Washington City Paper (March 24, 2017)

CITYPAPER Washington

food: IrAqI-themed bAr gets A new home 17 arts: r.I.P. deAf AdvocAte shIrley chIldress 21

Free volume 37, no. 12 wAshIngtoncItyPAPer.com mArch 24–30, 2017

Mural A city arts program is trying to save the murals it started creating 10 years ago. P. 12

By Patrick Fort Photographs by Darrow Montgomery

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2 march 24, 2017 washingtoncitypaper.com

INSIDE

12 MURAL DECAY

86 breweries.

200+ perfect pairings.

1 unforgettable evening.

A city arts program is trying to save the murals it started creating 10 years ago.

By Patrick Fort Photographs by Darrow Montgomery

4 Chatter distriCt Line 7 Concrete Details: The new energy-generating sidewalk in Dupont Circle fails to generate much of it at all—or function as a public space.

8 Gear Prudence 10 Savage Love 11 Indy List

d.C. feed 17 Green-Lit: After three years in pop-up purgatory, a Middle Eastern cocktail bar has a permanent home.

19 D.C. United: Five Local Distilleries Team Up on One Special Gin 19 Are You Gonna Eat That?: Fried Pig’s Head Croquette with Lobster 19 What’s in Stein’s Stein: Foggy Ridge Serious Cider

arts 21 A Sign From Above: As Sweet Honey in the Rock’s sign language interpreter, the late Shirley Childress dedicated her life to deaf rights and championed black interpreters.

24 Curtains: Klimek on Three Sisters and No Sisters 26 Short Subjects: Gittell on Wilson

City List 28 City Lights: Baltimore-area teen Lindsey Jordan performs at Songbyrd Music House and Record Cafe on Saturday.

29 Music 33 Theater 35 Film 36 Cherry Blossom Events

38 CLassifieds diversions 39 Crossword

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june 2 & 3, 2017 • washington d.c.

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washingtoncitypaper.com march 24, 2017 3

CHATTER

Spay Payto-Play

In which the editor hijacks this space (again)

Darrow MontgoMery

Sterilization SeemS like an apt metaphor for the solution to campaign finance abuses. Like a bitch who has had too many litters and been allowed to breed unchecked, the District has created untold dependants suckling on the government’s teat. And when there’s not enough to go around, it’s the runt who suffers.

Scandal after scandal has demonstrated this.

As campaign finance regulations go, the District’s are respectable. But the city’s Office of Campaign Finance, which is supposed to enforce them, has allowed people and companies trying to buy influence with city officials to exceed limits without consequence. And even if the agency were doing its job well, the political culture is still such that mayors and D.C. councilmembers are elected by big development and big business (the mouth-foaming spawn in this case), whose interests they then feel obligated to protect.

For the sake of ordinary District residents whose voices have been drowned out by monied interests, we need to cut the poor girl open and end this vicious cycle. So it’s heartening that 10 D.C. councilmembers have signaled their willingness to support a bill that would create public financing of local elections. The legislation, introduced earlier this week and conceived by a coalition of groups known as D.C. Fair Elections, would allow public matching funds (at a five-to-one rate) for candidates who establish viability and who agree to accept low, voluntary contribution limits ($50 for ward candidates, $200 for mayor) and forego specialinterest money.

To understand why this legislation is so necessary, consider that more than 60 percent of contributions come from corporations or from people who live outside the city. Just 5 percent of political donations come from District residents giving $100 or less.

In other jurisdictions that have enacted such legislation, like New York City, the numbers show that more residents are donating and getting involved in the election process. Likewise, candidates have every incentive to opt in to public financing—and are no longer beholden to the bizpigs.

As for them, we also need to cut their nuts off because real reform is double-edged.

—Liz Garrigan

1500 BLock of 17th Street NW, March 16

EDITORIAL

editor: liz garrigan MaNaGiNG editor: alexa Mills artS editor: Matt Cohen food editor: laura hayes city LiGhtS editor: Caroline jones Staff Writer: andrew giaMbrone SeNior Writer: jeffrey anderson Staff photoGrapher: darrow MontgoMery iNteractive NeWS deveLoper: zaCh rausnitz creative director: jandos rothstein art director: stephanie rudig copy editor/productioN aSSiStaNt: will warren coNtriButiNG WriterS: jonetta rose barras, VanCe brinkley, eriCa bruCe, kriston Capps, ruben Castaneda, Chad Clark, justin Cook, riley Croghan, jeffry Cudlin, erin deVine, Matt dunn, tiM ebner, jake eMen, noah gittell, elena goukassian, aManda kolson hurley, louis jaCobson, raChael johnson, Chris kelly, aMrita khalid, steVe kiViat, Chris kliMek, ron knox, john krizel, jeroMe langston, aMy lyons, kelly MagyariCs, neVin Martell, keith Mathias, traVis MitChell, triCia olszewski, eVe ottenberg, Mike paarlberg, noa rosinplotz, beth shook, Quintin siMMons, Matt terl, dan troMbly, kaarin VeMbar, eMily walz, joe warMinsky, alona wartofsky, justin weber, MiChael j. west, alan zilberMan

ADvERTIsIng AnD OpERATIOns

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

sOuThcOmm

chief executive officer: Chris ferrell chief operatiNG officer: blair johnson chief fiNaNciaL officer: bob Mahoney executive vice preSideNt: Mark bartel Graphic deSiGNerS: katy barrett-alley, aMy goMoljak, abbie leali, liz loewenstein, Melanie Mays

LocaL advertiSiNG: (202) 650-6937 fax: (202) 618-3959, ads@washingtonCitypaper.CoM Find a StaFF directory with contact inFormation at waShingtoncityPaPer.com voL. 37, No. 12 March 24-30, 2017 washington City paper is published eVery week and is loCated at 734 15th st. nw, suite 400, washington, d.C. 20005.

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

4 march 24, 2017 washingtoncitypaper.com

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6 march 24, 2017 washingtoncitypaper.com

DistrictLine Energizer Dummy

The new energy-generating sidewalk in Dupont Circle fails to generate much of it at all—or function as a public space.

A hAlf-moon of concrete sits above Connecticut Avenue where the traffic dives underground and tunnels beneath Dupont Circle. A curious selection of objects appeared a few months ago inside this little hemisphere: several granite cubes, three shiny black posts, two raised flower beds outlined in rust-colored metal, and a mysterious, ATM-like kiosk. If you’ve seen it, you may have wondered: What is all this stuff?

It’s not the astrological chart of a lost civilization or an artist’s take on musical chairs. It’s the new Connecticut Avenue Overlook Park, a “pocket park” created by the District Department of Transportation and the Golden Triangle Business Improvement District to beautify and enliven an ugly, leftover scrap of the street. The concrete pad isn’t an eyesore anymore, as it was when bike storage boxes occupied the space and throughout the long construction process. But the new, publicly-funded space is a disappointment.

Let’s start with the concept: a park poised between the traffic of Dupont Circle (four lanes) and the traffic of Connecticut Avenue (four lanes plus ramps), yet only 50 feet away from one of the city’s best loved urban parks, which offers grass, shade, benches, and relative peace and quiet.

If this site is predestined for one use, it’s as a pass-through for people on their way to and from work via the Metro. In fairness, the park’s creators baked this into the design: In the middle of the tiny park, and on the sidewalk facing it across a turn lane, are strips of rubbery pavement that actually generate energy from footsteps. When you walk on the three-pointed pavers, you feel a small bounce. That sensation is the pavers harvesting mini-jolts of your motion energy.

A sidewalk that turns steps into power has a hugely appealing a-ha factor. But here’s the catch: These “kinetic” pavers produce vanishingly small amounts of energy. An estimate provided to D.C. in 2014 by the manufacturer of these tiles, a British company called Pavegen, claimed the three strips would generate

ConCrete details

a total of 1.25 kilowatt hours each day. That’s about enough power to keep one clothes dryer tumbling for 30 minutes, or to keep a single plasma TV on for an evening.

Since they don’t produce a meaningful amount of energy, kinetic sidewalks are better seen as interactive, educational publicspace features. They can make us aware of how much energy we consume in our daily lives in a fun and accessible way. But so far, the park misses this opportunity. Passersby direct puzzled looks at the new pavers. Shortly before this story went to print, a small sign appeared in one of the planters explaining the pavers.

The pavers do supply power to LEDs that light up when people walk on them—inviting you to do a version of Tom Hanks’ piano dance in the movie Big—and they feed the lighting under the cube benches. (This functionality broke a few weeks after the park’s opening and has since been fixed.) Pavegen is also supposed to collect data from the system and disclose it to the public on the BID’s website but no data has appeared there. Alex Johnson, a company spokesperson, said in mid-March that Pavegen was feeding the data

to be displayed on the Golden Triangle BID’s website and sent a link to a page with a footstep counter. But the counter was broken and, as of March 20, still is.

Otto Condon, a principal at ZGF Architects, helped design the park with his colleagues and emphasized its nature as a pilot.

“Going into it, everybody knew this is going to be a pilot project,” he says. “There are going to be some growing pains because it’s testing the product, but it was part of the whole reason behind [it]: Let’s invest in something that’s an experiment, not something that’s been done.”

Condon notes that Pavegen switched from an older, square-shaped product to a brand-new one right before the installation so that both company and city could try the most advanced technology. “I think it’s a much better product, because with the triangle [design], it picks up more energy from the sides of the paver,” Condon says.

Johnson says the pilot’s best day so far has been March 9, an unusually warm Thursday, when the kinetic pavements generated a record 110,000 Joules. That translates to .03 kilowatt hours—a small fraction of the 1.25 kilowatt hours per day the company predicted back in 2014.

That’s enough to run a clothes dryer for one minute or a slow cooker for nine.

How much of this discrepancy is attributable to lower-than-expected foot traffic isn’t clear. When I’ve watched, I’ve seen a fair number of walkers skirt the pavements the same way many of us instinctively avoid grates. The cubes surrounding the pavement may even send a subliminal signal Darrow Montgomery

By Amanda Kolson Hurley

to back off, given the lack of more welcoming environmental cues.

Despite the attractiveness of the cubes and flower beds, the park is missing too much context to succeed as a demonstration space. The signage is inadequate to signal that here is something fun to try—and offers little reason to sit and watch your friends do a test walk.

DDOT received a $200,000 Sustainable DC Innovation Challenge grant from the Office of Planning to create the new park. The grant program supports projects that “test new innovations contributing to the District’s sustainable future or plan for large, longer-term projects,” according to its website. Asked about the goal of the Connecticut Avenue Overlook Park, spokesperson Terry Owens writes in an email: “DDOT continues to explore smart technology as a way to make the District more sustainable.”

The park cost just under $300,000, including $200,000 from the grant, another $60,000 from DDOT, and the remainder covered by the Golden Triangle BID. Pavegen was paid $100,000, reflecting a per-paver cost of $840 (as of 2014, when the project was green-lighted). The architects worked on a pro-bono basis.

D.C. is an environmental leader among American cities. And being so progressive entails having to reach farther for ideas to pilot.

Green roofs and solar arrays are already standard practice here. But should taxpayer money be spent on moonshots?

Kinetic sidewalks likely fall into the category of what some critics call “gizmo green”—hightech devices promising revolutionary environmental gains without requiring difficult changes to human behavior. Most of these gadgets are a distraction from the global effort to rein in greenhouse-gas emissions and stop further environmental damage. Given that one American home consumes 30 kilowatt hours of electricity every day, on average, repurposing public space to offset less than 1/24 of that amount misses the mark.

Pavegen’s track record, as a tour through its website reveals, is heavy on corporate sponsors and commercial settings, including Heathrow Airport and Harrods. Kinetic pavement would fit right in at CityCenterDC or Tysons Corner—and that’s where it should have gone.

Now that climate-change deniers have moved into the White House and, shockingly, the Environmental Protection Agency, it’s more important than ever that cities press ahead on the fundamentals of their climate agendas, like carbon-neutral buildings and better mass transit. Leave the gizmos to the marketers and real-estate developers.

CP

washingtoncitypaper.com march 24, 2017 7

Gear Prudence

Adopt a friend today!

Gear Prudence: One negative consequence of biking everywhere all the time is this: I rip my pants. Like, a lot. I swear in the last year I’ve gone through five pairs of jeans, and it seems like within a month of getting a new pair there’s either a tear or small hole near the crotch. It is getting very expensive to keep buying new pants, to say nothing of how mortifying it is when you realize you’ve been showing your junk to strangers when you’re riding around. I’ve done some research and it looks like there are special bike jeans, but are they really worth the money? Do you have any other ideas?

—Riding In Punctured Pants Exposes Dong

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Dear RIPPED: Geez. That’s a lot of friction.

Bike-specific jeans are widely available at various price points at both mainstream and speciality retailers. Though they’re more durable than regular jeans, they also wear out. The question is whether it’s better and cheaper to replace bike jeans occasionally, or to simply replace cheaper pants with greater frequency. Bike jeans tend to have tougher stitching and fabric in the areas in contact with the seat, and some other nice features: stretchier fabric, a higher rise in the back, leg widths that can accommodate beefy cycling thighs and calves, and, sometimes, reflective elements. However, GP must caution that unless you’re only ever wearing these pants while on the bike, you’ll want to make sure they meet your other stylistic criteria. If they don’t, stick with pants that do, and save money by mending instead of replacing.

—GP Gear Prudence: I’ll never ride without a helmet, but one situation where this creates awkwardness is when I stop at the grocery store on the way home. I don’t want to walk around the store wearing it or carrying it, but I also don’t trust leaving it outside with my bike. Someone might steal it or who knows what other gross things might happen to it out there.

But these seem like my only two choices. Help!

— Having Encountered A Dilemma, Area Cyclist Has Entreaty Dear HEADACHE: Unless you’re worried about the structural integrity of that display of canned beans, GP strongly encourages helmet removal in grocery stores. It looks silly. You can clip it to your bag or throw it in your cart if you don’t want to carry it. Or you could leave it with your grocery store’s helmet concierge.

Oh, your store doesn’t have one of those? A pity. Your reticence to leave it outside is delightfully paranoid, but pretty unfounded. To address your theft concerns, run your u-lock through it when you lock up. To address your weird concerns about befoulment, leave a note on it that says “previously befouled” and hope that these imagined cretins see it and give up.

But seriously, GP doubts that anyone will mess with your lid.

—GP

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I recently spoke at Curious Minds Weekend in Toronto at the Hot Docs Ted Rogers Cinema. Audience members submitted questions on cards before the show—anonymously— but the moderator, Lisan Jutras of the Globe and Mail, and I were having so much fun talking with each other that we didn’t get to many cards. So I’m going to answer quickly as many of the questions from the audience at Curious Minds as I can this week.

Butt plugs have their own Wiki page now, so no one needs me to explain them anymore.

Would you share your thoughts on our prime minister, Justin Trudeau?

Tell her it’s a pre-bachelorette-party gift.

See above.

My husband and I have been seeking a third for a threesome. After a very palpable night of flirtation, I asked a mutual friend (as we shared a cab) if he would be down for a threesome. He said yes, but I was not about to spring him on my husband that night. So I texted him later about it, and he has ignored me. What should I take from this?

Two guys divorced in order to bring a third man into their relationship on equal terms, and they now plan to start a family with their sisters acting as surrogates. Thoughts?

Polyamory after marriage—is it okay?

The hint.

A friend’s BF won’t go down on her no matter how much she asks. She still won’t break up with him, even though she told me that oral is the only way she has ever had an orgasm. How do I get her to realize her sexual pleasure is a priority?

