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Rufus Wainwright on opera, revisiting his first two albums

Out singer/songwriter plays Strathmore this weekend on anniversary tour

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Rufus Wainwright, gay news, Washington Blade

Singer/songwriter/composer Rufus Wainwright, seen here in a vintage outtake from the ‘Poses’ sessions, says launching an opera is a Herculean undertaking but one his artistic impulses required. (Photo by Greg Gorman)

Rufus Wainwright

 

All These Poses Anniversary Tour 2018

 

Saturday, Dec. 8

 

8 p.m.

 

Music Center at Strathmore

 

5301 Tuckerman Lane

 

North Bethesda, Md.

 

$39-89+VIP

 

strathmore.org

Singer/songwriter Rufus Wainwright, 45, is on tour celebrating 20 years since his debut. He’s touring a revival of his first two albums and is fresh off the October premiere of his second opera, the gay-themed “Hadrian” about the Roman emperor of the title and his male lover Antinous. It launched with the Canadian Opera Company in Toronto. Wainwright spoke to the Blade by phone from Minnesota.

WASHINGTON BLADE: How is your tour going so far?

RUFUS WAINWRIGHT: It’s going great. It’s been pretty amazing actually. I’m really kicking myself in terms of just in wonder on how in God’s name I could have gotten such a great band together as well as writing an opera and being a father and stuff. … I’m really beyond satisfied with the band that we’ve brought out for the “Poses Tour.” It’s really, really fantastic.

BLADE: You do most of your (1998 eponymous) debut album but mix it up but then you do “Poses” (2001) straight through in its entirety. Why?

WAINWRIGHT: I think to just perform both albums back to back would have been a little too clinical for the audience. It’s a rather long evening and I wanted to mix it up in the sense that I’d be able to present some of my new projects like this Canadian album that I released called “Northern Stars,” so I do like one Joni Mitchell song to promote that then I have a new song “Sword of Damocles” that I wanted to sing so I wanted to have some freedom to be able to swim around a bit. But then in the second half we do “Poses” from top to bottom and that gives a really different character to the second half of the show.

BLADE: Pretty faithful arrangements?

WAINWRIGHT: Yeah, we’re trying to capture the original lines as best we can. We can’t get all the harmonies and we don’t have an orchestra of course, but otherwise it’s very faithful to the original.

BLADE: Sometimes something works great on a record at home but can feel very different in a live room. Any issues with that translation?

WAINWRIGHT: There doesn’t seem to be. What’s becoming evident to me is that my original strategy of writing songs that are impressive both to sing and to communicate a message, that’s at the heart of each piece. All the arrangements and harmonies and different mixes are really there to serve the song. That’s how I always felt in the studio and it’s still about that structure, even subconsciously, when I perform it in public.

BLADE: How was it performing at the Joni Mitchell 75th birthday tribute concerts a few weeks ago?

WAINWRIGHT: It was amazing. I was able to share the stage with some real legends of the industry be it Seal or Diana Krall or Emmylou Harris, all these amazing people. And then having Joni there the second night kind of beaming in the audience as we sang was a real honor and privilege.

BLADE: How did it work out that you sang “Blue”? Did you pick that or Joni?

WAINWRIGHT: Actually my husband chose that song. Nobody had taken it, I think mainly due to the height of its nature. I mean it’s an iconic piece and it’s so tied to Joni’s individualistic style that nobody really requested it so (event creator/Wainwright spouse) Jorn (Weisbrodt) sort of put it forth and said it would be a real challenge for you to do “Blue” and me being a man who loves to complicate his life you know, jumped at the chance.

BLADE: How is Joni? Is she able to walk and talk? (Mitchell had a brain aneurysm in 2015)

WAINWRIGHT: She walks with assistance and she talks. It’s not as fierce as it once was. I don’t in any way want to minimize what occurred to her medically and it’s not something I would wish on anyone but that being said, I do feel that there is essentially — I don’t know, she’s softened in a way, which you know with strokes the opposite can happen. You can become incredibly bitter and angry and just be in a worse place. I don’t feel from my perspective that that has occurred to her. I think she’s in a real place of acceptance, which is good to be in when you’re older.

BLADE: Did you know from the outset that Hadrian (the title character in Wainwright’s new opera) was a bottom?

WAINWRIGHT: (laughs) I’ve been wanting to write this opera for many, many years and ages ago I was speaking with someone and they brought up that concept and it really stuck with me. … So I’ve known for a long time that it would be a necessary kind of element to give the opera more depth. I’ve known for a long time.

