Washington City Paper (March 25, 2016)

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Howard University has admitted its troubles. Can it thrive again? 12 By Jonetta Rose BaRRas / photos By daRRow montgomeRy

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INSIDE

12 price of admission Howard University is selling some of its valuable real estate. Will it be enough?

photographs by darrow montgomery

district Line 7

Loose Lips: Bowser takes on critics in State of the District 8 Gear Prudence 9 Unobstructed View 10 Savage Love 11 Buy D.C.

d.c. feed

19 Young & Hungry: Tim Ma arrives in D.C. 21 Food Grazer: The weirdest pieces of equipment in D.C. kitchens 21 Underserved: Beuchert’s Saloon’s Ramos gin fizz

arts

23 Headline Here: Olszewski on Batman v Superman: Dawn of Justice and The Clan 25 Arts Desk: A guide to D.C.-set web series 25 One Track Mind: Mellow Diamond’s “Belly of the Beast” 26 Theater: Klimek on The Pillowman and 1984 28 Curtain Calls: Johnson on Moment 29 Sketches: Capps on “No Sharps, No Flats” at Transformer

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Get your Real Deal at realdeal.washingtoncitypaper.com washingtoncitypaper.com march 25, 2016 3

CHATTER So Long, And Thanks For All the Hits

In which readers mourn the loss of a legend

DArrow MonTgoMery

The news that Bohemian Caverns would close at the

end of this month (“Last of the Bohemian,” March 18) not only took the city by surprise but immediately saddened us en masse in a way that few announcements can anymore. Thanks went out to author Michael J. West for his sensitive coverage. Our readers in particular poured their hearts out into the comments section, reminiscing about the role the Caverns played in their lives as lovers of the arts. Kehembe V Eichelberger: “It’s where I heard Miles Davis live for the first time. Now I go to see students I taught or want to support.” Joanne: “One of my first visits to the Bohemian Caverns was to see John Coltrane for (if I remember correctly) about $6! ... I was also there when Ramsey Lewis recorded The In Crowd.” Jay: “They even unexpectedly refunded my cover once when I was stood up.” Klysha: “I met my husband at the Stevie Wonder party in Liv and we go back every year to celebrate our meeting.”

Bert Withers: “I will never forget seeing Eric Dolphy, dozens of performances by John Coltrane (incl. a couple of time w/Pharoah [Sanders]) & Miles Davis w/Wayne Shorter & many other top-shelf artists. I also recall seeing Tony Taylor emceeing those appearances as well as those by Shirley Horn & the JFK Quintet w/Andrew White before Trane & Miles did regular dates there.” Bobby Smith: “I am 85 years old and went to the Cave as a teenager with my father.” And finally, reader lilkunta gave voice to that terrible nightmare scenario we all have lurking in the back of our heads somewhere, waiting to be made into a nauseating reality: “i dont want a developer to buy it and make condos.” Ugh. —Emily Q. Hazzard Department of Corrections: Due to a reporting error, last week’s cover story incorrectly stated that musicians like Ron Carter, Pharoah Sanders, and Benny Golson “accepted door gigs” to play Bohemian Caverns.

Want to see your name in bold on this page? Send letters, gripes, clarifications, or praise to editor@washingtoncitypaper.com.

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DISTRICTLINE Loose Lips

SODA Pop

Muriel Bowser defends a tumultuous first year, her D.C. General plan while launching $15 minimum wage initiative

By Will Sommer Muriel Bowser delivered her second SODA at a smaller venue.

Darrow Montgomery/file

Muriel Bowser has streetcar jokes. At Tuesday night’s State of the District address, the mayor happily pointed to a problem that wasn’t her fault.

If the mayor had a buck for every person who asked her a dumb question about being mayor, she could fund the entire streetcar line.

But hands off, Sen. Rand Paul (R-KY).

“Now, we can make fun of the streetcar,” Bowser said. “But we’re not gonna take it from a senator from Kentucky!”

No wonder Bowser loves the streetcar. It’s the rare problem she can’t take the blame for.

Everywhere else, it’s been less than smooth.

While the last two mayors bear most of the bill for the $200 million streetcar, Bowser has presided over her own problems. Bowser’s first State of the District promised a “fresh start” after the Vince Gray administration. Now, however, voters can actually blame Bowser— and there’s no shortage of gripes.

Bowser’s fire department medical director quit and put bodies on her administration, while her allies face a walloping at the primaries. LL would lean on streetcar jokes, too.

Bowser scaled down the venue for her sophomore speech. Last year, she delivered her address at U Street NW’s Lincoln Theatre, which seats more than 1,000; she gave this year’s speech at Southwest’s Arena Stage, in a venue that seats half that.

Tickets went fast. People who missed out complained to LL that tickets were gone as soon as they were announced.

That’s convenient when you’re facing a lot of people angry about a plan to close the D.C. General homeless shelter, replacing that decrepit, dangerous shelter with smaller locations in seven wards. Naturally, the plan has angered some site neighbors, as well as those who say that it’s way too expen-

sive or benefits the site owners who double as Bowser donors.

Outside the theater, a handful of protesters waited for Bowser. They griped, accurately, that Bowser’s plan would offer shelter in some neighborhoods for thousands of dollars more than an average apartment in the neighborhood.

Bowser’s protesters also brought a cartoon: The mayor, facing reports that the plan benefits

her donors, cowers under her desk. But Bowser had her own jabs, saying in her speech that shelter location opponents “have said vicious things.” If opponents foil even one planned site, according to Bowser’s remarks, they could leave the dismal shelter open for good.

“They’ve threatened those who are trying to carry it out—literally,” Bowser said.

(A mayoral staffer speaking on background tells LL that Bowser was referring

Tomorrow’s History Today: This was the week that airport workers at Reagan National postponed a strike to show solidarity with employees at the Brussels airport.

to shelter opponents posting personal information about government officials involved in the plan online, as well as an alleged uninvited visit by a project opponent to an official’s home.)

In her other speeches, Bowser has been as subtly combative as ex-Mayor Vince Gray, throwing coded signals about what angers her and what doesn’t. But at the SODA, the mayor struck a conciliatory tone, mentioning all 13 councilmembers with varying degrees of praise. She even celebrated Gray’s beloved construction cranes, touting them as future jobs for the city.

Bowser’s supporters like Metro Chairman and Ward 2 Councilmember Jack Evans got hefty slabs of beef (“Metro’s new mayor!”), but so did typical foes like Ward 3 Councilmember Mary Cheh, Ward 5 Councilmember Kenyan McDuffie, and At-Larger David Grosso.

D.C. Council Chairman Phil Mendelson, who has frequently sided with Bowser antagonists, earned a standing ovation.

Maybe the most veiled compliment of the night came when Bowser said At-Large Councilmember Elissa Silverman, who has proposed a city-spending cap on the Wizards practice facility, would someday hold a job fair at the new building.

Bowser wants to make new friends because she could lose a few old ones soon, depending on the outcomes of four June Council races. Bowser’s favorites are threatened in Ward 7 and Ward 8; they’re at least competitively challenged in Ward 4 and at-large.

Even one or two losses could tip the balance of the Council towards Mendelson and Attorney General Karl Racine. With her first year’s plans under attack, Bowser proposed new ones Tuesday night.

Bowser said she will send legislation to the Council pitching a $15-an-hour minimum wage by 2020, after a similar ballot referendum became bogged down in court. And she pitched a takeover of the D.C. Jail’s entire operations, a move that should please sentencing reform activists.

Bowser might have the easiest time handling the city, thanks to a years-long boom.

But her promises at the State of the District didn’t deflect LL’s impression that she might become the District mayor who spends the CP most while getting the least.

Got a tip for LL? Send suggestions to lips@washingtoncitypaper.com. Or call (202) 650-6925.

washingtoncitypaper.com march 25, 2016 7

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Gear Prudence: What are the guidelines for the one-fingered nose-blow while biking? While stopped at a red light? Obviously I wouldn’t blow at someone right next to me, but how far away from other bikers should one be? From pedestrians?

—Stuffy Nose Troubles Biker, Leaves Others Wanting Extreme Revenge Dear SNOTBLOWER: When it comes to the expression of precious bodily fluids while cycling, GP is considerably opposed. It’s just sort of gross to dapple the road with mucus, and rare are the circumstances that truly forgive it. Many of the greatest advances in civilization have related to the proper management and disposal of human wastes in less public and less societally deleterious ways. Snot rockets seem to fly against that. Certainly under no circumstance would you ever want to do this near another person. Have some dignity! Respect theirs! But if you’re alone (or if you’re with a group of likeminded boors who wouldn’t think any less of you) and if you’re in the middle of nowhere (never in the city) and and if you’re, for myriad reasons, truly unable to stop and use a tissue, then—and only then— go for it. But it’s still pretty gross. And if you choose to ignore this advice and your snot ever ends up on another person, well, GP can’t (and —GP won’t!) defend you.

Gear Prudence: Are cyclists legally required to pull over for emergency vehicles? I see some who do, but a lot who don’t. If bikers are in a bike lane, they’re not really blocking the road, so does that make a difference at all?

—Should I Respect Emergency Noises?

Dear SIREN: Does it really matter what the law says? Common sense dictates an obligation to make way for emergency vehicles by moving over as far as possible and stopping. This is especially important for drivers, since cars are much bigger impediments on the road than a person on a bicycle is, but the general dictum of “if there’s a siren, get the fuck out of the way” is mode blind. For what it’s worth, the D.C. Municipal Regulations section on emergency vehicles states that “the driver of every other vehicle shall yield the right-of-way” and also mentions that streetcars should also stop.

Even though it doesn’t explicitly say anything about bicycles, the municipal regulations also state that cyclists have the same duties as drivers unless otherwise mentioned. So assume this law applies to cyclists too. Moreover, there’s a practical reason for pulling over: self-preservation. With drivers trying to get out of the way (often without taking due caution), you’d be likewise much safer if you did the same. —GP Gear Prudence is Brian McEntee, who tweets at @sharrowsDC. Got a questions about bicycling? Email gearprudence@washcp.com.

UNOBSTRUCTEDVIEW

Washington Union Station Expansion Project Informational Forum The Federal Railroad Administration (FRA) invites you to learn more about the elements that will form the station expansion design concepts.

Remedial Bracketology

By Matt Terl I don’t have an NCAA tournament bracket this year.

That’s a statement that’s usually met with a cringe and a shudder and a look that says, “Oh God, he’s going to tell me how to live my life,” but I promise I don’t mean it that way.

This isn’t some carefully planned approach to, like, divest myself of false rooting interests and appreciate the crystalline purity of amateur athletics, man.

In fact, it was pretty much a mistake. The work friend who had invited me to his brackets for the last few years is no longer at my place of work, and apparently that gets me cut off from his invitation list. And then, well, y’know, it’s been busy and one minor crisis leads to another, and the next thing you know there’s a bunch of people playing basketball and you’re sitting there, bracketless and sad.

(This is the part where the person talking usually takes a few minutes to really throw a leg over their high horse and get nice and situated up there before continuing, but just give me a second. ) The important—no, crucial—thing you need to know, though, is this: Watching the NCAA tournament without a bracket is, possibly, the height of idiocy. Because suddenly, without arbitrary rooting interests put into play, you realize that, hey, this is just a bunch of college basketball games that I ordinarily wouldn’t watch.

And let me tell you, that is a horrible realization.

The 68 teams in the tournament (yes, I’m including the “First Four” play-in games, so congratulations to the NCAA for making fetch happen) each played around 30 games this season. I follow Maryland basketball reasonably closely; I occasionally check in on the other local teams if time allows; I probably caught a few games while sitting in a bar or restaurant. Being as generous to myself as I can possibly be, I’d say that I watched all or a significant chunk of maybe 35 games this season, out of the roughly 2,000 played by tournament teams.

That’s not the surprising part. It’s a sad truth of parenthood (and non-parent adulthood, too) that the amount of time you can feasibly spend slumped on the couch staring slackjawed at sports just plummets. This is, quietly, one reason the NFL enjoys such widespread success: To follow your team, you only need to invest four hours, one day a week.

That’s a manageable time commitment, even

with a couple of kids to ferry around.

The surprising part isn’t me missing 1,950plus regular season basketball games; it’s how we all get whipped into a frenzy of making a bunch of games into all-day appointment viewing every year just because of the tournament. If my experience is any indicator, it turns out that brackets are a big part of that.

Watching the NCAA tournament without a bracket is, possibly, the height of idiocy.

I wouldn’t have been able to get away from work to watch most of the daytime games anyhow, but without a bracket to follow, there was no point in even monitoring them online.

The first 10 or so games of this tournament were no different to me from the hundreds of games that preceded them: I might’ve missed some thrilling live moments, but with no personal stake, seeing the highlights was just fine.

In fact, even once I was free for the day, the imperative to watch the tournament was way, way down. The only reason I caught the University of Northern Iowa buzzer beater on Friday night was because it was on when I turned off Daredevil.

There’s this weird effect around NFL preseason games where we say “These games are frivolous and silly, but those games later are deadly serious and meaningful,” and it turns out the mystique around the NCAA tournament is just that in reverse. Without a bracket, March Madness becomes pretty much the same as any other month’s mild psychological disorder: I watch Maryland and highlights.

And it’s awful. Don’t let anyone tell you otherwise. It does not make the game more pure or give you a greater appreciation of basketball. It is a decision that is bad enough to make one of the most exciting weekends of the sports calendar feel like mid-July.

Honestly, the only good news about this is that it’s probably the worst sports-related decision I’ll make all year, and it’s only March.

CP

Follow Matt Terl on Twitter @matt_terl.

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City Paper March 1/4 page final.indd 1

3/15/16 12:14 PM

washingtoncitypaper.com march 25, 2016 9

SAVAGELOVE I’m a 24-year-old male, married three years, monogamous. My wife and I are religious and were both virgins when we got married. I’m sexually frustrated with two things. (1) How can I get her to give me oral sex? (She has never given and I have never received oral sex. I regularly give her oral sex.) She is afraid to try it, saying she’s not ready yet. About every six months, I bring it up and it leads to a fight. She is a germophobe, but I think she believes fellatio is done only in porn. (I used to look at porn, which nearly ended our then-dating relationship.) (2) I feel like I’m always giving and never receiving any type of affection: massages, kisses, caresses, you name it. It’s like having sex with a sex doll— no reciprocation. How do I broaden our sex life without making her feel like we’re in a porno?

—Sexually Frustrated If you don’t already have children—you don’t mention kids—please don’t have any, SF, at least not with your first wife.

You’re a religious person, SF, a lifestyle choice I don’t fully understand. But you’re also a sexual person, and that I do understand. And if you want a lifelong, sexually exclusive, and sexually fulfilling relationship, then you must prioritize sexual compatibility during your search for the second Mrs. SF. Because your next marriage is likelier to survive for the long haul if you’re partnered with someone who is attracted to you physically and is aroused— roughly speaking—by the same sex acts, positions, and fantasies you are.

In other words: Don’t marry someone and hope she likes sucking your dick. You tried that, and it didn’t work. Find someone who likes sucking your dick and marry her.

—Dan Savage I’m a straight woman in my early 30s, and I just don’t like receiving oral sex. I love giving blowjobs and can orgasm from PIV sex, but I seem to be one of the few women who don’t enjoy guys going down on me. I’m not uncomfortable with it,

but it doesn’t get me off. I also get wet easily, so it’s not like I need it as foreplay. As I’ve gotten older, and the guys I sleep with have gotten older, it seems like most want to spend a great deal of time down there. I’ve tried being up front about not liking it in general, but guys either get offended or double down and do it more because they assume I’ve never been with a guy who “could do it right.” Any ideas on how to handle this?

—Needs Oral Preference Explainer The observation you make regarding older straight guys—older straight guys are more enthusiastic about going down on women— is something I’ve heard from other female friends. They couldn’t get guys to go down on them in their 20s, and they can’t get guys in their 30s and 40s to stop going down on them.

(SF, above, is clearly an outlier.) The obvious solution to your dilemma, NOPE: Only fuck —Dan guys in their 20s.

Fan from Sweden here! Question: My fetish has no name. It is a “worshipping” fetish, for want of a better term, where I am the one being worshipped.

Not by one man, but all men of the earth. The worshipping itself, while sexual, is not bound to my body parts. It would be great to have this named.

—Lack Of Vocabulary Enervates My Experiences A year ago, I would’ve diagnosed you with “caligulaphilia,” LOVEME, after the Roman emperor Caligula, who considered himself a living god, and -philia, the go-to suffix meaning “abnormal appetite or liking for.” But these days, I’d say you were suffering from a —Dan bad case of “trumpophilia.”

I’m a 24-year-old female who met my 26-year-old boyfriend five months ago through Fetlife. We do not share the same fetish, but we have other overlapping interests and he is lovely, smart, and funny. He has a diaper and incontinence fetish. Not my jam, but I’m GGG. The issue: He has the most

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You remind me of those straight guys who send unsolicited dick pics to women they barely know—they don’t do it because it never works, they do it because it works on rare/random occasions. one-dimensional sexuality I have ever seen. He can get off only in the missionary position, with a diaper under us, and with incontinence dirty talk.

Even with all of the above, its difficult to get him to orgasm. And it’s only very recently that we’ve been able to have penetrative sex—since he was used to getting off with his hand and a diaper— always with diapers under us and with lots and lots and lots of pee talk. But there’s only so long I can talk about losing control and peeing myself before I lose interest in the activities at hand. I do not mind getting him off this way sometimes, but this does absolutely nada for me and it’s the only way he gets off. He’s otherwise an amazing person, but I’m getting frustrated. We’ve talked about how my needs aren’t being met, and he claims he’s done standard vanilla before and managed to satisfy his partners. I’ve yet to experience it myself, however, and I’d really like to be able to enjoy some vanilla sex—let alone my kinks!—with him!

