WorldPride 2025 is coming to Washington, DC and Gay Men’s Chorus of Washington will be the anchor of the arts and culture calendar. In celebration of WorldPride 2025, GMCW will present a two-week International Choral Festival, where choruses and groups will perform pop-up concerts with GMCW at venues all around the DC metro area.

The festival will bring the DC metro area to life with daily hour-long pop-up performances showcasing the power, pride, and diversity of queer choral music. Each day of the festival, audiences will experience performances by GMCW’s own ensembles — Potomac Fever, Rock Creek Singers, Seasons of Love, GenOUT Youth Chorus, and 17th Street Dance — alongside guest choruses from across the country, many of them members of the national GALA Choruses network. Festival highlights will include special collaborations with local and national ensembles, the area premiere of A Peacock Among Pigeons, and the world premiere of Our Wildest Imaginings, a new work by acclaimed composer Dominick DiOrio, honoring The Right Reverend Bishop Gene V. Robinson.

Participating choruses include:

• 7th Son (Charlotte, NC)
• Asian Rainbow Chorus (New York, NY)
• Brolo (Philadelphia, PA)
• Central Maryland Rainbow Chorus (Columbia, MD)
• Cherry Blossom District (Washington, DC)
• Congressional Chorus (Washington, DC)
• DC Labor Chorus (Washington, DC)
• Gay Men’s Chorus of Washington, DC (Washington, DC)
• GenOUT Youth Chorus (Washington, DC)
• Jabberwocks (Providence, RI)
• Jackson Reed High School Concert Choir (Washington, DC)
• Lavender Light Gospel Choir (New York, NY)
• LOVE Chorus (USA)
• Major Minors (Nashville, TN)
• National LGBTQIA+ Flute Choir (USA)
• New Wave Singers of Baltimore (Baltimore, MD)
• New York City Gay Men’s Chorus (New York, NY)
• Not What You Think (Washington, DC)
• On That Note! (Hartford, CT)
• Philadelphia Gay Men’s Chorus (Philadelphia, PA)
• Potomac Fever (Washington, DC)
• Richmond Allied Voices (Richmond, VA)
• Rock Creek Singers (Washington, DC),
• Sacred and Profane Chorus (Berkeley, CA)
• Seasons of Love (Washington, DC)
• Spite & Malice (Charlotte, NC)
• Tonewall (New York, NY)
• Triangle Gay Men’s Chorus (Raleigh, NC)
• Twin Cities Gay Men’s Chorus (Minneapolis, MN)
• Vox Dominae (Charlotte, NC)

Participating venues include Atlas Performing Arts Center, Shakespeare Theatre Company, Union Market, Woolly Mammoth Theatre Company, St. Thomas’ Parish, Capital Jewish Museum, Capitol Hill Presbyterian Church, First Congregational United Church of Christ, Foundry United Methodist Church, JW Marriott Washington, DC, The Falls Church, and Martin Luther King, Jr. Library among others.

All performances are FREE and open to the public, with a limited number of Premium Passes available for purchase. The full schedule, which is subject to change, is available HERE.

WORLD PRIDE INTERNATIONAL CHORAL FESTIVAL performs May 22 to June 8, 2025 in various venues around the DC metro area. For more information or schedule updates, visit the festival’s website. Special Premium Passes available online or call 202-293-1548.

For more information about WorldPride 2025, click HERE.

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At stages and productions across the city, I’ve heard artists, producers, and creators utter a series of heartfelt sentiments to audiences, brought on by the actions of the new administration. They can generally be summarized as “We are shocked by the events that have affected our industry” or “We stand by our mission.” These are lines spoken out of concern over the future, and aiming to protect their own organizations.

In one particular instance, a theatermaker said to an audience of patrons in a pained jest, “We are lucky it’s not us.”

These are valid sentiments, but when the Gay Men’s Chorus of Washington, DC (GMCW) —  arguably one of the most publicly affected organizations to be dismissed from the Kennedy Center — performed at the Lincoln Theatre, they presented a community of resistance and joy. They did not just commit to their artistic mission; they committed to preserving diversity, equity, and inclusion, to protecting trans peoples’ existence, and to presenting a safe community for youths and marginalized communities.

When Thea Kano (she/her), artistic director and one of the conductors for the production of Passports, exclaims, “DEI is to be elevated and celebrated” to vocal and vigorous cheers from the audience, it was clear that this was the energy that DC audiences have been hoping to hear from their artistic leaders.

The production showcased music, dance, and influences from around the world, crisply sung and impressively performed by different choral combinations of the GMCW, including the GenOut Youth Chorus and the 17th Street Dance troupe. The production moved seamlessly from full ensemble performances to reflective solos: Marcos Sastre stole the show early on with an Argentine tune. With an accompanying tango, Sastre reminisced about his grandmother, who immigrated to provide his family with a better life.

With songs and spirituals that honored Indigenous populations of North and South America, the ensemble brilliantly emulated the sounds of a rainforest and its fauna. With precise and expert technical direction (Jarrod Bennett, with lighting from Solomon HaileSelassie), light and sound elevated the choral performances by transporting audiences to their intended scenes.

The many groups within GMCW honored the passport theme of the show, how we can grow and learn from travel. Rock Creek Singers and Cherry Blossom District presented, respectively, an Indian Raga and a Malay folk song. There was a clear intention to showcase music that this audience may never have heard before, and there is such a joy to hearing something new (and wonderfully performed) for the first time.

And the theme was so apt for this organization, reminding the audience of the legal protections this unassuming document has provided citizens for so long, especially when outside of our countries’ borders. Right after Potomac Fever’s rendition of John Lennon’s “Imagine,” Keygan Miller (they/them) reminded us of the new dangers that the trans community faces, with forcing a change of their gender marker on their passport, of the objective danger that their country’s government no longer wishes to keep them safe from.

The group Seasons of Love framed the international travel with a rendition of “Khumbaya,” a spiritual honoring those seeking and praying for help.

In the end, GMCW left us with a reminder: The history of LGBTQIA+ people has always been in an ongoing struggle for equality and the right to exist, and this has clearly escalated with the new administration. The establishment of this community, and the protection of neighbors within that community, is how they intend to survive and hopefully prosper. In the end, the chorus itself was shown in a spectrum of glitter and color, honoring those who came before.

Running Time: One hour and 40 minutes, no intermission.

Passports played March 15 and 16, 2025, presented by Gay Men’s Chorus of Washington, DC performing at the Lincoln Theatre – 1215 U Street NW, Washington, DC.

The program for GMCW’s Passports, including credits and song list, is online here.

