Washington City Paper (February 23, 2018)

CITYPAPER Washington

Free volume 38, no. 8 washingtoncitypaper.com feB. 23-march 1, 2018

Politics: Bowser Buddy gets a Board seat 5 food: h steet ne as vegan mecca 18 Arts: hirshhorn postpones artwork on guns 21

CROWDED HOUSE

Clubgoers floCk to eChostage for thumping eleCtroniC danCe parties. others warn it’s a dangerous night out. p. 12 by avery J.C. kleinman

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INSIDE on tHe CoVer: CrowDeD HoUSe 12 Harm reduction advocates want to keep fans safe inside D.C.’s flagship electronic music venue.

DIStrICt LIne 5 loose lips: A housing board seat for a Bowser pal 6 fix Six: Charles Allen’s primary challenger isn’t afraid to stir the pot.

8 unobstructed view 9 indie in d.c.

10 Savage love

FooD 18 garden variety: Vegans are flocking to plant-based restaurants on H Street NE.

artS 21 gun-Shy: The Hirshhorn postpones a projection about gun violence after the Parkland, Florida, shooting.

23 curtain calls: Klimek on Arena Stage’s The Great Society and Shah on Shakespeare Theatre Company’s Noura 24 Short Subjects: Olszewski on The Party and Zilberman on Nostalgia 25 Speed reads: Ottenberg on Louise Farmer Smith’s The Woman Without a Voice

CIty LISt 27 31 31 32 34

Music Books Dance Theater Film

DIVerSIonS 34 Crossword 35 Classifieds

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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

ADvERTIsIng AnD OpERATIOns

puBliSher: eric norwood SaleS MaNager: melAnie bAbb SeNior accouNt executiveS: renee hicks, Arlene kAminsky accouNt executiveS: chAd VAle, brittAny woodlAnd SaleS operatioNS MaNager: heAther mcAndrews director of MarketiNg, eveNtS, aNd BuSiNeSS developMeNt: edgArd izAguirre operatioNS director: jeff boswell SeNior SaleS operatioN aNd productioN coordiNator: jAne mArtinAche puBliSher eMerituS: Amy Austin graphic deSigNerS: liz loewenstein, melAnie mAys

LELAnD InvEsTmEnT cORp. oWNer: mArk d. ein

local advertiSiNg: (202) 650-6937 fax: (202) 650-6970, Ads@wAshingtoncitypAper.com Find a staFF directory with contact inFormation at washingtoncitypaper.com vol. 38, No. 8 feB. 23–March 1, 2018 wAshington city pAper is published eVery week And is locAted At 734 15th st. nw, suite 400, wAshington, d.c. 20005. cAlendAr submissions Are welcomed; they must be receiVed 10 dAys before publicAtion. u.s. subscriptions Are AVAilAble for $250 per yeAr. issue will ArriVe seVerAl dAys After publicAtion. bAck issues of the pAst fiVe weeks Are AVAilAble At the office for $1 ($5 for older issues). bAck issues Are AVAilAble by mAil for $5. mAke checks pAyAble to wAshington city pAper or cAll for more options. © 2018 All rights reserVed. no pArt of this publicAtion mAy be reproduced without the written permission of the editor.

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DistrictLinE

Board Games Bowser buddy Joshua Lopez finally gets a seat on a high-stakes local board.

By Andrew Giambrone Toward The end of her first year as mayor, Muriel Bowser took Joshua Lopez to China, for what her office dubbed a weeklong “economic development mission.”

A former candidate for an at-large seat on the D.C. Council and chief campaign aide for both Bowser and her mentor, ex-Mayor Adrian Fenty, Lopez went on the trip with a group of about 40 local officials, business and nonprofit executives, prominent developers, and campaign donors.

Before departing, Bowser said this delegation “represent[ed] the best of the nation’s capital” as well as the D.C. economy’s “strength and diversity.” The stated goal was to attract investment.

The voyage was also an investment in Bowser’s personal relationships with District influencers. Viewed another way, it was arguably a return on investment for several of her most dependable political backers. One was affordable housing developer Buwa Binitie, who was a major donor to the pro-Bowser FreshPAC that shut down amid pay-to-play optics and concerns about nepotism.

Lopez, 34, wasn’t a FreshPAC donor, but he’s shown his devotion to the Bowser/Fen-

Loose LIPs

ty “Green Team” by other means. He served as field director for the two pols during their mayoral campaigns, and as a member of their transition teams. A business-development consultant and occasional lobbyist by trade, Lopez has given more than $1,000 to Bowser campaigns since 2007, and more than $1,600 to Fenty campaigns, according to campaign finance records. He stood on stage with Bowser during her second swearing-in as Ward 4 councilmember.

Now, more than a decade of hustle and loyalty appear to have paid off for Lopez, thanks to the patronage that mayors get to disburse through executive appointments to local commissions and boards.

On Feb. 6, the D.C. Council approved his nomination by Bowser to the DC Housing Authority’s Board of Commissioners, which reviews contracts and sets policy for public housing. DCHA manages more than 8,000 units of public housing and distributes thousands of vouchers to low-income families so they can pay rents on the private market. The board has 11 members who play a key role in supporting D.C.’s poorest, especially because federal cuts have gutted public housing.

But two established councilmembers openly questioned Lopez’s qualifications and demeanor for the role, insinuating that the millennial District native is a crafty political

operator. Lopez denies these charges. He insists that he’s a proven community activist and public servant.

During a December hearing on his nomination, Lopez touted his upbringing in pregentrified D.C. “I was raised in a single-parent household in Shaw and I know firsthand the importance of decent, quality, and affordable housing,” he said, adding that he and his mother lived under rent control. Lopez served as an advisory neighborhood commissioner in Ward 4 and is a new homeowner in Ward 7. He runs a consultancy called Olimpic Strategies, named after his Guatemalan mother, Olimpia.

Unlike many mayoral appointments, Lopez’s came with a dose of political drama and a gossipy backstory couched in Council procedure. And while the vote to approve his nomination passed 10–3, that count mapped onto longtime frictions between Bowser and some of her biggest critics.

Such tensions were on display during a Council legislative meeting earlier this month. At the preceding Committee of the Whole meeting, ex-Mayor and Ward 7 Councilmember Vincent Gray requested that the resolution confirming Lopez to the DCHA board be debated rather than automatically passed through what is known as a “consent”—or en bloc—agenda later that day.

Then the rhetorical sparks flew. Gray, who lost his 2014 re-election bid to Bowser in the thick of a campaign finance scandal, spent almost three minutes slamming Lopez. “I am hard-pressed to find someone who is less qualified than Joshua Lopez to be on the board of the Housing Authority of the District of Columbia,” Gray said. “This is not a ceremonial board by any stretch. They’re making policy decisions every day about the future of people in the District of Columbia, the thousands of people who live in public housing ... and are in dread fear.”

Turning to Lopez’s character, he continued: “I have seen this individual’s behavior in the community and watched him operate, and I think it’s just reprehensible that he is now a nominee for the [DCHA] board.”

In making his remarks, Gray consumed most of his allotted time, which reduced the amount that At-Large Councilmember Anita Bonds had—per Council rules— to explain why the housing committee she chairs advanced Lopez’s nomination the week before. Chuckling at first, Bonds went on to cite Lopez’s business experience, regulatory knowledge, and familiarity with development.

“When we held our mark-up, the votes were

there, and he received the votes,” she said.

It could have ended there, but it didn’t.

Ward 3 Councilmember Mary Cheh chimed in to oppose Lopez’s appointment, too. Echoing Gray, she said Lopez “lacks the appropriate temperament” to sit on the DCHA board.

She also critiqued his qualifications.

“From my interactions with him, I simply believe he’s not the person who should be in a position like this,” Cheh said. “I think Councilmember Gray’s choice of words is appropriate here. Having seen him ‘operate’ in the community, I believe that this is a very bad appointment.”

Council Chairman Phil Mendelson asked for a vote. Gray, Cheh, and At-Large Councilmember David Grosso, who had not offered comments, voted “no.” The bill passed.

Asked about these criticisms, Lopez says he looks forward to working with the Council on DCHA matters. He also notes his previous positions on a Latinx affairs committee under Fenty and a juvenile justice committee under Mayor Anthony Williams.

A source close to Gray says he knew he did not have the votes to topple Lopez’s nomination, but wanted to make a point about the needs of public housing residents. And a source close to Cheh says Lopez has disrespectfully attacked her on social media.

As chair of the environment committee, Cheh did not schedule hearings on two nominations by Bowser, in 2015 and 2016, for Lopez to sit on the DC Water board. The bills fell by the wayside.

A housing advocacy source speculates that Bowser wants a reliable ally on the DCHA board to promote her agenda, particularly around the New Communities Initiative, a long-stalled effort to redevelop four public housing complexes across the city into mixed-income developments that has a multimillion-dollar price tag. The board is chaired by Downtown Business Improvement District CEO and ex-City Administrator Neil Albert, whom Bowser nominated in 2017—to no controversy.

Lopez declined to participate in a full onthe-record interview, but notes in a statement that he’s “honored at the opportunity to serve my hometown.” He was sworn in at his first board meeting on Feb. 14 along with Navy veteran Franselene St. Jean, another Bowser pick.

“I’ve hit the ground running and have begun meeting with community stakeholders, residents, and councilmembers to hear their feedback and concerns,” Lopez says. “Improving services and quality of life issues for all our residents is my top priority. I believe DCHA can demonstrate a national model of sustainable community development while preserving affordable housing.”

His luck may have temporarily run dry after returning from China, but now it looks like it’s building up again.

CP

washingtoncitypaper.com february 23, 2018 5

DistrictLine Fix Six

Darrow Montgomery

Charles Allen challenger Lisa Hunter drops more than just provocative videos.

By J.F. Meils A recently releAsed campaign video from Lisa Hunter, a Democrat challenging Ward 6 Councilmember Charles Allen, opens with a spooky piano riff reminiscent of the Halloween movies.

Hunter is then shown leaving her home in the dark with campaign signs under her arm as she narrates: “For 12 years, your D.C. councilmembers have been two men from Homewood, Alabama.”

Hunter is referring to Allen and his predecessor, Tommy Wells, under whom Allen served as chief of staff. She goes on to say that, during the time Wells and Allen have held the Ward 6 seat, economic and racial disparities have grown nationally, displacing neighbors and sowing fear. Eventually she breaks into Spanish—Hunter’s mother is Mexican-American—and says that she’ll keep talking to the people they don’t talk to.

“Because this isn’t Homewood, Alabama,” she concludes, in English, as the video ends.

“This is your ward. Este es tu ward.”

The reaction to the video, released February 5, was swift and mostly one-sided on Hunter’s social media accounts.

“If you are truly interested in representing all residents in Ward 6 and in the city,” wrote Jonet-

ta Rose Barras, a local journalist and former Loose Lips writer for City Paper, on the Facebook page for Hunter’s campaign, “you might start by throwing away your dog whistle.”

“So basically your argument [is] that Allen doesn’t have #ward6’s best interest in mind because he wasn’t born in DC (underlying subtext because he’s a southern born white male),” tweeted a user named Wards United.

Hunter claims the total feedback she received on the video was “overwhelmingly positive,” but acknowledged that it rubbed some the wrong way. “If the message that I sought to deliver was not received, then that’s on me,” she says. “I should be more clear.”

Raised in Malibu, California, Hunter, 33, volunteered with the Peace Corps in Guyana after graduating from Vassar College, then hooked up with Barack Obama’s 2008 campaign as a field organizer in St. Louis, Missouri.

She moved to the District in 2009 to work on the Hill, first as an intern for former California Rep. Howard Berman, then as a staffer for California Rep. Judy Chu. Eventually, she joined the Department of Health and Human Services in a policy role. She currently works in the private sector as a health policy consultant and lives on Capitol Hill with her husband and their young daughter.

As for the video, she stands by it.

6 february 23, 2018 washingtoncitypaper.com

“Part of the reason why I made the video is I don’t think people see this line of succession [from Wells to Allen] unless they’re paying attention,” she says, describing it as a kind of political “incest.” “I think people have been looking around and we’ve got all these flashy new buildings and cranes everywhere, but we still have people living in tents, struggling to make ends meet, and to me that’s not okay.”

Allen, who says he has only seen snippets of the video, found it puzzling. “It’s a strange line of attack from someone who moved here from Malibu,” he says. “It just seems odd to criticize the voters’ will.”

Allen won nearly 60 percent of the vote in the 2014 Ward 6 primary and nearly 80 percent of the vote in the general election.

And if the number of campaign signs sprouting up around Capitol Hill is any indication, Allen remains popular.

As of the end of January, Allen also had about $75,000 in campaign cash on hand to Hunter’s $17,000. Of the $100,000 or so Allen raised by the January 31 filing deadline, about 90 percent came from local donors. Of the $23,000 total Hunter raised, more than 70 percent came from outside the District, excluding donations from her and her husband, Ian. “I am proud of every single dollar I’ve raised because I know it doesn’t come with strings attached,” says Hunter. “And that is something that I don’t know that Charles Allen can say.”

Hunter clarified that she was referring to campaign donations Allen has received from individuals with known connections to real estate development. A City Paper analysis determined that as of January 31, about 15 percent of the money Allen raised in this election is from individual donors who listed their employment at real estate-related companies.

“If she is having that much trouble finding Ward 6 neighbors to support her campaign, this is where you go,” says Allen.

Hunter, who comes off in person as earnest, passionate, and less harsh than her messaging, has nevertheless made a number of assertions about Allen and others involved in Ward 6 politics that strain credibility or have been flatly denied.

A case in point is one of Hunter’s “flashpoints” that she says pushed her to run. A little more than a year ago, she noticed No Parking signs in Spanish around her neighborhood, which is close to the new housing development on the old Hine Junior High School site.

She believed the signs were posted by local residents and directed at Latinx workers on the Hine project. In a letter Hunter sent to the PoPville blog, which was posted without her name, she wrote: “At risk of hyperbole, these signs may as well say ‘white homeown-

ers only’ because that is the result they seek to achieve.”

Hunter says she reached out to Allen twice about the signs, but didn’t hear anything substantive back until the PoPville post.

Allen disputes Hunter’s characterization of the exchange, claiming that he had been in contact with Hunter’s husband via email to explain that the signs were part of a construction management plan approved by ANC 6B and designed to minimize the impact of the construction project on nearby residents. The plan included off-site parking for workers as well as the No Parking signs, which were not stipulated in the contract but were a measure taken by the developer to abide by the agreement.

“Our recollection is that the developer added No Parking signs to the adjacent blocks to remind the construction workers of the prohibition on parking within 1/4 mile of the construction site,” says Steve Hagedorn, an ANC 6B commissioner.

Hunter, who says she would look to champion issues including fair wages for tipped workers, campaign finance reform, and affordable housing if elected to the Council, appears more focused on being taken seriously at the moment. And she believes she has not been in many cases because of her gender.

“Nobody has ever asked [Allen] whether or not he’s having trouble putting his kids to bed at night or whether or not he’s qualified for the job because he’s got two kids,” she says.

Hunter also claims she has also been repeatedly taken aback by the entrenched nature of Ward 6 politics. She recounted a meeting with Chuck Burger, president of the Ward 6 Democrats, shortly after she announced her campaign last fall.

According to Hunter, Burger told her in the meeting that he personally selected the last three candidates for the Ward 6 council seat, that she was not his choice, and that she’d be better off running for a Board of Education seat. Burger denies saying it. Hunter also claims that Burger made disparaging remarks about the importance of Ward 6 voters in Southwest. “What?” asked Burger, when told of Hunter’s assertion. “I don’t even know how to respond to that.”

Whether or not Hunter can mount a serious challenge to Allen might come down to her ability to make all the mud she’s throwing at him stick—and if her aggressive style will resonate against a seemingly popular incumbent.

“I am salivating at the opportunity to debate him,” she says. “He’s going to have all the statistics you could ever want. But what I have is a perspective and an emotional intelligence that I think is lacking in our current leadership.”

CP

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washingtoncitypaper.com february 23, 2018 7

Suzanne Ciani

PRESENTS

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March 5–19, 2018

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8 february 23, 2018 washingtoncitypaper.com

The NhL is currently in the middle of the NHL’s “Hockey is for Everyone” month, which the league describes as “part of its ongoing effort to celebrate diversity and inclusion in hockey.”

The overall whiteness of the league is a reliable source of humor, both actual (as in a memorable Chance The Rapper-hosted SNL sketch) and the in-quotation-marks kind that nightmarish sportstalk yappers like Colin Cowherd use to beard their vaguely (or notso-vaguely) racist opinions. Even the most basic Google search (“racist hockey incidents,” for example) turns up a depressingly metronymic sequence popping up over the years.

The latest tick-tock came at the expense of Capitals forward Devante Smith-Pelly, who is black. Sitting in the penalty box at a game against Chicago, Smith-Pelly found himself the target of racially-charged chants. The resolution to the incident was swift: Smith-Pelly reported it to an off-ice official, the fans were ejected, every organization and many of the individuals involved issued appropriately horrified statements, and “Hockey is for Everyone” month rolled on.

The epithet the fans were chanting? “Basketball.”

