Arts & Entertainment
Celebrating silver in style
Gay-owned furniture company Mitchell Gold + Bob Williams marks milestone
Mitchell Gold (left) and business partner Bob Williams at their Washington store for an event in 2013. (Washington Blade file photo by
Mitchell Gold + Bob Williams
25th anniversary event
A benefit for Sitar Arts Center
Wednesday
6-9 p.m.
Mitchell Gold + Bob Williams Washington location
1526 14th St., N.W.
mgbwhome.com
RSVP requested
202-332-3433
Mitchell Gold and Bob Williams, co-owners of the eponymous furniture company, didn’t originally intend for their company to be as big as it is today.
Gold says they were originally thinking of a modest business model in which they’d work four days a week, have a small stable of customers and do about $5 million a year in sales.
“We didn’t have to make that much money,” Gold says. “It was just the two of us living down South, it’s much less expensive to live here, and we thought we would just have this nice little company. … But as Bob often tells people, ‘It’s not that Mitchell lied — it’s just that he can’t count.’”
Started in 1989 with about $60,000, things took off rather quickly. They sold about 800 dining tables and 5,000 chairs before they started making any of the pieces. Gold, who’d been fired from the furniture company he’d worked for, had connections with major retailers like J.C. Penney, Crate & Barrel and others, which he visited armed with sketches and fabrics Williams had made. They were profitable the first year they were in business.
“We had fabrics that were different and unusual for the time,” Gold says. “So we were able to show retailers, ‘This is how this will look in your store.’ And they bought it right away. People have said I’m not a bad salesman, so I was able to close the sales and get the production going quickly.”
The two, who’d been together as domestic partners about two years before, had moved to Hickory, N.C., from New York and were interested in going into business together.
“We just thought we could do it better than traditional manufacturers,” Gold says. “We thought we could make a better commitment to customers, ship it more quickly and with Bob’s sense of style, you know, I certainly felt we could offer people a more stylish look for a better price.”
Williams worked for a small ad agency and gradually cut back his time there as he spent more and more with the company, then known as the Mitchell Gold Company (it was changed to its present name in 2002).
Now they’re celebrating 25 years and have more than 700 employees, a stable of celebrity clients, 17 stores and plans to open four more by year’s end and a 600,000-square-foot factory and home base in Taylorsville, N.C.
Several spoke at a company event two weeks ago where 11 of their original 21 employees who are still with the company were recognized. It appears, from a transcript of comments, that morale there is strong.
Ken Hipp, the company’s senior vice president of retail stores and merchandising, has been with them for seven years and calls Gold and Williams “wonderful mentors.”
“It’s been quite a ride,” says Hipp, who’s also gay. “I can’t imagine my career or my life without them.”
Known for a style they call “quintessentially American,” their products are designed to be stylish, yet comfortable. Interior designer Brian Patrick Flynn of TBS’s “Movie & a Makeover” show has called their products “custom-looking pieces at medium-to-high price-points” and says it’s a “genius brand” he and his clients “can’t get enough of.”
On Wednesday, the two will be in town for an event at their D.C. store at 1526 14th St., N.W., an anniversary event that will benefit the Sitar Arts Center. It’s one of a series of events they’re having at their various locations throughout the year.
In a country where just 25 percent of new employer firms are still in business 15 years or more after starting according to the Small Business Administration, theirs is a nearly unfettered success story.
It hasn’t all been easy going, though. Williams remembers many long hours in the early years, though he also says those were some of the most “exhilarating times of my life.”
They recall years of working what felt like round-the-clock schedules and didn’t take a vacation until two years into it, but were gratified by strong out-of-the-gate sales.
“Customers liked what we were doing immediately,” Williams says. “We never had to go call on people. The more they heard about us, the more we had people wanting to buy from us.”
They broke up on the personal side about 12 years into the business, though they’re wholly comfortable working together and are each married and have been with other men for years — Gold has been with Tim Gold for seven years; Williams has been with Stephen Heavner for 11 years.
Might their relationship have lasted if it weren’t for the company? It’s a thorny question they don’t wish to dwell on.
“We don’t give much thought to it,” Williams says.
