Washington City Paper (March 17, 2017)

CITYPAPER Washington

Free Volume 37, No. 11 WAshiNgtoNCityPAPer.Com mArCh 17-23, 2017

Pot:

A Political History Courts: lost eVideNCe iN A double murder CAse 7 food: redefiNiNg rum 19 arts: CAge mAtCh 23

Cover story: A PolitiCAl history of Pot 12

InsIde: CAmP guide 2017 19

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CITYPAPER Washington

housing: D.C.’s politics: xxxx first x lgBtQ food: xxx seNior xx arts: homexxxx 7 xx food: orgaNiC DiNiNg iN the Post-Nora era 16 film: oDD CouPles 25

Free WashiNgtoNCityPaPer.CommarCh moNth xx–xx, 2017 Free Volume Volume 37, 37, No. No. xx 11 WashiNgtoNCityPaPer.Com 17–23, 2017

Pot:

A Political History House Republicans ape politicians from bygone eras in their Reefer Madness approach to marijuana. P. 12

By Patrick Anderson

washingtoncitypaper.com march 17, 2017 1

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INSIDE

12 POT: a POliTical hisTOry House Republicans ape politicians from bygone eras in their Reefer Madness approach to marijuana.

By Patrick Anderson Cover photograph by Darrow Montgomery

4 Chatter distriCt Line 7

A Gay Old Time: A nonprofit makes plans for D.C.’s first LGBTQ senior living facility.

8 Unobstructed View 10 Indy List 11 Gear Prudence

d.C. feed 16 Should We Put a Label on It? With D.C.’s certifiedorganic pioneer Nora Pouillon bowing out, “handshake organic” is the new normal.

18 The Party? It’s in the Hotel Lobby: Top chefs in D.C. are serving up their best dishes in these hotel restaurants.

18 Are You Gonna Eat That?: Wild bird scrapples at The Bird

28 Galleries: Capps on Theaster Gates: The Minor Arts at the National Gallery of Art 30 Curtains: Jones on Arena Stage’s Intelligence 31 Short Subjects: Gittell on Personal Shopper

City List 33 City Lights: Celebrate 20 years of Millennium Stage performances at the Kennedy Center on Sunday.

33 Music 40 Theater 42 Film

43 CLassifieds diversions 44 Crossword

arts 25 Odd Couples: Two films centered around friendship with eccentric characters expose varying degrees of humanity—and uncomfortable situations. washingtoncitypaper.com march 17, 2017 3

CHATTER

Mendelson 1, Bowser 0

In which the editor hijacks this space

Darrow MontgoMery

Kids are going missing by the dozens, people are shooting each other in broad daylight in some parts of the city, housing costs are displacing District residents, slumlords are making the lives of many citizens hell, our essential transit infrastructure is in dire trouble, too many kids are being ill-served by the public schools, and the city will have to contend with enormous costs if Congress repeals the Affordable Care Act. Not to put too fine a point on it, D.C. has a lot of work to do. Which is why it’s baffling that Mayor Muriel Bowser and her administration are digging in their heels over four ramshackle, city-owned houses in Anacostia that a succession of mayoral administrations have failed to address. In a too-scarce display of problem-solving in the face of an intractable predicament, the D.C. Council passed legislation last year authorizing the L’Enfant Trust, a nonprofit historic preservation group, to redevelop the properties into workforce housing—at no cost to taxpayers. Neighborhood residents, who have been awaiting intervention for more than two decades, rejoiced.

But nothing happened. Then, in a recent D.C. Council hearing, the director of the Department of Housing and Community Development refused to answer questions from councilmembers about why the agency hasn’t complied with the legislation and transferred the houses to the trust.

Now the Bowser administration’s intransigence has reached peak absurdity. By way of explaining its ongoing petulance, it’s breathlessly citing the Home Rule Act, saying it gives the mayor the responsibility to dispose of city property. The argument seems spurious at best, but let’s just concede the point for argument’s sake. So what? The administration has the opportunity to save taxpayer dollars and solve a persistent headache in a part of the city that desperately needs some good news. Why not simply do it?

It’s abundantly clear why. Because, in the parlance of salty truth-seekers, the administration wants to lift its leg at the Wilson Building and exert alpha status over the council. Instead of focusing on the most cost-effective and efficient way to move forward, it’s expending all its energy on playing power games. If it moves forward by accepting bids from other interested developers, the project will cost the city more. How much more? Up to $2.2 million.

The mayor’s office should acquiesce. As D.C. Council Chairman Phil Mendelson says, “It has nothing to do with home rule—it has to do with wasting money.” Score one for Mr. Magoo. Even a blind man can see what’s going on here.

—Liz Garrigan

1500 BLock of H Street NW, MarcH 15

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

ADvERTIsIng AnD OpERATIOns

PuBLiSHer: eriC norwood SaLeS MaNaGer: Melanie babb SeNior accouNt executiveS: arlene kaMinsky, aliCia Merritt, aris williaMs accouNt executiveS: stu kelly, Christy sitter, Chad Vale SaLeS oPeratioNS MaNaGer: heather MCandrews director of MarketiNG aNd eveNtS: sara diCk BuSiNeSS deveLoPMeNt aSSociate: edgard izaguirre oPeratioNS director: jeff boswell SeNior SaLeS oPeratioN aNd ProductioN coordiNator: jane MartinaChe PuBLiSHer eMerituS: aMy austin

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LocaL advertiSiNG: (202) 650-6937 fax: (202) 618-3959, ads@washingtonCitypaper.CoM Find a staFF directory with contact inForMation at washingtoncitypaper.coM voL. 37, No. 11 MarcH 17-23, 2017 washington City paper is published eVery week and is loCated at 734 15th st. nw, suite 400, washington, d.C. 20005.

Calendar subMissions are welCoMed; they Must be reCeiVed 10 days before publiCation. u.s. subsCriptions are aVailable for $250 per year. issue will arriVe seVeral days after publiCation. baCk issues of the past fiVe weeks are aVailable at the offiCe for $1 ($5 for older issues). baCk issues are aVailable by Mail for $5. Make CheCks payable to washington City paper or Call for More options. © 2016 all rights reserVed. no part of this publiCation May be reproduCed without the written perMission of the editor.

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Kendrea and Quincy live in Baltimore’s Union Square neighborhood.

Š2017 Live Baltimore Home Center, Inc. Live Baltimore is a 501(c)(3) nonprofit organization.

Just ask Kendrea and Quincy, who work in D.C. but reside in Baltimore.

With friendly neighbors and frequent social gatherings, making a short commute meant finding a true community. What will you discover more of in Baltimore?

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1/18/17 11:14 AM

DistrictLine A Gay Old Time

A nonprofit plans D.C.’s first LGBTQ senior living facility.

CeCilia Hayden-SmitH—a retired cook, caterer, and addiction-counselor—has met people from all walks of life since moving to the District in 1962, when she arrived from a small town in Maryland. Now 72, she shares a house with other women.

Hayden-Smith came out as a lesbian in her thirties. “I was a late-bloomer because I was so busy trying to fit in,” she says, laughing.

She had reason to come out as an adult: The two queer people she knew growing up “were treated horribly,” bullied and called names. Happily, HaydenSmith has been with her “mate,” a nurse, for three decades.

But as she advances into her golden years, and as the cost of living in D.C. becomes more prohibitive, she hopes to see a home for LGBTQ seniors built here. “I’ve done a lot to take care of myself,” Hayden-Smith says. “I don’t want to spend my last years in a place I know is going to treat me terrible just because I’m a lesbian.” She abhors the notion of going “back into the closet,” which is an unfortunate reality for many queer people living in retirement homes.

“The [personal] home becomes the last safe space, the proverbial closet,” says Bob Linscott, assistant director at the Boston-based LGBT Aging Project. “Their heterosexual peers have grown up and marinated in this belief that homosexuality is immoral.”

Otherwise jovial, Hayden-Smith turns somber when recounting the fate of a friend—a gay man—who suffered from acute diabetes. After doctors amputated his legs, he moved into an assisted living facility. There, Hayden-Smith says, a male orderly repeatedly raped him after discovering he was gay. The man was afraid to tell anyone but close friends. About a decade ago, he killed himself.

“I tell that story not to put people in shock, but to let people know how dire this situation is for us,” Hayden-Smith explains. “There are a lot of people who still don’t think we’re human beings, and they think this is a choice.”

Although the national climate around queer rights has improved over the years, she says discrimination persists.

housing complex

The data show she’s right, particularly within housing. A 2014 study by the Equal Rights Center found that almost half of same-sex couples faced “adverse treatment” when searching for senior housing. There are between 1.5 and 3 million LGBTQ people over 65 estimated in the U.S. Beyond prejudice, this population experiences higher rates of poverty, poorer physical and mental health, and more-common feelings of isolation than their straight peers, researchers say.

Enter Dr. Imani Woody, who HaydenSmith has known for almost 25 years. In 2012, Woody, a lesbian, founded Mary’s House for Older Adults, a nonprofit organization that

lesbian, because I’ve been working in these issues for a long time,” Woody, a diversity consultant, says, noting that ageism and personnel shortages impact care at senior centers.

After her father died, Woody inherited her childhood home, a single-family house in Fort Dupont. Apartment complexes and parking lots surround the property.

Woody was figuring out what to do with the house when she heard about an elderly gay man who’d been living in an upscale retirement home when he died. His body was found five days later because the man had become socially isolated. “That was appalling to me,” says Woody.

seeks to establish a continuum of care for LGBTQ seniors. Woody and the board of Mary’s House have grand ambitions: to create facilities accommodating various levels of medical need, from independent living to hospice care, first across the District’s eight wards and then in every state. Each would provide services and culturally competent staff.

The vision for the organization came from Woody’s parents. Mary was her mother’s first name. Her father had a stroke several years ago and moved into a rehab facility, but her family was ultimately unsatisfied with the care.

Woody says he became incontinent while living there, so her family then took him out.

“I was wondering what would happen if he had been a gay man, or a trans person, or a

With a Ph.D. in human services, she thought reconfiguring the property into a residence for seniors would be simple. But zoning restrictions and fundraising work slowed down the process.

Politically, there were no issues. Then-Ward 4 Councilmember Muriel Bowser and Del. Eleanor Holmes Norton attended a Sept.

2014 event held in the home’s backyard to celebrate the second anniversary of Mary’s House. Bowser said she was “very proud” of the group’s work. Yet the District trails other cities that already have queer-specific senior homes—Los Angeles, Philadelphia, and Minneapolis among them.

Kelly Kent, director of the National Housing Initiative at SAGE—a New-York based or-

Stephanie Rudig

By Andrew Giambrone

ganization devoted to queer seniors—says only about ten LGBTQ senior-housing projects are operating in the U.S. Another 20 or so, including the inaugural project by Mary’s House, are in the predevelopment stage and actively looking for funding.

“The need is just growing so tremendously, with Baby Boomers coming into retirement,” Kent explains. “Ideally, whether it be D.C. or Omaha, Nebraska, what we would love to see in every community is a continuum of housing options.” Some may still be able to live independently, whereas others will need frequent attention. But the overall priority should be “creating an environment that’s welcoming,” says Kelly.

In late February, Mary’s House submitted plans for a 15-unit residence to the city’s Board of Zoning Adjustment, which must grant special exceptions from zoning rules for the development to proceed. Builders would have to raze the house where Woody grew up and where her father sat on the porch and greeted neighbors. “There’ll still be a porch,” she quips. “It’s a testament to my parents, who were good people.” A hearing on the proposal has been scheduled for April 26.

The facility would feature private bathrooms plus shared amenities: a living room, kitchen, dining room, library, green roof, and an exercise area, which would have space for yoga and a hydrotherapy pool. The idea is to balance privacy with communal activities.

“This will be their home,” Woody says. “[It’ll have] like a Golden Girls model, for lack of a better term.”

She also intends to include a yellow brick road to the home’s door—because queer people would ask, sub rosa, if someone was a “friend of Dorothy” back in the day—and a stone wall out front to honor the seminal 1969 Stonewall riots in New York.

Preliminarily, one-third of the units would be market-rate, the remaining two-thirds for moderate- and low-income residents. Why not charge full market? “D.C. has an affordable housing crisis. There’s need,” says Woody.

Other than zoning, the biggest challenge for Mary’s House is financing. The project is expected to cost roughly $2 million to develop.

If all goes smoothly, the earliest it would open is late 2018.

“We get a call or letter or email at least once a month saying, ‘Have you built it?’” Woody notes.

Hayden-Smith, a “late-bloomer to religion” as well, is saying her prayers for Mary’s House.

“It’s important for people who love each other for 30 years, or one year, or even one month, to have the right to be together, and die together, and live in peace.”

CP

washingtoncitypaper.com march 17, 2017 7

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By Matt Terl

To testify at the community hearing, please submit your name and organization (if any) to the Office of the Commission Secretary by 5 p.m., April 7, 2017 by calling (202) 626-5150 or by sending an email to psc-commissionsecretary@ dc.gov. We welcome walk-ins.

A live stream of the community hearing will also be available at www.dcpsc.org.

If an organization or an individual is unable to offer comments at the community hearing, written statements may be dropped off to the DCPSC at 1325 G Street, N.W., Suite 800, Washington D.C. 20005, or submitted through the DCPSC website. Comments can be submitted until April 25, 2017.

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Whenever the local NFL team has another public catastrophe, I—and probably every ex-employee—get dozens of texts and Gchats and calls and Facebook messages from former co-workers. The basic message is, inevitably, “Thank god we’re not there anymore, huh?” But after GM Scot McCloughan’s ouster and the subsequent anonymously sourced report in The Washington Post that he was fired for showing up drunk to work multiple times in 18 months, it occurred to me just how many of the anecdotes that come up in those conversations are drinking stories.

I had to get my suit shipped back from Seattle once. This was relatively early in my time with the team, early enough that, despite being a perpetually disheveled blogger, I hadn’t talked my way out of the “wear-a-suit-on-the-plane-for-aroad-trip” rules. So we got to Seattle, and I put my suit in the closet because I certainly wasn’t wearing it unless forced to.

The night before the game, after watching the walkthrough during the day and presumably posting some kind of local color piece, I went out for drinks with my co-workers. Way too many drinks, I guess, because the next morning my roommate had to wake me up so I wouldn’t miss the last bus to the stadium, and in the ensuing rush I forgot to take my suit out of the closet. This was not a secret around the office—I was deservedly mocked for weeks, long after the suit showed up in a FedEx pack, rumpled and sad.

It was a drinking kind of job.

Another city, another road trip, another late night out with co-workers at exactly the type of bar I’d generally avoid, crowded with amped-up bro-dudes with fake IDs or fresh off their 21st birthdays, a place with a lot of shtick and loud music and a mechanical bull.

There was a bachelorette party there, the veil pinned in the bride’s hair whipping back and forth as she clung to the mechanical bull. And when her ride finished, the next person to jump on was a defensive player from the team, out well past his curfew. This was unusual but not exactly unheard of. He played the next day, no worse than usual.

A couple of years later in Atlanta, there was an incredibly ill-advised evening at one of the parties the team throws for its high-level customers—the suite holders and their ilk—with an open bar where the bartender was pouring

whiskey into pint glasses. I made an ass out of myself in maybe 12 different ways, as did any number of other people.

My mental image of Bruce Allen—the picture that comes up on the iPhone of my mind when I hear his name—is of him at some event, maybe Mark Rypien’s golf tournament, holding court at the bar with the top buttons of his shirt undone and a Heineken in his hand.

A waiter at another event, at one of the highpriced chain steakhouses, hurried past me carrying a single glass on a tray, up some stairs and toward the door. When he came down a minute later, still holding the glass, he explained what was up: It was Mr. Dan Snyder’s drink— Johnnie Walker Blue, I believe—which he liked to have waiting as soon as he walked in.

The best flight back on the team plane was smoothed out by miniature bottles of vodka, quietly distributed by a veteran player from a pillowcase full of libations.

None of this seemed inappropriate in any way. As in any high-stress, round-the-clock environment, limited downtime almost has to be enhanced with a relaxation aid of some kind.

And there was no stigma attached to it, aside from some frat house ribbing when you, for example, left a suit 3,000 miles away.

Maybe it’s like that everywhere around the NFL—I’m not sure. But I know this franchise has a long history of drinking—think of Sonny Jurgensen and Billy Kilmer competing for the QB spot by day and throwing back beers by night, the Five O’Clock club of the Joe Gibbs era, or the eight million anecdotes about John Riggins. (Drinking beer at 7 a.m. when Gibbs came to woo him back to the team or drunkenly pissing into the air and all over himself during a team meeting or, most legendarily, telling Supreme Court Justice Sandra Day O’Connor to “Loosen up, Sandy baby.”)

Given all that, I thought there were two ways to look at the team’s decision to employ McCloughan, a gifted talent evaluator with a documented history of alcohol abuse who admitted in a magazine profile just before being hired that he still drinks beer.

One option is that it’s a terrible place for someone with those proclivities, that any existing drinking would scale up to the tenor of the building. The other, more counterintuitive option is that it was a safe space for him, a place where taking a few drinks wouldn’t be held against him and minor missteps could be dismissed with a boys-will-be-boys wink as long as he performed his job adequately.

Maybe both occurred at the same time. Either way, what was required was moderation, in a work environment that doesn’t lend itself to that at all.

CP

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TasTe: Fantastic root beer made by a D.C.-based craft soda company.

Thunder Beast Root Beer, $2.50. Found at Compass Coffee. 1921 8th St. NW. drinkthunderbeast.com

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: Biking is boring. There, I said it.

