Arts & Entertainment
Russian adventures
Dance legend’s time abroad explored in new work
‘Once Wild: Isadora Duncan in Russia’
Today through Sunday
Word Dance Theater
Georgetown University’s Davis Performing Arts Center
37th & O Streets, NW
$10-$25
202-687-ARTS
worddance.org
Cynthia Word as Isadora Duncan in ‘Once Wild.’ (Photo by Teresa Castracane, courtesy Theo Kossenas, Media 4 Artists)
Isadora Duncan’s spectacular life is often reduced to a cautionary tale: long, flowing scarves and convertibles don’t mix. But there’s much more to the glamorous mother of modern dance than her ungraceful death and Word Dance Theater, a D.C.-based cross disciplinary company dedicated to carrying forth Duncan’s work, is doing its best to make sure that the world knows it.
Word Dance Theater is joining forces with Georgetown University’s Davis Performing Arts Center to present “Once Wild: Isadora in Russia,” a compelling slice from Duncan’s groundbreaking legend.
Penned by Norman Allen, who is gay, “Once Wild” reimagines Duncan and her adopted daughter Irma’s time in Russia during the early days of the Bolshevik revolution. It follows the American dancer’s efforts to introduce iconoclastic choreography to young Russian dancers; the challenges they encountered opening a dance school amidst a background of sweeping social changes and Isadora’s tumultuous romance with volatile Russian poet Sergei Esenin (danced by Helen Hayes Award-winning, out actor Philip Fletcher).
The story — an original work based on historic facts — is told from Irma’s point of view. Because the production combines both theater and dance, Allen says, there are two Irmas on stage throughout the show — an older Irma who sits in a wheelchair (Kimberly Schraf) delivering all of the 80-minute work’s dialogue, and company member Ingrid Zimmer who silently dances as the younger Irma, embodying the memories and essence of Duncan’s choreography.
“Once Wild” isn’t Allen’s first foray into the world of dance. Early in his career he scored a big success with “Nijinsky’s Last Dance,” a one-man show about the legendary, gravity-defying Russian ballet dancer. He’s also written a libretto for the Washington Ballet. “With ‘Once Wild,’ the dance and words are interwoven and overlap,” Allen says. “As always with any work, the toughest part was finding the structure. How do you make sense of five years of historical tumult and two women doing amazing things? (Director Derek Goldman) and I have tried to make this play a reliving rather than a looking back. Old Irma speaks to young Irma. It’s much more alive this way.”
Cynthia Word, Word Dance Theater’s artistic director and the show’s choreographer, plays Isadora.
“Though I’ve been interested in Duncan for many years, dancing and choreographing her work, this is the first time I’ve ever portrayed her. It’s a big responsibility. Isadora, I think, would only want that I dance my truest self.”
Duncan, who died from a broken neck at 49 in 1927 on the Côte d’Azur after her trademark long scarf became entangled in the spokes of her chauffer-driven Bugatti, was a genius who single handedly altered the entire concept of dance. Unlike classical ballet that left audiences in awe, she preferred organic, relatable movement. Her work incorporated timely issues. She danced to music composed by the great masters and incorporated themes of current issues on stages stripped of unnecessary spectacle. She and her dancers dressed in comfortable, loose-fitting tunics (the theme song for the ‘70s sitcom “Maude” describes Isadora as “the first bra burner”). “I doubt she ever wore a bra to start with,” Word says.
“Once Wild” includes a lot of Duncan’s own choreography. Other than some flickering images, there’s no film of Duncan dancing, Word says. But fortunately for today’s choreographers, Duncan was a star on the between-the-wars Paris art scene, so there are many photographs and paintings of her in dance poses which give important clues about the dance. Archived reviews describing her work have proved very helpful too. “Lineage from dancer to dancer has also become very important,” says Word whose teacher was taught by one of Duncan’s students. “How close you can get to the source is important. Being close to the source makes the work more real.”
