Washington City Paper (March 3, 2017)

CITYPAPER Washington

housing: a bigger ask for homeless funding 7 food: latino cooks in training 19 arts: girl power meetups 23

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CHURCH v. STATE Houses of worship are re-creating a decades-old support system to protect immigrants paralyzed by fear. P. 12

By Matt Cohen and Alexa Mills

Photographs by Darrow Montgomery

DELLA ROBBIA SCULPTING WITH COLOR IN RENAISSANCE FLORENCE THROUGH JUNE 4 Organized by the Museum of Fine Arts, Boston, in association with the National Gallery of Art. Made possible by Altria Group on behalf of Ste. Michelle Wine Estates, and by Marchesi Antinori S.p.A. Major support is provided by Sally Engelhard Pingree and The Charles Engelhard Foundation, and the Buffy and William Cafritz Family Foundation.

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INSIDE

12 church v. state Houses of worship are re-creating a decades-old support system to protect D.C. immigrants living in paralyzing fear of deportation.

By Matt Cohen and Alexa Mills Photographs by Darrow Montgomery

4 ChAtter distriCt Line 7

Housing Complex: Programs for D.C.’s chronically homeless may receive more funding than ever before.

8 Loose Lips: An education PAC lobbies state school board members by phone banking to promote controversial policy.

9 Concrete Details: What do you do with a building like 2501 M Street NW? 10 Indy List 11 Gear Prudence

d.C. feed 19 Prep Kitchen: Latino immigrants and local restaurants benefit from a nascent job-training program.

21 Art of the Meal: Dine and drink where the decor is just eccentric enough to make Yayoi Kusama smile.

21 What’s in Stein’s Stein: Heroic Aleworks’ Mind Trappe Belgian Dubbel 21 Hangover Helper: Everything Bagel Spiced Pizza at Alta Strada

Arts 23 Girls’ Clout: Girl Power Meetups is inspiring young women to create their own pathways into art and activism.

25 Short Subjects: Zilberman on My Life as a Zucchini and Olszewski on Land of Mine 26 Sketches: Border Crossing and New Ground at the National Museum of Women in the Arts 28 Speed Reads: A review of Capital City

City List 31 City Lights: Catch Potty Mouth Sunday at DC9.

31 Music 35 Dance 36 Theater 37 Film

Master’s in Journalism Uncover Stories with Accuracy and Integrity

38 CLAssifieds diversions 39 Crossword

Learn More:

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2/27/17 2:28 PM

CHATTER

In which readers share indignance

Darrow MontgoMery

Huffing and Puffing Last week’s cover story by Elizabeth Flock drew unmitigated shock (“The Homeless Evictors,” Feb. 23), detailing as it did the way eviction companies in the D.C. area exploit the homeless by paying them illegally low wages to put others on the street. What is perhaps most dispiriting is that circumstances today are even worse than they were in 1999 when TaNehisi Coates first reported about the practice in City Paper.

“A truly vicious cycle,” tweeted @tenantspacny. “This is disturbing,” wrote @sfbrinton. “This is terrible. A disgrace,” agreed @jdelvecchio. We could go on. Harvard professor and MacArthur “Genius” Matthew Desmond, author of Evicted: Poverty and Profit in the American City, also took note. “Please read this deep and novel reporting by @lizflock,” he tweeted.

In other words, the underside of this city’s increasingly gleaming exterior can be very dark.

Food editor Laura Hayes’ piece on why soup dumplings at Ten Tigers Parlour in Petworth cost $8 a pair—a price its customers claim on the restaurant’s Yelp page is too high—inspired reflection among readers. Hayes delved into customer expectations about the cost of ethnic food and how much the people who prepare it are paid. The restaurant’s soup dumplings used to cost $12. “Nice coverage @LauraHayesDC & stance @ChefTimMa, #consumers have responsibility to speak with $ as much as restaurants do with sourcing,” tweeted @DavidMuraskin. “Important thoughts on people devaluing + expecting low cost from ethnic cuisines,” tweeted @zwilliams720.

For at least one City Paper reader, the idea that $8 is too much for two delicious Ten Tigers dumplings was news. “Interesting that people thought $8 for their soup dumplings was too much,” kermitdc commented on our website. “I ate there a few weeks ago and thought that for the size and quality of the dumplings the price was fair.”

Don’t forget to take it to Yelp too, kermit —Alexa Mills

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EDITORIAL

EDiTor: liz garrigan MANAgiNg EDiTor: alexa Mills ArTS EDiTor: Matt Cohen FooD EDiTor: laura hayes CiTy LigHTS EDiTor: Caroline jones STAFF WriTEr: andrew giaMbrone SENior WriTEr: jeffrey anderson STAFF PHoTogrAPHEr: darrow MontgoMery iNTErACTivE NEWS DEvELoPEr: zaCh rausnitz CrEATivE DirECTor: jandos rothstein ArT DirECTor: stephanie rudig CoPy EDiTor/ProDuCTioN ASSiSTANT: will warren CoNTriBuTiNg WriTErS: jonetta rose barras, VanCe brinkley, eriCa bruCe, kriston Capps, ruben Castaneda, Chad Clark, justin Cook, riley Croghan, jeffry Cudlin, erin deVine, Matt dunn, tiM ebner, jake eMen, noah gittell, elena goukassian, aManda kolson hurley, louis jaCobson, raChael johnson, Chris kelly, aMrita khalid, steVe kiViat, Chris kliMek, ron knox, john krizel, jeroMe langston, aMy lyons, kelly MagyariCs, neVin Martell, keith Mathias, traVis MitChell, triCia olszewski, eVe ottenberg, Mike paarlberg, noa rosinplotz, beth shook, Quintin siMMons, Matt terl, dan troMbly, kaarin VeMbar, eMily walz, joe warMinsky, alona wartofsky, justin weber, MiChael j. west, alan zilberMan

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DistrictLine Good Neighbors

Programs for D.C.’s chronically homeless may receive more funding than ever before.

AdvocAtes Are pressing elected officials to appropriate more than $17 million toward targeted housing and human services for the District’s chronically homeless as Mayor Muriel Bowser prepares a budget to send to the D.C. Council in early April.

Separate from funds for families, the figure represents the largest formal request local advocates have ever made to benefit longtime homeless individuals. It follows past investments that have started to bear fruit, leading to an 11 percent drop in chronic individual homelessness in D.C. from 2015 to 2016, consistent with national trends.

This challenge is just one frontier in the fight to end homelessness. A national report released in December found that D.C. had the highest overall rate of homelessness of 32 American cities, with an estimated 8,350 people homeless as of January 2016.

Given those stakes, District leaders say they are generally willing to grant the request while acknowledging possible trade-offs, especially in light of uncertainty surrounding federal funding under President Trump.

As D.C.’s fiscal year 2018 budget takes shape, it remains to be seen whether taxpayer dollars for the homeless will be shifted to priorities like education, Metro, and public safety.

“The past two years have seen increasing investments in homelessness, and I’m hopeful this year that trend will continue,” says Kate Coventry, an analyst at the D.C. Fiscal Policy Institute. “But of course you never know until the budget is released.”

Residents considered chronically homeless are the most vulnerable—by definition they have at least one diagnosed disability and have been unhoused for a minimum of a year, or four times over the course of three years.

Almost 3,700 homeless individuals—not

housing complex

counting families, whose tally has jumped— were counted in D.C. at the beginning of last year. Of these, roughly 1,500, or 41 percent, were recorded as chronically homeless, nearly twice the national average.

Worse, of those 1,500, some 240 (or 16 percent) were living without shelter. They sleep under bridges, in vacant buildings, or on park benches and outside stores. Averaging around 55 years old and tending to be black men, some carry tents and sundry belongings they have accumulated over time. Many do not survive past 65—dying of diabetes, heart disease, HIV/ AIDS, and other treatable conditions.

These demographics and outcomes are among the reasons that activists like Jesse Rabinowitz of Miriam’s Kitchen view housing as a matter of racial justice. “It really pulls

city’s budget was roughly $13 billion in both local and federal funds. The District has spent hundreds of millions of dollars on updating aging public schools and on constructing sports venues like Nationals Park and the planned D.C. United stadium. This week, it marked the one-year anniversary of the D.C. Streetcar, a $200-million-plus project that suffered years of delay.

Advocates explain that the $17.4 million is based on data, need, and the city’s ability to implement programs. “We’re not pulling the numbers out of the sky,” Rabinowitz says.

Of that, $8.5 million would bankroll what’s called “permanent supportive housing,” or PSH, for 535 homeless people. PSH refers to subsidized units where tenants pay just 30 percent of their income (if they have any) on rent and receive intensive case management.

The La Casa project on Irving Street NW in Columbia Heights is an example of this best practice.

Rabinowitz says placing someone in PSH can save D.C. tens of thousands of dollars a year. While the city spends an estimated $40,000 per chronically homeless person each year on emergency services like ambulance transports and hospitalizations, the cost of PSH is closer to $20,000.

As of the fiscal year 2016 budget, D.C. provided for 565 scattered-site PSH units for chronically homeless people, in addition to 75 site-based PSH units like at La Casa, according to documents submitted to the D.C. Council. And last year’s budget saw the District fund a few hundred more units. On top of federal subsidies, this puts the figure of PSH units above 2,000, almost seven times more than what was available a decade ago. “ We ’ r e s t a r t i n g t o s e e a f e w people who have been in permanent supportive housing for five [to] 10 years get to the point Darrow Montgomery/File

By Andrew Giambrone

on my heartstrings to see so much homelessness—and so much poverty—in a city with so much power,” Rabinowitz says. “Housing saves lives.”

That belief has led a coalition of nonprofits to ask officials to allocate $17.4 million in the upcoming budget for homeless singles—a tiny fraction of the D.C. budget. Last fiscal year, the

where they don’t need major interventions anymore, and they can step down and free up a unit,” Rabinowitz says. D.C.’s funding pays for services and rental vouchers, which help the homeless age in place, find employment, and receive key behavioral counseling.

The funding request also includes $5.2 million for “targeted affordable housing” for 425 residents who no longer require PSH but still need subsidized units, as well as $3.7 million for “rapid rehousing” for 343 residents who’d benefit from rental assistance and case management.

“Targeted affordable and rapid rehousing need to grow together,” Coventry says. “If folks don’t proceed to rapid rehousing [from other programs], they’ll end up becoming homeless again.”

Advocacy groups aren’t the only ones calling for these kinds of solutions. Neil Albert, executive director of the Downtown Business Improvement District, says his organization has “long been an active funder and supporter of permanent supportive housing.” The BID piloted a drop-in center for homeless youth last year, and it’s working with D.C. to identify a daytime drop-in center.

A month from the deadline to submit the mayor’s proposed budget to lawmakers, the Bowser administration is mum on how much it’s planning to commit to various city services. But activists are sanguine that Bowser and councilmembers will come through.

“At this time it is premature to discuss specifics for the mayor’s upcoming budget, but it’s clear from previous budgets [that] the mayor has made ending homelessness a top priority as she promised to do two years ago,” Bowser spokesman Kevin Harris says in a statement. “The District is making great progress toward this goal.” Signs of this progress, Harris adds, include millions of dollars worth of investments in hypothermia shelters and voucher programs.

Ward 1 Councilmember Brianne Nadeau, who chairs the human services committee, says fully funding homeless services is a “top priority” for her. “We can build new shelters, we can close [the] D.C. General [family shelter], but we need to have a pipeline of housing available,” she says. Meanwhile, At-Large Councilmember Robert White describes the $17.4 million as “a drop in the bucket,” adding that he doesn’t “see an excuse for the city to say we can’t afford” the request from advocates.

Or, as Rabinowitz notes, “D.C.’s doing really well as a city.” Officials have a “hard job” of balancing priorities despite “such unprecedented growth and so many people moving in. We want to make sure [this] financial gain is spread around to our most vulnerable individuals too.”

CP

washingtoncitypaper.com march 3, 2017 7

DistrictLinE Dial N For Nuance An education PAC lobbies state school board

By Jeffrey Anderson in a one-party city with a civic focus on education, an advocacy group like Democrats for Education Reform (DFER) sounds as wholesome as Mom and apple pie. Everyone in D.C. is a Democrat, right? Who isn’t in favor of education reform?

Aided by such safe assumptions, the New York-based PAC recently injected itself into a complicated school debate whenit employed phone banking that conn e c te d D.C . residents with their respective school board members.

Residents around the city received calls on behalf of DFER to tell them that the Office of the State Superintendent of Education (OSSE) is proposing to “hold schools accountable not only for the academic achievement of students but also for the growth that students make on their achievement at whatever level they start out.”

Sounds like a winner, right?

The callers then offered to direct residents to their representative on the D.C. State Board of Education to “let them know you support this proposal.” They then asked, “May I put you through?”

What the campaign does not tell citizens is that the proposal presents the school board with complex decisions in an ongoing policy debate that is central to a virtual culture war over public education reform in America.

Nor does it disclose that Democrats for Education Reform is a PAC that raises money from corporations, foundations, and influential philanthropists to back political candidates who favor standardized testing and the Common Core standards—and apparently seeks to directly influence elected school board members on contentious policy issues.

Loose LIPs

osse’s draft plan is based on the federal “Every Student Succeeds Act,” which requires states to create a new school accountability system beyond the standardized math and reading tests of “No Child Left Behind.” The idea of Every Student Succeeds is to provide states with flexibility to also measure performance in science, social science, art, and other indicators of school quality.

Under the plan DFER is promoting, 80 percent of school accountability for elementary and middle schools is based on standardized

tests in reading and math and a complex formula meant to determine student “growth.”

(Most of the remainder is based on attendance and re-enrollment.) The accountability system not only rates schools relative to one another but also sets guidelines that will influence educational and administrative priorities.

Proponents of the plan, such as DFER’s D.C. director Catharine Bellinger, believe that a school rating system should be based on single test scores that reflect performance on college and career-ready exams, such as the Partnership for Assessment of Readiness for College and Careers (PARCC).

“By and large, the D.C. parents with whom we speak have made clear they want a single, summative school rating that primarily reflects student academic outcomes,” Bellinger testified to the state school board on Feb. 17.

Critics contend that OSSE’s plan does little to expand No Child Left Behind and impedes progress for at-risk and low-performing students. They say it locks students into standardized tests and discourages attention to subjects other than math reading. A City Paper investigation last year showed that D.C.’s lowest-performing schools as determined by the PARCC exam lag behind schools with fewer at-risk students, creating a substantial achievement gap that has vexed school officials for years.

According to Ward 3 school board member Ruth Wattenberg, the proposal takes too little advantage of the new law’s flexibility and retains too much of what was wrong with No Child Left Behind. In a recent op-ed in the Northwest Current, Wattenberg writes that most of her constituents and parents and teachers across the city are concerned the plan does not encourage “well-roundedness.”

“Let’s go beyond reading and math and add a measure of academic well-roundedness,” she writes. “Do all kids get adequate exposure to science, social studies, arts? Does the school offer dual language immersion or an International Baccalaureate program? By counting these in our rating system, we can signal to schools that these efforts matter.”

Ward 1 resident Mark Simon, a former D.C. Public Schools parent, educator, and education policy associate at the Economic Policy Institute, received a DFER call recently, and he was outraged. That’s because Simon is steeped in the nuance of policy, something that the phone-banking effort desperately lacks. He characterizes Bellinger as “a functionary whose

8 march 3, 2017 washingtoncitypaper.com

Darrow Montgomery/File

members by using phone banking to promote controversial policy.

job is to channel DFER money to policies or candidates that support a narrow worldview” and who wants the state board to “rubberstamp [OSSE’s] decision to keep standardized testing as the overwhelming single indicator of school quality.”

Bellinger did not return calls. Ward 8 school board member Markus Batchelor received a number of voicemails but says he wasn’t aware of who was behind the calls. “Most have been pretty vague, ‘making sure all schools have high standards,’” Batchelor says of the messages he’s received. “I’ve gotten a few voicemails to support the OSSE plan.”

Batchelor finds the 80 percent dependency on standard tests too high, overly focused on outcomes and not enough on school curricula. “Why don’t we hold them accountable for things that spur achievement?” he says.

Other members gingerly sidestep questions and insist they are still in “listening mode.”

“Folks get confused about the system because it is so complex,” says state school board vice president Jack Jacobson, who represents Ward 2. “There are multiple advocacy groups engaged on the issue. I would not want to characterize those agencies.”

At-large member Ashley Carter, the lone Republican on the board, says she has received between 50 and 100 calls that express myriad views. “I’ve had a number of calls from community members,” Carter says, “but I can’t say that all of them live in the city. A number of people would not tell me where they live.”

Likewise, Ward 6 member Joe Weedon notes a disconnect in the calls he has received. “When I get calls, I try and have a conversation,” he says.