It’s repetitive and dull, and if I go more than a few miles, I can’t help but think to myself, “This is so boring and I would literally rather be doing anything else.” I think about how my legs hurt, and I truly wonder how anyone can ever derive any enjoyment from this objectively boring activity. Maybe it’s fun when you get to go downhill, but that’s hardly ever, and the rest of it is so dull. I’m bored even thinking about it. So, defend bicycling. How have you bike people duped so many others into thinking this supposed leisure activity is even remotely entertaining?

— Bicycling Often Really Evokes Dullness Dear BORED: Don’t sugarcoat it. Why don’t you tell us how you really feel?

But GP agrees. Cycling is boring. It’s extremely boring to people with virtually no interior life and wits that couldn’t outrun a grandma on a Bikeshare. If you’re an unobservant dullard incapable of enjoying moments of profound solitude and virtually transcendent calm, it’s no surprise that bicycling fails to move you. Cycling is done at what GP would call a “thinking pace”—a speed at which you can watch and fully process the world around you without missing the tiny, special details you would if you were traveling faster. Clearly a thinking pace isn’t for everyone. It does, after all, presuppose thinking.

OK, GP is being uncharitable and would be remiss to deny that sometimes cycling can indeed linger on well past the point of enjoyment. As you feel the miles in your legs, and as the scenery goes from captivating to stale, it is certainly common, even among the most avid of riders, to wish the trip would be over already. Fatigue, both physical and mental, can give way to “bonk,” and amid bonking, it is tremendously difficult to want to continue.

But pushing yourself to, through, and well beyond your limits isn’t exactly the same as being overcome by monotony at the outset.

Assuming you’d like to beat the tedium, turn to companionship. Riding with others and chatting (about topics light or weighty) is a great way to pass the time and avoid being alone with your thoughts (or lack thereof). You can also discover new routes and new challenges. Repetition of the same roads ad inifinitum leads to a familiarity that can sap enthusiasm. Variety is the spice of life, so find a new trail or a new hill. Explore. If you’re a Type A nutjob, there’s always competing against yourself or others for Strava merits. You might still be bored, but at least people on the internet will respect your speed and grit. Or just give up. If it doesn’t make you happy, don’t do it.

Bicycling will be fine without you.

—GP

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Email gearpudence@washcp.com washingtoncitypaper.com march 17, 2017 11

House Republicans ape politicians from bygone eras in their Reefer Madness approach to marijuana.

By Patrick Anderson

The news ThaT Utah Congressman Jason Chaffetz, Maryland Congressman Andy Harris, and other Republican stalwarts in the House of Representatives hope to revoke the District’s voter-approved legalization of marijuana must be greeted with disdain but not surprise. For nearly a century, publicity-hungry, truth-adverse politicians have defied public opinion, scientific evidence, and simple decency to jail people who choose to smoke a weed they find harmless.

Let’s look at history. Cannabis sativa, which most of the world calls Indian hemp and most Americans call marijuana—or pot or grass or weed or dope—has been smoked for centuries all over the world. One early American user, John Hay, smoked hashish (a more powerful form of marijuana) as a Brown University student in the 1850s and told friends it was a “marvelous stimulant” that helped him “dream dreams.” Miraculously, Hay’s smoking harmed neither his brain nor his future: At age 22, he became a personal secretary to President Lincoln and later served as secretary of state under Presidents William McKinley and Theodore Roosevelt.

Marijuana was not widely used in the United

States until the early 20th century, when Mexicans who came north to work in the fields of Texas or on the docks in New Orleans increasingly brought it here. Its spread led to the imposition of harsh sanctions that made the user, as well as the grower or seller, liable for arrest.

Louisiana made simple possession a felony in 1925, and, motivated largely by racism, other states followed. Marijuana was mostly smoked

by Mexicans and blacks, and newspaper accounts warned darkly that it inspired superhuman strength and violent sexual desires among its users.

By the time the Federal Bureau of Narcotics was created in 1930, 16 mostly Southern states had outlawed marijuana, and Harry Anslinger, the head of the new bureau, declared war on it.

His hard line reflected his rivalry with the most formidable bureaucrat in U.S. history, FBI Director J. Edgar Hoover. Both men sought power by gaining a reputation as crime fighters.

Hoover seemingly had the advantage, as his FBI did endless battle with Public Enemies.

Anslinger had only his obsession with a weed that was smoked by a relatively small number of black and brown people, plus a few jazz musicians and intellectuals, but he described

12 march 17, 2017 washingtoncitypaper.com

endless lurid tales to newspapers and created a threat that terrified millions.

Anslinger’s spirit lives on in the 1936 film classic Reefer Madness, in which casual use swiftly led to murder, rape, prostitution, addiction, madness, and death. It would in time be seen as a comedy classic, hooted at on college campuses, but millions of Americans took it as the gospel truth.

During congressional hearings to outlaw marijuana, only a doctor from the American Medical Association challenged Anslinger’s horror stories, saying cannabis might have important medical uses and did not cause crime or violence. His views were roundly rejected as Congress overwhelmingly voted to make the weed illegal and its use punishable by arrest and imprisonment. The AMA soon saw the light and declared marijuana a menace to public health.

In 1938, New York City Mayor Fiorello La Guardia appointed scientists to carry out an ambitious study of the weed’s medical effects. Their report found that the drug did not lead to mental or physical deterioration or to addiction, crime, or violence. It was the most complete study of marijuana ever con-

ducted, but Anslinger denounced it and nothing changed.

IT was possIble to come of age in 1950s America in blissful ignorance of the weed. It was something jazz musicians were said to smoke or that we read about in books by Jack Kerouac and Norman Mailer. In those simpler days, young Americans were content with beer and wine, Scotch and gin, mint juleps and Singapore slings, and countless other beloved, bottled pleasures.

But in the 1960s, marijuana use began to spread. Blame the war in Vietnam. Most young men weren’t eager to fight and die there, and they scorned the older generation that said they should. Increasingly the young rejected the ways of their elders. They wore their hair differently, dressed differently, embraced different music, and finally pursued a different means of getting high. Millions of young people decided that smoking enhanced countless experiences, from eating brownies to watching sunsets to enjoying music and the joys of sex. (To cite an expert, some years ago I asked Playboy publisher Hugh Hefner if he thought marijuana enhanced sex. Hefner laughed.

Demolli knew smoked, and he saw selling to his friends as a lark.

The lark ended when he was arrested with more than 20 pounds.

The prosecutor sought a sentence of life in prison; a kindly judge settled for 25 years. NORML took up Demolli ‘s case and helped him win release after four. He resumed college (not in Texas) and is now a lawyer in New Mexico.

Throughout the 1970s a debate raged over what harm—if any—smoking caused. As president, Richard Nixon appointed a commission on marijuana that carried out the most extensive investigation of the health issues ever attempted. The members of his commission included a Republican governor as chairman, two U.S. senators, two U.S. representatives, and various scientists and law-enforcement officials. They and their staff held hearings and met with experts for more than a year, and on March 22, 1972, this eminently respectable group shocked Nixon with a report that concluded marijuana, when smoked in moderation, was harmless and that its private use should be legal.

They recommended a policy of “decriminalization” that would permit fines but remove criminal penalties. Highlights of the report included: “There is no evidence that experimental or intermittent use of marijuana causes physical or psychological harm. … Marijuana does not lead to physical dependency. … The immediate effects of marijuana intoxication on the individual’s organs or bodily functions are transient and have little or no permanent effect. … A careful search of literature and testimony by health officials has not revealed a single human fatality proven to have resulted solely from the use of marijuana.”

In 1980, when I was writing a book about NORML, a member of the commission’s staff spoke to me candidly about its work. “Law enforcement people were very cooperative with us, because we were perceived as conservative,” he said. “They were very candid about how they practiced selective enforcement. We talked to ‘hanging judges’ who were quite proud of throwing the book at marijuana smokers. We talked to federal officials who admitted they’d lied for years about marijuana— it was official policy to lie.

“We could go anywhere we wanted. Some of us visited as many as 30 countries, and time after time the same thing would happen. We would talk to the government officials, and they would give us the official government line: Marijuana use is very serious, we are very concerned about it, we want to work with your government to stamp it out. Then, that night, we’d go out drinking with them, and they’d tell us the truth: They thought marijuana was harmless, but the Nixon administration wanted a hard line and they feared economic reprisals if they didn’t go along.

Congressman Jason Chaffetz

Darrow Montgomery/File

“Of course,” he said. “That’s why I smoke it!”)

Whatever its pleasures, marijuana was burdened with one major problem: It was illegal. The cops couldn’t arrest a kid for his long hair or anti-war chants, but it was simplicity itself to arrest him for the weed in his pocket. “Since the use of marijuana and other narcotics is widespread among members of the New Left, you should be alert to opportunities to have them arrested by local authorities on drug charges,” J. Edgar Hoover wrote to FBI field offices in 1968. Hoover saw the issue with perfect clarity: Marijuana was a way to put people he didn’t like in jail. The power of the old, not the health of the young, has always been at the heart of the battles over marijuana.

Even as use was spreading among those who protested the war, countless others began smoking while fighting that war. In time, many brought their taste for pot back to their small towns and working-class lives. They might have been heroes in Vietnam, but in the U.S. they were also criminals.

Young white Americans increasingly replaced blacks and Mexicans as the alien culture, the threat to respectable America. Marijuana arrests rose from 18,000 in 1965 to more than 220,000 in 1970, the year that a young Washington lawyer named Keith Stroup started the National Organization for the Reform of Marijuana Law (NORML) to combat what he saw as a huge injustice to millions of otherwise law-abiding Americans.

Stroup set out to challenge laws that had never before faced serious opposition.

Against the backdrop of a hostile Congress and the Nixon administration, he at first focused on state legislatures where he sought not legalization, which seemed out of reach, but “decriminalization,” which meant that possession or use could be punished by a fine but not by jail.

I met Stroup in 1972 and proceeded to write a piece for The New York Times Magazine about the improbable emergence of a marijuana lobbyist in Washington. I accompanied him to the Texas prison in Huntsville, where we spoke with some of the hundreds of young men held there on marijuana charges. In Texas, simple possession was still a felony, punishable by up to life in prison.

We talked to a Mexican-American named Pete Trevino, who had grown up in an orphanage and was about to enter college on a football scholarship when he was convicted of selling marijuana. The judge, noting that he was an orphan, said, “Son, we’ll give you a home,” and proceeded to sentence him to 40 years.

We met Frank Demolli, who, as a longhaired freshman at the University of Texas, met another freshman who knew a border guard, a Vietnam veteran, who would let them bring pounds of weed across the Mexican border for half the profits. Everyone

A poster the Bureau of Narcotics released in 1935

Still from the film Reefer Madness

washingtoncitypaper.com march 17, 2017 13

J. Edgar Hoover

“We went to some countries where they would let the Americans out of prison before we arrived, and to others where they wouldn’t let us see the dungeons where they kept them.

It became very hard to maintain the old myths.

By the time it was all over, and we’d seen all we had seen, there was really not much debate.

No one could argue that people should go to jail for smoking marijuana.”

During the election that fall, an outraged Nixon denounced his commission’s report and attacked his Democratic opponent, Sen. George McGovern, as soft on drugs.

The report was a godsend for NORML, strong evidence to use with state legislatures.

The reform movement scored a major victory after a young teacher named Steve Kefoury was elected to the Oregon legislature in 1972.

While campaigning near a college campus in Portland, Kefoury would knock on doors but find people reluctant to open up. If they did, he often smelled the distinctive scent of marijuana inside. Soon he was telling young people, “If I’m elected, you won’t have to be paranoid anymore.” He kept his promise. With his leadership, Oregon became the first state to enact decriminalization.

After Oregon, reformers hoped to see other states follow. Instead, bills died in several states, and a major counteroffensive against reform began in 1974. Its leader was Sen. James Eastland of Mississippi, a notorious racist and reactionary. Eastland’s Senate hearings made no pretense of fairness. Handpicked anti-marijuana scientists were his star witnesses. He and his experts warned that

First Lady Nancy Reagan speaking at a 1987 “Just Say No” rally in Los Angeles.

marijuana was producing a “generation of zombies” and that “subversive forces” were behind its spread.

But how was Eastland to refute the marijuana commission’s finding that smoking was harmless? His strategy was to announce that dramatic “new evidence” had made the dangers more clear than they had been three years earlier when the commission conducted its work. Eastland’s scientists testified that smoking caused an “amotivational syndrome” that made young people unwilling or unable to work, study, or defend their country. His witnesses blamed pot for causing insanity, psychosis, impotence, deformed children, and violent crime. Needless to say, the money for their research almost always came from federal agencies that looked to Congress for funding and policy guidance.

On examination, the“new evidence” invariably proved to be suspect. One of Eastland’s experts said he had pumped marijuana smoke into 10 monkeys, whereupon two died and the rest suffered changes in brain-wave patterns.

This inspired “Marijuana Smoking Causes Brain Damage” headlines across the land. A Nobel Prize-winning scientist later noted that the unfortunate monkeys had been given dosages equivalent to a human smoking a hundred strong joints a day.

The Eastland hearings did much to overshadow the Marijuana Commission’s findings.

Still, Nixon’s resignation in 1974 seemed to bode well for reform. The two presidents who followed him, Gerald Ford and Jimmy Carter, had both said they favored ending jail penal-

14 march 17, 2017 washingtoncitypaper.com

ties. With Ford in the White House, six more states joined Oregon in approving decriminalization—California, Colorado, Alaska, Ohio, Maine, and Minnesota. Then, in 1977, with Carter in the White House, Mississippi, New York, and North Carolina followed. But this burst of reform soon ended.

Although Carter was on record against jail for smokers, a formidable new force soon joined the debate. Mothers in many cities, convinced that marijuana would ruin their children’s lives, had begun to organize. They often said they didn’t want to see anyone go to jail, but if that was the price for protecting their children, so be it. Very few politicians wanted to argue with angry mothers. Carter stopped talking about reform.

Campaigning in 1980, Ronald Reagan embraced the “new evidence” and called marijuana the most dangerous drug in America.

His eight years were a hard time for reform.

“Just say no” was the slogan and jail the reality. But though Nebraska in 1979 was the last state to decriminalize for nearly 30 years, progress began on another front, the medical

use of marijuana.

That cannabis has medical uses has long been recognized throughout the world. In the U.S. in the 19th century it was often prescribed as a pain reliever. But once Anslinger demonized the weed in the 1930s, the government denied its medical uses.

When change finally came, it was in large part because of two determined young men, Bob Randall and Lynn Pierson.

Randall was in college when he learned that he suffered from glaucoma and was going blind. But he also discovered that marijuana stabilized or even improved his vision. By then he was a teacher in Washington, living on Capitol Hill, and he began to grow his own medicine. Then one day a policeman spotted a marijuana plant on his back porch and arrested him.

Randall didn’t think he should be punished for smoking something that kept him from going blind. He made his way to Stroup, who explained that NORML was in the fourth year of a legal battle to force the Drug Enforcement Administration to reclassify marijuana for

medical use. Randall found a lawyer to handle his case and an expert on glaucoma to testify at his trial. He raised a “medical necessity” defense to the marijuana charge, and a sympathetic judge took his case under advisement.

Randall was by then demanding that the DEA provide him with some of the marijuana it grew for research. After bitter resistance— but fearing the impact of a loss in court—the DEA reluctantly agreed to create a one-man “research project” to provide him with legal cannabis. He began to work for medical use for everyone and at a NORML conference he met Lynn Pierson.

Pierson grew up in Clovis, New Mexico, and was in college when he learned he had testicular cancer and might die within six months. He began chemotherapy after surgery, only to find its side effects—vomiting, convulsions—so awful that he vowed not to undergo it again.

But he did try chemo once more, after smoking marijuana, which made the side effects bearable. Like Randall, he was outraged that the government had branded him a criminal for smoking something that eased his suffering. Late in 1977, he and Randall agreed to work together on political action that could benefit not only themselves but countless others.

They joined with members of the New Mexico legislature to write a medical use bill.

Despite his failing health, Pierson sought out scores of legislators. “Don’t play politics with my life,” he pleaded. The reform bill passed easily. When Gov. Jerry Apodaca signed it on Feb. 21, 1978, with Pierson at his side, he joked, “Okay, Lynn, you can start smoking it legally now.”

Pierson died less than a year later. “In the last conversation I had with Lynn, his state was beatific,” Randall recalls. “He felt he had changed things.”

Stroup was always amazed that the federal government opposed medical use. “How can they be so stupid as to deny people medicine?” he would ask. All over America, thousands of sick people were insisting that smoking helped them, even as federal agencies dismissed their stories as “anecdotal.” But people mattered— reality mattered—and starting in the 1990s, 20 more states and the District approved medical use. Four states did so in November, including Florida, where the measure won a remarkable 71.3 percent of the vote.

Even as medical use spread, decriminalization remained stalled for nearly 30 years. After Nebraska in 1979, it was not until 2008 that Massachusetts followed suit. Then the tide began to turn, and 18 states have now ended criminal penalties.

As for full legalization—the ultimate goal of reformers—in 2012 Colorado led the way (with 55.3 percent of the vote), followed by Washington State (55.7 percent), Oregon (56 percent), and Alaska (53 percent), plus the District with 65 percent support. In 2016, California approved sale and use along with Maine, Massachusetts, and Nevada. To date, eight states and the District have approved legal marijuana.

All this happened because minds were

changing. In 1974, about 16 percent of Americans thought marijuana should be legal. By 2010 public opinion was divided 50-50. Today, 60 percent favor legalization. This dramatic turnabout probably has less to do with what politicians have said or done than with the inescapable fact that older, non-smoking, anti-marijuana people kept dying and younger, pot-tolerant people replaced them. That won’t change.

