an evening of banned books, chamber music, and all-around fabulousness

 

“The QUEENTET PROJECT” highlights LGBTQIA+ voices and creates a novel exploration of unconventional storytelling through the melding of drag and classical music. Part chamber music concert, part drag story hour, the show loosely follows the structure of a classic fairytale. Tara Hoot uses her classic combination of humor and fabulousness to help “demystify drag,” whether you’re a novice to the drag world or a seasoned patron!

Performers

Tara Hoot, Drag Queen

District5 wind quintet

  • Laura Kaufman Mowry, Flute
  • Alison Lowell, Oboe/English Horn
  • Jakob Lenhardt, Clarinet 
  • Matthew Gregoire, Bassoon
  • Josh Thompson, Horn

Program

Magic Spell

Hector Berlioz arr. Plylar: Marche au supplice from Symphonie Fantastique

Once Upon a Time

Reading from Get Happy by Gerald Clarke

“Get Happy” with Judy Garland

Carrie Jacobs-Bond arr. Alison Lowell: Selections from Half Minute Songs 

The Heroine

Reading of Alma and How She Got Her Name by Juana Martinez-Neal 

Teresa Carreño arr. Plylar: Mi Teresita

The Villain

Shinji Miyazaki arr. Gregoire: Team Rocket

Reading from A Handmaid’s Tale by Margaret Atwood

Magical Creature Sidekicks

Johannes Brahms arr. Plylar: Selections from Waltzes, op. 39 

Reading from The Hobbit by J.R.R. Tolkien

The Epic Battle

Damian Geter: I Said What I Said 

Reflections

“The Rainbow Connection” with Barbra Streisand and Kermit and Frog 

Lessons Learned

Christen Taylor Holmes: Gorgeously, You! 


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About the Artists

 

Tara Hoot, Drag Queen

“I was born in the ‘High Land’ of Indiana, Terre Haute, and spent my formative years in the ‘Jewel of East Central Indiana’, New Castle! The Hoosier State couldn’t contain my glamour, so off to the East Coast I went, landing with a thud in Washington, DC!  I’m a kind and campy drag queen entertainer and I can’t wait to see you soon!”

District5 wind quintet

Now in its eleventh season, District5 has established itself as one of the most innovative chamber music ensembles in the greater Washington DC area.  Each show combines their distinct blend of passion, humor, and virtuosity with music you won’t hear anywhere else.

District5 has appeared at venues like “The REACH” at the Kennedy Center, Music at Dumbarton Oaks, the Barns at Wolftrap, the U.S. Department of State, the Great Hall of the Library of Congress, the American Revolution Institute, the Kosciuszko Foundation, Capitol Fringe, the Chesapeake Music Festival, and the District New Music Coalition Conference.

They received a 2024 Paul R. Judy Center for Research and Innovation grant for “The Queentet Project; a drag symphonic story hour” which included the commission Gorgeously,You! by composer Christen Taylor Holmes. Their debut album of the complete Chopin Preludes was recorded in 2018 and is available on YouTube, Amazon, iTunes, and Spotify.  In 2024, they released the first volume of a recording project titled “Forgotten Dances”, which highlights lesser-known works and pieces composed by historically marginalized composers. They also commissioned the “Pandemic Suite,” a collection of short wind quintets by South African and American composers; recorded And Then by award-winning DC composer Jessica Krash; and were the recipients of a Chamber Music America ‘Classical Commission’ with Cypriot-American composer Evis Sammoutis. Together with the group’s ‘Transcriber-in-Residence’ David Plylar, they have brought new life to nearly 100 original transcriptions, many of which feature little-known works and composers.

District5 also enjoys sharing its love for chamber music with young musicians. They have designed educational programs for the Virginia Arts Fest, DC Youth Orchestra Program, American Youth Philharmonic, and the UMBC Wind Ensemble, and served as Ensemble-In-Residence at the University of Maryland’s High School Music Academy.  In the summer of 2025, they will serve as faculty for American Youth Philharmonic Orchestra’s Wind Chamber Music Academy.

This project is supported in part by a grant from Eastman’s Institute for Music Leadership’s funds from the Paul R. Judy Center for Innovation and Research 

ALMA AND HOW SHE GOT HER NAME. Copyright © 2023 by Juana Martinez Neal. Reproduced by permission of the publisher, Candlewick Press, Somerville, MA.

Texts from Tonight’s Readings

  • Get Happy (Gerald Clarke)

    Judy had explained how easily such an accident could happen—she had, in effect, foretold the manner of her ending—two years earlier in a reflection on the death of Marilyn Monroe. “You take a couple of sleeping pills,” she had explained, “and you wake up twenty minutes and forget you’ve taken them. So you take a couple more, and the next thing you you’ve taken too many.”

