Music & Concerts
SPRING ARTS 2018 DANCE: Pirouettes and arabesques
Dorsey Dance Company’s gender exploration among season’s dance highlights


‘Boys in Trouble’ by Sean Dorsey Dance. (Photo by Lydia Daniller, courtesy Dance Place)
Bowen McCauley Dance presents “Une Soirée de Danse” at the Kennedy Center (2700 F St., N.W.) this weekend (March 2-3) at 7:30 p.m. The show will be the world premiere re-staging of Eric Hampton’s “UnRavel,” choreographed by Lucy Bowen McCauley, and a performance of the comedic dance “Le Café Carambole.” There will be audience participation and live musicians. General admission tickets range from $40-50. VIP tickets are $150 and are available for the March 3 performance only. They include a VIP seat and admission to the after-party at the KC Café with Bowen McCauley Dance’s cast, crew and board members. For more information, visit bmdc.org.
Dana Tai Soon Burgess holds a lecture demonstration at Smithsonian National Portrait Gallery (8th and F streets, N.W.) on Saturday, March 3; Saturday, March 10; and Saturday, March 17 at 2 and 4 p.m. Burgess, who is choreographer-in-residence at the Smithsonian National Portrait Gallery (and also gay), will explore eurythmics and themes found in the exhibit “Portraits of the World: Switzerland.”Admission is free. For more details, visit dtsbdc.org.
Dissonance Dance Theatre presents “The J.I.N. Project” at Clarice Smith Center for the Performing Arts (8270 Alumni Dr., College Park, Md.) on Saturday, March 3 at 7:30 p.m. The contemporary ballet, which explores relationships, family and community, will be performed to the music of Jill Scott, India Arie and Nina Simone. Student tickets are $15. General admission tickets are $25. For more information, visit ddtdc.org.
Choreographer Damian Woetzel hosts his third annual “Demo” series show “Woke” at the Kennedy Center (2700 F St., N.W.) on Wednesday, March 7 at 7:30 p.m. The show will feature recent commissions and D.C. premieres including a new work from choreographer Pam Tanowitz and the Kennedy Center premiere of “Fandago” by Alexei Ratmansky. Other dancers performing include street dancer Lil Buck, Sara Mearns from the New York City ballet, Jason Collins from Pam Tanowitz Dance and more. Tickets range from $39-49. For more details, visit kennedy-center.org.
The Washington Ballet debuts three world premieres from three emerging choreographers at the Harman Center in Sidney Harman Hall (610 F St., N.W.) on Wednesday, March 14 at 7:30 p.m. Performances run through Sunday, March 18. Featured choreographers will be Clifton Brown from Alvin Ailey American Dance Theater, Gemma Bond from American Ballet Theatre and Marcelo Gomes from American Ballet Theatre. Tickets range from $25-118. For more information, visit washingtonballet.org.
Capitol Movement presents “a commUNITY Showcase” at Montgomery College Theater (7995 Georgia Ave., Silver Spring, Md.) on Saturday, March 17 at 7 p.m. There will be performances from Bowen McCauley Dance Company, Capitol Movement Dance Company, Capitol Movement Pre-Professional Company, The CMI Kidz, Dr. Badlove and the Remedies and many more. Student tickets are $20. General admission tickets are $25. For more details, visit capitolmovement.org.
UpRooted Dance performs “Circling the Line” at Dance Place (3225 8th St., N.E.) on Saturday, April 7 at 8 p.m. and Sunday, April 8 at 7 p.m. The surrealist performance fuses the 2D design from printmaker Susan Goldman with the 3D movement of the dancers. Tickets range from $15-25. For more details, visit uprooteddance.com.
Falun Dafa Association of D.C. presents “Shen Yun” at the Kennedy Center (2700 F St., N.W.) from April 10-15. The show explores the beauty of traditional Chinese culture through dance, scenographic effects and a live orchestra. Tickets range from $80-250. For more details, visit kennedy-center.org.

