Washington City Paper (March 22, 2019)

CITYPAPER WASHINGTON

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MEND OVER MATTER Council Chairman Phil “Mendo” Mendelson is not power hungry, but he is power-comfortable. P. 10

By Mitch Ryals

Photographs by Darrow Montgomery

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COVER STORY: MEND OVER MATTER

10 As he guides the D.C. Council through another ethics scandal, Chairman Phil Mendelson gets comfortable in the power seat.

DISTRICT LINE 4 Housing Complex: Decay in D.C.’s public housing units is making residents seriously ill.

6 What’s Good?!: Introducing our new interview series with comic Haywood Turnipseed Jr.

SPORTS 8

Late Bloomer: Less than a decade after she began running competitively, Bethany Sachtleben is a favorite in the Cherry Blossom Ten Mile Run.

FOOD 14 Cannery Woe: Nonalcoholic beverage producers seek a local solution to their packaging problems.

16 Get Them to Like Greek: Greek wine recommendations from two local sommeliers 16 Hangover Helper: All-Purpose Riverfront’s Beltway Breakfast Pizza

DARROW MONTGOMERY 1600 BLOCK OF 7TH STREET NW, MARCH 12

ARTS 17 Turning the Tables: Female DJs find their own space in a local music scene where men get most of the attention.

20 Galleries: Meet the National Gallery of Art’s new director.

22 Curtain Calls: Warren on Studio Theatre’s Queen of Basel, Klimek on Arena Stage’s JQA, and Thal on The Wheel Theatre Company’s The Seagull 24 Opera: Paarlberg on Washington National Opera’s Eugene Onegin and Faust

CITY LIST 27 Music 32 Theater 32 Film

DIVERSIONS 33 Savage Love 34 Classifieds 35 Crossword

EDITORIAL

EDITOR: ALEXA MILLS MANAGING EDITOR: CAROLINE JONES ARTS EDITOR: MATT COHEN FOOD EDITOR: LAURA HAYES SPORTS EDITOR: KELYN SOONG CITY LIGHTS EDITOR: KAYLA RANDALL LOOSE LIPS REPORTER: MITCH RYALS HOUSING COMPLEX REPORTER: MORGAN BASKIN STAFF PHOTOGRAPHER: DARROW MONTGOMERY MULTIMEDIA AND COPY EDITOR: WILL WARREN CREATIVE DIRECTOR: STEPHANIE RUDIG CONTRIBUTING WRITERS: MICHON BOSTON, KRISTON CAPPS, CHAD CLARK, RACHEL M. COHEN, RILEY CROGHAN, JEFFRY CUDLIN, EDDIE DEAN, ERIN DEVINE, CUNEYT DIL, TIM EBNER, CASEY EMBERT, JONATHAN L. FISCHER, NOAH GITTELL, SRIRAM GOPAL, HAMIL R. HARRIS, LAURA IRENE, LOUIS JACOBSON, CHRIS KELLY, STEVE KIVIAT, CHRIS KLIMEK, PRIYA KONINGS, JULYSSA LOPEZ, NEVIN MARTELL, KEITH MATHIAS, PABLO MAURER, BRIAN MCENTEE, BRIAN MURPHY, NENET, TRICIA OLSZEWSKI, EVE OTTENBERG, MIKE PAARLBERG, PAT PADUA, JUSTIN PETERS, REBECCA J. RITZEL, ABID SHAH, TOM SHERWOOD, MATT TERL, SIDNEY THOMAS, DAN TROMBLY, JOE WARMINSKY, ALONA WARTOFSKY, JUSTIN WEBER, MICHAEL J. WEST, DIANA MICHELE YAP, ALAN ZILBERMAN

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DISTRICTLINE Home Sick

tion transfer, a protection enshrined in the Fair Housing Act that ensures tenants with disabilities have an equal opportunity to safe housing.

DCHA approved the transfer, responding “fairly quickly,” she says, and “acknowledg[ing] the severity” of Alina’s case.

“This was on Feb. 1,” Ruegilin says. “And in the weeks since, despite multiple attempts to contact them at several offices, they have refused to provide insight or visibility into the

me, that her living condition is exacerbating her health issue.” A spokesperson for Ruegilin’s firm tells City Paper that the unit DCHA offered Alina’s family is “located in an even older and considerably more decrepit housing project.” Ruegilin will accompany the family on a visit to the site on Friday.

In response to City Paper’s questions about Alina and Glover, a DCHA spokesperson sent an emailed statement, saying in part: “Concerns about the physical and environmental conditions at many DCHA properties are genuine and pressing; particularly the older properties. At each community meeting, residents ask questions about environmental issues like vermin and dust.”

The spokesperson continued: “Director [Tyrone] Garrett has made clear that the homes are in such disrepair that any further delay could affect the health and safety of residents who live there. More than 5,000 citizens, including 1,483 children and 937 elder-

process and won’t tell the family whether or when a transfer will be available. They don’t know whether it’ll be this week, month, year.

On paper they have this approval, acknowledging this problem, but they’re living in limbo. [Meanwhile] her doctors are saying, you have to get your daughter [out].”

Ruegilin adds: “They have stressed this to

ly, live in these homes. We encourage anyone who is concerned about their health to immediately contact their medical provider. By law, medical providers are required to follow certain protocols that include informing government agencies, like DCHA.” The spokesperson did not respond to a question asking whether DCHA is aware of any other tenants

By Morgan Baskin AlinA keeps going to the hospital.

The 10-year-old resident of Greenleaf Gardens has a health diagnosis her lawyer can hardly pronounce: allergic bronchopulmonary aspergillosis. (City Paper changed her name to protect her identity.) It’s an allergy to mold—an allergy so severe that a recent episode, in October of 2018, sent her into respiratory failure at Children’s National Medical Center. Her doctors wrote, in a letter obtained by City Paper, that her living conditions put her at risk of readmission and, potentially, of death.

Across D.C., in Ward 1’s LeDroit Apartments, 59-year-old Andrew Glover feels drained. He’s been this way for months— “constant fatigue,” he says, “just tired all the time.” He lost his appetite and sleeps all day.

Glover’s doctor told him last week that his symptoms are the result of elevated blood lead levels.

The factor both Alina and Glover have in common? They live in the District’s public housing, in buildings that the DC Housing Authority has identified as containing some of the most significant health and safety hazards in D.C. Months after the DC Housing Authority went public with details about the extent to which its public housing stock has deteriorated, and years after its residents say they first began to complain, families continue to cope with the physical consequences of living in units that even the Authority’s chief acknowledges are in “deplorable” condition— and they’re doing so with no end in sight.

“This is a case in point: If housing conditions are creating a host of problems, including severe medical problems for young children, what are these families to do?” asks Alina’s pro bono lawyer, Stacy Ruegilin, an attorney with the white shoe firm Shearman & Sterling LLP. Ruegilin tells City Paper that the family submitted a petition for reasonable accommoda-

HOUSING COMPLEX

Darrow Montgomery/File

Two families face critical illnesses stemming from dilapidated conditions in their public housing units.

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testing positive for elevated blood lead levels.

Greenleaf Gardens is a 211-unit apartment complex on N Street SW in Ward 6, and is notorious among legal service providers and public housing residents for hosting some of the city’s most repulsive housing conditions.

Last summer, Maggie Donahue, an attorney with the Legal Aid Society, recounted for City Paper the story of a client with such a severe cockroach infestation that the pests had eaten through the back of her kitchen cabinets, causing them to collapse; maintenance workers merely nailed the cabinets back on top of a blanket of cockroaches. Last month, Valerie Schneider, an attorney with Howard University Law School’s Fair Housing Clinic, told City Paper that clients living in Greenleaf have also reported sewage leaking through their walls.

And a lead hazard assessment of Glover’s building, conducted by an independent contractor between June 21 and July 11 of last year, found “deteriorated lead-based paint” and “elevated concentrations of lead in dusts,” including in tenants’ apartments.

In a phone call with City Paper last week, Glover—who also manages asthma, chronic obstructive pulmonary disease, high blood pressure, and diabetes—says that recent blood tests showed blood lead levels of five micrograms per deciliter. The Centers for Disease Control and Prevention considers that amount the threshold for an “elevated” blood lead level, and it is associated with decreased renal function, “adverse cardiovascular and kidney effects,” and cognitive dysfunction.

City Paper reported in early February that DC Housing Authority leadership has identified 14 buildings that are in the most critical condition. Among these properties, which altogether represent about 3,300 units of public housing, are Greenleaf and LeDroit. By the DC Housing Authority’s own count, 36 percent of residents who live in the 124-unit LeDroit Apartments are seniors; 40 percent have a disability. And one-quarter of the residents in Greenleaf are children, while 25 percent live with a disability.

DCHA has asked the federal Department of Housing and Urban Development for an additional 2,500 housing vouchers to help rehome families it says are living in some of the worst conditions, but it has not received them. In late February, Garrett announced that the Authority aims to present a portfolio “repositioning plan” to the public within 60 days, which will include an outline for “how the agency will address at least 2,400 housing units, over the next 24 months.” The Authority has beefed up staff in recent months as it prepares to release the plan.

That plan will not rely on “selling off properties, but rather, unlocking private investments

to provide housing assistance to our existing residents,” Garrett said in a statement at the time. “Full dependence on federal funding is no longer an option and we have to find ways to bring other resources to the table.”

On Wednesday, Mayor Muriel Bowser released her proposed fiscal year 2020 budget. It includes an increase of $1.47 million for rent subsidies distributed by the Housing Authority and no additional funds for capital improvements. DCHA has said it needs at least $330 million in one fiscal year to make immediate health and safety repairs.

Felicia Ross, Alina’s mother, says that her daughter has lived most of her life in public housing—first at Potomac Gardens, and then Greenleaf. But her current unit isn’t any better than the old one.

Ross and her attorney say the apartment is infested with mold, mildew, rats, cockroaches, and mice, which the family sees “on a daily basis.” Walk too hard on the staircase, and you might punch a hole through it. There’s “white mold, a whole lot of it” under the kitchen cabinets. There have been close to two dozen pipe leaks since the family moved in. There is “feces water” that seeps into her unit from the apartment next door. In the last week, she has caught three mice. “And there’s still more in there,” Ross says. “I see the droppings everywhere. It’s embarrassing to have company and mice run across your feet.”

The conditions, she says, “start telling on themselves.”

Ross’ daughter, meanwhile, regularly takes anywhere from five to eight antifungal medications and steroids a day. She has several different inhalers. Her mother has learned to pack a bag for the hospital because she knows she’ll be there for up to five days, and has spent thousands of dollars on air humidifiers and purifiers. She says she is wary of letting Alina play downstairs, where the bulk of the mold grows, because it exacerbates her asthma. She is mostly confined to her bedroom.

“She just doesn’t have an understanding of why she can’t play tag. She rides her bike, she gets out of breath. But she tries,” her mom says. Alina’s health “has always been a downhill battle. It’ll get better, and then it’ll turn for the worse. Since she was diagnosed with her asthma, she has always been a frequent patient in the ICU.” Ross and her other two children, each older than Alina, also have asthma.

Back in September of 2018, before Alina got sick, Ross says she contacted her building’s manager at DCHA to discuss the conditions on her property: The refrigerator was leaking fluid, the stove was leaking gas. The next month, Alina was hospitalized. “And I said, this is what I tried to prevent,” Ross says.

“I’m lost for words,” she says. “I’m tired. The weight of the world is on my shoulders on my household. My main thing is to make sure those kids are straight. I don’t want to have to hear— another child—it’s not just about me. I know there’s other kids suffering in that housing complex just like mine.” She wants a home Alina “can breathe in, somewhere she can grow,” Ross says.

“I don’t want to bury my child because of asthma. I can’t keep enduring this.”

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DISTRICTLINE

What’s Good With Joel Vincii?!

So Joel, what’s good with you these days?!

I’m doin’ super.

What’s good about being a gallery aide at the NGA? First off, how would you say, “absolutely love it.” There’s no other place I would like to work, honestly. I used to work at the Capitol in visitor services and I didn’t really like it. I mean, it was a good job, but you know, I didn’t like it. It wasn’t really my cup of water. But yo, I saw the position open for the gallery aide—I applied immediately. A day later I put in my two weeks at the Capitol. I didn’t even have the job. I didn’t have the interview. I was just like, “Yo, this is for me.” Like I gotta get this.

Like God, like I’m praying. I prayed, I fasted, man. And I got it. My job as a gallery aide is different. We’re more customer friendly. And we know more about the artwork. I studied art at Central State University in Ohio. That’s pretty much why they brought me up.

This is the first installment of City Paper’s new Q&A series.

By Haywood Turnipseed Jr.

You’re a native Washingtonian, right?

I grew up in Southeast D.C., on Texas Avenue in the Shrimp Boat.

You’re also an artist. What’s good about being an artist?

It’s a privilege; I love it. I feel like, as an artist, it’s your duty to really kind of shift the culture and get the conversation started. It’s a privilege to me, that’s how I feel. It’s a privilege.

What’s good about being an artist who is based in D.C.?

Well, I feel like it’s the perfect place to be in terms of being an artist. And then for me personally, because you know, I grew up here, I’m like familiar with everything. Mumbo sauce, DADA Clothes, go-go music. I’m familiar with it all.

Darrow Montgomery

Looking at the world today, there’s a lot of bad juju going around. Social media can be overwhelming; overbearing masculinity can be toxic; ‘isms, and schisms are being normalized; and Kentucky Fried Chicken sold a yule log that smells like its nasty-ass chicken this past Christmas. Popeyes would never do that with their Louisiana fried flavorings. So when City Paper asked me to write a Sunday column, I was clear on the things I wanted to stay away from: all of the aforementioned. What wasn’t clear: What did I want to write about? Then it hit me. What’s good?!

Habari Ghani is a Swahili term that means, “What is the news?”’

When I use it with my friends and family, it just means “What’s good?!” I want to use this column to get an answer to that question for D.C. What’s good—in the crazy town where we live?! What’s good—with the people in it?!

Most important: What’s good with you?!

First I’ll tell you who am I and what’s good with me. My name is Haywood Turnipseed Jr. and I live, work, and perform stand-up comedy in the greatest city in the world: Washington, D.C., the District of Columbia. Columbia means truth.

I live with my wife and kids in the Congress Heights section of Southeast, aka Ward 8. I grew up in Gary, Indiana, living with my mom, two brothers, and sister. When I was 16 we moved to Moon Township, Pennsylvania, a suburb of Pittsburgh, which is great city. Moon was a cool place to live. I graduated high school, learned to balance playing in the band and playing football, and even went to Waynesburg University for a year before joining the U.S. Air Force. I had lot of fun in college, it’s just that I didn’t go to class so much as I went parties after class.

I moved to Maryland more than 20 years ago when I was stationed at Andrews Air Force Base in 1995, and I’ve worked as a telephone man for various telecommunications companies since getting out of the Air Force in 1998.

I’ve been performing stand-up since 2007— at the Kennedy Center, DC Improv, Madam’s

Organ, Solly’s Tavern, the Drafthouse Comedy Theater, the Lincoln and Howard theaters, the 9:30 Club.

My wife and I met at the old Common Share in Adams Morgan. I’ve partied Uptown, on U Street, and remember when everything north of Massachusetts Avenue NW was called Uptown. Back then, the Southeast waterfront was industrial buildings that transformed at night into hip-hop clubs, strip clubs, and gay clubs, and the impound lot was there. I’ve eaten lunch at Florida Avenue Grill, bought the fish plate from Horace and Dickies, and gotten mixtapes from both the Shrimp Boat and P.A. Palace. Been stuck in traffic on the Suitland Parkway and learned what times are good

6 march 22, 2019 washingtoncitypaper.com

to take the Rock Creek Parkway. Coached my kids sports teams at Fort Stanton, and witnessed their births in D.C. hospitals. I’ve voted here and served jury duty. And now the local newspaper has asked me to interview people who live in D.C. How can I not love this city?

At first I was afraid to ask people what’s good with them, wondering if even the thought of it was corny. But people have a lot to say, so here we go.

This first week, I ask that question, “What’s good?!” to Joel Ulmer, my co-worker at the National Gallery of Art, where I’m a telecommunications specialist. Joel is a gallery aide, and an artist in his own right. As an artist, he goes by Joel Vincii.

I like how you share those vibes in your art. You have some conversation pieces.

If you are an artist, you should say something.

Like, you should be saying something. Find your voice, you know. Don’t just paint celebrity portraits. Come on now. That’s too easy. I wanna start a conversation.

What’s good about working in an art gallery, walking among the masters and their works?

I mean, it’s great for me. It’s inspiring. Just being in that presence. When I’m walking through the galleries, I’m really envisioning the artists hundreds of years ago, just painting, you know?

I’m studying their strokes, I’m watching every line that they put on the canvas, mimicking it in a way mentally, if that makes sense. Like that whole process, the whole building process. I can see it in the paintings and I’m really studying it.

So I mean that’s, that’s what I get most out of

Darrow Montgomery

“Denise McNair” by Joel Vincii (detail) working at the gallery. You know, I’ll take time to actually study the works.

So you get inspired by the old works to do the new works?

Yeah, definitely. Yep. Yep! I use their style pretty much with a little bit of modern day Joel. Yep! How’d you make out during the furlough?

I know it was tough for a lot of people. I mean, I felt bad like seeing the lady on the news and stuff like that, and talking about her rent. But for me personally, I enjoyed it. I kinda did; I’m not gonna lie. I mean, first off, I gained like six pounds. I ate and slept like good. Yes man, I got to get three pieces done. And then on the last day, the Sunday before the furlough ended, I started another piece. I made sure I even posted on Instagram. Because with me it’s just like, I got a lot of paintings just like in a vault.

I’m my head, they constantly keep coming. So you know, working at NGA, you gotta kind of like sacrifice, right? How much art you make, because you need energy. I gotta sleep.

And you’re a dad. What’s good about being a dad?

It’s a big responsibility. I mean I’m aware that they’re watching. They’re even starting to pick up brushes and stuff like that. My 7-yearold, he’s pretty good. He’s got that set of seven paint brushes. He just had a birthday yesterday, my oldest Nehemiah, he turned 7. Elijah is 4. He just turned 4 in January. Those are my two, man. Yup! What good stuff do you have coming up

that you’d like to share?

I got a couple of things. I got a really big show coming up in November at the Arts Club of Washington. They just hit me up and said they definitely want to host me. So that’s in November, and I’m thinking, I’m going to have, like maybe 30 pieces, get like 15 new ones out.

“The world’s reigning male chorus” —The New Yorker

The Joel Vincii showcase?

Yup, exactly. And the Phillips Collection is going to do something in conjunction with that.

I’m also a Phillips affiliate. You know, I basically volunteer there once a month. It’s a great place. I love the Phillips Collection. I mean the arts need as much access as possible.

Chanticleer Sirens

One last question, Joel Vincii. Your given name is Joel Ulmer, but you go by Joel Vincii on Instagram and in the art circles.

