Arts & Entertainment

Roadwork reflects on its herstory to plan its future

Social justice coalition makes room for the next generation of artist activists

Published

3 years ago

March 8, 2023

In 1978, amid the second wave of feminism in the aftermath of Roe v. Wade, Roadwork – a multiracial coalition – put women’s art, particularly that of women of color, on the road. Building the roads where they didn’t already exist, Roadwork created an intersection of opportunity and social change, wherein artists from diverse backgrounds shared their voices while advancing an array of social justice movements.

Forty-five years later, the coalition remains firm in its vision to support artists while connecting them to women’s cultural contributions that are absent from white feminist history. However, today, the organization is reflecting on women’s history more than ever to gauge how Roadwork will best support women and queer artists in the future.

“The beautiful thing about movements over time is that we keep growing and learning,” Roadwork co-founder Amy Horowitz said. “[For] Roadwork, it’s like a dream come true that younger artists activists are envisioning a new way forward.”

Horowitz and Bernice Johnson Reagon founded Roadwork when the very word “woman” was radicalized, Horowitz said. As activists in their 20s and early 30s, Horowitz and Reagon developed the organization as they went along, producing shows while supporting civil rights, women’s rights and gay rights movements in Washington, D.C.

In addressing how racist or misogynistic ideologies exist not only systemically but also within individuals and women’s movements, Roadwork created events where activists could focus on building coalitions across differences to take a congregational approach to fight regressive social forces like racism, sexism, and homophobia.

One manifestation of this vision was the Sisterfire Festival. Started in 1982 as a one-day fundraising festival to amplify the work of grassroots artists in response to arts funding cuts, the event welcomed all genders, races, and sexualities to support women’s voices. The festival then evolved into an annual celebration that required year-round booking, production, and coalition building.

“Sisterfire does not exist in a vacuum, it is in the voice of the song, it is in the pictures we draw, it is in the leap of the dance, and it is in the shout of the poem that we send forth, beyond the battle, our vision of the way the world should be,” a host of the first Sisterfire Festival said on stage.

The Sisterfire Festival ran until 1989, two years after two white lesbian separatists refused to let two gay Black Sisterfire volunteers into their booth during the festival.

“The festival went on for a few years after that, but we, at that point, couldn’t recover from that attack that we received from the radical lesbian separatist movement,” Horowitz said.

But the end of the Sisterfire Festival didn’t overshadow Roadwork’s vision. Horowitz founded the Jerusalem Project in 1991 with the help of the Smithsonian Institution for Folklife and Cultural Heritage, strengthening what is now a longstanding relationship between Roadwork and the Smithsonian Institute.

Roadwork even collaborated with the Smithsonian Folklife Festival and the Kennedy Center Millennium Stage in 2018 for the coalition’s 40th-anniversary celebration – a Sisterfire reunion festival.

After packing an audience into the Kennedy Center’s Millennium Stage, the Kennedy Center invited Roadwork back for a Sisterfire showcase every year since the reunion.

“It just really seemed like an awesome thing to do, to localize that, kind of, official space and grassrootsify it,” Horowitz said. “They support us doing what we want to do.”

As Roadwork prepared for this year’s annual Sisterfire showcase on March 4, the coalition takes time to reflect on where they’ve been to find direction in where to move forward, according to Roadwork Interim Director Lehuanani DeFranco.

During Sisterfire’s hiatus, Roadwork prioritized gathering archival information. After a storage facility sold and emptied one of Roadwork’s storage units that held archives, the challenge to recover the past came with a time limit.

“In this day and age where people are getting older and the stories are sort of getting lost, it’s really important to be able to collect any of that information, whether from the different types of programs or letters that would come in, to videos and archival footage that we’d be taking from interviews with people,” DeFranco said.

