Arts & Entertainment
Four Larks creates beautiful monster in world-class ‘Frankenstein’
From the moment the lights come up on the Four Larks production of “Frankenstein” to reveal a genteel 19th-century sea captain, singing a period chamber song while accompanied by live acoustic musicians in front of a stark white backdrop, it’s clear you are in for something unexpected.
One might argue that the LA-based performance troupe has already made a name for itself on the basis of delivering the unexpected, through its immersive, experiential productions that exist “at the intersection of theatre, music, visual art and dance” (as their online self-description puts it), and that anyone seeing their work should therefore expect, well, the unexpected.
Even so, thanks to the cultural saturation that has made the story of Frankenstein and his misbegotten creation familiar to almost every member of modern American civilization over the age of three, an audience member walking into the Lovelace Studio Theatre at the Wallis Annenberg Center for the Performing Arts, where Four Larks has mounted their latest effort for a now-extended run through March 7, will unavoidably be carrying their own well-encoded assumptions about the tale – and they likely won’t bear more than a passing resemblance to the 1818 novel with which Mary Shelley introduced it to the world.
Consequently, many members of the crowd probably won’t know, or won’t remember, that Shelley’s horror classic begins and ends in the frozen Arctic wasteland, with a naval officer on a mission to reach the North Pole (a situation rendered perfectly and instantaneously by the arresting opening tableau), or that the title character relates his sad history as a cautionary tale against the dangers of man’s insatiable desire to bend the universe to his own will.
Four Larks, however, has not forgotten. In this ingenious cabinet-of-curiosities-style production, troupe founders Mat Sweeney and Sebastian Peters-Lazaro, along with librettist Jesse Rasmussen, strip away the generations’ worth of cultural baggage that has been piled atop Shelley’s original, allowing it to serve as both their inspiration and their road map for a densely-packed unwinding of the narrative that takes us from its pre-Victorian setting up to the precipice of our own modern future within the space of 70 minutes.
Utilizing a breathtakingly talented ensemble of twelve performers (who rarely leave the stage), the multi-media performance reclaims the author’s voice in her name by making her a central presence onstage; it is Mary Shelley herself who speaks the words as her literary stand-in enacts the story of his own act of creation, serving as a constant reminder that this quintessential tale of terror came from the imagination of a woman – a fact that has particular resonance in a world in which the patriarchal urge to dominate and control has led us to the brink of self-destruction.
Underscoring the contemporary import of that radical motif – as well as the prescience of Shelley’s not-very-subtle warning about the dangers of unchecked technological advancement – is a near-hypnotic progression of sights, sounds, and ideas that incorporates speaking, singing, movement, sound, lights, projections, and environmental effects to connect the dots between Frankenstein’s transgressive creation – or rather, the reckless hubris it represents – and a modern world living in the ominous shadow of nuclear destruction, artificial intelligence, and climate change.
Along the way, the literal aspects of the story sometimes get lost within the conceptual flourishes – especially for those unfamiliar with the original text – but in this envisioning, which Four Larks actor Lukas Papenfusscline, calls a “collaboration” with Shelley herself, that is part of the point. Though the production has clung tightly to the novel in terms of remaining faithful to its plot, it revels in translating its ideas into a stylized, contemporary vision that clearly communicates them to an audience and allowing them to hit us in a more direct and visceral way.
Still, many of the show’s highlights are masterful renditions of segments from the book. The creature’s birth, brought to life through the acrobatic contortions of actor Max Baumgarten, is a master class of physical performance that evokes the loneliness, pain and transgression of the experience while dazzling us with an unforgettable display of sheer grace and prowess. Similarly, the lengthy episode depicting the creature’s secret spying on the life of a human family through the windows of their cabin in the woods is executed with a crystalline simplicity that both conveys its essence and illuminates its profound observations about humanity. Finally, in an electrified (and electrifying) climactic flourish, the story’s last act of creation is terrifyingly rendered in a jaw-dropping combination of performance, stagecraft and technology that unites past and present in a spectral vision conveying the all-encompassing dread of a future mankind has created in its own image.
It may all sound a bit overwhelming, and that is exactly what was intended, not just by Four Larks but by Mary Shelley herself; but although there is no effort to soften the “shock and awe,” it is countered by the precision with which this intricately choreographed theatrical exercise is executed.
As Papenfusscline put it in an interview with the Blade ahead of the show’s opening, “It’s like a Swiss watch with a million little parts, some of it is the music, design, some of it is the acting, and we’re creating this intricate work of art that as a performer is endlessly rewarding. I’ve just had a blast.”
Judging by the sleeper success this world-class production has enjoyed in its world-premiere run at the Wallis, audiences are having a blast, too.
