Live Arts

by Athena Naylor

This article was first published in The DC Line.

The Washington Revels’ annual holiday production returns to Lisner Auditorium this weekend to welcome Yule with a romping production of Elizabethan music and dance that celebrates the group’s 35 years in the District.

The latest version of The Christmas Revels invites viewers to Elizabethan England to follow the exploits of professional fool Will Kemp, a comic actor who historically served in Shakespeare’s theater company and famously Morris danced from London to Norwich in a nine-day publicity stunt. The 2018 production, which debuted last weekend, imagines a scenario in which Kemp (played by Mark Jaster) arrives in Norwich at the same time as her majesty Queen Elizabeth I (played by Katrina Van Duyn), who has come to enjoy rustic entertainment and celebrate Christmas away from the trappings of court.

The Christmas Revels is a yearly seasonal celebration showcasing traditional folk dances, the art of pantomime, music and participatory theater for all ages. Revels Inc., under which Revels groups across the country are affiliated, was founded in 1971 in Boston, but the phenomenon soon spread — first to New Hampshire in 1975, and most recently to Santa Barbara, Calif., its 10th location, in 2007. DC’s production group launched in the early 1980s and annually hosts a variety of participatory events such as Community Sings, summer parades, May Revels and, of course, its largest event — The Christmas Revels, which each year focuses on a different time period and folk tradition.

As a historical variety show, the 2018 production excels. Upon entering the theater, each audience member receives a program that not only provides sheet music for the eight singalongs included in the production, but also features a veritable history lesson on English folk culture. The program offers a concise but thorough explanation of the cultural origin and purpose of each song and dance performed on stage.

Within the show, musical performances are heightened by the accompaniment of Piffaro: The Renaissance Band, which imbues the production with sounds of the time, showcasing beautiful medieval and Elizabethan instruments, from horns and recorders to giant lutes.

The size and spectacle of The Christmas Revels is part of its public appeal, and the production company boasts an extensive cast that includes players from “age 8 to 88.” Accolades must go to artistic director Roberta Gasbarre and the Revels costume shop for making period costumes for a cast of nearly 100 people. The large and varied cast is indeed a feat and a highlight of the show. The children players are particularly charming in their period-specific song and pantomime numbers.

However, occasionally the sheer size of the Revels cast works against the production’s visual definition. The large folk dances, in particular, lose focus due to the significant number of performers cluttering the Lisner stage. The number of players in the production works best in one of the comedic highlights of the show, when each villager of Norwich, in an attempt at theatrical acting, cries out a line of a Shakespearean tragedy before dramatically perishing, resulting in the absurd and hilarious staged mass death.

When the production provides space for less crowded scenes, individual players within the production are allowed to shine. A purple-lit nighttime scene in the beginning of Act 2 opens with the Abbots Bromley Horn Dance, an ancient ritual whose meaning has been forgotten but whose impact remains engaging and mysterious. Dancers adorned with antlers and accompanied by a traditional recorder weave around the stage, creating a dreamlike atmosphere that serves as a respite to the more raucous rustic entertainment that fills the rest of the show.

Soon, Kemp — adorned with a donkey’s head from his rehearsals with the village players for their Yule play — encounters Queen Elizabeth sleeping outdoors in her nightgown. With his identity disguised, Kemp promenades with the queen in a comedic scene that makes full use of Jaster’s training in pantomime.

The sequence pays homage to A Midsummer’s Night Dream and the Shakespearean motif of strange and fantastical encounters occurring at night in the woods. When Kemp and the queen recognize each other the next morning in the village, both visibly decide to say nothing of the experience. What happens in the woods stays in the woods.

The Christmas Revels delivers what it sells as a revival and celebration of Elizabethan and Yuletide cultural traditions. If there is any reservation attached to the show, it would be toward how well these traditions translate to the current day. For example, in the second act of the show Queen Elizabeth delivers a monologue about the joy of the holiday season with the promise that “the gloom of the world is just a shadow.” This speech fits the historical purpose of  Yule as a solstice celebration that marked the end of days growing shorter and the beginning of increasing daylight. However, the reaction to this line, which was clearly meant to engender hope, was rather subdued at the Saturday matinee on Dec. 8. Perhaps having a monarch assure the poorer working class that their struggles are “just a shadow” falls a little flat after a rather tumultuous year, especially for a politically minded Washington audience.

