Arts & Entertainment
Red revolution
Historical play gets brisk, brave local production
‘Les Justes (The Just Ones)’
Through March 11
WSC Avant Bard
Artisphere, 1101 Wilson Blvd., Rosslyn
$25-$30
888-841-2787

James T. Majewski in the WSC AvantBard production of ‘Les Justes.’ (Photo courtesy C. Stanley Photography, courtesy WSC AvantBard).
“Terror is not for the tender,” says Stepan, a hardened revolutionary in WSC Avant Bard’s tight production of Albert Camus’ “Les Justes (The Just Ones).” When young Yanek (James T. Majewski) balks at blowing up the Grand Duke because the Russian royal’s entourage includes two children, Stepan (John Stange) sneers. It’s better to kill blue-blooded parasites no matter the age, and save the starving masses. According to him, Yanek is too soft.
Based on the true story of a group of Russian socialist-revolutionaries who assassinated the Grand Duke Sergei Alexandrovich (uncle to the Tsar) in 1905, “Les Justes” — in true Camus fashion — grapples with matters of morality, in this case the ethics of revolution. While most of the action takes place offstage in the muddy streets of Moscow, the audience is primarily privy to the interior of the terror cell’s apartment headquarters — a shining world of ideas beautifully imagined by set and lighting designer David C. Ghatan as a bright white hexagonal platform encircled by four suspended white woodcut panels that allude to the socialist struggle.
It’s here that the group’s philosophies are heatedly debated and forged. Yanek, a poet who gave up a cushy life to join the revolution, yearns to be accepted by his fellow rebels as a true militant. Their decision to assassinate the Grand Duke presents an opportunity for Yanek to prove himself. He argues with Stepan and others about the best way to carry out the plan. He also debates love with sweet but dour Dora (Nora Achrati), a young chemist who’s been recruited to make bombs. Rounding out the opinionated crew are its leveled-headed leader Annenkov (Frank Britton) and a more tremulous member, Voinov (Theo Hadjimichael), who ashamedly admits he is unfit for violent rebellion, opting instead to join the budding party’s propaganda wing.
A second (and more successful) assassination attempt lands Yanek in prison where he meets cellmate Foka (Brian Crane), a convicted murderer/hangman who believes justice is reserved for the afterlife. Yanek’s visitors include Skuratov (Graham Pilato), a private investigator who comes seeking a confession; and the aristo’s widow, the Grand Duchess (Karen Novack) whose burgundy gown (compliments of costume designer Jen Bevan) contrasts sharply with the revolutionaries’ black-and-white period costumes. She conveys to Yanek that while her late husband was no saint, he wasn’t entirely bad either. Neither Camus’ terrorists nor his tyrant come off as villains.
Translated and adapted by D.C. actor/director Rahaleh Nassri, the production’s script remains faithful to the 1949 source while sounding completely contemporary. Director Jay Hardee (who’s gay) puts the diverse nine-person cast through the paces in this brisk 90-minute production. Here and there, performances might ring a little one note in their intensity, but overall they’re more nuanced than not.
A winner of the Nobel Prize for Literature, Camus’ works reflect his life experience, and what he, no doubt, questioned in his life. A product of French Algeria, Camus joined the French Communist Party in a reaction to the inequalities between Europeans and indigenous Algerians. During World War II he joined the French Resistance. Long after his death (a car crash in 1962), Camus’ questions about political murder feel as relevant as ever.
Iran and Egypt on Friday faced off during the World Cup’s “Pride Match” in Seattle.
Iran is among the handful of countries in which consensual same-sex sexual relations remain punishable by death. Discrimination and persecution based on sexual orientation and gender identity is commonplace in Egypt.
Friday’s match coincided with Pride weekend in Seattle. The Egyptian Football Association and the Football Federation Islamic Republic of Iran both objected to playing in the “Pride Match.”
Egypt and Iran tied 1-1.
FIFA, for its part, allowed Pride flags inside the stadium during the match.
“The FIFA World Cup 2026 is an inclusive event that welcomes people from all backgrounds,” a FIFA spokesperson told the Washington Blade in a statement. “Fans of all sexual orientations and gender identities are welcome at matches and events. General statements of human rights, including rainbow flags and other flags representing sexual orientation and gender identity, are permitted under the FIFA World Cup 2026™ Stadium Code of Conduct and may be displayed inside stadiums provided they are used in a manner consistent with the code.”
Human Rights Watch welcomed FIFA’s decision to allow Pride flags inside the stadium. Outright International, a global LGBTQ and intersex rights group, distributed Pride flags in Seattle on Friday, which was Pride Match Day.
“Visibility matters,” said Outright International Executive Director Maria Sjödin. “Pride is now being celebrated in more than 100 countries, including this weekend in Seattle. For many LGBTIQ people, seeing a Pride flag in public is a reminder that they are not alone, and that their rights and dignity are recognized.”
FIFA President Gianni Infantino earlier this year told Die Weltwoche, a Swiss magazine, that “there will be no ‘Pride Match’ at the (FIFA) World Cup.”
“There will be a FIFA World Cup match in Seattle, and on the same day, events organized by external organizations will be taking place in the city,” said Infantino. “But that has nothing to do with the match itself.”
