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Touring productions of ‘Hedwig,’ ‘Rent’ arrive in Washington

‘90s hits broke ground on stage with frank, funny portrayals of queer lives

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Hedwig musical, gay news, Washington Blade

Euan Morton as Hedwig in ‘Hedwig and the Angry Inch.’ (Photo by Joan Marcus)

‘Hedwig and the Angry Inch’ 

 

Through July 2

 

The Kennedy Center

 

Tickets start at $59

 

202-467-4600

 

Kennedy-center.org

 

‘Rent’

 

June 20-25

 

National Theatre

 

1321 Pennsylvania Ave., N.W.

 

Tickets start at $48

 

800-514-3849

 

Thenationaldc.com

Two of the best musicals to come out of the 1990s were “Hedwig and the Angry Inch,” memoir meets rock concert, and “Rent,” a modern take on Puccini’s “La Bohème” exploring a year in the life of bohemian friends living in New York’s Alphabet City. Both enduring works feature unforgettable genderqueer characters. And now tours of both shows are overlapping in D.C.

Out actor/writer/director John Cameron Mitchell wrote “Hedwig’s” book and created the title role off Broadway in 1998. Composer Stephen Trask supplied the hard-driving score. Hedwig’s back story is riveting: Wannabe glam rock star undergoes botched gender reassignment surgery to escape East Germany for America. And that’s not that half of it. In a night, Hedwig reminisces via songs backed by the hard-rocking band the Angry Inch, and inimitably fills in the gaps.

Mitchell developed the Hedwig character in downtown New York clubs. He’s said that Hedwig is not a trans woman, but a genderqueer character. “She’s more than a woman or a man. She’s a gender of one and that is accidentally so beautiful.”

A successful revival of “Hedwig” opened on Broadway in 2014 and currently acclaimed actor Euan Morton is playing the title role in that production’s national tour. With his gorgeous soaring tenor, Morton arguably has the finest voice of the actors who’ve donned Hedwig’s wild blonde wig (a heady roster that in addition to Mitchell includes Neil Patrick Harris, Andrew Rennells, Darren Criss, Taye Diggs and D.C.’s own Rick Hammerly who won a Helen Hayes Award for his efforts).

“The score is definitely an odd combo and ballads and rock songs and requires some serious vocal acrobatics,” Morton says. “The day following a performance, I can barely speak which means I can no longer sing in the shower which is one of my favorite things. I really have to be careful, but it’s worth it — anything for the pleasure of performing this role.”

It’s fair to say he’s fallen in love with part.

“To be honest, I first really got a handle on the part when I was cast and sent to the script,” he says. “When I sat down and actually read the script, I wasn’t sure this was something for me, but I’m up for a challenge. We’re brought up being told where our box end. It’s good to go outside that box every now and then.”

Morton received a Tony Award nomination for his sensational portrayal of ‘80s icon Boy George in “Taboo.” And while playing Boy George prepared Morton to wear a lot of makeup and some wild outfits, he says that’s where it ends. No past part or any other actor’s interpretation of the role has influenced his take on the part.

“She is strong, aggressive, sexy and has led a very large life. Hedwig takes the actors who play her and molds them and uses them for her ends and not the other way around. It’s a not a character you can force. I’ve taken my cues from Hedwig.”

Morton, 39, didn’t do extensive research prior to joining the tour in November.

“My entire life has been an investigation into all things transgender. I was lucky enough to leave home when I was very young. And have been living and working with cisgender, transgender, non-binary gays and straights ever since. I’ve experienced this story through life.  I’ve seen and can empathize but never really know what this is — the years of questioning and the pain. But I hope our tour can be for those on the journey to see people like themselves on stage.”

Born in Scotland, Morton left home early to study theater in London. Career highlights include Broadway’s “Taboo” and the lead in Ford’s Theatre production of “Parade” for which he deservedly snagged a Helen Hayes Award. Morton is married to theater producer Lee Armitage and their son is Iain Armitage the adorable boy theater critic who’s currently embarking on a big acting career. In March, CBS announced that it had ordered to series “Young Sheldon,” a prequel to the sitcom “The Big Bang Theory,” starring young Armitage as the title character.

