Arts & Entertainment
Camilla’s ‘World’
Gay duo to premier parody musical at the Fringe
‘Where in the World? The Untold Story of Camilla Sanfrancisco’
July 12-29
The Studio Theatre
1501 14th Street, NW
capfringe.org
Jeff Vonch (right) and Patrick English found inspiration in a video game villainess for their new work ‘Where in the World.’ (Photo courtesy Donis Zepeda)
By day, Patrick English and Jeff Vonch are patent examiners at the U.S. Patent office in Alexandria, but by night and on weekends they’re busy producing, writing and (in Vonch’s case) choreographing musical theater. When their new musical “Where in the World? The Untold Story of Camilla Sanfrancisco” premiers Thursday as part of the Capital Fringe Festival, everyone can see the result of the gay duo’s arduous efforts.
For English and Vonch, making fun of cultural touchstones from their youth is a favorite pastime. One of their preferred targets is Carmen Sandiego, the animated villainess of educational video games and TV programs popular in the ‘80s and ‘90s. Last year following one of their nostalgic confabs, Vonch received an uncharacteristically serious email from English suggesting that they collaborate on a musical about the red fedora-wearing Sandiego and her mysterious transformation from good to bad. What’s more, he wanted them to produce the show themselves.
“At first I thought he was crazy,” says Vonch, 26. “Neither of us had ever done anything like that before. How were we going to write a musical and produce? Then I got scared. I have aspirations to direct and do standup, but I also have big fears about putting my work out there before the public. Still, something told me to go for it.”
Soon after, collaboration began in earnest. As lyricists, the nervy twosome teamed up with established local composer Adrian Verkouteren to write an eight-song score. Prior to penning the musical’s libretto, English and Vonch researched Carmen’s backstory. She was a child genius who grew up to be an ace detective at ACME Detective Agency. Later she defected to a nasty villain league (V.I.L.E.) simply because she was bored. The novice librettists weren’t sold on Carmen’s motivation, so they decided to go a different way.
“We named our character Camilla Sanfrancisco. It’s a parody; it’s our story,” says English, 30. “Our Camilla [played by Vanessa Kinzey] is the victim of a frame-up orchestrated by a far-flung coterie of evildoers. Camilla travels the world working her way through henchman [and women] until she confronts the evil boss. It’s like a video game. Her stopping in India and Buenos Aires helps to make the show musically interesting. We’ve inserted both Bollywood and Tango numbers.”
With more than 130 shows performed in venues throughout town, the Capital Fringe Festival is D.C.’s foremost annual performing arts event. Offerings run the gamut from dance, drama and music to spoken word and puppetry. The work is often touted as edgy, offbeat and refreshing. Sometimes that’s the case, but not always.
Though both are patrons of the D.C. theater scene, Vonch and English haven’t been so involved in a theatrical production since high play days in Minooka, Ill., and Northern California, respectively.
“One of the great benefits of Fringe is that the relatively inexperienced can wear many hats. On this show, we’re co-producers, co-lyricists, co-librettists and Jeff is choreographer,” English says. “We’ve learned a lot. As co-producers we’ve put out a lot of fires and signed a lot of checks, but ultimately to see our work brought to life by such talented people is a really moving experience. It’s hard to put into the words.”
While a lot of Fringe productions cover adult terrain. English describes “Camilla” as PG-13. He says that it doesn’t focus directly on the LGBT experience, but does deal with gender and features a genderqueer character. Mostly, he adds, it’s a fun musical with good music and even better performances sung by a seven-person cast.
“Based on how we interact, people think Patrick and I have known each other forever, but it’s only been one year. Coming into this, I didn’t want our friendship to crumble or become all business and it hasn’t,” Vonch says. “Back in January, I told Patrick that however it turns out we’re going to give this show to the world. Luckily it’s going to be amazing.”
For more information about this and other shows, visit capfringe.org.
