Founded in 1938 as a summer playhouse and relaxing weekend getaway in what was then rural Montgomery County, the Olney Theatre Center recently unveiled a summer-long performing arts slate that nods to its roots while also reflecting the current zeitgeist.
The multi-genre “Olney Outdoors” presents a range of programming that, according to the theater’s Kevin McAllister, celebrates “bringing together both our likenesses and differences in a positive light,” performed as Washingtonians of all different backgrounds and experiences “sit under the stars and find joy in our commonalities together.”
To help encourage new guests to make the trek, Olney Theatre has implemented a new First Show Is On Us initiative in which those who have never been to the campus can get four free tickets to a paid event of their choice.
Grouped across eight categories, the lineup includes Friday night revues, part of the Andrew A. Isen Cabaret Series, each week featuring two stars of Washington’s theater scene sharing the open-air Root Family Stage. Upcoming pairings include Donna Migliaccio and Nova Y. Payton (8/6), Rayanne Gonzales and Rayshun Lamarr (8/13), Greg Maheu and Vishal Vaidya (8/20), and Malinda Kathleen Reese and Alan Wiggins (8/27). Saturday nights bring Jazz@Olney with performances by some of the area’s best jazz artists including Christie DaShiell (7/31), Elijah Jamal Balbed (8/7), Akua Allrich & The Tribe (8/14), Warren Wolf & WOLFPACK (8/21), and Mark G. Meadows & The Movement (8/28). Additional paid weekend shows that first-time attendees could attend for free include Theatre for Young Audiences performances as well as faith-centered “Sing Praise!” concerts.
On Wednesday nights in August, Olney will present free showcases, two apiece, of slam poets and drag performers. Sip ‘N’ Slam is set for the first two hump days of the month, with spoken-word artists Megan Rickman Blackwood, Black Root, Regie Cabico, and Carlynn Newhouse scheduled for Part One (8/4), and Vijai Nathan, Amin Drew Law, Charity Blackwell, and Analysis for Part Two (8/11). It’s followed by two hump nights with a glittery gaggle of drag queens storming the stage including Brooklyn Heights, Betty O’Hellno, Ariel Von Quinn, and Evon Michelle on August 18, and Kristina Kelly, Vagenesis, Tiara Missou, and Echinacea Monroe pulling on August 25.
The programming takes place in and around the outdoor Root Family Stage, with guests seated distanced on blankets or in chairs, or on raised bleachers offered at full capacity for fully vaccinated or more risk-tolerant guests. (In case of inclement weather, some performances will be moved indoors to the Mainstage with up to 200 patrons spread out at less than half-capacity.)
Olney Theatre Center is located at 2001 Olney-Sandy Spring Road, in Olney, Md. Call 301-924-3400 or visit www.olneytheatre.org.
They're havin' a gay old time in Bareback, Idaho. Foot stompin', lumber jackin', and high steppin' dance moves are all part of the charm as the townsfolk prepare for Stacey's (Marla Mindelle) wedding. Welcome to The Big Gay Jamboree.
The only problem is that no one in the town quite understands the leading lady and, after a night of heavy drinking, she can't make sense of them either.
Somehow, she's trapped in a time warp with Flora (Natalie Walker), a nymph shunned for her sexual proclivities, Bert (Constanine Rousouli), a sexy serial killer who is coming to terms with his own sexuality, Clarence (Paris Nix), a handsome, African-American man who is tired of being the token black in the story, but who wins Stacey's affection, and an ensemble of townspeople whose squeaky clean, perma-smile demeanors suggest a Peyton Place vibe with jazz hands.
Tucked below D.C. in Dupont Underground on a recent October evening, the Washington Ballet soft-launched its 2024-2025 season with an immersive Dance for All program. In addition to a well-timed popup pre-show, TWB's lithe Studio Company performed new choreography by artistic director Edwaard Liang, set to music by composer Blake Neely.
To my surprise, Liang's was practically the first face I saw as I descended into the bustling space for the performance. The former New York City Ballet soloist-turned-choreographer, and now company leader, was greeting patrons at the door, the soul of easygoing ambassadorship.
The wigs? On point. The lashes? On point. The costumes? On point. The plot? No point.
Fans of RuPaul's Drag Race might forgive the mess that is Drag: The Musical, but anyone else with an IQ higher than a mannequin with head trauma should sashay away from New World Stages where high-camp plateaus and not enough shade can be thrown.
Tomas Costanza, Justin Andrew Honard (Alaska Thunderfuck), and Ashley Gordon are responsible for the book, music, and lyrics, all of which are rehashed from material you've seen before and jokes that are about as funny as a calculus class.
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