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GIFT GUIDE I: Tickets to wonderland

Koz, Waters, ‘Nutcracker,’ ‘Messiah’ and tons more



holiday gift guide, gay news, Washington Blade
holiday gift guide, gay news, Washington Blade

Christine Rocas and Rory Hohenstein in Joffrey’s Ballet’s ‘The Nutcracker’ at the Kennedy Center this weekend. (Photo by Cheryl Mann)

From theatrical plays to concerts to sing-alongs and more, as always, the Washington area is rich with holiday productions of every genre. We’re calling this gift guide part one but in a few cases, you may be your own recipient!

At the ballet

Hope Garden Children’s Ballet Theatre presents “A Christmas Carol” at the F Scott Fitzgerald Theater in Rockville (603 Edmonston Drive, Rockville, Md.)  at 1:30 and 7 p.m., Nov. 28. The classic ballet features rich costumes and moving music by Debussy. Tickets are $22.

Robert Joffrey’s awe-inspiring staging of the perennial classic “The Nutcracker” will enjoy its final performances at the Kennedy Center’s Opera House at 7 p.m., Nov. 25, 27-29; 1 p.m. and Nov. 27-29. Tickets from $55.

The Washington Ballet welcomes the holiday season by presenting “The Nutcracker” Nov. 28-29 at the THEARC (1901 Mississippi Ave., S.E.), and Dec. 3-27 at the historic Warner Theatre (3515 Wisconsin Ave., N.W.). Septime Webre’s critically acclaimed ballet transports audiences back in time to historic Washington in a one-of-a-kind production set in 1882 Georgetown and starring George Washington as the heroic Nutcracker, King George III as the villainous Rat King, Anacostia Indians, frontiersmen and many other all-American delights. Tickets range from $34-99.

Musical melodies

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Calmus plays the Barnes at Wolf Trap on Sunday, Dec. 6. (Photo courtesy Wolf Trap)

A cappella quintet Calmus will perform Christmas carols from around the world, featuring pieces from the Netherlands, Puerto Rico, Ireland and more, at a special holiday concert at the Barns at Wolf Trap (1635 Trap Road) at 7:30 p.m. on Sunday, Dec. 6. Tickets are $35.

“Sound of Music” fans will delight in the Kennedy Center’s NSO Pops: the von Trapps & Stephanie J. Block Family Holiday show at 7 p.m. on Dec. 10; 8 p.m., Dec. 11 and Dec. 12; and 2 p.m., Dec. 12. Tickets begin at $20. Songs from the great-grandchildren of the cherished “Sound of Music” von Trapp family join musical theater star Stephanie J. Block and the NSO Pops.

The Washington National Opera presents “Hansel and Gretel” at the Kennedy Center’s Terrace Theater at 2 and 7 p.m., Dec. 12-13 and Dec. 18-20. The show features current and former Domingo-Cafritz Young Artists alongside the WNO Children’s Chorus. Tickets start at $59.

Acclaimed a cappella group, Chanticleer, brings soaring Christmas carols to George Mason University’s Center for the Arts (4373 Mason Pond Dr., Fairfax) at 8 p.m., Nov. 28; and at the Hylton Performing Arts Center (10960 George Mason Circle, Manassas) at 8 p.m., Nov. 29. Expect ancient hymns, venerated sacred songs, contemporary classics, gospel spirituals and treasured American and European carols. Tickets range from $32-54.

holiday gift guide, gay news, Washington Blade

Chanticleer performs two shows in Virginia on Nov. 28-29. (Photo by Lisa Kohler)

Tony winner Brian Stokes Mitchell will perform with the Baltimore Symphony Orchestra for the holiday spectacular, “‘Tis the Season” on Dec. 10 at the Music Center at Strathmore (5301 Tuckerman Lane, North Bethesda). Tickets range from $25-99. For more information, visit

The Dave Koz Christmas Tour with guests Jonathan Butler, Candy Dulfer and Bill Medley returns to the Strathmore (5301 Tuckerman Lane, North Bethesda) on Friday, Dec. 4 at 8 p.m. Tickets are $48-88.