Collecting the oral and documented histories of Roadwork holds the coalition accountable as community builders reacting to change, DeFranco added. Aside from looking back to see how Roadwork previously dealt with challenges or considering how the coalition needs to evolve, collecting archives may also enable Roadwork to share these diverse historical perspectives with museums and universities for the next generation.

Beyond connecting the next generation of artists activists to this history, the coalition is entrusting the next generation of Roadwork leaders with finding the communities and organizations that need support in their fight for social change.

“I’m really wanting to hand over the reins, in a way, of the type of artists that we are putting on stage and the type of artists that others think should be elevated in their community,” DeFranco said.

Supporting artists also means granting them the freedom and trust to share their art in the way they want. While Roadwork offers its resources and connections to advance other projects, its fiscal sponsorship doesn’t change the vision of the project and instead operates as more of a “big sister relationship,” DeFranco explained.

Roadwork currently is involved in nine projects, including three educational initiatives, three documentary projects and three sponsored projects supporting archival work, artist housing, and Indigenous music curation aimed at reimagining Western music genres.

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PHOTOS: ‘Studio 69’

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Published

14 minutes ago

May 11, 2026

Michael Key

'Studio 69' was held at Bunker on Friday. (Washington Blade photo by Michael Key)

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Arts & Entertainment

Washington Blade’s Pride on the Pier returns June 13 to kick off D.C. Pride week

Pride on the Pier officially launches Pride Week in D.C.

Published

6 hours ago

May 11, 2026

Staff reports

The Washington Blade’s annual Pride on the Pier celebration returns to The Wharf on Saturday, June 13, 2026 from 4-9 p.m., bringing thousands of LGBTQ community members and allies together for an unforgettable waterfront celebration to kick off Pride week in Washington, D.C.

Now in its eighth year, Washington Blade Pride on the Pier extends the city’s annual celebration of LGBTQ visibility to the bustling Wharf waterfront with an exciting array of activities and entertainment for all ages. The District Pier will offer DJs, dancing, drag, and other entertainment. Alcoholic beverages will be available for purchase for those 21 and older.

“Pride on the Pier has become one of the signature moments of Pride in D.C.,” said Lynne Brown, publisher of the Washington Blade. “There’s nothing like watching our community come together on the waterfront with live music and incredible energy as we kick off Pride week.”

Pride on the Pier is free and open to the public, with VIP tickets available for exclusive pier access to the Dockmaster Building. To purchase VIP tickets visit www.prideonthepierdc.com/vip.

Additional entertainment announcements, sponsor activations, and event details will be released in the coming weeks.

Event Details:

📍 Location: District Pier at The Wharf (101 District Sq SW, Washington, DC)
📅 Dates: Friday, 13, 2026

⏱️ 4-9PM
🎟️ VIP Tickets: www.PrideOnThePierDC.com/VIP

Theater

National tour of ‘Gatsby’ comes to National Theatre

Out actor Edward Staudenmayer talks playing the show’s gangster

Published

1 day ago

May 10, 2026

Patrick Folliard

Edward Staudenmayer plays Meyer Wolfsheim in ‘The Great Gatsby.’ (Photo courtesy National Theatre)

‘The Great Gatsby’
May 12-24
The National Theatre
1321 Pennsylvania Ave., N.W.
$59-$196
Thenationaldc.com

Often dubbed “The Great American Novel” for its depiction of ambition and self-invention alongside the reversals of success, F. Scott Fitzgerald’s “The Great Gatsby” says it all in a fast read.

Set against the excesses and energy of the Roaring Twenties, “The Great Gatsby,” novel and now the same-titled hit Broadway musical with a jazz/pop original score by Jason Howland and Nathan Tysen, tells the story of Nick Carraway and his friendship with Jay Gatsby, an enigmatic millionaire intent on reuniting with ex-lover, Daisy Buchanan.

It was during a four-month 2025 run in Seoul, South Korea, that out actor Edward Staudenmayer first played the show’s heavy, Meyer Wolfsheim, a gangster who helped Gatsby make his murkily acquired fortune. As Meyer, Staudenmayer opens the second act with, appropriately enough, “Shady.”

