Washington City Paper (April 21, 2017) by Washington City Paper

CITYPAPER Washington

politics: UncleAn energy 8 food: peAk Uni? 19 arts: climAte concepts 23

Free VolUme 37, no. 16 WAshingtoncitypAper.com April 21–27, 2017

our guide to this year’s Filmfest Dc P. 14

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INSIDE

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14 Screen grab Our guide to this year’s Filmfest DC

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Arts

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23 Big Deals: At one of D.C.’s best small galleries, abstract art makes a bold environmental statement, while one of the city’s biggest museums celebrates the centennial of the great Ella Fitzgerald. 26 Short Subjects: Zilberman on The Lost City of Z 27 Sketches: Jason Gubbiotti: Glass Giant at Civilian Art Projects

Housing Complex: Ward 1 is the only D.C. ward without a home for a new homeless shelter. 8 Loose Lips: Vermont Energy performed poorly as the city’s Sustainable Energy Utility for five years, but it won a new $100 million contract anyway. 10 Unobstructed View 11 Indy List 12 Savage Love 13 Gear Prudence

d.C. feed 19 Uni-fication: We haven’t reached peak uni yet—urchin is still a chef’s plaything. 21 Joining Sources: Symbiotic relationships in the food world 21 Veg Diner Monologues: Cabbage Steak at BLT Steak 21 UnderServed: The Wooly Bully at Quarter + Glory

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CHATTER

Spring Peeps

In which readers find a fleeting moment of relief

Darrow MontgoMery

Overwhelmingly, readers were some combination of delighted, tickled, and overjoyed at the results of our first annual Peeps diorama contest (“Peep Hope Alive,” April 14). The feature lived up to its title, providing some comic relief in an otherwise grim week for news. “Everything’s going to be okay, guys,” tweeted @jamiegambell. On the same day City Paper printed the contest results, U.S. forces dropped a 22,000-pound bomb on Islamic State forces in Afghanistan. It was the first time the U.S. ever used this bomb, the GBU-43. Within our own pages, the news was unsavory. Loose Lips reporter Jeffrey Anderson wrote an article (“Power Plays,” April 14) about Vermont Energy Investment Corp., which holds D.C.’s Sustainable Energy Utility contract. Despite a five-year track record of poor performance and questionable expenditures, the company won a $100 million contract—with intervention from Mayor Muriel Bowser’s office. A local company, Public Performance Management, lost the bid. “Foes of Vermont Mafia often come to sticky end, drowned in maple syrup,” tweeted @JFBelfiore. Well the losing bidder certainly got stuck in something, though it wasn’t sweet. In this issue we’ve published a follow-up story (“Negative Energy,” p. 8) with extensive new details on what transpired. In the midst of this — Peeps. “Choking up with happiness,” tweeted @LisaMcIntire. “I feel like I’ve never been so impressed by anything in my life,” tweeted @KT_thomps. The winning entry, “The Peeple v. O.J. Simpson,” was widely admired. “The Fred Goldman peep is the height of civilization,” tweeted @stephenwertheim, who is a historian and fellow at King’s College in the United Kingdom, according to his Twitter profile. There were also detractors. Some readers felt the winning entry made light of a serious murder trial. Other readers questioned whether City Paper abided by its rules (we did), or suggested audience voting. But all around, the Peeps dioramas inspired joy. City Paper picked up the contest after the Washington Post, which hosted the competition for 10 years, decided to give it up. We’re already looking forward to next year’s entries. —Alexa Mills

