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Gay Men’s Chorus of Washington celebrates 40th anniversary with virtual concert, retrospective

Veteran choir soldiers undeterred through pandemic with Zoom rehearsals

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Members of the Gay Men's Chorus of Washington gather in front of the Supreme Court on Sept. 3, 2013. (Washington Blade file photo by Michael Key)

GMCW Turns 40
Streaming begins Saturday, June 5 at 7 p.m.
Available through June 20
Tickets: $25
gmcw.org

Discussion of the Gay Men’s Chorus of Washington quickly becomes emotional for its members both veteran and newbie(-ish). They’re the kind of strong feelings that only exist when one has sacrificed and invested in something.

“It’s an experience that touches our soul in a way that not that many LGBTQ+ people get to experience,” says tenor Javon Morris-Byam, a gay 28-year-old music teacher who joined three years ago. “We have music tying us together and in the end, we make a product that we can share with the public and that’s a humbling experience.”

Steve Herman, 79, is a founding member, though he doesn’t sing. One of a group of “non-singing members,” he joined in June 1981 and has helped over the decades painting scenery, designing ads, serving on the board and more. His partner at the time had joined the chorus as a singer.

A Gay Men’s Chorus performance in 1983. (Washington Blade archive photo by Leigh Mosley)

Now retired after 47 years in the federal government, he says the Chorus “has been a major centerpiece of my life.”

“This may sound corny, but I couldn’t imagine my life without the chorus,” Herman says.

The chorus is celebrating its 40th anniversary this weekend with a streaming concert simply dubbed “GMCW turns 40” that can be streamed starting Saturday, June 5 at 7 p.m. and can be viewed until June 20.

Selections will include “From Now On” (from “The Greatest Showman”), “Rise Up,” “Make Them Hear You” (from “Ragtime”), “Truly Brave” and a new song called “Harmony’s Never Too Late!” written for the occasion by Stephen Flaherty and Lynn Ahrens, composers of “Ragtime.” Video clips of past performances will also be included in a montage. Tickets are $25 at gmcw.org.

Thea Kano, the Chorus’s artistic director since 2014 (she was associate director for a decade prior), says “Make Them Hear You” has “kind of become our anthem over the last 10 years,” so contacting its composers for a commission made sense. They premiered it last summer virtually at the Chorus’s Summer Soiree, a COVID-induced postponement of its usual Spring Affair.

Thea Kano, center, joins members of the Chorus at the United States Supreme Court on the day of the Obergefell v. Hodges marriage equality decision in June of 2015.(Washington Blade photo by Michael Key)

Kano, a straight ally, directs the Chorus with aid from Associate Conductor C. Paul Heins, Assistant Conductor Joshua Sommerville and accompanist Teddy Guerrant. Justin Fyala has been the Chorus’s executive director since 2016. Staff also includes Craig Cipollini (director of marketing), Kirk Sobell (director of patron services) and Alex Tang (accompanist).

Under the main Chorus umbrella are five ensembles: 17th Street Dance, a 14-member performance troupe started in 2016; Rock Creek Singers, a 32-voice chamber ensemble; GenOUT Youth Chorus, a teen choir of about 25; Potomac Fever, a 14-member harmony pop ensemble; and Seasons of Love, a 24-voice gospel choir.

GenOUT Youth Chorus. (Washington Blade photo by Michael Key)

Musically, the Chorus’s repertoire is eclectic.

“(We sing) everything from spiritual to glam rock to punk to traditional classical, and everything in between,” Morris-Byam says. “I love when the chorus is all together and able to produce a big powerful sound.”

Kano says working with Fyala is “a dream” and says under his leadership the Chorus is “in a very healthy financial place, which is wonderful and a very humble thing to be able to say right now particularly given that we’re in a pandemic — that’s not the case with a lot of arts organizations.”

The D.C. Chorus is a quasi-unofficial spin off of its San Francisco counterpart. During an early ’80s national tour, the San Francisco group performed at Washington’s Kennedy Center and had a profound effect on local audiences. Marsha Pearson, a straight woman who lived in Dupont Circle at the time and enjoyed hanging out with gay men, was one such person.

“I couldn’t believe we didn’t have one of these,” she told the Blade 10 years ago for a story on the Chorus’s 30th anniversary. “I thought, ‘We’re the nation’s capital, how come we don’t have this?’”

