District Fray Magazine // September 2021

E MA GA ZIN EN T ER TA IN M EN T LE + AL IFE ST Y SEPTEMBER 2021

CUE the LIGHTS

the RETURN of the PERFORMING ARTS

20 can’t-miss performances d.c. theaters talk fierce comeback the kennedy center raises the curtain on a new era

the go-go revolution yaddiya’s rise the magic of mixology silver lyan d.c.’s next big food hall western market new event venue capital turnaround

P L E A S E D R I N K R E S P O N S I B LY TENNESSEE WHISKEY, 40% ALC. BY VOL. (80 PROOF) DISTILLED AND BOTTLED BY JACK DANIEL’S DISTILLERY, LYNCHBURG, TENNESSEE. JACK DANIEL’S AND OLD NO.7 ARE REGISTERED TRADEMARKS. ©2020 JACK DANIEL’S. ALL RIGHTS RESERVED.

06 24 30

FEATURES

JUSTIN “YADDIYA” JOHNSON TALKS GO-GO

NEW FOOD HALL WESTERN MARKET

BROCCOLI CITY IS BACK IN ACTION

32

NEW VENUE, NEW HOPE: CAPITAL TURNAROUND

36

THE KENNEDY CENTER’S 2021-2022 SEASON

46

20 MUST-SEE SHOWS

2

| SEPTEMBER 2021

TABLE OF CONTENTS

RADAR 12 September Calendar

DRINK 26 Mr. Lyan Goes to Washington

CULTURE 40 Kennedy Center’s Culture Caucus 44 Kennedy Center Timeline 56 Shakespeare’s Anticipated Lineup

74 Art Festival’s 30-Year Milestone

ROBERT KINSLER

92 Comedic Artist Loves Taboos

Publisher

LIFE

MONICA ALFORD

76 One Bus, Seven Stops 80 Weekend Escapes

Editor-in-Chief

ANDREW J. WILLIAMS III

PLAY

Managing Editor

85 Yoga 101

NICOLE SCHALLER

90 Theatre Slides Into Nats Park

60 Signature’s New Leadership 63 Pivots in D.C. Theatre 66 Inside Theatre’s Closet

Editorial Assistant

JULIA GOLDBERG Editorial Designer

70 “Disco to the Go-Go”

TOM ROTH

Key Account Manager LEFT PAGE. Yaddiya at the Kennedy Center. Photo by Tony Powell. BELOW. District Fray team, Tony Powell, Yaddiya + Style by Kingsley team. Photo courtesy of Tony Powell.

CONTRIBUTING WRITERS Christina DeNatale, Ingrid Harbo, Trent Johnson, Colleen Kennedy, Chad Kinsman, Jamie McCrary, Lanna Nguyen, Celeste Noraian, Kristen Page-Kirby, Rina Rapuano, Kristen Schott, Courtney Sexton, Amanda Weisbrod CONTRIBUTING EDITOR Jamie McCrary CONTRIBUTING ARTISTS + PHOTOGRAPHERS James Coreas, Tony Powell, Amanda Weisbrod COVER PHOTOGRAPHER Tony Powell ON THE COVER Justin “Yaddiya” Johnson COVER LOCATION The John F. Kennedy Center for the Performing Arts DISTRICT FRAY |

3

TABLE OF CONTENTS CUE THE LIGHTS. After many, many months of eagerly awaiting the return of the performing arts, they are officially back in the District — welcoming locals with open arms, a jam-packed schedule of star-studded performances, and the most reassuring set of Covid protocols (proof of vaccination before walking through the doors) we could hope for as we face the latest wave of pandemic concerns.

From highly anticipated Britney Spears musical “Once Upon a One More Time” at Shakespeare Theatre Company’s Sidney Harman Hall this winter to the crowd-pleasing “Dear Evan Hansen” and “Hamilton” at the Kennedy Center next summer to innovative takes on classics like “Teenage Dick” (“Richard III” reinvented) at Woolly Mammoth this fall, the options run the gamut for theatergoers chomping at the bit to take their seats on opening night. And what better place for us to celebrate this collective sigh of relief for arts & culture enthusiasts in the DMV than the most prestigious arts institution on the East Coast? We spent a stunning afternoon in early August with the Kennedy Center’s senior vice president of artistic planning, Robert van Leer, and our cover subject Justin “Yaddiya” Johnson, the founder of Long Live GoGo. Yaddiya is a definitive voice for D.C.’s go-go community and a member of the Kennedy Center’s Culture Caucus, and our managing editor Andrew J. Williams III spent time with him both in his new arts space in Capitol Hill and at the Kennedy Center picking his brain about remaining true to his D.C. roots and embracing the go-go scene as it continues to evolve.

Writers Kristen Schott and Trent Johnson dove into the Kennedy Center’s 50th anniversary season and social justice programming, respectively, and Amanda Weisbrod picked the brain of the center’s archivist to put together a stunning infographic chronicling some of the center’s most memorable moments. Kristen Page-Kirby spoke with Signature Theatre’s new leadership, Weisbrod reported on Shakespeare Theatre Company’s exciting season, Jamie McCrary chatted with artistic directors about their theaters’ pivots during the pandemic, Chad Kinsman handpicked his top 20 must-see shows of the upcoming theatre season, our editorial assistant Nicole Schaller geeked out with local theaters’ costume design departments

and got real with local actor, comedian and model Joe Marshall, and Ingrid Harbo talked sport ball with Arena Stage. Plus: new food hall Western Market, cocktail bar Silver Lyan’s reopening, Broccoli City Festival’s latest iteration, new Capitol Hill events venue Capital Turnaround, “Disco to the Go-Go” at Union Market, Northern Virginia Fine Arts Festival’s latest lineup, weekend getaways worth the drive, yoga for all levels and much more. Thank you as always to our readers for picking up a copy and to our beloved city for giving us hope in the face of an ongoing time of uncertainty. Happy theatre season, everyone.

MONICA ALFORD EDITOR-IN-CHIEF

Our editorial team behind the scenes of the September cover shoot at the Kennedy Center. FROM L TO R. Monica Alford, Julia Goldberg, Nicole Schaller + Andrew J. Williams III.

4

| SEPTEMBER 2021

SIGNATURE THEATRE & WOLF TRAP

BROADWAY IN THE PARK RENÉE ELISE GOLDSBERRY BRIAN STOKES MITCHELL SEP 3

LAKE STREET DIVE

DARIUS RUCKER DAVES HIGHWAY SEP 4

VALERIE JUNE

INDIGO GIRLS ANI DiFRANCO SEP 22

JASON ISBELL AND THE 400 UNIT

THE AVETT BROTHERS SEP 23 + 24

SEP

9

WAXAHATCHEE

SEP

14

WELCOME BACK!

TICKETS ON SALE NOW WOLFTRAP.ORG

the GROWING LEGEND of YADDIYA

WORDS BY ANDREW J. WILLIAMS III

DISTRICT FRAY |

7

J

RADAR | DISTRICT DENIZENS ustin “Yaddiya” Johnson, or Yaddi to the initiated, is a local star on the rise in D.C.’s arts community. He’s the founder of Long Live GoGo, a local organization committed to advancing racial equity, and a member of the Kennedy Center’s Culture Caucus, which works alongside the center’s social impact team to design events at its annex The REACH. And, he’s unapologetically advancing his mission to preserve go-go music: the musical genre that serves as the heartbeat of D.C.’s Black culture.

CLUB PROMOTER TO GO-GO ADVOCATE Yaddi and I meet near Capitol Hill in Moechella the Gallery, his go-go-themed studio, art and entertainment concept space, just days before its grand opening.

Standing inside, he raises — only halfway — one of the street-facing steel garage doors, just enough for sidewalk traffic to catch a glimpse of what’s going on behind the scenes. It’s a clever move by someone well-versed in the art of showmanship.

There’s a complexity to Yaddi that takes some digging, and caffeine, to fully surface. But when it does, you can’t help but be charmed by his effortless smile and laugh at his self-professed identity as a “coffee martian.” In every setting, he brings the perfect blend of humor, humbleness, urgency and hopefulness.

Music and building community are his life passions — though his journey is an unexpected and tangled one.

At the age of 18, Yaddi stumbled into the world of entertainment, first as a member of several street teams for a local club promoter, where he slowly got hip to the local nightlife scene in Maryland and an introduction to go-go; then, as an aspiring entrepreneur, eager to make his own mark as a promoter, in partnership with a friend.

Of course, success never moves in a straight line.

“We started doing high school events without go-go bands and we’re thinking, at our first event, 700 people will show up and pack a sold-out venue,” Yaddi remembers. “[Instead], we get to the venue and there’s 20 people and 10 of them include me, [my business partner] and our friends.”

He learned a valuable lesson that night: Nothing can be done well without authenticity.

Yaddi soon found himself drawn to, and intoxicated by, the iconic music genre. Over time, he grew to appreciate the artists at its forefront, like Chuck Brown, and the friends he knew performing in local go-go bands.

The texture, flair and “tribal vibes” they elicited at live performances were second to none. This awakening precipitated Yaddi’s decision to deeply immerse himself in ensuring the survival of go-go.

“When go-go was at its peak, [go-go musicians] were local celebrities,” Yaddi says. “That whole energy, the live performance element, the drum and percussion element, you can’t see anywhere else but at a go-go show.”

This belief was the driving force behind what would come next.

A CRASH COURSE IN ALL THINGS GO-GO While Yaddi was getting a crash course in all things go-go music, including learning about the structure of the industry and growing his

business acumen, he was already conceiving a blueprint for forging go-go’s next act.

“I started to see a bigger vision for how these [go-go musicians] could gain a broader fan base [and] essentially get out of D.C.” Yaddi decided he would jump into the fray by launching his own music career and hitting the Historically Black Colleges and Universities concert circuit, using it as a vehicle to introduce local go-go bands to undergrads across the South.

He took the stage at institutions like North Carolina A&T, Clark University, Morehouse and Spellman, growing his fame and hunger to fuel go-go’s rise.

The next phase of his career took him to the West and Pacific Northwest, where he began recording his own music and layering his sound over EDM tracks.

Meanwhile, back home, go-go's essence, immortalized only through bright, monumental murals, was diminishing — and even disparaged at times by the current generation of Washingtonians.

This was a troubling reality for Yaddi. Go-go, the genre that propelled his career, was on lifesupport.

“I was living in Seattle, California and Oregon, and [when I] finally came home, I noticed gogo music wasn’t as prevalent. The cause was starting to diminish.”

A NEW-AGE FORM OF PROTEST In 2017, Yaddi jumped back into reviving go-go in partnership with since-shuttered marketing firm One Love Massive, planning a go-go band reunion and subsequent virtual events, streamed on Facebook under the banner “Back to the GoGo Live.”

Not long after, the highly publicized noise amendment legislation, known as the Amplified Noise Bill, was introduced in the District.

The controversial bill aimed to ban street performances that exceed a specified noise level, putting go-go music front-and- center again.

The bill was sparked, in part, by a complaint that the music blasted from a local Metro PCS store, located at Florida Avenue and 7th Street NW, was disruptive to the community. The bill’s emergence inspired what would become a 180day long demonstration adjacent to the White House: Occupy Lafayette Square.

Yaddi was tapped by local advocates to emcee the events.

“They were looking for people to be the entertainment throughout the protest,” Yaddi remembers. “After the fifth day, I essentially became the frontman of the protest. I was hosting guests like Kathy Griffin and Rosie O’Donnell, and [began] noticing how much

FIRST PAGE. Yaddiya on the Kennedy Center rooftop. Photo by Tony Powell. FIFTH PAGE. Yaddiya at his Capitol Hill space. Photo by Andrew J. Williams III.

politics moved the world and how powerful music was as a mobilizing tool.”

As the face of the protest, Yaddi looked to his go-go roots to elevate the impassioned gatherings.

“I started to call musicians I knew from the go-go industry to perform in front of the White House,” Yaddi says. “We would do go-go style percussion music with political messaging, with me on the mic.”

From there, Yaddi dove even further into advocacy, taking on speaking engagements, and organizing his own protests in the U Street corridor, in collaboration with local artists like the TLB band, a group he had championed in his youth.

This was the beginning of a fierce grassroots movement, spurred by a will to harness go-go’s transformative capacity to unite. Yaddi worked to leverage partnerships established through the goodwill and reluctant celebrity he’d garnered as a prominent community advocate, employing even his own financial resources.

Yaddi knew he would fail if he didn’t keep his foot on the gas.

He recognized the demonstrations would be ineffective in sporadic waves. For a momentum to flourish, it needed to be steady and unrelenting to enact real, lasting change.

“The biggest slap in the face is when the community has something that gives them hope or energy, [like] a food drive — it’s always once a year,” Yaddi insists. “What kind of momentum is that? How is that really impacting people? [I said] ‘We’ve got to do this every other week.’”

Others quickly took notice, including the president of T-Mobile, who intervened to support the local Metro PCS store owner who helped spark Occupy Lafayette Square.

This national attention inflamed Yaddi. He intensified his efforts and implemented what he describes as “guerilla-style” tactics to organize gatherings, with amazing results: His first event packed U Street with 1,000 people.

These rapid-fire pop-up style events, scheduled for Tuesdays and always promoted two days in advance, were likened to the impromptu West Coast bashes popular in L.A. It was a new age form of protest, evolving right before Yaddi’s eyes.

“In my mind, [I thought], let’s change, let’s update and modernize this whole culture, as we’re showing our descent.”

Yaddi was simply one citizen, well-attuned to the power bestowed by his first amendment rights, who wanted to make a difference. He was also blessed with an uncanny gift to masterfully galvanize others behind his cause.

The next event drew 3,000 participants and Yaddi never looked back.

The third iteration introduced the moniker Moechella, the namesake of the eponymous gallery where we currently stood. It’s a play

on the annual Coachella Valley Music and Arts Festival in Indio, California, inspired by the size of the gatherings that reached 5,000 people at their height.

Yaddi’s one nonnegotiable was that each protest embody a spirit of non-violence.

“People were coming from everywhere and really speaking up for go-go, and doing it peacefully,” Yaddi says. “Go-go [has] a stigma of violence that’s prevented it from growing and from being performed.

So, I made sure that I called it a peaceful demonstration. That was always my thing, to always push the narrative of peace.”

AUTHENTICITY IN SHARED SPACES For Yaddi, go-go became a vehicle for fulfilling a greater purpose. “[Go-go] is the symbol of Black culture,” Yaddi insists. “When you think of trap music, jazz music, or any type of music — that’s the same thing with go-go. We’ve been able to mobilize the community behind political issues and put them in spaces you rarely see Black people in.

At the same time, you see people advocating for Black people.”

Yaddi advocates deeply for Black people to have the agency to shape their own destiny by standing up, being heard and taking action, whether it’s through go-go music, or fighting against police brutality. He realized advancing this work requires keeping Black culture at the forefront — and that it must be driven by those who are stewards of the culture.

When the opportunity came to do just that, Yaddi didn’t hesitate.

Now, as a member of the Kennedy Center’s Culture Caucus — dubbed “a leader of social practice and creative community empowerment” — his reach is greater than ever. The initiative is a means for the Kennedy Center to “earn” rather than assume its place within diverse communities, aligning with musical artists and performers to introduce imaginative, inclusive programming.

When asked about the honor, he maintained the same humble, yet fiery spirit that makes Yaddi so magnetic.

“I feel very privileged to [even be] considered part of that umbrella in any way,” Yaddi says. “I love being able to influence change and put true authenticity inside of the equation. I feel I am the symbol of the bottom line.”

The bottom line Yaddi references are the friends (and others) who live in gentrified neighborhoods and feel silenced because of their exclusion from influential circles. Yaddi is well-aware what his appointment to the Caucus represents to those who look like him.

“I’m always looking to keep something authentic, something original and speak truth,” Yaddi says. “In the Culture Caucus, we have all different types of personnel in our cohort. I know my job will be to keep it cool — keep it current, keep it relevant to the culture. I think I’m the symbol of that.”

And many would say local institutions like the John F. Kennedy Center for Performing Arts, which celebrates its 50th Anniversary this year, are emerging as beacons of change, as they evolve alongside the city’s growing diversity while honoring D.C.’s artistic and cultural history.

Moechella the Gallery is the manifestation of this dream. It will offer programming, screenings, artwork displays, loud music, professional classes for kids, the roll out of an evolved version of the Go-Go Live Platform and more. It will be a safe space and a symbol of what Yaddi and others are fighting for: giving voice to those long left behind.

In that vein, Yaddi sees himself as a symbol of what’s possible when those from non-traditional arts spaces are given a real platform. He is a conduit for ensuring that his and Long Live GoGo’s rise are not outliers.

Go-go is the soundtrack, the drumbeat of D.C.’s wildest creative ambitions and Yaddi, the maestro.

Learn more about Yaddi and Long Live GoGo at longlivegogo.com and follow him on Instagram at @yaddiya.

DISTRICT FRAY |

9

10 | SEPTEMBER 2021

DISTRICT FRAY | 11

RADAR | CALENDAR

With the long days and excessive heat, the highly anticipated return of theatre this fall is taking center stage in a literal and figurative sense. With that in mind, there’s also plenty of ways to enjoy summer’s last gasps, including the arrival of beloved street festivals, gut-busting standup comedy acts and romantic throwbacks like speed dating.

As always, you can count on our Radar to be your social calendar copilot.

COMPILED BY CHRISTINA DENATALE + CELESTE NORAIAN

Ongoing ART CHAT AT NMWA

Join National Museum of Women in the Arts (NMWA) educators online every Friday for informal 45-minute art chats about selected artworks. Each week, participants will discuss a new sampling of art. You’re also encouraged to enjoy your favorite happy hour drink or snack.

5-5:45 p.m. Free with registration. Virtual. nmwa.org // @womeninthearts

BOOZY BAKING CLASS

Held Sundays through end-of-year, this allencompassing class featuring baked sweet goods made with alcohol. In this boozy baking class, you will learn to make Bailey’s Irish Cream chocolate swirl New York cheesecake, Korbel Champagne chocolate truffles, mojito French macarons, banana rum/salted caramel bread pudding and drunken Jamaican gingerbread cake. 3-6 p.m. $119. The Boardroom VA: 925 N Garfield St. Arlington, VA; theboardroomva.com // @boardroomva

CURATIVE COLLECTIVE CONVERSATION

This series features in-depth interviews with the Curative Collective, a group of women, arts and social change partners. From advocacy and social justice to healing and restorative self-care, this collective serves communities throughout the Baltimore-Washington metropolitan area.

The Curative Collective is also working on the National Museum of Women in the Arts (NMWA)’s exhibition, “RECLAMATION: Recipes, Remedies, and Rituals” to ensure the exhibition incorporates local communities and their perspectives. Free.

Virtual. nmwa.org // @womeninthearts

OUTDOOR YOGA AT THE WHARF 2021

Unwind with an hour-long vinyasa outdoor yoga session taught by District Flow Yoga. Classes are held every Tuesday and Thursday on District Pier, and every Sunday morning on Recreation Pier at 12 | SEPTEMBER 2021

2021 DC JazzFest performer Camilla George. Photo courtesy of event.

the Wharf. Enjoy waterfront views and fresh air as you shed the stress of the day or greet a new one. On Thursday evenings, join us at Cantina Bambina for sunset views and a complimentary refreshing Truly Hard Seltzer (first 25 people each week). Various dates and times. $10. District Pier at The Wharf: 101 District Square SW, DC; districtflowyoga.com // @districtflowyoga

A SYNFUL DRAG BRUNCH

You’re invited to the most exciting Drag Brunch in the D.C. area. Hosted

by Farrah Synclaire and Dalonte France, you’ll enjoy two of the best drag entertainers in the area. Brunch buffet is included. Every Sunday, 12-3 p.m. $40.

The Artemis: 3605 14th St. NW, DC; theartemisdc.com // @theartemis

YOGA ON THE MAGNOLIA TERRACE

Join an hour-long vinyasa flow yoga on Carlyle House’s Magnolia Terrace. A gentle class focusing on the breath to transition from one pose to the other. Build heat with sun salutations, then progress to balance, deep stretching, and finally, a relaxing meditation. Please bring water, a towel and a yoga mat. Class may be canceled due to extreme weather. Various dates and times. $10. Carlyle House Historic Park: 121 North Fairfax St. Alexandria, VA; novaparks.com // @novaparks

9.1

HIDDEN STORIES, HIDDEN VOICES: PORTRAITS OF MANHATTAN’S CHINATOWN

the September 11 attacks. This discussion will focus on health, economic and societal effects as shared through first-hand accounts of community members. This program is hosted collaboratively by the Charles B. Wang Community Health Center, the Museum of Chinese in America and the National Museum of American History.

7-8:30 p.m. Free. Virtual. americanhistory.si.edu // @amhistorymuseum

9.1-9.5 2021 DC JAZZFEST

The 2021 DC JazzFest will take place Sept.

1-5, with 20+ concerts, interviews and exclusive events featuring international superstars and homegrown talent. The signature event, DC JazzFest at The Wharf, will take place Sept. 4-5 over Labor Day Weekend. This blockbuster weekend will occur at the Wharf. Various dates and times. $89. District Pier at the Wharf: 101 District Square SW, DC; dcjazzfest.org // @dcjazzfest

Join the National Museum of American history for a conversation with members of the Manhattan Chinatown community exploring the long-lasting effects of

JOIN US AT

LIVE BAR BINGO THURSDAYS | 7-8 P.M. Learn more at districtfray.com/events.

DISTRICT FRAY | 13

RADAR | CALENDAR

9.2

9.2-9.5

“Crowd work” is the art of chatting with the audience when on stage. When done right, it creates a conversational atmosphere — sometimes building a bridge to a comedian’s best jokes, and often leading to totally unscripted laughs. Tim Miller has perfected this genre of comedy. Join him at “Read the Room,” where he’ll host a lineup of local talent doing predominantly crowd work in a unique, unforgettable live comedy experience.

7:30 p.m. $10. DC Improv Comedy Club & Restaurant: 1140 Connecticut Ave. NW, DC; dcimprov.com // @dcimprov

Tony Rock, an amazing talent from one of comedy’s most celebrated families, has been headlining sold-out shows at the DC Improv for years, while also enjoying his share of success in front of the camera. As one of the most-sought hosts in the business, he’s been running the show on the revamped “Apollo Live,” and was part of CBS’s primetime lineup in the cast of “Living Biblically.” Various dates and times. $30-$35.

DC Improv Comedy Club & Restaurant: 1140 Connecticut Ave. NW, DC; dcimprov.com // @dcimprov

SUNSET CINEMA AT THE WHARF: “OFFICE SPACE”

9.3

READ THE ROOM AT DC IMPROV COMEDY CLUB

Join this Thursday evening at the Wharf for the movie “Office Space” on a 20-foot outdoor LED screen. Screenings are free courtesy of the partners at Pacifico: Live Life Anchors Up, but you must pre-register. You can register for up to six in a group, per registration. Chairs are provided and capacity is limited.

