Washington City Paper (April 19, 2019)

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NEWS: NEW ELECTION LAW OFF TO BAD START 4 SPORTS: THREE SPIRIT STARS ARE ALSO BFFS 7 ARTS: WRIGHT, BALDWIN, AND NATIVE SONS 20

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Peeple’s Choice Winning entries from our third annual Peeps diorama contest P. 10

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INSIDE

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COVER STORY: THE PEEPLE’S CHOICE

10 Peep the winning submissions from this year’s Peeps diorama contest.

DISTRICT LINE 4 Housing Complex: After a beloved staff member’s exit, the DC Housing Authority is in turmoil.

5 Loose Lips: A Jack Evans challenger puts D.C.’s publicly funded elections program to the test.

6 He Doesn’t Even Live Here: A local developer and political booster is found guilty of fraud.

SPORTS 7

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A House United: Three members of the U.S. women’s soccer team suit up for the Washington Spirit.

Gear Prudence

FOOD 20 Counter Offers: “Fast fine” restaurants deliver exciting foods in casual environments.

ARTS 22 Theater: Zilberman on Mosaic Theater Company’s Native Son and Les Deux Noirs: Notes on Notes of a Native Son 23 Short Subjects: Zilberman on Her Spell and Olszewski on Teen Spirit 24 Theater: Thal on Scena Theatre’s “Pinter Rep” and “Beckett Trio, Part 2” 25 Curtain Calls: Ritzel on Signature Theatre’s Grand Hotel 26 Speed Reads: Meyer on Josh Levin’s The Queen: The Forgotten Life Behind an American Myth

CITY LIST 27 Music 30 Theater 31 Film

DARROW MONTGOMERY 1300 BLOCK OF 4TH STREET NE, APRIL 16

EDITORIAL

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

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On the cover: Photograph by Darrow Montgomery washingtoncitypaper.com april 19, 2019 3

DISTRICTLINE Campaign Refinance Jack Evans challenger Patrick Kennedy is the first to test D.C.’s new publicly funded elections. It’s not going well.

Patrick kennedy announced last week that he’s making a run for the Ward 2 Council seat, which Councilmember Jack Evans has occupied since 1991.

Kennedy immediately hit a snag. The 27-year-old is the first candidate to test the District’s new publicly funded elections program, run through the Office of Campaign Finance (OCF). Evans, who ran unopposed in the past two election cycles, raised $227,000 in 2016 and $370,000 in 2012. He has largely relied on the business community to build his fund.

The program provides taxpayer dollars to candidates who agree to accept smaller donations and reject donations from business entities. If Kennedy qualifies for the program as a candidate for a ward seat, he could receive a total of $40,000 as well as funds to match donations from District residents at a rate of 5 to 1. Mayor Muriel Bowser’s proposed budget includes $3.2 million for the fair elections program.

But when Kennedy went to sign up for the program, he says OCF gave confusing answers for how to comply with the law.

Specifically, Kennedy says OCF initially told him that those wishing to donate to his campaign must physically sign a document affirming their donation.

For a campaign that relies on small-dollar donations, most of which will be made online, Kennedy is concerned that requiring donors to print out, sign, and scan a document will be too much of a hassle.

“To this point, it’s been difficult because OCF is requiring us to obtain more information from donors than from traditional campaigns,” says Kennedy, who is a member of the Advisory Neighborhood Commission (ANC) in Foggy Bottom and previously served as Evans’ campaign chairman.

Kennedy’s campaign treasurer, Marina Streznewski, says the online campaign donation platform ActBlue is refusing to host candidates in D.C.’s fair elections program due in part to a lack of clarity in the regulations, which are still in draft form.

However, the fair elections program manager, Erick Jackson, testified in front of the Committee on the Judiciary and Public Safe-

LOOSE LIPS

ty, which oversees OCF, that digital signatures are acceptable.

From Kennedy’s perspective, there is still a question of how OCF will define a digital signature.

“We don’t want to be in a position where we raise money for months and then somebody in the audit division says ‘This doesn’t work,’” he says. “We just need more guidance from them at this point.”

Wesley Williams, a spokesperson for OCF, says his office will meet with members of Kennedy’s campaign this week to work out the details. kennedy is the first person to officially challenge the entrenched incumbent. With Evans mired in scandal, others may soon follow.

The D.C. Council voted to reprimand Ev-

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ans last month for using his Council office to email business pitches seeking employment with legal firms that lobby the D.C. government. In those proposals, Evans touted his relationships and influence as a councilmember and chairman of the Washington Metropolitan Area Transit Authority.

Evans has held outside employment for nearly his entire 28-year tenure as a councilmember. He has pledged to retire from his moonlighting career, but on March 31 renewed the business licence for his home-based consulting firm.

Evans is also the target of a federal investigation that has resulted in subpoenas sent to the D.C. Council and the mayor’s office seeking information about Evans and his extraCouncil employment.

Courtesy Patrick Kennedy

By Mitch Ryals

Before Kennedy announced his candidacy, he spoke with Evans and says the councilmember was adamant in his belief that the federal investigation will vindicate him.

“Without knowing where the criminal inquiry will lead, what he’s already stipulated to with those emails is disqualifying enough in my view,” says Kennedy. “It’s sad that he felt the need to solicit work based on his resume. It calls into question and brings a cloud over everything he does.”

While Kennedy is seizing on Evans’ vulnerability, he also takes issue with several of his recent votes. Kennedy disagrees with Evans’ opposition to decriminalizing Metro fare evasion, for example, and his opposition to lowering the voting age to 16. Evans also voted to repeal the voter-approved Initiative 77. Kennedy says he does not support overturning the will of voters.

In a broader sense, Kennedy believes Evans it out of touch with issues currently facing the District, such as widening inequality, affordable housing, and transportation.

“I think Jack is invested in solving problems that plagued the District in the ’90s when people were leaving in droves, we had 400 homicides a year, and the city was financially bankrupt,” he says. “His policy prescriptions are geared toward a city in that state, and he hasn’t conceptualized solutions that plague the District today.”

Evans did not respond to requests for comment.

Meanwhile, another neighborhood commissioner in Logan Circle tells LL he’s considering a run. Though he hasn’t officially filed the proper paperwork, John Fanning is certainly talking like a candidate.

Like Kennedy, Fanning disagrees with Evans’ vote to repeal Initiative 77 and his opposition to fare evasion decriminalization.

Fanning touts his own collaboration with churches in his neighborhood to develop a senior housing project and even throws a slight jab at Kennedy, who is the treasurer of the Ward 2 Democrats.

“A little of my disappointment is the Ward 2 Democrats has been dysfunctional for over four years, and Patrick has been an officer,” Fanning says. “He didn’t do anything to encourage the organization to become more active so that the Democratic voters of Ward 2 could get active in the democratic process.”

(Kennedy acknowledges that the organization has lacked enthusiasm and says it has been difficult to convince people to engage. “I understand some of the frustrations people have, and I think it’s good others want to step up and get involved,” he says.)

If he does decide to run, Fanning says he will also enroll in the public elections program. “[Jack’s] always had a huge war chest, and fair elections will give candidates like Patrick and I an opportunity to get our message out,” he says.

CP

DISTRICTLINE Cleaning House

An adored senior staffer at D.C.’s housing authority departs, creating turmoil as the agency weighs changes to its public housing stock.

On Friday, april 12, dozens of people showed up at Ivy City Smokehouse to mourn the departure of Ron McCoy from the DC Housing Authority, the public housing agency where he worked for almost two decades.

His DCHA colleagues attended to wish him well, but so did some of the agency’s clients— people who McCoy, a native Washingtonian, helped find a place to live. “They refused to say goodbye,” one DCHA employee, who requested anonymity, tells City Paper.

This employee worked alongside McCoy for several years and called him “one of the best people I’ve ever worked for.”

As the director of DCHA’s Housing Choice Voucher Program for more than a decade, McCoy oversaw and managed the distribution of vouchers to an estimated 19,000 families, up from about 5,000 when he started. He created and administered dozens of initiatives—Housing Affordable Living Options, Homeownership Coordination Committee, and the Housing Providers Association among them—and secured partnerships to run some of the housing programs for sister agencies like the Child and Family Services Agency and the departments of Health, Human Services, and Behavioral Health.

On March 29, McCoy resigned from the Authority, effective immediately. Multiple agency sources confirm to City Paper that Tyrone Garrett, who has been executive director of DCHA since October 2017, informed staff of McCoy’s departure in an early-morning meeting the following Monday. There were “grown men and women crying,” the employee says. (McCoy declined to comment on the record for this article.)

Sources describe McCoy’s departure as confusing and abrupt—he had not, they say, indicated that he had a desire to leave the agency. DCHA employees were apparently so blindsided by Garrett’s announcement that he told them to “breathe,” and that “change hap-

HOUSING COMPLEX

pens. It was my decision.”

The employee says that McCoy “inspired people to give more than the average,” to the point where people were “staying late, coming in on weekends, going above and beyond because he set that standard and you didn’t mind doing it.”

Patricia Fugere, executive director of D.C.’s Washington Legal Clinic for the Homeless, tells City Paper in an emailed statement that it is “certainly unsettling to see a well-respected leader of such an important housing program leave the agency so abruptly, especially with so little information known about his departure. Regardless of the circumstances, with tens of thousands of households on the waiting list for a voucher and with a significant portion of its public housing portfoTyrone Garrett

Darrow Montgomery

By Morgan Baskin

lio in severely substandard conditions, we are at a critical juncture with regard to the future of subsidized housing in the nation’s capital.”

McCoy “is a public servant in the truest sense,” says Beth Harrison, director of the Legal Aid Society of the District of Columbia’s eviction defense unit. She refers to those at Legal Aid who have known and worked with McCoy for years as “very distressed.”

“I think Ron McCoy leaving is an incredible loss for the agency and for low-income tenants in the District,” Harrison says. “[He] was one of the most effective employees I’d ever

worked with from DCHA. He had a strong commitment to providing affordable housing for low income tenants and improving operations. When we had problems with new procedures or policies, or saw new issues emerging, we’d take them to Ron. He’d work with us to try to address them. I hope that will continue with the new leadership. It’s just an incredible loss.”

MccOy’s departure cOMes as the Authority faces scrutiny over both Garrett’s behavior and his strategy to rehabilitate thousands of public housing units that have fallen into disrepair over the decades.

Six current and former employees of the Long Branch, New Jersey, public housing authority filed a lawsuit against the agency on Feb. 22, alleging that its former chief of staff sexually harassed his employees for years, and attempted to rape one of them. Garrett helmed LBHA at the time of the alleged harassment and is named as a defendant in the lawsuit; plaintiffs argue that he enabled his chief of staff ’s behavior. (Garrett denies the allegations.

Brian Kenner, who is the Deputy Mayor for Planning and Economic Development and a member of DCHA’s board of commissioners, says through a spokesperson that the board has “tasked [DCHA’s] general counsel with reviewing the initial suit in New Jersey and is closely monitoring those legal proceedings.”)

City Paper’s DCHA sources say that revelations about the lawsuit, coupled with McCoy’s sudden departure, have created tension inside the Authority’s office.

Garrett has campaigned for months to garner support for DCHA’s as-of-yet unreleased strategy to redevelop some of the worst public

housing complexes in the District.

“Generally, we have concerns about the direction of the agency,” Harrison says. She cites the agency’s apparent push to privatize some of the worst-off buildings in its portfolio as one of Legal Aid’s biggest concerns, and says that “in more recent months, we as advocates for tenants have not been as involved as traditionally we were in giving feedback about new regulations, new policies. It seems like our ability to give feedback has declined somewhat.”

Harrison adds that “some of the most productive meetings we’ve had” during Garrett’s time at the agency were “when we engaged with Ron McCoy. To lose him really feels like a potential loss RE our engagement with the agency.”

Garrett has indicated for months that he believes it might be imprudent to ask the D.C. government itself to fully fund the scope of repairs required to make over 2,400 units of public housing fully habitable. While DCHA leaders, including Garrett, have pegged the cost of repairs at $1.3 billion over a decade, Garrett revised the cost this month to over $2.2 billion.

At a budget oversight hearing for the agency in April, Garrett testified that his most “aggressive” budget allocation request would be an additional $50 million annually for 17 years.

At a January meeting of DCHA’s board of commissioners, a majority of the members, at Garrett’s behest, voted to adopt “a framework for the stabilization and repositioning [of] DCHA’s portfolio of properties”—a plan that some attorneys and nonprofit workers say amounts to little more than privatizing large swaths of DCHA’s portfolio.

As City Paper reported in February, DCHA has identified 14 properties as being among the worst in its portfolio. Living conditions at these properties have dire health consequences for tenants.

In an emailed statement, a spokesperson for the Authority says: “DCHA is reviewing all options and has decided that until the residents of the affected communities and other stakeholders have an opportunity to provide input, no decisions will be made about submitting demolition applications to U.S. Department of Housing and Urban Development.” The agency has already submitted three demolition/disposition applications for different complexes in DCHA’s portfolio.

And should those, or other, buildings undergo redevelopment in the coming year, hundreds of tenants will have to find housing on the private market using vouchers—via the department McCoy was in charge of overseeing.

“It’s a terrible time to lose that institutional leadership,” Harrison says, “when the voucher program will face a number of challenges in the coming months.”

CP

washingtoncitypaper.com april 19, 2019 5

DISTRICTLINE He Doesn’t Even Live Here Keith Forney corrupted D.C. elections.

By Mitch Ryals Keith Forney’s days of gaming D.C. elections and contracting systems appear to be over, but his legal troubles certainly are not.

The politically connected developer, strip club owner, and tax cheat was found guilty last week in D.C. Superior Court of perjury, corrupt election practices, and defrauding D.C.’s contracting program that gives preference to local businesses, known as Certified Business Enterprises (CBE).

Earlier this month Forney was also found guilty of violating campaign donation limits.

The 60-year-old faces a maximum sentence of 23-and-a-half years in prison for those crimes. He was convicted in September 2018 in Superior Court of tax fraud and making false statements. He’s also awaiting trial in two cases in federal court.

For years, Forney has been a major player in development projects in the District, including Eastern Market’s renovation, the Deanwood Community Center and Library, and school modernization projects. His $2,800 gift to thenWard 8 Councilmember Marion Barry in 2012 earned the Mayor-for-Life a Council censure.

Forney’s schemes in his most recent conviction, as laid out in court documents, allowed him to skirt campaign contribution limits, register to vote in two different jurisdictions, and win millions in contracts with the D.C. government by falsely claiming he lived in the District.

In 2012, Forney personally donated $500 each to Ward 5 Council candidate Delano Hunter and Mayor Muriel Bower, who at the time was running for the Ward 4 seat. He also gave $1,000 to Vincent Orange’s campaign for an at-large Council seat, court records show.

Through his business, Forney Enterprises, Inc. (FEI), he donated the same amounts to each of the three candidates, according to court records. He then directed his employees and associates to donate to those candidates and reimbursed them through his company.

Campaign contributions from a single person or business entity are limited to $500 for ward-level candidates and $1,000 for a citywide candidate. Bowser and Orange won their races. Hunter lost in a special election to Kenyan McDuffie. Earlier this year Bowser nominated Hunter to serve as director of the Department of Parks and Recreation. He 6 april 19, 2019 washingtoncitypaper.com

is now awaiting Council confirmation.

Court records show that Forney gave false information on his driver’s license applications in both D.C. and Maryland. On June 10, 2010, Forney claimed to have lost his Maryland license and applied for a duplicate, swearing his permanent residence was in Maryland.

On the same day, Forney applied for a D.C. license, listing his D.C. property as his address.

Forney owns residential property in Maryland and D.C., but he rented out the space in D.C., court records state. Forney used his D.C. license to get approved as a “Resident Owned Business” in the District’s CBE program, which earned him extra points when bidding for city contracts. FEI bid on 15 to 30 contracts per year, according to the U.S. Attorney’s Office, with the boost from the ROB designation.

All of the contracts were worth over $1 million.

Court records show that from 2008 to 2012, Forney cast four ballots in Maryland while registered in D.C.; and from 2010 to 2014 he cast four ballots in D.C. while he was registered in Maryland.

As for Forney’s looming indictments: In the first case, he is accused of claiming more than $218,000 in personal expenses as business deductions on his taxes and of grossly underreporting his income. The expenses include $168,512 to Forney’s personal credit card debt, contributions to D.C. Council candidates, and payments for his kid’s college education. This case is set for trial in July.

In the second case, Forney is charged with mail fraud and financial crimes related to his role in a copier maintenance contract with the Maryland Administrative Office of the Courts.

Forney didn’t actually do any work, prosecutors allege, and instead funneled the money he was paid to John Vassos, who loaned Forney and his business partner millions to finance the purchase of the property where their strip joint, Stadium Club, is located, according to court records. A trial date has not yet been scheduled.

