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D.C. theater scene adapts with films, concerts, and more

Despite COVID, plenty of entertaining stage options for fall

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fall theater, gay news, Washington Blade
Solomon Parker III will sing Earth, Wind & Fire’s classic ‘September’ accompanied by Mark G. Meadows at Signature’s fall concert. (Washington Blade photo by Michael Key)

Taking cues from Anthony Fauci’s recent suggestion to hunker down and stay at home this fall, most theaters have cancelled live performances and will continue to engage audiences in virtual, innovative ways. Still, a handful of venues and companies plan to reopen sooner.

Here’s a smattering of what’s in store.

Arena Stage has already kicked off its fall season with the release of its third world premiere film, “The 51st State.”

“The hyper local 60-minute film created by Washington, D.C. artists through the voices of 11 residents was inspired by protests and the re-ignition of a movement after the murder of George Floyd and the quest for creating the 51st state and sovereignty in Washington, D.C. From a first-time protester to a fourth-generation Washingtonian political scientist, to artists, an attorney, people of faith, and a retired couple who moved to take part in the movement despite the COVID-19 risks, these diverse perspectives and real-life stories are vividly told and transformed into affecting narratives by 10 local playwrights.”

Featured playwrights in the docudrama include, among others, Helen Hayes Award winner Dane Figueroa Edidi, Farah Lawal Harris, Teshonne Nicole Powell, and Karen Zacarías.

Filmed in different locations around D.C., the story of each citizen is portrayed by 11 terrific familiar faces, including Sherri L. Edelen, talented out actor Justin Weaks, and Jacob Yeh.

Directing duties are split among Arena’s formidable out artistic director Molly Smith, deputy artistic director Seema Sueko, and senior artistic adviser Anita Maynard-Losh, along with local directors Paige Hernandez and director Psalmayene 24.

“The 51st State” can be streamed on WTOP.com and arenastage.org/The51stState.

This week, Folger Theatre is premiering its virtual project “Encores,” an initiative to help provide more online content for the community while most arts institutions remain closed during the pandemic.

“Encores” is a weekly online series highlighting past performances from the historic Folger stage, recalling the rich history of public programming at the Folger. Excerpts from Folger Theatre, the Folger Consort early music ensemble, O.B. Hardison Poetry Series and more will be featured.

The series will go out via email each Friday through this calendar year and can also be found on the Folger website.

On Sept. 25, theatreWashington presents the Helen Hayes Awards with a virtual celebration for theater professionals and their fans. In past weeks, recipients from various categories were presented awards during a series of intimate and technically seamless Zoom sessions. The culminating event – to be co-hosted by local favorites Felicia Curry and Naomi Jacobson – will include the presentation of more awards and varied tributes.

Through Oct. 4, Olney Theatre Center (OTC) is streaming a timely take on gay playwright Stephen Karam’s Tony Award-winning play “The Humans,” a one act about a stressed out family unraveling on Thanksgiving Day. With a stellar six-person cast featuring local favorites Kimberly Gilbert, Mitchell Hébert, Sherri L. Edelen, Dani Stoller, Catie Flye, and New York-based actor Jonathan Raviv, the production was filmed from six separate locations during quarantine.

Also, throughout October, OTC is celebrating BIPOC (Black, Indigenous, People of Color) artists and the tradition of social protest with four streaming installments of “Just Arts”. Each installment highlights a different pillar of social justice: “Accessibility,” “Rights,” “Equity,” and “Participation.”

The project is co-curated by Chil Kong, artistic director of Adventure Theatre MTC; Kevin McAllister, actor and artistic director Artistic Director of the Baltimore-based theater company ArtsCentric, Inc; Nicole A. Watson, associate artistic director at Round House Theatre; and Elena Velasco, artistic director of Convergence Theatre.

The quartet were invited by Olney Theatre’s out artistic director Jason Loewith to create a program around the theme of performance and social justice, responding to the social upheaval of the past summer and highlighting BIPOC artists during the period leading up to this fall’s general election.

