Arts & Entertainment
Katy, Gaga, Janet, Kesha, Bruno for starters
Be ready to cough up hundreds for good seats at A-lister shows
Gay broadway heartthrob Cheyenne Jackson plays the Barns at Wolf Trap on Sunday, Oct. 15. (Photo by Karl Simone; courtesy Wolf Trap)
This fall brings a massive wealth of talent to the Washington area. There are many shows to choose from with every imaginable genre represented. Here is but a small sampling.
The fall season begins with a bang as pop/R&B superstar the Weeknd brings his “Starboy Legend of the Fall 2017 World Tour” to Capital One Arena, formerly the Verizon Center (601 F Street, N.W.), on Friday, Sept. 15 at 7:30 p.m. Tickets range from $39-276 and up. For more information, visit capitalonearena.
MGM National Harbor (101 MGM National Ave., Oxon Hill, Md.) has an impressive lineup of talent slated including famed Bollywood vocalist Shreya Ghoshal. She performs on Friday, Sept. 15 at 8:30 p.m. Tickets range from $80-281 and up, and details are available mgmnationalharbor.com.
Acclaimed Canadian alternative collective Arcade Fire and their “Infinite Content 2017 Tour” will play Capital One Arena on Saturday, Sept. 16 at 7:30 p.m. Tickets range from $26-230 and up.
Popular up and coming alternative popsters Young the Giant appears with Cold War Kids at Merriweather Post Pavilion (10475 Little Patuxent Parkway, Columbia, Md.) on Saturday, Sept. 16 at 6:30 p.m. Tickets range from $35-100. Details at merriweathermusic.com.
On Sept. 19-20, English pop heartthrob Ed Sheeran stops by the Capital One Arena for two sold-out shows.
R&B singer Brandy will appear at the Fillmore Silver Spring (8656 Colesville Rd., Silver Spring, Md.) on Wednesday, Sept. 20 at 8 p.m. The general admission tickets are priced at $45 with more information available at fillmoresilverspring.com.
Celebrating their 25th anniversary with their “Middle of Everywhere Tour,” pop trio Hanson will play at the Fillmore Silver Spring on Sunday, Sept. 24 at 8 p.m. for a sold-out show.
Pop diva Katy Perry brings “WITNESS: the Tour” to Capital One Arena on Monday, Sept. 25 at 7 p.m. Tickets range from $50-427 and up.
Veteran British popsters Saint Etienne perform at U Street Music Hall (1115 U St., N.W.) on Wednesday, Sept. 27 at 7 p.m. Tickets are $30. Details at ustreetmusichall.com.
As expected, the 9:30 Club (815 V Street, N.W.) has an impressive array of talent lined up for its hallowed stage this fall. The versatile electronic hip-hop visionary Thundercat plays a highly anticipated show on Friday, Sept. 29 at 9:30 p.m., with tickets at $25. More information is available at 930.com.
R&B/pop superstar Bruno Mars brings his electrifying “24K Magic World Tour” to Capital One Arena for two shows Sept. 29-30 at 8 p.m. Tickets range from $188 to as much as $1,180 and higher to see one of the biggest names in music.
One of the most acclaimed electronic groups around Crystal Castles return to the 9:30 Club for a Saturday, Sept. 30 show that begins at 9:30 p.m.Tickets are $30.
DAR Constitution Hall (18th and C streets N.W.) welcomes former One Direction star Harry Styles for a show on Sunday, Oct. 1 at 7 p.m. Tickets range from $57.70-97.50. For more details, visit dar.org/constitution-hall.
At the Kennedy Center (2700 F Street, N.W.) on Sunday, Oct. 1 is an intriguing show called “Orion’s Rise: A Special Performance” with Solange and the Sun Ra Arkestra. The show begins at 7 p.m. and tickets range from $49-169. More information is available at kennedy-center.org.
Mashrou’ Leila, a gay-led rock band from Lebanon, plays the Flex Stage room at the Birchmere on Sunday, Oct. 1 at 7:30 p.m. Tickets are $35. Details at birchmere.com.
