Washington Blade, Volume 56, Issue 39, September 26, 2025
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ISAAC AMEND
is a writer based in the D.C. area. He is a trans man and was featured in National Geographic’s “Gender Revolution” documentary. He serves on the board of the LGBT Democrats of Virginia. Contact him at isaacamendwrites@gmail.com or on Instagram at @literatipapi
Despite the challenges, LGBTQ people live beautiful lives
Finding joy and love amid the political attacks
I had an in-law who passed away from pancreatic cancer a year ago. It’s one of the worst diseases to afflict anyone, with a minimal chance at survival. Yet I couldn’t help but think that this in-law led a beautiful life.
As the state of LGBTQ Americans gets continuously tested under Trump, I also can’t help but think how queer lives are also beautiful. All over the world, and in the U.S., gay men are celebrating their queerness and campy dialogue at every turn. Some are even wearing high heels and dancing to “RuPaul’s Drag Race.” Others are bears and are bowling at alleys in New York City.
Queer women are parading themselves at the few lesbian bars left in the country — at Cubby Hole in Manhattan or at A League of Her Own here in D.C. And lastly, trans citizens are fighting to find beauty in an identity that is often stigmatized and derided as unnecessary and even evil.
The most important thing in life is to love oneself, be loved, and love in return. Love, in essence, is the string of life that carries us all on its back. It’s the light of life: the eternal fire that never ceases to burn, the embers that never fade amid ashes. They say that “love conquers all” - amor vincit omnia in Latin –and these ancient philosophers were right.
It takes a while, sometimes, for a suffering person to love themselves. It can even take close to a lifetime, with some adults finding in older age that they can smooth the rough edges they found in themselves–and in others–later in life. Queer people historically and statistically face lower self esteem. Trans people face low self esteem and the chance of violent attacks. Yet we choose to sustain our existence and ignore the cries of outsiders.
To live a beautiful life means many things. The first, as stated, is to love and be loved in return. The second is to hold yourself to a set of never ending and persistent values—putting glory to diversity and cherishing community building. The third is to provide; if one can, for loved ones near and far—sisters and brothers and mothers and fathers. Mothers make us—a mother’s love is one of the strongest bonds on this planet. Yet disrespecting our mothers will do us no good.
The whole point of life is to love oneself, love others, and be loved in return. That is the point. Love governs the world, and the sincerest evil posed to all of us is a lack of love: a lack of love for trans people, a lack of love for immigrants, a lack of love for our women.
Dumbledore, a famed character written by the now infamous JK Rowling, proclaimed to not pity the dead, but the living, and, above all “those who live without love.” Actually, much of modern America is obsessed with a never ending happiness craze. Housewives and young college students are taught to go on yoga retreats and engage in activities just to feel happy. But little do they know that love is actually the primary fuel for happiness: appreciating a sick relative, taking care of a son, admiring women as opposed to conquering their bodies.
And so this piece concludes. Trump is trying to derail queer people at every turn. And depression lies deep among many scrambling to live paycheck to paycheck and dodging poverty and negative people.
Yet I can’t help but think that we all lead such beautiful, beautiful lives.
is a longtime LGBTQ rights and Democratic Party activist. He writes regularly for the Blade.
Trump now threatens free speech protections
Our
The New York Times reminds us: “Trump kicked off his second term with a promise, made during his inauguration speech, to “immediately stop all government censorship and bring back free speech to America. Never again will the immense power of the state be weaponized to persecute political opponents.”
He then signed an executive order doubling down on that promise, declaring “that any kind of censorship of speech — even in the name of combating disinformation — was “intolerable in a free society.”
Today, eight months later, that is all out the window. The felon’s government will now go after anyone who dares disagree with him, trying to shut them down. First Amendment be damned. Sadly, the media are not fighting the felon’s threats, rather bowing down to them.
In a stunning move, “ABC announced Wednesday, Sept. 17 that it was taking ‘Jimmy Kimmel Live!’ off the air indefinitely, after FCC Chair Brendan Carr threatened Kimmel and the network on a podcast over comments Kimmel made about the man charged with shooting Charlie Kirk,” as USA Today reported. ABC announced on Monday that Kimmel would return to his show on Tuesday.
Earlier, Carr threatened ABC, Disney, and Kimmel, over a Kimmel monologue that included comments about Charlie Kirk, ominously saying, “We can do this the easy way or the hard way.” In an interview with Fox News host Sean Hannity, Carr repeatedly referred to Trump’s election and said, “There’s more work to go.” The “legacy media,” he said, “threw everything” at Trump. “We at the FCC are going to enforce the public interest obligation. If there’s broadcasters out there that don’t like it, they can turn their license in to the FCC.” These comments have now been challenged by Democrats, and even some Republicans like Sen. Ted Cruz (R-Texas).
Disney, the owner of ABC, briefly sidelined Jimmy Kimmel based on these threats and one of the largest station owners, Nexstar, saying they wouldn’t air Kimmel. Nexstar is doing this because they have been threatened by Carr, who is reviewing a merger they want. These threats are a prime example of Trump’s threats to free speech, or at least free speech that doesn’t praise Trump. Say anything the felon doesn’t like, or takes offense to, you’re out of luck. The felon’s Attorney General Pam Bondi said, “There’s free speech and then there’s hate speech, and there is no place, especially now, especially after what happened to Charlie, in our society...We will absolutely target you, go after you, if you are targeting anyone with hate speech.” While she tried to walk it back a little, it was out there. It was reported that Trump cheered ABC ‘for finally having the courage to do what had to be done’ in a late-night Sept. 17 post on Truth Social that also called for NBC to cancel late-night shows of comedians Seth Myers and Jimmy Fallon. “Do it NBC!!!” Trump wrote.” Trump then threatened ABC News Chief and Washington correspondent Jonathan Karl, when he asked the felon about Bondi and said, “She’d probably go after people like you. Because you treat me so unfairly. It’s hate. You have a lot of hate in your heart.”
