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Lesbian soprano Patricia Racette on ‘Tosca,’ being out and her life off the stage

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‘Tosca’ lead Patricia Racette at Washington National Opera’s rehearsal space in a Takoma Park warehouse. (Washington Blade photo by Michael Key)

Hardcore opera fans may quibble at the repetition, but hang around D.C. long enough and there’s a chance to see just about any standard-canon opera you can think of. Washington National Opera, now not-so-strange bedfellows with the Kennedy Center, kicked off its fall season last weekend with the Puccini warhorse “Tosca” with lesbian Patricia Racette in the title role.

Racette, who lives with her partner (mezzo soprano Beth Clayton) in Santa Fe, is hunkered down for the day at the Opera’s mammoth rehearsal/storage space in Takoma Park a few Mondays ago. Though dressed casually, she’s made up and coiffed as some of her afternoon press rounds are on camera.

Down several long hallways and through a giant costume room that looks like it could dress the entire cast of “Ben-Hur” and then some, Racette settles into a small and dingy library where CDs, VHS tapes and songbooks line the walls. During a 45-minute conversation, she riffs on her life off stage, the logistics of making it through live performance and why the stage, as opposed to the studio, is where she feels most alive musically.

Together for more than a decade and married since 2005, Racette says she and Clayton find a way to make their marriage work despite two busy careers that by necessity involve significant travel. Once several years ago they didn’t see each other for almost seven weeks.

“It was absolute torture,” Racette says. “Torture.”

Racette is developing a following in Washington. She was here in May for “Iphigenie en Tauride” (Gluck) after previous appearances in 2007 for “Jenufa” and 2009 as Ellen in “Peter Grimes,” all with WNO.

Though it half-heartedly reviewed the production, the Post called Racette’s “Tosca” performance “luminous” and “compelling” and praised her stamina and vocal authority in “Iphigenie.”

Racette calls singing opera akin to surfing.

“I mean it’s a fine art and it’s called a fine art for a very, very good reason because it takes a lot of study, a lot of concentration, a lot of precision and it’s ongoing. As long as you’re a singer, you’re tidying up and you’re working on these things. I don’t worry if I’m gonna hit the note, that’s not my thing. But you have to have everything in line and as fluid as possible because it’s true, once you get there, you’ve got that one chance and boom. It’s not like practicing when you say, “OK, out of those four tries, I hit it once. It’s like a very intricate, very involved surfing. You know you want to hit the wave as absolutely best you can. Do you hit it that way every time? Absolutely not, but you do the best you can. … I’ve seen other singers where they just didn’t get there and there’s a whole other level of mental angst with that but that’s not my typical issue.”

Do some singers channel a non-verbal signal to the audience that they might not hit the note, whether they know they will or not? Is it a way of contriving some suspense in the performance?

“I think some of it is milked,” she says, “but some of it is really real. When you come to the climax of “Vissi d’arte” (one of her “Tosca” arias), you’re taking your spring and jumping over the canyon, so you have to have all your faculties composed. It’s not something that just comes out, like la la la. It’s not but I think if you make it seem like that kind of moment, I think the audience feels almost robbed from the experience. I’ve been playing Judy Garland at Carnegie Hall and she hits this belty high note and it’s so exciting because she kind of falters for one second and there’s a part where she kind of misses it for a split second, but then regains it and that’s almost more interesting than perfection itself.”

It’s why Racette has almost zero interest in recording any of her signature roles.

“I did a little at the beginning of my career and I hated it. I’d rather have a root canal … To me that has nothing to do with music making or the art form. I want the audience’s energy, I don’t want to be there in that test tube of perfection. For me, it just took all the joy, all the magic out of it and I have no interest in it whatsoever.”

But what about legacy?

“You mean like in 50 years, Patricia who,” she says, with a hearty laugh.

Isn’t there a time and place to get it down just right?

“I guess so, but it’s not accurate. It never was accurate, it never will be accurate. That’s not the way we are. The excitement of live performance, both for the performer and the audience is that aspect, it’s live, it’s right now, you get that one chance at that note and, oh God, yes, that was fantastic, or ooh, ooh, that was a little bit off but, it involves the audience, it keeps them on that ride.”

Racette’s humble New Hampshire beginnings have been oft-noted. She calls her family and upbringing “not remotely” musical and “steeped in ignorance,” especially about opera. She grew up listening to Barbra Streisand and Donna Summer and as a self-taught guitarist started writing her own songs as “sort of a Joni Mitchell-type thing.”

