Arts & Entertainment

Seasonal staples

It just wouldn’t be December without ‘The Nutcracker,’ ‘The Messiah’ and more

Published

12 years ago

November 21, 2013

Mariah Cooper

A scene from ‘Elf: the Musical.’ (Photo courtesy the Kennedy Center)

Even if you’re fighting holiday “creep” and don’t want to think about Christmas until after Thanksgiving, it’s not too early to get tickets for your favorite holiday shows. Here are a few to consider.

The Nutcracker, Joffrey Ballet, gay news, theater,

A scene from Joffrey Ballet’s ‘The Nutcracker.’ (Photo courtesy the Kennedy Center)

The Kennedy Center (2700 F St., N.W.) brings numerous holiday-themed performances throughout November and December. First, The Joffrey Ballet presents “The Nutcracker” Nov. 27-Dec. 1 in the Opera House. The holiday favorite includes a live orchestra, Victorian America scenery and costumes to accompany the dance. Tickets start from $29.

The Kennedy Center hosts Pro Musica Hebraica’s presentation “The Voice of the Clarinet in Jewish Classical Music: Alexander Fiterstein and Friends,” a Hanukkah concert that highlights the clarinet in Jewish art music, in the Terrace Theater on Dec. 1 at 7:30 p.m. Tickets start from $38.

Also at the Kennedy Center, “NSO Pops: Happy Holidays! with Brian Stokes Mitchell” brings Tony Award-winner Mitchell alongside the NSO Pops to perform a holiday medley Dec. 12-14. Tickets start from $20.

“Elf The Musical,” the stage musical born from the popular Hollywood film, runs Dec. 17- Jan. 5. in the Opera House at the Kennedy Center. The story follows an orphaned man raised by Santa Claus and elves on his journey to reconnect with his biological father in New York City. Tickets start from $60. Visit kennedy-center.org for details.

The 31st annual Christmas Revels present “Echoes of Thrace: Music, Dance and Drama of Bulgaria, Greece and Turkey,” a blend of seasonal carols and Slavonic harmonies with traditional folk characters, at the George Washington Lisner Auditorium (730 21st St., N.W.) Dec. 7-15. Tickets range from $27-$50.

Grammy-nominated artist Matisyahu brings his “Festival of Light” Hanukkah celebration to the 9:30 Club (815 V St., N.W.) Dec. 9 at 7 p.m. Tickets are $35.

Experience the classic Christmas tale “A Christmas Carol” in various ways around the area.

MetroStage (1201 North Royal St., Alexandria, Va.) presents “A Broadway Christmas Carol” Nov.21-Dec. 22. The show mixes the song parodies of Broadway show tunes with the classic Dickens’s story. Tickets are $50.

Ford's Theatre, theater, A Christmas Carol, gay news, Washington Blade

Ford’s Theatre’s production of ‘A Christmas Carol,’ one of several adaptations of the Dickens’ classic that will be on regional stages in December. (Photo courtesy Ford’s)

A one-man show of “A Christmas Carol” plays Nov. 29-Dec. 29 at Olney Theatre Center (2001 Olney Sandy Spring Rd., Olney, Md.). The holiday favorite stars Paul Morella performing the tale in Charles Dickens’ own words. Tickets range from $18-$36.

Ford’s Theatre presents “A Christmas Carol” through Jan 1. The production stars Washington stage actor Edward Gero as Ebenezer Scrooge. Tickets range from $40.80-$99.60.

Metropolitan Community Church of Washington (474 Ridge Street, N.W.), D.C.’s largest mostly LGBT church, has its annual Christmas concert “A Homecoming Holiday” Dec. 6-7 at 7:30 p.m. featuring the church’s own groups Eclectic Praise, Joyful Strings, Moving Spirit as well as the church’s two choirs. Tickets are $25 and can be purchased at mccdc.com.

D.C.’s Different Drummers has its “Holiday Prism Concert” featuring D.C. Swing! And the Capitol Pride Symphonic Band on Dec. 15. Tickets are $20 for aduots, $10 for seniors and free for children 12 and under. No further information is available now, but visit dcdd.org closer to the date for details.

The Birchmere and AM Productions team up to present “The Brian Setzer Orchestra ‘Christmas Rocks’ 10th Anniversary Tour” at The Warner Theatre (513 13th St., N.W.) on Nov. 29 at 8 p.m. Tickets can be purchased at ticketmaster.com or call 800-745-3000.

