Washington City Paper (February 16, 2018)

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Politics: A nice house in mArylAnd 6 food: conceAled cArry in restAurAnts 15 Arts: theAter under dupont circle 19

PREGNANCY TEST

If a pregnant woman in need of help in D.C. lands at a pro-life pregnancy center, what does she find? P. 10

By Jeanine Santucci

Photographs by Darrow Montgomery

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washingtoncitypaper.com february 16, 2018 3

Kennedy Center debut

DIAVOLO Jacques Heim, Creative Director

“Passengers” from L.O.S.T. D.C. premiere

The Veterans Project: A Long Journey Home Trajectoire D.C. premiere

“Passengers” from L.O.S.T., photo by George Simian

D.C. premiere

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INSIDE on tHe CoVer: PregnanCy teSt 10 Georgetown students investigated two D.C. pregnancy centers to see if they persuade women against abortion.

DIStrICt LIne 6 out of Bounds: Why does the director of the D.C. Board of Elections, legally required to reside in the District, live in Maryland?

7 Washington City Peeper returns: Send us your dioramas featuring marshmallow animals!

8 savage love 9 gear prudence

FooD 15 Bite the Bullet: More concealed carry permits put restaurants in a precarious position.

17 try a tlayuda: Breaking down the messy Oaxacan snack 17 the ’Wiching hour: Wicked Waffle’s Grilled Ham and Cheese Croque Monsieur 17 top of the hour: Daily discounts at Kapnos

artS 19 going underground: An immersive theater project takes place under Dupont Circle.

21 theater: Ritzel on Handbagged at Round House Theatre and Aubergine at Olney Theatre Center 22 short subjects: Zilberman on Black Panther and Gittell on Early Man 23 crescendo in Blue: Our new monthly column about D.C.’s jazz scene

CIty LISt 25 28 28 28 30

Music Books Dance Theater Film

DIVerSIonS 30 Crossword 31 Classifieds

Darrow MontgoMery 100 Block of Michigan ave. nW, feBruary 13

EDITORIAL

editor: AlexA mills Managing editor: cAroline jones arts editor: mAtt cohen food editor: lAurA hAyes city lights editor: kAylA rAndAll staff Writer: Andrew giAmbrone staff photographer: dArrow montgomery MultiMedia and copy editor: will wArren creative director: stephAnie rudig contriButing Writers: john Anderson, morgAn bAskin, VAnce brinkley, kriston cApps, chAd clArk, rAchel m. cohen, riley croghAn, jeffry cudlin, eddie deAn, erin deVine, tim ebner, cAsey embert, jAke emen, jonAthAn l. fischer, noAh gittell, lAurA irene, AmAndA kolson hurley, louis jAcobson, rAchAel johnson, chris kelly, steVe kiViAt, chris klimek, priyA konings, julyssA lopez, Amy lyons, neVin mArtell, keith mAthiAs, j.f. meils, triciA olszewski, eVe ottenberg, mike pAArlberg, pAt pAduA, justin peters, rebeccA j. ritzel, Abid shAh, tom sherwood, Quintin simmons, mAtt terl, dAn trombly, kAArin VembAr, emily wAlz, joe wArminsky, AlonA wArtofsky, justin weber, michAel j. west, diAnA yAp, AlAn zilbermAn

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DistrictLine Out of Bounds

The director of the D.C. Board of Elections does not reside in D.C., as required by law.

The head of the DC Board of Elections does not live in D.C. and is not registered to vote here.

Yet she has been running D.C.’s elections since July 2016—after the board reappointed her to the post and waived a decade-old residency requirement for her to occupy the position. District law says that the executive director of DCBOE must be “a District resident throughout his or her term,” adding that “failure to maintain District residency shall result in a forfeiture of the position.”

The waiver appears unprecedented for the role. Even since before 2008, when D.C. lawmakers codified the residency provision as part of a broader effort to ensure District government leaders live in D.C., multiple DCBOE directors have had a home in the city. Some moved from far-away regions like the South and Midwest to do the messy, unglamourous job of administering democracy.

“This is the first time it’s ever happened,” says Ken McGhie, DCBOE’s veteran general counsel.

The situation raises questions about the residency status of D.C. agency leaders and how the rule of law is applied. In the midst of a local election year, it also adds a new irony to a well-documented history of the board’s missteps and mistakes, including vote-counting delays, fickle voting machines, dead people on voter rolls, and scrambled voter party-affiliations. In 2014, DCBOE voter guides even displayed upside-down D.C. flags.

Current DCBOE Director Alice P. Miller lives in upper Silver Spring with her husband.

The couple owns a 6,500-square-foot home registered as their “principal residence,” per Maryland property records. It’s been registered as such for nearly a decade. They bought the property for more than $1.2 million in 2007.

An experienced elections official at both the local and federal levels, Miller collected $173,891 in annual salary as of December. Before her present tenure, she served as the director of DCBOE from the 1990s until 2008, when she left the board to take an executive role at the U.S. Election Assis-

Darrow Montgomery/File

By Andrew Giambrone

tance Commission, an independent federal agency. DCBOE rehired Miller to its chief staff position following a national search that launched in 2015, after its previous director stepped down.

A June 2016 press release announcing Miller’s reappointment called her “a passionate and dedicated advocate for increasing voter registration and turnout and improving elections administration.” “Ms. Miller is no stranger to DCBOE and knows the progress the agency has made as well as its current challenges,” the release added.

But less than two weeks before DCBOE unveiled Miller’s selection as director, she wasn’t listed as a registered voter in rolls the board published in May 2016. That data dump caused some concern because people were surprised

6 february 16, 2018 washingtoncitypaper.com

to see their addresses posted online.

As of last month, three “Alice Millers” were registered to vote in the District, but two had different middle initials than Miller. The third does not have a middle initial listed in voter rolls obtained by City Paper, but is registered at an address in Southeast. The District has about 474,000 registered voters.

Miller did not respond to requests for comment. A call to a Maryland number associated with her Silver Spring home led to a voicemail greeting in which a male voice stated, “You’ve reached the Miller residence.”

The same year the couple purchased their Silver Spring home, they also refinanced a mortgage and took out a home-equity credit line on a home they then owned in D.C.’s Takoma neighborhood, District property records

show. In 2010, they received a foreclosure notice on that home from Wells Fargo Bank, and the home was sold in an auction a month later to Federal Home Loan Mortgage Corp., also known as Freddie Mac. EAC, the federal commission where Miller formerly worked, is based in downtown Silver Spring. She served as chief operating officer, and then for three years as acting executive director there.

“There isn’t any reason not to return,” Miller told the now-defunct DCist in 2016, regarding her motivations for rejoining DCBOE. “It’s a committed group of folks.”

In a brief phone call on Tuesday, DCBOE Chair Michael Bennett essentially confirmed Miller’s Maryland residency. “It is not news to me, but you’re better off talking with her,” he said, adding that he had to get on another call. In February 2016, Mayor Muriel Bowser nominated Bennett to the threemember board for a term to end this coming July after the June primary takes place.

Asked to confirm that the board waived the residency requirement for Miller to hold her position, Bennett deferred to McGhie, DCBOE’s general counsel, who had previously detailed the waiver in an interview. In an email, Bennett declined to comment on how D.C. voters might view Miller’s role, given that she resides in Maryland. “Any response would be speculative at best,” he wrote.

McGhie says the board contracted with headhunters to conduct a nationwide search for the new executive director from 2015 to 2016. He says about a dozen candidates were finalists, but Miller emerged as the favorite because of her experience and because other candidates didn’t meet the board’s expectations “for one reason or another.” She had even been assisting the outgoing interim director, Terri Stroud, McGhie recalls. Miller “already knew the procedure,” he says.

As an independent body, DCBOE has its own “personnel authority” to make hires apart from the mayoral administration. McGhie says the board determined that the position was “hard to fill,” in part because some candidates were unqualified or ultimately unwilling to relocate to the District. So they opted to grant Miller the D.C.-residency waiver before installing her as the new director.

McGhie says it’s conceivable that the board was not able to find a qualified local candidate for the job. “The elections area is such a small expertise that if you go to a conference for election officials, everybody knows everybody,” he notes. “That’s how small the world is.”

“There are only a certain amount of people who are qualified to run an election,” he adds.

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Peeple of D.C., it’s time to gather your glue guns, poster board, and animalshaped, sugar-coated marshmallows.

Washington City Paper’s Peeps Diorama Contest is back.

We saved it from the brink of destruction last year, when the Washington Post decided that a decade of Peeps fun was as much as it could handle, and were so thrilled with the results that we’re bringing it back just in time for Easter. (Don’t be fooled by any imitation contests that may or may not be organized by other local websites.)

The set-up of this year’s contest is the same as last year’s.

First, make a diorama using Peeps.

Keep the base measurements to 22 inches by 28 inches, roughly the size of a sheet of poster board.

Then, take a photo of it.

You’ll upload a JPEG image of your diorama, not to exceed 10 MB in size, on our entry page, bit.ly/wcpeeps2018. You’ll also provide us with a few pieces of relevant information, like the name of your piece, your name, where you live, and your contact information. Submissions are due Monday, March 12 at 11:59 p.m. EDT. A panel of esteemed judges (also known

as the Washington City Paper editorial staff) will review the submissions and pick 10 finalists, who will be invited to display their dioramas and have them photographed at a D.C. location to be announced at a later date. From the 10 finalists, we’ll select an overall winner.

That diorama will be featured on the cover of the March 22 issue of City Paper, and its creator will receive unlimited bragging rights, as well as a City Paper prize package. Photos of the other nine finalist dioramas will appear inside City Paper.

Some of last year’s finalist dioramas paid tribute to the Hirshhorn’s Infinity Mirrors exhibit, the Women’s March on Washington, and the simple joys of a 1970s peepover. If you want a hint for what the judges might find appealing, remember that Washington City Paper loves local news and puns, be they clever or truly terrible.

May the best peeps win!

A few rules: • Do not submit dioramas you’ve submitted to any other Peeps contest in the past.

• People domiciled with City Paper staff members are not eligible to enter this contest.

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I’m a 24-year-old nonbinary person living in Florida. I have two wonderful girlfriends. One I have been with for four years (we live together).

The other I have been with for a year and a half.

They’re both brilliant, interesting, and kind. Both relationships have their issues, but they are minor. They know each other but aren’t close. Neither is interested in people besides me right now, although my longer-term girlfriend identifies as poly. They have both said that they see a future with me, but something doesn’t feel right. I’ve been having fantasies about leaving them both.

It’s not about wanting to find someone I like better—if I met someone I really liked, I could pursue it. I just feel like neither relationship can progress while both exist. My other friends are getting married. I don’t think I want to stay in this setup indefinitely. Even if my girlfriends liked each other, which they don’t, I don’t want sister wives or two families. But I also can’t imagine choosing between them. I feel like a scumbag for even thinking about it. I’ve talked to them, and they are both having reservations about the current situation.

Neither of them wants some kind of three-person family structure, either. The only thing I can think to do (besides running away) is wait and see if one of these relationships fizzles out on its own. Are my fantasies of escape normal? Is wanting to be with “the one” just straight nonsense?

—Engaged Now But Yearning “The one” is nonsense, ENBY, but it’s not straight nonsense—lots of queer people believe that “the one,” their perfect match, is out there somewhere. But despite the fact that there are no perfect matches, people are constantly ending loving relationships that could go the distance to run off in search of “the one” that doesn’t exist. As I’ve pointed out again and again, there are lots of .64s out there and, if you’re lucky, you might find a .73 lurking in the pile. When you find a serviceable .64 or (God willing) a spectacular .73, it’s your job to round that motherfucker up to “the one.” (And don’t forget that they’re doing the same for you—just as there’s no “the one” for you, you’re no one’s “the one.” Everyone is rounding up.)

Zooming in on your question, ENBY, you say what you have now—two girlfriends who can’t stand each other—is working. Are you sure about that? While fantasies of escape are normal—we all spend time thinking about the road we didn’t take, the door we didn’t try, the ass we didn’t eat—it’s odd to hear someone with two girlfriends wish for one or both to disappear. Perhaps it’s not who you’re doing that’s the problem, ENBY, but what you’re doing. The kind of polyamory you’re practicing—concurrent and equal romantic partnerships—may not be right for you. I’m not trying to YDIW you here (“You’re doing it wrong!), but if you’re envious of your friends who are

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settling down with just one partner, perhaps you’d be more comfortable in an open-notpoly relationship (sex with others okay, romance with others not okay) or a hierarchical poly relationship (your primary partner comes first, your secondary partner[s] come, well, second).

Finally, ENBY, it could be the stress of having two partners who don’t like each other that has you fantasizing about escape and/or one of your partners evaporating. Each of your girlfriends might make sense independently of each other, but if having to share you doesn’t work for them… it’s never going to work for you.

—Dan Savage

Fantasies of escape are normal—we all spend time thinking about the road we didn’t take, the door we didn’t try, the ass we didn’t eat.

I’m 27 years old and I’ve been married to my partner for two years. I’m facing a conundrum: A relative sexually abused me when I was younger. It happened a handful of times, and I’ve never told anyone other than my partner. I’m now struggling to decide not whether I should tell my parents (I should), but when. The abuse fucked me up in some ways, but I have been working through it with a therapist. The problem is my siblings and cousins have started having their own children, and seeing this relative—a member of my extended family—with their kids is dredging up a lot of uncomfortable memories. I see this relative frequently, as we all live in the area and get together as a family at least once a month. I don’t have children of my own yet, but my partner and I have already decided that this relative will never touch or hold the ones we do have. So do I tell my parents now? My extended family is tightly knit, and I fear the issues that sharing this secret will inevitably create. Am I starting unnecessary drama since I’m not even pregnant yet?

—My Family Kinda Sucks Your kids may not yet exist, MFKS, but your young nieces, nephews, and cousins do—and your abuser has access to them. So the drama you fear creating isn’t unnecessary—it’s in-

credibly necessary. And since you were planning to tell your parents eventually, the drama is inevitable. But let’s say you wait to tell your parents until you have children of your own— how will you feel if you learn, after the curtain goes up on this drama, that this relative had sexually abused another child in your family (or multiple children in your family, or children outside your family) in the weeks, months, or years between your decision to tell your parents and the moment you told them?

—DS

My partner does phone sex work. A lot of the calls are from “straight” guys who ask to be “forced” to suck cock. (We assume the forced part is because they think there’s something wrong with being gay.) We’re wondering if there is a sex-positive word we should be using to describe these guys. If not, your readers should coin one, so all us straight dudes who love dick can take pride in our desires. Fill in the blank: “_______: a 100 percent straight guy who also loves sucking dick (and perhaps taking it in the ass).”