Theater
‘The Inheritance’ is most-nominated at this year’s Helen Hayes Awards
42nd annual celebration of excellence in local theater set for May 18
Helen Hayes Awards 2026
May 18, 2026
For tickets go to theatrewashington.org
Last year, when out director Tom Story took on the daunting task of directing Round House Theatre’s production of “The Inheritance, Parts One and Two,” he knew that casting would be important, maybe even paramount, to the endeavor’s success. So, Story didn’t mess around.
Penned by queer playwright Matthew López, “The Inheritance” (inspired by E.M. Forster’s 1910 novel “Howards End”) is based on gay culture in the wake of the AIDS crisis.
Story looked at actors he knew, and some he didn’t. He wanted low drama and maybe players who could relate to the LGBTQ experience. In the end, the production’s 13-person cast was entirely queer except for brilliant local favorite Nancy Robinette as Margaret, the wise housekeeper.
Clearly, Story’s vision resonated with audiences. Round House’s production of “The Inheritance” is the most-nominated work of this year’s Helen Hayes Awards, earning 14 nominations. It’s also one of Round House’s highest grossing popular successes ever.
The queer cast members whose ages ranged from about 22 to 60, worked hard and enjoyed the process, and along the way garnered an Outstanding Ensemble in a Play (Hayes) nomination for their efforts.
The ensemble included Jamar Jones as Tristan, a brilliant doctor who leaves New York for Canada after deciding there’s no place for a gay, HIV-positive Black man in America. For the experienced actor, being part of “The Inheritance” was profound: “I think it was a divinely orchestrated production.”
He adds “I really feel that it’s so rare that you get to work on a show of that magnitude…size, time, where virtual strangers genuinely fell into rhythm. We became a cohort. I never felt a sense of unease, or reluctance to try things. I could be as big or bold as I wanted to be; or I could be small. Fail, mess up, try again. I didn’t feel judged.”
Jones considers Richmond his home, but says “I’m based where the work is.” Currently, he’s back at Round House rehearsing “Sally & Tom” (May 27-June28), a play within a play/meta exploration of the relationship between Thomas Jefferson and Sally Hemings by Suzan-Lori Parks.
Jones plays both a contemporary violinist and an enslaved fiddler, parts that have required him to learn to “air fiddle.” He’s all over it: “I want to represent the art and to be as precise as possible. Taught by an instructor, I’ve made strides with movement of the bow; next up is finger placement.”
Will he leave the play a violinist? “I’ll report back on closing night. Maybe I will have added something to the special skills list on my resume.”
For about a decade, Jones worked in living history, interpreting, performing, and writing pieces about the enslaved people of Colonial Virginia. Among the many historical characters he portrayed was Jupiter (Thomas Jefferson’s longtime enslaved manservant), an experience that’s proved a connection and preparation for his current role.
The 42nd Helen Hayes Awards celebration recognizing excellence in professional theater in the DMV will be held on Monday, May 18, 2026 at The Anthem on the District Wharf in Washington, D.C. Named for Helen Hayes, the legendary first lady of Broadway, the program consists of the awards presentation hosted by Felicia Curry, Awa Sal Secka, and Derrick Truby, followed by an after-party at nearby Whitlow’s.
With works selected from 149 eligible productions presented in the 2025 calendar year, nominations were made in 41 categories and grouped as either “Helen” (non-Equity/small Equity presence) or “Hayes” (Equity-heavy).
The many nominations are the result of 49 vetted judges considering 1,997 pieces of work, such as design, direction, choreography, performances, and more. The productions under consideration included 42 musicals, 107 plays, and 33 world premieres.
The following are more of this year’s queer nominees.
A past Helen Hayes Award recipient and nominee, Fran Tapia is competing against herself this year in the Outstanding Lead Performer in a Musical (Helen) category. Nominated for her memorable turn as the diva barkeep in GALA Theatre’s “Columbia Heights Bolero Bar,” an immersive musical centered on songs of longing and immigration set in a diverse neighborhood on the eve of a divisive presidential election
“It was a challenging time, because a lot of what was happening in the show was happening in the neighborhood,” says Tapia who lives in Columbia Heights just eight minutes from GALA.