Arts & Entertainment
A reign defined by commitment and human impact
Nicole Murray Ramirez defined era in International Imperial Court System
Writing about the reign of Nicole Murray Ramirez and the close leadership of King Father Terry Sidie requires far more than listing achievements, because what has been built over these years cannot be reduced to titles, ceremonies, or public recognition. It must be understood as the result of a sustained vision rooted in service, memory, solidarity, and the real ability to build bridges within and beyond the LGBTQ community.
At this point, looking back and assessing this period means acknowledging that this was not just another chapter in the history of the International Imperial Court System. It was a time shaped by far-reaching initiatives, a clear commitment to concrete causes, and a style of leadership that moved confidently between symbolic representation and public action. In that context, Nicole Murray Ramirez’s announcement that her reign will conclude in February 2027, along with the coronation of the person who will assume the throne as the new Queen Mother of the Americas, should not be read simply as the end of an era, but as a moment to fully recognize what has been built while also understanding that a new chapter is about to begin.
One of the most defining aspects of this reign has been its understanding that visibility alone is not enough. Visibility matters, but it only becomes meaningful when it leads to action, support, and measurable change. That has been a consistent strength of the work led by Nicole Murray Ramirez alongside key figures such as Terry Sidie.
The Jose Nicole Terry Scholarship and Educational Fund reflects that commitment. Reaching $400,000 is significant, but what matters most is what that represents in terms of opportunity and access.
This leadership also prioritized historical memory through initiatives like the National LGBTQ Wall of Honor at the Stonewall Inn and the recognition of Jose Julio Sarria.
Efforts such as the Harvey Milk postage stamp, the USNS Harvey Milk, and multiple recognitions for Sarria reflect a sustained commitment to public recognition and justice.
International outreach, financial support to global causes, advocacy for transgender communities, and engagement with organizations beyond national borders further define this period.
The expansion into Canada and the opening of a new chapter that includes Puerto Rico highlight the evolving nature of this leadership. The upcoming June coronation marks an important step in that direction.
Acknowledging that the reign was not perfect does not weaken its legacy. It reinforces its authenticity.
This was not an individual effort. It was collective work supported by a broad network.
As the transition toward Feb. 5, 2027, continues, what remains is a legacy built on action, commitment, and responsibility.
Theater
Diverse cast tackles ‘Aguardiente’ at GALA Hispanic Theatre
Best friends rediscover their Caribbean heritage in new musical
‘Aguardiente: Where Magic Transcends Borders’
Through May 24
GALA Hispanic Theatre
3333 14th St., N.W.
$25–$65
Galatheatre.org
(surtitles in English and Spanish)
With its latest musical offering “Aguardiente: Where Magic Transcends Borders,” GALA Hispanic Theatre has cast its net wide in gathering a blend of talent including the production’s diverse 18-person cast.
Commissioned by GALA, the spanking new musical is about best friends Alberto and Alejandro (two New York writers from Puerto Rico and Colombia respectively). Together, within a short timeline under unrelenting pressure, they struggle to write the project musical of their dreams.
Along the way, the friends rediscover their Caribbean heritage through cumbia, bomba, currulao, and the magical realism of García Márquez.
Offstage, the work has been created by Luis Salgado (book), and Daniel Alejandro Gutiérrez (music), also respectively from Puerto Rico and Colombia. Multiple Helen Hayes Award-winning Salgado is directing and choreographing the GALA production.
In the role of Alejandro, out actor Sebastián Treviño is making his GALA debut opposite Samuel Garnica who plays librettist Alberto. Alejandro is the music composer who doesn’t come from a musical background. He’s simply a lover of Latin music.
Is Alejandro recognizably similar to Gutiérrez?
“Oh yeah,” says Treviño, 36. “Like Gutiérrez, Alejandro doesn’t necessarily follow musical theater rules and etiquette, and it’s his uniqueness that brings a spark to their partnership.
“I got to know him and Luis [Salgado] while touring with ‘On Your Feet!’ in 2022. You really get to know people by spending endless hours together on a bus.”
Language and voice are intertwined for Treviño, and fortunately for the amiable New York-based actor, he enjoys the challenge of a new way of speaking. To play Alejandro, it helps to sound Colombian.
As a native of Monterrey, Mexico, Spanish and Mexican dialects are Treviño’s first languages. He attended American school starting in kindergarten, consequently acquiring flawless English; and because his mother is Colombian, he is familiar with that accent too.
GALA Spanish speaking patrons can be a tough crowd. For instance, when a Mexican actor is playing a Cuban character, they know at once. And while they may embrace the performance and the production, there sometimes remains a niggling dislike for what feels a vocal inaccuracy.
