Washington City Paper (April 5, 2019)

CITYPAPER WASHINGTON

FREE VOLUME 39, NO. 14 WASHINGTONCITYPAPER.COM APRIL 5-11, 2019

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NEWS: WARD 8 CANCER CLINIC CLOSES ITS DOORS 6 SPORTS: NATS FANS GET GROUP THERAPY 7 ARTS: POLITICKING JEOPARDIZES ARTS IN D.C. 13

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INSIDE

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COVER STORY: FARE ACCESS

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D.C. restaurants can do a lot more to make themselves accessible to diners with disabilities.

DISTRICT LINE 4 Wait For It: Some news about our Best of D.C. issue and celebration 5 Loose Lips: The difficulty of accessing councilmembers’ public police records 6 Ill Advised: United Medical Center will close its oncology clinic, forcing cancer patients to seek services elsewhere.

SPORTS 7

Boos Cruise: On his first trip back to D.C., Nats fan vocalize their feelings about Bryce Harper.

ARTS 13 Creative Differences: Pending changes at the DC Commission on the Arts and Humanities worry the local arts community.

15 Short Subjects: Zilberman on Diane and Gittell on The Public 16 Galleries: Capps on the National Gallery of Art’s trio of Tintoretto exhibitions 18 Speed Reads: Ottenberg on Cheryl Head’s Catch Me When I’m Falling

DARROW MONTGOMERY 200 BLOCK OF M STREET NE, APRIL 1, 2019

CITY LIST 19 Music 22 Theater 23 Film

DIVERSIONS 25 Savage Love 26 Classifieds 27 Crossword

EDITORIAL

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

ADVERTISING AND OPERATIONS

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LOCAL ADVERTISING: (202) 650-6937 FAX: (202) 650-6970, ADS@WASHINGTONCITYPAPER.COM FIND A STAFF DIRECTORY WITH CONTACT INFORMATION AT WASHINGTONCITYPAPER.COM VOL. 39, NO. 14 APRIL 5–11, 2019 WASHINGTON CITY PAPER IS PUBLISHED EVERY WEEK AND IS LOCATED AT 734 15TH ST. NW, SUITE 400, WASHINGTON, D.C. 20005.

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Wait For It

Best Of D.C. is coming out on May 9, and we’re asking for your ideas for a new kind of Best Of celebration.

I started as City Paper’s new publisher in January, just as both our sales and editorial teams were ramping up for our annual Best Of D.C. issue. I knew coming in to the position that this is one of the paper’s signature issues and events.

To us, Best Of D.C. means just that— a celebration of this city and all it has to offer, and of the work our residents, businesses, and institutions do to make D.C. the best it can be.

Two months in to my new job, we see an opportunity to build on the Best Of tradition at City Paper by going beyond our annual party.

So our print copy will come out on May 9 rather than April 11, and we want to hear your ideas for a new event.

This year we want to bring our city together to learn from our nominees and celebrate with our winners while also convening conversations that are essential to understanding life in the Dis-

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trict. We want to create an opportunity for City Paper readers to talk with our nominees and winners, and also to talk about some of the issues our reporters cover year round. Things like housing, local politics, local music, visual art, dining, sports, and sandwiches.

What should a new Best of D.C. event— we’re calling it a Best Fest—look like?

Do you want to take a deep dive into any Best Of categories—have a conversation beyond a simple list of three winners? Which elements of our Best Of party have you most enjoyed? If you could convene your dream panel of speakers for Best Fest, who would you invite?

Submit your ideas via a form at washingtoncitypaper.com/bestfest2019 and we’ll print select responses on a page in this year’s Best Of D.C. issue.

Perhaps more important, we’ll use your ideas to produce Best Fest this summer.

—Katy McKegney

DISTRICTLINE The Silent Authority

By Mitch Ryals Pulling Public records out of the Metropolitan Police Department can be maddeningly difficult, particularly if they regard a public official. It’s almost as if you have to be a major newspaper with the resources to pay attorneys to sue the government to get access to records in the public interest.

Consider, for example, the recent lawsuit filed by the Washington Post seeking body camera footage of Ward 8 Councilmember Trayon White’s 2017 arrest. As LL previously reported, the Post sued the District after MPD denied a reporter’s request for the footage, and after the paper appealed that decision to Mayor Muriel Bowser.

Bowser, through her Office of Legal Counsel, denied the appeal, writing in a letter to the reporter that White has a “strong privacy interest in not being associated with alleged criminal activity.”

An MPD officer stopped White in June 2017 for driving with his headlights out less than a block from his office at the Wilson Building.

He was arrested for driving with a suspended license, but the charges were later dropped.

White previously told LL that “D.C. should just go ahead and release the footage.”

The case was settled out of court last month.

Kris Coratti, the Post’s Vice President of Communications and Events, says the paper has received the footage, but she declined to answer questions about settlement negotiations.

A spokesperson for the D.C. attorney general’s office says the District will pay $15,000 to cover the Post’s attorney fees.

So far, the newspaper has not published the footage, and LL’s repeated attempts to get his hands on it have been met with bureaucratic delay.

A Freedom of Information Act specialist handling the request has acknowledged that the footage was released to the Post and therefore should be immediately releasable to anyone else, but the specialist has declined to do so without approval from a supervisor. City Paper left a message with the supervisor, who did not call us back.

LOOSE LIPS

When LL first wrote in January about the Post’s lawsuit, some open government advocates were hopeful that a judge’s decision in the newspaper’s favor could lead to a precedent that leads to greater transparency.

But because the case was settled without a judge’s final order, that optimism crumbles a bit.

“The case shows that there can be a strong public interest in records about elected officials, even off duty, that should send a message to the D.C. government that they can’t get away with blanket denials anymore,” says Fritz Mulhauser, a local attorney familiar with FOIA litigation. “There’s not something you can take to the bank in a future lawsuit, but you can certainly jawbone the mayor’s office and say the one opinion in this case, while not binding, suggests blanket rejections like they’ve tried may not work anymore.”

That one opinion came from D.C. Superior Court Judge Hiram E. Puig-Lugo in response to the District’s attempt to have the Post’s lawsuit thrown out.

“There is no personal privacy interest in the circumstances of a traffic stop that took place in a public space for anyone in the area to see,” Puig-Lugo writes. “Even if such a privacy interest were found, the public interest in clarifying interactions between Councilmember White and MPD, as well as the propriety of police officers during the encounter weigh in favor of disclosure.”

It doesn’t appear that Puig-Lugo’s decision has had much impact on MPD’s habit of denying requests for information in favor of public officials’ personal privacy.

In the past month LL has requested police reports related to two sitting councilmembers and was denied in both instances on the grounds that the release of such records would invade their personal privacy.

The first request, born of a tip that a councilmember’s vehicle may have been involved in a collision in February, was initially denied.

Darrow Montgomery/File

When does personal privacy of a councilmember outweigh the public’s interest?

City Paper is not identifying the councilmember because the tip has not been confirmed.

In its denial, MPD cited the personal privacy exemption to the public records law.

Asked whether MPD had performed a search and then determined that the records were exempt, or whether no records existed, a FOIA officer agreed to re-open the request and “double check if there are any records that can be released.” LL is waiting for a response.

The second request sought reports referencing White in 2019. White’s BMW had been involved in an alleged hit-and-run collision. In a statement, White said a friend borrowed his car and that he’d filed a report with police. This week, 28-year-old Sergio Hill was charged in D.C. Superior Court with leaving the scene of a collision and driving without a license.

Again MPD denied LL’s request, but this time the department refused to even acknowledge the existence of such records.

“The Metropolitan Police Department (MPD) can neither admit or deny the existence of such records. To do so, would constitute as a clearly unwarranted invasion of personal privacy,” an MPD FOIA officer writes via email.

An MPD spokesperson, Kristen Metzger, explains further that the D.C. Drivers Privacy Protection Act prevents the department from releasing identifying information in a vehicle accident report. Metzger also says LL’s requests were likely denied because they lacked specific date ranges and “are considered fishing for records.”

CP

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DISTRICTLINE Ill Advised

Darrow Montgomery

United Medical Center quietly closes its cancer clinic, laments having no oncologist on staff.

By Candace Y.A. Montague A hospitAl pArtnership that has provided residents in Wards 7 and 8 with basic cancer care will end in approximately 90 days, leaving people east of the Anacostia River with a dearth of options for oncology services in their neighborhood.

In 2013, Sibley Memorial Hospital submitted an application for a certificate of need for a Proton Therapy Center at their facility in Northwest D.C. The center was projected to cost nearly $157 million. One of the terms for gaining approval for their certificate was offering local oncology services in wards 7 and 8.

Those services began in 2015 with the opening of the Sibley Oncology Clinic at United Medical Center.

The clinic at UMC provided patients suspected of having cancer with a timely diagnosis, a treatment plan, and a referral to oncology services at a hospital that could provide medical and radiation oncology, which are not available at UMC. Once a patient had a treatment plan, they traveled to Howard, Sibley, or another hospital in the District depending upon the availability of appropriate services and patient preference.

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A Sibley spokesperson explains that a nurse practitioner at the UMC clinic offered “navigation” services, ensuring that patients had reliable transportation to appointments and access to healthy food. The navigator worked through social barriers that could prevent people from completing treatment, and also addressed side effects.

An oncologist either on site or at Sibley consulted with patients.

Howard University oncologist Dr. Melvin Gaskins saw patients at the UMC cancer clinic twice a week. At the height of the program the clinic was serving over 200 patients a year.

But the process for getting service beyond the typical check up was complicated. Gaskins describes a convoluted process that was less than popular with his patients. “We saw between four and six patients on clinic days,” he says. “Some were new patients and others were follow up. Typically someone would see me there [at UMC], go to Howard to get their therapy, and then come back to UMC for follow up. The patients that we saw weren’t interested in going all over the city for treatment.

I’m sure they would have been happy to have therapy at the hospital. They weren’t too enthused about traveling over to Howard to get

their chemotherapy.”

Gaskins retired in July 2017. Sibley Memorial did not replace him with another oncologist, but with an oncology nurse practitioner.

Dr. Dennis Haghighat, Chief Medical Officer at United Medical Center, explains via email that the change in providers caused patient referrals to drop.

“After his retirement the number of referrals to the program dropped sharply and never recovered,” says Haghighat. “Our local physicians wanted an onsite oncologist present who could also see patients in the hospital not just in the clinic. Due to low patient volumes, our relationship with Sibley Hopkins ended on the last day of 2018.

Approximately 40 patients from the program will continue to receive care here through the end of June to assure that they can finish their care close to home. We currently have no oncologist on staff at UMC.” UMC asked Sibley to end their services at the Southern Avenue SE hospital by June 30, 2019. The nurse navigator will no longer serve patients there after this date.

Haghighat explains that the physicians at UMC are reluctant to admit patients with newly diagnosed cancer given that there is no cancer expert available to see them. When UMC receives these cases, it transfers the patients to other hospitals where a cancer expert is available.

In addition, he says that continuing the agreement wouldn’t have been practical given the attendance and scope of other health issues facing their patient community.

(Meanwhile, Sibley Memorial still hasn’t opened its proton beam machine center. It had to renew its certificate of need because of unforeseen delays in construction and installation. A spokesperson for the hospital confirmed that the proton beam machine will begin accepting patients in October 2019.) in certAin cAncers, the District leads the nation in incidences and deaths. In 2015, the most recent year for which Centers for Disease Control and Prevention data are available, D.C. surpassed the national average in new prostate cancer cases (103.2 per 100,000 versus a 99.1 national average) and prostate cancer deaths (27.4 per 100,000 versus a 18.9 national average). Breast cancer deaths in D.C. average 28.5 per 100,000 as opposed to 20.3 nationally. Colorectal deaths are also above the national average with D.C.’s number coming in at 16.6 versus 14.0 nationally.

According to the Department of Health, the top four cancers in D.C. in 2012 were prostate, breast, colorectal, and lung and bronchus. (The agency tells City Paper they

are currently working on updating all fact sheets, and will post them online “as soon as they are available.”)

The District of Columbia Cancer Registry, Cancer and Chronic Diseases Bureau published a burden of cancer report in 2014. It stated that there were 36 cases of colorectal cancer in Ward 8 in 2013, while Ward 2 had 16 cases. Ward 7 had 61 cases of lung cancer—the highest that year—while Ward 8 was the leader in lung cancer deaths at 39. Ward 5, home of MedStar Washington Hospital Center, had the highest rates of breast and prostate cancers at 66 and 93, respectively, that year.

Barriers to care, such as poor transportation, can lead to delays in getting both a diagnosis and treatment. These delays leave time for an early stage cancer to advance. Dr. Gaskins says that he was surprised by the number of young people he saw with advanced lung cancer during his time at UMC. “If you have a couple of wards in D.C. where all you’re doing is diagnosing cancer late, it ends up being much more expensive these days and everyone has to bear the burdens of health care at some point with Medicaid and Medicare.”

Some organizations have made an effort to step in and ease the burden of screening and treatment. Breast Care for Washington opened in 2012 inside the Conway Health and Resource Center on Atlantic Street SW in Ward 8. They provide mammograms, biopsies, and patient navigation services along with numerous support services.

Also in 2012, Thelma D. Jones founded the Thelma D. Jones Breast Cancer Fund. She survived HER2 breast cancer, an aggressive form in which the breast cancer cells have a higher than normal level of human epidermal growth factor receptors. Her nonprofit provides advocacy, support groups for women with breast cancer, and SmarTrip cards for clients in need.

