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Calendar through May 30

parties, events and concerts for the end of May

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Shi-Queeta Lee, drag, drag queen, gay news, Washington Blade, Howard Theatre, Drag Salute to the Divas
Shi-Queeta Lee, drag, drag queen, gay news, Washington Blade, Howard Theatre, Drag Salute to the Divas

‘Drag Salute to the Divas’ returns to the Howard Sunday night. (Washington Blade file photo by Michael Key)

Friday, May 24

The Muslim Alliance for Sexual and Gender Diversity hosts a retreat for LGBT Muslims and their partners starting today and lasting until Monday. The weekend will include workshops, art, talent show, plenaries, community building, prayer, politics and spirituality. The goal of this retreat is to reconnect with the community while creating a dialogue with one another. Costs for the retreat is $100. For more information, visit lgbtmuslimretreat.com.

“A Prairie Home Companion” with Garrison Keillor will be presenting a live broadcast in the Filene Center at Wolf Trap (1551 Trap Rd.,Vienna) tonight at 8 p.m. and Saturday at 5:45 p.m. Ticket prices for the event ranges from $25-$60. For more information visit walftrap.org.

Mystery Dinner Playhouse (located inside the Courtyard by Marriot Crystal City, 2899 Jefferson Davis Highway, Arlington, Va.) presents its new show “The Spy Who Killed Me” tonight and Saturday at 7:30 p.m. Attendees can enjoy this comedic butler convention murder mystery during a four-course dinner. The show runs until Nov. 24, every Friday and Saturday at 7:30 p.m. The group is also available for private events. Tickets are $53. Visit mysterydinner.com for more information.

Special Agent Galactica returns with her happy hour show at the Black Fox Lounge (1723 Connecticut Ave., NW) with repeat guest Nora Palka, who will be back to share her amazing vocals this evening at 6 p.m. Locals may know Palka from her performance in “Spring Awakening” at Keegan Theatre, “Best Little Whorehouse in Texas” at Signature, and “Pygmalion” at the Washington Stage Guild. Admission is free. For more information, visit pinkhairedone.com.

Town (2009 8th St., N.W.) hosts Bear Happy Hour tonight from 6-11 p.m. This event is for people 21 and older. There is no cover charge. Later, Town hosts DJ Mad Science on the main floor tonight at 10 p.m. The cover is $8 before 11 p.m. and $12. The drag show begins at 10:30 p.m. Visit towndc.com for more information.

Cobalt (1639 R St., NW) hosts its second annual “Mthr Fckn Pop Off!” where people can vote tournament style on the perfect song for summer. Voters can go on the Facebook event page to vote. That night, the club offers free rail vodka from 11 p.m-midnight. Cover is $10. For details, visit cobaltdc.com.

Saturday, May 25

Cobalt (1639 R St., NW) hosts “CTRL: Tank-Tacular Summer Kick-Off” tonight at 10 p.m. Cover is $5. Drink specials include $3 PBR Tallboys, $5 Rail and $4 Jameson shots. Visit cobaltdc.com for more information.

Burgundy Crescent volunteers this morning at Food and Friends (219 Riggs Rd., NE) at 8 a.m. and 9:45 a.m. Volunteers will help with food preparation and packing groceries. The shifts are limited to 10 per shift. For more information, visit burgundycrescent.org.

Sunday, May 26

The D.C. Center needs volunteers with the demolition of the new space today at 10 a.m. at the Reeves Center (2000 14th St., NW). This will be the new permanent home of the Center, but they need help renovating.Volunteers are not required to bring supplies, just appropriate footwear and clothes that can get messy. They are also encouraged to bring water and snacks since there will be no formal lunch break. Visit thedccenter.org for more information.

The Howard Theatre (620 T St., NW) presents “A Drag Salute to the Divas” in honor of D.C. Black Pride tonight at 7 p.m. The show is lead by Shi-Queeta-Lee and several other of D.C.’s top illusionists as they bring Whitney Houston, Beyonce, Missy Elliott and many more to the stage. Tickets are $20. For more information, visit thehowardtheatre.com.

Monday, May 27

The Bachelor’s Mill (1104 8th St., S.E.) hosts its annual Memorial Day Cookout with free food from the grill starting at 5:30 p.m. There will also be a pool, video gaming systems and cards. Karaoke starts at 6 p.m. and goes until 10 p.m. DJ Alchemy begins the party at 10 p.m. For more information, visit bachelorsmill.com.

