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.
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.
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 strathmore.org.
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.
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).
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 kennedy-center.org.
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.
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 fordstheatre.org.
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 blackcatdc.com.
“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.
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.
Daisy Edgar-Jones knows why ‘the Crawdads sing’
Actress on process, perfecting a southern accent, and her queer following
Daisy Edgar-Jones is an actor whose career is blossoming like her namesake. In recent years, she seems to be everywhere. LGBTQ viewers may recognize Edgar-Jones from her role as Delia Rawson in the recently canceled queer HBO series “Gentleman Jack.” She also played memorable parts in a pair of popular Hulu series, “Normal People” and “Under the Banner of Heaven.” Earlier this year, Edgar-Jones was seen as Noa in the black comedy/horror flick “Fresh” alongside Sebastian Stan.
With her new movie, “Where the Crawdads Sing” (Sony/Columbia), she officially becomes a lead actress. Based on Delia Owens’ popular book club title of the same name, the movie spans a considerable period of time, part murder mystery, part courtroom drama. She was kind enough to answer a few questions for the Blade.
BLADE: Daisy, had you read Delia Owens’s novel “Where the Crawdads Sing” before signing on to play Kya?
DAISY EDGAR-JONES: I read it during my audition process, as I was auditioning for the part. So, the two went hand in hand.
BLADE: What was it about the character of Kya that appealed to you as an actress?
EDGAR-JONES: There was so much about her that appealed to me. I think the fact that she is a very complicated woman. She’s a mixture of things. She’s gentle and she’s curious. She’s strong and she’s resilient. She felt like a real person. I love real character studies and it felt like a character I haven’t had a chance to delve into. It felt different from anyone I’ve played before. Her resilience was one that I really admired. So, I really wanted to spend some time with her.
BLADE: While Kya is in jail, accused of killing the character Chase, she is visited by a cat in her cell. Are you a cat person or do you prefer dogs?
EDGAR-JONES: I like both! I think I like the fact that dogs unconditionally love you. While a cat’s love can feel a bit conditional. I do think both are very cute. Probably, if I had to choose, it would be dogs.
BLADE: I’m a dog person, so I’m glad you said that.
BLADE: Kya lives on the marsh and spends a lot of time on and in the water. Are you a swimmer or do you prefer to be on dry land?
EDGAR-JONES: I like swimming, I do. I grew up swimming a lot. If I’m ever on holidays, I like it to be by the sea or by a nice pool.
BLADE: Kya is also a gifted artist, and it is the thing that brings her great joy. Do you draw or paint?
EDGAR-JONES: I always doodle. I’m an avid doodler. I do love to draw and paint. I loved it at school. I wouldn’t say I was anywhere near as skilled as Kya. But I do love drawing if I get the chance to do it.
BLADE: Kya was born and raised in North Carolina. What can you tell me about your process when it comes to doing a southern accent or an American accent in general?
EDGAR-JONES: It’s obviously quite different from mine. I’ve been lucky that I’ve spent a lot of time working on various accents for different parts for a few years now, so I feel like I’m developed an ear for, I guess, the difference in tone and vowel sounds [laughs]. When it came to this, it was really important to get it right, of course. Kya has a very lyrical, gentle voice, which I think that North Carolina kind of sound really helped me to access. I worked with a brilliant accent coach who helped me out and I just listened and listened.
BLADE: While I was watching “Where the Crawdads Sing” I thought about how Kya could easily be a character from the LGBTQ community because she is considered an outsider, is shunned and ridiculed, and experiences physical and emotional harm. Do you also see the parallels?
EDGAR-JONES: I certainly do. I think that aspect of being an outsider is there, and this film does a really good job of showing how important it is to be kind to everyone. I think this film celebrates the goodness you can give to each other if you choose to be kind. Yes, I definitely see the parallels.
BLADE: Do you have an awareness of an LGBTQ following for your acting career?
EDGAR-JONES: I tend to stay off social media and am honestly not really aware of who follows me, but I do really hope the projects I’ve worked on resonate with everyone.
BLADE: Are there any upcoming acting projects that you’d like to mention?
EDGAR-JONES: None that I can talk of quite yet. But there are a few things that are coming up next year, so I’m really excited.
CAMP Rehoboth’s president talks pandemic, planning, and the future
Wesley Combs marks six months in new role
June marks half a year since Wesley Combs stepped into his role as president of CAMP Rehoboth. In a conversation with the Blade, Combs recounted his first six months in the position — a time he said was characterized by transition and learning.
