Arts & Entertainment

Rare piece of LGBTQ history turns up on Google

Published

6 years ago

January 6, 2020

*Portrait of* ***John Addington Symonds*** *(Image via Wikimedia Commons)*

Researchers at Baltimore’s Johns Hopkins University found themselves the beneficiaries of a lucky twist of fate when a simple Google search led them to a rare document credited with helping to lay the foundation for the gay rights movement.

Written in 1873 by English poet and historian John Addington Symonds, “A Problem in Greek Ethics” was an essay questioning why Western culture, which had modeled itself on that of classical Greece, did not embrace and accept homosexuality as the ancient Greeks had done. Fearing that a work promoting the morality of same-sex relations – which were deemed a criminal offense in 19^th century England – might potentially lead to his imprisonment, Symonds had only 10 copies printed in an effort to keep it from falling into the wrong hands. Of these, five had been thought to have survived, now in the collections of libraries in the UK and US.

According to the Baltimore Sun, that assumption was abruptly proven wrong when Gabrielle Dean, a curator at Johns Hopkins, was doing research for an upcoming exhibit called “Queer Connections: The Library of John Addington Symonds.”

“I was trying to verify the authenticity of Symonds’ handwriting by comparing the example we had to samples of his handwriting in other books,” she said. “I Googled ‘John Addington Symonds’ handwriting’ and one of the hits was a brand-new listing for ‘A Problem in Greek Ethics’ from a rare book dealer.”

She shared the information with Shane Butler, director of the university’s Classics Research Lab, and the two obtained approval to purchase the book for an undisclosed price.

Butler said, “I was blown away when Gabrielle showed me the listing… The odds of coming across something so incredibly rare are practically zero.”

The find had a personal significance for Butler, who has interested in Symonds since he found a reprint of “A Problem in Greek Ethics” in a used bookstore as an undergraduate at Duke University in the early 1990s.

“I was a young gay man who was just out of the closet and I was a classics major,” he said. “Here was a book about how homosexuality was celebrated in ancient Greece and Rome. I had to have it.”

Symonds was himself attracted to men, but like most gay men of his era lived a closeted life, with a wife and four children – though his sexual orientation was, at least late in his life, something of an “open secret.” Though his name is mostly familiar today only with literary scholars, he was well-known in his time, counting such literary figures as Walt Whitman and Robert Louis Stevenson in his circle of acquaintances, and his writings in “A Problem in Greek Ethics” seem to have influenced Oscar Wilde in his defense while on trial for “gross indecency.”

Butler says, “Even if Symonds was forgotten after he died, his essay wasn’t. Pirated copies were passed hand to hand and read throughout the 20th century. The essay has been enormously influential in the struggle for gay rights.”

“There’s something sacred about a book like this,” he adds, “especially for queer students and gay faculty like myself. Just knowing that it’s there and being able to hold it and turn its pages is incredibly moving.”

The newly-discovered copy was originally given by Symonds to British scholar and explorer Sir Richard Burton; it then spent more than a century traveling between private collections before Dean’s fortuitous find, and is now on public display for the first time as the centerpiece of the “Queer Connections” exhibit at Johns Hopkins’ Eisenhower Library, which continues through March 13.

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Photos

PHOTOS: ‘Studio 69’

Glitterati Productions hold party at Bunker

Published

1 hour ago

May 11, 2026

Michael Key

'Studio 69' was held at Bunker on Friday. (Washington Blade photo by Michael Key)

Glitterati Productions held the “Studio 69” party at Bunker on Friday, May 8.

(Washington Blade photos by Michael Key)

Arts & Entertainment

Washington Blade’s Pride on the Pier returns June 13 to kick off D.C. Pride week

Pride on the Pier officially launches Pride Week in D.C.

Published

7 hours ago

May 11, 2026

Staff reports

The Washington Blade’s annual Pride on the Pier celebration returns to The Wharf on Saturday, June 13, 2026 from 4-9 p.m., bringing thousands of LGBTQ community members and allies together for an unforgettable waterfront celebration to kick off Pride week in Washington, D.C.

Now in its eighth year, Washington Blade Pride on the Pier extends the city’s annual celebration of LGBTQ visibility to the bustling Wharf waterfront with an exciting array of activities and entertainment for all ages. The District Pier will offer DJs, dancing, drag, and other entertainment. Alcoholic beverages will be available for purchase for those 21 and older.

“Pride on the Pier has become one of the signature moments of Pride in D.C.,” said Lynne Brown, publisher of the Washington Blade. “There’s nothing like watching our community come together on the waterfront with live music and incredible energy as we kick off Pride week.”

Pride on the Pier is free and open to the public, with VIP tickets available for exclusive pier access to the Dockmaster Building. To purchase VIP tickets visit www.prideonthepierdc.com/vip.

Additional entertainment announcements, sponsor activations, and event details will be released in the coming weeks.