Latino stars Enrique Iglesias and Pitbull team up for a show at Capital One Arena on Tuesday, Oct. 3 at 7:30 p.m. Tickets range from $39-309 and up.
Hot off a stellar new album, Kesha is back and better than ever with her “Rainbow Tour 2017.” She performs at the Fillmore Silver Spring on Friday, Oct. 6 at 8 p.m. It’s sold out.
Half of the Indigo Girls, lesbian folk-pop icon Emily Saliers brings her solo “Murmuration Nation Tour” to The Birchmere (3701 Mount Vernon Ave., Alexandria, Va.) on Wednesday, Oct. 11 at 7:30 p.m. Tickets are $29.50. Details at birchmere.com.
Foster the People, Young Thug and Galantis headline the 2017 All Things Go Fall Classic music and food festival at Union Market Oct. 6-8. Details at allthingsgofallclassic.com.
Local favorite Dave Grohl and his powerhouse rockers Foo Fighters have the honor of opening the new venue on the Waterfront, The Anthem (901 Wharf St., S.W.), for a historic show on Thursday, Oct. 12 at 8 p.m. Tickets begin at $100 although it may take some good fortune to find one for this sold-out show. More information is available at theanthemdc.com.
The inspirational transgender vocalist Laura Jane Grace and her cohorts in Against Me! perform Friday, Oct. 13 at the 9:30 Club for a 9:30 p.m.show, with tickets at $25.
The always hilarious and thought-provoking Margaret Cho is back for a performance at Warner Theatre (513 13th Street, N.W.) on Saturday, Oct. 14 for her “Fresh Off The Bloat Tour.” Tickets are $27-58. Details at warnertheatredc.com.
Openly gay singer/actor Cheyenne Jackson will be at the Barns at Wolf Trap (1635 Trap Road, Vienna, Va.) on Sunday, Oct. 15 at 8 p.m. Tickets are $45-55. Details at wolftrap.org.
The return of LCD Soundsystem is one of the big musical stories of 2017, and they perform two nights at the Anthem Oct. 17-18 at 8 p.m. Tickets range from $61.75-81.75.
Queens of the Stone Age and British rockers Royal Blood team up for an exciting show at the Anthem on Friday, Oct. 20 at 8 p.m. Tickets range from $49.50-75.
The popular DJ and electronic producer Zedd is slated for a show at the Anthem on Saturday, Oct. 21 at 8 p.m. Tickets range from $41-76.
One of the most important bands currently recording is undoubtedly the War on Drugs, and they return to D.C. for a show at the Anthem on Monday, Oct. 23 at 7:30 p.m. Tickets range from $75-125.
Out comedian Suzanne Westenhoeffer plays the Birchmere on Friday, Oct. 27 at 7:30 p.m. Tickets are $45.
Shawn Colvin is celebrating her classic album “A Few Small Repairs” with a 20th Anniversary Tour that will stop at the Birchmere for two highly anticipated shows Oct. 30-31 at 7:30 p.m. Tickets are $62.50.
Maynard James Keenan and A Perfect Circle bring their dark and heavy rock to EagleBank Arena (4500 Patriot Cir., Fairfax, Va.) on Wednesday, Nov. 1 at 8 p.m. Tickets range from $40-276 and up with more information available at eaglebankarena.com.
The following night Fall Out Boy will also rock out EagleBank Arena. The emo rockers bring their “MANIA Tour” for Thursday, Nov. 2 show that begins at 7 p.m. Tickets range from $30-245 and up.
A cappella wonders Straight No Chaser bring their dynamic harmonies to DAR Constitution Hall for a Thursday, Nov. 2 show that begins at 7:30 p.m. Tickets are $62 and up.
Legendary singer/songwriter/pianist Tori Amos is always spectacular live and her latest tour in support of new album “Native Invader” should be no different. She’s playing at MGM National Harbor on Friday, Nov. 3 at 8 p.m., with tickets ranging from $54-216 and up.
