The 40th annual Mr. Mid-Atlantic Leather competition was held on Sunday, Jan. 12 at the Hyatt Regency Washington. The event was one of the highlights of 2025 Mid-Atlantic Leather Weekend. Eight competitors vied for the title of Mr. Mid-Atlantic Leather 2025, with Jason Elliott named the winner. 

(Washington Blade photos by Michael Key)

Are you or a friend looking to find a little love in 2025? We are looking for the most eligible LGBTQ singles in the Washington, D.C. region. Nominate you or your friends until January 26th using the form below or by clicking HERE.

Our most eligible singles will be announced online in February. View our 2024 singles HERE.

American Opera Initiative
Kennedy Center Terrace Theater
Jan. 18, 7 p.m. and 9 p.m.
$25.00 – $39.00
Kennedy-center.org

For those who find traditional opera off-putting or mired in the past, there’s the American Opera Initiative (AOI). Now in its 12th season, the Washington National Opera’s well-known program pairs composers and librettists who under mentorship spend months collaborating on new work, culminating with the premiere of three 20-minute operas. 

Included in this year’s exciting group are queer artists JL Marlor and Omar Najmi. While these multi-taskers lend their composition talents to AOI, they are also performers and arts administrators. Marlor’s bio includes electric guitarist, and performer (she fronts the celebrated indie rock band Tenderheart Bitches), and Najmi divides most of his time writing music and performing as an operatic tenor. 

Marlor and librettist Claire Fuyuko Bierman’s “Cry, Wolf” is a short yet probing opera about three males (a late teen and two college age) who are navigating some dark internet ideologies. The work explores how the red-pilled manosphere pipeline serves as spaces of community for some people. 

“To me it’s a very timely piece inspired by an outlook that has consequences in the real world.”  She adds, “We’ve heard a lot about how angry incels [involuntary celibates] think about women. I want to hear what incels think about themselves.”

While Marlor tends to gravitate toward more serious opera pieces, Fuyuko Bierman, whose background includes standup, tends toward humor.

“I think this work brought out the best in both of us. The libretto feels like a comedy until suddenly it doesn’t.”

Marlor was introduced to opera through osmosis. At her gay uncles’ house there was always music – usually Maria Callas or Beverly Sills. She appreciated grand opera but not with the same ardor of true buffs. But her relationship with opera changed dramatically while attending Smith College.

“I was lucky enough to have Kate Soper as my first composition teacher and saw her opera ‘Here Be Sirens’ as my first piece of modern opera. I was totally hooked.” 

Originally from picturesque Beverly, Mass., Marlor now lives in Brooklyn with her partner and their very senior dog. For Marlor, coming out at 25 in 2017 wasn’t entirely smooth, but finding support among the many queer women in the world of classical music helped. And more recently, AOI has bolstered her confidence in continuing a career in the arts, she says. 

Najmi and librettist Christine Evans’ opera is titled “Mud Girl.” Set against a post-apocalyptic, climate-affected world, it’s the story of a mother, daughter, and the daughter’s child Poly, created from toxic detritus, trying to navigate relationships. 

“Most people go into opera without having had a ton of exposure.  Often through musical theater or choir,” says Najmi, 37. In his case, he was pursuing a BFA in musical theater at Ithaca College. After an unanticipated internal transfer to the School of Music, where he transitioned from baritone to young gifted tenor, his interest veered toward opera. 

While enjoying a performance career, he wrote his first opera on a whim. “And now,” he says “composition is my creative passion. Singing is more like a trade or sport. I love the action of doing it and practicing.” 

In one of his recent operas, “Jo Dooba So Paar,” Najmi, who is half Pakistani American, draws specifically from personal experience, exploring how queer and Muslim don’t necessarily need to be conflicting identities. And while he grew up in liberal Boston in a secular environment, he still had insights into what it means to exist in two worlds. It’s a story he wanted to tell.  

On a broader level, he says coming of age in the 1990s and aughts, on the cusp of homosexuality becoming normalized and accepted, created certain angsts. Today, his artist’s voice is drawn to the sentimentality that comes with unrequited longing.

What’s more, Najmi collaborates with his husband Brendon Shapiro. In 2022, the Boston-based couple co-founded Catalyst New Music, an organization dedicated to fostering, developing, and producing new works. 

AOI’s three 20-minute operas will be led by conductor George Manahan and performed by Cafritz Young Artists on Jan. 18, at 7 p.m. and 9 p.m. in the Kennedy Center Terrace Theater. 

Following their world premiere at the Kennedy Center, the three operas will travel to New York City in a co-presentation with the Kaufman Music Center. The Jan. 23 performance will mark AOI’s first appearance in New York City.