Registration will open on a rolling basis to help minimize noshows, so check back often. Dogs and food from any Wharf restaurant is allowed, but no outside beverages, please. 8-10 p.m. Free. Transit Pier at The Wharf: 970 Wharf St. SW, DC; wharfdc.com // @thewharfdc

9.2-9.4

FIELD DAY: A THREE DAY FESTIVAL FOR EMERGING VOICES

44:21 and Shout Mouse Press team up to celebrate emerging storytellers. Events include a short film festival featuring the work of young filmmakers, a reading featuring teen authors around the DMV, a writing workshop and a community open mic. Enjoy live music, buy art from local artists and buy books from local authors. Field Day: A Three Day Festival for Emerging Voices is part of the Kennedy Center’s 2021 Millennium Stage Summer Series, celebrating their societal emergence from the pandemic and the return of live performances. Various dates and times. Free. The REACH at the Kennedy Center: 2700 F St. NW, DC; kennedy-center.org // @kennedycenter

TONY ROCK AT DC IMPROV COMEDY CLUB

SIGNATURE THEATRE AND WOLF TRAP PRESENT “BROADWAY IN THE PARK”

Celebrate the return of live musical theater with a joyous evening of Broadway’s greatest hits, starring Broadway’s Renee Elise Goldsberry (“Hamilton,” “The Color Purple”), Brian Stokes Mitchell (“Kiss Me, Kate,” “Shuffle Along”) and a cast of signature favorites. Come and enjoy tunes such as “Don’t Rain on My Parade,” “I Am What I Am,” “The Schuyler Sisters,” “You’ll Never Walk Alone” and more. 8 p.m. $32+. Filene Center at Wolf Trap: 1551 Trap Rd. Vienna, VA; wolftrap.org // @wolf_trap

“STIGMA” ART EXHIBIT OPENING DAY

Come see the “STIGMA” exhibit featuring artwork that shines a light on the theme of stigma — how it feels, how it can affect or disrupt lives, and how it can be overcome. Reserve a ticket now for a half-hour viewing on opening day, Friday, Sept. 3. Tickets are only offered for opening day and are not required, but ticket holders have priority access. Gallery capacity is limited to 15 people at any one time. Face masks must be worn by all while visiting the gallery. The exhibit runs Sept. 3-25. 12-9 p.m. Free.

Del Ray Artisans: 2704 Mount Vernon Ave. Alexandria, VA; delrayartisans.org/event/stigma // @delrayartisans

9.4

DARIUS RUCKER AT WOLF TRAP

Darius Rucker first achieved multi-Platinum status in the music industry as lead singer and rhythm guitarist of the GrammyAward-winning band Hootie & the Blowfish, who sold more than 14 | SEPTEMBER 2021

25 million albums worldwide. Since releasing his first country album in 2008, Rucker has earned a whole new legion of fans with four No. 1 albums on the Billboard Country chart, plus 10 No. 1 singles on Country radio. 6:30 p.m. $47+. Filene Center at Wolf Trap: 1551 Trap Rd. Vienna, VA; wolftrap.org // @wolf_trap

9.5

CREATIONS & LIBATIONS

Local artists are taking over The Garden ALX for a pop-up.

This September, join at The Garden for Creations & Libations, featuring 10+ local artists set up throughout the event space, workshop and patio, as well as local craft beer and cider. 2-8 p.m.

Free. The Garden Alexandria: 5380 Eisenhower Ave. #Suite C, Alexandria, VA; thegarden.net // @thegardenalx

NATIONAL SYMPHONY ORCHESTRA’S ANNUAL FREE LABOR DAY CONCERT

A beloved tradition since 1979, the National Symphony Orchestra’s (NSO) free annual Labor Day weekend concert returns on Sunday, Sept. 5, at 8:00 p.m. and is relocated this year from the West Lawn of the U.S. Capitol to the Kennedy Center South Plaza. Conducted and hosted by Larry Loh, music director of West Virginia Symphony, the concert features multi-

platinum singer-songwriter and NSO Artistic Advisor, Ben Folds, and saxophonist Charlie Young. Featuring music from Duke Ellington, new Kennedy Center Composer-in-Residence Carlos Simon, Jessie Montgomery, and Michael Abels, amidst patriotic music like the “Star Spangled Banner,” the program spans a wide spectrum of American composers. 8 p.m. Free.

The Kennedy Center: 2700 F St. NW, DC; kennedy-center.org // @kennedycenter; nationalsymphony.org // @natsymphonydc

9.7

DC INTERNATIONAL BEER, WINE & FOOD FESTIVAL

“Brews Around the World” is a celebration of the best of global beer and cuisine in the nation’s capital. The festival features the best brews from around the world, plus delicious global wines and a variety of global cuisines. Receive a tasting glass and taste more than 55 beers from 20+ countries around the world, plus the best seasonal domestic craft beers. The festival also features a large Oktoberfest area, a wide selection of ciders, music, amazing food choices, outdoor games, fantastic vendors and more. 1-4 p.m. $23.50+. The Bullpen: 1201 Half St. SE, DC; thebullpendc.com // @thebullpendc

RADAR | CALENDAR

9.8

9.9-9.19

Join Dupont Underground for their monthly comedy showcase as they introduce large audiences to some of the best upcoming comedians from the area and abroad. Proceeds help support D.C.’s broader arts community 7:30-10 p.m. $10+. Dupont Underground: 19 Dupont Circle NW, DC; dupontunderground.org // @dupontunderground

Five-time Grammy Award-winning pianist, composer, producer and founding Kennedy Center Hip Hop Culture Council Member Robert Glasper returns to The Club at Studio K for a dynamic two-week residency in September 2021. 7:30 + 9:30 p.m. $39-$99. The Kennedy Center: 2700 F St. NW, DC; kennedy-center.org // @kennedycenter

COMEDY DOWN AT DUPONT UNDERGROUND

9.9

FIT CLUB AT TYSONS CORNER CENTER

Tysons Corner Center and DC Fray have partnered to bring a culture of fun and fitness to all with our monthly Tysons Fit Club. Fit Club helps attendees achieve their fitness goals one class at a time. Classes will be held on The Plaza at the green grass eclipse. No experience or equipment necessary.

Participants are encouraged to bring their own yoga or exercise mat, as quantity is highly limited. 6-7 p.m. Free. Tysons Corner Center - Plaza: 1961 Chain Bridge Rd. Tysons, VA; dcfray.com // @dcfray; tysonscornercenter.com // @shoptysons

LAKE STREET DRIVE AT WOLF TRAP

Lake Street Dive’s wide-ranging music tastes have long blended to make an impressively cohesive sound — both sophisticated and playful, combining retro influences with a contemporary attitude. According to NPR, the band “takes all the most fun bits of pop, soul, disco, jazz, rock and roll and stitches them together into something all their own.” 8 p.m. $47. Filene Center at Wolf Trap: 1551 Trap Rd. Vienna, VA; wolftrap.org // @wolf_trap

SPEED DATING AT HOTEL ZENA

DC Fray and Hotel Zena’s Figleaf Bar & Lounge team up to offer an opportunity to meet a mate the old fashion way: in person. They’ve locked down three Thursdays over the next three months and will provide a host to help with the flow, icebreakers to shake off the cobwebs and delicious drinks available for purchase. Show up dressed in your favorite headturning attire and ready to get your mingle on. 6-9 p.m. $17.50.

Figleaf Bar & Lounge at Hotel Zena: 1155 14th St. NW, DC; dcfray. com // @dcfray; viceroyhotelsandresorts.com/zena // @hotelzena

ROBERT GLASPER RESIDENCY: DINNER PARTY X BLACK RADIO

9.10

HIDDEN STORIES, HIDDEN VOICES: LATINX EMPOWERMENT AFTER THE ATTACKS

Join as members of the New York City Latinx community share their experiences navigating complex immigration policy, worsening health effects and socioeconomic challenges, while serving the city as first responders, volunteers, organizers and caregivers. This panel will build on the museum’s New York City 9-11 Collecting Initiative, highlighting the stories of the Latina/o/x experiences within the September 11 narrative. This program is hosted collaboratively by the New York Committee for Occupational Safety and Health, the Consulate General of Mexico in New York, the Mexican Cultural Institute in D.C. and the National Museum of American History. 7-8:30 p.m. Free.

Virtual. americanhistory.si.edu // @amhistorymuseum

SOFIA REI

Folklore and futurism, graceful elegance and raw passion, virtuosic precision and spontaneous exploration all merge with the music of award-winning singer, songwriter and producer, Sofia Rei. Rei has carried diverse Latin American traditions from her native Buenos Aires to the multi-cultural mecca of New York City, where she fused those sounds with jazz, classical, pop and electronic music influences. Her captivating voice is like an orchestra itself, able to mimic the sonorous bellows of strings or the rapid staccato of percussion. Rei’s work feels at once timeless and avant-garde. 6:30 + 8:30 p.m. $144-$176 per table. The Patio Stage at Strathmore: 5301 Tuckerman Ln. North Bethesda, MD; strathmore.org // @strathmorearts

9.10 + 9.11 DINING IN THE DARK

Dining in the Dark heightens your senses while inside a pitchblack room. When you are forced to cover your eyes with a blindfold, your mind quickly responds to the lack of sight.

16 | SEPTEMBER 2021

With your eyes are wide open in the dark, other senses begin to go into a shock —but then kick into full gear. 6:30-8:30 p.m. $90. District Chophouse & Brewery: 509 7th St. NW, DC; districtchophouse.com // @districtchophouse

9.11

AYO AT GOOD HOPE REC CENTER

Strathmore presents an outdoor concert series at the Good Hope Community Recreation Center featuring their amazing artists-inresidence. This weekend, AYO’s smooth pop vocals combine with her fearless, confident lyrics to create music with empowering messages that showcase her stylistic and emotional versatility.

This concert is part of Bloom by Strathmore, which strives to create community and expand access to the arts. 5 p.m. Free. RSVP required. Good Hope Neighborhood Recreation Center: 14715 Good Hope Rd. Silver Spring, MD; strathmore.org // @strathmorearts

CULTUREFEST DMV

CultureFest features dynamic live performances by international reggae, soca and Afrobeat artists, a food court, craft village and numerous bars offering exotic drinks by expert mixologists. This celebration of diversity through music, art, food and more bridges divides and brings communities together. 1-8 p.m. $45+. National Harbor SouthPointe: 701 National Harbor Blvd. Oxon Hill, MD; culturefestdmv.com // @culturefestdmv; nationalharbor.com // @nationalharbor

JOHNNY MATHIS

Known as the “Voice of Romance,” legendary singer Johnny Mathis has been wooing audiences for an astounding 65 years.

Mathis’ enchanting, velvet vocals on hits like “Chances Are,” “A Certain Smile,” and “Misty” have earned him multiple Grammy nominations and a Lifetime Achievement Award from the Academy of Recording Arts and Sciences. As Columbia Records’ longest-signed artist, Mathis is celebrated for his sublime approach to pop music, which eclipses passing fads and trends. Over the years he has performed songs in a multitude of styles and genres — from music composed for stage and film, to golden era jazz standards, contemporary pop hits and holiday favorites. 8 p.m. $52-$168. The Music Center at Strathmore: 5301 Tuckerman Ln. North Bethesda, MD; strathmore. org // @strathmorearts

OULFEST DC

In 2021, SOULFest is excited to expand from Harlem to D.C. as part of a national movement to spread the message of inclusivity, accessibility and diversity. As part of the festival’s mission, general admission is free to participants. Join us on the piers at the District Wharf to celebrate dozens of presenters, sessions and workshops that celebrate yoga, wellness and community. Headliners include Faith Hunter, Jarrick Browner, Melanie Camellia and Cathleen Meredith. SOULFest DC is presented by the Yoga Alliance Foundation. 9 a.m. - 5 p.m. Free.

District Wharf: 760 Maine Ave. SW, DC; soulfestrevolution.com/ soulfest-dc //@soulfestrevolution; wharfdc.com //@thewharfdc

SEEN

PILATES REMIX // FIT CLUB AT TYSONS CORNER CENTER. Participants sweat it out with a blend of yoga and HIIT exercises at Tysons Corner Mall. Photos by Scott Fields // follow him on Instagram @fields_scott.

DISTRICT FRAY | 17

RADAR | CALENDAR

9.12

ADAMS MORGAN DAY

For over 40 years, Adams Morgan Day has been a family-friendly celebration with music, art and activities for all ages. Adams Morgan Day is planned entirely by volunteers, and stands as Washington, D.C. ‘s longest running neighborhood festival, which welcomes residents and visitors alike to meet neighborhood businesses, artists and service organizations. 11:30-7 p.m. Free.

Adams Morgan, DC; admoday.com // @adamsmorganday

ADAMS MORGAN DRAG QUEEN STORYTIME

Join this Summer for Drag Queen Storytime in Adams Morgan.

The free event is open to children of all ages — and perfect for the entire family. Drag Queen Storytime’s goal is to inspire a love of reading while teaching deeper lessons on diversity, selflove and an appreciation of others. 11 a.m. - 12 p.m. Free. Unity Park: Intersection of Columbia Rd., Champlain St. & Euclid St. NW, DC; admodc.org // @admobid

BLACK BROADWAY IN WASHINGTON, D.C.

Josh Bergasse. Preeminent artists including Renée Fleming, Ben Folds, Punch Brothers, Keb’ Mo’, Christian McBride, Rachael Price and others will join the National Symphony Orchestra to recognize the great performance traditions that have enriched the varied cultural heritage and the center’s bright future. 8 p.m. $59. The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; kennedy-center.org // @kennedycenter\

NMWA X CHANGE: ALMA WOODSEY THOMAS AND THE LITTLE PARIS GROUP

This monthly talk show, a spin-off of the award-winning BMA x NMWA series, connects viewers to the National Museum of Women in the Arts (NMWA). Its mission is to champion women artists. Join as hosts from the museum interview special guests, including artists, educators and curators; consider topics relevant to their world; and offer insight into collaborations NMWA is fostering while its building is closed for renovation.

12-12:45 p.m. Free. Virtual. nmwa.org // @womeninthearts

9.16

CAPITAL BOOK FEST

Before the beginning of desegregation and the 1968 riots, Washington’s Greater U Street was known as Black Broadway.

Meet local author and journalist Briana A. Thomas and learn about U Street’s rich and unique history, from the early triumph of emancipation to the days of civil rights pioneer Mary Church Terrell and music giant Duke Ellington. 3 p.m. $10. The Mansion on O Street: 2020 O St. NW, DC; omuseum.org // @omansion

Downtown D.C.’s outdoor, pop-up bookstore returns to Wilson Plaza. Shop thousands of gently used books, CDs and DVDs, all on sale for $6 or less. Books provided by Carpe Librum, a local used bookstore benefitting nonprofit Turning the Page. 10 a.m. 5 p.m. Free. Woodrow Wilson Plaza, Ronald Reagan Building and International Trade Center: 1300 Pennsylvania Ave. NW, DC; downtowndc.org; rrbitc.com //@reaganitcdc

DC POLO SOCIETY

HAPPY HOUR BINGO AT TYSONS CORNER CENTER

Sunday polo matches are back. Watch a polo game with friends, family, kids (free under 16) and dogs (on a leash) on select Sundays. At this time, only tailgate spots are being sold for as low as $25 per person. Each group reservation comes with a bottle of wine. 10% of all tickets purchased will be donated to USO-Metro.

2-5:30 p.m. $125+. Congressional Polo Club: 14660 Hughes Rd. Poolesville, MD; dcpolo.com //@dcpolosociety; dcfray.com // @dcfray

9.14

50TH ANNIVERSARY CELEBRATION CONCERT

The Kennedy Center’s 50th Anniversary will officially kick off on Sept. 14 with the 50th Anniversary Celebration Concert, a re-launch of live productions at the center. Echoing “An American Pageant for the Arts,” the 1962 event conducted by Leonard Bernstein, this special evening will be curated and hosted by conductor, composer and Kennedy Center Honoree Michael Tilson Thomas, and directed and choreographed by 18 | SEPTEMBER 2021

Join DC Fray and Tysons Corner Center for a socially-distant, in-person and free Happy Hour Bingo night. The event follows CDC guidelines to ensure you feel safe, while having a great night playing bingo and winning prizes. DC Fray will provide the host, the bingo materials (daubers too), and the awesome prizes. 6 p.m. Free. Tysons Corner Center: 7901 Tysons One Pl. Tysons, VA; dcfray.com // @dcfray; tysonscornercenter.com // @shoptysons

9.16-9.18

NATIONAL DANCE DAY: WHEREVER YOU ARE, I WANNA SEE YOU DANCE

National Dance Day celebrates the joy of dance and movement. For its 12th exciting year, join for free performances, interactive dance lessons, live music and more from local D.C. organizations. Various dates and times. The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; kennedy-center.org // @kennedycenter

9.17

Join us for a 10-day event with the theme, “Open a Book, Open the World.” Various dates and times. Free. Library of Congress: 101 Independence Ave. SE, DC; loc.gov // @librarycongress

PATTON OSWALT LIVE: “WHO’S READY TO LAUGH?”

Patton Oswalt continues to find success in all areas of entertainment. From his award-winning comedy specials to his many memorable film roles and guest appearances on his favorite TV shows (including “Parks and Recreation,” for which he received a TV Critics Choice Award), Oswalt chooses work that inspires him and entertains audiences. He recently created “M.O.D.O.K.,” the new Marvel stop-motion animated adult comedy series for Hulu, and currently co-stars as Principal Durbin on the NBC Universal comedy “A.P. Bio,” produced by Seth Meyers, Mike O’Brien and Lorne Michaels. 7 p.m. + 9:30 p.m. $49-79. The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; kennedy-center.org // @kennedycenter

9.17-9.26

2021 NATIONAL BOOK FESTIVAL

9.18

34TH ARGENTINE FESTIVAL

Join in celebrating the 34th Festival Argentino, an annual daylong festival of Argentinean music, food and culture in Arlington, Virginia. 4-10:30 p.m. $20. Thomas Jefferson Theatre: 125 South Old Glebe Rd. Arlington, VA; festivalargentino.org

LANG LANG

Often called the international rock star of classical music, few pianists generate as much excitement as Lang Lang.

Under the baton of renowned conductor Thomas Wilkins, the classical-crossover icon joins the National Symphony Orchestra to perform Beethoven’s intensely dramatic “Third Piano Concerto” — an evening sure to thrill longtime fans and win legions of new ones. 8 p.m. $39-$99. The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; kennedy-center.org // @kennedycenter

Customize your National Book Festival experience with the Library of Congress in 2021 by engaging in author conversations online, watching the PBS Books special, listening to an NPR podcast series, and attending a ticketed event at the Library.

INTRODUCING OUR NEW

COMMUNITY

EVENTS CALENDAR

Welcome to our hub for discovering exciting new events occurring around the DMV. All of our community events will be submitted by readers and local partners like you who are the heartbeat of D.C. and tapped into the latest cultural happenings.

VISIT THE NEW COMMUNITY CALENDAR

Have an event in mind that you want to share?

Visit districtfray.com/community-events.

RADAR | CALENDAR

9.18-9.26

9.22

Join an hour-long vinyasa flow yoga on Carlyle House’s Magnolia Terrace. A gentle class focusing on the breath to transition from one pose to the other. Build heat with sun salutations, then progress to balance, deep stretching, and finally, a relaxing meditation. Please bring water, a towel and a yoga mat. Class may be canceled due to extreme weather.

Various dates and times. $10. Carlyle House Historic Park: 121 North Fairfax St. Alexandria, VA; novaparks.com // @novaparks

Indigo Girls, “one of the finest folk duos of all time” (NPR), and feminist icon and singer/songwriter Ani DiFranco return to Wolf Trap with a Grammy-winning blend of female-driven folk, rock and pop. 8 p.m. $45.50. Filene Center at Wolf Trap: 1551 Trap Rd. Vienna, VA; wolftrap.org // @wolf_trap

YOGA ON THE MAGNOLIA TERRACE

9.19-9.26 DC BEER WEEK

Join local breweries, bars, restaurants and beer-lovers to create good vibes and celebrate making it through the pandemic together during the 2021 DC Beer Week. Various dates and times. Prices vary. Various locations. dcbeerweek.net // @dcbeerweek 20 | SEPTEMBER 2021

INDIGO GIRLS AND ANI DIFRANCO

9.23-9.24 THE AVETT BROTHERS

“Americana stalwarts” (Rolling Stone) and Wolf Trap favorites, The Avett Brothers return to perform folk-tinged songs filled with unbridled energy and honest, heartfelt lyrics. 7:30 p.m. $50+. Filene Center at Wolf Trap: 1551 Trap Rd. Vienna, VA; wolftrap.org // @wolf_trap

Outdoor yoga at The Wharf. Photo courtesy of location.

9.23-9.25

DEAF CULTURE AND ARTS FESTIVAL

Visionaries of the Creative Arts (VOCA) and National Theatre of the Deaf (NTD) are thrilled to co-host a three-day community event, Deaf Enlightenment & Arts Festival, to celebrate deaf culture through the arts at the REACH. Deaf Enlightenment & Arts Festival includes various outdoor activities and performances highlighting deaf artists, while showcasing their unique talents in the creative arts. Music, ASL poetry/storytelling, visual arts, dance, film, theatre and more are included. Various dates and times. Free. The REACH at the Kennedy Center: 2700 F St. NW, DC; kennedy-center.org // @kennedycenter

9.25

ANNUAL CELEBRATE PETWORTH DOG SHOW

Join for the annual Celebrate Petworth Dog Show on the Main Stage. This year’s show will be raising funds for Lucky Dog Animal Rescue. The Celebrate Petworth Dog Show is presented

by Patrick’s Pet Care and MC’d by Drew Schneider of Petworth News. The Celebrate Petworth Dog Show is open to dogs from the DMV and beyond. 12-1 p.m. $25. Patrick’s Pet Care: 800 Block of Upshur St. NW, DC; celebratepetworth.com // @celebratepetworth

DC AFROBEATS BLOCK PARTY & JOLLOF COOK-OFF

Get ready for a festive vibe and a cultural shock experience on the streets of D.C. that combines jollof cook-off experience with live day party, popup shop, food vendors and visual art from various African cultures in an immersive fun-packed cultural experience.

4 p.m. $15+. Karma DC: 2221 Adams Pl. NE, DC; dckarma.com

DC BIKE RIDE

DC Bike Ride invites you to cruise through D.C. for 20 epic miles of fun times, photo stops and local music. Join local cyclists on Sept. 25 to experience the nation’s capital like never before. 8 a.m.-11:59 p.m. Free. West Potomac Park: 2912 Independence Ave. SW, DC; dcbikeride.com // @dcbikeride

DC WATER FOR PEOPLE 2021 FALL HIKE

DC Water For People Committee is hosting its annual hike fundraiser on Saturday, September 25. They’ll be returning to D.C.'s Rock Creek Park for a rolling 4-mile hike in the woods, which is shorter than a woman's daily walk to reach a water source in a water-scarce location. 9:30 a.m.-1 p.m. $30+. Rock Creek Park Picnic Area 13: Western Ridge Trail, DC; waterforpeople.org // dcwfphike2021.eventbrite.com // @dcwaterforpeople

SUNSET CLUBBING & SALSA

Socialize, mingle and dance the night away. This event is a sleek and glam getaway in the heart of Dupont Circle, with Instagram-worthy details. A quartz-topped main bar, a grand chandelier made up of half a mile of custom gold chain links, a dramatic staircase and a ceiling tulle sculpture round out the two-story clubhouse. SWATCHROOM restored the historical landmark’s 12-foot soaring arched windows and classic vestibule with period mosaic tile. 9 p.m. - 3 a.m. $15+.

