Washington City Paper (April 15, 2016)

CITYPAPER Washington

will fed inquiry haunt ex-mayor?

7

thai chefs can finally serve real thai food 19

Free Volume 36, no. 16 WashingtonCityPaPer.Com aPril 15–21, 2016

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3/21/16 12:22 AM

INSIDE

THE BALTIMORE SYMPHONY ORCHESTRA AND 89.7 WTMD PRESENT

12 Reelin’ in the yeaRs Our staff reviews 25 of the movies from this year’s Filmfest DC.

4 ChatteR DistRiCt line 7

Past Tense: The federal investigation may be over, but it still may haunt Vince Gray this election season.

8 Unobstructed View 9 Savage Love 10 Gear Prudence 11 Buy D.C.

D.C. FeeD

19 Young & Hungry: D.C.’s Thai chefs can finally showcase authentic, funky flavors.

22 Food Grazer: Restaurant Additions 22 The ’Wiching Hour: Union Kitchen Grocery’s Mozzarella & Strawberry 22 Underserved: Tabard Inn’s Rockefeller Rose

aRts

27 Master of His Domain: Capps on “Robert Irwin: All the Rules Will Change” at the Hirshhorn Museum and Sculpture Garden 30 Arts Desk: A Record Store Day guide to local record stores 30 One Track Mind: Paperhaus’ “Silent Speaking” 32 Curtain Calls: Zilberman on The Nether 33 Short Subjects: Olszewski on Colonia

34 Sketches: Carrigan on “Biological Tapestries”at Morton Fine Art 35 Speed Reads: Villacorta on Ghosts of Bergen County

City list

37 City Lights: Thao Nguyen plays a hometown show at 9:30 Club.

37 Music 43 Dance 43 Theater 45 Film

46 ClassiFieDs DiveRsion

47 Crossword

on the CoveR

Illustration by Lauren Heneghan

“

Does your Dog spenD a lot of time reaDing cycling message boarDs? —page 10

BUY ETS YOUR TICK TODAY!

THU, APR 28

MEYERHOFF SYMPHONY HALL | 410.783.8000 FeaturingBSOpulse.org your favorite local restaurants and breweries PLUS! HAPPY HOUR 5:30 PM

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CHATTER Don’t Blame Me, I Voted for Kodos

In which readers argue about what’s really the best

Darrow MontgoMery

Last week, Washington City Paper released its latest Best of D.C. issue, a more than 160-page paper packed with picks for the best bike shops, life coaches, and restaurant bathrooms in which to bang, according to you guys, and the best tree, market that sells giant carrots, and record store where you can also eat soup, according to us. Will Sommer’s selection of Marty Weil as “Best Washington Post Writer” was popular with—get this—writers from the Washington Post. “This is correct,” tweeted general assignment reporter Abby Ohlheiser. Another pick that resonated with readers was Creative Director Jandos Rothstein’s selection of the “Best Longest, Saddest, Cheap Happy Hour” at the Foggy Bottom Whole Foods. Jason Shevrin declared on Twitter, “Give @WCP a Pulitzer.”

Winners of readers’ pick categories were, naturally, delighted. Lorton, Va.’s Fair Winds Brewing, for example, tweeted, “So thankful to be voted Best Local Brewery.” But your judgement, dear readers, was also called into question. The Post’s Dan Zak tweeted, “I love @wcp, but @ wcp readers are fiercely unimaginative. Best local Instagram account: Taylor Gourmet? Wtf.” He continued, “Their staff picks are sharp, informative. @martyweilwapost is an A+ pick. But gosh, the reader ones are embarrassing.” To that I say what I’ll say next January, as President Donald Trump is sworn in: If you don’t vote, don’t complain.

Print editions of Best Of will disappear from newspaper boxes this week, but you can still check it out by visiting washingtoncitypaper.com/bestofdc.

—Sarah Anne Hughes Department of Corrections: In the Best of D.C. issue, Corcoran Arts Continuing Education was incorrectly referred to as the Corcoran School of the Arts and Design in a readers’ pick. The address for Wolf Trap was also incorrect: It is located at 1551 Wolf Trap Road.

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

2000 BLOCK OF EAST CAPITOL STREET SE, APRIL 6 PuBLISHER EMERITuS: Amy AustIn InTERIM PuBLISHER: ErIc norwood EDITOR: stEVE cAVEndIsH MAnAgIng EDITORS: EmIly q. HAzzArd, sArAH AnnE HugHEs ARTS EDITOR: mAtt coHEn FOOD EDITOR: jEssIcA sIdmAn POLITICS EDITOR: wIll sommEr CITy LIgHTS EDITOR: cArolInE jonEs STAFF WRITER: AndrEw gIAmbronE STAFF PHOTOgRAPHER: dArrow montgomEry InTERACTIvE nEWS DEvELOPER: zAcH rAusnItz CREATIvE DIRECTOR: jAndos rotHstEIn ART DIRECTOR: lAurEn HEnEgHAn COnTRIBuTIng WRITERS: jEffrEy AndErson, jonEttA rosE bArrAs, morgAn bAskIn, ErIcA brucE, sopHIA busHong, krIston cApps, rIlEy crogHAn, jEffry cudlIn, ErIn dEVInE, cAmIlA domonoskE, mAtt dunn, tIm EbnEr, noAH gIttEll, ElEnA goukAssIAn, trEy grAHAm, lAurA HAyEs, louIs jAcobson, AmrItA kHAlId, stEVE kIVIAt, cHrIs klImEk, joHn krIzEl, jEromE lAngston, cHrIstInE mAcdonAld, nEVIn mArtEll mAEVE mcdErmott, trAVIs mItcHEll, mArcus j. moorE, justIn moyEr, trIcIA olszEwskI, EVE ottEnbErg, mIkE pAArlbErg, sofIA rEsnIck, rEbEccA j. rItzEl, bEtH sHook, jordAn-mArIE smItH, mAtt tErl, tAmmy tuck, nAtAlIE VIllAcortA, kAArIn VEmbAr, EmIly wAlz, joE wArmInsky, mIcHAEl j. wEst, brAndon wu InTERnS: AllIson kowAlskI, quInn myErs DIRECTOR OF AuDIEnCE DEvELOPMEnT: sArA dIck SALES MAnAgER: mElAnIE bAbb SEnIOR ACCOunT ExECuTIvES: joE HIcklIng, ArlEnE kAmInsky, AlIcIA mErrItt, ArIs wIllIAms ACCOunT ExECuTIvES: stu kElly, cHrIsty sIttEr, cHAd VAlE SALES OPERATIOnS MAnAgER: HEAtHEr mcAndrEws DIRECTOR OF MARKETIng AnD EvEnTS: cHloE fEdynA BuSInESS DEvELOPMEnT ASSOCIATE: EdgArd IzAguIrrE OPERATIOnS DIRECTOR: jEff boswEll SEnIOR SALES OPERATIOn AnD PRODuCTIOn COORDInATOR: jAnE mArtInAcHE gRAPHIC DESIgnERS: kAty bArrEtt-AllEy, Amy gomoljAk, AbbIE lEAlI, lIz loEwEnstEIn, mElAnIE mAys SOuTHCOMM: CHIEF ExECuTIvE OFFICER: cHrIs fErrEll CHIEF FInAnCIAL OFFICER: Ed tEArmAn CHIEF OPERATIng OFFICER: blAIr joHnson ExECuTIvE vICE PRESIDEnT: mArk bArtEl LOCAL ADvERTISIng: (202) 332-2100 FAx: (202) 618-3959, Ads@wAsHIngtoncItypApEr.com vOL. 36, nO. 16 APRIL 15–21, 2016 wAsHIngton cIty pApEr Is publIsHEd EVEry wEEk And Is locAtEd At 1400 EyE st. nw, suItE 900, wAsHIngton, d.c. 20005. cAlEndAr submIssIons ArE wElcomEd; tHEy must bE rEcEIVEd 10 dAys bEforE publIcAtIon. u.s. subscrIptIons ArE AVAIlAblE for $250 pEr yEAr. IssuE wIll ArrIVE sEVErAl dAys AftEr publIcAtIon. bAck IssuEs of tHE pAst fIVE wEEks ArE AVAIlAblE At tHE offIcE for $1 ($5 for oldEr IssuEs). bAck IssuEs ArE AVAIlAblE by mAIl for $5. mAkE cHEcks pAyAblE to wAsHIngton cIty pApEr or cAll for morE optIons. © 2016 All rIgHts rEsErVEd. no pArt of tHIs publIcAtIon mAy bE rEproducEd wItHout tHE wrIttEn pErmIssIon of tHE EdItor.

4 april 15, 2016 washingtoncitypaper.com

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PROvEIt!

2015

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Weed Out the Myths

You CAN

• Legally use marijuana under the provisions in Initiative 71 if you are over the age of 21 • Possess two ounces of marijuana • Smoke marijuana and consume edibles in your private residence • Give and receive one ounce or less of marijuana to another person of legal age as long as no money, goods, or services are exchanged

“Mary Jane”

• Grow within your primary residence up to six marijuana plants, no more than three of which can be mature

You CANNOT

• Possess, grow, consume, sell, or give or receive marijuana if you are under the age of 21 • Possess amounts of marijuana in excess of two ounces • Consume marijuana in your car, a public space, anywhere to which the public is invited, or someone else’s private property without their consent (i.e., apartment complexes, restaurants, or private clubs)

“Reggie”

• Sell any amount of marijuana. This includes the acceptance of donations • Grow marijuana in excess of six plants, outdoors, or on public property For more information and resources about DC’s marijuana laws, visit theblunttruthdc.com.

@DrugFreeDC

DrugFreeDC

“Kush” washingtoncitypaper.com april 15, 2016 5

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WARD 6 TOWN HALL MEETING

Councilmember Charles Allen and DC Water General Manager George S. Hawkins are co-hosting a town hall meeting to discuss water projects and issues impacting your community.

• Water Rates • Clean Rivers • Drinking Water

Apply for FY17 grants beginning April 14, 2016 Arts and Humanities Fellowship Program Arts Education Projects | East of the River Projects Facilities & Buildings | Projects, Events & Festivals | UPSTART Visit dcarts.dc.gov or call 202-724-5613 for more information

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• Billing Issues • Infrastructure • Job Opportunities

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TUESDAY, APRIL 19, 2016 • 6:30-8:30 p.m.

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DISTRICTLINE Past Tense

Vince Gray federal inquiry rises again in time for Ward 7 race how much information their clients did provide. Mark Long, the Thompson crony who acted as Gray’s 2010 campaign driver, complains in recent court papers that he shouldn’t face five years in prison because he would have helped prosecutors against Gray if only they had charged him.

For their part, prosecutors are left to score stiff sentences against the 2010 campaign figures they did nab. In Hawkins’ case, for example, prosecutors say he broke his plea deal in an attempt to protect Gray and his relative. (The 76-yearold Hawkins pleads memory loss.)

Alexander didn’t respond to LL’s request for comment on the revelations about Gray and his relative, but she’s tested messaging that hits Gray on the federal investigation.

Still, Gray’s campaign treasurer Chuck Thies isn’t concerned. In the 2014 primary, when the shadow campaign was much bigger news, nearly 60 percent of Ward 7 voters backed Gray. A poll commissioned by a Grayaffiliated PAC, meanwhile, found him beating Alexander by 16 percent.

Thies says he’s not concerned about any new revelations that could come out of court proceedings in the coming weeks. If anything, Thies insists, the coming investigation details could help Gray. Hawkins’ sentencing memo, for example, portrays Hawkins as a serial liar (or at least a serial omitter) who wouldn’t hold up in any court case against Gray.

“On a scale of zero to ten, my scale about this—insofar as this election is concerned—is a zero,” Thies says.

Darrow Montgomery/File

Ward 7 D.C. Council hopeful Vince Gray got up in front of a crowd at a campaign stop last month and insisted that he’s over the federal investigation that once targeted him.

Washed his hands of it. He’s done.

“What I’m doing now is just trying to move on,” Gray told the audience.

But as much as Gray might want to get past the inquiry that cost him the 2014 mayor’s race, the investigation—or at least its legal half-life—isn’t done with him. U.S. Attorney Channing Phillips closed the investigation last December without charging Gray. Still, a series of new court dates and unsealed documents set to arrive in the run-up to the June primary means Ward 7 voters (and incumbent Yvette Alexander) won’t forget about the investigation anytime soon.

Several major players who cut plea deals for their roles in the 2010 election still have to be sentenced, meaning that both their attorneys and prosecutors must file documents in court discussing parts of the investigation. Shadow campaign financier Jeff Thompson, whose March 2014 guilty plea scuttled Gray’s re-election hopes, will be sentenced on June 10—only four days before Gray’s primary.

This Friday, meanwhile, a judge will respond to a request from the Washington Post by unsealing more than 90 different court files related to search warrants filed during the investigation into Gray and Thompson. The search warrants, which will include explanations of the case that were used to convince judges to approve the raids, could reveal even more about the years-long investigation.

The investigation’s spring cleaning has already unearthed new information about the efforts to elect Gray. In a sentencing memo for top shadow campaign operative (and onetime Gray pal) Vernon Hawkins, prosecutors published two pages worth of calls be-

tween Gray and Hawkins, who also had a role in the legitimate campaign. The sentencing papers also detail a scheme where an unnamed “close relative” of Gray’s took $10,000 in illicit cash from Thompson.

The feds aren’t any more reticent elsewhere in their Hawkins filings. Apparently just for kicks, they detail a comical interlude in which angry shadow campaign canvassers cause a “disturbance” at Gray’s legitimate headquarters, only to be mollified with cash and an order of pizza. Horrified Gray campaigns staffers agree via email that the canvassers shouldn’t be sent to tony Ward 3.

Not to be outdone, Hawkins’ defense team implies in court papers that one government cooperator could be guilty of running an interstate prostitution ring.

Sentencing memos aren’t typically this salacious. But prosecutors’ failure to nab a target bigger than Thompson has soured relations with at least a few defense attorneys, making both sides more eager to compete in court filings.

With no trial against Gray during which their clients might take the witness stand, defense attorneys who could have scored big cooperation breaks in sentencing now have to show

washingtoncitypaper.com/go/tipwages

Barry Worlds Colliding

Loose Lips

By Will Sommer

Should tipped workers be included in Mayor Muriel Bowser’s minimum wage bill?

To hear Herman Foushee tell it, Marion Barry spent one of the last moments of his life fretting about the kidney donation nonprofit that bears the mayor-for-life’s name.

“I want you to be the treasurer of the foundation because I know I can trust you,” Barry told Foushee in a phone call shortly before his death, according to an affidavit filled out by Foushee. “Niggers in D.C. steal and I know you will not steal from the foundation.”

This account serves Foushee’s interests—he’s the treasurer of the now hotly contested foundation, after all. But Barry did have good reason to fret about the fate of the Barry Dickens Kidney Foundation. A year after Barry’s widow first sued the foundation for using his image, the fight over what Barry wanted has divided some of the people who were closest to him.

Barry’s estranged wife-turned-widow Cora Masters Barry sued the foundation in April 2015, six months after Barry’s death.

As the executor of Barry’s estate, she accused the foundation and founder Kim Dickens, who gave Barry a kidney in 2008, of using Barry’s likeness without permission.

“This is something that Marion created and put me into, so to suggest that I created this and this is my doing is just ludicrous,” Dickens says.

Since then, though, the lawsuit has pulled in more than Barry’s widow and kidney donor. In court filings made earlier this year, Dickens’ defense attorney promised a long list of witnesses who can testify that Barry wanted to be associated with the kidney foundation. There’s Bernadette Tolson, Barry’s chief of staff when he held the Ward 8 Council seat, and Dr. Clive Callender, who managed Barry’s transplant.

Most notably, Dickens has backup from Sandy Bellamy, Barry’s longtime girlfriend.

In Bellamy’s affidavit, she says Barry wanted Dickens to run the foundation. (Bellamy’s no stranger to tangling with Masters Barry. She recently criticized Barry’s estate on Twitter for failing to buy a headstone for his grave.) “[Barry] wanted the Foundation to be a part of his living legacy and his legacy after he passed,” Bellamy says in her affidavit.

Late last month, a D.C. Superior Court judge ruled that the estate can control Barry’s posthumous image—but that it doesn’t necessarily control the foundation’s use of Barry.

That sets the stage for even more acrimony in the fight over what Barry really wanted. CP Got a tip for LL? Send suggestions to lips@washingtoncitypaper.com. Or call (202) 650-6925.

washingtoncitypaper.com april 15, 2016 7

UNOBSTRUCTEDVIEW If You Don’t Like Bryce Harper, You Are a Joyless Wet Blanket April 20-22, 2016, 8 p.m.

April 23, 2016, 2 p.m. & 8 p.m.

April 24, 2016, 2 p.m.

The Conference of the Birds reflects the symbolism of the birds’ journey in exploring the deep spiritual questions of life, which mirrors an individual’s search for God. Tickets are $10 Regular, $8 Seniors & $5 Students w/ ID

ROBERT E. PARILLA PERFORMING ARTS CENTER

Montgomery College • 51 Mannakee St., Rockville, MD 20850 www.montgomerycollege.edu/pac Box Office: 240-567-5301

8 april 15, 2016 washingtoncitypaper.com

By Matt Terl Here’s what Bryce Harper has already done on the baseball diamond during the young 2016 season: -Hit home runs during the season opener and the home opener -Stole half the number of bases as he did in all of 2015 (including one with his batting gloves in his mouth for no discernible reason) -Drove in the game-winning runs with a double against the slumping Braves -Continued to play baseball at the same MVP level he showed last season And here’s what he’s done outside the game: -Vocally advocated for baseball to be more entertaining and more enjoyable -Further made that point by way of custom “Make Baseball Fun Again” hats -Debuted signature cleats emoji stickers on his bat handles -Put custom -Demonstrated exuberance and enthusiasm and a sense of playfulness and fun about this game As a result, naturally, it seems like everyone hates him. The most notable recent outburst came from comedian (and part-owner of the New York Mets) Bill Maher, who described Harper as “a douche” who “looks like a douchebag,” but plenty of non-famous people share similar sentiments. A quick Internet search for “Harper” and “douche” brings up published results going back to Harper’s Major League debut in 2012, and a Twitter search for the same shows that the comparison is still going strong.

There’s something significant about the persistence of “douche” as the go-to descriptor for Harper. People will always take shots at superstars, but this is such an oddly generic, non-sports-y insult. Basically, it feels like a sad admission that people have no idea how to deal with a young white guy who has some swagger and enthusiasm for the game.

If Harper were Hispanic, he’d get tagged with the patronizing and dismissive “exuberant” moniker, and a lot of what he does would be written off as cultural differences.

