a&e features
Kinsey Sicks founder Rachel/Ben Schatz to bid the road farewell
Weekend Rehoboth performance is bittersweet for comedian/songwriter
CAMP Rehoboth Presents
The Kinsey Sicks
‘Things You Shouldn’t Say’
Rehoboth Beach Convention Center
229 Rehoboth Ave.
Rehoboth Beach, Del.
$35-500
camprehoboth.com
kinseysicks.com/calendar
The Kinsey Sicks is celebrating 25 years of dragapella, performing their hit Off-Broadway show “Things You Shouldn’t Say” and “Naked Drag Queens Singing” until September at the Art House in Provincetown, Mass.
The tour is bittersweet however as Benjamin Schatz, founder and chief writer for the group, will retire along with his character Rachel at the end of the month. The quartet was founded in 1993 when five friends went to a Bette Midler concert as the Andrews Sisters and were requested to sing.
Their decline was short lived once they realized that they all had musical backgrounds. From then on, they’ve performed all around the country at some of the most prestigious venues such as Herbst Theatre in San Francisco, the Nordstrom Recital Hall in Seattle, the Broward Center in Ft. Lauderdale, the Hobby Center in Houston, the Wheeler Opera House in Aspen and the Pacific Design Center in Los Angeles. Schatz/Rachel spoke with the Blade about her beginnings with the Kinsey Sicks, her love for the stage and her plans for retirement.
WASHINGTON BLADE: How were you introduced to drag?
BENJAMIN SCHATZ: I used to do drag in college but I always did it as a politically provocative thing. This was back in the ’70s so drag was pretty threatening back then. Back in the late ’80s and early ’90s when I was an attorney and executive director at the peak of the age of terror in terms of discrimination and hatred, I used to organize drag excursions with my friends. Part of my job as an activist back then was to be a respectable homosexual and I wanted to remind myself that I wasn’t, in fact, respectable.
BLADE: When you founded the Kinsey Sicks, how did the character of Rachel come about? Or has Rachel always been the name you used while doing drag?
SCHATZ: Back in college my friends and I assigned each other drag names. I’d do it to anybody who was queer, male or female, and I’d give them a drag name. So my friends called me Rachel. The character of Rachel has evolved or devolved over time to be somewhat different from Ben I hope. It was just a name that people originally assigned to me and it stuck.
BLADE: How has Rachel shaped or shifted the way the way you present yourself as Ben?
SCHATZ: I often say that Rachel gives Ben a fighting chance of being socially appropriate because Rachel gets all of that out of Ben’s system. Rachel is an unboundaried mess. A delightful unboundaried mess and let’s just say Ben has a tendency to let Rachel do the work for him. Rachel has changed over time. One of the Kinsey Sicks moms said, “You should make Rachel more vulnerable,” and I did. I started making her more vulnerable and more lovable. She’s a lovable unboundarly mess. I think Rachel represents for a lot of people their queerness, unboundaried, embarrassing self. But she does it with such utter cluelessness that you just can’t help but love her. There is nothing she won’t do or say. Although, as a writer, there are many directions we won’t have her go. People think that we’ll go anywhere but in fact, as a writer, we’re very careful about racism, gender stereotypes and sexism. We’re very careful about who’s the butt of our jokes.
BLADE: Speaking of your writing, as I was looking at your repertoire of songs, I noticed the amount of creativity that goes into creating these and I think it’s amazing. So, how do you come up with these titles?
SCHATZ: I appreciate your lack of taste and judgment. That’s a promising sign. So there’s three different types of writing goes on. About 60 percent of our songs are parodies and 40 percent are original songs. For parodies, that just happens when I hear something and all of a sudden the idea comes to mind. It’s very easy to write words to another tune. The challenge is to change as few words as possible, use the original lines and completely subvert the original intention. So once I get an idea for a parody, I spend a lot of time with the original rhyme scheme and thinking about making as few changes as possible and words I can change the intent and the meaning 100 percent. With original songs, that’s more of isolating myself. I’ll often say I’m taking this time on the side to write a song. I don’t really know where they come from. I have no idea. Then there’s the writing of the script, which is a whole other beast in itself. They utilize different skills and they’re all entirely different skills than the performance. So, I can’t write when we’re on the road. That’s sort of an extroverted energy while writing is very quiet, withdrawn and un-Rachel like. I hate writing. I love having written. You can have an office job and coast but if you’re writing you want to write the best you can and you never can write the best you can. There’s always something better you can do which can make it torture.