—Cocksuckers Need Noun The kink you describe already has a name— forced bi—and a forced bi scene usually goes something like this: A guy who would never, ever suck a cock because he’s totally straight gets down on his knees and sucks cocks on the orders of his female dominant. Since this totally straight guy sucks cock only to please a woman, there’s nothing gay and/or bi about all the cocks he puts in his mouth. It’s one very particular way in which male bisexuality is expressed—think of it as male bisexual desire after hetero fragility, gay panic, denial, religion, gender norms, and football get through kicking the shit out of it. Paradoxically, CNN, by the time a guy asks a woman to force him to suck a cock, he’s allowing himself to suck a cock and therefore no longer in denial. (And, yes, guys into forced bi are free to identify as straight—indeed, they have to keep identifying as straight, since identifying as bi would fatally undermine the transgression that makes their perfectly legitimate kink arousing.)

But what to call these guys?

Well, CNN, some people into BDSM call themselves “BDSMers.” But “forced bi’ers” doesn’t trip quite so easily off the tongue— so maybe we go with “cocksuckers?” It’s an emasculating slur, one that straight-identified men throw around to get, um, a rise out of each other. (Call an out-and-over-it gay man a cocksucker, and all you’ll get in return is a “No shit.”) But while “You’re a cocksucker” may be fighting words for a straight guy, they’re highly arousing ones for a straight-identified guy into forced bi.

—DS Email your Savage Love questions to mail@savagelove.net.

Gear Prudence Gear Prudence: I’m not the fastest bike commuter, but I’m not slow either. On occasion, I’ll pass the rider in front of me. Except this seems to unlock some primal competitive urge inside of them, and immediately they’re breathing down my neck, going all out to catch up. Sometimes they’ll even make a big show of huffing and puffing to pass me back. But then they don’t keep up the pace and I have to pass them again. Why don’t people just accept that passes happen instead of doing this stupid yo-yo thing?

—Not Only Tiresome, Also Really Annoying: Competitive Eagerness Dear NOTARACE: Some people are competitive nutjobs. This is hardly limited to bike commuters, but bicycling lends itself to this kind of competition because many riders interpret their speed as a referendum on their selfworth. When confronted with the “slight”of someone out-pedaling them, the urge to re-establish their relative position overwhelms their common sense, and you end up in an unsought “race.” Whether or not you get swept up in it is up to you, but GP suggests that you don’t. Ride exactly as fast or slow as you want, and only pay heed to the wacko nearby insofar as their behavior might affect your safety.

If they’re following too closely or pass without enough space, just slow down and let them go. Don’t turn someone else’s insecurities into your problem.

—GP Gear Prudence: The flu is going around. Last week I felt kind of sick, so I told my boss that I needed to go home early. She said fine, but then when when she saw me walking my bike down the hallway with my helmet already on my head, she said, “Guess you’re not that sick, huh?” She thought I was faking it! But I only live 4 flat miles away, and sick or not, biking home seemed like my best option. She doesn’t bike, so how do I explain this?

—So, I Cycled, Kinda Ill, Slowly Home Dear SICKISH: You don’t.

You screwed up. Even if you planned to bike home, you should’ve known that your boss would mistake biking for a kind of physical effort precluded by minor illness. Even if you were well enough to ride home, you should’ve made a big show about how you weren’t. Because it’s nearly impossible to explain that bicycling is, in fact, a really, really easy way to get places, even when you’re not at your prime.

Wheels, man. They’re like magic.

Non-bicyclists don’t believe this and won’t be easily persuaded, so here’s what you do now instead: Lie. Say you didn’t bike home.

Regale your boss with the tale of a fake bus ride. Forge a taxi receipt. Or get some witness/paid actor to say he found your limp body prostrate on the sidewalk and then carried you home. But don’t bother trying to explain it. It won’t be convincing.

—GP

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Pregna TesT If a pregnant woman in need of help in D.C. lands at a prolife pregnancy center, what does she find?

By Jeanine Santucci Photographs by Darrow Montgomery

If you walked into the Northwest Pregnancy Center not knowing what to expect, you might think you had wound up in a pediatrician’s office. Children’s drawings adorn the cramped lobby’s peach-colored walls near the receptionist’s desk, and framed fetal portraiture hangs on another. A brochure rack on a third wall holds pamphlets on adoption and various aspects of parenting.

It comes up as the second hit in a quick Google search for “pregnancy help in Washington, D.C.” A place called Capitol Hill Pregnancy Center comes up first. The centers, at first glance, seem like viable sources of information and support for any woman facing an unexpected pregnancy. They offer free pregnancy tests, options counseling, and other support services for women who are pregnant or think they may be.

These centers are also firmly pro-life, and various investigations by activists, journalists, and elected officials have found them giving misleading information about abortion and targeting women seeking one.

In October, a Georgetown University student group called H*yas for Choice telephoned the two D.C. centers posing as pregnant women and their loved ones asking for information.

What they found, say seniors and co-presidents Michaela Lewis and Annie Mason, is that these centers use “covert” rather than blatantly antiabortion language to “trick women.” The students use an asterisk in H*yas to indicate their status as an unrecognized and unfunded student group on a Jesuit campus.

“The idea behind the crisis pregnancy center, which is often funded by or run by a religious or anti-choice organization, is to persuade women from having abortions or to delay them in having an abortion to the point where it would no longer be legal or affordable to the person seeking it,” Lewis says.

10 february 16, 2018 washingtoncitypaper.com

ncy City Paper visited the two centers, Northwest and Capitol Hill, and spoke with the executive director of each.

Susan Gallucci of the Northwest Center is a Georgetown alumna herself. She has worked at Northwest for about 12 years and describes a very different kind of operation than what’s depicted in national investigations.

“Definitely be skeptical and question.

That’s fine; I’m going to question Planned Parenthood, what they’re doing there. But those false accusations, I think, aren’t fair,” she says in response to pro-choice characterizations of crisis pregnancy centers.

This dispute reveals a confusing landscape for pregnant young women in D.C. who reach one of these two centers before they talk to a doctor. It also exposes gray areas in an abortion debate that’s so frequently painted black and white.

Some of what center representatives said to the students over the phone was false or incomplete, but other information was true or useful. The nature of conversations center staff have with clients behind closed doors remains unknown, but some of the services they provide are valuable—especially to a pregnant woman who is already set on giving birth.

At issue is whether or not these centers make themselves out to be medical facilities, giving the impression that they are worthy of a level of trust only doctors can satisfy, and whether the centers do this to persuade against abortion. Both facilities offer urine-based pregnancy tests and counseling, which the students say is enough to suggest that these are trusted facilities.

Comparable centers in some other jurisdictions are required to post signs stating that they are not medical facilities, but in D.C. there is no such requirement. A California disclosure law regulating such centers in that state is set to be argued before the Supreme Court in March.

“They’re relying on people to feel insecure about the situation that they’re in and needing guidance from someone that they think is a medical expert,” says Mason.

CrIsIs pregnanCy Centers are scattered across the nation. Estimates put the number at about 3,000 in the U.S. In D.C., Northwest and Capitol Hill have similarities between them, but also notable differences in terms of their offerings and approaches.

The Northwest Center includes an adjacent maternity home that houses four pregnant women at a time until their babies turn 18

months old. A woman who has unstable housing, or is facing abuse or pressures at home to have an abortion, may be able to stay there.

These women contribute 30% of whatever their income may be to live there.

At the Capitol Hill Pregnancy Center, executive director Janet Durig and director of client and volunteer services Raquel Terry fervently deny the accusation that they or their staff members use manipulation or deception to sway clients in one direction or another in their pregnancy decisions. They say the center isn’t there to trick anyone, but to help them.

“We’re one of the choices,” Durig says.

“Keeping the baby is one of the choices.”

Capitol Hill recently hired a medical director who will oversee ultrasounds, which the center hopes to begin offering in the next few months, Durig says. An ultrasound is an external procedure that produces an image—called

olent options,” according to its website. Both centers are affiliates of Heartbeat International, another national pro-life organization. d.C. does not require crisis pregnancy centers to disclose that they’re not medical facilities. Deputy Director of the Department of Consumer and Regulatory Affairs Lori Parris says that DCRA does not regulate the activity of such centers, and a D.C. Department of Health spokesperson, Jasmine Gossett, says that DOH is “not aware, at this time, of existing regulations around this.” Senior Counsel at the National Women’s Law Center Heather Shumaker concurred, saying that while NWLC does track some laws regarding crisis pregnancy centers, not many states implement them, and they are unaware of any law in D.C. Capitol Hill posts no signs stating that it’s not a medical facility.

Susan Gallucci

a sonogram—of a developing fetus in utero.

Obstetricians typically analyze the sonogram and explain to expecting parents the size of the baby, its age and gender, the presence and status of major internal organs, and look for certain birth defects. Durig says she’s hired a physician’s assistant who has been a volunteer counselor at the center and completed training in sonography, and that the center plans to send the images to doctors outside the office who can review them.

Capitol Hill is an affiliate of a national organization called Care Net, a religious, antiabortion non-profit that provides “ongoing practical support for those choosing non-vi-

The Northwest Center displays signage that states it does not perform abortions or provide referrals for abortions on a printed 8.5 by 11inch piece of paper posted near the entrance.

The fact that it’s not a medical facility is written on the same page—by hand, in pencil—next to a list of Heartbeat International’s values and information stating that their centers follow applicable regulations for medical facilities.

The Northwest Center, unlike Capitol Hill, is not a religious organization, though it does follow Catholic social teaching regarding the sanctity of life. Founded in 1981 by Georgetown alumni, it is run by licensed social workers like Gallucci, who says they are very forthcoming about the

fact that they’re not a medical center.

“We’re not medical here so we can’t really say exactly for sure,” a Northwest staffer said on the phone to a student regarding medical complications of abortion. A Northwest pamphlet also offers the disclaimer that it doesn’t perform or refer for abortions and that its counseling services are not meant to replace professional counseling.

Gallucci says the purpose of providing options counseling (the main options being parenting, adoption, and abortion) at Northwest is not to give the impression of medical accuracy, but rather to present a woman with all her options.

The center does take a pro-life stance, but she says they do not persuade against abortion.

In other cities, ordinances require limitedservice pregnancy centers to display signage that indicates there are no medical professionals on staff. The Montgomery County Board of Health, for example, adopted a resolution requiring such a sign in 2010. The New York City Council passed a law that requires these centers to post signage that discloses whether a medical professional oversees services. Both faced legal challenges, with the Montgomery County ordinance eventually struck down.

California pregnancy centers are fighting a state law that requires them to disclose whether there are medical professionals on staff and that the state provides assistance in contraceptive coverage and abortion. The case, NIFLA v.

Becerra, has reached the Supreme Court and is expected to be argued this March. The centers argue that the law is a violation of their free speech. The case pits crisis pregnancy centers’ free speech against the interest of full disclosure to clients. over the Course of two weeks, the Georgetown students completed four phone calls with Northwest and one with Capitol Hill pretending to be pregnant women or their roommates or partners.

Some of what they heard from the D.C. centers validated their suspicions, but they were also surprised.

Before making calls they read investigations that other groups have done on crisis pregnancy centers in other jurisdictions. A NARAL Pro-Choice America investigation into what kinds of deception centers may use found that 95% of centers in Connecticut gave misleading information about abortion. A 2006 report by a Democratic congressman found that 20 of 23 contacted pregnancy centers gave false or misleading information. A short 2014 docu-

washingtoncitypaper.com february 16, 2018 11

in their presence to make that emotional pull more compelling,” Lewis says.

The students operated their phone-calling campaign independently from other groups, but also launched a social media movement with their own hashtag #ExposeYourOwn to encourage their peers to post about “fake clinics” in their hometowns during a national effort spearheaded by pro-choice organizations.

Michaela Lewis and Annie Mason

mentary by Vice called “Misconception” went undercover and found centers hiding the fact that they do not offer abortions and stating untrue claims about their risks.

“We were expecting, I think, to hear more of the overtly anti-choice language that you would hear if you were going in person to a crisis pregnancy center as you can see in different documentaries and different exposés that have been done,” says Lewis. “But that anti-choice language was really limited. And the providers were less forthcoming with that. They were saying things that might be true. ‘There are options, you have options. Come inside, we’ll talk.’”

The transcripts of these phone calls are available on the group’s blog, and City Paper reviewed audio recordings of the calls.

Both centers listed difficulty in becoming pregnant in the future as a possible side effect of abortion for some women.

“In terms about side effects for abortion,” a Capitol Hill representative told a H*yas for Choice student over the phone, “there are several physical side effects that are possible.

Heavy bleeding ... There are different ways to perform it and there could be longer-term consequences, potentially not being able to get pregnant in the future.”

But the termination of pregnancies before about 10 weeks—which the H*yas for Choice callers certainly fell within in their hypothetical scenarios—can be done using a medical abortion, also known as the abortion pill, and there is no evidence of future infertility with this method. Medical professionals generally agree that having a surgical abortion does not significantly increase the risk of future difficulty getting pregnant except in rare cases of

damage to the cervix or uterus, or scar tissue buildup after multiple procedures.

Both centers expounded on emotional side effects. After describing infertility risks, the Capitol Hill staffer followed with: “What a lot of doctors in clinics won’t necessarily share is that the emotional side effects are often lifelong as well, that the trauma of losing a baby can also impact her for a long time, and it’s hard to know what that may look like.”

When a student called Northwest and asked for information on abortion risks, a staff member said, “In terms in how you might be affected afterwards, and everyone reacts differently, emotionally some people they act with guilt or regret, you know, they have different feelings like that.”

Lewis and Mason say that listing the emotional effects of abortion is a way of manipulating women into keeping their babies.

Gallucci, conversely, says that it’s perfectly reasonable to talk about emotions. “Will we talk to women that there are possible emotional effects of abortion, at some point if we’re sitting down, maybe on the phone, maybe not?” she asks. “Absolutely. I’ve seen far too many women tell me very emotional things. Of all the women I’ve seen, I’ve had one who told me the abortion didn’t affect her at all, in 12 years.”

The student who called Capitol Hill Pregnancy Center said that his girlfriend was pregnant and that he didn’t want her to go through with an abortion.

“At six weeks, the baby already has fingers and toes and fingernails and toenails,” someone at Capitol Hill told him over the phone.

“And at 10 weeks, the baby can actually feel pain and sometimes I think we don’t even real-

12 february 16, 2018 washingtoncitypaper.com

ize how early on those things are formed.”

There is virtually no scientific evidence that a fetus can feel pain at 10 weeks. Pro-life advocates regularly assert that pain can be first felt at 20 weeks and push for laws based on literature suggesting that number. And even 20 weeks is disputed by much of the medical community, including the American Congress of Obstetricians and Gynecologists, which contends that a fetus does not have the capability to feel pain until it has a chance of surviving outside the womb, at about 24 weeks.

