a&e features
Kristin Chenoweth comes ‘Home’
Tony-winning legend weighs in on Sandi Perry and Harvey Milk
Kristin Chenoweth says some of her biggest influences have been the gospel singers she listened to growing up. (Photo courtesy Strathmore)
Kristin Chenoweth
‘Coming Home Tour’
Friday, Jan. 29
8 p.m.
Music Center at Strathmore
5301 Tuckerman Lane
North Bethesda, Md.
$58-155
It’s a cliche, but Kristin Chenoweth needs no introduction.
Next weekend, the Tony-winning legend brings her “Coming Home Tour” to the Strathmore. We caught up with her by phone from New York.
WASHINGTON BLADE: You’ve been on the road with this show but it sounds like the Strathmore show will be a little different.
KRISTIN CHENOWETH: Yes, I’m probably doing some new stuff at the Strathmore including some stuff by Andrew Lippa, stuff we’ve been working on with his opera “I Am Harvey Milk” and a prequel to that that he did for me called “I Am Anne Hutchinson,” which is a continuation of that piece. But I’m always changing it up. It never feels like I’m doing the same show. I have a five-piece show, an 11-piece show and an orchestra show and I’m always changing it up and putting in new stuff which makes it fun for me.
BLADE: Do you feel a concert can work with the songs speaking for themselves or does the evening have to take you somewhere? What considerations are you thinking of when you craft your set list?
CHENOWETH: I never do the same set list twice because I want to make it special for each place I’m going to. That’s challenging for me musically and artistically. Sometimes I wish I weren’t built that way because I’d love to just park and bark, but I don’t know how to do that. I’m currently working on a couple new songs, a couple covers by some people we all know and love and there’s certain songs I will do so I don’t get shot. But I’m constantly switching it up. I have a Don Henley song now that’s making its appearance pretty regularly. Dolly’s making an appearance, Jerome Kern, goodness, Adele, Rodgers and Hammerstein. As you can see, it’s all over the map but I like it that way because it challenges me.
BLADE: I know you’ll be back to the Strathmore in April for the Harvey Milk work you just mentioned. How did you get involved in that?
CHENOWETH: About six or seven years ago, Andrew Lippa came to me and said he’d written this opera “I Am Harvey Milk” and he said, “I’ve written a soprano role for you.” At that time in my life, I wasn’t able to do it, which is a regret of mine. I really wish I could have. … They came to me again later and once again I couldn’t do it, I was in L.A. But the third time, they did it last year at Lincoln Center and I said, “I’m available and I’m making it work.” Then Andrew told me he was working on a prequel on a woman named Anne Hutchinson who was basically persecuted for being a thinking Christian woman. I loved the idea and the story. She had a lot of things going on in her life and she was judged and in some ways, I can relate. We started learning that actually yesterday and one song I may put in my solo show at the Strathmore. Andrew Lippa has been a huge part of my history and I’ve been somewhat of a muse for him and what can I say, I fall in love with his music every time he plays so I’m honored he’s written yet another thing for me.
BLADE: You’ve spoken of how (gospel singer) Sandi Patty is one of your heroes and inspirations. What was your favorite Sandi Patty album when you were growing up?
CHENOWETH: Her hymns collection. Especially her version of “It is Well With My Soul.” … I do one of her songs in my show and I love so many songs she’s done — “Love in Any Language,” “Via Dolorosa,” there are so many that I grew up listening to and I have the utmost respect for her. In fact we just sang together in Indianapolis. She sang “For Good” with me and it was a full circle moment because she was such a huge influence on my life so to get to sing with one of your idols, that’s pretty cool.
BLADE: Did you ever sing to her accompaniment tracks in church? Remember those tapes you used to be able to get from Christian bookstores?
CHENOWETH: Are you kidding, that was my orchestra. I say in my concert we had these little square things that we put in big machines we got from RadioShack. That’s how I got my music — theater, opera, pop. It was all from tapes.
BLADE: You have a master’s degree in opera yet it sounds like most of your influences were Broadway, pop and gospel. Would you have been happy with an opera career had things worked out that way for you?
CHENOWETH: I think I would have been happy no matter what because I’m one of those people who once I make a decision to do something, I pretty much don’t look back. But I think one of the reasons that musical theater fits me so well is that I’m an actor first. Not that opera singers aren’t, so many of them are, but what I love is character and character development and creating new roles, that’s what I love to do. It could be on film, television or whatever. I didn’t want to live in just one arena.
