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‘Messiah,’ ‘Nutcracker’ and gay fare among D.C.-area’s 2019 holiday shows

Gay Men’s Chorus, John Waters, Signature’s ‘A Chorus Line’ for starters

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holiday shows, gay news, Washington Blade
Paul Morella in the one-man show ‘A Christmas Carol: A Ghost Story of Christmas.’ (Photo courtesy Olney) 

From a giant Christmas maze at Nationals Park to appearances from the Nutcracker and Ebenezer Scrooge, from klezmer concerts to lively Kwanzaa celebrations, it’s going to be a spectacular holiday season in the D.C. region.

It kicks off at the Warner Theatre with “A Magical Cirque Christmas” (Nov. 22) and “A Drag Queen Christmas: The Naughty Tour” (Nov. 23).

From Nov. 30-Dec. 29, the Warner Theatre will again host the Washington Ballet’s beloved production of “The Nutcracker.” Featuring a cast of over 100 and classic choreography by Septime Webre, this historic production is set in Georgetown and stars George Washington as the heroic nutcracker and includes appearances by King George III, Harriet Tubman, Frederick Douglass, John Paul Jones and other historical figures. Tickets and information on special events like performances at THEARC and the Nutcracker Tea Party are at washingtonballet.org.

Through Jan. 5, Arlington’s Signature Theatre is offering a special seasonal treat for musical theater fans: a fresh look at the ground-breaking Broadway musical “A Chorus Line.” The theatre will also present “A Motown Christmas” Dec. 3-21.

The cast of ‘A Chorus Line at Signature Theatre.’ (Photo by Christopher Mueller)

On Dec. 7, Wolf Trap hosts the Annual Holiday Sing-A-Long. Attendees are invited to bring a new, unwrapped toy for “Toys for Tots” and a candle to participate in the traditional candlelit recessional. Admission is free and details can be found at wolftrap.org/tickets.

Other holiday programming at Wolf Trap includes Ronnie Spector and the Ronettes with “The Best Christmas Party Ever” (Dec. 5-6) and virtuoso fiddler Eileen Ivers with “A Joyful Christmas” (Dec. 7).

The championship magic continues at National Park as “Enchant D.C.” transforms the baseball field into a world of Christmas wonder. The attractions include the World’s Largest Christmas Light Maze, a Holiday Market with about 60 local and international vendors, an Ice Skating Trail and the Enchant Cinema. Children of all ages can visit with Santa Claus at Santa’s Landing and Ms. Claus will host a story time in her special reading nook. 

Nationals Park is transformed into a Winter Wonderland. (Photo courtesy Enchanted 2019)

Enchant D.C. will also include live entertainment as well as venues for casual treats and fine dining. The magic runs Nov. 22-Dec. 29. Tickets and more information are available at enchantchristmas.com.

D.C. Different Drummers (dcdd.org) will hold their annual holiday concert on Sunday, Dec. 15 at the Church ohf the Reformation near Union Station.

From free shows on the Millennium Stage to a diverse array of concerts and shows in several theaters, every corner of the Kennedy Center will be filled with holiday cheer this season. This year’s schedule includes “Love, Factually,” the Second City’s farcical take on the beloved holiday film Dec. 3-29 and the NSO’s “A Holiday Pops!” with special guest Leslie Odom, Jr. (“Hamilton” and “Harriet”) Dec. 13-14.

From Nov. 23-Jan. 5, the Kennedy Center will present the world premiere of “Don’t Let the Pigeon Drive the Bus! (The Musical!),” based on the popular children’s book by Mo Willems. From Dec. 19-22, the National Symphony Orchestra will present the perennial audience favorite Handel’s “Messiah.” The popular “Sing-Along Messiah” will take place on Dec. 23. Free general admission tickets will be distributed starting at 4:30 p.m. on the day of the event.

From Dec. 13-18, the Folger Consort (folger.edu/folger-consort), the early music ensemble of the Folger Shakespeare Library, will present “Gloria!,” a baroque Italian Christmas with music by Vivaldi, Scarlatti and Corelli.