“People have expressed strong support for the [OSSE] plan, but then in conversations they have expressed a preference for multiple measures and less reliance on standardized testing.”

That’s because DFER could be misleading residents and school board members alike, Simon says. “Most of the informed public education parents, supporters, and activists have been very critical of the plan that keeps schools being evaluated 80 percent based on a standardized test,” he says. “That was certainly true of those who turned out at the hearings. If anyone called without much substance but just wanted their board member to know they supported the plan, they were probably prodded to do so by the DFER call.”

Cathy Reilly, a Ward 4 resident and executive director of the Senior High Alliance of Parents, Principals and Educators wrote to DCPS Chancellor Antwan Wilson with similar concerns about the calls. “I don’t think [the calls] were comprehensive about what is a complicated issue,” says Reilly, who finds that Ward 4 residents are upset about the amount of standardized testing that avoids multiple measures of proficiency and school growth at the expense of at-risk students and English-language learners. “If that is what DFER is all about,” she says, “to push people into a lobbying-like decision, then that is a problem and does not get us to good education policy.”

CP

DistrictLinE Yielding Brutes

What do you do with a building like 2501 M Street NW? It’s not quIte brutalist. Unlike the hulking FBI and HUD buildings and the castle keep of the Hirshhorn Museum, 2501 M wears its concrete exterior meekly. It couldn’t really be called late modernist either, because it doesn’t have the sharp geometries, mirror walls, or other hallmarks of that style.

Built in the early 1980s, the eight-story West End building is a bland grid of precast concrete and deep-set windows of darkish glass—features echoed in structures all over D.C. The only detail that sets 2501 M apart from dozens of buildings of the same vintage is a quirk in its otherwise rectangular form: The mass of the top three stories protrudes over the five floors below, like a lid sliding over a cardboard box.

To Ron Ngiam, an architect with the Georgetown firm CORE, the building looks like a mushroom—or it did, until recently.

Ngiam and his colleagues are almost finished with an idiosyncratic renovation and expansion of 2501 M. They claimed the unused square feet on either side of the lower part of the building, its “stem,” with new glass bumpouts and also carved out space for a restaurant on the ground floor. What was headquarters for a nonprofit, the American Association of Medical Colleges, will be reborn this fall as luxury condos with a Nobu downstairs.

Condo conversions are par for the course in gentrifying D.C., but 2501 M is a stranger building than it seems at first glance. The top three floors, or the “cap,” are already condos and always have been. Back in 1979, before breaking ground, developer Mel Lenkin did some zoning-code math and realized he could combine what was then a high-demand use (commercial) with a less lucrative but still profitable use (residential) to maximize the floor area and his financial return. At the time, the city had to incentivize people to move downtown—if you can imagine—and Lenkin’s project fit nicely into the new C/R (commercial/residential) zoning category.

The residents of 2501 M’s existing condos have stayed put during the renovation, and CORE has worked around them, phasing the project carefully to minimize disruption and preserve access to the top floors. The design team combined what had been two separate elevator lobbies (one for the condos, one

ConCrete details

for the offices). But the biggest difference between an office building and a residential building is pretty simple: bathrooms. Dozens had to be added, and the architects drilled more than 2,500 new holes in the concrete floor slabs for running pipes and wires. “After we were done, the whole building looked like Swiss cheese,” Ngiam says.

They plugged the holes with materials such as carbon fiber reinforcement (which looks like duct tape, according to Ngiam) and reinforced the structure under the additional weight of the bump-outs. When the condos inside are done, workers will brighten the gray-brown exterior by applying a clingy acrylic coating called Granyte that’s flecked with black, white, and silver like the stone it mimics. The building will look sprightlier and more contemporary while still owning its ’80s pedigree.

The possibilities of building around the “stem” make this project unique, but in other ways 2501 M could be a bellwether for a huge number of buildings across the city. You know the ones, even if they’re hard to picture: boxy offices from the 1960s, ’70s, and ’80s, often with

horizontal bands of windows or vertical concrete ribs and stocky columns at the base. If they seem interchangeable, it’s because many of them sprang from the same drawing board.

Vlastimil Koubek, a Czech architect who immigrated to the U.S. in the early 1950s, designed more than 100 buildings in D.C., including (no points for guessing) 2501 M. Among Koubek’s many other commissions were the brutalist-light International Square and the Motion Picture Association of America building; two of the four buildings at L’Enfant Plaza; the renovation and expansion of the Willard Hotel; and Metropolitan Square (with Skidmore, Owings and Merrill), which takes up most of the block bounded by 14th , 15th, F, and G Streets NW. Koubek was a developer’s architect, not a visionary. His Washington Post obituary from 2003 diplomatically described him as “an authority on drafting construction documents for commercial buildings.” Yet he played a major role in shaping the modern city of Washington. As a young man, CORE’s Ngiam worked for Koubek, fine-tuning details while his boss

Darrow Montgomery

By Amanda Kolson Hurley

padded around the office in slippers, a lingering mittel-European habit. Ngiam estimates Koubek had a hand in up to 40 percent of D.C.’s current commercial building stock. In 1975, The New York Times reported that Koubek had designed about half of Washington’s office buildings since the 1950s.

Koubek’s legacy, then, is both ubiquitous and unremarkable. As the bulk of his buildings reach their 30th and 40th birthdays, they look increasingly dated but fall short of landmark status. Yet it doesn’t make sense to tear them down—they’re solidly built and occupy prime sites. No wonder that many of them have received or are in line for extreme makeovers: the MPAA building, Metropolitan Square, International Square, and 1100 Vermont Avenue NW. In their fancy new clothes, a few nice architectural moments may be lost. Especially at the brutalist corner plaza at K and 19th Streets NW, with its staggered setbacks, thicket of columns, and high and angled concrete wall announcing “International Square” in a spaceage font. It represents Koubek at his best and would be compromised by any attempt to jazz it up. Most of Koubek’s buildings are more forgettable—but so too are the glass boxes that developers are making them over to be.

Unquestionably, though, extending the lifespan of these buildings is a good thing.

From an environmental perspective, it means reusing old stock instead of ripping it out and sending it to the landfill and saving the copious energy required to build a brand-new structure. Also, buildings from this era have an important role to play in D.C.’s economy.

Now mostly demoted to Class B status, they’re ideal for conversion into apartments, co-working suites, maker spaces, and (depending on ceiling heights) artist studios. The co-working giant WeWork partnered with developer Vornado to turn an aging Crystal City office building into its co-living experiment, WeLive, which opened last May. The company then took over two floors of Metropolitan Square for a 2,000-desk co-working location that opened in December. In Silver Spring, Koubek’s 1965 World Building now hosts both the maker space Catylator and a co-working venture called Creative Colony.

In the end, 2501 M is an elegant solution to an uncommon architectural problem. But finding new uses for these tired buildings in general is a goal that deserves greater creativity and more architectural interest than it has gotten in the past, especially with affordable living and workspaces so hard to come by. The city needs old workhorses as well as new trophy buildings and prized landmarks to support a well-rounded economy and culture. Few are candidates for historic preservation, so designers and their clients should experiment with ways to reanimate them—at least as much as zoning regulations allow.

CP

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By Kaarin Vembar Do you have a tip for The Indy List? Independent artists, retailers, and crafters, send your info to indylist@washingtoncitypaper.com.

Gear Prudence Gear Prudence: I face a moral quandary every day on my ride home. The most convenient connector between two main streets is a one-way street that goes a single block. There’s almost never any car traffic, but there are almost always pedestrians on the sidewalks, which are pretty narrow too. It’s outside of downtown, so riding on the sidewalk is totally legal. But should I? Wouldn’t it be more convenient and actually safer both for me and the people on the sidewalk if I just broke the law and rode the wrong way for one measly block?

— Should One Pedal Headlong Intentionally Encroaching Sidewalk Causing Havoc Or Irk Cars Emboldened?

Dear SOPHIESCHOICE: Would you steal a loaf of bread to feed your starving family? What if you had to ride your bike the wrong way down a one-way street to get to the bakery? What if a psychotic martinet French police officer then followed you for years and there’s also a barricade situation and Susan Boyle piping in the background and an extraneous series of somewhat outdated musical theater references?

You’re asking the most vexing of questions—is it ever OK to break a traffic law in the name of others’ convenience?

Don’t ask GP. Ask someone who drives a car.

Would a car driver ever exceed the posted speed limit to keep highway traffic flowing? Would a car driver ever pull into an empty crosswalk so the driver behind could make a right turn on red? Would a car driver ever roll through a stop sign without coming to a complete stop, looking left, right, and left again and then proceeding so as not to the delay the line of drivers following? GP would never opine but will always say in writing that bicyclists should always follow all traffic laws all the time no matter what. If you really want to know if a person can justify violating the law to better accommodate others, ask a driver. Just don’t mention you’d be doing it on a bicycle.

You might get a different answer then.

You can avoid this problem by avoiding this one-way street entirely, but if that takes you far out of your way, it’d be understandable if you didn’t want to. Sometimes, though, it’s faster to ride on the road, even a few blocks out of the way, rather than poking along slowly on a crowded sidewalk. In addition to potentially being faster, it would also alleviate your concern about bumping into any pedestrians. That said, riding on the sidewalk outside of downtown, so long as you’re not reckless, is your legal right. Provided you’re sufficiently deferent, it would definitely be safer than riding the wrong way down a oneway street. The consequences of one inattentive driver, who would be under no obligation to expect you, could be pretty dire.

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CHURCH v. STATE

Houses of worship are re-creating a decades-old support system to protect D.C. immigrants living in paralyzing fear of deportation.

By Matt Cohen and Alexa Mills Photographs by Darrow Montgomery 12 march 3, 2017 washingtoncitypaper.com

Rev. Sam Dessórdi Leite at St. Stephen and the Incarnation Church

On the secOnd Sunday after the inauguration of President Donald Trump, congregants at a church exactly two miles north of the White House packed their sanctuary.

By the time church started, it was standing room only at All Souls Unitarian. More than 700 were in attendance, and they offered exuberant applause in response to a message they needed to hear.

“The only way to confront a big bully,” preached the Rev. Robert M. Hardies, “is with an even bigger love.”

Fear was already thick in the neighborhood—the heart of D.C.’s Central American community. And though most All Souls members are not recent immigrants, emotions were running high. On that same Sunday, protesters were filling major airports across the nation to fight the new president’s order banning entrants from seven majorityMuslim countries. It seemed a matter of time before he would make good on his campaign promises to deport immigrants already living in the U.S. “When it became clear that many of our neighbors would be threatened and vulnera-

ble,” Hardies said from the pulpit, “the pastors started picking up the phone and started calling one another.”

Those pastors, and many more, are now strategizing to protect the region’s immigrants as policies change. All Souls has hosted two meetings for congregations that want to help immigrants. Nearly 600 people from more than 150 congregations across the region attended one or both meetings. A new, local volunteer-based organization called Sanctuary DMV, staffed by experienced immigrant rights advocates, is collaborating with congregations, as is D.C.’s chapter of PICO, a national network of faith-based groups.

Some congregations are prepared to host immigrants in fear of deportation within their own buildings. Others are offering trainings for people who want to be allies—accompanying immigrants to court hearings or ICE (Immigration and Customs Enforcement) hearings, or even rushing to the scene of an ICE raid to take video and make sure agents have a proper warrant for each person they are arresting.

Houses of worship in D.C. have done this

kind of work before. In the 1980s, several provided sanctuary for Central American refugees fleeing civil war. Right now, nearly 100,000 immigrants live in the District, and more than 11 million live in the U.S. In D.C., Temple Sinai is among the first congregations to publicly offer sanctuary. “We declare ourselves to be a Sanctuary Congregation willing to host in our building temple employees, their families, and certain other members of our community who might need temporary protection as they seek to address their immigration status,” reads a letter signed by Rabbi Jonathan Roos and posted to the temple’s Facebook page. Far from the city’s Latin American enclave, Temple Sinai’s board voted Feb. 15 on the measure, which is meant to include immigrants connected to the temple’s many service programs.

One Temple Sinai board member, 84-yearold Ann Ingram, hosted a Vietnamese refugee in the 1970s as part of a temple program.

The refugee lived with her and her husband for a year before getting an apartment, marrying, and having three children, all of whom went on to graduate from college. “That’s

part of being a good Jew,” Ingram says. “You help the unfortunate and the stranger in your midst.” The congregation also helped Holocaust survivors after World War II and Central American refugees in the 1980s.

Rabbi Roos and his congregants had already been talking about how they could help immigrants when he heard that All Souls was offering workshops for congregations interested in providing sanctuary in some form. He attended with several temple volunteers.

“There are few other issues in our current civic life that are as compelling and related to Judaism as this,” Roos says. “Our [recent] history is a history of refugees who were denied entry. And our ancient history, and our Jewish values and holidays, constantly remind us of the time we were slaves in Egypt, freed from slavery, and wandered for 40 years looking for a home.”

All Souls is considering hosting an immigrant as one option in its overall commitment to sanctuary. “All Souls was a sanctuary congregation in the 1980s and did provide refuge to a Salvadoran asylum refugee,” Hardies says.

“So we do have some kind of experience as a

washingtoncitypaper.com march 3, 2017 13

congregation with this.”

And just up the road from All Souls, St. Stephen and the Incarnation Episcopal church began its sanctuary work about two years ago, when unaccompanied minors were crossing into the U.S. from its southern border in droves. St. Stephen has longstanding English and Spanish-speaking congregations.

“People are really very afraid, and there is also a feeling of uncertainty,” says Yoimel Gonzalez, a lay volunteer on the St. Stephen sanctuary committee. Laura Stump Kennedy, who also serves on that committee, says they are devoted to their immediate neighbors. “We are hoping to focus it very locally so we can start to lay the groundwork for future supportive relationships, including forming rapid response networks or helping people show up in a moment of need,” Stump Kennedy says.

Hardies’ approach matches hers. He envisions a “mini underground railroad” of sanctuary spots within the Columbia Heights neighborhood and nearby Mount Pleasant, as well as other Latino enclaves in the District.

“If, God forbid, there were ever a raid ... in the neighborhood, we would have an opportunity, a system by which people could respond immediately in a situation like that, and folks could come in solidarity and show up and try and protect the community,” Hardies says.

At a recent weekday evening Mass at Shrine of the Sacred Heart Catholic church, two blocks from St. Stephen and where many neighborhood immigrants worship, about 100 parishioners listened to a homily addressing fear of “Inmigración,” or the agents who might knock on an immigrant’s door and take them to a detention center. The church celebrates Mass in Spanish at least once a day, English once a day, and in Vietnamese and Creole every Sunday. A bright banner outside the church reads, “Immigrants & Refugees Welcome.” The same banner hangs outside St. Stephen.

“This is real. The fear is real, the anxiety is real,” says Alicia Wilson, executive director of La Clinica Del Pueblo, a Latino health and medical center across the street from All Souls.

“The way it changes people’s day to day is real.

They make a choice to go to the grocery store or not. They make a choice to go to the doctor or not, based on protecting their families.

It’s real. And it affects every aspect of an immigrant’s life.” sanctuary dMV, the organization helping area congregations and even local non-churchgoers who want to participate, was just founded in December. The people running it volunteer their time, often in the evenings and on weekends. What they are not short on, however, is experience. Many of them are practiced at organizing for immigrant rights.

Volunteer Ben Beachy was first exposed to the sanctuary concept as a toddler in the 1980s in rural West Virginia. “Some of my earliest memories are being carried on the backs of men from El Salvador who were staying in my community in West Virginia, fleeing a U.S.-backed war, and trying to

Rev. Robert M. Hardies at All Souls

Outside St. Stephen and the Incarnation Church

cross to Canada,” Beachy says. “And that’s because my Mennonite church became a stop on what was known as the Overground Railroad. It was a network of groups across the country that offered immigrants a place to stay.”

14 march 3, 2017 washingtoncitypaper.com

Isaias Guerrero, who is helping coordinate congregations, grew up as an undocumented immigrant in Indiana. As a teenager, he helped create the Indiana Undocumented Youth Alliance. “I’m very lucky because I understood what the power of a united community can do

to protect the most vulnerable, including myself,” Guerrero says. After 14 years undocumented, he is now in the country legally under DACA, or Deferred Action for Childhood Arrivals, he says.

And Maricelly Malave, who works as a legal assistant at Capital Area Immigrants’ Rights Coalition, knows a good deal of U.S. immigration policy by memory.

“This didn’t happen overnight from the election,” Malave told a crowd of area residents at a recent training for those interested in advocating for immigrant rights within their own neighborhoods. “The machines of structural violence were already in place.”

The machines of resistance are in place, too.

