Washington City Paper (April 14, 2017)

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Free Volume 37, no. 15 wAsHingtonCitypAper.Com April 14–20, 2017

PeeP HoPe Alive Because dioramas drive away darkness, we present our inaugural Peeps contest winners. P. 12 Photographs by Darrow Montgomery

Politics: $100 million questions 8 Food: How restAurAnts use mystery sHoppers 19 arts: drAwing And longing in solo exHibits 23

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INSIDE

12 PEEP HOPE ALIVE Because dioramas drive away darkness, we present our inaugural Peeps contest winners.

“Compelling… we are inside Chekhov’s world and hearing his voice.”

–The Boston Globe

Maly Drama Theatre

Three SiSTerS Directed by Lev Dodin

Photographs by Darrow Montgomery

4 Chatter distriCt Line 7 Concrete Details: Architecture of an Asylum, an exhibit about St. Elizabeths, chronicles the rise and fall of design as medicine for the mentally ill.

8 Loose Lips: With help from the mayor’s office, the city grants a $100 million energy contract to a company with a record of questionable expenses and performance.

10 Indy List 11 Gear Prudence

d.C. feed 19 Secret Service: D.C. restaurants are using mystery shoppers like you to enhance their game.

21 Crowding the Plate: A review of the food options at Nats Park this season 21 What’s in Stein’s Stein: Denizens Brewing Co. Macadocious Maibock 21 Hangover Helper: The Duck Muffin at Hazel

25 National Portait Mausoleum: See Ted Kennedy by Andy Warhol, Muhammad Ali by Yousuf Karsh, and other portraits of dead Americans at In Memoriam.

26 Curtains: Jones on Ragtime and Lyons on Midwestern Gothic 28 Short Subjects: Zilberman on Colossal and Gittell on Graduation

City List 31 City Lights: See dance companies from all over the nation at the Kennedy Center’s Ballet Across America series on Monday.

31 Music 35 Books 35 Dance 36 Theater 37 Film

38 CLassifieds

Performed in Russian with projected English titles. Recommended for age 14 and up.

diversions 39 Crossword

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400.

arts 23 Drawn Together: Two different artists put on uncurated solo exhibits that focus on drawing—and longing.

April 26–30 | Eisenhower Theater

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

International Theater is underwritten by HRH Foundation.

On the cover: “The Peeple v. O.J. Simpson,” a diorama

by Larisa Baste

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

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

washingtoncitypaper.com april 14, 2017 3

CHATTER

PAC It Up

In which we suggest a campaign treasurer’s abdication

Darrow MontgoMery

There are imporTanT reasons why campaign finance is serious business that requires transparency, detailed record-keeping, and accountability—not to mention reform. Especially in a city like D.C., booming with development as it is, voters have a right to know who is bankrolling our public officials and whether they are doing so legally. That job falls to campaign treasurers, who are duty bound to follow the law, responsibly track and report political donors, and return contributions that exceed legal limits—all of which are standard campaign finance practice, not aspirational goals.

This has apparently been a challenge for Ben Soto, a local attorney who serves as campaign treasurer for Mayor Muriel Bowser and Councilmember Brandon Todd, both of whom are under fire for campaign finance abuses and/or irregularities. It’s more than just notable that Soto also served in that role for the controversial political action committee FreshPAC, which was ultimately shut down in 2015 amid public outcry that it was raising unlimited contributions from Bowser supporters who, coincidentally or not, traveled with and had access to the mayor.

Public Citizen recently filed a complaint with D.C.’s Office of Campaign Finance after identifying numerous instances of Bowser accepting more than the legal limit in political donations from big-dollar supporters, totaling $31,500. And an OCF audit has found that Todd’s campaign recordkeeping for his 2015 special election—to replace Bowser in Ward 4 after she was elected mayor—was deeply flawed. Among the many findings for which Todd could face disciplinary action: more than $30,000 in contributions that the campaign failed to report and another $100,000 that it cannot substantiate. The OCF also faults the Todd campaign for repeatedly missing deadlines to submit information it has requested.

In the face of all this, Soto is a little like actress Amanda Bynes, who once threw a bong out of her Manhattan window only to claim it was “just a vase.” Time after time, his response has essentially been, “There’s nothing to see here. Just move along.”

With regard to Todd, he blames the problems in part on the OCF’s filing technology and tells City Paper that the audit is a non-story. We respectfully disagree.

Bowser and Todd’s troubles, and the imprudent misadventure that was FreshPAC, all have one commonality: Ben Soto. Perhaps he should move along from campaign treasurer duties.

—Liz Garrigan 500 BLock of IndIAnA Ave. nW, AprIL 11

EDITORIAL

edITor: liz garrigan MAnAGInG edITor: alexa Mills ArTS edITor: Matt Cohen food edITor: laura hayes cITy LIGhTS edITor: Caroline jones STAff WrITer: andrew giaMbrone SenIor WrITer: jeffrey anderson STAff phoToGrApher: darrow MontgoMery InTerAcTIve neWS deveLoper: zaCh rausnitz creATIve dIrecTor: jandos rothstein ArT dIrecTor: stephanie rudig copy edITor/producTIon ASSISTAnT: will warren conTrIBuTInG WrITerS: jonetta rose barras, VanCe brinkley, eriCa bruCe, kriston Capps, ruben Castaneda, Chad Clark, justin Cook, riley Croghan, jeffry Cudlin, erin deVine, Matt dunn, tiM ebner, jake eMen, noah gittell, elena goukassian, aManda kolson hurley, louis jaCobson, raChael johnson, Chris kelly, aMrita khalid, steVe kiViat, Chris kliMek, ron knox, john krizel, jeroMe langston, aMy lyons, kelly MagyariCs, neVin Martell, keith Mathias, traVis MitChell, triCia olszewski, eVe ottenberg, Mike paarlberg, noa rosinplotz, beth shook, Quintin siMMons, Matt terl, dan troMbly, kaarin VeMbar, eMily walz, joe warMinsky, alona wartofsky, justin weber, MiChael j. west, alan zilberMan

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sOuThcOmm

chIef execuTIve offIcer: Chris ferrell chIef operATInG offIcer: blair johnson chIef fInAncIAL offIcer: bob Mahoney execuTIve vIce preSIdenT: Mark bartel GrAphIc deSIGnerS: katy barrett-alley, aMy goMoljak, abbie leali, liz loewenstein, Melanie Mays

LocAL AdverTISInG: (202) 650-6937 fAx: (202) 618-3959, ads@washingtonCitypaper.CoM FInd A stAFF dIreCtory wIth ContACt InFormAtIon At wAshIngtonCItyPAPer.Com voL. 37, no. 15 AprIL 14-20, 2017 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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RIDE OUTSIDE

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DistrictLine The Building Cure Architecture of an Asylum, an exhibit about St. Elizabeths, chronicles the rise and fall of design as medicine for the mentally ill.

It’s hard to imagine anyone dealt a worse hand than the patient identified by her doctor as “Alcoholic Woman No. 2.” Her father died in a mental hospital when she was an infant. Her mother was psychotic, “fanatically religious,” and abusive, according to a medical case study. Woman No. 2 spent most of her childhood in an orphanage. Her husband divorced her because of her drinking. She racked up 15 arrests and two suicide attempts before being committed to St. Elizabeths, the federal asylum in D.C., sometime in the mid-1900s.

This unfortunate woman was one of the many thousands of Americans to receive treatment at St. Elizabeths over its 162 years and counting as a mental hospital. These patients are ghostly presences in Architecture of an Asylum, a new exhibition at the National Building Museum.

Like the outermost figure in a Russian nesting doll, the story of this one institution holds within it a series of resonant narratives: about shifting attitudes toward mental illness; about the idea that architecture and landscape can heal the troubled; and about a part of the District that was long cut off from the rest of the city, becoming its own surprisingly complex and self-sufficient community.

Originally named the Government Hospital for the Insane, and now being turned into the U.S. Department of Homeland Security headquarters (on the west side) and a mixed-use development (on the east), St. Elizabeths opened in 1855. Dorothea Dix, an activist for the welfare of the mentally ill, advocated for its founding, and the desk at which she drafted the 1852 federal legislation that enabled the hospital is part of the exhibition. She went on to advise on the design and operations of the facility. Its architect, Thomas U. Walter, was designing the cast-iron dome for the U.S. Capitol at the same time that he was working on St. Elizabeths.

Walter had previously designed a prison and a home for orphans, in line with that era’s strong interest in using architecture as a tool

ConCrete details

for social reform. Before the advent of germ theory and modern psychiatry, experts believed the underlying causes of what made people sick or maladjusted were found in their environments. So it followed that a better environment would mold healthier citizens.

That was the philosophy of Thomas Kirkbride, a Pennsylvania doctor specializing in mental disorders. He argued that mental hospitals should all be based on the same general plan. Long wings, staggered for maximum exposure to fresh air and sunlight, would flank a central administrative building. The most severely disturbed patients would stay at the ends of the wings, farthest from the superintendent.

Walter’s central building, the first structure at St. Elizabeths, followed the Kirkbride Plan.

But the model soon fell out of favor, and subsequent patient housing on the campus took the form of cottages, thought to offer more of a home-like atmosphere. With an expansion in 1902, the buildings became statelier, reflecting “the idea that [provision for the mentally ill] is an important function of the federal government,” says Sarah Leavitt, the exhibition’s curator.

As the facilities changed, so did the regimens for treating mental ailments. Initially, the so-called “moral treatment” prevailed.

Attendants were to offer patients sympathetic care plus a daily routine with plenty of time outdoors—gazing on the pleasant vista of Washington and doing manual labor. Hydrotherapy was also standard: hot water for insomniacs, cool water to put out the fires of mania. As medical science advanced, the hospital became a research center and testing ground for new treatments, some of them controversial. Doctors performed lobotomies and administered electroshock therapy.

The racial segregation that defined the outside world was the rule on the hospital’s grounds as well. Until the 1950s, African Americans were housed in separate buildings and ate in separate dining rooms. All attendants were white until 1937, as were all doctors until 1954. White male doctors had first dibs on delivering the most promising, cuttingedge treatments, which were sometimes not offered to women and nonwhite patients until

years later.

Walls and fences surrounded the hospital to keep the patients in, but also to keep outsiders out (early on, locals would sneak in to steal produce from View of Washington from St. Elizabeths, 1955. A distant view of the the farms). downtown D.C. maintained separation between the hospital grounds St . Elizaand the bustle and stress of the city. beths was a mysterious place that most Washingtonians building could cure mental illness may seem never visited. But behind the walls, it was a like folly in the age of Prozac. But the link bebustling city-within-a-city. The photographs tween environment and health hasn’t been and artifacts in the exhibit make you marvel disproven—far from it. Recent research has at the scope of the hospital’s activities. backed up some of Kirkbride’s and Dix’s prinAt its peak, St. Elizabeths had a population ciples. Hospital patients in rooms with a view of 14,000 patients and staff on its campus of nature recover more quickly. Exercise and of 350 acres—three times the size of Vatican daylight have been shown to improve people’s City. It had its own dedicated rail spur from the moods. Where Kirkbride and his peers erred B&O line for bringing in coal. Patients wrote was in thinking that environmental conditions poems for an intra-hospital newsletter, visit- alone were enough to cure illness, not in thinked an on-site hair salon, and took part in dance ing that they mattered—because they do. therapy sessions and baseball games. The exBy the mid-20th century, America’s menhibition portrays St. Elizabeths as a real com- tal hospitals were stretched far beyond their munity and its patients as real people with lives capacity, causing conditions to deteriorate. In beyond their diagnoses.

1963, President John F. Kennedy called for One topic the show keeps fairly quiet about, the closure of large institutions, to be replaced however, is patient abuse. Allegations of abuse by some 1,500 community mental-health clinhave been lodged against St. Elizabeths’ staff ics. The first part of his plan, deinstitutionalever since the hospital opened, as one wall plac- ization, came to pass. The second part didn’t. ard notes. The fact that hundreds of patients The result: There are now three times as likely suffered at the hands of those charged many mentally ill people in jails and prisons with helping them hangs uneasily in the air. In as there are in hospitals. What have we really the 1990s, as was detailed in the press, patients learned in the past 162 years? were sometimes put in restraints for weeks and “America designed and built the greatest seclusion rooms for days, and the FBI investi- infrastructure in the history of the world for gated claims of physical abuse by staff. As re- some of the most vulnerable of its citizens,” cently as last October, City Paper reported on Leavitt says, “and then we destroyed it.” If you 632 assaults and 384 injuries in a single year at believe in the forward march of progress, Arthe facility, which is now run by the District and chitecture of an Asylum may make you reconhas dwindled to some 300 patients. sider—another reason to head to the Building Kirkbride’s belief that the right kind of Museum for this illuminating show.

CP

Courtesy U.S. National Library of Medicine

By Amanda Kolson Hurley

washingtoncitypaper.com april 14, 2017 7

DistrictLinE Power Plays

The city grants a $100 million energy contract to a company with a record of questionable expenses and performance.

By Jeffrey Anderson Lost amid coverage of the mayor’s budget proposal last week was D.C. Council’s approval of a five-year, $100 million sustainable energy contract in which Mayor Muriel Bowser’s office intervened to benefit a politically connected company that has been criticized for “deficiency” and “lack of transparency” in reporting methods.

The contract for what’s known as D.C.’s “Sustainable Energy Utility” (or SEU) was awarded to Vermont Energy Investment Corp., a nonprofit firm that has held the contract since 2011. It won over a D.C.based joint venture despite a record of questionable expenses and inflated performance ratings.

The local company, Public Performance Management, that lost the bid had applied to become what’s known as a Certified Business Enterprise, which would have earned it preference points and possibly changed the outcome of the award. But after the Department of Small and Local Business Development indicated that it would waive a filing deadline, the mayor’s office stepped in and denied the application, according to sources familiar with the matter.

Mayoral intervention in approval processes such as these is contentious and can make the difference between winning or losing a multimillion dollar award. But documents obtained through the Freedom of Information Act also point to other troubling aspects of the contract.

