Karen Ann Daniels Folger Theatre Maria Manuela Goyanes Woolly Mammoth Theatre Company Matthew Gardiner Signature Theatre
REIMAGINED D.C. Theatre Your Performing Arts Guide 3 ARTISTIC DIRECTORS TO KNOW | 25 YEARS OF STORY DISTRICT | 40+ MUST-SEE PRODUCTIONS
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2 | SEPTEMBER // OCTOBER 2022 TABLE OF CONTENTS 4RADAR District Denizens 12 Calendar 18EAT 8 Trailblazing Women 22 Food for Thought 24MUSIC Neko Case 26 Rebirth Brass Band 29 Seen 30CULTURE The Performing Arts Guide 46 25 Years of Story District 54 Comedy in the Inferno 58 CityDance 60 Funny Ha-Ha 62LIFE Strand by Strand 65 The Engineer That Could 68 The Renaissance Man 70 The Legacy of Wendi Winters 72PLAY Beginner’s Guide 76 Inside “Dark City” 78 A Capital Game 80 Photo Hunt 81 Crossword 82 In Other Words ROBERT PublisherKINSLER robert@unitedfray.com MONICA Editor-in-ChiefALFORD+Director of Media monica@unitedfray.com BRANDON WETHERBEE Managing Editor brandon@unitedfray.com NICOLE AssistantSCHALLEREditor nicole@unitedfray.com JAMIE MCCRARY Senior Editor jamie@unitedfray.com MICHAEL CLEMENTS Editorial Consultant michael@unitedfray.com JULIA EditorialGOLDBERGDesigner julia@unitedfray.com CLAIRE ProductionSMALLEYDesigner claire@unitedfray.com TOM ROTH Key Account Manager tomroth@unitedfray.com MARTIN ESPINOZA Senior Director of Events martin@unitedfray.com CONTRIBUTING WRITERS Aviva Bechky, Caroline Cliona Boyle, Nicole Hertvik, Colleen Kennedy, Chad Kinsman, Priya Konings, Joe Marshall, Nevin Martell, Myles Mellor, Abi Newhouse, Bree Rodrigues-Oliveira, Jennifer Tisdale CONTRIBUTING ARTISTS + PHOTOGRAPHERS Tony Powell, Scott Suchman + Andrew J. Williams III CONTRIBUTING EDITORS Aviva Bechky + Abi Newhouse COVER PHOTOGRAPHER Tony Powell ON THE COVER Maria Manuela Goyanes, Karen Ann Daniels + Matthew Gardiner COVER LOCATION Woolly Mammoth Theatre Company Folger Theatre’s Karen Ann Daniels and Julia Goldberg. Photo by Andrew J. Williams III.
Monica Alford + Maria Manuela Goyanes. Photo by Tony Powell.
Cheers, MONICA ALFORD EDITOR-IN-CHIEF
LETTER FROM THE EDITOR THEATRE REIMAGINED. It’s no secret that the Performing Arts Issue is my favorite recurring theme in the magazine. In fact, it’s the one issue I will never budge on swapping out on an annual basis. As a lifelong theatre nerd and avid proponent of D.C.’s burgeoning performing arts scene, I am so proud of what we’ve accomplished on our stages and all of the ways we continue to push the envelope locally, regionally and nationally. Long before my time as managing editor of On Tap Magazine, District Fray’s predecessor, I was a freelance theatre writer in the D.C. area. I spent my early to mid-20s bopping around to every press night I was invited to attend, fangirling over local theatre legends, and doing my best to wax poetic about everything from black box productions to award-winning shows. It became a self-imposed mission of mine to make theatre relatable to younger audiences — to show locals in their 20s and 30s that the upper crust of D.C. was not the only (or most relevant) demographic for these art forms. In fact, our city’s theatre institutions take great pride in promoting inclusivity and accessibility. The performing arts in the District became a linchpin of the magazine once I became editor, something I carried with me when we were acquired by Fray, when we rebranded as District Fray, and when we survived a pandemic and evolved into who we are now. And I remain unwavering in my commitment to cheerleading our theatre scene. It’s simply incredible. In this issue, Colleen Kennedy interviews three artistic directors for our cover story: Maria Manuela Goyanes of Woolly Mammoth Theatre Company, Karen Ann Daniels of Folger Theatre and Matthew Gardiner of Signature Theatre. We handpicked our cover subjects for their innovative methods, fresh takes and above all else, dedication to supporting one another and truly connecting with their audiences. Aviva Bechky and Bree Rodrigues-Oliveira built the ultimate performing arts guide: a list of 50 performances to see, theatre companies to check out, artists to watch and much more. Amy Saidman and her storytelling peers reminisce about 25 years of arts organization Story District, Nicole Schaller interviews Signature Theatre’s costume director and a Baltimore-based cosplayer and part-time mermaid, Jennifer Tisdale chats with a true Renaissance man, and Chad Kinsman visits new comedy club Hotbed. We also round up some of our favorite local comedy shows, interview D.C.-based wig designers, delve into the world of physical comedy, discover a choose-your-own-adventure video game created by a team of performance artists, and talk to the talented minds behind CityDance. And if theatre isn’t your thing, be my date to a performance this fall so I can prove you wrong. Or, if you don’t want to hang out with me, thumb through the September issue for everything from managing editor Brandon Wetherbee’s interview with indie artist Neko Case to food writer Nevin Martell’s description of an oyster “cappuccino.” And please, consider supporting local theatre and checking out a show this fall.
5DISTRICT FRAY |
A OFCHANGINGTHEGUARDS
Matthew Gardiner, Maria Manuela Goyanes + Karen Ann Daniels at Woolly Mammoth Theatre Company.
WORDS BY COLLEEN KENNEDY PHOTOS BY TONY POWELL Three TheatreReimagineDirectorsArtisticD.C.
We are at a dynamic moment in D.C. theatre history, a changing of the guards. During the last five years, many longserving artistic directors took their final bows. New leaders emerged during an especially tumultuous time to begin their tenure. Many of these new artistic directors, including Karen Ann Daniels at the Folger Theatre, Matthew Gardiner at Signature Theatre and Maria Manuela Goyanes at Woolly Mammoth Theatre Company, are opening a second act by taking over for a founding artistic director.
Theatre with a Renewed Purpose
“When I started working at Signature, the theatre community was going through this huge boom of moving into new spaces with major renovations — but that has shifted, first with the recession and then Covid,” Gardiner says. “That led to a reframing of what it means to create art in this community.”Theecosystem of D.C.’s theaters thrive on collaboration, transparency, communication and trust.
“It’s exciting so many leadership positions are changing over at the same time,” states Gardiner, who became Signature Theatre’s new artistic director last July after a national search led to a unanimous vote to hire Gardiner. He served as Signature’s associate artistic director for more than a decade, directing and choreographing 25+ productions. He received more than a dozen Helen Hayes nominations and three awards for his works, overseeing the development of new plays and staging several world premieres.Gardiner is also a selfdescribed product of the D.C. arts environment. He studied at The Washington Ballet and performed in productions at the Washington National Opera, as well as in the holiday classic “A Christmas Carol” at Ford’s Theatre before joining Signature Theatre 16 years ago. Goyanes and Daniels are both newer to D.C. but know each other from their time at The Public Theater in New York City. Goyanes joined Woolly Mammoth in September 2018 after serving as director of producing and artistic planning at The Public Theater, overseeing the production of plays and musicals at the Public’s five-theater venue at Astor Place and The Delacorte Theater for Shakespeare in the Park. Daniels served as director of the mobile unit at The Public Theater, bringing live theatre to neighborhoods and boroughs across New York City and working with incarcerated peoples. She was named Folger Shakespeare Library’s director of programming and artistic director of Folger Theatre last August. For Daniels, the current multi-year building renovation at Folger Shakespeare Library was a major incentive to accept the leadership role. While the historic Elizabethan theater’s upgrades may not be as drastic as the rest of the complex’s renovation — new HVAC, lighting and sound updates, accessible restrooms on the same level as the theater — the overall renovation moves the Folger from a staid archive for serious scholars to a living monument for Shakespeare, arts and humanities. With new access and publicly designed spaces, Daniels envisions new programming, including poetry readings, concerts, talks and film screenings that welcome all. “There’s something here to invest in, to grow and develop. The renovation is at the core of cracking open the institution in a way that is more welcoming and inviting — and announcing we are a beautiful resource for all of D.C.”
— Maria Manuela Goyanes
The last three years have been marked by the pandemic, doors shuttering, pivoting to streaming programming and preparing for a safe return to the performing arts. From theaters collaborating on a mask mandates to ensure a safe reopening to joining efforts in lobbying for the shuttered venues grant, regional artistic directors and executive/ managing directors meet regularly to discuss challenges and work together toward solutions.
“To come to a place like Woolly and be only the second person to have that job, moving on from a founder is a big deal,” Goyanes says. “There’s no question about it. I’m really excited to see how these theatres grow and evolve under Gardiner and Daniels. To me, it’s less about somebody coming in and doing a 180, but actually putting a new spin on it from a different perspective. We get to build on foundations that were created by so many brilliant leaders.”
RADAR | DISTRICT DENIZENS No Longer Waiting in the Wings
“What I noticed in the new cohort is a new mentality. Let’s stick together. Let’s work together. I think all of us are cheering each other on. We can take theatre into the next decade, even amidst all the difficulties we’ve gone through.”
“One of the reasons I wanted to come to Washington, D.C. is because it has such a vibrant theater ecology, not just in terms of the number of theaters but the different types of work that happen onstage,” Goyanes shares.
Goyanes’ first season in 2018-19 signaled an even more innovative and experimental era for Woolly Mammoth. A firstgeneration Latinx woman, Goyanes makes space for playwrights, directors and actors of color, especially women of color. The programming, as well as a new mission statement during the 2021 season, demonstrated the theatre’s guiding principles are rooted in bold artistry, radical inclusion and social justice.
One of the many ways theatre considers accessibility is through discounted ticketing options, and providing performances and accessibility equipment for patrons with disabilities, such as hearing or vision impairments. Subscribing to a theater’s season or buying a package of tickets can equal cheaper cost per show, guaranteed seats and never worrying about a sold-out performance, but there are other options. The cost of a ticket should never hinder a potential theatergoer. Many theaters offer discounted ticket deals for students and patrons below 30, for those who serve as teachers or military personnel, first responders, frontline workers and fellow playwrights. Many local theatres team up with TodayTix and other vendors for discounted ticketing options and provide discounted rush tickets the day of performance or have special pay-what-you-can performances.
Maria Manuela Goyanes.
Karen Ann Daniels.
The Curtain Opens on the 2022-23 Season
9DISTRICT FRAY | DISTRICT DENIZENS | RADAR
“What I noticed in the new cohort is a new mentality,” Goyanes reflects. “Let’s stick together. Let’s work together. It’s a kind of feeling you get when you go through emergencies together. I think all of us are cheering each other on. We can take theatre into the next decade, even amidst all the difficulties we’ve gone through.” When the Show Doesn’t Need to Go On While theaters were shuttered, many movements were calling for a revolution. Our county continues to fight against toxic practices by decrying systemic racism, low salaries and lack of transparency (#FairWageOnstage) and sexism and sexual harassment (#MeToo, whisper networks).
The new leadership at D.C.’s theaters is responding to the needs of their casts, staff and creative teams to create safer and more productive working environments, from ongoing anti-racist and diversity, equity, inclusion and accessibility (DEIA) work to raising salaries, increasing benefits and supporting unionization efforts.
In this 90-minute production, Daniels points out the shorter script was tailored for the venue: “The National Building Museum normally attracts young families, so we built a show that removes the barriers for families to come and enjoy it.”
“It’s about listening to your new community, and showing hospitality and flexibility. A little kindnesses and receptiveness go a long way to being extended a second invitation.”
“There are all of these moving pieces — things that have changed, or things we used to be able to depend on that are not there anymore,” Daniels says about some of her growing pains. “And then you add that I’m new to D.C., and it becomes a lot to learn. But it also has been nice because the situation has forced all of us to look to each other for guidance and support. The silver lining has been the chance to think about our work and relationships at the core of our work in new ways.”
“What I love about our theatre scene,” Goyanes says, “is we’re working together to say DEIA is something important to have as a resource for our performers.”
One of Gardiner’s first hires as artistic director was Chelsea Pace, who serves as resident intimacy consultant and choreographer at Signature Theatre. In a play as emotionally difficult as “The Color Purple” — with its depictions of sexual, physical and emotional abuse — Pace’s consentfocused intimacy practices not only bolster authentic and safe practices among actors onstage, but extends to the larger theatre ecosystem. Like Mindel, Pace is consulted by other theaters and creates intimacy protocol manuals.
This isn’t just a response to a crisis in the theatre industry, but the fundamental DEIA work Daniels, Gardiner and Goyanes have been working toward for years in their previous roles and institutions.
“Pace is in the rehearsal room handling the moments of intimacy,” Gardiner says. “But she’s also working with me
Goyanes
The fall production of “The Tempest” will be produced in collaboration with Round House Theatre and hosted at the Bethesda playhouse. Directed by Aaron Posner and Teller (of Penn and Teller illusionists’ fame) with music composed by Tom Waits and Kathleen Brennan, Shakespeare’s islandbound romance is also designed to appeal to a wide audience.
to ask: ‘What is consent? What are consent-based practices throughout the organization?’” “Covid-19 helped us understand the show doesn’t need to go on if people are sick and need to take care of themselves,”
“We are coming back to life in new circumstances,” Daniels says of the upcoming season. “Last year was the first full, but rocky, season for many regional theaters. Some pushed back their opening. Others had to cancel shows as cast members became ill with the coronavirus.” Swings and understudies became the heroes of the season. With the CDC relaxing guidelines and Broadway moving to mask-optional performances, the new normal for the upcoming D.C. theatre season remains in flux.
“At Signature, what I’m proudest of is how the entire lens for viewing our work has changed,” Gardiner says. “Diversity is not just something we work on in this bucket. It’s part of everything we do on a daily basis.”
Goyanes notes this philosophy especially applies to how the D.C. theatre community approaches performers.
She is referencing the hiring of Sara Mindel, a somatic therapist who is on retainer with a number of theaters in the area to work with actors during triggering scenes to help them feel safe, secure and confident.
Local theaters have announced their seasons and are ready to welcome audiences back. The importance of live performance after years of social distancing and isolation — in a region where political furor can be felt on our very streets — cannot be overstated.
Pre-Covid,shares.actors
During the continued renovation at the Folger Shakespeare Library, the company is doing what was done in Shakespeare’s day: packing up and hitting the road. The National Building Museum designed “The Playhouse” in the museum’s grand Central Hall to host the Folger Theatre’s “A Midsummer Night’s Dream” with related family-focused programming, such as sword fighting demonstrations and face paintings.
earned bragging rights by staying on stage through curtain call, finally collapsing after the show. That is no longer the norm. By hiring understudies — not a common practice for many theaters pre-Covid — Goyanes points out actors may now also take time off to attend a friend’s wedding or a cousin’s graduation, for instance. “I feel like we’re moving in the right direction by putting the people first,” Goyanes says. “But we still have a lot of work to do.”
— Karen Ann Daniels
As much as the three theaters vary in the scope of findingindustrylocalrescriptingleadersdynamicinnovative,havingcommonality:theyprogramming,theirsharethiswhoarethetheatreandwaysto connect with the many communities throughout D.C.
On Woolly Mammoth’s new season, Goyanes says: “It’s a powerhouse of a season with artists who really push the boundaries and plays that spark dialogue around difficult topics that are easier to talk about when you watch them and dissect them afterwards.”
Signature has produced more of Sondheim’s works than any other theater and will produce “Into the Woods,” “Sweeney Todd: The Demon Barber of Fleet Street” and the rarely produced “Pacific Overtures,” with additional Sondheim-centric events and programming throughout the season. Gardiner is committed to new takes on these lionized musicals.“I’mtrying to include as many voices and perspectives as possible,” he says. “Signature has done several Sweeney Todd productions, but have we seen a production [through] the lens of a female director? It’s exciting to have Sarna Lapine, one of the great investigators of Sondheim’s work, direct this play.”
At Signature Theatre, the season is honoring the life and legacy of America’s most celebrated theatre composer: Stephen Sondheim. “Sondheim’s passing last November had a huge impact on our community because he was so beloved and his work has so much importance in the history of Signature,” Gardiner shares. “All of a sudden, in that moment, everything sort of fell in place.”
Signature will also stage two more musicals: the D.C. area premiere of Ethan Lipton’s “No Place to Go” and Stew and Heidi Rodewald’s “Passing Strange.” And two plays: D.C. area premieres of Ana Nogueira’s “Which Way to the Stage” and Sylvia Khoury’s “Selling Kabul.”
Welcome Home Daniels compares entering as a new artistic director in a new city to stepping into someone’s home for the first time and not knowing whether or not to take off your“It’sshoes.about listening to your new community, and showing hospitality and flexibility,” she says. “A little kindnesses and receptiveness go a long way to being extended a second invitation.”
DISTRICT DENIZENS
Woolly Mammoth Theatre Company: 641 D St. NW, DC; woollymammoth.net // @woollymammothtc “What I’m proudest of is how the entire lens for viewing our work has changed. Diversity is not just something we work on in this bucket. It’s a part of everything we do on a daily basis.”
10 | SEPTEMBER // OCTOBER 2022 RADAR |
The season kicks off with “Ain’t No Mo’,” a hilarious social satire which will also find its way to Broadway (in a different production) later this fall. “Is this a Room” offers the incredibly timely and upsetting true story of 2016 election whistleblower Reality Winner, who was jailed for four years. “Seven Methods of Killing Kylie Jenner” engages with celebrity and social media culture, while Aya Ogawa’s autobiographical “The Nosebleed” creates a eulogy for an absentee dad. In a collaboration with Shakespeare Theatre Company, Sidney Harman Hall will be transformed into a refugee camp for “The Jungle.” The season closes with a world-premiere of by“Incendiary”DaveHarris.
Signature Theatre: 4200 Campbell Ave. Arlington, VA; sigtheatre.org // @sigtheatre
— Matthew Gardiner
The Folger Theatre’s co-production of “The Tempest” opens at Round House Theatre November 23. “The Color Purple” is onstage at Signature Theatre until October 9, and “No Place to Go” until October 16. Woolly Mammoth’s season begins with “Ain’t No Mo’” on September 11.
Folger Theatre: 201 E Capitol St. SE, DC; folger.edu/folger-theatre // @folgerlibrary
“It’s always been about inviting more people into the things that I love,” Daniels says. “There are so many people who just never had access to theatre. It’s about making meaning. I can’t tell people what to like, but I can invite them into an experience where they can then share with me what they like.”
It’s how she’s approaching programming and community-building at the Folger: with warmth, understanding and openness to meeting people where they“Onceare. somebody comes to your house, they might want to bring a dish, a dessert. And now they are bringing more friends and family to meet you, and that relationship keeps growing. It never stops until you’re grilling up a whole block party with the neighbors.”
Matthew Gardiner.
KICKOFF PARTY
Every September the D.C. government shines a light on creatives. If you selfidentify as a creator, this is an excellent networking opportunity. Free. 6 p.m. District Pier at The Wharf: 101 District Sq. SW, DC; 202createsmonth.com // @202creates BOY GEORGE & CULTURE CLUB
Cooler weather means better indoor concerts. Cooler weather means Oktoberfest beers. Cooler weather means jacket season. The start of fall is the start of the best season in D.C. Spring is too wet, summer is too hot and winter is too cold. This is it. This is your time to live your best life — now go have some fun. WORDS BY BRANDON WETHERBEE
9.1
It used to be Culture Club but Boy George became bigger than his band and it makes me wonder how the other folks in Culture Club feel. $38+. 8 p.m. Wolf Trap: 1551 Trap Rd. Vienna, VA; wolftrap.org // @wolf_trap
9.2
EMO NIGHT BROOKLYN
Happy Labor Day! Take a dip while you can. Free for D.C. residents. Various hours and locations. dpr.dc.gov/outdoorpools // @dcdpr
FINAL DAY OF D.C. PUBLIC OUTDOOR POOLS
If you’re a My Chemical Romance type of emo, we can be friends. If you’re a Taking Back Sunday type of emo, we cannot be friends. Related, tell all your friends. $20. 9 p.m. 9:30 Club: 815 V St. NW, DC; 930.com // @930club 9.3 DC JAZZPRIX FINALS
202CREATES MONTH
9.4 NATIONAL ORCHESTRASYMPHONYLABORDAY CONCERT
The DC Jazz Festival has a ton of excellent options. Check out districtfray.com for five of our other picks. We like this show because we all know music isn’t supposed to be a competition but how about making music a competition? $15-$25. 2 p.m. Union Stage: 740 Water St. SW, DC; unionstage.com // @unionstage
12 | SEPTEMBER // OCTOBER 2022
Enjoy the day off with America’s orchestra. Free. 8 p.m. West Lawn of the U.S. Capitol: First St. SE, DC; kennedy-center.org // @kennedycenter 9.5
The monthly series returns indoors with one of Jean-Claude Van Damme’s not-finest. Free. 7:30 p.m. Songbyrd Music House: 540 Penn St. NE, DC; songbyrddc.com // @songbyrddc TAKOMA AQUATIC CENTER REOPENS
When one pool closes, another opens. After a years-long wait, the Takoma Aquatic Center finally reopens. Feel free to never visit so I get can get a lane all to myself. Free for D.C. residents. 6 a.m. Takoma Aquatic Center: 300 Van Buren St. NW, DC; dpr.dc.gov/indoorpools // @dcdpr 9.7
DC SHORTS INTERNATIONAL FILM FESTIVAL
MIDNIGHT GARDENERS
Our August subjects bring an RPG inspired show to one of America’s most beloved comedy clubs. $10. 7 p.m. DC Improv: 1140 Connecticut Ave. NW, DC; dcimprov.com // @dcimprov 9.12 BAUHAUS The second season of “Russian Doll” used “Bela Lugosi’s Dead” quite well. $55+. 8 p.m. The Anthem: 901 Wharf St. SW, DC; theanthemdc.com // @theanthemdc 9.13 ABDULRAZAK GURNAH
IDLES Rock and roll’s most important band brings catharsis and an album about addiction to a very large room. See them before they play a bigger room. $45+. 8 p.m. The Anthem: 901 Wharf St. SW, DC; theanthemdc.com // @theanthemdc 9.15 “THE MUMMY” (1999) Brendan Fraser > Tom Cruise. Check out our Outdoor Movie Guide at districtfray.com for more outdoor movie options. Free. Sundown. Farragut Square: 912 17th St. NW, DC; goldentriangledc.com // @goldentriangledc 9.16-9.18
LIGHTNING BOLT
The winner of the 2021 Nobel Prize in Literature and writer of “Afterlives” comes to D.C. to speak with Tope Folarin about the multi-generational novel. $12+. 7 p.m. Sixth & I: 600 I St. NW, DC; sixthandi.org // @sixthandi 9.14
Wear ear plugs. The drums. Wear ear plugs because of the drums. $20+. 7:30 p.m. Black Cat: 1811 14th St. NW, DC; blackcatdc.com // @blackcatdc
CLERKS III: CONVENIENCETHE TOUR Watch the third entity in this trilogy (for now) and enjoy a post-screening Q+A with Kevin Smith. Man, it’s been 28 years since the first film. That’s only 9 away from 37. $37. 7 p.m. Warner Theatre: 513 13th St. NW, DC; clerks3.movie // @clerksmovie
Is your attention span also destroyed due to social media? There’s a film fest you still might be able to sit through! Various prices and screening times. Alamo Drafthouse Cinema DC Bryant Street: 630 Rhode Island Ave. NE, DC; dcshorts.com // @dcshorts 9.8
“UNIVERSAL SOLDIER”
ARTE AGAVE TEQUILA AND MEZCAL FESTIVAL DC I would like to sample 100 different types of Agave. $75+. 6 p.m. The Schuyler: 1001 14th St. NW, DC; arteagave.com // @arteagave NEKO CASE Wouldn’t it be great if albums “Blacklisted” and “The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You” didn’t feel like premonitions of the modern era? Case is a treasure and her albums should be on every bar jukebox. $32+. 8 p.m. Wolf Trap: 1551 Trap Rd. Vienna, VA; wolftrap.org // @wolf_trap 9.10
GRACE IVES A little bit bedroom pop style Charli XCX, a little bit “Whip-Smart” era Liz Phair, enjoy an artist in a small club that’s equally enjoyable on headphones. 18+. $15. 10:15 p.m. DC9: 1940 9th St. NW, DC; dc9.club // @dc9club 9.11
You can see an Akira Kurosawa film, for free, in the middle of the day, in a world class museum. Not enough of us take advantage of this. Free. 2 p.m. Freer Gallery of Art: 1050 Independence Ave. SW, DC; asia.si.edu/events // @natasianart 9.8-9.11
RORY SCOVEL
America’s best working absurdist not currently starring in their own television show. $27+. Friday 7:30 p.m. + 9:45 p.m., Saturday 7 p.m. + 9:30 p.m., Sunday 7 p.m. DC Improv: 1140 Connecticut Ave. NW, DC; dcimprov.com // @dcimprov 9.17
OUTLAW MUSIC FESTIVAL
See America’s second most beloved musician (Willie Nelson. Dolly Parton is first) while you can. $45+. 4:30 p.m. Merriweather Post Pavilion: 10475 Little Patuxent Pkwy. Columbia, MD; merriweathermusic.com // @merriweatherpp QUIVERS Godspeed to any and every band traveling from Australia to play a small D.C. venue. Quivers make excellent, shimmery guitar pop that fits quite nicely at the end of summer. $15. 10 p.m. Comet Ping Pong: 5037 Connecticut Ave. NW, DC; cometpingpong.com // @cometpingpong Liza Treyger. Photo courtesy of DC Improv.