The Folger Shakespeare Library (folger.edu) will also celebrate the season with the annual Emily Dickinson Birthday Tribute. On Monday, Dec. 9, there will be a discussion of Dickinson’s poetry followed by a wine reception featuring slices of Dickinson’s famous black cake. 

As always, the Strathmore in North Bethesda is a center for holiday cheer. Events at the Mansion will include performances by Bridget Kibbey, known as the Yo-Yo Ma of the harp (Dec. 5) and a concert by cellist Alicia Ward and percussionist Joey Antico as part of the “Inspired Pairing” series (Dec. 12).

The rich holiday programming at the Music Center at Strathmore include the 30th anniversary tour of Béla Fleck and the Flecktones (Dec. 2), the annual Christmas Tour by smooth jazz saxophonist Dave Koz & Friends (Dec. 9), a family-friendly evening of storytelling by comedian and actor Sinbad (Dec. 13) and the return of an audience favorite, “The Hip-Hop Nutcracker” (Dec. 17-19). There will also be special holiday performances by the Maryland Classic Youth Orchestra (Dec. 7) and the Strathmore Children’s Chorus (Dec. 8).

Powered by Strathmore, AMP will offer a lively mix of holiday programming at the Pike & Rose on Rockville Pike. Shows include the Kids Pajama Jam Party hosted by Lucy Kalantari and the Jazz Cats (Dec. 1), country rock singer Patterson Hood of Drive-By Truckers (Dec. 3), classical crossover quartet the Sons of Serendip (Dec. 5) and D.C.-based smooth jazz musician Anthony Walker (Dec. 6). 

In addition, the Sweetback Sisters will host a toe-tapping country Christmas (Dec. 8); 2019 Strathmore Artist-in-Residence Seán Heely will return with “A Celtic Christmas” (Dec. 13); Seth Kibel and his quartet will offer klezmer music, jazz and Hanukkah tunes (Dec. 18); and, The Soul Crackers will celebrate the holidays with the sounds of Memphis and Motown (Dec. 21).

Information on all of these events can be found at strathmore.org.

As usual, the Gay Men’s Chorus of Washington will be ringing in the holiday season with glitter and glamour. The all-new edition of “The Holiday Show” will be bigger and better than ever, featuring disco dancers, falling snowflakes, soaring vocals, muscle boys, candlelight processionals, a visit from Santa Claus, and a 7-foot Christmas tree. 

Performances are December 7, 14 and 15 at the Lincoln Theatre; the matinee performances on Dec. 14 and 15 will be ASL-interpreted. Tickets are available at gmcw.org.

The Holiday Show by the Gay Men’s Chorus of Washington. (Photo courtesy GMCW)

From Dec. 14-30, the Atlas Performing Arts Centre on H Street, NE (atlasarts.secure.force.com/ticket) will present Step Afrika!’s Magical Musical Holiday Step Show. This contemporary holiday tradition features percussive beats, friendly, furry characters, pre-show instrument-making workshops and a dance party hosted by DJ Frosty the Snowman.

Atlas will also present “A Bohemian Christmas” on Dec. 16 and the children’s show “Squeakers and Mr. Gumdrops” from Dec. 27-31.

Filthy film auteur John Waters brings his annual holiday show — this year dubbed “Filthier & Merrier: It’ll Stuff Your Turkey” to the Birchmere in Alexandria, Va., on Wednesday, Dec. 18 and his beloved hometown Baltimore at Baltimore Soundstage the following night. Tickets available through the venue websites or via Ticketmaster. 

Pop diva Mariah Carey brings her “All I Want for Christmas Is You” show to MGM National Harbor in Oxon Hill, Md., Dec. 9-10. Prices may ebb and flow based on demand, but as of this writing range from $110-500 via Ticketmaster. (Side note: Epic this month released a “deluxe 25th anniversary edition” of her classic release “Mariah Carey: Merry Christmas” featuring a generous bounty of bonus content including vintage live cuts recorded at The Cathedral of St. John the Divine.)