Morton says “Hedwig’s” concert feel is part of what makes it work.

“She spends an hour and forty minutes talking directly to the audience. She’s doing her thing present day which allows me to bring in some Trump jokes. There’s no division between what’s happening and the audience. If you want to be part of the art rather than just an observer than come see the show.”

Out actor David Merino is currently making his professional debut playing Angel in the 20th anniversary tour of “Rent.” Merino was born in 1995 just months before “Rent” opened on Broadway in the spring of 1996.

“It’s meaningful for me to be part of this particular tour. To play this character and be part of this story and show at this time in this country is incredible. I’m happy that this is my job. The fact that the show and I are the same age is not lost on me. This story and the characters still resonate strongly.”

Angel is a drag queen and talented drummer who makes her money performing on the street. She and her partner Tom Collins are both dealing with having HIV and very little resources. Angel’s spotlight moment is the high energy number “Today For You Tomorrow For Me” which she sings costumed in a saucy Santa suit.

The tour is Merino’s third time playing Angel. Originally he assayed the role with a group of high school friends who formed their own company in his native Los Angeles. More recently he played Angel in college production at New York University where he was noticed by Broadway casting agents. He’s interrupted his studies to go on the road with the tour.

Merino took time to understand an era when people were dying from AIDS-related complications at a terrifying rate.

“I had to fill the gap with research and dive in,” he says. “I had to watch documentaries about covering pop culture and AIDS to figure out it. It wasn’t difficult to modernize Angel. But it was important for me to get across that’s she’s not a frivolous party person. She emanates a lot of love and light. She wasn’t a frivolous person.”

“I’ve never known a person like Angel in my own life. To portray her I had to discover her on my own. Now I work to bring her to the stage and show her to people.”

Coming out was difficult for Merino. His family didn’t understand his sexuality or his love for theater. In his teen years, he spent hours secretly watching the screen version of “Rent” again and again. Within the last several years his family has grown proud and supportive, he says. And for that Merino is very grateful.

Not everyone is comfortable with the material “Rent” or “Hedwig.” For Merino, touring with “Rent” through red states during campaign season was poignant. He felt an obligation to bring the musicals stories to those who valued them and those who had never heard them before.

“And it’s not just subject matter,” Morton says. “Hedwig’s score is very punk rock. It’s not everyone’s cup of tea. One audience member who left midway famously commented, ‘I thought this was a show about Harry Potter’s owl.’”

Both Morton and Merino leave their respective tours after Washington. Merino plans to finish up his degree at New York University. And Morton says he’s eager to get back to singing Whitney Houston songs in the shower again.

David_Merino as Angel in ‘Rent.’ The actor was deeply inspired by the film version in his teen years. (Photo by Carol Rosegg)

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D.C. LGBTQ sports bar Pitchers listed for sale

Move follows months of challenges for local businesses in wake of Trump actions

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Pitchers is for sale at an undisclosed price. (Washington Blade file photo by Michael Key)

A Santa Monica, Calif.-based commercial real estate company called Zacuto Group has released a 20-page online brochure announcing the sale of the D.C. LGBTQ sports bar Pitchers and its adjoining lesbian bar A League of Her Own.

 The brochure does not disclose the sale price, and Pitchers owner David Perruzza told the Washington Blade he prefers to hold off on talking about his plans to sell the business at this time.

He said the sale price will be disclosed to “those who are interested.” 

“Matthew Luchs and Matt Ambrose of the Zacuto Group have been selected to exclusively market for sale Pitchers D.C., located at 2317 18th Street, NW in Washington, D.C located in the vibrant and nightlife Adams Morgan neighborhood,” the sales brochure states.

 “Since opening its doors in 2018, Pitchers has quickly become the largest and most prominent LGBTQ+ bar in Washington, D.C., serving as a cornerstone of D.C.’s modern queer nightlife scene,” it says, adding, “The 10,000+ SF building designed as a large-scale inclusive LGBTQ+ sports bar and social hub, offering a welcoming environment for the entire community.”

It points out that the Pitchers building, which has two years remaining on its lease and has a five-year renewal option, is a multi-level venue that features five bar areas, “indoor and outdoor seating, and multiple patios, creating a dynamic and flexible layout that supports a wide range of events and high customer volume.”