I gotta ask you, what’s good with that?

He’s [Leonardo da Vinci is] a juggernaut, you know, in the art game. And, for me, this quote of his that I read from him was: “Art is never finished. It’s abandoned.” I didn’t understand it when I first heard it in college. I was like, what does that mean? Just dismissed it pretty much.

Art is never finished, it’s abandoned.

Right, right. I learned that it was a really special reason why he said that—just let it go. You know? Don’t try to get it perfect. You know what I’m saying? If you get stuck trying to perfect something, you can mess it up, or you’ll just get stuck. Or unhappy with it. I learned that in some of my old pieces, you know, so I just, I just learned to abandoned them. Da Vinci!

CP

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Carey Jordan

SPORTS

MISERY REPORT

Wizards Misery Report: Fans that are fed up with the direction of the franchise are now rooting for the team to lose. washingtoncitypaper.com/sports

Late Bloomer

USATF 15K Championships

By Kelyn Soong During one practice in 2012, the George Mason University cross country coaches gave their runners a simple task: Go to the outdoor track located near the school’s field house and run 1,000-meter repeats. The two-and-a-half laps around the 400-meter track helped break up the monotony of distance running, and provided runners with a chance to test their speed.

But there was a problem. Bethany Sachtleben, one of the team’s newest members, had no idea what the coaches’ directives meant. She had never run a track workout before.

“I literally did not know running had workouts in it,” Sachtleben says on a recent afternoon, sitting just a few feet from the school’s indoor track. “I never watched track. I watched the Olympics, but I was like, ‘Oh, track’s boring. I don’t want to watch.’ So I never watched those events … I watched gymnastics, figure skating, all the fun sports.”

Sachtleben laughs at those thoughts now. Less than seven years after her first track workout, she’s a professional runner. Her name fills the George Mason record books, and next February, she will line up in Atlanta for the 2020 Olympic Marathon Trials. Sachtleben has the 17th fastest

RUNNING

Michael Scott

Bethany Sachtleben, a favorite in the Cherry Blossom Ten Mile Run, took an unconventional path to Olympic Marathon Trials.

marathon qualifying time—2 hours, 31 minutes, and 20 seconds—on a list that includes Olympians Shalane Flanagan and Molly Huddle, two of her running idols. “I still feel kind of intimidated by them,” she says. “Maybe I’ll feel more like I belong when I get faster.”

This April, the 27-year-old from Fairfax will also be one of the elite runners at the Cherry Blossom Ten Mile Run in D.C., where she hopes to be the top American female finisher.

Even if she did have a late and non-traditional start, it didn’t take Sachtleben long to figure out this is what she wanted to do.

“I can’t imagine a life where I wake up, ‘Ah, I don’t want to run today,’” Sachtleben says.

“I love it. It’s not even an option. I’m just like, I’m going to get ready to run. It’s just what I do.

And I enjoy it.”

Sachtleben coulD run all day long during soccer games. She had played the sport for most of her life, and around 15 or 16, joined a new club team with her younger sister, Keri— a star goalkeeper who ended up playing collegiate soccer.

But during one tournament, Sachtleben sat on the bench the entire time. Afterward, frustrated and confused, she approached the coach. “I asked him what [could] I do to get some playing time,” she says. “He was like, ‘I’ll give you your money back if you want.’ He told

8 march 22, 2019 washingtoncitypaper.com

me to leave my uniform in his mailbox.”

A few days later, Sacthleben turned in her uniform and never saw the coach again, marking the end of her soccer career.

She turned to tennis, a sport she played growing up in Manassas. But Sachtleben mentally struggled with the competition, and as the losses piled up, so did the discouragement. Since she was homeschooled, she decided to run outside during the day to maintain her fitness, a routine she continued during her year at Northern Virginia Community College.

At that time she also worked 12-hour shifts as an ambulance dispatcher. The sedentary lifestyle began to take its toll. “I felt like such a lard,” she says, “just sitting in my chair for 12 hours.”

So she ran. First to see how far she could go before having to turn back, and then eventually just for fun. “That was the beginning, I guess,” Sactleben says.

In 2012, she registered for the Rock ‘n’ Roll Marathon in D.C. At that point, she had started running nearly every day for 30 minutes up to an hour. She didn’t wear a watch, or look up a marathon training program online. She says the thought never crossed her mind.

“I was so ignorant,” Sachtleben says. “My mind is blown, like, ‘Bethany, what were you doing?’ I just didn’t understand running at all.

I had no idea people were training for it.”

The day before, in a last-minute panic, Sachtleben decided to run 20 miles on a treadmill at the Planet Fitness in Manassas. Her previous longest run had only been 8 miles. She showed up to the race with soccer shorts, a pair of old Nike Free running shoes, and headphones in her ears.

She doesn’t remember wearing a watch during the race, and didn’t care about her mile splits.

None of that mattered.

Sacthleben took second place with a time of 3:08:43. A few weeks later, she emailed the George Mason coach about walking on to the cross country team. She finished first for Mason at every race that fall season. before Sachtleben eStabliSheD herself as the program’s top runner, she quit the team. She found the structured workouts and the demands of being a full-time student to be

too difficult, and wanted to go back to running for fun. She told her coach, Andrew Gerard, she was quitting, cleaned out her locker, and walked out.

The next day, an elderly woman appeared in front of Sachtleben while she was out for a run on the Route 234 trail. As the two crossed paths, the woman stopped.

“She was like, ‘Don’t stop running … I’ve run my whole life and I loved it and it helped me, so you should never quit running,’” Sacthleben recalls. She took it as a sign. The next day, she texted Gerard and told him she planned on returning.

Her parents, siblings, and coaches all breathed a sigh of relief. She hasn’t stopped running since, and is now a volunteer assistant coach for George Mason in addition to working full time as a financial operations analyst at a tech company in Tysons.

This year, in addition to the marathon trial, she hopes to also qualify for the Olympic Trials in the 10K. (The U.S. qualifying standard has yet to be set.) Sachtleben recently finished second at the USA Track & Field 15K Championships.

“I’m not terribly religious, but she is very devout and I know she believes in that side of things a lot more probably,” says Gerard, who adds that he does not know the woman who spoke to Sachtleben. “Everyone has periods of where things are going great and periods where they’re not, but you look at pivotal moments in someone’s life and rarely do they come down to that one thing, and she’s got it, and it definitely changed the trajectory of what she’s gone on to do.” a large SigneD, framed photo of American half marathon record holder Ryan Hall, whom Gerard coached at Stanford University, hangs from the wall of the coach’s office. There is also one of Ian Dobson, an NCAA champion for the Cardinals, and another of David Verburg, the gold medalist in the 4x400-meter relay at the Rio Olympics.

Then toward the bottom of the wall is a photo of Sachtleben, her arms stretched high above her head, and her mouth wide open.

She looks triumphant—and happy. It’s from the time she won the 5K at the 2014 Atlantic 10 Outdoor Track and Field Championships her junior season.

That year she confided in Gerard about her career aspirations: to qualify for the Olympic Trials and run professionally after college. A few years later, she accomplished both, and Sachtleben, as her coach will tell you, is just getting started.

“This is something I really want to do for a long time,” she says.

CP

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@EATNORTHITALIA washingtoncitypaper.com march 22, 2019 9

MEND OVER MATTER Phil Mendelson came to power on the heels of a scandal. Now one of his colleagues is under investigation, and it’s his job to keep D.C.’s governing body ethically sound.

By Mitch Ryals

Photographs by Darrow Montgomery

It’s a Monday morning, and D.C. Council Chairman Phil Mendelson is standing behind a lectern taking questions about someone else’s scandal.

Longtime civic watchdog Dorothy Brizill is sitting in a row of reporters quizzing him about the federal probe into Ward 2 Councilmember Jack Evans.

It’s a familiar dance between the chairman and Brizill, who used to run a local news website, which features columns Mendelson wrote in the late 1990s. As Brizill continues with her line of questioning, a slight grin creeps across the chairman’s face. He takes a knowing look toward some Council staff sitting off to the side and then back to the reporters in front of him.

Mendelson is careful and calculated in his answers, which only further agitates Brizill, who has sat through scores of press briefings and Council meetings in her time. She continues to pry for information, and Mendelson bats away her questions, saying he needs to chat with the Council’s lawyer before he can say more.

“Well you may not like the answers,” he says stealing another look toward the staff. “I’m 10 march 22, 2019 washingtoncitypaper.com

sorry for that.”

“You haven’t answered questions, Mr. Mendelson,” Brizill scolds. “You’re kicking the ball down the road.”

With that, Mendelson moves on, prompting reporters for questions on other business before the Council—anything but the Evans scandal.

“We have a very important item on the agenda for tomorrow, the appointment of Lewis Ferebee,” he prods, referring to D.C.’s new schools chancellor. “Any questions about that? Anything else?”

As the leader of D.C.’s 13-member Council, which for years has been tainted by corruption and abuses of power, Mendelson is its moral compass.

Recently, he’s taken heat for what critics say is a soft touch in disciplining Evans, who was caught using his official government email to peddle his influence and relationships for some extra income. Evans is also being investigated by the U.S. Attorney’s Office.

The controversy has sucked up a lot of Mendelson’s time in the past few weeks, and he knows it will consume more. Although the Council voted earlier this week to formally rep-

Chairman Phil Mendelson on an inspection tour of Oyster-Adams Middle School, March 13

rimand Evans and diminish the responsibilities of his committee, many are not satisfied.

For Mendelson, a meticulous government nerd who would rather dive into a land use policy document than do almost anything else, Evans’ actions are a distraction from more important Council business.

There’s the public education system rocked by scandal for the past year, there’s an affordable housing shortage, the upcoming budget season, and the $47 million revenue hit the District took due to the federal government shutdown.

And then there’s Mendelson, 66, who looks more like your high school history teacher than the second most powerful politician in D.C., right in the middle of it.

Younger, more left-leaning councilmembers tug against Mendelson’s moderate brand of progressivism, but he fended off a challenger to his left in 2018, and the chairman is emboldened as he looks forward to a third term as the captain of the ship.

So who is Phil Mendelson, where is he leading D.C., and what does he want?

Nearly every flat surface in Phil Mendel-

son’s office is covered with paper.

“That’s off the record,” he says, referring to the stacks of documents. The chairman is a known paper hoarder, though his staff says the current state of his office is an improvement.

In his old office on the fourth floor of the Wilson Building, the chairman had to cut a path through the clutter.

“But he knows where stuff is,” says Monique Bexley, who has worked for Mendelson since he was an at-large councilmember. “Anything he needs to find, he can find it. He has files dating back to the ’70s.”

Bexley paints a picture of her boss as a diligent policy wonk and a man married to his desk and his quirky habits.

He eats peanut butter and jelly sandwiches and a banana for lunch, he still uses WordPerfect, a word processor first released in 1979, and he takes the same vacation to a theater festival in Canada every year.

She says Mendelson would often remain in the Wilson Building working and sending emails until 1 or 2 a.m. Although he still works late, Bexley believes his partner, Ana Harvey, has helped him scale back the crazy hours.

“If he says something that’s crazy or she

doesn’t agree, she will definitely let him know, and I think sometimes she makes him think,” Bexley says. “He’s able to look at things from a different perspective. She helps bring some of the best out in him.”

Others who know him well tell stories of his stamina for public meetings and willingness to listen to constituents late into the evening, after events have ended. They say his penchant for digging deep into the details is a strength and a weakness.

“He lives in the weeds,” says Ward 5 Councilmember Kenyan McDuffie. “It doesn’t matter whether he’s editing some dense committee report or attending community meetings to discuss obscure issues with residents. He does all that and does it well into the night.”

After about four decades in public service, Mendelson’s trajectory is fairly well known in D.C. He started as an environmental activist and spent about 20 years as a member of an Advisory Neighborhood Commission (ANC) in Ward 3. He was arrested in 1987 for protesting the construction of a road through Glover-Archbold Park, and worked as a staffer for more than one D.C. councilmember, includ-

ing the late former chairman David A. Clarke, earning him the nickname “Staffer Phil.”

Mendelson lost in his first run for Council in 1996, but eked out a victory for an at-large seat in 1998 with just 17 percent of the vote in a crowded Democratic primary.

Facing a series of relatively weak challengers, Mendelson held onto his at-large seat until 2012, when he was appointed chairman to replace Kwame “Fully Loaded” Brown, who resigned amid bank fraud charges.

As chairman, Brown will forever be known for leasing two Lincoln Navigators on the taxpayer’s dime because the first one was not to his specifications. Mendelson, by contrast, drove his 1998 Mercury Mystique into the ground and actually made news when he finally bought his current ride, a 2012 Ford Focus.

Chuck Thies, a local political consultant who ran Mendelson’s 2002 re-election campaign, has long referred to the chairman as Mr. Magoo—a man who quietly and haphazardly ascended to his leadership role.

“I don’t do flashy stuff like have big press conferences and announce that I’m going to improve policing,” Mendelson says, making a subtle dig at Mayor Muriel Bowser’s frequent

washingtoncitypaper.com march 22, 2019 11

press conferences in 2015. “I think they’re self-serving and they aren’t necessary to get the work done.”

Despite his reputation as the District’s most boring lawmaker, Mendelson consistently crushes opponents by around 30 point margins or higher, this past election withstanding.

“He’s Mr. Magoo, and he’s a titan,” Thies says. “That’s so rare.”

That he trounced Ed Lazere, a torchbearer for progressive causes in D.C., in the 2018 primary, is evidence that his brand of moderate liberal politics and humble persona still resonate with voters.

“He at one time was considered one of the most liberal members of the Council, but things have changed, and I guess that reflects how the Democratic party has changed,” says Philip Pannell, a longtime Ward 8 political figure. “I’m very comfortable with him. Like a comfortable pair of old slippers.”

But Mendelson is a frustrating character for D.C.’s younger progressives.

Todd Brogan, a trade union organizer recently elected to the D.C. Democratic State Committee, points to Mendelson’s vote to repeal the voter-approved Initiative 77, which would have increased the minimum wage for tipped workers, as one example. He also takes issue with Mendelson’s willingness to consider business-backed changes to the District’s paid family leave law.

Along with Mendelson, seven other councilmembers voted to repeal 77; and he eventually rejected the proposed changes to the paid family leave law shortly after Lazere announced his candidacy and quickly outraised the incumbent chairman.

“I don’t think he’s a terrible chairman,” Brogan says. “I think he’s a guy who is willing to listen and learn. But I worry he’s more and more becoming a representative of people who are already over-represented in the city.”

For Brogan, who contributed to Lazere’s campaign, Mendelson’s approach to the controversy surrounding Evans is a test of his leadership.

In his role as chairman, Mendelson acknowledges that he’s moved “a little more toward the center than I used to be.”

“I have to be the adult in the room as opposed to the councilmember on the end of the dais who can just lob shots to the middle, which is what I used to do,” he says.

Mendelson walks out of a formal gala wearing a blue-and-white striped bow tie. His partner, Harvey, holds his hand en route to the next gala—the annual labor union celebration, Evening With Labor.

Harvey, once the director of the D.C. Department of Small and Local Business Development (DSLBD), cringes throughout the evening.

“This is not really my crowd,” says the 56-year-old Mexico City native.

The pair have been together since about September 2015, shortly after Harvey got the gig in the Bowser administration, and they now live together on Capitol Hill.

In his inaugural speech in January, the typically reserved chairman choked up as he thanked Harvey and his 18-year-old daugh-

ter, Addie.

“I love you both,” he said from the stage.

With their lives now more closely intertwined, each inevitably drags the other to events like the one this evening. Mendelson never showed up to Harvey’s events when she was president of the Greater Washington Hispanic Chamber of Commerce, she says.

“That’s because you never invited me,” he responds.

“I knew him, but he was too far left for my taste,” Harvey says. “He’s very labor friendly.”

In the car on the way to the union ball, Harvey recalls the first time she met the chairman.

She was just a few weeks into her new position at DSLBD and getting to know each of the councilmembers. Mendelson was last on the list, and she left the meeting in his office thinking he was the biggest “pompous ass” she’d ever met.

“I told her her agency was terrible, and ‘We’ll see if you can turn it around,’” Mendelson says.

12 march 22, 2019 washingtoncitypaper.com

“He told me the agency sucks,” she corrects. “But also I think he didn’t really know much about small business anyway.”

“They’re small,” Mendo quips. “Do I need to know more than that?”

The acrimony didn’t last long. By September 2015, he bumped into Harvey in a luxury box at a Nationals game. It was American University night and Mendelson threw out the first pitch.

At that point, he says, it was clear that his relationship with his former partner Carol Mitten—who is also the former director of the District’s Office of Property Management—was coming to an end.

(Under the name “Carol Mi,” Mitten donated $1,000 to Mendelson’s 2018 opponent, Ed Lazere. When asked about it, she said: “I just wanted to support Ed. I don’t want to talk about it in any more detail.”)

After about 20 minutes of chit-chat at the baseball game, Mendelson made his move and asked Harvey out to lunch.

Apparently his subtle charms were a little too, uh, subtle. Harvey says she was unaware the chairman was asking her on a date.

“We were talking about small business and then he said ‘Should we have lunch?’” she says.

“I was like ‘Ugh, OK.’” Harvey describes their rendezvous at the shuttered M&S Grill as a combination of “hearing, inquisition, and confession,” though she found him interesting enough to agree to a second date, and a third. After a few months she called around to some friends in the District government, and they vouched for him.

“I know exactly what I asked because I had worked with councilmembers before,” she says. “I said ‘Just tell me you’re not going to get indicted.’”

Except for a relatively minor dust up with a former chief of staff, Jessica White, back in 2003, Mendelson has avoided the scandals that befell past and present D.C. lawmakers.

White claimed that Mendelson discriminated against her based on religion and disability when he fired her. She filed a complaint with the Office of Human Resources, which exonerated Mendelson.

White later filed a lawsuit in D.C. Superior Court that was dismissed for missing a filing deadline.

In August 2017, Harvey left the Bowser administration. At the time, she told the Washington Business Journal that she resigned “for very personal reasons,” but did not elaborate. Mendelson says she made a lot of improvements in the agency. Officially Harvey left voluntarily and soon after started working for the nonprofit Charter School Incubator Initiative.

The organization acquires and renovates buildings to help charter schools establish themselves in the District. Once the school is up and running, Harvey says, the Incubator transfers the building and the debt to them and walks away.

At the labor ball, Mendelson and Harvey sit at the first table with Del. Eleanor Holmes Norton. Mendelson knowingly glances at Harvey throughout the speeches, including one from At-Large Councilmember Elissa Silverman, who recently championed paid family leave, the law that taxes businesses to give families paid time off to care for new children and sick relatives, as well as personal sick time.

(As a former Loose Lips reporter, Silverman coined Mendelson’s nickname, “Mendo.”)

Harvey says she was completely opposed to the new law, which Mendelson shepherded through the Council.