—Please, I’m Sexually Saddened

male foot every hour of every day. I often find myself pushing boundaries with attractive male friends and acquaintances to satisfy my urges, which has caused me a lot of stress and anxiety.

I’m obsessed with the idea of offering some of my friends and acquaintances foot massages, but I just don’t know how to bring up the subject, given my mixed experiences. A lot of people think of foot rubs as intimate and believe they should be restricted to romantic relationships. While I’ve been lucky on very random occasions, I’ve had some fuckups.

I asked a gay friend whether he would like a foot massage, but he declined—and while he was polite about it in the initial exchange, he has since ignored me. I asked a straight guy, and he considered it but never followed through, and I feel weird about asking him again. I told another straight guy who was shocked that I would ever ask him such a thing, but he still talks to me and makes light of the incident.

Whereas another guy unfriended me on Facebook after I messaged him and told him I liked his feet.

What should I do? Is there a proper way to ask to rub someone’s feet? It’s not like I’m asking to suck on people’s toes. —Crazed About Lads’ Feet

Your lovely, smart boyfriend is a lousy, selfish lay, PISS, and you two aren’t sexually compat—Dan ible. DTMFA.

You remind me of those straight guys who send unsolicited dick pics to women they barely know—they don’t do it because it never works, they do it because it works on rare/ random occasions. But you have to ask yourself if those rare/random instances when an attractive male friend allowed you to perv on their feet—the handful of times you’ve gotten a yes—are worth the sacrificing of all the friendships you’ve lost.

Foot rubs are a form of intimacy, particularly when performed by foot fetishists, and you’ve gotta stop pestering your hot friends about their feet. There are tons of other foot fetishists out there—most male, loads gay, tons online. Go find some fellow foot pervs and —Dan swap rubs with them.

I am a 26-year-old guy and I have an overwhelming foot fetish. I cannot help but think about the

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

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Price of Admission

By Jonetta Rose BaRRas photos By daRRow montgomeRy

Howard University has admitted its troubles. Can it thrive again?

Whenever Bryan Weaver would think about that old, beige-colored building on the corner of 16th and Euclid streets NW, with its concrete portico and greenish security grills, warm memories would wash his mind. He’d remember those lazy Sundays when the music from the drum circle in the nearby park would come through the open windows of Meridian Hill Hall, inviting people to join the festivities. One of the few whites to live in the Howard University dormitory, he called it a “favorite foot-step into the rest of Washington.”

Taylor Tiamoyo Harris, an African-American woman who is the current editorin-chief of the student newspaper The Hilltop, has similar sentiments: “[It] was a histor-

ical part of Howard. Living at Meridian was known as ‘rites of passage.’”

Past is past.

Howard’s president, Dr. Wayne A.I. Frederick, recently announced a 99-year groundlease agreement with Jair Lynch Real Estate Partners; that company is expected to transform the 1942, eight-story building from 650 dorm rooms into 200 mostly luxury apartments. A small percentage of the units could be reserved for tenants who would pay 80 percent or less of the going market rate. That set-aside might help partially characterize the complex as “affordable housing,” providing an opportunity for developers to receive government subsidies and tax credits.

“I’m willing to accept there is an element of nostalgia,” said Weaver about his unfavorable reaction to the deal. After all, Howard built two new dormitories, replacing the rooms at Meridian Hill Hall. But he said the students who lived there enriched the community: They tutored low-income African-American and Hispanic children from the neighborhood, supported local businesses, and brought an im-

portant element of diversity to the area.

“The thing that is heartbreaking is people are making decisions based [primarily] on money,” continued Weaver, agonizing over potential hikes in property taxes, which have helped push out moderate- and low-income homeowners. Given its political and social history, he said, the university has a greater responsibility to consider the consequences of its actions.

Howard has received $22 million in advance lease payments from Lynch’s company. During a recent interview with Washington City Paper, Frederick emphasized that he isn’t selling the property. “We will collect revenues when condos are sold or from apartment [rents].” He declined to provide details about the revenue-sharing between the university and Lynch, however.

“We ask [ourselves], is Howard in desperate need of money?” said Harris. She and other students chastised the administration for its “lack of transparency” and its failure to provide any advance notice of the lease agreement or other recent decisions it has made that affect washingtoncitypaper.com march 25, 2016 13

Courtesy of Howard University

to celebrate its 150-year anniversary in 2017 is currently fighting for its life.

Between 2014 and 2015, more than 300 people were cut from the university and Howard University Hospital payrolls. Within the last four years, Howard has eliminated dozens of initiatives and academic programs, including the masters in educational administration and policy, the masters in human development, the bachelor of music education, and degrees in foreign languages including German and Spanish. While Whitman had promised to provide City Paper with information regarding how many students were impacted, he never did, despite repeated requests.

Nearly 200 students, mostly undergraduates, were kicked off campus in mid-February for failing to pay outstanding tuition and other fees; they owed a combined total of $2.5 million. “If they were going to do that, they should have kicked them out at the end of the semester,” said Harris. “It’s hard not just for the students but also for the parents.”

Then there is the television station: Howard is expected to participate in the Federal Communications Commission Incentive Auction scheduled for March 29. Up for grabs are broadcast rights of WHUT-TV, “the first African-American-owned public television station in the nation” and “the only university-licensed public television station located in the metropolitan Washington viewing area,” according to Howard’s website. That move has been decried by the School of Communications’ Howard Media Group, which is not affiliated with the administration but is composed of university faculty, students, alumni, and community leaders; the group advocates for policies that support the advancement of women and people of color in media companies.

“These are decisions that are super dangerous,” said Weaver. They also are significantly reconfiguring a historic institution.

Howard President Wayne A.I. Frederick the entire university.

Frederick pushed back against the implication that he lacked an appreciation for the his-

tory of the dorm. “I lived in Meridian Hill in 1989,” he said, adding that gentrification in the neighborhood was already underway at that time. He cited the Envoy Apartments as an example. Built in 1918, the building initially served as a hotel. In the 1980s, it underwent a massive renovation. Back then, however, most people saw that as simply an improvement— not the kind of gentrification sweeping through communities like Columbia Heights. Assessments for Class 1 residential property in that neighborhood increased by 24.5 per cent between 2014 through 2016, according to documents provided by the Office of Tax and Revenue. Developing Meridian Hill into luxury apartments would exacerbate those dynamics.

Frederick said failing to “monetize” the university’s assets “would be irresponsible.”

“We can’t be emotive about everything we do,” he said. “At the end of the day, we have a fiduciary responsibility to see that we not only survive but that we thrive.”

14 march 25, 2016 washingtoncitypaper.com

“The finances of this university are complicated and dire,” he added.

Howard’s operating revenue for fiscal year 2016 is $822 million—down from $842 million in FY 2013. Its bond rating has been downgraded twice, leaving it with a BBB from Standard & Poor’s and a Ba2 from Moody’s Investor Service. It must pay $38 million this year to cover the cost of money it has borrowed, according to William Whitman, vice president of communications and marketing at Howard.

That fiscal portrait has unnerved many people anxious about the overall plight of historically black institutions. With integration has come choice—many African Americans are choosing previously all-white schools. Howard’s location in the nation’s capital and its legacy may have created the perception that it is immune to social and market forces. Here is the reality: The university once dubbed “The Capstone of Negro Education” and expected

Looking up the hill from Georgia Avenue and Howard Place NW, to the main campus, the view is of a collection of faded beige-colored structures. Walk inside a few of those buildings, including the one where the president’s office is located, and it’s almost like being shot back into the 1970s or 1980s. The floors of Founders Library—designed by African-American architect Albert I. Cassell and opened in 1939—buckle. As testimony to Howard’s neglect of its resources, a plaque, given on behalf “of people of South Africa by President Thabo M. Mbeki in honor of the Anti-Apartheid Movement in the University,” hangs in the library’s unguarded alcove. “[Howard] is falling apart,” said E. Ethelbert Miller, a literary activist and Howard alum, who once directed the university’s Afro-American Studies Resource Center. Last spring, he and 80 others received pink slips.

“If [Howard] is going to claim to be a black university, it has to protect those resources. I don’t want to bad-mouth the university, but I have to be honest.”

“We have not been investing in our physical plant,” Frederick said. Fortunately, the Na-

tional Trust for Historic Preservation recently selected Founders as a “national treasure.”

“It is the only site at a historically black college or university to [receive that designation],” the university boasted in its press release.

The honor is nice. But while the National Trust is committed to helping find money for preservation architects and others to make “Founders a creative learning space for the 21st century,” at the time of the announcement, it was unclear how much would be needed. And if Howard wants a complete renovation of Founders, it may have to raise most of the funds itself. The university can barely cover the cost of routine maintenance of other buildings on its various campuses. Overall, deferred maintenance could be more than $150 million, according to university officials.

“The school is going down,” said one sophomore I met at the Armour J. Blackburn University Center, another building in need of repair. She spoke on condition that her name be withheld, fearing reprisal from the administration. She served a smorgasbord of grievances: poor facilities, awful management, and neglectful treatment of students. “I fear possibly the school will no longer be here.”

The school’s demise may not be imminent, but Howard is severely wounded and betraying its remarkable narrative. In 1866, the First Congregational Society of Washington started a school for black clergy. One year later, white students were enrolled. Oliver O. Howard, who had been director of the federal Freedmen’s Bureau, became the school’s president; ultimately the university took his name. By 1872, more than 100,000 freed slaves had been educated there.

It wasn’t until 1927, in the midst of the New Negro Renaissance Movement, that the first black president, Mordecai Wyatt Johnson, was appointed to lead the institution. There had been 10 white presidents. “I am only the seventh black president,” Frederick told alumni during a meeting with them.

He was appointed in 2014, after first serving as provost under Sidney Ribeau, who was forced to resign his post in 2013 amid controversy surrounding an internal memorandum, leaked to the press. In it, Renee Higginbotham-Brooks, then vice chair of the Board of Trustees, asserted that Howard “will not be here in three years if we don’t make some crucial decisions now.”

Frederick was no stranger to the university. He enrolled in the school when he was 16; earned his bachelor’s and medical degrees from Howard; and he had his surgical residency at the hospital.

He completed post-doctoral research and surgical oncology fellowships at the University of Texas MD Anderson Cancer Center, and later served as associate director of the Cancer Center at the University of Connecticut. He joked during our interview that in his youth he used to practice his acceptance speech for the Nobel Prize in Medicine, certain he would find the cure for sickle-cell anemia, from which he personally suffers. He returned to Howard in 2006.

Of his predecessors, Frederick said Johnson and James Cheek were standouts. The latter

was only 37 years old when he took the helm in 1968. During his 20-year tenure, he grew the student population from 9,500 to 12,000; the colleges expanded from 11 to 18; and the budget increased from $43 million to $417 million. “Cheek worked tirelessly to make the argument [that] this is an Ivy League school with black students,” said Frederick.

I met and fell in love with Howard during Cheek’s tenure. It was an open campus; residents like me were free to use its resources.

I regularly attended free workshops conducted by award-winning novelist John Oliver Killens and seminars presented by The Institute for the Arts and Humanities, headed by scholar and author Stephen Henderson. Some evenings I found myself sitting in the living room of famed poet Sterling Brown. When the small nonprofit I co-founded decided to dissolve, our papers were donated to Howard’s MoorlandSpingarn Research Center.

Thurgood Marshall, Zora Neale Hurston,

Ossie Davis, Toni Morrison, Owen Dodson, and Andrew Billingsley—among others—had graduated from the school. That history didn’t just wow me, it captured some of today’s students like freshman Demani Wallace, who said he wanted to be “around people who look like me and want to be successful. I wanted to be in business. Howard has one of the top business schools in the country.” John Cochran, a budding actor, said he “came for an audition and fell in love with the environment. There are so many African-American intellectuals.”

Faculty Senate Chair Taft H. Broome Jr., who graduated from Howard, said he remembered living in Drew Hall in the 1960s.

“I was elected president of the fifth floor; the vice president was Togo West [who went on to become secretary of the Army].” Broome compared what is happening at the university to Greek mythology: “A great hero is being brought down. But its nature is to defy death and come back stronger.”

In his bestselling book Between the World and Me, Ta-Nehisi Coates (a former City Paper staffer) writes that he was “admitted to Howard, but was formed and shaped by ‘The Mecca.’ These institutions are related but not the same. Howard University is an institution of higher education. The Mecca is a machine, crafted to capture and concentrate the dark energy of all African peoples and inject it directly into the student body. The Mecca derives its power from the heritage of Howard University, which in Jim Crow days enjoyed a near-monopoly on black talent.”

That narrative and Howard’s huge physical presence imbue it with critical importance. Its real estate portfolio, valued at $1.5 billion, crisscrosses three wards and two quadrants in the District and parts of Maryland.

Any changes in the way Howard functions and manages its real estate portfolio could have a broad impact on the District. “The Divinity

washingtoncitypaper.com march 25, 2016 15

school is prime location in Brookland, the same with the law school,” said Weaver.

The School of Divinity sits on 22 acres in Northeast, near Catholic University. Frederick visited that campus when he was still provost. “We charge some of the highest tuition and had the worst building,” he said. Frederick moved the school to the west campus, in Van Ness, “to have the opportunity to improve” the Brookland campus.

A decision not to return the school to that location could create the same kind of circumstances residents in Ward 4 faced when the federal government closed the Walter Reed Army Medical Center. The difference, of course, is that Howard is a private corporation, albeit nonprofit. It can do what it wants with its property without government intrusion, unless it needs zoning changes.

Frederick said he has no “intention of closing the Divinity school” and accused me of promoting “rumors and innuendos.” A university spokesperson later said via email that the school is “part of a broader development program for our east campus.”

Howard has contracted with the Urban Land Institute’s Advisory Services program to help it consider future uses of the Divinity school campus, according to a ULI spokesperson.

While Howard officials said they want to return the Divinity School to the Brookland campus, they also have told ULI they want to explore other possible usages of that property.

“We’re not consultants,” said the spokesperson. “We’re under no obligation to come to the conclusion [the university] wants.” ULI has gathered a team of experts who will tour the campus, conduct closed-door interviews with key stakeholders, and issue a report that includes recommendations. “Nobody comes from Washington, D.C. We offer an objective, outside point of view,” continued the spokesperson. The Advisory panel will be on campus for one week in June.

D.C. Councilmember Brianne Nadeau, in whose Ward 1 Howard’s main campus is located, commended Frederick for “being smart about leveraging assets—physical property and intellectual property” it hasn’t leveraged for years. “Previously the focus has been on smaller, individual properties—like the Barry Place project, the Mary Church Terrell House—that are in the community. But now there’s a broader focus.”

“Its footprint has had an impact on what has been and what will be,” added Nadeau.

For years, some people in the city have been frustrated by the university’s failure to develop its property, particularly that fronting on Georgia Avenue NW. Now the Shaw neighborhood is experiencing a dramatic renaissance. The average values of private homes jumped from $150,000 in 2008 to $800,000 in 2014, according to the D.C. Office of the Chief Financial Officer. In the past two years, property assessments have increased between nine and 17 percent.

Howard has made attempts to join that stream of progress. In 2013, for example, it had proposed a town center in the 2100 block of Georgia Avenue NW, at the site of the old Bond Bread building. The development would have

included housing, a grocery store, and other retail outlets. While it received an $11 million tax abatement, Howard ultimately canceled the deal with its developers, charging that the company had failed to meet certain benchmarks.

That project was expected to yield as much as $2 million annually in lease income.

Weaver may be concerned about development, but some Shaw residents are interested in seeing the south Shaw renaissance move further north, connecting with the vibrancy of Petworth at Georgia Avenue and New Hampshire Avenue: There have been private conversations about demolishing the hospital.

Frederick was a tad more forthcoming about the hospital’s fate, making clear that it should not be confused with either the School of Medicine or the School of Dentistry. The academic achievement in the health science area is a “great American story,” he continued, adding that the university accounts for a large number of African-American medical professionals entering the market each year. That is “not something anyone should take lightly.”

The hospital predates the university, noted Frederick, referring to Freedmen’s Hospital.

But it has been closed for decades. The current hospital was built in 1974; it occupies a large piece of land that fronts Georgia Avenue.

Once it was a celebrated institution, with sparkling equipment, impressive research professionals, and well-known medical staff. Over the years, however, the equipment has aged, the institution has been mismanaged, and it has been unable to substantially diversify its client base; Frederick said that 88 percent of the patients receive either Medicare or Medicaid insurance.

16 march 25, 2016 washingtoncitypaper.com

“It also provides treatment to folks who have additional needs,” including those addicted to heroin or who have been diagnosed with HIV, said one of the medical professors. “It’s a walkin testing site. If it closes, it could have devastating consequences of the overall health care delivery system in the city and the region.”

That fact is indisputable. Consider the ripple effects earlier this month when the hospital’s emergency room was closed after a pipe burst and caused significant flooding. Other medical facilities had to take up the slack. But a school suffering fiscal instability may not be able to afford the albatross that the hospital has become. The combination of poor management and meager private insurance accounts have helped produce tons of red ink.

“I don’t think we need to own [a hospital] in today’s world,” said Frederick. Howard certainly wouldn’t be the first university to shed the responsibility of operating one.