In both cases, Forney asked a judge to let him take a couple work-cations—one to Costa Rica, the other to the Dominican Republic.

The trip to Costa Rica, the ever-industrious Forney told the judge, was necessary in order to address issues with a development project there. The excursion to the Dominican Republic was for a fraternity golf tournament.

The judge said no to both trips.

CP

Darrow Montgomery

SPORTS

Professional tennis is coming to a D.C. rooftop at Union Market this summer. washingtoncitypaper.com/sports

A House United

The three potential U.S. World Cup members on the Washington Spirit are also close friends and roommates.

A flood of memories rushed through Andi Sullivan’s head last spring as she pulled into the parking lot at the Maryland SoccerPlex with two of her Washington Spirit teammates, Mallory Pugh and Rose Lavelle. Parents tailgated in the parking lot, grills by their sides, and young girls in matching soccer jerseys mingled with their teammates.

“Oh my gosh, that used to be me,” Sullivan remembers thinking. She grew up in northern Virginia and attended games to watch some of the biggest names in women’s soccer play for the local team.

Now she sat in the car as one of those players. So did Pugh and Lavelle. Many of the girls in the parking lot that day had come to see them.

“That was one of the most moving experiences I’ve had as a pro, because I hope some of them aspire to do what I’m doing, and they will, because I know they can,” says Sullivan.

A year later, Sullivan still appreciates going to home Spirit matches with her two teammates.

All three have taken different paths to becoming professional soccer players, but each player is a central figure in rebuilding a Spirit franchise coming off a disastrous 2-17-5 season last year. Their faces adorn the poster given out by the team, and they have each played on the U.S. women’s national team that is gearing up for the World Cup in France this summer.

They’re also roommates.

“It’s been super fun,” Lavelle says of their living situation. “Everyone convinced us that we were going to hate each other, but honestly I love them even more.”

SOCCER

The TemperATure on the pitch at the Maryland SoccerPlex in Boyds is in the low 50s, but it feels far colder. Players are wearing long-sleeve shirts and pants as they warm up.

Lavelle, who is recovering from an injury, walks gingerly onto the field. She has just finished a training session on a stationary bike, and the rest of her team is beginning practice.

It’s the Thursday before the Spirit’s April 13 season opener and the team is eager to show

off its new look.

Thirteen of the Spirit’s 25 players are either new to the team this year or late-season callups in 2018. Local tech executive Steve Baldwin bought a majority stake from Bill Lynch, who is still involved with the franchise as a minority owner, and in January, Baldwin hired Larry Best as the club’s first chief executive.

The team has expanded its full-time coaching staff and invested in amenities for its players, including a lounge and new locker room.

There’s also a new head coach, Richie Burke, a former professional soccer player from Liverpool and a longtime D.C.-area resident.

“It’s just kind of a breath of fresh air,” says

ly 20 yards from the goal, Pugh takes a pass and strikes the ball with her left foot, sending it into the far right corner of the back of the net.

“Hey, save some for the weekend!” Burke shouts from the middle of the field, breaking into a grin.

The Spirit acquired Pugh in May 2017 as part of the NWSL distribution process after Pugh decided to forgo her college career at UCLA to turn pro. When she joined the team, Pugh, who has endorsement deals from Nike and Gatorade, lived on her own. Sullivan, a 23-year-old former national champion at Stanford University, wouldn’t arrive until a year later after being picked first overall in the 2018 NWSL College Mallory Pugh

Darrow Montgomery

By Kelyn Soong

Tori Huster, the longest-tenured player on the team. The Spirit selected her in the 2013 National Women’s Soccer League Supplemental Draft. “There have been a lot of changes and new faces, it’s been really refreshing. I think the change in coaching staff and just everyone’s mentality and the atmosphere that has surrounded us through preseason has been really great.”

On this chilly Thursday morning with the media watching, Pugh is clearly the star. Camera lenses follow her every move during drills, and it doesn’t take long for the 20-year-old from Colorado to amaze the crowd. Standing near-

Draft. The former U.S. women’s national under-20 teammates decided to move in together.

Before they could, the Boston Breakers folded their franchise and the Spirit selected Lavelle, 23, in the NWSL Dispersal Draft. The three friends already knew what they wanted to do.

“It wasn’t a question, it was like, we’re living together right?” Sullivan recalls. “It’s been great.

We haven’t had any issues, which is hilarious.”

The u.s. nATionAl team played in a friendly match against Russia on April 4, 2017, in Houston. Lavelle remembers that game in vivid detail. That’s when she scored her first interna-

tional goal. Pugh made the assist.

“Mal just played this great ball to the left side and Russia’s whole defense was kind of shifted to the right side,” Lavelle recalls, “so I basically had a breakaway and I was like, ‘I gotta put this away.’ It was pretty open and it was a great ball by Mal.” Pugh adds, “I was so excited for her. I remember there were pictures of us. We were just so excited. Biggest smiles.”

In the video clip of the play, Pugh immediately jumps into Lavelle’s arms to celebrate.

“Rose Lavelle is one of the future!” the commentator intones.

“I think that we just connect really well on the field, and we just like to play off each other,” Lavelle says of her and Pugh. “It’s like a partnership, it’s not like one person is more dominant over the other. I think when I play with Mal, it’s so fluid and so fun. She’s going to do great things and I’m going to be able to play off of it, and then I try to do something and I know she’s going to play off of that. It’s a fun relationship to have on the field.” lAvelle wAiTed Anxiously for her roommates to get home on a recent Sunday afternoon, writing in a tweet that she jumped up “anytime I hear any sound that could potentially be them and now I know how dogs feel and it’s heartbreaking knowledge to have.”

The three typically retreat to their rooms during the day, but will eat dinner together. It brings levity to the grind of being a professional athlete.

“The cool thing about Mal and Rose is that they make everything fun and interesting even if we’re laying around and doing nothing,” Sullivan says. “It’s great to be able to have people you can talk to about [soccer] but it’s also great to have people you can just go watch a movie with or make dinner or anything like that.

They’re tremendous people and friends, so I feel lucky to get to live with them.”

And when they get together, who cooks?

“Mal’s the best. Rose can’t cook at all,” Sullivan laughs. “It goes Mal, me, Rose.”

Soon the three friends will head off to the U.S. training camp in early May ahead of the World Cup tournament that runs June 7 to July 7. The NWSL will take a break between June 3 and 14 during the World Cup group stage. On Saturday, April 27, the team, which won its opener 2-0 over Sky Blue FC, will host a send-off to the players at the Maryland SoccerPlex.

Pugh and Lavelle are near locks for the roster. Sullivan is contending for a spot. “If the U.S. do not take her to the World Cup with them, more fool on them,” says Burke, the Spirit coach. No one would need to worry about their chemistry.

CP

washingtoncitypaper.com april 19, 2019 7

A new approach to caring for our community Providence filling in gaps to transform healthcare in D.C. Providence Health System is dedicated to finding innovative ways to care for you. One of those innovations is bringing the kind of care you want closer to your neighborhood. That’s why following our transition from emergency care on April 30, we will soon be opening an urgent care center.

We know you have lots of other needs, so we’ll still be right here with other services, including: • A pharmacy and access to free medications to those in need

• Primary care • Geriatrics

• Care for police officers and firefighters

• Skilled nursing care through Carroll Manor • Care coordination for Medicaid beneficiaries

Visit ProvidenceHealthyVillage.org for more information.

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4/2/2019 10:54:11 AM

Gear Prudence Gear Prudence: The cool people on Instagram have been telling me for years now that bikepacking (going camping, but by bike) is very trendy.

I’m finally ready to take the plunge. The thing is that I haven’t been camping since that one year I was in the Boy Scouts, and to be honest, I don’t remember it all that fondly. But the lure of nature is strong and I love biking, so how do you suggest I make this inaugural trip a success?

—Cycling Amid Mighty Pines Enraptures Rider Dear CAMPER: By lowering your expectations! GP’s philosophy on all things bike is that you shouldn’t expect things to be anywhere close to ideal when you try something new.

Aim for the middle. Try it, learn some things, and see if you feel like trying it again. Jumping in the deep end with an 18-day self-supported bike trip through the Atacama won’t be the best way to reacquaint yourself with the scouting skills you may or may not have learned in your youth. Setting a reasonable goal—both in terms of the length of your trip and the level of remoteness of your destination—will more likely see your first bikepacking experience lead to a second.

You’ll need to sort out a few things right from the start. Are you traveling solo, with a buddy, or with a group? Having others around will preclude things getting too Waldenesque, but could help stave off boredom. Moreover, embarking on your first journey with friends who know how to do things like pitch a tent, identify poison ivy, bellow campfire songs, swig brown liquor from flasks, etc., will compensate for your lack of pertinent experience. Even if your friends aren’t bikey, select a route and destination where they could travel by other means to meet you. You’ll be able to get your ride in, and also be greeted by bonhomie (and maybe an already cooked meal) at the end of the day.

Then there’s the matter of stuff—how much of it you already have and how much of it you plan to procure for this expedition. The recent explosion in popularity of bikepacking means that you can buy all sorts of bike-specific camping equipment. If money is no object, extremely light sleeping bags and tents can be nestled inside of durable waterproof framebags to kit out your bike with the latest and greatest gram-saving gear. If money is an object (and money is always an object), borrow whatever gear you can, jury-rig together a carrying system that works well enough, and if it’s heavier and jankier than you’d like, shave some miles off your expected total. The first trip is about proof of concept.

If it goes well, then invest in the good stuff.

—Gear Prudence

Stop Cannabis Arrest & Prosecution in Washington DC

We the people of Washington DC ask that Mayor Bowser and the city council direct the Metropolitan Police Department to stop arresting and prosecuting citizens for Possession or Distribution of any amount of Cannabis , Cannabis oils and Cannabis Edibles .

Arresting citizens for Cannabis Crimes is Immoral and against the community standard of the citizens of Washington DC Arresting citizens is a waste of the cit city’s resources and affects People of Color disproportionately.

The People of Washington DC have spoken that they want the right to purchase recreational cannabis and smoke cannabis in private clubs overwhelmingly in 2015 .

Stop All Arrest & Prosecutions of Cannabis We started this petition because...

King Weedy Collective is a 501c3 non profit . Our mission is to bring safe access of Cannabis to all citizens and visitors of Washington DC

Please visit www.kingweedy.org to sign this petition

Gear Prudence is Brian McEntee, who tweets @sharrowsdc. Got a question about bicycling?

Email gearprudence @washchp.com. washingtoncitypaper.com april 19, 2019 9

The

Peeple’s Choice Winning entries from our third annual Peeps diorama contest Photographs by Darrow Montgomery

R-E-S-P-E-E-P, This is What You Mean to Me William Kooper William Kooper, the creator of the meticulously crafted R-E-S-P-E-E-P, is no stranger to musicthemed Peeps puns—he counts a Prince tribute entitled “The Artist Formerly Known as Peeps” and a Soul Train tribute called “Love, Peeps and Soul” among his diorama repertoire. So when it came time to brainstorm for this year’s entry, Kooper had to continue the tradition. The 2018 Kennedy Center Honors broadcast prompted him to remember the Queen of Soul’s iconic rendition of “(You Make Me Feel Like) A Natural Woman” from the 2015 ceremony and he knew he had his moment. “At first it was going to be ‘Apeepah’ Franklin … but that wasn’t quite right,” Kooper wites in an email to City Paper. “Then I took a look online at lists of her hits, and there it was … R-ES-P-E-C-T. It was just too good to be true.”

Though Kooper and his partner Liz Rogan struggled to find the perfect material for Franklin’s fur coat—even a Barbie version failed to convey the necessary opulence—Rogan’s seamstress eventually saved the day, offering extra from her own coat to costume the Peep.

The pair spent the rest of their time constructing the Kennedy Center Opera House in miniature, drinking wine, and listening to Aretha.

The best part is when you finish, Kooper wrote.

“You just can’t stop chuckling because, well, those bunnies are adorable.”

—Amy Guay 10 april 19, 2019 washingtoncitypaper.com

Like the world they live in, Peeps have changed a lot since they were first introduced in 1953. What started as a marshmallow coated in yellow sugar and shaped like a chick is now an empire that includes retail stores, plush products, and more than a dozen different shape, color, and flavor offerings. Some of these new wave Peeps, like a blue speckled chick, inspired this year’s dioramas, while others, particularly those with chocolate-dipped bottoms, challenged the limits of our creators’ hot glue guns.

This year’s finalists run the gamut, representing everything from ancient cave art to young, inspirational leaders on Capitol Hill and recent scandals that shocked the world. Each one shows us a little piece of the world and allows us to pause for a moment of levity. And given how competitive this year’s online voting component was, each is worthy of a spot on the cover. But there can only be one winner, just like there can be only one Queen of Soul. Pay her some respect, won’t you?

—Caroline Jones

The State of the Union is PEEP Barbara Martin After seeing dozens of Democratic congresswomen dressed in white during this year’s State of the Union Address, Barbara Martin knew she had to recreate the scene using marshmallow creatures.

An avid Peeps diorama maker who admits that her passion has taken over her house at times, Martin has previously crafted depictions of SoulCycle and Drybar. This year, she wanted to honor what she calls “a moment of hope and excitement for so many people.” She went all in on the details, hand-painting the carpets to match those in the House chamber and dressing white, coconut-flavored Peeps in tiny suits, complete with flag lapel pins, to represent the men of Congress. Even the hairstyles are right, a fact Rep. Ayanna Pressley of Massachusetts noted after seeing a photo of Martin’s creation on social media.

—Caroline Jones

Peepsles are Back!

Kathleen and Avery Canedo

For seasoned diorama-makers like Kathleen and Avery Canedo, it starts with the Peeps. 13-yearold Avery spotted these speckled Peep chicks and her mind jumped to measles. A vaccine, which the United States has been administering since 1963, has quelled the spread of the disease and the Centers for Disease Control declared it eliminated in the U.S. in 2000. Of course, a vaccine only works if you let your child receive it.

“We were drawn to it because we feel strongly about the issue and figured we could have some fun with it while still taking a stance,” Kathleen Canedo writes via email. The most successful Peeps dioramas do just that—they reflect our lives and our times with sugary fancy. In “Peepsles are Back!” antivaxxers face off against more sensible Peeps in front of a towering hospital.

In addition to its big message, “Peepsles are Back!” contains the types of details that only true mallowheads will appreciate. Check out the tiny BandAids, which the Canedos cut from real adhesive bandages. In the words of Kathleen: “That is some very intricate work.”

—Will Warren

washingtoncitypaper.com april 19, 2019 11

The Handpeep’s Tale Jennie Mak The dystopian future of The Handsmaid’s Tale sometimes seems like it could arrive any day, making it very disconcerting when red-clad women in bonnets show up at the Women’s March, or on the steps of the Washington Monument to shoot a scene for the television adaptation of Margaret Atwood’s novel. Jennie Mak is a big fan of the show, and found that making a diorama helped kill time while waiting for the third season to drop. Getting the look of the tiny bonnets on the Peeps right proved challenging, and Mak took inspiration from makeshift hats she had seen on handmaid Halloween costumes. The various characters are color coded based on their class rank in the world of the show: eyes are blue peeps, commanders are royal purple, and aunts are pink. Mak has always been crafty, claiming, “I think some of my work would have made it to the MoMa by now, if I had a glue gun back then!” She wasn’t initially planning to enter the contest, only joining in after her son made his own entry and had leftover Peeps and supplies. Mak has also figured out how to celebrate completing a Peeps diorama: She’s gone to Disney World (on a pre-planned spring break trip with her family).

—Stephanie Rudig

12 april 19, 2019 washingtoncitypaper.com

The Candy Warhol Museum Renee Davis and Fred Wheaton The Candy Warhol Museum is a structural victory among dioramas. It’s three stories and has a lighting system so expertly executed that City Paper’s photographer Darrow Montgomery captured it in a dark room. “I wanted to challenge myself to make an actual structure,” says diorama artist Renee Davis, a Pittsburgh native paying tribute to one of her hometown’s most popular attractions. “I wanted it to be interesting all around, not just the Peeps. Every angle you look at, you see something different.”

Davis has been watching the results of the annual Peeps diorama contest for years, but this is her first submission. She says it took her 60 to 70 hours to make it. Her husband, Fred Wheaton, helped with the Photoshop components and a few of the museum-goer Peeps’ outfits.

In a third floor gallery she has altered a classic Warhol Campbell’s soup can, turning it from beef to Peep soup. Another room features miniature “Silver Clouds,” which she made herself. On the far right wall of the first floor, Davis recreated a Warhol print titled “Eggs,” changing the eggs to Peep chicks. A second floor gallery table incorporates a personal touch: One small notebook shows a pencil drawing of a Peep and another shows the logo of the University of Pittsburgh, Davis’ alma mater.