On Dec. 14 at 8 p.m., The Birchmere also presents “What Christmas Means Tour 2013: A Holiday Experience” with JEM & Friends with special guests Patti LaBelle and Ron Isley at DAR Constitution Hall (1776 D St., N.W.). Tickets can be purchased on ticketmaster.com or call 800-745-3000.

Rams Head On Stage (33 West St., Annapolis, Md.) presents many diverse holiday shows. First, enjoy the Scottish/Irish traditional instrumental and vocal styles during “Christmas with the Celts” featuring Laura McGhee and Michael Stribling on Dec. 3 at 8 p.m. The Celts’ Christmas show has been featured on PBS. Guests must be 21 and over. Tickets are $35.

Next, “Motown and More: A Holiday Celebration” on Dec. 8 at 7:30 p.m. showcases classic Motown tunes from singers such as The Temptations and The Supremes along with holiday favorites. Guests must be 21 and over. Tickets are $25.

Also, the 15th annual “An Annapolis Christmas” performance is Dec.16-17 at 7 p.m. Enjoy a mix of original and holiday songs performed by an array of local artists. Guests must be 21 and over. Tickets are $32.50.

“Christmas Gift!” runs at the Clarice Smith Performing Arts Center (3800 Clarice Smith Performing Arts Center, College Park, Md.) Dec.13-14. The musical tells the story of the holiday gift exchange tradition in the African-American community. Tickets range from $10-$35. Purchase tickets at claricesmithcenter.umd.edu.

The Washington Ballet’s “The Nutcracker” plays at The Warner Theatre (513 13th St., N.W.) Dec. 5-14. Tickets range from $42-$107. Purchase tickets at warnertheatredc.com.

Signature Theatre (4200 Campbell Ave., Arlington, Va.) presents a couple Christmas-themed performances. Pianist/composer Matt Conner and his friends perform favorite Christmas tunes in “A Matt Conner Christmas” Dec. 11-15. Tickets are $48.60 and can be purchased at signature-theatre.org.

Signature’s annual holiday celebration returns with “Holiday Follies 2013,”a Christmas concert featuring special guest performers, Dec. 17-23. Performers include Madeline Botteri and Austin Colby. Tickets are $48.60 and can be purchased at signature-theatre.org.

Coyaba Dance Theater holds its annual Kwanzaa celebration at George Washington University’s Dorothy Betts Marvin Theatre (800 21st St., N.W.) Dec. 14 at 8 p.m. Enjoy live music, dancing and singing in a performance for all ages. Tickets range from $15-$25 and can be purchased online at coyabadancetheater.org.

The Gay Men’s Chorus of Washington presents “Sparkle, Jingle, Joy” at the Lisner Auditorium (730 21st St., N.E.) Dec. 20-21. The performance features Grammy Award winner Matt Alber. Celebrate the holidays with classic holiday carols like “O Come, All Ye Faithful” and new songs like “The Christmas Can-Can.” Tickets are $54 and can be purchased at tickets.gmcw.org.

Wolf Trap (1645 Trap Rd., Vienna, Va.) presents its free annual holiday sing-a-long on Dec. 7 at 4 p.m. Choir and vocal groups from across the D.C. area will lead a sing along of Christmas carols and Hanukkah songs. There is also a performance by the United States Marine Band. Voluntary donations for Toys for Tots will be accepted at the entrance. Wolf Trap gift certificates or an annual membership also make great gift ideas! Visit wolftrap.org for the current schedule.

Town (20009 8th St., N.W.) presents “HEATWAVE: Back to the Beach Holiday Celebration” Dec. 5 from 7 p.m.-midnight. There will be musical performances from Ba’Naka and the cast from Town. Music and dancing provided by DJ Chord Bezerra. There will also be a best male and female holiday swimwear contest, drink specials, games and prizes and an underwear fashion show presented by Universal gear. Tickets are $10.

Lesbian gospel singer Jennifer Knapp returns to the region this year with her “Hymns of Christmas Tour” with Margaret Becker on Dec. 11 at Jammin’ Java (227 Maple Ave. E Vienna, Va.) at 8 p.m. Tickets are just $18. Visit jamminjava.com for tickets.

Gay film director John Waters returns to the Birchmere (3701 Mount Vernon Ave., Alexandria, Va.) again this year for his “John Waters Christmas” on Dec. 18. Tickets are $49.50 for the 7:30 p.m. show. Visit birchmere.com for tickets.