Popular ‘90s-era alternative rockers the Breeders are back, and will play Lincoln Theatre (1215 U Street, N.W.) on Sunday, Nov. 4 at 8 p.m. Tickets are $35. Details at thelincolndc.com.
One of the more intriguing shows of the season promises to be the eclectic and uber-talented Flying Lotus in 3D at Echostage (2135 Queens Chapel Rd., N.E.) on Sunday, Nov. 5 at 7 p.m. Tickets are $45 and more information is available at echostage.com.
Seattle-based rapper Macklemore, known for his smash “Thrift Shop” and his touching “Same Love” with Ryan Lewis and Mary Lambert is appearing solo on “The Gemini Tour” at the Fillmore Silver Spring. The Saturday, Nov. 11 show begins at 8 p.m. and is sold out.
The always entertaining duo of openly gay sisters Tegan and Sara bring their “10th Anniversary Acoustic Tour” celebrating their album “The Con” to the Anthem on Saturday, Nov. 11 at 8 p.m. Tickets are in the $50.50-76 range.
Legendary dance/pop/R&B icon Janet Jackson is back after delaying her previously scheduled show to have her baby. The new mother brings her “State of the World Tour” to Capital One Arena on Thursday, Nov. 16 at 8 p.m., with tickets ranging from $37-337 and higher. She plays Baltimore on Saturday, Nov. 18.
The musically gifted St. Vincent is a must-see when she appears at the Anthem on Monday, Nov. 17 at 7:30 p.m. Tickets are $44-60.
R&B songstress Erykah Badu brings her chill groove to the Anthem on Saturday, Sept. 18 at 8 p.m. Tickets are $76-126.
One of the most anticipated shows of the fall is undoubtedly the one and only Lady Gaga, who brings her “Joanne World Tour” to Capital One Arena on Sunday, Nov. 19 at 7:30 p.m. Tickets range from $74-587 or more.
Diva extraordinaire Chaka Khan graces the stage of Warner Theatre on Friday, Nov. 24 at 8 p.m. Tickets range from $69-130.
Electro-wizard Diplo is at Echostage for a Saturday, Nov. 25 for a 9 p.m. show. Tickets are in the $40-50 range for what is certain to be an electrifying performance.
St. Vincent, who eschews labels but believes in gender and sexual “fluidity,” plays Anthem on Monday, Nov. 27. Tickets are $44-149.
Rap mogul JAY-Z is set to rock the Capital One Arena on Wednesday, Nov. 29 at 8 p.m. on his “4:44 Tour.” Tickets range from $50-356 and higher.
The influential duo of Amanda Palmer and Brian Viglione, the Dresden Dolls, are back for a show at the 9:30 Club on Tuesday, Nov. 31 at 9:30 p.m. Tickets are $35.
Longtime favorite pop-folk troubadour Dar Williams is back at the Birchmere Dec. 8-9 at 7:30 p.m. Tickets are $25 for a concert that will also include readings and discussions from her new book, “What I Found in a Thousand Towns.”
As fall winds to an end, there are worse ways to get into the holiday mood than by seeing the A Pentatonix Christmas Tour at the Anthem on Sunday, Dec. 17 at 7 p.m. Tickets range from $59.50-149.50 for a chance to see the a cappella supergroup.
And as has become an annual event, gay shock- and schlockmeister John Waters returns to the Birchmere for his Christmas show on Thursday, Dec. 21 at 7:30 p.m. Tickets are $55.
Arts & Entertainment
In an act of artistic defiance, Baltimore Center Stage stays focused on DEI
‘Maybe it’s a triple-down’
By LESLIE GRAY STREETER | I’m always tickled when people complain about artists “going political.” The inherent nature of art, of creation and free expression, is political. This becomes obvious when entire governments try to threaten it out of existence, like in 2025, when the brand-new presidential administration demanded organizations halt so-called diversity, equity and inclusion (DEI) programming or risk federal funding.