Since 1991, CAMP Rehoboth has worked to develop programming “inclusive of all sexual orientations and gender identities” in the Rehoboth Beach, Del. area, according to the nonprofit’s website. As president, Combs oversees the organization’s board of directors and executive director, helping determine areas of focus and ensure programming meets community needs.
For Combs, his more than three decades of involvement with CAMP Rehoboth have shaped the course of his life. In the summer of 1989 — just before the organization’s creation — he met his now-husband, who was then living in a beach house with Steve Elkins and Murray Archibald, CAMP Rehoboth’s founders.
Since then, he has served as a financial supporter of the organization, noting that it has been crucial to fostering understanding that works against an “undercurrent of anti-LGBTQ sentiment” in Rehoboth Beach’s history that has, at times, propagated violence against LGBTQ community members.
In 2019, after Elkins passed away, Combs was called upon by CAMP Rehoboth’s Board of Directors to serve on a search committee for the organization’s next executive director. Later that year, he was invited to become a board member and, this past November, was elected president.
Combs noted that CAMP Rehoboth is also still recovering from the pandemic, and is working to restart programming paused in the switch to remote operations. In his first six months, he has sought to ensure that people feel “comfortable” visiting and engaging with CAMP Rehoboth again, and wants to ensure all community members can access its programming, including those from rural parts of Delaware and those without a means of getting downtown.
Still, Combs’s first six months were not without unexpected turns: On May 31, David Mariner stepped down from his role as CAMP Rehoboth executive director, necessitating a search for his replacement. Combs noted that he would help facilitate the search for an interim director to serve for the remainder of the year and ensure that there is “a stable transition of power.” CAMP Rehoboth last week announced it has named Lisa Evans to the interim director role.
Chris Beagle, whose term as president of CAMP Rehoboth preceded Combs’s own, noted that the experience of participating in a search committee with the organization will “better enable him to lead the process this time.”
Before completing his term, Beagle helped prepare Combs for the new role, noting that the “combination of his professional background, his executive leadership (and) his passion for the organization” make Combs a strong president. Regarding the results of the election, “I was extremely confident, and I remain extremely confident,” Beagle said.
Bob Witeck, a pioneer in LGBTQ marketing and communications, has known Combs for nearly four decades. The two founded a public relations firm together in 1993 and went on to work together for 20 years, with clients ranging from major businesses like Ford Motor Company to celebrities including Chaz Bono and Christopher Reeve. According to Witeck, Combs’s work in the firm is a testament to his commitment to LGBTQ advocacy.
“Our firm was the first founded primarily to work on issues specific to LGBTQ identities, because we wanted to counsel corporations about their marketing and media strategies and working in the LGBTQ market,” he explained. By helping develop communications strategies inclusive of those with LGBTQ identities, Combs established a background of LGBTQ advocacy that truly “made a mark,” Witeck said.
Witeck emphasized that, in his new position, Combs brings both business experience and a renewed focus on historically underrepresented in LGBTQ advocacy — including people with disabilities, trans people and people of color.
Looking to the rest of the year, CAMP Rehoboth hopes to host a larger-scale event during Labor Day weekend. In addition, the organization will revisit its strategic plan — first developed in 2019 but delayed due to the pandemic — and ensure it still meets the needs of the local community, Combs said. He added that he intends to reexamine the plan and other programming to ensure inclusivity for trans community members.
“CAMP Rehoboth continues to be a vital resource in the community,” he said. “The focus for the next two years is to make sure we’re doing and delivering services that meet the needs of everyone in our community.”
Melissa Etheridge shares Q&A in advance of April 26 Tysons tour stop
Rock pioneer finds inspiration in the past — from revisiting old demos to reconnecting with celeb pals like Ellen
We caught up with rock legend Melissa Etheridge on April 8 by phone from Snoqualmie, Wash. — it’s about 26 miles east of Seattle —where she was playing the Snoqualmie Casino on her “One Way Out Tour,” which plays our region on Tuesday, April 26.
It’s named after her latest album, released last fall, which found Etheridge, who’s been out since ’93, revisiting demos from early in her career.
Her comments have been slightly edited for length.
WASHINGTON BLADE: “One Way Out” sounds like such a cool project. Was it all re-recorded stuff of old songs or were some of those vintage takes on the record as well?
MELISSA ETHERIDGE: The last two songs, the live songs, were from where? From 2002? OK, but the other songs were newly recorded.
BLADE: And how many of them did you remember?