GMCW will next perform at its fundraiser Spring Affair at the Ritz-Carlton on May 17, 2025. The GMCW will also be the anchor of the arts and culture calendar during WorldPride DC 2025 at the International Choral Festival.

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Raising voices and pointing toes exuberantly in song this holiday season, the Gay Men’s Chorus of Washington, DC (GMCW) presents The Holiday Show — their annual holiday extravaganza — at the Lincoln Theatre. Under the baton of Artistic Director Theo Kano, Associate Conductor C. Paul Heins, and Assistant Conductor Ronté Pierce, this festive evening is a cheery antidote to the cold winds of the last few weeks.

Celebrating holiday music and traditions from all around the world, this year’s Holiday Show also acts as a preview for their International Choral Festival coming to DC in June 2025 for the World Pride Festival. Singing in Spanish and Hebrew, Yoruba and Tagalog, this year’s set was joyful, playful, and delightfully thoughtful.

From the loud and boisterous “Christmas Isn’t Christmas ‘Til You Get Here,” “Betelehemu,” and the entertaining “TeXmas Hold ‘Em” to the mindful and still “Silent Night” and “See Amid the Winter’s Snow/Lo How a Rose,” The Holiday Show showcased the full range of the season with enough energy to turn any Grinch or Scrooge into a holiday fan. Additional standouts were the charming “Hanukkah Rhapsody” with soloists Alex Domini and Will Prater and the touching “Love Is Christmas” with soloist Valerie Flores.

Adding dimension (and often cheekiness) to many of the numbers were the dancers of 17th Street Dance. Sometimes, Santa and his reindeer broke out the tap shoes; sometimes, there was matching flannel and some impressive glove work, and other times, the chaps were on full display to mischievous hoots and hollers from all. The gracefulness of “Paso Na Sinta Ko” and the coordination of “Ang Pasko Ay Sumapit” were also great to watch, adding fun layers to the voices of the chorus.

All of the GMCW’s small ensembles of the chorus also featured in the concert experience. The GenOUT Youth Chorus, with “Sanna Sannanina” and “I’ll Be Home for Christmas,” shone with enthusiasm and harmony. The acapella Potomac Fever performed “My Grown-Up Christmas List,” with solos by Gia-Ninh Chuang, Jay Malavé, and Cooper Westbrook, and ended in laughter with the always enjoyable Straight No Chaser adaptation of the “12 Days of Christmas/Africa” (soloists Steven Shi, Shawn Morris, Kevin Thomason, and Jack Marsh) guaranteed to make you smile. Rock Creek Singers presented the contemplative “Cold Moon” and the phenomenal Seasons of Love brought down the house with “Give Love on Christmas Day” (soloist Gabriel Lopez) and “Now Behold the Lamb” (with solos by Chris Murphy and Freddie Quimbley).

Ensuring that the spectacle sparkled as brightly as possible was the creative work “behind the scenes.” Production design by Chipper Dean, lighting design by Solomon HaileSelassie, costume design by Jeffery Hollands, and choreography (even choral-ography) by Danny Aldous, Craig Cipollini, James Ellzy, and Matt Zagorski all added flair and fun to the performance. Equally important were the musicals of the World Music Collective, starting the evening off with a wonderful pre-concert set, with concert instrumentalists Theodore Guerrant on piano, Arnold Gottleib on bass, and Danny Villanueva on percussion.

Playing for only one more weekend, The Holiday Show by the GMCW is absolutely a merry way to keep this holiday season bright.  A celebration of love, home, peace, and community at a time when the world needs more of exactly that, The Holiday Show compels you to open your heart, your ears, and your arms to those around you.

Running Time: One hour and 45 minutes, no intermission.

The Holiday Show plays December 14 and 15, 2024, presented by Gay Men’s Chorus of Washington, DC performing at the Lincoln Theatre – 1215 U Street NW, Washington, DC. Purchase tickets (starting at $20) online.

The program for The Holiday Show is online here.

SONG LIST

Preshow: WORLD MUSIC COLLECTIVE
“Ishkar”
Music by Deepak Ram

“Longing”
Music by Cristian Perez

“Treseros son”
Music by Noah Getz

“Caravan”
Music by Juan Tizol

GAY MEN’S CHORUS OF WASHINGTON, DC, WORLD MUSIC COLLECTIVE, and 17TH STREET DANCE
“Christmas Isn’t Christmas ‘Til You Get Here”
Music and lyrics by Kylie Minogue, Steve Anderson, and Karen Poole
Arranged by Chad Weirick

GAY MEN’S CHORUS OF WASHINGTON, DC and WORLD MUSIC COLLECTIVE
“Feliz Navidad”
Music and lyrics by José Feliciano
Arranged by Tim Sarsany

GAY MEN’S CHORUS OF WASHINGTON, DC
“Winter Proverbs”
Music by Frances Farrell
Texts from Chinese, English, German, Guinean, & Irish proverbs
“Ode to the West Wind” by Percy Bysshe Shelley

GAY MEN’S CHORUS OF WASHINGTON, DC and 17TH STREET DANCE
“Paso Na Sinta Ko”
Traditional Filipino Christmas Carol
Music and lyrics by Francis Dandan, and Aureo Estanislao
Arranged by Bobby Buchanan

“Ang Pasko Ay Sumpait”
Traditional Filipino Christmas Carol
Music and lyrics by Vicente Rubi and Levi Celerio
Arranged by Bobby Buchanan

GenOUT YOUTH CHORUS
“Sanna Sannanina”
South African Folk Song/African Folk Song
Arranged by Catherine DeLanoy

“I’ll Be Home For Christmas”
Music and lyrics by Walter Kent and Kim Gannon
Arranged by Paul Langford

GAY MEN’S CHORUS OF WASHINGTON, DC and GenOUT YOUTH CHORUS
“Peace, Salaam, Shalom”
Music and lyrics by Pat Humphries and Sandy Opatow

GAY MEN’S CHORUS OF WASHINGTON, DC
“Silent Night”
Music and lyrics by Franz Gruber
Arranged by Dan Forrest
Soloist: Samilet Lee

“Betelehemu”
Music and lyrics by Via Olatunji
Arranged by Wendell Whalum
Soloists: Dorian Amero, Alex Bowen, Perry Medlin, and Micah Yarbrough

GAY MEN’S CHORUS OF WASHINGTON, DC and 17TH STREET DANCE
“The Man with the Bag”
Music and lyrics by Irving Taylor, Dudley Brooks, and Harold Stanley
Arranged by David Maddux

POTOMAC FEVER
“My Grown-Up Christmas List”
Music and lyrics by David Foster and Linda Thompson Jenner
Arranged by Pentatonix
Soloists: Gia-Ninh Chuang, Jonathan Malavé, and Cooper Westbrook