In OTC’s press release, Loewith says “The twin pandemics of coronavirus and racism we’re facing give predominantly white cultural institutions like ours an opportunity to revolutionize the way they work.”

“For OTC, that means decentering my privileged role as curator and inviting others with a different point of view and background to share in building our theater’s future. We want OTC to matter to everyone in our community, and this is our first public step in making the table bigger.”

A finalized schedule and streaming details will be released in late September.

OTC isn’t sure what comes beyond that. Thinking optimistically, they’d like to be able to produce Paul Morella’s solo “A Christmas Carol” in December with an audience of 100-150 socially distanced in their 428-seat mainstage. But Montgomery County has not approved guidelines that would allow that although the state of Maryland has.

Round House Theatre’s virtual season begins with “American Dreams” (Oct. 5-11), created by writer Leila Buck (“Love Letter to Lebanon”) and director Tamilla Woodard (“Hadestown” on Broadway). It’s “a participatory performance that imagines a world where the only way to gain U.S. citizenship is by competing in a televised game show. The playful, interactive production uses voting, polling, Q&As, and more to allow audience members each night to directly affect the outcome of the show.”

Esteemed physical company Synectic Theater is celebrating its 20th anniversary season with “Joy” (Oct. 12-Nov. 1) a live, designed-for-digital theatrical production conceived by Chris Rushing and starring Maria Simpkins (directed by Katherine DuBois) and Vato Tsikurishvili (directed by his father Founding Artistic Director Paata Tsikurishvili) in separate, but parallel versions, presented via Zoom. “In this intimate and personal experience, audiences capped at 25 people will receive a surprise package in the mail inviting them to enjoy interactive solo performances that stimulate the senses and examine the impact of joy in our own lives.”

Woolly Mammoth Theatre Company is entering fall with a virtual audio production. Together, Woolly and Telephonic Literary Union “repurpose the customer service hotline for stranger, more tender use in ‘Human Resources,’ an intimate audio anthology for remote times.” Though the pieces do not have LGBTQ+ specific material, they’re purported to have broad appeal.

Telephone lines will be open Oct. 1-25. To file a claim or plan your escape, dial 1-800-804-1573.

For fall, Strathmore in North Bethesda, MD, is presenting “Monuments: Creative Forces” (Oct. 2–25). It’s “an innovative outdoor projection installation by Craig Walsh, in partnership with Strathmore, pays homage to six individual artists who are forces of nature: individuals whose work and artistic endeavors are changing the shape of our community in fundamental ways.”

On October 17, the Gay Men’s Chorus of Washington kicks off its 40th anniversary season with “Losing My Mind: A Celebration of Sondheim,” a virtual cabaret featuring over 20 GMCW soloists celebrating the 90th birthday of one of Broadway’s greatest composers, Stephen Sondheim. Songs include “The Ladies Who Lunch,” “(Not) Getting Married Today,” “Somewhere,” and “Children Will Listen.”

Employing reduced-capacity, social-distanced seating, hand sanitizer, and masks (for patrons, staff, and volunteers), GALA Hispanic Theatre is reopening with Lope de Vega’s “El perro del hortelano (Dog in the Manger)” (Oct. 29-Nov. 22), a classic comedy from Spain’s Golden Age.

In early November, Signature Theatre presents its filmed Fall Concert of vinyl hits directed by Signature’s out associate artistic director Matthew Gardiner and featuring a talented group of singers including, among others, Awa Sal Secka, Natascia Diaz, Nova Y. Payton, Maria Rizzo and out actors Jade Jones and Solomon Parker III. “I’ll be filming on Signature’s roof,” explains Parker who’ll be singing Earth, Wind & Fire’s classic “September” accompanied by Mark G. Meadows.

