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A lasting legacy

‘Poetry into Song’ at National Presbyterian Church on March 5

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Diane Kresh (Photo courtesy of Jeanine Finch)

“Poetry into Song”
Washington Master Chorale
March 5 at 5 p.m.
National Presbyterian Church
4101 Nebraska Ave., N.W.
$40-60
washingtonmasterchorale.org

After 10 years as a singer and board member with Washington Master Chorale, Diane Kresh decided to end her tenure. But before leaving, she wanted to express her gratitude by gifting the group with something truly beautiful. 

The result is composer David Conte’s “The Unknown Sea” a commissioned chorale piece based on the texts of famed American poet Elizabeth Bishop (1911-1979). Originally the piece was slated to end the chorale’s 10th season in 2020, but because the pandemic had other plans, it’s now debuting as part of WMC’s “Poetry into Song” on March 5 at the National Presbyterian Church.

The idea, Kresh explains, was to create a legacy project, a gift to the chorale from her for many years of making music with a special group of people including WMC artistic director and dear friend Thomas Colohan. Also, Kresh wanted to include a salute to Bishop, whose detailed yet non-confessional style she greatly admires. 

Kresh’s affinity with Bishop is partly based on similarities, both gay and feminists. Also, Kresh, who enjoyed a long career at the Library of Congress, appreciates that Bishop spent a brief stint as a consultant of poetry at the library many in 1949.  But mostly, Kresh loves the work of women writers, and that’s something she wants to celebrate. 

Bishop knew great success, friendship and romantic love, but her early years were marked by tragedy. She was a baby when her father died, and just a few years later her mother was permanently institutionalized with mental illness. For a time, Bishop lived happily with her maternal grandparents in Nova Scotia and then her father’s wealthy parents spirited her off to New England. She graduated from Vassar in 1934. 

Using inherited private income, Bishop travelled broadly and frequently. Evident from her life and work is a search for home and an interest in coasts. She lived in Brazil for some time. 

When Kresh’s commission was still just a thought, she and Colohan reached out to Conte, a prolific San Francisco-based composer who has written 150 works of which 40 involved the words of poets, both living and dead. Kresh wanted twenty minutes of music based on Bishop’s words with a mezzo soprano solo built in.  

Initially Conte, who is gay, wasn’t sure if he was the right man for the job. He knew of Bishop’s poetry but not well. But the deeper he dove the more excited he became. And he had no objections to Kresh’s requests, so they moved ahead. 

For his new choral orchestral work, Conte draws on Bishop’s “One Art,” a widely admired poem that’s at once deeply personal yet a throwback to tradition and reserve. 

“It’s about losing keys, a house, and finally losing a loved one. Increasingly, the losses become more intense,” he says. “The tone of the poem is so interesting, a quiet but confident acceptance of loss as a part of life, wry and humorous and brave all at the same time. It took me a while to penetrate the personality that’s in the poetry.”

The commissioned work is an amalgam of queer talent. When a gay composer sets the words of a gay poet, there’s no question of shared experience. Conte says “While we have more freedom than Bishop experienced, there’s still a shared oppression, feeling like an outsider, having to discover identity because yours is inexact.”  

For both artistic and practical reasons, WMC is pairing “The Unknown Sea” with Ralph Vaughan Williams’s cantata, “Dona Nobis Pacem,” based on work by gay poet Walt Whitman and texts from the Hebrew Bible and Latin Mass, re-orchestrated by British composer and conductor Jonathan Rathbone.

Both Kresh and Conte will be in attendance for this long-anticipated premiere. 

“I’m excited, but a little sad I won’t be singing,” says Kresh. “It’s a sometimes bright, sometimes elegiac piece that has legs; I hope other groups and audiences will experience the same kind of joy that we’ve had making it.