Duncan was still performing and very active until the end. “She had premonitions about her death,” Word says. “But it didn’t help. Isadora loved to go fast.”
a&e features
Memorial for groundbreaking bisexual activist set for May 2
Loraine Hutchins remembered as a ‘force of nature’
The Montgomery County Pride Center will host a celebration honoring the life and legacy of Loraine Hutchins, Ph.D., on May 2. People are invited to attend the onsite memorial or a livestream event. The on-site event will begin at 10 a.m. with a meet-and-greet mixer before moving into a memorial service around the theme “Loraine a Force of Nature!” at 11 a.m., a panel talk at 12 p.m., break out sessions for artists, academics, and activists to build on her legacy at 1 p.m. and a closing reception at 2 p.m.
Attendees are encouraged to register for the on-site memorial gathering or the livestreamed memorial. The goal of this event is also to collect stories and memories of Loraine. Attendees and others can share their stories at padlet.com.
An obituary for Hutchins was published in the Bladelast Nov. 24, where people can learn more about her activism in the bisexual community. A private service for friends and family was held in December but this memorial service is open to all.
Alongside her groundbreaking work organizing for U.S. bisexual rights and liberation including co-editing “Bi Any Other Name: BIsexual People Speak Out” (1991), she also integrated faith into her sexual education and advocacy work. Her 2001 doctoral dissertation, “Erotic Rites: A Cultural Analysis of Contemporary U.S. Sacred Sexuality Traditions and Trends,” offered a pointed queer and feminist analysis to sex-neutral and sex-positive spiritual traditions in the United States. Her thesis was also groundbreaking in exploring the intersections between sex workers and those in caregiving professionals, including spiritual ones.
In an oral history interview conducted by Michelle Mueller back in August 2023, Hutchins described herself as a “priestess without a congregation.” While she has occasionally had a sense of community and feels part of a group of loving people, she admitted that “I don’t feel like we have the shape or the purpose that we need.”
“I’ve often experienced being the Cassandra in the room, the Cassandra in the community. Somebody who’s kind of way out there ahead, thinking through the strategic action points that my community hasn’t gotten to yet, and getting a lot of resistance and hostile responses from people who are frightened by dissent and conflict and not ready for the changes we have to make to survive,” she said.
“For somebody who’s bisexual in an out political way and who’s been a spokesperson for the polyamory movement in an out political way, it’s very exposing. And it’s very important to me to be able to try to explain and help other people understand the connection between spirituality and sexuality,” she explained citing how even as a graduate student she was “exploring how to feel erotic and spiritual, and not feel them in conflict with each other in my own spiritual contemplative life and my own sensual body awareness of being alive in the world.”
“Every religion has a sense of sacred sexuality. It’s just they put a lot of boundaries and regulations on it, and if we have a spiritual practice that is totally affirming of women’s priesthood and of gay people, queer people’s ability to minister to everyone and to be ministered to be everyone, what does that do to the gender of God, or our understanding of how we practice our spirituality and our sexuality in community and privately?”
“There’s no easy answer,” she concludes, and she continued to grapple with these questions throughout her life, co-editing another seminal text, “Sexuality, Religion and the Sacred: Bisexual, Pansexual, and Polysexual Perspectives,” published in 2012. Her work blending spiritual and queer liberation remains groundbreaking to this day.
Rev. Eric Eldritch, a local community organizer and ordained Pagan minister with Circle Sanctuary who has worked for decades with the DC Center’s Center Faith to organize the Pride Interfaith Service, is eager to highlight this element of her legacy at the memorial service next month.
History
Julius’ Bar ‘sip-in’ laid groundwork for Stonewall
Tuesday marked 60 years since four gay activists held protest
While Stonewall is widely considered the birthplace of the modern LGBTQ rights movement in the U.S., a lesser-known protest inside a Greenwich Village bar three years earlier helped lay critical groundwork for what would follow.
Tuesday marked 60 years since the Julius’ Bar “sip in.”
On April 21, 1966, four gay rights activists — Dick Leitsch, Craig Rodwell, John Timmons, and later Randy Wicker — walked into Julius’ Bar and staged what would become known as a “sip-in” to challenge state liquor regulations on serving alcoholic beverages to gay men — with a drink.
Modeled after the sit-ins that challenged racial segregation across the American South, the protest was designed to confront discriminatory practices targeting LGBTQ patrons in public spaces.