BLADE: How was the Toronto production and were you there the whole time?

WAINWRIGHT: I was there most of the time it was really fabulous. I had some of the greatest singers on the planet performing the opera with Thomas Hampson and Karita Mattila and the others were incredible too but just in terms of stature, those two are second to none. So there was that and also the audience was incredible, it sold very well. There was always an enthusiastic reaction and I have no complaints whatsoever about the experience. Now trying to get a four-act grand opera presented in other opera houses of the world is itself another herculean task, especially in the world we live in now which isn’t really opera-centric, but I’m one who kind of enjoys a fight so here we go.

BLADE: What do you know now that you didn’t know after your first opera?

WAINWRIGHT: I learned a few things. One is that an artist really has to compose what they are called upon to compose, you know? After the premiere, I kind of looked back and kind of said, “Why in God’s name did I do that?” Only because it took so long and it was such a lot of work, it cost a lot of money and I don’t know what it has to do with today or anything like that. But I realized oh my God, I was really under a kind of spell and that’s really all that I could hold onto really as an artist and all I can kind of go with. And then the piece has to really fend for itself. So I just have to remind myself that I’m doing this because it’s meant to be even though it might seem crazy. And then also I realize that along the way so much of what I’ve learned I can then communicate in other areas of my artistic life. I’m looking forward to doing that. Just the craft that one learns in writing for an orchestra and working with opera singers is astounding and I’m excited to bring that into all my other work.

BLADE: Classical music critic David Patrick Stearns wrote last year about revisions made to a Barber opera after its 1966 premiere and said, “Even though the revisions made theatrical sense by cutting extraneous information, opera is not about information. Half the time you don’t know what an opera is truly telling you until you’ve lived with it a few decades.” Your thoughts?

WAINWRIGHT: When we premiered “Hadrian,” I had to cut out practically an hour for it to fit into the constraints of union rules with the theater. So in terms of editing and so forth, that definitely had to happen and now in moving forward for other theaters, I do want to do some revisions. I do feel that an opera is a kind of a living organism that needs upkeep. That being said though, yeah, it’s a gamble and yes,  the game you’re playing with opera is the long game and all of that can only really be fully understood arguably sometimes a century later. That’s all I can say.

BLADE: “Hallelujah” (the Leonard Cohen song Wainwright covered) has really gotten overdone, almost to the point of “Imagine.” I lost count of how many skaters skated to it at the last Olympics. Are you tired of it?

WAINWRIGHT: I’ve had my ups and downs with that song for a long time. When I first performed it, it wasn’t something that I gravitated to. It was because it had become very popular from “Shrek” and that’s something I was just asked to do and did and didn’t have any emotional connection to. But then I started singing it and I started to resent it because that’s all I was known for and I actually made a concerted effort to squash that stream. But then I started to realize that I could just throw it into any situation and people were instantly on my side, so and then I became thankful for it. And then when Trump was up for election, I said I wouldn’t sing it if he won the election. It became that thing. So then he won and then I didn’t sing it and then Leonard Cohen died, so it kind of keeps coming back. I respect the song in a lot of ways. It’s not my favorite Leonard Cohen song by any means but one has to give it some credit in terms of its indomitable character that just keeps coming back and that is somewhat impressive. I owe a lot to that song as well in terms of having a real mainstream appeal. So I’m of two minds.

BLADE: Do you ever listen to your mom’s records or have a favorite?

WAINWRIGHT: I love my mom’s records, they’re great. I would probably say my personal favorite is “Dancer with Bruised Knees,” which is their second album. I have a slight bias on that one because there’s a song “First Born” that is sort of about me a little bit.

Rufus Wainwright, seen here in a vintage photo, has a soft spot for the music of his mother, Kate McGarrigle who performed as Kate & Anna McGarrigle with her sister. (Photo by Greg Gorman)

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D.C. LGBTQ sports bar Pitchers listed for sale

Move follows months of challenges for local businesses in wake of Trump actions

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Pitchers is for sale at an undisclosed price. (Washington Blade file photo by Michael Key)

A Santa Monica, Calif.-based commercial real estate company called Zacuto Group has released a 20-page online brochure announcing the sale of the D.C. LGBTQ sports bar Pitchers and its adjoining lesbian bar A League of Her Own.

 The brochure does not disclose the sale price, and Pitchers owner David Perruzza told the Washington Blade he prefers to hold off on talking about his plans to sell the business at this time.