She explains how insufficient transportation can keep people from getting treatment. “The women in public housing are farther away from the Metro,” says Jones. “Some as many as four blocks from the Metro. That may not sound like a long way but if you’re not feeling well and you have the weight of the world on your shoulders, four blocks in the winter or in the hot summer sun or in the rain can be very taxing. You don’t want to have to stand up on a crowded Metro to go across town.”

Natalie Williams, who publicly battled with breast cancer in 2012, started the Natalie Williams Breast Care Foundation. Williams, the former Corporate Secretary and Hospital spokesperson for UMC is disappointed to hear that the partnership between UMC and Sibley Hopkins is ending. “You don’t really want to send people off to other places to find support, to find education. In a ward where you’re already dealing with issues of transportation and finances, you would think folks would be making it as easy as possible,” she says. CP

Geoff Livingston/Wikimedia

SPORTS

Wizards owner Ted Leonsis has finally fired Ernie Grunfeld, but the next move to endear himself to fans is to make sure broadcaster Steve Buckhantz (left) returns. washingtoncitypaper.com/sports

Boos Cruise

Nationals fans let Bryce Harper know how they feel, loud and clear.

By Kelyn Soong The momenT Dillon Burroughs has been waiting over a month for finally arrives, and somehow, it manages to exceed his expectations. At exactly 7:50 p.m. on the first Tuesday of April, the fans at Nationals Park collectively let out a lengthy, guttural boo.

“That was great,” Burrough shouts above the noise. “That was great! That’s exactly what I came for.”

Bryce Harper, in his first at-bat in D.C. since signing a then-record 13-year, $330 million contract with the division rival Philadelphia Phillies, has just struck out. Max Scherzer is on the mound. The temperature hovers in the mid-40s, but feels much colder. A few minutes earlier, the stadium gave the 26-year-old former Nats superstar a frosty welcome with heavy boos that grew louder with each Scherzer pitch. A particularly boisterous fan holding a beer in right field screamed, “Harper sucks!” Others chanted “ov-er-rated!” Fans in the front row are wearing white Tshirts that spell out the word “T-R-A-I-T-O-R.” Burroughs holds up a black-and-white poster of Harper dressed as Benedict Arnold.

The first name has been crossed out and replaced with “Bryce.” Mayor Muriel Bowser had tweeted out the image a day earlier, before deleting it and claiming that it had been posted without her approval.

In the span of only seconds, D.C. has made clear how it feels about the player once ranked among the most popular athletes in the city.

The vehement boos even stun some Nats fans, but for the majority of the announced crowd of 35,920, the experience is cathartic.

“I could leave right now,” says Burrough, “and be happy.” several hours Before the highly anticipated game, Harper attempted to do some damage control. For weeks, he had been effusive in his love for his new city. He arrived at Phillies opening day wearing a Pulp Fiction-inspired T-shirt featuring the Phillie Phanatic and Gritty, the Philadelphia Flyers’ mascot. On social media, he repeatedly uses the hashtag #Phamily.

Darrow Montgomery

BASEBALL

Harper’s departure left Nats fans feeling slighted, and the animosity continued to build as Tuesday night’s game approached. Harper, back in D.C. for the first time since leaving, took to Instagram to respond.

“You, Nationals fans, made me one of your own for the entire time I was part of the Nationals organization,” he wrote. “I’m so blessed to have been able to play for a fan base that cared so much about our team each and every night. You will always hold a special place in my heart no matter what.

“When I run on the field tonight I am sure to hear some boos, but I will always remember the cheers and the screams that are still with me right now, as I start my new chapter.”

Joe L. of Alexandria has been one of those fans. In 2012, he moved from the Midwest to Virginia and became a Nationals supporter.

His wife bought him a No. 34 Harper jersey as a gift, and on this rainy and chilly spring evening, he is among the few wearing one—at least an unblemished version.

Joe, who asked to be identified by his first name and last initial because of his job in the military, has no hard feelings toward Harper.

Right now in section 319, he’s surrounded by more Phillies fans wearing No. 3 Harper jerseys than fellow Nats fans, but happily munch-

es on a chicken sandwich.

“You know, he did what he had to do. He took the money. He took a great contract. I mean, he played his heart out for us here,” Joe says. “I hope he does well in Philly. I feel for him. I mean … can’t complain when somebody offers you that kind of money.”

He says he understands why fans would want to boo Harper, but he hopes that’s not the case. “I hope they cheer him,” he says. “I understand [why they would], especially going within the division. I get that. We’ll see. I’m hoping that people cheer.”

After a 41-minute rain delay, the Nationals start the game with a minute-long video tribute to Harper. It’s greeted with loud boos.

The TemperaTure conTinues to drop during the top of the sixth inning. Fans have started to head for the exits and the Phillies lead, 5-0. Harper’s first two at-bats have resulted in strikeouts to the delight of the sparse crowd of the remaining Nats fans.

He steps up to the plate again. The jeers get louder. But this time, Harper finally responds with his bat. He hits an RBI single to left field.

To celebrate, he does a “Fortnite”-inspired exaggerated wave toward his team’s dugout.

The Phillies fans began to chant, “We have

Harper!” A few vocal supporters even begin to shout, “MVP!” Two innings later, Harper blasts a 458-foot homer to right center field. He follows it with a bat flip that will certainly be played on TV broadcasts across the country for days, if not longer. With a simple flick of the wrist, Harper has reminded the sports world why he’s the only baseball player on ESPN’s 2019 World Fame list. (“I try not to watch,” Nats manager Dave Martinez would later tell reporters about the bat flip. Harper chalked his flip up to “the emotion of the game.”)

Even though her team is losing and Phillies fans are gloating, Lisa Stoddart, a partial season ticket holder since 2013, can’t help but feel disappointed by the booing. “[The fans] don’t cheer that loud, so the fact they booed that loud shocked me,” says Stoddart, who lives in D.C. “I think they were uninformed about what was going on in the offseason, because if you followed anything you knew who his suitors were. If you’re really a fan you knew what it was down to ... I mean, I don’t know why they came to hate him so much.”

Her friend, Michelle Sara King, jumps in: “It doesn’t help to boo him.”

When Harper came up for his first at-bat in the first inning the two simply stood and watched. “I still have all the Harper bobble heads and posters,” King says.

“It’s not like I’m throwing these stuff away,” Stoddart adds. “He’s a great player. I’m just so verklempt of how people behaved tonight.” aBouT a half hour before the game ends in a 8-2 Phillies victory, Burroughs leaves for his home in St. Mary’s County, Maryland. The Nats fall to 1-3 in the young season, but he’s satisfied with what he’s seen.

“The atmosphere was awesome,” Burroughs says. “It was great to boo him and feel the energy in the stadium. It felt like a playoff game. Wish the outcome was better but that’s why we play 162 games.”

Asked if he felt bad for Harper at all, he replies, “Not one bit.”

Back at home waiting for Burroughs is his 1-and-a-half year old cocker spaniel. Her name is Harper. At least for now.

CP

washingtoncitypaper.com april 5, 2019 7

Fare Access Accessibility is about more than whether a wheelchair can fit through a door.

Are D.C. restaurants doing enough to welcome all patrons?

By Laura Hayes 8 april 5, 2019 washingtoncitypaper.com

Photographs by Darrow Montgomery

Red Bear Brewing Company

interactions with restaurant employees that range from disappointing—not receiving any eye contact—to egregious—staffers calling them a “fire hazard” or a “liability.”

Accessibility is more than whether a door frame is wide enough for a wheelchair. It’s equally about the hospitality diners with disabilities receive when they come in for a meal, including whether employees are nimble in accommodating them so they can have the same experience as other diners.

One in four U.S. adults—61 million people—have a disability that impacts major life activities, according to a 2018 Centers for Disease Control and Prevention report. The most common disability type, mobility, affects one in seven adults. As of 2017, there were at least 75,783 people with disabilities living in D.C. Patrons with disabilities are protected from discrimination under Title III of the Americans with Disabilities Act, which took effect in 1992 and oversees places of public accommodation. They’re double protected under the DC Human Rights Act of 1977. The ADA requires that new construction be accessible and mandates that restaurants built before the law went into effect remove barriers where “readily achievable.” The subjective term creates room for restaurant tenants and building owners to argue they can’t swallow the cost of a sizable renovation, such as retrofitting a building with an elevator.

D.C. is a historic city where old buildings abound. Some restaurants, such as those on the second floor of a rowhouse, may never be able to serve a customer with a mobility disability. But the lion’s share of restaurants can— they have the opportunity to create memora-

ble meals and ensure that the infrastructure in place is in good working order.

City Paper spoke with local residents with mobility, hearing, and vision disabilities to better understand what it’s like to navigate D.C.’s dining scene. We found a wide gap between what restaurants can achieve and what happens in practice, but also a few local businesses that have done excellent work in prioritizing inclusiveness.

When Mack dines out, attitude is everything. “They don’t have to be perfectly accessible, but as long as they’re welcoming and don’t make a fuss about my wheelchair,” she says. “Some places I go aren’t really accessible. I have to go somewhere else to use the restroom. But I go there because I love them and they’re welcoming.”

Mack would be less likely to return to a restaurant whose employees communicate only with her companions, likely because they’re nervous. It irks her when they ask her husband questions that she’s better equipped to answer.

“I know I’m in a wheelchair. It’s not a surprise.

I can talk about it.”

Many of the diners City Paper spoke with are like Mack. They play favorites. If they find a restaurant that’s accessible and welcoming, they’re likely to come back and tell their friends. One of Mack’s new go-to restaurants, for example, is Barcelona Wine Bar in Cathedral Heights.

But when people with mobility disabilities stray from their usual spots, they face a daunting number of concerns: Can I get up to and through the door? Can I maneuver around inside? Are there tables that I can transfer to or

tables at the right height for my wheelchair?

Can I get to the restroom? Will I be able to shut the stall?

Cara Liebowitz, a D.C. resident who uses a wheelchair, expects to be able to dine anywhere but her outings often reveal that’s not possible. “I’m part of the ADA generation,” she explains. She was born after the law first passed in 1990. “I’ve grown accustomed to things being accessible, so it shoots me in the foot sometimes. I assume they’ll be accessible and don’t think about the possibility that they won’t be.”

Even one step leading into a restaurant can be a deal-breaker. So can the width of the door frame. Some restaurants with one or two steps unfold portable ramps. They sell for as little as $89 online. Other restaurants have an alternate entrance, but that isn’t always ideal.

“A lot of times, especially at a fancy restaurant, there will be a sign that says ‘Accessible entrance around the back,’” Liebowitz says.

“It’ll be in a shady corner by the dumpsters.

It says, ‘Ring a bell and someone will assist you.’ Maybe if you’re lucky someone will answer. Then they’ll say, ‘Tell us when you want to leave.’ That makes me feel like a prisoner.” Sometimes the alternate entrance winds through the kitchen.

Once inside, restaurants can be hard to navigate if they’re jammed with tables. “Servers have told me, ‘You have to move, you’re in the way,’” Liebowitz says. “They’ve told me I’m a fire hazard. That’s happened to me more than once.”

Before diners with mobility disabilities try a new restaurant, they use whatever resources they can to discern if the building is accesKristin Duquette

True or false: If a customer who uses a wheelchair cannot access the tables in the bar area of a restaurant because the only choices are bar stools and high-tops, the restaurant should offer the customer a table in the dining room and the same happy hour prices available at the bar.

True. “Restaurants are required to modify their policies and procedures as needed to serve patrons with disabilities as equal to those without disabilities,” according to DC Office of Disability Rights Director Mathew McCollough.

But restaurants don’t always respond tactfully. “Sometimes I have to negotiate,” says Kelly Mack, a D.C. resident who uses a wheelchair. “Some places will do it, others are less friendly about it. Sometimes it feels like more effort than it’s worth. You want different people in your venue. It’s surprising the resistance I’ve gotten.”

Other local diners with disabilities report washingtoncitypaper.com april 5, 2019 9

Red Bear Brewing Company

sible. There’s a dearth of useful information online and no fact-finding method is perfectly reliable.

When there’s no accessibility information on a restaurant’s website, Liebowitz loads Google Maps’ street view to hunt for steps. If she’s lucky, a vehicle won’t be blocking the image of the doorway. When a friend invited her to brunch a couple weeks ago, they said they had looked on Google and thought the place was accessible. “I got there and the place had a step,” Liebowitz says. “My friend felt really badly about that. Luckily we were able to go to an accessible restaurant down the street.”

Calling a restaurant can reveal more information, but not every host understands all the facets of accessibility. City Paper called 50 restaurants that had available tables on RESY to inquire if they were accessible or accessible enough for a wheelchair user to enter. Ten didn’t pick up, illuminating another pitfall—restaurants don’t always answer the phones.

Some were eager to share their plan, however complex, of getting a patron who uses a wheelchair inside. Others requested advance notice. A couple made stipulations like, “first floor only.” And a handful were surly, stressing how it would be a “really tight squeeze.”

An individual who answered the phone at Beuchert’s Saloon said, “There’s one step up at the threshold. Then it’s all one floor. I won’t

Best Practices

pretend to know people’s abilities.”

Six admitted they weren’t accessible, including Obelisk, which cited being “grandfathered in” since it’s in an older townhouse.

The ADA does not have a provision to “grandfather” a facility. A restaurant must remove barriers when it is readily achievable no matter when it was built.

Only one of the 34 restaurants that selfidentified as accessible posted pertinent information online: “Kyirisan has a wheelchair accessible entrance and restroom,” the website reads. “Our outdoor dining area also is wheelchair accessible. Since some of our tables are booths or high-top tables, and therefore not accessible, please note in your reservation if you need an accessible table.”