SPIRITUALIZED Ladies and gentlemen, we are floating through space. $38. 7 p.m. 9:30 Club: 815 V St. NW, DC; 930.com // @930club 9.9
“THE HIDDEN FORTRESS”
13DISTRICT FRAY | CALENDAR | RADAR 9.6 CAN I KICK IT? PRESENTS
They crack jokes. They sing. They write books. They podcast. They have shirts in Target. They talk about what they want because “UNHhhh” is their show, not yours. They are two of the most successful products of the “RuPaul’s Drag Race” industrial machine. $49.50+. 8 p.m. The Anthem: 901 Wharf St. SW, DC; theanthemdc.com // @theanthemdc 9.18
September! Oktoberfest! It makes sense and it doesn’t! $65+. 6:30 p.m. GermanAmerican Heritage Museum of the USA: 719 6th St. NW, DC; gahmusa.org // @germanamericanheritagemuseum 9.24
ELTON JOHN: FAREWELL YELLOW BRICK ROAD – THE FINAL TOUR
CALENDAR |
John is veering into Cher/KISS/Mötley Crüe territory with this final tour stuff. $350+. 8 p.m. Nationals Park: 1500 S Capitol St. SE, mlb.com/nationals/ballpark/eventsDC; // @nationalspark S.G. GOODMAN Do you like American music? I like American music. Related, if you like Jonathan Richman, you’ll most likely enjoy S.G. Goodman. And you’ll be interested in our October 14th pick. $15+. 7 p.m. Songbyrd Music House: 540 Penn St. NE, DC; songbyrddc.com // @songbyrddc 9.25 LIL NAS X They were supposed to be a one-hit wonder! Ha! Sold out. Secondary market tickets start at $98. 7:30 p.m. The Anthem: 901 Wharf St. SW, DC; theanthemdc.com // @theanthemdc 9.26
Learn to fall in love with wine, or just rationalize your wine consumption habits, with Feiring in her new book “To Fall In Love, Drink This.” $6. 6 p.m. The Den at Politics and Prose: 5015 Connecticut Ave. NW; politics-prose.com // @politicsprose Alex Appah. Photo by Andrew J. Williams III.
CELEBRATE PETWORTH
The Pan American Symphony Orchestra presents some of the biggest moments from popular Spanish lyric opera in the gorgeous Terrace Theater. Good for the couple that wants to go dancing but cannot dance. $55+. 7:30 p.m. The Kennedy Center: 2700 F St. NW, DC; kennedy-center.org // @kennedycenter 9.23
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ANTOLOGÍA DE LA ZARZUELA
AMYL AND THE SNIFFERS “Comfort To Me” was one of the best records released in 2021. $25. 10 p.m. 9:30 Club: 815 V St. NW, DC; 930.com // @930club
SUNNY DAY REAL ESTATE THIS IS WHAT EMO USED TO BE!!! $36+. 8 p.m. The Fillmore Silver Spring: 8656 Colesville Rd. Silver Spring, MD; silverspringstage.com // @fillmoresilverspring 9.27 LIZZO Need some joy? Got a few hundred dollars? $150+. 8 p.m. Capital One Arena: 601 F St. NW, DC; capitalonearena.com // @capitalonearena 9.28
ALICE FEIRING
LATIN AMERICAN FILM FESTIVAL
MICHELLE BRANCH, BAD BAD HATS
PET SHOP BOYS + NEW ORDER
Outside of Los Angeles, the DMV has the best film festival programming in the country. AFI Silver’s Latin American Film Festival is one of those reasons. Various prices and screening times. AFI Silver Theatre: 8633 Colesville Rd. Silver Spring, MD; afisilver.afi.com // @afisilvertheatre 9.22
FATHER JOHN MISTY
The detached irony has evolved into sincere realism. $55. 8 p.m. The Anthem: 901 Wharf St. SW, DC; theanthemdc.com // @theanthemdc 9.21
Cinema Hearts front person Caroline Weinroth is a legit beauty queen. She’s a legit good songwriter. She’s the figurative Miss World. $15. 10 p.m. Comet Ping Pong: 5037 Connecticut Ave. NW, DC; cometpingpong.com // @cometpingpong ICEAGE
This tour got a lot more interesting considering the recent news about Branch’s personal life. But we’re recommending it for opener Bad Bad Hats. They just played a sold-out DC9. $35. 7 p.m. 9:30 Club: 815 V St. NW, DC; 930.com // @930club 9.20
9.22-10.12
Goodbye summer, hello jackets! Goodbye synth driven pop music that makes you want to dance with joy, hello synth driven pop music that makes you want to dance with sadness. $29.50+. 7 p.m. Merriweather Post Pavilion: 10475 Little Patuxent Pkwy. Columbia, MD; merriweathermusic.com // @merriweatherpp
CINEMA HEARTS
There are a lot of great neighborhood festivals and this is definitely one. What helped it make this list? The dog show. There’s a dog show. Free. 11 a.m. 800 Block of Upshur St. NW; celebratepetworth.com // @celebratepetworth D.C. UNITED VS. INTER MIAMI CF Go support the best team currently playing in Navy Yard. $29+. 5 p.m. Audi Field: 100 Potomac Ave. SW, DC; audifielddc.com // @audifield 9.19
RADAR TRIXIE & KATYA
The now 5-piece had one of the best sets at this year’s Pitchfork Music Fest. See them where they’re meant to be seen: in a dark, sweaty club. $20. 8 p.m. Black Cat: 1811 14th St. NW, DC; blackcatdc.com // @blackcatdc
OKTOBERFEST BEER TASTING & DANCE
It’s the final 2022 Washington Nationals home game. Our long Nationals nightmare is over. $15+. 1:35 p.m . Nationals Park: 1500 S Capitol St. SE; mlb.com/nationals // @nationals 10.3 THE MARS VOLTA Are they prog or psychedelic or a jam band? Are they a progressive psychedelic jam band? Yes. Anyway, “De-Loused in the Comatorium” holds up. $55+. 8 p.m. The Anthem: 901 Wharf St. SW, DC; theanthemdc.com // @theanthemdc 10.4-10.23
The pro wrestling world is better with Jon Moxley on weekly television. $50+. 8 p.m. Entertainment & Sports Arena: 1100 Oak Dr. SE, DC; eventsdc.com // @aew
16 | SEPTEMBER // OCTOBER 2022 RADAR | CALENDAR 9.29
BILLY BRAGG
The most important band to hail from Athens, Georgia ( I know R.E.M. is from Athens) brings their farewell tour to a sold-out Anthem. You might want to roam and see them on this last ride. Sold out. Secondary market tickets start at $209+. 7:30 p.m. The Anthem: 901 Wharf St. SW, DC; theanthemdc.com // @theanthemdc PANIC! AT THE DISCO
CARLY RAE JEPSEN Canada’s best export brings The So Nice Tour to D.C. You’re going to really, really, really, really, really, really like it. $46+. 8 p.m. The Anthem: 901 Wharf St. SW, DC; theanthemdc.com // @theanthemdc 9.30
Lorde, Mitski, Bleachers, Lucy Dacus, King Princess, Hippo Campus, Peach Pit, Julien Baker, Goth Babe, Maude Latour, Bartees Strange, Jack Kays, MICHELLE, Wallice, Kyle Dion and THE BLSSM. This thing should be two days. $124.50+. 12 p.m. Merriweather Post Pavilion: 10475 Little Patuxent Pkwy. Columbia, MD; merriweathermusic.com // @merriweatherpp
Some Starbucks are unionizing. The Starbucks that used to be across the street from Lincoln Theatre is no longer open. Anyway, Billy Bragg is at Lincoln. $55. 8 p.m. Lincoln Theatre: 1215 U St. NW, DC; thelincolndc.com // @thelincolndc 10.1
“TINA – THE TINA TURNER MUSICAL” Opening night of the D.C. stop of the Tina Turner musical tour. Face it, you’re never going to see Tine Turner live (she stopped touring in 2009). This is a perfectly good consolation. $60+. 7:30 p.m. The National Theatre: 1321 Pennsylvania Ave. NW, DC; thenationaldc. com // tinaonbroadway.com@broadwaynatdc;//@tinabroadway 10.5
Pleasantly surprised this show is happening. The Avalanches is playing live in 2022. Nice. If you’re interested in this, you’ll be interested in our next 9:30 pick. Sold out. Secondary market tickets begin at $62. 6 p.m. 9:30 Club: 815 V St. NW, DC; 930.com // @930club 10.8
REBIRTH BRASS BAND
New Orleans’ finest brings the horns and joy to a national park. $37+. 8 p.m. The Barns at Wolf Trap: 1635 Trap Rd. Vienna, VA; wolftrap.org // @wolf_trap
ALL THINGS GO MUSIC FESTIVAL
THE B-52’S
10.6-10.9 DAVE ATTELL A comic’s comic that doesn’t joke about cancel culture because it’s not real. $35+. Thursday 7:30 p.m., Friday 7:30 p.m. + 9:45 p.m., Saturday 7 p.m. + 9:30 p.m., Sunday 7 p.m. DC Improv: 1140 Connecticut Ave. NW, DC; dcimprov.com // @dcimprov 10.7
THE AVALANCHES
I’m pleasantly surprised this show is actually happening. Stereolab is playing live in 2022. Nice. Sold out. Secondary market tickets begin at $50. 10 p.m. 9:30 Club: 815 V St. NW, DC; 930.com // @930club TONY! TONI! TONÈ! Sure, a Tony! Toni! Tonè! show is great but this is also a skate party and celebration for Let’s Skate DC. Learn more about the organization and pick up our previous issue, August 2022, with our cover story highlighting D.C.’s roller skating community. $75+. 7:30 p.m. The Anthem: 901 Wharf St. SW, DC; theanthemdc.com // @theanthemdc
10.2 PHILADELPHIA PHILLIES AT WASHINGTON NATIONALS
Last year’s festival was a wonderful re-introduction to The Parks at Walter Reed for most. The all day, family friendly event allowed music lovers to explore both a variety of sounds and space. This is a great option for families with small children. Free. 11 a.m. The Parks at Walter Reed: 1010 Butternut St. NW, DC; downinthereeds.com // @downinthereeds STEREOLAB
DOWN IN THE REEDS
You know, maybe I’m glad they never shut that goddamn door! $60.50+. 7 p.m. Capital One Arena: 601 F St. NW, DC; capitalonearena.com // @capitalonearena STORY DISTRICT’S 25TH BIRTHDAY BASH Interested? Peruse our massive story in this issue about D.C.’s finest storytelling institution. $25. 7 p.m. Lincoln Theatre: 1215 U St. NW, DC; thelincolndc.com // @thelincolndc
AEW DYNAMITE
AEW RAMPAGE
The pro wrestling world is better with CM Punk on weekly television. $50+. 7 p.m. Entertainment & Sports Arena: 1100 Oak Dr. SE, DC; eventsdc.com // @aew 10.6 MOMMA If this is what a ’90s revival or whatever sounds like, great! I miss Veruca Salt too. $15+. 7 p.m. Songbyrd Music House: 540 Penn St. NE, DC; songbyrddc.com // @songbyrddc
The Best of Baltimore Tour? These three are the best current Baltimore acts. Unrelated, when dudes in thrash and hardcore bands spinkick it usually looks goofy, but when the guys in Turnstile do it, it looks appropriate. $45+. 7 p.m. The Anthem: 901 Wharf St. SW, DC; theanthemdc.com // @theanthemdc 10.10
The brilliant scientist comes to town to speak about her new book, “Visual Thinking: The Hidden Gifts of People Who Think in Pictures, Patterns, and Abstractions.” $12+. 7 p.m. Sixth & I: 600 I St. NW, DC; sixthandi.org // @sixthandi 10.12
ASTRONOMY ON TAP Learn about the stars while starting up at them. You probably won’t see any because DC9’s rooftop bar has a plexiglass and wood slats covering it, but it’s a nice thought. 21+. Free. 8 p.m. DC9: 1940 9th St. NW, DC; dc9.club // @dc9club THE KILLERS [Jim Carrey as “The Mask” voice] Somebody told me! $55+. 7:30 p.m. Capital One Arena: 601 F St. NW, DC; capitalonearena.com // @capitalonearena
10.11
Why, look at that! The Jonathan Richman is at Lincoln Theatre Somewhat related, you might like S.G. Goodman at Songbyrd in September and you might like Todd Haynes’ 2021 Apple TV+ documentary “The Velvet Underground.” Richman is one of the talking heads. $35+. 8 p.m. Lincoln Theatre: 1215 U St. NW, DC; thelincolndc.com // @thelincolndc 10.14 + 10.15
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10.14
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Treyger is one of the best working stand-up comedians. Someone (well, not anyone, this is specifically aimed at people that have the power to greenlight television shows) give her a TV show. See her solo then go back to the Improv October 16th for one of the podcasts she co-hosts: “That’s Messed Up: An SVU Podcast.” $20+. Friday 7:30 p.m. + 9:45 p.m., Saturday 7 p.m. + 9:30 p.m. DC Improv: 1140 Connecticut Ave. NW, DC; dcimprov.com // @dcimprov
| CALENDAR | RADAR
SPELLING You know how “Running Up That Hill” became the song of the summer because people of a certain age are ‘discovering’ analogue synths? Well, I sure have good news for you. SPELLING exists! $16+. 7 p.m. Songbyrd Music House: 540 Penn St. NE, DC; songbyrddc.com // @songbyrddc
17DISTRICT FRAY 10.9 TURNSTILE, SNAIL MAIL, JPEGMAFIA
JONATHAN RICHMAN
THICK, SKATING POLLY An excellent double bill of jangly pop. Related, we’re due for some new Skating Polly music. $15. 7 p.m. Songbyrd Music House: 540 Penn St. NE, DC; songbyrddc.com // @songbyrddc 10.13
TEMPLE GRANDIN
LIZA TREYGER
Photo by Rey Lopez. Darlin Kulla. Photo courtesy of KNEAD Hospitality + Design.
18 | SEPTEMBER // OCTOBER 2022
CLOCKWISE FROM TOP. Téa Ivanovic. Photo by Irena Stein. Daniella Senior.
WORDS BY PRIYA KONINGS
19DISTRICT FRAY |
Women face a plethora of challenges breaking into and working in the culinary world — issues only compounded for women of color and those who are LGBTQ. We’re spotlighting some of these extraordinary women who fight discrimination and biases every day to create a diverse and exciting food scene in Washington, D.C. We can’t cover every superstar female chef, manager, owner and mixologist, but this list is a great sampling of some of the women we are lucky to have working in our city.
EAT Trailblazing in D.C. Hospitality Women8
Nicole Marquis CEO + FOUNDER OF HIPCITYVEG
When her father was diagnosed with diabetes, Marquis dove headfirst into understanding the nuances of health and nutrition. She started making plant-based smoothies and dishes for her father, and when his health immediately and dramatically improved, she knew she had stumbled onto something big. Now this Latina powerhouse is owner of 10 HipCityVeg locations, three of which are in D.C. These vegan fast-casual joints are wildly popular amongst D.C. diners; you can often find a line of people waiting to order the venue’s famous “chicken” burger and sweet potato fries. hipcityveg.com // @hipcityveg
Daniella Senior CEO + FOUNDER OF COLADA SHOP
PASTRY CHEF FOR UNCONVENTIONAL DINER
After helping her parents start a catering company in the Dominican Republic when she was just 13 years old, Senior went on to graduate from The Culinary Institute of America, become a certified sommelier and found Colada Shop, the city’s best Cuban dining venue. With four locations and one upcoming in the greater D.C. area, you can treat yourself to empanadas, crispy croquetas and Cuban coffee while enjoying the colorful culture of Cuba. coladashop.com // @coladashop
Since she became beverage director for KNEAD Hospitality + Design, Kulla has expanded the beverage program to cover 10 concepts and 15 locations around D.C., including The Grill, The Gatsby, Succotash and Mi Vida. A certified sommelier with the Court of Master Sommeliers, Albanian-born Kulla has received many awards and accolades, including the 2018 StarChefs Award for Sommelier of the Year in the D.C.Chesapeake region, and a spot on DC Refined’s 2018 Top Female Bartenders List. She was also integral to Succotash and The Grill earning Spectator Awards of Excellence. kneadhd.com // @kneadhd Seng Luangrath
Darlin Kulla
CHEF + OWNER OF CENTROLINA + PICCOLINA
Ana Deshaies
Persian Iranian-born Elahi has focused her career on elevating the industry’s perspective on inclusion. Her bar program showcases this commitment, as she utilizes spirits and ingredients from women and minority-owned makers in each of her cocktails. She also features zero-proof cocktails at each venue she works for, including Gravitas, Michele’s and Baker’s Daughter. When she’s not behind the bar, she hosts women’s rights events such as this summer’s cocktail tasting experience Bartenders Against Bans, which raised money for Planned Parenthood. 101hospitality.com // @101hospitalitygroup
If you follow Deshaies on social media, you may think her claim to fame is her role as a Zumba instructor. But that is only one of her many talents: Peruvian-born Deshaies and her husband launched Unconventional Diner by D.C.’s convention center in 2017, and she is also an award-wining pastry chef. As pastry chef, she’s known for her delightful confections, which include a Smith Island-style carrot cake, a Spanish-style cheesecake and the chocolatiest chocolate cake in town. 1207 9th St. NW, DC; unconventionaldiner.com // @unconventionaldiner
As chef and owner of CityCenterDC’s popular fine dining venue Centrolina and casual osteria Piccolina, Brandwein is one of the few women in D.C. who holds these dual roles at two different venues. She excels in both positions and is a five-time James Beard Award nominee. Despite her responsibilities as chef and owner, Brandwein works arduously to pave the way for other women in the industry. She hires and mentors women chefs, engaging in events such as The Women of Food dinner series and the James Beard Foundation’s prestigious Women’s Entrepreneurial Leadership Program fellowship, and hosts community networking events that celebrate occasions such as International Women’s Day. Stop by to meet Brandwein at Centrolina or Piccolina and try one of her delectable pasta dishes. Centrolina: 974 Palmer Alley NW, DC; centrolinadc.com // @centrolinadc | Piccolina: 963 Palmer Alley NW, DC; piccolinadc.com // @piccolinadc
At only 28 years old, Ivanovic is the chief operating officer of iFoodGroup, one of the country’s first advocacy restaurant groups, and the parent company behind Immigrant Food and Immigrant Food+. Ivanovic developed Immigrant Food’s gastro-advocacy business model, combining advocacy with gastronomy at the core of their mission. As COO, she regularly develops new initiatives to support Immigrant Food’s nonprofit partners, organizes in-person events focused on topics like asylum and violence against immigrant women and drafts weekly engagement emails on how to support immigrants in D.C. In addition to advocacy work, she supports the culinary scene at Immigrant Food where the chefs — all immigrants themselves — create dishes that celebrate cultures from around the world. With dishes from India to Japan to Italy to Ukraine, the restaurant showcases a true celebration of international fare. immigrantfood.com // @immigrantfood
CORPORATE BAR DIRECTOR FOR 101 HOSPITALITY
20 | SEPTEMBER // OCTOBER 2022 AmyEAT Brandwein
Judy Elahi
Téa Ivanovic COO + CO-FOUNDER OF IFOODGROUP
BEVERAGE DIRECTOR FOR KNEAD HOSPITALITY + DESIGN
CHEF + CO-OWNER OF THIP KHAO, PADAEK + HANUMANH Luangrath falls into the rare category of women who are both chefs and restaurant owners. As a young child she lived in a refugee camp in Thailand, where she fled to from Laos during the Vietnam War. Eventually, she discovered an opportunity to pursue her love of cooking, and since 2010 she has been a chef and restaurant owner in D.C. She currently owns Thip Khao, which serves tasty Laotian food and cocktails in Columbia Heights; Padaek, the more casual counterpart of Thip Khao in Falls Church, Virginia; and Hanumanh, a fun and creative Laotian cocktail bar concept that serves tiki drinks in Shaw. Hanumanh: 1604 7th St. NW, DC; hanumanh. com // @hanumanh_dc | Padaek: 6395 Seven Corners Ctr. Falls Church, VA; padaekdc.com // @padaekdc | Thip Khao: 3462 14th St. NW, DC; thipkhao.com // @thipkhaodc
Unwrap the joy of the season at Gaylord National with endless hours of holiday entertainment and activities for the whole family to enjoy together. ChristmasAtGaylordNational.com NOV. 20 - DEC. 31
22 | SEPTEMBER // OCTOBER 2022 EAT | FOOD FOR THOUGHT
Meals end with a trip to the kitchen. Given the elegance, complexity and duration of the tasting menus, guests are expecting to step into a sleek, sizeable operation. Instead, a simple black curtain is whisked aside to reveal a compact space a little larger than an airline galley. Every piece of equipment Snyder cooks on — a pair of induction burners, a fryer, a panini press serving double duty as a plancha, a Robot Coupe and a few other toys — can be plugged into a normal“Usually,outlet.itshocks the hell out of people,” Snyder admits. “We just want to show them what’s possible.”
Family is important to the couple, who met while attending The Culinary Institute of America in 2017.
Sometimes you have to look back to move forward.
Snyder ultimately became a sous chef at Minibar, fulfilling a longtime ambition to work for his hero, José Andrés; Saund was a kitchen manager at Baked & Wired and began studying to be a Whensommelier.thepandemic hit, they both lost their jobs. Not missing a beat, the pair began creating luxury to-go dining boxes, multi-course tasting menus brimming with high-end ingredients: uni, caviar, Wagyu beef and foie gras. Promoted only on Instagram and by word of mouth, the artfully arranged boxes regularly sold out shortly after going on sale. That brought the couple to the attention of Dino Lonzano, owner of Market Street Diamonds, a boutique jewelry shop in West End. He transformed the subterranean space below his shop into a chic restaurant and bar; he just needed a team to run it. Saund and Snyder, along with Hopkins, partnered with Lonzano to open The Setting in November of last year. It’s not just the name that takes its cues from the gemmy venture upstairs; much of the seating is covered in crushed velvet, and desserts arrive in a jewelry box. The restaurant is open for a single seating Thursday through Saturday for a 10-course, 3-hour tasting menu experience enjoyed entirely by hand without a single piece of silverware. (Walk-ins are welcome to sit at the bar to enjoy drinks and small bites.)
The Setting: 2512 Pennsylvania Ave. NW, DC; thesettingdc.com // @thesettingdc
WORDS BY NEVIN MARTELL |
Of course, he had to zhuzh up the recipe, which he split into two components, served side by side. First, a Huckleberry oyster from True Chesapeake Oyster Co. in southern Maryland on the Chesapeake Bay.
For dinner, the pair harvested oysters from the river. His grandfather would put a pot over the campfire, toss in freshly shucked bivalves along with lots of cream and butter, smoked fatback and a few seasonings — thyme, paprika, celery salt. The blaze added a sultry smokiness to the chowder, a taste of the wild. It was one of Snyder’s favorite dishes growing up, one inextricably bound to the special times he spent with his grandfather.Thisfall,Snyder is bringing his sophisticated reimagination of the dish to The Setting, the svelte tasting menu restaurant he runs in West End with his fiancée, director of operations Kiran Saund, and beverage director Nick Hopkins.