Loose LIPs

vermont energy, known to some D.C. officials as the Vermont Mafia, has a D.C. office managed by former Pepco vice president Ted Trabue that administers programs to reduce consumption of natural gas and electricity, increase renewable energy, reduce commercial energy demand, and grow greencollar jobs.

Trabue is an established presence in District politics, having served as president of the D.C. State Board of Education and a board member of the Chamber of Commerce and the D.C. Building Industry Association.

Sources familiar with him say he has been politically protected from one mayor to the

next. For instance, he was close to Warren Graves, chief of staff to former city administrator Allen Lew in the Vince Gray administration, which made oversight a challenge. He also co-chaired the Transportation, Environment, Sustainability and Infrastructure Committee of Bowser’s transition team—along with Tommy Wells, director of the Department of Energy & Environment.

Trabue manages roughly 50 employees, who are apparently treated well. Records show he billed the city $47,000 for coffee and catering over the last three fiscal years—which runs afoul of contracting best practices.

For the same time period, he billed more than $34,500 for meals over $100. In FY 2015, he billed the city $4,000 for a single meal at Acacia Bistro, claiming an exemption from disclosing further details.

The job requires being mobile and making connections in the right places, and Trabue takes full advantage. From FY 2014 through FY 2016, he billed more than $52,000 in travel expenses, including one “miscellaneous reimbursable expense” of $5,000 and more than $4,500 in American Express travel-re-

government and community relations consultant who has consistently billed the city $20,000 per month for years—a cost Wells considers reasonable for responding to D.C. Councilmembers’ or the business community’s questions about recruiting clients or the performance of the energy program.

But some categories should not be billed for, Wells says.

“Do not bill us for food,” he says, adding that he does not like billing for travel, either.

“It comes down to what does it take to reach the goals in the contract, and what is the government going to pay for.” then there is the issue of Vermont Energy’s performance.

Based on a review of contract documents, the company was required to achieve energy savings equal to 1 percent of overall consumption in 2011, with an incentive bonus once it reached 80 percent of that goal. But when it did not reach the goal, it simply lowered the bar to create what became known as “minimum benchmarks,” third-party audits and annual reports show. Those “benchmarks” were

Trabue manages roughly 50 employees, who are apparently treated well.

Records show he billed the city $47,000 for coffee and catering over the last three fiscal years—which runs afoul of contracting best practices. lated expenses in one month alone. Over that time, the city paid more than $60,000 for memberships that do not appear to be energy related: Chamber of Commerce, Bisnow, the Building Industry Association, and the Restaurant Association of Metropolitan Washington. It paid $5,000 to Union Kitchen in February 2015 for reasons unknown and more than $9,000 for parking in FY 2015 and FY 2016. A couple hundred dollars went for a tuxedo rental in October 2014 and $120 to a charity event. The contractor even billed for its anniversary party.

The SEU partnership team includes a

8 april 14, 2017 washingtoncitypaper.com

eventually further lowered to 50 percent of the goal for electricity savings and 22.5 percent for natural gas, documents show.

In FY 2014 and FY 2015, for instance, the contractor met less than half of its performance benchmarks for reduction in energy usage. What it met were artificial “minimum” benchmarks that were created as financial incentives, not as performance measures.

If one were to imagine letter grades for such performance, Loose Lips found that on roughly half of its performance benchmarks from 2014 to 2016, the contractor would have gotten a D or worse. Yet at a recent oversight

hearing before Ward 3 Councilmember Mary Cheh, chair of the Committee on Transportation and the Environment, Trabue claimed, without challenge, that the contractor met its benchmarks for all three of those years.

Despite such representations, others noticed the grade inflation.

The SEU Advisory Board’s 2015 annual report noted an “important observation” about Vermont Energy’s reporting of its renewable energy targets and the “minimum requirements” for natural gas and electricity savings.

“It highlights a deficiency, or lack of transparency, in the current SEU reporting method,” states the report, which calls for a “more meaningful assessment of the accomplishment of SEU’s purposes.”

Wells, the DOEE director, seems wise to the game. He says benchmarks will be evaluated over a multi-year period under the new contract and that he has asked his staff to identify any “confusion, problems, or ambiguities” needed to clear them up. “You start with the contract,” Wells says. “You don’t start with an interpretation of the contract or by looking at past performance.”

In defending the company’s performance, Trabue says that when the city set up the contract it did not analyze the cost of achieving maximum levels of energy savings. He says D.C. negotiated a change around 2013-2014 to incorporate “minimum” benchmarks. Wells, however, says any agreements outside the contract must be codified as an amendment.

Neither Wells nor Trabue could point to such an amendment.

Nevertheless, Trabue says, his D.C. program is a national leader that manages multiple programs, including hiring for green jobs, energy-saving services for small businesses, and investments in solar energy.

“There is no apples-to-apples comparison to other states,” he says. “Given the funding D.C. has today, we still don’t have enough to hit our energy goals.”

Wells disagrees. “I believe it is clear in the contract,” he says. “They have to show us what they spend, and they get reimbursement. If they reach the benchmarks, they get a bonus.”

As for why Bowser would intervene on behalf of the contractor, Cheh’s office says it has requested documents but had not received them by press time.

CP

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Gear Prudence Gear Prudence: The future is here. Delivery robots now prowl our sidewalks, and, not to sound like a total Luddite, I’m freaked out about it. Since it’s only a matter of time before I encounter one while biking, I need to know how best to handle it.

For the city cyclist, are these robots friends or foes?

—Riding On Bike, Observing The Skynet Dear ROBOTS: D.C. hasn’t been this on edge about robots since The Day the Earth Stood Still, Gort. But they’re nothing to fear. The six-wheeled delivery drones look like Coleman coolers on wheels, trundling along the sidewalk at about two miles per hour carrying whatever sustenance (read: Funyuns) your stereotypical millennial was too lazy to walk a few blocks to pick up for themself. They’re hardly a menace, but they are a novelty. And when confronting anything new on a city street, it’s best to proceed with caution. Just give it a wide berth. It doesn’t want to hurt you. Probably. And while it’s tempting to initially declare these robots foes for taking up limited space allotted to cyclists and pedestrians, widespread robot diffusion might result in fewer delivery drivers, which would be a net gain for bikekind.

—GP Gear Prudence: It’s that time of year again: The bugs are back. And despite all my best efforts, they seem hellbent on flying directly into my mouth while I’m riding my bike. I cannot stress enough how very gross this is and how much I hate it, but it’s not like I’m riding around with my mouth open and a “bugs welcome” sign hanging from my uvula. Somehow they get in there anyway. Are there any precautions I can be taking to stop this once and for all?

—I Need Some Entomological Cover Tout Suite

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Dear INSECTS: Do you really think the bug is happy with the outcome either? Sure, you had to have a gross nature thing in your mouth until you spat it out, but the insect shook loose its mortal coil in a most ignominious way. That gnat was just minding its business before you rode through and unwittingly chomped it to death, and yet you’re the one taking umbrage? Please.

Obviously, you’ve already tried all the obvious stuff (riding in a Hannibal Lecter mask, riding in a Jason mask, riding while tooting a kazoo, etc.), but no solution is entirely foolproof. You could make a concerted effort to breathe through your nose and eschew conversation. But sometimes, no matter the precaution, the happenstances of life make it such that you end up with a bug in your mouth. So rather than raging against the unfairness of it all, spit it out, finish your ride, brush your teeth, and move on with your life. —GP Gear Prudence is Brian McEntee, who writes @sharrowsdc. Got a question about bicycling?

Email gearprudence@washcp.com. washingtoncitypaper.com april 14, 2017 11

PeeP HoPe Alive Because dioramas drive away darkness, we present our inaugural Peeps contest winners.

Photographs by Darrow Montgomery When the Post announced in March that it would discontinue its annual Peeps diorama contest after 10 years, readers began crying marshmallow rivers. And we knew what we had to do—to give the peeple what they want and take up the contest. Though the Post cited declining submissions as one of the factors for ceasing the popular feature, we received a healthy haul. Ultimately, we selected the top three and six finalists, which are ranked in order here and now on view at National Harbor, our contest partner. Determining which dioramas were most worthy for 12 april 14, 2017 washingtoncitypaper.com

readers to view in these pages wasn’t as difficult as real journalism, but it was certainly more internally divisive. There were intense shouting matches, ranked voting, multiple viewings, art history discussions, and a few allusions to just who does, and doesn’t, have a BFA. There was even a photo-shoot mishap—involving a falling temporary framing wall—that nearly destroyed one of the Kusama entries. Many thanks to all who participated. We hope to see you again next year. Now, our winners.

—Liz Garrigan

“The Peeple v. O.J. Simpson”

By Larisa Baste No true crime event recaptured the pop cultural zeitgeist in 2016 more than the O.J. Simpson trial. Between the seven-and-a-half-hour Oscar-winning documentary O.J.: Made in America and the Emmy-winning FX miniseries The People v. O. J. Simpson: American Crime Story, it seemed all people could talk about was the O.J. Simpson trial … again. So it’s fitting that the winner of our first annual Peeps diorama contest is Larisa Baste’s exquisitely detailed rendering of the infamous courtroom saga, made entirely of Peeps. Baste, who entered a Peeps diorama based on the film Gravity three years ago, says it took her “66-plus hours” to make her “The Peeple v. O.J. Simpson” diorama. “It kind of got out of control, watching all the O.J. documentaries” in order to get the character details just right, Baste says. (Just look at the accuracy of the glasses and mustache on the Fred Goldman Peep!). Well, it paid off.

1

2

“Peep Show: All the Eternal Love I Have for the Peeps”

By Jeremy Mark, Kate Blizinsky, Ariel O’Connor Yayoi Kusama’s current exhibition at the Hirshhorn Museum and Sculpture Garden is easily the museum’s most popular exhibition in years, perhaps ever. So it’s no surprise that City Paper received a lot of Kusama-themed Peeps diorama entries. Many of them were great, but none compared to the incredible detail of Jeremy Mark, Kate Blizinsky, and Ariel O’Connor’s “Peep Show: All the Eternal Love I Have for the Peeps.” Complete with actual mirrors and lights to replicate Kusama’s “infinity mirror” effect, Mark, Blizinsky, and O’Connor’s diorama—the first they’ve made—took them about 20 hours over a couple of weeks to make.

But their biggest challenge? Getting in to see the actual exhibit, much like the rest of us. Mark says it took them a bit to get tickets, but once they did, they thought it “would be great as a Peeps diorama.”

washingtoncitypaper.com april 14, 2017 13

3 “Peep Haring as Photographed

by Annie Peepovitz”

By Kathleen Canedo We here at City Paper are art nerds, so we instantly recognized—and were delighted by—Kathleen Canedo’s rendering of photographer Annie Leibovitz’s iconic portrait of artist Keith Haring. Everything about Canedo’s diorama, from the primitive black-and-white set design and line painting on Haring—in his signature style—to the depiction of Annie Peepovitz behind the camera is accurate and painstakingly detailed. It might seem irrelevant—considering a majority of the entries this year went to great lengths to allude to the current political and/or cultural moment—but it taps into such a classic American image.

What Canedo loves about the Peeps contest is not unlike Haring’s artistic sensibilities: “It’s accessible art,” she says.

“Bob Ross’ Happy Little Peeps”

By Carol Lee, Anna Mayer, and Nadja Cherbubet This entry inspired vigorous debate among City Paper staffers. It had several fanatical loyalists and a few equally impassioned detractors, the latter of whom felt the execution was too simplistic. Created by three Poolesville High School students, the entry was an assignment for an art history class. “I painted the Bob Ross art by following an actual Bob Ross tutorial,” says Carol Lee, one of the students. Among the criticisms from staffers who weren’t thrilled by the entry was that there weren’t very many Peeps used for the diorama.

But it turns out that the photo the trio submitted simply didn’t reveal them all.

“There are also three Peeps in the box,” Lee says. “Those are meant to represent some of the animals he brings in during his episodes. On the top of the piece, the bunny ears poking out are from a decapitated Peep. The dials on the TV are also painted Peeps.”

14 april 14, 2017 washingtoncitypaper.com

4

5 “Junior High Peep-Over 1972”

By Tyna Gaylor and Maja Lee Sisters Tyna Gaylor and Maja Lee made their diorama early, in anticipation of the annual Post contest. “We had this thing done and were going, ‘Well it looks like we have a really fun Easter centerpiece,’” Gaylor recalls of when the pair believed the contest was dead. City Paper is delighted that the world is able to see this diorama, inspired by 1970s sleepovers.

At 1:30 a.m., mom and dad Peeps come down to the basement to check on the group of girls with their sleeping bags, game of Twister, Ouija board, and The Twilight Zone on TV. Gaylor and Lee, who aren’t big crafters, may have discovered a talent they didn’t realize they had. “I’m a little bit crafty, but I’m an accountant,” Gaylor says.

6 “Multiple Peep-spectives of Inauguration Weekend”

By Leonard Bailey Forced perspective gives this diorama by attorney Leonard Bailey the illusion of depth, looking out over two crowds.

On the left, Peeps of many colors gather for the Women’s March. On the right, yellow Peeps in red caps listen to President Trump’s inaugural address. Behind the first row or two of marshmallow Peeps are many more Peeps, which Bailey photographed and printed out in smaller-than-life sizes to create the sense of depth. Bailey has been a runner-up for the Post diorama contest before, with 2011’s “Inpeeption,” a take on the film Inception. He was glad to see the contest endure. “People in Washington take themselves so seriously,” he says.

washingtoncitypaper.com april 14, 2017 15

7 “Through the Peep Hole: Infinity Peeps”

By Lauren Leadmon and Rachel Link Yayoi Kusama’s Infinity Mirrors exhibit inspired so many dioramas, the Hirshhorn could’ve held its own Peeps contest.

This was another of our favorites. Glowing pink LED lights illuminate the mirrored interior, visible through a hole in the box. The exterior is a tribute to the exhibit’s “Obliteration Room,” a white room filled with Ikea furniture that the public gets to cover in colorful, round stickers. Leadmon bought the white box for the diorama at Ikea, and, as with the exhibit, viewers can stick colorful circles on the outside.