Information about accessibility is absent from local reviews, too. Readers have asked Washington Post critic Tom Sietsema about mobility issues at least twice in the past six years during his online chats. On Jan. 8, 2014, a reader asked: “Tom, can we assume that if an accessibility issue is not flagged in your review of a restaurant it is ‘wheeled mobility’ accessible?’”

Sietsema replied: “While I like to give readers a sense of an establishment’s design (pros and cons, including noise levels) I think it’s up to anyone with a special request to make sure he or she can enjoy the restaurant. That means calling a restaurant

ahead of any visit, asking to speak to someone in charge and being clear about your needs. It’s the same strategy I suggest for anyone with dietary or other issues. Some restaurants are better equipped than others to make you happy.”

This struck a nerve with Mack, who emailed Sietsema. “Basic accessibility for people with disabilities has now been required for more than 20 years,” she wrote. “I do not consider my disability a ‘special request.’”

Again on Jan. 30, 2019, a reader asked Sietsema if he would consider including accessibility information in his reviews. “Because of mobility issues, we find that many of the places you review are impossible to access,” the reader explained. Sietsema wrote back: “It’s something I’ve thought about, and would like to include, but also wonder how much reporting I’d have to do, and how discretely I could say, measure doors, etc.”

No local publication is off the hook. Accessibility information is also missing from Washingtonian reviews and opening announcements or “first look” stories in City Paper, DCist, and Eater.

More information would only encourage diners with disabilities to dine out with greater frequency. “There’s this stereotype that we’re sad pitiful people who sit at home collecting benefits,” Liebowitz says. “We contribute to the economy like everyone else. If you’re

not accessible or your attitude isn’t welcoming, you’re losing business … I hate having to frame it in terms of business.” A 2018 American Institutes for Research study found that people with disabilities have disposable income totaling $490 billion.

Accessibility is only going to become more pressing, according to Kristin Duquette, a D.C. resident and former Team USA swimmer (paralympic) who uses a scooter. “Disability is the biggest minority population in the world,” she says. “The longer we’re living with the advancement of technology a lot more people are going to be disabled at some point in their life.

Some restaurants, whether consciously or subconsciously, are making decisions that negate a huge consumer population.”

Restaurants with accessibility features like an elevator can improve the experience for all, according to Duquette. “More able-bodied people will use it out of convenience,” she says. “It’s beneficial for everyone.”

Duquette describes a pair of experiences at Kirwan’s On The Wharf. “The first time was for happy hour and I thought because the area was so new, it would have more of an inclusive structure but it didn’t,” she says. When City Paper called Kirwan’s to inquire if the restaurant was accessible, an employee responded, “No, not really. Only if the person can get out of their wheelchair. And if they do that they can only sit at a two-top on the first floor.”

Keep a list at the host stand that denotes which tables are accessible and bullet points to describe a restaurant’s accessibility features should someone call. Use a reservation system that allows customers to make notes about accessibility.

If the main entrance isn’t the accessible entrance, have signage directing patrons to the accessible entrance.

Ask before you help, touch someone, or touch someone’s mobility device.

10 april 5, 2019 washingtoncitypaper.com

Doorways should have a minimum clear opening of 32 inches with the door open 90 degrees, measured between the face of the door and the opposite stop.

Wider is even better.

Communicate directly with the patron with a disability.

Servers should keep a pen and paper handy should a customer need to communicate in writing.

The next time Duquette visited was for an event. It was on the second floor and there is no elevator. While she couldn’t join the party, she says the manager made sure her experience “was great under the circumstances.”

Owner Mark Kirwan didn’t install an elevator for two reasons. First, the ADA does not require elevators in facilities under three stories or with fewer than 3,000 square feet per floor. Second, he says, “We would have lost a lot of space and we wouldn’t have been able to make what we needed to pay the rent.” Kirwan also says his managers are trained to ask private function organizers to notify them if any guests have accessibility concerns.

When there are barriers to entry, restaurants must bend to accommodate diners so they can have the same experience as others.

When Duquette went to meet friends for dinner at Daikaya Izakaya, she realized it was on the second floor and there wasn’t an elevator. She could enter the first floor ramen shop, however. “They moved another party and put us in our own space on the first floor and gave us the opportunity to order food from the second floor,” she says.

Duquette also requires plastic straws to drink. “Because of my disability, it’s a lot easier for me to use a straw,” she says. “Paper straws disintegrate. I can’t not bite on the straw. I love the environment. I love turtles. I get it. But I can’t get into this restaurant, and on top of that you want me to carry around my own straw?”

She requested one in a restaurant recently and was told they’re illegal. While D.C.’s plastic straw ban took effect this year, businesses that provide straws to the public must provide single-use plastic straws as a reasonable accommodation under the law.

Kings Floyd, a D.C. resident and power chair user, has grown accustomed to asking for accommodations. She found a Chinese restaurant she likes but can’t get inside. “It’s in a historically preserved three-story walkup,” she says. “You can’t reasonably charge me a delivery fee because I can’t get into your restaurant. That’s an accommodation. I’m allowed to access the food and service provided at your restaurant.”

Floyd’s request was met, but what happens when someone with a disability encounters an inaccessible restaurant? There’s no agency that enforces the ADA. The only recourse is to file a complaint with the Department of Justice and incur legal fees or file a complaint with the DC Office of Human Rights for free.

“Most of these restaurants are trying,” says Dana Fink, a D.C. resident and wheelchair user. “There definitely are some that aren’t.

Ones that have one tiny step down into the building, that’s such an easy fix. There’s just no recourse unless you want to sue them and I don’t have the energy to sue every restaurant in D.C.” Fink and others consider it a law with no teeth. “The burden of proof is on you,” she

Tables should be spaced far enough apart for patrons using mobility devices to pass through.

At least one seating area that people with disabilities access must provide the same services and environment as other inaccessible areas when readily achievable.

Accessible tables have a surface height of no more than 34 inches and no less than 28 inches above the floor. If seating is fixed (booths), 5 percent of tables should still be accessible.

Consider including accessibility information on your restaurant’s website.

continues. “You have to make a case that [a modification] is readily achievable.” She’s filed complaints with DOJ. “It typically doesn’t resolve—most of mine take a year to hear back.”

OHR enforces local and federal human rights laws. You don’t have to be a D.C. resident to file a complaint, but the discrimination must have occurred in the District. In fiscal year 2017, OHR received 16 complaints regarding places of public accommodation that cited disability. That doesn’t mean they were restaurants. Retail stores, hotels, and theaters are a few other places of public accommodation. In fiscal year 2018, OHR received 13 complaints.

“Being accessible is a factor of doing business,” Fink says, equating it to fire safety and food safety measures. “These are all things that come with having a business. I don’t know why accessibility gets filtered out.”

Practical accommodations differ for diners with varying degrees of hearing and vision, but in many cases, staff would be better equipped to address needs with more robust education and training.

When D.C. resident Dr. Denise Decker dines out, her guide dog, Wonder, sits quietly next to her chair. She wears a harness to broadcast she’s working. Service dogs are protected under the ADA, but not every restaurant knows what to expect. “Because of restaurant turnover and staff training and all the things managers and owners have to do, some staff don’t Andy Arias know how to handle it,” she says. “They might think, ‘No dogs allowed!’”

She wants restaurants to know that Wonder has gone through specialized training. “I don’t want people to be afraid and I don’t want her training to be damaged by people wanting to feed or play with her.”

If a restaurant has concerns, they’re permitted to ask Decker two questions by law: Is this a service dog?

What service does this dog provide? They cannot ask to see identification or ask for the dog to demonstrate the skill. Decker sings a familiar tune. “Staff should address me directly since I’m holding the harness,” she says. “[Avoiding communicating

Service animals may accompany customers with disabilities into restaurants.

Emotional support animals are not protected by the ADA. At least one accessible restroom must be available when readily achievable. It should be large enough for a wheelchair, have grab bars, low counters, and low sinks.

with me] doesn’t happen every day, but more than you would think.”

Some diners who are blind or low vision don’t use a guide dog, such as Arlington resident Mark Reumann. He reads braille and notes that not all restaurants have braille menus, and when they do, they’re often out of date.

There are two ways Reumann finds out what’s for dinner. First, he can ask a server to read the menu out loud. Second, he can navigate to a restaurant’s website where he can use screen-reading technology. There’s one potential barrier. “Some use PDFs, which are pictures and not accessible at all,” he says. “Make sure menus are part of the website. Or, if it’s a PDF, make sure it’s text.”

The other tricky point comes when it’s time to pay. “Most places, when they bring the bill, they’ll tell the diner what the total is,” he says.

“We’ve had a couple people put the bill down and quietly sneak away. Indicate that you’ve put the bill down and tell the blind diner what the total is.”

D.C. has one of the largest Deaf communities in the country because of Gallaudet University. Keith Doane graduated from the school and is now one of three co-founders of Catalyst+ LLC, a consulting firm that helps businesses and organizations support deaf employees, serve deaf customers, and design spaces according to DeafSpace guidelines.

DeafSpace includes more than 150 architectural elements that are deaf-friendly.

Ample light is the biggest priority for diners who are deaf or hard of hearing. Dining companions need to be able to see each other to sign or gesture. “The eyes become the most important sensory input one can have in this society,” he explains. He’ll look for tables that are spotlighted. Sometimes he’ll make specific table requests at the host stand.

When it comes to ordering, Doane’s first ask is that servers not be afraid. “We all are accustomed to breaking down barriers,” he says.

He’ll use his index finger to point to items on the menu and if there’s a need for more information, such as how he’d like his burger cooked, he’ll use his smartphone to type or a pen and paper. “I tried mouthing ‘medium rare,’ once, but the server thought I said ‘medium well,’ he explains. “I hate when communication shortcircuits and I get an overcooked hamburger.”

Gesturing is also welcome. “We don’t expect anyone to be fluent in ASL,” he says, referring to American Sign Language. But learning the sign for “thank you” goes a long way.

Doane also wants restaurants to know not all people who are deaf are the same. Some, like

Requiring a driver’s license as the only acceptable document for proof of age discriminates against people with vision disabilities. Make an exception to accept another form of ID with age.

Sources: Americans with Disabilities Act, Disability Rights Education & Defense Fund, DC Office of Human Rights

washingtoncitypaper.com april 5, 2019 11

Doane, were born deaf and learned ASL. Others lost their hearing with age or because of an illness.

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A number of D.C. restaurants and bars made accessibility a priority during their build-outs. Liz Cox, the taproom manager at Red Bear Brewing Company, says the owners set out to be one of the most accessible businesses in D.C. when they opened this year.

Two sections of the bar are at the ADA’s recommended height. So is the food pick-up window and 75 percent of table seating. Two of the four restrooms are ADA bathrooms.

One of the brewery’s bartenders, Jamie Sycamore, is a sign language interpreter by day, making it easy for him to interface with customers who sign and train other staff on the basics. And, Cox says, they’re making strides in securing braille menus.

“People doing new construction can definitely achieve this,” Cox says. “Was it a little extra work? Yes. But it was a massive undertaking no matter which way you look at it.

What’s a couple extra steps to make sure that it’s friendly? With new construction there’s no excuse.”

That’s how Drink Company CEO Angie Fetherston felt when Columbia Room moved to its new location—a second floor space in Blagden Alley—in 2016. Even though they would be ADA compliant without an elevator because of square footage, putting one in was non-negotiable. “The elevator was a big fight,” she says. “We almost broke our lease over it.”

Columbia Room’s website is one of the unicorns that posts accessibility information.

“Please let us know any access issues in advance for your reservation if you can or tell the door person,” it reads. “We have an elevator, ramps, and an access-positive attitude toward our colleagues, friends, and family with disabilities.”

Fetherston says she couldn’t imagine telling former regulars with mobility disabilities they couldn’t frequent the new location. “We had a long-time regular in a motorized wheelchair come through and tell us the points that are difficult to navigate,” she says. “That’s how we do it. We ask for help. Bars are where community happens, so we have to make it open to anybody who would like to come.”

Michael Mason is the studio director at design firm HapstakDemetriou+. He’s worked on buzzworthy D.C. restaurants including Rose’s Luxury, Bread Furst, and Convivial.

When he meets with clients before shovel meets gravel, he has to educate them about ADA compliance.

“Some are very savvy about it,” Mason says.

“It’s a conversation that we’re happy to have with them. Some people ask why they need to provide this. Some people push back against it a little here or there, but usually once we walk them through it, they’re excited to be a part of it.”

He helps them understand that it’s not just to escape a bad Yelp review. “We can make arguments that differently abled diners spend billions of dollars in restaurants every year … from a dollars and cents perspective, it’s important to accommodate everyone.”

While not every restaurant may have the means to put in an elevator, lifts that can bring a wheelchair user from one level of a restaurant to another are more approachable. Mason ballparks their price at $12,000 to $15,000.

When a restaurant does have infrastructure in place, such as a lift or an elevator, it behooves them to ensure they’re functional. “A lot of restaurants will use elevators for storage,” Liebowitz says. “I’m sharing the elevator with a cart full of dishes or a garbage can.”

The lAsT Time the city formally reached out to restaurants about accessible dining was in 2014. OHR called the campaign “Accessible DC.” They canvassed restaurant-heavy neighborhoods, and also distributed to restaurants owners a short guidebook that covers best practices for both creating a welcoming atmosphere and building a physically accessible space. It included a checklist for restaurants to determine where they stand.

But hundreds of restaurants have opened in the D.C. area over the past five years, and many older restaurants have changed hands.

An OHR spokesperson says they hope to offer a joint workshop with the Office of Disability Rights in August or September.

In the meantime, some Washingtonians have been leading grassroots movements related to accessibility.