BLADE: With you retiring from the show, how will that process change?
SCHATZ: The great thing is that I still get to offend people all over the world without having to get dressed or leave my house. That’s what I’m really excited about. I love the performing. I’ve loved it as much as I ever have but, touring life after a couple dozen years, and it’s not like we’re Cher or Madonna with a glamorous entourage, we’re schlupping luggage upstairs at three in the morning. It loses its glamour after a couple dozen years when your body gets old. So, I have mixed feelings about retiring from touring but my body does not. So, it’ll require more communication with the group because part of what we do now is we test it out on the road and we say, “Oh that didn’t get a laugh” or “that needs a different ending musically because it doesn’t have enough pop” and I won’t be there for that. There will also be times when the group will be performing where I am. It’s much easier to critique what’s going on on stage when you’re not actually on stage performing. I will really be thrilled to be able to write stuff and then be in the audience not trying to remember my lines, or my note, or my choreography. Just to see what’s going on and how the audience reacted. That’s something I’m really looking forward to.
BLADE: Angel is the group’s newest member. How will the transition from Rachel to Angel affect the content of the show?
SCHATZ: Well the show is a show I wrote and we started it off with me. Angel is taking over the spot. Rachel and I met with J.B. (McClendon), who plays Angel, and we got to know each other and I think I gave him some useful tips. We’ve had people replace other people in the past, not too often because we have a lot of longevity like Jeff (Trixie) who’s been with us for 16 years, so the others tell me great things. It takes awhile for people to sink to the level of performing with a group. So there’s a certain kind of observation that’s our own and I think that culture remains very strong. So the others are really excited about Angel’s performances and I think they have the tools to guide Angel to blossom over the years to come.
BLADE: You all are currently performing two shows: “Things You SHouldn’t Say” and “Naked Drag Queens Singing.” How will “Naked Drag Queens Singing” be different or similar to previous shows?
SCHATZ: The show that they’re doing in Rohoboth (“Things You Shouldn’t Say”) was the first time we broke character in the show. It’s a really powerful show, on top of being hilarious, it’s also very heartbreaking. So the question was what do we do after that? So “Naked Drag Queens Singing” was another “let’s try this experiment and see if it works.” So, everybody breaks character and we kind of go seamlessly back and forth between character and not and talking with the audience. It’s a very exciting experiment and it’s been going fantastically so that really people get eight characters for the price of four. It’s a really interesting experiment because lots of drag performers are very tethered to their personas and I think a lot of people are interested to see what’s behind drag and the members of the Kinsey Sicks are very thoughtful. While we are a comedy group, there’s a lot of thought behind what we have to say and why we say it. It was another big risk and it turns out it was a successful one.
BLADE: Let’s say under this current administration that the Kinsey Sicks were invited to perform at the White House. What would you all perform and what would you want to accomplish?
SCHATZ: I would totally take the opportunity to perform. My personal goal would be to induce a heart attack. I think that would be a worthwhile goal. People like the current administration need to be challenged. They shouldn’t have safe spaces. So I would perform at the White House. And I’ll tell you what; when we’re done with this conversation, I’ll sit by my phone waiting for the invitation. I would definitely come out of retirement for that.
BLADE: What will you miss about performing?
SCHATZ: Well, I’ll definitely miss picking on big guys and sitting on them. It tends not to work very well in civilian life. I love making people laugh, making people think (and) I love the uniqueness of us. There’s nothing like us. I never feel more alive then when I’m on stage and I never feel more dead then when I’m on the road waking up at 3 in the morning getting ready for the next gig. I’ll miss the incredible excitement and satisfaction. I love the feeling of constantly growing and I do a lot of improvisational humor so I’ll definitely miss that. But, the goal is to quit while you still love it and while people still love you.
