Metro Weekly October 18, 2018 Rupert Everett

CONTENTS
OCTOBER 18, 2018 Volume 25 Issue 24
18 PROGRESSIVE PROVOCATEUR Lily Allen is as ready as ever to protest and kiss-off

homophobes -- just not on social media.
By Doug Rule
BORN TO BE WILDE
It took ten years for Rupert Everett to bring his magnificent
Oscar Wilde opus, The Happy Prince, to the screen.
It was worth the wait.
Interview by André Hereford

30
39 SPOOKTACULAR
If you give yourself one Halloween treat this year,
make it an evening with Synetic’s Sleepy Hollow.
By Kate Wingfield
SPOTLIGHT: NSO POPS p.7 OUT ON THE TOWN p.10 PERFECTLY BLENDED: TIMOTHY NELSON p.12
PROGRESSIVE PROVOCATEUR: LILY ALLEN p.18 SCENE: CHEFS FOR EQUALITY p.23
COMMUNITY: LAID TO REST p.25 SCENE: SMYAL FALL BRUNCH p.28
COVER STORY: RUPERT EVERETT p.30 FILM: HALLOWEEN p.37 STAGE: SLEEPY HOLLOW p.39
STAGE: AIDA p.41 OPERA: LA TRAVIATA p.43 NIGHTLIFE p.45 SCENE: TRADE p.45
LISTINGS p.46 NIGHTLIFE HIGHLIGHTS p.47 PLAYLIST: ADAM KOUSSARI-AMIN p.49
LAST WORD p.54
Real LGBTQ News and Entertainment since 1994

Editorial Editor-in-Chief Randy Shulman Art Director Todd Franson Online Editor at metroweekly.com Rhuaridh Marr Senior Editor John Riley
Contributing Editors André Hereford, Doug Rule Senior Photographers Ward Morrison, Julian Vankim Contributing Illustrator Scott G. Brooks
Contributing Writers Sean Maunier, Troy Petenbrink, Bailey Vogt, Kate Wingfield Webmaster David Uy Production Assistant Julian Vankim
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4 OCTOBER 18, 2018 • METROWEEKLY

Spotlight
COURTESY OF DISNEY AND THE KENNEDY CENTER
NSO Pops: The Empire Strikes Back

P
RESENTING A FILM LIVE WITH AN ORCHESTRA musicians may double a couple of instruments. For example, the
is a fairly new phenomenon in the world of symphony third bassoon player often also plays something called the con-
orchestras,” says NSO Principal Pops Conductor Steven tra-bassoon. They’re two different instruments. In a recording
Reineke. “They’re a lot of fun, but for the conductor, I’ll be session, they can stop, switch instruments, and resume. In real
honest with you, they’re the hardest thing that I do. I would life, some of that gets really tricky for the musicians to navigate
rather be conducting a classical concert that’s all Stravinsky and and maneuver how quickly they have to move back and forth
Bartok, because there at least you have control over the music between instruments. This happens a lot in the percussion sec-
and the tempos of how you want to interpret it. In a movie, you tion as well. Everybody really gets a workout.”
have to be right on with the synchronization.” Next week, the NSO Pops is performing to The Empire Strikes
As Reineke points out, full movie scores were never intended Back, which many consider the finest of the Star Wars films. In
to be presented in a single performance setting. “The soundtracks September, they played along to A New Hope, and will perform
were recorded after the fact, in chunks and pieces. As a matter similar duties for the third film in the original trilogy, Return of
of fact, The Empire Strikes Back was recorded in 16 different the Jedi, come January. That particular film, marvels Reineke,
recording sessions over a two-week stretch. They never thought concludes “with over 3,000 measures of non-stop music. That’s
that it would be performed in real time from start to finish. So, about 40 minutes of the orchestra playing without stopping. It’s
it’s very challenging.” pretty unheard of. It’s like playing an entire Wagner or Mahler
The challenges often extend to the musicians. “Certain symphony.” —Randy Shulman
The NSO Pops performs alongside a screening of Star Wars: The Empire Strikes Back, Tuesday, Oct. 23 to Thursday, Oct. 25 in
the Kennedy Center Concert Hall. Tickets are $34 to $149. Call 202-467-4600 or visit kennedy-center.org.
OCTOBER 18, 2018 • METROWEEKLY 7

Spotlight
OYSTER & BEER FESTIVAL
This “Drink.Eat.Relax” festival functions in an
All-You-Care-To-Taste fashion with everything
from the food — oysters, mussels, and clams,
and non-seafood options — to the drinks, with
more than 30 types of beer, wine, and spirits on
tap. There will also be food trucks on hand, live
music and games, and “one very angry mermaid.”
Saturday, Oct. 20, starting at noon, with the last
food shucking/serving at 3:30 p.m. and last call at
3:45 p.m. Yards Lot H/I down N Place SE from
TRIGGER AGENCY
Nationals Park. Tasting Admission is $59 and

includes a souvenir glass. Call 800-830-3976 or
visit beerandoyster.com.
ROOMS:
A ROCK ROMANCE
MetroStage offers a 10th
anniversary production of
Paul Scott Goodman’s musi-
cal, with a book co-written
by Miriam Gordon, focused
on an ambitious singer-song-
writer who meets a reclusive
rocker. Together, they aim
for stardom in the London
and New York punk scenes
of the ’70s. Directed by Tom
Jones. To Nov. 11. 1201 North
Royal St., Alexandria. Tickets
are $55. Call 703-548-9044
or visit metrostage.org.
CHRIS BANKS
THE FOUR BITCHIN’ BABES

Hormonal Imbalance v2.5: A Mood Swinging
Musical Revue features highlights from more
than 25 years of a comedic music ensemble.
Sally Fingerett, comedic singer Deirdre Flint,
and former The Hags singer Debi Smith form
the touring core, with the fourth Babe rotat-
ing among Nancy Moran or founding Babes
Megon McDonough and Christine Lavin.
Friday, Oct. 26, at 8 p.m. Amp by Strathmore,
11810 Grand Park Ave. North Bethesda.
Tickets are $28 to $45. Call 301-581-5100 or
visit ampbystrathmore.com.

Spotlight
HOUSE OF WAX
The Andre de Toth classic was famously part of cine-
ma’s 3D craze, boasting a stunning opening sequence
of melting wax figures that toppled off the screen
and virtually into your lap, as well as a now-iconic
sequence featuring a tuxedoed man and a paddleball.
While it won’t be screening in 3D here, it is still worth
a watch, if only for Price’s chilling performance as a
demented wax artisan who creates his works in a most
unusual manner. Part of the Capital Classics series at
Landmark’s West End Cinema. Wednesday, Oct. 24, at
1:30, 4:30, and 7:30 p.m., 2301 M St. NW. Happy hour
from 4 to 6:30 p.m. Tickets are $10 to $12.50. Call 202-
534-1907 or visit landmarktheatres.com.
JOHN WATERS: INDECENT EXPOSURE

The Baltimore Museum of Art honors “King of Trash” John Waters with
a showcase of the queer filmmaker’s visual arts career through a display
of 160 provocative photographs, sculptures, and video and sound works.
The works range from send-ups of famous films and faces, to objects
from Waters’ home and studio, to three peep-shows with footage from
his rarely seen underground movies of the 1960s. Now to Jan. 6. 10 Art
Museum Dr. Baltimore. Tickets are $10 to $15. Call 443-573-1700 or visit
artbma.org.
Right: Playdate. 2006.

Courtesy of the artist and
Marianne Boesky Gallery,
New York. © John Waters
Far Right:
Beverly Hills John.
2012. Rubell Family
Collection, Miami.
© John Waters, Courtesy
Marianne Boesky Gallery
GARBAGE
Shirley Manson tours with her brooding, grungy alt-
rock band as part of a 20th anniversary celebration
of Version 2.0. Nominated for Album of the Year
and Best Rock Album at the 1999 Grammy Awards,
Garbage’s sophomore set also features one of its big-
gest hits, the Grammy-nominated “Special.” Sunday,
Oct. 21, and Monday, Oct. 22. Doors at 6:30 p.m.
Lincoln Theatre, 1215 U St. NW. Tickets, remaining
only for the Monday show, are $55. Call 202-888-
0050 or visit thelincolndc.com.

GABRIELE STONYTE, FRIENDS OF THE NATIONAL ZOO
Out On The Town
HALLOWEEN AT THE ZOO

The National Zoo welcomes two Halloween-themed events over the next week, including the 20th annual Boo at the Zoo,
a trick-or-treat outing in the park featuring decorated trails, after-hours access to select animal houses and exhibits, animal
demonstrations, keeper chats, pumpkin-carving demonstrations, “scary-oke” for kids, and 40 treat stations — including
craft beer and coffee sweets for the adults. It runs Friday, Oct. 19, through Sunday, Oct. 21, nightly from 5:30 to 8:30 p.m. A
week later, Friends of the National Zoo offers a second Halloween to-do, the adults-only Night of the Living Zoo featuring
performance artists, particularly those working in the odd and eerie realms, a costume contest, a DJ dance party, and craft
beer and food truck fare. The VIP Experience also includes express check-in, one additional drink ticket, exclusive take-
away gift, exclusive animal experiences and viewings, private bar, lounge, and dance floor, and complimentary food tastings
from local restaurants including Bier Baron Tavern, Blackfinn Ameripub, Dolci Gelati, El Centro, and Radiator. Friday, Oct.
26, from 7 to 10 p.m. National Zoo, 3001 Connecticut Ave. NW. General admission is $30 for Boo at the Zoo, $40 for Night
of the Living Zoo, or $90 for VIP. Call 202-633-4800 or visit nationalzoo.si.edu.
Compiled by Doug Rule members, or $15 general admission,

including admission to the exhibi-
working class population and city
planners. Sunday, Oct. 21, Old Naval
STAGE
FILM tion. Call 202-387-2151 x247 or visit
phillipscollection.org.
Hospital, 921 Pennsylvania Ave. SE.
Free, but registration required due
BORN YESTERDAY
Garson Kanin’s sharp-edged screw-
to limited space. Call 202-549-4172
BIG TIME ball comedy may be 70 years old,
The Phillips Collection presents
METROPOLIS or visit HillCenterDC.org.
but it resonates all too well with
Philip Kennicott, the Pulitzer
Kaspar Astrup Schröder’s 2017 doc- the Washington of today. The story
umentary as part of its Nordic Film
Prize-winning Washington Post art NOIR CITY DC
focuses on an opportunistic tycoon
and architecture critic, presents a The AFI offers an October series
Series, in conjunction with the spe- seeking to game the Washington
three-part Sunday cinema series to give you a case of the creeps.
cial exhibition Nordic Impressions. system — but the plans are sab-
in which the built environment Curated by the Film Noir
Big Time follows Bjarke Ingels otaged by his girlfriend and her
is the star — and in which each Foundation and combining canon-
from 2011 to 2016, during which alliance with an idealistic report-
film is an architectural experience ical classics with rarities ripe for
the Dane became “one of archi- er pushing back to end corruption.
in and of itself, whether real or rediscovery, selections in this year’s
tecture’s biggest stars,” largely due Aaron Posner directs Edward Gero
imagined. This Reel Architecture edition are all presented as double
to his ongoing work of designing and Kimberly Gilbert in a lavish
series at the Hill Center includes features, pairing better-known clas-
and building one of the skyscrapers production bolstered by Daniel Lee
Playtime, the fanciful 1967 French sics with shorter, lower-budget “B”
that will replace Manhattan’s Twin Conway’s set, a glamorous two-lev-
film from Jacques Tati, and 2008’s films, including The Blue Dahlia,
Towers. Washingtonians also know el hotel suite with striking architec-
24 City from Chinese filmmaker Shadow of a Doubt, and Quiet Please,
Ingels for the BIG Maze, the pop- tural details. Closes Sunday, Oct. 21.
Jia Zhangke. Yet it kicks off with Murder. The festival runs to Oct. 25
ular, large-scale human maze built Ford’s, 511 10th St. NW. Tickets are
what is described as “the ultimate at the AFI Silver, 8633 Colesville
as the summer 2014 installation $17 to $64. Call 800-982-2787 or
in cinematic built environment,” Road, Silver Spring. Tickets are $13
at the National Building Museum. visit fords.org.
Fritz Lang’s 1927 sci-fi masterpiece, general admission, or $10 for mat-
Thursday, Oct. 25, at 6 p.m. The
a futuristic urban dystopia featuring inee screenings. Call 301-495-6720
Phillips Collection, 1600 21st St.
a city sharply divided between its or visit afi.com/Silver.
NW. Tickets are $5 for Phillips

HOW I LEARNED TO DRIVE
An astonishing chronicle of one
woman’s journey to break the cycle
of sexual abuse by Baltimore-native
Paula Vogel. The great Helen Hayes
Award-winning actress Alyssa
Wilmoth Keegan (Cat on a Hot Tin
Roof) plays the adult survivor Li’l
Bit, whose “education” at the hands
of her Uncle Peck (Peter O’Connor)
began when she was a mere eleven.
The cast is rounded out by Daven
Ralston, Emily Townley, and Craig
Wallace. To Nov. 4. 4545 East-West
Highway, Bethesda. Tickets are $50
to $60. Call 240-644-1100 or visit
roundhousetheatre.org.
ILLYRIA, OR WHAT YOU WILL

The freedom to be who you truly
are and love whomever you want
is the focus of this fresh adapta-
tion of Shakespeare’s comedy
Twelfth Night by Jonelle Walker
and Mitchell Hébert. Essentially
Nelson every element of the LGBTQ com-
munity is represented in the cast
of characters, in addition to a drag
PERFECTLY BLENDED
queen and “two women performing
masculinity,” according to Hébert,
who is directing a production that
opens WSC Avant Bard’s new sea-
son. Illyria is set in an anything
The new Artistic Director of the In Series, Timothy Nelson is taking goes Manhattan dive bar in the
exciting new risks with bold mash-ups. post-disco early ’80s, as imagined
by set designer Jos. B. Musumeci
A
Jr., plus original era-evoking
N UPCOMING IN SERIES PERFORMANCE OF MOZART’S THE MARRIAGE music by Aaron Bliden. The large
cast includes Frank Britton, Katie
of Figaro will have an exciting addition: artistic director Timothy Nelson will Gallagher, Jenna Rossman, Dani
wed his partner Jeffrey. Stoller, Ezra Tozian, and the com-
“We’ve been waiting for the right time,” says Nelson. “My parents are going to pany’s former head Christopher
be here. We’ll have a lot of friends at the performance. So it just made sense to do it Henley. In previews. Opens
Tuesday, Oct. 23. Runs to Nov. 18.
there.” Gunston Theater Two, 2700 South
The unconventional ceremony will happen in context of Nelson’s unconventional Lang St. Arlington. Tickets are $40.
production of Figaro in Four Quartets, a marriage of the Austrian composer’s music Call 703-418-4808 or visit avant-
bard.org.
with writing from American poet T.S. Eliot. “It sort of imagines the four couples of
the classic opera as actually the same couple at different ages and stages of life and LITTLE SHOP OF HORRORS
love,” he says. The quirky, enduring, cult-favorite
It’s the same type of cross-genre mashup that kicked off the In Series season last musical by Howard Ashman and
Alan Menken is the latest to get
month — Viva V.E.R.D.I.: The Promised End blended music from Verdi’s Requiem with a semi-staged production as part
dialogue from Shakespeare’s King Lear. “I’m very interested in exploring what other of the Kennedy Center’s amazing
forms opera can take,” Nelson says. “Deconstructing the canon and then trying to find Broadway Center Stage series.
With Megan Hilty as Audrey,
a way to reconstruct it [to] make it more immediate and closer to how we consume Josh Radnor as Seymour, James
culture as a society today.” Monroe Iglehart as the man-eating
Barely a month into his tenure at In Series, Nelson has been heartened by the plant Audrey II, and Amber Iman,
warm reception to his “risky” Verdi opener, which veered from the typical In Series Amma Osei, and Allison Semmes as
the show’s indelible greek chorus.
cabaret-style revue. The show, Nelson says, garnered “the best reviews we’ve ever had Directed by Mark Brokaw. Opens
[and] we were sold out.” Wednesday, Oct. 24. To Oct. 28.
Other upcoming productions also “point to a new direction, and something that Eisenhower Theater. Tickets are
$89 to $215. Call 202-467-4600 or
only we’re doing as far as I know,” he says. And it goes well beyond the merging of visit kennedy-center.org.
spoken dialogue with song text in opera. In March, the “Opera & More” company will
stage the popular zarzuela La Verbena de la Paloma. “We’re resetting it at the border SING TO ME NOW
of Tijuana and San Diego,” Nelson says. “We’re building ourselves a border wall and Iris Dauterman weaves sardonic
humor, poetry, and a deeply con-
having local youth tag the wall and make the piece about border politics. It’s trying to temporary voice to create a comedy
find a way to take those old Latin-American forms and make them have contemporary about Calliope, the Greek Muse of
relevance, just the way that’s become commonplace with Shakespeare [and] with Epic Poetry, and the value in fighting
for beauty while the world is falling
classic opera.” —Doug Rule apart. Directed by Jenny McConnell
Frederick, the Rorschach Theatre
production features Ian Armstrong,
Figaro in Four Quartets opens Saturday, Oct. 20, and runs to Oct. 28 at GALA Theatre,
Tori Boutin, Desiree Chappelle,
3333 14th St. NW. Tickets are $20 to $45. Call 202-204-7763 or visit inseries.org.