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DistrictLine

And Then There Was One Ward 1 is the only D.C. ward without a home for a new homeless shelter. More than a year after Mayor Muriel Bowser announced an ambitious plan to replace the ailing D.C. General family homeless shelter with eight smaller facilities— one in each ward—seven of those sites are on track. But the District still has not secured a site in trendy Ward 1, where undeveloped land is scarce. Officials have sought to acquire a 9,400square-foot lot at 10th and V streets NW for the final family shelter, but talks between the city and Suman Sorg, who owns the lot, are in limbo. Although the city’s Department of Human Services told a legislative committee chaired by Ward 1 Councilmember Brianne Nadeau last month that the prospective purchase of the site was at the “best and final offer” stage, officials haven’t yet been able to persuade Sorg to sell. While the specific terms of the offer are confidential, the property is assessed at $3 million and could fetch more than triple that amount. District officials told neighbors at a community meeting in March 2016 that Sorg had asked for $11 million. She was one of four Ward 1 respondents to a city solicitation for shelter sites, yet the only whose property officials determined to be viable. Sorg has owned the lot for more than a decade and once planned to develop condos there. She founded an architectural firm in 1986 and now works as a senior principal at design firm DLR Group after a 2015 merger with her own firm. The site consists mostly of open space but also contains a landmarked African American church that Sorg stabilized and is now vacant. Those familiar with her work say Sorg often bides her time on contracts, waiting for ever-higher sale prices. As an architect, she found a lucrative niche in designing government-backed projects, including embassies. She was also recently a partner in a fruitless effort to redevelop Ward 1’s deteriorating Grimke School, a deal that fell through in financial negotiations. “Suman is always looking for the next best, higher deal,” says an ex-employee of Sorg’s,

housing complex

who spoke on the condition of anonymity. Calling Sorg “very shrewd” and “a grade-A business operator,” the former staffer says “she’ll be as patient as she needs to be until she gets the number that’s in her head.” “She’s holding the cards in the sense that every day [city officials] spend negotiating with her, every other piece of property in D.C. gets developed or more expensive,” they explain. “There’s no pressure on her to sell, and there’s huge, huge pressure on the city to commit to something.” Sorg did not respond to requests for comment, and the Bowser administration would only confirm that it hasn’t acquired the 10th and V lot, citing “ongoing negotiations.” “The District is committed to the Ward 1 site, and we do not anticipate any delay in the plans to close D.C. General,” a DHS spokeswoman says. Officials aim to close the decrepit ex-hospital between 2018 and 2020. Though it was presented as part of the D.C. General closure plan, the Ward 1 shel-

was to ground-lease property in five wards— including Sorg’s site in Ward 1, which was projected to cost about $800,000 annually for 30 years. The council objected to the long-term price tag of renting rather than owning these sites. Last December, D.C. purchased the Ward 4 site from an affiliate of MED Developers for $4.4 million. The affiliate had bought the property in April 2015 for $3.4 million. The Ward 4 site already had an empty building on it that will be converted into a family shelter. Meanwhile, the District identified properties in its existing portfolio for Wards 3, 5, 6, 7, and 8. The Ward 3 shelter proposal was so contentious that more than a dozen residents filed suit against the District, claiming officials had shirked neighborhood commision input in choosing the shelter site. A group of Ward 5 residents also sued the city. D.C. prevailed in both cases, and zoning officials recently greenlighted designs for three of the shelters. Three other shelter designs were approved in 2016. The seventh— the Ward 2 shelter— is an all-women’s facility that opened shortly before Bowser announced her plan. The Ward 1 site remains the single hold-out. Because it would replace the former Spring Road facility, the planned Ward 1 shelter is unique in that it would feature 29 two- and threebedroom units, each with private bathrooms, as opposed to single rooms and shared hallway bathrooms at the other sites. All the shelters will have supportive services for families and contain no more than 50 bedrooms apiece. A failed deal with Sorg would not entirely derail the District’s plan to shut down D.C. Darrow Montgomery

By Andrew Giambrone

ter would actually replace a closed shelter on Spring Road NW. The D.C. Council approved the current plan as legislation last May after it amended Bowser’s original proposal. Under the mayor’s vision, the District

General in the next two-and-a-half years, but it would further limit the city’s extremely strained family shelter system and could make future negotiations for a Ward 1 site even more difficult. Residents might also oppose a new site. When the Bowser administration revealed the 10th and V location as its choice, some Ward 1 neighbors cried foul. “It is easy to look at this as ground zero of gentrification, and make it right by putting a homeless shelter back in,” says Ward 1 resident Krishna Kumar, who describes Sorg as “the type to sit on a vacant lot.” “But what we need are people who are going to stay here ten years and keep on improving this neighborhood, not people who are going to be in and out in three months.” Despite its deplorable state, D.C. General houses more than 250 families a night, while approximately 600 others are living in District and Maryland hotels, which costs taxpayers about $80,000 a day. To help alleviate that cost, the administration is seeking landlords to house families in appropriately sized buildings under two- to three-year leases. By law, the District has the right to use eminent domain to acquire Sorg’s property. (The city last used eminent domain in a significant way in 2015 to scoop up two acres for the planned D.C. United stadium.) A community activist who has closely followed the 10th and V site, and asked that their name not be used for fear of neighborhood repercussions, surmises that Sorg “probably believes that the city will walk away before using eminent domain, as that process can get ugly.” Bowser’s proposed budget for the next fiscal year requests $23 million in capital funds to buy land for and build the Ward 1 shelter. Nadeau says she’s “still hopeful” about the deal’s prospects. “It’s not over till it’s over, right?” she says. “What I’ve observed is that each deal moves on its own timeline.” And if it doesn’t work out? “I would go back and look at our inventory of public sites and reconsider their current uses,” Nadeau says, adding that she hasn’t decided whether eminent domain would be the best option. “If I was the city, I would just pay her what she wants,” Sorg’s former staffer says. “If they need this piece, she’s inevitably going to hold out and get what she wants anyway.” CP