Whitman-Walker Health (1701 14th St., NW) holds its HIV+ Newly Diagnosed Support Group tonight at 7. It is a confidential support group for anyone recently diagnosed with HIV and the group welcomes all genders and sexual orientations. Registration is required and attendees must call 202-797-3580 or email [email protected]. For details, visit whitman-walker.org.

Tuesday, May 28

Green Lantern (1335 Green Court, N.W.) hosts its Safer Sex Kit-packing program tonight from 7-10:30. The packing program is looking for more volunteers to help produce the kits because they say they are barely keeping up with demand. Admission is free and volunteers can just show up. For more information, visit thedccenter.org.

Wednesday, May 29

The Lambda Bridge Club meets at 7:30 p.m. tonight at the Dignity Center (721 8th St., SE) for Duplicate Bridge. Reservations are not needed and newcomers are welcome. Attendees can call 703-407-6540 if they need a partner. Visit lambdadc.org for more information.

Whitman-Walker Health (1701 14th St., NW) holds its HIV+ Newly Diagnosed Support Group tonight at 7. It is a confidential support group for anyone recently diagnosed with HIV and the group welcomes all genders and sexual orientations. Registration is required and attendees must call 202-797-3580 or email [email protected]. For details, visit whitman-walker.org.

Thursday, May 30

Rainbow Response Coalition kicks off its fundraiser for the D.C. Capital Pride season this evening at Annie’s Paramount Steakhouse (1609 17th St., NW). The organization is committed to raise awareness and provide education on intimate partner violence in the LGBT community and hopes to broaden its network of dedicated members. Annie’s has offered to donate a portion of the proceeds for the night. For more information, visit thedccenter.org.

The D.C. Center’s newest initiative, Center Global, a frank discussion on the challenges facing LGBT asylum seekers, takes place tonight at 7 p.m. Asylees, current asylum seekers and legal experts will talk about the difficult process LGBT asylum seekers face. The location is to be announced. Visit thedccenter.org for more information.

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Music & Concerts

Indigo Girls coming to Capital One Hall

Stars take center stage alongside Fairfax Symphony

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The Indigo Girls are back in the area next week. (Photo courtesy of Vanguard Records)

Capital One Center will host “The Indigo Girls with the Fairfax Symphony Orchestra” on Thursday, June 19 and Friday, June 20 at 8 p.m. at Capital One Hall. 

The Grammy Award-winning folk and pop stars will take center stage alongside the Fairfax Symphony, conducted by Jason Seber. The concerts feature orchestrations of iconic hits such as “Power of Two,” “Get Out The Map,” “Least Complicated,” “Ghost,” “Kid Fears,” “Galileo,” “Closer to Fine,” and many more.

Tickets are available on Ticketmaster or in person at Capital One Hall the nights of the concerts. 

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Calendar

Calendar: June 13-19

LGBTQ events in the days to come

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Friday, June 13

“Center Aging Friday Tea Time” will be at 2 p.m. in person at the DC Center for the LGBT Community’s new location at 1827 Wiltberger St., N.W. This is a social hour for older LGBTQ adults. Guests are encouraged to bring a beverage of choice. For more details, email [email protected]

Women in Their Twenties and Thirties will be at 8 p.m. at Wundergarten. An update will be posted the night of the event on where to find WiTT’s table. There’ll be a Pride flag to help people find the group. For more details, join WiTT’s closed Facebook group

Go Gay DC will host “LGBTQ+ Community Pride Month Happy Hour” at 7 p.m. at Freddie’s Beach bar and Restaurant. This event is ideal for making new friends, professional networking, idea-sharing, and community building. This event is free and more details are available on Eventbrite

Saturday, June 14

Go Gay DC will host “LGBTQ+ Community Pride Month Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including Allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.

