Theater
Region celebrates James Baldwin’s centennial
Iconic civil rights and gay activist was a novelist, poet, playwright
This year marks the centennial of James Baldwin and it’s not going unnoticed.
Born in New York City on Aug. 2, 1924, Baldwin was a 20th century literary titan. Not only was he tremendously prolific and talented, the novelist/poet/playwright/ and essayist par excellence, fearlessly wrote works exploring core identity topics including masculinity, race, class, and sexuality.
Baldwin was also Black, openly gay (long before Stonewall) and an activist. With the ubiquitous cigarette in hand, a quick mind and courageous heart, he was a regular on popular talk shows, and a leading voice in the civil rights movement, unreservedly addressing social inequities and Black oppression.
In recognition of his greatness, Baldwin centennial celebrations have been popping up all over. In North Bethesda, the Strathmore has already embarked on two months of commemorative programming, including live musical and theatrical events celebrating the late writer’s genius.
On Saturday, Sept. 7, at The Mansion at Strathmore, Howard University’s Department of Theatre Arts students will perform select scenes from Baldwin’s dramatic works: “The Amen Corner” (1955) and “Blues for Mister Charlie” (1964). Directed by Dr. Khalid Y. Long, the presentation will also include a scholarly overview of Baldwin’s contributions to African American Theatre.
And on Saturday, Oct. 5, The Music Center at Strathmore presents queer singer/songwriter Meshell Ndegeocello doing “No More Water/ The Gospel of James Baldwin.” Inspired by the way Baldwin empowered others through the written word, the Grammy-winning artist uses music as her vehicle to engage others in the challenge and promise of Baldwin’s work.
A famously versatile performer, Ndegeocello enjoys a devoted fan base who follow her on “sojourns into soul, spoken word, R&B, jazz, hip-hop, and rock, all bound by a lyrical, spiritual search for love, justice, respect, resolution, and happiness.”
Since Baldwin’s death from cancer at 63 in 1987, his reputation hasn’t dimmed. In fact, it’s grown in some ways. E. Ethelbert Miller, the D.C.-based literary activist, memoirist and poet, credits Baldwin’s ongoing relevance in part to queer studies and a flurry of films including Raoul Peck’s 2017 Oscar nominated documentary “I Am Not Your Negro.”
Miller adds, “Baldwin is an is important writer who speaks to his time. He explains what it means to be an American. He speaks to things outside of sexuality. Personally, I read Baldwin to understand what the Civil Rights movement was about.”
And while he doesn’t claim to be a Baldwin expert, Miller has delved deeply into the legendary author’s life and work, describing Baldwin as a sort of prophet: “He comes out of the Black church. There’s no Baldwin without the Black church. He was a child minister. It’s not surprising that within his work [his semi-autobiographical first novel ‘Go Tell It on the Mountain,’ the gay-themed ‘Giovanni’s Room,’ etc.] he struggles with sin and the devil.”
His early life in Harlem wasn’t easy. Baldwin’s stepfather, a stern storefront minister, was severe and unkind. In search of himself, Baldwin headed downtown to Greenwich Village where he found a formative lover/mentor in Beauford Delaney, the great modernist painter who, by example, taught his protégé how to be Black, gay, and an artist.
Before turning 30, Baldwin was already a famous author brimming with energy in terms of youth, vision, and hope.
And though he lived and flourished in France and Turkey for a time, Baldwin found it difficult to comment on what was happening in America from afar: Miller says, “He couldn’t. Because he comes out of the church, he has to be a witness. He needs to testify. So, he joins the civil rights movement in the South.”
In later years, Baldwin settled in the French town of Saint-Paul-de-Vence where he continued to write until his death.
For Miller’s money, Baldwin’s most exciting works are his essays. He wholeheartedly recommends ‘Price of a Ticket,’ a compendium of nearly 50 years of Baldwin’s powerful nonfiction writing, mostly focusing on the experience of race and identity in the United States.
On Thursday, Sept. 26, Miller is slated to join the party with a lecture titled “James Baldwin at the Crossroads” at Eaton House, a co-working space at 1203 K St., N.W., where, from a 2024 perspective, he’ll reexamine Baldwin’s 1976 book about film, “The Devil Finds Work.”
“Something for everyone.” It’s a tired tagline, but in the case of this fall’s DMV theater season, it happens to be pretty much true. And a lot of the work is queer, directly or tangentially. Here’s a sliver of what’s already opened and what’s in store.
Theater J jumps into the new season with “How to Be a Korean Woman” (through Sept. 22), Sun Mee Chomet’s comic and heartfelt telling of searching for her birth family in Seoul, South Korea. edcjcc.org
Woolly Mammoth Theatre opens with “The Comeuppance” (through Oct. 6), the latest work from Tony-winning out playwright Branden Jacobs-Jenkins.