She started taking a few voice lessons because she knew she’d need an audition tape for college. Though not classically steeped to any degree, she knew studying music in college would require exploring some of that. She envisioned either a guitar-and-clogs kind of singer/songwriter career or later, perhaps something jazzy like “a Manhattan Transfer-kind-of thing.”

Racette, now 46, calls her 18-year-old self, “Green — as green as they come.”

She cried for three days when her vocal teacher told her bread and butter would be in opera. Her raw vocal talent was just naturally best suited for it. She detested her salon piece (Handel’s “Oh Had I Jubal’s Lyre”) but sprawled out on her apartment floor listening to a record of Renata Scotto singing “Suor Angelica” ignited a passion within her. She laughs about it now.

“I had envisioned this rather simple, rather short sighted thing,” she says. “I didn’t know how to plan the life I have.”

In the operatic designations, Racette is a full, lyric soprano. She bristles slightly at too much emphasis on these categories as they can be confining. LGBT labels, though, don’t bother her at all.

“Oh, it’s very clear to me that I’m a lesbian,” she says. “I’m out and proud because the alternative is to be secretive and ashamed and I just can’t imagine behaving that way about the best thing in my life.”

Racette embraces her off-stage life and prides herself on wearing overalls, owning a toolbox and getting her hands dirty in construction projects, such as the Santa Fe house she and Clayton recently had finished.

“Oh are you kidding,” she says. “I’m on the roof and I’m checking things out, asking the questions. I’m very involved with that sort of thing. I’m very earthy in that way and very down to earth most of the time when I’m off the clock. No one can even imagine I do what I do. I’m never the leading lady then, I don’t have that hat on. It’s just not the sort of energy I have.”

And are lesbian opera divas anomalies?

“I think there are about 13 of us at last count,” she says. “But not all of them are out.”

And the men?

“Ehhh, it’s a pretty gay world,” she says.

She concludes her remarks with a knowing chuckle.

“A lot of the men singers are straight but yeah, most of my hair and makeup are my gays, which is as it should be I think.”

BOX INFO:

‘Tosca’

Washington National Opera at the Kennedy Center

2700 F Street, N.W.

Tonight, Sunday matinee, Tuesday, Thursday and Sept. 23-24 performances remain (Natalia Ushakova sings the lead Sept. 23)

In Italian with English subtitles

$55

202-467-4600 or kennedy-center.org

 

 

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Transgender nonbinary sprinter Nikki Hiltz makes Team USA

‘Woke up an Olympian’

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(Screenshot)

They ran like the wind, broke the tape at the finish line, and clutched their chest with the broadest smile on their face. Then Nikki Hiltz collapsed to the track, having set a new record in the 1,500-meter race at the U.S. Olympic track and field trials and earned a spot on Team USA. 

As the realization sank in that they would be representing the U.S. in Paris as an out transgender nonbinary athlete, what the Paris-bound Olympian did next was to scribble a message of LGBTQ representation on the last day of Pride Month, writing with a red marker upon the glass of the camera that records each athlete’s signature on a whiteboard: 

“I ❤️ the gays,” they wrote, and above it, they signed their first name. 

Hiltz, 29, finished the race on Sunday at the University of Oregon’s Hayward Field in first-place with a final time of 3:55:33, breaking third-place finisher Elle St. Pierre’s 2021 record of 3:58:03. 

Hiltz credited St. Pierre, the top-finishing American and third-place finisher in the women’s 1,500 at the Tokyo Olympics, with motivated them and the other competitors to race faster. With a first lap time of 61 seconds, St. Pierre led the race for the majority of its duration. St. Pierre and Emily Mackay, who placed second, also both earned spots in the Paris Olympics.

“If someone would have told me this morning that 3:56 doesn’t make the team, I don’t want to know that. I’m just in the race to run it and race it and that’s what I did,” Hiltz said after the race. The Santa Cruz native who came out in 2021 as trans nonbinary told NBC Sports that the accomplishment is “bigger than just me.”

“I wanted to run this for my community,” Hiltz said, “All of the LGBT folks, yeah, you guys brought me home that last hundred. I could just feel the love and support.” 

On Monday, Hiltz reflected on the race and how they became an Olympian in a post on Instagram.