Sing along!

holiday gift guide, gay news, Washington Blade

Wolf Trap’s holiday sing-along is Saturday, Dec. 5. (Photo by Sam Kittner)

Wolf Trap presents its annual holiday sing-a-long on Saturday, Dec. 5 at 4 p.m. at the Filene Center (1551 Trap Road), featuring Christmas carols and Hanukkah songs by choir and vocal groups and the United States Marine Band. Admission is free and guests are encouraged to bring an unwrapped gift to donate as part of the Toys for Tots campaign.

The 45th annual Kennedy Center “Messiah” Sing-Along takes place at 8 p.m., Dec. 23 at the Concert Hall. Tickets are free but reservations are required. Guest conductor Barry Hemphill leads the Kennedy Center Opera House Orchestra, guest soloists and audience in a glorious “sing-along” of Handel’s beloved masterpiece.

The 10th annual Congressional Chorus’ holiday concert and sing along presents the American Youth Chorus leading holiday favorites at 4 and 7 p.m., Dec. 13 at the Atlas Performing Arts Center (1333 H St., NE).

Traditional favorites

The Gay Men’s Chorus of Washington presents “Rewrapped,” Dec. 5-6, 12-13 at the Lincoln Theatre (1215 U St., N.W.). Expect signature holiday classics and new arrangements of seasonal favorites. Don’t be surprised to see a visit from Ole’ St. Nick himself. Tickets range from $13-35.

The National Symphony Orchestra presents Handel’s “Messiah” at 7 p.m. Dec. 17; 8 p.m., Dec. 18-19; and 1:30 p.m. Dec. 20 at Kennedy Center’s Concert Hall. Conductor Nathalie Stutzman leads soloists Emöke Barath (soprano), Sara Mingardo (contralto), Lawrence Wiliford (tenor), Burak Bilgili (bass) and the University of Maryland Concert Choir (Edward Maclary, music director) in the holiday classic. Tickets start at $15.

The 25th annual NPR’s “A Jazz Piano Christmas” takes place at 7 and 9 p.m., Dec. 4 at the Terrace Theater. NEA Jazz Master Kenny Barron will perform with Fred Hersch and Joey Alexander. Tickets are $59. For more information, visit

The 17th annual All-Star Christmas Day Jazz Jam will take place on Kennedy Center’s Millennium Stage at 6 p.m., Dec. 25.

Legendary filmmaker John Waters will give his take on the holiday season with his show, “A John Waters Christmas” playing the Birchmere (3701 Mount Vernon Ave.) in Alexandria on Dec. 21. Delving into his passion for lunatic exploitation Christmas movies and the unhealthy urge to remake all his own films into seasonal children’s classics, “The Pope of Trash” will give you a Joyeaux Noel like no other. Tickets are $49.50.

On stage

The annual Ford’s Theatre (511 Tenth St. NW) production of “A Christmas Carol” is being staged Nov. 19-Dec. 31. Adapted by Michael Wilson and directed by Michael Baron, join the ghosts of Christmas Past, Present and Future as they lead the miserly Ebenezer Scrooge on a journey of transformation and redemption. For more information, visit

The Olney Theater (2001 Olney-Sandy Spring Rd.) in Olney is bringing back storyteller Paul Morella in a one-man performance of “A Christmas Carol: A Ghost Story of Christmas,” Nov. 27-Dec. 27. Tickets for all shows begin at $26 and can be purchased by calling the box office at 301-924-3400.

The Annapolis Shakespeare Company (111 Chinquapin Round Road, no.114, Annapolis) presents “It’s a Wonderful Life: A Live Radio Play” by Joe Landry, Dec. 4-Jan. 3.

The Chesapeake Shakespeare Company (7 S. Calvert St, Baltimore) holds its annual “A Christmas Carol” by Charles Dickens, Dec. 4-23. Tickets are $25.

MetroStage (1201 North Royal St., Alexandria) present “A Broadway Christmas Carol starring Peter Boyer, Michael Sharp, Tracey Stephens and Howard Bretibart, Nov. 24-Dec. 27. Tickets start at $20.

Black Nativity” returns to the Theater Alliance Stage (2020 Shannon Place, S.E.) as Langston Hughes chronicles and celebrates the birth of Jesus, while also celebrating the birth of blackness. This classic story is told through gospel, blues, funk, jazz and dance. The show runs from Nov. 25 to Jan. 3.

