Arts & Entertainment
A gem loses its luster
Despite a magnificent star, ‘Lescaut’ needs some polishing

Patricia Racette makes her role debut in ‘Manon Lescaut’ for Washington National Opera. (Photo by Scott Suchman; courtesy of Washington National Opera)
‘Manon Lescaut’
Through March 23
Kennedy Center Opera House
2700 F St., NW
$25-$300
202-467-4600
kennedy-center.org
Opera can be an exquisite combination of art forms when done well — lush instrumentals combine with soaring vocals and engaging theatricality to create a passionate and transformative evening. That’s why the opening night of Washington National Opera’s “Manon Lescaut” was so teeth-grindingly frustrating. It polluted a sumptuous opera with high school-level missteps in directing, performance and conducting.
Rightfully lauded soprano Patricia Racette (a lesbian) made her role debut as Manon, and as expected she hit it out of the park. Her ability to convey pathos, both vocally and as an actress, lifted the character out of her two-dimensionality, suggesting a true conflict between Manon’s desire for real love and her gold-digging tendencies. At opera’s end, when Racette managed as she had throughout the evening to keep us spellbound by her vocal line and dramatic heft, the young girl’s demise became a heartbreaking cautionary tale about living for anything other than love.
Too bad, then, that this remarkable artist had to battle an orchestra run amok. Puccini’s score is rife with sweeping gestures of romantic tragedy and under the baton of Philippe Auguin, the orchestra certainly, but not always wisely, matched the mood. The players sounded so intoxicated with the score that, at times, they sawed away at it drunkenly, often drowning out the principles. The duet between Manon and her lover Des Grieux, Bulgarian tenor Kamen Chanev, leaned perilously close to becoming a shouting match.
Chanev was clearly hired for his money notes, the bread-and-butter of any tenor, and here he delivered in spades. His passionately ringing high note and legato in the act three aria, “No! Pazzo son! Guardate,” would crack the heart of the most hardened opera aficionado, yet, high notes only do not a good tenor make. Often employing vocal parlor tricks to cover a lack of dynamic subtlety, the large-voiced Chanev stumbled clumsily through much of Puccini’s lyric writing. (Perhaps he should have taken phrasing cues from Raúl Melo’s stylistically charming Edmondo.)
This “Manon Lescaut,” a revival of the 2007 production, was created and directed by gay opera director John Pascoe, who also helmed Washington National Opera’s “Don Giovanni,” seen earlier this season, and 2008’s dynamic “Lucrezia Borgia.”
Some brilliant and unexpected design choices — a large bust-topped pillar transformed into a human-sized jewel box for Manon and broken palace pieces as the heroine’s final resting place — highlighted the shallow artifice of 18th-century Paris juxtaposed with the lonely end we all crawl toward.
The grand desolation of Manon, who goes from dancing in the glittering salons of Paris to dying on a windswept plain in America, is one hair’s breadth away from melodrama, and some of Pascoe’s blocking and set choices only highlighted this unfortunate tendency. Using a large scrolled page as a screen for projecting quotes from the original Manon story written in the 17th-century by Abbé Prévost, this page regularly split in two, framing the stage and suggesting a grand fairy tale. At times, the halves would draw closer together, unnecessarily highlighting a lead character’s aria in a ham-handed attempt to let the audience know this moment was important — as if the writing and performance alone couldn’t do that.
Hackneyed operatic staging threatened to turn the piece into a silent film. Des Grieux and Manon often didn’t sing to each other at all in moments of high passion, and sometimes they weren’t even near one another. During her death scene, the heroine was draped languidly in a sepulchral broken pillar, only then to sing about being in her tomb. Yeah. We got that, already.
Perhaps in the relentless march to make opera easily accessible, the production team sacrificed the delicacy and infinite emotional variations that reflect real life. Manon’s story is not so absurd in an era when people will just as easily sell their soul for a shot on reality TV as they would sell out true love for a chance to wear jewel-encrusted gowns.
Arts & Entertainment
The very few queer highlights of the Oscars
Streisand’s live performance, a shocking tie, and more
LOS ANGELES — While Sunday’s Academy Awards saw the expected winners “One Battle After Another” and “Sinners” nab a collective 10 Oscars throughout the evening, dominating most of the major categories, there were a few moments for queer film fans to celebrate.