If he were black, people would use all the coded words that get attached to the Chad Ochocincos and Terrell Owenses of the

world: “diva” and “flashy” and “showman” and “entertainer,” and it would become an expected part of his brand. He would be Rickey Henderson, basically.

But Harper is from a demographic that’s expected to treat the game with reverence: white kids who grew up with access to all the youth baseball the world has to offer. Harper was even lucky enough to have an older brother in the sport, so his parents were as aware as anyone could possibly be of what to do when a child shows signs of extreme aptitude in baseball.

The biggest local baseball hero when I was growing up was Cal Ripken, a player defined by his boringness. Ripken’s claim to fame in baseball is actually that he did the same goddamned thing every single day. Home runs, steals, even hits—these are the outlier plays, the things that rarely happen. Ripken holds the record in just showing up and playing the game the “right” way.

The mythology of baseball loves that sort of record. Most baseball movies—think The Natural or For Love of the Game or Field of Dreams—strive for a tone of muted reverence, always taking place in the golden light of a late summer’s afternoon. The sport is a thing to be honored and treated with respect. That’s who Harper is expected to be.

Instead, he’s more Major League. He’s brash, and funny, and he actually treats the game like, you know, a game—that is, as something people play to have fun. When Harper got contact lenses during his brief stint in the minors and saw his play immediately improve, he was compared to Ricky “Wild Thing” Vaughn, Charlie Sheen’s character in the film, who has a similar experience. Sheen’s character, it so happens, is also a demonstrative young white guy with a preposterous (i.e. awesome) haircut who irritates the baseball purists.

Major League was released in 1989, three years before Harper was even born. Harper’s comment that baseball is “a tired sport” rings even truer when you realize that 27 years later we’re still playing out that same tired genCP erational conflict.

Follow Matt Terl on Twitter @matt_terl.

Gear Prudence: Whenever I go to inflate my bike’s tires, my dog lunges towards the bike and tries to bite the tires. She’s a really sweet dog and in no way aggressive, and this seems really out of character. Is the noise of inflating tires bothersome to dogs? Is she scared of it for some reason? I love my dog and don’t want pumping my tires to be stressful for her, so how do I get her not to do this?

—What Other Options Follow?

Dear WOOF: Over the years, GP has picked up punctures almost every way imaginable, but not once from the canines of a canine.

This whole scenario sounds distressing for both you and your pup, but she could just be trying to help. Maybe she’s sniffed out that you’re overinflating your tires and is doing her best to stop you before suboptimal PSI hampers your riding experience. Does your dog spend a lot of time reading cycling message boards? Did you adopt her from Jan Heine? Or is she, like you said, just scared?

That’s what it sounds like to Dr. Heather McCurdy, a veterinarian at AtlasVet and a year-round bike commuter. “The owner’s action of pumping and/or the noise it creates may cause his dog to see the pump as a scary threat,” she tells GP. “The pump could also be stimulating predatory behavior. Regardless, if he wants to eliminate the behavior he will need to first desensitize her to the pump itself, and then to him using it.”

The best way to achieve this is through positive reinforcement. Treat and praise your dog when she successfully interacts with the pump. It will be a progressive process that’ll take a some time and practice. Once the dog feels more comfortable around the pump itself, you can work on getting her more used to the pumping motion and associated noises. If there’s someone else in the house, one of you can raise and lower the pump handle while the other person praises the dog and gives her treats. McCurdy emphasizes that you always want to make it a positive experience and you never want to force the pump onto your dog.

Like all things cycling, patience and repetition will lead to the best results.

Of course, there’s another solution and it’s pretty straightforward: stop inflating your tires in front of your dog! Either you or she can go into a different room. This doesn’t really address the underlying issue of your dog reacting to the pump, but it does stop the immediate problem of your dog freaking out and you freaking out about your dog freaking out. But while this is simpler and more expedient, it also robs you of some fun bonding time together, so GP thinks you should invest —GP the the effort to try to sort it out.

Gear Prudence is Brian McEntee, who tweets at @sharrowsDC. Got a questions about bicycling? Email gearprudence@washcp.com. washingtoncitypaper.com april 15, 2016 9

SAVAGELOVE

“Breathlessly negotiates race, religion, and sexuality.”

I’m a 49-year-old gay man. I’ve become friends with a 21-year-old straight guy. He’s really hot. He’s had to drop out of college and return home. I know he needs money, as he hasn’t found a job yet and has resorted to selling off old music equipment. I would love to have some sweaty clothes of his, namely his underwear, but I’d settle for a sweaty tank top. Is it legal to buy someone’s underwear? He’s a sweet guy, and I don’t want to freak him out by asking something so personal. How do I broach the subject?

—Lustfully Obsessed Stink Seeker

– ENTERTAINMENT WEEKLY

“Perfectly wonderful... packed with humanity.”

– THE NEW YORK TIMES

It’s perfectly legal to buy and sell used underwear, LOSS, so there’s no legal risk. But you risk losing this guy as a friend if you broach the subject. You can approach it indirectly by saying something like “So sorry to hear you’re selling off your music equipment.

You’re young and hot—you could probably make more money selling used underwear or sweaty tanks.” Then follow his lead: If he’s disgusted by the suggestion, drop it. If he’s into the idea, offer to be his first customer.

—Dan Savage

April 5 – May 8

Photo of Shayna Blass and Xavier Scott Evans by Christopher Mueller.

Charlotte loves Jonny.

And Claire.

What will her parents say?

The Mystery of Love & Sex contains full nudity.

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I’m a 52-year-old straight guy from Australia, 29 years married. About eight years ago, I met a lady through work and we became friends, with our friendship continuing after she moved on to a different job. We meet up for coffee occasionally, and we share a love of cycling and kayaking, which we also do together on occasion. Both of us are in long-term, committed monogamous relationships. Our friendship is strictly platonic, sharing our love of riding and paddling. Neither of our partners shares our interest in these outdoor pursuits. My friend does not feel safe doing these activities alone, so often depends on my company for safety as well. The problem is that my wife gets jealous of the time we spend together and wants me to cut off contact with my friend. My wife does not trust my friend not to “take advantage” of our friendship. My relationship with my wife is the most important one in my life, so I am prepared to say good-bye to my friend. How do I say good-bye in a respectful, caring, and loving way?

If she asks why we cannot be friends, I don’t want to tell her, “Because my wife doesn’t trust you not to try to get inside my pants (or cycling shorts),” as that would be hurtful. I don’t want to lie, but telling the truth would be damaging to my friend.

—Paddling And Riding Terminates Your friend is going to waste a lot of time wondering what she did wrong, PART, if you don’t tell her the real reason you can’t hang out with her anymore. And guess what? This not knowing will cause her more hurt than the truth could. So tell your friend the real reason she’s out of your life: You’re terminating your friendship because your wife is an insecure bag of slop who regards her as a

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threat. Your friend has a right to know she’s as blameless as you are spineless. Forgive me for being harsh, PART, but I think standing up to your wife, not dropping your friend, is the best approach to this situation. —Dan Before I got married, I asked husband repeatedly about fantasies and kinks, so that we had full disclosure going in. It led to some fun stuff in the bedroom, but we’re both pretty low-grade kinksters. Now I realize that I do something that I have never told him about: It’s the way that I masturbate. I started when I was 5 or 6, because it felt good. Got chided by parents and teachers for doing it in public and learned to keep it hidden. And so ever since, it’s been my secret thing. I think it has helped me orgasm in that I knew how early on, but it has also made it more difficult to come in positions that don’t mimic the masturbating position. Husband likes the idea of me coming in different positions, and I’ve managed now and again, but he doesn’t know why I’m set

You’re terminating your friendship because your wife is an insecure bag of slop who regards her as a threat. in my ways. We’ve been together for 10 years, but I have never shared this. Should I tell him? Part of me is afraid that he will think I’m weird. But more than likely, he’ll just want to watch me do it.

Still, it’s kind of nice having this one thing that belongs only to me. —Secret Masturbator Obligated Over Spanking Hotness?

You could hold this back, SMOOSH, and keep it all for yourself. But I don’t see why you would want to. As sexy secrets go, “There’s one particular position I like to masturbate in” is pretty boring. Unless you need to be positioned on top of a cadaver or under your dad or beside a life-size Ted Cruz sex doll to

get off when you masturbate, there’s really no —Dan reason to keep this secret.

I am totally with your German friend, who wouldn’t do Nazi role-play “in six million years.”

I’ve been in a similar position—not quite Holocaust level, but not far off. I’m a white British guy.

A while back, while living in the UK, I was dating a woman from Bangalore. She revealed—after her face lit up when I dressed in a way that made me “look like a colonialist” (her words)—that her deepest fantasy was to be an Indian slave girl raped by an English imperialist. And then, living in the US a few years later, I was dating a black woman.

We got to talking about the kinks of exes. I told her about this one, and she revealed that her own fantasy was to be the slave on a 19th-century plantation, raped by her white owner. How about some advice for the human fetish objects in these scenarios, Dan? I didn’t want to stigmatize these women for their sexual desires, and I wanted to be GGG, but it was, frankly, hard (or not, as it were). Being asked to act out roles I feel guilty about, and to use the kind of racial epithets I make every effort to avoid… the guilt is a boner-killer. Any tips on how a GGG partner can get past this kind of mental block and at least act the role enthusiastically enough to fulfill the fantasy? Or was a subsequent girlfriend’s outrage about my willingness to indulge such socially regressive fantasies justified?

—I Might Play Every Role I’m Asked Less Ideologically-Scrupulous Motives Actors play Nazis in hit movies, British colonialists for prestigious BBC miniseries, and serial killers on long-running television shows. I don’t see why playing monsters in entertainments devised for millions wins Oscars (Christoph Waltz for playing a Nazi in Inglourious Basterds), BAFTAs (Tim PigottSmith for playing a brutal colonialist in The Jewel in the Crown), and Golden Globes (Michael C. Hall for playing a sociopathic serial killer in Dexter), but playing a monster for an audience of one should outrage “subsequent girlfriends” or anyone else.

My advice for people asked to play monsters in the bedroom mirrors my advice to a gay guy attracted to degrading “antigay” gay porn: “A person can safely explore degrading fantasies—even fantasies rooted in ‘hate ideologies’—so long as he/she is capable of compartmentalizing this stuff. Basically, you have to build a fire wall between your fantasies and your self-esteem. (And between your fantasies and your politics.)”

If you can build a fire wall between their fantasies and your politics and beliefs, IMPERIALISM, go for it. If you can’t, don’t.

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

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Reelin’ in the YeaRs 12 april 15, 2016 washingtoncitypaper.com

After 30 years, it’s safe to say Filmfest DC has seen it all. It’s had its fair share of celebrity attendees (Morgan Freeman, Charlize Theron, John Malkovich, and Sydney Pollack, to name a few); controversies (in 1998, the Chinese government pressured the festival’s organizers into pulling Paul Wagner’s controversial film about China’s mistreatment of Tibetan citizens); and setbacks (in 2014, rising expenses and shrinking funds nearly killed it). But two years after that near-fatal blow, Filmfest DC—with longtime Director Tony Gittens and Deputy Director Shirin Ghareeb at the helm—has found its footing again.

No, it’s not nearly as prolific and widespread a festival as it was in its heyday, but it still offers an impressive and diverse selection of some of the best new cinematic offerings from around the world. Once again, most of the screenings will take place at just two locations—Landmark’s E Street Cinema and AMC Mazza Gallerie—making it easy for filmgoers to plan their schedules.

There are 75 films from 45 different countries scheduled to play over the next 11 days, with Jocelyn Moorhouse’s ’50s period drama The Dressmaker—starring Kate Winslet as a well-traveled clothier who returns to her home in Australia after living in exile—opening the fest.

Per usual, films are grouped in familiar programs—The Lighter Side (“Politics Isn’t the Only Funny Thing in Washington!” the program’s description annoyingly reads), Trust No One (the fest’s collection of “espionage, crime, and thrillers” that are always the grittiest of the lot), and Justice Matters (social justice documentary lovers, take heed of these films)—but there are also some new series in the mix this year.

Rhythms On and Off the Screen features a number of films for music lovers, while Cine Cubano focuses on films from Cuba, a welltimed addition considering that relations between that country and the U.S. have recently eased.

Over the years, Filmfest DC’s lineups have always been a mixed bag—some years are much better than others. Rest assured, this year’s a good one. Of the 25 films Washington City Paper writers and editors previewed, there are certainly some downers (Zinnia Flower, The Measure of a Man) but hardly any stinkers. Maybe that’s a sign of how Filmfest DC has adapted since its neardeath experience; with a smaller operating budget, Gittens and Ghareeb seem to be emphasizing quality over quantity.

And as for the future of the fest? “We think we’re past some of our problems from previous years,” Gittens says. “We’re happy to be here 30 years, and we hope to be here 30 years more.”

—Matt Cohen

Paths of the soul Directed by Zhang Yang China I first gasped at Paths of the Soul more than 20 minutes into the film. Up until that point, the cast of non-professional actors had established the plot with a complete absence of drama or tension. The scene is set against the backdrop of everyday life in rural Tibet: The elderly Yang wants to make a pilgrimage to Lhasa, a holy city more than 1,200 miles away.

Soon, other Buddhists in the village seeking some sort of blessing or redemption—a man who butchers animals and drinks to forget, a pregnant woman—ask to join and are readily accepted. Preparations take place and the 11 villagers set off on foot. Then they begin to kowtow: a religious action that requires them to clap their hands, slide to the ground, and lay flat on their faces. Then they do it again.

And again. And again, with just wooden hand and knee pads and a leather apron to protect them from the highway’s asphalt. This is the majority of the action for the two-hour, nonscripted film, and it’s astonishing to watch the cast perform the ritual over and over again in increasingly harsh conditions. There’s a simplicity both to the act—performed against breathtaking landscapes—and the film that lends itself to the quiet of a movie theater, a temple in which to reflect on your own devotion to your beliefs. —Sarah Anne Hughes Fri., April 15, 6:30 p.m., E Street Cinema; Sun., April 17, 7:30 p.m., E Street Cinema sweet smell of sPring Directed by Férid Boughedir Tunisia, France The complex beauty of modern-day Tunisia is on display in Sweet Smell of Spring, a charm-filled comedy by Tunisian director Férid Boughedir. Aziz, nicknamed Zizou (portrayed with wide-eyed innocence

by Zied Ayadi), is a young man searching for a better life in the big city of Tunis, having left his small Saharan village following a stint installing satellite dishes. Zizou has studied at a university for two years, which is referenced as a big deal throughout the film, but he has very little common sense. Still, he becomes the unexpected face of a freedom movement, falls in love with the smolderingly sexy Aicha (Sara Hanachi), and finds a life beyond what he imagined possible. Despite its believable forays into visible conflict, the story is light, which is clearly what Boughedir—a legend of Middle Eastern cinema—intended. And indeed, Sweet Smell of Spring delivers just the right mix of romance and comedy to keep the average movie patron engaged—subtitles and all. —Jerome Langston Fri., April 15, 6:30 p.m., AMC Mazza Gallerie; Sat., April 16, 9 p.m., AMC Mazza Gallerie

the limitations of its reach: The little things do get noticed, and there are consequences, but Behavior is really about what happens when kids and adults have to be honest with —Joe Warminsky one another.

Behavior

Fri., April 15, 9 p.m., E Street Cinema; Sun., April 17, 3:15 p.m., AMC Mazza Gallerie; Tues., April 19, 8:45 p.m., AMC Mazza Gallerie Zinnia flower Directed by Tom Shu-Yu Lin Taiwan This raw, beautiful, and heartbreaking film grew out of director Tom Shu-Yu Lin’s own grief after the death of his wife in 2012. Set in Taipei, Zinnia Flower follows Ming (Karena Lam) and Yuwei (Chin-Hang Shih) as they try to move on after a car crash robs them of their fiancé and pregnant wife, respectively.

The painful passage of time is marked by the 100-day Buddhist mourning tradition, the rituals of which neither character finds solace in.

Only connected by their sorrow, Ming and Yuwei’s interactions are few and detached. Their lonely anguish grows as Yuwei drinks heavily and Ming goes on her honeymoon alone. Melancholic without being melodramatic, the film touches on some discomfiting aspects of human despair while still managing to end on an —Margaret Carrigan optimistic note.

Paths of the Soul

Sat., April 16, 4:30 p.m., E Street Cinema; Sat., April 23, 4:45 p.m., E Street Cinema the measure of a man Directed by Stéphane Brizé France

Price of love Directed by Hermon Hailay Ethiopia Teddy (Eskindir Tameru) is a young taxi driver on the straight and narrow after a rough upbringing on the streets of Addis Ababa. His do-good attitude gets him in trouble, though, after he helps Fere (Fereweni Gebregergs) escape her abusive pimp, Marcos (Kassahun Getatchew). Marcos’ crony steals Teddy’s taxi and holds it hostage in exchange for Fere, which prompts a tag-team effort to recover it by Fere and Teddy, who fall in love in the process. Directed by rising Ethiopian filmmaker Hermon Hailay with a crew of just eight, Price of Love lacks some technical polish. It does, however, squarely highlight Ethiopia’s rampant sex work and trafficking issues and seeks to destigmatize the women involved. While Hailay clearly advocates for female agency—“Why is every man trying to control me!” Fere cries at one point—the message would be stronger if

she told the story from Fere’s viewpoint rather —Margaret Carrigan than Teddy’s.

Fri., April 15, 8:30 p.m., E Street Cinema; Fri., April 22, 8:45 p.m., E Street Cinema Behavior Directed by Ernesto Daranas Cuba A flamenco fan, a pill bottle, a Virgin Mary prayer card—small objects are vital to the plot of Behavior, which offers a decidedly Cuban version of the “inspirational schoolteacher” formula. Chala, a resourceful 12-year-old boy with an alcoholic single mother, is lucky to have a maestra like Carmela, an experienced educator who occasionally bends rules but is hardly a rebel. Set in a tumbledown part of Havana, directed with care by Ernesto Daranas, and enlivened by a strong cast, the film was a hit in Cuba in 2014. It doesn’t challenge the Castro regime so much as it shows

The Measure of a Man begins and ends grippingly with unemployment. Thierry is the middle-aged man being figuratively measured; he has a wife and teenage special-needs son at home, which makes his unforeseen job loss at the film’s opening all the more bitter.

