Arts & Entertainment
SPRING ARTS 2018 CLASSICAL: A new spin on Durufle’s ‘Requiem’
Gay Men’s Chorus director revoices famous work
The Gay Men’s Chorus of Washington has a busy spring. Although the chorus has always interspersed classical selections in with its contemporary, more LGBT-themed material, it has done more classical major works in recent years. (Washington Blade file photo by Michael Key)
Classical music is funny when it comes to LGBT stuff — on one hand, it’s no big deal. Nobody cares if the talent is there. Yet sometimes it’s taken to such an absurd degree that it feels disingenuous. Or the artists sometimes feel talking about their personal lives will cheapen their art or dilute its impact in an arena where it’s not supposed to matter.
All that to say — comb through the classical spring concerts coming up and there’s very few LGBT themes or personnel to point to. And yet many folks active in that world say our regional orchestras, opera companies and choirs are just as healthily outfitted with gays as the rest of the city. Maybe not quite as high in number as, say, the uber-queer D.C. theater community, but not off by much. It’s anecdotal so yeah, take it with a grain of salt, but that’s what you go by when there are no hard numbers available.
The gayest classical concert this season by far comes from an unlikely source — our Gay Men’s Chorus. While their musical chops have never been questioned — they’re enjoying a rich new era under the direction of Artistic Director Thea Kano — the fact that they do so much Broadway, camp, music-with-a-message, pop covers, you name it really, folks who love the classical canon around here tend to gravitate to local choirs (and there are many) that stick to the traditional repertoire.
It’s even a “thing” in the chorus. Kano, with a chuckle, refers to the “SMQs” (i.e. “serious music queens”) in the massive choir. Those SMQs, she says, were giddy with delight when she told them one of their 2018 concerts was a new tenor/bass arrangement of Maurice Durufle’s “Requiem.” The Chorus performs it this weekend (Saturday, March 3) at 8 p.m. at the Church of the Epiphany (1317 G St., N.W.). Tickets are $60. Full details at gmcw.org.
Kano, as big an ally as it gets, was in her third year of graduate school at UCLA in 2003 working on an advanced conducting degree when she first became aware of the famous “Requiem,” or “Mass for the dead.” She and her mentoring professor were considering ideas for what she might do her dissertation on and he suggested the “Requiem.”
“He said the Durufle ‘Requiem’ and I was like, ‘The who, the what?,’” Kano says. “He said, ’Shame on you,’ and sent me home with a bunch of CDs. I put the first one in and was just moved to tears. There’s something just glorious about it.”
It did become her dissertation piece and longtime chorus accompanist Teddy Guerrant suggested she adapt it for tenor-and-bass chorus.
“He actually kept bugging me about it over the years,” Kano says.
She had contacts with the Durufle Association (the composer, who was straight, died in 1986; the “Requiem” premiered in 1947) and went to Paris last summer to do the work of actually transcribing the nine-movement, about 40-minute piece, a process she says was, yes, tedious at times, but a process akin to working on a crossword puzzle that she came to love.
Composed for soprano-alto-tenor-bass (SATB) chorus with occasional divisi, Kano adapted it for tenor 1, tenor 2, baritone and bass (TTBB) a process that in many cases was as simple as taking the soprano and alto parts down an octave, although that wasn’t feasible in all places. It’s in the same key as the original; the same orchestral and organ accompaniments Durufle wrote are being used. Soprano Breanna Sinclaire (a trans Baltimore native who’s making a name for herself as an opera soloist) will perform the fifth movement, “Pie Jesu.”
“There are some passages where the sopranos (in the original) have the melody and they’re up in the rafters but now it’s been assigned to the baritones and it’s … kind of more smushed in there so we had to really bring the other sections’ volumes down and bring the other up to make sure it’s voiced so that what is prominent stands out to the ear of the audience,” Kano says. “The first few times I heard it live in the TTBB, I was like, ‘Wow, this sounds like Durufle but different.’ We’ve been working on it about seven or eight weeks and I think it’s just glorious. The audience is in for a real treat.”
Kano was delighted that about 140 of the chorus’s 300 (give or take) members signed on for the concert (they’re not required to). She was concerned some members who enjoy the more camp/pop stuff might not be up for such a major work from the classical canon, although the chorus has in previous years done adaptations of major works such as the Faure “Requiem” and “Carmina Burana.”