“That is the first time I didn’t agree with Phil,” she says. “We just didn’t talk about it because I would just get worked up about it, and he fought hard for it.”

After dinner (and a few glasses of red wine for Mendo), the D.J. kicks off the party with a little James Brown. The chairman’s leg starts to jiggle, and he’s the first one on the dance floor. Norton soon follows him for the “Electric Slide.”

He eventually persuades Harvey to join them, and he spins her around with more grace than you’d expect from the balding, so-

cially awkward chairman. As they dance, an undeniable reality emerges: Mendo is, somehow, a low-key silver fox.

Mendelson is acting on what he knows.

His critics want him to act on what he doesn’t.

He spent weeks resisting calls from councilmembers and the public to remove Evans as the chair of the Committee on Finance and Revenue. He also resisted a push from three councilmembers to establish a special Council committee to investigate Evans’ private business relationships.

He argued instead to formally reprimand Evans, which amounts to a statement of disapproval from the Council and comes with no real consequences.

Mendelson emphasized the importance of allowing the criminal investigation into Evans’ business dealings to continue without additional political interference. He left open the possibility of more severe punishment for Evans as the criminal investigation unfolds.

But by the time the Council was ready to vote, he finally gave in.

On the afternoon of the vote, Mendelson moved to strip Evans’ committee of several responsibilities. From the dais, Mendelson described the move as a compromise.

In addition to the formal finger-wagging from the Council, Mendelson’s revised reprimand guts Evans’ committee of any measures involving tax abatements and tax increment financing. He said he would no longer refer those measures to Evans’ committee as long as the criminal investigation continued.

The committee will also lose oversight of the District’s entertainment and sports authority, Events DC, as well as the Commission on the Arts and Humanities.

The reprimand passed unanimously, and the Council will vote again in two weeks on the committee’s reorganization. But that hasn’t satisfied everyone.

Silverman criticizes Mendelson for deciding which pieces of Evans’ committee to remove without public input.

Zach Weinstein, a community organizer for Jews United for Justice (JUFJ), echoes Silverman’s concerns.

“If there are ethical questions, it seems like all the policy that finance and revenue committee handles is important,” Weinstein says.

“Not just the things the chairman removed from his purview.”

JUFJ is one of several organizations that signed onto a letter, along with about 400 individuals, calling for Mendelson to remove Evans as chair of the finance committee and from his seat on the judiciary committee.

Several other local organizations have made similar demands, including those who’ve been allies of Evans in the past. A recall effort is also underway.

Something that’s bothering Weinstein, who worked on Silverman’s 2018 re-election campaign, is a statement from Mendelson the night before the reprimand vote.

In hinting that he might take a step beyond the reprimand, Mendelson said “a number of progressive groups have turned this into

a lobbying campaign to force Jack to step down from the committee.”

“To me the implication is that when you choose to take action through a group that is organizing in the city, it just doesn’t count,” Weinstein says. “Phil used to say, ‘I was progressive before it was cool,’ and now it’s like the voices of progressives don’t matter.”

Mendelson, for his part, explained that removing Evans chairmanship without an investigation sets a precedent the Council will regret.

“Anyone who might suggest that this is not painful should put themselves in Mr. Evans’ shoes,” Mendelson said ahead of the reprimand vote. “This is a public meeting. It is a specially called public meeting. There is one item of business. I have repeatedly invoked Jack Evans’ name in condemnation of his conduct.” it’s after 9 p.M. on a Monday, and Mendelson still has three grocery stores to go to.

There’s stuff at Whole Foods that he can’t get at Giant or Trader Joe’s.

But first, he feels obligated to stand outside the Tenley-Friendship Neighborhood Library with a group of angry Ward 3 constituents following a two-hour meeting.

They cannot believe his unwillingness to budge from his support to renew the lease for the private The Lab School of Washington, when the community’s public schools are overcrowded.

“You are really against it,” one woman says.

“You care more about them than you do about us. You’ve made it clear in every single statement you’ve made tonight. Do you have no idea what that means to even say this?”

It’s approaching 10 p.m. by the time he gets out of there, feeling exasperated. He likely would not have attended the meeting had he not recently taken on co-oversight of the public education system. But he says he got what he came for: a good dose of Ward 3 residents’ concerns.

On the ride back to Capitol Hill, Mendelson talks about how his mother, a political science major, a government teacher, and then a muckraker, inspired his political career.

He says one of his proudest accomplishments as a lawmaker is helping the Council legalize same sex marriage at a time when only a handful of jurisdictions allowed it. One of the most memorable moments in his career, he says, was the testimony of a mother whose daughter was killed in the South Capitol Street shootings.

“In her hurt she brought an autopsy photo,” he says. He still has it tucked away in a folder.

He feels a responsibility to keep it.

Mendelson also mentions the book Plunkitt of Tammany Hall, which he read in college.

“One of the things I took from that was that people can be very successful at being powerful in office, and they can also be very corrupt,” he says. “And then you have people who want to do the right thing, so they’re not corrupt, and they’re very incapable of being successful in office. And I believe it’s possible to do both.”

And that’s what he wants—to do both. CP

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washingtoncitypaper.com march 22, 2019 13

Danny Kim

DCFEED

Dupont seafood darling Pesce is popping up at Bullfrog Bagels in Eastern Market Wednesday-Saturday nights.

Chef Andrew LaPorta’s menu includes a Southeast Asian-inspired whole fish.

Cannery Woe

Without a dedicated non-alcoholic beverage production facility, local brands risk their proud made-in-D.C. statuses when it’s time to scale up.

Nikki BlaNk raN an under-the-table subscription switchel service out of the PBS station she worked at in Boston for a year and a half. Venmo made it possible. “I’m sure it would have been shut down if my news director knew it was happening,” she says. “But it was the best part of my day, especially during the [2016] election cycle.”

Switchel is an apple cider vinegar-based drink punched up with ginger and citrus that dates back to Colonial America. Blank describes it as a gutfriendly, daily electrolyte drink with prebiotics that can also be mixed in a healthy cocktail or mocktail.

When Blank moved to D.C. to hunt for jobs, she continued crafting switchel in her kitchen. “Then I did some research and found out about local food incubators and womanowned businesses and thought, ‘I could probably bottle my stuff and people would buy it.’”

But Blank’s decision to enter the non-alcoholic beverage industry in 2017 with her company, Sip City, was more calculated. “We’re shifting towards a really cool and unique time where people are really interested in non-alcoholic offerings,” she says. “It’s a trend that I’m sure is visible on Instagram ... People see beverages as an extension of their personal brand.” She uses the overwhelming popularity and colorful branding of LaCroix sparkling water as an example. “People like to be seen with their cool can.”

She’s also observed the rise of “dry January” and growing sober and “sober-curious” populations. According to the 2018 Monitoring the Future annual national survey, which tracks the values and behaviors of students and young adults, younger Americans are drinking far less than people the same age did 10 years ago. “It’s going to hit bars and restaurants really hard,” Blank says. “They’re going to have to offer something else.”

Blank began producing her beverages in one of D.C.’s many budding commercial kitchens—Tastemakers in Brookland. But not long after her first glass bottles of switchel

YOUNG & HUNGRY

landed on retail shelves in 2018, she realized she needed a production space with canning and carbonating capabilities.

While commercial kitchens like Mess Hall and Tastemakers lower the entry barrier for beverage start-ups and can support them early on, they’re a better match for food businesses. Beverage producers often have to purchase their own specialized equipment and stress over whether the space they need to put it in will still be available down the road, since these makerspaces experience high turnover.

At the same time, most established shared production facilities, known as copackers, have significantly larger minimum quantity requirements.

This makes it challenging for producers to continue experimenting as they grow.

Dumping thousands of gallons of product can wipe out small, self-funded businesses.

“There’s no one locally able to can at the scale I’m at,” Blank says. She’s brewing 150 gallons at a time, which translates to about 1,500 bottles and cans.

Blank had a choice to make: Should she raise enough capital to build out her own production facility in D.C. or find a copacker elsewhere that meets her specifications for smaller production runs, risking her product’s made-inD.C. status? It’s a choice she isn’t facing alone.

The District has a burgeoning non-alcoholic beverage industry—creators are making everything from switchels and shrubs and tonics to alternative milks and kombucha—but no perfect place to produce them once companies are ready to scale up. Without a dedicated non-alcoholic beverage production facility, D.C. loses the opportunity to keep these companies within its borders, along with the

14 march 22, 2019 washingtoncitypaper.com

Andrew Shapiro and Nikki Blank

Darrow Montgomery

By Laura Hayes

jobs they create and the prestige that accompanies being a place where an uptrending industry is taking root.

Blank decided to start canning her switchel at Brooklyn Cannery in Long Island City, New York. “It’s the perfect size and situation,” she says. “There are a lot of companies like mine who want this scale and who don’t want to be spending tens of thousands of dollars up front on their first run without the knowledge that it’s going to sell right away.”

She’s now debating whether she can continue to call Sip City a made-in-D.C. busi-

ness. “While the product isn’t being produced in D.C. right now, I still consider my brand a D.C. brand,” she says. “The goal is to eventually make it in the District or right outside.”

Local non-alcoholic beverage makers support each other, in part because they’re fighting a common enemy. Small producers have to compete for fridge space with giants like Coke and Pepsi. Blank, for example, introduced Andrew Shapiro to Brooklyn Cannery. The D.C. bartender founded K&B Sodas after experimenting with soda-

DCFEED making at Green Pig Bistro in Arlington.

His first product is a biting ginger brew made with fresh ingredients.

“I’ve never had to travel for business [before],” Shapiro says. “In an ideal world, the producer would be in D.C. Not being made in D.C. stinks a little ... It’s just such a new world.

Now that there are enough people doing it, there are investor types that could see this as an opportunity. I think it’ll happen here.”

That said, Shapiro found an upside to producing in New York. “What it did was open up the New York City marketplace and that’s kind of a big thing,” he says. “I never would have been able to penetrate that by myself.”

Like Blank, he tried to work in a few of D.C.’s commercial kitchens but needed a solution when it came time to scale to meet demand and can his product. Working with a copacker relieves a business owner of production duties, freeing him or her up to focus on marketing.

Mache Barwinski, a former architect, founded Brooklyn Cannery about two years ago. He produces about 20 drinks there in addition to his own product, Upruit Sparkling Coffee. “Most copackers expect large amounts—let’s say 10,000 gallons,” Barwinski explains. “That’s hard to meet for most if not every beverage start-up if they’re selffunded. Having done that and pushed it as far as I could, we piecemealed together our own cannery.”

Finding other beverage producers eager to use his equipment, Shapiro quickly learned he wasn’t the only maker staring down the same problem. As a copacker, his job is to facilitate the production of a brand by supplying the equipment, personnel, and know-how.

Barwinski calculates that an entrepreneur could set something up in D.C. for between $200,000 and $300,000 including the facility, equipment, and labor. He and Shapiro are exploring building a network of copacking spaces, but until that happens, D.C.-area non-alcoholic drink companies such as Blue Crate Milk, Cultured Kombucha, and Shrub District will be searching for scaling solutions.

Amanda Claypool and Kristy Halderman make oat milk that they deliver to customers’ homes in reusable glass bottles. The early-stage sustainability-focused company is making small batches every weekend in a Virginia facility.

The pair would like to remain a D.C.-area business. “sweetgreen was founded here and has really taken off,” Claypool says. “If you do the right thing here you can get enough diversity through the transient population and grow a coast-to-coast distribution network. In New York or Los Angeles, you’re really competing in a saturated market.”

Claypool knows they’ll soon confront scal-

ing issues. “We’ll need to produce several hundred gallons a week,” she says. “Right now we can’t do that ... Once we get to that threshold, we’ll have to look.”

Milan Durham of Cultured Kombucha will also find herself at a crossroads. Last year she set out to introduce kombucha to a broader audience. Her product, which she makes at Tastemakers, is now sold at Glen’s Garden Market, The Tavern in Georgetown, and Shop Made in DC. She started out making 12 gallons per week. Now she’s up to 40.

“I’ve been fortunate to be able to scale very slowly,” she says. “I’ve seen others scale too quickly and get in all of the Whole Foods and then crash quickly. Demand has been high and I’m trying to meet it responsibly.”

Even if she was able to grow, scaling might not be possible in the Tastemakers space. It’s hard for other beverage makers to share equipment with a kombucha company because of the fermentation involved. Durham may consider teaming up with a coffee roaster or ice cream maker to go in on a space together.

Don Morton’s shrub company is further along than Blue Crate Milk and Cultured Kombucha, having just celebrated its third anniversary. He launched at Mess Hall and has also produced shrubs at TasteLab and Tastemakers. “We are now in the process of commercializing and looking for copackers to solve our scaling challenge,” he says.

Shrubs, like switchels, date back to Colonial America, and contain vinegar, sugar, and fruit.

Shrub District markets them as cocktail vinegars to both bars and consumers, but they can also be added to sparkling water. Flavors include pineapple allspice and strawberry dill.

Morton has considered investing the capital to build his own facility but thinks he’d be more likely to find warehouse space in Maryland because of the way development has altered D.C. “A lot of the industrial stuff is being snapped up,” he says, pointing to Ivy City as an example of a neighborhood that’s grown out of an industrial zone. “It’s cool to see all of our friends in the distilling space cluster, but it drives up rents and costs.”

If Morton can’t swing it, he hopes someone with deep pockets will launch a D.C.-based non-alcoholic beverage business incubator and copacker. “There’s a big economic impact that is missing because the capital is not being applied to this problem,” he says.

“Union Kitchen sparked the rest of the incubators and shared production facilities,” he says. “There’s no reason why one bottling facility couldn’t spur the next generation of four or five more … I think the city has done a good job of highlighting the makers. I think we can do more to support the making.”

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

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Get Them to Like Greek

Hangover Helper

Bryan Smith, wine importer and distributor for Salveto Imports, believes Washingtonians are beginning to cling to Greek wine. One of the two importers he works with says D.C. is their top market for Greek wine sales, while the other says D.C. comes in third. It’s for good reason. Greece’s varied climates and unique soil compositions make for a diverse portfolio of wines, and they sell for reasonable prices.

The modern era of Greek wines launched in the ’70s and ’80s when Greece embraced its native grapes after studying how to modernize winemaking techniques in countries like France, according to Smith. The wines really began to hit the market about 15 to 20 years ago.

Komi and Iron Gate helped put Greek wine on the map locally. The latter restaurant’s previous wine director Brent Kroll created a list of bottles from every wine region in Greece, for which he was recognized in Wine Enthusiast. Now Kroll owns wine bar Maxwell Park where he maintains a list that has about 20 Greek wines by the bottle.

Laura Hayes

We asked Smith and Kroll, both sommeliers, to break down four of the most popular Greek varietals so you know what to order next.

Assyrtiko Try it if you like the acidity of sauvignon blanc and the salinity of albariño.

Greece’s most prominent white grape is predominantly grown on Santorini, a volcanic island that benefits from a near constant sea breeze. Kroll says it’s so windy that instead of growing grapes in neat rows, winemakers cluster vines in woven baskets that they neatly pile up for protection. Assyrtiko is a high-acid white wine that’s food-friendly and versatile. “It has a ton of high natural acid,” Kroll says. “You’d put it up there with sauvignon blanc, but the acid is more sneaky.” It can have citrus notes, or taste of under-ripe tropical fruit. Some producers barrel it, which can make it attractive to California chardonnay drinkers. Assyrtiko also ages well because the acid acts as a preservative. Try it with salads, feta cheese, and seafood.

Malagouzia Try it if you like aromatic white wines like viognier, gewüztraminer, and muscat.

This white wine grape is grown throughout several regions of Greece, but Smith

says it’s the cornerstone white whine of the north. It’s best known for its complex, aromatic qualities. “There’s lots of jasmine on the nose and fresh herbs,” Smith explains. “In Greece there are a lot of fresh herbs in the air like oregano and mountain thyme. To me, malagouzia is a Greek grape because it smells like Greece.” Kroll says it’s a good gateway grape for wine drinkers who like floral wines that are juicy. Most malagouzia tasting notes mention peaches.

Try it with seafood, poultry, lighter pasta dishes, and vegetable dishes.

Xinomavro Try it if you like nebbiolo from Piedmont, Italy, or red varietals from Provence, France.

Xinomavro translates to “acid black.”

That should tell you that this red varietal grown in Naousa, Goumenissa, and Amyndeon in northern Greece is highly acidic. “The way I sell it to guests and know they’re going to taste it and feel it is that it tastes like tomato and olive leaf,” Kroll says. “It smells like red wines from Provence, but the structure is very

16 march 22, 2019 washingtoncitypaper.com

much like nebbiolo.” He adds that xinomavro is the Greek wine most worthy of the aging process because of its acid and tannins. “It ages beautifully for a third of the cost of barolo,” Smith adds.

It pairs well with meat dishes or anything with tomato sauce.

Agiorgitiko Try it if you like merlot and other wines from the Bordeaux region of France.

To order agiorgitiko at a restaurant, start by pronouncing both “Gs” as “Ys.” The medium-acidity red varietal is the major red grape of the Peloponnese region of Greece, located a couple hours’ drive from Athens. “The easiest bridge is merlot,” Smith says. “It’s a softened red wine with dark fruit flavors. It’s fruity and jammy.” Think plums and blackberries. Smith adds that it’s one of the easiest Greek wines for the Western palate to get used to. It’s both the most widely planted grape in Greece and it has had the most success commercially. Try it with roasted meats like duck and lamb, cheese-based pasta dishes, root vegetables, and bean dishes.

Tim Ebner

By Laura Hayes

The Dish: All-Purpose Riverfront’s Beltway Breakfast Pizza Where To Get It: All-Purpose Riverfront’s Weekend Brunch Menu, 79 Potomac Ave. SE; (202) 629-1894; allpurposedc.com Price: $19 What It Is: Pizza for breakfast? You better believe it—especially if it’s the weekend and you're experiencing an excruciating hangover. Chefs Michael Friedman and Vince Campaniello serve several breakfast pizzas on their brunch menu, but the pie that will beat the most hefty hangover is The Beltway.

This pizza is a wreck loaded with roasted bacon, heirloom Roma tomatoes, and parmesan and mozzarella cheeses. When it comes out of the deck oven, Friedman crowns his pie with fresh arugula and a single poached egg, which is sprinkled with extra virgin olive oil, cracked pepper, and sea salt.

How It Tastes: “It basically tastes like the best breakfast sandwich you’re going to have but on pizza,” Friedman says. It also hits on all the savory and salty flavors that a hangover breakfast needs. Before grabbing a slice, take a fork or knife and pop the pizza’s poached egg. The runny yolk blends nicely with layers of melted cheese, roasted tomato, and smoked bacon.