In an interview, Durig agreed that the consensus on when a fetus feels pain is around 20 weeks. But she also said that we cannot know for sure, and that it’s possible that pain could be felt at 10 weeks.

Mason and Lewis observed, across most of the phone calls, a consistent push for those calling to come to the centers in person for further information. The students say this is a strategy on the part of the centers—not being forthcoming on the phone in an effort to get clients in the door.

“If you want to come in, we have information on different procedures or things like that, or if you want to come in and talk about your different options,” a Northwest staffer said.

When the student on the same call asked what kinds of different abortion procedures there are, the staffer said: “So if you come in, we can talk a little bit more about this, but do you know when the first day of your last period was?” And later in the call: “So we don’t provide abortions here. We just provide information, if you just want to come in and talk about different options.”

“They rely on the tactic of having someone

On a Friday afternoon in November, Durig and Terry sat in an office space in the Capitol Hill Pregnancy Center and spoke about its mission to support women and men dealing with a crisis pregnancy.

In addition to offering free pregnancy tests and counseling to educate clients on their options, Durig says, they also refer clients to free medical resources elsewhere and offer material resources such as baby clothes and blankets that are donated to the center. Their storage rooms are filled with overflowing bins of such donations, and people often drop by the center during the day with donations.

“We let everyone know we’re a faith-based organization. We’re here to help them,” Durig says. “We do not sit here and talk them into keeping the baby,” she adds.

She says that she and her staff could tell they were getting suspicious phone calls and were aware of pro-choice efforts against crisis pregnancy centers. The information the staff gave the students on the phone, she says, is not in line with Capitol Hill training protocol. She noted that if these things were said on the phone, it Janet Durig

tion, Durig says, she is welcome to return for post-abortion counseling and “healing.”

Most of the same resources are available at Northwest, though Gallucci says they refer out for post-abortion counseling.

Mason and Lewis argue that women can get material assistance and emotional help from organizations that don’t look like medial clinics and take a pro-life stance, and that the rest should come from doctors.

“If you’ve ever heard Paul Ryan talking about defunding Planned Parenthood and shifting toward a replacement in the form of community health clinics or community health centers, the idea behind that is that we should be shifting from providers that provide abortions to providers that have a political, religious, and quote-unquote moral agenda to make that service unavailable,” says Lewis.

Gallucci is proud of her center, and does want to reach women who might be considering abortion so that they can provide alternatives, but hopes for a bridge to her detractors.

“We’re not going to change each other’s minds, and we don’t have to work together all the time,” she says of pro-choice advocates, “but in what points can we say—especially as women, especially with Trump as president—at what points can we say, ‘What can we agree on?’”

“No matter what someone chooses, how can we be there as community, whether they be a single woman who had an abortion, whether it be a mom who had the baby, how can we say ‘OK, we’re going to respect each other as women.’”

CP

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must have been by someone who didn’t know what they were doing, like an intern.

The center is easy to spot from the street. It’s in a large, cream white and hunter green brick building. The lobby area is spacious and welllit by its many windows.

Inside the waiting area, baby blue walls are almost empty of decor. In front of the reception desk sits a rack of donated children’s shoes and a shelf of free parenting books for clients.

A table with resource pamphlets stands on one side of the room, and on the walls around it are photographs of healthy-looking babies. In addition to pamphlets on parenting skills and adoption information similar to those found at Northwest, this table includes pamphlets like “What Does God Say About Abortions?” and “Before You Decide,” which details some scientifically contested information on abortion risks, such as a link between abortion and breast cancer.

The pamphlets come from Care Net and a Christian organization called Focus on the Family, Durig says. Some of Northwest’s pamphlets also come from Focus on the Family, according to Gallucci.

Durig takes issue with pro-choice narratives around crisis pregnancy centers. She says the services they provide are valuable to people who do want to keep their babies. “If they choose life, let them choose life,” she says.

For mothers who choose adoption, Capitol Hill partners with many adoption organizations in the D.C. area. For a woman who may leave the center and end up having an abor-

Call Angie Lockhart with any questions

Angie Lockhart Publicist Robert E. Parilla Performing Arts Cente Montgomery College 51 Mannakee Street Rockville, FRIDAY, FEBRUARY 23, 2018 | 7:00MD PM 20850 HISTORIC LINCOLN THEATRE phone 240-567-7538 1215 U Street, NW, Washington DC 20009 | Free admission fax 240-567-7542

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Please RSVP at dcarts.dc.gov. For more information call 202-724-5613

washingtoncitypaper.com february 16, 2018 13

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DCFEED

Silver Spring is getting double decker Mexican restaurants in April from the owner of Ambar.

Fast-casual restaurant TTT is on the first floor of at 8407 Ramsey Ave. and will serve breakfast tacos. Full-service restaurant Buena Vida will occupy the second floor.

Bite The Bullet

As the city issues more concealed carry permits, restaurants must determine whether to prohibit firearms on premises.

By Laura Hayes Diane Gross is eagerly waiting for her sign to be finished. The ones available on the internet aren’t tasteful enough for her boutique wine bar and market on 14th Street NW. They have giant red letters that read “No Firearms Allowed,” coupled with a picture of an exedout gun.

“We’re doing it on a chalkboard so it’s integrated into our space,” says the Cork Wine Bar & Market co-owner. “There’s a balance because you don’t want people to be scared. You want to let people know they’re in a safe space and not freak people out. I bet 90 percent of people walking into restaurants right now have no idea.”

She’s referring to an October 2017 court order that softened gun laws in D.C. The U.S. Court of Appeals for the D.C. Circuit eliminated a law requiring those applying for a concealed carry permit to provide a “good reason” for having a gun in public.

Rather than appeal the decision to the Supreme Court, Attorney General Karl Racine let the court mandate stand.

While applicants no longer need a good reason, there’s still a rigorous approval process. Applicants must undergo firearms training and fingerprinting. The Metropolitan Police Department says they’ve approved 331 permits of the 874 applications they received from the date the mandate took effect through Feb. 8. An estimated 55 percent of permit applications have come from people who reside outside of the District, predominantly in neighboring Maryland and Virginia.

“The scary thing is that it’s not necessarily people who live in D.C.,” Gross says. “It could be people outside of the area. It’s terrifying to think that someone can walk into your business with a gun on them and you not know it’s there.”

Permit holders cannot carry their firearms everywhere. Certain places are off limits including polling places during an election,

schools and childcare facilities, the immediate area surrounding the White House, and aboard public transportation. These restrictions are straightforward, but the regulations governing guns at eating and drinking establishments are befuddling, and confusion and guns don’t mix.

Under no circumstances can you bring a concealed gun into a tavern or nightclub in the

ern, nightclub, or restaurant. A restaurant must make 45 percent of its gross annual receipts off of food, have its kitchen open until at least two hours before closing, and operate regular hours that are clearly marked with no barriers to entry such as a cover charge, among other stipulations.

Restaurant licenses are only nominally cheaper than tavern or nightclub licenses.

District. Nor can you ever carry a firearm while drinking alcohol. However, restaurants are fair game, provided there are no posted signs prohibiting firearms on the premises.

A business’ Alcoholic Beverage Control Board license determines whether it’s a tav-

Depending on capacity, the annual licensing fee for a restaurant that has a full liquor license ranges from $1,000 to $2,600. For a tavern, that range is between $1,300 and $3,120; for a nightclub, $1,950 and $5,850.

Operators may favor applying for a restau-

Darrow Montgomery/File

Young & hungrY

rant license because neighbors are far less likely to protest a restaurant than a tavern or nightclub that comes with associated risks like noise. There are also several liquor license moratoriums in place that limit the number of tavern or nightclub permits in a given neighborhood. For example, no new tavern licenses can be granted before September within 1,400 feet in all directions of the intersection of Belmont Road NW and 18th Street NW in Adams Morgan.

In practice, the difference between a restaurant and a bar is more nuanced. Some D.C. restaurants change costumes as the night drags on. They look and feel like a restaurant until the clock strikes 10 p.m. Then the space more resembles a bar or club.

Masa 14, El Centro, and Provision No. 14 are all categorized as restaurants despite their reputations as nightlife destinations.

Tiki bar Archipelago, with its strong drinks that make your legs wobble, is also classified as a restaurant.

“We don’t stay open past 1 a.m., but a lot of these places with a restaurant license can stay open until 3 a.m.,” Gross says. “There’s not a lot of eating that’s happening then.

There’s a lot of drinking that’s happening.

Even a regular restaurant can have a dynamic drinking scene.”

Andrew Markert, the chef and owner of Beuchert’s Saloon on Capitol Hill, agrees that the lines blur. “We’re a restaurant first, but we have a heavy bar scene,” he says. “It’s a hell of a loophole to have that just because we serve food, you’re allowed to carry a gun.

That doesn’t sound right.”

“There is still, to me, a little bit of a gray area around the types of alcoholic beverage licenses,” says Restaurant Association of Metropolitan Washington CEO Kathy Hollinger. As bar and restaurant operators caught wind of the dissolution of the “good reason” law, they began reaching out for guidance.

“As we took on that charge to get more clarity, our concern rose a bit,” Hollinger continues. “When you don’t have clarity, it’s harder to give the options about how you can protect yourself as an operator.”

washingtoncitypaper.com february 16, 2018 15

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DCFEED The central issue is the susceptibility to danger created by introducing guns into atmospheres where alcohol is served. “Most gun owners are law abiding citizens, but I don’t like the idea of alcohol and guns together,” Gross says. “It’s a recipe for something bad to happen.”

Markert hasn’t decided if he’ll post a sign, but the chef made his feelings on guns known when he held a “Forks Up, Guns Down” event at Beuchert’s Saloon in July 2016 benefitting the Coalition to Stop Gun Violence. “I don’t think a restaurant is a place you need to carry concealed guns.”

Consider what would happen if a general manager spotted a customer, three martinis deep at the bar, wearing a gun that’s only partially concealed. “How do you approach somebody with a firearm and tell them they’re not allowed to have it if they’ve been drinking?”

Markert wonders. “Alcohol lowers inhibitions, I don’t want to put an employee in that situation. That’s scary, especially now that there’s no rule that you need a good reason.”

Such a scenario puts the proprietor and customers in danger, according to Coalition to Stop Gun Violence legislative director Christian Heyne, a D.C. resident and survivor of gun violence.

“Are you liable for something that goes down after that if the person is upset and uses the weapon or if the weapon goes off?” he asks.

“It puts an unfair burden on restaurant owners to have to become law enforcement.”

MPD says restaurant staff should immediately call 9-1-1 instead of confronting a patron if they suspect they’re breaking the law by carrying a gun while drinking or carrying a gun at a nightclub or tavern. But now that there will be significantly more individuals with concealed carry permits, should the police expect to be deluged with calls? Not if D.C. is anything like Austin, Texas.

“When concealed carry first came to the state, there was a lot of angst about people being able to carry firearms on their person,” says Austin Police Department Assistant Chief Frank Dixon. But the lines were not jammed with calls asking officers to respond to tense moments at restaurants. “We didn’t see any big spikes on things like that,” he adds.

Amy Dillon has worked in the firearms industry for a decade and is an advocate for Second Amendment rights. She’s a shooting instructor, training consultant, fashion designer, and participant in The D.C. Project, a nonpartisan initiative that puts female firearm owners in front of legislators to share their stories.

She currently lives in South Carolina, where she holds a concealed carry permit. There, you also cannot carry a concealed weapon while drinking alcohol.

“If I plan on having a drink with dinner, I won’t carry,” Dillon says. She almost always opts to car-

ry instead of imbibe because of the sense of safety her pistol provides. She thinks other gun owners are just as capable of being responsible, and doesn’t see a problem with patrons carrying concealed weapons in restaurants.

“People who have permits, they’ve gone through training and a background check,” Dillon says. “There’s a process to make sure they’re a responsible citizen.” She emphasizes how important training is. “I’m not just talking about going to the range and learning how to use a gun—there has to be situational awareness and legal training ... I focus on the responsibility of carrying a gun in public.”

Complicating the issue is the Concealed Carry Reciprocity Act of 2017, a federal law that, if passed, would allow individuals with concealed carry permits in other states to come into the District without undergoing the city’s stringent permitting process.

“In places like Virginia across the Potomac, you can watch a one-hour video and answer a short quiz and get your concealed carry permit,” Heyne explains. “States that don’t require permits for concealed carry would also be allowed to carry in the District.”

While Dillon points out that a sign on the door prohibiting firearms wouldn’t stop “a person with evil intentions” from entering a bar or restaurant, determining whether or not to post a sign is a high priority for District businesses.

RAMW sent an email to its members with sample signs soon after the court order was issued in October. “We’re being proactive in making sure they have the information they need, but I anticipate more questions and concern,” Hollinger says.

“We need to double down on efforts to make sure proprietors know their rights and how to keep their establishment safe,” Heyne says. “We’ll have to do a much bigger push to make sure businesses know about it.”

Some owners are fretting about the message the signs send and are thus trying to see if they can enlist their neighbors. “People are going to see the sign and think this place is shady,” says Erik Holzherr, who owns Church & State, Atlas Arcade, and Wisdom. He’s considering convening fellow H Street NE proprietors to devise a plan.

Markert would consider doing the same on Capitol Hill, but worries he might lose customers. “Some people don’t like to take a stand on those things considering how political the Hill tends to be,” he says.

Hollinger thinks once more restaurants post signs, local dining will feel different. “It changes the culture around how people dine and why they dine,” she says. “It puts people more on edge, whether you’re a diner or an owner.”

CP

Eatery tips? Food pursuits? Send suggestions to lhayes@washingtoncitypaper.com.

DCFEED

what we ate this week: Scallop, sour cream, and sweet potato, $13, The Dabney Cellar. Satisfaction level: 4 out of 5. what we’ll eat next week: rockfish chowder with grilled bread, corn, potatoes, and salt pork, $25, A Rake’s Progress.

Excitement level: 4 out of 5.

Grazer

Try a Tlayuda

By Laura Hayes

“Say the ‘T’ out of the side of your mouth,” Espita Mezcaleria General Manager Josh Phillips instructs. Tlayuda is a Zapotec word and refers to the signature bar snack in the Mezcal-producing region of Mexico. Tlayudas are to Oaxaca as cheesesteaks are to Philadelphia, Phillips explains. “I’ve gotten into so many drunken arguments about who makes the best tlayuda in Oaxaca.”

Espita (1250 9th St. NW) used to have several tlayuda variations on the menu, but when new executive chef Robert Aikens took over last year, he was determined to perfect the dish. A tlayuda is complex, with layers of flavor and texture. It requires days of prep work to make one. “You can make it at home, no problem—I’ll see you in a week,” Aikins jokes. “I always think it’s funny when people describe it as ‘the big taco,’ Phillips adds.