Another statistic is less encouraging. Marijuana arrests increased from 18,000 in 1965 to to more than 220,000 in 1970 and have reached as high as 900,000 a year. Of the 8.2 million marijuana arrests between 2001 and 2010, 88 percent were for simple possession, according to the ACLU. The ACLU found that, despite roughly equal usage rates, African-Americans are 3.73 times more likely than whites to be arrested. Despite reform efforts, far more people are arrested for possession today than ever before, and racism continues to drive law enforcement.

Stop-and-frisk laws helped drive up the arrest rates. In theory, police stop suspicious characters to search for weapons. In fact, they rarely find weapons but often, targeting black and Hispanic teenagers, find small amounts of marijuana. In New York, teenagers would be jailed overnight and required to return to court, often losing jobs as a result. This policy, destructive to young lives and arguably unconstitutional, has given the nation’s police millions of easy, low-risk arrests about which to boast. In New York, public pressure finally forced the police to cut back on stop-and-frisk, and arrests fell from more than 50,000 in 2011 to 16,590 in 2015. But the policy remains widespread nationally.

How many lives might be saved if the resources devoted to millions of pointless marijuana arrests were devoted to stopping the heroin and opioid epidemic that is killing tens of thousands of Americans each year?

Which brings us back to Chaffetz of Utah, Harris of Maryland, and other Congressional geniuses who want to revoke the legalization that District voters approved. They follow in the great lock-’em-up tradition of Harry Anslinger, J. Edgar Hoover, James Eastland, Richard Nixon, and Ronald Reagan.

The Republicans want to continue a policy based on lies and racism, a policy that gives one group the power to put millions of others in jail for no good reason. The effort to change this policy has been long and difficult. And the media, always anxious to appear respectable, has rarely played a positive role.

If the Republican efforts succeed, smokers in the District will be angered and inconvenienced but will suffer far less than millions of people who will lose health care, housing, and vital safety-net services so the Republicans can cut taxes of the billionaires whose interests they serve so shamelessly.

But in the long run, reform can be delayed but not stopped, in the District or across the nation.

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Patrick Anderson is the author of High In America, among other books. washingtoncitypaper.com march 17, 2017 15

DCFEED

The daiquiri at Hill Prince on H Street NE gets its foamy top from chickpea water brought over from Little Sesame instead of traditional egg whites. The bar opened Friday from the DGS Delicatessen owners.

Should We Put a Label on It? With D.C.’s certified-organic pioneer Nora Pouillon bowing out, “handshake organic” is the new normal.

By Lani Furbank D.C. beCame home to the country’s first certified organic restaurant in 1999, thanks to trailblazing Chef Nora Pouillon. Only a handful of restaurants across the country have followed suit, and no other establishment in D.C. has earned the stamp. But by summer’s end, Pouillon plans to retire and sell Restaurant Nora. Though the city will no longer have any certified organic dining spots, that doesn’t mean there won’t be organic food on local menus.

The world of organic certification for everything from farms to packaged goods is one of boundless complexity, with regulations, applications, inspections, and fees. For a restaurant, that complexity is amplified. “That’s a very difficult thing to do, to be certified organic,” Pouillon says. “You have to be passionate and crazy, as I am.”

The organic label is regulated by the USDA’s National Organic Program. To be certified, a product must comply with a “set of cultural, biological, and mechanical practices that support the cycling of on-farm resources, promote ecological balance, and conserve biodiversity.” Produce, for example, is grown without synthetic fertilizers and pesticides, while livestock are raised without hormones. Certifications can be administered by a variety of accredited organizations.

When Pouillon set out to certify her restaurant, guidelines for a food service establishment didn’t exist. Oregon Tilth, a West Coast organization, agreed to work with her to develop a set of regulations that would suit the operations of a small-scale restaurant, rather than a farm or corporation. “I had to prove that 95 percent of whatever comes in the restaurant is certified organic,” Pouillon explains. Meeting this stringent standard was a simple decision for Pouillon because she had been building an organic foundation since opening.

When Pouillon first moved to the United States in the 1960s, she was appalled at the unhealthy food she found. She sought out local farmers and clean food to feed her fami-

Darrow Montgomery

Young & hungrY

ly, and when she opened her own restaurant, she continued this practice. “I couldn’t kill my customers,” she jokes. “Food that is grown without any pesticides or synthetic fertilizer is better for you and keeps you healthier.”

In the 1980s, there were hardly any certified organic ingredients to work with, but Pouillon chipped away at her goal by convincing farmers to become certified and educating the public about the benefits of organic food. Now she works primarily with Tuscarora Organic Growers Cooperative (which she helped launch), Albert’s Organic, Coastal Sunbelt, and United Natural Foods.

Demand for organic products has seen double-digit growth nearly every year since the 1990s, and organic sales account for more than 4 percent of total U.S. food sales, according to the USDA. But Pouillon says she’s been

16 march 17, 2017 washingtoncitypaper.com

unable to find a buyer who wants to keep her kitchen organic.

For starters, it’s still more expensive to buy organic products than conventional ones— about 20 percent more—according to Pouillon. Then there’s the exacting responsibility of managing an organic kitchen. Pouillon juggles numerous vendors, varying delivery schedules, and erratic product availability. Potential buyers have told her that running an organic restaurant is too costly and too complicated.

With Pouillon’s imminent plan to bow out of restaurants, will there be still be places to eat for diners who crave organic food above all else? Yes, because many D.C. chefs value organically grown products, saying they are typically higher quality. But instead of focusing on an organic label, these chefs nurture

direct relationships with “handshake organic” farmers.

“I think there’s so many responsible farmers nowadays doing the right thing,” says Chef Rob Weland of Garrison. Instead of relying on an outside certification agency, he works with with farmers one-on-one. “It’s super important that chefs visit the farm and have a relationship with the farmer.”

Chef Spike Gjerde of Woodberry Kitchen in Baltimore and the forthcoming Adams Morgan restaurant A Rake’s Progress agrees talking to farmers directly is the best strategy.

“I’m open to the conversation around why a farmer doesn’t choose to be certified organic if they are practicing or using organic practices,” he says. One farmer told Gjerde that an organic label would only be useful if he sold his products in a grocery store, rather than direct-

ly to his customers.

Chef Marjorie Meek-Bradley of Smoked & Stacked also values local relationships over a label. “For me, local always takes priority over organic, and a lot of times smaller farms can’t really afford to be certified organic,” she says.

Weland, who uses ingredients from his own organic garden plots as well as local farms, is advantageously positioned to certify his restaurant as organic. He says 50 to 60 percent of his food is certified organic, while an even higher percentage is organic but not certified.

But Weland isn’t considering it because of the certification fees, which vary based on a restaurant’s gross revenue.

“I think we really diligently source and have good relationships, and that’s more important to me than being certified organic,” he says. “I have the utmost respect for what Nora did; I just think it’s very, very hard to do.”

Even for a place like The Restaurant at Patowmack Farm in Lovettsville, Virginia, where organic has always been a hallmark, certification doesn’t have the allure it once did.

The farm itself was the first to be certified organic in Virginia, but it has only kept that status sporadically since then. The restaurant has never been certified. “We do all the organic practices already,” says Chef Tarver King.

“It’s just such a pain, and really at the end of the day … it doesn’t really pay off.”

Chef Jesse Miller of Bar Pilar does think it could pay off and has recently decided to consider certification. He says his ingredients are about 65 to 75 percent organic and local, but that’s not something he plasters on the menus.

“We’ve gotten to this point in this city where it’s a faux pas to even mention that you do these kinds of things on a menu,” Miller says.

“Somebody’s making fun of you … because they’re like, ‘oh they’re acting like it’s the early 2000s again and they have to list every farm that they use.’”

Consumers today are more educated and ask the right questions, but that doesn’t mean restaurants don’t bend the truth. “There’s plenty of restaurants that just say they do [buy organic] and are buying from the larger companies like US Foods and Sysco,” Weland says. “If you look at their numbers,” Miller adds, “there’s no way you could hit these numbers and buy this product. Trust me. I know.”

Sometimes restaurants that do big business are better positioned to source organically. For fast casual restaurants, the higher cost of organic can be slightly offset by scale, which Meek-Bradley takes advantage of to source greens and produce. “I work with all my purveyors to get the best price that I can, and when buying in larger quantities, it’s certainly easier to use that as a bargaining chip,” she says.

The same goes for Beefsteak from José Andrés. The chainlet’s chief of produce, Bennett Haynes, has found a way to keep costs low while sourcing from local farms through Coastal Sunbelt. About 30 percent of the vegetable-focused restaurant’s ingredients are either organic or responsibly grown. “If [organic] is cost competitive with conventional produce, then we definitely prefer it,” Bennett says.

This effect is amplified as a restaurant grows. Elevation Burger, which serves certified organic, grass-fed burgers, started as one restaurant in Falls Church, but now has 64 restaurants globally and works with more than 100 farms. “At the beginning, it was the promise of scale to the farms and then at a certain time it’s the actuality of scale,” explains Michael Berger, a founding partner and the vice president of the supply chain.

As one of the largest buyers of organic meat in the U.S. restaurant industry, Elevation Burger clearly sees the benefit of the accountability that comes from an organic certification. “We knew that as we were going to scale, we were not going to be able to inspect every animal, inspect every farm,” he says. “We do our initial legwork to vet each area that we’re purchasing animals from, but on an ongoing basis the organic certification really allows us to have the confidence that there is a competent body with enforcement authority overseeing the operations.”

Come fall, Pouillon won’t be running her eponymous restaurant anymore. Instead, she plans to serve as an organic consultant for businesses and restaurants and focus on her sustainable seafood business, Blue Circle Foods.

She will be awarded the James Beard Foundation Lifetime Achievement Award in May, and she hopes that her accomplishments will inspire more chefs to become champions for organic food.

It’s a big chef ’s coat to fill, but King hopes to cary the torch at Patowmack Farm. “We hope to try and become that beacon, that voice for speaking about organic cooking,” he says.

Even without Pouillon in the kitchen, those in the industry don’t see an immediate threat to the momentum that has been building over the past several decades. “The food movement is led by these individuals and by these kind of localized efforts,” Gjerde says. “There’s not a major structure to get co-opted or subverted by corporate interests.”

It’s also fairly self-sufficient. The National Organic Program’s budget is less than $10 million a year. “Other than that, the organic farmers don’t rely on the government for a terribly large amount of stuff,” Berger says.

“I don’t think chefs’ demand for quality will ever end,” Weland says. “I think people are going to hold it upon themselves to do the right thing.”

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Friday, March 17th S t. Pat r i c k ’s Day

Door Open at 8AM /Cover starts at 2PM Brunch served until 11 AM Ice Wagon Flu @ 2PM Lloyd Dobbler Effect @8:30PM

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Grazer

what we’ll eat next week: Tandoori sampler with a lamb kebab, chicken tikka, mint chicken, and vegetables, $11, Lemon Cuisine DC. Excitement level: 4 out of 5.

The Party? It’s in the Hotel Lobby.

The New York Times’ Pete Wells, one of the country’s most powerful food writers, boldly proclaimed this month that hotel dining is back in his native New York. Everyone from Mario Batali and April Bloomfield to Andrew Carmellini and Tom Colicchio have had haute hotel eateries. This comes after what feels like a decade of trying to plant restaurants in the unlikeliest of places: shipping containers! Laundromats!

Rotting row homes!

But it’s not just the Big Apple that’s going back in time to when it was commonplace to stroll past a concierge desk to get to some of the best tables in town. D.C.’s top chefs are also selecting hotels for their latest and greatest openings this spring.

—Laura Hayes THe HoTeL: Marriott Marquis (901 Massachusetts Ave. NW) THe cHeF/resTauraTeur: Mike Isabella THe resTauranT: Arroz oPening: Late March Enter Arroz through the grandiose lobby of the Marriott Marquis next to the Convention Center. Just look for the Vegas-style entryway with the word “Arroz” glittering in gold, signaling you’re in for a luxe time after you make your way through a series of dramatically blue archways that tip their hat to Moorish architecture. The restaurant, from restaurateur Mike Isabella, serves cuisine inspired by the south of Spain and Morocco with drinks to match like sherry, gin and tonics, and cocktails spiked with mahia fig brandy. Come warm weather, the Massachusetts Avenue-facing restaurant will have a sexy patio with cushy lounge seating and a trellis. Though in a hotel, Isabella says, “we’re not High Velocity or Starbucks.”

Are You Gonna Eat That?

Lani Furbank

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what we ate this week: “Strange flavor” eggplant with vegan fish sauce, tofu purée, and house-made bread, $12, Maketto.

Satisfaction level: 5 out of 5.

The dish: Wild birds scrapples Where to get it: The Bird; 1337 11th St. NW; (202) 518-3609; thebirddc.com

arroz, opening later this month at Marriott Marquis

Price: $5 alone, $12 as part of the Birdy Breakfast What it is: A cornmeal scrapple cake made with wild Scottish grouse and partridge meat, livers, and giblets. The meat and organs, which the chef must first inspect for buckshot, are ground and cooked with fine cornmeal, bird stock, sage, salt, and black pepper. The mixture sets in a roulade until it’s solid, then it’s sliced and seared to order.

THe HoTeL: The Darcy (1515 Rhode Island Ave. NW) THe cHeF/resTauraTeur: Robert Wiedmaier THe resTauranT: Siren oPening: Mid-spring Chef Robert Wiedmaier of Marcel’s and Brasserie Beck fame wants future guests of Siren to know his restaurant will have its own entrance, separate from the forthcoming hotel, The Darcy in Logan Circle. That’s where you’ll find his ode to the ocean. Former Brine Chef John Critchley will helm Siren’s kitchen, and diners can expect an opulent raw bar, seafood from around the world, cool takes on vegetables, and lots of Champagne. Named for a mermaidlike mythological creature that eats sailors alive, Siren will have the look and feel of a captain’s quarters on a ship.

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THe HoTeL: The LINE Hotel DC (1770 Euclid St. NW) THe cHeF/ resTauraTeur(s): Erik Bruner-Yang and Spike Gjerde THe resTauranT(s): Brothers and Sisters, Spoken English, A Rake’s Progress oPening: Spring The LINE netted two monster chefs for its food and beverage offerings: Erik BrunerYang of Maketto and Spike Gjerde of Baltimore’s Woodberry Kitchen. Bruner-Yang will debut a tasting menu restaurant with Spoken English, plus Brothers and Sisters inspired by Japanese and Taiwanese flavors. Meanwhile, Gjerde will celebrate the Mid-Atlantic at A Rake’s Progress and the accompanying A Rake’s Bar.

THe HoTeL: POD Hotel DC (627 H St. NW) THe cHeF/resTauraTeur: Ian and Eric Hilton THe resTauranT(s): Crimson Diner, Whiskey Bar, and Rooftop oPening: Late spring The Hilton brothers, who have been debuting nightlife spots in D.C. for more than a decade, are making their first foray into hotels with a lobby diner, whiskey bar, and rooftop bar all under the Crimson moniker. The diner will serve Southern comfort food well into the night, and the whiskey bar will celebrate the brown spirit’s popularity in the South.

What it tastes like: In Chef Michael Bonk’s variation of scrapple, gamey birds stand in for the pork scraps found in the traditional Pennsylvania-Dutch breakfast specialty. The dark red grouse meat has a peatiness that Bonk presumes comes from a life in the forests of Scotland. The partridge is more mild in flavor, sitting somewhere between duck and chicken.

If you aren’t a fan of game meat, don’t let that deter you. The pronounced bird flavor is masked by the sage and bird stock, and the result is reminiscent of Thanksgiving stuffing that’s crispy on the outside and soft on the inside. Bonk enjoys it with ketchup or a runny egg.

The story: Like at his porcine project The Pig, Bonk isn’t afraid of the unusual at The Bird. “I’m always on the lookout for interesting ways to get people exposed to odd ingredients,” he says. “I like to have as many different birds as possible on the menu.” Unfortunately, it’s cost-prohibitive to serve a grouse or partridge whole, since most customers would balk at paying $45 for a bird the size of their fist. Incorporating the meat into a scrapple cake is a financial win, and it’s also a more approachable way to introduce the birds to diners without ruffling any feathers.

—Lani Furbank

Every year right around this time, there is a predictable epidemic: Parents break out in cold sweats, suffer panic attacks, and check their bank balances. It’s not fear of an impending doom—although this year, there is that too—but the realization that it’s summer camp sign-up time. Sure, they want their little spawn to be challenged, to have fun, and to learn, but mostly they need to figure out where the rugrats can go while they’re at work.

We’ve produced a little antidote to that annual anxiety. Ready your circling pens.

—Liz Garrigan

Valley Mill Camp

Acorn Hill DAy cAmp Acorn Hill’s summer camp incorporates outdoor play and elements of Waldorf curriculum in the school’s wooded playground with indoor learning. Ages 3.5 to 6. Acorn Hill Waldorf Kindergarten and Nursery. 9504 Brunett Ave., Silver Spring. $560–$785. June 19–July 28. (301) 565-2282. acornhill.org.

ADventure tHeAtre mtc cAmp Adventure Theatre’s summer camp is a full-day musical theater program. Campers work with local theater professionals and finish up their summer by performing in a full-scale production. Adventure Theatre also offers a three week musical theater training program for teenagers. Ages 6 to 18. Adventure Theatre MTC. 7300 MacArthur Blvd., Glen Echo. $800–$850.

June 19–Aug. 25. (301) 634-2270. adventuretheatre-mtc.org.

AFDc Summer cAmpS Elementary schoolers can practice their French skills at this week-long camp that combines language learning with hands-on activities and field trips. Teenage students can take beginner classes or prepare for the AP and SAT 2 exams during two-week long courses. Ages 5 to 18.

Alliance Française de Washington. 2142 Wyoming Ave. NW. $350–$495. June 26–Aug. 18. (202) 234-7911. francedc.org.