Why It Helps: This pizza delivers complete hangover relief. The crust is cooked crisp, but its texture is slightly chewy and sweet, packed full of carbs to absorb toxins leftover from the night before. Greasy bacon, the soft-poached egg, and arugula, with just a hint of pepper, reintroduce the vital proteins and veggies part of any regularly prescribed detox routine. Pair this pizza with a bit of hair of the dog, Friedman says, and you’ll be back to retoxing in no time. “A halfcarafe or two of bottomless mimosas should do the trick,” he says. —Tim Ebner

Richard Strauss

CPARTS

The Smithsonian debuts new accessibility technology for blind and low-vision patrons. washingtoncitypaper.com/arts

Turning the Tables

Meet the local DJs carving out space for themselves and other women in the male-dominated music scene. this city fosters a creative spirit for musicians, and for a very long time, men have been at the forefront of the local DJing scene. Boles and several others are fostering a community for fellow women who DJ, breaking professional barriers and cultivating a safe space for creative women to be their most exuberant selves. And its impact on the local music scene has not fallen on deaf ears.

Dominique Wells, a former federal government employee, retired from her 9-to-5 job to pursue DJing as a full-time career under the name DOMO, for the women-led artist collective GIRLAAA, which has catalyzed Wells, and her cohort, to develop a community.

“GIRLAAA is ever-evolving. My objective is to be an expansive agency that supports women in creative spaces. And people are receptive,” she says.

The support Wells mentions comes in many forms. GIRLAAA is best known for curating parties “where women can come exactly as they are,” but has branched out into more philanthropic endeavors, including a collaboration with the Hirshhorn Museum and Sculpture Garden. In November of 2017, GIRLAAA hosted a workshop for teens at the Hirshhorn’s ARTLAB+, the museum’s teen-focused digital art studio. Along with her GIRLAAA colleagues, DOMO facilitated a discussion and digital workshop on their experience curating events in D.C., and how their platform is used for the empowerment of women to express themselves through art, music, and culture.

To many, the DJing world can seem oversaturated with disingenuous intent from artists more concerned about numbers and clout—just look at how many influencers on Instagram also claim to be DJs. Maintaining authenticity, Wells says, is ultimately how respect and trust in the industry are earned.

“I think that since men still control the space, it’s still difficult for women because of those who are using it to push a brand forward, rather than caring about the technique,” she says. “If you don’t care about the basics of how you should be [DJing] well, then people don’t really rally.”

In a historically male-dominated arena, spaces for women DJs to flex their talent—either behind a booth or in a studio— are becoming more accessible. Boles is one of those DJs, but she didn’t arrive at her success easily. She faced a healthy dose of Photo courtesy Shakari Boles

Shakari Boles, who DJs under the moniker TRAKGIRL

By Mikala Williams Shakari BoleS haS always been surrounded by music. A southern Virginia girl by-way-of Palm Beach, Florida, Boles’ influences stem heavily from musical legends like Missy Elliott, Timbaland, and Pharrell Williams. Boles, who DJs under the moniker TRAKGIRL, moved to the D.C. area when she was 13 years old and was immediately drawn to its rich musical culture.

“There’s a lot of talent that comes out of the DMV, I’m blessed to be able to see that,” she says.

These days Boles travels abroad, bonding with other DJs and drawing inspiration from artists from around the world. Studio sessions with producers like No I.D. are almost habitual because of the fact that her discography tends to expand across the world of R&B and hiphop. While working with musicians like Jhené Aiko—one of Boles’ favorite collaborators—she revels in the encouragement to maximize her creativity. She equates good music with its capacity to be timeless.

MUSIC

“Good music (to me) is music that can inspire someone. It’s an experience... music that can be replayed years from now,” she says.

Boles’ own music certainly draws from D.C.’s musical history and breadth of talent, but her main motivation for making music these days isn’t so much about what is being made as it is about who is making it.

“At the beginning of my career, I remember going into a studio session and [introducing] myself as a producer,” she recalls.

“I [received] laughs from the men in the room.”

For many women who make music, Boles’ experience is commonplace. Women making music—especially women who DJ—aren’t taken seriously by their male counterparts. But in the D.C. area, Boles is one of several pioneering DJs who don’t want—or care—about the approval of men: They have found solace in fostering a community of badass women. And they hope their scene will ignite a necessary domino effect in the local music industry.

To The reST of the country, D.C. seems like a buttoned-up town—it’s the seat of the federal government, after all—but

washingtoncitypaper.com march 22, 2019 17

CPARTS skepticism from men in the music industry, but she soon realized that to successfully submerge herself in a career in music, she had to remain impervious to the noise of skeptics.

“I faced doubt early in my career but over time I built a mental armor and let my craft and music speak,” she says.

Over the course of her career, Boles developed a brand that promotes self-awareness and women empowerment in the music industry. In January of 2018, that brand manifested into The 7%, an ongoing series of panel discussions that she established to highlight and create a safe haven for women in the music industry. Boles and other women in the local music industry discuss issues they face as women, like the ubiquitous gender wage gap and tireless efforts to dismantle systemic patriarchy.

(Boles took the name for the series from the statistic that women account for less than 7 percent of producers and engineers in the music industry.)

In essence, The 7% is about leveling the playing field for women in the music industry, for women to be treated as equals to their male counterparts. Like living legend Lil’ Kim sang in the chorus of The Lox’s 1998 hit single: “It’s the key to life/ Money, power, and respect.”

And for many women who DJ and work in music production, gaining any of those three things requires them to speak their truth with authority.

“I’m a fan of saying ‘no’ when it doesn’t feel right,” Boles says. “I don’t say ‘yes’ to everything.”

Though Boles doesn’t always agree to every gig, she acknowledges that, without continuously working to build a portfolio that showcases her talent and worth, she wouldn’t have

access to the opportunity to negotiate for more money. “I know my worth. Sometimes you have to convince others to know your worth,” she says. “This goes back to letting your work speak.”

But for a new DJ, letting your work speak for itself and impress an audience can be an overwhelming experience. A New York City club is where Doneshia English—aka DJ Chan Don—sought to make her mark on the industry for the first time. It didn’t go so well.

“My first gig was so awful! My nerves and anxiety were at an all-time high,” she recalls. “The laptop I had wasn’t compatible with the equipment the venue had.”

But these learning curves only inspired English more. Her journey, she says, relies on giving herself room to grow as an artist and, just as Boles iterated, to “let your work speak for itself.”

In her hometown of Birmingham, Alabama, English followed local DJs, specifically DJ Dirty Vegas of 95.7 Jamz radio, and actively sought out ways to master her craft during her senior year of college. “In Birmingham, you see some of the same people all the time. So I got the courage to just ask his thoughts,” she explains. She took his visceral words of encouragement—“we need more women”—and never looked back.

English is now a DMV resident and DJ who advocates for inclusivity for newbie DJs. “A lot more women are putting their craft in the forefront and people are noticing,” she says.

“I think the support for women artists and creatives is growing exponentially.”

For English, she uses her platform as an artist to support other women through LoudHER, a foundation she started to ad-

dress mental health issues for women in the entertainment industry. LoudHER’s mission is to provide tools and resources for women to manage and maintain their mental well-being through various workshops in the D.C. area.

Like TRAkGiRL And DOMO, DJ Chan Don is one of many talented DJs in the D.C. area. But the trio are part of a small—yet growing—population of DJs that tirelessly advocate for women’s progression in their industry. The three are often recognized by their peers for their talents and work ethic, and they continue to earn their grace in this way, but the splashes they’re making ripple beyond their scene: They have dedicated themselves to becoming masters of their crafts in spaces where they have often been under-appreciated and overlooked—and people are taking notice.

Whether they’re behind the boards at big music festivals, working in the studio, or DJing at a club, TRAKGIRL, DOMO, and DJ Chan Don are embracing their role as vanguards of change in their industry. But to them, their passion for DJing is to just create a normative space for creative women to not feel oppressed by the patriarchy. A place where women can feel safe and comfortable enough to shout “GO OFF QUEEN!” to the woman behind the decks. Because there aren’t enough spaces where that regularly happens and trying to navigate the music industry as a woman is an exhausting experience.

“My biggest hangup is always being mentally prepared. No one can prepare for the endurance it takes to be in the music industry,” says English. “You have to work twice as hard to handle the ‘nos’ and to maintain your mental health.”

CP

DREAMERS’ CIRCUS WED, APR 10, 8pm SIXTH & I

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By turns fiery and reflective, this Danish acoustic trio (featuring Rune Tonsgaard Sørensen of the Danish String Quartet) blends Scandinavian folk music with classical accents and other global influences on violin, accordion, and cittern (a cousin of the mandolin).

The sitar virtuoso and cross-genre adventurer returns to her roots in North Indian classical music.

Special thanks: Encompass Supply; Galena-Yorktown Foundation

TICKETS: WashingtonPerformingArts.org

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Special thanks: Galena-Yorktown Foundation

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PODCAST 18 march 22, 2019 washingtoncitypaper.com

Every week City Paper reporters interview someone that helps tell the story of D.C. Subscribe at washingtoncitypaper.com/podcast or wherever you get your podcasts.

PODCAST

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GALLERIES

Gallery Talk

come less narcissistic. We become more connected to the rest of humanity. You stop worrying about your phone, your time, and your schedule. You feel connected to something bigger than yourself. That’s why you’re looking at the Grand Canyon, listening to a speech

by Dr. [Martin Luther] King [Jr.], or at an art museum—they’re all different ways of experiencing wonder.

While Kaywin Feldman, the National Gallery of Art’s new director, is still learning all 1,200 of her employees’ names, she’s already thinking about the future of the nation’s art treasury.

WCP: What you’re describing sounds like a very agile way of thinking about the museum.

That is at the forefront of a lot of conversations about what a museum is. How can you bring that thinking into the National Gallery of Art? KF: Part of it is breaking down some of the structures created by bureaucracy. There’s nothing like fresh eyes to look at an institution to say: Are there some ways where we can do things a little more easily and give people permission more quickly and empower people? I definitely will want to look at how we get things done here, and that’s part of my sixmonth discovery period, to understand our process and procedures and unlock a lot of the ideas of the staff.

The National Gallery of Art’s new director, Kaywin Feldman

Darrow Montgomery

WCP: In your opening remarks, you said you want to get to know the staff, the culture, and the collection. How do you get to know a collection?

KF: That’s the part that I have a little bit of anxiousness about. Every place I’ve worked, I’ve grown to love the collection—to know it well, and passionately, and be able to talk about it at length. In your first couple of years, there’s a moment of panic when someone says, “Don’t you have that great 1962 painting by… ” And you’re not really sure if you do! It takes a couple of years.

That’s not going to happen in six months.

By Kriston Capps

the nation’s most storied art collection.

EarliEr this month, the National Gallery of Art welcomed its fifth director, Kaywin Feldman. The first woman to lead the institution, Feldman recently served as the director and president of the Minneapolis Institute of Art. In this job, she succeeds Earl A. “Rusty” Powell III, who led the museum since the Bush administration—that is, the George H.W. Bush administration. If her tenure in Minneapolis is any indication, her arrival could mark a sea change for the National Gallery. Today, museums are under pressure to adapt or risk becoming irrelevant.

From her East Building office with a view of the Capitol, Feldman sat down with City Paper to talk about empathy, a famous painting of pugilists, and what change looks like for

WCP: How did you come to this job?

KF: I’ve been a museum director for 25 years now. This is my fourth museum, but they’ve all been [in] geographically different places, and different sizes. As the director of the nation’s art gallery, I think it’s important that I at least have a sense of some parts of the nation’s geography, the people, the art and culture. That background has been a good stepping stone for the work here in Washington.

And, I’m absolutely passionate about art. I love what I do. I love people. For me, it’s kid-in-thecandy-store to have both art and people come together in the same place.

WCP: During your time at the Minneapolis Institute of Art, you launched the Center for Em-

20 march 22, 2019 washingtoncitypaper.com

pathy and the Visual Arts. What’s that?

KF: We got together some scholars and thinkers. They have a staff team devoted to it. They are exploring the ways to use the collection to foster greater empathy. It’s been proven by social scientists that empathy in America is declining now. We all feel it, but there are charts showing that from 1970, empathy is in decline. They’ve also proven that empathy is genetic—but it can also be taught. Right now they’re working on an instrument to test empathy. It will be on an iPad. They’ll be able to work with visitors to understand their levels of empathy before they go into an exhibition or go on a tour. They’ll do that pre and post to see if there are better ways for the museum to move the dial.

Social scientists have shown that when we have that feeling of wonder, we actually be-

WCP: What are some of the first show ideas you have, on day two?

KF: I’m thinking a lot about the balance of monographic shows and thematic shows. I like them both. I want to explore both avenues here, epitomized by our current shows: Tintoretto and [The Life of Animals in Japanese Art]. I like them both and I want to explore them further. I don’t have any specific projects yet. I talked with our team today to help me understand the history of the last 25 years, the types of shows we’ve done. To get the lay of the land and a sense of the opportunities, where the gaps are, where we might go in some new directions.

WCP: In my time here as a viewer, I’ve seen some of the first for this museum. Staging the first show by a living black artist, for example.

There are still barriers in this collection to underrepresented artists. What can you do to bring down those barriers?

KF: I’m definitely looking forward to working with the curators to explore what we have and then where some of those gaps are. As you know, all American museums are looking at this right now. We know we need to address

the balance and diversify our collections. It’s something happening across the country, and it will continue to happen here.

WCP: At the Baltimore Museum of Art, [director] Christopher Bedford is deaccessioning works—selling Warhol, Rauschenberg, and other big modernist pieces, to build what he calls a “war chest” for investing in underrepresented artists. Do you think that’s an appropriate way to balance a collection? [Editor’s note: The National Gallery of Art cannot sell its works.]

KF: I think it’s specific to each institution. I speak a lot within our field about the need for museums to walk the walk and focus on diversity, equity, and inclusion. You can’t just stick your toe in the water. Baltimore has shown that they’re serious about this work, and I admire them for that. But I think for other institutions—it also comes down to resources. In Minneapolis, there’s a large endowment fund

Have you met your peers here?

KF: I know a lot of them through my work over the years with the American Alliance of Museums and [the Association of Art Museum Directors]. I know quite a few. There have been a few new ones added, too. I’ve heard great things about the collegiality of directors here in D.C. It’s definitely part of the attraction of coming. I feel like I already have this really warm group of supporters, colleagues, and friends.

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WCP: Do you anticipate making changes to the museum’s board? Are there people you plan to bring with you?

KF: I look forward to working closely with the board. No, I don’t plan on making changes to the board. I’m sure some of the board discussions will change with a different player at the helm.

WCP: What do you like about D.C.?

KF: I like the number of museums. I’m a mu-

BIG HEAD TODD AND THE MONSTERS TOAD THE WET SPROCKET JUN 30

We know we need to address the balance and diversify our collections. It’s something happening across the country, and it will continue to happen here. for art acquisitions. We didn’t ever need, at least while I was there, to talk about selling something in the collection. Instead, [we talked about] how to use these resources going forward. I know there have been conversations here at the gallery about wanting to increase the collections of work by people of color and women artists. I applaud the work. I’m sure it will continue.

WCP: Have you led an encyclopedic museum before?

KF: Minneapolis was encyclopedic. Memphis was too, but at a smaller scale.

WCP: Are there challenges in going from that scale to this scale [at the NGA]?

KF: There are challenges in getting to know the institution. I’m obsessed with trying to learn all those names! So many names here!

WCP: What’s the staff here?

KF: Twelve-hundred? [Editor’s note: Fully staffed, it’s 1,157.] I’m a learner. I’m here to learn the institution.

WCP: One distinguishing feature of D.C.: Most museum directors here are women.

seum geek, so I like to spend my spare time in museums. My husband’s an architect, so we like buildings as well. We’re very much urban people. I’m excited to live in a big city again. I like it that it’s not minus 30 degrees outside.

Of course, I like the global nature of it—the fact that there are so many embassies here, so many people coming and visiting, so many leaders here. I’ve only been to a couple of parties so far, but I’ve met so many interesting people doing really important work, whether it’s federal agencies or part of this international community. It’s fascinating.

WCP: Do you think of yourself as an ambassador of art to this community?

KF: Absolutely. I care passionately about art. I often tell the story of how my encounter with the Scrovegni Chapel by Giotto when I was 21 changed my life. I was going to be an archaeologist. The Scrovegni Chapel had such an impact on me. I had this experience of wonder, in fact. I was elevated above and beyond my daily cares. I was so moved that a human being could create something that beautiful and exquisite, and I could be moved by it, several hundred years later. I believe in the power of art.

CP

LIONEL RICHIE ALL THE HITS

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washingtoncitypaper.com march 22, 2019 21

THEATERCURTAIN CALLS Queen of Basel

and worthy of examination, it just needs a bit more time.

—Will Warren 1501 14th St. NW. $20–$104. (202) 332-3300. studiotheatre.org.

SON OF LIBERTY JQA

Written and directed by Aaron Posner At Arena Stage to April 14

LIFESTYLES OF THE RICH AND FAMOUS Queen of Basel

By Hilary Bettis Directed by José Zayas At Studio Theatre to April 7 Like a watch, it’s not always obvious how people work. What goes on beneath the surface? What makes them tick? This goes double for people whose lives differ dramatically from our own. Why would a wealthy heiress, or an enterprising Uber driver, throw it all away?

Queen of Basel, a contemporary drama having its world premiere at Studio Theatre, tries to lift the face and peer at our machinery, our cogs and screws.

Tension builds in the detail-rich kitchen of a Miami hotel, appropriately bedecked by scenic designer Debra Booth. As the rich and famous celebrate Art Basel offstage by doing whatever it is that rich and famous people do at the annual Miami-based art show, Julie (Christy Escobar), a wealthy heiress, implores cocktail waitress Christine (Dalia Davi) to help her. Julie, a recovering alcoholic, has been soaked in gin following a collision with the server. Soon Christine’s Uber-driving fiance, John (Andy Lucien), arrives, begging the gin-soaked Julie to let him drive her home. As Christine returns to her duties as a server, Julie and John spar in increasingly dramatic and flirtatious ways. By the end of the night, all three characters have done something they probably didn’t wake up planning to do.

Queen of Basel is based on August Strindberg’s 1888 play Miss Julie. Hilary Bettis, who penned

Queen of Basel, writes in her author’s statement that “the trap, of course, is to view this play through the lens of the original Miss Julie.” It’s hard not to get caught.

Like a renovated house, Queen of Basel is noticeably different from its source material, but restricted by its architecture. Strindberg’s misogyny is gone and Bettis’ characters feel more real, but the timeline remains the same. The story plays out over a single evening, which means Queen of Basel tries to do a lot in a small amount of time. Ultimately, it’s not enough time to fully explore everything the play wants to get into—race, gender, class, power, and the multifarious experiences of Latinx people, to name a few.

The play is most successful when it takes things slow. Long periods of silence, sometimes with no one onstage, hit hardest, and Julie manically making her way across the set, chugging wine after years of sobriety, captivates. The actors establish the power dynamics Bettis wants to investigate and subvert with body language and mere glances.

