Arts & Entertainment
Rehoboth’s food scene offers exciting new options
Bodhi to debut, JAM’s new location features expansive roof deck, and more
The food scene in Rehoboth is always changing and bringing something new to the table and 2023 is no exception.
As the popular beach town continues to evolve, locals and tourists alike have more options than ever for nightlife and dining.
From Asian fusion to a speakeasy, there’s no shortage of new food to try, new drinks to sip, and new things to do.
Bodhi and Drift
Second Block Restaurant Group — owner of favorites like The Pines and Aqua Grill — is bringing Southeast Asian fare to 1st Street. This comes only a year after Drift opened on Baltimore Avenue, a high-end seafood restaurant and raw bar.
Bodhi’s dining experience was described by its owner as an Asian fusion experience inspired by street food. The corporate chef of Second Block, Lion Gardner, has traveled extensively in Southeast Asia, inspiring a shared vision among the owners of a place for dishes like dumplings and noodles.
The restaurant will occupy the spot that was held for many years by Lily Thai, which closed a few years ago after a very successful run. Now, Second Block hopes to bring Asian cuisine back to downtown Rehoboth in that space, most recently occupied by Square One Grill. As of this writing, Bodhi had not yet opened, though the chef has been testing the menu at takeover events in sister restaurant The Pines each Sunday until opening the new space.
The Second Block Restaurant Group is fairly new to the Rehoboth scene. It was only recently that Drift, The Pines, and Aqua all merged to form the group, with Bodhi as the next restaurant under the umbrella.
Tyler Townsend, who represents Bodhi, spoke about the impact that Second Block hopes to have on the gay community in Rehoboth. He spoke extensively about the group’s desire to maintain and expand LGBTQ culture through events like drag shows.
“We opened The Pines to bring something to Rehoboth that we felt was missing. Provincetown is my favorite place in the world to go, and we just felt like Rehoboth was missing an opportunity to bring in big name acts and provide a different level of entertainment than what was in the town.”
Townsend says that Rehoboth is evolving from the house party scene that he saw in years past to the bustling vacation center it is now. Second Block is committed to ensuring that gay community and culture not only stay alive in Rehoboth, but remain a focal point of the town.
JAM’s new location
The duo of Eden and JAM has been a mainstay on Baltimore Avenue for years. The sister restaurants provide two distinct yet equally elevated experiences of quality drinks, food, and service.
Owners Jeff McCracken and Mark Hunker have been providing both Rehoboth and D.C. with some of the best eats around for decades. Now, JAM has taken over the corner of Bayard and Wilmington, in the building occupied last year by UnWined at the Beach. There have been a number of businesses in and out of that space over the past few years — most notably the much-missed Azzurro — so a popular spot like JAM will give it some stability.
More importantly, South Rehoboth now has another high-end restaurant in its backyard. With Henlopen City Oyster House, Mariachi, Salt Air, and now JAM, there’s no shortage of elevated cuisine on the other side of Rehoboth Avenue.
“People keep telling us ‘Oh, I live on King Charles’ or ‘Oh, I live on Munson’ and they’re so excited for us to be there, because they never make the trip across Rehoboth Avenue,” said McCracken.
“For those of you that are familiar with JAM, we’ve kept all the favorites and we’ve added some really great new items to the menu. We’ve also added a really special new cocktails and pub menu for the rooftop.”
Bethany Blues takes over Nicola
If you walk into the now former home of Nicola Pizza and find yourself eating ribs, don’t be alarmed. The 1st Street space has been taken over by the group that owns Delaware barbecue mainstay Bethany Blues and nearby Dewey institution Starboard.
Downtown Blues, the newest member of that family, will feature a menu similar to Bethany Blues, but with its own Rehoboth twist. Owner Jessica Nathan elaborates:
“Being in the downtown area, we feel like we have an opportunity to highlight some fun, seasonal dishes that we can change up more frequently as we have a different flow of guests through the season. It will be a little bit smaller in terms of [Bethany Blues] everyday menu, but a little bit larger in terms of the seasonal menu.”
In addition to a tweaked menu, Downtown Blues will feature a Bourbon bar, and more emphasis on delivery. While Nathan says that Downtown Blues is a restaurant with full service and a bar, it also provides an easier opportunity for delivery and carryout to the immediate Rehoboth community.
Nicola finds new home
Nicola has been a mainstay of Rehoboth longer than this author has been alive. But, like the iconic Boardwalk Dolle’s sign before it, all great things must go, and it seems the Nicaboli is no exception. The Nicola sign now hangs in Lewes, in a giant newly constructed space.
Nick Caggiano Jr., part of the Caggiano family that owns Nicola, emphasized the importance of accessibility as the reasoning for the move. When asked what the benefit was of moving into Lewes, Caggiano didn’t hesitate.