—Alexa Mills

The Cave Peeps (Great Hall of the Bulls, Lascaux, France) Meera Barochia, Annie Dahlman, and Katrina Rowe

Just as Peeps dioramas have broadened our definitions of art, students Meera Barochia, Annie Dahlman, and Katrina Rowe set out on a similarly expansive project. When their art history teacher assigned a Peeps diorama project, they looked beyond the quotidian—sculptures, paintings, and the like. “We wanted to do something a little out of the ordinary,” Barochia says.

Drawing inspiration from nature, the trio replicated the Lascaux caves in France, home to prehistoric cave paintings and some of our earliest examples of art. Natural materials abound in this lush, cavernous diorama. Prehistoric Peeps, complete with beards, spears, and animal skins, nestle among rocks, moss, and pine needles. There’s even a water feature that, when first debuted in class, malfunctioned. Thankfully, it didn’t cause any structural damage and the diorama, like the Lascaux cave paintings before it, was preserved.

“The Cave Peeps” finds beauty and whimsy in darkness and brutality. It’s what humans do—from prehistoric times to today.

—Will Warren washingtoncitypaper.com april 19, 2019 13

Peep Art Art! Kenna Krueger and Rachel Tievy Vibrant primary colors explode to issue a clarion call worthy of the sweetest superhero. Decorated with the signature marshmallow candies, the poster board reads “Peep!” in a burst of red and blue. As juniors at Poolesville High School, Peeps artists Kenna Krueger and Rachel Tievy are students in a humanities magnet program focused on the fine arts. This year in AP Art History, they studied the Pop Art movement, specifically the parodic, comic strip-inspired work of artist Roy Lichtenstein. Their teacher encourages students to submit to the Peeps contest, so Krueger and Tievy decided to channel Lichtenstein’s dynamic colors and tongue-in-cheek style for their diorama. On top of City Paper recognition, the high schoolers have already showcased “Peep Art!” at a gallery for their peers, donning primary colors to match the art.

The process of making the piece was relatively effortless for Krueger and Tievy, who couldn’t recall any behind-the-scenes obstacles. “We really enjoyed painting the background of the diorama as well as thinking of ‘punny’ ways to incorporate the Peeps into the project,” Krueger wrote in an email to City Paper. “Honestly, the only issue we came across was eating too many Peeps!”

—Amy Guay

Vertumnus Pallavi Battina, Amulya Puttaraju, and Angie Wang Three Poolesville High School students, Pallavi Battina, Amulya Puttaraju, and Angie Wang, chose to make their Peepshow a replica of Giuseppe Arcimboldo’s “Vertumnus.” The result is a spot-on recreation, full of the same detailed, fruitful vibrance and color as the painting, and subtle, expert use of melted marshmallow. The idea to model the Peeps project after “Vertumnus” came to Puttaraju as she was falling asleep. She and her fellow students had learned about “Vertumnus” in their AP Art History class, and she was excited to pursue this idea. “After she slept, of course,” says Battina. The work began with a styrofoam head, which the team stuck a fork through into a cylinder of clay. They used Crayola Model Magic (a non-toxic modeling material), toilet paper, clay, and Peeps to construct Vertumnus’ filling and his skin.

Once the base layer was down, the team constructed nearly everything on Vertumnus’ face and body out of either clay or Peeps, then glued it all together. The intricate details, the large scale, and the frequency of pieces breaking and falling off made it the most difficult, stressful, and ambitious art project the group had ever done.

But they had promised to make the project as accurate as possible, and intended to do so. “The real MVP of our project,” Battina says, “was our seemingly endless supply of hot glue.”

—Kayla Randall

14 april 19, 2019 washingtoncitypaper.com

Say What?!

Friday Night with Reese Waters featuring Yannis Pappas

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washingtoncitypaper.com april 19, 2019 15

Universipeep Admissions Taylor Holgate Taylor Holgate had long wanted to submit to the Peeps diorama contest, but each year found out about it too late to complete a diorama. When the university admissions scandal story broke in midMarch, Holgate knew she had time before the deadline and had a great idea to depict. The focal point of the piece is a crew team rowing across a blue lake, but peek inside the rowboat, and you’ll see a Peep version of Olivia Jade, Instagram influencer and daughter of actress Lori Loughlin, taking a selfie instead of rowing. Onshore, a Lori Loughlin Peep hands a pile of felt cash to a USC official as FBI agents storm the scene. There are even some dejected-looking Peeps holding rejection letters. An ordinary paintbrush didn’t work for applying letters to the FBI uniforms and USC shirts, so Holgate dipped a paperclip in paint. Though she’s a first-time Peeps maker, Holgate had prior experience making food-based art. “The last time I did an art project like this, I was in kindergarten, and it was a potato costume contest,” she says. She has some advice for aspiring Peep makers who might be hesitant to pull the trigger on making a diorama: “If you have a really achievable dream, just go for it.”

—Stephanie Rudig

Dancers in the Paris Opeepra Ashlynn Stearns, Lizzie Phelps, and Olivia Burdick Poolesville High School art history students Ashlynn Stearns, Lizzie Phelps, and Olivia Burdick represented not one, but three different pieces of art in their diorama. The exterior replicates Charles Garnier’s Paris Opera House, with painted Peeps standing in for the reliefs on all sides. The cardboard structure then opens to reveal a full stage and marshmallow recreations of Edgar Degas’ “L’Etoile” and Mary Cassatt’s “In the Loge.” Their central dancer wears a period-specific tutu and spins with some help from a music box built into the structure. Stearns, Phelps, and Burdick spent more than 100 hours on the diorama over the course of 10 days. While they say it was a challenge to keep up with the rest of their schoolwork during the construction process, they found some stress relief in the creative process and are already making plans for next year’s diorama.

—Caroline Jones

16 april 19, 2019 washingtoncitypaper.com

washingtoncitypaper.com april 19, 2019 17

General Design Company

DCFEED

Fast casual restaurant Bandoola Bowl opens April 23 in Georgetown serving 10 varieties of Burmese salads. Find it at 1069 Wisconsin Ave. NW.

Counter Offers

New “fast fine” counter service restaurants give patrons a chance to eat well in a short amount of time.

Darrow Montgomery

Stellina Pizzeria

By Laura Hayes “I dIdn’t expect it to be a thing, but I’m finding myself constantly explaining why we do what we do,” says Cielo Rojo coowner Carolina McCandless. “People are constantly asking why we don’t have servers and why they have to wait in line to give their order. I was surprised by the pushback. I wasn’t aware of how new it was.”

McCandless and her business partner and husband, David Perez, moved to the area from San Francisco, where a new style of dining known as “fine casual” or “fast fine” has taken hold. At these restaurants, customers order at the counter, get a number to display

YOUNG & HUNGRY

on their table, and wait for someone to drop off their meal.

They differ from build-a-bowl fast casual chains like sweetgreen, Chipotle, and CAVA because the prices are significantly higher; there’s usually an alcoholic beverage offering; and the atmosphere and design more closely mimic an upscale, full-service restaurant.

These formula-breaking, line-blurring eateries are now finding their footing locally. Like San Francisco, D.C. is full of workaholics who enjoy eating out but may not have the time to do so. Meals at fast fine restaurants place control back in the hands of the diner and put the emphasis almost entirely on the food.

Conversations with operators of four such establishments—Cielo Rojo in Takoma Park, Sonny’s Pizza in Park View, Stellina Pizze-

20 april 19, 2019 washingtoncitypaper.com

ria near Union Market, and CHIKO on Barracks Row and in Dupont Circle—reveal business-side benefits of fast fine restaurants.

Diners, for the most part, are also enjoying this new eating experience.

When customers complain or are confused, McCandless explains her rationale. By cutting down on labor, she can sell her vegetarian-friendly Mexican food at more reasonable prices. “It’s possible to make better quality food for more people,” she says. “Someone can go into our restaurant and buy a $3 taco, or they could splurge and spend $70 and have cocktails and get the big fish dish.”

Groups of friends with different budgets can dine together because the set-up lends itself to paying separately up front instead of facing a shared check at the end of a meal. “It makes it

less scary for somebody who wants to go out to eat with their friends but knows they can’t afford to go out,” McCandless says.

Some customers, typically older ones, tell her they miss table service, but McCandless believes others are happier dining without interruptions. “The server ruins the experience for me because they’re constantly nagging you,” she explains. “Putting trust in a server to create the whole experience for the guest puts a lot of pressure on one person. It’s kind of nice to be left alone while you eat.”

Not having to pay a fleet of servers positions Cielo Rojo to pay cooks more. “One of the things San Francisco deals with is the minimum wage is so high for the front of the house, so it doesn’t allow restaurants to give higher wages to hourly employees in the back,” McCandless explains. There hasn’t been a tipped minimum wage in San Francisco since the 1970s—restaurants must directly pay tipped workers the city’s full minimum wage of $15 an hour.

When Initiative 77, the local ballot measure that sought to eliminate the tipped minimum wage locally, sent D.C. restaurant owners into a tailspin, many studied counter service models as they considered how they might adjust to higher labor costs. Though the tipped minimum wage remains in D.C., the fast fine approach seems to have staying power because of the flexibility it offers restaurateurs.

Sonny’s Pizza co-owner Ben Heller says the service model can break down the divide between front-of-house and back-of-house employees. “Everyone is doing everything. It really is a team effort,” he says, adding that the restaurant is able to buy quality ingredients, ensure the space looks attractive, and pay staff competitively.

Heller and his partner, Max Zuckerman, decided on counter service because they were familiar with it—they’ve operated Colony Club, a counter service bar and coffee shop next door to Sonny’s, since 2015. They also wanted to capture the feel of a New York City slice joint. “If you have servers or waiters you can’t quite get the same vibe,” says director of operations Cody Hochheiser. “There’s a certain expectation if you sit down and wait for someone to introduce themselves.”

Another Italian operation, Stellina Pizzeria, also took the fast fine approach, though co-owner Antonio Matarazzo didn’t look to San Francisco or New York for inspiration.

“I try to look at what’s happening in Italy too,” he says. “It’s not just a trend here. In Italy, people are looking for more gourmet things but in a fast casual environment.”

Stellina, which opened this month, serves a broad menu of Italian fried food, house-made

DCFEED pastas, seafood crudos, pizzas, and gourmet paninis. A full bar serves beer, wine, and cocktails.

A meal on a recent Saturday lasted about 40 minutes. “A lot of people don’t have much time anymore, especially during the week,” Matarazzo explains. “There’s no time to sit down and dine for hours when people need to go the gym and pick up the kids.”

Some diners don’t catch onto the format immediately, according to Matarazzo. They’ll sit before ordering and wait for a server who never comes. He tries to intercept them as they enter to direct them to the cashier and explain how things work. CHIKO, which became one of D.C.’s first fine casual restaurant when it opened in 2017, also trains staff to greet firsttime customers.

“You walk in and there’s an employee who seems to have some happy juice or something,” says CHIKO customer Samer Farha.

“They’re right there with a menu asking if you if you’ve been there before pointing out how to order. It was a very painless introduction.

I’ve seen more people confused at Potbelly.”

Partners Danny Lee, Scott Drewno, and Drew Kim all have backgrounds in full-service dining but knew they wanted to chart a different, more casual course with CHIKO. “We wanted to create a model where we could still cook everything from scratch and not have people build their own bowls,” Lee says. “If you have too many options and you’re leaving the guest to build whatever they want, those flavors haven’t been tested.”

At CHIKO they cook a set menu to order.

Top sellers include a cumin lamb stir fry with wheat noodles and a rice bowl topped with chopped brisket, furikake butter, and a soybrined soft egg. Once dishes are plated, employees run the food to customers. “Yeah, you walk up, order, and get a tray, but you sit down and staff will take care of you,” Lee says.

As operators look to open smaller businesses with less overhead, fast fine concepts begin to make more sense, according to Lee. “We’re moving away from 400 to 500 seat restaurants,” he says. “Rent has severely increased. The amount of extra money you need just for 50 more square feet is astounding.” A rash of sprawling, full-service restaurants have closed in recent months, including Acadiana, Pennsylvania 6, and J. Paul’s.

Volume is everything in small fast fine restaurants that can’t rely on pricey wine lists or multiple rounds of drinks to offset food costs.

“Even if there’s a long line at CHIKO, it’s a very quick line,” Lee says. “We’re able to turn over tables at a pretty fast pace.” Neither location takes reservations, except for special kitchen counter experiences.

“There are people who walk in and see there are no tables and turn around and walk out,” says CHIKO customer Kim Stryker. “Any-

time I’ve gone I’ve had to wait maybe 10 minutes.” She describes the atmosphere inside as collegial. “People have said, ‘Oh hey we’re getting up in a minute.’ I’ve had experiences where we’ve shared tables if someone is eating alone. It appeals to younger customers. Your grandma isn’t going to be as comfortable at CHIKO because of the seating arrangement and the chaos of it.”

In Farha’s mind, the inability to linger is the only drawback to this concept. “This doesn’t encourage that,” he explains. “You go in, get your food, and maybe one drink. No one’s ever told me, ‘Your time’s up, get out!’ but there’s a feeling that once you’re done eating you should leave so someone else can have the table.”

Another CHIKO customer, Ezugo, appreciates how fast fine dining puts the emphasis on what he eats. “It limits the interaction you have with service members. So it’s all about the food and whoever you’re with to enjoy the whole dining experience,” he says.

Only tipping trips him up. “Do we still tip since we’re not really being waited on?” he asks.

“I still tip just to help the people at the counter.

With the Chipotle model, you don’t really tip.

This felt like a gray area compared to that.”

Lee says the tip average has been a lot closer to the standard 20 percent than he expected. “We had no idea how much guests would tip when we opened,” he says. “We were very surprised by how generous our customers have been, but that’s due to the staff we have.” He believes CHIKO is still “a service-oriented restaurant even if the concept doesn’t seem like it.”

McCandless agrees. “It’s just a different kind of service,” she says. “People who have worked in this industry know how much it takes to keep a restaurant clean and running.

Just because we don’t have servers doesn’t mean we don’t have people cleaning tables, running food, and making sure everyone has what they want.”

Some customers have balked at tipping in advance of their meal when they order at the Cielo Rojo counter. “What I say to them is that they don’t have to tip,” McCandless says. “If they want to leave a tip afterwards, there’s a tip jar by the register.”

Servers shouldn’t be shaking in their Dansko clogs wondering if their jobs are in jeopardy. There will always be a place for long meals and full-service dining. But D.C. can expect a rise in fine casual restaurants given their early success and scalability.

“We get a lot of exploratory questions from chefs and restaurant groups,” Lee says. “We see people visit and taking pictures and videotaping stuff. I think you’re going to see more concepts like this. Whether it’s size or labor or the menu model or the service model, you’re seeing a trend where everyone is trying to be as efficient as possible.”

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washingtoncitypaper.com april 19, 2019 21

CPARTS

Native Speakers Mosaic Theater Company examines Richard Wright with two plays based on his life and work.

By Alan Zilberman

Native Son

By Nambi E. Kelley Directed by Psalmayene 24 At Atlas Performing Arts Center to April 28

Les Deux Noirs: Notes on Notes of a Native Son

By Psalmayene 24 Directed by Raymond O. Caldwell At Atlas Performing Arts Center to April 27 Bigger Thomas, the hero of Richard Wright’s Native Son, is a victim of tragic circumstances and systemic oppression. He does terrible things to survive, but his desperation is borne out of a country that assumes the worst and denies him autonomy. That desperation centers Mosaic Theater Company’s repertory productions inspired

by Wright’s life and work. Nambi E. Kelley’s Native Son adaptation can be ferocious, cutting entire plotlines while adding vibrant new characters. Psalmayene 24’s Les Deux Noirs: Notes on Notes of a Native Son is the more playful production, imagining what happened when Wright met James Baldwin at a Paris cafe. Both plays will renew interest in Wright’s work, even if they also undermine each other.

The major conceit in Kelley’s Native Son is a new character, The Black Rat (Vaughn Ryan Midder). He acts as a conscience to Bigger (Clayton Pelham Jr.), but his presence is more complicated than that. Only Bigger can see or hear The Black Rat, who is so frightened and anxious that he acts out of base instinct.

The program notes the character is inspired by W.E.B. Du Bois’ idea of “double consciousness:” Unlike Bigger, The Black Rat is always aware of how the world perceives young black men. As Bigger’s life spirals out of control, starting with his accidental killing of a young white woman named Mary (Madeleine Joey Rose), The Black Rat snarls advice. It is a daring approach, and director Psalmayene 24 ups the ante by keeping every actor on stage at all times. They bask in judgment of Bigger, so we empathize with the enormous pressure on him.