Super Art Fight’s second annual “Non-Denominational Holiday Spectacular” plays the Black Cat (1811 14th St., N.W.) on Dec. 4 with four “art fights” featuring mashups of pro wrestling, live art, improv comedy and more. Tickets are $15. Doors open at 9 p.m. Details at

“Sorry” and “Regular Singing,” the final two plays in “The Apple Family Cycle” by Richard Nelson continue at Studio Theatre (1501 14th St., N.W.) in rotation through Dec. 13. “Bad Jews” by Joshua Harmon opens Dec. 3.

The American Opera Initiative of the Washington National Opera continues with three pairings of new opera composers and librettists each with new one-act operas based on contemporary American stories in sem-staged concert performances at 7 and 9 p.m. on Wednesday, Dec. 2 in the Kennedy Center Terrace Theater (2700 F St., N.W.).

Big Band Holidays featuring the Jazz at Lincoln Center Orchestra with Wynton Marsalis and Denzal Sinclaire and Audrey Shakir plays the Music Center at Strathmore (5301 Tuckerman Lane, North Bethesda, Md.) at 8 p.m. on Saturday, Dec. 12. Tickets start at $58.

Santa visits American Plant every weekend in December. On Saturdays, he’s at its 5258 River Road location and Sundays at 7405 River Road each day from noon-2 p.m. (dates are Dec. 5, 6, 12, 13, 19 and 20). Get all your holiday shopping, home decorating, tree, photos with Santa and more at American Plant.

Welcome 2016!

The Kennedy Center’s annual New Year’s Eve concert returns with a funky edge at the Kennedy Center (2700 F St. N.W.) with Chaka Khan at 8:30 p.m. The evening culminates with a party in the Grand Foyer to ring in 2016. Tickets range from $50-90.


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Taste of Pride celebrates LGBTQ and allied restaurants

Weeklong event will feature local eateries and bars



Kareem Queeman, known as Mr. Bake, will headline the opening event for Taste of Pride.

Get ready to celebrate LGBTQ-owned, managed, and allied restaurants at Taste of Pride from Oct. 2-8. 

The weeklong event is a new initiative by Capital Pride Alliance. In 2021, the organization put on a single-day brunch event in June at LGBTQ and allied restaurants, but this is the first weeklong iteration. 

About 15 local restaurants and bars are set to participate, including As You Are, Shaw’s Tavern, Jane Jane, and Code Red. There’s also an opening party on Monday, Oct. 2 featuring food and drink vendors without a traditional brick-and-mortar space, like Suga Chef and Vegan Junk Food. 

Taste of Pride will raise funds for the Pride365 fund, which supports local LGBTQ organizations. There will be a three-course prix fixe menu at several of the participating locations, with lunch and brunch menus offered at $30, and dinner menus offered at $40 or $55. 

Kareem Queeman, known as Mr. Bake, will be headlining the opening event on the evening of Oct. 2 at Lost Generation Brewery. Queeman, the founder and owner of the renowned bakery Mr. Bake Sweets and a James Beard Award semi-finalist, said he’s excited to spotlight LGBTQ chefs and mixologists. 

Queeman said he’s proud to be a part of bringing queer culinary experts together to celebrate the work they’ve all done and discuss what changes need to come to the industry — there will be a panel discussion on Oct. 2 covering those topics. LGBTQ chefs have long gone unnoticed, he said, despite the innovative work they’ve done. 

“Queers have been in the industry doing the work for a very long time and we just haven’t really gotten that acknowledgment,” Queeman said. 

Providing this space for LGBTQ people in the restaurant industry is paramount to giving a sense of power and ownership in the work they do, Queeman said. He wishes there was this kind of space for him when he was coming up as a chef when he was younger. 

Taste of Pride is also a great opportunity for LGBTQ people looking to get into the industry to find safe spaces to work that are run by queer people, Queeman said. 

Rob Heim, the general manager at Shaw’s Tavern, said he’s looking forward to being a part of the event. And new fall menu items at Shaw’s Tavern will be available during Taste of Pride, which he’s thrilled to showcase. 

“I was really excited to help out and participate,” he said. “It’s a great idea.” 

The smaller number of participating restaurants in Taste of Pride is intentional, said Brandon Bayton, a volunteer executive producer organizing Taste of Pride. It’s so each restaurant can be well-represented during the week, and different restaurants will be highlighted on social media on separate days. Capital Pride Alliance is also partnering with influencers to get the word out. 