If your friend’s BF doesn’t know oral is the only way she can orgasm, she should tell him. If she told him and he doesn’t care, she should dump him. If she told him and he doesn’t care and she won’t dump him, you’re not obligated to listen to her complain about the orgasms she’s not having.

I’m a bisexual 42-year-old female with an extremely high sex drive who squirts with every orgasm. How do I deal with friends—even people at a sex club—who think you’re a freak because “women aren’t supposed to be horny all the time.”

If your friends—presumably people you aren’t fucking—complain that you’re horny all the time, maybe it’s because you don’t talk about anything other than the sex you just had or the sex you hope to have soon. If people at sex clubs (!) are complaining about how horny you are … either you’ve accidentally wandered into a yacht club, or even people at a sex club wanna talk about something other than sex every once in a while.

My very Christian friend is about to get married.

Though she is socially very liberal, she is pretty sexually repressed. I want to do something to encourage her to explore her sexuality a bit before she takes a try at partnered sex. How weird would it be to buy her a vibrator as a shower present?

Don’t give your friend a vibrator at her shower—gifts are opened in front of guests at showers—but go ahead and send her one.

10 march 24, 2017 washingtoncitypaper.com

Mazel tov?

I am 31. My husband (newly married) is 46, almost 47. He takes FOREVER to come, no matter what I do. How do we speed up this process?

My jaw, fingers, etc., are all very sore.

Your husband speeds up the process by incorporating self-stimulation breaks into the blowjobs, handjobs, etcetera-jobs you’re giving him. He strokes himself while you take a quick breather and/or an Advil, he gets himself closer, you get back to work.

I’m 47 and my wife is 31. I take a lot longer to come and recover than she would like. Could you please explain to her that it’s normal for a man my age to “slow down” and it’s not her?

Happy birthday. And, yes, it’s normal for a man to slow down as he ages—it’s not her— and there are younger men who take a long time to come. But such men need to take their partners’ physical limitations into consideration. To avoid wearing out their partners’ jaws, fingers, etc., they need to take matters into their own hands. They should enjoy that blowjob, handjob, twatjob, or assjob, take breaks to stroke their own dicks, eventually bring themselves to the point of orgasmic inevitability, and end by plunging back into that mouth, fist, twat, or ass to blow their load.

I have been reading your column since the early 1990s. Since that time, what has struck you in the kind of problems people write you about?

People don’t ask me about butt plugs anymore. I used to get a letter once or twice a week from someone who needed to have butt plugs explained to them. But butt plugs have their own Wiki page now, so no one needs me to explain them anymore. But for old times’ sake: They look like lava lamps, they go in your butt, they feel awesome, and they typically don’t induce gay panic in buttplay-curious straight boys.

I think Justin needs to stop fucking around and legalize weed already, like he promised.

When are you going to move to Canada already?

For some.

I’m a submissive gay boy. I saw you walk into the theater tonight wearing combat boots. Is there any way I could lick your boots clean after the show?

Sadly, I didn’t see your question until after I got back to my hotel.

Straight male here. My best male friend of 20 years transitioned to female. I’ve been super supportive since day one, but her transitioning is all she ever talks about, and it’s getting tiresome. I miss our discussions of bicycle repair and Swedish pop music. How can I tell her to give it a rest while remaining supportive?

If she began transitioning last week, then of course it’s all she can talk about. If she transitioned five years ago and it’s still all she ever talks about, then you’ll need to (gently) be the change you want to see in the conversation. Listen supportively when she discusses trans issues and seize opportunities (when they arise) to change the subject (“So how do you think Sweden will do in Eurovision this year?”).

Why are so many lesbians into astrology?

All the lesbians I know are strict empiricists.

So the more pertinent question would be this: Whose sample is skewed—mine or yours?

My male partner never masturbates and we have sex only once a week. We’ve been together four years. I’m a woman. I would like to have sex just a little more, but he isn’t into it.

Is there something weird about me masturbating a bunch during the week and just having weekend sex?

Nope.

Dude? Trump? WTF? ITMFA (ITMFA.org).

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

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Run: In Rural Dog Rescue’s

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Listen: To this record featuring D.C. musicians.

All proceeds benefit the DC Public Library Foundation. Rock the Stacks, $20.

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This fun run benefits the Rural Dog Rescue. Dogs welcome, and all are encouraged to dress in bunny ears or a spring costume. Sponsored by Howl to the Chief and Summit to Soul. Tickets: $10– $20. March 26. Check-in at 9 a.m. 733 8th St. SE. summittosoul.com/pages/ upcoming-events

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

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Mural

A city arts program is trying save the murals it started creating 10 years ago.

By Patrick Fort Photographs by Darrow Montgomery Martin Luther King, Jr. Avenue SE is bustling on a sunny, January day. A few doors down from a natural juice bar greens and purples peek out over the top of a newly constructed building. Colbert Kennedy’s 2011 mural “Nurturing Community” is now barely visible. The two-story building the piece is painted on once faced an empty lot. Now only the edges of the mural are visible, covered by the offices of a construction company.

“Nurturing Community” isn’t just some elaborate vandalism. The piece was commissioned by a city program called MuralsDC, founded in 2007 when then-D.C. Councilmember Jim Graham decided public funds would be used to cover up unsightly graffiti.

D.C.’s Department of Public Works (DPW) was allotted $100,000 annually to cover up illegal paintings with sanctioned murals.

After two years as a pilot project, the cleaning effort was put in the hands of Nancee Lyons, MuralsDC’s coordinator. By the end of 2016, 60 murals had been painted. But things have changed. In the decade since MuralsDC launched, development in D.C. has rapidly shifted the city’s classic look and feel. The facades that were once supported by brick and mortar are now adorned with sleek glass and steel. And as construction continues to boom all around the city, it’s becoming increasingly difficult to find space to paint. “It dawned on me that a lot of new buildings really didn’t have wall space,” Lyons says.

But even if a mural should find a home, it has to fight to survive. Down the street from “Nurturing Community,” one piece was feeling the effects of old age. It was one of MuralsDC’s earliest projects, titled “Many Voices Many Beats One City,” which depicts old-school concert tickets for acts like D.C. great Chuck Brown.

Cory L. Stowers, one of the mural’s designers, has been an artist and graffiti teacher for two decades. Recently, the work had begun to show its age. The colors were sun-bleached, and the paint was chipping. Stowers has been

refurbishing and reimagining it. “For many of the murals, they only have a lifespan of 10 years,” he says, “especially considering the transition that D.C. is in.”

Stowers began his career painting in the U Street corridor and then taught art to young students. He’s been working with MuralsDC since the beginning. At the start, Stowers found himself in an unfamiliar position: Working with the city was unusual for a man who had spent his years crafting graffiti. But as the years passed, development has affected both his graffiti and murals. Many of his early works in Northwest have disappeared, existing only in photographs.

“There’s this communal aspect to the creation of murals,” he says. “It’s our contribution to the city. It almost feels like that contribution gets devalued when a work is built over, or the building is destroyed, or even when it’s just painted over. It’s kind of like that contribution has been wasted because it’s no longer there.”

Moreover, the murals appeal to a bigger audience. When it comes to his graffiti, only he and other graffiti artists relate to and appreciate them, he says. But when it comes to murals, each work connects with thousands of people

12 march 24, 2017 washingtoncitypaper.com

on a daily basis.

“I think the level of connectivity that people have when it’s a mural—it’s a connection that greatly outweighs the connection they have with graffiti. It’s a bigger loss [when it’s gone].” it’s a sense of community that Dr. Perry Frank found herself attracted to decades ago, in 1996. Frank had been living in Washington for 20 years when she realized how many murals were appearing on the the city’s walls.

Frank viewed these pieces as a kind of puzzle.

“I had been looking at the murals going up in D.C. and thinking, ‘Who did that? What does it mean? Who are they for?’ There was very little information about it at that time.”

So she created a place to document the city’s mural history: D.C. Murals: Spectacle and Story, a website she still maintains.

One of the earliest murals in town, and one of the first Frank catalogued, was painted on the campus of Howard University in 1968. At the time, protests and student activism energized the campus. The Vietnam War and the Civil Rights Movement had created a desire for more relevant curriculum at Howard. In

this climate, art prospered and grew, and that first piece, “Fine Arts,” remained on campus until 1980.

Around the same time, D.C.’s Latino art

scene was erupting. “Un Pueblo Sin Murales” is one of the earliest and most recognizable pieces to come out of the era. Devious-looking men gamble in the corner, standing in

stark contrast to the surrounding musicians and dancers. The painting, situated on Adams Mill Road NW, has a title featuring some wordplay. Literally, the title means, “a town with-

out murals,” but also suggests, “a town without morals”—perhaps referring to the difference between the gamblers and the dancers.

Frank chronicles the long-eroded murals washingtoncitypaper.com march 24, 2017 13

of yesteryear—pieces lost to construction, repainting, and growth—on her website under a section called “mural graveyard.” It’s kind of a grim and ominous title, but she says development and change are forces that shouldn’t be feared or demonized. “[A mural] helps commerce because it is an attraction,” she says.

Frank thinks that there should be regulation protecting murals just as regulations protect historic buildings and facades. She doesn’t want the lack of space to become an issue, and she’d prefer to make sure that the art that exists is preserved and maintained.

“Let us not make it a fight between development and art and make it worse than it really is,” she says. “Let’s try to come together around this.”

Lyons also tallies her losses. She has a PDF document of the murals she’s commissioned that have been destroyed or affected by construction. It’s a challenging position she finds herself in: She’s trying to find places for art—and making sure public funds are put to good use—but she also has to contend with the fact that murals are impermanent by nature. (Lyons says she requires all of the murals she commissions last for at least two years.) “[Murals] mirror the fact that the city and life are always changing,” Lyons says. “It’s the reality that we have a changing cityscape, but I would like to see those [murals] that are intended to last be restored periodically so that they can be appreciated by the public.” the preservation and future of D.C.’s murals isn’t only in the hands of government. In fact, both Frank and Lyons have been in independent discussions with developers about putting murals in when they build, and in 2015, that started to happen.

Nearly two years ago, JBG Companies—a large, regional developer that owns retail, residential, lodging, and office space across D.C., Maryland, and Virginia—began putting murals on its properties. Since then, the company has commissioned at least two dozen murals.

“We really are trying to set a tone for a project and to show the commitment to the building owner and the community,” says Brian Coulter, a managing partner at JBG Companies.

One of the most unconventional projects JBG commissioned was a mural inside its parking garage at its corporate offices in Chevy Chase. According to Coulter, it was a way to make something mundane more exciting and welcoming.

“People drive underground and then typically kind of scurry to find the elevator to get out of the garage to get where they’re going,” he says. “We started thinking, ‘There’s probably something we can do to improve the arrival experience for visitors when they come into projects or people who are working and

“As long as they don’t tear up one of my murals to put one of theirs up,” Peck says. “I wouldn’t want to cover up beautiful architecture with a mural if it’s not justified.”

Peck has also created murals for JBG— the same company that covered up his work—in Silver Spring.

Coulter asserts that JBG’s end goal is the same as that of any other public art project: to better the general community experience. But it’s also making Lyons’ job a little harder, because she can’t find space for her art.

—Dr. Perry Frank, D.C. Lyons annual budget of $100,000 Murals for commissions has not changed during the entire decade of the program’s existence. Each year, she tries to put up or refurbish approximately eight different pieces. The only thing that changes each year is how that money is spent.

But the question of spending the same amount of money to potentially create fewer murals does not worry Lyons. “I have found that the construction in the district has not allowed for a lot of wall space, but that doesn’t mean things are going to change,” she says.

In addition to repainting and reimagining existing murals like Frank desires— and as Stowers does—artists are exploring methods to ensure the survival of specific pieces of art. A famous portrait of Duke Ellington by Peck, for example, was painted on removable panels. The panels are expensive, made of thin concrete, and the piece is splayed onto slabs with expensive paint that weathers well.

Unfortunately, the whole process is incredibly costly, and, in the case of Peck’s piece, the original structure that held the portable mural can no longer handle its weight. Now Peck is working on printing a large-scale, digital recreation of the piece, but finding a large enough facade to hold it is proving difficult.

“A mural has a better impact on the community when it’s sizable,” Lyons says. “The smaller a mural is, the artist’s design sometimes gets lost.”

And this concerns her because, for an artist, having a canvas to fill is evroom for murals. A well-known work on Mas- erything.

“I’m hoping that now it’s not a marker for sachusetts Avenue NW was partially covered by an apartment complex built for JBG. It was things turning back in the opposite direction,” a piece by D.C. artist G. Byron Peck dedicated Lyons says of the way the city’s architecture to writer and abolitionist Frederick Douglass. has changed. “It’s hard to get really good artThe last remaining visible parts of the piece ists if you don’t have really good wall space.”

Lyons says she’s discussed asking developwere covered by sheets of metal. JBG no loners to add mural space to their buildings. She ger manages the property.

Peck describes his relationship with de- finds herself in the ongoing challenge of fightvelopment companies like JBG as “compli- ing for not only the murals that exist, but also the ones that are yet to be installed. cated.”

She plans to work on six to eight murals “It hurts more to walk by a mural being destroyed by backhoes and sledgehammers,” across the city in 2017. Of those, some of the Peck says. “For me it’s a rather painful process pieces will be refurbished, while others will to witness it. It’s rather depressing. But then be newly commissioned. It all comes down to what she can find. you say, ‘well I’ll just make more murals.’”

“It’s ironic,” she said. “People agree to Peck has lost many of his pieces to development and time. Still, he’s a fan of JBG’s mural have murals, but it’s harder and harder to find a place to put them.” program. Any art, he says, is good art.

CP

“I had been looking at the murals going up in D.C. and thinking, ‘who did that? What does it mean?

Who are they for?’”

“It’s hard to get really good artists if you don’t have really good wallspace.”

—Nancee Lyons, MuralsDC coordinator

living here.’”

The main idea is to create interest and vitality. Coulter says people remembering or noticing their murals is a way to have a positive impact in the community. He, however, disagrees with Frank and doesn’t think there is a tangible benefit to putting these murals up. His company isn’t only building in locations with public art, like a mural.

“The projects are advancing and being built, and the incorporation of public art into them isn’t what’s causing the advance of the project in the first place,” says Coulter. “To me it’s a feature, it’s something done to bolster and improve the overall execution, but it’s not the reason for being of the project” It’s “placemaking,” he says. “People like nice things. People like nice environments” But that placemaking doesn’t always make

14 march 24, 2017 washingtoncitypaper.com

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DCFEED

Le DeSales opens March 29 in the former Panache space in Golden Triangle with relaxed French food and cocktails from drink master Lukas Smith.

Green-Lit After three years in popup purgatory, a Middle Eastern cocktail bar has a permanent home.

“I’m not goIng to say we’re the official bar of the resistance, but if people want to see us that way, they’re welcome to,” says The Green Zone founder Chris Hassaan Francke. His pop-up Middle Eastern cocktail bar, named after a safe zone in Iraq where it was once possible to find expat parties, officially debuted in May 2014.

“We started out being rather apolitical, but over the last few months it’s been unavoidable,” he continues. “Everything that’s been going on is unconscionable and inexcusable.”

Francke’s political bat signals come primarily in the form of punch. The Green Zone first opened shortly before the terrorist organization ISIS claimed the city of Mosul in northern Iraq. Francke, who’s half Iraqi and half German, fired back by serving “Fuck ISIS” punch on his early menus.