8 “Infinity Peeps: All The Eternal Love I Have for Peepkins”

By Ashley Casper and Chad Bartlett The detail in this entry, submitted by a former semi-finalist for the Post’s Peeps diorama contest (last year’s depiction of Capitol Hill sledding), is stunning. “Unfortunately, one Peep got a little too close to the exhibit, breaking one of the glowing peepkins,” the creators wrote in their submission, referring of course to the February news that someone trying to take a selfie at the Infinity Mirrors exhibition broke one of the Kusama pumpkins. “Not to worry, our trained Peep medics are repairing it now,” they continue. Ashley Casper and Chad Bartlett estimate that they spent 60 hours on the diorama. “Most of Chad’s hours were spent using a drill to hollow out all of the peepkins for the LED lights,” says Casper, who painstakingly crafted Peep-sized clothing and Starbucks cups. Their diorama includes a tiny City Paper with itty-bitty headlines and even a cover selfie of them standing in the room they re-created, their “autograph” of sorts on the piece.

9 “It Looked Like a Million, a Million and a Half Peeps”

By Eleanor Tilghman The genius of this entry is its simplicity. One look, and it’s clear that it represents a contrast between the anemic inauguration turnout for Donald Trump versus the hordes for Barack Obama. It too was the subject of much disagreement inside the City Paper offices. “But they ran out of Peeps and started cutting them in half to make more!” one spirited critic said just before we launched our voting. In fact, Tilghman says, “I had tons of Peeps, but I was trying to create perspective.” So that didn’t work out so well, but it was still worthy enough to become a finalist.

16 april 14, 2017 washingtoncitypaper.com

washingtoncitypaper.com april 14, 2017 17

D.C.’s awesomest events calendar. washingtoncitypaper.com

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017

April 6, 2

s: Customer ’s h h a A tion hh’s & t appreciaAahh’s s Dear Oo e p e e d y ress m h’s & r is to exspponsible for Oohul Food e t t le is h T est So f you re indeed to those ioo n as one of the “Bgton, DC. I amd from distinct rants” in Washinutstanding awar Restau to receive this o honored y Paper. eatly d staff grthe awesome n The Cit a t n e m e r s fo anag Aahh’s mand loyal customeartering services. t & ’s h h o c w O our ne nt and would no appreciategiven our restauraOU, our success support w that without Y We kno le. be possib Sincerelyb, ott (Chef “O”) Oji Ab rateur Restau

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Secret Service

D.C. restaurants are using mystery shoppers like you to enhance their game.

By Laura Hayes It turns out there is such thing as a free lunch. All you have to do is use your iPhone to time how long it takes for a server to deliver an appetizer. Or carefully observe a bartender to see if he is pouring free drinks. It’s all in a day’s work for a mystery shopper—someone hired to secretly measure quality of service, compliance with regulations, and more.

Perhaps, like me, the last time you heard of mystery or secret shoppers was in the 1990s, but the industry is apparently still thriving.

The Mystery Shoppers Providers Association Americas (MSPA) values the industry at $1.5 billion and estimates that there are 1.5 million mystery shoppers across diverse industries worldwide.

District resident Matt Stern is one of them. He’s been a mystery shopper for about 20 different companies, but he recently signed on with D.C.-based Blink Research, which debuted in July 2016. “It’s fun,” Stern says. “I get free meals. It’s like being a spy in D.C.—no one knows what you’re doing. You feel like you’re doing something wrong, but it’s right.”

Blink Research is a one-man shop headed by founder Marc Ciagne, a Washingtonian for 25 years whose earliest jobs were in the restaurant industry, including stops at La Tomate in Dupont Circle and the long-gone American Café in Georgetown. He went on to work for AOL and Consumer’s Checkbook before moving to Person to Person Quality based in Northern Virginia.

There, Ciagne grew the mystery shopping side of the business for 12 years as managing director. In June 2016 he decided to strike out on his own and focus on his passion— restaurants. So far, Ciagne has worked with eight food clients with a combined 37 locations, most in greater Washington. He’s also amassed a database of 1,700 mystery shoppers, including 500 in the immediate area, and 195 people have completed “shops.”

Restaurants hire Blink Research, agreeing to pay between $50 and $75 per mystery shopper evaluation, plus meal reimbursement, the latter of which is the primary com-

Young & hungrY

pensation for the mystery shopper. “Basically you’re getting a free meal,” Ciagne explains.

“You’re not earning money that will go into your savings account.”

Mystery shoppers are considered independent contractors, and the Blink Research website states that the company is only obligated to send a 1099 tax form if a mystery shopper earns more than $600 in a year. It’s rare for shoppers to reach that threshold because reimbursements for expenses or mileage don’t count towards those earnings.

“Rent is expensive, so if you can save on food and still enjoy the attraction of living here in D.C., it’s a win-win-win situation,” Ciagne says. “The restaurant gets really detailed honest feedback they can use to improve their business. The mystery shopper gets not only their meal or drinks reimbursed, but they’re helping a local business in their community, which should in turn help the whole D.C. economy.”

Blink Research is very intentional about its shopper outreach. “I try to bring in young, well-educated customers,” Ciagne says. His strategies include targeting Facebook advertisements to college graduates between the ages of 21 and 35. “I’m really impressed with who has signed up,” he says, adding that he requests to connect with mystery shoppers on LinkedIn to learn about their backgrounds.

“It’s fun to go through and see this person works for this non-profit, this one’s a teacher, one of them was a judge.”

The MSPA, however, recommends including demographically diverse shoppers, which means considering gender, socio-economics, employment status, and ethnicity. Many Blink Research clients are in the fast-casual sector, as opposed to fine dining, meaning they have many diners who aren’t college graduates.

“They’re not excluded from registering,” Ciagne says. “They’ll have the same access to an assignment as everyone else, but at the end of the day, a well-written report with lots of details will be a lot more useful to my clients than one that’s poorly done.”

There are several different kinds of “shops,” and some involve more writing than others. An alcohol compliance assignment, for example, simply asks shoppers between washingtoncitypaper.com april 14, 2017 19

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the ages of 21 and 28 to order a drink at the bar and note whether the bartender checks identification.

Others are more involved, combining yesor-no questions about whether a server’s appearance was neat and clean or whether a hostess made eye contact with more subjective questions that ask for 250 words or more on elements like ambiance.

Then there are tasks that aren’t so straightforward. Some clients want mystery shoppers to catch bartenders giving away drinks or drinking on the job. “One way to make extra money as a bartender is to give away free drinks and collect more money in tips,” Ciagne says. So a mystery shopper will visit several times to “groom” a bartender to see if he’ll eventually toss her a gratis gimlet.

Ciagne admits he gets uncomfortable when a client asks mystery shoppers to set someone up. After all, mystery shopping should be used for employee incentive programs, not as a punishing tool for firing staff, according to MSPA ethics.

“A lot of people have the misconception that the primary objective is some sort of policing function when really a big part of it is finding people who are doing things right, even when management isn’t looking over their shoulder,” Ciagne says.

That’s precisely how TaKorean, a Blink Research client that spends about $800 a month on mystery shops, uses its feedback.

“We want to use mystery shoppers to develop store leaders and everyone else,” says founder & CEO Mike Lenard. “It’s tied to our profit-sharing program—we have bonus programs in place all the way to hourly-level folks.”

TaKorean also uses mystery shoppers to ensure that staff members relay what differentiates it from more traditional taco shops.

“In a fast casual, we’re not going to have a person who can describe a dish like you do sitting down at Kinship,” Lenard says. But he expects them to know that their salsa includes Korean gochujang (fermented chili paste).

Recognizing talent and rewarding it is critical as local restaurants face a major talent shortage and heavy turnover. Five hundred new restaurants opened in the District over the past two years, according to the Restaurant Association of Metropolitan Washington, so water-cooler gossip in kitchens across town is all about how difficult it is to find and keep staff.

“Mystery shopping can help with that too,” Ciagne says. “You want to identify who those people are, you want to keep them, reward them, and get them into management training programs if you’re trying to expand.”

Indeed, restaurants like TaKorean looking to open new locations are ideal Blink Research clients, according to Ciagne. “You want to take that awesome customer experience at your first location that made you

successful … and recreate that over and over again, and you don’t do that by winging it.”

You do it by codifying what builds customer loyalty and retention. And doing that often requires taking a step back.

“One of the risks of running your own restaurant and being so close to the action day after day is you don’t have that bird’s-eye view,” Ciagne explains. Mystery shoppers combat myopia by offering fresh eyes that are emotionally detached from the restaurant. “Shoppers will notice things right in plain sight that owners and managers haven’t.”

To better understand the mystery shopper experience, I registered with Blink Research and accepted an assignment to have lunch at a full-service restaurant in Southeast D.C.— but not before I pinged Matt Stern and another Blink mystery shopper who preferred to remain anonymous for tricks of the trade.

Stern tipped me off to mobile apps like “Shop It” to help record data when dining, while the anonymous Blink Research shopper advised me to carefully read all the questions before arriving at the restaurant so they’d be top of mind. “And take notes on your iPhone so it doesn’t look like you’re filling out a survey,” she adds. Stern had some final words of assurance. “It’s easy, like writing a story about your dinner—if something went wrong, it’s easy to remember.”

Off I went with 93 questions to tackle and a reimbursable lunch budget of $40 plus a $5 token fee for parking. It wasn’t so different from writing restaurant reviews except that it was far more exacting. How long did it take before a server greeted you? Sixteen seconds, according to my stopwatch. How soon were your drinks served after ordering them? Just a few minutes.

Stuffed and back at my computer, it took me 35 minutes to answer the questions, including several where I was required to scribble at least 250 words of subjective prose about the meal. So did the amount of work feel like a fair exchange for a free meal?

Not quite. While this particular shop reimburses up to $40, it’s almost impossible to stay under budget and answer all the questions. How was I to evaluate how much time had passed between appetizers and entrees without ordering an appetizer? How was I to check if I would be carded when ordering alcohol without making a boozy purchase? The total bill for two salads, an order of bread, and two glasses of wine came close to $100.

Ciagne calls restaurant mystery shopping “the ultimate side gig,” even equating it to driving for Uber. It’s a message that should resonate in a city full of side-hustlers. But the truth is, mystery shopping is more like a fun hobby than a side job.

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

DCFEED Grazer

what we ate this week: Smokey asparagus with marinated chorizo, egg yolk, and chile emulsion, $15, Arroz.

Satisfaction level: 4 out of 5. what we’ll eat next week: arancini bolognese with peas, parmesan, basil pesto, and ricotta salata, $8, Rosario.

Excitement level: 4 out of 5.

Crowding The Plate

What’s in

Stein’s Stein

Let’s be honest: If you only go to one baseball game this season, your lone meal should be a hot dog in a foil wrapper paired with a cold domestic pilsner in a plastic cup. Tradition and history demand it. But if you frequent Nats Park and want to eat something that’s actually good, here’s a power ranking (factoring in quality and price) of the stadium’s wide range of concessions, including new additions and old favorites. (1 = the best.)

—Matt Terl

6.

The DMV, Grand Slam Grill + Others

Every ballpark needs an over-thetop, Guy-Fieri-ready treat, and this is ours. The components pay tribute to D.C., Maryland, and Virginia: a footlong D.C. half-smoke topped with Maryland crab cheese and Virginia ham.

Though somewhat diminished by the crab cheese, this is a pretty good novelty food.

5.

Commonwealth Biscuit, Virginia Country Kitchen

This is chicken fried steak on a slightly dry biscuit with cheddar cheese and half-smoke gravy. Though not an obvious outdoors-on-a-hotsummer-day food, this hand-held rendition of the diner standby is better than it has any right to be.

4.

Bourbon & Cinnamon Babka Push Pops, On Rye

The babka ice cream sandwiches at On Rye didn’t do it for me, but their new, more portable siblings are great.

There are many ways to get ice cream at Nats Park, but this is the best by a wide margin.

Suck it, Dippin’ Dots.

Extra points for non-sticky hands.

3.

2.

Chesapeake Bay Tots, See. You. Tater.

Potato Knish, Kosher Grill

This year’s big stadium food innovation is buckets of gussied-up tater tots with toppings ranging from the quotidian (pulled pork with mac and cheese also known as totchos) to the unexpected (pork belly, spicy cucumber, kimchi slaw, and sriracha aioli).

They’re decent in a hangover-food-before-you-get-to-thehangover way, but the Chesapeake Bay ones are the standout.

Knishes, especially with yellow mustard, are an underrated baseball food, landing somewhere in the middle of french fries, a soft pretzel, and an actual baseball. They’re filling, handheld, good for vegetarians, and go great with beer such as 3 Stars saison, available at the ballpark.

1.

Dumplings, Pinch

Beer: Denizens Brewing Co. Macadocious Maibock A set of six dumplings is an unexpectedly good baseball-watching snack. They’re lightly fried but still pliable and come with a vinegary dipping sauce. There are three flavors, including a vegetarian option, but the onion-heavy beef one is the best.

Dumplings reveal themselves as the can’t-eat-just-one snack food they were always meant to be and allow for mindless eating while watching the action on the field.

HangoverHelper The Dish: Duck Muffin at Hazel Where to Get It: Sunday brunch menu at Hazel, 808 V St. NW Price: $10 What It Is: Late last year, Hazel Chef Rob Rubba rolled out a “Dim Sunday” brunch menu, featuring several dimsum-like dishes with quirky twists. One of the early favorites is the duck muffin—a savory breakfast sandwich that comes topped with a duck patty, baked egg, and spicy mayo spiked with the restaurant’s housemade hot sauce called Fire Panda.

How it Tastes: There’s a sweet and spicy burst of flavor in each bite, and the sandwich oozes Fire Panda. Luckily, there’s a baked egg and English muffin toast to soak up all the juice. Biting into a Duck Muffin might remind you of something you could order at the drive-thru win-

dow at McDonald’s, but don’t be fooled: This sandwich is above and beyond anything that the Golden Arches could ever offer. The duck meat is succulent and rich with spices, and the baked egg is airy and pillowy soft.