‘Shen Yun’ (Photos courtesy of the Kennedy Center)
The Washington Ballet performs “Mixed Masters,” a selection of ballets from choreographers George Balanchine, Frederick Ashton and Jerome Robbins, at the Kennedy Center (2700 F St., N.W.) from April 11-15. Tickets range from $25-140. For more details, visit washingtonballet.org.
The Cherry Fund hosts “Cherry: Kaleidoscope,” its annual dance benefit weekend, on April 12-16 at various venues in D.C. The weekend kicks off with “Catalyst” at Cobalt (1639 R St., N.W.) from 9 p.m.-2 a.m. New York City-based DJ Kenneth Rivera and DJ Danny Verde, from Italy, will play music all night. Tickets are $20. The final dance party will be “Infinity” at Soundcheck (1420 K St., N.W.) on Sunday, April 15 from 9 p.m.-4 a.m. DJ Nina Flowers and DJ Alain Jackinsky will spin tracks.Tickets are $30. Proceeds will benefit Washington D.C. HIV/AIDS community organizations.For a complete list of events, visit cherrydc.com.
ClancyWorks Dance Company presents “Resilience,” a debut work from Artistic Director Adrienne Clancy, at Dance Place (3225 8th St., N.E.) on Saturday, April 14 at 8 p.m. and Sunday, April 15 at 7 p.m. The performance showcases how people learn to adapt from the shocks in the current world.Tickets range from $15-30. For more details, visit clancyworks.org.
ReVision dance company holds performances April 28-29 at 4 and 7 p.m. The contemporary modern dance company works with both professional and beginner dancers. Tickets range from $15-30. For details, visit danceplace.org.
Sean Dorsey Dance, led by transgender choreographer Sean Dorsey, presents “Boys in Trouble” at Dance Place (3225 8th St., N.E.) on Saturday, May 19 at 8 p.m. and Sunday, May 20 at 7 p.m. The piece examines masculinity from a transgender and queer perspective. Tickets range from $15-30. For more information, visit seandorseydance.com.
Dana Tai Soon Burgess Dance Company presents “Remix: Swiss Beats” in the Robert and Arlene Kogod Courtyard at the Smithsonian National Portrait Gallery (8th and F. streets, N.W.) on Thursday, May 24 from 5:30-8:30 p.m. The performance will bring together American and Swiss cultures in dance, music, art and food. Admission is free. For more details, visit dtsbdc.org.
Music & Concerts
Here’s everything queer that just happened at the 67th Grammy Awards
LGBTQ megastars among winners, performers

The 67th Grammy Awards featured debut performances by LGBTQ megastars Chappell Roan, Sabrina Carpenter, and Doechii — all of whom also won awards at Sunday’s awards ceremony, making the gay sons and thot daughters of the queer and trans world rejoice.
Though Roan was the only queer artist to take home one of the “Big Four” awards — Best New Artist, Doechii, Carpenter, Charlie XCX, Billie Eilish, and Lady Gaga were also all nominated for one or more of the “Big Four.”
Carpenter, Roan, and Doechii also shocked audiences with their debut performances, showing us what it really means to be out and loud.
Doechii
The self-proclaimed swamp princess from Florida took home a well-deserved win for Best Rap Album (“Alligator Bites Never Heal”).
She stunned audiences with her performance and her speech, dedicating her win to Black women everywhere. Only two other women have won the award — Lauryn Hill and Cardi B since the category was introduced in 1989.
“I know there are so many Black women out there that are watching me right now and I want to tell you: You can do it. Anything is possible,” said Doechii during her acceptance speech.
Chappell Roan
Roan won the Best New Artist award, prompting her to whip out her notebook and deliver a speech about her struggles with the healthcare industry after getting dropped by her first record label radicalized her.
On the carpet, she served looks on the red carpet while delivering Jean Paul Gaultier vintage realness and thanking the trans girlies who made her who she is today.
“Trans people have always existed and they will forever exist. They will never, no matter what happens, take trans joy away and [they] have to be protected more than anything because I would not be here without trans girls,” said Roan on the red carpet.
She also served during her debut Grammys performance, turning Crypto.com Arena into the Pink Pony Club while dedicating the performance to Los Angeles — the city that embraced her when she wanted to break into the industry. She used her acceptance speech as her opportunity to shine a light on her journey toward becoming the icon she is today — and to no one’s surprise, it didn’t come easy to her.
Roan opened up about her struggles with healthcare and being dropped as an artist in L.A., leaving her without health coverage and scrambling for solutions. Seems like the healthcare system has radicalized yet another one.
St. Vincent
St. Vincent revealed that she has a wife and daughter during her acceptance speeches, thanking them after winning three Grammys for Best Alternative Music Album (“All Born Screaming”), Best Alternative Music Performance (“Flea”), and Best Rock Song (“Broken Man”).
During her red carpet interview, reporters asked Clark about the shocking news about her mentioning her wife and daughter, she responded “Most people were [unaware]. It’s young, so we’ve kept it under wraps.” The reporter then continued his line of questioning, meanwhile intrusive thoughts quickly got ahold of Clark, prompting her to interrupt the reporter to clarify that she meant the child is young, not the person in the relationship she’s in.
Girl, you’re good.
Sabrina Carpenter
Though Carpenter didn’t win any of the “Big Four” categories, she did win Best Pop Vocal Album for (“Short n’ Sweet”) and Best Pop Solo Performance for (“Espresso”).
According to E!, Carpenter’s acceptance speech was apparently censored, cutting her off after she said: “Thank you, holy sh*t, bye!”
The pop star was nominated for Record of the Year (“Espresso”), Song of the Year (“Please, Please, Please”), Best New Artist, Best Pop Vocal Album (“Short n’ Sweet”), Album of the Year (“Short n’ Sweet”), Best Remixed Recording (“Espresso – Mark Ronson x FNZ Working Late Remix”), Best Engineered Album, Non-Classical (“Short n’ Sweet”) — all within her first year as a record-releasing musician.
Charli XCX
Charlie XCX truly brought the brat energy to the Grammys with her performance of (“Van Dutch”), also taking home the wins for Best Dance/Pop Recording for (“Van Dutch”) and Best Dance/Electronic Album for (“Brat”).
Lady Gaga
Best Pop Duo/Group Performance went to Lady Gaga and Bruno Mars. Gaga used her acceptance speech to advocate for trans people stating that we all need love and to be uplifted.
“Trans people are not invisible. Trans people deserve love. The queer community deserves to be lifted up. Music is love. Thank you,” said Gaga.
No, thank you mother.
Last, but not least
It is also worth noting that our tried and true ally, Alicia Keys used her moment on the Grammys stage to advocate for the restoration of DEI initiatives.
“This is not the time to shut down the diversity of voices,” said Keys. “We’ve seen on this stage talented, hard-working people from different backgrounds, with different points of view, and it changes the game. DEI is not a threat, it’s a gift — and the more voices, the more powerful the sound.”
Music & Concerts
Gay Men’s Chorus starting the year with a cabaret
‘Postcards’ to be performed at CAMP Rehoboth

