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Rehoboth legends Pamala Stanley and Magnolia Applebottom primed for summer ’19

Their favorite meals, hidden gems, on-stage experiences and more

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Rehoboth performances, rehoboth summer 2019, gay news, Washington Blade
Magnolia Applebottom (left) and Pamala Stanley say performing in Rehoboth Beach is different from anywhere else because of the audiences. (Washington Blade photo by John Bator) 

It wouldn’t be summer in Rehoboth without the legendary Pamala Stanley and — in more recent years — drag virtuoso Magnolia Applebottom (aka Jeremy Bernstein). Rehoboth regulars know what it’s like to experience them in performance, but what’s it like from their perspective? Just for fun, we turned the tables on them to find out. 

Stanley performs cabaret and dance at the Blue Moon (35 Baltimore Ave., Rehoboth Beach, Del.) Sundays-Thursdays from 6-8:30 p.m. all summer and into September. Magnolia is a very busy lady. She hosts bingo on Tuesdays at 9:30 p.m., “Rehoboth Idol” on Wednesdays nights (through July 3; after that it’s “Games With Magnolia in that time slot), the Spotlight Show (drag) Fridays at 9:45 p.m., she’s in the Legends show every Saturday at 9:30 p.m. (she does Cher, Celine Dion, Gaga, Reba and Freddie Mercury) and Climax with Magnolia is Sunday nights at 9:30. “Born This Way: a Pride Drag Show” is at the Milton Theatre with Magnolia on June 7. Full details here.

WASHINGTON BLADE: How long have you been in Rehoboth and what drew you here?

MAGNOLIA APPLEBOTTOM: I have been visiting Rehoboth since I was a teenager. I moved to the beach in 2015 after I started working at the Blue Moon full time. Rehoboth Beach has always felt like home to me. I’ve always felt comfortable and safe. The community was welcoming from the start so I knew I had to live here.

PAMALA STANLEY: I first came to Rehoboth in the ’90s and played at The Renegade. Then I was booked in Puerta Vallarta and Tim and Randy, owners of the Blue Moon, saw me perform and asked if I could come to Rehoboth. That was 14 years ago. I fell in love with this sweet town and although I still perform around the country, I call this my musical home.

BLADE: When you’re not working, what’s your favorite Rehoboth Beach activity?

APPLEBOTTOM: I always enjoy walking Rehoboth Avenue and the boardwalk. It’s exciting to see what new shops and restaurants open every year. And having cocktails is fun too!    

STANLEY: Walking on the boardwalk or having a lovely drink looking at the water.

BLADE: What’s a hidden gem?

APPLEBOTTOM: That’s easy! Games with Magnolia at the Blue Moon. It’s a one-of-a-kind game show live on stage every Wednesday at 9:30 starting July 3rd! There is nothing else like it in town.

STANLEY: The North Beach and our beautiful park on the ocean.

BLADE: What’s the best meal you ever had in Rehoboth? 

APPLEBOTTOM: The filet mignon at the Blue Moon is the best steak I’ve every had. Chef Lion always provides the best dining experience in town.  

STANLEY: The lamb at The Blue Moon. I think they are amazing.

BLADE: What performer inspires you? 

APPLEBOTTOM: I’ve always been a fan comedy. I have a long list of idols such as Lucille Ball, Carol Burnett and Joan Rivers. These comedy queens have inspired my character in every way. 

STANLEY: Bette Midler

BLADE: What’s your most memorable moment on the Blue Moon stage?

APPLEBOTTOM: Every moment on stage is memorable however it’s the moments when I leave the stage and mingle with the crowd and I get the chance to talk to everyone. Hearing how I made someone’s night just a little bit better or knowing I put a smile on someone’s face makes getting ready for two hours totally worth it.   And also any moment I share the stage with Pamala Stanley. You never know what she is going to say so you have to be on it at all times. I adore that woman. 

STANLEY: Singing this New Years Eve with my two sister Sandra and Robin. It was magical and the crowd was so happy. 

BLADE: What’s something you see other performers do that you find off-putting or bothersome? 

APPLEBOTTOM: When a drag queen takes their wig off while performing is my biggest pet peeve. It totally ruins the illusion and is just plain messy. 