BArrie DAy cAmp Barrie School’s outdoor summer day camp takes place at the school’s 45-acre campus. Campers participate in a range of traditional activities, from athletics to the performing arts, and attend daily swim lessons. Speciality camps for riding, theater, nature, karate, digital video, sports, art, and counselors-in-training are also offered. Ages 4 to 14. Barrie School. 13500 Layhill Road, Silver Spring. $400–$600. June 19–Aug. 11. (301) 576-2800. barrie.org.

BeAuvoir Summer cAmp Beauvoir Summer Camp is a day camp for elementary school students that mixes outdoor exploration with science, sports, and art. Specialized programs include a city discovery series for older kids and a nature option for younger children. Ages 3 to 11. Beauvoir School. 3500 Woodley Road NW. $260–$1275. June 19–Aug. 4.

(703) 945-0408. summer.beauvoirschool.org.

BerrenD Summer DAnce Berrend Dance Centre’s summer intensive is a four-week program for advanced dancers. Campers will take classes in ballet technique, pointe, partnering, modern, tap, jazz, and hip-hop. Week-long ballet camps are also available for younger dancers. Ages 5 to 18. Berrend Dance Centre. 3460 Olney-Laytonsville Road, Suite 210, Olney. $330–$1275. June 25–Aug. 18. (301) 774-3032. berrenddancecentre.com.

BetHeSDA Big trAin Summer cAmp This co-ed camp focuses exclusively on baseball. Campers receive instruction in the fundamentals of the game as well as the opportunity to play in a live game each day. Special sessions focus on pitching and advanced skills; celebrity camp features appearances by players from the Washington Nationals. Ages 5 to 12.

Bethesda Big Train. 10600 Westlake Drive, Bethesda. $200–$330. June 19–Aug. 11. (240) 477-1222. bigtrain.org/summercamp.

BurgunDy FArm Summer DAy cAmp Children participate in a variety of sports, swimming, performing arts, and photography activities at this day camp coordinated by Burgundy Farms Country Day School.

Younger students enjoy story time, art projects, and scavenger hunts, while older campers can pick a specific area, from soccer to computers to photography, to focus on. Ages 3 to 12. Burgundy Farm Country Day School. 3700 Burgundy Road, Alexandria. $390. June 19–Aug. 11. (703) 960-3431. burgundyfarm.org. cAllevA Summer cAmpS Calleva is a day camp centered around outdoor sports and education.

Activities range from kayaking and rock climbing to horseback riding and exploring the property’s farm.

Ages 4 to 17. Calleva Farm. 13015 Riley’s Lock Road, Poolesville. $500–$1045. June 12–Sept. 1.

(301) 216-1248. calleva.org. cAmp ArenA StAge Camp Arena Stage is a D.C. day camp dedicated to theater, music, visual arts, and dance. Campers choose their own activities, which range from knitting to a cappella to stop motion animation, and attend a daily show featuring the work of faculty, guest artists, and fellow campers. Ages 8 to 15. Georgetown Visitation Preparatory School. 1524 35th St., NW. $950–$2500. June 26–Aug. 4.

(202) 554-9066. arenastage.org/education/camp-arena-stage. cAmp AriStotle Camp Aristotle is a day camp for students with social and communication challenges.

Activities range from crafts to science experiments and are designed to foster self-awareness and social success. Ages 5 to 15. Auburn School. 9545 Georgia Ave., Silver Spring. $300–$600. July 3–Aug. 11. (301) 588-8048. theauburnschool.org/camp.cfm. cAmp HiDDen meADowS Camp Hidden Meadows is a traditional co-ed overnight camp located in the Allegheny Mountains of West Virginia. Activities range from organic farming to swimming to dance and drama. All campers are invited to participate in off-campus activities like whitewater rafting and zipline tours. Ages 7 to 16. Camp Hidden Meadows.

17739 Potomac Highland Trail, Bartow, W.V. $1010– $8800. June 18–Aug. 19. (800) 600-4752. camphiddenmeadows.com. cAmp HorizonS Camp Horizons is a co-ed overnight camp in the Blue Ridge Mountains. Campers live in cabins and can participate in sports, swimming, crafts, rocketry, gardening, and hiking. Special programs in adventure, horseback riding, and leadership are also available. Ages 6 to 17. Camp Horizons. 3586 Horizons Way, Harrisonburg, Va. $1395–$3450. June 11–Aug. 19. (540)-896-7600. camphorizonsva.com. cAmp imAginAtion StAge The Bethesda-based children’s theater offers a range of day camp programs in drama, musical theater, dance, and filmmaking. Ages 3 to 18. Imagination Stage. 4908 Auburn Ave., Bethesda. $205–$1295. June 12–Aug. 25.

(301) 280-1660. imaginationstage.org. cAmp invention Camp Invention is a series of week-long programs designed to foster interest in science, technology and mathematics. Camps will be held at Model Secondary School for the Deaf and a number of other schools in the D.C. area, in partnership with the United States Patent and Trademark Office and the Collegiate Inventors Competition. Ages 6 to 11. Model Secondary School for the Deaf. 800 Florida Ave. NE. $255. July 10–July 14. (800) 968-4332. campinvention.org.

cAmp rim rock For girlS Girls participate in sports, water activities, horseback riding, and the performing arts at this residential camp in West Virginia. Camp Rim Rock for Girls. 343 Camp Rim Rock Road, Yellow Spring, W.V. $1500–$5000. June 18– Aug. 12. (347) 746-7625. camprimrock.com. cAmp twin creekS Camp Twin Creeks is a co-ed overnight camp in the Allegheny Mountains. Campers live in cabins and participate in a range of traditional camp activities, from sports like tennis and soccer to swimming and craft-making. Ages 7 to 16. Camp Twin Creeks. 9235 Huntersville Road, Marlinton, W.V. $2800–$5500. June 25–Aug. 19.

(914) 345-0707. camptwincreeks.com. cAmp wAtonkA Camp Watonka is a sleep-away science camp for boys in a traditional wilderness setting. Activities range from archery and canoeing to computer programming and astronomy. Ages 8 to 16. Camp Watonka. 328 Wangum Falls Road, Hawley, Pa. $3000–$7600. June 24–Aug. 19. (570) 226-4779. watonka.com. city oF gAitHerSBurg Summer cAmp The city of Gaithersburg offers a variety of full- and half-day summer camps, ranging from a toddler camp to specialized arts and sports camps for older children.

Ages 5 to 13. City of Gaithersburg’s Department of Parks, Recreation and Culture. 506 S. Frederick Ave., Gaithersburg. $45–$496. June 21–Aug. 25.

(301) 258-6350. gaithersburgmd.gov/camps. clArA BArton center For cHilDren Summer cAmp Clara Barton Center for Children offers a co-ed summer camp for pre-schoolers. Led by qualified teachers, campers participate in crafts, water play, and other activities. Half-, full-, and extendedday programs are available. Ages 2 to 5. Clara Barton Center for Children. 7425 MacArthur Blvd., Cabin John. $180–$805. June 19–Aug. 18. (301) 320-4565. clarabartoncenter.org. columBiA HorSe center Columbia Horse Center’s day camps are designed to teach students horsemanship skills. Activities range from horseback riding and games to learning about animal care and grooming. Camps culminate in an end of session show. Ages

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5 to 15. Columbia Horse Center. 10400 Gorman Road, Laurel. $472–$930. June 19–Aug. 25. (301) 776-5850. columbiahorsecenter.com. concorD Hill cAmp Concord Hill Camp is an educational day camp taught by Concord Hill preschool teachers. Campers participate in crafts, water play, science experiments, and other activities. Ages 3 to 5. Concord Hill School. 6050 Wisconsin Ave., Chevy Chase. $225–$280. June 19–July 28. (301) 654-2626. concordhill.org. congreSSionAl cAmp Campers can enroll in day, academic, and travel camps housed on the campus of the Congressional Schools of Virginia. Older students explore the greater D.C. region while younger students play games, participate in drama activities, and swim. Ages 3 to 15. Congressional Schools of Virginia. 3229 Sleepy Hollow Road, Falls Church. $267– $870. June 19–Sept. 1. (703) 533-0931. congocamp.org. creAte Summer cAmp Experienced art teachers inspire creativity in campers by teaching a variety of art-making techniques. Projects include pottery, sculpture, drawing, painting, cartooning, and more!

Ages 6 to 12. CREATE! Arts Center. 816 Thayer Avenue, Silver Spring. $250–$315. June 12–Sept. 1.

(301) 588-2787. createartscenter.org. curioSity zone Summer cAmpS Children with an interest in science and engineering can participate in a variety of full- and half-day science camps. Session themes this year include Legos, robotics, and medicine. Ages 4 to 10. Curiosity Zone. 43135 Broadlands Center Plaza, Suite 123, Ashburn. $249–$369. June 12–Aug. 18. (703) 723-9949. curiosityzone.com.

DAr Summer cAmpS The DAR Museum offers a week-long day camp for kids this summer. In the Time Travelers Camp, contemporary children learn about colonial life by trying out different careers and making a variety of hands-on crafts. Ages 10 to 13. DAR Museum. 1776 D St. NW. $325. July 17–July 21.

(202) 628-1776. dar.org/museum/education/summer-camp.

Dc FencerS cluB Summer Fencing cAmp DC Fencers Club Summer Fencing Camp teaches kids the sport of fencing through games and drills. Camps are open to beginner through intermediate fencers, and equipment and uniforms are provided. Ages 7 to 16. DC Fencers Club. 9330 Fraser Ave., Silver Spring. $340–$960. July 10–Aug. 25. (301) 562-1990. dcfencing.com.

Potomac. $183–$300. June 5–Aug. 4. (301) 340-7704. genevadayschool.org. greAter reSton ArtS center Summer cAmpS Campers participate in a variety of hands-on art projects at this camp sponsored by GRACe. Specific classes blend art with science and technology, teach photography techniques, and incorporate yoga into art. Ages 6 to 15. Hunters Woods Elementary School.

2401 Colts Neck Road, Reston. $267–$340. July 10–Aug. 18. (703) 471-9242. restonarts.org. green HeDgeS cAmp Young children explore science, nature, and the performing arts at this weeklong day camp held at Vienna’s Green Hedges School.

Ages 3 to 7. Green Hedges School. 415 Windover Ave. NW, Vienna. $250–$400. June 1–July 28.

(703) 938-8323. greenhedges.org.

kiDBAll BASeBAll Kidball offers half- and fullday programs focused on learning the fundamentals of baseball and a variety of sports. Other activities include flag football, basketball, and floor hockey.

Ages 4 to 12. Cabin John Middle School. 10701 Gainsborough Road, Potomac. $190–$325. June 26–Aug. 11.

(301) 983-0543. kidballbaseball.com.

lAngley Summer StuDio Campers take a variety of classes in extracurricular categories like photography, robotics, and cooking, as well as academic categories like Spanish and chemistry at this immersive camp hosted by the Langley School. Ages 3 to 14.

Langley School. 1411 Balls Hill Road, McLean. $220– $495. June 2–Aug. 4. (703) 356-1920. langleyschool.org.

kiDS elite SportS cAmp Students improve their skills in soccer, basketball, and football at this camp run by Wilson High School physical education teacher Desmond Dunham. Ages 4 to 12. Woodrow Wilson High School. 3950 Chesapeake St. NW. $155–$325.

June 19–Aug. 11. (240) 321-9287. kidselitesports.org.

longAcre Longacre is an overnight teen leadership camp located in central Pennsylvania. Campers choose from an array of activities ranging from swimming and crafts to carpentry and interacting with farm animals. Ages 8 to 18. Longacre. 6514 Creek Road, Newport, Pa. $2224–$7209. June 25–Aug. 16.

(717) 567-3349. longacre.com.

HArmoniA muSic Summer progrAmS Young performers learn choreography, songs, and new tunes at this musical summer camp. Sessions culminate in a performance for friends and family. Ages 4 to 18. Harmonia School of Music and Arts. 204-F Mill St. NE, Vienna. $395–$675. June 26–Aug. 25.

(703) 938-7301. harmoniaschool.org.

HigHwooD’S Summer in tHe ArtS Highwood’s Summer in the Arts is a day camp that lets kids explore all aspects of the theater, from acting to lighting and sound design. Younger campers choose classes and participate in activities with special guest artists, while high school-age campers in the Artistin-Training program help teach classes and serve as apprentices for professional artists leading activities.

Ages 7 to 17. Highwood Theatre. 914 Silver Spring Ave., Suite 102, Silver Spring. $125–$1400. June 26–Aug. 4.

(301) 587-0697. thehighwoodtheatre.org/summer.html.

Joy oF motion DAnce cAmpS These camps, offered at Joy of Motion’s studios in Bethesda, Friendship Heights, and on H Street NE, are designed for children ages 3 to 18 of all levels to keep their minds and bodies active all summer long. Performance camps to expose kids to multiple dance styles at once; One-week intensive camps to improve technique in a specific style. Atlas Performing Arts Center. 1333 H St. NE. $270–$755. (202) 813-9505. joyofmotion.org.

DynAmite gymnASticS cAmp Dynamite Gymnastics Center offers half- and full-day camps centered focused on fun and flexibility. Activities are a mix of gymnastics instruction, games, crafts, and free play.

Ages 3.5 to 17. Dynamite Gymnastics Center. 4956 Boiling Brook Parkway, Rockville. $145–$345. June 19–Aug. 25. (301) 770-2700. dynamitegc.com. eSF Summer cAmp ESF (Education, Sports, and Fun) is a co-ed day camp at Georgetown Prep School.

Campers participate in a traditional range of camp activities, including daily swim instruction. Older students can enroll in filmmaking, cooking, and outdoor adventure courses; a speciality sports camp is also offered. Ages 3 to 17. Georgetown Prep School. 10900 Rockville Pike, North Bethesda. $465–$495. June 19–Aug. 18. (301) 493-2525. esfcamps.com/georgetownprep. evergreen Summer cAmp Evergreen is a co-ed creative arts summer camp held on the campus of Evergreen Montessori School. Campers participate in programming aimed at promoting teamwork and life skills, like cooking, art, music, tennis, and dance. Ages 2.5 to 10. Evergreen School. 10700 Georgia Ave., Silver Spring. $195–$1970. June 12–Aug. 18. (301) 942-5979. evergreenschool.com.

Flying kick Summer cAmp Flying Kick Fitness Center offers a day camp centered on giving kids a fun, educational experience with tae kwon do. Other activities include swimming, dodgeball, and arts and crafts. Camps are held at Concord Hill School in Chevy Chase between June 20 and Aug. 5. Ages 4 to 16. Flying Kick Fitness Center. 4711 Chase Ave., Bethesda. $325–$2220. June 19–Aug. 25. 301-951-0543. flyingkicktkd.com.

FuSion AcADemy Students create individualized education experiences at this new, fully accredited private school that runs year-round. Prices vary based on enrollment. Fusion Academy DC. 3007 Tilden St. NW. (866) 904-4770. fusionacademy.com. genevA DAy Summer cAmp Geneva Day School’s summer camp offers a range of outdoor and indoor activities for young children, from playground games and picnic lunches to baking and block building. Ages 2 to 6. Geneva Day School. 11931 Seven Locks Rd.,

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GOTTA DANCE! EXPLORE THE ART OF MOVEMENT

SUMMER DANCE CAMPS 2017 FULL AND HALF-DAY CAMPS FOR AGES 3-18

Weekend classes, more camp info + ƙRERGMEP EMH EX

joyofmotion.org

lopez StuDioS perForming ArtS cAmpS Aspiring performers can participate in a variety of intense musical theatre programs that focus on dancing, singing, and acting. Camps are held at local churches and Lopez Studios Headquarters. Ages 5 to 18.

Lopez Studios Performing Arts Preparatory School.

11425 Isaac Newton Square, Reston. $290–$1495. July 3–Aug. 19. (703) 787-0071. lopezstudiosinc.com.

NW. $335–$1135. June 19–Aug. 25. (202) 824-0449. theatrelab.org. tic Summer cAmp TIC is a day camp that strikes a balance between sports and technology. Activities range from soccer and original outdoor games to digital photography and web development. Camps are also offered at Georgetown Day High School in Friendship Heights, Connelly School of the Holy Child in Potomac, and St. John Academy in McLean. Ages 7 to 15. Georgetown Day Lower and Middle School.

4530 MacArthur Blvd. NW. $880. June 19–Aug. 11.

(703) 876-2868. TICCamp.com.

louDon internAtionAl Fencing cAmp Campers learn the basics of fencing from professional coaches at this camp sponsored by the Reston Fencers Club.

More experienced campers can enroll in a pre-competition program. Ages 7 to 12. Loudon International Fencing Club. 21670 Red Rum Drive, Suite 159, Ashburn. $370. July 17–Aug. 18. (571) 232-1223. loudouninternationalfencing.com. lowell ScHool Summer progrAmS The Lowell School offers a general summer day camp and several specialty programs where campers can swim, act, play sports, and learn new languages. Ages 2 to 14. Lowell School. 640 Kalmia Road NW. $400–$1595.

June 19–July 28. (202) 577-2000. lowellschool.org. mAD Science Mad Science is a day camp, hosted at the Hill Center and other locations around the area, that gives kids hands-on opportunities with science.

