Arts & Entertainment

SPOTLIGHTING LGBT HOMELESSNESS: Casa Ruby offers short- and long-term housing

Founder is trans immigrant and former homeless person

Published

8 years ago

June 28, 2018

Grace Perry

Ruby Corado, on right, with one of her residents. (Washington Blade photo by Grace Perry)

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.

During the early 1990s, Ruby Corado spent most nights in public parks throughout D.C., trying to meet the basic needs of the homeless LGBT youth who had no safe space to go after 5 p.m. when the HIV clinics closed.

And so the movement began.

Now, 26 years later, Corado is the director of Casa Ruby, a local bilingual and multicultural organization founded in 2012 that provides housing and social services to LGBT individuals 24 hours a day.

The transgender El Salvador native says Casa Ruby started as an “emergency room.”

“We were taking care of very sick people that were disposed (of) by society and that were barely holding on,” she says.

While the organization continues to do emergency work when necessary, its primary focus is now on preventative work and long-term planning and personal development.

“Our goal is to have someone come to Casa Ruby and three years down the line, they will no longer be homeless,” Corado says.

Casa Ruby can accommodate up to 100 individuals across its four housing programs: hypothermia or low barrier, short-term, transitional and permanent. Residents in every program receive three meals a day, meaning Casa Ruby prepares and delivers 4,000 meals every month.

Open 24 hours a day, 365 days a year, the hypothermia or low barrier program offers anyone in need a place to rest with no commitment or age restrictions. At least one case manager is on site at all times. Corado estimates that Casa Ruby has housed 9,600 people in this program over the past six months alone.

“We never close,” Corado says. “Our doors are always open.”

Stephanie Carey, a current resident at Casa Ruby since February, sees the organization as the oasis Ruby intended. The 29-year-old Maryland native recently moved to D.C. to join the Casa Ruby community.

“I had been kind of ostracized by my family. I come from a very Evangelical, southern, conservative family,” Carey says, who identifies as pansexual and outside the gender binary. “I was going through some hard times and I Googled LGBT shelters and Casa Ruby was the first one that popped up.”

All three of the other housing programs are reserved for LGBT youth ages 18-24. The short-term program provides these clients stable housing and support services for three-six months and aims to help them transition to more permanent housing. Transitional housing is similar to short term, but clients may stay up to 18 months. Also, it requires that residents complete 35 hours of “personal improvement” each week. These hours may be completed any number of ways, including through school or an employment service.

Permanent housing is designed for residents who have stable jobs but are unable to secure long-term housing.

“Landlords never really saw them as ideal renters” because “they were either too gay, too black, or too big or something,” Corado says. These residents work and pay rent for these houses owned by Casa Ruby.

The only eligibility requirement might surprise you.

“When you come to Casa Ruby, you don’t have to be willing to give love to other people, but you have to be willing to accept it, and it begins with that,” Corado says.

Around 215 youth have gone through short-term, transitional and permanent housing since 2012. Despite currently having 100 beds, Casa Ruby still has a 100-person waitlist for its programs, which it’s hoping to eliminate with more funding and resources.

In 2017, Casa Ruby’s annual operating budget was $1.7 million and Corado projects 2018’s will be around $2.1 million. Approximately half of the budget comes from government support and the other half comes from individual donations and grants from foundations.

“We have thousands of one-dollar donations,” Corado says. “Which is great because I think it stays true to the mission of being grassroots.”

Even though her advocacy and activism has changed and evolved over the past few decades, Corado says her role has fundamentally stayed the same: “My job as the founder and director today still is to make sure that we restore dignity to people that have been denied their dignity for so long.”

For Carey, Casa Ruby serves a multitude of purposes from simply “a place to rest your head” to a space “to be around people you identify with. … Casa Ruby is everybody’s home.”

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Celebrity News

Madonna headlines World Pride Music Festival in Amsterdam

Kylie Minogue made surprise appearance alongside gay icon

Published

3 hours ago

August 2, 2026

Michael K. Lavers

Kylie Minogue with Madonna at the World Pride Music Festival in Amsterdam on Aug. 2, 2026. (Photo courtesy of Cejlon Studio)

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.

View this post on Instagram

A post shared by Kylie Minogue (@kylieminogue)

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’

Published

12 hours ago

August 2, 2026

Patrick Folliard

Reggie D. White (Photo by Ambe J. Williams)

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.