Despite what some message board quasi- (and not-so-quasi-)racists would have you believe, this is absolutely a racist taunt. The implication—“You, as a black man, would be better suited to the hardwood than the ice”— is completely clear.

The fact that the word they were using is innocuous in nearly every other circumstance is irrelevant. In this case it was an attack, and was correctly recognized as such.

On the flipside: Philadelphia 76ers guard (and The Ringer podcaster) JJ Redick stammered over something in the middle of an NBA-wishes-you-Happy-Chinese-New-Year video. To a casual listen, it sounds kind of like he might be saying that he wishes “all of the NBA chink fans in China” a happy new year, and a number of listeners reacted with the level of outrage that such a comment deserves.

Redick’s initial response statement came off as defensive; in his follow-up he claimed that he was initially saying “the NBA Chinese fans” but realized that it sounded stupid and tried to switch it up mid-sentence. So what he’s say-

ing the video showed is “all of the NBA Chi… fans in China.” Watching the video (which was officially pulled down but is of course readily available all over the internet), it’s a viable explanation. More importantly, it’s an explanation that convinced a number of influential voices, including Chinese-American NBA player Jeremy Lin, who issued an unambiguous statement in Redick’s defense.

So in this case, we’re being asked to accept that what sounded like a derogatory term in fact wasn’t—and many people appear willing to do so.

Which brings us, sadly and inevitably, to the local NFL team’s name. The Cleveland Indians announced that they’ll be getting rid of Chief Wahoo, the offensive caricature of a Native American that was one of their official mascots, renewing questions about what Daniel Snyder might do. (All indications, sadly and inevitably, are that he will do nothing.)

It might seem like these two recent incidents, paired together, make a compelling case for keeping the NFL team’s name. If a word that usually isn’t racist can clearly be recognized as such in context, and a word that usually is racist can be ignored in certain situations, surely the Washington football squad can keep its name, which (many would argue) only applies to the players and not the outmoded racist definition.

I take a different lesson from the situation: When someone identifies a term as a racial slur, you react accordingly. You report the incident. You ban the four fans. You issue a sincere apology. Even if not everyone who hears the term fully perceives the underlying message, this is what you do. And yet the local football team’s name remains.

Redick’s situation makes a different point: If your history is good and your conduct to date has given no one reason to doubt you, an apparent verbal slip can be viewed as unfortunate garbling, entirely without malice. But no one will argue that the local football team has had a favorable recent history.

It’s pointless to even discuss, I know. The team isn’t going to make a change until some genuine outside influence forces them to. The people who don’t want the name changed aren’t going to be even slightly swayed. But the lesson of these two incidents seems really simple: Don’t be awful. What’s remarkable, and depressing, is how often that’s too high a bar to clear.

CP

INDIEIND.C. to make a difference and change.” So, I was looking on YouTube and I found these videos of shoe resurrections, of them restoring shoes. It really interested me because the stuff that they were using was affordable. I started trying working on it and the results were better than I thought it was going to be. So I stuck with it right there.

Kaarin Vembar

Have you always had an interest in clothing or sneakers or fashion?

Oh yeah. Shoes! Shoes all the time. Especially when I was in school. Everybody, everytime I came to school with a new pair of shoes, everybody said, “Where you get them from, where you get them from?”

Indie in D.C. is a monthly feature on independent makers and retailers throughout the District.

Alfonzo Gregory, 20, owns the business Shoe Resurrection. He is self-taught and has built a reputation for repairing and restoring shoes, specializing in revitalizing sneakers. He developed his business with the help of DC Community Carrot, an organization that provides mentorship for budding entrepreneurs.

Gregory works out of his home in Southeast D.C. You can reach him by texting (202) 9712714. You can see examples of his work on Facebook (facebook.com/shoeresurrection360/) or on Instagram @hardworking_zo.

DC Community Carrot is the program that you worked with to get your business up and running. Did you know going in that you wanted to do something with shoes? How did it come about?

David, the program director, said, “Find something that you like or something that you want

What is the most common restoration that you are doing to shoes?

People usually come in for a deep clean. I have a price range. If you are a new customer coming in I will charge you about $25.

What does a deep clean entail?

Get the shoe looking better than what it did before. I use my special product … and it makes the shoe look 100 times better than what it did before.

DidyoujoinDCCommunityCarrotinorder to start your business, or did you join Carrot because you thought it was a cool idea?

No. I joined Carrot because I really didn’t have nothing to do and I was looking for things to do because I knew I could do something. It wasn’t a lot of programs out there that was trying to accept me, so as soon as DC Community Carrot accepted me I took it and ran with it. I said, “I want to become one of the first success stories.” So I took it and never looked back.

Have you had challenging shoes that you’ve worked with before?

Of course. There was one instance where my boss at my job he wanted some Foamposites done. He had scuffs all over his Foamposites— the basketball shoes. Nike basketball shoes.

It’s very popular in the DMV.

He brought a pair of those shoes to me and I did not know at all how to get it out. So I was worried, I was freaking out. I was looking on YouTube, and it was so simple and it worked.

All I had to use was hand sanitizer and the scuffs got right out like magic.

You mentioned a boss, so are you doing this business and have another job on the side?

Yes. I work at a bar and then I am in class for HVAC training.

So, you work at a bar, do HVAC training, and then have this business. That is a lot.

Yes, it is. Especially because you gotta take your time with the shoes. Because with people, you want the shoe to look like how you would want it to look on your feet. You wouldn’t want to give them something back that’s looking terrible. So, it takes time.

How long does it usually take you to work on a pair?

It varies. But, like, two hours.

Do you want Shoe Resurrection to be the main thing you are doing?

I would like it to be the main thing that I’m doing, because I have a deep passion for shoes.

I envision my business having a store in the DMV where you can get all your shoes. You can bring them to me and I can get them looking 100 times better than what they were looking before at a cheaper price.

You work out of your house?

This neighborhood is kinda harsh. Like, with all the crime that’s happening. You see a drug dealer, like, every time you walk out the house.

So what I try to do is I try to stay in the house as much as possible. Because there’s a lot of bad things you can get into out here.

I think what you are doing is really cool. I think you are finding your way.

That’s what you got to do. One thing my teacher told me that always stuck in my head—she was my fifth grade teacher—she was like, “Don’t be a lazy bum,” and she made a little song of it. And then, I’m just trying to make it, basically. Because you gotta do something. —Kaarin Vembar

WED, FEB 28 + THU, MAR 1

CHERISH THE LADIES MARC-ANDRÉ HAMELIN, piano

CHAMBER MUSIC AT THE BARNS

FRI, MAR 2

ENTER THE HAGGIS PIGEON KINGS WED, MAR 7

JOHN EATON

INDIANA ON OUR MINDS: THE MUSIC OF COLE PORTER & HOAGY CARMICHAEL FRI, MAR 9

SHOSTAKOVICH AND THE BLACK MONK: A RUSSIAN FANTASY CHAMBER MUSIC AT THE BARNS

SUN, MAR 11

BARRY FLANAGAN OF HAPA WITH SPECIAL GUEST ERIC GILLIOM FRI, MAR 16

AND MANY MORE! 1 6 3 5 T R A P R D, V I E N N A , VA 2 2 1 8 2

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Alfonzo Gregory

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I’m an 18-year-old female. I’m cisgender and bisexual. I’ve been in a monogamous relationship with my cisgender bisexual boyfriend for about a year. I’m currently struggling with a lot of internalized biphobia and other hang-ups about my boyfriend’s sexuality. I don’t know if I’m projecting my own issues onto him or if I’m just being bigoted toward bi men, but either way, I feel truly awful about it. But when I think about the fact that he’s bi and is attracted to men, I become jealous and fearful that he will leave me for a man or that he would rather be with a man. (I’ve been with men and women in the past; he’s never been with a man.) I know it is unfair of me to feel this way and he’s never given me any real reason to fear this. We have a very engaged, kinky, and rewarding sex life!

But I worry I’m not what he really wants.

This situation is complicated by the near certainty that my boyfriend has some sort of hormonal disorder. He has a very young face for an 18 year old, a feminine figure, and not a lot of body hair. He orgasms but he does not ejaculate; and although he has a sizable penis, his testicles are more like the size of grapes than eggs. He struggles a lot with feeling abnormal and un-masculine. I try to be as supportive as possible and tell him how attracted to him I am and how he’ll get through whatever this is.

But he can tell his bi-ness makes me nervous and uncomfortable. I think that because he appears more feminine than most men and is more often hit on by men than women, I worry that he would feel more comfortable or “normal” with a man.

I don’t want to contribute to him feeling abnormal or bad about himself. How do I stop worrying that he’s gay or would be happier with a man? I feel horrible about myself for these anxieties considering that I’m bi too, and should know better.

—Anonymous Nervous Girlfriend Seeks Tranquility “Many people who encounter us Bi+ folk in the wild just project their insecurities onto us with impunity and then blame us for it,” said RJ Aguiar, a bisexual activist and content creator whose work has been featured on Buzzfeed, HuffPo, Queerty and other sites. “As someone who’s bi herself, I’m sure ANGST know this all too well.”

So if you’ve been on the receiving end of biphobia—as almost all bisexual people have—why are you doing it to your bisexual boyfriend?

“This hypothetical so-and-so-is-goingto-leave-me-for-someone-hotter scenario could happen to anyone of any orientation,” said Aguiar. “But maybe because the potential ‘pool of applicants’ is over twice as big for us Bi+ folk, we get stuck with twice as much of this irrational fear? I don’t know. But here’s what I do know: Most Biphobia (and jealousy for that matter) is projected insecurity. Built into the fear that someone will leave you because they ‘like x or y better’ is the assumption

10 february 23, 2018 washingtoncitypaper.com

that you yourself aren’t good enough.”

And while feelings of insecurity and jealousy can undermine a relationship, ANGST, they don’t have to. It all depends on how you address them when they arise.

“We all have our moments!” said Aguiar.

“But we can turn these moments into opportunities for open communication and intimacy rather than moments of isolation and shame.

That way they end up bringing you closer, rather than drive this invisible wedge between you.

The key is to understand that feelings aren’t always rational. But if we can share those feelings with the person we love without fear of judgment or reprisal, it can help create a space of comfort and intimacy that no piece of ass will ever be able to compete with—no matter how hot they are or what they may or may not have between their legs.”

As for the reasons you’re feeling insecure— your boyfriend might be gay and/or happier with a man—I’m not going to lie to you, ANGST. Your boyfriend could be gay (some people who aren’t bisexual identify as bi before coming out as gay or lesbian), and/or he could one day realize that he’d be happier with a man (just as you could one day realize that you’d be happier with a woman). But your wonderful sex life—your engaging, kinky, rewarding sex life—is pretty good evidence that your boyfriend isn’t gay. (I was one of those guys who identified as bi before coming out as gay, ANGST, and I had girlfriends and the sex we had was far from wonderful.)

And now I’m going tell you something you no doubt already know: Very few people wind up spending their lives with the person they were dating at 18. You and your boyfriend are both in the process of figuring out who you are and what you want. It’s possible he’ll realize you’re not the person he wants to be with, ANGST, but it’s also possible you’ll realize he’s not the person you want to be with. Stop worrying about the next six or seven decades of your life—stop worrying about forever—and enjoy this time and this boy and this relationship for however long it lasts.

Finally, ANGST, on the off chance your boyfriend hasn’t spoken to a doctor about his symptoms—because he’s an uninsured/underinsured/unlucky American or because he’s been too embarrassed to bring up the size of his balls and quality of ejaculations with his parents and/or doctor—I shared your letter with Dr. John Amory, Professor of Medicine at the University of Washington.

“An 18-year-old male with testicles the ‘size of grapes’ indicates an issue with testicular development,” said Amory. “The reduced testicular volume, in combination with the other features such as his feminine face and sparse body hair, also suggest an issue with testicular function.”

It could simply be delayed puberty—some people suddenly grow six inches when they

get to college—or it could be something called Klinefelter syndrome.

“Klinefelter syndrome occurs in one out of every 500 males and is associated with small testicular volume and decreased testosterone,” said Dr. Amory. “This diagnosis is frequently missed because the penis is normal in size and the men are normal in most other ways, although about half of men with Klinefelter syndrome (KS) can have breast enlargement (gynecomastia) that can be seen as feminizing. Bottom line: Small testes at age 18 means it’s time for a doctor’s visit—probably an endocrinologist or urologist—to take a family history, do an examination, and consider measurement of testosterone and some other hormones. This should help him understand if he ‘just needs to wait’ or if he has a diagnosis that could be treated. There is a real possibility that he has KS, which is usually treated with testosterone to improve muscle mass, bone density, and sexual function.”

Follow RJ Aguiar on Twitter @rj4gui4r.

—Dan Savage I’m a 27-year-old woman whose boyfriend recently broke up with her. Along with the usual feelings of grief and heartbreak, I’m feeling a lot of guilt about how I handled our sex life, which was one of the main issues in our breakup. My now ex-boyfriend was interested in BDSM and a kink-oriented lifestyle, and I experimented with that for him. I attended several play parties, went to a five-day-long kink camp with him, and tried out many of his BDSM fantasies.

The problem became that, hard as I tried, I just wasn’t very interested in that lifestyle and parts of it made me very uncomfortable. I was game to do the lighter stuff (spanking, bondage), but just couldn’t get behind the more extreme things.

I disappointed him because I “went along with it” only to decide I wasn’t into it and that I unfairly represented my interest in his lifestyle. Did I do something wrong? What should I have done?

—Basically A Little Kinky All you’re guilty of doing, BALK, is exactly what kinksters everywhere hope their vanilla partners will do. You gave it a try—you were good, giving, and game enough to explore BDSM with and for him—and sometimes that works, e.g. someone who always thought of themselves as vanilla goes to a play party or a five-day-long kink camp and suddenly realizes, hey, I’m pretty kinky, too! But it doesn’t always work. Since the alternative to “went along with it” was “never gave it a chance,” BALK, your ex-boyfriend should be giving you credit for trying, not grief for supposedly misleading him.

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

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Darrow Montgomery

CROWDED HOUSE

Clubgoers floCk to eChostage for thumping eleCtroniC danCe parties. others warn it’s a dangerous night out.

by avery J.C. kleinman

12 february 23, 2018 washingtoncitypaper.com

the ’80s and ’90s, and it still is today—specifically 3,4-methylenedioxymethamphetamine (MDMA), the main ingredient in ecstasy. The purified form of MDMA is called Molly, and it produces “feelings of well-being, stimulation, and distortions in time and sensory perceptions,” according to the National Institute on Drug Abuse.

A recent study published in the journal Substance Use and Misuse found that 42.8 percent of young people between the ages of 18 and 25 entering EDM events in New

he said Shelley had taken Molly.”

Goldsmith and her husband, who live in Abingdon, Virginia, in the southwest part of the state, had been on a trip for her son’s birthday and were sleeping in a hotel in Kentucky when they received the call.

“Nobody was able to fly us out, they were all socked in with fog,” she recalls. “So we did the worst journey of my life, the nine-and-a-half hours to drive to D.C. to see her.”

When the couple arrived at the hospital, Shelley’s organs had already failed.

“I never got to say goodbye,” Goldsmith says now. “We were Dede and Shelley there and looking for some indiGoldsmith cation … a hand squeeze, a tear.

There was nothing, she wasn’t there.”

Shelley was starting her second year at the University of Virginia in its competitive Jefferson Scholars program when she traveled on a party bus with a group of friends from Charlottesville to D.C. for the concert. Before leaving, she checked off in her planner the things she needed to get done before she left. Shopping, check. Laundry, check. Homework, check.

Goldsmith described her daughter as “a mother’s dream.”

“She was born on nine-eleven, which is always a tragic reminder to me,” Goldsmith says. “Because the irony is, her last words were ‘Call 911.’”

Nobody from Echostage ever reached out to the Goldsmith family privately following Shelley’s death, but the management did release a public statement: “We are saddened to hear about Mary Shelley Goldsmith’s death. and the bass was in full effect. The Swed- We have no further comment as it is our unish duo taught Echostage the Rules of Dada derstanding that this is part of an active inveswith a night of champagne, bananas, electro, tigation. We will cooperate with the appropriand pillows,” reads the post. “It’s safe to say ate authorities.”

Through their public relations firm, MoKi we partook in the biggest pillow fight in the District. Halfway through ‘Happy Violence,’ Media, the ownership and management of giant stuffed pillows were thrown into the Echostage declined to comment for this articrowd. When the beat dropped, joyful cha- cle. In direct reference to Shelley Goldsmith’s death, Roderic Woodson, partner at Holland os ensued.”

A photo at the end the post shows a hand- & Knight and counsel to Echostage, told the ful of staff inside the mostly empty Echos- ABC board in December 2015 that “the death tage, standing atop a room littered with pil- did not occur in Echostage. There was no way low stuffing. The photo is captioned “The that death could have been prevented by Echostage, itself.”

Aftermath.”

In the week after Shelley passed away, poThere’s no mention of another, more tragic aftermath of that show: the death of 19-year- lice told The Washington Post that a single bad batch of MDMA may have been responsible old Mary “Shelley” Goldsmith. for Shelley’s death and three other Molly-related fatalities in Boston and New York in the “who’s MollY? where did she take her?”