Here’s what goes into Espita’s caloric explosion that costs $17 during dinner and $14 during daily happy hour: A layer of refried red beans that are cooked with a sofrito of roasted vegetables, charred fresno chiles, guajillo chiles, smoked paprika, cilantro, oregano, and other spices.

’WichingHour The Sandwich: Grilled National Ham and Cheese Croque Monsieur Where: Wicked Waffle, 1712 I St. NW Stuffings: Sliced ham, Gruyere cheese, bechamel sauce Bread: Freshly griddled waffle Thickness: 2 inches Pros: Heated ham and cheese sandwiches can quickly become mushy, especially if bechamel sauce is added, making a thin, crisp waffle

Top of the Hour

Red onions and jalapeños pickled with cumin, mustard seeds, smoked paprika, chile de árbol, and other spices

Pork belly and pork shoulder cured for 24 hours in salt, cumin, coriander, garlic, sugar, oregano, smoked paprika, cinnamon, and bay leaves. Then the pork is marinated for another 24 hours in several kinds of chiles, cumin, garlic, clove, coriander, annatto seeds, cinnamon, allspice, vinegar, and pineapple.

House-made hot sauce with Fresno and habanero chiles, raw garlic, and annatto seeds blended and fermented for a total of three weeks

Queso Oaxaca made from mozzarella cheese curds

Blue corn tortilla fried with pork lard known as asiento

an excellent base. Each bite has just the right amount of crunch, and the fillings don’t make the waffle soggy.

Cons: If you’re looking for flavor variation, don’t order this sandwich. The cheese, ham, and creamy sauce all meld together into a mass of salt, with each bite tasting exactly the same as the one before. The waffle tastes of wheatflavored air and doesn’t stand up to

Salsa roja made from roasted tomato and guajillo chiles, onions, garlic, cider vinegar, and lime juice

Shredded raw white cabbage

the potent salinity of the fillings.

Sloppiness level (1 to 5): 1. The bechamel sauce is just thick enough that it doesn’t slide off the slick ham, and the cheese melts enough to serve as a glue of sorts. Your fillings aren’t going anywhere.

Overall score (1 to 5): 2.5. While using a waffle as a vessel to hold a sandwich is a novel concept, it’s the lack of diverse flavors that ultimately sinks this sandwich. The result is a cheesy salt bomb that sits in your gut for the rest of the day, but lacks the satisfaction of something truly rich and indulgent.

—Caroline Jones

Where: Kapnos, 2201 14th St. NW; (202) 234-5000; kapnosdc.com (bar area only) Hours: 5 p.m. to close Mondays through Thursdays; 5 p.m. to 8 p.m. Fridays and Saturdays; 5 p.m. to close on Sundays Drink specials: $5 beers including MIC Saison and DC Brau Public Ale; $6 wines by the glass; $7 draft cocktails Food specials: $6 bites include grilled haloumi, marinated olives, a falafel gyro, and four other small dishes. $7 bites include a mini lamb gyro, octopus skewers, spanakopita, and others. $14 flatbread comes with three spreads of your choice.

Pros: It’s easy to remember a happy hour that repeats every day of the week.

Comforting thought: “It’s 6 p.m., I can go to Kapnos.” Bartenders are pleasant and may top off your drink. The crowd is sedate and inoffensive. Food options abound by happy hour standards. If your goal is to get full, order the tomato flatbread, which is basically pizza. The grilled haloumi—a warm slab of cheese with black pepper honey drizzled on top—satisfies in cold weather. On a Saturday at 5:30, the bar was filling up but not yet full. Thirty minutes later, bar seats were occupied and new guests were sitting at the tables behind the bar.

Cons: The early bird catches the worm at happy hour, as he does in many endeavors. Kapnos’ happy hour is more fun at the bar than at the high-top tables behind it, so try to arrive on time.

And while the bar bites are good, the regular menu is better, so you might get suckered in.

—Alexa Mills

washingtoncitypaper.com february 16, 2018 17

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CPArts

Northern Virginia native Arvin Ahmadi writes a love letter to D.C. in his debut young adult novel, Down and Across. washingtoncitypaper.com/arts

Going Underground

With their futuristic choose-your-own adventure production Cabaret Rising, nascent theater company Tradition Be Damned brings immersive theater to D.C.

By Chris Klimek The year is 2028 and the populistcontrolled Republic has driven the tattered remnants of the Resistance underground. The Dupont Underground, t h a t is —the shortlived Eisenhower-era trolley station that became a shorter-lived Clinton-era food court and was rereborn, at the dawn of the Trump era an art space. Anyway, after years of populist rule and civil rebellion, a powerful West Coast tech concern called The Family wants to help rebuild the former District of Columbia in its Jobsian image. And you, as a newly welcomed member of the Resistance, will have to decide whether you wish to abet this pitiless act of urban renewal or oppose it.

That’s roughly the premise of Cabaret Rising, an ambitious immersive theater project from Tradition Be Damned, d.b.a. TBD. The nascent company specializes in the sort of improv-heavy, audience-exploration storytelling that got a big boost in visibility with Sleep No More. Immersive theater’s first blockbuster opened seven years ago in Manhattan’s “McKittrick Hotel”—a derelict warehouse complex brilliantly rehabilitated as the fivestory stage for a Macbeth-and-film-noir-inspired mystery. At least some of Sleep No More’s success has been due to repeat customers, because the nature of the show is such that individual audience members can pursue a substantially different narrative with each visit, depending on which drawers or closets or secret rooms they choose to snoop in.

That’s what the principals of TBD want for Cabaret Rising, too. “We ask our audience to become storytellers with us,” says Amanda Haddock, who plays the role of Madame Martine, top-hatted leader of the Resistance. “We give them a voice and an opportunity to join the story.”

While attendees who pony up the $35-$75 fare (earlier entry costs more) are free to sit with their drinks and watch a variable lineup of burlesque artists play the crude nightclub that’s been set up on the southern end of space, they can have a more complete—or exhausting, if you’re of a less gregarious temperament—experience by wandering.

parts KitKatClub and Blade Runner. In the unheated space, you may envy some players in their long leather coats and pity others with bared midriffs. It all feels more like sneaking into the Cirque du Soleil cast party than attending a play.

That confluence of multi-disciplinary talent is a selling point for the artists as well as the audience, says Malone. “It’s all these people who have mutual artistic crushes on one another, all able to hold space in the same show in different ways.”

The show’s architects convened when Gaines was hired in the late summer of 2016 to organize an immersive entertainment for that year’s TEDx MidAtlantic conference. Needing to find backup in a hurry, he contacted some old friends. He and Malone had met in 2009 when they were both performing in the International Spy Museum’s “Operation Spy” interactive game. He directed Splitter’s Capital Fringe Festival Show The Dish in 2014. (Jessica Bylander, whose title is “playwright and vague consultant,” was the other founding member. She contributed some narrative material to Cabaret Rising, though she relocated to Colorado in late 2017.)

The one-off performance they put together pleased them and their audience enough that they were keen to further their collaboration. They applied for and were awarded a Space 4 grant from CulturalDC to put on a show—quickly—at the Blind Whino arts space in Southwest. Opening night of In Cabaret We Trust was just 42 days after they got the grant. It kicked off the saga of a near-future D.C. under the rule of a reactionary senator, one who executed a journalist at the climax of the show.

Cabaret Rising is a direct sequel. The briefing you’re given as you enter is enough to get those who missed or have only a hazy recollection of the earlier show oriented. (An eight-page comic book prologue, written by Bylander and drawn by a coterie of artists, is available for purchase.) Madame Martine (Haddock), who lost her husband in the rebellion and who now runs the Resistance Cabaret, is rumored to be in negotiations with The Family, which is about to market a new wearable tech product called The Fingerprint. Some members of her flock have be-

Strother Gaines, Jenny Splitter, Dana Malone

Darrow Montgomery

theater

“It’s kind of up to you where you go,” says Strother Gaines, TBD’s producing artistic director. He and his confederates have dotted the 75,000-square-foot space with carnival-style kiosks and multimedia artwork. There are LED columns and abstract video projections playing on a loop. The space is also thickly populated with actors who will accost you, theme-park style, to perform right in your face. Give one of them an opening, conversation-wise, and you may find yourself enlisted to deliver a message or solve a riddle.

Speaking during a lunch break from a daylong tech rehearsal on a frigid, rainy Sunday, Gaines, improv director/producer Dana Malone, and playwright Jenny Splitter take care to specify which of Cabaret Rising’s varied artistic constituencies they’re talking about. There are the 14 “core” cast members, who have scripted dialogue to speak and key plot points to advance. There are another 16 members of the “fabric” cast, who populate and color the world but don’t necessarily have major story-shouldering duties.

Finally, there’s a variable number of dancers, jugglers, crooners, acrobats, and fire-breathers. (Because the Dupont Underground is confined and also underground, the role of “fire” is played at all performances by its calmer understudy, LED lights.)

The costumes evince a steampunk aesthetic that’s equal

washingtoncitypaper.com february 16, 2018 19

gun to suspect her motives are impure. Meanwhile, the underground to which the Resistance fighters have fled has its own indigenous population of possibly supernatural tenants, and nobody knows what they might want.

By design, it’s a more shaded story than the simple Resistance-versus-Republic narrative of their prior effort, a step up in narrative ambition that parallels the physical challenge of giving themselves a larger venue to fill. “For this one, we wanted to explore what happens when the Resistance fractures,” Splitter says. (250 is the per-show audience max, though Gaines and Splitter say they’d be very happy with 60 percent of that.)

Rachel Pendergrass is a member of the “fabric cast,” but also the show’s chief house manager, which means she will occasionally break character to help keep audience members in the space where they’re permitted to be. A self-identified “giant immersive theater nerd,” she volunteered her services at the latter, sold-out performances of In Cabaret We Trust, where audience members occasionally internalized the what-you-will ethos a little too liberally.

“You have to set up these very clear rules, but also, because it’s a plot line about rebellion, there’s sort of a natural desire to want to test the limits of those rules,” she says. The safe-word strategy she found most effective for communicating to patrons that, to cite one example, the CAST ONLY signs were to be obeyed, was to state the year. “Saying, ‘Hi, I’m in 2017 right now and you need to stop’ works pretty well,” she says.

A recent BuzzFeed story documented a series of alleged gropings and even more severe abuses by audience members against Sleep No More performers, abetted by the fact that attendees of

that show are made to wear masks. Anonymity combined with booze and an atmosphere that’s been designed to feel as otherworldly as possible can be a recipe for trouble. But the audience isn’t wearing masks in Cabaret Rising, and there will be professional security staff present to eject anyone who gets disruptive or handsy.

Malone says that most instances of audience members being swept up in their roles during In Cabaret We Trust were more welcome. “The empathy that people showed to different characters that they perceived were in trouble” particularly moved her. “Folks would pull them aside and ask them, ‘What can I do for you? How can I help you? Let me get you out of here?’” she recalls. One pa-

Darrow Montgomery

CPArts

tron even tried to break up a fistfight that was in fact a performative altercation between two actors, carefully choreographed and rehearsed.

“We’ve tried to continue to explore those empathetic responses in this show, but with more constraints.”

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TheaTer

Of Cabbages and Queens

Two Maryland theaters’ contributions to the Women’s Voices Theater Festival ruminate on power, family, and disagreement.

Handbagged

Handbagged

By Moira Buffini Directed by Indhu Rubasingham At Round House Theatre to March 3

Aubergine

By Julia Cho Directed by Vincent M. Lancisi At Olney Theatre Center to March 4

By Rebecca J. Ritzel The Crown. The Audience. The Queen.

The early 21st century has left us with no shortage of entertainment featuring Her Majesty, which raises the question: Did Round House Theatre really need to import a play where yet another talented actress plays Queen Elizabeth II? Most certainly not!

The genius of Handbagged, now receiving its American premiere at Round House, as part of the Women’s Voices Theater Festival, is that two pairs of actors each portray Queen Elizabeth and her foil, Prime Minister Margaret Thatcher. Most often, it’s the superb younger actors (Beth Hylton as “Liz” and Susan Lynskey as “Mags”) who interact onstage, while their older counterparts provide commen-

tary. For example, when the elder Thatcher, played a bit woodenly by Kate Fahy, goes on a rant about curtailing Irish immigration and proposes not allowing those immigrants to vote in the U.K. Lynskey cuts her off.

“I did not say that,” she protests.

“But crikey, I thought it!” the older Thatcher retorts.

Playwright Moira Buffini wisely understands that plays in which historical characters sit around discussing public policy can be boring. (Including a few other entrants in the Women’s Voices Festival. Ahem.) To wit about not sitting around, Handbagged begins with a monologue for the more senior Maggie.

“Freedom. Freedom and democracy,” Fahy intones. “They are things worth dying for. We must never stop resisting those who would take them from us.” She continues on in her sincere but holier-than-thou tone, eventually conceding that she would like to sit down.

She won’t request a chair, however, because presumably one of the men, “dancing around me in their suits, ties flapping in the wind” will bring one out. “I can pin them,” she says with pride. “[They wriggle] in my gaze.”

And then, to her surprise, she is interrupted not by an acquiescent male but by an imperious Jennifer Mendenhall, who paces onstage

to play the older queen.

“You look as if you need a chair?” she astutely observes.

Suddenly, the Iron Lady wants to keep standing, come hell or high tea.

It’s a matter of public record that Thatcher and the Queen occasionally came to loggerheads.

Onstage the only matters these ladies agree on are carrying black hangbags and wearing pearls, and even then there’s the matter of one strand or two. (All the costumes and wigs are terrific.) The scripted spats are mostly imagined, with Buffini smartly speculating about how Liz and Mags might have hashed out their opposing positions on say, sanctioning apartheid South Africa or defending the Falkland Islands.

Again, the staging, concept, and performances make this much less dull than it sounds. Aiding the stiff-upper-lipped women are Cody LeRoy Wilson and John Lescault, who play a variety of men with ties flapping in the wind. They also serve as expository narrators, pausing to tell the audience precisely who they are playing. Lescault’s fay Denis Thatcher is a particular delight, but the list also includes a footman, a Scottish press secretary, a Welsh parliamentarian, and Australian media mogul Rupert Murdoch, as well as President Reagan and Nancy Reagan. Wilson looks bloody good in a red dress.

When, in rehearsal, English director Indhu Rubasingham stumbled across a term or character she thought might confuse American audiences, she had Buffini’s permission to tweak the dialogue, resulting mostly in extra lines for Wilson and Lescault.

Those quotes from the opening monologue about “resisting” and preserving democracy?