Psalmayene 24’s approach to his own play, Les Deux Noirs, is much more conventionally entertaining. Before James Baldwin published Go Tell It on the Mountain, he was an ambitious intellectual who saw an opportunity in Native Son. By critiquing Wright’s novel in two essays, Baldwin could distinguish himself

THEATER

22 april 19, 2019 washingtoncitypaper.com

as the new pillar in African-American literature. We meet Baldwin (Jeremy Hunter) and Wright (James J. Johnson) in that context. Baldwin arrives late for the meal, so Wright is already on edge when he arrives. They argue, they joke, and they offer insight into each other’s work. The production also includes multiple dance sequences, hip-hop battles, and even a blues tune.

The irony behind this Native Son is that, for such a thoughtful and probing novel, the stage production finds meaning through choreography and movement. Bigger frequently fights through a wall formed by other actors, and these abstract moments are barriers to any rational outcome. After Mary’s death, Bigger shoves her body in a furnace, and the cast’s arms/hands serve as the small compartment in which she does not quite fit. Bigger has no choice but to mutilate her body, and the intimacy among the cast is also a little disturbing. Throughout Bigger’s hellish odyssey, The Black Rat is always there, getting too close to Bigger and needling his every impulse. Fans of the novel or even those who saw HBO’s recent Native Son film adaptation may never have felt as drawn to this material, or as uncomfortable with it.

That discomfort and unease is what makes Les Deuxs Noir so strange. The play starts with Hunter and Johnson dancing to “Ni**as in Paris,” and the song’s defiant, celebratory attitude is a form of tonal whiplash. In fact, the raucous approach

Listen to A-Cold-World*, the latest tape from Northeast rapper Ankhlejohn. washingtoncitypaper.com/arts to Wright and Baldwin’s fictional meeting suggests a lack of curiosity in their work. Hunter and Johnson give broadly comic performances, leaning into their respective personas like the reimagined literary figures in Woody Allen’s Midnight in Paris.

The trouble is the dialogue remains incurious about these men.

They never develop beyond caricatures: Baldwin is flamboyant and irreverent, while Wright is more of an arrogant blowhard. The effort is less like Picasso at the Lapin Agile, a play that imagines Picasso and Einstein meeting in Paris, and closer to a pseudo-literary riff on The Odd Couple.

The actors in Native Son admittedly have an easier time because Les Deux Noirs must Native Son contend with preconceived notions of both literary figures. Renee Elizabeth Wilson plays Bessie, Bigger’s second victim, and her chemistry with Pelham has a hellish, frightening quality to it. The white characters in the play reinforce how Bigger has the deck stacked against him. Bigger tries to pin Mary’s murder on Jan (Drew Kopas), a confirmed communist, and yet he behaves with the inherent privilege that he will make it out of trouble in one piece. The older white characters treat Bigger with a mix of polite disinterest and outright hostility, but the play’s message is that both attitudes comes from a shared sense of constant subjugation.

There are also white characters in Les Deux Noirs, and they serve as playthings for both Wright and Baldwin. Ludivine (Musa Gurnis), a waitress, and Jean-Claude (RJ Pavel), a waiter, flirt with Wright and Baldwin, respectively, since no one is exactly shy about the type of person they prefer. The subtext is a commentary on the relative freedom African-American men can enjoy while they’re in Europe, but even that has its limits. There is a curious, hollow scene in which Psalmayene 24 puts a face on Wright’s paranoia—he was investigated by the FBI for more than two decades—and its outcome upends all the action that preceded it. It’s as if the playwright wants to treat his subject with deference, so he uses comic exaggeration to hide his lack of inquiry. This stands in major contrast to Kelley’s Native Son, which tears and rebuilds the source material until it lands on something modern.

The only technical snafu has to do with the play’s projected captions. Hunter’s deviations from the text prove distracting for those keeping track of both versions of the script, but the presence of captions keeps Mosaic’s work inclusive for all.

That minor issue notwithstanding, Native Son and Les Deux Noirs strive to highlight the inequities and deadly consequences that still define the African-American experience. Like Bigger Thomas, Wright and Baldwin will remain significant figures from whom we can still learn. In order to keep them vibrant, Psalmayene 24 and Kelley experiment with narrative, performance, and pop culture. One play is more successful than the other, but at least both will have the intended effect of renewing interest in these writers, and how their outrage extends into the future.

CP 1333 H St. NE. $20–$65. (202) 399-7993. mosaictheater.org.

FILMSHORT SUBJECTS lingering question of how a female filmmaker could have handled this material. Moss’ contribution attempts to sidestep this question, and yet Her Smell ultimately seems like it’s from Danny or Howard’s point of view.

And isn’t the point of riot grrrl that female punk rockers are sick of male dominance?

—Alan Zilberman Her Smell opens Friday at the AFI Silver Theatre and Cultural Center

SPIRIT IN THE SIGH SMELLS LIKE MEAN SPIRIT Her Smell

Directed by Alex Ross Perry Being around an addict is a bit like dancing through a minefield. You try and do your own thing, being attentive to what’s around you, and one wrong step could lead to losing a limb. That feeling is only exacerbated when the addict is an artist in a position of power.

This is the tension behind Her Smell, the intense drama by writer and director Alex Ross Perry. Elisabeth Moss plays the addict, a successful punk singer who is unaware of how she sucks energy and goodwill from everyone around her. It is a galvanizing performance that anchors the film, although we have heard this song and dance before.

Moss is Becky, the frontwoman for Something She, a band that sounds like a cross between riot grrrl and bands like Hole. Agyness Deyn and Gayle Rankin play her bandmates, and together they are convincing rock stars.

Their songs are pretty good, too, with Keegan DeWitt of Wild Cub writing the tunes. Most of Her Smell is not about performing or songwriting, but the long in-between periods where the band waits for the next gig or album. Green rooms and recording studios have a sickly tint to them. There are no windows, and Perry films everyone through invasive, queasy medium shots. His camera attempts a fly on the wall approach, and with no establishing shots in any of these spaces, there is a hellish impossibility of escape. There is no alternative but to reel from Becky’s antics.

There is a touch of John Cassavetes’ A Woman Under the Influence in Becky’s behavior. She is a drunken misanthrope, and her friends/ family have no clue whether she will welcome their presence, or see it as an affront. With their

daughter in tow, her ex-husband Danny (Dan Stevens) commiserates with Becky’s bandmates, while her longtime manager Howard (Eric Stoltz) tries to cajole her into finishing that show, or recording that next tune. What makes Becky so infuriating and frightening is her unpredictability: She might disarm someone with a compliment, or lash out (she’s also smart and educated, dropping literary references in the middle of her rants). Perry never films her using drugs and alcohol, but they are always around, adding yet another level of uncertainty.

Perry and Moss’ commitment to the character is meant to show how excess can easily slip into something more destructive. A younger, seemingly more talented band of women represent a threat to Becky’s band: They are polished and ambitious, which make Something She seem sloppier. All the narrative twists are predictable because, well, anyone with a passing interest in pop music knows how this story will play. There is the inevitable public embarrassment, and Perry and Moss make it more agonizing than anything in the recent update of A Star is Born. This film is relatively pitiless, exhausting the audience until we acquiesce to Becky’s rage.

There is an abrupt shift about two-thirds into the film. The chaos of Becky’s addiction slips into something more relaxed. Becky is in recovery, living in self-imposed exile, as she ponders a return to the limelight. While there is the sense that she could backslide at any moment, this recovery arc—culminating in an obligatory performance—is more predictable and pat than Becky’s bad behavior. Predictability is not necessarily a bad thing, but Perry’s film overstays its welcome. At 2 hours and 15 minutes, impatience starts to seep in. There are affecting scenes like when Becky sings to her daughter, but they’re bookended by pat dialogue. A lengthy film may convey the passage of time, and such an approach runs the risk of being interminable. Her Smell falls into that trap.

For a film concerned with authenticity and a woman’s place in rock music, it is ironic that Her Smell is written and directed by a man.

The film never resolves that issue, leaving a

Teen Spirit

Directed by Max Minghella There’s an American Idol-style singing competition at the heart of Teen Spirit, actor Max Minghella’s directorial debut. Violet Valenski is a Polish 17-year-old living on the Isle of Wight with her single immigrant mother.

She goes to school and works the farm, along with a nights-and-weekends bar job. All Violet wants to do is sing, but her stern mom insists the church choir should be enough for her. Violet sneaks out to open mics at miserable, empty watering holes, but her shot at the big time arrives when the reality show comes to town on a casting call, and she easily powers her way

through auditions.

But if this were reality, Violet (Elle Fanning) wouldn’t be going to Hollywood. Though Fanning has a terrific voice suited for pop (she sings Robyn and Sigrid better than they do, reportedly untouched), Minghella directs the actress to be dour. Violet is apparently miserable, for reasons not readily known. Is it because her dad left? Because her mother’s strict? Because she feels stuck? We hardly get to know Violet before she starts her journey—all we can see is that girlfriend doesn’t seem to have much fun, ever, even when she nails a song. And this lack of enthusiasm, whether during a performance

or a press piece, wouldn’t get her very far in a smiley, puppet-seeking X Factor world.

The gloominess is prevalent throughout Teen Spirit, despite its pop-fueled soundtrack.

There’s a murkiness here courtesy of cinematographer Autumn Durald, who dimly lights everyday scenes and backlights musical performances, washing out the singers’ faces. Between Fanning’s somber performance and the film’s look, Minghella (son of the late Anthony) relies on the music to do the heavy lifting, and even songs such as “Dancing on My Own” and “Don’t Kill My Vibe” can’t pull it off.

Minghella also wrote the montage-heavy Cinderella script, whose central relationship isn’t between Violet and a friend (she doesn’t seem to have any close ones) or her mom (Agnieszka Grochowska), but with a sloppy old Croatian drunk named Vlad (Zlatko Buric).

Vlad approaches Violet after one of her open mics and slurs an offer for a ride home. Violet wisely chooses the bus—until some apparent troublemakers approach her while she’s waiting. Suddenly Vlad’s skeeviness seems not so bad, and it turns out he comes in handy: When the organizers of Teen Spirit (the show) find out Violet is 17, they tell her that she has to come back with a guardian. So she has Vlad pose as her uncle. In return, he insists that he become her manager, getting 50 percent should she become famous. Though Vlad may seem like a lonely mess of a man, he’s actually a lonely mess of a former opera singer, and he not only “manages” Violet, he coaches her after the show’s judges say that she has raw talent

but is very green stage-wise. Unbelievably, Violet’s mother signs off on this.

Teen Spirit hits all the beats you expect it to, resulting in an arc that isn’t terribly suspenseful or thrilling. Fanning’s performance has highs and lows (she speaks Polish ably, but her accent when speaking English is of indeterminate origin), but she’s not to be blamed for what’s simply a dull film. After all, it’s impossible to kill a vibe that’s not there to begin with.

—Tricia Olszewski Teen Spirit opens Friday at Landmark’s E Street Cinema and Bethesda Row Cinema.

washingtoncitypaper.com april 19, 2019 23

THEATER

Short Orders

Scena Theatre pays tribute to two 20th century masters with evenings dedicated to absurd and avant-garde artists.

By Ian Thal

Pinter Rep: One for the Road, Mountain Language, The New World Order, The Pres and an Officer

By Harold Pinter Directed by Robert McNamara At Atlas Performing Arts Center to May 5.

AT A Time when authoritarianism, and a corresponding skepticism of liberal democracy seems to be on the rise internationally, it seems as timely as ever to revisit the more overtly political works of Harold Pinter, four of which were late additions to Scena Theatre’s current season.

The evening, directed by Robert McNamara, opens with the longest (and dramatically strongest) of the one acts, 1984’s “One for the Road.” In an undisclosed location, Nicolas (Christopher Henley), a loquacious official with an unnamed fascist state’s security services detains a family of three: Victor (Robert Sheire), Gila (Irina Koval), and their seven year old son, Nikky (Cecilia Smith). Interrogating each of them in turn, his objective is not to gain any information, but to impress upon them his power, their helplessness, and their inability to protect themselves or each other. He emphasizes his closeness with “the man who runs this country” and describes himself as serving God. Literally drunk on power, Nicolas downs shot after shot of whiskey during his interview with Victor. Henley’s performance is masterful, always conveying the underlying threat that he has total impunity were he to lose control and decide to inflict the same torture onstage that his underlings are implied to have inflicted off-stage. There’s even mention of a brothel on the sixth floor. For Pinter, political violence cannot exist without sexual violence.

1988’s “Mountain Language” also takes place in an unnamed country, in which soldiers have taken away most of the men of “the Mountain People” and informed the women (Koval and Karin Rosnizeck) that their language has been forbidden. They are ordered to communicate in the language spoken in the capital; some have speculated that Pinter meant it to be about Turkey’s oppression of the Kurds, though one soldier’s exclamation of “Jesus Christ!” puts the kibosh on that interpretation. Some menacing absurdist comedy exists, but Pinter never seems to develop it beyond a few vignettes.

In 1991’s “New World Order,” Pinter revisits

Beckett Trio, Part 2 the subject of torture. In this case, an unnamed man (Henley) is blindfolded and bound in a chair in the company of two government operatives, Des (Sheire) and Lionel (Greg Onago). The focus is less on the cruelty visited upon the prisoner and more on what Des and Lionel think of their jobs. They are professionals, and while they might torture a few people here and there, there’s nothing personal about it: They believe they are “making the world safe for democracy.”

They playfully debate whether their prisoner is a peasant, a theologian, or a “peasant theologian,” or whether one should be logically consistent with their vulgarity. The casual jocularity is chilling, but in the roughly 10-minute run time, Pinter doesn’t distinguish Des and Lionel sufficiently for the actors to play them as more than the Rosencrantz and Guildenstern of extraordinary rendition. Though the title’s allusion to George H.W. Bush may strike some as a bit too particular, the question it poses is apt: How much covert, morally unsavory, action can a democracy tolerate?

Receiving its U.S. premiere is 2008’s “The Pres and an Officer,” a darkly satirical twohander. The last known Pinter play, it was found among his papers after his death. An American president, probably intended to be George W. Bush, but played with Trumpian intonations and hand gestures by Robert McNamara, orders in a moment of personal pique, and much to the shock of the officer who stands at his side (Henley), a nuclear strike. Misunderstandings ensue.

Despite the lack of on-stage violence, the degree of menace in Pinter’s dialogue and in the actors’ gestures is sufficiently harsh that at least one audience member slipped out before the final scene. But few other Anglophone dramatists have so portrayed how regimes use language to destroy the individual’s potential for

24 april 19, 2019 washingtoncitypaper.com

dissent. It’s not light entertainment, and like the 12-tone chamber music and punk rock that sound designer Denise Rose uses for transitions, not for everyone. Nevertheless, it’s vital.

Beckett Trio, Part 2: Ohio Impromptu, Come and Go, Catastrophe

By Samuel Beckett Directed by Robert McNamara At Atlas Performing Arts Center to May 5 The lighTs slowly rise, just enough to see two nearly identical men, their long white hair obscuring the eyes on their craggy faces. One (Buck O’Leary), seated in profile, begins to read a ghost story in which a man, mourning the loss of his beloved, becomes a recluse on Paris’ Isle of Swans. His counterpart (Kim Curtis) faces the audience, listening, occasionally wrapping his hand upon the table on the table, causing the reader to repeat a passage. “Ohio Impromptu” was written in 1980 for an academic symposium celebrating Beckett’s 75th birthday. Superficially, it seems a replay of 1958’s “Krapp’s Last Tape,” but whereas the earlier play is filled with specific biographical details about its protagonist, this miniature is far more enigmatic. What is the relationship between the seeming doppelgängers? Between reader, listener, the story, and its protagonist? How is reading from a fixed text impromptu? The more one questions, the more one questions one’s own assumptions.

In “Come and Go,” three women sit on a bench, identically dressed but for their colors— Vi (Jen Bevarelli) wears red, Flo (Ellie Nicoll), purple, and Ru (Lewshá-Camille Simboura), green. They have been friends since childhood.

Each in turn rises, glides off into the darkness, and returns, while one remaining friend whispers some gossip to the other about their absent partner. Every sound and gesture is articulated slowly with intense deliberation, stretching out this, the shortest of Beckett’s scripts. The careful movements require absolute concentration from the actors, who are required to resist both gravity and inertia, even in stillness, and the effect is mesmerizing, drawing the audience in to its repeated motifs and variations.

Where once the three were inseparable, secrets now exist between the three that the audience can only guess. Their lives may be in danger of unraveling by scandal, misfortune, or death, yet still they are together and the dynamics of their friendship are ever more complex. Like a fractal pattern, or a Celtic knot, “Come and Go”’s beauty is simultaneously intricate and simple.