BLADE: Is there anything in your personal life that you’ll be doing to replace that theatrical high?
SCHATZ: I promised myself that I would set no goals for my retirement for at least a year. I’ve spent my whole life perpetually making the impossible happen so right now I’m letting things happen to see where things go which is kind of revolutionary. I suspect that I’ll be writing again soon. Well, I know I’ll be writing for the group. I don’t know what I’ll write. I don’t know what I’m doing and I’m wildly excited about it. I know there will be other chapters but I don’t know what they’ll look like and that is fantastic.
BLADE: What’s been your favorite Kinsey experience?
SCHATZ: There’s a particular kind of experience that I love like Salina, Kansas. Going into conservative communities and rocking people’s world and not holding back. We did this essentially county fair and there were letters to the newspaper and protests and threats on our lives. We did four sets over two days and by our fourth set, we drew the largest crowd the musical festival has ever drawn. And we did it unapologetically. We cleaned up our language but not our content. When you’ve got a bunch of kids around you’re not going to say the f-word. But we had very political songs talking about racism and homophobia and I love the feeling of going to a place like that and winning them over shocking the hell out them and making them love you for it. People who have no business loving us coming out and loving us anyway. I was an activist for years and still consider myself one today, but what you can do with laughter and music in terms of opening people up, is something you can’t do in another context. I’m so proud at the fact that we’ve been able to do that and we continue to do that.
BLADE: Who’s your all-time favorite drag queen?
SCHATZ: I would name two who are very different: Divine and Coco Peru. Divine was absolutely fearless and was not trying to pass and was not trying to look pretty. Divine was drastically provocative and in your face. Coco is so thoughtful and I love how she mixes comedy with heart, with politics and with integrity. You do not leave her show without thinking something and feeling something.
BLADE: Where do you see the Kinsey Sicks going in the next decade?
SCHATZ: If you would’ve asked me when we started the luck we’d have 26 years later, I never would’ve thought it possible. I think the goal is to be provocative, fresh, to take risks and to be unafraid. We’d be a lot more commercially successful if we would’ve said, “What does the market want and let’s do that.” So we always try to be cutting edge, to push the boundaries, to test things and to risk provoking people and people know when their seeing something that it’s live and not safe. So I hope the group continues to take risks because there’s no shortage of people out there who are playing it safe and who’s taking the less controversial route. To take risks creatively in terms of what we’re willing to do. That’s the goal and to keep loving what we do.
a&e features
Rainbows in Revolt on a mission to make LGBTQ artists’ voices heard
Rainbows in Revolt on a mission to make LGBTQ artists’ voices heard
Last month’s Pride celebration in D.C. was so fun. Walking around my first Capital Pride with a $15 lemonade I was loving the madness and the color. Artists and small businesses battling banks you’ve never heard of collecting your personal information so you can spin a wheel to snag free merch. Great music blaring, people actually smiling and enjoying themselves, the “Great” American State Fair could never!
The Monument Stage was on Pennsylvania Avenue, directly in front of the National Gallery of Art and I can’t think of a better venue to see live music. How does someone get on the lineup for Pride? How do we accelerate the visibility of the most talented voices in our community to perform in places like this?
There is certainly not a talent gap, but there is a visibility gap. Chappell Roan went from playing for two people in a parking lot to owning the main stage at Coachella in one year. Whether it is shadowbanning or bias in AI, algorithms have been shown to suppress queer artists. In a digital age, how can queer people break through and show the world how talented they are?
Allison and Matt of Rainbows in Revolt are on a mission to make openly LGBTQ+ artists’ voices heard. Their goal is to find “musicians whose queerness is central to their identity as an artist,” and accelerate them to a place where they can actually reach fans.
The only time queer events seem to be in the spotlight is June, but this should be year round, according to Allison and Matt. Rainbows in Revolt wants to act as a “nucleus” for different sub-communities, finding common ground in the universal language of music.
Matt and Allison founded Rainbows as a way to make cheaper, higher quality merchandise for queer artists. While Rainbows has already pledged 20% of their profits to the LGBTQ+ community, with 10% to Whitman-Walker Health and 10% to LGBTQ+ organizations in need, this is just the beginning of the work that they do.