“On the night of their 20th high school reunion, the self-proclaimed “Multi-Ethnic Reject Group” reconnects while they pregame in Prince George’s County, Md. But amid the flow of reminiscing, an otherworldly presence forces these former classmates to face the past head-on and reckon with an unknowable future.” Woollymammoth.net
Signature Theatre kicks off with the D.C. premiere of Eboni Booth’s Pulitzer-winning play “Primary Trust” (through Oct. 20). Booth’s contemporary humor-filled tender tale of self-discovery and connection is followed by Signature’s big musical “A Funny Thing Happened on the Way to the Forum” (Oct. 29-Jan. 12), Stephen Sondheim’s classic Roman-set musical comedy staged by Signature’s out artistic director Matthew Gardiner. Sigtheatre.org
GALA Hispanic Theatre’s season opener, Gustavo Ott’s “The 22+ Weddings of Hugo” (through Sept. 29), is based on a true story. Performed in Spanish with easy-to-follow English surtitles, Ott’s raucous tale seeks to cover the various scenarios immigrants experience through many weddings. The cast features out actors Carlos Castillo as Hugo, a quiet postal clerk, and Victor Salinas who plays Elmar, a gay writer seeking refuge. José Zayas directs. Galatheatre.org.
Mosaic Theater Company at Atlas Performing Arts Center presents “Lady Day at Emerson’s Bar and Grill” (through Oct. 6), a play with music about jazz legend/queer icon Billie Holiday starring Roz White. Mosaic’s out artistic director Reginald L. Douglas directs. Mosaictheater.org
Ford’s Theatre presents “Mister Lincoln” (Sept. 20-Oct. 13), a “witty and revelatory” one-man show starring Scott Bakula (stage and screen actor famous for TV’s “Quantum Leap”). Fords.org
ExPats Theatre (also housed at Atlas) opens with “Marlene” (Sept. 28 through Oct. 20) featuring Karin Rosnizeck as the legendary Dietrich, a great star who famously defied social and gender conventions while dazzling the world with her glamorous career. Expatstheate.com
There’s a lot on offer at George Mason University’s Center for Arts this autumn, not least of all “An Evening with Lea Salonga” (Saturday, Sept. 28).
Tony-winning singer and actress Lea Salonga headlines the 2024 ARTS by George! benefit concert, performing songs from a four-decade career on Broadway and in animated movie hits. Born in the Philippines, Salonga originated the lead role of Kim in Miss Saigon, and she was the first Asian cast member to perform the role of Eponine in Les Misérables on Broadway.
Other promising one-day-only GMU entertainments include Ballet Hispánico (Oct. 5) and Mark Morris Dance Group and Music Ensemble (Oct. 19). cfa.gmu.edu
Creative Cauldron in Falls Church presents “Sondheim Tribute Revue” (Oct. 3-27) a celebratory salute to musical giant Stephen Sondheim with eight performers singing 20 titles from the gay composer’s brilliant songbook including “Company,” “Follies,” “Into the Woods,” “A Little Night Music,” “Sweeney Todd,” and the recent Tony Award Winner, “Merrily We Roll Along,” and more. Creativecauldron.org
Olney Theatre explores what makes a president great with “Eisenhower: This Piece of Ground,” Sept. 27-Oct. 20. And for Disney fans, don’t miss “Frozen,” Oct. 24-Jan. 5. Olneytheatre.org
The Kennedy Center offers laughs and nostalgia with “Clue” (Sept.17 through Oct. 6), a whodunit based on the fan-favorite 1985 Paramount movie and inspired by the classic Hasbro board game. Next up is “The 25th Annual Putnam County Spelling Bee” (Oct. 11 – 20).