At the time, the Mattachine Society — one of the country’s earliest gay rights groups — was actively pushing back against policies enforced by the New York State Liquor Authority. One of those policies could have resulted in the loss of liquor licenses for serving known or suspected gay men and lesbians. The participants had visited multiple establishments, openly identified themselves as homosexual, and requested a drink — with the anticipation of being denied.
Their final stop was Julius’, where reporters and a photographer had gathered to document the moment. When Leitsch declared their identity, the bartender covered their glasses and refused service, reportedly saying, “I think it’s against the law.” The next day, the New York Times ran a story with the headline, “3 Deviates Invite Exclusion by Bars,” cementing the moment in the public record.
Though initially framed with disrespect — the term “sip-in” itself was coined as a play on civil rights protests — the action marked a turning point. It brought national attention to the systemic discrimination LGBTQ people faced and helped catalyze changes in how liquor laws were enforced. In the years that followed, the protest contributed to the emergence of licensed, more openly gay-friendly bars, which became central social and organizing spaces for LGBTQ communities.
The Washington Blade originally covered when the bar was officially added to the National Park Service’s National Register of Historic Places in 2016.
Today, historians and advocates increasingly recognize the “sip-in” as a key pre-Stonewall milestone. According to the New York City LGBTQ Historic Sites Project, the protest not only increased visibility of the early LGBTQ rights movement but also exposed widespread surveillance and entrapment tactics used against the community.
Marking the 60th anniversary of the event, commemorations have taken place in New York and across the country. Reflecting on its enduring legacy, Amanda Davis, executive director of the NYC LGBTQ Historic Sites Project, spoke about the event.
“Julius’ Bar is a place you can visit and viscerally connect with history,” said Davis. “We’re thrilled to have solidarity locations across the country join us in commemorating the ‘sip-in’’s 60th anniversary and the queer community’s First Amendment right to peaceably assemble.”
For current stewards of the historic bar, the responsibility of preserving that legacy remains front of mind.
“It’s a privilege and a responsibility to be the steward of a place so important to American and LGBTQ history,” said current owner of Julius’ Bar, Helen Buford. “The events of the 1966 Sip-In here at Julius’ resonated across the country and inspired countless others to stand proud for their rights.”
The timing couldn’t have come at a more important moment, Kymn Goldstein, executive director of the June L. Mazer Lesbian Archives, explained.
“At a time when our community faces renewed challenges, coming together in resilience and solidarity reminds us of the power in our collective resistance,” Goldstein said.
The American Civil Liberties Union, an organization dedicated to defending rights and liberties guaranteed by the Constitution, is currently tracking 519 anti-LGBTQ bills across the U.S. The majority are targeted at restricting transgender rights — particularly related to gender-affirming care, sports participation, and the use of public bathrooms.
Some additional groups and bars that held their own “sip-in” as solidarity events to uplift this historic milestone are from across the country include:
Alice Austen House at Steiny’s Pub, Staten Island, N.Y.
Bellows Falls Pride Committee at PK’s Irish Pub, Bellows Falls, Vt.
Brick Road Coffee, Mesa, Ariz.
Brick Road Coffee, Tempe, Ariz.
Dick Leitsch’s Family at Old Louisville Brewery, Louisville, Ky.
The Faerie Playhouse & LGBT+ Archives Project of Louisiana at Le Cabaret, New Orleans
Harlem Pride & John Reddick at L’Artista Italian Kitchen & Bar, New York
JOYR!DE KiKi at Loafers Cocktail Bar, New York
Matthew Lawrence & Jason Tranchida / Headmaster at Deadbeats Bar, Providence, R.I.
Mazer Lesbian Archives at Alana’s Coffee, Los Angeles
New Hope Celebrates at The Club Room, New Hope, Pa.
Queer Memory Project at the University of Evansville Multicultural Student Commons / Ridgway University Center, Evansville, Ind.
Sandy Jack’s Bar, Brooklyn, N.Y.
St. Louis LGBT History Project at Just John Club, St. Louis
The LGBTQ+ Victory Fund National Champagne Brunch was held at Salamander Washington DC on Sunday, April 19. Gov. Andy Beshear (D-Ky.) was presented with the Allyship Award.
(Washington Blade photos by Michael Key)
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