    Following the inquest on Wednesday, Judy’s body was flown to New York, where it was driven to the Frank E. Campbell Funeral Home on Manhattan’s East side. After a brief delay while her makeup was redone—the London mortuary had made her look like a prim little Englishwoman, with soft curls, pink lipstick and almostno eye shadow—her body was placed on public view. Lining up eight abreast, mourners circled the block all day and through the night, an unbroken procession of young and old, rich and poor, men and women. By the time the coffin was closed late Friday morning, an estimated 22,000 people had paid their respects. Another two thousand, still waiting, had to be turned away.

    Funeral services began at one o’clock Friday afternoon, with Mickey, Sid and all three of Judy’s children in attendance. Peter Delaney, who had come from England to officiate, read from Corinthians, one of Judy’s favorite Bible passages: “And now abideth faith, hope, charity, these three; but the greatest of these is charity.” James Mason gave the euology, and the service ended with “The Battle Hymn of the Republic,” the song Judy had sung after the death of John Kennedy—“Mine eyes have seen the glory of the coming of the Lord.” Covered by a blanket of yellow roses, her coffin was then carried by car to a crypt in Hartsdale’s Ferncliff Cemetery, a few miles north of New York.

    In the days that followed, columnists and editorial writers ruminated over her life and death. Some drew moral lessons, wagging their fingers at Hollywood, drugs, the culture of fame, Judy herself. Her life had been a tragedy, they said. But that was a charge Judy would have rejected—indeed, she had rejected it. If she had a choice, an English reporter had asked in January, would she do it all over again? “Oh, come on,” Judy had laughed. “Don’t for heaven’s sake give me that old sob stuff routine. Of course I’d do it all over again. With all the same mistakes.” Saddened by the silence, many did feel sorrow, however. “Bonne Nuit, Judy Garland,” was the headline in a Montreal paper—“Good night, Judy Garland.”

    Posterity does not remember entertainers, James Mason said in his eulogy, adding that in years to come those who had not known her would be puzzled by the passions she had evoked. But Mason’s was not the last word, or the right word, or a prophetic word. Even as he spoke, Judy’s voice issued, unstilled and unstoppable, from the portable phonographs and radios carried by those outside the funeral home. Carnegie Hall. The Palace. The Palladium. M-G-M and a hundred opening nights. All crowded together on that narrow Manhattan side-walk on that muggy afternoon in June. From the pavement to the top of the tallest building her voice rose, and rose still higher, as if, like the breath of exaltation, it would serenade heaven itself. Forget your troubles and just get happy, it said. Get ready for the judgement day.


  • Alma and How She Got Her Name (Juana Martinez-Neal)

    Alma Sofia Esperanza Jose Pura Candela had a long name–

    too long, if you asked her.

    “My name is so long, Daddy. It never fits,” Alma said.

    “Come here,” he said. “Let me tell you the story of your name. Then you decide if it fits.”

    “Sofia was your grandmother,” he began. “She loved books, poetry, jasmine flowers, and, of course, me. She was the one who taught me how to read.”

    “I love books and flowers…and you, too, Daddy!” I am Sofia.

    “Esperanza was your great-grandmother,” he continued. “She hoped to travel, but never left the city where she was born. Her only son grew up to cross the seven seas. Wherever her sailor son went, so did Esperanza’s heart.”

    “The world is so big! I want to go see it, Daddy. You and me together.” I am Esperanza.

    “Jose was my father,” Alma’s daddy said. “He was an artist with a big family, like many people had back then. Early each morning, he walked to the mountains and the plazas to paint everyday life. Sometimes I went along. Your grandfather taught me to see and love our people.”

    “I wake up early every day, and I draw a lot, too! This morning, I drew a kitty cat for you, Daddy!” I am Jose.

    “Pura was your great-aunt. She believed that the spirits of our ancestors are always with us, watching over us. When you were born, she tied a red string around your wrist: a charm to keep you safe.”

    Hello, Pura! It’s me, Alma!

    “Candela was your other grandmother. She always stood up for what was right.”

    I am Candela!

    “I love the story of my name! Now, tell me about Alma, Daddy. Where does that come from?”

    “I picked the name Alma just for you. You are the first and the only Alma. You will make your own story.”

    Alma Sofia Esperanza Jose Pura Candela! “That’s my name, and it fits me just right! I am Alma, and I have a story to tell.”