including Schubert’s enchanting,
incidental music written for the
Viennese stage play Rosamunde as
well as Schumann’s Konzertstück
for Four Horns featuring BSO musi-
cians Phil Munds, Lisa Bergman,
Austin Larson, and Gabrielle Finck.
But the main attraction, of course, is
the beloved, seasons-spanning clas-
sic by Vivaldi and featuring compa-
ny violinists Boram Kang, Audrey
Wright, Angela Lee, and Qing Li.
Thursday, Oct. 18, and Saturday,
Oct. 20, at 8 p.m. Music Center
at Strathmore, 5301 Tuckerman
Lane, North Bethesda. Also Friday,
Oct. 19, at 8 p.m. Joseph Meyerhoff
Symphony Hall, 1212 Cathedral St.,
Baltimore. Tickets are $25 to $90.
Call 410-783-8000 or visit bsomu-
sic.org.
FLASH OF THE SPIRIT

ERIK TOMASSON
WORLDWIDE SOUND FESTIVAL

Jim Thompson, the D.C. concert
promoter behind the globally
focused, genre-bending Multiflora
Productions, has renamed his
Multiflora Music Festival for its
SAN FRANCISCO BALLET: UNBOUND FESTIVAL HIGHLIGHTS second annual month-long run.
The focus is every bit as global-
The renowned San Francisco Ballet presents the East Coast premieres of works by some ly eccentric and eclectic as before,
of today’s most in-demand choreographers, all originally performed at the company’s intended to reflect the long-storied
groundbreaking festival Unbound, which debuted this past spring. Presented in two dis- multicultural and international fla-
vor of D.C., with groups from Cuba,
tinct programs, the week-long run at the Kennedy Center, accompanied by the Kennedy China, Ethiopia, Ecuador, Mali,
Center Opera House Orchestra, begins on Tuesday, Oct. 23, with Program A consisting Peru, and Puerto Rico, as well as the
of Trey McIntyre’s Your Flesh Shall Be A Great Poem, an homage to the choreographer’s broad Washington region. Concerts
over the next week include a
grandfather as set to music by singer-songwriter Chris Garneau; Christopher Wheeldon’s Colombian Music Showcase featur-
Bound To, a reflection of technology in contemporary society set to music by Keaton ing the hip-hop group Kombilesa
Henson; and David Dawson’s Anima Animus, which draws on German philosopher Carl Mi and La Marvela, Friday, Oct.
Jung for an exploration into the spaces in between polarized opposites. Program B, which 19, at Tropicalia; a Flash of the
Spirit Showcase Matinee featur-
begins performances on Thursday, Oct. 25, includes The Infinite Ocean, Edwaard Liang’s ing TurningJewelsIntoWater, No
exploration of the space between life and death set to music by Oliver Davis, Snowblind, Plans, Kamyar Arsani, Elmapi,
Cathy Marston’s narrative piece based on Edith Wharton’s 1911 novella Ethan Frome, and Warm Sun, Light Beams, Flamers,
Panini Girlfriend, and Knife Wife,
Hurry Up, We’re Dreaming, Justin Peck’s reverie on dreaming set to songs by instrumental on Saturday, Oct. 20, at Anacostia
electronic band M83. Performed in repertory to Oct. 28. Kennedy Center Opera House. Arts Center; Kurbasy, a trio of
Tickets are $29 to $129. Call 202-467-4600 or visit kennedy-center.org. actress/singers from Ukraine’s
Carpathian Mountains who give
folk-based multimedia perfor-
mances showcasing tight vocal
Erik Harrison, Cam Magee, Chloe THE FALL cial exhibition Trevor Paglen: Sites harmonies, resonant lyrics, cul-
Mikala, and Jonathan Del Palmer. Studio Theatre presents seven Unseen. Just as Paglen works to turally unique instruments, and a
Pay-What-You-Can previews start student activists from the Baxter make the invisible world of sur- phantasmagoric visual imagery, on
Friday, Oct. 19. Opens Monday, Oct. Theatre Centre at the University of veillance visible through his Thursday, Oct. 25, at Hill Center;
22. Runs to Nov. 18. Lab Theatre II Cape Town in a devised work that visual art, the Consort presents and Quatro na Bossa, a Richmond-
in the Atlas Performing Arts Center, grapples with the legacies of race, a program of American compos- based group that plays mid-20th
1333 H St. NE. Tickets are $19.99 to class, gender, history, and power ers doing something similar with century Brazilian party music, on
$29.99. Call 202-399-7993 or visit still standing 24 years after the offi- music. The program includes Friday, Oct. 26, at Bossa Bistro.
atlasarts.org. cial end of Apartheid. Written as the Annie Gosfield’s Lost Signals Festival runs at various venues
statue of imperialist Cecil Rhodes and Drifting Satellites, Frederic through Oct. 31. Visit multiflorapro-
THE COMEDY OF ERRORS was dismantled on campus. To Nov. Rzewski’s Winnsboro Cotton Mill ductions.com for more information.
Shakespeare’s early comedy of mis- 18. The Mead Theatre, 14th & P Blues, Gemma Peacocke’s Lumen,
taken identities involves two sets Streets NW. Tickets are $20 to $45. Robert Paterson’s Star Crossing, SEAN BARNA
of twins and an ocean of confusion. Call 202-332-3300 or visit studio- Robert Gibson’s Night Music, Jon Splitting his time between New
Veanne Cox, Nancy Robinette, Tom theatre.org. Deak’s Greetings from 1984, and York and D.C., the gay singer-song-
Story, Ted van Griethuysen, Sarah David Froom’s Hidden Motives. writer and drummer has a theat-
Marshall, and Eleasha Gamble Saturday, Oct. 20, at 4 p.m. McEvoy rical, full-throated vocal delivery.
head a large, gifted cast. Directed MUSIC Auditorium, Lower Level, 8th and Barna explores what it means to
by Alan Paul. Extended to Nov. 4. F Streets NW. Free. Call 202-633- be a man on his new record Cissy,
Lansburgh Theatre, 450 7th St. NW. 21ST CENTURY CONSORT: 1000 or visit americanart.si.edu. which he describes as “if Bukowski
Call 202-547-1122 or visit shake- SITES UNHEARD had frequented queer spaces and
spearetheatre.org. The award-winning ensem- BSO: VIVALDI’S FOUR SEASONS written songs for Patti Smith.”
ble-in-residence at the Smithsonian Early-music specialist Nicholas Monday, Oct. 22, at 9 p.m. Slash
American Art Museum kicks off McGegan conducts the Baltimore Run, 201 Upshur St. NW. Call 202-
its season with a musical take on Symphony Orchestra in a program 838-9929 or visit slashrun.com.
the artwork featured in the spe-

READINGS
& LECTURES
EVE ENSLER & ANNE LAMOTT
The Vagina Monologues author and
performer is joined at Strathmore
by the essayist and author of
Hallelujah Anyway: Rediscovering
Mercy for a wide-ranging conversa-
tion on the provocative issues that
they’ve each made their stock in
trade. Ensler and Lamott enlight-
en and inspire people around the
world through their brave stories
and fearless activism, tackling
tough topics from sex to religion to
abuse. Former NPR correspondent
and host Jacki Lyden will mod-
erate. Sunday, Oct. 21, at 7 p.m.
Music Center at Strathmore, 5301
Tuckerman Lane, North Bethesda.
Tickets are $38 to $88. Call 301-581-
5100 or visit strathmore.org.
KIERAN MCCARTHY:
FABERGÉ IN LONDON
A London-based Fabergé expert
DC DESIGN WEEK and adviser to collectors and insti-
tutions crosses the pond to offer
Every year, the local chapter of the American Institute of Graphic Arts, organizes an event the fourth and final lecture in
showcasing D.C.’s creative community. The 2018 edition kicks off with a Local Makers an October in conjunction with
Panel of artists showcasing their work and discussing how the DMV has impacted their the current exhibition Fabergé
Rediscovered. McCarthy will focus
work and how they’ve worked to impact their community on Saturday, Oct. 20, from 1 his talk on the glittering history of
to 4 p.m., at Pyramid Atlantic, 4318 Gallatin St., Hyattsville. Another key highlight is the the only branch located outside of
Pop-Up Shop Block Party, at which goods made by local makers and designers will be for Russia by the imperial Russian gold-
smith, which was in operation from
sale — in addition to beer and ice cream from Milk Cult — on Wednesday, Oct. 24, from 1903 to 1917. Tuesday, Oct. 23, from
6 to 10 p.m., at Cherry Blossom Creative, 2128 8th St. NW. Throughout the week, various 5:30 to 8 p.m. 4155 Linnean Ave.
companies and design firms will host Creative Lunch sessions, including Booz Allen NW. Tickets are $20. Call 202-686-
Hamilton, OpenBox9, RedPeg Marketing, NASA, Image Factory DC, the Pew Research 5807 or visit HillwoodMuseum.org.
Center, and PBS. Additional event highlights include the Experienced Leaders Panel PETE SOUZA - SHADE:
at Solid State Books, 600 H St. NE, on Sunday, Oct. 21; DC Mural Run, a 3.5-mile, early A TALE OF TWO PRESIDENTS
morning jaunt through the city’s mural-filled streets starting in Shaw’s Blagden Alley, and A follow-up to Obama: An Intimate
History, Shade includes hundreds
“Designing Conversations,” about voice-enabled technology with representatives from more groundbreaking snapshots
area companies including the Washington Post, NPR, and Capital One, at architecture with incisive captions contrasting
firm Gensler, 20, both on Wednesday, Oct. 24; and a Drink & Draw session celebrating the 44th President to the 45th,
designers and their sketchbooks, where all skill levels can also engage in pencil drawings, all from the official Obama White
House photographer. The new book
at Right Proper Brookland Production House, 920 Girard St. NE, on Friday, Oct. 26. DC is intended to serve as a reminder
Design Week runs to Sunday, Oct. 28. Visit dcdesignweek.org. of shared American values. Politics
and Prose co-presents this book
discussion. Wednesday, Oct. 24,
at 7 p.m. GW Lisner, The George
DANCE tive ballet adaptation of the ulti-
mate vampire story, Bram Stoker’s
COMEDY Washington University, 730 21st
St. NW. Tickets are $27.50 to $40.
Dracula. Merchant Hall becomes Call 202-994-6851 or visit lisner.
ABADA-CAPOEIRA DC FOUND FOOTAGE FESTIVAL:
Transylvania after dark, where just gwu.edu.
& BATALÁ WASHINGTON AFTER DARK
one taste of blood guarantees eter-
Local capoeira leaders join forc- Comedy writers Joe Pickett and
nal youth in a tale performed with
es with the all-women samba/
reggae percussion band for a pro-
live accompaniment by the Kim
Nick Prueher, whose credits
include The Colbert Report and The
FOOD & DRINK
Reynolds Band. Friday, Oct. 19, and
gram of dynamic martial art and Onion, return with another collec- HANK’S DUPONT: BUBBLES &
Saturday, Oct. 20, at 7:30 p.m., and
dance movements and syncopated tion of found videos drawn from BIVALVES
Sunday, Oct. 20, at 3 p.m. 10960
rhythms celebrating the culture of garage sales, thrift stores, ware- HANK’S OLD TOWN:
George Mason Circle, Manassas, Va.
Brazil. Saturday, Oct. 20, at 6 p.m. houses, and dumpsters — includ- OYSTERFEST XI
Tickets are $25 to $65. Call 703-
Kennedy Center Millennium Stage. ing curiously produced industrial Bivalves are naturally the star attrac-
993-7759 or visit hyltoncenter.org.
Free. Call 202-467-4600 or visit training videos and cheesy exercise tion everyday at the four Oyster
kennedy-center.org. videos. The theme is “a celebration Bars part of the JL Restaurant
of sexy and disturbing found VHS Group, Jamie Leeds’ growing local
MANASSAS BALLET THEATRE: gems.” Friday, Oct. 19, at 7:30 p.m., empire. Yet two events this week
DRACULA and Saturday, Oct. 20, at 7 p.m. make oysters, and seafood in gener-
Just in time for Halloween, the Arlington Cinema N’ Drafthouse, al, even more of a draw than usual.
resident company of the Hylton 2903 Columbia Pike, Arlington. At the original location in Dupont
Performing Arts Center opens its Tickets are $14. Call 703-486-2345 Circle, there’s a midweek, multi-
season with a theatrical and seduc- or visit arlingtondrafthouse.com. course seafood-centric dinner to be

prepared by the venue’s chef Jamie
Knight and paired with a variety of
sparkling wines. Wednesday, Oct.
23, from 6 to 9 p.m. 1624 Q St. NW.
Tickets are $95 per person. Call
202-462-4265 or visit hanksoyster-
bar.com.
This Saturday, Oct. 20, is the

Alexandria location’s 11th annual
fall bivalve celebration offering four
hours of all-you-can-drink premi-
um craft beer, wine, and punch
to wash down fresh, fried, and
BBQ’d oysters, popcorn calamari,
onion rings, and Old Bay fries.Just
as with the popular spring itera-
tion in Dupont, the line for the Old
Town OysterFest begins forming
hours before the 11 a.m. start time.
1026 King St. Tickets are $95 all
inclusive. Call 703-739-4265 or visit
hanksoysterbar.com.
BELLA HOWARD
OYAMEL: DIA DE LOS MUERTOS

KICK-OFF PARTY
Every year, José Andrés’s temple
to Mexican cuisine concocts spe-
cial menus and events to celebrate
PROGRESSIVE PROVOCATEUR
the country’s holiday Day of the
Dead. Aside from the sugar skulls
and human skeletons paraded out to
represent the dead, the holiday, at
its heart, is meant to toast the dead
Lily Allen is as ready as ever to protest and kiss-off with their favorite foods and drinks.
This year’s patron saint at Oyamel,
homophobes — just not on social media. named for the Mexican fir trees
S
that provide shelter to monarch
HE MAY HAVE JUMP-STARTED HER POP CAREER 13 YEARS AGO ON butterflies in the winter, is Roberto
Gómez Bolaños, better known as
MySpace, but Lily Allen isn’t exactly a fan of today’s social media — at least not for “Chespirito,” widely regarded
advocacy or activism. as the most important Spanish-
“I don’t care to talk about politics very much on there anymore,” says the British pop language humorist of all time. The
restaurant, under Head Chef Omar
star says. “I think it plays into the hands of [anti-progressive politicians] rather than doing Rodriguez, will showcase Bolaños
anything positive. The Internet is an incredibly corrupt place, and it’s not conducive to in a kick-off party featuring bites
any cause really, bleating on about something. and cocktails “to die for,” plus live
“I feel like the war’s not being won on the Internet. It doesn’t seem like tweeting about music, a photobooth, face painting
and more. Monday, Oct. 20, from
things or posting things on your Instagram is really working. Donald Trump and the peo- 6 to 9 p.m. Tickets are $49. 401 7th
ple that are running things around the world, they’re just like, ‘Okay, cool. You guys have St. NW. Call 202-628-1005 or visit
a discussion about it on Facebook while we go and get on with ruining everybody’s lives.’ oyamel.com.
And that seems to be working really well for them. So I think everybody should put their
phones down and take to the streets.” HALLOWEEN
Allen is currently on the road promoting her latest album No Shame, as well as memoir
My Thoughts Exactly, to be published in the states in December. Her tour includes a stop HIGHLIGHTS
at the Fillmore Silver Spring this Sunday, and will feature songs from her fourth and most
personal album yet, as well as her biggest hits, including “Smile” and “No Fear.” And let’s HAUNTED VIRGINIA!
Historians and storytellers Terry
not forget “Fuck You,” the 2009 quasi-gay anthem featuring bubbly music and barbed Gish and Wayne Kehoe share true
lyrics for homophobes everywhere. stories of horror from around Old
“A lot of my mum’s and dad’s friends were gay or bisexual,” says the 33-year-old, who Dominion — and the oldest state
in the union is also said to have the
grew up immersed in London’s performing arts scene. “So that’s always been normal for most ghost stories. These haunted
me.... And people that look down on people for any reason should be called out — that’s tales will be shared, suitably enough,
always been my approach.” in an Alexandria cemetery. “Not
“Fuck You” is better suited as a kiss-off to the current U.S. president than it was to the recommended for children under
12.” Saturday, Oct. 20, at 6:30 and
one who helped inspire the song, George W. Bush. “So you say, it’s not okay to be gay,” 8 p.m. Ivy Hill Cemetery,2823 King
Allen sings on the song. “Well, I think you’re just evil; You’re just some racist, who can’t St., Alexandria. Suggested dona-
tie my laces; Your point of view is medieval.” tion of $20, benefiting the Ivy Hill
Cemetery Historical Preservation
“It’s scary how you can apply that song to the majority of rich, powerful, middle-aged Society. Call 703-549-7413 or visit
white men,” she says. “It kind of works for all of them.” —Doug Rule ivyhillcemetery.net.
IMPROBABLE COMEDY: SPOOKY