“12 Days of Christmas/Africa”
Music and lyrics by Music and lyrics by Frederic Austin, David Paich, and Jeffrey T. Porcaro
Arranged by Richrd Gregory and Ken Purchase
Soloists: Steven Shi, Shawn Morris, Kevin Thomason, and Jack Marsh

GAY MEN’S CHORUS OF WASHINGTON, DC and 17TH STREET DANCE
“Favorite One”
Music and lyrics by Cy Coleman, Betty Comden, and Adolph Green

GAY MEN’S CHORUS OF WASHINGTON, DC
“Hanukkah Rhapsody”
Based on Hungarian Rhapsody No. 2 by Franz Liszt
Arrangement and lyrics by Eric Lane Barnes
Soloists: Alex Domini and Will Prater

ROCK CREEK SINGERS
“Cold Moon”
Music and lyrics by Nicholas Ryan Kelly

GAY MEN’S CHORUS OF WASHINGTON, DC and ROCK CREEK SINGERS
“See Amid the Winter’s Snow/Lo How A Rose”
Music and lyrics by Edward Caswall
Additional Lyrics by S.K. Hill
Arranged by Eugene Butler
Adapted for TTBB chorus by M. Howarth

SEASONS OF LOVE
“Give Love on Christmas Day”
Music and lyrics by Freddie Perren, Alphonso Mizell, Christine Yarian, Berry Gordy, and Deke Richards
Arranged by Ronté Pierce
Soloist: Gabriel Lopez
Piano: Kevin Huang

“Now Behold the Lamb”
Music and lyrics by Kirk Franklin
Arranged by Ronté Pierce
Soloists: Chris Murphy and Freddie Quimbley
Piano: Kevin Huang

GAY MEN’S CHORUS OF WASHINGTON, DC
“Love is Christmas”
Music and lyrics by Sara Bareilles
Soloist: Valerie Flores

GAY MEN’S CHORUS OF WASHINGTON, DC and 17TH STREET DANCE
“TeXmas Hold ‘Em”
Music and lyrics by Beyoncé Knowles, Brian Vincent Bates, Raphael Saadiq, Elizabeth Boland, Megan Buelow, and Nathan Farraro
Arranged by Charles Beale
Parody lyrics by Zac Barger

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In the obligatory lull between summer travels and holiday planning, Gay Men’s Chorus of Washington, DC continues to transport its audiences to distant states, and states of mind. With Postcards, the Chorus’ annual fall cabaret and the first event of their 44th season, performances traverse not only the globe but the rich spectrum of experience, tradition, and identity that comprise it. Composed of 18 solos, each with brief introductory monologues, Postcards is a tactfully paced and thoroughly engaging cabaret. Living up to Tommie Adams’ sultry opening rendition of Pippin’s “Magic to Do,” Postcards delivers equal parts fantasy and sincerity.

From San Francisco to Dublin, Italy to Argentina, GMCW distills its company’s vast travels to their most resonant and allegorical. In Zac Barger’s elegiac rendition of “It All Fades Away” from The Bridges of Madison County, the Grand Canyon is but a backdrop for the even more formidable landscape of grief. In Adam Greczkowski’s original song “Catch Me If You Can,” he fluently expresses the journey of desire through place — and reveals how it may find you right back where you started. In fact, sometimes travel awakens us to the closure we must seek at home, as illustrated by Romm Gatongay’s haunting tribute “Home” and Kev Watts’ pensive “You and I Both.” These realizations are also often owed to the people we meet in our travels: the colorful characters of Michael Aylward’s “Streets of Dublin,” the wistful hero of Rob Hall’s “Moon River,” and the daring Jo March of Gabriel Lopez’s “Astonishing.”

Indeed, to travel is to have one foot in the past and another in the future. As we journey toward the unknown and engage with the unfamiliar, we both remember and dream. For to reflect on that which we cannot change changes us. To accept the past changes our future. Postcards understands this tether between time and memory and brings it to the stage through earnest reflection. Alex Domini’s heady “New York Lights” channels the willful resolve of his Italian ancestors; Michael Smith’s “Journey to the Past” envisions a hopeful future through reflection; and Marcos Sastre’s poignant “Por Una Cabeza” pays endearing homage to the artists who paved his way.

Though we may feel as interconnected as ever nowadays, our past often remains sequestered and not by plane, train, nor automobile may we come any closer. But perhaps we may through song? With tender tributes to Tony Bennett, Jacques Brel, Bruce Springsteen, and Gladys Knight & the Pips, Postcards weaves a broad tapestry of travel, threading together a wide spectrum of musical history, genre, and culture.

Amid all this earnestness, Postcards retains the tonal playfulness of any cabaret worth its salt. Just at the right time: a moment of irony for the cynic and a moment of respite for the empath. From Shawn Morris’ winsome reverie of “firsts,” to Guy Bosworth’s linguistic adventures in Paris, Postcards revels in the flippant and the joyous. Kevin Thomason’s bantering discourse on medical tourism even serves as a rallying call for all those with an aversion to plastic — and a flight alert set for Turkey.

From surgical tourism to international deployments to legacies of migration, Postcards delves deep into the array of modern and historic travel, championing a sumptuous collaboration of the capital’s finest performers. Even after nearly 44 years of activism and performance — and even in its small-stage productions — Gay Men’s Chorus of Washington, DC proves itself a haven for self-reflection and a beacon in uncertain times.

Running Time: Two hours, including one 15-minute intermission.

Postcards played October 19, 2024 (at 2 pm, 5 pm, and 8 pm), presented by Gay Men’s Chorus of Washington, DC performing at The Keegan Theatre, 1742 Church St NW, Washington, DC.