He said the sale price will be disclosed to “those who are interested.” 

“Matthew Luchs and Matt Ambrose of the Zacuto Group have been selected to exclusively market for sale Pitchers D.C., located at 2317 18th Street, NW in Washington, D.C located in the vibrant and nightlife Adams Morgan neighborhood,” the sales brochure states.

 “Since opening its doors in 2018, Pitchers has quickly become the largest and most prominent LGBTQ+ bar in Washington, D.C., serving as a cornerstone of D.C.’s modern queer nightlife scene,” it says, adding, “The 10,000+ SF building designed as a large-scale inclusive LGBTQ+ sports bar and social hub, offering a welcoming environment for the entire community.”

It points out that the Pitchers building, which has two years remaining on its lease and has a five-year renewal option, is a multi-level venue that features five bar areas, “indoor and outdoor seating, and multiple patios, creating a dynamic and flexible layout that supports a wide range of events and high customer volume.”

“Pitchers D.C. is also home to A League of Her Own, the only dedicated lesbian bar in Washington, D.C., further strengthening its role as a vital and inclusive community space at a time when such venues are increasingly rare nationwide,” the brochure says. 

Zacuto Group sales agent Luchs, who serves as the company’s senior vice president, did not immediately respond to a phone message left by the Blade seeking further information, including the sale price. 

News of Perruzza’s decision to sell Pitchers and A League of Her Own follows his Facebook postings last fall saying Pitchers, like other bars in D.C., was adversely impacted by the Trump administration’s deployment of National Guard soldiers on D.C. streets   

In an Oct. 10 Facebook post, Perruzza said he was facing, “probably the worst economy I have seen in a while and everyone in D.C. is dealing with the Trump drama.” He told the Blade in a Nov. 10 interview that Pitchers continued to draw a large customer base, but patrons were not spending as much on drinks.

The Zacuto Group sales brochure says Pitchers currently provides a “rare combination of scale, multiple bars, inclusivity, and established reputation that provides a unique investment opportunity for any buyer seeking a long-term asset with a loyal and consistent customer base,” suggesting that, similar to other D.C. LGBTQ bars, business has returned to normal with less impact from the Trump related issues.

The sales brochure can be accessed here.

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Alexander Skarsgård describes ‘Pillion’ in 3 words: lube, sweat, leather

Highly anticipated film a refreshingly loving look at Dom-sub life

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Harry Melling and Alexander Skarsgård star in ‘Pillion,’ which premieres in the U.S. on Feb. 6. (Photo courtesy of A24)

Whether you’ve seen him in popular HBO series like “True Blood,” “Succession,” or “Big Little Lies,” the dynamic Swedish actor Alexander Skarsgård has that smoldering gaze that immediately draws viewers in. 

Following in the footsteps of his father Stellan, (who just won the Golden Globe for “Sentimental Value”) the Golden Globe, Emmy, and SAG winner Skarsgård continues to be an actor who is fearless in the roles he takes on. 

That courageousness is evident in Skarsgård’s latest film, the BDSM black comedy “Pillion,”which he also executive produces. He plays Ray, the handsome, hyper-dominant leader of a gay bike gang. The film was written and directed by Harry Lighton, and is based on the 2020 novel “Box Hill,” by Adam Mars-Jones. 

“This was a small film by a first time filmmaker and it wasn’t financed when I read it,”  Skarsgård told journalists at a recent awards news conference. “And I felt that, if I could help in any small way of getting it financed, I wanted to, because I thought it was such an incredible screenplay and I believe in Harry Lighton so much as a filmmaker. And it felt tonally unlike anything I’d ever read. It was such an exciting, surprising read.”

Skarsgård was blown away by the quality of the unconventional script. “When I heard BDSM relationship, biker culture, I expected something very different. I didn’t expect it to have so much sweetness and tenderness and awkwardness.”

For the sex scenes and nudity with co-star, Harry Melling — who excels in his portrayal as Ray’s submissive Colin — Skarsgård talked very early on with Lighton about how he wanted to shoot those scenes, and why they were in the film. 

“I often find sex scenes quite boring in movies because a lot of the tension is in the drama leading up to two people hooking up, or several people hooking up, as in our movie. But what I really enjoyed about these scenes — they are all pivotal moments in Colin’s journey and his development. It’s the first time he gets a blowjob. It’s the first time he has sex. It’s the first time he has an orgasm. And these are pivotal moments for him, so they mean a lot. And that made those scenes impactful and important.” 