Lily Allen performs Sunday, Oct. 21, at 8 p.m. at the Fillmore, 8656 Colesville Road, Silver STAND-UP
Spring. Tickets are $35. Call 301-960-9999 or visit fillmoresilverspring.com. Prizes will be awarded for the best
costumes at this Halloween party

Lee, and The Raven. Saturday, Oct.
27, and Sunday, Oct. 28, at 7 p.m. The
Receiving Vault, Ivy Hill Cemetery,
2823 King St. Alexandria. Requested
donation of $10. Call 703-549-7413
x1112 or visit georgetowntheatre.org.
SMITHSONIAN HALLOWEEN
FILM FESTIVAL
The Smithsonian’s National
Museum of American History
plays host to screenings of an
eclectic mix of Halloween classics
and cult favorites the last week-
end of October. The festival kicks
off Thursday, Oct. 25, with Bette
Midler in Hocus Pocus at 6:30 p.m.,
followed by Practical Magic at 8:15
p.m. The next evening, Friday, Oct.
26, brings 28 Days Later at 6 p.m.
and Shaun of the Dead at 8:05 p.m.
Saturday, Oct. 27, sees The Mummy
JANETTE BECKMAN
(1932) at 2 p.m., Frankenstein (1931)

at 3:30 p.m., and Dracula (1931) at
5:45 p.m. Sunday, Oct. 28, brings
out the frighteningly funny flicks,
with Young Frankenstein (1974) at
2 p.m., Beetlejuice at 4 p.m., and
The Addams Family at 5:45 p.m.
JOSÉ JAMES: A TRIBUTE TO BILL WITHERS All screenings in the Warner Bros.
Theater, 1300 Constitution Ave.
A lesser-known contemporary of neo-soul artists including Frank Ocean and John Legend, NW. Tickets are $10 each or $50 for
James has made more of a name for himself through reinterpretations of standards chiefly a festival pass. Call 202-633-1000 or
from the Great American Songbook. Every bit as impressive is his new album Lean On visit si.edu.
Me: A Tribute to Bill Withers, a toast to the 80th birthday of the underrated, uplifting
STUFF THEY DON’T WANT
soul/pop songwriter, who retired decades ago out of disgust with the industry — but not YOU TO KNOW
before blessing the world with gems like “Ain’t No Sunshine,” “Just The Two of Us,” Ben Bowlin and Matt Frederick,
and “Lovely Day.” James will bring the songs to life as he does on record supported by a executive producers with
HowStuffWorks, created this web
quartet of contemporary jazz stars: Nate Smith on drums, Ben Williams on bass, Sullivan series a decade ago to apply crit-
Fortner on keys, and Brad Allen Williams on guitar. Saturday, Oct. 20. Doors at 6:30 p.m. ical thinking to the world’s most
The Hamilton, 600 14th St. NW. Tickets are $24.75 to $129.75. Call 202-787-1000 or visit prevalent conspiracy theories. In
thehamiltondc.com. 2012, they joined forces with fellow
“conspiracy realist” Noel Brown
to create a podcast that currently
averages two million downloads a
where the chief focus is on per- NIGHT OF THE LIVING DEAD trio of Blozia, Blanca Chingamiga, month. The trio comes to the area
formances by area comics, includ- Fathom Events presents the newly and Shortstaxx — will help all “get in time for Halloween for a discus-
ing Rose Vineshank, Haywood restored and remastered 50th anni- down, spooky ooky ooky” at the sion of everything from UFOs to
Turnipseed Jr., Monica Welham, versary edition of this groundbreak- Halloween edition, which also psychic powers, ghosts to govern-
and Anthony Oakes. Saturday, Oct. ing film from George A. Romero, features performances from Val ment cover-ups — the wildest, most
27, at 7 p.m. Cissel-Saxon American “the Father of the Zombie Film.” Oliphant, Fernando Maldonado, paranoid of notions and the dis-
Legion Post 41, 8110 Fenton St., The screenings come with a new Sally Cinch — and “fisticuffs by turbing grains of truth hidden with-
Silver Spring. Tickets are $16 in behind-the-scenes look at the mak- Christian Sullivan & Co.” Friday, in. Thursday, Oct. 25, at 7:30 p.m.
advance, or $20 at the door; $20 ing of the film, which ushered in a Oct. 26. Doors at 10:30 p.m., with Arlington Cinema N’ Drafthouse,
advance purchase VIP includes completely new approach to cre- show starting promptly at 11 p.m. 2903 Columbia Pike, Arlington.
reserved seating and a Candy Corn ating horror films. Tuesday, Oct. Jordin’s Paradise Wellness Center, Tickets are $20. Call 703-486-2345
Cocktail. Call 301-588-8937 or visit 24, and Wednesday, Oct. 25, at 7 1215 Connecticut Ave. NW. 4th or visit arlingtondrafthouse.com.
improbablecomedy.com. and 10 p.m. Area theaters includ- Floor. Tickets are $10 at the door
ing Regal Gallery Place (701 7th for this BYOB party. Call 202-997- THE FALL OF THE HOUSE OF
NEVERMORE St. NW), Potomac Yards Stadium 8211 or search “Paradise Found” in USHER, WITH LIVE MUSIC
Creative Cauldron celebrates its (3575 Jefferson Davis Highway), facebook.com. Andrew Earle Simpson, the cura-
10th season of producing theater and Rockville Center (199 E. tor and resident musician for the
by restaging Matt Conner’s haunted Montgomery Ave., Rockville). Visit POE IN THE VAULT Silent Film Series at the the Atlas
musical telling of Edgar Allan Poe’s fathomevents.com. Every year actors from Guillotine Performing Arts Center, performs
poetry and short stories, seven years Theatre, formerly known as the original music as director Jean
after the Virginia company first pro- PARADISE BY THE JACK Georgetown Theatre Company, Epstein’s 1928 film screens over-
duced it. Featuring a book by Grace O’LANTERN LIGHT gather to “communicate with the head. Originally released in France
Barnes, Nevermore breathes new Paradise Found is a new month- spirits and read a witches’ brew as La chute de la Maison d’Usher,
life into Poe’s work and explores ly event from Honi Harlow and of poems and short stories,” all by Epstein worked with future pio-
a twisted true-life tale that is as Lucrezia Blozia, who aren’t play- “America’s 19th Century Master of neering director Luis Buñuel to
bizarre as his classic stories of the ing when they call this a variety Horror.” This year’s Tales of Mystery co-write a creepy cinematic adap-
macabre. Now to Oct. 28. ArtSpace show — with everything from drag and Imagination selections, present- tation about the eccentric aristocrat
Falls Church, 410 South Maple Ave. and burlesque to musical comedy ed in a cemetery vault in Alexandria, Roderick Usher who obsesses over
in Falls Church. Tickets are $20 and sideshow, to “sexy women on are centered around a theme high- Madeline to the point of having
to $32. Call 703-436-9948 or visit poles, sexy men on poles and even lighting Edgar Allan Poe’s incredi- her buried alive in the family crypt.
creativecauldron.org. some fisticuffs.” Eva Brontosaurus ble bad luck with women, including Presented by permission of the
— the “dirty ditties”-singing drag Ligeia, Berenice, Eleonora, Annabel Cinematheque Francaise. Sunday,

ABOVE & BEYOND
ARTS ‘N BEATS:
HOMECOMING SZN EDITION
Launched last year at Smith Public
Trust as the creation of DJ King Iven
and Yvonne Lawson, this showcase
of musicians with a live art instal-
lation has found a new home at the
Wharf’s Union Stage. Curated by
Indabooth Entertainment, the fall
homecoming edition features artists
and DJs repping some of the East
Coast’s top schools, including: DJ
Camo of Hampton University, DJ C
Stylez of Morgan State University,
and DJs Swerve and Chubb E
Swagg of Howard University. Plus
“a surprise headline performance.”
Sunday, Oct. 21, from 3 to 8 p.m.
Union Stage, 740 Water St. SW.
Tickets are $10. Call 877-987-6487
or visit indabooth.com.
DANIEL SCHWARTZ
FORD’S THEATRE’S
HISTORY ON FOOT
A local actor offers the guided tour
Investigation: Detective McDevitt,
portraying Detective James
McDevitt, a D.C. police officer
patrolling a half-block from Ford’s
YOGA & THE AMERICAN POPS Theatre the night President Lincoln
Borne out of personal frustration with the bland, incidental music he often heard while was shot. Written by Richard
Hellesen and directed by Mark
practicing yoga, Luke Frazier came up with the Music & Mindfulness series of his Ramont, the 1.6-mile walking tour
American Pops Orchestra, developed in collaboration with yogi Michael Peterson. This revisits and reexamines the sites
weekend ushers in the first of three yoga sessions during the 2018-2019 season in the and clues from the investigation into
the assassination. Tours are offered
Dupont Underground featuring music purposefully coordinated for the experience of every Saturday in October at 10:15
yoga and meditation and performed live by Frazier on piano, four cellists from the Pops a.m. 511 10th St. NW. Tickets are $18.
Chamber Ensemble, and APO’s principal percussionist Jeremy Yaddaw. Yaddaw co-wrote Call 202-397-7328 or visit fords.org.
with Frazier the interwoven soundscape of classic Broadway melodies arranged in an
TASTE OF DC, ROCK THE CORE
eastern contemplative style that will fuel the first session. The session is open to all, from This year, Events DC has moved
those participating in yoga for the first time to those simply enjoying the music and medi- what is billed as “the largest culi-
tation without physical engagement. Water, tea, juice, and other snacks will be available for nary festival in the Mid Atlantic”
to Audi Field. And the city’s spar-
purchase; participants should bring their own mats and towels. Sunday, Oct. 21, at 6 p.m. kling new soccer stadium in Buzzard
Dupont Underground, 1500 19th St. NW. Tickets are $15. Visit dupontunderground.org. Point is also the new home of Drink
The District’s annual Rock the Core
cider fest, which this year coincides
with the second day of Taste of DC,
Oct. 28, at 4 p.m. Sprenger Theatre, es. Friday, Oct. 26, and Saturday, WHAT WE DO IN THE SHADOWS Saturday, Oct. 27. Opening the eve-
1333 H St. NE. Tickets are $14 to Oct. 27. Doors at 7 p.m. The State Jemaine Clement and Taika ning of Friday, Oct. 26, Taste of DC
$20. Call 202-399-7993 or visit atla- Theatre, 220 N. Washington St., Waititi’s comedy, subtitled A features more than 50 restaurants
sarts.org. Falls Church. Tickets are $18. Call Vampire Mockumentary for and food trucks serving food, with
703-237-0300 or visit thestatethe- Halloween, focuses on an endear- a number of chefs expected to lead
THE LEGWARMERS: atre.com. ingly unhip quartet of vampires demonstrations at the Culinary
HALLOWEEN BASH squabbling over household chores, Stage — although a list of the actual
It’s been 17 years since Gordon THE ROCKY HORROR trying to stay trendy, antagonizing restaurants and chefs participating
Gartrell and Cru Jones started what PICTURE SHOW the local werewolves, and deal- has not yet been announced. Also on
has long been heralded as D.C.’s Every October, Landmark’s E Street ing with the pressures of living tap is the area’s largest Beer Garden,
“premier ’80s tribute band,” per- Cinema presents not just one but on a strict diet. The 2015 film is an Artisan Market featuring local
forming the many guilty pleasure two weekends with screenings of screened a week before Halloween craftsmakers and businesses, plus
hits of the decade. The group has Richard O’Brien’s camp classic, as a “special event” presentation live entertainment on multiple stages
performed at concert halls through- billed as the longest-running mid- from Keepin It Weird Wednesdays. — with performances from Cantani
out the region and beyond, Yet its night movie in history. Landmark’s Wednesday, Oct. 24, at 7:30 p.m. Singing Ensemble, the Experience
primary base has been Virginia’s showings come with a live shadow Arlington Cinema N’ Drafthouse, Band, 1 Identity, DC Rawhides, DJ
State Theatre. The band returns to cast from the Sonic Transducers, 2903 Columbia Pike, Arlington. Julien Rivera, the Evolution Orange
the restored Art Deco building for meaning it’s as interactive as can be Tickets are $10. Call 703-486-2345 Band, Twisted Flags, Chute, Polar
two nights during the last weekend — particularly the last weekend of or visit arlingtondrafthouse.com. Opposites, Kromanauts, and L.I.T.
in October, when the usual audience the month with a special Halloween Friday, Oct. 26, from 6 to 10 p.m., and
participation of dressing the part run. Friday, Oct. 26, and Saturday, Saturday, Oct. 27, from 1 to 10 p.m.
— think shellacked big hair, lacy Oct. 27, at midnight, and Sunday, Audi Field, 100 Potomac Ave. SW.
ankle socks, stirrup and parachute Oct. 28, at 7 p.m. Landmark’s E Tickets are $14.99 to $49.99 plus fees
pants — will be amped up to 11, as Street Cinema, 555 11th St. NW. Call for Taste of DC, or $59.99 to $75 for
both nights feature a Halloween 202-452-7672 or visit landmarkthe- both Taste of DC and Rock The Core
Costume Contest with cash prizes, atres.com. on Saturday. Call 202-587-5000 or
along with other spooky surpris- visit thetasteofdc.org or drinkthe-
district.com for more information. l

Scene HRC’s Chefs for Equality at the National Cathedral - Tuesday, Oct. 9 - Photography by Ward Morrison
See and purchase more photos from this event at www.metroweekly.com/scene

Community
THURSDAY, Oct. 18
The DC Center holds a meet-
ing of its POLY DISCUSSION
GROUP, for people interested
in polyamory, non-monogamy
or other nontraditional rela-
tionships. 7-8 p.m. 2000 14th
St. NW, Suite 105. Visit thedc-
center.org.
Weekly Events
ANDROMEDA
TRANSCULTURAL HEALTH
offers free HIV testing and HIV
services (by appointment). 9
a.m.-5 p.m. Decatur Center,
1400 Decatur St. NW. To
arrange an appointment, call
202-291-4707, or visit androm-
LAID TO REST
edatransculturalhealth.org.
DC AQUATICS CLUB practice

session at Takoma Aquatic
Center. 7:30-9 p.m. 300 Van
Twenty years after his death, Matthew Shepard’s ashes will be interred Buren St. NW. For more infor-
mation, visit swimdcac.org.
at the Washington National Cathedral.
T
DC FRONT RUNNERS run-
WENTY YEARS AGO, THE WORLD WAS HORRIFIED WHEN IT HEARD THE ning/walking/social club
story of Matthew Shepard, a gay man who died after being beaten and tied to a fence welcomes runners of all ability
levels for exercise in a fun and
in a remote part of Wyoming. “In some ways, Matthew’s death may have been even supportive environment, with
more important to our straight allies than our community itself, in the sense that it shows socializing afterward. Route
what happens when ‘Good people remain silent in the face of injustice,’” says Bishop Gene distance is 3-6 miles. Meet at
7 p.m. at 23rd & P Streets NW.
V. Robinson. “It serves as a symbol of the kind of senseless violence committed against our For more information, visit
community simply because of who we are.” dcfrontrunners.org.
Robinson, the first openly gay priest to be consecrated as a bishop in the Episcopal
Church, praises Shepard’s parents, Dennis and Judy, for channeling their grief into advoca- DC LAMBDA SQUARES, D.C.’s
gay and lesbian square-dancing
cy, choosing to travel around the world urging tolerance, compassion, and respect for those group, features mainstream
who are different. By raising awareness of the LGBTQ community’s challenges, Robinson through advanced square
says they helped pave the way for later LGBTQ rights victories — from the end of the mili- dancing at the National City
Christian Church. Please dress
tary’s ‘Don’t Ask, Don’t Tell’ policy to the legalization of same-sex marriage. casually. 7-9:30 p.m. 5 Thomas
After his death, Shepard’s parents declined to bury their son’s ashes at a public site, Circle NW. 202-930-1058,
for fear that any grave might be desecrated by anti-LGBTQ individuals or groups. But this dclambdasquares.org.
month, his ashes will find a final resting place in the crypt of the National Cathedral in
DC SCANDALS RUGBY holds
Washington, D.C. practice. The team is always
“We’ve given much thought to Matt’s final resting place, and we found the Washington looking for new members.
National Cathedral is an ideal choice, as Matt loved the Episcopal church and felt welcomed All welcome. 7-9 p.m. Harry
Thomas Recreation Center,
by his church in Wyoming,” Judy Shepard, Matthew’s mother, said in a statement. “For the 1743 Lincoln Rd. NE. For more
past 20 years, we have shared Matt’s story with the world. It’s reassuring to know he now information, visit scandalsrfc.
will rest in a sacred spot where folks can come to reflect on creating a safer, kinder world.” org or dcscandals@gmail.com.
More than 200 historical figures have been interred in the cathedral’s crypt, including
THE DULLES TRIANGLES
President Woodrow Wilson, U.S. Navy Admiral George Dewey, and Helen Keller and her Northern Virginia social
teacher Anne Sullivan. group meets for happy hour at
Robinson will co-preside with the Right Rev. Mariann Edgar Budde, the Episcopal Sheraton in Reston. All wel-
come. 7-9 p.m. 11810 Sunrise
bishop of Washington, over a public service on Oct. 26. He says Shepard’s interment at the Valley Drive, second-floor bar.
Cathedral sends an important message to the LGBTQ community. For more information, visit
“Historically, the church has been one of the sources of our greatest pain,” he says. dullestriangles.com.
“Matthew’s interment at the National Cathedral points to the kind of remarkable progress
HIV TESTING at Whitman-
that some mainline Christian denominations, as well as several branches of Judaism, have Walker Health. 9 a.m.-12:30
made not just towards tolerance of LGBT people, but celebration of them.” —John Riley p.m. and from 2-5 p.m. at 1525
14th St. NW, and 9 a.m-12
p.m. and 2-5 p.m. at the Max
A Service of Remembrance and Thanksgiving for Matthew Shepard will be held on Friday, Robinson Center, 2301 MLK Jr.
Oct. 26 at 10 a.m. at the Washington National Cathedral, 3101 Wisconsin Ave. NW. Ave. SE. For an appointment
The service is open to the public. Private interment follows. call 202-745-7000 or visit whit-
For more information, visit cathedral.org. man-walker.org.