From left, food from 801 Restaurant and Bar and a drink from Code Red. (Code Red photo by Michael Emond; photos courtesy of Capital Pride Alliance)

Visibility — all year long 

It’s important to have events like Taste of Pride outside of June, Bayton said. 

“We exist 365 days,” Bayton said. “So we need to make sure that we continue the celebration and invite others to celebrate with us and just be authentically ourselves. We enjoy and do a lot of things other people do. There’s no reason why we should just be constrained to one month.”

Queeman agrees. His identity as a queer Black man doesn’t stop or start at any given month. 

“I’m not just a queer or gay man in June or I’m not just a Black man in February,” he said. 

And food is a major intersection that all people of all identities enjoy, Bayton said. It’s a simple way to bring people together. 

“We do the exact same things that everyone else does,” Bayton said. “We all eat. We all love to eat.” 

Taste of Pride will run from Oct. 2-8. For more information and to make reservations, visit

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Hip-Hop’s complicated history with queer representation

At 50, experts say the genre still doesn’t fully welcome LGBTQ inclusion



Rapper Lil Nas X faced backlash for his music video ‘Montero,’ but it debuted atop the Billboard 100.

I didn’t really start listening to rap until my college years. Like many queer Black children who grow up in the closet, shielded by puritanical Christianity from the beauty of a diverse world, I longed to be myself. But the affirming references I could pull from — in moments of solitude away from the wrath and disdain of family and friends — were in theater and pop music.

The soundtrack to my teenage years was an endless playlist of pop divas like Lady Gaga and Beyoncé, whose lyrics encouraged me to sashay my hips anytime I strutted through a long stretch of corridor.

I was also obsessed with the consuming presence of powerful singers like Patti LaBelle, Whitney Houston, and the hypnosis that was Chaka Khan. My childhood, an extrapolation of Tuesdays, Thursdays, Saturdays and Sundays spent in church groups, choir practices, and worship services, necessitated that I be a fan of throaty, from-the-stomach singing. But something about the way these artists presented themselves warmed my queer little heart. LaBelle wore avant garde geometric hairdos paired with heavily shoulder-padded blazers. Houston loved an elegant slender gown. And Khan? It was the voluminous red mane that gently caressed her lower back for me. 

Listening to rap music in college was a political experience. My sociology classes politicized me and so it was only natural that I listened to rap music that expressed trauma, joy, and hope in the Black experience. However, I felt disconnected from the music because of a dearth of queer representation in the genre. 

Nevertheless, groups like Outkast felt nostalgic. While delivering hedonistic lyrics at lightning speed, André 3000 — one half of the rap duo — mesmerized with his sleek, shoulder-length silk pressed hair and colorful, flowing shirts and trousers — a style that could be translated as “gender-bending.” Despite the patriarchal presentation rampant in rap and Hip-Hop, Andr​​é 30000 represented to me, a kind of rebellious self-expression that I so badly wanted to emulate but couldn’t because of the psychological confines of my conservative upbringing. 

My discovery of Outkast was also sobering because it was a stark reminder of how queerness is also often used as an aesthetic in Hip-Hop while actual queer people are shunned, rebuked, and mocked. Queer people in Hip-Hop are like backstage wingmen, crucial to the development of the show but never important enough to make a curtain call. 

As Hip-Hop celebrates 50 years since its inception in New York City, I am filled with joy because it’s been half a century of Black people owning their narratives and driving the culture. But it’s fair to ask: At whose expense? 

A viral 2020 video shows rapper Boosie BadAzz, famed for hits like “Set It Off” and “Wipe Me Down,” rebuking NBA star Dwayne Wade and award-winning actress Gabrielle Union-Wade for publicly supporting their then-12-year-old daughter after she came out as transgender. 

“Don’t cut his dick off, bro,” said BadAzz with furrowed eyebrows and a gaze that kept turning away from the camera, revealing his tarnished diamond studs. “Don’t dress him as a woman dawg, he’s 12 years. He’s not up there yet.” 

The responses from both Wade and Union-Wade were a mixture of swift, sarcastically light-hearted, and hopeful.

“Sorry Boosie,” Union-Wade said to an audience during a live podcast appearance at Live Talks Los Angeles. “He’s so preoccupied, it’s almost like, ‘thou doth protest too much, Little Boos.’ You’ve got a lot of dick on your mind.”