Parker, a 26-year-old tenor who lives in Wheaton, Md., studied theater at Montgomery College before going on to be cast in Signature’s productions of“Jesus Christ Superstar,” “Ain’t Misbehavin’” and more recently “Grand Hotel.” During quarantine, he’s developed a drag persona, Echinacea Monroe, who performs each Wednesday evening on Instagram Live. “It’s been fun, and a great way to stay creative,” he adds.

Ford’s Theatre is canceling in-person performances of “A Christmas Carol,” which, like past years, was scheduled for November and December. Instead, Ford’s will release a radio version of the play in December with Craig Wallace returning as Scrooge.

Citing audiences’ health and safety as a top priority, The Kennedy Center is moving most planned programming to spring of 2021 and beyond.

And Rehoboth Beach’s Clear Space Theatre debuts the Tennessee Williams classic “A Streetcar Named Desire” on Sept. 18. It runs through Oct. 4. Clear Space held a preview for its 2021 season last weekend but attendees were sworn to secrecy until all rights to next year’s productions are secured. Suffice to say it will be a fabulous season of proven hit productions at the beach.

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CAMP Rehoboth’s president talks pandemic, planning, and the future

Wesley Combs marks six months in new role

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Wesley Combs took over as president of CAMP Rehoboth six months ago and is now focused on searching for a new permanent executive director. (Blade photo by Daniel Truitt)

June marks half a year since Wesley Combs stepped into his role as president of CAMP Rehoboth. In a conversation with the Blade, Combs recounted his first six months in the position — a time he said was characterized by transition and learning.

Since 1991, CAMP Rehoboth has worked to develop programming “inclusive of all sexual orientations and gender identities” in the Rehoboth Beach, Del. area, according to the nonprofit’s website. As president, Combs oversees the organization’s board of directors and executive director, helping determine areas of focus and ensure programming meets community needs.

For Combs, his more than three decades of involvement with CAMP Rehoboth have shaped the course of his life. In the summer of 1989 — just before the organization’s creation — he met his now-husband, who was then living in a beach house with Steve Elkins and Murray Archibald, CAMP Rehoboth’s founders.

Since then, he has served as a financial supporter of the organization, noting that it has been crucial to fostering understanding that works against an “undercurrent of anti-LGBTQ sentiment” in Rehoboth Beach’s history that has, at times, propagated violence against LGBTQ community members.

In 2019, after Elkins passed away, Combs was called upon by CAMP Rehoboth’s Board of Directors to serve on a search committee for the organization’s next executive director. Later that year, he was invited to become a board member and, this past November, was elected president.

Combs noted that CAMP Rehoboth is also still recovering from the pandemic, and is working to restart programming paused in the switch to remote operations. In his first six months, he has sought to ensure that people feel “comfortable” visiting and engaging with CAMP Rehoboth again, and wants to ensure all community members can access its programming, including those from rural parts of Delaware and those without a means of getting downtown.

Still, Combs’s first six months were not without unexpected turns: On May 31, David Mariner stepped down from his role as CAMP Rehoboth executive director, necessitating a search for his replacement. Combs noted that he would help facilitate the search for an interim director to serve for the remainder of the year and ensure that there is “a stable transition of power.” CAMP Rehoboth last week announced it has named Lisa Evans to the interim director role.

Chris Beagle, whose term as president of CAMP Rehoboth preceded Combs’s own, noted that the experience of participating in a search committee with the organization will “better enable him to lead the process this time.”

Before completing his term, Beagle helped prepare Combs for the new role, noting that the “combination of his professional background, his executive leadership (and) his passion for the organization” make Combs a strong president. Regarding the results of the election, “I was extremely confident, and I remain extremely confident,” Beagle said.

Bob Witeck, a pioneer in LGBTQ marketing and communications, has known Combs for nearly four decades. The two founded a public relations firm together in 1993 and went on to work together for 20 years, with clients ranging from major businesses like Ford Motor Company to celebrities including Chaz Bono and Christopher Reeve. According to Witeck, Combs’s work in the firm is a testament to his commitment to LGBTQ advocacy.