IDENTITY offers free and confi- meet other LGBTQ professional
dential HIV testing at two separate school students from various local
locations. Walk-ins accepted from universities for a night of network-
2-6 p.m., by appointment for all ing and fun. 5:30-10 p.m. 2000 14th
other hours. 414 East Diamond St. NW, Suite 105. For more infor-
Ave., Gaithersburg, Md. or 7676 mation, visit facebook.com/groups/
New Hampshire Ave., Suite 411, HoyaMedAlliance or call The DC
Takoma Park, Md. To set up an Center at 202-682-2245.
appointment or for more informa-
tion, call Gaithersburg, 301-300- The DC Center’s TRANS AND
9978, or Takoma Park, 301-422- GENDERQUEER GAME NIGHT
2398. features board and card games and
a chance to socialize with other
METROHEALTH CENTER people from across the LGBTQ
offers free, rapid HIV testing. spectrum. All welcome. 7-9 p.m.
Appointment needed. 1012 14th 2000 14th St. NW, Suite 105. Visit
St. NW, Suite 700. To arrange an thedccenter.org.
appointment, call 202-638-0750.
SATURDAY, Oct. 20
SMYAL offers free HIV Testing, 3-5
p.m., by appointment and walk-in, ADVENTURING outdoors group
for youth 21 and younger. Youth hosts a very strenuous 15.6-mile
Center, 410 7th St. SE. 202-567- hike with 4600 feet of eleva-
3155 or testing@smyal.org. tion gain through the heart of
Shenandoah National Park.
STI TESTING at Whitman-Walker Suitable only for experienced,
Health. 10 a.m.-12:30 p.m. and 2-3 aerobically fit hikers. Bring plenty
p.m. at both 1525 14th St. NW and of beverages, lunch, sturdy boots,
the Max Robinson Center, 2301 bug spray, a headlamp, about $20
Martin Luther King, Jr. Ave. SE. for fees, and money for dinner on
Testing is intended for those with- the way home. Carpool at 8:30 a.m.
out symptoms. For an appointment from the East Falls Church Metro
call 202-745-7000 or visit whit- Station Kiss & Ride lot. For more
man-walker.org. information, contact Jackson, 410-
422-9257 or visit adventuring.org.
US HELPING US hosts a Narcotics
Anonymous Meeting. The group CHRYSALIS arts & culture group
is independent of UHU. 6:30-7:30 visits the Baltimore Museum of Art
p.m., 3636 Georgia Ave. NW. For to see retrospective of the career of
more information, call 202-446- Baltimore’s legendary John Waters,
1100. preceded by brunch at BMA’s
restaurant Gertrude’s. General
WOMEN’S LEADERSHIP admission is $15, $13 for seniors.
INSTITUTE for young LBTQ Carpool from Forest Glen Metro
women, 13-21, interested in lead- Station. Limited space. Contact
ership development. 5-6:30 p.m. Craig, 202-462-0535 or craighow-
SMYAL Youth Center, 410 7th St. ell1@verizon.net.
SE. For more information, call 202-
567-3163, or email catherine.chu@ KHUSH DC, a support group
smyal.org. for LGBTQ South Asians, hosts
a monthly meeting at The DC
FRIDAY, Oct. 19 Center. 1:30-3:30 p.m. 2000 14th St.
NW, Suite 105. For more informa-
ADVENTURING outdoors group tion, visit facebook.com/khushdc.
takes a weekday hike to scenic
overlooks on South Mountain The DC Center hosts a month-
near Hagerstown, Md. Moderately ly LGBT ASYLEES SUPPORT
strenuous hike will be 7.2 miles MEETING AND DINNER for LGBT
long with about 850 feet of eleva- refugees and asylum seekers. 5-7
tion gain. Some sections will be p.m. 2000 14th St. NW, Suite 105.
rocky and steep. Bring beverages, For more information, visit thedc-
lunch, sturdy boots, bug spray, and center.org.
a few bucks for fees. Carpool at 10
a.m. from the Frederick Wawa at SUNDAY, Oct. 21
1001 West Patrick Street. For more
info, contact Edward, 301-606-3086 ADVENTURING outdoors group
or visit adventuring.org. hikes several moderate miles on
Northern Virginia trails near the
GAY DISTRICT, a group for GW Parkway and the Cabin John
GBTQQI men between the ages of Bridge. Bring beverages, lunch,
18-35, meets on the first and third sturdy boots, bug spray, and a few
Fridays of each month. 8:30-9:30 dollars for fees. Carpool at 11 a.m.
p.m. 2000 14th St. NW, Suite 105. from the Pentagon Hayes Street
For more information, visit gaydis- Parking Area near Pentagon City
trict.org. Metro. Contact Jerry, 571-241-3787
or visit adventuring.org.
Hoya MedAlliance hosts an LGBT
MED AND LAW STUDENT HAPPY Volunteers are needed to help
HOUR at The DC Center. Come with CASA RUBY’S MONTHLY

DINNER. Held on the third Sunday DC FRONT RUNNERS running/
of each month, in conjunction with walking/social club welcomes run-
The DC Center, the event provides ners of all ability levels for exercise
a hot meal to those housed at Casa in a fun and supportive environ-
Ruby. Homemade or store bought ment, with socializing afterward.
meals welcome. 7-8 p.m. Casa Ruby Route distance is 3-6 miles. Meet at
Shelter, 1216 Kennedy St. NW. For 7 p.m. at Union Station. For more
more information, contact lamar@ information, visit dcfrontrunners.
thedccenter.org, jon@thedccenter. org.
org, or visit casaruby.org.
DC SCANDALS RUGBY holds prac-
MONDAY, Oct. 22 tice. The team is always looking
for new members. All welcome.
7-9 p.m. Harry Thomas Recreation
Weekly Events
Center, 1743 Lincoln Rd. NE. For
more information, visit scandalsrfc.
DC AQUATICS CLUB holds a
org or dcscandals@gmail.com.
practice session at Dunbar Aquatic
Center. 7:30-9 p.m. 101 N St. NW.
For more information, visit swim-
THE GAY MEN’S HEALTH
dcac.org.
COLLABORATIVE offers free
HIV testing and STI screening
and treatment every Tuesday.
STI TESTING at Whitman-Walker
5-6:30 p.m. Rainbow Tuesday
Health. 10 a.m.-3 p.m. at both 1525
LGBT Clinic, Alexandria Health
14th St. NW and the Max Robinson
Department, 4480 King St. 703-
Center, 2301 Martin Luther King,
746-4986 or text 571-214-9617.
Jr. Ave. SE. Testing is intended for
james.leslie@inova.org.
those without symptoms. For an
appointment call 202-745-7000 or
visit whitman-walker.org.
HIV TESTING at Whitman-Walker
Health. 9 a.m.-6 p.m. at 1525 14th
St. NW, and 9 a.m-12 p.m. and 1-5
The DC Center hosts COFFEE
p.m. at the Max Robinson Center,
DROP-IN FOR THE SENIOR LGBT
2301 MLK Jr. Ave. SE. For an
COMMUNITY. 10 a.m.-noon. 2000
appointment call 202-745-7000 or
14th St. NW. For more information,
visit whitman-walker.org.
call 202-682-2245 or visit thedc-
center.org.
OVEREATERS ANONYMOUS
holds an LGBT-focused meet-
US HELPING US hosts a black gay
ing every Tuesday, 7 p.m. at St.
men’s evening affinity group for
George’s Episcopal Church, 915
GBT black men. Light refreshments
Oakland Ave., Arlington, just steps
provided. 7-9 p.m. 3636 Georgia
from Virginia Square Metro. For
Ave. NW. 202-446-1100.
more info. call Dick, 703-521-
1999. Handicapped accessible.
WASHINGTON WETSKINS
Newcomers welcome. liveandletli-
WATER POLO TEAM practices 7-9
veoa@gmail.com.
p.m. Newcomers with at least basic
swimming ability always welcome.
Takoma Aquatic Center, 300 Van
SMYAL offers free HIV Testing, 3-5
p.m., by appointment and walk-in,
Buren St. NW. For more informa-
for youth 21 and younger. Youth
tion, contact Tom, 703-299-0504
Center, 410 7th St. SE. 202-567-
or secretary@wetskins.org, or visit
3155 or testing@smyal.org..
wetskins.org.
Whitman-Walker Health holds its
WHITMAN-WALKER HEALTH
weekly GAY MEN’S HEALTH AND
HIV/AIDS SUPPORT GROUP
for newly diagnosed individuals,
WELLNESS/STD CLINIC. Patients
are seen on walk-in basis. No-cost
meets 7 p.m. Registration required.
screening for HIV, syphilis, gon-
202-939-7671, hivsupport@whit-
orrhea and chlamydia. Hepatitis
man-walker.org.
and herpes testing available for fee.
Testing starts at 6 p.m, but should
TUESDAY, Oct. 23 arrive early to ensure a spot. 1525
14th St. NW. For more information,
GENDERQUEER DC, a support and visit whitman-walker.org.
discussion group for people who
identify outside the gender binary,
meets at The DC Center on the
WEDNESDAY, Oct. 24
fourth Tuesday of every month.
The LAMBDA BRIDGE CLUB meets
7-8:30 p.m. 2000 14th St. NW, Suite
at the Dignity Center, across from
105. For more information, visit
the Marine Barracks, for Duplicate
thedccenter.org.
Bridge. No reservations needed.
Newcomers welcome. 7:30 p.m. 721
Weekly Events 8th St. SE. Call 202-841-0279 if you
need a partner. l
DC AQUATICS CLUB practice
session at Takoma Aquatic Center.
7:30-9 p.m. 300 Van Buren St. NW.
For more information, visit swim-
dcac.org.

Scene SMYAL’s Fall Brunch at the Marriot Marquis - Sunday, Oct. 14 - Photography by Ward Morrison

Born to be Wilde
It took ten years for Rupert Everett to bring his magnificent Oscar Wilde opus,
The Happy Prince, to the screen. It was worth the wait.
Interview by André Hereford
R
UPERT EVERETT IS A PERFECT GENTLEMAN. because Robbie Ross adored Wilde unconditionally,” Everett
Whether offering his interviewer a freshly poured says. “Actually, in the end, Wilde adored Robbie and wanted to
glass of sparkling water, or politely deflecting be with him. He only realized too late.”
questions about a notorious costar — “I don’t talk Robbie’s dedication ensured that Wilde’s work would see a
about Madonna, honestly. Sorry.” — he’s never less second act. And reflecting the truth of their relationship largely
than warm and gracious. underscored Everett’s second act behind the camera.
In person, Everett measures up most favorably to his public “I think in one sense, the film is definitely about what is real
persona as the dashing leading man from films like Another love and what isn’t,” he says. “Because Wilde deals so much
Country, My Best Friend’s Wedding, and the acclaimed Oscar about love, it’s curious that his idea of the great love really wasn’t
Wilde adaptation The Ideal Husband. A hale, handsome 59-year it, and he was unconscious of what his own great love might have
old, Everett is a stark contrast to the dilapidated version of Wilde been.”
that he portrays in The Happy Prince, his impressive debut as a
feature film director and screenwriter. METRO WEEKLY: In many ways, Oscar Wilde’s journey in the
Living up to his lofty reputation, or living down his precipi- movie seems comparable to a post-scandal comeback that we
tous fall from grace, becomes a life-or-death struggle for Wilde in might see today. How deliberate was that?
the film, a bittersweet account of the British writer’s post-prison RUPERT EVERETT: Well, when I wrote the script, none of those
life after serving a two-year sentence for the “gross indecency” scandals had happened, so it’s totally by chance.
of committing homosexual acts. Everett, who brought to the MW: As far as his comeback was concerned, his reputation was
role a strong familiarity with Wilde’s work and life and his own ruined by his conviction for gross indecency. But more than a cen-
decades of celebrity as a gay iconoclast, is captivating as the tury after his death, Wilde was pardoned along with thousands of
absinthe-soaked exile. others who’d been convicted for gross indecency crimes. What good
The film relates the artist’s attempt at a second act with is a posthumous pardon?
an empathy that begs the question of just how much the EVERETT: I think none, because the word pardon is as rude as the
actor-turned-filmmaker sees of himself in Oscar Wilde. Everett crime, because we’ve agreed that it’s not a crime to be homosex-
admits he and Wilde do share similarities. ual, so a pardon is absolutely not what’s needed. An apology is
“Well, up to a point,” he says. “I don’t have quite as sophis- maybe good enough for us, but not a pardon.
ticated a self-destruct button as he does, but I think we do have MW: We saw in Canada that there was an apology from the Prime
lots of things in common. Not in terms of his genius, because I Minister for past discrimination against LGBTQ people.
don’t feel on any par with that, and also not really in terms of EVERETT: And in Ireland, too.
his flamboyance, either. I’ve looked at him really because he’s MW: Do you imagine anything like that in the UK?
an inspiration to me and I think in my long and tangled career EVERETT: In the UK? They’re in too much trouble at the moment
in negotiating a bid for world denomination, which is what all to be able to think of that kind of thing. No, I suggested it to
young actors do — you always look at other characters in history Theresa May, as a matter of fact. I thought it’d be rather a good
and see how they’ve done. He’s always been an inspiration to me, thing for her, with her present problems, to deflect and she could
rather than an identification.” have done a little sideline apologizing to all the people. I made
A major point of inspiration for Everett’s telling of the story is a documentary last year [50 Shades of Gay], because we’ve had
the film’s depiction of the many loves of Wilde. The Happy Prince 50 years of gay legality as of last year, the year before last. I met
includes both Wilde’s beloved but estranged wife, Constance, tons of people who’d been penalized under that law. It’s just
portrayed by Emily Watson, and his arrogant young lover Lord amazingly shocking to see how many lives were just torn apart
Alfred “Bosie” Douglas, who was at the center of the scandal that by this law.
led to Wilde’s ruin. Bosie, played by erstwhile Merlin star Colin MW: And the things that they can’t recover.
Morgan, is famously remembered as the inamorato who inspired EVERETT: Well, one guy I had met had been cajoled by his
Wilde’s prison love letter De Profundis. Commanding Officer in the Navy to give names of people.
But Everett’s film brings into heartrending focus another They said to him, “If you give the names, everything will be
great love whom Wilde never immortalized with passionate fine.” He gave the name of this other soldier who was married,
SONY PICTURES CLASSICS
prose: Robbie Ross. A name that’s been mostly forgotten to who then shot himself straight after he’d been called to see his
history, Ross, portrayed by Edwin Thomas, labored tirelessly as Commanding Officer. So there’s a lot of tragedy around it, real
Wilde’s friend and literary executor to preserve the legacy of the tragedy. So the pardon is peculiar. Typically English, though.
disgraced genius. MW: Wilde’s acts today would not be considered criminal. Does
“The real love affair is between Robbie Ross and Wilde, that make him a martyr for the gay rights movement?