Rainbow History Project will host “Behind the Scenes With the Senior Curator of ‘Pickets, Protests and Parades’” at 7:30p.m. at Freedom Plaza. This behind-the-scenes experience offers a rare glimpse into the creative process behind this groundbreaking showcase of DC’s LGBTQ+ history. Learn about the bold design decisions that shaped the Quote Wall and Hero Cubes and the powerful stories that almost made the cut. Tickets cost $82 and can be purchased on Eventbrite

Monday, June 16

“Center Aging Monday Coffee Klatch” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more details, email [email protected]

Genderqueer DC will be at 7 p.m. in person at the DC Center for the LGBT Community. This is a support group for people who identify outside of the gender binary. Whether you’re bigender, agender, genderfluid, or just know that you’re not 100% cis. For more information, visit their website at www.genderqueerdc.org or check us out on Facebook

Tuesday, June 17

Bi+ Roundtable and Discussion will be at 7 p.m. on Zoom. This is an opportunity for people to gather in order to discuss issues related to bisexuality or as Bi individuals in a private setting. Check out Facebook or Meetup for more information.

Wednesday, June 18

Job Club will be at 6 p.m. on Zoom. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.

“Legends Live Loud: A Queer Karaoke Experience” will be at 7 p.m. at the DC Center for the LGBT Community. This will be a dynamic, Center-wide karaoke event celebrating the brilliance and cultural impact of some of our most colorful queer icons. The Center will honor legends through music, pop culture, dance, and inextinguishable liberation. For more details and to sign up, visit the DC Center’s website

Thursday, June 19

Go Gay DC will host “LGBTQ+ Book Club” at 7:30 p.m. at Federico Ristorante Italiano. This book club is co-hosted by EQUALITY NoVa and is another opportunity to engage in a fun and rewarding activity. The group doesn’t discriminate when it comes to genres it reads – from classic literature to best selling novels to biographies to histories to gay fiction. For more details, visit Eventbrite

Cultivating Change Foundation will host “Cultivating Pride Happy Hour” at 5:30 p.m. at Dacha Beer Garden. This Pride month, the organization is inviting LGBTQ+ people and allies in food and agriculture to come together in communities nationwide. These informal gatherings are a chance to connect, celebrate, and build community, whether it’s over coffee, a cocktail, or a conversation. Attendance is free and more details are available on Eventbrite

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Movies

Wes Anderson’s elaborate ‘Scheme’

Director ditches the quirk for an esoteric experience

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The cast of ‘The Phoenician Scheme.’ (Photo courtesy of Focus Features)

There was a time, early in his career, that young filmmaker Wes Anderson’s work was labeled “quirky.” 

To describe his blend of dry humor, deadpan whimsy, and unresolved yearning, along with his flights of theatrical fancy and obsessive attention to detail, it seemed apt at the time. His first films were part of a wave when “quirky” was almost a genre unto itself, constituting a handy-but-undefinable marketing label that inevitably became a dismissive synonym for “played out.”

That, of course, is why every new Wes Anderson film can be expected to elicit criticism simply for being a Wes Anderson film, and the latest entry to his cinematic canon is, predictably, no exception.

“The Phoenician Scheme” – released nationwide on June 6 – is perhaps Anderson’s most “Anderson-y” movie yet. Set in the exact middle of the 20th Century, it’s the tall-tale-ish saga of Anatole “Zsa-Zsa” Korda (Benicio del Toro), a casually amoral arms dealer and business tycoon with a history of surviving assassination attempts. The latest – a bomb-facilitated plane crash – has forced him to recognize that his luck will eventually run out, and he decides to protect his financial empire by turning it over (on a trial basis, at least) to his estranged daughter Liesl (Mia Threapleton), currently a novice nun on the verge of taking her vows. She conditionally agrees, despite the rumors that he murdered her mother, and is drawn into an elaborate geopolitical con game in which he tries to manipulate a loose cadre of “world-building” financiers (Tom Hanks, Bryan Cranston, Riz Ahmed, Mathieu Amalric, and Jeffrey Wright) into funding a massive infrastructure project – already under construction – across the former Phoenician empire.

Joined by his new administrative assistant and tutor, Bjorn (Michael Cera), Korda and Liesl travel the world to meet with his would-be investors, dodging assassination attempts along the way. His plot is disrupted, however, by the clandestine interference of a secret coalition of nations led by an American agent code-named “Excalibur” (Rupert Friend), who seeks to prevent the shift of geopolitical power his project would create. Eventually, he’s forced to target a final “mark” – his ruthless half-brother Nubar (Benedict Cumberbatch), with whom he has played a lifelong game of “who can lick who” – for the money he needs to pull it off, or he’ll lose his fortune, his oligarchic empire, and his slowly improving relationship with his daughter, all at once.