In 1999, George Washington University Hospital faced similar challenges; it entered into a partnership with Universal Health Services, Inc., which under the agreement got an 80 percent interest while the university retained a 20 percent interest. In 2002, a new hospital opened near Pennsylvania Avenue NW. Two years earlier, Georgetown University sold its hospital to MedStar; many of the school’s medical professionals were given contracts, according to the Baltimore Sun. Frederick said he has placed the hospital in “a situation where it can thrive.” Last year, he turned over management of the hospital to the El Segundo, Calif.-based Paladin Healthcare Capital. It has made significant changes, like reducing staff and services, which appar-

ently have produced some favorable results.

The company has predicted a small profit of $5 million for this fiscal year. Whether that’s enough to justify keeping it open remains to be seen.

Howard’s leadership is concerned about maintaining training opportunities for its medical and health science students. Frederick said he wants to ensure a “strong academic affiliation agreement is in place.” Equally important, the cultural environment and cultural sensitivity must be retained. Translation: Its partner or buyer has to cater to African-American and minority students. “It’s not simply a business transaction,” he added. But as Frederick likely knows, diminishing opportunities for students would certainly affect Howard’s bottom line.

It could reduce enrollment, thus adversely affecting the university’s boasted reputation as a top producer of black doctors and other medical professionals.

Declining to speculate about the possible closing of the hospital, Nadeau said, “It’s too soon to say what the city’s reaction might be to changes there. Howard is unlike any other property owner. Its impact is more acute because of how much property it owns.”

Mayor Muriel Bowser has certainly taken an interest in Howard. She launched part of the city’s Empowering Males of Color Initiative at the school. The university and her administration created a program that allows select students at Banneker High School to simultaneously enroll at Howard.

The District has also invested $1 million to help develop a “venture capital hub for startups and emerging companies” in the school’s Wonder Plaza retail complex. Bowser and Frederick have had two press conferences and one ground-breaking for the same project.

The District government has predicted that companies that locate in the facility will create “strategic connections to Silicon Valley, investors, and partners.”

“For a long time we have put people in [industries],” Frederick said. “Now we will be putting out graduates who can create industries or own them.”

If Cheek guided massive growth at Howard, then Frederick may be presiding over a sort of retrenchment. His predecessor amassed a significant real estate portfolio, and Frederick appears determined to sell or lease property, removing it from the university’s direct management. Instead of growing undergraduate programs, he is systematically dissolving many of them, possibly reducing the attractiveness of the university to a population his predecessor aggressively courted.

Cheek came under fire at times for his expansionist agenda. Frederick has been feeling similar heat for his reductionist approach. Poet Miller said he faithfully donated to the university through regular payroll deductions. “I love the institution. [However,] I can’t see anything they did with [my] money.”

The personnel cuts have heightened frustrations among faculty who say they have been forced to serve multiple functions, taking them away from providing support to stu-

dents or even engaging in necessary research and academic writing. The Hilltop’s Harris reported that the School of Communications had only two academic advisers; one left, leaving a dean to step in. Frederick said he has created an Office of Undergraduate Studies that will provide “advisement of students.” But while such an office does exist, the university’s website advises students with undeclared majors to report to the Office of Student Services. Others, like students at the School of Communications, are directed to the advisory center within their school.

Foreign students for whom English is a second language don’t have advisers or tutors.

“Sometimes they have to go through qualifying exams, but a large percentage of them cannot pass the exams so they cannot continue in the program,” said one professor.

The budgets for students organizations have been cut, affecting the quality of their work and their ability to communicate. For example, the receptionist at the Student Government Association office commented that they did not have a phone. Students’ living standards also have been affected. In an open letter to Frederick, in the Feb. 8 edition of The Hilltop, Clarence Allen wrote “Our dorms suck...

I am tired of feeling like I am camping in my room. I am tired of all the complaints over easily avoidable and unnecessary problems.”

“Sometimes I feel like it’s the students versus the administration,” the anonymous sophomore said. “The only time we get a response is when we take to social media.”

Then there are the concerns about Wi-Fi. Many professors use the Internet to make assignments, and students submit work using the same system. When the technology breaks down, their academic standard can sometimes be jeopardized, said students with whom I spoke.

Frederick agreed there “needs to be more administrative support,” which he said doesn’t mean more employees. Part of the issue, he said, is that more students are “playing more games, downloading more information. The equipment is dated. That’s part of the infrastructure needs.”

Those are the minor issues. The austerity has also created serious public safety concerns. This week, as many as 100 students protested the university’s handling of alleged rape cases. Within the last year there have been at least two such charges, according to students and police reports. University officials said they were unable to discuss specifics but that there is an ongoing, active investigation. “Howard takes matters of sexual assault very seriously,” the university said in a statement.

Not everyone thinks Frederick has done a poor job, however. “The biggest problem for Howard is the board getting in the way,” said one person familiar with trustees’ actions, citing a delay in efforts to enter into a property sale-lease back agreement. Declining to identify the specific property, he added, “You can’t stop [the president] on every corner and slam him down. What we need from the president is vision, and he’s got vision.”

That vision is at the core of the student

and faculty clashes, however. The Howard Media Group argued that as it was advocating for more minority and women ownership of media stations, at the same time it was being cut “on our own turf ” by the president. “I don’t know where this came from—the board?” said Carolyn Byerly, cochair of the organization.

Frederick and the board want to sell the spectrum used by WHUT. There has been increasing demand for these invisible waves by cable and mobile phone providers. Tom Giovanetti, president of the Institute for Policy Innovation, noted on RealClearTechnology, “Spectrum is the most unappreciated and underrated of our natural resources. In economic terms, spectrum is particularly scarce, since there is an absolutely fixed amount of spectrum available.”

“We asked, what is the participation of students? Most of the training academically occurs throughout the city. [WHUT-TV] is [only] one of the sites used,” Frederick said.

Harris said the television station is an important outlet and opportunity for students like her. Byerly argued that at least two court cases have asserted that spectrum is “a public resource owned by the public.” The auction could mean that it would be privatized and that the public would have to pay for it. The media group wants the university to consider other options, including developing a partnership with another broadcaster.

“We are trying to maximize revenue streams so to reduce the burden on students,” said Frederick. “I think people don’t want to deal in fact. We have to recognize the value of what we have.”

In fairness, Howard was in turmoil before Frederick became president. Between 2008 and 2012, the university increased the amount of institutional financial aid provided to students from $40 million to $110 million, said Frederick. “Whatever blame there is for Howard cannot be blamed on the presidents,” said Broome, the Faculty Senate chair. “Howard has not achieved as a result of the board action… The board brought in presidents, the board took them out.” The effects of unstable leadership and questionable management decisions have rippled into the present.

In a letter to board Chair Stacey J. Mobley, dated Feb. 16, Broome raised concerns about the Faculty Senate’s lack of involvement in governance decisions and how challenges are being handled. “The financial issue will not be resolved by the university’s ad hoc approach to episodic financial opportunities that too often backfire and degrade the faculty’s pride in academic excellence, that betrays the absence of a strategic plan, and that chips away at our treasures— WHUT, the Divinity School property, the Meridian Hill property, etc.—thereby demoralizing everybody.”

Frederick said, however, that “we are in a very good place.” He noted that despite Higginbotham-Brooks’ prediction that Howard would close in three years, “the university is still here. It has a $600 million endowment, 160 programs, and the largest number of PhDs.” He knows Howard hasn’t seen the catbird seat for years. A malaise has settled over historically black colleges and universities nationally. At one point, a South Carolina Legislature

panel considered closing down South Carolina State University; fortunately that didn’t happen. Famed Fisk University had to part with its Alfred Stieglitz art collection; that sale yielded only $30 million.

Howard’s fiscal health is equally fragile. For one thing, Frederick said that a whopping 82 percent of its operating revenues are tied in some way to the federal government. He jokingly told alumni that “If the federal government sneezes, we get pneumonia—in both lungs.”

“The biggest worry I had [in 2014] was whether or not we would have a government shutdown,” continued Frederick. In 2010, the university received $206,031,000 from the Department of Education; the feds provided $28,946,000 for the hospital. The allocation to the university is down to $193 million while the subsidy to the hospital has remained constant at $29 million, according to Howard spokesperson Whitman. A Republican president and Republican-controlled Congress could mean continued erosion of federal support.

“Congress needs to step in and give [a special] one time allocation of $100 to $150 million, so the president can go in and bring the infrastructure up to standard,” said a high-level university source. But that seems unlikely.

Frederick has said the university must become “less dependent” on the federal government. “It has to be a smaller percentage of what we do.” He declined to indicate how much money the university would need to achieve that goal.

Financial stability may include further reductions. This fiscal year, 52 people—37 administrators and 15 faculty members—were laid off.

More programs and initiatives are also expected to be dissolved. “I don’t think we need to have 19 divisions,” Frederick said. He also said he wants to shift the population mix, increasing to 30 percent or more the number of graduate and professional students. “We have the largest African-American graduate and professional program in the country. The only institution like us is Harvard University.” That would mean reducing undergraduate enrollment.

Can he get buy-in from the university community? Maybe.

Despite criticism, people still have good feelings: “It’s a good school. It’s capable of being a better school,” said student Harris.

“I’ve taught at much better funded schools with nicer offices. But I didn’t have the kind of students I have here,” Byerly said. “It’s really going home at the end of the day and feeling satisfied and being satisfied on more than one level. There is something that happens here that might not happen at another university.”

Frederick has a lot of work to do to maintain that goodwill and keep the university afloat, however. He told me he was on the phone before our interview, speaking with “a seven-figure donor.” He declined to reveal his fundraising goal. Two days after our interview, he was scheduled to hit the road: Atlanta, then Winston-Salem, later Columbia, S.C.—all the while, no doubt, singing that Barrett Strong song: “Money don’t get everything it’s true/ What it don’t get I can’t use/Now give me CP money/That’s what I want.”

washingtoncitypaper.com march 25, 2016 17

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YOUNG & HUNGRY

A Shaw Thing?

Tim Ma makes the move from Virginia to D.C. with his restaurant Kyirisan.

By Jessica Sidman

Darrow Montgomery

Tim Ma has been sleeping on the couch of a model apartment with a fake TV for three days. The landlord of his new Shaw restaurant, Kyirisan, has let him stay in one of its neighboring units—so long as he sets it back up for prospective tenant tours before he heads out the door.

At least he doesn’t have to sleep at the restaurant. He’s done that for other openings.

It’s five days until Kyirisan’s March 22 official debut, and construction is ongoing, the menu still needs to be finalized, and, well, things are a little nuts. Ma hasn’t even seen his kids—ages one, three, and five—in a few days except for a FaceTime call.

The night before was Ma’s first practice run for family and friends.

But by the afternoon, the chef still hadn’t gotten one of his major food deliveries. It turned out the entire order had been dropped off at Glen’s Garden Market next door.

The grocery carries many similar products, and so their staff had unpacked all the goods and started stocking them on shelves.

“It was spread out throughout Glen’s, and I was like, ‘Oh my Virginia chef Tim Ma makes his D.C. debut.

God,’” Ma says. He mobilized his entire 10-person staff to go over and pick their acclaim in the suburbs of Virginia with Mastuff off the shelves—three hours before the ple Ave Restaurant, Water & Wall, and his restaurant was supposed to open. “They’re latest, a deli/butcher/wine bar called Chase like, ‘I was wondering why we have four mag- the Submarine. But he knows that Kyirisan will still be many Washingtonians’ first num bottles of white soy sauce.’”

Such is the craziness of opening a new res- introduction to his Chinese-French cooking.

“I feel like a lot of people in D.C. have nevtaurant. His fourth restaurant, to be exact.

Ma has gained plenty of recognition and er eaten my food,” he says. “A lot of people

are like, ‘Oh, I know who you are. I’ve heard of you.’”

Ma’s brand of fusion is the natural result of his personal history. He’s the son of Chinese immigrants but trained at New York’s French Culinary Institute (now known as the International Culinary Center).

“I enjoy things that are Chinese in flavor,

but I only cook them the way I know how to cook,” he says. The result is dishes like pickled quail with prawns, braised leeks, and “Chinese hot pot sauce,” or scallops with coconut risotto and basil ice cream.

And then there are dishes like a Filipino scrapple with pig ears and pork belly that was initially created for a staff family meal

washingtoncitypaper.com march 25, 2016 19

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at Water & Wall.

Growing up in Arkansas, Ma’s parents owned a Chinese restaurant for a couple of years when he was young. But the restaurant did so well that its chef left and opened his own restaurant across the street. “That decimated my parents,” Ma says. “They were really broken by that.”

Ma went on to earn an electrical engineering degree, but dreamed of opening a restaurant of his own. His parents weren’t so keen on that idea. “They worked so hard in life, they didn’t want me to fall into the business that had failed for them,” he says.

Ma’s now-wife Joey Ma pushed him to finally make the move, and at the age of 30, he finally enrolled in culinary school. He says he didn’t want to be a chef, just a restaurateur, but he didn’t want to be “strangled” by a chef like his parents. If his chef left, at least he would know how to cook.

Then an unexpected thing happened: Ma realized he actually liked professional cooking.

When the couple opened their first restaurant, Maple Ave, in 2009, they pretty much built the place with their bare hands on a shoestring budget. An architect friend with a contractor father helped out, but they were the ones putting up the drywall and doing most of the handiwork. The tables and chairs were leftover from the Mexican restaurant that had previously occupied the space.

Ma sold Maple Ave to former employees about a year ago and is no longer involved. He says the place was starting to fall apart and the maintenance was getting to be too much. “I don’t have a repairman, so I’m the guy. I know way too much about plumbing, equipment repair,” he says. “Some people are good at running 20 restaurants. I’m not good at running a large group like that—not at this point.”

But Ma knew he wanted to open a restaurant in D.C. Three years ago, he became among the first tenants to sign on to the new mixed-use Shaw development, The Shay, which now hosts the likes of Glen’s Garden Market, Warby Parker, and Compass Coffee. He had no idea the neighborhood would be quite as saturated with eateries as it is today. “I was like, ‘Oh man, we’re going to be one of the only restaurants.’ And now, we’re just another blurb.”

In design and construction, Kyirisan couldn’t be more different from Maple Ave. The Mas hired a respected design firm, GrizForm Design, to oversee the look of dining room. This time around, they’re not the ones with the hammers and paint brushes in hand. With the opening approaching, a crew of workers paste the wallpaper and adjust the light fixtures.

But in many ways, Kyirisan echoes back

to Maple Ave. The couple risked everything for their first restaurant, and they’re doing so again at their latest.

That’s because Ma has zero investors in Kyirisan—a rarity in D.C.’s dining scene.

His landlord, JBG, gave him “a good amount of money” in tenant improvement funds (although he declined to say how much). He’s also financed the restaurant with his savings over the years, his credit cards, and a “sizeable” bank loan.

“I put up my entire life against that loan as collateral,” Ma says. “This is the risk.”

The restaurant is also highly personal in other ways. Take the name Kyirisan. Ma explains that 20 generations ago, his ancestors gave different names to each of the subsequent 20 generations. For example, Ma’s middle name is Bing, which is shared among all the cousins of the same generation. Their children—the last of the 20 generations—were given the name “Kun” (pronounced “quin”). The K in Kyirisan comes from Kun, and the following letters are based off the Chinese phonetic spellings of numbers one (yi), two (ri), and three (san), representing the Ma family’s three children. (If that sounds complicated, consider that the restaurant was initially going to be called Freehand, until they ran into trademark issues.)

Meanwhile, the dining room is relatively small and decorated simply, with slanted ceilings that make the space look a few stained glass windows away from a church chapel.

“We want people to feel like they’re walking into our home,” Joey Ma says. “Intimate, personal, not flashy because that’s just not us.

We’re just very simple people.”

To that end, Kyirisan won’t use OpenTable or any other online booking system, but they will take day-of reservations by phone beginning at 10:30 a.m. “How would you eat at somebody’s house? You would call them,” Ma explains. Half of the restaurant will still be devoted to walk-ins.

He also doesn’t want Kyirisan to be an “experience”—a term thrown around by restaurateurs so often it’s become meaningless jargon. Again, he compares his aspiration to those of his first restaurant: “People who came to Maple Ave were seriously only coming for the food. You could not love anything else about that restaurant,” he says. Parking was terrible. Tables wobbled. The ceiling leaked when it rained.

“They literally just came because it was good food and good service,” Ma says, “and so I hope that we capture that feeling here again.”

CP

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

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Grazer

High Gear

Underserved

Sometimes a standard-issue piece of restaurant equipment just won’t cut it. Sometimes only a one-of-a-kind or topof-the-line tool can get the job done. Whether decades old or laboratory grade, these chefs have found unique culi—Lani Furbank nary gadgets that deliver results—and are pretty fun to use, too.

4

The best cocktail you’re not ordering

What: Ramos gin fizz with Old Tom Gin, citrus, egg whites, cream, and orange blossom water Where: Beuchert’s Saloon, 623 Pennsylvania Ave. SE

3

Price: $16

6 5 1 1 Separatory Funnel

at Dram & Grain

The separatory funnel that bartender Lukas Smith introduced to Dram & Grain looks like it belongs in a laboratory rather than at a bar. The teardrop-shaped glass funnel is designed to separate liquids of different densities—perfect for clarifying juices and fat-washing spirits (infusing them with oils). Traditionally, perfumers use this tool, but Smith bought one (on Amazon) to avoid having to chill filter spirits after fat-washing them, which is thought to remove the delicate flavors. The funnel leaves the subtle aromas while filtering out the oil itself.