All of this is totally outrageous and has to be frightening for any decent American who believes in the First Amendment. The bizarre thing is Charlie Kirk actually believed in free speech, and lived by it. He understood his speech may have been considered hateful by many, but it was not advocating violence, it was allowed. These threats by the government to stifle free speech are leading us to become a fascist state, with Trump emulating Hitler, and Stephen Miller, in the role of his Goebbels. Trump in his usual demented fashion, in one sentence, criticized the United Kingdom for cracking down on free speech, and then praised ABC for firing Kimmel for what he said about the Charlie Kirk murder. Trump’s alternate universe is on clear display.
Trump is an embarrassment to the nation, especially when he is on the world stage, as he was when receiving a royal welcome from the British monarch, who simply played to his outsized ego. It was great to see those pictures of Trump and Epstein displayed on the walls of Windsor Castle. I hope those arrested for doing it won’t get too much of a punishment. Let me be very clear, I don’t want any violence to happen to the felon, I am against all violence. But if we are to have any chance to take back our country, and once again gain the respect of the world, speaking out at every opportunity is crucial. Defending our right to free speech is crucial. Voting is crucial.
Why ‘Rocky Horror’ resonates 50 years later
Filmmaker Michael Varrati says ‘queer persistence is an act of resistance’
By MATT MINTON
As the Halloween season approaches, many queer horror fans will surely be revisiting “The Rocky Horror Picture Show.” And given its 50th anniversary, the timing couldn’t be better, with a new restored version in 4K courtesy of Disney, and events and screenings happening around the country.
To discuss the many merits of “Rocky Horror,” you’d be hard pressed to find somebody more passionate than screenwriter, producer and filmmaker Michael Varrati (credits include “Christmas with You,” “The Wrong Stepmother” and “The Boulet Brothers’ Dragula”). He’s also the co-host of the biweekly podcast Midnight Mass alongside Peaches Christ, where they dig into their favorite cult movies and bring on guest stars.
Varrati sat with the Blade and recalls the first time he watched “The Rocky Horror Picture Show” in his rural hometown, dishes on the film’s specific impact on the LGBTQ+ community, and explains why 50 years later, we’re still talking about Dr. Frank-N-Furter.
BLADE: Where did you first discover Rocky Horror, and how did that influence your career and overall taste in film?
MICHAEL VARRATI: When you think of cult fandom, especially in the film space, in the movie space, Rocky Horror is very singular. In so many ways, it led the charge. My first sort of interaction with Rocky was when MTV was doing coverage of one of the anniversaries — I imagine it was probably for the 20th or around that time. I was a teenager living in rural Pennsylvania and I would see this coverage around Halloween, and I was fascinated as much by the movie as I was by the fact that people were dressing up and going to the cinema to participate. And when you’re living in small town America where there are no theaters to be found doing that, there was some sort of sense of the forbidden, or it was just out of reach. But I obsessed about it, so I got a copy of the movie on VHS, and I used to gather friends — probably the theater kids, the drama club, any associated weirdos. And I say this lovingly, because I was one of those weirdos. And we would watch it in friend’s living rooms and in basements, and we would try and do our own version of celebrating the movie in a theater style at home. It wasn’t until I went to college at Kent State University that I started going to the midnight screenings in Cleveland at the Cedar Lee Theatre, and I immediately connected with the vibe of what was going on. I loved that this was more than just a movie to the people who gathered. In many ways, that fundamentally helped me understand that the art we connect to can be so much more than a passive experience.
I actually recently graduated from Ithaca College, and they always had midnight screenings around Halloween. I got to go to one of those and it was really fun. I’ve never quite had an experience like that.
They really are one of a kind. Obviously, midnight movies existed before Rocky, and now exist sort of in the wake of Rocky. I believe the original midnight movies were “Night of the Living Dead,” “El Topo,” “Pink Flamingos.” But Rocky was sort of the first time when that programming became a tangible experience. People were going to the movies, they were dressing up as the characters, they were shouting at the screen, and people weren’t getting mad about it. They were shouting too! And it created this interesting economy of celebration that we see a lot of other places and films try and mimic. … I think the reason Rocky is singular is that it was totally organic. You can’t manufacture the experience after the fact. People found the movie and the movie found them.
BLADE: Especially knowing the iconic place it has within the LGBTQ+ community, and the aspect of people dressing up and going to see these shows in full costume. Could you speak to that?