POSTCARDS SONG LIST

ACT I
Tommie Adams – “Magic to Do” (from Pippin)
Shawn Morris – “Travelin’ Song” (from Shucked)
Michael Aylward – “Streets of Dublin” (from A Man of No Importance)
Jonathan Chaffin – “I Left My Heart in San Francisco” (Tony Bennett)
Marcos Sastre – “Por Una Cabeza” (tango love song)
Alex Domini – “New York Lights” (from A View From the Bridge)
Kev Watts – “You and I Both” (by Jason Mraz)
Guy Bosworth – “French Song” (from A…My Name Is Alice)
Zac Barger – “It All Fades Away” (from The Bridges of Madison County)

INTERMISSION

ACT II
Adam Greczkowski – “Catch Me if You Can” (original song)
Michael B. Smith – “Journey to the Past” (from Anastasia)
Romm Gatongay – “Home” (by Michael Boublé)
Kevin Thomason – “What Did You Do to Your Face” (by Jim Caruso and Billy Stritch)
Chris Gillespie – “Amsterdam” (by Jacques Brel)
Rob Hall – “Moon River” (from Breakfast at Tiffany’s)
Andrew Harmon – “Thunder Road” (by Bruce Springsteen)
Jarrod Bennett – “Midnight Train to Georgia” (by Gladys Knight & the Pips)
Gabriel Lopez – “Astonishing” (from Little Women)

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A feat four years in the making, Portraits at the Kennedy Center’s Concert Hall sees the Gay Men’s Chorus of Washington, DC at its most collaborative and inventive. Combining the work of nine visual artists, nine composers, nine choreographers, the 17th Street Dance ensemble, and the GMCW company, Portraits cleverly transcends medium in favor of message, distilling the poignant, the defiant, and the hopeful in equal measure.

Each piece in this nine-movement oratorio springs from the work of a visual artist. Introduced by a dramatic reading of the composer’s lyrics, each painting materializes above the choir, then wakens at their song. As dancers flit and fly across the stage, song and text and brushstroke all gain physicality and the catharsis of movement. Just as the borders of artistic practice collapse into one another, so do the narratives of these pieces assemble and combine to form an expansive gallery of queerness across social boundaries.

Through artistic abstraction, what could border on a didactic homily on the issues most pressing to the queer community now becomes an understated and lyrical ode to a future worth imagining. Indeed, in the words of Cuban American academic José Esteban Muñoz that ripple across each composition: “the present is not enough.”

The oratorio’s movements each work toward alternative futures in which queerness may allow us to heal ourselves, to find communion, to fulfill our desires, to be seen, and to live loudly and unfettered by expectation. From the yearnful imaginings of Nicole Wandera’s “Strange Fruit,” accompanied by a composition by Paul Leavitt and a dance choreographed by Catherine Oh, to the reflective solitude of Judith Peck’s “Steeled,” accompanied by a composition by Matthew Felbein and a dance choreographed by Krystal Butler, the movements in Portraits sweep the spectrum of queer experience and artistry.

The movements inspired by Joan Cox’s “Night Hunger,” a lucent piece exploring the force of the male gaze on lesbian relationships, and by Gregory Wilkins’ “Keep Your Eye on the Prize,” an empathetic study of queer solidarity and perseverance, stand out as crowd favorites. Other themes addressed just as tactfully include the disembodying effects of gender dysphoria (“Sleep with One Eye Open and Do Not Speak of It” by Terrance Gregoraschuk, music by Raymond Mueller, choreography by Jessi Brown-White), the isolation of racialized sociality (“See Me” by Linda Lowery, music by Royden Tse, choreography by Michael Bobbit), and the dichotomies between entrapment and escape (“Man with Tattoo, Havana” by James Kimak, music by Ismael Huerta, choreography by Solomon HaileSelassie; “Virginia” by Jacqueline Hoysted, music by Ethan Soledad, choreography by Andrea Miller).

GMCW’s Portraits delivers a cohesive yet varied series of original compositions with a conviction both refreshing and urgent. Helmed by Artistic Director Thea Kano, Portraits maintains a formal integrity despite its synthesized approach. Each piece feels distinct in its message while contributing to an exhibition united by queer love, kinship, and comradery. In addressing all these themes, Portraits tips the crucible of identity into new and expansive molds, casting queerness alongside myriad racial, ethnic, and cultural identities, as essential ways of being more intertwined and in need of protection than ever before.

Running Time: 90 minutes, with no intermission.

Portraits played June 16, 2024, presented by the Gay Men’s Chorus of Washington, DC performing at the Kennedy Center Concert Hall, 2700 F St NW, Washington, DC.

The complete playbill for Portraits is online here.

PROGRAM

Portrait: Strange Fruit
Artist: Nicole Wandera
Music: “Strange Fruit”
Composer & Lyricist: Paul Leavitt
Choreographer: Catherine Oh

Portrait: Shard
Artist: Céline Gauchey
Music: “I am (only mine)”
Composer & Lyricist: Cole Reyes
Text: Cole Reyes
Choreographer: Matthew Cumbie

Portrait: See Me
Artist: Linda Lowery
Music: “Do You See Me?”
Composer & Lyricist: Royden Tse
Choreographer: Michael Bobbitt

–Five-Minute Pause–

Portrait: Sleep with One Eye Open and Do Not Speak of It
Artist: Terrance Gregoraschuk
Music: “Sleep With One Eye Open”
Composer & Lyricist: Raymond Mueller
Choreographer: Jessi Brown-White

Portrait: Steeled
Artist: Judith Peck
Music: “Steeled”
Composer & Lyricist: Matthew Felbein
Choreographer and Soloist: Krystal Butler

Portrait: Night Hunger
Artist: Joan Cox
Music: “For Us”
Composer: Richard Clawson
Lyricist: Caroline Peacock
Choreographer: James Ellzy

–Five-Minute Pause–

Portrait: Man with Tattoo, Havana
Artist: James Kimak
Music: “Paz”
Composer: Ismael Huerta
Text: Alfonsina Storni (1892-1938)
Choreographer: Solomon HaileSelassie

Portrait: Black Lives Matter: Keep Your Eye on the Prize
Artist: Gregory Wilkins
Music: “It Was Not Fate”
Composer: Joshua Fishbein
Text: William H. A. Moore
Choreographer: Craig Cipollini

Portrait: Virginia
Artist: Jacqueline Hoysted
Music: “When I Rise Up”
Composer: Ethan Soledad
Text: Georgia Douglas Johnson (1880-1966) Choreographer: Andrea Miller
Soloist: Chloe Crenshaw

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The air in the lobby at Atlas Performing Arts Center is already buzzing with an audience that seems to be familiar and comfortable with each other. There’s laughter and recognition between people. The collegial sense is that this event is more of a reunion or celebration than anything else. This is an audience that is here to support their children, their niblings, their family members, or the younger colleagues who make up the GenOUT Youth Chorus, the outreach ensemble of the Gay Men’s Chorus of Washington, DC (GMCW).

The GenOUT Youth Chorus is a vocal ensemble that provides a platform for LGBTQ+ and allied youth to express themselves through song and connect with their community. According to their website, it was established with the dual mission of empowering LGBTQ+ and allied youth by giving them a voice through music, as well as fostering connections within the community through their performances. The chorus has performed at the Lincoln Theatre, the Kennedy Center, the Washington National Cathedral, the White House, the Library of Congress, the GALA Choruses Festival, and the American Choral Directors Association National Conference.