washingtoncitypaper.com april 21, 2017 7

DistrictLinE

Negative Energy

Vermont Energy performed poorly as the city’s Sustainable Energy Utility for five years, but it won a new $100 million contract anyway. A perennIAl ComplAInt against the District of Columbia is that mayors use executive power to award competitive contracts to insiders, then look the other way when problems arise. Such is the case with D.C.’s Sustainable Energy Utility, according to documents obtained through the Freedom of Information Act, interviews with energy industry stakeholders, and government emails. Last week, Loose Lips reported that Mayor Muriel Bowser’s office intervened in a $100 million SEU contract awarded by the Department of Energy and Environment in 2016. This week, LL has details on what happened and the questionable history of the incumbent contractor, Vermont Energy Investment Corp., that won the award and will continue to serve as the city’s SEU. At first a local bidder, Public Performance Management, learned it had won the contract. The city’s contracting officer approved the company for preference points that tipped the scales in its favor—only to later deny the points and award the contract to Vermont Energy, which has held the contract since 2011. Vermont Energy is a nonprofit managed by former Pepco executive Ted Trabue, and it has underperformed over the last five years, records show, by manipulating performance benchmarks with the tacit approval of DOEE officials. LL’s review of the contractor’s billings also shows that it spends a staggering 46 percent of its roughly $20 million annual budget on its own internal expenses to operate the SEU program. It also has billed the city more than $330,000 for travel over the last three years, $47,000 for coffee and catering, and $222,000 for seminars and conferences, a review of invoices shows. The firm retains a lobbyist, who also does community relations, at a cost of $240,000 per year. The story prompted Ward 3 Councilmember Mary Cheh, who earlier this month, along with her colleagues, approved the five-year $100 million extension for Vermont Energy, to tell Trabue to be ready to address these issues at her committee’s oversight hearing on April 28. Now, LL has learned that District officials, including current and former DOEE direc-

Loose LIPs

tors and a D.C. councilmember, have long questioned Vermont Energy’s performance. Industry executives and insiders say strict oversight is overdue. They point to the SEU’s weak performance record, a mismanaged solar program, and the fact that it accounts for one-fifth of the DOEE budget. “This is an extraordinary indictment of [DOEE’s] leadership and management,” says a senior industry executive. “Most companies don’t take DOEE or the SEU seriously. They’re a fucking joke.” Cheh Is expeCted to release a report soon regarding her investigation into a different contracting controversy that bears some similarity to the SEU matter, with a couple key differences. Both cases suggest politics trumps competition and transparency where lucrative contracts are concerned. In that matter, a whistleblower has alleged that the Bowser administration directed the firings of city officials who refused to steer Department of General Services contracts to one of its key political donors, local firm Ft. Meyer Construction. (DGS Director Christopher Weaver resigned after refusing to do the firing, WAMU reported.) In the SEU matter, however, it was the local contractor, PPM, that was the victim of mayoral intervention. And unlike in the DGS matter, DOEE Director Tommy Wells declined to take a stand. According to emails reviewed by LL, a joint venture led by PPM submitted its Certified Business Enterprise application to D.C.’s Department of Small and Local Business Development on April 11, 2016. Bids, which were due on April 18, are supposed to include the CBE certification. PPM submitted its bid on time,

