Arts & Entertainment
Faith of our fathers
40-year-old gay Catholic group defies Vatican yet seeks communion
All the mainline Christian denominations by now have gay subgroups that have formed and many in the U.S. — Episcopalians, United Methodists and others — can point to huge strides they’ve made over the last several decades in persuading their hierarchies to acknowledge their presence.
Dignity/Washington, the largest chapter of the LGBT Roman Catholic group DignityUSA, has made so little progress making Vatican teaching less gay-condemning, the group, in many ways, has moved on to other goals it considers more realistic and achievable. The lone victories its members can count on that front are being invited indoors for a 1978 rainstorm during a weekend-long prayer vigil they held at the National Conference of Catholic Bishops at its former headquarters on Massachusetts Avenue (it didn’t foster a long-term dialogue) and a wave from current Pope Benedict XVI (Joseph Ratzinger) in the summer of 2010 (accompanying soon-to-be Cardinal Donald Wuerl did not follow suit).
If anything, the Vatican has become more anti-gay over the years. Though several regional parishes had long allowed Dignity groups to meet on their property, in 1986 Ratzinger, writing as the Vatican’s official keeper of church morality, issued a letter stating that gays and lesbians are “intrinsically disordered” and that gay organizations were no longer allowed the use of church property. It’s only gotten worse in recent years — in January, Pope Benedict condemned same-sex marriage efforts and called gay marriage, in an ironic choice of words, a threat “to human dignity and the future of humanity itself … pride of place goes to the family based on the marriage of a man and woman.”
And it wasn’t just talk — the Roman Catholic Church gave $2 million this year to unsuccessful efforts to outlaw same-sex marriage with November’s ballot initiatives in Maine, Maryland, Minnesota and Washington state, according to the Human Rights Campaign. As pro-LGBT efforts of any kind have taken root elsewhere, the Vatican has increasingly dug in its heels. Official church teaching is that although gays should “be accepted with respect, compassion and sensitivity,” “homosexual acts are intrinsically disordered” and “sexual activity only exists for the purpose of procreation.”
DignityUSA, however, has persevered. The Washington chapter, formed in the fall of 1972 (three years after the national group) and one of 45 active U.S. chapters, has its 40th anniversary events (“Forty and Fabulous on the First”) this weekend. On Saturday evening, a reception and dinner will be held at Clyde’s Restaurant (707 7th St., N.W.) with gay actor/singer Will Gartshore providing entertainment. On Sunday, Sr. Jeannine Gramick (Sisters of Loretto) will give the homily at a special “anniversary Mass.” The group meets weekly for a 6 p.m. Mass at St. Margaret’s Church, an Episcopal parish at 1820 Connecticut Ave., N.W. Details are at dignitywashington.org.
The sheer numbers are daunting. The Roman Catholic Church is the world’s largest Christian church with more than a billion members worldwide. It claims it is the one true church founded by Jesus Christ, that its bishops are the successors of Christ’s apostles and Pope Benedict is the successor to the biblical figure Peter. Though there was no recognized papacy until later centuries, Rome has named an unbroken line of bishops that dates to Peter and the first century. The Archdiocese of Washington did not respond to a request for comment for this article. Dignity/Washington members say relations with it are prickly at best.
“There’s no sense that the local archdiocese has evolved at all,” says Tom Bower, a gay member for almost the whole time the D.C. group has existed, a board member for eight years and co-chair for the anniversary committee. “They absolutely find us quite beyond the pale.”
DignityUSA, a U.S. group as its name implies (similar but unaffiliated gay Catholic groups exist in other countries), has about 6,000 dues-paying members, according to Executive Director Marianne Duddy-Burke, a lesbian, and an operating budget at the national level of about $550,000 though the chapters have their own budgets.
It’s a big weekend for the organization — the Boston chapter is also celebrating its 40th anniversary. San Diego, Chicago and New York also formed chapters in 1972. Dignity/Washington started with a group of about 20 at its first Mass. It moved from twice-monthly to weekly Mass in 1976. Membership and Mass attendance peaked at about 500 and 350 respectively in the late ‘80s. By late 1990, it had become the largest Dignity chapter in the U.S., a feat it maintains to this day, though membership is now about 200 with an average of 90-100 believers attending weekly Dignity Mass in D.C.