2 Bamboo Steamer at Indique

After a recent trip to Kerala, India, chef K.N. Vinod returned with a blissfully simple piece of equipment that can steam ground rice in just four minutes. The bamboo steamer is a cylindrical piece of bamboo with a small piece of coconut shell on either end. Puttu, a cylindrical steamed rice dish, is prepared by layering powdered rice and a mixture of coconut and cumin seeds in the steamer, placing it over a pot of boiling water, and waiting. It’s typically served with ripe plantains or chickpea curry for breakfast, but it can also accompany curry of any kind.

3 Corn Grinder

at Espita Mezcaleria

Chef Alexis Samayoa went to great lengths to secure a stone corn grinder to mash fresh masa at Espita Mezcaleria. “I want to be ahead of the game before anybody else does it,” he says. “There’s not too many places that actually buy their own corn.” He purchased the machine from Mexico, had it shipped to New York, and then drove a U-Haul truck to pick it up and bring it back to D.C. The restaurant goes through about 70 to 80 pounds of dried Oaxacan corn per day to produce fresh, intensely flavored tortillas, chips, sopes, and tlayudas (large, crispy tortillas).

4 Antique Manual

Slicer at Bidwell

Take a seat at the chef’s counter at Bidwell, and you’ll see the Berkel manual slicer shaving thin cuts of assorted charcuterie. The manual hand crank rotates the blade at a much slower pace than an electric slicer, creating less friction and heat, which helps to keep the fat intact for delicate cuts. Chef/owner John Mooney tracked down the incredibly rare 1929 model for its sturdy construction and historical value. “I like things that have roots and a story. I think it contributes to the identity of our food program,” he says.

5 Paint Sprayer

at Le Diplomate

When it’s time to add the finishing touch to a delicate dessert, pastry chef Fabrice Bendano doesn’t rely on restaurant-grade airbrush tools, which are often fickle and flimsy.

Instead, he pulls out a paint sprayer. “Home Depot is the best friend of a pastry chef,” he says. Not only is the paint sprayer better able to handle thick liquids like chocolate, but it’s also more efficient for working on large batches of desserts.

6 Antique Mantecatore

Verticale at Dolci Gelati

As one of the only companies in the U.S. using a type of gelato maker known as a mantecatore verticale, pastry chef Gianluigi Dellaccio is especially proud of his Cattabriga model made in Italy in 1923. Dellaccio found the machine in a used equipment store in Florida and restored it to working condition. He now uses it to seamlessly blend variegato flavors—those with add-ins— without having to incorporate the additional ingredients by hand after the freezing process. “I make the stracciatella the way that it used to be made,” he says.

Why You Should Be Drinking It See if you can get Don Ho’s “Tiny Bubbles” out of your head after a few sips of this highly effervescent drink that tickles the tip of your tongue. The texture is what makes it memorable, but some people still shy away from drinks with eggs and cream, which is why Howard says the Ramos gin fizz is underserved. The orange blossom water adds elegance to this great palate awakener. There’s even a way to get a little extra buzz: “People that want to feel their booze ask for the [Green Hat] Navy Strength Gin—that’s a little secret,” Howard explains.

—Laura Hayes Photo by Laura Hayes

2

What You Should Be Drinking A Ramos gin fizz takes 10 to 15 minutes to make, so you won’t see it on many cocktail menus. “Some people in the bartending community have said, ‘Whoa, you’re bold,’” says General Manager and Beverage Director Ed Howard. “Off the top of my head, I don’t know anyone else that has it on the menu.” (Though some bars, like Jack Rose Dining Saloon, will make it for you if you ask nicely.) The reason for all the fuss is that the drink must be whipped at length to obtain the ideal light and airy consistency. While the original recipe from 1888 invented by New Orleans’ Henry C. Ramos calls for 12 minutes of shaking, Beuchert’s Saloon is able to get you a fizz in mere minutes thanks to a shortcut: a milkshake blender. The result is a frothy beaut that passes the test. “You have a good Ramos gin fizz if when you stick the straw in it, it doesn’t move, lean, or slant,” Howard says.

washingtoncitypaper.com march 25, 2016 21

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CPARTS

Read Beauty Pill’s Chad Clark on PJ Harvey’s D.C. song, “Community of Hope.” washingtoncitypaper.com/go/beautypillpjharvey

film

Crime and Punishment

On both large and small scales, two films explore the moral consequences of right and wrong—and the gray area in between.

Batman v Superman: Dawn of Justice Directed by Zack Snyder

Batman v Superman: Dawn of Justice

The Clan Directed by Pablo Trapero

By Tricia Olszewski It’s tedious.

Except when it’s laughable.

C’mon, fanboys and -girls. We’ve all been giddy with anticipation over Batman v Superman: Dawn of Justice. The biggest of DC’s worlds collide! It’s Batman’s belt and brooding versus Superman’s do-gooder godliness!

However: This is also Zack Snyder we’re talking about. The director may have delivered a promising debut in 2004 with his remake of Dawn of the Dead. But then ossification set in with 2006’s 300 and continued onward, only slightly loosening up for 2011’s Sucker Punch.

Admittedly, Snyder’s own Man of Steel in 2013 got three things right: replacing Kate Bosworth (!) from Bryan Singer’s otherwise superior Superman Returns with Amy Adams as Lois Lane, casting Michael Shannon as General Zod, and swapping Brandon “Who?” Routh with Henry Cavill, among the manlier of young Hollywood’s boy-men who also often bears a striking resemblance to Christopher Reeve while wearing the suit. But Snyder’s rigid selfseriousness set in, presenting action scenes devoid of life and characters devoid of, well, character. Suddenly Routh didn’t seem so bad.

Batman v Superman, too, feels wrong from the start. First of all, does anyone really need to another replay of the murder of Bruce Wayne’s parents? Then Superman’s so-called “introduction” to the world is not quite the heroic and graceful bow I remember, but one filled with fireballs and wild electrical currents and destruction. (These elements will repeat, ad nau-

seam, for 153 minutes.) Similarly, Wayne (Ben Affleck) and his alter ego are significantly darker than Christopher Nolan had ever portrayed them, passing time at underground fight clubs and, for some reason, branding people and leaving them with Bat-shaped burns. “We’re criminals now,” Wayne says to a too-youthfullooking Alfred (Jeremy Irons). “We’ve always been criminals. Nothing’s changed.”

Hmm. Are you sure about that?

Indie fans will remember that this is not the first time Affleck has played Batman; he offered a much more successful turn as George Reeves in 2006’s Hollywoodland. Ironically, he’s more of a cartoon here, with his voice modulated absurdly low while wearing the Batsuit and continuously grimacing harder as Wayne than Christian Bale did in Nolan’s entire trilogy. Wayne

only manages a slight smile while pretending to chat up Diana Prince (Gal Gadot), whose reappearance as Wonder Woman near the end of the slog lends it a bright burst of energy.

In terms of plot, there isn’t much. The focus is actually on Superman, whose status as a savior/destroyer has become fodder for Senate meetings. Kentucky Sen. Finch (Holly Hunter) in particular is concerned about the international phenom: “The world has been so consumed about what Superman can do,” she says, “that nobody asked what he should do.”

Picketers deem him an illegal alien. (This isn’t Snyder’s only nod to politics; there’s also 9/11 imagery near the start of the film.)

Now let’s talk about Lex Luthor. From the beginning, Jesse Eisenberg’s casting as Superman’s nemesis has been criticized, and for good

reason (see my “boy-men” comment above).

To be fair, Eisenberg’s Luthor is lively and appropriately eccentric, but no amount of psychotic hamming can make the actor feel like a real threat. Luthor’s goal here is... not exactly clear, though he’s eventually tossed in jail for his clownish misbehavior.

And when Batman v Superman finally pits Batman vs. Superman, the fight is absolutely silly, buoyed only by Hans Zimmer and Junkie XL’s score and cinematography by Larry Fong that recalls Sin City. It’s not exactly a spoiler to say that the mano a mano doesn’t go on for very long, but there’s plenty of mind-numbing destruction as it proceeds. Gadot’s had her detractors, too, but when Wonder Woman appears, the actress’ super-slender frame is boosted by some T&A padding in all the right Lynda Carter places. It’s a small positive, but the lady is the best hope this franchise has got.

Batman and Superman’s traditional roles as heroes of, respectively, Gotham and Metropolis/the world have largely donned a positive sheen akin to a good boy making his father proud. And usually when a dad praises his son—particularly when the kid is a champion rugby player—it’s for something that both of them can boast about. But in The Clan, when 20-something Alejandro’s father tells him, “You did well. Congratulations,” it’s not because he won a big game. It’s because he stealthily and successfully picked up a bag of ransom money for a hostage pops had already killed.

The Clan, like so many movies these days, is based on a true story, this one of Argentina’s Puccio family, who met their lucrative professional end in the 1980s. Running the joint was Arquímedes (Guillermo Francella, known as a comic actor), a beer-bellied man with a receding gray hairline and an otherworldly Christopher Walken stare.

Along with Arquímedes’ cohorts, he’s

washingtoncitypaper.com march 25, 2016 23

CPARTS Continued

helped by Alejandro, or Alex (Peter Lanzani).

Alex initially seems game to steer people, even a friend, into Arquímedes’ hands. But when that friend turns up dead, Alex can’t keep looking the other way. His conscience eats at him, though he still accepts the pile of cash his father rewards him with. His plan is to marry his relatively new girlfriend, Mónica (Stefanía Koessl), and escape the kidnapping business.

Meanwhile, the rest of the family largely looks the other way, at least until a hostage ends up in the basement of their home and can be heard screaming. Alex’s younger sister, Adriana (Antonia Bengoechea), cries to him, begging to know what’s going on and insisting that he can’t not hear the woman’s struggles.

Like his dad, Alex plays innocent.

Director Pablo Trapero’s film, scripted by a trio of writers, is— somewhat unfathomably— ’90s mob-movie fun. A big contribution to that is the soundtrack, which leans heavily on decades-old pop but also includes a standard or two. (Or a mix: Has anyone ever thought to use David Lee Roth’s “Just a Gigolo/I Ain’t Got Nobody” in a film, especially for a kidnapping

The Clan

scene?) A particularly brilliant segment is accompanied by Creedence Clearwater Revival’s bluesy “Tombstone Shadow”: It’s a hostage taking gone very wrong in broad daylight, an endeavor that Alex refused to participate in.

Dad wasn’t exactly forgiving.

Francella, along with that stare, lends a calm to Arquímedes that’s mesmerizingly magnetic, convincing viewers to take his side regardless of the character’s horrific acts. His loving devotion to Adriana helps, too. Lanzani’s Alex is simpler to sympathize with; a friendly, shag-

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Batman v Superman opens Friday in theaters everywhere.

The Clan opens Friday at Landmark E Street Cinema.

Is the Glass half full?

Is the Glass half empty? how about half off!

8PM • Saturday March 26 at the Lincoln Theater, 1215 U St. NW

COMPETING FOR OVER $2000 IN PRIZES

The JMU Overtones • The District The Oberlin Obertones • All Natural Sharp Attitude • Catch 22 With performances by The Alexandria Harmonizers and the 2015 Aca-Challenge winners VOX POP!

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gy-haired dog of a dude who’s regularly celebrated as a hero of the national rugby team and a person who clearly knows right from wrong despite his behavior. Alex’s romancing of Monica is sweet—though her “Oy! Oy!”s during their first hookup inspire some giggles—and you hope that they can truly cut ties from the family’s dark side and start anew. The reappearance of Alex’s estranged but willing brother (Franco Masini) suggests that the couple may actually have a future.

Of course, there wouldn’t be a film if the outcome were sunny. The final scene is shocking, and Trapero rolls the credits at the perfect time, taking advantage of the last act’s stun factor instead of tacking on more drama. Which, considering the way in which the Puccios operated, is appropriate in addition to CP feeling just right.

Tickets available @ http://tinyurl.com/acachallenge2016tickets

realdeal.washingtoncitypaper.com

CPARTS Arts Desk

A DCPS student at Eastern High School won the top prize for Google’s annual “Doodle 4 Google” competition. washingtoncitypaper.com/go/googledoodle

One trAck MinD

Made in d.C.

This week, Aboveboard Productions released a trailer for East Coast Grow, a new comedy web series about D.C.’s marijuana industry. In the most shocking twist of all, it looks… kind of good? But District directors have a mixed track record when it comes to the quality of their home-grown web shows. Below, we run down some of the local offerings and who should watch them.

—Matt Cohen and Sarah Anne Hughes

Mellow Diamond East Coast Grow

Synopsis: Mike tries to navigate the District’s legal pot infrastructure with a record while Tia manages a medical marijuana dispensary.

Who Should Watch It: Fans of Weeds and wonks who followed every twist and turn of Initiative 71’s implementation How Can I Watch It? East Coast Grow premieres April 16 at Edgewood Arts Center.

Districtland

Synopsis: A group of millennials bitch about their privilege.

Who Should Watch It: Millennials who love to bitch about their privilege and people who love to hate-watch millennials bitch about their privilege How Can I Watch It? TBA

Transitions

Synopsis: Hanibal Chancellor’s show “inspired by true stories” has everything: murder, intrigue, plotting, drug wars, and Anwan Glover Who Should Watch It: Fans of The Wire and Empire who get excited about local references How Can I Watch It? All episodes are available on YouTube. The season one finale is currently being filmed.

No Strings, Please

Synopsis: Charley Parker, “a skilled crocheter and martial artist” who recently graduated from college, has just moved to D.C. from Brooklyn for her first real job. It’s not an easy transition for Charley, who struggles to find her place in the city and a sense of self.

Things get dark.

Who Should Watch It: Recent NYC-to-D.C. transplants who think everything is soooo much better in New York How Can I Watch It? The entire 10-episode series is available for your binge-watching pleasure on YouTube.

“Belly of the Beast”

Cap South

Synopsis: A show about the ambitious millennials and awful politico types on the Hill because, really, there aren’t enough shows about that Who Should Watch It: House of Cards devotees who need something to fill the void until Districtland is online How Can I Watch It? Cap South’s one and only season is on YouTube.

Standout Track: Track No. 5 on Janel Leppin’s solo debut album as Mellow Diamond, a melodic, melancholic exploration of samples and loops, with her elegantly layered voice anchoring it all. On the album, titled Mellow Diamond, Leppin—a highly skilled and versatile multi-instrumentalist fluent in a number of styles and genres—channels Björk and Portishead with her take on dreamy, ambient experimental pop.

Musical Motivation: Sometimes the best art is inspired by your surroundings, and such is the case with “Belly of the Beast,” which Leppin says has “undertones of dissatisfaction” about living in the D.C. area.

“Harsh words fall like stone/ Too heavy to inspire/ You could lift them up/ No reason to conspire,” she sings with wistful, but ominous conviction. “It alludes to my discomfort knowing there are people here who are making poor decisions that have the potential to affect people for generations.” Leppin says.

Anacostia

Synopsis: Anacostia is about, you guessed it, the lives of its characters who live in Anacostia. The show deals with everything from race and community relations, to more personal issues like poverty, domestic abuse, sexuality, religion, and substance abuse.

Who Should Watch It: Anyone who wants a real portrait of some of the daily struggles D.C. residents face How Can I Watch It? The first four seasons are up on YouTube; series creator and star Anthony Anderson is currently crowdfunding for the show’s fifth season.

The Walking Dread: There’s a very real possibility that, of all people, a certain despised business mogul with terrible hair might be the next leader of the free world.

That’s certainly a scary thought, but “Belly of the Beast” alludes to the people already in charge who don’t act in the best interest of the people. “It’s strange living around individuals who are making bad decisions for the world,” Leppin says. “I call them the walking dead. It’s hard to know who you are talking to —Matt Cohen at any given moment.”

Listen to “Belly of the Beast” at washingtoncitypaper.com/go/mellowdiamond.

washingtoncitypaper.com march 25, 2016 25

TheaTer

Thought Police Two dystopian takes to make your skin crawl 1984 From the novel by George Orwell Adapted and directed by Robert Icke and Duncan Macmillan At the Shakespeare Theatre Company’s Lansburgh Theatre to April 10 The Pillowman

By Martin McDonagh Directed by Yury Urnov At Forum Theatre to April 2

Published four years before Josef Stalin’s death, but only seven months before its author’s, George Orwell’s novel Nineteen Eighty-Four imagined a future of Stalinism exported to the irradiated ruins of England: perpetual war, omnipresent surveillance, methodical reduction of language, and revisionism as policy. Its protagonist, the meek Winston Smith, works for the Ministry of Truth, striking disavowed individuals, or “unpersons,” from news reports to erase all record of their existence. Winston has an illegal affair with Julia, a woman he initially suspects of working for the Thought Police, as he has already committed the crime of keeping a diary. His career as sexual and political revolutionary is brief.

Orwell’s harrowing cautionary tale has been adapted for radio and film more than once. Michael Radford’s chemically washedout film, which he actually made in 1984, imprinted itself on my consciousness years before I read the book. But the British playmaking collective Headlong’s bold version, which opened in the West End last year and has now alighted in the capital of the free world, is the first I’m aware of to have been made in the era when every patron carries a surveillance device into the show with them.

In Orwell’s story, only elite party members may (briefly) deactivate the two-way “telescreens” peering, and beaming propaganda, into their homes; the screens are also in every public place. (I think about this every time I’m trapped in an airport lounge or a waiting room with a blaring TV that no one can turn off.) A room above an antiques shop wherein no screen has been installed becomes a secret oasis.

Creators Robert Icke and Duncan Macmillian don’t address the fact that we have all essentially opted in to electronic surveillance, a development Orwell did not foretell. They

Handout photo by Ben Gibb

By Chris Klimek

1984 keep their focus on his prophecy of institutionalized amnesia. They’ve made this brutal and profoundly depressing story visual without draining it of complexity; building their 100-minute, no-intermission compression of it around the repetition of two key scenes.