During the ceremony’s prolonged and emotional In Memoriam segment, which paid tribute to Robert Redford, Rob Reiner, and Catherine O’Hara, queer icon Barbra Streisand went on stage and gave a rare live performance of “The Way We Were” as a tribute to Redford, who died last September at the age of 83. Before singing, Streisand said, “Now, Bob had real backbone on and off the screen. He spoke up to defend freedom of the press, protect the environment, and encouraged new voices at his Sundance Institute — some of whom are up for Oscars tonight, which is so great. He was thoughtful and bold.”
Both “I Lied to You” from “Sinners” and “Golden” from “KPop Demon Hunters” were performed live; Alabama Shakes front woman Brittany Howard performed during the evening’s powerful rendition of “Sinners’” “pierce the veil” scene. “Golden” ended up winning the Best Original Song award.
One of the most shocking moments of the night arrived early on when Kumail Nanjiani presented the Best Live Action short category, which was a tie between “The Singers” and “Two People Exchanging Saliva” — only the seventh tie in Oscars history (one of which involved Streisand’s 1969 win for “Funny Girl”). The latter short, which is currently streaming on The New Yorker, is described as “a dystopian version of Paris where kissing is forbidden and purchases are made through small acts of violence” and follows the unexpected connection between two women.
When accepting the award, “Two People Exchanging Saliva” director and producer Natalie Musteata said: “Thank you to the Academy for supporting a film that is weird, and that is queer, and that is made by a majority of women!”
“One Battle After Another’s” editor, Andy Jurgensen (who collaborated with Paul Thomas Anderson on “Licorice Pizza” and “Phantom Thread”), kissed his husband before going on stage to accept his award for film editing. He said, “To my partner, Bill, who brings so much joy to my life every day.”
Overall, the 2026 award season did not feature many queer films or actors in the lineup, and that was reflected in both the Oscar nominees and eventual winners. Smaller award shows like the Gotham Awards and the Film Independent Spirit Awards provided opportunities for indies like “Sorry, Baby,” “Twinless,” and “Lurker” to get proper recognition. “One Battle After Another” won Best Picture and Best Director for Paul Thomas Anderson; “Sinners” star Michael B. Jordan won Best Actor; and “Hamnet’s” Jessie Buckley won Best Actress.
The annual fantasy, comics and science fiction convention Awesome Con was held at the Walter E. Washington Convention Center on March 13-15. Featured guests included openly gay actor, author and activist, George Takei. The convention included LGBTQ panels and a “Pride Alley” with LGBTQ-specific booths in the exhibit hall.
(Washington Blade photos by Michael Key)






















Ideally, spring is our season of renewal – personal, emotional, and social. Lucky for those in the DMV, there’s a lot of exhilarating new theater to help make it happen.
At Arena Stage, there’s still time to catch the world premiere production of “Chez Joey” (extended through March 22). Set around the 1940s Chicago jazz scene, this smart reboot of the Broadway classic “Pal Joey” effervesces with music by Rodgers and Hart and a terrific cast brimming with big talent (including Myles Frost, Awa Sal Secka, and out comedic actor Kevin Cahoon).