Those were the words Dede Goldsmith same week. The Goldsmiths also assumed that spoke when her daughter’s friend told her over tainted drugs must have been to blame.

The toxicology report they received three the phone that Shelley had taken Molly.

“I got a call from a friend of hers, and he months later told a different story. Besides said, ‘I’m really, really sorry,’ and I said, ‘What? phenytoin and midazolam, two anti-seizure What are you talking about?’ And he said ‘Shel- drugs that were used to try to resuscitate her, ley’s in an ambulance,’” Goldsmith says. “He tests on Shelley’s blood found nothing in her kept saying, ‘I’m sorry, I’m so sorry.’ And then system besides pure MDMA. dy Center, Convention Center—none of them have this kind of drain on our resources.”

Two years earlier, on August 31, 2013, an emergency call came from Echostage as the electronic music duo Dada Life performed to a packed crowd. A blog post summarizing the show on the website of Club Glow, which produces EDM events and is owned and operated by the same individuals as Echostage, Antonis Karagounis and Pete Kalamoutsos, called the night “bananas.”

“People were decked out in banana suits

Courtesy of the Goldsmith family

You wouldn’t have known it was close to freezing looking at the exterior of the cavernous, warehouse-like concert venue Echostage on a recent Friday night. For every person bundled in a winter coat, someone else wore no jacket at all. Men in tank tops emblazoned with the logo of the electronic duo performing that night, Above & Beyond, wrapped their arms around glitter-faced women in fishnet stockings and booty shorts.

The show was sold out, and the line snaked down Queens Chapel Road in Northeast D.C. as thousands of people funneled into the venue. The line moved quickly and the underdressed concertgoers put up with their short-term shivering because they knew that once inside, the packed, body-to-body crowd would provide more than enough warmth. For the next four hours, until the club closed at around 3:30 a.m., they would be the comfortable ones. Even on this wintry night, some men, once inside, shed their shirts completely.

Echostage, the largest electronic music venue in the region at 30,000 square feet, has become the de-facto home of PLUR, an abbreviation for “Peace, Love, Unity, Respect,” the tenets the electronic dance music community purports to uphold.

A few months after Echostage’s opening, Washington Post music critic Chris Richards wrote that he saw it as a signal of the rise of EDM, or electronic dance music. “For any type of live music to thrive, you need artists to push envelopes, promoters to give them a solid platform and fans to stay engaged,” he wrote in December 2012. “Echostage faithful seem to be experiencing just that, pledging their loyalty to the venue, the acts and especially to each other.”

But since its opening, Echostage has come under fire for safety issues, including the deaths of three concertgoers between 2013 and 2015. And 911 records obtained through a Freedom of Information Act request reveal that there were 190 unique incidents requiring an EMS dispatch to Echostage between January 17, 2015, and January 12, 2018. (D.C. retains 911 data for three years.) 62 of these were in 2015, 56 in 2016, and 71 in 2017.

As the popularity of electronic music booms, advocates are working to ensure that venues like Echostage are as safe as possible for concertgoers—specifically those who are using drugs—by encouraging venue owners to create cool-down spaces and to provide concertgoers with free water. One of those advocates, Dede Goldsmith, experienced Echostage’s safety issues acutely. Her daughter, Shelley, died after attending a concert there in 2013.

Drug use was common in the electronic music scene when rave culture first blossomed in

York City in 2015 reported taking the drug in their lifetimes.

Just last month, WJLA reported that a man abducted a female concertgoer during Echostage’s New Year’s Eve celebration. The woman told police that she blacked out at the club and woke up to the man raping her. He was charged with second-degree rape and second-degree assault and is due to appear in Montgomery County District Court on Feb. 23.

In 2015, D.C.’s then Assistant Chief and current Chief of Police Peter Newsham requested a hearing about Echostage before D.C.’s Alcoholic Beverage Control (ABC) Board. His request came in response to events at a concert by electronic DJ duo W&W. D.C. police generated six reports, “four being sick persons to the hospital, one being an arrest for a simple assault, and one being an arrest for possession of drugs.” All four people who were taken to the hospital reported to police that they had taken Molly.

At the ABC hearing, Ward 7 Board Member James Short said, “Now, I know a little something about public safety in this town, and I know a little something about nightlife in Washington, D.C. Our D.C. stadium, Kenne-

washingtoncitypaper.com february 23, 2018 13

Text messages between Shelley and her friends ahead of the concert suggest that she didn’t overdose in the traditional sense, or take too much of the drug. The texts indicate that Shelley wanted 0.2 grams of MDMA for the concert, an amount that is commonly considered a standard, recreational dose.

That’s when Goldsmith came to ask: “If it wasn’t the drug that caused her to die, then what was it?” shEllEy goldsMith’s was the first publicly reported death to have occurred after a medical emergency at Echostage, but in the coming years, at least two more would take place. 22-yearold Cody Tjaden died in January 2015 after falling over a second floor balcony, and Victoria Callahan was celebrating her 19th birthday at Echostage in June 2015 when she collapsed, was taken to the hospital, and pronounced dead at MedStar Washington Hospital Center.

Since June 2015, there have been no public reports of deaths following incidents at Echostage, although that doesn’t guarantee that none have happened. Regulations related to the Health Insurance Portability and Accountability Act (HIPAA) preclude the public release of medical information, which can include deaths.

Shelley’s parents chose to publicly share that she had taken Molly prior to her death in order to warn other young people who plan to do the same.

While Victoria Callahan and Shelley Goldsmith both died within a day of being transported to the hospital, some fatalities can happen up to 72 hours later. A Molly-related medical emergency can also lead to permanent medical effects besides death that would similarly be privately held information.

“Where we sometimes see other outcomes is when people come in and they’re resuscitated, but they’ve already had damage to their brain, so they may have long-term cognitive disability or they might progressively deteriorate over the next 24 or 48 hours,” says Dr. Lewis Nelson, chief of service in the emergency department at University Hospital in Newark, New Jersey. “The damage to their muscles, the damage to their liver, the damage to their kidneys, the damage to their brain—it all continues to develop over the next days.”

Doctors told the Goldsmiths that Shelley had a temperature of 103.5 degrees when she arrived at the hospital. That elevated temperature, known as hyperthermia, is typical of MDMA-related medical emergencies.

MDMA, like antidepressant drugs, causes a greater release of the neurotransmitter serotonin. The flood of the neurotransmitter in the brain can lead to a dangerous condition

known as serotonin syndrome, which in turn causes hyperthermia.

Fatal hyperthermic reactions become much more likely in hot, crowded environments like nightclubs. A study conducted by the National Institute on Drug Abuse, done on rats, revealed that a moderate dose of MDMA that is typically safe in cool, quiet environments became lethal when the animals were exposed to hot, crowded conditions.

The association between ambient environ-

“It was so crowded that it was nearly impossible to move through the crowd, which posed a magnitude of issues when trying to get help or get medical personnel to someone who was having a difficult experience.”

Many EchostagE concErts, including both the Flume show Victoria Callahan attended and the Above & Beyond show this January, sell out. The number of people who pack into the building for a sold out show, though,

“ these

community platform focused on electronic music, and two Post reports list Echostage’s capacity as 6,000.

“I don’t know what they’re doing to manage capacity,” says Jones about her 2014 visit to the venue. “Even if they were legally following capacity, which I have questions about for that particular night that I was there, I would reconsider because that felt very crowded.”

DCRA reports that it is up to the D.C. Office of the Fire Marshal to enforce occupancy limits. A Freedom of Information Act request for fire code infractions to D.C.’s Fire and EMS Department surfaced an infraction from January 2, 2018, that exits signs did not indicate the correct direction of travel. No infractions were related to capacity. An employee of the Fire Marshal’s office indicated over the phone that inspectors check occupancy numbers by asking door staff how many people have entered the building. That number should not exceed the capacity limit listed on the business license.

Wooldridge and Jones expressed concern about access to water for patrons at Echostage when they visited in 2014.

Water bottles purchased from the bar cost $5 each, and Jones says that when she attempted to refill a water bottle she had purchased at the bar in the bathroom, she was stopped

by Echostage’s security personnel. In an anonymous survey DanceSafe carried out about Echostage after Callahan’s death, many patrons reported similar experiences.

One wrote that, “At the Flume show, I was almost kicked out because I tried to fill up my water bottle in the bathroom.”

The issue of access to water came up at the 2015 ABC hearing when Ward 2 Board Member Mike Silverstein questioned whether concertgoers were “at a certain time, being charged for the water that could have kept them from having some terrible thing happen to them.”

Arman Amirshahi, Karagounis’ business partner, responded that “the water situation has come up… As soon as it was mentioned, we took care of it, and it was a one day decision.”

“We now allow people to get water, no matter what. Anybody who asks for water at any time, we give them a cup of water,” he said.

“They don’t have to to buy a bottle of water.

We’ve added water fountains. We give out, literally, in front of the stage, hundreds of times—hundreds of cases of water to the people in the front who are not able to necessarily get water.”

Employees handed out free water bottles to audience members toward the front of the room at the January 2018 Above & Beyond show, but no security personnel were aware of the existence of the fountains Amirshani

are accidents where the fault lies to all of us because we are not regulating the environments in which people are using ” ment and MDMA fatalities is why harm reduction organizations advocate that music venues put in place measures to keep their environments—and thus their patrons—safe. Harm reduction refers to actions and strategies aimed at mitigating the negative consequences drug users may encounter.

“Calling it an overdose makes people think this was a drug abuser pushing their limits, and it lets everyone off the hook,” says Emanuel Sferios, the founder of DanceSafe, an organization that promotes health and safety within the electronic music community. “Everyone immediately goes to blaming the victim, because there’s this stereotype where we think if someone dies of drugs, it must be their fault.

These are accidents where the fault lies to all of us because we are not regulating the environments in which people are using.”

Following Shelley Goldsmith’s death, harm reduction advocates Stefanie Jones of the Drug Policy Alliance and Missi Wooldridge, who now runs consulting company Healthy Nightlife, LLC, attended a concert at Echostage to evaluate the safety of the venue.

“I would rate it a 3 out of 10,” Wooldridge says of her 2014 visit during a Skrillex concert.

14 february 23, 2018 washingtoncitypaper.com

is unclear.

Echostage’s maximum capacity is listed as 1,072, according to its 2013 Alcoholic Beverage Regulation Administration renewal application and business license, obtained via a Freedom of Information Act request. D.C.’s Department of Consumer and Regulatory Affairs (DCRA), which issues Certificates of Occupancy, confirmed that the venue’s current legal occupant load stands at that number. DC Construction Code requires that occupancy loads be posted so that they are readily visible to anyone entering the premises.

At the Above & Beyond concert last month, the certificate of occupancy was not readily visible and several staff members, when asked, could not point to its location, but security and employees at the box office stated that a sold out Echostage show holds around 3,000 people—almost three times the number DCRA allows. On the website EVENTup, which business owners can use to rent out their event spaces, standing room is listed as 2,000. At the 2015 ABC hearing, Echostage’s general manager Matthew Cronin reported to the Board that the maximum occupancy is 2,000 people. Resident Advisor, an online

Flicker/Forsaken Fotos, creative commons attribution 2.0

A December 2015 concert at Echostage

mentioned at the ABC hearing, and instead directed patrons to get the pre-poured cups of water that were kept behind the bar. Getting the attention of the bartender could take 10 minutes or more.

That isn’t sufficient, says Sferios.

“Water has to be free and freely accessible,” he says. “Giving out a few water bottles … That’s a quick fix to a situation that needs to be fixed on a systemic level.”

At the December 2015 ABC hearing, Echostage’s owners expressed confidence that they had made systemic changes to the venue since its opening to make it more safe. “We’re here to have a safe environment at our venue, and that’s the most important thing for us,” Andre de Moya, the managing partner at Echostage, told the ABC Board.

According to Amirshahi’s testimony to the Board, the venue’s original security plan had 17 cameras, but 50 were installed. He also says that the club voluntarily has a team of six to 12 officers outside whenever it is open, as well as around 45 security guards per night.

Echostage isn’t the only venue in its neighborhood, Langdon Park. The establishments Karma, Stadium Club, and Aqua Bar and

Lounge together create a nightlife scene in the area.

At an ABC Board meeting, in January 2015, a resident who lives nearby unsuccessfully protested the renewal of Echostage’s operating license. She complained about issues outside the club—traffic, litter, and disruption of peace and quiet.

Those strains on the neighborhood are part of why, in 2016, Advisory Neighborhood Commission 5C lobbied the Board to implement a moratorium on new liquor licenses in the area.

The Board voted to implement a three-year moratorium on new nightclub and multipurpose facility licenses.

Kevin Mullone, the commissioner for single member district 5C02, says the problems emanate not from Echostage alone but rather the number of large-scale nightclubs in very close proximity to one another.

“Echostage has an open-door policy. I have the management’s personal emails and phone numbers. They supported our community picnic, and they are routinely picking up trash after each and every show,” he says.

“Our constituents aren’t concerned with Echostage in particular, but rather that small

section of Queens Chapel Road that has a lot of establishments.”

Mullone says he’d like to see that area designated by the Metropolitan Police Department as a nightlife safe zone, as H Street NE, Adams Morgan, U Street NW, Dupont Circle, and Chinatown were when late-night Metro service was initially eliminated in 2016. The areas were given additional lighting and added patrols.

Amirshahi told the ABC Board in December 2015 that the club feels it’s gone “overboard” when it comes to safety. He said that in addition to police outside, they have trained emergency medical technicians on staff at every show in a designated first aid room.

“We understand the importance of having great security, great EMTs … I can’t prevent someone popping five pills and walking into your night club, anywhere in the city,” he said.

Stefanie Jones agrees, which is why she thinks harm reduction is so important.

“Every venue and every event in the country has a quote, un-quote ‘no tolerance drug policy,’ and it’s just impossible,” she says. “You can’t keep drugs out of a club, venue, or festival

any more than you can keep drugs out of any community, or state, or even prison. So it’s kind of insane to keep asking the venue to just try harder at doing this impossible thing rather than considering other approaches.” concertgoers, for their part, continue to flood Echostage weekend after weekend.

The venue was voted the top club in the United States in DJ Mag’s 2017 Top 100 Clubs poll and the number eight club in the world.

Eric Bideganeta, 24, has been to twelve Echostage concerts since 2013.

“I know a lot of people complain about overcrowding but I think that’s largely based on a show-by-show basis. And at least in my experience, even if it is packed you can still stay out of the thick of it by sticking towards the sides or rear, so it’s something I’ve always considered largely in your control,” he says. “The only true safety issues I’ve ever heard of are all related to personal substance use, which unfortunately isn’t something the venue has much control over … It’s a shame to see largely isolated issues taint their reputation.”

Beyond freely accessible water and open, cool spaces, harm reduction advocates say

washingtoncitypaper.com february 23, 2018 15

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dede goldsMith’s quest to understand what could have prevented her daughter’s death led her to a 2003 law introduced by Senator Joe Biden, the Illicit Drug Anti-Proliferation Act. An earlier version of the law was titled the Reducing Americans Vulnerability to Ecstasy Act to create the acronym RAVE, a term for electronic dance music parties; it’s still commonly referred to as the RAVE Act. It bans individuals and businesses from “knowingly opening, maintaining, managing, controlling, renting, leasing, making available for use, or profiting from any place” where drugs are sold or used.

The legislation was passed by Congress following the death of Jillian Kirkland, a 17-yearold who died after taking drugs at an electronic music concert at the State Palace Theatre in New Orleans in 1998.

Although no club owner or promoter has even been prosecuted under the RAVE Act, some point to the law as the reason they avoid providing measures like free water and cooldown spaces. Doing so would likely keep attendees safer, but may also suggest that drug use is happening at their venues.

In the years since Shelley’s death, Goldsmith has advocated against the legislation.

She thinks the law may be partially to blame for her daughter’s death, and has amassed more than 17,000 signatures on her online petition, Amend The RAVE Act. According to DanceSafe founder Sferios, amending the RAVE Act won’t immediately spur change, but it will remove an impediment toward requiring the harm reduction standards the organization he created advocates for.

“The next step is to go state by state and require these things, but how can you even require these things when you have a federal law that makes the lawyers and the insurance reps say ‘You better not do that because the feds could come after you?’” Sferios says.

“The RAVE Act is written so ambiguously …

That ambiguity sends a chill down the spine of lawyers.”

Pasquale Rotella, the CEO of Insomniac, a company that produces multi-day electronic music festivals across the county, responded to a question about why his festivals don’t partner with DanceSafe or other harm reduction organizations during a 2014 Ask Me Anything session on the online discussion platform Reddit.

“I’ve actually had DanceSafe at our events a while back, but when the venue, the local au-

thorities, and the insurers are opposed to it, you won’t have that city or location as an option,” he wrote. “It’s already hard enough to find venues where I can organize events. Unfortunately some people view partnering with DanceSafe as endorsing drug use rather than keeping people safe.”

At U Street Music Hall in D.C., owner Will Eastman takes the opposite stance. He’s hosted fundraisers for DanceSafe and says he takes every step possible to keep his venue’s patrons safe.