They drew opening-night cheers from audience members who likely assumed they’d been dropped in to take shots at President Donald Trump. But no, those are original. Handbagged premiered in 2014, when the Reagans were still the only showbiz stars to inhabit the White House. Artistic director Ryan Rillette booked the rights two years later, assuming that the play would serve as an interesting rumination on women in power, both at 10 Downing Street and 1600 Pennsylvania Avenue NW. Instead, all four well-coifed ladies now function as cautionary reminders that putting a woman in charge doesn’t guarantee she’ll make choices that put her on the right side of history. Like a tarnished tiara, that’s the sobering, unsatisfying truth to be found in this otherwise sparkling piece of historical fiction.

4545 East-West Highway, Bethesda. $55–$75.

(240) 644-1100. roundhousetheatre.org.

AmericAn reActions to plays about crosscultural relations are also crucial to the success of Aubergine, a richly layered play about food, memory, and immigrant families co-produced

by Olney Theatre Center and Baltimore’s Everyman Theatre. (The production will move to Everyman after its run at Olney wraps.) Like Handbagged, Aubergine is being staged as part

of the Women’s Voices Theater Festival, a regional effort to get more works by women onstage. Both plays are worth the drive north, although Aubergine is much less raucous than Handbagged and not as smartly constructed.

Julia Cho’s play about first and second generation Korean immigrants enjoyed a successful 2016 run off-Broadway, and is exactly the sort of work theaters in the D.C. suburbs should stage, provided they do some savvy marketing and get parishioners at the Korean churches just down the road to congregate at a theater.

That’s not to say only Asian-Americans will appreciate Cho’s play, which hits hard on universal themes like loving your family members even when the feelings don’t seem to be reciprocal. (A tip of the hat to Korean-American City Paper contributor Mike Paarlberg for explaining that the characters in Aubergine own multiple refrigerators because at least one is storing stinky kimchi, and illuminating a few other cultural details that not all patrons will appreciate.)

Everyman’s Vincent M. Lancisi directs a solid quartet of Asian actors led by Tony Nam as Ray, a 38-year-old chef who becomes so defeated once his father enters hospice care that he starts subsisting on beer and Ensure. Although an opening monologue seems unnecessary, and few of the flashback scenes are awkward, the play is otherwise well made, asking audiences to piece together what went wrong between father and son. It takes the arrival of Ray’s uncle (a very funny Song Kim) to bridge the gap between the two men. The dramatist’s trick is that Kim’s character provides the link without speaking English. He gestures, he laughs, and at some points Eunice Bae, playing Ray’s estranged girlfriend Cornelia, steps in to translate. Ray’s father (a bedridden Glenn Kubota) only speaks in flashback scenes, but you still get to know him as well as anyone else onstage.

It’s too late for Ray and his father to reconcile, but there is plenty of time for our protagonist to move forward in life with a higher capacity for empathy. Anyone who has ever felt unable to meet high parental expectations will relate, and perhaps wonder if family skeletons are driving Mom and Dad’s desire for their children to do differently or do better.

The title Aubergine references the French word for eggplant. A few of the foodie interludes in the play feel forced, but there’s always a point, and sometimes fresh pastrami. When a Francophone immigrant hospice nurse played by Jefferson A. Russell starts reminiscing about his favorite vegetable back home, he opines, “[An eggplant] sounds like an ugly, milky white, sickly thing. But ‘aubergine,’ ahh. That starts to approach the beauty of the thing itself. ” It’s all a matter of perspective. Not every American family has four refrigerators, but nearly all have a recipe that takes an ordinary food, prepares it with love, and makes eating a revelatory communal experience.

CP 2001 Olney-Sandy Spring Road, Olney. $59– $64. (301) 924-3400. olneytheatre.org.

washingtoncitypaper.com february 16, 2018 21

FilmShort SubjectS Black Panther

In a World Black Panther

Directed by Ryan Coogler Black Panther is a shrewd remix of popular entertainment, filtered through a lens of evocative Afrofuturism. Director Ryan Coogler accomplishes what no other film in the Marvel Cinematic Universe has done: It has a unique look to it, as well as a genuinely charismatic, plausible villain. The film’s look is not just because the vast majority of characters and extras are black: The fictional country of Wakanda is a gorgeous triumph of production design, owing more to anthropology and myth than comic books. When most comic book films amount to little more than spectacle, Black Panther achieves a near-constant sense of vitality.

An animated prologue explains that Wakanda sits on reserves of vibranium, an extremely rare metal that helped the East African nation develop into a secret superpower. Its civilization is far more advanced than any other in the world, and it uses the vestiges of colonial racism (plus some sophisticated cloak technology) to hide in plain sight. After the death of his father, T’Challa (Chadwick Boseman) is the country’s newly-anointed king, and the title Black Panther is more than ceremonial: With a vibranium suit and superhuman abilities, T’Challa is his country’s chief diplomat and military leader. Unlike Iron Man or Guardians of the Galaxy, this is an origin story for an advanced civilization, with traditions and rituals that draw from African tribes.

Shortly after his coronation, T’Challa must contend with two important issues. Wakandan spies have tracked Ulysses Klaue (Andy Serkis), an arms dealer wanted for murder, to South Korea. More importantly, Nakia (Lupita Nyong’o) wants Wakanda to abandon its isolation in favor of foreign aid and sharing its vibranium. Klaue is the more immediate threat, so T’Challa travels to Busan with Nakia and Okoye (Danai Gurira), his head of security. Klaue is no pushover—he has Wakan-

dan technology, plus a homicidal streak—but the bigger threat is his accomplice Erik Killmonger (Michael B. Jordan). Killmonger wants to overthrow T’Challa, with reasons that are more complex and justified than he lets on.

One intriguing thing about Black Panther is how T’Challa is almost a minor character in his own story. Coogler creates a much larger canvas, highlighting how the Wakandan monarchy is more of a team effort than it initially sounds.

This makes Killmonger’s force of will stand out, and coupled with Jordan’s ferocious performance, the antagonist steals the show. Unlike previous Marvel villains who rely on scenerychewing, Erik is dangerous because his ideas are genuinely compelling. He rejects Wakanda’s isolationism in favor of militant black nationalism.

He is so charismatic—and his anger is so justified—that the film carries more significance than the average popcorn entertainment.

Rather than have the story serve the action, letting exposition lead up to a major set-piece, Coogler and his co-screenwriter Joe Robert Cole let the action serve the story. There is relatively less action in Black Panther than other Marvel movies, but Coogler makes it count.

There is a car chase through Busan where T’Challa leaps from rooftop to rooftop, a more engaged participant than the average pursuer. Betrayals and military overthrows notwithstanding, Coogler also wants the action to be fun: Before the car chase, Klaue has his driver put on some chasing music (one of the soundtrack’s many Kendrick Lamar tunes).

All the production details looks great, too, with a mix of T’Challa’s jet-black suit, the bright colors of Wakandan tribes, and the pastoral countryside. Coogler brought on the production team from his previous films, including Academy Award-nominee Rachel Morrison as his cinematographer, so Black Panther has a memorable look and fluidity to it. When the action finally converges on the Wakandan steppe, all the characters are given a chance to show off their combat skills. That all these warriors are black, their powerful bodies making an intense visual impression, is an important step toward representation in a franchise full of blandly attractive white men.

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The influences on Black Panther cast a wide net.

On top of Afrofuturist art, Coogler draws from The Lord of the Rings, James Bond movies, and The Lion King. But with its drama among royalty, one the more important influences is Shakespeare.

Killmonger is a tragic figure, occasionally riffing on lines from Romeo and Juliet, while T’Challa suffers from the same indecision as Hamlet.

That is not to say this cocktail of mythmaking, drama, and action is too stuffy for its own good. Letitia Wright offers ample comic relief as T’Challa’s sister Shuri, while Serkis has infectious fun as a psychotic villain. Most comic book films do not transcend their genre, or even try. Like T’Challa’s step toward becoming a world leader, Black Panther shows the next generation of comic book films how it’s done. —Alan Zilberman Black Panther opens Friday in theaters everywhere.

Early Man

PrImItIve lIvIng Early Man

Directed by Nick Park For members oF a certain generation, stopmotion animation is a time machine back to childhood as swift and efficient as Proust’s madeleine. Tangible and tactile, it creates the feeling of watching kids play with toys, as opposed to today’s 3D animation; adults playing with toys. Director Nick Park has carried the torch for stop-motion animation for over a decade now with hit features like Wallace and Gromit and Chicken Run, but with Early Man he’s finally crafted a story that aligns perfectly with his chosen style.

Early Man harbors a Luddite spirit, cautioning its viewers not to fully reject the principles of the past. It gets its first laugh in the opening five seconds. Over a title card reading “Neo-

Pleistocene era,” we see a series of cavemen engaged in a prehistoric brawl. The next card reads “Manchester,” followed by one that says simply, “Lunch.” From here we zoom in to our hero, Dug (Eddie Redmayne) is a kindhearted teenage caveman living an idyllic existence among a tribe of dolts led by the benevolent Chief Bobnar (Timothy Spall). They spend their days in their green valley hunting rabbit (who, true to the film’s mirthful tone, don’t even mind being caught and eaten) and their nights singing songs by campfire.

They are cast out of their Eden by an arrogant group of Frenchmen who announce themselves as representatives of the Bronze Age. Intent on mining the valley for ore, Lord Nooth (Tom Hiddleston) evicts the cavemen to the desolate badlands. Dug has other ideas.

He sneaks into their bronze-laden village and, through a series of narrative twists that make perfect sense as long as you don’t think about them at all, ends up challenging Lord Nooth’s soccer team to a high-stakes match, with the fate of his tribe on the line.

So in addition to being a cautionary tale on the effects of modernity, Early Man is also a sports movie. Sort of. Dug and his new friend Goona (Maisie Williams), an athletic girl whose dreams of playing soccer in the big stadium are prohibited by her gender, set about training the dumb cavemen to play the game. It’s the Bronze Age vs. the Stone Age, complete with a wacky training session, a trope that sports movies ran into the ground several decades ago. But scripters Mark Burton and James Higginson throw enough bizarre tangents into the story that nothing feels stale for long. There is a bizarre running gag about a giant, man-eating duck, a guy who is in love with a rock, and a warthog who gives massages and plays the harp.

These unexpected comic set pieces will keep audiences on their toes, but they come at a cost. Early Man aims for a tricky balance between emotionally-grounded comedy and absurdist humor, and too often the imaginative flights of fancy keep it from being tethered to its characters. The cast does their best with the material, and there is a certain glee in hearing prestige actors Redmayne and Hiddleston prove so adept at silly voices.

But as the film’s aim vacillates between the heart and the imagination, these characters—and ultimately, this story—never comes to mean very much. In an age when major film studios are increasingly leaning toward the cookie-cutter approach to storytelling, Early Man’s esoterics are a welcome relief, but sometimes it’s too bizarre for its own good.

—Noah Gittell Early Man opens Friday in theaters everywhere.

CrescendoInBlue Crescendo in Blue is a new monthly column by longtime City Paper jazz critic Michael J. West documenting D.C.’s robust and everexpanding jazz scene.

This, The firsT installment of a new jazz column, started life as yet another iteration of the cheerleading cry I’ve published a hundred times in 11 years of writing about jazz in D.C. The scene is doing better than it sometimes seems; there are many performances, at many venues, in numerous neighborhoods; great players are everywhere, with more arriving all the time. And so on. It’s true, but you’ve already heard it all.

You’ve also heard all the complaints on the other end of the spectrum. Jazz is the least popular genre in the United States, clubs are closing all over town, and what seem like plentiful choices for live audiences can translate to lowpaying gigs, often for the door, booked and/ or paid for (and not infrequently patronized) by people with little feel or respect for the music. That’s also true. Just the facts, as Henry Threadgill said—and pass the bucket.

There’s little use in further spinning ’round these north and south poles of received wisdom. What, then, is this column here for?

Put simply, it’s here because the music, and the people who play it, deserve to be.

Whether you’re on Team Thriving or Team Life Support, jazz is an essential part of D.C.’s cultural ecosystem and identity.

Duke Ellington, jazz’s greatest composer and arranger (and perhaps America’s greatest overall) grew up here, musical upbringing included. The tradition that he came up in merits some exploration.

Much clearer, of course, is the tradition that followed him. One wing of it, the Billy Taylor-Ben Williams wing, went to New York and from there to the wider world. Another stayed here, less celebrated but no less rich and vital. Two of its longest-lived representatives, pianist Reuben Brown and tenor saxophonist Ted Efantis, passed away last month; their legacies went largely unmarked in D.C. media. That’s not cool.

This column arrives too late to offer extended memoria for Brown and Efantis, alas. But I hope in the future to address them both individually. That’s also true of Taylor and Williams, and of Allyn Johnson and Michael Bowie. Jason Moran, an import—and a part-time one at that—is nonetheless part of the ecosystem as well. There’s even room here for other,

more peripheral D.C. associations: Stan Getz and Charlie Byrd (who straddles both the Taylor and Efantis wings) recorded Jazz Samba, one of the most influential jazz records of its day, at All Souls Church in Columbia Heights.

D.C. jazz is a diverse and distinguished fellowship that warrants exploration and insight.

Both of which are the pretext for “Crescendo in Blue.”

From another angle: Several years ago, when Bobby Hill was still the programming director at WPFW, he and I were in discussions for a new show on that station. My plan was to develop a program about D.C. jazz, in all its guises from the ancient to the future. Taylor, Efantis, Williams, Moran, Jazz Samba, Buck Hill, Reginald Cyntje, Howard alumni, U.S. Army Blues, Billy Hart’s current quartet, Butch Warren’s sideman recordings, Jelly Roll Morton at the Library of Congress, Charlie Parker at the Howard Theatre… if there was a D.C. angle to approach it from, it was fair game.

That concept fell apart (along with much of WPFW at the time). I now formally convert it to monthly print.

About the name: No column about D.C. jazz could get by without a tip o’ the hat to Duke, now and forever, as mentioned above, our favorite son and dearest father. “Crescendo in Blue” was written in 1937 as the back half of his long-form composition “Diminuendo and Crescendo in Blue”—not his first long form, but his first critically and commercially successful one. It was simultaneously one of his most raucous, and most ingenious and inventive creations. Not incidentally, of course, it was the vehicle that permanently recharged his career at the 1956 Newport Jazz Festival.

The title also serves as a reminder of the primacy of the blues in jazz’s universal, everchanging embrace. (“The blues” here being rather universal and ever-changing, too.)

As for the crescendo: Well, who doesn’t like to end with a bang?