Malave proceeded to explain, in a presentation she appeared to know by heart, what immigrants and advocates should do in the face of ICE agents. Sanctuary DMV had advertised the workshop on its new Facebook page, and it was so popular that registration had to be cut off. (She also presented to the many faith leaders who gathered at All Souls.)

After Malave and several others spoke, the people at the meeting split into small groups organized by neighborhood, each beginning to work out how they could help their on a hyperlocal level.

Last week, Sanctuary DMV volunteers canvassed door to door in the Mount Pleasant and Columbia Heights neighborhoods to ensure residents know what to do in the event of a sudden ICE raid. the d.c. area has not been immune to these surprise sweeps. In the early morning hours of Feb. 8, about a dozen ICE agents descended

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on a group of Latino men leaving Rising Hope United Methodist Mission Church in Alexandria, Virginia.

The church doubles as a hypothermia shelter for the homeless, and the men had spent the night there. They were walking to the shopping center across the street when ICE agents threw them against a wall, detained them, and questioned them for about twoand-a-half hours. Then two vans arrived and took seven of them away. Of the seven, two were found to have criminal records—a felony drug conviction for one and misdemeanor convictions for the other—and were arrested, according to an ICE official.

At a press conference outside the Falls Church Metro station shortly after the raid, the church’s pastor, Rev. Keary Kincannon, spoke to a small crowd. “It’s unconscionable that a church would be focused on, that has a hypothermia shelter to bring in homeless individuals to keep them from freezing on the streets at night,” he said.

“We as disciples of Jesus Christ follow his teachings,” Kincannon added. “And he tells us that as we treat the least of these, is how we treat him. So when we detain people without cause, without any allegations of criminal activity, it’s the same as detaining Jesus Christ without cause, without any allegations of criminal activity.”

The Alexandria raid is one of several that appears to violate ICE’s own “Sensitive Locations” policy, which mandates that its agents should not conduct arrests, interviews, searches, or surveillance at schools, hospitals, institutions of worship, or public demonstrations except in “exigent circumstances” such as an imminent risk of violence.

In Illinois last month, ICE apparently tricked an undocumented man into coming out of his church when an agent sent him a text pretending to be the man’s cousin. And last week in Texas, ICE agents took an undocumented woman with a brain tumor awaiting surgery from her hospital bed. In the Alexandria case, ICE claimed that the raid did not violate its own policy because the raid took place across the street, not on church property. ICE’s policy document, however, applies to locations “at or near” a place of worship.

In recent sanctuary cases, ICE has respected the church thus far. Jeanette Vizguerra is currently living in the basement of First Unitarian Church in Denver. And Javier Flores García is living in Arch Street United Methodist Church in Philadelphia. Both sought sanctuary to stay near their families rather than face deportation for their offenses—Vizguerra for a 2009 traffic violation and for using a false Social Security number, and Flores García for crossing or trying to cross the border multiple times. Both cases are widely documented, and neither person made a snap decision to move into a church.

Living inside a church or synagogue for an indefinite period of time is a communitywide decision, advocates say. Entire congregations, the sanctuary-seeker’s family and at-

Shrine of the Sacred Heart in Columbia Heights

torneys, and supporting nonprofits make such a choice together. Miguel Andrade, a community organizer with the group Juntos in Philadelphia, has been working with Flores García and his family since well before he moved into the church in November.

“Sanctuary is a communal act,” Andrade says. “It’s not just about the religious institution. It’s about how can you get the community involved and have other people also participating.” seVen area cOngregatiOns have signed on to host immigrants within their buildings so far, according to Sanctuary DMV and PICO. Many are still having conversations with their congregants about what they will offer in an era of anti-immigrant fervor being fomented at the top levels of government.

Participating congregations are preparing to announce their plans in late-March following

16 march 3, 2017 washingtoncitypaper.com

a third meeting at All Souls in mid-March.

“There’s a bucket of things congregations can do,” says Richard Morales, who is helping houses of worship prepare through his job at PICO National Network. “From ‘Know Your Rights’ workshops to a rapid-response team, but also hosting a family and taking in a family that is vulnerable and facing deportation.

And then there’s congregations that maybe can’t do that, but maybe they can provide money or some kind of support to those congregations that are.”

At La Clinica Del Pueblo, the neighborhood health center, staff members are receiving training on how to respond if ICE shows up at their clinic. They’ve also been leading Know Your Rights workshops for their patients.

“As a community-based organization,” Wilson says, “our job is to try and create some calm amid the storm. Knowing that

there are allies in the community, knowing that there are places that will keep you safe, is an enormous balm for people who are in constant stress.”

And at St. Stephen, congregants are keeping an active flow of conversation between their Spanish- and English-speaking congregations. The biilingual lay volunteers on the church’s sanctuary committee are critical to that effort. The priest, Rev. Sam Dessórdi Leite, recently set aside sermon time in the Spanish-speaking congregation to have a dialogue about how people are feeling and what they need.

“The gospel asks people in churches to work on differences, to love neighbors—whomever they are,” says Yoimel Gonzalez, a parishioner working on the effort. “The word ‘sanctuary’ is a religious word. It’s a movement to create a space for being safe, in peace, and sharing it with others.”

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is now open in Shaw’s Blagden Alley serving Hong Kong fare and cocktails inspired by Chinese medicine in the former Rogue 24 space.

Prep Kitchen

Latino immigrants and local restaurants benefit from a nascent job-training program.

By Laura Hayes It’s the day before Hyatt Centric’s grand re-opening in Rosslyn. The hotel and its restaurant cityhouse are readying to make a big impression at a party. In the hotel’s expansive kitchen, line cook Jose Hernandez is elbow deep in mixing bowls. He’s never worked a restaurant opening before, and he channels the pressure into hard work. “It’s been a challenge, but you know if something is good, it has to be difficult to do it,” he says, wise beyond his 23 years.

Hernandez moved to Virginia from El Salvador in 2007, when he was 14. High school was a struggle, especially senior year when, at 21, he was older than the rest of his class. Fortunately, his school counselor told him in 2014 about a new organization called La Cocina VA, a Northern Virginia workforce development nonprofit. It offers Latino immigrants a fully funded, 13-week bilingual course that provides job training, culinary certification, life skills, English-language instruction, and job placement. It also offers an English-only evening class for refugees from the Middle East.

When Hernandez signed on, he became a member of the first class of students that graduated in January 2015. “I already knew how to cook, but just family food from my country,” Hernandez says. “Now my big goal is to have a restaurant. But to do that, I have to grow up in the culinary industry—become a supervisor, a sous chef, an executive chef.”

Without La Cocina VA, Hernandez says he would probably be working in landscaping or construction.

About halfway through the 13-week program, students participate in a one-week unpaid apprenticeship known as a “stage” at La Cocina VA’s various partners, including Hyatt, Whole Foods, Lebanese Taverna, Lia’s, and various companies such as Purple Onion Catering Co. After completing the program, graduates start a one-month paid internship back at the food service provider where they apprenticed with the hope that it materializes into a fulltime job. Most of the time it does—70 percent

Photographs by Darrow Montgomery

Young & hungrY

The current class of La Cocina VA students preparing meals of La Cocina VA graduates find full-time jobs in the industry. Jose Hernandez had to work

elsewhere before a job freed up at the Hyatt, but he found his way back.

“Jose is the poster boy of La Cocina, how successful it can be,” says Ralf Hofmann, the director of operations at Hyatt Centric and board member at La Cocina VA. “He’s one of the guys who has drive.”

The day before the hotel’s big party, Hernandez has some help in the prep area from Karina Herrera, a member of La Cocina VA’s ninth class of students. “Apparently, she’s one of the best ones,” Hofmann says.

“She reminds me of Jose back in the day with her determination.”

Herrera is a typical La Cocina VA student— 90 percent of participants are women, and many are overcoming troubled pasts. “One thing you’re going to find as a common denominator is the profile of the students,” says founder and CEO Patricia Funegra.

“They’re low-income, unemployed women from cases of domestic abuse, human trafficking, or chronic unemployment.”

Herrera moved from Mexico to Virginia in 2008 when she got married. “For different reasons, I had to get separated,” she says. “I divorced. There were problems of domestic violence.” Her social worker suggested La Cocina VA. “For me, the program has been significant because it has helped me become an independent woman,” Herrera says. “It’s an excellent program. Lots of women like me don’t have motivation, don’t know where they stand.”

Funegra left a job at the Inter-American Development Bank to start La Cocina VA to support the Latino community at a critical time.

If she has one regret, it’s that she can’t help all Latina women in need of direction. Because the organization’s mission is job readiness and job placement, La Cocina VA must check documentation to verify that its students are legally allowed to work.

Because immigrants continue to find themselves in the crosshairs of one of the most volatile and raw political climates in modern history, Funegra encounters distrust among applicants. She says they’re used to being exploited, so they find it hard to believe that the program is completely free thanks to grants and donations. “They ask if we’re going to take money out of their salaries when they find a job,” Funegra says.

“I say, ‘No, this is to support your development.’”

Offering bilingual classes helps build trust.

“The reason we created this program was because of the language barrier—every other course you’ll find is in English,” Funegra says.

“That’s the biggest stopper for immigrants.

You have to learn the language in order to get trained, which can take years.”

Chef instructor Christian Irabien, who

washingtoncitypaper.com march 3, 2017 19

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DCFEED cooked locally at Oyamel and Le Diplomate before joining the La Cocina VA staff, is able to teach in both languages because he was born in Mexico and grew up in Texas. “I wanted to help the communities where I came from,” he says. “I’m the son of an immigrant mother who worked three jobs while I was growing up.”

Although graduates receive a culinary certificate from Northern Virginia Community College, La Cocina VA is not culinary school, Irabien says. “During the first three weeks, we’re not in the kitchen yet,” he explains.

The students are learning English, professionalism, team-building skills, and the importance of taking pride in their work. It isn’t until they return from the week five stage that they break out the knives and get cooking. Lessons are broken down by ingredients or techniques.

The students prepare 100 to 200 nutritious meals each day, and here’s where the organization hits an altruistic home run: Instead of tossing them, the meals are delivered to community centers in areas where families stretched for time and money can pick them up. The students are learning while simultaneously tackling food access and reducing food waste.

Irabien has to be a bit scrappy when sourcing food for class. Unlike a restaurant, he doesn’t have the budget to order 40 pounds of prime chicken thighs. Instead, he taps the Capital Area Food Bank for free fruit, vegetables, and dairy, plus other products priced at $1.99 a pound. He gets the rest of his products from local growers like Whitehall Farms in Clifton, Virginia. If members of the farm’s CSA fail to pick up their boxes, the goods go to La Cocina VA. Even though Irabien is preparing his students for entry-level work, he arms them with more sophisticated lessons too, like the importance of sustainable sourcing, seasonal cooking, and finding ways to use the whole vegetable or whole animal. That’s why he takes them on field trips to the farm. “We have them touch and taste everything,” he says.

Of course, no job is without its frustrations.

Each class is different from the last, so Irabien must consistently tweak the curriculum. An advanced group might theorize about how to cajole more flavor out of vegetables, while a more elementary group may stick to the importance of handwashing.

Then there are the obstacles of being a young and growing organization. “It’s hard if we end up losing a grant for produce right when we have a team that’s super engaged,” Irabien says. “I have to say, ‘Well guys, we’re going to have to open a bunch of vegetable cans because we don’t have the budget for anything but carrots and onions.’”

Finally, not all students are optimally positioned to learn. “While they’re all

here because they want to learn and enter the industry, they don’t come from the most friendly backgrounds,” Irabien says.

Some may not have eaten, others might have frustrated husbands who don’t understand why their wives are seeking work outside the home.

“One of the dark sides of Hispanic culture is that it’s very male-oriented,” says Elvis Cordova, La Cocina VA’s interim board chair and a former U.S. Department of Agriculture employee. “The woman stays home.”

He characterizes the organization’s graduation ceremonies as particularly moving. One year, Virginia Gov. Terry McAuliffe handed out the certificates. “You see women who have broken through that particular barrier saying, ‘Here I am. I’m certified, and now I can provide for my family,’” Cordova says.

He was attracted to the organization because it’s taking unemployed immigrants and making them agents of change in their communities. “To me, they’re the most vulnerable community right now—they’re under attack, seen as criminals,” Cordova says. “But these are hardworking people who want to better their community and add to the economy. How can this be wrong?”

La Cocina VA graduates aren’t the only ones benefitting from the program. So are area restaurants. “It’s a good thing for us as an employer because you cannot find good people anymore on the street,” Hofmann says. “You have to steal them from other hotels and restaurants.”

Hofmann adds that students come ready to work with English-language abilities, equipment know-how, and, best of all, ServSafe certificates. “They’re certified in food safety, which is awesome because cooks usually don’t get sent to food safety class until they’re a supervisor or sous chef.”

The next chapter of La Cocina VA could position the organization to make an even larger impact on vulnerable communities. Funegra is hopeful she’ll secure a grant from the state of Virginia that would enable the organization to build a new kitchen and food incubator space in the Arlington Partnership for Affordable Housing’s new development on Columbia Pike in South Arlington.

T h at w o u l d a l l o w i t t o e x p a n d educational services to veterans, non-Latino immigrants, and refugees, and to give budding food entrepreneurs a place to work—like Mess Hall but smaller. La Cocina VA leadership is optimistic it will attract major funders like Boeing, given the focus on veterans and minority communities. Its fund-raising campaign will begin in the second half of 2017.

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

DCFEED

what we ate this week: Squid ink scialatielli with prawns, ’nduja salami, tomato sauce, and bottarga, $20, Lupo Verde.

Satisfaction level: 2 out of 5.

Grazer

what we’ll eat next week: The Big Cheese with brisket, melted cheese, crispy onions, BBQ sauce, $12.50, Federalist Pig. Excitement level: 4 out of 5.

Art of the Meal

What’s in

Timed passes to see Yayoi Kusama: Infinity Mirrors have been going faster than a Saturday night dinner slot at Rose’s Luxury. If you’re lucky enough to enter the much-hyped exhibit full of polka dots, pumpkins, and infinity mirrors, you might as well make a night of it. Dine and drink at these places where the decor is just eccentric enough to make Kusama smile.

—Stephanie Rudig

Stein’s Stein

Beer: Heroic Aleworks’ Mind Trappe Belgian Dubbel

Mythology Lincoln VERMoNT AVE. NW & Lore Lounge 1110 The centerpiece at the 816 H ST. NE

The neon-color-changing cloud light fixtures hanging from the ceiling wouldn’t feel out of place with the carnival-esque flashing lights of “Infinity Mirrored Room—Love Forever.” A meal can easily get trippy at the jewel-toned restaurant because the fries come in human heads.

presidential restaurant is the text of the Emancipation Proclamation backed by color-changing lights.

There are also clusters of hanging mason jar lanterns, which call to mind the cosmo-like bulbs of “Infinity Mirrored Room—The Souls of Millions of Light Years Away.” Artist and designer Maggie O’Neill conceived the restaurant’s original penny-covered floor (which has been removed, save one storage room), and the process of laying those coins was surely as painstaking and never-ending as one of Kusama’s “infinity net” paintings.

Barmini 501 9TH ST. NW

José Andrés’ innovative cocktail bar values whimsy above all else, from the delightfully crafted, cloudtopped drinks to every aspect of the decor. Patrons can sit on a lumpy yet comfy cactus-shaped couch, which is nearly as endearing as Kusama’s pumpkin sculptures. Barmini also features a Prickly Pear Chair by designer Valentina Gonzalez that boasts embroidery in a color palette that would make Kusama proud. Next to it you’ll find a festive, color-changing light-up planter. Finally, the cocktail menu comes in a brushed metal book, in which you can just barely make out your reflection, and with near-infinite drink options inside.

Little Miss Whiskey’s Golden Dollar 1104 H ST. NE

The strongest source of light in this bar are black lights and assorted tiny chandeliers, recalling the disorienting experience of walking into one of Kusama’s dimmer mirror rooms.

Moreover, the pink purple glow of the black lights suggests the pink glow of “Dots Obsession—Love Transformed Into Dots.”

Among the wall hangings are trippy blacklight posters and mirrors reflecting into mirrors.

Hangover Helper

515 15TH ST. NW

Under the glow of long, tubular chandeliers, gold vinyl couches and lounge chairs glisten, calling to mind the metallic coating on the “Flower Overcoat” sculpture. One of the bars on the rooftop is surrounded by hanging lightbulbs, not unlike the hanging lanterns of “Aftermath of Obliteration of Eternity.”

the soft mascarpone and fresh smoked salmon, gives New York delis a run for their money. Alta Strada’s pizza rendition of the classic combination of flavors improves on the original by being thinner and boasting more toppings.

The Dish: Everything Bagel Spiced Pizza Where to Get It: Weekend brunch at Alta Strada, 465 K St. NW; 202-6294662; altastradarestaurant.com Price: $9.95 What It Is: Exactly how it sounds—a gigantic everything bagel in pizza form.