Wade also appeared on an episode of podcast, “I AM ATHLETE,” and looked directly into the camera.

“Boosie, all the people who got something to say, J-Boogie who just came out with [something] recently, all the people who got something to say about my kids,” he said. “I thank you because you’re allowing the conversation to keep going forward because you know what? You might not have the answers today, I might not have the answers, but we’re growing from all these conversations.” 

This exchange between the Wades and BadAzz highlights the complicated relationship between Black LGBTQ individuals and allies and the greater Hip-Hop and rap genres and communities. While Black queer aesthetics have long informed self-expression in Hip-Hop, rappers have disparaged queerness through song lyrics and in interviews, or online rants like BadAzz, outside the recording studio. 

And despite LGBTQ rappers like Queen Latifah, Da Brat, Lil Nas X, and Saucy Santana achieving mainstream success, much work lies ahead to heal the trauma that persists from Hip-Hop’s history of  patriarchy and homophobia. 

“‘Progression’ will always be relative and subjective based on one’s positionality,” said Dr. Melvin Williams said in an email. Williams is an associate professor of communication and media studies at Pace University. “Hip-hop has traditionally been in conversation with queer and non-normative sexualities and included LGBTQ+ people in the shaping of its cultural signifiers behind the scenes as choreographers, songwriters, make-up artists, set designers, and other roles stereotypically attributed to queer culture.”

“Although Hip-Hop incorporates queerness in their ethos, ideas, and trends, it does not privilege the prospect of an out LGBTQ+ rapper. Such reservations position LGBTQ+ people as mere labor in Hip-Hop’s behind-the-scenes cultivation, but not as rap performers in its mainstream distribution,” he added. 

This is especially true for Queen Latifah and DaBrat who existed in the genre for decades but didn’t publicly come out until 2021. Still, both faced backlash from the Black community for daring to challenge gender roles and expectations. 

Queen Latifah dodged questions about her sexuality for years before acknowledging her partner and their son in 2021. (Photo by DFree via Bigstock)

Lil Nas X also faced backlash for his music video “Montero” with satanic references, including one in which he slides down a pole and gives a character representing the devil a lap dance. Conservatives such as South Dakota Gov. Kristi Noem accused him of trying to scandalize children. 

“You see this is very scary for me, people will be angry, they will say I’m pushing an agenda. But the truth is, I am,” Nas X said in a note that accompanied “Montero.” The agenda to make people stay the fuck out of other people’s lives and stop dictating who they should be.”

Regardless, “Montero” debuted atop the Billboard 100. 

In an article published in “Souls: A Critical Journal of Black Politics, Culture, and Society,” scholar C. Riley Snorton posited that celebrating queer visibility in mainstream media could be a problem as this kind of praise relies on artists presenting in acceptable forms of gender and sexuality expression and encourages representation that is “read alongside…perceptions of Hip-Hop as a site of Black misogyny and homophobia.” 

In the case of Frank Ocean, who came out in 2012 prior to the release of his album “Channel Orange,” his reception was warmer than most queer Hip-Hop artists because his style of music is singing, as opposed to rapping. Because of this, his music was viewed more as R’n’B or pop. 

“Frank Ocean ain’t no rapper. He’s a singer. It’s acceptable in the singing world, but in the rap world I don’t know if it will ever be acceptable because rap is so masculine,” rapper Snoop Dogg told the Guardian in 2013. “It’s like a football team. You can’t be in a locker room full of motherfucking tough-ass dudes, then all of a sudden say, ‘Hey, man, I like you.’ You know, that’s going to be tough.”

So what’s the solution for queer people in Hip-Hop? Digital media.

Williams, the Pace University professor, says that being divorced from record labels allows queer artists to be independent and distribute their music globally on their own terms. 

“We witnessed this fact with artists such as Azealia Banks, Cakes Da Killa, Fly Young Red, Kevin Abstract, iLoveMakonnen, Lil Nas X, Mykki Blanco, and Saucy Santana, as well as legacy LGBTQ Hip-Hop acts like Big Freeda, DeepDickCollective, and Le1f,” he said. “The music industry has experienced an increasingly mobilized market due to the rise of digital media, social networking platforms, and streaming services.”