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Theater

Round House explores serious issues related to privilege

‘A Jumping-Off Point’ is absorbing, timely, and funny

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Cristina Pitter (Miriam) and Nikkole Salter (Leslie) in ‘A Jumping-Off Point’ at Round House Theatre. (Photo by Margot Schulman Photography)

‘A Jumping-Off Point’
Through May 5
Round House Theatre
4545 East-West Highway, Bethesda, Md.
$46-$83
Roundhousetheatre.org

In Inda Craig-Galván’s new play “A Jumping-Off Point,” protagonist Leslie Wallace, a rising Black dramatist, believes strongly in writing about what you know. Clearly, Craig-Galván, a real-life successful Black playwright and television writer, adheres to the same maxim. Whether further details from the play are drawn from her life, is up for speculation.

Absorbing, timely, and often funny, the current Round House Theatre offering explores some serious issues surrounding privilege and who gets to write about what. Nimbly staged and acted by a pitch perfect cast, the play moves swiftly across what feels like familiar territory without being the least bit predictable. 

After a tense wait, Leslie (Nikkole Salter) learns she’s been hired to be showrunner and head writer for a new HBO MAX prestige series. What ought to be a heady time for the ambitious young woman quickly goes sour when a white man bearing accusations shows up at her door. 

The uninvited visitor is Andrew (Danny Gavigan), a fellow student from Leslie’s graduate playwriting program. The pair were never friends. In fact, he pressed all of her buttons without even trying. She views him as a lazy, advantaged guy destined to fail up, and finds his choosing to dramatize the African American Mississippi Delta experience especially annoying. 

Since grad school, Leslie has had a play successfully produced in New York and now she’s on the cusp of making it big in Los Angeles while Andrew is bagging groceries at Ralph’s. (In fact, we’ll discover that he’s a held a series of wide-ranging temporary jobs, picking up a lot of information from each, a habit that will serve him later on, but I digress.) 

Their conversation is awkward as Andrew’s demeanor shifts back and forth from stiltedly polite to borderline threatening. Eventually, he makes his point: Andrew claims that Leslie’s current success is entirely built on her having plagiarized his script. 

This increasingly uncomfortable set-to is interrupted by Leslie’s wisecracking best friend and roommate Miriam who has a knack for making things worse before making them better. Deliciously played by Cristina Pitter (whose program bio describes them as “a queer multi-spirit Afro-indigenous artist, abolitionist, and alchemist”), Miriam is the perfect third character in Craig-Galván’s deftly balanced three-hander. 

Cast members’ performances are layered. Salter’s Leslie is all charm, practicality, and controlled ambition, and Gavigan’s Andrew is an organic amalgam of vulnerable, goofy, and menacing. He’s terrific. 

The 90-minute dramedy isn’t without some improbable narrative turns, but fortunately they lead to some interesting places where provoking questions are representation, entitlement, what constitutes plagiarism, etc. It’s all discussion-worthy topics, here pleasingly tempered with humor. 

New York-based director Jade King Carroll skillfully helms the production. Scenes transition smoothly in large part due to a top-notch design team. Scenic designer Meghan Raham’s revolving set seamlessly goes from Leslie’s attractive apartment to smart cafes to an HBO writers’ room with the requisite long table and essential white board. Adding to the graceful storytelling are sound and lighting design by Michael Keck and Amith Chandrashaker, respectively. 

The passage of time and circumstances are perceptively reflected in costume designer Moyenda Kulemeka’s sartorial choices: heels rise higher, baseball caps are doffed and jackets donned.

“A Jumping-Off Point” is the centerpiece of the third National Capital New Play Festival, an annual event celebrating new work by some of the country’s leading playwrights and newer voices. 

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Nightlife

Ed Bailey brings Secret Garden to Project GLOW festival

An LGBTQ-inclusive dance space at RFK this weekend

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Ed Bailey's set at last year's Project Glow. (Photo courtesy Bailey)

When does a garden GLOW? When it’s run by famed local gay DJ Ed Bailey.

This weekend, music festival Project GLOW at RFK Festival Grounds will feature Bailey’s brainchild the Secret Garden, a unique space just for the LGBTQ community that he launched in 2023.