PHOTO BY SCOTT SUCHMAN
Shucking Awesome
The second element is an oyster “cappuccino,” really a decadent chowder amped with hickory smoked fatback, alliums galore, a flurry of fresh herbs. Taken together, the presentation is alive with the haze of the campfire — briny, intensely rich. Close your eyes and you can imagine Snyder’s fishing trips. The chef hasn’t had the opportunity to share his version with his grandfather, but he hopes there’s a chance to do so the next time they visit his family.
John Snyder grew up on St. Simons Island, a barrier isle off the coast of Georgia. Hunting and fishing were a part of the natural rhythm of life. Starting in the fall, he went out for white-tailed deer, mallard ducks and turkeys, the occasional wild hog. Late in the year, around the time of the first frost, he canoed up the Altamaha River to go fishing with his grandfather, Leroy Regin, who Snyder calls “a badass guy.”
Saund grew up in the D.C. area, so after they graduated, “I brought him home with me,” she jokes.
“They have cucumber notes, but are lightly sweet as well,” says Snyder. “The meat is slightly firm, slightly creamy.”
MUSIC NEKO CASE WORDS BY BRANDON WETHERBEE “WILD CREATURES” IN AMERICA
Wolf Trap National Park for the Performing Arts: 1551 Trap Rd. Vienna, VA; wolftrap.org // @wolf_trap For better or worse, Neko Case sounds like America. Since 1997, she’s released critically-acclaimed albums about real love, true crime, Mother Nature, Russian folklore and gender roles, among other subjects. Her music has been categorized as country, folk, indie rock, rock ‘n’ roll, Americana and alternative. Regardless of subject matter or label, all of it is instantly identifiable. Similar to Patsy Cline and Roy Orbison, you know who it is as soon as they’re singing. Case’s voice is singular, easily standing out on most every adult alternative, college and public radio station. Similar to Wilco celebrating the 20th anniversary of “Yankee Hotel Foxtrot,” Case is touring behind beloved album “Blacklisted” on its 20th anniversary. Unlike Cline, Orbison and Wilco, Case is playing a national park this September. We spoke with the Vermont-based artist on “Blacklisted” and other songs in her 30+ year long career before the fall leg of her tour behind the new career-spanning compilation “Wild Creatures.”
District Fray: “Blacklisted” was released in 2002. Did you think “Deep Red Bells,” a song about a serial killer and socioeconomic status, would predict the next 20 years of America?
I remember a whole lot of shows where there was this invisible curtain between you and the band, where you better stand there and shut the f--k up and listen to them. They won’t acknowledge you, and there’ll be a lot of looking over your heads toward the back. And, you know, get over it. You’re lucky to be seeing this. I even remember seeing people screaming at the audience for talking. But the thing they were talking about was how excited they were.
Neko Case: No. The day I went in to record the vocals on it, I saw in the newspaper the Green River Killer had been caught. And I broke down sobbing because I couldn’t believe it took that long to catch the person slaughtering these poor women. It’s not that dissimilar to the Golden State Killer stuff that happened a few years ago. Or the Pickton pig farmer in Vancouver, which happened right on the tail end of the killings. Even if I’m in a great place, your versions of “Don’t Forget Me” (from 2009’s “Middle Cyclone,” originally by Harry Nilsson) and “In California” (from 2001’s “Canadian Amp,” originally by The Lisa Marr Experiment) make me feel like I’m about to burst into tears. What about those songs made you want to make them your own? Well, they made me feel like you described, and I’m sure I did break down sobbing upon hearing both of them. The Harry Nilsson song really hit me hard. And I knew Lisa, too. And something about knowing her made the song that much stronger for me. I just thought that song was so universal and perfect, and so tender and so sad. I want to write songs you feel invited to, like you could kind of wear them around. It’s like borrowing a piece of clothing from your best friend or something, like we did when we were kids. ‘Can I wear your t-shirt to the show,’ or whatever. And you just feel so cool. That’s how songs make me feel when I really relate. I always use this metaphor: If I had a punk rock vest, I want you to wear my punk rock vest, and I want you to feel punk rock while you’re wearing it. But then it’s also your punk rock vest now. I try to never explicitly say what songs are about because I don’t want to ruin it for people, because they have a certain attachment to it. I just want them to feel like they’re in that moment. Your most heartbreaking song, in my humble opinion, is “Nearly Midnight, Honolulu” (from 2013’s “The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You”). That was written before you were a parent. Does that song mean anything different to you now? Could you write that song now? Yeah. I just really related to that little kid that was being yelled at. It really happened right in front of me; it’s pretty much verbatim. The little kid was just so sweet and energetic and was just singing and talking to her mom and her mom was like, ‘Get the f--k away from me.’ And it broke my heart so much. I wanted to somehow have a giant syringe and just inject that kid with something really good. How often are people surprised your live shows are not sad? Your between-song banter is like watching the best Conan and Andy banter on “Late Night with Conan O’Brien.” Thank you. I guess I just realized a long time ago that pretending I was really serious just made me look like a total asshole. And it didn’t work. And I learned the audience really likes it when you mentioned they’re also there. As an audience member, I knew I really liked it when the band would be glad to see you.
There’s no place more special in your community than a rock show. It is a catalyst for so many things. It’s this great space of absolute possibility. You could meet your best friend; you could meet the future love of your life; you could meet the person you’re going to be in a band with; you could take your brother or cousin to their first-ever show — there’s so much possibility there. And it’s one of the last things that makes a neighborhood a neighborhood because everything else is so cookie cutter, big box store.
I’m generally more confident when there’s noises happening during the show or people [are] talking. I mean, not just straight up rude, like trying to ruin a quiet part or something, but people milling about, hearing the clinking of bottles or something. I like knowing people are having their Friday night; it’s their night, too.
25DISTRICT FRAY |
Photo by Ebru Yildiz.
Neko Case plays Wolf Trap September 9. “Wild Creatures” is now available on all streaming platforms. Learn more at nekocase.com and follow Case on Instagram @nekocaseofficial.
Hall comes from a musical family, with relatives like Trombone Shorty and Glen David Andrews, who also played for Rebirth. Hall grew up playing the trumpet with his cousins, filling in for their shows when he was only 7 or 8 years old. Inspired by Rebirth’s sound — “I was a Rebirth fanatic” — Hall studied music like crazy and even started his own band after Hurricane Katrina. When 2016 rolled around, Rebirth was looking for a trumpet player and Hall took the spot.
“I think the band has always been adaptive and evolving,” Hall says. “New Orleans people always keep the tradition. But we find ways to stay new.”
During its tenure, Rebirth Brass Band flirted with genre lines, embodying new concepts and infusing them with their classic New Orleans brass, bass and chants. The Rebirth experience is fitting for The Barns, where the atmosphere is specific but also adaptable to new sounds.
Rebirth Brass Band Kicks Off Upcoming Season at Wolf Trap
Rebirth Brass Band. Photos by Nick Langlois.
Starting this October, The Barns at Wolf Trap opens another musical season. Located on acres of forest land in Northern Virginia, Wolf Trap is the only national park dedicated to the performing arts and is an outdoor venue featuring all types of music for all types of people. The Barns, situated in the southeast corner of Wolf Trap’s grounds, is exactly what it sounds like: two restored 18thcentury barns dedicated to beautiful acoustics in a cozyThissetting.season, The Barns hosts artists that play music from all over the world. The trio Hot Club of Cowtown will play Western swing, Altan brings Irish folk music, Grammy-winning Eliane Elias showcases Brazilian jazz and Stephen Kellogg will perform some classic rock ‘n’ roll, among other fantastic artists set for the upcoming months.
27DISTRICT FRAY | MUSIC WORDS BY ABI NEWHOUSE
We chatted with trumpet player Glenn Hall III of Rebirth Brass Band, a New Orleans-based classic, who will kick off The Barns’ season on October 6.
Started in 1983 by brothers Keith and Phillip “Tuba Phil” Frazier, Rebirth Brass Band originally played the streets of New Orleans in the French Quarter. They blew up fast, earning Grammy awards in 2012 and 2020 and becoming a widely recognized sound.
Keith Frazier still leads the band, and though some original members have since left, a new player is always ready to fill in.
“Throughout those 40 years, the band Rebirth rebirthed,” Hall says. “Listen to the records and you can hear the evolution of the band, from extremely traditional to funk music to rap. The repertoire evolves with the time.”
The Barns at Wolf Trap: 1635 Trap Rd. Vienna, VA; wolftrap.org // @wolf_trap
Looking forward to the upcoming Barns’ season, a similar energy from bands visiting from all around the world will grace the stage. Gathering in the intimate Barns gives musiclovers a place to disconnect from the outside world and listen to what else is out there.
The Barns at Wolf Trap’s season starts October 6, 2022 and continues through spring 2023. The season includes returning artists, debut artists, holiday performances, tribute performances and comedy nights, among other offerings. You can see the schedule and buy tickets at wolftrap.org.
New Orleans music is based off chants and calls and responses, Hall says. A classic Mardi Gras song repeats the lyrics “Let’s go get ’em,” one of the many songs started through chants. That feel and cultural comradery embodies the New Orleans sound. A song built out of a phrase, a piano solo taken over by a trumpet, a drumbeat keeping time for a rogue trombone player: Rebirth leaves room for improvisation. “This music is totally based on improv,” Hall says. “We definitely have structure and we have set songs, but we’re also improvising and adding things not in the recorded version. A Rebirth song will never sound the same way the second or third time we play it.” Rebirth also doesn’t have a setlist. Each show is different; the band just understands when to come in when the leader begins. Hall says this means audiences won’t hear the same songs if they go to several live shows; each time the show will have new elements, new improvisations from different band“Wemembers.don’tknow what’s going to happen tomorrow,” Hall says. “A hurricane could come and wipe the entire city out, and we’re going to come back and party again. We play shows with that same energy. We just want to enjoy this moment.”
The resilience, improv and energy Rebirth brings to their music will come together to create a new album, set to release soon. At The Barns, audiences can expect to hear some new songs mixed in with some of their beloved past work.
28 | SEPTEMBER // OCTOBER 2022 Tradition is important in New Orleans, a city threatened by disappearance. Hall says New Orleans is different from the rest of America in that way; as one of the oldest cities in the country, it still holds onto its beginnings in ways other cities don’t. And part of keeping tradition is keeping the sound — the stories and music that make the city what it is. “It’s a musical city,” Hall says. “Music is embedded in the culture and the spirit of the people, even down to the way people talk. There’s a certain rhythm to it. It goes hand in hand; if you’re walking musically and creating music, it all comes together to this one thing.”
“What better place to listen to music than a national park?” Hall says. “It just feels like a great place to enjoy something.”
To learn more about Rebirth Brass Band, visit their website rebirthbrassband.com and follow them @rebirthbrassband.
BEHIND THE SCENES. Check out some behind-the-scenes moments from our cover shoot at Woolly Mammoth Theatre Company with our three cover stars and powerhouse artistic directors: Maria Manuela Goyanes of Woolly Mammoth, Karen Ann Daniels of Folger Theatre and Matthew Gardiner of Signature Theatre. Under photographer Tony Powell’s direction, a fog machine was utilized to create a mystifying ambiance fit for the occasion. Photos by Andrew J. Williams III.
29DISTRICT FRAY |
The Performing 50 Companies to toPerformersFollow,Meet + toProductionsAttend
Arts Guide
S. J. Ewing & Dancers in “TECHNE.”
Photo by JHsu Media.
D.C.’s performers mix data into dance. They enact dramatic, dynamic fights. They belt out showtunes you probably know all the words to and act out scripts for the first time. They leap and twirl and bring all of themselves to the stage. Behind the scenes, writers, designers and choreographers set up each performance for success. Whether you’re a theatre aficionado or have never seen a production in D.C., we’ve got new names, shows and companies in performing arts for you to check out this season.
WORDS BY AVIVA BECHKY + BREE RODRIGUES-OLIVEIRA
darlingdance began in 2010 with the goal of exposing audiences to the reality of the body. The company aims to create space in dance for performers with different bodies and styles of dance — ones that haven’t always been accepted on Thestage.company’s works are all products of collaboration. For instance, one dancer was struggling to pronounce “foie gras” during a friendly conversation. Later, when the company wanted a two-syllable phrase to fit the rhythm of a dance, “foie gras” worked its way into performance.
32 | SEPTEMBER // OCTOBER 2022
It’s your friendly neighborhood theatre that just happens to have pro wrestling, geek-tastic research meets and plays never lacking in excitement. Bethesda’s Flying V Theatre is your next stop for entertainment that’s authentically nerdy and prides itself on taking culture to new heights. flyingvtheatre.com // @flyingvtheatre darlingdance.
Photo by Mariah Miranda.
Hayley Cutler, founder and artistic director of darlingdance, doesn’t want her dancers to look untouchable or ethereal. She doesn’t want to see them floating through the air. Instead, they’re human. They’re pedestrian. They pace on stage eating pizza and call it dance. “We’re taking up space in a field that doesn’t want a range of women — or a range of bodies — to [do so],” Cutler says.
The group’s upcoming piece “All My Friends” is built off dancers’ feelings. They began practice by figuring out where they felt cozy on The Kennedy Center’s REACH campus, then explored where they felt uncomfortable and how to channel these feelings into movement. “There’s a range of aesthetics and movement styles I’m interested in that are rooted in diversity,” Cutler says. To Cutler, body diversity is “both the most important thing and the thing I don’t think about because it’s just how life is.” darlingdance’s performance “All My Friends” premieres at The Kennedy Center’s REACH campus on September 17. Audiences will be encouraged to move through the space. Seating will be limited but available upon request. darlingdance.com // @darlingdanceco Guillotine Theatre
darlingdance
Off with their heads! Or rather, get those heads versed with some amazing scripts. Georgetown’s Guillotine Theatre is your next stop for live performances that embrace the classic and contemporary writers who pay tribute to them. A wonderful force for the arts, Guillotine is a refreshing breath of life for one of the District’s most iconic neighborhoods. georgetowntheatre.org Flying V Theatre
How does your work as a playwright intersect with game design? Most of the games I create are tabletop role playing games, a setting where the people telling the story are also the audience, which I think is an exciting premise. It’s important to me to take that context and use it in theatre. I want to create theatre where the audience is essential.
What does it mean to reframe in terms of the queer and trans perspective? I feel like linear narrative structures can’t adequately express queer and trans stories, or at least the queer and trans stories that resonate with me. Often if you have a cisgender storyteller making a movie about, say, a trans person, it’s usually like: This person discovered they were trans, came out and then [underwent] some sort of gender affirming surgery — and that’s the end of their story. That’s just not my experience being a trans person. It’s a lot more complicated than that. It doesn’t move linearly. I don’t think I’ll ever stop discovering who I am.
Joey Ibanez Artistic co-lead at Flying V fights
Tristan B. Willis Playwright, game creator + theatre administrator
What does your creative process look like?
tristanbwillis.com // @feelingfickle
S. J. Ewing & Dancers
One of Ewing’s favorite memories revolves around a redevelopment of the company’s first projection piece. As dancers moved, Uremovich’s projected grid expanded and pulled and transformed around their feet.
As an actor, I make creative choices that are sustainable for multiple takes and shows and carry little to no physical risks or pain. But in a match, every choice is physically impactful and has high intrinsic risk and pain. We work to minimize them, all the while performing for a live audience with no second takes. To get in the zone, I always warm up in the ring by trading simple wrestling holds with another wrestler. It wakes me up both mentally and physically, narrows my focus to wrestling and opens me up to “take space” and be larger than life.
I would give everything up for an industry that truly believes how we make our art is more important than the art we make. That people are more important than products. That process is more important than production. I think we talk a good talk. As a theatre industry, we pitch ourselves as very progressive. I also think we are not great at taking care of everyone.
GUIDEARTSPERFORMINGTHE
Dance starts out logical: Move your right arm here. Put your left “Butthere.when all those pieces are put together and you see a performer on stage, it’s magic,” Sarah J. Ewing says. Making beauty from logic is at the heart of S. J. Ewing & Dancers, the D.C.-based company Ewing directs. The company combines dance and tech. In some performances, algorithms create motion-activated projections in live time based on the dancers’ movements. Other times, audiences watch the dancers in virtual reality. Performers and computers alike take step-by-step instructions and transform them on stage. Back when Ewing worked for CityDance, she did data management as part of her job. Mapping out the back end of a database, she realized figuring out where to store data felt similar to figuring out how to choreograph a dance. So about six years ago, she started trying to combine the two with motion-tracking projection.
Since then, she’s brought on another designer and programmer, Dylan Uremovich, as well as sound designer Jade Diouf and videographer Jonathan Hsu. Together with dancers, they create fusions of human and algorithmic brilliance.
How would you like the industry to evolve?
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The Undertaker. He is a physically dominating master performer and a world-class athlete. He’s the “Phenom!” There’s only one way a match between me and The Taker would end: with a tombstone, courtesy of The Deadman. Who needs to learn a lesson? Starman from Pro Wrestling (NES) could stand to learn a thing or two. I’ve been feuding with Starman for 20+ years and all he’s got is that somersault kick. Game recognizes game, and the winner isn’t you, Starman. Any advice to aspiring wrestlers? Invest in quality training and train consistently. The characters, the gimmicks, the business — all that will come after. Consistent, quality training is the foundation everything else is built upon. Also watch Flying V Fights: Pro Wrestling. But that’s just good advice for everyone.
“In some ways, this floor projection was able to capture some of the magic that lives outside of their bodies that they are creating,” Ewing says. “And I just found that to be just so, so S.beautiful.”J.Ewing & Dancers’ new VR films will be presented by CityDance on November 12 and 13. sjewing.com // @sjewingdc
In my — you know, 1,000 air quotes — more “traditional” plays, I often just start collecting series of images. I see things happening before I really hit any dialogue. So, I’ll start collecting these images I’m seeing in my head, like a person turning into a tornado or someone unfolding a newspaper until it’s the size of a stage. I start looking for common themes in those images and start collecting them with those themes. From there, I try to find the story between images.
What are you currently working on? I recently finished revising a play titled “The Great Impresario Boris Lermontov Would Like to Invite You to Dinner,” a piece exploring individual exceptionalism and the flawed notion that we can eradicate institutional oppression just by putting one well-meaning person in leadership. [The piece illustrates this] through a meta-theatrical lens where the two actors playing the two leads are also playing actors. So, they play themselves acting the part of the impresario and his assistant.
What iconic wrestler you’d never square off against?
How wrestling is different from acting?
Dancer and choreographer Andile Ndlovu is in his ninth season with The Washington Ballet. He’s currently choreographing his fourth piece for the company. What are you most excited about this season?
Simmons: “Carmen,” because even if you have not seen an opera, the tunes of “Habanera,” “Toreador Song” and “March of the Toreadors” are so popular you’ll likely have heard at least one of them sometime in your lifetime.
How was your transition to choreography? I didn’t transition into choreography. I’ve been choreographing since I was 14. These opportunities are coming now because of that work cultivating, teaching and educating myself in the performing arts world. I’ve come to a point where now I can create and put those ideas out there. It’s been maybe about 10 to 13 years in the works. Any final thoughts?
What’s your go-to opera to impress newcomers?
Andile Ndlovu
What would you like to see more of in opera?
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Cecelia McKinley + Christian Simmons
McKinley: I think my love of the art form came from my love of singing in general. I started taking voice lessons so I could sing my favorite musical theatre and pop songs, and eventually my high school voice teacher suggested I try something in Italian (“Sebben, crudele” by [Antonio] Caldara, for those interested). I loved the challenge and the feeling of it.
Dancer + choreographer at The Washington Ballet
McKinley: More equitable opportunities within the industry, both on and offstage, which will hopefully result in more body, gender and racial diversity. Conversations surrounding this have been brewing the past few years. I am very excited for the direction my generation is taking the industry.
Sidney Harman Hall: 610 F St. NW, DC
Dance is a very beautiful art form and we should cherish it, progress it and not hold onto it. By progressing it, we’re making it grow and flourish, and the universe — or everybody in the dance world or in the world — will see how we’re reaching for new heights as ballet.
Washington National Opera Cafritz Young Artists
I’m reimagining [my show “B1”] and then putting it up for that one-time show day. I have another world premiere in October for the NEXTsteps program with The Washington Ballet. That’s as much as I’m going to be involved in the season. I just got injured in May, so I’m in recovery mode. The only thing I can do is use my brain and creativity.
The Washington Ballet: washingtonballet.org // @thewashingtonballet
What sparked your love for opera?
Simmons: I love the connection opera makes to our everyday lives that we do not realize. Whether it’s a song heard on a commercial, or a story plot told in a movie, it’s fascinating to learn so much is influenced by opera.
Simmons: More operas for people who do not have much classical knowledge or a classical background. [This includes] music that isn’t too complex, mixes with popular genres of music and/or tells regular, everyday stories different from the standard opera traumas and dramas.
“B1” will be performed at Wolf Trap on September 14. NEXTsteps continues October 12-16 at Sidney Harman Hall. Follow Ndlovu @zuzu_nx.
McKinley: In all honesty, I will usually go to YouTube and find a clip of a live performance [to give] the full effect of the voice alongside sets, costumes and the theater.
kennedy-center.org/wno // @washnatopera
Tell us about your piece for NEXTsteps. We always gravitate to what’s comfortable, and we don’t love change. With this idea, I’m trying to play around with change. Change could be anything. Change could be emotional, physical or spiritual. It could be anything you want it to be. I’m going to start there first and try to see what happens as soon as I get to work with the dancers.
With 2022 as its bat mitzvah year, Heart Stück Bernie is a choreography and dance company defying bodily expectations with their heart-stopping moves. Inspired by unapologetic feminism and unbridled experimentation, Founder Sarah Beth Oppenheim put her all into creating a company of perpetual innovation. sarahbethoppenheim.com/heart-stuck-bernie // @heartstuckbernie
1800 S Bell St. Arlington, VA; synetictheater.org // @synetictheater
A beautiful mix of American life and the robust tradition of Caucasus performance, Synetic Theater is a Northern Virginia company embracing movement using it to turn folklore fiction into fantastic reality. Started by two renowned artists from Georgia (the nation, not the state), you’ll never be underwhelmed by a Synetic showcase.
For an organization that calls itself “pointless,” D.C.’s Pointless Theatre pushes puppetry beyond its capabilities and gives the practice more meaning than anyone could imagine.
Pointless Theatre Co.
Started with the hopes of creating daring theatre for a diverse and passionate audience, Pointless subverts your expectations of what a puppet show can do and sets the bar for all performance, puppet-based or not. pointlesstheatre.com // @pointlesstheatre
Heart Stück Bernie
Synetic Theater
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Under no circumstance should you police someone’s body language at a workshop. Yes, being relaxed is necessary for proper acting. Instead of bullying someone because they seem stiff, ask them what’s up. Don’t shame them for their rigid nature. Don’t make their process everyone else’s business. Definitely don’t grab at their bodies to “help.” You want your collaborators to be relaxed. Give them space. You should care more about their mental health than their ability to play “Yes, and…” Actors Enjoy WORDS BY BREE RODRIGUES-OLIVEIRA
Carpathia Folk Dance Ensemble will perform on September 10 and 11 at the Baltimore Ukrainian Festival in Baltimore, Maryland and on October 1 at the St. Matthew Festival in Columbia, Maryland. carpathiadc.org // @carpathiafolkdance
“The guys are doing squats and kicks on the floor and the women are doing these really fast, crazy turns in costumes with tons of ribbons,” Reisser says. “They look like streak of colors just going across the stage.”
Pretty Boi Drag Kings Red and yellow lights flashing, Pretty Rik E swaggered off the stage. He lip-synced to T-Pain’s “Buy You a Drank (Shawty Snappin’)” while snatching tips from the audience. As the song ended, he cast the dollar bills up in the air, basking in the Thelimelight.nightmarked an encore for Pretty Rik E, who returned with Pretty Boi Drag to Union Stage on August 14 after a pandemic-induced hiatus. One of D.C.’s biggest drag king groups, Pretty Boi Drag shows off performers who ooze confident, charismatic masculinity. But despite their talent, drag kings still don’t receive the same kind of attention as their drag queen counterparts.
“I met Lexie Starre at the bar [right before my performance],” he says. “I remember her coming through the audience with a drink in one hand and dollar bills in the other to tip me. Eventually, we got married.”