Why It Helps: Order this breakfast sandwich the next time you’ve got a serious case of the spins. The duck muffin is enough to TKO even the worst weekend hangover. Rubba created the sandwich shortly after the restaurant first opened. It was his cure for a long night working the cook line. Each Sunday, he’s back in the kitchen, but this time it’s to heal your hangover.

“The duck sausage itself has Szechuan and gochugaru [red chili flakes] spices in it, so that wakes you up,” Rubba says.

“And a rich baked egg and English muffin have all those nooks and crannies to soak up the night’s libations.”

—Tim Ebner

Maker: Julie Verratti Hometown: Silver Spring, Maryland Price: $11.99 per 4-pack Taste: Golden in color and crystal clear, Macadocious looks deceiving. Because it tastes lighter than 7.1 percent ABV, it’s easy to sink a liter. A nose of white grape melds well with fruity hop-aromas. The first sip is sweet—think boozy Concord grapes—while the finish is crisp with a subtle bitterness from German Huell Melon hops. It’s perfect for biergarten season but respect the suds—sip don’t slam.

Story: “As a diverse ownership team, we really try to approach intelligently how we convey our brand,” maker Julie Verratti says. Her compatriots in the industry have characterized her as a “powerful woman,” but she doesn’t feel that way. “I see myself as someone who is driven and opinionated. Put it that way.”

Verratti praises her co-founder Jeff Ramirez, director of brewing. “Jeff works his ass off in the brewery all the time and is constantly reading brewing articles, talking to other brewers. He’s always trying to better his skills.”

And While Verratti has become the face of the company, she credits her wife Emily Bruno, director of operations, for the company’s success. “Emily really is the crux of the business. If she didn’t do all that she did for the company, we wouldn’t exist.”

Verratti is hopeful the beer industry, traditionally dominated by white men, will continue to diversify. “I think this area is a little bit more diverse than most of the country.”

Where to find it: Glen’s Garden Market, 2001 S. St. NW; (202) 588-5698; glensgardenmarket.com —Michael Stein

washingtoncitypaper.com april 14, 2017 21

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Drawn Together

Two night-and-day different artists put on uncurated solo exhibits that focus on drawing—and longing. and dozens of reclining nudes George Condo: The Way I Think At The Phillips Collection to June 25

Roni Horn

At Glenstone to Jan. 2018

By Kriston Capps GeorGe Condo arrived a generation too late. He belongs to the immortal class of New York artists who revitalized painting in the early 1980s—artists such as Basquiat, Keith Haring, and Elizabeth Murray—back when painting (and the city itself) was going through dark days. But Condo is closer in kind to the mid-century painters who seemed to exhaust all the possibilities of modernism.

The Way I Think, a comprehensive show of Condo’s drawings on view at the Phillips Collection, underscores that elemental truth about the artist. He is deeply invested in Picasso, and specifically, in the painterly one-upmanship in which Picasso engaged with his friendly rivals, Georges Braque and Henri Matisse. His drawings are studied and formal, rarely sketches or doodles, and they reveal a mind working out a problem. The Phillips shows how the methodical madness of Condo’s portraiture developed over time by showing just about everything that happened along the way.

It’s one of the oddest shows that the Phillips has ever mounted: Instead of a curator pouring over Condo’s drawings to draw out a theme or chronological grouping, the museum instead invited him to simply showcase his drawings.

So the show—which occupies just three galleries, or maybe two-and-a-half—is chockablock with drawings in all manner of media. The presentation reveals Condo as a diarist and maybe an obsessive, although any artist might come across that way if a museum simply opened up its archives for inspection.

At the Phillips, his drawings are hung salon style. Willy-nilly might be more accurate. There are about 150 pieces in all, covering more than 50 years of production, from a series of dinosaur drawings from 1965 to a drawing from earlier this year (“Constellation 2”). A religious study, “Crucifixion” (1962), is probably his first artwork. And there’s hundreds more at the museum in the form of sketchbooks—stacks and stacks of them laid out on a table under glass.

There are individual standouts among the frames hugging the walls, among them “Wile E. Coyote” and “Foghorn Leghorn” (both 2009), from a series of Looney Tunes drawings that look like eroded wheatpaste posters. They’re a pop art departure for an artist otherwise focused on the figure. Although these drawings do look sinister—which links them to dozens

GALLERIES

and odalisques and other forms of women.

Condo’s signature is a sort of Cubist snarl, a way of scrunching the features of a subject’s face into tightly grouped geometric parts. One untitled pastel from 2013 is an abstract amalgamation of eyes and ears. His faces are locked in cries of anguished passion, as if he’d caught his subjects fucking or dying or bursting into tears. Condo shares the twisted sense of humor of Philip Guston, who painted squat Ku Klux Klan figures smoking cigarettes and painting still-lifes.

But Condo’s strategic, relentless, almost competitive approach to the figure and face is pure Picasso. (So are the protests that viewers may raise about works such as “The Discarded Human” (2013), an ink and charcoal drawing of a nude woman in fishnets, her body twisted impossibly, her face frozen in slack smile, her head almost completely dislodged from her body.)

It may be Condo’s relentlessness that draws out a certain instinct in curators. The New Museum, in its 2011 retrospective of the artist, also hung a suite of his paintings, salon-style. It works for the Phillips in the main-floor galleries, the paired rooms where most of his smaller drawings are on view. But an upstairs collection of larger format pieces fails.

These are drawings that look like paintings, and they need more room to breathe.

The sketchbooks and journals really do offer a glimpse into how Condo thinks. One notebook is open to a letter, dated 1983, in which he despairs over how badly he needed the $50 check that just found him. There are crude calculations of rents, debts, costs for supplies, the kind that everyone jots down when they’re feeling productive (or worried). One page with a note, dated August 27, no year given, 4:30 p.m.: “I felt better than I have ever felt in my life.”

Who can say that? A day in Richmond last summer stands out for me, but declaring one day, going all the way back? Sketchbooks are a ledger for tracing a life. Condo’s ledger is complete

“Untitled” by George Condo (2013) and profoundly focused. Perhaps he knows for certain. “ant Farm,” roni Horn’s 1974 thesis for the Rhode Island School of Art and Design, is one of the craftiest drawings in contemporary art. The title gives it away: It’s an ant farm, 70 inches wide and nearly four feet tall—an organic, evolving drawing conducted in soil by tiny machines. The piece is mesmerizing.

So is “Pink Tons” (2008–2011), a four-foot cube of solid cast glass. The frosted sides of the cube get their rough-shorn appearance from the casting process; the top, though, is smooth and transparent, a liquid surface. Peering in over the sides is dizzying, the way the mass refracts light.

“Pink Tons” and “Ant Farm” work like stop signs in Roni Horn, a taut survey of the artist’s wry work on view at Glenstone. They demand that viewers stop and pay attention.

Glenstone works that way, too: The region’s most exclusive museum features massive steel curtains by Richard Serra and washingtoncitypaper.com april 14, 2017 23

CPArts a colossal flowering bust by Jeff Koons. But Horn’s survey, which the artist assembled herself, offers deep quiet amid all the greatest hits.

The standouts in the show are a series of drawings from the last few years titled “Or” and “Else.” Horn begins these pieces as two separate drawings, which she refers to as “plates.” The artist takes these plates and cuts them into ribbons, which she then reassembles as one. The resulting drawings look like shredded paper carefully but incorrectly reconstructed. Over these fractured forms, she scribbles words, free-associating as she builds the piece.

Wordplay is important to Horn; her work is a reader’s delight. The Glenstone show includes several of the artist’s “White Dickinson” sculptures, aluminum and cast plastic poles onto which she’s inscribed snippets of text in bold lettering, for example, “White Dickinson I THINK OF YOUR FOREST AND SEA AS A FAR OFF SHERBET” (2006). For “Still Water (The River Thames, for Example)” (1999), Horn took photos of the Thames and annotated them. Numbered points along the river indicate footnotes, which point to erratic anecdotes or poetic fragments.

Horn’s textuality is most intimate in her “Or” and “Else” drawings. The process of drawing these forms (which start as simple geometric bands of color), disassembling and stitching them back together, takes time, and her marginalia on these drawings change as she works from one end of the picture plane

too: “a.k.a.” (2008–2009), pictures of the artist from different stages of her life, almost like found art. But as self-portraits, the drawings work even better. Horn made difficult work for herself not to finish a form, but to draw out time, to put down feelings and ideas without thinking—to sketch. These drawings slow down the clock.

Roni Horn might have benefited from a curator.

There are some nonsequiturs, like a series of blurry portraits of clowns, and there may be too much work all told, especially in one gallery filled with the artist’s paintings of words. Binaries are critical to the artist’s work, and there’s a tighter show to suss out in her use of paired texts and photographs.

Glenstone is a museum built for big, over-thetop experiences. It looks like it was custom built “a.k.a” by Roni Horn (2008) specifically for Roni Horn, a jewelbox designed to showcase works like “Gold Field” (1982/2003), a sheet of crinkled annealed pure gold installed on to the other. Most of them take the form of wordplay, words the floor. The wow factor is easy to come by at Glenstone that rhyme or sound alike, repeating words like “dream” and and in Horn’s works. Finding time is harder. Horn’s drawings “roam” and “scum” in pairs: “dream—dream,” “roam—roam,” give viewers a precious opportunity: to slow things down, to “scum—scum.” Sometimes they are artists’ names: “Holiday,” think things over, to dwell. That’s an experience that is hard “Ella,” “Etta James.” And a lot more is nonsense, mere figures to forget.

CP and letters.

A friend observed that these cryptic drawings were self-por- 1600 21st St. NW. $10-$12. (202) 387-2151. Phillipscollection.org. traits, maps of whatever the artist was doing as she made painstaking work. Horn’s show includes photographic self-portraits, 12002 Glen Road, Potomac. Free. (301) 983-5001. glenstone.org.

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A swan song for Glen Echo Photoworks’ Mirror to the World annual exhibition. washingtoncitypaper.com/arts

National Portrait Mausoleum

In Memoriam is one of the darker art spots in the city. An unassuming first-floor alcove at the National Portrait Gallery, the space is dedicated to portraits of leaders and celebrities whose obituaries have recently made headlines. Since 2009, when the Portrait Gallery dug up a portrait of Michael Jackson by Andy Warhol to mark the death of the King of Pop, the museum has cycled 20 different portraits through the In Memoriam space—a reminder that life is fleeting and all your heroes are donezo.

Through the first week of April, a 1978 collage of Chuck Berry by Red Grooms graced the In Memoriam space. Last Thursday, Johnny B. Goode made way for Ella Fitzgerald, who was born

Ted Kennedy

by Andy Warhol

Screenprinted with diamond dust, Warhol’s portrait of the Lion of the Senate is one of the more sober portraits of power the artist ever made.

Kennedy commissioned the painting in 1980, in advance of his (failed) insurgent presidential campaign against President Jimmy Carter. Not pictured: Mary Jo Kopechne.

100 years ago on April 25. The portrait, a late 1940s photo by William Gottlieb, captures Fitzgerald mid-performance, flanked by Ray Brown and Milt Jackson, with an adoring Dizzy Gillespie looking on. The photo will hang in In Memoriam through May 14, after which Death’s next acquisition will be installed.

Because it’s the Portrait Gallery, the space inevitably feels like a celebration of life, or rather of celebrity. Here are some of the better (and weirder) pictures to rotate through the National Portrait Mausoleum, the District’s perpetually cheery destination for images of death. —Kriston Capps

Nancy Reagan

by Aaron Shikler As a presidential portrait artist, Shikler made famous images of John F. Kennedy and Ronald Reagan. When his portrait of Jacqueline O. Kennedy drew criticism as ghostly, he defended his work, saying “it certainly stands out among all those God-forsaken postagestamp portraits hanging in the White House.” His painting of Nancy Reagan was rather more straightforward but still striking.

Muhammad Ali

by Yousuf Karsh J.D. Salinger

by Robert Vickrey

A magical realist painter who favored old-school egg tempera, Vickrey painted this gouache-andink portrait of the reclusive author for the cover of Time in 1961, upon the publication of Franny & Zooey.

The magazine donated this portrait and several others that have graced the In Memoriam series.

The portrait artist is responsible for some of the bestknown portraits of the bestknown people of the 20th century, including Winston Churchill, Martin Luther King Jr., Mother Theresa, Audrey Hepburn, and Albert Einstein. His portrait of Muhammad Ali is bossy and sarcastic, as iconic as the man himself.

washingtoncitypaper.com april 14, 2017 25

TheaTerCurtain Calls Ragtime

Sign of the time Ragtime

Book by Terrence McNally, music by Stephen Flaherty, lyrics by Lynn Ahrens Based on the novel by E.L. Doctorow Directed by Peter Flynn At Ford’s Theatre to May 10 To The casual theater observer, it would seem that we only started applying the lessons in historical musicals to contemporary life when Hamilton entered the cultural zeitgeist. And while Lin-Manuel Miranda’s magnum opus has certainly drawn in new listeners, the truth is that composers, from Stephen Sondheim in Pacific Overtures to Alain Boublil and Claude-Michel Schönberg in Les Miserables, have used past events to explain current ones for decades. In the trying times we currently live in, no musical does this better than Ragtime, adapted from the E.L. Doctorow novel of the same name by book writer Terrence McNally, composer Stephen Flaherty, and lyricist Lynn Ahrens.

In a new production at Ford’s Theatre directed by Peter Flynn, this story of three communities intersecting outside New York City in the early 1900s fills Washington’s most historic stage with a sense of yearning for a better tomorrow amid a stormy present. A wealthy white family, referred to simply as Mother, Father, Younger Brother, and Little Boy, takes in a black washwoman, Sarah, after she gives birth.

Sarah’s fiancé, Coalhouse Walker Jr., makes his living as a piano player in Harlem and buys a Model T Ford, only to see it destroyed by bigots and, along with it, his entire worldview.

Meanwhile, Tateh and his daughter—immigrants from Eastern Europe—struggle to find their place in their new nation. Real figures like illusionist Harry Houdini, socialite Evelyn Nesbit, and educator Booker T. Washington also appear, interacting with the characters over the course of the show. Amid polit-

Midwestern Gothic

ical and personal turmoil, each group takes on a different battle for justice: Mother for women’s rights, Coalhouse for racial equality, and Tateh for immigrants’ rights.

