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Previewing D.C.’s WorldPride Music Festival

Producer Jake Resnicow on unforgettable event with genres from disco to country

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The Dreamland WorldPride Music Festival is set to be held at RFK Stadium June 6-7, 2025. (Photo courtesy Club Glow)

As WorldPride draws closer, Washington, D.C. is getting ready to celebrate on multiple levels. One major event is the Dreamland WorldPride Music Festival, to be held at RFK Stadium (2400 East Capitol St., N.E.) from June 6-7, 2025. This music festival will serve as the centerpiece of the city’s WorldPride celebration, coinciding with the 50th anniversary of D.C. Pride.

Local electronic dance music event promoter Club Glow is putting on the show, bringing in celebrated producer Jake Resnicow, to create a giant festival. Under the direction of Resnicow and Club Glow, the festival will feature a diverse, yet-to-be-named lineup featuring pop superstars, live performers, DJs, and plenty of local talent. The festival aims to showcase the vibrant spectrum of LGBTQ culture, with musical genres ranging from disco to country, bringing together performers from a range of backgrounds who resonate with Capital Pride’s values and with the attendees.

The Washington Blade conducted an exclusive interview with Jake Resnicow about the festival. The interview has been slightly condensed for clarity.

BLADE: What is your background and role in the nightlife scene? 

RESNICOW: I’ve always been passionate about creating spaces where people can express themselves freely. My journey into live events began in 2010 with a Pride event on Governors Island. It was a transformative experience that showed me the power of live events to bring joy and build community. Since then, I’ve had the privilege of producing events like WorldPride at the Javits Center, where we raised over $500,000 for LGBTQ+ charities, as well as the first-ever Pride in Central Park. These events have been about more than just entertainment; they aim to support and uplift the LGBTQ+ community. 

BLADE: How did you get involved in the WorldPride Festival with Capital Pride?

RESNICOW: After producing several Pride festivals and witnessing their impact, the opportunity to bring this energy to the largest stage feels like a culmination of a long-held vision. I’m truly honored to collaborate with Pete Kalamoutsos, Heather Church, and Matt Cronin — the driving force behind Project GLOW. Pete has been a leader in the dance music scene for over 25 years. He, Heather, and Matt have not only shaped the East Coast’s electronic music landscape but have also shown unwavering support for the LGBTQ+ community. Their commitment to elevating dance culture, especially through Project GLOW, is remarkable. Beyond the music, the team has incorporated community-focused initiatives, such as highlighting Washington, D.C.’s LGBTQIA+ community through dedicated stages and collaborating with local charities like Sasha Bruce Youthwork. Working with Pete, Heather, and Matt is like joining a dream team — they have an incredible vision and are passionate about making a difference. Together, we aim to create a historic WorldPride 2025 Music Festival that resonates with attendees and leaves a lasting legacy. 

BLADE: What does this event mean to the LGBTQ nightlife community? 

RESNICOW: WorldPride 2025 is more than just a music festival; it’s a space for celebration, reflection, and visibility. For the LGBTQ nightlife community, it’s an opportunity to come together, celebrate our identities, and amplify voices that have been historically marginalized. In a world where less than 1% of charting artists identify as LGBTQIA+, this festival is a platform to change that narrative. I’m particularly proud to serve on the board of Femme House, where we work to address this underrepresentation by providing resources and opportunities for queer musicians to thrive. This festival symbolizes a safe, inclusive environment where everyone feels seen, heard, and celebrated. 

BLADE: What will the festival entail? 

RESNICOW: The festival will offer a multi-day experience filled with music, art, and community engagement. Attendees can expect a blend of live performances, immersive activations, art installations, and wellness zones. To me, queer entertainment has evolved beyond nightlife; it’s now a cultural movement that intertwines art, music, fashion, and activism. This evolution has shaped how I approach my events, pushing me to create spaces that are not just safe and inclusive but also challenge and redefine what live entertainment can be. WorldPride 2025 is about creating something larger than a single event; it’s about fostering a movement that celebrates the full spectrum of the LGBTQ+ community. We aim to offer spaces for connection, self-expression, and reflection, incorporating elements that give back to the community and support causes that matter most to us. 

BLADE: What are some elements and activations that are part of the festival? 

RESNICOW: Beyond the music, there will be a variety of interactive experiences and spaces that celebrate LGBTQ+ culture. This includes art installations, wellness zones, educational areas, and spaces for community organizations to engage with festival-goers. Our goal is to create a holistic experience that goes beyond the traditional festival setup, offering attendees a place to connect, learn, and celebrate in diverse ways. 

BLADE: How do WorldPride and the festival connect to the D.C. community?

RESNICOW: Washington, D.C. has a rich history of LGBTQ+ activism and culture, and this festival holds personal significance for me. Having attended Georgetown University, I feel a deep connection to this community and its legacy. WorldPride 2025 is my way of giving back, aiming to create a festival that resonates on a deeply personal level for all of us. I want to create a musical experience that the community will remember, one that celebrates our progress and inspires us for years to come. This event is designed to leave a lasting impression, not just as a festival but as a moment of unity and pride. 

A core aspect of WorldPride 2025 is its commitment to giving back. The festival will support the nonprofit Capital Pride Alliance, which serves the needs of the LGBTQ+ community year-round. We’re building on the legacy of our previous events, where we raised substantial funds for LGBTQ+ causes. This isn’t just about a single weekend of celebration; it’s about creating lasting change. Additionally, based on the overwhelming presale response, we’re on track to potentially set a new world record for the largest Pride festival ever. This reflects not only the excitement for the event but also the strength and unity of our community. We’re striving to make the festival a historic moment that has a meaningful, positive impact on both the local D.C. community and the LGBTQ+ community at large.