BLADE: Obviously you use your upper register all the time but some would say it would enjoy a fuller expression, perhaps, in opera. Have you ever thought about doing a classical album?
CHENOWETH: All the time. I would love to revisit some of the arias that were challenging for me and fun when I was starting out. Every once in awhile I do one in my show, so that’s not out of the complete realm of possibility.
BLADE: Lots of people can sing pop but not just anybody can do opera and you obviously could.
CHENOWETH: Amen, brother.
BLADE: Did you have any reservations about playing Maleficent (in last year’s “Descendants” for the Disney Channel) so shortly after the Angelina Jolie movie or was that a non-issue?
CHENOWETH: I knew the style and the way we were gonna shoot it, I knew the tone would be completely different so no, I didn’t have any trepidation. I mean look, Angelina and I couldn’t be any more opposite. Her one leg equals my entire body. She is an incredible actress. My Maleficent was for the Disney Channel and she sings, so I knew it would be different.
BLADE: Anytime push has come to shove between the evangelical Christian world and the gays, you’ve always come down on the side of the gays and sometimes paid a price for it. Sometimes it seems like the ice is thawing a little but other times it seems both politically and religiously things are becoming more polarized. Will evangelicals ever come around on gay issues?
CHENOWETH: Oh, I hope so. You know, I say in my concerts and it’s true, I say, I always gotta do a Jesus song because I’m a Christian. As an artist and as a person, that’s a big part of who I am but another big part of who I am is a gay rights lover … and that doesn’t always go hand in hand as you know.That’s not something that people necessarily agree with but as I always say, and I really mean this, I don’t want to be judged for what I believe, I just want people to enjoy my music. What would make me happy is if there was more acceptance and tolerance and love, not just to the gay community but to the Muslim community, to any community of people who are considered outcasts or not the quote-unquote norm. I just try to do what Jesus would do. I don’t always succeed. I have a lot of faults but I approach things from a love place and not a hate place so I hope we keep heading in that direction on this issue.
BLADE: Speaking of gospel singers, is it true that you once sang the Evie song “Four Foot Eleven” at a Baptist convention when you were 12?
CHENOWETH: You bet, that was one of the first songs I ever sang. If I’d known that was all the taller I’d get, I might have sung something else. Evie was also a huge musical influence on me growing up. You have to understand, music and church sort of for me went together and Evie Tornquist is somebody who still to this day, I wish I could just do an album of her and Sandi. I just loved her. She sang another song, “Live for Jesus/that’s what matters/when other houses crumble mine is strong/live for Jesus/that’s what matters/that you see the light in me and come along.” Those are the things that have kept me going.
BLADE: She was huge in the ‘70s, but today a lot of people don’t know her.
CHENOWETH: In my world growing up in Tulsa, everybody knew her. I think she is literally an angel’s voice on earth. Just like I view Eva Cassidy’s voice, Renee Fleming, Dolly, Judy, Julie, Sandi, Barbra — they’re all there and they’re all angels. To me, that’s how I imagine heaven and it’s a place I can’t wait to sing.
a&e features
Rainbows in Revolt on a mission to make LGBTQ artists’ voices heard
Rainbows in Revolt on a mission to make LGBTQ artists’ voices heard
Last month’s Pride celebration in D.C. was so fun. Walking around my first Capital Pride with a $15 lemonade I was loving the madness and the color. Artists and small businesses battling banks you’ve never heard of collecting your personal information so you can spin a wheel to snag free merch. Great music blaring, people actually smiling and enjoying themselves, the “Great” American State Fair could never!
The Monument Stage was on Pennsylvania Avenue, directly in front of the National Gallery of Art and I can’t think of a better venue to see live music. How does someone get on the lineup for Pride? How do we accelerate the visibility of the most talented voices in our community to perform in places like this?
There is certainly not a talent gap, but there is a visibility gap. Chappell Roan went from playing for two people in a parking lot to owning the main stage at Coachella in one year. Whether it is shadowbanning or bias in AI, algorithms have been shown to suppress queer artists. In a digital age, how can queer people break through and show the world how talented they are?