“It takes a lot of time and energy to go back and visit the past,” Gold says. “We’re more focused on the future.”
They acknowledge there were “a few little awkward moments, but not too much,” as Gold says. Keeping the company strong was chief among their priorities as always, they say.
The only time they had any significant downsizing was in 2008. Gold says it was a hard, but at the time necessary, decision in the face of a huge recession.
The company prides itself on the health care package it offers, on-site day care and cafeteria and unabashed LGBT advocacy work.
They say providing such amenities pays off in the long run.
“I think what we have proven is that you can be profitable and do the right thing,” he says. “When you have people who aren’t sick, they’re being more productive and that makes things more profitable. With our day care, if little junior has a problem, somebody goes and takes care of it and is back in 15 or 20 minutes, not the three hours it would take to go across town.”
They guess about 15 percent of their employees are also LGBT and estimate between 15-20 percent of their clientele is as well. Gold says it’s “certainly higher than other furniture retailers.”
Gold, who wrote a book called “Crisis: 40 Stories Revealing the Personal, Social and Religious Pain and Trauma of Growing up Gay in America” in 2008, says being open about such things is a central component to the company.
He relishes telling of a celebration dinner they had with loan officers after paying back a $25 million loan they’d used to expand. Several of the bank execs told him how reading “Crisis” had given them new compassion for LGBT issues, from one man who stepped up his giving at a homeless shelter to another whose wife came out.
“One by one, they went around the table and told us how much our advocacy work had meant to them,” Gold says.
Coming from a staid banking environment, Hipp says finding a place he could be out on the job was a revelation.
“I thought I loved banking but I realized banking did not love me,” he says. “I was very uncomfortable and very conflicted over my future and I was met with some very harsh realities. I could not believe that someone of my age, I was in my early 20s at the time, could actually go to work someplace where it was OK for me to be who I was. I didn’t have to tuck any part of myself under my sleeve. I could actually say that I was gay and it didn’t matter. … I was just a kid from the south and I thought that was the best it would get.”
Some of the 25th anniversary events will benefit LGBT and AIDS causes. Gold next plans an open letter to the Pope urging him to change Vatican teaching that homosexuality is sinful behavior.
“When you get down to it, that’s really the seminal reason why people think gay people should not have equality,” Gold says. “The whole issue of sin is really the crux of why people are against it.”
But has there been backlash or lost sales along the way?
“Our business just keeps going at such a pace that’s ahead of the industry with sales and growth and things like that,” he says. “You know, we can’t worry about the one or two people who aren’t going to buy from us because we’re gay and outspoken.”
Mitchell Gold and Bob Williams on:
Bob Williams (left) and Mitchell Gold in the early years of their business. (Photo courtesy of Mitchell Gold + Bob Williams)
• Their all-time favorite products:
GOLD: Leather club chairs they designed after spotting vintage pieces at a Paris flea market.
“If something sells that well and looks pretty, I sure do like it,” he says.
WILLIAMS: “Our slipcovers are great because they’re just so versatile — you can dress them up or down, change the style and they just give off this great ambience of relaxed, casual comfort.”
• How practical the whites and neutrals they use so often are for everyday
GOLD: “Today’s fabrics are a lot different from what you saw 20-30 years ago. They’re much friendlier to live with and stain resistant.” And if you spill red wine? “In a lot of the fabrics, yes, it will come out. But you have to get it quickly, not let it sit there a day.”
• Nate Berkus
GOLD: “We love Nate Berkus.”
WILLIAMS: “He has great hair.”
GOLD: “Yes, he has great hair, he’s cute and adorable and we’re fairly friendly with him. I like his work a lot.”
WILLIAMS: “His last book was great.”
• Thom Filicia (of “Queer Eye” fame)
GOLD: “Sweet guy and talented. We were at a design kind of home in South Hampton and his room was really a standout.”
• 2013 sales?
GOLD: “Over $100 million.”
• Lulu, the company mascot
GOLD: “She’s resting in peace. She was 12 and a half and she will be the mascot in perpetuity. The thing about bulldogs is once they decide on something, that’s it. They figure out a way to get it. She came to work with us everyday and loved walking around and saying hi to everyone.”