Based in D.C. since 2019, Tapia says “Being recognized in a country that is not my homeland but where I’m building my artistic home, is deeply meaningful. And the variety of roles I have been able to play speaks to the richness of DC theater and the collaborators who trusted me with these roles.”
Her other individual nomination is for the title role in Spooky Action Theater’s “Professor Woland’s Black Magic Rock Show,” a passionately comedic political satire. She approached the mysterious central character as nonbinary.
Tapia (“Chilean, Latina, queer and proud immigrant”) says while very different, both performances involved particularly strong characters. She’s grateful audiences responded positively to her work.
Stanley Bahorek, who moved to D.C. with his husband four years ago, is best known as an accomplished actor with a long list of Broadway and regional credits (including playing Carl, the gay son in Studio Theatre’s recent production of “The Mother Play”). Now, he is nominated for Outstanding Music Direction (Helen) for his work on “A Strange Loop,” a production of D.C.’s Visionaries of the Creative Arts (VOCA) in collaboration with Deaf Austin Theatre. He shares this nomination with Walter “Bobby” McCoy.
Michael R. Jackson’s Tony and Pulitzer wining play “A Strange Loop,” is the story of Usher, a Black, queer theater usher trying to write a musical. VOCA’s take on the work is seen through a deaf BIPOC lens with a deaf Usher played by a deaf actor (out actor Gabriel Silva). Invited by director and longtime friend Alexandria Wailes (who is deaf), Bahorek (who is hearing) joined the creative team as a sort of hybrid associate director/ music supervisor.
“I’m fluent in conversational American Sign Language (ASL),” he says. “I sort of functioned as a sherpa between the hearing and deaf and hard-of-hearing creatives. It’s been a great thrill to be a part of VOCA’s biggest production to date.”
If he and McCoy take home the prize, who makes the acceptance speech? Bahorek takes a beat before replying “That’s something we still need to talk about. And soon.”
A full list of award recipients will be available at theatrewashington.org on Tuesday, May 19, 2026.
Anthony Oakes will host “DC Black Pride Comedy Show” on Thursday, May 21 at 7 p.m.
Oakes will workshop his new hour about addiction, incarceration, recovery, and redemption with special guests.
This event will be hosted by the hilarious Apple Brown Betty with TJ So Silly, Howl Cooper, and featuring Patrice Deveaux. DJ Art.is will be spinning on the 1’s & 2’s. Libations will be provided by Drink Alchy. Images by RGF ENT. Tickets are $28.52 and can be purchased on Eventbrite.
Out & About
United Night Out set for Saturday
Team DC hosts evening of soccer, Pride, music, drag and community
On Saturday, May 16, Team DC is taking over Audi Field for United Night OUT as D.C. United faces St. Louis SC.
Come out for an evening of soccer, Pride, music, drag, and community. The night kicks off with pre-game fun featuring DC Different Drummers, DJ Heat, and a Pride Night OUT Party at the Heineken Rooftop. Then get ready for a 7:30 p.m. match, including the National Anthem sung by Dana Nearing and a halftime drag performance.
After the match, the celebration continues at the Post-Game Rooftop Party with DJ Heat and the After Party at Dacha Navy Yard. Game tickets and after party tickets are available now through Zeffy. After party tickets are $20 and include one drink.
‘The Inheritance’ is most-nominated at this year’s Helen Hayes Awards
HIV Vaccine Awareness Day set for May 18
DC Black Pride is around the corner
United Night Out set for Saturday
Calendar: May 15-21
America’s broken pipeline of mental healthcare for trans youth
PHOTOS: ‘Studio 69’
Blade finalist for D.C. Society of Professional Journalists awards
He is 16 and sitting in a Cuban prison
