a&e features
Kristin Chenoweth comes ‘Home’
Tony-winning legend weighs in on Sandi Perry and Harvey Milk

Kristin Chenoweth says some of her biggest influences have been the gospel singers she listened to growing up. (Photo courtesy Strathmore)
Kristin Chenoweth
‘Coming Home Tour’
Friday, Jan. 29
8 p.m.
Music Center at Strathmore
5301 Tuckerman Lane
North Bethesda, Md.
$58-155
It’s a cliche, but Kristin Chenoweth needs no introduction.
Next weekend, the Tony-winning legend brings her “Coming Home Tour” to the Strathmore. We caught up with her by phone from New York.
WASHINGTON BLADE: You’ve been on the road with this show but it sounds like the Strathmore show will be a little different.
KRISTIN CHENOWETH: Yes, I’m probably doing some new stuff at the Strathmore including some stuff by Andrew Lippa, stuff we’ve been working on with his opera “I Am Harvey Milk” and a prequel to that that he did for me called “I Am Anne Hutchinson,” which is a continuation of that piece. But I’m always changing it up. It never feels like I’m doing the same show. I have a five-piece show, an 11-piece show and an orchestra show and I’m always changing it up and putting in new stuff which makes it fun for me.
BLADE: Do you feel a concert can work with the songs speaking for themselves or does the evening have to take you somewhere? What considerations are you thinking of when you craft your set list?
CHENOWETH: I never do the same set list twice because I want to make it special for each place I’m going to. That’s challenging for me musically and artistically. Sometimes I wish I weren’t built that way because I’d love to just park and bark, but I don’t know how to do that. I’m currently working on a couple new songs, a couple covers by some people we all know and love and there’s certain songs I will do so I don’t get shot. But I’m constantly switching it up. I have a Don Henley song now that’s making its appearance pretty regularly. Dolly’s making an appearance, Jerome Kern, goodness, Adele, Rodgers and Hammerstein. As you can see, it’s all over the map but I like it that way because it challenges me.
BLADE: I know you’ll be back to the Strathmore in April for the Harvey Milk work you just mentioned. How did you get involved in that?
CHENOWETH: About six or seven years ago, Andrew Lippa came to me and said he’d written this opera “I Am Harvey Milk” and he said, “I’ve written a soprano role for you.” At that time in my life, I wasn’t able to do it, which is a regret of mine. I really wish I could have. … They came to me again later and once again I couldn’t do it, I was in L.A. But the third time, they did it last year at Lincoln Center and I said, “I’m available and I’m making it work.” Then Andrew told me he was working on a prequel on a woman named Anne Hutchinson who was basically persecuted for being a thinking Christian woman. I loved the idea and the story. She had a lot of things going on in her life and she was judged and in some ways, I can relate. We started learning that actually yesterday and one song I may put in my solo show at the Strathmore. Andrew Lippa has been a huge part of my history and I’ve been somewhat of a muse for him and what can I say, I fall in love with his music every time he plays so I’m honored he’s written yet another thing for me.
BLADE: You’ve spoken of how (gospel singer) Sandi Patty is one of your heroes and inspirations. What was your favorite Sandi Patty album when you were growing up?
CHENOWETH: Her hymns collection. Especially her version of “It is Well With My Soul.” … I do one of her songs in my show and I love so many songs she’s done — “Love in Any Language,” “Via Dolorosa,” there are so many that I grew up listening to and I have the utmost respect for her. In fact we just sang together in Indianapolis. She sang “For Good” with me and it was a full circle moment because she was such a huge influence on my life so to get to sing with one of your idols, that’s pretty cool.
BLADE: Did you ever sing to her accompaniment tracks in church? Remember those tapes you used to be able to get from Christian bookstores?
CHENOWETH: Are you kidding, that was my orchestra. I say in my concert we had these little square things that we put in big machines we got from RadioShack. That’s how I got my music — theater, opera, pop. It was all from tapes.
BLADE: You have a master’s degree in opera yet it sounds like most of your influences were Broadway, pop and gospel. Would you have been happy with an opera career had things worked out that way for you?
CHENOWETH: I think I would have been happy no matter what because I’m one of those people who once I make a decision to do something, I pretty much don’t look back. But I think one of the reasons that musical theater fits me so well is that I’m an actor first. Not that opera singers aren’t, so many of them are, but what I love is character and character development and creating new roles, that’s what I love to do. It could be on film, television or whatever. I didn’t want to live in just one arena.