This performance was a collaboration with the Jackson-Reed High School Choir, with each group selecting songs from their repertoire that also included GMCW classic songs and anthems mixed with a few modern ones.

As the chorus director, C. Paul Heins, enters with a score of the 13- to 18-year-old members of GenOUT, I’m left wondering what it must have been like to grow up in a community that was this supportive of LGBTQIA+ youth. I’m wondering how an audience in a different community would have responded to these kids. The song selection reflects these questions. “On Children” and “Always a Place for You” just set the stage that this will be a safe landing for the performers to shine.

“Rainbow Connection” (a classic for GMCW to play) sets a strong emotional tenor to be followed by the modern Kacey Musgroves’ “Rainbow.” That choice is not lost, where we’ve transitioned from a world of searching for connection to ensuring safety. “Everything is alright” for these students who have had the blessing of a supportive “rainbow over their head.”

And yet, even from this “safe space,” this is a group of socially and environmentally conscious people who are pressuring themselves and the adults in the audience to try to protect a breaking world. The performers share calls to action between songs. “The Times They Are a Changing,” as a multi-harmony vocal piece, reverbs more fully than Dylan’s mournful protest.

While the messages from GenOUT resonated, the Jackson-Reed High School Choir and director Ronté Pierce sing a similar message with a larger ensemble. The raw emotions of being able to be oneself in a community shine in these selections. “One World, One Voice, One Song” is the introduction to how this group of people is each others’ found community. “Sanctuary” and “Remember Where You Are” follow this same theme. In this group and throughout the show, soloists Devan Mehta, Isabelle Posner-Brown, Camilla Reinoso, Innea Kersey, Henry Brylawski, and Alisa Ostovitz elevate each song.

These are personal songs for spaces where the students can be themselves: growing, learning, awkward, and enthusiastic. One of the choir members couldn’t help themselves and waved to their family from the stage. The students for Jackson-Reed honor their choir directly and share their gratitude for their found family.

That feeling of support ends with the ending songs that involve alumni from the GenOUT group and the GMCW. “Make Them Hear You,” the GMCW anthem, is sung with alumni from the group, nearly half the audience, and leaves the air brimming with emotion as the show comes to a close.

Running Time: Approximately 75 minutes.

GenOUT: Youth Invasion performed April 28, 2024, in the Lang Theatre at Atlas Performing Arts Center, 1333 H St NE, Washington, DC, as part of their spring season performance. They have a total of 15 to 20 outreach performances throughout their season, which goes from September through June. C. Paul Hein and Ronté Pierce are the chorus directors for the GenOUT and Jackson-Reed High School Choir, respectively. For more information about the Gay Men’s Chorus of Washington, DC, go to gmcw.org.

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The Gay Men’s Chorus of Washington, DC (GMCW) recently treated its audience to a captivating showcase of music, interpretive dance, and unity in the form of Exhibitions. Led by talented artistic director Thea Kano, the event was a feast of sound and harmony, featuring not only the renowned GMCW but also its smaller ensembles, including Seasons of Love, Potomac Fever, Rock Creek Singers, GenOUT Youth Chorus, and 17th Street Dance.

The production unfolded as a guided tour of Atlas Performing Arts Center, giving the audience a chance to visit multiple sites of the theater and experience the rich tapestry of voices and dance presented by the various ensembles.

This format added a dynamic and immersive element to the event, creating a unique and engaging atmosphere. A number of the performances swapped the roles of audience and performer by having the audience on stage, and the performers singing surrounding the audience. The Seasons of Love and Rock Creek Singers groups really capitalized on this choice, delivering a powerful rendition of “Sanctuary” at the Sprenger Theatre.

GMCW, now in its 43rd season, demonstrated its commitment to inspiring equality and inclusion through its work. The GMCW group’s final venue performance honored Native American two-spirit people with a rendition of “Thuŋkášila Imáyaluškiŋ,” a Lakota spiritual arrangement.

GMCW’s impressive outreach efforts include more than 100 performances each season aimed at spreading the message of equality and community.

The chorus has a rich history, having performed at notable events such as the HRC National Dinner, on The Today Show, and on international tours in Ukraine and Cuba. This commitment to outreach extends to the youth as well, with the GenOUT Youth Chorus making a significant impact as the first LGBTQ+ and allied youth chorus in the DC metro area. For Exhibitions, the youth chorus was the first performance, delivering excellent renditions of “The Rainbow Connection” and “The Times, They Are A-Changing.”

Although the one-day event has passed, this was an excellent opportunity to visit an iconic venue on H Street NE and showcase this group’s exceptional talents. I look forward to many continued performances from this group.

Running Time: 75 minutes, with no intermission

Exhibitions played February 17, 2024, presented by The Gay Men’s Chorus of Washington, DC performing at the Atlas Performing Arts Center, 1333 H Street NE, Washington, DC, Washington, DC.

The program for GMCW’s Exhibitions, including credits and song list, is online here.

GMCW’s next performance, Youth Invasion, will be at the same venue on April 28, 2024. Tickets (free)  will be available closer to the date.

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Artistic Director and conductor Thea Kano nailed it in her opening remarks when she warned the packed house at the Lincoln Theatre to expect “lots of sparkle,” as over 150 of the 250-plus singing members of Gay Men’s Chorus of Washington donned their silver scarves and black formal attire to deliver over a dozen classics in their musical tribute Whitney.

But what made the evening special was the over-the-top dance numbers by the 17th Street Dancers and the poignant monologues and personal stories of how Whitney Houston’s spirit touched the lives of so many members of the LGBTQ community in their formative years.

“She was one of us!” declared the highly fashionable Michael Dumlao in his red lipstick and retro Kramer one-shoulder ruffled bolero top! The reference was to Robyn Crawford, who was Whitney Houston’s childhood friend and confidant who became her assistant, creative director, and partner early in her career. They were also lovers.

The entire evening was an unabashed fashion statement from the first number, ”I Wanna Dance with Somebody,” when six pink and multicolored legginged members of the 17th Street Dancers revved up the energy in the house and set the tone for the evening.

Enough cannot be said of the choreography team led by Dance Captain James Ellzy II and Danny Aldous and Craig Cipollini, not to mention the detailed costume design by Jeffrey Hollands and Gary Turner, which included rainbow-colored laces in the black Converse Al Star sneakers worn by the Potomac Fever during their spirited rendition of “I’m Every Woman”!

Soloists Gabriel Lopez, Dana Nearing, Ryan Smith, and Joval Martin got up close and personal as Set Designer Jarrod Bennett and Bernard Vicary used every inch of the expansive Lincoln Theatre stage to take the singers to the edge of the orchestra seats where you could feel their energy and flamboyant muscle-shirt fashion on full display.

