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Off to summer camp

Many schools, theaters and more offer LGBT-affirming options

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summer camps, gay news, Washington Blade

Campers at Synetic Theater this summer will learn and perform ‘The Wild and Wacky Wizarding World of Wiley Skylar!’ (Photo courtesy Synetic)

Although winter weather is hanging on tight at the close of the season, summer is rapidly approaching. Instead of fighting to find ways to entertain the kids at home, local camps have done the hard work for you. Kids can ride horses, learn beauty tricks, conduct science experiments or perform in a musical. With programs for all types of interest, the only battle is choosing which camp to try this summer.

Adventure Theatre offers Summer Musical Theater Camp for grades one-six in Glen Echo Park for a two-week session and for grades six-12 in Wintergreen Plaza for a three-week session. This summer campers will Campers will perform “Return of the Glass Slipper,” “Thwacked!” and “Tom Sawyer” among others. D.C area theater professionals and artists guide campers in daily rehearsals. Family and friends can watch the completed shows at the end of the camp session. Grades six-12 can choose from Contemporary Musical Theater Study and On-Camera Musical Theater Study. Contemporary Musical Theater Study includes a day trip to New York City. Sessions for grades one-six range from $800-850. Grades six-12 sessions range from $1,200-1,330. For details, visit adventuretheatre-mtc.org.

The Beauvoir School (3500 Woodley Rd., N.W.) splits its camp programs into age-appropriate activities. Fireflies (Rising Pre-K), Blue Jays (rising Kindergarten), Box Turtles (rising first graders), Koalas (rising second-third Graders), Broad Bears (rising fourth-fifth graders) and CITs (rising sixth-12 graders). Each level focuses on a type of program from art to outdoor activities. CITs prepare students to become counselors by giving them hands-on leadership experience with campers. Blue Jays, Box Turtles and Koalas can also choose a Make-Your-Own Camp option that lets campers pick their A.M. and P.M. activities. A swimming option is also available. For a list of prices, visit summer.beauvoirschool.org.

Camp RimRock for Girls (343 Camp Rim Rock Rd., Yellow Spring, W.Va.) is a sleep-away camp for girls in rising first grade through rising 10th grade. General camp is for rising second through 10th graders. Campers can participate in horseback riding, sports, aquatics, performing arts and arts and crafts. General Camp sessions is for two-week sessions for $2,750 or four-week sessions for $5,000. Riding Speciality Camp is for rising fourth through 10th graders. This program focuses only on horseback riding for one week for $1,500. Mini Camp is also available for first time sleep-away campers in rising first, second and third grade for $1,500. For a list of dates, visit camprimrock.com.

Circle Yoga (3838 Northampton St., N.W.) offers programs for children ages 6-12 for full-day camp and children ages 4-7 for half-day camp. Children can participate in yoga and movement, crafts and creative arts, group games, camp songs, relaxation and journaling. Full-day camp is from 9 a.m.-3 p.m. and is $365 per week. Half-day camp is from 9 a.m.-noon and is $250 per week. For information, visit circleyoga.com.

Green Acres School (11701 Danville Dr., North Bethesda, Md.) offers Kreative Kangaroos for pre-K students which lets them engage in outdoor play, swimming, dancing and carpentry. Junior camp is for kindergarten through second grade and activities include drama, music, dance, swimming and cooking Senior camp is for grades three through six and includes robotics, rock band, workshop, filmmaking, photography and cooking. For a list of pricing and session times, visit greenacres.org.

The Lowell School (1640 Kalmia Rd., N.W.) offers programs for campers starting at age 2-15. Best Buddies is for rising first and second graders and programs include African Drum Fun, Beginning Robotics, among others. Summer Stage is for rising third-eigtht graders and includes Gotta Have Glee, a program that focus on popular music like Taylor Swift and “The Lion King.” Tweens N Teens is for ages 12-14 and has programs such as Gaming and Apps Basics and Amazing Race, which challenges campers to find little-known locations in and around D.C. For a complete list of sessions, programs and prices, visit lowellschool.com.

Synetic Theatre (1800 S Bell St., Arlington, Va.) lets campers stage and perform an original play, “The Wild and Wacky Wizarding World of Wiley Skylar!” The play was written for the campers with original musical numbers and an original score. There is one summer intensive session for students 12-18 from June 12-23 for $350. Multiple sessions are available for students 6-14 for $900. Camp Creation and Imagination is for children ages 4-6 from June 12-23 from 9 a.m.-1 p.m. Tuition is $400 and includes snack. A.M. care and lunch add-ons are available for all programs except summer intensive. For more details, visit synetictheater.com/camps.

Washington Performing Arts has Capital Jazz Camp from June 26-July 8 for children in rising grades three through eight with minimum one-year instrumental experience. Capital Strings Camp is from June 26-July and is for children in rising grades three through six. No experience is required. Capital Voices Camp runs from July 10-21 and is for children in grades four-12 with basic vocal training experience. Summer Steps with Step Afrika is for rising campers in grades four-12 with basic dance experience. Each camp is $350 and locations vary. For more information, visit washingtonperformingarts.org.