STANLEY: Not having eye contact with the audience or singing flat. That kills my ears

BLADE: What’s your current favorite song to cover or lip sync to?

APPLEBOTTOM: I am in love with “Juice” by Lizzo.  It’s so much fun to sing and the lyrics are perfect for Magnolia! 

STANLEY: “The Middle”

BLADE: How would you describe Rehoboth LGBT audiences?

APPLEBOTTOM: So loyal. The support the community shows local entertainment is very gratifying. I can’t wait to see and perform for our fans every week. 

STANLEY: The best ever — they are fun and engaged and just looking for a good time.

BLADE: What are you most excited about for summer ’19?

APPLEBOTTOM: Meeting new people and debuting my new Sunday night show “CLIMAX” for the summer crowd.

STANLEY: The people returning from all over. I love seeing old friends and meeting new ones. I never know what an audience is going bring to the table. Each night is unique, like a first date.

BLADE: To what do you attribute your ongoing popularity? 

APPLEBOTTOM: Being a hard-working queen. I’m the self-proclaimed hardest working drag queen in Delaware and it shows. I’m always working on new material and always striving to give the audience a fresh Magnolia Applebottom experience. It’s a lot of work but it has paid off greatly and I love every minute of it. 

STANLEY: Loving the audience and just being yourself. Many people can sing. It is not all about your voice, you must connect with your crowd. Also I believe you should perform each night as if you are in concert whether there are 10 people or 2,000.

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Theater

Talented pair of local queer actors tackles ‘Little Shop of Horrors’

Ford’s production features terrific score

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Chani Wereley (Audrey) and Derrick D. Truby Jr. (Seymour) in the 2024 Ford’s Theatre production of Little Shop of Horrors. (Photo by Scott Suchman)

‘Little Shop of Horrors’ 
Through May 18
Ford’s Theatre
511 10th St., N.W.
$33-$95
Fords.org 

Ever since premiering off-Broadway in 1982, “Little Shop of Horrors” has drawn a devoted following of avid audiences as well as performers eager to act in the show. Now playing at Ford’s Theatre, the doo-wop, dark comedy features a terrific cast including a wildly talented pair of local queer actors who’ve longed to appear in the show since they were kids. 

Set in the urban 1960s, Alan Menken and Howard Ashman’s hit show with a terrific score follows the wacky rise of Seymour, a nebbishy florist in a Skid Row shop who changes his fortunes by unintentionally marketing an exotic, human eating plant.  

Chani Wereley, 28, who plays Seymour’s love interest Audrey, a hyper femme downtowner with an edge, has had her on eye the role for years. Wereley says, “Audrey’s been around the block more than once, but I approach her as a person who moves through the world with love and hope.”

The queer D.C. native adds, “On long trips to visit family in Canada or Florida, the first thing we’d do is pop a ‘Little Shop of Horrors’ video [film version] into the car’s VHS player. I’ve watched is so many times, I could quote the whole movie to you.”

After auditioning to play Audrey in director Kevin S. McAllister’s production at Ford’s, Wereley never thought she’d book the part, and when they said she got it, she cried.  

Similarly, Tobias A. Young, 34, the pansexual actor who voices the part of the bloodthirsty plant affectionately dubbed Audrey II, explains his intense interest in the work: “I started watching the film in ’86. Growing up as a little gay boy in Calvert County, Md., I wanted to be blonde Audrey [played by Ellen Green in the movie]. I didn’t know much about musicals at the time, but I was absorbed.” 

When asked by Ford’s to play the voracious plant Audrey II without auditioning, his reply was an unhesitant “yes.” 

Voicing a role requires Young to sing from backstage in a black box rigged with monitors and a mixing board. He says, “people ask if I’m singing from inside of the ever-growing, scary plant. No, I’m not, and that’s fine. But let’s face it, actors love to be seen on stage, but I don’t feel entirely unseen as Audrey II.”

He’s worked hard and successfully with formidable puppeteers Ryan Sellers and Jay Frisby to bring parts of himself to the carnivorous plant — his sassiness, own movements, and even a tilt of his head; their efforts have drawn the actual Young into the show. 