The Chorus performs at the popular gay nightclub Tracks in 1984. (Washington Blade photo by Doug Hinckle)

She hand wrote fliers — four to a sheet — had her sister photocopy them at her office, cut them up by hand and passed them out at Capital Pride in 1981. Accounts vary about how many showed up to the first practice at the long-defunct gay community center (no connection to the D.C. Center) on Church Street. Pearson remembers about 30. Others say it was more like 15-ish. It was June 28, 1981 and, by all accounts, an innocuous beginning.

Pearson never sang with the group — it was exclusively a men’s chorus. She asked if anybody had any conducting experience. The late Jim Richardson did and became the first director.

“I still remember the first chord,” Pearson told the Blade in 2011. “It was just a simple thing, you know, like do, mi, so, do, but I just got goosebumps. I was just elated that even one note came out, I was so excited. I got those same goosebumps at the anniversary concert last weekend. I put their CDs on and I get the same thing, especially on certain things they sing. You just can’t believe it sounds so great.”

Click here for more about the history of the group. A bio/history is also available at gmcw.org.

COVID has, of course, wreaked havoc on the operation. Thankfully, Kano says, no members have died from it, though a handful (she says fewer than 10 that she knows of), including Kano, have had it and recovered.

The Chorus continued its Sunday evening rehearsals via Zoom, which, because of the precision required for musical performance, was tougher to take online than, say, a business meeting. It never occurred to the Chorus leadership to take a hiatus.

“I look back now like, ‘Why didn’t we take some time off,’ but I think off the top of my head at the time it was like, “We sing and we’re a social justice organization and community is such a big part of who we are,’” Kano says. “And so for suddenly, with no notice, to have something that we love so much and are so passionate about …. to suddenly just turn the lights off, that wasn’t even an option.”

A GMCW rehearsal in 2007. (Washington Blade file photo by Henry Linser)

With the Chorus and dancers and GenOUT, there are about 200 current volunteer performers. It’s been slightly higher at times. Some were deterred by the thought of rehearsing via Zoom although some former members no longer in the D.C. area — even a few overseas — rejoined when virtual participation became possible.

The murder of George Floyd and the Black Lives Matter movement last summer and beyond was a galvanizing event. The Chorus responded with its “Let Freedom Sing” concert, which Kano says celebrated the intersection of Black and LGBTQ people.

Featured soloists perform in ‘Let Freedom Sing.’ (Washington Blade photo by Michael Key)

“It was our way of saying we raise our voice in solidarity with those facing injustice,” Kano says.

But does that get messy at times? Surely not everyone in a choir of this size is on the same page politically, even in a progressive city like D.C., right?

As a nonprofit, the Chorus avoids anything ostensibly political. Kano says the issue did arise when they were invited to sing at a Virginia-based gun-reform event last year. They participated, but carefully.

“So anytime you mentioned guns, it becomes political,” Kano says. “It’s not about whether or not we support the Second Amendment. It’s us standing in solidarity with those who have been victims of gun violence.”

Kano says there’s “a very good chance had this been a non-pandemic year,” they would have been invited to sing at the Biden-Harris inauguration, which she says they “absolutely” would have agreed to.

“We did wonder, though, a few years ago what we would have said if 45 were to ask us,” she says. “We didn’t spend a lot of time on it because we knew that wasn’t gonna happen,” she says with a chuckle.

The holiday shows for the Chorus often involve elaborate costumes, as in this scene in 2017. (Washington Blade photo by Michael Key)

Herman says performing at big, pro-LGBTQ “statement”-type events is woven into the Chorus’s history and is understood.

“Every Christmas Eve, we’d sing for the patients at NIH,” he says. “We still do, only then it was primarily AIDS patients. We sang special concerts when the (AIDS) Quilt was first displayed and when there was a March on Washington. We did a lot of community work and outreach at a time when it was really needed.”

Morris-Byam says even today, with so much progress having been made, the Chorus still is needed. He, by the way, calls Kano “one of the most brilliant musicians I’ve ever met.”

“I believe the Chorus is a strong political statement in itself,” he says. “When we’re making a strong, joyful noise, it’s celebrating everything we are, what we can be, and everyone who has gotten us where we are.

