Arts & Entertainment
‘Art must lead’
Olney, Md.-based company plans diverse stage repertoire
Jason Loewith, right, with Bobby Smith in rehearsal for ‘Avenue Q.’ Photo by Sonie Mathew; courtesy Olney Theatre Center)
‘Avenue Q’
Through July 13
2001 Olney-Sandy Spring Road
Olney, MD
$32.50-65.00
301-924-3400
A year and a half after taking the helm as artistic director of the Olney Theatre Center, Jason Loewith is still figuring out his audience.
“We rely on a particular audience to keep us going and those are the folks who love Agatha Christie’s ‘Mousetrap,’” he says. “But all of Montgomery County and including the area around Olney have become increasingly vibrant and younger. We want to keep the Christie crowd, but I’ve been finding that there’s a lot more we can do.”
For Olney’s summer musical, Loewith has selected and staged “Avenue Q,” the funny 2004 Tony Award-winning musical send up of “Sesame Street.” But unlike with the kid’s show, these Muppet-like puppets (manned by seen actors) and humans sing side-by-side about more grownup stuff including prolonged adolescence (“I Wish I Could Go Back to College”), porn (“The Internet Is for Porn”), political correctness (“Everyone’s a Little Bit Racist”), being in the closet (“My Girlfriend, Who Lives in Canada”), and their own inadequacies ( “It Sucks to be Me”).
“The show is such a machine,” says Loewith, who is gay. “You just need to find the right funny people. Get out of the way and not fuck it up.”
For his production he’s assembled a cast that includes Sam Ludwig, Rachel Zampelli, and the reliably excellent Stephen Gregory Smith. He’s tapped popular out actor Bobby Smith for associate director/choreography, and the talented Christopher Youstra for musical director and onstage accompanist.
But not everything that does well in New York is an automatic hit on the leafy campus of Olney Theatre. A director’s point of view is important.
“My approach is to not let the heart imbedded in the show get lost in its snarky humor and satire. In the suburbs, a play must have a way into the heart as well as the mind. ‘Avenue Q’ has that,” says Loewith who lives with his partner on Capitol Hill. “It’s about why you need to love people. Ambition and success mean nothing if you can’t share it with those you love. And that’s a path that I follow and believe in.”
When Loewith lived in New York, he worked at the Classic Stage Company just two blocks from the Vineyard Theatre where “Avenue Q” was created.
“It really spoke to me at that moment. I’m the same generation as its creators (author Jeff Whitty and composers-lyricists Robert Lopez and Jeff Marx.).Ten years ago I was 35 and, like the characters in ‘Avenue Q,’ was still trying to figure out my place in the world. I also happen to be very snarky myself, though not as snarky as some in show biz.”
He believes it’s the perfect follow-up to last summer’s “A Chorus Line,” another smart with heart, which won the Helen Hayes Award for Outstanding Resident Musical, Olney’s first such award since “Lucky Stiff” won in 1990.
In September, Loewith plans to open Olney’s fall season opens with “Colossal,” a new play that he expects to resonate with LGBT theatergoers. Penned by Andrew Hinderaker, “Colossal” is the story of Mike, a disabled man who became paralyzed after taking a bad hit for his co-team captain and first lover Marcus in a college football game. Seated in his wheelchair, Mike (to be played by Patrick Thornton, who is disabled) repeatedly watches the video of the bad hit. On stage, the hit is recreated by actors through movement and dance.
“Colossal” is slated to be staged by Will Davis, a transgender director. “When I hired Will he was a she. Now he’s a he and it’s upsetting my male-female ratio of directors. But that’s OK.”
Loewith brings energy and innovation to the job. He meets his challenges with a sense of humor. And perhaps most importantly, he holds the company to a high standard: “I don’t care if we’re doing ‘The Little Mermaid’ (which Olney is mounting for the holidays), we’ll attack the project with artistic rigor and that means working with the best directors, designers and actors in town.
He cites Broadway director David Esbjornson, best known for directing Edward Albee’s “The Goat, or Who is Sylvia?” on Broadway, as an influence, especially his mantra that “art must lead.”
“That means if it takes another thousand dollars to bring the right person to make the cast work, you have to do it,” Loewith says. “A theater will not stay alive by sending out another appeal letter or making a cut in the marketing budget. A theater survives by putting excellent work on the stage.”
Theater
‘Octet’ explores the depths of digital addiction
Habits not easily shaken in Studio Theatre chamber musical
‘Octet’
Through Feb. 26
Studio Theatre
1501 14th Street, N.W.
Tickets start at $55
Studiotheatre.org
David Malloy’s “Octet” delves deep into the depths of digital addiction.
Featuring a person ensemble, this extraordinary a capella chamber musical explores the lives of recovering internet addicts whose lives have been devastated by digital dependency; sharing what’s happened and how things have changed.
Dressed in casual street clothes, the “Friends of Saul” trickle into a church all-purpose room, check their cell phones in a basket, put away the bingo tables, and arrange folding chairs into a circle. Some may stop by a side table offering cookies, tea, and coffee before taking a seat.
The show opens with “The Forest,” a haunting hymn harking back to the good old days of an analog existence before glowing screens, incessant pings and texts.
“The forest was beautiful/ My head was clean and clear/Alone without fear/ The forest was safe/ I danced like a beautiful fool / One time some time.”
Mimicking an actual step meeting, there’s a preamble. And then the honest sharing begins, complete with accounts of sober time and slips.
Eager to share, Jessica (Chelsea Williams) painfully recalls being cancelled after the video of her public meltdown went viral. Henry (Angelo Harrington II) is a gay gamer with a Candy Crush problem. Toby (Adrian Joyce) a nihilist who needs to stay off the internet sings “So anyway/ I’m doing good/ Mostly/ Limiting my time/ Mostly.”