Beckett dedicated “Catastrophe” to the Czech playwright Václav Havel in 1982, at a time when the Charter 77 co-founder and future president was being held as a political prisoner by Czechoslovakia’s communist regime. The director (O’Leary) sits in an armchair wearing an ushanka — a Russian fur cap — with a communist emblem as he considers his protagonist (Curtis), a shivering figure standing on a plinth.

He orders his assistant (Bevarelli) to make adjustments in order to shape the protagonist into the model citizen that the regime wants: a person unable to clench a fist or look his masters in the eye. Even the coat and hat that give him some modicum of dignity and comfort from the cold are taken from him. Some may see an element of self-parody given Beckett’s own reputation for exerting control over productions. The director, unlike the protagonist, may take some small pleasure in a cigar that his assistant must constantly relight. No matter how repressed and sublimated, desire is reserved for the rulers. In this staging, the evening’s director, McNamara follows Beckett’s lead: Bevarelli’s assistant wears a black party dress under her lab coat, but the occasional purring tone, and sultry pose she holds as she leans over the director to light his cigar is affected, restrained and codified by what serves the regime.

In design sensibilities, Scena Theatre has invested far more effort into the Beckett Trio than their concurrently running bill of Pinter plays, particularly Mei Chen’s costume designs for “Come and Go,” in which the women wear elegant dresses, satin opera gloves, and decorative hats of floral bows and gauze that conceal the eyes for all but a brief profile view. Lighting designer Jonathan Alexander artfully adjusts light and shadow so as to reveal the very details of faces and forms at the most precise moment.

So much contemporary theater revolves around relatable narratives and representation of the audience’s reality. It’s important and refreshing to see artists put such care into the presentation of artful mystery.

CP 1333 H Street NE. $25–$35. (202) 399-7993. scenatheatre.org.

THEATERCURTAIN CALLS

TURNDOWN SERVICE Grand Hotel

Book by Luther Davis Music and lyrics by Robert Wright and George Forrest Directed by Eric Schaeffer At Signature Theatre to May 19 “Good eveninG. Grand Hotel. How can I help you?”

“I’m a patron seated in Row G, and I was wondering, can I please get an intermission?”

“No, I’m so sorry ma’am. There’s no intermission here at the Grand Hotel. Our show is one hour and 50 minutes long, and you’ll just have to–” [CLICK] Intermission is so passé that the team behind Signature Theatre’s stylish revival of a 11-time Tony-nominated Broadway musical has eliminated the restroom break. 90-minute plays have been en vogue for some time, but Grand Hotel takes the keep-butts-in-seats trend to another level. At the performance I attended, multiple patrons abandoned the show for the restroom, the bar, or both.

(One guy returned carrying a tray of drinks; another lady hissed loudly that she really had to go.)

Sitting through a 1 hour, 50 minute show after dinner can be a challenge. And intermission serves other purposes besides a potty break: It provides audiences with 15 minutes of suspense, during which theaters can sell drinks.

By running Grand Hotel without an intermission, director Eric Schaeffer not only eliminated a revenue stream, he cut significant plot markers in a show that lacks a strong storyline.

He and music director Jon Kalbfleisch also ratchet up the tempos and hurry from song to song with nary a break between numbers.

The goal must be to keep the show moving, reflecting the bustling lobby where the action of Grand Hotel occurs. But these characters need time to drop their bags for a minute, to linger like plume of smoke drifting slowly from the tip of a flapper’s long cigarette.

Grand Hotel is a musical about the pursuit of elegance, set in swanky Berlin at the peak of inter-war prosperity. Luther David, Robert Wright, and George Forrest based their 1989 show on a 1929 Viennese novel that also inspired a 1932 Best Picture winner. On opening night. John Barrymore, Joan Crawford, and Greta Garbo stepped out of limousines wearing furs and signed a guest book outside’s Grauman’s Chinese Theatre, where MGM recreated Grand Hotel’s front desk for newsreel

cameras and adoring crowds.

At Signature, the desk is front and center in a black box theater, flanked on either side by winding staircases. Some action takes place in rooms, but theatergoers are asked to imagine the changes of locale, with a bit of help from a bar that drops from the rafters, and a scullery that pushes forward down one aisle.

All the mezzanine railings are decked out in faux-art deco ironwork and sconces. Paul Tate DePoo III designed the stunning set, although the lighting, by Colin K. Bills, is often too dim and the fog machines frequently billow at full blast.

The cast members, when you can see them, are outstanding. This is an ensemble show, and eight of the first nine numbers are spent introducing audiences to the characters and their various life crises. There’s a ballerina on her farewell tour (Natascia Diaz), her assistant beset by creepy unrequited love (Crystal Mosser), a businessman attempting to negotiate a merger (Kevin McAllister), his typist who aspires to be a movie star (Nicki Elledge), a baron racking up room service debt (Nkrumah Gatling), and a terminally ill bookkeeper (Bobby Smith) who is determined to spend his life savings in style.

By the time these fine performers finish introducing themselves via a song, we’re 45 minutes into the show, there’s still no plot, and the program still says “no intermission.” A second round of songs allows the characters’ stories to intertwine while a throwaway narrator (Lawrence Redmond) offers vague commentary and additional melodrama in the form of a doctor addicted to morphine.

The melodies aren’t memorable, which is not a prerequisite for a musical but would improve this one. There are just six musicians and a conductor in the orchestra, and all the string parts are synthesized in a production that would benefit from sustained fermatas played on an actual violin.

The actors, thankfully, are the genuine deal.

Once again, Signature has found worthy parts for Smith and Diaz, who appear several times each season. Also of note are young graduates of Catholic University’s musical theater program, especially Elledge, who strikes a balance of naivety and pluck as the typist, a role originated by Jane Krakowski.

Choreographer Kelly Crandall d’Amboise drew on period-specific dances like the Foxtrot and the Charleston. Like animated wallpaper, dancers stay busy in the background while central characters feud. These performers must end the show exhausted! I’d linger and applaud them loudly but there was no intermission and, well, it’s time to check out.

—Rebecca J. Ritzel

TICKETS ON SALE NOW!

NAS

HERBIE HANCOCK KAMASI WASHINGTON

ILLMATIC – 25TH ANNIVERSARY

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JUL 30

JUL 14

SARAH McLACHLAN

RINGO STARR & HIS ALL-STARR BAND

NATIONAL SYMPHONY ORCHESTRA

AUG 3

AUG 10 + 11

SAMMY HAGAR’S FULL CIRCLE JAM TOUR

SOJA SUBLIME WITH ROME

S.o.S MAY 31

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NIGHT RANGER

COMMON KINGS

DISNEY PIXAR’S COCO: CARACALLA DANCE THEATRE IN CONCERT LIVE TO FILM ONE THOUSAND AND ONE NIGHTS JUN 12

TRAMPLED BY TURTLES DEER TICK MAGGIE ROSE JUN 20

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TEDESCHI TRUCKS BAND

NATIONAL SYMPHONY ORCHESTRA JUL 27

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STRAY CATS

40TH ANNIVERSARY TOUR AUG 13

THE BEACH BOYS AUG 25

JENNIFER HUDSON

NATIONAL SYMPHONY ORCHESTRA SEP 5

BLACKBERRY SMOKE SHOVELS & ROPE JUL 17

4200 Campbell Ave., Arlington. $40–$102.

(703) 820-9771. sigtheatre.org. washingtoncitypaper.com april 19, 2019 25

BOOKSSPEED READS

ROYAL PAIN The Queen: The Forgotten Life Behind an American Myth

By Josh Levin Little, Brown and Company 432 pages

Casey Cott Christian Borle

Mandy Gonzalez

Music and lyrics by Pete Townshend Book by Des McAnuff and Pete Townshend Additional music and lyrics by John Entwistle and Keith Moon Music Director Lynne Shankel Director and Choreographer Josh Rhodes

Starring

Casey Cott Tommy

Christian Borle Captain Walker

Mandy Gonzalez Mrs. Walker

Manu Narayan Uncle Ernie

Kimberly Nichole The Gypsy

Wesley Taylor Cousin Kevin

April 24–29 | Eisenhower Theater Groups call (202) 416-8400

Kennedy-Center.org

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

(202) 467-4600 Theater at the Kennedy Center is made possible by

Major support for Musical Theater at the Kennedy Center is provided by

Kennedy Center Theater Season Sponsor

26 april 19, 2019 washingtoncitypaper.com

Additional support is provided by The Blanche and Irving Laurie Foundation.

When Ronald Reagan campaigned against Gerald Ford for the 1976 Republican presidential nomination, he gave countless speeches about “a woman in Chicago who exemplified the welfare mess.” According to Reagan, that woman “used eighty names, thirty addresses, and twelve Social Security cards to collect all kinds of public benefits.” And he may not have known, or cared, whether his unnamed woman was real. He almost certainly didn’t know that she was a violent, flamboyant con artist who went by Linda Taylor, and, as Slate editor Josh Levin demonstrates in his rigorous new biography The Queen, her life was infinitely more complex than Reagan made it out to be.

Linda Taylor was born Martha Louise White in 1926, in the sundown town of Cullman, Alabama.

She was biracial, though her white mother never acknowledged her paternity—under Alabama law, she would have been guilty of a crime had she done so. Martha spent her childhood acutely aware that her race was a secret, and that her family was ashamed of her. At 18, she fled to Seattle. There, she encountered a new set of prejudices. During World War II, state and federal governments “sought to control [venereal disease] by controlling women.” Martha was arrested on suspicion of prostitution multiple times, a victim of moral “panic over dissolute, disease-riddled tramps.”

Levin does his best to trace Martha’s path as she burned through husbands, cities, and names. By the time she landed in Chicago in the mid-1960s, she went by Linda Taylor, but she learned to change her identity the way most people change hairstyle. She also learned to take advantage of every person and system she could. Levin tells this story with a forceful combination of empathy and rigor. Taylor— the name I’ll use from here on—was born into a family that had no desire to care for her and a country that made no space for her. Levin never psychoanalyzes his subject, but his reporting is more than enough to demonstrate how a life defined by rejection, suspicion, and stereotype turned Taylor into a con artist.

And Taylor was quite a con artist. She defrauded public aid services in Illinois and Michigan, sued for imaginary injuries, bought houses she never paid for, married men in order to steal from them, and befriended women in order to do the same. She kidnapped at least one child, and while on bail pending trial for welfare fraud, she likely committed a murder.

The victim was Patricia Parks, a Trinidadian immigrant who Taylor befriended after Parks’ divorce. Taylor began treating Parks for multiple sclerosis and persuaded Parks to write her into her will. Shortly after making Taylor her executor, Parks died of a barbiturate overdose.

The circumstances were clearly suspicious, but Levin writes that “no journalist bemoaned the failure to prosecute her possible killer. No crusading state senator pushed the state’s attorneys to keep their investigation alive. The Chicago Police Department could’ve done its own intensive investigation into Patricia Parks’s death rather than defer to the state’s attorney. It didn’t.” At the time, the Chicago police, the state attorneys and legislature, and the Chicago Tribune were all pursuing Taylor—but none of them cared whether she was a murderer. They only cared about welfare fraud.

By the time Parks died, newspapers across the United States, led by the Tribune, were attacking Taylor as a “welfare queen.” Both journalists and politicians exploited Taylor’s frauds, combined with her Cadillac-driving, fur-wearing aesthetic, to “[give] credence to a slew of pernicious stereotypes… If one welfare queen walked the earth, [they claimed,] then surely, others did too.” Those stereotypes played on racist, sexist, and classist tropes about black women and single mothers, both of whose “dissolute behavior needed to be policed.” When Taylor was first arrested in Seattle in 1944, “dissolute behavior” meant having sex. By 1975, the most “dissolute” thing Taylor could do was spend taxpayer money—and, even worse, spend it on luxuries.

Linda Taylor was never prosecuted for kidnapping or murder. Levin was the first reporter to interview Patricia Parks’ ex-husband John Parks, and he learned that “nobody in any position of authority… had bothered to ask him what he thought of Patricia’s friend [Taylor].”

Parks’ suffering, as well as Taylor’s own, vanished into the myth of the “welfare queen” who “insulted” taxpayers by spending their money on furs. The Queen is a moving effort to redeem both women’s humanity, and a powerful reminder to ask what stories lie behind the ones that catch the public eye.

—Lily Meyer

CITYLIST Music 27 Theater 30 Film 31

Music

CITY LIGHTS: FRIDAY

FRIDAY

THE SOUTHERN GOTHIC W/ TIME SAWYER

CLASSICAL

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

Conductor’s Concert. 8 p.m. $10–$25. theclarice.umd.edu.

SAT. APRIL 27 | 9:30PM | $15/$17

★

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Beethoven’s Fifth Symphony. 8 p.m. $15–$89. kennedy-center.org.

4/18 THU

COUNTRY

4/19 FRI

9:30 CLUB 815 V St. NW. (202) 265-0930. Droeloe. 10 p.m. $22. 930.com.

4/20 SAT 4/25 THU

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. The Secret Sisters. 8 p.m. $25. wolftrap.org.

ELECTRONIC

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

4/26 FRI

FOLK

5/2 THU

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

Donna The Buffalo. 8 p.m. $22–$30. citywinery.com.

5/3 FRI 5/4 SAT

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Mindy Gledhill. 7:30 p.m. $18–$20. jamminjava.com.

FUNK & R&B

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Dramatics featuring L.J. Reynolds. 7:30 p.m. $49.50. birchmere.com.

5/7 TUE

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

Speakers of the House. 10:30 p.m. Free. thehamiltondc.com.

JAZZ

5/9 THU

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Arturo Sandoval. 8 p.m.; 10 p.m. $55–$70. bluesalley.com.

5/10 FRI

ROCK

DC9 1940 9th St. NW. (202) 483-5000. The Coathangers. 8 p.m. $12–$15. dcnine.com.

SATURDAY CLASSICAL

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Beethoven’s Fifth Symphony. 8 p.m. $15–$89. kennedy-center.org.

LIBRARY OF CONGRESS COOLIDGE AUDITORIUM First Street and Independence Avenue SE. (202) 7075507. Jazzmeia Horn Quintet. 8 p.m. Free. loc.gov.

FUNK & R&B

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Tracy Hamlin. 8 p.m. $25–$35. citywinery.com.

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Arturo Sandoval. 8 p.m.; 10 p.m. $55–$70. bluesalley.com.

POP

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Broods. 8 p.m. $25. fillmoresilverspring.com.

CONNECTIONS: CONTEMPORARY CRAFT AT THE RENWICK GALLERY

Furrowed bands of elephant hide paper spiral in and out of each other. A translucent rainbow of color converges at the point of a glass bulb. Black faces and bodies illustrate a necklace of yellow glass beads. These small works of art are, respectively, “Hugging Circles” by Erik and Martin Demaine, “Mandara” by Lino Tagliapietra, and “Africa” by Joyce Scott––and they are all pieces that make up the Renwick Gallery’s dynamic permanent collection showcase centered on craft. In a nod to its name, the exhibition strays from traditional presentation of its materials and instead displays the more than 80 objects like an analog version of the internet, the way we navigate hyperlinks. It is a radical way to showcase art, and emphasizes the role craft plays in a society that is nearly robotically efficient. As Nora Atkinson, the Lloyd Herman Acting Curator-in-Charge at the Renwick, notes on the collection’s website: “Each artwork tells many stories, and each is made even more interesting through relationships to other objects and ideas.

As that object continues to develop meanings and spawn questions through contact with other artworks, it remains vital in a changing world.” The exhibition is ongoing at the Renwick Gallery, 1661 Pennsylvania Ave. NW. Free. (202) 633-7970. americanart.si.edu.

—Amy Guay

5/18 SAT 5/30 THU 6/6 THU 6/7 FRI 6/8 SAT

★ ANDREW LEAHEY + THE HOMESTEAD $10/$12 THE MAMMOTHS + C2 AND THE BROTHERS REED $10/$12 THE HIGHBALLERS $5 LARA HOPE + THE ARKTONES DREW FISH W/ CHUCK BRISENO $10/$15 ADAM AND CARROLL ALBUM RELEASE $15 WOODSHEDDERS $5 THE ALLMAN OTHERS BAND W/ MY SON THE HURRICANE $12/$15 TEXAS TACO SESSIONS: A TACO DINNER & SCREENING OF THE TACOS OF TEXAS W/S/G JAROD NEECE AND MANDO RAYO $65 JASON MORTON & THE CHESAPEAK SONS BEN SPARACO AND THE NEW EFFECT $5 STOP LIGHT OBSERVATIONS + LITTLE STRANGER $12/$15 SOUTHERN CULTURE ON THE SKIDS W/ JUMPIN’ JUPITER $16/$20 DHARMASOUL + CASSADAY CONCOTION $10/$12 JOHN BAUMANN BAND + JAMIE LIN WILSON $12/$15 VEGABOND + HANNAH WICKLUND AND THE STEPPIN’ STONES $12/$15

HILL COUNTRY BARBECUE MARKET 410 Seventh St, NW • 202.556.2050 HillCountry.com/DC • Twitter @hillcountrylive

Near Archives/Navy Memorial [G, Y] and Gallery PI/Chinatown [R] Metro

washingtoncitypaper.com april 19, 2019 27

2018-2019 COLLEGE PERFORMING ARTS SERIES CITY LIGHTS: SATURDAY

April 17–April 19, 2019, 8 p.m.