  • A Handmaid’s Tale (Margaret Atwood)

    About two o’clock, after lunch, the director came in to the discing room.
    I have something to tell you, he said. He looked terrible; his hair was untidy, his eyes were pink and wobbling, as though he’d been drinking.
    We all looked up, turned off our machines. There must have been eight or ten of us in the room.       I’m sorry, he said, but it’s the law. I really am sorry.
    For what? somebody asked.
    I have to let you all go. He said this almost gently, as if we were wild animals, frogs he’d caught, in a jar as if he were being humane.
    We’re being fired? I said. I stood up. But why?
    Not fired, he said. Let go. You can’t work here anymore, it’s the law. He ran his hands through his hair and I thought, He’s gone crazy. The strain has been too much for him and he’s blown his wiring.
    You can’t just do that, said the woman who sat next to me. This sounded false, improbable, like something you would say on television.
    It isn’t me, he said. You don’t understand. Please go, now. His voice was rising. I don’t want any trouble. If there’s trouble the books might be lost. They’re outside, he said, in my office. If you don’t go now they’ll come in themselves. They gave me ten minutes. By now he sounded crazier than ever.
    He’s loopy, someone said out loud; which we must all have thought.
    But I could see out into the corridor, and there were two men standing there, in uniforms, with machine guns. This was too theatrical to be true, yet there they were: sudden apparitions, like Martians. There was a dreamlike quality to them; they were too vivid, too at odds with their surroundings.
    Just leave the machines, he said while we were getting our things together, filing out. As if we could have taken them.
    We stood in a cluster, on the steps outside the library. We didn’t know what to say to one another. Since none of us understood what had happened, there was nothing much we could say. We looked at one another’s faces and saw dismay, and a certain shame, as if we’d been caught doing something we shouldn’t.
    It’s outrageous, one woman said, but without belief. What was it about this that made us feel we deserved it?
                 When I got back to the house nobody was there. Luke was still at work, my daughter was at school. I felt tired, bone-tired, but when I sat down I got up again. I couldn’t seem to sit still. I wandered through the house, from room to room. I remember touching things, not even that consciously, just placing my fingers on them; things like the toaster, the sugar bowl, the ashtray in the living room. After a while I picked up the cat and carried her around with me. I wanted Luke to come home. I thought I should do something, take steps; but I didn’t know that steps I could take.
    I tried phoning the bank again, but I only got the same recording. I poured myself a glass of milk – I told myself I was too jittery for another coffee – and went into the living room and sat down on the sofa and put the glass of milk on the coffee table, carefully, without drinking any of it. I held the cat up against my chest so I could feel her purring against my throat.
    After a while I phoned my mother at her apartment, but there was no answer. She’d settled down more by then, she’d stopped moving every few years; she lived across the river, in Boston. I waited a while and phoned Moira. She wasn’t there either, but when I tried half an hour later she was. In between these phone calls I just sat on the sofa. What I thought about was my daughter’s school lunches. I thought maybe I’d been giving her too many peanut butter sandwiches.
    I’ve been fired, I told Moira when I got her on the phone. She said she would come over. By that time she was working for a women’s collective, the publishing division. They put out books on birth control and rape and things like that, though there wasn’t as much demand for those things as there used to be.
    I’ll come over, she said. She must have been able to tell from my voice that this is what I wanted.
    She got there after some time. So, she said. She threw off her jacket, sprawled into the oversize chair. Tell me. First we’ll have a drink.
    She got up and went to the kitchen and poured us a couple of Scotches, and came back and sat down and I tried to tell her what had happened to me. When I’d finished, she said, Tried getting anything on your Compucard today?
    Yes, I said. I told her about that too.
    They’ve frozen them, she said. Mine too. The collective’s too. Any account with an F on it instead of an M. All they needed to do is push a few buttons. We’re cut off.
    But I’ve got over two thousand dollars in the bank, I said, as if my own account was the only that mattered.
    Women can’t hold property anymore, she said. It’s a new law. Turned on the TV today?
    No, I said.
    It’s on there, she said. All over the place. She was not stunned, the way I was. In some strange way she was gleeful, as if this was what she’d been expecting for some time and now she’d been proven right. She even looked more energetic, more-determined. Luke can use your Compucard for you, she said. They’ll transfer your number to him, or that’s what they say. Husband or male next of kin.
    But what about you? I said. She didn’t have anyone.
    I’ll go underground, she said. Some of the gays can take over our numbers and buy is things we need.
    But why? I said. Why did they?
    Ours is not to reason why, said Moira. They had to do it that way, the Compucounts and the jobs both at once. Can you picture the airports, otherwise? They don’t want us going anywhere, you can bet on that.


  • The Hobbit (J.R.R. Tolkien)

    In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to ear: it was a hobbit-hole, and that means comfort.

    It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube-shaped hall like a tunnel: a very comfortable tunnel without smoke, with paneled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats – the hobbit was fond of visitors. The tunnel wound on and on, going fairly but not quite straight into the side of the hill – The Hill, as all the people for many miles round called it – and many little round doors opened out of it, first on one side and then on another. No going upstairs for the hobbit: bedroom, bathroom, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining-rooms, all were on the same floor, and indeed on the same passage. The best rooms were all on the left-hand side (going in), for these were the only ones to have windows, deep-set round windows looking over his garden and meadows beyond, sloping down to the river.

    This hobbit was a very well-to-do hobbit, and his name was Baggins. The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him. This is a story of how a Baggins had an adventure, found himself doing and saying things altogether unexpected. He may have lost the neighbours’ respect, but he gained-well, you will see whether he gained anything in the end.