It owns its own building in Eastern Market that houses offices and provides space to other LGBT organizations such as Brother Help Thyself and Imperial Court. As with most Dignity chapters, Dignity/Washington prefers to let other churches host its services rather than build its own sanctuary.
“Most of our chapters are kind of hand to mouth,” Duddy-Burke says. “We pay our rent and our basic expenses, we have the weekly bulletins and we underwrite memberships for low-income people and most of our chapters give back to their own communities in some way. … Our model really isn’t based on the institutional model. We focus on the church as more of a community than a building.”
Despite the daunting odds, the group is celebrating. Bower says the group’s mere survival is a reason to be ecstatic.
“The official church would very much like us to disappear,” he says. “We show that you can be gay and Catholic at the same time and happily so and despite the major efforts of a much bigger organization to throw us out. We’re part of a national organization and when the Pope comes out against something gay, we’re able to say, ‘No, that’s wrong.’”
Bob Miailovich, a member for 35 years — someone left a Dignity brochure on his car while he was in a gay bar — agrees.
“This small group of gay men got together back in the early ‘70s — who would have ever envisioned this thing being as big as it is and the ongoing evolution of this group. I mean we’re a small group of sort of churchy guys, but it’s really opened up and I think we’re more broadly attuned to the world at this time and to what faith is all about.”
Despite the political and spiritual cold shoulder, DignityUSA wants to be recognized by the Holy See, the Roman Catholic Church’s central governing body. It’s a key component to the organization’s mission. While many LGBT Christian groups, Catholic and otherwise, have started their own denominations with no interest whatsoever in swaying the Vatican, Dignity, at its very core, feels that it’s important to stay within the church and fight as much as possible. Though many gay Christians cannot fathom wanting anything to do with the Roman Catholic Church after centuries of anti-gay teaching, Dignity members say it’s essential.
“People think, ‘Oh, why do you keep banging your head against the wall?’” Bower says. “That’s why we call it faith. It’s a belief that there is within the larger view of what it means to be Catholic, there’s something there that you just don’t have with other groups.”
Miailovich says despite the anti-gay teachings, he still “find(s) more truth in the Catholic Church than I do in other religions. It’s not perfect and I don’t buy everything at the end of the day but from what I know of other religions and what they teach and believe, I find more truth on the Catholic side than elsewhere else.”
As one might expect considering its size, millions have left the Catholic Church for all kinds of reasons and to varying degrees. Hard though it may be for LGBT people to fathom, there are even strains of Catholicism that have broken off from Rome because they feel the Vatican has gotten too liberal.
The most notorious is the Mexico City-based New Jerusalem, a gated community of about 3,000 that was founded in 1973 as a reaction to the Second Vatican Council of 1962-1965, a hugely influential change in Church teaching that allowed Masses to be said in languages besides Latin among many other things. Several “Traditionalist Catholic” splinter groups also revolted against Vatican II reform, but New Jerusalem is widely regarded as the most extreme — TV, radios, alcohol, makeup and pants for women are forbidden. Residents attend church three times daily, don’t recognize any post-Vatican II Roman church leaders and think Benedict is the anti-Christ. Fundamentalist splinter groups occur in other religions as well — the Fundamentalist Church of Jesus Christ of Latter-day Saints received massive media attention in recent years when its leader was convicted of two felony counts of child sexual assault.
Other groups have broken away on the opposite side of the theological spectrum. The North American Old Catholic Church considers itself a “2,000-year-old church with Apostolic succession” and teaches the “full inclusion of LGBT persons in our religious life, sacraments and clergy.” It also advocates for “the full inclusion of LGBT persons throughout society.” Two gay-welcoming Old Catholic churches were launched in Washington — one in 2011 and another this year— but appear to be inactive. Neither Presiding Bishop Rev. Michael Seneco, who’s gay, nor Rev. Kerolos Saleib of Saint Damien of Molokai Parish responded to multiple requests for comment or had recently updated websites. The churches that hosted them say they’re no longer meeting there. Salieb held a series of Masses at National City Christian Church during the International AIDS Conference this summer but fled the country soon after under mysterious circumstances. Duddy-Burke says many similar groups have come and gone over the years.