Actor and disability advocate Andy Arias runs a group called D.C. Universal Pride that focuses on disability and LGBTQ issues. It meets at The DC Center for the LGBT Community the second Saturday of every month. “We talk about everything from dating, love, and relationships, but our main focus is the lack of accessibility in D.C. for the disabled community.”

He feels people with disabilities are particularly “invisible” in the LGBTQ community.

“People think we don’t go out,” he says. “I get patted on the head all the time when I go clubbing and people are like, ‘You’re so brave.’ I’m like, ‘What? How am I brave? I’m just living my life. Brave is dealing with your ass.’”

Arias describes a recent evening at a bar when an owner was hesitant to let him upstairs because he didn’t want to be liable if he fell. “He wasn’t talking to me, he was talking to my friend,” Arias recounts. “Look sweetie, I’ve been in this body a long time. I can deal with this.” Two men carried him up three flights.

While Arias can’t do much about venues with multiple staircases, he’s identified an area where he hopes to make inroads. He calls it the “One Step Away” campaign. It asks businesses to eliminate the one or two steps that lead up to their doors. “That’s the whole thing about the campaign—if you try to move forward then we’re cool.”

And here’s why he thinks it matters.

“You’re either going to get in a horrible car accident or age into disability,” Arias says. “I hate to be that real with people, but that’s the truth. It’s not like disability is never going to touch you because, surprise, it is. Then you’re going to be like, ‘Holy shit, I should have cared more about accessibility.’”

CP

Garrett Coyte

CPARTS

On their new album, Pree confront the darkness. washingtoncitypaper.com/arts

Creative Differences

D.C.’s arts commission faces major changes, leaving many in the city’s creative community worried about its future.

On Tuesday, the D.C. Council shifted oversight of the DC Commission on the Arts and Humanities, the administrative agency responsible for the city’s public art programs and grants. Council Chairman Phil Mendelson now has oversight of the Commission under the purview of his Committee of the Whole. This may be the first step in a sweeping transformation of the commission and its functions, changes that have put some people in the city’s arts community on edge.

Oversight of the arts commission is part of the portfolio of responsibilities stripped from Ward 2 Councilmember Jack Evans as a result of the ongoing investigation into his alleged misconduct. As the chair of the Committee on Finance and Revenue, Evans has served as a steward of the commission since 2013.

The handoff comes as Mayor Muriel Bowser weighs several seismic shakeups for the commission. Her proposed 2020 budget would eliminate a newly enacted dedicated funding source for the commission and handcuff its spending decisions. Moreover, the mayor’s office plans to reintroduce legislation that would turn the commission into a new Department of Arts and Humanities. Among other changes, this bill would give the mayor direct authority over the arts commission and expand its mission to include cosmetology and culinary arts.

The bill, which the mayor first floated as an omnibus amendment last year, could strip the commissioners of their grantmaking powers altogether, and this worries them. Currently, the agency’s 17 commissioners—a panel of mayor-appointed volunteers from every Ward—administer close to $15 million in grant funds each year.

“I’m of two minds,” says Kay Kendall, chair of the DCCAH Board of Commissioners. “If it’s just nomenclature, that’s not a make or break deal for me. What is a make or break deal for me is the ability to vote on and approve grants.”

Members of the arts community are lobbying the Council to preserve the commission’s independent function, and prior to Tuesday’s Legislative Meeting, many hoped to see oversight of the agency fall to At-Large Councilmember David Grosso, who founded ArtsActionDC, an advocacy group representing 200 different arts organizations, and spearheaded the push for the forthcoming Cultural Plan.

Mendelson repeatedly declined to comment on the reassignment process to constituents in D.C.’s arts community.

“A matter such as this is internal to the Council and I don’t want councilmembers jockeying to pick up the spoils of Mr. Evans’ punishment,” reads an email obtained by City Paper from Mendelson to one former arts commissioner. “So I think it would be best if there was not a lobbying campaign from our arts community.”

Darrow Montgomery/File

By Kriston Capps and Matt Cohen

Proposed changes for the commission follow a year of highs and lows. In November, Angie Gates, the former interim director of the commission, upset local artists by adding an amendment to local grants that would prevent any funds from being used for any project considered “lewd, lascivious, vulgar, overtly political, and/or excessively violent.” The Bowser administration quickly nixed this censorship provision.

Last year, the Council also passed dedicated funding for the

commission: 0.3 percent of the city’s 6 percent sales tax, plus another $2.5 million from the Delinquent Debt Recovery Fund.

At an oversight meeting in February, Evans described this shift, which gave the commission a guaranteed budget of about $30 million, as “an enormous achievement” that he had pursued for many years. “For the first time in history, we do not have to go hat in hand to the executive for the budget,” he said at the time.

But the new dispensation might not last. Bowser’s fiscal year washingtoncitypaper.com april 5, 2019 13

2020 budget would zero out this dedicated funding stream and return the commission’s budget to an annual apportionment from the general fund. The DC Fiscal Policy Institute criticized the Council’s decision to “prioritize funding for the arts over other investments for District residents, and tie it to a regressive tax that disproportionately affects low-income residents.”

The mayor’s FY 2020 budget would also eliminate three generic grantmaking purses—Art Building Communities, DC Creates Public Art, and Arts Learning and Outreach—and instead distribute those funds to a number of subcategorized line items, giving the commission less leeway over its spending. While the budget increases overall DCCAH funding by 10 percent, it decreases funding for grants that go to artists and arts organizations by about 25 percent.

Much of the grant funding will instead be shifted to the Cultural Plan. Bowser’s budget devotes $8.4 million to the Cultural Plan, including $5 million for a Cultural Facilities Fund and $2 million for an Innovation Entrepreneurship Loan Fund. Bowser will unveil the Cultural Plan on Thursday at the Anacostia Playhouse—a year after a draft of it was released to the public.

“The taking of $7 to $8 million out of the grant coffers to fund loans sends a clear message to all D.C. artists and small arts organizations that the mayor doesn’t see them as integral to her vision for this city,” says Peter Nesbett, executive director for the Washington Project for the Arts.

Years in the making, the Cultural Plan is a massive interagency effort between DCCAH, the Office of Planning, and the Office of Cable Television, Film, Music and Entertainment (of which Gates serves as director) that aims to be a comprehen-

ing also singled out Gates for criticism. “She told Kay Kendall she didn’t feel the need to answer to anyone but the Mayor.”

In December of 2018, Terrie Rouse-Rosario was installed as the commission’s new executive director, replacing Gates.

Since that time, she’s declined several requests for comment. At the February hearing, though, she played down the changes coming from the mayor’s office.

She said that the legislation merely “codifies what we’re already doing.”

When she was confronted by Margery Goldberg, the founder and owner of Zenith Gallery, about her concerns about the proposed changes, Rouse-Rosario dismissed some as rumor: No, the mayor is not eliminating the commissioners’ positions. No, the mayor is not merging the commission with the D.C. Office of Cable Television, Film, Music and Entertainment. (At the same meeting, Evans confirmed the appointment of Derek Younger, chief of staff for OCTFME, as a new commissioner.)

Yes, she said, the DCCAH mission will expand to include the culinary arts.

“I think that’s a separate category,” Goldberg said, objecting.

“You’re a traditionalist!” Rouse-Rosario said. “Do you know how many foodies are in this town?”

CP Darrow Montgomery/File

CPARTS

sive and exhaustive survey of D.C.’s cultural communities—and the ways local government can help strengthen and support them.

But one commissioner says that the agency has had very little actual input in crafting the plan and that the Board of Commissioners have largely been left in the dark.

“Despite the fact that the Commission is listed as a coauthor, we have not been involved in any way. Commissioners have never been briefed,” the commissioner told City Paper on the condition of anonymity. “Basically the community has been asking the same questions we are. We’ve basically been sidelined. We’ve had no communications from the Commission in months … no one gets back to me. It’s very, very bad.”

Problems in the DCCAH first arose when former director Arthur Espinoza was at the helm, according to the commissioner. Espinoza stepped down from his role in June of 2018 and Gates was appointed to serve as interim director. Under Espinoza, communication between the DCCAH and its Board of Commissioners broke down, and things didn’t get better when Gates took over.

“I thought Arthur was bad, but Angie Gates was far, far worse,” the commissioner tells City Paper. Members of the arts community who testified before the February oversight hear-

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FILMSHORT SUBJECTS he wants to evoke older studio films because they “embodied and reflected a shared way of being that’s gone now.” Diane indeed operates on a level that’s no longer in fashion, but adds an unwavering shaggy dog quality that the best old movies (wisely) never inhabited.

—Alan Zilberman Diane opens Friday at Landmark’s E Street Cinema and Bethesda Row Cinema.

PUBLIC MISFIRE CHARACTER STUDY Diane

Directed by Kent Jones Mary Kay Place has been in movies for decades, and somehow she never has had a leading role. In films like The Big Chill and Being John Malkovich, Place had a seemingly effortless naturalism. She did not show you she was acting, and while this kind of “character inhabitation” is in regular demand, it is rarely celebrated. Diane, the new drama starring Place, turns its attention to roles that avoid histrionics. While she is indeed brilliant and selfless, the film’s single-minded commitment to understatement is its undoing. Character actors often transition into leading roles, but the nature of said roles should evolve accordingly.

Diane positions herself as the pillar of her community. Everything she does, whether it is volunteering at a homeless shelter or visiting relatives at the hospital, involves her making some kind of sacrifice. Place plays Diane as a woman who is a dear friend/relative, although there is subtext to her being indispensable. In his narrative feature debut, Kent Jones unspools what motivates Diane, and why she takes so little time for herself. The first, more obvious culprit is her son Brian (Jake Lacy), who is a junkie. Maybe Diane feels like she failed as a mother, but as the film continues, we realize the answer is more complicated than that.

The best scenes in Diane are when she is not at the forefront of the story. There are lively, vibrant party scenes where Jones is content to let his characters laugh and trade stories. It is rare for any film to show such an organic, evocative sense of community. Detailed production design deepens that sense of verisimilitude, since the modest homes where the film takes place are bursting with shabby, worn de-

cor that is still warm and inviting. These people are not your family, but the film conveys the sense they would gladly make room for you to have a seat at the table.

The smaller, more individual-driven moments are where Diane loses its sense of specificity. Sometimes Jones allows Diane an indulgence, like an awkward sequence where, in a fit of desperation and anger, she gets drunk at a dive bar. Most of the time, however, Place’s restraint undermines the desire to make a movie revolve around her character. Maybe Jones is too single-minded in his approach, since an ensemble drama would still allow time for Diane’s interiority. But by keeping almost all of the film from her point of view, the story spins its wheels. Jones prefers to have scenes fade in and out of each other, as opposed to more distinct cuts. These transitions create a dreamy quality, one that may test the audience’s patience.

Aside from Place, the cast is a who’s who of dependable character actors. Lacy is the most familiar face, and his frayed energy brings a welcome force to the film. You know that Diane’s moments with Brian will be uncomfortable, but at least they crackle with tension.

Andrea Martin and Deirdre O’Connell play Diane’s friend and cousin, respectively, and they see through her in a way that invites the audience to look deeper. That’s part of Jones’ filmmaking strategy. These people have known each other for so long that they are too tired to fight, and the time for forgiveness is long gone. Jones doubles down on that notion with his sense of pacing: years unfold in the blink of an eye, and aside from various degrees of death/decay, it is surprising how little these characters change.

Like many filmmakers before him, Kent Jones is a former film critic. Prior to working on Diane and documentaries like Hitchcock/Truffaut, he was an editor-at-large at Film Comment magazine. Many critics become filmmakers because creating a new film can be its own form of criticism. In his remarks about Diane, for example, Jones says

The Public

Directed by Emilio Estevez The lasT TiMe we saw Emilio Estevez in a library was in 1985’s The Breakfast Club. Things were never that good again for the young Brat Packer, so it could be considered a wily move that, for his fifth film as a writer/director, he has returned to the scene of the crime. The results are less than iconic this time around.

In The Public, a cloying social drama, Estevez plays Stuart Goodson, a recovering alcoholic who works at the Cincinnati Public

Library. The facility, as we learn in the very first scene, serves as a de facto shelter for the homeless, who crowd the stacks during the city’s seasonal cold spells. On a particularly bitter night, the homeless regulars, led by the charismatic Jackson (Michael Kenneth Williams), decide to stage an act of civil disobedience. With the shelters all filled up, they face death on the streets, so they simply refuse to leave the library, setting up a tense stand-off between themselves and the authorities.

All the players who could contribute to a tense social thriller are present and accounted for, including the district attorney (Christian Slater), who worries that the crisis could ruin his political aspirations, and Detective

Ramstead, the hostage negotiator (Alec Baldwin) with a missing, drug-addicted son who he suspects could be among the protestors. Naturally, Estevez assigns himself the role of reluctant hero who eventually joins the ranks of the oppressed out of solidarity and become the face of the resistance.

But Estevez is not interested in making a modern-day Dog Day Afternoon. Instead of letting the plot dictate the action, his scattered script searches for comments in every corner. In one of the more ludicrous scenes, a TV reporter gets him on the phone and gives him a chance to explain why he and the homeless have taken such drastic actions. Instead, he quotes a long passage from The Grapes of Wrath and hangs up the phone. Estevez clearly wants us to see him as a poetic soul, but it reads more like a dumb and selfish thing to do.

He should have let his central conceit do the talking, as the film’s set-up perfectly elucidates how an act of protest is so often misunderstood by the media as a stunt, when it more aptly could be described as an act of survival. Educating viewers about the utility of civil disobedience is absolutely vital, but the message was fated to be lost the minute Estevez decided to put his spotlight on the messenger instead of the message.

