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Calendar: April 4-10

Parties, concerts, support groups and more for the week ahead

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calendar, gay news, Washington Blade
calendar, gay news, Washington Blade

Director Tom Story, center, with actors David Nate Goldman and Allie Villareal in ‘Moth’ at Studio Theatre. (Photo by Igor Dmitry; courtesy Studio)

D.C.-area LGBT events calendar for the week ahead.

Friday, April 4

The Sugarloaf Crafts Festival begins at the Montgomery County Fairgrounds (16 Chestnut St., Gaithersburg, Md.) today from 10 a.m.-6 p.m. through Sunday.  Purchase jewelry, home décor, fine arts and much more made from American craftsmen. A few craftsmen will also be doing live demonstrations in jewelry making, hand carving and furniture making. Admission is $8 online and $10 at the door. For more details, visit sugarloafcrafts.com.

Town (2009 8th St., N.W.) hosts Bear Happy Hour tonight from 6-11 p.m. There is no cover charge and admission is limited to guests 21 and over. For more information, visit towndc.com.

Charm City Fetish Fair begins today at Doubletree Hilton BWI (890 Elkridge Landing Rd., Linthicum Heights, Md.) at 5 p.m. and goes through Sunday. There will be a meet and greet, parties and workshops led by experts on the fetish lifestyle. For more information, visit charmcityfetishfair.com.

Bishop Allyson Abrams and Empowerment Liberation Cathedral launch an affirming fellowship service at Church of the Ascension (633 Sligo Ave., Silver Spring, Md.) tonight from 7-8:30 p.m. All are welcome. For more details, visit empowermentliberationcathedral.org.

Saturday, April 5

D.C. MeetMarket, an outdoor community market, begins on the corner of 15th and P St. N.W. today from 11 a.m.-5 p.m. Over 40 local vendors will be selling goods including Baked and Wired, Twisted Aristocrat and more. The market’s goal is to help support the city’s small businesses and creative community. There will be live music by American Hearts, Light Arms and DJ Vanniety Kills. There will also be an interactive photo booth and free raffle.

Lesbian singer Lisa Moscatiello and singer Chris Noyes perform together for “We are Takoma Park,” a concert at the Takoma Park Municipal Building (7500 Maple Ave., Takoma Park, Md.) tonight at 7:30 p.m. The performance includes Celtic ballads, contemporary folk, country and more. For more information, email [email protected] or call 301-891-7266.

Code Redux presents “CODE All Colors,” a BDSM party, at the Crucible (16 M St., N.E.) from 10 p.m.-3 a.m. Fetish dress code required. This is a membership-only event. Walk-ins will not be accepted. Online membership is available. For more information and to join, visit the-crucible.com

Sunday, April 6

Queer for Christ, a Christian LGBT group, attends “Evensong/Evensocial,” a 20s/30s meet up group, at National Cathedral (3101 Wisconsin Ave., N.W.) today at 4 p.m. For more information, visit nationalcathedral.org.

Guitarist Charles Mokotoff performs Latin American melodies at Cedar Lane Unitarian Universalist Church (9601 Cedar Ln., Bethesda, Md.) today at 4 p.m.  For more details, visit cedarlane.org.

Perry’s (1811 Columbia Rd., N.W.) hosts its weekly “Sunday Drag Brunch” today from 10 a.m.-3 p.m. The cost is $24.95 for an all-you-can-eat buffet. For more details, visit perrysadamsmorgan.com.

Victory Fund holds is “National Champagne Brunch” today from11 a.m.-2 p.m. Special guests include Maine gubernatorial candidate Mike Michaud, Massachusetts attorney general candidate Maura Healey and Washington D.C. City Councilmember David Catania. Tickets are $250. For more details, visit victoryfund.org.

Monday, April 7

Opera on Tap D.C. Metro perform at Vendetta Bocce Bar and Tavern (1212 H St., N.E.) tonight from 7-9:30 p.m. Local opera singers Colin Michael Brush, Melissa Chavez, Aaron Halevy and more will be performing. There will be $1 sliders all night long with a 2 drink minimum. There will also be $4 Prosecco and Peroni and $5 house wine. There is a $5 suggested cover. For more information, visit operaontap.org/dcmetro.

The D.C. Center (1318 U St., N.W.) hosts coffee drop-in hours this morning from 10 a.m.-noon for the senior LGBT community. Older LGBT adults can come and enjoy complimentary coffee and conversation with other community members. For more information, visit thedccenter.org.

Us Helping Us  (3636 Georgia Ave., N.W.) holds a support group for gay black men to discuss topics that affect them, share perspectives and have meaningful conversations. For details, visit uhupil.org.