The first is a gathering of intellectuals discussing a book: “It’s a mirror; every age sees itself reflected,” one of them says, and at first I took this for a metatheatrical prologue wherein the book being surveyed was Orwell’s. In the second, one of Winston’s colleagues bitterly espouses the virtues of Newspeak—the shrunken argot of Big Brother, the electronically omniscient and possibly fictional party figurehead—while another recalls being informed on by his child, who heard him talking in his sleep.

A video screen larger and with better resolution than any Orwell would have seen firsthand is suspended over Chloe Lamford’s wood-panel and frosted-glass set, letting us see the contents of Winston’s diary and the nature of his work as a censor before moving on the Two Minutes Hate, wherein the populace are forced to vent their spleens at

26 march 25, 2016 washingtoncitypaper.com

Thought Criminals. Winston and Julia’s love nest is seen only on video, cleverly foreshadowing their capture. Recited passages from the novel are worked in sparingly. No sooner has Winston described the difficulty of knowing what the true date is when history is being revised in real time than a bank of strobe lights framing the stage blasts our retinas, a device that recurs often enough to induce a glimmer of the fear and disorientation in which Winston lives. Or at least a headache.

Talking about the actors is complicated in a story populated by characters who can be convicted of “facecrime” for displaying emotion, and wherein individual performances are so subsumed in the grand design. It must suffice to say the actors serve the adaptation faithfully: Matthew Spencer’s Smith looks like a man whose Silly Putty features haven’t hardened yet, while Hara Yannas captures the full dimension of Julia’s enigmatic fire.

As the party official O’Brien, Tim Dutton is all phlegmatic, Brylcreemed menace.

Upon Winston’s arrest, the wooden set flies apart to reveal the blank expanse of Room 101, where Big Brother re-educates

troublesome subjects. Before his harrowing treatment begins, Spencer gives us the show’s second fourth-wall-shattering moment, shouting, “Please, I can see you! Get up and do something!”

I assumed the rats in the box with which Winston is threatened were conjured via recorded sound cues, but there’s an ASPCA notice included in the long warning (haze, fog, gunshots, flashing lights) posted in the lobby. It cautions us that the audience, “particularly those of a nervous disposition,” may find the show distressing. They may indeed. As the pitiless functionary O’Brien observes, “It’s not easy to become sane.”

But to render Orwell’s alarm more palatable would be madness.

The regime depicted in Martin McDonagh’s 2003 chiller The Pillowman is efficient in its pursuit of justice, the kind of operation where the detective who beats your confession out of you is the same person whose job it is to put a bag over your head and a bullet through your skull.

Still, it’s not half as frightening as Big

Handout photo by Teresa Castracane Photography

-The Times

The Pillowman Brother, as police states go. Katurian, the suspect detectives Ariel and Tupolski have detained as the play begins, isn’t in their sights merely for having written a series of possibly seditious horror stories, but because several children have disappeared under circumstances similar to those in his grim works of fiction.

That’s the crux of McDonagh’s toughest play: Are violent fantasies a herald of violent behavior? It’s a question we tend to ask after disturbed loners shoot up a public building, and yet McDonagh poses it in a setting where the government is empowered to consign books to oblivion—the detectives threaten to destroy Katurian’s mostly unpublished ouvre if he doesn’t confess—and firearms are, presumably, less readily available than they are in the United States.

Yury Urnov’s production for Forum Theatre—strongly acted but too busily staged by half—left me with the same question Studio Theatre’s production did nine years ago: Why did McDonagh choose to set this play in a nameless totalitarian nation, albeit one whose servants are free-thinking enough that Jim Jorgensen’s Tupolski uses the word totalitarian to describe it? McDonagh balances his horror with humor, gleefully sending up the good-cop, bad-cop binary so familiar from TV procedurals. Jorgensen and Bradley Foster Smith are marvelously droll and volatile, respectively, as the cops, who haul in Katurian’s mentally challenged older brother (James Konicek, believably haunted even when complaining of an itchy rectum) seemingly to compel Katurian’s cooperation. Still, their harsh tactics don’t go that far beyond those of theoreti-

“Mind-bending, ingenious, and ethically challenging.”

cally Miranda–bound American cops acting in excess of their mandate.

Paige Hathaway’s set puts the audience on three sides of the box-like interrogation room; plastic sheeting suggests the impermanence of the place and the likely need to contain the mess of an execution. Initially, Tupolski addresses Katurian from the audience via microphone, a dynamic that eventually reverses itself. We’re privy to several of the dark fairy tales Katurian has written. Urnov works hard to stage each one in a different way: One is rendered in shadow puppetry.

Another is communicated in the prose handouts The Commandant (Emma Lou Hebert) distributes, instructing us to read the story— printed in the hand of a grade-schooler— silently. Still another is the subject of a projected slideshow. Presumably intended to stave off tedium in an evening that runs to three hours (including intermission), this catholic methodology eventually begins to subtract from the intensity of the performances.

There’s also a casting problem: Maboud Ebrahimzadeh is a terrific actor who has distinguished himself in many kinds of roles, but he’s a little too likeable to be persuasive as the tortured Katurian. Maybe he and Konicek should’ve traded parts. Their scenes together are tender and compelling, though; I believed that Ebrahimzadeh would do anything to spare his man-child older sibCP ling pain. Little brother is watching.

450 7th St. NW. Sold out. (202) 547-1122. shakespearetheatre.org.

BY JENNIFER HALEY DIRECTED BY SHANA COOPER

APR 4—MAY 1 WOOLLYMAMMOTH.NET // 202-393-3939

8641 Colesville Road, Silver Spring. $36–$41.

(301) 588-8279. forum-theatre.org. washingtoncitypaper.com march 25, 2016 27

TheaTerCurtain Calls Will Anacostia be the next Georgetown?

D.C. author Ronald R. Hanna’s latest novel

Handout photo by Igor Dmitry

Available in paperback and Kindle on Amazon.com

Find out what ToDo Today online.

Interesting timing and unique staging choices drop a family’s turmoil into the audience’s lap.

A MoMent in tiMe Moment Written by Deirdre Kinahan Directed by Ethan McSweeny At Studio Theatre to April 24 There are many dramas on stage and TV that let us empathize with criminality. And audiences have become accustomed to seeing how bad choices immediately affect others who don’t do the bad things, because often the stories focus on exposing how or why the act happened. But Moment—written by Deirdre Kinahan and staged at Studio Theatre—reminds us that sometimes the most profound traumas occur well after the act, when the world is no longer watching.

Kinahan drops us into the Lynch family home in a small suburb of Dublin in a nondescript time period. Here, we first meet Niamh Lynch (Emily Landham), who learns from her ailing mother Teresa (Dearbhla Molloy) that her brother Nial (Peter Albrink) will be coming home to visit after nearly 20 years away. Niamh and her sister, Ciara Blake (Caroline Bootle Pendergast) are dispirited when they hear this news about their prodigal brother—the visit forces them to confront a terrible event that broke their family apart—but also enthralled when they learn that he is bringing his new wife Ruth (Hannah Yelland) home with him.

It’s easy to feel at home with these characters, as if they’ve given you an invitation to dine and drink tea with them. That’s an indirect result of the staging, which is eye-level to the audience in an intimate setting, designed like it could be from the TV set of any family drama. But the script’s conversational tone makes parts of the first act feel a bit too comfortable 28 march 25, 2016 washingtoncitypaper.com

and a bit too drawn out, leaving the audience anxious for a hint of the big reveal: What crime did Nial commit?

The play comes together when all the family members are finally under the same roof (at Teresa’s home) even if by accident. It’s here Landham’s tempered performance bubbles over and we get a clear look at her range.

But during and immediately after her explosion, there’s a missed cue: Nothing more about the crime or why Niamh loathes her brother is revealed. Instead, it seems to be the playwright or the director Ethan McSweeny’s intention to dabble with timing to show Niamh’s raw, pent-up anger, rather than move the story forward and explain why her anger is there in the first place. There’s also something atypical about this moment that makes you want to stay in the Lynch’s home and understand why and how they’ve coped for so long living in the aftermath of Nial’s crime.

Blocking is also somewhat of a problem throughout the first half of the play; actors deliver some of their lines with backs to the audience so you miss emotional moments just before they all come together at the dinner table.

It’s an issue of space: There are either too many actors onstage, which makes the set feel crowded, or the set is too small for all the actors to comfortably perform together.

But the single detail that takes the audience out of the Lynch’s home and out of Ireland is... the beer—no, seriously. Throughout the play, the characters drink Corona; not the most traditional beer for an Irish family, one imagines. But perhaps it serves as a reminder that this kind of tragedy could happen to any family, anywhere, no matter what beer you drink.

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

GalleriesSketcheS

New CD out same day!

ANOUSHKA SHANKAR

One Fell lOOp “No Sharps, No Flats” At Transformer to April 30 What with Eminem re-releasing The Slim Shady LP on tape this year, the cassette revival has all but wound down. The cassette’s recent re-emergence on the scene as the recording format of choice for independent musicians may be a consequence of long queues for producing new releases at vinyl presses or an urge for an object in an era of streaming. Whatever the case, this dead medium has gained a following all its own (for a second time). And since cassette players aren’t ubiquitous in many households today, cassettes throw up a barrier of entry to casual fans, rewarding elite fans for their effort. It’s little wonder that Marshall Mathers and his mainstream brand handlers would seek access to discerning, in-the-know listeners by coopting “No Sharps, No Flats” (2016) by Alex Braden, Emily Francisco, and Adam Richard their favorite vintage format.

Nelson Hughes “No Sharps, No Flats,” a sound installation curated by Alex Braden, ejects the At Transformer, “No Sharps, No Flats” cassette from one context and drops it into an- is an incubator within an incubator, a project other one—the art gallery, which is fraught that bends many performances toward a sinwith its own concerns about objecthood and gular collective. All of the pieces on the casfetishization. Braden’s piece is a series of phys- settes are played in the key of C (musicians will ically deconstructed boomboxes playing tapes note the reference in the show’s title), meaning by fresh and established voices from the D.C. that when the cassettes are all broadcast togethmusic scene. Each tape features a different er, they sound harmonious. It’s as if all 30-odd song, some no more than a few soft notes. The musicians were playing together in the same installation is a group piece that requires the noise ensemble. contributions of an entire community and the Yet two days after the show’s opening, the vision of one author. harmony had already frayed. A cassette by Dan In the context of a fine-art gallery, “No Gleason of Young Rapids got snagged in a pileSharps, No Flats” is a sound sculpture with up of ribboning tape—a familiar nightmare, if its own precedents. Braden, working with not a recent one. Piano pieces by David Klinger Emily Francisco and Adam Richard Nelson and Fiona Kohrman sound great together, but Hughes, has stripped away all the outward- the tape player assigned to Kohrman was showfacing components of 30 boomboxes, leaving ing so much wear that the playback of her rethe bare-minimum mechanisms necessary to cording was falling out of tune. Too many starts play cassettes. The artists installed the guts of and stops rendered some of the tape players these deconstructed tape players on a wood- unplayable. Justin Zamieroski’s guitar nooen scaffolding about the size of a few small dling and Julia Hale’s high-pitched sequenced bookcases (but with none of the heft). The synthesizer drown everyone else out now, but project casts sound in the mold of lo-fi, un- that’s not bound to last. monumental sculpture.

By the end of the show, assuming any of the Taken one way, “No Sharps, No Flats” is tape players are still working, they’re going to an inversion of Janet Cardiff’s “The Forty- sound like a racket. That’s all as it should be: Part Motet,” an installation of Thomas Tal- “No Sharps, No Flats” is an argument for emlis’s 16th-century Spem in alium. This is a bracing entropy as a way to keep things fresh.

40-part Renaissance choral piece that Car- The democratizing DIY sculptural format rediff projects through 40 imperious speak- jects virtuosity in favor of a punk ethic of makers mounted on stands in an imposing circle. ing in the moment. As those gears and gizmos Whereas “The Forty-Part Motet” invites lis- grind away at continuously looping magnetic teners to follow the speakers in a ring around tape, the title moves further away from the truth. the room in order to take in each individu- The endgame is a haphazard sculpture that plays —Kriston Capps al voice, “No Sharps, No Flats” drags listen- in perfect unison. ers into the center, toward a messy sculpture, where it’s impossible to pick out any specific 1404 P St. NW. Free. (202) 483-1102. transformerdc.org. source in the cacophony.

Land of Gold

Fri, Apr 1, 8pm GW Lisner Auditorium Made possible by Daimler

Co-presented by

TICKETS:

Lisner.gwu.edu • (202) 994-6800 WashingtonPerformingArts.org • (202) 785-9727

Tabla master returns!

ZAKIR HUSSAIN & MASTERS OF PERCUSSION Sun, Apr 17, 1pm Kennedy Center Concert Hall

DC return of one of the signature jazz piano trios of our era!

BRAD MEHLDAU TRIO

Wed, Apr 20, 8pm Sixth & I Historic Synagogue Made possible by the Billy Rose Foundation, the Abramson Family Foundation, and BB&T Wealth.

TICKETS:

WashingtonPerformingArts.org (202) 785-9727

washingtoncitypaper.com march 25, 2016 29

I.M.P. PRESENTS Merriweather Post Pavilion • Columbia, MD

JUST ANNOUNCED! CAPITAL JAZZ FEST FEAT

New Edition • En Vogue • Toni Braxton and more! ........................................ JUNE 3-5

THIS WEEK’S SHOWS

G. Love and Special Sauce w/ Ripe & The Bones of J.R. Jones ................. Th 24 Savages w/ Angus Tarnawsky .................................................................................. Su 27 MARCH

Dubioza Kolektiv............................................................................................ Th 31

On Sale Now ALL GOOD PRESENTS MERRYLAND MUSIC FEST FEATURING

The String Cheese Incident • Ben Harper & The Innocent Criminals and more! . JULY 9 & 10

Single-Day tickets on sale March 25 at 10am VANS WARPED TOUR PRESENTED BY JOURNEYS FEATURING

Falling In Reverse • Issues • Four Year Strong and more! ......................... JULY 16 On Sale Now

APRIL

Tesla • Vince Neil • Kix and more! ........................... APRIL 29 & 30

feat.

THE BLUEGRASS SITUATION AND ALL GOOD PRESENT

The Infamous Stringdusters feat. Nicki Bluhm (F 1 - w/ Della Mae • Sa 2 - w/ Paper Bird) ..................................................F 1 & Sa 2 Ben Harper and the Innocent Criminals w/ Christopher Paul Stelling .. M 4 Jonathan Richman featuring Tommy Larkins Early Show! 6pm Doors ....Th 7 U STREET MUSIC HALL PRESENTS

Baauer w/ Graves Late Show! 10pm Doors ......................................................Th 7 Ace Frehley w/ Charm City Devils .......................................................................F 8 Drew Holcomb and The Neighbors w/ Jill Andrews ................................ Sa 9 Magic Man & The Griswolds w/ Panama Wedding ....................................Su 10 Napalm Death & Melvins w/ Melt Banana ................................................. Tu 12 The Joy Formidable w/ Everything Everything .............................................W 13 Lissie w/ Skrizzly Adams ................................................................................... Th 14 Thao and the Get Down Stay Down w/ Saintseneca & Little Scream ....... F 15 The Feelies ...................................................................................................... Sa 16 The Dandy Warhols w/ Seratones ................................................................Su 17 Esperanza Spalding ..................................................................................... Tu 19 Tokyo Police Club w/ From Indian Lakes Early Show! 6pm Doors .............. Th 21 STEEZ PROMO PRESENTS

Dirtyphonics & Funtcase w/ Habstrakt Late Show! 10pm Doors ............. Th 21 Murder By Death w/ Kevin Devine and The Goddamn Band ............................ F 22 ALL GOOD PRESENTS

Tribal Seeds w/ Anuhea & E.N Young ............................................................ Sa 23 Puddles Pity Party This is a seated show. .................................................... M 25 Poliça w/ MOTHXR ............................................................................................. Tu 26 Bob Mould w/ Ted Leo (solo) ............................................................................W 27

Jason Aldean w/ Thomas Rhett • A Thousand Horses • Dee Jay Silver .................. MAY 7 I.M.P. & AEG LIVE PRESENT

Pentatonix w/ Us the Duo .................................................................................... MAY 12 SWEETLIFE FESTIVAL FEATURING The 1975 / Halsey / Flume / Grimes / PARTYNEXTDOOR and more!....................... MAY 14 GV/FRANK PROD. PRESENT

Cage The Elephant w/ Portugal. The Man & Broncho .................................. MAY 15 Kenny Chesney w/ Old Dominion ....................................................................... MAY 19 Twenty One Pilots w/ MUTEMATH and Chef’Special .......................................JUNE 10 Ellie Goulding w/ Bebe Rexha ................................................................................... JUNE 13 Tame Impala w/ M83................................................................................................ JUNE 16 Chris Stapleton & Jason Isbell

w/ Frank Turner and the Sleeping Souls .......................................................... JUNE 18

Modest Mouse / Brand New ................................................................................JULY 12 Brandi Carlile & Old Crow Medicine Show w/ Dawes .........................JULY 23 CARNIVAL OF MADNESS FEATURING

Shinedown w/ Halestorm • Black Stone Cherry • Whiskey Myers ................. AUGUST 10

Train w/ Andy Grammer .............................................................................................. AUGUST 20 Miranda Lambert w/ Kip Moore & Brothers Osborne .................................... AUGUST 25 • For full lineups and more info, visit merriweathermusic.com • 930.com

Pimlico Race Course • Baltimore, MD

The Chainsmokers • Fetty Wap • All Time Low and more! ........... MAY 21 On Sale Now

ALL GOOD PRESENTS

Elephant Revival .......................................................................................... Th 28 The Residents present Shadowland Early Show! 5:30pm Doors. This is a seated show. ............................................... F 29

Echostage • Washington, D.C.