Both of the bars at the basement-level club have coolers with cups where people can access water without waiting for a bartender.

Other D.C. music venues, like 9:30 Club and Black Cat, leave pitchers of water and cups on the bar. The Anthem, a massive, 57,000 square foot music venue with a self-reported capacity of 6,000 that opened at The Wharf in October 2017, has water fountains.

Eastman says he supports harm reduction, but the freely accessible water at his venue doesn’t fall exclusively into that category.

“We are an underground dance club and music venue. It’s not about bottle service, it’s about dancing,” he says. “Us putting free water out, we’re not thinking about drugs in any way shape or form. It’s just an amenity.”

Over the past several years, Dede Goldsmith had several conversations with her state’s legislators in Congress about the RAVE Act. In September 2017, Virginia Senators Mark Warner and Tim Kaine sent a letter to Attorney General Jeff Sessions requesting that the Department of Justice clarify how it interprets the law, “in the hopes that venue owners will be able to implement measures to reduce the risk of harm to attendees.”

In a letter dated January 17, 2018, the Justice Department wrote back that “the Drug Enforcement Administration (DEA) shares Ms. Goldsmith’s concern that venue owners not be discouraged from providing appropriate safety measures.” It further wrote that it is considered a violation of the law to deprive “patrons of water to obscure knowledge of drug use on the premises,” or provide “exorbitantly priced water to take advantage of patrons using drugs on the premises that required refreshment.”

The response may offer the clarification to the RAVE Act that harm reduction supporters have long been hoping for, but it also opens up new questions, like how to define “exorbitantly priced water.”

Goldsmith received the letter on January 31, 2018, nearly four-and-a-half years after her daughter’s death, and several years since her advocacy began.

“It has given me a sense of purpose,” she says.

“I know without a doubt that Shelley would be wanting me to carry this message forward.”

She feels that losing her daughter has made her a more effective courier of that message.

“In a way I don’t care anymore,” she says.

“When you’ve lost a kid or a child, all of a sudden all of the facades, trying to be someone you’re not, they all go away. There’s nothing left. You are who you are, you’re going to take on the challenges that are there, and frankly it makes me a much more powerful advocate.”

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DCFEED

The Cherry Blossom Pop-Up Bar returns to Shaw on March 1 with a 10-foot animatronic Godzilla, five times more flowers than last year, and Japanese-inspired cocktails. The pop-up is also where the top ten Peeps dioramas will be displayed March 22-April 2.

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Garden Variety

Plant-based businesses are clustering on H Street NE, D.C.’s newfangled vegan hotspot.

By Laura Hayes After the Pulse nightclub shooting in June 2016, Margaux Riccio yearned to help. It was right around the time when she learned that a Chick-fil-A broke ground for a new location near the H Street NE corridor, and as the plantbased chef at Pow Pow, she had an idea.

“When Chick-fil-A announced they were opening, I sold vegan chicken sandwiches here on Sundays—the day Chick-fil-A’s are closed— and the proceeds went to Pulse victims,” she says. “Then we started to get more requests for the vegan sandwiches.”

Riccio’s husband, Shaun Sharkey, together with Stephen Cheung and John Yamashita founded Pow Pow in May of the same year at 1253 H Street NE. Riccio says Cheung was reluctant to make vegan cuisine the star of the Asian-inspired fast-casual restaurant, but that changed after he unknowingly noshed on her vegan cooking at a meeting. “They said, ‘Go ahead—change everything,’” Riccio recounts. “We revamped everything in the last year.”

Yamashita is in charge of the meat-based dishes while Riccio handles the vegan preparations, including making the mock meat in-house. The Natalie Porkman dish, for example, contains fried sweet and sour seitan that gets close to the crispy texture of Japanese tonkatsu. Some nonvegans order it with real chicken on top.

When Pow Pow refocused on vegan meals, the eatery joined an already robust, thriving street of vegan dining options including Khepra’s Raw Food Juice Bar, Fare Well, and Turning Natural. Philadelphia import Fancy Radish will join the plant party in March.

Even non-vegan neighborhood restaurants cater to vegetarians and vegans by offering more than a token meat-free dish.

Sticky Rice has more than 30 options, including the addictive Garden Balls with shiitake mushrooms, red pepper, cilantro, and spicy rice in a tempura-fried inari pocket drizzled with sweet soy sauce.

Most of the menu at Farmbird can be made vegetarian, and the dinner menu at Mediterra-

nean restaurant Sospeso boasts about 15 vegan or vegetarian dishes, like vegan kofte made with lentil and bulgur instead of lamb.

Anwar Saleem founded H Street Main Street in 2002, and he’s watched the neighborhood evolve when it comes to healthy options.

The organization puts on the H Street Festival and provides commercial property improvement services and government relations assistance to area businesses.

“The growth has been incremental,” Saleem says. “It used to be all carry-outs. Every-

siast Khepra Anu opened it in 2011. He was initially surprised by the number of people signing up for his cleanses. “Every single day, especially Sundays and Mondays, 20 different customers are picking up 3-day and 5-day cleanses,” he says. “I could have never forecasted it.” Khepra’s customers can also order raw avocado nori rolls, buffalo cauliflower, lasagna, and pizza.

Anu didn’t seek out an H Street NE address when he was getting ready to open, but is satisfied with the end result. “To the south we have

ues bashfully, “You can consider me the seed just by the fact that I was there first.”

Next, in 2016, came Fare Well from Doron Petersan (406 H St. NE). In determining where to sprout her vegan diner, she sought a neighborhood with plenty of apartment buildings and a mixed clientele of young professionals and families.

“H Street has always felt independent of what’s happening in the rest of the city,” she says. “There haven’t been as many national brands here, and if you look at the history of H Street, it was one of the few blue collar areas of D.C., and that’s held strong,” she says.

Petersan moved to neighboring Trinidad in 2005. She considered it already a vegan enclave, just with no restaurants to satisfy the neighborhood’s cravings. “Denny’s wasn’t here yet,” she says. “There was just The Argonaut. They didn’t have anything vegan on the menu until they realized neighbors wanted vegan stuff.”

Margaux Riccio at Pow Pow

Darrow Montgomery

Young & hungrY

thing was processed foods. Then we got bars.

Then restaurants. Then this.”

Khepra’s Raw Food Juice Bar (402 H St. NE) was the first plant-based restaurant to take root. Raw food and juice cleanse enthu-

18 february 23, 2018 washingtoncitypaper.com

Capitol Hill and to the west you have downtown D.C.,” he says. “It was in the middle of a lot of activity already, but underdeveloped in terms of what’s happening now. I was just in the right place at the right time.” He contin-

Her diner aims to be a “third place” where neighbors can hang out over coffee or cocktails while they try house-made cashew & almond burrata cheese, Southern-fried chickpea seitan, and polenta fries served with tomato jam.

DCFEED “We had our second busiest month in January,” Petersan says, shocked that Washingtonians left hibernation to patronize her business. She says that among her new customers, many are older and African-American. “This one guy came in dressed to the nines after church,” Petersan fondly remembers. “If he could have had spats on he would have. He was delicious and adorable and in his 70s. He said, ‘I’m going vegan, tell me what to eat!’”

Following Fare Well, Turning Natural opened at 1380 H Street NE in February 2017.

“H Street was super important to me,” says owner Jerri Evans. Her mother, who grew up at 21st Street and Benning Road NE, conceptualized Turning Natural and ran the business out of her home while undergoing a battle with breast cancer that she lost in 2010. Evans swells with pride knowing she’s bringing her mother’s community a healthy choice. “Imagine if she had access to that growing up—would cancer have been part of her story?”

The Turning Natural menu showcases juices and smoothies with pop culture-inspired names like the Green Latifah with apple, ginger, and fennel. But you can also pick up warm vegan meals including Caribbean-inspired vegetable patties and a black bean burger.

Evans often recommends nearby vegan eateries that offer something different than Turning Natural. “Most of our customers are vegan beginners,” she says. “They’re new to it and they think we’re the only ones doing what we’re doing.”

Soon she’ll be able to recommend Fancy Radish—the first restaurant from Richard Landau and Kate Jacoby outside of Philadelphia. In the city of brotherly love, the married duo have VEDGE—a vegan fine dining restaurant that’s a frequent flyer on James Beard Award nomination lists—and a more casual vegan street food restaurant called V Street.

The Fancy Radish menu will split the difference, serving tried and true dishes from each restaurant when it opens in March. Highlights will include stuffed avocado with romesco, pickled cauliflower, “fried rice,” and black salt; rutabaga fondue with soft pretzel, pickles, and charred onions; and dan dan noodles with five-spice mushrooms, zucchini, and red chile-sesame sauce.

“We didn’t wake up one day by saying, ‘Let’s open a restaurant in D.C.,’” Landau says. “It was not a knee-jerk decision. We’re not looking to conquer anything.” He and Jacoby both have ties to the city, and when Jacoby looked through their reservations system in Philly, she noticed many people reserving tables had a 202 area code. “So we said, ‘Let’s go to them.’”

The pair considered Georgetown, U Street NW, Woodley Park, and other neighborhoods.

“When we started looking two and a half years ago, our broker said he wasn’t supposed to

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show H Street during the day,” Landau says.

But he was attracted to the opportunity to be a part of the area’s growth. “I don’t want to say it’s going to be the next 14th Street, but it’s not far behind.”

Fancy Radish will complement H Street NE’s casual vegan eateries with a more polished dining experience. Jacoby wants the space to feel like an intimate, overgrown English garden juxtaposed against the Apollo’s industrial tenor. The restaurant is bound for the trend-setting apartment building at 600 H Street NE. “I want it to be a little fancy,” she says. “A little luxurious.”

Petersan, Riccio, and others say they’re counting down to Fancy Radish’s opening.

They don’t see the clustering together of vegan eateries as a threat to their bottom lines, and Jacoby agrees. “If you have a lot of vegan businesses, we’re not all doing the same thing,” Jacoby says. “People are starting to specialize and it shows that the vegan thing is here to stay.”

Anu points out that he and other vegan business owners are competing with everyone, not just each other. More diners are choosing plant-based foods without going vegan or vegetarian. Riccio, who calls the neighborhood a “vegan mecca,” agrees. “Back in the 1970s, 30 percent of a meal was meat,” she says. “That switched in the ’80s. Now people are going back. People who eat vegan here all week have a hamburger on the weekend.”

The business owners believe that having a high concentration of vegan food in one place is advantageous. “What’s that law? When you see one gas station, you’ll usually see a couple more, and all of them will do equally well compared to putting one gas station here and another in a different neighborhood.”

Specialization is not new to the street. “I remember around 2002 you had about 27 nail salons and hair salons all thrust together,” Saleem says. “People would come down from all over. When businesses cluster like that it’s beneficial. None of them sell the same thing; there’s something different at each location.”

“It would be great to get all of these businesses together that are interconnected to come up with something that can push H Street forward,” he adds.

A version of that idea is in the works. Riccio is leading the charge on organizing a week-long, plant-based food crawl called “The Green Mile” scheduled to coincide with the National Cherry Blossom Festival (April 8-15). There will be a map that attendees can print off that shows which restaurants are participating. She expects non-vegan restaurants like Maketto to enter a plant-based dish. Crawlers will pay as they go and vote on their favorite nibble. Proceeds from the winning restaurant’s dish will go to a charity of their choice.

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Gun-Shy

By postponing a powerful piece about politics and gun violence, the Hirshhorn retreated to thoughts and prayers—and some healthy criticism from the art world.

By Kriston Capps On Valentine’s Day, the Hirshhorn Museum and Sculpture Garden had planned to project a piece onto the exterior of its building, night two of the artwork’s three-evening run. Krzysztof Wodiczko’s projection, which first appeared on the museum 30 years ago, was to serve as the flag to celebrate the opening of the Hirshhorn’s new survey, Brand New: Art and Commodity in the 1980s.

Wodiczko’s work—“Hirshhorn Museum, Washington, DC, 1988–2000”—skewers the political ruling class. The 68-foot-tall photo projection shows a faceless figure at a press podium. While the politico can’t be seen behind the cluster of microphones, his cuffed arms extend forward beyond the lectern, in balled fists that span the side of the museum building. In his left hand the man holds a candle; in his right, a revolver.

museums

me, the silence feels most respectful,” said Wodiczko, in a statement provided by the Hirshhorn. “In this case, not showing the projection shows respect and sensitivity to the people who suffer from this great tragedy.”

But something unexpected happened after the massacre in Parkland. The survivors did not observe even a moment of silence. Through press interviews and social media, these traumatized teens are telling anyone who will listen that they aren’t accepting any more thoughts and prayers. They are politicizing their own tragedy: Working with organizers from the Women’s March, students from the Broward County high school have called for nationwide school walkouts, a meeting with state leaders in Tallahassee, and a march on Washington on March 24 to protest congressional inaction.

Young survivors of the nation’s latest mass shooting are blaming the silence of their betters for the horror and grief they are now processing. For their part, the adults at the Hirshhorn

one think art MEANS something.”

In the aftermath of the Parkland massacre, survivors are organizing demonstrations at a scale and speed that might have proven unthinkable before the Trump era. Before, the museum’s decision to lay low might have skirted controversy, or at least avoided making waves in the gun debate. (This is to say nothing of the uncomfortable idea of hiding art away whenever it matters.) But the victims of the Parkland shooting are saying, rightly, that silence is political, offensive, and dangerous. (In the Brand New exhibit on view at the Hirshhorn, a 1987 neon from the early AIDS crisis spells it out: SILENCE = DEATH.) Robin Bell says that the Hirshhorn should restore the Wodiczko projection as soon as possible. In fact, he didn’t wait for the museum to act. The D.C.–based artist, who has built a national name for his own light projections—anti-Trump puns and slogans he shines on the façades of the Trump Interna-

“Hirshhorn Museum, Washington, DC, 1988–2000” (left: 1988, right: Feb. 13, 2018) by Krzysztof Wodiczko After the shooting at Marjory Stoneman Douglas High School in Parkland, Florida, where a former student was charged with using an AR-15 assault rifle to kill 17 people and injure at least 14 more, the museum cancelled its suddenly topical projection. Just before sundown, the Hirshhorn announced that it would postpone the remaining nights until a later date. The decision came with the artist’s approval. “To

(and the Smithsonian Institution) must now speak up. Whether the Hirshhorn leadership acted out of an abundance of caution and sensitivity, or under pressure from the Castle, the museum can’t escape the politics of the artwork—or the gravity of the gun debate. One typical response in the Hirshhorn’s mentions on Twitter: “Out of respect for the sensitive feelings of the NRA, Krzysztof Wodiczko will turn off his projector—lest any-

tional Hotel, the Environmental Protection Agency headquarters, et al.—projected an image of Wodiczko’s original onto a storefront wall in his Mount Pleasant neighborhood the night of February 15. Bell considered projecting it onto the Hirshhorn itself (and has the means to do it), but he felt that would be disrespectful to the artist and museum.

“I wanted to give [the Hirshhorn] a healthy prod,” Bell says. washingtoncitypaper.com february 23, 2018 21

CPArts “Or, if they’re feeling pressure to have stopped it, to let them know, hey, there’s a lot of people who think you shouldn’t have stopped it.” He says that he has reached out to Wodiczko about projecting the piece somewhere else or using the image for projects still underway.

Bell is reviving the role played by artist Rockne Krebs back in 1989, when the Corcoran Gallery of Art canceled a photography exhibit by Robert Mapplethorpe. Krebs projected works from the planned show onto the façade of the Corcoran to protest the decision by Christina Orr-Cahall, the museum’s director, to bow to political pressure from the notorious Senator Jesse Helms. (In fact, when Helms learned of the museum’s decision, he protested: His office called Orr-Cahall to express his displeasure that the museum had ruined a perfectly good opportunity for grandstanding.)

While the Hirshhorn won’t say who made the decision to pull Wodiczko’s piece, if the Smithsonian indeed intervened, it would not be the first time. In December 2010, then-Smithsonian Secretary G. Wayne Clough ordered the National Portrait Gallery to remove “A Fire in My Belly” (1986–87), a video by David Wojnarowicz, after a conservative organization founded by activist Brent Bozell ginned up a manufactured controversy. The Smithsonian rebuked Clough in 2011 and instituted new guidelines to prevent censorship. However, those rules have sometimes resulted in preemptive restrictions instead.

Two years ago, for example, the Smithsonian pressed several artists for changes to artworks to avoid touching off even

a purely hypothetical controversy. Over Memorial Day weekend in 2016, the Smithsonian’s Asian Pacific American Center hosted a pop-up show on intersectionality at the Arts and Industries Building. Gregg Deal, a Native American artist, has said that the Smithsonian’s Office of Public Affairs asked him whether he intended to use the Washington professional football team in his work, according to a story that appeared in The Huffington Post. Further, the Castle asked that his work be vetted by Kevin Gover, director of the National Museum of the American Indian. For the same show, the Castle reportedly rejected multiple proposals by Anida Yoeu Ali, a Muslim artist, for a performance in which she would appear in a glittery red chador. To earn final approval for the performance, she has said she had to sign a contract swearing that she would not speak.