The dough of the wood-fired pie is egg washed, which allows the poppy seeds, caraway seeds, sesame seeds, and salt to adhere to the crust. It’s topped with Ivy City Smokehouse smoked salmon, cherry tomatoes, capers, red onions, and mascarpone. “The mascarpone is

POV Lounge at the W Hotel

less overpowering, and it adds just a layer of sweetness to the pizza,” says sous chef Sarah Ravitz. “Since this is thinner than a bagel, you don’t need an overwhelming amount of cream cheese.”

How it Tastes: You will kvell, and maybe even cry, over this dish. The everything bagel seed dough, combined with

Why It Helps: Whether you’re suffering from a category one or category four hangover, put down the sad and soggy leftover pizza that’s been congealing inside your fridge for the past 12 hours and go to Alta Strada instead. The everything bagel pizza is the true conqueror of hangovers. It’s already winning the popular vote. “If you think about it, it’s the ultimate hangover cure too. You get your cheeses, your starches, and some fresh ingredients to help bring you back to life.”

—Tim Ebner

Maker: Leon Harris, head brewer Heroic Aleworks Hometown: Woodbridge, Virginia Price: $16 for 64 oz.

Taste: Aromas of raisin and fig leap from a glass of Mind Trappe Belgian Dubbel.

The brown ale starts sweet and finishes dry, begetting a velvety smooth mouthfeel with pleasant notes of dark chocolate and cacao. A peppery Belgian-yeast character pricks the palate on the finish.

Story: Black brewers have been making beer in America for centuries, especially in Virginia. Monticello, the historic estate run by the Thomas Jefferson Foundation, notes that Jefferson’s slaves planted hops in 1794. By 1813, black brewer Peter Hemings took control of the brewing and malting operations.

Despite this rich history, there are still too few brewers of color today.

“I don’t think there’s enough diversity in craft beer,” Harris says. “There are a lot of women in craft beer, which is great. They even have their own society [Pink Boots Society], which is amazing, but I would love to see more people of color in the craft beer industry.”

Heroic, a comic-book-themed brewery in Woodbridge, Virginia, opened in January, and Harris has already received high praise for Mind Trappe Belgian Dubbel. The Belgian-style ale uses sugar as an ingredient to add color and dryness. When added before fermentation, sugar gives yeast more fermentables to convert into alcohol, making the beer a pleasant and sneaky 7.5 percent alcohol by volume. “From what I understand, we’re the only brewery in the area with a Belgian Dubbel,” Harris says. “We make our own candy sugar right here outside our bay doors.”

—Michael Stein

washingtoncitypaper.com march 3, 2017 21

Millennium Stage Free performances every day at 6 p.m. No tickets required (Unless noted otherwise)

Mar. 4 Banda Magda

Mar. 8 Sarah Tiana

13 MON Washington Performing Arts

WPA celebrates their youth program in honor of D.C. Public Education Fund’s Standing Ovation for Public Schools.

14 TUE Duke Ellington School of the Arts

The Vocal Music department showcases an array of music genres in their presentation of A Journey on the Ellington Express. This performance features the school’s Concert Chorale, Concert Choir, Mellow Tones, Show Choir, and Sophisticated Ladies.

15 WED Mala Waldron

The soulful jazz artist makes her Kennedy Center debut with bassist Herman Burney and drummer Nasar Abadey. She performs unique arrangements of favorite jazz standards, a brief tribute to her father’s music, and a mixture of jazz/soul originals to make your heart smile.

Presented in collaboration with the Coalition for African Americans in the Performing Arts.

16 THU The Culkin School of

MARCH 2017 1 WED North Point High School and

Rock Ridge High School

The chamber choirs from North Point (Waldorf, MD) and Rock Ridge (Ashburn, VA) perform as part of Music in Our Schools Month.

Family Night: Montgomery County Senior Honors Jazz Band and Battlefield Philharmonia Orchestra

2 THU

The ensembles from Montgomery County, MD and Haymarket, VA perform as part of Music in Our Schools Month.

3 FRI Kokayi

The Grammy -nominated singer/songwriter, emcee producer, educator, and Southeast D.C. native performs. ®

Presented in collaboration with Hometown Sounds.

4 SAT Banda Magda

Founded by Greek-born singer, film scorer, and composer Magda Giannikou, the band moves from samba to French chanson, from Greek folk tunes to Colombian cumbia and Afro-Peruvian lando.

5 SUN National Jazz Workshop

All-Star Jazz Orchestra

The audition-based ensemble of D.C. area students directed by Matt Niess performs an electric set.

6 MON Nano Stern

The Chilean singer-songwriter and activist’s punk rock background mixes with his classical and jazz training as well as the powerful influence of traditional, Chilean revolutionary music.

The Brooklyn-based prog-pop quintet performs work from its newly released album The World is a Fond Place, joined by the horns of Richmond’s No BS Brass Band.

IN THE TERRACE GALLERY

8 WED Comedy at the

Kennedy Center: Sarah Tiana

A regular on Comedy Central and Chelsea Lately and writer for The Josh Wolf Show, she has been a comedian/ex-waitress in Los Angeles since 2003.

Originally from Calhoun, GA, her act speaks about trying to survive in the current battle of the sexes.

This program contains mature themes and strong language. Free general admission tickets will be distributed in the States Gallery starting at approximately 5 p.m., up to two tickets per person.

Songwriters: The Next Generation Presented by The ASCAP Foundation

9 THU Wilder Adkins and Žan Teticˇ kovicˇ

Mountain Stage’s Larry Groce hosts an evening of original works by Alabama-based singer/ songwriter Adkins followed by the Jean John Trio with original jazz compositions by Teticˇ kovicˇ .

10 FRI Paperwhite and Laurin Talese

Mountain Stage’s Larry Groce hosts an evening of original songs by Paperwhite, featuring Brooklynbased dream-pop brother and sister duo Katie & Ben Marshall followed by jazz vocalist and composer Talese.

11 SAT NSO Prelude

National Symphony Orchestra musicians— violinist Alexandra Osborne, cellist Rachel Young, and pianist Lisa Emenheiser—play a program of works by Amy Beach.

12 SUN Arts & Wellness:

17 FRI Aveva Dese

The Ethiopian-Israeli singer and songwriter performs her urban Tel Aviv sound that mixes Ethiopian music with R&B, funk, and pop.

Presented in collaboration with the Embassy of Israel.

18 SAT Hamid El Kasri

Hailed for his talent, passion, and deep and intense voice, El Kasri is one of the most sought after maalems, a master musician in the Moroccan gnawa Afro-Islamic spiritual tradition.

Millennium Stage 20th Anniversary

19 SUN

24 FRI May J.

The multilingual J-pop singer from Japan, makes a rare D.C. appearance. Her crystal clear voice and outstanding performance has fascinated many people since her 2006 debut.

Presented as part of the National Cherry Blossom Festival.

25 SAT Center Stage: Sounds of Kolachi The 10-piece group from Karachi, Pakistan, blurs raga with Western harmony, counterpoint, and South Asian melodic lines in a performance that puts the sitar and bowed sarangi on equal footing with electric guitar and a rock rhythm section.

Part of Center Stage, a program of the U.S. Department of State’s Bureau of Educational and Cultural Affairs, in partnership with the New England Foundation for the Arts.

27 MON SHIFT: Jeff Midkiff and

Patrick Henry High School Chamber Orchestra

Mandolinist and public school educator Midkiff conducts the student orchestra from Roanoke, VA.

A co-presentation with Washington Performing Arts.

Presented in association with JFKC: A Centennial Celebration of John F. Kennedy.

28 TUE SHIFT: Greater Boulder

Youth Orchestras

The Wind Ensemble and Symphony Strings from the GBYO perform preceding the Boulder Philharmonic’s performance in the Concert Hall this evening.

Stay tuned for special guests!

20 MON Maryland Classic Youth

Orchestras of Strathmore

Currently in its 71st season, MCYO brings some of its young performers for an evening of classical music.

Grammy Award –winning dream soul trio KING is made up of twins Paris and Amber Strother along with Anita Bias, all three of whom write and arrange songs, crafting a unique sound with a soulful authenticity. ®

22 WED The Soulquarians:

D.C. Pays Tribute to Common

Students from George Washington University play classical works.

Serving up a menu of award-winning blues, soul, and rock ’n’ roll, their mix of originals and covers stretch from West Coast swing and classic Chicago blues to Memphis soul.

The local Irish dance school celebrates St. Patrick’s Day at the Kennedy Center.

21 TUE KING

Chamber Orchestra

26 SUN Fast Eddie & The Slowpokes

Traditional Irish Dance

7 TUE Landlady

23 THU George Washington

A co-presentation with Washington Performing Arts.

Presented in association with JFKC: A Centennial Celebration of John F. Kennedy.

29–31 WED–FRI Betty Carter’s

Jazz Ahead

Now in its 19th year, the Kennedy Center jazz education program presents competitively selected, emerging jazz artists/composers from across the world as they complete their weeklong residency.

Mar. 24 May J.

Curated by D.C.-based conceptual artist and musician Jamal Gray and the multimedia arts collective CMPVTR CLVB, members of the D.C. area creative community come together to honor the cultural impact and influence of early 2000s group The Soulquarians. Rapper, actor, & producer Common, who is appearing later tonight with the NSO Pops, was a founding member.

Part of JFKC: A Centennial Celebration of John F. Kennedy.

Joy of Motion Dance Center

Staff from Joy of Motion return for another evening of fun and fitness. Dress to move!

FOR DETAILS OR TO WATCH ONLINE, VISIT KENNEDY-CENTER.ORG/MILLENNIUM.

Brought to you by

DAILY FOOD AND DRINK SPECIALS 5–6 P.M. NIGHTLY • GRAND FOYER BARS FREE TOURS are given daily by the Friends of the Kennedy Center tour guides. Tour hours: M–F, 10 a.m.–5 p.m., and Sa./Su. from 10 a.m.–1 p.m.

For information, call (202) 416-8340.

PLEASE NOTE: There is no free parking for free performances.

22 march 3, 2017 washingtoncitypaper.com

TAKE METRO to

the Foggy Bottom/GWU station and ride the free Kennedy Center shuttle departing every 15 minutes until midnight.

GET CONNECTED! Become

a fan of KCMillenniumStage on Facebook and check out artist photos, upcoming events, and more!

The Kennedy Center welcomes persons with disabilities.

ALL PERFORMANCES AND PROGRAMS ARE SUBJECT TO CHANGE WITHOUT NOTICE.

The Millennium Stage was created and underwritten by James A. Johnson and Maxine Isaacs to make the performing arts accessible to everyone in fulfillment of the Kennedy Center’s mission to its community and the nation.

Additional funding for the Millennium Stage is provided by Bernstein Family Foundation, The Isadore and Bertha Gudelsky Family Foundation, Inc., The Meredith Foundation, The Morris and Gwendolyn Cafritz Foundation, Dr. Deborah Rose and Dr. Jan A.J. Stolwijk, U.S. Department of Education, and the Millennium Stage Endowment Fund.

The Millennium Stage Endowment Fund was made possible by James A. Johnson and Maxine Isaacs, Fannie Mae Foundation, The Kimsey Endowment, Gilbert† and Jaylee† Mead, Mortgage Bankers Association of America and other anonymous gifts to secure the future of the Millennium Stage.

Kennedy Center education and related artistic programming is also made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

CPArts

Smashing pumpkins: How many people can the Hirshhorn pack into #InfiniteKusama during its months-long run? washingtoncitypaper.com/arts.

Girls’ Clout

Olivia Trice

Girl Power Meetups is inspiring young women to create their own pathways into art and activism.

By Stephanie Rudig On a recent Saturday, a group of about 30 girls—artists, writers, poets, creators, and deep-thinkers—meets in a quiet corner of the Smithsonian’s American Art Museum’s Kogod Courtyard. They’re sharing—anonymously—some of their deepest secrets and vulnerabilities, and many of them are meeting each other for the first time. A movement of sisterhood is brewing.

They have come to share their art and stories as part of Girl Power Meetups, an organization created by and for young women in the D.C. and Baltimore areas. Before the session begins, several girls sit chatting in a loose circle. They’re soon instructed to sit next to someone they’ve never met.

Everybody dutifully gets up and shuffles positions, followed

by introductions around the circle. Instead of merely giving their name and location, each girl is asked to share something that she likes about herself.

Participants are asked to bring art they are working on, and several girls share their projects. One girl has zines about the history of Planned Parenthood, and another has a zine with collections of art and stories by friends. Another has to be coaxed into sharing the painting she has tucked away in her bag, a figure with a dandelion blossom for a head. As projects are shared, one girl draws each participant in her sketchbook and takes notes while another knits a gigantic scarf.

Soon, each person is asked to write down something that she’d like people to know about herself, but wouldn’t necessarily volunteer unprompted. Slips of papers are placed

in a box, then passed around the circle to be read aloud, preserving each girl’s anonymity. Among the responses: “I don’t know where I’m going in life;” “I identify as genderqueer;” “I still think about hurting myself.” If anyone is moved to respond with advice or commiseration, they do so.

The free-wheeling discussion that follows bounces around in topic, from body image issues to dealing with mental illness to experiences with sexual assault. It’s an intense and raw conversation, with lots of emotions bubbling to the surface. Several girls are moved to tears—sad, happy, and angry tears. But the tears are always met with empathy and reassurance.

The force behind this labor of love is Samera Paz, a 22-yearold photojournalism student at the University of the Arts in Philadelphia. A D.C. native, Paz frequently returns on the weekend to visit family and run the meet ups. “I found myself not having a space where I could connect with other girls my age that wasn’t a party or an art show or an event,” Paz says. “And I realized, why don’t girls have a space?”

at the very first meetup in fall of 2015, it became clear to Paz that there was a demand for a safe space for young women to discuss their art—over 70 people showed up. “I thought maybe five people were going to show up,” Paz recalls. “My friends looked at me like, ‘this is going to be something.’”

Since then, many of the members say they have been deeply affected by Girl Power Meetups, both in their artistic practices and in their personal lives. “I feel really, really safe here, and it’s been one of the tenets of the group to be accepting, be non-judgemental, and be a place of support,” says Kealea Foy, a frequent participant. “ With my family I didn’t have a way to talk about these things.”

Ava Zechiel, one of the zine makers who hasn’t missed a meetup since her first, says she “didn’t know what a zine was before I got here, so [the group] is really important to washingtoncitypaper.com march 3, 2017 23

CPArts my work.” She adds, “A lot of young women are being shut down from their voice, a lot of people are denying young people, period, of a voice and a space, and this is a fill in for that space.”

Describing how Girl Power Meetups came to fruition, Paz explains, “As an artist, especially a woman of color artist, people aren’t going to put me in galleries or museums just because. I realized everything I want in life, I have to be the one to create it and do it.” She hopes that she can inspire other women to be similarly in charge of their own destinies.

“I really want it to impact people’s lives and teach the girls that this is something they can do on their own,” Paz says.

“You can create your own platforms, you don’t have to wait around for someone to do things for you.”

This kind of encouragement is how Girl Power Meetups expanded into a multi-city movement. Tray Duplessis attended one of the earliest Girl Power Meetups while visiting from Baltimore and left wanting more. “I asked Samera, ‘Do you have this in Baltimore?’” she recalls. “And she said ‘No, do you want to do it?’”

Paz put Duplessis in touch with her friend Kira Sneed, who also lives in Baltimore, and Duplessis and Sneed helped launch the Baltimore chapter, which often meets in members’ homes instead of public spaces. And Duplessis and Sneed are working on Girl Power Meetups “chats”—smaller group sessions with a more focused topic like writing workshops or community building through art.

But in both the D.C. and Baltimore meetups, the candid

conversations and presentation of artwork are the centerpieces of the gatherings. The events range from pure fun, like clothing swaps and yoga classes, to career development—and even a visit to the White House to meet with women working in prominent positions. Regardless of where the meetups are held, Paz says, “We rely on public spaces to host our meetups, but what makes [this] us is… all of [our] experiences, all of [our] troubles.” thOugh much Of Girl Power Meetups involves self-reflection and introspection, the group is looking to become more outward-facing and activist-centered. In a world in which girls are regularly taught to downplay their feelings for fear of being seen as too emotional or irrational, having the freedom to express their thoughts completely and honestly can be a radical act.

Duplessis sees this emotional vulnerability as the natural next step in effecting change. “It’s very important in discovering yourself, and being an activist, taking time for yourself to be in a group where you can express your emotions,” she says. “That’s what we are here for, to empower you.”

Girl Power Meetups ambassador Olivia Trice, a 17-yearold who attends the Duke Ellington School of the Arts, wants to turn that self-empowerment into action. “I think it’s really important that we also make statements with what we’re doing,” she says. “We’ve done a little bit of activism, like attending the Women’s March. I definitely want to do some home grown activism from Girl Power Meetups.”

