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Best of Gay D.C. XIII: Dining

Winners from the Blade’s readers poll

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dining, gay news, Washington Blade

To see the winners of the Washington Blade’s Best of Gay D.C. readers poll in other categories, click here.

Best new restaurant

Barcelona

Runner-up: Rose’s Luxury

Barcelona, gay news, Washington Blade, dining

Barcelona (Washington Blade photo by Michael Key)

In the heart of the booming 14th Street N.W. corridor near Logan Circle is Barcelona, an always-bustling spot that has one of the largest outdoor seating areas in the neighborhood and a classy-yet-low-key vibe on the block between Q and R streets. Part of a chain, the restaurant, under the direction of Executive Chef John Critchley, features mostly tapas but has a few entrees as well. Many are Spanish-inspired (e.g. spiced beef empanadas or potato tortilla) but not all. It opened October 2013. (JD)

Barcelona Wine Bar & Restaurant

1622 14th St., N.W.

202-588-5500

barcelonawinebar.com

Best Date Restaurant

Floriana

Runner-up: Le Diplomate

Floriana, gay news, Washington Blade

Floriana (Washington Blade file photo by Michael Key)

Best Wine Bar

Dito’s Bar at Floriana

Runner-up: Cork

Dito Sevilla, Dito's Bar, Floriana, gay news, Washington Blade

Dito’s Bar at Floriana (Washington Blade photo by Michael Key)

The perfect date night is planned for you at Floriana. Authentic Italian food, like butternut squash ravioli and lasagna, can transport any date from D.C. to Italy. Stop by Dito’s Bar for a drink to complete the romantic evening. All you have to do is show up. (MC)

Floriana

1602 17th St., N.W.

202-667-5937

Best Dessert

Curvy Mama Pies

Runner-up: Cake Love

Curvy Mama Pies (Washington Blade photo by Michael Key)

Curvy Mama Pies (Washington Blade photo by Michael Key)

Never grab a grocery store pie for the party again. Curvy Mama Pies’ online ordering service can have your pies ready in 48 hours. Try old favorites like “The Best Apple Pie Ever” and pumpkin pie or step outside the pie box and try “Aztec Chocolate Chess” or “Sweet Potato Bourbon.” (MC)

Curvy Mama Pies

Bethesda, Md.

301-717-3010

Curvymamapies.com

Best Boozy Brunch

Level One

Level One, gay news, Washington Blade

Level One (Washington Blade photo by Michael Key)

1639 R St., N.W.

202-745-0025

levelonedc.com

Runner-up: Freddie’s Beach Bar

Best Chef

Jamie Leeds (Hank’s Oyster Bar)

Runner-up: Jose Andres (Jaleo, Oyamel, etc.)

Jamie Leeds  (Washington Blade file photo by Michael Key)

Jamie Leeds (Washington Blade file photo by Michael Key)

Long-time out restaurateur Jamie Leeds adds another accolade to her long list. In Washington since 2002, she opened the first Hank’s Oyster Bar in 2005 and now has locations in Capitol Hill and Old Town Alexandria in addition to its Q Street location just off 17th Street, N.W. If you’re into oysters, competitor Pearl Dive Oyster Palace on 14th, is undeniably great, but Hank’s always has a bounty of nirvana-inducing selections from a bewilderingly far-flung group of locales that are always mind bogglingly fresh. D.C. oyster heaven doesn’t get any better than this. (JD)

Hank’s Oyster Bar

1624 Q St., N.W.

Washington

202-462-HANK

1026 King St.

Alexandria, Va.

703-739-HANK

633 Pennsylvania Ave., S.E.

Washington

202-733-9171

hanksoysterbar.com

Best Late Night Restaurant

Amsterdam Falafel

Runner-up: Annie’s Paramount Steak House

Amsterdam Falafel (Washington Blade photo by Michael Key)

Amsterdam Falafel (Washington Blade photo by Michael Key)

Don’t let your standards slip just because it’s after hours. Fresh falafels are made to order here with 21 sauces and toppings to choose from. Customize the fries as well with dressings and sauces like Dutch mayo or homemade peanut sauce. (MC)

Amsterdam Falafel

1830 14th St., N.W.