8 april 21, 2017 washingtoncitypaper.com

minus the certification. On April 19, Melissa Resil of DSLBD sent an email to PPM’s president R o b Thorne, stating that the deputy mayor’s contracting officer would accept the CBE certification once it was awarded. On April 21, Resil notified the contracting officer, Jacque McDonald, and Thorne, that her office had issued the CBE certification and awarded 12 preference points to the firm. Aided by those points, Thorne soon learned that PPM had amassed the highest score. Industry sources say word hit the street that Thorne had won the contract, which required Vermont Energy to begin transition plans. Meanwhile, Trabue let it be widely known that Vermont Energy had lost the contest. Four months later, in August, however, word seeped out of the deputy mayor’s office that McDonald had changed her position and denied the determinative 12 preference points because Thorne’s CBE certification had not been reviewed and awarded at the precise time of his bid submission on April 18. LL has confirmed that the city administrator’s office actively participated in the decision, just as it did with the troubled DGS contract. “Word on the street was that Rob [Thorne] had gotten the award,” says an industry insider. “Teddy [Trabue] was going around crying poverty. But then all of a sudden, in the 12th hour, boom, Rob gets a letter from the city saying that he didn’t get it. Someone had pulled a rabbit out of the hat.” “I’ll never understand how they did that,” says the industry executive. “The only reason anyone can think of is that Ted had an ‘in’ with Beverly Perry,” the executive says, referring to Bowser’s senior adviser, a former Pepco executive who had been Trabue’s colleague. “It Darrow Montgomery

By Jeffrey Anderson

sounds like the same shit going on at DGS: post facto contract decisions.” If the questIon of “how” Thorne’s company lost the bid is a head-scratcher, the “why” is even more vexing, given Vermont Energy’s performance since 2011. An internal government memo circulating in the mayor’s office in FY 2012, obtained by LL, conveyed early concerns about Vermont Energy’s administrative costs and performance and concluded: “The SEU has not demonstrated an ability to effectively execute energy efficiency or renewable energy programs—a fact now widely acknowledged in D.C.’s green energy space.” Calling an FY 2012 annual report “disturbing,” the memo cites dollars wasted on consulting services and states: “Virtually no one in the District’s green energy space believes the SEU is effective … Bottom line: [It] needs much more rigorous oversight, and a change of contractor should be considered.” Multiple sources also state that Keith Anderson, former interim director of DOEE under then-Mayor Vince Gray, brought similar concerns to his bosses at the Wilson Building in 2013. They say he suggested re-bidding the contract, but was rebuffed by Warren Graves, chief of staff to Gray’s city administrator. In addition, Katrina Forrest, legislative director for At-Large Councilmember David Grosso, wrote in a December 2016 email obtained by LL that Grosso had expressed concerns to Anderson, but wanted to “wait out the contract to see if necessary improvements could be made.” Also in 2016, after Vemont Energy mismanaged the solar program, Wells met with subcontractors to complain that they had not explained the solar contracts to low-income customers whose interests were not protected, according to industry sources. Wells denies any problems with the solar program. Sam Brooks, a former director of the energy division at DGS who bid on the five-year contract through a separate company, says the District has the technology it needs to make real progress. “But if we’re going to meet our 2032 climate goals, the next five years have to look a lot different than the last five years,” Brooks says. “Sometimes I just wish [the city] was more willing to admit failure and say, ‘You know what, let’s try a different approach.’” CP

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Dan Snyder has made a lot of unpopular decisions while running the local football team. He’s fired popular coaches and successful general managers, sued elderly women and beloved alternative-weekly sports columnists. You know the litany. (If you don’t, we keep a permanent link to the great Dave McKenna’s exhaustive list on the City Paper website.) Many of those things—maybe most—wind up getting forgiven or forgotten when the next big splash happens. But the one that seems to still get people riled up, especially older fans of a certain stripe, is the 2004 replacement of 20+ year radio play-by-play man Frank Herzog with Chief Content Officer/Senior VP Larry Michael, who still holds the gig to this day. There are different sides to the story, but the details don’t matter—at least to that certain group of fans. Their radio crew was Frank, Sonny, and Sam, and anything that changed that was for the worse. Perhaps that isn’t Snyder’s only sin, but it has definitely become one of the more unforgivable ones. Now Ted Leonsis appears to be repeating it. Phil Chenier has been the primary color analyst for Bullets/Wizards games for 33 years, a term that now appears to be coming to an end. The folks at Monumental Sports & Entertainment, including Wizards (and Capitals) owner Leonsis, are going out of their way to assure everyone that Chenier will be involved with the broadcast and the team in a variety of roles. But the job he has held for more than three decades—that is, sitting next to a play-by-play guy and patiently analyzing and explaining another dreadful Washington basketball season—is ending, just as the dreadfulness seems to be ending as well. The Washington Post reports that CSN executives are seeking “a fresh voice” to replace Chenier. There are two problems with this. One is that, to me, “a fresh voice” immediately equates to someone like Poochie in The Simpsons—to CSN sticking some backward-hat-and-baggy-shorts-wearing Guy Fieri knockoff in the analyst chair to bring in the hip young kids who are missing the broadcasts with their internetting and extreme sports. Second is that no one who cares about a broadcasting crew ever wants a fresh voice. Sports fans talk more about tradition than the cast of a roadshow production of Fiddler on the Roof does, and that tendency is mag-