“Since I’ve arrived in D.C., I’ve been practicing my Colombian accent at restaurants and other places. When a Spanish speaking server asks if I’m from Colombia, I know I’m doing something right.”
“Aguardiente” (translates as “Firewater”) is composed of several layers of reality. He explains: “First it’s us creating the show, the work, and all of those pressures and limitations that the industry places on Latino centered projects; and then there’s the fantasy layer.”
A talented tenor, his lengthy bio includes Mexico City (“Wicked,” “Rent”), Off Broadway (“Kowalski”) and North American national tours (“On Your Feet!”).
He says his “Aguardiente” solo specifically feels like ‘80s Latin rock. Also, he enjoys a fun medley number where they’re playing around with “Tropipop” (Colombian pop), classic Broadway sounds, and there’s even a Beatles moment.
In this show, we meet two determined friends, one is holding an American passport because he’s Puerto Rican, while the other, a Colombian, struggles to secure a visa.
“It’s not a stretch for me to relate to that. I’m here on a working visa, so I know all about the stress and costs that comes with that,” says Treviño.
“So much reflects their own story. That includes the setbacks and obstacles faced when trying to build something from very little, and writing about themes that aren’t considered mainstream to white American audiences.”
At just eight years old, Treviño saw “A Chorus Line” at Mont Tecnológico de Monterrey, the same college that he’d later attend. He remembers, “Seated in the second row, the young actors were rock stars to me. When I asked my father who loved the arts if one day I could perform onstage, he said yes, instantly his son’s new dream.”
Looking forward, is there a role he yearns to play? Treviño ponders the trite query with some seriousness before answering “I think it’s yet to be written.”
Books
New books reveal style trends for a more enlightened century
Guidelines that hint about gendering clothing are out
Books about Fashion and Style
By various authors
c.2026, various publishers
$19.95 – $29.95
Don’t look now, but your legs are showing.
It’s OK, it’s almost summertime and you want to show both skin and style. So how about a few hints for looking your best? Check out these great books and get stylin’.
Who says there are rules about fashion? Wearing white before Memorial Day is OK; socks with sandals not so much? Fine, but in “Bending the Rules: Fashion Beyond the Binary” by Camille Benda with Gwyn Conaway (Princeton Architectural Press, $29.95), you’ll see that any guidelines that hint about gendering clothing are oh-so-last century.
Along with lively, fun narrative, there are lots of photos in this book, ads for how clothing used to be worn along male-female lines, and short biographies of some of today’s best designers. Here, you can check out prom dresses from the 1950s and new haute couture gowns practically right off the runway – and see how one parallels with the other. The timeline reaches back centuries, so you get a nice idea of where certain kinds of clothing originated and how it’s relevant today – making what’s inside here perfect for browsing.
Pick up this book, in fact, and you might also pick up some ideas for filling your closet and creating your very own style.
The fashion you wear on your body isn’t all you’ll find in “Pretend to Be Fancy: A Field Guide to Style and Sophistication” by Whitney Marston Pierce (Chronicle Books, $19.95). You’ll also read about other nice things you can have.
So you’re not a pinky-in-the-air kind of person, whatever. You can easily hang with those who are, once you read and absorb this book.
Tongue-tied at fancy soirees? Not anymore, there are tips for talking here. What do you know about canapes, hors d’oeuvres, and the kind of foods you don’t get at the corner c-store? How do you make a charcuterie that everyone will Ooooooh over? And how do you give a gift for the person whose taste seems scads better than yours? That’s all in here, along with what to drink, how to dress, and how to make every corner of your home look like something right out of a high-end magazine.
Will this book make you chic? Possibly, yes. Will it help you get invited to all the best parties? Maybe, but for sure, it’ll make you laugh, it’ll make you feel fabulous, look fabulous, and live your best life with the surroundings you deserve. Out May 5, so put it on your list.
But let’s say you need more ideas. You have questions or thorny issues with fashion that you really need answering. That’s when you ask for a talented fashionista at your local bookstore or library, that knowledgeable someone knows books and knows how to get what you need to be your most dazzling, best-dressed, finest-appointed self in a home you can be proud of, with comfortable furniture that will be the envy of everyone who sees it.
In the meantime, grab the above titles, because these books got legs.
Key West Pride’s state funding pulled
DOE investigates Smith College’s trans-inclusive policy
A reign defined by commitment and human impact
Ukrainian MPs advance new Civil Code without protections for same-sex couples
Gay ICE detainee freed after 150 days in detention
Republicans attach five anti-LGBTQ riders to State Department funding bill
Tennessee’s trans data bill a frightening omen
New Zealand blood donation rules shift
The university that refuses to let go