Mariah Carey plays MGM National Harbor Dec. 9-10. (Photo courtesy Live Nation)

With beautiful holiday decorations augmenting the legendary stained-glass windows, the Washington National Cathedral (cathedral.org) is a splendid place to celebrate the holiday season. From Dec. 6-8, the Cathedral Choir will sing Handel’s “Messiah,” and on Dec. 7 the chorus will present a special family edition of the masterwork, often performed this time of year. This shortened version of this iconic work focuses on the birth of Jesus and continues the story of his death and resurrection through selected arias and choruses, ending with the famous “Hallelujah Chorus.”

With a cast of about 100, Washington Revels (revelsdc.org) will present the 37th annual production of “The Christmas Revels” in eight performances from December 7-15 at George Washington University’s Lisner Auditorium.
Combining elements of a fully staged holiday play, a choral concert with sing-alongs and centuries-old winter traditions, The Christmas Revels offers a trademark blend of professional entertainment and community engagement. The Christmas Revels: “Celestial Fools” will transport audiences to a rustic European village nestled somewhere in the mists of time. As the winter days grow short, three wandering performers arrive from far-off lands, weaving music, dances and stories from their cultures into an enchanting and dramatic tale of the Winter Solstice.

Fans of Charles Dickens can enjoy his classic holiday tale in two very different versions. Ford’s Theatre (fords.org) offers “A Christmas Carol” with all the trimmings. Popular D.C. actor Craig Wallace (recently seen in “Death of a Salesman” and “Fences”) leads a large cast in a rollicking production filled with lively music and sumptuous sets and costumes.

The Olney Theatre Company just north of Washington, offers company member Paul Morella in a solo rendition “A Christmas Carol: A Ghost Story of Christmas.” Drawing from Dickens’ own lecture notes, Morella’s one-man show is a captivating theatrical tour de force.

Olney will also present “Singin’ In the Rain” this holiday season. Based on the beloved 1952 film, the show includes great singing and dancing and, of course, an onstage rain shower.

Another ghost story is haunting The Shakespeare Theatre this holiday season. A Christmas favorite with audiences in London’s West End, “The Woman in Black” will be scaring D.C. audiences from Dec. 4-22 at the Shakespeare’s Michael R. Klein Theatre. More traditional holiday fare will be onstage at the Shakespeare’s Sidney Harmon Hall: J. M. Barrie’s “Peter Pan and Wendy” in a new adaptation by Lauren Gunderson.

Dance Place in the Brookland neighborhood (danceplace.org) will hold a Kwanzaa Celebration on Dec. 14. Led by director Sylvia Soumah, the communal event will celebrate the seven principles of the holiday.

On Dec. 27, the Smithsonian’s Anacostia Community Museum (anacostia.si.edu) will host an interactive introduction to Kwanzaa with the Melvin Deal African Heritage Dancers and Drummers. The audience participatory program includes dancers, singers, music, colorful costumes and lively characters designed for young children and adults alike.

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‘Tiger’ burning bright: an interview with Mary Timony

Today’s female-driven music scene wouldn’t be the same without her

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Mary Timony is back with a new album. (Photo by Chris Grady)

It’s hard to imagine what the current female-driven music scene would be like without Mary Timony. From Sleater-Kinney to Haim, from Angel Olsen to Mitski, the influence of Mary Timony is in every note being played, every word being sung. On her new solo album, “Untame The Tiger” (Merge), with its sly nod to Joni Mitchell, Timony has brought her many years of musical experience to the fore, resulting in what is easily her most accessible release. Beginning with the incredible six-plus minute opener “No Thirds” and continuing through the first single, “Dominoes,” and gorgeous numbers including “The Guest,” “The Dream,” and “Not The Only One,” Timony is assured to keep listeners purring along. Timony made time for an interview shortly before the album was released.

BLADE: Mary, I’d like to begin by talking to you about your musical lives in D.C. and Boston. I went to college in Boston in the early 1980s and was constantly amazed by the bands of the era such as Mission of Burma, Human Sexual Response, and ‘Til Tuesday. I moved to D.C. in the mid-1980s to go to grad school, and at the time, the music scene there was dominated by go-go music, and a smaller indie music featuring BETTY and the late Tommy Keene, among others. What do you remember about the music in D.C. as someone who grew up there?