Tasia Joseph, a senior at Towson University, came to a recent meetup because she’s studying to become an art teacher and hopes to someday open her own art therapy practice.

“I wanted to get involved with this because I hope I can bring some of this energy to my classes that I teach,” she says.

The girls that attend the meetups are knowledgeable, self-assured, and ready for action, but this should come as no surprise at a time when Teen Vogue is a leading voice of political resistance. This is a generation of women who are well-versed in the language of activism and being allies to all communities. “It’s important to know that it’s for anyone who identifies as female, for people who feel like they may need that space,” Sneed explains.

“People sometimes think girls don’t need [a space], or that boys need it more, or the LGBTQ community needs it more, but girls are still a very marginal community that’s often neglected,” Trice adds. “Everywhere there needs to be a place for just girls.”

To that end, the Girl Power Meetups leadership hope that the movement can continue to grow. They have a sizeable following on social media platforms, including fans from outside the United States, though Paz points out that, while social media plays a crucial role for Girl Power Meetups, the most important aspect is what happens in the meetings.

“That’s what we’re all about, in real life spaces, connecting to people face-to-face,” she says. “The dream is to have Girl Power Meetups all over the world. It takes time and we’re just being patient with it, but it’s going to happen.”

CP

GREAT PERFORMANCES AT MASON CFA.GMU.EDU

Swinging beats and brassy big band sounds

METROPOLITAN JAZZ ORCHESTRA FEATURING NEW YORK VOICES SATURDAY, MARCH 11 AT 8 P.M.

Authentic Celtic music and dance!

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RUSSIAN NATIONAL BALLET THEATRE

ST. PATRICK’S DAY CELEBRATION FRIDAY, MARCH 17 AT 8 P.M.

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THE SLEEPING BEAUTY SUNDAY, MARCH 19 AT 4 P.M.

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Family Friendly performances that are most suitable for families with younger children

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24 march 3, 2017 washingtoncitypaper.com

Located on the Fairfax campus, six miles west of Beltway exit 54, at the intersection of Braddock Road and Rt. 123.

FilmShort SubjectS

My Life as a Zucchini

The Kids Are AlrighT My Life as a Zucchini Directed by Claude Barras

Zootopia just won Best Animated Feature. It’s a good movie, with one of the funniest set pieces in recent memory (it involves a sloth), and yet Zootopia is self-involved to a fault. It knows it is capital-S Serious, to the point where parents congratulate themselves for taking their kids to see it. My Life as a Zucchini was also nominated for Best Animated Feature, and its primary purpose is not to celebrate liberal parents. My Life as a Zucchini may be about abandoned children, but it never once condescends to them.

Director Claude Barras uses stop-motion animation, so his characters have heft and weight. The titular Zucchini (Gaspard Schlatter) is a good kid who has a bad mother. She’s a drunk, with beer cans littering the house, and the prologue ends when Zucchini accidentally causes her death. Barras does not dwell on the requisite guilt because, well, neither does Zucchini. He keeps his feelings to himself and ends up at an orphanage with several other children. All of them have their problems— Simon (Paulin Jaccoud) is a bully, for example, while another wets the bed—and yet they have each other’s backs because they know no one else will. Camille (Sixtine Murat) eventually arrives, and Zucchini falls in love instantly. At least he’s smart enough to keep his feelings to himself.

Children are fundamentally conservative.

They crave routine, and any break from routine—no matter how awful or destructive— represents an unsustainable loss. My Life as a Zucchini is about children who negotiate new routines, a process that requires pain and a

Land of Mine

yearning for acceptance. But Barras and his screenwriters do not dwell on pain, and their film is ultimately warm. The kids care about each other, more or less, and the film oscillates between empathy and cruelty. Simon needles Zucchini, finding his weakness and unearthing it, yet there’s a deeper well of caring behind it. The kids are consistent insofar that they are impulsive and motivated by grief. The film’s wisdom lies in how the kids lack the emotional maturity to deal with it.

Unlike the crisp CGI behind Zootopia and the enhanced stop-motion of Kubo and the Two Strings, My Life as a Zucchini looks and feels homemade. The animation is clay, and the characters are cute without being too obnoxious about it. All the children have disproportionate heads and small bodies, but what matters most is their eyes. Their eyes are huge, which makes them expressive and strange.

Zucchini and the others guard their feelings— they cry sometimes, albeit infrequently—but Barras lets their faces betray their yearning.

There are conflicts between Zucchini and the others, but the film never goes for the easy payoff. Zucchini and Simon sneak into the headmaster’s office, just so they can unearth what happened to Camille’s parents. A lesser film would maintain that secret, turning the knowledge into a hurdle between the awkward romance between Zucchini and Camille. Instead, Barras lets Zucchini spill the beans immediately, and the payoff is an awkward, sincere form of friendship. Even though the film is animated, there’s a realism to its emotional beats.

The resolution in My Life as a Zucchini is natural, albeit unexpected. Zucchini and Camille have an opportunity to leave the orphanage, and the news is met with resentment. Simon is harsh to Zucchini and Camille, and there is moment where he explains his reasons, mixing hope and sorrow. Most films for children create easy stories. That choice is borne out of cynicism, since the implication is that kids cannot “get” complexity or nuance. My Life as a Zucchini is a rebuke of that idea, and the

feelings behind it are uncommonly well-observed. Kids don’t always need talking animals for entertainment. The more challenging, rewarding goal is to meet children halfway, seeing them without judgment for who they are.

—Alan Zilberman My Life as a Zucchini opens Friday at Landmark’s E Street Cinema.

Minefield Land of Mine

Directed by Martin Zandvliet From arrival to Zootopia to Hidden Figures, this year’s Academy Award nominations were peppered with stories about The Other.

Though very different films, each demonstrated the universality of people’s (or, in Zootopia’s case, animals’) reactions to the unknown: fear and stereotyping, usually, which often led to unfounded hostility. At least, that is, until they bridged the divide and tossed aside labels.

Huh, the characters discovered that maybe The Others aren’t so bad.

The Danish Land of Mine, itself a nominee for Best Foreign Language Film, fits right into that formula, while rarely seeming formulaic. Set in 1945 Denmark, writer-director Martin Zandvliet’s story tells of German POWs who are forced to dig up the approximately 2.2 million land mines that remain buried in the country. Few in the troop have ever seen a land mine; no one has ever diffused one. The soldiers all look like baby-faced boys, but that doesn’t stop German Sgt. Carl Rasmussen (Roland Møller) from mistreating them and in general giving them hell. “Denmark is not your friend,” they were warned prior to meeting the sergeant.

Land of Mine—forgive the title’s terrible pun—is, of course, fraught as the soldiers begin their perilous duty. And it’s natural to wonder when the first mistake will be made.

(It doesn’t take long.) You’ll hold your breath

along with the young characters as they gently find and handle each explosive, and a flinch— at the very least—is to be expected whenever a mine suddenly blows. It’s understandable when one soldier cries for his mother after becoming seriously injured.

The sergeant, meanwhile, continues his tough love. He tears into a soldier who offers an apology after not answering a question to his liking; when they sleep, he locks their shack from the outside so they can’t escape.

He doesn’t care that they go without food for days, even though the soldiers point out that they can’t do their jobs very well while they’re weak from hunger. They represent the enemy, and they will not be treated with kid gloves.

And yet when the sergeant catches some other officers further abusing the soldiers, he not only puts a stop to it but asks the officer in charge why he was sent “little boys” instead of men. As their numbers dwindle, he becomes more unsettled (though he’s still not above humiliating a guy whose error in counting the retrieved mines results in a casualty) and even softens. A mother who lives on the beach that the soldiers are clearing has a change of heart, too: When she hears that one stole some feceslaced grain that made everyone sick, she takes pleasure in “getting some Germans.” It’s a different story, though, when her little girl wanders onto the beach to play.

Though all the characters are heartbreakingly lived-in, the dust-covered kids aren’t differentiated enough to call out any of them individually. But the film is ever-so-slightly more focused on Møller’s sergeant anyway, and he makes his character’s humanity apparent whenever he’s not shouting in the soldiers’ faces. As the difficult mission continues, nationalities erase and sympathy emerges. It’s doubtful that Zandvliet made Land of Mine to reflect the divisiveness that’s now imbued the world. But his film is of the Zeitgeist anyway.

—Tricia Olszewski Land of Mine opens Friday at Landmark Bethesda Row.

washingtoncitypaper.com march 3, 2017 25

Rock and Roll Hall of Fame Inductee

ERIC BURDON & THE ANIMALS

March 6, 2017, 8 p.m.

Tickets are $75 Regular/$73 Seniors

STANDING ROOM ONLY FOR MC STUDENTS W/ID AT THE BOX OFFICE - $10

ROBERT E. PARILLA PERFORMING ARTS CENTER Montgomery College • 51 Mannakee St., Rockville, Maryland 20850 www.montgomerycollege.edu/pac • Box Office: 240-567-5301

26 march 3, 2017 washingtoncitypaper.com

GalleriesSketcheS

Consider The WaTer BoTTle

ceived of the idea, Donald Trump wasn’t even running for president.

Porter Lara doesn’t want to shy away from the ways in which her work may intersect with contemporary politics (for the record, she thinks the border wall is “an absurd proposition”), yet she does want to emphasize the original intention of the work. The title Border Crossing doesn’t just refer to the people who Border Crossing and have lived along and crossed the U.S.-Mexico New Ground border. It’s about questioning the whole conAt the National Museum of Women cept of borders—nation vs. nation, trash vs. arin the Arts to May 14 tifact, nature vs. technology.

Perhaps the most striking border that the What’s the difference between trash and an artifact? It’s a question that struck show crosses is the one between past and presconceptual artist Jami Porter Lara a few years ent. Porter Lara’s pottery blends old and conago when she visited the U.S.-Mexico border temporary forms so effectively, and creatively, in Southern Arizona. While walking around that they seem like they could have come from a region where shards of ancient pottery can any time period, even the future.

Border Crossing is paired with another exbe found, she noticed another kind of human remnant—two-liter plastic water bottles left hibit, New Ground, which showcases work by potter Maria Martinez (ca. 1887–1980) and behind by migrants.

“I started thinking about the essential same- photographer Laura Gilpin (1891–1979), two ness of those two objects,” she says. Both were friends whose work highlights the American used to sustain life in the desert. Today, plas- Southwest. Martinez and her husband, who tic water bottles are considered trash. But one decorated the pots she crafted on the San Ildefonso Pueblo in New Mexico, are known for reday, they’ll be artifacts too.

This line of thinking inspired her to turn the viving an ancient method of making black-onwater bottle, which she calls “the most iconic black pottery. Gilpin, too, garnered attention vessel of our time,” into a “contemporary ar- by reviving an older photographic practice, tifact.” The result is an exhibit that compels known as platinum printing (though only one viewers to imagine how people of the future platinum print is on display in the museum).

Walking between the two exhibits, viewers might see our own moment in time.

Border Crossing, Porter Lara’s first show might get the sense that they’re time-traveling at the National Museum of Women in the through the American Southwest, wandering between new and mid-century pottery Arts, features all-black pottery made usmade with old techniques and photoing what she calls a 2,000-year-old prographs of what the region and its cess that she learned in Mata Ortiz, people looked like several deMexico. The Albuquerque-based cades ago. This sense of temartist’s pieces blend the characporal displacement is particularteristics of modern plastic waly heightened by the pairing of two ter bottles (think screw-cap of Gilpin’s photos. openings and those weird lumps In the first, a Navajo womon the bottom) with classical, anan poses with her young son cient, or natural forms. Some look in 1932. The second shows that like gourds or large seeds, while same woman 18 years later with others look like people reachother members of her family. ing toward the sky. One resemThe son from the first photo has bles an ancient Venus figurine; since died during World War II, another will remind some viewand his absence is noted by ers of a more specific part of the the American flag that had female anatomy. covered his coffin, which The bottles are beautifully is draped behind the made and give viewers the family on the wall. surreal feeling that they Staring at those are looking at sometwo powerful thing new, yet also faimages side by miliar. It’s a powerside, the border ful show, and one that between the past might surprise visitors and present feels who, based on its title, more permeable expect it to deal more exthan ever. plicitly with immigration.

—Becky Little The artist didn’t intend 1250 New York Ave her work to be a response NW. $8-$10. (202) 783to the proposed border wall One of Jami Porter Lara’s pieces 5000. nmwa.org. because, when she first con- from Border Crossing.

50th Anniversary Season

Three Pieces After Bach

Thu, Mar 16, 8pm Sixth & I

Inspired pairing of classical and jazz from renowned piano master

Spotlight on Directors This spring, the Kennedy Center is shining a spotlight on thrilling productions helmed by some of the world’s most brilliant and acclaimed directors.

Ex Machina (Canada)

Needles and Opium

Written and directed by Robert Lepage March 16–18

Special thanks: Abramson Family Foundation; Phil West and Barbara Yellen

Teatro El Público (Cuba)

NUFONIA MUST FALL

Directed by Carlos Díaz March 21 & 22

Composed and performed

by DJ Kid Koala with the Afiara Quartet

Sat, Mar 18, 8pm GW Lisner Auditorium

Turntables and string quartet plus puppetry, live video, and more!

“Minuscule gestures…. translate into big-screen drama [and] genuine romance.”—New York Times Special thanks: Mid Atlantic Arts Foundation; The National Endowment for the Arts; The Embassy of Canada and The Quebec Government Office

Avital Meets Avital

AVI AVITAL & OMER AVITAL Sat, Mar 25, 8pm Sixth & I

Jazz meets the Middle East

Antigonón, un contingente épico

World premiere, Sabab Theatre (Kuwait)

Petrol Station

Written and directed by Sulayman Al Bassam March 24–26

Plus a collaboration with Sundance Institute

theater by Palestinians World premiere

TAHA March 15 & 16 US premiere

Where Can I Find Someone Like You, Ali? March 23 & 24

Creative Tensions: HOME March 25

Needles and Opium, photo by Tristram Kenton

BRAD MEHLDAU

tICKEtS ON SALE NOW! tKC.CO/DIRECtORS | (202) 467-4600 Tickets also available at the Box Office.

Groups call (202) 416-8400.

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

Special thanks: Abramson Family Foundation International Theater is underwritten by HRH Foundation.

50th Anniversary Season Sponsors: Dr. Gary Mather and Ms. Christina Co Mather

WashingtonPerformingArts.org • (202) 785-9727

Additional support for International Theater is provided by the Laura Pels International Foundation for Theater.

International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts.

washingtoncitypaper.com march 3, 2017 27

Books Speed ReadS

True FicTion Capital City FRI, MAR 3

ESCHER STRING QUARTET

AMP & Comedy Zone Present

Philly Plowden

CHAMBER MUSIC AT THE BARNS

Dusty Slay

tonight! Thu, March 2

Sierra Leone’s Refugee All Stars {Desert blues}

Sun, March 5 SAT, MAR 4

DOBET GNAHORÉ JIM BRICKMAN

WED, MAR 8 + THU, MAR 9

ARI HEST

CHRISSI POLAND

Be Steadwell

FRI, MAR 10

JOHN EATON

CHRISTEN B

HOORAY FOR HOLLYWOOD A CELEBRATION OF THE GREAT MOVIE SONGS AND THEMES

SUN, MAR 19

THE SECOND CITY WE’RE ALL IN THIS ROOM TOGETHER

thu, March 9

Bumper Jacksons

WED, MAR 22 THU, MAR 23 SAT, MAR 25 SUN, MAR 26

tenTHING

CHAMBER MUSIC AT THE BARNS

FRI, MAR 24

JORDAN SMITH TUE, MAR 28

NOAM PIKELNY WED, MAR 29

GLEN PHILLIPS OF TOAD THE WET SPROCKET AMBER RUBARTH THU, MAR 30

FALU’S BOLLYWOOD ORCHESTRA FRI, MAR 31

THE BAD PLUS SAT, APR 1

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

28 march 3, 2017 washingtoncitypaper.com

Front Country Fri, March 10

Carlos Núñez

{Celtic sounds from Spain}

Tue, March 14 AMP & Comedy Zone Present

Patrick Garrity Corey Marshall Thu, March 16

Loston Harris

{Jazz piano, American song}

Sat, March 18

One Woman Sex & The City

{Tribute to the hit HBO show}

FRI, March 24 11810 Grand Park Ave, N. Bethesda, MD Red Line–White Flint Metro

www.AMPbyStrathmore.com

Lee Hurwitz and Tim Treanor HighLine Editions 274 pages $16.95 Corrupt politiCians are a dime a dozen. But every now and then one comes along whose behavior is so egregious, whose antics are so eye-popping that even introverts put down their books and sit up and take notice.