Both Wereley and Young possess gorgeous, emotive voices as evidenced by Wereley’s striking rendition of Audrey’s “Suddenly Seymour,” and Young’s soulful “Feed Me (Git It).” Additionally, both actors are also big on queer representation in theater. 

When her young pals were listening to Britney Spears, Wereley was dancing to retro tunes like “Mashed Potato Time,” and her favorite song to this day, the Shirelle’s girl group anthem “Will You Still Love Me Tomorrow.” As Audrey, Wereley eschews the character’s usual platinum hair for a bouncy brunette, cherry-streaked wig, tight pencil skirts, swing coats, and her very own half-sleeve tattoo. 

“It’s important for people to see themselves on stage,” she says. “Seeing me or someone like me is inherently interesting. Being that person on Instagram or with the institution, cast, or audiences is meaningful. It’s important.”

In 2011, a couple years after finishing high school, Young landed a part in “Dream Girls” at Toby’s Dinner Theatre, and he’s been working professionally ever since. Growing up, he didn’t see a lot of himself – Black and queer – on social media. He now wants to be open and honest for those out there who might not feel seen, he says

An introvert who lets everything loose on the stage, Young says, “theater is a safe space for queer people. That’s the first place we feel safe, particularly in school. And this is why we need theaters in schools, now more than ever.”

He adds, “What’s great about Ford’s is its surprises, especially when they switch up casting. It’s meaningful to see the shows you love, but why not see them with a twist? Using unexpected actors and incorporating queer people just makes it that much better.”

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Nightlife

D.C.’s gay DJ collective CTRL returns

Electropop group resurfaces at Trade on March 30

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CTRL is back after a six-year absence.

Finger lasers, confetti cannons, drag shows, photo booths, throwback tunes, and a touch nerdy: after a long break, D.C.’s gay DJ collective CTRL is throwing its first party in six years.

Born in an Eritrean restaurant more than a decade ago, this longstanding gay nightlife electropop group is resurfacing with a comeback event at Trade on March 30.

Gay DJs Adam Koussari-Amin, Jeff Prior, Devon Trotter, and Brett Andreisen hosted the first CTRL party at now-closed restaurant Dahlak, on the corner of 18th and U Streets. After a year of hosting pop-ups in that restaurant’s dining room, they upgraded down 18th Street to now-closed gay club Cobalt. There, the parties grew: drag shows, a pop-up photo booth from David Claypool, and quirky activations like throwing hot dogs into print-outs of Putin’s mouth. Their productions grew as well, like producing the now-defunct Brightest Young Gays (BYG) Pride events at Wonderbread Factory and Union Market and the ‘Get Wet’ pool party with David Brown’s Otter Crossing at the Capitol Skyline Hotel.

CTRL wasn’t done. The group received its biggest stage yet after a call from Ed Bailey, the owner of now-closed gay club Town, as well as current gay bars Number 9 and Trade. At Town, the opportunity “allowed our creativity to flourish with even bigger performances, bigger photo experiences, crazier hand-outs, and the same electropop dance vibes our fans had come to know us for,” says Koussari-Amin.

CTRL pressed pause when Town shut down, which “was a huge loss to the LGBTQIA+ community and D.C. nightlife in general,” says Koussari-Amin. After that, it hosted an occasional spinoff called QWERTY. Post-pandemic, Koussari-Amin has spent a few nights solo as DJ at Trade and other venues.

After connecting with Jesse Jackson, the Trade general manager, as well as with Bailey, who agreed to host the inaugural event, Koussari-Amin was determined to shift CTRL back to life.

However, getting the old band back together proved to be a challenge. While the rest of the group have either left Washington, D.C., or are pursuing other projects, Koussari-Amin received their blessing to stay on and find new members. 

“When it came to finding new partners, both DJ Dez [Desmond Jordan] and DJ Lemz [Steve Lemmerman] were obvious choices,” he says, noting that “they also have distinct styles and interests.” Dez has a residency at Pitchers and Kiki as well as pop-ups, and Lemz throws events like Sleaze and BENT.

 “It seemed important to come back to the nightlife table with an experience that could complement all the amazing experiences that have even built up since CTRL threw its last event at Town. Bringing back both the DJ collective and the CTRL event with Dez and Lemz means new voices, perspectives, sounds, and excitement.”