nified when it comes to team broadcasters. Even hated broadcasters are irreplaceable in their own way. I wouldn’t have anything to tweet about if Caps radio broadcasts suddenly became comprehensible. There was a meme that made the rounds on social media a few months back—a picture of a kid sitting and eating ice cream next to an ice cream ad showing three pretty young women also eating ice cream, which someone had captioned: “how it feels to listen to podcasts.” It was a pretty terrific analogy, and it also applies to sports broadcasts and broadcasters. These are people we let into our life on a regular basis, even if just as voices—the audible manifestations of the voices that rattle around in our heads. It’s easy to spend upwards of 150 hours each season listening to a basketball broadcasting team and countless, endless hours more with a baseball crew. To ownership and management, they may seem like fungible cogs in the machine of bigtime sports. Everyone is, after all—from league MVPs to fan-favorite coaches. But the relationship between fanbase and broadcaster can be even closer than the one between fans and a star player. In general, broadcasters stick around longer, and we rarely hear star players speak outside of the most banal clichés. The Wizards, it could be argued, have only enhanced this relationship. Their radio broadcast is a lively, borderline participatory affair. The crew calls itself the “Radio Party.” Their official hashtag is #DCFamily. They exude unity and camaraderie in everything they do—a smart way of making a positive (closeness! trust!) out of a potential negative (those fans who have stuck with the team since its heyday are now proudly unified in their #SoWizards misery). Which makes this all the more striking of a decision. The fans have tried all the usual, impotent measures to prevent the change from taking place: a change.org petition, angry tweets, etc. But I don’t think anyone seriously believes these efforts will work. Leonsis and Monumental and CSN are assuming that this movement will eventually fade, like the fallout from most missteps and hard decisions often does, with the passage of time and (they’re likely hoping) the glow of a decent postseason run. But I suspect that they’re very wrong. I suspect that Leonsis will find, as Snyder did before him, that this is one of sports’ unforgivable sins. CP

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I’m a queer girl living with a male partner. This weekend, we found ourselves in an after-hours club, made some new friends, and ended up at a house with two other guys and a girl. Things were pretty playful with everyone—except for one of the guys. We all wanted him gone, but he wouldn’t take the hint. He bought the booze for the after-party, so we were a little unsure of the etiquette of asking him to leave. Neither I nor the other girl was interested. I made it clear that penetration was off the menu for me, and everyone respected this—except the one guy. He asked if I would do anal, and I refused. He shoved his fingers in my ass, and I stopped him. I positioned myself away from him, but he somehow got behind me again and put his bare dick in my ass, though barely. The host pulled him off me. We were admittedly all a bit fucked up from partying. I had a stern talk with him about respecting consent, but when I felt his dick enter me from behind a second time, I got upset. My boyfriend threatened him, and the guy punched my boyfriend and broke my sweetheart’s nose. The host threw the guy out with no pants, so he had a welldeserved walk of shame. We don’t know the guy’s last name, so we can’t charge him. My question is this: As a couple, we enjoy threesomes/moresomes/swingers clubs, etc., and this wasn’t the first time a fun night was ruined by a persistent dick monster. Do you have any suggestions for dealing with pricks like these? Sober and nothorny me has all the answers, but when I’m feeling violated and vulnerable and distracted by whatever dick/pussy is in my face, I’m not the loudmouthed feminist bitch I usually am. We all agree he should have been kicked out before the offenses added up. Maybe he should have been kicked out when we all agreed we weren’t comfortable with him playing with us. What’s the etiquette of telling someone they can’t join in? I’m done dancing around assholes’ feelings. —Queer Unicorn Exhausted Entertaining Numbskulls “Persistent dick monster” (PDM) is putting it mildly, QUEEN. This guy sexually assaulted you and physically assaulted your boyfriend. That guy is a VSP (violent sexual predator), not a PDM. And even if you don’t know his last name, report the night’s events to the police. It’s possible this asshole is already known to the cops. Hell, it’s possible he assaulted someone else on his pantsless way home and they’re already holding him and they’d be happy to add more charges to the ones this asshole is already facing. I’m not saying you have to report him, of course. It’s estimated that only 15 to 35 percent of all sexual assaults are reported to the police, and only 9 percent of all accused rapists are prosecuted. While recognizing some folks have legitimate reasons for not going to the cops, we need to get those numbers up, be-