Such was a certain D.C. mayor back in the 1980s and ’90s—Marion Barry. Now, more than two years after his death, two very knowledgeable Washington insiders have written a novel about him. Capital City, by Lee Hurwitz and Tim Treanor, is hilarious and fast-paced, moving from a murder in the mayoral suite to the pursuit, up and down the East Coast, of a witness to that murder. There are press conferences, rigged bids, coke snorting, womanizing, and of course an FBI investigation.

In Capital City, D.C.’s famous AfricanAmerican mayor is Wendell Watson, who, like Barry, isn’t an entirely unsympathetic character. In his quest for D.C. statehood, for instance, he approaches a friend, a Utah congressman, who tells him, “I would stand more of a chance of being reelected if I endorsed mandatory homosexual marriage with heroin-addicted communists than if I endorsed statehood for the District of Columbia.”

Bad as this mayor is, he does work for his constituents. But the African-American FBI agent who arrests Watson regards any publicity very negatively. To Treanor and Hurwitz, who make a walk-on appearance in the epilogue, the fictional agent says: “You two are enablers. And what you’re enabling is white bigots. The white bigots who say, yeah, that’s what happens when you give self-rule to Black people. That’s the sort of people they elect— corrupt drug addicts whose only interest is who they can screw.”

But the corruption depicted here—no-bid contracts, slush funds, nepotism, a revolving door between business and government, bribery, embezzlement—is pretty much the same whether its practitioners are white or black. As for the coke snorting, young Wall Street brokers were doing that in restaurant bathrooms every Friday and Saturday night

back in the 1980s.

But then there’s the context of Capital City, in which the FBI agent believes the enormous publicity associated with the mayor’s criminality has a lot to do with him being a black mayor in the national spotlight.

There have, of course, been white politicians of equal turpitude, but the agent believes they received less sensational press than D.C.’s notorious mayor.

Nevertheless, the authors portray Wendell Watson as a memorable character.

“How did I get here?” The mayor wonders about his predicament. “And instantly he knew it was his weakness, not for women … but for bad people. He felt an instant attraction to and bond with the broken ones.”

Watson may be a criminal, but like many felonious pols, he has complexity and depth— which ultimately doesn’t matter, of course, because everything he’s built comes crashing down around him.

Watson quotes Shakespeare compulsively. He has pulled himself up from a rough childhood in the infamous Pruitt-Igoe projects in St. Louis. And despite his excessive womanizing, he recognizes intelligence and talent in the women around him. But as for the really important things—political goals for his city or a better life for his constituents—we already know how the story ends. They get lost amid his disastrous fall.

—Eve Ottenberg

washingtoncitypaper.com march 3, 2017 29

Merriweather Post Pavilion • Columbia, MD

JUST ANNOUNCED!

LUKE BRYAN w/ Brett Eldredge & Lauren Alaina...............JUNE 25 AN EVENING WITH

Santana ........................................................................................ AUGUST 15

THIS WEEK’S SHOWS

On Sale Friday, March 3 at 10am

U STREET MUSIC HALL PRESENTS

Haywyre & The Opiuo Band..................................................................... Sa 4 Agnes Obel w/ Ethan Gruska ..........................................................................Tu 7

deadmau5 ......................................................................................................... APRIL 8 L M3 ROCK FESTIVAL FEATURING META FEST

MARCH

APRIL

Los Campesinos! w/ Crying & Infinity Crush ............Th 9 ALL GOOD PRESENTS

Railroad Earth w/ Cris Jacobs .................F 10 & Sa 11 Sunn O))) w/ BIG|BRAVE ..........Su 12 Hippie Sabotage .....................W 15 Katatonia w/ Caspian & Uncured ................Th 16 Galactic w/ Con Brio ..................F 17 Galactic featuring Corey Glover

w/ The Hip Abduction .................Sa 18 Tennis w/ Rolling Blackouts Coastal Fever..............................Su 19 Foxygen w/ Gabriella Cohen .....W 22

The Zombies: Odessey and Oracle 50th Anniversary .....................Th 23

SOHN w/ William Doyle & Nylo ...F 24 ALL GOOD PRESENTS

Rising Appalachia

Early Show! 6pm Doors ....................Sa 25 ALL GOOD PRESENTS

Twiddle w/ Aqueous

Late Show! 10pm Doors ...................Sa 25 Trentemøller .........................Su 26

Allah-Las w/ The Babe Rainbow (OZ) ..........M 27 King Gizzard & The Lizard Wizard w/ ORB & Stonefield ......W 29

D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Portugal. The Man w/ HDBeenDope ............................Su 2 Ronna and Beverly ..................W 5

ALL GOOD PRESENTS

Pigeons Playing Ping Pong w/ ELM - Electric Love Machine .....F 7 The Fighter and the Kid

Ratt feat. Pearcy, De Martini, Croucier • Kix • Loverboy and more! .APRIL 28 & 29

RN

HE

SOUT CK RO !

FEST

Lynyrd Skynyrd • Charlie Daniels Band and more! ................... APRIL 30 2 and 3-day Tickets On Sale now.

The xx w/ Sampha ................................................................................................... MAY 6 Ryan Adams w/ Jenny Lewis ........................................................................ MAY 12

Kings of Leon • Weezer • Jimmy Eat World •

Fitz and the Tantrums • Catfish and the Bottlemen ........................... MAY 14

Bon Iver ................................................................................................................ MAY 24

This is a seated show.

Early Show! 6pm Doors ......................Sa 8

I.M.P. & GOLDENVOICE PRESENT AN EVENING WITH

STEEZ PROMO PRESENTS

The Chainsmokers w/ Kiiara, Lost Frequencies, featuring Emily Warren .. MAY 26 Jack Johnson w/ Lake Street Dive..................................................................JUNE 11 Dave Matthews & Tim Reynolds ....................................................JUNE 18 John Legend w/ Gallant ..................................................................................JUNE 20 Steve Miller Band w/ Peter Frampton ........................................JUNE 23 Jason Isbell and the 400 Unit w/ The Mountain Goats ................JUNE 30 Dispatch w/ Guster ............................................................................................. JULY 7 Belle and Sebastian / Spoon / Andrew Bird w/ Ex Hex ........ JULY 30 Sturgill Simpson .............................................................................. SEPTEMBER 15 Young The Giant w/ Cold War Kids & Joywave ............................ SEPTEMBER 16

Mr. Carmack

Late Show! 10pm Doors ....................Sa 8

Son Volt w/ Anders Parker ......Tu 11 DC BRAU, COUNTRY MALT & WILD GOOSE PRESENT

Baroness w/ Trans Am ............W 12 JAMBASE AND ALL GOOD PRESENT

The Motet w/ Reed Mathis & Electric Beethoven .....................F 14 Biffy Clyro w/ O’Brother .........Sa 15 Betty Who w/ Vérité ................Su 16 Oddisee & Good Compny w/ Olivier St. Louis .....................Th 20

Sigur Rós ........................................................................................................... MAY 25

• For full lineups and more info, visit merriweathermusic.com • 930.com

EagleBank Arena • Fairfax, VA

MAY

Animal Collective

BASTILLE w/ Mondo Cozmo........................................................................... MARCH 28

w/ Circuit des Yeux......................M 22

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

!

M3 SOUTHERN ROCK CLASSIC FEATURING

930.com

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

Ticketmaster

Echostage • Washington, D.C.

TYCHO ................................................................................................................... MAY 7 Empire of the Sun ........................................................................................ MAY 11 2135 Queens Chapel Rd. NE • Ticketmaster

1215 U Street NW Washington, D.C. TWO EVENINGS WITH

The Magnetic Fields:

50 Song Memoir............................... MARCH 18 (Songs 1-25) & MARCH 19 (Songs 26-50)

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Mako w/ Color Palette ....................Th MAR 2 Mike Doughty w/ Wheatus ................... Tu 7 Electric Guest w/ Chaos Chaos .............W 8 Jose James feat. Nate Smith w/ Corey King .............. Sa 18

Sofi Tukker.......................................... F 24 POWER & Bridgit Mendler w/ Nick Leng ......................................... Sa 25 Patrick Watson w/ Trevor Sensor ...... M 27 Lambchop w/ Sloppy Heads .......... Sa APR 1

Lisa Lampanelli ............................................................................................... APRIL 8 Welcome To Night Vale w/ Erin McKeown ................................................ APRIL 13 Aimee Mann w/ Jonathan Coulton ................................................................... APRIL 20 Rhiannon Giddens w/ Amythyst Kiah ................................................................ MAY 9 Dwight Yoakam ................................................................................................. MAY 11 AN EVENING WITH

Old Crow Medicine Show Performing Blonde on Blonde ............................ MAY 22 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

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

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 Weekdays & Until 11PM on show nights. 6-11PM on Sat & 6-10:30PM on Sun on show nights.

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!

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

30 march 3, 2017 washingtoncitypaper.com

930.com

CITYLIST

INER

60S-INSPIRED D Serving

EVERYTHING from

BURGERS to BOOZY SHAKES

SPACE HOOPTY

A HIP HOP, FUNK & AFRO FUTURISTIC SET with Baronhawk Poitier

FRIDAY NIGHTS, 10:30 - CLOSE

BRING YOUR TICKET

AFTER ANY SHOW AT

Music 31 Dance 35 Theater 36

Music Friday rock

The hamilTon 600 14th St. NW. (202) 787-1000. Los Lobos. 8 p.m. $49.75–$55.00. thehamiltondc.com.

Rock & Roll hoTel 1353 H St. NE. (202) 388-7625.

You Blew It!, All Get Out, Free Throw. 8 p.m. $13–$15. rockandrollhoteldc.com.

dJ Nights

Flash 645 Florida Ave. NW. (202) 827-8791. Stacey Pullen. 8 p.m. $10–$15. flashdc.com. soundcheck 1420 K St. NW. (202) 789-5429. Darude. 10 p.m. $20. soundcheckdc.com. u sTReeT music hall 1115 U St. NW. (202) 588-1889.

Alle Farben. 10:30 p.m. $10. ustreetmusichall.com.

classical

BaRns aT WolF TRap 1635 Trap Road, Vienna. (703) 255-1900. Escher String Quartet. 8 p.m. $38. wolftrap.org. kennedy cenTeR conceRT hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra performs Brahms’s Second Symphony, Shostakovich’s First Violin Concerto. 8 p.m. $15–$89. kennedy-center.org. music cenTeR aT sTRaThmoRe 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Cameron Carpenter. 8 p.m. $35–$75. strathmore.org.

opera

Club

TO GET A

FREE SCHAEFERS

DAY PARTY WITH DJ KEENAN ORR

First Sunday every month

2 - 6pm

kennedy cenTeR opeRa house 2700 F St. NW. (202) 467-4600. Washington National Opera: Dead Man Walking. 7:30 p.m. $45–$300. kennedy-center.org.

hip-hop

FillmoRe silveR spRing 8656 Colesville Road, Silver Spring. (301) 960-9999. Juicy J. 9 p.m. $35. fillmoresilverspring.com. hoWaRd TheaTRe 620 T St. NW. (202) 803-2899. Ja Rule. 8 p.m. $26–$60. thehowardtheatre.com. kennedy cenTeR millennium sTage 2700 F St. NW. (202) 467-4600. Kokayi. 6 p.m. Free. kennedy-center.org. u sTReeT music hall 1115 U St. NW. (202) 588-1889.

Sango. 7 p.m. $20. ustreetmusichall.com.

Folk

gypsy sally’s 3401 K St. NW. (202) 333-7700. Hayley Fahey. 8 p.m. Free. Mink’s Miracle Medicine. 10:30 p.m. Free. gypsysallys.com.

couNtry

9:30 cluB 815 V St. NW. (202) 265-0930. Randy Rogers Band & Josh Abbot Band. 8 p.m. $35. 930.com.

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. David Benoit. 8 p.m.; 10 p.m. $52.75–$58. bluesalley.com. mR. henRy’s 601 Pennsylvania Ave. SE. (202) 5468412. Dial 251 for Jazz. 8 p.m. Free. mrhenrysdc.com.

2047 9th Street NW located next door to 9:30 club

TWins Jazz 1344 U St. NW. (202) 234-0072. Jeff Antoniuk & the Jazz Update. 9 p.m.; 11 p.m. $27. twinsjazz.com.

FuNk & r&B

BiRchmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Rachel Ferrell. 7:30 p.m. $59.50. birchmere.com.

Film 37

CITY LIGHTS: Friday

GISELLE

The Washington Ballet continues its season of reimagined classics with a new staging of Giselle, the hauntingly romantic ballet about a beautiful girl who dies of a broken heart. Originally performed in 1841 with choreography by Jean Coralli and Jules Perrot, the performance audiences will see at the Kennedy Center has been adapted slightly

by TWB artistic director Julie Kent and associate artistic director Victor Barbee.

Giselle is considered one of the great ballets in history despite its depressing tone, telling the story of a beautiful girl who is heartbroken upon finding out her lover is engaged to someone else.

After her death, she’s summoned from her grave by supernatural women called the Wilis and their leader, Myrtha. Dealing in all the tragic tropes of lost love—from weak hearts to dueling lovers—the production is a shadowy representation of romanticism. Eunwon Lee, in her first season with TWB, stars as the titular maiden, while local favorite Brooklyn Mack embodies her dashing leading man, Albrecht. The ballet runs March 1 to March 5 at the Kennedy Center Eisenhower Theater, 2700 F St. NW. $33–$130.

(202) 467-4600. kennedy-center.org.

—Callan Mathis

saturday

forms Brahms’s Second Symphony, Shostakovich’s First Violin Concerto. 8 p.m. $15–$89. kennedy-center.org.

Black caT 1811 14th St. NW. (202) 667-4490. Sounds of the City Festival presented by DC Music Download.

8 p.m. $12. blackcatdc.com.

music cenTeR aT sTRaThmoRe 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Maryland Classical Youth Orchestra: The Queen Symphony. 7 p.m. $15–$25. strathmore.org.

rock

gypsy sally’s 3401 K St. NW. (202) 333-7700. Cinema Hearts. 8 p.m. Free. gypsysallys.com.

Rock & Roll hoTel 1353 H St. NE. (202) 388-7625.

Ben Sollee. 8 p.m. $17. rockandrollhoteldc.com. songByRd music house and RecoRd caFe 2477 18th St. NW. (202) 450-2917. The Colonies, Smith Gardens. 7:30 p.m. $10. songbyrddc.com. u sTReeT music hall 1115 U St. NW. (202) 588-1889.

Colony House. 7 p.m. $15. ustreetmusichall.com.

dJ Nights

echosTage 2135 Queens Chapel Road NE. (202) 503-2330. Jauz. 9 p.m. $30. echostage.com.

sixTh & i hisToRic synagogue 600 I St. NW. (202) 408-3100. Kronos Quartet. 8 p.m. $40. sixthandi.org.

opera

kennedy cenTeR opeRa house 2700 F St. NW. (202) 467-4600. Washington National Opera: Champion. 7 p.m. $45–$300. kennedy-center.org.

World

BaRns aT WolF TRap 1635 Trap Road, Vienna. (703) 255-1900. Dobet Gnahoré. 8 p.m. $25–$30. wolftrap.org.

Flash 645 Florida Ave. NW. (202) 827-8791. Technasia. 8 p.m. $8–$12. flashdc.com.

kennedy cenTeR millennium sTage 2700 F St. NW. (202) 467-4600. Banda Magda. 6 p.m. Free. kennedy-center.org.

u sTReeT music hall 1115 U St. NW. (202) 588-1889.

Viceroy. 10 p.m. $10–$15. ustreetmusichall.com.

Blues

classical

kennedy cenTeR conceRT hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra per-

BeThesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Daryl Davis Presents: The Wonder Women Blues Festival. 8 p.m. $30–$35. bethesdabluesjazz.com.

washingtoncitypaper.com march 3, 2017 31

The hamilTon 600 14th St. NW. (202) 787-1000. Tab Benoit. 8 p.m. $25–$35. thehamiltondc.com.

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. David Benoit. 8 p.m.; 10 p.m. $52.75–$58. bluesalley.com.

Vocal BeThesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Sweet Honey In The Rock.

8 p.m. $50. bethesdabluesjazz.com.

opera

kennedy cenTeR Family TheaTeR 2700 F St. NW. (202) 467-4600. Maria Schneider Orcheatra. 7 p.m.; 9 p.m. $60. kennedy-center.org.

gW lisneR audiToRium 730 21st St. NW. (202) 994-6800. Washington Concert Opera: Beethoven’s Leonore. 6 p.m. $40–$110. lisner.gwu.edu.

mR. henRy’s 601 Pennsylvania Ave. SE. (202) 5468412. Tacha Coleman Parr. 8 p.m. Free. mrhenrysdc.com.

kennedy cenTeR opeRa house 2700 F St. NW. (202) 467-4600. Washington National Opera: Dead Man Walking. 2 p.m. $45–$300. kennedy-center.org.