Skarsgård was happy that Lighton’s script didn’t have gratuitous scenes that shock for the sake of just shocking. “I really appreciated that because I find that when this subculture is portrayed, it’s often dangerous and crazy and wild and something like transgressive.”

He continued: “I really love that Harry wanted it to feel real. It can be sexy and intense, but also quite loving and sweet. And you can have an orgy in the woods, rub up against a Sunday roast with the family. And that kind of feels real.”

One of the obstacles Skarsgård had to work with was Ray’s emotionally distant personality.

“Ray is so enigmatic throughout the film and you obviously never find out anything about him, his past. He doesn’t reveal much. He doesn’t expose himself. And that was a challenge to try to make the character interesting, because that could easily feel quite flat…That was something that I thought quite a lot about in pre production…there are no big dramatic shifts in his arc.”

For the film, Lighton consulted the GMBCC, the UK’s largest LGBT+ biker club, attending their annual meetup at which 80 riders were present. 

“Working with these guys was extraordinary and it brought so much texture and richness to the film to have them present,” said Skarsgård. “They were incredibly sweet and guiding with us — I can’t imagine making this movie without them. I’d go on a road trip with them anytime.”

Added Skarsgård: “To sum up ‘Pillion’ in three words: lube, sweat, and leather. I hope people will connect with Colin and his journey, and come to understand the nuance and complexity of his bond with Ray.”

This year is shaping up to be a busy one for Skarsgård. “Pillion” premieres in select cities on Feb. 6 and then moves into wide release on Feb. 20. After that for Skarsgård is a role in queer ally Charli XCX’s mockumentary, “The Moment,” which premieres at the Sundance Film Festival. HIs sci-fi comedy series,  Apple TV’s “Murderbot,” which he also executive produces, will begin filming its second season. And this weekend, he hosts “Saturday Night Live.”

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MISTR’s Tristan Schukraft on evolution of HIV prevention

From ACT UP to apps, embracing stigma-free care

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Tristan Schukraft (Photo courtesy of Schukraft)

It was not too long ago that an HIV diagnosis was read as a death sentence. In its earlier decades, the HIV/AIDS crisis was synonymous with fear and loss, steeped in stigma. Over recent years, open conversation and science have come together to combat this stigma while proactively paving the way for life-saving treatments and preventive measures like PrEP. Now, in 2026, with discreet and modern platforms that meet people where they’re at in their lives, HIV prevention has evolved from hushed words of warning into something far more sex-positive and accessible. Game-changing services like MISTR are a testament to this shift, showing our community that healthcare doesn’t have to feel clinical or shaming to work. It can be empowering and, dare I say,  celebratory.

Few people embody this evolution quite like Tristan Schukraft, founder of MISTR. With one hand in healthcare and the other high-fiving through queer nightlife, Schukraft gets that, from the bar to the bedroom and beyond,  prevention happens in person and in real life. His approach has helped turn PrEP, DoxyPEP, and testing into normalized parts of our daily queer life, reaching hundreds of thousands of people across the US.

In our conversation, Schukraft shares candidly about stigma, policy, and why the future of sexual health depends on keeping it real.

BLADE: You have one hand in healthcare and the other in nightlife and queer spaces. Can you share with us how these two spheres impact and inform each other? How do they impact and inform you? 

SCHUKRAFT: Honestly, for me, they’ve never been separate. Nightlife and queer spaces are where people meet, date, hook up, fall in love, and make friends. That’s real life. Being in queer spaces all the time keeps me grounded and reminds me who we’re building MISTR for. 

BLADE: MISTR markets sexual health in a sex-positive, stigma-free fashion. Can you share with us how you measure the impact of this approach? 

SCHUKRAFT: This year, we held the first-ever National PrEP Day.  Dua Lipa performed, and Cardi B was there.  After the event, Cardi B went on her Instagram live to encourage people to sign up for PrEP.  

When you make sexual health stigma-free and sex positive, people talk about it. We see it in how people use the platform. When 700,000 people are willing to sign up, get tested, start PrEP, and add things like DoxyPEP, that tells us we’ve made it feel safe and normal instead of scary or awkward. And then we see it in the results. Since we expanded DoxyPEP, STI positivity among our patients dropped by half.  

BLADE: How have you seen the conversation of sexual health in our LGBTQ+ community change in mainstream culture in recent years? 