12 april 21, 2017 washingtoncitypaper.com

Getting fucked up rarely results in good sex, even between people who fuck on the regular.

cause unreported rapes and sexual assaults can’t be prosecuted. As for preventing a PDM/VSP from ruining your future threesomes/moresomes, etc., advance planning—and familiarity among participants—is the best way to ensure a good experience. Spontaneity can be fun, but it’s difficult to pull off safely with groups. Spontaneous fun can be difficult to pull off safely in pairs. Another lesson to be learned from this encounter: Getting shitfaced/shtoned/shwasted may not be the best plan. It’s often the worst plan—getting fucked up rarely results in good sex, even between people who fuck on the regular. Plus, it’s easier to ignore red flags/gut feelings when you can barely shee shtraight. Having to remind someone about consent is a major red flag, QUEEN, and one we’re likelier to overlook when we’re shwasted. In a situation where you’re receiving unwanted touches, your polite dismissal of them should be enough. If this reminder has to be repeated twice, that participant should have their pass to moresome mountain revoked immediately. Two final takeaways: Even kind and decent people can be terrible about taking hints—especially when doing so means getting cut out of a drunken fuckfest. So don’t hint, tell. There’s no rule of etiquette that can paper over the discomfort and awkwardness of that moment, so your group’s designated speaker-upper will just have to power through it. And if you’re going to drink and group in the future, QUEEN, hew to a strict BYOB policy. You don’t ever want to be in a position where you hesitate to show someone the door because they brought the booze. —Dan Savage My wife and I are newlyweds. My wife wants sex two to three times a week, which matches up perfectly with my desires. But her desire for sex peaks around 3 to 5 a.m. She’s a morning person with insomnia, and I’m a night owl and a heavy sleeper. She’s tried to wake me up for sex, and my unconscious self has rejected her multiple times (I never remember this). When I do wake up, the half-con-

scious romps we have aren’t really satisfying. My sexual desire peaks midday and after work when I have more energy to have sex or come up with a fun bondage scene. But when she gets home, she usually has a series of chores or projects that take up all her attention. —Insomnia Now Suspected Of Making Nights Incredibly Awkward

Your wife needs to save chores and projects for 3 to 5 a.m.—provided no power tools are involved—and reserve the early evening hours for romps and creative bondage scenes. —DS My husband and I have been together for six years and are quite happy, much to the chagrin of his family. They are Islamophobic, antichoice, Fox News–watching, conservative Catholics. They began writing us letters about how they disapproved of us when we moved in together before marriage. One launched a campaign to break us up because they figured my thenboyfriend didn’t know I was bisexual. (He did, and I’m out very publicly.) They boycotted our wedding because it was not in a Catholic church. They would not come to a party we had because a Muslim friend would be there. They’ve realized that in order for us to even rarely see them, they need to cool it, but they don’t think they have anything to apologize for. After Trump’s election (#ITMFA), I’ve found it difficult to stomach them even in small doses. I grew up Catholic myself and was sent through gay conversion therapy, so I have a visceral reaction to this kind of bigotry, especially when it is directed toward my family of choice. My husband is also appalled by them and always puts us first, but the idea of not retaining a connection to his family of origin hurts him. Do I suffer the occasional visit? Help! —Shouldn’t Hubby Unload These Outrageously Unenlightened Turds For the sake of your marriage, SHUTOUT, you should suffer the occasional visit—whether your husband sees his family on his own or you’re along for the ride—without punishing your husband for it. Remember: You’re in this together, and private jokes, surreptitious eyerolls, and pot lozenges can go a long way toward making these events not just bearable but (mischievously) pleasurable. And seeing as you’ve already trained his family to cool it by cutting back on your time with them—a strategy I recommend—you can train them to keep things civil, hate-free, and non-biphobic by warning them in advance that you will get up and leave if they say anything shitty or unkind to you, about you, or in front of you. Then follow through. —DS Email your Savage Love questions to mail@savagelove.net.