Nellie’s Sports Bar (900 U St., N.W.) hosts poker night tonight at 8 p.m. Win prizes. Free to play. For more information, visit nelliessportsbar.com.

Tuesday, April 8

GLOV hosts a happy hour reception at MOVA Lounge (2204 14th St., N.W.) tonight from 5:30-8 p.m. Tickets are $10 and supports GLOV, which aims to reduce violence against LGBT individuals and to assist victims of anti-LGBT violence. For more details, visit thedccenter.org.

JQ Baltimore, a Jewish LGBT outreach and support group, hosts Seder at Waxter Center (1000 Cathedral St., Mt. Vernon, Md.) tonight at 6:30 p.m. The Seder will be conducted by Rabbi Gila Ruskin and a kosher dairy dinner with traditional Passover foods will be served. Tickets are $12. For more details, email [email protected] or call 443.300.8996.

Wednesday, April 9

The Lambda Bridge Club hosts duplicate bridge at the Dignity Center (721 8th St., S.E.) at 7:30 p.m. tonight. No reservations needed and new comers welcome. If you need a partner, call 703-407-6540.

Big Gay Book Group meets at 1155 F St., N.W. Suite 200 tonight at 7 p.m. to discuss “The Towers of Trebizond” by Roe Macaulay. This comedy tells the story of what it means to be a Christian in the modern world with a wacky group of characters including spies a Greek sorcerer and a deranged camel. For more information email [email protected].

“Moth” begins its run at the Studio Theatre (1501 14th St., N.W.) tonight at 8 p.m. “Moth” tells the story of an anime-obsessed boy and his emo-Wiccan friend whose friendship is changed forever when Sebastian is forced on an apocalyptic mission after a horrific event at his high school. Tickets are $30.The play runs through May 4. For more details, visit studiotheatre.org.

Thursday, April 10

Burgundy Crescent, a gay volunteer organization, volunteers for Food and Friends (219 Riggs Rd., N.E.) tonight from 6-8 p.m. Volunteers will chop vegetables and pack groceries. To volunteer, email [email protected]. For more details, visit burgundycrescent.org.

Rude Boi Entertainment hosts “Tempted 2 Touch,” a ladies dance party, at the Fab Lounge (2022 Florida Ave., N.W.) Doors open at 10 p.m. Drink specials $5 and vodka shots $3 all night. No cover charge. Admission limited to guests 21 and over. For more details, visit rudeboientertainment.wordpress.com.

 

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Sports

English soccer bans transgender women from women’s teams

British Supreme Court last month ruled legal definition of woman limited to ‘biological women’

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(Photo by Kirill_M/Bigstock)

The organization that governs English soccer on Thursday announced it will no longer allow transgender women to play on women’s teams.

The British Supreme Court on April 16 ruled the legal definition of a woman is limited to “biological women” and does not include trans women. The Football Association’s announcement, which cites the ruling, notes its new policy will take effect on June 1.

“As the governing body of the national sport, our role is to make football accessible to as many people as possible, operating within the law and international football policy defined by UEFA (Union of European Football Associations) and FIFA,” said the Football Association in a statement that announced the policy change. “Our current policy, which allows transgender women to participate in the women’s game, was based on this principle and supported by expert legal advice.”

“This is a complex subject, and our position has always been that if there was a material change in law, science, or the operation of the policy in grassroots football then we would review it and change it if necessary,” added the Football Association.

The Football Association also acknowledged the new policy “will be difficult for people who simply want to play the game they love in the gender by which they identify.”

“We are contacting the registered transgender women currently playing to explain the changes and how they can continue to stay involved in the game,” it said.

The Football Association told the BBC there were “fewer than 30 transgender women registered among millions of amateur players” and there are “no registered transgender women in the professional game” in England, Scotland, Wales, and Northern Ireland.

The Scottish Football Association, which governs soccer in Scotland, is expected to also ban trans women from women’s teams.

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Theater

Theatre Prometheus spreads queer joy with ‘Galatea’

Two girls dressed as boys who find love despite the odds

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Cate Ginsberg as Phillida and Amber Patrice Coleman as Galatea (Photo by Charlotte Hayes)

‘Galatea’
Through May 10
Theatre Prometheus
Montgomery College Cultural Arts Center
7995 Georgia Ave, Silver Spring, Md.
$27
Theatreprometheus.org

In a timely move, Theatre Prometheus thought it would be a beneficial thing to spread a little queer joy. And since the company’s mission includes engaging audiences and artists in queer and feminist art, there was nothing to stop them. 

Co-artistic directors Tracey Erbacher and Lauren Patton Villegas, both queer, agree they’ve found that joy in John Lyly’s “Galatea,” an Elizabethan-era comedy about Galatea and Phillida, two girls dressed as boys who find love despite some rather slim odds.  