Performing dances from such a wide range of regions means dancers must learn a huge mix of moves and rhythms. But at its heart, the troupe’s fast-paced dances are uplifting, all about expressing joy and sharing with the audience. Reisser says Ukrainian dance is frequently a fan favorite, full of vibrant movement.
“Just seeing them up there, I was like, ‘I want to do that,’” Pretty Rik E says. “I was nervous as all get out, and I signed up to do my first act.” His first song? “Buy You a Drank.” And his strongest memory from his performance?
36 | SEPTEMBER // OCTOBER 2022 CULTURE Carpathia Folk Dance Ensemble
Working with other creatives isn’t always easy. And when it comes to creatives in the theatre world, there can be more hair pulled out than lines memorized. During the years I studied performance, I was part of many workshops. Some made me a better performer. Others made me rue the day I ever took the stage. Here are some small tips for running an actor’s workshop that won’t get you fuming.
How to Run a Theatre Workshop
By July 1, Carpathia Folk Dance Ensemble eclipsed the number of performances it typically does in a year. That’s because the ensemble was fundraising to support Ukraine. The multi-ethnic group’s usual mission is to preserve and present Central European dance — but Carpathia’s artistic director and founder Wesley Reisser says the Russian invasion of Ukraine transformed his goals. “We’re now heavily involved in raising awareness and support for Ukraine,” he says. “Also, awareness and support for all the countries nearby taking in refugees.”
While the group performs at festivals up and down the East Coast, it isn’t exclusive to professionals. Carpathia welcomes pretty much everyone who wants to join: Requirements are just being at least 14 years old and interested in joining a performance group.
The first time Pretty Rik E — Erika Lewis out of drag — saw a drag king performance, he’d just been dumped. Drag king Chris Jay forced him to stop wallowing and go to a burlesque show that featured drag kings, too. It left an impact.
1. Group exercises are awesome, but don’t push it. A great way to start off a workshop and engage with your collaborators is a group exercise. The problem with some exercises is there’s can be someone too invested in the process to care about the results. Typically, these group activities are a fun and casual game. But no one’s having fun if one person is adamant about the game going a certain way.
I’ve seen acting scenarios go nowhere because someone tries to micromanage. You cannot micromanage improvisation and expect people to loosen up. Instead of being strict on gameplay, try getting to know your collaborators with some plain old chitchat. Crack a joke. Geek out about a movie. Do what you can to develop a flowing dialogue. Don’t get hung up on arbitrary game rules.
Together, Chris Jay, Pretty Rik E and Lexie Starre founded Pretty Boi Drag in 2015 to uplift queer people of color. They’re committed to accessibility: An ASL interpreter performs along with every king. And by now, they’ve recruited more than enough talent to bring their shows alive.
2. Leave your roles at the door. Workshops are not a rehearsal. And they are definitely not a reason for you to do a character. You may have been cast in a great show, and you may have a character that you really like. But no one else really cares. Everyone is just trying to develop some good acting impulses and you’re not making it easy with bad caricature of Julius Caesar. You’ll never be the real Julius Caesar, but with some time invested toward recognizing your own impulses, you can be the best Julius Caesar you’ll ever be.
3. Yelling “loosen up” doesn’t help.
Pretty Rik E is planning the group’s next performance, Sunday Service, for early next year. prettyboidrag.com // @prettyboidrag Rorschach Theatre Rorschach prides itself on inviting new talent into their spaces.
Founder + artistic director of B-FLY ENTERTAINMENT Paige Hernandez works in the DMV as a performing artist and educator. She’s one of two winners of the inaugural Victor Shargai Leadership Award.
What’s the mission of your company?
It’s “Magic in Rough Spaces,” a new play development program, contributes to the DMV’s reputation for invigorating art and welcoming youthful creativity into the nation’s capital. rorschachtheatre.com // @rorschachdc Paige Hernandez
What did winning an inaugural Victor Shargai Leadership Award mean to you? The award still blows my mind. It is a deep honor and a full circle moment because Victor was such a huge advocate and supporter of my work when he was alive. He was one of the first “yeses” I got in terms of investing and committing to [my work], which essentially led to the building of my company.
GUIDEARTSPERFORMINGTHE
At Union Stage, Tré D. Thickum moved with fluid expertise to Jidenna’s “Long Live the Chief.” Chris Jay cast his black fur coat on the ground, teasing off his suspenders and gold tie. Larry Styles stripped out of his shoes, shirt, pants and about five layered pairs of tight red underwear. Meanwhile, as emcee and performer, Pretty Rik E strutted the style he’s spent years “Prettydefining.Rik E’s definitely much more of a button-up shirt, nice shiny blazer kind of performer,” he says. “I typically wear tuxedo jackets, and definitely nice dress shoes. I love men’s dress shoes. Oh my god, I love them so much.” Some performers wear binders to flatten their chests; others don’t. Many dab on a fake beard — including Pretty Rik E, who has a permanent five o’clock shadow. With some practice, he’s figured out a routine for applying facial hair. Since Pretty Rik E typically wears locs, he doesn’t have strands to spare for a beard. But the hair he uses is still very much real, courtesy of his wife. “When she’s in the shower washing her hair and combing it out, she will give me whatever hair comes out,” Pretty Rik E laughs. “Hopefully that’s not weird. It is very clean because she did it while she was washing. I just use scissors and cut it in my hand over and over again ’till it’s almost dust.”
That’shim.the
B-FLY ENTERTAINMENT specializes in multi-generational and multicultural hip-hop theatre experiences. So, you can really [have] theatre pieces with anyone in the audience, ages 6 to 60. The work is sophisticated. It has education at its base. And it’s based in more of the old school roots of hip-hop: peace, love, unity and having fun. paigehernandez.com // @paigeinfull; bflyentertainment.com Dance Place Dance Place is all about community, as far as its new artistic director is concerned.
Dance Place will host Kinetic Light for a performance September 24 and 25. Local artists Sarah Beth Oppenheim, Charlie Maybee and Chitra Subramanian will be presented by Dance Place this fall. 3225 8th St. NE, DC; danceplace.org // @danceplacedc
dani tirrell is approaching one year at Dance Place. Looking back at successes like DanceAfrica DC 2022, and forward to upcoming performances by local artists, tirrell is trying to figure out what perspectives and ideas to bring to the 44-yearold “Whatcompany.I’mcoming in with is just really my love for community and people,” tirrell says. “Everything I do is seen through the lens of Black liberation and Black feminist theory. For me, those things also open up [so] that other people can come into the tirrellspace.”focuses on making space for new artists. Whether by offering more residencies or creating space for people to work without pressure, tirrell wants to figure out how to support dancers in a low-stress environment. Uninterested in conforming to traditional dance norms, tirrell makes room for artists’ full selves: for everyone’s distinctive rhythms and fashion and language. It all ties back to tirrell’s vision of dance, filtered through the lens of Black liberation. “It looks like flowers, it looks like roses, it looks like joy,” tirrell says. “It looks like a space where people can breathe — a space where Black bodies don’t have to apologize.”
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How do you combine your work as an educator, performer and artist? They inform each other. I have to say my work as an educator completely parallels my work as an administrator. A lot of what I do involves education. So, I’m able to instantly apply and implement a lot of what I learn in the classroom, and through various trainings.
Once the hair is fine enough, he applies adhesive in sections and dusts on his stubble with a makeup brush. It’s not always an intuitive art. Back at his first performance, Pretty Rik E lacked the know-how to apply a beard, so Chris Jay did it for kind of knowledge Pretty Boi Drag now passes down through its Open King Nights, meant to encourage upand-coming artists. At this point, several kings from the open nights have come back to perform with the group. “A lot of people ask in the beginning, ‘Oh, how did you do this? How did you get started?’” Pretty Rik E says. “You call a place and say, ‘Hey, can I do a show there?’ That’s really all you have to do to get your start. It’s up to you how good or bad that show is. It’s all about the effort you put into it.”
Why are the performing arts crucial for young people?
“Yes and Yes.”
Graciela Rey Performance educator What did theatre offer in your younger years?
Theatre gives students a way to understand themselves and their world and communicate that understanding; it is receptive and expressive. It provides an insightful lens to examine our history as a people and nation and can remind us we are made to do more than just produce and consume. It is as magical, provocative and flawed as we as humans have always been. Through performance, students begin to consider others along with their environment, and begin to consider their place within it, the agency they have in their own lives and the effect their actions have on others. It gives them the ability to imagine a better world and then create it. gracielarey.com // @graci_rey Washington Improv Theater
Photo by Jose Miguel Jiminez.
1835 14th St. NW, DC; witdc.org // @washingtonimprovtheater
You’ve probably had that one friend who took a WIT class and now raves about improv every chance they get. Do yourself a favor: Listen to that friend. Not only are they the area’s leading force in improv education, but WIT is also known for hilarious showcases that blend genres and push improv to its creative limits.
Capitol Hill Arts Workshop Capitol Hill Arts Workshop (or “CHAW,” as many call them) is the D.C. haven aiming to educate future artists, providing tools to create and hosting critically acclaimed projects.
When I saw my first musical, I was amazed to see something that felt as rich, vivid and full as my world did. I remember thinking: That’s it, that’s me, that’s what I want to do.
When I was young, I had a very imaginative inner life. I felt like the world around me didn’t understand — I was too much.
545 7th St. SE, DC; chaw.org // @chawindc
Got any plans for celebrating the 100th anniversary of James Joyce’s “Ulysses”? No? Well, it’s a good thing Irish arts group Solas Nua has you covered.
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Dublin is at the center of both “Ulysses” and the new “Joyceperformance.famously said when he wrote ‘Ulysses’ that if Dublin was destroyed, you could rebuild the city based on the book,” says Miranda Driscoll, executive director of Solas Nua. “So basically [Roche is] really looking at the city of Dublin and what ‘Ulysses’ means, 100 years later, through the [human] body.”
Solas Nua’s “Yes and Yes”
To commemorate the first time “Ulysses” was published as a full volume, Solas Nua commissioned Liz Roche Company to create “Yes and Yes,” a new dance performance in response to the novel. Liz Roche, an Irish choreographer, will bring her company to D.C. for the September premiere.
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For me, lighting design is all about storytelling. The best designs result from collaborations where everyone is on the same page about the narrative goals of each and every moment. That takes a lot of communication and trust, and it’s the endpoint of a collaborative process rather than the starting point. I find that sometimes the most exciting lighting choices are discovered rather than planned. Great theatre is built layer upon layer, choice upon choice, by many hands working together. If those choices support and reinforce one another, we can craft amazing, resonant moments and tell powerful stories that change the way people see the world around them.
What does your process looks like, start to finish?
This is hard, mostly because we at Faction devote so much of our time to the perfect joke. As a company, we have a mantra of “the best idea always wins.” It isn’t just about patching together each individual’s comedic genius, but rather all of us supporting each other and pursuing comedy. Between us, it’s probably banter around our big “work wives” energy as co-artistic directors versus our big ol’ clown antics (our short film “Bean & Widge Go to the Park” on YouTube is the perfect paradigm of this big clown energy between the two of us). We run this company together to create the joyful, silly work we want to see and work hard to make it happen.
How can lighting can take shows to new heights?
What should D.C. know about Faction of Fools?
GUIDEARTSPERFORMINGTHE
@jessebelsky Mehdi Raoufi Sound designer at Astro Pop Events
What are the differences betweem the “Big ideas” person versus the “make it happen” person?
Francesca Chilcote + Kathryn Zoerb Co-artistic directors of Faction of Fools
“Commedia dell’arte” sounds very fancy — or like you might need to be familiar with it in order to enjoy it. But that couldn’t be further from the truth. Commedia is theatre for the here and now of popular culture and society, and we at Faction are constantly pushing the immediacy and relevance of our work in D.C. But come see for yourself at the world premiere of our new play “Love Like Tuesday” by Doug Robinson in February 2023. kathrynzoerb.com // francescamariechilcote.com@kathrynzoerb;//@franny_si
What running company joke never gets old?
Chilcote is absolutely the big ideas person who flies through the clouds and Zoerb is her loving tether, which is the main reason we work so well together. It’s integral to work with collaborators who encourage the sharing of wild ideas while massaging and refining them into their best version. Find your “yes and” people, or even better, find your “yes and…but also, what if” people and tie yourself to them.
jesse-belsky.squarespace.com //
This lovable troupe of goofballs is making performance in the DMV fun and intelligent. Rooted in the masked stylings of commedia dell’arte, Faction of Fools is a D.C. outfit that takes a traditional art form and makes it accessible to performers and patrons of all backgrounds. factionoffools.org // @factionoffools
CULTURE
The performance gets its name from the last chapter of “Ulysses,” which begins and ends with the word “yes.” But despite all the inspirations “Yes and Yes” takes from the novel, Driscoll wants everyone — regardless of their “Ulysses” knowledge — to come see the dance. “You don’t have to be a ‘Ulysses’ expert,” Driscoll says. “You don’t even have to read ‘Ulysses.’ It’s a piece within its own DMVright.”residents can see “Yes and Yes” on September 9 and 10 at the Atlas Performing Arts Center.
Reading the script, talking with the director, seeing what their vision is for the show. From there, I’ll do visual and aesthetic research. [Then] I do 3D constructs of what I’m imagining. I’ll take that into Photoshop and flesh it out, add furniture pieces, color and texture. Once we settle on a design idea, I will communicate the design phase because each theatre company either has their own shops that build and create the scenery, or they hire a company. It all basically becomes about communicating what I want the set to look like. [After that,] we move into technical rehearsals, then finally, we move everything into the actual theater itself. What’s most creative about the process? You’re able to get away with some fun, stylized representations of reality — or even go further out and do something more expressive about creating a tone or a feeling. [You’re not] grounded in, ‘Okay, we have to have a sink here, a door here, a sofa here.’ You get to play a bit more with aesthetic expressions of the play’s themes. paigehathawaydesign.com // @paigehathawaydesign
@m3hds0und Paige Hathaway Freelance set designer
What movie and show you’d give a different sound to? For a film meant to be nostalgic and anticipated by audiences for decades, “Transformers” was a major letdown. Outside of the plot, script and military glorification, the sound was terrible. You would expect a film about extraterrestrial robots to have a solid soundscape, especially when sound is used as a plot device. Decepticons sounded like insect-like power tools, and in my mind, many of the action sequences involving the Transformers didn’t feel synchronized. But, if you needed a military style explosion, you got it. I would have expected a stronger connection with sound, music and action, similar to films “Terminator” and “Independence Day.” Thanks, Michael Bay, for ruining my childhood.
Atlas: 1333 H St. NE, DC; atlasarts.org // @atlaspacdc Solas Nua: solasnua.org // @solasnua_ Jesse Belsky Light designer at Studio Theatre
Faction of Fools
haus of bambi haus of bambi is a movementbased company embracing genderless and gendermore expression, channeling their pluralistic take on the human form through love, respect and sensational video projects highlighting the spectrum of LGBTQ+ identity. There is no shortage of detail or beauty in this wonderful haus’ work. hausofbambi.com // @hausofbambi haus of bambi. Photo by Abby Weeden.
At Perisphere Theater, history comes to life with precision and grandeur. Showcasing plays that examine the world’s past with a modern and thoughtful eye, the team behind this phenomenal company takes no shortcuts in ensuring the past is respected. Their productions reflect the impact of history on our present. perispheretheater.com // @perispheretheater
Named after an Albert Einstein quote that describes the effect one small change has on the surrounding world, Spooky Action puts forth stellar plays that invite speculation and curiosity from their audiences. With their upcoming production “Maple and Vine,” patrons can see how modern-day uncertainty is no monster compared to the constraints of a dark past. 1810 16th St. NW, DC; spookyaction.org // @spookyactiondc
I’ve worked on about 50 shows over the last 10 years at STC, and more elsewhere as a freelancer. There are a handful that really stand out in my memory where I feel like my dramaturgy made a real contribution: Rebecca Taichman’s production of “The Winter’s Tale” in 2013, Yaël Farber’s awardwinning “Salomé” in 2015, Whitney White’s production of “The Amen Corner” by James Baldwin in 2020 and Jade King Carroll’s production of “Red Velvet” by Lolita Chakrabarti this past season. In each instance, I was lucky enough to work with a director who treated me like a real collaborator — who welcomed me into the process and demanded honesty from me as well as support. Is nerdiness a strength ? I’m proud to be a nerd. I think you have to be somewhat nerdy to be a dramaturg. Every different show offers a whole world of information, whether it be primary sources or secondary materials, such as criticism and reviews. I’m such a nerd that I have a tattoo on my arm of a utopian theater design by Walter Gropius, the Bauhaus founder and architect. I got it when I finished my dissertation. I’ve told myself that when I finish my second book, I’m going to get another, but it has to be similarly well-referenced — and look cool, of course. What’s the best Shakespeare plays for newcomers? The obvious answer is to go back and re-read the ones that you think you know from junior high or high school, like “A Midsummer Night’s Dream” and “Romeo and Juliet.” Read with a dictionary by your side (preferably the Oxford English Dictionary), like we do when we spend a week doing work. And read the scenes that always get cut. You’ll be surprised by what the words actually tell you. For example, did you know “A Midsummer Night’s Dream” is not set during midsummer? And that Shakespeare appears to be referring to climate change? drewlichtenberg.com // @drewlichtenberg
A theatre company that approaches performance with punk rock elation, Taffety Punk is anti-authoritarian, anti-racist and ensures all their art is a statement of unique rebellion and human solidarity. Held together by the tireless efforts of their devoted members, this company sees themselves as a kickass band rather than a normal theatre. taffetypunk.com // @taffetypunk Spooky Action Theater
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Drew Lichtenberg
41DISTRICT FRAY | CULTURE
How do dramaturgs create next-level shows?
Taffety Punk Theatre Company
Perisphere Theater
Dramaturg at Shakespeare Theatre Company
One of his favorite memories from Ngoma and Dissonance is adjudicating The International Association of Blacks in Dance, where he says Dissonance and Ngoma offered scholarships and contracts to more than 60 young artists.
“Seeing the faces of so many dancers wanting an opportunity really humbles a person, ya know? Many people have aided me in my development, and I believe it is my prerogative to give back whenever I can.”
CULTURE
In 2018, Dissonance Dance Theatre performed for an audience of more than 1,000 at the Association of Performing Arts Professionals (APAP).
“To be the D.C. ambassador at APAP was a nervous affair at first,” writes producing artistic director and principal choreographer Shawn Short. “But watching my dancers, many of whom I’ve had for several years (street to the stage), glow on stage with great performance quality was a touching moment.”
Ngoma Center for Dance + Dissonance Dance Theatre
Dissonance Dance Theatre is the only nationally recognized contemporary ballet company in the mid-Atlantic area founded by African American leaders, according to Short. The Ngoma Center for Dance, its parent company, aims to offer a space for multicultural dancers and their enthusiasts; Short is the Center’s founding director.
Dissonance Dance Theatre returns for in-person performances March 2023. ngcfddt.org // @ngoma_ddtdc Nu Sass Productions Started in 2009 with the goal of creating performances that aren’t dominated by cis men, Nu Sass is a D.C. organization desperately needed in a time where freedom of gender expression is tumultuous, and art is needed to uplift all who have been kept underfoot by cultural hegemony. nusass.com // @nu_sass
“To be simple, I believe the mission is equity and access for a non-performative reality,” Short says. “We practice what we Thoughpreach.”Covid forced a temporary halt, Dissonance Dance Theatre will return to in-person programming in March 2023. It’s also currently working on a documentary, “Company D,” about the racism, adversity and pandemic problems
Dissonance fought through to create a space for Black classical and contemporary dancers. Mentoring new dancers is a critical part of Short’s mission.
“Elvis’ Birthday Fight Club” Photo by Stereo Vision Photography.
Astro Pop Events
Astro Pop Events is the performance company that approaches slapstick tomfoolery with the utmost intention. Known for gutbusting shows like “Elvis’ Birthday Fight Club” and “America the Game Show, F--k Yeah.” astropopevents.com // @astropopevents
This year marks the 20th anniversary of “Host and Guest.” Based on a Georgian folk poem, the play depicts a family who cares for a stranger, only to learn he’s from an enemy group. When the family’s village rejects the stranger, the family fights to save him. Originally staged directly post 9/11, the play’s message of conflict and cultural clashing is no less relevant today. 1800 S Bell St. Arlington, VA; synetictheater.org // @synetictheater
CULTURE
Many have been waiting since 2015 to get tickets to “Hamilton,” and the day has finally arrived. In fact, it’s so popular that The Kennedy Center decided to cap the number of tickets each person can buy over the course of the musical’s run. Come see Pierre Jean Gonzalez take his shot as Alexander Hamilton. 2700 F St. NW, DC; kennedy-center.org // @kennedycenter “Ain’t No Mo’” Woolly Mammoth |
The New York Times called this play “… thrilling, bewildering, campy, shrewd, mortifying, scary, devastating, and deep.” The first production in Woolly’s 2022-23 season themed Breakout is a comedy about African American Airlines’ Flight 1619 to Africa, for which every Black person in the United States gets a free ticket. 641 D St. NW, DC; woollymammoth.net // @woollymammothtc
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ProductionsMust-See
“The Till Trilogy” Mosaic Theater Company | October 4November 20 If you’re looking for something new and thought provoking, turn out to see playwright Ifa Bayeza’s latest creation.
“Monstress” Silver Spring Black Box Theatre |
September 11 - October 9
“Host and Guest” Synetic Theater | September 12 - October 2
Specializing in world-building and larger-than-life moments, Flying V is bringing the Filipino manananggal — a vampiric creature that detaches part of its body — to life on stage. See a modern take on the legend this October. 8641 Colesville Rd. Silver Spring, MD; flyingvtheatre.com // @flyingvtheatre
October 21-29
“Into the Woods” Signature Theatre | November 8January 29 Dive deep into a twisted, mystical land of fairy tales. Don’t expect your textbook happily-ever-after, though, because “Into the Woods” is all about the costs of making your dreams come true. This may not be the first performance of James Lapine’s musical success here in D.C., but if you missed the last production — or were so enchanted you had to return — then this is a must-see of the season. 4200 Campbell Ave. Arlington, VA; sigtheatre.org // @sigtheatre
“Hamilton” The Kennedy Center | through October 9
17
“The Till Trilogy” is a series of three plays, performed by 10 actors, that ponders Emmett Till’s life, death and legacy. “The Ballad of Emmett Till” and “Benevolence” have been performed before, but this will be the world premiere of “That Summer in Sumner.” It’s the perfect chance to dive deep, with an additional opportunity to engage with the play’s themes in “The Till Trilogy Reflection Series.” 1333 H St. NE, DC; mosaictheater.org // @mosaictheaterdc
44 | SEPTEMBER // OCTOBER 2022 “The Tempest” Round House Theatre | November 23January 1
“A Soldier’s Play” The Kennedy Center | December 13January 8
“Love Like Tuesday” Capitol Hill Arts Workshop | February 16March 11 Check out Faction of Fools’ new play, written by Doug Robinson in collaboration with the fun-loving comedy theatre company. Using Faction’s distinct Commedia dell’Arte style, emphasizing masks and physicality, “Love Like Tuesday” highlights the adventures of Pangolin High’s lunch lady, Doreen Dawkins, in a romcom-like production. 545 7th St. SE, DC; factionoffools.org // @factionoffools
First published in 1981, “A Soldier’s Play” is back on stage across the country thanks to its 2020 Best Revival Tony Award. Set in 1944, a Black sergeant in an all-Black unit in Louisiana is murdered, forcing questions about sacrifice, duty, service and identity to the forefront. The story follows the investigation of his murder, and it’s sure to steal your breath away. 2700 F St. NW, DC; kennedy-center.org //
Check out this collaboration between the Folger Shakespeare and Round House Theatre: Shakespeare’s enchanted tale of love, revenge and betrayal, with a twist. The sorcerer Prospero typically lives on an island, but in this creative restaging, the setting’s been transformed into a traveling tent show. This production was a hit throughout the country — don’t miss its regional premiere. 4545 East-West Hwy. Bethesda, MD; roundhousetheatre.org // @roundhousetheatre; folger.edu // @folgerlibrary “Jane Anger” Shakespeare Theatre Company | December 13 - January 8 If Round House Theatre’s “The Tempest” isn’t an unconventional enough take on Shakespeare for you, STC’s “Jane Anger” is probably right up your alley. In 1606, Shakespeare’s stuck in quarantine by the plague — so there’s plenty to relate to — and Jane Anger comes climbing through his window, ready to help him write “King Lear.” 450 7th St. NW, DC; shakespearetheatre.org // @shakespeareindc
@kennedycenter “The High Ground” Arena Stage | February 10 - April 2
FIRST PAGE. “Hamilton” national tour. Photo by Joan Marcus. TOP LEFT. Michael Urie in the original New York production of “Jane Anger.” Photo by Valerie Terranova. BOTTOM LEFT. Art for Signature Theatre’s “Into the Woods.” Photo by Christopher Mueller. OPPOSITE PAGE. 2019 Broadway Revival Company of “A Soldier’s Play.” Photo by Joan Marcus.