Speaker Drew Hastie shared the most personal moment of the show when he recounted his story of turning his back on a career in medicine, which filled his life with anxiety and depression, and embodied the lyrics of “I Didn’t Know My Own Strength”:

And I crashed down, and I tumbled
But I did not crumble
I got through all the pain

Things got “So Emotional” as the Gay Men’s Chorus dropped red rose petals and 17th Street Dance rocked the stage again with their black muscle shirts and blue jeans and had the crowd singing along in unison.

Kevin Thomas shared his personal courageous coming-out moment as a young teenager who dared to buy a $20 ticket to a Whitney concert and travel from redneck rural Georgia to Atlanta to see his idol, who shocked him when she emerged from the audience and touched his shoulder on the way to the stage. He was then joined by Potomac Fever and rocked a very feminist version of “I’m Every Woman.”

The Chorus took the theater to church with a “Seasons of Love” medley that included an outstanding dance solo in white by James Ellzy during the “I Love the Lord” as soloists Freddie Quimbley, Donald Medor, and Gabriel Lopez added some church falsettos that paid tribute to Whitney’s best-selling gospel soundtrack from her 1996 movie, The Preacher’s Wife.

But before the Chorus closed out the show with “I’m Your Baby Tonight,” a special message was delivered by Victor, a young tenor from the GenOUT Youth Chorus, who encouraged the audience to “embrace your vulnerability as boldly as you can because diversity is required for harmony.”

Victor was preaching to the choir with his impassioned message of acceptance. The stage filled with dancers including Jazzmin St. James D’Monaco in fishnet drag as the Gay Men’s Chorus took their final bow during the encore closeout renditions of “Babyface” Edmonds and “L. A.” Reid’s arrangement of “I’m Your Baby Tonight.” Then the raucous crowd spilled out through the lobby onto U Street with a collective smile on their face.

Running Time: Approximately one hour and 45 minutes, with no intermission.

Whitney played March 11 and 12, 2023, presented by the Gay Men’s Chorus of Washington performing at the Lincoln Theatre – 1215 U Street NW, Washington, DC.

The program for Whitney, including credits and song list, is online here.

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I heard the Gay Men’s Chorus of Washington, DC sing “Underneath the Tree” by Kelly Clarkson twice during their Holiday Show. The second wasn’t planned, but it did speak to the chorus’s commitment to spreading joy through music during the holiday season.

The show was going great when, just five songs in, a hauntingly beautiful rendition of “Noel” featuring soloist Cooper Westbrook was interrupted by a rather rude fire alarm, which sent the chorus, myself, and the rest of the audience outside temporarily.

Rather than bemoan the inconvenience, though, the chorus saw an opportunity. In the back parking lot on a chilly night, they reprised the opening number a capella ⁠— like a backlot version of Christmas carolers. How they sounded didn’t matter this time. It was a delightful moment ⁠— one of many at the Holiday Show.

An annual tradition, the Gay Men’s Chorus Holiday Show this year once again continued its theme of spreading warmth, joy, and love while uniquely celebrating the LGBTQ community.

Those themes were on display in exciting numbers like “Underneath the Tree” or “Sleigh Ride,” the latter of which featured a downright jolly set of tap-dancing reindeer choreographed by Danny Aldous.

Those performances set the tone for an all-around entertaining evening and a great way to ring in the holidays. From there, the chorus displayed an impressive variety of styles that showcased the depth of their talent.

Led by Artistic Director and Conductor Dr. Thea Kano, who has helmed the chorus since 2014, the ensemble’s vocal strengths were particularly on display in “God Rest Ye Merry, Gentlefolk” and the aforementioned “Noel” (which Westbrook did get to restart and sounded just as good the second time). Perhaps most haunting, though, was Bilvavi, a beautifully performed song in Hebrew that demonstrated the strength of the ensemble.

The Seasons of Love ensemble also showed their chops with songs “Mary Sat a Rockin’” and “Joyful, Joyful.” The singers brought a passion and warmth that was infectious. The GenOUT Youth Chorus, meanwhile, performed a stirring “Los Pastores a Belén.”

And of course, it wouldn’t be a Gay Men’s Chorus show if it wasn’t, well, gay. “Bells, Bows, Gifts, Tree” ⁠— Todrick Hall’s holiday version of one of his ballroom hits ⁠— certainly fit that bill. Featuring choreography by Craig Cipollini and James Ellzy, who also choreographed many of the other songs, “Bells, Bows, Gifts, Trees” was a spectacle to behold. That number also featured the Chorus’ traditional Holiday Queens, who were literally dressed as Bells, Bows, Gifts, and Trees, as costumed by Jeffrey Hollands and Gary Turner.

In another tradition, the show featured multiple songs from the queer canon that had been hilariously spun to fit both an LGBTQ and holiday theme. That means “It’s Raining Men” became “It’s Snowing Elves,” sung by the Potomac Fever ensemble.

Later, “Holding Out for a Hero” got a Christmas twist in a show-stopping performance in which Santa is the hero of the song. Soloist Gabriel Lopez commanded the stage (and audience) in that song, which made for a great buildup to the finale.

“12 Rockin’ Days,” a high-spirited rendition of “Twelve Days of Christmas,” closed out the show, and it carried with it the overarching theme of the night: pure, unadulterated holiday spirit. Sometimes that meant over-the-top joy. Sometimes it meant a thoughtful, heartfelt note. Without a doubt, though, the entire time was a great way to ring in the holidays.

Running Time: 75 minutes, with no intermission

The Gay Men’s Chorus of Washington’s Holiday Show performs again on December 9 and 11, 2022, at Lincoln Theatre – 1215 U St NW, Washington, DC. For tickets ($25-$65), purchase them online.

The program for GMCW’s Holiday Show, including credits and song list, is online here.

COVID Safety: Masks are strongly recommended. Proof of vaccination is required. See GMCW’s COVID-19 Policy here.

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Under the talented leadership of Artistic Director Thea Kano, the Gay Men’s Chorus of Washington, DC has been entertaining the DC Metropolitan area for decades. Known for their witty and creative ensemble performances, the group chose the iconic Judy Garland as the subject of their most recent concert, Judy, a delightful cabaret tribute.

While fewer performers were involved in this cabaret than in a typical CMCW concert, there was still plenty of glitz — and who can resist red sequins on a black stage? Each performer brought to the stage their own personal connection to a Garland song, accompanied by a jazz trio with Ephriam Wolfolk on bass, Mark Carson on drums, and music director and cabaret pianist Alex Tang.