“Pitchers D.C. is also home to A League of Her Own, the only dedicated lesbian bar in Washington, D.C., further strengthening its role as a vital and inclusive community space at a time when such venues are increasingly rare nationwide,” the brochure says. 

Zacuto Group sales agent Luchs, who serves as the company’s senior vice president, did not immediately respond to a phone message left by the Blade seeking further information, including the sale price. 

News of Perruzza’s decision to sell Pitchers and A League of Her Own follows his Facebook postings last fall saying Pitchers, like other bars in D.C., was adversely impacted by the Trump administration’s deployment of National Guard soldiers on D.C. streets   

In an Oct. 10 Facebook post, Perruzza said he was facing, “probably the worst economy I have seen in a while and everyone in D.C. is dealing with the Trump drama.” He told the Blade in a Nov. 10 interview that Pitchers continued to draw a large customer base, but patrons were not spending as much on drinks.

The Zacuto Group sales brochure says Pitchers currently provides a “rare combination of scale, multiple bars, inclusivity, and established reputation that provides a unique investment opportunity for any buyer seeking a long-term asset with a loyal and consistent customer base,” suggesting that, similar to other D.C. LGBTQ bars, business has returned to normal with less impact from the Trump related issues.

The sales brochure can be accessed here.

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Alexander Skarsgård describes ‘Pillion’ in 3 words: lube, sweat, leather

Highly anticipated film a refreshingly loving look at Dom-sub life

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Harry Melling and Alexander Skarsgård star in ‘Pillion,’ which premieres in the U.S. on Feb. 6. (Photo courtesy of A24)

Whether you’ve seen him in popular HBO series like “True Blood,” “Succession,” or “Big Little Lies,” the dynamic Swedish actor Alexander Skarsgård has that smoldering gaze that immediately draws viewers in. 

Following in the footsteps of his father Stellan, (who just won the Golden Globe for “Sentimental Value”) the Golden Globe, Emmy, and SAG winner Skarsgård continues to be an actor who is fearless in the roles he takes on. 

That courageousness is evident in Skarsgård’s latest film, the BDSM black comedy “Pillion,”which he also executive produces. He plays Ray, the handsome, hyper-dominant leader of a gay bike gang. The film was written and directed by Harry Lighton, and is based on the 2020 novel “Box Hill,” by Adam Mars-Jones. 

“This was a small film by a first time filmmaker and it wasn’t financed when I read it,”  Skarsgård told journalists at a recent awards news conference. “And I felt that, if I could help in any small way of getting it financed, I wanted to, because I thought it was such an incredible screenplay and I believe in Harry Lighton so much as a filmmaker. And it felt tonally unlike anything I’d ever read. It was such an exciting, surprising read.”

Skarsgård was blown away by the quality of the unconventional script. “When I heard BDSM relationship, biker culture, I expected something very different. I didn’t expect it to have so much sweetness and tenderness and awkwardness.”

For the sex scenes and nudity with co-star, Harry Melling — who excels in his portrayal as Ray’s submissive Colin — Skarsgård talked very early on with Lighton about how he wanted to shoot those scenes, and why they were in the film. 

“I often find sex scenes quite boring in movies because a lot of the tension is in the drama leading up to two people hooking up, or several people hooking up, as in our movie. But what I really enjoyed about these scenes — they are all pivotal moments in Colin’s journey and his development. It’s the first time he gets a blowjob. It’s the first time he has sex. It’s the first time he has an orgasm. And these are pivotal moments for him, so they mean a lot. And that made those scenes impactful and important.” 

Skarsgård was happy that Lighton’s script didn’t have gratuitous scenes that shock for the sake of just shocking. “I really appreciated that because I find that when this subculture is portrayed, it’s often dangerous and crazy and wild and something like transgressive.”

He continued: “I really love that Harry wanted it to feel real. It can be sexy and intense, but also quite loving and sweet. And you can have an orgy in the woods, rub up against a Sunday roast with the family. And that kind of feels real.”

One of the obstacles Skarsgård had to work with was Ray’s emotionally distant personality.