Rainbows “does the dirty work” that artists normally struggle to do on their own with limited resources. Interviews, artist profiles, social promotion, playlist discovery, radio outreach, and merch-funded support. This work is normally expensive, time consuming, and requires lots of different skills. Musicians don’t want to be editing clips to post online. Standup comedians don’t want to make graphics for their tour dates. They want to write more. They want to focus on their craft.
In addition to helping artists find their audience, Rainbows has built other digital tools to help queer people connect, including an interactive Safe Space Map for most major cities. It is hard to know which places are truly safe and supportive just from a simple Google search. Attitudes and actions change, and there should be a simple way for queer people to find other places that align with them. The Safe Spaces Maps are all up to date, and are tagged and filterable. Instead of relying on forums and word of mouth, Rainbows has created a centralized way to find authentic community quickly.
I had a chance to talk with Allison and Matt at Pride where Lily Erin, one of their signature artists, was performing on the Monument stage. Lily Erin is a folk singer who is familiar and forging her own path. Her bittersweet sound echoes through Acadia, and her garb mirrors the New England athletes I grew up with. Gorp Core meets streetwear. A graphic tee, hiking shorts, and creamsicle Jordans.
Her debut single, “Bus Stop,” tells a sad story about unconditional love, and the conditions that still seem to come with it. Graduating into lockdown, Erin needed a new way to connect with herself and others. Lily made “Bus Stop” without an intention to share it, but doing so was a liberation. People have been responding to her honesty around queer-ness, family, and the “ghosts which haunt us” even in the daytime.
Rainbows in Revolt has helped Lily Erin go from bars and backyards to The Monument Stage at Pride. This is a meteoric rise, and a testament to both Erin’s talent and the work of Rainbows to promote her. “A little encouragement goes a long way with early artists,” and by “planting a seed” Rainbows is already seeing their artist garden grow. Community is power, and Erin is a perfect example of how effective simple modern techniques of promotion can be.
A next step for Rainbows is putting on shows themselves. On Oct. 3, Rainbows in Revolt will host an Evening with Ray Boltz at the National City Christian Church. Boltz grew up in the Catholic Church and for many years was the soundtrack to many services, youth camps, and church groups. He was celebrated by millions until he came out in 2008. Allison remembers her community “never playing his music again.”
Rainbows in Revolt is helping him to return to the church, and proving that identity does not need to be exclusive. We live in a complicated world with complicated lines being drawn. Boltz proves that these lines don’t exist, and will be breaking down barriers to bring together communities. To Allison, “a trans woman standing next to a straight white man in church is a powerful teacher.”
The Safe Space maps bridge all types of spaces, and one of the unlikely ones is, perhaps, churches. Matt said that “BYU has only nine safe spaces around their campus and seven of them are churches.” Not all churches are anti-gay, and many times they are the only place for people to find community.
Rainbows in Revolt is just getting started bridging gaps and building community.
a&e features
Summer in the City: Free exhibits, movies, more fill D.C.’s calendar
America 250 celebrations continue
From late-night museum visits and outdoor jazz concerts to free movie screenings and America250 exhibitions, Washington’s summer calendar is packed with events that don’t charge admission. Here’s a look at some of the free activities happening across the District through September and beyond.
Museum exhibitions
The Renwick Gallery is presenting State Fairs: Growing American Craft, an exhibition that looks at unique and unconventional crafts from the 19th century to the present. It will run until Sept. 7, and admission is free.
The Arts and Industries Building, located next to the Smithsonian Castle, is presenting the exhibition Voices and Votes: Exploring Democracy Across America. The exhibition features the development of American independence and what that has meant over time, beginning with the Revolutionary War. Admission to the museum is free, and the exhibition runs until Sept. 7.
The National Gallery of Art presents Dear America, an exhibit featuring more than 100 pieces of work, including letters, photographs, and drawings that depict American landscapes and depictions of freedom. The exhibition will run until Sept. 20.