It’s clear from that synopsis that Anderson’s scope has widened far beyond the intimate stories of his earliest works – “Bottle Rocket,” “Rushmore,” “The Royal Tenenbaums,” and others, which mostly dealt with relationships and dynamics among family (or chosen family) – to encompass significantly larger themes. So, too, has his own singular flavor of filmmaking become more fully realized; his exploration of theatrical techniques within a cinematic setting has grown from the inclusion of a few comical set-pieces to a full-blown translation of the real world into a kind of living, efficiently-modular Bauhaus diorama, where the artifice is emphasized rather than suggested, and realism can only be found through the director’s unconventionally-adjusted focus. 

His work is no longer “quirky” – instead, it has grown with him to become something more pithy, an extension of the surreal and absurdist art movements that exploded in the tense days before World War II (an era which bears a far-too-uncomfortable resemblance to our own) and expresses the kind of politically-aware philosophical ideas that helped to build the world which has come since. It is no longer possible to enjoy a Wes Anderson movie on the basis of its surface value alone; it is necessary to read deeper into his now-well-honed cinematic language, which is informed not just by his signature aesthetic but by intellectual curiosity, and by the art, history, and cultural knowledge with which he saturates his work – like pieces of a scattered puzzle, waiting to be picked up and assembled along the way. Like all auteurs, he makes films that are shaped by a personal vision and follow a personal logic; and while he may strive to make them entertaining, he is perhaps more interested in providing insight into the wildly contradictory, often nonsensical, frequently horrifying, and almost always deplorable behavior of human beings. Indeed, the prologue scene in his latest endeavor illustrates each of those things, shockingly and definitively, before the opening credits even begin.

By typical standards, the performances in “Phoenician Scheme” – like those in most of Anderson’s films – feel stylized, distant, even emotionally cold. But within his meticulously stoic milieu, they are infused with a subtle depth that comes as much from the carefully maintained blankness of their delivery as it does from the lines themselves. Both del Toro and Threapleton manage to forge a deeply affecting bond while maintaining the detachment that is part of the director’s established style, and Cera – whose character reveals himself to be more than he appears as part of the story’s progression – begs the question of why he hasn’t become a “Wes Anderson regular” long before this. As always, part of the fun comes from the appearances of so many familiar faces, actors who have become part of an ever-expanding collection of regular players – including most-frequent collaborator Bill Murray, who joins fellow Anderson troupers Willem Dafoe and F. Murray Abraham as part of the “Biblical Troupe” that enact the frequent “near-death” episodes experienced by del Toro’s Korda throughout, and Scarlett Johansson, who shows up as a second cousin that Korda courts for a marriage of financial convenience – and the obvious commitment they bring to the project beside the rest of the cast.

But no Anderson film is really about the acting, though it’s an integral part of what makes them work – as this one does, magnificently, from the intricately choreographed opening credit sequence to the explosive climax atop an elaborate mechanical model of Korda’s dream project. In the end, it’s Anderson himself who is the star, orchestrating his thoroughly-catalogued vision like a clockwork puzzle until it pays off on a note of surprisingly un-bittersweet hope which reminds us that the importance of family and personal bonds is, in fact, still at the core of his ethos.

That said, and a mostly favorable critical response aside, there are numerous critics and self-identified fans who have been less than charmed by Anderson’s latest opus, finding it a redundant exercise in a style that has grown stale and offers little substance in exchange. Frankly, it’s impossible not to wonder if they have seen the same movie we have.

“The Phoenician Scheme,” like all of its creator’s work, is ultimately an esoteric experience, a film steeped in language and concepts that may only be accessible to those familiar with them – which, far from being a means of shutting out the “unenlightened,” aims instead to entice and encourage them to think, to explore, and, perhaps, to expand their perspective. It might be frustrating, but the payoff is worth it. 

In this case, the shrewd political and economical realities he illuminates behind the romanticized “Hollywood” intrigue and his deceptively eccentric presentation speak so profoundly to the current state of world we live in that, despite its lack of directly queer subject matter, we’re giving it our deepest recommendation.

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