St. Yves: 1220 Connecticut Ave. NW, DC; saintyvesdc.com // @styvesdc; merevents.com // @merevents

9.25 + 9.26 THE NATIONAL FOOD AND WINE FESTIVAL

The National Food and Wine Festival showcases over 150 fine wines, craft beers, spirits and cuisine from around the world. The festival also features live music and cooking demonstrations from top chefs. Tickets range from $49-$99.

National Harbor: 802 National Harbor Blvd. National Harbor, MD; nationalharbor.uncorkthefun.com // @nationalharbor

9.26

ALFREDO RODRÍGUEZ AND PEDRITO MARTINEZ

Pianist Alfredo Rodríguez and percussionist/vocalist Pedrito Martinez pay homage to their Cuban roots with fiery Latin infusions. From sacred Santería rhythms to a rumba rendition of Michael Jackson’s “Thriller,” the duo dazzles with their rhythmic explorations. 6:30 + 8:30 p.m. $152-$184. The Music Center at Strathmore: 5301 Tuckerman Ln. North Bethesda, MD; strathmore.org // @strathmorearts

FRESH TALK: PLATED POLITICS

Despite recent decades of feminist activism and increasing gender equity, women are still disproportionately responsible for domestic tasks, including managing family meals and nutrition. Yet the culinary industry is predominantly male. In this Fresh Talk, speakers explore what happens when women’s work doesn’t necessarily uplift women and they can forge a new path forward. Speakers include culinary historian, professor and author Jessica B. Harris; food critic, chef, podcast host and author Soleil Ho; chef, author and founder of Black Culinary History, Thérèse Nelson; and culinary historian Laura Shapiro.

4:30-6 p.m. Free. Virtual. nmwa.org // @womeninthearts

DISTRICT FRAY | 21

RADAR | CALENDAR

9.30

AMYTHYST KIAH

With an unforgettable voice that’s both unfettered and exquisitely controlled, Tennessee-bred singersongwriter Amythyst Kiah expands on the uncompromising artistry she recently revealed as part of Our Native Daughters, an all women-of-color supergroup whose Kiah-penned standout “Black Myself” earned a Grammy nomination for Best American Roots Song and won Song of the Year at the 2019 Folk Alliance International Awards. When met with the transcendent quality of her newly elevated sound, what emerges is an extraordinary vessel for Kiah’s songwriting: a raw yet nuanced examination of grief, alienation and the hard-won triumph of total self-acceptance. 6:30 + 8:30 p.m. $152-$192 per table. The Music Center at Strathmore: 5301 Tuckerman Ln. North Bethesda, MD; strathmore.org // @strathmorearts

THE MUMBO CONNECTION

“The Mumbo Connection” explores the true heartbeat of D.C. ‘s culture through socially- engaged art, go-go music, theatre, murals and more. This powerful activation invites DMV families to come together to celebrate native life, Black and brown liberation, and create and experience art and stories from the community.

5:30 p.m. Free. The Kennedy Center: 2700 F St. NW, DC; kennedy-center.org // @kennedycenter

STIR-FRYING TO THE SKY’S EDGE: CHINESE AMERICANS AND THE POWER OF STIR-FRYING

In Stir-Frying to the Sky’s Edge, culinary historian and award-winning cookbook author Grace Young writes of how for centuries, the Chinese carried their woks and stir-frying techniques around the globe. In America, beginning around the late 19th century, Chinese immigrants struggled to establish themselves in cities and small towns — from San Francisco to the Mississippi Delta — while contending with poverty, discrimination, and to this day, anti-Asian bias. 6:45-8:15 p.m. $20. Virtual. americanhistory.si.edu // @amhistorymuseum

YOU’RE INVITED TO

cannabis city pt. 2 9.30.21 6:30-8:30 p.m.

Join us for a live Q + A with local experts. Mix and mingle with the community.

Cocktails available.

Complimentary to attend.

assembly at

ROSSLYN CITY CENTER 1700 N MOORE STREET

RSVP AT DISTRICTFRAY.COM 22 | SEPTEMBER 2021

CELEBRATE H STREET FESTIVAL WITH MODELO AND YOUR FAVORITE BARS Chupacabra

Duffy’s Irish Pub

Drink responsibly. Modelo Especial® and Modelo Negra® Beers. Imported by Crown Imports, Chicago, IL

Focus Social Club

H Street Country Club

EAT

WORDS BY LANNA NGUYEN

Western Market, Foggy Bottom’s new food hall, is set to open later this summer. When it does, expect to find an exciting variety of creative dining concepts and a new, vibrant destination for food, drink and entertainment.

The Location Situated at 2000 Pennsylvania Ave. near George Washington University’s (GWU) campus, the International Monetary Fund (IMF) and World Bank, the new food hall is poised to welcome a myriad of customers when it opens its doors.

“We have a diverse customer base,” says Tim Hill, vice president of investments at MRP Realty, which manages Western Market. “We wanted to make sure we provided an eclectic mix of vendors, so every customer has something to choose from.”

Aung Myint, who owns Bandoola Bowl and is opening a second outpost of the fast casual concept at the food hall, echoes these sentiments.

“I am very excited about IMF and the World Bank,” Myint says. “There are a lot of workers with many different cultures.”

He’s hoping the mix of nearby workers will be drawn to Bandoola Bowl’s fresh Southeast Asian salads. Ferry Huang, owner of Sushi Onkei, is also joining Western Market as a tenant. This will be Huang’s second operation, in addition to Sushi Keiko in Glover Park.

Western Market is expected to be a boon for weekday business, but Hill says the goal is ultimately to create a third place. He hopes to establish Western Market as a community destination by modifying key areas, like extending green spaces to allow for more seating.

There will also be a large perimeter by the south plaza to allow for future event space (think fitness classes and concerts). ExPat, a bar and restaurant with 8,000 sq. ft. of space for entertainment, arcades and table games, will also make its debut.

“We want to have a certain kind of culture and community building,” Hill adds. “The hope is to create an environment where everyone feels comfortable and welcome.”

The Space The name Western Market is a nod to the site’s historical significance. It stands on one of D.C.’s original three marketplaces built in 1802 as part of Pierre L’Enfant’s city plan.

“We love that Western Market is historic, [which gives it]

unique character,” Hill says. “You really can’t build that, so [it’s something we wanted to] preserve and protect.”

Opening a food hall with multiple dining concepts during a pandemic presented its challenges. The project’s timeline was delayed due to construction interruptions, as well as the team’s desire to ensure proper Covid precautions.

Hill says these considerations “allow everyone to feel comfortable — whether they’re coming in, or just ordering delivery.”

Visitors can expect to find expanded outdoor seating areas, as well as opportunities to place delivery and pickup orders from vendors.

The Restaurants In total, Western Market will offer over a dozen restaurants with a variety of food and drink options by regional and local operators. Guests can enjoy a global dining experience with a lineup including Alitiko (classic Greek street foods); Arepa Zone (Venezuelan arepas, cachapas and tequeños); Capo Italian Deli (Italian deli-style subs); Nim Ali Shukos & Antojitos (Guatemalan street foods); and Roaming Rooster (homestyle Southern fried chicken); among others.

“The focus on regional vendors allows for a level of authenticity and uniqueness,” Hill says. “They really care about the success of this location. I think it’s important to curate the right mix of people — not just food types.”

For some, operating within a food hall will be a first — a feat that’s equally exciting and challenging. Myint, owner of Bandoola Bowl, is ready to tackle the transition from restaurant service to food hall.

“I’m a big fan of hospitality and think its art is kind of disappearing,” Myint says. “I love the Western Market group. I’m very excited about it.”

Patrick Zarifeh, Capo Italian Deli’s general manager, put it best.

“I think it’s exciting to be part of a good team. We’ll create a great atmosphere. We’ll face the challenges together — all of us.”

Western Market: 2000 Pennsylvania Ave. NW, DC; westernmarketdc.com // @westernmarketdc

FIRST PAGE. Western Market. Photo courtesy of location. SECOND PAGE. Bandoola Bowls. Photo courtesy of restaurant.

DISTRICT FRAY | 25

SEEN

SILVER LYAN. Check out some shots from our interview with Ryan Chetiyawardana, also known as “Mr. Lyan,” the world-class bartender and creative mind behind newly reopened cocktail bar Silver Lyan in the Riggs Washington DC. Also pictured: Silver Lyan’s lead bartender, Andrea Tateosian. Photos by Andrew J. Williams III.

26 | SEPTEMBER 2021

WORDS BY ANDREW J. WILLIAMS III

27

DRINK Ahead of our rendezvous, I sit patiently in the corner gathering my notes, before he appears, flashing a bright disarming smile and offering a warm apology for keeping me waiting. Ryan Chetiyawardana, the man standing over me now, is the same bouncy, unassuming figure I’d later observe moving through the moody Silver Lyan space, greeting familiar faces, with a well-poured dram in tow.

home like Spain, Edinburgh and currently, London. Known as Mr. Lyan, he’s the brilliant mind behind some of the world’s most prestigious watering holes, including the White Lyan, Super Lyan and Lyaness, all in Europe, and far from D.C., the home of his latest creation.

A Magical An Unexpected Space City Chetiyawardana slides into the flanking chair and we dive in, but not before offering me a drink — whatever my heart desires. I chose a Japanese Saddle: their play on a Whiskey sour, that holds a significance I wouldn’t fully comprehend until much later in the conversation.

I’m enamored as he waxes on, almost immediately, about the “instant gratification” of a great cocktail, that’s planned with precision and imagination, and delivered much faster than, say, making sourdough bread.

The son of Sri Lankan immigrants, Chetiyawardana turned to bartending after “studying cooking, fine art, biology and philosophy.” He’s an intellectual and history aficionado, with great attention to detail and a magnetic personality.

Chetiyawardana’s decision to open a swanky basement cocktail bar in the District — his first foray in the states — felt instinctual. In fact, listening to him retrace the events, conversations and revelations that set it all in motion, one might think there was an invisible force compelling him to act.

The Truth is, visiting the capital city was love at first-site for Chetiyawardana; encountering the local culture, energy and lushness were unexpected and serendipitous, as the Brit describes it.

“Not only could I experience so much of the history [during my first visit], but I could see an incredible depth of different cultural insight: the music, the food, the art scene. It really surprised me. It really made me feel very welcome. And there was something magical about that,” Chetiyawardana gushes.

The same magic that’s enchanted some of the country’s greatest culinary talent, is also charming world-class mixologists, and drawing them here to plant their creative roots.

“At the moment, there’s an incredible new journey that’s going on [in D.C.] — a movement by young chefs, bartenders, baristas, farmers. There was a real buzz going on and it felt like we could join that seat, [and] be a complement to what else was happening.”

Chetiyawardana, evoking the same confidence of an entrenched Washingtonian, declares that the District rivals the world’s greatest metropolitan areas.

In that spirit, the greatest gift the arrival of his bar bequeaths to D.C. is the confidence to stand tall in its own splendor, all while sidestepping constant comparisons to megacities like Chicago, New York and Los Angeles, with long-established reputations as cultural bastions.

It’s a supreme compliment, given Chetiyawardana’s past accolades and the corners of the globe he’s frequented or called 28 | SEPTEMBER 2021

Of course, any project seems ambitious as a follow up act to the likes of the Dandelyan, the London-based bar named, in 2018, as the “World’s Best Bar” by the highly regarded annual 50 Bars ranking.

Yet, Chetiyawardana’s knack for innovation and showmanship would suggest he’d find success in whatever business venture he pursued.

And Silver Lyan [Ed. Note: pronounced Silver Line] does more than hold its own, harnessing the District’s magic in its own unique way, while also giving us a glimpse into the city’s future, where award-winning drink programs may equal the cache earned by the volume of decorated restaurants.

Originally opening in February 2020, its initial introduction to the District was brief, but impactful. In the fall of 2020, the esteemed Tales of the Cocktail named it the Best American Cocktail Bar — an amazing feather in the cap of the nascent establishment.

And after one evening in their subterranean digs, it’s easy to recognize why.

Tucked well beneath the ground floor of the plush Riggs Washington DC hotel, down a staircase, anchored inside a restored bank vault, the space is elegant and enticing. It’s beautifully adorned with dusty orange barrel chairs, mid-century modern decor — saturated with sharp red accents, exposed concrete, mirrored walls and a magnificently lit center bar.

In every way, It strikes a perfect balance between graceful design, surprise and merriment.

“We put a lot of care and attention [into] drinks, but we want something that feels really accessible,” Chetiyawardana says.

“It’s a beautiful space and a grand room...we get to do things like blow up a balloon. [And] we get to serve some fun snacks.”

Silver Lyan represents yet another creative leap for D.C., a place where every accolade (or slight) kindles an insatiable collective desire to put the city on the map.

Chetiyawardana goes on to describe the bar as a place where locals should feel welcome, whether they’re coming in for a cocktail, beer or glass wine. And with a cohort of bartenders familiar to anyone who’s frequented D.C.’s plentiful bar scene, it should feel like coming home.

And true to form, Chetiyawardana and his team cleverly fold several homegrown ingredients into the playful menu that pushes the boundaries he loves to shatter with his concepts.

D.C.’s broad cultural, culinary, and agricultural landscape is well-represented, beginning with the peas and fig leaves procured from local farmers (among other ingredients) integrated into its cocktails; the half smoke hand pies — a nod to the legendary D.C. cuisine; the Virginia peanuts; to the cultural exchange-themed chapter of the cocktail menu: a memento to the city’s notoriety

FIRST PAGE. Driftwood Margarita. THIRD PAGE FROM TOP. Project Manhattan. Bases Loaded. Photos by Scott Suchman.

as a seat of international diplomacy.

“When I was reading about these [past] diplomatic exchanges, a U.S. diplomat acknowledged, ‘Those are the things that are important — for us to understand something new and change, [and] it might seem there’s clouds over these periods, but they always have a silver lining (hence the name, Silver Lyan).’ And I [thought] that was such a wonderful idea.”

The “Japanese Saddle” (described as a zesty, savoury aperitif) is a reminder of the ornate, handsomely crafted leather saddle gifted to the U.S. in 1860 by the Japanese (following the signing of the Treaty of Commerce and Friendship) as a token of enduring goodwill. It was gifted alongside the Cherry Blossoms that are so deeply ingrained into the District’s identity — a sentiment Silver Lyan is eager to emulate.

The bar, like the city it inhabits, is still a work in progress. But, for Chetiyawardana, that’s the best part of the journey.

“That’s what we’re talking about...the way things change and evolve and grow: ideas, thoughts, flavors. I’m really excited by this concept, and what it can start to develop into [and] the new areas that we can start to explore. I’m excited by not knowing where that’s gonna go.

I think that’s the point.

The beauty of it is, it’s something that is ever changing.”

Silver Lyan (inside the Riggs Washington Hotel): 900 F St. NW, DC; silverlyan.com // @silverlyan DISTRICT FRAY | 29

MUSIC

WORDS BY TRENT JOHNSON 30 | SEPTEMBER 2021

MUSIC An old adage often spoken between innocent children and their crusty parents is, “Good things come to those who wait.”

Another one is, “Eat your vegetables,” although admittedly it lacks the panache of the first. For the past year-plus, we’ve all had to wait for concerts, hangouts, movies and. Seriously, this list could go on forever. And though the Delta variant of Covid promises to keep us on our toes for the next few months, finally in October we’ll be able to stop waiting and get to our vegetables. Wait, what?

No. You read that right.

On October 2, Broccoli City Festival 2021, one of D.C.’s most celebrated and unique festivals returns to RFK Stadium. The one-day event will feature food trucks, informative lectures and music, including performers such as Lil Baby, Snoh Aalegra, Moneybagg Yo and the Moachella GoGo Truck, to name a few.

“You know, it feels good,” says Jermon Williams, Broccoli City co-founder and communications director. “It feels good to be back to providing the community with a safe space to engage and listen to music, and to get outside and enjoy each other.

Those little things, we needed it and we still need it.”

Williams — who founded Broccoli City along with Marcus Allen, Brandon McEachern and Daniel Perkins — says the group struggled over the past year like any other small business dealing with the inability to sell and market their product. The step back allowed the small group to brainstorm new ways to connect with the D.C. community, though, which remains paramount to their mission.

“While we were distraught we couldn’t do the festival last year, we made a choice to adjust and find ways to meet the community where they were,” Williams says.

These kinds of initiatives included converting their normal in-person BroccoliCon into digital panels and workshops, and promoting drive-in movies at the unused RFK Stadium.

“People were scared; we couldn’t touch each other, couldn’t be in each others’ physical space,” he says, lamenting on the very human limitations of the past year. “[The movies] allowed folks to at least get out of the house without endangering one another. For us, it was just about adjusting and focusing on our ‘why,’ and finding out how we could find our ‘why’ in that current climate.”

2020 was a tough year for other reasons, too, such as (but frankly, not limited to) frequent examples of police brutality, constant misinformation spewed by politicians and tension between political parties, which finally culminated in a conservative-led march-turned-riot on Capitol Hill (technically 2021, but you get my point.) Though a festival isn’t a cure-all for society’s ills, Broccoli City has always represented a safe space for Black and brown people to come together and celebrate the intersection of music, art and social impact.

“It’s paramount,” Williams says. “We’re intentional about providing the tools and resources needed to improve communities of color, which are often distressed. At the end of the day, we all know when oppression and injustice impacts one, it impacts all. People also need a break. You want to have that balance of entertainment and social good, so when your break is over, you can rev up the engine and get back in the game, or fight.”

Broccoli City as an events company consistently emphasizes the importance of community engagement in hopes of uplifting everyone. Despite the inability to congregate safely indoors or to provide physical spaces to partake and absorb originally Broccoli City Festival. Photo courtesy of festival.

“We were always more than a festival. Every activity plays a part in cultivating real relationships to get things done.

Now, we’re getting back to that and hearing the voices of the people.” scheduled events, the group still sought to make a difference, limitations be damned.

“We looked for ways to continue to work with vendors, businesses and artists,” Williams says, citing efforts to rotate the businesses providing concessions during their drive-in movies. “We always had our eyes on the ball for this year, we kept in contact with folks. We tried to support people and other initiatives. Even if we weren’t leading an activity, we’d offer support and show up and show out in any way they asked. We just wanted to find ways to support and keep us together.”

In 2021, Williams says some of the philanthropic partnerships and efforts have begun to reemerge, including a food market in Congress Heights near the Saint Elizabeth campus and a recent Juneteenth bike ride.

“We were always more than a festival,” Williams says. “Every activity plays a part in cultivating real relationships to get things done. Now, we’re getting back to that and hearing the voices of the people.”

Though more than a festival, the tentpole event still represents the biggest footprint for the company — a place where Broccoli City can network with community members, educate the masses and provide a platform for creatives and intellectuals.

“All those things you see at Broccoli City provide an outlet to get away and escape and leave inspired,” he says. “We believe that is ultimately what Broccoli City Fest’s purpose is. There are a lot of relationships that are built through the festival. They wouldn’t support us if not for the festival, so it allows us to vertically integrate all these other programs.”

Williams teases several events the week leading up to Broccoli City, but they’re still to be determined officially. Whatever they are, the group’s track record indicates they’ll be informative and intriguing, and at the very least entertaining. Like your parents always said, it’s important to, “Eat your vegetables.”

Tickets for Broccoli City Festival 2021 are available from $99-$225.

For more information about the festival, visit www.bcfestival.com.

For more information about Broccoli City’s other initiatives, visit www.broccolicity.com.

RFK Stadium: 2400 E. Capitol St. SE, DC; bcfestival.com // @broccolicity DISTRICT FRAY | 31

32 | SEPTEMBER 2021

MUSIC

a

roun

Bright

d

D.C.’S NEWEST EVENTS VENUE OPENS AS SYMBOL OF HOPE WORDS BY COURTNEY SEXTON Situated at the end of Barracks Row in Southeast D.C., Capital Turnaround, the District’s newest performing arts venue, is a turnaround in more than one sense. The venue, which opened its doors in August, is a revival of the historic Navy Yard Car Barn: a symbol of hope for the creative industry and the community it supports.

Reimagining the Blue Castle

For 70 years, the Navy Yard Car Barn, long known to locals as the Blue Castle for its distinctive, medieval castle-like façade, was the last stop on D.C.’s cable car line. In the bays of the expansive brick structure, red line streetcars were repaired, rerouted, and housed, until 1962 when the city’s fleet was retired. In the decades following, the car barn housed charter schools and even a small restaurant but has been largely underutilized for at least the past 10 years — until now.

Today, the old streetcar sleeping palace offers a new kind of nighttime revival. Reborn as Capital Turnaround, D.C.’s first performing arts venue to open since Covid-19 struck, the Navy Yard Car Barn now features a roster of performers ready to get on with the show.

Owned and operated by National Community Church, the venue has an important role to play in terms of setting live performance safety precedents for the foreseeable future.

“This is really the first event space that’s opened in D.C. on a large level since the pandemic started,” says Jake Diamond, marketing manager of Capital Turnaround. “We’re excited to have that distinction, especially with how difficult the last year has been.”

Diamond is part of a talented crew of longtime performing arts industry professionals and musicians led by 20-year music scene veterans, brothers Daniel, Luke and Jonathan Brindley, who are Capital Turnaround’s exclusive talent providers. Their affiliate venues include Union Stage, Jammin Java, Miracle Theatre and Pie Shop.

An Intimate Basement Feel

The Capital Turnaround building will also eventually host various kinds of events and community gatherings, including church services and educational outreach programming, but for now, live entertainment is the focus. The main auditorium can accommodate 982 people, more than double Union Stage’s 450-person capacity — an important benefit while physical distancing is still a consideration.

Diamond says the auditorium is deceptively movable and allows for multiple seated and standing-room configurations, with enough space for patrons to move and dance. Food offerings are provided by Pie Shop, and food and beverage service is plastic free, an effort to reduce negative environmental impact.

Another main attraction of the new space is upgraded Capital Turnaround. Photo by Derek Baker.

audiovisual technology that offers even more options for creativity and flexibility. Behind-stage LED screen optics and a cascading LED screen ceiling enhance the viewing experience from every point in the room.

“Even though it’s a larger room, it still has that intimate basement feel,” says Morgan Seltzer, the group’s marketing and design manager.

Getting Back to Good

Both Diamond and Seltzer are new additions to the team’s skeleton staff who’ve kept operations afloat throughout the pandemic. The booking team began scheduling shows for Capital Turnaround in November 2019 in anticipation of the original March 2020 opening.

“We definitely have the best team we’ve ever had and we’re just really excited about the future,” Luke Brindley says. “These guys came in and hit the ground running. [Things were] slowly ramping up and then all of a sudden, D.C. was open.”

Comedian Hannibal Buress finally christened the house in August, and the team is looking forward to the diverse lineup of acts to come. September’s shows include the “True Crime Obsessed” podcast, which covers the HBO series “The Case Against Adnan Syed”; singer-songwriter Faye Webster; “True Tales Told Live and In Person” by Story District; and the Milk Carton Kids. Several upcoming acts are already sold-out.

“Offering some entertainment, some levity, I think has really lifted people’s spirits and reminded people there is still the capability for shared experiences,” Diamond says.

In addition to being a sign of things “getting back to good,” the successful opening of Capital Turnaround is part of another pandemic story — one of camaraderie and support throughout the D.C. arts community and beyond.

Diamond, Seltzer and Brindley agreed that they’ve survived, in no small part, thanks to new lines of communication among D.C.’s different independent venues. Prior to the pandemic, these connections were not as warm or open.