—Michael J. West

“Funny and warmhearted” Washington Post

“A comedic masterpiece” “Profoundly refreshing” DC Metro Theater Arts

DC Theatre Scene

“ at Woolly Mammoth is a Must-See” Broadway World

BY DANAI

GURIRA // DIRECTED BY ADAM IMMERWAHR NOW PLAYING THRU MARCH 4 WOOLLY MAMMOTH THEATRE COMPANY

WOOLLYMAMMOTH.NET // 202-393-3939 // #WOOLLYFAMILIAR

WMTC_CityPaper_2.15.indd 1

washingtoncitypaper.com february 16, 2018 23 2/13/18 4:00 PM

Merriweather Post Pavilion • Columbia, MD JUST ANNOUNCED!

LADY ANTEBELLUM & DARIUS RUCKER

w/ Russell Dickerson ........................................................................................ AUGUST 2

JASON MRAZ

.....................................................FRI AUGUST 10

On Sale Friday, February 16 at 10am

FEBRUARY

MARCH (cont.)

U STREET MUSIC HALL PRESENTS

Ganja White Night w/ Dirt Monkey & Subtronics ....Su 18 U STREET MUSIC HALL PRESENTS

Lane 8 w/ Enamour .................Th 22 ALL GOOD PRESENTS

Railroad Earth w/ Roosevelt Coliler .......F 23 & Sa 24 Lights w/ Chase Atlantic & DCF .Tu 27 MARCH

Betty Who w/ Pretty Sister

Sa 3 - w/ Aztec Sun) ........... F 2 & Sa 3

Hippie Sabotage w/ Melvv & Olivia Noelle ..............Su 4 Orchestral Manoeuvres in the Dark w/ GGOOLLDD ......Tu 6 Cornelius w/ Ava Luna ...............W 7 No Scrubs: ‘90s Dance Party

with DJs Will Eastman and Brian Billion .........................F 9

Beth Ditto w/ SSION ................Sa 10 ALL GOOD PRESENTS

J Boog w/ Jesse Royal & Etana .............Su 11 K.Flay w/ Yungblud ...................M 12 I’m With Her w/ Andrew Combs (Sara Watkins, Sarah Jarosz, Aoife O’Donovan) ....................Tu 13

Mason Bates’s Mercury Soul ........................Th 15 AN EVENING WITH

Nils Frahm ...............................F 16 Jon Batiste (Solo in the Round) Early Show! 6pm Doors ..................Sa 17 The Floozies w/ Anomalie Late Show! 10:30pm Doors .............Sa 17 Moose Blood w/ Lydia ............Su 18 Coast Modern..........................M 19 Wild Child w/ The Wild Reeds . Tu 20

ME T! ES

Queensryche • Kix • Tom Keifer • Ace Frehley and more! .............................................................. MAY 4 & 5

F

Godspeed You! Black Emperor w/ KGD .......................................Sa 24 of Montreal .............................Su 25 Turnover w/ Mannequin Pussy

M3 SOUTHERN ROCK CLASSIC FEATURING

& Summer Salt ...........................Tu 27

The Soul Rebels feat. GZA & Talib Kweli .......Th 29 ALL GOOD PRESENTS

ERN

H

SOUTOCK R

APRIL

Cigarettes After Sex ..............M 2 Yo La Tengo ...............................W 4

ALL GOOD PRESENTS

Perpetual Groove w/ CBDB ..F 13 ALL GOOD PRESENTS

Hurray For The Riff Raff & Waxahatchee w/ Bedouine ..............................Su 15 D NIGHT ADDED! FIRST NIGHT SOLD OUT! SECON

Judah & The Lion w/ Colony House & Tall Heights ..Tu 17 Sofi Tukker ..............................W 18 Clean Bandit w/ Nina Nesbitt .Th 19 ALL GOOD PRESENTS

Lotus .............................F 20 & Sa 21 The Weepies Hideaway 10 Year Anniv. Tour .....Su 22

930.com

The best thing you could possibly put in your mouth Cupcakes by BUZZ... your neighborhood bakery in Alexandria, VA. | www.buzzonslaters.com

The Marshall Tucker Band • Blackberry Smoke • The Outlaws and more! .................................................................. MAY 6

Dierks Bentley w/ Brothers Osborne & LANCO ................................................. MAY 18 Jason Aldean w/ Luke Combs & Lauren Alaina .................................................. MAY 24 Florida Georgia Line .................................................................................... JUNE 7 Sugarland w/ Brandy Clark & Clare Bowen ......................................................... JULY 14 David Byrne ....................................................................................................... JULY 28 Phish ........................................................................................................ AUGUST 11 & 12 • For full lineups and more info, visit merriweathermusic.com • 930.com

Lincoln Theatre • 1215 U Street, NW Washington, D.C. JUST ANNOUNCED!

JAM E S BAY .............................................................................. APRIL 2 LIVE NATION PRESENTS

RACHEL BLOOM: CRAZY EX GIRLFRIEND (LIVE) .. FRI APRIL 6

ALL GOOD PRESENTS

The Motet .................................Th 5 Anderson East w/ Devon Gilfillian ..........................F 6 The Black Angels w/ Black Lips .................................M 9 Andy Grammer ......................Tu 10 Thirdstory ...............................Th 12

EST!

F

Pigeons Playing Ping Pong 2-Night Passes Available .....F 30 & Sa 31

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

M3 ROCK FESTIVAL 2018 TAL

& Spencer Ludwig........................W 21

ALL GOOD PRESENTS

Kelela .........................................Th 1 Galactic (F 2 - w/ Butcher Brown •

STEEZ PROMO PRESENTS

D SHOW ADDED!

FIRST SHOW SOLD OUT! SECON

moe.

ALL GOOD PRESENTS

....................................................................................................... FRI APRIL 20

On Sale Friday, February 16 at 10am THIS SUNDAY!

Pod Save the People (Live) . FEB 18

FIRST SHOW SOLD OUT! SECOND

SHOW ADDED!

Andy Borowitz ........................ FEB 24 Dixie Dregs

(Complete Original Lineup with Steve Morse, Rod Morgenstein, Allen Sloan, Andy West, and Steve Davidowski) ..................MAR 7

PostSecret: The Show ...... MAR 24

AEG PRESENTS

Stuff You Should Know About (Live) .................APR 5 Max Raabe & Palast Orchester.............APR 11 Rick Astley ................................APR 18 Calexico w/ Ryley Walker ............APR 27 Robyn Hitchcock and His L.A. Squires

Rob Bell w/ Peter Rollins .......... MAR 27 w/ Tristen .......................................APR 28 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Wylder w/ Virginia Man ................Sa FEB 17 MAGIC GIANT w/ The Brevet .............. Su 18 MAKO w/ Night Lights .......................... Sa 24 Gabrielle Aplin w/ John Splithoff & Hudson Taylor ......... Su 25 Sevdaliza ........................................... Tu 27 Ella Vos w/ Freya Ridings ............... M MAR 5 Amy Shark w/ MILCK .......................... M 12

The Hunna & Coasts w/ Courtship ... Sa 17 The Strypes ......................................... F 23 The Marmozets ................................ Sa 24 Vinyl Theatre & Vesperteen w/ The Stolen ........................................ Su 25 Hollie Cook w/ Jenna Camille.............. M 26 Albert Hammond Jr ........................ Tu 27 Digitalism ........................................... W 28

• Buy advance tickets at the 9:30 Club box office • 930.com

TICKETS for 9:30 Club shows are available through TicketFly.com, by phone at 1-877-4FLY-TIX, and at the 9:30 Club box office.

9:30 CLUB BOX OFFICE HOURS are 12-7pm on weekdays & until 11pm on show nights, 6-11pm on Sat, and 6-10:30pm on Sun on show nights.

HAPPY HOUR DRINK PRICES impconcerts.com AFTER THE SHOW AT THE BACK BAR! 24 february 16, 2018 washingtoncitypaper.com

PARKING: THE OFFICIAL 9:30 parking lot entrance is on 9th Street, directly behind the 9:30 Club. Buy your advance parking tickets at the same time as your concert tickets!

930.com

CITYLIST

thh

NEW MUSIC VENUE

NOW OPEN THE WHARF, SW DC

DINER & BAR OPEN LATE!

Music 25 Books 28 Dance 28 Theater 28 Film 30

Music

CITY LIGHTS: FRIDAY

FRIDAY CLAssICAL

Music center at strathMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Baltimore Symphony Orchestra: Pictures at an Exhibition. 8 p.m. $35–$95. strathmore.org.

COUntRY

FillMore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. WMZQ Presents Tyler Farr with Ben Gallaher. 8 p.m. $25. fillmoresilverspring. com.

FEBRUARY CONCERTS TH 15 ROBERT LIGHTHOUSE w/ ELI COOK F 16 THE PLATE SCRAPERS & COLEBROOK ROAD SA 17 SURPRISE ATTACK w/ SAUCE & THE CHRIS CASSADAY CONCOCTION

the haMilton 600 14th St. NW. (202) 787-1000.

Mark O’Connor featuring the O’Connor Band. 7:30 p.m. $20–$50. thehamiltondc.com.

HIp-HOp

howard theatre 620 T St. NW. (202) 803-2899.

Reggae Fest vs. Soca. 11 p.m. $20. thehowardtheatre.com.

F 23

JAzz

SA 24

Bethesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. The Spinners. 8 p.m. $65–$75. bethesdabluesjazz.com.

ROCk

Black cat 1811 14th St. NW. (202) 667-4490.

Cigarette. 9:30 p.m. $10. blackcatdc.com. warner theatre 513 13th St. NW. (202) 783-4000.

Tedeschi Trucks Band. 8 p.m. $67–$87. warnertheatredc.com.

sAtURDAY CLAssICAL

Music center at strathMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Baltimore Symphony Orchestra: Pictures at an Exhibition. 8 p.m. $35–$95. strathmore.org.

ELECtROnIC

echostage 2135 Queens Chapel Road NE. (202) 503-2330. Don Diablo. 9 p.m. $25–$30. echostage. com.

FUnk & R&B

Bethesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Syleena Johnson. 8 p.m. $40. bethesdabluesjazz.com.

JAzz

the haMilton 600 14th St. NW. (202) 787-1000. The Wailers with Signal Fire. 8 p.m. $25.50-$39.50. thehamiltondc.com.

ROCk

BirchMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Arlo Guthrie Re:Generation Tour 2018. 7:30 p.m. $65. birchmere.com.

FillMore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Phillip Phillips with Striking Matches. 8 p.m. $29–$107. fillmoresilverspring.com. warner theatre 513 13th St. NW. (202) 783-4000.

Tedeschi Trucks Band. 8 p.m. $67–$87. warnertheatredc.com.

Phil Hernandez and Ned Riley met more than a decade ago at D.C.’s Gonzaga College High School. It’s a history that gets a hat-tip in the duo’s photo exhibition at the Cross MacKenzie Gallery via the purple-and-white color scheme on the gallery’s walls. Hernandez and Riley have teamed up as Oculoire, a collaborative effort to produce black-and-white photographs that are heavily focused on D.C., from monumental columns to Metro stations. The name is a portmanteau of “oculus,” or eye-shaped form, and “neo-noir,” for the moody vibe they’re attempting.

The pair frequently spotlight tunnels, cobblestones, and mopeds. Through the images a story emerges, one of the city’s gritty elegance, from the hum of D.C.’s everyday skateboarding culture to late nights in alleyways. It’s a romanticized vision of life in the city, but one that also manages to ring true. The exhibition is on view to March 2 at Cross MacKenzie Gallery, 1675 Wisconsin Ave. NW. Free. (202) 337-7970. crossmackenzie.com.

—Louis Jacobson

CLAssICAL

Music center at strathMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Baltimore Symphony Orchestra: Pictures at an Exhibition. 3 p.m. $35–$95. strathmore.org.

ROCk

TU 13 W 14 F 16

ZYDECO DANCE PARTY 3PM DOORS

FY5 w/ THE HIGH AND WIDES SHERMAN EWING WITH SPECIAL GUEST JOHN JO JO HERMANN w/ JAMIE MCLEAN BAND AN EVENING WITH

GRANT LEE PHILLIPS & KRISTIN HERSH

the haMilton 600 14th St. NW. (202) 787-1000.

Alsarah & The Nubatones. 7:30 p.m. $20–$40. thehamiltondc.com.

F 23 SA 24

KYLE CRAFT

F 30

BLAIR CRIMMINS AND THE HOOKERS

MOnDAY ROCk

FillMore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Snarky Puppy with

SA 10 SU 11

THE MIGHTY PINES NO SECOND TROY w/ TOMMY GANN BUMPIN UGLIES w/ DUB CITY RENEGADES & JOINT OPERATION CRYS MATTHEWS w/ ECHO BLOOM CURLEY TAYLOR & ZYDECO TROUBLE

TH 22

BirchMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Arlo Guthrie Re:Generation Tour 2018. 7:30 p.m. $65. birchmere.com.

WORLD

F2 SA 3 F9

Alina Engibaryan. 8 p.m. $33. fillmoresilverspring. com.

HIp-HOp

national presByterian church 4101 Nebraska Ave. NW. (202) 429-2121. James Madison University Concert. 4 p.m. Free. bachconsort.org.

THE JAMES HUNTER SIX

w/ 3 MAN SOUL MACHINE

THE FABULOUS THUNDERBIRDS FEAT. KIM WILSON MARTY O’REILLY AND THE OLD SOUL ORCHESTRA THE REVELERS

Bethesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Buddy Holly Tribute. 7 p.m. $25. bethesdabluesjazz.com.

VOCAL

DAVID COOK

MARCH CONCERTS

OCULOIRE

sUnDAY

AMERICAN IDOL WINNER

w/ RYAN TENNIS

W 21

ZYDECO DANCE LESSON INCLUDED!

APRIL CONCERTS

u street Music hall 1115 U St. NW. (202) 588-1889.

Higher Brothers. 7 p.m. $20. ustreetmusichall.com. dc9 1940 9th St. NW. (202) 483-5000. Margins, Homosuperior, and Birth Defects. 8 p.m. $10. dcnine. com. galaxy hut 2711 Wilson Blvd., Arlington. (703) 5258646. Starryville. 9 p.m. $5. galaxyhut.com.

MilkBoy arthouse 7416 Baltimore Ave, College Park. OroborO with Sungazing and Sweet Peach. 8 p.m. $5. milkboyarthouse.com.

TU 3 JEN HARTSWICK & NICK CASSARINO TH 5 FORLORN STRANGERS SU APR 8 DWIGHT “BLACK CAT” CARRIER AND THE ZYDECO RO DOGGS ZYDECO DANCE MATINEE, 3PM DOORS

TICKETS ON SALE! pearlstreetwarehouse.com

washingtoncitypaper.com february 16, 2018 25

3701 Mount Vernon Ave. Alexandria, VA • 703-549-7500

CITY LIGHTS: sAtURDAY

tRIUMpH OF tHE sHILL

For entire schedule go to Birchmere.com Find us on Facebook/Twitter!