Allison and Matt of Rainbows in Revolt are on a mission to make openly LGBTQ+ artists’ voices heard. Their goal is to find “musicians whose queerness is central to their identity as an artist,” and accelerate them to a place where they can actually reach fans.
The only time queer events seem to be in the spotlight is June, but this should be year round, according to Allison and Matt. Rainbows in Revolt wants to act as a “nucleus” for different sub-communities, finding common ground in the universal language of music.
Matt and Allison founded Rainbows as a way to make cheaper, higher quality merchandise for queer artists. While Rainbows has already pledged 20% of their profits to the LGBTQ+ community, with 10% to Whitman-Walker Health and 10% to LGBTQ+ organizations in need, this is just the beginning of the work that they do.
Rainbows “does the dirty work” that artists normally struggle to do on their own with limited resources. Interviews, artist profiles, social promotion, playlist discovery, radio outreach, and merch-funded support. This work is normally expensive, time consuming, and requires lots of different skills. Musicians don’t want to be editing clips to post online. Standup comedians don’t want to make graphics for their tour dates. They want to write more. They want to focus on their craft.
In addition to helping artists find their audience, Rainbows has built other digital tools to help queer people connect, including an interactive Safe Space Map for most major cities. It is hard to know which places are truly safe and supportive just from a simple Google search. Attitudes and actions change, and there should be a simple way for queer people to find other places that align with them. The Safe Spaces Maps are all up to date, and are tagged and filterable. Instead of relying on forums and word of mouth, Rainbows has created a centralized way to find authentic community quickly.
I had a chance to talk with Allison and Matt at Pride where Lily Erin, one of their signature artists, was performing on the Monument stage. Lily Erin is a folk singer who is familiar and forging her own path. Her bittersweet sound echoes through Acadia, and her garb mirrors the New England athletes I grew up with. Gorp Core meets streetwear. A graphic tee, hiking shorts, and creamsicle Jordans.
Her debut single, “Bus Stop,” tells a sad story about unconditional love, and the conditions that still seem to come with it. Graduating into lockdown, Erin needed a new way to connect with herself and others. Lily made “Bus Stop” without an intention to share it, but doing so was a liberation. People have been responding to her honesty around queer-ness, family, and the “ghosts which haunt us” even in the daytime.
Rainbows in Revolt has helped Lily Erin go from bars and backyards to The Monument Stage at Pride. This is a meteoric rise, and a testament to both Erin’s talent and the work of Rainbows to promote her. “A little encouragement goes a long way with early artists,” and by “planting a seed” Rainbows is already seeing their artist garden grow. Community is power, and Erin is a perfect example of how effective simple modern techniques of promotion can be.
A next step for Rainbows is putting on shows themselves. On Oct. 3, Rainbows in Revolt will host an Evening with Ray Boltz at the National City Christian Church. Boltz grew up in the Catholic Church and for many years was the soundtrack to many services, youth camps, and church groups. He was celebrated by millions until he came out in 2008. Allison remembers her community “never playing his music again.”
Rainbows in Revolt is helping him to return to the church, and proving that identity does not need to be exclusive. We live in a complicated world with complicated lines being drawn. Boltz proves that these lines don’t exist, and will be breaking down barriers to bring together communities. To Allison, “a trans woman standing next to a straight white man in church is a powerful teacher.”
The Safe Space maps bridge all types of spaces, and one of the unlikely ones is, perhaps, churches. Matt said that “BYU has only nine safe spaces around their campus and seven of them are churches.” Not all churches are anti-gay, and many times they are the only place for people to find community.
Rainbows in Revolt is just getting started bridging gaps and building community.
a&e features
Summer in the City: Free exhibits, movies, more fill D.C.’s calendar
America 250 celebrations continue
From late-night museum visits and outdoor jazz concerts to free movie screenings and America250 exhibitions, Washington’s summer calendar is packed with events that don’t charge admission. Here’s a look at some of the free activities happening across the District through September and beyond.
Museum exhibitions
The Renwick Gallery is presenting State Fairs: Growing American Craft, an exhibition that looks at unique and unconventional crafts from the 19th century to the present. It will run until Sept. 7, and admission is free.
The Arts and Industries Building, located next to the Smithsonian Castle, is presenting the exhibition Voices and Votes: Exploring Democracy Across America. The exhibition features the development of American independence and what that has meant over time, beginning with the Revolutionary War. Admission to the museum is free, and the exhibition runs until Sept. 7.