Set in conversation with the 1921 Tulsa Race Massacre, “The High Ground” looks at how to proceed after devastation. Thematically similar to “A Soldier’s Play,” it centers around the story of a Black man in an Army uniform watching the destruction of Tulsa’s Greenwood District, as others attempt to remove him. Nathan Alan Davis’ play will be shown for the first time at Arena Stage this season. 1101 6th St. SW, DC; arenastage.org // @arenastage
Dive into the history of Sister Rosetta Tharpe: a rock, R&B and gospel singer and guitarist who fought for women’s rights and racial equality, transforming the music scene of her time. The emotional new musical bares the roots of rock and roll and helps highlight a musician who deserves to be heard. 511 10th St. NW, DC; fords.org // @fordstheatre
The National Theatre | June 6-18
“SHOUT SISTER SHOUT!” Ford’s Theatre | March 15 - May 13
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Urban planner Aisha returns to her neighborhood to find it changed. As she and her husband try to figure out home renovations, an act of violence throws a wrench into her homecoming. Studio Theatre commissioned 2022 Pulitzer Prize winner James Ijames to write this play, a story wrestling with questions of gentrification, belonging and legacy. 1501 14th St. NW, DC; studiotheatre.org // @studiotheatre “Hadestown”
“Hadestown” has been the talk of the town ever since it premiered on Broadway in 2019. A modern adaptation of a Greek myth, “Hadestown” features a version of Eurydice as a girl who takes work in an industrial underworld to escape poverty caused by climate change. Orpheus is Eurydice’s poor singer-songwriter partner who aims to rescue her. 1321 Pennsylvania Ave. NW, DC; thenationaldc.com // @broadwaynatdc “KUMANANA! An Afro-Peruvian Musical Revue”
The National Theatre | April 6-9 Watch linguistics professor Henry Higgins try to make flower seller Eliza Doolittle into a “proper lady,” as they sing to a great soundtrack with hits like “Wouldn’t It Be Loverly” and “I Could Have Danced All Night.” It’s Broadway at its best. 1321 Pennsylvania Ave. NW, DC; thenationaldc.com // @broadwaynatdc “Good Bones” Studio Theatre | May 10 - June 11
Victoria and Nicomedes Santa Cruz helped preserve forgotten and ignored parts of Afro-Peruvian arts and cultural history in Lima in the 1960s. Their efforts pushed back against the marginalization of Afro-Peruvians at a key historical moment. “KUMANANA!” honors that work, celebrating their legacy in a musical that features the Santa Cruz siblings’ own music and writing. 3333 14th St. NW, DC; galatheatre.org // @teatrogala
GALA Hispanic Theatre | June 7-25
“My Fair Lady”
“Angels in America”
March 24 - April 23
Maybe you’ve been watching “Angels in America” for years, or maybe you’ve never quite gotten around to it. Either way, you’ll want to see director János Szász’s take on the classic examination of AIDS and queerness in the 1980s. More than 30 years after “Angels in America” first premiered, come watch “Part One: Millennium Approaches” and learn the story of Louis, Prior, Harper and Joe. 1101 6th St. SW, DC; arenastage.org // @arenastage
CULTURE
Arena Stage |
I’m struck — or maybe hyper-aware — by how often our conversation veers into storytelling. It’s like cultural currency; I share a piece of me, she shares a piece of her. We empathize by trading stories, building on what it means to feel the way we do, finding out someone else might understand. In D.C., where the population is vast, transient and multicultural, storytelling is even more necessary to building a shared community.“I’vehadpeople say to me it was Story District that gave them a place of belonging in D.C.,” Saidman says. “Hearing from other Washingtonians gave them a sense of where they fit into the bigger story.”
This October, Story District celebrates 25 years of putting storytelling centerstage. Over the past few decades, Story District has helped D.C. residents shape their stories into art, turning even the most casual anecdote into a moment worth remembering. I talked with Amy Saidman, artistic executive director of Story District, over Zoom about how the organization has changed and grown. Behind Saidman was a poster of two people jumping between high-rise buildings with the fitting words, “I did it for the story.”
IDIDITFOR TH E STORY
StoryDistricton25 Years of StorytellingWORDSBYABINEWHOUSE
They had some good experiences, and some less productive. For instance, Saidman helped people at a microloan company discover how their personal stories can move people to care about their mission and believe in their impact. But she was also invited to a conference where no matter what method she tried, she could not get participants to engage.
Once Upon a Time…
The students didn’t know how to communicate why their story was important. They talked about their majors, or why they might switch majors.
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Get your audience to root for you.
“I did all this work to prepare for this Amnesty International conference,” Saidman says. “I thought origin stories were a good place to start: ‘Why are you doing this work?’ I didn’t think to ask who was in attendance — they were all young, college students.”
In an autobiographical story, you are the protagonist. As the protagonist, it’s critical to get your audience to buy into your point of view. To do that, we need to understand what you want, why you want it and what is at stake. When done well, the audience will embody your values and vision. We will care about what you care about.
“Our classes give one-on-one, personalized instruction,” says Story District’s Marketing and Digital Content Director Lou Keeton. “Our students build confidence and gain a sense of belonging.”
47DISTRICT FRAY |LEFT PAGE. Amy Saidman introducing a show.
Photo by Shedrick Pelt. THIS PAGE. Amy Saidman.
Photo by Andrew J. Williams III.
Originally started in 1997, Story District was known as The Speakeasy, an open mic event that allowed people to tell stories on stage, under the umbrella of Washington Storytellers Theatre (WST). The concept took off, growing alongside other storytelling communities like “The Moth” and the National Storytelling Festival. Saidman got involved with The Speakeasy in 1999 running monthly events. The Speakeasy was held at HR-57, a now-closed jazz and blues club on 14th Street. Events were casual, potluck-style. Participants brought food and wine, and those who wanted to tell a story put their name on a sign-up sheet. The stage held a piano, brick walls enclosed the space and the roof had a slight leak. At that point, WST was at a crossroads deciding if they should continue or shut down. “I was like, ‘Should I do this?’” Saidman says. “At the time, The Speakeasy was pretty small; around 100 people would attend. [I realized] we were outgrowing the space.” Saidman had ideas for how to grow and organize each event. And so came Story District’s climactic turn. “I went and made the case: Don’t shut this down. Hand it over to me.” As she took over, continuing to run events, she noticed people’s storytelling skills were hit or miss. Saidman implemented stop times for stories — a cap at seven minutes each to help people get to the arc of their story quicker. This planted the seed of an idea: Coaching could help people tell their stories in the most effective way possible. Their first attempt at coaching was a six-week storytelling class. Storytelling 101, headed by seasoned storytelling coaches, teaches key skills like how to create a narrative arc, strategies for establishing what’s at stake and ways to develop a scene.
The classes grew bigger; the demand got higher. Story District started offering sixweek storytelling classes and added one-day boot camps. Events became more polished. They moved to a bigger space, and then another bigger space, and then even bigger spaces within the other spaces. Soon after, different businesses inquired about running storytelling classes for professional development.
2005 The Speakeasy becomes SpeakeasyDC and moves to Cada Vez, later called Station 9 on U Street and 15th Street (now closed).
The Story District team started to implement ideas on the intent behind storytelling, eventually coaching dozens of organizations around the District, including Sierra Club, American University’s Kogod School of Business and the State Department, among others, to reach their audiences effectively.“The[audience is] there, ready to listen,” Saidman says. “Sometimes I’m tough on the storytellers because I feel an even greater responsibility to the audience in some ways.”
2000
The Evan Brothers band started the tradition of playing at every show (and ending each one by covering “Hey Ya!”). “I was stuck,” Saidman says. “I wasn’t experienced yet. Now I could probably handle it. But then, they didn’t know the mission of the conference. They didn’t really choose to be there. It was a good lesson for me to know my audience.”
“It’s a silly competition,” Saidman says. “No one feels like their story isn’t good enough.”
Making
One caveat: People do win for the worst experience, and the prize is a golden plunger.
The best show involves stories that are both funny and poignant, Saidman claims. Story District works to incorporate many different perspectives around the set theme. Though everyone loves comedy and fun, people appreciate a mix. Our stories reflect our realities — it’s most authentic to showcase different experiences. in the
“Story District has helped many Muslims from my community feel like their stories matter,” Elhady adds. “It has given training and offered insight to make stories into true presentations of the Muslim American experience.”
2007 First101Storytellingclass.
The Speakeasy moves from Black Cat to HR-57 Center for the Preservation of Jazz and Blues (formerly the Via Ghibellina restaurant).
No matter where a person is from, certain universal themes really stick, like the “worst ever” series. The series has included worst dates, worst jobs, worst mistakes and more, but unlike some other storytelling events, there’s no competition for who tells the best story.
The premiere of “Sucker for Love,” their annual Valentine’s Day show, at Chief Ike’s Mambo Room in Adams Morgan (now closed).
2008
A New Chapter Storytelling is often associated with children’s events, but Story District reclaims the term; it’s an art form — a way for humans of all ages to express themselves. To represent the organization’s evolution into a local arts institution, the name Story District was adopted in 2015. Still, Saidman wants storytellers to know even though these are performances, the goal is to tell stories in a way that is personable, conversational and most importantly, authentic. It should allow the storyteller to be themselves as much as possible.“Wefocus on the content more than the performance,” Saidman says. “[We want our storytellers to] own their stories.”They began partnering with organizations and individuals like Team Rayceen Productions (TRP) for the annual LGBTQ show Out/Spoken, and comedian Yasmin Elhady for “Which Way is Mecca?” — an annual show about Muslims in America. “Whatever the story, I admire how brave that person is to share something so personal with the audience,” TRP Creative Director and Founder Zar says. “D.C. is segregated in many ways and it’s helpful for people to understand what others experience, especially those from other demographics.”
2006
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2009
“We want everybody to be the best versus individuals competing against one another,” Saidman says. “We have our cast; we meet in advance to work on stories in rehearsal. You build these long-lasting relationships and are rooting for each other on the night of the show.”
1997 Washington Storytellers Theatre hosts The Speakeasy: an open mic storytelling event on the 2nd Tuesday of the month.
25 Years
The “2nd Tuesday” series moves to Town Danceboutique on 8th and U (now closed).
2020 “She Comes First” sells out Black Cat and is the last pre-pandemic live show until September 2021.
The past 25 years, Story District has done just that, showing people how to become great storytellers and how to apply storytelling to one’s life and work. There’s an aspect to believing in your own story, no matter how mundane — in giving it the time and space to evolve and be told artfully.
49DISTRICT FRAY |
2015 SpeakeasyDC becomes Story District. 2017 Story District hosted the 250th “2nd Tuesday” show.
2018 The “2nd Tuesday” series moves to Black Cat on 14th Street and “Story District Presents” launches first two seasons.
2019 “Worst Ever” series runs for seven months at The DC Improv and Story District.
“The entire endeavor is about connection,” Elhady says. “I have laughed, cried, learned and been surprised by the stories I have heard at Story District. A good story has the power to totally change perspectives and transform lives.” The Resolution “Our mission is not just to create a space where people share their stories, which I think of as like a support group,” Saidman says. “Our mission is to help people tell their stories artfully so they can be effective with their message and capture their audience.”
“If we are the stories we tell ourselves, then the stories we’re telling from D.C. are contributing to our identity as a city,” Keeton says. “The voices we’re sharing here in the heart of the United States are stories that will impact our country. So, we have a responsibility in this space to amplify those stories.”
“I think D.C. is home to some of the brightest, most diverse people in the world,” Elhady adds. “Story District benefits from this city’s expansive network of professionals, artists, authors and scholars. Each show highlights [D.C.’s] beautiful diversity.”Alongwith anyone who wants to give it a go, Story District has hosted notable names like Ezra Klein, Alix Spiegel, Carla Hall, Alexandra Petri and Kwame Onwuachi, among other local favorites like Jay Dev, Diana Veiga and Mike Kane.
Story District reminds us we’re all just people: Humans who live very human lives. The sheer commonplaceness of storytelling can trip people up; we wonder if our stories are worth telling. “It’s like the two D.C.s thing — [politics] on Capitol Hill and people just living their lives,” Saidman says. “These are the real-life stories we tell.”
“We’re going to continue to grow past 25 years,” Keeton says. “To give a sense of what D.C. is and where you fit in it,” Saidman adds. Story District’s own story is rooted in D.C., in a place and people real and nuanced. The plot has ebbed and flowed; climactic moments have left residents on the edge of their seats. The cast of characters changes but each leaves a lasting impression, setting the stage for whomever, or whatever, might come next. Story District is celebrating its 25th anniversary on October 1 at Lincoln Theatre. Tickets are $25 each and can be purchased at storydistrict.org. Story District: 3329 Georgia Ave. NW, DC; storydistrict.org // @storydistrict 400+ Live performances 28 Local venues 3,000+
2016 “Worst Date Ever” contest is born, starting an annual tradition.
Storytellers taking the stage, mostly for the first time
2010 Signature annual shows “Top Shelf” and “Out/Spoken”premiere.
I’ve told quite a few stories about my shortcomings as a parent, trying to put a comedic layer on top of some pretty awkward experiences. I performed a story about the time my 9-year-old daughter asked me about sex and I absolutely blew it by going into way too much detail. Do you have a pre-performance ritual?
District Fray: How has Story District evolved from its SpeakeasyDC days? Mike Kane: The irony is that Story District themselves really hasn’t grown that much. It’s a testament to [Amy] Saidman and a surprisingly small staff who manage to keep evolving the organization year after year. I believe they continue to remain relevant and continue to find larger audiences because they’ve never strayed from their promise of teaching and showcasing the art of autobiographical storytelling. Even as they do new shows, launch podcasts and collaborate with different artists and groups, they never lose sight of their central mission.
One of my all-time favorite storytellers is a guy named Adam Ruben. He tells a story about entering a local Scrabble tournament as an adult. He does such a great job making this ridiculous event feel so lofty and important.
In the story, he becomes so obsessed with winning (a local Scrabble tournament, mind
50 | SEPTEMBER // OCTOBER 2022 LEFT. Mike Kane. RIGHT. Diana Veiga at “The Morning After” performance 2020. Photos courtesy of Story District.
Without the people who share their stories, there would be no Story District. Throughout their 25 years, more than 3,000 storytellers have taken Story District stages across the District to perform. Whether divulging an embarrassing dating story, reflecting on a lost loved one or recalling a favorite childhood memory, local performers keep us entertained with their talent, wit and charisma. Here are three storytellers on their experience with Story District.
Out of all the stories you’ve performed, what is one of the most memorable?
I like to get to the venue as early as possible. Ideally, I’m even the first one there.
Mike Kane A storytelling veteran involved since SpeakeasyDC days, Kane has told 16 stories and is a favorite of Story District. Follow him @mike_kane_instafame.
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STORYTELLIN NICOLE SCH A L L ER
I like to see the audience gradually trickle in and the house slowly fill up rather than walking in cold to a packed house. It’s much less overwhelming. What is one performance from another storyteller that still sticks with you?
SPOTLIGHTS
How has telling stories impacted you?
Ground your story in a time + place.
CULTURE you) that he cheats to defeat a 9-year-old kid. I’ve seen Adam perform that story four or five times and die laughing every time.
Well, my favorite bar DC Reynolds closed during the pandemic (buy one, get one free drinks, anyone?) and I haven’t really found a good replacement. But if it’s not bar related, I love taking walks through the Takoma Park neighborhood.
A well-told story is an experience. It’s your job to transport us to moments in time so we feel like we are there. If you can’t picture where your story is taking place, neither can your audience. Paint a picture so vividly we see what you see (and hear, smell and taste). This allows us to walk in your shoes as events unfold.
Diana Veiga After getting her start at Story District, Veiga has since branched out to start her own series. She recently did her first solo show, “I’m Just Doing My Job: One Woman Show by Diana Veiga,” at Capital Fringe. Beloved in the storytelling community, she has hosted some Story District shows, collaborated with them on projects for Martin Luther King Jr. Memorial Library and is currently in their teacher-training program. Follow Diana at dianaveiga.com and @dianaveigatells. District Fray: When did you first hear about Story District? What made you apply or want to join? Diana Veiga: I’m not really sure when I first heard about Story District; it just seemed like it was always there. I applied to tell a story after my Auntie Janice passed away. She was one of the best storytellers ever. One day I was riding around listening to “The Moth” and there was a great story playing. I thought, “I could do that!” I thought it would be a cool way to honor my aunt’s memory. I applied in January or February 2018 for a show that wasn’t happening until July. I got the email in May telling me I had been selected and the rest, as they say, is history. Where do you get inspiration for your story ideas? It just comes from living life and having a variety of interesting, funny, sometimes wild experiences. Sometimes it will feel like I’m out of stories to tell and then I’ll remember something random that happened and I’m like — well! That’s another story to tell one day. What is the best place in D.C. to unwind?
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It’s impacted me in countless ways and provided me with so many fun and unique experiences I would never have had otherwise. But most of all, getting involved with Story District opened the doors to a whole community of creative and brilliant people in the D.C. area I never knew existed. Some of my closest friends are people I’ve met through storytelling over the past 14 years. What has Story District brought to the D.C. community? Unique voices for so many different groups to tell their stories in creative and compelling ways. “Out/Spoken,” Story District’s annual LGBTQ+ Pride show, performed for the twelfth year this May. They also put on a show during Teacher Appreciation Week in which all the tellers are teachers. My daughter was recently one of the tellers in a Story District show which specifically featured young women storytellers. Their “Breaking Bread” show shared the stories of eight celebrity chefs and industry insiders. These are stories I’m not sure everyone would hear if it weren’t for Story District providing the platform for the tellers to share. Hearing first-hand, personal stories about cultures, lifestyles or industries you might not otherwise experience really brings people together. I see proof of that through Story District’s work.
What advice do you have for people interested in wanting to share their stories publicly? Go for it. We’ve all lived unique lives which means we all have unique stories to tell. Yours deserve to be heard just as much as anyone else’s. You don’t know what telling your story will do for someone else.
Jay Dev: I moved to D.C. fresh out of undergrad and I was really motivated to try new things and find my community. I did theatre and improv in college but was always interested in staged storytelling like I heard on podcasts. I had a couple friends who told stories with Story District and they suggested I check them out. With little experience and plenty of enthusiasm, I began volunteering (my first introduction was stuffing envelopes for the end-of-year drive). I immediately felt at home. Out of all the positions you’ve held within Story District, which have you enjoyed most? I first fell in love with the organization as a volunteer, so that time holds a special place in my heart. I’ve met so many wonderful, thoughtful, funny people and have made lasting friendships through the storytelling community. I think Story District’s role in building and sustaining a community, along with a number of other groups in the region, sets D.C. apart. Over the years, I have taken on responsibilities to help connect others to this wonderful community.
How long does it take you to work on a story and then perform it? What does that process look like? It usually takes a few weeks to take a story from general outline to performance-ready. I usually take an outline of the main story points and form it into a script that I then practice and tweak to sound less written and more spoken. And I try to test it out on friends to get their honest feedback. Be surprised. You know how things played out in your story, but you had no idea at the time. Tell your story from that place of discovery, as if every turn you take is experienced for the first time.
Share your thoughts + emotions. In a well-told story, we want to know what happens, but we also want to know how you feel about the things that are happening. In every story, there is an emotional arc as well as a narrative arc. Be sure to let us into your mind and heart. This fuels tip #1 and is what makes us care about you and your journey.
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LEFT. Jay Dev, “Sucker for Love” performance in 2022. Photo courtesy of Story District.
How has telling your stories impacted you?
RIGHT. Yasmin Elhady at “Funnier Than Fiction” in 2020. Photo by Shedrick Pelt.
It’s just changed my whole world. After I told my first story, I thought, “Well that was a fun bucket list thing to do.” I really didn’t have any plans on telling another story on the stage. Then my first story made it into Story District’s “Top Shelf” in January 2019. After that, Story District folks just kept encouraging me to tell more stories. By the third time I was on stage, I was hooked. It’s made me more confident, helped me become a true performer, helped me realize the value in sharing my stories with others and most importantly, there’s a joy I feel knowing my stories make people laugh (and feel other emotions).
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What is one performance from another storyteller that still sticks with you?
There’s a story Shawna Renee told about being diagnosed with breast cancer and doing different treatments for it, and then eventually talking to this holistic-type healer who tells her what she needs to let go of to be healed. Eventually she is healed from breast cancer and also meets her husband. It’s just an amazing story of her journey toward physical and emotional healing and finding love.
Jay Dev Dev has played almost every role within Story District: volunteer, student, storyteller, board member, DEI task force member and chair of the strategic planning committee. Now he’s in the teacher training program. His most recent story was a hit at “Sucker for Love” in April 2022. Follow Jay on Twitter @Jaydev_. District Fray: When did you first hear about Story District? What made you apply or want to join?
CULTURE What is one performance from another storyteller that still sticks with you?
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One of my favorite stories I’ve seen on the Story District stage was Morgan Givens’ debut performance at the 2015 “Out/Spoken” show. I remember how the audience hung on his every word thanks, in part, to the uniqueness of his performance style. The twist in his story is unreal. I recently relistened to the episode of the Story District podcast, “Story District Presents,” that highlights the story. I got chills down my spine again. How has telling your stories publicly impacted you? I think the most gratifying experience I’ve had after telling a story is someone coming up to me after a show and saying they’ve not only had that experience, but they hadn’t heard someone talk about that on stage before. I like putting small details in my stories that are specific to being the child of immigrants. It makes me really happy when someone else who grew up first- or second-generation American picks up on them. What has Story District brought to the D.C. community? In addition to bringing together and maintaining a wonderful community of creative people, I think Story District has helped document different parts of the city’s culture. Folks who are not very familiar with D.C. may have narrow preconceptions of what life and residents of the city are like. The range of different stories I’ve heard at Story District events and shows over the years is a testament to the diverse lives we live. As a transplant, I’ve always found it especially grounding to hear stories from D.C. natives. It’s helped me learn and respect the city and communities that existed here before my arrival. That culture and history needs to be celebrated and preserved, and the communities from which they originate deserve to be maintained through policies and in Story District’s case, art. Something must change. Every story must end, in some way, differently than how it started. There’s a before and after. It was one way and now it’s another way. You thought one thing and now you think another. It won’t be a complete story without a change.
“How’s everyone doing tonight?” If you’ve ever been to a comedy show, you know the comedian uses this question as a kind of rhetorical mic check to get the audience applauding and ready to listen — a gauge of the vibe. But on a recent sweltering summer Friday, down in the cool basement of Adams Morgan’s new comedy hotspot Hotbed, 32-year-old comedian Saw Walton asked and only a few people answered.
A SOUGHT-AFTER SPOT Crowd participation is more than Walton can expect at his day job teaching seventh grade math over Zoom. In his opening set, he cracks wise about the perils of teaching, the best way to order at Chipotle and the similarities between supreme pizza and an activity my editor definitely wouldn’t let me type here. Along the way, he’s checking in with the audience, none of whom are more than 20 feet away in the intimate, 100 seat “You’revenue.like a guinea pig up there,” Walton says of opening a show. “A piñata. A thermometer. The first Wright brother.”
WORDSBYCHADKINSMAN|PHOTOSBYNICOLESCHALLER
COMEDYINTHEINFERNO
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LAUGHING MATTERS
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EMBRACING A CULTURE OF GROWTH Walton, too, believes Hotbed will carry on The Big Hunt’s legacy, where so many DMV comics cut and sharpened their teeth over thousands of shows between 2013 and 2020.
In many ways, Hotbed is an evolution of The Big Hunt’s basement stage, right down to its charmingly sinister feel. Walking down the tight staircase from the all-black first floor which houses a full bar and minimalist neon chandeliers, I felt a shift. Though the air was cool, the room, with its low ceiling, red lightbulbs and carnelian walls felt like an infernal lounge, complete with its own bar. Above the small stage, baking under concentrated beams from three lights, Hotbed’s fiery logo glowed. A lone stool and microphone cast shadows across the wall of jet-black shale tiles.