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Theater

Reggie White relishing first season as artistic director of Woolly Mammoth

First five shows a reminder that ‘pressure is a privilege’

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Reggie D. White (Photo by Ambe J. Williams)

Madly talented and preternaturally energetic, Reggie D. White, 38, is about to launch his first season as artistic director of D.C.’s boundary-pushing Woolly Mammoth Theatre Company.

White brings a lot to the job. As actor, playwright, and director, his varied resume includes a 2019 Broadway acting debut in Matthew López’s Tony Award–winning play “The Inheritance,” his semi-autobiographic play “Fremont Ave.” that opened to acclaim last season at Arena Stage, and a number of exciting regional directing credits.

A longtime admirer of Woolly, the out theater-maker was selected from a pool of candidates before receiving the offer last November and starting work in January. His season of five world premieres kicks off with gay playwright Steve Yockey’s “Venus” (Sept. 9-Oct. 4), a darkly funny study of modern relationships told through two lesbians looking back on their first encounter.

White was introduced to Woolly Mammoth as a pre-law student at Cal State Hayward in the San Francisco Bay Area, long before he foresaw a life in the arts. “As part of a random theater history course, I was assigned to write a paper on a counterculture company called Woolly Mammoth,” he recalls “Strange name. I was like what the hell is that?” 

Nineteen-year-old White was intrigued. Research acquainted him with Howard Shalwitz who co-founded Woolly in 1980, and the company’s commitment to living playwrights and new work. He also learned how theater could be used as a tool for difficult conversations and shape the way people thought about social issues by employing imagination and rigor. 

“Never in a million years did young me envision that one day I’d be Woolly’s third artistic director in its 46-year history,” says White. “It’s kind of serendipitously insane.” 

WASHINGTON BLADE: Was there a moment when the enormity of the job hit you?

REGGIE D. WHITE: After I’d signed my contract and finished all the paperwork, I got my keys and sat in the theater by myself in the dark and thought about what an incredible honor it is to be trusted with what happens in this beautiful space [in D.C.’s Penn Quarter]. I might have cried. Sometimes I have to pinch myself to remember it’s real. 

BLADE: Are you curating the upcoming 2026–2027 season? 

WHITE: Yes, I am.  It’s very rare that an incoming artistic director gets to program their first season, but I was lucky in terms of time. After being hired late last year, I asked Woolly’s managing director Kimberly E. Douglas, if she thought it would be crazy if I programmed the season. She warned me it would be hard. 

I invoked tennis legend Billie Jean King’s maxim “pressure is a privilege” and got to work. 

These plays [dubbed White’s “first five”] represent both the kind of theater that Woolly can do really well and speak directly to my voice as curator and how I want to contribute to the larger theatrical conversation in the DMV. 

Getting here has meant a lot of late nights. But I knew the juice would be worth the squeeze.

BLADE: As a queer artistic director, what makes you unique? 

WHITE: When I was playing in “Inheritance” on Broadway, after a performance, U.S. Supreme Court Justice Sotomayer came backstage to meet the cast. She spoke about how her lens on the world as a Puerto Rican woman shapes her decisions. Similarly, because I’m a queer Black man I see through a lens that shapes my work.

I know I’m not the only queer artistic director in town. For me, it influences how I make editorial decisions. Out of this season’s five plays there are explicitly queer characters in four [“Venus,” “Chanukkah Spectacular,” “Ten Grand,” and “Love I Awethu Further”] and I’m directing two [“Venus,” “Ten Grand”].

BLADE: Will we see familiar faces?

WHITE: Every show this season will feature a Woolly Mammoth company member in its cast. Our company also includes designers and directors who we’ll include. I’m invested in continuing to provide a showcase for their work. 

BLADE: How do you think queer audiences will receive the season? 

WHITE: Very well, I think. For queer people who’ve had to navigate the world subversively and solve problems in unique ways, I think it will be especially interesting. I find theater a potent place for questions.

Like all artistic directors. I’ll show up for the job in my own way. I’m just excited that I’ve been invited to bring the fullness of myself to the role.

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PHOTOS: Amsterdam Pride Canal Parade

Annual LGBTQ celebration held in Dutch city during World Pride

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A scene from the 2026 Amsterdam Pride Canal Parade. (Washington Blade photo by Michael Key)

Editor’s note: International News Editor Michael K. Lavers and Photo Editor Michael Key are on assignment in the Netherlands through Aug. 10.

AMSTERDAM — The 2026 Amsterdam Pride Canal Parade was held on Saturday, Aug. 1.

(Washington Blade photos by Michael Key and Michael K. Lavers)

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PHOTOS: Lambda Legal in the Pines

Fundraiser held at ‘Normal Heart’ house

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A scene from the 'Lambda Legal in the Pines' fundraiser on July 25. (Photo by Santiago Felipe)

The LGBTQ organization Lambda Legal held its annual “Lambda Legal in the Pines” fundraiser on Saturday, July 25. The event was held at a house on Fire Island featured in Ryan Murphy’s 2014 HBO film, “The Normal Heart.”

Organizers say over $500,000 was raised to support Lambda Legal’s national litigation and advocacy work.

(Photos by Santiago Felipe)

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