VARRATI: When I think about the significance of Rocky, I, of course, love the movie. But I think one of the most powerful things about it, especially for a particular moment in time, was that it provided a communal space a lot of people didn’t otherwise have. It’s really easy in the modern era, even in rural places, to use the internet to connect with your community if you know where to look. We know now about queer spaces and platforms and sites, but at a specific time when those were not readily available — and in many places, it was very scary to go looking for those things because you didn’t know how you were going to be met — there were few places that felt like safe harbors. And when “Rocky Horror” started becoming that space, I think that became really significant to its history because it became a gathering point for LGBTQ+ people. For punks, for goths, for anyone who felt marginalized or othered by society. When you walked through those theater doors, you belonged, and everybody accepted you, and the thing that made you feel like a freak was celebrated. You got to let your freak flag fly, and so I think for so many people of a certain generation, Rocky was the first
place where they got to go find chosen family. They got to find and develop a sense of community. Because for so many, it was not a viable option. And to the outside world who maybe didn’t connect with that aspect of the movie, it was a good way to fly under the radar if you didn’t want people to fully know why you were going because you’re just going to a midnight movie. It’s not like you’re going to the gay bar that everyone in town knows or vilifies… you’re just going out with some friends to a movie. But secretly, you’re finding your community.
BLADE: I think that’s a great way of putting it. The movie is celebrating its 50th anniversary this year, and there are quite a few events happening, including an Academy Museum screening on the 26th with some of the cast. Could you speak to the legacy of this film over time and why people are still finding so much enjoyment in it?
VARRATI: In so many ways, it is as bold as ever. There are aspects of it, of course, to the modern audience that maybe haven’t aged as well or are problematic. But nonetheless, there are things about the movie that are so celebratory. This movie isn’t just a place where outsiders can celebrate — the movie itself, in the pantheon of film, is sort of an outsider. It is this subversive anomaly. It was a critical failure, and it was kind of a commercial failure, yet somehow it persisted. Its persistence is, in a lot of ways, akin to resistance. The idea that queer joy is an act of resistance. Queer persistence is an act of resistance. By being the strange movie, by thriving in spite of an industry that said it couldn’t, it’s something people really appreciate that history of and continue to gravitate to. But then for newer audiences who see it, the music’s fun, the characters are fun, and it still feels pretty audacious as ever. But also, the message of “Don’t dream it, be it,” is timeless.
BLADE: I’m curious to hear about this movie’s relationship to camp, because now I think that word gets overused a lot, and some films try to manufacture it. And as you said, this film was able to capture an experience so organically.
VARRATI: There is, to some folks, a prevailing idea that you can’t intentionally make camp. But I don’t know that that’s entirely true, because we see people like John Waters — he can intentionally make camp. There are folks who get the DNA of what camp is. But a lot of times, camp happens by accident. Because I think most camp, all camp, in a lot of ways, is born out of earnestness. And I think that’s what happens when people try to manufacture camp and it fails because they’re missing the fundamental element of earnestness. If you look at any of these movies that have become camp classics, they’re not winking at you. They’re not trying to say, “Hey, this is so bad, it’s good!” They’re not trying to make you know that they’re in on the joke. They’re presenting something with their whole chest and they believe in what they’re putting out there, and it just is what it is. And we find the ridiculousness through the heightened presentation. Rocky is really special in that it is truly camp, because it is, in so many ways, an homage to classic monster movies, classics and drive-in cinema. It is through the experience of these two
The cast of ‘Rocky Horror Picture Show.’ (Image via Wikipedia)
small town people who are sheltered and are now experiencing something that they consider to be so other and overwhelming — but for everybody inside the castle, that’s every day. A really fun way to experience Rocky is understanding that the camp is not necessarily intentional, but also absolutely intentional. It’s sort of a lampooning of the normalcy of the world outside, because the truth is normalcy is the ultimate camp, because it’s a fallacy.
BLADE: Recently, there was a CBS Sunday Morning Special featuring Tim Curry, but of course not all of the actors are with us to promote the anniversary. What do you think of the cast’s relationship to this film over the years and what performers like Curry are able to do for new generations?
VARRATI: I love that Barry Bostwick, when he speaks about this movie, says there’s no happier place to be than a midnight screening of “Rocky Horror.” I think that there’s something significant about somebody who made this, who can see that it has gone beyond him, but has created so much love, community, and celebration for people. A couple years ago on Midnight Mass, we had Patricia Quinn, who plays Magenta. But of course, when you’re talking to Patricia Quinn, “Rocky Horror” invariably comes up. From my perspective, it seems that she is constantly amused and grateful for the fact that this movie rings perennial in her life. It is a constant. The cast’s overall embracing of this film has been crucial to its success as well. We often see folks who make these movies that are initially rejected by culture at large (Faye Dunaway and “Mommie Dearest” is a great example) not get to appreciate the celebration and reappraisal as it’s happening. And so I almost feel bad because they miss out on this thing that has become important and meant so much to so many people. It’s really great to know that so many cast members of “Rocky Horror,” from the beginning, saw the movie didn’t do super great, and then became a thing within five years, and they just said, “Hey, it’s going to be what it’s going to be, and we’re along for the ride.”
BLADE: Lastly, as someone who loves film, what are some other projects that you feel have been especially inspired by “Rocky Horror” and authentically embraced its spirit?
VARRATI: You know what’s funny? I think about the influence of “Rocky Horror” in the landscape of cinema, especially cult cinema, often because — I think directly or indirectly — we see the film’s impact through the work of people who were probably at one time audience members. For example, Darren Stein, the writer and director of “Jawbreaker” (which itself is a cult classic) is a huge fan of “Rocky Horror,” and has spoken openly about Rocky‘s influence on him and how it creeps its way into his work. And when you watch Jawbreaker, Courtney, the character played by Rose McGowan, has an energy akin to Frank-N-Furter, and some of the lines that she delivers are verbatim Frank-NFurter lines. I’m sure that was intentional on Darren’s part, but there’s so much of that in pop culture.
