Arts & Entertainment
Washington National Opera honors Katherine Goforth
Award recognizes an artist who identifies as transgender or non-binary
Katherine Goforth was recently announced as the inaugural recipient of Washington National Opera’s True Voice Award. This award was created to provide training and increase the visibility of opera singers who self-identify as transgender and non-binary. Each recipient will receive a financial award and the chance to participate in career training, artistic coaching, and a performance with the Cafritz Young Artists. Recipients will also be presented by the Kennedy Center in a recital at the Millennium Stage. Goforth’s recital will take place in May 2024.
The Washington Blade chatted with this talented singer about her artistic journey, experience as a trans opera singer, her future plans for her own career, and how she hopes to shape the field of opera.
Washington Blade: Can you share about your journey as an artist? How did you begin this journey and eventually pursue opera?
Katherine Goforth: I had an interest in music and singing for my entire life, but I looked at it as more of a hobby until my high school choir teacher required me to take voice lessons. After a few months of lessons, I started winning prizes and getting special attention for my singing, which meant a lot to me at the time because I was struggling a lot socially and at home. It was easy to dedicate myself to singing after that and hard to imagine pursuing another career.
Talking about art is a lot broader than talking about music for me. As a teenager, I attended Vancouver School of Arts and Academics, a public arts magnet middle and high school, and we had arts education integrated into most of our subjects. Some of my most memorable projects were a mural painted on school windows I co-designed and co-created, a mockumentary film about the meaning of art, and the semi-opera I composed as my senior year capstone project.
Since I was a kid, I felt like I had something to prove and have always tried to do more than what others thought possible in my performing and creative work. It has only been since I transitioned that I really started to feel like I was enough. The part of me that wanted to prove myself could calm down and I learned that it is enough for me when I stand in my own values and desires.
Blade: What has been your experience as a trans person in the field of opera?
Goforth: As a young person coming into a sense of trans and gender non-conforming identity, opera was a damaging space to be part of. At the time, I believed there was no way to actualize my gender identity and continue working. Sure, there were queer people in opera, but almost all of them were straight-presenting men—and those who weren’t, didn’t seem to get the same opportunities. I have a strong memory of seeing the news about the premiere of As One [a chamber opera with a sole transgender protagonist]in 2014. It was the first time I had heard anyone mention trans people in an opera space. I don’t know how much this has changed for students, but I do think that fewer people are postponing their transitions for the sake of working in this industry, which is good.
I haven’t worked in opera very much since I came out and it will be interesting to see how that develops over the next few years. I’ve heard a lot of people say that major opera companies aren’t ready for trans singers yet, but I hope they’re wrong. My struggle is that I feel much happier playing female characters, but I’m not capable of singing soprano-alto roles on stage right now. That’s something I hope will change in the future, but I think it’s important for me to accept my voice and try to find affirming projects to work on with the voice that I have.
I’m going to Europe this summer to sing in the premieres of Philip Venables and Ted Huffman’s The Faggots and Their Friends Between Revolutions, which is an adaptation of a novel by Larry Mitchell. My sense is that, although I love singing standard rep, the work that will feel best to me as a human being is contemporary opera. There are new works coming out all the time where a character’s vocal range isn’t restricted by their gender, or where parts are written to be affirming to trans singers. It’s an amazing experience to work on roles like that, like the non-binary protagonist in Drew Swatosh and Brian Dang’s If Only I Could Give You The Sun, a role I premiered.
For me, the bottom line is that even in a perfectly affirming opera space, there’s a lot for me to navigate. We haven’t even gotten into the contrast between the project of self-actualization that, for me, defines transition and the way control is exercised over singers in the operatic space. It is hard to spend your whole life working on being your authentic self only to then step into an industry where self-identity is encouraged only if you have the right identity. I’m not going back into any closet.
Blade: Congratulations on being the inaugural True Voice Award recipient. How do you hope to use this award as a platform to further your career, and more broadly, shape the field of opera?
Goforth: I’d like to thank Washington National Opera, Kimberly Reed, Laura Kaminsky, Mark Campbell, and the rest of the selection committee for choosing me for this award. When I decided to come out, I wasn’t sure if I was going to be able to work in this industry again. It seems to me that trans people have never had this level of institutional support in our industry. I’m honored to receive it, but I’m also aware of all the other people who competed for this award and ways that my selection leaves them out.
For me, I think my next step is getting out of a young artist box, getting management, and moving into a career where I’m making a living wage from singing without any second or side jobs, singing lead roles instead of supporting roles, and taking the creative work that I develop to the next level.