Flynn’s best decision in this production is in his casting: He hired four of the region’s best vocalists, equipped with the dramatic skills to fully embody the empathetic characters, to lead his cast. Nova Y. Payton, who’s already proven her vocal chops to local audiences in productions of Dreamgirls, and Caroline, Or Change, shocks audiences into silence with her powerful performance as Sarah. While serenading the child she almost abandoned in “Your Daddy’s Eyes” and “Wheels of a Dream”—songs with very different messages—she tells him of her worries and her hopes, which echo in the minds of contemporary audiences after she meets her tragic end.

As Mother, Tracy Lynn Olivera brings some humor to the woman at the center of the show, struggling to adapt to the constant changes in her life, as does Jonathan Atkinson as Tateh, who is so determined to escape his past that he invents a new identity for himself when he begins to work in film production.

In the role of Coalhouse, however, Kevin McAlister does all that and more. Over the course of the show’s two hours and forty-five minutes, he conveys emotions from the highs of love to the lows of profound grief while hitting every note and anchoring the production during a second act plot twist in which the traditional narrative drama turns into a hostage crisis.

It’s fitting that McAlister sings the show’s final solo because the story he conveys, one of a successful black man brought down by societal forces that won’t acknowledge anything about him beyond the color of his skin, remains the most relevant a century later. As he implores his followers to “make them hear you,” he pushes the message through the fourth wall and demands that the audience do the same.

With an audience made up of regular theatergoers and children in town on class trips, Ragtime, a show that celebrates the commonalities of humanity, appeals equally to both groups. Keeping Doctorow’s happy, albeit

26 april 14, 2017 washingtoncitypaper.com

unrealistic ending gives the audience a sense of closure to the story, but with one slight costume change, the final image of Flynn’s production reminds viewers that the issues the play uncovers have yet to be fully resolved.

It’s these moments of connection, emphasized in the book by Terrence McNally—the kind of playwright who will have you cheering one moment and sobbing the next—that makes Ragtime such a good fit for Ford’s.

—Caroline Jones 511 10th St. NW. $18-$71. (202) 347-4833. fords.org.

make america Sing again Midwestern Gothic

By Royce Vavrek & Josh Schmidt Directed by Matthew Gardiner At Signature Theatre to April 30 ever since a crass reality show billionaire became president of the United States, there’s been deep analysis of the bubbles in which many Americans live. There’s the liberal elitist bubble—those supposedly over-educated, outof-touch lefties who were shocked out of their latte-sipping minds every time Donald Trump made another step toward the highest office in the country and were downright gob-smacked when he won. You also have the Rust Belt bubble, whose white, working-class economic-anxiety sufferers wanted Trump to bring coal jobs back and make America great again.

But as time passes, the whole concept of bubbles feels a little too easy. They’re surface-level snark used as an unsuccessful tactic to move any conversation about a divided America forward. Most people are too complicated and multifaceted to be boxed in.

That said, if there is such a thing as a musical theater bubble, a world of the stage in which only high-minded stories are performed, then the premiere of Midwestern Gothic, stands outside it. Here we have disenfranchised

folks in flannels and cutoffs singing about heartache, lust, escape, and revenge, while the blue light of a blaring television set backs them up.

Stina (Morgan Keene) is a bored teenager with a girl-next-door look and a flirtatious nature. Her stepdad, Red (Timothy J. Alex), likes loafing in his armchair and chugging beer, but is dismayed by the frequent absences of Deb (Sherri L. Edelen), his bartending wife who works a hundred miles away and rarely sleeps in Red’s bed.

For fun, Stina beds the local farmhands and manipulates the naïve neighborhood dope, Anderson (Sam Ludwig), who does her bidding in exchange for Stina’s promises of love.

Co-authors Royce Vavrek and Josh Schmidt have put together scenes and songs that ring too simplistic throughout the play’s first hour. The characters remain stereotypes and their songs don’t move them into any deeper emotional territory. So, Stina has a rather clichéd, sexed-up number with the farm hands—four beefy guys who cleverly function as a sort of Greek chorus—kneeling at her feet, pawing and worshiping her, and lifting her up (very similar to that old Diamonds Are a Girl’s Best Friend number).

But we’re left knowing nothing more about her than we did at the start of the song.

And this, unfortunately, is how most of the early songs go: We meet a character; they look a certain part; their song confirms that they are, in fact, that part; the song ends and the character’s development goes nowhere.

In the last 30 minutes of the show, however, all dramatic hell breaks loose, nearly making up for the one-dimensional songs and lack of character development that bog down the preceding scenes. Sadly, it’s not a case of a slow structural build to a juicy dramatic payoff.

Rather, it’s a case of the earlier scenes needing more emotional heft in order to make the play work as a whole.

Keene sings the part of Stina with impressive consistency, belting her character’s sorrows and spinning her cunning seductive webs with equal amounts of energy. She does the best she can with a character that doesn’t have the ring of real humanity and nuance in the text. Ludwig gives a memorable turn as an awkward kid with a relentless crush, and Bobby Smith contributes a funny and endearing supporting performance as a Fargo-esque local cop.

It’s nice to see a new play that takes some fresh risks with subject matter, and a musical to boot. The next iteration of the show could be something truly special if the writers move the characters beyond the realm of stereotype.

—Amy Lyons 4200 Campbell Ave., Arlington. $40-$98.

(703) 820-9771. sigtheatre.org.

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FilmShort SubjectS Colossal

Monster Mash Colossal Directed by Nacho Vigalondo Colossal is a strange, ultimately affecting comedy that keeps evolving what it’s actually about. It goes one direction, only to reverse course entirely. That writer and director Nacho Vigalondo does this multiple times—without losing control of his narrative—is a minor cinematic miracle. The only way that Vigalondo can pull this off is with a strong cast. All the major characters have more depth than they initially appear to. Its high-concept premise may not have much allegorical meaning, but there is unflinching, dogged specificity that elevates Colossal above its chosen genre.

A little girl is out with her mother in Seoul, South Korea, and she stumbles upon a frightening sight: a gigantic, inexplicable monster.

Vigalondo then flashes the title card, and turns his attention to Gloria (Anne Hathaway), only offering occasional hints about how she relates to the little girl. Gloria is an unemployed alcoholic, and her boyfriend Tim (Dan Stevens) kicks her out of their New York apartment. Humiliated and resentful, Gloria returns to her hometown where she stumbles upon her old friend Oscar (Jason Sudeikis). Oscar takes pity on Gloria, doing her favors and driving her around—he even gives her a job working tables at the bar he owns.

Up until this point, Colossal unfolds like a typical indie comedy, the sort of thing that wins audience awards at the Sundance Film Festival. Hathaway is fearless, never apologizing for Gloria, and there are shades of her char-

acter from Rachel Getting Married. Something strange happens though: A monster starts to terrorize Seoul, and the entire world notices.

Gloria is too drunk to remember the details of the monster, except she eventually learns she has a strange connection to it. If she stands on a certain patch of land at a certain time of day, the monster mirrors her movements. So if she does a vulgar dance on that spot, so will the monster. It gets weirder from there.

Colossal does not dawdle on the particulars of the premise and instead lets the characters react to it in a natural way. There is no life-lesson for Gloria to learn. Colossal is more ambitious that, albeit in a lateral way, since the monster unintentionally reveals the secrets of Gloria and her friends. She is not just a fuck-up: She is a sensitive, intuitive person who internalizes her newfound responsibility. The film does have a conflict, with life-and-death stakes alongside an unlikely antagonist. The villain in Colossal is a monster—the figurative kind—who abuses power with frightening abandon.

There is a protracted, tense scene before the final act where said villain shows its true colors.

It’s a powerful monologue, the sort of thing we might expect from Quentin Tarantino, but all the more frightening since all the characters originally seemed so ordinary. The shrewd editing also helps elevate the film’s suspense: Vigalondo ably cuts between Seoul and suburban America, so we see the impact of Gloria’s every movement on a massive scale. There have been many recent films with giant monsters fighting each other, and Colossal is better than most because it runs in the opposite direction of grand spectacle. The stakes are more intimate, in a way, so they are also more acutely felt.

On top of its bizarre concept, Colossal succeeds through an attention to detail. When Gloria is hungover and fakes her way through re-

28 april 14, 2017 washingtoncitypaper.com

membering what happened the night before, Hathaway plays it with the right mix of relief and embarrassment. There is an important seduction scene midway through the movie, and the way it unspools—affecting the characters differently—is a great example of how resentment can infect a circle of friends. Throughout it all is Vigalando, whose bizarre instincts result in a satisfying whole. His film is the announcement of a major talent, so producers should continue giving him the freedom and resources to do whatever he wants.

—Alan Zilberman Colossal opens Friday at Landmark’s E Street Cinema.

after school special Graduation Directed by Cristian Mungiu in a small Romanian city, there are stray dogs everywhere. They wander through parking lots and run across highways. Living alone on the streets, it is understood that no happiness awaits them, and as such, they serve as a cautionary tale for Romeo (Adrien Titieni), a middle-aged surgeon whose comfortable existence teeters on the edge of annihilation. Over the course of a few days, he stands to lose his family and his career, becoming a stray dog himself.

It’s tempting to read Cristian Mungiu’s exemplary film Graduation as a social document about a country still finding its way after the fall of Communism, but the personal

drama is so well acted and sharply observed that it stands on its own, free of context. Romeo is a tragic figure. He has a life most men would envy: a sterling professional reputation, brilliant daughter, a beautiful wife, and even a gorgeous, red-headed mistress who doesn’t ask for much. But when a simple act of violence threatens to unravel his carefully laid plans, he responds with desperation, committing a series of blunders that only serve to hasten his own obsolescence.

On her way to the first of three final exams, his daughter, Eliza (Maria Dragus), is attacked by an armed assailant outside of her school. She survives but is shaken, and her inability to perform on her exams might void her scholarship to Cambridge. Desperate to see his daughter achieve more than him, Romeo sets off on a journey through the Romanian bureaucracy, visiting the police, school officials, and customs agents, trying to secure Eliza’s future without crossing any legal lines.

Graduation is a tense and emotional drama about one man’s heartbreaking determination to hold onto his illusions. As Romeo, Titeni cuts an unremarkable form: short, pudgy, and pragmatic. But he moves slowly and smoothly through the frame as if on wheels, making his way in and out of bureaucratic offices without leaving a trail. The meetings in which these deals are done are largely without armtwisting. There is a touching, unspoken bond between him and the officials whose help he seeks, as if, having been raised in an oppressive state, they share a common suffering and instinctively seek to lift each other up.

Regardless, Romeo is drowning. Every step he takes to secure Eliza’s future seems to push her further away. She values honesty, but he needs her to lie and cheat. She catches him with his mistress and demands that he reveal his lies to his fragile wife. Meanwhile, the police start to investigate Romeo’s backroom maneuvering. As the walls close in, Romeo becomes more desperate. Despite its socio-political texture, it feels like a universal story of middle age.

If only Romeo could learn to let go, the inevitable changes in his life could be smoother and less painful. His thrashing about in the water only tires him out.

With a propulsive script and expert staging, director Cristian Mungiu deeply involves the viewer in Romeo’s struggle. When a character is being confronted with an unpleasant truth or emotional reality, he keeps their back to the camera, allowing us to imagine how the dialogue is impacting them. It’s a powerfully effective technique that heightens our emotions and engages us further in the story.

With shrewd filmmaking and emotional sensitivity, Mungiu creates meaning and symbolism in every shot without ever losing the poetry of the moment. You can read politics into it if you want, but the film’s simple, human drama doesn’t require it.

—Noah Gittell Graduation opens Friday at E Street Cinema.

washingtoncitypaper.com april 14, 2017 29

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

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

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

30 april 14, 2017 washingtoncitypaper.com

930.com

CITYLIST

INER

60S-INSPIRED D Serving

EVERYTHING from

BURGERS to BOOZY SHAKES

SPACE HOOPTY

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

FRIDAY NIGHTS, 10:30 - CLOSE

BRING YOUR TICKET

AFTER ANY SHOW AT

Club

TO GET A

FREE SCHAEFERS

DAY PARTY WITH DJ KEENAN ORR

First Sunday every month

2 - 6pm

Music 31 Books 35 Dance 35 Theater 36 Film 37

Music rock

Bethesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Jesse Colin Young and Band. 8 p.m. $45–$50. bethesdabluesjazz.com.

Black cat 1811 14th St. NW. (202) 667-4490. The 9: Songwriters Series. 8 p.m. $12. blackcatdc.com. dc9 1940 9th St. NW. (202) 483-5000. Sallie Ford, Molly Burch. 7 p.m. $15. dcnine.com.

Fillmore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Andrew McMahon. 8:30 p.m. $35. fillmoresilverspring.com. the hamilton 600 14th St. NW. (202) 787-1000. The Weight. 8 p.m. $24.75–$33.75. thehamiltondc.com. songByrd music house and record caFe 2477 18th St. NW. (202) 450-2917. Coast Modern, 888, Sundara Karma. 8 p.m. $20–$22. songbyrddc.com.

classical

kennedy center millennium stage 2700 F St. NW. (202) 467-4600. BoCoCelli, No Strings Attached.

6 p.m. Free. kennedy-center.org.

ElEctronic

echostage 2135 Queens Chapel Road NE. (202) 503-2330. Flux Pavilion, Kayzo, G Buck. 9 p.m. $25–$35. echostage.com. u street music hall 1115 U St. NW. (202) 588-1889.

Chaz Bundick Meets The Mattson 2. 7 p.m. $20. Sam Burns, DJ Nav, Sol Power All-Stars, Ozker. 10:30 p.m. $5. ustreetmusichall.com.

Folk

Barns at WolF trap 1635 Trap Road, Vienna. (703) 255-1900. Hawaiian Slack Key Guitar Festival. 8 p.m. $27–$32. wolftrap.org.