Colin Morgan as Bosie with Everett as Wilde

EVERETT: I think he’s the Christ figure. For me personally, love affair.
that’s what he is. I think that because the gay movement, the MW: Did he and Robbie have an intimate relationship?
gay liberation movement, really started with Wilde’s death. EVERETT: Yeah. Robbie was the first man, allegedly, that Wilde
Homosexuality as a word started to be used with Wilde’s death. ever had sex with.
That means people were talking about sexuality for the first MW: Allegedly?
time. Women, for the very first time, talking about anything like EVERETT: Well, they both agreed that that is true. I’ve said,
this. He realized that he was going to be the martyr for the gay “Yeah, allegedly,” but then you think it was a different world,
movement. He actually said at one point, “The road is going to really, and Wilde, he was so keen to be something when he first
be long and smeared with the blood of martyrs,” and it has been, came to England that quite possibly he didn’t have gay sex. I
and it still will be. But it’s remarkable, really, when you think think it’s possible. They both say it, and Robbie wasn’t a liar.
about it, how far we’ve come. Even though everybody might feel Wilde was a liar, but Robbie wasn’t a liar. I think something
very down in the dumps today, we about Wilde did get awakened at a
still have come a long way. It’s very certain point after his marriage.
exciting. MW: Was it more challenging to try to
MW: In this story, Wilde is search- embody Wilde as a person or to try to
ing for redemption, but he seems not write in his voice?
exactly willing to change in order to EVERETT: I think all of it came togeth-
earn it. er. What was great for me acting was
EVERETT: I don’t know that he’s I was writing the role myself, so I
searching for redemption. I think really tailor-made it for myself, and
he’s beyond redemption, really. I as I wrote it, I was doing it. It made
think he’s just living in the gutter the acting, when it came to it, much
and looking at the stars. There’s a easier because it was almost like, by
great Wilde quote, “We’re all in the that point, it had become me. Quite
gutter, but some of us are looking at often you give actors scenes and they
the stars.” I think that line encap- get to a part and they say, “Oh, well
sulates my film in a way. My take I don’t know how this bit goes or
on Wilde is when he came out of how to emotionally understand this
prison, he did think he was going to bit.” I had written it with that kind of
be able to re-engage with the world. plumbing and electric wiring already
But I think the redemptive moment built in. That, I think, made it a lot
passes him by because, along with easier for me.
the desire for redemption, he has a MW: Who do you turn to, as an actor,
kind of self-destructive thing that is when you are confused and you’re also
absolutely fatal. He has a destiny, a the director?
date, with that gutter, I think, right EVERETT: You have to be careful not
through his life somehow and he’s to turn to too many people because
going to get to it subconsciously, everybody has a view that probably,
whatever he has to do. if you gave them a couple of drinks,
I know that sounds like some- would contrast completely with your
thing you read in books and it’s not really realistic in terms of our own. During the making of the film, I never asked anyone their
characters, but actually, if you look at all of us, that’s one of the opinion, really. I think you can’t, because it’s too easy to then get
weird things about human beings is a self-destructive quality, inundated with everyone’s view. Already, you’re like a chicken —
but most of us have perimeters beyond which we can’t go. The an unpopular chicken — in a chicken run. Everyone’s pecking you
thing about Wilde was, for some reason, he didn’t have any of to death with problems. The last thing you need on top of that is
those. He just kind of threw himself over the edge. to open yourself up to a lot of people’s views. And really, you have
MW: What do you think he was after when he got out of prison? to live and die by your own sword. That was my feeling anyway.
He didn’t think he was going to live happily ever after with Bosie. MW: Is that something you’ve learned along the way or did you
EVERETT: No, I think out of prison he wanted rehabilitation and catch up with that really quickly on set?
work. He’d written about various great plays that he was going EVERETT: I’ve worked in several movies that the directors were
to write. All of them sounded quite dull, actually. They were all kind of hired hands. The particular one that I remember well
about more biblical stuff. I think he thought rehabilitation was was a film called Inspector Gadget when the director was just
possible. What happened straight out of prison was he hadn’t this poor guy. He was just browbeaten by a kind of iCloud of
counted on the English being everywhere. As soon as he got to executives. He might have had an idea and everyone would have
[France], he was victimized and abused by the English. He was a thousand reasons why it couldn’t work out. I remember that
constantly being asked to leave restaurants by English people very vividly because it was a horrible situation for him and he
and all these things happened. So he realized very quickly that was a good director, too. But the strongest directors I’ve known
life in exile was going to be another kind of imprisonment. have been very clear about what they wanted. I was very clear,
MW: He claims in the film to love his wife and Bosie and Robbie. Do finally, after the 10 years of waiting, about how I wanted to
you believe he believed that he loved them all? approach the film.
EVERETT: Well, my version of him loves Robbie because the story MW: Of the many amazing directors that you’ve worked with or
I really wanted to tell was the difference between a historical, even the ones, I guess, who were guns for hire, were the methods of
great love affair and the reality behind history, which is the real any particular director helpful to you going into this?

EVERETT: Certainly in terms of directing actors, I think the best know something about him. I don’t know what it was, really.
directors are ones who keep a distance from the actors and They say in Los Angeles, “No one wanted to get into the Rupert
they’re not micromanagers. For me, in terms of being an actor Everett business” at that point.
and for most actors I know, the directors who micromanage are MW: And what excites you about acting right now?
hard to work with. They make you feel bad. What you want to EVERETT: Oh, I love acting. Everything excites me about acting
make an actor feel is he’s invented everything himself and then — but good parts. The thing is, what goaded me into writing my
he kind of blossoms. If you cut him off before he’s ever come up part, this part, was just the things that I was getting offered were
with anything, or she, she’ll start on a defensive note. The best not that exciting, and it’s starting a career that’s phoning things
thing, really, for a set is for everyone to be having a laugh. That in. That’s quite depressing after a career where you’ve been
was my mantra with a lot of people. We said we were going to lucky and you’ve done interesting things. I think acting is a won-
have fun. I didn’t really manage to have fun
because I was too stressed out, but everyone
E
else did have fun, more or less. And just to
enjoy each other, to run a set where everyone
“[OSCAR WILDE] REALIZED THAT
enjoys each other is probably the most pro- HE WAS GOING TO BE THE MARTYR
ductive.
MW: Speaking of fun on the set, Emily Watson as FOR THE GAY MOVEMENT. He said at
Constance Wilde has probably not a single happy one point, ‘The road is going to be long and
scene. But she’s so wonderful in this film. How
did you cast her? smeared with the blood of martyrs.’ It has
EVERETT: I’d been doing a film with her when I been, and it still will be, but it’s remarkable
started writing the script. So when I wrote the
script, I was thinking, “Oh god, I want Emily to how far we’ve come.”
be my wife.” And I adore her. So right from the
beginning, I wanted her to be in the film. Her
son is also one of our sons in the film too, so I managed to get her derful gift if it comes along. It’s really fun and you get to learn
even more motivated to be in it. She was amazing to work with. so many things all the way through it. It’s difficult to relinquish.
MW: She’s one of those can-do-no-wrong kind of actors. MW: Do you think you’ll direct again?
EVERETT: I think so too. She’s never done anything bad, really. EVERETT: I’d like to, yeah.
MW: So, about Robbie and Bosie, the film stresses this bitter dichot- MW: Do you have something in mind?
omy between the two. How much of that is fact or fiction? EVERETT: I’ve got something up my sleeve.
EVERETT: It’s all facts, even down to their row at Wilde’s grave MW: Another script that you would write?
site. I don’t know what happened in the row because no one has EVERETT: I’ve written, yeah. I’ve done it already.
ever said, except for the fact that Bosie, rather like in Absolutely MW: I want to ask you more, but I feel like you don’t want to say.
Fabulous, nearly fell into the grave. It just seemed like a wonder- EVERETT: It’s about disco in the 1970s in Paris. It’s a disco love
ful opportunity. Because the film is about the two of them, in a affair.
way, and their battle for supremacy over Oscar. It’s all, more or MW: Would you act in it?
less, true. EVERETT: I’d go back to a small part, but obviously I’m not going
MW: You talked about the film taking 10 years to make from when to be on the disco floor.
you wrote the script. How did it eventually come to be made? MW: It depends how your disco moves are holding up. Back to a
EVERETT: I think tenacity in the end. I do think now tenacity’s question about reputation, I had the pleasure last year of inter-
the only thing that really counts, tenacity and luck. I think if you viewing James Ivory. Before speaking to him, I was warned that
continue with something long enough, something will happen. he had just torn another interviewer apart. So it was, “Be really
My tragedy, I think, has been being flaky all the way through my prepared and anticipate the worst.” Then I got on the phone and —
life until this, for some reason. I don’t know what made me so EVERETT: He was lovely.
tenacious. Perhaps because it happened to me as I was entering MW: He was a teddy bear. Have you met or worked with anyone
the deep winter of middle age and I was in between careers, whose reputation preceded them, but they turned out to be abso-
young man or old man, and not getting it together suddenly felt lutely lovely?
to me like a life and death thing. I’d been at it for five or six years EVERETT: [Laughs.] Myself, to start with. Yeah, lots of people
at one point and I thought, “God, if it doesn’t happen now, who have reputations of being absolutely lovely, and end up being
am I?” I think that geared me on somehow. It’s always difficult monsters as well. I think it’s a two-way thing.
getting independent films together because the market’s com- MW: We don’t hear about those so much.
pletely disappeared and raising the money is virtually impos- EVERETT: No, not really. But I’ve never worked with one of those
sible. It’s as random as a sperm hitting an egg, really. I don’t monsters who... Oh, have I? What was that one amazing piece
know how anyone gets it together because everything about it, of video that came out of the actor shouting at the cinematogra-
especially in the UK, there’s only three sources of money. If all of pher? Who was that, the English actor?
them say no to you, which they did to me in the first two years, MW: Christian Bale?
you don’t really know where to go. EVERETT: Christian Bale. I’ve never had that. I love it when other
MW: Was any of that rejection relative to the fact that it’s Oscar people make scenes because it makes you feel like a little saint.
Wilde? MW: Do you just go and sit and watch?
EVERETT: No, I think the rejection was more about me than EVERETT: Well, I would watch, yeah. I feel like you get icy calm
about Oscar Wilde. Oscar Wilde’s probably a good subject, in a when other people get hysterical. It’s a wonderful feeling.
way. He’s a name that, even if you don’t know all about him, you MW: Whose writing, if anyone’s, stimulates you like Oscar Wilde’s?

EVERETT: At the moment, I’m reading the history of the British very keen to keep engaged in my business because it’s an exciting
Empire [The Pax Britannica Trilogy] by James Morris. I don’t business to be in. I think even though I’m older now, the older
know that James Morris means anything to you, but he became angle is valuable because the young angle is completely without
one of the first English transgender women, who then called history, there’s no context in the new virtual world. I think my
herself Jan Morris. She’s a very, very famous journalist. She main criticism of the virtual world is it’s without context. The
wrote a famous book as Jan Morris called Conundrum, which context is six months ago. An old movie is Scream 2, not even
was her story of her sex change. She’s an amazing woman. I read Scream. That is a completely different context to any other gen-
in an article about her, just a few weeks ago, she was talking eration that they’ve had. I think history is the thing that’s miss-
about everything and I thought, “Oh, I must start reading,” ing now because we need context. Context is vital because we
might be getting our knickers in a twist about
E
something that, if we saw it within a context,
“It’s always difficult getting we say, “Oh actually, it’s something rather
different.” There’s a current going and we’re
independent films together because on it and things might not be quite what we
the market’s completely disappeared think of them if our historical context is only
a year, or the last administration.
and raising the money is virtually MW: Has there ever been a love letter as pro-
impossible. IT’S AS RANDOM AS A found as Wilde’s De Profundis?
EVERETT: And as far-reaching? Because
SPERM HITTING AN EGG.” I don’t know whether you know how De
Profundis eventually came to light, because
Alfred [“Bosie”] Douglas had no idea it had
because she wrote this huge three-volume book about the rise been written. In fact, one version has him receiving it, reading
and fall of the British Empire. So I’m reading that at the moment. one line, and tearing it up. The other version has him not receiv-
It’s very inspiring. She’s a wonderful, wonderful writer. ing it at all. But when he did receive it, it was only in about 1908,
I mostly like older writers, dead ones. I don’t know why. I nine years after Wilde had died, and he had gone through this
feel that living through today is enough, rather than reading journey. He’d become a homophobe, a denier of his relationship
about it. I’m just fascinated about how people, without what we with Oscar Wilde, very Catholic, married. When this letter came
have, lived. It just seems so impossible. When you think of all the out, he was absolutely furious. Between him and Robbie Ross,
things we have, all the addictions like running water and toilets that fight on the grave site, that went on and on. It goes worse
and endless soap. I’m always fascinated how sex must have been and worse and worse. It really killed Robbie Ross, actually, in the
in the 18th century because you couldn’t have done anything end. He died of a heart attack in 1918, I think it was. But Alfred
like snog because your teeth would probably come out. I’m fas- Douglas took him to court, outed him as a homosexual. All these
cinated by the 19th century, and the 18th century, and the 20th things that had happened to Wilde were done to Robbie Ross by
century, and the wars, the ‘60s, ‘70s. I love the ‘70s. Alfred Douglas because of Robbie Ross bringing out the letter,
MW: For the script that you’re developing now, what’s different De Profundis. It’s quite an extraordinary life that letter’s had.
about the ‘70s that is fascinating to you? MW: My husband was telling me that his mother had a copy of it
EVERETT: Because it was so much more rough and tumble than that she read to him and his siblings, saying, “If you didn’t know
things are now. It was right on the dawn or after the dawn of the this were written from a man to another man, you would have no
sexual revolution and the beginning of act two of the feminist idea. It’s a love story.”
movement, really — burning the bras and all that kind of stuff. EVERETT: Good, that’s amazing. That’s an amazing mother.
There was a raunchiness, and a sense of anything going, and an MW: Did you have amazing parents?
innocence, and an excitement that seems to have been... I don’t EVERETT: I did, but they were kind of pre-Freudian, military,
know, I find that we’ve moved into such an age of Puritanism naval. For me, my mum read me The Happy Prince really not
that it feels less exciting. I like the danger of the 1970s, the dan- understanding anything about Oscar Wilde because she was
ger of New York, all those things. It was exciting. from that military background. She wouldn’t have known. But
MW: To hear you describe it, it sounds like romance is missing. that was, for me, an eye-opening experience at the age of six to
EVERETT: Well, funnily enough, I said that I thought this Oscar hear that story because we didn’t talk, we didn’t live in those
Wilde story was romantic, the idea of a movie star on the skids kind of terms where people say, “I love you” like everyone
landing in the gutter and cadging drinks off everybody and does now all the time. Not that we didn’t like each other, but
scouring the neighborhood for rich people to fleece and smelling that word wasn’t really a word we talked about. This story, The
of piss and sweat and cigarettes. I said to someone this morn- Happy Prince, is all about love and suffering and the price paid
ing, “For me, that’s romance.” Obviously, it’s a different kind of for love and all that kind of stuff. I was thinking, “My god, I’ve
romance, but it’s a shadowy, exciting, kind of epic world, and the been missing something here, with this military family discuss-
1970s was like that too, and in one sense, more innocent than the ing maneuvers after the second World War, something else that
Puritanical world we have now, which is quite plodding, I find. is going on that I’ve kind of caught on to.” And I think that story
MW: On a more positive note, what redeems right now versus 40 gave me the appetite to get out there and find out more, in a way.
years ago? MW: And here we are.
EVERETT: Well, we’ll see what happens in the midterm elections. EVERETT: Here we are. l
At the moment, if no one votes, nothing redeems us, I don’t
think. I think if the Millennials don’t vote in this election, then I The Happy Prince is rated R, and opens October 19 at Landmark’s
don’t know what will happen. E Street Cinemas and Bethesda Row Cinemas. Visit landmarkthe-
But no, we’re living in an amazing time, which is why I’m atres.com.