“I hope that this award doesn’t only change things for me. Institutional support can mean, ‘here’s one more type of person we can fit into our system’ without changing the system in fundamental ways. Instead, I hope we will build a field that doesn’t require types of people, a field that supports each person in fully becoming who they are, where we don’t have to oppress others to realize our artistic visions—whether that oppression is from transphobia or something else. If our artistic visions necessitate oppression, I hope that we have the strength to imagine new ways of doing things and rethink the ways that we define artistic excellence. And I hope that these changes will not take lifetimes to achieve.”
Television
‘The Pitt’ stars discuss what season two gets right about queer representation
Noah Wyle and Taylor Dearden spoke with Blade in LA
As season two of “The Pitt” comes to a close this Thursday, stars Noah Wyle and Taylor Dearden are looking back on what this season got right about queer representation.
“There is some intentionality behind it, but it’s not necessarily for the representation to be anything other than human or ubiquitous to anyone that would come into an emergency room,” Noah Wyle, who plays Dr. Robby, told the Los Angeles Blade at PaleyFest event in Los Angeles on April 12. “I know that we’ve done some storylines with some gay couples, and we did a storyline in season 1 where a woman comes in who’s cut her arm, who’s trans. But in both of those storylines, that wasn’t the point.”
Wyle continues, “In doing it that way, and not making a point of orientation being part of the problem that brings you to the emergency room, we have been told in feedback that that has been extremely revolutionary, almost, and extremely appreciated. But that’s true whether we do storylines with any kind of minority or a person with a disability. We try to have a cosmology of cast and representation on the show that’s indicative of what you find in Pittsburgh.”
Dearden, who plays Dr. Mel King, echoed Wyle’s sentiment: “I think constantly battling tropes is always important. It’s not a show about romance; it’s a show about real life and a shift in the ER. The more we represent everyday people going through everyday life, they just happen to be queer, they just happen to be trans, and making it not the plot, is putting everyone on equal playing [field]. You don’t have to have a big coming out scene.”
Queer representation on “The Pitt” is also notable through the actual actors themselves, including openly queer actor Supriya Ganesh, who plays Dr. Samira Mohan (who didn’t attend PaleyFest after the news that she is not returning for season three), and Amielynn Abellera, who plays Perlah Alawi.
“Doctors don’t put value judgments on who they treat,” Wyle concludes. “That’s not a luxury extended to them, and so that’s not part of our storytelling.”
The season two finale will air Thursday, April 16, on HBO Max, while season three has already been confirmed and is currently being written.
a&e features
Queery: Meet artist, performer John Levengood
Modern creative talks nightlife, coming out, and his personal queer heroes
John Levengood (he/him) describes himself as a modern creative with a wide‑ranging toolkit. He blends music, technology, civic duty, and a sharp sense of wit into a cohesive artistic identity. Known primarily as a recording artist and performer, he’s also a self‑taught music producer and software engineer who embodies a generation of creators who build their own lanes rather than wait for one to appear.
Levengood, 32, who is single and identifies as gay and queer, is best known as a recording artist who has performed at Pride festivals across the country, including the main stages of World Pride DC, Central Arkansas Pride, and Charlotte Pride.
“Locally in the DMV, I’m known for turning heads at nightlife venues with my eye-catching sense of style. When I go out, I don’t try to blend in. I hope I inspire people to be themselves and have the courage to stand out,” he says.
He’s also known for hosting karaoke at Freddie’s Beach Bar in Arlington, Va., on Thursday nights. “I like to create a space where people feel comfortable expressing themselves, building community, and showcasing their talents.”
He also creates social media content from my performances and do interviews at LGBTQ+ bars and theatres in the DMV. Follow the Arlington resident @johnlevengood.
How long have you been out and who was the hardest person to tell?
I have been fully out of the closet since 2019. My parents were the hardest people to tell because my family has always been my rock and at the time I couldn’t imagine a world without them. Their reactions were extremely positive and supportive so I had nothing to fear all along.
I remember sitting on the couch with my mom, dad, and sister in our hotel room in New Orleans during our winter vacation and being so nervous to tell them. After I finally mustered up the nerve and made the proclamation, I realized my dad had already fallen asleep on the couch. My mom promised to tell him when he woke up.
Who’s your LGBTQ hero?
My LGBTQ heroes are Harvey Milk for paving the way for gays in politics and Elton John for being a pioneer for the fabulous and authentic. My local heroes in the DMV are Howard Hicks, manager of Green Lantern, and Tony Rivenbark, manager of Freddie’s Beach Bar. Both of them are essential to creating spaces where I’ve felt welcome and safe since moving to the DMV.
What’s Washington’s best nightspot, past or present?