The National Museum of Women in the Arts is exhibiting Burnished: Pueblo Pottery until Sept. 27. The exhibit features pottery from the Southwest, and while most of the pottery belongs to women artists, a few also reflect those who have advocated for women.
Extending past this summer, the exhibition ¡Puro Ritmo! The Musical Journey of Salsa will be at the National Museum of the American Latino until July 2028. The exhibition shows how Afro-Cuban music has become a staple in the U.S. Admission is free.
The Martin Luther King Jr. Memorial Library will feature the exhibition District Vibes / American Pride: How DC Changed American Culture, which will highlight all of the ways D.C. has impacted American life. The exhibit will run until Sept. 27.
At the Folger Shakespeare Library, the exhibit Imagining Shakespeare: Mythmaking and Storytelling in the Regency Era will be on view through Aug. 2. All the portraits on display come from the Boydell Shakespeare Gallery in London.
The United States Botanic Garden will be open until 8 p.m. on Aug. 20 and Sept. 17, as part of America’s State Flowers: An America250 Celebration. The evenings will include live music, mocktails, ice cream, and snacks.
The National Gallery of Art Sculpture Garden will have extended hours, staying open until 8 p.m. Wednesday to Saturday until Sept. 3.
Live performances
On Aug. 7, the postgame Nationals concert series will continue with Jordan Davis performing. To see the concert, guests just need to buy tickets to the Nationals game.
Jazz in the Garden will run each Friday until Aug. 14. The event has free admission, but those interested have to enter a lottery due to the high demand for the event.
From May to October, Capital Harvest Market occurs every Wednesday from 10 a.m.-2 p.m. at the Ronald Reagan Building and International Trade Center. The market features fresh foods, crafts, and recipes for unique dishes. A full list of vendors is available on Capital Harvest’s website.
Live! Concert Series on the Plaza will feature live performances at Woodrow Wilson Plaza until Sept. 25. The performances run Monday to Friday from 12-1 p.m. Admission is free to the performances.
DowntownDC Live! at Anthem Row is running until July 30, with free performances every Thursday from 5:30 p.m. to 9:00 p.m. The final performance will feature HUE and a vintage flea market hosted by Get Flee Marketplace.
Located in Adams Morgan, AdMo Vibe will present live performances every Thursday at 6 p.m. in Kalorama Park. Guests are encouraged to check out Adams Morgan before and after shows, and it is an event for all ages.
Other events
Union Market is hosting drive-in movies on Aug. 8, featuring “Monsters, Inc.”, and Sept. 12, featuring “Wicked.” On Aug. 8, the parking lot will open at 7:30 p.m., with the movie starting at 8:25 p.m. On Sept. 12, the parking lot will open at 6:35 p.m., and the movie will start at 7:30 p.m.
Sunset Cinema at the Wharf will also be available one day a month. On Aug. 12, “10 Things I Hate About You” will premiere, and on Aug. 26, “Project Hail Mary.” No tickets are necessary.
The Library of Congress will also show movies. On Aug. 6, guests are invited to watch “Apollo 13.” The movie will be shown at 8 p.m., with additional live performances beginning at 7 p.m.
For fans of Asian media, the Okaton convention will be at Walter E. Washington Convention Center from July 31-Aug. 2. Festivities will include cosplay contests, skits, live music, and panel discussions.
Washington Spirit’s season also begins in August. The Spirit is Washington’s National Women’s League, with matchups occurring between the San Diego Wave, the North Carolina Courage, the Orlando Pride, and the Bay FC.
a&e features
Summer in D.C. brings sports, Restaurant Week, festivals, and more
Summer in D.C. just hits different. Congress is out, school is out, the sun is out, thighs are out. With the skies clearing from Canadian smoke, here are a few ways to stay entertained.
Dining
Summer restaurant week: The Restaurant Association of Metropolitan Washington (RAMW) is once again hosting Summer Restaurant Week, Aug. 18-24. This weeklong dining experience showcases the dynamic dining scene of the DMV, including 2026 RAMMY Award-winning favorites (the annual D.C. food awards show that took place June 29). Participating restaurants will offer three-course brunch and lunch selections for $25 or $35 per person, and three-course dinners for $40, $55 and $65 per person.
