A line of celebrities, “Drag Race” queens, influencers, media, and West Hollywood socialites lined the block around West Hollywood’s The Abbey, all clamoring to get into the invite-only celebration of owner Tristan Schukraft’s birthday. The rumor, which became verified gossip, was that Madonna, the Queen of Pop herself, would be taking the stage. Of course, the Blade had to be there.

With disco balls and Abbey statues covered in pink chiffon, it was clear. This party was a direct tie-in to Madonna’s much-anticipated “Confessions on A Dance Floor” album sequel, “Confessions II.” That night, the Abbey also unveiled its remodeled dance floor, a fitting collaboration.

The club was filled to capacity with a completely open bar, keeping the crowd liquored up. Go-go dancers in black leather collars and thongs lined the room, and celebrities that included Lilly Allen, Bebe Rexha, Tori Spelling, Julia Fox, Sam Asghari, Daniel Frenzese, Cynthia Bailey, Meredith Marks, Tom Daley, and more filled the VIP booths alongside World of Wonder personalities. It was a veritable who’s who of queer folk and allies.

The lights began to dim, the dance floor began to rumble, and Madonna graphics hit the screens. At around 1 am, it was time. Introduced by Addison Rae, Madonna grabbed the mic and started chanting, welcoming her “gays.” The venue resounded in thunderous chants of “freedom,” “mother,” and “bitch.”

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Madonna was not there to perform. She was there to dance. She took the stage for about 15 minutes, keeping the crowd going with her naughty and fun commentary. There is no list that needs to be provided on how Madonna’s career has become part of queer culture. Going back to her dance music roots and going back to her gay fans is smart.

Released in 2005 (yes, it has been that long), “Confessions on a Dance Floor” was an instant hit, with four singles from the album being released. The album’s lead single, “Hung Up,” topped the charts in 41 countries with Billboard calling it the most successful dance song of the decade. The album had hints of 60s and 70s flair, mixed in with dance music prevalent at that time. The music still dominates at queer clubs across the globe.

Madonna knows we need a little queer joy; she also knows that fans miss the Madonna we all knew and loved. With the nation in such turbulence, we all need some comfort, and going back to a time when we felt safer and had more to celebrate just feels good. For the new album release, she has even partnered with Grindr for a limited edition vinyl release and exclusive behind-the-scenes content.

Her night at The Abbey presented snippets of her new music mixed in with some of her classics. The new material sounded good, sounded familiar in an exciting way, and shows that this diva has still got it.

“Confessions II” releases on July 3.

It started as any White House Correspondents’ Dinner is supposed to go—I assume. I’ve never been to one before this, but based on other events I’ve attended at the Hilton, including an HRC gala, it all seemed fairly normal.

There was a lot of traffic. Police had blocked off streets encompassing a large portion of Adams Morgan—particularly around the hotel. The president was making his first appearance after boycotting the event during his first term, so there was a sense of anticipation. It took me about 45 minutes to go just under a mile from my apartment to about three blocks from the hotel in my Uber. I waited until the last possible second before I felt like I was going to be late—6:30—to get out of the car, because it was raining and I was wearing my green tux.

I walked up to a group of people checking tickets at the base of the hotel. They seemed to just be glancing at the tiny, index-card-sized tickets rather than conducting any kind of full security screening outside. As I walked from that first checkpoint to the drive-around drop-off area, I joined what was essentially one long line for the red carpet. It eventually split into people who wanted photos and those who didn’t—but again, there was no real need to show anything beyond that small ticket upon entering, and even that wasn’t being checked closely.

 A light went off in my head; I felt that, given the speed at which security was checking tickets, they couldn’t fully see the foil logo and tiny table numbers from that distance. I remember thinking that if I had a similarly sized piece of paper, I could have gotten through up to that point.

I also noticed there was no real security checkpoint or metal detectors upon initially entering the hotel grounds—unlike what I had seen at the HRC gala the year before.

I waited about 35 minutes in line in the car drop-off area—without cars, since it had been repurposed to corral press and their guests before entering the building and heading onto the red carpet. I took my photo, then went up the escalator to meet my date, Jacob Bernard from Democracy Forward. They wouldn’t let him onto the red carpet without his ticket, so I gave him his, which I had been holding. He was already inside the venue despite not having his ticket on him and had been at one of the pre-parties. 

That also struck me as odd—that you could access a pre-dinner party without a ticket or going through any visible security.

After I found him, we took a photo together at a step-and-repeat past the main red carpet area around 7:45. Oddly enough, a group of my friends—gays who I regularly see on the dance floors of the gay bars of Washington, who work in various government and media-adjacent fields—found me, and we took pictures together. None were White House correspondents or held a “hard pass” to the White House (security credentials that allow entry into the White House complex).

 Another light went off in my head that indicated party crashers probably shouldn’t be getting inside to an event that is supposed to be one of the most secure rooms in the country.

After the photos, I could see groups of people being moved from pre-party spaces in various meeting rooms on other floors and directed toward the main floor where the red carpet had been.