The Chorus celebrates the 50th anniversary of the Stonewall Riots in a performance at Lincoln Theatre in 2019. (Washington Blade photo by Michael Key)

There have been challenges over the years — finding new office space, patching together individual vocal parts for virtual performances — but no warring factions. Kano is, by most accounts, extremely well liked.

The future, Kano says, is bright. She hopes to resume in-person rehearsals in the fall. She spent a big chunk of early lockdown transcribing a Puccini “Gloria Mass” for tenor/bass chorus. She plans to program it with works by Cole Porter eventually.

Ultimately, Kano says, her goals for the Chorus are about making great art.

“Art comes first,” she says. “Because that’s how we deliver our mission. And if we put great art first, it’s going to attract great people. It’s going to both as members and as audience members and patrons, and therefore it’s going to attract great funding, and then all that goes right back into the arts we can further our expansion and our ability to get the mission out.”

Craig Cipollini leads the ‘Grease’ dance auditions in 2010. (Washington Blade file photo by Michael Key)
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Rodriquez scores historic win at otherwise irrelevant Golden Globes

Award represents a major milestone for trans visibility

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Michaela Jaé Rodriguez, on right, and Billy Porter in 'Pose.' (Photo courtesy of FX)

HOLLYWOOD – Despite its continuing status as something of a pariah organization in Hollywood, the Hollywood Foreign Press Association has managed to cling to relevance in the wake of last night’s behind-closed-doors presentation of its 79th Annual Golden Globe Awards by sole virtue of having bestowed the prize for “Best Leading Actress in a Television Series – Drama” on Michaela Jaé Rodriguez for her work in the final season of “Pose” – making her the first transgender performer to win a Golden Globe.

The ceremony took place as a private, no-press-or-audience event in which winners were revealed via a series of tweets from the Golden Globes Twitter account. No celebrities were present (not even the nominees or winners), although actress Jamie Lee Curtis participated by appearing in a video in which she pronounced her continuing loyalty to the HFPA – without mention of the  longstanding issues around diversity and ethical practices, revealed early in 2021 by a bombshell Los Angeles Times report, that have led to an nearly industry-wide boycott of the organization and its awards as well as the cancellation of the annual Golden Globes broadcast by NBC for the foreseeable future.

While the Golden Globes may have lost their luster for the time being, the award for Rodriquez represents a major milestone for trans visibility and inclusion in the traditionally transphobic entertainment industry, and for her part, the actress responded to news of her win with characteristic grace and good will.

Posting on her Instagram account, the 31-year old actress said: 

“OMG OMGGG!!!! @goldenglobes Wow! You talking about sickening birthday present! Thank you!

“This is the door that is going to Open the door for many more young talented individuals. They will see that it is more than possible. They will see that a young Black Latina girl from Newark New Jersey who had a dream, to change the minds others would WITH LOVE. LOVE WINS.

“To my young LGBTQAI babies WE ARE HERE the door is now open now reach the stars!!!!!”

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As You Are Bar and the importance of queer gathering spaces

New bar/restaurant poised to open in 2022

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As You Are Bar had a pop-up venue at Capital Pride's "Colorful Fest" block party in October. (Washington Blade photo by Michael Key)

More than just a watering hole: As You Are Bar is set to be the city’s newest queer gathering place where patrons can spill tea over late-morning cappuccinos as easily as they can over late-night vodka-sodas.

Co-owners and founders Jo McDaniel and Rachel Pike built on their extensive experience in the hospitality industry – including stints at several gay bars – to sign a lease for their new concept in Barracks Row, replacing what was previously District Soul Food and Banana Café. In a prime corner spot, they are seeking to bring together the disparate colors of the LGBTQ rainbow – but first must navigate the approval process (more on that later).

The duo decided on this Southeast neighborhood locale to increase accessibility for “the marginalized parts of our community,” they say, “bringing out the intersectionality inherent in the queer space.”

Northwest D.C., they explain, not only already has many gay bar options, but is also more difficult to get to for those who don’t live within walking distance. The Barracks Row location is right by a Metro stop, “reducing pay walls.” Plus, there, “we are able to find a neighborhood to bring in a queer presence that doesn’t exist today.”

McDaniel points out that the area has a deep queer bar history. Western bar Remington’s was once located in the area, and it’s a mere block from the former Phase 1, the longest-running lesbian bar, which was open from 1971-2015.

