Arts & Entertainment

Back for round seven

Kaki King, the Shondes headline at this weekend’s PhaseFest

Published

13 years ago

September 26, 2013

The Shondes, Allison Miller, Elijah Oberman, Louisa Rachel Solomon, Fureigh, music, gay news, Washington Blade, Phasefest

The Shondes are, from left, Allison Miller, Elijah Oberman, Louisa Rachel Solomon and Fureigh. (Photo by Frank Stefanko; courtesy the band).

PhaseFest Queer Music Festival

Phase 1 Lounge

525 8^th Street, S.E.

Friday at 7 p.m.

$15 at the door

Saturday at 7 p.m.

$25 at the door

No presale

21 and up

phasefest.com

Phase 1 manager Angela Lombardi is her usual self-deprecating self when it comes to the bar she runs.

Despite its historic significance, the original Phase 1 — the oldest continually operating lesbian bar in the country — inspires Lombardi to call it “our little lesbian dive bar.” At the helm for nearly a decade now, she’s gearing up for this weekend’s seventh annual PhaseFest Queer Music Festival, which she says — despite the hard work — is “my favorite time of year.”

Friday night, starting at 7, The Shondes, Glitter Lust, The Coolots, D.C. Kings, Freeform Radio, Company Calls and Tiik W/ Guts will perform. On Saturday, Belladonna, Pushovers, Sexual Side Effects, Jette Kelly, Frankie & Betty, Michelle Raymond Band and Lacy Liszt will play. Guitar legend Kaki King, whom the Blade interviewed in April when she was here for a Howard show, headlines.

PhaseFest — mostly through Lombardi’s persistence — has made a name for itself among queer musicians despite its humble origins.

“We’re pretty fortunate,” Lombardi says. “We’ve worked with so many headliners over the years. Sometimes they come with these insane managers or insane contracts and riders that call for this and that, dressing rooms for everybody. I’m like, ‘Uhhh, yeah. We have a basement.’ But we’ve worked with some really cool artists and some of them have made some real sacrifices from what they’re used to come play for us. Hopefully what we lack in amenities, we make up for in experience. It shows in how many of them come back year after year. It’s really a great thing to be a part of, from the musicians’ standpoint as well.”

Lombardi says this year’s lineup is about half D.C.-based bands versus half from other places. She says “pretty much” every act has performed either at PhaseFest previously or at the Phase some other time. Most years, about 800 attendees see the shows over the course of the weekend. All the bands are either partially or totally LGBT.

Louisa Rachel Solomon, lead singer and bassist for the New York-based Shondes, can’t remember if they’ve played Phase twice or three times previously. The band just put out its new album “The Garden” last week and their set tonight will be their first since the album dropped. It will be for sale in CD, vinyl and digital format at the show. Solomon calls it a “mix of almost an ‘80s-type rock vibe combined with punkier energy.”

“It’s such a cool place for us,” Solomon says during a phone chat this week. “It’s small, homey and the crew is amazing and lovable. They’re some of my favorite bartenders in the country. We’ll keep coming back as long as they let us.”

Solomon says her band “is comprised of people of various genders and sexual orientations” and that queer sensibility is one of the band’s hallmarks.

“We’re heavily rooted in the queer community,” she says.

Nathalie Vega is the lead singer of D.C.-based band Company Calls and she also plays bass. Company Calls is an all-lesbian band that started playing last September. They made their live debut at last year’s PhaseFest.

“We had such a great experience there last year,” she says. “A lot of doors opened for us just from playing at PhaseFest.”

Vega calls Company Calls’ music a “mix of influences from pop to punk to folk to indie-alternative.”

She says PhaseFest is important because it “gives us a musical community.”

“There are lots of place you can go have a drink, but this gives us both a lesbian and musical community as well,” she says.

Lombardi agrees.

“We’re like lesbian ‘Cheers,’” she says.

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Photos

PHOTOS: ‘Studio 69’

Glitterati Productions hold party at Bunker

Published

9 hours ago

May 11, 2026

Michael Key

'Studio 69' was held at Bunker on Friday. (Washington Blade photo by Michael Key)

Glitterati Productions held the “Studio 69” party at Bunker on Friday, May 8.

(Washington Blade photos by Michael Key)

Arts & Entertainment

Washington Blade’s Pride on the Pier returns June 13 to kick off D.C. Pride week

Pride on the Pier officially launches Pride Week in D.C.

Published

15 hours ago

May 11, 2026

Staff reports

The Washington Blade’s annual Pride on the Pier celebration returns to The Wharf on Saturday, June 13, 2026 from 4-9 p.m., bringing thousands of LGBTQ community members and allies together for an unforgettable waterfront celebration to kick off Pride week in Washington, D.C.

Now in its eighth year, Washington Blade Pride on the Pier extends the city’s annual celebration of LGBTQ visibility to the bustling Wharf waterfront with an exciting array of activities and entertainment for all ages. The District Pier will offer DJs, dancing, drag, and other entertainment. Alcoholic beverages will be available for purchase for those 21 and older.

“Pride on the Pier has become one of the signature moments of Pride in D.C.,” said Lynne Brown, publisher of the Washington Blade. “There’s nothing like watching our community come together on the waterfront with live music and incredible energy as we kick off Pride week.”

Pride on the Pier is free and open to the public, with VIP tickets available for exclusive pier access to the Dockmaster Building. To purchase VIP tickets visit www.prideonthepierdc.com/vip.