The crowd reserved its cheers and applause for other moments, such as when the all-female troupe of the Rock Creek Morris Women gave Kemp a run for his money in a Morris dance duel. Raucous laughter also followed jokes about Canadian and American health care during the amusing play-within-a-play sequence in Act 2. It is 2018, after all, and there is benefit to focusing on the “expansion” aspect of the Revels’ mission to “revive, sustain, expand, and celebrate cultural traditions.”

Any recommendation to see The Christmas Revels should come with a caveat — you must enjoy participatory theater and be receptive to singing along with large groups. To say the experience is for everyone would be presumptuous. But for those looking for a family-friendly alternative to more standard holiday outings such as The Nutcracker or A Christmas Carol, The Christmas Revelsis a festive way not only to welcome Yule, but also to learn about unique historical traditions and gain a better appreciation for DC’s local performers and varied, thriving community ensembles.

To purchase tickets for The Christmas Revels: An Elizabethan Celebration of the Winter Solstice, visit the Washington Revels website. Performances are Friday at 7:30 p.m. (Family Friday); Saturday at 2 and 7:30 p.m.; and Sunday at 1 and 5 p.m. Tickets cost $18 to $60 for adults and $12 to $40 for ages 18 and younger. George Washington University’s Lisner Auditorium is located at 730 21st St. NW.

This article was first published in TAGG and can be read on their site here.

It has been two years since the iconic three-woman band BETTY has graced their hometown of Washington D.C. with a concert. Comprised of Alyson Palmer and sisters Elizabeth and Amy Ziff, the band has reached people beyond the scope of music and in the realms of social activism, humanitarian work, and more.

BETTY’s presence has been felt since the 1980s, when the band originated at the 9:30 Club. With a focus on not just making genre-bending music, BETTY has always been rooted in their efforts in social change.

“Musically, we’ve always had different influences and styles,” says band member Elizabeth Ziff. “What kept us together [all these years] was our politics.”

The band’s dedication to making their shows inclusive and tinged with their personal beliefs from the very beginning of their career drew skepticism. Ziff said that they were told this would “destroy their careers,” but has instead become a major touchstone for the band’s perception. And though the band has never been signed to a major label or had a manager, they’ve cultivated a wide-reaching, diverse, and devoted fan base.

“We have an incredibly loyal following,” says Ziff, emphasizing how some fans have shown up again and again over the decades. “We tour not in the way people make millions of dollars, but in a way where we can make friends everywhere. We are able to stay longer in places when we tour. We see things and are a part of a great cultural and political exchange.”

The band’s passion for equality and empowerment on a political and social level is unsurprising given their origins in Reagan-era D.C. Ziff recalls times where concerts had to be carried out with discretion, specifically playing at Pride in the 1980s on P Street beach.

“We have to be vigilant,” Ziff explains. “Our country has never been equal. But I feel encouraged right now. Activism has always been an art – you just have to look in to the corners for it.”

They’ve carried that passion and dedication into the 21st century, connecting with new and old audiences across the country in the midst of a tumultuous political climate.

“We really believe in connecting with the audience,” says Ziff. “We are especially conscious of being a feminist group and seeing our similarities rather than differences.” The band’s own intergroup diversity (Ziff identifies as a lesbian and Palmer is African-American) has spurred on their activist efforts. Their concerts act as safe spaces for the LGBTQ community and other marginalized identities, but still place a large emphasis on just having fun being around people like you.

“There’s a time you want to be on your own and that’s valid,” says Ziff. “But there’s a time in art and music that you want to be around other people and you’re dancing and laughing and singing the same song.” It’s this sentiment that has followed BETTY’s career for years and continues to be something the band is defined by.

BETTY’s Holiday Show takes place Sunday, December 2 at City Winery in Washington, D.C. For more information or to purchase tickets, click here.

This article was first published on TAGG and can be read on their site here.