It’s easy to see how Smithsonian (or Hirshhorn) leaders might get spooked about how Republicans might respond to Wodiczko’s piece. The left hand holds a candle (and wears a wedding ring), offering up purity and platitudes, even as the other hand points a Smith and Wesson revolver at the viewer. The man’s French cuffs and cufflinks (and white skin tone) signal official power. So does the Lerner Room, the Hirshhorn’s premiere event space, whose windows peer out just over the cluster of mics in Wodiczko’s projection. The placement is a subtle implication of art’s role in crafting cultural narratives (and the role that power plays in building museums).

The Hirshhorn turned Wodiczko’s subtext into text by withdrawing his artwork to avoid making a relevant point in an im-

portant conversation. With that decision, the Hirshhorn backed itself into a corner. It underscored the interpretation that the piece condemns the people in power who facilitate mass gun violence—a point that will only be emphasized by whichever date the Hirshhorn chooses to restore the projection. If it can only happen on a date that’s not too soon to discuss a mass shooting in America, then it might never happen.

The best time for Wodiczko’s projection—if not every day through May 13—might be the last week of March. That’s when Paul and Molly Ruppert, longtime arts supporters and the owners of a string of businesses in Petworth, are planning to host artworks and projects protesting gun violence at their Upshur Street NW businesses, including the Petworth Citizen Reading Room, Upshur Books, and the windows of Slim’s Diner. “Artists in D.C. are ready to add their protest to what we see as the emerging involvement and leadership of high school and college students,” Molly Ruppert says.

Nobody expects the Hirshhorn to comment on gun legislation or host a protest on the National Mall. But the museum must stand up for artworks that make claims about divisive issues. (The museum was hosting a panel on the First Amendment the night they suspended Wodiczko’s projection.) Political or provocative art may draw the ire of partisans, but to withdraw from the debate is to take a partisan position—so neutrality isn’t an option. It’s also not a concern for the Hirshhorn. The museum’s mission is to support its artworks and artists and their right to speak up about the world. Even, especially, when that speech is inconvenient.

CP

WU MAN & THE HUAYIN SHADOW PUPPET BAND FRI, MAR 16, 8pm GW LISNER AUDITORIUM

A foremost master of the pipa (Chinese lute), Silk Road Ensemble veteran Wu Man joins masters of Chinese traditional music and puppetry.

“Watching the musicians let fly…, you [are] swept up by their energy and charisma.” — New York Times Special thanks: The Abramson Family Foundation

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TICKETS: WashingtonPerformingArts.org

(202) 785-9727

TheaTerCurtain Calls urging the U.S. to negotiate a peace “not as victors, but as an honorable people who lived up to their pledge to defend democracy, and did the best they could.” He could have been eulogizing Johnson, who didn’t live long enough after declining to seek reelection to see Nixon resign in disgrace.

—Chris Klimek 1101 6th St. SW. $50–$99. (202) 554-9066. arenastage.org.

house of Pain Noura

By Heather Raffo Directed by Joanna Settle At the Lansburgh Theatre to March 11

The GreaT Work ends The Great Society

By Robert Schenkkan Directed by Kyle Donnelly At Arena Stage to March 11 The GreaT SocieTy, Robert Schenkkan’s second play dramatizing the presidency of Lyndon Baines Johnson—a presidency that began and ended in tragedy—is even more breathless and incident-packed than the first. Reuniting the same director and principal cast that brought its precursor, All the Way, to Arena Stage two years ago, the show speed-walks us through the internal strains within the civil rights movement and the deepening quagmire in Vietnam, covering four of America’s most fractious years since the Civil War in just 2.5 hours, intermission included. All the Way used the same amount of time to show us the Johnson Administration’s first 11 months.

If the sheer velocity of Kyle Donnelly’s frenetic staging leaves little time for poetry or pretty stage pictures, it certainly keeps tedium at bay. Beyond that, it builds into a sense of vertiginous dread at living through a time of political assassinations, racial violence, and elective war. By the time President-elect Richard Milhous Nixon announces his intention to “Make America great again”—a line Schenkkan must have written no more recently than 2014, when The Great Society was first produced, unless it was an aftermarket addition— the half-century since Nixon’s 49-state blowout victory has been erased. There is only the terrifying present, wherein a president who wanted the government to be a friend to the most vulnerable Americans was succeeded by

a paranoid despot-in-waiting.

Jack Willis, who originated the role of LBJ in both plays’ original Oregon Shakespeare Festival productions before getting bigfooted out of the role by Bryan Cranston for the Broadway and HBO productions, reprises it here, to somber and compelling effect. Also returning from All the Way are Bowman Wright, JaBen Early, Craig Wallace, and Desmond Bing as civil rights activists Martin Luther King Jr., Stokely Carmichael, Ralph Abernathy, and Bob Moses, respectively, along with Richmond Hoxie as a rodent-like J. Edgar Hoover, John Scherer as a supercilious Robert F. Kennedy, Tom Wiggin as a professorial Robert McNamara, and Cameron Folmar as Alabama Governor George Wallace (and also, less convincingly, as Nixon.)

Folmar’s Wallace is most prominent in a relatively long section devoted to the negotiations between Washington and Montgomery, Alabama, concerning three March 1965 civil rights marches, dramatized in full in Ava DuVernay’s 2014 film Selma. This is an echo of how All the Way’s best scenes, concerning the Mississippi Freedom Democratic Party’s efforts to be recognized at the 1964 Democratic National Convention, addressed a bit of history that warranted its own play—in that case, Regina Taylor’s A Seat at the Table.

Once again, the abundant double-casting and quick-changes means a lot of not-terribly-convincing wigs, and once again, you feel bad for the accomplished actors—D.C. veterans Susan Rome and Megan Graves and Arena Stage first-timer Deonna Bouye—who deliver only a line or two as the spouses of the various great men of history.

Projection designer Aaron Rhyne rings the walls of the in-the-round Fichandler Stage with periodic casualty counts from Southeast Asia, culminating in a clip from Walter Cronkite’s famous February 1968 primetime broadcast declaring the war a stalemate, and

HeatHer raffo’s Noura is a modern reinterpretation of Henrik Ibsen’s landmark A Doll’s House that shifts the original’s action from a respectable, bourgeois 19th century Norwegian living room to the contemporary New York City quarters of an unmoored Iraqi refugee family. The point, then as now, is the dissatisfaction, frustration, and circumscription of women in a patriarchal society: a sledgehammer theme that dovetails with the regional Women’s Voices Theater Festival. The play, currently running at Shakespeare Theatre Company’s Lansburgh Theatre, gamely tackles these issues but this is an imperfect do-over.

The family—Chaldean Christians—fled Mosul for New York City; in the new world, like generations of immigrants, they attempt to assimilate. On Christmas Eve, Tareq (Nabil Elouahabi), Noura (Raffo), and their son Yazen (Gabriel Brumberg), receive their new U.S. passports and new names: Tim, Nora, and Alex. Yazen has already acquired a passable American accent and an obsession with PlayStation violence. Tareq, a surgeon in Iraq, is celebrating his upcoming employment in a hospital that will raise the family’s standard of living beyond what they managed on the meager scraps he earned as a Subway sandwich artist. Noura, an architect in her previous life, has retreated to the role of housewife.

Despite living in the U.S. for almost a decade, she is still unsettled and has yet to buy a couch for their bare living room, as Tareq reminds her repeatedly.

The family tries to recapture elements of their social life in Iraq but they cannot reassemble the large circle of family and friends that visited every Christmas. Many died in the war and others are scattered across the globe. Rafa’a (Matthew David), a Muslim friend from Mosul, is a regular guest at their house. Noura, still vested in the life she left behind, eagerly awaits the visit of an Iraqi refugee whose travel and expenses she has sponsored. This refugee, she hopes,

will become a member of the family.

Maryam (Dahlia Azama) shows up with baggage, both emotional and physical: She has a scholarship to a West Coast university and an internship with the Department of Defense, but also a swollen belly and no man to take responsibility for the person gestating in said belly. Immediately, the modern façade is stripped away as traditional attitudes toward family, duty, and responsibility assert themselves. Tareq’s gung-ho adoption of American names and accents reveals itself to be surface-level when he refuses to accept Maryam and turns on Noura for sponsoring her and for pleading with him to accept Maryam’s choices.

As secrets spill, Tareq reveals how, at a fundamental level, he thinks of his wife as a dishonored woman. “I had to marry you,” he tells his wife, to protect her honor despite what he sees as her betrayal. In a society where “shame is around every corner,” Noura was lucky Tareq saved her.

The cast performs well—Elouahabi conveys Tareq’s cultural values, as well as his desire to assimilate, while Raffo, in the titular role, captures Noura’s quest for identity.

“Who was I?” she wonders at one point about her life. David is warm and understanding as Rafa’a, and Brumberg plays a child growing up in two cultures with nuance. As Maryam, Azama is defiant in the face of nay-sayers: She is pregnant and proud of it. The set, designed by Andrew Lieberman, relays Noura’s architectural training and aesthetic.

Raffo employs her Iraqi heritage to write contemporary plays that deal with the major political themes of the day. Noura thematically links with her 2004 play, Nine Parts of Desire, which chronicled the lives of Iraqi women. Her knack for contemporary themes and issues makes this work worth watching. She touches on many of the issues that immigrants face—the longing to return to a home that no longer exists, the desire to assimilate complicated by the inability to shed old values, the creation of new social structures that both retain and overcome the divisions of religion and race, and the wish to control the choices of the next generation that might have been corrupted by new values.

This time around, however, this flawed but powerful work leaves us dissatisfied. Raffo’s adherence to the structure of Ibsen’s work strangles this staging. The play hurtles toward a conclusion—Noura, like Ibsen’s protagonist Nora, finds the courage to assert herself— that feels imposed and unrealistic. Perhaps this was a directorial choice by Joanna Settle, but the speed and tumble of the conclusion undoes the hard graft of the first half of the play. However, even though this feels like a missed opportunity by Raffo, the play is still worth checking out as it lays bare the lives of immigrants in a way not often seen on the D.C. stage.

—Abid Shah 450 7th Street NW. $44–$92. (202) 547-1122. shakespearetheatre.org.

washingtoncitypaper.com february 23, 2018 23

FilmShort SubjectS The Party

Party of NoNe The Party

Directed by Sally Potter British writer/director Sally Potter does not shy away from arch affectation.

In 1997’s The Tango Lesson, she stars as Sally Potter, learning the most melodramatic form of dance there is. She wrote 2004’s Yes in iambic pentameter, her main characters named She and He. Potter’s last film, 2012’s Ginger & Rosa, is by far her most grounded, focusing simply on the friendship between two teenage girls during the time of the atom bomb.

But now she’s back to theatricality with The Party, a black-and-white chamber piece that takes place in a London flat. Feeling like it was ripped off the stage, the film features performances that range from natural to ludicrous and developments that, save for the satisfying final twist, become increasingly absurd.

But the end doesn’t quite justify the means.

Janet (Kristin Scott Thomas) is hosting a soiree to celebrate her appointment as a health minister in Parliament. While she prepares a feast, her husband, Bill (Timothy Spall), is spinning vinyl in the living room, making odd conversation with arriving guests (“I’m Bill. I think. I used to be”), and wearing an expression that can best be described as gobsmacked.

We learn that he had put his academic career on hold to support Janet. Still, this isn’t an adequate explanation for him looking stunned surely days after learning her news.

First to arrive is April (Patricia Clarkson) and her New Age-y husband, Gottfried (Bruno Ganz). April, highly bitter, doesn’t say one positive thing the entire time; her favorite words seem to be, “Shut up, Gottfried.” It gets old fast. Then there’s Jinny (Emily Mortimer) and Martha (Cherry Jones), who just learned that they’re expecting triplets and steal a bit of Janet’s thunder. Finally there’s Tom (Cillian Mur-

phy), a banker who arrives unexpectedly without his wife and acts like he just robbed a bank.

Indeed, he’s even carrying a gun—along with some coke, which surely won’t help him any.

After Jinny and Martha announce their baby bliss and April then undermines it with a toast to Janet, Bill says that he also has an announcement. He’s “received a diagnosis,” he tells everyone, still with that stunned look on his face.

It’s completely unconvincing but they all take him seriously including Janet, who makes a major decision before she has sufficient information. And there’s a second part to his announcement, perhaps an even crueler one that sends wife and guests into true tizzies.

If Spall and Murphy’s turns don’t grate— though they likely will—The Party does have a few witty moments, such as when Gottfried and Tom are trying to find the right record to rouse someone from unconsciousness. Otherwise the film is mostly unearned hysteria and personal and romantic misery. And the dialogue doesn’t always flow: Speaking about Janet, April says, “Oh, don’t worry about her.

Looks like a girl, thinks like a man. Androgynous soul always had true grit.” The whole thing smacks of forced conflict with little, not the characters’ behavior nor their conversations, feeling organic. If Potter aimed to further bring herself down to earth, she’s done it in a most artificial way. —Tricia Olszewski The Party opens Friday at Landmark E Street Cinema, Landmark Bethesda Row Cinema, and Angelika Film Center Mosaic.

WeeP the BeNefits Nostalgia

Directed by Mark Pellington there is a grandfather clock that sits in a corner of the house I grew up in, and at some point in the years ahead I’m going to have to

24 february 23, 2018 washingtoncitypaper.com

figure out what to do with it. Does the clock have value and need to be appraised? Or is it junk that can be donated? There are hundreds of trinkets, heirlooms, and valuables that will require the same consideration, and I’m illequipped to handle these decisions. That kind of tension is at the center of Nostalgia, a new drama from director Mark Pellington. It follows several families at varying degrees of distress, with middle-aged children deciding what to do with their parents’ stuff. A sense of melancholy pervades the film, yet the writing is so gentle and thoughtful that it is never maudlin.

Pellington conceived of the film with Alex Ross Perry, and they share a screenwriting credit. You may recall Perry, who wrote Listen Up Philip and Queen of Earth—bracing films that wallowed in unlikable, misanthropic characters. Nostalgia is nothing like that; in fact, the sheer decency of Daniel (John Ortiz), an insurance agent, is disarming. Daniel investigates several cases: He meets with Ronald (Bruce Dern), inspecting his home for valuables, and then he visits Helen (Ellen Burstyn), whose home burned down.

Everyone speaks quietly, as if embarrassed over the grief of losing objects, and when one thread ends in the script, another begins. Daniel leaves the film, having fulfilled his purpose, so we follow Helen and her family. The only item she saved from her burned home was a signed baseball, one that belonged to her dead husband. Out of curiosity and economic necessity, she meets a sports memorabilia appraiser named Will

many grieving widows, and he almost serves as Helen’s therapist, even though he clearly wants the ball.

Pellington’s direction is assured and steady, shooting at angles to suggest we are sitting at eye level with everyone in the film. While the drama could have easily been too stuffy and theatrical, each setting has a unique feel to it.

Helen’s house is destroyed, while the house belonging to Will’s mother is abandoned.

Sometimes the actors just look around, taking in places from their past, with the production design and light serving as a filter for how the characters must feel.

The film is full of strong actors, all of whom are known for the intelligence they bring to their roles. Ortiz is the biggest surprise, simply because an insurance agent speaks with the curiosity and care we might expect from a grief counselor, or funeral director. Catherine Keener plays Will’s sister Donna, and her scenes with Jon Hamm seamlessly veer from pleasantries to unearthing old wounds.

This is the sort of film that asks its audience to lean forward, simply because each experience and trial has a universal quality to it. But the actors nonetheless find the right note of specificity, no doubt drawing from their personal experiences more than they might for other roles.

It would be easy to dismiss Nostalgia as a “weepy,” the sort of melodrama that prefers cheap manipulation over actual insight. Indeed, there are some heavy-handed moments: The musical score has the subtlety of those ugly-cry Superbowl commercials, and some of Nostalgia

(Jon Hamm), and soon we follow him for the film’s final section.

Nostalgia carefully avoids histrionics. Even when the characters are angry, they rarely raise their voices. The cumulative feeling is that everyone is trying to get by, and realizes they are in a difficult situation. The delicate script is filled with smart observations, as characters solve problems through surprising, unexpected kindness. Nick Offerman plays Helen’s son Henry, and he observes that assisted living may be the best thing for her. She is not ready for that, but the idea gets her thinking.

Their impasse tees up the film’s best scene: we get the impression Will the appraiser has seen

the voice-over is overwrought. Those issues notwithstanding, this is a film of rare wisdom. It is not traditionally entertaining, and yet the broad canvas of characters ensure that everyone in the audience will empathize with at least one of them.

Many films inspire people to call their parents, grandparents, or old friends. Nostalgia does that, and it also gives them something important to discuss. Who knows? Maybe this film will make a few end-of-life decisions just a little bit easier.

—Alan Zilberman Nostalgia opens Friday at Landmark Bethesda Row Cinema.

booksSpeedreadS

Voice of Reason The Woman Without a Voice

By Louise Farmer Smith Upper Hand Press

All it tAkes is quick perusal of a book about ordinary women’s lives in the 19th century to appreciate feminist progress in the 20th and 21st centuries. The Woman Without a Voice, Louise Farmer Smith’s memoir about her family of Oklahoma pioneers, makes it abundantly clear that married women had no rights. Surprisingly, a single woman could stake a homesteading claim, but a married woman was as powerless, though not as abused, as the indigenous people displaced by the almighty railroads in their quest for profits. Smith, a Capitol Hill resident, emphasizes that the wife’s vow of obedience to her husband was enforced by the law of the land. Though they did hard, physical labor, pioneer women clung “to the ideology centered on the supposed natural characteristics of women: purity, piety, submissiveness, and domesticity.”