My guest and I went back up to the main floor and walked through a small security checkpoint that included only a handful of metal detectors. From there, I went down the stairs from the lobby into the International Ballroom, where we took our seats at Table 200. I talked to a few people I knew—very traditional pre-event chit-chat. The vibes felt good. It was my first time attending, and I was genuinely excited.

Around 8:15, the Marine Corps Band played and “Commandant’s Four” color guard presented the flags. We were then told to take our seats. 

They introduced the head table—the president, first lady, vice president, and members of the White House Correspondents’ Association board. Weijia Jiang, senior White House correspondent for CBS News and president of the WHCA, gave a brief speech, essentially saying we would eat first and then move into the main program, which was supposed to feature mentalist Oz Pearlman.

At this point my table, 200 which included members of the Wall Street Journal, the Blade, and a European outlet all started eating. About 15 minutes later, Washington Hilton staff began clearing plates and preparing to bring out the next course.

As they cleared the plates, I heard four loud bangs.

I saw hotel employees immediately start ducking. They seemed to understand the gravity of the situation much faster than most attendees, including myself. At first, it sounded like a tray might have fallen over (but I later found out that wasn’t the case).

After about 30 seconds of watching some people duck, others look around in confusion, and some continue eating and drinking, I got down. I kneeled with my chair in front of me as a kind of barrier. Being at Table 200, I felt somewhat removed from where the actual incident occurred.

Then I saw the president being whisked away quickly by Secret Service, along with the first lady and others at the head table.

My reporter instincts kicked in. I grabbed my phone and started filming. I saw SWAT team members rush into the ballroom and onto the stage, clearing the area. I captured a video of people looking around, confused about what had just happened.

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A few minutes later, the room was told by the WHCA president to hold on—that they would provide more information and guidance on what would happen next. There was some indication that they might try to continue the event despite what had occurred.

Everyone started frantically checking X to see if any major outlets were reporting. I was receiving texts from family, friends, and colleagues about the rapidly unfolding situation.

I walked to the bathroom—twice, technically. I couldn’t find it initially because it was hidden behind black curtains. (Later, those curtains were removed, and the men’s room was in clearer view.)

During the first walk to the bathroom, I called my editor to tell him what was happening. He instructed me to start sending copy to another editor, who would get it online. The ballroom had almost no service—it’s in the basement of a 12-story hotel—so it was a challenge. I utilized SMS fallback (since iMessage wasn’t working) to send updates.

I returned to the table, where people were still hovering—calling editors, scrolling, texting, sending photos and copy. I was already drafting my story and sending it in chunks, adding details as I gathered more information.

I walked my guest toward the bathroom again, which was on the opposite side of the ballroom from our table, so I had to cross what felt like a sea of journalists, PR officials, guests, and others on their phones, talking and scrolling. My guest pointed out that the press pool was being held in an alcove away from the ballroom doors and escalator exit—not in the ballroom with everyone else.

“Alive” by the Bee Gees was playing over the speakers in the bathroom, which felt a little too on the nose.

On my way out, I heard someone speaking over a microphone and rushed to the ballroom entrance. WHCA President Weijia Jiang was speaking. She announced that the event was over and the space was being evacuated.

She also said that President Trump would hold a press conference at the White House in about 25 minutes.

That’s when I knew it was a race against the clock.

I called my editor a second time to update him and asked if I should head to the briefing (knowing the answer would be yes). He confirmed.

Then the crowd began to move. People grabbed purses, bottles—some left belongings behind. Even though it was technically becoming a crime scene, no one was actively forcing us out. It felt more like a collective understanding: It was time to go.

I texted my guest: “OK, I have to go to the White House. I’m so sorry to leave you.”

I made my way with the sea of people toward the one exit we were allowed to use and zipped between women in fancy gowns and men looking like penguins.

I put on my hard press pass, opened the Capital Bikeshare app, reserved the closest e-bike, and headed out. 

I walked up Columbia Road to 20th and Wyoming, grabbed the bike, and rode down Wyoming, then 18th, cut over to U Street, and went straight down 16th to the White House. That ride was exhilarating. I also filmed an Instagram Reel updating my followers on what was going on. I could see tourists and D.C. residents alike looking at me from their cars and the sidewalk, obviously confused as to why a man dressed in a tux had hopped on a bike.

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I got off the bike where 16th Street meets Lafayette Square and darted toward the first White House security checkpoint, where they were verifying press credentials. Luckily, I had mine. After that, it turned into a mad dash. Everyone who made it through started moving quickly.

The sound of heels on what I think was cobblestone—or maybe brick—sticks with me. My own shoes were clacking as I ran toward the White House alongside other journalists in heels and dress shoes.

At the Secret Service checkpoint, there was a separate line for hard pass holders. Having my hard pass let me skip much of the impeccably dressed line of journalists who didn’t think to bring their hard pass with them.

It was probably the most exquisitely dressed press crowd I’ve ever seen—tuxedos, gowns, full makeup. It felt like something out of “The Hunger Games.”

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I went through security, put my belongings through the metal detector, entered my code, grabbed my things, and ran to the briefing room.

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‘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 Gaultier 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.