SCHUKRAFT: Ten years ago, nobody was casually talking about PrEP, and if they did, it likely referenced one being a Truvada whore. Now it’s part of the culture. Popstars like Troye Sivan post pictures of their daily PrEP pill on social media. Cardi B goes on Instagram Live telling people to get on PrEP.  

For many sexually active gay men, taking PrEP is simply part of the gay experience.  For people in more remote areas, it might not be as talked about. Particularly in rural or more conservative places, MISTR can be a life-changing option. No awkward visits to the family doctor or the local pharmacy where everybody knows your business. It’s all done discreetly online and shipped straight to your door. 

BLADE: You have publicly argued that cuts to government HIV prevention funding are of high risk. Would you please elaborate for us on what those budget decisions mean on an individual level? 

SCHUKRAFT: It means real people fall through the cracks. Someone doesn’t get tested. Someone waits too long to start PrEP. Someone finds out they’re HIV-positive later than they should have. Community clinics will be the hardest hit, especially those in underserved communities. The good news is that MISTR is ready to help people who might lose their access to care. All you need to do is sign up at mistr.com, and it’s totally free with or without insurance. 

BLADE: From your (and MISTR’s) perspective, how do these funding cuts threaten ongoing efforts to end the HIV epidemic? 

SCHUKRAFT: For the first time, we have all the tools to end HIV. If everybody who is HIV negative is taking PrEP and everyone HIV+ is virally suppressed, we can end all new HIV transmissions in the United States.  We have everything we need today.  All we need is to get more people on PrEP. Cutting funding risks losing that momentum. Ending HIV requires scale and consistency. Every time funding gets cut, you lose momentum, trust, and infrastructure, and rebuilding that takes years. 

HIV transmissions don’t pause because budgets change. 

BLADE: In our current climate of decreased federal investment, what role do you feel private healthcare and business should play in sexual health? 

SCHUKRAFT: With reports that the current administration is considering cuts to HIV and prevention funding,  we face a moment of reckoning. At the same time, some employers are seeking to exclude PrEP and HIV prevention from their coverage on religious freedom grounds. If these challenges succeed, and if federal funding is slashed, the consequences for public health will be devastating. But this is where the private sector must step up to fill the gap, bridge divides, and deliver results. 

Businesses have the power and platform to normalize HIV prevention and drive measurable outcomes. At MISTR, we see firsthand what’s possible: since introducing DoxyPEP, STI positivity rates among our patients have been cut in half. But it’s not just about medication. It’s about messaging.  

Our sex-positive, stigma-free marketing speaks directly to our community, making sexual health part of everyday life. No awkward doctor visits, no needles, no paperwork — just free online PrEP and STI testing, prescribed by real physicians and delivered to your door. That kind of impact could grow exponentially if more employers embraced this approach and made HIV prevention part of their employee wellness programs. 

Employers, this is your call to action. Start by making sure your health plans cover PrEP and DoxyPEP. Partner with platforms like MISTR to give employees private, stigma-free access to care. Offer on-site testing. Talk openly about sexual health, not just during Pride, but every day of the year. This is not political — this is about protecting lives, strengthening communities, and building a healthier, more productive workforce. Because healthy employees aren’t just good for public health — they’re good for business. 

When the private sector steps up, outcomes improve. And when businesses align with platforms like MISTR, scaling impact isn’t just possible — it’s happening. 

BLADE: Has MISTR experienced any direct effects from these recent shifts in public health funding? 

SCHUKRAFT: MISTR’s unique model is totally free for patients with or without insurance, and we don’t cost the government or taxpayers a penny. We are scaling up our efforts to reach people who might be losing their access or care. 

BLADE: What would be your message to policymakers who are considering further cuts to HIV/AIDS programs? 

SCHUKRAFT: During his first term, President Donald Trump committed unprecedented resources to the Ending the HIV Epidemic initiative here at home. Bipartisan support has shown what’s possible when bold leadership meets smart strategy. To policymakers: I urge you to reconsider any cuts to HIV prevention funding. This is not the time to pull back. It’s the time to push forward. Ending HIV is within reach — but only if government, private industry, and community organizations stand together. 

BLADE: What is one perhaps overlooked win from last year that impacted you on a personal level? 

SCHUKRAFT: Seeing our STI positivity rate drop by half after expanding DoxyPEP. 

BLADE: Looking at the year ahead, what are MISTR’s most significant priorities for sexual health in 2026? 

SCHUKRAFT: Expanding access, especially in the South and in communities that still get left out. Rolling out injectable PrEP. And just continuing to make sexual healthcare easier and more normal. 

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