Activities range from learning about life in the form of cells and organs to learning how physics allows rockets to exit the atmosphere. Ages 6 to 12. Hill Center at the Old Naval Hospital. 921 Pennsylvania Ave. SE. $190–$325. June 19–Aug. 18. (301) 593-4777. dc.madscience.org. mArylAnD youtH BAllet Summer progrAmS The Maryland Youth Ballet offers a range of summer workshops for dancers of all ages and experience levels. Young children can take weekly introductory classes, while older students work to improve their technique. Auditions are required for some advanced programs. Ages 2 to 20. Maryland Youth Ballet. 926 Ellsworth Drive, Silver Spring. $100–$2000. June 20–Aug. 4. (301) 608-2232. marylandyouthballet.org. mAtHtree, inc. MathTree day camps use a variety of teaching tools, games, toys, and activities to help kids develop an appreciation for math, grow academically, and gain confidence in their math abilities. Sessions are held at schools and community centers throughout the region. Ages 5 to 15. Hill Center at the Old Naval Hospital. 921 Pennsylvania Ave. SE. $375– $840. July 24–Aug. 4. (877) 628-4987. mathtree.com. pASSport to Summer At wASHington internAtionAl ScHool Washington International School’s Passport to Summer is a co-ed multicultural day camp. The camp offers language immersion; art, science, and music workshops; and a counselorin-training program. Ages 3 to 15. Washington International School. 1690 36th St. NW. $165–$530. June 26–Aug. 11. (202) 243-1727. wis.edu/student-life/passport-to-summer. potomAc HorSe center Summer HorSe cAmp Potomac Horse Center offers a day camp for young horseback riders. In addition to riding multiple times a day, campers will also learn about horse breeds, anatomy, and grooming techniques. Ages 5 to 13.

Potomac Horse Center., 14211 Qine Orchard Road, North Potomac. $550–$5300. June 19–Aug. 25. (301) 208-0200. potomachorse.com/summer.htm. reDDemeADe equeStriAn cAmpS Reddemeade offers a horseback riding day camp, with activities ranging from daily riding lessons to hands on experiences with grooming and handling, as well as time for

arts and crafts and interactive discussions. Ages 7 to 14. Reddemeade Equestrian Center. 1701 Ednor Road, Silver Spring. $475–$875. June 19–Aug. 25.

(301) 421-4481. reddemeade.com. rounD HouSe tHeAtre Summer progrAmS Students in elementary school use their imaginations to tell stories in the Summer Destinations program, middle school students learn how to write and design a performance in the Summer Theatre Artists program, and high school students participate in a variety of intensive institutes covering directing, improv, and musical theatre at this long-running series of theater camps. Ages 5 to 18. Round House Theatre Education Center. 925 Wayne Ave., Silver Spring. $250–$300. June 19–Sept. 1. (301) 585-1225. roundhousetheatre.org.

Silver StArS gymnASticS cAmp The local gymnastics training center offers this day camp program, where kids can learn tumbling exercises, navigate the monkey bars, and climb the ropes. Ages 3.5 to 15.

Silver Stars Gymnastics. 2701 Pittman Drive, Silver Spring. $260–$320. June 12–Sept. 1. (301)589-0938. gosilverstars.com.

Sportrock climBing cAmp These indoor climbing gyms offer day-long courses that introduce students to climbing techniques, as well as week-long day camps that send advanced students outside to climb at Great Falls National Park and Harpers Ferry.

Ages 6 to 16. Sportrock Climbing Center Alexandria.

5308 Eisenhower Ave., Alexandria. Sportrock Climbing Center Sterling. 45935 Maries Road, Sterling. $80–$450. June 19–Aug. 25. (703) 212-7625. sportrock.com.

Stone riDge Summer cAmpuS Stone Ridge offers a co-ed day camp featuring a range of traditional oncampus activities, including sports, crafts, and swimming, as well as programs that take campers off campus to explore D.C. sites, participate in community service activities, and complete outdoor activities. Ages 4 to 16. Stone Ridge School. 9101 Rockville Pike, Bethesda. $149–$458. June 19–July 28. (301) 6574322. stoneridgesummercampus.org.

StrAtHmore Fine ArtS cAmp Strathmore offers two separate fine arts day camps for kids and teens this summer. Older campers will create art, visit the Glenstone contemporary art museum, and learn to talk about their work, while younger campers will express their creativity in a variety of mediums. Ages 6 to 17. Mansion at Strathmore. 10701 Rockville Pike, North Bethesda. $388–$448. July 31–Aug. 18. (301) 581-5100. strathmore.org/education/for-children/ art-camps.

Stu vetter’S BASketBAll cAmp Stu Vetter’s Basketball Camp is a day camp that teaches kids the fundamentals of basketball at locations in Maryland and Virginia. Campers have the privilege of learning under one of the most iconic and respected high school basketball coaches in America. Guest speakers also discuss basketball with attendees. Ages 6 to 17. Stu Vetter’s Basketball Camp. 1849 Clover Meadow Drive, Vienna. $175–$235. June 19–Aug. 11. (301) 770-6645. stuvetterbasketballcamp.com.

StuDio tHeAtre youtH Actor Summer intenSive Young actors receive training in movement, voice, and improvisation at this three-week program.

Placement auditions are scheduled for June 17. Ages 13 to 17. Studio Theatre. 1501 14th St. NW. $865–$925.

June 26–Aug. 4. (202) 332-3300. studiotheatre.org.

Summer Art cAmp The Art League offers full- and half-day camps that span the visual arts. Participants can choose to focus on a specific medium or dabble in a range of projects, from printmaking to sculpture and jewelry making. Ages 5 to 18. The Art League School—Madison Annex. 305 Madison St., Alexandria. $155–$345. June 19–Aug. 20. (703) 683-2323. theartleague.org.

Summer At SAnDy Spring Summer at Sandy Spring is a co-ed day camp focused on academics and recreation. Children may register for the general camp or specialty sports and arts programs. Ages 4 to 14. Sandy Spring Friends School. 16923 Norwood Road, Sandy Spring. $75–$495. June 19–Aug. 11.

(301) 774-7455. ssfs.org.

Summer At weS Summer at WES is a co-ed day camp offering a range of traditional and enriching activities, from swimming and sports to cooking and robotics. WES also offers a week-long sleepaway camp at West Virginia’s Camp Tall Timbers. Ages 4 to 14. Washington Episcopal School. 5600 Little Falls Parkway, Bethesda. $295–$1095. June 12–Aug. 11.

(301) 652-7878. w-e-s.org. tenniStAr SportS cAmpS TenniStar camps are dedicated to the teaching and practicing of various sports. Other offerings include basketball, lacrosse, and field hockey. Incoming Georgetown Visitation freshman can attend the VisiStar orientation program. Tennis instruction is also offered at Sport & Health in Bethesda. Ages 5 to 15. Georgetown Visitation Preparatory School. 1524 35th St. NW. $175–$375.

June 12–Aug. 4. (301) 530-5472. tennistar.com. tHe tHeAtre lAB Summer cAmpS The Theatre Lab offers three summer programs for kids interested in drama and musical theater, each culminating in a final performance of campers’ work. Ages 6 to 19.

Theatre Lab School of the Dramatic Arts. 733 8th St.

timBer riDge cAmp Timber Ridge is a traditional co-ed overnight camp in the Shenandoah Mountains. Activities include sports, visual and performing arts, and water activities like swimming, canoeing, and tubing on the Cacapon River. Ages 6 to 16. Timber Ridge Camp. Route 1 Box 470, High View, W.V. $3500– $9200. June 17–Aug. 11. (800) 258-2267. tcamps.com. uS perForming ArtS cAmpS Students can learn about acting and directing for the camera, study vocal performance, or participate in musical theater courses at this camp, offered at locations around the country. Residential and commuter options are available at Georgetown. Ages 12 to 18. Georgetown University. 3700 O St. NW. $1145–$3350. July 2–July 14.

(888) 497-3553. usperformingarts.com. vAlley mill cAmp Valley Mill offers the experience of a traditional sleepaway camp without the overnight stay. Participants in both the boys and girls programs take part in activities ranging from boating to drama to athletics with other campers their age. Co-ed junior camp and counselor-in-training programs are also available. Ages 4 to 15. Valley Mill Camp. 15101 Seneca Road, Germantown. $540– $4860. June 19–Aug. 25. (301) 948-0220. valleymill.com. wABA Bike cAmp Campers will volunteer in the community, gain confidence riding in the city, and learn the basics of bicycle repair and maintenance at this week-long day camp. KIPP DC Shaw Campus. 421 P St. NW. $350. July 3–28. (202) 518-0524. waba.org. wooDlAnD HorSe center Woodland Horse Center offers a day camp focused on teaching kids how to ride and care for horses. Programs vary based upon skill level and age; younger students do arts and crafts while older campers focus on different riding techniques. Ages 5 to 15. Woodland Horse Center.

16301 New Hampshire Ave., Silver Spring. $430–$875.

June 19–Aug. 25. (301) 421-9156. woodlandhorse.com. writopiA lAB Writopia Lab offers full-day and halfday summer camps for budding writers. All campers will participate in workshops with published authors and have an opportunity to read and publish their original work at the end of the program. Ages 6 to 18. Writopia Lab. 4000 Albermarle St. NW, Suite 308. $575–$3450. July 3–Aug. 25. (202) 629-9510. writopialab.org. ymcA cAmp lettS YMCA Camp Letts is a co-ed overnight camp on the Chesapeake Bay. Campers live in cabins and participate in boating, crafts, hiking, and sports. Add-on programs in horseback riding, power boating, sailing, water skiing, and paintball, as well as day camp programs, are also available. Ages 6 to 16. YMCA Camp Letts. 4003 Camp Letts Road, Edgewater, Md. $289–$799. June 18–Aug. 25.

(410) 919-1410. campletts.org.

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HARRY POTTER AND THE SORCERER’S STONE™ - IN CONCERT | NSO MAMMA MIA! CARMINA BURANA | NSO

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CHICK COREA ELEKTRIC BAND BÉLA FLECK & THE FLECKTONES

JURASSIC PARK™ – IN CONCERT | NSO

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CLASSIC ALBUMS LIVE PRESENTS

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NEIL GAIMAN

SUMMER TOUR 2017 3 DECADES OF SONG

NATALIE MERCHANT

THE WOOD BROTHERS HOT TUNA

TEDESCHI TRUCKS BAND

2017 SUMMER TOUR

WHEELS OF SOUL

DISNEY’S THE LITTLE MERMAID

PITTSBURGH CLO & KANSAS CITY STARLIGHT’S PRODUCTION OF

DIANA KRALL

GIPSY KINGS FEATURING NICOLAS REYES AND TONINO BALIARDO

THE BEACH BOYS

MARY CHAPIN CARPENTER LUCINDA WILLIAMS

LYLE LOVETT & HIS LARGE BAND

COLLIE BUDDZ HIRIE

NAHKO AND MEDICINE FOR THE PEOPLE

REBELUTION

AMY ANDERSSON, CONDUCTOR

NATIONAL SYMPHONY ORCHESTRA

THE LEGEND OF ZELDA: SYMPHONY OF THE GODDESSES

PJ HARVEY

DAYS OF FUTURE PASSED 50TH ANNIVERSARY TOUR

THE MOODY BLUES

Visit WOLFTRAP.ORG/SAVE for details.

LIMITED AVAILABILITY

$10 LAWN TICKETS $20 REAR ORCHESTRA SEATS

Discounts available for select shows on March 18 only.

OPENING DAY DISCOUNTS!

JUL 23

JUL 22

JUL 21

JUL 20

JUL 14

GRANT GERSHON, CONDUCTOR THE WASHINGTON CHORUS CHILDREN’S CHORUS OF WASHINGTON

WOLF TRAP OPERA NATIONAL SYMPHONY ORCHESTRA

2017 SUMMER SEASON

PREMIER SPONSOR

EMIL DE COU, CONDUCTOR

NATIONAL SYMPHONY ORCHESTRA

LA LA LAND IN CONCERT

THE RAGE AND RAPTURE TOUR

BLONDIE & GARBAGE

(SARA WATKINS, SARAH JAROSZ, AOIFE O’DONOVAN) AND JULIAN LAGE

I’M WITH HER

PUNCH BROTHERS

AMERICAN ACOUSTIC WITH

ARETHA FRANKLIN

2CELLOS

GUSTAVO DUDAMEL AND THE NATIONAL YOUTH ORCHESTRA OF VENEZUELA

TLC KID N PLAY MONTELL JORDAN ROB BASE C&C MUSIC FACTORY SNAP

THE PARTY CONTINUES TOUR FEATURING

I LOVE THE 90’S

PILOBOLUS

OFFICIAL AIRLINE OF WOLF TRAP

MAJOR SPONSOR, ROCK LEGENDS

SEP 12

SEP 9

SEP 3

AUG 15

AUG 8

PHILLIP PHILLIPS

LONG WAY HOME SUMMER TOUR

GOO GOO DOLLS

“AN EVENING YOU WILL FORGET FOR THE REST OF YOUR LIVES”

STEVE MARTIN & MARTIN SHORT

SEP 14 + 15

IMPERIAL BEDROOM TOUR

ELVIS COSTELLO & THE IMPOSTERS

JUN 22

WOLFTRAP.ORG 1.877.WOLFTRAP

AUG 4

AUG 3

AUG 2

JUL 29

JUL 25

DIANA ROSS

REGINA SPEKTOR BEN FOLDS

JUL 26

SHOVELS & ROPE

JUN 16

ST. PAUL & THE BROKEN BONES

PUCCINI’S TOSCA

STEVEN REINEKE, CONDUCTOR

NATIONAL SYMPHONY ORCHESTRA

GRACE POTTER

JUL 15

ASIAN YOUTH ORCHESTRA WITH SARAH CHANG

JUL 9

JUL 6

JUL 5

MAY 27

FIFTH HARMONY

JUN 29–JUL 2

JUN 24

THE BEATLES

CELTIC WOMAN u

LUKAS NELSON

BE MYSELF TOUR

SHERYL CROW

J BOOG THE MOVEMENT

IRATION

SOUNDS OF SUMMER TOUR

SLIGHTLY STOOPID

MAVIS STAPLES

FAST FORWARD TOUR

JOE JACKSON

WITH WOLF TRAP ORCHESTRA

BERNADETTE PETERS

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PLUS

JUN 21

JUN 17

JUN 10

JUN 3

JUN 2

MORRIS DAY & THE TIME

KOOL & THE GANG

CARLENE CARTER

EMMYLOU HARRIS

SAD CLOWNS & HILLBILLIES TOUR

JOHN MELLENCAMP

JUL 3

MARY J. BLIGE

MAY 25

TICKETS ON SALE MARCH 18!

HARRY POTTER CHARACTERS, NAMES AND RELATED INDICIA ARE © & ™ WARNER BROS. ENTERTAINMENT INC. J.K. ROWLING`S WIZARDING WORLD™ J.K. ROWLING AND WARNER BROS. ENTERTAINMENT INC. PUBLISHING RIGHTS © JKR. (S17)

Les Ballets trockadero de Monte Carlo

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.

Teatro El Público (Cuba)

Antigonón, un contingente épico

tory dobrin, Artistic director

Directed by Carlos Díaz March 21 & 22

“Parody and virtuosic technique... in glittering tandem.”

World premiere, Sabab Theatre (Kuwait)

Petrol Station

Written and directed by Sulayman Al Bassam March 24–26

-The New York Times

Théâtre des Bouffes du Nord (France)

Battlefield

Plus a collaboration with Sundance Institute Theatre Program

theater by Palestinians

Photo by Pascal Victor

Directed by Peter Brook March 29–April 2

Photo by Sascha Vaughan

US premiere

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

Creative Tensions: HOME

March 21 & 22 | Opera House with the Kennedy Center Opera House Orchestra

tICKEtS ON SALE NOW! KENNEdy-CENtEr.Org | (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.

March 25

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.

International Theater is underwritten by HRH Foundation.

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

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

24 march 17, 2017 washingtoncitypaper.com

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

Battlefield

CPArts

Listen to Foster Carrots’ heartfelt new song about the woes of seasonal affective disorder. washingtoncitypaper.com/arts.

Odd Couples

Two films centered around friendships with eccentric characters expose varying degrees of humanity—and uncomfortable situations.

Donald Cried

Directed by Kristopher Avedisian

Donald Cried

This Beautiful Fantastic Directed by Simon Aboud

By Tricia Olszewski PeoPle who flee suffocating hometowns often have a few things in common: They dream of bigger lives for themselves.

They don’t like the kind of person they become when they return. And they pity old friends who stay.

In writer-director Kristopher Avedisian’s feature debut, Donald Cried, the dynamic between big and small fishes and their inverse ponds plays out to awkward, exasperating, and at times devastating effect. Based on a story idea by Kyle Espeleta and Jesse Wakeman, and adapted from the same-titled short that Avedisian also directed, the film opens with Peter (Wakeman) asking a cab driver if he could take him back to the bus station because he lost his wallet. The cabbie refuses, but Wakeman has traveled to his snowy roots from New York City to sort the affairs of his deceased grandmother, so he reluctantly knocks on the door of his high school pal, Donald (Avedisian), to ask for help.

The mulleted, goofy Donald at first doesn’t recognize Peter, who’s wearing a fine coat and neatly tucked scarf. And Donald, while he’s “still processing this reality,” goes on and on about how different he imagined Peter would now look. And then he invites him to his room, which is covered with posters of porn stars. “Do you still masturbate?” Donald asks, eager to give his friend a recommendation for material. It takes a while, but Peter finally gets Donald to give him a ride to the funeral home, where he attempts to say goodbye. “I thought you wanted to hang out with me,” Donald says. Oof. So they hang out.

Donald Cried is being promoted as a partial comedy, but there’s little that’s funny about a seemingly slow-witted, emotionally-stunted man and his estranged, sophisticated friend.

Donald embarrasses Peter wherever they go, whether he’s talking too loudly in the funeral home or starting a conversation with a former classmate in a diner. Peter just wants to borrow money and split, but getting cash is an ordeal (the way Donald’s boss treats him when he asks for his check is horrifying) and Donald essentially holds Peter hostage, insisting they stop in one place or another before going to the nursing facility so Peter can gather his grandmother’s belongings.