Out saxophonist Dave Koz brings his “Dave Koz and Friends Christmas Tour 2013” to the Modell Performing Arts Center (The Lyric) in Baltimore (140 W. Mt. Royal Ave., Baltimore) on Dec. 5 at 8 p.m. Oleta Adams, Jonathan Butler and Keiko Matsui will also appear. Prices vary and a VIP package is available. Visit davekoz.com or Ticketmaster.com for details.

The Baltimore Symphony Orchestra performs “BSO: Holiday Cirque” at the Music Center at Strathmore (5301 Tuckerman Lane, North Bethesda, Md.) on Dec. 12 at 8 p.m. Listen to holiday favorites while watching a circus performance by Cirque Musica featuring strongmen, acrobats and contortionists. Tickets range from $31-86 and can be purchased at strathmore.org.

Also at the Music Center at Strathmore, the National Philharmonic performs “Handel’s Messiah” Dec. 14-15. Messiah is one of the most frequently performed works in Western choral literature. A free pre-concert lecture will be held before each performance. Kids ages 7-17 are free. Tickets start at $28 and can be purchased at strathmore.org.

Washington Concert Opera doesn’t have any holiday productions planned but is gearing up for its performance of “Il Corsaro” in March at the Lisner Auditorium. The classical music lover on your list would love tickets! Visit concertopera.org for details.

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Photos

PHOTOS: The Bonnet Ball

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April 5, 2026

Michael Key

Sirene Noir Sidora Jackson dances at The Bonnet Ball at JR.'s Bar on Sunday, April 5. (Washington Blade photo by Michael Key)

The Bonnet Ball was held at JR.’s Bar (1519 17th St., N.W.) on Sunday.

(Washington Blade photos and video by Michael Key)

Books

Risking it all for love during World War II

New book follows story of Black, gay expat in Paris

Published

12 hours ago

April 5, 2026

Terri Schlichenmeyer

(Book cover image courtesy Viking)

‘The Remarkable Life of Reed Peggram’
By Ethelene Whitmire
c.2026, Viking
$30/308 pages

You couldn’t escape it.

When you fell in love, that was it: you were there for good. Leaving your amour’s side was unthinkable, turning away was impossible. You’d do anything for that person you loved – even, as in the new biography, “The Remarkable Life of Reed Peggram” by Ethelene Whitmire, you’d escape toward danger.

On Aug. 28, 1938, Reed Peggram boarded a ship from Hoboken, N.J., hoping to “become a proper gentleman” and fulfill his dreams. A prolific writer and Harvard scholar of comparative literature, he’d recently been awarded the Rosenwald Fellowship, which put him in the company of literary stars like Du Bois, Hurston, and Hughes.

Both Peggram’s mother and grandmother were then domestic workers, and they had big expectations for him. Reed himself was eager to study abroad, for professional and personal reasons; he was “determined to become a French professor and an accomplished linguist” and “He also hoped to find love.”

What better place to do it than in Paris?

Outgoing and confident, Peggram made friends easily and had no trouble moving “through the world of his white male peers.” Where he faltered was in his lack of funds. He relied on the kindness of his many friends – one of whom introduced Peggram to a “man who would become so pivotal in his life,” a Danish man named Arne.

Peggram and Arne had a lot in common, and they began to enmesh their lives and dreams of living in the United States. But there were complications: homosexuality was largely forbidden, World War II was in its early stages, and it quickly became apparent that it was dangerous to stay in Europe.

And yet, Peggram loved Arne. He refused to leave without him and so, while most visiting Black Americans fled the war in Europe, “Reed was trying to stay.”

There’s so much more to the story inside “The Remarkable Life of Reed Peggram,” so much to know about Reed himself. Problem is, it’s a long haul to get to the good stuff.

In her introduction, author Ethelene Whitmire explains how she came to this tale and yes, it needs telling but probably not with the staggering number of inconsequential details here. Peggram moved homes a lot, and many people were involved in keeping him in Europe. That alone can be overwhelming; add the fact that costs and other monetary issues are mentioned in what seems like nearly every page, and you may wonder if you’ll ever find the reason for the book’s subtitle.

It’s there, nearly halfway through the book, which is when the tale takes a tender, urgent turn — albeit one with determination, rashness, and a dash of faux nonchalance. Also, if you’re expecting an unhappily-ever-after because, after all, it’s a World War II tale, don’t assume anything.

Reading this book will take a certain amount of patience, so skip it if you don’t have that fortitude. If you’re OK with minuscule details and want a heart-pounder, though, “The Remarkable Life of Reed Peggram” might be a good escape.