Denomination hopping between Episcopalians and Catholics, perhaps the two most stylistically similar denominations in the U.S., has been going on for all kinds of reasons for decades. Many progressive believers left the Catholic Church to find more gay- and women-friendly theology among Episcopalians, the Anglican Church in the U.S. The Catholic Church in recent years has started welcoming a spate of disenfranchised former Episcopalians who left disappointed that the church had become more gay-friendly. Others Episcopalians still, as has been widely reported, left their U.S. dioceses to align with more conservative Anglicans in other countries.
Bower says for him, converting to the Episcopal faith is not feasible.
“There are some basic theological differences between Catholicism and Episcopalianism,” he says. “Even in something as basic as Communion and the notion of transubstantiation. We really believe there is a change in the body and blood. They see it more as a memorial. And there’s a whole historical precedent of difference between the Roman and English churches.”
Others are pushing as far as they can under Vatican leadership and not just on LGBT issues. A lengthy article in the current edition of Rolling Stone magazine tells the stories of Sister Simone Campbell, Sister Margaret Farley and others who are “refusing to back down from the Catholic Church itself up to and including the Pope. On issues ranging from gay rights to abortion, the nuns are either openly contradicting church dogma or quietly undermining it with their silence, choosing instead to embrace a radical notion of missionary work that wouldn’t be out of place at an Occupy Wall Street rally: income inequality, universal health care, corporate responsibility, immigration reform,” and elsewhere reproductive rights. A group called Roman Catholic Womenpriests includes former nuns, ordains women as priests and holds women-led Masses.
Campbell, who didn’t immediately respond to a Blade interview request, told Rolling Stone, the same anti-LGBT beliefs are equally as harmful to women in the exclusively male-led Vatican.
“You’ve got to realize that any crowd that took 350 years to figure out Galileo might be right is not noted for rapid change,” she told Rolling Stone. “This is about a cultural clash between monarchy, in which the monarch is always right, and democracy where everybody has equal dignity, responsibility and opportunity, women and men. The whole idea that we live in a pluralistic society is news to these guys.”
The combined effect of all this shifting is a diminished Vatican hurt by a range of factors, from those turned off by its increasingly right-leaning teachings to millions lost and incalculable damage incurred by the clergy abuse scandals of recent years. Benedict, at times, has seemed almost cavalier about the loss, advocating for a “smaller, purer” church and saying that a church that seeks “above all to be attractive is already on the wrong path.”
Regardless of one’s political or religious views, the numbers are surprising — a third of those reared Catholic in the U.S. leave the church and, according to a Pew Research Study, 10 percent of all Americans are former Catholics. The losses have been partially offset by the disproportionately high number of immigrants who are Catholic.
Gramick, in a lengthy phone interview this week from her home in Mt. Ranier, Md., says the Roman Catholic “institution is unraveling.” Gramick, who declines to give her sexual orientation, was present at the first meeting to form Dignity/Washington in the cafeteria of the National Shrine of the Immaculate Conception with five others in 1971. She later formed New Ways Ministry, which she calls “a peace and justice center focused solely on the issue of lesbian and gay rights.”
Of the Church’s continual anti-gay teaching, she says it’s “causing a lot of dissonance and alienation among the Catholic community and a lot of Catholics out there in the pews, they’re no longer in the pews. Mass attendance has decreased dramatically in the last 20-30 years and actually what I think we’re seeing is the beginning of the dissolution of the institutional church. The institution is unraveling but the faith of the people is continuing and growing.”
Is it conceivable to imagine a post-Vatican world in another generation or two?
