Arts & Entertainment
SPOTLIGHTING LGBT HOMELESSNESS: Alston House celebrates a decade in operation
LGBT youth shelter named after slain D.C. activist
‘We are dealing with homeless youth that are isolated and rejected by the community,’ said June Crenshaw, executive director of the Wanda Alston Foundation.
This story is part of our contribution to the 2018 #DCHomelessCrisis news blitz. Local media outlets will be reporting and discussing stories about ending homelessness in the nation’s capital all day. The collaborative body of work is cataloged at dchomelesscrisis.press.
The first LGBT youth-focused shelter in D.C. is continuing its legacy of serving one of the most vulnerable demographics.
The Wanda Alston House and Foundation, now in its 10th year of service, serves LGBT individuals ages 16-24. The residential home-turned-shelter currently houses eight people, and hundreds have been through its doors over the last decade. The house is named after the late Wanda Alston, a D.C.-based LGBT activist who was murdered near her home in 2005.
Individuals enter the program based on their level of vulnerability and what kind of care the city’s homeless management providers think will best fit that person’s circumstances. The facility provides 24-hour support for residents through counseling, mental and medical health services. Tuition assistance and professional development is provided and other life skill services such as learning how to balance a checkbook, shop for groceries and manage a credit score are also offered. Residents receive three meals a day, clothing and toiletries as well as other necessities like Metro cards.
Full-time staff is trained, culturally competent and trauma-informed to ensure that all residents are supported. The operations manager and case manager work full-time at the house to make sure that everything runs smoothly and a clinical supervisor is also full-time to provide assessments and connect residents with the support they need.
The staff works together as an agency and as individuals to connect with the youths and help them cope, give support and help them navigate their lives. Sometimes that can be difficult and residents can respond by acting out.
“We are dealing with homeless youth that are isolated and rejected by the community,” says June Crenshaw, executive director of the Wanda Alston Foundation. “They’re forced to survive some unspeakable situations. Most, if not all, arrive having experienced some severe trauma. This can show up in less-than-positive ways like addiction, inability to cope with stress or not being able to navigate positive communication skills. But they’re human and they’ve had to endure circumstances that most of us couldn’t survive.”
Crenshaw, a self-identified “old-fashioned” lesbian and woman of color, says most youth in the program are women of color.
“When I started in this role two years ago, a resident came to me and said she never saw a person that looked like me in a leadership role. That stuck with me,” she says. “I’m proud to be a brown woman of the community that’s working hard to make things better.”
The program at the Wanda Alston House is slightly different from the programs at other LGBT shelters, she says. There are certain requirements that the residents must participate in that help them accomplish their personal goals within the 18-24 months they live there.
“We provide connections and care in all the ways that a person would need,” Crenshaw says.
After leaving the house, individuals stay connected to the care at the facility for 90 days-six months. Staff continues to support them however they need it — like buying groceries, clothes or Metro cards and finding housing and employment as well as providing case management to help them navigate other support and services available.
Crenshaw says there’s an “epidemic of LGBT homelessness.” Around 50 percent of the homeless youth in D.C. are LGBT-identifying. At the Wanda Alston House, residents “talk and share experiences around being treated differently, misgendered, disrespected, attacked and discriminated against.”
She says the city is committed to the youth but that in homeless centers that are not culturally sensitive to LGBT people, “grave mistreatments” can occur.
“Our population is trending as the most affected by homelessness and mental health issues,” she says. “We have a responsibility to do better by our youth, make sure they stay safe and are allowed to thrive. Facilities like ours are needed as long as these circumstances exist.”
The facility costs slightly over half a million dollars to run each year and most comes from local government offices such as the Mayor’s Office of LGBT Affairs. Grant dollars are used to run the shelter and pay staff, but that doesn’t cover all the expenses. They also rely on fundraising and the LGBT community and allies to support them. Donations amount to 25 percent of the budget.
Although D.C. has some of the most progressive laws in the nation and has been widely noted as one of the U.S. cities LGBT individuals can feel most open and supported, the competitive job market and high cost of living creates difficulties for LGBT people. LGBT people of color are more likely to be unemployed and represent a large portion of impoverished individuals and victims, Crenshaw says.
D.C. has the highest number per capita of LGBT individuals compared to other American cities. Crenshaw says not enough of the resources the city provides for homeless people are going to LGBT organizations and there is a lot of work yet to be done to resolve this epidemic.
The Wanda Alston House, however, has survived the turbulence of 10 years of operation and Crenshaw says they are ready and looking forward to at least another 10.
The Petal Release Party and Drag Show was held at Spark Social on Friday, July 31. Performers included Tiara-Missou, Labianna and Darcy de la Cuadra.
(Washington Blade photos by Landon Shackelford)
Celebrity News
Madonna headlines World Pride Music Festival in Amsterdam
Kylie Minogue made surprise appearance alongside gay icon
AMSTERDAM — Madonna on Sunday headlined the final night of the World Pride Music Festival in Amsterdam.
The gay icon took the stage shortly before 2:30 a.m. local time (8:30 p.m. ET on Saturday) during Club Confessions, a set that MISTR, a telehealth platform that offers free access to PrEP, Doxy PEP, STI testing, and long-term HIV care, organized.
“Mother is here and this is gay heaven,” said Madonna when she took the stage inside Amsterdam’s AFAS Live concert hall that can hold up to 6,000 people.