Musician Holly Near has dedicated her life and career to ensuring that her music allows activism, storytelling, and more to intersect. She has participated in the annual music festival SisterSpace in the past and continues to be a vital force in that event and the LGBTQ community. Below, she tells us a bit about her own career and the importance of festivals like SisterSpace.

How did you get involved with SisterSpace, and why is an event like this important to you?

I began participating in women’s music festivals in the early ’70s. I believe they have been a hugely important way for women and perhaps more specifically lesbians to gather. We all need songs no matter who we are, no matter where we come from. Lesbian and woman-identified songs were originally sung in the privacy of the home but fortunately, the music broke down the front door.

You’ve been involved in the music industry for some time now. How have you seen the industry shift and change, specifically in its inclusion of LGBTQ performers?

I’m not much of an expert on the music industry. I left it pretty quickly. I didn’t know how to be me in it. I was singing political lyrics, anti-war songs, songs about social change right from the start, and that just didn’t fit into the industry hit song mold. So I started my own record company. This was in 1972. That said, I think the work that lesbian feminists did to make a space for outspoken music laid the ground work so that women artists could then chose to go in to the music industry or work with the alternative feminist networks.

How has your experience as an out artist shifted your own life?

Before I came out I was already singing songs that had words like “genocide,” so my chances of a mainstream career were already unlikely. I knew that it would be difficult when I came out. Back then, the so-called white, male-dominated left and progressive movements were not user-friendly to feminists or lesbians and, for the most part, not receptive to people of color either. So by coming out, I would lose a good part of my audience in the peace movement. But they eventually went through their own changes. Now, at least in appearance, most social change groups are welcoming of diversity of all types. It is the next step that is hard. How do we change the racism and sexism that still hangs on in organizations, institutions, and individuals? I think that songwriters can continue to be of use in this regard. It is important for people who think of themselves as progressive to look long and hard on what work still needs to be done. In this case, for example, lesbians have an opportunity to really undo the racism and class discrimination that lurks in our communities, our structures, our culture. Music festivals can be part of this work.

What does SisterSpace mean to you, especially in the context of today’s social and political climate?

SisterSpace has made a commitment to challenging racism and other forms of discrimination. It is in their mission statement; it is reflected on their board and in their leadership. It gives us all a place to practice and we can take that knowledge out into the larger community.

Is there anything else you would want to add, either about yourself or to burgeoning LGBTQ musicians?

Young artists will make up a path that I cannot even imagine. That is how it goes and I look forward to seeing where it goes. However, no matter when we come in to this work, it is a challenge to really commit to being socially relevant and conscientious artists. It takes practice and can be painful and it can be glorious. As hard as it has been over the last 50 years, I do not regret for one moment working outside of the mainstream.

This article was first published on TAGG and can be read on their site here.

SisterSpace, the annual camping festival for women’s music, culture, and—most importantly— community, is gearing up for another year of femme-oriented fun with a social impact that is unparalleled.

With comedy, spoken word, jazz, pop, folk, rock, world music and more, the festival is spread out over five stages indoors and outdoors and lasts three days. This year’s theme, “Her(Story),” builds upon last year’s theme,“ReSisterSpace,” where workshops were focused on empowerment, activism, and self-care.

“We have several workshops about empowerment, but also about coming together,” says Jo-Ann McIntyre, an organizer of SisterSpace. “It’s about coming together, learning how to talk and listen to each other and hearing and celebrating each other’s stories.”

The festival, which has been held since 1977, has long ensured that the event is packed with opportunities and activities to connect queer individuals with each other and allow for intergenerational queer bonding and solidarity.

This year, the festival will celebrate the creation of the Virginia Giordano Memorial Fund. Virginia Giordano was a prominent and celebrated producer of women’s music in the 1970s who helped to promote LGBTQ musicians, including SisterSpace performers Holly Near and Cris Williamson, until her death in 2014. The fund is aimed at helping up-and-coming musicians and other individuals gain more recognition and visibility.

Near, who is on the advisory board for the Virginia Giordano Memorial Fund, has participated in women’s music festivals since the early ’70s and emphasizes the importance of these spaces in celebrating and advocating for one another.