“Our firm was the first founded primarily to work on issues specific to LGBTQ identities, because we wanted to counsel corporations about their marketing and media strategies and working in the LGBTQ market,” he explained. By helping develop communications strategies inclusive of those with LGBTQ identities, Combs established a background of LGBTQ advocacy that truly “made a mark,” Witeck said.

Witeck emphasized that, in his new position, Combs brings both business experience and a renewed focus on historically underrepresented in LGBTQ advocacy — including people with disabilities, trans people and people of color.

Looking to the rest of the year, CAMP Rehoboth hopes to host a larger-scale event during Labor Day weekend. In addition, the organization will revisit its strategic plan — first developed in 2019 but delayed due to the pandemic — and ensure it still meets the needs of the local community, Combs said. He added that he intends to reexamine the plan and other programming to ensure inclusivity for trans community members.

“CAMP Rehoboth continues to be a vital resource in the community,” he said. “The focus for the next two years is to make sure we’re doing and delivering services that meet the needs of everyone in our community.”

Wesley Combs, gay news, Washington Blade
Wesley Combs (Washington Blade photo by Daniel Truitt)
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Melissa Etheridge shares Q&A in advance of April 26 Tysons tour stop

Rock pioneer finds inspiration in the past — from revisiting old demos to reconnecting with celeb pals like Ellen

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Melissa Etheridge brings her ‘One Way Out Tour’ to the D.C. region next week with a show at the new Capital One Hall in Tysons. (Photo by Elizabeth Miranda; courtesy Primary Wave)

Melissa Etheridge
‘One Way Out Tour’
Tuesday, April 26
Capital One Hall
7750 Capital One Tower Rd.
Tysons, VA
7:30 p.m.
Tickets: $55
ticketmaster.com
capitalonehall.com
melissaetheridge.com

We caught up with rock legend Melissa Etheridge on April 8 by phone from Snoqualmie, Wash. — it’s about 26 miles east of Seattle —where she was playing the Snoqualmie Casino on her “One Way Out Tour,” which plays our region on Tuesday, April 26. 

It’s named after her latest album, released last fall, which found Etheridge, who’s been out since ’93, revisiting demos from early in her career.

Her comments have been slightly edited for length.

WASHINGTON BLADE: “One Way Out” sounds like such a cool project. Was it all re-recorded stuff of old songs or were some of those vintage takes on the record as well?

MELISSA ETHERIDGE: The last two songs, the live songs, were from where? From 2002? OK, but the other songs were newly recorded. 

BLADE: And how many of them did you remember?

ETHERIDGE: You know, when I found them again, they all came back very clearly. And I was like, “Oh, this is — why did I throw that away? That’s weird.” And I really enjoyed, you know, hearing them, they were just old demos. I’d never done full-blown recordings. So I thought, “This is great, I want to do these songs.”

BLADE: We have a relatively new venue you’re going to be playing, Capital One Hall. I’ve only been there once. You excited?

ETHERIDGE: Yeah, it’s always fun. I love the D.C.-area crowd. It’s just really, really nice.

BLADE: And how do you decide where you’ll be? Or do you have any say in it? 

ETHERIDGE: Well, it’s not necessarily me. I do have a say in it, in what I want the whole tour to look like. But it is really up to William Morris, my agent, to find the right venue that understands what we need and the kind of atmosphere we’re looking for that and the amount of people and, you know, that sort of thing.

BLADE: Tell me about Etheridge TV. I just wonder, when we were in that acute phase of the pandemic, wasn’t it even remotely tempting to you to just take a break?

ETHERIDGE: No, because since I was 12 years old, I sang all the time for people, like five days a week and it’s just been what I do. And so when it was like, I was looking at a massive, cavernous amount of time that I was going to be home, I still needed a way to pay the bills, so we put our heads together — I’ve got one of the greatest television minds with me, you know, my wife (TV producer Linda Wallem), so I had the space and I had the equipment, and I was like, “Let’s do it.” And it was really fun to learn new things. It was fun to learn about computers and sound and streaming and lights and cameras and all these things that I didn’t know. … I feel a little smarter.

