Arts & Entertainment
‘Danish Girl’ masterfully realized
Trans-themed biopic is A-lister Oscar bait
Eddie Redmayne in ‘The Danish Girl.’ (photo courtesy Focus Features)
It all starts out in one seemingly ordinary moment.
Prima ballerina Ulla is once again late for a sitting with portraitist Gerda Wegener (Alicia Vikander). Frustrated, Gerda asks her husband, famous landscape artist Einar (Eddie Redmayne), to sit in for their friend since she’s only working on the delicately extended foot. It opens today (Friday, Dec. 11) in the D.C. area.
Einar puts on the stockings, crams his feet into the slippers and holds the dress against himself as Gerda picks up her brushes and starts to paint. Einar slowly begins to caress the fabric as long-suppressed thoughts and emotions begin to emerge. Thus begins a remarkable journey for a devoted couple and a remarkable collaboration for a talented cinematic team.
Based on the largely forgotten true story of transgender pioneer Lili Elbe, one of the first people to undergo gender-reassignment surgery, “The Danish Girl” is an exceptional film. Director Tom Hooper (“The King’s Speech” and “Les Misérables”) coaxes powerful performances out of his top-notch cast and collaborates smoothly with his entire creative team.
The movie, set mainly in Copenhagen and Paris in the 1920 and 1930s, looks splendid. Working seamlessly with cinematographer Danny Cohen and production designer Eve Stewart, Hooper makes the most of place and period, contrasting the rigid lines of Copenhagen (and Einar’s harsh airless landscape paintings), with the color and light of Art Nouveau Paris which supports Gerda’s emergence as an artist and Lili’s emergence as a women.
The script by Lucinda Coxon, based on the novel by David Ebershoff, is supple and sensitive, as eloquent when the actors are silent as when they are speaking. Several key sequences unfold wordlessly. Coxon does a marvelous job balancing contemporary sensitivities about gender with the realities of the time period. With incredible subtlety, she makes it clear that Lili is not gay man in drag or a straight man donning a costume, but a woman becoming her true self.
Redmayne’s performance is even more powerful than his Academy Award-winning portrayal of wheelchair-bound scientist Stephen Hawking, due in part to a stronger script and cast. With the support of movement choreographer Alexandra Reynolds, who also worked with him on “The Theory of Everything,” Redmayne has developed an amazingly detailed physical vocabulary that guides him from the rigid mask of masculinity that constricts Einar to the freer expression of femininity that allows Lili to flourish. Redmayne also displays an emotional vulnerability and transparency that makes Lili’s journey incredibly compelling.
Vikander’s performance as Gerda is equally stunning and multi-faceted. As the movie opens, Gerda is deeply in love with Einar, but is also somewhat jealous of his success. He has found artistic satisfaction and popular acclaim with his detailed landscapes; she is frustrated with her attempts at conventional portraiture. When she convinces Einar to pose for her dressed as a woman, it starts as a game, but it quickly turns more serious. She finds a life-long muse, but ultimately loses a husband. With her cigarette holder clenched tight, sometimes in concentration, sometimes in frustration, sometimes in flirtation, Vikander (“Ex Machina”) brings a fascinating character to incandescent light.
The supporting cast is also excellent. Amber Heard (“Magic Mike XXL”) is a delightful find in the surprisingly pivotal of Ulla. The hard-working but fun-loving ballerina serves as a godmother of sorts to the emergent Lili. Her character helps to establish the strong bond between Einar and Gerda, but she is also the first to recognize Lili in public and recommends the clinic where Lili can finally find supportive care. Heard’s light-hearted performance brings a welcome humor and humanity to the proceedings.
Matthias Schoenaerts (“Far From the Madding Crowd”) is sleek and dapper as Parisian art dealer Hans Axgil, a childhood friend of Einar’s who helps Lili and Gerda through their transitions. Out actor Ben Whishaw (“Spectre,” “Suffragette,” “In the Heart of the Sea”) is engaging as a gay bohemian who initially misunderstands Lili’s intentions, but then becomes a supportive friend and guide. Adrian Schiller is charming as the windy but well-connected art dealer Rasmussen and Sebastian Koch is warm and wise as the doctor who finally comes to Lili’s rescue.
“The Danish Girl” may well be the finest LGBT release of 2015, although the year it is not over yet. It is definitely already in contention for well-deserved recognition in the 2016 awards races. Director Tom Hooper and a talented cast and crew have cast a powerful light on a little-known piece of LGBT history, and their moving and beautiful movie makes us reflect on how we are still learning about the mysteries of the human spirit.
Theater
‘Octet’ explores the depths of digital addiction
Habits not easily shaken in Studio Theatre chamber musical
‘Octet’
Through Feb. 26
Studio Theatre
1501 14th Street, N.W.
Tickets start at $55
Studiotheatre.org
David Malloy’s “Octet” delves deep into the depths of digital addiction.
Featuring a person ensemble, this extraordinary a capella chamber musical explores the lives of recovering internet addicts whose lives have been devastated by digital dependency; sharing what’s happened and how things have changed.
Dressed in casual street clothes, the “Friends of Saul” trickle into a church all-purpose room, check their cell phones in a basket, put away the bingo tables, and arrange folding chairs into a circle. Some may stop by a side table offering cookies, tea, and coffee before taking a seat.
The show opens with “The Forest,” a haunting hymn harking back to the good old days of an analog existence before glowing screens, incessant pings and texts.
“The forest was beautiful/ My head was clean and clear/Alone without fear/ The forest was safe/ I danced like a beautiful fool / One time some time.”