TWins Jazz 1344 U St. NW. (202) 234-0072. Jeff Antoniuk & the Jazz Update. 9 p.m.; 11 p.m. $27. twinsjazz.com.

World

electroNic

9:30 cluB 815 V St. NW. (202) 265-0930. Haywyre & The Opiuo Band. 10 p.m. $20. 930.com.

FuNk & r&B

BiRchmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Rachel Ferrell. 7:30 p.m. $59.50. birchmere.com.

FillmoRe silveR spRing 8656 Colesville Road, Silver Spring. (301) 960-9999. K. Michelle. 8 p.m. $45–$77. fillmoresilverspring.com.

suNday rock

Black caT BacksTage 1811 14th St. NW. (202) 667-4490. The Dig, Communist Daughter. 7:30 p.m. $12–$15. blackcatdc.com.

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

Quattracenta, Numbers Station, Anna Connolly. 7 p.m. $5. bossadc.com. dc9 1940 9th St. NW. (202) 483-5000. Potty Mouth, Party Baby. 8:30 p.m. $12–$14. dcnine.com.

amp By sTRaThmoRe 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Sierra Leone’s Refugee All Stars. 8 p.m. $30–$40. ampbystrathmore.com.

Jazz Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. David Benoit. 8 p.m.; 10 p.m. $52.75–$58. bluesalley.com.. kennedy cenTeR millennium sTage 2700 F St. NW. (202) 467-4600. National Jazz Workshop All-Star Jazz Orchestra. 6 p.m. Free. kennedy-center.org.

TWins Jazz 1344 U St. NW. (202) 234-0072. Nelson Dougherty. 8 p.m.; 10 p.m. $22. twinsjazz.com.

electroNic Rock & Roll hoTel 1353 H St. NE. (202) 388-7625.

Dua Lipa. 8 p.m. $17.50–$20. rockandrollhoteldc.com.

FuNk & r&B Bossa BisTRo 2463 18th St NW. 202-667-0088.

Mosché Band. 10 p.m. $5. bossadc.com.

The hamilTon 600 14th St. NW. (202) 787-1000.

Booker T. Jones. 7:30 p.m. $35–$60. thehamiltondc.com.

CITY LIGHTS: saturday

capital irish FilM FestiVal

Just because Oscar season has ended doesn’t mean you should stop seeking out exciting and innovative films from other nations. Now in its 11th year, the Capital Irish Film Festival features the best of recent Irish cinema—including Bobby Sands: 66 Days, Born and Reared, Atlantic, and South—over the course of a long weekend. The documentary Bobby Sands is based on the prison diary of the headstrong IRA member (pictured) who, while incarcerated, was both elected to Parliament and died from a hunger strike, bringing international attention to the Troubles in the early 1980s. Born and Raised, another documentary, follows several families today that were directly affected by the violence of the Troubles. On a completely different note, Atlantic follows the struggles of fisherman in Ireland, Canada, and Norway in an increasingly globalized world, while South offers a coming-of-age love story about a musician who struggles to understand himself. Presented by Irish arts organization Solas Nua, the festival celebrates the Emerald Isle in a much more tasteful way than Shamrock Fest will in a few weeks. The festival runs March 2 to March 5 at AFI Silver Theatre and Cultural Center, 8633 Colesville Road, Silver Spring. $8–$13. (301) 495-6700. solasnua.org.

—Elena Goukassian 32 march 3, 2017 washingtoncitypaper.com

washingtoncitypaper.com march 3, 2017 33

CITY LIGHTS: suNday

1811 14TH ST NW

www.blackcatdc.com @blackcatdc

MARCH SHOWS FRI 3

DOUBLE RECORD RELEASE

RUN COME SEE TURTLE RECALL

FRI 3

THE AUNT SALLY SIDESHOW (21+)

SAT 4

DC MUSIC DOWNLOAD PRESENTS:

SAT 4 SUN 5 MON 6

TUE 7 WED 8 THU 9

FRI 10

SOUNDS OF THE CITY FEST

MARCH

HEAVY ROTATION

S

SONS OF AN ILLUSTRIOUS FATHER

SU 5

THE DIG

SLOTHRUST TIM DARCY (OUGHT)

T

7

TH 9

MAL BLUM & THE BLUMS

EQUINOX

F

10

LIVE MUSIC & BURLESQUE

SAT 11 DOUBLE RECORD RELEASE

PRIESTS

COUP SAUVAGE & THE SNIPS

WED 15

THE WONDER WOMEN BLUES FESTIVAL SWEET HONEY IN THE ROCK RICKIE LEE JONES & MADELINE PEYROUX NOTORIOUS B.I.G TRIBUTE FEAT. SECRET SOCIETY EU (EXPERIENCE UNLIMITED) BE’LA DONA A DRAG SALUTE TO DIVAS DREAM GIRLS TWISTED (3/8PM) BAND OF ROSES & MADZ JOHNSON ST. PATRICK’S DAY W/ O’MALLEY’S MARCH WE ARE ONE TRIBUTE X-PERIENCE BAND VALERIE SIMPSON CLARENCE CARTER

4

SECONDHAND SERENADE

S 11 SU 12 W 15 F

17

SU 19

PRIESTS

SAT MARCH 11

TH

W 22 TH 23

JUST ANNOUNCED T 3/28 & W 3/29

WED MARCH 15

7719 Wisconsin Ave., Bethesda, MD

(240) 330-4500

SECONDHAND SERENADE

TAKE METRO!

WE ARE LOCATED 3 BLOCKS FROM THE U STREET/CARDOZO STATION

ANGIE STONE RESCHEDULED

www. BethesdaBluesJazz.com Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

TO BUY TICKETS VISIT TICKETFLY.COM 34 march 3, 2017 washingtoncitypaper.com

potty Mouth

Potty Mouth, a western Massachusetts trio now living in Los Angeles, never had any particular ambition to make it big, but that’s the direction they’re headed in. Ally Einbinder, Abby Weems, and Victoria Mandanas met at Smith College and just wanted to play music together, hardly imagining they’d one day open for CHVRCHES and Against Me! on national tours. Potty Mouth’s brighter, crisper brand of ’90s punk has always been charming, but the group molded its sound into an irresistible mix of melody and power with its self-released, self-titled EP back in August 2015. The trio has been relatively quiet since then with only one new single, “Smash Hit,” coming out last October. Now they’re out on their own co-headlining tour with Party Baby, a group made up of members of Portugal. The Man and 30 Seconds to Mars, so Potty Mouth fans can finally get a taste of what’s to come. Potty Mouth performs with Party Baby and Tennis System at 8:30 p.m. at DC9, 1940 9th St. NW. $12–$14. (202) 483-5000. dcnine.com.

—Justin Weber

MoNday opera

kennedy cenTeR opeRa house 2700 F St. NW. (202) 467-4600. Washington National Opera: Champion. 7 p.m. $45–$300. kennedy-center.org.

hip-hop

hoWaRd TheaTRe 620 T St. NW. (202) 803-2899.

GZA. 8 p.m. $25–$60. thehowardtheatre.com.

World

kennedy cenTeR millennium sTage 2700 F St. NW. (202) 467-4600. Nano Stern. 6 p.m. Free. kennedy-center.org.

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Donny McCaslin Group. 8 p.m.; 10 p.m. $50. bluesalley.com.

tuesday rock

Black caT BacksTage 1811 14th St. NW. (202) 6674490. Slothrust, And The Kids. 7:30 p.m. $13–$15. blackcatdc.com. dc9 1940 9th St. NW. (202) 483-5000. All Them Witches, Irata. 9 p.m. $15. dcnine.com. kennedy cenTeR millennium sTage 2700 F St. NW. (202) 467-4600. Landlady. 6 p.m. Free. kennedy-center.org. u sTReeT music hall 1115 U St. NW. (202) 588-1889.

Mike Doughty. 7 p.m. $25. ustreetmusichall.com.

classical

lyceum 201 S. Washington St., Alexandria. (703) 8384994. U.S. Air Force Band Chamber Players Series.

7:30 p.m. Free. alexandriava.gov/lyceum. music cenTeR aT sTRaThmoRe 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Sir András Schiff. 8 p.m. $40–$80. strathmore.org.

Folk

9:30 cluB 815 V St. NW. (202) 265-0930. Agnes Obel.

7 p.m. $25. 930.com.

BeThesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Rickie Lee Jones & Madeleine Peyroux. 8 p.m. $75. bethesdabluesjazz.com.

BiRchmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Tommy Emmanuel. 7:30 p.m. $49.50. birchmere.com.

The hamilTon 600 14th St. NW. (202) 787-1000. We Banjo 3 & Enter The Haggis. 5:59 p.m. $16.75–$25.25. thehamiltondc.com.

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Veronneau. 8 p.m.; 10 p.m. $37. bluesalley.com.

WedNesday rock

Black caT BacksTage 1811 14th St. NW. (202) 6674490. Tim Darcy, Molly Burch. 7:30 p.m. $12. blackcatdc.com. dc9 1940 9th St. NW. (202) 483-5000. Slaves. 8 p.m. $8. dcnine.com.

classical

BaRns aT WolF TRap 1635 Trap Road, Vienna. (703) 255-1900. Jim Brickman. 8 p.m. $35–$40. wolftrap.org. music cenTeR aT sTRaThmoRe 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Baldwin Wallace University Symphony Orchestra. 8 p.m. $20. strathmore.org.

opera

kennedy cenTeR opeRa house 2700 F St. NW. (202) 467-4600. Washington National Opera: Dead Man Walking. 7:30 p.m. $45–$300. kennedy-center.org.

Folk

BiRchmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Tommy Emmanuel. 7:30 p.m.; 7:30 p.m. $49.50. birchmere.com. gypsy sally’s 3401 K St. NW. (202) 333-7700. The Fly Birds. 7:30 p.m. Free. gypsysallys.com.

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Jeff “Tain” Watts Trio. 8 p.m.; 10 p.m. $40. bluesalley.com.

---------CITY LIGHTS: MoNday

doNNy MccasliN group

“Whoa,” you said to yourself as you listened to David Bowie’s final album, last year’s Blackstar. “Who’s that band he’s got with him? They’re dark, intense, have so much attitude they’re even a little scary, are heavily into electronics but are actually kinda, dare I say, jazzy?” You were talking, when you made those surprisingly insightful remarks, about the Donny McCaslin Quartet. Tenor saxophonist McCaslin is no outsider jazzman: He’s a veteran of Gil Evans’ Orchestra and a current member of one led by Evans protégée Maria Schneider. But he has also long courted an edgier approach to the music, especially with his remarkable group featuring Tim Lefebvre on bass, Jason Lindner on keyboards, and Mark Giuliana on drums. If Bowie’s swan song pulled McCaslin’s band over to his side of the equation rather than vice versa, their own 2016 album, Beyond Now, suggests Bowie really didn’t have far to pull them—they even cover two of the Thin White Duke’s songs. The Donny McCaslin Group performs at 8 p.m. and 10 p.m. at Blues Alley, 1073 Wisconsin Ave. NW. $35. (202) 337-4141. bluesalley.com.

—Michael J. West mansion aT sTRaThmoRe 10701 Rockville Pike, North Bethesda. (301) 581-5100. Ethan Foote. 7:30 p.m. $17. strathmore.org.

TWins Jazz 1344 U St. NW. (202) 234-0072. Joe Vetter Quartet. 8 p.m.; 10 p.m. $22. twinsjazz.com.

Blues

sixTh & i hisToRic synagogue 600 I St. NW. (202) 408-3100. Valerie June. 8 p.m. $25–$28. sixthandi.org.

Jazz

thursday

amp By sTRaThmoRe 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Be Steadwell. 8 p.m. $20–$30. ampbystrathmore.com.

gypsy sally’s 3401 K St. NW. (202) 333-7700. Maryann & Anthony. 7:30 p.m. Free. gypsysallys.com.

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Gerald Albright. 8 p.m.; 10 p.m. $65–$70. bluesalley.com.

rock

songByRd music house and RecoRd caFe 2477 18th St. NW. (202) 450-2917. Kevin Abstract. 8 p.m. $15–$17. songbyrddc.com. sTaTe TheaTRe 220 N. Washington St., Falls Church.

(703) 237-0300. Appetite For Destruction. 8:30 p.m. $12–$15. thestatetheatre.com.

Vocal kennedy cenTeR millennium sTage 2700 F St. NW. (202) 467-4600. Songwriters: The Next Generation. 6 p.m. Free. kennedy-center.org.

classical BaRns aT WolF TRap 1635 Trap Road, Vienna. (703) 255-1900. Jim Brickman. 8 p.m. $35–$40. wolftrap.org. kennedy cenTeR conceRT hall 2700 F St. NW. (202) 467-4600. NSO: Weilerstein plays Shostakovich / Schubert’s Ninth Symphony. 7 p.m. $15–$89. kennedy-center.org. mansion aT sTRaThmoRe 10701 Rockville Pike, North Bethesda. (301) 581-5100. Project TRIO. 7:30 p.m. $30. strathmore.org.

hip-hop BeThesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Notorious B.I.G Tribute feat. Secret Society. 8 p.m. $22.50. bethesdabluesjazz.com.

World Bossa BisTRo 2463 18th St NW. 202-667-0088. Los Gaiteros de Sanguashington. 9:30 p.m. $5. bossadc.com.

couNtry mR. henRy’s 601 Pennsylvania Ave. SE. (202) 5468412. Hollertown. 8 p.m. Free. mrhenrysdc.com.

TWins Jazz 1344 U St. NW. (202) 234-0072. Emmet Cohen Trio. 8 p.m.; 10 p.m. $22. twinsjazz.com.

LIVE

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

RACHELLE FERRELL 5 WATCH Awards Ceremony 7pm 7&8 TOMMY EMMANUEL Mar 3

“It’s Never Too Late Tour” with JOE ROBINSON

An Evening with

11

ANDERSON LAURIE with special guest Rubin Kodheli

COLIN HAY 14 LADYSMITH BLACK MAMBAZO 16 VANESSA CARLTON TRISTEN 17 CHRIS KNIGHT & WILL HOGE Matt TOM RUSH Nakoa 18

13

25th Anniversary Show

19

MARC COHN 20&21 CHRIS BOTTI Seth 23 KASEY CHAMBERS Walker N 24 RAHSAAN PATTERSON Y THE SUBDUDES 25 26 THE RIGHTEOUS BROTHERS

ao oshioka

Bill Medley & Bucky Heard

JAMES McMURTRY & TIFT MERRITT Heart 29 ANN WILSON POCO 30 31 LARRY GRAHAM

28

of

Dance

aTlas inTeRsecTions FesTival Dancers, musicians, and actors come together to present work for audiences of all ages at this annual festival that celebrates the D.C. arts community. Among this year’s acts are aerial performers, a movement piece narrated by God, and a puppet show about a Puerto Rican frog. Atlas Performing Arts Center. 1333 H St. NE. March 3–March 5. $10–$30. (202) 399-7993. atlasarts.org. giselle The Washington Ballet performs this classic and highly romantic ballet about love, betrayal, and forgiveness in a new staging by artistic director Julie Kent. Kennedy Center Eisenhower Theater. 2700 F St. NW. March 3, 8 p.m.; March 4, 2 p.m.; March 4, 8 p.m.; March 5, 2 p.m.; March 5, 8 p.m. $33–$130. (202) 4674600. kennedy-center.org. monchichi Company Wang Ramirez presents this lively hip-hop and contemporary piece that looks at the ways we identify ourselves and understand opposing cultures. Clarice Smith Performing Arts Center. Stadium Drive and Route 193, College Park.

March 8, 8 p.m. $10–$25. (301) 405-2787. theclarice. umd.edu. second season: shaRed gRaduaTe dance conceRT MFA students studying dance present their works-in-progress at this showcase that helps them prepare for their thesis concerts. Clarice Smith Performing Arts Center. Stadium Drive and Route 193, College Park. March 3, 7:30 p.m.; March 4, 2 p.m.;

& Graham Central Station

Apr 1

In the

!