Baltimore Center Stage’s response? A resounding and hearty “Nah.” A year later, they’re still doubling down on diversity.
“Maybe it’s a triple-down,” said Ken-Matt Martin, the theater’s producing director, chuckling.
The rest of this article can be found on the Baltimore Banner’s website.
‘La Lucci’
By Susan Lucci with Laura Morton
c.2026, Blackstone Publishing
$29.99/196 pages
They’re among the world’s greatest love stories.
You know them well: Marc Antony and Cleopatra. Abelard and Heloise. Phoebe and Langley. Cliff and Nina. Jesse and Angie, Opal and Palmer, Palmer and Daisy, Tad and Dixie. Now read “La Lucci” by Susan Lucci, with Laura Morton, and you might also think of Susan and Helmut.
When she was a very small girl, Susan Lucci loved to perform. Also when she was young, she learned that words have power. She vowed to use them for good for the rest of her life.
Her parents, she says, were supportive and her family, loving. Because of her Italian heritage, she was “ethnic looking” but Lucci’s mother was careful to point out dark-haired beauties on TV and elsewhere, giving Lucci a foundation of confidence.
That’s just one of the things for which Lucci says she’s grateful. In fact, she says, “Prayers of gratitude are how I begin and end each day.”
She is particularly grateful for becoming a mother to her two adult children, and to the doctors who saved her son’s life when he was a newborn.
Lucci writes about gratitude for her long career. She was a keystone character on TV’s “All My Children,” and she learned a lot from older actors on the show, and from Agnes Nixon, the creator of it. She says she still keeps in touch with many of her former costars.
She is thankful for her mother’s caretakers, who stepped in when dementia struck. Grateful for more doctors, who did heart-saving work when Lucci had a clogged artery. Grateful for friends, opportunities, life, grandchildren, and a career that continues.
And she’s grateful for the love she shared with her husband, Helmut Huber, who died nearly four years ago. Grateful for the chance to grieve, to heal, and to continue.
And yet, she says of her husband: “He was never timid, but I know he was afraid at the end, and that kills me down to my soul.”
“It’s been 15 years since Erica Kane and I parted ways,” says author Susan Lucci (with Laura Morton), and she says that people still approach her to confirm or deny rumors of the show’s resurrection. There’s still no answer to that here (sorry, fans), but what you’ll find inside “La Lucci” is still exceptionally generous.
If this book were just filled with stories, you’d like it just fine. If it was only about Lucci’s faith and her gratitude – words that happen to appear very frequently here – you’d still like reading it. But Lucci tells her stories of family, children and “All My Children,” while also offering help to couples who’ve endured miscarriage, women who’ve had heart problems, and widow(ers) who are spinning and need the kindness of someone who’s lived loss, too.
These are the other things you’ll find in “La Lucci,” in a voice you’ll hear in your head, if you spent your lunch hours glued to the TV back in the day. It’s a comfortable, fun read for fans. It’s a story you’ll love.
The Blade may receive commissions from qualifying purchases made via this post.
Theater
Minimal version of ‘Streetcar Named Desire’ heading to Dupont Underground
Director Nick Westrate on this traveling take on Williams’s masterwork
‘A Streetcar Named Desire’
Produced by The Streetcar Project
April 20-May 4
Dupont Underground
19 Dupont Circle, N.W.
Tickets start at $85.
Dupontunderground.org
An aggressively minimal version of Tennessee Williams’s “A Streetcar Named Desire” is poised to run at Dupont Underground (April 20-May 4), the nonprofit cultural space located in a repurposed, abandoned 1949 streetcar station beneath Dupont Circle.
The Streetcar Project’s production performs in site-specific spaces. It’s almost entirely without design elements. There is no steamy, cramped Vieux Carré apartment. You won’t see Blanche’s battered trunk exploding with cheap finery, faded love letters, and demands for back property taxes, or the familiar costumes.