Mimicking an actual step meeting, there’s a preamble. And then the honest sharing begins, complete with accounts of sober time and slips.
Eager to share, Jessica (Chelsea Williams) painfully recalls being cancelled after the video of her public meltdown went viral. Henry (Angelo Harrington II) is a gay gamer with a Candy Crush problem. Toby (Adrian Joyce) a nihilist who needs to stay off the internet sings “So anyway/ I’m doing good/ Mostly/ Limiting my time/ Mostly.”
The group’s unseen founder Saul is absent, per usual.
In his stead Paula, a welcoming woman played with quiet compassion by Tracy Lynn Olivera, leads. She and her husband no longer connect. They bring screens to bed. In a love-lost ballad, she explains: “We don’t sleep well/ My husband I/ Our circadian rhythms corrupted/ By the sallow blue glow of a screen/ Sucking souls and melatonin/ All of my dreams have been stolen.”
After too much time spent arguing with strangers on the internet, Marvin, a brainy young father played by David Toshiro Crane, encounters the voice of a God.
Ed (Jimmy Kieffer) deals with a porn addiction. Karly (Ana Marcu) avoids dating apps, a compulsion compared to her mother’s addiction to slot machines.
Malloy, who not only wrote the music but also the smart lyrics, book, and inventive vocal arrangements, brilliantly joins isolation with live harmony. It’s really something.
And helmed by David Muse, “Octet” is a precisely, quietly, yet powerfully staged production, featuring a topnotch cast who (when not taking their moment in the spotlight) use their voices to make sounds and act as a sort of Greek chorus. Mostly on stage throughout all of the 100-minute one act, they demonstrate impressive stamina and concentration.
An immersive production, “Octet” invites audience members to feel a part of the meeting. Studio’s Shargai Theatre is configured, for the first, in the round. And like the characters, patrons must also unplug. Everyone is required to have their phones locked in a small pouch (that only ushers are able to open and close), so be prepared for a wee bit of separation anxiety.
At the end of the meeting, the group surrenders somnambulantly. They know they are powerless against internet addiction. But group newbie Velma (Amelia Aguilar) isn’t entirely convinced. She remembers the good tech times.
In a bittersweet moment, she shares of an online friendship with “a girl in Sainte Marie / Just like me.”
Habits aren’t easily shaken.
Sports
Blade, Pride House LA announce 2028 Olympics partnership
Media sponsorship to amplify stories of LGBTQ athletes
The Los Angeles Blade and Washington Blade on Friday announced a media partnership with the Out Athlete Fund, which will produce Pride House LA for the 2028 Summer Olympics.
Pride House is the home for LGBTQ fans and athletes that will become a destination during the L.A. Summer Games in West Hollywood in partnership with the City of WeHo. This 17-day celebration for LGBTQ athletes and fans will include medal ceremonies for out athletes, interactive installations, speakers, concerts, and more.
The Los Angeles Blade will serve as the exclusive L.A.-area queer media sponsor for Pride House LA and the Washington Blade will support the efforts and amplify coverage of the 2028 Games.
The Blade will provide exclusive coverage of Pride House plans, including interviews with queer athletes and more. The parties will share content and social media posts raising awareness of the Blade and Out Athlete Fund. The Blade will have media credentials and VIP access for related events.
“We are excited to partner with the Washington Blade, the oldest LGBTQ newspaper in the United States and the Los Angeles Blade, already a strong supporter of Out Athlete Fund and Pride House LA/West Hollywood,” said Michael Ferrera, CEO of Pride House LA. “Our mission is about increasing the visibility of LGBTQ+ athletes and fans to challenge the historical hostility toward our community in the sports world. Visibility is what publications like the Washington and Los Angeles publications are all about. We know they will play a key part in our success.”
“LGBTQ visibility has never been more important and we are thrilled to work with Out Athlete Fund and Pride House LA to tell the stories of queer athletes and ensure the 2028 Summer Games are inclusive and affirming for everyone,” said Blade Editor Kevin Naff.
Out Athlete Fund is a 501(c)3 designed to raise money to offset the training cost of out LGBTQ athletes in need of funding for training. The Washington Blade is the nation’s oldest LGBTQ news outlet; the Los Angeles Blade is its sister publication founded nine years ago.
In honor of Black History Month, the DC LGBTQ+ Community Center will host a series of events uplifting the histories, artistry, and resilience of Black LGBTQ+ communities through dialogue, film, and intentional gathering.
The series begins with “Ballroom Culture: Rhythms of Resilience,” a panel discussion on Tuesday, Feb. 10, 2026 at 7 p.m. Artists, activists, and leaders from the ballroom community will explore ballroom’s historical, cultural, and political significance as a site of resistance, kinship, creative expression, and social justice within Black, Latinx, and LGBTQ+ communities.
On Friday, Feb. 13 at 12:30 p.m., the Center will host a screening of the groundbreaking documentary “Paris is Burning,” which chronicles New York City’s ballroom scene and house culture while examining themes of race, class, identity, and survival through the voices of legendary performers including Willi Ninja, Pepper LaBeija, and Dorian Corey.
The month will conclude with “Soul Centered: A Black LGBTQ+ Gathering” on Saturday, Feb. 21, 2026 at 3:30 p.m. This free, RSVP-required event invites Black LGBTQ+ community members into a space of rest, connection, and reflection centered on love in all its forms. The gathering will feature a panel conversation with Black LGBTQ+ creatives, healers, and community members, followed by intentional speed connections and a closing social mixer.
For more details and to RSVP, visit the Center’s website.
‘Octet’ explores the depths of digital addiction
Why trans suffering is more palatable than trans ambition
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