BLADE: Obviously you use your upper register all the time but some would say it would enjoy a fuller expression, perhaps, in opera. Have you ever thought about doing a classical album?
CHENOWETH: All the time. I would love to revisit some of the arias that were challenging for me and fun when I was starting out. Every once in awhile I do one in my show, so that’s not out of the complete realm of possibility.
BLADE: Lots of people can sing pop but not just anybody can do opera and you obviously could.
CHENOWETH: Amen, brother.
BLADE: Did you have any reservations about playing Maleficent (in last year’s “Descendants” for the Disney Channel) so shortly after the Angelina Jolie movie or was that a non-issue?
CHENOWETH: I knew the style and the way we were gonna shoot it, I knew the tone would be completely different so no, I didn’t have any trepidation. I mean look, Angelina and I couldn’t be any more opposite. Her one leg equals my entire body. She is an incredible actress. My Maleficent was for the Disney Channel and she sings, so I knew it would be different.
BLADE: Anytime push has come to shove between the evangelical Christian world and the gays, you’ve always come down on the side of the gays and sometimes paid a price for it. Sometimes it seems like the ice is thawing a little but other times it seems both politically and religiously things are becoming more polarized. Will evangelicals ever come around on gay issues?
CHENOWETH: Oh, I hope so. You know, I say in my concerts and it’s true, I say, I always gotta do a Jesus song because I’m a Christian. As an artist and as a person, that’s a big part of who I am but another big part of who I am is a gay rights lover … and that doesn’t always go hand in hand as you know.That’s not something that people necessarily agree with but as I always say, and I really mean this, I don’t want to be judged for what I believe, I just want people to enjoy my music. What would make me happy is if there was more acceptance and tolerance and love, not just to the gay community but to the Muslim community, to any community of people who are considered outcasts or not the quote-unquote norm. I just try to do what Jesus would do. I don’t always succeed. I have a lot of faults but I approach things from a love place and not a hate place so I hope we keep heading in that direction on this issue.
BLADE: Speaking of gospel singers, is it true that you once sang the Evie song “Four Foot Eleven” at a Baptist convention when you were 12?
CHENOWETH: You bet, that was one of the first songs I ever sang. If I’d known that was all the taller I’d get, I might have sung something else. Evie was also a huge musical influence on me growing up. You have to understand, music and church sort of for me went together and Evie Tornquist is somebody who still to this day, I wish I could just do an album of her and Sandi. I just loved her. She sang another song, “Live for Jesus/that’s what matters/when other houses crumble mine is strong/live for Jesus/that’s what matters/that you see the light in me and come along.” Those are the things that have kept me going.
BLADE: She was huge in the ‘70s, but today a lot of people don’t know her.
CHENOWETH: In my world growing up in Tulsa, everybody knew her. I think she is literally an angel’s voice on earth. Just like I view Eva Cassidy’s voice, Renee Fleming, Dolly, Judy, Julie, Sandi, Barbra — they’re all there and they’re all angels. To me, that’s how I imagine heaven and it’s a place I can’t wait to sing.
a&e features
Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
Amy Madigan’s win in the supporting actress category puts her in serious contention to win the Oscar for ‘Weapons’
From Chelsea Handler shouting out Heated Rivalry in her opening monologue to Amy Madigan proving that horror performances can (and should) be taken seriously, the Critics Choice Awards provided plenty of iconic moments for queer movie fans to celebrate on the long road to Oscar night.
Handler kicked off the ceremony by recapping the biggest moments in pop culture last year, from Wicked: For Good to Sinners. She also made room to joke about the surprise hit TV sensation on everyone’s minds: “Shoutout to Heated Rivalry. Everyone loves it! Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”
The back-to-back wins for Jacob Elordi in Frankenstein and Amy Madigan in Weapons are notable, given the horror bias that awards voters typically have. Aunt Gladys instantly became a pop culture phenomenon within the LGBTQ+ community when Zach Cregger’s hit horror comedy released in August, but the thought that Madigan could be a serious awards contender for such a fun, out-there performance seemed improbable to most months ago. Now, considering the sheer amount of critics’ attention she’s received over the past month, there’s no denying she’s in the running for the Oscar.
“I really wasn’t expecting all of this because I thought people would like the movie, and I thought people would dig Gladys, but you love Gladys! I mean, it’s crazy,” Madigan said during her acceptance speech. “I get [sent] makeup tutorials and paintings. I even got one weird thing about how she’s a sex icon also, which I didn’t go too deep into that one.”