April 20, 2019, 2 p.m.

Montgomery College student artists will come together to display their tremendous talent during our second annual student showcase. We’ll have artists of all stripes performing music, dance, and theatre presentations.

April 26-27, 2019, 8 p.m.

April 28, 2019, 2 p.m.

The Montgomery College Rockville Dance Company continues its annual tradition with a program of exciting and original dance works by Montgomery College students and faculty, as well as Washington, DC-area choreographers.

Tickets for each show are $10 Regular, $8 Seniors, & $5 Students w/ID

ROBERT E. PARILLA PERFORMING ARTS CENTER Montgomery College • 51 Mannakee Street, Rockville, Maryland 20850 www.montgomerycollege.edu/pac • Box Office: 240-567-5301

VALET & SECURE PARKING aVAILABLE

take your wine to-g0 with growlers & retail wine!

BROODS

During the last decade, there’s been a special place in the pop music landscape for electro-pop duos, especially ones with a woman singing her guts out and a guy tinkering with samplers and synthesizers at the back of the stage (think AlunaGeorge or Purity Ring). New Zealand’s entry in this Wikipedia-ready list is Broods. A brood of two, the duo comprises siblings Georgia (the requisite vocalist) and Caleb Nott (the multi-instrumentalist). The group’s first two albums, Evergreen and Conscious, topped the charts in their home country, and made waves outside of it, thanks to their emotionally charged approach to pristine synth-pop. For their third go-around, they went tongue-in-cheek for the title—Don’t Feed the Pop Monster—and stayed true to their formula. “We wanted to make songs that are true to us and without hiding behind any kind of facade,” Georgia said when announcing the album. “We made a point of just completely trusting ourselves and each other.” Broods perform at 8 p.m. at The Fillmore Silver Spring, 8656 Colesville Road, Silver Spring. $25. (301) 960-9999. fillmoresilverspring.com.

—Chris Kelly

RESTAURANT | BAR | MUSIC VENUE | FULLY FUNCTIONING WINERY | EVENT SPACE

* BECOME A CITY WINERY VINOFILE MEMBER *

EXCLUSIVE PRESALE ACCESS, WAIVED SERVICE FEES, complimentary valet & MORE! APR 18

APR 18

APR 19

APR 20

APR 20

LOW TICKET ALERT! an evening with

in the wine garden

Over The Rhine

Tracy Hamlin

black alley

w/ leigh nash

Donna The Buffalo

APR 21

APR 22

APR 22

APR 23

APR 25

Bhi Bhiman

in the wine garden

LOW TICKET ALERT!

CeCe Peniston

Luke James Shaffer w/ sydney franklin in the wine garden

Just Jokes & Notes

A Musical Monday

Jane Monheit

Zepparella

APR 25

APR 26

APR 26

APR 27

APR 28

ROCK

THE HAMILTON 600 14th St. NW. (202) 787-1000. Willie Nile. 8 p.m. $20–$39.75. thehamiltondc.com.

WORLD

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

Korean Percussion Ensemble. 7:30 p.m. Free. theclarice.umd.edu.

SUNDAY FUNK & R&B

Aubrey Logan in the wine garden

jeff bradshaw & friends ft. N’Dambi

Ana Egge & the Sentimentals in the wine garden

Joan Osborne Sings the Songs of Bob Dylan w/ lea

Sylver Logan Sharp

IN AN EFFORT TO SHOW APPRECIATION TO OUR READERS, WE ARE OFFERING

15% OFF TICKETS WITH THE CODE ‘cpcwdc’

EXCLUSIVELY FOR WASHINGTON CITY PAPER READERS. OFFER VALID 4.18.19 - 4.25.19.

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

28 april 19, 2019 washingtoncitypaper.com

CLASSICAL

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Washington Performing Arts Presents: Yevgeny Kutik: Music from the Suitcase.

7:30 p.m. $45. kennedy-center.org.

JAZZ

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

POP

CITY WINERY 1350 Okie St. NE. (202) 250-2531. CeCe Peniston. 5:30 p.m. $35–$45. citywinery.com.

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Jack & Jack. 8 p.m. $26.50. fillmoresilverspring.com.

JAZZ

ROCK

MONDAY

WORLD

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Arturo Sandoval. 8 p.m.; 10 p.m. $55–$70. bluesalley.com.

FOLK LOW TICKET ALERT!

TUESDAY

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Luke James Shaffer with Sydney Franklin. 7:30 p.m. $12– $15. citywinery.com.

ROCK

ROCK & ROLL HOTEL 1353 H St. NE. (202) 388-7625.

Laura Jane Grace & The Devouring Mothers. 8 p.m. $25. rockandrollhoteldc.com.

BARNS AT WOLF TRAP 1635 Trap Road, Vienna.

(703) 255-1900. Omara Portuondo. 8 p.m. $50–$65. wolftrap.org.

WEDNESDAY CABARET

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Martin Barre Celebrates 50 Years Of Jethro Tull. 7:30 p.m. $45. birchmere.com.

MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Alan Cumming.

8 p.m. $35–$85. strathmore.org.

DAR CONSTITUTION HALL 1776 D St. NW. (202) 6284780. Nick Mason’s Saucerful of Secrets. 7:30 p.m. $53–$179. dar.org.

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

CLASSICAL

Merriweather Post Pavilion • Columbia, MD JUST ANNOUNCED!

GARY CLARK JR. AND NATHANIEL RATELIFF & THE NIGHT SWEATS

... AUGUST 25

On Sale Friday, April 19 at 10am

THIS WEEK’S SHOWS

M3 ROCK FESTIVAL FEATURING

ALL GOOD PRESENTS AN EVENING WITH

Lotus ........................................................................................... F 19 & Sa APR 20 Tom Odell w/ Lucie Silvas Early Show! 6pm Doors ........................................... Sa 20 Ryan Bingham w/ Americans ...................................................................... Su 21 Rival Sons w/ The Sheepdogs ........................................................................ M 22 Jon Hopkins w/ Matthew Dear (DJ Set) & Ela Minus ...................................... W 24 APRIL

MAY (cont.)

Blue October w/ Mona ............Th 25 Hot In Herre: 2000s Dance Party

D NIGHT ADDED!

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

Superorganism w/ Simpson ..Tu 21 Chromatics w/ Desire • In Mirrors •

Tess Roby .....................................W 22

No Scrubs: ‘90s Dance Party

with DJs Will Eastman & Ozker, Visuals by Kylos .........................F 24

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

Florence + The Machine * w/ Blood Orange ................................. JUNE 3

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

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

Phish ........................................................................................................ JUNE 22 & 23 Pitbull .............................................................................................................. JULY 11 Thomas Rhett w/ Dustin Lynch • Russell Dickerson • Rhett Akins ............. JULY 18 Third Eye Blind & Jimmy Eat World * w/ Ra Ra Riot ..... JULY 19

U STREET MUSIC HALL PRESENTS

CloZee w/ Bluetech & Choppy Oppy (live) .Sa 25 & FINAL NIGHT ADDED! FIRST TWO NIGHTS SOLD OUT! THIRD

Betty Who w/ Loote .................Th 30 The Distillers w/ Starcrawler ..F 31

JUNE

Kevin Morby w/ Sam Cohen .....Sa 1 Local Natives

The Devil Makes Three w/ DiTrani Brothers ..................Sa 11 Bear’s Den w/ Vera Sola .........Su 12 Architects w/ Thy Art is Murder

CHRYSALIS AT MERRIWEATHER PARK

LORD HURON w/ Bully ....................................................................JULY 23 311 & Dirty Heads w/ The Interrupters • Dreamers • Bikini Trill .......... JULY 27 Train/Goo Goo Dolls * w/ Allen Stone ...........................................AUGUST 9 Chris Stapleton * w/ Margo Price & The Marcus King Band ................ AUGUST 11 Heart* w/ Joan Jett and The Blackhearts & Elle King........................... AUGUST 13 Ticketmaster • For full lineup & more info, visit merriweathermusic.com • impconcerts.com *Presented by Live Nation

w/ Middle Kids .....................M 3 & Tu 4 WPGC BIRTHDAY BASH FEATURING

Jacquees • Megan Thee Stallion • Summer Walker • Q Da Fool • Kiana Lede ........W 5

& While She Sleeps ....................Tu 14

MANY MORE SHOWS ON SALE!

930.com

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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

Escort w/ Del Florida & JKriv .. Th APR 18 Tennyson w/ Sam Bekt ..................F 19 Against The Current w/ Chapel & GucciHighWaters ...........Sa 20 Anna Of The North w/ Conner Youngblood ...................Su 21

DC101 KERFUFFLE FEATURING

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

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

ALL GOOD PRESENTS

9:30 CUPCAKES

For a full lineup and more info, visit M3rockfest.com

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

Two-Night Pass available .................Sa 18

The Floozies

MAY

and Mick Brown • Extreme • Warrant • Skid Row and more! ..MAY 3-5

CAPITAL JAZZ FEST FEATURING

STEEZ PROMO PRESENTS

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

Whitesnake • Dokken with original members Don Dokken, George Lynch,

FIRST NIGHT SOLD OUT! SECON

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

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

Allie X .....................................Tu 23 Crumb w/ Corridor & Shormey ........Th 25 Trevor Daniel w/ Noah North & 916frosty .................F 26 U.S. Girls .................................Su 28

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

POLITICS AND PROSE PRESENTS

ELIZABETH GILBERT .................................................... JUNE 6 On Sale Friday, April 19 at Noon

WASH., DC INTERNATIONAL FILM FESTIVAL

Echo in the Valley Film and Concert

A film about the birth/influence of the Laurel Canyon music scene followed by a live performance featuring Jakob Dylan, Cat Power,

Josh Ritter & The Royal City Band w/ Penny & Sparrow ............MAY 17 Chromeo (Live Band) .............MAY 19 Yann Tiersen (Solo In Concert) .........................MAY 24 AN EVENING WITH

and Jade Castrinos .......................APR 27 ApocalypticaD NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Imogen Heap with special guest Guy Sigsworth of Frou Frou ............... MAY 4

Plays Metallica By Four Cellos Tour .MAY 28

AN EVENING WITH

Glen Hansard ...........................JUN 3

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

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

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

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

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

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

930.com washingtoncitypaper.com april 19, 2019 29

Summer Music with Sarah Frisof. 8 p.m. Free. theclarice.umd.edu.

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

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

Tix @ Ticketmaster.com 800-745-3000

THE CHURCH

18

"Starfish" 30th Anniversary Tour

THEfeaturing DRAMATICS L.J. Reynolds

19 20

Comedy!

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

May 1

INCOGNITO with special guest MAYSA An Evening with

An Evening with

8 Five City Live East Coast Tour 2019

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

FROM NEW HAMPSHIRE PUBLIC RADIO

10

MANSION AT STRATHMORE 10701 Rockville Pike, North Bethesda. (301) 581-5100. Calista Garcia. 7:30 p.m. $17. strathmore.org.

WORLD

BARNS AT WOLF TRAP 1635 Trap Road, Vienna.

(703) 255-1900. Omara Portuondo. 8 p.m. $50–$65. wolftrap.org.

GEORGE MASON UNIVERSITY CENTER FOR THE ARTS 4373 Mason Pond Drive, Fairfax. (888) 9452468. Mason Wind Symphony and Symphonic Band.

8 p.m. $5-$12. cfa.gmu.edu.

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Saint-Saëns’s “Organ” Symphony. 8 p.m. $15–$89. kennedy-center.org.

COUNTRY

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Kris Kristofferson & The Strangers.

7:30 p.m. $115. birchmere.com.

BARNS AT WOLF TRAP 1635 Trap Road, Vienna.

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

DAVID ALLAN COE TERRY REID & The Cosmic American Derelicts

6

BLACK CAT 1811 14th St. NW. (202) 667-4490. Acid Mothers Temple. 7:30 p.m. $15. blackcatdc.com.

FOLK

ZOE KEATING 2 DELBERT McCLINTON 3 NAJEE 4

ROCK

CLASSICAL

22

29&30

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Preston Reed. 7:30 p.m. $20–$25. jamminjava.com.

THURSDAY

"Deuce Bigalow", "SNL"!

27

JAZZ

JAZZ

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

Aubrey Logan. 7:30 p.m. $22. citywinery.com.

DAVIS PERFORMING ARTS CENTER AT GEORGETOWN UNIVERSITY 3700 O St. NW. (202) 687-3838.

Georgetown University Jazz Ensemble. 7:30 p.m.

Free–$5. performingarts.georgetown.edu.

OPERA

GARY TAYLOR

13

An Evening with

GORDON LIGHTFOOT '80 Years Strong Tour' DAMIEN ESCOBAR 'Elements of Love Tour'

14&15

WHINE DOWN Jana Kramer & Mike Caussin 17 NRBQ & SKIP CASTRO BAND 16

with

Desperado’s/Wax Museum Reunion

18

MACEO PARKER

19

JONATHAN BUTLER

20

STEVE EARLE & THE DUKES M T

21&22

he asTersons

THE NILS LOFGREN BAND

LIFE OF BRIAN

Life of Brian is the middle child of the Monty Python films, sandwiched between The Holy Grail and The Meaning of Life. Still, it is probably the most subversive and impactful thing the group ever produced, enduring enough to be quoted by theologians to this day and controversial enough to be banned throughout Ireland and parts of the United Kingdom upon its release.

The story follows a regular Joe (or, more precisely, a regular Brian) living in Biblical Jerusalem. Through a case of mistaken identity, Brian is taken for a famous messiah and mobbed by adoring followers. The movie forgoes critiques of Christ or Christianity and instead pokes fun at the foundations of organized religion and at the mentality that could convince a group of people to throw their lot in with a savior, even as he insists that they’ve got the wrong guy. It may ride on the edges of decency and sanity—at one point Brian is briefly abducted by joyriding aliens—but Life of Brian also contains a few nuggets of wisdom most reasonable people can agree on: Be careful where you put your faith. Remember that influence is a double-edged sword. And, most importantly, always look on the bright side of life. The film screens at 10 p.m. at the AFI Silver Theatre and Cultural Center, 8633 Colesville Road, Silver Spring. $8–$13. (301) 495-6700. afi.com/silver.

—Will Lennon

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

Opera al Fresco. 12:30 p.m. Free. theclarice.umd.edu.

POP

GW LISNER AUDITORIUM 730 21st St. NW. (202) 9946800. Alvaro Torres. 8 p.m. $39–$99. lisner.gwu.edu.

ROCK

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Zepparella. 8 p.m. $18–$22. citywinery.com.

Sam MAC McANALLY Morrow

11

CITY LIGHTS: SUNDAY

Theater

ANNIE JUMP AND THE LIBRARY OF HEAVEN When small-town teen and science genius Annie Jump meets a new popular girl, she admits that she has great hair. It’s only when Annie discovers this girl might be an intergalactic super computer charged with uniting humanity with the stars that she must make a choice about her own future. Rorschach Theatre at Atlas Performing Arts Center. 1333 H St. NE. To May 19. $50–$80 for a season subscription. (202) 399-7993. rorschachtheatre.com.

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

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

BROADWAY CENTER STAGE: THE WHO’S TOMMY The five-time Tony Award–winning musical chronicling the tale of pinball wizard Tommy who miraculously triumphs over a childhood experience that left him deaf, dumb, and blind, arrives at the Kennedy Center as a semi-staged concert production. Kenne-

30 april 19, 2019 washingtoncitypaper.com

CITY LIGHTS: MONDAY

MARC REBILLET

From 4chan to black Twitter, electronic provocateur Marc Rebillet has been embraced by many denizens of the internet. Affectionately known as Loop Daddy, Rebillet has an infectious energy that is hard to ignore, even—and especially—while he’s wildly gyrating and crooning about buttholes or LAN parties.