It is a brazen instance of white saviorism: Goodson is asked by this group of homeless men, mostly people of color, to speak on their

behalf to the police and the media. By placing himself at the center, Estevez puts his film in an impossible position. He must thoroughly interrogate this saviorism for the film to achieve greatness, but to do so would be to focus entirely on the wrong person. Of all the characters in this mosaic, Goodson and Ramstead—the two most prominent white men on screen—are the ones who get the most depth, while the actual homeless are written with barely any characterization at all. Ultimately, The Public does to them just what it aims to prevent: It freezes them out.

—Noah Gittell The Public opens Friday at the Avalon Theatre.

washingtoncitypaper.com april 5, 2019 15

GALLERIES

Tintoretto Mania

The National Gallery of Art celebrates the brilliance of the Late Renaissance artist of Venice with not one but three exhibitions.

“Venus and Mars Surprised by Vulcan” by Jacopo Tintoretto (1545–46)

Tintoretto: Artist of Renaissance Venice

At the National Gallery of Art to July 7

Drawing in Tintoretto’s Venice and Venetian Prints in the Time of Tintoretto

At the National Gallery of Art to July 9

By Kriston Capps For the next 12 weeks, one self portrait is a reason alone to visit the National Gallery of Art. It’s a piercing painting by Jacopo Comin, a Late Renaissance artist of Venice better known by his nicknames, Jacopo Robusti or especially Tintoretto (“little dyer”). The painting is petite but far from small. The portrait cap-

tures all the swagger of a painter who came to be called Il Furioso.

Tintoretto’s confrontational gaze arrests viewers. Framed by his shaggy curls and unruly beard, his face appears bathed in dim light, warm in the darkness. He wears an anonymous black tunic to blend in with the void around him; he is dressed in brushstroke. His composure is a flex, a declaration of ambition and restlessness. The close-in illumination is an exercise in chiaroscuro and intimacy, undisguised by jewelry or garments or other trappings of status. The portrait looks like it must belong to a later century, an exercise by Rembrandt or Goya or Courbet.

The self portrait is only the opening salvo. Tintoretto: Artist of Renaissance Venice assembles 46 paintings by the 16th century artist, an almost unheard of showing of works by an Old Master. Tintoretto brings together ani-

16 april 5, 2019 washingtoncitypaper.com

mated religious paintings as well as royal commissioned portraits that showcase the currents of the Late Renaissance, and how Tintoretto brushed up against them. This is the artist who had the audacity to (allegedly) tattoo a boast on his studio walls: “The draftsmanship of Michelangelo and the coloring of Titian.”

While his mature painting lived up to his own hype, Tintoretto’s billing as a Renaissance painter never has. For much of the last 500 years, he has never ranked higher than a second tier behind his betters (namely Michelangelo and Titian, but also Veronese, another contemporary and a fellow Venetian).

Tintoretto takes the painter at his word. Beyond the bravado, the exhibit explores how he worked as a painter—and, crucially, as a brand—to make artworks that show a deep awareness of the new discoveries in painting all around him. What makes him Tintoret-

to is not how well he coupled disegno with colorito but how his paintings still look out of time today.

Highlights on view include “The Last Supper” (1563–64), maybe the most cinematic version he ever painted. In this work, Tintoretto strives to deliver not a scene but a still: The exact moment of Christ’s explosive revelation that one of the men around the dining table will betray him. The disclosure triggers shock as his followers lean in or pull away, aghast, generating a swirling motion around the table. A chair is overturned. One of the disciples reaches for more wine. Judas lurks in backlit shadow. Tintoretto renders the narrative through action, movement, and tilted perspective, but he also attends to significant details, like the serviceable chairs and modest tablecloth. With this experimental painting, Tintoretto emerges as a showy director and careful producer.

“Venus and Mars Surprised by Vulcan” (1545–46), a painting that is sure to be a fan favorite, captures an erotic farce: The blacksmith god walks in on his wife, the goddess of love, while she’s making time with the god of war.

Vulcan peers underneath Venus’ disheveled skirt for scandalous evidence as Mars hides under the table, trying to shush the dog. Figures in the painting are said to be allusions to works by both Michelangelo and Titian. These callouts aside, Tintoretto’s innovation here is a mirror that depicts Vulcan’s back, a kind of inset painting that references Renaissance arguments about the priorities of sculpture and painting. Like Venus, Tintoretto is having it all.

His painting gestures ahead about a century to Velázquez and “Las Meninas” (1656).

Curated by Robert Echols, an independent scholar, and Frederick Ilchman, chair of European paintings at the Museum of Fine Arts, Boston, Tintoretto builds on the truly unprecedented 2007 retrospective at Madrid’s Museo Nacional del Prado. Both curators worked on that show, which established Tintoretto as an overlooked voice of the Late Renaissance.

This time, the curators set out to explore contexts for his work (especially in an unlikely presentation of his portraits), above all by simply bringing together so many paintings under one roof.

The only place to see more of Tintoretto’s work is in his native home of Venice, and in fact, Tintoretto made its first stop there, at the Palazzo Ducale (Doge’s Palace), for the first intentional show of the artist’s work in Venice in decades. And while some Tintoretto paintings that can be seen every day in Venice are dearly missed in this presentation— none more so than “The Miracle of the Slave” (1548), his breakthrough, originally commissioned for the Scuola Grande di San Marco, Tintoretto’s Sistine Chapel—several examples illustrate the artist’s sometimes odd fit within the Cinquecento.

“Il Paradiso” (1588) is one of those paintings that never leaves Venice. Produced late in his

GALLERIES life, it was a triumphant commission for the Doge’s Palace, nearly 72 feet wide and installed in pride of place. The National Gallery of Art got the next best thing: a modello that Tintoretto produced in 1583 to prepare for the high commission. On loan from the Museo Nacional Thyssen-Bornemisza in Madrid, this oil painting runs nearly 17 feet long. While the final commission was executed largely by the many assistants of his busy workshop, Tintoretto produced this draft himself, making it all the more monumental in this presentation.

This all-over composition showcases the artist’s admira“Self Portrait” by Jacopo Tintoretto (1588) tion for the heroic, muscular form—the preoccupation that would come to dominate National Gallery’s own collection.

It can’t be overstated how remarkable it is mannerism—as well as the sketch-like qualito find so many Renaissance works gathered ty that was all Tintoretto’s own.

The hastiness in Tintoretto’s brushstroke in one place. Seeing them in a neutral disposiis best seen in a roundup of his Venetian por- tion—in the National Gallery, a relatively humtraits, an unexpected delight in Tintoretto. ble setting compared with an opulent Venetian Monographic painting shows usually sprin- palace—helps to underscore certain Furioso kle portraits throughout the galleries chrono- facts. One is how industry drove his produclogically, which can make a painting of a no- tion. For a painter as prolific as Tintoretto, his bleman seem like an afterthought alongside secular (or mythological) paintings are rare; a sweeping deposition of Christ. Here, Echols the classical paintings on view represent a and Ilchman have isolated Tintoretto’s por- small smattering that still survive, since these traits, allowing works like “Man with a Gold- were often executed as private murals or fresen Chain” (1560s) to stand out. The dabble of coes. Another is how production was his inwhite paint that signals the frill on the subject’s dustry: Tintoretto’s workshop’s output is a collar is a top moment in the show, and anoth- theme that emerges in all three shows. If he is er example of a painting that could have been not remembered as well as other Late Renaissance artists, that’s in part because he lent his produced 200 years later.

To complement the main painting show, name to so much.

The last work in the main Tintoretto surthe National Gallery presents another exhibition, Drawing in Tintoretto’s Venice, which vey is another self portrait, this one conductcompiles some 80 drawings by Tintoretto, his ed in 1588, near the end of his life. The glarworkshop, and his admirers. Organized by ing light that falls on his face is harsh. His hair the Morgan Library & Museum, this show ad- has grown white, and his long beard is stately vances the provocative thesis that a number where it once was wild. The impudent twinof drawings—pulled from collections around kle in his eyes from the picture he made 40 the world and attributed unconvincingly to years earlier is gone. This self-portrait conseveral artists— are in fact the work of El Gre- veys his command but also a sense of fear or co, who lived in Venice for a time and favored isolation. That undertone, barely there but Titian and Tintoretto. Still another show, this still detectable, the thoughtfulness in his careone produced by the National Gallery, fore- less brushstroke, makes Tintoretto timeless. grounds etchings and engravings by the artist and those in his orbit. Venetian Prints in the 6th Street and Constitution Avenue NW. Free.

Time of Tintoretto is drawn largely from the (202) 737-4215. nga.gov.

CP

PICASSO • DALÍ • MIRÓ • TANNING • MASSON • ROTHKO

FEATURING WORKS BY MORE THAN 30 OF THE TWENTIETH CENTURY’S MOST CELEBRATED ARTISTS

FEBRUARY 24 — MAY 26, 2019 TICKETS AVAILABLE AT ARTBMA.ORG/MONSTERS

This exhibition and related programs have been made possible in part by a major grant from the National Endowment for the Humanities and by generous funding from Transamerica, The Alvin and Fanny B. Thalheimer Exhibition Endowment Fund, and The Gladys Krieble Delmas Foundation.

Salvador Dalí. Soft Construction with Boiled Beans (Premonition of Civil War). 1936. Philadelphia Museum of Art: The Louise and Walter Arensberg Collection, 1950, 1950-134-41. © 2019 Salvador Dalí, Gala-Salvador Dalí Foundation / Artists Rights Society (ARS), New York

washingtoncitypaper.com april 5, 2019 17

BOOKSSPEED READS Stephen Czarkowski, Music Director

FALLING Peter Orth piano HARD featuring

“A major talent.”

NEW YORK TIMES

TOM PAXTON & THE DONJUANS APR 4 | TONIGHT

RICHARD WAGNER: Overture to The Flying Dutchman BENJAMIN BRITTEN: Passacaglia and Four Sea Interludes from Peter Grimes

THE SWINGLES

APR 5 | TOMORROW

A BANDHOUSE GIGS TRIBUTE TO XTC APR 6

CALIDORE STRING QUARTET JUHO POHJONEN, PIANO

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

APR 7

ROBYN HITCHCOCK APR 11

THE SECRET SISTERS

JOHANNES BRAHMS: Piano Concerto No. 1 in D minor, Op. 15

FREE ADMISSION Sun, April 7, 4 p.m.

Church of the Epiphany 1317 G Street NW, Washington, DC Parking available at the PMI Garage located at 1325 G Street, NW. One block from Metro Center Station on Metro’s Red Line

www.apolloorchestra.com

BRIAN DUNNE APR 19

FROM THE BUENA VISTA SOCIAL CLUB™

OMARA PORTUONDO LAST KISS

APR 23 + 24

WU HAN, PIANO GLORIA CHIEN, PIANO GILLES VONSATTEL, PIANO VIENNA TO PARIS

CHAMBER MUSIC AT THE BARNS

APR 26

RONNIE SPECTOR & THE RONETTES MAY 1 + 2

32ND ANNUAL EVENING OF COMEDY MAY 3 + 4

WOLFTRAP.ORG 18 april 5, 2019 washingtoncitypaper.com

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

Catch Me When I’m Falling

By Cheryl Head Bywater Books, 203 pages

The hard-boiled deTecTive has been a tried and true mystery novel trope since the mid-20th century. So it’s probably a sign of the times that local mystery writer Cheryl Head depicts a quite different gumshoe heroine in her recently published novel Catch Me When I’m Falling: Aside from breaking the white, male mold—private eye Charlie Mack is African-American and a lesbian—she is, above all, empathic. She’s no tough guy; that would be her partner, Don. Don pushes toughness right to the edge of bigotry.

He also, in pure chauvinistic fashion, doesn’t clean up after himself. The women of his Detroit firm note his defects, which becomes a running commentary on the private eye stereotype. But Don’s typical genre tropes are useful. He objects to the story’s main case at the start, only to come around, as his hard-edged investigative talents spur the plot forward. He reveals an unexpectedly sympathetic concern for his partner.

The case involves the murder of a homeless man who helped rescue Charlie’s mother when she was a robbery victim. So it’s pro bono, and the client—the dead man’s friend, Reggie—is a wreck.

Charlie goes undercover as a vagabond, quickly unearthing a string of grisly murders of people on the street. She traipses around Detroit with Reggie. Aimlessness surrounds these vagrants like prison walls; the one thing they all lack is purpose, adroitly revealed by the novel as a luxury of the gainfully employed.

Charlie’s tour guide, Reggie, a veteran and former seminarian, makes it through each day with plenty of cheap alcohol. “I don’t have any bills,” he explains. “I don’t eat a lot and I sleep outside unless it gets too cold. I can usually make twelve or fifteen dollars a day,” panhandling or doing odd jobs. Though Reggie has survived like this for years, the novel makes it clear that homelessness is staggeringly dangerous. During her investi-

gation, Charlie disguises herself as a man, but it’s not entirely clear why the private detective does this—the only lacuna in an otherwise well-handled plot.

Charlie’s goal is “to get justice for Eddie and the eight other human beings who were treated like trash.” Though an admirable aim, the story itself demonstrates that most drifters are routinely treated “like trash” by the society around them. In a world that defines personhood by a financial metric, they are surplus beings. The novel depicts the trauma its homeless characters have survived— the emotional scars that set them on paths to living on the street, and the ways in which that life aggravates their original traumas.