“More importantly, Black queer Hip-Hop artists are historicizing LGBTQ+ contributions and perspectives in documentaries, films, news specials, public forums, and podcasts. Ultimately, queer people engaging in Hip-Hop is a revolutionary act, and it remains vital for LGBTQ+ Hip-Hoppers to highlight their cultural contributions and share their histories,” he added. 

(Hip-Hop pioneers Public Enemy and Ice-T will headline The National Celebration of Hip-Hop, free concerts at the West Potomac Park on the National Mall in D.C. on Oct. 6 and 7.)

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Cuisine and culture come together at The Square

D.C.’s newest food hall highlights Spanish flavors



(Photo by Scott Suchman)

Downtown got a bit tastier when “the next generation of food halls” opened its doors on Tuesday near the Farragut West Metro stop. Dubbed The Square, its half-dozen debut stalls are a Spanish-flecked mix of D.C. favorites, new concepts, and vendor-collaborative spirit.

After two years of planning – and teasing some big-name chefs – the market is, according to the owners, “where cuisine, culture, and community are woven together.”

Behind this ambitious project with lofty aims are Richie Brandenburg, who had a hand in creating Union Market and Rubén García, a creative director of the José Andrés Group who also was part of the team of Mercado Little Spain, the fairly new Spanish-themed Andres food hall in Hudson Yards.

Food halls have come a long way since the new Union Market awakened the concept a decade ago. Instead of simply rows of vendors in parallel lines, The Square has a new business model and perspective. This food hall shares revenue between the owners and its chef partners. Vendors are encouraged to collaborate, using one software system, and purchasing raw materials and liquor at scale together.

“Our goal was two-fold: to create a best-in-class hospitality offering with delicious foods for our guests; and behind the scenes, create the strong, complex infrastructure needed to nurture both young chefs and seasoned professionals, startups, and innovation within our industry,” says Brandenburg.

The Square has embraced a more chef-forward methodology, given that the founders/owners themselves are chefs. They’re bringing together a diverse mix of new talent and longtime favorites to connect, offer guidance to each other, and make the market into a destination. 

(Photos by Scott Suchman)

The first phase of The Square premiered this week. This phase encapsulates a selection of original concepts from well-known local chefs and business owners, and includes:

• Cashion’s Rendezvous – Oysters, crab cakes, and cocktails, from the owners of D.C. institutions and now-closed Cashion’s Eat Place and Johnny’s Half-Shell (Ann Cashion and John Fulchino).

• Jamón Jamón – Flamenco-forward food with hand-cut jamón Iberico, queso, and croquetas, sourced by García himself.

• Brasa – Grilled sausages and veggies are the stars here. Chef García oversees this Spanish street-food stall as well.

 Taqueria Xochi – Birria, guisado, and other street tacos, plus margs. Named after the ruins of Xochitecatl in Central Mexico, and from a Jose Andres alum.

• Yaocho – Fried chicken, juices, sweets, and libations.

• Junge’s – Churros and soft serve ice cream. Brandenburg and García both have a hand in this stall.

• Atrium Bar – The central watering hole for drinks. Atrium Bar serves cocktails, wine, and beer curated by The Square’s Beverage Director Owen Thompson.

“Having been part of Jose Andres’s restaurant group and getting to know Ruben and Richie, it’s amazing to see how their values align with ours at Taqueria Xochi. Seeing all these incredible chefs heading into Square feels like a full-circle moment,” said Geraldine Mendoza of Taqueria Xochi.

Slated for fall 2023, the next round of openings includes Flora Pizzeria, Cebicheria Chalaca, KIYOMI Sushi by Uchi, Shoals Market (a retail hub), and more. Additionally, chef Rubén García’s Spanish restaurant, Casa Teresa, will soon open next door to The Square.

The Square is just one of a handful of new food halls blossoming in and around D.C. Up in Brentwood, Md., miXt Food Hall is an art-adjacent space with tacos, a year-round fresh market, coffee, and beer. Across from Union Market is La Cosecha, a Latin marketplace with everything from street food to a Michelin starred restaurant and a festive vibe. Closer to The Square is Western Market by GW University, which opened in late 2021 with a buzzy, relaxed style.

For now, the Square is open Monday through Friday, 11 a.m. to 3 p.m. The Square plans to open on weekends and extend hours to offer dinner service in the coming months. A few alfresco seats will accompany the hall.

(Photo by Scott Suchman)
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