At other times they lay out their biases, traumas, and motivations quickly, with onthe-nose declarations. The play builds nicely to the first dramatic reveal—why John is so intent to give Julie a ride home—but spins out of control from there. In the end, we understand why these characters did what they did, but we don’t feel it.

That isn’t to say that Queen of Basel isn’t enjoyable. The actors are strong and it’s a delight to see Booth’s hyper-organized set come apart and get covered in blood. The final scene is dramatic (and a clever subversion of Strindberg). The topics this play brings up will tickle your brain.

Of course, it’s also possible that the problem isn’t the play’s condensed timeline but rather the fact that it’s hard to empathize with a rich white person who acts cruelly, even if she has her reasons to do so. But I don’t think that’s it. Or at least, I don’t think that’s all of it. The ideas Queen of Basel explores are interesting

22 march 22, 2019 washingtoncitypaper.com

ProLific PLaymaker-about-town Aaron Posner says he chose John Quincy Adams as the subject of his entry in Arena Stage’s history-and-politics-focused “Power Plays” initiative because our sixth president was contradictory, admirable, resistant to identification as a liberal or conservative as we understand those terms today, and is now generally obscure. That he was the first of only two presidential sons in American history to ascend to the office himself is of less note than that he was one of only two ex-presidents to serve in the House of Representatives.

These are facts. But Posner has made it clear that JQA—his account of Adams’ life, abbreviated in form and in name—is otherwise imaginary, a picaresque Forrest Gumpian tour of our republic’s infancy that posits that while Adams served only a single term as president, he was in many, many Rooms Where It Happened during his 54 years in public service.

Posner’s script hopscotches through the de-

olitionist cause by Frederick Douglass. It’s only in a scene with his spouse, Louisa, that Adams is depicted as a man of his time rather than ours.

Raising the couple’s children “is your sacred work,” he scolds her. Nearly two centuries after JQA’s remarks, newly minted presidential candidate and former representative Beto O’Rourke apologized for joking about how his campaigning schedule shifts most of the burden of childrearing onto his spouse.

Despite Posner’s comments about Adams’ ideological inscrutability, articulated in JQA’s program and elsewhere, he certainly makes him sound like a Great Society liberal when he’s at work: He favors publicly funded schools and scientific observatories, and champions the view that government can improve the lives of the governed—a heresy to many, the playwright reminds us, then and now.

If it never quite builds to a convincing case Adams didn’t get his due, it certainly never drags.

And Posner’s assertion that President Adams’ lopsided loss to Andrew Jackson in his 1828 reelection bid—a charmless but good and reasonable man defeated by a hot-tempered huckster who sold himself as a populist—was the sort of retrograde notion that recurred again just recently fuels the evening’s most electric scene. In that confrontation, set in the White House after Jackson has won the election but before he has taken the oath of office, Eric Hissom appears as the heartbroken middle-aged Adams while Joshua David Robinson tears into the role of Jackson with vengeful aplomb. The Carolina accent Robinson affects as Jackson falls away as the scene heats up, but that’s a minor quibble.

I should explain: In a casting conceit that JQA

cades in a svelte 90 minutes. We meet his subject as the 9-year-old eldest son of future President John Adams, and leave him an octogenarian nine-term Congressman sharing a word with a gangly freshman representative from Illinois.

Along the way he’s sweet-talked into diplomatic service by George Washington (“You reek of integrity,” the general says) and swayed to the ab-

owes more to Caryl Churchill than to LinManuel Miranda, Posner enlists four nimble actors of different genders, skin tones, and ages to play Adams, each of whom dons a magenta jacket for their turn as the title character like they’re picking up a baton. They each embody a number of other historical figures, too.

Jacqueline Correa and Phyllis Kay are both as

[BATSHEVA] MODLIN ARTS PRESENTS

commanding as the youthful and aged versions of Adams, respectively, as the two dudes in the cast are. (Kay gets to play three different Adamses and George Washington to boot.)

The company remains on stage for the entirety of the show, sitting at individual dressing tables on the margins when they’re not in the scene. It’s an elegant visual way of emphasizing the “fiction” in historical fiction, and it reminds us that the marble monuments downtown and the faces on currency are all reflections of aesthetic and creative decisions, though we’re tempted to think of them as purely historical somehow. So if the pep talk Posner has JQA offer that Illinois congressman—one whose shadow over American history will loom much larger than his own— just happens to be exactly what E.T. the Extra-Terrestrial told Elliott before blasting off to his home planet (“Beeeee gooood”), well, it’s still sound advice.

— Chris Klimek 1101 6th St. SW. $40–$95. (202) 554-9066. arenastage.org.

THE BIRD AND THE WORD The Seagull

By Anton Chekhov Adapted and directed by Jack Read At DC Arts Center to March 30 Director Jack reaD opens The Wheel Theatre Company’s adaptation of Anton Chekhov’s The Seagull with the successful writer Trigorin (Thomas Shuman) narrating a series of letters from Florence in which he describes his faint enthusiasm for Pazzi’s statue of Dante and disdain for Botticelli’s “Birth of Venus.” He also provides a month-by-month record of the creative process and frequent setbacks he encounters as he writes a new play, a four-act composition featuring a cast of six men, four women, and views of a lake. As he worries whether his play is a drama or a comedy, it becomes quite apparent that his work-in-progress is itself The Seagull—Read has taken the text directly from Chekhov’s correspondence.

Soon enough, we arrive at the more familiar opening scenes of the first act. The young experimental playwright, Konstantin (Aron Spellane), son of Trigorin’s lover Arkadina, (Olivia Haller), is premiering his new work for the residents of the bucolic estates that overlook said lake. Trigorin does not merely embody the conventions of naturalism and melodrama that Konstantin wants to overthrow with his new writing, nor is he just a rival for the affections of Arkadina, or his muse, Nina (Gracie Eda Baker). Read’s interpretation of Trigorin as Chekhov’s self-portrait has added a new level of plays nested within plays, and

the internal references have multiplied.

Spellane renders well a portrait of the artist as a moody adolescent, displaying alternately effusive and histrionically self-destructive behaviors as if that’s what is expected of him as a revolutionary artist. Meanwhile, Shuman’s Trigorin is so compelled to record anything that can be incorporated into his next story that he has become the archetype of a successful writer—a role he neither much reflects upon nor rejects, for fame has its hedonistic privileges. If Konstantin is remembered 10,000 years hence, it will only be as one of Trigorin’s characters, and in just the sort of play he despises. The narrative threads are looped and twisted like a Möbius strip.

Baker, as Nina, gives a spirited performance of Konstantin’s post-apocalyptic playwithin-a-play in the first act, a joyful parody of the stream-of-consciousness, interpretative movement of days of Beatnik glory complete with Konstantin tapping away on a conga. The response is particularly funny: Not only does Medvedenko (Amber James) pine for a play about a school teacher, but Polina (Elizabeth Floyd) asks Nina how she was able to memorize all her lines.

Masha (Madeline Mooney) is a hilarious study in disillusion, a lethargic goth in a ragged black sweater, ever ready with a snuff box and a flask.

Mooney has some fine comic turns trying to keep up with Arkadina’s yoga routine in one scene, and calling numbers in a game of lotto in another. James is a perfect foil, a perky but socially unaware school teacher and suitor. Colton Needles, playing the country Lothario who also practices medicine, ups the production’s physical comedy by being horizontal as often as possible. Adrian Iglesias has some amusing moments as the scowling estate manager who can be alternately practical and petty while also proving to be the most genuine arts enthusiast.

The visual design of the production is modern and largely functional—the focus is clearly on the story and performers—but Elizabeth Floyd has created a wonderfully theatrical rendering of the seagull Konstantin kills from papier-mâché and chicken wire. No costume designer is credited, but Arkadina’s floral dress is eye-popping, Nina’s dresses are elegantly bohemian, and Axandre Oge’s Sorin wears a loud outfit of blue plaid pants, a polka dot bowtie, red suspenders, and a pink shirt, which wonderfully illustrates his attempt to become known as an eccentric in his retirement, after a career defined by regularity.

Despite Chekhov’s use of naturalism to parody what many saw as the overuse of obscure symbolism by his era’s avant-gardists, Read gives Konstantin’s rebellion against theatrical convention the final word, turning the end of both his brief literary career and his life, into a solemnly communal ritual send-off in which ripped manuscripts flutter to the floor.

—Ian Thal

DANCE COMPANY

PERFORMING THE NEW WORK

VENEZUELA

SATURDAY MARCH 23 • 7:30PM

600 E. Grace St. Richmond, VA

Get tickets at etix.com or by phone at (800) 514-ETIX Presented in partnership with the E. Rhodes & Leona B. Carpenter Foundation

2438 18th St. NW. $20. (202) 462-7833. dcartscenter.org. washingtoncitypaper.com march 22, 2019 23

THEATEROPERA

Country Music

Two Washington National Opera productions celebrate the simple life with rich, dramatic scores.

Eugene Onegin

By Pyotr Ilyich Tchaikovsky Based on the novel by Alexander Pushkin Directed by Peter McClintock At the Kennedy Center Opera House to March 29

Faust

By Charles Gounod Based on the play Faust: Part One by Johann Wolfgang von Goethe Directed by Garnett Bruce At the Kennedy Center Opera House to March 30

By Mike Paarlberg No oNe loves the heartland more than urban elites. Twitter bios of politicians and media personalities up and down the Acela corridor advertise their identities as proud Ohio State alums and Steelers fans, to remind us that they’re not really from here, the evil halls of power where they spend all their time and earn their livings. And no one is more credulous of rural authenticity than insecure urbanites, which is how Ivy League lawyers like J.D. Vance can make entire careers as faux country hucksters.

In 19th century Europe, the equivalents of Hillbilly Elegy came in opera form. Theaters in Paris, Berlin, and Moscow catered to the Romantic era craze for folk tales set in Freiburg villages and Russian dachas, written by novelists and composers with the barest familiarity with peasant life. Alexander Pushkin, born into Muscovite nobility, wrote Eugene Onegin, the novel-poem that became Russia’s most beloved legend, and set it simply in “the country.”

Two Washington National Opera productions, running concurrently at the Kennedy Center, celebrate this tradition of pretending to like the country, one French (though set in Germany) and one Russian, both staples of the opera repertory. Both are superbly sung, effectively staged, and slightly corny, though by design.

The first, Tchaikovsky’s adaptation of Onegin, is now his most celebrated opera, but in its day was derided as a trite celebration of rural innocence that failed to capture the irony and trenchant social critiques that Pushkin worked into his novel. Its music, while beautiful, is not particularly folksy, and despite being a romance, contains no duets between lov-

ers. The second, Gounod’s Faust, is a French adaptation of the German legend and Goethe play of the same name, and even more ridiculous. A morality tale about the man who literally sold his soul to the devil, it works best when played for laughs. It helps that the devil is a major character in the opera.

Of the two, Eugene Onegin is a more stripped down staging—originally for the Met—that emphasizes music over set design. Solid colors projected onto a giant blank backdrop alter the mood from scene to scene; lighting designer Christine Binder renders a particularly memorable duel in gauzy blue shadows. The opera opens to falling leaves blanketing a bare, sloped stage, inviting fantasies of rolling down it, which the lead soprano eventually does.

But apart from these innovations and the requisite fancy ball scenes, there isn’t a ton to

have his characters do very much. Tatiana is a sweet small town girl who falls in love with the worldly cad Onegin, visiting from St. Petersburg. Onegin rebuffs her as boring, so she marries another guy. Then Onegin wants her but she rebuffs him. That’s it. Along the way Onegin kills a dude, but that’s of little consequence to the story. Somehow this became the touchstone for a whole canon of Russian literature. Tolstoy once described Anna Karenina as what would have happened if Tatiana made a different choice. One wonders what would have happened if a generation of Russian writers had been inspired by something with less brooding and more action.

Going from Onegin to Faust, the happy peasants living the good life as bonded laborers in Czarist Russia become the happy peasants fighting religious wars in feudal Germany. Faust was,

Faust

draw you in visually. Rather, it’s all about the singing. Two Russian singers make their U.S. debuts with this production: baritone Igor Golovatenko in the title role and soprano Anna Nechaeva as Tatiana, the true protagonist of the story. Golovatenko’s haughty baritone contrasts nicely with his frenemy Alexey Dolgov, a traditionally heroic tenor, and the reliably terrific bass Eric Halfvarson, last appearing in Francesca Zambello’s Ring Cycle. Nechaeva’s versatile voice transforms her from lovesick teen to snooty society woman over the course of a story where little else happens.

The greatest deficiency of Eugene Onegin is Tchaikovsky’s libretto, which can be blamed on the composer’s overly sentimental reading of Pushkin, and on the fact that Pushkin didn’t

24 march 22, 2019 washingtoncitypaper.com

in contrast to Onegin, an immediate hit when it debuted, and helped make French opera, then dominated by the opéra comique style, more modern and “serious,” which is to say more Wagnerian, with all the silly Dungeons and Dragons shit that conjures up. Gounod even toned down some of the silliness in Goethe’s play: In the original, the devil first appears after transforming from a poodle. Yet Faust is by far Gounod’s best opera, and a crowd pleaser for good reason. It’s musically rich, over the top, and unabashedly moralizing, inviting audiences to pat themselves on their back for not killing their babies or making a deal with Satan.

Director Garnett Bruce, in this Houston Grand Opera production, wisely does this Faust tongue firmly in cheek. This rests on the devil

himself, and as the prince of darkness, Raymond Aceto is delightful. Far more mischievous than wicked, Aceto’s Méphistophélès chews the scenery, delights in both scaring and seducing mortals, and at one point leads a whole village in a medieval electric slide. Argentine Marcelo Puente charms in the title role as a dirty old man who trades his soul for youth in order to sleep with younger women and ghost them. Heroes are usually tenors, but Faust is more of an antihero, so Puente draws dark colors, a mournful complement to Aceto’s jaunty, syrupy bass.

Like Onegin, the title of Faust is somewhat deceiving. Neither title character is particularly sympathetic, nor interesting: They are there to highlight the moral superiority of the female leads. In Faust, this is the solid soprano Erin Wall, playing Marguerite, the object of Faust’s affections, or at least his horniness. Marguerite is a straight tragic heroine the likes of which you’ve seen in other operas such as Madama Butterfly: Knocked up and abandoned by her no-good man, she commits infanticide and goes to the gallows, but not before repenting and securing that ticket to heaven. Yet for all their righteousness, neither opera is kind to women. In Faust, the devil is the perfect wingman, the Mystery to Faust’s beta incel. “Women are like a fortress,” counsels Méphistophélès, and can be either “made to surrender or bought off with a ransom.” The two opt for the second option, buying off Marguerite with a box of jewels. She then sings a whole aria about jewelry, while her handmaiden falls for the oldest line in the book.

“Your husband is dead,” Méphistophélès tells her, causing her to immediately fall in love with him. Only Tatiana, in Onegin, shows anything approaching independent agency and only at the end, after playing the lovesick ditz in the first act.

Bruce’s Faust is also a more lavish production. Set designer Earl Staley crowds the stage with bucolic trees, cottages with lattice windows, and thickly painted backdrops of castles and mountains. The chorus numbers are equally colorful and busy, the costumes poofy, and everything looks a little cartoonish, like what a high school production of Faust might look like with a lot more money. Heaven, we learn, has a fog machine.

Yet for all the silliness and sexism, the music reminds audiences why both operas have the staying power that they do. Conductors Robert Trevino, for Eugene Onegin, and KeriLynn Wilson, for Faust, bring out the beauty of both in distinct ways. Trevino is effusive and booming, and sometimes drowns out ensembles with the horns. Wilson takes a more subtle approach, with the many overtures and musical interludes flowing from one another, layering sections with vocals seamlessly. It’s a remarkably restrained take on an opera bordering on high camp, a depiction of country life so magical that the devil himself hangs out there and no one finds it surprising.

CP 2700 F St. NW. $45–$300. (202) 467-4600. kennedy-center.org/wno

VALET & SECURE PARKING aVAILABLE

take your wine to-g0 with growlers & retail wine!

A fierce, funny, and shrewd indictment of the American prison system.

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RESTAURANT | BAR | MUSIC VENUE | FULLY FUNCTIONING WINERY | EVENT SPACE

* BECOME A CITY WINERY VINOFILE MEMBER *

EXCLUSIVE PRESALE ACCESS, WAIVED SERVICE FEES, complimentary valet & MORE! MAR 20

MAR 23

MAR 24

MAR 22

MAR 22

Luther Dickinson, Amy Helm & Birds of Chicago

Anders Osborne Solo

The Currys CD release

(2 shows!)

“This Side of the Glass” w/ special guest: Matthew Fowler in the wine garden

ft. members of The Band & The Levon Helm Band, Kerri Powers

w/ Special Guest Amy Black

MAR 24

MAR 25

MAR 25

MAR 26

MAR 27

Jimmy Vivino & Bob Margolin

Briclyn Ent. Presents

Mysterious Traveler

Luther Dickinson, Amy Helm and Birds of Chicago present

Sisters of the Strawberry Moon

The Weight Band

Blind Boys of Alabama

w/ Jaimee Harris in the wine garden

Just 2 Guitars and 200 Stories in the wine garden

A Tribute to Nina Simone

ft. michelle d. bennett

Emmanuel Withers

A Tribute to Weather Report

MAR 28

MAR 28

MAR 29

MAR 30

MAR 31

Mary Gauthier

Ivy League

in the wine garden

19th Annual

at

phaze ii

ft. dukes & dobson

DOWNTOWN SEDER

BEFORE PASSOVER CITY WINERY DC • APRIL 7 (12 DAYS ACTUALLY STARTS)

The Yardbirds w/ Jann Klose

Got My Own Sound Band

WRITTEN AND PERFORMED

BY LIZA JESSIE PETERSON DIRECTED BY TALVIN WILKS

APRIL 1 – APRIL 20

DBUK

(Slim Cessna’s Auto Club), Norman Westberg (Swans) in the wine garden

WOOLLY MAMMOTH THEATRE COMPANY

FEAT. 16 SPECIAL GUESTS INCLUDING DAVID BROZA, CAROLYN MALACHI, GAY MEN’S CHORUS OF WASHINGTON DC, BETTY, JUDY GOLD, & MORE!

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GREAT PERFORMANCES AT MASON 2018/2019 SEASON

Aquila Theatre

Raising Voices

Sunday, March 31 at 7 p.m.

Sunday, April 7 at 4 p.m.

A thrilling program by WNO’s Domingo-Cafritz Young Artists and Mason Opera coming to Mason’s SciTech campus in Manassas.

Information at HyltonCenter.org.

A Midsummer Night’s Dream

3/15/19 3:20 PM EN J AR O TS Y A AT LL CF THE A!

Pablo Sáinz Villegas Parsons Dance Americano

Saturday, April 20 at 8 p.m.

Friday, April 12 at 8 p.m.