Hawaiian slack key guitar, known as Ki ho’alu (“loosen the key”) in Hawaiian, is a fingerstyle guitar music unique to the islands. The simple origin story is that Mexican cowboys brought guitars to the archipelago during the 19th century, taught Hawaiians the basics, and left them to experiment on their own. What resulted was a set of unique tunings as the Hawaiians loosened the strings and integrated their own rhythms, folk songs, and dances to create solo guitar music unlike any other in the world. The Spanish and tropical sounds are clear, but skilled listeners can even hear a bit of the blues in the ways these Hawaiian artists can take common elements and give them a unique twist. The music is easy-going, dreamy, and approachable. A festival full of it at Wolf Trap should capture that aloha spirit. The performance begins at 8 p.m. at The Barns at Wolf Trap, 1635 Trap Road, Vienna. $27–$32. (703) 255-1900. wolftrap.org.

—Justin Weber songByrd music house and record caFe 2477 18th St. NW. (202) 450-2917. Matt Pryor, Dan Andriano, Foster Carrots. 8:30 p.m. $15. songbyrddc.com.

mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Maija Rejman. 8 p.m. Free. mrhenrysdc.com. sixth & i historic synagogue 600 I St. NW. (202) 408-3100. Broadway Sings: Beyoncé & Bruno Mars. 8 p.m. $25 - $28. sixthandi.org.

gypsy sally’s 3401 K St. NW. (202) 333-7700. Marian McLaughlin. 8 p.m. Free. gypsysallys.com.

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

Mod Sun, Marty Grimes, SwagHollywood. 6:30 p.m. $20. ustreetmusichall.com.

Funk & r&B

country

tWins Jazz 1344 U St. NW. (202) 234-0072. Tim Whalen Quintet. 9 p.m.; 11 p.m. $27. twinsjazz.com.

amp By strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Chuck Redd: Tribute to Charlie Byrd. 8 p.m. $30–$40. ampbystrathmore. com.

ElEctronic

Barns at WolF trap 1635 Trap Road, Vienna. (703) 255-1900. Gay Men’s Chorus of Washington: God Save The Queen. 4 p.m.; 8 p.m. $45. wolftrap.org.

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Cheikh Ndoye & Friends. 8 p.m.; 10 p.m. $50. bluesalley.com.

Folk

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

8 p.m. $20. 930.com.

Jazz

kennedy center terrace gallery 2700 F St. NW. (202) 467-4600. Marquis Hill Blacktet. 9 p.m. $30. kennedy-center.org.

tWins Jazz 1344 U St. NW. (202) 234-0072. Tim Whalen Quintet. 9 p.m.; 11 p.m. $27. twinsjazz.com.

located next door to 9:30 club

HaWaiian slack Guitar FEstiVal

Friday

mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Kevin Cordt. 8 p.m. Free. mrhenrysdc.com.

2047 9th Street NW

CITY LIGHTS: Friday

saturday rock

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

10 p.m. $25. 930.com. gypsy sally’s 3401 K St. NW. (202) 333-7700. Jay Byrd. 8 p.m. Free. gypsysallys.com.

Vocal

Birchmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Cleve Francis. 7:30 p.m. $35. birchmere.com. u street music hall 1115 U St. NW. (202) 588-1889.

Cyril Hahn, Philip Goyette, Enamour. 10:30 p.m. $10. ustreetmusichall.com. amp By strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Owen Danoff. 8 p.m. $20–$30. ampbystrathmore.com. the hamilton 600 14th St. NW. (202) 787-1000.

Chatham County Line. 8 p.m. $20–$40. thehamiltondc.com. kennedy center millennium stage 2700 F St. NW. (202) 467-4600. Songs for Hope: A D.C. Tribute to Pete Seeger. 6 p.m. Free. kennedy-center.org.

Jazz

sunday rock

9:30 cluB 815 V St. NW. (202) 265-0930. Betty Who. 7 p.m. Sold out. 930.com.

Black cat Backstage 1811 14th St. NW. (202) 6674490. Sweet Spirit, Milo in the Doldrums. 7:30 p.m. $10–$12. blackcatdc.com. comet ping pong 5037 Connecticut Ave. NW. (202) 364-0404. Permanent Waves, Escape-ism, Aaron Leitko. 9 p.m. $12. cometpingpong.com. dc9 1940 9th St. NW. (202) 483-5000. The Garden, Fat Tony. 7:30 p.m. $15. dcnine.com.

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Tiger Okoshi Quintet. 8 p.m.; 10 p.m. $35. bluesalley.com.

kennedy center millennium stage 2700 F St. NW. (202) 467-4600. Olivia Mancini & the Housemates. 6 p.m. Free. kennedy-center.org.

kennedy center terrace gallery 2700 F St. NW. (202) 467-4600. Geoffrey Keezer Trio. 7 p.m.; 9 p.m. $26–$39. kennedy-center.org.

songByrd music house and record caFe 2477 18th St. NW. (202) 450-2917. City of the Sun, Dope Francis. 8 p.m. $12–$14. songbyrddc.com.

washingtoncitypaper.com april 14, 2017 31

Folk

mansion at strathmore 10701 Rockville Pike, North Bethesda. (301) 581-5100. Patrick McAvinue.

7:30 p.m. $17. strathmore.org.

GospEl

hoWard theatre 620 T St. NW. (202) 8032899. Harlem Gospel Choir Easter Special. 1:30 p.m. $20–$40. thehowardtheatre.com.

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Tiger Okoshi Quintet. 8 p.m.; 10 p.m. $35. bluesalley.com.

World

kennedy center concert hall 2700 F St. NW. (202) 467-4600. Washington, D.C. International Music Festival. 8 p.m. $30. kennedy-center.org.

Monday rock

dc9 1940 9th St. NW. (202) 483-5000. Hemlines, Hiccup, Chill Parents. 8:30 p.m. $10. dcnine.com. songByrd music house and record caFe 2477 18th St. NW. (202) 450-2917. Sam Outlaw, Dori Freeman. 8 p.m. $13–$15. songbyrddc.com. u street music hall 1115 U St. NW. (202) 588-1889.

Sondre Lerche. 7 p.m. $20. ustreetmusichall.com.

classical

kennedy center millennium stage 2700 F St. NW. (202) 467-4600. Rachel Kudo. 6 p.m. Free. kennedy-center.org.

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Mao Sone Quartet. 8 p.m.; 10 p.m. $37. bluesalley.com.

tuEsday rock

dc9 1940 9th St. NW. (202) 483-5000. The Coathangers, Residuels, Venn. 8:30 p.m. $12–$14. dcnine.com. songByrd music house and record caFe 2477 18th St. NW. (202) 450-2917. Lil Peep. 8:30 p.m. Sold out. songbyrddc.com.

country

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

Kinky Friedman. 7:30 p.m. $15–$39.75. thehamiltondc.com.

ElEctronic

Fillmore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. gnash, Sweater Beats, Imad Royal, Wrenn, Tulpa & Blankts. 7 p.m. $20. fillmoresilverspring.com.

Jazz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Erna Terakubo Quartet. 8 p.m.; 10 p.m. $35. bluesalley.com.

World

kennedy center millennium stage 2700 F St. NW. (202) 467-4600. Sanam Marvi. 6 p.m. Free. kennedy-center.org.

WEdnEsday rock

Birchmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Leon Russell with Riley Etheridge Jr. 7:30 p.m. $39.50. birchmere.com.

Black cat Backstage 1811 14th St. NW. (202) 6674490. Den-Mate, Neux. 7:30 p.m. $10–$12. blackcatdc.com. dc9 1940 9th St. NW. (202) 483-5000. Lydia Ainsworth. 9 p.m. $12. dcnine.com.

CITY LIGHTS: saturday

RESULTS ARE IN! legacy.washingtoncitypaper.com/bestofdc

32 april 14, 2017 washingtoncitypaper.com

tiGEr okosHi QuintEt

Trumpeter and bandleader Toru “Tiger” Okoshi spent his youth in Japan, absorbing the lessons and styles of masters like Miles Davis, Chick Corea, Ornette Coleman, and Herb Pomeroy. Okoshi practiced with the diligence of a martial arts student, refining his technique with the dexterity and razor precision of a samurai. That dexterity helped him as he launched his career in the 1970s, emerging with a wave of fusion artists from Boston’s Berklee College of Music alongside Gary Burton and Pat Metheny. Listening to him today, you’ll hear traces of his influences across his more amorphous straight-ahead compositions: a little bit of Davis’ muted trumpet tone, a flash of Coleman’s free runs, and the electro-rock thrust of Corea. But Okoshi maintains that classic style he developed as a young musician, playing straight-ahead postbop with the alacrity of an early Wynton Marsalis. The Tiger Okoshi Quintet performs at 8 p.m. and 10 p.m. Saturday and Sunday at Blues Alley, 1073 Wisconsin Ave. NW. $35. (202) 337-4141. bluesalley.com.

—Jackson Sinnenberg

washingtoncitypaper.com april 14, 2017 33

LIVE

CITY LIGHTS: sunday

UPCOMING PERFORMANCES

DIRTY

BOURBON

RIVER SHOW

APRIL

W/ HOLY GHOST TENT REVIVAL

THURSDAY APRIL

13

the

AN EVENING WITH

WEIGHT THE BAND, FEAT. FORMER MEMBERS OF

F

14

S

15

SU 16

LEVON HELM BAND AND

RICK DANKO GROUP

FRIDAY APRIL

14

SAT, APRIL 15

W 19

AN EVENING WITH

CHATHAM COUNTY LINE SUN, APRIL 16

10am, 12:30pm, 3pm

EASTER GOSPEL BRUNCH FEATURING WILBUR JOHNSON & THE GOSPEL PERSUADERS

TH 20

TUES, APRIL 18

KINKY FRIEDMAN W/ BRIAN MOLNAR

WED, APRIL 19

SLATE PRESENTS

CULTURE GABFEST: LIVE IN DC THURS, APRIL 20

F

FRI, APRIL 21

SU 23

JOE PUG W/ LAURA TSAGGARIS HACKENSAW BOYS

21

W/ THE TILLERS

SAT, APRIL 22

NEWMYER FLYER PRESENTS

THE MUSIC OF BURT BACHARACH & HAL DAVID PERFORMED BY JULIA NIXON WITH THE DAVE YLVISAKER DOZEN

T

25

W/ JON CARROLL

SUN, APRIL 23

BRANDY CLARK AND CHARLIE WORSHAM WED, APRIL 26

W 26 F

28

RUTHIE FOSTER SAT, APRIL 29

JON McLAUGHLIN THE INDIANA TOUR W/ KATRINA WOOLVERTON

S

29

SUN, APRIL 30

AN ACOUSTIC EVENING WITH

EMILY KING: YOU & I TOUR 2017 THURS, MAY 4

SU 30

DEB TALAN OF THE WEEPIES W/ MATT THE ELECTRICIAN

CLONES OF FUNK SOUL CRACKERS EASTER SUNDAY HAROLD MELVIN’S BLUENOTES OSCAR PETERSON TRIBUTE FEAT. LENORE RAPHAEL QUARTET TITO PUENTE BIRTHDAY CELEBRATION WITH THE TITO PUENTE, JR. JAZZ BAND LUTHER RE-LIVES THE PSALM FULL OF SOUL PROJECT EDWIN ORTIZ Y LA MAFIA DEL GUANGUANCO CYRUS CHESTNUT CHOPTEETH AFROFUNK BIG BAND JOE CLAIR & FRIENDS COMEDY SHOW (7/10PM) CONYA DOSS

7719 Wisconsin Ave., Bethesda, MD

FRI, MAY 5

(240) 330-4500

JIMMY GREENE

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

THEHAMILTONDC.COM 34 april 14, 2017 washingtoncitypaper.com

HOMO SAPIENS

Maybe we should just let go. That’s one of the messages in Homo Sapiens, a 2016 film by Nikolaus Geyrhalther. “Film” is a loose word for the project, a series of extended, bracing shots of manmade landscapes abandoned by civilization. There is a calmness to be had in watching the sea lap through the legs of a forgotten wooden roller coaster, a feeling not unlike watching the sea unobstructed. For all our efforts, our Brexits, our Wars on Drugs, there’s nothing we people can actually do to obstruct the sea. Geyrhalther’s meditation on the futility of all our follies is menacing by the same turn. The sterile interior of a neglected hospital room suggests a lack of safety. The worthless detritus of an empty office signals calamity. Geyrhalther’s uninterrupted landscape shots of the unbuilt environment can be delicious, like the languid single-camera takes from Béla Tarr and Ágnes Hranitzky’s Werkmeister Harmonies, but for Geyrhalther the long shot is a means to an unsettling end. As far as hard art goes, Homo Sapiens is not so tough: The movie checks in at 94 minutes, barely a warm-up in the exercises of endurance art. Fans of SunnO))) or Brutalist architecture who go searching for the same elevated experience of totalizing art may come away disappointed, or perhaps dismayed. What on first glance could be a ruin-porn slideshow is not about seeking the beauty in disorder. Geyrhalther goes further with a taut illustration of our bleak situation. The film screens at 2 p.m. at the National Gallery of Art East Building Auditorium, 4th Street and Pennsylvania Avenue NW. Free. (202) 737-4215. nga.gov.

—Kriston Capps

World

kennedy center millennium stage 2700 F St. NW. (202) 467-4600. NSO Youth Fellows. 6 p.m. Free. kennedy-center.org.

ElEctronic

music center at strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. BSO: The DooWop Project. 8 p.m. $35–$99. strathmore.org.

Barns at WolF trap 1635 Trap Road, Vienna. (703) 255-1900. Tinariwen. 8 p.m. $38. wolftrap.org.

9:30 cluB 815 V St. NW. (202) 265-0930. Clean Bandit. 7 p.m. $25. 930.com. u street music hall 1115 U St. NW. (202) 588-1889.

Big Wild. 10 p.m. $15–$18. ustreetmusichall.com.