“CTRL is an opportunity for the community to come together, enjoy music, drinks, and good vibes,” adds Jordan, noting that for him, it’s an event that celebrates queer identity.

And after months of planning, CTRL will kick off its monthly party series at Trade on March 30 for the first gig after its glow-up.

The trio says that its core inspiration “is driven by the indie and electropop favorites of new and old, like Goldfrapp, Ava Max, Charli XCX, … We’re also all huge fans of slut and trash pop music like Kim Petras, Slayyyter, Cupcakke,” as well as pop diva remixes, new bops, and songs that reside inside and far beyond the expanse of Top 40.

CTRL is also bringing back its activations that complement the tunes. Summer Camp is set for drag performances, David Claypool is back with his photo booth, and Koussari-Amin promises “to have all sorts of weird and wacky handouts like we used to.”

After the March premiere, April’s party is “CTRLella”, a Coachella send-up. Future events will feature various different themes, and they plan to throw a party during Capital Pride; they’re also looking to be a central part of Trade’s expansion into the adjacent space.

 Koussari-Amin says that “the event’s signature experience [is] a lynchpin in connecting D.C.’s expanding generations of queer folks, giving everyone a safe space to let loose and feel a rush no matter who they are.” 

For his part, Bailey continues to support CTRL and its collective intention, expressing its essential nature as a party for partiers by partiers. “CTRL is the kind of party that represents what people want. It’s just a real party by real people that just want to hear good music and dance with their friends.”

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Celebrity News

HRC releases ‘Queer Renaissance Syllabus’

Beyoncé’s hit album inspired curriculum

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Beyoncé performs at FedEx Field in Landover, Md., on Aug. 6, 2023. The Human Rights Campaign has released a curriculum that her "Renaissance" album inspired. (Washington Blade photo by Isabelle Kravis)

In a move aimed at celebrating the beauty, brilliance and resilience of the LGBTQ community, the Human Rights Campaign unveiled the “Queer Renaissance Syllabus” that Beyoncé’s “Renaissance” album inspired. 

Curated by Justin Calhoun, Leslie Hall and Chauna Lawson of the HRC’s Historically Black Colleges and Universities Program, the syllabus includes a variety of academic articles, essays, films and other media rooted in Black queer and feminist studies. Each piece is directly inspired by the tracks on Beyoncé’s Billboard 200-topping dance album, “Renaissance.”

Beyoncé’s album “Renaissance” stands as a cultural milestone, celebrating the Black queer roots of dance music while shedding light on overlooked Black queer artists. Inspired by her late-Uncle Johnny, the album not only garnered critical acclaim but also shed light on the often marginalized contributions of Black queer artists. Winning four Grammys and yielding chart-topping hits like “Break My Soul” and “Cuff It,” the album sparked discussions about economic impact and cultural representation.

Amid its success, legislative challenges arose, with Florida and Texas enacting bans on DEI initiatives in public colleges. Recognizing the album’s transformative potential, HRC developed the “Queer Renaissance Syllabus” to leverage its impact for education and activism.

Tailored for educators, youth-serving professionals, DEI practitioners, higher education leaders and admirers of Beyoncé’s artistry, the syllabus aims to encourage meaningful discussions, enrich lesson plans, and explore innovative ways to honor the vibrancy and significance of LGBTQ individuals and their culture.

With six themes anchoring the syllabus, ranging from “intersectionality and inclusivity” to “social justice and activism,” it provides a comprehensive exploration of various facets of LGBTQ experiences and expressions. Fan-favorite tracks from the album are paired with scholarly readings, offering insights into empowerment, self-acceptance and the transformative power of artistic expression. The syllabus also reinforces HRC’s efforts to highlight, amplify and re-center Black and queer voices.

By providing links to articles, books, podcasts and interviews, each associated with a song from the album, it celebrates the rich cultural heritage and contributions of the Black queer community.

The concluding section of the syllabus includes Beyoncé’s tribute to O’Shea Sibley, a young Black queer person who was murdered in Brooklyn, N.Y., last July while voguing to “Renaissance” songs at a gas station. HRC also includes a statement that condemns hate crimes.

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