Arts & Entertainment
In an act of artistic defiance, Baltimore Center Stage stays focused on DEI
‘Maybe it’s a triple-down’
By LESLIE GRAY STREETER | I’m always tickled when people complain about artists “going political.” The inherent nature of art, of creation and free expression, is political. This becomes obvious when entire governments try to threaten it out of existence, like in 2025, when the brand-new presidential administration demanded organizations halt so-called diversity, equity and inclusion (DEI) programming or risk federal funding.
Baltimore Center Stage’s response? A resounding and hearty “Nah.” A year later, they’re still doubling down on diversity.
“Maybe it’s a triple-down,” said Ken-Matt Martin, the theater’s producing director, chuckling.
The rest of this article can be found on the Baltimore Banner’s website.
‘La Lucci’
By Susan Lucci with Laura Morton
c.2026, Blackstone Publishing
$29.99/196 pages
They’re among the world’s greatest love stories.
You know them well: Marc Antony and Cleopatra. Abelard and Heloise. Phoebe and Langley. Cliff and Nina. Jesse and Angie, Opal and Palmer, Palmer and Daisy, Tad and Dixie. Now read “La Lucci” by Susan Lucci, with Laura Morton, and you might also think of Susan and Helmut.
When she was a very small girl, Susan Lucci loved to perform. Also when she was young, she learned that words have power. She vowed to use them for good for the rest of her life.
Her parents, she says, were supportive and her family, loving. Because of her Italian heritage, she was “ethnic looking” but Lucci’s mother was careful to point out dark-haired beauties on TV and elsewhere, giving Lucci a foundation of confidence.
That’s just one of the things for which Lucci says she’s grateful. In fact, she says, “Prayers of gratitude are how I begin and end each day.”
She is particularly grateful for becoming a mother to her two adult children, and to the doctors who saved her son’s life when he was a newborn.
Lucci writes about gratitude for her long career. She was a keystone character on TV’s “All My Children,” and she learned a lot from older actors on the show, and from Agnes Nixon, the creator of it. She says she still keeps in touch with many of her former costars.
She is thankful for her mother’s caretakers, who stepped in when dementia struck. Grateful for more doctors, who did heart-saving work when Lucci had a clogged artery. Grateful for friends, opportunities, life, grandchildren, and a career that continues.
And she’s grateful for the love she shared with her husband, Helmut Huber, who died nearly four years ago. Grateful for the chance to grieve, to heal, and to continue.
And yet, she says of her husband: “He was never timid, but I know he was afraid at the end, and that kills me down to my soul.”
“It’s been 15 years since Erica Kane and I parted ways,” says author Susan Lucci (with Laura Morton), and she says that people still approach her to confirm or deny rumors of the show’s resurrection. There’s still no answer to that here (sorry, fans), but what you’ll find inside “La Lucci” is still exceptionally generous.
If this book were just filled with stories, you’d like it just fine. If it was only about Lucci’s faith and her gratitude – words that happen to appear very frequently here – you’d still like reading it. But Lucci tells her stories of family, children and “All My Children,” while also offering help to couples who’ve endured miscarriage, women who’ve had heart problems, and widow(ers) who are spinning and need the kindness of someone who’s lived loss, too.
These are the other things you’ll find in “La Lucci,” in a voice you’ll hear in your head, if you spent your lunch hours glued to the TV back in the day. It’s a comfortable, fun read for fans. It’s a story you’ll love.
The Blade may receive commissions from qualifying purchases made via this post.
Theater
Minimal version of ‘Streetcar Named Desire’ heading to Dupont Underground
Director Nick Westrate on this traveling take on Williams’s masterwork
‘A Streetcar Named Desire’
Produced by The Streetcar Project
April 20-May 4
Dupont Underground
19 Dupont Circle, N.W.
Tickets start at $85.
Dupontunderground.org
An aggressively minimal version of Tennessee Williams’s “A Streetcar Named Desire” is poised to run at Dupont Underground (April 20-May 4), the nonprofit cultural space located in a repurposed, abandoned 1949 streetcar station beneath Dupont Circle.