Jazz

Bethesda Blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Oscar Peterson Tribute featuring Lenore Raphael Quartet. 8 p.m. $30. bethesdabluesjazz.com. tWins Jazz 1344 U St. NW. (202) 234-0072. Abby Schafer. 8 p.m.; 10 p.m. $22. twinsjazz.com.

tHursday rock

Black cat Backstage 1811 14th St. NW. (202) 6674490. Vita and the Woolf, Margot MacDonald. 7:30 p.m. $12. blackcatdc.com. dc9 1940 9th St. NW. (202) 483-5000. Girl Band, Bambara. 9 p.m. $12–$14. dcnine.com. lincoln theatre 1215 U St. NW. (202) 888-0050.

Aimee Mann. 8 p.m. $45. thelincolndc.com. songByrd music house and record caFe 2477 18th St. NW. (202) 450-2917. Names, Dominic Fragman. 8 p.m. $4.20–$5. songbyrddc.com.

classical

kennedy center concert hall 2700 F St. NW. (202) 467-4600. NSO: Beethoven’s Violin Concerto. 7 p.m. $15–$89. kennedy-center.org.

country

mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. By & By. 8 p.m. Free. mrhenrysdc.com.

ElEctronic

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

Big Wild. 10 p.m. $15–$18. ustreetmusichall.com.

Hip-Hop

9:30 cluB 815 V St. NW. (202) 265-0930. Oddisee & Good Compny. 7 p.m. $25. 930.com.

Fillmore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Chronixx. 9 p.m. $26. fillmoresilverspring.com.

Jazz

Birchmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Stanley Clarke Band. 7:30 p.m. $45. birchmere.com.

Jammin Java 227 Maple Ave. East, Vienna. (703) 2551566. Hot 8 Brass Band. 7:30 p.m. $20–$30. jamminjava.com.

Vocal

Barns at WolF trap 1635 Trap Road, Vienna. (703) 255-1900. John McCutcheon. 8 p.m. $25–$28. wolftrap.org. music center at strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. BSO: The DooWop Project. 8 p.m. $35–$99. strathmore.org.

CITY LIGHTS: 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 13

FISH SAMANTHA w/Guy Davis & Fabrizio Poggi

14

SCIBILIA MARC w/Corey Harper & Brad Ray CLEVE FRANCIS

15 21

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

23

featuring The Zmed Brothers

BallEt across aMErica

The art of ballet extends beyond The Nutcracker, Swan Lake, and the countless films dealing in eating disorder and jacked-up feet cliches, and the Kennedy Center is determined to make audiences understand that. For its Ballet Across America series, the performing arts center has asked two of the nation’s finest ballet performers—New York City Ballet soloist and choreographer Justin Peck and American Ballet Theatre principal Misty Copeland—to curate eveninglength performances highlighting dance companies from coast to coast. In addition to classical dances set to the music of Dvorak and Mendelssohn, some dances are set to compositions by rock performers like Sufjan Stevens and David Bowie. Piano man Ben Folds will go one step further and perform his accompaniment live on stage with members of the Nashville Ballet.

History and politics also come into play when the Black Iris Project presents “Madiba,” a look at the life and legacy of Nelson Mandela. If you thought ballet was all about dancing candy and fairy tales, these companies are ready to prove you wrong. The performance begins at 7:30 p.m. at the Kennedy Center Opera House, 2700 F St. NW. $29–$149. (202) 467-4600. kennedy-center.org.

—Caroline Jones

Books

Jonathan allen and amie parnes The Politico and Hill writers explore the problems that brought down Hillary Clinton’s presidential campaign in Shattered: Inside Hillary Clinton’s Doomed Campaign. Politics & Prose. 5015 Connecticut Ave. NW. April 20, 7 p.m. Free. (202) 364-1919.

Jessa crispin The outspoken critic and founder of the literary blog Bookslut reads from her new tome, Why I Am Not a Feminist: A Feminist Manifesto. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. April 20, 6:30 p.m. Free. (202) 387-1400. lauren grodstein Grodstein reads from Our Short History, the story of a dying woman who struggles to determine whether her son should have a relationship with his estranged father, a man who walked out before his son was born. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. April 18, 6:30 p.m. Free. (202) 387-1400. tasoula hadJitoFi The author and Cypriot refugee discusses her role in a major art trafficking sting, a journey she chronicles in her memoir The Icon Hunter: A Refugee’s Quest to Reclaim Her Nation’s Stolen Heritage. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. April 19, 6:30 p.m. Free. (202) 3871400. dr. Willie parker The author, one of the few abortion providers in the deep South, explains why he supports a woman’s choice to do what she wants

with her body in his new book, Life’s Work. Politics & Prose. 5015 Connecticut Ave. NW. April 19, 7 p.m. Free.

(202) 364-1919. kristen radtke Radtke discusses her new graphic memoir, Imagine Wanting Only This, about how the sudden death of her uncle forced her to start looking for ruined places and wonder what happened to them. East City Bookshop. 645 Pennsylvania Ave. SE, Suite 100. April 20, 6:30 p.m. Free. (202) 290-1636. elizaBeth strout The author of Olive Kitteridge and My Name Is Lucy Barton discusses why she thinks fiction is an essential part of life at this event presented as part of the “Arlington Reads” campaign.

Arlington Central Library. 1015 N. Quincy St., Arlington. April 20, 7 p.m. Free. (703) 228-5990. vanessa s. Williamson Williamson, a fellow at the Brookings Institute, spends Tax Day reading from her new book, Read My Lips. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. April 16, 6:30 p.m.

Free. (202) 387-1400.

Dance

Ballet across america Misty Copeland, principal dancer with American Ballet Theatre, and Justin Peck, soloist and choreographer with the New York City Ballet, curate two different programs of dance featuring companies from throughout the nation. Peck introduces pieces by Chicago’s Joffrey Ballet, L.A. Dance Project, and New York’s abraham.in.motion.

Copeland’s offerings include pieces by Nashville Bal-

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

28 30

JOHN TESH

‘Grand Piano Live’

May 1

TRANSATLANTIC SESSIONS

feat. Jerry Douglas & Aly Bain (Boys of The Lough) and All-Star Band w/sp. guests The Milk Carton Kids,

Maura O'Connell, Declan O'Rourke, and Karen Matheson (Capercaillie) & more!

Stripped Down, Beautiful BoDeans Renditions of BoDeans classic!

NAJEE 6 7 WMAL FREE SPEECH FORUM

5

“The First 100 Days” – 7pm –

CHRISTOPHER CROSS MAJOR. 11 Andy 12 DELBERT McCLINTON Poxon 13 RECKLESS KELLY

10

w/Blue Water Highway Band

Mothers’ Day with

14

MOTHER’S FINEST

16 AN INTIMATE ACOUSTIC EVENING WITH SIBLINGS

Heather Nova & Mishka 17 C A R L PA L M E R ’ S E L P L E G A C Y 18 As seen in “O Brother, Where Art Thou?”

SOGGY BOTTOM BOYS

feat. Dan Tyminski, Barry Bales, Ron Block, Stuart Duncan, Mike Compton, Pat Enright 19

Reunion 2017!

Billy Price & The Keystone Rhythm Band Reunion Bob Margolin Band • Skip Castro Band Good Humor Band

washingtoncitypaper.com april 14, 2017 35

let and the New York-based Black Iris Project and Complexions Contemporary Ballet. Kennedy Center Opera House. 2700 F St. NW. April 17, 7:30 p.m.; April 19, 7:30 p.m.; April 20, 7:30 p.m. $29–$149. (202) 4674600. kennedy-center.org.

CITY LIGHTS: tuEsday

FUN HOME

SAT, APR 15

THE GAY MEN’S CHORUS OF WASHINGTON, DC PRESENTS:

GOD SAVE THE QUEENS TWO SHOWS!

JOHN McCUTCHEON THU, APR 20

BRANFORD MARSALIS QUARTET WITH SPECIAL GUEST

In 1985, a character in Alison Bechdel’s Dykes to Watch Out For comic strip proposed a rule: For her to see a movie, it had to feature at least two female characters who talk to each other about something besides a man. Perhaps unsurprisingly, Fun Home, a musical adaptation of Bechdel’s 2006 graphic memoir, passes her eponymous test. The play examines Bechdel’s childhood and young adulthood, her discovery of her sexuality and subsequent coming out, and her relationship with her late father, himself a closeted bisexual man, through the eyes of Alison at ages 10, 19, and 43. With book and lyrics by Lisa Kron and music by Jeanine Tesori, Fun Home was nominated for twelve Tony Awards and won five, including Best Musical, making Kron and Tesori the first all-female writing team to win a Tony for a musical’s score. The show also broke barriers by just existing: It’s the first Broadway musical to feature a lesbian protagonist. More than thirty years since it was first proposed, the Bechdel Test can still tell us plenty about whose stories are told in films, TV, and even on stage. The musical runs April 18 to May 13 at The National Theatre, 1321 Pennsylvania Ave. NW. $48–$98. (202) 628-6161. thenationaldc.org.

—Chris Kelly

KURT ELLING

SAT, APR 22 TWO SHOWS!

IDAN RAICHEL PIANO-SONGS

WED, APR 26

CITY LIGHTS: WEdnEsday

THE ACOUSTIC LIVING ROOM SONGS AND STORIES WITH KATHY MATTEA FEATURING BILL COOLEY

the one-mile radius proJect: experiencing space diFFerently Orange Grove Dance explores the area around Joe’s Movement Emporium using movement, film, and projection in this new piece that attempts to recreate the outside world inside the intimate theater. Joe’s Movement Emporium. 3309 Bunker Hill Road, Mount Rainier. April 14, 7 p.m. Free. (301) 699-1819. joesmovement.org. rip the Floor UMD’s Dynamic Dance Team hosts this annual hip-hop competition and showcase that invites teams from up and down the east coast to compete for a $500 prize. Clarice Smith Performing Arts Center. Stadium Drive and Route 193, College Park. April 15, 7 p.m. $10–$15. (301) 405-2787. theclarice.umd.edu.

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

WOLFTRAP.ORG/BARNS 1 6 3 5 T R A P R D , V I E N N A , VA 2 2 1 8 2

D.C.’s

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the migration proJect (push/pull) Jane Franklin Dance explores the idea of immigration in this movement and visual art project conceived with Rosemary Feit Covey. Looking at the ways people and animals change locations, this production starts at Theatre on the Run before taking to the streets and concluding at a different location. Theatre on the Run. 3700 S. Four Mile Run Drive, Arlington. April 15, 3 p.m.; April 15, 7:30 p.m. $20–$26.50. (703) 228-1850. arlingtonarts.org.

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

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Black ice Jane Franklin Dance interprets the climate change crisis through movement in this piece that explores what happens to fish and birds as the world continues to get hotter. Theatre on the Run. 3700 S. Four Mile Run Drive, Arlington. April 15, 7:30 p.m. $25–$26.50. (703) 228-1850. arlingtonarts.org.

Theater

WED, MAY 3 + THU, MAY 4

awesomest events calendar.

Black grace The popular New Zealand-based company incorporates Samoan and Maori traditions into its pieces set to music by Bach and indigenous artists. George Mason University Center for the Arts. 4373 Mason Pond Drive, Fairfax. April 14, 8 p.m. $29–$48. (888) 945-2468. cfa.gmu.edu.

tinariWEn

On its latest album, Elwan, Northern Malian desert band Tinariwen collaborates with American rockers like Mark Lanegan of Screaming Trees and Kurt Vile, but the resulting sound remains unique. That means compositions are dominated by a raw, buzzing electric guitar grooves and accompanied by a mix of chanted and sung vocals. Since the members’ home region in the Sahara has been in a post-war state of danger for the past few years, this effort was recorded in exile—in the Joshua Tree desert of California, Paris suburbs, and a small Moroccan border city called M’hamed El Ghizlane. These different locales subtly impact the feel of the music, but lyrically the band’s Tamashek and Arabic verbiage still relates back to their homeland. In the song “Ténéré Tàqqàl” their Tamasheq lyrics comment wearily on the status of their homeland. The translation reads in part, “The strongest impose their will/ And leave the weakest behind/ Many have died battling for twisted ends/ And joy has abandoned us/ Exhausted by all this duplicity.”

Despite similarities in many of its arrangements, the band’s guttural vocal cadences and slight variations in melody and tempo heighten the often cathartic power in their sonic messages. Tinariwen performs at 8 p.m. at The Barns at Wolf Trap, 1635 Trap Road, Vienna. $38. (703) 255-1900. wolftrap.org.

—Steve Kiviat

36 april 14, 2017 washingtoncitypaper.com

Brighton Beach memoirs Neil Simon’s landmark play about Eugene, a Brooklyn boy eager to grow up and explore the world comes to Theater J in a new production directed by Matt Torney. Lise Bruneau, Michael Glenn, and Susan Rome star in this lively, witty, and warm comedy. Theater J. 1529 16th St. NW. To May 7. $17–$47. (202) 777-3210. theaterj.org. chicago Snap on your buckled shows and enjoy this acclaimed musical about the celebrity that comes after committing a scandalous murder. Featuring songs like “All That Jazz” and “Nowadays,” this Kander and Ebb classic always delivers. Kennedy Center Opera House. 2700 F St. NW. To April 16. $49–$129.

(202) 467-4600. kennedy-center.org. douBt: a paraBle Set at a New York Catholic school in the 1960s, this Tony-winning play follows a charismatic priest and the nun who leads the school and suspects him of mistreating a shy African-American student. Chelsea Mayo and Stephanie Mumford star in this production of John Patrick Shanley’s searing drama. Quotidian Theatre Company at The Writer’s Center. 4508 Walsh St., Bethesda. To May 7. $15–$30. (301) 816-1023. quotidiantheatre.org. dry land Ruby Rae Spiegel’s new drama focuses on abortion and how friendships can help women survive tough situations. Taking place in a high school locker room, this production is directed by Amber

McGinnis and performed in Repertory with What Every Girl Should Know. Forum Theatre at Silver Spring Black Box Theatre. 8641 Colesville Road, Silver Spring. To April 15. $18–$38. (301) 588-8279. forum-theatre.org.