Stuart Price, who produced Madonna’s 2005 “Confessions on a Dance Floor” album and “Confessions II,” which debuted on July 2, DJed the set.
Kylie Minogue made a surprise appearance. She and Madonna performed a new remix of “Love Sensation” from “Confessions II.”
(Washington Blade video by Michael K. Lavers)
“Throughout my career, I’ve always supported efforts to fight HIV and AIDS, and that fight begins with education and access,” said Madonna in a MISTR press release. “With MISTR, (CEO) Tristan (Schukraft) is expanding access to HIV prevention and sexual healthcare for everyone. Through this work, he’s helping preserve and strengthen LGBTQ+ spaces while investing in the communities and culture that have long sustained us.”
Minogue in an Instagram post thanked Madonna, Price, Schukraft, and MISTR.
Madonna appeared at The Abbey in West Hollywood, Calif., in April. Madonna in June celebrated Pride month with a pop-up performance in New York’s Times Square.
Jake Resnicow and Insomniac produced the World Pride Music Festival that also featured Bebe Rexha and Paris Hilton, among others.
“Pride has always been about bringing our community together,” said Resnicow. “At a moment when too many people are being told to hide or make themselves smaller, gathering openly, joyfully, and without apology matters more than ever. I couldn’t be prouder of what this festival brought to life in Amsterdam — one dance floor, completely free.”
Theater
Reggie White relishing first season as artistic director of Woolly Mammoth
First five shows a reminder that ‘pressure is a privilege’
Madly talented and preternaturally energetic, Reggie D. White, 38, is about to launch his first season as artistic director of D.C.’s boundary-pushing Woolly Mammoth Theatre Company.
White brings a lot to the job. As actor, playwright, and director, his varied resume includes a 2019 Broadway acting debut in Matthew López’s Tony Award–winning play “The Inheritance,” his semi-autobiographic play “Fremont Ave.” that opened to acclaim last season at Arena Stage, and a number of exciting regional directing credits.
A longtime admirer of Woolly, the out theater-maker was selected from a pool of candidates before receiving the offer last November and starting work in January. His season of five world premieres kicks off with gay playwright Steve Yockey’s “Venus” (Sept. 9-Oct. 4), a darkly funny study of modern relationships told through two lesbians looking back on their first encounter.
White was introduced to Woolly Mammoth as a pre-law student at Cal State Hayward in the San Francisco Bay Area, long before he foresaw a life in the arts. “As part of a random theater history course, I was assigned to write a paper on a counterculture company called Woolly Mammoth,” he recalls “Strange name. I was like what the hell is that?”
Nineteen-year-old White was intrigued. Research acquainted him with Howard Shalwitz who co-founded Woolly in 1980, and the company’s commitment to living playwrights and new work. He also learned how theater could be used as a tool for difficult conversations and shape the way people thought about social issues by employing imagination and rigor.
“Never in a million years did young me envision that one day I’d be Woolly’s third artistic director in its 46-year history,” says White. “It’s kind of serendipitously insane.”
WASHINGTON BLADE: Was there a moment when the enormity of the job hit you?
REGGIE D. WHITE: After I’d signed my contract and finished all the paperwork, I got my keys and sat in the theater by myself in the dark and thought about what an incredible honor it is to be trusted with what happens in this beautiful space [in D.C.’s Penn Quarter]. I might have cried. Sometimes I have to pinch myself to remember it’s real.
BLADE: Are you curating the upcoming 2026–2027 season?
WHITE: Yes, I am. It’s very rare that an incoming artistic director gets to program their first season, but I was lucky in terms of time. After being hired late last year, I asked Woolly’s managing director Kimberly E. Douglas, if she thought it would be crazy if I programmed the season. She warned me it would be hard.
I invoked tennis legend Billie Jean King’s maxim “pressure is a privilege” and got to work.
These plays [dubbed White’s “first five”] represent both the kind of theater that Woolly can do really well and speak directly to my voice as curator and how I want to contribute to the larger theatrical conversation in the DMV.
Getting here has meant a lot of late nights. But I knew the juice would be worth the squeeze.
BLADE: As a queer artistic director, what makes you unique?
WHITE: When I was playing in “Inheritance” on Broadway, after a performance, U.S. Supreme Court Justice Sotomayer came backstage to meet the cast. She spoke about how her lens on the world as a Puerto Rican woman shapes her decisions. Similarly, because I’m a queer Black man I see through a lens that shapes my work.
I know I’m not the only queer artistic director in town. For me, it influences how I make editorial decisions. Out of this season’s five plays there are explicitly queer characters in four [“Venus,” “Chanukkah Spectacular,” “Ten Grand,” and “Love I Awethu Further”] and I’m directing two [“Venus,” “Ten Grand”].
BLADE: Will we see familiar faces?
WHITE: Every show this season will feature a Woolly Mammoth company member in its cast. Our company also includes designers and directors who we’ll include. I’m invested in continuing to provide a showcase for their work.
BLADE: How do you think queer audiences will receive the season?
WHITE: Very well, I think. For queer people who’ve had to navigate the world subversively and solve problems in unique ways, I think it will be especially interesting. I find theater a potent place for questions.
Like all artistic directors. I’ll show up for the job in my own way. I’m just excited that I’ve been invited to bring the fullness of myself to the role.
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