His search for employment is humiliating— one interviewer tells him that his resume is poorly written and his chances are slim—and the pressure defeating. But Thierry and his wife still take dance lessons, spend time with their son, and live as best they can from day to day. Vincent Lindon’s Thierry is a man of few expressions as he goes about life, with long, compelling takes trained on him as he, for instance, attends a funeral or someone’s retirement party. Though a few of these shots are a bit too long, the point is made that Thierry is present at these events even if he surely doesn’t want to be. Life outside a punch clock is a prominent and worthy theme, but how much you’re willing to put up with for a paycheck has equal muscle. —Tricia Olszewski Sat., April 16, 5 p.m., AMC Mazza Gallerie; Fri., April 22, 7 p.m., Embassy of France angry indian goddesses Directed by Pan Nalin India What at first looks like a dramedy about old friends reconnecting becomes a sharp indict-

ment of customs and cultures in Pan Nalin’s Angry Indian Goddesses. Set on the beautiful beaches of Goa, the action opens with high school classmates Pamela, Madhurita, and Suranjana arriving at an estate to celebrate their friend Freida’s upcoming wedding.

They’re joined by Joanna, Freida’s British-Indian cousin who’s an aspiring Bollywood actress; an activist named Nargis; and the estate’s maid, Lakshmi. The interactions between these seven women, with their different careers and experiences, yield intense discussions on a variety of topics, from appropriate standards of dress to crimes against women to suicide, and the film briefly turns into an issues movie.

Only in the film’s shocking final act do viewers begin to understand why these conversations were included in the first place. Nalin’s subtle direction turns what some reviewers called a “South Asian spin on Bridesmaids” into a cutting look at the way women understand each other and how the world understands women.

—Caroline Jones Sat., April 16, 6:30 p.m., E Street Cinema; Mon., April 18, 8:30 p.m., AMC Mazza Gallerie raBin, the last day Directed by Amos Gitai Israel, France This is a long, painful watch, and not necessarily for the reasons it should feel painful (the shocking 1995 assassination of Yitzhak Rabin, which brought a particularly fruitful phase of Israeli-Palestinian peace talks to a screeching halt). It’s two-and-a-half hours of docu-drama with overlong tracking shots, droning reenactments of dull conversations, and very oblique discussions of Israeli politics in the wake of the assassination. If this isn’t an area of expertise for you already, I imagine you’re going to be utterly bored and confused by the entire thing. It has some moments that really get under your skin (apparently authentic footage of the peace rally at which the shooting occurred), as well as some truly beautiful moments (lingering shots of settlers midconstruction that reminded me of the Maysles brothers best intimate, gut-wrenching camerawork on marginalized people in LaLee’s Kin or Grey Gardens). But at the end of the day, it’s disjointed, dull, and desperately in need of an edit. In other words, I just didn’t get it, and I sat down for the film very much wanting to.

—Emily Hazzard Sat., April 16, 6:30 p.m., E Street Cinema; Tues., April 19, 8:15 p.m., E Street Cinema a Patch of fog Directed by Michael Lennox United Kingdom It’s been 25 years since Sandy Duffy’s debut novel made him a household name in Northern Ireland, though he hasn’t written another book since. These days, he’s a professor who co-hosts a popular debate show at night. These gigs, plus his continued book sales, have made him fairly wealthy—so it’s hard to understand why he’s so into shoplifting. In A Patch

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In an increasingly transparent and media-saturated world, stories from Guantanamo Bay still remain rare. Guantanamo’s Child offers the notorious prison’s youngest detainee, Canadian Omar Khadr, the chance to speak after spending almost half his life in U.S. custody. Khadr’s warmth is instantly disarming, and he ably guides the audience down the rabbit hole of the war on terror. Khadr’s account is not a solo act though, with interviews from members of the U.S. military establishment and other released detainees countering or corroborating Khadr’s experience. With limited information and footage from Bagram and Guantanamo available, the documentary relies heavily on these testimonies. But it justly engages this battle of narratives, and Khadr himself affectingly discusses his struggle for authenticity and legitimacy in the eyes of the public. In doing so, the film reminds us of Guantanamo’s primary function: to distort truths and peddle uncertainty. With Guantanamo still an open moral wound, Shephard and Reed’s film has never —Shilpa Jindia been more essential.

Viva

of Fog, a lonely security guard named Robert catches Sandy, threatening to show his security footage to the police. Sandy, fearing a hit to his good name, grudgingly lets the friendless Robert blackmail him into hanging out. Robert’s a creep who likes tormenting Sandy with his presence. Sandy tries to get rid of Robert with a plan that’s so inane, it calls into question his intellectual reputation. —Zach Rausnitz

Sun., April 17, 5:30 p.m., E Street Cinema; Tues., April 19, 6:30 p.m., E Street Cinema viva Directed by Paddy Breathnach Ireland, Cuba

Sat., April 16, 7 p.m., AMC Mazza Gallerie; Mon., April 18, 8:30 p.m., AMC Mazza Gallerie the thin yellow line Directed by Celso García Mexico The Thin Yellow Line, by first-time Mexican director Celso García, sports the same plot as at least two other films, the 2001 Icelandic film Either Way and its American remake Prince Avalanche. All three are about a team of road workers painting the yellow line on a mostly barren highway. It’s a task that offers plenty of opportunity for reflections, and García shapes his tale into a often-pleasing meditation on regret, opportunity, and life itself. His protagonist, Tono, is a lonely old man with few job prospects and a buried history, but when he pulls together a team of eccentric workers—including naïve teenager Pablo (Américo Hollander)—he finds a new family and an opportunity to right the wrongs of his past. It unfolds along predictable lines, and Garcia occasionally drifts into maudlin territory, but the sense of loss is very real, and the film is filled with wonderfully grizzled faces and lived-in performances. —Noah Gittell Sat., April 16, 9 p.m., AMC Mazza Gallerie; Fri., April 22, 6:30 p.m., AMC Mazza Gallerie city of trees Directed by Brandon Kramer USA This home-grown documentary takes a look at efforts to rehabilitate Washington Highlands’ Oxon Run Park as well as the people behind them. Washington Parks & People, buoyed by a grant, gave jobs to a handful of residents each desperate for one and set out to beautify the

The Thin Yellow Line District. They chose to focus on Oxon Run, the largest municipal park in D.C., which was ratty, dangerous, and sparsely used. Their mission: to plant trees. Their opposition: neighbors, surprisingly, particularly one with an attack dog and a gun. City of Trees profiles three of the group’s struggling employees and gets behind closed doors when there’s no more money left.

They strategize until they’re out of breath, and it’s uplifting to see their small victories as well as the profiled men—one formerly incarcerated—taking the project to heart and staying upbeat about the opportunity and skills they had been given. The eldest of the three—himself an impressive leader—says at the beginning of the film, “We want to bring sunshine to the community.” Consider it brought.

—Tricia Olszewski Sun., April 17, 3:15 p.m., E Street Cinema nasser’s rePuBlic Directed by Michael Goldman USA Gamal Abdel Nasser was the very embodiment of the proverbial “charismatic leader” you read about in political science textbooks, but Nasser’s Republic: The Making of Modern Egypt steers clear of breathless paen-singing. Instead,

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the film captures the process of shaking colonialism’s chains and building a nation. It also offers a very comprehensive look at the anti-Western, pan-Arabism movement, showing Nasser as equally pragmatic and idealistic. The themes Nasser’s Republic tackles are big, yet the film is able to give a panoramic view of the issues of nationalizing an economy, gaining public support, contending with the Muslim Brotherhood, and wrestling with the thorny issue of what democratization and nation building actually looks like. Through interviews with Nasser’s daughter and a number of scholars and journalists, a portrait of a doggedly hard-working leader emerges. Nasser’s political milieu turns out to be not too terribly different from modern-day Egypt’s, and as such, it’s essential viewing for anyone interested in how a country moves from colonialism—and its effects—into autonomy. But sometimes autonomy can devolve into autocracy, and that’s something Nasser’s Republic does not shy —Toni Tileva away from exploring.

Sun., April 17, 5 p.m., E Street Cinema; Mon., April 18, 6:30 p.m., E Street Cinema guantanamo’s child Directed by Michelle Shephard and Patrick Reed Canada

In a key scene in director Paddy Breathnach’s Viva, Angel—recently reunited with his estranged son, Jesus—gazes from the rooftop of their shoddy apartment building in downtown Havana. “This is the most beautiful slum in the world,” he says. It’s a poignant moment in a film full of them, but it’s also the moment when you realize that the city of Havana is a character in itself. Jesus (Héctor Medina) spends his days cutting and styling the hair of elderly women in his neighborhood and spends his nights as a hairdresser at a seedy drag queen bar. His aspirations to finally take the stage are complicated when his father (Jorge Perugorría)—who was sent to prison when he was three—unexpectedly reenters his life. Jesus struggles to accept his father back into his life while secretly pursuing his dream of being a drag queen.

“Why do you want to do this?” Mama, the bar owner and Jesus’ mentor, says to him. “I don’t know,” Jesus replies. “It’s strong. It’s pretty.” And that’s just what Breathnach’s film is: a strong, pretty, and touching treatise of a son and father reconnecting, and the city where it —Matt Cohen all takes place.

Sun., April 17, 8 p.m., E Street Cinema; Thurs., April 21, 8:45 p.m., E Street Cinema motley’s law Directed by Nicole Nielsen Horanyi Denmark In 2008, American attorney Kimberly Motley relocated to Afghanistan to practice law. Her one-year sacrifice, undertaken to earn extra money for her family back in North Carolina, unexpectedly turned into several years despite the dangers she faced every day. Why? One of this documentary’s few missteps is that we

never really find out. Motley, the only foreigner licensed to practice in the country, is an easy person to get behind, with a persistent but not patience-testing manner and a fearless optimism—though she’s not above calling a situation “bullshit.” Her level-headedness is key as she faces the frustrations that result as new Afghan law still blends with the old. (“The lawyer is not entitled to have a say here,” she’s indirectly told in one case.) A sometimes-odd interview style—such as the many shots of Motley on the phone, seemingly answering questions the director would ask—takes you out of the film a bit. Otherwise, Motley’s Law offers a portrait of an American not exactly serving her country, but inargu—Tricia Olszewski ably serving others.

Mon., April 18, 6:30 p.m., E Street Cinema; Wed., April 20, 6:30 p.m., E Street Cinema Belgian rhaPsody Directed by Vincent Bal Belgium

conductor, plays out in a predictable, everyonelearns-their-lesson trope. The personal exchanges and dialogue are often over-acted, but the film is saved by an endearing ensemble and comedic timing. Many of the background characters develop reliable schticks, which mesh— and at times save—the strained performances of the film’s principal actors. The result is more Bring It On than Whiplash. —Quinn Myers Mon., April 18, 8:45 p.m., E Street Cinema; Sat., April 23, 5 p.m., E Street Cinema akounak: rain the color of Blue with a little red in it Directed by Christopher Kirkley Niger The Tuareg people who live in the Sahara desert region of Niger don’t have a word for purple, which is why first-time director Christo-

pher Kirkley’s adaptation of Prince’s Purple Rain is called Rain the Color of Blue with a Little Red in It. Starring singer/guitarist Mdou Moctar, this leisurely paced effort substitutes tea-drinking rituals for the flash and sex of its 1984 Minneapolis predecessor and is the first full-length movie to be voiced completely in the Tuareg language Tamasheq. While the film’s plot, with its father/son tension and battle of the bands ending, is a tad simplistic— and the acting a bit wooden—this Afro-groove celebration of Tuareg culture is nonetheless —Steve Kiviat unique and endearing.

Tues., April 19, 6:30 p.m., E Street Cinema; Sat., April 23, 9:15 p.m., E Street Cinema love & friendshiP Directed by Whit Stillman Ireland, France, Netherlands

Marshland

For a musical about two rival concert-jazz groups, Vincent Bal’s Belgian Rhapsody provides an unexpectedly intimate look at Belgium’s cultural norms and its countrymen’s behavior. Following a tie in the national championship, the two troupes prepare to represent their home country in the European finals as the film takes a few, mostly good-natured shots at the (slightly unbelievable) antics of both French and Flemish-speaking Belgians. The groups’ members resort to bickering, betrayal, and, as the intensity grows, physical altercations. A budding romance between Hugues, a bad-boy heartthrob, and Elka, the practical daughter of the local

Over the years, writer/director Whit Stillman has developed a knack for capturing the essence and humor of the bourgeois of certain eras.

With his debut, Metropolitan, it was the yuppie Upper East Siders of the ’80s; with The Last Days of Disco, it was rich Manhattanites from New York’s disco set; and Damsels in Distress skewered preppy East Coast university types.

So it’s only natural that his latest film, an adaptation of the Jane Austen novella Lady Susan, would be set in the world of the Romantic-era bourgeois—the bougiest of bourgeois settings. Since the death of her husband, Lady Susan Vernon (Kate Beckinsale) has been ever-so-carefully plotting her next marriage, traversing from friends’ mansion to friends’ mansion, scoping out and seducing the single rich dudes that could boost her social status. But when she moves in with her in-laws and tries to find new beaus for herself and her daughter, Frederica (Morfydd Clark), Vernon’s manipulative plans cause a stir in the household. Despite Stillman’s sharp, witty dialogue, there are moments of extreme tediousness—nearly every other scene features two characters walking and talking in some sort of decadent garden setting. Perhaps that’s part of Stillman’s visual jocularity, but like much of the film, the humor is so subtle that, if you tune out for a —Matt Cohen second, you’ll miss it.

Tues., April 19, 6:30 p.m., E Street Cinema marshland Directed by Alberto Rodriguez Spain It’s True Detective, but in 1980s Spain. Two detectives, frequently filmed from skies filled with strange birds, tramp across depressed swamp country. An investigation of a single violent crime unravels a conspiracy, while our protagonists are dogged by crooked cops and local business heavies. One of the Spanish detectives even bears a resemblance to Matthew McConaughey. Surprisingly, Marshland started filming before the HBO show’s release, which means its competent plotting and camera work are all its own. Besides, Rust Cohle never had —Will Sommer to mess with Franco.

Tues., April 19, 8:45 p.m., AMC Mazza Gallerie; Thurs., April 21, 8:45 p.m., AMC Mazza Gallerie; Sat., April 23, 4:45 p.m., AMC Mazza Gallerie the fencer Directed by Klaus Härö Finland, Germany, Estonia

Love & Friendship

Congratulations, America: You’ve successfully exported the inspiring sports biopic genre to Estonia. Klaus Härö’s Golden Globe-nominated drama focuses on the life of Endel Nelis, a coach who launches a fencing program at a small secondary school in the town of Haapsalu in the early 1950s. Now considered a legend in his nation, the gruff teacher first appears unwilling to teach the ragtag group of youngsters, many of whom have been orphaned during the Soviet occupation that deported ethnic Estonians thought to be enemies of the state. washingtoncitypaper.com april 15, 2016 15

Dine Out

25%–110% of your bill will be donated to Food & Friends.

Thursday, April 28th www.foodandfriends.org/dol

Dining Out for

HIRE AN INTERN. CHANGE A LIFE.

StreetSense StreetSense

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But he eventually warms to the children and fashions them makeshift weapons out of sticks.

They beg to attend a competition against other Soviet child athletes in Leningrad, but there’s one small problem: Nelis is hiding something and the secret police inch ever closer to apprehending our hero. Even in a predictable narrative that includes the stereotypical romance, sullen student, and come-from-behind victory, Härö admirably builds tension in the film’s final third. If you loved D2: The Mighty Ducks but thought it lacked Stalinism, this is the film —Caroline Jones for you.

Banat Directed by Adriano Valerio Italy, Romania, Bulgaria, Macedonia

• Oral Cancer Screening • Full Mouth Set of X-rays • Dental Cleaning • Examination • Periodontal Exam ($415 value)

Pick up a copy today from vendors throughout downtown D.C. or visit www.streetsense.org for more information.

StreetS

StreetSense

Wed., April 20, 8:30 p.m., AMC Mazza Gallerie; Sat., April 23, 5 p.m., AMC Mazza Gallerie

202-293-1067

Adam Vitelli, DMD

The Violin Teacher

The Forbidden Shore

Banat starts out all Before Sunrise, with Ivo and Clara meeting cute as Ivo is vacating and Clara moving into an apartment in Bari, Italy.

They take a break from hauling stuff and proceed to wander the beachside city together.

There’s a spark, but Ivo is relocating to Romania for a job—what to do? Banat spends most of its time in the titular city, meaning the cinematography is bleak even when the prospect of romance is bright. But its dreariness, combined with the film’s meandering, episodic structure, puts a further damp-

er on this charmless love connection, making it difficult for the film to, well, move you.

—Tricia Olszewski Thurs., April 21, 8:30 p.m., E Street Cinema; Sat., April 23, 7 p.m., E Street Cinema

the forBidden shore Directed by Ron Chapman Canada It’s impossible to get too comfortable with any performance in this tour of contemporary Cuban music; director Ron Chapman makes it abundantly clear that Havana is teeming with singers and groovemakers, and that they all might benefit from the regime’s growing rapprochement with the U.S. The sounds are eclectic, the scenes are vibrant (and short), and the many, many artists speak relatively freely, including rocker X-Alfonso, who knocks Buena Vista Social Club and says the world would need to send “20 Ry Cooders” to the island to discover all of its musical greatness. (Chapman, meanwhile includes lots of shots of old cars and seawall sunsets, because why not?) In the end, The Forbidden Shore isn’t so much an advertisement as it is an argument against the idea that art has somehow been stunted on the island. Less talk and more rock (or reggaeton, or rumba, or whatever) might’ve made that —Joe Warminsky point even better.

N O M A D I C R E A L E S TAT E . C O M

WINNER FOR

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TH A NK YOU D.C. FOR YOUR VOTES A ND S UPPORT! WE ARE WORKING HARD TO BE EVEN BETTER.

Rebel Citizen

the violin teacher Directed by Sérgio Machado Brazil After Laerte (Lázaro Ramos), a prodigy violin player, flubs his audition for Brazil’s most prestigious orchestra, he begins teaching music in one of São Paulo’s largest slums. What follows is well-tread ground about the transformative force of both music and education, but Laerte sticks out as an atypical inspiration.

He remains disaffected and unemotional, and his preoccupation with music drives his relationships both with himself and his students, even as shadowed threats from the favela loom within his classroom. While Laerte’s reticence compellingly complicates the character, it robs the script of its potential depth and denies Ramos, a capable actor, the chance to fully stretch his muscles—his most emotional scene is shot in the dark. But the film’s overall restraint allows director Sérgio Machado to nimbly skirt past discussion of fractious urban politics and police brutality. Instead, the film is a quiet meditation on the connection and feeling that lies beneath any talented musician’s fingers.

It resonates with a powerful reminder of exactly why music holds such universal and per—Shilpa Jindia sonal potency.