“This has been one of the few positive experiences to come out of Covid,” Diamond says. “There’s a much stronger community. We’re all in this together.”

Capital Turnaround: 770 M St. SE, DC; capitalturnaround.com // @capturnaround DISTRICT FRAY | 33

SEEN

BEHIND THE SCENES // SEPTEMBER 2021 COVER SHOOT. Enjoy some behind-the-scenes moments from our September cover shoot at The John F. Kennedy Center for the Performing Arts featuring Justin “Yaddiya” Johnson, founder of Long Live GoGo. Photos by Andrew J. Williams III.

34 | SEPTEMBER 2021

CULTURE Cue the

LIGHTS The final costume thread stitched, the last set design nail hammered, the ink on the scripts dried and the performance schedules announced.

The stage, in every sense, is set — and the anticipation is brimming — for the start of the Kennedy Center’s new season and 50th anniversary. In this issue, we’ll highlight the center’s social justice and activism work, including the contributions of Long Live GoGo Founder Justin “Yaddiya” Johnson to its Culture Caucus. And don’t miss our beautifully designed infographic, inspired by the findings of the center’s archivist.

Yaddiya at the Kennedy Center. Photo by Tony Powell.

Curtain Call The Kennedy Center sets the stage for an encore-worthy lineup of live theatre — and its 50th anniversary season.

WORDS BY KRISTEN SCHOTT

36 | SEPTEMBER 2021

T

here’s nothing like live theatre: hearing the step-ball-change of a tap dancer’s feet or the soprano hit that high note, laughing so hard it hurts, and being moved by the characters, their stories and their strength. It’s a thrill, one we’ve missed over the last year and a half. So, it’s with much applause that musicals and plays once again take over the John F. Kennedy Center for the Performing Arts this fall during its grand reopening — and show-stopping 50th anniversary season.

Also, in lieu of the evolving Covid-19 pandemic, and in lockstep with the District’s theatre and performing arts community, the Kennedy Center is requiring all patrons to show proof they are fully vaccinated to attend indoor performances.

“We wanted to have a very celebratory season, but what’s incredibly exciting is the amount of theatre we’ll be able to offer,” says Kennedy Center Vice President of Theater Producing and Programming Jeffrey Finn. “It’s turned out to

be a [lineup] of the very best hit shows currently running on Broadway and out on tour.”

In 2019, there were 51 weeks of theatre. This year, there are 80 weeks — partly due to rescheduled shows during the pandemic and the general enthusiasm surrounding the venue’s anniversary. Finn says the range in content will entice not only longtime fans but also new, diverse audiences.

“There are a lot of choices and variety for different audiences.

It’s opening the doors for [those] who may not have gone to see shows before. They will now be invited in new ways.”

The Kennedy Center’s theatre season kicks off with the premiere of “Hadestown” (October 13 to 31), the beautifully conceived Grammy- and Tony Award-winning production combining two mythic tales: Orpheus and Eurydice, and King Hades and wife Persephone. Taking viewers on a journey to the underworld, the overarching themes are prescient (mortality, time, how to embrace life even with the knowledge of death) and the story is told through music and movement that’s both unforgettably catchy and searingly emotional. Finn describes it as “visually sumptuous.”

L TO R. “Hamilton” Philip National Tour. Photo by Joan Marcus. “Dear Evan Hansen.” Photo by Matthew Murphy.

DISTRICT FRAY | 37

CULTURE In fact, the production is sung entirely through.

“There are no scenes where people stop and speak extemporaneously without music: Everything is scored,” choreographer David Neumann says. “The way that Hermes speaks to Orpheus is in rhythm.

So, from the beginning to the end, everything is somehow choreographed.”

Neumann, who also choreographed the Broadway production, had many influences when putting together the show’s movement. For example, he used puppetry when the furniture begins to float in the beginning. West African and club dance, jazz, contemporary movement, gestural actions — even a court dance find their way into the repertoire. A lead singer at a punk concert inspired Persephone’s body language in “Way Down Hadestown.” “[Persephone’s] jonesing for a fix,” Neumann says of that performance. “She’s a little drunk [and] protesting having to return underground to a very troubled relationship — and the end of the earth, potentially.”

One of the most poignant moments for Neumann is toward the end, when the cast stops moving and gathers to sing one last song. During the Broadway production, the mics were turned off and the group performed acapella--nly a guitar rang out with them.

Neumann recalls standing to the side of the theater to see how the audience would react.

“A large portion of the audience was crying,” he says. “There was this release: The song provided the realization, and it felt like everyone in the room recognized it. We all have limited time.”

It’s too soon to say whether they’ll pull off the song sans mic on tour — each stage has different capabilities — but it speaks to the relationship between audience and actor, particularly when the third wall is broken.

Jonalyn Saxer, who plays the endearingly clueless Karen Smith in “Mean Girls” (April 5 to 24), agrees.

One of her favorite moments is when she takes the stage to sing “Sexy.”

“What I love about the song is that I’m speaking directly to the audience,” she says. “I come out and say ‘Hi.’It’s so fun to have that connection and to look out and be present with everybody.”

The adaptation of Tina Fey’s cult-classic film follows Africa-raised Cady Heron as she navigates the wild world of suburban high school and its cliques.

Chief among them is the Plastics, made up of girlswe-love-to-hate Regina George, Gretchen Wieners and Smith.

“I always say Karen is such a ‘yes’ girl,” Saxer says.

“She just goes with the flow and is happy to be there.

It’s a fun and exciting brain to step into every night.

Karen just views the world differently than most people. She might have a delayed or surface reaction to something simple.”

Perhaps that’s why “Mean Girls” has such a lasting legacy among fans: These characters are both hilarious and human. And, like IRL people, they evolve with time, cultural shifts and current events — 38 | SEPTEMBER 2021

a credit to Fey and the creative team.

“They’ve updated it so the jokes are new and present,” Saxer says. “It’s exciting for the people who know it, but if you aren’t familiar with the movie, it’s not like you’re going to miss anything.”

Despite the outrageous humor in nearly every scene, the play also puts the serious topic of bullying (on social media, in the classroom, among “friends”) front and center, and invites us to reflect. Maybe we were pushed around. Maybe we did the pushing. And what about our kids?

“No matter how much we try to stop it, bullying is ever-present,” Saxer says. “If you’ve been to high school, you’re going to connect [with] this play.”

“Dear Evan Hansen” (August 30 to September 25) is of the same vein. The winner of six Tonys, the play is a soul-searching, coming-of-age tale about a teen with social anxiety who longs to fit in. Then there’s “To Kill a Mockingbird” (June 21 to July 10) — the theatrical iteration of Harper Lee’s classic novel addressing issues of rape and racial inequity — and “A Monster Calls” (May 25 to June 12). The Kennedy Center will be the only venue in the U.S. to present the show, which originated at The Old Vic in London and tells the tale of a teen boy who finds a friend in a monster when his mom falls ill.

“It’s a beautiful play that I saw and fell in love with,” Finn says. “And we figured out how to make it happen in Washington,” “Beautiful: The Carole King Musical” (December 14 to January 2), “Jersey Boys” (June 14-26) and the tour premiere of “Ain’t Too Proud” (December 15 to January 16), the throwback musical about 1960s-era R&B hitmakers The Temptations, are also on the roster. And, of course, no theatrical season in D.C. would be complete without Broadway darling “Hamilton” (July 12 to October 2). Lin-Manuel Miranda’s rap retelling of American Founding Father Alexander Hamilton returns for the second time after its 2020 showing was canceled due to the pandemic.

The encore? “50 Years of Broadway at the Kennedy Center,” a one-night only event in spring 2022 produced by Finn. It’s what he calls a star-studded event, filled with Broadway performers who will recreate moments from shows that have been at the venue, including “Pippin,” “Annie” and “Les Misérables,” all backed by an onstage orchestra.

“Audiences will be given a massive opportunity to experience exciting, thrilling theatre that they can’t see anywhere else in D.C.,” Finns says of the season.

“And, during this 50th season and with our return post-pandemic, we’ll be having a celebration unlike any other year.”

For more on the Kennedy Center’s live theatre schedule and how to purchase tickets, visit kennedy-center.org.

To stay up to date on all events at the Kennedy Center, follow them on Instagram @kennedycenter.

The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; 202-467-4600; kennedy-center.org // @kennedycenter

RIGHT PAGE FROM TOP. “A Monster Calls.” Photo by Manuel Harlan. “Mean Girls.” Photo by Joan Marcus.

DISTRICT FRAY | 39

CULTURE

40 | SEPTEMBER 2021

I M PAC T in

Action WORDS BY TRENT JOHNSON

Visiting the Kennedy Center, you may believe all the beauty of the nation’s foremost cultural institution lies within its sterling appearance — from the decadent stages to the blood-red carpet of the lobby. Or perhaps, you’re more enamored by its new(ish) REACH facilities, complete with outdoor sculptures and platforms for both local and national artists who are encouraged to intentionally craft pieces of work meant to foster connections with the community.

Underneath the tiles and behind the walls, however, there is an infrastructure in place, more spiritual and emotional than physical. Yes, the Kennedy Center is built on a foundation of stone, concrete and hardened materials. But it’s also a haven for artists upheld by a steadfast belief that art can transcend performance and bleed into everyday culture, inspiring hope and eliciting change for the better.

“It’s vital work,” composer, music director and cultural curator Nolan Williams Jr. says, one of the center’s inaugural social practice residents and a co-chair of its community advisory board. “It’s work seeking to meet the needs of the times. They understand the role the arts play in our world. As an African American artist who has been pained by the events of our nation in the past year, I am delighted our nation’s performing arts center is seeking to play this vital role. Not to solve all the issues, but to be a part of the solution.”

The Kennedy Center’s work with social activism and social justice is most reflected in its fivepronged model of community empowerment, artistic empowerment, cultural leadership, impact performance and activation of The REACH. “Those are the tentpoles of what we’re looking to achieve in our work through social impact,” the center’s director of social impact, Victoria Murray Baatin says. “Really, what we’re looking to do is utilize cultural leadership. We want to invite engaged participation in the arts, using them for non-arts outcomes. The aesthetic isn’t the end all be all for our work.”

Raga at The REACH. Photo by Jati Lindsay.

Initiatives New + Old The Kennedy Center’s website mentions eight areas of work under its social impact initiatives, which the five pillars listed by Baatin fall under.

Led by the social impact team and Kennedy Center Vice President and Artistic Director of Social Impact Marc Bamuthi Joseph, the institution’s goals are lofty and long-term, as opposed to nearsighted Band-Aids. Each is carefully crafted with intention, care and thought. A few are longstanding, such as the free daily performances at the Millennium Stage and the commitment to diversity in classical music spearheaded by the National Symphony Orchestra and Washington National Orchestra.

Others are more nascent, including the activations at The REACH, its renewed commitment to #BlackCultureMatters and the creation of the Culture Caucus — a group of D.C. creatives, organizations and initiatives that can use the center’s resources and campus for productions.

“There’s a huge gap between people and resources, and there’s a lot of people who want to touch the community and don’t know howto do that,” Justin “Yaddiya” Johnson, the musician, artist and activist behind Long Live GoGo and Moachella, says. “I felt proud to be a symbol of the culture in the city and to be invited to be a part of an institution with so much history behind it. I’m always happy when we have [authentic] people involved with high art institutions.”

More members of the inaugural caucus include Dvonne (Devon) Trotter, Damara Catlett of Full Color Future and Jason Barnes, better known as Pussy Noir, to name a few. Baatin says the formation of the Culture Caucus was a natural evolution, which allowed the center to take action with regards to both artist and community empowerment while instilling a sense of locality.

“They’re a self-determined body in terms of what they were interested in accomplishing and what they wanted to do,” Baatin says.

DISTRICT FRAY | 41

CULTURE “They tell us which way we’re going. The other part was about creating a sense of home. For whatever reason, people might not have felt comfortable at the Kennedy Center and we want to bust that myth and disabuse people of the notion this place isn’t for them. Arts and culture are for us all.”

The Culture Caucus isn’t the only group of people who enable the Kennedy Center to effectively touch the local community. With the help of its Community Advisory Board, a group of leaders and advisors in the DMV area, the work of the center is held accountable and is better able to ensure initiatives run parallel to community interests and needs.

“Through the social impact initiatives, Culture Caucus and residencies, we’re seeing a deepened commitment,” Williams Jr. says. “It’s not new. This has been around for a long time.

Multiple presidents of the center have recognized it’s important to have a strong presence to ensure [diverse] voices are being heard and messages are being clearly communicated.”

Another pre-Covid addition for the Kennedy Center was its first class of Social Practice Residences made up of bodybased artist and choreographer Emily Johnson, mixed-media artist Helen Zughaib and the aforementioned Nolan Williams Jr. These residencies were created with the goal of creating and collaborating on projects proposing critical interventions targeted at specific communities. For Williams Jr., this became a 90-minute multimedia concert about the Civil Rights Movement from 1954 to 1968.

“We workshopped the project at the center and launched a national tour in February 2020,” Williams Jr. says. “Looking back, it feels prophetic on so many levels. Having the opportunity to develop that at the Kennedy Center was central to us moving the project forward.”

Baatin says the residencies have been extended due to the pandemic. “[These artists] literally touch on all five of our tentpole pillars,” she says. “Through their work, they address some of the systemic challenges that exist in our country. Emily Johnson is really decolonizing cultural spaces and Helen [Zughaib] focuses on women refugees, [including] what that means and what that experience is like.”

Through a bevy of virtual programs, the center has remained in-step with artists, providing opportunities for digital showcases and empty physical spaces to explore. In both new and established ways, the Kennedy Center has proven itself a beacon of light for everyone, from its national followers to its local talent.

“Art is the glue,” Johnson says. “Art is definitely the most powerful messaging tool, and it’s the glue and the connection, and the catalyst for connection.”

The Year of 2020 On May 25, 2020, George Floyd was murdered by police in Minnesota, sparking an emotional surge throughout the country and leading to countless protests for justice. Starting on June 2, the Kennedy Center went dark for nine consecutive nights to match the number of minutes Derek Chauvin kneed Floyd in the neck. In conjunction with the symbolic gesture, the center additionally released a statement and an updated Social Credo.

“How could you live in our world and our society and not be affected,” Baatin says. “There was a keen eye and focus, which brought all these [instances of police brutality] to 42 | SEPTEMBER 2021

public attention. We could not be itinerant in our response.

All credit to our president, Deborah Rutter, who wanted to be deeply engaged in crafting this position. We’ve been working in this vein, in this way for some time. Last summer was a real accelerant: It put a hyper focus on the fierce urgency of now.

We needed to be responsive and take leadership as the cultural center of the nation.”

One of the most overt responses to the George Floyd murder was the center’s #BlackCultueMatters, which seeks to more intentionally connect Black performers on both digital and physical platforms. The organization also took steps to design and provide programs and space for organizations and creatives to address, through an anti-racist lens, topics such as wealth, beauty, law and housing.

“We’re the nation’s cultural center, so the culture of our nation shows up in myriad ways,” Baatin says. “We have to look at other aspects to see what it means to be a cultural focus. The arts have a place in law, housing and justice. I believe so deeply and passionately in the intellect of the artists who look toward creativity to unlock the challenges we’re facing.”

Williams Jr. says he witnessed the arts community as a whole step up with statements, initiatives and renewed focus after the events of 2020.

“If you look at what happened after George Floyd’s assassination, most arts organizations in our nation issued some kind of statement,” Williams Jr. says. “They felt compelled, if only by the need to be in solidarity with other organizations. The Kennedy Center was among the first arts organizations to issue a very strong statement about the support of diversity and diverse stories being on the stages.

History speaks for itself; they’ve been an exemplar.”

Despite past and present success, the Kennedy Center strives to be reflective, patient and to keep evolving, even if this means via tiny increments. Patience is key when sweeping change is the goal, and, thankfully, there’s a foundation in place — what the Kennedy Center is doing is not necessarily new.

“Working on it from the inside, it’s not hard to maintain patience because you see the way forward,” Baatin says. “We have our 25-25-25 plan. By 2025, all of our offerings will be impact-facing, and over the course of that time, we’ll put $25 million toward the work itself. Having something tangible like that is quite grounding and keeps us accountable to setting the bar [high]. It gives us a horizon on which we orient ourselves.”

The horizon is a ways off, and despite its accomplishments in establishing a consistent focus on social impact, the Kennedy Center will continually hold itself, as an organization and its collaborating artists, to a distinct standard of excellence.

“The arts community is diverse,” Williams Jr. says. “So many organizations have recognized the need to reflect the rich diversity of America in their culture. There’s always more that needs to be done. We don’t have the right to rest on our laurels until we have achieved the goal of recognizing and celebrating diversity in all its myriad forms.”

Rest assured. Within the vibrant halls of the Kennedy Center, atop carpet and wooden stages, the work continues to be done.

For information about the Kennedy Center’s Social Impact Initiatives, visit kennedy-center.org/our-story/social-impact.

The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; kennedy-center.org // @kennedycenter

Photo by Drew Xeron.

Kingsley Model + Talent Management (KMTM) is a boutique, full-service talent agency based in Washington, D.C. that specializes in providing top diverse talent to fulfill the commercial, print, runway, acting and specialty needs of their clients. www.kingsleymanagement.com • IG/FB/Twitter/TikTok @kingsleymodels • 202.559.9334 • info@kingsleymanagement.com

CULTURE

50 YEARS

Illustration by Amanda Weisbrod Since its opening in 1971, The John F. Kennedy Center for the Performing Arts has served as one of the nation’s premiere creative hot spots. This timeline highlights a brief history of the center, showcasing renovations, improvements and legendary performances of the past.

THE PERFORMING ARTS 1960

November 22, 1963 JFK’s assassination

1958 | President Eisenhower signs the National Cultural Center Act, which financed a structure dedicated to the performing arts.

1970

1971 1962 | The Kennedys host An American Pageant of the Arts, a televised fundraiser for the National Cultural Center.

1 1980

2

1964 | President Johnson renames the National Cultural Center as The John F. Kennedy Center for the Performing Arts. He breaks ground for the Center later that same year.

The life of the arts, far from being an interruption, a distraction, in the life of a nation, is very close to the center of a nation’s purpose... and is a test of the quality of a nation’s civilization.”

— President John F. Kennedy, 1962 44 | SEPTEMBER 2021

1971 | The Kennedy Center opens. It was designed by architect Edward Durrell Stone, who also designed the Modern Museum of Art.

1990

1978 | The first Kennedy Center Honors take place. Honorees include Marian Anderson, Fred Astaire, George Balanchine, Richard Rodgers and Arthur Rubinstein.

1986 | The National Symphony Orchestra, led by conductor Mstislav Rostropovich, officially joins the Kennedy Center.

2021 | The Kennedy Center kicks off its 50th anniversary year with an oral history exhibit titled “If These Halls Could Talk.”

LEGENDARY HONORS PERFORMANCES Each year, The Kennedy Center Honors celebrates those in the performing arts for their contributions to American culture. A tribute performance, ranging from musical acts to comedy routines, is put on for each honoree.

Below features a tribute performance from each decade the Honors has been presented. Follow along on the inner timeline to see when they take place in history.

2021 2020

1

6

2019 | The REACH, an outdoor pavilion dedicated to showcasing the process of the performing arts, opens.

2

5

2010

4

1979 | Joe Williams, Peggy Lee, John Hendricks and Count Basie belt out a tribute to honor jazz singer Ella Fitzgerald, one of that year’s honorees.

2014 | Deborah Rutter is appointed as president of the Kennedy Center. She is the first woman to hold this position.

1983 | Carol Burnett, an actress, comedienne, singer and writer, takes the stage to honor actor Jimmy Stewart.

Burnett later receives her own honors in 2003.

3 1996 | Robert Duvall, Kris Kristofferson, Lyle Lovett, Emmylou Harris and Rosanne Cash perform a musical tribute honoring country star Johnny Cash.

4

2000

2011 | The Washington National Opera officially joins the Kennedy Center.

3

2005 | Beyoncé hits the stage with her own version of “Proud Mary,” a tribute to honoree Tina Turner’s rendition of the Creedence Clearwater Revival classic.

5 2005 | The Family Theater opens. With 324 seats, it serves as a venue for world-class, family-friendly performances dedicated to the youth of the nation.

1997 | The Kennedy Center opens Millennium Stage, which was created to bring the performing arts to everyone.

Sources: kennedy-center.org. Photos: Courtesy of The Kennedy Center for the Performing Arts; Wikimedia; 1978 Honors, Richard Braaten; 1979 Honorees, Richard Braaten; 1983 Carol Burnett, Jack Buxbaum; 1996 Honors, Joan Marcus; 2005 Beyoncé, Joan Marcus; 2019 Chuck Brown Band, John Shore; 2020 Gladys Knight, courtesy of CBS.

2012 | Ann and Nancy Wilson of Heart join Jason Bonham, the son of Led Zeppelin’s original drummer, to honor the rock band by performing “Stairway to Heaven.”

6 2020 | Gladys Knight honors country icon Garth Brooks by putting her signature gospel spin on the musician’s 1992 release, “We Shall Be Free.”

PLAY ON

WORDS BY CHAD KINSMAN

20 DMV Performances to See In-Person This Season After a nearly 18-month intermission, DMV venues are announcing a slate of in-person events, ranging from familiar favorites to bold new ventures. Although the reopenings are cause for celebration, apprehensions remain for many. Audiences and venues’ implicit pact of mutual safety is now front-of-mind for all. As many of the season’s offerings attest, though, resilience, mutual concern and a willingness to seek the truth will see us through. Read on for our picks of in-person shows and performances in the DMV this fall through summer 2022.

DISTRICT FRAY | 47

CULTURE

48 | SEPTEMBER 2021

PAGE 48-49. L TO R. “My Lord, What a Night.” Artwork courtesy of Ford’s Theatre. “We Won’t Sleep.” Artwork courtesy of Signature Theatre.

9.10-9.19

9.30-10.24

“Sherwood: The Adventures of Robin Hood”

“Becoming Dr. Ruth”

9.20-10.17

10.1-10.24

“Teenage Dick”

“My Lord, What a Night”

In this forested farce, NextStop brings Sherwood to a bank parking lot — a sly choice of locale for this beloved story.

Playwright Ken Ludwig’s fast and funny plays require actors who are fleet of foot and mouth. Director Megan Behm will keep Robin and his Merry Men motoring through sword fights and romances. Beneath the swashbuckling and swooning, the play maintains the legend’s examples of collective action and the fight for justice. NextStop Theatre Company: 269 Sunset Park Dr. Herndon, VA; nextstoptheatre.org // @nextstoptheatre

In a region brimming with Shakespeare, Woolly Mammoth’s provocatively titled play is both right at home and wonderfully iconoclastic. Playwright Mike Lew transfigures the bard’s villainous Richard III to a modern-day high school student who, in turning the tables on his oppressors, becomes a tyrant himself.