The National Gallery of Art presents Dear America, an exhibit featuring more than 100 pieces of work, including letters, photographs, and drawings that depict American landscapes and depictions of freedom. The exhibition will run until Sept. 20.
The National Museum of Women in the Arts is exhibiting Burnished: Pueblo Pottery until Sept. 27. The exhibit features pottery from the Southwest, and while most of the pottery belongs to women artists, a few also reflect those who have advocated for women.
Extending past this summer, the exhibition ¡Puro Ritmo! The Musical Journey of Salsa will be at the National Museum of the American Latino until July 2028. The exhibition shows how Afro-Cuban music has become a staple in the U.S. Admission is free.
The Martin Luther King Jr. Memorial Library will feature the exhibition District Vibes / American Pride: How DC Changed American Culture, which will highlight all of the ways D.C. has impacted American life. The exhibit will run until Sept. 27.
At the Folger Shakespeare Library, the exhibit Imagining Shakespeare: Mythmaking and Storytelling in the Regency Era will be on view through Aug. 2. All the portraits on display come from the Boydell Shakespeare Gallery in London.
The United States Botanic Garden will be open until 8 p.m. on Aug. 20 and Sept. 17, as part of America’s State Flowers: An America250 Celebration. The evenings will include live music, mocktails, ice cream, and snacks.
The National Gallery of Art Sculpture Garden will have extended hours, staying open until 8 p.m. Wednesday to Saturday until Sept. 3.
Live performances
On Aug. 7, the postgame Nationals concert series will continue with Jordan Davis performing. To see the concert, guests just need to buy tickets to the Nationals game.
Jazz in the Garden will run each Friday until Aug. 14. The event has free admission, but those interested have to enter a lottery due to the high demand for the event.
From May to October, Capital Harvest Market occurs every Wednesday from 10 a.m.-2 p.m. at the Ronald Reagan Building and International Trade Center. The market features fresh foods, crafts, and recipes for unique dishes. A full list of vendors is available on Capital Harvest’s website.
Live! Concert Series on the Plaza will feature live performances at Woodrow Wilson Plaza until Sept. 25. The performances run Monday to Friday from 12-1 p.m. Admission is free to the performances.
DowntownDC Live! at Anthem Row is running until July 30, with free performances every Thursday from 5:30 p.m. to 9:00 p.m. The final performance will feature HUE and a vintage flea market hosted by Get Flee Marketplace.
Located in Adams Morgan, AdMo Vibe will present live performances every Thursday at 6 p.m. in Kalorama Park. Guests are encouraged to check out Adams Morgan before and after shows, and it is an event for all ages.
Other events
Union Market is hosting drive-in movies on Aug. 8, featuring “Monsters, Inc.”, and Sept. 12, featuring “Wicked.” On Aug. 8, the parking lot will open at 7:30 p.m., with the movie starting at 8:25 p.m. On Sept. 12, the parking lot will open at 6:35 p.m., and the movie will start at 7:30 p.m.
Sunset Cinema at the Wharf will also be available one day a month. On Aug. 12, “10 Things I Hate About You” will premiere, and on Aug. 26, “Project Hail Mary.” No tickets are necessary.
The Library of Congress will also show movies. On Aug. 6, guests are invited to watch “Apollo 13.” The movie will be shown at 8 p.m., with additional live performances beginning at 7 p.m.
For fans of Asian media, the Okaton convention will be at Walter E. Washington Convention Center from July 31-Aug. 2. Festivities will include cosplay contests, skits, live music, and panel discussions.
Washington Spirit’s season also begins in August. The Spirit is Washington’s National Women’s League, with matchups occurring between the San Diego Wave, the North Carolina Courage, the Orlando Pride, and the Bay FC.
a&e features
Summer in D.C. brings sports, Restaurant Week, festivals, and more
Summer in D.C. just hits different. Congress is out, school is out, the sun is out, thighs are out. With the skies clearing from Canadian smoke, here are a few ways to stay entertained.