Over on the TV side, Rhea Seehorn won in the incredibly competitive best actress in a drama series category for her acclaimed performance as Carol in Pluribus, beating out the likes of Emmy winner Britt Lower for Severance, Carrie Coon for The White Lotus, and Bella Ramsey for The Last of Us. Pluribus, which was created by Breaking Bad’s showrunner Vince Gilligan, has been celebrated by audiences for its rich exploration of queer trauma and conversion therapy.
Jean Smart was Hack’s only win of the night, as Hannah Einbinder couldn’t repeat her Emmy victory in the supporting actress in a comedy series category against Janelle James, who nabbed a trophy for Abbott Elementary. Hacks lost the best comedy series award to The Studio, as it did at the Emmys in September. And in the limited series category, Erin Doherty repeated her Emmy success in supporting actress, joining in yet another Adolescence awards sweep.
As Oscar fans speculate on what these Critics Choice wins mean for future ceremonies, we have next week’s Golden Globes ceremony to look forward to on Jan. 11.
a&e features
Looking back at the 10 biggest A&E stories of 2025
‘Wicked,’ Lady Gaga’s new era, ‘Sexy’ Bailey and more
Although 2025 was a year marked by countless attacks on trans rights and political setbacks, the year also saw brilliant queer artists continuing to create art. From Cannes and Sundance Award winners now vying for Oscar consideration to pop icons entering new stages of their careers, queer people persevered to tell their stories through different media.
With the state of the world so uncertain, perhaps there’s no more vital time to celebrate our wins, as seen through some of this year’s top pop culture moments. While there’s no collection of 10 stories that fully encompass “the most important” news, here are some events that got the gays going:
10. ‘Mysterious Gaze of the Flamingo’ wins big at Cannes

The Cannes Film Festival has become a crucial start for films hoping to make their way to the Oscars, and first-time director Diego Céspedes won the top Un Certain Regard prize for his intimate western “The Mysterious Gaze of the Flamingo.” The film is set in the ‘80s and is intended as an allegory for the AIDS epidemic. Seeing a film that unpacks vital queer history win one of the most coveted awards at Cannes has been a huge point of pride in the independent filmmaking community.
Since the film bowed at Cannes, it has been selected as Chile’s Oscar entry in the Best International Feature race. Speaking with The Blade during the film’s AFI Fest run in October, Céspedes said: At first, I was kind of scared to have this campaign position in the times that we’re living [in] here. But at the same time, I think the Oscars mean a huge platform — a huge platform for art and politics.”
9. ‘The Last of Us’ returns for an even gayer season 2
While the first season of The Last of Us gave us one of TV’s most heartbreaking queer love stories in the episode “Long, Long Time,” Season 2 doubled down on its commitment to queer storytelling with the blossoming relationship between Ellie (Bella Ramsey) and Dina (Isabela Merced). The show expanded on the pair’s relationship in the original video game, making it perhaps the central dynamic to the entire season. That unfortunately came with more homophobic backlash on the internet, but those who checked out all the episodes saw a tender relationship form amid the show’s post-apocalyptic, often violent backdrop. For their performance, Ramsey was once again nominated for an Emmy, but Merced deserved just as much awards attention.
8. ‘Emilia Pérez’ sparks controversy
Jacques Audiard’s genre-bending trans musical “Emilia Pérez” proved to be an awards season juggernaut this time last year, winning the Golden Globe for Best Musical/Comedy. But when the lead star Karla Sofia Gascón’s racist, sexist, and homophobic old tweets resurfaced, the film’s Oscar campaign became a tough sell, especially after Netflix had tried so hard to sell Emilia Pérez as the “progressive” film to vote for. Mind you, the film had already received significant backlash from LGBTQ+ audiences and the Mexican community for its stereotypical and reductive portrayals, but the Gascón controversy made what was originally just social media backlash impossible to ignore. The only person who seemed to come out of the whole debacle unscathed was Zoe Saldaña, who won the Oscar for Best Supporting Actress over Ariana Grande.