Thurs., April 21, 6:30 p.m., AMC Mazza Gallerie; Fri., April 22, 8:30 p.m., AMC Mazza Gallerie 3000 nights Directed by Mai Masri Palestine, France, Qatar, Jordan, UAE, Lebanon 3000 Nights, the latest film from acclaimed Palestinian director Mai Masri, takes a lofty and mostly successful look at the moral ambiguity and cruelty surrounding the case of a confused, pregnant Palestinian woman sentenced to eight years in an Israeli prison. Dealing with a husband on the outside, merciless Israeli guards, and giving birth and raising a

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child in a prison cell, the film is explicit in its message throughout, logging statistics about Palestinian political prisoners at the hands of Israel before the credits roll. But Masri’s film, which follows the story of a pregnant Layla and her time coexisting with fellow Palestinians and Israeli criminals, is more than an examination of the political through the personal. The hollow cells and barbed wire jail yard create a strikingly beautiful backdrop as the horrors of war are mixed with the joys of motherhood and family. The plot thins out toward the back of the film, but comes roaring back as the female prisoners launch a hunger strike, forcing the direction back into its strongest trait—examining the moral consequences of what it means to be a Palestinian, —Quinn Myers a mother, and a woman.

Thurs., April 21, 8:30 p.m., E Street Cinema; Sat., April 23, 9:30 p.m., AMC Mazza Gallerie

reBel citiZen Directed by Pamela Yates USA “I don’t know who gives a shit about what I’m saying,” says the late Haskell Wexler early on in Rebel Citizen, a documentary about his five decades as a cinematographer in Hollywood.

He may be onto something. The film preaches to the left-wing choir who, if they have not already seen his canonical work, are unlikely to have their mind changed by it. In the ’60s and ’70s, Haskell was a driving creative force behind The Bus, Medium Cool (he says it was “80 percent stolen from Godard”), and One Flew Over the Cuckoo’s Nest, and Rebel Citizen deserves credit for shining a light on his contributions, as the topics he documented are still achingly relevant today. Eventually, though, the film succumbs to didacticism, and anyone who came to learn something new about cinema is bound to be disappointed. The film tries to be both a look back at Wexler’s valuable contribution to cinema and a lefty polemic, which —Noah Gittell means it’s really neither.

GW LISNER PRESENTS

Wed., April 20, 8:45 p.m., E Street Cinema; Sun., April 23, 7 p.m., AMC Mazza Gallerie

SUNDAY

APRIL

Buika

24 8 pm

Visit lisner.gwu.edu or call 202.994.6800 for more information or to purchase tickets.

Fri., April 22, 6:30 p.m., E Street Cinema; Sat., April 23, 9 p.m., E Street Cinema

/GWLISNER

@GWLISNER

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washingtoncitypaper.com april 15, 2016 17

, 2016 omers: April 14 hh’s Cust a A & iation ’s hh est apprecAahh’s p e Dear Oo e d y m ress or Oohh’s & rant” in f u r is to exp This letteof you responsibleSoul Food Restao receive this t e t s s d o e e h r to t ion as the “B indeed hono distinct gton, DC. I am The City Paper. tly Washin ding award from staff grehae awesome d n a t outstan n e agem for t ahh’s mand loyal customersering services.

A & ’s h n h t a Oo te our new nt and ca would not apprecia given our restauraOU, our success support w that without Y We kno le. d! tell a frien d n a be possib k c a b Come r voting! o f s k n a h T Sincerelyb, ott (Chef “O”) Oji Ab rateur Restau

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Dine Out Thursday, April 28th

Dining Out for

Your meal will provide many nutritious meals to children and adults battling HIV/AIDS, cancer and other life-challenging illnesses. 25%–110% of your bill will be donated to Food & Friends.

View the list of participating restaurants at www.foodandfriends.org/dol or call 202.269.6826.

18 april 15, 2016 washingtoncitypaper.com

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YOUNG & HUNGRY

Funky Fresh

Who needs pad thai? D.C.’s Thai chefs can finally showcase pungent, spicy flavors.

Khao soi gai When chef Aulie Bunyarataphan and at Baan Thai her husband opened their first restaurant, T.H.A.I. in Shirlington, in 1995, she introduced fermented Isaan sausage to the menu— and was promptly lectured by Americans on what actual Thai food is.

“I was told this dish is not Thai. Thailand doesn’t have sausage,” Bunyarataphan says of customers’ reactions at the time. “They don’t know, and they’re afraid to try it too, so we took it off.”

Bunyarataphan also learned to shy away from anything too “smelly” or too spicy. “Twenty years ago, those flavors are not acceptable at all in a restaurant,” she says. She recalls how diners would freak out about a single chili pepper on a dish. At her next restaurant in Georgetown, Bangkok Joe’s, the chef continued to play it safe on the menu.

But Bunyarataphan and her husband and business partner, Mel Oursinsiri, aren’t shying away from sour, pungent, spicy flavors anymore. After replacing Bangkok Joe’s with short-lived French-Asian restaurant Mama Rouge, they’ve brought Bangkok Joe’s back— with some changes. Sure, the menu includes crowd-pleasers like pad thai, fried calamari, and a wide range of dumplings, but it also features some dishes the owners had stayed away from in the past. Bunyarataphan has amped up the heat on moved to D.C. from Rayong in eastern Thailand in 2006 and a seafood stir-fry and added funky fermented crab to a Lao- began cooking at Logan Circle’s Thai Tanic. The chef wanted style papaya salad. And that Isaan sausage? It appears on the to offer some specials beyond the restaurant’s Americanized fare of pad thai and drunken noodles on occasion, but she says menu in two places.

“We go all the way, just like what we eat at home,” Bun- the menu was already so established and successful that there wasn’t room for a new style. Instead, she served her authentic yarataphan says. She believes diners aren’t scared anymore.

Neither are Thai chefs and restaurateurs. Bunyarataphan is cuisine to the Thai staff for family meals.

Then a couple years ago, Poksupthong approached the one of several Thai chefs and restaurateurs across D.C. now flaunting the full range of flavors and ingredients in their na- owners of Tsunami Sushi, located above and operated by tive cuisine. Restaurants representing other food cultures— family members of the Thai Tanic team, with an idea to open from Filipino at Bad Saint or Laotian at Thip Khao—have a small pop-up with a few authentic Thai specials. similarly refused to temper their dishes, but the trend is par“There are so many wonderful Thai dishes people still can’t ticularly exemplified by D.C.’s Thai restaurants. find in American Thai restaurants,” Poksupthong says. “Thai Jeeraporn Poksupthong, better known as P’Boom, food is much more complicated and diverse than most West-

erners realize. I knew that if we could give people a taste of Thai food that was more complex and beautiful than they had seen before, we would have a successful restaurant.”

Tsunami Sushi was struggling when it only served sushi, so co-owner Tom Healy says they were open to trying something new. Still, while Healy’s Thai wife and business partner Weerasak “Vena” Doungchan thought the idea was phenomenal, he admits he was a little reluctant at first. “I was like, ‘Uh, this is really spicy.’ I was hesitant,” he says.

But when the Baan Thai menu launched in August of 2014 with dishes like Northern Thai pork curry with pickled garlic and Thai vermicelli in chili peanut sauce, it was a hit. The new offerings were so successful that the owners closed Tsunami Sushi and reopened as Baan Thai. A sushi menu remains as a consolation to Tsunami’s regular customers, but it now comprises just 35 to 40 percent of the restaurant’s business. “Thai overtook sushi very quickly,” Healy says. The Thai menu also began to garner glowing reviews in the Washington Post and Eater National.

“We went from being moderately busy on a Friday and Saturday night to being an hour and 15 minutes for a table,” Healy says. “We were not prepared for how busy we were going to get.”

While Poksupthong and Healy say Baan Thai’s menu could have been successful five years ago, they’re not sure about 10. “D.C. has… gotten younger, this neighborhood especially,” Healy says. “The demographics have shifted here so heavily in the past 10 years that our market changed. Who we’re selling to and the stuff that we’re able to sell, the food that we’re able to advertise has opened up.”

Soi 38 owners Dia Khanthongthip and Nat Ongsangkoon also saw the changing tides. In 2002, the couple opened an Americanized Thai restaurant in Foggy Bottom called Thai Place. Back then, Khanthongthip says most diners couldn’t handle spicy food. But over the years, that’s changed. She recalls how they used to serve diners a green curry that was milder than the one the staff would eat. But when she eventually let some regular customers try the staff version, they liked it better. “That made me think they need to try the real Thai,” Darrow Montgomery

By Jessica Sidman

washingtoncitypaper.com april 15, 2016 19

DCFEED(cont.)

Fri & Sat, Apr. 15 & 16 at Midnight!

Buy Advance Tickets Online

tickets.landmarktheatres.com

Opening April 11 7 Days 5 pm to Close 202-872-1126 BBGWDC.com

17th & Rhode Island Ave. NW

Welcome Spring Cherry Blossom Inspired New Menu & Cocktails

Champagne Brunch Weekends Saturdays A-La-Carte: $29.95 Sunday Buffet: $38.95

20 april 15, 2016 washingtoncitypaper.com

she says. Meanwhile, American friends who tried Khanthongthip’s home cooking also encouraged her to go a new direction.

In 2014, Khanthongthip and her husband closed Thai Place and opened Soi 38, which focuses exclusively on dishes they eat at home and experienced in their native Bangkok. (The restaurant is named for a famous street-food district and night market in the Thai capital.)

Khanthongthip says that people are generally more interested in “authenticity” in food these days. Although the term can have a kind of nebulous definition, today’s food culture often romanticizes traditional cooking techniques and family recipes handed down over generations.

Bizarre Foods and other food travel shows have no doubt played a role in a new generation’s willingness to explore foods previously considered exotic. Bangkok Joe’s chef Bunyarataphan adds that more of her diners have actually been to Thailand or have become more familiar with Thai food. “Before people were like, ‘Where is Thailand?’”

And then there’s the fact that one of the city’s top chefs (Komi’s Johnny Monis) began serving no-holds-barred Thai food at Little Serow in 2011. After Thai X-ing, the restaurant was many Washingtonians’ first introduction to some of the spicier, funkier flavors of Thai food, even though some Thai chefs quibble over whether some dishes are 100 percent “authentic.”

“Little Serow was definitely one of the restaurants that opened the door,” Healy says.

“People got the idea that you could do more with Thai food than just the traditional Americanized fare, that there was a depth to Thai food that’s on the same level as, say, French cuisine.

Those guys pushed the envelope first, and then this whole community of people realized that, ‘Wait a minute. Maybe we can offer more.’”

It may seem awkward that a non-Thai guy helped make food that the Thai community had been cooking at home all along trendy and mainstream in the District. But D.C.’s Thai chefs and restaurateurs don’t seem troubled by that.

“It means that Thai food is more popular with people that aren’t Thai,” Soi 38’s Khanthongthip says. “That’s good for me.”

In the years since, other chefs who aren’t Thai—from Doi Moi’s Haidar Karoum to Alfie’s’ Alex McCoy—have also tried their hand at the cuisine.

Beau Thai and BKK Cookshop chef Aschara Vigsittaboot is happy to see Thai food catch on. The only thing that feels weird to her is when restaurants, like Andy Ricker’s Pok Pok which she visited in New York, romanticize street food by making their dining rooms look kind of gritty—an aesthetic that could be charitably described as shack chic. “If you want to bring that

kind of Thai food here, it should be in a better way,” she says.

Vigsittaboot and co-owner Ralph Brabham say Beau Thai, which opened its first location in Mount Pleasant in 2010, has never served Americanized food. Many of Vigsittaboot’s dishes, pulled from family recipes, have always been spicy. “If you eat curry, it has to be that way,” she says. Still, Vigsittaboot has added more of those spicy dishes— like a sweat-inducing larb ped (minced duck salad)—to the menu since Beau Thai first opened and expanded to Shaw.

Heat levels, however, continue to be a hotbutton issue for the restaurants. Vigsittaboot says she gets a little annoyed when diners ask for a dish to be prepared “Thai spicy.” “Some Thai people, they don’t eat that spicy. Some Thai people eat very spicy like me,” she says.

To address spice modifications, Vigsittaboot now gives diners craving extra heat some dried chilies to add in as they wish.

Similarly, at Baan Thai, Healy says he’s constantly asking people how much spice they can handle in their food.

“If we don’t warn people ahead of time that the four-chili items are going to be extremely spicy—and even the mid-level range ones are very spicy to some people—we’re risking getting a dish returned,” Healy says.

At Beau Thai, Vigsittaboot also resisted putting fish sauce in spice trays because a lot of people didn’t like the smell. However, at BKK Cookshop, which opened in Shaw last summer, she now offers a tray with fish sauce and an intensely hot chili oil to accompany noodle bowls.

While some Thai chefs and restaurateurs say no ingredient or flavor is off-limits anymore, Vigsittaboot and Brabham do see some limitations when it comes to what will actually sell. The other day, Vigsittaboot made herself a spicy, sour fish dish with fermented bamboo shoots. “Our assessment is that it’s an acquired taste, and it might be a tough sell,” Brabham says.

But they’re open to running such a dish as a special in the future.

Despite these advances, the fact remains that pad thai still reigns supreme. It remains the most popular dish at both Beau Thai and Soi 38. At Baan Thai, at least one or two tables per night ask “where’s the pad thai?” Healy admits that does make him pause to wonder if they should serve the dish.

But ultimately, the answer is no.

“Every single Thai restaurant in America is offering pad thai. It is the Big Mac of Thai cuisine,” Healy says. “We did not do this to CP sell Big Macs.”

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

WARD 3 TOWN HALL MEETING Councilmember Mary Cheh and DC Water General Manager George S. Hawkins are co-hosting a town hall meeting to discuss water projects and issues affecting your community.

• Water Rates • Clean Rivers • Drinking Water

• Billing Issues • Infrastructure • Job Opportunities

For more information, visit dcwater.com/rates or call the DC Water Office of External Affairs at (202) 787-2200.

THURSDAY, APRIL 21, 2016 • 6:30-8:30 p.m.

University of the District of Columbia, New Student Center (Ballroom) 4200 Connecticut Avenue, NW

washingtoncitypaper.com april 15, 2016 21

DCFEED

what we ate last week:

Filipino scrapple with pig’s ear and fried egg, $14, Kyirisan. Satisfaction level: 4 out of 5

what we’ll eat next week:

Hand-cut tagliatelle with merguez sausage, $21, Sixth Engine. Excitement level: 4 out of 5

Grazer

RestauRant additions

Good thing it’s not quite bikini season, because D.C.’s spring restaurant openings bring lots of gut-busting dishes and at least one decadent tasting menu. Check out our shorthand guide for high—Jessica Sidman lights from these new arrivals. Calorie counts not included.

+ +

Tagliatelle bolognese New York– meets–Rome pizza chocolate shortbread “mascarporeos” a crudo bar in the back (coming soon)

+

alta stRada 465 K ST. NW

+ +

Underserved

+ − =

Meaty things beef of the week “beastly wines” amaro and vermouth cocktails 7,200 cassette tapes a cassette player a juke box

+

=

+ eatBaR 415 8TH ST. SE

The best cocktail you’re not ordering

+

Funnel cake poutine “redneck” bao buns The Life Aquatic–themed cocktails 60-seat patio

+

+ = the CommodoRe1110PuBliC house & KitChen P ST. NW

What: Rockefeller Rose with Pikesville Rye, amaro, sweet vermouth, and rose water Where: Tabard Inn, 1739 N St. NW Price: $13

+

+

+

+

+

the den

+

=

5015 CONNECTICUT AvE. NW

THE’WICHINGHOUR The Sandwich: Mozzarella & Strawberry Where: Union Kitchen Grocery, 538 3rd St. NE Cost: $9.09 Stuffings: Tomato, mozzarella, basil, arugula, strawberry, balsamic reduction Bread: Onion roll Thickness: 5 inches Pros: Although it’s a relatively wet cheese, the creamy mozzarella remains solid enough to provide a sufficient base for the sandwich. Meanwhile, the sweet and tangy balsamic reduction pleasantly offsets the bitterness of the basil and arugula.

22 april 15, 2016 washingtoncitypaper.com

+ +

+ =

Mike Isabella fried chicken St. Louis-style ribs banana pudding mint julep on draft

+

CatChFly KitChen

NATIONALS PARK, 1500 S. CAPITOL ST. SE

Farrah Sheik y

PineaPPle and PeaRls 715 8TH ST. SE

=

+ +

Politics & Prose Little Red Fox Ceremony coffee artisanal toast pie fries wine and local beer cookbook of the month

Darrow Montgomery

+ −

Coffee and sandwiches $250 tasting menu oyster tower cocktail ticketed reservations Saturday and Sunday reservations

Cons: An out-of-season watery tomato slice and slightly sour strawberries upset the delicate flavor balance that makes a traditional caprese so good. Stacking the ingredients on a dry onion roll makes things even worse. The slightly stale, too-thick bread’s onion taste masks the rest of the ingredients. In addition, the entire sandwich could use a sprinkle of salt.

Sloppiness level (1 to 5): 2. The spongelike bread soaks up the moisture for the wet ingredients, so there’s not too much mess.

Overall score (1 to 5): 1. What could be an interesting spin on the traditional tomato-basil-mozzarella offering falls flat. With a lighter bread and a better quality strawberry and tomato, there’s a chance this mash-up could get better in peak-produce season.

Until then, abstain. —Caroline Jones

What You Should Be Drinking “Whatever you want” is Bar Manager Jamie Johnson’s mantra. “I don’t think anyone should follow traditional rules. It’s way too far into the game to live by tradition.”

He’s referring to bromides like white wine should be served with fish, or in the case of his new drink, Rockefeller Rose, that brown spirits are for winter imbibing only. Johnson recently added the rye-based cocktail with amaro and sweet vermouth to Tabard Inn’s menu just in time for spring. “The first warm day, everyone goes to their spring cocktails, and it’s all vodka and gin, which is lovely, but there’s no reason not to have rye drinks year-round.” He does, however, give a nod to the current season with the inclusion of Al Wadi rose water.

Why You Should Be Drinking It It’s the rose water that makes this Manhattan variation sing. Even though Johnson only uses three ounces of it for every 3.5 liters of the pre-batched cocktail, a little goes a long way in delivering a floral finish. Take a whiff of the potent rose water on its own and you’ll suddenly find yourself transported to grandma’s house where potpourri balls have been amassing for decades. While it would be most appropriate to sip this cocktail in the Peggy Rockefeller Rose Garden in the Bronx, Tabard Inn’s courtyard will do. Note that the first three tables are open to those who just want to drink, but they’re firstcome, first-served. “They’re always full, so if you want a table, get there at 4 p.m.,” Johnson recommends.

—Laura Hayes

LOOK INSIDE FOR MORE INFO!