Lew’s script complicates the standard heroic depictions of individuals with disabilities, while also examining bullying, toxic masculinity and a winner-takes-all culture. Gregg Mozgala plays Richard, a role he originated. Tony-nominated director Moritz von Stuelpnagel also returns. Woolly Mammoth Theatre Company: 641 D St. NW, DC; woollymammoth.net // @woollymammothtc

Best known as America’s sex expert for over four decades, Dr. Ruth Westheimer, the play’s protagonist, has lived many lives: a child Holocaust survivor, an Israeli sniper, an immigrant. Hers is a story of finding meaning and purpose, more than once, in an uncertain world. The production also showcases the talents of two of the region’s most lauded artists: Naomi Jacobson and the actress-turned-director Holly Twyford. (Ed. Note: The author is a Theater J staff member). Theater J: 1529 16th St. NW, DC; theaterj.org // @theaterjdc

After a performance on April 16, 1937, Marian Anderson, one of the century’s most noted singers, was denied a hotel room because she was Black. Instead, she lodged at the home of Albert Einstein. Playwright Deborah Brevoort imagines their symposium that evening, which led to their real-life friendship.

Brevoort also scripts educator and activist Mary Church Terrell, one of D.C.’s most influential Black figures, who helped arrange Anderson’s 1939 concert on the steps of the Lincoln Memorial.

Ford’s Theatre: 511 10th St. NW, DC; fords.org // @fordstheatre

FIRST PAGE. Joe Ngo, Courtney Reed + Moses Villarama in “Cambodian Rock Band.” Photo by Joan Marcus.

DISTRICT FRAY | 49

50 | SEPTEMBER 2021

DISTRICT FRAY | 51

FROM TOP. Joe Ngo, Abraham Kim, Courtney Reed, Jane Lui + Moses Villarama in “Cambodian Rock Band.”

Photo by Joan Marcus. Naomi Jacobson in “Becoming Dr. Ruth.” Photo by Teresa Wood.

52 | SEPTEMBER 2021

CULTURE

10.29-10.31

2.3-2.27

“Waitress”

“La casa de la laguna” (The House on the Lagoon)

Based on an indie rom-com, Sara Bareilles’ pie-filled musical “Waitress” made Broadway history in 2015 for employing women in the top four creative positions: composer and lyricist, book writer, director and choreographer. This touring production — part of the inaugural season of Broadway in Tysons — features recreated direction and choreography by Susanna Wolk and Abbey O’Brien. A semi-sweet look at setbacks, regrets, routines and dreams, the show includes a number of stand-out songs, including the instant-classic “She Used to Be Mine,” a sweeping ballad about the struggles to maintain a sense of self. Capital One Hall: 7750 Capital One Tower Rd. Tysons, VA; capitalonehall.com // @capitalonehall

11.5-11.7 DC Improv Presents Michelle Wolf

Since the Greeks, free speech has been viewed as a bedrock of democracy — a means to speak truth to power. There are few better modern examples than Michelle Wolf’s defiant and controversial performance at the 2018 White House Correspondents’ Dinner. Infamous in an instant, Wolf also honed her social and political satire working for Comedy Central’s “Late Night with Seth Meyers” and “The Daily Show with Trevor Noah.” This six-show engagement is a rare opportunity to see Wolf, one of today’s most irreverent and necessary comedians, perform new material in an intimate venue. DC Improv: 1140 Connecticut Ave. NW, DC; dcimprov.com // @dcimprov

11.30-1.2 “Once Upon a One More Time”

What happens if a group of fairytale princesses suddenly find the words to describe their dissatisfactions with Betty Friedan’s “The Feminine Mystique?” Revolution! Shakespeare Theatre’s new Broadway-bound musical flips the script on well-known fairy tales to the soundtrack of our 21st-century princess of pop Britney Spears. Husband and wife director-choreographer team Keone and Mari Madrid have previously collaborated with Justin Bieber, Billie Eilish, Ed Sheeran, Kendrick Lamar and producer Flying Lotus. Shakespeare Theatre Company: 610 F St. NW, DC; shakespearetheatre.org // @shakespeareindc

12.10 + 12.11 “Iphigenia”

The Kennedy Center’s glittering Eisenhower Theater seats 1,164 — meaning only 2,328 patrons will witness the twoperformance run of “Iphigenia,” a new opera featuring a cadre of artists at the pinnacle of their respective forms. Legendary performer and composer Wayne Shorter entwines jazz and classical music alongside a libretto by esperanza spalding, considered jazz’s greatest 21st-century genius. World-renowned architect Frank Gehry will design the sets. Director Lileana Blain-Cruz, adept at nonlinear storytelling and striking visuals, makes her D.C. debut. The Kennedy Center: 2700 F St. NW, DC; kennedy-center.org // @kennedycenter

Rosario Ferré was one of Puerto Rico’s leading writers. For four decades, she explored the island’s complex politics and culture, often through a feminist lens, in fiction, poetry and essays. Her 1995 novel “La casa de la laguna” was her first work published in English and a finalist for the National Book Award. Caridad Svich, a playwright fluent in all languages of the theater, adapts Ferré’s multi-layered dissections of truth, marriage, identity and class for the stage. The story centers on a woman’s attempt to write the tangled histories of her and her husband’s families as Puerto Rico evolves over seven decades. GALA Hispanic Theatre: 3333 14th St. NW, DC; galatheatre.org // @teatrogala

2.21-3.13 “The Servant of Two Masters”

Synetic Theater, now celebrating 20 years of its unique mix of beautiful choreography, physically daring and striking visuals, and entirely wordless storytelling, ends the season with an adaptation of “The Servant of Two Masters,” a commedia dell’arte classic. The farce theater piece has been a wellspring of comedic tropes, from slapstick humor to gross-out jokes, for 500 years. The play’s plot twists and turns, but in the end, love sticks. Synetic Theater: 1800 South Bell St. Arlington, VA; synetictheater.org // @synetictheater

3.25-4.10 “Tarot Reading VI”

Catching lightning in a bottle is thought impossible — though the aptly named Arcanists may have discovered how. Since 2016, the itinerant theatre collective has created some of the region’s most inventive works, none more so than their ongoing “Tarot Reading” series, now in its sixth installment. Dubbed “interactive, creative nonfiction,” each performance is unique.

A selected audience member draws tarot cards, summoning theatrical but true stories from performers. With the disarming aesthetics of a D&D basement lair, The Arcanists pull off the real magic of theater that banishes the line between artist and audience and art and artifice. Theatre on the Run: 3700 South Four Mile Run Dr. Arlington, VA; thearcanists.org // @arcanistslab

3.26-4.23 “Yoga Play”

In the U.S., the yoga industry generates nearly 12 billion dollars annually. Dipika Guha’s provocative comedy “Yoga Play” examines the West’s appropriation and rampant commercialization of yoga’s traditional search for physical and spiritual well-being. Centering on Jojomon, a high-end U.S. yoga company undergoing a PR crisis, “Yoga Play” is a timely production that explores the real price of a so-called quick fix.

Founded in 1996, Keegan Theatre feels like a neighborhood spot, bringing big stories to its intimate space on a tree-lined street.

Keegan Theatre: 1742 Church St. NW, DC; keegantheatre.com // @keegan_theatre

PAGE 50-51. L TO R. esperanza spalding. Photo by Carmen Daneshmandi. Wayne Shorter. Photo by Robert Ascroft.

DISTRICT FRAY | 53

CULTURE

4.5-5.8

5.31-6.3

“it’s not a trip it’s a journey” + “We declare you a terrorist…”

“We Won’t Sleep”

For the inaugural — and tautologically named — National Capital New Play Festival, the theater will produce two world premiere plays. Charly Evon Simpson’s “it’s not a trip it’s a journey” sees four Black friends trek from New York to the Grand Canyon; Tim J. Lord’s “We declare you a terrorist...” depicts a man haunted by being held hostage. Each play explores the distances we go to find some measure of understanding and overcome the forces that divide us — even within ourselves. Round House Theatre: 4545 East-West Hwy. Bethesda, MD; roundhousetheatre.org // @roundhousetheatre

4.12-4.17 “Come From Away”

Based on the real-life events after 7,000 people sought refuge in a tiny Newfoundland town immediately following the terrorist attacks of September 11, “Come From Away” is a rare success story which proves human kindness — and imagination — has not run dry. A poignant reminder of our collective response to tragedy, the show’s messages of resilience, hope and hospitality in the face of tragedy are more vital today than ever. The globetrotting Canadian musical received an out-of-town tryout at Ford’s in 2016, and has since landed a bevy of nominations and awards. National Theatre DC: 1321 Pennsylvania Ave. NW, DC; thenationaldc.com // @broadwaynatdc

4.12-5.15

“Cambodian Rock Band”

Like a feedback loop, Lauren Yee’s award-winning play “Cambodian Rock Band” was inspired by a concert — and is a concert, kind of. After seeing Dengue Fever, a band inspired by Cambodia’s raucous but brutally suppressed ‘60s and ‘70s music scene, Yee was hooked. Dengue Fever’s music became part of the soundtrack for her time-bending play about a man who fled from the Khmer Rouge, only to return 30 years later with his justiceseeking daughter. The cast of actor-musicians embody the joy, defiance and necessity of artists finding the means to create, even during the darkest of times. Chay Yew, one of this country’s premier directors, makes his second D.C. appearance. Arena Stage: 1101 Sixth St. SW, DC; arenastage.org // @arenastage

5.4-5.29 “Marys Seacole”

Mary Seacole, the play’s protagonist who is based on a real-life 19th century Jamaican nurse, is many things: a caregiver, an entrepreneur, a fabulist and an immigrant. She also refuses to be anything less than extraordinary, in her work, her fortunes and her self-promotion. As a follow-up to the 2018 Pulitzer Prize-winning play “Fairview,” playwright Jackie Sibblies Drury presents a layered script, with a title character who repeatedly recreates herself. Scenes and time periods slide and crash into each other as the play surveys the historic and enduring realities of Black caretakers and white patients. Mosaic regular Eric Ruffin directs. Mosaic Theater Company at Atlas Performing Arts Center: 1333 H St. NE, DC; mosaictheater.org // @mosaictheaterdc 54 | SEPTEMBER 2021

“I may be the first woman to hold this office, but I won’t be the last.” Kamala Harris’ frequent quote echoes another first female office holder, Rep. Jeanette Rankin. A lifelong activist, suffragist and pacifist, Rankin was elected to the House from Montana in 1916. “We Won’t Sleep” presents a catchy, pop-inflected score

by Ari Asfar (“Hamilton” and “American Idol”) and book by Lauren Gunderson, whose prolific and well-produced catalogue includes many plays with a feminist edge. Called “more than a musical — a mission,” the all-female creative team is committed to a diverse cast, ethical production methods and community activism and education. Signature Theatre: 4200 Campbell Ave. Arlington, VA; sigtheatre.org // @sigtheatre

6.1-6.5 “NEXTsteps”

With deep roots in European courts and literature, ballet can seem out-of-touch and immovable to many. To keep the art form growing and responding to contemporary society, The Washington Ballet commissioned new ballets from three choreographers for its NEXTSteps initiative, which will conclude the Ballet’s season. Already-announced participants include Jessica Lang, a New York choreographer with over 100 pieces to her name, and Mthuthuzeli November, a South African choreographer who won the prestigious 2020 Olivier Award for Best New Dance production, the U.K. analog to the Tony’s. A third choreographer will be announced soon. The Washington Ballet: 3515 Wisconsin Ave. NW, DC; washingtonballet.org // @thewashingtonballet

“The Hot Wing King”

Studio Theatre will end its season with Katori Hall’s newlycrowned Pulitzer Prize-winning play. In “The Hot Wing King,” Hall returns to Memphis, her hometown, in another story looking at the intersections of racism, family, Black masculinity and authenticity. The play follows Cordell and his partner Dwayne, who have high hopes of winning a hot wing competition until a family emergency alters their plans. Steve H. Broadnax III, who directed the play’s lauded premiere at New York’s Signature Theatre, one of Hall’s artistic homes, returns. Studio Theatre: 1501 14th St. NW, DC; studiotheatre.org // @studiotheatre

“The Tempest”

Folger Theater’s upcoming production of Shakespeare’s tale of magic, power and restoration is a big reunion. Co-directors Aaron Posner and Teller (yes, that Teller) first worked together on Folger’s Macbeth, another supernatural play, in 2008. Their “Tempest” is back for its fourth time, previously appearing in Boston, Las Vegas and Chicago. The shape-shifting dance company Pilobolus brings the setting’s magical creatures to vivid life, while a live band belts out Tom Waits and Kathleen Brennan tunes. Seeing how the team will handle the increasing focus on the play’s connection to colonialism and depictions of enslavement will merit attention. Folger Theater (co-produced with Round House Theatre): 4545 East-West Hwy. Bethesda, MD; folger.edu/folger-theatre // @folgerlibrary

Shakespeare Theatre Company

Raises The Curtain 56 | SEPTEMBER 2021

WORDS BY AMANDA WEISBROD

T

his fall, the Shakespeare Theatre Company (STC) is raising its curtain to welcome audiences back to the electric connection one can only experience at a live theatrical performance.

Simon Godwin, STC’s artistic director, says the title of the company’s 36th season is Play On!, calling back to the famous opening phrase in Shakespeare’s “Twelfth Night.”

“After such a long pause, we are ecstatic to safely welcome audiences back into our theaters for live performances,” he says. “Play On! captures this playfulness and this urgency for theatre, for community, for being together again.”

Godwin, who took on his position at the STC during the 2019–2020 season, hopes to remind people just how thrilling theater can be by breathing new life into a traditionally classicfocused company. His goal is to create programs that are young, fresh and diverse by scheduling shows with contemporary themes, as well as putting a modern spin on beloved classics.

The STC’s upcoming lineup does exactly that.

Kicking off the highly anticipated 2021–2022 season is Broadway-bound musical “Once Upon a One More Time,” a feminist’s fairytale featuring the chart-topping anthems of pop-princess Britney Spears, including “Oops!… I Did It Again,” “Lucky,” “Stronger” and “Toxic.” Godwin says he’s especially excited to open the season with such a fun and refreshing production that perfectly aligns with his vision.

“In my first season at STC, I made a promise to offer shows for all ages for the holidays, and ‘Once Upon a One More Time’ is a jubilant, funny and rousing update on classic fairy tales that will delight all audiences,” Godwin shares. “Britney Spears is an American pop icon, and the team of this musical has worked with her to craft a story that captures her joie de vivre and her indomitable spirit. We are beyond thrilled to have our first Broadway-bound production, and for it to be this inspiring, empowering musical.”

Spears herself even gave a comment, saying she is looking forward to the show’s premiere.

“I’m so excited to have a musical with my songs — especially one that takes place in such a magical world filled with characters that I grew up on, who I love and adore. This is a dream come true for me!”

Other productions in the 2021–2022 season include “Our Town,” “The Merchant of Venice,” “Much Ado About Nothing” and “Red Velvet.” Season tickets may be purchased at shakespearetheatre.org.

Even STC’s preseason features works that align with Godwin’s vision: “The Amen Corner,” directed by awardwinning STC Associate Director Whitney White and “Remember This: The Lesson of Jan Karski,” co-written and directed by Georgetown University Professor Derek Goldman.

Both feature topics that are relevant to the current societal climate of rejuvenation and perseverance.

Written by James Baldwin, a prominent Black author and playwright of the 20th century, “The Amen Corner” returns to Sidney Harman Hall from September 14–26 for its second FIRST PAGE. Sidney Harman Hall. Photo courtesy of Shakespeare Theatre Company.

CULTURE run after the original showing was cut short in March 2020.

Baldwin’s classic are very poignant and timely, as described by White.

Set in the 1950s, the play explores the struggles that come with deep-rooted faith as the main character, Pastor Margaret, faces opposition from her congregation and experiences family troubles. Black spiritual music combined with Baldwin’s enchanting prose portrays a beautifully moving “portrait of a Black community in Harlem that is trying to find safety in its own way,” as described by White.

“When I was first asked to direct ‘The Amen Corner,’ I thought about how much the words, the wisdom, the fire of James Baldwin has scored my entire life,” she says. “And yet, ‘The Amen Corner’ has only become more important, more relevant over the last 16 months. STC really stood behind this work, supporting my decisions and conception of this play, allowing the cast and creative team the space to make this production of ‘The Amen Corner’ soar.”

Godwin agrees with White that it is important to hear the voice of one of America’s greatest social philosophers as the world of theatre slowly begins to restart after being shut down for over a year. “‘The Amen Corner’ was a transformative experience for staff and audiences alike,” Godwin says. “We couldn’t imagine any other event reopening our main stage.”

White credits the cast and crew for the production’s critically acclaimed success, noting their flexibility and tenacity as vital attributes during such a tumultuous time.

“I feel incredibly inspired by the artists who are working on ‘The Amen Corner’ and by their ingenuity and willingness to pivot,” White says. “We’ve found ways to keep theater alive and that is a testament to the ingenuity of artists.”

White says she hopes theatergoers will experience a connection with the actors on stage, but mostly she’d like people to leave the show with a renewed interest in James Baldwin and his contributions to American culture.

“He’s one of the greatest writers we’ve ever had,” she says.

“He did so much work, and the number one thing I hope people take away is a reengagement with Baldwin’s work.”

Because “The Amen Corner” premiered at Howard University in 1955, White felt it was important to reach out to local actors.

Appropriately, the cast includes several members from Howard University and the surrounding DMV area.

Personally, White says “The Amen Corner” speaks to her childhood experience of being raised by a single Black mother.

She describes the play as not only a beautiful story between a mother and her child, but also as a multi-faceted portrayal of a Black woman.

“I want people to come out and see themselves reflected on stage,” she says. “It’s a stage of the people and for the people.”

In the same spirit, “Remember This: The Lesson of Jan Karski,” showing at Shakespeare’s Michael R. Klein Theatre from October 6–17, tells the story of a man local to D.C. who had an international impact.

Jan Karski, a courier for the Polish Underground, traveled overseas from Poland to alert the White House of the destruction of Jewish people during World War II, a disaster he witnessed through his own eyes. A press release published by the STC describes “Remember This” as an exploration of “the life and legacy of a revered Holocaust witness, diplomat, activist, and Georgetown University professor who was imprisoned, tortured, and almost broken before becoming ‘Humanity’s Hero.’”

DISTRICT FRAY | 57

FROM TOP. Chiké Johnson. Antonio Michael Woodard + Mia Ellis. All actors in “The Amen Corner”. Photos by Scott Suchman.

Goldman says that as a co-writer and director of this play, his passion for the story comes from the immediacy of its resonance in the present moment.

“It’s about bearing witness to injustice, individual responsibility, empathy and a sense to be responsible to other human beings,” Goldman says. “To me, it’s a story about the power of truth at a time when the whole question of truth has become so contested.”

Goldman originally wrote “Remember This” for a campaign heralded by Georgetown University alumni to celebrate Karski’s 100th birthday, which was April 2014. The director says while the play has evolved since its inception, it is still culturally relevant.

“Every time we’ve done the play over the past seven years, there are new resonances of what’s happening in the present moment and how Karski’s story speaks to that,” Goldman says. “Coming back from the pandemic and being back in the theater, I’m excited for a play that is so much about the power of bearing witness and community.”

As such an intellectually provocative play, Goldman says “Remember This” purposefully asks questions he wants audiences to mull over and contemplate. Therefore, there is a post-show discussion after every performance.

“In our experience, everyone stays for the discussion,” he says. “We really think of [the play] as a living lesson that people are left grappling with and talking about.”

“Remember This” features Academy Award nominee David Strathairn as Jan Karski, and only him.

Goldman says this one-man-show format gives a more conversational ambiance to the performance and allows audiences to feel as though they are having a one-onone dialogue with Karski himself.

This kind of connection between onlookers and actors is lacking in film and television, and is special to the theater, according to Godwin. With the upcoming season and pre-season, the artistic director’s goal is to reach out to as many different people as possible, encouraging the ideology that theatre is for everyone.

There’s something unique about the energy in the room, about the bond only a live performance can create, that makes theater so precious. After a long hiatus and the isolation brought on by a global pandemic, Godwin, White and Goldman are all elated to get people back together in person again for the communal experience the theater offers.

As White puts it, “I always say I’ll never take another audience for granted after this time.”

“The Amen Corner” is showing at Sidney Harman Hall from September 14–26. “Remember This: The Lesson of Jan Karski” is showing at the Michael R. Klein Theatre from October 6–17. Tickets to both shows are priced from $35-$120. “Once Upon a One More Time” officially kicks off STC’s 2021-2022 season on November 30 and runs until January 2. Season ticket bundles are available now; single tickets will go on sale in late summer. For more information and to purchase season ticket bundles, visit shakespearetheatre.org/events/2021-22-season.

Shakespeare Theatre Company’s Sidney Harman Hall: 610 F St. NW, DC; 202-547-1122; shakespearetheatre.org // @shakespeareindc

58 | SEPTEMBER 2021

TH

ANNUAL

20

21

LUCKY DOG ANIMAL RESCUE

CASINO NIGHT LET’S GET LUCKY SPONSORED BY: THE DAVENPORT GROUP & DISCOVER ARLINGTON

Join us on Saturday, October 9 for Lucky Dog Animal Rescue’s 8th annual Casino Night Gala! Try your luck at blackjack, roulette, poker or craps while enjoying great live music, food, speciality drinks, a silent auction and an exciting raffle to end the night. This year, we’re hosting both an in-person gala at the Sheraton Pentagon City in Arlington, Virginia and a virtual event for those who want to join in the lifesaving fun from the comfort of home. The best part? All of the proceeds will go toward saving the lives of at-risk and homeless dogs and cats throughout the United States. Get your tickets today.

www.lucky doganimal r es c ue. org

CULTURE

Signature Theatre’s Leadership Changes + Diverse, Accessible Season

WORDS BY KRISTEN PAGE-KIRBY Local curtains are starting to rise again — a little slowly, a little cautiously, but up they go as performers and audiences alike adjust to a new way of producing and enjoying live theatre. It’s a new world for nearly every theater, and even more so for Arlington’s Signature Theatre.

After over a decade as Signature’s associate artistic director and a year as acting artistic director, 37-year-old director, choreographer and producer Matthew Gardiner was named the theater’s artistic director. He succeeds Signature’s founder Eric Schaeffer, who resigned after being accused of sexual assault. It’s not just a new position for Gardiner — it’s a whole new world.

“For the last year, I’ve been managing a theater that can’t produce live art, and we’ve figured out a way to put something into the world,” Gardiner says, mentioning the virtual and 60 | SEPTEMBER 2021

streaming productions Signature premiered during the pandemic. “I feel the last year has prepared me for this moment — but as with everything else, there’s still so much uncertainty.”

That uncertainty not only comes from what seems like ever-shifting pandemic policies and procedures, but how (or if) audiences will return to live performances. Signature and the theatre world as a whole are on the precipice of something entirely new.

“It feels like a new chapter, whether there was new leadership or not,” says Maria Rizzo, who will play Ilona in “She Loves Me” in March 2022. “We’re opening back up in a completely new world. It’s never going to fully be the same again. And because of that, we’re all coming in with an appreciation that wasn’t there before.”

CLOCKWISE FROM TOP. “The Color Purple.” Photo of Felicia Curry. “The Upstairs Department.” Photo of Matthew Sparacino. “She Loves Me.” Photo of Chani Wereley.

All photos by Christopher Mueller.

DISTRICT FRAY | 61

CULTURE Appreciation for the reemergence of live theatre is one thing, but at Signature, it’s even more than that. The pandemic forced theaters to question everything, from their revenue streams to their commitment to diversity and social justice, to issues of physical, social and economic accessibility.