BLADE: When did you start back on the road?

ETHERIDGE: We went out last fall. We went out September, October, right around there. And you know, it was a little different, Now things are things are loosening up … but some places still require masks. But people are starting to get back out and it feels good. It’s not the overwhelming thing that it was a few months ago.

BLADE: And what was it like being on ‘Ellen’ again for her final season?

ETHERIDGE: Oh, I love her. She’s such an old friend. You know, I say that about myself, too. (chuckles) But, you know, she’s just a relationship in my life that I have treasured. We’ve watched each other grow and the changes we’ve made and the successes and what we’ve gone through and I love that she had me on and just it was just a really — she’s a dear friend. And she showed an old photo there, and we both said, “Oh, that was before we were so busy.”

BLADE: Do you talk to her often?

ETHERIDGE: I would say we see each other socially once or twice a year. It just seemed like once we started having children, all my friends from my 20s and 30s when we were not as busy — it just gets harder to stay in touch and life got crazy. 

BLADE: So when you were hanging out back in the day with Ellen and Rosie and everybody, how was it that Brad Pitt was in that group too? 

ETHERIDGE: Well, my girlfriend (Julie Cypher) had been married to Lou Diamond Phillips and we were all very good friends with Dermot Mulroney and Catherine Keener and Catherine Keener did a movie with Brad, like a movie nobody saw, like Johnny Dangerously or something (1991’s “Johnny Suede”), some really weird movie. So I met Brad before he was terribly famous. He was a part of that group. There was a whole group of all of us that just hung out, and we were all totally different. We were just like young, hungry Hollywood and we’d talk about, “Oh, I had this audition,” or “I went and did this,” and we were just all trying to make it in that town. So we’d get together and have fun. 

BLADE: I was so terribly sorry to hear about Beckett (Etheridge’s son, who died in 2020 at age 21 after struggling with opioid addiction). How are you and the rest of the family, especially (Beckett’s twin) Bailey, dealing with it now?

ETHERIDGE: There are many, many families like us that deal with a loss like that. It just blows a family sideways. But we have a deep love and connection, all of us. We all knew he had a problem and it’s a problem that starts way before he actually passes, so it was not a surprise. So now we’re just living with the missing aspect. You try not to think about what could have been and you try to think about him in a happier place and that he’s out of pain, so that helps us.

BLADE: Had he and Bailey been as close in recent years?

ETHERIDGE: They were very close, but in the last couple of years as he made worse and worse choices, we couldn’t support that, so they were less close, but of course in her heart, it was her brother, he was very dear to her. 

BLADE: Did you watch the Grammys?  Was there anybody you were particularly rooting for?

ETHERIDGE: I watched bits and pieces of it. I had a show that night, so I didn’t get to see the main thing, but I have seen pieces and I just love the crazy diversity and you know, the TikTok people winning stuff, it’s like, “Wow, this is so not the Grammys I remember from the ’80s,” but that was what, 30 years ago? So it’s all good.

BLADE: You were such a perennial favorite back in the day in the best rock female category. Were you pissed when they eliminated it? 

ETHERIDGE: It’s sad because I felt like the criteria they were using to judge what is female rock, they just really dropped the ball. I still think there are some amazing musicians that could be considered, you know, rock, but it feels like we’re having a hard time even defining what rock and roll is now anyway. There’s a whole bunch of strong women out there playing, rocking, you know, playing guitar, being excellent musicians and songwriters. If you can’t call it best rock female, OK, call it something else. 

BLADE: I remember so vividly when you were on the Grammys in 2005, in the midst of chemo, when you sang “Piece of My Heart.” I remember you saying you were wondering how people would react to seeing you bald. Having been through that, any thoughts on the Will/Jada Oscars situation since her baldness, too, was due to a medical condition? 