RYAN GREEN
Movies
Unfortunately, the movie also gave rise

to an abundance of worthless sequels and
Masked Menace
remakes, including the befuddling and
awful Halloween III: Season of the Witch,
which had nothing to do with Michael
Myers and instead centered around a trio
David Gordon Green’s Halloween picks up forty years after the of haunted Halloween masks set to pre-
original, and is only half as scary. By Randy Shulman sumably rid the planet of its children.
More chocolate for the adults, I presume
I
the thinking went.
N 1978, AN UNKNOWN DIRECTOR NAMED JOHN CARPENTER CHANGED Flash forward to 2018 and Halloween
the history of horror films with his low-budget shocker Halloween. While slasher (HHHHH) is back. This time, however,
films were not uncommon — Hitchcock popularized the genre in 1960 with Psycho the filmmakers are in reboot mode, eras-
— the format they followed was more along the lines of a whodunit. Carpenter changed ing everything that came after the original
all that with the creation of Michael Myers, a personification of pure, relentless evil movie and picking up the story forty years
(in a William Shatner Captain Kirk mask, of all things). He paved the way for a deluge later. Laurie (Curtis), forever traumatized
of similar bloodthirsty icons — Friday the 13th’s Jason Voorhees, Nightmare on Elm by her experience, has failed at two mar-
Street’s Freddy Krueger, Child’s Play’s Chucky — eager to slice and dice their way into riages and is estranged from her daughter
our collective nightmares. For a time, it worked, until the genre lapsed into self-parody, Karen (a shrill, useless Judy Greer) and,
a decline from which it hasn’t really recovered. Still, Carpenter’s original film remains, to some extent, granddaughter Allyson (a
arguably, the most important of the genre — not least because it was one of the few that somewhat effective Andi Matichak). For
was genuinely, truly scary af. years, she has prayed for for the escape of
From the jaw-dropping “one take” opening, in which a young boy dons a clown Michael Myers, she tells Officer Hawkins
mask, picks up a knife and brutally slaughters his sister, to the way in which that same (Will Patton), so she could kill him.
killer, 15 years later, terrorizes a gaggle of teenagers, the film remains a master class in “Stupid thing to pray for,” he says with
how to execute screen terror. The lone survivor among those teens was Laurie Strode a scowl.
(Jamie Lee Curtis, a newcomer at the time who gave a brazen, career-making perfor- Turns out, Laurie’s prayers are finally
mance), and the scene in which she comes upon her multitude of dead friends, one after answered.
the other, is the stuff that fuels the worst dreams imaginable. Michael, who has spent the last 40
What the original Halloween lacked in subtlety — the teens were being punished for years in silence, living out his life sentence
their hyper-sexual ways, while Laurie, in a plaid skirt and knee-high socks, the only in an asylum under observation, is being
chaste one of the bunch, survives — it made up for in intense, effective scares. transferred on this very Halloween night

to a new facility. OF COURSE HE IS! What do you think is going set in a backyard with motion detector lights. The rest of the
to happen the hapless driver of that bus? Or to the father and time, the scares are less ingenious, less jolting, altogether less.
son who come upon the stopped bus? Or to any policemen stu- As Laurie, Curtis gives a performance that is far beneath
pid enough to investigate mysteriously stopped vehicles? Or to her talents. She’s essentially playing a crazy cat lady in a wig
anyone else in the sleepy haven of Haddonfield, Illinois, stupid who’s adept at weilding a rifle. In interviews, Curtis has tried
enough to leave their doors unlocked, windows ajar, and kitchen to intellectualize the film, claiming it’s about trauma and is so
knives on the counters in plain view? very relevant to our times. It’s a gore-drenched slasher film,
Directed by David Gordon Green (Pineapple Express), the Jamie, let’s not make it any more than it is. It exists to cash
new Halloween is turkey-stuffed with moments meant to service in on our inexplicable thirst for watching teens get impaled
diehard fans of the series. It winks at itself so much, you’d think on sharp objects.
it had something it its eye. The movie ramps up the body count More inexplicably, Gordon Green tries to inject humor into
in supremely gore-ridden fashion that recalls the Friday the 13th the proceedings, and while horror can benefit from a few laughs
series far more than the original Halloween. Ever wondered here and there, the constant jokiness works against the movie.
what it looks like when a knife juts through a neck? You’ll find Things should be building to a scare, not a guffaw. At one point,
out here. Want to see a boot crush a head like a pumpkin? Look Michael’s current doctor, played with scene-chewing abandon
no further. by Haluk Bilginer, shouts to Haddonfield’s residents “I’m a doc-
Virtually every primary character we meet in the film — and tor! Lock your doors!”
a few randos — have an unfortunate run-in with Michael, whose There are even times when Halloween plays out like a video
murder spree seems simultaneously random, coincidental, and game, with Michael picking up a hammer to pound a random
calculated. How is it that every single one of Allyson’s friends is woman enjoying a sandwich at her kitchen table, only so he can
murdered? Did Michael somehow get ahold of her high school upgrade his weapon to a kitchen knife. The narrative leads to a
yearbook? final, insanely violent showdown between Laurie and Michael
Let’s not go into the ridiculous details about how Michael in her isolated “compound,” and while it has some chilling
gets his iconic mask back, save to say it would be more believable moments, and an ending that seems to rule out any possibility
if he’d popped into a nearby Party City. Still, the sequence, set of a sequel, we all know that the box office will ultimately rule
in a wretched gas station restroom, is the one of the few times whether or not the knives, guns, and crowbars are drawn for a
Gordon Green creates a real moment of suspenseful, intense rematch.
horror. The other time he gets things right is a terrifying scene Maybe they ought to revisit those killer masks.... l
Halloween is rated R for violence and opens in theaters everywhere, including AMC’s Uptown Cinema, on Friday, Oct. 19.

BRITTANY DILIBERTO
Stage
spired dance, extraordinarily expressive
Spooktacular
movement, death-defying acrobatics and,
on this occasion, some positively tran-
scendent puppetry. But it is more than
just spectacle. The Tsikurishvilis and
If you give yourself one Halloween treat this year, make it an evening Lortkipanidze bring the richness of a care-
with Synetic’s Sleepy Hollow. By Kate Wingfield fully structured, thoughtfully spun yarn
that captures not just the eye, but the
E
mind. This may be full of mesmerizing
RIE, SOPHISTICATED, PHYSICALLY ASTOUNDING AND QUITE BEAUTIFUL, entertainment, but it is also full of alle-
Sleepy Hollow (HHHHH) is dance-theater at its magical best. Director Paata gory.
Tsikurishvili may have based the production on Washington Irving’s iconic tale As for the cast, there are, without doubt,
of supernatural goings-on in rural Westchester County, but in his hands, it is a flight two star turns here. First and foremost is
of storytelling fancy. This is a Headless Horseman with personality — dark, avenging, the extraordinary Scott S. Turner, who
broken-hearted, and quite magnificent. creates a Headless Horseman of extraor-
It’s not just the Horseman who comes to life here. Tsikurishvili creates a vibrant dinary persona and presence. Turner
village of honest folk, living their joys, fears, and romances as they go about life amid moves with the kind of innate confidence
their gloomy wood — and soon a deadly, supernatural threat. Capturing the potent and masculine grace that turns a guy in a
moods, scenic and lighting designers Phil Charlwood and Brian S. Allard suggest — in homemade mask into a menacingly dark
the words of Irving — that a “drowsy, dreamy influence seems to hang over the land, and spectacular spectral figure. Even more
and to pervade the very atmosphere.” amazingly, without ever showing his face,
As with its Wordless Shakespeare series, the story here is told through dance, mime, Turner works the choreography to give
and the extraordinary live and recorded music of composer Konstantine Lortkipanidze. this complex ghost an impressive array of
This is by far Synetic’s strongest suit, one that avoids the pitfalls of gorgeous movers emotions. He is angry, he is sad, he loves
in need of voice training and the dead air needed to hear them. Here, the driver is his horse, and he is even a little sexy. As
music, the vision and the “voice” those of Paata Tsikurishvili and choreographer Irina the mortal soldier, Turner turns human,
Tsikurishvili. And in keeping with their roots, the ghosts of America’s Revolutionary his gorgeously unconventional good looks
War may haunt these shadows, but so do some stranger mysteries that feel far more convincingly Germanic, exuding all the
European, where Irving was known to have travelled. Indeed, the horseman is a last-ditch bravery, fear and trembling res-
Hessian — one of the German mercenaries enlisted by the British to help quell the ignation of his young man. What great
colonial uprising. theater.
Synetic also always brings their art with a powerful sense of fun, entertainment and Matching him for charisma and adding
a mind-boggling inventiveness. The Synetic team seems able to do it all: classically-in- his prodigious physical skill and expres-

ing to make sense of the ghostly curse. But the interlude
is too long, and though it makes some contemplative
sense and creates a calm before the fabulous finale, it
argues with our understanding of this sensible, if brutal,
man and slows the momentum. Still, it is a small price
to pay for the jaw-droppingly imaginative moments that
follow — and will not be spoiled here.
And the talents continue with McLean Jesse’s Katrina,
who sits at the center of a love triangle with Crane and
his erstwhile friend Brom. Delivered with warmth, intel-
ligence, and dimension, this is a living, breathing woman
and it brings real heft to her discoveries. A lovely dancer,
McLean seamlessly works a rousing, complicated party
BRITTANY DILIBERTO
dance, moving between her suitors, and then later deliv-

ers much credible expression in her pas de deux with
Crane. As the unrequited Brom, Justin J. Bell brings phe-
nomenal physical moves when called for and a credible
empathy in his moments with the Hessian, even if his
sive art is Vato Tsikurishvili as Ichabod Crane, the villager chemistry with Karina never quite convinces.
with a secret and a passion for local beauty Katrina Van Tassel. Mention must also be made of the truly sparkling perfor-
Tsikurishvili is a tremendous performer, bringing a phenomenal mance of Maryam Najafzada as the Spirit. Dancing with beauty
physical prowess, but also a keen sense of emotional detail. He and integrity and emoting with silent, unselfconscious abandon,
plays it large, but he never goes overboard and never loses the she is the heart of this piece. Finally, as always in a Synetic
opportunity for nuance. production, the ensemble is integral to the whole and here they
That said, if there is a small quibble here it is that director bring tremendous skill and energy.
Tsikurishvili goes somewhat off-piste with Crane as the finale There is just nowhere else in this town for such otherworldly
approaches. Traumatized by the Horseman’s killing spree and entertainment. So gather your friends, enjoy the Georgian wine,
Katrina’s rejection, Crane wanders trance-like in the forest try- and let Synetic tell you a Halloween tale. l
Sleepy Hollow runs to November 4 at Synetic Theater’s Theater at Crystal City, 1800 South Bell Street, VA.
Tickets are $15 to $60. Call 866-811-4111 or visit synetictheater.org.
DJ COREY
Stage
songs at least as much as her singing

does. The same could be said of Da’Von
Pyramid Scheme
Moody’s charming performance as the
Nubian Mereb.
The songs, in general, are passably
sung. With the exception of the resound-
Shayla S. Simmons pretty much steals the show as the lead ing Ashley Johnson-Moore as Nubian
in Constellation’s glossy, glitzy Aida. By André Hereford slave Nehebka, the singing rarely strikes
a special chord. Simmons, a powerhouse
B
when enacting the drama of Aida’s cap-
EFORE A NOTE HAS BEEN SUNG IN MICHAEL J. BOBBITT’S BUSTLING tivity and reticent romance, doesn’t offer
new production of Aida at Constellation Theatre, A.J. Guban’s glossy scenery a powerful delivery of the music. Her
has set a ripe tone for the pop-musical tour of ancient Egypt. It’s a great-looking emotions are sure and persuasive, but
set — a neon-lit, three-sided stage evoking a pyramid chamber built inside a ’70s Vegas the songs proceed like beats in the story,
casino. It seems just the right platform for an intimate rendering of Elton John and Tim rather than high-impact moments. The
Rice’s Tony-winning show. few really thrilling musical moments arise
But, despite that initial buzz of visual pizzazz, Aida ( ) gets off to a sleepy out of the chemistry between Simmons
start with two numbers introducing the love story of the Nubian princess Aida and the and Parker on duets like their first act
Egyptian army captain Radames, who captures her in war. Though Aida conceals her ballad “Enchantment Passing Through,”
royal lineage from her captors for her own safety, she cannot hide her unbreakable and later, in the aching “Elaborate Lives.”
spirit. That indomitability resides fully in the confident voice of Shayla S. Simmons, Musical director and bandleader
whose portrayal of the headstrong highness Aida is this production’s most compelling Walter “Bobby” McCoy ably interprets
element. Elton John’s signature banging-pia-
It’s when the princess first speaks, pronouncing her name proudly, that the show no sound, most noticeable in “Elaborate
wakes up. Of course, Radames notices, and, as the lovestruck captain, Jobari Parker- Lives,” and also simmering underneath
Namdar carries off the warrior’s awakening with clarity and subtlety. Moved by Aida’s the gospel realness of “The Gods Love
strength of will, even as she submits to becoming a slave of Egypt, Radames shows her Nubia.” John and Rice’s score, dabbling in
his version of mercy. He saves her from a life toiling in Egypt’s copper mines by gifting different styles — including the reggae-ska
her to his betrothed, the pharaoh’s daughter Amneris, for whom Aida will serve as one of “Another Pyramid,” and the bouncy
of several handmaidens. doo-wop of “My Strongest Suit” — might
Amneris thus becomes the unwitting third face of a love triangle between her fiancé not generate many showstoppers, but the
of nine years, and one of the slaves she bosses around her chambers. As the petulant songs do channel the story fluidly, in con-
Egyptian princess, Chani Wereley captures her naïve but entitled attitude, layered with cert with the show’s uncomplicated book.
a modern, comic appeal. Wereley’s charisma as a performer sells her take on Amneris’ That script adapts the story of Verdi’s

age, and to indulge her desire for Radames.
Where this production really is not
well-served is by the awkward choreog-
raphy and movement, be it in the musical
numbers and interludes, or in the uncon-
vincing fight sequences. Choreographer
Tony Thomas II sends choruses of sen-
tinels and slave girls voguing and shim-
mying across the stage looking more like
Solid Gold dancers than players in an epic
love story. The costumes by Kenann M.
Quander sometimes exacerbate the TV
variety show effect, although the shim-
mering gold and silver, Wakanda-meets-
Egyptian wardrobe, augmented by custom
jewelry, works within Bobbitt’s overall
glitzy aesthetic for the tragic love affair.
Amidst the glamour, and Guban’s ace
lighting design, the production hits sev-
DJ COREY
eral stunning visual tableaux. That glam-

our can be pleasantly diverting, or just
opera without adding much in the way of humor or insight, distracting. In one corner, Simmons is acting her heart out as
especially considering the esteemed writers involved: Linda a woman in love and in captivity, surviving knowing she’s one
Woolverton, Robert Falls, and David Henry Hwang. But the look, gesture, or irresponsible word away from being found out
script is well-served by Bobbitt’s direction, and Simmons’ lead — or worse, executed. In the other corner, a cast of Cher’s back-
performance, which emphasize Aida’s dilemma in her conflict- up dancers are rolling around in lamé scarves. The two halves
ing desires to be a leader to her fellow countrymen held in bond- don’t fit, but a half-moving story seeps out just the same. l
Aida runs until November 18 at Source Theatre, 1835 14th St. NW. Tickets are $25 to $55.
Call 202-204-7741, or visit ConstellationTheatre.org.