Because the “Requiem” was written in a style based on Gregorian plainchant (traditionally sung by male singers), the TTBB version required no great musicological backflips. And Kano says the majesty of the piece transcends its Christian text. If it seems an odd choice for the chorus, which specializes in more rah-rah-gay-type contemporary repertoire (although they’ve always done classical works as well), Kano says it’s its own statement of equality.
“Just the fact that we’re out as an LGBT chorus standing there and singing anything, you know, the stereotype of what the classical snobby choruses can do, just shows that we can raise our voices any way we feel is appropriate for our abilities. It puts us on the map that yes, we can sing anything and hopefully the audience will agree.”
Chorus member Tim Gillham, a tenor who joined the group in 2014, had previously sung the “Requiem” in the traditional voicing and said it’s been “truly a joy” to rediscover it in Kano’s version.
“Thea’s treatment brings an added depth and warmth to the work, which is especially appropriate for a ‘Requiem,’” he says.
“It’s been a total treat to have Thea work us through the music sections and share and feel her true passion for the music,” says Ed Oseroff, a bass who’s been with the Chorus since 2000. “I hope the audience will sit back, relax and let the emotion and power of the music take them away.”
As usual, it’s a busy spring for the Chorus. Its “Make America Gay Again” concert is Saturday, March 17; small ensembles’ “Extravaganza” is Saturday, April 14 at the Barns at Wolf Trap and “Transamerica,” a show about trans issues that will also feature Sinclaire, is June 2-3. Full details at gmcw.org.
Books
David Archuleta on Mormon faith, ‘Idol,’ more in new book
Unique memoir details religious upbringing, coming out
‘Devout: Losing My Faith to Find Myself’
By David Archuleta
c.2026, Gallery Books
$29/290 pages
So just make up your mind already.
The decision is very much in your control – or, at least that’s how it’s supposed to be. It’ll be your future, your path, and seizing it may not just be necessary, but mandatory. It’s your life, and no one can live it for you. As in the new memoir “Devout” by David Archuleta, that goes for career and for love, too.
Born to parents who both had musical careers before they wed, David Archuleta remembers an early childhood growing up in a Hispanic Mormon community in Florida, where kin was always nearby. He was six when his parents moved the immediate family to Utah; the first thing he remembers about that is the snow, and how it was so cold, it burned.
Because music was in his blood, Archuleta grew up singing and dancing, often with his mother whom he calls “my rock.” It was his father, however, who encouraged him to perform; first, with a gentle push, then a shove toward a career Archuleta didn’t really want.
But he did want to make his father happy, so he went along with the contests, embarrassing meet-and-greets with stars, and uncomfortable introductions. Slowly, though, performing became more fun, and Archuleta made friends.
Meanwhile, back home, everything was breaking apart. A “family friend” whom Archuleta refuses to name accused his father of abuse. He was exonerated, but it affected the family’s closeness and they stopped being affectionate.
That was a painful backdrop to Archuleta’s soaring career, his appearances on Star Search, friendships with other rising stars, his runner-up spot on “American Idol,” tours, and recording contracts. His father kept pushing him.
But there was one thing missing.
Since he was a boy, Archuleta had known that he was attracted to men, but his Mormon faith taught him that that was unacceptable. Kissing, his abuelita said, was wrong. He tried hard to date girls, in the most chaste way. Anything past that was against God – and anything at all with a man was unthinkable.
Though it absolutely favors his personal life and dwells on it a bit too much, “Devout” strikes an otherwise nice balance between that, author David Archuleta’s career, his sexuality, and his faith. The latter two are loaded with controversy.
You don’t need to be Mormon to fully understand the faith part; Archuleta offers non-Mormons a brief education, so readers can see the importance of the Church’s teachings in his life and why he felt the need to abandon it as his understanding of his bisexuality grew. It’s emotionally raw and honest, but also so respectful that it almost bears re-reading. Such candor and the heart-on-his-sleeve tone you’ll sense are features in the entire book, alongside Archuleta’s family’s struggles and his learning to strike out alone.
It’s harmonious in more ways than one, and fans will be happy.