Now playing at Montgomery College Cultural Arts Center on the Takoma Park/Silver Spring campus, the upbeat offering is a mix of contemporary and period, and strives to make audiences happy. Galatea’s cast includes Amber Coleman and Cate Ginsberg as the besotted pair. 

Erbacher, also the production’s director, adds “queer joy is something that I prioritized in casting actors and interviewing production people. I asked them what it means to them, and resoundingly the reply — from both them and the play — is that queer joy is the freedom to be yourself without having to think about it.

“Galatea” was first brought to Prometheus’s attention by Caitlin Partridge, the company’s literary director. Erbacher recalls, “she strongly suggested I read this very queer play. I read it and fell absolutely in love. And because it’s a comedy — I really like directing comedy — I knew that I could lean into that while not neglecting its universal themes of young love.” 

Villegas, who’s not ordinarily drawn to the classics, was also instantly smitten with Galatea.

“Usually with classics, the language doesn’t jump out at me the way modern works do,” she says. “But not so with ‘Galatea.’ The first time I heard it read aloud, I found it easy to follow and entirely accessible in the best way.”

Whether Lyly deliberately wrote a queer play isn’t known. What’s definitely known is the play was written with an all-boy performing troupe in mind; that’s partly why there are so many young female roles, the parts 10-year-old boys were playing at the time. 

There’s not a lot known about Lyly’s personal life, mostly because he wasn’t wildly famous. What’s known about the times is that there wasn’t a concept of “gay,” but there were sodomy laws regarding homosexual activity in England geared toward men having sex with men; it was all very phallocentric, Erbacher says.

She categorically adds, “Women’s sexuality wasn’t considered in the equation. In fact, it was often asked whether women were even capable of having sex with other women. It just was not part of the conversation. If there wasn’t a dick involved it didn’t count.

“Perhaps that’s how the playwright got around it. If there were two male characters in the play he could not have done it.”

Prometheus has done adaptations of ancient myths and some classics, but in this case it’s very faithful to the original text. Other than some cuts winnowing the work down to 90 minutes, “Galatea” is pretty much exactly as Lyly wrote it. 

And that includes, “girls dressed as boys who fall in love thinking girls are boys,” says Erbacher. “And then they start to clock things: ‘I think he is as I am.’ And then they don’t care if the object of their affection is a boy or a girl, the quintessential bisexual iconic line.” 

And without spoiling a thing, the director teases, “the ending is even queerer than the rest of the play.”

Erbacher and Villegas have worked together since Prometheus’s inception 11 years ago. More recently, they became co-artistic directors, splitting the work in myriad ways. It’s a good fit: They share values but not identical artistic sensibilities allow them to exchange objective feedback.

In past seasons, the collaborative pair have produced an all-women production of “Macbeth” and a queered take on [gay] “Cymbeline,” recreating it as a lesbian love story. And when roles aren’t specifically defined male or female, they take the best actor for the part.  

With Galatea, Prometheus lightens the current mood. Erbacher says, “the hard stuff is important but exhausting. We deserve a queer rom-com, a romantic sweeping story that’s not focused on how hard it is to be queer, but rather the joy of it.”

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Movies

Jacob Elordi rides high in ‘On Swift Horses’

Sony Pictures’ promotions avoid referencing queer sexuality of main characters

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The stars of ‘On Swift Horse.'

You might not know it from the publicity campaign, but the latest big-screen project for breakout “Euphoria” actor and sex symbol Jacob Elordi is 100% a gay love story.

Alright, perhaps that’s not entirely accurate. “On Swift Horses” – adapted from the novel by Shannon Pufahl and directed by Daniel Minahan from a screenplay by Bryce Kass – actually splits its focus between two characters, the other of which is played by “Normal People” star Daisy Edgar-Jones; but since that story arc is centered around her own journey toward lesbian self-acceptance, it’s unequivocally a “Queer Movie” anyway.

Set in 1950s America, at the end of the Korean War, it’s an unmistakably allegorical saga that stems from the marriage between Muriel (Edgar-Jones) and Lee (Will Poulter), a newly discharged serviceman with dreams of building a new life in California. His plans for the future include his brother Julius (Elordi), a fellow war vet whose restlessly adventurous spirit sparks a kindred connection and friendship with his sister-in-law despite a nebulously strained dynamic with Lee. Though the newlyweds follow through with the plan, Julius opts out in favor of the thrill of a hustler’s life in Las Vegas, where his skills as a card shark gain him employment in a casino. Nevertheless, he and Muriel maintain their friendship through correspondence, as he meets and falls in love with co-worker Henry (Diego Calva) and struggles to embrace the sexual identity he has long kept secret. Meanwhile, Muriel embarks on a secret life of her own, amassing a secret fortune by gambling on horse races and exploring a parallel path of self-acceptance with her boldly butch new neighbor, Sandra (Sasha Calle), as Lee clings obliviously to his dreams of building a suburban family life in the golden era of all-American post-war prosperity.