While the whodunit mystery propels the plot, the novel’s other centers of gravity are destitution and how it corrodes people. Perhaps that’s why the portrait of the detectives’ personal middle-class lives lacks

PODCAST

something—and the writing of their lives sometimes comes off as wooden. Head’s strength is presenting the struggles of marginal people, not the domestic felicity of the better off. She can enter the addled mind of a drunk or drug addict or the jumpy insecurities of a transgender sex worker. She is also skillful at describing the little touches of kindness and humanity from the businessmen and women in the homeless district, gestures that may seem small but are greatly valued by those lost in the dizzying maelstrom of destitution.

—Eve Ottenberg

CITYLIST Music 19 Theater 22 Film 23

Music

CITY LIGHTS: FRIDAY

FRIDAY

SOUTHERN CULTURE ON THE SKIDS W/ JUMPIN’ JUPITER

BLUES

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

Johnny & The Headhunters. 10:30 p.m. Free. thehamiltondc.com.

CLASSICAL

THUR MAY 30 | 8:30PM | $16-$204/4 THURSDAY RED ELVISES | $15/$20

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. The Swingles. 8 p.m. $42–$48. wolftrap. org.

★

MILKBOY ARTHOUSE 7416 Baltimore Ave, College Park. Tomeka Reid Stringtet. 7 p.m.; 9 p.m. $10–$30. milkboyarthouse.com.

FRI 4/5 SAT 4/6

ELECTRONIC

ECHOSTAGE 2135 Queens Chapel Road NE. (202) 503-2330. Zomboy. 9 p.m. $25–$35. echostage.com.

THU 4/11

FOLK

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

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Buster Williams. 8 p.m.; 10 p.m. $30–$35. bluesalley.com.

POP

KENNEDY CENTER TERRACE GALLERY 2700 F St. NW. (202) 467-4600. Du Yun with OK Miss. 9 p.m. $25–$39. kennedy-center.org.

ROCK

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

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

SATURDAY ELECTRONIC

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

AMANDA PALMER

As the music business crumbled over the last decade, Amanda Palmer has tried to lead the way for remaining artists to figure out how to survive and thrive. For Palmer, the Dresden Doll and erstwhile busker, giving everything of herself and asking her fans and collaborators to do the same came naturally. That kind of giving often requires artists to be raw and open, a nakedness that suits Palmer both literally (like on the cover of her new album, There Will Be No Intermission) and figuratively. “The rise of global fascism alongside the spreading fire of #MeToo has forged a louder megaphone for all women, and we’re all seeing that radical truth is infectious,” she wrote in the album announcement. “I feel more urgency than ever to share the naked truth of my experiences.” Those experiences—abortion, miscarriage, cancer, grief, motherhood— come to life on the project, her most orchestral, baroque, and somber album yet. Powered by Palmer’s voice and piano, with strings, synths, ukulele, and accordion for texture, it might also be her best album, and the one most shaped by her giving-and-asking philosophy: The lyrics and stories are personal—even if some were crowd-sourced from her patrons. Amanda Palmer performs at 7:30 p.m. at The National Theatre, 1321 Pennsylvania Ave. NW. $39–$54. (202) 6286161. thenationaldc.org.

—Chris Kelly

FUNK & R&B

MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Ms. Lisa Fischer & Grand Baton. 8 p.m. $38–$78. strathmore.org.

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Buster Williams. 8 p.m.; 10 p.m. $30–$35. bluesalley.com.

SIXTH & I HISTORIC SYNAGOGUE 600 I St. NW. (202) 408-3100. Chucho Valdés. 8 p.m. $45. sixthandi.org.

POP

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. A BandHouse Gigs Tribute to XTC. 8 p.m. $25–$30. wolftrap.org.

ROCK

THE ANTHEM 901 Wharf St. SW. (202) 888-0020. Trey Anastasio. 8 p.m. $49.50–$75. theanthemdc.com.

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

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

DC9 1940 9th St. NW. (202) 483-5000. Viagra Boys. 9 p.m. $12–$15. dcnine.com.

FRI 4/12 THU 4/18 FRI 4/19 SAT 4/20 THU 4/25 FRI 4/26 SAT 4/27 THU 5/2

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Buckethead. 8 p.m. $29.50. fillmoresilverspring.com.

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

THE HAMILTON 600 14th St. NW. (202) 787-1000. 19th Street Band. 10:30 p.m. Free. thehamiltondc.com.

JAZZ

FRI 5/3 SAT 5/4

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

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

THU 5/9

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Juice. 8 p.m. $12–$14. songbyrddc.com.

WORLD TROPICALIA 2001 14th St. NW. (202) 629-4535. West Philadelphia Orchestra + Rafael Ponde Trio. 8 p.m. $10. tropicaliadc.com.

SUNDAY

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Buster Williams. 8 p.m.; 10 p.m. $30–$35. bluesalley.com.

POP AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Gina Chavez. 8 p.m. $25– $30. ampbystrathmore.com.

FRI 5/10

★ LITZ $10/$15 FELLOWCRAFT + BAD KROHMA $5 ZENITH SUNN FT. ERIC LINDELL AND ANSON FUNDERBURGH $20/$25 TWO TON TWIG + GRAHAM STONE ALBUM RELEASE ANDREW LEAHEY & THE HOMESTEAD $10/$12 THE MAMMOTHS + C2 & THE BROTHERS REED + GILE MCCONKEY HIGHBALLERS WITH EP JACKSON & THE LAST WELL $5 LARA HOPE + ARK TONES DREW FISH W/ CHUCK BRISENO $12/$15 THE SOUTHERN GOTHIC FT. CONNOR CHRISTIAN $15/$17 ADAM CARROLL ALBUM RELEASE SHOW $15 WOODSHEDDERS $5 THE ALLMAN OTHERS BAND PRESENTS: AN ALL PEACH PARTY! $10/$15 JASON MORTON & THE CHESAPEAKE SONS $10/$12 BEN SPARACO AND THE NEW EFFECT $5

HILL COUNTRY BARBECUE MARKET

CLASSICAL

WORLD

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

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. Calidore String Quartet and Juho Pohjonen.

3 p.m. $40. wolftrap.org.

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Brooklyn Rider and Magos Herrera. 7:30 p.m. $29. kennedy-center.org.

Near Archives/Navy Memorial [G, Y] and Gallery PI/Chinatown [R] Metro washingtoncitypaper.com april 5, 2019 19

CITY LIGHTS: SATURDAY

A P R I L

9

&

10

TIFFANY CHUNG: VIETNAM, PAST IS PROLOGUE

STRATHMORE.ORG |

On the Red Line

LEWIS BLACK

THE JOKE’S ON US TOUR

Sun, April 14

STRATHMORE.ORG | 20 april 5, 2019 washingtoncitypaper.com

On the Red Line

There’s something so satisfying about learning long hidden histories. The controversial Vietnam War has been over for about 45 years, though there’s still a huge piece of the puzzle missing from historical records and narratives—the South Vietnamese perspective, the very people the U.S. claimed to enter the war to defend. Until September, the Smithsonian American Art Museum will house the exhibition Tiffany Chung: Vietnam, Past is Prologue, in conjunction with the museum’s current major exhibition, Artists Respond: American Art and the Vietnam War, 19651975. In Past is Prologue, visitors will examine this missing perspective of the almost 20-year war that took millions of lives. Vietnam native and talented multimedia artist Tiffany Chung has orchestrated the accounts that have been broadly omitted from authorized historical documents and made a valid alternative story highlighting the war’s effects and aftermath, featuring drawn and stitched maps, extensive archival research, and moving interviews. She begins this exploration with her own father, who fought during the war for the South Vietnamese military.

Chung delves into the overlooked lives and experiences of refugees who were part of the post1975 exodus from Vietnam, telling the stories that have been boldly erased. The exhibition is on view to Sept. 2 at the Smithsonian American Art Museum, 8th and F streets NW. Free. (202) 633-7970. americanart.si.edu.

—Malika T. Benton

CITY LIGHTS: SUNDAY

MR. DEEDS GOES TO TOWN

Director Frank Capra, best known for the Christmas perennial It’s a Wonderful Life, is sometimes written off for featuring an oldfashioned sentiment that naysayers dismiss as mere Capra-corn. But his films often drip with a bitter cynicism, and Mr. Deeds Goes to Town, his 1936 fable of media manipulation, seems as relevant as ever in an age of trial-by-Twitter. Gary Cooper stars as the tuba-playing title bumpkin, roused from his small Vermont town after he inherits a fortune from a rich uncle. Jean Arthur plays wise-cracking, big-city reporter Babe Bennett, who befriends Deeds so she can write articles that make him the laughingstock of Manhattan. As sandpaper-voiced character actor Lionel Stander tells Deeds, “You’ve been making love to a double dose of cyanide!” But do you think she might fall in love with the big lug? The film screens at 11 a.m. at the AFI Silver Theatre and Cultural Center, 8633 Colesville Road, Silver Spring. $8–$10. (301) 495-6700. afi.com/silver.

—Pat Padua

Merriweather Post Pavilion • Columbia, MD M3 ROCK FESTIVAL FEATURING

THIS WEEK’S SHOWS

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

Emily King w/ Jennah Bell ...................................................................... Th APR 4

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

ALL GOOD PRESENTS

DC101 KERFUFFLE FEATURING

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

Beats Antique w/ Axel Thesleff Early Show! 7pm Doors ................................... Sa 6 Charlotte Gainsbourg ................................................................................. M 8 STEEZ PROMO PRESENTS

Jai Wolf ......................................................................................................... W 10

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

Florence + The Machine * w/ Blood Orange ................................. JUNE 3 CAPITAL JAZZ FEST FEATURING

Gladys Knight • BabyFace • Gregory Porter • Kem • Patti Austin and more! ................................................................................ JUNE 7-9 For a full lineup, visit capitaljazz.com.

APRIL

APRIL (cont.)

Ella Vos w/ Clara Mae ..............Th 11

Andrea Gibson w/ Megan Falley .........................Tu 30

ALL GOOD PRESENTS

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

AEG PRESENTS

Adam Conover- Mind Parasite LIVE

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

Droeloe w/ FYTCH • DUSKUS • TAILS

Late Show! 10pm Doors ..................Sa 13 ALL GOOD PRESENTS

The Claypool Lennon Delirium w/ Uni .........................................W 17 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Foals w/ Preoccupations & Omni .........Th 18 ALL GOOD PRESENTS AN EVENING WITH

Lotus .............................F 19 & Sa 20 Tom Odell w/ Lucie Silvas Early Show! 6pm Doors ....................Sa 20 Ryan Bingham w/ Americans .Su 21 Rival Sons w/ The Sheepdogs ... M 22 Jon Hopkins .............................W 24 Blue October w/ Mona ............Th 25 Hot In Herre: 2000s Dance Party

w/ Jade Bird ............................................................................................................ JUNE 21

Phish ........................................................................................................ JUNE 22 & 23 Thomas Rhett w/ Dustin Lynch • Russell Dickerson • Rhett Akins ............. JULY 18 Third Eye Blind & Jimmy Eat World * w/ Ra Ra Riot ..... JULY 19 311 & Dirty Heads w/ The Interrupters • Dreamers • Bikini Trill .......... JULY 27 Train/Goo Goo Dolls * w/ Allen Stone ...........................................AUGUST 9 Chris Stapleton * w/ Margo Price & The Marcus King Band ................ AUGUST 11 Heart* w/ Joan Jett and The Blackhearts & Elle King........................... AUGUST 13 The Chrysalis at Merriweather Park

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

ALL GOOD PRESENTS

The Devil Makes Three .....Sa 11 Bear’s Den ..............................Su 12 Architects w/ Thy Art is Murder & While She Sleeps ....................Tu 14

Jim James (of My Morning Jacket) w/ Amo Amo

Two-Night Pass available ......F 17 & Sa 18

STEEZ PROMO PRESENTS

with DJs Will Eastman and Ozker, Visuals by Kylos .......................Sa 27

The Floozies

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

CORINNE BAILEY RAE

TINARIWEN

930.com

The best thing you could possibly put in your mouth

.......................................................... SEPTEMBER 19

Jónsi & Alex Somers -

Riceboy Sleeps with Wordless Orchestra ..................................................OCTOBER 28 On Sale Friday, April 5 at 10am

Spiritualized ............................APR 16 Yann Tiersen (Solo In Concert) .........................MAY 24 Citizen Cope .............................APR 17

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

D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Imogen Heap with special guest 9:30 CLUB PRESENTS AT U STREET MUSIC HALL

¿Téo? w/ MARO & Samson ......... F APR 5 HÆLOS w/ Munya .........................Sa 6 Jeremy Loops w/ Hollow Coves ......Su 7 Strand of Oaks w/ Tyler Ramsey ...Th 11 Foreign Air w/ Honors ..................F 12

Terror Jr w/ Kossisko .................. M 15 The Wild Reeds w/ Valley Queen ...Tu 16 Telekinesis w/ SONTALK ..............W 17 Escort .....................................Th 18 Tennyson w/ Sam Bekt ..................F 19

............... JULY 30

AEG PRESENTS

Late Show! 10:30pm Doors ..............Sa 18

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

MAY

Parachute w/ Billy Raffoul .........W 1 MISSIO w/ Blackillac & Swells ...Th 2 The Strumbellas w/ The Moth & The Flame ..............F 3 Delta Rae Early Show! 6pm Doors ..Sa 4 Higher Brothers Late Show! 10:30pm Doors..................Sa 4 Son Volt w/ Ian Noe ...................Su 5 The Dandy Warhols w/ Cosmonauts & The Vacant Lots . M 6 Ex Hex w/ The Messthetics & Clear Channel ...........................F 10

Brandi Carlile w/ Lucius ........................................................................ JUNE 14 Willie Nelson & Family and Alison Krauss w/ Lukas Nelson (A Star is Born) ............................................................... JUNE 19 Jason Isbell and The 400 Unit & Father John Misty

AN EVENING WITH

Apocalyptica Plays Metallica By Four Cellos Tour .MAY 28

Guy Sigsworth of Frou Frou ............... MAY 4

AN EVENING WITH

Glen Hansard ...........................JUN 3 Josh Ritter & The Royal City Band w/ Penny & Sparrow ............MAY 17 Joey Coco Diaz ..........................AUG 9 Chromeo (Live Band) .............MAY 19 Adam Ant: Friend or Foe .... SEP 23 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

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

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

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

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

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

930.com washingtoncitypaper.com april 5, 2019 21

MONDAY 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

Apr 5

An Evening with

DON McLEAN

6

BODEANS

7

KEIKO MATSUI

11

LIZZ WRIGHT

Nicholas David

18 19

SGGL & THE SHERPAS THE CHURCH

"Starfish" 30th Anniversary Tour

THEfeaturing DRAMATICS L.J. Reynolds

20

Comedy!

