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 Namji. 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 Namji 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. 

Namji 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 Ithica 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,” Namji, 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, Namji 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.

For D.C. theater, it’s been a year of engaging premiers, reprises, and some particularly strong performances. Here are a few of the standouts. 

At Round House Theatre, 2024 kicked off with “Next to Normal,” Brian Yorkey and Tom Kitt’s masterful alt-rock musical. Strikingly helmed by out director Alan Paul, the production featured a marvelous Tracy Lynn Olivera as Diana Goodman, a homemaker struggling with mental illness. 

Despite years of scary manic episodes, med adjustments, and endless flat days filled with robotically performed household chores and married life, she maintains a wry sense of humor peppered with sarcastic asides.

At Studio Theatre in spring, nonbinary playwright Bryna Turner’s “At the Wedding” made a regional debut with a production directed by Tom Story. The queer comedy about a woman crashing her ex’s wedding and hoping not to make a scene.

Also in spring, GALA Hispanic Theatre, Gustavo Ott and Mariano Vale’s “The Return of Eva Perón: Momia en el closet” a dark musical comedy filled with history and madness starred out actor Fran Tapia as the taxidermized former first lady. She was terrific. 

Set against the harsh landscape of World War I, “Private Jones” a new musical written and directed by Marshall Pailet, premiered at Signature Theatre in Arlington in February.

The production featured a cast of hearing, Deaf, and hard-of-hearing actors including Dickie Drew Hearts, the Deaf, gay, and appealing actor who won an Obie Award for “Dark Disabled Stories,” a Public Theatre production. 

At Signature, Hearts played Henry, a Deaf munitions worker. At the time, he told the Blade, “I know that queer people have always been here and I like to infuse that into the characters I play whether or not it’s stated. I look for those moments of where it might be hinting at sexuality, and ask what was it like at the time, was it safe to be out?”

Throughout summer’s Capital Fringe, D.C.’s annual edgy performing arts festival, there was ample opportunity to see some new and different things.  

Included in the offerings was work by Sharp Dance Company performed at DCJCC in Dupont.  Sharp company member Wren Coleman, a transmasculine dancer and educator based in Philadelphia, described the group as very LGBTQ friendly and noted that their summer dances were of particular interest to queer people. 

In July, Stephen Mark Lukas brought his good looks and considerable talent to the Kennedy Center Opera where he played Nick Arnstein, the love interest of Katerina McCrimmon’s Fanny Brice in the national tour of the Broadway revival of “Funny Girl.” 

“These older book musicals are character driven and have great scores,” he shared. “It’s what makes them relevant today. On the surface they might feel dated, but there’s also the contemporary humor and romance.”

As a leading man in musical theater, Lukas has played the straight love interest more than once, but he’s never been too concerned about his sexuality getting in the way of the work. “The acting takes care of that,” he said. 

In North Bethesda, Strathmore dedicated two months to celebrating the greatness of James Baldwin. programming included live musical and theatrical events celebrating the late writer’s genius. 

In late September, Tony Award winning out actor Gavin Creel, 48, died from a rare and aggressive cancer.

Just a year and a half earlier, he’d been at the Kennedy Center headlining with a national tour of the Broadway hit production of “Into to the Woods.” He played both the lascivious Wolf and Cinderella’s Prince, two terrific scene stealing roles that allowed him to show off his gorgeous voice and comedic magic.

In December, much-admired children’s television screenwriter and producer Chris Nee went from TV to stage at the Kennedy Center with “Finn,” her heartwarming musical about a young shark who dreams of following in his family’s footsteps by joining the prestigious Shark Guard and the challenges and moments of self-discovery he faces along the way. 

Nee is best known for being the creator of the popular Disney animated series “Doc McStuffins” (the first Disney show to air an episode featuring an interracial lesbian couple as well as other kids’ shows “Ridley Jones” and “Vampirina.”  

And at Studio Theatre, out actor/director Holly Twyford moves into the new year starring opposite Kate Eastwood Norris in David Auburn’s “Summer, 1976” (through Jan. 12), a wonderfully acted memory play about two very different women and their longtime friendship.