The YMCA in D.C. has camp programs for a traditional experience such as sports, theater, art, swimming, dance and technology. Campers wanting a more specialized course can register for beauty school, creative writing, gardening, among numerous other programs. Camp Letts (4003 Camp Letts Rd., Edgewater, Md.) is the YMCA’s sleep-away camp which offers activities such as horseback riding and kayaking. For more details on camp programs and for a list of prices, visit ymcadc.org and campletts.org.

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Television

ICYMI: ‘Overcompensating’ a surprisingly sweet queer treat

A sweet, savvy show about breaking free to embrace your true self

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Holmes, Benito Skinner and Wally Baram in ‘Overcompensating.’ (Photo courtesy of MGM Amazon)

Pride month 2025 is now behind us, and while it’s safe to say that this year’s celebrations had a darker edge than usual, it’s also true that they came with a particularly rich bounty of new queer movies and shows to entertain us – so many, in fact, that even if we are facing a lull until the fall another harvest of fresh content, there are still plenty of titles – which, for whatever reason, were off your radar – for you to catch up on in the meantime.

One of the most notable of these –  the bingeworthy series “Overcompensating” (now streaming on Amazon Prime) – will most definitely have been ON the radar for the plentiful fans of creator and star Benito Skinner, the actor/comedian who rose to viral fame through his content on platforms like Instagram, YouTube, and TikTok. For anyone else, it might have easily slipped through the cracks.

Created and written by Skinner as a loosely autobiographical “college comedy,” it aims for the kind of raucous, explicitly sexed-up tone one expects from the genre as it centers on Benny (Skinner), newly arrived as a freshman at prestigious Yates University. A former football jock and “golden boy” at his midwestern high school, he’s the picture of idealized youthful masculinity; he’s also deep in the closet, struggling to keep his sexuality hidden and maintain his macho front under the intense scrutiny of the college’s social scene – and under the resentful eye of his older sister Grace (Mary Beth Barone), who has already secured her own place at the top of the pecking order.

In the first episode, Benny’s difficulties are eased when he meets Carmen (Wally Baram), another freshman trying to navigate the politics of college life; a gamer from a home marred by tragedy, she’s an outsider who feels like she’s putting on an act, too, and they click – giving him the convenient “cover” of female companionship while providing them both with much-needed support and encouragement. He’s also befriended by a handsome film major from England (Rish Shah), who has already caught his eye, stirring other kinds of feelings and possibly even reciprocating them. Meanwhile, he’s being courted by the school’s “exclusive secret society” – headed by his sister’s aggressively “alpha” boyfriend Pete (Adam DiMarco) – and trying to stay interested in his studies, despite a growing realization that a career in business doesn’t actually appeal to him all that much.

That’s a lot to juggle for anybody, even an overachiever like Benny – whose “lucky” life so far has largely been the result of playing a role he is finding harder and harder to maintain. As the series goes on through its eight-episode arc, it becomes clear that he’s not the only one who is “keeping up appearances,” and he, along with the other confused and damaged young people in his orbit, begins the painful (but often hilarious) process of evolution that is required in order to become truly oneself.

Directed toward appealing to a younger demographic, “Overcompensating” is the kind of show that requires a few episodes worth of invested time to make an impression that feels like substance. Full of the bawdy farcical antics that go hand in hand with stories about hormonally charged college kids, it’s not above leaning into the formulas and tropes that have always driven these kinds of comedies. At first, while its broadly comedic strokes and frequently explicit sexual hijinks might elicit plenty of chuckles, the show might easily feel tiresome for more mature audiences; there’s a nostalgic fun to it, made even more appealing, somehow, by the “political incorrectness” of its frequently sexist and homophobic humor, but for a while things may feel like an unnecessary attempt to reinvent “Animal House” for the Gen Z crowd.

By the time the season reaches its halfway point, however, things have started to get real. The antics of these horny almost-adults take on a more pointed absurdity, informed by the increasingly tangled web of defensive deceit they weave among themselves – and, as things draw toward a cliffhanger climax, the consequences of maintaining it – until it achieves a sense of empathy toward them all. There’s a wisdom that smacks of lived authenticity underlying the whole affair, transforming it from the “sexploitative” teen comedy of its surface into something deeper. To be sure, things stay expectedly wacky, and the soap-operatic melodrama of its twists and reversals continue to maintain the show’s “mature YA” appeal; but beneath those trappings, by the end of the season a truer identity has begun to emerge, just as its characters have begun to find their own levels of self-actualization for themselves.

As creator, primary writer, and star, it’s obviously Skinner who deserves much of the credit. While it might be tempting, early on, to dismiss the show as an “ego project,” the internet-spawned sensation proves his talents quickly enough to get past such judgy suspicions, delivering a pitch-perfect blend of sauciness and sensitivity that extends its appeal toward both ends of the taste spectrum; just as crucially, he brings the same aforementioned “lived authenticity” to his winning performance – after all, he’s essentially playing himself in a fictionalized version of his own life – while also making sure that equal time (and compassion) is afforded all the other characters around him, each of whom are pushing at the boundaries of their own respective “closets,” too. It’s unavoidable to notice that – like most of his co-stars – he’s plainly a decade too old to be playing a college student; but by the time we reach that crucial halfway turning point, we’ve become too engaged by him to care.