New Restaurants: A handful of new spots have opened, so the summer is a great time to check them out:
- Oribu: A new Mediterranean-Japanese restaurant in the Grand Hyatt hotel, which just underwent a remodeling effort. The sleek restaurant brings upscale charm, with dishes like Wagyu beef tartare with potato pavé and caviar.
- The Oak Room: A snazzy old-school American grill has just opened in Georgetown, alongside its sister upstairs supper club (Bernadette’s) restaurant, in the old El Centro space.
- Uchi: This showy Japanese sushi-forward chain has landed in Dupont with a chef’s tasting menu of favorites like fatty tuna.
- Kathmandu: Recalling the capital of Nepal, this warm, buzzy subterranean restaurant right in the heart of U Street brings spice, flair, and rare ingredients to its dishes (see: buffalo burgers) and drinks.
Sports
- Washington Spirit Pride Night OUT: On Sunday, Aug. 23, head to Audi Field for a massive, high-energy game following the exciting month of World Cup. The designated Pride Night OUT game promises boisterous crowds plus pre- and post-game community engagements.
- Washington Tennis Open – Now called the Mubadala DC Open, this annual tournament is only combined mens’ and womens’ 500-level tennis tournament in the world. The open is one of D.C.’s longest-standing sports traditions, and will take place at the Rock Creek Park Tennis Center July 25-Aug. 2. Naomi Osaka, Venus Williams, Ben Shelton, Frances Tiafoe, and others are expected to play.
Festivals
- Afro Plus Fest: This huge, three-day Afro-Caribbean Hip-Hop Festival brings together headliners Davido, Alkaline, and Wizkid, plus Tems and Ayra Starr. The event moves from RFK to the Northwest Stadium Complex for three days, Sept. 4-6.
- Capital Fringe Festival: Running from July 11-21, this massive celebration features dozens of live theater, comedy, dance, and boundary-pushing nighttime performances across multiple DC neighborhoods.
- The National Book Festival returns, with headliners like Cynthia Erivo, and Martin Scorsese. The one-day festival, Saturday, Aug. 22, brings together bookworms and word nerds under the theme “America 250: It’s Your Story.” There are talks, workshops, musical sessions and more.
- All Things Go: A three-day festival Sept. 25-27 at Merriweather Post Pavilion featuring Mitski, Hayley Williams, Brandi Carlile, MUNA, Zara Larsson, Ethel Cain, and many, many more artists. There are single-day and three-day tickets. Featuring and highlighting female artists, the festival has turned into a must-see for many LGBTQ audience members.
- Fuchsia Fest: The inaugural Fuchsia Fest is a new multi-day celebration created to celebrate LGBTQ community and expression, bringing together a mix of community gatherings, entertainment, and nightlife. The event takes place Sept. 18-20 and is hosted by Capital Pride.
Art and Music
- United We Dance: A high-energy rave with house, techno, bass, and festival music, on Aug. 1 at the 9:30 Club.
- The Fray. On Aug. 14, this American rock band famous for How To Save A Life is at Merriweather Post Pavilion.
- Kesha: Kesha’s high-energy The Freedom Tour comes to the D.C. area on Aug. 14 at Jiffy Lube Live.
- ALOK: On Sept. 3 at Lincoln Theater, ALOK (they/them) performs. The poet, comedian, and actor is putting on a new comedy show.
- 2charm, the emerging Australian electronic club-pop duo popular with the queer community, which blends hyperpop and dance music, comes to the Atlantis.
- Sapphic Dance Party: a vibrant, inclusive nightlife and social event designed specifically for queer women, lesbians, bisexuals, trans individuals, and nonbinary folks, at Atlantis on Aug. 21.
- Jazz in the Garden: The most quintessential of D.C. activities returns Friday evenings through Aug. 14. This season’s theme, “American Sounds,” is a nod to the nation’s 250th anniversary. Tunes themes range from Appalachian and Americana to Creole jazz, Hill Country blues, contemporary jazz, and more. Tickets are available through a lottery system a week before each event.
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