“Ray is so enigmatic throughout the film and you obviously never find out anything about him, his past. He doesn’t reveal much. He doesn’t expose himself. And that was a challenge to try to make the character interesting, because that could easily feel quite flat…That was something that I thought quite a lot about in pre production…there are no big dramatic shifts in his arc.”

For the film, Lighton consulted the GMBCC, the UK’s largest LGBT+ biker club, attending their annual meetup at which 80 riders were present. 

“Working with these guys was extraordinary and it brought so much texture and richness to the film to have them present,” said Skarsgård. “They were incredibly sweet and guiding with us — I can’t imagine making this movie without them. I’d go on a road trip with them anytime.”

Added Skarsgård: “To sum up ‘Pillion’ in three words: lube, sweat, and leather. I hope people will connect with Colin and his journey, and come to understand the nuance and complexity of his bond with Ray.”

This year is shaping up to be a busy one for Skarsgård. “Pillion” premieres in select cities on Feb. 6 and then moves into wide release on Feb. 20. After that for Skarsgård is a role in queer ally Charli XCX’s mockumentary, “The Moment,” which premieres at the Sundance Film Festival. HIs sci-fi comedy series,  Apple TV’s “Murderbot,” which he also executive produces, will begin filming its second season. And this weekend, he hosts “Saturday Night Live.”

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MISTR’s Tristan Schukraft on evolution of HIV prevention

From ACT UP to apps, embracing stigma-free care

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Tristan Schukraft (Photo courtesy of Schukraft)

It was not too long ago that an HIV diagnosis was read as a death sentence. In its earlier decades, the HIV/AIDS crisis was synonymous with fear and loss, steeped in stigma. Over recent years, open conversation and science have come together to combat this stigma while proactively paving the way for life-saving treatments and preventive measures like PrEP. Now, in 2026, with discreet and modern platforms that meet people where they’re at in their lives, HIV prevention has evolved from hushed words of warning into something far more sex-positive and accessible. Game-changing services like MISTR are a testament to this shift, showing our community that healthcare doesn’t have to feel clinical or shaming to work. It can be empowering and, dare I say,  celebratory.

Few people embody this evolution quite like Tristan Schukraft, founder of MISTR. With one hand in healthcare and the other high-fiving through queer nightlife, Schukraft gets that, from the bar to the bedroom and beyond,  prevention happens in person and in real life. His approach has helped turn PrEP, DoxyPEP, and testing into normalized parts of our daily queer life, reaching hundreds of thousands of people across the US.

In our conversation, Schukraft shares candidly about stigma, policy, and why the future of sexual health depends on keeping it real.

BLADE: You have one hand in healthcare and the other in nightlife and queer spaces. Can you share with us how these two spheres impact and inform each other? How do they impact and inform you? 

SCHUKRAFT: Honestly, for me, they’ve never been separate. Nightlife and queer spaces are where people meet, date, hook up, fall in love, and make friends. That’s real life. Being in queer spaces all the time keeps me grounded and reminds me who we’re building MISTR for. 

BLADE: MISTR markets sexual health in a sex-positive, stigma-free fashion. Can you share with us how you measure the impact of this approach? 

SCHUKRAFT: This year, we held the first-ever National PrEP Day.  Dua Lipa performed, and Cardi B was there.  After the event, Cardi B went on her Instagram live to encourage people to sign up for PrEP.  

When you make sexual health stigma-free and sex positive, people talk about it. We see it in how people use the platform. When 700,000 people are willing to sign up, get tested, start PrEP, and add things like DoxyPEP, that tells us we’ve made it feel safe and normal instead of scary or awkward. And then we see it in the results. Since we expanded DoxyPEP, STI positivity among our patients dropped by half.  

BLADE: How have you seen the conversation of sexual health in our LGBTQ+ community change in mainstream culture in recent years? 

SCHUKRAFT: Ten years ago, nobody was casually talking about PrEP, and if they did, it likely referenced one being a Truvada whore. Now it’s part of the culture. Popstars like Troye Sivan post pictures of their daily PrEP pill on social media. Cardi B goes on Instagram Live telling people to get on PrEP.  