“Woke up an Olympian. 🥹 Yesterday afternoon in Eugene Oregon a childhood dream of mine came true. I’m not sure when this will fully sink in … All I know is today I’m waking up just so grateful for my people, overwhelmed by all the love and support, and filled with joy that I get to race people I deeply love and respect around a track for a living. 🙏”

Hiltz also shared a photo with their girlfriend, runner Emma Gee, and captioned it: “Remember in Inside Out 2 when Joy says “maybe this is what happens when you grow up … you feel less joy”? Yeah I actually have no idea what she’s talking about. 🎈🌈🤠🦅🥐🇫🇷”

They shared photos in their new Team USA garb, too. 

While they will be the first out trans nonbinary member of the U.S. track and field team, Hiltz will not be the first nonbinary Olympian. That honor goes to Quinn, who played soccer for Canada in Tokyo and holds the record as the only nonbinary athlete to have won a gold medal. So far. 

Many of the posts by Hiltz, Team USA and others have been trolled by bigots and ignoramuses who have mistaken them for a trans woman who was presumed to be male at birth and transitioned genders. Right-wing outlets and anti-trans activist Riley Gaines have commented on their victory and questioned their gender identity and decision to compete against cisgender women. 

But in the spirit of the late Marsha P. Johnson, who famously said the “P” stood for “pay no mind” to the haters, Hiltz shared a photo of a handwritten motivational note to themself, which ends: “I saw a quote online the other week that said, ‘respect everybody, fear nobody,’ and that’s exactly how I’m going to approach this final. I can do this.” 

And they did. 

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Rehoboth’s Purple Parrot still soaring after 25 years

Owners Hugh Fuller and Troy Roberts reflect on keys to their success

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Longtime Purple Parrot employee Chris Chandler. (Washington Blade photo by Daniel Truitt)

Two buildings, one romance, and 25 years later, the Purple Parrot is busy as ever. 

If the tropical purple paint covering the outside with rainbow flags and walls covered with love notes, affirmations, and drunk wishes scribbled on dollar bills don’t indicate it already, the Purple Parrot is an institution in Rehoboth. The gay-owned and operated fixture is celebrating its 25th anniversary this year. 

The Blade sat down with owners Hugh Fuller and Troy Roberts of the Rehoboth establishment to discuss the past 25 years and plans for the future. 

Fuller and Roberts, both gay, have been working together since before the Parrot was even an idea. Fuller was a co-owner of the Iguana, another restaurant and bar in the town.  

“I was in the Iguana first with another business partner,” Fuller said. “I was going to get out and move up to Pennsylvania with him [Roberts]. He decided that he was going to come down and said, ‘Well, what if I go in with you at the Iguana and we do it together?’ And I was like, ‘Alright,’ so we did, and it just snowballed from there. We were always in the restaurant business together from the beginning.” 

“Yeah, that was really luck, too,” Roberts began. “Because-” 

“Because Grindr wasn’t around then!” Fuller interjected, laughing as Roberts began to roll his eyes and smile. 

“I had a small place up in York,” Roberts continued. “Selling that kind of gave us some money to buy the other guy out. We just had friends supporting us and helping us along the way and it just kind of worked.” 

“Kind of worked” would be an understatement. The pair moved on from the Iguana and opened the Parrot. Then, after opening the Parrot, they decided to shift locations to a larger location down the street to accommodate the growing demand. Then in 2010, the Parrot expanded again, adding the land behind the Rehoboth Avenue location, which provided an additional 950 square feet as well as giving patrons access to Wilmington Avenue. 

The bar and restaurant, which serves American cuisine with a beach flair, has always focused on being a welcoming space to all regardless of sexuality, gender, race, nationality, or identity. This, the duo explains, is one of the reasons why the restaurant has had such a lasting impact on the Rehoboth restaurant and gay communities. 

The Purple Parrot (Washington Blade photo by Daniel Truitt)

“Back in the ‘90s when we first opened up, the amount of straight crossdressers that would come were like, ‘Oh, are we allowed to come in? Are we welcomed into a place like that?’ And we were like ‘Everybody that walks on this planet is welcome here!’” Fuller said. “Those are the kinds of things, you know, where people just felt comfortable. They would get stared at out on the street, but inside they would walk around and feel like they were in their own skin. It was just really cool to see.”

The feeling of acceptance has been a crucial part of the Parrot’s success.