I know that when Richard O’Brien was doing voices on “Phineas and Ferb,” of all things, something that’s so far from “Rocky Horror,” when they would do Halloween episodes, the creators — themselves “Rocky Horror” fans — would include commentary and Easter eggs into this Disney show that relate back. And so whether it’s through direct cast involvement or creators, I see the level of influence it’s had. And even in shorthand, I remember talking to someone recently about the movie Showgirls and the comment came up that Elizabeth Berkley’s commitment to performance was a Frank-N-Furter level commitment — that’s become a shorthand for how we describe certain performances. And that, to be clear, was a complimentary comparison. For people who are invested in these kinds of movies, to be compared to something like “Rocky Horror” with its longevity is maybe one of the greatest compliments of all, because no one’s ever going to make a cult film like “Rocky Horror,” right?
CALENDAR |
Friday, September 26
“Center Aging Monthly Luncheon and Yoga” will be at 12 p.m. in person at the DC Center for the LGBT Community’s new location at 1827 Wiltberger St., N.W. To RSVP, visit the DC Center’s website or email adam@ thedccenter.org.
GoGayDC will host “LGBTQ+ Community Happy Hour” at 7 p.m. at Dupont Italian Kitchen’s Bar. This event is ideal for making new friends, professional networking, idea-sharing, and community building. This event is free and more details are available on Eventbrite.
Trans Discussion Group will be at 7 p.m. on Zoom. This group is intended to provide an emotionally and physically safe space for trans* people and those who may be questioning their gender identity/expression to join together in community and learn from one another. For more details, email info@thedccenter.org.
Saturday, September 27
GoGay DC will host “LGBTQ+ Community Brunch” at 12 p.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including allies, together for food and conversation. Attendance is free and more details are available on Eventbrite.
Black Lesbian Support Group will be at 11 a.m. on Zoom. The DC Center and the Beta Kappa Chapter of the Beta Phi Omega Sorority are teaming up for this peer-led support group devoted to the joys and challenges of being a Black Lesbian. You do not need to be a member of the Beta Kappa Chapter or the Beta Phi Omega Sorority in order to join, but they do ask that you either identify as a lesbian or are questioning that aspect of your identity. For more details, email supportdesk@ thedccenter.org.
Sunday, September 28
GoGay DC will host “LGBTQ+ Ice Cream Social” at 3 p.m. at 2334 Meade St., Arlington, Va. An ice cream truck will offer several exciting flavors and toppings, including Rainbow Sprinkles. There will be no sugar added, gluten-free, and dairy-free options available. This ice cream social will be a fun gayborhood gathering. More details are available on Eventbrite.
Monday, September 29
“Center Aging Monday Coffee Klatch” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more details, email adam@thedccenter.org. GoGayDC will host “Out and About in Shirlington LGBTQ+ Community Happy Hour” at 6 p.m. at Palette 22. This event is ideal for making new friends, professional networking, idea-sharing, and community building. This event is free and more details are available on Eventbrite.
By TINASHE CHINGARANDE
Tuesday, September 30
“Talk-O-Tuesday” will be at 7 p.m. at The Strand DC. This event has been curated for BIPOC gay/bi/trans men and male-identifying persons. It will be a fun and engaging experience to help foster community, encouragement, and thoughtful dialogue, while providing a safe and supportive space to express one’s self. Tickets cost $13.26 and can be purchased on Eventbrite.
Wednesday, October 01
Job Club will be at 6 p.m. on Zoom. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email centercareers@thedccenter.org or visit www.thedccenter.org/ careers.
GoGay DC will host “LGBTQ+ Activism at Women’s National Democratic Club” at 6 p.m. at The Whittemore House. Guests can join other activists at the WNDC for letter and postcard writing to get out the vote this fall in Virginia and other critical state races. Postcards will be written to women in rural VA and to members of Congress on Home Rule 101 in partnership with the D.C. Democrats Statehood Committee. There will be free pizza, cash bar, a fun raffle and camaraderie. More details are available on Eventbrite.
Center Aging Women’s Social and Discussion Group will be at 7 p.m. on Zoom. This group is a place where older LGBTQ+ women can meet and socialize with one another. There will be discussion, activities, and a chance for guests to share what they want future events to include. More details are available on the DC Center’s website.
Thursday, October 02
The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. People will be informed on Wednesday at 5:00 pm if they are picked to receive a produce box. No proof of residency or income is required. For more information, email supportdesk@thedccenter.org or call 202-682-2245.
Virtual Yoga with Sarah M. will be at 7 p.m. on Zoom. This is a free weekly class focusing on yoga, breath work, and meditation. For more details, visit the DC Center for the LGBT Community’s website.
OUT & ABOUT
Foundry Methodist to celebrate anniversary of marriage equality
Foundry United Methodist Church will celebrate the 30th anniversary of becoming a Reconciling Church and 15 years of marriage equality on Sunday, Sept. 28 at 2 p.m.
The guest preacher will be Bishop Cedrick Bridgeforth of the Greater Northwest Episcopal Area. In 2010, the Foundry membership voted overwhelmingly in favor of marriage equality and allowed clergy to perform same-gender weddings. For more than three decades Foundry has been a leader in LGBTQ rights in Washington DC, across the country and in the United Methodist Church.
For more details, visit the church’s website.
Film on Baltimore’s Black, queer identity to debut
The Rooted Collective, a local organization that develops programming and events for Black LGBTQ people in Baltimore, will host the premiere of “Damn Y’all Fine” on Saturday, Oct. 11 at 7 p.m. at the SNF Parkway Theater.