SCOTT SUCHMAN
Opera
Operatic
vincing Violetta in the form of soprano
Venera Gimadieva, very much looking the
part. Offering her without the usual over-
ly mannered fanfare, Gimadieva express-
Expressions
es a woman of warmth, complexity and
personality. With her illness taking hold,
what Gimadieva captures particularly
well is Violetta’s carefully hidden vulnera-
WNO’s La traviata presents Verdi’s classic soberly, subtly, bility — her distrust of the men who have
and with touching clarity. By Kate Wingfield seen her as a diversion and her craving for
a true and enduring love. When the ardent
S
Alfredo Germont makes himself known
UBTLE AND AUSTERE, THE WASHINGTON NATIONAL OPERA’S CO-PRO- during a soiree and declares that he has
duction (with The Atlanta Opera, among others) of Verdi’s La traviata (HHHHH) loved her from afar, the transformation is
has the mood of a fever on a bleak, autumnal day. There is a dream-like quality, palpable: this is her lifeboat. But as events
the lighting by turns livid and leached with quiet reminders of illness and death appear- with Alfredo unfold, Gimadieva contin-
ing in silent commentary: a scattering of old leaves blown in through an open kitchen ues to capture an even more interesting
door; casino tables wheeled as somberly as hospital beds; windows offering views of nuance — Violetta’s inner battle between
misty funereal days or dark nights. her instinctive independence and the
It’s a messaging that is not only appealingly grim (for those who like their operas demands of a certain strata of 19th cen-
gloomy), but a kind that fits well with Francesca Zambello’s decision to interpret this tury society. It’s a shading that keeps the
oft-staged classic largely in flashback. As fatally consumptive heroine Violetta recalls portrayal away from doe-eyed martyrdom
her one, last chance for true love, she moves from hospital bed to glamorous Parisian and closer to a genuine, grownup pathos.
parties and back again, all colored by her knowledge that death is near. It’s not just a Of course, much is delivered through
newish way to tell the story, it also serves as reminder that we all live with such poten- Gimadieva’s expressive singing, a soprano
tials — that our vigorous lives may suddenly go quiet with illness or death. It’s a theme that, even if it isn’t 100 percent reliable,
that develops even more potently — and poignantly — later, as Violetta realizes in a can deliver some spine-tingling beauty
near-final aria that even greatest love cannot save us or those we love. and power. If she sings a tad too languor-
If the overarching mood and themes are a powerful match with Verdi’s enduringly ously for the requirements of the first
haunting score, not everything else works quite as well. act (though it almost works as a means
But first, more of the good news. Carrying much of the evening is a genuinely con- to show her independence of spirit), she

Though he sings with a passionate gusto — almost too much
of it at times — Joshua Guerrero’s Alfredo never quite finds the
chemistry with Violetta and this seriously dampens at least some
of the pathos. When, in her final moments, the desperately ill
Violetta suddenly cries out that she wants to live, it is because
she is so madly in love with Alfredo. Though, to her credit,
Gimadieva carries this moment single-handedly, a greater sense
of the enduring passion between the two lovers should have
been generated earlier. Of course, matters are not helped by the
fact that Alfredo is anything but sympathetic to 21st century eyes
— though he starts utterly besotted, he becomes abusive when
SCOTT SUCHMAN
spurned and then desperately lovey again at the end. Almost as

unfairly, he has also been given a hairstyle here that does its level
best to disguise his good looks. But such are the challenges, and
Guerrero never quite finds a way to be fully worthy of this richly
comes far more into her own in the second and third acts, where wonderful Violetta.
she meets Verdi’s call for a fuller and more soulful sound. Other standouts here are Alexandria Shiner as Violetta’s
Matching her in charisma is a stony-faced Lucas Meachem as maid Annina, for a soprano that rings like a beautiful, delicate
Alfredo’s unyielding father, Giorgio Germont. Descending on the bell, and Deborah Nansteel as Violetta’s compassionate friend
lovers’ hideaway determined to convince Violetta to end a love Flora Bervoix, who both commands a stage and delivers her
affair that is bringing disgrace on the family, Germont is asking mezzo-soprano with confidence. Timothy J. Bruno plays Doctor
the world of this dying woman. If some might find him a tad Grenvil convincingly and offers a small sampling of an attractive
static, the choice to keep the harrumphing and remonstrating to bass. Finally, if conductor Renato Palumbo allows a few uneven
a minimum has a genuine benefit: we listen to him but we stay moments, lovers of this opera will come away fully sated.
focused on Violetta and her struggle to come to terms with what If not every component of this production works, its overar-
she must do. Besides, in Meachem’s gorgeous, stentorian bari- ching concept most certainly does. This is a classic done soberly,
tone, we hear everything there is to know: his family comes first, subtly, and with Verdi’s most heartfelt moments delivered with
even if he shows an inkling of respect for Violetta. touching clarity. l
La traviata runs to October 21 at the Kennedy Center Opera House. Tickets are $25 to $300.
Call 202-467-4600 or visit kennedy-center.org.

NightLife Photography by
Ward Morrison

Scene Jane Saw’s Monster Mash at Trade - Saturday, Oct. 13 - Photography by Ward Morrison
DrinksDragDJsEtc... SHAW’S TAVERN Friday, $15 • Weekend Kickoff TRADE

Happy Hour, 4-7pm • $3 Dance Party, with Nellie’s Doors open 5pm • Huge
Miller Lite, $4 Blue Moon, October 19 DJs spinning bubbly pop Happy Hour: Any drink
$5 House Wines, $5 Rail music all night normally served in a cock-
Thursday, NELLIE’S SPORTS BAR
Beat the Clock Happy Hour
Drinks • Half-Priced Pizzas A LEAGUE OF HER OWN tail glass served in a huge
October 18 — $2 (5-6pm), $3 (6-7pm),
and Select Appetizers • All
You Can Eat Ribs, 5-10pm,
Open 5pm-3am • Happy
Hour: $2 off everything
NUMBER NINE
Open 5pm • Happy Hour:
glass for the same price,
5-10pm • Beer and wine
$4 (7-8pm) • $15 Buckets
$24.95 • $4 Corona and until 9pm • Video Games 2 for 1 on any drink, 5-9pm only $4
A LEAGUE OF HER OWN of Beer all night • Sports
Heineken all night • Live televised sports • No Cover • Friday Night
Open 5pm-2am • Happy Leagues Night
Piano with Chris, 7:30pm • ZIEGFELD’S/SECRETS
TRADE FREDDIE’S BEACH BAR Rotating DJs, 9:30pm Men of Secrets, 9pm •
until 9pm • Video Games NUMBER NINE
Doors open 5pm • Huge Crazy Hour, 4-8pm • Guest dancers • Rotating
• Live televised sports Happy Hour: 2 for 1 on any
Happy Hour: Any drink Karaoke, 9pm PITCHERS DJs • Kristina Kelly’s Diva
drink, 5-9pm • No Cover
normally served in a cock- Open 5pm-3am • Happy Fev-ah Drag Show • Doors
FREDDIE’S BEACH BAR
tail glass served in a huge GREEN LANTERN Hour: $2 off everything at 9pm, Shows at 11:30pm
Crazy Hour, 4-8pm • PITCHERS
glass for the same price, Happy Hour, 4-9pm • $3 until 9pm • Video Games and 1:45am • DJ Don T. in
Karaoke, 9pm Open 5pm-2am • Happy
5-10pm • Beer and wine Rail and Domestic • Free • Foosball • Live televised Ziegfeld’s • Cover 21+
only $4 Pizza, 7-9pm • $5 Svedka, sports • Full dining menu
GREEN LANTERN until 9pm • Video Games
all flavors all night long • till 9pm • Special Late
Happy Hour, 4-9pm • Foosball • Live televised
ZIEGFELD’S/SECRETS Rough House: Hands On, Night menu till 2am • Visit
• Shirtless Thursday, sports • Full dining menu
10-11pm • Men in till 9pm • Special Late
All male, nude dancers •
Open Dancers Audition •
Lights Off, 10pm-close •
Featuring DJ Lemz • $5
pitchersbardc.com
Saturday,
Underwear Drink Free,
12-12:30am • DJs
Night menu till 11pm •
Visit pitchersbardc.com
Urban House Music by DJ Cover (includes clothes SHAW’S TAVERN October 20
Tim-e • 9pm • Cover 21+ check) Happy Hour, 4-7pm • $3
BacK2bACk
Miller Lite, $4 Blue Moon, A LEAGUE OF HER OWN
NELLIE’S SPORTS BAR $5 House Wines, $5 Rail Open 2pm-3am • Video
Open 3pm • Beat the Drinks • Half-Priced Pizzas Games • Live televised
Clock Happy Hour — $2 and Select Appetizers sports
(5-6pm), $3 (6-7pm), $4
(7-8pm) • Buckets of Beer,

WARD MORRISON / FILE PHOTO
FREDDIE’S BEACH BAR

Saturday Breakfast Buffet,
Zang Bloody Marys, Nellie
Beer and Mimosas, $4,
NIGHTLIFE HIGHLIGHTS
10am-3pm • $14.99 with 11am-3am • Buckets of GAY/BASH: HALLOWEEN BASH
one glass of champagne Beer, $15 • Guest DJs Josh Vogelsong (pictured) started his monthly alternative drag-focused party more
or coffee, soda or juice •
Additional champagne $2 NUMBER NINE than six years ago at the Black Cat, but it wasn’t until it moved to Trade that it
per glass • World Tavern Doors open 2pm • Happy became what he had long envisioned it could be. “People show up in looks, every-
Poker Tournament, 1-3pm Hour: 2 for 1 on any drink,
• Crazy Hour, 4-8pm • 2-9pm • $5 Absolut and $5
body comes dressed up,” Vogelsong says. “Everybody gets crazy during the show.
Freddie’s Follies Drag Bulleit Bourbon, 9pm-close You can just spray beer on the crowd, and they’d cheer and love it. It’s wild.” The
Show, hosted by Miss • THIRSTY, featuring DJ October edition is exactly what you’d expect, with spooky performances by Jane Saw,
Destiny B. Childs, 8-10pm Chord Bezerra, 9:30pm
• Karaoke, 10pm-close Jaxknife Complex, Ana Latour, Iyana Deschanel and, last but not least, Donna Slash,
PITCHERS Vogelsong’s other-persona. Jams from the Barber Streisand. Saturday, Oct. 20. Doors
GREEN LANTERN Open Noon-3am • Video
Happy Hour, 4-9pm • $5 Games • Foosball • Live
at 10 p.m., with shows at 11:30 p.m. and 1 a.m. Trade, 1410 14th St. NW. Call 202-
Bacardi, all flavors, all televised sports • Full 986-1094 or visit facebook.com/gaybashdc.
night long • The Bear dining menu till 9pm •
Cave: Retro to Electro, Special Late Night menu
9pm-close • Featuring till 2am • Visit pitchers- LA FANTASY
DJ Popperz • Specialty bardc.com October is dress-up-as-a superhero month, and La Fantasy Productions is aiding the
Cocktails • No Cover cause as it gears up for a Halloween costume party at L8 Lounge featuring tribal/
SHAW’S TAVERN
NELLIE’S SPORTS BAR Brunch with $15 club beats from gay circuit star DJ Ivan Gomez from Barcelona and D.C.’s own Chord
Drag Brunch, hosted Bottomless Mimosas, Bezerra. Friday, Oct. 19, starting at 10 p.m. 727 15th St. NW. Tickets are $25 to $30.
by Chanel Devereaux, 10am-3pm • Happy Hour,
10:30am-12:30pm and 5-7pm • $3 Miller Lite,
Call 202-506-7006 or visit lafantasyproductions.com.
1-3pm • Tickets on sale $4 Blue Moon, $5 House
at nelliessportsbar.com PEACH PIT
• House Rail Drinks, Zing
Named after the diner on Beverly Hills, 90210, Peach Pit was started by DJ Matt Bailer
more than eight years ago at Dahlek, the former Eritrean restaurant that also birthed
Mixtape. Bailer describes the party as a “kind of sweaty mosh pit of guys and girls,
straights and gays, black people and white people, old people and young people — all
just dancing and singing at the top of their lungs.” Peach Pit is very strictly ’90s, as
Bailer only plays and takes requests for tracks released between Jan. 1, 1990, and
Dec. 31, 1999. Saturday, Oct. 20. Doors at 10 p.m. DC9, 1940 9th St. NW. Cover is
$5, or $8 after midnight. Call 202-483-5000 or visit dcnine.com.
THE CHERRY HORROR HALLOWEEN 2018

The Cherry Fund presents a party at Cobalt featuring a $1,000 costume contest and
beats from Brazilian DJ Paulo Pacheco along with Cherry’s own Sean Morris. Beyond
the good spirits of Halloween, the party is primed for Mental Health Awareness
Month, with proceeds benefiting the Barry D Smythers Fund for Mental Health
Awareness. Saturday, Oct. 27, starting at 10 p.m. Cobalt, 1639 R St. NW. Tickets are
$15. Call 202-232-4416 or visit cherrydc.com. — Doug Rule

Wines, $5 Rail Drinks • GREEN LANTERN TRADE SHAW’S TAVERN NUMBER NINE FREDDIE’S BEACH BAR
Half-Priced Pizzas and Happy Hour, 4-9pm • Doors open 2pm • Huge Happy Hour, 4-7pm • $3 Happy Hour: 2 for 1 on any Crazy Hour, 4-8pm • $6
Select Appetizers Karaoke with Kevin down- Happy Hour: Any drink Miller Lite, $4 Blue Moon, drink, 5-9pm • No Cover Burgers • Beach Blanket
stairs, 9:30pm-close normally served in a cock- $5 House Wines, $5 Rail Drag Bingo Night, hosted
TRADE tail glass served in a huge Drinks • Half-Priced Pizzas PITCHERS by Ms. Regina Jozet
Doors open 2pm • Huge NELLIE’S SPORTS BAR glass for the same price, and Select Appetizers • Open 5pm-12am • Happy Adams, 8pm • Bingo prizes
Happy Hour: Any drink Drag Brunch, hosted 2-10pm • Beer and wine Shaw ’Nuff Trivia, with Hour: $2 off everything • Karaoke, 10pm-1am
normally served in a cock- by Chanel Devereaux, only $4 Jeremy, 7:30pm until 9pm • Video Games
tail glass served in a huge 10:30am-12:30pm and • Foosball • Live televised GREEN LANTERN
glass for the same price, 1-3pm • Tickets on sale TRADE sports • Full dining menu Happy Hour, 4pm-9pm •
2-10pm • Beer and wine at nelliessportsbar.com Doors open 5pm • Huge till 9pm • Special Late Bear Yoga with Greg Leo,
only $4 • Gay Bash: The
Alt Dance Party and Home
• House Rail Drinks, Zing
Zang Bloody Marys, Nellie
Monday, Happy Hour: Any drink
normally served in a cock-
Visit pitchersbardc.com
6:30-7:30pm • $10 per
class • $3 rail cocktails
for Unconventional Drag Beer and Mimosas, $4, October 22 tail glass served in a huge and domestic beers all
in the Nation’s Capital, 11am-1am • Buckets of glass for the same price, SHAW’S TAVERN night long
10pm • Hosted by Donna Beer, $15 • Guest DJs FREDDIE’S BEACH BAR 5-10pm • Beer and wine Happy Hour, 4-7pm • $3
Slash with special guests Crazy Hour, 4-8pm • only $4 Miller Lite, $4 Blue Moon, NELLIE’S SPORTS BAR
• Resident cast: JaxKnife NUMBER NINE Singles Night • Half-Priced $5 House Wines, $5 Rail SmartAss Trivia Night,
Complex, Salvadora Dali, Happy Hour: 2 for 1 on any Pasta Dishes • Poker Night Drinks • Half-Priced Pizzas 8-10pm • Prizes include
Jane Saw • Music by The drink, 2-9pm • $5 Absolut — 7pm and 9pm games • and Select Appetizers bar tabs and tickets to
Barber Streisand and $5 Bulleit Bourbon,
9pm-close • Multiple TVs
Karaoke, 9pm
Tuesday, • Half-Priced Burgers
and Pizzas all night with
shows at the 9:30 Club •
$15 Buckets of Beer for
ZIEGFELD’S/SECRETS showing movies, shows, GREEN LANTERN October 23 $5 House Wines and $5 SmartAss Teams only •
Men of Secrets, 9pm-4am sports • Expanded craft Happy Hour, 4-9pm • Sam Adams • DC Bocce Absolutely Snatched Drag
• Guest dancers • Ladies beer selection • Pop $3 rail cocktails and A LEAGUE OF HER OWN League: Indoor Bocce, Show, hosted by Brooklyn
of Illusion Drag Show Goes the World with Wes domestic beers all night Open 5pm-12am • Happy Second Floor, 6:30pm Heights, 9pm • Tickets
with host Ella Fitzgerald Della Volla at 9:30pm • long • Singing with the Hour: $2 off everything available at nelliessports-
• Doors at 9pm, Shows No Cover Sisters: Open Mic Karaoke until 9pm • Video Games TRADE bar.com
at 11:30pm and 1:45am Night with the Sisters • Live televised sports Doors open 5pm • Huge
• DJ Don T. in Ziegfeld’s PITCHERS of Perpetual Indulgence, Happy Hour: Any drink NUMBER NINE
• DJ Steve Henderson in Open Noon-2am • $4 9:30pm-close FREDDIE’S BEACH BAR normally served in a cock- Happy Hour: 2 for 1 on any
Secrets • Cover 21+ Smirnoff, includes flavored, Crazy Hour, 4-8pm • Taco tail glass served in a huge drink, 5-9pm • No Cover
$4 Coors Light or $4 Miller NELLIE’S SPORTS BAR Tuesday • Poker Night — glass for the same price,
Lites, 2-9pm • Video Beat the Clock Happy Hour 7pm and 9pm games • 5-10pm • Beer and wine PITCHERS
Games • Foosball • Live — $2 (5-6pm), $3 (6-7pm), Karaoke, 9pm only $4 Open 5pm-12am • Happy
Sunday, televised sports • Full din-
ing menu till 9pm • Visit
$4 (7-8pm) • Buckets of
Beer, $15 • Half-Priced GREEN LANTERN
until 9pm • Video Games
October 21 pitchersbardc.com Burgers • Paint Nite, 7pm Happy Hour, 4pm-9pm • Foosball • Live televised
A LEAGUE OF HER OWN SHAW’S TAVERN