“I got an email a couple of days ago — probably two weeks ago about a woman bringing her daughter down,” Roberts said. “She’s 16 and was bullied through school — hard times, depression, tried to harm herself a couple of times. It was just really sweet that she reached out and she’s like, ‘My daughter was a completely different person when I brought her into your bar. Everybody treated her nice — the bartenders, the waitstaff, I mean, everybody was friendly. She just doesn’t experience that often being an out 16-year-old lesbian. We just can’t even thank you enough.’ It’s those kinds of things that we get often.”

“[The mother] mainly wrote it because we put the Pride flag on the Parrot’s Facebook wall,” Fuller added. 

The colorful lights, disco balls, and staggering number of dollar bills stapled to the walls highlight that the Rehoboth community has embraced the Parrot. It’s not uncommon to see a group of gay patrons sitting at the bar in bathing suits sipping on orange crushes and talking about their day at Poodle Beach while a bachelorette party belts out Lady Gaga on karaoke night in the room next door. That is the vibe Fuller and Roberts have curated — a fun and friendly tropical oasis in the middle of Rehoboth Avenue.  

A crucial element of this curated vibe, the pair point out, is treating employees and guests with respect. When asked what they have learned that helped them be so successful over the past 25 years, Fuller and Roberts said the same thing.

“Patience, organization, and treating people well,” Roberts said.” I think that’s probably one of the bigger of the three — you treat them well and they treat you well. I think it’s just a mutual respect.” 

 “It took me about 30 years to learn that it’s not just all about work,” Fuller said. “I used to bust my butt in there all the time and the focus was [on] the restaurant. I know [Roberts] said patience, I would say mine was being patient too because I learned going in that it’s easier to deal with your employees without shouting at them. It took me a little while to get through that.” 

He added that compensating staff fairly was also one of their keys to success. 

 “Before we take a nickel out of our business, we put $1 back into our employees’ pockets,” Fuller said. We want the business to survive and it has been incredible.”  

Fuller added that this sentiment, of having patience and treating everyone with respect, goes both ways — it applies to the Parrot’s patrons as well. 

“If you leave the Parrot angry, it’s your own decision,” Fuller explained. “If we don’t make you happy there, it’s because you’re choosing not to be happy. We will go out of our way to correct anything and everything that we can. So if you leave [unhappy], it’s not because we couldn’t do it. It’s because you didn’t want us to.”

The two discussed their history together — anyone who has them interact can see their spirited energy and appreciation for each other. 

 “Troy and I used to be a couple when we first opened, and we were together for about 10 years,” Fuller said. “And then we kind of went our separate ways, but the restaurant kept us in very close contact. Sometimes I think we’re probably closer than most couples are because of the way that the restaurant has us tied together.” 

“Even during the worst of it, we never stopped communicating on a daily basis,” Roberts added. “Obviously, you can tell by his personality why that all went south,” he said laughing. 

“Well, you can tell by the way that he looks why it went south.” Fuller jabbed back, also laughing.

“Hey!” Roberts replied. 

“I wasn’t gonna continue dating my grandfather!” Fuller joked. 

Despite the end of their romantic relationship, there was still clear evidence of perpetual good energy between the business partners. The two then started to reminisce about the past 25 years and the struggles and successes they overcame to reach this milestone. 

The pair mentioned the two biggest struggles they have faced in the past quarter century. One was when Rehoboth Avenue was dug up for the Streetscape improvement project, and the second was the 2008 recession. 

“We were refinancing our houses several times to keep it afloat there for a little while,” Fuller said. 

“But hey, we got nice sidewalks now!” Roberts added. “So that’s good.”

 It’s not just the customers who grew up with the Parrot; so did the staff.

“I mean one of the kids who bussed for us is now our dentist,” Fuller said.

“One of the busboys from the Iguana days, he’s our dentist now,” Roberts explained. “They actually started dating in high school while working together at the Iguana. One of them followed us to the Parrot and her daughter just worked for us two summers ago as a host. He’s our dentist, and they’re still local. We just sold him a house over in Lewes, because we’re both Realtors on the side. When you look back at that, you’re like, ‘Oh, my God, you were just a kid. And now you have a kid graduating college!’ It goes fast.” 

It seems that many of the staff have a soft spot for the Parrot, and for good reason. An important aspect of keeping their employees happy is supporting them. At first, it was trips to Disney World with some of the servers and renting out the local waterpark to give kids time to enjoy the summer. Then it became Christmas bonuses, which are not common in the food service industry. 

The Parrot helped raise more than $10,000 for one of their employees dealing with fallout from the war in Ukraine. 