Peter Tatchell, a long-time LGBTQ activist from the U.K. who is director of the Peter Tatchell Foundation, was among those who traveled to Seattle for Friday’s match. Tatchell accused FIFA of not vetting World Cup teams — specifically Iran, Egypt, Saudi Arabia, Ghana, Senegal, Qatar, Tunisia, Morocco, Iraq, Uzbekistan, and Algeria — over whether they would allow gay players.
“FIFA is protecting LGBT+ visibility in the stands while failing to protect LGBT+ players on the pitch,” said Tatchell.
Photos
PHOTOS: Frederick Pride Parade
The second annual Frederick Pride Parade was held in the streets of downtown Frederick, Md. on Friday, June 26.
(Washington Blade photos by Michael Key)


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Theater
Carla Hall goes from ‘Top Chef’ to the stage
Solo show ‘Please Underestimate Me’ premieres at Olney
‘Please Underestimate Me’
Through July 12
Olney Theatre Center
at Mulitz-Gudelsky Theatre Lab
2001 Olney-Sandy Spring Rd.
Olney, Md.
$47-$101
Olneytheatre.org
Carla Hall gained celebrity status from Bravo TV’s “Top Chef.” She was funny and fun, and with her kooky signature catch phrase “Hooty hoo” and the southern-inspired recipes she lovingly cooked, Hall stood out in a kitchen crammed with contestants.
Now the D.C.-based Hall is taking revisiting her earliest love with the world premiere of her solo show “Please Underestimate Me,” currently running at Olney Theatre Center’s intimate and revamped Mulitz-Gudelsky Theatre Lab.
In the 90-minute piece (written by Hall, Lori Kaye, and Kaye’s partner Leslie Thomas; and directed by Lili-Anne Brown), Hall leads with food but quickly swerves into her personal and other aspects of her professional life. Built around an immersive fictional TV cooking show, her new play draws on experiences from her seven seasons (2011-2019) co-hosting cooking/chat show “The Chew”an ABC daytime proving ground, and her heady years on “Top Chef.” (2008, 2010).
Born and raised in Nashville, Hall wanted to attend Boston University to major in theater, but was rejected. Instead, she went to Howard University at her mother’s urging, where she ultimately majored in accounting. After graduating in 1986, she donned a bespoke business suit and briefly worked as a CPA for Price Waterhouse.
Business wasn’t for Hall. Tall and slender, she walked the runways in Paris for a while before ultimately finding her niche as a chef. Cooking seemed to come from her heart, something she learned from her grandmother who not incidentally bankrolled Hall’s way through culinary school.
Now she’s bringing the vibrancy and good humor that made her a “Top Chef” fan favorite and a popular TV host to the stage with “Please Underestimate Me.”
WASHINGTON BLADE: You seem a natural live performer. Were at all you nervous about doing this?
CARLA HALL: Anytime you step outside of what you’re known for you have to take a risk and make it happen. I’d been working on this the idea for seven years. I decided that I really wanted to do a variety show and really wanted to step back into my original love of theater.
I didn’t know what that looked like so I was asking a lot of people, actors and friends, about how to break into it. Can they see me as more than a chef? So, I told my agency to book me for voice overs, cameo roles. I got an acting coach and I was seeing a lot of single person shows. I literally embodied the thing that I wanted.
BLADE: Have you always been a vocal and public ally of the queer community?
HALL: For me, it’s natural. I came from the theater and dance world. I have a lot of gay and queer friends.
There’s something about people being gay and queer that goes with a need to be authentic to yourself. I think that’s why you find a lot of queer people in the arts. Dare to be you. Dare to be different, right? I like that.
BLADE: Long ago, I remember stopping by a Safeway in Wheaton to grab a sheet cake for a party. Your second or first episode of “Top Chef” had just aired. I wanted to yell “Hooty hoo” across the aisles, but was too shy.
CARLA HALL: My catering kitchen was near that Safeway.You should have yelled. I’d have given you a hug. I’ll hug almost anyone.
BLADE: Thanks. I think. You hear actors saying there’s nothing quite like TV fame because you’re invited into people’s living rooms. What were those days like when you started being recognized?
HALL: I like people. I tell Matthew [Matthew Lyons, Hall’s husband of 20 years], when fans say hello it’s my chance to get to learn about them. I owe them a lot; without them I wouldn’t be working.
BLADE: At Olney, Lauren M. Nichols’ surprise-filled set and Kelly Colburn’s projections of your personal snapshots from over the years are really wonderful.
HALL: It becomes really emotional. At the end of the show, I see 12-year-old me. I’m looking at that girl, and they did a put a little crown on my head, and I’m living her dream 50 years later.
BLADE: Is the pace hard?
HALL: Seven shows a week isn’t easy. I used to say “Top Chef” was my most grueling experience…well, that was before I did this.
BLADE: And is it gratifying?
HALL: At the end of the day, yes. Look, this play is filled with personal highs and lows and emotionally it’s exhausting. It’s also rewarding. Two weeks before the show started, I wasn’t sure I could do this.
BLADE: But of course, you are doing it. And you’re doing it so well.
HALL: A while back, I reached out to the executive producer of “The Chew” and thanked him for being the messenger of my lessons. Without those experiences I wouldn’t be here now doing “Please Underestimate Me.” My confidence has definitely grown. I’m a firm believer that everything that happens to you is for you.
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