After Donald Trump secured the presidential nomination, the punch was renamed “Fuck Trump Punch.” It contained Vimto, mezcal, and rum. Vimto is a British product popular in the Middle East that mimics the taste of Cherry Coke or Dr. Pepper. On the menu, the “Fuck Trump” punch was accompanied by the #NoBanNoWall hashtag and the tagline, “Arab-Mexican resistance fusion.”

Finally, after white supremacist scumbag Richard Spencer got clocked on Inauguration Day, the punch adopted a third moniker, “Richard Spencer Punch.” The only repercussions of being so outspoken have been losing a Twitter follower here and there and receiving a biting, one-star Facebook review from a Lebanese-American who was indignant about The Green Zone’s choice to host a raffle benefiting Planned Parenthood.

All political advocacy aside, Francke has a serious mission—to be a safe haven of sorts for Middle Eastern Americans facing Islamophobia amid the tensest political climate since the days immediately following 9/11. He says his

Young & hungrY

pop-ups have already started accomplishing this.

“Arab-Americans have been showing up at 9 or 10 p.m.,” Francke explains.

“That’s when the Arabic dancing happens.”

Indeed, you’ll find carefree young professionals moving, hands locked in a circle, to the beat of jubilant music.

Maybe the idea of a Middle Eastern cocktail bar seems like an oxymoron because devout Muslims don’t drink? After all, many countries in the region are either de facto or de jure dry. Francke lists Kuwait, Saudi Arabia, and most recently, Iraq, as places where penalties for imbibing in public or imbibing at all are steep. “It’s ridiculous. Iraq is arguably the birthplace of distillation,” he says. “The Sumerians, creators of the first civilization, were all about beer.”

That’s not to say that there aren’t pockets of the Middle East where alcohol slips into the culture—most notably in nations with Christian populations such as Lebanon, Egypt, Jordan, and Syria. “They all have their own national beer, and they all have their own distilling companies,” Francke says. “In Lebanon, if you’re in a Christian village, every family has one uncle or grandfather who has a still in his basement making moonshine Arak, which can be pretty good.”

Arak is a neutral grape brandy that’s been redistilled with anise seed. Francke uses it sparingly in Green Zone cocktails because the licorice flavor can overwhelm other elements in a glass.

Darrow Montgomery

By Laura Hayes

“So, people drink,” Francke concludes.

“They drink beer, local wine, and [Johnnie Walker] Black Label.” The Lebanese clubgoing crowd even tends to favor the combination of Red Bull and vodka. Francke would know—he travels to Lebanon annually because that’s where his extended family migrated after leaving Iraq, and it’s where his mother lives half of the year. When in Beirut, he frequents two cocktail bars that he says could go toe-to-toe with top drinking dens in London or New York.

Here in the U.S., Francke says, “There are a whole bunch more secular, less religiously-minded Muslims that drink. I know very few self-avowed Muslims who will eat pork, but I know many self-avowed Muslims who drink.”

That said, in accordance with Francke’s goal to be a safe haven for everyone, not just for those who drink, The Green Zone can whip up enticing non-alcoholic drinks with help from an ingredients list heavy on juices

and syrups, all featuring Middle Eastern ingredients Francke procures at Turkish, Persian, and Lebanese grocery stores in northern Virginia.

Everyone who’s a fan of The Green Zone—drinkers and teetotalers alike—have cause to raise their glasses because after nearly three years in pop-up purgatory and even more time as a speakeasy in his apartment, Francke has inked a contract to open a brick-and-mortar space in Adams Morgan at a soon-to-be-released address. Come fall, the bar will no longer be just a once-a-week event in roving locations that have included Black Whiskey, Vendetta, Room 11, EatsPlace, Zeba Bar, Darnell’s Bar, and Hank’s Dupont.

It’s a dream that’s been in the making long before the first Green Zone pop-up. Francke, now 32, grew up in northern Virginia and has always been drawn to both hospitality and all things Middle East.

Francke graduated from Johns Hopkins

washingtoncitypaper.com march 24, 2017 17

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University in Baltimore and then got a master’s degree in Middle Eastern studies from the Paul H. Nitze School of Advanced International Studies in D.C. In 2011, that helped him land a job at the World Bank, where he is still under contract working on projects in the Middle East.

While Francke first experimented with making cocktails in the early 2000s after falling in love at first sip with a mojito he tried in London, it was during grad school that he began making drinks for his friends.

He’d host parties where he would play the roles of both DJ and mixologist. “I’d have a bunch of batched cocktails set up, and I was fermenting my own ginger beer for dark and stormies,” he says.

To hone his craft and find inspiration, Francke began visiting top cocktail bars in New York like Death & Company and Little Branch from the late great Sasha Petraske. He says the cocktail renaissance was in full swing in the Big Apple, but D.C. was a little behind.

“I remember even in 2009 or 2010, I’d go to Bar Pilar and ask for a daiquiri on the ground floor and they’d say, ‘we can’t do that, we don’t have a slushie machine,’” Francke recalls. “That was before I knew about the second floor.”

appear on the menu, including the “Janissary Corps” with Green Hat Gin, house-made pistachio syrup, lemon, and what Francke calls “silky magic.”

Francke purposely doesn’t list every ingredient in his drinks. It’s a sly move since no one else is doing this. “The Green Zone is kind of like a Middle Eastern tiki bar,” he says. “It’s exotic, full of mysterious flavors, and I’ve decided not to reveal every damn thing in my drinks.” Francke’s “silky magic” mystery potion is not unlike U Street tiki bar Archipelago’s “Pineapple of Hospitality,” said to contain only “rum and secrets.”

Another classic is the “Saz’iraq” with rye whiskey, house-made Arabian bitters, and a spritz of “Sharqtreuse,” which is Francke’s house-made Middle Eastern answer to Chartreuse—an ancient French liqueur crammed with flavor from more than 100 herbs, plants, and flowers.

The rest of the cocktails will be seasonally driven. “When it’s sour cherry season, let me buy a fuckton of sour cherries and make syrup,” he says. “Or, when it’s sour green plum season and the one Turkish grocery store carries them, I’ll buy as much as I can and turn them into a shrub or garnish.” Orange blossom water and cardamom are two elements from his stable of cool ingredients that he calls

“We started out being rather apolitical, but over the last few months it’s been unavoidable. Everything that’s been going on is unconscionable and inexcusable.”

Despite a fascination with New York’s highend watering holes, Francke ultimately settled on D.C. for The Green Zone. “D.C. is unique in that it has a high proportion of Middle Eastern people here for school or work at one of the think tanks or the World Bank,” he says.

“You also have people who are cosmopolitan and have studied or worked in the region and speak Arabic.”

He also says he has a strong support network in D.C. Specifically, he’s found his membership in the DC Craft Bartenders Guild to be beneficial and counts Derek Brown and Angie Fetherston of Drink Company and Devin Gong of CopyCat Co. as mentors who have encouraged him to go from pop-up to prime time.

When it opens, The Green Zone will have an expanded menu of cocktails, Lebanese wine, Moroccan beer, and whiskey. Drinks that have proven to be hits will be dubbed “Green Zone Classics” and will almost always

upon often.

To keep his patrons upright, Francke will serve a concise food menu headlined by manakeesh—Lebanese flat bread made zesty with cheese and za’atar. Because the kitchen doesn’t have a pizza oven, he’ll make it the rustic way—on top of an overturned wok known as a saj. Also expect smooth, creamy hummus, “real honest-to-god Lebanese falafel,” and chicken wings flavored with lemon, garlic, and coriander.

If The Green Zone proves successful, it could be the beginning of even bigger things for Francke. He has a dream of one day opening a 24-hour, open-air street food market that also contains a bar modeled off Barbar in Beirut, which takes up a whole city block and has booths cranking out everything from Shawarma to baked goods.

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

DCFEED

what we ate this week: Bánh xèo Vietnamese crispy crepe filled with shrimp, pork, and bean sprouts, $8.95, Hai Duong. Satisfaction level: 4 out of 5.

Grazer D.C. United: Five Local Distilleries Team Up on One Special Gin

what we’ll eat next week: Mirablini with buckwheat blini, roasted mushrooms, and wild spring onions, $25, Mirabelle.

Excitement level: 3 out of 5.

Are You Gonna Eat That?

By Jake emen Five D.C. distilleries joined forces to produce the world’s first blended gin made using botanical distillates from different distilleries. The project was undertaken as part of the American Distilling Institute’s April 1 Gin Summit hosted at Joseph A. Magnus.

Each distillery crafted a juniper distillate and then an additional distillate or two based on a single botanical. One Eight Distilling then blended all the contributions to create D.C. Gin, a truly one-of-a-kind spirit.

A total of 300 375-ml bottles will be released in conjunction with The Boutique-y Gin Company, with 100 percent of proceeds going to Malaria No More. D.C. Gin ($29.95 + tax) will be available for purchase at The Gin Summit, with any remaining bottles sold at the distillery tasting rooms. Here’s what’s in the bottle: One Eight Distilling—Spicebush Berry & Angelica Root “We elected for spicebush because the warm baking-spice notes contrast nicely with citrus notes and add a pleasant depth,” says CEO Alexander “Sandy” Wood. “It is also our signature botanical for Ivy City Gin. Angelica root is widely used for earthy notes. … It also helps bind other botanical flavors and makes for a better integrated gin.”

Joseph A Magnus—Oro Blanco Grapefruit “I chose the oro blanco grapefruit because of perfect timing. … When we began the project, I had just gotten all of my citrus in,” says head distiller Nicole Hassoun. “There is nothing like fresh oro blanco distillate, and I knew we needed a citrus component to balance our gin.”

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Story: If you know a wine drinker who has never tried cider, this is the one to

The Dish: Fried Pig’s Head Croquette with Lobster Price: Market price, usually around $30 Where to Get It: Oval Room; 800 Connecticut Ave. NW; (202) 463-8700; ovalroom.com

District Distilling—Cascade Hops “Hops were an easy choice for me,” says head distiller Matt Strickland. “There are just such a wide array of aromas from so many varieties that putting them in gin just made sense.”

What It Is: Find it on the menu as tête de cochon with butter poached lobster. “But how many people know what that is?” asks Executive Chef John Melfi. “Honestly, a lot of people just see lobster and go for it.” If only they knew. He begins by braising a pig’s head with mirepoix (diced veggies), thyme, bay leaves, and rosemary until the meat is falling off the bone. After picking off the cheeks, ears, tongue and a little skin, the face bits are cooked into a thick ragu spiced up with mustard—whole grain and Dijon—and more herbs. Rolled into a roulade, it’s frozen until it can be cut into discs the size of flattened golf balls, breaded in panko, and pan-fried. It’s piled high with roughly six ounces of butter-poached lobster and carrots three ways—pureed, roasted, and shaved.

Republic Restoratives—Tarragon “We chose to use both fresh and dried tarragon as our botanical contribution because it is the stand-out flavor we are developing for our own in-house gin to be released this year,” says co-founder Pia Carusone.

New Columbia Distillers—Rosemary “It’s a botanical we use in our spring/summer gin and our Navy Strength gin,” co-founder John Uselton says of rosemary. “The idea is it will give a little herbal quality and round out the rest of the botanicals.”

bring them around. According to cider maker Diane Flynt, who founded Foggy Ridge, cider is “made like wine and marketed like beer.” this is fine, Flynt says, but “for those who want to express the terroir of a fruit variety—in my case, an apple variety—you approach the beverage the way a wine maker makes a fine wine.”

Flynt, who recently received her third nomination for a James Beard Award in the Outstanding Wine, Spirits, or Beer Professional category, grows apples at the highest elevation in the South at 3,000 feet. Her cider-making orchard was the first of its kind. “not that the first means the best, but it does mean we’ve had a lot of practice.”

Some cider is literally watered down.

“A cheap way is to start with apple juice

concentrate, ferment it out to 10 to 12 percent alcohol [by volume] or higher and then dilute it with water,” Flynt says.

After weakening it to 4 to 5 percent using this method, it becomes a session cider much like a session beer. Cideries will add flavor to make it taste like apples, ginger, or hops. “In my opinion, [the flavoring] is to cover up for something that doesn’t taste good on its own,” Flynt says. Her cider tastes fantastic au natural and is worth seeking out.

Where to find: Schneider’s of Capitol Hill, 300 Massachusetts Ave. nE; (202) 543-9300; cellar.com. —Michael Stein

What It Tastes Like: Cutting through the crunchy crust of the croquette reveals a gravied pork mash. Its richness is restrained thanks to the pleasant sharpness of the mustard. The combination of carrots and the lobster add a delicate sweetness, so it tastes indulgent but not over the top.

The Story: Melfi has been making the dish in various iterations over his career and decided to run it as a special on Valentine’s Day at the Oval Room. It was his top seller that evening, so he added it to the regular menu. To deftly eat it, gather up a bite with carrots, a lobe of lobster, and a chunklet of croquette to enjoy the array of textures and flavors.

—Nevin Martell

washingtoncitypaper.com march 24, 2017 19

Opens April 8 Reunited after 140 years, three paintings introduce this mysterious artist

Inventing Utamaro A Japanese Masterpiece Rediscovered

asia.si.edu/utamaro #utamaro Generous support for this exhibition and the Freer|Sackler Japanese art program is provided by

20 march 24, 2017 washingtoncitypaper.com

CPArts

Freedom, loneliness, and ways to die: Read the tour diary of Hand Grenade Job’s Beck Levy. washingtoncitypaper.com/arts.

Her Sign From Above

As Sweet Honey in the Rock’s sign language interpreter, the late Shirley Childress dedicated her life to deaf rights and championed black interpreters.

Shiloh BaptiSt ChurCh was where Shirley Childress first understood.

She was a 10-year-old whose first language was sign, the hearing daughter of two deaf parents. Her family worshiped at Shiloh’s Silent Mission, one of the nation’s earliest ministries for the deaf and hard of hearing. One day, as her mother sang in sign for the congregation, Shirley understood.

Decades later, Shirley wrote about that moment: “She was singing ‘Swing Low, Sweet Chariot’ in sign so beautifully and with so much emotion that people were totally absorbed, so much so that one man was moved to tears. That was my first remembrance of seeing the power of sign.”

Shiloh Baptist Church was also where hundreds of mourners came last week to say farewell to Childress, the longtime interpreter for the African-American heritage ensemble Sweet Honey in the Rock, who died last week at age 69 due to complications caused by West Nile virus.

The considerable contributions of Shirley Childress reverberate far beyond the lives of those who attended her funeral.

As a deaf rights advocate, Childress championed black interpreters, the scarcity of which even now many consider a shameful facet of deaf culture. She is widely believed to have been the first African American certified American Sign Language (ASL) interpreter.

She interpreted in varied platforms: Close to home for the Mental Health Program for the Deaf at St. Elizabeths Hospital. In Kenya, under the auspices of Deafpride, Inc.’s Project Access, for a deaf delegate participating in a United Nations conference. For an off-Broadway show and for Maya Angelou and Audre Lorde. She also interpreted for the 2003 “Protest Music as Responsible Citizenship” program at The Ohio State University featuring Harry Belafonte, Pete Seeger, Holly Near, and Sweet Honey founder Bernice Johnson Reagon.

But Childress is best known for the decades she spent with Sweet Honey in the Rock, not merely as its interpreter, but as a full-fledged member of the group. And it was with Sweet Honey in the Rock that Childress profoundly changed the way deaf people experience music.