U STREET MUSIC HALL PRESENTS

Miami Horror

I.M.P. & STEEZ PROMO PRESENT

All 1/24 Miami Horror tickets will be honored. Late Show! 10pm Doors ................ F 29 Maggie Rose & The Morrison Brothers Band Early Show! 6pm Doors . Sa 30 STEEZ PROMO PRESENTS

Big Gigantic w/ Mija • Louis the Child • MELVV • DELTAnine ................................... APRIL 8 X Ambassadors w/ Robert DeLong & Sara Hartman ................................................. MAY 12 Bloc Party w/ The Vaccines .............................................................................................. MAY 19

Slander w/ Boombox Cartel Late Show! 10pm Doors..................................... Sa 30

2135 Queens Chapel Rd. NE • Ticketmaster

MAY

M. Ward w/ NAF ..................................................................................................Su 1 Parachute w/ Jon McLaughlin ............................................................................W 4 The Brian Jonestown Massacre ................................................................Th 5 Super Furry Animals .......................................................................................F 6

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

Gad Elmaleh ............................................................................... SEPTEMBER 1 On Sale Friday, March 25 at 10am

LITTLE STEVEN’S UNDERGROUND GARAGE AND SIRIUS XM PRESENT

The Sonics w/ The Woggles & Barrence Whitfield and The Savages ............... Sa 7 Frightened Rabbit w/ Cavemen ......................................................................Su 8 Old 97’s & Heartless Bastards w/ BJ Barham (of American Aquarium) ....... M 9 Parquet Courts w/ B Boys Early Show! 6pm Doors ...................................... Th 12 Titus Andronicus w/ La Sera Late Show! 10pm Doors ................................. Th 12 Penguin Prison w/ ASTR & Savior Adore ......................................................... F 13 The Kills w/ L.A. Witch ..................................................................................... Sa 14

MANY MORE SHOWS ON SALE!

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9:30 CLUB PRESENTS AT U STREET MUSIC HALL 9:30 CLUB PRESENTS AT U STREET MUSIC HALL Gin Wigmore w/ Matt Santos......Su MAR 27 Wiki & Antwon w/ NAPPYNAPPA .Tu MAR 22 Skizzy Mars w/ P-Lo ............................

W 30 Gin Wigmore ......................................

Su 27 TOBACCO w/ Lord RAJA ...............

Sa APR 2 Cloud Cult w/ BBGun .............................W 6

Run River North ................................................. M 28 HÆLOS w/ The Lighthouse and The Whaler .......

Sa 9 Skizzy Mars w/ P-Lo ............................

W 30 Eleanor Friedberger w/ Icewater..... Th 14 Le1f w/ TT The Artist ............................. F 15

Citizen Cope (An Intimate Solo / Acoustic Performance) ....................................APRIL 1 AEG LIVE PRESENTS

Welcome to Night Vale w/ Danny Schmidt & Carrie Elkin ....................... APRIL 18 & 19 JUSTICEAID PRESENTS

Ozomatli plus Big Tony & Trouble Funk .................................................... MAY 15 Sam Beam and Jesca Hoop w/ Marlon Williams .............................................. MAY 21 93.9 WKYS AND MAJIC 102.3 PRESENT

Plastic Cup Boyz.................................................................................................. MAY 29 John Carpenter: Live Retrospective

Performing themes from his classic films and new compositions ............................. JULY 12 DDED!

JUL 23 SOLD OUT! SECOND NIGHT A

Bryan Ferry w/ LP ................................................................................................. JULY 25 case/lang/veirs (neko case/k.d. lang/laura veirs) w/ Andy Shauf ............... JULY 27 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

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

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

9:30 CLUB BOX OFFICE HOURS are 12-7PM Weekdays & Until 11PM on show nights. 6-11PM on Sat & 6-10:30PM on Sun on show nights.

9:30 CUPCAKES The best thing you could possibly put in your mouth.

Cupcakes by BUZZ... your neighborhood bakery in Alexandria, VA. www.buzzbakery.com

30 march 25, 2016 washingtoncitypaper.com

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!

930.com

INER 60S-INSPIRED D Serving

EVERYTHING from BURGERS to BOOZY SHAKES

HAPPY HOUR:

$2 TUESDAY $3 THURSDAY $4 FRIDAY

CITYLIST Friday Rock

9:30 Club 815 V St. NW. (202) 265-0930. Vance Joy, Blind Pilot, Jamie Lawson. 8 p.m. (Sold out) 930.com.

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

Steve’n’Seagulls, Great Peacock. 6:30 p.m. $15. dcnine.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Yellow Dubmarine, Start Making Sense, Sloan Trio. 8 p.m. $20. fillmoresilverspring.com.

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

Justin Trawick and The Common Good. 10:30 p.m.

Free. thehamiltondc.com. ioTa Club & CaFé 2832 Wilson Blvd., Arlington.

(703) 522-8340. Big Chimney, Becky Warren. 8:30 p.m. $12. iotaclubandcafe.com.

BRING YOUR TICKET

logan Fringe arTS SpaCe 1358 Florida Ave. NE. (202) 737-7230. Tom, Hanks, Orchester Prazevica. 9 p.m. Free. capitalfringe.org.

Club

TO GET A

FREE SCHAEFERS

SABBATH SUNDAY NIGHTS Punk/Metal/Hardcore Classics

10:30 pm - Close $5 Drafts & Rail Specials

roCk & roll hoTel 1353 H St. NE. (202) 388-7625.

Kitten, Keeps, The Greeting Committee. 9 p.m. $14. rockandrollhoteldc.com. velveT lounge 915 U St. NW. (202) 462-3213.

Pony Bones, The House You Grew Up In, Carol Anne Bosco. 8:30 p.m. $8. velvetloungedc.com.

Funk & R&B beTheSDa blueS anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Lalah Hathaway. 7 p.m. & 10 p.m. (Sold out) bethesdabluesjazz.com. birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Kindred the Family Soul. 7:30 p.m.

(Sold out) birchmere.com.

ElEctRonic Joe’S movemenT emporium 3309 Bunker Hill Road, Mount Ranier. (301) 699-1819. Yoko K. 7 p.m.

Free. joesmovement.org. eChoSTage 2135 Queens Chapel Road NE. (202) 503-2330. Tiësto, KSHMR. 9 p.m. $50. echostage.com. u STreeT muSiC hall 1115 U St. NW. (202) 5881889. Way Out West, Guy Mantzur, Leo Lee. 10 p.m. $15. ustreetmusichall.com.

Jazz blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Kevin Eubanks, Marvin “Smitty” Smith. 8 p.m. & 10 p.m. $30–$35. bluesalley.com.

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

SearCh LISTIngS aT waShIngTonCITYpaper.Com

Music

(ALL DRAFTS AND RAIL)

AFTER ANY SHOW AT

Music . . . . . . . . . . . . . . . . . . . . . . . . .31 Galleries . . . . . . . . . . . . . . . . . . . . . .34 Theater . . . . . . . . . . . . . . . . . . . . . . 3 6 Film . . . . . . . . . . . . . . . . . . . . . . . . . . .37

mr. henry’S 601 Pennsylvania Ave. SE. (202) 5468412. Aaron L. Myers II. 8 p.m. Free. mrhenrysdc.com.

BluEs gypSy Sally’S 3401 K St. NW. (202) 333-7700.

Nick Andrew Staver. 8 p.m. Free. gypsysallys.com.

CITY LIGHTS: FRIDAY

ROKIA TRAORÉ Singer Rokia Traoré is different than most Malian performers who tour the globe. For one thing, she’s the daughter of a diplomat and not a member of a hereditary caste of griots or a desert resident like many of the country’s traditional musicians. Her musical style also varies: She frequently sings in a delicate Afro-folk style while occasionally emoting forcefully over rhythmic grooves more reflective of her homeland. Traoré’s latest album, Né So (which means “home”), was produced by John Parish, an associate of PJ Harvey, and includes guest spots from Devendra Banhart and Led Zeppelin’s John Paul Jones. Quieter than her last album, Beautiful Africa, Traoré sings mournfully on Né So in Bambara, French, and English about the global refugee crisis, the violence that has plagued Mali, and the racism that still exists worldwide. A charismatic live performer, look for Traoré to charm with both delicate artistry and impressive octave climbing. Rokia Traoré performs with Sinkane at 8 p.m. at the Lisner Auditorium at George Washington University, 730 21st St. —Steve Kiviat NW. $25–$45. (202) 994-6800. lisner.gwu.edu.

WoRld gW liSner auDiTorium 730 21st St. NW. (202) 994-6800. Rokia Traoré, Sinkane. 8 p.m. $25–$45. lisner.gwu.edu.

classical barnS aT WolF Trap 1635 Trap Road, Vienna.

(703) 255-1900. Lawrence Brownlee, tenor and Kim Pensinger Witman, piano. 7:30 p.m. $35. wolftrap.org.

saturday

gW liSner auDiTorium 730 21st St. NW. (202) 994-6800. José González with yMusic. 8 p.m. $35–$45. lisner.gwu.edu. gypSy Sally’S 3401 K St. NW. (202) 333-7700.

Slim Stevens, Jessie Fenton. 8 p.m. Free. gypsysallys.com.

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

Red Baraat, Madame Gandhi, RAJAS. 8:30 p.m. $20–$25. thehamiltondc.com. Brent & Co. 10:30 p.m. Free. thehamiltondc.com. ioTa Club & CaFé 2832 Wilson Blvd., Arlington.

(703) 522-8340. Bells and Hunters, Chess Club Romeos, Turtle Recall, Thaylobleu, J and the 9s, No Blitz. 8:30 p.m. $12. iotaclubandcafe.com.

Rock

roCk & roll hoTel 1353 H St. NE. (202) 3887625. The Family Crest, Wylder. 8 p.m. $15–$17. rockandrollhoteldc.com.

9:30 Club 815 V St. NW. (202) 265-0930. Vance Joy, Blind Pilot, Jamie Lawson. 8 p.m. (Sold out) 930.com.

SongbyrD muSiC houSe anD reCorD CaFe 2477 18th St. NW. (202) 450-2917. Kevin Garrett, Foreign Air. 8 p.m. $12–$14. songbyrddc.com.

washingtoncitypaper.com march 25, 2016 31

BEST OF 2016 HITTING NEWSTANDS APRIL 7 Reserve Now! Call the advertising department to book your Best of D.C. ad today: 202-650-6927 washingtoncitypaper.com

Funk & R&B

Jazz

u STreeT muSiC hall 1115 U St. NW. (202) 5881889. Stick Figure, Fortunate Youth, Raging Fyah.

5 p.m. $15. ustreetmusichall.com.

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Kevin Eubanks, Marvin “Smitty” Smith. 8 p.m. & 10 p.m. $30–$35. bluesalley.com.

ElEctRonic

opERa

eChoSTage 2135 Queens Chapel Road NE. (202) 503-2330. Tiësto, KSHMR. 9 p.m. $50. echostage.com.

kenneDy CenTer millennium STage 2700 F St. NW. (202) 467-4600. Hansel and Gretel. 6 p.m. Free. kennedy-center.org.

u STreeT muSiC hall 1115 U St. NW. (202) 5881889. Stanton Warriors, Worthy, Proxxy & Lantern.

10:30 p.m. $15. ustreetmusichall.com.

classical

Jazz amp by STraThmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Loston Harris. 8 p.m. $35–$45. ampbystrathmore.com. blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Kevin Eubanks, Marvin “Smitty” Smith. 8 p.m. & 10 p.m. $30–$35. bluesalley.com. mr. henry’S 601 Pennsylvania Ave. SE. (202) 5468412. Cecily. 8 p.m. Free. mrhenrysdc.com.

countRy birChmere 3701 Mount Vernon Ave., Alexandria.

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

classical kenneDy CenTer TerraCe TheaTer 2700 F St. NW. (202) 467-4600. Joseph Moog, piano. 2 p.m. $48. kennedy-center.org.

naTional gallery oF arT 4th Street and Constitution Avenue NW. (202) 737-4215. Rachel Barton Pine, violin. 2 p.m. & 3:30 p.m. Free. nga.gov. phillipS ColleCTion 1600 21st St. NW. (202) 387-2151. Richard Goode, piano. 4 p.m. (Sold out) phillipscollection.org.

Monday Rock roCk & roll hoTel 1353 H St. NE. (202) 388-7625.

Intronaut, Scale the Summit, North. 8 p.m. $13–$15. rockandrollhoteldc.com.

Funk & R&B birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Musiq Soulchild. 7:30 p.m. (Sold out) birchmere.com.

sunday

countRy

Rock

gypSy Sally’S 3401 K St. NW. (202) 333-7700. The New Riders of the Purple Sage. 8:30 p.m. $20–$25. gypsysallys.com.

9:30 Club 815 V St. NW. (202) 265-0930. Savages, Angus Tarnawsky. 7 p.m. $25. 930.com.

Folk

u STreeT muSiC hall 1115 U St. NW. (202) 5881889. Gin Wigmore, Matt Santos. 7 p.m. $20. ustreetmusichall.com.

ioTa Club & CaFé 2832 Wilson Blvd., Arlington.

(703) 522-8340. Drew Gibson, Annie Stokes. 7:30 p.m. $12. iotaclubandcafe.com.

CITY LIGHTS: SATURDAY

HAMLET

Throughout his tenure at The Washington Ballet, artistic director Septime Webre has transformed beloved works of literature, from Alice’s Adventures in Wonderland to The Great Gatsby to The Legend of Sleepy Hollow, into artistic narrative ballets. In his final season with the company, Webre’s troupe of dancers will take on another classic tale: William Shakespeare’s Hamlet. Choreographer Stephen Mills’ adaptation of the play about the Danish prince brings the action to a contemporary setting. Unlike ballet adaptations of Shakespeare’s Romeo and Juliet and A Midsummer Night’s Dream, which feature elaborate costumes and sweeping music, this one tests the limits of dance and features a soundtrack by Philip Glass. In a way, it combines the narrative structure of traditional ballets with the abstract qualities of contemporary dance. And lest audiences fear a performance that will verge on hoaky territory, rest assured the performers will tell their stories without the use of water features or fake blood. The ballet runs March 23 to April 3 at the Kennedy Center Eisenhower Theater, 2700 F St. NW. $32.25– —Caroline Jones $130. (202) 467-4600. kennedy-center.org.

32 march 25, 2016 washingtoncitypaper.com

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CITY LIGHTS: SUNDAY

ANTIGONE NOW In the battle for expensive land development, nothing is sacred.

In D.C., those places could be old barber shops or schools. In playwright Evald Flisar’s Antigone Now, presented at Atlas Performing Arts Center by Scena Theatre, the mayor of a seaside town wants to dig up a local graveyard and replace it with a golf course and hotel. While sending a bunch of interred remains to a crematorium would be a provocative plan for any politician, the mayor’s niece further complicates his plan by refusing to allow the removal of her brother’s body. The battle for a balanced answer turns family members against one another and forces them to consider the costs of growth and sentimentality.

Scena presents this work for the first time in D.C. before embarking on a tour of Slovenia, Austria, and Italy. The play runs March 26 to April 2 at Atlas Performing Arts Center, —Caroline Jones 1333 H St. NE. $10–$40. (202) 399-7993. scenatheatre.org.

GospEl kenneDy CenTer millennium STage 2700 F St. NW. (202) 467-4600. The Howard Gospel Choir of Howard University. 6 p.m. Free. kennedy-center.org.

tuesday Rock The hamilTon 600 14th St. NW. (202) 787-1000. K I M O C K. 8 p.m. $20.50–$25.50. thehamiltondc.com. roCk & roll hoTel 1353 H St. NE. (202) 3887625. Basia Bulat, Twin Limb. 8 p.m. $12–$14. rockandrollhoteldc.com. velveT lounge 915 U St. NW. (202) 462-3213. A Light Sleeper: DC Improvisors Collective.

8:30 p.m. $8. velvetloungedc.com.

Funk & R&B birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Musiq Soulchild. 7:30 p.m. (Sold out) birchmere.com.

ElEctRonic blaCk CaT 1811 14th St. NW. (202) 667-4490.

Junior Boys, Jessy Lanza, Borys. 7:30 p.m. $15–$18. blackcatdc.com.

Folk

boSSa biSTro 2463 18th St NW. (202)667-0088.

Aaron Fisher and Ghost Fleet, Burt The Dirt. 9:30 p.m. $5. bossadc.com. gypSy Sally’S 3401 K St. NW. (202) 333-7700. Mo Kenney. 7:30 p.m. Free. gypsysallys.com.

Funk & R&B birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Goapele, Carolyn Malachi. 7:30 p.m. $35. birchmere.com.

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

Bombino, Last Good Tooth. 7:30 p.m. $20–$30. thehamiltondc.com. kenneDy CenTer millennium STage 2700 F St. NW. (202) 467-4600. Tsugaru Shamisen Dois “HAZUKI.” 6 p.m. Free. kennedy-center.org.

Hip-Hop barnS aT WolF Trap 1635 Trap Road, Vienna.

(703) 255-1900. Black Violin. 8 p.m. $27–$32. wolftrap.org. u STreeT muSiC hall 1115 U St. NW. (202) 588-1889. Skizzy Mars, P-Lo. 7 p.m. $20. ustreetmusichall.com.

thursday Rock

gypSy Sally’S 3401 K St. NW. (202) 333-7700.