Joyce points out that the show is live, and the comedians are constantly shaping their materials to the moment, unlike a comedy special or even a show at a bigger venue.
“It’s the kind of place that appeals to me,” Joyce says. “It’s a more mature version of Big Hunt, and it goes well with comedy. Basements are perfect for comedy. Tight spaces. Everybody being close — too close — together makes it more fun and exciting.”
Hotbed opened this past April, taking over half of the old Songbyrd on 18th. The venue is focused on creating a propagative environment for local talent — but you never know who’s going to stop by or break out. The two-floor club is also the new home of Underground Comedy, one of the most notable independent comedy production companies around. Ever heard of Michael Che, Patton Oswalt, Michelle Wolf, Hannibal Buress, Judah Friedlander or Jim Jefferies? They all performed in Underground Comedy shows. The brains — and muscle and heart and many other parts — of Underground Comedy is Sean Joyce, D.C.’s comedy impresario. After the pandemic claimed business licenses of several of Joyce’s regular venues, including Dupont’s infamous The Big Hunt in early 2021, he began planning Hotbed. The company also occasionally works out of Room 808, a club tucked inside a Petworth row house, and hosts weekly shows at Reliable Tavern and Columbia Height’s Wonderland Ballroom.
“D.C. comics have to be well-versed. You have to learn about a lot of different things, even if it’s something you don’t agree with personally. People will come up to you after a show and say ‘I agree’ or ‘I disagree’ with that joke. It sharpens you. And it’s not just politics. Everyone’s diverse in terms of knowledge and passions and backgrounds. You have to have respect for everybody.”ForJoyce, the bond between performer and audience is paramount.“Iwantto have great shows. I want the crowd to have fun. I want the comics to want the crowd to have a great time. My goal is for every show to be packed and for everyone to love it. That’s what I’m trying to accomplish.”
“It’s really important for us to have Hotbed. It reminds us of the history and community we had at Big Hunt, which we can recreate over here.”
Together, their sets served as a catalog of anxieties: dating, family, finances, therapy, sleeplessness, political polarization, climate change, the gastrointestinal effects of fast food, racism and performative allyship. Some of these topics have long been the fodder of American humor, but many are distinctly 2022. The evening was a needed pressure release, allowing a time and space to laugh at issues serious and absurd.
A SINISTER EVOLUTION
Hotbed is off to a hell of a start.
Hotbed: 2477 18th St. NW, DC; hotbedcomedydc.com // @hotbedcomedy SECOND PAGE. Crowd at Hotbed. Comedians Steven Chen (top) and Lafayette Wright (bottom).
“You don’t know what’s going to happen, how the comedians are going to react to the room, how the chips are going to land,” he says. “That’s the exciting part of it.” That night, I watched as comedians handled everything from bothersome flies to handsy couples and unexpected but informed responses. It’s all part of being a D.C. comic, Walton shares.
I watched five comics that sultry Friday night: Walton, Chen, Morrison, Denise Taylor and headliner Lafayette Wright. Each brought a distinct performance style to the stage, from anxious to confident to everything in between. Even when similar subject matter popped up in their sets, nothing felt redundant because each take was so unique.
Born and raised in Prince George’s County, Walton has worked the comedy scene around D.C. for the last five years. A self-described lifelong learner, he’s excited for the possibilities Hotbed“Everyoffers.dayI’m getting better and better, little by little,” he says. “This is the perfect place to build up those chops: in front of a great crowd. Hotbed is the spot everybody wants to be.”
TWO CONCEPTS, ONE INCUBATOR
Backstage, past a cartoon devil sign, I bumped into Steven Chen and Eddie Morrison discussing changes to the comedy scene and the hustle it takes to develop a career, including occasionally performing back-to-back-to-back shows at different venues. They compared the Friday 8 p.m. audiences to the late Saturday night crowds with an anthropological level of detail. In between shows (which currently start at 8 p.m., 9:45 p.m. and 11:30 p.m., with larger bills each show and more shows on their way), I ran into performers on the stairs or sitting in the audience.“Evenif I’m not in the show, I want to be in the room watching,” Walton says. “You get to see your peers work stuff out and get better. I’m analyzing them to see how my writing and segments can [improve].”
“This is what a great local comedy scene looks like,” Joyce says. “These are comedians going through the big topics of today. They’re constantly developing material and some of them are at Hotbed multiple times a night throughout the week. You get to see them evolve and grow.”
DISTRICT FRAY MAGAZINE WHOLE FOODS OTHER LOCATIONS Byrdland Records 1264 5th St. NE, DC Groom Guy 1143 New Hampshire Ave. NW, DC PLNTR 1825 18th St. NW, DC Steadfast Supply 301 Tingey St. #120 SE, DC is now available at some of your favorite shops. Support local business. Support local journalism. Keep making fun possible. Contact tomroth@unitedfray.com to explore offering the magazine for sale at your store.Annie Dempsey of Byrdland Records. Photo by Brandon Chen. Florida Avenue 967 Florida Ave. NW, DC H Street 600 H St. NE, DC P Street 440 P St. NW, DC Riverdale 6621 Baltimore Ave. Hyattsville, MD Silver Spring 833 Wayne Ave. Silver Spring, MD South Capitol 101 H St. SE, DC
When Lorraine Spiegler joined CityDance in 2008, she had a vision for the prestigious Washington conservatory. She planned to design an inclusive and flexible dance repertoire that goes beyond the traditional, ballet-centric education that gatekeeps the professional dance world. Spiegler is the founding artistic director of CityDance, a nonprofit conservatory that trains young artists living in the greater Washington area to pursue dance professionally. The company attracts aspiring dancers from all corners of the DMV and also hosts international students from as far away as France, Brazil and Australia for CityDance’s intensive courses during the summer. For Spiegler, witnessing her students grow and develop their interests within the dance community through CityDance’s training has been immensely gratifying. She notes one alumnus, Mariano Zamora González, who now dances with the internationally acclaimed Ballet Hispánico, as particularly inspiring.
Dance
WORDS BY CAROLINE CLIONA BOYLE of the NewWorld Creators
From the age of 9, Zamora González has expressed himself through dance. He took hip-hop classes at a local studio in San José, Costa Rica where he grew up, which sparked a love for movement that he explored when he moved to the DMV at age 14. When he started at CityDance, Zamora González began to experiment with other styles, including ballet, jazz and contemporary.“Idon’tlovewords;
Zamora González, known to his peers as Nano, lets the fluidity of his movement speak for his emotions on stage.
LEFT. Mariano Zamora González. Photo by XMB Photography. RIGHT. Matthew McLaughlin. Photo by Media 4 Artists.
A professional dancer now based in New York, he says, “It feels very surreal sometimes, very energetic. I like to think I’m a very detail-oriented dancer, [and know] where to place every single part of my body correctly in space.”
“This cycle is beautiful, fascinating, inspiring — it just feels so right to know that [Zamora González] actually had his first contact [at CityDance].” At The Kennedy Center, director of dance programming Jane Raleigh similarly appreciates the quality of talent the DMV produces. “It is always exciting and meaningful for us at The Kennedy Center when we see full-circle moments taking place on our stages,” she says. “When students are raised and trained at this high level and then return as professional dancers in some of the best dance companies in the world, it is a point of pride for us to highlight their talent.”
Learning from the Masters
The contacts he made while training at CityDance were fundamental to Zamora González’s growth as a professional dancer. In his final year of high school, he had the opportunity to work with critically acclaimed choreographer Annabelle Lopez Ochoa at a CityDance summer intensive. Now, in his first year touring with Ballet Hispánico, Zamora González is again working closely with Lopez Ochoa on “Doña Perón.”
The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; kennedy-center.org // @kennedycenter
More Than a Love for Movement
I prefer to dance,” he says. He now tours as an apprentice for Ballet Hispánico, a New York-based company that celebrates Latinx culture through performance and community engagement. At the end of this year, his experience will come full circle: Zamora González will return to D.C. with Ballet Hispánico to perform the Argentinian piece “Doña Perón” at The John F. Kennedy Center for the Performing Arts.
At the conservatory level, CityDance prides itself on developing a curriculum offering the next generation of performers the flexibility to pursue a dance career that rings true to students’ interests.
“Doña Perón” tells the story of Eva “Evita” Perón, former first lady of Argentina, who is also known as one of the most captivating and controversial women in Argentinian history. Performed to live music by composer Peter Salem, the piece illustrates a biopic portrait of an infamous Latin American figure.
“It’s been such a wonderful experience for me to [connect with] my Latino community,” Zamora González says. It’s parallel moments like these that inspire a broader perspective for Spiegler.
Today, young dancers have the ability to express their talent outwardly, whether in-person or online. By helping develop students’ expression as dancers, CityDance aims to positively contribute to the dance community — not just in Washington D.C., but across the United States. “We really believe they’re [the] creators of the new dance world,” Spiegler says. “We want to give them as many tools as we can [to help] them self-actualize.”
“Interactions with guest artists and companies [helps] inspire our young dancers to dream, envision and actualize [their goals],” Spiegler explains. “Ultimately they will create the future of dance by elevating the communication of transformative ideas for humanity to consider.”
Mariano Zamora González will perform “Doña Perón” with Ballet Hispánico at The Kennedy Center from November 30 to December 3. Follow Zamora González on Instagram @nanozamora and learn more about Ballet Hispánico at ballethispanico.org or @ballethispanico. CityDance: citydance.net // @citydanceconservatory, @citydancestudios
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BATTING CAGE COMEDY
There’s more to Baltimore than Pimlico horse races, a casino and “The Wire.” There’s also an aquarium. Oh, wait. There’s comedy, too — and it’s good. Bottle Rocket Comedy is a cool collective formed by Nik Oka, Law and Bobbie Ray, three Baltimore comedians taking the DMV by storm, extending their reach by producing shows from Baltimore all the way to D.C. at The Dew Drop Inn. They produce several shows throughout the month, including showcases at Delia Foley’s and the hipster-friendly Protean Books & Records Store. They also have an improv-based experimental stand-up show called “Riffin’ on 36th” at Old Bank Barbers. If you walk the streets of Baltimore, you might catch producers Law and Oka outside with a mic and amp, hilariously engaging with bystanders to draw them to their shows. Follow Bottle Rocket Comedy on Instagram @bottlerocketcomedy_ Lemme Tell Ya at The Dew Drop Inn: 2801 8th St. NE, DC; Irish Goodbye at Delia Foley’s Pub: 1439 S Charles St. Baltimore, MD; Riffin on 36th at The Old Bank Barbers: 1100 W 36th St. Baltimore, MD; Punchdrunk at Protean Books & Records: 836 Leadenhall St. Baltimore, MD
FUNNY HA- HA
WORDS BY JOE MARSHALL
60 | SEPTEMBER // OCTOBER 2022 Fall is coming — which means we all should laugh while we can before winter depression comes to rob us of the twinkle in our souls. If you’re looking for a joy-fix this autumn, check out these shows designed to produce the laughs and vibes you need to survive the months to come.
If you find yourself stumbling out of Union Station on a Thursday night, check out Batting Cage Comedy, an intimate basement show at Kelly’s Irish Times that pays homage to producer Kevin Seefried’s favorite pastime: baseball. With a cup full of beer and a belly full of laughter, you don’t have to go to Nats Park for a night of entertainment. Come watch some of D.C.’s sharpest comedians work on longer form material and see if you can’t kick their ass at a game of beer pong. (Yes, that’s sometimes part of the show and it’s awesome.) You never know who might stop by, from local baseball legends to “106.7 The Fan”’s Danny Rouhier. Seefried’s high-energy delivery will keep you on the edge of your seat like you’re waiting for the second coming of Juan Soto. Thursdays at 8 p.m. Kelly’s Irish Times: 14 F St. NW, DC; kellysirishtimesdc.com // @kellysirishtimes; @battingcageshow BOTTLE COMEDYROCKET
Would you rather stay at home cozied up in your living room this fall? Do it on Ivi Demi’s couch during one of his infamous House Rules comedy shows, which he hosts with the hilarious Hedi Sandberg at (that’s right, you guessed it) his house in Columbia Heights. Demi and Sandberg are just the dose of Prozac you need to calm that seasonal anxiety as the holidays hauntingly approach. Just make sure you have a ticket to the show, or else you’ll just be breaking and entering. Last Saturday of every month at 7 p.m. Ivi’s house: Columbia Heights in NW DC; ividemi.com // @ivi.demi + @teeheehee_hedi
OPENCOMEDYMICS
You can also catch some of the area’s best comedians at play working out new material, or try your hand at stand-up at some of these free, well-run open mics: Adams Bomb, produced by Adam Coonen and Adam Lax, aims to engage veteran and newbie comics alike in comedy creation. Wednesdays at 8:30 p.m. Dirty Water: 816 H St. NE, DC // @adambomb Broken Mic’s Night Cap at DC Comedy Loft is the perfect spot if you’re looking for late night Saturday laughs. Hosted and produced by Brandon Moore, DJ Orlando Gaston and Mike Brown, a D.C. Comedy OG who also produces a monthly showcase called The Approved at the same venue. Saturdays at 11:30 p.m. DC Comedy Loft: 1523 22nd St. NW, DC // brokenmiccomedy.com Spaghetti on the Beach is the only open mic in Capitol Hill, produced by the lively Angel Penn and wise-cracking Mark Mensh. Tuesdays at 7 p.m. Hamilton’s Bar & Grill: 233 2nd St. NW, DC @spaghettionthebeach//
You can catch all of these comedians and more at Sonic Comedy Lab at The Village Cafe, produced by D.C.-based creative studio Studio Sonic and hosted by me, Joe Marshall. You never know what quite to expect at the Lab. From filmed comedy sketches to live musical artists and drop-ins from the likes of “Comedy Central”’s Devon Walker, the unpredictable show format appeals to the edgy, experimental artist in all of us. You can also catch our new show “The Experiment” at DC Comedy Loft, where the audience chooses their favorite upand-coming comedian to be featured on a future show. Sundays (monthly) at 7 p.m. Follow Studio Sonic on Instagram @studiosonic.co. The Village Cafe: 1272 5th St. NE, DC; Thursdays (monthly) 8 p.m. DC Comedy Loft: 1523 22nd St. NW, DC
CATFISH COMEDY
SONIC COMEDY LAB
THE COMEDYHEAVYWEIGHTSSHOW
If you want to see comedians roast each other’s self-esteem to smithereens gladiator style for your entertainment, then checkout “Colosseum Comedy” — a bi-monthly comedy roast battle from Catfish Comedy, produced by the hilariously quirky Vida McCahey and Joey Friedman. The show incites all the thrill and fear you felt back in the day standing around an after-school joaning session, or approaching the mean girls after you forgot to wear pink on a Wednesday. You can also catch Catfish Comedy’s weekly open mic and showcases in Adams Morgan. Tuesdays and Thursdays at 8 p.m. Follow Catfish Comedy on Instagram @catfishcomedydc. Shenanigan’s Irish Pub: 2450 18th St. NW, DC; City-State Brewing Co.: 705 Edgewood St. NE, DC COME SEE ABOUT IT COMEDY Thursdays this fall, you can pull up to Takoma Station Tavern and check out “Come See About It,” a weekly stand-up showcase hosted by Clarence Nixon, formerly known as Dude in Da Corner. Nixon, a 2021 Magooby’s Joke House Comedian of the Year semifinalist — who is often spotted wearing his signature track suit and wide-brimmed baseball cap — has a knack for booking some of the most talented comedians from Richmond to Baltimore (and Prince George’s County in between), including Patrice DeVeaux, Anthony Oakes and Bryant Tinker. Nixon’s blatantly raw comedic style sets the tone for a night of hilarious honesty that’s worth the watch. Thursdays at 8 p.m. Takoma Station Tavern: 6914 4th St NW, DC; takomastation.com // @comeseeaboutitcomedy@takomastationtavern;
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Kevin Seefried at Batting Cage Comedy. Photo courtesy of subject.
If you’re looking to spend a nice, brisk evening of laughter in D.C.’s historic Mount Pleasant neighborhood, then stuff a bottle of Jack Daniels under your coat and slide through The Heavyweights Comedy Show, a monthly BYOB stand-up showcase at Lost Origins Gallery. Pour your favorite drink, take in a few new paintings and watch comedic art at play. The show’s branding boasts of ’90s sports nostalgia, as their flyers are stamped with legendary athletes in their prime. Frequented by DC Improv favorites such as Jason Weems, Paris Sashay and Rahmein Mostafavi, the talent at each of the monthly shows matches the promotion. The show’s “heavyweights” title is no joke — it’s produced by some of the most talented rising comedians in the area, including Jay Agbon, Dom Grayer and Matthew Deakins, whose comedic styles combine for an offbeat night of laid-back laughs. Fridays (monthly) at 8 p.m. Lost Origins Gallery: 3110 Mt Pleasant St. NW, DC; @theheavyweightsdc HOUSE RULES
LIFE How wig makers of D.C. theatre make characters come alive.
WORDS BY AVIVA BECHKY Strand by Strand
Once the wig is ventilated, wig designers go to town. For Einstein’s hair, Rosedahl bought hair in the color she wanted. That’s what Nesmith does too. Neither are expert colorists.
Wig makers often don’t come on board until soon before a play premieres. That’s because wigs are so individually sized that designers need to measure the actors’ heads before starting on the wig — so they wait until actors are cast and in town for rehearsal.
Danna Rosedahl started by taping a bag on Christopher Bloch’s head.
Anne Nesmith once constructed a towering white wig with a miniature ship perched on top. Another time, she fit a little pink faux hawk on a singer whose natural hair flowed to her waist. But the wig designer’s favorites are the ones you wouldn’t glance at twice on the street.
FROM LACE TO LOCKS
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“The fronts never look good; they’re too uniform,” Rosedahl says. “That’s why you see all the videos of a girl who’ll buy a wig and then hand pluck the whole front because the machine doesn’t know how to do it randomly.”
The practical requirements of a play dictate material, not just time constraints. While the most realistic wigs use human hair, dance-heavy and outdoor productions can make synthetic a better choice, because it won’t fade in the heat.
Avid theatregoers have most likely seen Nesmith’s work without ever putting a name to the hair. She’s designed wigs for major venues throughout the city: Signature Theatre, Arena Stage, Ford’s Theatre. And if she does her job right, tying hairs one by one and adding a delicate lace front to blend into the hairline, you might never know if an actor is wearing one of her pieces. Wig making is a painstaking yet often invisible process even though wig designers’ work is essential to theatre. As plays inch closer to their premieres, designers help bring a character to life.
“I’m really proud of some of my work that just looks like someone’s hair,” Nesmith says. “Because that is the goal.”
Nesmith says wig designers begin making molds by taping saran wrap or a bag over the actor’s head. They take measurements of the head as well, then transfer the base onto a wig block. Piecing together nets and lace over the mold creates the cap, the base of the wig. “There are a lot of different ways that you can build a cap,” Nesmith explains. “It’s nice to have a bit of a stretch cap, but sometimes you’ll build a wig that is entirely on this more delicateRosedahllace.”built the Einstein wig using a mix of nets and lace. She picked out the hair, mixing kinky and straight strands to give the character his chaotic look. Then came the timeconsuming part: ventilation. Ventilation is the process of tying each strand of hair, typically human hair, to the cap. In the back, designers sometimes knot multiple strands at a time, but toward the top and front, one strand of hair per knot creates the most realisticRosedahllook.spent about 40 hours ventilating Einstein’s wig — the equivalent of a full work week. Handmade work pays off, though. Machines just can’t produce the same result.
But wig, hair and makeup designer LaShawn Melton dyes her wigs at this stage. To obtain certain shades, like the red undertones she wanted for the “On Your Feet!” tour, she says she needs to dye the hair herself. “When I buy artificial or pre-colored hair, the texture, the quality is not the same as if I take some raw hair and color it,” she says. “It took me like three times to find the right shade in one particular week.” Once the hair is colored, the designer cuts and styles it. There’ll be another fitting, and another, and maybe another. Wig makers want to be sure the wig fits well, the color looks right and the style is flattering. When working on Einstein, Rosedahl wanted to get inside the scientist’s head in order to decide on styling his wig with pomade.“Ican’t imagine he showered every day because he’s too busy doing math,” Rosedahl says. “So, I tried to get it to look a little greasy at the root.”
As the wig and makeup supervisor for Ford’s Theatre, Rosedahl was responsible for making hairpieces for “My Lord, What a Night” last October. Bloch starred as Albert Einstein, and Rosedahl needed to recreate Einstein’s signature silver frizz for the play. First up: making a mold.
ONE PIECE OF THE PLAY
The process of designing Einstein’s wig didn’t start with that first fitting. It began months earlier, when a director and costume designer dreamed up their concepts for “My Lord, What a Night.”
Some theaters have stocks, but Nesmith has developed her own after 25 years in wig making. “I have a lot of wigs and just keep them in Ziploc bags sorted by color,” she says. Turned inside-out and braided, they keep for years.
Wig by Anne Nesmith. Photo courtesy of Nesmith.
It’s tricky work finding a balance between shortcuts and a natural look. Most of the time, Nesmith says she only has about a month to work her way from mold to complete look. Pulling pre-made wigs saves time.
“We’ve all done a pretty good job of creating whatever we’re creating here on stage. And then the icing on the cake is a wig,” Nesmith says. “Suddenly, you understand where you are and when you are.”
“Was it perfect? No. The stress that went into it, it was pretty intense. And it didn’t fit perfectly,” Epps says. “But I was proud that I manifested a product.” Still a self-described “newbie,” Epps is trying to push further into wig making. But her route is far from the only path: Nesmith studied design and technical theatre. Rosedahl took an apprenticeship. Melton went to beauty school. Each also had their own reasons for choosing theatre instead of working in a salon or with private clients. Epps loves the backstage vibes. Nesmith likes watching a character come alive. Rosedahl revels in the freedom of theatre. And Melton has ambition in spades. “I always knew I wanted my work to be seen,” Melton says. “I knew I didn’t want to be a behind-the-chair stylist. I wanted my work to be seen by thousands, maybe even millions.” Wig making for theatre may not be one of those careers kids dream of, but these designers found their ways into the industry and found incentives to stay: It’s calming. It’s creative. Designers have the power to make a character look beautiful or frightening or grim. Even when she’s ventilating a wig, working strand by tedious strand, Nesmith finds something to love. “I quite like to build [wigs]. Some people don’t because it is monotonous, and, I don’t know, it doesn’t seem like the most creative part of it,” Nesmith says. “But I really like that it is the start of something that’s going to appear transformative.”
Look for Rosedahl’s work at Ford’s Theatre and Shakespeare Theatre Company. Epps’ wigs appear in local theaters including Signature Theatre, Arena Stage and Hippodrome Theatre.
LIFE And beyond the necessities of a production, every actor, director and costume designer on the play has their own opinion. Even if the wig designer and actor are convinced a blonde wig looks great, Rosedahl says the character’s hair could still end up brown. “You can’t have an ego when you do wigs because you’ll think it’s great and it can get cut at any time,” Rosedahl says. “You just don’t take it to heart.”
See Nesmith’s wigs at annenesmith.com or @annenesmith1, and in theaters throughout the DMV. Melton’s work likewise appears throughout the DMV and is online at stylist1983.wixsite.com.
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Daphne Epps had worked as a wig runner for years — helping actors put on wigs each night and cleaning them throughout a production — when she got a job on “Ain’t Misbehavin’.” She planned to buy wigs and style them for the musical, but one of the actors had long dreadlocks that a storebought wig wouldn’t fit over. Facing her first wig designing job, Epps went for a big hairstyle, with piles and piles of teased strands to help hide some of the bulk.
FINDING THEIR PLACE IN THEATRE
She describes “boy jobs” as the set carpentry, lighting and audio components of a production, which are referred to as the technical jobs.
Signature Theatre’s Natalie Kurczewski sheds light on theatre costume departments.
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Everything else that goes into creating a costume: selecting the fabric, generating a pattern, constructing the garment, fitting and altering it to the actors’ body and delegating to a team of fellow drapers (the people who construct the costume) and stitchers (the people who add the finishing detail and alterations) — so when curtains rise on opening night, the designers’ vision becomes reality.
“I am not a costume designer. I am anSignatureengineer.”Theatre
“I have a lot of opinions about ‘boy jobs’ and ‘girl jobs’ and gender parity in this industry,” Kurczewski says. “Because costumes are considered women’s jobs, they’re also considered unskilled, despite the fact that I have a master’s degree in costume production.”