The fi lm is about Baltimore’s Black, queer aesthetic. It is directed by Ti Malik Coleman and Dr. Kalima Young and is a journey into the self-stylings of Baltimore’s Black, queer and trans artists and activists, and explores how living in Baltimore infl uences the way Black, queer and trans people express their gender and sexual identities.
Several local community members are featured in the fi lm. For more details, visit Eventbrite.
Foundry United Methodist Church will celebrate 15 years of marriage equality on Sunday, Sept. 28 at 2 p.m. (Washington Blade file photo by Michael Key)
Theatre Week shows D.C.’s vibrancy, resiliency
More than 25 companies offering discounted tickets
By PATRICK FOLLIARD
Sometimes names can be misleading. For instance, Theatre Week, currently celebrating the season’s launch with discounted tickets and free events, is in fact three weeks long. But no one’s complaining.
Produced by Theatre Washington (the diverse alliance of theater makers and supporters), Theatre Week is designed to celebrate and amplify the D.C. theater community. It’s a way to share marketing, promote shows, and to bring people together to meet both new artists and new audiences.
Though Oct. 5, more than 25 companies (see theatreweek.org) are offering discounted tickets priced at $25, $45, and $65 tickets. Theatre Week also includes events like Lights Up! a free outdoor concert at The Wharf on Sunday, Sept. 28; and there’s a discussion panel at Studio Theatre (Sept. 29) poised to weigh in on upcoming productions.
Reginald “Reg” Douglas, the out artistic director of Mosaic Theater Company and a Theatre Washington board member, believes the success of this year’s Theatre Week is “doubly important.”
“The story of Washington, D.C. that’s being told right now doesn’t reflect the richness of our culture. Theatre Week is a way to show the vibrancy and resiliency of our city. We need to gather and combat the lie about who we are and instead confirm that DC is a vibrant, eclectic, safe and cool place to be.”
As part of Theatre Week, Mosaic presents Kareem Fahmy’s Dodi & Diana (through Oct.5) directed by Douglas.
Mosaic veteran Dina Soltan plays a leading lady movie star, and Jake Loewenthal is her husband in this rich contemporary work. Douglas says “It’s a sexy and surprising play; it brings Princess Diana astrology and the ups and downs of a sexually alive marriage in 85 minutes.”
For one day only, nonbinary actor Caro Dubberly is one of the featured performers in Sunday’s concert Lights Up!
Along with Vagenesis (Anderson Wells), Victoria Gomez, Kara-Tamieka Watkins, Nicholas Yenson, Deimoni Brewington, Dubberly will be performing songs from the musical theater canon, some more well known than others: “Heart and Music” from William Finn’s A New Brain , numbers from A Chorus Line , Avenue Q , and lots of other good stuff.”
Dubberly’s solos include a piece from Adam Gwon’s musical String and the rock song “Midnight Radio” from their “favorite musical of all time,” Hedwig and the
Angry Inch.
Adept at standards and rock infused songs, Dubberly is classically trained: “Both of my parents were in opera. Growing up in Denton, Texas, my mom was my first teacher. That’s how I figured out how to do edgier things with my voice but in a healthy way.”
Fortunately for Dubberly, there was a robust queer community in Denton. That was one of the things that they were most sad to leave when they moved to D.C. 10 years ago.
Their introduction to DMV showbiz was by sitting in the audience of the apocalyptic chamber musical “Soon” at Signature Theatre: “Before that I’d no idea about the D.C. theater scene, I thought it was a purely political place. My girlfriend at the time got a job at a theater here, so in true U-Haul fashion, I finished college in Texas and quickly joined her.”
Dubberly says their career as an openly nonbinary actor has been mostly positive. A time came when they wanted to pivot away from the ingenue and be considered for roles across the gender spectrum. They say, “I’m grateful that I know so many people who have the imagination to see me at not just for someone who may look as one specific gender but as an artist who is capable of playing may different things.”
The thrice-Helen Hayes Award nominated Dubberly counts Theatre Week as one of their favorite times of year. “When not performing, I’m an avid theater goer. I love to see plays and I’m always on the lookout for a good theater discount. I’m planning to see Merry Wives at Shakespeare Theatre Company, Arena Stage’s Damn Yankees, and other productions.”
Both Douglas and Dubberly agree that Theatre Week is bursting with opportunity for everyone.
Companies benefit from the exposure, and it’s a chance for people to see a company they’ve never seen before. To try something new on a discount. To take a risk. And it’s very much a celebration of the local theater community’s strength and diversity.
Theatre Week
Through Oct. 5 | $25, $45 & $65 tickets to 25+ shows Theatreweek.org
CARO DUBBERLY (Photo by DJ Corey)
A CABARET WITH A WINK AND A TEASE
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Richard E. Cytowic explores complicated relationship with father in new book
‘The Magician’s Accomplice’ touches on camp, ‘80s gay D.C., alcoholism
By CHARLES GREEN
Richard E. Cytowic, neurology professor at George Washington University, has written a memoir, “The Magician’s Accomplice: My Father and I in the Age of Anxiety,” about his complicated relationship with his father, Edmund R. Cytowic. “Big Ed,” also a doctor, was a larger-than-life figure who molded his family into a perfect image while hiding his drinking and drug use. In an interview edited for clarity, Dr. Cytowic spoke about magic as metaphor, memories, and gay life in D.C.
BLADE: What was your inspiration for writing this memoir?