Tix @ Ticketmaster.com 800-745-3000

THE LOVE FUNK TOUR FEATURING

CORY WONG &

MR. TALKBOX THURSDAY FEB

15

AN EVENING WITH

MARK

O’CONNOR

FEAT. THE O’CONNOR BAND FRIDAY FEB

16

FRI, FEB 16

TEDESCHI TRUCKS BAND AFTERPARTY

LATE NIGHT

Feb 15

PHIL VASSAR HL 17&18 ARLO GUTHRIE

exie ayden

Re:Generation Tour 2018 w/Arlo, Abe & Sarah Lee Guthrie

THE S.O.S. BAND 20 THE ASSOCIATION 22 JEFFREY OSBORNE 24 HARMONY SWEEPSTAKES 19

A Capella Festival

KEIKO MATSUI 26 ANA TIJOUX presents 25

Roja y Negro

FEATURING THE RON HOLLOWAY BAND SAT, FEB 17

THE WAILERS W/ SIGNAL FIRE SUN, FEB 18

ALSARAH & THE NUBATONES WED, FEB 21

LARRY CAMPBELL & TERESA WILLIAMS

THE MUSICAL BOX

27 performs ‘The Black Show’ version of Selling England By The Pound Mar 1

AN EVENING WITH

DWELE

5

FRI, FEB 23

MACEO PARKER

8

SAT, FEB 24

An Evening of

EDWIN McCAIN

NRBQ W/ RUTHIE & THE WRANGLERS

Newmyer Flyer Presents

9

SAT, MAR 3

JUSTIN JONES

LAUREL CANYON:

Golden Songs of Los Angeles 1966-73

W/ THE BEANSTALK LIBRARY TUES, MAR 6

10

WE BANJO 3

THE FOUR BITCHIN’ BABES

Christine Lavin, Debi Smith, Sally Fingerett, Deirdre Flint

WATCH Awards Ceremony -7pm13 THE ZOMBIES

WED, MAR 7

NIGHT I

11

THURS, MAR 8

NIGHT II

14

BELUSHI & THE BOARD OF COMEDY

AN EVENING WITH JIM

CITY LIGHTS: sUnDAY

DAVID ARCHULETA 6 SWEET HONEY IN THE ROCK 7 PAT GREEN

THE EVERLY BROTHERS EXPERIENCE

AN EVENING WITH JIM

An Intimate Evening with

GRAHAM NASH 2&3 RACHELLE FERRELL 4

THURS, FEB 22

The president hopes to see tanks rolling down Pennsylvania Avenue NW in a display of military might to match the annual Bastille Day parade in Paris. He has reportedly told the Pentagon to plan something for Memorial Day or the Fourth of July. But he doesn’t have to wait that long: A documentary short at the DC Independent Film Festival might scratch his self-aggrandizing itch. Photographer Nina Berman’s film Triumph of the Shill presents footage from the president’s election and inauguration in a cinematographic tribute to Leni Riefenstahl’s infamous Nazi propaganda film Triumph of the Will. Most viewers will see black-and-white scenes of enraptured white Trump supporters set to military drums and choirs for what it is, an open-faced satire about the threat that the administration poses to the republic. Viewers familiar with Berman’s work know her as a patriotic dissenter whose portraits of Purple Heart veterans from the Iraq War have graced the Whitney Museum of American Art. Trump doesn’t need to know all that. Berman’s stark documentary reveals his rise in severe terms. He would no doubt find it flattering. The screening begins at 12:50 p.m. at the Naval Heritage Center at the United States Navy Memorial, 701 Pennsylvania Ave. NW. $11. dciff-indie.org.

—Kriston Capps

BELUSHI & THE BOARD OF COMEDY

FRI, MAR 9

KAT WRIGHT

15

Whiskey Bayou Records Revue

16

THE OAK RIDGE BOYS “Shine The Light Tour”

17

THE MANHATTANS

SAT, MAR 10

ROOMFUL OF BLUES

The Very Best of

DAVE MASON TAB BENOIT's

featuring GERALD

THE HIGH KINGS 19 AVERY*SUNSHINE 18

THEHAMILTONDC.COM

ALSTON

26 february 16, 2018 washingtoncitypaper.com

LOUIsA HALL

We’ve all had the experience: a winsome smile or bit of chit-chat from a barista, interpreted, almost always incorrectly, as flirtation. In Louisa Hall’s hands, that kind of coffeehouse crush becomes “Barista Boyfriend,” the title track on her debut record. The breezy ballad provides a sense of what to expect from the Alexandria singer-songwriter. She’s playful and relatable, armed with a ukulele and a rich singing voice. Relatability is at the forefront of the album, as Hall finds honesty and humor in songs about irrational fears, internet dating misadventures, and awkward moments. The throughline—wanting to be liked and loved—is the most relatable thing of all, but despite her sweet sonics, her songs are rarely saccharine and often salty.

Take “Missed Connections,” a self-aware stalker anthem that would fit on the Crazy Ex-Girlfriend soundtrack. “He loves me in my dreams,” she sings, “and has no choice in the matter.” Louisa Hall performs at 7 p.m. at Jammin Java, 227 Maple Ave. E, Vienna. $15. (703) 255-1566. jamminjava.com.

—Chris Kelly

tUEsDAY COUntRY

hill country live 410 7th St. NW. (202) 556-2050.

Jon Dee Graham. 8 p.m. $17–$20. hillcountry.com/dc.

pOp BirchMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Association. 7:30 p.m. $39.50. birchmere.com.

MgM national harBor 101 MGM National Ave., Oxon Hill. (844) 346-4664. Cher. 8 p.m. $85–$327.28. mgmnationalharbor.com.

ROCk Black cat 1811 14th St. NW. (202) 667-4490. Simon Doom. 7:30 p.m. $10. blackcatdc.com. dc9 1940 9th St. NW. (202) 483-5000. Flor. 8 p.m.

Sold out. dcnine.com. rock & roll hotel 1353 H St. NE. (202) 388-7625.

Phoebe Bridgers. 8 p.m. $15. rockandrollhoteldc.com.

WEDnEsDAY CLAssICAL

Music center at strathMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Washington Performing Arts: Mistuko Uchida. 8 p.m. $40–$95. strathmore.org.

COUntRY the haMilton 600 14th St. NW. (202) 787-1000.

Larry Campbell & Teresa Williams. 7:30 p.m. $19.75– $39.75. thehamiltondc.com.

FUnk & R&B

FillMore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. K Michelle. 8 p.m. $38. fillmoresilverspring.com.

ROCk

Black cat 1811 14th St. NW. (202) 667-4490. Bottled Up. 7:30 p.m. $10. blackcatdc.com. howard theatre 620 T St. NW. (202) 803-2899.

Molotov. 8 p.m. $39.50–$79.50. thehowardtheatre. com.

WORLD

Bossa Bistro 2463 18th St NW. 202-667-0088.

RAM. 9:30 p.m. $10. bossadc.com.

tHURsDAY CLAssICAL

Music center at strathMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100.

Ashley Bathgate. 7:30 p.m. $30. strathmore.org.

ELECtROnIC

9:30 cluB 815 V St. NW. (202) 265-0930. Lane 8. 10 p.m. $25. 930.com.

FUnk & R&B

FillMore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. DVSN. 9 p.m. Sold out. fillmoresilverspring.com. howard theatre 620 T St. NW. (202) 803-2899.

Silk. 8 p.m. $30–$65. thehowardtheatre.com.

JAzz

BirchMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Jeffrey Osborne. 7:30 p.m. $79.50. birchmere.com.

CITY LIGHTS: MOnDAY

SATURDAY, MARCH 3 | 3 PM

DAY tO nIgHt: In tHE FIELD WItH stEpHEn WILkEs

Black-browed albatrosses congregate on Steeple Jason, a tiny island of the Falklands. The birds settle near the sea, sharing the grassy areas with southern rockhopper penguins. Photographer Stephen Wilkes captures the scene beautifully, composing images of the landscape as it transitions from day to night, providing an arresting look at the birds’ island world. Wading through a group of angry caracaras, Wilkes took 926 photos of the albatrosses and penguins in 26 hours.

He used about 80 photos to create the resulting image of harmonious birds under both a blue rainbowed sky and a dark moonlit one. It’s Wilkes’ signature technique that is now the subject of a new photo exhibit at the National Geographic Museum, Day to Night: In the Field With Stephen Wilkes. The exhibition takes visitors behind the lens of the innovative photographer, focusing on what it means to capture the passage of time. The exhibition is on view to April 22 at the National Geographic Museum, 1145 17th St. NW. $15. (202) 857-7700. nationalgeographic.org/dc.

—Kayla Randall

JUSTIN FREER, conductor UNIVERSITY OF MARYLAND CONCERT CHOIR, EDWARD MACLARY, Director

Relive the magic of your favorite wizard in Harry Potter and the Prisoner of Azkaban™ in Concert. Based on the third installment of J.K. Rowling’s classic saga, fans of all ages can now experience the thrilling tale accompanied by live music from the Baltimore Symphony Orchestra as Harry soars across the big screen.

HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. J.K. ROWLING`S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s18)

THE MUSIC CENTER AT STRATHMORE NORTH BETHESDA, MD • ON THE RED LINE • FREE PARKING 1.877.BSO.1444 • BSOMUSIC.ORG

washingtoncitypaper.com february 16, 2018 27

pOp

MgM national harBor 101 MGM National Ave., Oxon Hill. (844) 346-4664. Cher. 8 p.m. $95–$327.28. mgmnationalharbor.com.

ROCk

CITY LIGHTS: tUEsDAY

Black cat 1811 14th St. NW. (202) 667-4490.

FuzzQueen. 7:30 p.m. $10. blackcatdc.com.

WORLD

F E B RUA RY S 17

Music center at strathMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Idan Raichel. 8 p.m. $32–$74. strathmore.org.

SYLEENA JOHNSON

SU 18 BUDDY HOLLY TRIBUTE F 23

TRIBUTE TO FUNK LEGENDS

SU 25 BE’LA DONA GO GO BRUNCH (1PM) BAND OF ROSES (7:30PM) WED & BILLY OCEAN CELEBRATES THURS, BBJ’s 5TH ANNIVERSARY FEB 28 HOSTED BY JOE CLAIR & MAR 1

MARCH S3

JOE CLAIR & FRIENDS COMEDY SHOW (7/10PM - 2 SHOWS)

SU 4

HAROLD MELVIN’S BLUE NOTES (2/7PM – 2 SHOWS)

W7

CEDRICK NAPOLEON AND BRIAN LENIAR

F9

CELEBRATING THE LIFE OF NOTORIOUS B.I.G FEAT. SECRET SOCIETY

SU 11

A TRIBUTE TO THE MUSIC OF PHYLLIS HYMAN

JUST ANNOUNCED THURS, MARCH 8 FRI, APRIL 6

FRI, APRIL 27 SUN, APRIL 29

JON CARROLL AND SPECIAL GUEST CECILY SOUL-BLUES SUMMIT: BILLY PRICE BAND W/SPECIAL GUEST JOHNNY RAWLS CONYA DOSS & LIN ROUNTREE MELBA MOORE

http://igg.me/at/bethesdablues 7719 Wisconsin Ave., Bethesda, MD

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Books

adaM nicolson Author Adam Nicolson discusses his newly released book The Seabird’s Cry, which focuses on the plight of 10 bird species and their struggle to survive. National Geographic Grosvenor Auditorium. 1600 M St. NW. Feb. 20. 7:30 p.m. $25.

(202) 857-7700. roBert B. reich Former secretary of labor under President Bill Clinton, Reich’s newest book The Common Good argues that the soul of American society must be saved and restored to the idea of the common good. Sixth & I Historic Synagogue. 600 I St. NW. Feb. 22. 7 p.m. $18–$45. (202) 408-3100.

Dance

Black MoveMents dance theatre This program, part of Georgetown’s Black History Month Program, features choreography from students as well as master and emerging guest artists with signature offerings and newly commissioned work. Davis Performing Arts Center at Georgetown University. 3700 O St. NW. Feb. 16. 8 p.m.; Feb. 17. 8 p.m. $8–$10. (202) 687-3838. performingarts.georgetown.edu. duke ellington school oF the arts Duke Ellington School of the Arts, an arts school in Georgetown with a 43-year legacy of fostering talented area youth, presents a showcase of dance, instrumental music, and vocal music in a collaborative performance. Kennedy Center Millennium Stage. 2700 F St. NW. Feb. 22. 6 p.m. Free. (202) 467-4600. kennedycenter.org. roMeo & Juliet The Washington Ballet presents choreographer John Cranko’s Romeo & Juliet, set to Sergei Prokofiev’s exuberant score. Cranko created the ballet for the Stuttgart Ballet and it had its world premiere in 1962. Kennedy Center Opera House. 2700 F St. NW. Feb. 16. 7:30 p.m.; Feb. 17. 1:30 p.m.; Feb. 17. 7:30 p.m.; Feb. 18. 1:30 p.m. $25–$160. (202) 4674600. kennedy-center.org.

Theater

4,380 nights Tackling what it means to be American, D.C. playwright Annalisa Dias delivers 4,380 Nights, a play about a man being held without charge at the Guantanamo Bay prison. A timely critique of fear, power, and humanity itself the play is presented as part of the 2018 Women’s Voices Theater Festival.

Signature Theatre. 4200 Campbell Ave., Arlington. To Feb. 18. $40–$65. (703) 820-9771. sigtheatre.org. all she Must possess This Joseph W. Ritsch-directed story centers on the Baltimore Cone sisters, Dr. Claribel and Miss Etta, daughters of German-Jewish immigrants. Instead of living tranquil lives as respected Victorian ladies, the pair collected art from around the world. Rep Stage at Howard Community College. 10901 Little Patuxent Parkway, Columbia. To Feb. 25. $15–$40. (443) 518-1500. repstage.org. auBergine As part of the Women’s Voices Theater Festival, the Olney Theatre Center presents a story of family, food, and memories. Written by Julia Cho and directed by Vincent M. Lancisi, Aubergine focuses on a Korean family, in which a son leaves his job as a chef to care for his dying father and strives to gain acceptance from him. Performed in English and

28 february 16, 2018 washingtoncitypaper.com

tHE AssOCIAtIOn

More than 50 years ago, the Monterey International Pop Festival ushered in the era of rock festivals. While the subsequent movie focused on such counterculture legends as Jimi Hendrix and Janis Joplin, the very first act to play that landmark event was a California sunshine pop band that specialized in flower power you could play for your mother. Despite its corporate-sounding name, The Association crooned vocal harmonies that effortlessly conveyed the era’s optimism, and hits like “Windy,” “Along Comes Mary,” and “Cherish” are some of the most infectious earworms of the ’60s. The band recently celebrated its 50th anniversary, and with original members Jim Yester and Jules Alexander, The Association has maintained a beaming professionalism with their comforting jukebox repertoire. We could all use a little bit of that sunshine. The Association perform at 7:30 p.m. at The Birchmere, 3701 Mt. Vernon Ave., Alexandria. $39.50. (703) 549-7500. birchmere.com.