ROB SCHNEIDER "Deuce Bigalow", "SNL"!

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

22

27

CLEVE FRANCIS

29&30

May 1

INCOGNITO with special guest MAYSA An Evening with

ZOE KEATING 2 DELBERT McCLINTON 3 NAJEE 4

An Evening with

DAVID ALLAN COE TERRY REID & The Cosmic American Derelicts

6

CLARICE SMITH PERFORMING ARTS CENTER Stadium Drive and Route 193, College Park. (301) 405-2787.

TEMPO Concert. 8 p.m. Free. theclarice.umd.edu.

8 Five City Live East Coast Tour 2019

BEAR BROOK PODCAST A PODCAST ABOUT A COLD CASE THAT MAY JUST CHANGE HOW MURDERS ARE INVESTIGATED...FOREVER

FROM NEW HAMPSHIRE PUBLIC RADIO

FUNK & R&B

CITY WINERY 1350 Okie St. NE. (202) 250-2531. KiDe’.

7:30 p.m. $20–$22. citywinery.com.

POP

MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Kristin Chenoweth. 8 p.m. $68–$158. strathmore.org.

TUESDAY BLUES

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

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

Sam MAC McANALLY Morrow 11 GARY TAYLOR

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

SoMo. 8 p.m. $20–$299. unionstage.com.

HIP-HOP

MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Black Violin. 8 p.m. $26–$72. strathmore.org.

POP

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

Alec Benjamin. 7 p.m. $17. ustreetmusichall.com.

WORLD

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Eran Zur. 8 p.m. $35. citywinery.com.

WEDNESDAY CLASSICAL

SIXTH & I HISTORIC SYNAGOGUE 600 I St. NW. (202) 408-3100. Dreamers’ Circus. 8 p.m. $25. sixthandi.org.

HIP-HOP

MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Black Violin. 8 p.m. $26–$72. strathmore.org.

ROCK

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Adrian Belew. 8 p.m. $30–$38. citywinery.com.

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Deafheaven and Baroness. 7:30 p.m. $28.50. fillmoresilverspring.com.

THURSDAY

An Evening with

GORDON LIGHTFOOT '80 Years Strong Tour'

14&15

DAMIEN ESCOBAR 'Elements of Love Tour'

KRISTIN CHENOWETH

Returning to the Strathmore stage three years after her titular role in I Am Anne Hutchinson/I Am Harvey Milk, Kristin Chenoweth will bring her trademark energy (and that liquid soprano) to perform songs straight out of the Great American Songbook. Instead of a rousing operatic ode to two American freedom fighters, this 90-minute concert encompasses more than a dozen jazz standards off of Chenoweth’s 2016 release The Art of Elegance, including “Someone To Watch Over Me,” “Zing! Went the Strings of My Heart,” and “Smile.” In an interview with Keith Loria for On Tap Magazine, Chenoweth said she would also be honoring music from performers like Dinah Washington, Eva Cassidy, Judy Garland, and Dolly Parton on her forthcoming untitled album. For audience members worried that Chenoweth would snub the bubbly blonde Wicked role that won her international acclaim and a Tony nomination, fear not. “Of course I’m going to sing ‘Popular’ and some songs that I will never not sing because it’s part of my DNA,” Chenoweth told Loria. “But I want to make it a new show every time.” Kristin Chenoweth performs at 8 p.m. at The Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda. $68–$158. (301) 581-5100. strathmore.org.

—Amy Guay

COUNTRY

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Jimmy Webb with Robin Spielberg. 8 p.m. $35–$40. citywinery.com.

JAZZ

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

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

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Monty Alexander. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

ROCK

BARNS AT WOLF TRAP 1635 Trap Road, Vienna.

(703) 255-1900. Robyn Hitchcock. 8 p.m. $25–$35. wolftrap.org.

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

Yacht Rock Revue. 7:30 p.m. $20.50–$25.50. thehamiltondc.com.

10

13

CITY LIGHTS: MONDAY

FUNK & R&B

12 14

CLASSICAL

Theater

THE BECKETT TRIO, PART 2 From Beckett’s “ghost period” comes Ohio Impromptu, the first Beckett drama to showcase a Doppelgänger. Come and Go focuses on a reunion between three childhood friends and the secrets they reveal to one another.

An allegory for the resistance, Catastrophe features

22 april 5, 2019 washingtoncitypaper.com

a director and his assistant wrestling for control over the direction of one lone actor. Atlas Performing Arts Center. 1333 H St. NE. To May 5. $45. (202) 399-7993. atlasarts.org.

CLOTHES FOR A SUMMER HOTEL Tennessee Williams’ last play to debut on Broadway, Clothes for a Summer Hotel interprets the lives of F. Scott and Zelda Fitzgerald over the course of several flashbacks to their heyday in the twenties. Presented by the Rainbow Theatre Project. DC Arts Center.

2438 18th St. NW. To April 28. $35. (202) 462-7833. dcartscenter.org.

GRAND HOTEL, THE MUSICAL This lively musical follows a hotel’s collection of guests and staff—including a fading prima ballerina, a fatally ill bookkeeper, a handsome but poor baron, and a typist with dreams of Hollywood fame—as they move through the high life. Signature Theatre. 4200 Campbell Ave., Arlington. To May 12. $40–$99. (703) 820-9771. sigtheatre.org.

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

JQA JQA imagines the confrontations between the intelligent, eloquent, and fiery sixth President of the United States and a collection of America’s most influential figures including George Washington, Frederick Douglass, Abraham Lincoln, and John Adams. Arena Stage. 1101 6th St. SW. To April 14. $92– $115. (202) 488-3300. arenastage.org.

JUNK The slick and scheming Robert Merkin prepares to seize power over a manufacturing company in Pulitzer Prize-winning Ayad Akhtar’s latest play inspired by the financial world and junk bond dealings of the 1980s. The work aks, just how far is one willing to go under the pretense of “saving America”? Arena Stage. 1101 6th St. SW. To May 5. $56–$72. (202) 4883300. arenastage.org.

THE PECULIAR PATRIOT Highlighting the institutionalized injustice of America’s criminal justice system, this funny and sharp one-person show starring playwright Liza Jessie Peterson is inspired by her decades-long work with prison populations. Woolly Mammoth Theatre, Melton Rehearsal Hall. 641 D St. NW. To April 20. $20–$69. (202) 393-3939. woollymammoth.net.

P.Y.G. OR THE MIS-EDUMACATION OF DORIAN BELLE White Canadian pop heartthrob Dorian Belle hires black Chicagoan hip-hop artists Black and Alexand to lend him clout on reality TV. Inspired by the culture clash of Shaw’s Pygmalion. Studio Theatre.

1501 14th St. NW. To April 28. $20–$55. (202) 3323300. studiotheatre.org.

RESOLVING HEDDA A reimagining of Ibsen’s classic, this Hedda refuses to play along with her daily, prescribed death at the end of each performance. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To April 14. $25–$60. (240) 5820050. stageguild.org.

Film

THE BEST OF ENEMIES A civil rights activist goes head-to-head with a Klan member over school integration in 1970s North Carolina. Starring Taraji P. Henson, Sam Rockwell, and Babou Ceesay. (See washingtoncitypaper.com for venue information) DUMBO Dumbo, the beloved young elephant with oversized ears that allow him to fly, is made to perform in a circus as he and his friends uncover its dark secrets. Starring Colin Farrell, Michael Keaton, and

Danny DeVito. (See washingtoncitypaper.com for venue information) THE HIGHWAYMEN This new Netflix feature centers on a pair of Texas Rangers who un-retire to catch infamous criminal couple Bonnie and Clyde. Kevin Costner, Woody Harrelson, and Kim Dickens. (See washingtoncitypaper.com for venue information) THE MUSTANG Matthias Schoenaerts stars as a prisoner who enters a rehabilitation program in which he must help train wild mustangs. Co-starring Jason Mitchell and Bruce Dern. (See washingtoncitypaper. com for venue information) PET SEMATARY After a family moves to rural Maine, they discover a creepy burial ground in the woods near their home and evil is unleashed. Starring Jason Clarke, Amy Seimetz, and John Lithgow. (See washingtoncitypaper.com for venue information) SHAZAM! Teen foster child Billy Batson becomes a powerful adult superhero by shouting one word— Shazam! Starring Zachary Levi, Michelle Borth, and Djimon Hounsou. (See washingtoncitypaper.com for venue information)

CITY LIGHTS: TUESDAY

WRITTEN AND PERFORMED

BY LIZA JESSIE PETERSON DIRECTED BY TALVIN

WILKS

NOW PLAYING THRU APRIL 20 “A blistering critique of the American criminal justice system” Broadway World

«««««

“The Peculiar Patriot excels”

Time Out New York

New York Times

WOOLLY MAMMOTH THEATRE COMPANY

WOOLLYMAMMOTH.NET // 202-393-3939 // #PECULIARPATRIOT

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4/2/19 11:16 AM

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APR 4-5

APR 5

LOW TICKET ALERT!

MATHEMATICAL BEAUTY

The American Association for the Advancement of Science’s 10-artist exhibition Mathematical Beauty ranges widely, from 3-D printed sculptures to fiber art to Victor Vasarely-inspired digital prints. But as an exploration of the connections between mathematics and art, it all adds up. Shanthi Chandrasekar creates mathematically inspired grids using paint and mixed media. In one, she turns hand-drawn lines into a pattern that suggests a tortoise shell, while in another she uses carefully woven twine and small black objects to create a subdued, minimalist tableau. Robert Spann uses computer algorithms to create designs that could have easily decorated a late-1960s Pan Am terminal. Elizabeth Whiteley uses compasses to create elegant, delicate pencil drawings, and Margaret Kepner offers triangle-based arrays that suggest folk quilts. A standout is Faye Goldman, who uses “modular origami” to create such shapes as eggs and donuts (pardon, “torus”). Goldman explains that she makes these objects “because they look really cool.” It’s hard to disagree. The exhibition is on view to June 21 at the American Association for the Advancement of Science, 1200 New York Ave. NW. (202) 326-6400. aaas.org.

—Louis Jacobson

APR 6

LOW TICKET ALERT!

APR 8

KiDe’

The Pump & Dump Show

Doug Stone

Burlesque Night Out

hayes carll w/ ben dickey

Kia Bennett and Desiree Jordan

APR 8

APR 9

APR 9

APR 10

APR 11

mike farris

adrian belew

Jimmy Webb

APR 16

APR 17

APR 18

briclyn Ent. Presents

Bhi Bhiman

in the wine garden

FREE EVENT!

eran zur

musicians on call Volunteer Spotlight Concert in the wine garden

(solo acoustic tour) in the wine garden

APR 13

APR 14

Steve Tyrell

Los Lonely Boys w/ The Gary Douglas Band

19th Annual

at

DOWNTOWN SEDER

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

EU

(Experience Unlimited) featuring Sugar Bear

Crush Your Craft

ft. Maimouna Youssef, Muhsinah & Carvin Higgins

w/ Robin Spielberg

in the wine garden

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

1350 OKIE ST NE, WASHINGTON DC | CITYWINERY.COM/WASHINGTONDC | (202) 250-2531

washingtoncitypaper.com april 5, 2019 23

CITY LIGHTS: WEDNESDAY

visit us online for a concert near you: www.navyband.navy.mil

City Paper 1-6 horizontal generic.indd 1

PODCAST

3/20/2019 9:35:14

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

PODCAST

THE UNITED STATES AIR FORCE BAND WA S H I N G T O N , D . C .

Colonel Don Schofield, Commander and Conductor

2019 ConcertBand F R E E CO N C E R T!

Rachel M. Schlesinger Concert Hall and Arts Center Northern Virginia Community College, Alexandria Campus internationally-acclaimed saxophonist

Joe Lulloff

APRIL 18 AT 8 P.M.

for FREE tickets, please visit: www.usafband.eventbrite.com 24 april 5, 2019 washingtoncitypaper.com

DREAMERS’ CIRCUS

Scandinavian chamber music is the coolest thing in Penn Quarter. In November, the Danish String Quartet performed at Sixth & I Historic Synagogue. Over at Sidney Harman Hall, the quartet's Nordic folk music accompanies The Washington Ballet performances. And Wednesday, Danish String Quartet violinist Rune Tonsgaard Sørensen returns to play at the synagogue with his side project: a trio called Dreamers’ Circus. Rune’s Danish pal Nikolaj Busk plays the accordion and keyboards, while Swedish folk musician Ale Carr strums a lute-like instrument called the cittern. Together they play original tunes inspired by folk, classical, and jazz music, and the results transcend any one culture like an ethereal utopian jukebox. The trio’s current American tour has seen them performing in community centers, museums, and university auditoriums, yet there’s no better venue for an evocative band like Dreamers’ Circus than the vaulted dome of Sixth & I, a temple for embracing music that isn’t religious, but spiritual. Dreamers’ Circus perform at 8 p.m. at Sixth & I Historic Synagogue, 600 I St. NW. $25. (202) 785-9727. sixthandi.org.