RICHARD CYTOWIC: It was something I felt I had to do. If I didn’t write it, I would go crazy. And it’s taken me about 10 years. It’s gone through many iterations. The first version started with my first day at Duke and had a dual narrative with myself as a young man, stumbling about making mistakes, and the older, wiser neurologist looking back on his younger self and commenting on it. That didn’t work out, but I realized the story was really about my father and me and our dynamic, how he shaped me to be just like him. At the time, I didn’t realize, because, when you’re too close to the material, you can’t see it for what it is. My sister’s observation in the memoir’s opening line, “Come hell or high water, you were going to be a doctor like him,” captures all my memories of him. And I am, I was.
BLADE: The interpretations you give some of your memories are striking. For instance, your family dancing onstage at a Liberace concert. From the outside it feels charming, yet there’s pain there.
CYTOWIC: It is an amusing anecdote. But it’s also sad because it shows we were all performers. We got up on stage effortlessly, we all knew our lines. We knew what to do, how to pose in front of 4,000 people, because we were Big Ed’s puppets for many years. And we just thought it was quite natural to perform because we had been doing this all our lives.
BLADE: It’s striking how in that moment you saw yourself becoming a monster like your father, trying to be the center of attention. You told Liberace, “I have a piece ready to play if you want.”
CYTOWIC: And he said, “This is my show, Richard.” He saw that even at 10 years old, I was trying to take over the center stage. But that’s what we were taught. We were supposed to shine and perform and just be charming, in a way that made us totally false. My impetus for this memoir was to try to understand Big Ed. For stories like this where you have an alcoholic father out of
control, it’s so easy for everybody to say, “Oh, my God, I hate him, I can’t stand him.” What I call “You son of a bitch, look what you did to me” stories, those are the easiest stories in the world to tell. But it doesn’t tell anything about the monster, so you have to ask: Was the monster hurt or lonely? Why did he act that way? What made him the way he was? Was there some original wound that he was acting out on himself? So, in the end, instead of a “You son of a bitch” story, it’s really a love story to Big Ed, trying to show some compassion to him and understanding what sort of creature he was.
BLADE: At one point you describe him as high camp. I wonder if you if you ever thought that he might have been gay or bisexual, if deeply closeted?
CYTOWIC: I wonder that too. I don’t have any proof one way or the other, but he certainly was sexually very outspoken. He had all those nude orgy parties and took pictures all the time. I’m sure that goes on all the time now in D.C., but back then, it must have been very unusual. The fact that he could convince people to take part in all that, have them dress up in costumes and pose for pictures, you just have to laugh and think, wow, what a force of nature he was. And mentioning camp, he was camp in the sense of Susan Sontag’s definition, which is a singular incandescent figure who is one thing, an exaggeration, and that was him. He instilled in me a taste for the offbeat and the unusual. If something was normal, I wasn’t interested, but if it was a little off, that was attractive.
BLADE: You mention being drawn to camp figures like Auntie Mame and Liberace.
CYTOWIC: When I saw “Auntie Mame” at Radio City Music Hall, I was in the first grade, so I was five years old. I loved that movie so much because all that craziness was so familiar. Patrick making drinks in the morning, I did that. And my classmates and peers didn’t do anything like that, though it took a while to realize what an unusual life we were living, my mother, sister, and I with Big Ed.
BLADE: The theme of magic and magic tricks runs through the book, which connects so much of life with your father and even your life outside.
CYTOWIC: Magic is a real through line, because two things were prominent with Big Ed. One was the cameras. He had tons of cameras, and the other was the magic, which he did constantly. So would I. When we went to the lake in the summer, I would entertain neighbors and guests by putting on a big magic show. I even made up my own trick.
As I say, magic is about telling people you’re going to fool them and then fooling them. Having them know what they’re seeing isn’t possible, and yet they believe it.
BLADE: It feels like such a perfect metaphor for your family.
CYTOWIC: It’s the spectator’s ability to hold two different, contradictory perspectives at the same time. That’s what we did. On the outside, we were a lovely family, everybody would compliment us when we went out to dinner. Back then, with children in restaurants, everybody said, “Oh my god, they’re going to start screaming and running around,” and we were the opposite. My sister and I were dressed up, I had a little coat and clip-on tie. We cleaned our plates, which my father really liked. And then people would come over and compliment my parents on what lovely children they had. Even the proprietor would say, “Doc, your kids are welcome here anytime.” We went against expectations. Here’s this picture perfect little family, so sweet and lovable, and yet behind the scenes, it was absolute chaos. That was the magic, the illusion that we were this lovely family on the surface, while behind the scenes, all hell was breaking loose. My sister to this day still hates my father. Every time we talk about him, she says, “I hated him. I couldn’t get out of the house fast enough.” She’s frozen in her perspective, and I went instead and looked, to find out who he was, what made him kick? Why was he this way? How did he make me the way I am? And how did I emerge with my own personality? Also, in turning away from the “You son of a bitch” kind of approach and moving to one of trying to understand him, that’s the magic trick that that brings him back, like the dove that’s hidden, and then you produce some silk scarves and, abracadabra, the dove reappears again, all whole.
BLADE: Your descriptions of gay life in D.C. during the ‘80s are fascinating. What’s been the biggest change in that world nowadays?