McDaniel and Pike hope that As You Are Bar will be an inclusive space that “welcomes anyone of any walk of life that will support, love, and celebrate the mission of queer culture. We want people of all ages, gender, sexual identity, as well as drinkers and non-drinkers, to have space.”

McDaniel (she/her) began her career at Apex in 2005 and was most recently the opening manager of ALOHO. Pike (she/they) was behind the bar and worked as security at ALOHO, where the two met.

Since leaving ALOHO earlier this year, they have pursued the As You Are Bar project, first by hosting virtual events during the pandemic, and now in this brick-and-mortar space. They expressed concern that receiving the Alcoholic Beverage Regulation Administration (ABRA) liquor license approval and the local Advisory Neighborhood Commission, or ANC, approval will be a long and expensive process.

They have already received notice that some neighbors intend to protest As You Are Bar’s application for the “tavern” liquor license that ABRA grants to serve alcohol and allow for live entertainment (e.g. drag shows). They applied for the license on Nov. 12, and have no anticipated opening date, estimating at least six months. If ABRA and the city’s Alcoholic Beverage Control Board give final approval, the local ANC 6B and nearby residents can no longer protest the license until the license comes up for renewal.

Until approval is given, they continue physical buildout (including soundproofing) and planning their offerings. If the license is approved, ABRA and the ABC Board can take action against As You Are Bar, like any bar, at any time if they violate the terms of the license or create a neighborhood disturbance that violates city laws such as the local noise ordinance.  In the kitchen, the duo snagged Chef Nina Love to develop the menu. Love will oversee café-style fare; look out for breakfast sandwiches making an appearance all the way until close. They will also have baked goods during the day.

McDaniel and Pike themselves will craft the bar menu. Importantly, they note, the coffee bar will also serve until close. There will be a full bar as well as a list of zero-proof cocktails. As with their sourcing, they hope to work with queer-, minority-, and women-owned businesses for everything not made in-house.

Flexible conceptually, they seek to grow with their customer base, allowing patrons to create the culture that they seek.

Their goal is to move the queer space away from a focus on alcohol consumption. From book clubs, to letter-writing, to shared workspaces, to dance parties, they seek an all-day, morning-to-night rhythm of youth, families, and adults to find a niche. “We want to shift the narrative of a furtive, secretive, dark gay space and hold it up to the light,” they say. “It’s a little like The Planet from the original L Word show,” they joke.

Pike notes that they plan on working closely with SMYAL, for example, to promote programming for youth. Weekend potential activities include lunch-and-learn sessions on Saturdays and festive Sunday brunches.

The café space, to be located on the first floor, will have coffeehouse-style sofas as well as workstations. A slim patio on 8th Street will hold about six tables.

Even as other queer bars have closed, they reinforce that the need is still present. “Yes, we can visit a café or bar, but we always need to have a place where we are 100 percent certain that we are safe, and that our security is paramount. Even as queer acceptance continues to grow, a dedicated queer space will always be necessary,” they say.

To get there, they continue to rally support of friends, neighbors, and leaders in ANC6B district; the ANC6B officials butted heads with District Soul Food, the previous restaurant in the space, over late-night noise and other complaints. McDaniel and Pike hope that once nearby residents and businesses understand the important contribution that As You Are Bar can make to the neighborhood, they will extend their support and allow the bar to open.

AYA, gay news, Washington Blade
Rachel Pike and Jo McDaniel signed a lease for their new concept in Barracks Row. (Photo courtesy Pike and McDaniel)
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Need a list-minute gift idea?

Books, non-profit donations make thoughtful choices

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‘Yes, Daddy’ by Jonathan Parks-Ramage is the story of a young man with dying dreams of fame and fortune, who schemes to meet an older man.

You knew this was coming.

You knew that you were going to have to finish your holiday shopping soon but it snuck up on you, didn’t it? And even if you’re close to being done, there are always those three or five people who are impossible to buy for, right? Remember this, though: books are easy to wrap and easy to give, and they last a while, too. So why not head to the bookstore with your Christmas List and look for these gifts.

And if you still have people to shop for, why not make a donation to a local non-profit in their name? A list of D.C.-area suggestions follows.