Oddly enough, the highlight of the show for me was not “Over the Rainbow,” as one might expect. Instead, I found the best performance in the Garland/Streisand duet, “Get Happy/Happy Days Are Here Again,” wonderfully and powerfully sung by Michael Dumlao and Jamie Hillis. Their rendition was show-stopping. Another stellar performer was Gabriel Lopez, whose rendition of “The Man That Got Away” was simply stunning. Honorable mention goes to Ellery Rhodes, who sang “Have Yourself a Merry Little Christmas” with a lovely tone and sentiment.

This year marks the 100th anniversary of Judy Garland’s birth. She was an emblematic performer, with personality and talent on a grand scale, contained in a four-foot-eleven-inch package. Fifty years after her death, her legacy certainly lives on. The Gay Men’s Chorus of Washington, DC’s cabaret tribute showed us that the rainbow still shines bright.

Running Time: 90 minutes with no intermission.

Judy: A cabaret celebrating the music of Judy Garland played one night only on October 22, 2022, presented by the Gay Men’s Chorus of Washington, DC performing at The Vault, Capital One Hall, 7750 Capital One Tower Road, Tysons, VA.

For information about future performances see GMCW’s 2022/23 season calendar.

Judy: A cabaret celebrating the music of Judy Garland
Director/Artistic Director: Thea Kano
Pianist/Music Director: Alex Tang
Percussion: Mark Carson
Bass: Ephriam Wolfolk

Song List
Jonathan Chaffin – “A Foggy Day (in London Town)”
Chuck Willett – “Hello, Bluebird”
Adam Edgerton – “Come Rain or Come Shine”
Rinaldo Martinez – “The Trolley Song”
Rob Hall – “Smile”
Ellery Rhodes – “Have Yourself a Merry Little Christmas”
Zachary Barger – “Maybe This Time”
Giancarlo D’Elia – “It Never Was You”
Michael Aylward – “Almost Like Being In Love/This Can’t Be Love”
Michael Dumlao & Jamie Hillis – “Get Happy/Happy Days Are Here Again”
Jarrod Bennett – “Over the Rainbow”
Gabriel Lopez – “The Man That Got Away”
Kevin Thomason – “By Myself”

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When I reviewed the Gay Men’s Chorus of Washington’s concert Brand New Day in mid-March at the Lincoln Theatre, I extolled its virtue of showcasing inclusivity and equality with its wonderful renditions of songs on the subject. In that concert, each of GMCW’s five components performed, and I was introduced to GenOUT Youth Chorus, its outreach ensemble of LGBTQI+ and allied 13- to 18-year-olds.

Well, this time around the spotlight was squarely on GenOUT’s concert Youth Invasion, which I attended at THEARC. The program also featured the Mosaic Harmony community choir, a seniors group committed to “empower choirs to fully entertain, inspire and engage audiences by both moving music and uplifting messages.”

The concept of supporting youth — who are coping with not just being young but also the pressure of understanding their sexual orientation and coming to grips with self-acceptance — is a powerful mission of the GMCW. Achieving that goal through music is liberating and inspirational and lends itself to providing these young people with a means to gird themselves with pride, self-understanding, and a profound sense of worth.

C. Paul Heins, GenOUT’s director, provides the training and artistic inspiration for these young people to flourish and, through artistic expression, develop confidence and self-affirmation that will enable them to better face the challenges that will come before them.

With this in mind, I imagined a repertoire that would be evocative, celebratory, and, yes, rousing. The program selections were certainly appropriate and hit the mark in terms of intent and appropriateness but tended to be more somber and reflective. All of the songs — “Build Me a World,” “Reflection” (from the animated film Mulan), “Imagine” (based on the poem by long-time LGBTQI+ activist Donna Red Wing), “Write My Own ‘Story,” “The Human Heart” (from the musical Once on This Island), “How Could Anyone?,” “I Was Here (Beyonce), and “You Are the New “Day” — beautifully conveyed the hopes, dreams, aspirations, and reflections of these young people. The one song that could have surely been a showstopper, “Corner of the Sky” (from the musical Pippin), was only quietly delivered. Near the end, GenOUT performed with Mosaic Harmony in a straightforward rendition of “Lift Every Voice and Sing” (the Negro national anthem).

Ironically, it was the guest group, Mosaic Harmony, that got things shaking. Under the foot-stomping, hand-clapping, roof-raising direction of Rev. David North, Mosaic Harmony’s performance became a glorious celebration with spirited versions of the gospel songs “Love in Any Language,” Hezekiah Walker’s “Better,” and “One World.” Rev. North said that he wanted to bring a “new flavor” to the gospel staple “Soon I Will Be Done,” made popular in the 1959 movie Imitation of Life sung by the great Mahalia Jackson. Man, did he deliver! He infused this deeply spiritual anthem with jazzy inflections and uptempo flourishes that had the audience clapping and rejoicing with abandon. (Mahalia wouldn’t want to hear it anymore!) This closing number was just the right touch that the whole affair should have reflected.

That it was shared with this wonderful, young, and talented group I am sure will make it an experience and lesson learned that they will never forget. This was a great example of how reaching across needless barriers and constrictions can bring about tremendous connection and mutual appreciation. It was an afternoon I would gladly spend over again.

Youth Invasion was performed by the GenOUT Youth Chorus with special guest Mosaic Harmony on April 23, 2022, at THEARC Theater, 1901 Mississippi Avenue SE, Washington, DC, and on April 24, 2022, in the Auditorium at MLK Library, 901 G Street NW, Washington, DC.

The Youth Invasion playbill is online here.

For future Gay Men’s Chorus of Washington concerts and events — including GMCW’s Spring Affair fundraiser on May 14, 2022 — go to their website.

