Arts & Entertainment
D.C. fall dance scene includes summits, festivals, nightlife parties and more
2017 Fall Arts Preview: Dance
A dancer with Company Danzante Contemporary Dance shows off her moves at the Kennedy Center. (Photo by Natalia Terry; courtesy VelocityDC)
Dance Loft on 14 (4618 14th St., N.W.) and Dance Metro D.C. hosts the D.C. Dance Summit this weekend (Sept. 15-17). Various dance genres from ballet and hip hop to Afro-Caribbean and contemporary will have workshops led by top local dance instructors in the field.
Vladimir Angelov, Steve Barberio, Cameron Bennett, Stephen Clapp and more will be featured speakers and workshop leaders. Performances, yoga, networking events, an “undoing racism” workshop and other actives will also be offered over the two days.
A full weekend pass is $75. Single day passes are $40. Evening-only passes for performances, talks and a party are $10. Undoing Racism workshop is $20 for non-members and free for members. Details at dcfirstdancesummit2017.com.
Light Switch Dance Theatre hosts “Importance of Touch: Fifth Anniversary Launch Party” at Capitol Hill Arts Workshop (545 Seventh St., S.E.) on Saturday, Sept. 23 at 5 p.m. The Importance of Touch explores if people are more comfortable with touch technology than the human touch. There will be a performance and a party including food and drink from local businesses, an appearance by local artist Jade Essence and other activities. Tickets are $15. Details at lightswitchdance.wixsite.com.
Festival of South African Dance takes place at George Mason University’s Center for the Arts (4400 University Dr., Fairfax, Va.) on Saturday, Sept. 30 at 8 p.m.
The Russian Grand Ballet presents “Swan Lake: at Rachel M. Schlesinger Concert Hall (4915 E Campus Dr., Alexandria, Va.) on Thursday, Oct. 5 at 7:30 p.m. The performance tells the story of Princess Odette who falls under an evil spell that Prince Siegfried tries to break.Tickets range from $35-85. Details at russiangrandballet.com.
The ninth annual VelocityDC Dance Festival is at Sidney Harman Hall (610 F St., N.W.) on Friday, Oct. 6 at 8 p.m. and Saturday, Oct. 7 at 2 and 8 p.m. Nineteen local dancers and dance companies representing a variety of styles such as contemporary, African, Indian, ballet, urban and more. Participating dancers will be Company Danzante Contemporary Dance, El Teatro de Danza Contemporanea, Farafina Kan, Gin Dance Company and more. The National Hand Dance Association will give free post-show dance lessons after the evening performances. This will also be the first year the festival will include a family-friendly matinee performance. Regie Cabico hosts the two-day event. Tickets start at $18. Details at velocitydc.org.
George Mason University’s Center for the Arts (4400 University Dr., Fairfax, Va.) presents “Pilobolus: Shadowland,” on Friday, Oct. 13 at 8 p.m.The multimedia performance uses projected shadow play and acrobatic dance to tell the story of a teenage girl who wants to be independent. When she falls asleep, she enters the land of the shadows. Tickets range from $29-48. Details at cfa.gmu.edu.
D.C. Fall Salsa and Bachata Dance Festival is at Crystal City Hilton at Washington Reagan National Airport (2399 S Clark St., Arlington, Va.) Oct. 19-23. There will be more than 25 workshops, dance performances and five nights of theme parties with a salsa room, bachata room and zouk and kizomba room. Tickets range from $45-169. Search for the event on Facebook for details.
The Kennedy Center (2700 F St., N.W.) presents “DEMO by Damian Woetzel: Jerome Robbins–American Dance Genius” Oct. 20-21 at 7:30 p.m. Woetzel hosts a lecture, demonstration-style performance that honors iconic gay choreographer Jerome Robbins known for his work on “West Side Story,” “Fancy Free,” “The Cage” and more. Tickets range from $39-49. Details at kennedy-center.org.
Joy of Motion Dance Center hosts “Dreamweaver: Studio to Stage,” at the Jack Guidone Theater (5207 Wisconsin Ave., N.W.) on Saturday, Nov. 18 at 8 p.m. and Sunday, Nov. 19 at 7 p.m. The modern dance performance inspired by dreams will be presented in the forms of hip hop, modern, tap and Horton technique. Details at joyofmotion.org.
Washington Ballet presents Septime Webre’s “The Nutcracker” at Warner Theater (513 13th St., N.W.) Nov. 30-Dec. 24. The classic tale takes place in a Georgetown mansion with historical figures such as George Washington and King George III. On Sunday, Dec. 3 at 1 p.m. Family Day will allow children of all ages to enjoy a matinee performance and then participate in crafts, a character meet and greet, an open rehearsal and more. On Sunday, Dec. 10 at 3 p.m. the Nutcracker Tea Party will include tea, a photograph opportunity with the cast and other activities. Tickets range from $30-120. Details at washingtonballet.org.
And in a whole other kind of dance, the nightlife scene will be booming all fall as usual.
Distrkt C is at the D.C. Eagle (3701 Benning Rd., N.E.) the second Saturday of every month from 10 p.m.-6 a.m. The next one is Sunday, Oct. 8 with Nina Flowers. Alto Voltagje is the fourth Saturday of each month at 9 p.m. The next is Saturday, Sept. 23. Details at distrktc.com.
DC Jane, a new party for women, is every fourth Friday of the month at 9 p.m. at the Eagle. DJ Rosie spins on Friday, Sept. 22. Details at dcjaneparty.com.
The next CTRL party is Friday, Sept. 23 at Town (2009 8th St., N.W.). Details at towndc.com.
Denali (@denalifoxx) of “RuPaul’s Drag Race” performed at Pitchers DC on April 9 for the Thirst Trap Thursday drag show. Other performers included Cake Pop!, Brooke N Hymen, Stacy Monique-Max and Silver Ware Sidora.
(Washington Blade photos by Michael Key)
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.
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