GET READY TO IMMERSE YOURSELF IN DC’S LARGEST JAPANESE-INSPIRED DANCE PARTY! Sushi & Sake Tasting presented

by Maki Shop

Cherry Blast Dance Party

SATURDAY, APRIL 16 CARNEGIE LIBRARY AT MT. VERNON SQUARE

Otakon Cosplay Competiton and Dance Party

Best Buddies Tokyo Street Food Experience

Manga Vendors

6PM - 2AM 801 K Street, NW Washington, DC 20001

Anime Fashion Show

ESA Gaming & Hyperfest/US Drift Car Competition

#EventsDCCherryBlast

Live Painting & Cherry Blossom Inspired Art Show

EventsDCCherryBlast.com washingtoncitypaper.com april 15, 2016 23

General Admission Free admission for children under 10!

Includes: • Manga Vendors • Best Buddies Tokyo Street Food Experience • Live Painting & Cherry BlossomInspired Art Show • ESA Gaming, Hyperfest/US Drift Car Competition & Auto Expo • Anime Fashion Show

$20 > 6:30pm to 9:30pm Sake & Sushi Tasting

$20

Cosplay Dance Party

$20

Japanese Whiskey Tasting

$25 > 10pm – 2am Cherry Blast Dance Party

$75

Full Cherry Blast Experience Attend all of the experiences above.

$125

VIP Includes the full Events DC Cherry Blast experience and access to the VIP Suite

24 april 15, 2016 washingtoncitypaper.com

EventsDCCherryBlast.com

$20 > 6pm – 10pm

PURCHASE TICKETS @

SCHEDULE OF EVENTS

SUSHI & SAKE TASTING PRESENTED BY MAKI SHOP

CHERRY BLAST DANCE PARTY

Sample savory sake and delectable sushi featuring selections of maki, nigiri, sashimi and more from Maki Shop!

Experience an amazing line up of electrifying DJs presented by NYX Entertainment & Events, including NYXLIVE4 and DJ Mario Venechi.

MANGA VENDORS

ANIME FASHION SHOW

No Japanese inspired event is complete without manga vendors who will surprise and delight revelers with endless displays of comics and cartoons.

Get ready to immerse yourself in a Japaneseinspired fashion with the anime fashion show that will showcase cutting-edge trends and fashion pieces straight off the runway and the streets of Tokyo.

BEER GARDEN PRESENTED BY ROSES DREAM Enjoy a line up of Japanese beer Kirin and Sapporo along with your favorite regular selection of beer.

OTAKON COSPLAY COMPETITION AND DANCE PARTY

TOKYO STREET FOOD EXPERIENCE PRESENTED

BY BEST BUDDIES

Come dressed up in your favorite cosplay ensemble and be entered to win fun prizes. Enjoy DJ LJ MTX and DJ Leko presented by NYX Entertainment & Events. You do not have to be dressed in cosplay to enjoy the competition or dance party.

Indulge your taste buds among street vendors within a Tokyo street replica. Enjoy food from Artmosphere, Rio Churrasco, PinUp Preserves, Mason Dixie Biscuits, Mutts Sauce, Ruby Scoops Ice Cream & Sweets, and Exotic Taste Café.

ESA GAMING & HYPERFEST/US DRIFT CAR COMPETITION AND AUTO SHOW

LIVE PAINTING & CHERRY BLOSSOM-INSPIRED ART SHOW

Enjoy an outdoor gaming experience presented by ESA with today’s favorite video games. Also, check out a drift car showcase presented by Hyperfest/US Drift that highlights neon lights, jaw-dropping art and eye-popping spoilers.

Karlisima Rodas-Israel, Jay F. Coleman, David Amoroso, Pedro Garcia, and Luis Del Valle will paint live showcasing their diverse artistic style in large scale unique canvases. More than 60 local and international artists will display their cherry blossom inspired art.

washingtoncitypaper.com april 15, 2016 25

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PURCHASE TICKETS @ EventsDCCherryBlast.com A PROUD ELITE AUDIO VISUAL SPONSOR JOIN us and explore a Japanese-inspired event, bringing energy and excitement surrounding its pop culture experiences to downtown DC. Event Design | Staging | Rental | Production | Creative | LED Sales 301-590-9400 | www.cprmms.com

Saturday, April 16, 2016

6:00pm - 2:00am Carnegie Library at Mt. Vernon Square 801 K Street, NW | Washington, DC 20001

26 april 15, 2016 washingtoncitypaper.com

CPARTS

Chateau Nightclub owner Seresa “Nut” Coleman has died. www.washingtoncitypaper.com/go/seresacoleman

GALLERIES

Master of His Domain The Hirshhorn’s carefully curated look at the work of installation artist Robert Irwin is the museum’s best exhibit in a decade.

“Robert Irwin: All the Rules Will Change” At the Hirshhorn Museum and Sculpture Garden to Sept. 5

By Kriston Capps The warning comes near the very end of the exhibition, like a “spoiler alert!” tag or “BEWARE OF DOG” sign. The marker urges viewers to pause in the penultimate gallery. “In the next room, your perceptions will be challenged,” the sign reads. “For this reason, we ask you to touch nothing. It is very important that you experience the exhibition with your eyes.”

The text could be museum boilerplate: Don’t touch the art, look at things around you. But the latest exhibit at the Hirshhorn Museum and Sculpture Garden warrants a note of caution. “Robert Irwin: All the Rules Will Change,” a new survey at the Hirshhorn, is a masterful, uncompromising show that most certainly will challenge viewers’ perceptions. It is by far the best Hirshhorn exhibit in a decade, a sequel of sorts to the 2006 survey of Hiroshi Sugimoto. More than a merely successful show, “All the Rules Will Change” is a provocative thesis about what museum shows should do. Viewers: take warning.

Since the late 1950s, Irwin has worked like an architect, taking painting apart and reassembling its constituent parts. He is the leading light of the Light and Space movement, California’s most important contemporary art export of the last 50 years. However, “All the Rules Will Change” is not a retrospective of Irwin’s career or a survey of Light and Space installations. Instead, it’s a fairly narrow look at a handful of artworks the artist made between 1958 and 1970.

Viewers who know Irwin by his later neon works won’t recognize the craggy oil paintings that kick off the show. His work begins where Abstract Expressionism ends. Irwin saw the dominant mode of painting at the time as a means to an end. From the very start, Irwin worked to reformulate the relationship between artist and viewer. With mid-century painting, that relationship was passive or immersive: A viewer might get caught up in a Jackson Pollock painting, but it’s a one-way street. Irwin gave the audience more license. His first mature works (and the earliest works on view at the Hirshhorn) were his so-called “Hand-Held” paintings: small-scale

Installation view of “Pier II,” by Robert Irwin (1960–61) square paintings in hand-crafted frames that were meant to be grasped by viewers. (Sadly, at the Hirshhorn, these works are displayed securely in a vitrine.) The abstractions, although elegant, were nearly an afterthought in terms of their narrative content. Ab-Ex was a convenient medium for looking more closely at painting itself.

“All the Rules Will Change” is an argument about the deliberate transition in Irwin’s work—from conventional abstraction to something formalist, essentialist, and minimalist. Evelyn Hankins, the curator for the exhibit, traces Irwin’s origin story by following his use of line in these early works. “Ocean

Park” (1960–61), one of Irwin’s so-called “Pick-Up Stick” works, dwells on a cluster of horizontal lines. This large-scale square abstraction draws on Philip Guston and Clyfford Still, stylistically, and it will come as a comfort for people who feel at home with post-war painting. In the following sequences— Hankins sorts them into “Early Line” and “Late Line” categories—the thick impasto style falls away, leaving only line and color field.

Hankins makes a convincing case about the way Irwin systematically reduced painting to its barest elements, eventually arriving, in the late 1960s, at shaped acrylic discs, his washingtoncitypaper.com april 15, 2016 27

CPARTS Continued

most mysterious paintings—if that is even the word for them.

(More on those in a moment.) What’s so stunning about “All the Rules Will Change” is the economy with which Hankins proves her point. There’s only a handful of representative works from each of Irwin’s series. They are arranged rhythmically—and gorgeously—on a series of high walls that divide the circular Hirshhorn space into successive chambers. The set-up is concussive, forcing viewers to confront one muscular painting after another. The effect is most pronounced with Irwin’s barely-there “Dot” paintings. These may be the most sensate works in the entire show. They’re stressful, in fact: paintings that are so subtle that the viewer struggles to even see them. Hang more than one of these paintings on a single wall in a visitor’s field of vision, and the “Dot” painting trance would be broken.

The Hirshhorn has never looked so good, and it is a testament to Irwin’s career that even his earliest works are so attentive to their surroundings. That’s not by accident: Staff from both the Hirshhorn and Irwin’s studio collaborated to produce the conditions that make Irwin’s work possible. Under precise lighting, for example, the edges of Irwin’s acrylic discs disappear completely—but those conditions must be exact. Everything is illuminated expertly in this show, down to the title text on the gallery walls.

“All the Rules Will Change” might not be possible in any other museum. “Square the Circle,” a massive site-specific installation in the final gallery—the one that comes with a warning sign—certainly couldn’t happen anywhere else. For this piece, Irwin essentially walled off the interior arc of gallery space with a 120-foot span of sheer scrim. (In geometry, this straight-line segment intersecting a circle is called a “chord.”)

The piece, which is invisible from certain angles, echoes the 1977 scrim installation that Irwin built in the former Whitney Museum of American Art (now the Met Breuer). For the Hirshhorn, it’s an effortless translation of architectural space into an act of seeing.

But there’s something more important than a site-specific work at play (and a tremendous one at that). So much is made of the difficulties of the Hirshhorn space that it’s refreshing to see an artist who has genuinely taken it as an opportunity.

The admiration is mutual: Not many museum spaces could afford the percussive sequencing of paintings devised by the Hirshhorn to dramatize each painting. “Square the Circle” is a mesmerizing piece, and not just because of its large scale. The thrum of this work will stick with viewers for a long time.

“All the Rules Will Change” reads as pushback against the kind of spectacle that has overwhelmed the art world in the early 21st century—the slide that Carsten Höller built

through the New Museum, the light show that James Turrell brought to the Solomon R. Guggenheim Museum, the music video that Doug Aitken projected on the exterior of the Hirshhorn. “Square the Circle” is more subtle than all those works, but the real difference is that Irwin’s installation is purchased by the rest of the exhibit. The installation is the natural culmination of the ideas teased out by Irwin’s early works. “Square the Circle” is, as Hal Foster describes in his book, The Art-Architecture Complex, an example of the “sensuous particularity of experience in the here-and-now”—the sort of work that resists the “stunned subjectivity and arrested sociality supported by spectacle.” It’s anti-spectacle: an antidote to so much of what’s wrong in the contemporary art sphere today.

At the same time, Irwin’s influence can be seen in some of the most spectacle-friendly artists working today, namely Anish Kapoor and Olafur Eliasson. The gravity of Light and Space is so strong that a retrospective of these works could easily resemble a scene at the Art Basel Miami Beach art fair.

The Hirshhorn has circumnavigated the most prominent and obvious parts of Irwin’s catalog to uncover his earliest contriCP bution to painting—and it is a powerful find.

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—Matt Cohen

Standout Track: “Silent Speaking,” the debut single from Paperhaus’ new lineup with Rick Irby on guitar, Matt Dowling on bass, and Ian McColm as guest drummer. In contrast to its title, this song makes a lot of noise.

Try clapping along and you’ll find yourself off-balance and dizzy as the beat shifts and stretches across phrases as it rarely touches on the downbeats.

Musical Motivation: “To me, becoming a better listener is essential to becoming a better person,” vocalist/guitarist Alex Tebeleff says of the song’s message. “This was me coming from the perspective of a particular relationship where I realized if I’m going to be a better person in this relationship, I need to be a better listener. I realized that applies to all of my life.” Tebeleff opened his ears to new sonic possibilities, listening hard to artists like Kendrick Lamar, D’Angelo, Fela Kuti, and Deerhunter. “I’d gotten into electronic and really working with synthesizers, and that started to shift my focus away from rock music,” he says.

Beats By They: Throughout the song, phrases are punctuated with sharp, aggressive syncopated beats. It sounds like a bunch of random metal smashing together. “That was Ian banging on the top of a pot… and also on a cowbell,” Tebeleff explains. The band then processed it through an Eventide Harmonizer—a classic effects processor popular in the ’80s. “It would’ve sounded cool if it was just the percussion, but I think it sounds incredibly cool because of the processing that gives it sort of an other-worldly —Justin Weber sound,” Tebeleff says.

Listen to “Silent Speaking” at washingtoncitypaper.com/go/silentspeaking.

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Virtual Surreality The Nether

By Jennifer Haley Directed by Shana Cooper At Woolly Mammoth Theatre Company to May 1 It has been more than a decade since the web comic Penny Arcade coined the “Greater Internet Fuckwad Theory,” which posits that anonymous online communication turns an otherwise ordinary person into an ugly, amoral husk. In The Nether, playwright Jennifer Haley takes that idea and exaggerates it beyond any comfortable sense of morality, combining multiple planes of reality with a reli- The Nether explores the consequences able procedural framework. The cere- of violent, abusive virtual fantasies, but bral twists land with the inevitably of a somehow doesn’t take sides. sharply defined thriller.

Woolly Mammoth is no stranger to characters talk around their online behavior, challenging plays, so the quality of the act- with a mix of mutual cognitive dissonance ing and production matches Haley’s ambi- and a yearning for acceptance. Iris is essentious ideas. Two actors appear on stage, where tially a plaything for base desires, and Breta claustrophobic glass box limits their space. tell gives her an unsettling, infantilized voice.

The scene is an interrogation: A detective Forced intimacy defines her scenes with named Morris (Gabriela Fernandez-Coffey) Woodnut/Papa; the irony, of course, is that interrogates Sims (Edward Gero), needling Haley’s conceit forces us to watch flesh-andhim with questions about The Hideaway, a blood actors perform as virtual avatars. beautifully rendered virtual community he If Bretell’s childlike cadence represents maintains as his alter-ego “Papa.” The Hide- the false promise of The Hideaway, Fernanaway has an unseemly purpose. Adult guests dez-Coffey’s harsher, adult voice is the bracinteract with avatars that look like children, ing kick back to reality. Her forceful interroand there are no consequences to whatev- gations are unnerving: It would be terrible to er sexual and violent conduct in which they have our clicks and searches scrutinized, and might engage. it would be even worse if we used the Internet Haley jumps from the flesh-and-blood in- for escape. So when Haley inevitably dovetails terrogation to The Hideaway, where the vir- the real and virtual worlds, the cumulative eftual girl Iris (Maya Brettell) converses with fect engenders unexpected empathy. her client Woodnut (Tim Getman) and Papa Throughout The Nether, Sims justifies a himself. By doubling back between the real community maintained for pedophiles. He and virtual world, Haley obliterates our ideas notes that The Hideaway helps him suppress of identity until what’s left is more haunting his darkest impulses, and that by containing than poignant. like-minded people, there is less danger for Director Shana Cooper only keeps the glass actual children. His argument is not so simbox on stage for a short while. Most of The ple, and neither is Morris’, since she wants to Nether is austere and has few props; costumes dismantle the community entirely. Haley’s diand lighting design differentiate between the alogue, literate and full of insinuations, condrab real world and the vibrant Hideaway. siders the psychological impacts of a conThe effect is similar to The Matrix, both in sequence-free fantasy and how that creates terms of aesthetics and the questions raised. a hollow, malformed sense of purpose. The Like the best science fiction, Haley uses jar- Nether doesn’t take sides, but serves as an elgon to build her world in the audience’s imag- egy for the vulnerability and value of realination. Still, some of the best lines land with world adult relationships. People currently a dark sense of irony. There is a serious dis- spend hours each day with role-playing games cussion about the merit of sex with an elf, for and massive online worlds. If the comfort of example, as if online experiences are the only virtual reality is inevitable, then The Nethtrue freedom left. er is a ruthless warning against immersion.

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A Love Supreme Colonia Directed by Florian Gallenberger Colonia begins in 1973 Santiago de Chile,where its citizens are lining the streets to support socialist President Salvador Allende as his cavalcade makes its way past. The footage is real, and the newscast warns of possible civil war in Chile, with the Soviet Union supporting the country while the United States regards Allende as a Communist who must be removed.

The chances seem somewhat slim, though, that this tape of political upheaval was ever accompanied by Bill Withers’ “Ain’t No Sunshine,” as it is in the movie.

That’s the first bit of weirdness in Florian Gallenberger’s often-creepy romantic drama, which doesn’t waste much time bringing Chilean dictator Augusto Pinochet into power. This coup d’etat immediately endangers Daniel (Daniel Brühl), a recent transplant from Germany who nonetheless becomes active among Allende supporters, taking photographs and drawing posters for the cause.

Therefore his girlfriend, Lena (Emma Watson), is at risk, too, having picked a seriously bad time to stay with Daniel for a few days during her layover as a flight attendant.

When running outside amidst the chaos of Pinochet’s goons beating and arresting alleged Allende supporters, Daniel makes the dumb move of taking photos at hip level even though the couple had made it past the worst area. This gets him noticed, and once he’s affirmed as an activist for the deposed, Daniel is taken to the ironically named Colonia Dignidad—or “Colony of Dignity,” an isolated religious community where, under an agreement with Pinochet, the arrested are sent to be tortured. Lena decides to join the group to find Daniel, putting on her Sunday worst and quickly responding to the gatekeeper’s “God bless” with the same.

Lena’s bag, including her passport, is immediately tossed by Gisela (Richenda Carey), who might best be described as a cult mother

to the female residents. But the true, maniacal leader with a God complex is Paul Schäfer (Michael Nyqvist), who immediately puts Lena in the hot seat and accuses her of lying about not having a boyfriend: “I can see it in your eyes. I can see it in your soul.”

After some icky and indirect threats from Schäfer, Lena is taken to her multibed room by Gisela, who points to her new basket of stuff (“Use the bandage to tie down your breasts”), and later spends time working the fields while Mother watches them with a whip. The men, women, and children are separated and not allowed to interact, throwing a wrench in Lena’s plans. Another wrench: Schäfer’s casual statement that “once you join us, you must remain.”

Gallenberger, who co-wrote the script with Torsten Wenzel, then makes an even stranger decision than using an R&B song of romantic lament to open the film: Though these prisoners are German and Chilean, everybody speaks English. Even the gate’s “Keep Out” sign is in English. I’m pretty sure this happened pre-Rosetta Stone and before English became a lingua franca.

Regardless, Colonia is an effective thriller, not only in terms of how Leah will find Daniel (who smartly uses a ruse to be largely left alone), but also because of its peek into the horrors of physical and psychological torture in the name of God. Nyqvist is the standout here, with long, greasy gray hair while lending Schäfer a disturbingly calm demeanor that everyone knows hides an explosiveness underneath. Brühl is magnetic as his Daniel is ever-watchful yet intensely in his head.