So, too, will anyone who wants a unique memoir with a dose of faith, or someone who’s an “American Idol”watcher. Find “Devout” and be sure to share. You won’t mind.
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Theater
‘Suffs’ an entertaining chronicle of battle to pass 19th Amendment
Tony-winning musical highlights trailblazing women’s rights activists
‘Suffs’
June 16 – 28
National Theatre
1321 Pennsylvania Ave., N.W.
$115 and up
Broadwayatthenational.com
Poised to kick off a two-week run at D.C.’s National Theatre (June 16-28), “Suffs,” the Tony Award-winning musical written by Shaina Taub, promises an entertaining chronicle of what was the arduous political battle to pass the 19th Amendment.
Far from a dry look backward, Taub’s dramedy brings to life a high stakes world inhabited by historical trailblazing women’s rights activists like Alice Paul, Carrie Chapman Catt and Catt’s lifetime partner, Mollie Garrett. It manages to be upbeat without neglecting the grim bits including incarcerations and forced feedings.
Out actor Gwynne Wood plays suffragist Lucy Burns. As Alica Paul’s old college friend and fellow organizer of the 1913 march on Washington, Wood’s Lucy brings comforting humor and razor wit.
In real life, Wood, a Boston Conservatory grad, is married to lighting designer Anna Brevetti. They met in 2023 while working on the tour of “1776” (Wood played Founding Father George Read) and were instantly smitten.
In true theater fashion, they became engaged while on tour in San Francisco and tied the knot this past March in Boston on a day off from “Suffs.” The entire cast was invited to the wedding.
“The craziest thing about touring and being newly married is that you’re away from the person you most want to be with. But I do love touring (with long-haired chihuahua Gemma for company), and I love doing this show.
“During my long-distance courtship with Anna, we felt so good, seen and appreciated; we didn’t want to let that go just because I’m on the road.”
As of now, Wood is booked with “Suffs” through Aug. 9, and then it’s home to Bushwick, Brooklyn to enjoy married life.
BLADE: You’ve expressed a close connection to your character Lucy Burns.
WOOD: I was an ensemble member of the “Suffs” pre-Broadway workshop, and even then, the role of Lucy (played on Broadway by Ally Bonino) resonated.
Lucy is that friend who we all want to be and have. She’s very funny. She’ll hold you accountable but will still give support. She’s the one who brings cupcakes to the sleepover.
She also has a poignant second act ballad aptly titled, “Lucy’s Song. In it, Lucy talks about the importance of her long friendship with Alice Paul, while also officially retiring from activism. Basically, she’s saying “girl, I’m tired.”
BLADE: What about “Suffs” is especially meaningful for a queer actor?
WOOD: There’s so much about it that’s GREAT for a queer actor. I love learning about queer suffragists who were at the front of societal change. They were fighting this fight while having to deal with internal stuff like feeling marginalized, some were experiencing gender fluidity and transness. There’s documented evidence of all these things.
For a lot of lesbians in particular who felt out of place in heteronormative society, the suffragist movement was a place where they felt comfortable, a place where they were not told what to do by men.
BLADE: What was your introduction to musical theater?
WOOD: Growing up in Waynesboro, Va., Mom put me in community theater at ShenenArts in nearby Staunton. My first part was a salt shaker in “Beauty in the Beast.” My sister was the pepper shaker. We were two little tiny redheads waddling out like penguins. I was obsessed.
BLADE: Was Lucy Burns queer?
WOOD: There’s no evidence that Lucy was queer. Unlike fellow prominent suffragists [Carrie Chapman and Mollie Garrett] who were buried side by side, Lucy isn’t known for being in a romantic relationship.
I don’t know if Lucy and Alice were a couple, and I don’t want to rewrite a story that I don’t know. But I can say there is a lot of love from Lucy to Alice. That said, “Suffs” is undeniably intertwined with queerness.
BLADE: Can you see yourself as having been a suffragist?
WOOD: I’d love to say yes. It takes a lot, but I hope that I could have done it. People before us have done it, and people after will probably have to do it too.”
The Capital Pride Alliance presented the 2026 Capital Pride Honors at “The Audacity Brunch: In Full Fuchsia” at the Four Seasons Hotel Washington, D.C. on Sunday, June 7.
(Washington Blade photos by Landon Shackelford)
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