MARY TIMONY: That’s interesting. We kind of did a switcheroo. I’m from D.C. and I moved to Boston. (In D.C.) I learned, as a teenager, about rock shows and rock music from being involved in the punk scene, the post-hardcore scene of kids here. Those are the shows I went to in high school. Basically, the Dischord (Records) bands and stuff. I saw every single Fugazi show from when they started in ’87. Before that, whatever was happening in 1985, hardcore shows by Swiz and Soulside and Kingface and I loved Ignition. Other than that, I would go see bluegrass out in Virginia and I loved go-go. I would go to see (go-go bands) Rare Essence and Trouble Funk. I was very into that stuff; that was really exciting. I think I liked go-go the most out of all of it, actually [laughs]. I would go to DC Space and 9:30 (Club), mostly for local (acts). I don’t think I ever saw BETTY, but I was a teenager then.

BLADE: Was the active music scene in Boston in the early 1990s part of the appeal for you when it came to relocating to Boston to attend Boston University?

TIMONY: The reason why I went there was because I wanted to go to a music program that was in a big university, in case I didn’t wanna study music the whole time, which is exactly what happened. I studied classical guitar for a year and then I didn’t really like the program much, so I transferred to study English. I found out about the (Boston) music scene from friends. We went to The Middle East (nightclub) and TT’s (T.T. The Bear’s nightclub). Then after college, I ended up living right down the street from The Middle East and I was there constantly.

BLADE: Good old Central Square! As a performer playing in bands including Autoclave, Helium, and Ex Hex, and as a solo artist with her own band, it’s not unreasonable to say that Mary, you are someone who plays well with others. 

TIMONY: [Big laugh.]

BLADE: What makes you such a good team player?

TIMONY: I didn’t know I was [laughs]. I’ve gone back and forth between doing solo stuff and being in bands. Mostly, I’ve done projects where I’ve written a bunch of songs and I’m trying to…I haven’t done a ton of collaborative stuff really. Ex Hex was fun because it was more collaborative. Wild Flag, the same thing, totally 100% collaborative in every way. But Helium was really my thing, but I got some great people that totally influenced it. I’ve always been doing my own thing but tried to find really good people. Music really is about connection. It’s never as good if it’s only one person’s vision. Usually, if it’s good it’s good because of the connection between the musicians. Music is a social art form, I think.

BLADE: “Untame The Tiger” is the title of your new album. In 1999, Joni Mitchell titled her album “Taming The Tiger.” Are you, in any way, making a nod to Joni?

TIMONY: A little bit because I am a huge fan. I have been since I was 18. But, it sort of came to me because I have a song called that on the record and I’m sure that probably came from ripping off Joni Mitchell. Then I just thought that’s a cool name for a record. Then I thought, “Oh, shit!” [Laughs] It’s already been taken! Then I thought about it and then I forgot about it. Then I thought about it again and finally, I was like, “It’s OK. It’s a little bit different.” And I love her!

BLADE: I’m currently reading Ann Powers’ book “Traveling: On the Path of Joni Mitchell,” which comes out in June.

TIMONY: Oh, I’m definitely going to have to read.

BLADE: Yes, please add that to your reading list. “Untame The Tiger” is your first new solo studio album in 15 years. Are there things you write and sing about on your solo records that might be out of place on an album you would record with another one of your musical outfits?

TIMONY: Yes. That’s why this ended up being a solo record. I guess it was because of the tuning of my guitar. They were more or less finished songs. I wanted the songs to sound kind of acoustic. I also wanted to play with a bunch of musicians who I really love. All those things just made it seem like a solo record. If I’m writing for a band, like Ex Hex, which is basically the other band that I do right now, they’re not finished. I bring them in (to the band members) with that band in mind.

BLADE: I love the lush instrumental section on “Thirds” and the psychedelic sounds of “Looking For The Sun” and “The Guest.” Were there things you were listening to while writing the songs for “Untame The Tiger” that were inspiring to you?

TIMONY: I was listening to a lot of music, a ton of stuff. I don’t ever try to purposely emulate anything very often, but I can’t help it. I’d rather be influenced by stuff without really thinking about it too consciously. I always have loved listening to The Left Banke’s instrumentation and The Moody Blues’ string parts. Most of the string parts come from trying to emulate The Moody Blues [laughs] or The Left Banke. I’m obsessed with The Left Banke.