“We have a big, free parking lot. As you know, in Rehoboth, two things happen. The nine months that there’s no meters, it’s still very hard to park in front of my restaurants, because the town has grown so much, which is great. The other two and a half months, you have to pay for parking, and a lot of the locals didn’t want to pay for parking. We also found that a lot of people would drive to dine with us and couldn’t find a parking spot, so they’d just leave. Here, we have 170 parking spots, it’s always free, and you can just park right in front of my restaurant and walk in.”
Caggiano also spoke about the benefits of having a wider customer base in Lewes. “I consider where I’m at to be the suburbs of Lewes, Rehoboth, and Milton” Caggiano explained.
With this more centralized location, it’s much easier for diners to make the trip to Nicola and feel confident that they can actually dine at Nicola.
First State Corn comes to the boardwalk
The food truck that once parked in the Aldi’s parking lot has finally hit the big time. The newest addition to the first block of Rehoboth Avenue is First State Corn. Here, customers can enjoy specialties like elote in a cup, Cuban sandwiches, and fried plantains.
The work of Chef James, who co-owns the truck, is seeped in the culture of his upbringing. Growing up in Miami, James wanted to cook the food that reflected Miami street food. He does cook it, and he cooks it extremely well. Nothing at First State Corn disappoints.
The truck actually started in Florida, but James moved to Delaware to be closer to his wife’s family. What started as a tent and three tables evolved into a food truck, and now it’s evolved into a full restaurant.
First State offers incredible food unique to the area, perfectly situated for the boardwalk location. Just run off the beach around noon and grab a cubano with a lemonade.
Libation Room brings the speakeasy to town
The speakeasy concept has been a growing trend in cities like D.C. and New York the past few years, and now the new owner of Summer House is bringing that exciting concept to Rehoboth.
Basically, do you want to go to a bar but sit on a couch? And feel kinda cool when you “get in” to the back room? Then a speakeasy is for you.
Behind the lively dining room and live music of Summer House, diners can now find the Libation Room. Here, you can find something more akin to a lounge setting.
Speaking to Regan Dickerson, who purchased Summer House last year, you’ll know no expense has been spared on the Libation Room and the various, well, libations. The room has been soundproofed so live music can take place in both venues at once. Lounge seating is available for reservation or general entry, and the bar in the back has an entirely different set of craft cocktails for customers to try.
This brings a late night option to the people in Rehoboth who don’t want to head all the way to Dewey for a lively night out.
Also new are Crushers, a crab shack in the former home of Port 251, which also owns Cup’r Cone in the parking lot; and Tiki Jac’s, a new bar in the former Nicola Pizza space on Rehoboth Avenue.
Sports
English soccer bans transgender women from women’s teams
British Supreme Court last month ruled legal definition of woman limited to ‘biological women’
The organization that governs English soccer on Thursday announced it will no longer allow transgender women to play on women’s teams.
The British Supreme Court on April 16 ruled the legal definition of a woman is limited to “biological women” and does not include trans women. The Football Association’s announcement, which cites the ruling, notes its new policy will take effect on June 1.
“As the governing body of the national sport, our role is to make football accessible to as many people as possible, operating within the law and international football policy defined by UEFA (Union of European Football Associations) and FIFA,” said the Football Association in a statement that announced the policy change. “Our current policy, which allows transgender women to participate in the women’s game, was based on this principle and supported by expert legal advice.”
“This is a complex subject, and our position has always been that if there was a material change in law, science, or the operation of the policy in grassroots football then we would review it and change it if necessary,” added the Football Association.
The Football Association also acknowledged the new policy “will be difficult for people who simply want to play the game they love in the gender by which they identify.”
“We are contacting the registered transgender women currently playing to explain the changes and how they can continue to stay involved in the game,” it said.
The Football Association told the BBC there were “fewer than 30 transgender women registered among millions of amateur players” and there are “no registered transgender women in the professional game” in England, Scotland, Wales, and Northern Ireland.
The Scottish Football Association, which governs soccer in Scotland, is expected to also ban trans women from women’s teams.
Theater
Theatre Prometheus spreads queer joy with ‘Galatea’
Two girls dressed as boys who find love despite the odds
‘Galatea’
Through May 10
Theatre Prometheus
Montgomery College Cultural Arts Center
7995 Georgia Ave, Silver Spring, Md.
$27
Theatreprometheus.org
In a timely move, Theatre Prometheus thought it would be a beneficial thing to spread a little queer joy. And since the company’s mission includes engaging audiences and artists in queer and feminist art, there was nothing to stop them.