Other Kennedy Center treats include “An Evening with David Sedaris” (Oct. 15). The gay humorist is slated to share his inimitable brand of satire and hilarious observations, and then it’s out sound healing artist Davin Youngs with “The Reset” (Oct. 28), his take on a “sound bath” including improvisational singing, looping devices, and healing instruments. Kennedy-center.org
Fall is the best time at the beach, so plan a weekend in Rehoboth and visit the phenomenal Clear Space Theatre. “Venus in Fur” runs Sept. 19-29 followed by “Sweeney Todd” Oct. 11-27; and “Shrek” runs Nov. 8-10. Clearspacetheatre.org
Fall cabaret will be in full swing at the Gay Men’s Chorus of Washington, D.C., as soloists share heart-warming stories and songs about their travel adventures (Oct. 19 at 2, 5, and 8 p.m.). And, of course, no holiday season is complete without the Chorus’s annual holiday celebration set for Dec. 7, 14, and 15. Gmcw.org
Folger Theatre presents Shakespeare’s “Romeo and Juliet” (Oct. 1-Nov. 10) staged by inspiring out director Raymond O. Caldwell. A large, versatile cast features Cole Taylor and Caro Rayes Rivera as the star-crossed lovers, and a host of familiar local faces including Luz Nicolas, Deirdra LaWan Starnes, and out actor Fran Tapia as Lady Capulet. folger.edu
Studio Theatre serves up “Summer, 1976,” (opening Nov. 13), a memory play by Pulitzer Prize-winning playwright David Auburn (“Proof”). Directed by Vivienne Benesch, the two-hander features longtime D.C. favorites Kate Eastwood Norris and out actor Holly Twyford playing disparate women whose unlikely friendship and ensuing connection changes the course of their lives. Studiotheatre.org
And on Wednesday, Dec. 4, Strathmore in North Bethesda presents “A Swingin’ Little Christmas,” a fun takeoff on kitschy, classic ‘50s and ‘60s holiday specials, featuring out TV star Jane Lynch (“Glee,” “The Marvelous Mrs. Maisel”) alongside Kate Flannery (“The Office”), Tim Davis (“Glee’s” vocal arranger), and The Tony Guerrero Quintet. Strathmore.org
Theater
Explore new venues, productions during D.C. Theatre Week
30 shows, including musicals, comedies, dramas, premieres, and more
2024 Theatre Week
Sept. 26-Oct. 13
Theatreweek.org
For Michael Ramirez, theater remains an ongoing source of inspiration and pleasure. As a little boy in El Paso, Texas, his mom took him to see lots of kids’ shows. And later in high school, he played one of the Sharks in “West Side Story.” All fond memories.
At the University of Texas in Austin for social work (undergraduate) and social work/public administration (graduate school) and then as a successful human resources professional and policy wonk in Washington, Ramirez continued to enjoy theater from the audience or behind the scenes. Now retired, he serves as a Helen Hayes Awards judge and board member at Woolly Mammoth Theatre.
Theatre Washington is the umbrella organization that not only produces the Helen Hayes Awards but also Theatre Week, an annual celebratory launch of the season with shows at low prices, a free kickoff fest, and other fun events.
The 2024 Theatre Week, explains Ramirez, features about 30 varied productions in the DMV, including musicals, comedies, dramas, new works, premieres, and works geared to young audiences. And tickets are affordably discounted at $60, $40, and $20.
“It’s a great opportunity to take a chance on a theater that you might not be familiar with,” he says. “When it comes to seeing shows, a lot of people think Kennedy Center or Ford’s. This can be an introduction to something entirely new. D.C. is a busy theater town with lots of companies and venues.”
At the heart of Theatre Week are its plays and musicals. Ramirez has already made his list.
His picks include GALA Hispanic Theatre’s “The 22+ Weddings of Hugo” featuring out actor Carlos Castillo as Hugo and staged by out director José Zayas; busy out playwright Branden Jacobs-Jenkins’ “The Comeuppance” at Woolly Mammoth; and “Rosencrantz & Guildenstern Are Dead” at Nu Sass Productions.
He also plans to see Mosaic Theatre’s “Lady Day at Emerson’s Bar and Grill,” a play with music about jazz legend/queer icon Billie Holiday starring Roz White; ExPats Theatre’s “Marlene,” featuring Karin Rosnizeck as legendary diva Marlene Dietrich; and Rorschach Theatre’s “Sleeping Giant” written by gay playwright Steve Yockey well known as the developer of the HBO Max comedy-drama television series “The Flight Attendant.”
Ramirez adds, “And as a good gay, I can’t miss ‘Sondheim Tribute Revue’ at Creative Cauldron.”
There are also parties and outdoor events. He advises a few of his favorites.
On Monday, Sept. 9, Woolly Mammoth hosts a Theatre Week Launch Party replete with drinks and season sneak peaks (invitation only).
The Historic Theatre Walking Tour (Sept. 21) asks the public to check out downtown D.C. theaters with guides Farar Elliot and Chris Geidner (free). And with City on the River Concert (Sept. 22), Theatre Washington returns to the D.C. Wharf Transit Pier to present “musical theater showstoppers” from a dozen of the season’s upcoming shows (free).
Next up it’s “DC Theatre at the Nats” (Sept. 24), a night out at the ballgame that baseball lover Ramirez is sure to attend. And typically, he says, performers from a local show or company are booked to sing the anthem ($20).