Throughout the film, Donald morphs from irritating to possibly unhinged when we discover how he’s spent his spare time over the last six years. But tides turn—not very realistically, but go with it—and not only do his motivations become uncertain, he’s met with pure jackassery that, unlike his own, can’t be mis-

taken as well-intentioned. And when a past prank is brought up by a mutual friend, it more firmly characterizes Donald and Peter’s history and why Peter wants to leave both the town and his memories as soon as possible.

For a film devoted largely to only two characters, Donald Cried never bores. Avedisian deftly creates an atmosphere of awfulness from scene to scene, and his Donald—all smiles, tangents, and “c’mon”s—is a person from whom anyone would want to run. Wakeman is equally evocative as Peter changes from likeably understandable to stuffed shirt and worse. That your sympathies repeatedly switch between the friends drives the narrative like a bullet train; that the film ends without closure ensures that it sticks in your head just like Donald sticks to Peter. Donald Cried may not make you laugh, but every moment of it will make you feel.

This BeauTiful fanTasTic, much like 2001’s Amélie, is gossamer. It, too, features a lonely but imaginative young woman: Her name is Bella Brown, and the opening narration tells us that she was raised by ducks and grew to be “the oddest of oddballs, terrified by the unpredictability of nature and flora in particular.” There are rainbows and flowers and hand-drawn

birds that fly off pieces of paper. Even specks of dust falling in a library seem to glisten.

But writer-director Simon Aboud anchors his film’s flights of fancy with an element of peevishness. The voiceover continues: “I’m not a religious man, but I believe someone sent her here to test us.”

The narrator is Alfie (Tom Wilkinson), and he’s the floraloving neighbor of Bella (Jessica Brown Findlay), whose OCD keeps her cottage neat while her phobia prevents her from tending her yard. She’s an aspiring children’s book author and a loner whose closet is full of funereal blacks and grays. Bella meets Alfie literally by accident after she falls in a storm and awakens in his home, with his doctor looking after her.

Alfie is immediately grouchy toward the patient, whom he deems a “horticultural terrorist” who’s created an “unmitigated eco-apocalypse” next to his home. When the doc tells her what happened, Alfie interrupts with, “The garden fought back, that’s what.”

At the beginning of the film—and throughout much of it— Bella, while preferring the insularity of her little world, seems to bear the weight of the real world as she rushes out to her job at the library each morning. “Today, I’m going to make a difwashingtoncitypaper.com march 17, 2017 25

CPArts ference,” she says to a mirror. Then she sighs. And Alfie tells people he’s dying, repeatedly using a poetic memorized script. It’s not true and neither is the old man crotchety at heart. Like Bella’s garden, he just needs a bit of attention.

Bella soon gets notice that she must revive her garden or face eviction. Gee, do you think the two will become friends?

Needless to say, a story about planting some flowers isn’t much of a story at all. Bella has two love interests— though one man’s intentions aren’t as clear as the other’s— and even these subplots aren’t deeply developed. Further, the alchemy between Bella and Alfie comes a little too easily to be believed, and the nature-based metaphors of light, love, and blooming are rather heavy-handed.

Yet Aboud’s script is full of humor, and the details that are here, including Alfie’s backstory, shape a lovely tale of finding beauty regardless of how lonely or invisible one feels. The featherweight film is aided in large part

by Wilkinson’s and Findlay’s charming performances, both of which offer pessimism and optimism in realistic measures. The broad strokes of This Beautiful Fantastic are inarguably the stuff of fairy tales. But its heart is purely human.

CP

This Beautiful Fantastic

Donald Cried opens Friday at the Angelika Pop-Up. This Beautiful Fantastic opens Friday at West End Cinema.

GREAT PERFORMANCES AT MASON CFA.GMU.EDU

Grand Russian ballet

From acrobatics to on-stage cooking

RUSSIAN NATIONAL BALLET THEATRE

VIRGINIA OPERA

THE 7 FINGERS OF THE HAND

CHOPINIANA AND CARMEN

TURANDOT

CUISINE & CONFESSIONS

By Giacomo Puccini

SATURDAY, APRIL 8 AT 2 AND 8 P.M. SUNDAY, APRIL 9 AT 4 P.M. ff

SATURDAY, MARCH 18 AT 8 P.M.

ff

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

Featuring famous aria “Nessun Dorma”

ff

SATURDAY, MARCH 25 AT 8 P.M. SUNDAY, MARCH 26 AT 2 P.M.

ff

Enjoy food trucks and artsy demonstrations between shows on Sat, 4-8 p.m. More information at cfa.gmu.edu/cuisine

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

TICKETS

888-945-2468 OR CFA.GMU.EDU

26 march 17, 2017 washingtoncitypaper.com

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

washingtoncitypaper.com march 17, 2017 27

Galleries

Construction Sight

Through reclaimed parts of buildings from his hometown of Chicago, Theaster Gates creates a meta-commentary on what art is and can be.

Theaster Gates: The Minor Arts At the National Gallery of Art to Sept. 4

By Kriston Capps TheasTer GaTes is a magpie. Like a historian or a librarian, he collects things from old buildings—artifacts, archives, even parts of thosebuildings, such as the former St. Laurence Parish church, which stood in Chicago’s South Shore neighborhood for more than a century before it was demolished in 2014. For his solo show for the National Gallery of Art, Gates repurposed the remains of the church as new sculpture. As an artist, Gates lets the materials drive the work he produces. He puts the cart before the horse.

“Slate Corridor for Possibility of Speaking in Tongues and Depositing Ghetto Reliquary” (2017), a 48-footwide by 20-foot-tall portion of the roof— most of it reclaimed slate, parts of it recast in bronze—dominates one of the walls in the exhibit. Catch a glint of reflected sun from the tower’s sky- light ceiling in the bronzed upper-right corner of the roof, and you might think it was something custom built for the East Building’s tower gallery. You’d be almost right. Gates’ show, The Minor Arts, is in part a meditation on the space, featur- ing a mini-tower and other quotations from the museum. The show is also a snapshot of an artist whose work buzz- es with the restless energy of a social worker driven by a mission.

The Minor Arts is a microcosm for the problems that Gates has taken up as his calling. Too much of his native Chicago is disappearing, and Gates is trying to grasp with both hands his South Side neighborhood and hold onto it for the people who claim it as theirs. He filters his preservation and revitalization efforts through an artistic practice that is as large as the problem he’s trying to sort out—from found object– making to performance art to African-American pottery. Place and practice come together in Gates’ work, with an eye toward home and history.

“New Egypt Sanctuary of the Holy Word and Image” (2017), a wooden tower structure filled with hardbound volumes of Ebony, is a stand-in for the show itself—a tower within a tower filled with stories about the black experience. (Gates acquired the Ebony archive and other materi-

als from the Johnson Publishing Company, the longtime Chicago-based publisher that sold the magazine in 2016.) “Something About Modernism and Death” (2017) is an even more direct allusion to the National Gallery, specifically Max Ernst’s “Capricorn,” a 1948 bronze minotaur in the building’s atrium. From a formal perspective, their low centers of gravity are the keenest connection between them. Both Gates and Ernst’s bronze sculptures bear strong African folk influences, although the significance of Ernst’s authentically colonialist gesture is easier to place.

In 2014, The New Yorker dubbed Theaster Gates the “real-estate artist,” a catchy tag for his

in a planned quarterly performance series called “Processions.”

The Minor Arts yields a different aspect of his practice: turning disused civic assets into fine-art ones. Sarah Newman, the curator for Gates’ show, has helped to assemble a balanced and taut presentation of Gates’ sculptures, which often work like paintings. On a wall adjacent to the massive roof piece hangs “A Game of My Own” (2017), which features slices of floorboards from a Chicago high-school gym, remixed and reordered like a collage, an abstract geometric painting. All his works pull some lost Chicago treasure into the museum. It is tempting to think that Gates is colo-

Screen,” nearly identical black paintings made using roofing tar, hang side by side, but the former one’s all chopped up.

It’s as if Gates regrets his own work: not merely the painting he hacked to pieces but the entire enterprise. The ax, the Ernst homage, the shrinelike library: The clues suggest that Gates has misgivings about the art world and all its trappings and his place in it. Torn between the projects that commit him to Chicago and those that are enabled by Chicago, he has split the difference, very literally, by taking an ax and tearing into an abstract-expressionist painting that bears the mark of his father’s profession as a roofer.

“Flat Bush” (left) and “Sun Screen” by Theaster Gates (2017) work repurposing old buildings around Chicago’s South Side.Inspired by another artist, Rick Lowe, who in 1993 bought up a row of abandoned shotgun houses in Houston and turned them into an evolving space for community and contemporary art called Project Row Houses, Gates decided to do something similar in Chicago. Dorchester Projects, Arts Incubator, and Stony Island Arts Bank are a few of the disowned spaces he’s returned to productive (and artistic) use for the neighborhood. Gates has become a familiar fixture at the Hirshhorn Museum and Sculpture Garden, where the artist, who is also a Hirshhorn board member, conducted a lecture and performance last September, the first

28 march 17, 2017 washingtoncitypaper.com

nizing his own neighborhood, extracting its amenities and salvaging its resources for the rarefied pleasure of the rarefied art world.

Other works in The Minor Arts throw water on that theory, though. One is “The Ax” (2017), an unremarkable instrument that hangs in an antecedent gallery near the entrance of the tower room. (Unremarkable, but an unmistakable nod to another early 20th-century European master, Marcel Duchamp.) This antechamber hallway is one of the more awkward spaces in the East Building, but Newman conjures from it a counterpoint to Gates’ primary room. A sound installation of Gates chopping wood can be heard here; “Flat Bush” and “Sun

The Minor Arts is a major lift for the National Gallery, whose tower series has so far been divided between living artists (Gates, Marshall, Barbara Kruger, and Mel Bochner) and departed ones (Barnett Newman and Mark Rothko, who now share a dedicated tower elsewhere in the East Building, plus Nam June Paik and Philip Guston). This show should settle any question for good. The tower is a vital space for living artists to work through pressing questions, even if the answers they arrive at are splintered contradictions.

CP 6th St. and Constitution Ave. NW. Free. (202) 737-4215. nga.gov.

Hamburg Ballet John Neumeier, director and Chief Choreographer

The Little Mermaid Music by Lera Auerbach Choreography, staging, set, costumes, and light design by John Neumeier

“Vividly striking... the Mermaid is a unique role for a ballerina.”

Photo by Holger Badekow

—The Financial Times

Recommended for age 10 and up.

March 28–April 2 | Opera House with the Kennedy Center Opera House Orchestra

tICKEtS ON SALE NOW! KENNEdy-CENtEr.Org | (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.

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

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

washingtoncitypaper.com march 17, 2017 29

TheaTerCurtain Calls

EtErnal PlamE Intelligence

By Jacqueline E. Lawton Directed by Daniella Topol At Arena Stage to April 9 Many aMericans now spend their days worrying about whether nuclear war is imminent and what lies the President will propagate next, so it’s easy to forget that less than 15 years ago, another man in that role also lied to achieve a goal. Arena Stage’s latest production, Intelligence, looks at the origins of the Iraq War from the perspective of one woman im-

IN ON

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THREE SISTERS

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NOW PLAYING

BY ANTON CHEKHOV TRANSLATED BY PAUL SCHMIDT DIRECTED BY JACKSON GAY

“WONDERFULLY FRESH AND AFFECTING.” — THE NEW YORK TIMES

NOW PLAYING

NO SISTERS WRITTEN AND DIRECTED BY AARON POSNER

“CHEKHOV FOR THE 21ST CENTURY.”

IN ASSOCIATION WITH NEW NEIGHBORHOOD

WORLD PREMIERE

—THE NEW YORK TIMES (OF STUPID F*CKING BIRD)

CALL 202.332.3300 OR VISIT STUDIOTHEATRE.ORG 30 march 17, 2017 washingtoncitypaper.com

pacted by it from its inception: CIA covert operative Valerie Plame.

Intelligence is the third entry in Arena’s Power Plays program, which commissions playwrights to write works—25 when all is said and done—set in every decade between 1776 and the present day. This makes turning the early Bush years into a historical drama somewhat sensible, but the play fails to deliver much more than a rehashing of facts. Whether it’s because everyone in the audience remembers most of the Plame affair or because Jacqueline E. Lawton’s script doesn’t build out the character of Plame enough, the production turns an interesting espionage story into a quiet, domestic drama.

When we first meet Valerie, she’s in a Georgetown boutique posing as an energy consultant named Kate. But she’s not only there to pick up a scarf—she also reveals her real job to the shop owner, Leyla, and demands contact information for Leyla’s uncle Malik, an Iraqi national living in Jordan who worked with Saddam Hussein in the 1980s.

After a series of discussions in Jordan, Valerie sends him back to Iraq to contact other men he worked with who might know whether or not Hussein was continuing to develop

nuclear weapons, just as the administration prepares for the invasion.

At the same time, Valerie’s husband, former ambassador Joseph Wilson, writes an op-ed in the New York Times claiming he found no evidence that Hussein obtained enriched uranium from Niger. This upsets the Bush administration, leading to the decision to leak Valerie’s identity to columnist Robert Novak. Suddenly, Valerie is not just a dedicated foreign servant working to protect her asset. She’s also facing off against a husband who accuses her of being a puppet of an overreaching executive branch and work superiors who reprimand her for not following their instructions.

This is where the the play could get interesting if it explored what drew Valerie to a CIA career in the first place or why she made the choices she eventually did, but in a 90-minute presentation, there’s no room for additional details. The audience sees her as just another woman who seemingly has it all—a loving marriage, young children, a demanding but highpowered job—but can’t make everything work.

Instead of making Valerie seem relatable, this takes away from the uniqueness of her circumstances.

The five-person cast, centered around Tony nominee Hannah Yelland as Valerie, makes the most of an uneven script. Nora Achrati and Ethan Hova, as Leyla and Dr. Malik Nazari, capture the shock and confusion of getting wrapped up in a CIA mission particularly well. Projections of speeches by President George W. Bush and CNN appearances of Dick Cheney, designed by Jared Mezzocchi, set the scene in what is otherwise a relatively spare set, sending the audience back into the tense days of 2003, when a pointless war dominated the national dialogue. A line suggesting that Americans should never have supported the invasion was met with knowing laughter by an openly liberal crowd.

The real Plame and Wilson, it should be said, played no part in the creation of the play.

Despite that fact, Lawton’s play is more of a dramatization of real events than a nuanced drama. Several characters never reveal their deep-seated motivations, leaving the audience wondering what the stakes actually are.

That Valerie was brave enough to speak truth to her powerful superiors matters, but in this production, we’re still missing several steps that led her to that point. —Caroline Jones 1101 6th St. SW. $71-$91. (202) 554-9066. arenastage.org.

FilmShort SubjectS

2017 NEA JAZZ MASTERS TRIBUTE CONCERT HONORING

Ghost to Ghost Personal Shopper

Directed by Olivier Assayas After the finAl, haunting image of Personal Shopper fades out, the first credit to appear onscreen is that of the film’s star, Kristen Stewart. Her name appears in big, bold letters, as if to suggest that she, not writer/director Olivier Assayas, is the author of the film. It’s hard to argue otherwise, as she nails the kind of effective solo performance that only the greatest actors even attempt. Often alone onscreen, Stewart grounds the existential horror film in raw emotion she had apparently kept hidden beneath hipster cool and youthful affectation.

For those grumps who refuse to see her as anything but the girl from Twilight, it is finally time to give up the ghost.

In her second collaboration with Assayas (following 2015’s Clouds of Sils Maria), Stewart plays Maureen, a young American in Paris grieving over the death of her twin brother.

They had a deal, you see, in which whomever died first would come back to say hello from the great beyond. It must be a twin thing.

All the living humans in her life recede into the background while she is consumed by thoughts of her missing other half. Maureen refuses to move on, physically or emotionally, until he fulfills his end of the bargain.

Her isolation, however, is also a practical matter. By day, she purchases clothes for her bitch of a boss, an aging model we see only in glimpses, and exchanges text messages with an aggressive secret admirer contacting her from an unknown number. Occasionally, she visits with her brother’s ex-fiancée, who has already moved on to another man. Maureen isn’t bothered by this, nor by anything else the waking world has to offer.

She feels more comfortable at night, when she prowls various apartments (her own and

her boss’), trying on clothes, drinking, and waiting for a sign.

Like the great works of Alfred Hitchcock, Personal Shopper is a film of two mysteries, a riveting spook story whose plot machinations serve as a clever distraction while the emotional subtext is carefully revealed. Throughout, Assayas embraces the conventions of the horror genre and enacts them with skill. He plays with oblique camera angles, creaky doors, and even blood-soaked sheets to keep your armrest tightly gripped and your nails properly bitten.

But the twists and turns of the ghost story are only sleight-of-hand. The narrative ingenuity is compelling—Personal Shopper keeps you guessing until the final shot, and perhaps even beyond it—while every scene digs deeper into Maureen’s grief.

In the film’s claustrophobic frame, her placid loneliness is both an expression of her grieving emotional state and a horror movie trope. You may find yourself half-hoping for a ghost or even a killer to appear over her shoulder, if only so she could have some companionship. The shift from experiencing Personal Shopper as an exercise in genre to a richly-drawn character piece rests entirely on Stewart, whose thoughtful performance reveals itself so plainly that it takes a while to come into focus.

Her work here is revolutionary. Historically, the ingénue has existed in a state of permanent loneliness, playing to a camera that can never return her affections. Stewart, an antiingénue, finds a way around that problem. Yes, the camera lingers on her feline green eyes and often half-clothed body, but she refuses to acknowledge its existence. She remains oblivious to our watching, refusing to seduce us and instead inviting us to join her in the shared space. It’s a thrilling place to be. As Stewart investigates a ghost, she makes Personal Shopper bracingly alive.