“If you’re talking erasure, I don’t think I’d go that far, but it’s unraveling certainly … it’s getting increasingly frayed and not only at the edges. It’s really closer to the center and it’s coming apart at the seams.”
Dignity Catholics don’t want that. At the most basic level, they believe the Vatican is simply wrong on the traditional view of Christian teaching and homosexuality, though opinions vary as to the reasons.
“We say basically go back and look at the theological arguments presented and they’re false,” Bower says. “We’re not picking and choosing which teachings to abide by. This is what you get when you look at the gospels. There really are no statements about LGBT people the way we think of it today. The type of homosexuality they were referring to was basically idol worship and temple prostitution.”
Having worked on these issues for decades, Gramick says the Vatican’s gay and lesbian theology is “not really based on the Bible.”
“It’s really more based on philosophy and natural law that uses scriptural quotes as backup,” she says. “It doesn’t really use scripture as the basis for its objection. They say homosexuality is unnatural without any acknowledgement that nature changes. What you see with the Vatican is an unwillingness to acknowledge change. If you have a 13th century mind, you would understand their position but with a 21st century mind and the science we’ve discovered, the human person is not what the Vatican thinks a person is. … Psychology has come so far since then. They didn’t know anything about Freud. When they come out with these views of it being a disorder, this is just not an enlightened view of psychology.”
Gramick’s iconoclastic work has not gone unnoticed — she says in the last 11 years, her religious community has received nine letters from the Vatican advising her superiors to have her dismissed from the Sisters of Loretto. The three presidents in that time have backed her, though the Church does play hardball — last month Rev. Roy Bourgeois was “canonically dismissed” for ordaining a woman at a Unitarian church in Kentucky in 2008.
Duddy-Burke says the decades of Vatican opposition have brought both a change of approach from DignityUSA and unexpected advantages.
“I think we’ve actually moved from trying to get acceptance from the Vatican to really leading the rest of the Church into being a more just Church,” she says. “I think we sort of feel like our job now is to hold our leadership accountable for the damage they’ve done and at the same time model a better way of living out the Gospel.”
She says slowly this approach has “caused people to see that the Church not only belongs to the Bishop and the Vatican. All of us who are baptized Catholics own the Church as well as the rites that are part of it. … If people ever caught on it would be like, ‘Wow, you’re governing it, you’re saying who preaches and presides, you decide if you want to use the new Roman Missel or not.’ Because we’ve been so excluded, we’ve had this opportunity to create the Church that we deserve and it’s an opportunity that a lot of Catholics haven’t had.”
Despite the Vatican’s refusal to bend, there’s growing evidence, both anecdotally and in serious research, that its official teachings are out of step with the majority of its laity — a summer poll conducted by the Pew Forum on Religion and Public Life found that 58 percent of Catholics favor same-sex marriage with 33 percent opposed. On matters as far-ranging as whether an unexcused absence from weekly Mass warrants a mortal sin to use of contraception, U.S. Catholics and many of their counterparts in other countries have long been a body of believers who haven’t felt they had to adhere to all church doctrine to stay in the church. Many parishes and clergy — even some who perform Dignity Masses — are quietly gay welcoming. They keep it low key to avoid interference from church leaders, but can sometimes be more welcoming than many would realize. So much so, in some cases, that it’s eaten into Dignity’s roster.
That’s partially why Dignity members say they don’t want to leave the church.
“The church really is the people of God,” Miailovich says. “It’s a horizontal assembly, not some vertical thing where you have the Pope at the top and an triangle going down with everyone else. Out there in the pews, there’s a great deal of support for a more progressive agenda, for women’s ordination, for married priests, you have the nuns on the bus for social justice. Everybody in the church does not believe 100 percent of everything that may be promulgated from on high.”
He also says there’s an “attitude that it’s my church and you can’t take it away from me.”
“I can’t leave what is mine and that leaves you with a sense that some day, somehow, change will be made. You’re right, there are people who’ve said, ‘Why spend a lifetime working with these people, let’s go start our own thing and not worry about what’s left behind.’ But I’m not going to change. This is who I am. This is how I pray and how I worship and here I am. We pray for our church leaders because we feel they need enlightenment.”