BLADE: “Walk Away Renée,” right?

TIMONY: Yes. This guy, Michael Brown, was such a genius. He wrote so much stuff as a teenager. His dad was a string arranger. Anyway, I love those string parts. I was listening to this prog-rock band The Strawbs and this early (Ronnie) Dio band Elf. (The Flying) Burrito Brothers and The Byrds, too. I love Fairport Convention and Steeleye Span. Richard Thompson and I was really obsessed with Gerry Rafferty’s early solo record called “Can I Have My Money Back?” I love that record. I was listening to it a ton when I was arranging the songs.

BLADE: Why was the song “Dominoes” selected as the first single from “Untame The Tiger?”

TIMONY: I don’t know. I let other people tell me [laughs]. I really hate sequencing records and I hate choosing singles. I’m just too close to it. I can’t tell what people are going to like or not. A lot of times, the ones that I like are not the ones that other people like. I asked (the people at) the label and they suggested that. I think it’s more poppy sounding. Dave Fridmann mixed that one and “Don’t Disappear” and he’s a genius mixer. and these mixers are always very pleasing and accessible sounding. I think that has something to do with it, too.

BLADE: Earlier, we talked about your long history of playing music with others, which reminded me of your guest spot singing “All Dressed Up In Dreams,” written by gay singer/songwriter Stephin Merritt for his band The 6ths’ “Wasps’ Nest” album. 

TIMONY: He’s such a genius!

BLADE: How did that come about?

TIMONY: When I moved to Boston, for a year I lived with Claudia (Gonson of Merritt’s band The Magnetic Fields), who is his drummer. I lived in a group house in Cambridge. I was friends with Claudia, and Stephin lived a few blocks away. She told me he was making this record with guest singers they wanted to go over and sing on it. I went over there one day and he taught me the song and I sang on it.  I think he’s one of the best songwriters of the last 50 years or whatever.

BLADE: I completely agree. As someone who has collaborated with Stephin, are you aware of an LGBTQ+ following for your own music?

TIMONY: I don’t know. I think maybe a little bit. I’d love that. I love everybody who can connect with it, because all I’m trying to do is connect with people.

Mary Timony (Photo by Chris Grady)
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Sherry Vine is turning 60 — and she’s not quitting anytime soon

Legendary drag queen coming to D.C. for new show, ‘Smoke and Mirrors’

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Sherry Vine performs in D.C. on March 9. (Photo courtesy of Sherry Vine)

There are many things Sherry Vine is proud of. Throughout her 33-year-long career, the drag queen has accomplished so much — she’s released music, launched her own variety show and toured across the United States and Europe. 

But what she loves the most about her career is making people laugh. 

This calling to be a comedy queen started before her formal drag career. In high school, she remembers taking part in the musicals, and Vine would find joy in making people laugh by wittily changing song lyrics. 

“Then it just evolved into doing that as the act,” Vine said in an interview with the Blade. 

From the beginning of her career, she’s made singing live parodies a central part of her performance as a drag queen. And for her 60th birthday, she knew she wanted to put on an extravaganza. 

Vine is coming to the Woolly Mammoth on March 9 while on tour for her new show “Smoke and Mirrors,” performed and written by her. It’ll include new parodies, from Bruce Springsteen to ABBA. The D.C.-based drag queen Tara Hoot will be a special guest at the show. 

There’s a lot that led up to this milestone year for Vine. It all started with developing her character more than 30 years ago. 

Developing Sherry Vine

Vine describes her persona as a down-on-her-luck showgirl from Las Vegas with a heart of gold. 

She was always obsessed with stars like Joey Heatherton and Stella Stevens. Not to suggest those stars are down-on-their-luck showgirls, Vine said, but she wanted to evoke a sex kitten mentality. Her character eventually morphed into what it is today from these inspirations. 

But at first, Vine said she thought she had to look funny to be funny. 

“I didn’t care about the makeup. I didn’t wear big breasts. I just thought I had to look like a clown,” Vine said. 

When she moved to New York City in 1992, she was surrounded by queens who balanced being funny and gorgeous simultaneously. That was eye-opening for her, she said. 