While Project GLOW, running April 27-28, is a stage for massive electronic DJ sets in a large outdoor space, Secret Garden is more intimate, though no less adrenaline-forward. He’s bringing the nightclub to the festival. The garden is a dance area that complements the larger stages, but also stands on its own as a draw for festival-goers. Its focus is on DJs that have a presence and following in the LGBTQ audience world.

“The Secret Garden is a showcase for what LGBTQ nightlife, and nightclubs in general, are all about,” he says. “True club DJs playing club music for people that want to dance in a fun environment that is high energy and low stress. It’s the cool party inside the bigger party.”

Project GLOW launched in 2022. Bailey connected with the operators after the first event, and they discussed Bailey curating his own space for 2023. “They were very clear that they wanted me to lean into the vibrant LGBTQ nightlife of D.C. and allow that community to be very visibly a part of this area.”

Last year, club icon Kevin Aviance headlined the Secret Garden. The GLOW festival organizers loved the its energy from last year, and so asked Bailey to bring it back again, with an entire year to plan.

This year, Bailey says, he is “bringing in more D.C. nightlife legends.” Among those are DJ Sedrick, “a DJ and entertainer legend. He was a pivotal part of Tracks nightclub and is such a dynamic force of entertainment,” says Bailey. “I am excited for a whole new audience to be able to experience his very special brand of DJing!”

Also, this year brings in Illustrious Blacks, a worldwide DJ duo with roots in D.C.; and “house music legends” DJs Derrick Carter and DJ Spen.

Bailey is focusing on D.C.’s local talent, with a lineup including Diyanna Monet, Strikestone!, Dvonne, Baronhawk Poitier, THABLACKGOD, Get Face, Franxx, Baby Weight, and Flower Factory DJs KS, Joann Fabrixx, and PWRPUFF. 

 Secret Garden also brings in performers who meld music with dance, theater, and audience interactions for a multi-sensory experience.

Bailey is an owner of Trade and Number Nine, and was previously an owner of Town Danceboutique. Over the last 35 years, Bailey owned and operated more than 10 bars and clubs in D.C. He has an impressive resume, too. Since starting in 1987, he’s DJ’d across the world for parties and nightclubs large and intimate. He says that he opened “in concert for Kylie Minogue, DJed with Junior Vasquez, played giant 10,000-person events, and small underground parties.” He’s also held residencies at clubs in Atlanta, Miami, and here in D.C. at Tracks, Nation, and Town. 

With Secret Garden, Bailey and GLOW aim to bring queer performers into the space not just for LGBTQ audiences, but for the entire music community to meet, learn about, and enjoy. While they might enjoy fandom among queer nightlife, this Garden is a platform for them to meet the entirety of GLOW festival goers.

Weekend-long Project GLOW brings in headliners and artists from EDM and electronic music, with big names like ILLENIUM, Zedd, and  Rezz. In all, more than 50 artists will take the three stages at the third edition of Project GLOW, presented by Insomniac (Electric Daisy Carnival) and Club Glow (Echostage, Soundcheck).

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Out & About

Washington Improv Theatre hosts ‘The Queeries’

Event to celebrate queer DMV talent and pop culture camp

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The Washington Improv Theatre, along with the Mayor’s Office of LGBTQ Affairs and the Gay Men’s Chorus of Washington DC, will team up to host “The Queeries!” on Friday, April 26 at 9:30 p.m. at Studio Theatre.

The event will celebrate Queer DMV talent and pop culture camp. With a mixture of audience-submitted nominations and blatantly undemocratically declared winners, “The Queeries!” mimics LGBTQ life itself: unfair, but far more fun than the alternative.

The event will be co-hosted by Birdie and Butchie, who have invited some of their favorite bent winos, D.C. “D-listers,” former Senate staffers, and other stars to sashay down the lavender carpet for the selfie-strewn party of the year. 

Tickets are just $15 and can be purchased on WITV’s website

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