Arts & Entertainment
Donning heels
Annual October race inspires creativity, political statements
Stacy King as Catwoman. (Photo courtesy King)
17th Street High Heel Race
Tuesday, Oct. 24
Parade at 7 p.m.; race at 9
17th and R-JR.’s
Register at Cobalt
Some folks get so excited about the annual 17th Street High Heel Race, they start planning their costumes as soon as the race is over each year.
That’s the way it is for Stacy King, a local stylist who does drag on occasion as Carolina Sugabush.
“Pretty much as soon as it’s done, the next day I start thinking about what I want to do the next year,” the 43-year-old, longtime D.C. resident says. “I kind of, you know, look throughout the year and then something will just call to me.”
This year’s race, the 31st annual, is Tuesday, Oct. 24 (it’s always the Tuesday before Halloween) from 7-9 p.m. Mayor Muriel Bowser, Ba’Naka and Ruby Corado are this year’s grand marshals. To volunteer, go to JR.’s at 6:30 p.m. for a volunteer shirt and instructions. Look for the event on Facebook for full details.
Last year about 150 raced. Thousands come each year to watch but just as popular, though, are people who come in creative drag just to see and be seen.
Whatever’s going on in news and pop culture is invariably reflected in each year’s getups. Last year Kim Davis was a big one. This year, expect everyone from Wonder Woman to Sarah Huckabee Sanders.
This is King’s fourth year going in drag though he attended several years previously as a spectator. He’s going as Mystique from “X-Men” this year and has gone as Jessica Rabbit and Catwoman in previous years.
King generally spends anywhere from $150-300 on his costume and though he mostly only wears it once, he says it’s still “totally worth it.”
The creativity involved — these are never just off-the-rack costumes from a Halloween shop — is a big part of the fun.
“They call to you from the crowd, the recognize the character, tons of people want pictures with you,” he says. “It’s validating and I like pleasing the crowd. … Every year, I’m not joking, it takes an hour to get through the crowd after it’s over just because so many people want photos. I’m always with my group of friends. … It’s insane.”
Rene Mejia performs as Kabuki B. Lee, a drag daughter of local drag legend Shi-Queeta-Lee. He works the drag brunch at Nellie’s every weekend and also performs at other events with Shi-Queeta. The first time he ever went out in drag was to the High Heel Race in 2012.
When Mejia spoke to the Blade (a sponsor of this year’s race) earlier this week, he and his drag pals were still deciding what their theme was going to be. He says they’re such pros, they can crank out a concept quickly.
“I have a couple sewing machines and some of the girls are pretty talented,” the 37-year-old Suitland, Md., resident says. “They can whip something up pretty fast and it will be awesome.”
In previous years, he’s gone as Betty Boop, the bride from “Kill Bill,” Amy Winehouse and Harley Quinn.
“It’s a fun platform for everyone who wants to say something either politically, socially or whatever, with a lot of humor and creativity,” Mejia says. “People really do put a lot of thought into it. It’s impressive. This is coming from someone who works in drag on the weekends. It’s really astonishing what some of them do.”
Stacy King as Jessica Rabbit. (Photo courtesy of King)
WorldPride 2025 concluded with the WorldPride Street Festival and Closing Concert held along Pennsylvania Ave., N.W. on Sunday, June 8. Performers on the main stage included Doechii, Khalid, Courtney Act, Parker Matthews, 2AM Ricky, Suzie Toot, MkX and Brooke Eden.
(Washington Blade photos by Michael Key)
The 2025 WorldPride Parade was held in Washington, D.C. on Saturday, June 7. Laverne Cox and Renée Rapp were the grand marshals.
(Washington Blade photos by Michael Key and Robert Rapanut)
Theater
A hilarious ‘Twelfth Night’ at Folger full of ‘elegant kink’
Nonbinary actor Alyssa Keegan stars as Duke Orsino
‘Twelfth Night’
Through June 22
Folger Theatre
201 East Capitol St., S.E.
$20-$84
Folger.edu
Nonbinary actor Alyssa Keegan (they/them)loves tapping into the multitudes within.