The experimental songwriter and producer has adopted an interactive kind of freestyle storytelling that truly comes to life behind a loop station and a keyboard. Rebillet’s live performances are 100 percent improvised, relying upon his own imaginative wit and an enamored audience eager to hurl adorations and inspiration his way to create an immersive musical experience like no other. Rebillet is a classically trained pianist and former actor, both evident in his high-energy, crowd-pleasing performances. He also credits comedic beatboxer Reggie Watts as his inspiration, as well as the unwavering ambition to never return to the corporate life that he abandoned to follow his passion for making music.

Marc Rebillet performs at 8 p.m. at Milkboy Arthouse, 7416 Baltimore Ave., College Park. $15–$17.

(240) 623-1423. milkboyarthouse.com.

—Casey Embert

dy Center Eisenhower Theater. 2700 F St. NW. To April 28. $69–$199. (202) 467-4600. kennedy-center.org.

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

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

GHOST-WRITER Known for intimate stagings, Quotidian Theatre Company presents a 1919 New York love story about novelist Franklin Woolsey and his typist Myra. When Woolsey dies mid-sentence, Myra continues to tell his story despite attacks from skeptics and his grieving widow. Quotidian Theatre Company at The Writer’s Center. 4508 Walsh St., Bethesda. To April 28. $15–$50. (301) 816-1023. quotidiantheatre.org.

GRAND HOTEL, THE MUSICAL Berlin’s Grand Hotel is the locus of a lavish world in 1928. This lively musical follows the hotel’s collection of guests and staff— including a fading prima ballerina, a fatally ill bookkeeper, a handsome but poor baron, and a typist with dreams of Hollywood fame—as they move through the high life. Signature Theatre. 4200 Campbell Ave., Arlington. To May 12. $40–$99. (703) 820-9771. sigtheatre.org.

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

JUNK The slick and scheming Robert Merkin prepares to seize power over a manufacturing company in Pulitzer Prize-winning Ayad Akhtar’s latest play inspired by the financial world and junk bond dealings of the 1980s. How far are you willing to go under the

pretense of “saving America”? Arena Stage. 1101 6th St. SW. To May 5. $56–$72. (202) 488-3300. arenastage.org.

LYSISTRATA An Aristophanean Greek comedy originally performed in classical Athens, Lysistrata tells the tale of a battle of the sexes sparked in part by the titular character’s radical idea: withhold sexual privileges from male partners in order to force an end to the Peloponnesian War. George Mason University.

4400 University Drive, Fairfax. To April 27. $10–$20.

(703) 993-1000. gmu.edu.

OSLO Based on the true events surrounding the 1993 Oslo Peace Accords, the play that swept the 20162017 awards season illuminates the Norwegian husband-wife duo who assembled a team from the Middle East to negotiate peace between Israelis and Palestinians. Shrouded in secrecy and with international tensions mounting, the diplomats rely on empathy and personal connection. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To May 19. $50–$71. (240) 644-1100. roundhousetheatre.org.

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

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

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

STOMP Stomp’s eight-member troupe uses matchboxes, wooden poles, brooms, garbage cans, Zippo lighters, and hubcaps to produce provocative, percussive rhythms. Sections have been updated and restructured, utilizing props like tractor tire inner tubes and paint cans. National Theatre. 1321 Pennsyl-

CITY LIGHTS: TUESDAY

YOU CAN’T TAKE IT WITH YOU

In the 1938 Frank Capra classic You Can’t Take It With You, James Stewart plays the son of a banker primed to take over his father’s position when the family confronts a stubborn foe in Lionel Barrymore. It sounds like a dry run for It’s A Wonderful Life, which came along eight years later with several of the same actors. But this role is the flipside of evil Mr. Potter. Barrymore puts his ham in service here as a patriarch who refuses to sell his home to the big bad banker (Edward Arnold). As often happens with Capra, the idealistic David and Goliath tale seems like a bittersweet fantasy: The little guy beats the big real estate magnate, just like in real life. We can dream, can’t we? Watch for a 15-year old Ann Miller, whose career swansong in Mulholland Drive in 2001 makes her the missing link between Capra and David Lynch.

The film screens at 4:30 pm at the AFI Silver Theatre and Cultural Center, 8633 Colesville Road, Silver Spring. $8–$10. (301) 495-6700. afi.com/silver.

—Pat Padua

vania Ave. NW. To April 28. $45–$69. (202) 628-6161. nationaltheatre.org.

THE WHITE SNAKE A snake spirit transforms into a woman in order to experience the human world and falls in love with a pharmacist’s assistant, only to have her newfound happiness threatened by a narrow-minded monk. Adapted from an ancient Chinese fable, The White Snake is a resonant romance and magic adventure story that deals in themes of loyalty, kindness, and redemption. Constellation Theatre at Source. 1835 14th St. NW. To May 26. $15–$45. (202) 204-7741. constellationtheatre.org.

THE WOLVES A finalist for the 2017 Pulitzer Prize for Drama, The Wolves follows nine teenage girls who make up the titular indoor soccer team as they warm up for practice each week. Overlapping dialogue and broader, group-wide conversations shed light on the thorny and universal dynamics of growing up. George Mason University. 4400 University Drive, Fairfax. To April 28. $10–$20. (703) 993-1000. gmu.edu.

Film

AFTER A young, dedicated student enters into a rocky relationship with a brooding man who has dark secrets. Starring Hero Fiennes Tiffin, Selma Blair, and Josephine Langford. (See washingtoncitypaper.com for venue information) BREAKTHROUGH When her adopted son drowns in an icy Missouri lake, a mother prays for his recovery from the brink of death in the face of steep odds.

Starring Chrissy Metz, Topher Grace, and Josh Lucas.

(See washingtoncitypaper.com for venue information) THE CURSE OF LA LLORONA After ignoring the ominous warning of a troubled mother, a social worker and her children encounter the wrath of a legendary ghost. Starring Linda Cardellini, Raymond Cruz, and Patricia Velasquez. (See washingtoncitypaper.com for venue information) DUMBO Dumbo, the beloved young elephant with oversized ears that allow him to fly, is made to perform in a circus as he and his friends uncover its dark secrets. Starring Colin Farrell, Michael Keaton, and Danny DeVito. (See washingtoncitypaper.com for venue information)

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HELLBOY A half-demon creature of both the human and supernatural worlds, Hellboy battles an ancient, evil sorceress who wants to destroy the world. Starring David Harbour, Milla Jovovich, and Ian McShane.

(See washingtoncitypaper.com for venue information)

MAY 1 + 2

32ND ANNUAL EVENING OF COMEDY MAY 3 + 4

HIGH LIFE A man and his daughter, survivors of a dangerous mission to space, fight for their lives as they hurtle toward a black hole. Starring Robert Pattinson, Juliette Binoche, and André Benjamin. (See washingtoncitypaper.com for venue information)

LITTLE An business woman gets transformed into her younger self and must deal with the adult pressures in her life as a 13-year-old. Starring Regina Hall, Issa Rae, and Marsai Martin. (See washingtoncitypaper.com for venue information) MISSING LINK In this animated adventure, a furry creature named Mr. Link journeys to find his relatives in the fabled Shangri-La. Starring Hugh Jackman, Zach Galifianakis, and Zoe Saldana. (See washingtoncitypaper.com for venue information) PENGUINS Ed Helms narrates this documentary about a penguin who searches to find a partner and start a family in the Antarctic. (See washingtoncitypaper.com for venue information) THE PERFECT DATE In this new Netflix release, a young man creates an app in which people can pay him to be the perfect boyfriend to pay for college.

Starring Laura Marano, Noah Centineo, and Camila Mendes. (See washingtoncitypaper.com for venue information) PETERLOO This historical drama tells the story of the Peterloo Massacre, when British forces attacked a peaceful rally in 1819. Starring Rory Kinnear, Maxine Peake, and Neil Bell. (See washingtoncitypaper.com for venue information) SHAZAM! Teenage foster child Billy Batson becomes a powerful adult superhero by shouting one word— Shazam! Starring Zachary Levi, Michelle Borth, and Djimon Hounsou. (See washingtoncitypaper.com for venue information)

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Acid Mothers Temple are a cosmic stew that punctuate hard rock, blues, and traditional music with a succession of psychedelic meltdowns. The group considers itself a “soul-collective,” a musical umbrella under which a number of sub-groups live—following so far? Under the Acid Mothers Temple umbrella, you will find Acid Mothers Temple & the Melting Paraiso U.F.O., Acid Mothers Temple & The Cosmic Inferno, and Acid Mothers Temple & Space Paranoid, among others. These groups are simultaneously aspects of the same band and evolutions, one flowing into the next. Some of the AMT sub-groups have never had official lineups, and members have included professional musicians, but also farmers, dancers, and drifters who found themselves wrapped up in the collective throughout its touring and tribulations. The constant reimagining and reformation has not slowed the group’s output, and to date AMT have released about 80 albums. The collective, which claims roots in the underground Osaka music scene of the 1990s, has brought their unique sound everywhere from Hong Kong to New York. On Wednesday, you can hear it in D.C. Acid Mothers Temple perform at 7:30 p.m. at Black Cat, 1811 14th St. NW. $15.

(202) 667-4490. blackcatdc.com.

—Will Lennon

NO BS! BRASS BAND

If you’ve heard one brass band, you’ve heard ‘em all, right? This was exactly the sentiment that No BS! Brass Band attempted to foil with its founding. The 11-piece ensemble formed in Richmond (though one member, drummer Lance Koehler, does have the New Orleans pedigree) with the idea of taking on a progressive, more omnivorous edge that reflects the wide-open stylistic range of the Spotify era.

As a result it sounds partly like the rhythmically aggressive street-funk band we generally associate with the genre, and partly like an adventurous jazz big band with complex, moving-part arrangements and a taste for the unexpected. It allows them to switch on a dime from the party chant “RVA All Day” to an intriguing cover of Tears for Fears’ “Everybody Wants to Rule the World” in a way that feels completely organic and unforced—and a lot of fun. No BS! Brass Band perform at 8 p.m. at Union Stage, 740 Water St. SW. $16–$19. (877) 987-6487. unionstage.com.

—Michael J. West

SAVAGELOVE When I first started dating my girlfriend, I asked her about past boyfriends and she said she hadn’t met the right guy yet. After dating for nine years, I found out about a past boyfriend and looked through her emails. I found out she dated her married boss for three years. She broke up with me for looking and for judging her. I feel like she lied, and she thinks it was none of my business. We’ve been broken up for five months. She’s reached out, but I can’t get over my anger or disgust that she was someone’s mistress. Am I a bad person?

—Still Angry And Disgusted Yup. “Haven’t met the right guy yet” ≠ “Haven’t met any guys ever.”

Almost everyone has done something and/ or someone they regret doing—although it’s possible your ex-girlfriend doesn’t regret fucking her married boss for three years, SAAD, and it’s possible there’s no need for regret. Sometimes people have affairs for all the right reasons. Sometimes abandoning a spouse and/or breaking up a home with kids in it, aka “doing the right thing” and divorcing, is the worse choice. Life is long and complicated, and it’s possible for a person to demonstrate loyalty and commitment with something other than their genitals. Sometimes people do what they must to stay married and stay sane, and their affair partners are doing good by being “bad.”

It’s also possible—and perhaps likelier—that your ex-girlfriend made an impulsive, shitty, selfish choice to fuck someone else’s husband.

It’s possible he’s a serial philanderer, a cheating piece of shit, and then, after fucking him that one time, your girlfriend felt pressured to keep fucking him and wound up having a years-long affair with her married boss. And then, when it was all over, she stuffed it down the memory hole because she wasn’t proud of it and wanted to forget it.

It’s also possible she didn’t tell you about this relationship when you asked because she intuited—correctly, as it turned out—that you are, in your own words, a bad person, i.e., the kind of guy who would punish his girlfriend for having a sexual history, for making her fair share of mistakes, and for deciding to keep some things private. (Not secret, SAAD. Private.) In other words, she correctly intuited that you would punish her for being human.

Finding out about a past boyfriend doesn’t give you the right to invade your partner’s privacy and dig through their ancient emails.

Your girlfriend was right to break up with you for snooping through her emails and judging her so harshly. And she didn’t even lie to you, dude! Her boss clearly wasn’t “the right guy,” seeing as he was married and her boss, and the relationship ended before you two even first

laid thighs on each other nine years ago.

And from where I’m sitting, SAAD, it looks like she still hasn’t met the right guy.

To be perfectly frank, I don’t want to help you get over your anger and disgust—not that you asked me to help you get past those feelings. It kind of sounds like you want your anger and disgust affirmed … and I’m going to go with that and affirm the shit out of those feelings: Stay angry! Stay disgusted! Not because those feelings are valid—they’re not—but because those feelings prevented you from taking your ex back when she reached out. She may not know it yet, but she’s better off without you, SAAD, and here’s hoping you stay angry and disgusted long enough for her to realize it.

—Dan Savage I’m a few months into OkCupid dating, and it’s going well! I’ve stuck to two “automatic pass” rules: anyone who mentions my looks and nothing else in the first message and anyone with no face pic. It’s worked out great so far. But I’ve noticed that most kinksters on OKC don’t post face

Life is long and complicated, and it’s possible for a person to demonstrate loyalty and commitment with something other than their genitals. pics. I can understand this. I once came across a coworker on the site—didn’t look, passed immediately—and I can imagine nobody wants their boss or coworkers to know they’re looking for puppy play and CBT. Not everyone has the luxury of taking a risk like that. So I’m tempted to drop my “no face pic = pass” rule for kinksters. But then I imagine how that would go: “Chat, chat, chat.

‘Hey, can I see a face pic?’ Oh no, I’m not physically attracted to this person!” Then I have to awkwardly un-match and feel terribly shallow and guilty for a while. So do I keep my rule and pass on some very promising profiles without face pics to avoid hurting someone’s feelings? Or do I bend the rules? I’m just not looking to hurt anyone in a bad way.

—Not That Kind Of Sadist

Lead with your truth, NTKOS: “Hey, we share a lot of common interests—BDSM, CBT, TT— but I usually require face pics before I chat. I understand why you may not be able to post your pics and why you would want to chat for a bit and establish trust before sharing pics with me privately. So I’m happy to chat so long as you’re okay with the risk that I might pass after seeing your face pic. Still, even if we’re not ultimately a sexual or romantic match, every kinkster needs some kinky friends!”

—DS So I’ve fallen in love with one of my good friends.

I am in grad school, and we met because we are in the same intensive program and we spend a lot of time together. When we first met, I had no interest in this person. And for the majority of the first year we worked together, that feeling maintained. However, over the past few months, I’ve found myself falling in love with this person.

Their intelligence and beauty is simply intoxicating. I love our friendship, but at times it is a bit overwhelming being in their company because I’ve developed strong feelings for them. I don’t think they share these feelings. Or at least I haven’t been given any indication that they share the same feelings. How do I go about telling them? I’d like them to know this is how I feel, but I also don’t want to lay the weight of my feelings on them or ruin our friendship.

—Growing Romantic Attachment Disrupts Studies You have two options: You can be honest with this person or you can be that unsettling “friend” with an ulterior motive. Personally, GRADS, I think fessing up is better than shutting up—sublimated/unexpressed desire has a way of souring a friendship—but if your grad program is ending soon, I’d encourage you to wait. Most graduate programs are two years (some are less), and you’ve been working together for more than a year. So there should already be a light at the end of that intensive tunnel. In the meantime, savor the agony and “pray on it,” as Mike Pence would say. (Only you should swap out prayer for masturbation.)

And, hey, you didn’t have feelings for them until recently. So who knows? They may develop feelings for you by the time your intensive grad program ends.

And, yes, telling a friend you have a crush on them is always a risk—it could ruin the friendship or make things awkward for a while. Just be honest, direct, and unambiguous (“I would like to date you,” not “I hope we can hang out sometime”), and explicitly invite your crush to say no if the answer is no.

—DS

Results coming May 9 To place an ad contact your Account Executive or call 202-650-6937

Email your Savage Love questions to mail@savagelove.net. washingtoncitypaper.com april 19, 2019 33

Notice of Appointment, Notice to Creditors and Notice to Unknown Adult . . . . . . . . . . . . . . . . . . . . . . . 42 DC SCHOLARS PCS Heirs, Thomas L. House, - INTENT TO ENTER Sr., .whose Auto/Wheels/Boat . . . . address . . . . . . is42 SOLE SOURCE CON1700 W Street, SE #12, Buy, Sell, Trade . . Washington, . . . . . . . . .DC . . 20020 . . . . .

TRACTS – DC Scholars Public Charter School was appointed Personal Marketplace . . . . . . . . . . . . . . . . . 42 intends to enter into the Representative of the following sole source . . . . . estate Community . . . . .of . Paulette . . . . . . Gar . 42 contracts in SY 2019ner House aka Paulette Employment . . House . . . . .who . . .died . . . on 42 20: Leonard & Associ- . . . . G. ates and Growth MindED 11/7/2018, without a Health/Mind . . . . . . . . . . . . . . . . . . . .