Also at Arena, is “Inherit the Wind” (through April 5), the extraordinarily timely work based on the real-life Scopes “Monkey” Trial. It’s a courtroom drama that pits two towering legal minds against each other in a small-town battle over science, religion, and the right to think. The large, talented cast includes Billy Eugene Jones, Dakin Matthews, and out actors Holly Twyford and Alyssa Keegan. Arenastage.org
La Pluma Theatre, a queer Latin company housed in Dupont Underground, presents “The Ladybird of Saint John” (April 6-12), a powerful story about two sisters navigating immigration, separation, and the fragile bonds of family. @laplumatheatre – Instagram
Great gay playwright Tennessee Williams’ “A Streetcar Named Desire” (April 20–May 4) is also coming to the Dupont Underground space. Directed by out actor/director Nick Westrate, the touring production of Williams’s classic work set in New Orlean’s steamy Vieux Carré is performed with neither set nor props. It focuses on the words. Lucy Owen and Brad Koed star as fragile Blanche Dubois and her brutal brother-in-law Stanley. Dupontunderground.org
Folger Theatre is serving up one of the Bard’s best comedies, “As You Like It” (through April 12). Staged by out director Timothy Douglas, Folger’s production “offers a love note to D.C., imbuing the forest of Arden with the familiar vibes, culture, and characters that mark the District as a singular, resilient, and redemptive place of belonging.” Folger.edu
As part of the country’s semi-quincentennial celebrations, Ford’s Theatre presents “1776” (through May 16), a Tony Award-winning musical about the Second Continental Congress’s struggle to adopt the Declaration of Independence in Philadelphia. Directed by Luis Salgado, the show features a large cast including queer talent like Tom Story, Jake Loewenthal, Jimmy Mavrikes, and Wood Van Meter. Fords.org
In Falls Church, Creative Cauldron presents “Twelve Dancing Princesses” (through March 29), a Learning Theater Production targeting both kids and adults. Adapted from a Brothers Grimm tale, the eerie story features Spanish language elements and original music by husbands Matt Conner and Stephen Gregory Smith. Creativecauldron.org
The National Theatre presents “Disney’s Beauty and the Beast” (March 18–April 5). This musical “tale as old as time” is a love story involving Belle, a cursed beast, and the arrogant and famously spurned Gaston played out actor Stephen Mark Lukas, a beauty in his own right. Broadwayatthenational.com
At Mosaic Theater Company, Michael Bahsil-Cook plays the titular activist/congressman in Psalmayene 24’s “Young John Lewis: Prodigy of Protest.” (March 26–May 3). Staged by Mosaic’s out artistic director Reginald L. Douglas, focuses on Lewis’s formative years of ages 18-28, revealing the budding humanity and heart of this mighty historic figure. Talented out actor Vaughn Ryan Midder plays legendary civil rights activist Medgar Evers and other parts. Mosaictheater.org
At Olney Theatre Center, it’s the anticipated area premiere of “Appropriate” (March 18–April 19). Penned by Tony Award-winning out playwright Branden Jacobs-Jenkins, the darkly comic work follows a dysfunctional white family that gathers on a plantation home to liquidate their late father’s estate where they uncover a dark history of racism.
Excellent area actors Kimberly Gilbert and Cody Nickell play siblings battling over possessions as well as their father’s shady legacy. Performed in Olney’s black box Mulitz-Gudelsky Theatre Lab, the company promises a unique staging of this important American play. Jason Loewith directs.
Also at Olney Theatre, celebrity chef and longtime queer ally Carla Hall debuts her one-woman show, “Carla Hall — Please Underestimate Me” (June 3–July 12). Olneytheatre.org
British imports are striding the boards at Shakespeare Theatre Company this spring. The first is “Hamnet” (March 17–April 12), the U.S. premiere of the Royal Shakespeare Company’s 2023 stage adaptation of Maggie O’Farrell’s best-selling novel about the life of Shakespeare’s wife, Agnes, and the death of their son.
And then it’s “Eddie Izzard in the Tragedy of Hamlet” (March 27–April 11), a one-woman show in which the British comedian takes on 23 characters in a unique re-telling of the renowned work. Shakespearetheatre.org
Woolly Mammoth Theatre presents “Travesty” (March 24–April 12). Created and performed by gender fluid drag performer Sasha Velour, the one-person show is part performance art, part history, and part call to action.
Also at Woolly, out actor Justin Weaks stars in his solo piece “A Fine Madness” (June 2–21), in which the Helen Hayes Award-winning actor shares his personal experience as a Black gay man receiving a positive HIV diagnosis. Woollymammoth.net
Spring at Studio Theatre is Rachel Bonds’ “Jonah” (through April 19), an exploration of a woman’s life through relationships with three men. Directed by Taylor Reynolds, the young five-person cast includes Rohan Maletira in the title role and Ismena Mendes as Ana. Mendes is an accomplished stage and screen actor whose described as bisexual/queer in her IMBD bio. Studiotheatre.org
In Arlington, Signature Theatre’s out artistic director Matthew Gardiner stages “Pippin” (May 12–July 26), Stephen Schwartz’s musical about a young prince searching for a terrific life guided by a theatrical troupe. The original 1972 production featured stars like Ben Vereen and Irene Ryan (best known as TV’s Granny Clampett). Signature’s production’s big names have yet to be shared. Sigtheatre.org
Exciting stuff ahead.
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