Gear Prudence Gear Prudence: Let me preface this by saying that I’m a guy in my 20s. The other night I biked to the bar, as I usually do, and things, for a change, went well. I met someone, we hit it off, and we went back—by bike—to her place on the other side of town. The next morning I overslept, freaked out when I realized I was late, hopped in an Uber, and accidentally left my bike in her apartment. The problem is, I don’t have her contact info. All I know is the building she lives in and her first name. I don’t even remember her unit number. I mean, it was a one-night hookup thing at a bar, and I wasn’t exactly planning to see her again. How am I supposed to get back my bike back? —OK, Nobody Ever Necessarily Intends Going Home To Someone’s Trendy Apartment, Nervously Dashing Dear ONENIGHTSTAND: Let’s hope she reads this. Unfortunately, there’s no letter this week that starts, “Gear Prudence: I hooked up with a jackass and he left his stupid bike in my apartment. How do I sell it and/or stop hooking up with losers?” If that were the case, GP could play matchmaker and you’d be all set. Instead we have to get creative. The best, but least likely-to-be-efficacious option, is to keep going back to the same bar and hope she returns. If she does, it’ll be awkward, but hopefully your copious apologies can result in a successful recovery. This strategy relies way too much on good fortune. The sheer number of bars in D.C. means that this will almost assuredly not work. But at least if she never comes back, you can drink away the sorrows of having lost your ride. To up your chances, be more proactive. Tweets and Craigslist posts are good, but instead go old school and post flyers in her neighborhood. Tacking “Lost bike. Well, not exactly lost. It’s complicated” signs on lampposts on the block or two around her apartment might yield a result if she’s sympathetic, which is in not guaranteed. (Your bolting without getting a phone number, nor her offering one, doesn’t suggest a deep desire to reconnect.) In the meantime, figure out where her building’s dumpster is. If she has no intention of keeping the bike or finding you, she’ll probably ditch it somewhere nearby. Don’t be a creeper and wait around by her building and hope to see her. That’s very bad. You can try to leave a note with her name in the lobby, but don’t expect much help from any building staff or neighbors. No one should ever let you back into her apartment under such a flimsy pretense. It might just be time to accept the bike is gone. In the future, if you must bike to and from the bar, avoid this whole mess by taking Bikeshare. This is pretty much why they invented it. —GP Gear Prudence is Brian McEntee, who writes @sharrowsdc. Got a question about bicycling? Email gearprudence@washcp.com.

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Filmfest DC didn’t need to do anything differently to be relevant in a turbulent time. As one of the region’s leading international film festivals, it’s no surprise that its 2017 lineup—another stellar showing of some of the world’s best underseen films—feels like a grand political statement. Indeed, at least one filmmaker scheduled to appear at the festival may not make it because of President Donald Trump’s travel ban. Feras Fayyad, co-director of the documentary Last Men in Aleppo, is trying to travel from Syria. But here’s the truth: Filmfest DC isn’t doing anything different than it has in past years. It’s always been a festival with a political bent. And, like every year, there’s a healthy crop of films not centered on social and political issues. “The Lighter Side” program features comedies, “Trust No One” offers a collection of thrillers, and “Rhythms On & Off The Screen” includes seven music films. The highlight of this year’s festival is its “Division & Debate” program, a thought-provoking collection of films that focus on some of the biggest issues of the day—globalization, immigration, government policies, and racial tension. A good film should spark conversation and debate, and these will. The people of D.C. are more ripe than usual for some serious conversation about the current state of affairs.