This is the world portrayed in Frank Norris’ classic novel, The Octopus, about how railroad expansion and commodity market manipulation rendered farmers destitute. Similarly, Smith’s book describes how land speculators lured settlers into Native American territory before it was officially open for settlement: “Having settlers there in need of government protection enhanced the argument to open the land.”

Beginning in 1898, during a drought in Nebraska, the memoir depicts a desperate corn farmer, Isaac Storm, the author’s great grandfather, about to lose his farm to the bank. The country was five years into an economic depression that impoverished farmers. “Thou-

sands of angry, unemployed men burst into Nebraska on their way to Wa s h i n g t o n , D.C. to demand relief from the government,” Smith writes.

They commandeered a train, whereupon the executives of the Union Pacific Railroad took “the law into their own hands.”

The Storm family moved to Oklahoma as millions of acres were being taken from Native Americans. “It is some solace to me,” Smith writes, “That my family headed for the western section, Oklahoma Territory and not into Indian Territory,” and thus was less part of “the grand larceny of the United States government.”

And grand larceny it was. It “legislated away the cultures” of the Choctaw, Cherokee, Seminole, Muscogee, Chickasaw, Kiowa, Arapaho, Cheyenne, Osage, Miami, Ottawa, Eastern Shawnee, Quapaw, Peoria, Wyandotte, Seneca, and Cayuga. Smith writes that many of these tribes had already been uprooted to Oklahoma, but the U. S. government broke its promises to them, and betrayed their treaties. The railroads’ lust for profit had helped create “a clamor for free land.”

Before leaving for Oklahoma, Isaac Storm committed his wife Phebe, suffering from postpartum depression, to an insane asylum in Nebraska. She was powerless to leave it.

Even when her mental health improved, her keepers in the Lincoln Asylum could not release her. Only her husband could. It was not until after his death that a daughter finally had the legal right and filled out the paperwork to secure her mother’s freedom.

Without today’s drugs, Phebe would have been treated with “leeches, morphine, opium, rhubarb, tincture of gentian, wine, cooked beef blood and small doses of arsenic and strychnine,” Smith says. No Lexapro for her. However, in many ways, the asylum inmates were better off than our homeless, deinstitutionalized psychotics today. The asylum was “a self-sustaining operation with a farm that produced all the food and dairy for the staff and patients.” Back in the 1890s, people with mental illness gardened and slept in warm beds.

In 2018, some of them roam the streets of big cities in rags and sleep on concrete sidewalks in the winter. All is not progress.

—Eve Ottenberg

SUMMER

FIRST SHOWS ON SALE NOW!

ROGER DALTREY PERFORMS THE WHO’S TOMMY

CHARLIE WILSON

REBA MCENTIRE

QUEEN LATIFAH COMMON

SHEILA E.

JUN 24

JUN 10 + 12

JUL 1

THE WASHINGTON BALLET GISELLE

JUL 20

BARENAKED LADIES LAST SUMMER ON EARTH TOUR

BETTER THAN EZRA

WOLF TRAP ORCHESTRA MAY 25

JOHN PRINE MARGO PRICE JUN 1

ALISON KRAUSS WITH

DAVID CROSBY AND FRIENDS JUN 6

FITZ AND THE TANTRUMS X AMBASSADORS

KT TUNSTALL

JUL 2

JAWS IN CONCERT

NATIONAL SYMPHONY ORCHESTRA JUL 21

THE REVIVALISTS ZZ WARD AUG 19

KIDZ BOP LIVE 2018 AUG 25

MIKKY EKKO

JUN 7

TONY BENNETT JUN 23

washingtoncitypaper.com february 23, 2018 25

26 february 23, 2018 washingtoncitypaper.com

CITYLIST

SUZY BOGGUSS

Music 27 Books 31 Dance 31 Theater 32 Film 34

SATURDAY, MARCH 3 4PM/8PM TIX: $35-$40

CITY LIGHTS: FRIDAY

H

H

THU 2/22 JAMIE MCLEAN BAND FRI 2/23 HIGHBALLERS SAT 2/24 CHILI COOKOFF FT. HOLLERTOWN $10/$12 SAT 2/24 JONNY GRAVE TUE 2/27 CALEB STINE BAND THU 3/1 MINDY MILLER & THE CHROME TEARS FRI 3/2

SAT 3/3 SUZY BOGGUSS 4PM/8PM SHOW $35/$40

COLUMBUS

The Architecture & Design Film Festival launches in D.C. at the National Building Museum this week. Among the highlights of the four-day festival dominated by nonfiction features is Columbus, a restrained drama from first time director Kogonada. It charts the unusual friendship between Jin (John Cho), who’s visiting Columbus, Indiana, after his father slips into a coma, and Casey (Haley Lu Richardson), a recent high school graduate who’s opted out of college to care for her troubled mother. Cinematographer Elisha Christian carefully frames the film’s characters by the modernist buildings around them. While the performers can seem hemmed in by glass walls and razor-sharp angles, we begin to see the structures as a place for them to find some sense of order in a world that often seems chaotic. The film screens at 8:15 p.m. at the National Building Museum, 401 F St. NW. $10–$15. (202) 272-2448. nbm.org.

—Pat Padua

JAzz

Music FRIDAY

BirCHmere 3701 Mount Vernon Ave., Alexandria.

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

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Kim Waters. 8 p.m.; 10 p.m. $45–$50.

SAtURDAY atlaS perForming artS Center 1333 H St. NE. (202) 399-7993. Monumental Theatre Company: Infinite Future. 8 p.m. $30. atlasarts.org.

CLASSICAL

tHe Hamilton 600 14th St. NW. (202) 787-1000.

Maceo Parker. 8 p.m. $17–$40.

COUntRY

FUnk & R&B

ROCk

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Gabriel Sanchez Presents The Prince Experience. 8:30 p.m. $9–$18. fillmoresilverspring.com.

tHe Hamilton 600 14th St. NW. (202) 787-1000.

thehamiltondc.com.

The Everly Brothers Experience featuring the Zmed Brothers. 8 p.m. $19.75–$39.75. thehamiltondc.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. AWOLNATION with Nothing But Thieves and IRONTOM. 8 p.m. $34.25. fillmoresilverspring.com.

eLeCtROnIC

THU 3/8 HOLLERTOWN FRI 3/9

CHAMOMILE + WHISKEY

SAT 3/10 VANESSA COLLIER $12/$15 SUN 3/11 C2 + THE BROTHERS REED WED 3/14 GANGSTAGRASS $15/$18

CABARet

Kennedy Center ConCert Hall 2700 F St. NW. (202) 467-4600. Washington Performing Arts presents: Emanuel Ax, Leonidas Kavakos, and Yo-Yo Ma. 8 p.m. $50–$250. kennedy-center.org.

bluesalley.com.

TUE 3/6 HERB & HANSON

TUE 3/13 LEXI JACKSON

BirCHmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Harmony Sweepstakes A Cappella Festival 2018 Mid-Atlantic Regional. 7:30 p.m. $29.50. birchmere.com.

CLASSICAL

LEFT LANE CRUISER

eCHoStage 2135 Queens Chapel Road NE. (202) 503-2330. 3LAU. 11:59 p.m. $25-$40. echostage.com.

THU 3/15 SIX STRING DRAG FRI 3/16 KAY ADAMS $12/$15 SAT 3/17 BARRENCE WHITFIELD & THE SAVAGES $17/$20 TUE 3/20 KAREN JONAS

HILL COUNTRY BARBECUE MARKET

410 Seventh St, NW • 202.556.2050 HillCountry.com/DC • Twitter @hillcountrylive

Near Archives/Navy Memorial [G, Y] and Gallery PI/Chinatown [R] Metro

washingtoncitypaper.com february 23, 2018 27

KC JAZZ CLUB

ALL PERFORMANCES AT 7 & 9 P.M. IN THE TERRACE GALLERY

JASON MORAN & THE BANDWAGON

F E AT U R I N G P O E T S ELIZABETH ALEXANDER & Y U S E F K O M U N YA K A A F R I D A Y, M A R C H 2 Jason Moran and his Bandwagon unite with poets Elizabeth Alexander and Yusef Komunyakaa for an evening of poetry and music.

MYRA MELFORD WITH SNOWY EGRET S AT U R D AY, M A R C H 1 0 American avant-garde jazz pianist and composer Myra Melford returns to the Kennedy Center with her quintet.

A PART OF

CITY LIGHTS: SAtURDAY

CHeR

As an unapologetic Cher fan, I often find myself having to defend her to humorless or hipper-than-thou music fans, but she doesn’t need my help. Cher got her star t as a backup singer on classic pop hits like “Be My Baby,” and went on to have a number one hit in six different decades—the only artist in history to achieve that. She became a fashion icon mainstreaming hippie styles and she’s still dropping jaws in her revealing outfits at 71. She was the first commercial artist to use autotune, radically reshaping the sound of modern music. She is just one “T” shy of EGOT-ing. She probably tweeted five emoji-filled, thinly-veiled threats to Trump before you even finished breakfast this morning. Though she launched her “farewell” tour almost 16 years ago, she seems to have remembered that she’s an infinite, undying being, so she just kept going. Cher is, in other words, totally unstoppable, unless the thing she’s stopping is the show. Cher performs at 8 p.m. at MGM National Harbor, 101 MGM National Ave., Oxon Hill. $145–$327.28. (844) 346-4664. mgmnationalharbor.com.

—Stephanie Rudig

D I S C O V E RY A RT I S T

JOEL ROSS GOOD VIBES

S AT U R D AY, M A R C H 1 7 Vibraphonist Joel Ross convenes some of his most talented peers with established veterans for a cross-generational collaboration of extraordinary jazz.

HIp-HOp Howard tHeatre 620 T St. NW. (202) 803-2899.

Method Man & Redman. 8 p.m. $49.50–$69.50. thehowardtheatre.com.

JAzz atlaS perForming artS Center 1333 H St. NE. (202) 399-7993. Free Café Concert: Jared “MK Zulu” Bailey. 5 p.m. Free. atlasarts.org. atlaS perForming artS Center 1333 H St. NE. (202) 399-7993. Lafayette Gilchrist and the Sonic Trip Masters All Stars. 9 p.m. $20. atlasarts.org.

ROCk

AKUA ALLRICH S AT U R D AY, M A R C H 2 4 Jazz vocalist and D.C. native Akua Allrich returns to the Kennedy Center to display her extraordinary ability to merge jazz, blues, soul, and pan-African music into a fluid musical experience.

tHe Hamilton 600 14th St. NW. (202) 787-1000.

NRBQ. 8 p.m. $25–$30. thehamiltondc.com.

WORLD atlaS perForming artS Center 1333 H St. NE. (202) 399-7993. Cristian Perez Chamber Ensemble: Music and Water. 3:30 p.m. $20. atlasarts.org. atlaS perForming artS Center 1333 H St. NE. (202) 399-7993. Elikeh: Between Two Worlds. 10:30 p.m. $20. atlasarts.org.

SUnDAY CABARet

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600

Tickets also available at the Box Office. Groups call (202) 416-8400.

atlaS perForming artS Center 1333 H St. NE. (202) 399-7993. Monumental Theatre Company: Infinite Future. 7:30 p.m. $30. atlasarts.org.

FOLk

GOSpeL

Howard tHeatre 620 T St. NW. (202) 803-2899.

Travis Greene. 8 p.m. $25 - $55. thehowardtheatre.com.

HIp-HOp

tHe antHem 901 Wharf St. SW. (202) 888-0020.

Tyler, The Creator. 8 p.m. $45–$55. theanthemdc.com.

BlaCK Cat 1811 14th St. NW. (202) 667-4490. Dove Lady. 7:30 p.m. $10. blackcatdc.com.

JAzz

atlaS perForming artS Center 1333 H St. NE. (202) 399-7993. Flo Anito: Life is a Cabaret. 3 p.m. $20. atlasarts.org. atlaS perForming artS Center 1333 H St. NE. (202) 399-7993. Choose Your Own Adventure: Live Composed Funk. 5 p.m. $20. atlasarts.org.

BirCHmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Keiko Matsui. 7:30 p.m. $45. birchmere.com.

VOCAL

atlaS perForming artS Center 1333 H St. NE. (202) 399-7993. Adejoké & SongRise: The Rising of the Women Means the Rising of Us All. 3 p.m. $20. atlasarts.org. atlaS perForming artS Center 1333 H St. NE. (202) 399-7993. Free Café Concert: inHALE. 7:15 p.m.

Free. atlasarts.org. atlaS perForming artS Center 1333 H St. NE. (202) 399-7993. The French-American Production Co.: A Winter’s Day in the City. 8 p.m. $25. atlasarts. org.

For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540.

dC9 1940 9th St. NW. (202) 483-5000. John Nolan. 8 p.m. $15. dcnine.com.

Discovery Artists in the KC Jazz Club are supported by The William N. Cafritz Jazz Initiative and The King-White Family Foundation and Dr. J. Douglas White.

FUnk & R&B

MOnDAY

Support for Jazz at the Kennedy Center is generously provided by Elizabeth and C. Michael Kojaian.

BetHeSda BlueS & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Band Of Roses. 7:30 p.m. $20. bethesdabluesjazz.com.

union Stage 740 Water St. SW. (877) 987-6487. Taylor Bennett. 8 p.m. $17–$50. unionstage.com.

28 february 23, 2018 washingtoncitypaper.com

HIp-HOp

Merriweather Post Pavilion • Columbia, MD JUST ANNOUNCED!

KENNY CHESNEY

w/ Old Dominion .............. AUGUST 22

On Sale Friday, February 23 at 10am

M3 ROCK FESTIVAL 2018 TAL ME T! ES

THIS WEEK’S SHOWS

F

U STREET MUSIC HALL PRESENTS

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

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

MARCH (cont.)

Kelela .........................................Th 1 Galactic (F 2 - w/ Butcher Brown • Sa 3 - w/ Aztec Sun) ........... F 2 & Sa 3

Hippie Sabotage w/ Melvv & Olivia Noelle ..............Su 4 Cornelius w/ Ava Luna ...............W 7 No Scrubs: ‘90s Dance Party

Turnover w/ Mannequin Pussy & Summer Salt ...........................Tu 27 ALL GOOD PRESENTS

The Soul Rebels feat. GZA & Talib Kweli .......Th 29 Pigeons Playing Ping Pong (F 30 - w/ The Fritz • Sa 31 - w/ Consider The Source) 2-Night Passes Available .....F 30 & Sa 31

Beth Ditto w/ SSION ................Sa 10

APRIL

J Boog w/ Jesse Royal & Etana .............Su 11 K.Flay w/ Yungblud ...................M 12 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 STEEZ PROMO PRESENTS

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 D SHOW ADDED!

FIRST SHOW SOLD OUT! SECON

Betty Who w/ Pretty Sister & Spencer Ludwig........................W 21 Maneka w/ Bleary Eyed • Tosser • DJ Franzia ......................F 23 Godspeed You! Black Emperor w/ KGD .......................................Sa 24 of Montreal .............................Su 25

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

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

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

M3 SOUTHERN ROCK CLASSIC FEATURING ERN R !

S E F T

H

SOUTOCK

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 w/ Benjamin Clementine ................................................................ JULY 28 Lady Antebellum & Darius Rucker w/ Russell Dickerson..........AUGUST 2 Jason Mraz ....................................................................................................AUGUST 10 Phish ........................................................................................................ AUGUST 11 & 12 • For full lineups and more info, visit merriweathermusic.com • 930.com

ALL GOOD PRESENTS

with DJs Will Eastman and Brian Billion .........................F 9 ALL GOOD PRESENTS

930.com

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

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

Jacksepticeye ......................................................................... APRIL 3

RADIOTOPIA LIVE

AEG PRESENTS

THIS SATURDAY!

Stuff You Should Andy Borowitz ........................ FEB 24 Know (Live) ...............................APR 5 Max Raabe Dixie Dregs & Palast Orchester.............APR 11 (Complete Original Lineup Rick Astley ................................APR 18 with Steve Morse, Rod Morgenstein,

FIRST SHOW SOLD OUT! SECOND

SHOW ADDED!

Allen Sloan, Andy West, and Steve Davidowski) ..................MAR 7

PostSecret: The Show ...... MAR 24 Rob Bell w/ Peter Rollins .......... MAR 27

ALL GOOD PRESENTS moe. .............................................APR 20

Calexico w/ Ryley Walker ............APR 27 Robyn Hitchcock and His L.A. Squires w/ Tristen .......................................APR 28

• thelincolndc.com • U Street (Green/Yellow) stop across the street!