“Shirley took Sweet Honey in the Rock’s sound and presence and activism to another level… and brought another level of inclusion to the purpose of Sweet Honey,” says filmmaker Michelle Parkerson, producer of the 1984 documentary Gotta Make This Journey: Sweet Honey in the Rock. “People who were deaf and hard of hearing could feel the vibrations and the bass line of Sweet Honey’s music….They could understand the lyrics through Shirley. Her movements and her passion were just as strong as the other five women who comprised Sweet Honey in the Rock, and so they got it. They got Sweet Honey in the Rock’s call to political action through Shirley—for their own rights as

Sharon Farmer

By Alona Wartofsky

well as for people who were physically challenged.” the prominenCe of Childress as the group’s sixth member— she performed with the women on stage and was not shunted to a corner—was profoundly meaningful to deaf audiences.

“Shirley was bringing ASL to the world stage when people were still referring to members of the deaf community as either deaf and dumb or deaf mutes or handicapped,” says Raymont Anderson, one of many African American interpreters mentored by Childress. “She completely changed how people viewed that culture and community, and her visibility made her the benchmark that so many other interpreters aspired to.”

Sweet Honey in the Rock was founded in 1973 by Bernice Johnson Reagon, the revered Civil Rights activist who performed with the Student Nonviolent Coordinating Committee’s Freedom Singers. Coming out of the Civil Rights movement, Reagon created an a capella ensemble that was rooted in African American history and culture, and the women of Sweet Honey were eloquent advocates for social justice. As the group participated in the women’s music network during the late ’70s, that movement’s focus on accessibility led to Sweet Honey’s first use of interpreters for the deaf.

Initially, using interpreters supplied by festival organizers

was somewhat problematic for Sweet Honey. Festival interpreters generally liked to prepare for concerts by practicing the material. But Reagon, who drew from orally based traditions, would not prepare set lists in advance.

But there was a bigger issue. As Reagon relates in the book We Who Believe in Freedom: Sweet Honey in the Rock … Still on the Journey, there was a critical cultural chasm between Sweet Honey’s mission and the white interpreters they worked with.

During one rehearsal, the interpreter signed the word “Africa” by putting her fingers through her nose to make a ring.

Reagon wrote: “…to that date all of the interpreters were white and women, a decision that ignored the multi-racial makeup of local deaf communities.”

Serendipity stepped in one Sunday, when Reagon saw Dr. Ysaye Barnwell interpreting a service at All Souls’ Unitarian Church and invited her to join Sweet Honey as an interpreter.

But Barnwell turned out to be an extraordinary vocalist, and thus also sang with the group. She quickly realized that it was not possible to interpret and sing simultaneously.

Barnwell had met Childress while conducting a workshop at Howard University, and she brought her to Sweet Honey in the Rock in 1980. By 1985, Sweet Honey was including photos of Childress on the group’s albums and she regularly appeared washingtoncitypaper.com march 24, 2017 21

CPArts with the group for publicity shots.

“Shirley made musical performances by Sweet Honey in the Rock accessible to deaf communities,” says Barnwell, who retired from the group four years ago. “They would know what we were singing about, they would have an appreciation for aspects of the music—the language, the rhythm, the way in which we as different singers were working together, and the meaning of the songs.

“I want to thank Shirley,” adds Barnwell, “for being an amazing ray of light as part of the group which really opened the ensemble to a much broader audience.” toShi reagon, BerniCe’S daughter and an esteemed performer in her own right, frequently collaborated with Childress over the years. “There are a few interpreters I have worked with who are brilliantly musical. You can tell they have something to say about every sonic moment that is happening. That part of interpreting where they bring themselves and their artistry in terms of translating text from one language to another is masterful,” she says. “Shirley was exquisite at this. When you sat down with her, you learned more about what you were trying to say.”

In 1988, the Registry of Interpreters for the Deaf published a tribute to Childress that called her “The Mother of Songs Sung in ASL.” Of course, within the community of African-American sign language interpreters, Childress was already known as “Mama Shirley,” which had less to do her age than her achievements.

“In the black community, you call people ‘mama’ out of respect,” says Candas Ifama Barnes, a veteran interpreter at Gal-

laudet University who considers Childress a role model. “It’s about their status and the place they hold in the community and the respect that the community holds for them. It’s an homage.”

Childress was a founding member of National Black Deaf Advocates, and established BRIDGES, an organization assisting black deaf interpreters and their clients. She married and raised two sons. In honor of her parents, she created the Herbert and Thomasina Childress Scholarship Fund to help children of deaf adults explore sign interpreting as a profession.

“She was an advocate, founder, fighter and creator of things that are now part of black deaf community, as well as an interpreter,” says Fred Beam, a deaf educator and performer. “She closed the gap between the deaf culture and music culture and allowed deaf people to appreciate music more through ASL.” Childress’ performances with Sweet Honey also touched audience members who can hear. Longtime fan Charlene Hamilton first attended a Sweet Honey performance more than 30 years ago. “I was totally hypnotized. They were these beautiful black women in all these colors singing a capella, and the songs they were singing had so much meaning,” she recalls. “I don’t understand signing at all, but Shirley made me feel like I did. It was magical—I felt like I was right there with her.”

For Childress, her gifts as an interpreter seemed to come from what she once perceived as a weakness. In We Who Believe in Freedom, she wrote: “I am an extremely sensitive wear-myemotions-on-my-sleeve kind of person. I cry at the drop of a hat.

Once I felt my sensitivity was a disability. I have come to appreciate it now as being something special about me. Sign interpret-

ing Sweet Honey includes clear interpretations of the song true to its content, a poetic delivery, rhythmically in tune, emotionally sensitive in its nature, and timing commensurate with the singing… When I am successful, I am delivering it in a way that is as rapturous and as powerful as the vocal rendition.”

The loss of Childress was not the only heartbreak to hit Sweet Honey in recent months. Longtime sound engineer Art Steele died in a fatal car accident in January. Sweet Honey’s Facebook page read, “Art Steele and Shirley were with the organization longer than anyone. No words to sing this deep sorrow.”

For many, there is inspiration within the deeply felt sorrow.

“It’s really the legacy that she left. By that, I mean her commitment to the work of interpreting, making things accessible for deaf and hard of hearing people and her absolute passion for that,” says Barnes, who has created a memorial scholarship fund at Gallaudet for Childress.

“She was all about making sure that deaf people had access.

And she particularly cared about black deaf people being able to be their best selves, to have access at the ultimate level. She believed that we should do our best on their behalf, and that we had a responsibility to do that,” says Barnes.

“And here’s the thing: That came across much less in what she said than in how she was and what she did,” adds Barnes.

“It wasn’t a job. It was a calling. It was who she was. It was her purpose.”

CP Donations to the Shirley Childress Memorial Scholarship Fund can be made giving.gallaudet.edu/childressfund.

GREAT PERFORMANCES AT MASON CFA.GMU.EDU

Russian ballet Dorma” Featuring Grand famous aria “Nessun

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TheaTer

Sisters of No Mercy

Studio Theatre concurrently stages a beloved Chekhov adaptation with an ambitious Chekhov reinvention.

Three Sisters

Bridget Flanery and Caroline Hewitt in Three Sisters.

By Anton Chekhov, translated by Paul Schmidt Directed by Jackson Gay At Studio Theatre’s Mead Theatre to April 23

No Sisters Written and directed by Aaron Posner At Studio Theatre’s Milton Theatre to April 23

By Chris Klimek ImagIne Hamlet and Rosencrantz and Guildenstern Are Dead performed by the same cast on two adjacent stages simultaneously, and you’ll have an idea of the relationship between Jackson Gay’s sturdy new production of Three Sisters and No Sisters, Aaron Posner’s new… well, what to call it? That is the question.

Though derived from Chekhov’s 116-yearold chronicle of darkness on the edge of town, No Sisters isn’t quite a chopped-and-screwed update in the vein of Stupid Fucking Bird or Life Sucks—Posner’s plain-talk profanations of The Seagull and Uncle Vanya, respectively. It’s more like an appendix to the original. Or an overlay, more precisely. Or an internal commentary track, comprised of monologues and conversations among Three Sisters’ secondary players. (Like the title says, the sisters ain’t here.)

Rare is the scene with more than two characters, and there’s a practical reason for this: In Studio Theatre’s audacious dual staging, No Sisters is synchronized to the performance of Three Sisters happening in front of a different audience downstairs, and its eight-person cast is also part of the company of 15 performing in that concurrent Three Sisters.

Daniel Conway’s set—a “weird-ass existential Chekhovian green room,” per the program, stocked with VHS cassettes and board games, as well as portraits of Chekhov, Abraham Lincoln, Queen Victoria, and, oh yeah, that trio of Prózorov sisters, too—includes seven black-and-white monitors so the actors can watch a live feed of the other show, allowing them to run downstairs just in time for their entrances. A buzzer and a flashing red light warn them if they’re late.

What makes this Brechtian juggling act possible is that the characters in Three don’t know they’re in a play, while the ones in No, er, realize that they’re in two. This high gimmickry sometimes borders on gimcrackery. Certain-

ly it mutes the emotional rewards of Chekhov’s play without doing much to relieve its exhaustion and torpor. And making the two performances dovetail requires some vamping. On the night I saw No Sisters, Todd Scofield (understated and fine as a soppy, cuckolded schoolteacher who’s always showing off his Latin) got through one of his monologues a few minutes before he was needed downstairs, so he took questions from the audience.

This sort of crowd solicitation felt risky and revelatory when Posner deployed it in Stupid Fucking Bird four years ago. Repetition has blunted its edge a little. That’s ironic, because the objective of his grand reclamation project—of Chekhov’s major tragedies, only The Cherry Orchard remains for Posner to chop down—was to make these plays feel as revolutionary as they did at the start of the 20th century. Chekhov’s elevation of subtext and de-emphasis of plot was an experimental approach that succeeded well enough to become a conventional one.

That’s at least part of why every production of Three Sisters I’ve ever seen, no matter how

24 march 24, 2017 washingtoncitypaper.com

sensitively performed, is at least a little dull.

The torpor is baked in; it’s tough to prevent a play about crushing boredom and anticlimax from succumbing to it. I’ve sometimes joked that the play should be called Three Hours … If You’re Lucky, and while Chekhov could hardly have imagined the instant-gratification amusements with which his work now competes, I’m pretty sure he meant for his tragedies to be stifling and unfulfilling so that audiences might identify with his stifled and unfulfilled characters. “Chekhov’s gun” refers to the playwright’s notion that a story should contain nothing inessential, but could also refer to the way we spend these plays waiting a little impatiently for someone on stage to shoot themselves or get shot.

In case you’ve forgotten, the sisters are Ólga (Bridget Flanery), unhappily single and unpursued; Másha (Caroline Hewitt), unhappily married and in love with an also-married Army colonel (Greg Stuhr); and guileless 20-year-old Irína (Emile Krause), unhappily courted by every man in town. Her milkshake brings all the boychiks to the shtetl, but she

wishes that it would not. “I should’ve killed myself a long time ago,” she announces upon reaching the wizened age of 24.

Chekhov insisted he was writing a comedy, didn’t you know?

Both shows benefit enormously from the presence of Kimberly Gilbert as Natásha, sister-in-law to the Prózorov girls, who grows vindictive and cruel over the course of Three Sisters’ four years. (Her French gets better while her temper gets worse.) Gilbert is the kind of firebrand performer who can’t be suppressed no matter how corseted she is. Costume designer Jessica Ford buckles her into a crimson velvet gown for the latter half of both shows.

No wonder “Nat” stomps around in No Sisters dumping coins in the curse-jar and slugging José Cuervo from the bottle while Ryan Rilette (as Andreí, her beaten-down husband in both shows) sips from a Star Trek mug. (Gilbert, Rilette, and Nancy Robinette, who plays the elderly servant Nat wants to fire, were all in Round House’s 2015 Uncle Vanya, which used a translation by Annie Baker. Gilbert is the only actor to appear in all three of Posner’s Chekhov updates.)

The actors less familiar to D.C. crowds are strong, too. Flanery, Hewitt, and Krause are good as the sisters, whose ennui is matched by that of the soldiers who sit around in uniform with no enemies to fight. The trio in love with Irína who show up in No Sisters are Solyony (Biko Eisen-Martin), Tuzenbach (Ro Boddie), and Fedotik (William Vaughan). EisenMartin makes the most of his opportunity to mine the inner life of his lovesick captain, who resents his friend Tuzenbach because the latter’s attempts to woo Irína are more thoughtful than his own. (Like every other actor I’ve seen cast as Tuzenbach, who the text repeatedly tells is a notably fugly fellow, Boddie is quite handsome.) Solyony chastises us, too, for coming to theater for “our little rush of otherness,” a comment that intersects neatly with the climactic remark from Olga’s line, in Three Sisters’ final minute that “our suffering will turn to joy for people who come after us.”

We also turn to drama for a rush of violence, so Posner puts the offstage duel that sets up Three Sisters’ climax right in front of his upstairs play. If you mention a gun in the text, we had better see it go off after a century, give or take.

CP 1501 14th St. NW. $20 - $75. (202) 332-3300. studiotheatre.org.

DEMO: Song & Dance by damian Woetzel “Artistic forms brilliantly collide in damian Woetzel’s DEMO.” —Broadway World

Kate Davis, Michelle Dorrance, and Bill Irwin

Photo by Erin Baiano

In a small desolate town, things are starting to get…strange

featuring special guests

MIDWESTERN

GOTHIC

FARGO MEETS MISERY IN THIS DARKLY FUNNY MUSICAL THRILLER

Now through April 30

Photo of Timothy J. Alex and Marcus Brown by Christopher Mueller

Tyler Angle, Kurt Crowley, Kate Davis, Michelle Dorrance, Bill Irwin, Chris Jackson Tiler Peck, Matthew Rushing, Dancers from Paul Taylor Dance Company, and more!

April 3 | Eisenhower theater tICKEtS ON SALE NOW! KENNEdy-CENtEr.Org | (202) 467-4600 Tickets also available at the Box Office.

Groups call (202) 416-8400.

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

New Artistic Initiatives are funded in honor of Linda and Kenneth Pollin.

washingtoncitypaper.com march 24, 2017 25

FilmShort SubjectS

NARCISSIST SANDWICH Wilson

Directed by Craig Johnson

DC'S ONE-OF-A-KIND ART EXTRAVAGANZA FEATURING HUNDREDS OF ARTISTS IN A FREE SIX-WEEK EVENT

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How to describe Wilson? It is exactly the movie it wants to be, yet what it wants to be is so fundamentally wrong. You could say it embodies the soul of its protagonist. Wilson (played with comic gusto but little insight by Woody Harrelson) is a middle-aged, unemployed misanthrope who blames the world for his many problems, while idealizing and romanticizing his relationships with the few people who haven’t yet written him off. He is dangerously narcissistic, even unhinged, but possesses an occasionally-endearing childlike innocence. You can’t describe Wilson without contradicting yourself, and you can’t speak of his virtues without feeling like you’ve made an error in judgment.

Instead of digging into these complexities, however, the film skims the surface for cheap laughs. It’s only a slight leap forward from a movie like Bad Santa, which demands we chuckle at the lead character’s inappropriateness without considering the real and painful implications of his social terrorism. Wilson likes to say the f-word to children. He tells fat people they are fat. He gets oral sex from a prostitute and then claims to have forgotten his wallet. This in itself is not a problem, as great cinema is full of unlikeable protagonists. The problem is that when he hurts and offends people, the film sides with the offender more often than not.

In order to cultivate our sympathies, the film places Wilson in the loneliest spot imaginable.

