sanjay Bangar, was a dependable all-rounder for the Indian national cricket team from 2001 to 2004, playing 12 test matches and 15 One Day Internationals. He later served as a batting coach for the Indian team from 2014 to 2019, contributing to its strategic development.
Cricket in India is a cultural phenomenon, commanding a fanbase of more than 1 billion, with more than 80 percent of global cricket viewership originating from the country.
The International Cricket Council, the sport’s governing body, oversees 12 full member nations and more than 90 associate members, with the U.S. recently gaining associate member status in 2019 and co-hosting the 2024 ICC Men’s T20 World Cup. The BCCI generated approximately $2.25 billion in revenue in the 2023–24 financial year, primarily from the Indian Premier League, bilateral series, and ICC revenue sharing. The ICC earns over $3 billion from media rights in India alone for the 2024–27 cycle, contributing nearly 90 percent of its global media rights revenue, with the BCCI receiving 38.5 percent of the ICC’s annual earnings, approximately $231 million per year.
Women’s cricket in India enjoys a growing fanbase, with over 300 million viewers for the Women’s Premier League in 2024, making it a significant driver of the sport’s global popularity. The International Cricket Council oversees women’s cricket in 12 full member nations and over 90 associate members, with the U.S. fielding a women’s team since gaining associate status in 2019 and competing in ICC events like the 2024 Women’s T20 World Cup qualifiers. The BCCI invests heavily in women’s cricket, allocating approximately $60 million annually to the WPL and domestic programs in 2024–25, while contributing to the ICC’s $20 million budget for women’s cricket development globally. India’s media market for women’s cricket, including WPL broadcasting rights, generated $120 million in 2024, accounting for over 50 percent of the ICC’s women’s cricket media revenue.
“As a woman, I feel when someone says that they are women, then they are, be trans or cis. A trans woman is definitely the same as a cis woman emotionally and in vitals, and specially, when someone is on hormone replacement therapy. Stopping Anaya Bangar from playing is discrimination and violation of her rights. It is really sad and painful that every transwoman need to fight and prove their identity everywhere,” said Indrani Chakraborty, an LGBTQ rights activist and a mother of a trans woman. “If ICC and BCCI is stopping her from playing for being transgender, then I will say this to be their lack of awareness and of course the social mindsets which deny acceptance.”
Chakraborty told the Blade that Bangar is an asset, no matter what. She said that the women’s cricket team will only benefit by participation, but the discriminating policies are the hindrance.
“Actually the transgender community face such discrimination in every sphere. In spite of being potent, they face rejection. This is highly inhuman. These attitudes is regressive and will never let to prosper. Are we really in 2025?,” said Chakraborty. “We, our mindset and the society are the issues. We, as a whole, need to get aware and have to come together for getting justice for Anaya. If today, we remain silent, the entire community will be oppressed. Proper knowledge of gender issues need to be understood.”
The BCCI and the International Cricket Council have not responded to the Blade’s repeated requests for comment.
Theater
‘Andy Warhol in Iran’ a charming look at intersection of art, politics
Mosaic production plumbs kidnapping plot of iconic artist for humor

‘Andy Warhol in Iran’
Through July 6
Mosaic Theater Company at Atlas Performing Arts Center
1333 H St., N.E., WDC
$70
Mosaictheater.org
Behind the blasé veneer, Andy Warhol was more curious than people knew. Particularly when it came to money. He kept a close eye on how the ultra-rich lived, what fellow artists were being paid and who was paying them, and, of course, all the new and more saleable ways of making and selling art.
In playwright Brent Askari’s “Andy Warhol in Iran,” now playing at Mosaic Theater Company, Warhol (Alex Mills) is brought outside of his usual area of interest when he lands face to face with a young revolutionary. While Warhol could be artistically revolutionary, he didn’t connect with the idea of forgoing the pursuit of money and fame for the infinitely more difficult task of achieving social justice.
The 90-minute play is not fully factual, but rather inspired by Warhol’s real life 1976 trip to Tehran to make portraits of the royal Pahlavi family in the waning days of their reign, with a focus on Farah Diba, the Shah’s elegant wife and Iran’s last empress.
The action unfolds in a Tehran hotel suite boasting a glorious view of the snowcapped Alborz Mountains not far from Iran’s vibrant and bustling capital. It’s here, disguised as room service, that Farhad (played by Nathan Mohebbi) gains entrance to Warhol’s rooms, seeking to kidnap the pop art star to garner attention for the university students’ movement.
Warhol meets the armed intruder with a sort of wide-eyed wonderment, flummoxed why he has been selected for abduction. Warhol can’t understand why a young man like Farhad wouldn’t prefer to be paid a big ransom on the spot, or be cast as a star in one of the Warhol Factory flicks.
When Farhad replies it’s because Warhol is the most decadent artist in the world, Warhol mistakenly takes it for the ultimate compliment. After all, his biggest successes had been connected to celebrity and consumerism (think Campbell’s Soup Cans. 1962).
For Warhol, decadence is aspirational. He made portraits of financiers, movie stars, and jet setters. In fact, he’d been obsessed with the lives of the rich and famous since he was a small kid in Pittsburgh thumbing through Photoplay Magazine while bed bound with Saint Vitus Dance.
Accompanying Warhol to Tehran (unseen) are his business manager Fred Hughes, and Bob Colacello, editor of Interview magazine. Together, they make a merry trio of gay social climbers. These kinds of trips were a boon to the artist. Not only did they solidify a new strata of high society contacts, but were also superbly lucrative, thickly padding the painter’s pockets.
While in Iran, Warhol wanted only to view Farah’s vast world-class collection of jewels, sample the caviar on tap, and get his Polaroids. Then he’d fly first class back to New York and transfer the images to silk screen and sell the portraits to the Persian royals at a hefty price. He didn’t foresee any obstacles along the way.
Serge Seiden’s direction is spot on. He’s rendered a wonderfully even two-hander with a pair of terrifically cast actors. And Seiden plumbs the piece for humor mostly drawn from the absurdity of the situation without missing any of the serious bits.
As Warhol, out actor Mills is instantly recognizable as the eccentric artist. He’s wearing the button-down shirt, jeans, blazer, glasses, and, of course the famed shock of white hair wig (here a little more Karen than Andy). His portrayal is better than an imitation. He gives a bit of the fey and confused, but has also infuses him with a certain dynamism.
The energy works well with the intensity of Mohebbi’s would-be kidnapper Farhad. And while it isn’t a romance, it’s not impossible to think that Warhol might fall for a handsome male captor.
The connection between art and politics is almost always interesting; and though not a super deep dive into the era or the life of an artist, “Andy Warhol in Iran” is a compelling, charming, and sometimes funny glimpse into that intersection.
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