CITY LIGHTS: tHursday

Fun home Based on the graphic memoir by Alison Bechdel, this Tony-winning musical follows Bechdel as she chronicles her coming out and the subsequent death of her father. Featuring three different actresses playing Bechdel over time, this production includes the songs “Ring of Keys” and “Changing My Major.” National Theatre. 1321 Pennsylvania Ave. NW. To May 13. $48–$98. (202) 628-6161. nationaltheatre.org. a human Being died that night A black psychologist interrogates one of the Apartheid era’s most aggressive torturers and murderers in this intense drama based on true events. Presented as part of Mosaic Theater’s “South Africa: Then & Now” series.

Atlas Performing Arts Center. 1333 H St. NE. To April 30. $9–$50. (202) 399-7993. atlasarts.org. king lear A mighty leader retires, disowns his favorite daughter, and banishes his closest advisor and confidante. From the moment Lear appears, we know we will witness his unraveling. A dominion teeters in the balance as a once-powerful tycoon becomes increasingly out of touch with reality. Lean & Hungry’s celebrates its 10th anniversary with this production that removes the Foley table and the microphone stands to create a fully staged production. Atlas Performing Arts Center. 1333 H St. NE. To April 23. $20. (202) 399-7993. atlasarts.org. the late Wedding This drama directed by Kate Bryer draws inspiration from the fantastical work of author Italo Calvino and explores themes of love and longing. It also combines elements of science fiction and romance. The Hub Theatre at John Swayze Theatre. 9431 Silver King Court, Fairfax. To May 7. $22–$32. (703) 674-3177. thehubtheatre.org. the magic play An acclaimed magician maintains total control over his audiences and his love life but when a new companion challenges him to confront his fears, his entire career might be upended. Halena Kays directs this new play from writer Andrew Hinderaker. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To May 7. $35–$70. (301) 9243400. olneytheatre.org. midWestern gothic Royce Vavrek and Josh Schmidt present this new musical about a woman who wants more than anything to escape her dull surroundings. As she fantasizes about her goals, her thoughts take a perverse turn, resulting in a shocking resolution. Signature Theatre. 4200 Campbell Ave., Arlington. To April 30. $40–$94. (703) 820-9771. sigtheatre.org. no sisters While Chekhov’s Three Sisters plays in one theater, Aaron Posner directs his new adaptation of the Russian comedy that follows the rest of the characters while the title characters opine their fates.

This world-premiere work is presented as part of Studio R&D, the theater’s new works initiative. Studio Theatre. 1501 14th St. NW. To April 23. $20–$55. (202) 332-3300. studiotheatre.org. or, Local favorite Holly Twyford stars as Aphra Behn in this play inspired by Restoration comedy. As she struggles to save the King of England and deliver her play in the same night, a madcap series of foibles unfolds. Round House Theatre Bethesda. 4545 EastWest Highway, Bethesda. To May 7. $36–$65. (240) 644-1100. roundhousetheatre.org. pike st. Nilaja Sun stars in this one-woman show about a Puerto Rican family settling into their new life on New York’s Lower East Side. Ron Russell directs this warm show about the many people who work together to make the world work. Woolly Mammoth Theatre. 641 D St. NW. To April 23. $20–$54. (202) 393-3939. woollymammoth.net. ragtime This stirring musical, written by Lynn Ahrens and Stephen Flaherty and inspired by E.L. Doctorow novel, tells the story of three different New York families at the turn of the 20th century. Featuring memorable songs like “Your Daddy’s Eyes,” “Wheels of a Dream,” and “Make Them Hear You,” this production stars Tracy Lynn Olivera, Nova Y. Payton, and Jonathan Atkinson. Ford’s Theatre. 511 10th St. NW. To May 20. $18–$71. (202) 347-4833. fords.org. a raisin in the sun Lorraine Hansbury’s landmark play about a family that strives to create a life beyond its Chicago apartment receives a new treatment from director Tazewell Thompson. A sudden influx of income makes their dream seem possible but when it turns out their goals are different, each member must figure out how to make things work. Arena

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

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

600 beers from around the world

Downstairs: good food, great beer: all day every day *all shows 21+ APRIL 13TH

O’CONNORSBREWING TAPPING AT 5PM STARRHILLHOPSONTOUR TAPPING AT 5PM APRIL 14TH

VENT!

Hot 8 Brass Band

Do you remember the scene in the 2014 movie Chef, beloved by suburban parents and sandwich lovers nationwide, in which Chef Carl, his son, and his business partner all sing along to a brass band version of Marvin Gaye’s “Sexual Healing?” The group behind that adaptation is Hot 8 Brass Band. Started in 1996 in New Orleans, the Hot 8 have become one of the nation’s most successful and popular brass bands, in part because of their infectious covers of popular songs. It’s not just that the songs are recognizable: When given the sax/trumpet/trombone/sousaphone treatment, the tracks are transformed. “Sexual Healing” goes from a smooth pop song to a cathartic, shoutat-the-top-of-your-lungs anthem. Once that sousaphone bassline kicks in, it’s impossible not to dance along with the band. Hot 8 Brass Band performs with Viva la Hop at 7:30 p.m. at Jammin Java, 227 Maple Ave. E, Vienna. $20–$30. (703) 255-1566. jamminjava.com.

—Justin Weber

DC’S ONLY INTERACTIVE COMEDY HAPPY HOUR PRESENTED BY LAST RESORT COMEDY DOORS AT 6:30PM APRIL 15TH

QUICK STRIP: ATRIBUTETOTHE MOVIES OF KEVIN SMITH PRESENTED BY ELLE QUINN DOORS AT 8PM SHOW AT 9PM APRIL 16TH

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

Stage. 1101 6th St. SW. To April 30. $40–$90. (202) 488-3300. arenastage.org. smart people Four intellectuals look for love and try to understand themselves in this witty drama from playwright Lydia R. Diamond. Through the characters, the play explores issues of identity, prejudice, and cultural bias. Arena Stage. 1101 6th St. SW. To May 21. $40–$90. (202) 488-3300. arenastage.org. three sisters The title characters in this Chekhov comedy fight against the restrictions of their small town and lament their missed opportunities as they deal with annoying relatives and unworthy mates.

Jackson Gay directs this production, presented in collaboration with New Neighborhood. Studio Theatre. 1501 14th St. NW. To April 23. $20–$85. (202) 3323300. studiotheatre.org.

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

The Tony-nominated play is directed at 1st Stage

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

1ststagetysons.org.

What every girl should knoW Set in a New York reformatory in the 1910s, this drama follows four teenage girls as they negotiate the events and traumas that landed them in such a dire spot. Jenna Duncan directs the D.C. premiere of Monica Byrne’s drama about the strength of human spirit and the power of imagination. Performed in repertory with Dry Land. Forum Theatre at Silver Spring Black Box Theatre. 8641 Colesville Road, Silver Spring. To April 15. $18–$38. (301) 588-8279. forum-theatre.org.

APRIL 17TH

DISTRICTTRIVIAAT 7:30PM COMIC BOOKS & COCKTAILS

Film

SPONSORED BY PHANTOM COMICS 7PM

the Fate oF the Furious In the latest entry into the Fast and the Furious canon, a mysterious woman brings Dom into a terrorist circle, testing the crew as they try to carry on. (See washingtoncitypaper.com for venue information) giFted Chris Evans plays a man raising his young niece in this romantic drama from director Marc Webb. When it turns out the girl is a mathematical prodigy, her uncle and grandmother fight over custody and making the right decision when it comes to her schooling. (See washingtoncitypaper.com for venue information) going in style Alan Arkin, Morgan Freeman, and Michael Caine play three friends who embark on a daring bid to make money to support their ailing families in this comedy from director Zach Braff. (See washingtoncitypaper.com for venue information)

APRIL 18TH

CAPITALLAUGHS FREE COMEDY SHOW SHOW AT 8:30PM APRIL 19TH

SMASHED: A NERDYAND DIRTY COMEDY SHOW DOORS AT 7PM,SHOW AT 8PM

DISTRICTTRIVIAAT 7:30PM APRIL 21ST

DCWEIRDO SHOW

DOORS AT 8PM,SHOW AT 9PM APRIL 22ND

graduation Cristian Mungiu wrote and directed this Romanian drama about a young woman who plans to study in the United Kingdom but is attacked the day before her departure. As her father struggles to figure out what to do, he reflects on all the things he’s taught her. (See washingtoncitypaper.com for venue information)

BIERBARON’SSPRINGSOUR TAPPING AT 5PM SCIENCE COMEDY

smurFs: the lost village In this latest animated film about small blue creatures, Smurfette and her friends follow a mysterious map through the forest and make a variety of discoveries. Featuring the voices of Demi Lovato, Ariel Winter, and Rainn Wilson. (See washingtoncitypaper.com for venue information)

DR.SKETCHY’S ANTI-ART SCHOOLAT 3PM STARR STRUCK COMEDY

their Finest Gemma Arterton, Sam Claflin, and Bill Nighy star in this British drama about a film crew that lifts spirits following the London Blitz by making a propaganda film. Directed by Lone Scherfig. (See washingtoncitypaper.com for venue information)

1523 22nd St NW – Washington, DC 20037 (202) 293-1887 - www.bierbarondc.com @bierbarondc.com for news and events

DOORS AT 5:30 SHOW AT 7PM, DOORS AT 8:30PM SHOW AT 9PM APRIL 23RD

AT 7PM

washingtoncitypaper.com april 14, 2017 37

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Legals BRIDGES PUBLIC CHARTER SCHOOL NOTICE OF INTENT TO ENTER A SOLE SOURCE CONTRACT * Bridges Public Charter School intends to enter into a sole source contract with George Washington University for teaching interns to be placed within the school. The teaching interns are serving as effective classrooms teacher intern specifically equipped to promote educational achievement for special education students. * Bridges Public Charter School constitutes the sole source for George Washington University is intended for collaborative teaching services will lead to student achievement as well as enhanced research study for the intern and university. * For further information regarding this notice contact bids@bridgespcs.org no later than 4:00 pm Monday, April 24, 2017

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OVING? FIND A PING HAND TODAY Out with the old, In with the new Post your listing with Washington City Paper Classifieds

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Moving? Find A Helping Hand Today Miscellaneous NEW COOPERATIVE SHOP! THINGS FROM EGPYT AND BEYOND 240-725-6025 www.thingsfromegypt.com thingsfromegypt@yahoo.com

Volunteer Services Defend abortion rights. Washington Area Clinic Defense Task Force (WACDTF) needs volunteer clinic escorts Saturday mornings, weekdays. Trainings, other info:202-681-6577, http://www. wacdtf.org, info@wacdtf.org.

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Out with the old, In with OUTLET. the new RELAX, UNWIND, Post your REPEAT listing with CLASSIFIEDS Washington HEALTH/ MIND, BODY City Paper Classifieds & SPIRIT Get internet radio stations or your own talk shows or call the grantwriter/fundraiser for your 501(C)(3) non-profi t needs http://www.washingtMD/DC/VA www.WNPFM101. oncitypaper.com/ com or support@internetsolutions101.com 202/3961225 M-F 10am-4:30pm.

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FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/ MIND, BODY & SPIRIT In addition to selling and servicing existing accounts, Account Executives are responsible for generating and selling new business revenue by finding new leads, utilizing a consultative sales approach, and making compelling presentations.

You must have the ability to engage, enhance, and grow direct relationships with potential clients and identify their advertising and marketing needs. You must be able to prepare and present custom sales presentations with research and sound solutions for those needs. You must think creatively for clients and be consistent with conducting constant follow-up. Extensive in-person & telephone prospecting is required. Your major focus will be on developing new business through new customer acquisition and selling new marketing solutions to existing customer accounts. Account Executives, on a weekly basis, perform in person calls to a minimum of 10-20 executive level decision makers and/or small business owners and must be able to communicate Washington City Papers value proposition that is solution-based and differentiates us from any competitors. Account http://www.washingtoncitypaper.com/ Executive will be responsible for attaining sales goals and must communicate progress on goals and the strategies and tactics used to reach revenue targets to Washington City Paper management.

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Qualifications, background, and disposition of the ideal candidate for this position include:

BUILDING FUTURES 6-week construction pre-apprenticeship certifies/matches you with good paying jobs.

NOW RECRUITING! Drug free DC resident,valid DL,good math/reading.

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Volunteers needed for the U.S. Capitol. Are you interested in History, Politics, Art, Architecture and you love to meet and help visitors from all over the world?

Our Volunteers help with visitor operations, public programs, special events, and administrative duties. Please consider volunteering at the Capitol Visitor Center. We are open Monday to Friday from 8:30-4:30 and have multiple days and shifts available.

For information, please see the website www.visitthecapitol.gov or contact Volunteer Coordinator at cvcvolunteer@aoc.gov or call (202) 593-1774.

Washington City Paper has an immediate opening for an outside sales position responsible for selling and servicing our advertising and media partner clients across our complete line of marketing solutions including print advertising in Washington City Paper, digital/online advertising on washingtoncitypaper.com and across our Digital Ad Network, as well as event sponsorship sales.

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Over 1,000 vehicles!

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â&#x20AC;˘ Two years of business to business and outside customer sales experience â&#x20AC;˘ Experience developing new territories & categories including lead generation and cold calling â&#x20AC;˘ Ability to carry and deliver on a sales budget â&#x20AC;˘ Strong verbal and written communication skills â&#x20AC;˘ Able to work both independently and in a team environment â&#x20AC;˘ Energetic, self-motivated, possessing an entrepreneurial spirit and strong work ethic â&#x20AC;˘ Organized, detail and results oriented with professional presentation abilities â&#x20AC;˘ Willing to embrace new technology and social media â&#x20AC;˘ MS Office suite proficiency - prior experience with a CMR/CMS software application â&#x20AC;˘ Be driven to succeed, tech savvy, and a world class listener â&#x20AC;˘ Enjoy cultivating relationships with area businesses

Out with the FIND YOUR old, In with OUTLET. the new RELAX, We offer product training, a competitive UNWIND, Post your compensation package comprised of a base salary plus commissions, and a full array of benefitswith REPEAT listing including medical/dental/life/disability insurance, CLASSIFIEDS a 401K plan, and paid time offWashington including holidays.

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washingtoncitypaper.com April 14, 2017 39

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