9:30 CLUB PRESENTS AT U STREET MUSIC HALL MAKO w/ Night Lights ...................Sa FEB 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 Craig David presents TS5.............. Tu 13 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 w/ The Marias.. Tu 27 Digitalism ........................................... W 28 Curtis Harding .................................. Sa 31 Fujiya & Miyagi w/ Annie Hart ..... Su APR 1 Ripe ........................................................W 4 Colter Wall w/ Jade Bird ...................... Sa 7 Skizzy Mars ....................................... Tu 10

• 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!

............................................................................ MAY 9

On Sale Friday, February 23 at 10am

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 washingtoncitypaper.com february 23, 2018 29

JAzz

ROCk

ROCk

WeDneSDAY

BirCHmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Anita Tijoux presents Roja y Negro: Canciones de Amor y Desamor. 7:30 p.m. $25. birchmere.com. dC9 1940 9th St. NW. (202) 483-5000. Spotlights. 8 p.m. $10–$12. dcnine.com.

VOCAL

BirCHmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Musical Box performs The Black Show version of “Selling England By The Pound.” 7:30 p.m. $45. birchmere.com.

FUnk & R&B

atlaS perForming artS Center 1333 H St. NE. (202) 399-7993. Free Café Concert: inHALE. 7:15 p.m.

Free. atlasarts.org.

BetHeSda BlueS & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Billy Ocean Celebrates BBJ’s 5th Anniversary. 8 p.m. $60-$75. bethesdabluesjazz.com.

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Tierney Sutton Band. 8 p.m.; 10 p.m. $30. bluesalley.com.

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Kendra Foster. 8 p.m.; 10 p.m. $25. bluesalley. com.

WORLD

ROCk

Kennedy Center millennium Stage 2700 F St. NW. (202) 467-4600. 100 Years of Estonian Music. 6 p.m. Free. kennedy-center.org.

tUeSDAY GOSpeL

Kennedy Center millennium Stage 2700 F St. NW. (202) 467-4600. Washington Performing Arts Gospel Choir. 6 p.m. Free. kennedy-center.org.

JAzz

roCK & roll Hotel 1353 H St. NE. (202) 388-7625.

Diet Cig. 8 p.m. $18. rockandrollhoteldc.com.

WORLD

muSiC Center at StratHmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Artist in Residence: Uasuf Gueye. 7:30 p.m. $17. strathmore.org.

tHURSDAY FUnk & R&B

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Aubrey Logan. 8 p.m.; 10 p.m. $25. bluesalley. com.

BetHeSda BlueS & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Billy Ocean Celebrates BBJ’s 5th Anniversary. 8 p.m. $60-$75. bethesdabluesjazz.com.

pOp

HIp-HOp

9:30 CluB 815 V St. NW. (202) 265-0930. Lights. 7 p.m. $26. 930.com.

BlaCK Cat 1811 14th St. NW. (202) 667-4490. Futuristic. 7:30 p.m. $18. blackcatdc.com.

CITY LIGHTS: SUnDAY

Join Us! Date: Thursday, February 22nd Time: 6:00-8:00PM Location: District Winery 385 Water St SE Washington, DC 20003

Voting Party tYLeR, tHe CReAtOR 2018

Tickets: $30 Includes 2 drink vouchers, craft sodas, and a great selection of bites!

Reserve now! Call the advertising department to book your Best of D.C. ad today: 202-650-6937

washingtoncitypaper.com/events

30 february 23, 2018 washingtoncitypaper.com

On his fourth full-length album, Flower Boy, Tyler, The Creator sheds his previous persona as the class clown of rap in favor of a more vulnerable and sincere sound. Amidst Technicolor, N.E.R.D-inspired beats, Tyler invites us on his journey toward self-discovery, and coming out.

On “Garden Shed,” the album’s blissfully dreamy centerpiece, Tyler confesses, “Garden shed for the garçons. Them feelings that I was guardin’. Heavy on my mind. All my friends lost, they couldn’t read the signs.” While Tyler’s confessionals don’t repent for his past gratuitous use of homophobic slurs and violent language, it does reveal the complicated nature of Tyler’s youth: the pain of unrequited love, the heartache of missed connections, and the struggle to find yourself in a world that often wants to abbreviate you. Tyler, The Creator performs with TACO and Vince Staples at 8 p.m. at The Anthem, 901 Wharf St. SW. $45–$55. (202) 888-0020. theanthemdc. com.

—Casey Embert

thh

CITY LIGHTS: MOnDAY

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

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

Tix @ Ticketmaster.com 800-745-3000

Feb 22

JEFFREY OSBORNE 24 HARMONY SWEEPSTAKES A Capella Festival

NEW MUSIC VENUE

NOW OPEN THE WHARF, SW DC

DINER & BAR OPEN LATE!

KEIKO MATSUI 26 ANA TIJOUX presents 25

Roja y Negro

THE MUSICAL BOX

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

An Intimate Evening with

GRAHAM NASH 2 RACHELLE FERRELL DWELE

4

F 23

DAVID ARCHULETA 6 SWEET HONEY IN THE ROCK 7 PAT GREEN 5

JACk pROpAne

As Jack Propane, Brooklyn-based producer Ryan Caruso takes house and techno music to other worlds. So it’s appropriate that his album released on local experimental/house label Atlantic Rhythms is titled Other Worlds. On the album, Caruso sends listeners on an otherworldly aural journey through his spacey, smooth blend of synthesizers, drum machines, samplers, and sequencers. Other Worlds, according to Caruso, is an exploration of the rough and psychedelic side of house and techno music, with an emphasis on deep synthesized soundscapes. It’s definitely that, but the album also conjures images of sleek futuristic scenes, like something one would find on the soundtracks to Blade Runner 2049 or The Fifth Element. Of course, that’s what good house music should do for listeners. Jack Propane performs at 8 p.m. at Rhizome DC, 6950 Maple St. NW. $10. rhizomedc.org.

—Matt Cohen

8

An Evening of

EDWIN McCAIN Newmyer Flyer Presents

9

LAUREL CANYON:

Golden Songs of Los Angeles 1966-73 10

THE FOUR BITCHIN’ BABES

Christine Lavin, Debi Smith, Sally Fingerett, Deirdre Flint

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. A$AP Ferg with Denzel Curry. 8 p.m. $30. fillmoresilverspring.com. union Stage 740 Water St. SW. (877) 987-6487. Bad Gyal. 8 p.m. $15–$25. unionstage.com.

ROCk BirCHmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. An Intimate Evening of Songs & Stories with Graham Nash. 7:30 p.m. $90.50. birchmere. com.

Books

w.e.B. duBoiS BirtHday Marking the 150th birthday of DuBois, National Book Award winner Ibram Kendi and Howard University English department chair Dana Williams converse about DuBois’s seminal text The Souls of Black Folk. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. Feb. 23. 6 p.m.

Free. (202) 387-1400. zadie SmitH One of the world’s preeminent fiction writers and essayists, Smith discusses her latest essay collection, Feel Free, in which she gathers previously published work as well as new pieces. Sixth & I Historic Synagogue. 600 I St. NW. Feb. 27. 7 p.m. $32–$34. (202) 408-3100.

WATCH Awards Ceremony -7pmEd 13 THE ZOMBIES Rogers 11

Dance

BreaKing BarrierS Dance company Motion X celebrates composer Leonard Bernstein’s humanitarian work with a performance meant to take the audience on a journey toward cultural understanding and respect. Atlas Performing Arts Center. 1333 H St. NE. Feb. 23. 7 p.m. $25. (202) 399-7993. atlasarts.org.

ColorFul world See a dance performance inspired by the rich colors of the traditional fabrics and costumes of the Middle East and Central Asia.

Members of Nomad Dancers and Raqs Habibi World Dance Company perform graceful dances of ancient Persia, Central Asia, and Arabia, set to songs of love and hope. Atlas Performing Arts Center. 1333 H St. NE. Feb. 24. 12 p.m. $20. (202) 399-7993. atlasarts.org. diavolo The contemporary dance ensemble explores the relationship between the human body and its environment. Led by artistic director Jacques Heim, a team of dancers, designers, choreographers, and engineers create visceral works that reveal how people are affected physically by the spaces they inhabit. Kennedy Center Eisenhower Theater. 2700 F St. NW. Feb. 23. 8 p.m.; Feb. 24. 2 p.m.; Feb. 24. 8 p.m. $19–$69. (202) 467-4600. kennedy-center.org. gu danCe Company This spring concert from professor and artistic director Mané Rebelo-Plaut and student director Isabella Dolendo features new and returning works from guest choreographers and

14

The Very Best of

DAVE MASON Gretchen Rhodes 15 TAB BENOIT's Whiskey Bayou Records Revue

16

THE OAK RIDGE BOYS “Shine The Light Tour”

17

THE MANHATTANS featuring GERALD

ALSTON

AVERY*SUNSHINE 20 MARC BROUSSARD 21 ROBIN TROWER 22 SQUIRREL NUT ZIPPERS 23 LEE ANN WOMACK 24 TOM RUSH 19

FEBRUARY CONCERTS AMERICAN IDOL WINNER

w/ RYAN TENNIS

DAVID COOK

MARCH CONCERTS THE MIGHTY PINES w/ MOUNTAIN RIDE NO SECOND TROY w/ TOMMY GANN BUMPIN UGLIES w/ DUB CITY RENEGADES & JOINT OPERATION SA 10 CRYS MATTHEWS w/ ECHO BLOOM SU 11 CURLEY TAYLOR & ZYDECO TROUBLE

F2 SA 3 F9

TU 13 W 14 F 16 SA 17

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 BEAT HOTEL

TU 20

WAREHOUSE WEST PRESENTS TOSHA HILL

W 21

F 23

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

SA 24

KYLE CRAFT

F 30 SA 31

BLAIR CRIMMINS AND THE HOOKERS REVELATOR HILL w/ KAREN JONAS

TH 22

ZYDECO DANCE LESSON INCLUDED!

APRIL CONCERTS JEN HARTSWICK & NICK CASSARINO

TU 3 W4

SMITHSONIAN FOLKWAYS PRESENTS DOM FLEMONS

TH 5 SU 8

FORLORN STRANGERS DWIGHT “BLACK CAT” CARRIER AND THE ZYDECO RO DOGGS

W 11 F 13

DELLA MAE w/ ONLY LONESOME LOVE CANON

ZYDECO DANCE PARTY 3PM DOORS

TICKETS ON SALE! pearlstreetwarehouse.com

washingtoncitypaper.com february 23, 2018 31

CITY LIGHTS: tUeSDAY AN EVENING WITH

THE EVERLY

BROTHERS

EXPERIENCE

THURSDAY FEB

22

MACEO PARKER W/ THE YOUNG SENATORS RELOADED

FRIDAY FEB

23

F e b rua ry F 23

TribuTe To Funk Legends

Su 25 be’La dona go go brunch (1PM) band oF roses (7:30PM)

wed & thurS, biLLy ocean ceLebraTes Feb 28 bbJ’s 5Th anniversary & Mar 1 hosTed by Joe cLair

SAT, FEB 24

NRBQ W/ RUTHIE & THE WRANGLERS SAT, MAR 3

JUSTIN JONES

March F2

bernard ebb Songwriting awardS Joe cLair & Friends coMedy show

S3

W/ THE BEANSTALK LIBRARY TUES, MAR 6

(7/10PM - 2 shows)

WE BANJO 3

Su 4

WED, MAR 7

NIGHT I

THURS, MAR 8

NIGHT II

AN EVENING WITH JIM

BELUSHI & THE BOARD OF COMEDY

AN EVENING WITH JIM

BELUSHI & THE BOARD OF COMEDY

FRI, MAR 9

KAT WRIGHT SAT, MAR 10

ROOMFUL OF BLUES WED, MAR 14

SOLD OUT A BENEFIT CONCERT IN SUPPORT OF THE

NATIONAL COUNCIL FOR THE TRADITIONAL ARTS

MASTERS OF AMERICAN MUSIC FEATURING JERRY DOUGLAS, AMANDA SHIRES, JASON ISBELL, & MORE THURS, MAR 15

THE EMBASSY OF HUNGARY PRESENTS A BENEFIT CONERT IN SUPPORT OF THE MARTIN COUNTY HISTORICAL AND GENEALOGICAL SOCIETY

HUNGARIAN HERITAGE BLUES FESTIVAL FEATURING LITTLE G. WEEVIL, JOHN NEMETH, & JOHN POPPER

haroLd MeLvin’s bLue noTes (2/7PM – 2 shows) w 7 cedrick naPoLeon and brian Leniar th 8 Jon carroLL and sPeciaL guesT cecily F9 ceLebraTing The LiFe oF noTorious b.i.g FeaT. secreT socieTy Su 11 a TribuTe To The Music oF PhyLLis hyMan th 15 Jane bunneTT & Maqueque F 16 Tony craddock, Jr. & coLd FronT aLbuM reLease concerT

JuSt announced Fri, Mar 30 aLgebra bLesseT Fri, april 6

ALL GOOD PRESENTS

Fri, april 27

W/ RYAN MONTBLEAU

Sat, april 28

FRI, MAR 16

ANDERS OSBORNE

souL-bLues suMMiT: biLLy Price band w/sPeciaL guesT Johnny rawLs conya doss & Lin rounTree MeLba Moore

WED, MAR 21

http://igg.me/at/bethesdablues

GOLDEN GATE WINGMAN

7719 Wisconsin Ave., Bethesda, MD

AN EVENING WITH

(240) 330-4500 www. BethesdaBluesJazz.com

Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

THEHAMILTONDC.COM 32 february 23, 2018 washingtoncitypaper.com

SeVDALIzA

Iranian-born Dutch artist Sevdaliza asks heavy questions in her music. “How can I suffer without the pain? Can we struggle without the shame?” “Am I put into this world solely to embody it?” “When I resolve into the ground, would I feel as if I found what it means?” The philosophical heft of her lyrics about tainted love, personal divinity, and mental illness is matched by her music. It’s a contemporary take on trip-hop that melts broken beats and electronic ambience into moody and menacing songs with her voice delicate yet powerful enough to lead the way through the haze. In just a few short years, the 30-year-old polymath has created her own musical world, owing equally to both futurism and mysticism. She released her latest single, “Soul Syncable,” on the day of the super blue moon, kicking off a new “phase” of creativity, asking yet another heavy question, “Do you see the soul syncable?” Sevdaliza performs at 7 p.m. at U Street Music Hall, 1115 U St. NW. $20. (202) 588-1889. ustreetmusichall.com.

—Chris Kelly original student choreography. Davis Performing Arts Center at Georgetown University. 3700 O St. NW. Feb. 23. 8 p.m.; Feb. 24. 8 p.m. $8–$10. (202) 687-3838. performingarts.georgetown.edu.

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

Savion glover Tap dance superstar and choreographer Savion Glover brings his show All Funk’d Up, The Concert to National Theatre with his six-piece band and a company of dancers performing original compositions. National Theatre. 1321 Pennsylvania Ave. NW. Feb. 23. 8 p.m.; Feb. 24. 8 p.m. $45–$80.

(202) 628-6161. nationaltheatre.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.

Theater

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

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. every Brilliant tHing Written by Duncan Macmillan with Jonny Donahoe, this Jason Loewith-directed production is about a 7-year-old who makes a list of things to live for—from ice cream to the alphabet—after his mother’s attempted suicide that grows from childhood to adolescence to adulthood. Every Brilliant Thing is a one-person show that invites its audience to become a custodian of the all-important list. Olney Theatre Center. 2001 Olney-Sandy Spring

Road, Olney. To March 25. $49–$74. (301) 924-3400. olneytheatre.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 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.

ACADEMY AWARD NOMINEE ®

BEST FOREIGN LANGUAGE FILM

“A FANTASTIC MOVIE. DANIELA VEGA IS FANTASTIC IN IT.”