ETHERIDGE: You know, when I found them again, they all came back very clearly. And I was like, “Oh, this is — why did I throw that away? That’s weird.” And I really enjoyed, you know, hearing them, they were just old demos. I’d never done full-blown recordings. So I thought, “This is great, I want to do these songs.”
BLADE: We have a relatively new venue you’re going to be playing, Capital One Hall. I’ve only been there once. You excited?
ETHERIDGE: Yeah, it’s always fun. I love the D.C.-area crowd. It’s just really, really nice.
BLADE: And how do you decide where you’ll be? Or do you have any say in it?
ETHERIDGE: Well, it’s not necessarily me. I do have a say in it, in what I want the whole tour to look like. But it is really up to William Morris, my agent, to find the right venue that understands what we need and the kind of atmosphere we’re looking for that and the amount of people and, you know, that sort of thing.
BLADE: Tell me about Etheridge TV. I just wonder, when we were in that acute phase of the pandemic, wasn’t it even remotely tempting to you to just take a break?
ETHERIDGE: No, because since I was 12 years old, I sang all the time for people, like five days a week and it’s just been what I do. And so when it was like, I was looking at a massive, cavernous amount of time that I was going to be home, I still needed a way to pay the bills, so we put our heads together — I’ve got one of the greatest television minds with me, you know, my wife (TV producer Linda Wallem), so I had the space and I had the equipment, and I was like, “Let’s do it.” And it was really fun to learn new things. It was fun to learn about computers and sound and streaming and lights and cameras and all these things that I didn’t know. … I feel a little smarter.
BLADE: When did you start back on the road?
ETHERIDGE: We went out last fall. We went out September, October, right around there. And you know, it was a little different, Now things are things are loosening up … but some places still require masks. But people are starting to get back out and it feels good. It’s not the overwhelming thing that it was a few months ago.
BLADE: And what was it like being on ‘Ellen’ again for her final season?
ETHERIDGE: Oh, I love her. She’s such an old friend. You know, I say that about myself, too. (chuckles) But, you know, she’s just a relationship in my life that I have treasured. We’ve watched each other grow and the changes we’ve made and the successes and what we’ve gone through and I love that she had me on and just it was just a really — she’s a dear friend. And she showed an old photo there, and we both said, “Oh, that was before we were so busy.”
BLADE: Do you talk to her often?
ETHERIDGE: I would say we see each other socially once or twice a year. It just seemed like once we started having children, all my friends from my 20s and 30s when we were not as busy — it just gets harder to stay in touch and life got crazy.
BLADE: So when you were hanging out back in the day with Ellen and Rosie and everybody, how was it that Brad Pitt was in that group too?
ETHERIDGE: Well, my girlfriend (Julie Cypher) had been married to Lou Diamond Phillips and we were all very good friends with Dermot Mulroney and Catherine Keener and Catherine Keener did a movie with Brad, like a movie nobody saw, like Johnny Dangerously or something (1991’s “Johnny Suede”), some really weird movie. So I met Brad before he was terribly famous. He was a part of that group. There was a whole group of all of us that just hung out, and we were all totally different. We were just like young, hungry Hollywood and we’d talk about, “Oh, I had this audition,” or “I went and did this,” and we were just all trying to make it in that town. So we’d get together and have fun.
BLADE: I was so terribly sorry to hear about Beckett (Etheridge’s son, who died in 2020 at age 21 after struggling with opioid addiction). How are you and the rest of the family, especially (Beckett’s twin) Bailey, dealing with it now?
ETHERIDGE: There are many, many families like us that deal with a loss like that. It just blows a family sideways. But we have a deep love and connection, all of us. We all knew he had a problem and it’s a problem that starts way before he actually passes, so it was not a surprise. So now we’re just living with the missing aspect. You try not to think about what could have been and you try to think about him in a happier place and that he’s out of pain, so that helps us.
BLADE: Had he and Bailey been as close in recent years?
ETHERIDGE: They were very close, but in the last couple of years as he made worse and worse choices, we couldn’t support that, so they were less close, but of course in her heart, it was her brother, he was very dear to her.
BLADE: Did you watch the Grammys? Was there anybody you were particularly rooting for?
ETHERIDGE: I watched bits and pieces of it. I had a show that night, so I didn’t get to see the main thing, but I have seen pieces and I just love the crazy diversity and you know, the TikTok people winning stuff, it’s like, “Wow, this is so not the Grammys I remember from the ’80s,” but that was what, 30 years ago? So it’s all good.