—Noah Gittell Personal Shopper opens Friday at E Street Cinema.

Dee Dee Bridgewater

Ira Gitler

Dick Hyman

Dr. Lonnie Smith

Dave Holland

PERFORMANCES BY NEA Jazz Masters Paquito D’Rivera and Lee Konitz PLUS Bill Charlap, Theo Croker, Aaron Diehl, Robin Eubanks, James Genus, Donald Harrison, Booker T. Jones, Sherrie Maricle and the Diva Jazz Orchestra, Peter Martin, Mike Moreno, China Moses, Steve Nelson, Kassa Overall, Chris Potter, Dianne Reeves, Nate Smith, Dan Tepfer, and Matthew Whitaker.

April 3, 2017 at 7:30 p.m. | Concert Hall At this time, all advance tickets for this event have been reserved; however, an allotment of tickets has been held back, which will be available on the night of the concert. In addition, tickets that have not been claimed by 7:15 p.m. on the night of the concert will be released and distributed to a standby line.

The concert will also be live streamed at kennedy-center.org.

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

washingtoncitypaper.com march 17, 2017 31

32 march 17, 2017 washingtoncitypaper.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 33 Theater 40

Music

TO GET A

FREE SCHAEFERS

DAY PARTY WITH DJ KEENAN ORR

First Sunday every month

2 - 6pm

rock

Gypsy sally’s 3401 K St. NW. (202) 333-7700. White Ford Bronco. 8 p.m. $25. gypsysallys.com. sonGbyrd Music House and record cafe 2477 18th St. NW. (202) 450-2917. Hey Violet, Jessarae. 7 p.m. $15. songbyrddc.com.

Vocal

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

Somi. 8 p.m. $25–$45. thehowardtheatre.com.

dJ Nights

ecHosTaGe 2135 Queens Chapel Road NE. (202) 503-2330. Borgore. 9 p.m. $25–$35. echostage.com. u sTreeT Music Hall 1115 U St. NW. (202) 588-1889.

Black Coffee. 10 p.m. $20. ustreetmusichall.com.

classical

Kennedy cenTer concerT Hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra performs Bruckner’s First Symphony, Mozart’s Third Violin Concerto. 8 p.m. $15–$89. kennedy-center.org.

Music cenTer aT sTraTHMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. BSO: Celtic Celebration. 8 p.m. $35–$99. strathmore.org.

Kennedy cenTer MillenniuM sTaGe 2700 F St. NW. (202) 467-4600. Aveva Dese. 6 p.m. Free. kennedy-center.org.

Folk

beTHesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. St. Patricks Day with O’Malley’s March. 8 p.m. $35. bethesdabluesjazz.com. bircHMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Chris Knight & Will Hoge. 7:30 p.m. $29.50. birchmere.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. Aaron Tinjum and The Tangents. 8 p.m. Free. River and Rhodes. 10:30 p.m. Free. gypsysallys.com.

Jazz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Peter White. 8 p.m.; 10 p.m. $55–$60. bluesalley.com.

Mr. Henry’s 601 Pennsylvania Ave. SE. (202) 5468412. The Quartet. 8 p.m. Free. mrhenrysdc.com.

Twins Jazz 1344 U St. NW. (202) 234-0072. Michael Thomas Quintet. 9 p.m.; 11 p.m. $27. twinsjazz.com.

FuNk & r&B

9:30 club 815 V St. NW. (202) 265-0930. Galactic. 8 p.m. $30. 930.com.

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

CITY LIGHTS: Friday

Friday

World

Club

Film 42

BEACH WEEK

From directing and designing to stage managing and performing, Round House Theatre’s Teen Performance Company takes the lead during this weekend’s production of Beach Week, the 15th Annual Sarah Metzger Memorial Play. Metzger was a beloved member of the Round House community who died in a car accident during her first year of college, and the teen-led production honors her legacy. This year’s play is an original creation by Sarah’s sister Diana Metzger, a playwright, screenwriter, and occasional City Paper contributor. Going back in time to 2002, Diana spins a comedic twist on the D.C. area’s Beach Week tradition, when hordes of high school seniors descend on Ocean City. Beach Week chronicles the standard mischief that ensues when teenage girls are left alone in a beach house with the possible addition of boys and alcohol. Bringing back memories of the momentous decisions made during adolescence, the play also explores the feelings high school graduates face when figuring out what’s next. The play runs March 17 to March 19 at Round House Theatre, 4545 East-West Highway, Bethesda. $26. (240) 644-1100. roundhousetheatre.org.

—Breanna Bishop

classical

duMbarTon cHurcH 3133 Dumbarton St. NW. (202) 965-2000. Calidore String Quartet. 8 p.m. $30–$35. dumbartonconcerts.org.

Kennedy cenTer concerT Hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra performs Bruckner’s First Symphony, Mozart’s Third Violin Concerto. 8 p.m. $15–$89. kennedy-center.org.

Music cenTer aT sTraTHMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. National Philharmonic: Brahms’ Requiem. 8 p.m. $19–$66. strathmore.org.

doroTHy i. HeiGHT/benninG library 3935 Benning Road NE. (202) 281-2583. Aaron Myers. 2:30 p.m.

Free. dclibrary.org/benning.

Twins Jazz 1344 U St. NW. (202) 234-0072. Michael Thomas Quintet. 9 p.m.; 11 p.m. $27. twinsjazz.com.

electroNic

Tropicalia 2001 14th St. NW. (202) 629-4535.

Madame Gandhi, allthebestkids. 7 p.m. $15. tropicaliadc.com. u sTreeT Music Hall 1115 U St. NW. (202) 588-1889.

The Magician. 10:30 p.m. $20. ustreetmusichall.com.

opera

FuNk & r&B

World

Mr. Henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Julia Nixon. 8 p.m.; 10:15 p.m. $14–$19. mrhenrysdc.com.

Kennedy cenTer opera House 2700 F St. NW. (202) 467-4600. Washington National Opera: Champion. 7 p.m. $45–$300. kennedy-center.org.

Kennedy cenTer MillenniuM sTaGe 2700 F St. NW. (202) 467-4600. Hamid El Kasri. 6 p.m. Free. kennedy-center.org.

Folk

bircHMere 3701 Mount Vernon Ave., Alexandria.

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

9:30 club 815 V St. NW. (202) 265-0930. Galactic. 8 p.m. $30. 930.com.

u sTreeT Music Hall 1115 U St. NW. (202) 588-1889.

Jose James. 7 p.m. $22.25. ustreetmusichall.com.

suNday rock

fillMore silver sprinG 8656 Colesville Road, Silver Spring. (301) 960-9999. PnB Rock. 8:30 p.m. $26.50. fillmoresilverspring.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. David Rose. 8 p.m. Free. gypsysallys.com.

9:30 club 815 V St. NW. (202) 265-0930. Tennis. 7 p.m. $20. 930.com.

Jazz

saturday

aMp by sTraTHMore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Loston Harris. 8 p.m. $35–$45. ampbystrathmore.com.

lincoln THeaTre 1215 U St. NW. (202) 888-0050.

The Magnetic Fields. 8 p.m. thelincolndc.com.

THe HaMilTon 600 14th St. NW. (202) 787-1000. A Great Big World. 8 p.m. $15–$85. thehamiltondc.com.

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Peter White. 8 p.m.; 10 p.m. $55–$60. bluesalley.com.

Vocal

Vocal

wasHinGTon naTional caTHedral 3101 Wisconsin Ave. NW. (202) 537-6200. Cathedral Choral Society with New York Polyphony. 4 p.m. $25–$79. nationalcathedral.org.

washingtoncitypaper.com march 17, 2017 33

Folk

classical

bircHMere 3701 Mount Vernon Ave., Alexandria.

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

Kennedy cenTer MillenniuM sTaGe 2700 F St. NW. (202) 467-4600. Maryland Classic Youth Orchestras. 6 p.m. Free. kennedy-center.org.

Jazz

Jazz

barns aT wolf Trap 1635 Trap Road, Vienna. (703) 255-1900. John Eaton. 2 p.m. $25–$27. wolftrap.org.

bircHMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Chris Botti. 7:30 p.m. $105. birchmere.com.

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Peter White. 8 p.m.; 10 p.m. $55–$60. bluesalley.com.

Twins Jazz 1344 U St. NW. (202) 234-0072. Rick Albercio. 8 p.m.; 10 p.m. $22. twinsjazz.com.

electroNic A PART OF

rocK & roll HoTel 1353 H St. NE. (202) 388-7625.

NAILS , Toxic Holocaust, GATECREEPER, Genocide Pact. 8 p.m. $16. rockandrollhoteldc.com.

FuNk & r&B beTHesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. We Are One. 8 p.m. $35. bethesdabluesjazz.com.

Scythian

tuesday rock

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

Nouvelle Vague. 8 p.m. $30–$50. thehowardtheatre.com.

hip-hop sonGbyrd Music House and record cafe 2477 18th St. NW. (202) 450-2917. They. 8:15 p.m. $22.50. songbyrddc.com.

Folk

Kennedy cenTer MillenniuM sTaGe 2700 F St. NW. (202) 467-4600. Millennium Stage 20th Anniversary Celebration. 5 p.m. Free. kennedy-center.org.

dc9 1940 9th St. NW. (202) 483-5000. Aaron Lee Tasjan. 9 p.m. $12. dcnine.com.

MoNday

bircHMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Chris Botti. 7:30 p.m. $105. birchmere.com.

rock

FuNk & r&B

sonGbyrd Music House and record cafe 2477 18th St. NW. (202) 450-2917. Moullinex, Da Chick. 8 p.m. $12–$14. songbyrddc.com.

Kennedy cenTer MillenniuM sTaGe 2700 F St. NW. (202) 467-4600. KING. 6 p.m. Free. kennedy-center.org.

Jazz

CITY LIGHTS: saturday

Big Sam’s Funky Nation

MILLENNIUM STAGE 20TH ANNIVERSARY

Scythian and Big Sam’s Funky Nation Sunday, March 19 at 6 p.m.

We celebrate our landmark birthday with two stellar bands. Scythian (6–7 p.m.) plays roots rock music from Celtic, Eastern European, and Appalachian traditions with thunderous energy, while Big Sam’s Funky Nation (7–8 p.m.) is a group of world-class musicians who are a driving force of urban, brass-driven funk.

Come early! First 1,000 fans get a free T-shirt!

Ticket giveaways! Happy hour from 5–6 p.m. featuring all beer and house wine ½ off at the Grand Foyer Bars.

The Millennium Stage is brought to you by

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.

Education and related artistic programs are also made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

Support for JFKC: A Centennial Celebration of John F. Kennedy is provided by Ambassador Elizabeth Frawley Bagley, Chevron, The Blanche and Irving Laurie Foundation, and Target.

34 march 17, 2017 washingtoncitypaper.com

Bolia MatuNdu

There’s more than one reason why Bolia “BM” Matundu’s Congolese hits have spawned countless viral dance videos: BM, whose own dance skills are considerable, encourages fans to one-up each other in videos he posts on social media. Those videos—many set to his sublime “Makolongulu”—have considerably widened his fan base, accumulating millions of views while answering the question “Who killed Makolongulu?” BM emigrated to London from the Democratic Republic of the Congo as a child, and he sings in a mix of English and Lingala. He pulls together myriad Congolese styles (he name-checks Papa Wemba and Werrason as influences) with electronic club music to craft what he calls his “commercial Afrobeat” sound. Another explanation for all those videos: His indelible hits, which include “Ebebi,” “Baloba,” and “Marry You (Mamacita),” are frothy, catchy, and highly danceable. Tonight, he makes his American debut just after the release of his latest single, the dreamy “My Wife.” Naturally, tonight’s show includes live dance contests, so prepare to be impressed. Bolia Matundu performs at 10 p.m. at Fire Station 1, 8131 Georgia Ave., Silver Spring. $30–$45. (301) 585-1370. thefirestation1.com.

—Alona Wartofsky

washingtoncitypaper.com march 17, 2017 35

CITY LIGHTS: suNday

14th STREET CORRIDOR: 1318 14th St. NW • 202-299-9148 BUFFALOEXCHANGE.COM •

MilleNNiuM stage 20th aNNiVersary celeBratioN

For 20 years, the Kennedy Center has presented one free performance every day, even on national holidays. Sometimes the guest is an in-house act, like a member of the National Symphony Orchestra, and other times presenters bring in dance teachers, theater companies, and nationally-known comedians. To celebrate this milestone, the performing arts palace on the Potomac is hosting a party, starting with giveaways and happy hour at 5 p.m. Entertainment comes from Celtic rock act Scythian, a band that incorporates eastern European and Appalachian elements into their repertoire in addition to traditional Irish sounds, and New Orleans funk band Big Sam’s Funky Nation, a group that calls itself “a driving force of urban funk.” These offerings serve as reminders of the diverse work the Millennium Stage program has presented over the past two decades. Expect to have a rollicking good time reflecting on favorite past shows and listening to music you might not have discovered otherwise. The performance begins at 6 p.m. at the Kennedy Center Millennium Stage, 2700 F St. NW. Free. (202) 467-4600. kennedy-center.org.

—Selma Khenissi

WedNesday rock

9:30 club 815 V St. NW. (202) 265-0930. Foxygen. 8 p.m. $25. 930.com. blacK caT bacKsTaGe 1811 14th St. NW. (202) 6674490. The Regrettes, Active Bird Community. 7 p.m. $12. blackcatdc.com. dc9 1940 9th St. NW. (202) 483-5000. Alex Lahey. 9 p.m. $12–$14. dcnine.com.

hip-hop Kennedy cenTer concerT Hall 2700 F St. NW. (202) 467-4600. NSO Pops: Common. 8 p.m. $29–$119. kennedy-center.org.

World JoHn a. wilson buildinG 1350 Pennsylvania Ave. NW. (202) 724-8080. Politics & Art: A Jam Session.

5:30 p.m. Free. dccouncil.us.

Folk Gypsy sally’s 3401 K St. NW. (202) 333-7700.

Andrew Scotchie. 7:30 p.m. Free. gypsysallys.com.

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

Ella Balia Sola & Amistades Peligrosas. 8 p.m. $27.50– $50. thehowardtheatre.com.

Jazz blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Eldar Trio. 3:59 p.m.; 10 p.m. $40. bluesalley.com. bossa bisTro 2463 18th St NW. 202-667-0088.

Tongue in Cheek Jazz Band. 9:30 p.m. Free. bossadc.com.

36 march 17, 2017 washingtoncitypaper.com

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. Bobby Muncy. 8 p.m.; 10 p.m. $22. twinsjazz.com.

FuNk & r&B

Kennedy cenTer MillenniuM sTaGe 2700 F St. NW. (202) 467-4600. The Soulquarians: D.C. Pays Tribute to Common. 6 p.m. Free. kennedy-center.org.

thursday rock

9:30 club 815 V St. NW. (202) 265-0930. The Zombies; Odyssey & Oracle 50th Anniversary Tour. 7 p.m. $40. 930.com. fillMore silver sprinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Yacht Rock Revue. 8:30 p.m. $20. fillmoresilverspring.com. sonGbyrd Music House and record cafe 2477 18th St. NW. (202) 450-2917. Dude York, Paws. 8 p.m. $12. songbyrddc.com.

World

bossa bisTro 2463 18th St NW. 202-667-0088.

Songs of the Diaspora. 9:30 p.m. Free. bossadc.com.

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

Monsieur Perine. 8 p.m. $25–$45. thehowardtheatre.com.

Folk

bircHMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Kasey Chambers. 7:30 p.m. $35. birchmere.com.

washingtoncitypaper.com march 17, 2017 37

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

CITY LIGHTS: MONDAY

AT THE DRIVE-IN

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

Tix @ Ticketmaster.com 800-745-3000

Mar 16

VANESSA CARLTON TRISTEN 17 CHRIS KNIGHT & WILL HOGE Matt TOM RUSH Nakoa 18 CHRIS BOTTI 21 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

In December of 2016, legendary posthardcore band At the Drive-In released “Governed by Contagions,” its first song in 16 years. Bursting with buzzing guitar riffs and hard-hitting percussion, “Governed by Contagions” aggressively broaches the topic of urban dystopia just in time for the fears to seem relevant in Trump’s America. At the Drive-In reunited in the spring of 2016 for an extensive world tour, only to cancel the latter end of it when singer Cedric Bixler-Zavala developed nodules on his vocal chords. Following the heartbreaking cancellation, drummer Tony Hajjar promised fans that the band’s members were doing everything necessary to remain together for years to come.

They’ve faithfully delivered on that promise with rousing new songs, a full-length album set to be released in May, and a five-date spring tour kicking off right here in D.C. At the Drive-In performs with Le Butcherettes at 7 p.m. at 9:30 Club, 815 V St. NW. $45. (202) 265-0930. 930.com.

—Casey Embert

of

CITY LIGHTS: TUESDAY

& Graham Central Station In the

Apr 1

!

Jacob SMITH Powell COREY All Standing, Doors 6pm

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

5

10

STANLEY CLARKE BAND

11 DALE WATSON & RAY BENSON present

12 13 14 15

DALE & RAY STOKLEY A nnAle

from Mint

Condition

FISH SAMANTHA w/Guy Davis & Fabrizio Poggi MARC SCIBILIA w/Corey Harper & Brad Ray

CLEVE FRANCIS

21&22

THE JAYHAWKS Johnny Irion Brother 25 SARAH JAROSZ Brothers 26 TOWER OF POWER 27 THE EVERLY BROTHERS EXPERIENCE

23

featuring The Zmed Brothers

38 march 17, 2017 washingtoncitypaper.com

THEY.