7. ‘Sorry, Baby’ establishes Eva Victor as major talent
Back in January at the Sundance Film Festival, Eva Victor (known by many for her brand of sketch comedy) premiered their directorial debut “Sorry, Baby” to rave reviews, even winning the Waldo Salt Screening Award. Victor shadowed Jane Schoenbrun on the set of “I Saw the TV Glow,” and seeing Victor come into their own and establish such a strong voice immediately made them one of independent cinema’s most exciting new voices. A memorable scene in the film sees the main character, Agnes (played by Victor), struggling to check a box for male or female, just one example of how naturally queerness is woven into the fabric of the story.
Most recently, Victor was nominated for a Golden Globe for her performance in the film, and she’s represented in a category alongside Jennifer Lawrence (“Die My Love”), Jessie Buckley (“Hamnet”), Julia Roberts (“After the Hunt”), Renate Reinsve (“Sentimental Value”) and Tessa Thompson (“Hedda”). The film also received four Independent Spirit Award nominations overall.
6. Paul Reubens comes out in posthumous doc

While Paul Reubens never publicly came out as gay before passing away in 2023, the two-part documentary “Pee-wee as Himself” premiered back in May on HBO Max, giving the legendary comedian a chance to posthumously open up to the world. Directed by Matt Wolf, the documentary explores how Reubens found his alter ego Pee-Wee Herman and why he kept his private life private.
The documentary won an Emmy in the Outstanding Documentary or Nonfiction Special category and remains one of the most critically acclaimed titles of the year with a 100% Rotten Tomatoes score. Also worth noting, the National Geographic documentary Sally told the posthumous coming out story of Sally Ride through the help of her long-time partner, Tam O’Shaughnessy.
5. Lady Gaga releases ‘Mayhem’
Lady Gaga entered a new phase of her musical career with the release of Mayhem, her seventh album to date. From the frenzy-inducing pop hit Abracadabra to the memorable Bruno Mars duet featured on “Die With a Smile,” seeing Gaga return to her roots and make an album for the most die-hard of fans was especially rewarding after the underwhelming film releases of “House of Gucci” and “Joker: Folie à Deux.” Gaga has been touring with The Mayhem Ball since July, her first arena tour since 2018. She even extended her tour into 2026 with more North American dates, so the party isn’t stopping anytime soon. And Gaga is even set to make an appearance next May in “The Devil Wears Prada 2.”
4. Cynthia Erivo, Ariana Grande perform at the Oscars

While “Wicked: For Good” didn’t quite reach the heights of the first film, we will forever have Cynthia Erivo and Ariana Grande’s breathtaking live performance that opened the 97th Academy Awards. The pair sang a rendition of “Over the Rainbow,” “Home,” and “Defying Gravity,” paying proper homage to the original 1939 “Wizard of Oz.” Even non-Wicked fans can’t deny how magical and brilliantly staged this performance was. With both Erivo and Grande up for acting Oscars last year, they’re hoping to repeat success and make history with consecutive nominations. Either way, let’s hope there’s another live performance in the making, especially with two new original songs (The Girl in the Bubble and No Place Like Home) in the mix.
3. Indya Moore speaks out against Ryan Murphy
Indya Moore has consistently used social media as a platform for activism, and in September, posted a 30-minute Instagram live speaking out against “Pose” co-creator Ryan Murphy. Moore claimed that Murphy wasn’t being a true activist for trans people. “Ryan Murphy, we need you to do more. You need to address the racism, the violence, and the targeting of people on your productions, Ryan Murphy. You do need to make sure trans people are paid equally. Yes, Janet did the right thing,” Moore said. Murphy was also back in the headlines this year for the critically panned “All’s Fair” and the controversial “Monster: The Ed Gein Story” starring Laurie Metcalf and Charlie Hunnam.
2. Cole Escola wins Tony for Best Leading Actor
Few pop culture moments this year brought us together more than Cole Escola winning a Tony award for “Oh, Mary!” the Broadway show they created, wrote and starred in (we love a triple threat!) Escola made history by becoming the first nonbinary person to win a Tony in the leading actor category, and seeing them excitedly rush to the stage wearing a Bernadette Peters-inspired gown instantly became a viral social media moment.
The cherry on top of Escola’s major moment is the recent news that they are writing a Miss Piggy movie with Jennifer Lawrence and Emma Stone producing — news that also broke the internet for the better. We cannot wait!
1. Jonathan Bailey makes gay history as ‘Sexiest Man Alive’

The same year as his on-screen roles in blockbusters “Jurassic World Rebirth” and “Wicked: For Good,” Jonathan Bailey made history as the first openly gay man to be named People magazine’s “Sexiest Man Alive.” The fact that it took 40 years for an openly gay man to earn the title is a signifier of how far we still have to go with queer representation, and seeing Bailey celebrated is just one small step in the right direction.