TICKETS ON SALE NOW! 703-993-2787 OR CFA.GMU.EDU

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

washingtoncitypaper.com march 22, 2019 25

26 march 22, 2019 washingtoncitypaper.com

CITYLIST Music 27 Theater 32 Film 32

Music

CITY LIGHTS: FRIDAY

FRIDAY

THE SECOND CITY

IT’S NOT YOU, IT’S ME MAR 21–23 | THIS WEEKEND

CLASSICAL

LIBRARY OF CONGRESS COOLIDGE AUDITORIUM First Street and Independence Avenue SE. (202) 7075507. Borodin Quartet. 8 p.m. Free. loc.gov.

ELECTRONIC

ECHOSTAGE 2135 Queens Chapel Road NE. (202) 503-2330. Alan Walker and Sam Feldt. 9 p.m. $25– $30. echostage.com.

FOLK

9:30 CLUB 815 V St. NW. (202) 265-0930. All Good Presents Railroad Earth. 7 p.m. $28. 930.com.

FUNK & R&B

SITKOVETSKY TRIO SEAN LEE, VIOLIN

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Ohio Players. 7:30 p.m. $65. birchmere.com.

VIENNA TO HOLLYWOOD

CHAMBER MUSIC AT THE BARNS

JAZZ

MAR 24 | SUNDAY

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Rochelle Rice. 8 p.m. $15– $30. ampbystrathmore.com.

MOUNTAIN MAN

KENNEDY CENTER FAMILY THEATER 2700 F St. NW. (202) 467-4600. Kenny Barron. 7 p.m.; 9 p.m. $39. kennedy-center.org.

POP

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

VHS Collection. 7 p.m. $15. ustreetmusichall.com.

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

Haywyre. 10:30 p.m. $15–$18. ustreetmusichall.com.

ROCK

BLACK CAT 1811 14th St. NW. (202) 667-4490. Lucy Dacus. 8 p.m. $18–$20. blackcatdc.com.

THE HAMILTON 600 14th St. NW. (202) 787-1000. 40 Dollar Fine. 10:30 p.m. Free. thehamiltondc.com.

ROCK & ROLL HOTEL 1353 H St. NE. (202) 388-7625.

Dilly Dally. 8 p.m. $15–$20. rockandrollhoteldc.com.

SATURDAY CLASSICAL

JAKE XERXES FUSSELL MAR 29

Dilly Dally are not a hip band. If you look on their Wikipedia page, the listed genres are “alternative” and “grunge,” two types of music that were already overexposed 25 years ago. The thing about Dilly Dally is you don’t go to their shows to be seen. You go because there’s something about the band that gets under your skin. On their 2018 release, Heaven, the distortion and buzz have an austere quality to them. If Seattle’s grunge scene was sludgy, then Dilly Dally’s version of the genre is close to the snarl of whiteout blizzard. There are tinges of shoegaze to the band, another unfashionable subgenre, but the guiding force is a stubborn sense of melody, along with a vocal snarl that straddles the line between ugly and sublime. Dilly Dally perform at 8 p.m. at Rock & Roll Hotel, 1353 H St. NE. $15–$20. (202) 388-7625. rockandrollhoteldc.com. —Alan Zilberman

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. San Francisco Symphony. 8 p.m. $50–$135. kennedy-center.org.

UNION STAGE 740 Water St. SW. (877) 987-6487. The Riverbreaks. 8 p.m. $15–$30. unionstage.com.

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Jamie Barton. 7:30 p.m. $49– $69. kennedy-center.org.

KENNEDY CENTER TERRACE GALLERY 2700 F St. NW. (202) 467-4600. Dior Ashley Brown. 7 p.m.; 9 p.m. $20–$25. kennedy-center.org.

MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. BSO: Harry Potter & The Order of the Phoenix In Concert. 3 p.m. $45–$85. strathmore.org.

ELECTRONIC

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Elder Island. 8 p.m. $13– $15. songbyrddc.com.

FOLK

9:30 CLUB 815 V St. NW. (202) 265-0930. All Good Presents Railroad Earth. 7 p.m. $28. 930.com.

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Carrie Newcomer. 7:30 p.m. $30–$35. jamminjava.com.

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

The Barr Brothers. 7 p.m. $21. ustreetmusichall.com.

TOM PAXTON & THE DONJUANS

DILLY DALLY

HIP-HOP

JAZZ

LIBRARY OF CONGRESS COOLIDGE AUDITORIUM First Street and Independence Avenue SE. (202) 7075507. Aaron Diehl. 8 p.m. Free. loc.gov.

POP

LINCOLN THEATRE 1215 U St. NW. (202) 888-0050.

Whindersson Nunes. 8 p.m. $35. thelincolndc.com.

ROCK

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Four Bitchin’ Babes. 7:30 p.m. $35. birchmere.com.

THE HAMILTON 600 14th St. NW. (202) 787-1000. Soul Gravity. 10:30 p.m. Free. thehamiltondc.com.

ROCK & ROLL HOTEL 1353 H St. NE. (202) 388-7625.

All Them Witches. 9 p.m. $15. rockandrollhoteldc.com.

STATE THEATRE 220 N. Washington St., Falls Church.

(703) 237-0300. Misil Stereo. 9 p.m. $20. thestatetheatre.com.

WORLD THE HAMILTON 600 14th St. NW. (202) 787-1000.

Bombino. 8 p.m. $20–$30. thehamiltondc.com.

SIXTH & I HISTORIC SYNAGOGUE 600 I St. NW. (202) 408-3100. Anoushka Shankar. 9:30 p.m. $40. sixthandi.org.

APR 4

THE SWINGLES APR 5

A BANDHOUSE GIGS TRIBUTE TO XTC APR 6

CALIDORE STRING QUARTET JUHO POHJONEN, PIANO

SCHUPPANZIGH & THE BIRTH OF CHAMBER MUSIC CHAMBER MUSIC AT THE BARNS

APR 7

ROBYN HITCHCOCK APR 11

THE SECRET SISTERS APR 19

FROM THE BUENA VISTA SOCIAL CLUB™

OMARA PORTUONDO

SUNDAY

LAST KISS

APR 23 + 24

CLASSICAL

9:30 CLUB 815 V St. NW. (202) 265-0930. Nils Frahm.

7 p.m. $30. 930.com.

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. Sitkovetsky Trio and Sean Lee. 3 p.m. $40. wolftrap.org.

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Christina and Michelle Naughton. 2 p.m. $45. kennedy-center.org.

AND MANY MORE!

WOLFTRAP.ORG

washingtoncitypaper.com march 22, 2019 27

CITY LIGHTS: SATURDAY

MAMBA

March 28–30 Eisenhower Theater

3 unique programs over 3 nights

When corporate owners pulled the plug on the streaming service FilmStruck last year, film buffs lost easy access to the deep catalogs of the Criterion Collection and Turner Classic Movies, and many complained that the decision amounted to an erasure of film history. But with arthouse favorites well represented in film archives and on home video shelves, the films more in danger of being lost to history are obscure titles, like the lowbudget products of studios that set up shop on what was known as Hollywood’s Poverty Row. This month, the National Gallery of Art showcases efforts to preserve these often neglected titles, including Mamba, a 1930 adventure from the long-forgotten independent studio Tiffany.

One of the first color features, Mamba stars Jean Hersholt, for whom the Academy of Motion Picture Arts and Sciences named their humanitarian award, in a most inhuman role: a sadistic plantation owner in Africa. Don’t worry, he gets his comeuppance. A newsreel and a musical short from the period precede the feature. The film screens at 12 p.m. at the National Gallery of Art, 4th Street and Pennsylvania Avenue NW. Free. (202) 737-4215. nga.gov.

—Pat Padua

CITY LIGHTS: SUNDAY

Analogy/Lance: Pretty aka the Escape Artist

Analogy/Dora: Tramontane (March 28 at 8 p.m.)

Based on an oral history that Jones conducted with his mother-in-law, a French Jewish nurse and social worker, the work tells her story of survival during World War II.

Analogy/Lance: Pretty aka the Escape Artist (March 29 at 8 p.m.)

Jones shares the emotional struggle and hardships that his nephew Lance faced in the underworld of the late ’80s and early ’90s club culture and sex trade.

Analogy/Ambros: The Emigrant (March 30 at 8 p.m.)

Inspired by W.G. Seblad’s historical novel The Emigrant, Jones creates a fictionalized narrative for the character Ambros Adelwarth to explore the impact of trauma on the psyche.

Kennedy-Center.org (202) 467-4600

Groups call (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540

PART OF

VISIT KENNEDY-CENTER.ORG/DIRECTCURRENT

This event is part of The Human Journey, a collaboration between the Kennedy Center, National Geographic Society, and the National Gallery of Art. To learn more visit Kennedy-Center.org/festivals/human-journey

DIRECT CURRENT is presented as part of The Irene Pollin Audience Development and Community Engagement Initiatives.

28 march 22, 2019 washingtoncitypaper.com

SWINGIN’ UTTERS

If the last time you checked in with Swingin’ Utters was noting its silly name on a crust punk’s leather jacket, it is high time for a re-assessment. What began as a meat-and-potatoes street punk band has steadily evolved into something more thoughtful and nuanced. The band’s latest, Peace and Love, is a far cry from its humble beginnings, with songs like “Louise and Her Spider” and “Sirens” borrowing more from breezy jangle-pop than Stiff Little Fingers. The band, like most veteran California punk bands, doesn’t make its way out East all that often, making its upcoming trip to DC9 required for any punk worth his or her studs. Swingin’ Utters perform at 8 p.m. at DC9, 1940 9th St. NW. $13–$15. (202) 483-5000. dcnine.com.

—Matt Siblo

Merriweather Post Pavilion • Columbia, MD JUST ANNOUNCED!

311 & DIRTY HEADS

w/ The Interrupters • Dreamers • Bikini Trill ..................................................... SAT JULY 27 On Sale Friday, March 22 at 10am

THIS WEEK’S SHOWS ALL GOOD PRESENTS

Railroad Earth w/ Lindsay Lou Two-night passes available ......... F 22 & Sa MAR 23 AN EVENING WITH

M3 ROCK FESTIVAL FEATURING

Nils Frahm .................................................................................................. Su 24 TRILLECTRO PRESENTS

Lil Mosey w/ Polo G ...................................................................................... W 27

Whitesnake • Dokken with original members Don Dokken, George Lynch, and Mick Brown • Extreme • Warrant • Skid Row • Vince Neil • Kix • Autograph • Bang Tango and more! .....................MAY 3-5 For a full lineup and more info, visit M3rockfest.com

Slayer w/ Lamb of God • Amon Amarth • Cannibal Corpse ................................... MAY 14 DC101 KERFUFFLE FEATURING

MARCH

APRIL (cont.)

Failure & Swervedriver w/ Criminal Hygiene ..................Th 28

Charlotte Gainsbourg ............M 8 STEEZ PROMO PRESENTS

Jai Wolf ....................................W 10 Ella Vos w/ Clara Mae ..............Th 11

D SHOW ADDED! FIRST SHOW SOLD OUT! SECON

U STREET MUSIC HALL PRESENTS

Big Wild w/ Robotaki & Mild Minds

ALL GOOD PRESENTS

Turkuaz w/ Aqueous .................F 12

Early Show! 6pm Doors ....................F 29

AEG PRESENTS

STEEZ PROMO PRESENTS

Adam Conover- Mind Parasite LIVE

Boogie T.rio w/ Mersiv & Vampa ...................Sa 30

Early Show! 6pm Doors ..................Sa 13 U STREET MUSIC HALL PRESENTS

Droeloe w/ FYTCH • DUSKUS • TAILS

APRIL

Let’s Eat Grandma w/ TWINKIDS & Claire George ......M 1

Late Show! 10pm Doors ..................Sa 13

BASS NATION PRESENTS

ALL GOOD PRESENTS

Getter ........................................Tu 2 Patty Griffin w/ Ruston Kelly ....W 3 Emily King w/ Jennah Bell ........Th 4

Bad Suns w/ Carlie Hanson ......M 15 The Claypool Lennon Delirium w/ Uni .........................................W 17

ALL GOOD PRESENTS

The Infamous Stringdusters w/ Jon Stickley Trio .......................F 5 ALL GOOD PRESENTS

Beats Antique w/ Axel Thesleff

Early Show! 7pm Doors .....................Sa 6

BENT:

The New LGBTQ Dance Party Returns featuring Tezrah, Sippi, Lemz, Bratworst, Too Free (Live!), JJ202, Jacq Jill, DJ Abby, Diyanna Monet, and Hosted by Pussy Noir Late Show! 11:30pm Doors ...............Sa 6

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Foals w/ Preoccupations & Omni .........Th 18

Greta Van Fleet • Young The Giant • The Revivalists • Tom Morello • SHAED • THE Blue Stones ................................................. MAY 19

Florence + The Machine * w/ Blood Orange ................................. JUNE 3 Brandi Carlile w/ Lucius ........................................................................ JUNE 14 Willie Nelson & Family and Alison Krauss w/ Lukas Nelson & Promise of the Real ............................................................. JUNE 19 Jason Isbell and The 400 Unit & Father John Misty w/ Jade Bird ............................................................................................................ JUNE 21

Phish ........................................................................................................ JUNE 22 & 23 Thomas Rhett w/ Dustin Lynch • Russell Dickerson • Rhett Akins ............. JULY 18 Third Eye Blind & Jimmy Eat World * w/ Ra Ra Riot ..... JULY 19 Train/Goo Goo Dolls * w/ Allen Stone ...........................................AUGUST 9 Chris Stapleton * w/ Margo Price & The Marcus King Band ................ AUGUST 11 Heart* w/ Joan Jett and The Blackhearts & Elle King........................... AUGUST 13 The Chrysalis at Merriweather Park

LORD HURON w/ Bully ....................................................................... JULY 23 Ticketmaster • For full lineup & more info, visit merriweathermusic.com • impconcerts.com *Presented by Live Nation

ALL GOOD PRESENTS AN EVENING WITH

Lotus .............................F 19 & Sa 20 Tom Odell w/ Lucie Silvas Early Show! 6pm Doors ....................Sa 20

Capital One Arena • Washington, D.C.

MUSE w/ SWMRS................................................................................................. APRIL 2 Ticketmaster

ALL GOOD PRESENTS AN EVENING WITH Lotus Late Show! 10pm Doors ......Sa 20

Ryan Bingham w/ Americans .Su 21 Rival Sons................................. M 22 Jon Hopkins .............................W 24 Blue October w/ Mona ............Th 25

930.com

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

CHROMEO

........................................................................................... MAY 19

JOEY COCO DIAZ

ADAM ANT: FRIEND OR FOE

............................. SEPTEMBER 23

On Sale Friday, March 22 at 10am

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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

The Comet Is Coming Shing02 & The Chee-Hoos: w/ Raindeer ........................Th MAR 21 A Tribute to Nujabes w/ Substantial..Tu 26 The Barr Brothers w/ La Force ...Sa 23 Blaqk Audio w/ Silent Rival ..... W APR 3

................................... FRI AUGUST 9

SECOND NIGHT ADDED! NIGHT SOLD OUT! FIRST Spiritualized ............................APR 16 Whindersson Nunes .......... MAR 23 Citizen Cope .............................APR 17 THIS MONDAY! Imogen Heap with special guest Guy Sigsworth of Frou Frou ............... MAY 4 Meow Meow + Thomas Lauderdale Josh Ritter & The Royal City (of Pink Martini) .............................. MAR 25 Band w/ Penny & Sparrow ............MAY 17

THIS SATURDAY!

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

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

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

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

HAPPY HOUR DRINK PRICES impconcerts.com AFTER THE SHOW AT THE BACK BAR!

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

930.com washingtoncitypaper.com march 22, 2019 29

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

CITY LIGHTS: MONDAY

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

Tix @ Ticketmaster.com 800-745-3000

THE FOUR BITCHIN' BABES

Mar 23 Sally Fingerett, Debi Smith, Deirdre Flint, & Christine Lavin

JIM"Share BRICKMAN The Love"

24

THURSDAY APRIL 11 $25ADV/$30

THE RIPPINGTONS RUSSfeaturing FREEMAN 26 ROBERT EARL KEEN 27 DAVID ARCHULETA 28 BIG BAD VOODOO DADDY 25

★

★

FRI 3/22 TRAGEDY: ALL METAL TRIBUTE TO THE BEE GEES & BEYOND! $12/$15 SAT 3/23 CASEY CAVANAGH EP RELEASE + JUSTIN TRAWICK & THE COMMON GOOD $12/$15 TUE 3/26 AMY LAVERE + WILL SEXTON $12/$15 FRI 3/29 JUMPIN’ JUPITER + GINA DALMAS & THE HEART STOMPERS $5 SAT 3/30 FIRESIDE COLLECTIVE THU 4/4 RED ELVISES W/ JONNY GRAVE BAND $15/$20 FRI 4/5 LITZ PRESENTS A TRIBUTE TO DAFT PUNK $10/$12 SAT 4/6 FELLOWCRAFT + BAD KROHMA $5 FRI 4/12 GRAHAM STONE + TWO TON TWIG ALBUM RELEASE W/ KAREN JONAS $10/$12 THU 4/18 ANDREW LEAHEY + THE HOMESTEAD $10/$12 FRI 4/19 MAMMOTHS + C2 & THE BROTHERS REED + GILES MCCONKEY $10/$12 SAT 4/20 THE HIGHBALLERS $5 FRI 4/26 DREW FISH W/ CHUCK BRISENO $10/$12 SAT 4/27 THE SOUTHERN GOTHIC FT. CONNOR CHRISTIAN $15/$17

★

★

THU 5/30 SOUTHERN CULTURE ON THE SKIDS $16/$20 SAT 6/8 THE VEGABONDS + HANNAH WICKLUND & THE STEPPIN STONES $12/$15 SAT 6/22 DADDY LONG LEGS ALBUM RELEASE $12/$15

29

Mo' Fire

In Gratitude: Tribute to EWF and Motown & More!

30 HARMONY SWEEPSTAKES Mid-Atlantic Regionals 2019 31

National ASLEEP AT THE WHEEL TheReserve

Apr 5

An Evening with

DON McLEAN

7

BODEANS Nicholas David KEIKO MATSUI

11

LIZZ WRIGHT

6

12 14 18 19

SGGL & THE SHERPAS THE CHURCH

"Starfish" 30th Anniversary Tour

THEfeaturing DRAMATICS L.J. Reynolds

ROB SCHNEIDER 22 MARTIN BARRE Celebrates 50 Years Of JETHRO TULL feat. Dee Palmer, Martin Barre, Clive Bunker 20

KRIS KRISTOFFERSON 27 CLEVE FRANCIS 29&30 INCOGNITO with special guest!