Trade tops the list for me because of the dance floor and outdoor space. It’s so nice to get a break from the music every once and a while to be able to have a conversation.
We live in challenging times. How do you cope?
I’m still figuring this out. What is working right now is writing music and spending time with family and friends. I’ve also been spending less time on social media going to the gym at least three times a week.
What streaming show are you binging?
After “Traitors” Season 4 ended, I was in a bit of a show hole, but “Stumble” has me in a laughing loop right now. The writing is so witty.
What do you wish you’d known at 18?
At 18, I wish I would have known how liberating it is to come out of the closet. It would have been nice to know some winning lottery numbers as well.
What are your friends messaging about in your most recent group chat?
We are planning our next trip to New York City. If you can believe it, I visited NYC for the first time in 2025 for Pride and I’ve been back every quarter since. Growing up in the country, I was subconsciously primed to be scared of the city. But my mind has been blown. I can’t wait to go back.
Why Washington?
It’s the closest metropolitan area to my family, but not too close. I love the museums, the diversity, the history, and the proximity to the beach and mountains. It’s also nice to live in a city with public transportation.
Aging RFK Stadium has come down, but the RFK grounds are still getting lit up. Welcome back to the stage Project GLOW, D.C.’s homegrown electronic festival, on May 30-31. Back for its fifth year on these musically inclined acres, Project GLOW returns with an even more diverse lineup, and one that continues to celebrate LGBTQ antecedents, attendees, and acts.
Project GLOW 2026 headliners include house and techno star Mau P, progressive house legend Eric Prydz, hard-techno favorite Sara Landry, and bass acts Excision b2b Sullivan King, among the lineup of trance, bass, house, techno, dubstep, and others for the fifth anniversary year.
President & CEO Pete Kalamoutsos — born and raised in D.C. — founded Club GLOW in 1999. In 2020, GLOW entered into a partnership with global entertainment company Insomniac Events to produce live events like Project GLOW, which kicked off in 2022.
As in past years, Project GLOW not only makes space, but is intentionally inclusive of the LGBTQ community, one of its most dedicated fan bases. The festival’s LGBTQ-focused Secret Garden stage blooms again — a more intimate dance area that stands on the strength of DJs and musicians who draw from the LGBTQ community. D.C.’s LGBTQ nightlife mastermind Ed Bailey is the creative mind behind Secret Garden again. He joined Project GLOW in 2023.
“Kalamoustos says that “he’s proud of his partnership with Ed Bailey, along with Capital Pride and [nightlife producer] Jake Resnikow. It’s amazing to collaborate with Bailey at the Secret Garden stage, especially after the curated lineup we worked on at Pride last year.”
The Secret Garden will be a bit different from other stages: Eternal (“At the Eternal stage, time stands still. Lose yourself in the dance of past, present, and future, surrendering to the eternal rhythm of the universe”) and Pulse (“Feel the rhythm of the beat pulse through your veins as the heartbeat of the crowd synchronizes into one. Here, every moment vibrates with life as it guides you through a new dimension of euphoria”). The Secret Garden stage is in the round, surrounded by 16 shipping containers. The containers play canvas to muralists from around the world, who are coming in to paint them in a vibrant garden-style vibe. “We gave this stage some extra love with this layout,” K says, “ we finally cracked the code.”
K says that this will be the biggest lineup yet for the Secret Garden, featuring Nicole Moudaber b2b Chasewest, Riordan b2b Bullet Tooth, Ranger Trucco, Cassian, Eli & Fur, Cosmic Gate and Hayla. The stage is also the largest yet, featuring an expanded dance floor and 360-degree viewing.
Across all stages, K says that his goal for the fifth anniversary is “More art and fan interactive experience, more like a festival, strive to be like a Tomorrowland, as budget grows to add more experience.” Last year’s Project GLOW alone drew 40,000 attendees over two days.
K, however, was not satisfied with one festival this spring. GLOW recently announced a “pop-up” one-day event. Teaming up with Black Book Records, GLOW is set to throw a first-of-its-kind dance-music takeover of Pennsylvania Avenue, N.W., headlined by electronic music star Chris Lake. Set for April 18, this euphoric block party will feature bass and vibes blocks from the White House. Organizers expect as many as 10,000 fans to attend. Beyond music, there will be food, activations, and plenty of other activities taking place around 6th St and Pennsylvania Ave NW – a location familiar to many in the LGBTQ community, as this sits squarely inside the blocks of the Capital Pride party that takes place in DC every June.
Over the past two decades, Club GLOW has produced thousands of events, from club nights to large-scale festivals including Project GLOW, Moonrise Festival, and more. Club GLOW also operates Echostage.
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