ETHERIDGE: You know, it’s funny, I did feel a little remembrance of (thinking), “I just hope people don’t make fun of me.” That was kind of the first thing because to go out there bald, that was so different for me as an artist whose hair had kind of defined her. I was thinking, “How am I gonna rock without my hair?” I thought people might make fun of me, but I got over that. I just thought, “Well, if somebody makes fun of me, that just makes them look bad.” So I just walked through it. And you know, it’s hard to draw the line between what’s funny and what’s painful and how to look at something. I feel for all parties involved. 

BLADE: When you go on these cruises, do fans give you some space or do they swarm around the minute you walk out? Is it even enjoyable for you? 

ETHERIDGE: Yeah, it is. You know, we did our last one, now we’re doing Etheridge Island, we now have a destination in Mexico, outside of Cancun, it’s just this island that we’re going to that is really fantastic. But I do I make myself available, I don’t run away. When I have to be somewhere, I have a great company we work with called Sixthman that knows how to get me from point A to point B without being bogged down. But I do my make myself available. Everyone gets a picture with me. It’s my work, but I love it. I try to make myself available but also have some time just for myself too.

Melissa Etheridge says slowing down wasn’t an option for her when the pandemic hit. She’s glad to be back on the road now, she says. (Photo by Elizabeth Miranda; courtesy Primary Wave)

BLADE: You Tweeted a few nights ago about having a tight curfew of just 90 minutes at a casino but then it worked out and you got to do a full set. Why are the curfews so tight at casinos?  

ETHERIDGE: Why do you think? They want people at the tables. Like for tonight, we we settled on 100 minutes. They’re giving me 10 extra minutes. I don’t like it, but in some areas, the only really good venue is a casino, so if you want to reach your folks there, you kind of have to meet them half way. 

BLADE: Yeah, but it seems like in concert halls, the curfews can sometimes be really tight too. Even Madonna got her lights shut off a couple years ago. Of course, she’s notoriously late, but why are they so strict with these things nowadays? 

ETHERIDGE: There are all different situations — concert halls often have union crews that will absolutely shut you down if you go one second over. There are also sound curfews, noise curfews, mostly with outdoor venues, but sometimes indoor as well. They have an agreement with the neighborhood. So you have people in the neighborhood standing by with their phones ready to pounce the minute it goes over one minute, they’re gonna call the police. As a performer, you just realize, “OK, it’s not just about me.” When I don’t have a curfew, I usually land at about two hours and some change. That seems comfortable to everyone. Any longer and I think I’m wearing my audience out. When I’m at a place with a shorter show, I just do my best. 

BLADE: I know you’re a big Chiefs fan. Did you watch that game back in January all the way to the end? 

ETHERIDGE: Well, at the end of it, I was on the floor. My wife was like, “Honey, honey, there’s still 13 seconds,” and I was moaning and sort of getting my feet on the floor and, you know, laying down and throwing a fit. And she’s like, “No, there’s still 13 seconds.” I dragged myself back to the television. And I couldn’t believe it. I was like, “Wait a minute. Did we just win?” You know, just really crazy, really crazy stuff. … When you’re a fan like that, it’s a ride you can’t fully explain.

BLADE: Are you in a cordial or good place with your exes? Does it get easier when the kids are starting to grow up?

ETHERIDGE: Oh, yeah. Oh, yeah. And you realize that it’s best for the kids if you can really get along and that any sort of conflict that can’t get resolved, that gets emotional, does no good for anyone. And absolutely, I have, I’ve gotten better at that as the years have gone by.

BLADE: Do you have the slightest inkling yet what the next studio album might be like?

ETHERIDGE: Well, I’ve got some interesting projects that I’m not ready to talk about just yet. But they have to do with my life story. There’s a lot of digging up of my past and really telling the story. So I imagine the next series of music you’ll get from me is going to be very focused on my journey. 