“One of our bartenders being from Ukraine, when all that went down, amazingly, how he was able to bring a lot of his family over,” Roberts said. “And until they actually got grounded, he had places for them to stay all lined up.”

“The reason that he was able to get them over is because we did a fundraiser at the restaurant and our customers raised over $10,000 to help sponsor his family and one of our other employees’ families,” Fuller said. “They brought them all the way up through Mexico and into the country and now they’re here with citizenship cards and working for us. We got them houses and apartments too.” 

“We don’t care what they are, whether they’re straight, Black, Chinese, Mexican. It’s like the Benetton of Rehoboth in here,” Fuller added. “It’s the United Nations. We support everybody and we’re not afraid to show our support for everybody.”

In addition to reminiscing about some of the good things the restaurant has done for its employees, they both talked about notable guests of the Parrot. 

“My mind went right to the guys from Manhattan, who would always come down,” Roberts said when asked if any guests have stuck out to him over the past 25 years. “They just happened to find us. They had never been to Rehoboth before. They walked into the original Parrot and had every single year after that until two of them passed away. It just became like a yearly week, then it turned into two weeks, and then it turned into two times a year. And it was all just because they came to one bar, and had so much fun. They would sit there all day, all night, go home take a nap, and come back for dinner. And it was just their place.” 

They have faced some objections from those who were not as receptive to their tolerance of different people.

“We get the same hate that everybody else does — the same hate that the city got when they put the rainbow crossings in and the flag up,” Fuller said. “I was just telling Troy about a conversation I had yesterday with a guy. The front of our business for Pride month has flags on it and says ‘Happy Pride.’ And he said, ‘I was going to come in here but I see you’re supporting the gay community with your rainbow flags.’ And I said ‘Yes.’ And he goes, ‘Well, I don’t see why you don’t have flags for veterans.’ And I said,’ Well, as a veteran, I can tell you that we don’t serve to be recognized, we serve to protect and to give you guys your freedom. It’s not something that we want recognition for. But there is a flag, the American flag, that flies over the top of our business every day to represent the veterans of this country.’” 

Despite the opinions of some who are less than welcoming of the LGBTQ community, the Purple Parrot will always be a safe space to celebrate, the two affirmed. And celebrate they will. 

The Parrot already hosted one party to celebrate the milestone of the bar early in the summer, but will throw an even bigger bash at the end of the season to commemorate the history and hard work that has gone into making the Parrot ‘fly.’

“On May fifth we had a big party,” Fuller said. “We’ll have another one at the end of the summer in September. We did one at the beginning and then we’re going to do a really big one at the end of the summer. The first celebration, that weekend, turned out to be a little rainy, and misty so it wasn’t as big as it could have been. It was packed inside but it wasn’t packed outside like it normally is. We usually do a full cookout barbecue, all that stuff and we’ll do that again at the end of the summer. We’ll have another one of those with DJs. I am not sure about a drag show, but we’ll probably have something because the girls are trying to get something together. We don’t want to spoil anything but there will be a surprise.”  

When asked to give their final thoughts on owning and running one of Rehoboth’s most successful businesses as gay men, the two made it clear that it has to be a safe and welcoming space for all for it to succeed. 

“I think you have to be all-inclusive,” Roberts said. “I don’t think in today’s world you can just really limit it to the gay community. You have to be gay-friendly, and accepting as well. And I think that helps because it gets non-gays in there and everybody just starts to get along. It becomes more accepted and then becomes the norm.” 

Fuller agreed but emphasized being true to one’s character in collaboration with being inclusive is the key to their success.

“Being gay isn’t who we are, you know, it’s what we are,” Fuller said. “You can’t be afraid to be you. … If you’re going to open up a business, you want to make sure you lean on the community, because the community is going to be your biggest support. And that’s how we definitely lean on the gay community.”

The Purple Parrot is located at 134 Rehoboth Ave. in Rehoboth Beach and is open Monday through Saturday from 11 a.m. to 1 a.m. and is open from 9 a.m. to 1 a.m. on Sundays. For more information, visit their website at ppgrill.com.

Purple Parrot (Washington Blade photo by Daniel Truitt)
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PHOTOS: New York City Pride Parade

Annual LGBTQ march held in Manhattan

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The 2024 New York City Pride Parade was held on June 30. (Washington Blade photo by Daniel Truitt)

The 2024 New York City Pride Parade wound through the streets of Manhattan and past the historic Stonewall Inn on Sunday, June 30.

(Washington Blade photos by Daniel Truitt)

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