WORDS BY NICOLE SCHALLER PHOTOS BY ANDREW J. WILLIAMS III
The confusion behind Kurczewski’s position is rooted in preconceived notions associated with costume departments.
Associate Costume Director Natalie Kurczewski makes her position clear right away. When people learn she works in a costume department, they assume she designs the garments, but Kurczewski insists, “I’m a terrible designer. I’ve never been interested in costume design.”
So, what is Kurczewski interested in?
COULDTHATENGINEERTHE
It’s this mindset that has propelled Kurczewski into leadership roles. In addition to her talents, she is unabashedly a champion for drapers and stitchers. “I hate the phrase, ‘Oh, she’s just a stitcher.’ There is no such thing as ‘just a stitcher.’ It’s a talent that not everybody has. I’ve hired people in the costume room that have told me they know what they’re doing, and then they don’t and are not asked back. These garments are too important to me. I want every single person sitting in the audience to marvel at how beautiful the costumes are, even if I didn’t make them.”
“I realized that because I know how to drape, how to make patterns, how to cut prints, how to stitch, I can step into any position on this floor if someone is sick.” While Kurczewski notes that she will have to learn the financial matters of running the department for the position, she is eager to learn and take on the next chapter of her career as a leader — even if she is reluctant for the title.
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See Kurczewski’s costume work on stage with Signature Theatre’s current shows: “The Color Purple,” open through October 9, and “No Place to Go,” open through October 16. To see upcoming times, purchase tickets and view the complete schedule of shows playing this season, visit the theatre’s website.
“I never wanted to do this, but I am so proud and humbled that I was asked to, and [that] people trust and believe that I have the right skills to do it. I don’t know everything yet, but I’m willing to try. I’m willing to make sure every single person who comes into this room to work with me is protected, cared for and treated in the best possible fashion they can be treated.”
Since returning from the UK, she’s worked at Signature Theatre since 2015 as the Associate Costume Director aside Costume Director Frederick Deeben. As second in command, she delegates and makes sure the costumes are of quality and completed on time. With her high standards, organization and time management skills, Kurczewski tries to offer drapers and stitchers flexible work schedules based on when they’re available and wants them to know they can use her as a resource.“Mycatchphrase is, ‘I’m here to make your job easier,’” Kurczewski says. “I want this to be collaborative. I don’t want to be the top of the heap. I just want to be the person that everyone can come to and say, ‘I have this problem’ or ‘How do you do Duringthis?’”theupcoming season, Deeben will step down as the costume director after “No Place to Go” completes its run on October 16. Signature Theatre offered the top role to Kurczewski, who initially declined.
Signature Theatre: 4200 Campbell Ave. Arlington, VA; sigtheatre.org // @sigtheatre Natalie Kurczewski.
“I don’t care how famous an actor is,” Kurczewski says. “They’re my coworker. And I can’t belittle or demean myself to be under them. Because that isn’t fair to me. Because we’re humans.” She quips, “They still have to take their trousers down to use the toilet.”
“I think as young as 12, I knew that my attention to detail was greater than other people’s,” she shares. Following high school, she earned a bachelor’s in apparel design at the University of Wisconsin-Stout and worked at a bridal salon, a handbag manufacturer and a costume rental shop before earning her master’s at the University of Wisconsin. Through connections from the graduate program, Kurczewski landed her first theatre gig at Shakespeare Theatre Company in D.C. in 2002. By 2007, she became a full-time draper for them. While Kurczewski was content with creating patterns and constructing as a draper for Shakespeare Theatre, she still had her sights set on mastering one last skill.
“I really like menswear,” says Kurczewski. “Menswear has rules. I like rules. Everybody thinks I’m a rebel, but I like having parameters. Womenswear, you can do anything; it’s all very arbitrary. But with men, you have standard rules and if you follow them, you are going to get a beautiful product. You shape the garments around the man. For instance, Cary Grant had all his shoulders built up because he had sloping shoulders.”Herinterest in menswear and obsession for detail made Kurczewski want to master tailoring. And one day the opportunity walked in. “One of the wardrobe people at Shakespeare walked past. I knew her name was Sue, and I knew she had an accent. And I said, ‘Sue, where’s your accent from?’ She’s like, ‘Oh, I’m from Stratford-upon-Avon. I worked at the Royal Shakespeare Company.’”Knowing the Royal Shakespeare Company in the UK has an excellent tailoring program, Kurczewski asked if her colleague could hand the Royal Shakespeare Company a letter inquiring about an internship to learn how to master tailoring suits. It resulted not in an internship but a full-time position as a principal men’s cutter for four years.
At the Royal Shakespeare Company, Kurczewski created and tailored costumes for a slew of famous actors. She ran into David Tennant, Patrick Stewart and Kit Harington, to name drop a few. While she has plenty of entertaining stories to tell about her time working with celebrities, she saw them as peers at the end of the day.
To shed light on unfair labels, Kurczewski once asked a theatre professional to describe what a technical director does. The colleague responded that a technical director takes sketched blueprints, decides how to build structures for the stage and delegates a team to complete the projects.
“And I said, ‘That’s what I do,’” Kurczewski recalls. Although all genders work across departments, Kurczewski notes the traditional stereotypes still linger in theatre. Costume department jobs on average are paid less than the technical theatre jobs. Despite industry inequity, Kurczewski is passionate about what she does. Growing up in Wisconsin with a family where all the women knew how to sew, she began stitching at 12 years old.
“The artistic director told me, ‘You are the perfect person to fill that position,’” Kurczewski says. “And I said, ‘No. I’m really good at making costumes, but I don’t want to be a manager.’ Then we started talking and 45 minutes later, I was completely convinced I was the right person for the job.” What convinced her was being told that she could still construct costumes while overseeing the department. And after a recent bout of Covid-19, where she was able to work from home while in quarantine, she realized that being in the top leadership role could keep the department on track, even if someone falls ill.
HH UZZA
“I saw Johnny performing and I said, ‘I gotta do this,’” Skaradek recalls.
Louie Skaradek is — pun intended — a Renaissance man. A regular at the Maryland Renaissance Festival, he is onethird of the wildly entertaining comedy juggling group The London Broil Show. However, the juggling doesn’t end there. His website, Level Up with Louie, offers a buffet of charming interactive activities, like magical live streams, drawing classes and Dungeons & Dragons adventures that satisfy any off-the-beaten-path itch. Skaradek has been touring Renaissance festivals with The London Broil Show for more than two decades. But the 202223 RenFest season will be the spry 48-year-old’s last huzzah, thus ending what is essentially the life of a traveling carnival worker. Having spent almost half of his existence on ye olde road, Skaradek has a lot to reflect on.
Growing up in Crofton, Maryland, a mere 15-minute drive from the Maryland Renaissance Festival, the faire life was practically a foregone conclusion. At the age of 16, Skaradek auditioned to perform at what most consider the best Renaissance festival in the country.
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“I split my body in half and did Romeo on one side and Juliet on the other,” Skaradek says. “I would switch back and forth doing various scenes and included some comedy. Unfortunately, I was too young for the cast.” Soon after, the Maryland Renaissance Festival started a program called the Young Actors Ensemble where they cast people under 18. Skaradek, along with former London Broil Show member Duncan Pace, won their auditions. But Skaradek’s first year working at the RenFest didn’t involve performing. Instead, he spent his days slowly walking ponies in a circle while children rode them. Still, Skaradek had access to the festival’s mainstage where he could watch Johnny Fox the sword swallower, a Maryland Renaissance Festival staple who passed away in December 2017.
So, he kept learning. A couple of guys from the festival’s juggling school would crash with Skaradek and his parents during the weekends. “They taught me magic and juggling and inspired me to get into it,” Skaradek says.
WORDS BY JENNIFER TISDALE
Skaradek and Pace decided they wanted to do something together, recognizing they had a mutual love of just “being silly.” It was time to put a show together.
A Renaissance Man’s Last
Introducing our new community events calendar at districtfray.com: a new spot to market your events, engage with our community and drive attendees. Our local community is vital to what we do and we are excited to continue our mission to make fun possible To submit your event, visit districtfray.com /submit-an-event.
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Louie Skaradek: levelupwithlouie.com // @littlempire_gamecraft. Maryland Renaissance Festival: 1821 Crownsville Rd. Annapolis, MD; rennfest.com // @mdrenfest
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“The festival is a nice place to just be who you are without judgment,” Skaradek explains. “Now, when the world is getting stranger, I feel like more people are showing up to be themselves and feel safe.” That shine certainly hasn’t worn off for Skaradek. His earliest memories of performing are with the Rennies, people who live and work full-time at the festival. The campgrounds are dotted with tents, tarps, trailers and the occasional couch or coffee table. “The community out there is a second family,” Skaradek says. “I’ve met so many wonderful people on the road. I’ve seen kids grow up out there.” Now, one of those kids is about to step into London Broil after Skaradek takes his final bow. But what does retirement look like for Skaradek? For the past two years, Skaradek has been partially focused on a business he started with his brother called LittlEmpire that designs unique Dungeons & Dragons sets. “I’m ready for the next adventure,” Skaradek says. “I have more and different stories to tell, geekier jokes to make.”
The Maryland Renaissance Festival runs until October 23. The London Broil Show will perform at the festival until September 25. Learn more at thelondonbroilshow.com.
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Since then, Pace has been replaced by AJ Lee, and London Broil added a couple more cities to the schedule, but it’s the Maryland Renaissance Festival Skaradek calls home. Written above its gates are the words “Prepare Thyself for Merriment,” and nothing could be more accurate. Upon walking through these gates, visitors are greeted by a symphony for the senses. Normally, the combination of dirt, bees, sticky treats, mead and a hot Maryland summer sun might make for a bad experience, but at the RenFest, it creates a world not of this world.
“Carolyn was very gracious and said, ‘Come on in and make an act out of it.’ So, we just plowed ahead and kept going every year.” They added Matt Connolly to the group and then real road life began. In 1999, they cobbled together a VHS tape of their act and sent it out to the Colorado and Minnesota Renaissance Festivals. This led to a contract with both and a minivan filled with three men, more balls than most and a touring life that rivals that of any local band.
Matt Connolly juggling at the Renaissance Festival. Photo courtesy of subject.
“We were making ourselves laugh a lot,” he says, chuckling at the Othersmemory.wereequally appreciative of what was forming. Maryland Renaissance Festival artistic director Carolyn Spedden gave them the space and freedom to cultivate their show.
He recently bought a booth at the Maryland Renaissance Festival where patrons can purchase LittlEmpire wares. Skaradek is swapping out glorious days under the unforgiving sun throwing nail-covered bats at his friends for a slightly cooler craft journey. “I’m staying in it enough to be connected to the family, friends and audience I grew up with,” Skaradek says. “I’ll be working in a booth where I get to be a wizard all day.”
WORDS BY NICOLE HERTVIK
THE
WECOMPANIESKEEP
The legacy of journalist Wendi Winters
On June 28, 2018, a gunman walked into the offices of the Capital Gazette in Annapolis, Maryland and killed five of the newspaper’s employees. It was one of hundreds of mass shootings in America that year, but to me it was a singular tragedy. Because this shooting took my friend. At the time of her death, Wendi Winters was a writer for both the Capital Gazette and DC Theater Arts, the local media outlet I publish. She was known for telling stories about everyday people in her community who did extraordinary things. At the Capital Gazette, Wendi wrote a popular “teen of the week” column. For DC Theater Arts, she was always willing to jump in her car to cover a small theater in an outof-the-way suburb. Writers like Wendi, who take the time to focus on the beautiful, magical everyday acts of their neighbors, are a treasure in any community. Wendi and her colleagues were never far from my thoughts in the years after the shooting. I was in awe of the fortitude shown by the surviving journalists at the Capital Gazette who were so dedicated to their craft that they published a newspaper the morning after the attack. I think about that a lot when I consider what it means to be a journalist in tumultuous times, and I wasn’t the only one impressed by their act of bravery. Journalists were named Time Magazine’s “Person of the Year” in 2018 and the Capital Gazette shooting survivors were featured on the magazine’s cover. This spring, nearly four years after Wendi’s death, I received an email from her son Phoenix. The Wendi Winters Memorial Foundation — run by Wendi’s four children, who were young adults at the time of her death — had selected DC Theater Arts as the recipient of a grant in their mother’s name. The timing of the email was uncanny. DC Theater Arts had just converted to a nonprofit, but we hadn’t made the news public. I had spent the previous months scratching my head, wondering how to plunge into this strange new world of foundations and donations, questioning if I had the fortitude to manage it. Here was someone who came along at just the right time and believed in me. It felt like a hug from a lost friend, and it was just what I needed to believe in myself.
The Wendi Winters Memorial Foundation approached us with very few stipulations. They had raised some money in their mom’s name, and wanted someone to use it to carry on her work writing stories about local community members. And boy, did I have ideas on how to do that. The biggest challenge in operating a niche journalism venture like DC Theater Arts is finding ways to compensate people adequately for their hard work. Finding inspiring things to write about is always the easy part. We collaborated and came up with a plan for DC Theater Arts to use the funds raised by the Wendi Winters Memorial Foundation to create a series of articles celebrating to create a series of articles celebrating the achievements of local theater artists.
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Or Vera Oyé Yaa-Anna. Vera is a West African storyteller who founded Oyé Palavar Hut, an organization using West African storytelling performances, dance, music and culinary arts to promote physical and emotional wellness. Vera hopes that by teaching people to value themselves she can steer them away from violence. Her dream is to “help children find their role in a larger story.” Then there are the many traditional theaters doing amazing work despite the incredibly difficult circumstances created by Covid. D.C. boasts top-notch theatre companies that focus on a variety of niche genres: Commedia dell’Arte (Faction of Fools), nerd culture (Flying V), Irish theater (Solas Nua) and Spanish-language theater (GALA Hispanic Theatre) to name just a Despitefew. its reputation as a political capital, D.C. is a city full of arts professionals brimming with skill and passion. We want to sing their praises. Knowing that this work will bear Wendi’s name is bittersweet. It is also an honor — one I don’t take lightly. The best way I can think to honor Wendi’s memory is to carry forward the good that she put into the world. Wendi’s special skill was telling stories that would otherwise have gone unnoticed. Now, thanks to Wendi’s loved ones, DC Theater Arts will be able to tell the stories of our local artists. Now let’s go put some good into the world. DC Theater Arts: dctheaterarts.org // @dctheaterarts
71DISTRICT FRAY | LIFE Our Wendi Winters Memorial coverage will begin in September, typically the start of a new theatre season. The centerpiece will be a monthly series called “The Companies We Keep,” a deep dive into local theater companies that don’t get enough attention. We will explore each company’s goals, accomplishments and leadership style. We also plan to do regular profiles on local theater-makers: the people who are doing inspiring work with the goal of making our community a better place. Why is this coverage necessary? Because so much of the good that happens in our arts community doesn’t get reported. Did you know, for example, that Washington, D.C. is home to nearly 80 professional theatre companies? Most people aren’t aware of this because despite the robust quantity — and quality — of art being produced in the region, mainstream publications have continually decreased their arts coverage in recent years. There is real magic happening here, but so much of the good work that is happening in our arts community doesn’t get covered. DC Theater Art wants to change that. Here are just a few of the amazing artists I look forward to profiling in the coming months: Eva Thorpe was 23 years old when she founded Heart House Inclusive Productions in 2017. The nonprofit theater invites performers with disabilities to perform in mainstream theatre productions. Eva was inspired to create the organization by her brother Michael, a Broadway aficionado with Down syndrome, to give him a place to let his inner thespian shine. Wendi’s grant will enable us to share Eva’s story.
A VARIETYPUTTINGGUIDEBEGINNER’STOONASHOW PLAY WORDS BY BREE RODRIGUES-OLIVEIRA
Dandy: Although there is a place for nearly everything in variety, there are some types of acts that have been done more often than others. This is where going to shows helps a lot — you can see what else is out there and consider how you’d put your own spin on it to make it new and exciting. I recommend taking clowning classes. Do I need a defined character, or can I just be me?
A community that embraces your eccentric interests is a must for many. Whether you’re a LARPer or sports fanatic, it’s great to have a squad to share all your fun-loving antics. And nothing beats the energy of the “Yolks on You” crew.
An event geared towards silly attitudes and naughty jokes, what really struck me about YOY is the inclusivity in their shows, and how the companions produced a loving practice toward humor. From body positivity to multi-cultural exuberance, D.C. variety shows like YOY’s are a space for community building. And after speaking with Dentata and Dandy about the ins and outs of slapstick humor, District Fray is proud to present the D.C. beginner’s guide to variety shows.
Dentata: Burlesque is most common because it’s probably the easiest to get into. Plus, there’s so much you can do with it, and you can incorporate other artforms into burlesque as well. Obviously, you don’t want to shoehorn a skill into a burlesque act, but if it fits your act, do it.
Dandy: Shows have been held in so many different places. In private homes, dive bars, dance studios, music venues, restaurants, at music festivals. You don’t need a venue with a stage. Get creative as far as venue goes. You aren’t limited by what folks have done before. But of course, it’s helpful if the venue is reasonably accessible by public transportation. What artforms are most used?
Dentata: Great question. I don’t think I really have a persona. It’s really just my “on” personality. I’m funny; I love making uncomfortable eye-contact with people, and I make over-thetop faces.
What’s an example of a character you enjoyed embodying onstage?
You can absolutely figure out your performance style by playing around with friends. I would recommend going to as many shows as you can. It’s so helpful to watch other performers in the area. You can further refine your opinion on the styles and art forms you like. And if you want to start performing, it’s helpful to meet producers and performers so they have some familiarity with you once you start applying to shows or posting casting calls.
Dandy: Variety is such a catch-all term — what you can bring to the variety stage is near limitless. That’s what I love about what we’re doing. It’s a different show every time, simply because there’s no end to what’s possible.
Dentata: Grandpa Joe (from “Charlie and the Chocolate Factory”). I’ve always been fairly skeptical of him and his motivations. He lies in bed for years while his family is starving around him and only gets up when he gets a free ticket to a candy factory? That’s sketch. I took that and created a leech character for him. Lots of pelvis wiggling.
Dandy: Waluigi. You can do anything you want with him. He’s someone whose personality and lore are really fan-driven. The only thing you really know about him is that he’s strange. Working with others: How do two goofballs collaborate?
Where can we put on variety shows? And which venues are willing to hear pitches for new shows?
Dandy: Variety is one of those things that is very collaborative. People want to help each other. When you help someone succeed, that benefits both that person and yourself.
It depends how you approach the community. If you come in not acknowledging the existence of the variety scene and the work that’s been done before you, or asserting that you’re going to do it better, the reception you’ll get will be, at best, skeptical. This is where getting to know folks in the scene can be super helpful.
Jim Dandy: You should think about what you enjoy. If you don’t enjoy what you’re doing, that will come across. Loving what you do is a huge piece of it. Is the variety show community welcoming to Dentata:newcomers?
Dentata: As much as you want. What I like about variety is that there are no limits, aside from what the producer wants to put on their stage and what the audience will enjoy and pay to see. Do you want to sexily bathe in a bathtub of blood? London St. Juniper does. Do you want to spin five or more hula hoops in increasingly complex shapes? Erin Jeannier does. Do you want to get up on stage and sing songs about monsters? Dr. Dour & Peach do.
Dentata: I think this is another place where it’s helpful to make your rounds and make yourself known. It’s so helpful to pitch venues that you’re familiar with, whose patrons you are familiar with, and whose staff members know you. When we pitched “Yolks” to the Bier Baron in late 2017, we’d been performing there and enjoying their beer selection for years.
Photo by Stereo Vision Photography. 73DISTRICT FRAY |
Dandy: There is really no wrong way to do it. When you’re starting to create a character, it’s easiest to be a bigger version of yourself. Think about who you are and who you want to be onstage.
Dentata: As a producer, find someone whose work style meshes well with yours. If you and your co-producer are both consistently Type B people, that might impact how prepared you are come show day. As a host, you have to keep it moving.
District Fray: Can variety be just goofing around with Delilahfriends?Dentata:
Organized by clowning dynamo Jim Dandy and D.C.’s own “Brazilian bombshell” Delilah Dentata, Yolks on You (YOY) blends burlesque and slapstick tomfoolery into one brunch showcase.
It’s a variety show, but how much variety can there be?
Jim Dandy and Deliliah Dentata.
Dandy: Understand that your way of doing something isn’t necessarily everyone else’s way of doing something. It goes back to the “yes, and” attitude. Shows are a collaborative effort. If something works for a performer and brings the audience joy, it’s the right way to do it.
Yolks On You returns to Bier Baron Tavern on September 18. You can buy tickets at dccomedyloft.com.
Dentata: At a very basic level, you need to respect your cast and your audience. You’re not a producer without them. Your cast members are trusting you to provide them with a professional, enjoyable experience. Your audience members took time out of their day and paid money to see your show.
First, you need to have no tolerance for -ist or -phobic bullshit. You need to strive in each interaction to make your performers and audience members feel that they can come to you with concerns. Next, you need to be open to hearing you messed up. We’re all imperfect, and we all have unconscious biases.
DC Comedy Loft and Bier Baron Tavern: 1523 22nd St. NW, DC; dccomedyloft.com // @dccomedyloft; @bierbarondc
74 | SEPTEMBER // OCTOBER 2022 PLAY | BEGINNER’S GUIDE
Dandy: Don’t forget the audience. Sometimes when I’m doing an act, I can get caught up in my choreography and forget to play with the audience. Engaging the audience is just as — if not more — important than choreography. What is one value that each variety show should have?
Gauge your audience and cast’s mood, [and] proceed accordingly. As a performer, meet the deadlines the producer assigns. This is such an easy way to be seen as reliable and get booked more often.
Dentata: Have fun. We all get nervous before we go onstage, but the audience will have fun if you have fun. If you forget your entire choreography, c’est la vie. Keep it moving. Something I like to do for myself is leave at least a few bits of my act unchoreographed, so I have time to improvise.
Dandy: As a producer, I work well with Delilah because we have a similar mission, humor and philosophy around what we want variety shows to be. We complement each other’s strengths and weaknesses. As a host, try to talk to everyone before you go onstage about their act. The audience doesn’t care where you’ve been, what gigs you’ve had and what you’ve done. They care about the next person who is coming onstage to perform. You’re there to make the performers shine. As a performer, recognize that you’re part of a team. To borrow a page from the improv world, cultivate a “yes, and” mindset. What can a new variety show do to make sure all bodies and lives are Dentata:respected?
Dandy: Variety thrives because it’s variety. You can’t have true variety if you don’t create spaces where people with different backgrounds, experiences, thoughts, bodies, appearances and disciplines can feel welcome and free to be themselves. What is important to remember in these high-energy and fun-loving spaces?
PLAY BALL FALL!THIS DCFRAY.COM/FALL2022 REGISTER AS SMALLINDIVIDUALANGROUP OR FULL TEAM AT: FALL’22 TEAM REGISTRATION ENDS SEPT 6 BAR REGISTRATION ENDS SEPT 13 Basketball | Dodgeball | Flag Football | Hockey | Kickball Soccer | Softball | Ultimate Frisbee | Volleyball Bocce | Cornhole | Skeeball | Tennis | Yoga LET’S PLAY!
CITY”“DARKWITHPIVOTING
77DISTRICT FRAY | PLAY A city built around a tree; its residents desperate to climb up: That’s the image that Gregory Keng Strasser says kickstarted his project “Dark City.”
“If you like reading scripts, this is just an illustrated and interactive script,” Eskandari says.
As for what the environment looks like: Aeolus City’s design draws from Bangkok, Taipei and Shanghai. The written language pulls on the scripts of Thai and Telugu. The characters’ get-ups are inspired by Thailand Fashion Week. Research may be par for the course in theatre, but the player’s power and divergent endings represent a shift — for fans, and for creators. Strasser learned to program for “Dark City,” getting inspiration from other games and advice from online channels. Eskandari, who had previous experience with games, helped him find parallels.
“Assets were props, backgrounds were scenic design,” Strasser chimes in.
“I think that hearkens back to an identity that Sara and I both share as biracial people,” Strasser points out. “Because I’m Chinese and white. I have always felt a little bit of out-of-placeness.”Butamongthe“Dark City” team, he found community, making a game Eskandari describes as “by biracial people” and “ultimately intended for them.”
Other than that, the two groups are phenotypically identical — a deliberate choice, and a rejection of most fantasy norms.