Leisurely, pensive, and deeply infused with a sense of impossible yearning, it’s the kind of movie that might easily, on the surface, be viewed as a nostalgia-tinged romantic triangle – albeit one with a distinctively queer twist. While it certainly functions on that level, one can’t help but be aware of a larger scope, a metaphoric conceit in which its three central characters serve as representatives of three conflicting experiences of the mid-century “American Dream” that still looms large in our national identity. With steadfast, good-hearted Lee as an anchor, sold on a vision of creating a better life for himself and his family than the one he grew up with, and the divergent threads of unfulfilled longing that thwart his fantasy with their irresistible pull on the wife and brother with whom he hoped to share it, it becomes a clear commentary on the bitter reality behind a past that doesn’t quite gel with the rose-colored memories still fetishized in the imagination of so many Americans.

Fortunately, it counterbalances that candidly expressed disharmony with an empathetic perspective in which none of its characters is framed as an antagonist; rather, each of them are presented in a way with which we can readily identify, each following a still-unsatisfied longing that draws them all inexorably apart despite the bonds – tenuous but emotionally genuine – they have formed with each other. To put it in a more politically-centered way, the staunch-but-naive conformity of Lee, in all his patriarchal tunnel vision, does not make him a villainous oppressor any more than the repressed queerness of Muriel and Julius make them idealized champions of freedom; all of them are simply following an inner call, and each can be forgiven – if not entirely excused – for the missteps they take in response to it

That’s not to say that Minahan’s movie doesn’t play into a tried-and-true formula; there’s a kind of “stock character” familiarity around those in the orbit of the three main characters, leading to an inevitably trope-ish feel to their involvement – despite the finely layered performances of Calva and Calle, which elevate their roles as lovers to the film’s two queer explorers and allow them both to contribute their own emotional textures – and occasionally pulls the movie into the territory of melodrama.

Yet that larger-than-life treatment, far from cheapening “On Swift Horses,” is a big part of its stylish appeal. Unapologetically lush in its gloriously photographed recreation of saturated 1950s cinema (courtesy of Director of Photography Luc Montpellier), it takes us willingly into its dream landscape of mid-century America – be it through the golden suburbs of still-uncrowded Southern California or the neon-lit flash of high-rolling Las Vegas, or even the macabre (but historically accurate) depiction of nuclear-age thrill-seekers convening for a party in the Nevada desert to watch an atom bomb detonate just a few short miles away. It’s a world remembered by most of us now only through the memories and artifacts of a former generation, rendered with an artful blend of romance and irony, and inhabited by people in whom we can see ourselves reflected while marveling at their beauty and charisma.

As lovely as the movie is to look at, and as effective as it is in evoking the mix of idealism and disillusionment that defines the America of our grandparents for many of us at the start of the second quarter of the 21st century, it’s that last factor that gives Minahan’s film the true “Hollywood” touch. His camera lovingly embraces the beauty of his stars. Edgar-Jones burns with an intelligence and self-determination that underscores the feminist struggle of the era, and the director makes sure to capture the journey she charts with full commitment; Poulter, who could have come off as something of a dumb brute, is allowed to emphasize the character’s nobility over his emotional cluelessness; Calle is a fiery presence, and Minahan lets her burn in a way that feels radical even today; Calva is both alluring and compelling, providing an unexpected depth of emotion that the film embraces as a chord of hope.

But it is Elordi who emerges to truly light up the screen. Handsome, charismatic, and palpably self-confident, he’s an actor who frankly needs to do little more than walk into the scene to grab our attention – but here he is given, perhaps for the first time, the chance to reveal an even greater depth of sensitivity and truth, making his Julius into the film’s beating heart and undisputed star. It’s an authenticity he brings into his much-touted love scenes with Calva, lighting up a chemistry that is ultimately as joyously queer-affirming as they are steamy.

Which is why Sony Pictures’ promotions for the film – which avoid directly referencing the sexuality of its two main characters, instead hinting at “secret desires” and implying a romantic connection between Elordi and Edgar-Jones – feels not just like a miscalculation, but a slap in the face. Though it’s an eloquent, quietly insightful look back at American cultural history, it incorporates those observations into a wistful, bittersweet, but somehow impossibly hopeful story that emphasizes the validity of queer love.

That’s something to be celebrated, not buried – which makes “On Swift Horses” a sure bet for your must-see movie list.

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