—Pat Padua

Korean with English supertitles. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To March 4. $49–$74. (301) 924-3400. olneytheatre.org.

BecoMing dr. ruth Theater J presents the story of America’s favorite sex therapist, Dr. Ruth. She Karola Ruth Siegel had to flee Germany in the Kindertransport, become a sniper in Jerusalem, and survive as a single mother in America. Directed by Holly Twyford and starring Naomi Jacobson, Becoming Dr. Ruth is written by the author of Theater J’s Freud’s Last Session. This one-woman show is infused with humor and honesty, showcasing the life-affirming tale of a girl who created a special place for herself

in the world. Theater J. 1529 16th St. NW. To March 18. $24–$69. (202) 777-3210. theaterj.org. disney’s the lion king, Jr. Young stage actors take the reins and bring to life an adaptation of the Disney animated film starring Simba and his furry friends, with the aid of specially-constructed puppets. Encore Stage & Studio. 4000 Lorcom Lane, Arlington. To Feb. 25. $10–$15. (703) 548-1154. encorestageva.org. the Farnsworth invention This regional premiere production is directed by Alex Levy and written by Aaron Sorkin, writer of The West Wing and The Social Network. Set in 1929, it centers on two ambitious visionaries who race against each other

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For eight years, Nagual have taken listeners on aural journeys that span numerous styles and sounds. The duo of jazz and experimental percussionist Ian McColm and guitarist David Shapiro, which formed in Oberlin, Ohio, in 2010 (McColm now calls D.C. home and is a crucial participant in the city’s experimental music community), have released a swath of trance-inducing drone records throughout their tenure as a band. Each album is more meditative and introspective than the last, as they push the boundaries of sound through guitars and a swath of effects pedals. On their last release, II, a collaborative tape with experimental musician Stefan Christensen, the three players manipulate squealing feedback from distortion pedals, sending listeners into a different astral plane. Both McColm and Shapiro are accomplished musicians on their own, but together they push each other’s musical abilities to truly far-out territories. Nagual perform at 8 p.m. at Rhizome DC, 6950 Maple St. NW. $10. rhizomedc.org.

—Matt Cohen

to invent a device called television. 1st Stage. 1524 Spring Hill Road, McLean. To March 11. $15–$33. (703) 854-1856. 1ststagetysons.org. the great society As civil rights protests and the horrors of the Vietnam War divide the country, President Lyndon B. Johnson struggles to maintain his relationship with Dr. Martin Luther King, Jr., stave off his political opponents, and put forth ambitious social policy projects. Playwright Robert Schenkkan’s lauded production makes its highly-anticipated D.C. premiere. Arena Stage. 1101 6th St. SW. To March 11. $56–$111. (202) 488-3300. arenastage.org. haMlet Shakespeare’s classic tragedy makes its way to Sidney Harman Hall, starring Michael Urie, of Ugly Betty fame, as the desperate Danish prince Hamlet and directed by Michael Kahn. Sidney Harman Hall. 610 F St. NW. To March 4. $44–$125. (202) 547-1122. shakespearetheatre.org. handBagged From playwright Moira Buffini and director Indhu Rubasingham comes the American premiere of Handbagged, a tale of two powerful British women born just six months apart: Margaret Thatcher and Queen Elizabeth II. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To March 3. $45–$66. (240) 644-1100. roundhousetheatre.org. hoBson’s choice Harold Brighouse’s comedy of turn-of-the-century Lancashire manners comes to Quotidian Theatre. Curmudgeonly cobbler Henry Hobson faces his ultimate choice: Take a life with three daughters in his shop forever unmarried or let them wed their sweethearts and leave him all alone.

Quotidian Theatre Company at The Writer’s Center.

4508 Walsh St., Bethesda. To March 11. $15–$30. (301) 816-1023. quotidiantheatre.org. la Foto (a selFie aFFair) Directed by Abel López and presented in Spanish with English subtitles, La Foto is about two families changed forever by a selfie. When a selfie is sent to one person but shared by another, questions arise about the costs of a high-

WASHINGTON CITY PAPER THU 2/15 1/6 PG. (4.666" X 3.371") ALL.AFW.0215.WCP

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ly technological world in which it is easier to connect intimately with one another. GALA Hispanic Theatre.

3333 14th St. NW. To Feb. 25. $25–$95. (202) 234-7174. galatheatre.org. light years Robbie Schaefer, of the acclaimed indie rock band Eddie From Ohio, crafts a world premiere musical that is a touching and funny personal tale of music, immigration, and the bond between father and son. The story centers on Schaefer’s journey from a childhood in India to the struggles of growing up and raising a family, and how his father’s dark past impacts their relationship. Signature Theatre. 4200 Campbell Ave., Arlington. To March 4. $40–$65. (703) 820-9771. sigtheatre.org. noura Part of the Women’s Voices Theater Festival, Noura challenges our notions of modern marriage, the idea of home, and motherhood from the perspective of Iraqi immigrants living in New York preparing to celebrate their first Christmas as American citizens. Lansburgh Theatre. 450 7th St. NW. To March 11. $44–$118. (202) 547-1122. shakespearetheatre.org. shear Madness A famed concert pianist who lives above the Shear Madness unisex hair salon dies in a scissor-stabbing murder. Set in modern day Georgetown, this interactive comedy whodunit lets its audience solve the crime. Kennedy Center Theater Lab. 2700 F St. NW. To June 10. $54. 202-467-4600. kennedy-center.org. the skin oF our teeth This Pulitzer Prize winner centers on the Eternal Family, made up of George and Maggie Antrobus, a couple married for 5,000 years, their two children Gladys and Henry, and the maid Sabina. Together, they prove they can survive an ice age, The Flood and an apocalyptic war. Constellation Theatre at Source. 1835 14th St. NW. To Feb. 18. $25–$55. (202) 204-7741. constellationtheatre.org. soMething rotten! Set in the 1590s, Something Rotten! tells the story of two brothers desperate to write their own acclaimed play, who eventually begin to write the world’s first musical. Directed and cho-

washingtoncitypaper.com february 16, 2018 29

Puzzle

CITY LIGHTS: tHURsDAY

SENIORITIS

By Brendan Emmett Quigley

Across

1 Premsyn target, for short 4 ___law (computing term stating processor speeds will double in two years) 10 Bud holder?

14 Server’s second chance 15 Riot’s stage 16 Letter sign-off 17 Bird providing lean meat 18 Urge to move the Doomsday Clock closer to midnight?

20 Cadaver’s importance?

22 2018 NFL Hall of Famer Terrell 23 Military chopper 24 Resistance measurements 27 You can’t find anything in it 28 Shrugged comment?

31 App with a split fare feature 33 Poem’s contraction 34 Show off fancy footwork in a food fight?

39 41 42 43 47 48 49 52 55 57 58 60 64

67 68 69 70 71 72 73

13 Like a melting ice cream sandwich

19 Stalin’s first name

21 Brief gag 25 Poet Langston

26 Award won by

Adele in '13 28 Home wrecker of

children’s stories 29 Mule’s lack

30 Bumps and bruises

32 Travelers to

9-Down: Abbr.

35 Clock-setting

abbr.

36 Overdrawn

37 Kilkenny land

38 Put the pedal to the metal

40 No. that you can dial at any

time during a voice menu

44 “What a tangled ___ weave�

45 Not affiliated with ___-majeste Down any party: Abbr.

Show to 1 Academy newbie 46 Return to the one’s seat 2 Office document original settings Cutting remark?

3 Stallion 50 Ex-Disney Demonstrate 4 Toledo minor CEO Michael cold weather? league ball player 51 There were Trio in Turin 5 Like some jacks nine of them in Pour beers 6 “Carmina Super Bowl LII Got angry Burana�

52 Adderral doses Tire inflation composer Carl 53 Clay pigeons meas.

7 Right-hand page 54 Read between Whips, 8 Spanish “that� the lines chains, etc.

9 Place where 56 Quarter-eater Salad or pasta 32-Down on the street “You don’t need stops: Abbr.

59 ___-buco to remind me�

10 Easy pace 61 Unlikely to budge All the crap a 11 Musical sounds 62 â&#x20AC;&#x153;Bingo!â&#x20AC;? small amphibian 12 Facebook 63 Reading material owns? invitation 65 Make a choice Choice to have 66 Thanksgiving Norwegian dessert flatbread with or LAST WEEK: LAUGH IT UP without lutefisk? + $ 7 ( ' % 5 $ : / 3 ' 4 Have an 5 ( & $ 3 5 ( 7 7 5 8 ( 5 outstanding bill Bits at the 0 5 , 0 $ 5 5 2 : < . ( < 6 bottom of a : $ 1 7 7 2 - ( ( 3 / / % wine bottle 8 6 6 5 ( 8 % $ 1 . 6 South Dakotaâ&#x20AC;&#x2122;s 0 $ / 7 < & 2 8 1 7 5 < capital 2 3 ( 1 5 $ 7 2 = $ : $ Fish on a bagel 0 < 6 , ' ( 6 ' ( % ' ( 1 2017 World & $ 5 $ + $ % ( ; 7 5 $ Series winner, for short & + , 1 $ 0 $ 6 7 ( 5 < First-___ 6 ( ( 5 - ( 7 $ , 0 ( (recently elected ( 9 ( 6 ( $ 6 7 ( 5 ( 7 & politician) $ / / ) 2 5 0 2 1 ( < 1 , ; Electronyst$ ' 2 3 7 2 5 & $ 6 * $ 7 agmography $ $ 1 ' ( 1 7 ( 6 7 $ 1 6 specialist

30 february 16, 2018 washingtoncitypaper.com

DVsn

This November marks the 10th anniversary of Kanye Westâ&#x20AC;&#x2122;s 808s & Heartbreak, a game-changing album that not only unleashed a wave of auto-tuned rap-warblers but also remade the sound of contemporary R&B. For the last few years, a generation of rap-singers have followed Drake and The Weeknd through a door Kanyeâ&#x20AC;&#x201D;and other artists like T-Painâ&#x20AC;&#x201D;helped to open. But thereâ&#x20AC;&#x2122;s a quiet storm brewing in R&B, one that returns the genre to its roots. Torontoâ&#x20AC;&#x2122;s dvsn, the duo of vocalist Daniel Daley and producer Nineteen85, is a key part of this wave, with Daleyâ&#x20AC;&#x2122;s voice powering songs of love and lust, of hook-ups and heartbreak. His vocals are syrup over lush productions that evoke R&B memories but with a modern sheen. Their sound is one familiar to fans of the genreâ&#x20AC;&#x2122;s â&#x20AC;&#x2122;90s era, with Ginuwine bass lines and Jodeci flavor. Yet, the music is fresh enough to stand on its own. As a bonus, the duo are signed to Drakeâ&#x20AC;&#x2122;s OVO Sound, proving the fellow Toronto native knows R&B talent when he hears it. dvsn perform at 9 p.m. at The Fillmore Silver Spring, 8656 Colesville Road, Silver Spring. Sold out. (301) 960-9999. fillmoresilverspring.com. â&#x20AC;&#x201D;Chris Kelly

reographed by Tony Award-winner Casey Nicholaw, who was the director of the world premiere musical Mean Girls, The Book of Mormon, and Aladdin, this original new musical also features music and lyrics by Tony Award nominees and brothers Wayne and Karey Kirkpatrick. National Theatre. 1321 Pennsylvania Ave. NW. To Feb. 18. $48â&#x20AC;&#x201C;$118. (202) 628-6161. nationaltheatre.org.

Black panther After the death of his father,

sovereignty From director Molly Smith, Sovereignty is a production of playwright Mary Kathryn Nagleâ&#x20AC;&#x2122;s daring new work that travels the intersections of past and present, and personal and political truths. It centers on a young Cherokee lawyer fighting to restore her Nationâ&#x20AC;&#x2122;s jurisdiction, who must then confront the ubiquitous ghosts of her grandfathers. Arena Stage.

1101 6th St. SW. To Feb. 18. $41â&#x20AC;&#x201C;$101. (202) 488-3300. arenastage.org.

of time traces the journey of a tribe of early humans

the wolves From writer Sarah DeLappe, The Wolves explores the violence and teamwork of sports and adolescence, following a group of 16-year-old girls who become warriors on the field with an ear for the empathy of the teenage years. Studio Theatre.

1501 14th St. NW. To March 11. $20â&#x20AC;&#x201C;$106. (202) 3323300. studiotheatre.org.

Tâ&#x20AC;&#x2122;Challa returns to his home nation of Wakanda to take his rightful place as king. Starring Chadwick Boseman, Michael B. Jordan, and Lupita Nyongâ&#x20AC;&#x2122;o. (See washingtoncitypaper.com for venue information) early Man This animated comedy set at the dawn who unite against a mighty enemy to save their home. Starring Tom Hiddleston, Eddie Redmayne, and Maisie Williams. (See washingtoncitypaper.com for venue information) a Fantastic woMan A waitress and nightclub singer is devastated by the death of her older boyfriend.

Starring Daniela Vega, Francisco Reyes, and Luis Gnecco. (See washingtoncitypaper.com for venue information) FiFty shades Freed Star-crossed lovers Anastasia and Christian get married, but her villainous ex-boss continues to threaten both her and her union. Starring Dakota Johnson, Jamie Dornan, and Eric John-

Film

the 15:17 to paris Three Americans, played by the real-life heroes, help to foil a terrorist plot on a train heading to Paris. Starring Jenna Fischer, Judy Greer, and Thomas Lennon. (See washingtoncitypaper.com for venue information)

son. (See washingtoncitypaper.com for venue information) peter raBBit James Corden voices Peter Rabbit in this adaptation of Beatrix Potterâ&#x20AC;&#x2122;s classic tale about the rebellious bunny. Co-starring Fayssal Bazzi and Domhnall Gleeson. (See washingtoncitypaper.com for venue information)

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washingtoncitypaper.com february 16, 2018 31

JOIN US! Date: Thursday, February 22nd

Voting Party 2018

Time: 6:00-8:00PM Location: District Winery

385 Water St SE Washington, DC 20003

Tickets: $30

Includes 2 drink vouchers, craft sodas, and a great selection of bites!

washingtoncitypaper.com/events