‘A Christmas Carol: A Ghost Story of Christmas’
Through Dec. 29
Olney Theatre Centre
2001 Olney-Sandy Spring Road, Olney, MD
$51-$86
Olneytheatre.org

In an unmistakably husky voice, Elizabeth Ashley once told me, “When asked to help a friend, you don’t dick around.” The ever-candid actor was referring to when she replaced an unwell Dixie Carter in the 2010 Shakespeare Theatre Company’s production of “Mrs. Warren’s Profession.”  

Similarly, when celebrated local actor Michael Russotto was more recently asked to cover for colleague and friend Paul Morella in Olney Theatre Center’s unique version of Charles Dickens’s “A Christmas Carol: A Ghost Story of Christmas,” he didn’t hesitate. 

When first asked to stand in for Morella (who experienced a health event earlier this fall that has prevented him from performing over the holiday season), Russotto knew this wasn’t just any part. Faithfully conceived by Morella, this “A Christmas Carol” is a one-man show and a beloved Olney tradition, requiring the actor to portray more than 50 characters, ranging from miserly Scrooge to Tiny Tim. 

“Of course, my immediate instinct was to help out, but then the panic set in. Suddenly I was faced with a daunting new role as well as a condensed rehearsal period,” says Russotto, 64. “There’s no magic to learning a dense piece of material. However, I would suggest the first thing is to break it up into chunks. And it’s important to remain calm, otherwise you’ll run out of the room screaming.” 

Though he’s tackled some wordy two handers over the years, Olney’s “Carol” is Russotto’s first solo show. From the start, he recognized the size of the job, knowing from experience that there’s no substitution for the grind of sitting with the formidable script for hours and hours and do the memorizing and more memorizing.

Fortunately for him, it hasn’t been unpleasant. For starters, Russotto likes the story. “It’s a journey of redemption. And with its themes of greed and what goes with that, it’s a marvelous parable for the moment, especially for those of us who live in a capitalist society.” 

Also, as a big fan of 19th century literature, Russotto was already fond of Dickens and his Christmas tale. Published in December of 1843, it fits right in with what the actor likes: “I like the parentheticals, its ins and outs, and the curlicues.” 

Along with decades of terrific work on the D.C. stage, Russotto has narrated hundreds of audio books for Books on Tape and The Library of Congress. He says, “I’m often called on to narrate works from this era whether they be murder mysteries, or whatever. They’ll hand it to me, and that’s just fine.” 

How might a show built by Morella who’s straight be different when played by out actor Russotto?

“I’d say that being gay gives me a special perspective in that it affords me an unusual empathy with some of the characters and perhaps leads me to portray some of them in more of a rainbow light than they might otherwise be portrayed.” 

And Russotto, who lives with his longtime partner in Adams Morgan, readily confesses to having a crush on the Ghost of Christmas Present who’s often portrayed as a bearded, bare-chested Dionysian sexpot. 

However, reading aloud into a microphone is one thing, but to memorize and perform alone on stage at Olney’s Mulitz-Gudelsky Theatre Lab is something else. 

Playing Scrooge and company wasn’t something he had previously imagined doing. Still, he’s found joy in voicing the novella’s many characters: “I especially love the three ghosts; the gentlemen who come and try to solicit for the poor and the ruffians who show up at the end of the play.”

In taking on Dickens solo, Russotto now finds himself in the company of some illustrious queers including Eddie Izzard who did “Dickens’ Great Expectations” in New York, and BAFTA award winning actor and fearless activist Miriam Margolyes who has successfully toured with her one woman hit show “Dickens’ Women.” 

Actors are advised to challenge themselves now and them. It’s considered important to do something that you’re a little terrified of doing, push yourself a little bit. Well, this job is checking all of those boxes, he says. 

And after the show’s run ends? How does an actor unwind from this? 

Without hesitation, Russotto replies, “I’ll be having a big martini. And maybe we’ll make more of New Year’s in a way that we don’t usually do. That’s what I’m thinking.”