Bower agrees.
“We’ve found a peace and reconciliation within ourselves,” he says. “It’s more like a ‘We think we’re right and we’re here if you ever want to talk’-kind of thing. There’s less time today spent trying to articulate and debate all these issues because there’s really nobody to talk to on the other side.”
Despite, the ongoing dissent, Gramick says the occasion is a celebration.
“They’ve had a marvelous ministry here for 40 years ministering to local LGBT Catholics,” she says. “It’s really a time to rejoice.”
Theater
World premiere of ‘Everything, Devoured’ oozes queer energy
Nonbinary playwright Katherine Gwynn delivers ferocious ghost story
‘Everything, Devoured’
Through May 10
Nu Sass Productions
Sitar Arts Center
1724 Kalorama Road, N.W.
$25 (general admission)
Nusass.com
As if the world weren’t already hideous enough, Kore, the trans woman protagonist in nonbinary playwright Katherine Gwynn’s “Everything, Devoured,” wants to summon a demon to her humble Chicago apartment. While her friends think it’s just a bit of afterwork fun akin to reading horoscopes or Tarot cards, Kansas born Kore is dead serious.
Nu Sass Productions’ world premiere of Gwynn’s play oozes queer energy. Messages come across as if delivered by blow horn. It’s not afraid of expository dialogue or padding a singular moment of queer joy.
In a truly intimate black box at Sitar Arts Centers in Adams Morgan just down the block from Harris Teeter, scenic designer Simone Schneeberg deftly creates the generic flat whose ordinariness is only overshadowed by some weak attempts at individuality, but that’s all about to change.
Plans have been made, and Kore (June Dickson-Burke) has invited her nearest and dearest to her place.
Her nonbinary lesbian partner Julian (Tristan Evans) has cheap red wine and weed on the ready. Dinner is in the oven. Soon, lively trans masc bestie Dante (Selena Gill) arrives bearing a hostess gift – it’s the specially requested bag of pig blood, integral to the evening’s fun. In little time, the twentysomething friends will have painted a pentagram circled with salt in the middle of the living room floor. Candles are lit. Sacred words are spoken.
Shifts in light and sound by designers Vida Huang and Di Carey, respectively, signal contact with the beyond. Much to the friends’ surprise, they’ve successfully summoned a demon and it’s a real doozy: Ronald Reagan as demon drag queen.
Costumed in a corseted pinstripe suit adorned with a few Gautier cones, the pronoun-less guest star from the underworld makes quite an entrance – a full-on lip sync to Madonna’s “Vogue” replete with huge flashing eyes, an evil smile and darting tongue.
Spectacularly played by O’Malley Steuerman (“actor, DRAGster, playwright, and producer from Baltimore”) Ronald Reagan as demon drag queen is lewd, taunting, and reads with the kind of sharp wit that puts other queens in the shade.
The entertainment doesn’t stop there. Soon, the demon is juggling provocative props (fleshy dildo, a baby doll, and a copy of Marx) or performing sock puppetry to a 1982 recording of journalist Lester Kinsolving asking about the “gay plague” to which Reagan’s Press Secretary Larry Speakes charmingly replies, “I don’t have it … do you?” That proved a real knee slapper in the pressroom.
Throughout the play’s early scenes, a young man sits unnoticed at Kore’s kitchen counter. Now and then, he comments with a disapproving harrumph or a distinctly gay one-liner. He’s privy to all, but the lady of the house is unaware of him until he joins the party. His name is Michael (Christian Harris). He died in 1989 and has been hanging around ever since.
Wry and undeniably spectral, Michael is the play’s link to queer past. He remembers the hurts and horrors of the AIDS epidemic, but not so much about the emergence of ‘genderqueer’ as an identity label, reflecting a shift toward a broader gender spectrum. That came later.
Without doubt, the uniformly queer cast is committed. They play their queer characters with authenticity, lending a realness to queer people’s valid concerns and fears in the current atmosphere. (For instance, anarchist/barista Dante accuses Julian of hiding out in their safe role of social worker at a nice nonprofit; and Kore speaks about the fear surrounding the Kansas bill making it illegal for transgender people to display their gender on a driver’s license.)