“How do we change the racism and sexism that still hangs on in organizations, institutions, and individuals?” Near asks. “I think songwriters can continue to be of use in this regard. It is important for people who think of themselves as progressive to look long and hard on what work still needs to be done.” Music festivals like SisterSpace can be an avenue of change that can help in this dismantling.

“We all need songs no matter who we are, no matter where we come from,” Near says. With a line-up of musicians that span multiple generations and backgrounds (including Be Steadwell, Crys Matthews, Indigie Femme, and KIN4LIFE) and plenty more workshops and events, SisterSpace is gearing up for a successful year.

SisterSpace takes place September 7–9 in Darlington, Maryland. To register for the festival or to learn more about the SisterSpace community, visit sisterspace.org.

This article was first published on TAGG and can be read on their site here.

From the time she started to form words, Shannon Dorsey was acting, shaping the theater into not only a home, but an eventual haven of self-expression and love. The space underneath the family dining table was her first stage, and she made anyone around her watch her early childhood shows.

“I’ve always enjoyed theater as a form,” said Dorsey. “I’ve danced since I was three years old, tap, Hip-Hop, but have been doing ballet the longest. I found [dance] satiated this thing of being on stage but it didn’t do everything I needed it to do.” As a student of both Wilson High School and Duke Ellington School of the Arts, Dorsey could take theater courses at the latter for half the day in her senior year of high school. Though she was not always exposed to roles in plays, she stayed on stage.

“Everyone knew I was going to be an actor,” said Dorsey, reminiscing on her early performances and community encouragement. “That’s something that has been so consistent from high school to college – acting was something that I was always going to do, regardless whether I had access to it.”

Growing up in Washington D.C., Dorsey’s childhood and education consistently emphasized the importance of arts and reinforced her identity as an African-American woman and actress. In her sophomore year of high school, Dorsey was cast as a Russian woman in a “white play with white characters” in a majority black high school, a humorous incident that allowed her to realize the extent of whiteness on stage, despite her teachers and community reinforcing an environment where her identity was not only validated, but celebrated on stage.

Dorsey continued to seek out theater as a safe space, attending Temple University where her pedigree grew and obtaining two degrees: one in communications in theater and another in African-American Studies. “[In college], I realized I am really, really a minority in this world and in my craft,” said Dorsey. “I was told about it, but it was different really experiencing it.”

Dorsey recalled an incident early on in her career where she and her cast were on a national tour for a play. The rest of the cast, who were all white, would make comments on the potential dangers of the neighborhoods they were in. The misplaced comments were discouraging to Dorsey, but led to a pertinent revelation. “I was the only black dot on this white bus,” said Dorsey. “Everyone else was white, only white, and all had perspectives that reflected each other, but not me.”

Dorsey continues to be “fascinated” by the way humans communicate effectively and began to seek out multi-faceted roles of characters that did not just represent her, but the complicated nature of the human spirit. Dorsey spoke on the difficulty on finding roles that sated her desire for diverse and complex representation, while avoiding roles that overly relied on shock value. Still, she continues to make conscious efforts to seek out roles that challenge stereotypes and societal norms, a steadfast motto that has led her to plays such as “Breath, Boom,” “In the Red and Brown Water,” and “Marcus; or the Secret of Sweet.”

For the role of Shanita in “Skeleton Crew,” the Dominique Morisseau play that is currently playing in Washington D.C.’s Studio Theatre, the studio reached out to Dorsey to audition, which delighted her. “Shanita wasn’t a damsel in distress,” Dorsey said on what drew her to the role. “It wasn’t another story of a black pregnant woman and how things suck.”

Dorsey and director Patricia McGregor, as well as the rest of the cast, worked through character development from the first table work on, coming up with an intimate and stirring play with multifaceted characters. Dorsey stated that nobody’s words could “do the play justice,” urging everyone to see the play for its universal and touching themes.

Beyond representation, Dorsey consistently approaches all her roles with love. “Love is the ultimate complexity we haven’t figured out yet,” she said. “I want to take roles that touch my heartstrings. Love is everywhere, and I am made of love.”

Skeleton Crew is currently playing at Studio Theatre, 1501 14th St NW, Washington, D.C. and ends on October 15, 2017. For more information, click here.