In the first scenes, he loses his father to cancer and his best friend to a spiteful wife. With no remaining tethers to the human world, he seeks out his ex-wife (Laura Dern), whom he hasn’t spoken in decades. She succumbs to Wilson’s ostensible sexual magnetism and

falls into bed with him again. She tells him of a daughter given up for adoption years ago, so the reunited lovers set out to find Claire (Isabella Amara), the teenage daughter they never knew.

Guess how that goes. When they first spot Claire at a mall, some local bullies are teasing her. Empowered by his new sense of fatherhood, Wilson physically attacks one of them—a kid half his size. It’s played for laughs, even though it would be funny to no one involved. The rest of the movie kind of goes the same way. Every time Wilson seems to be winning back the affections of his ex-wife and daughter, he does something that pushes them away. The world is against him, Wilson laments, but we know the truth.

If only the film did. Instead, director Craig Johnson (The Skeleton Twins) keeps us at a distance, taking Wilson on his own terms and steadfastly refusing to view him critically. He adorns him in comically large glasses, making him into a smoothed-over cartoon caricature, turning each of his psychological dysfunctions into something more like a character quirk. He isolates him in the frame, rarely showing his body language as it relates to the other characters. This framing emphasizes Wilson as the hero of his own story without allowing his chemistry with the other characters to reveal deeper truths.

At times, Wilson even worships its protagonist as some sort of sage truth-teller whose anti-social tendencies expose our false niceties and veiled hostilities. It even gives him a happy ending, sort of. If only we could be more like Wilson, the film ultimately argues, while he proceeds to nearly ruin the lives of everyone around him. At least the filmmakers, who seem so aligned with their narcissistic protagonist, have a ready-made excuse for the poor reviews and box-office returns that are surely coming their way. It’s not Wilson’s fault. It’s the world that’s wrong.

—Noah Gittell Wilson opens Friday at E Street Cinema.

SHIFT your expectations.

SHIFT your senses.

SHIFT your spirit.

2017 NEA JAZZ MASTERS TRIBUTE CONCERT

Hosted by Jason Moran, Kennedy Center Artistic Director for Jazz Boulder Philharmonic with Frequent Flyers Aerial Dance

HONORING

North Carolina Symphony

Dee Dee Bridgewater

Dick Hyman

Dr. Lonnie Smith

March 27–April 1, 2017 Atlanta Symphony Orchestra & Chorus Boulder Philharmonic

with Frequent Flyers Aerial Dance

North Carolina Symphony The Knights Ira Gitler

with San Francisco Girls Chorus

Dave Holland

Concerts only $25!

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

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

The concert will also be live streamed at kennedy-center.org and arts.gov For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540.

Plus many FREE events: pop-up shows, musical hikes, and more!

Learn more at SHIFTfestival.org.

CO-PRESENTED BY

Generous support of the SHIFT Festival is provided through a matching grant from The Andrew W. Mellon Foundation, by Dr. Gary Mather and Ms. Christina Co Mather, and by Michael F. and Noémi K. Neidorff and The Centene Charitable Foundation.

SHIFT is funded in part by the D.C. Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts.

Additional support is provided by Abramson Family Foundation, Betsy and Robert Feinberg, Morton and Norma Lee Funger, and Daniel R. Lewis.

SHIFT is presented in association with JFKC: A Centennial Celebration of John F. Kennedy.

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

washingtoncitypaper.com march 24, 2017 27

Merriweather Post Pavilion • Columbia, MD

JUST ANNOUNCED!

VANS WARPED TOUR PRESENTED BY JOURNEYS FEATURING

Anti-Flag • The Ataris • Gwar • Hatebreed • Valient Thorr and many more! JULY 16 On Sale Now. For a full lineup and more info, visit vanswarpedtour.com

THIS WEEK’S SHOWS

The Zombies: Odessey and Oracle 50th Anniversary ...................Th MAR 23 SOHN w/ William Doyle & Nylo ......................................................................... F 24 ALL GOOD PRESENTS

Rising Appalachia w/ Lowland Hum Early Show! 6pm Doors ....................... Sa 25 ALL GOOD PRESENTS

Twiddle w/ Aqueous Late Show! 10pm Doors.................................................... Sa 25 Trentemøller w/ TOM And His Computer .................................................... Su 26 Allah-Las w/ The Babe Rainbow (OZ) & Roya ................................................. M 27 King Gizzard & The Lizard Wizard w/ ORB & Stonefield ......................W 29

deadmau5 w/ Feed Me ................................................................................... APRIL 8 L M3 ROCK FESTIVAL FEATURING META FEST

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

M3 SOUTHERN ROCK CLASSIC FEATURING RN

HE

SOUT CK RO !

FEST

Lynyrd Skynyrd • Charlie Daniels Band and more! ................... APRIL 30 Single-Day tickets On Sale Thursday, March 23 at 10am

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

APRIL

APRIL (cont)

Ronna and Beverly Live!

This is a seated show. .........................W 5

Oddisee & Good Compny w/ Olivier St. Louis .....................Th 20 Drive-By Truckers w/ Hiss Golden

ALL GOOD PRESENTS

Pigeons Playing Ping Pong w/ ELM - Electric Love Machine ....F 7 The Fighter and the Kid Live This is a seated show.

Early Show! 6pm Doors ......................Sa 8 STEEZ PROMO PRESENTS

Mr. Carmack w/ Rexx Life Raj • Mike Gao • Kidd Marvel Late Show! 10pm Doors ...................Sa 8 Son Volt w/ Anders Parker ......Tu 11 DC BRAU, COUNTRY MALT & WILD GOOSE PRESENT

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

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

Messenger .......................F 21 & Sa 22

The Chainsmokers w/ Kiiara, Lost Frequencies, featuring Emily Warren .. MAY 26 Jack Johnson w/ Lake Street Dive..................................................................JUNE 11 John Legend w/ Gallant ..................................................................................JUNE 20 Steve Miller Band w/ Peter Frampton ........................................JUNE 23 Luke Bryan w/ Brett Eldredge & Lauren Alaina ..........................................JUNE 25 Jason Isbell and the 400 Unit w/ The Mountain Goats ................JUNE 30 Dispatch w/ Guster ............................................................................................. JULY 7 My Morning Jacket w/ Gary Clark Jr. .................................................... JULY 14 alt-J w/ Saint Motel ................................................................................................ JULY 27 Fleet Foxes w/ Animal Collective .................................................... JULY 29 Belle and Sebastian / Spoon / Andrew Bird w/ Ex Hex ........ JULY 30

ALL GOOD PRESENTS

Hurray For The Riff Raff w/ Ron Gallo ..............................Su 23 The Pretty Reckless w/ Them Evils ..............................W 26 Balkan Beat Box ...................Th 27 The Black Angels w/ A Place to Bury Strangers .....Su 30 MAY

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

The Motet w/ Reed Mathis

& Electric Beethoven .....................F 14

Biffy Clyro w/ O’Brother .........Sa 15

Rostam w/ Deradoorian .............Tu 2 The Maine w/ The Mowgli’s & Beach Weather .W 3 Twin Peaks w/ Chrome Pony & Post Animal ...Tu 9

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

Kings of Leon • Weezer • Jimmy Eat World •

Fitz and the Tantrums • Catfish and the Bottlemen ........................... MAY 14 Dierks Bentley w/ Cole Swindell & Jon Pardi ................................................. MAY 19 Bon Iver ................................................................................................................ MAY 24

AN EVENING WITH

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

Sturgill Simpson .............................................................................. SEPTEMBER 15 Young The Giant w/ Cold War Kids & Joywave ............................ SEPTEMBER 16

930.com

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

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

EagleBank Arena • Fairfax, VA

THIS TUESDAY!

BASTILLE w/ Mondo Cozmo........................................................................... MARCH 28 Ticketmaster • impconcerts.com

Echostage • Washington, D.C.

TYCHO .............................................................................................................................MAY 7 Empire of the Sun w/ Lee “Scratch” Perry ............................................................MAY 11

1215 U Street NW Washington, D.C. JUST ANNOUNCED! AEG LIVE PRESENTS

Tim And Eric: 10th Anniversary Awesome Tour ....................... JULY 18

2135 Queens Chapel Rd. NE • Ticketmaster • impconcerts.com

On Sale Friday, March 24 at 10am

Pimlico Race Course • Baltimore, MD PREAKNESS BUDWEISER INFIELDFEST FEATURING

SAM HUNT • Good Charlotte • LOCASH • High Valley .................................................... MAY 20 preakness.com/infield

AN EVENING WITH

9:30 CLUB PRESENTS AT U STREET MUSIC HALL POWERS & James Hersey w/ Nick Leng .................................Sa MAR 25 Patrick Watson w/ Trevor Sensor ................................... M 27

Lisa Lampanelli ............................................................................................... APRIL 8 Aimee Mann w/ Jonathan Coulton ................................................................... APRIL 20 Rhiannon Giddens w/ Amythyst Kiah ................................................................ MAY 9 Dwight Yoakam w/ Elliot Root .......................................................................... MAY 11 Demetri Martin .................................................................................................. MAY 13 Old Crow Medicine Show Performing Blonde on Blonde ............................ MAY 22

Lambchop w/ Sloppy Heads .......... Sa APR 1 Crystal Garden

TajMo: The Taj Mahal and Keb’ Mo’ Band ..................................................... AUGUST 9

(Boyd Tinsley of Dave Matthews Band) ...F 7

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

Kate Tempest .................................... W 12

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

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

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

28 march 24, 2017 washingtoncitypaper.com

930.com

CITYLIST

INER

60S-INSPIRED D Serving

EVERYTHING from

BURGERS to BOOZY SHAKES

SPACE HOOPTY

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

FRIDAY NIGHTS, 10:30 - CLOSE

BRING YOUR TICKET

AFTER ANY SHOW AT

Music 29 Theater 33

Music

TO GET A

FREE SCHAEFERS

DAY PARTY WITH DJ KEENAN ORR

First Sunday every month

2 - 6pm

Black cat 1811 14th St. NW. (202) 667-4490. Minus The Bear. 7:30 p.m. $25. blackcatdc.com.

Rhizome Dc 6950 Maple St. NW. f.org, Jax Deluca & Patrick Cain, cebec. 8 p.m. $10. rhizomedc.org.

Gospel

howaRD theatRe 620 T St. NW. (202) 803-2899.

The Blind Boys of Alabama. 8 p.m. $35–$70. thehowardtheatre.com.

dJ NiGhts

echostage 2135 Queens Chapel Road NE. (202) 503-2330. Dash Berlin. 9 p.m. $30–$40. echostage.com.

classical

BaRns at wolf tRap 1635 Trap Road, Vienna. (703) 255-1900. tenTHING. 7:30 p.m. $38. wolftrap.org. kenneDy centeR conceRt hall 2700 F St. NW. (202) 467-4600. NSO Pops: Sophisticated Ladies. 8 p.m. $24–$99. kennedy-center.org.

hip-hop

songByRD music house anD RecoRD cafe 2477 18th St. NW. (202) 450-2917. SABA, Sylvan LaCue, Caleborate. 8 p.m. Sold out. songbyrddc.com. eagleBank aRena 4500 Patriot Circle, Fairfax.

(703) 993-3000. Franco De Vita. 8 p.m. $59–$179. eaglebankarena.com. kenneDy centeR millennium stage 2700 F St. NW. (202) 467-4600. May J. 6 p.m. Free. kennedy-center.org. tRopicalia 2001 14th St. NW. (202) 629-4535.

Sounds of Kolachi, Huda & Kamyar. 8 p.m. $15. tropicaliadc.com.

Folk

gypsy sally’s 3401 K St. NW. (202) 333-7700. Ryan Gregory Floyd. 10:30 p.m. Free. gypsysallys.com.

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Kevin Eubanks. 8 p.m.; 10 p.m. $45–$50. bluesalley.com. kenneDy centeR conceRt hall 2700 F St. NW. (202) 467-4600. NSO Pops: Sophisticated Ladies. 8 p.m. $24–$99. kennedy-center.org. mR. henRy’s 601 Pennsylvania Ave. SE. (202) 5468412. Aaron L. Myers II. 8 p.m. Free. mrhenrysdc.com.

souNds oF kolachi

Pakistani ensemble Sounds of Kolachi starts off most of their songs with acoustic South Asian classical string rhythms from the sitar and bowed sarangi, as well as vocals rooted in Sufi Islam traditions. But this 10-member group’s music changes as their leader, electric guitarist and composer Ahsan Bari, inserts metal and prog-rock solos accompanied by a flashy drummer, another guitarist, a bassist, and more melodramatic vocalizing. Live, such numbers can stretch out to 10 to 15 minutes and are often accompanied by flashing strobe lights and a fog machine, almost like a jam band concert. Bari sometimes varies things, strumming an acoustic guitar while his band’s four singers croon and harmonize, but often even these numbers have an underlying bombastic feel to them. The lyrics of at least one song are based on Sufi mystic and musicologist Hazrat Amir Khusrau’s verses from the 14th century, but for English speakers, the vocal highlight is the feel of the high-note vocals of the female singers. Their pure timbre, especially when accompanied by the traditional instruments, is what works best. Sounds of Kolachi perform with Huda & Kamyar at 9 p.m. at Tropicalia, 2001 14th St. NW. $15. 629-4535. tropicaliadc.com.

—Steve Kiviat the hamilton 600 14th St. NW. (202) 787-1000. Red Baraat’s Festival of Colors. 8 p.m. $20–$25. thehamiltondc.com.

music centeR at stRathmoRe 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. BSO: Stravinsky’s Petrushka. 8 p.m. $35–$99. strathmore.org.

saturday

sixth & i histoRic synagogue 600 I St. NW. (202) 408-3100. Avi Avital & Omar Avital: Avital Meets Avital. 8 p.m. $30. sixthandi.org.

rock

9:30 cluB 815 V St. NW. (202) 265-0930. Twiddle. 10 p.m. $20. 930.com.

World

kenneDy centeR millennium stage 2700 F St. NW. (202) 467-4600. Sounds of Kolachi. 6 p.m. Free. kennedy-center.org.

twins Jazz 1344 U St. NW. (202) 234-0072. The R&B Jazz Quintet: Kenny Rittenhouse & Herman Burney. 9 p.m.; 11 p.m. $27. twinsjazz.com.

BiRchmeRe 3701 Mount Vernon Ave., Alexandria.

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

electroNic

Rhizome Dc 6950 Maple St. NW. Literals, Aaron Leitko, Mike Andre. 8 p.m. $10. rhizomedc.org.

9:30 cluB 815 V St. NW. (202) 265-0930. Rising Appalachia. 5:59 p.m. $20. 930.com.

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

Chicano Batman, 79.5, Sadgirl. 7:30 p.m. $15–$18. rockandrollhoteldc.com.

gypsy sally’s 3401 K St. NW. (202) 333-7700. Larry Keel Experience. 8 p.m. $15–$17. Chris Anderson, Nicole Belanus. 8 p.m. Free. gypsysallys.com.

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

The Japanese House. 8 p.m. $15. rockandrollhoteldc.com.

located next door to 9:30 club

CITY LIGHTS: Friday

rock

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

2047 9th Street NW

Cherry Blossom Events 36

Friday

World

Club

Film 35

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

Sofi Tukker. 7 p.m. $20. ustreetmusichall.com.

songByRD music house anD RecoRD cafe 2477 18th St. NW. (202) 450-2917. Big Thief, Palehound, Snail Mail. 8 p.m. Sold out. songbyrddc.com.