Based in Chicago, Gwynn has written a queer play with a punch; and prior to ever being staged, this new work was prestigiously named both a 2025 O’Neill Semi-Finalist as well as 2025 Bay Area Playwrights Festival Finalist.
Billed as a ferocious queer ghost story, “Everything, Devoured” doesn’t disappoint. In the hands of queer co-directors Tracey Erbacher and Ileana Blustein, Gwynn’s fevered yet thoughtful and quick paced but penetrating piece unfolds compellingly.
Intuitive staging and chemistry among players, especially two hander scenes involving Kore, display a quiet intensity that feels true to life. Other scenes bring out the anger, protectiveness and some divisiveness among the friends. Gwynn’s informed and powerful writing is brought to the fore.
Nu Sass Productions has been uplifting women and marginalized genders in all aspects of theater since 2009. The company’s two-part name stems from “Nu” (Chinese for woman) and “Sass” (sassy).
Its latest offering fits the bill and then some.
Sir Ian McKellen may now be known as much for being a champion of the international LGBTQ equality movement as he is for being a thespian. Out and proud since 1988 and encouraging others in the public eye to follow his lead, he’s a living example of the fact that it’s not only possible for an out gay man to be successful as an actor, but to rise to the top of his profession while unapologetically bringing his own queerness into the spotlight with him all the way there. For that example alone, he would deserve his status as a hero of our community; his tireless advocacy – which he continues even today, at 86 – elevates him to the level of icon.
Those who know him mostly for that, however, may not have a full appreciation for his skills as an actor; it’s true that his performances in the “Lord of the Rings” and “X-Men” movies are familiar, however, this is a man who has spent more than six decades performing in everything from “Hamlet” to “Waiting for Godot” to “Cats,” and while his franchise-elevating talents certainly shine through in his blockbuster roles, the range and nuance he’s acquired through all that accumulated experience might be better showcased in some of the smaller, less bombastic films in which he has appeared – and the latest effort from prolific director Steven Soderbergh, a darkly comedic crime caper set in the dusty margins of the art world, is just the kind of film we mean.
Now in theaters for a limited release, “The Christophers” casts McKellen opposite Michaela Coel (“Chewing Gum,” “I May Destroy You”) for what is essentially a London-set two-character game of intellectual cat-and-mouse. He’s Julian Sklar, an elderly painter who was once an art-world superstar but hasn’t produced a new work in decades; she’s Lori Butler, an art critic and restoration expert who is working in a food truck by the Thames to make ends meet when she is approached by Sklar’s children (James Corden, Jessica Gunning) with a proposition. Hoping to cash in on their father’s fame, they want to set her up as his new assistant, allowing her access to an attic containing unfinished canvases he abandoned decades ago – so that she can use her skills to finish them herself, creating a forged series of completed paintings that can be “posthumously discovered” after his death and sold for a fortune.
She takes the job, unable to resist an opportunity to get close to Sklar – who, despite his renown, now lives as a bitter and unkempt recluse – for reasons of her own. Though his health is fading, his personality is as full-blown as ever; he’s also still sharp, wily, and experienced enough with his avaricious children to be suspicious of their motives for hiring her. Even so, she wins his trust (or something like it) and piques his interest, setting the stage for a relationship that’s part professional protocol, part confessional candor, and part battle-of-wits – and in which the “scamming” appears to be going in both directions.
That’s it, in a nutshell. A short synopsis really does describe the entire plot, save for the ending which, of course, we would never spoil. Even if it’s technically a “crime caper,” the most action it provides is of the psychological variety: there are no guns, no gangsters, no suspicious lawmen hovering around the edges; it’s just two minds, sparring against each other – and themselves – about things that have nothing to do with the perpetration of artistic forgery and fraud, but perhaps everything to do with their own relationships with art, fame, hope, disillusionment, and broken dreams. Yet it grips our attention from start to finish, thanks to Soderbergh’s taut directorial focus, Ed Solomon’s tersely efficient screenplay, and – most of all – the star duo of McKellen and Cole, who deliver a master class in duo acting that serves not just as the movie’s centerpiece but also its main attraction.