“Over the past year, there have been conversations about how theaters are sort of like closed, gated communities on a hill that only the most elite can reach,” Gardiner says. “We are now asking, ‘How do we stop that?’ I’m constantly asking myself, ‘Is our new play development program as accessible as possible?

Are we transparent as possible in how we are making choices?’

You can’t just have a diverse cast and think that’s enough. If the actors are looking across the table and nobody on the other side looks like them, we haven’t done well enough. What happened in the past year gave us a little more time to delve into this work in a way that maybe a year ago we would have pushed off, thinking there’s not enough time for it. Well, it’s imperative we make time for it.”

“Having worked with Matt [Gardiner], it’s so nice knowing there are leaders who lead with an empathy that is so out of their own experience,” Rizzo says. “I know he’s the smartest one in the room, but he’s the last to speak because he wants to hear everyone else’s experience before his own. I think that makes for better leaders, and creates more room for development.”

Audiences could be forgiven for raising eyebrows to Gardiner’s selection for the first in-house live show of the new season: Jonathan Larson’s “RENT.” The production took the theatre world by storm in 1996, winning four Tony Awards and the Pulitzer Prize. The musical spawned a generation of young, enthusiastic Rentheads who could always be counted on to burst into “La Vie Boheme” at every cast party. (Gardiner says he was a proud Renthead when the show came out during his high school years.) But will audiences want to watch a show

focused around a deadly disease — in the show’s case, the HIV/AIDS epidemic? And will the Rentheads of yore, most of whom now have “real” jobs, mortgages, and the burdens and backaches of adulthood, have any sympathy for the ragtag band of idealists who make up the show’s community?

“A year ago, I would have looked at that script and been like, ‘These people just need to pay their rent,’” Gardiner says. “But I’m a different artist than I was a year and a half ago. Now, I look at the script and see things through a very different lens. I see things I should have been awake to a year ago. When you dig into the history of that part of New York City — the squatters in the ‘90s and their attempts to stop gentrification — you recognize how it relates to what is happening in this moment and it just seems so evocative and important.”

Katie Mariko Murray, who will play performance artist Maureen in “RENT,” looks forward to the community the cast will certainly create once rehearsals begin in October.

“Matt creates so much space for people’s needs and comfort levels; he genuinely creates space for others,” she says. “I’m sure it’s going to feel surreal, singing about a pandemic, and I expect it will be a very emotional time — but I have no fear that Matt will be able to guide the ship and navigate through this new territory.”

“I feel in this moment, this is where I can be useful,” Gardiner says. “This is where I can continue to push theatre forward, at least in this little pocket of the world. I know what I want to see more of on the stages of American theatre, and now I have the potential to make connections with playwrights and directors and artists and say, ‘This is the space in which to tell your story.’ This is work that will continue for the rest of my life.”

Signature Theatre: 4200 Campbell Ave. Arlington, VA; 703-820-9771; sigtheatre.org // @sigtheatre Pussy Noir in “RENT.” Photo by Christopher Mueller.

62 | SEPTEMBER 2021

A

CULTURE

Deepening,

Not a

Pivot Artistic directors of three D.C. area theaters share how they adapted to the pandemic to survive — and what creative innovations they’ll carry into the future.

WORDS BY JAMIE MCCRARY

Typically, actors don’t build their own sets — especially at home in their garages. The Covid-19 pandemic fueled a lot of out-of-the-box thinking, however, especially for D.C. area theaters.

The Zoom-commissioned play “This is Who I Am” by playwright Amir Nizar Zuabi is one inventive instance of creative workaround. Presented by Woolly Mammoth Theatre at the end of 2020, the virtual play was written and produced entirely for Zoom, featuring two actors live at their computers each evening. Actors were responsible for assembling sets and running video, among other production tasks.

“This is Who I Am” tells the story of an estranged father and son, separated by continents, who join each other via video call to cook a meal in remembrance of the son’s deceased mother.

The virtual play is one of heartache and shared pain, but also fierce love and longing — emotions especially relevant during the past 16 months.

For Maria Manuela Goyanes, Woolly’s artistic director, the real crux of the piece is how it was presented. The play is a virtual collaboration with four other theatre companies around the country, including PlayCo in New York City; American Repertory Theater in Cambridge, Massachusetts; Guthrie Theater in Minneapolis, Minnesota; and Oregon Shakespeare Festival in Ashland, Oregon. Each theater worked closely to coordinate schedules and present the virtual play to their respective audiences.

“It was thrilling — the kind of access this opportunity gave us,” Goyanes says.

DISTRICT FRAY | 63

CULTURE

Finding New Opportunities According to Reginald Douglas, associate artistic director of Studio Theatre, the pandemic created an opportunity to deepen, not pivot their work. Like Woolly, Studio quickly innovated ways to reach new audiences and develop fresh work for the 2020-2021 season, commissioning the largest number of plays in the theater’s history.

The world premiere of the audio production “I Hate it Here” by Chicago-based playwright Ike Holter is one such work. Commissioned as part of “Studio in Your Ears,” a newly launched audio play series, “I Hate it Here” shares stories from supposed friends and family living during a pandemic. The Covid-informed piece examines how people do (and don’t) deal with a world on the brink of destruction.

“The big lesson of the past few months is that the medium may be different, but the commitment and the vision remain steadfast,” Douglas says. “We may be using the internet as a platform now, but the stories we tell remain urgent reflections of what it means to be an American today.”

As part of “Studio in Your Ears,” “I Hate it Here” was streamed and available free-of-charge on Studio’s website.

Launched mid-2020, the stageless (and screenless) series helped deepen and grow Studio’s audience base, reaching 6,000+ people in 48 states.

“This is what’s kept me going,” Douglas says. “The thrill of creating [new] work that connects and brings people together, particularly in moments we are all struggling.”

A Hyperlocal Focus Throughout the pandemic, serving the community also remained a priority, and a challenge, for many D.C. theaters.

For Woolly Mammoth, it was just one more opportunity for creative adaptation.

Together with Howard University, N-Street Village, Theatre Lab and THEARC, Woolly launched the Connectivity Core Partner program, a collaboration to produce cross-sector programming throughout D.C. The program is a response to heightened isolation due to Covid — and our nation’s call for racial equity.

The program just presented “Homegrown,” its first performance and Woolly’s first live show since before the pandemic. Hosted by THEARC in Congress Heights, “Homegrown” featured residents of Ward 7 and 8 performing spoken word and poetry, prepared under the direction of visiting artists from Woolly.

“I’m [always] here to talk about antiracism, but I’m also here to talk about the hyperlocal impact of systems of oppression and how we can actually create real community,” Goyanes says.

“Our success is tied to our community’s success, and we’ll keep making this hyperlocal focus a central part of our mission.”

Shifting the Perspective Programmatic innovations are just part of the story. Theater directors also needed to shift how they worked with staff, and in some cases, how they viewed the entire sector.

For Ryan Rilette, artistic director of Round House Theatre 64 | SEPTEMBER 2021

in Bethesda, this meant really putting staff’s health and safety first. In an industry with a “show must go on” mentality, which typically prioritizes creative work above all else, shifting to a staff-first mindset was a big transition.

“Let’s not worry about what is happening with the business.

Let’s talk about our people, because without them, there is no business,” Rilette says. “That has really shifted our work culture in a big, very positive way.”

Prioritizing well-being also means a better work-life balance, an issue theaters have struggled with for years. Actors typically work as freelancers, picking up multiple gigs at the whim of different theater’s schedules. Long hours and low pay are the norm — and job security, especially during crises like the pandemic, is dubious.

The sector’s business model is a challenging one, Rilette admits, and he hopes the pandemic can serve as a catalyst for a more sustainable approach to employing artists.

Maria Goyanes agrees, wholeheartedly. She’s been wrestling with how to [sustainably] support the actors under her charge, a problem she admits existed long before the pandemic.

“I have the livelihood of so many people under my care, and I don’t want to let all these people down,” she says. “We’re a nonprofit, a service organization.”

Stepping into the Future As D.C. theaters launch into their 2021-2022 seasons, they’re using lessons learned during the pandemic to continue innovating change — like the recent decision to require proof of vaccination from audiences. Woolly, Studio and Round House all followed suit, joining a cohort of more than a dozen local theaters.

“We finally decided [maybe] this is the right thing to do, so we’ll figure out how to make it happen,” Ryan says. “It’s the only way to keep everyone safe, and that’s been our number one priority since the pandemic started.”

In terms of the sector itself — aside from welcoming audiences back in-person — Rilette is excited for potential future innovation. He hopes theaters will take the economic and social turmoil of this year to heart, and work toward growing more reflective of their communities so that theatre looks “more like a library or a church.”

“I want us to look like a crowd on the streets, or like the subway,” Rilette says. “Everybody coming together to share a space and hear a story. That should be our goal.”

Studio Theatre: 1501 14th St. NW, DC; studiotheatre.org // @studiotheatre Woolly Mammoth Theatre Co.: 641 D St. NW, DC; woollymammoth.net // @woollymammothtc Round House Theater: 4545 East-West Hwy. Bethesda, MD; roundhousetheatre.org // @roundhousetheatre

WASHINGTON DC

NEW HOTEL SAME GREAT LOCATION Featuring Deck 11 our new rooftop lounge and the award-winning Art and Soul restaurant.

DINE WITH A VIEW AT DECK 11 ROOFTOP Thursdays 5:30 - 7:30pm

LIVE MUSIC ON THE PATIO Thursdays 5:30 - 7:30pm

@yotelwashingtonDC | @artandsouldc | yotel.com

66 | SEPTEMBER 2021

How three local theaters' costume departments adapted to support the community

WORDS BY NICOLE SCHALLER On my first day as a volunteer with Shakespeare Theatre, I drank in the excitement. The palpable jitteriness backstage during a live show, playing charades and gesturing to avoiding making a sound — it’s what theatre geeks like me live for. Few things have a more intoxicating orbit than a theater stage.

It was March 2020 though, and with it, heightened concerns around Covid.

By late March, the literal and metaphoric curtains fell, and hundreds of lives in the theatre community were upturned, indefinitely.

“I remember the moment vividly,” Washington National Opera (WNO) Costume Director Marsha LeBoeuf says of the shutdown announcement. “The Kennedy Center was shut down and we were told to go home. The costumes were left hanging there, ready to go.”

DISTRICT FRAY | 67

CULTURE

INNOVATING WAYS TO HELP LeBoeuf and her team at WNO were eventually furloughed — but not before she found some creative ways to use their costuming skills.

WNO’s costume team started making masks, first in the shop and then at home during the furlough.

“We tried to pivot very quickly,” LeBoeuf says. “We pulled every piece of fabric out of our stock that we knew was suitable for mask-making. In about three weeks, people were taking kits home.”

In total, LeBoeuf’s team was able to make and distribute about 1,000 masks to Sibley Hospital, Children’s National Hospital, Holy Cross Hospital and Tenleytown Trash.

Shakespeare Theatre followed suit. Shakespeare’s costume team, led by costume director Barbara Hicks, sewed masks in their respective homes, informally distributing them to various hospitals and homeless shelters.

“People [from the costume shop] picked an organization, set their mask production numbers and dropped them off,” Hicks says. “Early on, people would arrange to come into the shop and get materials. We had plenty of stuff that was perfect to use.”

Making masks also helped form a sense of community during an isolating time.

“We kept a group email and text chain going,” Hicks adds.

“People would come up with new designs and the information would go around the group.”

LeBoeuf also used her time off to stay up-to-date with a couple of organizations she was part of, including the United States Institute for Theatre Technology and Opera America.

Through Zoom, she deepened connections with colleagues who were “in the same boat” — some as far away as Europe.

“Our European colleagues opened up a little sooner than we did, and all [last] summer, we were learning how to deal with [Covid],” LeBoeuf says. “How do you handle a [costume] fitting in a situation where you’re not supposed to touch anything?”

SEEKING SILVER LININGS For Shakespeare Theatre, another silver lining emerged: having time to address much-needed administrative and logistical work. Shakespeare’s costume team was able to successfully move their stock of hundreds of costume and wardrobe pieces to a new storage facility — and relocate their shop to a new space.

“We did the move, which was a majority of our time,” Hicks says. “The department has spent a lot of time this year solving problems we never had time for.”

Natalie Kurczewski, Signature Theatre Associate Costume Director, found the beginning of Covid as an appreciated pause.

“Weirdly, it was nice to have a break,” Kurczewski says. “I didn’t expect a break quite this long, but it was nice because things get nuts. You’re scrambling and time management skills have got to be at their peak.”

AN EXTRA LAYER OF BURDEN As time waned on, costume departments faced an extra layer of burden: financial uncertainty.

“Having been in this business forever, theaters struggle,” Hicks says, who worked in Detroit, Michigan and Dallas 68 | SEPTEMBER 2021

theaters before joining Shakespeare. “The idea that we would have no revenue for a period of time — it’s always in the back of your head.”

At WNO, 11 out of 13 of the costume team was laid off by November 2020. LeBoeuf and her colleague Mark Hamberger, WNO’s associate costume director, stayed on and were able to return to prepare for upcoming shows.

“It’s our hope that every single one of [our team members] can have their jobs back,” LeBoeuf says. “It will be a long, slow process back, though.”

Kurczewski and Frederick Deeben, Signature Theatre’s costume director, were able to stay, as well. Thanks to the community’s support, the pair was even able to help produce a five-show virtual film season, where they worked on the wardrobe and conducted fittings.

A SLOW RETURN TO NORMAL Harnessing their innovative spirit, WNO was also able to produce shows in the new virtual environment. The theater presented two filmed shows intended to be viewed through virtual reality. LeBoeuf and Hamberger helped prepare costumes for camera, including designing, creating patterns, sewing and fitting the clothes. PreCovid, each of these tasks was designated to one craftsperson.

“We’re very devoted to our jobs, and very cognizant of the fact that we were lucky to be brought back,” LeBoeuf says.

Additionally, LeBoeuf was able to help with costumes for the Kennedy Center’s Theater for Young Audiences, and created standin rainbow ribbon laurels for the Kennedy Center Honors, an annual award given to performing artists for lifetime contributions to American culture.

With in-person shows on the horizon for all three theaters, the costume departments are slowly returning to their busy prepandemic state — albeit with some changes.

“The biggest thing we’ve encountered is finding new ways to get things done,” Deeben says. “We really learned how to be creative. We still need to be open to how we do our jobs.”

For LeBoeuf, the audience is the primary concern. She hopes people will not hesitate when returning to see live shows — and that their excitement matches hers.

“I certainly hope there’s a hunger for the kind of performance you cannot get from a screen,” LaBoeuf says. “What we do is live performance. It’s scary, but it’s a fear we desperately want to experience. We need to get back.”

Shakespeare Theatre’s first live show back is “The Amen Corner” on September 14. To see the full season’s schedule, visit shakespearetheatre.org or follow them on Instagram @shakespeareindc.

“Rent” is Signature Theatre’s inaugural show for their 2021-2022 season. Opening night is November 2. To learn more about the theatre and view the full schedule, visit sigtheatre.org or follow them on Instagram @sigtheatre.

Washington National Opera at the Kennedy Center’s first performance back is “Come Home: A Celebration of Return” on November 6. Visit WNO at kennedy-center.org/wno or on Instagram @kennedycenter.

FIRST PAGE. WNO costume shop. Photos by Rich Kessler.

FOURTH PAGE FROM TOP. The cast of “Camelot.” Photo by Scott Suchman.

Sinclair Daniel + Justin Mark in “Peter Pan and Wendy.” Photo by Teresa Castracane.

DISTRICT FRAY | 69

CULTURE

“Disco Go-Go.” Photo courtesy of location.

SEPTEMBER 2021 70 |to the

Joy Disco For the

of

Local creators and entrepreneurs Maggie O’Neill and Warren Weixler share how their new interdisciplinary arts space Disco DC is cultivating joy.

WORDS BY JAMIE MCCRARY

For SWATCHROOM co-founders Maggie O’Neill and Warren Weixler, disco is a conduit for joy. The creative duo sees the genre as medium for connection and delight — for audiences and artists alike.

This concept is the driving force behind Disco DC, their new interdisciplinary arts space at Union Market. Launching in mid-September, Disco DC will host immersive arts exhibitions centered on disco, featuring local painters, designers and photographers. The “Disco to the Go-Go” exhibition, which O’Neill describes as an “over-the-top museum gift shop” will kick things off, complete with visual art, music and video.

Inspired by “Dance It Out,” the disco-themed dance space O’Neill launched during Covid, “Disco to the Go-Go” also offers guests the chance to book a private, curated experience. Driven by the concept of hyper-hospitality, guests can work directly with a curator to design a disco-themed experience which aligns with their taste and preferences.

“How do we bring joy?” O’Neill asks. “Let’s fill this room with disco balls.”

Read on for more on Disco DC, “Disco to the Go-Go,” and O’Neill and Weixler’s vision for an arts-forward D.C. District Fray: Why disco?

Maggie O’Neill: To me, a disco ball is symbolic of joy, happiness, fun and movement. I think a dance floor is one of the happiest places on earth. Disco DC was born from the idea: “How do we bring joy to people?” I can’t think of anything better than disco balls.

Warren Weixler: Disco is always a celebration. It is joyful movement. I think we saw that now, more than ever, people really need to be uplifted with this energy.

What ultimately inspired Disco DC? O’Neill: I believe disco and go-go music have this unbelievable, universal way of bringing people together. And music and dancing are the most diplomatic and fantastic things we could do during this challenging time. Disco isn’t just a genre — it can be this incredible metaphor for a place. As creatives and creative leaders, we wanted to create our own concept. We both believe the antidote to depression and anxiety is making, creating and building.

DISTRICT FRAY | 71

Tell me about “Dance It Out.” How has this original exhibit influenced Disco DC? O’Neill: During Covid, we were in conversation with Union Market about creating something to bring the community together.

We launched “Dance It Out” in late 2020 as a holiday activation to get people to smile. The disco dance space was booked for 3 months out-of-the-gate. I met many extraordinary people who expressed how much joy the space brought to them. People of every age, every demographic, saying, “This is the happiest I’ve been all year!” We knew this was something we wanted to build on.

Weixler: Disco DC repositions “Dance It Out,” but keeps its joyful vibe. We’re now offering more of an academic, exhibition approach — but it’s still a space for people to find joy.

What can attendees expect from “Disco to the Go-Go?” O’Neill: Think overthe-top museum gift shop, but better. There will be photography, paintings, sound and video, all from local artists. Product designer and artist Chris Cardi and multidisciplinary artist Ashley Jaye Williams are just a couple of our featured vendors. The exhibit is about go-go music, but the space can also be used for performances and private events. It’s incredibly dynamic, with the underlying idea that all arts and culture disciplines overlap.

72 | SEPTEMBER 2021

SWATCHROOM’s Warren Weixler + Maggie O’Neill. Photo courtesy of subjects.

CULTURE There’s also an individualized, curated experience as part of “Disco to the Go-Go,” right?

O’Neill: Yes! Guests can rent the space for a curated experience on Friday and Saturday evenings.

It’s a choose-your-own adventure type of deal. Once booked, you’ll be contacted by a docent who will send you a questionnaire asking things like “What was your favorite ice cream as a child?” or “What song would you like to walk in to?” Your experience will be customized to you and your group. This is what we call hyperhospitality.

Weixler: Another part of the vision is a traveling exhibition. If an exhibition does its job and has curatorial weight, then it will move to other cities and continue to educate audiences.

“Disco to the Go-Go” could travel to L.A., Miami, Chicago, New York. It could become this traveling educational platform which propels multidisciplinary reach.

How do you hope the exhibition will inspire guests?

Weixler: We want to celebrate the interconnection of people and of art. That’s what is really fun, clever and authentic. And we can do that, through exhibition, retail products and private events. This way, any demographic can experience “Disco to the Go-Go” in their own way. If we can teach people something, or open their eyes to something new, then we’ve done our jobs.

Disco DC and “Disco to the Go-Go” will open mid-September in the Union Market District.

For more information, visit discodc.com or follow @thediscodc on Instagram.

Many of your collaborations, including Disco DC, are in the Union Market District.

What’s your vision for this area as a whole?

O’Neill: D.C. doesn’t have a destination arts district like New York City’s SoHo or Meatpacking District. I hope Union Market is a driving force behind forming D.C.’s first design and arts district. Our vision is for a hyper-local area which allows small businesses to flourish. It’s super easy to sign leases with big box stores, but then we lose the authenticity and uniqueness of this physical sphere.

Weixler: The promotion of a collaborative, creative community must be paired with real estate. It’s hard to say, “This is a district,” but not promote everyone working together. This is how you fill the community with the right vendors and how you drive traffic. Our vision is for a district where vendors are collaborating toward a shared goal.

Disco DC: 12874 Neal Pl. NE, DC; 202-808-3343; discodc.com // @thediscodc

What’s next after “Disco to the Go-Go?” O’Neill: Our next exhibit will feature local DJ, professor and author Adrian Loving with photos

by Bill Bernstein, a famous disco photographer. We’re committed to supporting local artists and small businesses and want to continue using Disco DC [as a platform for that]. The space is meant to offer an environmental, interdisciplinary experience, so we’ll also curate future exhibitions that align with this vision.

What’s your long-term vision for the space?

O’Neill: I would love to see Disco DC live on as an interdisciplinary arts space. We don’t want the exhibition space to be linear; we want to pair different artists and art forms. It is neither a retail space, a nightclub, an exhibition or art gallery — in some ways, it’s all of those things. I’m also hoping Disco DC will be a creative incubator for artistic collaboration.

Disco mural. Photo courtesy of location.

DISTRICT FRAY | 73

FESTIVAL

Northern

Virginia

FINE ARTS

celebrates

30 years

WORDS BY COLLEEN KENNEDY

W

atching oil painters set up a canvas for an en plein air painting, observing textile artists weave at their looms — these are some of the many engaging and intimate moments shared between artists and art lovers at the annual Northern Virginia Fine Arts Festival.

Now celebrating its 30th year, more than 200 artists from across the United States will land in Reston, Virginia from Friday, September 10 to Sunday, September 12 for the festival organized by the recently renamed Tephra Institute of Contemporary Art (previously Greater Reston Arts Center).

Spread over 11 blocks of Reston Town Center, the festival blends into the larger shopping and restaurant destinations, extending Tephra ICA’s gallery footprint throughout the larger community.

“It really helps that we can now push our mission of being this fertile ground for creativity, and actually physically change the landscape at Reston Town Center by bringing these artists into that space,” Erica Harrison, associate curator and festival director shares, who has curated the festival for over a decade.

Each year, a highly selective panel invites independent creative entrepreneurs to submit a portfolio of their works, artistic statement, and model of how they will arrange minigalleries in their booths. This year’s panel of jurors — including artist and curator Travis Childers, arts administrator Alissa Maru, and curator Tiffany Williams — looked through hundreds of portfolios to select this year’s roster of talented artists. The jurors will also rescore each booth to select 10 artists who will receive Awards of Excellence during the Saturday evening awards ceremony.

“These artists are at the top of their game as far as glass, resin painting, or woodworking,” Harrison says.

The diversity of art forms and media is vast, but the quality of the art, she promises is always of the highest caliber.

“You’ll see a lot of really high-end, fine American crafts.

There’s also some newer artists who are experimenting with textiles, or doing something slightly different with handcrafted leather work or large sculptures that might be great for outdoors.”