Dining
Summer restaurant week: The Restaurant Association of Metropolitan Washington (RAMW) is once again hosting Summer Restaurant Week, Aug. 18-24. This weeklong dining experience showcases the dynamic dining scene of the DMV, including 2026 RAMMY Award-winning favorites (the annual D.C. food awards show that took place June 29). Participating restaurants will offer three-course brunch and lunch selections for $25 or $35 per person, and three-course dinners for $40, $55 and $65 per person.
New Restaurants: A handful of new spots have opened, so the summer is a great time to check them out:
- Oribu: A new Mediterranean-Japanese restaurant in the Grand Hyatt hotel, which just underwent a remodeling effort. The sleek restaurant brings upscale charm, with dishes like Wagyu beef tartare with potato pavé and caviar.
- The Oak Room: A snazzy old-school American grill has just opened in Georgetown, alongside its sister upstairs supper club (Bernadette’s) restaurant, in the old El Centro space.
- Uchi: This showy Japanese sushi-forward chain has landed in Dupont with a chef’s tasting menu of favorites like fatty tuna.
- Kathmandu: Recalling the capital of Nepal, this warm, buzzy subterranean restaurant right in the heart of U Street brings spice, flair, and rare ingredients to its dishes (see: buffalo burgers) and drinks.
Sports
- Washington Spirit Pride Night OUT: On Sunday, Aug. 23, head to Audi Field for a massive, high-energy game following the exciting month of World Cup. The designated Pride Night OUT game promises boisterous crowds plus pre- and post-game community engagements.
- Washington Tennis Open – Now called the Mubadala DC Open, this annual tournament is only combined mens’ and womens’ 500-level tennis tournament in the world. The open is one of D.C.’s longest-standing sports traditions, and will take place at the Rock Creek Park Tennis Center July 25-Aug. 2. Naomi Osaka, Venus Williams, Ben Shelton, Frances Tiafoe, and others are expected to play.
Festivals
- Afro Plus Fest: This huge, three-day Afro-Caribbean Hip-Hop Festival brings together headliners Davido, Alkaline, and Wizkid, plus Tems and Ayra Starr. The event moves from RFK to the Northwest Stadium Complex for three days, Sept. 4-6.
- Capital Fringe Festival: Running from July 11-21, this massive celebration features dozens of live theater, comedy, dance, and boundary-pushing nighttime performances across multiple DC neighborhoods.
- The National Book Festival returns, with headliners like Cynthia Erivo, and Martin Scorsese. The one-day festival, Saturday, Aug. 22, brings together bookworms and word nerds under the theme “America 250: It’s Your Story.” There are talks, workshops, musical sessions and more.
- All Things Go: A three-day festival Sept. 25-27 at Merriweather Post Pavilion featuring Mitski, Hayley Williams, Brandi Carlile, MUNA, Zara Larsson, Ethel Cain, and many, many more artists. There are single-day and three-day tickets. Featuring and highlighting female artists, the festival has turned into a must-see for many LGBTQ audience members.
- Fuchsia Fest: The inaugural Fuchsia Fest is a new multi-day celebration created to celebrate LGBTQ community and expression, bringing together a mix of community gatherings, entertainment, and nightlife. The event takes place Sept. 18-20 and is hosted by Capital Pride.
Art and Music
- United We Dance: A high-energy rave with house, techno, bass, and festival music, on Aug. 1 at the 9:30 Club.
- The Fray. On Aug. 14, this American rock band famous for How To Save A Life is at Merriweather Post Pavilion.
- Kesha: Kesha’s high-energy The Freedom Tour comes to the D.C. area on Aug. 14 at Jiffy Lube Live.
- ALOK: On Sept. 3 at Lincoln Theater, ALOK (they/them) performs. The poet, comedian, and actor is putting on a new comedy show.
- 2charm, the emerging Australian electronic club-pop duo popular with the queer community, which blends hyperpop and dance music, comes to the Atlantis.
- Sapphic Dance Party: a vibrant, inclusive nightlife and social event designed specifically for queer women, lesbians, bisexuals, trans individuals, and nonbinary folks, at Atlantis on Aug. 21.
- Jazz in the Garden: The most quintessential of D.C. activities returns Friday evenings through Aug. 14. This season’s theme, “American Sounds,” is a nod to the nation’s 250th anniversary. Tunes themes range from Appalachian and Americana to Creole jazz, Hill Country blues, contemporary jazz, and more. Tickets are available through a lottery system a week before each event.
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Calendar: July 31-August 6