Now, she relishes surprising people, she said. She’s been told she looks “too pretty” to be taken for a comedy queen, but that’s OK with her. 

“I want to walk out on stage, and anyone who’s never seen me, maybe they’re like, ‘Oh, she looks good,’” Vine said. “And then I started singing about poop and penis and they’re like, ‘Oh my gosh, she’s so stupid.’”

When she was starting out as a drag queen, Vine reflected that she didn’t envision doing drag as a career. She remembers not wanting to commit to it. She wanted to be a movie star, she said. 

“I kind of fought it. I loved it,” Vine said. “But I was like, I’m not doing this as a career.’”

But once she let go of fighting it, her career exploded. She got connected with RuPaul and was on two television specials in the 1990s. That support was crucial, Vine said, and helped her believe in herself more. 

“I was like, ‘Oh, OK. If this person thinks that I have something, then maybe I do,’” Vine said. 

Drag has changed — a lot 

(Photo courtesy of Sherry Vine)

The drag scene has changed drastically. Vine credits a lot of this transformation to “RuPaul’s Drag Race.” 

“When we started doing drag 30 years ago, no one in their right mind would have been like, ‘I’m going to do drag so I can make a lot of money and be famous,’” Vine said. 

Before RuPaul’s iconic single “Supermodel (You Better Work),” one of the only examples of drag the average consumer saw was “Mrs. Doubtfire,” Vine said.  

“You had to have a passion for it,” Vine said. “You had to have a calling.”

When Vine started, drag was a fringe art form that had an audience of mostly gay men. 

Nowadays, it’s mainstream. Drag is enjoyed by a much wider audience, and is more of a way to become famous. When Vine was coming up in the industry, there were few ways to get on TV and in films as a drag queen, short of playing a character that was murdered on “Law & Order,” she said. 

But even though drag has evolved and grown in popularity, Vine’s advice to drag queens has stayed the same over the years. 

“Don’t try to do something because you think someone else is doing it successfully,” Vine said. “Find what you do, and then exploit and explore that.”

Looking back, looking ahead 

Out of her multi-decade run as a drag queen, Vine said she’s most proud of the longevity of her career. There are a few people who have been in it as long as she has — Lady Bunny and Miss Coco Peru, for example. Few others have made it as long as Vine, she said.  

She stresses that she can’t take credit for creating things, but she takes pride in being one of the first drag queens to go viral on YouTube in the 2000s. Her “Bad Romance” parody, released in 2009, racked up more than 6 million views over the years. 

In the next few years, she’s looking into doing more television and film projects. Her latest show, “The Sherry Vine Variety Show,” just wrapped filming its third season. Creating this show is fulfilling a childhood dream of hers, she said. It’s an homage to “The Carol Burnett Show,” which Vine grew up watching. 

Whether it’s performing on camera or onstage, Vine doesn’t see herself quitting anytime soon. 

“I love performing and drag as much now as I did 33 years ago,” Vine said. “So I don’t see ever stopping.”

To get details on how to buy tickets to “Smoke and Mirrors,” visit woollymammoth.net/productions/sherry-vine.

(Image courtesy of Sherry Vine)
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Girls Rock! DC empowers young people through music, social justice education

Organization founded in October 2007

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Youth leaders of Girls Rock DC! (Washington Blade photo by Michael Key)

Girls Rock! DC, an organization operating at the intersection of art and activism, is dedicated to empowering young people through music and social justice education. 

Since its founding in October 2007; Girls Rock! DC has been creating a supportive, inclusive and equitable space that centers around girls and nonbinary youth, with a special emphasis on uplifting Black and Brown youth. At the core of Girls Rock! DC’s mission is a unique approach to music education, viewing it through a social justice and equity lens. 

“It’s a place where people can come explore their interest in music in a safe environment, figure out their own voice, and have a platform to say it,” Board Vice Chair Nicole Savage said.

This approach allows D.C.’s young people to build a sense of community and explore their passion for social change through after-school programs, workshops and camps.

The organization’s roots trace back to the first rock camp for girls in August 2001 in Portland, Ore. Similar camps have emerged worldwide since then, forming the International Girls Rock Camp Alliance. Girls Rock! DC is a member of this alliance, contributing to the larger community’s growth and advocacy for inclusivity in the music industry.