The artists — many of whom travel across the States for various arts festivals throughout the year — have a community among themselves. Harrison enjoys seeing artist friends carpooling together to bring their works to the festival, and the general sense of comradery and conviviality among the artists during the set-up on Thursday before the festival begins.

“They’re almost like emerging butterflies,” Harrison says.

“Part of [the joy] is just coming together as a community to celebrate these artists who spend winter in their studios by themselves. They flourish with all their creativity, and bring it in to share.”

This year, many artists are returning after the cancelation of last year’s festival due to the pandemic.

“One of the hardest parts of Covid was losing in-person arts experiences, because I believe the arts are essential to connecting us with our humanity,” Board Chair Robert Goudie says. “To have the festival back, and to once again interact with over 200 of the best artists from around the country, is a breath of fresh air.”

“There were 90 or so artists juried into the 2020 festival who stayed with us,” Executive Director and Curator of Tephra ICA, Jaynelle Hazard says. “We were able to roll over their participation for this year, which meant a great deal to us.”

Tariq Darrell O’Meally. Photo by Molly Stinchfield.

On “Festival Friday,” there will be an opening ceremony for Alexandria-based artist Sue Wrbican’s sculpture “Bouyant Force.” Offering an opportunity for audiences and artists to engage with this multimedia work, the 50-foot-tall steel sculpture was installed near the gallery in 2020.

“Buoyant Force’s” blue scaffolded structure is softened by metallic swirls of teal, brightened by squares of warmer oranges and reds, made less imposing by cheeky massive paperclips suspended midair. Wrbican’s work harkens back to the paintings of Kay Sage, the surrealist painter whose “Tomorrow is Never” (1955) depicts several scaffolds surrounding entwined fabrics blending into an eerie, foggy landscape.

At the same time, Wrbican’s piece is futuristic, collaborative and prophetic. Viewers can scan a QR code in their phones to converse with the sculpture, receiving related photographs, poems and other surprises, including predictions.

“We have an open call for women and female-identifying artists in the DMV to apply to make a prediction,” Wrbican explains. “There are going to be new predictions for when we do the celebration. We’ll be looking for what we think would be interesting for the sculpture. It can be serious, playful or fun. It depends on the material that we get.”

Dancer and choreographer Tariq Darrell O’Meally will celebrate and converse with Wrbican’s sculptural piece in a 20-minute dance performance entitled “The Last Plan******.”

Conceptually connecting with “Buoyant Force,” O’Meally asks, “What does it mean to be a harbinger or witness to an event?”

The piece will be performed on the 20th anniversary of September 11, while also reflecting back on the events of the last 16 months.

“When we think about 9/11, from that moment on, there was no going back,” O’Meally explains. “The DNA of America changed: how we thought about ourselves, how we interacted with each other. It heightened the fear level up, and those ripples have brought us all the way to this contemporary moment we both participated in but was also out of our control.”

He notes, too, “Life is made up of nothing but mundane moments that accumulate to something that is extraordinary,” and hopes to capture this in his performance.

The artists, performances and predictions will all lead to an extraordinary, art-filled, celebratory weekend in early September.

Northern Virginia Fine Arts Festival at Reston Town Center: 11900 Market St. Reston, VA; 703-471-9242; tephraica.org/festival // @tephra_ica

DISTRICT FRAY | 75

LIFE

ONE BUS + SEVEN STORIES WORDS + PHOTOS BY ANDREW J. WILLIAMS III

LIFE Leah Judson is a visionary storyteller and community builder. She’s also a badass, one-woman wrecking crew with a heart of gold, who is intensely focused on rewriting the stories society tells itself about what young people are capable of and what they can contribute to the world.

Judson will soon embark on a three-month voyage across the U.S. Traversing the corners of the country — from D.C. and Maryland to Florida, Maine, New Mexico and as far as California — she’ll hit the open road armed with a travel companion, video equipment and a promise to document seven remarkably ordinary lives, at least in her eyes. Her ambitious project, Before We Could Drink (BWCD), will chronicle the stories of youth accomplishing great things ­— hopefully helping them discover their power to inspire themselves and others.

To understand what provoked this bold pilgrimage, you’ll need to travel back in time to the days before the pandemic.

The project was called Behold.Her, which launched in 2016, unknowingly laying the foundation for BWCD. It was the perfect marriage of Judson’s love for people, story and art.

Building An Intimate Community “[Behold.Her] was centered around creating this intimate environment for women, where they could [really] get to know themselves,” Judson remembers fondly. “A lot of assumptions are built around women, and sometimes we’re not forming relationships in their most honest and purest form. I wanted to create an experience where defense mechanisms and filters were stripped away.”

This was much more than your typical networking event.

Two to four times a month, women from all walks of life gathered together in spaces provided by women-led or owned businesses throughout the District. On this raw, almost sacred meeting ground, the distractions of the outside world melted away.

Over the course of the project, 400 women were voluntarily photographed, filmed, interviewed and given the rare opportunity to share the unadulterated truth about themselves and their lives while building new friendships.

“It created this archive of voices that really showcased the woman behind the office desk, or the hill worker,” Judson says. “It showed a mother that was conflicted with something.

It showed another person who’s struggling with a family relationship, and highlighted things that we should feel more joyous about.”

After Behold.Her’s initial event, Judson was filled with an overwhelming sense of purpose. For four years, the project was the personification of empowerment — but, then it was suddenly, cruelly gone. As the pandemic took root in March 2020, upending our lives, this powerful place of liberation vanished, leaving a tremendous void in Judson’s life.

“Over the past couple of years, it gave me a lot of pleasure to be identified as a community leader for women here in the city,” Judson shares, with a sense of gratitude and loss filling her voice. “When the pandemic hit, it stripped away the opportunity to create these types of events.”

Unable to truly fulfill Behold.Her’s promise to maintain this growing community for women, she spent the rest of the year contemplating what came next.

Home Is Where the Heart Wanders Judson’s wandering spirit took her on a solo road trip into the wilderness, passing through Idaho, Oregon, Washington State and Wyoming. For the entire month of October 2020, she hiked, camped, got lost, found her way again and sought comfort in her fleeting interactions with strangers.

Clad in a knee-long puffer coat with fake fur, she was a selfdescribed “Tundra Brown Barbie” escaping the frantic pace at which life moved in D.C. “[In D.C.], I had this endless list of things that needed to be accomplished, but they weren’t fulfilling for me,” Judson says.

“I missed being outdoors and being able to shut the world off. I missed making relationships in person as well.”

Still, Judson was searching for something she couldn’t quite pinpoint — a connection she’d lost in Behold.Her’s absence.

“I ended up spending the year trying to figure out how I [could] create the same level of intimacy and storytelling, but not necessarily in the same way.”

Judson finally discovered what was missing. The random souls she encountered during her wilderness journey were “a beautiful reminder” of the interconnectedness of the world around us, even when we feel disconnected.

“We don’t really take the time to see that [connection] because we’re so busy,” Judson shares. “We’re stuck in our own little world, our own head and our own problems.”

This meditative space was the launching pad for BWCD. Judson wanted to do something groundbreaking and adventurous — and do something to showcase what she considered society’s greatest asset: young people.

The Fire of Youth Before We Could Drink is perhaps the greatest culmination of Judson’s gifts: her eye for photography, videography, heart for emotive storytelling, adeptness for community building and kinship with young people. “[I wanted to] seek out young people who are going above and beyond,” Judson says. “But more importantly, I wanted to create a series where we’re getting to know each other the entire time and creating a relationship that allows them to invite me to be a part of what they’re doing.”

For Judson, young people — and specifically, anyone under 21 — represent the best of us, while reflecting a mirror on our own unfiltered adolescent ambitions. There was a freedom Judson wanted to bottle and share with the world.

“I’ve always had this desire to help young people. I love the way their minds work. They haven’t really been tainted with anything yet. They just show up and are authentically [themselves], until someone tells them they can’t be.”

This form of storytelling — meeting young people in their natural habitat — was a gateway for Judson to better understand their frustrations, pain, joy and triumphs. The seven stories Judson is traveling across the nation to capture through film and photography, like of the young rodeo cowboy from Maryland, or the teenage lobster fisher from Maine, are about normalizing unseen and underappreciated accomplishments.

“I like to focus on overlooked voices or overlooked communities and cultures,” Judson says. “It might be kids right now, but it could be something completely different later.”

DISTRICT FRAY | 77

LIFE

78 | SEPTEMBER 2021

Judson puts in the work, having spent hours on the phone over the course of 2021 getting to know each project participant. She even visited several, so when she returns to film, they feel more like old friends.

“I don’t see many people taking the time to get to know each other when they’re reporting on stories,” Judson implores. “I think the work I’m trying to do here is [a] small step of trying to show, ‘Hey, this is what it can look like if we really care about the people we’re interviewing that we’re exploring with. They might actually teach us something.’”

Before We Could Drink is about shrinking the emotional and psychological distances that generational gaps and expectations perpetuate. It’s storytelling that pushes against the grain.

“My goal [for] this project is to have someone’s mindset change just enough to spark something,” Judson says. “It doesn’t have to be life changing, but just enough to move a new thought and [for someone] to see how they could show up a little differently. That’s enough for me.”

Let’s Take This Show on the Road How does one travel comfortably and practically, while crisscrossing the country? In a retrofitted bus, of course.

But, securing one was easier said than done. Judson explored the idea of using a van, but it presented too many complications.

She also realized she needed another set of hands for filming — someone willing to spend three months on the road with her.

Luckily, she identified another photographer friend, which also meant she needed more money and more space.

A school bus, of all things, was the most logical choice.

In spring of 2021, Judson, on top of securing sponsors and coalescing all the other moving parts, embarked on a frantic search. On her original timeline, she envisioned she’d be overhauling the bus in January. She was running out of time.

She tried auto shops, Facebook Marketplace — anywhere offering a promising lead — before stumbling onto the National Skoolie Association, who had a bus but was initially unwilling to part ways with it.

She finally caught a break when the association offered support in finding a viable vehicle, before ultimately deciding to negotiate with her to purchase theirs.

“We got to a point where we agreed I would purchase the bus

from them,” Judson says. “They’re like, ‘We really do believe in your project and we’re going to go ahead and say yes to this and let go.’ What was really beautiful about that is just having someone willing to give [up] something that’s important to them [for] me to succeed in this. It felt super heartwarming.”

They’d also did all the initial heavy lifting, like removing all of the seats, which would have been a monumental demolition project — ­especially with time running short ahead of her endof-August timeline.

Still, there was more work to be done, and definitely more than she could accomplish alone. Judson’s D.C. community showed up to help propel the project forward.

Friends offered, with whatever free time they had, to clean the bus, scrap the side, paint -— anything they could to support her passion. It was one of the most unexpected moments of her journey.

“This project isn’t necessarily focused on community building,” Judson admits. “That was reflective of the last project I did. [Though], my community has really come together to help this project happen and it’s been super beautiful.”

And while the bus project continues to have its setbacks — like the constant leaks, million uneven curves of the space and lack of AC — Judson continues to rely on her eternal optimism.

“There’s a lot of stuff that’s happening behind the scenes [in the bus] that I don’t know about,” Judson admits. “ It’s a matter of crossing our fingers and holding our breath that we don’t have too many surprises.”

She’s mentally worked through all the scenarios, like hitting an animal, having a flat tire or encountering an intruder and is designing the bus accordingly. And true to character, Judson is facing these unknowns with humor.

“One of my biggest fears is we’re sleeping and someone tries to hitch us to some trailer and take us away to a different country.”

Judson is putting all of herself into this project. It’s the only way she knows how to do it: The only way she can tell stories that genuinely honor each young person. Her generous approach will get her through the hardest days.

“This isn’t a hit-and-run documentary,” Judson says. “I’m sharing a little part of myself. And same with [the young people], each step of the way.”

Learn more about Leah Judson at leahjudson.com and follow her on Instagram @theregoesleah.

DISTRICT FRAY | 79

Fall Weekends Worth the Drive

Six easy getaways for all budgets, whether you’re traveling solo, as a duo or with a crew WORDS BY RINA RAPUANO | ILLUSTRATION BY JAMES COREAS

LIFE After the couple of years we’ve had, the restlessness is real — and so are the mounting concerns that we might be in for another cooped-up winter. But luckily, while fresh air and gorgeous fall temps remain, we still have the freedom to get outside and enjoy every bit of fun our diverse region has to offer. Here are a half-dozen hidden gems to visit this fall and our suggestions on how best to enjoy them.

St. Michaels, Maryland for a Girlfriend Getaway The Gist: This charming hamlet features all the girlfriend getaway-bait you could ever dream up: quaint shops, quality restaurants, water views and a winery.

Where to Stay: The Inn at Perry Cabin (fall rates run $530-$1,200 per night) is a classic and a worthwhile splurge (plus, you can brag about staying where “Wedding Crashers” was filmed), but there’s a new kid in town. The Wildset (fall rates run $139-$479 per night) brings a cozy yet modern aesthetic to the historic town, along with more reasonable rates and thoughtful touches like books, paintings and photographs.

Where to Eat: Try the brand-new Ruse located in the Wildset, which pulls heavily from coastal cuisines from around the globe and is a nod to a trick the town played on the British during the War of 1812. Or, go with some tried-and-true options like Ava’s Pizzeria and Wine Bar to hone your ladies who lunch vibe. Other tasty options include The Crab Claw for the quintessential Eastern Shore crab shack experience; the well-regarded 208 Talbot for chef David Clarke’s upscale American dishes; or the chef’s tasting menu at Stars, the dining room at the Inn at Perry Cabin.

What to Do: Take a break from shopping and eating with a spa treatment at Perry Cabin. Later, sip some wine at St. Michaels Winery, conveniently located on the town’s main drag (Talbot Street) so nobody is stuck with designated driver duties. And since you’re right on the water, learn more about the bay with a visit to the Chesapeake Bay Maritime Museum. Better yet, get on the water with an hour-long Miles River tour.

Learn more about St. Michaels on stmichaelsmd.org or @stmichaelsteam on Instagram.

Hideaway Co. for Maryland Glamping The Gist: Hideaway Co., founded by one of the folks who launched Ace Hotel Pittsburgh, got into the trendy glamping game this year by setting up on the grounds of Cove Pastures Flower Farm & Branch Bender Cidery in Accident, Maryland near Deep Creek.

Where to Stay: “Out of Africa” meets Ace Hotel in these ultra-luxurious safari tents outfitted with queen-sized beds, local artwork, lanterns (with charging ports, naturally, because how else would you feed the ‘gram?), rugs and seating — plus a potbelly stove for those nights when temperatures dip. And yes, there are hot showers and flushing toilets in what the website describes as “the tented safari bathroom of your dreams.”

Where to Eat: Yup, they take care of that, too. When Chef Kevin Hunninen isn’t preparing the farm-to-table feast, guest chefs from celebrated Pittsburgh restaurants make regular

appearances. During summer, Hunninen’s menu included dishes like a summer vegetable pancake with local tomatoes and corn salad, with a main of trout or pork chop and grilled veg, pesto potatoes and lemon-herb oil. There’s also a bar pouring cocktails, wine, beer and cider.

What to Do: Weekend packages ($600 per person) through mid-October include accommodations for Friday evening through Sunday morning; a Friday welcome reception, plus all meals through Sunday brunch; and yoga and mindfulness sessions on Saturday and Sunday mornings. Add-on amenities include bar beverages, outdoor massages, and excursions like horseback riding, hanging out with goats or whitewater rafting.

Some weekends on-site craft demos with local artisans and live music are offered as part of the package.

Hideaway Co: 1202 Harmon Rd. Accident, MD; hideawayco.com // @hideawaywithus

Virginia Beach for Artsy Vibes The Gist: Sure, you can book a generic hotel room right on the main drag and party like it’s 1999, but there are more sophisticated sides to this beach city, including the many ways to take in its thriving arts culture.

Where to Stay: A work of art in its own right, The Cavalier Hotel (fall rates start at $159 per night) was built in 1927. The hotel reopened in 2018 after an $85 million restoration, pairing its glamour with modern amenities, including a luxurious pool area. For those on a less glitzy budget, try the Hilton Garden Inn Virginia Beach Oceanfront (fall rates run $121-$460 per night).

Where to Eat: Locals swear by Eat: An American Bistro, with dishes ranging from global to ultra-local, featuring menu items like My Mom’s Crab Cake. In the ViBe Creative District, a self-described arts hub, check out Esoteric, which — despite the name — has an approachable menu including a few options for kids.

What to Do: The annual Mural Festival tied up August 29, but fall travelers can still enjoy festival art via a walking tour.

Dip into the Virginia Museum of Contemporary Art, which is running the “Summer of Women” exhibit through October 24.

Visit from October 22-24, and you’ll also catch the 65th Annual Boardwalk Art Show. If you want to soak in some art but can’t give up the beach, visit during the International Sand Sculpting Championship, held this year from September 24 to October 3 in tandem with the city’s Neptune Festival, an arts and crafts show that runs from September 24-26. For an experience that marries sound with nature, head to Pleasure House Point Natural Area to soak in “SOUNDWALK,” a new self-guided, GPS-enabled public art hike with music composed by Pulitzer Prize-winning sound artist Ellen Reid.

Learn more about Virginia Beach and all of its offerings on visitvirginiabeach.com or @visitvabeach on Instagram.

DISTRICT FRAY | 81

Maryland’s Allegany County for Biking Fanatics The Gist: The county seat of Cumberland, Maryland is where D.C.’s 184.5-mile C&O Canal towpath ends and the 150-mile Great Allegheny Passage (GAP) toward Pittsburgh begins, making it the perfect pitstop (or starting point) for cyclists.

Ohiopyle State Park, ending at Pittsburgh’s Point State Park.

Check in with local outfitters like Wheelz Up for gear, guidance and shuttle services. Don’t fret if you’re interested in visiting but cycling isn’t your thing. There’s also the Western Maryland Scenic Railroad, a heritage railroad that conducts a 16-mile return trip between Cumberland and Frostburg, with plenty to explore in each town.

Where to Stay: The Lodge at Rocky Gap resort, situated just inside Rocky Gap State Park near Cumberland, features recently updated rooms, a casino, golfing, a spa and mountain views. If you prefer something smaller, more chill and cyclist-friendly, try Town Hill B&B in Little Orleans.

Learn more about Maryland’s Allegany County on gov.allconet.org.

Where to Eat: People, pay attention. There is an Allegany County Ice Cream Trail with nine stops strung between Little Orleans to Lonaconing. If you must eat something other than ice cream, hit up Princess Restaurant in Frostburg for classic diner food; The Queen City Creamery & Deli for casual breakfast and lunch options; or Puccini Restaurant in Cumberland for wood-fired pizzas and Italian-inspired favorites. The first two, incidentally, are also stops along the Ice Cream Trail.

The Gist: The beauty of this tiny Virginia town in the Shenandoah Valley — aside from the picturesque mountain views and charming shopping strip — is that there really isn’t a ton to do (which is especially great if you need a little help in the slowing-down and unplugging departments).

What to Do: Those intrepid enough to bike the entire GAP will be richly rewarded with scenic valleys, mountains and rivers along the mostly level trail, all while crossing the Mason-Dixon Line, the Eastern Continental Divide, the Laurel Highlands and 82 | SEPTEMBER 2021

Strasburg, Virginia for a Chill Romantic Weekend

Where to Stay: There are a few chain hotels within walking distance from downtown, but they’re not exactly what we would call romantic. Instead, consider booking one of the four new Spring Valley Cottages run by the adorable Woodbine Farm Market or maybe the Inn at Vaucluse Spring, a B&B with guest houses and private cabins on 44 gorgeous acres, located about 15 minutes up the road.

Glamping. Photo courtesy of Hideaway Co.

LIFE Where to Eat: Among the locally owned options, try Box Office Brewery, located in an old movie theater that serves indulgent bar foods like pulled-pork nachos and fried pickles, alongside brick-oven pizzas and sandwiches. Even the most diehard of coffee snobs will appreciate Nancy’s, a legit coffee and espresso bar on the main drag. And gourmet hot dogs and burgers can be found at The Doggery, where you can order a proper Chicago dog (yes, there are sport peppers and a poppy seed bun); a breakfast dog topped with hash browns, bacon, a sunny-side-up egg and cheese; or an Alamo dog loaded with refried beans, nacho cheese sauce, jalapeños, tomatoes and sour cream.

What to Do: Stay in your room and make out, of course. But after that, maybe tour some battlefields, do a little shopping and see if any quaint, quirky local festivals are happening, such as the annual Grilled Cheese + Tomato Soup Festival, held November 6 this year.

Learn more about Strasburg on strasburgva.com or @discoverstrasburg on Instagram.

Bryce Resort for Family Fun The Gist: Summer used to be considered off-season at ski resorts, but Bryce Resort in Bayse, Virginia, smartly celebrates all the seasons with activities like ziplining, golfing, hiking and mountain biking, plus lake adventures like kayaking, canoeing and tubing.

Where to Stay: The resort doesn’t have its own accommodations, but nearby rentals are available through Chalet High and Creekside Realty. There’s also a pretty unique summer family camp called Shrine Mont in Orkney Springs, less than 10 minutes away from Bayse, that offers fall cabin rentals.

Where to Eat: The best way to start this trip is by stopping into the Route 11 Potato Chips factory in Mount Jackson to stock up on dill pickle-flavored chips. And for a tiny town in the middle of nowhere, there are at least two excellent restaurant options in Bayse Brew Hollow, a quaint little spot for sandwiches, pizzas and beers, and at RHouse Wine & Cafe, where husband and wife owners Gisela and Juan Lucca serve up wine, tapas and friendly vibes.

What to Do: Just like in winter, the offerings during the other three seasons here are decidedly outdoorsy. There’s an extensive downhill mountain bike park accessible through day passes, camps and lessons. And in the shadow of the mountain sits Lake Laura, where fall visitors can relax on the grassy beach.

There’s also summer tubing, scenic lift rides, disc golf and a new family-friendly game called fling golf (and regular old golf).

Bryce Resort: 1982 Fairway Dr. Basye, VA; bryceresort.com // @bryce_resort

DISTRICT FRAY | 83

PLAY YOGA101

A BEGINNER’S GUIDE

TO FLEXIBILITY, FLOW + POSES WORDS BY NICOLE SCHALLER

PLAY | BEGINNER’S GUIDE My introduction to yoga was for college credit. I was required to take one physical fitness class to graduate and thought yoga would be the perfect excuse to take a nap midday. As I rested on my college gym floor in a pose I later learned was called savasana, I gained a lifelong activity that I still incorporate into my wellness routine. Six years later, I realize how fortunate I was to start my yoga journey in an academic setting. The introduction was a traditional college course with workbooks, assignments and a fixed meeting time. Its structure helped me understand different aspects of yoga beyond just physical activity and develop a routine practice. Most people starting yoga may not be as lucky. There’s often not a lot of instruction or open conversations about the poses — and since yoga is a constant journey, most studio classes are open to people at varying levels. If fear of taking your first yoga class resonates, this guide is here to help. We’ve enlisted three top yoga experts — yoga instructor and Evolving Lives Body & Mind Founder Rachel Baylor; Epic Yoga and Outfit DC Yoga Instructor Arthur Uratani; and health coach, reiki master and Be Free, Live Fully Yoga Instructor Jessica Sandhu — to demystify yoga and inspire you to step into your practice.

ADVICE + WISDOM FOR GETTING STARTED District Fray: How did you get your start with yoga?