These days, the line between R&B and rap is basically nonexistent. Singers want to rap; rappers want to sing; producers for both genres draw from the same well of machine-gun drums and synthesized melodies; and Drake complains about being put in the wrong box. Not content to stop the genre blending there, Los Angeles duo THEY. (composed of Grammy winner Dante Jones and D.C.-based vocalist Drew Love) seamlessly incorporate rock influences as well. “Motley Crue” pays tribute to the hair metal icons and their Sunset Boulevard lifestyle, and “Rather Die” is built around the iconic riff from Nirvana’s “Polly.” On the latter, the pair sings a chorus that also invokes the spirit of Kurt Cobain: “I’d rather die / Than wonder why I never tried / I wanna dive into the fire / Been waiting to feel like I’m alive.” On their debut EP, Nü Religion: Hyena, Jones and Love do plenty of living and California dreaming, strumming their way through relationships and hoping to avoid the pitfalls of fame that have swallowed rappers and rockers alike. They. performs at 8:15 p.m. at Songbyrd Music House and Record Cafe, 2477 18th St. NW. $22.50. (202) 450-2917. songbyrddc.com.

—Chris Kelly

COUNTRY Mr. Henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Justin Trawick. 8 p.m. Free. mrhenrysdc.com.

BlUES THe HaMilTon 600 14th St. NW. (202) 787-1000.

Laith Al-Saadi. 7:30 p.m. $20–$45. thehamiltondc.com.

washingtoncitypaper.com march 17, 2017 39

TRIVIA E V E RY M O N DAY & W E D N E S DAY

$12 BURGER & BEER MON-FRI 4 P M -7 P M

CITY LIGHTS: WedNesday

600 beers from around the world

Downstairs: good food, great beer: all day every day *all shows 21+ MARCH 16TH

SPECIFIC IGNORANCE:

A COMEDY PANEL GAMESHOW DOORS AT 7PM, SHOW AT 8PM MARCH 17TH

DC WEIRDO SHOW

a triBute to the soulQuariaNs

DOORS AT 8PM, SHOW AT 9PM MARCH 18TH

THE MANIC PIXIE NIGHTMARES

In the late ’90s and early 2000s, as Britney Spears was ushering in the new order of top 40 pop and OutKast was putting Atlanta on the hip-hop map, a group of musicians in New York were laying the groundwork for what would become the defining sounds of today’s musical landscapes. That group, The Soulqaurians, featured some of music’s now-most cherished stars and radical visionaries, including members of The Roots and producer J. Dilla, as well as singers and rappers like D’Angelo, Bilal, Q-Tip, and Common, all of whom are inseparable from the soundtrack of the last two years. The music scene in and around D.C. is indebted to the Soulquarians: You can hear it in the moody, lush production of Maryland R&B duo April + VISTA and the jazz and justice charged hip-hop of D.C.’s G.U.M.P. (Give Us More Power). Before Common takes the Kennedy Center’s concert hall stage to perform selections of Black America Again with the NSO Pops, those two groups, alongside other local performers like neo-soul singer Meche Korrect, DJ RBI, and performance leader Jamal Gray gather at the Millennium Stage to pay tribute to Common and the Soulquarians. The performance begins at 6 p.m. at the Kennedy Center Millennium Stage, 2700 F St. NW. Free. (202) 467-4600. kennedy-center.org. —Jackson Sinnenberg

DOORS AT 8PM, SHOW AT 9PM MARCH 19TH

AN UNACCOMPANIED MINOR:A ONE MAN PLAY DOORS AT 6PM SHOW AT 7PM MARCH 20TH

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STRIP PARK: BURLESQUE TRIBUTE TO SOUTH PARK PRESENTED BY GLIT-O-RAMA, DOORS AT 8PM, SHOW AT 9PM MARCH 26TH

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FuNk & r&B

D.C.’s awesomest Theater events calendar.

beTHesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Clarence Carter. 8 p.m. $45–$55. bethesdabluesjazz.com.

washingtoncitypaper.com/ calendar

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40 march 17, 2017 washingtoncitypaper.com

anTiGonón, un conTinGenTe épico Havana’s Teatro el Público combines Cuban history and the story of Sophocles’ Antigone in this drama that incorporates archival film clips and questions what the nation will look like moving forward. Performed in Spanish with English supertitles. Kennedy Center Eisenhower Theater. 2700 F St. NW. To March 22. $15–$39. (202) 467-4600. kennedy-center.org.

high school seniors on their annual sojourn to the shore where they spend time trying to figure out what they want to do with their lives and how to approach adulthood. Members of Round House’s Teen Performance Company direct and perform this comedy, the 15th annual Sarah Metzger Memorial Play. Round House Theatre Bethesda. 4545 EastWest Highway, Bethesda. To March 19. $26. (240) 644-1100. roundhousetheatre.org. 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. dry land Ruby Rae Spiegel’s new drama focuses on abortion and how friendships can help women survive tough situations. Taking place in a high school locker room, this production is directed by Amber McGinnis and performed in repertory with What Every Girl Should Know. Forum Theatre at Silver Spring Black Box Theatre. 8641 Colesville Road, Silver Spring.

To April 15. $18–$38. (301) 588-8279. forum-theatre.org.

bacK To MeTHuselaH: as far as arT can reacH Washington Stage Guild wraps up its multiyear presentation of George Bernard Shaw’s masterpiece with this final piece, an early foray into science fiction that blends satire with speculation about the future. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To April 16. $50–$60. (240) 582-0050. stageguild.org.

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.

beacH weeK Set in 2002, this original play by City Paper contributor Diana Metzger follows a group of

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. 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 works to help uncover nuclear weapons in Iraq, her identity is revealed 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.

MidwesTern GoTHic Royce Vavrek and Josh Schmidt present this new musical about a woman who wants more than anything to escape her dull surroundings. As she fantasizes about her goals, her thoughts take a perverse turn, resulting in a shocking resolution. Signature Theatre. 4200 Campbell Ave., Arlington. To April 30. $40–$94. (703) 820-9771. sigtheatre.org.

MneMonic Colin Hovde directs a revised version of this drama that explores the nature of memory and the ways in which people around the world are connected in unexpected ways. Theater Alliance’s production incorporates topics from the 21st century to highlight the timelessness of the play’s themes. Anacostia Playhouse. 2020 Shannon Place SE. To April 9. $30–$40. (202) 290-2328. anacostiaplayhouse.com.

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. needles and opiuM Robert Lepage and his Ex Machina performance company revive their 1991 production that imagines a 1949 Atlantic Ocean crossing, when Jean Cocteau visited the United States and Miles Davis went to Paris. Incorporating visual effects, acrobatics, and music, this immersive experience stars Oliver Normand and Wellesley Robertson III. Kennedy Center Eisenhower Theater. 2700 F St. NW. To March 18. $29–$69. (202) 467-4600. kennedy-center.org. no sisTers While Chekhov’s Three Sisters plays in one theater, Aaron Posner directs his new adaptation of the Russian comedy that follows the rest of the characters while the title characters opine their fates.

This world-premiere work is presented as part of Studio R&D, the theater’s new works initiative. Studio Theatre. 1501 14th St. NW. To April 23. $20–$55. (202) 332-3300. studiotheatre.org. parade The tragic, true story of a Jewish man who is wrongly accused of murder and lynched in the early 20th century is the centerpiece of this musical from popular composer Jason Robert Brown. At Keegan, directors Susan Marie Rhea and Christina A. Coakley lead a cast featuring Michael Innocenti, Eleanor J. Todd, and Cassie Cope. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To April 8. $45–$55. (202) 265-3767. keegantheatre.com. raGTiMe This stirring musical, written by Lynn Ahrens and Stephen Flaherty and inspired by E.L. Doctorow novel, tells the story of three different New York families at the turn of the 20th century. Featuring memorable songs like “Your Daddy’s Eyes,” “Wheels of a Dream,” and “Make Them Hear You,” this production stars Tracy Lynn Olivera, Nova Y. Payton, and Jonathan Atkinson. Ford’s Theatre. 511 10th St. NW. To May 20. $18–$71. (202) 347-4833. fords.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.

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.

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DANCE YOURSELF CLEAN BUMP & GRIMES III

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SAT, MARCH 18

A GREAT BIG WORLD

MARCH

FRI 17 MAKI ROLL’S CHOP SHOP PRESENTS:

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SU 19 W 22

SUN, MARCH 19

SUN 19 GIRLS ROCK! DC AFTER SCOOL PROGRAM PERFORMANCE

TH 23

RHONDA VINCENT AND THE RAGE

WED 22

THE REGRETTES

THURS, MARCH 23

THU 23

BOO SEEKA

FRI 24

MINUS THE BEAR

SAT 25

THE JAY-Z & BEYONCE DANCE PARTY

WED 29

HIPPO CAMPUS

FRI 31

MOCKSTROCITY TOUR

W/ ALLIE MOSS

AN EVENING WITH

LAITH AL-SAADI W/ SARAH BORGES THURS, MARCH 23

LIVE NATION & THE HAMILTON PRESENT

YACHT ROCK REVUE

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RED BARAAT FESTIVAL OF COLORS

NIGHT I

SAT, MARCH 25

RED BARAAT FESTIVAL OF COLORS

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W/ DJ AYES COLD AND THE KOMINAS TUES, MARCH 28

SAT 1 FRI 7

F

24 NEWMYER FLYER PRESENTS

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SU 26 DC STREET CORNER HARMONY

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ST. PATRICK’S DAY W/ O’MALLEY’S MARCH WE ARE ONE TRIBUTE X-PERIENCE BAND VALERIE SIMPSON CLARENCE CARTER

17

WITH DJ LIL’E 2000S ALT POP / HIP HOP

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SAT 18

PEOPLE’S BLUES OF RICHMOND

F

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TH F

THE CLOVERS, THE SPANIELS, & THE JEWELS 3/28 ANGIE STONE 3/29 RESCHEDULED 30 THE ALVIN FISHER BAND 31 A TRIBUTE TO THE MUSIC OF PHYLLIS HYMAN APRIL

THURS, MARCH 30

AN EVENING WITH

BRASS-A-HOLICS FRI, MARCH 31

THE HAMILTON LIVE AND WPA PRESENT

THE KNIGHTS & CHRISTINA COURTIN

W/ HOLLY BOWLING: A PART OF THE 2017 SHIFT FESTIVAL OF AMERICAN ORCHESTRAS

HIPPO CAMPUS

WED MAR 29

FRI APRIL 7

SU 4/2

SU 4/9

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T H E U N I T E D S TAT E S A I R F O R C E B A N D rachel m. schlesinger concert hall northern virginia community college alexandria, virginia

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42 march 17, 2017 washingtoncitypaper.com

Some of New York–based artist Polly Apfelbaum’s paintings and prints bear more than a passing resemblance to the colorful blots of the District’s own late painter Alma Thomas. Apfelbaum’s work intersects with the Washington Color School in other ways, although no one would mistake it as being the same: Her work is lighter, not so leaded with theory, more illustrational Charley Harper than dour Tom Downing. Decorative is usually a slur when applied to fine art, but it’s fitting for Apfelbaum’s hard-edged abstractions: She embraces petals and floral patterns as her abstract mark. There’s something delightfully subversive about an artist running headlong into questions of feminine essentialism, or at least, that is a case that the National Museum of Women in the Arts could make in a survey of her work. With Chromatic Scale: Prints by Polly Apfelbaum, the museum may skirt the question, instead focusing on her process (printmaking being one of the institution’s strong interests). A show of her prints may not put much spotlight on Apfelbaum’s “fallen” floor installations, her painting mode that’s most sympathetic to the Washington Color School’s experiments in form. D.C. viewers will nevertheless find something familiar but foreign in her cheery, bold, colorful work. The exhibition is on view Mondays through Saturdays 10 a.m. to 5 p.m. and Sundays noon to 5 p.m., to July 2, at the National Museum of Women in the Arts, 1250 New York Ave. NW. $8–$10. (202) 783-5000. nmwa.org.

—Kriston Capps 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. well Playwright Lisa Kron examines her relationship with her mother in this so-called “solo show with people in it” and tries to explain how her mother was able to help others but couldn’t help herself.

The Tony-nominated play is directed at 1st Stage

by Michael Bloom. 1st Stage. 1524 Spring Hill Road, McLean. To April 23. $15–$30. (703) 854-1856.

1ststagetysons.org. wHaT every Girl sHould Know Set in a New York reformatory in the 1910s, this drama follows four teenage girls as they negotiate the events and traumas that landed them in such a dire spot. Jenna Duncan directs the D.C. premiere of Monica Byrne’s drama about the strength of human spirit and the power of imagination. Performed in repertory with Dry Land. Forum Theatre at Silver Spring Black Box Theatre. 8641 Colesville Road, Silver Spring. To April 15. $18–$38. (301) 588-8279. forum-theatre.org. wHere can i find soMeone liKe you, ali? Raeda Taha pays tribute to her late father, Egyptian romantic poet Ali Mahmoud Taha, in this one-woman show in which she considers what it means to be an orphan and elevates the women in her family to heroic status. Performed in Arabic with English supertitles.

Kennedy Center Terrace Gallery. 2700 F St. NW. To March 24. $15. (202) 467-4600. kennedy-center.org.

Film

beauTy and THe beasT Emma Watson and Dan Stevens star in this live action adaptation of the classic Disney movie about a girl who loves books, a man transformed into a hairy monster, and the love and enchanted household objects that bring them together. Co-starring Audra McDonald, Emma Thompson, and Kevin Kline. (See washingtoncitypaper.com for venue information) KonG: sKull island When a team of explorers visits a remote Pacific Island, they have no idea they’re about to encounter a variety of monsters, including Kong, in this thrilling action flick from director Jordan Vogt-Roberts. Starring Tom Hiddleston, Samuel L. Jackson, and Brie Larson. (See washingtoncitypaper. com for venue information) personal sHopper Kristen Stewart stars in this psychological thriller, set in the Paris fashion world, about a woman convinced that her dead brother is trying to communicate with her. Directed by Olivier Assayas. (See washingtoncitypaper.com for venue information) THe sense of an endinG Julian Barnes’ novel about a man haunted by his past and reconsidering his life comes to the screen in an adaptation from director Ritesh Batra. Starring Jim Broadbent, Charlotte Rampling, and Harriet Walter. (See washingtoncitypaper.com for venue information)

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Legals SOMERSET PREP CHARTER SCHOOL

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The Somerset Prep Public Charter School intends to enter into a sole source contract with Academia DC, LLC to coordinate the services required to support the School. Also, to advise the School Board on administrative duties.

Somerset Prep constitutes the sole source for Academia DC, LLC to make sure that they meet Board and school policies and procedures, the Charter and with the District and federal rules and regulations.

For further information regarding this notice contact sspdc_bids@ somersetprepdc.org no later than 5:00 pm March 20, 2017.

Achievement Prep PCS - Request for Proposal Achievement Prep PCS is seeking competitive bids for Strategic Planning.

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Comic Book & Sports Card Show SUNDAY MARCH 26 10am-3pm at the Annandale Virginia Fire House Expo Hall 7128 Columbia Pike 22003 The 6,000 + sq ft Hall will be filled with the best dealers around with their fantastic array of Comic Books- Gold, Silver, Bronze & Modern Age, Nonsports cards 1880’s to the present, + Pokemon & Magic cards ,sports heroes toys & jewelry .

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Functional Requirements: paper.com/ Lifting, carrying, walking long distances in all types of weather, standing for long periods of time, traveling the entire RCN footprint as needed, use of both hands, use of fingers, near vision, far vision, washingtoncitypaper.com hearing (aid permitted), ability to make notes/write.

We are proud to be an EEO/AA

Antiques & Collectibles

Years of Relevant Experience: 1+

Flyer Distributors Needed Monday-Friday and weekends.

We drop you off to distribute the fl yers. NW, Bethesda, Silver Spring, Wheaton. $9/hr. 301237-8932

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and establish relationship 6. Distribute marketing materials and participate in special sales events 7. Increase sales in respective territories 8. Prepare sales information for customers 9. Engage in technical discussions with potential customers through demonstrations and presentations 10. Remain knowledgeable and up-to-date on changes and developments within product/ service line 11. Keeps sales management informed of all activity, including timely preparation of required/ requested reports.

Requirements Education: High School Diploma or equivaSales/Marketing lent (required)

March 17, 2017 43

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ADAMS MORGAN, DC 2444 18th St. NW Washington DC 20009 202.232.6699

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Miscellaneous

Musician Services

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Fitness

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Comic Book & Sports Card Show SUNDAY MARCH 26 10am-3pm at the Annandale Virginia Fire House Expo Hall 7128 Columbia Pike 22003 The 6,000 + sq ft Hall will be filled with the best dealers around with their fantastic array of Comic BooksGold, Silver, Bronze & Modern Age, Nonsports cards 1880’s to the present, + Pokemon & Magic cards ,sports heroes toys & jewelry .

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Comic Book & Sports Card Show SUNDAY MARCH 26 10am-3pm at the Annandale Virginia Fire House Expo Hall 7128 Columbia Pike 22003 The 6,000 + sq ft Hall will be filled with the best dealers around with their fantastic array of Comic Books- Gold, Silver, Bronze & Modern Age, Nonsports cards 1880’s to the present, + Pokemon & Magic cards ,sports heroes toys & jewelry .

Plus Sports Cards-Baseball, Football, Basketball & Hockey cards vintage to the present & sports memorabilia & Hobby supplies for all your collecting needs.

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pm - 12:50pm. Church of the Reformation 212 E. Capitol St. NE. Contact 7http://www.washingt$ 202 3 544-4350.

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Come check out classes at Capitol Tang Soo Do (www. capitoltsd.com) - a certifi ed studio with the World Tang Soo Do Association (www. wtsda.com) Beginners and those interested are welcome on Thursday March 16th! Come meet our Instructors, ask questions, talk with students and parents, observe or just join in!

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