“There’s so many people that want to do brilliant stuff who feel like they can’t,” he told PEOPLE, “and I know the LGBT sector is under immense threat at the moment. So it’s been amazing to meet people who have the expertise and see potential that I could have only dreamed of.” In 2024, Bailey founded the charity titled The Shameless Fund, which raises money for LGBTQ+ organizations.
a&e features
Your guide to D.C.’s queer New Year’s Eve parties
Ring in 2026 with drag, leather, Champagne, and more
With Christmas in the rear view mirror, we can turn our attention to ringing in a much-anticipated New Year with a slew of local LGBTQ parties. Here’s what’s on tap.
Pitchers
This spacious Adams Morgan bar is hosting the “Pitchers’ Perfect New Year’s Eve.” There will be a midnight Champagne toast, the ball drop on the big screens, and no cover, all night long. The bar doesn’t close until 4 a.m., and the kitchen will be open late (though not until close). All five floors will be open for the party, and party favors are promised.
Trade
D.C.’s hottest bar/club combo is leaning into the Shark motif with its NYE party, “Feeding Frenzy.” The party is a “glitterati-infused Naughty-cal New Year’s Even in the Shark Tank, where the boats are churning and the sharks are circling.” Trade also boasts no cover charge, with doors opening at 5 p.m. and the aforementioned Shark Tank opening at 9 p.m.. Four DJs will be spread across the two spaces; midnight hostess is played by Vagenesis and the two sea sirens sensuously calling are Anathema and Justin Williams.
Number Nine
While Trade will have two DJs as part of one party, Number Nine will host two separate parties, one on each floor. The first floor is classic Number Nine, a more casual-style event with the countdown on TVs and a Champagne midnight toast. There will be no cover and doors open at 5 p.m. Upstairs will be hosted by Capital Sapphics for its second annual NYE gathering. Tickets (about $50) include a midnight Champagne toast, curated drink menu, sapphic DJ set by Rijak, and tarot readings by Yooji.
Crush
Crush will kick off NYE with a free drag bingo at 8 p.m. for the early birds. Post-bingo, there will be a cover for the rest of the evening, featuring two DJs. The cover ($20 limited pre-sale that includes line skip until 11 p.m.; $25 at the door after 9 p.m.) includes one free N/A or Crush, a Champagne toast, and party favors (“the legal kind”). More details on Eventbrite.
Bunker
This subterranean lair is hosting a NYE party entitled “Frosted & Fur: Aspen After Dark New Year’s Eve Celebration.” Arriety from Rupaul Season 15 is set to host, with International DJ Alex Lo. Doors open at 9 p.m. and close at 3 p.m.; there is a midnight Champagne toast. Cover is $25, plus an optional $99 all-you-can-drink package.
District Eagle
This leather-focused bar is hosting “Bulge” for its NYE party. Each District Eagle floor will have its own music and vibe. Doors run from 7 p.m.-3 a.m. and cover is $15. There will be a Champagne toast at midnight, as well as drink specials during the event.
Kiki, Shakiki
Kiki and its new sister bar program Shakiki (in the old Shakers space) will have the same type of party on New Year’s Eve. Both bars open their doors at 5 p.m. and stay open until closing time. Both will offer a Champagne toast at midnight. At Kiki, DJ Vodkatrina will play; at Shakiki, it’ll be DJ Alex Love. Kiki keeps the party going on New Year’s Day, opening at 2 p.m., to celebrate Kiki’s fourth anniversary. There will be a drag show at 6 p.m. and an early 2000s dance party 4-8 p.m.
Spark
This bar and its new menu of alcoholic and twin N/A drinks will host a NYE party with music by DJ Emerald Fox. Given this menu, there will be a complimentary toast at midnight, guests can choose either sparkling wine with or without alcohol. No cover, but Spark is also offering optional wristbands at the door for $35 open bar 11 p.m.-1 a.m. (mid-shelf liquor & all NA drinks).
-
District of Columbia4 days agoTwo pioneering gay journalists to speak at Thursday event
-
Colombia4 days agoBlade travels to Colombia after U.S. forces seize Maduro in Venezuela
-
a&e features4 days agoQueer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
-
Virginia4 days agoLGBTQ groups to join Spanberger inaugural parade
