Arts & Entertainment
Birds of a feather?
Species co-mingle in abstract Shakespeare production
‘The Conference of the Birds’
Through Nov. 25
Folger Theatre
201 East Capitol Street, SE
$40-$68
202-675-0342
The cast of ‘Conference of the Birds.’ (Photo by Scott Suchman, courtesy Folger)
Best known for fresh takes on Shakespeare, director Aaron Posner has expanded his repertoire. For his current offering at the Folger Theatre on Capitol Hill, he’s taken on “The Conference of the Birds,” an ensemble piece based on the 12th century Persian fable by Sufi poet Farid Uddi Attar. Told from the point of view of anthropomorphized feathered friends, it’s a compelling exploration of humanity’s quest for meaning.
At the urging of an unrelenting hoopoe, a varied flock of 10 birds are convinced to undertake an arduous journey to meet their ruler, the Simorgh. Understandably, they’re not all so eager to fly the coop: the parrot is content to remain in his gilded cage; the duck doesn’t want to leave water and the sparrow thinks she’s too weak for such a flight. But the hoopoe, played with wide-eyed intensity by Patty Gallagher, is very persuasive and off they all go.
The bird’s pilgrimage is long and hazardous: After crossing the desert (the anteroom of their trip), they must fly through seven valleys each of which offers its own lesson in love, understanding, annihilation, etc. Not all of the flock makes it to the Simorgh, but those who do are rewarded with an ample serving of universal truth.
Using words, music and movement, “Conference” takes its audience on a theatrical adventure. Posner’s inventive directing along with choreographer Erika Chong Shuch’s quirky, spasmodic moves brings the wordy work alive in exciting and unexpected ways. The talented 11-person cast (which includes Tara Giordano, Britt Duff and Jens Rasmussen who double duties as dance captain) is always in motion, transforming from birds to kings, slaves and hermits. Without ever leaving the stage floor, the actors subtly morph into a v-formation flock flying high overhead, seemingly covering great stretches of terrain on their winged journey.
Perched high atop the Folger’s stage, composer/musician Tom Teasley performs original music throughout the two-hour play using instruments from around the world. His exhilarating score — drawn from an eclectic variety of sound, rhythm and melody — adds significantly to the production.
The remainder of the design team is equally top notch. Meghan Raham’s timeless set of hanging burlap panels and twinkly amber lights is backed meaningfully by a wall of mirrors. And whether it’s the blinding light found in the valley of amazement or the darkness and fire in the telling of the moth to flame story, Jennifer Schriever’s lighting design is consistently clever and evocative.
While the cast mimics bird movements here and there, costume designer Olivera Gajic smartly resists the temptation to go avian. Instead, she outfits the birds in comfortable tops and drapey pants (and one or two skirts) in muted tones. Even the glorious peacock’s multi-colored wings are much quieter than what you’d expect from that feathered diva (memorably played by Jessica Frances Dukes).
Adapted for the stage by famed British director Peter Brooks and screenwriter/actor Jean-Claude Carriére, “Conference” premiered in 1971, touring Saharan African before playing to Western audiences. Its wisdom and beauty stimulates self-exploration. The work is “The Wizard of Oz”-ish in its suggestion that the search for fulfillment begins and ends within ourselves.
“Conference” is definitely a bold theatrical choice and Posner pulls it off with great imagination and style.
The Washington Blade held the seventh annual Pride on the Pier at The Wharf DC on Saturday, June 13.
(Washington Blade photos by Landon Shackelford)
The 2026 Lost River Pride Festival was held on the scenic grounds of the Lost River Farmers Market in Lost City, W.Va. on Saturday, June 13. Headliner Tom Goss performed at the festival and gave a second performance at the nearby Guesthouse Lost River.
(Washington Blade photos by Michael Key)
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Books
David Archuleta on Mormon faith, ‘Idol,’ more in new book
Unique memoir details religious upbringing, coming out
‘Devout: Losing My Faith to Find Myself’
By David Archuleta
c.2026, Gallery Books
$29/290 pages
So just make up your mind already.
The decision is very much in your control – or, at least that’s how it’s supposed to be. It’ll be your future, your path, and seizing it may not just be necessary, but mandatory. It’s your life, and no one can live it for you. As in the new memoir “Devout” by David Archuleta, that goes for career and for love, too.
Born to parents who both had musical careers before they wed, David Archuleta remembers an early childhood growing up in a Hispanic Mormon community in Florida, where kin was always nearby. He was six when his parents moved the immediate family to Utah; the first thing he remembers about that is the snow, and how it was so cold, it burned.
Because music was in his blood, Archuleta grew up singing and dancing, often with his mother whom he calls “my rock.” It was his father, however, who encouraged him to perform; first, with a gentle push, then a shove toward a career Archuleta didn’t really want.
But he did want to make his father happy, so he went along with the contests, embarrassing meet-and-greets with stars, and uncomfortable introductions. Slowly, though, performing became more fun, and Archuleta made friends.
Meanwhile, back home, everything was breaking apart. A “family friend” whom Archuleta refuses to name accused his father of abuse. He was exonerated, but it affected the family’s closeness and they stopped being affectionate.
That was a painful backdrop to Archuleta’s soaring career, his appearances on Star Search, friendships with other rising stars, his runner-up spot on “American Idol,” tours, and recording contracts. His father kept pushing him.
But there was one thing missing.
Since he was a boy, Archuleta had known that he was attracted to men, but his Mormon faith taught him that that was unacceptable. Kissing, his abuelita said, was wrong. He tried hard to date girls, in the most chaste way. Anything past that was against God – and anything at all with a man was unthinkable.
Though it absolutely favors his personal life and dwells on it a bit too much, “Devout” strikes an otherwise nice balance between that, author David Archuleta’s career, his sexuality, and his faith. The latter two are loaded with controversy.
You don’t need to be Mormon to fully understand the faith part; Archuleta offers non-Mormons a brief education, so readers can see the importance of the Church’s teachings in his life and why he felt the need to abandon it as his understanding of his bisexuality grew. It’s emotionally raw and honest, but also so respectful that it almost bears re-reading. Such candor and the heart-on-his-sleeve tone you’ll sense are features in the entire book, alongside Archuleta’s family’s struggles and his learning to strike out alone.
It’s harmonious in more ways than one, and fans will be happy.
So, too, will anyone who wants a unique memoir with a dose of faith, or someone who’s an “American Idol”watcher. Find “Devout” and be sure to share. You won’t mind.
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