Co-artistic directors Tracey Erbacher and Lauren Patton Villegas, both queer, agree they’ve found that joy in John Lyly’s “Galatea,” an Elizabethan-era comedy about Galatea and Phillida, two girls dressed as boys who find love despite some rather slim odds.
Now playing at Montgomery College Cultural Arts Center on the Takoma Park/Silver Spring campus, the upbeat offering is a mix of contemporary and period, and strives to make audiences happy. Galatea’s cast includes Amber Coleman and Cate Ginsberg as the besotted pair.
Erbacher, also the production’s director, adds “queer joy is something that I prioritized in casting actors and interviewing production people. I asked them what it means to them, and resoundingly the reply — from both them and the play — is that queer joy is the freedom to be yourself without having to think about it.
“Galatea” was first brought to Prometheus’s attention by Caitlin Partridge, the company’s literary director. Erbacher recalls, “she strongly suggested I read this very queer play. I read it and fell absolutely in love. And because it’s a comedy — I really like directing comedy — I knew that I could lean into that while not neglecting its universal themes of young love.”
Villegas, who’s not ordinarily drawn to the classics, was also instantly smitten with Galatea.
“Usually with classics, the language doesn’t jump out at me the way modern works do,” she says. “But not so with ‘Galatea.’ The first time I heard it read aloud, I found it easy to follow and entirely accessible in the best way.”
Whether Lyly deliberately wrote a queer play isn’t known. What’s definitely known is the play was written with an all-boy performing troupe in mind; that’s partly why there are so many young female roles, the parts 10-year-old boys were playing at the time.
There’s not a lot known about Lyly’s personal life, mostly because he wasn’t wildly famous. What’s known about the times is that there wasn’t a concept of “gay,” but there were sodomy laws regarding homosexual activity in England geared toward men having sex with men; it was all very phallocentric, Erbacher says.
She categorically adds, “Women’s sexuality wasn’t considered in the equation. In fact, it was often asked whether women were even capable of having sex with other women. It just was not part of the conversation. If there wasn’t a dick involved it didn’t count.
“Perhaps that’s how the playwright got around it. If there were two male characters in the play he could not have done it.”
Prometheus has done adaptations of ancient myths and some classics, but in this case it’s very faithful to the original text. Other than some cuts winnowing the work down to 90 minutes, “Galatea” is pretty much exactly as Lyly wrote it.
And that includes, “girls dressed as boys who fall in love thinking girls are boys,” says Erbacher. “And then they start to clock things: ‘I think he is as I am.’ And then they don’t care if the object of their affection is a boy or a girl, the quintessential bisexual iconic line.”
And without spoiling a thing, the director teases, “the ending is even queerer than the rest of the play.”
Erbacher and Villegas have worked together since Prometheus’s inception 11 years ago. More recently, they became co-artistic directors, splitting the work in myriad ways. It’s a good fit: They share values but not identical artistic sensibilities allow them to exchange objective feedback.
In past seasons, the collaborative pair have produced an all-women production of “Macbeth” and a queered take on [gay] “Cymbeline,” recreating it as a lesbian love story. And when roles aren’t specifically defined male or female, they take the best actor for the part.
With Galatea, Prometheus lightens the current mood. Erbacher says, “the hard stuff is important but exhausting. We deserve a queer rom-com, a romantic sweeping story that’s not focused on how hard it is to be queer, but rather the joy of it.”
Movies
Jacob Elordi rides high in ‘On Swift Horses’
Sony Pictures’ promotions avoid referencing queer sexuality of main characters
You might not know it from the publicity campaign, but the latest big-screen project for breakout “Euphoria” actor and sex symbol Jacob Elordi is 100% a gay love story.
Alright, perhaps that’s not entirely accurate. “On Swift Horses” – adapted from the novel by Shannon Pufahl and directed by Daniel Minahan from a screenplay by Bryce Kass – actually splits its focus between two characters, the other of which is played by “Normal People” star Daisy Edgar-Jones; but since that story arc is centered around her own journey toward lesbian self-acceptance, it’s unequivocally a “Queer Movie” anyway.
Set in 1950s America, at the end of the Korean War, it’s an unmistakably allegorical saga that stems from the marriage between Muriel (Edgar-Jones) and Lee (Will Poulter), a newly discharged serviceman with dreams of building a new life in California. His plans for the future include his brother Julius (Elordi), a fellow war vet whose restlessly adventurous spirit sparks a kindred connection and friendship with his sister-in-law despite a nebulously strained dynamic with Lee. Though the newlyweds follow through with the plan, Julius opts out in favor of the thrill of a hustler’s life in Las Vegas, where his skills as a card shark gain him employment in a casino. Nevertheless, he and Muriel maintain their friendship through correspondence, as he meets and falls in love with co-worker Henry (Diego Calva) and struggles to embrace the sexual identity he has long kept secret. Meanwhile, Muriel embarks on a secret life of her own, amassing a secret fortune by gambling on horse races and exploring a parallel path of self-acceptance with her boldly butch new neighbor, Sandra (Sasha Calle), as Lee clings obliviously to his dreams of building a suburban family life in the golden era of all-American post-war prosperity.