Co-created by Lucy Owen (who stars as Blanche DuBois) and out director Nick Westrate in 2023, this traveling spare take on Williams’s masterwork about a fragile woman on the margins in conflict with her brutish brother-in-law seems a reaction to necessity. It’s also an exploration of whether, like Shakespeare’s “Henry V,” it can subsist on language alone.
With little distractions (even Blanche’s cultivated southern belle accent has been daringly stripped away), the spotlight shines almost solely on text. “This play holds that,” says Westrate, 42. “I remind the actors that the while there is plenty of movement, language is really the only game in town.”
New York-based Westrate, who’s best known as an esteemed actor with New York and regional credits including Prior Walter in János Szász’s production of “Angels in America” at Arena Stage, describes “Streetcar” as “the most perfect play on earth” but not one he thinks of acting in (“I’m not right for Stanley Kowalski or Mitch”) though he agreed to direct.
“These days if you’re not a not a movie star or an established director, you’re not likely to do “Streetcar.” So, for us, we have to be able to do it with almost nothing, on the New York subway if necessary. And that’s kind of how we built it.”
Westrate first experienced Dupont Underground while attending a staged reading. He was so obsessed with the space as a prospective place to take the production, he found it hard to concentrate. He says, “With its long, curved track and tunnel, Dupont Underground is a terrifying, beautiful room that carries so much metaphorical weight, so much possibility for our production.”
WASHINGTON BLADE: Is finding the right space for this “Streetcar” part of the thrill?
NICK WESTRATE: Whenever I enter a weird room or pass by an abandoned CVS, I try to figure out how we might do the show there, especially places that are dilapidated, architecturally odd, or possibly haunted. And each space we use, lends something to the production. The Rachel Comey store in Soho was a very Blanche coded space. And an artist’s workshop on Venice Beach in California with its huge saws and metal hooks lent raw imagery. The scenes between Blanche and Stanley near the end were absolutely terrifying.
BLADE: More recently that same bare bones production has played in more traditional spaces like the Wheeler Opera House in Aspen and San Francisco’s A.C.T. Is it hard to now go to Dupont Underground?
WESTRATE: Each time we do this we have to crack open the play again because the staging is entirely new, but we’re used to performing in unusual spaces and Dupont Underground rather takes us back to form. As a former streetcar station, it’s the most appropriate space we’ve had yet.
The cast will literally act on streetcar tracks and go without dressing rooms but they’re game, and because they have history and authorship over the work, the sacrifice is more meaningful than if they were just some hired guns.
BLADE: Audiences have an expectation, especially with a work they’re likely to know. How do they react seeing such an unadorned take on Williams’s American classic?
WESTRATE: For the first 10 or 15 minutes, they’re unsure. Then, you can pretty much see the audience members’ brains click in and their imaginations turn on. It’s like they’re scratching an itch that they didn’t even know they had.
BLADE: Did you and Lucy foresee gaining this kind of momentum behind your vision?
WESTRATE: Absolutely not. Lucy had a philosophy that we’ll just walk through open doors. Early on, we were given spaces and artists filled the seats, and increasingly we’ve begun to rent some spaces and attract more regular theatergoers.
We basically sell tickets in order to pay a living wage to artists involved. There isn’t some big institution or commercial producer who’s getting a lot of money from this. Audiences of all types seem to respond to this mode of making theater.
BLADE: In presenting “Streetcar” intermittently, usually with the same cast over three years in wildly varying venues, have you learned more about a piece that you already loved?
WESTRATE: Mostly I’ve come to realize that Blanche is the smartest character I’ve ever read in a play. She’s like Hamlet – tormented by dreams and terrified of death. She’s skilled at wordplay and always ahead of everyone else in the room. Also like Hamlet, people think she’s insane and she uses that to her advantage.
Blanche is certainly the Everest of roles for actresses and watching Lucy sort of break it apart in a different way than you’ve ever seen, and knowing that I’ve helped to facilitate this performance has been one of the great joys of my career.
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