The former, cast in a larger-than-life role that lends itself perfectly to his own larger-than-life personality, embodies Sklar as the quintessential misanthropic artist, aged beyond “bad boy” notoriety but still a fierce iconoclast – so much so that even his own image is fair game for being deconstructed, something to be shredded and tossed into fire along with all those unfinished paintings in his attack; he’s a tempestuous, ferociously intelligent titan, diminished by time and circumstance but still retaining the intimidating power of his adversarial ego, and asserting it through every avenue that remains open to him. It’s the kind of film character that feels tailor-made for a stage performer of McKellen’s stature, allowing him to bring all the elements of his lifelong craft in front of the camera and deliver the complexity, subtlety, and perfectly-tuned emotional control necessary to transcend the cliché of the eccentric artist. His Sklar is comedically crotchety without being doddering or foolish, performatively flamboyant without seeming phony, and authentic enough in his breakthrough moments of vulnerability to avoid coming off as over-sentimental. Perhaps most important of all, he is utterly believable as a formidable and imperious figure, still capable of commanding respect and more than a match for anyone who dares to challenge him.
As for Coel’s Lori, it’s the daring that’s the key to her performance. Every bit Sklar’s equal in terms of wile, she also has power, and yes, ego too; we see it plainly when she is deploys it with tactical precision against his buffoonish offspring, but she holds it close to the chest in her dealings with him, like a secret weapon she wants to keep in reserve. When he inevitably sees through her ploy, she has the intelligence to change the game – her real motivation has little to do with the forgery plan, anyway – and get personal. Coel (herself a rising icon from a new generation of UK performers) plays it all with supreme confidence, yet somehow lets us see that she’s as wary of him as if she were facing a hungry tiger in its own cage.
It’s after the “masks” come off that things get really interesting, allowing these two characters become something like “shadow teachers” for each other, forming a shaky alliance to turn the forgery scheme to their own advantage while confronting their own lingering emotional wounds in the process; that’s when their battle of wits transforms into something closer to a “pas de deux” between two consummate artists, both equally able to find the human substance of Soderbergh’s deceptively cagey movie and mine it, as a perfectly-aligned team, from under the pretext of the trope-ish “art swindle” plot – and it’s glorious to watch.
That said, the art swindle is entertaining, too – which is another reason why “The Christophers” feels like a nearly perfect movie. Smart and substantial enough to be satisfying on multiple levels, it’s also audacious enough in its murky morality to carry a feeling of countercultural rebellion into the mix; and that, in our estimation, is always a plus.
The DC LGBTQ+ Community Center is marking a milestone year in its new home with a vibrant birthday celebration, inviting the community, allies, and media to join the festivities on Saturday, April 25 at 1 p.m.
Since opening its doors in Shaw, The DC LGBTQ+ Community Center has become a hub of support, advocacy, and celebration for LGBTQ+ residents across the District.
The birthday bash promises a day of programming including Yoga (Center Wellness), Micro Bouquet Making (Center Social), Zine Making (Center Arts), and so much more. Guests can also enjoy tours of the Center’s expanded facilities, showcasing spaces for programs, services, and community events.
Since relocating, the Center has expanded its programs, providing critical services. The birthday bash underscores the DC LGBTQ+ Community Center’s commitment to creating an inclusive space where everyone regardless of identity, age, or background can find community and empowerment.
For more details, contact Paul Marengo at 202-705-2890.
-
Rehoboth Beach5 days agoRehoboth Summer Kickoff Party set for May 15 with Ashley Biden
-
Virginia5 days agoVa. voters approve HRC-backed redistricting plan
-
Cuba4 days agoTrans parent charged with kidnapping, allegedly fled to Cuba with child
-
District of Columbia5 days agoCurve magazine honors Washington Blade publisher