BOOKS: NONFICTION

If there’s about to be a new addition to your family, wrapping up “Queer Stepfamilies: The path to Social and Legal Recognition” by Katie L. Acosta would be a good thing. In this book, the author followed forty LGBTQ families to understand the joys, pitfalls, and legalities of forming a new union together. It can’t replace a lawyer, but it’s a good overview.

For the parent who wants to ensure that their child grows up with a lack of bias, “Raising LGBTQ Allies” by Chris Tompkins is a great book to give. It’s filled with methods to stop bullying in its tracks, to be proactive in having That Conversation, and how to be sure that the next generation you’re responsible for becomes responsible in turn. Wrap it up with “The Healing Otherness Handbook” by Stacee L. Reicherzer, Ph.D., a book that helps readers to deal with bullying by finding confidence and empowerment.

If there’s someone on your gift list who’s determined to get “fit” in the coming year, then give “The Secret to Superhuman Strength” by Alison Bechdel this holiday. Told in graphic-novel format (comics, basically), it’s the story of searching for self-improvement and finding it in a surprising place.

So why not give a little nostalgia this year by wrapping up “A Night at the Sweet Gum Head” by Martin Padgett? It’s the tale of disco, drag, and drugs in the 1970s (of course!) in Atlanta, with appearances by activists, politics, and people who were there at that fabulous time. Wrap it up with “After Francesco” by Brian Malloy, a novel set a little later – in the mid-1980s in New York City and Minneapolis at the beginning of the AIDS crisis.

The LGBTQ activist on your gift list will want to read “The Case for Gay Reparations” by Omar G. Encarnacion. It’s a book about acknowledgment, obligation on the part of cis citizens, and fixing the pain that homophobia and violence has caused. Wrap it up with “Trans Medicine: The Emergence and Practice of Treating Gender” by Stef M. Shuster, a look at trans history that may also make your giftee growl.

FICTION

Young readers who have recently transitioned will enjoy reading “Both Sides Now” by Peyton Thomas. It’s a novel about a high school boy with gigantic dreams and the means to accomplish them all. Can he overcome the barriers that life gives him? It’s debatable… Pair it with “Can’t Take That Away” by Steven Salvatore, a book about two nonbinary students and the troubles they face as they fall in love.

The thriller fan on your list will be overjoyed to unwrap “Yes, Daddy” by Jonathan Parks-Ramage. It’s the story of a young man with dying dreams of fame and fortune, who schemes to meet an older, more accomplished man with the hopes of sparking his failing career. But the older man isn’t who the younger thinks he is, and that’s not good. Wrap it up with “Lies with Man” by Michael Nava, a book about a lawyer who agrees to be counsel for a group of activists. Good so far, right? Until one of them is accused of being involved in a deadly bombing.

For the fan of Southern fiction, you can’t go wrong when you wrap up “The Tender Grave” by Sheri Reynolds. It’s the tale of two sisters, one homophobic, the other lesbian, and how they learn to forgive and re-connect.

NON-PROFIT GIVING

Like nonprofit organizations throughout the country, D.C.-area LGBTQ supportive nonprofit groups have told the Blade they continue to rebuild amid the coronavirus pandemic, which disrupted their fundraising efforts while increasing expenses, at least in part by prompting more people to come to them for help.

This holiday season, if you’re looking for a thoughtful gift, consider making a donation to one of our local LGBTQ non-profit organizations in someone else’s name. This list is by no means exhaustive, but a good place to start your research.

Contributions to the LGBTQ supportive nonprofit organizations can be made via the websites of these local organizations:

• Blade Foundation, which funds local scholarships and fellowships for queer student journalists, bladefoundation.org

• DC Center, our local community center that operates a wide range of programming,  thedccenter.org/donate

Food & Friends, which delivers meals to homebound patients, foodandfriends.org

HIPS, which advances the health rights and dignity of those impacted by sex work and drugs, hips.org

• SMYAL, which advocates for queer youth, smyal.org

Wanda Alston Foundation, which offers shelter and support for LGBTQ youth, wandaalstonfoundation.org

• Whitman-Walker Health, the city’s longtime LGBTQ-inclusive health care provider, whitmanwalkerimpact.org

Casa Ruby, which provides shelter and services to youth in need, casaruby.org

• Us Helping Us, which helps improve the health of communities of color and works to reduce the impact of HIV/AIDS on the Black community, ushelpingus.org/donate

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