FuNk & r&B

classical

BiRchmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Rahsaan Patterson. 7:30 p.m. $55. birchmere.com.

kenneDy centeR conceRt hall 2700 F St. NW. (202) 467-4600. NSO Pops: Sophisticated Ladies. 8 p.m. $24–$99. kennedy-center.org.

Folk

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Kevin Eubanks. 8 p.m.; 10 p.m. $45–$50. bluesalley.com. kenneDy centeR conceRt hall 2700 F St. NW. (202) 467-4600. NSO Pops: Sophisticated Ladies. 8 p.m. $24–$99. kennedy-center.org.

washingtoncitypaper.com march 24, 2017 29

mR. henRy’s 601 Pennsylvania Ave. SE. (202) 5468412. The Elsa Nilsson Quartet. 8 p.m. Free. mrhenrysdc.com.

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

twins Jazz 1344 U St. NW. (202) 234-0072. The R&B Jazz Quintet: Kenny Rittenhouse & Herman Burney. 9 p.m.; 11 p.m. $27. twinsjazz.com.

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

Trentemøller. 7 p.m. $25. 930.com.

electroNic

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

POWERS & Bridgit Mendler. 7 p.m. $15. ustreetmusichall.com.

FuNk & r&B

the hamilton 600 14th St. NW. (202) 787-1000. Red Baraat’s Festival of Colors. 8 p.m. $20–$25. thehamiltondc.com.

suNday classical

electroNic FuNk & r&B

BethesDa Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. The Clovers, The Spaniels and The Jewels. 8 p.m. $40. bethesdabluesjazz.com.

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

Three Man Soul Machine, Shining Blade Theory. 9 p.m. $10. bossadc.com.

MoNday rock

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

music centeR at stRathmoRe 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Annapolis Symphony Orchestra. 3 p.m. $10–$30. strathmore.org.

Dc9 1940 9th St. NW. (202) 483-5000. NE-HI, Makeup Girl. 9 p.m. $10–$12. dcnine.com.

hip-hop

classical

songByRD music house anD RecoRD cafe 2477 18th St. NW. (202) 450-2917. KR. 8:30 p.m. $12–$15. songbyrddc.com.

Blues

kenneDy centeR millennium stage 2700 F St. NW. (202) 467-4600. Fast Eddie & The Slowpokes. 6 p.m. Free. kennedy-center.org.

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Kevin Eubanks. 8 p.m.; 10 p.m. $45–$50. bluesalley.com.

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

Patrick Watson. 7 p.m. $25. ustreetmusichall.com. kenneDy centeR millennium stage 2700 F St. NW. (202) 467-4600. Patrick Henry High School Chamber Orchestra. 6 p.m. Free. kennedy-center.org.

Folk

Black cat Backstage 1811 14th St. NW. (202) 6674490. Laura Stevenson, Adult Mom. 7:30 p.m. $15. blackcatdc.com.

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. David Kline Band. 8 p.m.; 10 p.m. $35. bluesalley.com.

CITY LIGHTS: saturday

sNail Mail

According to the Chinese zodiac, 2017 is the Year of the Rooster. But according to the indie music zodiac, 2017 is the Year of Snail Mail. Snail Mail, the solo project (though she plays with a full band) of Baltimore-area teen Lindsey Jordan, released its first EP, Habit, on venerable local label Sister Polygon last year, and it’s been a steady rise of accolades ever since. At SXSW a couple weeks ago, Snail Mail was the big talk of the fest, with Stereogum writing “Snail Mail is the band that everyone is talking about at SXSW this year in part because they’re one of the buzziest rock bands that still haven’t signed their forthcoming full-length, which Jordan is still working on, over to anyone.” It’s easy to see why Snail Mail is poised for musical world domination: Jordan’s masterful and intimate lyrics are wise beyond her 17 years, sure, but she’s nothing short of a genius when it comes to crafting instantly catchy songs, replete with infectious hooks and bellowing choruses. When Snail Mail opens for Big Thief and Palehound on Saturday at Songbyrd, it might be one of the last chances to catch the group before it sells out venues like Black Cat and 9:30 Club. Snail Mail performs with Big Thief and Palehound at 8 p.m. at Songbyrd Music House and Record Cafe, 2477 14th St. NW. $15. (202) 450-2917. songbyrddc.com. —Matt Cohen 30 march 24, 2017 washingtoncitypaper.com

washingtoncitypaper.com march 24, 2017 31

CITY LIGHTS: suNday

MARCH F

24 NEWMYER FLYER PRESENTS

S

DREAM DISCS; “LAYLA” & OTHER ASSORTED ERIC CLAPTON JOE CLAIR & FRIENDS COMEDY SHOW (7/10PM)

25

SU 26 DC STREET CORNER HARMONY

T &W

TH F

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

S

MARION MEADOWS SMOOTH JAZZ SAXOPHONIST 4/2 RAT PACK TOGETHER AGAIN - TONY SANDS PRODUCTION (1/7:30PM) 4/5 MERLE HAGGARD TRIBUTE 4/9 ELAN TROTMAN & BRIAN SIMPSON 4/30 CONYA DOSS 4/1

SU

W SU SU

7719 Wisconsin Ave., Bethesda, MD

(240) 330-4500

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

PETROL STATION

At a run-down gas station along a nondescript highway, tumbleweeds blow around and people as worn as the road they travel stop in for a respite. This sounds like a scene from a John Steinbeck novel or a 1950s Arthur Ripley B-movie, but Sulayman Al Bassam, the world-renowned Kuwaiti playwright and director, wanted that defining American image to be the setting of his new staged drama, Petrol Station, which has its world premiere at the Kennedy Center this weekend.

Set at the titular location on the border of two anonymous Middle Eastern states, the play uses the station as a microcosm to explore issues of oppression, violence, displacement, and identity in the oil rich kingdoms of the Arab world. But Al Bassam uses the opportunity to address some of these wider issues beyond the Arab perspective. When the female lead introduces herself it is as a “bidoon,” an Arabic word for someone who is undocumented and nationless. Soldiers and others suffering pass through Petrol Station, fleeing one chaotic scene for another, along with undocumented workers and migrants hoping to become people of land once more. Hits a little close to home, doesn’t it? The play runs March 24 to March 26 at the Kennedy Center Eisenhower Theater, 2700 F St. NW. Free. (202) 467-4600. kennedy-center.org.

—Jackson Sinnenberg

tuesday

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

The Menzingers, Jeff Rosenstock, Rozwell Kid. 8 p.m. $20–$25. rockandrollhoteldc.com.

eagleBank aRena 4500 Patriot Circle, Fairfax.

(703) 993-3000. Bastille. 8 p.m. $45. eaglebankarena.com.

classical

rock

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

Chuck Prophet & The Mission Express. 8 p.m. $15–$25. thehamiltondc.com.

classical

kenneDy centeR conceRt hall 2700 F St. NW. (202) 467-4600. Boulder Philharmonic Orchestra. 8 p.m. $25. kennedy-center.org. kenneDy centeR millennium stage 2700 F St. NW. (202) 467-4600. Greater Boulder Youth Orchestras. 6 p.m. Free. kennedy-center.org. union station 50 Massachusetts Ave. NE. (202) 289-1908. Cameristi della Scala celebrates Arturo Toscanini. 5:45 p.m. Free. unionstationdc.com.

Folk

BiRchmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Jim McMurtry & Tift Merritt. 7:30 p.m. $29.50. birchmere.com.

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Roy Hargrove. 8 p.m.; 10 p.m. $55–$60. bluesalley.com.

WedNesday rock

9:30 cluB 815 V St. NW. (202) 265-0930. King Gizzard & The Lizard Wizard. 7 p.m. $18. 930.com.

BiRchmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Ann Wilson of Heart. 7:30 p.m. $110. birchmere.com.

Black cat 1811 14th St. NW. (202) 667-4490. Hippo Campus. 7:30 p.m. $15. blackcatdc.com.

32 march 24, 2017 washingtoncitypaper.com

JeffeRson memoRial 701 E Basin Dr SW, DC. PopUp Chamber Concert: Boulder Philharmonic Orchestra. 10 a.m. Free. kenneDy centeR conceRt hall 2700 F St. NW. (202) 467-4600. North Carolina Symphony Orchestra. 8 p.m. $25. kennedy-center.org.

World

Bossa BistRo 2463 18th St NW. 202-667-0088. DC Raga Jam. 8:30 p.m. Free. bossadc.com.

Folk

BaRns at wolf tRap 1635 Trap Road, Vienna. (703) 255-1900. Noam Pikney. 8 p.m. $22–$25. wolftrap.org. gypsy sally’s 3401 K St. NW. (202) 333-7700.

James McCartney. 8 p.m. $18–$20. gypsysallys.com.

couNtry

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

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Roy Hargrove. 8 p.m.; 10 p.m. $55–$60. bluesalley.com. kenneDy centeR millennium stage 2700 F St. NW. (202) 467-4600. Betty Carter’s Jazz Ahead. 6 p.m.

Free. kennedy-center.org. twins Jazz 1344 U St. NW. (202) 234-0072. BSQ. 8 p.m.; 10 p.m. $22. twinsjazz.com.

FuNk & r&B

kenneDy centeR eisenhoweR theateR 2700 F St. NW. (202) 467-4600. DC-CAPITAL STARS: The Music of Prince. 7 p.m. $35–$45. kennedy-center.org.

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

Ne-hi

With their new record, Offers, Chicago’s NEHI proves that it’s no longer one of those bands described as one “you just have to see live.” The quartet has emerged from the basement with a second album that doesn’t try to recreate the feeling of a sweaty house show, but instead shows how well they can polish a set of songs. Blending American and British post-punk with New Zealand indie pop into angular, driving, and danceable rock shows NE-HI’s talent stretches far beyond energizing living room sets. That on its own makes Offers a success, but what makes it memorable is how big-hearted it is. NE-HI, through all the polish, still sounds exuberant, as if its members are celebrating the last light of a long summer day surrounded by all their friends. Even though you don’t have to see NE-HI in person to appreciate them anymore, you should still totally see them live. Throw an arm around a buddy, raise a beer high, and shout along as they sing, “I wanna stay young!” NE-HI performs with Makeup Girl at 9 p.m. at DC9, 1940 9th St. NW. $10–$12.

(202) 483-5000. dcnine.com.

—Justin Weber

thursday rock

BiRchmeRe 3701 Mount Vernon Ave., Alexandria.

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

Dc9 1940 9th St. NW. (202) 483-5000. Middle Kids. 9 p.m. $12. dcnine.com.

classical

amp By stRathmoRe 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Maya Beiser. 8 p.m. $40–$50. ampbystrathmore.com. the hamilton 600 14th St. NW. (202) 787-1000. The Knights w/ Christina Courtin. 8 p.m. $25. thehamiltondc.com. kenneDy centeR conceRt hall 2700 F St. NW. (202) 467-4600. Atlanta Symphony Orchestra. 8 p.m. $25. kennedy-center.org. national galleRy of aRt west gaRDen couRt 4th Street and Constitution Avenue NW. (202) 8426941. Atlanta Symphony Orchestra Chorus: Creation Stories. 6 p.m. Free. nga.gov. smithsonian ameRican aRt museum 8th and F streets NW. (202) 633-7970. unCHAMBERed: North Carolina Symphony. 7:30 p.m. Free. americanart.si.edu.

Folk

BaRns at wolf tRap 1635 Trap Road, Vienna. (703) 255-1900. Glen Phillips. 8 p.m. $22–$25. wolftrap.org. gypsy sally’s 3401 K St. NW. (202) 333-7700. John Lawton. 7:30 p.m. Free. gypsysallys.com.

couNtry

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

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Roy Hargrove. 8 p.m.; 10 p.m. $55–$60. bluesalley.com. howaRD theatRe 620 T St. NW. (202) 803-2899.

Joshua Redman Quartet. 8 p.m.; 10:30 p.m. $30–$55. thehowardtheatre.com. kenneDy centeR millennium stage 2700 F St. NW. (202) 467-4600. Betty Carter’s Jazz Ahead. 6 p.m.

Free. kennedy-center.org.

electroNic

flash 645 Florida Ave. NW. (202) 827-8791. Pig&Dan. 8 p.m. $8–$15. flashdc.com.

FuNk & r&B

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

Bebe Rexha. 7 p.m. $20. ustreetmusichall.com.

Theater

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

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

Tix @ Ticketmaster.com 800-745-3000

Seth KASEY CHAMBERS Walker N 24 RAHSAAN PATTERSON Y THE SUBDUDES 25 26 THE RIGHTEOUS BROTHERS

Mar 23

ao oshioka

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

28

of

& Graham Central Station In the

Apr 1

!

Jacob SMITH Powell COREY All Standing, Doors 6pm

MARCUS MILLER DON McLEAN 7 KEIKO MATSUI 8 9 RIDERS IN THE SKY 6

A SALUTE TO ROY ROGERS!

10

STANLEY CLARKE BAND

11 DALE WATSON & RAY BENSON present

BattlefielD Director Peter Brooks expands on his acclaimed production of The Mahabharata in this new play that follows the family as the world whirls in chaos. A king must try and calm his citizens and convey a sense of inner peace and the family struggles to stay together. Kennedy Center Family Theater. 2700 F St. NW. To April 2. $35. (202) 467-4600. kennedy-center.org.

13

coolatully Irish arts organization Solas Nua presents the American premiere of Fiona Doyle’s drama about Irish history. As a town tries to succeed once more on the hurling field, its residents must decide whether to stay or move on. Source Theatre. 1835 14th St. NW. To March 26. $38. (202) 204-7800. sourcedc.org.

DRy lanD Ruby Rae Spiegel’s new drama focuses on abortion and how friendships can help women survive tough situations. Taking place in a high school locker room, this production is directed by Amber McGinnis and performed in Repertory with What Every Girl Should Know. Forum Theatre at Silver Spring Black Box Theatre. 8641 Colesville Road, Silver Spring. To April 15. $18–$38. (301) 588-8279. forum-theatre.org. fickle: a fancy fRench faRce Playwright Meg Miroshnik turns a classic French farce about a kidnapped prince, an adored peasant, and the servant

SAT., APR. 8 ~ 9:30PM TIX: $16/$20

Bill Medley & Bucky Heard

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

BlooD knot Joy Zinoman directs Athol Fugard’s searing drama about the conflict between a lightskinned man and his darker-skinned brother who navigate the horrors of Apartheid and emotional tension in a divided South Africa. Mosaic Theater presents this play as part of its “South Africa: Then & Now” series. Atlas Performing Arts Center. 1333 H St. NE. To April 30. $20–$60. (202) 399-7993. atlasarts.org.