COREY SMITH

Jacob Powell All Standing, Doors 6pm

an evening with

CELTIC

CROSSINGS FEAT. PHIL COULTER AND ANDY COONEY W/ SPECIAL GUESTS

GERALDINE BRANAGAN

& THE IRISH POPS ENSEMBLE

THURSDAY MARCH

2

LOS

LOBOS W/ MATT ANDERSEN FRIDAY MARCH

3

SAT, MARCH 4

TAB BENOIT W/ ALANNA ROYALE SUN, MARCH 5

BOOKER T. JONES W/ ERIC SCOTT TUES, MARCH 7

ENTER THE HAGGIS AND WE BANJO 3 FRI, MARCH 10

PAUL THORN W/ ANDREW DUHON AND ALICE DRINKS THE KOOL AID SAT, MARCH 11

HOWIE DAY W/ KATIE ROSE THURS, MARCH 16

THE YOUNG DUBLINERS W/ JOHN BYRNE BAND FRI, MARCH 17

SOULE MONDE

FEAT. RUSS LAWTON & RAY PACZKOWSKI OF TREY ANASTASIO BAND SAT, MARCH 18

A GREAT BIG WORLD W/ ALLIE MOSS

SUN, MARCH 19

AN EVENING WITH

RHONDA VINCENT AND THE RAGE THURS, MARCH 23

FOURPLAY AMY GRANT 5 6 MARCUS MILLER DON McLEAN 7 KEIKO MATSUI 8 9 RIDERS IN THE SKY A Salute to Roy Rogers!

2

10

UPCOMING PERFORMANCES

STANLEY CLARKE BAND

LAITH AL-SAADI

THURS, MARCH 23

LIVE NATION & THE HAMILTON PRESENT

YACHT ROCK REVUE

(AT THE FILLMORE SILVER SPRING) FRI, MARCH 24

NIGHT I

SAT, MARCH 25

NIGHT II

RED BARAAT FESTIVAL OF COLORS W/ GANAVYA AND SHILPA RAY RED BARAAT FESTIVAL OF COLORS

W/ DJ AYES COLD AND THE KOMINAS

11 DALE WATSON & RAY BENSON present

12

DALE & RAY (formerly of STOKLEY Mint Condition)

THEHAMILTONDC.COM washingtoncitypaper.com march 3, 2017 35

March 4, 7 p.m. Free. (301) 405-2787. theclarice.umd.edu.

The seldoms The company, which is known for its ability to connect dance with real life issues, turns its attention to tense moments from the 1960s and the presidency of Lyndon Johnson in Power Goes. Dance Place. 3225 8th St. NE. March 4, 8 p.m.; March 5, 7 p.m. $15–$30. (202) 269-1600. danceplace.org.

CITY LIGHTS: tuesday

uBunTu: FoR The Whole oF humaniTy DC Contemporary Dance Theatre/El Teatro de Danza Contemporanea celebrates diversity in this production that highlights young choreographers Chandini Darby, JP Flores, Hannah Conn, and Sydnee Carro.

Jack Guidone Theater. 5207 Wisconsin Ave. NW. March 4, 8 p.m. $25. (202) 520-3692. joyofmotion.org.

Theater

as you like iT When Rosalind is banished from her home and flees to the forest, one of the Bard’s great romantic comedies begins. The classic tale of mistaken identities, love, and beauty comes to life at the Folger under the direction of Gaye Taylor Upchurch.

Folger Elizabethan Theatre. 201 E. Capitol St. SE. To March 5. $35–$75. (202) 544-7077. folger.edu. coolaTully Irish arts organization Solas Nua presents the American premiere of Fiona Doyle’s drama about Irish history. As a town tries to succeed once more on the hurling field, its residents must decide whether to stay or move on. Source Theatre. 1835 14th St. NW. To March 26. $38. (202) 204-7800. sourcedc.org.

IN THE TOWER: THEASTER GATES

The Tower Gallery in the National Gallery of Art’s East Building is one of the best rooms in which to see contemporary art, full stop. Housing shows by artists from Barbara Kruger and Kerry James Marshall to Mel Bochner and Philip Guston, the quiet, high-ceilinged room allows visitors to really think about and interact with the art they’re seeing. Chicago-based artist and urban planner Theaster Gates will use his time in the gallery to present pieces he created specifically for the space, including one that incorporates pieces of an old gym floor and another that uses old issues of Ebony magazine. Gates explains in his notes about the exhibit that he wants viewers to consider the way the stories people tell increase the value and significance of objects like the ones he uses. For pieces that require a bit more contemplation, Gates has certainly found the appropriate venue. The exhibition is on view Mondays through Saturdays 10 a.m. to 5 p.m. and Sundays 11 a.m. to 6 p.m., to Sept. 4, at the National Gallery of Art East Building, 4th Street and Pennsylvania Avenue NW. Free. (202) 737-4215. nga.gov.

—Caroline Jones

CITY LIGHTS: WedNesday

ethaN Foote

Ethan Foote is best known as the bassist and arranger for the experimental folk artist Marian McLaughlin, a favorite of the Beltway region.

Foote’s own music doesn’t stray into such unproven territory, but it is clear that working with McLaughlin has made Foote one of the District’s most ambitious composers. While there are threads of his versatile musical career in his compositions—a little jazz bounce here and there, some of the thrust of rock—Foote’s primary interests as a musician lie at the intersection of folk and chamber music. Listening to his 2015 debut, Fields Burning, it’s easy to picture these songs stepping out of a time machine from a medieval English court rather than up the street in Maryland. Foote’s prowess as a bandleader, live performer, and educator will be on display as his compositions walk you through the history of Western music. Ethan Foote performs at 7:30 p.m. at the Mansion at Strathmore, 10701 Rockville Pike, North Bethesda. $17. (301) 581-5100. strathmore.org.

—Jackson Sinnenberg

36 march 3, 2017 washingtoncitypaper.com

The FanTasTicks This classic tale about young love comes back to the stage at Mason’s School of Theater. A boy, a girl, and their parents sing about the forces that keep lovers apart in this musical that includes favorite songs like “Try to Remember” and “Soon It’s Gonna Rain.” George Mason University Center for the Arts. 4373 Mason Pond Drive, Fairfax.

To March 5. $10–$20. (888) 945-2468. cfa.gmu.edu.

Fickle: a Fancy FRench FaRce Playwright Meg Miroshnik turns a classic French farce about a kidnapped prince, an adored peasant, and the servant caught in the middle of it into a new comic romp.

Artistic Associate Eleanor Holdridge directs this play as part of Olney’s Classic and Contemporary series.

Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To April 2. $35–$70. (301) 924-3400. olneytheatre.org.

The gin game Roz White and Doug Brown star in the Pulitzer Prize-winning drama that takes place over a game of gin rummy. As the action rises, their interactions become more intense and more details about their relationship are revealed. MetroStage. 1201 N. Royal St., Alexandria. To March 12. $55–$60. (703) 548-9044. metrostage.org.

The gospel aT colonus Jennifer L. Nelson directs this musical that reconfigures Sophocles’ story about Oedipus’ final days and sets it in a black Pentecostal church. A finalist for the Pulitzer Prize for Drama, this production features searing gospel songs like “How Shall I See You Through My Tears?” and “Lift Him Up.” Gunston Arts Center. 2700 S. Lang St., Arlington. To March 26. $30–$35. (703) 228-1850. arlingtonarts.org. h2o In this Jane Martin drama, a jaded Hollywood actor seeks redemption in a production of Hamlet. When he meets a conservative Christian woman to cast as Ophelia, his priorities change and he’s forced to question his past decisions in order to move forward. Rep Stage at Howard Community College.

10901 Little Patuxent Parkway, Columbia. To March 5. $15–$40. (443) 518-1500. repstage.org.

The hoW and The Why By the writer of hit TV shows In Treatment and The Affair, this exhilarating and keenly perceptive play about science, family, and survival of the fittest grapples with the choices faced by women of every generation. Emotion and evolution collide on the eve of a prestigious conference when an up-and-coming evolutionary biologist, whose theories might just change the way we regard sex itself, wrestles for the truth with an established leader in the field. Theater J. 1529 16th St. NW. To March 12. $17–$47. (202) 777-3210. theaterj.org. inTelligence Taking inspiration from true events, this drama about a covert operative and her diplomat husband combines political thrills with D.C. drama. As the protagonist searches for nuclear weapons in Iraq,

her cover is compromised and she must navigate a media storm on her own. Arena Stage. 1101 6th St. SW. To April 2. $40–$90. (202) 488-3300. arenastage.org. king chaRles iii David Muse directs Mike Bartlett’s fictitious imagining of the reign of Queen Elizabeth II’s successor as his famous relatives look on. This modern history is told in Shakespearean blank verse and stars Robert Joy and Jeanne Paulsen. Sidney Harman Hall. 610 F St. NW. To March 12. $42–$118. (202) 5471122. shakespearetheatre.org. mRs. milleR does heR Thing Based on the true story of Elva Miller, James Lapine’s new comedy follows the hapless title character who can’t sing but nevertheless becomes a New York City sensation.

Debra Monk stars as Mrs. Miller and puts her spin on pop songs like “Downtown,” “Monday Monday,” and “A Hard Day’s Night.” Signature Theatre. 4200 Campbell Ave., Arlington. To March 26. $40–$85. (703) 8209771. sigtheatre.org. peTeR and The sTaRcaTcheR Learn about the events that led up to the story of Peter Pan in this prequel that finds an unnamed orphan boy fighting to outwit a charming and villainous pirate. This Tony Award-winning play, inspired by a Dave Barry and Ridley Pearson novel, comes to life at Constellation Theatre under the direction of Kathryn Chase Bryer. Constellation Theatre at Source. 1835 14th St. NW. To March 12. $20–$45. (202) 204-7741. constellationtheatre.org.

The selecT Elevator Repair Service, the theater company behind previous stage adaptations of novels like The Great Gatsby and The Sound and the Fury, turns its attention to Ernest Hemingway’s The Sun Also Rises. The narrator tells a story of love amidst the Lost Generation as the action travels from Paris to Barcelona to Pamplona. Lansburgh Theatre. 450 7th St. NW. To April 2. $44–$118. (202) 547-1122. shakespearetheatre.org. sWeeney Todd: The demon BaRBeR oF FleeT sTReeT Local favorite E. Faye Butler stars as Mrs. Lovett in this murderous musical about a villainous barber who collaborates with the neighborhood pie maker to bake his victims into pastries. Stephen Sondheim’s dark and twisted tale is directed by Jason Loewith and choreographed by Tommy Rapley.

Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To March 5. $45–$80. (301) 924-3400. olneytheatre.org.

The Taming oF The shReW Synetic brings back its popular wordless production of Shakespeare’s classic comedy about the division of the sexes and unrequited love. Associate Artistic Director Irina Tsikurishvili stars in this Hollywood-set production. Synetic Theater at Crystal City. 1800 South Bell St. , Arlington. To March 19. $20–$60. (866) 811-4111. synetictheater.org.

ThRee sisTeRs The title characters in this Chekhov comedy fight against the restrictions of their small town and lament their missed opportunities as they deal with annoying relatives and unworthy mates.

Jackson Gay directs this production, presented in collaboration with New Neighborhood. Studio Theatre. 1501 14th St. NW. To April 23. $20–$85. (202) 3323300. studiotheatre.org.

The TRoJan Women The Riot Grrrls of Taffety Punk Theatre Company present their take on Euripedes’ ancient play about women dealing with the aftermath of war. Described as one of the first pieces of anti-war activism, this stirring drama is directed by Kelsey Mesa. Taffety Punk at Capitol Hill Arts Workshop. 545 7th St. SE. To March 4. $15. (202) 261-6612. taffetypunk.com.

The veRy lasT days oF The FiRsT coloRed ciRcus Restoration Stage founder Courtney Baker-Oliver directs and provides the music and lyrics for this new musical written by his co-founder, Steven A. Butler Jr. set at the 1927 Charles County Fair. Focused around the themes of love, loss, and redemption, this new musical combines emotion with the whimsical aspects of the circus. Anacostia Playhouse. 2020 Shannon Place SE. To March 5. $45–$55. (202) 2902328. anacostiaplayhouse.com.

WaTch on The Rhine As the United States prepares to enter World War II, an American woman flees to the D.C. suburbs with her German husband and their children as he works to fight against fascism. Upon their arrival, however, they meet a visitor with ulterior motives who might threaten their safety. Academy Award nominee Marsha Mason stars in this drama, presented as part of Arena’s Lillian Hellman Festival.

Arena Stage. 1101 6th St. SW. To March 5. $40–$90.

(202) 488-3300. arenastage.org.

ACADEMYAWARD NOMINEE

WINNER

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CITY LIGHTS: thursday

Valerie JuNe

Valerie June has one of the most unexpected voices contemporary listeners can hear. While opening for Sturgill Simpson at DAR Constitution Hall last fall, the crowd grew quieter and more attentive with every note sung in her unmistakable, powerful twang. At times, you think she’s Dolly Parton, then, no, maybe Eartha Kitt. But then it’s clear she has her own voice.

Like her former tour mate Simpson and contemporaries like the Carolina Chocolate Drops and Adia Victoria, June uses southern tradition as a foundation for her music but doesn’t let it become a weight. She builds on Appalachian folk with elements of soul and ’60s and ’70s pop, but it all comes back to her voice. The stretches of a cappella vocals she showcases during live performances often leave rooms stunned. Valerie June performs with Anthony D’Amato at 8 p.m. at Sixth & I Historic Synagogue, 600 I St. NW. $25.

(202) 408-3100. sixthandi.org.

—Justin Weber

6 AUDIENCE AWARDS

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BeFoRe i Fall A young woman relives the final day of her life over the course of a week in this dark drama adapted from Lauren Oliver’s 2010 novel. Starring Zoey Deutch, Halston Sage, and Cynthy Wu. (See washingtoncitypaper.com for venue information) capiTal iRish Film FesTival See a selection of documentaries, comedies, and dramas at this annual festival that pays tribute to Irish artists. Among this year’s selections are Bobby Sands: 66 Days, a doc about a fatal hunger strike that changed the Northern Ireland conflict, and The Young Offenders, a comedy about two friends who are chased by police while looking for a missing package of cocaine. (See washingtoncitypaper.com for venue information) a cuRe FoR Wellness When a young man retrieves his company’s CEO from an exclusive spa, he begins to question whether the treatments are legitimate and struggles to find out the truth. Dane DeHaan and Jason Isaacs star in this mystery from director Gore Verbinski. (See washingtoncitypaper. com for venue information) FisT FighT Charlie Day and Ice Cube star in this comedy about two teachers who challenge each other to an after-hours fight after one of them gets the other one fired. Directed by Richie Keen. (See washingtoncitypaper.com for venue information) geT ouT When a white woman brings her AfricanAmerican boyfriend to meet her parents, the trip turns into a weekend of psychological and physical torture. Written and directed by Jordan Peele. (See washingtoncitypaper.com for venue information) The gReaT Wall In this fantasy film from director Yimou Zhang, a captured warrior teams up with an army to defeat a team of beasts that the Great Wall of China is meant to protect them from. Starring Matt Damon, Tian Jing, and Willem Dafoe. (See washingtoncitypaper.com for venue information) land oF mine Young German soldiers are sent to remove landmines in Denmark in the aftermath of World War II, risking life and limb to do so, in this Danish-German historical drama. Nominated for

leap! An orphan who dreams of becoming a famous dancer gets mistaken for someone else and subsequently studies at Paris’ Grand Opera House in this animated film from directors Eric Summer and Éric Warin. Featuring the voices of Elle Fanning, Carly Rae Jepsen, and Dane DeHaan. (See washingtoncitypaper.com for venue information)

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logan Hugh Jackman returns to the role of Logan in this latest entry in the X-Men anthology. This time, he’s hiding on the Mexican border caring for Professor X when a young mutant, seeking protection, disrupts his orderly life. (See washingtoncitypaper.com for venue information) Rock dog Luke Wilson, Eddie Izzard, and J.K. Simmons provide the voices for animated animals in this comedy that follows a Tibetan Mastiff as he pursues his dream to become a professional musician. (See washingtoncitypaper.com for venue information) The shack A grief-stricken man receives an invitation to meet God in this inspirational film from director Stuart Hazeldine. Starring Sam Worthington, Octavia Spencer, and Tim McGraw. (See washingtoncitypaper.com for venue information) TaBle 19 Anna Kendrick plays a maid of honor who gets dumped by the bride and the best man but decides to attend the wedding anyway in this comedy from screenwriters Jay and Mark Duplass. Co-starring Lisa Kudrow and Craig Robinson. (See washingtoncitypaper.com for venue information) Tulip FeveR Christoph Walz and Alicia Vikander star in this Dutch drama about a portraitist who falls in love with his subject, a young married woman. Adapted from a novel by Deborad Moggach and directed by Justin Chadwick. (See washingtoncitypaper.com for venue information) a uniTed kingdom Set in the 1940s, this drama based on true events follows the relationship between a Botswanan prince and his wife, a white woman from London. While their nuptials cause international commotion, their desire to improve their country ultimately earns the affection of citizens.

Starring David Oyelowo and Rosamund Pike. (See washingtoncitypaper.com for venue information)

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washingtoncitypaper.com March 3, 2017 39

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