CYTOWIC: When I came to D.C., you really couldn’t be out in a broad sort of way. So you cultivated a circle of friends, you learned to entertain and throw parties, you did fabulous things. There was a lot more cohesiveness in this world because we all protected one another. I was out but I didn’t make a big deal of it. And it was only when I interviewed for the position of chief resident of Neurology at GW, that it became well-known. I kept meeting people through the process, including David, a psychiatrist who was training to get his neurology certification. I went to his place and talked some more and felt so
comfortable talking to him. He mentioned he and the woman he was seeing were going out that night and asked, “You want me to get a date for you?” I said, “Well, David, that’s very nice. Thank you, but I’m gay.” I didn’t realize that he would tell everybody so that when I finally accepted the job and showed up, everybody knew already that I was gay. It helped that there was a physician, an assistant Dean, in the department who was also gay. So we were naturally sympathetic to one another and he was very helpful. It really helped, too, that GW was, and still is, the gayest medical school in the country. If a student at another medical school had problems because he was gay, being bullied, he would transfer to GW. It became a magnet for medical students all over the country. Also, I remember thinking, I’m six blocks from the White House. It doesn’t get any better. At that time, D.C. was a very gay city, so it was easy to make friends and pick up tricks or whatever I wanted to do.
The cell phone has ruined so much because you can’t get people to commit to anything. Instead of saying, “Let’s have dinner next Tuesday at 7:30,” they say, “Well, I don’t know what I might be doing. Something better might come along.” I don’t how people socialize anymore because it’s all so last minute. It drives me crazy. I used to throw sex parties in the ‘90s. I called them “office parties” because they were in my office. I took over from a group that socialized first, starting with drinks and hors d’oeuvres, and then they announced, “time to take off your clothes.” And I said, “No, you cannot mix a social setting with a sexual setting. It doesn’t work like that.” I took over, and set strict rules, one being, everybody arrives at the same time. You’ve got to be here between 8 and 8:15, or else the door is locked, and you’re not getting in. Because so many other parties had people showing up two hours after it started, when things got hot. If you make things hot from the get go, then everybody has a really good time. Now, I don’t know what people do. I’m out of the loop. My orgy days are over.
BLADE: What do you hope readers will take away from “The Magician’s Accomplice?”
CYTOWIC: How to be yourself. I learned how to be myself and not be at the mercy of other people’s expectations. I developed the attitude of, I don’t care what other people think, because their opinion doesn’t affect me one way or the other. So when I write something, I’m not trying to prove a point or convince people. I say, “Here’s what I know. Here’s what I’ve been through. Take a look if you find it useful.” Maybe my experiences will help you.
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My boyfriend dumped me in April and I can’t get past it. I’m sad all the time and I’m always thinking about Leo, our time together, and how I ruined things. I pushed for too much, too quickly, and I’m afraid I came across as desperate.
Leo was my idea of a great boyfriend. He’s sexy, he’s funny, he loves travel and going out dancing (both of which I love).
He told me when we started dating that he liked keeping things light. That was OK with me. I barely knew him and didn’t know that I would want anything serious. But as I got to know him, my feelings changed.
When he broke up with me, he told me he wasn’t ready for the kind of relationship he thought I wanted. All I had done was suggest that we go to Europe together for a fun summer vacation. We had been going out for three months and I thought we were in a good place. I wish I had waited. Maybe he would have been ready for more.
He was really a great guy and now I screwed up. How do I move on from Leo’s leaving me, when it’s clear that he would have been a fantastic partner?
I want to stop berating myself for screwing this up. But I’m afraid of being alone for the rest of my life.
Michael replies:
Leo wouldn’t have been a fantastic partner, because he didn’t want the kind of relationship you were hoping for.
You didn’t do anything wrong by liking a guy and wanting to take the relationship to a deeper level. That’s how relationships progress — or don’t. You have to take a chance. And if the other person isn’t interested, he isn’t interested.
But in this case, Leo gave you advance notice that he didn’t want anything serious. And yet, you’re relentlessly berating yourself for making a mess of things, thinking that if only you had paced yourself better, Leo would have come around.
I think the key issue here is that you see yourself through a lens distorted by self-criticism, focused on regret and loss. Many of us frequently look at our lives through a lens that distorts reality. “I’m unlovable”, “I always screw up”, and “I can’t trust anyone” are some I hear a lot.
Such lenses likely develop in part from early, and big, life experiences; and in part we learn them from our parents and important caregivers.
Having some understanding of why you berate yourself for screwing up your life when you didn’t, might help you take this belief less seriously. And even without understanding why your mind tends to go in this direction, simply reminding yourself that you are looking through a distorted lens could help you to see clearly.
Now, here are some practical assists to stop lamenting and get yourself into reality.
• Strive to notice when you’re falling into the whirlpool of longing and regret, and do your best, every time, to pull yourself into the present. One way to do this: focus on the minute details of the reality around you. For example, sitting in your chair, feel the back of the chair behind you, the feel of the floor on your feet, the sounds coming into the room, the way the light plays on various objects around you. The more you do this, the easier it will likely get to shift into the present.
• Push yourself to do the things that you have enjoyed in the past, even if you don’t feel like getting out of bed or off your couch. You may be wishing you were with Leo when you’re traveling or out dancing, but it’s still better to be living than simply pining. And when you go into your Leo reverie, do your best to pull yourself
back into the present (see above).
• On a similar note: Get out and spend time with people. If you’re concerned about being lonely, this is the way to proceed. Making yourself feel bad and like a loser isn’t going to bring Leo back. It just makes you unhappy, and poor relationship material.
While I hope my reply is helpful, I think you could use ongoing support, given your entrenched negative view of yourself. Please consider finding a therapist to help you grieve, move forward, and stop knifing yourself.