BLADE: You were such a perennial favorite back in the day in the best rock female category. Were you pissed when they eliminated it?
ETHERIDGE: It’s sad because I felt like the criteria they were using to judge what is female rock, they just really dropped the ball. I still think there are some amazing musicians that could be considered, you know, rock, but it feels like we’re having a hard time even defining what rock and roll is now anyway. There’s a whole bunch of strong women out there playing, rocking, you know, playing guitar, being excellent musicians and songwriters. If you can’t call it best rock female, OK, call it something else.
BLADE: I remember so vividly when you were on the Grammys in 2005, in the midst of chemo, when you sang “Piece of My Heart.” I remember you saying you were wondering how people would react to seeing you bald. Having been through that, any thoughts on the Will/Jada Oscars situation since her baldness, too, was due to a medical condition?
ETHERIDGE: You know, it’s funny, I did feel a little remembrance of (thinking), “I just hope people don’t make fun of me.” That was kind of the first thing because to go out there bald, that was so different for me as an artist whose hair had kind of defined her. I was thinking, “How am I gonna rock without my hair?” I thought people might make fun of me, but I got over that. I just thought, “Well, if somebody makes fun of me, that just makes them look bad.” So I just walked through it. And you know, it’s hard to draw the line between what’s funny and what’s painful and how to look at something. I feel for all parties involved.
BLADE: When you go on these cruises, do fans give you some space or do they swarm around the minute you walk out? Is it even enjoyable for you?
ETHERIDGE: Yeah, it is. You know, we did our last one, now we’re doing Etheridge Island, we now have a destination in Mexico, outside of Cancun, it’s just this island that we’re going to that is really fantastic. But I do I make myself available, I don’t run away. When I have to be somewhere, I have a great company we work with called Sixthman that knows how to get me from point A to point B without being bogged down. But I do my make myself available. Everyone gets a picture with me. It’s my work, but I love it. I try to make myself available but also have some time just for myself too.
BLADE: You Tweeted a few nights ago about having a tight curfew of just 90 minutes at a casino but then it worked out and you got to do a full set. Why are the curfews so tight at casinos?
ETHERIDGE: Why do you think? They want people at the tables. Like for tonight, we we settled on 100 minutes. They’re giving me 10 extra minutes. I don’t like it, but in some areas, the only really good venue is a casino, so if you want to reach your folks there, you kind of have to meet them half way.
BLADE: Yeah, but it seems like in concert halls, the curfews can sometimes be really tight too. Even Madonna got her lights shut off a couple years ago. Of course, she’s notoriously late, but why are they so strict with these things nowadays?
ETHERIDGE: There are all different situations — concert halls often have union crews that will absolutely shut you down if you go one second over. There are also sound curfews, noise curfews, mostly with outdoor venues, but sometimes indoor as well. They have an agreement with the neighborhood. So you have people in the neighborhood standing by with their phones ready to pounce the minute it goes over one minute, they’re gonna call the police. As a performer, you just realize, “OK, it’s not just about me.” When I don’t have a curfew, I usually land at about two hours and some change. That seems comfortable to everyone. Any longer and I think I’m wearing my audience out. When I’m at a place with a shorter show, I just do my best.
BLADE: I know you’re a big Chiefs fan. Did you watch that game back in January all the way to the end?
ETHERIDGE: Well, at the end of it, I was on the floor. My wife was like, “Honey, honey, there’s still 13 seconds,” and I was moaning and sort of getting my feet on the floor and, you know, laying down and throwing a fit. And she’s like, “No, there’s still 13 seconds.” I dragged myself back to the television. And I couldn’t believe it. I was like, “Wait a minute. Did we just win?” You know, just really crazy, really crazy stuff. … When you’re a fan like that, it’s a ride you can’t fully explain.
BLADE: Are you in a cordial or good place with your exes? Does it get easier when the kids are starting to grow up?
ETHERIDGE: Oh, yeah. Oh, yeah. And you realize that it’s best for the kids if you can really get along and that any sort of conflict that can’t get resolved, that gets emotional, does no good for anyone. And absolutely, I have, I’ve gotten better at that as the years have gone by.
BLADE: Do you have the slightest inkling yet what the next studio album might be like?
ETHERIDGE: Well, I’ve got some interesting projects that I’m not ready to talk about just yet. But they have to do with my life story. There’s a lot of digging up of my past and really telling the story. So I imagine the next series of music you’ll get from me is going to be very focused on my journey.
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