The fantastical world of “Dark City” tackles capitalism, corruption and crime, in a story developed by Strasser, artistic lead Sara “Dari” Eskandari and their team in concert with 4615 Theatre Company. The characters have complex backstories, the plot is full of ups and downs, the dialogue is realistic. But “Dark City” isn’t a play. It’s a video game. Released last year, “Dark City” represents a pandemic-forced pivot for 4615, a Bethesda company. As theaters wrestled with how best to show off their work, D.C. theatre director Seema Sueko helped Strasser change his mentality.
“‘Audiences, they still exist. They’re hurting, but they still exist. Artists, they still exist,’” Strasser says Sueko told him. “‘What has been damaged beyond repair is the method of delivery by which the theater artists get their art to the audiences.’”WhenStrasser pitched his friend Eskandari on the project, that’s the exact line he used. Preserve the art, the personality, the drama — but make it accessible.
The worldbuilding is equally deliberate. The Vassari ethnic group dominates Aeolus City, oppressing the other residents, the Edda. Thicker patterns swirling on their faces distinguish the Edda from the Vassari’s thinner-lined character design.
Eskandari says they could tell everyone on the notably diverse team cared about telling a strong story, and a respectful one. They’re blunt about the lesson they learned from that experience, the lesson they want the “Dark City” audience to take away: “Diversify your f---ing teams.” Visit 4615theatreco.itch.io to purchase, download and play “Dark City.” The first episode is available for free.
Strasser offers a quick example: Clicking around at a mysterious power plant helps gather evidence. Later in the game, the player can use it to confront a police officer.
And if you like excitement? Well, “Dark City” has action aplenty: Juda’s sister Paaya is murdered, investigative journalist Liki starts digging around and the squeaky-clean environmentalist facade of Aeolus, the city-in-a-tree, begins looking more and more murky.
“We really, really, really, really, really wanted to avoid what many fantasy genres tend to do, in which they have different ethnicities within a race have inherent magical powers between one ethnicity or another,” Eskandari says.
“By using some of the evidence you’ve gathered in that environment, it makes the job a lot easier for you,” he says.
Vocab swap aside, Eskandari’s outfit designs measure up to that of any costume designer. Juda’s leafy green shirt, the delicate yellow flowers around his waist, Liki’s fuschia floral earrings: Eskandari wove the solarpunk environmentalist aesthetic of Aeolus City into every detail.
Gregory Keng Strasser: gregorykengstrasser.com // @lil.scallion.pancake Sara “Dari” Eskandari: seskanda.artstation.com // @_seskanda
WORDS BY AVIVA BECHKY
That’s because “Dark City” isn’t about inherent genetic differences. Magical distinctions between the Edda and Vassari are all cultural, concerned with questions of identity andThroughheritage.side character Gideon, a mixed Vassari and Edda character, the creators talk about passing and internalized racism. With Liki, Paaya and Juda — all Edda — they push back against the token one-character-of-each-race that’s so typical in fantasy. And by making Juda an immigrant to Aeolus City, though many Edda are Indigenous to the area, they ask questions about belonging and assimilation.
The game is a visual novel, a form of interactive digital storytelling. Players alternate between being Juda or Liki in each of the four chapters, with three different ways of affecting the storyline: extracting information from other characters, searching for clues in the environment and making decisions in a quest to keep allies and build a case.
“I actually had a dictionary that I gave you and Aria [Velz, who contributed work,] of translating video game terms to theatre terms,” Eskandari reminisces with Strasser.
“It’s always about trying to get to the top,” Strasser says. “Inevitably, as you’re trying to rise to the top, you’re going to knock people out of your way, and they’re going to fall, right? And there’s no way to cushion a fall from verticality.”
The 2022 tournament this fall may draw even higher numbers. With the Women’s Euro 2022 Final setting a new attendance record for soccer overall, the U.S. Women’s National Team can also expect large viewership as they look to defend their two consecutive World Cup trophies in summer 2023.
PHOTO BY NICOLE SCHALLER HOW TO ENJOY SOCCER INGAME
A CAPITAL WORDS
Whether you call it fútbol, futebol, Fußball, footie or soccer, here’s a primer on watching “the beautiful game” in the District. A “Round” the District While soccer’s popularity continues to increase around the U.S., the game is nothing new in the District. The Washington Senators, better known for baseball, fielded one of the first professional teams in the country in 1894. Thirty years later, the Dick, Kerr Ladies FC, a superstar-laden English women’s team named after their founders, garnered national press with a dramatic 4-4 draw against a local men’sRFKteam.Stadium housed four shortlived men’s teams from the 1960s to the 1980s, including the Washington Darts, coached by Lincoln Phillips, the first professional Black soccer coach in the U.S. Phillips, originally from Trinidad and Tobago, later led the Howard Bison to two undefeated seasons and two NCAA championships. D.C. United was founded in mid1990s, the same year D.C. hosted four memorable World Cup games. The Black and Red won three of the league’s first four championship games, the first dynasty in Major League Soccer (MLS). Now, with former Manchester United and D.C. United player Wayne Rooney back as head coach, winning ways may return. BY CHAD KINSMAN
The game’s significant presence in D.C. is not surprising: D.C.’s a global city. While walking all corners of the District, people proudly sport jerseys from national teams like Colombia, Japan and Portugal, and clubs from around the world like Arsenal, Barcelona and Cruz Azul. Social leagues swarm neighborhood fields. Add in our two professional teams and you could say soccer is the District’s game, too.
Soccer is the world’s game. FIFA, the sport’s global governing body, estimates almost half of people on Earth tuned in during the 2018 Men’s World Cup.
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D.C.
Current National Women’s Soccer League (NWSL) champions, the Washington Spirit, started in 2012. Their roster teems with many of the league’s most exciting players, including Ashley Hatch, Ashley Sanchez and Trinity Rodman, as well as veteran U.S. defenders Emily Sonnett and Kelley O’Hara. Games, Games, Games
For Arielle Bodner, a soccer fan working in youth programming, watching a game in the supporter’s section at Audi Field is the best way to enjoy soccer in the District.
“The welcoming environment makes it so much more enjoyable than watching at home. There is cheering, chanting and all-around excitement.”
With so many leagues and competitions, soccer’s restless calendar can be overwhelming. European domestic leagues compete late summer to late spring, with most games on Saturdays and Sundays. In North America, MLS, NWSL and Mexico’s Liga MX run the opposite, from spring to fall. Club teams compete weekly, amassing points for wins and ties (draws). Whoever has the most points at the end of the months-long season wins. “Derbies,” when teams from the city or region vie, are highlights of domestic leagues. Clubs — as well as national teams — also play in tournaments for cups (trophies). These fiercely contested games usually must have a winner. Penalty shoot-outs and over (extra) time often occur. Europe’s annual Champions League and the quadrennial World Cup are two of the biggest tournaments, having produced many of soccer’s most iconic moments.
UNITED FAN CLUBS
TVs, seven DIRECTV boxes, four Apple TVs, three Rokus, Dish and four sound zones, Across the Pond can stream almost any game you want to see. They specialize in England’s Premier League, fitting as D.C. consistently tops the average viewership ratings according to NBC, the Premier League’s U.S. broadcaster. Three Premier League fan clubs — the DC Toffees, D.C. Hammers and Nottingham Forest Washington DC — call Across the Pond home. Watching a game with a fan club is a great way to learn about a club’s players, history, chants and overall culture — and also to talk tactics and trash. Waters is particularly excited about the upcoming World Cups given D.C.’s diversity and Across the Pond’s proximity to Embassy Row. His staff is already prepping for early morning games.
+ SPIRIT
Elephant & Castle on Pennsylvania Avenue, home to D.C.’s Penya Barcelonista group, is a good stop for Spain’s LaLiga games. Fans of the German Bundesliga should check out Capitol Hill’s Biergarten Haus.
Hitting the Bar
As for Italy’s Serie A, Lupo Verde on 14th is a great place to watch.
An OG United fan group that also reps the MLS and local charitable causes like DC SCORES. screaming-eagles.com // @screamingeaglesdc 202 UNIQUE D.C.’s soccer fan club for members of the queer community and their friends, families and allies. @202Unique on Twitter Squad Goals
Across the Pond: 1732 Connecticut Ave. NW, DC; acrosstheponddc.com // @acrosstheponddc
SCREAMING EAGLES
“We have incredibly talented players who have won World Cups, Olympic medals and have been called up to the National Team,” Bodner says. “They deserve the same amount of support given to male athletes. When young fans see thousands of people cheering and supporting their favorite team and players, it leaves an impression on them.” When, where and however you choose to watch soccer in the District, Waters and Bodner have the same advice. You don’t need to know the rules or the teams or the players; if you show up, you’re on the team.
Biergarten Haus : 1355 H St. NE, DC; biergartenhaus.com // @biergartenhaus Elephant & Castle: 1201 Pennsylvania Ave. NW, DC; elephantcastle.com // @elephantcastle Lupo Verde: 1401 T St. NW, DC; lupoverdedc.com // @lupoverde.dc
79DISTRICT FRAY | PLAY
Whether pumping your fist in victory or holding your face in despair, watching soccer with company is one of the best ways to experience its dramatic allure. To celebrate or commiserate with fellow fans, you can head to a soccer bar like Dupont Circle’s Across the Pond, owned and operated by Michael“WhenWaters.people are here watching games, the atmosphere is electric,” Waters says. “Big matches are very exciting. The door’s always revolving. It’s standing room only. It’s phenomenal how much Americans have adopted EuropeanEquippedsoccer.”with16
LA BARRA BRAVA United’s raucous fan group bringing South American and Latinx verve to D.C. soccer. @barrabravadcu // @Barra_Brava on Twitter ROSE COLLECTIVEROOM A new United and Spirit supporter group that seeks to include and amplify the voices and experiences of fans of color. roseroomcollective.com // @roseroomcollective
She makes a point of supporting the Washington Spirit and stresses the impact the team can have on younger fans.
Chelsea v. Tottenham Hotspur at Across the Pond on August 14.
Woolly Mammoth’s Maria Manuela Goyanes (L) + Folger’s Karen Ann Daniels (R). Photo by Andrew J. Williams III. NOTE: Check districtfray.com for the answer key.
FUN | PHOTO HUNT CAN YOU SPOT THE SEVEN DIFFERENCES? If you read Colleen Kennedy’s cover story, “A Changing of the Guards,” on page 4, you might be ready to tread the boards. Keep your Shakespearean dream alive by playing this month’s photo hunt. Do your best to spot the differences.
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81DISTRICT FRAY | CROSSWORD | FUN
REIMAGINEDTHEATRECROSSWORD
NOTE: Check districtfray.com for the answer key. BY MYLES MELLOR
ACROSS 1 Tony Award-winning theater in Arlington 8 The One in ‘’The Matrix’’ 10 Broadway musical described as “Pure GENIE-US” _____ District: championing the art of autobiographical descriptions of personal experiences “___ Miserables” 15 Polish a story, e.g. 17 K street restaurant run by Chef Baker You’ll see it on stage 21 Laughter sound Theater productions 23 Decorative supports in architecture 24 Morning time, abbr. 25 Underground Comedy club now based in Adams Morgan 28 Broadway classic, “Mamma ___!” 32 “The greatest” boxer 33 Taint 34 Florida Avenue restaurant serving Salvadorean/Mexican food, 2 words 38 Diamondbacks on scoreboards Have a good meal 40 New visual novel video game available from the 4615 Theatre Company, 2 words “____-Team” DOWN 1 Theater that recently staged King Lear 2 Minimalist, industrial chic, Michelin star-rated restaurant on Okie Street 3 Includes 4 Large coffee pot 5 Nav. rank, abbr. 6 Penn theater that produces edgy and thought-provoking new plays, 2 words 7 James Joyce novel 9 Charming alien of film 12 Riddle-me-___ 13 Sound bounce back 16 “Hellboy” director Guillermo ___ Toro 18 Young friend of Falstaff 20 Norway’s capital 23 Liza Minnelli musical 26 Denzel Washington film, “The Book of ___” 27 Eat out 29 Des Moines state, abbr. 30 _____ Stage that recently produced the groundbreaking new musical, “American Prophet” 31 Headliner 35 “Raiders of the Lost ___” 36 Emcee tool 37 “Can’t Help Lovin’ ___ Man” (“Show Boat” classic song) Since this is our Performing Arts Issue, we decided to test your thespian brain. We sprinkled in clues about local and national theatre, mainstream and avant garde troupes, D.C. comedy clubs and some fuel for all performers. Now, it’s time to get the show on the road.
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Ashes Ashes to BY NICOLE SCHALLER
District Fray: How do you choose which character to cosplay? Anita Riggs: What character makes me feel good is the character I tend to cosplay. And I like to feel strong, so I often cosplay characters that are strong.
Last year, you started the CosGala. The second CosGala is on September 17. Why did you want to create your own cosplay event?
I tend to gender bend, which is cosplaying as male characters, and bringing them to life in my own way. I also love playing villains. Why villains?
With over 17,000 followers on Instagram, Riggs’ cosplay origin story happened organically while living in Japan, teaching English through the Japanese Embassy.
Villains tend to have really good characterization and often dress better than our heroes. And sometimes their stories are compelling, even though they’re not the hero. So, Akuma from "Street Fighter" is one I really enjoy cosplaying because he’s diligent and has an honor code. He won’t fight you if you aren’t on the same level.
“In Japan, a lot of our co-workers had events that you dress up for, like Halloween, and just anything themed,” Riggs says. “I would have these opportunities to dress up, and because I am all about the theme, I realized I really liked doing it.” When she returned to the United States, she noticed that cosplay and anime had become more mainstream and decided to try dressing up and attending conventions. With a dual degree in art and mythology and a love for anime, the writing was already on the wall.
Think of it as the Met Gala but for nerds. You know how designers make clothes for the stars? Well, we make our own things, and we present them at the gala. It’s a space for creatives and like-minded people to get together and commune and network. And it’s a talent show in a sense, because I am trying to showcase a lot of talent around the area and build up the art community. I just don’t think that our local talent gets enough love. When I go to any type of event that showcases talent or has guests, very often they’re not from the DMV. Also, I love big fancy balls. What is the inspiration behind the garment you are going to wear at the CosGala? I came up with this year’s theme, cyberpunk. I am a "Star Trek" fan. And in one of their most recent show, “Star Trek: Discovery,” there was a mobile suit kind of character in that I just was like, ‘Oh, that is cool. How can I take that and make it a gown?’ And that’s the point of the gala. I want people to expand their minds, to try new things and combinations you’ve never tried before and see what kind of doors will open. How was your experience joining the cosplay community? I kind of just did my cosplay, went to conventions and then went home. But once I started becoming friends with people in the community, I dove all the way in. I’ve had mostly positive experiences, but I’ve also had negative experiences on the internet because people don’t like to see you enjoy the things you do if they don’t think you fit a certain mold or a standard. And I really try to use my platform to debunk all those kinds of thoughts. The whole point of cosplay is it’s supposed to be fun. It’s supposed to be for everyone. It’s supposed to be something where people can get together and enjoy fandoms and literature and art and everything that comes with whatever mutual thing that you like. And there shouldn’t be a color barrier. There shouldn’t be a weight barrier or a height or an age barrier. As a culture, we’re still stuck on those barriers, and I’m just very against that idea. I never went into this thinking I was going to be an example. But as I’ve gone on, I realized that I am an example for other people so they know that they can dress up as whoever they want.
uisa from “Encanto,” Velma from “Scooby Doo” and Korra from “The Legend of Korra” fill Tranquil Ashes’ Instagram grid. In the cosplay photos, artist Anita Riggs, aka Tranquil Ashes, is not only dressed as each character but embodies their mannerisms. In the Luisa photo, taken at this year’s AwesomeCon, Riggs proudly flexes and poses next to a beaming young fan.
The CosGala: CYBERPUNK is September 17 at 6:30 p.m. at Martin’s Caterers in Baltimore. To learn more about the event and get tickets, visit beacons.ai/thecosgala or follow them at @thecosgala. To stay up-to-date with Riggs, follow her on Instagram @tranquil_ashes or on Twitter @TranquilAshes.
Now eight years later, Riggs is a guest at conventions, has a growing following and is carving out spaces in the community for BIPOC cosplayers to connect. Last May, Riggs created Black MerMayDay, a day in May “for all aquatic melanin fantasy cosplay.” We spoke to Riggs about the upcoming gala she founded, got some makeup tips and learned the ethos behind her character choice.
Tranquil Ashes. Photo courtesy of subject. What costume took you the longest to get ready for? Rose Quartz in battle armor. Farthest place you’ve traveled for a convention? California. Disney Channel, Cartoon Network or Nickelodeon? Cartoon Network. Favorite literary-based fandom? “Game of Thrones.” What are your makeup brand recommendations for foundation? Fenty or Make Up For Ever. For a cheaper option, NYX. For eyeshadow? ColourPop. For eyeliner? Kat Von D. She has this mini brush one that is so precise. For lip gloss? NYX or ColourPop. Best makeup remover? Virgin olive oil.
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83DISTRICT FRAY | IN OTHER WORDS
84 | SEPTEMBER // OCTOBER 2022 BECOME A SPONSOR /////////////////// /////////////////// Basketball DodgeballBocce Flag Football TriviaTennis VolleyballUltimate Frisbee CornholeYogaKickballHockey Skeeball Soccer Softball DCFRAY.COM/LEAGUES MAKING FUN POSSIBLE JOIN A SPORTS LEAGUE TODAY SPORTYOURFIND
85DISTRICT FRAY | BECOME A SPONSOR ///////////////////
The Brig is a German beer garden nestled in the heart of D.C. In this open-air beer garden, you can enjoy your favorite German fare and a wide selection of beers and cocktails. 705 Edgewood St. NE, DC | 202-525-4410 citystatebrewing.com | IG @citystatebrewing | TW @citystatebeer
As You Are exists to hold and cultivate a safe and celebratory space for the LGBTQIA+ community. Café by day, bar and dance lounge by night, As You Are welcomes LGBTQIA+ patrons, from all walks of life, and allies in a versatile haven for queer expression and connection. 500 8th St. SE, DC | 202-506-1440 asyouaredc.com | @asyouaredc Our restaurant and bar offers authentic German-American food and delicious beer. With long communal tables and 20 TVs throughout, Bronson provides our guests with a traditional German feel. This is the perfect setting to spend time with family and friends. 4100 Fairfax Dr. Arlington, VA | 703-528-1110 bronsonbierhall.com | @bronsonbierhall 1007 8th St. SE, DC | 202-675-1000 thebrigdc.com | @thebrigwdc
City-State makes the best beer and beverages in the District, and our taproom is a special place. We’re on the Metropolitan Branch Trail, and just steps from Rhode Island Avenue Metro. Open Tue-Fri—find your District with us. Book your next special occasion at City-State, and be sure to check out our events calendar. City-State—the Flavor of the District. Contact james@unitedfray.com for partnership opportunities.
86 | SEPTEMBER // OCTOBER 2022 BECOME A SPONSOR
1901 N Moore St. Arlington, VA | 703-317-7443 (beer garden) | 703-465-7675 (pool lounge) continentalpoollounge.com | @ cplrosslyn Enjoy Continental’s half-priced game rates until 5 p.m. Monday through Friday. Our beer garden is dog and family-friendly (under 21 must be accompanied by a parent or guardian; valid ID required to purchase alcohol). 232 2nd St. NW, DC | 202-347-6555 hamiltonsdc.com | @hamiltonsdc Hamilton’s Bar and Grill has great drink specials, fantastic comfort food and top notch service. Come check out our ALL-DAY Friday happy hour with $2 PBRs and High Lifes and you’ll see why we’ve been a Capitol Hill institution since 2006.
Welcome to the newly rebranded Clubhouse, a one-of-a-kind space for everyone. Happy Hour is from 5-7 p.m. with $8 wines/beer and $10 cocktails. Our event space offers a catering menu with authentic pizza. Book an event today in one of Georgetown’s largest venues. clubhousedc.co | @clubhouse_dc 1070 Wisconson Ave. NW, DC | 202-847-0953 2447 18th St. NW, DC | 202-986-1742 grandcentraldc.com | @grandcentraldc Grand Central serves delicious classic American favorites year-round for dinner Monday through Sunday. We also offer sports betting. Please visit our website for more details. grandcentraldc.com | grandcentraldc 2447 18th St. NW. Washington, DC 20009
87DISTRICT FRAY | BECOME A SPONSOR hilawndc.com | @hilawndc 1309 5th St. NE, DC | 202-481-0958 Located on the Rooftop at Union Market, Hi-Lawn is one of D.C.’s largest, most expansive rooftops for outdoor dining, drinking and socializing. We’ve got fun events every night of the week, from trivia and bingo nights, to live music and DJs, plus lawn games, picnics, grilled eats, creative cocktails, all with city views. 3181 Wilson Blvd. Arlington, VA | 703-312-8888 spiderkellys.com | @spiderkellys Spider Kelly’s is your local neighborhood bar. In 2016, Spider Kelly’s converted parking spaces behind the bar into a huge beer garden. The space has plenty of room to host priviate events. Kelly’s Irish Times is a quaint, sometimes boisterous Irish pub, with great food, perfect cold pints, a wicked cast of characters behind the bar and a world-class jukebox. 14 F St. NW, DC | 202-543-5433 kellysirishtimesdc.com | @KellysIrishTimesDC 1340 U St. NW, DC 202-525-4188 Book your next private event at the ‘CLUBHOUSE.’ Email us to learn more about what we have to offer and how its free. sudhousedc.com @sudhousedc
PLAN YOUR DREAM VACATION
88 | SEPTEMBER // OCTOBER 2022 BECOME A SPONSOR The German themed beer garden’s Oktoberfest will feature four weekends chock-full of German cuisine, live bands, Bavarian games, DJ parties and of course lots of beer. The event is held from September 16 to October 9. More information can be found on our site. 1101 1st St. NE, DC | 202-123-4567 wundergartendc.com | @wundergartendc CALL 1-866-389-3051promo code N7017 TM * Prices are per person based on double occupancy plus up to $299 in taxes & fees. Single supplement and seasonal surcharges may apply. Add-on airfare available. Free date changes 100 days before departure for all land tours and cruise tours. Deposits and final payments are non-refundable. Onboard Credit requires purchase of Ocean View or Balcony Cabin. Offers apply to new bookings only, made by 9/30/22. Other terms & conditions may apply. Ask your Travel Consultant for details. BEST OF HAWAII FOUR-ISLAND TOUR GRAND ALASKAN CRUISE & TOUR Oahu • Hawaii Island • Kauai • Maui — Enjoy a fully guided 4-island Hawaiian vacation with centrally located lodging in Waikiki on Oahu, and beachfront lodging on the “Big Island” of Hawaii, Kauai, and Maui. Guided throughout by our friendly Tour Directors—your local experts. Includes 3 inter-island flights. Vancouver • Ketchikan • Juneau • Skagway • Glacier Bay • Denali Anchorage • and more — Visit Denali National Park and Glacier Bay National Park on the same incredible trip! Cruise through the Gulf of Alaska and the Inside Passage as you discover the best of the Frontier State by land and by sea. 12 days, departs year-round 12 days, departs May - Sep 2023
Oahu • Hawaii Island • Kauai • Maui — Enjoy a fully guided 4-island Hawaiian vacation with centrally located lodging in Waikiki on Oahu, and beachfront lodging on the “Big Island” of Hawaii, Kauai, and Maui. Guided throughout by our friendly Tour Directors—your local experts. Includes 3 inter-island flights. Vancouver • Ketchikan • Juneau • Skagway • Glacier Bay • Denali Anchorage • and more — Visit Denali National Park and Glacier Bay National Park on the same incredible trip! Cruise through the Gulf of Alaska and the Inside Passage as you discover the best of the Frontier State by land and by sea. 12 days, departs year-round 12 days, departs May - Sep 2023 FROM $2,549 $2,299 * FROM $2,049 $1,799 * FREE CREDIT
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CALL 1-866-389-3051promo code N7017 TM * Prices are per person based on double occupancy plus up to $299 in taxes & fees. Single supplement and seasonal surcharges may apply. Add-on airfare available. Free date changes 100 days before departure for all land tours and cruise tours. Deposits and final payments are non-refundable. Onboard Credit requires purchase of Ocean View or Balcony Cabin. Offers apply to new bookings only, made by 9/30/22. Other terms & conditions may apply. Ask your Travel Consultant for details.
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