Melissa Etheridge, gay news, Washington Blade
Melissa Etheridge (Photo by Elizabeth Miranda; courtesy Primary Wave)
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New Cranes sommelier brings spirit to wine and sake program

Stewart-Woodruff curates eclectic list for Michelin-starred restaurant

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‘I bring my whole self to work,’ says Eric Stewart-Woodruff. (Photo by Rey Lopez)

Outfitted in a blue damask dinner jacket with satin lapels and an energetic smile, Eric Stewart-Woodruff carves an impressive figure when chatting about his favorite vintages. Stewart-Woodruff, who’s gay, is the new sommelier at Michelin-starred Cranes in Penn Quarter.

Stewart-Woodruff curates an eclectic wine – and sake – program focusing on pairings with celebrated Chef Pepe Moncayo’s innovative, global flavors. Cranes, which explores intersections of Spanish and Japanese cuisine, opened just before the pandemic, and received a coveted Michelin star in 2021.

Stewart-Woodruff did not start off in the wine industry. In fact, he does not have any formal training in wine. Instead, after a career as a professional photographer, he pivoted to the restaurant industry, where he developed his love of wine. While working for a distributor, he connected with D.C.’s own District Winery. This opportunity allowed him to express his truest self, as a lead tour guide, wine ambassador and sommelier. He credits his identity and personality as his reason for thriving.

“I bring my whole self to work,” he says, “offering a level of humanity and approachability.” 

After the pandemic temporarily shuttered District Winery, Stewart-Woodruff found himself interviewing at Cranes, enamored with Moncayo’s “creative vision,” he says – and was sold. He began in late summer of 2021.

Through his work in hospitality, Stewart-Woodruff notes that the industry can be hetero-male dominated. He has been able to break through by not holding back on his identity.

“I tend to play with expectations of what a sommelier may look or act like,” he says. “I move away from what one may stereotypically look like, but still present like one.”

For him, that means talking about wine and wine education “as if it were gossip,” he says. “I like to view wine like we are at brunch. Wine has personality, it’s performative, and it has stereotypes.” He is seeking to break molds of specific likes and dislikes, exploring the depth that wine has to offer, in the context of the Spanish-Japanese Cranes menu. In fact, he says, Moncayo is supportive of his innovative, certification-less angle. “I become more relatable,” he says.

He also presents original events. He paired with local guest sommelier Andrew Stover (also a gay man) on Tuesday, March 29 for a springtime showcase of specialty rosé wines paired with Moncayo’s dishes. The duo poured tastes of specialty, small-batch wines from Brazil, Italy, Spain, Uruguay, and Maryland.

Leaning into the innovative spirit, the wine-by-glass list is not split by color. Instead, it is divided into evocative categories. For example, both a chardonnay and a pinot noir fall into the “Elegant, round, and mellow” category.

As a Spanish-Japanese restaurant, Cranes not only possesses an extensive wine cellar, but has consistently expanded its sake program. Sakes by the glass are split into the same exact categories. The very same “Elegant, round, and mellow” list includes Ginjo Nama Genshu and junmai daiginjo.

Stewart-Woodruff explains that wine and sake should be attended to similarly. “Sake is something you can think about like a beer in terms of production but treat like a wine,” he says. Sake is a fermented polished-rice beverage, dating back more than two millennia in Japan.

“Sake has aromatics, texture, body, and finish.” He takes pride in discussing customers’ palate preferences, and turning them onto a specific sake, for their qualities of earthiness, acidity, or others.

“Many people don’t experience sake outside of college or bars. Now, I can be a sommelier for sake, and for the marriage of Eastern and Western cuisine and beverage.” He expresses excitement at being innovative in his sake beverage pairings, occupying a niche space. When discussing both wine and sake, he aims to bring an artistic flair and tour-guide enthusiasm to the table.

Woodruff credits his identity and background for his success. He aims to bring a level of humanity and approachability to what has been a formal, stuffy area. He has high ambitions to portray sake as sophisticated as wine in the customer’s mind, “but it pairs well with Moncayo’s conceptually ambitious menu,” he says.

“Wine and sake are as eclectic as humanity. I want people to accept experiencing wine like the world has accepted me.”

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