CAROLYN WONDERLAND

12

14 15

DALE & RAY STOKLEY A nnAle

from Mint

Condition

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

CLEVE FRANCIS

21&22

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

23

featuring The Zmed Brothers

& The DAVE ALVIN Guilty Ones & Too BILL KIRCHEN Much Fun

28

30

JOHN TESH

‘Grand Piano Live’

H 3.23 3.24 3.25 3.28 3.29 3.30 3.31

H PEEWEE MOORE JONNY GRAVE & THE TOMBSTONES THE CURRYS / CERNY BROS SARAH POTENZA LIVE BAND KARAOKE 19TH STREET BAND (ALBUM RELEASE SHOW) KITI GARTNER

H 4.1 4.3 4.4 4.6 4.7 4.8 4.9 4.13 4.20 4.21 4.22 4.25 4.27 4.29 5.5 5.8 5.9 5.11 5.12 5.15 5.18 5.25 6.1 6.2 6.23 6.27 8.29 9.21

H WESTERN CENTURIES JON DEE GRAHAM THE HOOTEN HALLERS HOLLERTOWN MARK EITZEL / HOWE GELB CAROLYN WONDERLAND SELWYN BIRCHWOOD DALLAS MOORE K. PHILIPS THE HIGHBALLERS THE WOODSHEDDERS AMELIA WHITE DANNY BARNES / JENNI LYN RENCH (GANGSTAGRASS – ALBUM RELEASE SHOW) BLOODSHOT BILL TIM EASTON OLD SALT UNION SHAWN JAMES (SOLO) THE WHISTLES & THE BELLS GURF MORLIX TH’ LEGNEDARY SHACK SHAKERS / JESSE DAYTON SHANNON MCNALLY GANGSTAGRASS / THE WHISKEY GENTRY BILLY JOE SHAVER FOLK SOUL REVIVAL FLAT DUO JETS / DADDY LONG LEGS DALE WATSON & HIS LONE STARS THE BLASTERS

HILL COUNTRY BARBECUE MARKET

410 Seventh St, NW • 202.556.2050 Hillcountrylive.com • Twitter @hillcountrylive

Near Archives/Navy Memorial [G, Y] and Gallery PI/Chinatown [R] Metro washingtoncitypaper.com march 24, 2017 33

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

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

LIVE

CITY LIGHTS: tuesday

UPCOMING PERFORMANCES

LAITH

AL-SAADI W/ SARAH BORGES

THURSDAY MARCH

600 beers from around the world

Downstairs: good food, great beer: all day every day *all shows 21+ MARCH 23RD

WASHINGTON LINK MARCH 24TH

HEXWORK DOORS AT 8PM SHOW AT 9PM MARCH 25TH

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

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34 march 24, 2017 washingtoncitypaper.com

23

LIVE NATION & THE HAMILTON PRESENT

YACHT ROCK

REVUE AT THE FILLMORE SILVER SPRING

THURSDAY MARCH FRI, MARCH 24

RED BARAAT FESTIVAL OF COLORS

23 NIGHT I

W/ GANAVYA AND SHILPA RAY SAT, MARCH 25

RED BARAAT FESTIVAL OF COLORS

NIGHT II

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

CHUCK PROPHET & THE MISSION EXPRESS AND THE BOTTLE ROCKETS THURS, MARCH 30

AN EVENING WITH BRASS-A-HOLICS FRI, MARCH 31

PIKE ST.

After a successful showing of her Obie-award winning play No Child in 2008, decorated playwright Nilaja Sun comes back to Woolly Mammoth Theatre for the first time in nearly a decade.

As with No Child, which focused on her work with high school theater students, Pike St. is a solo performance, the genre that Sun enjoys most. With the help of director Ron Russell, Sun takes the audience to a place she’s called home before: the Lower East Side of Manhattan. Here, she introduces us to a Puerto Rican immigrant mother who works tirelessly to keep her daughter’s respirator running, all the while preparing for a looming hurricane and worrisome power outages. Sun also embodies the woman’s aging father, her neighbor, and other acquaintances as they all work together to achieve this singular goal. Woolly Mammoth Artistic Director Howard Shalwitz welcomed Sun back to D.C., in part because she prompts viewers to immediately engage in tough conversations, something all audiences need right now. “Her masterful artistry through storytelling is not only a thrilling theatrical experience, but also a powerful vehicle, giving voices to underrepresented and communities,” says Shalwitz. The play runs March 27 to April 23 at Woolly Mammoth Theatre Company, 641 D St. NW. $20–$54. (202) 393-3939. woollymammoth.net.

—Donnell Coley

THE HAMILTON LIVE AND WPA PRESENT

THE KNIGHTS & CHRISTINA COURTIN W/ HOLLY BOWLING:

A PART OF THE 2017 SHIFT FESTIVAL OF AMERICAN ORCHESTRAS SAT, APRIL 1

RODNEY CROWELL W/ SCOTT MILLER

SUN, APRIL 2

THE HILLBENDERS PRESENT

THE WHO’S TOMMY: A BLUEGRASS OPRY THURS, APRIL 6

ELIANE ELIAS FRI, APRIL 7

MIPSO W/ DAN MILLS SAT, APRIL 8

WILLIE NILE W/ JAMIE McLEAN BAND MON, APRIL 10

LAGUNITAS BREWERY PRESENTS LOW CUT CONNIE W/ SKRIBE TUES, APRIL 11

OMMEGANG BREWERY PRESENTS

THE FELICE BROTHERS

THEHAMILTONDC.COM

caught in the middle of it into a new comic romp.

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

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

the ways in which people around the world are connected in unexpected ways. Theater Alliance’s production incorporates topics from the 21st century to highlight the timelessness of the play’s themes. Anacostia Playhouse. 2020 Shannon Place SE. To April 9. $30–$40. (202) 290-2328. anacostiaplayhouse.com.

gogol’s nose anD otheR stRange tales fRom the city The short stories of Nikolai Gogol are turned into plays in this physical performance piece presented in Mason’s TheatreSpace. George Mason University Center for the Arts. 4373 Mason Pond Drive, Fairfax. To April 9. $15–$25. (888) 945-2468. cfa.gmu.edu.

mRs. milleR Does heR thing Based on the true story of Elva Miller, James Lapine’s new comedy follows the hapless title character who can’t sing but nevertheless becomes a New York City sensation.

Debra Monk stars as Mrs. Miller and puts her spin on pop songs like “Downtown,” “Monday Monday,” and “A Hard Day’s Night.” Signature Theatre. 4200 Campbell Ave., Arlington. To March 26. $40–$85. (703) 8209771. sigtheatre.org.

the gospel at colonus Jennifer L. Nelson directs this musical that reconfigures Sophocles’ story about Oedipus’ final days and sets it in a black Pentecostal church. A finalist for the Pulitzer Prize for Drama, this production features searing gospel songs like “How Shall I See You Through My Tears?” and “Lift Him Up.” Gunston Arts Center. 2700 S. Lang St., Arlington. To March 26. $30–$35. (703) 228-1850. arlingtonarts.org. intelligence Taking inspiration from true events, this drama about a covert operative and her diplomat husband combines political thrills with D.C. drama. As the protagonist attempts to locate nuclear weapons in Iraq, her cover is compromised and she must navigate a media storm on her own. Arena Stage. 1101 6th St. SW. To April 2. $40–$90. (202) 488-3300. arenastage.org. miDwesteRn gothic Royce Vavrek and Josh Schmidt present this new musical about a woman who wants more than anything to escape her dull surroundings. As she fantasizes about her goals, her thoughts take a perverse turn, resulting in a shocking resolution. Signature Theatre. 4200 Campbell Ave., Arlington. To April 30. $40–$94. (703) 820-9771. sigtheatre.org. mnemonic Colin Hovde directs a revised version of this drama that explores the nature of memory and

no sisteRs While Chekhov’s Three Sisters plays in one theater, Aaron Posner directs his new adaptation of the Russian comedy that follows the rest of the characters while the title characters opine their fates.

This world-premiere work is presented as part of Studio R&D, the theater’s new works initiative. Studio Theatre. 1501 14th St. NW. To April 23. $20–$55. (202) 332-3300. studiotheatre.org. paRaDe The tragic, true story of a Jewish man who is wrongly accused of murder and lynched in the early 20th century is the centerpiece of this musical from popular composer Jason Robert Brown. At Keegan, directors Susan Marie Rhea and Christina A. Coakley lead a cast featuring Michael Innocenti, Eleanor J. Todd, and Cassie Cope. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To April 8. $45–$55. (202) 265-3767. keegantheatre.com. petRol station Kuwaiti writer Sulayman Al Bassam sets his one-man show in an abandoned gas station and turns it into a place of reflection where he shares the aspirations and worries residents of the region experience on a daily basis. Kennedy Center Eisenhower Theater. 2700 F St. NW. To March 27. $15–$39. (202) 467-4600. kennedy-center.org.

CITY LIGHTS: WedNesday

1811 14TH ST NW

www.blackcatdc.com @blackcatdc

MARCH / APRIL SHOWS WED, MAR 29

NOAM PIKELNY

THU 23

BOO SEEKA

FRI 24

MINUS THE BEAR

SAT 25 SAT 25 SUN 26

acid dad

GLEN PHILLIPS OF TOAD THE WET SPROCKET

Ragtime This stirring musical, written by Lynn Ahrens and Stephen Flaherty and inspired by E.L. Doctorow novel, tells the story of three different New York families at the turn of the 20th century. Featuring memorable songs like “Your Daddy’s Eyes,” “Wheels of a Dream,” and “Make Them Hear You,” this production stars Tracy Lynn Olivera, Nova Y. Payton, and Jonathan Atkinson. Ford’s Theatre. 511 10th St. NW. To May 20. $18–$71. (202) 347-4833. fords.org. the select Elevator Repair Service, the theater company behind previous stage adaptations of novels like The Great Gatsby and The Sound and the Fury, turns its attention to Ernest Hemingway’s The Sun Also Rises. The narrator tells a story of love amidst the Lost Generation as the action travels from Paris to Barcelona to Pamplona. Lansburgh Theatre. 450 7th St. NW. To April 2. $44–$118. (202) 547-1122. shakespearetheatre.org. thRee sisteRs The title characters in this Chekhov comedy fight against the restrictions of their small town and lament their missed opportunities as they deal with annoying relatives and unworthy mates.

Jackson Gay directs this production, presented in collaboration with New Neighborhood. Studio Theatre. 1501 14th St. NW. To April 23. $20–$85. (202) 3323300. studiotheatre.org. well Playwright Lisa Kron examines her relationship with her mother in this so-called “solo show with people in it” and tries to explain how her mother was able to help others but couldn’t help herself.

The Tony-nominated play is directed at 1st Stage

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

1ststagetysons.org. what eveRy giRl shoulD know Set in a New York reformatory in the 1910s, this drama follows four teenage girls as they negotiate the events and traumas that landed them in such a dire spot. Jenna

Duncan directs the D.C. premiere of Monica Byrne’s drama about the strength of human spirit and the power of imagination. Performed in repertory with Dry Land. Forum Theatre at Silver Spring Black Box Theatre. 8641 Colesville Road, Silver Spring. To April 15. $18–$38. (301) 588-8279. forum-theatre.org. wheRe can i finD someone like you, ali? Raeda Taha pays tribute to her late father, Egyptian romantic poet Ali Mahmoud Taha, in this one-woman show in which she considers what it means to be an orphan and elevates the women in her family to heroic status. Performed in Arabic with English supertitles.

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

Film

Beauty anD the Beast Emma Watson and Dan Stevens star in this live action adaptation of the classic Disney movie about a girl who loves books, a man transformed into a hairy monster, and the love and enchanted household objects that bring them together. Co-starring Audra McDonald, Emma Thompson, and Kevin Kline. (See washingtoncitypaper.com for venue information) chips A rookie highway patrol officer is partnered with a seasoned pro in this comedic send-up of the 1970s TV series. Starring Michael Peña, Dax Shepard, and Adam Brody. (See washingtoncitypaper.com for venue information) life Rebecca Ferguson, Ryan Reynolds, and Jake Gyllenhaal star in this outer space thriller about scientists who encounter an all-powerful life form that decimates life on Mars and threatens to take down Earth as well. Directed by Daniel Espinosa. (See washingtoncitypaper.com for venue information) poweR RangeRs Teenagers who develop unique powers work together to save the world in the latest adaptation of the popular Japanese series. (See washingtoncitypaper.com for venue information)

LIVING BODY LAURA STEVENSON

WED 29

HIPPO CAMPUS

THU 30

GLOW END THEORY 004

FRI 31

AMBER RUBARTH

MOCKSTROCITY TOUR

MAC SABBATH

METALACHI

FALU’S BOLLYWOOD ORCHESTRA

OKILLY DOKILLY

SAT 1

UNDERGROUND COMEDY FESTIVAL - 2 SHOWS!

FRI 7

CRYSTAL FIGHTERS

FRI, APR 7

SAT 8

K-POP DANCE PARTY

CÉCILE McLORIN SALVANT AND AARON DIEHL

WED 12

WHY?

SAT, APR 8

SAT 15

CHURCH NIGHT (21+)

AND MANY MORE!

FRI 21 DAN SAVAGE’S

FRI, MAR 31

THE BAD PLUS SAT, APR 1

pike st. Nilaja Sun stars in this one-woman show about a Puerto Rican family settling into their new life on New York’s Lower East Side. Ron Russell directs this warm show about the many people who work together to make the world work. Woolly Mammoth Theatre. 641 D St. NW. To April 23. $20–$54. (202) 393-3939. woollymammoth.net.

MOUSETRAP

AN INDIE DANCE PARTY

MON 27

THU, MAR 30

Psych punk Brooklynites Acid Dad take what they do very seriously. That’s probably why they do it so well. After coalescing at a drag show in 2014 and getting their bearings in the years that followed, the quartet has made sure they’re the next band on the tip of the New York scene’s tongue by playing show after show at small clubs around the city. Luckily for those listeners outside the tri-state area, Acid Dad has used the past 18 months to become increasingly sharp and effective performers. Despite their packed schedule, Acid Dad doesn’t tire easily. Their debut album, Let’s Plan a Robbery, came out in February, but the band’s made an effort to break out of their native scene by hopping around the country performing energetic and psychedelically melodic sets.

For a band on the far end of emerging, they make it look easy. Acid Dad performs with Honduras at 8:30 p.m. at DC9, 1940 9th St. NW. $12. (202) 483-5000. dcnine.com. —Jordan-Marie Smith

THE JAY-Z & BEYONCE DANCE PARTY W/ DJ DREDD

OVER THE RHINE

HUMP!

WOLFTRAP.ORG/BARNS

TO SUN 23 FILM FESTIVAL

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

D.C.’s awesomest events calendar.

HIPPO CAMPUS

WED MAR 29

FRI APRIL 7

CRYSTAL FIGHTERS

washingtoncitypaper.com/ calendar

TAKE METRO!

washingtoncitypaper.com

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

TO BUY TICKETS VISIT TICKETFLY.COM washingtoncitypaper.com march 24, 2017 35

50th Anniversary Season

ANOUSHKA SHANKAR

Sat, Apr 8, 7pm & 9:30pm Sixth & I The adventurous sitarist returns to her roots in a program of North Indian classical music Special thanks: The Abramson Family Foundation

COMING SOON: Avi Avital & Omer Avital (Mar 25) • SHIFT: A Festival of American Orchestras (Mar 27-Apr 1) • Daniil Trifonov (Apr 4) Anne-Sophie Mutter (Apr 8) • Joyce DiDonato in Handel’s Ariodante (May 2) • Messiaen: From the Canyons to the Stars (May 12) • and more!

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

WashingtonPerformingArts.org • (202) 785-9727

CITY LIGHTS: thursday

seiho

In his hometown of Osaka, Japan, Seiho became a pillar of the city’s dance music scene as it cracked down on nightlife with its infamous “no dancing” ban known as “fueiho.” From 1947 until 2015, “fueiho,” written as an antiprostitution law, banned dancing in clubs after midnight. But Seiho was instrumental in keeping the spirit of dance alive in Japan with his forward-thinking record label, Day Tripper, and dance party, INNIT, where artists were invited to play original tracks and the audience would vote for their favorite to perform live.

Meanwhile, Seiho has created his own sonic universe, somewhere in between restlessly hyperactive and harmoniously meditative, with his experimental electronic productions.