25

May 1

An Evening with

ZOE KEATING

HILL COUNTRY BARBECUE MARKET

Washington needs arts venues and organizations that throw money at MacArthur geniuses and give them time and space to make art together in large-scale collaborations. This spring, D.C. can take in the Kennedy Center’s new DIRECT CURRENT celebration, which includes a show featuring new music from indie rock darling Justin Vernon, otherwise known with his band as Bon Iver. Come Through pairs the Wisconsin-born creator of hazy, atmospheric pop with TU Dance, a small Minnesota company run by veterans of Alvin Ailey American Dance Theater. The Saint Paul Chamber Orchestra’s Liquid Music series, which promotes art created without boundaries and (sometimes) consumed with booze, commissioned the project. The SPCO is just the sort of arts organization that inspires serious FOMO. For now, let’s enjoy this imported collaboration that pairs a Grammy winner with modern dancers on a classical music stage. The show begins at 7:30 p.m. at the Kennedy Center Concert Hall, 2700 F St. NW. $49–$189. (202) 467-4600. kennedy-center.org.

—Rebecca J. Ritzel

NATIONAL GALLERY OF ART WEST GARDEN COURT 4th Street and Constitution Avenue NW. (202) 8426941. Natalie Clein. 3:30 p.m. Free. nga.gov.

PHILLIPS COLLECTION 1600 21st St. NW. (202) 3872151. Andreas Staier. 4 p.m. $5–$45. phillipscollection.org.

COUNTRY

APRIL 2, 2019 - 8PM with Jon McLaughlin

30 march 22, 2019 washingtoncitypaper.com

TICKETS ON SALE NOW AT TICKETMASTER.COM/800-745-3000. presents

FOLK SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Slaughter Beach, Dog. 8 p.m. $13–$15. songbyrddc.com.

POP

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

Lennon Stella. 7 p.m. $20. ustreetmusichall.com.

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Elder Ones. 6 p.m. Free. kennedy-center.org.

FUNK & R&B

ROCK

UNION STAGE 740 Water St. SW. (877) 987-6487. Matador! Soul Sounds. 8:30 p.m. $20–$30. unionstage. com.

POP

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

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

BLACK CAT 1811 14th St. NW. (202) 667-4490. Homeshake. 7:30 p.m. $16–$18. blackcatdc.com.

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Hugar. 6 p.m. Free. kennedy-center.org.

ROCK

DC9 1940 9th St. NW. (202) 483-5000. Swingin’ Utters. 8 p.m. $13–$15. dcnine.com.

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

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

BON IVER & TU DANCE’S COME THROUGH

MONDAY CLASSICAL

LINCOLN THEATRE 1215 U St. NW. (202) 888-0050.

Meow Meow and Thomas Lauderdale. 8 p.m. $35. thelincolndc.com.

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. Graham Nash. 8 p.m. $85–$95. wolftrap. org.

WARNER THEATRE 513 13th St. NW. (202) 783-4000.

Brit Floyd. 8 p.m. $43–$173. warnertheatredc.com.

TUESDAY BLUES

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Tinsley Ellis and Coco Montoya. 8 p.m. $25–$40. ampbystrathmore.com.

CLASSICAL KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Morgenstern Trio. 7:30 p.m. $45. kennedy-center.org.

HIP-HOP U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

Shing02 and The Chee-Hoos. 7 p.m. $18. ustreetmusichall.com.

CITY LIGHTS: TUESDAY

New York City Ballet EARL SWEATSHIRT

Earl Sweatshirt is barely half the age of rap titans like Jay-Z and Snoop Dogg, but thanks to his early start as a teen wunderkind, his fans have already been watching his work evolve for years.

The legend begins with Earl (real name Thebe Kgositsile) exiled by his mother to a boarding school in the middle of the Pacific Ocean after he dropped a jarringly profane viral mixtape.

Earl returned to the states to find that “Free Earl” had become a rallying meme, and that his music was near the center of a new rap subculture. Since then, he has shifted away from lyrics designed to disorient and shock, toward an introspective, deconstructionist style. His new album plays more like a fluid, continuous epic than it does a series of hooks and samples, to the extent that the album’s title, which simply promises Some Rap Songs, might be intended as an ironic joke. Combine the music with visuals that look like something David Lynch directed on a dare (see the short film: Nowhere, Nobody) and you’ve got a musical 3D-chess demonstration that utilizes jazz, rap, poetry, film, and meta-spectacle. Rappers Na-Kel Smith and BbyMutha will support Earl’s chess match at The Fillmore Silver Spring. Earl Sweatshirt performs at 8 p.m. at The Fillmore Silver Spring, 8656 Colesville Road, Silver Spring. $30. (301) 960-9999. fillmoresilverspring.com.

—Will Lennon

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Avishai Cohen Quartet. 8 p.m.; 10 p.m. $25. bluesalley.com.

POP

DC9 1940 9th St. NW. (202) 483-5000. Max Frost. 8 p.m. $15–$50. dcnine.com.

UNION STAGE 740 Water St. SW. (877) 987-6487.

Choker. 7:30 p.m. $15–$20. unionstage.com.

ROCK

WARNER THEATRE 513 13th St. NW. (202) 783-4000.

Experience Hendrix. 8 p.m. $63–$230. warnertheatredc.com.

WEDNESDAY CLASSICAL

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Gabriel Kahane. 7:30 p.m. $45. kennedy-center.org.

FOLK

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Peter Mulvey. 7:30 p.m. $15–$20. jamminjava.com.

HIP-HOP

9:30 CLUB 815 V St. NW. (202) 265-0930. Trillectro Presents Lil Mosey. 7 p.m. $22.50. 930.com.

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Dayme Arocena. 8 p.m.; 10 p.m. $25. bluesalley.com.

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Liberated Muse. 6 a.m. Free. kennedy-center.org.

POP

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. David Archuleta. 7:30 p.m. $29.50. birchmere.com.

ROCK

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. Graham Nash. 8 p.m. $85–$95. wolftrap. org.

ROCK & ROLL HOTEL 1353 H St. NE. (202) 388-7625.

Mom Jeans. 8 p.m. $15. rockandrollhoteldc.com.

THURSDAY BLUES

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Big Bad Voodoo Daddy. 7:30 p.m. $49.50. birchmere.com.

Sterling Hyltin and Gonzalo Garcia in Opus 19/The Dreamer, photo by Paul Kolnik

Reisen, Balanchine & Robbins (Apr. 2, 3 & 7) Composer’s Holiday (Foss/Reisen) Kammermusik No. 2 (Hindemith/Balanchine) Opus 19/The Dreamer (Prokofiev/Robbins) Symphony in C (Bizet/Balanchine)

New Works & New Productions (Apr. 4, 5, 6m & 6e) Easy (Bernstein/Peck) In the Night (Chopin/Robbins) The Runaway (Muhly, West, Jay-Z, Blake, add. artists/Abraham)* SOMETHING TO DANCE ABOUT Jerome Robbins, Broadway at the Ballet (Bernstein, Bock, Gould, Rodgers, Styne/Robbins, direction and musical staging by Carlyle) *Music used in The Runaway contains lyrics with strong language and mature themes.

See website for casting details.

CLASSICAL

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Glass’s Itaipu & Auerbach’s ARCTICA. 7 p.m. $15–$89. kennedy-center.org.

MANSION AT STRATHMORE 10701 Rockville Pike, North Bethesda. (301) 581-5100. BSO: Brahms Piano Concerto No. 1. 8 p.m. $35–$90. strathmore.org.

PHILLIPS COLLECTION 1600 21st St. NW. (202) 3872151. Tania León. 6 p.m. $5–$45. phillipscollection.org.

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Lee Ritenour. 8 p.m.; 10 p.m. $50–$55. bluesalley.com.

POP

April 2–7 | Opera House with the Kennedy Center Opera House Orchestra Groups call (202) 416-8400

Kennedy-Center.org

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

(202) 467-4600 Support for Ballet at the Kennedy Center is generously provided by Elizabeth and C. Michael Kojaian.

DC9 1940 9th St. NW. (202) 483-5000. Cherry Pools.

8 p.m. $12–$15. dcnine.com.

washingtoncitypaper.com march 22, 2019 31

and John Adams. Arena Stage. 1101 6th St. SW. To April 14. $92–$115. (202) 488-3300. arenastage.org.

CITY LIGHTS: WEDNESDAY

LA PALOMA AT THE WALL Featuring Mexican folk dance and vibrant melodies performed by a traditional Mexican son jarocho instrumental ensemble, “La Verbena de la Paloma” (La Paloma at the Wall) affirms the triumph of the human spirit over arbitrary borders. GALA Hispanic Theatre sets the zarzuela at Friendship Park, on the Tijuana side of the border between Mexico and the United States. GALA Hispanic Theatre. 3333 14th St. NW. To March 31. $20– $45. (202) 234-7174. galatheatre.org.

QUEEN OF BASEL Strindberg’s Miss Julie mixed with the hedonistic excess of Miami’s Art Basel, Queen of Basel sees recently humiliated Julie hiding in the kitchen of her father’s hotel. It is there she meets cocktail waitress Christine and her fiancé John, giving rise to a confrontation about class, power, and immigration status. Studio Theatre. 1501 14th St. NW. To April 7. $20–$90. (202) 332-3300. studiotheatre.org.

RESOLVING HEDDA A reimagining of Ibsen’s classic, this Hedda refuses to play along with her daily, prescribed death at the end of each performance. What follows is a “boisterously funny” (according to the LA Times) romp. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To April 14. $25–$60. (240) 582-0050. stageguild.org.

Film SUMMER WALKER

On her breakthrough single “Girls Need Love,” R&B singer-songwriter Summer Walker explores the double standards that exist when women look for love and sex. Or, as the Atlanta artist cheekily posed on Twitter: “text ur man ‘i just need some dick with no complications’ and tweet me his reply lol.” That tweet went viral, and the responses were hilarious, raunchy, and revealing: It turns out men think they’re getting a rough deal in relationships, too. Perhaps that’s why Walker’s woozy, back-to-basics R&B is finding such an audience, no matter the gender.

Her debut album, Last Day of Summer, fits nicely amid the quiet storm revival, along with similarly styled crooners like H.E.R. She’s also found a fan in pop’s biggest tastemaker, Drake, who hopped on a remix of “Girls Need Love” and provided the inspiration for the viral tweet with one of his cooed lyrics. But for a guy who’s always bemoaning the women in his life, the remix let Drake show a more understanding side, confessing that “guys get their way all the time.” Just not this time. Summer Walker performs at 7 p.m. at U Street Music Hall, 1115 U St. NW. $20. (202) 588-1889. ustreetmusichall.com.

—Chris Kelly SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Camilo Séptimo. 8 p.m. $20–$25. songbyrddc.com.

ROCK

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. Graham Nash. 8 p.m. $85–$95. wolftrap. org.

THE HAMILTON 600 14th St. NW. (202) 787-1000.

Marc Broussard. 7:30 p.m. $25–$35. thehamiltondc. com.

Theater

BLOOD AT THE ROOT Inspired by the tensions and protests surrounding the 2006 Jena Six case in Louisiana, Blood at the Root centers a fictional Black student who occupies a traditionally white space and inadvertently triggers hateful violence in her community. Anacostia Playhouse. 2020 Shannon Place SE. To March 24. $30–$40. (202) 290-2328. anacostiaplayhouse.com.

A BRONX TALE Teeming with dance numbers and doo-wop songs and featuring 10 alumni from its hit Broadway run, A Bronx Tale is a musical rendition of Chazz Palminteri’s one-man play and the Robert De Niro-helmed 1993 film. Young Calogero Anello grapples with choosing between two paths in life: that of his hardworking father and that of crime boss Sonny and the mystique of the mafia. National Theatre. 1321

THE AFTERMATH A British colonel and his wife move into a grand Hamburg house during post-World War II reconstruction, and must share the home with its previous German owners. Starring Keira Knightley, Jason Clarke, and Alexander Skarsgård. (See washingtoncitypaper.com for venue information)

CAPTAIN MARVEL With Earth caught in the middle of a galactic alien war, powerful hero Carol Danvers must step up to become the galaxy's champion.

Starring Brie Larson, Samuel L. Jackson, and Gemma Chan. (See washingtoncitypaper.com for venue information) CAPTIVE STATE Ten years after an alien occupation in Chicago, forces on both sides of the conflict deal with the fallout. Starring Vera Farmiga, Machine Gun Kelly, and John Goodman. (See washingtoncitypaper. com for venue information) FIVE FEET APART Teenagers with the same lifethreatening illness fall in love at the hospital where they receive treatment. Haley Lu Richardson, Cole Sprouse, and Claire Forlani. (See washingtoncitypaper.com for venue information) GLORIA BELL Julianne Moore stars as a carefree woman looking for love in the Los Angeles dance club scene. Co-starring Alanna Ubach and Sean Astin.

(See washingtoncitypaper.com for venue information) THE MUSTANG Matthias Schoenaerts stars as a prisoner who enters a rehabilitation program in which he must help train wild mustangs. Co-starring Jason Mitchell and Bruce Dern. (See washingtoncitypaper. com for venue information) US In director Jordan Peele’s latest thriller, a family’s vacation becomes a nightmare as their doubles torture them. Starring Lupita Nyong’o, Elisabeth Moss, and Winston Duke. (See washingtoncitypaper.com for venue information) WONDER PARK In this bright animated adventure, a creative girl named June finds he imagination coming to life at a grand amusement park. Starring Sofia Mali, Jennifer Garner, and Ken Hudson Campbell. (See washingtoncitypaper.com for venue information)

CITY LIGHTS: THURSDAY

Pennsylvania Ave. NW. To March 31. $54–$114. (202) 628-6161. nationaltheatre.org.

THE DOYLE AND DEBBIE SHOW A musical by Bruce Arntson, The Doyle and Debbie Show is a parodic send-up of country music’s tradition of iconic duos and their battle of the sexes. DC Arts Center.

2438 18th St. NW. To March 30. $50. (202) 462-7833. dcartscenter.org.

HANDS ON A HARDBODY The regional premiere of the three-time Tony nominated musical, Hands on a Hardbody adapts the acclaimed 1997 documentary of the same name to chronicle a contest in which ten Texans compete to keep one hand on a brandnew truck in order to win it. Combines hope, humor, and an unwavering resolve to achieve the American Dream. Keegan Theatre. 1742 Church St. NW. To April 6. $20–$62. (202) 265-3767. keegantheatre.com.

INTO THE WOODS Stephen Sondheim’s beloved, Tony-winning musical is a blackly comic medley of well-known fairy tale characters like Cinderella, Little Red Riding Hood, and Jack (of the Beanstalk). At the heart of the story is The Baker and his Wife, their quest to reverse a witch’s curse and have a child of their own the driving force behind this twisted tale of wish fulfillment and the relationship between parents and children. Ford’s Theatre. 511 10th St. NW. To May 22. $27–$81. (202) 347-4833. fords.org.

JQA Written by award-winning playwright Aaron Posner and the recipient of the Edgerton Foundation New Play Award, JQA imagines the confrontations between the intelligent, eloquent, and fiery sixth President of the United States and a collection of America’s most influential figures including George Washington, Frederick Douglass, Abraham Lincoln,

32 march 22, 2019 washingtoncitypaper.com

A BRONX TALE

All Bronx tales begin on Belmont Avenue, or so croons Calogero Anello in the opening number of A Bronx Tale as he introduces the audience to the cannolis, nonnas, and colorful storefront awnings that frequent the sidewalks of the Italian-American neighborhood of his 1960s youth.

Based on the autobiographical one-man show of the same name, the 2016 Broadway musical chronicles the true story of a young man who vacillates between the mentorship of his straightlaced father, Lorenzo, and that of the respected local mob boss, Sonny. Ensemble dance numbers and doo-wop music from Disney hitmaker Alan Menken electrify this coming-of-age story while the trappings of love, loyalty, and violence haunt its edges and call to mind the energy of classics like West Side Story and Jersey Boys. Co-directed by Robert De Niro (who also directed the critically acclaimed 1993 film) and Tony-winner Jerry Zaks, the touring cast features 11 original members of the Broadway production. The show runs to March 31 at The National Theatre, 1321 Pennsylvania Ave. NW. $54–$179. (202) 628-6161. thenationaldc.org.

—Amy Guay

SAVAGELOVE I’m a straight white woman in my early 30s. In theory, I’ve always been into men of all races—but in practice, most of my exes are Latino and white.

In September, I met this really handsome ChineseAmerican guy, and I feel like he rewired me. I’ve been exclusively attracted to Asian guys since. I’m not writing to ask if this is racist, because I’m not asking these guys to, like, speak Korean to me in bed or do any role-playing stuff. We just date and have sex, same as my past relationships. But if any of these dudes saw my Tinder matches, they’d be like, “This woman has a thing for Asian guys.”

Which I do, but it’s pretty new. Is this normal?

Do people just change preferences like that? Also, can you do a PSA about Asian dicks? In my recent but considerable experience, they run the gamut from average to gigantic. If small Asian dicks were a thing, I would have encountered at least one by now. That shit is a myth.

—Asian Male/White Female Here’s my general take on race-specific sexual preferences: So long as you can see and treat your sex partners as individuals and not just as objects—we are all also objects—and so long as you can express your preferences without coming across as and/or being a racist shitbag, and so long as you’ve interrogated your preferences to make sure they’re actually yours and not a mindless desire for what you’ve been told you’re supposed to want (i.e., the currently prevailing beauty standard or its equally mindless rejection, the “transgressive” fetishization of the “other”), then it’s okay to seek out sex and/or romantic partners of a particular race.

I ran my general take on race-specific sexual preferences past Joel Kim Booster—a writer and comedian whose work often touches on race and desire—and he approved. (Whew.) I also shared your letter with him, AMWF, and Booster had some thoughts for you.

“It doesn’t sound like her newfound preference for Asian men has anything to do with the uncomfortable fetishization of culture,” said Booster. “It’s good that she’s not asking them to speak Korean or do any sort of Asian roleplaying—something that’s been asked of me before (and it’s a bummer, trust). Her interest in Asian men seems to be mostly an aesthetic thing, which you certainly can’t fault her for: There are a lot of hot Asian dudes out there.”

Booster also had some questions for you.

“It’s not uncommon for people later in life to discover that they’re attracted to something they’d never considered sexy before—fullgrown adults are out here discovering they’re bi every damn day,” said Booster. “But she went 30 years before she saw one Asian man she was attracted to? And now this guy has ‘rewired’ her to be attracted only to Asian men?”

He said that he would like to see a picture

of this magical guy, AMWF, and I would, too.

“If she was chill about it and just started adding Asian men into the mix, this wouldn’t seem like an issue,” added Booster. “But from what I can gather, she has shifted to exclusively fucking Asian guys and feels the need to write a letter about it. That feels like a red flag, and yet I can’t pinpoint why.”

Maybe you’re just making up for lost time—maybe you’re getting with all the Asian dick you can now to make up for all the Asian dick you missed out on before you ran into that one impossibly hot Asian guy— and your desires/preferences/Tinder profile will achieve a racially harmonious equilibrium at a certain point. But whether you remain exclusively attracted to Asian guys for the rest of your life or not, AMWF, make sure you don’t treat Asian guys like you’re doing them a favor by sitting on their gamut-running dicks.