And big event Kickoff Fest 2024, an all-afternoon event for all ages, takes place on Sept. 28 at Arena Stage (also free).
Not surprisingly Ramirez fell for another theater aficionado. He and husband John Ralls got together in 1990 and married in 2014. Ralls is a board member at Rorschach.
As board members, they “function as ambassadors and marketers for the theater. We reach into our pockets and write the checks. We buy the season tickets, and encourage our friends to do the same.”
Ramirez enthusiastically reiterates: “Theatre Week is especially fun. Again, tickets are reasonable. There’s everything from puppet plays at Glen Echo Park to something more serious. It’s the perfect chance to try something new.”
Theater
Mosaic kicks off 10th anniversary with ‘Lady Day at Emerson’s Bar and Grill’
Play set in nightclub where Billie Holiday gave one of her last performances
‘Lady Day at Emerson’s Bar and Grill’
Sept. 5-Oct. 6
Mosaic Theater Company
1333 H St., N.E.
$50–$80
mosaictheater.org
Throughout a big career, jazz icon Billie Holiday experienced tremendous highs and lows. Unapologetically herself and openly bisexual, she made her mark with songs like the very popular “Lover Man (Oh, Where Can You Be?)” and successfully stepped into social activism with her performances and recording of “Strange Fruit,” a searing protest anthem inspired by the photograph of a lynching.
On the downside, she was dogged by addiction and fell prey to users of various stripes (more often than not male), but fans and music experts agree that it’s these less-than-sanguine life experiences that helped to shape the emotional content of her inimitable take on the blues.
Currently Mosaic Theater Company is kicking off its 10th anniversary season with Lanie Robertson’s “Lady Day at Emerson’s Bar and Grill,” a play with music set in a seedy Philadelphia night spot where Holiday gave one of her last performances just months before dying from heart disease at just 44 in 1959.
Mosaic’s immersive production is directed by the company’s out artistic director Reginald L. Douglas and stars D.C. favorite Roz White. At 90 minutes, the one-woman show features about a dozen of Holiday’s songs, and tucked in between are book scenes touching on personal and political themes including racism, sexism, domestic abuse, and drug use. In many ways, says Douglas, it’s the history of what Black female singing stars have had to endure to achieve success.
For Mosaic’s season opener, a black box space at Atlas Performing Arts Center on H Street, NE, is being reconfigured as a nightclub with café seating and drinks. White as Holiday (affectionately nicknamed Lady Day by famed saxophonist Lester Young) sings with a standard jazz tiro: pianist (William Knowles), bassist (Mark Saltman), and drummer (Greg Holloway).
An avowed Holiday admirer, director Douglas says staging the production has only increased his devotion: He describes her as an all-gender loving woman, who possessed a love of life, and an openness about her struggle.
“Without a doubt, she was a force of nature that queer audiences respond to and admire. Particularly for queer Black people, legends like Billie Holiday are vital for our ability to see ourselves.”
And as a theater maker who goes in as a Billie fan, Douglas already knew the show’s classics like ‘Strange Fruit’ and ‘God Bless the Child,’ and now he’s excited to be learning more from her canon like ‘What a Little Moonlight Can Do,’ ‘Crazy He Calls Me,’ and ‘Easy Living’ which has become a special moment in the show.
And working with the powerful White as Holiday is proving “a dreamy collaboration.”
“The core is respect,” says Douglas who began his tenure with Mosaic in November of 2021. “I trust the experts and Roz is an expert. She knows how to command a stage and she is Billie Holiday’s biggest fan. She has a depth of knowledge about the artist and her music, jazz, the blues. I just want to listen and soak that up and elevate it and amplify it on stage.”
The experience is filled with trust and admiration and give and take, he adds. And along with wonderful choreography and movement consultant Sandra L. Holloway who is a queer Black woman, the three of them are having a great time.
White recently returned to D.C. after completing a two-year national tour of “TINA: The Tina Turner Musical.” And now with “Lady Day at the Emerson Bar and Grill,” she marks her return to Mosaic where, among other performances, she is remembered for her compelling portrayal of Sister Rosetta Tharpe, the queer Black woman who invented rock ‘n’ roll, in “Marie and Rosetta.”
Holiday’s voice is unmistakable. With its wonderfully unique phrasing and a gravel and hoarseness resulting from years of late nights and strain, it’s often copied, but that’s not what they’re going for here.
Douglas says, “We’re not striving for an impersonation here. We’re letting Roz be Roz; but while honoring the spirit of Billie, you’ll notice some pronunciation and dialect work. Still, Roz brings her own kind of special sauce to the work.”
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