The Streetcar Project’s production performs in site-specific spaces. It’s almost entirely without design elements. There is no steamy, cramped Vieux Carré apartment. You won’t see Blanche’s battered trunk exploding with cheap finery, faded love letters, and demands for back property taxes, or the familiar costumes.
Co-created by Lucy Owen (who stars as Blanche DuBois) and out director Nick Westrate in 2023, this traveling spare take on Williams’s masterwork about a fragile woman on the margins in conflict with her brutish brother-in-law seems a reaction to necessity. It’s also an exploration of whether, like Shakespeare’s “Henry V,” it can subsist on language alone.
With little distractions (even Blanche’s cultivated southern belle accent has been daringly stripped away), the spotlight shines almost solely on text. “This play holds that,” says Westrate, 42. “I remind the actors that the while there is plenty of movement, language is really the only game in town.”
New York-based Westrate, who’s best known as an esteemed actor with New York and regional credits including Prior Walter in János Szász’s production of “Angels in America” at Arena Stage, describes “Streetcar” as “the most perfect play on earth” but not one he thinks of acting in (“I’m not right for Stanley Kowalski or Mitch”) though he agreed to direct.
“These days if you’re not a not a movie star or an established director, you’re not likely to do “Streetcar.” So, for us, we have to be able to do it with almost nothing, on the New York subway if necessary. And that’s kind of how we built it.”
Westrate first experienced Dupont Underground while attending a staged reading. He was so obsessed with the space as a prospective place to take the production, he found it hard to concentrate. He says, “With its long, curved track and tunnel, Dupont Underground is a terrifying, beautiful room that carries so much metaphorical weight, so much possibility for our production.”
WASHINGTON BLADE: Is finding the right space for this “Streetcar” part of the thrill?
NICK WESTRATE: Whenever I enter a weird room or pass by an abandoned CVS, I try to figure out how we might do the show there, especially places that are dilapidated, architecturally odd, or possibly haunted. And each space we use, lends something to the production. The Rachel Comey store in Soho was a very Blanche coded space. And an artist’s workshop on Venice Beach in California with its huge saws and metal hooks lent raw imagery. The scenes between Blanche and Stanley near the end were absolutely terrifying.
BLADE: More recently that same bare bones production has played in more traditional spaces like the Wheeler Opera House in Aspen and San Francisco’s A.C.T. Is it hard to now go to Dupont Underground?
WESTRATE: Each time we do this we have to crack open the play again because the staging is entirely new, but we’re used to performing in unusual spaces and Dupont Underground rather takes us back to form. As a former streetcar station, it’s the most appropriate space we’ve had yet.
The cast will literally act on streetcar tracks and go without dressing rooms but they’re game, and because they have history and authorship over the work, the sacrifice is more meaningful than if they were just some hired guns.
BLADE: Audiences have an expectation, especially with a work they’re likely to know. How do they react seeing such an unadorned take on Williams’s American classic?
WESTRATE: For the first 10 or 15 minutes, they’re unsure. Then, you can pretty much see the audience members’ brains click in and their imaginations turn on. It’s like they’re scratching an itch that they didn’t even know they had.
BLADE: Did you and Lucy foresee gaining this kind of momentum behind your vision?
WESTRATE: Absolutely not. Lucy had a philosophy that we’ll just walk through open doors. Early on, we were given spaces and artists filled the seats, and increasingly we’ve begun to rent some spaces and attract more regular theatergoers.
We basically sell tickets in order to pay a living wage to artists involved. There isn’t some big institution or commercial producer who’s getting a lot of money from this. Audiences of all types seem to respond to this mode of making theater.
BLADE: In presenting “Streetcar” intermittently, usually with the same cast over three years in wildly varying venues, have you learned more about a piece that you already loved?
WESTRATE: Mostly I’ve come to realize that Blanche is the smartest character I’ve ever read in a play. She’s like Hamlet – tormented by dreams and terrified of death. She’s skilled at wordplay and always ahead of everyone else in the room. Also like Hamlet, people think she’s insane and she uses that to her advantage.
Blanche is certainly the Everest of roles for actresses and watching Lucy sort of break it apart in a different way than you’ve ever seen, and knowing that I’ve helped to facilitate this performance has been one of the great joys of my career.
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