SEE ALSO:
GMCW’s inspirational ‘Brand New Day’ sings of equality and inclusivity (review by Michael Sante-Andress)

MUSICAL NUMBERS

YOUTH INVASION
featuring GenOUT Youth Chorus with special guest Mosaic Harmony

GenOUT YOUTH CHORUS
“Build Me a World” | Ginger Littleton
“Reflection” | Music by Matthew Wilbur from Mulan | Lyrics by David Zippel | Arranged by Mac Huff
“Corner of the Sky” | Stephen Schwartz from Pippin | Arranged by John Cacavas
“Imagine” | Music by Jennifer Higdon | Poem by Donna Red Wing
“Write My Own Story” | GenOUT Chorus & Jim Papoulis
“The Human Heart” | Music by Stephen Flaherty from Once On This Island | Lyrics by Lynn Ahrens | Arranged by Raymond Rinaldo | Soloist: Paul Negron
“Chosen Family” | Rina Sawayama, Danny Harle, & Jonny Latimer | Arranged by Raymond Rinaldo | Soloists: Alex Dy Cruz, Paul Negron
“How Could Anyone?” | Libby Roderick | Arranged by Mac Huff
“I Was Here” | Gary Burr, Hillary Scott, & Victoria Shaw | Arranged by Alan Billingsley
“You Are the New Day” | John David | Arranged by Peter Knight | Adapted by Jacob Narverud

MOSAIC HARMONY
“Love in Any Language” | John Mohr & John Mays | Soloists: Laura Romstedt, Kim Moss (4/24), Doug Powell
“Better” | Hezekiah Walker

GenOUT YOUTH CHORUS & MOSAIC HARMONY
“Lift Every Voice and Sing” | Music by J. Rosamond Johnson | Poem by James W. Johnson
“Soon I Will Be Done” | African American spiritual | Arranged by David K. North
“One World” | Mark Hayes

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What to do on a cold, overcast, snowy Saturday afternoon? Well, I had the good fortune of having a ticket to the Gay Men’s Chorus of Washington Brand New Day concert at the Lincoln Theatre.

GMCW has been a cultural fixture in Washington, DC, for over 40 years and is one of the oldest and largest LGBT choral organizations in the United States, with over 300 members. It has a history of entertaining performances and has a large multidimensional following. I have enjoyed many of those past shows.

Brand New Day has moved the group a step up the ladder of socially conscious, inspirational, and diversity-focused quality entertainment. The GMCW ensembles (Potomac Fever, Rock Creek Singers, Seasons of Love, 17th Street Dance, and the GenOUT Youth Chorus) delivered a program that from beginning to end was razor-focused on the issue of inclusivity, equality, and the basic idea of recognizing the worth of all human beings in their infinite variety.

The songs and musical numbers were a delightful potpourri from different genres: Paul Negron singing “Human Heart,” the theme song from the Caribbean musical Once on This Island, about enduring and persevering life’s hardships; “We Are,” lushly underscoring the text of Maya Angelou’s poem “Human Family” (“We are more alike, my friends, than we are unalike”); soloists Matt Holland and Cooper Westbrook’ rendition of, “Perfect/Just the Way You Are”; Native American Linthicum Blackhorse’s arrangement of a traditional Lakota Sioux American Indian spiritual; the rendering of a Korean folk song, “Arirang,” about finding one’s way; and the Spanish folk song “Luz y Sombra,” about appreciating the simple things in life. Arresting arrangements of classics like “Through the Fire,” ” Bridge Over Troubled Water,” and “Purple Rain” were newly imagined and invigorating.

The finale was a rip-roaring, Las Vegas–style choreographic sequence from the movie The Wiz, after which the concert was named: “A Brand New Day (Everybody Rejoice).” Magical and thoroughly entertaining, it was a great way to convey the idea of living in a world free of bigotry, hatred, and lack of understanding.

This was an afternoon well spent, and the joy of it swept the dreary day away.

Running Time: Approximately 75 minutes with no intermission.

Brand New Day was presented by the Gay Men’s Chorus of Washington, DC, on Saturday, March 12, 2022, at the Lincoln Theatre – 1215 U Street, in Washington, DC. For future GMCW concerts and events go to their website.

The program for Brand New Day is available online here.

BRAND NEW DAY SONG LIST

GAY MEN’S CHORUS OF WASHINGTON, DC, GenOUT YOUTH CHORUS and 17^th STREET DANCE
“Human Heart” from Once on This Island
Music by Stephen Flaherty | Lyrics by Lynn Ahrens
Soloist: Paul Negron

GAY MEN’S CHORUS OF WASHINGTON, DC and GenOUT YOUTH CHORUS
“Chosen Family”
Music and Lyrics by Rina Sawayama, Danny Harle, and Jonny Latimer | Arranged by Raymond Rinaldo
Soloists: Alex Dy Cruz, Paul Negron

GenOUT YOUTH CHORUS
“Reflection” from Mulan
Music by Matthew Wilder | Lyrics by David Zippel

ROCK CREEK SINGERS
“Would You Harbor Me?”
Ysaÿe M. Barnwell
“We Are”
Music by Bob Chilcott | Text by Maya Angelou

GAY MEN’S CHORUS OF WASHINGTON, DC
“Heavy”
Music by Steve Milloy | Text by McKenzie Coleman
“Wankantanhan Hotan’Inpe”
Traditional Lakota Sioux American Indian Spiritual | Arranged by Lithicum-Blackhorse
Soloist: Linthicum-Blackhorse

POTOMAC FEVER
“Creep”
Music and Lyrics by Albert Hammond, Mike Hazelwood, Thomas Yorke, Jonathan Greenwood, Colin Greenwood, Edward O’Brien, and Philip Selway | Arranged by Walter Chase, and Dan Ponce
“Perfect/Just the Way You Are”
Words and Music by Alecia Moore, Max Martin, and Westbrook Shellback (“Perfect”); Ari Levine, Khalil Walton, Bruno Mars, Peter Gene Hernandez, Philip Lawrence, and Khari Cain (“Just the Way You Are”)
Soloists: Matt Holland and Cooper

GAY MEN’S CHORUS OF WASHINGTON, DC
“Arirang”
Korean Folk Song | Arranged by Lon Beery
“My Dogs” from Elegies
William Finn
Soloist: John Knapp
“Luz y Sombra”
Music by Jorge Cózatl | Text by Manual Gutiérrez Nájera
Soloists: Edgár Farfan, Jahdiel Torres-Cabá
“The Harbor
Music by Brian A. Foy | Text by Emma Lazarus
“Arirang”
Korean Folk Song | Arranged by Lon Beery
“Home” from The Wiz
Charlie Smalls

SEASONS OF LOVE
Rain Medley
Soloists: Cole Jaconski, Gabriel Lopez, Thomas Reiker, Micah Yarbrough, Brent Almond
“Through the Fire”
Music and Lyrics by David Foster, Tom Keane, and Cynthia Weil
“Bridge Over Troubled Water”
Music and Lyrics by Paul Simon
“Purple Rain”
Music and Lyrics by Prince | Arranged by Joshua Sommerville

GAY MEN’S CHORUS OF WASHINGTON, DC, SEASONS OF LOVE and 17th STREET DANCE
“A Brand New Day (Everybody Rejoice)” from The Wiz
Music and Lyrics by Luther Vandross | Arranged by Joshua Sommerville

SEE ALSO:
GMCW’s ‘Holiday Show’ to ring in a season celebrating LGBTQ+ grit
(season announcement)

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