—Rebecca J. Ritzel

CITY LIGHTS: THURSDAY

YOUNG FRANKENSTEIN

In late 1974, hot off the success of The Producers and Blazing Saddles, legendary comic director Mel Brooks gave the world Young Frankenstein, a send-up of the archetypal Universal monster movie. Starring Gene Wilder, Cloris Leachman, Marty Feldman, and Peter Boyle, the film chronicles the adventures of Frederick Frankenstein (portrayed by Wilder) attempting to replicate the results of his grandfather’s infamous experiments in reanimating dead flesh. The result is a vile monster (portrayed by Peter Boyle, who many probably know as the grandpa from Everybody Loves Raymond) that menaces and wreaks havoc but eventually chills out and performs a charming rendition of “Puttin’ On The Ritz.” Black-and-white film stock and actual props from the original 1931 Frankenstein film give Young Frankenstein a genuine old-Hollywood feel. You can see the movie as it was meant to be seen—on the silver screen— at Suns Cinema on Mount Pleasant Street NW. The film screens at 8 p.m. at Suns Cinema, 3107 Mount Pleasant St. NW. $8. sunscinema.com.

—Will Lennon

SAVAGELOVE I’m an adult man, and I have developed a trans attraction after following a particular Tumblr blog.

That blog is now gone, sadly, since all adult content has been purged from Tumblr. It wasn’t just porn; it consisted of all the things I really enjoy— images of oil paintings and antique furniture, scenic landscapes, wild animals, and then pictures/ gifs of trans women. Some women appeared to have had top surgery while others didn’t. But all of the women featured on this blog had penises. I had never considered a relationship with a trans woman before, but after browsing the blog for a year, I can honestly say I’d do it in a heartbeat. I would actually like to date a non-op trans woman. I know that many trans women don’t like having their male parts touched or acknowledged, but I didn’t know that a trans woman can only have a functioning penis if she isn’t taking female hormones, and I hadn’t considered the effect that might have on somebody’s gender dysphoria. How can I meet a trans woman who is hopefully comfortable with her male parts and seeking a relationship?

I live in a conservative Bible Belt state—Utah— and I am woefully uneducated on this subject.

—Girl’s Heart, Man’s Parts “My penis and balls aren’t ‘man’s parts,’” said Bailey Jay, the three-time AVN Award–winning transsexual porn star. “They’re mine. I own them. Not some random man.”

In fairness, GHMP, you acknowledge being woefully uneducated on trans issues, something your letter demonstrated again and again.

But let’s start here: A trans woman doesn’t have boy parts. She has girl parts—unique girl parts, as girl parts go, but girl parts just the same.

“I’m on hormones and my cock works great,” said Jay. “Every trans woman is going to be different and have different experiences, and that’s the best first bit of advice I can give GHMP. We can smell it a mile away when we are all being lumped in together as a concept.

Treat any trans woman you’re romantically interested in as an individual.”

As for places to find trans individuals who might be up for dating cis men, well, you might want to sit down, GHMP, as this is pretty shocking.

“I’ve heard OkCupid is inclusive, and I have friends on there whose profiles even help people navigate discussing their bodies in a respectful way,” said Jay. “And finding a trans woman to date who hasn’t undergone bottom surgery is pretty easy. The surgery is expensive and even scary to some. It’s not terribly common that a trans woman has had that particular surgery.”

But just because a trans woman hasn’t had bottom surgery doesn’t mean she doesn’t want bottom surgery, so you shouldn’t assume a trans woman with a penis plans to always keep her penis.

“The real question is what her relationship is

with her current genitals,” said Jay. “Maybe she’s very dysphoric about them. Maybe she doesn’t even want you to see them or touch them. Even if her body is your preference, there’s a chance it isn’t hers. I personally love my penis and even like talking about it. But bringing up genitals right away can make you seem insensitive or like you’re dehumanizing your date.”

Jay recommends looking for trans women on mainstream dating apps and then following their lead.

“Now, genitals and curt sexual dialogue are kind of my jam,” said Jay, “so I wouldn’t even flinch or blush. But this can be a very charged subject for people.”

Look to the profiles of trans women you’re interested in for cues about their approach to personal subjects. One woman might put it all out there and welcome questions about her experiences as a trans woman; another woman might be open about being trans but prefer not to focus on it.

“Still, never use genital questions as an ice-

There are assholes in gay spaces just as there are assholes in every other kind of space. breaker,” said Jay. “You’ll know when your evening with someone is going well enough that there’s a certain amount of trust,” and at that point, you may be able to bring it up.

“And please make sure to talk about both of your bodies,” added Jay. “This isn’t all about if her body is right for you. Make sure your body meets her standards and preferences, too. I always joke that cis men should have to disclose as well. Any expectation you find yourself putting on her, split the responsibility.”

You can find Bailey Jay at her for-adults-only website TS-BaileyJay.com. —Dan Savage I’m a 36-year-old trans man in Portland, Oregon, and I’ve never been to a gay bar/venue while presenting male. I’ve only been once or twice years ago when straight friends went to watch drag shows and used the gays as entertainment. (Yeah, my old life was CIS HET as all fuck.) I have two questions: (1) I’ve heard a lot of stories about “gold star” gays who shame trans men and blacklist us. Any truth to that?

Am I welcome in a gay space? (2) As someone who’s never dated/hooked up within the gay male culture, any newbie tips? As for what I’m looking for, it’s really just about feeling validated and comfortable being in a men’s space. Sure, I’m horny as hell and would love nights full of hot anal sex, LOL, but I’m

cool just starting with finding my swagger. I have no idea how my personality will develop around other guys. I have a puppy side, a pain-slut side, and a sadistic-top side—and I’m super-curious about exploring all my sides!

—The Deep End 1. You are welcome in gay spaces—of course— but there are assholes in gay spaces just as there are assholes in every other kind of space. There may be fewer assholes as a percentage in gay spaces (untested hypothesis!), TDE, but that doesn’t make gay assholery any less aggravating. And, yes, there are gay men out there who don’t want to sleep with trans men. But there are gay men out there who don’t want to sleep with tall men, short men, masculine men, femme men, big men, small men, vanilla men, kinky men, and—yes—even cis men. Focusing on the guys who don’t want to fuck you—whether they’ve never slept with a woman (gold star) or just slept with a woman (homoflexible)—is a waste of time and energy. Focus on the guys who do want to fuck you. And they’re out there.

2. All things in moderation (including moderation), don’t fuck around with meth (or with guys who do), get on PrEP (to protect yourself from HIV), use condoms (to protect yourself from everything else), tip your bartenders, ask before you touch, and don’t make the bars your whole life.

And finally, TDE, seeing as you’re kinky, you might want to explore mixed kink clubs and spaces, online and off, in addition to gay bars. You’ll encounter your fair share of assholes in kink spaces, of course, but kinksters— particularly kinksters in your hipper urban locales—are often more open to trans folks than vanilla types. (Tyler McCormick, a trans man, won the International Mr. Leather competition way, way back in 2010.)

—DS I’ve fallen into a social group of gay men who are kind of homophobic. They talk about bottoming and gayness as if they’re embarrassing things. It’s like they’re aspiring to be gay people who are really heterosexuals but just accidentally have gay sex.

The other challenge is that I find them attractive.

—These Really Anti-Social Homos Putting up with assholes just because they’re hot—yeah, you’re not doing yourself any favors there, TRASH, and you’re not doing those assholes any favors, either. Sooner or later, they’re going to age out of hot—and if they haven’t learned the importance of not being assholes by that point, they’re going to be lonely old assholes. Losing friends due to your assholery is an important learning experience for many. Don’t cheat these guys of it.

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

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PROPOSALS – Special Public Charter School in Education Related Body & Spirit . . . . accordance . . . . . . . . with . . . section . . 42 Services and Evalu2204(c) of the District of . . . . . . .School . . . . .Reform . 42 ation Housing/Rentals Services - DC Columbia Scholars Public Charter Act of 1995 solicits proLegal Notices . . . . . . . . . . . . . . . . 42 School solicits proposals posals for the following for Special Education Row . services: Music/Music . . . . . . . . . . . . 42 Related and Evaluation * Elevator Installation Pets . . . . . . – . . . . . and . . . Repair . . . . .Services . . . . . 42 Services for 8/01/19 07/31/20. The Request Qualified vendors Real Estate . . . . . . . . . . . . . . . . . . 42 for Proposals requested to assess (RFP) Shared specifications can Housing . and . . . make . . . . immediate . . . . . . 42 be obtained on and after repairs to on short- and Services . . . . . . . . long-term . . . . . . . repairs . . . . . to . 42 Friday, April 5, 2019 the from Emily Stone via elevator at our current communityschools@ location. The elevator dcscholars.org. All dates to the 1960s and questions should be in requires various code writing by e-mail. No and life safety improvephone calls regardments and a major ing this RFP will be overhaul. Qualified venaccepted. Bids must be dors should request the received by Friday, April “Maintenance Audit Sur19, 2019 at 5:00 PM via vey Report” from bids@

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DISSOLVED EFFECTIVE NOVEMThe Request for ProposBER 27, 2017 AND HAS FILED als (RFP)OFspecifications ARTICLES DISSOLUTION OF can be obtained on and DOMESTIC FOR-PROFIT CORafter Friday, 5, PORATION WITHApril THE DISTRICT 2019 from Emily Stone OF COLUMBIA CORPORATIONS DIVISION via communityschools@ dcscholars.org. All Aquestions CLAIM AGAINST TRAVISA should be in OUTSOURCING, INC. NoMUST writing by e-mail.

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PUBLICATION OF THIS NOTICE IN ACCORDANCE WITH SECTION CENTER CITY PCS RFP 29-312.07 OF THE DISTRICT OF for Landscaping Services COLUMBIA ORGANIZATIONS ACT. One School RFP for ongoing landscaping Two Rivers PCS is soliciting services. obtain copproposals to To provide project manies of full RFPs, agement services for a small conplease visit our struction project.

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- DC Scholars Public Legals Charter School solicits proposals for Substitute DC SCHOLARS PCS REQUEST Teacher Recruitment FOR PROPOSALS – Moduand Placement services lar Contractor Services - DC for 8/01/19 07/31/20.

Scholars Public –Charter School The solicitsRequest proposalsfor for Proposa modular als (RFP) contractor to specifications provide professional can be obtained on and management and construction servicesFriday, to construct modular after Aprila 5, building to house four classrooms 2019 from Emily Stone and one faculty offi ce suite. The via communityschools@ Request for Proposals (RFP) dcscholars.org.

All quesspecifi cations can be obtained on tions should be in writand after Monday, November 27, ing by No phone 2017 frome-mail.

Emily Stone via comcalls regarding this RFP munityschools@dcscholars.org. will be accepted.

Bids All questions should be sent in must bee-mail. received by calls writing by No phone regarding April this RFP be at acFriday, 19, will 2019 cepted.PM Bidsvia must be received by 5:00 5:00 PM on Thursday, December Communityschools@ 14, 2017 at DC Scholars dcscholars.org.

Any Public bids Charter School, ATTN: not addressing all Sharonda areas Mann, 5601 E. Capitol St. SE, as outlined the RFP Washington, DCin20019.

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Ingenuity Prep PCS solicits proposals Apartments for for Rent the following: * Furniture Vendor Full RFP(s) by request.

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All location along H St. Corridor. questions should Call be Eddie in 202-744-9811 for info. or visit writing by e-mail. No www.TheCurryEstate.com phone calls regarding this RFP will be accepted.

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SUPERIOR COURT POWER DESIGN NOW HIROF DISTRICT OF INGTHE ELECTRICAL APPRENTICES OF ALL SKILL LEVCOLUMBIA ELS! PROBATE DIVISION 2019 ADM 000248 about the Name of position…

Decedent, Do youDavis. love working Fannie Noticewith of your hands? Are you interAppointment, Notice and to ested in construction Creditors and to in becoming an Notice electrician?

Unknown Heirs, Ione Then the electrical apprentice Davis, positionwhose could beaddress perfect foris 16004 Pennsbury Drive, you! Electrical apprentices are ableMd to earn a paycheck Bowie, 20716 was and full benefi ts while appointed PersonallearnReping the tradeofthrough firstresentative the estate experience. ofhand Fannie Davis who

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Hobart 80 qt Mixers, Complete Machine Shop, TWO RIVERS PUBLIC and much more! View the CHARTER catalog at SCHOOL REQUEST FOR PRO-or www.mdavisgroup.com POSALS 412-521-5751 Beforecare and Aftercare Provider Garage/Yard/ Two Rivers PCS is Rummage/Estate soliciting proposals Sales to provide beforecare Flea Market every and Fri-Sat aftercare programming 10am-4pm.

5615 Landover Rd. for two Cheverly, MD. 20784. Can buy elementary in bulk. Contactschool 202-355-2068 campuses.

Forforadetails copyor if or 301-772-3341 intrested in being a vendor. of the RFP, please email David Nitkin (dnitkin@tworiverspcs. org). Submission deadline is Friday, April 26, 2019.

TWO RIVERS PUBLIC CHARTER SCHOOL REQUEST FOR PROPOSALS Data Management (Temporary Replacement) Two Rivers PCS is soliciting proposals to manage our data systems during a staff member’s leave of absence. For a copy of the RFP, please email procurement@ tworiverspcs.org.

Submission deadline is Friday, April 26, 2019

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