Girls Rock! DC’s annual programs now serve more than 100 young people and 20 adults, offering after-school programs and camps. Participants receive instruction on the electric guitar, the electric bass, keyboards, drum kits and other instruments or on a microphone and form bands to write and perform their own original songs. Beyond music, the program includes workshops on underrepresented histories in the music industry, community injustice issues and empowerment topics that include running for office and body positivity.

“I’ve been playing shows in the D.C. music scene for about six years, and I feel like Girls Rock! DC is the perfect amalgamation of everything that I stand for,” said Outreach Associate Lily Mónico. “So many music spaces are male dominated and I think there is a need for queer femme youth in music.”

Lily Mónico (Washington Blade photo by Michael Key)

The organization’s commitment to diversity and inclusion is evident not only in its leadership but also in the way it creates a safe space for queer and nonbinary individuals. Language is a crucial component, and Girls Rock! DC ensures that both campers and volunteers embrace inclusivity. 

“It is a very open and creative space, where there’s no judgment,” Zadyn Higgins, one of the youth leaders, emphasized. “It is the first time for a lot of us, to be in a space where we’re truly able to be ourselves.”

In creating a safe environment, Girls Rock! DC implements practices that include name tags with preferred names and pronouns, along with pronoun banners that help kids understand and respect diverse identities. 

“It’s really cool to watch these kids understand and just immediately get it,” said Higgins. 

Zadyn Higgins (Washington Blade photo by Michael Key)

Girls Rock! DC is also more than a music education organization; it’s a community where individuals can embark on a transformative journey that extends beyond their initial participation as campers. Many start their Girls Rock! DC experience as enthusiastic campers, learning to play instruments, forming bands and expressing their creativity in a supportive environment. The organization’s impact, however, doesn’t stop there. This inspiration leads them to volunteer and intern within the organization. 

The unique progression from camper to volunteer or intern, and eventually to a full-fledged role within the organization, exemplifies Girls Rock! DC as a place where growth is not confined to a single week of camp but extends into an ongoing, impactful journey. It’s a testament to the organization’s commitment to nurturing talent, empowering individuals and fostering a lifelong connection with the values for which Girls Rock! DC stands.

One of the highlights of Girls Rock! DC is its summer camp, where kids between 8-18 learn to play instruments, form bands, write songs and perform in just one week. Higgins shared a poignant moment from a showcase,

“To see them go from, like, crying a little bit about how scared they were to going out on the stage and performing their little hearts out was so sweet,” said Higgins.

(Photo courtesy of Frankie Amitrano of Girls Rock! D.C.)

Nzali Mwanza-Shannon, another youth leader, agreed that the camp is the highlight of the program. 

“The summer camp, I’ve met so many friends, and it’s always kind of scary coming up to the end, but after we get to perform and everything, I’m so grateful that I’ve gotten the opportunity to perform and meet new people and be so creative and do it all in a week,” said Mwanza-Shannon.

Forty-three young people who showcased their original songs and DJ sets at D.C.’s legendary 9:30 Club attended the first Girls Rock! DC camp in 2007. They performed to a crowd of 700 enthusiastic fans. The organization since then has grown exponentially, with each passing year bringing more energy, vibrancy and fun to the camp experience.

Since the pandemic, however, the organization has struggled financially, experiencing a funding shortage as well as reduced growth in attracting new members. 

Augusta Smith, who is a youth leader and a member of the band Petrichor, expressed concern about the potential impact on the unique and friendly environment that Girls Rock! DC provides. 

“We’ve kind of been really slow and barely making enough money. And this year, we’re having a funding shortage,” said Smith. 

The impact of Girls Rock! DC extends beyond musical skills, fostering leadership, self-expression and a passion for social change through creative collaboration and community power-building. Mwanza-Shannon hopes to be a part of Girls Rock! DC for a long time, 

“I want to keep on meeting new people,” said Mwanza-Shannon. “I want to keep on being able to perform at these different places and have different experiences.”

(Photo courtesy of Frankie Amitrano of Girls Rock! DC)
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