• PokerFace Poker, 8pm •
Dart Boards • Ping Pong
• $3 rail cocktails and
domestic beers all night
Wednesday, sports • Full dining menu
till 9pm • Special Late
Open 2pm-12am • $4 Brunch with Bottomless Madness, featuring 2 Ping- long October 24 Night menu till 11pm •
Smirnoff and Domestic Mimosas, 10am-3pm • Pong Tables Visit pitchersbardc.com
Cans • Video Games • Happy Hour, 5-7pm • $3 NELLIE’S SPORTS BAR A LEAGUE OF HER OWN
Live televised sports Miller Lite, $4 Blue Moon, NUMBER NINE Beat the Clock Happy Hour Open 5pm-12am • Happy SHAW’S TAVERN
$5 House Wines, $5 Rail Happy Hour: 2 for 1 on any — $2 (5-6pm), $3 (6-7pm), Hour: $2 off everything Happy Hour, 4-7pm • $3
FREDDIE’S BEACH BAR Drinks • Half-Priced Pizzas drink, 5-9pm • No Cover $4 (7-8pm) • Buckets of until 9pm • Video Games Miller Lite, $4 Blue Moon,
Champagne Brunch Buffet, and Select Appetizers Beer $15 • Drag Bingo • Live televised sports $5 House Wines, $5 Rail
10am-3pm • $24.99 with • Dinner-n-Drag, with with Sasha Adams and Drinks • Half-Priced Pizzas
four glasses of champagne Miss Kristina Kelly, 8pm Brooklyn Heights, 7-9pm • and Select Appetizers •
or mimosas, 1 Bloody • For reservations, email Karaoke, 9pm-close Piano Bar and Karaoke
Mary, or coffee, soda or shawsdinnerdragshow@ with Jill, 8pm
juice • Crazy Hour, 4-8pm gmail.com
• Karaoke, 9pm-close

Playlist
DJ ADAM KOUSSARI-AMIN
Top 10 Britney Songs
GIMME MORE
Paul Oakenfold Remix
Blackout (2007)
TRADE PITCHERS GREEN LANTERN ZIEGFELD’S/SECRETS 3

Doors open 5pm • Huge 2317 18th St. NW Happy Hour, 4-9pm • $3 Men of Secrets, 9pm • Manhattan Clique Remix
Happy Hour: Any drink Open 5pm-2am • Happy Rail and Domestic • Free Guest dancers • Rotating
normally served in a cock- Hour: $2 off everything Pizza, 7-9pm • $5 Svedka, DJs • Kristina Kelly’s Diva
The Singles Collection (2009)
tail glass served in a huge until 9pm • Video Games all flavors all night long Fev-ah Drag Show • Doors
glass for the same price, • Foosball • Live televised • DJ JerrBear presents at 9pm, Shows at 11:30pm BREAK THE ICE
5-10pm • Beer and wine sports • Full dining menu PigPen, 10pm-close • and 1:45am • DJ Don T. in
only $4 till 9pm • Special Late No Cover Ziegfeld’s • Cover 21+ Blackout (2007)
Visit pitchersbardc.com NELLIE’S SPORTS BAR
Open 3pm • Beat the
TOXIC
In the Zone (2003)
Thursday, SHAW’S TAVERN
Happy Hour, 4-7pm • $3
Clock Happy Hour — $2
(5-6pm), $3 (6-7pm), $4
Saturday,
October 25 Miller Lite, $4 Blue Moon, (7-8pm) • Buckets of Beer, October 27 FREAKSHOW
$5 House Wines, $5 Rail $15 • Weekend Kickoff
A LEAGUE OF HER OWN Drinks • Half-Priced Pizzas Dance Party, with Nellie’s A LEAGUE OF HER OWN Blackout (2007)
2319 18th St. NW and Select Appetizers • All DJs spinning bubbly pop Open 2pm-3am • Video
Open 5pm-2am • Happy You Can Eat Ribs, 5-10pm, music all night Games • Live televised
Hour: $2 off everything $24.95 • $4 Corona and sports TRIP TO YOUR HEART
until 9pm • Video Games Heineken all night • Paint NUMBER NINE Femme Fatale (2011)
• Live televised sports Nite, Second Floor, 7pm Open 5pm • Happy Hour: FREDDIE’S BEACH BAR
2 for 1 on any drink, 5-9pm Saturday Breakfast Buffet,
FREDDIE’S BEACH BAR TRADE • No Cover • Friday Night 10am-3pm • $14.99 with PERFECT LOVER
Crazy Hour, 4-8pm • Doors open 5pm • Huge Piano with Chris, 7:30pm • one glass of champagne Blackout (2007)
Karaoke, 9pm Happy Hour: Any drink Rotating DJs, 9:30pm or coffee, soda or juice •
normally served in a cock- Additional champagne $2
GREEN LANTERN tail glass served in a huge PITCHERS per glass • World Tavern IF YOU SEEK AMY
Happy Hour, 4-9pm glass for the same price, Open 5pm-3am • Happy Poker Tournament, 1-3pm
5-10pm • Beer and wine Hour: $2 off everything
U-Tern Remix
• Shirtless Thursday, • Crazy Hour, 4-8pm •
10-11pm • Men in only $4 until 9pm • Video Games Freddie’s Follies Drag Circus (2008)
Underwear Drink Free, • Foosball • Live televised Show, hosted by Miss
12-12:30am • DJs ZIEGFELD’S/SECRETS sports • Full dining menu Destiny B. Childs, 8-10pm
BacK2bACk All male, nude dancers • till 9pm • Special Late • Karaoke, 10pm-close
(YOU DRIVE ME) CRAZY
Open Dancers Audition • Night menu till 2am • Visit The Stop! Remix
NELLIE’S SPORTS BAR Urban House Music by DJ pitchersbardc.com GREEN LANTERN ...Baby One More Time (1999)
Beat the Clock Happy Hour Tim-e • 9pm • Cover 21+ Happy Hour, 4-9pm • $5
— $2 (5-6pm), $3 (6-7pm), SHAW’S TAVERN Bacardi, all flavors, all
$4 (7-8pm) • $15 Buckets Happy Hour, 4-7pm • $3 night long • JOX: The I’M A SLAVE 4 U
of Beer all night • Sports Miller Lite, $4 Blue Moon, GL Underwear Party,
Dave Aude Slave Driver Mix
Leagues Night
Friday, $5 House Wines, $5 Rail
Drinks • Half-Priced Pizzas
9pm-close • Featuring
DJs C-Dubz and Chaim • Britney (2001)
NUMBER NINE October 26 and Select Appetizers • $5 Cover (includes clothes
Happy Hour: 2 for 1 on any Comedy Show, Second check)
Floor, Doors open 7pm
Adam Koussari-Amin is co-host
drink, 5-9pm • No Cover A LEAGUE OF HER OWN
Open 5pm-3am • Happy and DJ for CTRL, an award-win-
Hour: $2 off everything TRADE ning queer DJ collaborative based
until 9pm • Video Games Doors open 5pm • Huge in Washington, D.C. A regular
• Live televised sports Happy Hour: Any drink
fixture in D.C.’s LGBTQ nightlife
normally served in a cock-
FREDDIE’S BEACH BAR tail glass served in a huge scene for over half a decade, CTRL
Crazy Hour, 4-8pm • glass for the same price, hosts Q ▼ W ▼ E ▼ R ▼ T ▼ Y
Karaoke, 9pm 5-10pm • Beer and wine monthly at Trade and is hosting
only $4 • Otter Happy its 4th annual Blackout: A Britney
Hour, 5-11pm
Album Celebration at U Hall this
Saturday, Oct. 20.

NELLIE’S SPORTS BAR PITCHERS ZIEGFELD’S/SECRETS FREDDIE’S BEACH BAR NUMBER NINE SHAW’S TAVERN
Drag Brunch, hosted Open Noon-3am • Video Men of Secrets, 9pm-4am Champagne Brunch Buffet, Happy Hour: 2 for 1 on any Brunch with Bottomless
by Chanel Devereaux, Games • Foosball • Live • Guest dancers • Ladies 10am-3pm • $24.99 with drink, 2-9pm • $5 Absolut Mimosas, 10am-3pm •
10:30am-12:30pm and televised sports • Full of Illusion Drag Show four glasses of champagne and $5 Bulleit Bourbon, Happy Hour, 5-7pm • $3
1-3pm • Tickets on sale dining menu till 9pm • with host Ella Fitzgerald or mimosas, 1 Bloody 9pm-close • Multiple TVs Miller Lite, $4 Blue Moon,
at nelliessportsbar.com Special Late Night menu • Doors at 9pm, Shows Mary, or coffee, soda or showing movies, shows, $5 House Wines, $5 Rail
• House Rail Drinks, Zing till 2am • Visit pitchers- at 11:30pm and 1:45am juice • Crazy Hour, 4-8pm sports • Expanded craft Drinks • Half-Priced Pizzas
Zang Bloody Marys, Nellie bardc.com • DJ Don T. in Ziegfeld’s • Gayborhood Night Piano beer selection • Pop and Select Appetizers
Beer and Mimosas, $4, • DJ Steve Henderson in Bar, 5pm-8pm • Karaoke, Goes the World with Wes • Dinner-n-Drag, with
11am-3am • Buckets of SHAW’S TAVERN Secrets • Cover 21+ 9pm-close Della Volla at 9:30pm • Miss Kristina Kelly, 8pm
Beer, $15 • Guest DJs Brunch with $15 No Cover • For reservations, email
Bottomless Mimosas, GREEN LANTERN shawsdinnerdragshow@
NUMBER NINE 10am-3pm • Happy Hour, Happy Hour, 4-9pm • PITCHERS gmail.com
Doors open 2pm • Happy
Hour: 2 for 1 on any drink,
5-7pm • $3 Miller Lite,
$4 Blue Moon, $5 House
Sunday, Karaoke with Kevin down-
stairs, 9:30pm-close
Open Noon-2am • $4
Smirnoff, includes flavored, TRADE
2-9pm • $5 Absolut and $5 Wines, $5 Rail Drinks • October 28 $4 Coors Light or $4 Miller Doors open 2pm • Huge
Bulleit Bourbon, 9pm-close Half-Priced Pizzas and NELLIE’S SPORTS BAR Lites, 2-9pm • Video Happy Hour: Any drink
• Jawbreaker: Music Select Appetizers A LEAGUE OF HER OWN Drag Brunch, hosted Games • Foosball • Live normally served in a cock-
of the ’90s and 2000s, Open 2pm-12am • $4 by Chanel Devereaux, televised sports • Full din- tail glass served in a huge
featuring DJs BaCk2bACk, TRADE Smirnoff and Domestic 10:30am-12:30pm and ing menu till 9pm • Visit glass for the same price,
9:30pm Doors open 2pm • Huge Cans • Video Games • 1-3pm • Tickets on sale pitchersbardc.com 2-10pm • Beer and wine
Happy Hour: Any drink Live televised sports at nelliessportsbar.com only $4 l
normally served in a cock- • House Rail Drinks, Zing
tail glass served in a huge Zang Bloody Marys, Nellie
glass for the same price, Beer and Mimosas, $4,
2-10pm • Beer and wine 11am-1am • Buckets of
only $4 Beer, $15 • Guest DJs

LastWord.
People say the queerest things
“Number one, she knows zero about me.

To the extent that it matters, I’m not gay.”
— U.S. Sen. LINDSEY GRAHAM (R-S.C.), speaking to TMZ in response to a tweet by comedian Chelsea Handler, who implied that he is
a closeted gay man. Handler tweeted: “If you’re wondering why Republicans took a sick day today,
it’s probably because it’s #NationalComingOutDay. Looking at you @LindseyGrahamSC.”
“Schools nationwide are hostile environments for a distressing number of LGBTQ students...as a result,
many LGBTQ students avoid school activities or
miss school entirely.”
— GLSEN, the nation’s leading education organization focused on making schools safe for LGBTQ students, in its annual National
School Climate Survey. The organization noted that progress on LGBTQ rights and safety is slowing for the first time in years, and
an “overwhelming majority” of LGBTQ students “ routinely hear anti-LGBTQ language and experience
victimization and discrimination at school.”
“We are proud to stand alongside you

”
in the fight for trans equality.
— A coalition of more than 100 organizations and businesses, in an advert supporting the United Kingdom’s transgender commu-
nity. The ad, supported by Absolut, Amnesty International, IBM, Procter & Gamble, Vice, and others, was published in the coun-
try’s Metro newspaper in response to an advert from Fair Play For Women that promoted transphobia by questioning whether
“someone with a penis is a woman” and calling trans women “male-bodied people.”
“We must...deal with the issue as a mental illness

”
that requires care and treatment.
— Grand Mufti Sheikh TAJ EL-DIN HILALY, an Australian Muslim cleric, telling The Australian newspaper that gay people have a
mental illness. He spoke in response to a debate about whether religious schools should be allowed to reject gay teachers, and
said that gay people “are afflicted with abnormal practices that contradict nature” and should not
“impose their lifestyle on the rest of society.”
“I knew that if I did it

I would have to set the bar and be extra.”
— ALEXANDER DUARTE, a high school student in California speaking to Instinct Magazine after he asked Erick Pineda, the straight
captain of the school’s football team, to homecoming. Duarte, who is close friends with Pineda, recruited fellow students to stage
the proposal, ending in a banner that read “I know I’m gay, but can I take you straight [to] homecoming?”
Pineda thankfully said yes.

Metro Weekly October 18, 2018 Rupert Everett

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Metro Weekly October 18, 2018 Rupert Everett

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CONTENTS

OCTOBER 18, 2018 Volume 25 Issue 24

18 PROGRESSIVE PROVOCATEUR Lily Allen is as ready as ever to protest and kiss-off

Interview by André Hereford

Real LGBTQ News and Entertainment since 1994

4 OCTOBER 18, 2018 • METROWEEKLY

NSO Pops: The Empire Strikes Back

OCTOBER 18, 2018 • METROWEEKLY 7

Nationals Park. Tasting Admission is $59 and

THE FOUR BITCHIN’ BABES

8 OCTOBER 18, 2018 • METROWEEKLY

JOHN WATERS: INDECENT EXPOSURE

Right: Playdate. 2006.

OCTOBER 18, 2018 • METROWEEKLY 9

Out On The Town

HALLOWEEN AT THE ZOO

Compiled by Doug Rule members, or $15 general admission,

10 OCTOBER 18, 2018 • METROWEEKLY

ILLYRIA, OR WHAT YOU WILL

12 OCTOBER 18, 2018 • METROWEEKLY

FLASH OF THE SPIRIT

WORLDWIDE SOUND FESTIVAL

14 OCTOBER 18, 2018 • METROWEEKLY

16 OCTOBER 18, 2018 • METROWEEKLY

This Saturday, Oct. 20, is the

OYAMEL: DIA DE LOS MUERTOS

IMPROBABLE COMEDY: SPOOKY

18 OCTOBER 18, 2018 • METROWEEKLY

(1932) at 2 p.m., Frankenstein (1931)

20 OCTOBER 18, 2018 • METROWEEKLY

22 OCTOBER 18, 2018 • METROWEEKLY

OCTOBER 18, 2018 • METROWEEKLY 23

DC AQUATICS CLUB practice

OCTOBER 18, 2018 • METROWEEKLY 25

26 OCTOBER 18, 2018 • METROWEEKLY

OCTOBER 18, 2018 • METROWEEKLY 27

28 OCTOBER 18, 2018 • METROWEEKLY

Interview by André Hereford

30 OCTOBER 18, 2018 • METROWEEKLY

OCTOBER 18, 2018 • METROWEEKLY 31

32 OCTOBER 18, 2018 • METROWEEKLY

OCTOBER 18, 2018 • METROWEEKLY 33

34 OCTOBER 18, 2018 • METROWEEKLY

Unfortunately, the movie also gave rise

OCTOBER 18, 2018 • METROWEEKLY 37

38 OCTOBER 18, 2018 • METROWEEKLY

spired dance, extraordinarily expressive

OCTOBER 18, 2018 • METROWEEKLY 39

dance, moving between her suitors, and then later deliv-

songs at least as much as her singing

OCTOBER 18, 2018 • METROWEEKLY 41

eral stunning visual tableaux. That glam-

42 OCTOBER 18, 2018 • METROWEEKLY

OCTOBER 18, 2018 • METROWEEKLY 43

spurned and then desperately lovey again at the end. Almost as

44 OCTOBER 18, 2018 • METROWEEKLY

OCTOBER 18, 2018 • METROWEEKLY 45

DrinksDragDJsEtc... SHAW’S TAVERN Friday, $15 • Weekend Kickoff TRADE

46 OCTOBER 18, 2018 • METROWEEKLY

FREDDIE’S BEACH BAR

THE CHERRY HORROR HALLOWEEN 2018

OCTOBER 18, 2018 • METROWEEKLY 47

A LEAGUE OF HER OWN SHAW’S TAVERN

48 OCTOBER 18, 2018 • METROWEEKLY