Watson, however, has little to do but scowl, look serious, and be scowling-ly serious while Lena observes what’s going on around her; to her credit, though, her same-y expressions do give Lena a certain ferocity.

It’s also refreshing that, for once, it’s not the damsel who’s in distress. But said damsel, as well as her co-stars, needed to speak a smatter of Spanish or German for Colonia to be com—Tricia Olszewski pletely believable.

2 COL. ( 4.666" ) X 2.49" ALL.MLA.0415.WCP

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Colonia opens Friday at the Angelika Pop-Up. washingtoncitypaper.com april 15, 2016 33

GalleriesSketcheS Mortally Wounded

Please recycle this paper.

34 april 15, 2016 washingtoncitypaper.com

like a singular arm, no body in sight.

None of the allmale figures in the portraits are named, “Biological although Lewis’ artTapestries” ist’s statement sugThrough April 27 at gests that they repreMorton Fine Art sent the patients and Nate Lewis didn’t train to family members he be an artist. Instead, he interacts with in the went into nursing, just like hospital. The delihis father. cately layered slashIt wasn’t until his final es and densely patyear of school that Lewis terned pinpricks that became interested in art— make up the artist’s first music, then drawpaper patients iming—as a way to disengage part a material frafrom the stress of the medgility, as if one more ical profession. For the betincision could do ter part of the last decade, them in, leaving Lewis has been honing his nothing but shredartistic practice while workded paper behind. ing in high-stakes, emotionLike the injured ally draining intensive care and ill he cares for units. He currently works day in and day out, as a registered nurse in the Lewis renders himrecovery area of the critical self similarly vulcare ward at George Washnerable within the ington University Hospital. series. For instance, His first solo show, “Bio- “Cloaked in Fratres Forever,” by “Glio” features a logical Tapestries,” now on Nate Lewis (2016) forward-facing porview at Morton Fine Art, trait of the artist, his features 16 papercut works that blend Lewis’ face increasingly obscured by leaf-like snips interest in human healing with artistic expres- that continue multiplying beyond his head, sion. “Biological Tapestries” is an outgrowth across the blank space of the page. The tiof the trauma and redemption he’s experi- tle seems to recall a clinical case Lewis perenced in his work environment. The works haps encountered on the job—a quick search are compositionally minimal, even austere— for “glio” reveals that a glioblastoma is a fastmostly portraits that are simple and straight growing brain tumor. on, printed on porous paper in stark black and By reimagining and embodying the malwhite. Lewis then sculpts the paper by snip- adies of his patients, “Biological Tapesping, slicing, and perforating the silhouette of tries” seems like an act of extreme empathy the bodies to create three-dimensional figures on Lewis’ part. Yet his self-portraits are also that emerge from the canvas. redolent of martyrdom. Lewis must meLewis’ medical training and saint-like pa- thodically puncture, cut, and slice his own tience from years of caretaking are apparent body until his features are nearly indiscernin his practice. The paper-cutting process ible. His process is almost a form of concepis laborious and detailed; it often takes him tual self-immolation in service of those he up to 38 hours to complete larger works (the cannot help. biggest piece in the show is only 40 inches by But for all of its painstaking craftsman26 inches). The surgical precision that Lew- ship and empathic ideals, “Biological Tapis employs is, for all intents and purposes, estries” lacks the tenderness of real vulas necessary to the integrity of these bod- nerability and pain. Despite being a series ies as it would be in a real operation—one wrought from reflection on moments of infalse knife swipe and an appendage might be tense mortal reckoning and human compaslost. The stakes, naturally, are lower when it sion, there is a certain amount of clinical comes to paper. detachment. The figures—both whole and Not every paper sculpture depicts a body partial—remain upright and static, their in its entirety, to various effect. Some of the bodies on display like a teaching cadaver. works come across as a memorial in nature, They are beautiful in their design, but ultisuch as “Save Me This Time,” which features a mately interchangeable.

—Margaret Carrigan torso with arms folded across its chest, as if laid to rest, unable to be physically saved. Others are slightly macabre, even if not intended to 1781 Florida Ave. NW. Free. be so, by focusing on one specific body part— (202) 628-2787. mortonfineart.com.

BooksSpeed ReadS You Just Have to Fate Ghosts of Bergen County Dana Cann Tin House Books, 288 pp.

After months of agonizing over whether to become a teacher or a doctor, I found the answer in a novel. When Ghosts of Bergen County begins, Gil and Mary Beth Ferko are paralyzed with grief over the death of their infant daughter, who was killed in a hit-and-run crash two years earlier. But after Gil reconnects with a former high school classmate, Jen, the couple begins to move on. Jen introduces him to heroin and her father, a retired physician who writes books about ghosts.

Dr. Yoder’s vocation surprises Gil, who thinks his job would be “something bookish. Not an ER doctor.” When I read that line I froze. It was fate, I thought. There was a reason why I had been given this book to review; I wasn’t meant to be a doctor after all.

This experience exemplified an idea that drives Bethesda-based Dana Cann’s debut mystery novel: Humans are constantly looking for clues that explain why the bad things in our lives have happened and instruct us how to go on living. But are these really clues, or just coincidences? “The beauty of fate is there’s no way to prove or disprove it. It just is,” Gil tells Jen, as he explains his theory that the car crash was fate. But not the driver leaving the scene—that was a decision, he says, and that’s what torments Mary Beth and prevents her from being able to move on.

Jen empathizes with the driver. Eight years before, she walked away when a man she was with fell—accidentally or intentionally, no one knows—from a building and died. She is still tormented by her decision to flee the scene, and when she hears the Ferkos’ story, she sees a connection. “Not fate, like Ferko suggested, which connoted an accident, a fatal accident (wasn’t fatal a derivation of fate?), an unpreventable fatal accident. No, she thought, fate had no room for reason, for purpose, for higher purpose.”

It turns out that Jen is right. But as the connections between the two stories start to surface, the novel starts to lose its grip on the reader. While the first half raises intriguing questions—exploring the human tendency to tell ourselves stories to cope with our misfortunes and how we are haunted by our complicity—the second half provides a rigid answer to the question of whether things happen for a reason. As Gil says, the beauty of fate is in its inability to be proven, but as each piece of the story falls neatly into place, Cann seems to be making the case for fate and with it, the beauty of the story fades.

While the larger plot gives way to predictability, Cann’s writing on a sentence level is consistently appealing in its clarity and directness. Cann writes with particular poignancy on grief and the irrational things it compels people to do: “Sometimes Mary Beth sat on the floor next to the toy chest, opened the lid and retrieved the stuffed caterpillar, squeezed the soft sections and held them to her nose and breathed. Once, she put the rings in her mouth and scraped them against the hard enamel of her teeth. She put her tongue to them and tasted them.” For Gil, heroin speeds up the hands of the “clock” that is grief: “Manhattan now tasted like dope. He felt its tug each time he board the PATH in Hoboken and the brake was released and the train began to coast into the tunnel that took him under the Hudson. Then the train accelerated, as though the drug itself were the engine turning the wheels, along with the benign and the mundane—electricity, coal, job, paycheck.” Descriptions of heroin throughout the book leave the reader feeling euphoric.

While the connections between the characters’ pasts are too tidy to be convincing, and are therefore not compelling, the process by which the characters discover their connections points to an interesting idea: It may be impossible to know whether or not something is fate, but sometimes believing in fate can be a way for the truth to surface. I knew all along that books were my medicine. The idea of fate just helped me to accept that.

—Natalie Villacorta

TUESDAY, MAY 3

AT 8 P.M. • CONCERT HALL

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

Cann reads April 30 at 6 p.m. at Politics & Prose and May 6 at 7 p.m. at Barnes & Noble Bethesda. washingtoncitypaper.com april 15, 2016 35

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

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

feat.

THIS WEEK’S SHOWS

Lissie w/ Skrizzly Adams ............................................................................................ Th 14 The Feelies .................................................................................................................. Sa 16 The Dandy Warhols w/ Seratones ...................................................................... Su 17

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

Pentatonix w/ Us the Duo & AJ ............................................................................ MAY 12 SWEETLIFE FESTIVAL FEATURING

The 1975 / Halsey / Blondie / Flume / Grimes and more! ................................... MAY 14 Cage The Elephant w/ Portugal. The Man & Broncho .................................. MAY 15

GV/FRANK PROD. PRESENT

APRIL

Tokyo Police Club w/ From Indian Lakes Early Show! 6pm Doors .............. Th 21 STEEZ PROMO PRESENTS

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

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

Elephant Revival .......................................................................................... Th 28 The Residents present Shadowland Early Show! 5:30pm Doors. ...............F 29 U STREET MUSIC HALL PRESENTS

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

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

Kenny Chesney w/ Old Dominion ....................................................................... MAY 19

CAPITAL JAZZ FEST FEAT

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

Twenty One Pilots w/ MUTEMATH and Chef’Special .......................................JUNE 10 Ellie Goulding w/ Matt and Kim & Bebe Rexha ................................................ JUNE 13 Tame Impala w/ M83 ................................................................................................. JUNE 16 Chris Stapleton & Jason Isbell w/ Frank Turner and the Sleeping Souls . JUNE 18 DC101 KERFUFFLE FEATURING

blink-182 • Silversun Pickups • Cold War Kids • Violent Femmes and more! .............................................................................JUNE 26 ALL GOOD PRESENTS MERRYLAND MUSIC FEST FEATURING

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

Modest Mouse / Brand New ................................................................................ JULY 12 VANS WARPED TOUR PRESENTED BY JOURNEYS FEATURING

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

Brandi Carlile & Old Crow Medicine Show w/ Dawes ......................... JULY 23 SUMMER SPIRIT FESTIVAL FEATURING

Jill Scott • Erykah Badu • The Roots and more! ..........................AUGUST 6 & 7

MAY

M. Ward w/ NAF ..................................................................................................Su 1 Parachute w/ Jon McLaughlin ............................................................................W 4 The Brian Jonestown Massacre ................................................................Th 5 Super Furry Animals .......................................................................................F 6 LITTLE STEVEN’S UNDERGROUND GARAGE AND SIRIUS XM PRESENT

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

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

Train w/ Andy Grammer ...............................................................................................AUGUST 20 Miranda Lambert w/ Kip Moore & Brothers Osborne .....................................AUGUST 25 The Lumineers w/ BØRNS & Rayland Baxter ..................................... SAT SEPTEMBER 10 • For full lineups and more info, visit merriweathermusic.com • 930.com

Echostage • Washington, D.C.

X Ambassadors w/ Robert DeLong & Sara Hartman ............................................. MAY 12 Bloc Party w/ The Vaccines & Oscar ............................................................................ MAY 19 2135 Queens Chapel Rd. NE • Ticketmaster

with DJs Matt Bailer and Shea Van Horn Late Show! 11pm Doors ........... Sa 14

Yeasayer w/ Young Magic .................................................................................. M 16 Say Anything w/ mewithoutYou • Teen Suicide • Museum Mouth .................. Tu 17 White Ford Bronco .........................................................................................F 20 JMSN ...................................................................................................................W 25 Caravan Palace .............................................................................................. Th 26 Hot In Herre: 2000s Dance Party ................................................................. Sa 28 RJD2 ...................................................................................................................Su 29 Christine and the Queens........................................................................... Tu 31 Nada Surf w/ Big Thief & Bird Of Youth ..............................................................W 1 Charles Bradley and his Extraordinaires ..............................................Th 2 U STREET MUSIC HALL PRESENTS

Kaytranada w/ Lou Phelps .................................................................................F 3

9:30 CUPCAKES

BUDWEISER INFIELDFEST AT THE PREAKNESS FEATURING

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

1215 U Street NW Washington, D.C.

JUST ANNOUNCED!

JUNE

MANY MORE SHOWS ON SALE!

Pimlico Race Course • Baltimore, MD

930.com

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

The Jayhawks .................................................................. SAT JUNE 18 On Sale Friday, April 15 at 10am

THIS TUESDAY! AEG LIVE PRESENTS

Welcome to Night Vale w/ Danny Schmidt & Carrie Elkin ...............................APRIL 19 JUSTICEAID CONCERT BENEFIT FOR THE CFSY AND NJDC

Ozomatli plus Big Tony & Trouble Funk .................................................... MAY 15 Sam Beam and Jesca Hoop w/ Marlon Williams .............................................. MAY 21 Plastic Cup Boyz ................................................................................................... MAY 29 John Carpenter: Live Retrospective

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

FIRST NIGHT SOLD OUT! SECOND

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Eleanor Friedberger Coasts w/ Knox Hamilton & Symmetry..Sa 16 w/ Icewater & The Duskwhales ... Th APR 14 Prof Le1f w/ TT The Artist ............................. F 15 w/ Mike Mictlan • DJ Fundo • Seez Mics .Su 17

Bryan Ferry w/ LP ................................................................................................. JULY 25 Gad Elmaleh ................................................................................................ SEPTEMBER 1 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

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

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

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

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

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

36 april 15, 2016 washingtoncitypaper.com

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

930.com

INER 60S-INSPIRED D Serving

EVERYTHING from BURGERS to BOOZY SHAKES

HAPPY HOUR:

$2 TUESDAY $3 THURSDAY $4 FRIDAY (ALL DRAFTS AND RAIL)

BRING YOUR TICKET

AFTER ANY SHOW AT

Club

TO GET A

FREE SCHAEFERS

SABBATH SUNDAY NIGHTS Punk/Metal/Hardcore Classics

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

CITYLIST CITY LIGHTS: FRIDAY

Rock

THAO AND THE GET DOWN STAY DOWN

Friday 9:30 Club 815 V St. NW. (202) 265-0930. Thao & the Get Down Stay Down, Saintseneca, Little Scream.

8 p.m. $20. 930.com. blaCk Cat 1811 14th St. NW. (202) 667-4490.

Chairlift, Olga Bell. 9 p.m. $15. blackcatdc.com. the hamilton 600 14th St. NW. (202) 787-1000.

David Kitchen Band. 10:30 p.m. Free. thehamiltondc.com.

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

Yuck, Big Thief, Bad Moves. 9 p.m. $15. rockandrollhoteldc.com. tRopiCalia 2001 14th St. NW. (202) 629-4535.

Fellow Creatures, Kino Musica. 8 p.m. $10. tropicaliadc.com.

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

(703) 549-7500. The Average White Band. 7:30 p.m.

(Sold out) birchmere.com. the hamilton 600 14th St. NW. (202) 787-1000.

The Motet with The Nth Power. 8:30 p.m. $17–$20. thehamiltondc.com.

Jazz blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Yellowjackets. 8 p.m. & 10 p.m. $35–$40. bluesalley.com.

Jammin Java 227 Maple Ave. East, Vienna. (703) 255-1566. Charlie Hunter & Scott Amendola Duo. 7 p.m. $20–$22. jamminjava.com. libRaRy of CongRess thomas JeffeRson building 10 First St. SE. (202) 707-5000. Maria Schneider Orchestra. 8 p.m. Free. loc.gov. montpelieR aRts CenteR 9652 Muirkirk Road, Laurel. (301) 377-7800. Nasar Abaday and SUPERNOVA. 8 p.m. $25. arts.pgparks.com.

On her 2008 album We Brave Bee Stings and All, Northern Virginia native Thao Nguyen wails plaintively about the pains of growing up and figuring out life. Her style is reminiscent of Feist, Jenny Lewis, and many of the other female vocalists who made their mark at that time. Eight years later, Nguyen’s latest offering, A Man Alive, finds her playing with electronic effects and spoke-sung passages in a way that uniquely fits her eclectic swagger. Always interested in having a good time with her music, she’s poked fun at the whirrs and buzzes heard on A Man Alive in a Funny Or Die video with the album’s producer Merrill Garbus (aka tUnE-yArDs). As she explores the gloomier aspects of life, Nguyen brings a refreshing dose of realism to her music. “See my city in the city lights/ Scratch the belly of the underside,” she growls on “Fool Forever.” At her homecoming show at 9:30 Club, you’ll hear more animated thoughts on music and modern existence. Thao and the Get Down Stay Down performs with Saintseneca and Little Scream at —Caroline Jones 8 p.m. at 9:30 Club, 815 V St. NW. $20. (202) 265-0930. 930.com.

DJ nigHts

Funk & R&B

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

IDK Fridays: Top 40 and EDM. 9:30 p.m. Free. rockandrollhoteldc.com.

biRChmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Average White Band. 7:30 p.m.

(Sold out) birchmere.com.

saturday

Jazz amp by stRathmoRe 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Omar Sosa. 8 p.m. $30–$40. ampbystrathmore.com.

Rock

mR. henRy’s 601 Pennsylvania Ave. SE. (202) 546-8412. Denyse Pearson and Her Gentlemen of Distinction. 8 p.m. Free. mrhenrysdc.com.

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

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Yellowjackets. 8 p.m. & 10 p.m. $35–$40. bluesalley.com.

countRy

Comet ping pong 5037 Connecticut Ave. NW. (202) 364-0404. Tacocat, Boyfriends, Homo Superior. 10 p.m. $12. cometpingpong.com.

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

dC9 1940 9th St. NW. (202) 483-5000. Wild Throne, Black Dog Prowl. 1 p.m. $5. dcnine.com.

classical

state theatRe 220 N. Washington St., Falls Church.

(703) 237-0300. Corey Smith, Derik Hultquist. 9 p.m. $25–$30. thestatetheatre.com.

u stReet musiC hall 1115 U St. NW. (202) 5881889. Le1f, TT the Artist. 7 p.m. $15. ustreetmusichall.com.

located next door to 9:30 club

SearCh LISTIngS aT waShIngTonCITYpaper.Com

Music

Hip-Hop

2047 9th Street NW

Music . . . . . . . . . . . . . . . . . . . . . . . . .37 Dance . . . . . . . . . . . . . . . . . . . . . . . .43 Theater . . . . . . . . . . . . . . . . . . . . . . 4 3 Film . . . . . . . . . . . . . . . . . . . . . . . . . . .45

classical kennedy CenteR ConCeRt hall 2700 F St. NW. (202) 467-4600. DECLASSIFIED: The B-Sides featuring Mason Bates and Anne Akiko Meyers with the National Symphony Orchestra. 9 p.m. $39. kennedy-center.org.

kennedy CenteR ConCeRt hall 2700 F St. NW. (202) 467-4600. San Francisco Symphony with Michael Tilson Thomas, conductor; Sasha Cooke, mezzo-soprano; Simon O’Neill, tenor. 4 p.m. $55–$120. kennedy-center.org.

gypsy sally’s 3401 K St. NW. (202) 333-7700.