The show is full of excellent performances, in fact. Relative newcomers Baram and Barone offer layers of complex nuance, while the more familiar DiMarco (“White Lotus”) is close to heartbreaking as the toxic BMOC clinging to the illusion of power as his life begins unraveling around him. Other standouts include the mononymic actress Holmes as Carmen’s “wild child” roommate, solidly likable turns as Benny’s parents from mature veterans Connie Britten and Kyle MacLachlan (whose presence, along with stylish elements in several key scenes, hints at an homage-ish nod to the late David Lynch), and podcaster Owen Thiele as an openly gay fellow student who has Benny “clocked” from the moment they meet. Finally, Lukas Gage makes a deep impression as a former high school teammate at the heart of Benny’s most haunting memory.

There’s no official word yet on whether “Overcompensating” will be renewed for a second season, despite the multiple loose ends left dangling at the end of its first; it has proven to be popular, and Skinner’s large fanbase makes it likely that the story will continue. Even if it doesn’t, the place of uncertainty in which it has left its characters rings true enough to serve as a satisfying endpoint.

As for us, we hope that won’t happen. For all its sophomoric humor, generic plot twists, and purposefully gratuitous sexual titillation, it’s one of the sweetest, kindest, and most savvy shows we’ve seen about breaking free from conformity to embrace your true self – and that’s a message that applies whether you’re queer, straight, or anywhere in between.

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Photos

PHOTOS: Independence Day Weekend in Rehoboth

Wicked Green Pool Party, fireworks among festivities

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A fireworks show was held in Rehoboth Beach, Del. on Saturday, July 5. (Washington Blade photo by Daniel Truitt)

Vacationers and residents alike enjoyed Independence Day Weekend activities in Rehoboth Beach, Del. The Wicked Green Pool Party drew hundreds to the CAMP Rehoboth fundraiser on Saturday. That evening, revelers went to the rooftops to watch the fireworks display.

(Washington Blade photos by Daniel Truitt)

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Music & Concerts

Red, White, and Beyoncé: Queen Bey takes Cowboy Carter to D.C. for the Fourth of July

The legendary music icon performed on July 4 and 7 to a nearly sold-out Northwest Stadium.

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Beyoncé performs on July 7. (Washington Blade photo by Joe Reberkenny)

Just in time for Independence Day, Beyoncé lit up Landover’s Commanders Field (formerly FedEx Field) with fireworks and fiery patriotism, bringing her deeply moving and genre-defying “Cowboy Carter” tour to the Washington, D.C. area.

The tour, which takes the global icon across nine cities in support of her chart-topping and Grammy-winning country album Cowboy Carter,” landed in Prince George’s County, Maryland, over the Fourth of July weekend. From the moment Beyoncé stepped on stage, it was clear this was more than just a concert — it was a reclamation.

Drawing from classic Americana, sharp political commentary, and a reimagined vision of country music, the show served as a powerful reminder of how Black Americans — especially Black women — have long been overlooked in spaces they helped create. “Cowboy Carter” released in March 2024, is the second act in Beyoncé’s genre-traversing trilogy. With it, she became the first Black woman to win a Grammy for Best Country Album and also took home the coveted Album of the Year.

The record examines the Black American experience through the lens of country music, grappling with the tension between the mythology of the American Dream and the lived realities of those historically excluded from it. That theme comes alive in the show’s opening number, “American Requiem,” where Beyoncé sings:

“Said I wouldn’t saddle up, but
If that ain’t country, tell me, what is?
Plant my bare feet on solid ground for years
They don’t, don’t know how hard I had to fight for this
When I sing my song…”

Throughout the performance, Beyoncé incorporated arresting visuals: Black cowboys on horseback, vintage American iconography, and Fox News clips criticizing her genre shift — all woven together with voiceovers from country legends like Dolly Parton and Willie Nelson. The result was a multimedia masterclass in storytelling and subversion.

The “Cowboy Carter” tour has been a social media sensation for weeks, with fans scrambling for tickets, curating elaborate “cowboy couture” outfits, and tailgating under the summer sun. At Commanders Field, thousands waited in long lines for exclusive merch and even longer ones to enter the stadium — a pilgrimage that, for many, felt more like attending church than a concert.

One group out in full force for the concert was Black queer men — some rocking “denim on denim on denim on denim,” while others opted for more polished Cowboy Couture looks. The celebration of Black identity within Americana was ever-present, making the concert feel like the world’s biggest gay country-western club.

A standout moment of the night was the appearance of Beyoncé’s 13-year-old daughter, Blue Ivy Carter. Commanding the stage with poise and power, she matched the intensity and choreography of her mother and the professional dancers — a remarkable feat for someone her age and a clear sign that the Carter legacy continues to shine.

It’s been nearly two decades since Beyoncé and Destiny’s Child parted ways, and since then, she’s more than lived up to her title as the voice of a generation. With Cowboy Carter,” she’s not just making music — she’s rewriting history and reclaiming the space Black artists have always deserved in the country canon.

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