The Gay Men’s Chorus of Washington will perform “Postcards,” a cabaret, on Saturday, Jan. 18 at 5:00p.m. and 8:00p.m. at CAMP Rehoboth Elkins-Archibald Atrium.
In this performance, the choir will share hilarious and heart-warming stories and songs about the travel adventures they’ve had and hope to have. Songs include “Midnight Train to Georgia,” “Streets of Dublin,” “Magic To Do,” “Home,” and “I Left My Heart in San Francisco.” Tickets cost $35 and can be purchased on Camp Rehoboth’s website.
Music & Concerts
WMC’s ‘Comfort and Joy’ fuses drama, well-being, light
Soloist describes production as ‘reverent and beautiful’

‘Comfort and Joy’
Washington Master Chorale
Sunday, Dec. 22, 5 p.m.
Church of the Epiphany
1317 G St., N.W.
washingtonmasterchorale.org
With its warmth and unfettered imagination, it’s no surprise that the Washington Master Chorale’s enduringly popular winter program remains a holiday favorite.
This December the Washington Master Chorale (WMC), helmed by out artistic director Thomas Colohan presents “Comfort and Joy” a selection of British and American works like “Lute-Book Lullaby,” “I Saw Three Ships,” “Puer Natus” by Samuel Scheidt and “Hosanna to the Son of David” by Orlando Gibbons.
In addition to these Christmas classics, WMC will perform 2022 Florence Price Commission Winner Mason Bynes’s “Ephiphanytide” and Ēriks Ešenvalds’ “Northern Lights,” the firsthand accounts of arctic explorers Charles Francis Hall and Fridtjof Nansen and their experiences surrounding the fabled aurora borealis.
Described as “reverent and beautiful” by “Northern Lights” tenor soloist Opal Clyburn-Miller, “Comfort and Joy” fuses drama and well-being, and the import of light.
And as an artist who uses they/them pronouns, Clyburn-Miller says where classical music is concerned, “it seems people are put in their boxes and that’s where they stay.” They add, “there’s been some progress. It’s pretty much a traditional art form.”
With regard to their career, Clyburn-Miller, the Baltimore based Peabody Conservatory student, says the work usually comes through word of mouth: “You show up, you’re a good colleague and people want to work with you again.”
The solo piece, according to Colohan, is perfect for Clyburn-Miller. The soloist says in response: “Maybe I have the imagination to think of what Northern Lights might look like in Eastern Europe. I’ve never been that far north but I can put myself in that sense of wonder and astonishment.”
But the gig hasn’t been entirely without its tests. The lyrics are in Latvian, a new language for the meticulous singer.
“It’s been a bit tricky getting the Latvian down,” they say. “Usually in my singing experience, it’s been German, Italian and French, and I’m familiar with Spanish and some Hungarian and Russian, but this is entirely new.”
A perfect chorale venue requires easy parking; good acoustics; a concert level Steinway, and an excellent organ; a sanctuary wide enough to accommodate a 50-person chorale; and audience friendly loos, says Colohan.
The Church of Epiphany meets most if not all of these requirements.
Raised Catholic in Richmond, Colohan came out at Ohio’s progressive Oberlin Conservatory. Around this time, he remembers visiting Washington for a music educator’s conference and partying at JR.’s, Badlands, and other bars. He says, “I saw that D.C. had a huge population of clean-cut gay boys. That journey which started with me being gay, prompted me to ask questions.”
As WMC artistic director since 2009, Colohan, who lives with his partner in Silver Spring, became increasingly interested in secular poetry and literature, especially the ways in which it intersects with chorale music. For him, that became the heart of the art form.
“My secular approach is wider than some. I’m like the curator of the museum going down to the basement to bring some stuff up. You cannot hear the music if we don’t sing it.”
He’s remained conservative as an aesthetic but not an ethos. “I can wear a blazer and not be crazy right wing. Spiritually speaking, I’m Zen Buddhist now.”
A lot of the concert is about darkness and light. Colohan says, “In ancient times when the world became darker, the days leading to the solstice were scary and then on the 22nd they saw that days were getting longer and it was lighter.”
“Comfort and Joy” closes with a candle lit chorale memorably singing “Silent Night.”
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