(Michael Radkowsky, Psy.D. is a licensed psychologist who works with couples and individuals in D.C. He can be found online at michaelradkowsky.com All identifying information has been changed for reasons of confidentiality. Have a question? Send it to michael@michaelradkowsky.com ).
After getting dumped it’s important to get back out there and be social. (Photo via Bigstock/buso23)
Walk and 5K to End HIV
Annual Whitman-Walker fundraiser held in Anacostia Park
(Washington Blade photos by Michael Key)
Shenandoah Valley Pride
Tenth annual LGBTQ celebration held in Harrisonburg, Va.
(Washington Blade photos by Michael Key)
The tenth annual Shenandoah Valley Pride Festival was held at Turner Pavilion in downtown Harrisonburg, Va. on Sunday, Sept. 21. Performers included Latrice Royale of “RuPaul’s Drag Race.”
Whitman-Walker Health held its 39th annual Walk and 5K to End HIV in Anacostia Park on Saturday, Sept. 20.
How politics are affecting local real estate market
Policy choices, staffing patterns reshaping region in measurable ways
By VALERIE M. BLAKE
The Washington, D.C. metropolitan area is unique in the United States: few regions are as closely tied to the federal government’s size, scope, and spending. While I have seen many changes in administration having little to no effect on local real estate, when the current administration returned to the White House in 2025, the immediate ripple effects were felt not only in politics but also in real estate. From office towers downtown to suburban housing in Maryland and Virginia, policy choices and staffing patterns are reshaping the market in measurable ways.
The most visible change so far has been in the office sector. Federal agencies, long the anchor tenants for much of the District’s commercial space, have been reducing headcount and scaling back leased square footage. Early retirements, dismissals, hiring freezes and reorganizations have led to higher vacancy rates in both downtown Washington and the suburban corridors of Arlington, Alexandria, and Prince George’s County.
Prime buildings in central business districts remain relatively insulated, supported by prestige tenants and long-term leases. Older, mid-tier buildings, however, are struggling to maintain occupancy. Landlords in these segments are offering generous concessions — from extended free-rent periods to extensive tenant improvement packages — to attract private-sector replacements. Some owners are exploring conversions to residential, hospitality, or lab space, accelerating a trend toward adaptive reuse.
Government employment has always been a stabilizing force in the region. Reductions in staffing, however, are beginning to erode that stability. Suburban communities heavily reliant on federal jobs — particularly in parts of Maryland and Northern Virginia — are seeing softer housing demand. Listings are staying on the market longer, and sellers now need to adjust expectations downward.
The rental sector reflects these same dynamics. Downtown and transit-oriented neighborhoods with access to nightlife, jobs, and cultural amenities remain popular, with steady or rising rents. In contrast, suburban rental markets tied to federal agencies are softening, with landlords there offering concessions such as free parking or one month of free rent to reduce vacancy.
Multifamily developers are also taking notice. Some projects have been delayed or scaled back in slower submarkets, while others in prime urban or mixed-use areas are moving ahead. The long-term outlook depends on whether private-sector job growth can offset reductions in federal demand.
By contrast, neighborhoods less dependent on federal payrolls, and those attractive to private-sector workers, remain relatively strong. Areas with convenient transit access and robust private industry, such as parts of Fairfax, Montgomery, and urban D.C., are proving more resilient.
The residential picture is uneven. Core neighborhoods with limited inventory still attract multiple offers, pushing prices upward, especially for renovated rowhouses and single-family detached homes in high-demand school districts. But in commuter-heavy suburbs tied closely to federal employment, the balance is shifting toward buyers. There, more listings, longer marketing times, and negotiable sellers point to a cooling trend.
Buyers are regaining leverage in some areas, while sellers in government-dependent submarkets must price more competitively to draw offers. Investors are paying close attention to these shifts, recognizing potential discounts in softening communities.
Policy choices out of the White House are influencing the market in other ways. While we have yet to see the full impact of tariffs on imported goods, deregulation efforts could spur new construction despite increased costs and an uncertain labor market. Changes to retirement account rules, such as the end of the Windfall Elimination Provision (WEP) and the Government Pension Offset (GPO), may encourage more capital to flow into real estate. Adjustments to immigration and work visa policies could lower demand for higher-end rentals and home purchases by international professionals. Investors are adapting quickly. Some are targeting distressed office properties for conversion, betting on demand for residential or mixed-use redevelopment. Others are focusing on suburban markets that are less reliant on government, particularly where private industries like defense contracting, cybersecurity, and health care, for the moment, remain strong. Looking ahead, the trajectory of the region’s real estate market depends largely on how federal workforce policies evolve. If downsizing continues at its current pace or if agency headquarters are moved to other areas of the country, expect prolonged softness in suburban housing and commercial office markets.
What is clear in 2025 is that the D.C. metro area is more highly sensitive to political shifts than ever before. The decisions made in Washington don’t just affect Home Rule or how crime and homelessness are addressed; they reshape the very neighborhoods in which those policies are debated. For investors, homeowners, and renters alike, the current administration has been a reminder that the federal government is more than an employer or a tenant here — it is the backbone of the entire regional economy.
VALERIE M. BLAKE
is a licensed associate broker in D.C., Maryland, and Virginia with RLAH @properties. Call or text her at 202-246-8602, email her via www.DCHomeQuest.com, or follow her on Facebook at TheRealst8ofAffairs.
Policy choices out of the White House are influencing D.C.’s real estate market in myriad ways. (Washington Blade photo by Michael Key)
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