Leisurely, pensive, and deeply infused with a sense of impossible yearning, it’s the kind of movie that might easily, on the surface, be viewed as a nostalgia-tinged romantic triangle – albeit one with a distinctively queer twist. While it certainly functions on that level, one can’t help but be aware of a larger scope, a metaphoric conceit in which its three central characters serve as representatives of three conflicting experiences of the mid-century “American Dream” that still looms large in our national identity. With steadfast, good-hearted Lee as an anchor, sold on a vision of creating a better life for himself and his family than the one he grew up with, and the divergent threads of unfulfilled longing that thwart his fantasy with their irresistible pull on the wife and brother with whom he hoped to share it, it becomes a clear commentary on the bitter reality behind a past that doesn’t quite gel with the rose-colored memories still fetishized in the imagination of so many Americans.
Fortunately, it counterbalances that candidly expressed disharmony with an empathetic perspective in which none of its characters is framed as an antagonist; rather, each of them are presented in a way with which we can readily identify, each following a still-unsatisfied longing that draws them all inexorably apart despite the bonds – tenuous but emotionally genuine – they have formed with each other. To put it in a more politically-centered way, the staunch-but-naive conformity of Lee, in all his patriarchal tunnel vision, does not make him a villainous oppressor any more than the repressed queerness of Muriel and Julius make them idealized champions of freedom; all of them are simply following an inner call, and each can be forgiven – if not entirely excused – for the missteps they take in response to it
That’s not to say that Minahan’s movie doesn’t play into a tried-and-true formula; there’s a kind of “stock character” familiarity around those in the orbit of the three main characters, leading to an inevitably trope-ish feel to their involvement – despite the finely layered performances of Calva and Calle, which elevate their roles as lovers to the film’s two queer explorers and allow them both to contribute their own emotional textures – and occasionally pulls the movie into the territory of melodrama.
Yet that larger-than-life treatment, far from cheapening “On Swift Horses,” is a big part of its stylish appeal. Unapologetically lush in its gloriously photographed recreation of saturated 1950s cinema (courtesy of Director of Photography Luc Montpellier), it takes us willingly into its dream landscape of mid-century America – be it through the golden suburbs of still-uncrowded Southern California or the neon-lit flash of high-rolling Las Vegas, or even the macabre (but historically accurate) depiction of nuclear-age thrill-seekers convening for a party in the Nevada desert to watch an atom bomb detonate just a few short miles away. It’s a world remembered by most of us now only through the memories and artifacts of a former generation, rendered with an artful blend of romance and irony, and inhabited by people in whom we can see ourselves reflected while marveling at their beauty and charisma.
As lovely as the movie is to look at, and as effective as it is in evoking the mix of idealism and disillusionment that defines the America of our grandparents for many of us at the start of the second quarter of the 21st century, it’s that last factor that gives Minahan’s film the true “Hollywood” touch. His camera lovingly embraces the beauty of his stars. Edgar-Jones burns with an intelligence and self-determination that underscores the feminist struggle of the era, and the director makes sure to capture the journey she charts with full commitment; Poulter, who could have come off as something of a dumb brute, is allowed to emphasize the character’s nobility over his emotional cluelessness; Calle is a fiery presence, and Minahan lets her burn in a way that feels radical even today; Calva is both alluring and compelling, providing an unexpected depth of emotion that the film embraces as a chord of hope.
But it is Elordi who emerges to truly light up the screen. Handsome, charismatic, and palpably self-confident, he’s an actor who frankly needs to do little more than walk into the scene to grab our attention – but here he is given, perhaps for the first time, the chance to reveal an even greater depth of sensitivity and truth, making his Julius into the film’s beating heart and undisputed star. It’s an authenticity he brings into his much-touted love scenes with Calva, lighting up a chemistry that is ultimately as joyously queer-affirming as they are steamy.
Which is why Sony Pictures’ promotions for the film – which avoid directly referencing the sexuality of its two main characters, instead hinting at “secret desires” and implying a romantic connection between Elordi and Edgar-Jones – feels not just like a miscalculation, but a slap in the face. Though it’s an eloquent, quietly insightful look back at American cultural history, it incorporates those observations into a wistful, bittersweet, but somehow impossibly hopeful story that emphasizes the validity of queer love.
That’s something to be celebrated, not buried – which makes “On Swift Horses” a sure bet for your must-see movie list.
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