Additional entertainment announcements, sponsor activations, and event details will be released in the coming weeks.

Event Details:

📍 Location: District Pier at The Wharf (101 District Sq SW, Washington, DC)
📅 Dates: Friday, 13, 2026

⏱️ 4-9PM
🎟️ VIP Tickets: www.PrideOnThePierDC.com/VIP

Theater

National tour of ‘Gatsby’ comes to National Theatre

Out actor Edward Staudenmayer talks playing the show’s gangster

Published

2 days ago

May 10, 2026

Patrick Folliard

Edward Staudenmayer plays Meyer Wolfsheim in ‘The Great Gatsby.’ (Photo courtesy National Theatre)

‘The Great Gatsby’
May 12-24
The National Theatre
1321 Pennsylvania Ave., N.W.
$59-$196
Thenationaldc.com

Often dubbed “The Great American Novel” for its depiction of ambition and self-invention alongside the reversals of success, F. Scott Fitzgerald’s “The Great Gatsby” says it all in a fast read.

Set against the excesses and energy of the Roaring Twenties, “The Great Gatsby,” novel and now the same-titled hit Broadway musical with a jazz/pop original score by Jason Howland and Nathan Tysen, tells the story of Nick Carraway and his friendship with Jay Gatsby, an enigmatic millionaire intent on reuniting with ex-lover, Daisy Buchanan.

It was during a four-month 2025 run in Seoul, South Korea, that out actor Edward Staudenmayer first played the show’s heavy, Meyer Wolfsheim, a gangster who helped Gatsby make his murkily acquired fortune. As Meyer, Staudenmayer opens the second act with, appropriately enough, “Shady.”

Now three months into a year-long North American tour, the show is poised to enjoy a brief run at Washington’s National Theatre (5/12-5/24).

While putting on his eyeliner prior to a recent Wednesday matinee at Chicago’s Cadillac Palace Theatre, the upstate New York-based actor shared about Gatsby and a life in theater.

WASHINGTON BLADE: Despite your good looks and terrific voice, you’re rarely the leading the man. How is that?

EDWARD STAUDENMAYER: I’m definitely a character man. I’ve been painting lines on my face to play old men since I was in high school. I was the youngest freshman in college playing old Uncle Sorin [in Chekhov’s “The Seagull”].

There have been many villains. Some darker than others. Meyer Wolfsheim is a very bad guy, but he doesn’t haunt me once I’m offstage. I play a lot of pickleball.

BLADE: Is it true that like so many of Fitzgerald’s characters, Wolfsheim is famously based on someone the writer encountered in life.

STAUDENMEYER: That’s true, Wolfsheim is pretty much a direct portrayal of real-life mobster and 1919 World Series fixer [Arnold Rothstein].

BLADE: When did the 1925 novel first surface on your radar?

STAUDENMAYER: Like many of us, I was assigned “The Great Gatsby” in high school. It was short, and filled with sex and illicit activities. I thought it was great. Definitely wasn’t a Judy Blume novel.

Interestingly, the book wasn’t originally a huge a success for Fitzgerald, but because it was about war and having the girl at home, they gave it to GIs leaving for WWII. After returning, a lot of those guys went on the GI Bill and became English teachers. They assigned the book to their students.

BLADE The idea that the book’s first-person narrator, Nick Carraway, is gay and enamored with Jay Gatsby is long discussed among readers and scholars. Does the musical touch on that?

STAUDENMAYER: Yes, there’s conjecture about Jay and Nick, and it’s implied in our show. It’s also implied about Jordan Baker, Jay’s fleeting romantic interest. Ultimately, she’s a confirmed bachelor, and a professional golfer who only wears pants.

Our performers are really good. Josh Grasso who plays Nick is fantastic. I’ve had to stop watching him in his last scene; it’s not good for Meyer Wolfsheim to take his curtain call crying. Our Gatsby, Jake David Smith, is good too. He’s gorgeous like Superman and sings like an angel.

BLADE: Do you ever imagine backstory for your characters whose sexuality is undefined?

STAUDENMAYER: I do, but not with Wolfsheim. I don’t see it. I’m trying to be as butch as possible with this ruthless killer.

BLADE: Have you had to do that in your career?

STAUDENMAYER: For a long time, I wore a mask to hide my gayness. I worked hard on being believable, that I was into the girl or that I was a tough guy.

It’s a different world now, and it’s so refreshing to be around the younger actors today; they’re remarkably open and comfortable.

BLADE: What was your coming of age like?

STAUDENMAYER: I played high school football in Palm Springs [he chuckles, alluding to the arid gay mecca], and I was pretty good too. But much to the chagrin of my parents and coaches, I quit the team to act in our senior year play. My super butch dad played semi-pro football and he was an ex-cop. I’m named after him. While I didn’t become my dad, I’ve played him often on stage. He was a true Gaston [the bumptious rival in “Beauty and the Beast”]. And like Gaston, he used antlers in all his interior decorating.

BLADE: Did he live to see your success in theater?

STAUDENMAYER: He did. Life was challenging growing up but the last 10 years of his life we couldn’t get off the phone with each other [his voice catches with emotion]. He accepted me entirely, and we became very close.

BLADE: Looking ahead, is there a part you’d especially like to play?

STAUDENMAYER: Like all baritones I’d love to play Sondheim’s “Sweeney Todd.” I’ve come close but it hasn’t happened yet. There’s still time.