Currently Keegan plays the melancholic Duke Orsino in Folger Theatre’s production of Shakespeare’s romantic comedy “Twelfth Night.” Director Mei Ann Teo describes the production as “sexy, hilarious, and devastating” and full of “elegant kink.”
Washington-based, Keegan enjoys a busy and celebrated career. Her vast biography includes Come From Away at Ford’s Theatre; Cat on a Hot Tin Roof (Helen Hayes Award, Best Actress) and Paula Vogel’s How I Learned to Drive, both at Round House Theatre; Diana Son’s Stop Kiss directedby Holly Twyford for No Rules Theatre Company; and Contractions at Studio Theatre, to name just a few.
In addition to acting, Keegan works as a polyamory and ethical non-monogamy life and relationship coach, an area of interest that grew out of personal exploration. For them, coaching seems to work hand in hand with acting.
WASHINGTON BLADE: You’re playing the lovesick Orsino in Twelfth Night. How did that come about?
ALYSSA KEEGAN: The director was looking to cast a group of actors with diverse identities; throughout auditions, there were no constraints regarding anyone’s assigned sex at birth. It was really a free for all.
BLADE: What’s your approach to the fetching, cod-piece clad nobleman?
KEEGAN: Offstage I identify as completely nonbinary; I love riding in this neutral middle space. But I also love cosplay. The ability to do that in the play gives me permission to dive completely into maleness.
So, when I made that decision to play Orsino as a bio male, suddenly the part really cracked open for me. I began looking for clues about his thoughts and opinions about things like his past relationships and his decision not to date older women.
Underneath his mask of bravura and sexuality, and his firmness of feelings, he’s quite lonely and has never really felt loved. It makes sense to me why his love for Olivia is so misguided and why he might fall in love with the Cesario/Viola character.
BLADE: As an actor, do you ever risk taking on the feelings of your characters?
KEEGAN: Prior to my mental health education, yes, and that could be toxic for me. I’ve since learned that the nervous system can’t tell the difference between real emotional distress and a that of a fully embodied character.
So, I created and share the Empowered Performer Project. [a holistic approach to performance that emphasizes the mental and emotional well-being of performing artists]. It utilizes somatic tools that help enormously when stepping into a character.
BLADE: Has changing the way you work affected your performances?
KEEGAN: I think I’m much better now. I used to have nearly debilitating stage fright. I’d spend all day dreading going onstage. I thought that was just part of the job. Now, I’ve learned to talk to my body. Prior to a performance, I can now spend my offstage time calmly gardening, working with my mental health clients, or playing with my kid. I’m just present in my life in a different way.
BLADE: Is Orsino your first time playing a male role?
KEEGAN: No. In fact, the very first time I played a male role was at the American Shakespeare Center in Staunton, Va. I played Hipolito in Thomas Middleton’s The Revenger’s Tragedy.
As Hipolito, I felt utterly male in the moment, so much so that I had audience members see me later after the show and they were surprised that I was female. They thought I was a young guy in the role. There’s something very powerful in that.
BLADE: Do you have a favorite part? Male or female?
KEEGAN: That’s tough but I think it’s Maggie the Cat. I played the hyper-female Maggie in Tennessee Williams’ Cat on a Hot Tin Roof at Round House. In the first act she didn’t stop talking for 51 minutes opposite Gregory Wooddell as Brick who barely had to speak. That lift was probably the heaviest I’ve ever been asked to do in acting.
BLADE: What about Folger’s Twelfth Night might be especially appealing to queer audiences?
KEEGAN: First and foremost is presentation. 99% of the cast identify as queer in some way.
The approach to Shakespeare’s text is one of the most bold and playful that I have ever seen. It’s unabashedly queer. The actors are here to celebrate and be loud and colorful and to advocate. It’s a powerful production, especially to do so close to the Capitol building, and that’s not lost on any of us.
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A hilarious ‘Twelfth Night’ at Folger full of ‘elegant kink’