Psycho Killers. 9 p.m. $15–$20. gypsysallys.com. the hamilton 600 14th St. NW. (202) 787-1000.

Shartel & Hume. 10:30 p.m. Free. thehamiltondc.com.

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

Free. kennedy-center.org.

hill CountRy live 410 7th St. NW. (202) 5562050. The Trongone Band. 9:30 p.m. $10–$15. hillcountrywdc.com.

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

Small Black, Bayonne. 9 p.m. $14–$16. rockandrollhoteldc.com.

DJ nigHts maRx Café 3203 Mt. Pleasant St. NW. (202) 5187600.Balkan Night with DJ Klangbank. 10 p.m. Free. marxcafemtp.com.

washingtoncitypaper.com april 15, 2016 37

CITY LIGHTS: SATURDAY

CARMINA BURANA 1811 14TH ST NW

www.blackcatdc.com @blackcatdc

APRIL SHOWS THU 14 FRI 15 FRI 15

CHAIRLIFT

AL NIGHT LONG! (21+) WEIRD AL BURLESQUE TRIBUTE

THE BIG SHOW

SAT 16

RIGHT ROUND

SUN 17

HAR MAR SUPERSTAR

80S ALT POP DANCE PARTY

PAPERHAUS (SINGLE RELEASE)

MICHAEL CHE WED 20 WHITE DENIM TUE 19

THU 21 THU 21

DAG NASTY LEWIS DEL MAR

FRI 22

EUGENE MIRMAN

FRI 22

PUNK ROCK KARAOKE

SAT 23

TUE 26

F

15 GOLDEN STATE

LONE STAR REVUE

HARRY & THE POTTERS

SAT 16 202 COMEDY FESTIVAL PRESENTS:

MON 18

APRIL

ROBYN HITCHCOCK

INTO IT. OVER IT. THE WORLD IS A BEAU TIFUL PLACE & I AM NO LONGER AFRAID TO DIE

PARKER MILLSAP

SA 16

& SPECIAL GUEST REV. BILLY C. WIRTZ JOE CLAIR & FRIENDS PRESENTS APRIL FOOLS

COMEDY FEST

S

17 A TRIBUTE TO THE MUSIC

S

24 BRUNCH WITH VUYO

S

24 TERRY REID

OF MARVIN GAYE,TEDDY PENDERGRASS AND STEVIE WONDER W 20 DWAYNE ADELL F 22 CAMEO SA 23 DAVY KNOWLES PLUS GOIN’ GOIN’ GONE

SOTASHE & LYLE LINK WITH THE CHRIS GRASSO TRIO & COSMIC AMERICAN DERELICTS

W 27 ROCK-A-SONICS TH 28 CHANTÉ MOORE & F 29 SA 30 THE SOUL CRACKERS M AY

S 1 STEVE TYRELL M 2 AN EVENING WITH TH 8

TAKE METRO!

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

TO BUY TICKETS VISIT TICKETFLY.COM

blaCk Cat baCkstage 1811 14th St. NW. (202) 667-4490. Har Mar Superstar, High Waisted.

7:30 p.m. $15. blackcatdc.com.

BRUNCH AND EVENING SHOWS

dC9 1940 9th St. NW. (202) 483-5000. Snog, The Labrynth. 8 p.m. $15. dcnine.com.

A STEAM FUNK ROCK-NROLL CIRCUS PARTY!

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

Griffin House. 7:30 p.m. $15.25–$22.25. thehamiltondc.com.

JUNE

3 RONNIE LAWS

7719 Wisconsin Ave., Bethesda, MD (240) 330-4500 www. BethesdaBluesJazz.com Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

38 april 15, 2016 washingtoncitypaper.com

Rock

STRAITJACKETS MOTHER’S DAY - RAT PACK

W 11 MARCHFOURTH!

F

sunday

SNARKY PUPPY [2 SHOWS]

TH 12 SOS BAND F 27 AN EVENING WITH ERIC BENET

FRI MAY 20 ROME FORTUNE THE RANGE

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

MASS APPEAL with DJ AutoRock. 9:30 p.m. Free. rockandrollhoteldc.com.

9:30 Club 815 V St. NW. (202) 265-0930. The Dandy Warhols, Seratones. 7 p.m. $25. 930.com.

W 4 NRBQ VS. LOS

TUE MAY 17 ROGUE WAVE

You know some of Carmina Burana even if you don’t recognize the name: One movement of the operatic cantata, “O Fortuna,” is used to heighten the drama in movies like Jackass and commercials for Domino’s. The entire work, 24 movements in all, also provides the score for a ballet choreographed by Septime Webre, the artistic director of Washington Ballet, which will perform the piece for the first time in 10 years. The music, performed by 80 members of the Cathedral Choral Society and 20 members of the Arlington Children’s Chorus, celebrates springtime, love, youth, and beauty—qualities that a ballet company performing in April should have in excess. Contemporary mixes with classical in this program, as Washington Ballet dancers also perform George Balanchine’s “Theme and Variations.” Set to music by Tchaikovsky, Balanchine’s choreography nods to famous Russian ballets like Swan Lake and Sleeping Beauty, but it is also famously very technical.

Mikhail Baryshnikov called it the most difficult piece he ever danced. The ballet runs April 13 to 17 at the Kennedy Center Eisenhower Theater, 2700 F St. NW. $32.35–$130. (202) —Anya van Wagtendonk 467-4600. kennedy-center.org.

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

Big D and the Kids Table, Counterpunch, The Far East, Stacked Like Pancakes. 7:30 p.m. $13.50–$15. rockandrollhoteldc.com.

ElEctRonic

WoRlD kennedy CenteR ConCeRt hall 2700 F St. NW. (202) 467-4600. Zakir Hussain and Masters of Percussion. 1 p.m. $25–$65. kennedy-center.org.

classical alden theatRe 1234 Ingleside Ave., McLean.

(703) 790-0123. Concerts at the Alden. 3 p.m. Free. mcleancenter.org/alden-theatre. hylton peRfoRming aRts CenteR 10960 George Mason Circle, Manassas. (703) 993-7759. The Chamber Music Society of Lincoln Center. 4 p.m. $30–$50. hyltoncenter.org. national galleRy of aRt 4th Street and Constitution Avenue NW. (202) 737-4215. PostClassical Ensemble. 3:30 p.m. Free. nga.gov. phillips ColleCtion 1600 21st St. NW. (202) 3872151. Paul Huang, violin and Jessica Xylina Osborne, piano. 4 p.m. (Sold out) phillipscollection.org.

Monday Rock

kennedy CenteR millennium stage 2700 F St. NW. (202) 467-4600. DJ Dominic Johnson. 6 p.m.

Free. kennedy-center.org.

blaCk Cat baCkstage 1811 14th St. NW. (202) 667-4490. Paperhaus, Crushnpain, Nag Champa.

7:30 p.m. $10–$12. blackcatdc.com.

Jazz

Jazz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Yellowjackets. 8 p.m. & 10 p.m. $35–$40. bluesalley.com.

biRChmeRe 3701 Mount Vernon Ave., Alexandria.

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

CITY LIGHTS: SUNDAY

ZAKIR HUSSAIN Mumbai-born tabla drummer Zakir Hussain is best known in the U.S. for his multicultural collaborations— with George Harrison, Herbie Hancock, and the Grateful Dead’s Mickey Hart, as well as his contributions to the Apocalypse Now soundtrack and the opening ceremony of the 1996 Olympics. But Hussain’s finest barehanded rhythmic efforts are found on compositions that reflect the breadth of Indian classical music. Hussain first learned his country’s music from his father, Alla Rakha, a tabla player who accompanied Ravi Shankar. Hussain presents his current interpretation of that cultural heritage live with his group, Masters of Percussion. Don’t let its name fool you: While it does include four percussionists in addition to Hussain, the ensemble also features musicians on stringed instruments like the sitar and sarangi, and a Kathak-style dancer. Together it will convey the rollercoaster feel of Indian music by speeding up and slowing down tempos, as well as capturing its more calming, orchestral feel. Propelling the band through it all is Hussain, a professional musician since age 12, who masterfully varies his hand speed and pressure on his two drums. Zakir Hussain and Masters of Percussion perform at 1 p.m. at the Kennedy Center Concert Hall, 2700 F St. NW. $25–$65. (202) 467-4600. kennedy-center.org.

—Steve Kiviat

washingtoncitypaper.com april 15, 2016 39

CITY LIGHTS: MONDAY

GOOD TO GO

Brunch Sundays from 10am - 3pm

TH APR 14 McLovins FR APR 15 “Tax Day Blues Party” w/ The Bobby Thompson Project SA APR 16 Kidsrock! Brunch & Concert w/ Mr. Knick Knack (Tickets On Sale Now!!!)

SA APR 16 Ten Feet Tall SU APR 17 Black Muddy River (Acoustic Grateful Dead Tribute) TU APR 19 Trivia Tuesday! WE APR 20 Up The Chain TH APR 21 Footwerk FR APR 22 “Sirens Of The Spring” Featuring: Sweet Leda/ Mama’s Black Sheep/Christine Havrilla SA APR 23 The Ron Holloway Band TU APR 26 We Are The 9 Songwriter Showcase WE APR 27 Anthony Pirog Trio TASTY TH APR 28 Dale & The ZDubs w/ Of Good Nature SATURDAYS FR APR 29 Moonshine Society TU MAY 3 Trivia Tuesday!

Offer Tasty Samples in our WE MAY 4 Silver Line Station TH MAY 5 Ghost Of Paul Revere Butcher Shop & Market FR MAY 6 Turtle Recall SA MAY 7 The Pocket Band

925 North Garfield St. | Arlington, VA | 703-841-5889 | sehkraftbrewing.com

“PAINTING WITH WORDS: GENTLEMEN ARTISTS OF THE MING DYNASTY” Artists these days tend to stick to one medium. Poets in one corner, painters in another, and digital artists in another group altogether. But in the booming days of China’s Ming dynasty, the “Three Perfections” of poetry, painting, and calligraphy were praised and those who excelled at all three techniques were considered masters. The latest exhibition at the Arthur M. Sackler Gallery, “Painting With Words,” focuses on intricate ink drawings and elaborate scrolls created from the 14th to the 17th century. Culled from the museum’s extensive collection of work from the Wu School, the show not only showcases the exquisite technique that has been maintained over centuries, it also explains how this art related to all aspects of Chinese life. Among the highlights of the exhibition is “The Beauties of Shu River,” attributed to Qiu Ying and pictured above, a delicate study of a valley in blues and greens. The exhibition is on view daily, 10 a.m. to 5:30 p.m., to July 24, at the Arthur M. Sackler Gallery, 1050 Independence Ave. SW. Free. (202) 633-4880. asia.si.edu. —Caroline Jones

WoRlD kennedy CenteR millennium stage 2700 F St. NW. (202) 467-4600. Banda dell’Arma dei Carabinieri. 6 p.m. Free. kennedy-center.org.

Hip-Hop

Wednesday Rock

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

Denzel Curry, Allan Kingdom, SDotBraddy. 8 p.m. $15–$17. rockandrollhoteldc.com.

9:30 Club 815 V St. NW. (202) 265-0930. Good Charlotte, Waterparks. 7 p.m. $30. 930.com.

tuesday

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

White Denim, Sam Cohen. 7:30 p.m. $18. blackcatdc.com.

Rock

9:30 Club 815 V St. NW. (202) 265-0930. Esperanza Spalding. 7 p.m. $38. 930.com.

RoCk & Roll hotel 1353 H St. NE. (202) 3887625. Little Green Cars, John Mark Nelson. 8 p.m. $12–$14. rockandrollhoteldc.com.

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

(703) 549-7500. Tower of Power. 7:30 p.m. $55. birchmere.com.

ElEctRonic dC9 1940 9th St. NW. (202) 483-5000. Operators, Bogan Via. 9 p.m. $12–$14. dcnine.com.

40 april 15, 2016 washingtoncitypaper.com

musiC CenteR at stRathmoRe 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Hilary Hahn, violin. 8 p.m. $50–$75. strathmore.org.

bossa bistRo 2463 18th St NW. (202) 667-0088.

Digisaurus, Social Station. 9:30 p.m. $5. bossadc.com. dC9 1940 9th St. NW. (202) 483-5000. LowDown Brass Band, The Pocket Band, The Fuss. 8:30 p.m. $10. dcnine.com. fillmoRe silveR spRing 8656 Colesville Road, Silver Spring. (301) 960-9999. Underoath, Caspian.

7:30 p.m. $25. fillmoresilverspring.com. songbyRd musiC house and ReCoRd Cafe 2477 18th St. NW. (202) 450-2917. Young Rapids, Summer Salt, Son Step, Jau Ocean. 8 p.m. $10–$12. songbyrddc.com.

Jazz

Hip-Hop

baRns at Wolf tRap 1635 Trap Road, Vienna.

(703) 255-1900. Delfeayo Marsalis and Marcus Roberts Quartet. 8 p.m. $35–$40. wolftrap.org.

fillmoRe silveR spRing 8656 Colesville Road, Silver Spring. (301) 960-9999. Waka Flocka Flame, 4B, Loud Cru. 8 p.m. $22.50. fillmoresilverspring.com.

sixth & i histoRiC synagogue 600 I St. NW. (202) 408-3100. Brad Mehldau Trio. 8 p.m. $47. sixthandi.org.

classical

countRy

ClaRiCe smith peRfoRming aRts CenteR Stadium Drive and Route 193, College Park. (301) 405-2787. New Music at Maryland. 8 p.m. Free. theclarice.umd.edu.

biRChmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Time Jumpers featuring Vince Gill, Kenny Sears and “Ranger Doug” Green.

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

washingtoncitypaper.com april 15, 2016 41

thursday Rock

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

9:30 Club 815 V St. NW. (202) 265-0930. Tokyo Police Club, From Indian Lakes. 6 p.m. $25. 930.com.

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

Tix @ Ticketmaster.com 800-745-3000

Apr 14

THE CHURCH

Performing ‘The Blurred Crusade’, selections from new album ‘Further/Deeper’, & more!

Charles Ross’

17 ONE MAN

DARK KNIGHT

A Batman Parody

JAKE SHIMABUKURO

18

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

19

GUITAR ARMY feat.

24

ROBBEN FORD, LEE ROY PARNELL, JOE ROBINSON ANDY McKEE 25 26&27

An Acoustic Evening with

JOHN HIATT

Rick Brantley

NAJEE

28

THE HOT SARDINES Ruby THE WAIFS Boots 30 May 3 ROBBY KRIEGER’S JAM KITCHEN 29

LUTHER RE-LIVES BRUNCH

SUN APRIL 17TH

STEEL PULSE WITH JAH WORKS

TUE APRIL 19TH

JAZZ IS PHISH SUN APRIL 24TH

THE KINGS COURT TOUR: OFFICIAL J DILLA TRIBUTE

MON APRIL 25TH

WALTER TROUT THU APRIL 28TH

BUNNY WAILER

blaCk Cat 1811 14th St. NW. (202) 667-4490. Dag Nasty, Walk the Plank. 7:30 p.m. $15. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. These Wild Plains, Buffalo 40. 9 p.m. $8. dcnine.com. fillmoRe silveR spRing 8656 Colesville Road, Silver Spring. (301) 960-9999. Amon Amarth, Entombed A.D., Exmortus. 7:30 p.m. $27.50. fillmoresilverspring.com. the hamilton 600 14th St. NW. (202) 787-1000.

Penny and Sparrow, Rose Cousins. 7:30 p.m. $10–$15. thehamiltondc.com. u stReet musiC hall 1115 U St. NW. (202) 5881889. Aurora. 7 p.m. $15. ustreetmusichall.com.

Funk & R&B blue dolphin seafood RestauRant 1166 MD-3 #201, Gambrills. (410) 721-9081. Luther Re-Lives 2016 Concert featuring William “Smooth” Wardlaw. 8 p.m. $30.

Jazz atlas peRfoRming aRts CenteR 1333 H St. NE. (202) 399-7993. City of Poets. 8 p.m. $28. atlasarts.org. libRaRy of CongRess thomas JeffeRson building 10 First St. SE. (202) 707-5000. Abdullah Ibrahim Mukashi Trio. 8 p.m. Free. loc.gov.

countRy

DWEEZIL ZAPPA

COLORS DC

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

JERRY JEFF WALKER

SAT APRIL 30TH

baRns at Wolf tRap 1635 Trap Road, Vienna.

(703) 255-1900. John McCutcheon. 8 p.m. $25–$28. wolftrap.org.

5 (Via Zammata Tour) with Reformed Whores

Mothers’ Day with

MOTHER’S FINEST 9&10 CHRIS ISAAK First Comes The Night Tour IRIS DEMENT & LOUDON WAINWRIGHT III WALTER BEASLEY 13 GARY TAYLOR 14 ® 15 SWEET HONEY IN THE ROCK Aubrie 18 BRANDY CLARK Sellers 19 OTTMAR LIEBERT

11

In the

20

!

HARD WORKING AMERICANS

featuring Todd Snider, Dave Schools, Neal Casal, Duane Trucks,

Chad Staehly and Jesse Aycock with Reed Foehl

presents

THE AVETT BROTHERS

with special guest

BRETT DENNEN

May 15, 7:30pm

Tickets On Sale Now through Ticketmaster.com 800-745-3000

42 april 15, 2016 washingtoncitypaper.com

SAT APRIL 16TH EL GRAN COMBO SUN APRIL 17TH

FRI APRIL 29TH

(Performing music of The Doors & more!)

6 8

biRChmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Karla Bonoff and Jimmy Webb.

7:30 p.m. $35. birchmere.com.

An Evening with

MAJAH HYPE TUE MAY 3RD

JACQUEES WED MAY 4TH

FILTER

MAKE AMERICA HATE AGAIN TOUR WITH ORGY

FRI MAY 13TH

MYA

FRI MAY 27TH

JOE

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

Folk WoRlD kennedy CenteR millennium stage 2700 F St. NW. (202) 467-4600. Esma Redzepova. 6 p.m. Free. kennedy-center.org.

opERa ClaRiCe smith peRfoRming aRts CenteR Stadium Drive and Route 193, College Park. (301) 405-2787. Maryland Opera Studio: Opera al Fresco.

12:30 p.m. Free. theclarice.umd.edu.

classical CatholiC univeRsity of ameRiCa 620 Michigan Ave. NE. (202) 319-5000. Washington International Piano Series with Ivo Kaltchev and Ralitza Patcheva.

8 p.m. Free. cua.edu. mansion at stRathmoRe 10701 Rockville Pike, North Bethesda. (301) 581-5100. Ensemble Schumann with Sally Pinkas, piano; Steve Larson, viola; Thomas Gallant, oboe. 7:30 p.m. $30. strathmore.org.