Consulting for Executive Will and will serve withCoaching; for BodyEdOps & Spirit . . . . out . . .Court . . . .Supervision. . . . . . . 42 Human Resources and All unknown heirs and Housing/Rentals . . . .whose . . . . .where . . . . 42 Finance and Accounting heirs Services; EmpowerK12 abouts are unknown Legal Notices . . . . . . . . . . . . . . . . 42 for Strategic Data and shall enter their appearAnalytics support. All Row . ance Music/Music . . .in . this . . . proceed . . . . . 42 contracts will be awarding. Objections to such . . . . . . . . . . appointment . . . . . . . . . shall . . . .be42 ed at Pets close of . business on May 16, 2019. If you filed with the Register Real Estate . . . . . . . . . . . . . . . . . . 42 have questions, contact of Wills, D.C., 515 5th Emily Shared Stone at CommuA, Housing . Street, . . . . . N.W., . . . . Building . . . . 42 nitySchools@dcscholars.

3rd Floor, Washington, . . . . . . . D.C. . . . .20001, . . . . .on . .or . .be42 org noServices . later than 5:00 pm on April 29, 2019. fore 10/18/2019. Claims against the decedent SUPERIOR COURT shall be presented to OF THE DISTRICT OF the undersigned with a COLUMBIA copy to the Register of PROBATE DIVISION Wills or to the Register 2019 ADM 000371 of Wills with a copy to Name of Decedent, the undersigned, on Paulette Garner House or before 10/18/2019, aka Paulette G. House. or be forever barred.

Contents:

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A CLAIM AGAINST TRAVISA OUTSOURCING, INC. PUBMUST D.C. BILINGUAL INCLUDE THE NAME OF THE LIC CHARTER SCHOOL DISSOLVED CORPORATION, NOTICE: FOR RE-OF THE INCLUDE THE NAME QUEST PROCLAIMANT,FOR INCLUDE A SUMMAPOSAL RY OF THE FACTS SUPPORTING D.C. Bilingual Public THE CLAIM, AND BE MAILED TO 1600 INTERNATIONAL DRIVE, Charter School in acSUITE 600, MCLEAN, VA 22102 cordance with section 2204(c) of the District of ALL CLAIMSSchool WILL BE BARRED Columbia UNLESS A PROCEEDING TO Reform Act of 1995 ENFORCE THE CLAIM IS COMsolicits for OF MENCED proposals WITH IN 3 YEARS vendors to provide the PUBLICATION OF THIS NOTICE following services for IN ACCORDANCE WITH SECTION SY18.19 and 29-312.07 OF THESY19.20: DISTRICT OF * Architectural and COLUMBIA ORGANIZATIONS ACT. Engineering Services * Land Acquisition Two Rivers PCS is soliciting Services proposals to provide project man* Financial Support agement services for a small conServices struction project. For a copy of the RFP, please email procurement@ * General Contracting tworiverspcs.org. Deadline for Services submissions is December 6, 2017.

Proposal Submission Request for Proposal for Architectural and Engineering Services to design of a 25,000 SF annex building at or near the 33 Riggs Rd DC Bilingual campus. Contact bids@dcbilingual. org for a copy of the RFP. Responses are due on Friday, May 3rd at 5:00 PM. Request for Proposal for

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land acquisition services Legals for a 25,000 square foot annex building at or DC SCHOLARS PCS REQUEST near the 33 Riggs Rd DC FOR PROPOSALS – ModuBilingual Campus. Conlar Contractor Services - DC tact bids@dcbilingual.

Scholars Public Charter School org forproposals a copy for of athe solicits modular RFP. Responses are due contractor to provide professional on Friday, May at management and 3rd construction servicesPM. to construct a modular 5:00 building to house four classrooms Request for Proposal and one faculty support offi ce suite. The for financial Request forforProposals services financing(RFP) a specifi cations can be obtained on 25,000 square foot anand after Monday, November 27, nex building or via near 2017 from Emily at Stone comthe 33 Riggs Rd DC munityschools@dcscholars.org.

Bilingual Campus.

ConAll questions should be sent in tact writingbids@dcbilingual. by e-mail. No phone calls regarding RFPofwill org for athis copy thebe accepted. Responses Bids must be received by RFP. are 5:00 PM on Thursday, December due on Friday, May 3rd 14, 5:00 2017 atPM. DC Scholars Public at Charter School, ATTN: Sharonda Request for Proposal for Mann, 5601 E. Capitol St. SE, General Contracting Washington, DC 20019. Anyserbids vices for theallconstrucnot addressing areas as outtion 25,000 square lined inoftheaRFP specifi cations will foot building at or not be annex considered. near the 33 Riggs Rd DC Bilingual Campus.forConApartments Rent tact bids@dcbilingual. org for a copy of the RFP. Responses are due on Friday, May 17th at 5:00 PM. No phone call submission or late responses please. Interviews, samples, demonstrations will be scheduled at our request after the Must see! semi-furreview of Spacious the proposals nished 1 BR/1 BA basement only. apt, Deanwood, $1200. Sep. entrance, W/W carpet, W/D, kitchSUPERIOR COURT en, fireplace near Blue Line/X9/ OF THE DISTRICT OF V2/V4. Shawnn 240-343-7173.

COLUMBIA PROBATE DIVISION Rooms for Rent 2019 ADM 000314 Name of DeceHoliday Special- Two furdent, rooms JamesforEdward nished short or long Jackson-Bey. ofper term rental ($900Notice and $800 Appointment, Notice month) with access to W/D, WiFi, Kitchen, and and Den. Utilito Creditors Notice tiesUnknown included. Best N.E. location to Heirs, along H St. Corridor.

Call Eddie Kimberly Campbell202-744-9811 for info. or visit Oyesola, whose address www.TheCurryEstate.com is 19213 Aquasco Road, Brandywine, MD 20613 was appointed Personal Representative of the estate of James Edward Jackson-Bey who died on January

13, 2019, without a Will Construction/Labor and will serve without Court Supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance in this proceeding.

Objections POWER DESIGN NOW HIRtoING such appointment ELECTRICAL APPRENTICESbeOFfiled ALL with SKILLthe LEVshall ELS! Register of Wills, D.C., 515 5th Street, N.W., about the A, position…

Building 3rd Floor, Do you love working Washington, D.C. with your hands? Are you inter20001, or before and Ocested inonconstruction tober 11, 2019.

Claims in becoming an electrician? against the decedent Then the electrical apprentice shall be could presented to for position be perfect the with a you!undersigned Electrical apprentices are able to earn a paycheck copy to the Register of and full ts while learnWills or benefi to the Register the with trade a through rstofing Wills copy fito hand experience. the undersigned, on

or before October 11, what we’re looking for…

2019, or be Motivated D.C.forever residents who barred. want to Persons learn the believed electrical totrade be heirs or and have a legatees high school ofdiploma the decedent or GED aswho well as transportation. doreliable not receive a copy of this notice by mail a little bit us… within 25about days of its Power Designshall is one publication soof the top electrical contractors in inform the Register of the U.S., committed to our Wills, name, values,including to training and to givaddress ing back and to therelationcommunities ship.

Date of first publiin which we live and work. cation: 4/11/2019 more details…

Name of Newspaper Visit periodical: powerdesigninc.us/ and/or careers or email Washington Citycareers@ Paper/ powerdesigninc.us!

Daily Washington Law Reporter Name of Personal Representative: KimFinancial Services berly Campbell-Oyesolar Denied Credit??

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ment and Communications to develop Auctions a suite of promotional videos in celebration of our 15 th Anniversary year.

Proposals are due via email to Kristin Yochum no later than 5:00 PM on Monday, April 29, 2019. We will notify the final vendor of selection and schedule work to be completed.

RFP Whole FoodsThe Commissary Auction with bidding requireDC Metro Area ments can be obtained 5 at 10:30AM byDec. contacting: 1000s Yochum S/S Tables, Carts Kristin & Trays, 2016 Kettles up E.L. Haynes Public Charto 200 Gallons, Urschel ter School Cutters & Shredders inPhone: cluding 202.667-4446 2016 Diversacut ext 3504 2110 Dicer, 6 Chill/Freeze Email: kyochum@ Cabs, Double Rack Ovens & Ranges, (12) Braising elhaynes.org Tables, 2016 (3+) Stephan VCMs, 30+ Scales, SUPERIOR COURT Hobart 80 qt Mixers, OF THE DISTRICT OF Complete Machine Shop, COLUMBIA and much more! View the PROBATE DIVISION catalog at 2019 ADM 000315 or www.mdavisgroup.com Name of Decedent, 412-521-5751 Carolyn J. Harrison.

Notice of Appointment, Garage/Yard/ Notice to Creditors and Rummage/Estate Notice to Unknown Sales Heirs,Market Daniel every A Harrison, Flea Fri-Sat whose address is 16410 10am-4pm.

5615 Landover Rd. Edgepark Ct, Bowie, Cheverly, MD. 20784. CanMD buy 20716 appointed in bulk. was Contact 202-355-2068 Personal Representative or 301-772-3341 for details or if intrested in being aofvendor. of the estate Carolyn J. Harrison who died on 2/6/19, with a Will and will serve without Court Supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 10/11/19. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or to the Register of Wills with a copy to

the undersigned, on or Miscellaneous before 10/11/19, or be forever barred. Persons NEW COOPERATIVE SHOP! believed to be heirs or legatees of the decedent FROM EGPYT THINGS who do not receive a AND BEYOND copy of this notice by 240-725-6025 mail within 25 days of www.thingsfromegypt.com its publication shall so thingsfromegypt@yahoo.com inform the Register of Wills, name, SOUTHincluding AFRICAN BAZAAR Craft Cooperative address and relation202-341-0209 ship.

Date of first publiwww.southafricanbazaarcraftcoo cation: 4/11/2019 perative.com Name of Newspaper southafricanba z a ar @hotmail. and/or periodical: com Washington City Paper/ Daily Washington Law WEST FARM WOODWORKS Reporter Custom Creative Furniture Name of Personal Rep202-316-3372 info@westfarmwoodworks.com resentative: Daniel A www.westfarmwoodworks.com Harrison TRUE TEST copy 7002 Avenue AnneCarroll Meister Takoma Park, MD 20912 Register of Wills Mon-Sat 11am-7pm, Pub10am-6pm Dates: April 11, Sun 18, 25.

Motorcycles/Scooters

Academy of Hope seeks a qualified 2016 Suzuki TU250X for sale.

1200 miles. CLEAN. Just serfundraising event viced. Comes with bike cover planner to manage and saddlebags.

Asking $3000 all aspects of a unique Cash only. fundraising gala to be Call 202-417-1870 M-F between held in Washington, DC 6-9PM, or weekends. in April 2020. Please find the full RFP on our Bands/DJs for Hire website- www.aohdc. org. Responses should be provided in electronic format and emailed to joy@aohdc.org by Friday, April 19, 2019.

Please contact Joy at 202-269-6623 Ext. 109 with any questions you may have regarding Get Wit this RFPIt Productions: Professional sound and lighting available for club, corporate, SUPERIOR COURTprivate, wedding receptions, holiday OF THE DISTRICT OF events and much more. Insured, COLUMBIA competitive rates. Call (866) 531PROBATE DIVISION 6612 Ext 1, leave message for a 2019 ADM ten-minute call000283 back, or book onName of Decedent, line at: agetwititproductions.com Eddie Charles Lowery.

Notice of Announcements Appointment, Notice to Creditors and Notice to Unknown Announcements - Hey, all you lovers of erotic bizarre Heirs, Cheryl A. and Lowery, romantic fi ction!

Visit www. whose address is 5906 nightlightproductions.club and 87th Avenue, New submit your stories to me Happy Carrollton, MD 20784 Holidays! James K. West wpermanentwink@aol.com

was appointed Personal Events Representative of the estate of Eddie Charles Christmaswho in Silver Lowery diedSpring on Saturday, December 2017a June 10, 2018, 2,with Veteran’s Plaza Will and will serve with9:00 a.m. to 7:00 p.m. out Supervision.

ComeCourt celebrate Christmas in All unknown heirs and the heart of Silver Spring at our heirs whose whereVendor Village on Veteran’s Plaabouts unknown za. There are will be shopping, arts shall enter theirpictures appearand crafts for kids, with Santa, music entertainment ance in thisand proceedto spread holiday cheer more. ing.

Objections toand such Proceeds from the market appointment shall be will provide a “wish” for children filed with the toy Register in need. Join us at your one stop of Wills, D.C., 515 5th shop for everything Christmas.

Street, Building For moreN.W., information, contact A, 3rd Floor, WashingFutsum, ton, D.C. 20001, on or or info@leadersinstitutemd.org before 10/11/19. Claims call 301-655-9679 against the decedent General shall be presented to the undersigned with a Looking Rent yard space copy totothe Register of for hunting dogs.

Alexandria/ArlingWills or to the Register ton, VA area only. Medium sized of Wills with a copy to dogs will be well-maintained in the undersigned, on housor temperature controled dog before or be es. I have10/11/19, advanced animal care forever barred. experience and dogsPersons will be rid believed beurine heirs free of feces,to flies, andor oder.

Dogs will be of in athe ventilated kennel legatees decedent so theydo willnot not be exposed a to winwho receive ter and of harsh etc.by Space copy thisweather notice will bewithin needed as as possimail 25soon days of ble.

Yard for dogs must be Metro its publication shall so accessible. Serious callers only, inform the Kevin, Register call anytime 415-of846Wills,Price including name, 5268.

Neg. address and relationship. Date of first publiCounseling cation: 4/11/2019 Name of Newspaper MAKE THE CALL TO START and/or GETTING periodical: CLEAN TODAY. Free 24/7 Helpline forCity alcohol & drug Washington Paper/ addiction treatment. GetLaw help! It Daily Washington is time to take your life back!

Call Reporter Now: 855-732-4139 Name of Personal Representative: Cheryl AdopA. Pregnant? Considering Lowery tion?

Call us first. Living expenses, housing, medical, TRUE TEST copyand continued support afterwards. Choose Anne Meister adoptive family of your choice.

Register of Wills Call 24/7.

877-362-2401.

Pub Dates: April 11, 18, 25.

FRIENDSHIP PUBLIC CHARTER SCHOOL NOTICE OF REQUEST FOR PROPOSAL Friendship Public Charter School is seeking bids from prospective candidates to provide: * Registered Nurse to

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21 22 23 24 26 30 32 33 34 36 38 39 43 44 45 46 47 48

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serve as a temporary nurse for students with special needs.

Nurse will assistance in the classroom and school environment from 7:00 am to 3:30 pm (Moday- Thursday) and Friday from 7:00am to 12:00pm at a Friendship School Campus for 2018 -2019 and 2019-2020 SY. The full scope of work will be posted in a competitive Request for Proposal that can be found on FPCS website at http://www. friendshipschools.org/ procurement /.

Proposals are due no later than 4:00 P.M., EST, Friday, May 3, 2019. No proposals will be accepted after the deadline. Address all questions to ProcurementInquiry@ friendshipschools.org

mid-May; 12-month lease. Contact sean. nohelty@comcast.net

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2019 ADM 000248 Name of Decedent, Fannie Davis. Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Ione Davis, whose address is 16004 Pennsbury Drive, Bowie, Md 20716 was appointed Personal Representative of the estate of Fannie Davis who died on June 29, 2015, with a Will and will serve without Court Supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 10/4/19. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or to the Register of Wills with a copy to the undersigned, on or before 10/4/19, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship. Date of first publication: 4/4/2019 Name of Newspaper and/or periodical: Washington City Paper/ Daily Washington Law Reporter Name of Personal Representative: Ione Davis TRUE TEST copy Anne Meister Register of Wills Pub Dates: April 4, 11, 18.

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KALORAMA STUDIO $1,750 - beautiful unfurnished spacious 400SF studio; one block to 18th; near Woodley Park Metro; available

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Sun-drenched AdamsMorgan 1 bdrm duplex, completely renovated including new kitchen and bathrooms, appliances, windows, and ac/heat, plus skylights, hardwood floors, double-hung closets, fantastic roof-deck, plus storage space and steps to everything, available 5/1 ($2,250) call 202518-6090.

$1600 Private Studio Apartment in Home (Kensington, MD) Beautifully renovated private studio apartment/efficiency now available in Kensington, MD: -- Private entrance -- Street parking -- All utilities included (water, trash, electric, cable, internet/WiFi) -- Washer and dryer in-unit -- Large walk-in closet with extra space for storage -- Lots of natural lighting -- Outdoor space This apartment is located within a singlefamily home in the quiet community of Kensington just minutes from I-495, grocery stores, restaurants, and parks.

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