Now three months into a year-long North American tour, the show is poised to enjoy a brief run at Washington’s National Theatre (5/12-5/24).

While putting on his eyeliner prior to a recent Wednesday matinee at Chicago’s Cadillac Palace Theatre, the upstate New York-based actor shared about Gatsby and a life in theater.

WASHINGTON BLADE: Despite your good looks and terrific voice, you’re rarely the leading the man. How is that?

EDWARD STAUDENMAYER: I’m definitely a character man. I’ve been painting lines on my face to play old men since I was in high school. I was the youngest freshman in college playing old Uncle Sorin [in Chekhov’s “The Seagull”].

There have been many villains. Some darker than others. Meyer Wolfsheim is a very bad guy, but he doesn’t haunt me once I’m offstage. I play a lot of pickleball.

BLADE: Is it true that like so many of Fitzgerald’s characters, Wolfsheim is famously based on someone the writer encountered in life.

STAUDENMEYER: That’s true, Wolfsheim is pretty much a direct portrayal of real-life mobster and 1919 World Series fixer [Arnold Rothstein].

BLADE: When did the 1925 novel first surface on your radar?

STAUDENMAYER: Like many of us, I was assigned “The Great Gatsby” in high school. It was short, and filled with sex and illicit activities. I thought it was great. Definitely wasn’t a Judy Blume novel.

Interestingly, the book wasn’t originally a huge a success for Fitzgerald, but because it was about war and having the girl at home, they gave it to GIs leaving for WWII. After returning, a lot of those guys went on the GI Bill and became English teachers. They assigned the book to their students.

BLADE The idea that the book’s first-person narrator, Nick Carraway, is gay and enamored with Jay Gatsby is long discussed among readers and scholars. Does the musical touch on that?

STAUDENMAYER: Yes, there’s conjecture about Jay and Nick, and it’s implied in our show. It’s also implied about Jordan Baker, Jay’s fleeting romantic interest. Ultimately, she’s a confirmed bachelor, and a professional golfer who only wears pants.

Our performers are really good. Josh Grasso who plays Nick is fantastic. I’ve had to stop watching him in his last scene; it’s not good for Meyer Wolfsheim to take his curtain call crying. Our Gatsby, Jake David Smith, is good too. He’s gorgeous like Superman and sings like an angel.

BLADE: Do you ever imagine backstory for your characters whose sexuality is undefined?

STAUDENMAYER: I do, but not with Wolfsheim. I don’t see it. I’m trying to be as butch as possible with this ruthless killer.

BLADE: Have you had to do that in your career?

STAUDENMAYER: For a long time, I wore a mask to hide my gayness. I worked hard on being believable, that I was into the girl or that I was a tough guy.

It’s a different world now, and it’s so refreshing to be around the younger actors today; they’re remarkably open and comfortable.

BLADE: What was your coming of age like?

STAUDENMAYER: I played high school football in Palm Springs [he chuckles, alluding to the arid gay mecca], and I was pretty good too. But much to the chagrin of my parents and coaches, I quit the team to act in our senior year play. My super butch dad played semi-pro football and he was an ex-cop. I’m named after him. While I didn’t become my dad, I’ve played him often on stage. He was a true Gaston [the bumptious rival in “Beauty and the Beast”]. And like Gaston, he used antlers in all his interior decorating.

BLADE: Did he live to see your success in theater?

STAUDENMAYER: He did. Life was challenging growing up but the last 10 years of his life we couldn’t get off the phone with each other [his voice catches with emotion]. He accepted me entirely, and we became very close.

BLADE: Looking ahead, is there a part you’d especially like to play?

STAUDENMAYER: Like all baritones I’d love to play Sondheim’s “Sweeney Todd.” I’ve come close but it hasn’t happened yet. There’s still time.