Vocal s. dillon Ripley CenteR 1100 Jefferson Dr. SW. (202) 633-3030. Sing Out! The Smithsonian Chorale: 9 Weekly Rehearsals Plus Performance. 10:30 a.m. $120–$160. smithsonianassociates.org.

CITY LIGHTS: TUESDAY

CATHY ALTER AND DAVE SINGLETON

Who among us hasn’t fallen victim to that uniquely modern malaise, the early adolescent celebrity crush? (They also date us; as a mid-’90s preteen, my bedroom posters featured the golden-haired Jonathan Taylor Thomas.) There’s something about celebrities that makes them the perfect target for pinning half-formed romantic hopes and dreams. They’re objects of affection at a safe distance. These mindpowered love connections form the basis of CRUSH: Writers Reflect on Love, Longing and the Lasting Power of Their First Celebrity Crush, an anthology of 38 essays chronicling crushes pined for, met, and discarded.

The project is the brainchild of memoirists Cathy Alter and Dave Singleton, D.C.-based writers who served as the collection’s editors. Contributors, including Roxane Gay, James Franco, Stephen King, and Hanna Rosin, confess their infatuations with heartthrobs both real and imaginary. Among the targets of infatuation: generically handsome actors like River Phoenix and Jared Leto, as well as unexpected celebrities like, uh, Howard Cosell.

Join Alter, Singleton, and other local contributors as they discuss what these “painfully real and wholly implausible” unrequited loves reveal about the people harboring them.

Cathy Alter and Dave Singleton read at 7 p.m. at Sixth & I Historic Synagogue, 600 I St. —Emily Walz NW. $15–$35. (202) 408-3100. sixthandi.org.

dance

“CaRmina buRana” and “theme and vaRiations” The Washington Ballet reinterprets Carl Orff’s famous cantata as an intricate ballet during this performance. The company also performs George Balanchine’s classic “Themes and Variations,” set to music by Tchaikovsky. Kennedy Center Eisenhower Theater. 2700 F St. NW. April 15, 7:30 p.m.; April 16 and 17, 1:30 p.m. and 7:30 p.m. $32.25–$130. (202) 467-4600. kennedy-center.org. blaCk to silveR: a blaCk lgbt expeRienCe Modern company Dissonance Dance Theatre draws inspiration from the black LGBT community to create this multidisciplinary evening of art, which features a new piece about the power of vices and how they impact our lives. Jack Guidone Theater. 5207 Wisconsin Ave. NW. April 16, 8 p.m. $15–$25. (202) 520-3692. ddtdc.org.

Jody obeRfeldeR pRoJeCts For The Brain Piece, the New York-based company examines how science and art intersect and how our minds perceive the world. Dance Place. 3225 8th St. NE. April 16, 8 p.m.; April 17, 7 p.m. $15–$30. (202) 269-1600. danceplace.org.

JuRiJ konJaR In Bound, choreographed by Steve Paxton in 1982, Konjar performs a series of isolated vignettes that begin to make sense as they add up.

American Dance Institute. 1570 East Jefferson St., Rockville. April 15, 8 p.m.; April 16, 8 p.m. $15–$30.

(301) 984-3003. americandance.org. mason danCe Company Dance students at George Mason University debut new works at this annual spring concert. George Mason University Center for the Arts. 4373 Mason Pond Drive, Fairfax.

April 21, 8 p.m. $10–$15. (888) 945-2468. cfa.gmu.edu. mosCoW festival ballet The acclaimed Russian company performs two of ballet’s classic tragedies: Giselle, the story of a young peasant who falls in love with a count, on Saturday; and Swan Lake, the tale of the enchanted princess turned into a water fowl. George Mason University Center for the Arts.

4373 Mason Pond Drive, Fairfax. April 16, 8 p.m.; April 17, 4 p.m. $34–$56. (888) 945-2468. cfa.gmu.edu.

theater

110 in the shade A young woman aches for a life outside her small town and when she meets a handsome stranger who promises her opportunity and the ability to ease the region’s drought, her dreams appear within reach in this lively romantic musical by Harvey Schmidt, Tom Jones, and N. Richard Nash. Ford’s Theatre. 511 10th St. NW. To May 14. $28–$69. (202) 347-4833. fords.org. afteR the WaR An Israeli pianist returns to his home country to perform with the Israeli Philharmonic and attempts to reconnect with the family he became estranged from following the 2006 war in Lebanon in this drama by Motti Lerner, author of The Admission. Atlas Performing Arts Center. 1333 H St. NE. To April 17. $15–$60. (202) 399-7993. atlasarts.org. all the Way Explore the power and personality of Lyndon Johnson in this drama from playwright Robert Schenkkan. Featuring appearances by Martin Luther King, Jr., J. Edgar Hoover, and other public figures from the era, this play serves as both history lesson and cautionary tale. Arena Stage. 1101 6th St. SW. To May 8. $55–$110. (202) 488-3300. arenastage.org. blaCk peaRl sings American folk songs and spirituals are put to use in this play set in Depression-era Texas, about two women whose love of music draws them together during difficult times. MetroStage.

1201 N. Royal St., Alexandria. To May 29. $55–$60.

(703) 548-9044. metrostage.org.

Cat on a hot tin Roof Secrets and flawed relationships are revealed in Tennessee Williams’ classic drama about two generations fighting to figure out inheritance and their roles in the world. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To April 24. $31–$61. (240) 644-1100. roundhousetheatre.org.

washingtoncitypaper.com april 15, 2016 43

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dial ‘m’ foR muRdeR A former tennis star aims to get away with killing his wife in order to cash in on her wealth but he’s quickly investigated by a detective and his wife’s former lover, leading to a wild chase and surprising ending. Jason King Jones directs this play, which inspired Alfred Hitchcock’s film of the same name. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To May 1. $15–$65. (301) 924-3400. olneytheatre.org.

A MOVING TRIBUTE.

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ChRoniCle of a death foRetold A young woman returns to her family after her husband discover she is not a virgin, leading her brothers to take revenge in this exciting tale based on the novel

by Gabriel Garcia Marquez. GALA Hispanic Theatre.

3333 14th St. NW. To May 8. $20–$42.

(202) 234-7174. galatheatre.org.

7141 WISCONSIN AVE, BETHESDA MD 20814 · 240-800-4700

W W W. V I L L A I N A N D S A I N T. C O M

the eleCtRiC baby Rorschach Theater presents Stefanie Zadravec’s spooky thriller about a woman who kills a young man and finds herself haunted by a series of lost souls and spirits that gather around and illuminate a young child. Directed by Randy Baker, this production explores how strange beginnings can lead us on unexpected paths. Atlas Performing Arts Center. 1333 H St. NE. To May 15. $15–$30. (202) 399-7993. atlasarts.org. falling out of time Author David Grossman reflects on losing his son in the 2006 Israel-Lebanon conflict in this moving story about a man who, with his wife, embarks on a journey that will impact his life forever. The stage version is adapted and directed by Derek Goldman, artistic director of the Davis Performing Arts Center at Georgetown University.

Theater J. 1529 16th St. NW. To April 17. $15–$67.

(202) 777-3210. theaterj.org. the fliCk Three minimum-wage workers do their best to keep a Massachusetts movie theater running and along the way, form tenuous connections with one another, in this Pulitzer Prize-winning play by Annie Baker. Signature Theatre. 4200 Campbell

Ave., Arlington. To April 17. $40–$94.

(703) 820-9771. sigtheatre.org. the gospel aCCoRding to thomas JeffeRson, ChaRles diCkens, and Count leo tolstoy: disCoRd Three famed thinkers who adapted The Bible to suit their own lives debate the merits of their own interpretations in this clever comedy by Scott Carter. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To April 24. $40–$50. (240) 582-0050. stageguild.org. hunting and gatheRing In this lively comedy from playwright Brooke Berman, a group of New Yorkers seek temporary shelter in different locations as they cohabitate and separate over the course of time. Rep Stage at Howard Community College.

10901 Little Patuxent Parkway, Columbia. To April 24. $15–$40. (443) 518-1500. repstage.org. in a WoRd Two years after her son’s disappearance, a mother continues to grieve and feel lost within her community. Though interactions with an incompetent detective,an absent husband, and a strange local kidnapper, Lauren Yee’s play shows how humans cope with tragedy and what we must do in order to move on. The Hub Theatre at John Swayze Theatre. 9431 Silver King Court, Fairfax. To April 24. $20–$30. (703) 674-3177. thehubtheatre.org.

JeRsey boys The Tony-winning musical tells the story of the rise and fall of The Four Seasons and includes many of the group’s hit songs, including “Walk Like a Man,” “Big Girls Don’t Cry,” and “Sherry.” National Theatre. 1321 Pennsylvania Ave. NW. To April 24. $53–$123. (202) 628-6161. nationaltheatre.org.

JouRney to the West Mary Zimmerman’s take on this ancient Chinese legend about a monk on the search for sacred scriptures is both mystical and dreamy, as presented by Constellation Theatre. Constellation Theatre at Source. 1835 14th St. NW. To May 22. $20–$55. (202) 204-7741. constellationtheatre.org.

CITY LIGHTS: WEDNESDAY

THE RAT PACK

The suave and seductive crooners that led the Rat Pack may all be long gone, but their signature tunes will ring out when they’re transported from the nightclubs of Las Vegas to the stage at Signature Theatre. Three familiar studs of the Signature stage—James Gardiner (The Last Five Years, Chess), Bobby Smith (Road Show, Simply Sondheim), and Paul Scanlan (Simply Sondheim, Sunday in the Park with George)—will be cracking wise at this limited engagement cabaret performance in the arts complex’s Shen space. Indoor smoking may be banned nationwide but libations will flow freely, just like Dean and Frank would have demanded. For this week, the Shen is set up like a spot on the Strip with table seating and a bar in the theater. Slick back your hair with pomade, shine those wingtips, and tell your dame to put on her best red lipstick as you get transported back to the ’60s to the sound of “That’s Amore,” “King of the Road,” and “I’ve Gotta Be Me.” The production runs April 19 to 23 at Signature Theatre, 4200 Campbell Ave., Arlington. $35. (703) —Diana Metzger 820-9771. sigtheatre.org.

the netheR Local favorite Ed Gero makes his Woolly Mammoth debut in Jennifer Haley’s fantastical play about what happens when Earth turns into a gray wasteland. A special place where all desires are met serves as a safe space for some individuals but when a detective begins to look into the forces behind this wonderland, the artifice around it crumbles. Woolly Mammoth Theatre. 641 D St. NW. To May 1. $20–$78. (202) 393-3939. woollymammoth.net. pRide and pReJudiCe Drama students tell the story of the frustration and love between Mr. Darcy and Elizabeth Bennet in this stage adaptation of Jane Austen’s classic novel. Catholic University of America. 620 Michigan Ave. NE. To April 24. $5–$15. (202) 319-5000. cua.edu. pRoof In this Pulitzer Prize-winning play, a young woman who has spent much of her life caring for her unstable father must reckon with his actions after his death. When she encounters her estranged sister and a former student of her father’s, the three of them begin to figure out what’s left behind. 1st Stage. 1524 Spring Hill Road, McLean. To May 1. $15–$30. (703) 854-1856. 1ststagetysons.org. the Rat paCk Three regular Signature performers take on the songs of Frank Sinatra, Dean Martin, and Sammy Davis Jr. at this cabaret featuring lively renditions of songs like “That’s Amore” and “I’ve Gotta Be Me.” Signature Theatre. 4200 Campbell Ave., Arlington. To April 23. $35. (703) 820-9771. sigtheatre.org.

BEAUTIFUL, INVENTIVE AND UNCANNILY SATISFYING!

“

The movie so teems with delightful detail and has such an exuberant sense of play that it feels entirely fresh.”

MARION

COTILLARD IN

a film by

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ENDS THUR. 4/14

baRbeRshop: the next Cut Ice Cube, Cedric n the Entertainer, and Eve return in this sequel to

since JFK on this thriller, directed by Ariel Vromen that involves an ex-con taking over a deceased CIA agent’s memories in order to complete a mission.

(See washingtoncitypaper.com for venue information)

E STREET & 11TH STREET NW (202) 783-9494 WASHINGTON

“

the 2002 comedy. This time, our heroes fight back against a gun-carrying gang that threatens their neighborhood. (See washingtoncitypaper.com for venue information) CRiminal Gary Oldman, Kevin Costner, and n Tommy Lee Jones reunite for the first time

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Washington City Paper Wednesday, 4/13 1/4Pg( 4.66x5.14) Color

too muCh light makes the baby go blind The New York Neofuturists bring their show, in which performers attempt to present 30 serious and silly plays in 60 minutes, to the McLean Community Center. Alden Theatre. 1234 Ingleside Ave., McLean. To April 16. $15–$25. (703) 790-0123. mcleancenter. org/alden-theatre.

FilM

LANDMARK THEATRES

“THE PULITZER-WINNING COMIC DRAMA SOARS.

“

– DC CITY PAPER

“

eveRybody Wants some!! Richard Linklater directs this comedy about 1980s college baseball players as they stumble into adulthood. (See washingtoncitypaper.com for venue information) Jungle book Animals come to life in n the this CGI and live action retelling of Rudyard Kipling’s tale about a boy raised by wolves and his adventures among the creatures. Featuring the voices of Lupita Nyong’o, Ben Kingsley, and Bill Murray. (See washingtoncitypaper.com for venue information)

EXTENDED THROUGH APRIL 24

Photo of Evan Casey, Laura C. Harris and Thaddeus McCants by Christopher Mueller.

the mysteRy of love & sex On the eve of their college graduations, two longtime friends debate pursuing a romantic relationship and in the process, learn about themselves, as well as about love and sex, in this warm comedy from author Bathsheba Doran. Signature Theatre. 4200 Campbell Ave., Arlington. To May 8. $40–$85. (703) 820-9771. sigtheatre.org.

ReduCed shakespeaRe Company The popular British comedy group, which presents the Bard’s work in silly, abbreviated form, returns to the Folger with its take on “William Shakespeare’s Long Lost First Play.” Folger Elizabethan Theatre. 201 E. Capitol St. SE. To May 8. $35–$75. (202) 544-7077. folger.edu.

THE VERGE

“

moment Tony-nominated director Ethan McSweeny makes his Studio debut with this family drama set in Ireland. When a young man returns home to visit his estranged movement, he starts a series of conflicts within his suburban town and within his family. Studio Theatre. 1501 14th St. NW. To April 24. $20–$91. (202) 332-3300. studiotheatre.org.

MIYAZAKI MEETS PIXAR!”

“

“

In her 2014 novel Boy, Snow, Bird, author Helen Oyeyemi masterfully melds astute observations about contemporary life with fantastical elements plucked from the story of Snow White. Oyeyemi’s latest collection of short stories, What Is Not Yours Is Not Yours, similarly blends folk tales and detailed descriptions of relationships, but these stories take place all around the world. From the opening story, “Books and Roses,” which follows an orphan raised in a Catalonian church as she searches for a lock to match the key she wears around her neck, to “Presence,” a look at what happens when a married psychoanalyst imagines living with the 12-year-old son she never had, Oyeyemi blends the real and the fantastic in stirring passages. Even Cambridge University’s secret “Homely Wench Society” is shown in the author’s exacting prose. She discusses her process and the way she blends old stories with new ones when she takes a seat at Busboys and Poets’ Takoma location. Helen Oyeyemi reads at 6:30 p.m. at Busboys and Poets Takoma, 235 Carroll St. —Caroline Jones NW. Free. (202) 726-0856. busboysandpoets.com.

“

HELEN OYEYEMI

gkids presents a riveting steampunk sci-fi adventure from the creators of persepoLis

“

CITY LIGHTS: THURSDAY

Film clips by Caroline Jones. washingtoncitypaper.com april 15, 2016 45

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Subcontracting opportunity for certifi ed DBEs, MBEs, & WBEs with Fort Myer Construction for DC Water Project, Contract No: 150080: Small Diameter Water Main Replacement - Bloomingdale. Work includes underground water main utilities, house connections, pavement repairs. Subcontracting Quotes Due: 5/3/16.

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SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION -2016 ADM 259 Name of Decedent: Lawrence P. Sima Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs: Carrie Corcoran, whose address is 511 Old Orchard Road, Baltimore, MD 21229 was appointed Personal Representative of the estate of Lawrence Sima who died on February 16, 2016 with a Will and will serve without http://www.washingtoncitypaper.com/ Court supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment (or to the probate of decedent’s Will) shall be filed with the Register of Wills, D.C., - Building A, 515 5th Street, N.W., 3rd Floor, Washington, D.C. 20001, on or before 9/30/16. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or filed with the Register of Wills with a copy to the undersigned, on or before 9/30/16 or be forever barred.

Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address andhttp://www.washingtrelationship. oncitypaper.com/ http://www washingtDate of first publication: oncitypaper.com/ March 31, 2016 /s/ Carrie Corcoran. TRUE TEST COPY /s/ ANNE MEISTER Register of Wills. Name of Newspapers: DWLR, WASHINGTON CITY PAPER. Pub Dates: Mar. 31, Apr. 7, 14, 2016.

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Forde-202-508-1483 for appointment. Offi ce located at Farragut North Metro Station.

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Office/Commercial For Sale

Offices For Rent, DC Petworth & Cheverly, MD (parking in MD) for church services, recording studio /rehearsal space, etc. Wide range of uses. $600-$1600 rent. Call 202-355-2068 or 301-772-3341.

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Very clean nice Large 1BDR apartment in Ivy City. Apartment features include Central Air, DW, and Hardwood Floors close to New York/Rhode Island metro rail and H st area. $1050 for rent. All vouchers are welcome.

Apartments for Rent Very nice large 2BDR apartment for $1150 in Ivy city. Apt features include wall 2 wall carpet,DW and central air.

Also have 1BR apt downstairs listed. Close to metro rail. If interested please call 202413-3269 Columbia Heights close to Metr, mall & restaurants, basement rental, short-term 3-6 months, nonsmoling, W/D, interns welcome. Contact 6pm9pm, 202-431-4386.

Condos for Rent Adams Morgan/Petworth First Month ‘s Rent free. 1BR with den condo, fully renovated, secure building, granite kitchen, new appliances, W/D, DW, CAC. Metro 1 block away, Safway across the st, assigned parking, $1850/mo. NO PETS. 953 Randolph St. NW. Mr Gaffney, 202-829-3925 or 301775-5701.

Roommates

Large sunny Victorian in garden 1.5 blocks from Takoma Metro has an unfurnished room for male professional/ grad student. $725 includes utilities, wifi, off street parking. Betsy 202/549-6600.

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