Event Details:

📍 Location: District Pier at The Wharf (101 District Sq SW, Washington, DC)
📅 Dates: Friday, 13, 2026

⏱️ 4-9PM
🎟️ VIP Tickets: www.PrideOnThePierDC.com/VIP

Theater

National tour of ‘Gatsby’ comes to National Theatre

Out actor Edward Staudenmayer talks playing the show’s gangster

Published

1 day ago

May 10, 2026

Patrick Folliard

Edward Staudenmayer plays Meyer Wolfsheim in ‘The Great Gatsby.’ (Photo courtesy National Theatre)

‘The Great Gatsby’
May 12-24
The National Theatre
1321 Pennsylvania Ave., N.W.
$59-$196
Thenationaldc.com

Often dubbed “The Great American Novel” for its depiction of ambition and self-invention alongside the reversals of success, F. Scott Fitzgerald’s “The Great Gatsby” says it all in a fast read.

Set against the excesses and energy of the Roaring Twenties, “The Great Gatsby,” novel and now the same-titled hit Broadway musical with a jazz/pop original score by Jason Howland and Nathan Tysen, tells the story of Nick Carraway and his friendship with Jay Gatsby, an enigmatic millionaire intent on reuniting with ex-lover, Daisy Buchanan.

It was during a four-month 2025 run in Seoul, South Korea, that out actor Edward Staudenmayer first played the show’s heavy, Meyer Wolfsheim, a gangster who helped Gatsby make his murkily acquired fortune. As Meyer, Staudenmayer opens the second act with, appropriately enough, “Shady.”

Now three months into a year-long North American tour, the show is poised to enjoy a brief run at Washington’s National Theatre (5/12-5/24).

While putting on his eyeliner prior to a recent Wednesday matinee at Chicago’s Cadillac Palace Theatre, the upstate New York-based actor shared about Gatsby and a life in theater.

WASHINGTON BLADE: Despite your good looks and terrific voice, you’re rarely the leading the man. How is that?

EDWARD STAUDENMAYER: I’m definitely a character man. I’ve been painting lines on my face to play old men since I was in high school. I was the youngest freshman in college playing old Uncle Sorin [in Chekhov’s “The Seagull”].

There have been many villains. Some darker than others. Meyer Wolfsheim is a very bad guy, but he doesn’t haunt me once I’m offstage. I play a lot of pickleball.

BLADE: Is it true that like so many of Fitzgerald’s characters, Wolfsheim is famously based on someone the writer encountered in life.

STAUDENMEYER: That’s true, Wolfsheim is pretty much a direct portrayal of real-life mobster and 1919 World Series fixer [Arnold Rothstein].

BLADE: When did the 1925 novel first surface on your radar?

STAUDENMAYER: Like many of us, I was assigned “The Great Gatsby” in high school. It was short, and filled with sex and illicit activities. I thought it was great. Definitely wasn’t a Judy Blume novel.

Interestingly, the book wasn’t originally a huge a success for Fitzgerald, but because it was about war and having the girl at home, they gave it to GIs leaving for WWII. After returning, a lot of those guys went on the GI Bill and became English teachers. They assigned the book to their students.

BLADE The idea that the book’s first-person narrator, Nick Carraway, is gay and enamored with Jay Gatsby is long discussed among readers and scholars. Does the musical touch on that?

STAUDENMAYER: Yes, there’s conjecture about Jay and Nick, and it’s implied in our show. It’s also implied about Jordan Baker, Jay’s fleeting romantic interest. Ultimately, she’s a confirmed bachelor, and a professional golfer who only wears pants.

Our performers are really good. Josh Grasso who plays Nick is fantastic. I’ve had to stop watching him in his last scene; it’s not good for Meyer Wolfsheim to take his curtain call crying. Our Gatsby, Jake David Smith, is good too. He’s gorgeous like Superman and sings like an angel.

BLADE: Do you ever imagine backstory for your characters whose sexuality is undefined?

STAUDENMAYER: I do, but not with Wolfsheim. I don’t see it. I’m trying to be as butch as possible with this ruthless killer.

BLADE: Have you had to do that in your career?

STAUDENMAYER: For a long time, I wore a mask to hide my gayness. I worked hard on being believable, that I was into the girl or that I was a tough guy.

It’s a different world now, and it’s so refreshing to be around the younger actors today; they’re remarkably open and comfortable.

BLADE: What was your coming of age like?

STAUDENMAYER: I played high school football in Palm Springs [he chuckles, alluding to the arid gay mecca], and I was pretty good too. But much to the chagrin of my parents and coaches, I quit the team to act in our senior year play. My super butch dad played semi-pro football and he was an ex-cop. I’m named after him. While I didn’t become my dad, I’ve played him often on stage. He was a true Gaston [the bumptious rival in “Beauty and the Beast”]. And like Gaston, he used antlers in all his interior decorating.

BLADE: Did he live to see your success in theater?

STAUDENMAYER: He did. Life was challenging growing up but the last 10 years of his life we couldn’t get off the phone with each other [his voice catches with emotion]. He accepted me entirely, and we became very close.

BLADE: Looking ahead, is there a part you’d especially like to play?

STAUDENMAYER: Like all baritones I’d love to play Sondheim’s “Sweeney Todd.” I’ve come close but it hasn’t happened yet. There’s still time.