For many sexually active gay men, taking PrEP is simply part of the gay experience.  For people in more remote areas, it might not be as talked about. Particularly in rural or more conservative places, MISTR can be a life-changing option. No awkward visits to the family doctor or the local pharmacy where everybody knows your business. It’s all done discreetly online and shipped straight to your door. 

BLADE: You have publicly argued that cuts to government HIV prevention funding are of high risk. Would you please elaborate for us on what those budget decisions mean on an individual level? 

SCHUKRAFT: It means real people fall through the cracks. Someone doesn’t get tested. Someone waits too long to start PrEP. Someone finds out they’re HIV-positive later than they should have. Community clinics will be the hardest hit, especially those in underserved communities. The good news is that MISTR is ready to help people who might lose their access to care. All you need to do is sign up at mistr.com, and it’s totally free with or without insurance. 

BLADE: From your (and MISTR’s) perspective, how do these funding cuts threaten ongoing efforts to end the HIV epidemic? 

SCHUKRAFT: For the first time, we have all the tools to end HIV. If everybody who is HIV negative is taking PrEP and everyone HIV+ is virally suppressed, we can end all new HIV transmissions in the United States.  We have everything we need today.  All we need is to get more people on PrEP. Cutting funding risks losing that momentum. Ending HIV requires scale and consistency. Every time funding gets cut, you lose momentum, trust, and infrastructure, and rebuilding that takes years. 

HIV transmissions don’t pause because budgets change. 

BLADE: In our current climate of decreased federal investment, what role do you feel private healthcare and business should play in sexual health? 

SCHUKRAFT: With reports that the current administration is considering cuts to HIV and prevention funding,  we face a moment of reckoning. At the same time, some employers are seeking to exclude PrEP and HIV prevention from their coverage on religious freedom grounds. If these challenges succeed, and if federal funding is slashed, the consequences for public health will be devastating. But this is where the private sector must step up to fill the gap, bridge divides, and deliver results. 

Businesses have the power and platform to normalize HIV prevention and drive measurable outcomes. At MISTR, we see firsthand what’s possible: since introducing DoxyPEP, STI positivity rates among our patients have been cut in half. But it’s not just about medication. It’s about messaging.  

Our sex-positive, stigma-free marketing speaks directly to our community, making sexual health part of everyday life. No awkward doctor visits, no needles, no paperwork — just free online PrEP and STI testing, prescribed by real physicians and delivered to your door. That kind of impact could grow exponentially if more employers embraced this approach and made HIV prevention part of their employee wellness programs. 

Employers, this is your call to action. Start by making sure your health plans cover PrEP and DoxyPEP. Partner with platforms like MISTR to give employees private, stigma-free access to care. Offer on-site testing. Talk openly about sexual health, not just during Pride, but every day of the year. This is not political — this is about protecting lives, strengthening communities, and building a healthier, more productive workforce. Because healthy employees aren’t just good for public health — they’re good for business. 

When the private sector steps up, outcomes improve. And when businesses align with platforms like MISTR, scaling impact isn’t just possible — it’s happening. 

BLADE: Has MISTR experienced any direct effects from these recent shifts in public health funding? 

SCHUKRAFT: MISTR’s unique model is totally free for patients with or without insurance, and we don’t cost the government or taxpayers a penny. We are scaling up our efforts to reach people who might be losing their access or care. 

BLADE: What would be your message to policymakers who are considering further cuts to HIV/AIDS programs? 

SCHUKRAFT: During his first term, President Donald Trump committed unprecedented resources to the Ending the HIV Epidemic initiative here at home. Bipartisan support has shown what’s possible when bold leadership meets smart strategy. To policymakers: I urge you to reconsider any cuts to HIV prevention funding. This is not the time to pull back. It’s the time to push forward. Ending HIV is within reach — but only if government, private industry, and community organizations stand together. 

BLADE: What is one perhaps overlooked win from last year that impacted you on a personal level? 

SCHUKRAFT: Seeing our STI positivity rate drop by half after expanding DoxyPEP. 

BLADE: Looking at the year ahead, what are MISTR’s most significant priorities for sexual health in 2026? 

SCHUKRAFT: Expanding access, especially in the South and in communities that still get left out. Rolling out injectable PrEP. And just continuing to make sexual healthcare easier and more normal. 

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