The Mulligan Brothers, Christian Lopez Band. 8 p.m. $12. gypsysallys.com.

blaCk CaT baCkSTage 1811 14th St. NW. (202) 667-4490. DMA’s, Cold Fronts. 7:30 p.m. $12. blackcatdc.com.

kenneDy CenTer millennium STage 2700 F St. NW. (202) 467-4600. Oh He Dead, Herb & Hanson. 6 p.m. Free. kennedy-center.org.

DC9 1940 9th St. NW. (202) 483-5000. The Smith Street Band, Hard Girls, Worriers, Lilac Daze. 7 p.m. $12–$14. dcnine.com.

Wednesday

gypSy Sally’S 3401 K St. NW. (202) 333-7700. The Matchsellers. 7:30 p.m. Free. gypsysallys.com.

Rock

The hamilTon 600 14th St. NW. (202) 7871000. Turkuaz and Kung Fu. 8 p.m. $16–$18. thehamiltondc.com.

blaCk CaT baCkSTage 1811 14th St. NW. (202) 667-4490. Chad Valley, Blackbird Blackbird, Brett.

7:30 p.m. $12. blackcatdc.com.

logan Fringe arTS SpaCe 1358 Florida Ave. NE. (202) 737-7230. Guy Mintus Trio, Adventurous Originals. 8 p.m. Free. capitalfringe.org.

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

Just Announced!

FIRST COMES THE NIGHT TOUR May 9 & 10 Mar 24

Tix on sale Fri. 3/25 at Noon.

EMILY WEST

As seen on “America’s Got Talent!”

CLEVE FRANCIS

26

GOAPELE Carolyn Malachi Apr Karen 1 BOB SCHNEIDER (Solo) Jonas 30

TOM RUSH RIDERS IN THE SKY 3 6&7 RY COODER, SHARON WHITE, RICKY SKAGGS DON McLEAN 8 KEIKO MATSUI 9 10 BRANFORD MARSALIS ROBIN TROWER 12 The Record 13 JJ GREY & MOFRO Company 2

An Evening with

14

THE CHURCH

15

Charles Ross’

17 ONE MAN

DARK KNIGHT

A Batman Parody

18

JAKE SHIMABUKURO

TOWER OF POWER 21 KARLA BONOFF & JIMMY WEBB MARC COHN 22 LLOYD COLE 23 19

24

GUITAR ARMY feat.

26&27

An Acoustic Evening with

ROBBEN FORD, LEE ROY PARNELL, JOE ROBINSON ANDY McKEE 25 Rick JOHN HIATT Brantley NAJEE 28 29 THE HOT SARDINES Ruby THE WAIFS Boots 30

washingtoncitypaper.com march 25, 2016 33

Jazz

Cristian Macelaru, conductor, Nikolaj Znaider, violin.

7 p.m. $15–$89. kennedy-center.org.

blueS alley 1073 Wisconsin Ave. NW. (202) 337-4141. 4 Generations of Miles. 8 p.m. & 10 p.m. $35–$40. bluesalley.com.

muSiC CenTer aT STraThmore 5301 Tuckerman Lane, Bethesda. (301) 581-5100. Baltimore Symphony Orchestra: Broadway Divas with Jack Everly, conductor. 8 p.m. $45–$110. strathmore.org.

TWinS Jazz 1344 U St. NW. (202) 234-0072. The Twins Jazz Orchestra. 8 p.m. $10. twinsjazz.com.

BluEs SAT MARCH 26TH

RISK PODCAST SUN MARCH 27TH

EASTER SUNDAY BRUNCH SPECIAL FT. HARLEM GOSPEL CHOIR

MON MARCH 28TH

DELTA DEEP

FT. PHIL COLLEN OF DEF LEPPARD & ROBERT DELEO OF STONE TEMPLE PILOTS

WED MARCH 30TH

LIVING COLOUR HOSTED BY LANCE REYNOLDS OF WPFW'S HOUSE OF SOUL

THU MARCH 31ST

THE SAME HEART PREMIERE & WORLD MUSIC DANCE PARTY A NIGHT OF FILM, MUSIC & ACTIVISM FOR THE WORLD’S CHILDREN

FRI APRIL 1ST

WHITE FORD BRONCO DC'S ALL 90'S BAND

SAT APRIL 2ND

JAZZ AT THE HOWARD:

HIROMI

THE TRIO PROJECT

FT. SIMON PHILLIPS & ANTHONY JACKSON

SUN APRIL 3RD

A TRIBUTE TO MOTOWN

TUE APRIL 5TH

COMEDY AT THE HOWARD:

THE DUNCAN TRUSSELL

MARCH

M 28 DARYL DAVIS PRESENTS: countRy RUTHIE LOGSDON mr. henry’S 601 Pennsylvania Ave. SE. (202) 546T 29 THE JAM W/ GARY 8412. Stewart Lewis. 8 p.m. Free. mrhenrysdc.com.

GRAINGER & FRIENDS

W 30 SUNFLARE & THE CRAIG ALSTON SYNDICATE TH 31 SKIP MAHONEY & THE CASUALS APRIL

1 BE’LA DONA 2 KING SOUL AND TEXAS CHAINSAW HORNS SU 3 EDDIE JONES & THE YOUNG BUCKS T 5 GREG ADAMS & EAST BAY SOUL TH 7 ROOMFUL OF BLUES W/ SPECIAL F S

GUEST JOHN NÉMETH

F

STAND UP COMEDY BUS TOUR PRESENTED BY SQUARESPACE

FRI APRIL 8TH & SAT APRIL 9TH 2 NIGHTS OF

MS. LISA FISCHER & GRAND BATON

SUN APRIL 10TH JAZZ BRUNCH FT.

MARCUS JOHNSON SAT APRIL 16TH EL GRAN COMBO SUN APRIL 17TH ONLY DC/MD PERFORMANCE!

STEEL PULSE

8 BOBBY BROOKS WILSON - SON OF JACKIE WILSON

S 9 SYLEENA JOHNSON S 10 DR LONNIE SMITH F 22 CAMEO M AY

M S

WITH SPECIAL GUEST JAH WORKS

2 SNARKY PUPPY 8 MOTHER’S DAY -

RAT PACK BRUNCH AND EVENING SHOWS

27 ERIC BENET

TUE APRIL 19TH

F

SUN APRIL 24TH

7719 Wisconsin Ave., Bethesda, MD (240) 330-4500 www. BethesdaBluesJazz.com

JAZZ IS PHISH OFFICIAL J DILLA TRIBUTE

FT. SLUM VILLAGE, PHAT KAT, GUILTY SIMPSON, BLAQ ROYALT & DJ BARONHAWK

BUY TICKETS AT THE BOX OFFICE OR ONLINE AT THEHOWARDTHEATRE.COM 202-803-2899

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Keb’ Mo’ Band, Gerald Albright.

7:30 p.m. (Sold out) birchmere.com.

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

34 march 25, 2016 washingtoncitypaper.com

Folk hylTon perForming arTS CenTer 10960 George Mason Circle, Manassas. (703) 993-7759.

An Evening with Art Garfunkel. 8 p.m. $40–$99. hyltoncenter.org.

WoRld 9:30 Club 815 V St. NW. (202) 265-0930. Dubioza Kolektiv. 7 p.m. $30. 930.com.

Hip-Hop barnS aT WolF Trap 1635 Trap Road, Vienna.

(703) 255-1900. Black Violin. 8 p.m. $27–$32. wolftrap.org. eChoSTage 2135 Queens Chapel Road NE. (202) 503-2330. Logic, Dizzy Wright. 7 p.m. $43.45. echostage.com.

classical kenneDy CenTer ConCerT hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra:

phillipS ColleCTion 1600 21st St. NW. (202) 387-2151. Sayaka Shoji, violin and Ryo Yanagitani, piano. 6:30 p.m. $15–$30. phillipscollection.org.

Galleries

aDamSon gallery 1515 14th St. NW, Suite 301. (202) 232-0707. adamsongallery.com.

Closing: “Elemental Perspectives: Land, Sea + Sky.” Recent works capturing the natural world by photographers Renate Aller, Martin Usborne, and Carolyn Marks Blackwood and printmaker Robert Longo. Jan. 16–March 26. arlingTon arTS CenTer 3550 Wilson Blvd., Arlington. (703) 248-6800. arlingtonartscenter. org. ongoing: “King of the Forest: Adventures in Bioperversity.” Thirteen artists explore how consumerism and self-interest have impacted our relationships with other species in this large exhibit. Jan. 27–April 3. ongoing: “Daydreams in the Anthropocene.” Resident artist Rachel Schmidt considers what life will be like for humans in the current geological age moving forward in these works created using paper, light, and other simple items. Jan. 27–April 3. ongoing: “Instructor Select 2016.” Adult students and instructors from AAC present work in this group exhibition.

Jan. 27–April 3. aThenaeum 201 Prince St., Alexandria. (703) 5480035. nvfaa.org. ongoing: “Oils and Encaustics.”

Local artist Georgia Nassikas uses wax from her own honeybees and oil paints to create bright landscapes and nontraditional pieces. March 17–April 24. brenTWooD arTS exChange 3901 Rhode Island Ave., Brentwood. (301) 277-2863. arts. pgparks.com. opening: “Boundless: Aging and Creativity.” University of Maryland students work

CITY LIGHTS: MONDAY

JANETTE SADIK-KHAN With Metro seemingly on the verge of collapse and D.C.’s streets still pocked with winter’s potholes, District residents are in agreement that our fair city’s transportation infrastructure needs to improve. Normally, people would take their complaints to neighborhood listservs or Twitter, but on Monday night, Politics & Prose offers them an opportunity to grouse in the company of an expert. Janette Sadik-Khan, New York’s former transportation commissioner, appears at the store to discuss her new book, Streetfight: Handbook for an Urban Revolution. Sadik-Khan isn’t looking to start a physical conflict; instead, she looks back on her work transforming the ways streets work and bringing more people to them. Her methods are not particularly controversial—chief among them are designating bike lanes and repainting crosswalks—but by making urban areas more friendly to non-drivers, Sadik-Khan has made streets safer and more welcoming to businesses. As entrepreneurs and homeowners continue to develop D.C., taking a tip or two from this expert can only help. Janette Sadik-Khan reads at 7 p.m. at Politics & Prose, 5015 Connecticut Ave. NW. Free. (202) 364-1919. politics-prose.com.

—Caroline Jones

CITY LIGHTS: TUESDAY

BASIA BULAT Basia Bulat has been on a gradual trajectory to pop stardom since 2007: She’s put out a record every three years since then, and her fourth full-length, Good Advice, arrived in early February. The Toronto-based songwriter has been shortlisted for Canada’s Polaris Prize twice, for her 2007 debut of bedroom folk, Oh, My Darling, and for 2013’s Tall Tall Shadow, on which she began reaching for bigger melodies and catchier tunes. However, 2010’s Heart of My Own is her best. The urgent, rolling rhythms make it an invigorating stampede that invokes images of the great Canadian wilderness. The first singles for Good Advice hint that her new album will push further into pop music by leaving her usual autoharp behind for sparkling studio productions. Fans shouldn’t be worried: The new songs are still more Feist than they are FM pop. Basia Bulat performs with Twin Limb at 8 p.m. at Rock & Roll Hotel, —Justin Weber 1353 H St. NE. $12. (202) 388-7625. rockandrollhoteldc.com. with Brentwood Arts Exchange staff to create this exhibition featuring work by senior artists who come to art late in life. March 28–May 28.

showcase their work in this yearly showcase that celebrates young artists from the D.C. area.

March 10–March 28.

CapiTol hill arTS WorkShop 545 7th St. SE. (202) 547-6839. chaw.org. ongoing: “Appetite for Art.” Artists present a variety of works centered around the theme of food at this exhibition presented by the Capitol Hill Arts League.

March 5–April 15.

olD prinT gallery 1220 31st St. NW. (202) 9651818. oldprintgallery.com. ongoing: “Feathered.”

The movements of birds are celebrated in this exhibition showcasing the work of 20th century printmakers Frank W. Benson, H. Emerson Tuttle, and Stow Wengenroth. Feb. 19–April 9.

CroSS maCkenzie gallery 1675 Wisconsin Ave. NW. (202) 337-7970. crossmackenzie.com. Closing: “Going Deep.” Photographer Maxwell MacKenzie chronicles the downfall of his rural Minnesota hometown and abandoned structures throughout the Midwest. Jan. 29–March 31.

TouChSTone gallery 901 New York Ave. NW. (202) 347-2787. touchstonegallery.com. Closing: “Figure 8 Plus 1.” Eight painters and one sculptor present work that examines the human body in all its forms as part of this group exhibit.

March 4–March 27.

gallery nepTune anD broWn 1530 14th St. NW. (202) 986-1200. neptunefineart.com.

Closing: “Streets for Evermore.” Artist Erick Johnson comments on the urban environments he encounters in this exhibition of drawings and paintings. Feb. 27–March 26. hamilTonian gallery 1353 U St. NW. (202) 332-1116. hamiltoniangallery.com. Closing: “Nara Park and Dane Winkler.” New work by sculptors Park, who creates work that resembles natural surroundings, and Winkler, who works with wood and other earthy materials. Feb. 20–March 26. hillyer arT SpaCe 9 Hillyer Court NW. (202) 3380325. hillyerartspace.org. Closing: “Typecast.”

Curator Jarvis Dubois juries this exhibition of work focused on the theme of identity. March 4–March 26. Closing: “Lina Alattar.” The local abstract painter presents a series of new work.

March 4–March 26. honFleur gallery 1241 Good Hope Road SE. (202) 365-8392. honfleurgallery.com. opening: “French Doors.” Artist and educator Aziza Claudia Gibson-Hunter combines Parisian architecture with West African prints in her large mixed-media works.

March 25–May 13. long vieW gallery 1234 9th St. NW. (202) 2324788. longviewgallerydc.com. opening: “Ryan McCoy.” The local artist attempts to capture certain moments on his canvases using unconventional materials, including ash, pine needles, and baby powder. March 25–April 24. monTpelier arTS CenTer 9652 Muirkirk Road, Laurel. (301) 377-7800. arts.pgparks.com. Closing: “47th Annual Laurel Art Guild Juried Exhibition.”

Local artists submit paintings, drawings, sculptures, and photos to this yearly juried exhibition. March 6–March 28. Closing: “Fourth Annual Artists on the Rise.” Artists between the age of 13 and 18

TranSFormer gallery 1404 P St. NW. (202) 483-1102. transformerdc.org. ongoing: “No Sharps, No Flats.” Alex Braden, Emily Francisco, and Adam Richard Nelson Hughes showcase a sculpture created from 30 cassette players. Each system plays a piece of original music, allowing the audience to experience different arrangements over the course of the exhibit. March 17–April 30. viSarTS 155 Gibbs St., Rockville. (301) 315-8200. visartsatrockville.org. ongoing: “Cranes in Motion.”

Artist and filmmaker Cathy Cook, who’s always had an interest in birds, turns her attention to cranes in this exhibition that encourages viewers to learn more about the the species and how we relate to them within a shared ecosystem. Feb. 26–April 24.

Closing: “You and Me, You and I.” Artist Calla Thompson displays a series of tableaus that focus on how power is exchanged and what dissent means in our culture. Feb. 26–March 27. viviD SoluTionS gallery 1231 Good Hope Road SE. (202) 365-8392. vividsolutionsdc.com. opening: “Primordial Planes.” Alexandra Chiou creates delicate collages that mimic elements of the natural world in this exhibition inspired by National Geographic studies. March 25–May 13.

WaShingTon prinTmakerS gallery 1641 Wisconsin Ave. NW. (202) 669-1497. washingtonprintmakers.com. opening: “Cuba 2015: Before the Change.” Local photographer Alex Keto showcases a series of images from his recent trip to Cuba, printed on metallic paper. March 30–April 23. zeniTh gallery SpaCe 1111 Pennsylvania Ave. NW. (202)783-2963. zenithgallery.com. ongoing: “Full Circle.” Wood sculptor Len Harris and fiber artist Carol Schepps present a series of works inspired by round shapes and unique colors.

Jan. 13–April 30.

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theater

LIVE Easter v

UPCOMING PERFORMANCES

v

THURSDAY MAR 24TH

FUTURE GENERATIONS

HYPNOTIC WILLIE

ROOTS ROCK, AMERICANA, SOUL, BLUES

SUNDAY MAR

SATURDAY MAR 26TH

THE RHYTHM BANDITS VARIOUS COVERS, ROCK AND ROLL

SUNDAY MAR 27TH

BATTLE OF THE BANDS:

SULTANS OF FLICK (5PM), BOX ERA (6PM), CATHY B & THE BROADCASTERS (7PM) & THE DELTA CREEPS MONDAY(8PM) MAR 28TH

TUESDAY, MAR 29TH

LITTLE NEW RED & THE RENEGADES ORLEANS ROCK, FOLK & FUNK! WEDNESDAY MAR 30TH

TRIVIA NIGHT 7-9PM TRIVIA KINGS FREE MUSIC TRIVIA WEDNESDAY MAR 30TH

OPENOPEN MICTO EVERYONE. NIGHTSHOWHOSTED

BY CHRIS BRUNO US YOUR TALENT! THURSDAY MAR 31ST

THE VI-KINGS MIX 50’S/60’S/70’S ROCK COVERS EARLY START AT 7:30PM!