Hold tHeSe trutHS From playwright Jeanne Sakata and director Jessica Kubzansky comes the true story of Gordon Hirabayashi, the American son of Japanese immigrants who defied judicial injustice to uphold the ideals and values on which America was founded during a time of fear and rage. Hold These Truths presents an America reeling from the 1941 attack on Pearl Harbor, and, driven by prejudice, placing its own citizens of Japanese ancestry in internment camps. Arena Stage. 1101 6th St. SW. To April 8. $81–$111. (202) 488-3300. arenastage.org. tHe imaginary invalid Translated and adapted from Molière’s work, The Imaginary Invalid combines the genres of satire and farce, with its lead, a fearful and miserly hypochondriac, wrapped up in a fastmoving plot that lampoons doctors, hypochondria, romance, and the idea of control. George Mason University Center for the Arts. 4373 Mason Pond Drive, Fairfax. To March 4. $10–$20. (888) 945-2468. cfa. gmu.edu. 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-

-A.O. Scott, THE NEW YORK TIMES

A FILM BY SEBASTIÁN LELIO

A FANTASTIC WOMAN WWW.SONYCLASSICS.COM

EXCLUSIVE ENGAGEMENTS

Ashburn ALAMO DRAFTHOUSE ONE LOUDOUN drafthouse.com

Washington, DC LANDMARK’S E STREET CINEMA (202) 783-9494

NOW VIEW PLAYING THE TRAILER AT WWW.AFANTASTICWOMAN.COM

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ACADEMY AWARD NOMINEE ®

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NOMINEE

CITY LIGHTS: WeDneSDAY

BEST FOREIGN L ANGUAGE FILM

©HFPA

W I NWASHINGTON N E RCITY PAPER

JURY PRIZE CANNES FILM FESTIVAL THU 2/22 BEST FOREIGN LANGUAGE FILM LOS ANGELES FILM CRITICS ASSOCIATION

1/6 PG. (4.666") X 3.371"

NOMINEE

MR

SPIRIT AWARDS ALL.AFW.0222.WCP

BAFTA AWARDS BEST FOREIGN L ANGUAGE FILM

#5

NOMINEE

The New York Times

BEST INTERNATIONAL FILM

“POWERFULLY MAGNETIC.” THE NEW YORK TIMES

F R O M T H E D I R E C T O R O F “L E V I AT H A N”

LOVELESS A FILM BY

A N D R E Y Z V YA G I N T S E V

WWW.SONYCLASSICS.COM

DC EXCLUSIVE ENGAGEMENT Washington, THE AVALON STARTS FRIDAY, FEBRUARY 23 (202) 966-6000 VIEW THE TRAILER AT WWW.LOVELESS-MOVIE.COM

Voting ends March 4 Best Of 2018 out April 12 WASHINGTON CITY PAPER THU 2/22

1/6 PG. (4.666" X 3.371")

FAMILIAR

Danai Gurira is more than a warrior and fierce protector of Wakanda in Black Panther. She’s also a fierce protector and promoter of black women’s stories as a playwright. Her Broadway play Eclipsed, which starred fellow Wakandan Lupita Nyong’o, was a 2016 Tony nominee for Best Play. In her latest work, Familiar, Gurira presents a story from her own perspective focused on a Zimbabwean immigrant family in America. As the family prepares for their eldest daughter’s wedding, she makes a decision to observe a bride-price ceremony that causes a deep rift in the house. A tale of tradition versus assimilation, it’s a warm and witty African narrative treated with the realism and authenticity only Gurira, of Zimbabwean descent herself, could write. Above all, Familiar represents the telling of one’s own story, a charge Gurira is dedicated to leading. The play runs through March 11 at Woolly Mammoth Theatre, 641 D St. NW. $20–$84. (202) 393-3939. woollymammoth.net.

—Kayla Randall

MR

ALL.LVL.0222.WCP

#2

washingtoncitypaper.com Reserve now! Call the advertising department to book your Best of D.C. ad today: 202-650-6937

washingtoncitypaper.com february 23, 2018 33

Puzzle A HERO AMONG US

By Brendan Emmett Quigley

Across

23 Deck with Death 24 Range name 26 Miracle-___ (green thumb’s product) 29 Numero de días en una semana 31 Mojave mound 32 ___Raw (clothing line) 34 Iowa city 36 Golfer Hunter ___ 37 Notorious RBG comradre Kagan 38 Cheers actor George 40 Protected, for inventors 42 Capture-theflag game 45 Signal to act 47 Lady Bird director Gerwig 48 Treasure Island author’s inits.

50 “Forever Your Girl� singer 51 Forms, as a team 52 Half-___(sloppy) 54 Prone to wearing pointy shoes, maybe 57 Jacobs of fashion 58 “This should come ___ surprise�

60 Fighting squad 62 Group who might not like your tone: Abbr.

64 Little man 65 Piece in a machine 66 Hive’s activity

1 Comic book publisher behind the hero hidden in this puzzle 7 Foles’ throw: Abbr.

10 When doubled, a Hawaiian fish 14 Wanting it all 15 Soundproofed 17 Blends perfectly 18 Provided that 19 Biblical character whom Jacob fathered at age 105!

21 Alter ego of the hidden hero 22 Mailing need 25 Alternative to Rogaine 27 Cover for a teapot 28 San Diego suburb whose name means “the table�

30 Cut off short 33 Rial man 35 Them 36 Kitten’s cry 39 Intense disrespect 41 Event to buy outdoor things?

43 Boarding pass info: Abbr.

44 Show the ropes 46 Non-believer 47 Charade’s motion 49 Trip to the store 50 Not quite closed 53 Fisherman with pots 55 Barreled toward 56 Actor Chadwick who plays this puzzle’s hero on the big screen 59 Bed board 61 Aversion 63 Soft drink that comes in Peach Citrus flavor 67 Like some runs in baseball 68 “No more for me�

69 Its affects can last for over 8 hours 70 Some fish and chips fish 71 Actress Lupita of the movie based on this puzzle’s hero

Down

1 Studio with a lion in its logo 2 “What ___you getting at?�

3 Legal thing 4 Impassioned

5 Where the first sinner sinned 6 Cleaning brand 7 Org. on toothpaste tubes 8 Booming spot 9 Weight lifter’s powder 10 Threaten 11 Whitey 12 Gets better 13 Guesser’s phrase 16 “Boy, am I stupid!�

20 Lunch from a deli 22 Lunch from a pizzeria

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CITY LIGHTS: tHURSDAY

JORGe RAMOS

To the American news-watching public, Jorge Ramos is no stranger.

Heâ&#x20AC;&#x2122;s an Emmy-winning journalist and Univision anchor, known to ask the real questions (and get thrown out of press conferences for asking them) and show no fear in tussling with this White House.

Fortune rightfully named him one of the worldâ&#x20AC;&#x2122;s 50 greatest leaders. However, his new book gets to the heart of what itâ&#x20AC;&#x2122;s like being a stranger in a strange land, particularly when the administration of that land purports to reject you. Dedicated to the thousands of Dreamers in America, Stranger: The Challenge of a Latino Immigrant in the Trump Era traces Ramosâ&#x20AC;&#x2122; journey of coming to the United States from Mexico, exploring his own biography and speaking truth to the Latinx immigrant experience. Using data and statistics on immigration, Ramos also crafts a worthy response to Trumpâ&#x20AC;&#x2122;s hateful, anti-immigrant rhetoric. No one knows what the future holds, but one thing is for sure: Jorge Ramos, through his reporting and writing, will continue to hold this administrationâ&#x20AC;&#x2122;s feet to the flames of accountability, and throwing him out of press conferences for asking the president tough immigration questions can not and will not stop him. Jorge Ramos speaks at 7 p.m. at Sixth & I Historic Synagogue, 600 I St. NW. $25â&#x20AC;&#x201C;$30. (202) 408-3100. sixthandi.org. â&#x20AC;&#x201D;Kayla Randall

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

3333 14th St. NW. To Feb. 25. $25â&#x20AC;&#x201C;$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 Schaeferâ&#x20AC;&#x2122;s journey from a childhood in India to the struggles of growing up and raising a family, and how his fatherâ&#x20AC;&#x2122;s dark past impacts their relationship. Signature Theatre. 4200 Campbell Ave., Arlington. To March 4. $40â&#x20AC;&#x201C;$65. (703) 820-9771. sigtheatre.org. madeline Farrington: tHat part iS true Local playwright Madeline Farrington presents a story about members of a D.C. activist collective who must deal with being snowed in together during a blizzard. Snowed in, the group discovers that one of the members is not what they seem. Atlas Performing Arts Center. 1333 H St. NE. To March 3. $20. (202) 3997993. atlasarts.org. noura Part of the Womenâ&#x20AC;&#x2122;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. $44â&#x20AC;&#x201C;$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.

SpeeCH and deBate This black comedy with music from the acclaimed Stephen Karam (The Humans) is about outcasts in a puritanical town in Salem, Oregon. Linked by a local sex scandal, this unlikely trio

of outsiders joins forces to expose the truth. Theatre on the Run. 3700 S. Four Mile Run Drive, Arlington. To March 18. $20â&#x20AC;&#x201C;$30. (703) 228-1850. arlingtonarts.org. 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.

Film

anniHilation Natalie Portman stars as a biologist who goes on a dangerous expedition in which reality and the laws of nature are turned on their heads. Costarring Tessa Thompson and Gina Rodriguez. (See washingtoncitypaper.com for venue information) BlaCK pantHer After the death of his father, 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 of time traces the journey of a tribe of early humans who unite against a mighty enemy to save their home. Starring Tom Hiddleston, Eddie Redmayne, and Maisie Williams. (See washingtoncitypaper.com for venue information) game nigHt Weekly game night goes wrong for a group of friends as they must solve a murder mystery. Starring Rachel McAdams, Jesse Plemons, and Jason Bateman. (See washingtoncitypaper.com for venue information)

oncitypaper.com/

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CLASSIFIEDS HEALTH/ MIND, BODY & SPIRIT http://www.washingtoncitypaper.com/

Contents:

to denocencia.wade@ kippdc.org.

Adult . . . . . . . . . . . . . . . . . . . . . . . 42

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(844) 359-5773 Marketplace . . . . short .($900 . . . or .and .long . .$800 . term . . per . .rental 42 WorkCommunity in Adult Films . . . . . month) . . . . . .with . . .access . . . . to 42 No experience, all types, W/D, WiFi, Kitchen, and . . . . Den. . . . . Utilities . . . . . .included. . . . 42 sizes, Employment races, & ages (18+). Work in films, Health/Mind . . . . Best . . . .N.E. . . .location . . . . . along . . . . magazines, or from H St. Corridor. Call Eddie homeBody on live & streaming Spirit . . . . 202-744-9811 . . . . . . . . . . for . . .info.

42 websites. Call United or visit www.TheCurHousing/Rentals . . . . . . . . . . . . . 42 Casting NOW: 212-726ryEstate.com 2100 Legal Notices . . . Brookland . . . . . . . . - . Spacious . . . . 42 Music/Music Row .one . . bdrm . . . . for . . rent . . . . 42 Open living space w/ PetsFOR . . . . . . . . . . . updated . . . . . . galley . . . . kitchen . . . 42 REQUEST PROPOSALS: Real & W/D in unit. Good Real Estate . . . . . . . . . . . . . . . . . . 42 Estate Advisory & Legal closets. $1,469 + util Services.

KIPP DC is Shared Housing . Call . . . Joel . . . Martin . . . . .@ . . 42 soliciting proposals from 202-274-1882 or Services . . . . . . . . email . . . . is . . . . . . . . . 42 qualified vendors for Real Estate Advisory jn1martin@aol.com & Legal Services. The RFP can be found on NE DC room for rent.

KIPP DC’s website at $700/mo. utils included. http://www.kippdc.org/ Security deposit reprocurement. Proposals quired Close to Metro should be uploaded to and parking available. the website no later Use of kitchen, very than 5:00 P.M., EST, on clean. Seeking ProfesMarch 6, 2018. Quessional. Call 240-715tions can be addressed 78742. to joseph.hassine@ kippdc.org.

Large 1 bedroom apartment in Galluadet TWO RIVERS PUBLIC area NE Washington CHARTER SCHOOL dc. Apartment includes REQUEST FOR PROdishwasher, hardwood POSALS floors, central air and Two Rivers Public Charskylight. Just walking ter School is soliciting distance of metro bus proposals from qualified line, 5 mins from Rhode firms for equipment purlsland/New York ave chase and/or installation metro rail station. Great of interactive projectors nearby restaurants on H for use in classrooms. street and 3 blocks from For a copy of the RFP, Ivy city smokehouse. please email Sarah $1050/mth utilities not Richardson at procureincluded. We welcome ment@tworiverspcs.org. all vouchers. For info call 202-413-3271 or RFP for school 202-413-3269 playground One school RFP for school playground. To obtain copies of full RFPs, please visit our website: www.centercitypcs.org. Full RFPs contain guidelines for submission, applicable qualifications and deadlines.

Apt for Rent Columbia Contact Person: Heights 3 blocks from Natasha Harrison Columbia Heights Metro nharrison@ station & b/t 16th and centercitypcs.org 14th streets -Newly remodeled Gym Flooring Restokitchen with stainless ration & Gym Floor steal appliances, granite Covers. KIPP DC is countertops, and dinsoliciting proposals from ning area qualified vendors for -Laundry room w/ Gym Flooring RestoraWasher/Dryer tion & Gym Flooring -Large bedroom with full Restoration. These 2 bathroom RFPs can be found on -Separate exit with moKIPP DC’s website at tion censored lights http://www.kippdc.org/ -Internet/Cable/Onprocurement. Proposals Demand should be uploaded to -Utilities not included the website no later $1700 per month than 5:00 P.M., EST, on (parking spot available March 16, 2018. Quesupon request) tions can be addressed -Available March 1

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If you’re interested Phone contact me atAdult 202-557Entertainment 6951 or luisgabrielrojo@ gmail.com.

Livelinks - Chat Lines. Flirt, chat and Talk Beautiful to sexy real singles Fordate! rent: in your area. Call now! (844) 1bdr condo, in The 359-5773 Colonnade (2801 New Mexico Ave.), in Glover Legals Park, $2090, all utilities incl. Small ok. 202NOTICE IS pets HEREBY GIVEN 468-4384, jykim0730@ THAT: hotmail.com.

TRAVISA OUTSOURCING, INC. (DISTRICT OF COLUMBIA DEPARTMENT OF CONSUMER AND REGULATORY AFFAIRS FILE NUMBER 271941) Seeking Lawyer to HAS DISSOLVED EFFECTIVE NOVEMlitigate tax sale civil BER 27, 2017 AND HAS FILED rights case in Federal OF ARTICLES OF DISSOLUTION DC CircuitFOR-PROFIT case is in proDOMESTIC CORcess. Settlement PORATION WITH THE posDISTRICT sible.

Mark, 301-753OF COLUMBIA CORPORATIONS DIVISION 6188, 301-219-9577.

AEXPERIENCED CLAIM AGAINST TRAVISA OUTSOURCING, INC. MUST IRONWORKERS/ INCLUDE THE NAME OF THE WELDERS DISSOLVED CORPORATION, DC RESIDENTS ONLY INCLUDE THE NAME OF THE CLAIMANT, INCLUDE A SUMMATo OF install steel SUPPORTING stairs, RY THE FACTS railsCLAIM, And other THE AND BEmiscelMAILED TO 1600 INTERNATIONAL DRIVE, laneous metals SUITE 600, MCLEAN, VA 22102 For commercial construction in DC, ALL CLAIMSand WILLNorthern BE BARRED Maryland UNLESS PROCEEDING Virginia.A We provide TO ENFORCE THE CLAIM IS COMall equipment MENCED WITH IN required, 3 YEARS OF safety glasses, andNOTICE PUBLICATION OF THIS assistance with safety IN ACCORDANCE WITH SECTION shoes. OF THE DISTRICT OF 29-312.07 Miscellaneous Metals, COLUMBIA ORGANIZATIONS ACT. Inc., An award winning sub contractor, an Two Rivers PCS offers is soliciting excellent benefitproject packproposals to provide manage including company agement services for a small conpaid health, struction project.prescripFor a copy of the RFP, tion,please life, email and procurement@ disability tworiverspcs.org.

Deadline for insurance plans. submissions December 6, 2017.

Paid TimeisOff and Paid Holidays.

Check out our website at: www.miscmet.com Send resume: ddurgan@miscmet.com Or call Dave Simmons @ 240-674-0259 or Fax: 1-240-223-4769 Miscellaneous Metals, Inc. Walkersville, MD

Need Computer TutoLegals rial. Need Someone who is computer savvy DC SCHOLARS PCS REQUEST and can help me set up FOR PROPOSALS – Modua new laptop and give lar Contractor Services - DC me a tutorial.

240-715Scholars Public Charter School 7874 solicits proposals for a modular Overworked andprofessional undercontractor to provide paid? management and construction services to construct a modular building to house four classrooms Highest paying partand onejob faculty offihow ce suite. time and to The Request for Proposals get it. FREE Details. (RFP) specifi cations can be obtained on RUSH a self addressed, and after Monday, November 27, stamped, envelope 2017 from Emily Stone viatocomEdFenwick munityschools@dcscholars.org.

Box 3123 All questions should be sent in Hyattsville, MD writing by e-mail.

No20784 phone calls regarding this RFP will be accepted. Bids must be received by AIRLINE CAREERS 5:00 PMhere on Thursday, begin – Get December started 14, 2017 at DCasScholars by training FAA Public Charter School, ATTN: TechniSharonda certified Aviation Mann, 5601 E. Capitol St. SE, cian.

Financial aid for bids Washington, DC 20019. Any http://www.washingtonqualified students. not addressing all areas Job as outcitypaper.com/ placement lined in the RFPassistance. specifi cations will Call Aviation Institute of not be considered.

Maintenance 800-7251563Apartments for Rent

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Flyer Distributors Needed Monday-Friday and weekends. We drop you off to distribute the flyers. NW, Bethesda, Silver Spring, Wheaton. $9/hr. 240-715-7874 PAID IN ADVANCE! Make $1000 Weekly Must see!Brochures Spacious semi-furMailing From nished 1Genuine BR/1 BAOpbasement Home apt, Deanwood, $1200. Sep. enportunity.

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Out with the old, In with the new Post your listing with prentices are able to Washington City Auctions earn aConstruction/Labor paycheck and full benefits while learn- Paper Classifieds

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braska Ave., NW, at the Events corner of New Mexico Ave, near American Christmas in Silver Spring University.

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Book & Bake Sale Announcements - Hey, all you lovers of erotic and bizarre Feb. 23-25.

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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!

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