Arts & Entertainment
SPRING ARTS 2019 DANCE: Pirouettes and arabesques
Dorsey Dance Company’s gender exploration among season’s dance highlights
The Washington Ballet presents “The Sleeping Beauty” through March 3 at the Kennedy Center (2700 F St., N.W.). The classic tale is reimagined as a ballet with the familiar characters of Princess Aurora, her prince and her wicked fairy godmother Carabosse. Tickets range from $25-160. For more information, visit washingtonballet.org.
Dissonance Dance Theatre performs “Fluid” at the Atlas Performing Arts Center (1333 H St., N.E.) on Sunday, March 3 at 2:30 p.m. Set to the music of Ezio Bosso, the dance explores the themes of trust, lost, betrayal and love, through contemporary ballet inspired by physical theater and Afro-modern dance. Tickets are $30. For more details, visit atlasarts.org/events/fluid.
Akiko Kitamura presents “Cross Transit” at the Kennedy Center (2700 F St., N.W.) on March 19 at 7:30 p.m. “Cross Transit” focuses on Cambodia’s folk culture using movement choreographed by Kitamura. The work is inspired by artists Kitamura encountered during his field work in Cambodia provided by funding from the Japan Society. Tickets range from $29-39. For more information, visit kennedy-center.org.
Bon Iver and TU Dance present “Come Through” to kick-off the Kennedy Center’s Direct Current series on Monday, March 25 at 7:30 p.m. The performance includes new music from Bon Iver bandmate Justin Vernon and new choreography from TU Dance. “Come Through” is a blend of modern dance and classical ballet with African-based movements.Tickets range from $49-189. For more details, visit kennedy-center.org.
The Kennedy Center (2700 F St., N.W.) presents the Bill T. Jones/Arnie Zane Company’s “Analogy Trilogy” as part of its Direct Current series from March 28-30. The company will perform “Analogy/Dora: Tramontane” on Thursday, March 28. This show is based on an oral history that Jones received from mother-in-law, a French Jewish nurse and social worker, as she told him about her story of survival during World War II. “Analogy/Lance: Pretty aka the Escape Artist” is on Friday, March 29. This performance explores the struggles of Jones’s nephew Lance as he navigates the club culture and sex trade of the late ‘80s and early ‘90s. “Analogy/Ambros: The Emigrant” is on Saturday, March 30 and is inspired by the novel “The Emigrant” by W.G. Seblad. Tickets range from $29-79. For more information, visit kennedy-center.org.
The Washington Ballet presents its annual program “Three World Premieres” in Sidney Harmon Hall (610 F St., N.W.) April 3-7. Audiences can experience three, never-before-seen works by choreographers Dana Genshaft, Trey McIntyre and Ethan Stiefel. Tickets range from $25-100. For more information, visit washingtonballet.org.
Shen Yun returns to the Kennedy Center (2700 F St., N.W.) April 17-21 to perform “5,000 Years of Civilization Reborn,” a performance that recreates the spirit of ancient China. The dance incorporates intricate costumes, a theatrical background and an orchestra to revisit various eras of China’s past up until the present. Tickets range from $80-250. For more details, visit kennedy-center.org.
The Alvin Ailey American Dance Theater brings its 60th anniversary tour to the Modell Lyric (140 W. Mt Royal Ave., Baltimore) April 23-24. In 1958, Alvin Ailey, who was gay, founded the Alvin Ailey American Dance Theater and since then the company has celebrated African-American heritage and other cultures in performances for an estimated 25 million people
On April 23, the dance company will perform “Lazarus” and “Revelations.” On April 24, the company will perform the works “Members Don’t Get Weary,” The Call,” “Pause,” “Juba” and “Revelations.” Tickets range from $36-46. For more information, visit modell-lyric.com.
Dana Tai Soon Burgess Dance presents “Tracings” at the National Portrait Gallery (8th St., N.W. and F St., N.W.) on May 4 at 6 p.m. The work, choreographed by Burgess (who’s gay), examines the Korean planation experience in Hawaii. Admission is free. For more details, visit dtsbdc.org.
The Washington Blade held the seventh annual Pride on the Pier at The Wharf DC on Saturday, June 13.
(Washington Blade photos by Landon Shackelford)
The 2026 Lost River Pride Festival was held on the scenic grounds of the Lost River Farmers Market in Lost City, W.Va. on Saturday, June 13. Headliner Tom Goss performed at the festival and gave a second performance at the nearby Guesthouse Lost River.
(Washington Blade photos by Michael Key)
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Books
David Archuleta on Mormon faith, ‘Idol,’ more in new book
Unique memoir details religious upbringing, coming out
‘Devout: Losing My Faith to Find Myself’
By David Archuleta
c.2026, Gallery Books
$29/290 pages
So just make up your mind already.
The decision is very much in your control – or, at least that’s how it’s supposed to be. It’ll be your future, your path, and seizing it may not just be necessary, but mandatory. It’s your life, and no one can live it for you. As in the new memoir “Devout” by David Archuleta, that goes for career and for love, too.
Born to parents who both had musical careers before they wed, David Archuleta remembers an early childhood growing up in a Hispanic Mormon community in Florida, where kin was always nearby. He was six when his parents moved the immediate family to Utah; the first thing he remembers about that is the snow, and how it was so cold, it burned.
Because music was in his blood, Archuleta grew up singing and dancing, often with his mother whom he calls “my rock.” It was his father, however, who encouraged him to perform; first, with a gentle push, then a shove toward a career Archuleta didn’t really want.
But he did want to make his father happy, so he went along with the contests, embarrassing meet-and-greets with stars, and uncomfortable introductions. Slowly, though, performing became more fun, and Archuleta made friends.
Meanwhile, back home, everything was breaking apart. A “family friend” whom Archuleta refuses to name accused his father of abuse. He was exonerated, but it affected the family’s closeness and they stopped being affectionate.
That was a painful backdrop to Archuleta’s soaring career, his appearances on Star Search, friendships with other rising stars, his runner-up spot on “American Idol,” tours, and recording contracts. His father kept pushing him.
But there was one thing missing.
Since he was a boy, Archuleta had known that he was attracted to men, but his Mormon faith taught him that that was unacceptable. Kissing, his abuelita said, was wrong. He tried hard to date girls, in the most chaste way. Anything past that was against God – and anything at all with a man was unthinkable.
Though it absolutely favors his personal life and dwells on it a bit too much, “Devout” strikes an otherwise nice balance between that, author David Archuleta’s career, his sexuality, and his faith. The latter two are loaded with controversy.
You don’t need to be Mormon to fully understand the faith part; Archuleta offers non-Mormons a brief education, so readers can see the importance of the Church’s teachings in his life and why he felt the need to abandon it as his understanding of his bisexuality grew. It’s emotionally raw and honest, but also so respectful that it almost bears re-reading. Such candor and the heart-on-his-sleeve tone you’ll sense are features in the entire book, alongside Archuleta’s family’s struggles and his learning to strike out alone.
It’s harmonious in more ways than one, and fans will be happy.
So, too, will anyone who wants a unique memoir with a dose of faith, or someone who’s an “American Idol”watcher. Find “Devout” and be sure to share. You won’t mind.
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