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Theater

Iconic Eddie Izzard takes on 23 characters in ‘Hamlet’

Energized take on role offers accessible way to enjoy Shakespeare

Published

2 days ago

April 4, 2026

Patrick Folliard

Eddie Izzard in ‘The Tragedy of Hamlet.’ (Photo by Carol Rosegg)

‘The Tragedy of Hamlet’
Through April 11
Shakespeare Theatre Company’s Klein Theatre
450 7th St., N.W.
Tickets start at $90
Shakespearetheatre.org

Eddie Izzard is an icon.

Best known for her innovative standup and film roles, the famed British performer is also a queer activist who over the years has good-naturedly shared details from her decades long trans journey. What’s more, Izzard has remarkably run 43 marathons in 51 days for charity.

And now, Izzard finds a towering new challenge with the worldwide tour of “The Tragedy of Hamlet” (at Shakespeare Theatre Company’s Klein Theatre through April 11), in which she plays 23 characters (Hamlet, King Claudius, Queen Gertrude, the ghost, etc.) in a solo performance running just over two hours.

At a recent performance, Izzard, before slipping into character, appeared on the unadorned stage to say that though infused with comedy, “Hamlet” is definitely a tragedy, a story of a family and country both tearing themselves apart. She also warns that there’ll be a lot of breaking the fourth wall. After all, it didn’t exist in 1600 around the time when “Hamlet” was written.

The play unfolds in flurry of movement and scandal as the Danish prince begins to plot revenge after learning that his father, the old king was conspired against and murdered.

While some of Izzard’s character shifts are shown only by a subtle change in stance or modulation of voice, others are more obviously displayed like court sycophant Polonius walking with a stiff leg and mimed cane, or his ill-fated daughter Ophelia trotting girlishly across the upstage platform.

Delivered downstage at the intimate Klein venue, Izzard’s Hamlet soliloquies are performed with striking clarity. The one actor play is adapted and edited by Mark Izzard (the star’s older brother) and directed by Selina Cadell who successfully fosters the visceral connection between the actor and the house. Directly addressing an audience is something Izzard does exceedingly well. You feel as if she’s looking at/speaking to only you.

Cuts and choices are made that might not please traditionalists. The stabbing of eavesdropping Polonius might prove disappointingly underplayed to some. Whereas, the subsequent satisfying dual/death scene is long and precisely choreographed. Fear not, Izzard doesn’t flag a bit, not even when battling a cough (as was the case on the night of No Kings Day).

Not surprisingly, Izzard leans into the comedy. Her deliciously placed pauses, lines read ironically, and double takes, all gifts of comedy sharpened to perfection over a long career that kicked off as a street performer in the early eighties in London’s Covent Garden.

The play within a play scene finds Hamlet slyly rattling the conscience of King Claudius. As played by Izzard, it’s wickedly delightful and especially good. And the back and forth between the grave diggers done as a clever Cockney and his green assistant is a master class in how to play a Shakespearean clown.

Kitted out in a black peplum jacket over leather leggings and boots, Izzard gives gender fluid shades of contemporary diehard scenester and a Renaissance courtier. (Design and styling by Tom Piper and Libby DaCosta)

Attention has been paid to the blonde high ponytail, crimson lips and matching lacquered nails. The hands are important. Whether balled into fists or fingers fluttering, they’re in use, especially when playing Hamlet’s ex-friends Rosencrantz and Guildenstern (a clever surprise that can’t be spoiled).

Tom Piper’s set is wonderfully minimal. It’s an empty white walled space with three narrow windows that appear cut deeply into stone like those of a castle. These white flats serve as the ideal canvas for lighting designer Tyler Elich’s looming shadows, ghostly green light, and other unexpected flourishes of drama.

Izzard fills the stage. Her presence is huge, and her acting first-rate. At times, you forget it’s a one-person show.

I’d like to say, prior knowledge of the Bard’s best tragedy isn’t necessary to enjoy this fast-paced production. Despite a halved runtime and obscure words replaced with modern equivalents (“tedious old git” Hamlet says of Polonius), familiarity with the play is helpful.

With “The Tragedy of Hamlet,” Izzard secures a place among fellow queer Brits like Miriam Margolyes (“Dickens’ Women”), Sir Ian Mckellan (“Ian McKellen on Stage”), and more recently Andrew Scott (“Vanya”) in the solo players’ pantheon.

Izzard’s energized take on Hamlet is terrific. The way her powerful public persona bleeds into the work without taking over is exciting, and a uniquely accessible way to enjoy Shakespeare.