BOMBINO W/ LAST GOOD TOOTH

aFTer The War An Israeli pianist returns to his home country to perform with the Israeli Philharmonic and attempts to reconnect with the family he became estranged from following the 2006 war in Lebanon in this drama by Motti Lerner, author of The Admission. Atlas Performing Arts Center. 1333 H St. NE. To April 17. $20–$60. (202) 399-7993. atlasarts.org.

FEATURING WILBUR JOHNSON AND THE GOSPEL PERSUADERS

FRIDAY MAR 25TH

GRATEFUL MONDAYS HOSTED BY THE ROCK CREEK BAND GRATEFUL DEAD TRIBUTE BAND

10AM, 12:30PM, 3:00PM

1984 George Orwell’s classic dystopian novel about an all-seeing government is turned into a dramatic stage play in this new multimedia production by Robert Icke and Duncan Macmillan, originally created by the British theater collective Headlong.

Lansburgh Theatre. 450 7th St. NW. To April 10. $25–$123. (202) 547-1122. shakespearetheatre.org.

GOSPEL BRUNCHES

WITH DAVISON DUO & TWO BLUE ROCK AND FOLK

AN EVENING WITH

GOLDEN GATE WINGMEN SAT, MAR 26

RED BARAAT’S FESTIVAL OF COLORS

WITH MADAME GANDHI AND RAJAS TUES, MAR 29

URBAN FUNK 70’S FUNK FUSION DISCO CHART HITS SATURDAY APRIL 2ND

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SUNDAY APRIL 3RD

30

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ALL GOOD PRESENTS: AN EVENING WITH K I

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THE SIDLEYS WITH OPENER NAKED BLUE

110 in The ShaDe A young woman aches for a life outside her small town and when she meets a handsome stranger who promises her opportunity and the ability to ease the region’s drought, her dreams appear within reach in this lively romantic musical by Harvey Schmidt, Tom Jones, and N. Richard Nash. Ford’s Theatre. 511 10th St. NW. To May 14. $28–$69. (202) 347-4833. fords.org.

MOCK

ALL GOOD PRESENTS: TURKUAZ AND KUNG

FU

BATTLE OF THE BANDS FINALS:

ameriCan iDioT Keegan Theatre presents this musical about disaffected youth coming of age in the early 21st century set to the music of Green Day. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To April 9. $45–$55. (202) 265-3767. keegantheatre.com.

CaT on a hoT Tin rooF Secrets and flawed relationships are revealed in Tennessee Williams’ classic drama about two generations fighting to figure out inheritance and their roles in the world.

Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To April 24. $46–$61. (240) 644-1100. roundhousetheatre.org.

and along the way, form tenuous connections with one another, in this Pulitzer Prize-winning play by Annie Baker. Signature Theatre. 4200 Campbell Ave., Arlington. To April 17. $40–$94. (703) 8209771. sigtheatre.org.

For ColoreD girlS Who have ConSiDereD SuiCiDe/When The rainboW iS enuF Ntozake Shange’s classic work about the struggles and triumphs of seven African-American women blends 20 poems with music and movement. Performed in repertory with Word Becomes Flesh. Anacostia Playhouse. 2020 Shannon Place SE. To March 26. $25–$35. (202) 290-2328. anacostiaplayhouse.com.

The goSpel aCCorDing To ThomaS JeFFerSon, CharleS DiCkenS, anD CounT leo TolSToy: DiSCorD Three famed thinkers who adapted The Bible to suit their own lives debate the merits of their own interpretations in this clever comedy by Scott Carter. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To April 24. $40–$50. (240) 582-0050. stageguild.org.

The lion Benjamin Scheuer tells his life story with the help of six guitars in this original one-man show that incorporates original rock songs and personal pain. Arena Stage. 1101 6th St. SW. To April 10. $45–$70. (202) 488-3300. arenastage.org. marJorie prime A woman reinvents her past with some help from a hologram of her late husband in this experimental comedy by Jordan Harrison.

Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To April 10. $22–$65. (301) 924-3400. olneytheatre.org. momenT Tony-nominated director Ethan McSweeny makes his Studio debut with this family drama set in Ireland. When a young man returns home to visit his estranged movement, he starts a series of conflicts within his suburban town and within his family. Studio Theatre. 1501 14th St. NW. To April 24. $20–$91. (202) 332-3300. studiotheatre.org.

Falling ouT oF Time Author David Grossman reflects on losing his son in the 2006 Israel-Lebanon conflict in this moving story about a man who, with his wife, embarks on a journey that will impact his life forever. The stage version is adapted and directed by Derek Goldman, artistic director of the Davis Performing Arts Center at Georgetown University. Theater J. 1529 16th St. NW. To April 17. $15–$67. (202) 777-3210. theaterj.org.

oThello Acclaimed director Ron Daniels leads this classic tale of jealousy and scheming about the Moorish general whose imagination leads him to turn against those who care about him while the duplicitous Iago benefits. Sidney Harman Hall. 610 F St. NW. To March 27. $20–$118. (202) 547-1122. shakespearetheatre.org.

The FliCk Three minimum-wage workers do their best to keep a Massachusetts movie theater running

The pilloWman An author living in a totalitarian state is investigated when a series of horrific crimes

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SPLIT FEET

The life of a band is a funny thing. For a moment, being in one can feel like the most important thing in the world: creating music and spreading your message with some of your best friends, traveling the country, and being part of a community of like-minded artists. It’s fleeting, though. Life happens and bands can’t stay together forever (unless you’re The Rolling Stones—those dudes are ancient). Such is the case with Chicago’s Split Feet, whose surfy, fierce post-punk will come to end after its current tour. Guitarist/vocalist Jes Skolnik—whose prolific work as a freelance music writer and critic landed her a sweet staff job at Bandcamp as managing editor—is moving to New York. On the band’s full-length debut, 2015’s Shame Parade, the quartet channels classic D.C. bands like Autoclave and Slant 6 over the course of eight original songs (and one bad-ass Siouxsie and the Banshees cover). The band—which also includes guitarist Taylor Kelley, bassist/vocalist Christine Wolf, and drummer Keara Shipe—plans to record and release more material, but Thursday night is the last time you’ll be able to catch it live in D.C. Split Feet performs with Daylight Robbery, Booby Trap, and Default Handshake at 8 p.m. at Union Arts DC, 411 New York Ave. —Matt Cohen NE. $10. unionartsdc.com.

AN UNSETTLING, HIGHLY ABSORBING TRUE CRIME DRAMA.” “

CITY LIGHTS: THURSDAY

TARICA JUNE

– Gary Goldstein, Los Angeles Times

Earlier this month, local rapper and artist Tarica June dropped the music video for her 2014 single “But Anyway,” and it struck a chord with many D.C. residents. In it, June raps about how much the city has changed while strolling through various locales in Northwest—mostly gentrified parts along Georgia Avenue and 14th Street. June doesn’t mince her words: “Say Washington Paper what you want about City Barry, but he cared forFeb. the poor/ Wed, 24, And 2016 that ain’t who these new fools (4.666” x 1.603”) working1/12 for/ H I tell ‘em ‘That ain’t who these new fools worLandmark Theatres/BP kin’ for’/ They tryna kick us all out and just build more stores.” It’s a blistering lament for Chocolate City, but June’s method of preaching messages of hope and empowerment in her community works: “And anyway, I’m just speaking from my heart/ Even though the industry is tryna keep us apart/ Even though my enemies be steadily throwing darts/ I’ma make it to the end, man I said it from the start.” Simply put, Tarica June is one of D.C.’s most powerful voices, and “But Anyway” is the anthem new residents of D.C. need to hear and consider next time they’re at brunch in a gentrified part of town. Tarica June performs with Tamika Jones and Kia Bennett at 8 p.m. at Treehouse Lounge, 1006 Florida Ave. NE. $12. treehouselounge.com.

—Matt Cohen

align with events in his stories in Martin McDonagh’s play. Forum Theatre at Silver Spring Black Box Theatre. 8641 Colesville Road, Silver Spring. To April 2. $30–$35. (301) 588-8279. forum-theatre.org. prooF In this Pulitzer Prize-winning play, a young woman who has spent much of her life caring for her unstable father must reckon with his actions after his death. When she encounters her estranged sister and a former student of her father’s, the three of them begin to figure out what’s left behind. 1st Stage. 1524 Spring Hill Road, McLean. To May 1. $15–$30. (703) 854-1856. 1ststagetysons.org. romeo anD JulieT Synetic Theater brings back its popular silent production of the classic tale of young love and tragic loss seven years after it debuted.

Synetic Theater at Crystal City. 1800 South Bell St., Arlington. To March 27. $20–$60. (866) 811-4111. synetictheater.org.

WorD beComeS FleSh A father reads a series of letters to his unborn child, conveying his love and fear, in this emotional work by Marc Bamuthi Joseph, which combines music, spoken word, and visual images. Anacostia Playhouse. 2020 Shannon Place SE. To March 26. $25–$35. (202) 290-2328. anacostiaplayhouse.com.

FilM

baTman v Superman: DaWn oF JuSTiCe Henry Cavill and Ben Affleck face off in this thrilling superhero flick that finds Batman and Lex Luthor working separately to finish off Superman.

(See washingtoncitypaper.com for venue information)

n

The bronze A foul-mouthed gymnast aims to maintain her local celebrity status after another athlete threatens it in this dark comedy from director Bryan Buckley. Melissa Rauch, who co-wrote the film, stars. (See washingtoncitypaper. com for venue information)

««««

AUDACIOUSLY ENTERTAINING.”

“

– Robbie Collin, The Telegraph

original file: Adobe In Non-SAU

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EXCLUSIVE ENGAGEMENTS START FRIDAY, MARCH 25

WASHINGTON, DC SILVER SPRING Landmark’s E Street Cinema AFI Silver (202) 783-9494 (301) 495-6700

A seemingly normal family turns out n toThebeClan a criminal operation responsible for the kidnapping, torturing, and ransoming of random wealthy people in this new thriller from director Pablo Trapero. (See washingtoncitypaper.com for venue information) kriSha After 10 years apart, a woman reunites with her family but still finds herself haunted by demons in this thriller from writer/director Trey Edward Shults. (See washingtoncitypaper.com for venue information)

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The liTTle prinCe Antoine de Saint-Exupéry’s novel about a young royal and the world he explores is transformed into an animated feature by director Mark Osbourne. Featuring the voices of Jeff Bridges, Marion Cotillard, and Paul Rudd. (See washingtoncitypaper.com for venue information) margueriTe A wealthy music lover in 1920s n France decides to become an opera singer but encounters one small problem: She can’t sing.

Catherine Frot stars in this film written and directed

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the 2002 hit about marriage, familial obligation, and the joys of being Greek-American. This film fidn them once again planning a wedding while encountering the challenges of parenting and growing older. (See washingtoncitypaper.com for venue information) remember Martin Landau and Christopher Plummer star in this thriller about Holocaust survivors who plot to kill the blockfuhrer who murdered their families at Auschwitz. (See washingtoncitypaper.com for venue information)

Film clips by Caroline Jones.

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Legals

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E.L. HAYNES PUBLIC CHARTER SCHOOL

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2015 ADM 1290 Name of Decedent: Estate of Ella Mae Wilson Name and Address of Attorney: Brian Gormley, Esq. 10605 Concord St., Ste 440 Kensington, MD 20895 Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs Ronnie E. Wilson, whose address is 11410 Mary Catherine Drive/ Clinton, MD 20735 was appointed Personal Representative of the estate of Ella Mae Wilson who died on August 21, 2015 without a Will and will serve without Court supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment (or to the probate of decedent’s Will) shall be filed With the Register of Wills, D.C., Building A, 515 5th Street, N.W., 3” Floor, Washington, D.C. 20001, on or before 09/24/2016. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or filed with the Register of Wills with a copy to the undersigned, on or before 09/24/2016, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship.

Date of first publication: 3/24/2016 Name of newspaper and/or periodical: Washington Law Reporter Washington City Paper Personal Representative: Ronnie E. Wilson TRUE TEST copy Anne Meister Register of Wills Pub Dates: Mar. 24, 31, Apr. 7.

Cesar Chavez Public Charter Schools in Washington, DC invites interested and qualifi ed vendors/contractors to submit proposals to provide: Telecommunication Services, Internet Access, and Internal Connections at all Chavez School locations. The School intends to apply for discounts on the equipment/services listed in this RFP through the federal E-rate program. Several criteria and restrictions pertinent to the E-rate program are included herein and must be met by the successful vendor in order for the proposal to be considered a Qualifi ed Proposal.

REQUEST FOR PROPOSALS Toast to Transformation - Catering Vendor

Must be 18 yrs or older to apply Must own or have access to computer Check out our models at

E.L. Haynes Public Charter School (“ELH”) is seeking proposals for a qualifi ed vendor to provide catering and related services for E.L. Haynes’ annual fundraising event Toast to Transformation. The event will take place on Thursday, May 26, 2016 from 6:00 – 9:00 PM at the Long View Gallery.

Applicants must provide all of the tasks included in the scope of work in their response to request for applications.

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Legals The DC Public Charter School Board (DC PCSB) will hold a public hearing on the new charter school applications received by the 3/7/16 deadline at the board meeting on 4/18/16. DC PCSB received applications from Adult Career Technical Education Public Charter, Interactive Academy, and Sustainable Futures. DC PCSB will hold a vote during the board meeting on 5/16/2016. Questions, contact 202-328-2660 or applications@dcpcsb.org.

Proposals are due via email to Kristin Yochum no later than 5:00 PM on Friday, April 1, 2016.

We will notify the final vendor of selection the following week. The RFP with bidding requirements can be obtained by contacting: Kristin Yochum E.L. Haynes Public Charter School Phone: 202.667-4446 ext 3504 Email: kyochum@elhaynes.org

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EXCEL ACADEMY CHARTER SCHOOL

PUBLIC

The Excel Academy Public Charter School solicits proposals for vendors to provide: Local Telephone & Long Distance Service (Category 1) Internet Services (Category 1) Internal Connections – Cabling, Firewall Service Components, Racks, Switches, UPS, Battery Backup, WAP, Wireless Controller, Antennas, Connectors and Related Components (Category 2) Please email proposals to bids@excelpcs.org no later than 9:00 A.M., Tuesday, April 5, 2016.

Apartments for Rent

Fort Lincoln, NE Washington Overlook at Ft.Lincoln 1 & 2 bedroom apartment homes available for immediate move-in. Rates start @ $1420 call us about our move-in special 202.832.5150.

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Adams Morgan, Two Bedroom one bath apt. Renovated, central AC, Washer/Dryer, DW, Microwave. Backyard. 975 SF, $1975 per month, plus utilities. Text or call 202-255-7898

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Rooms for Rent Large sunny Victorian in garden near Takoma DC Metro has an unfurnished room for male professional/ grad student. $725 includes utilities. Available April 15.

Betsy 202/549-6600.

Surrounded by trees, close to Metro: A one-bedroom basement apartment that doesn’t feel like a basement, because it has its own ground-level, private entrance and driveway. In Takoma Park, Maryland, it’s close to a park and Sligo Creek bike trails. Easy access to buses and Takoma Metro. $1,150 monthly rent includes Verizon Fios cable and internet, gas and water. Perfect for one or two people with (or without) a car. Call (202) 320-3114.

Between 14th and 16th St NW DC fully furnished effi ciency with new kitchen and bath, stainless steel appliances, minutes walk to Rock Creek Park and old Walter Reed Hospital, convenient for public transportation. Driveway parking, wood floor, AC, W/D on premises, starting immediately $1045/mo. (301)602-6096.

Between 14th and 16th St NW DC 2BR/2BA stainless steel appliances, minutes walk to Rock Creek Park and old Walter Reed Hostpital, convenient for public transportation. Driveway parking, wood floor, AC, W/D, starting immediately, $1425/mo. (301)6026096.

Adams Morgan. Mt.Pleasant beautiful large entrance and hallway, LR and DR, high ceilings, HWF, intercom system. Move-in immediately. Effi ciency $850/mo. and 2 BDRM, $1850/Mo. + utils.

Call 202-362-8078, 202-3629441, ext. 16.

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The full text of the proposal is available upon request by sending an email to erate@chavezschools. org. Proposals are due to the school no later than 12:00pm EST on April 22, 2016 and can also be sent to the e-mail address above.

Apartments for Rent

Beautiful Condo in Fairlington Villages, 2 BR, 1.5 bath, peaceful balcony, W/D, HW, pool, tennis, parking, short walk to Shirlington, bus at your door, $1750, 202528-5177.

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Rooms for Rent Capitol Hill - Furnished bedroom with private bath in home with all amenities. Share common rooms with professional female and 2 well-behaved cats. Access to 2 subway stops. Excellent situation for interns or those on temporary assignment. $995/mo. includes utils. Avail. immediately. 202547-8095 Fully furnished room for rent in Brentwood, MD. Blocks outside of NE DC, easy access to West Hyattsville metro (green line), bus to Rhode Island metro (red line), and University of Maryland.

Utilities included for $675/month WiFi ready Call Linda 240-829-2929 or email lindajeune10@gmail.com

NE DC rooms for rent. $650/mo. utils plus cable included. $400 security deposit required Close to Metro and parking available. Use of kitchen, very clean. Seeking Professional. Call 301/437-6613.

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Computer/Technical Computer/IT: Association of American Medical Colleges (AAMC) in Washington DC seeks f/t Lead Software Engineer, Java/ BPM/Mobile. Dev, maintain, support & enhance enterprise integrated solutions, software & data. Req’s Bach’s or frgn equiv in Comp Sci, Info Sys, or rel tech fl d fllwd by 7 yrs progressively resp professional Software Engg exp.

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