He creatively contorts reality with samples of everyday sounds, smooth jazz sequences, and glitchy hip-hop vocals, hiding surprise textures and melodies behind every corner of his expansive instrumentation. Seiho’s tracks can evolve from a sweet, R&B serenade to a dance floor burner in a matter of seconds, a true testament to the unique way he pushes boundaries. Seiho performs with Qualiatik and Cos BV at 8:30 p.m. at Velvet Lounge, 915 U St. NW. $12. (202) 462-3213. velvetloungedc.com.

—Casey Embert Raw After being hazed while attending vet school, a young vegetarian woman develops a taste for flesh. Julia Ducournau directs this horror film starring Garance Mariller. (See washingtoncitypaper.com for venue information) the sense of an enDing Julian Barnes’ novel about a man haunted by his past and reconsidering his life comes to the screen in an adaptation from director Ritesh Batra. Starring Jim Broadbent, Charlotte Rampling, and Harriet Walter. (See washingtoncitypaper.com for venue information) song to song Rooney Mara and Ryan Gosling lead an all-star cast in this romantic drama set in Austin, Texas, written and directed by Terrence Malick. (See washingtoncitypaper.com for venue information) the wateRmelon woman A black director attempts to make a documentary about 1930s actress Fae Richards and ends up learning more about herself, her friends, and her city than she expected. The 20th anniversary of this seminal queer film is presented by Reel Affirmations, the District’s monthly LGBT film screening series and festival. (See washingtoncitypaper.com for venue information) wilson A neurotic and curmudgeonly man reunites with his estranged wife and meets his daughter for the first time in this comedy from director Craig Johnson, adapted from the graphic novel by Daniel Clowes. Starring Woody Harrelson, Mary Lynn Rajskub, and Judy Greer. (See washingtoncitypaper. com for venue information)

LIVE AT THE FILLMORE 8656 COLESVILLE ROAD | SILVER SPRING, MD 20910

DOORS OPEN AT 7 PM

VIP/MEET & GREET/DINNER BALCONY SEATING: AVAILABLE ONLINE

RESERVE ALL TICKETS AT: www.universe.com/salifkeitafillmore FOR MORE INFORMATION, CALL 917-397-6211 36 march 24, 2017 washingtoncitypaper.com

Cherry Blossom Events

anacostia RiveR festival Check out art from local makers, explore businesses in historic Anacostia, hear live music, and tune up your bike at this annual neighborhood celebration that coincides with the Cherry Blossom Festival. Anacostia Park. 1900 Anacostia Drive SE. Free. April 9, 1 p.m. (202) 6905185. nps.gov/anac/index.htm.

DRinks anD Bites on a Rooftop faRm Enjoy cocktails, snacks from Little Sesame, and views of the Capitol, monuments, and waterfront at this Cherry Blossom Festival party presented by rooftop farm Up Top Acres. The Farm at 55 M Street. 55 M St. SE. $25.

April 11, 5 p.m. uptopacres.com.

el squaD in conceRt The acclaimed Japanese street dance squad appears at Joy of Motion’s Jack Guidone Theatre and presents its celebrated light dance, which combines elements of dance, music, and light technology. Presented by Joy of Motion Dance Center, the Japan Foundation, and the Embassy of Japan. Arena Stage. 1101 6th St. SW. $20-$25.

March 26, 7 p.m. (202) 488-3300. arenastage.org. floweR poweR paRty Hear live music from Aztec Sun, check out art exhibits at Honfleur and Vivid Solutions Gallery, and learn how to create Japaneseinspired floral design at this annual festival presented

by ARCH Development to mark the end of the National Cherry Blossom Festival. Anacostia Arts Center.

1231 Good Hope Road SE. Free. April 9, 1 p.m. anacostiaartscenter.com. katsuRa sunshine The popular performer shares comedic stories in the traditional Japanese rakugo style, which pays homage to Edo-era values and traditions. Japan Information & Culture Center. 1155 21st St. NW. Free. April 10, 6:30 p.m. (202) 238-6900. us.emb-japan.go.jp/jicc. may J. The Japanese pop artist sings songs in multiple languages at this rare D.C. concert, presented in conjunction with the Cherry Blossom Festival. Kennedy Center Millennium Stage. 2700 F St. NW. Free. March 24, 6 p.m. (202) 467-4600. kennedy-center.org. meet netsuke! stoRytelleRs of Japan See a collection of netsuke, finely crafted miniature sculptures originally designed to attach items to the belts of kimonos that eventually came to represent wealth and different personal values. This exhibit also teaches viewers about life in Japan’s Edo period, from the 17th to the 19th century. Japan Information & Culture Center. 1155 21st St. NW. Free. March 24 to May 15.

(202) 238-6900. us.emb-japan.go.jp/jicc. moonlight RevelRy: a Rakugo peRfoRmance Actor Katsura Sunshine performs this traditional type of Japanese comic theater, presented in conjunction with the Sackler’s Inventing Utamaro: A Japanese Masterpiece Rediscovered exhibit. Arthur M. Sackler Gallery. 1050 Independence Ave. SW. Free. April 9, 12 p.m.; April 9, 2 p.m. (202) 633-4880. asia.si.edu. national cheRRy Blossom festival opening ceRemony See performances by Japanese artists, including EL Squad, May J., Shigeyama Kyogen, and The 6821 Quintet at this celebration that marks the beginning of the 90th annual National Cherry Blossom Festival. Warner Theatre. 513 13th St. NW. $5.

March 25, 5 p.m. (202) 783-4000. warnertheatredc.com.

cherry BlossoM critic’s pick

YOJIMBO

While many visitors are distracted by parties and the pink flowers surrounding the Tidal Basin, the Japanese Information & Culture Center, Freer and Sackler Galleries, and National Museum of American History use the National Cherry Blossom Festival to celebrate the cinematic contributions of the nation that sent us those bright blooms. After screening filmmaker Steven Okazaki’s Mifune: The Last Samurai, a documentary about acclaimed Japanese actor and regular Akira Kurosawa collaborator Toshiro Mifune, on March 23, the JICC presents one of the pair’s greatest collaborations, Yojimbo, over the weekend. The darkly comic film directly inspired the Sergio Leone classic A Fistful of Dollars and tells the tale of a masterless samurai who arrives in a small town and uses the existing tension between competing crime bosses to his advantage. Spending a day considering the genius of Mifune is the perfect way to honor Japan’s cultural legacy and avoid the Instagramming hordes gathered around the Jefferson Memorial. Saturday, March 25 at 2 p.m. at the National Museum of American History, 14th Street and Constitution Avenue NW. Free. (202) 633-1000. americanhistory.si.edu.

—Caroline Jones

cherry BlossoM critic’s pick

FloWer poWer party

Half of the cherry blossom blooms may be dead, but the 1200 block of Good Hope Road SE in historic Anacostia will be plenty lively April 9 for the convergence of the Anacostia River Festival and the closing of the National Cherry Blossom Festival.

There are myriad family-friendly options, including canoeing on the Anacostia River, riding in the bike parade, and hearing live music from funk and soul band Aztec Sun and retro-beat DJ Laura Lopez. There will also be exhibitions, classes, face painting, and workshops at the Anacostia Arts Center and Honfleur Gallery. Perhaps most notably, artist Michael B. Platt’s Honfleur exhibit Pathfinder uses digital and conventional photography and printmaking to explore the experiences of the marginalized. And visual artist Ric Cunningham’s first solo exhibit Reclamation (pictured) will be on display at Vivid Solutions Gallery inside the Arts Center, featuring reclaimed materials and “imagery that conveys longing, passion, and hope amid deterioration.” April 9 at 1 p.m. at and near Anacostia Arts Center, 1231 Good Hope Road SE. Free. (202) 631-6291. anacostiaartscenter.com. —Liz Garrigan national cheRRy Blossom festival paRaDe See giant balloons, elaborate floats, marching bands, and celebrity performers at this annual springtime celebration. Attendees can reserve seats in the grandstand or find a place to stand along the parade route. Constitution Avenue and 7th Street NW. Constitution Avenue and 7th Street NW. $20. April 8, 10 a.m. sakuRa matsuRi Japanese stReet festival Enjoy Japanese food, art, and music at this annual street festival that coincides with the National Cherry Blossom Festival. Yards Park. 3rd and Water streets SE. $10. April 8, 10:30 a.m. 202-465-7080. yardspark.org.

sakuRa taiko fest Taiko drumming groups from up and down the East Coast perform at this annual festival that coincides with the National Cherry Blossom Festival. Clarice Smith Performing Arts Center.

Stadium Drive and Route 193, College Park. Free. April 9, 12 p.m. (301) 405-2787. theclarice.umd.edu. a salute to toshiRo mifune The Freer and Sackler galleries partner with the Japanese Information & Culture Center celebrate the National Cherry Blossom Festival by screening two films involving the actor Toshiro Mifune: Steven Okazaki’s 2016 documentary Mifune: The Last Samurai and Akira Kurosawa’s Yojimbo. National Museum of American History.

14th Street and Constitution Avenue NW. Free. March 25, 2 p.m. (202) 633-1000. americanhistory.si.edu.

washingtoncitypaper.com march 24, 2017 37

U.S. DEPARTMENT OF STATE Invitation to an Open House and Public Hearing on the Supplemental Draft Environmental Impact Statement and Compliance with Section 106 of the National Historic Preservation Act for the Foreign Missions Center Master Plan at the Former Walter Reed Army Medical Center, Washington, DC

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Legals REQUEST FOR PROPOSALS SPECIAL EDUCATION SERVICES The Ingenuity Prep Public Charter School solicits proposals for the following special education services: •Counseling •Speech/Language •Occupational and Physical Therapy We are looking for a 15 month contract that would run from April 2017 through June 30, 2018.

Also, we would like all proposals to have an option to renew at the end of the 15 month period.

Please go to http://www.ingenuityprep.org/bids to view a full RFP offering, with more detail on scope of work and bidder requirements. Please direct aby questions to bids@ingenuityprep.org.

Proposals shall be received no later than 5:00 P.M., Monday, April 3, 2017.

FIND YOUR OUTLET. RELAX, U.S. DEPARTMENT OF STATE UNWIND, REPEAT Invitation to an Open House and CLASSIFIEDS Public Hearing on the Supplemental Draft Environmental ImHEALTH/MIND, pact Statement and Compliance BODY SPIRIT with Section&106 of the National

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The U.S. Department of State invites you to attend an Open House and Public Hearing on the Supplemental Draft Environmental Impact Statement (SDEIS) to receive comments from the public during the mandated public comment period. Under the National Environmental Policy Act (NEPA) of 1969, the Department of State will identify a Preferred Alternative to prepare a master plan for the longterm development of a Foreign Missions Center (FMC) on the site of the former Walter Reed Army Medical Center (WRAMC) in the District of Columbia, under authorities of the Foreign Missions Act of 1982.

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from the previous 2014 Draft Environmental Impact Statement (DEIS) as a result of changes to the overall land area available for the FMC and subsequent changes to the development program and site access resulting from the changes in site area. The master plan is intended to guide the development of a cohesive campus by establishing design and landuse planning principles for the construction of new buildings, roadways, open green space, and utilities, while minimizing environmental impacts.

The U.S. Department of State invites you to attend an Open House and Public Hearing on the Supplemental Draft Environmental Impact Statement (SDEIS) to receive comments from the public during the mandated public comment period. Under the National EnviLegals ronmental Policy Act (NEPA) of 1969, the Department of State will identify a Preferred Alternative to prepare a master plan for the longterm development of a Foreign Missions Center (FMC) on the site of the former Walter Reed Army Medical Center (WRAMC) in the District of Columbia, under authorities of the Foreign Missions Act of 1982.

The master plan is an update from the previous 2014 Draft Environmental Impact Statement (DEIS) as a result of changes to the overall land area available for the FMC and subsequent changes to the development program and site access resulting from the changes in site area. The master plan is intended to guide the development of a cohesive campus by establishing design and landuse planning principles for the construction of new buildings, roadways, open green space, and utilities, while minimizing environmental impacts.

The Department of State invites individuals, organizations and agencies to submit comments concerning the content and findings of the Supplemental Draft Environmental Impact Statement during the Public Hearing. Doors will open at 4:30pm for the Open House and the Public Hearing will start promptly at 6:30pm at the same location.

Thursday, April 20, 2017 4:30pm – 6:30pm Open House 6:30pm – 8:30pm Public Hearing Walter Reed Army Medical Center, Red Cross Building Dahlia Street, NW - Building 41 Washington, D.C. 20012 The Department of State will consider and respond to comments received on the SDEIS in preparing the Final Environmental Impact Statement (FEIS). The public comment period starts with the publication of the Notice of Availability in the Federal Register and will continue for forty-fi ve (45) days.

In addition, the Department of State is continuing to carry out the review process under Section 106 of the National Historic Preservation Act of 1966 regarding the potential effect of the proposed undertaking on identifi ed historic properties. Public comments regarding the effect of the proposed undertaking on identifi ed historic properties will be accepted as part of the SDEIS review process.

Red Cross Building Dahlia Street, NW - Building 41 Washington, D.C. 20012

Years of Relevant Experience: 1+

The Department of State will consider and respond to comments received on the SDEIS in preparing the Final Environmental Impact Statement (FEIS). The public comment period starts with the publication of the Notice of Availability in the Federal Register and will continue for forty-fi ve (45) days.

In addition, the Department of State is continuing to carry out the review process under Section 106 of the National Historic Preservation Act of 1966 regarding the potential effect of the proposed undertaking on identifi ed historic Legals properties. Public comments regarding the effect of the proposed undertaking on identifi ed historic properties will be accepted as part of the SDEIS review process.

All comments on the SDEIS process must be submitted by May 18, 2017, to ensure that they are considered during preparation of the FEIS. The public can provide comments in the following ways: 1) oral and written comments may be submitted during the Public Hearing; 2) email comments to FMC.info@state.gov; or 3) mail comments to (if mailed, comments should be post-marked no later than May 18, 2017): Geoffrey Hunt, Department of State A/OPR/RPM, Room 1264 2201 C St. NW Washington, D.C. 20520-1264 The SDEIS for the FMC Master Plan will be available online at http://www.state.gov/ofm/property/fmc/index.htm on March 23, 2017. Copies will also be available for public review at the following libraries: Juanita E. Thornton-Shepherd Park Library, Takoma Park Neighborhood Library, and Petworth Neighborhood Library.

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Core Competencies: 1. Basic Computer Skills (preferred). Particularly Microsoft Offi ce Suite (Word, Excel, Powerpoint, Outlook) 2. Sales or marketing background in the telecommunications industry a plus.

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6. Valid Driving license and proof of insurance 7. Reliable Personal Transportation Functional Requirements: Lifting, carrying, walking long distances in all types of weather, standing for long periods of time, traveling the entire RCN footprint as needed, use of both hands, use of fingers, near vision, far vision, hearing (aid permitted), ability to make notes/write.

1) oral and written comments mayhttp://www.washingtoncitybe submitted during the Publicpaper.com/ Hearing; 2) email comments to FMC.info@state.gov; or 3) mail comments to (if mailed, comments should be post-marked no later than May 18, 2017):

Out with the old, In with the The SDEIS for the FMC Master Plan will be available online at new Post your http://www.state.gov/ofm/proplisting with erty/fmc/index.htm on March 23, 2017. Copies will also be The Department of State invites Washington available for public review at the individuals, organizations and following libraries: Juanita E. City Paper agencies to submit comments Thornton-Shepherd Park Library, concerning the content and findClassifieds 38 March 24, 2017 Takoma Park Neighborhood ings of the Supplemental Draft washingtoncitypaper.com

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High School Diploma or equivalent (required)

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

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