202-232-6200

Best Coffee Shop

Soho Tea and Coffee

Runner-up: The Coffee Bar

Ditch the Starbucks and try a specialty coffee at Soho Tea and Coffee. Drinks with fun names like Hello Gorgeous Macchiato and Betty Boop, white or dark chocolate mixed with coffee, make this not your typical coffee shop. (MC)

2150 P St., N.W.

202-463-7646

sohoteaandcoffee.com

Best Rehoboth Restaurant

Dos Locos

Runner-up: Purple Parrot

Dos Locos, Joe Zuber, Darryl Ciarlante, Rehoboth Beach, Delaware, restaurant, gay news, Washington Blade

Drinks at Dos Locos (Photo courtesy Dos Locos)

Whether you’re looking to watch a game with friends at the bar while downing the renowned margaritas or in need of a family-friendly place for dinner, the gay-owned Dos Locos delivers. There are seasonal specials (don’t miss the pumpkin margarita), tequila tasting dinners, inventive entrees (we love the duck quesadilla) and unbeatable specials (like the $20 pitchers of sangria on Saturdays). (KN)

Dos Locos

208 Rehoboth Ave.

302-227-3353

doslocos.com

Best Caterer

Chef Patrick

patrickvanasevents.com

Runner-up: R&R Catering

Patrick Vanas, recipes, recipe, food, cooking, Thanksgiving, gay news, Washington Blade

Chef Patrick (Washington Blade photo by Michael Key)

Best Pizza

Matchbox

Locations vary

matchboxfoodgroup.com

Runner-up: &Pizza

Spicy Meatball Pizza at Matchbox (Photo courtesy Matchbox Food Group)

Spicy Meatball Pizza at Matchbox (Photo courtesy Matchbox Food Group)

Best Burger

Duke’s Grocery

Runner-up: Shake Shack

Duke's Grocery (Washington Blade photo by Michael Key)

Duke’s Grocery (Washington Blade photo by Michael Key)

Inspired by East London corner cafes, Duke’s Grocery provides a casual environment. The menu changes daily based on which ingredients, sourced from local purveyors, are fresh and seasonal. The burgers, like all other dishes, are made from scratch. (SMH)

Duke’s Grocery

1513 17th St., N.W.

202-733-5623

dukesgrocery.com

Best Baltimore Restaurant

Woodberry Kitchen

Runner-up: City Café

Woodberry Kitchen (Photo courtesy of Woodberry Kitchen)

Woodberry Kitchen (Photo courtesy of Woodberry Kitchen)

Woodberry Kitchen is celebrating seven years in business and it’s still impossible to get a table without a reservation. Woodberry was an early proponent of the now-ubiquitous trend of farm-to-table cuisine. Chef Spike Gjerde is a James Beard semi-finalist as is the bar program. Woodberry supports sustainable agriculture, using ingredients from the Chesapeake region in its New American dishes. The success helped spawn a hot new spot, Parts & Labor, a butcher shop and restaurant, but there’s nothing like the original. Just make a reservation. (KN)

Woodberry Kitchen

2010 Clipper Park Road, #126

410-464-8000

woodberrykitchen.com

Best Food Truck

D.C. Empanadas

Runner-up: Red Hook Lobster

D.C. Empanadas at the Human Rights Campaign's 'Chefs for Equality' event on Sept. 24, 2014. (Washington Blade photo by Michael Key)

D.C. Empanadas at the Human Rights Campaign’s ‘Chefs for Equality’ event on Sept. 24, 2014. (Washington Blade photo by Michael Key)

D.C.’s only mobile gourmet empanada truck takes great care to provide hand-made delicacies using only local ingredients. A wide variety of beef, pork, chicken and vegetarian options rotate daily. Check Twitter @DCEmpanadas for the truck’s location. (SMH)

D.C. Empanadas

703-400-5363

dcempanadas.com

Best Cheap Eat

District Taco

Runner-up: Stoney’s

District Taco (Washington Blade photo by Michael Key)

District Taco (Washington Blade photo by Michael Key)

What originated as a food truck in 2009 now serves the community in four locations in and around D.C. The Yucatan-style tacos are simple, healthful and made from quality ingredients and served in environmentally friendly packaging. (SMH)

District Taco

703-560-0369

districttaco.com

Best Farmer’s Market

Eastern Market

Eastern Market (Photo by AgnosticPreachersKid; courtesy Wikimedia Commons)

Eastern Market (Photo by AgnosticPreachersKid; courtesy Wikimedia Commons)

225 7th St. S.E.

202-698-5253

easternmarket-dc.org

Runner-up: Dupont Circle FRESHFARM Market

Best Steak

Ray’s The Steaks

Runner-up: Ruth’s Chris Steak House

Satisfy that steak craving at Ray’s The Steaks. A New York strip, filet mignon or one of their butcher cuts is guaranteed to hit the spot. Their beef is all aged in house and cuts butchered daily for the ultimate tasting experience. (MC)

Ray’s The Steaks

2300 Wilson Blvd., Arlington, Va.

703-841-7297

raysthetsteaks.com

Best Donut

Winner: District Doughnut

Runner-up: Krispy Kreme

Caramel apple streusel, maple butter pecan, apple cider and the list goes on for the donut flavors you can try here. The flavor schedule changes daily so be sure to come back again and again to indulge in something new. (MC)

District Doughnut

749 8th St., S.E.

202-350-0799

districtdoughnut.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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