Rachel Baylor: I got started in 2014 during my graduate school years. I was studying clinical mental health counseling and learning different ways to practice self-care and mindfulness.

Then I was in a car accident and did physical therapy. During my exit interview with my physical therapist, I still had some back pain, and she said, “Yoga core exercises will give you a good solid stretch, but they aren’t very strenuous on the body.”

That’s when I decided to take yoga seriously.

Jessica Sandhu: I’ve always had issues with my lower back, and when I took an MRI, my doctors sent me to a physical therapist who taught me exercises to open up my spine. I realized these were the same as a yoga class I took [back in] 2001 or 2002. I remember really loving savasana. Yoga was an exercise, but it also helped me be quiet because I’m in my head all the time.

Arthur Uratani: I got into yoga about 10 years ago when my roommates asked if I wanted to go to a class. It was around the time I first started working and sitting at a desk, and I was already starting to have back issues. After that first yoga class, I felt so much better. I was like, “This is something I need to do on regular basis.”

What would you advise people who are intimidated entering a studio?

Baylor: I began by looking for free Eventbrite classes to get more acclimated. It was less intimidating than going into a studio where I felt people really knew what they were doing.

This led me to meeting someone who introduced me to a yoga studio. I was also [intimidated] because I thought only white women who could afford Lululemon went to yoga studios.

Meeting someone in a community space where there were women of color who looked like me helped [a lot].

What poses do you recommend for someone just starting their yoga journey?

Baylor: I would say mountain pose, warrior one, warrior two and chair pose. A big thing, too, is letting go of needing to know posture names. It’s the biggest thing I learned in yoga as a beginner. Every teacher is going to teach a class and cue postures differently. Just show up with an open mind and open heart, and you’ll learn along the way.

Sandhu: I teach a lot of private yoga and corporate yoga, in addition to teaching at studios and gyms. Everyone asks, “What is the easiest thing?” Any kind of forward bend. Take the time to form a [routine yoga] schedule, breathe and forward bend.

86 | SEPTEMBER 2021

Uratani: The first step is just getting comfortable being in a yoga class, because the moves will come — whether it’s the most basic pose, or the most impossible arm balance. Watch your teacher and the other students in the class.

How do you normally approach beginners in your classes?

Baylor: Beginners may not have the same awareness of their bodies as someone who has been practicing for a while. So, a big thing I’ve done, especially teaching virtually during the pandemic, is shy away from using posture names. I just cue people into the posture, because it’s not about what a pose is called — it’s about getting there and experiencing it.

How long does it take for people to feel generally comfortable practicing?

Baylor: I would say you need to practice anywhere between two to three times a week for at least a month. [It’s also important to remain] open-minded, because you can’t judge yourself based off the first time. You have to give yourself grace and time to know what you’re going to feel. The second session will be different than the first, and the third is going to be different than the second. With each experience, there’s more insight into the depth of yoga.

Sandhu: It is varied. Just stick with it because there’s no one size fits all. Some people get really into it, and within a year they’re taking teacher training programs. They come to class, and I watch them accelerate. Then I have other people who just want maintenance practice.

Uratani: It’s different for everyone. Everyone’s body and background is different, and there’s some degree of becoming acclimated with your body. For me, I think it took about six or so months doing yoga once a week before I started feeling comfortable with my practice. It’s a slow, but enjoyable journey.

What do you say to people who say they lose focus during a yoga class?

Baylor: I encourage them to close their eyes: to shut off their senses, one by one, then turn them back on again. For example, if you’re in child pose or mountain pose, take a moment to close your eyes and notice how your toes feel when you lift them.

Can you feel your palms? What do you hear? What do you feel?

I encourage people to use their senses to focus within.

Sandhu: Follow your breath. A mindfulness-based yoga practice is definitely breathing and movement, and even meditation. Outside of yoga, doing crossword puzzles and gardening is a great way to channel [mindfulness].

FIRST PAGE. Arthur Urutani. Photo by Suzanne Tylander. THIRD PAGE. Rachel Baylor. Photo by Asad Esmail // @asadsphoto.

DISTRICT FRAY | 87

How about those who get frustrated?

Uratani: Don’t try too hard. Sometimes we get frustrated with ourselves when we can’t accomplish something immediately, or we see someone doing something we can’t do as well. In sports, there’s a commonly used saying: “Focus on you. Focus on what you’re doing instead of focusing on what everyone else is doing.” I think that’s a transferable metaphor for what we do in yoga. Just focus on taking things slow and the poses will come.

What do you recommend for people who want to try different yoga styles?

Sandhu: Have specific teachers who offer certain things. I like a good Dharma teacher who’s more meditative and gets me into a really quiet space, and then I have a power yoga teacher I know is going to kick my ass.

How do people know when to start challenging themselves?

Uratani: When you don’t have to look at a teacher or those around you all the time. And when you get used to the nomenclature and the terms of yoga. You may surprise yourself, though, with how 88 | SEPTEMBER 2021

much you can accomplish early on. Depending on your background, you may be more inclined or predisposed to certain poses than other people. But as a general rule of thumb, once you are comfortable with the terminology and don’t need to rely on the teacher and other students to guide you — that’s when you can start to push yourself.

What props do you suggest for beginners?

Baylor: I do recommend getting the proper tools. They don’t have to be expensive. It could be a block or strap from T.J. Maxx — whatever you can afford.

Uratani: Blocks help a lot. Straps are used less than blocks, but they can help with exotic and difficult poses. For more restorative yoga classes, a bolster and maybe a blanket can help with relaxing poses.

Do you have any yoga resource recommendations?

Baylor: Look on YouTube. That’s the best place to start honestly, because you can watch a lot of different people doing many different styles. [But] nothing is better than inperson, asking the teacher. You can’t get direct feedback from a recording.

Jessica Sandhu. Photo courtesy of subject.

BEGINNER’S GUIDE | PLAY Sandhu: “Light on Yoga” by BKS Iyengar shows all the pictures and variations of each posture. I like Kino MacGregor’s books. She is an Ashtanga practitioner and breaks down the primary series. If you want to tap into the warrior spirit, there is the Bhagavad Gita. It’s from the epic Indian journey and reminds you of the internal battles that are constantly happening.

Uratani: I am a big believer that you don’t necessarily need a book to enjoy the practice of yoga. But there are two books I think beginners will find motivating. The first is “The Alchemist” by Paulo Coehlo. It’s full of life lessons which are transferable to yoga. The second is “Atomic Habits” by James Clear, which discusses making small, incremental changes toward achieving a goal. These books are not yoga-related, but I think they can be infinitely useful in your yoga practice.

What is a mantra you would suggest for beginners?

Baylor: I’m here to take up space, to be present physically. Here as in grateful and not worrying about being somewhere else.

Sandhu: Sat Nam, which means “I am truth.” It’s one where you can inhale “Sat” and exhale “Nam.” It’s just, “I am.”

Uratani: Small steps done regularly cover a lot of ground. The general mantra I try to emphasize is: It’s not going to all come immediately. Be patient with yourself. Good things will come.

Danimal Fitness: Only offering livestream virtual classes for yoga.

Danimal Fitness also offers pilates and bootcamp classes. Owner Dan Carter is known to instruct classes with a fun energy, including instructing the class in drag. danimalfitness.com // @danimal_fitness

Learn more about Rachel Baylor and Evolving Lives Body & Mind at evolvinglivesbodyandmind.com.

Follow on Instagram @yogirachelb or the studio @evolvinglivesbodymind.

Dupont Circle Yoga: Offers indoor classes and virtual classes. Sister studios include Georgetown Yoga and The Yoga Shala, which are only offering virtual classes until further notice. 2032 P St. NW, DC; dupontcircleyogadc.com // @dupontcircleyoga

In addition to teaching at Be Free, Live Fully, Jessica Sandhu works privately with clients and teaches corporate events. For her full schedule, visit jessicasandhu.com or follow her on Instagram @jessicapsandhu.

Epic Yoga DC: Offers indoor, outdoor and virtual yoga classes. Outdoor classes are located on the rooftop of VEN Hotel. Pilates and barre classes are also available. 1323 Connecticut Ave. NW, DC; epicyogadc.com // @epicyogadc

Arthur Uratani currently teaches outdoor classes at Upper West End Cafe; register at outfitclass.com. He also teaches a virtual class at Epic Yoga DC; register through MindBody or epicyogadc.com. Follow on Instagram @smarthur.

Yoga District: Multiple locations throughout D.C., including 14th Street, Bloomingdale and Dupont. Yoga District offers (masked and vaccinated) indoor and outdoor in-person classes, as well as virtual classes. Various locations. yogadistrict.com // @yogadistrict

LOCAL STUDIOS TO CHECK OUT

BACK TO FITNESS This fall, get back to your regular fitness routine with Balance. We think you’ll love our outdoor, indoor, virtual and in-home fitness options. And now, through September 30th, get a free week and one free 40-minute training session to kick off your fall fitness journey at Balance Gym!

GET DEAL

www.balancegym.com

90 | SEPTEMBER 2021

PLAY

BRINGING THEATRE TO THE BALLGAME “TONI STONE” COMES TO NATIONALS PARK WORDS BY INGRID HARBO One of baseball’s greatest untold stories will soon hit the field at Nationals Park. On September 26, Arena Stage’s production of “Toni Stone,” the true story of the first woman to play professionally in a men’s baseball league, will be simulcast live from Arena’s Kreeger Theater to the stadium. The production, by the Roundabout Theatre Company, presented in association with the American Conservatory Theater, marks Arena Stage’s return to live theatre. The collaboration with Nationals Park has the potential to draw Arena Stage’s largest audience ever.

Arena Stage’s season opener breathes life into the story of baseball trailblazer Toni Stone. Stone became the first woman to play baseball in the Negro leagues when she was signed by the Indianapolis Clowns for their 1953 season. Stone played second base, replacing Hank Aaron after he was signed by the Milwaukee (now Atlanta) Braves. The play explores Stone’s many accomplishments and challenges as a Black woman in baseball.

“It’s a play about a woman who knew who she was,” director Pam MacKinnon says. “She was a baseball player and she pursued it unapologetically.”

Arena Stage’s production of “Toni Stone” is the culmination of a years-long collaboration between producer Samantha Barrie, playwright Lydia R. Diamond and MacKinnon. After reading Stone’s story in “Curveball: The Remarkable Story of Toni Stone,” by Martha Ackmann, Barrie contacted the author for the rights to use the book as source material for a play.

Under the direction of MacKinnon, “Toni Stone” premiered in New York and went on to play at the American Conservatory Theater in San Francisco. However, in San Francisco, the opening night was also the production’s closing night due to Covid-19 closures. Now, MacKinnon hopes the play will mark an uplifting reintroduction to live theatre at Arena.

“Coming out of this really devastating time, this is a really empowering story,” MacKinnon says.

With an almost year and a half long pause on live theatre, artistic director Molly Smith was looking for ways to bring Arena’s programming to new settings outside of the traditional theater. For “Toni Stone,” Nationals Park just made sense.

“She was a person who absolutely loved baseball,” Smith says. “Baseball was everything to her, so there’s this beautiful synergy of producing it at Nats Field.”

The atmospheres of an evening in the theatre and an afternoon at the ballpark are undoubtedly different, but Gregory McCarthy, senior vice president of community engagement for the Nationals, sees “Toni Stone” as a way to expose new audiences to both theatre and baseball.

Santoya Fields in “Toni Stone.” Photo by Tony Powell.

“This is a way for us to interact with people who are followers of the arts, and the performing arts in particular, and maybe introduce them to baseball and our traditions in our sport,” McCarthy says. “Similarly, people who are baseball addicts are going to see a story of baseball unfold in a whole different milieu of performing arts telling a story I assure you most people don’t know.”

Arena Stage’s simulcast of “Toni Stone” could host as many as 12,000 people, about 20 times more than the capacity of Kreeger Theater. During the production, audiences will be able to purchase their favorite stadium food and drinks. Prior to the performance, the cast will make an in-person appearance at the stadium to introduce themselves and the play, then will be transported back to Kreeger Theater to perform for a live audience there. Smith anticipates the atmosphere in the stadium to be that of an event rather than a traditional performance.

MacKinnon believes that theatre and sports have more in common than initially meets the eye.

“We both rehearse, we call it rehearsal, it’s practice for athletes,” MacKinnon says. “Some people would say that a director is like a coach.”

With a nine-member cast, “Toni Stone” brings theatre and baseball even closer to reflect the number of players on the baseball field.

The year 2020 marked the 100th anniversary of the start of the Negro Leagues and marked the first year Major League Baseball acknowledged the Negro leagues as Major League status.

“A baseball fan ought to look at [Toni Stone’s] story and say, ‘You know, my sport is still evolving’ and as we grapple with these issues today, this is an important element in understanding how we are going to expand baseball in Black communities,” McCarthy says. “There’s a lot to be proud of in baseball history, but this is a way of seeing on stage the challenges and indignities that people had to endure to play the sport we all love.”

“Toni Stone” runs at Arena Stage’s Kreeger Theater from September 3 to October 3, with tickets ranging from $76-$95. The September 26 simulcast to Nationals Park will be free, with more details to come on arenastage.org.

Arena Stage: 1101 6th St. SW, DC; 202-488-3300; arenastage.org // @arenastage

DISTRICT FRAY | 91

NOTHING IS TABOO WITH ARTIST JOE MARSHALL WORDS BY NICOLE SCHALLER

IN OTHER WORDS Joe Marshall speaks the language of sinners.

As an artist, he is drawn to discussing and unpacking what is deemed off limits. Growing up as — and still — an active member of his church community, Marshall’s parents hoped he would be a preacher.

“My parents are pastors,” Marshall says.

“I’ve been trained in ministry, and my parents thought maybe I would be a preacher too. I think I am a minister in a way, though. My language is just different.”

Whether creating films, writing, acting or performing standup, Marshall takes entertaining seriously. He understands the power comedy has to convey messages. Born and raised in D.C., Marshall uses his art to launch discussions about tricky topics such as gender and race.

“I used to just like telling jokes, but then having a cause to explore and educate myself and others [about] led me to tackling taboos.”

In 2019, he produced, wrote, directed and starred in the “Middle Ground,” a short comedy film series focusing on topics surrounding dating and gender, which appeared in multiple film festivals including the National Black Film Festival. Now, he is changing gears to standup, occasionally modeling with his fiancé Alex Undone and working with his longtime best friend as part of D.C. creative collective Studio Sonic.

District Fray: You are a busy person involved in many different creative projects and ventures. What would you describe as your title?

Joe Marshall: I just call myself an artist, which was a journey to say that with confidence.

Growing up, I would look at artists as these cool, mysterious superheroes and didn’t know [how] to become [one]. As I started growing into myself and diving into the things I’m into, I realized it’s hard to put myself into just one box. I’m a consumer and a pursuer, and a creator of art. I have different languages of art that I use to communicate. Each art form is a way to express my spirit.

What was your first venture into becoming an artist?

In high school, I knew I was into writing, and I realized writing came naturally to me. I enjoyed creating different worlds with a pen, so I went to University of Maryland College Park and was a journalism major. But then I realized I hated the news. It sucked out the fun by taking out my adjectives and flowery words. Around my junior year, I took a magazine writing class and the restraints [were] off. They let me be creative again and use my humor to insert my personality.

FIRST PAGE. Joe Marshall. Photo courtesy of BTFL Studio FW21 campaign.

How did you make the switch to comedy screenwriting?

I’ve always been very active in my church. I would write comedy sketches that we would perform. In my junior year [of college], I knew I definitely didn’t like the news, but I did like writing and being funny. So, I decided to make my own little web series for my church. I called it “The Church.” The concept was like “The Office,” except instead of the Michael Scott character, it was a pastor played by myself. That was my first venture into exploring my art.

That’s where I learned how to write.

You then went on to create “Middle Ground.” How did the idea come about?

It was the first project I did that explored my voice outside of the church realm. I always wanted to talk about things we are scared to talk about. I came to “Middle Ground” with that mindset while in college. The Me Too movement was starting to ramp up, and I was realizing a lot of things about what it’s like to be a woman in this world.

What made you want to focus on exploring the tricky dynamics of sexual relationships between men and women in our current climate?

One person that helped me get there was my exgirlfriend, who I was in a relationship with during college. I was able to talk with her, and hearing her experiences opened me up. At first, I avoided tough conversations because I felt they would always turn into an argument. But as we continued to talk, something just clicked in me. I finally tapped into a different level of empathy, and I wanted to share that experience through my art.

How has your art changed or evolved since starting in 2019?

The pandemic made me double down on standup comedy, because I felt lost for the early part of it. All the theaters were shut down. I had a standup show that I produced and got to do early in January 2020. At the same time, I was doing “Fences,” at Virginia Repertory Theatre, and then I had just booked an understudy role at Studio Theatre. They were performing a play called “Passover,” another race-related play about these kids on a neighborhood block dealing with police brutality. Ironically, that was before everything that ensued. But that show got canceled. Everything I was doing came to a screeching halt. I was meeting my fiancé at that time, which was great because she was an anchor and something to pour myself into. But creatively, I was unmotivated. I didn’t know what I was doing. I was writing the next iteration of “Middle Ground,” but I was losing inspiration. I decided I needed something to put my focus on, and I decided on comedy.

DISTRICT FRAY | 93

94 | SEPTEMBER 2021

IN OTHER WORDS That’s when I just really started to dig in and study and learn.

Then when the race stuff came, that gave me a whole other motivation — when George Floyd went down and everything that followed. I’ve always been Black, and I’ve always been about the cause, but that was a huge turning point in my heart.

I realized I had no choice but to speak for us. It reminded me, you can’t get away from this. It was my responsibility as a Black artist to speak for my people and to these injustices. It was from that point on, trying to figure out how I can do that from the writing standpoint, from the comedy standpoint and from an acting standpoint.

What were some of the projects?

I was able to write a comic strip called “Uncle Sam’s Fable,” which explored what it’s like when white people realize they have privilege, how they resist it, [and] how they cope with it and use it. I likened it to a kid discovering Santa Claus isn’t real.

[Ed. Note: The comic strip was in Washington Informer Bridge and was part of Studio Sonic’s collaboration to take over the magazine for an issue]. It was cool to go from feeling all these feelings after George Floyd to turning art into action. I’ve been trying to write jokes that capture those moments and feelings.

As a comedian, how would you categorize your comedy?

I’m still figuring it out. I’m in the very early stages of this art form, and want to explore areas that make you feel uncomfortable and why they make you uncomfortable. I like to tackle the biggest issues in my life. Right now, I’m newly engaged, and my fiancée, her 10-year-old daughter, their dog and myself all just moved in together in D.C. So I’ve been learning how to be a husband and a father quickly. Sometimes, I use the comedy stage and the audience as my own personal therapy session where I try to make sense of all the things I’m going through.

Why did you start “The Comedy Lab” with Studio Sonic?

I’ve been able to work with Pierre [Edwards, head of Studio Sonic] my entire creative life. That dude is my brother. We’ve known each other since high school and he’s my creative safety net in a way. I started producing outdoor comedy shows with Studio Sonic over the summer. The shows are called “The Comedy Lab,” and the goal is to create a safe space where comedic artists can feel free to experiment and explore with their art. Often, as comedians, when we perform at a comedy

showcase, there’s a lot of pressure to get it right and present a polished package. There’s not a lot of grace or opportunity to try out new, risky material because the cost, in the age of cancel culture, could be the end of your career. At “The Comedy Lab,” I ask one thing of myself and all the comedians who perform: Take a risk and try something new.

Returning to standup in person, are there certain things you look forward to with a live audience again?

It is a breath of fresh air to be in front of people and do what I feel I was created to do. I get a kick out of people laughing and enjoying themselves. I deal with depression. If somebody in the audience is feeling anything like that, to be able to just say something to them, even if it’s just for a second — they get like a release or a little joy that takes them out of it. Yeah, that makes it all worth it.

You also recently posed for Gap with your fiancé, model Alex Undone, and daughter Lily. Are you adding supermodel to your resume?

Modeling is so hard, mentally. It’s just believing in yourself and convincing yourself you belong there. Alex is the model.

That’s what she does. That girl eats, dreams, sleeps and breathes it. She’s been working very hard all her life, and she’s gotten to that point. There would be no Gap for me if it wasn’t for Alex. The pandemic hit, and when she would get booked, they’d hire another male model to be her significant other, but because everybody was nervous about Covid, they started booking real couples. We had to do video submissions, which I have a lot of practice with as an actor. So, we were killing the video submissions and we started getting bookings. I’m super thankful for her, and I’m excited for whatever comes from that.

What can D.C. do better for the creative community?

The only thing I didn’t like about the D.C. creative community was our best and most talented people would leave. They would work and develop here, and then they would dip and give the gifts they cultivated here to New York, L.A. and Chicago. I have adopted the standpoint “Why not do it here?” I 100% believe you can make whatever you want a reality. I would like to see more people adopt that same mentality. I believe it’s time for D.C. to reap the harvest they’ve sown into us as artists.

Who are some of your comedy inspirations? Dave Chappelle, Chris Rock, and Gerard Carmichael. The people who just have something to say and challenge the status quo. What work are you most proud of so far? I’m still very proud of the seven years I spent in the church making those Christmas plays. Today, I’m a grown Black man with a beard, and I love Christmas. I wanted to give that experience to other families now wanting to create memories of Christmas they would never forget. What’s the most memorable standup show you’ve done? I attempted to do a 45-minute stand-up set. It was ill-advised because I was very new to the game. But I think it elevated my growth — like jumping into a 12-foot pool and not really knowing how to swim, but having to figure it out. Who do you dream to collab with for your film projects? Sterling K. Brown. Film inspirations? A24 is killing it as a production company. I love the work that they choose to take on. Hardest part about juggling so many projects? Organization and time management.

Follow Marshall @joelummberjack and visit joemarshall.org to view “Middle Ground” and stay up-to-date on his projects. To learn more about Studio Sonic and Comedy Lab, follow @studiosonic.co or visit studiosonic.co.

THIRD PAGE. Joe Marshall with Alex Undone and daughter Lily. Photo by Joshua Maclin.

DISTRICT FRAY | 95

ENJOY MODELO ESPECIAL WHILE WATCHING YOUR FAVORITE TEAM PLAY THIS FALL AT THESE D.C. LOCATIONS The Admiral Madhatter

Clyde’s 7th St.

Decades

Mission Navy Yard

Drink responsibly. Modelo Especial® Beer. Imported by Crown Imports, Chicago, IL

Hawthorne

Proper 21 K St.

No purchase or payment necessary to play. Must be 21 years or older to participate with verified age. U.S. only. Void where prohibited. Contest series begins 9/7 and ends 11/7. Exact dates are subject to change. *Grand prize consists of a trip to Las Vegas, NV and possible tailgate experience with Jerome Bettis. Winner to be determined based on each particpant’s accumulated points scored throughout contest series. No alcohol is awarded with any prize. Eligibility restrictions apply. See http://draftkings.com/modelo for Official Rules.

If you have any questions, please contact support@draftkings.com.

94 points

2020 CRITICS CHALLENGE INTERNATIONAL WINE & SPIRITS COMPETITION

92 points

GOLD MEDAL 2020 CRITICS CHALLENGE INTERNATIONAL WINE & SPIRITS COMPETITION

Please enjoy our wines responsibly. © 2021 Constellation Imports, Rutherford, CA USA