“I’m weary of people with a specific racial preference for Asian men. And it’s less out of a fear of being fetishized—though that’s certainly part of it—and more because of the implicit power imbalance that exists in those relationships,” said Booster. “It’s all artificially constructed by The Culture, of course, but I’m acutely aware that society views Asian men as less masculine and therefore less desirable. And I’ve learned that guys who have

Make sure you don’t treat Asian guys like you’re doing them a favor by sitting on their gamutrunning dicks. a preference for Asian men sometimes bring a certain kind of ‘entitlement’ to our interactions, i.e., ‘You should feel lucky I’m paying you this kind of attention.’ And that’s gross! It doesn’t sound like she’s doing that, but something about this letter makes me feel like she wants to be congratulated for being woke enough to consider Asian guys. She’d do well to keep this stuff behind the curtain—no one wants to feel like someone was into them only because of some witch’s curse a hot ChineseAmerican guy put on them at a bar.”

Follow Joel on Twitter @ihatejoelkim, and visit his website, ihatejoelkim.com.

—Dan Savage I’m a guy. I’ve been with my wife since 2006.

She’s my sexy Asian babe. (Yeah, I’m that white guy who married an Asian woman—I’m a stereotype, but she isn’t.) In the bedroom, it’s great. I’m still madly in love with her two kids later, and she’s as sexy as ever. But she doesn’t like to give blowjobs—always been this way. When we were dating, she’d say I could go get blowjobs from someone else, but I always took it as a joke. At 35, I’m hornier than I was at 25. And my sexual tastes have changed over the years—or they’ve expanded, maybe, since I now want to see what it’s like to get head from a guy. How do I convince my wife to agree to this? She’s afraid I might like it; I obviously hope I do. There’s nothing I want more than to get head on the way home and then be able to tell her about it and fuck her later that night.

How can I convince her to let me do this while also being able to tell her about it and be truthful?

—Horny Married Man I’m not lumping your question together with AMWF’s in order to create some sort of hot-forAsians-themed column. No, I’m including your letter—which arrived the same day—because it illustrates a point Booster made in his response to AMWF: “Full-grown adults are out here discovering they’re bi every damn day,” as he said, and you’re apparently one of them.

I can only assume that by “she’s afraid I might like it,” you mean you’ve already asked the wife and she said no. You can ask again— maybe she’ll change her mind—but if the answer is still no, HMM, then the answer is still no. Maybe if this were a sexual adventure you could go on together, it might be more appealing to the wife. And it is, because just as there are dudes out there who love blowing straight married men, there are dudes who are up for blowing straight married men in front of their wives. So if you haven’t already proposed doing this in the context of a hot sexual encounter with a bi guy who’d also be into your wife, maybe you should.

As for your label, there are straight guys out there who can close their eyes and think about women while dudes blow them, i.e., straight guys capable of making the mouthis-a-mouth leap. But you’re turned on not just by the idea of getting an enthusiastic blowjob, you’re specifically into the idea of getting one from a dude. That does make you bi, HMM, but for marketing purposes? Yeah, you’re going to want to go with straight.

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

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FOLLOW US @PEARLSTREETLIVE 33 PEARL ST SW DC •THE WHARF washingtoncitypaper.com march 22, 2019 33

Heirs, Ruth Trevarrow, whose address is 1789 Lanier Place, NW, #43, Adult . . . . . . . . . . . . . . . . . . . . . . . 42 TWO RIVERS PUBLIC Washington, DC 20009 CHARTER SCHOOL was . appointed Auto/Wheels/Boat . . . . . . . Personal . . . 42 REQUEST FOR PRORepresentative of the Buy, Sell, Trade . . estate . . . . .of . Margery . . . . . . Rose . . . .

POSALS Owner’s Representative mary Gambrell who died Marketplace . . . . . . . . . . . . . . . . . 42 Two Rivers PCS is seekon October 24, 2018, ing anCommunity owner’s represen . . . . . with . . . a . .Will . . .and . . will . . . serve 42 tative to provide project with Court Supervision.

Employment . . . . All . . unknown . . . . . . .heirs . . . and . 42 management and construction oversight Health/Mind . . . . heirs . . . .whose . . . . .where . . . . . . . services for a $17 abouts are unknown millionBody middle&school Spirit . . . . shall . . . .enter . . . .their . . . appear . . 42 project to be delivered ance in this proceedHousing/Rentals . . . Objections . . . . . . . .to . such . 42 in August, 2020. For a ing. copy of the RFP, please appointment shall be Legal Notices . . . . . . . . . . . . . . . . 42 email procurement@ filed with the Register tworiverspcs.org.

Music/Music Row .of .Wills, . . . .D.C., . . . .515 . . .5th 42 Street, N.W., Building Pets COURT . . . . . . . . . . . A, . .3rd . . .Floor, . . . .Washing . . . . 42 SUPERIOR OF THE DISTRICT OF or Real Estate . . . . . ton, . . . D.C. . . . .20001, . . . . .on . 42 COLUMBIA before September 14, PROBATE DIVISION Shared Housing . 2019. . . . . Claims . . . . . against . . . . 42 2019 ADM 000135 the decedent shall be . . . . . . presented . . . . . . . to . . the . . .under . 42 NameServices . of Decedent, . Margery Rosemary Gamsigned with a copy to brell. Name and Address the Register of Wills or of Attorney, John W. to the Register of Wills Thomas, Lange, Thomas with a copy to the un& Assoc, LLP, 6849 Old dersigned, on or before Dominion Drive, Suite September 14, 2019, 225, McLean, VA 22101. or be forever barred.

Notice of Appointment, Persons believed to be Notice to Creditors and heirs or legatees of the Notice to Unknown decedent who do not

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Classified Ads Print & Web Classified Packages may be placed on our Web site, by fax, mail, phone, or in person at our office: 734 15th Street, NW Suite 400 Washington, D.C. 20005 Commercial Ads rates start at $20 for up to 6 lines in print and online; additional print lines start at $2.50/ line (vary by section). Your print ad placement plus up to 10 photos online. Premium options available for both print and web may vary.

receive a copy of this Adult Phone notice by mail within 25 days of its Entertainment publication shall so inform the RegLivelinks - Chat Lines.

Flirt, chat ister of Wills, including and date! address Talk to sexyand real singles name, rein your area. Call now! (844) lationship. Date of first 359-5773 publication: 3/14/2019 Name of Newspaper Legals and/or periodical: Washington City Paper/ NOTICE IS HEREBY GIVEN Daily THAT: Washington Law Reporter TRAVISA OUTSOURCING, INC. (DISTRICT COLUMBIA DEName of OF Personal PARTMENT OF CONSUMER Representative: Patricia AND REGULATORY AFFAIRS Ann Bush FILE 271941) HAS TRUENUMBER TEST copy DISSOLVED EFFECTIVE NOVEMAnne Meister BER 27, 2017 AND HAS FILED Register OF of DISSOLUTION Wills ARTICLES OF Pub Dates: March 14,CORDOMESTIC FOR-PROFIT 21, 28. WITH THE DISTRICT PORATION OF COLUMBIA CORPORATIONS DIVISION SUPERIOR COURT OF THE DISTRICT OF ACOLUMBIA CLAIM AGAINST TRAVISA OUTSOURCING, INC. MUST PROBATE DIVISION INCLUDE THE NAME OF THE 2019 ADM 000128 DISSOLVED CORPORATION, Name ofTHE Decedent, INCLUDE NAME OF THE Charles Sylvester Bush.

CLAIMANT, INCLUDE A SUMMAName and Address RY OF THE FACTS SUPPORTING of Attorney, K. TO THE CLAIM, ANDBrian BE MAILED 1600 INTERNATIONAL DRIVE, McDaniel, 1920 L Street, SUITE MCLEAN, 22102 N.W.,600, Suite 303, VA Washington, D.C. 20036.

ALL CLAIMS WILL BE BARRED Notice of Appointment, UNLESS PROCEEDING Notice toA Creditors andTO ENFORCE THE CLAIM IS COMNotice to Unknown MENCED WITH IN 3 YEARS OF Heirs, Patricia Ann NOTICE Bush, PUBLICATION OF THIS whose address is 6222 IN ACCORDANCE WITH SECTION Otis Street, Cheverly, 29-312.07 OF THE DISTRICT OF MD 20785 was appointCOLUMBIA ORGANIZATIONS ACT. ed Personal Representative of the estate of Two Rivers PCS is soliciting Charles Bush proposals toSylvester provide project manwho died on for February agement services a small con20, 2017, without a Will struction project.

For a copy of the RFP, please email procurement@ and will serve without tworiverspcs.org.

Deadline Court Supervision.

All for submissions December 2017. unknown is heirs and 6,heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before September 7, 2019.

Claims against the decedent shall be presented to the undersigned with

Print Deadline The deadline for submission and payment of classified ads for print is each Monday, 5 pm.

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34 march 22, 2019 washingtoncitypaper.com

a copy to the Register of Legals Wills or to the Register of Wills with a copy to DC SCHOLARS PCS REQUEST the undersigned, on FOR PROPOSALS – Moduor before September lar Contractor Services - DC 7, 2019,Public or be forever Scholars Charter School barred.

Persons solicits proposals for believed a modular to be heirs or legatees contractor to provide professional of the decedent who management and construction services construct a modular do not to receive a copy building to house four of this notice by classrooms mail and one 25 faculty offi ce within days of suite. its The Request for Proposals publication shall so (RFP) specifi cations can be obtained on inform the Register of and after Monday, November 27, Wills,from including name, 2017 Emily Stone via comaddress and relationmunityschools@dcscholars.org. ship.

Date of first publiAll questions should be sent in cation: writing by 3/7/2019 e-mail. No phone calls regardingofthis RFP will be acName Newspaper cepted. Bids must be received by and/or periodical: 5:00 PM on Thursday, December Washington City Paper/ 14, 2017 at DC Scholars Public Daily Washington Law Charter School, ATTN: Sharonda Reporter Mann, 5601 E. Capitol St. SE, Name of Personal Washington, DC 20019. Any bids Representative: Patricia not addressing all areas as outAnn lined inBush the RFP specifi cations will TRUE TEST copy not be considered.

Anne Meister Register of Wills for Rent Apartments Pub Dates: March 7, 14, 21.

FRIENDSHIP PUBLIC CHARTER SCHOOL NOTICE OF REQUEST FOR PROPOSAL Friendship Public Charter School is seeking bids from prospective candidates to provide: Must see! Spacious semi-fur* A Learning Managenished System-The 1 BR/1 BA basement ment LMS apt, Deanwood, $1200. Sep. enshould be a web-based trance, W/W carpet, W/D, kitchtechnology solution used en, fireplace near Blue Line/X9/ to plan, implement, and V2/V4. Shawnn 240-343-7173. assess student work and provide instructors Rooms for Rent with a way to create and deliver content, Holiday Special- monitor Two furstudent participation, nished rooms for short or long and assess student term rental ($900 and $800 per performance.

Students month) with access to W/D, WiFi, Kitchen, and Den. should also have the Utilities included.

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Do full you scope love working with The of work your hands? Are you interwill be in posted in a and ested construction competitive Request for in becoming an electrician?

Proposal that can be Then the electrical apprentice found oncould FPCS position be perfect for website at http://www. you! Electrical apprentices are able to earn a paycheck friendshipschools.org/ and full benefi ts while learnprocurement /. Proposingare the due tradeno through rstals later fithan hand experience.

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April 19th, 2019. No what we’re looking for… proposals willresidents be acceptMotivated D.C. who edwant after the deadline. to learn the electrical Questions can be trade and have a high school addressed diploma or to GEDProcureas well as reliable transportation. mentInquiry@friendshipschools.org a little bit about us…

FRIENDSHIP PUBLIC Power Design is one of the CHARTER SCHOOL top electrical contractors in NOTICE OF INTENT the U.S., committed to our TO ENTER A SOLE values, to training and to givSOURCE ing back toCONTRACT the communities Earned Admissions in which we live and work. at Arizona State Unimore details… versity Visit powerdesigninc.us/ careers or email careers@ Friendship PCS intends powerdesigninc.us! to enter into a sole source contract with Earned Admissions at ArizonaFinancial State UniverServices sity to offer Friendship Denied Credit??

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Students enrolled in EA courses will receive college academic credit after they’ve successfully passed their course(s), and they can take EA courses multiple times if necessary to ensure college readiness.

WholeSince Foodspayment Commissary Auction for academic credits DC Metro Area are only charged once Dec. 5 at 10:30AM the student has passed 1000s S/S Tables, the class(es), EA isCarts an & Trays, 2016 Kettles up excellent risk-free to 200 Gallons, Urschel option Cuttersfor& students Shredders inallowing to jumpcluding them 2016 Diversacut start year of 2110their Dicer,first 6 Chill/Freeze college.

The estimated Cabs, Double Rack Ovens & Ranges, (12) Braising yearly cost is approxiTables, $60,000.

2016 (3+) Stephan mately The VCMs, 30+ Scales, contract term shall be Hobart 80 qt Mixers, automatically renewed Complete Machine Shop, for the same period and much more! View the unless party, 60 catalogeither at days before expiration, www.mdavisgroup.com or gives notice to the other 412-521-5751 of its desire to end the agreement.

Garage/Yard/ Questions can be adRummage/Estate Sales dressed to: ProcurementInquiry@ Flea Market every Fri-Sat friendshipschools.org 10am-4pm. 5615 Landover Rd. Cheverly, MD. 20784. Can buy KIPP PUBLIC in bulk. DC Contact 202-355-2068 CHARTER SCHOOLS or 301-772-3341 for details or if intrested in being a vendor.

REQUEST FOR PROPOSALS Fob Entry Access and Electronic Lock Installation KIPP DC is soliciting proposals from qualified vendors for Fob Entry Access and Electronic Lock Installation. The RFP can be found on KIPP DC’s website at www.kippdc.org/procurement. Proposals should be uploaded to the website no later than 5:00 PM EST, on April 10, 2019. Questions can be addressed to jessica.gray@kippdc. org.

Facilities Management

KIPP DC is soliciting Miscellaneous proposals from qualified vendors for Facilities NEW COOPERATIVE SHOP! Management.

The RFP can be found on KIPP FROM EGPYT THINGS DC’s website at www.

AND BEYOND kippdc.org/procure240-725-6025 ment.

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Cooperative 12, Questions can 202-341-0209 be addressed to kevin. www.southafricanbazaarcraftcoo mehm@kippdc.org. perative.com southafricanba z a ar @hotmail.

Afterschool Girls Emcom powerment Program KIPP is WOODWORKS soliciting WEST DC FARM proposals from qualified Custom Creative Furniture vendors for an After202-316-3372 info@westfarmwoodworks.com school Girls Empowerwww.westfarmwoodworks.com ment Program. The RFP can be found on KIPP 7002 Carroll Avenue DC’s website at www.

Takoma Park, MD 20912 kippdc.org/procurement.

Mon-Sat 11am-7pm, Proposals should be upSun 10am-6pm loaded to the website no later than 5:00 PM EST, Motorcycles/Scooters on April 2, 2019. Questions can beTU250X addressed 2016 Suzuki for sale.

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SUPERIOR COURT Call 202-417-1870 M-F between OF THE DISTRICT OF 6-9PM, or weekends.

COLUMBIA PROBATE DIVISION Bands/DJs for Hire 2019 ADM 000202 Name of Decedent, William David Stewart Fraser. Name and Address of Attorney, Anne H. S. Fraser P.O. Box 40690, Washington, DC 20016. Notice of Appointment, Notice to Creditors and Notice to Get Wit It Productions: ProfesUnknown Heirs, Anne H. sional sound whose and lighting availS. Fraser, address able for club, corporate, private, is 5310 Manning Pl. NW, wedding receptions, holiday Washington, DC 20016 events and much more. Insured, was appointed Personal competitive rates. Call (866) 531Representative of thefor a 6612 Ext 1, leave message estate ofcall William ten-minute back, orDavid book onStewart Fraser who died line at: agetwititproductions.com on February 1, 2019, with a Will and will serve Announcements without Court Supervision.

All unknown heirsall Announcements - Hey, you lovers erotic and bizarre and heirsofwhose whereromantic fi ction!

Visit abouts are unknown www. nightlightproductions.club and shall enter their appearsubmit in your stories to me Happy ance this proceedHolidays! James K. West ing. Objections to such wpermanentwink@aol.com

appointment shall be Events filed with the Register of Wills, D.C., 515 5th ChristmasN.W., in Silver Spring Street, Building Saturday, December 2, 2017 A, 3rd Floor, WashingVeteran’s Plaza ton, D.C. 20001, on or 9:00 a.m. to 7:00 p.m. before 9/14/19.

Claims in Come celebrate Christmas against decedent the heart ofthe Silver Spring at our shall be presented to PlaVendor Village on Veteran’s the undersigned with aarts za. There will be shopping, copy to the Register and crafts for kids, picturesofwith Santa, music and entertainment Wills or to the Register to spread cheer andto more. of Willsholiday with a copy Proceeds from the market the undersigned, on orwill provide a “wish” toy for children before 9/14/19, or be in need. Join us at your one stop forever barred. Persons shop for everything Christmas. believed be heirscontact or For more to information, legatees of the decedent Futsum, who do not receive a or info@leadersinstitutemd.org copy of this notice by call 301-655-9679 mail within 25 days of General its publication shall so inform the Register of Lookingincluding to Rent yard space for Wills, name, hunting dogs. address andAlexandria/Arlingrelationton, VA area only. Medium sized ship. Date of first publidogs will be well-maintained in cation: 3/14/2019 temperature controled dog housName ofadvanced Newspaper es. I have animal care and/or periodical: experience and dogs will be rid Washington City free of feces, flies, urinePaper/ and oder.

Dogs will be in a ventilated kennel Daily Washington Law so they will not be exposed to winReporter ter and harsh weather etc.

Space Name of Personal Repwill be needed as Anne soon asH. possiresentative: ble.

Yard for dogs must be Metro S. Fraser accessible. Serious callers only, TRUE TESTKevin, copy 415- 846call anytime AnnePrice Meister 5268.

Neg. Register of Wills Pub Dates: March 14, Counseling 21, 28.

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Call One RFP genNow: eral 855-732-4139 contractor services.

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EARLY CHILDHOOD ACADEMY PUBLIC CHARTER SCHOOL INVITATION TO BID EARLY CHILDHOOD ACADEMY PUBLIC CHARTER SCHOOL (ECA) request proposals for: * Furniture for New School Facility Currently Under Construction – experiencedvendor needed for furnishing and installing classroom, and office furniture in new school facility.

Submission deadline: ECA will receive bids until 4:00 pm on Friday, April 1,2019. Late submissions will not be http://www.washingtconsidered oncitypaper.com/ For further information send email inquiries to bids@ecapcs.org.

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