The group’s unseen founder Saul is absent, per usual.
In his stead Paula, a welcoming woman played with quiet compassion by Tracy Lynn Olivera, leads. She and her husband no longer connect. They bring screens to bed. In a love-lost ballad, she explains: “We don’t sleep well/ My husband I/ Our circadian rhythms corrupted/ By the sallow blue glow of a screen/ Sucking souls and melatonin/ All of my dreams have been stolen.”
After too much time spent arguing with strangers on the internet, Marvin, a brainy young father played by David Toshiro Crane, encounters the voice of a God.
Ed (Jimmy Kieffer) deals with a porn addiction. Karly (Ana Marcu) avoids dating apps, a compulsion compared to her mother’s addiction to slot machines.
Malloy, who not only wrote the music but also the smart lyrics, book, and inventive vocal arrangements, brilliantly joins isolation with live harmony. It’s really something.
And helmed by David Muse, “Octet” is a precisely, quietly, yet powerfully staged production, featuring a topnotch cast who (when not taking their moment in the spotlight) use their voices to make sounds and act as a sort of Greek chorus. Mostly on stage throughout all of the 100-minute one act, they demonstrate impressive stamina and concentration.
An immersive production, “Octet” invites audience members to feel a part of the meeting. Studio’s Shargai Theatre is configured, for the first, in the round. And like the characters, patrons must also unplug. Everyone is required to have their phones locked in a small pouch (that only ushers are able to open and close), so be prepared for a wee bit of separation anxiety.
At the end of the meeting, the group surrenders somnambulantly. They know they are powerless against internet addiction. But group newbie Velma (Amelia Aguilar) isn’t entirely convinced. She remembers the good tech times.
In a bittersweet moment, she shares of an online friendship with “a girl in Sainte Marie / Just like me.”
Habits aren’t easily shaken.
Sports
Blade, Pride House LA announce 2028 Olympics partnership
Media sponsorship to amplify stories of LGBTQ athletes
The Los Angeles Blade and Washington Blade on Friday announced a media partnership with the Out Athlete Fund, which will produce Pride House LA for the 2028 Summer Olympics.
Pride House is the home for LGBTQ fans and athletes that will become a destination during the L.A. Summer Games in West Hollywood in partnership with the City of WeHo. This 17-day celebration for LGBTQ athletes and fans will include medal ceremonies for out athletes, interactive installations, speakers, concerts, and more.
The Los Angeles Blade will serve as the exclusive L.A.-area queer media sponsor for Pride House LA and the Washington Blade will support the efforts and amplify coverage of the 2028 Games.
The Blade will provide exclusive coverage of Pride House plans, including interviews with queer athletes and more. The parties will share content and social media posts raising awareness of the Blade and Out Athlete Fund. The Blade will have media credentials and VIP access for related events.
“We are excited to partner with the Washington Blade, the oldest LGBTQ newspaper in the United States and the Los Angeles Blade, already a strong supporter of Out Athlete Fund and Pride House LA/West Hollywood,” said Michael Ferrera, CEO of Pride House LA. “Our mission is about increasing the visibility of LGBTQ+ athletes and fans to challenge the historical hostility toward our community in the sports world. Visibility is what publications like the Washington and Los Angeles publications are all about. We know they will play a key part in our success.”
“LGBTQ visibility has never been more important and we are thrilled to work with Out Athlete Fund and Pride House LA to tell the stories of queer athletes and ensure the 2028 Summer Games are inclusive and affirming for everyone,” said Blade Editor Kevin Naff.
Out Athlete Fund is a 501(c)3 designed to raise money to offset the training cost of out LGBTQ athletes in need of funding for training. The Washington Blade is the nation’s oldest LGBTQ news outlet; the Los Angeles Blade is its sister publication founded nine years ago.
In honor of Black History Month, the DC LGBTQ+ Community Center will host a series of events uplifting the histories, artistry, and resilience of Black LGBTQ+ communities through dialogue, film, and intentional gathering.
The series begins with “Ballroom Culture: Rhythms of Resilience,” a panel discussion on Tuesday, Feb. 10, 2026 at 7 p.m. Artists, activists, and leaders from the ballroom community will explore ballroom’s historical, cultural, and political significance as a site of resistance, kinship, creative expression, and social justice within Black, Latinx, and LGBTQ+ communities.
On Friday, Feb. 13 at 12:30 p.m., the Center will host a screening of the groundbreaking documentary “Paris is Burning,” which chronicles New York City’s ballroom scene and house culture while examining themes of race, class, identity, and survival through the voices of legendary performers including Willi Ninja, Pepper LaBeija, and Dorian Corey.
The month will conclude with “Soul Centered: A Black LGBTQ+ Gathering” on Saturday, Feb. 21, 2026 at 3:30 p.m. This free, RSVP-required event invites Black LGBTQ+ community members into a space of rest, connection, and reflection centered on love in all its forms. The gathering will feature a panel conversation with Black LGBTQ+ creatives, healers, and community members, followed by intentional speed connections and a closing social mixer.
For more details and to RSVP, visit the Center’s website.
‘Octet’ explores the depths of digital addiction
Why trans suffering is more palatable than trans ambition
Comings & Goings
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Virginia5 days agoHashmi speaks at Equality Virginia Lobby Day
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District of Columbia5 days ago
Norton hailed as champion of LGBTQ rights
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Maryland5 days ago
4th Circuit dismisses lawsuit against Montgomery County schools’ pronoun policy
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District of Columbia4 days ago
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