—Matt Cohen

After Love Directed by Joachim Lafosse France, Belgium The cinematic resemblance is striking: Belgian director and co-writer Joachim Lafosse’s domestic drama After Love is so taut and full of not-always-disguised venom that it feels fresh out of Iranian filmmaker Asghar Farhadi’s playbook. Bérénice Bejo (who is also in Farhadi’s The Past) and Cédric Kahn play Marie and Boris, a married couple about to divorce. She, coming from wealth, owns the apartment that they share with their young twin daughters. Because he doesn’t have a penny to his name, he takes temporary residence in their den, though he can only see the girls on certain days and must come home after they’ve gone to bed on others. Bejo’s Marie seethes with so much anger that she sometimes hisses her dialogue, putting you on edge and keeping you there, at least until a devastating moment of softening. To watch this family fracture is heartbreaking, but to witness such superb filmmaking is a triumph. —Tricia Olszewski Fri., April 21, 6:30 p.m., AMC Mazza Gallerie; Fri., April 28, 6:30 p.m., Landmark’s E Street Cinema.

Strangers on the Earth Directed by Tristan Cook USA One way to deal with death—your impending death, or the death of someone you love—is to take a 500-mile walk. That’s the crux of Strangers on the Earth, Tristan Cook’s documentary on the Camino de Santiago, an ancient pilgrimage across Spain leading to the Cathedral of Santiago de Campostela, and ultimately to the rocky cliffs of the Atlantic coast. Thousands of people make this pilgrimage each year, starting at differing points and taking different routes. Many walk for weeks, if not months. The movie follows renown cellist Dane Johansen, who walks with his giant instrument strapped on his back and gives a free public concert each night. His revelations are as humble as those of more than a dozen other pilgrims who speak in Strangers on the Earth. They walk to celebrate recovery from cancer; look for love; overcome “a sweet tooth” for women; take an affordable vacation; spend time thinking about whether to get a divorce; mourn the death of a sister; work out a beef with God; show devotion to God; and to search for a God. —Alexa Mills Fri., April 21, 6:30 p.m., Landmark’s E Street Cinema; Sun., April 23, 3 p.m., Landmark’s E Street Cinema; Wed., April 26, 8:30 p.m., Landmark’s E Street Cinema.

14 april 21, 2017 washingtoncitypaper.com

Zoology Directed by Ivan I. Tverdovsky Russia, France, Germany From the opening minutes of Zoology—director Ivan Tverdovsky’s subtle and melancholy melodrama about one woman’s struggle with her own selfacceptance—it’s clear that Natasha is harboring a secret. Her coworkers are merciless and cruel as they talk shit about her behind her back. (At least, that would be the courteous thing. They do it within earshot.) As it turns out, the source of Natasha’s self-confidence deficit is a rare medical deformity: She has a tail. And it doesn’t help that Natasha, soon to be entering middle age, still lives with her overbearing, religious nut mom and her sick cat. Natasha has an awakening when she visits a doctor about getting her tail removed and strikes up a romance with the attractive, young X-ray technician who doesn’t seem to care about her weird medical condition and is attracted to her personality. Tverdovsky keeps things low-key up until the film’s somewhat shocking ending. It’s a quietly charming picture, even if its oddball premise might be a turnoff for casual moviegoers. —Matt Cohen

Clockwise from top: All Governments Lie, Fast Convoy, After Love, Zoology.

Sat., April 22, 6:30 p.m., Landmark’s E Street Cinema; Mon., April 24, 9 p.m., AMC’s Mazza Gallerie. tal photography cannot coalesce into an inventive chase or action sequence. For a film where most of the characters are pushing 100 MPH, most of Fast Convoy is in neutral. —Alan Zilberman

The House on Coco Road Directed by Damani Baker USA “The Grenada I knew didn’t exist anywhere in the media,” filmmaker Damani Baker says during The House on Coco Road. For many who grew up during the Reagan era, the documentary will illuminate an island best known for a brief U.S. military excursion that spawned exactly one war movie: Clint Eastwood’s Heartbreak Ridge. During the ’70s, Baker’s mother became tight with black-power icon Angela Davis, a relationship that eventually led the family to the tiny Caribbean nation in time to see a socialist revolution take hold. Baker links America’s eventual attack to cycles of violence against black people in general, and as he humanizes Grenada’s doomed political heroes, he puts a fresh lens on a pivotal moment of the ’80s. The film also serves as a smallerbore, more personal companion to recent docs such as The Black Power Mixtape 1967-1975, Let The Fire Burn, and The Black Panthers: Vanguard of the Revolution. His story is ultimately told through the eyes of boyhood, and it’s a reminder that movements may collapse, but viewpoints are much harder to spoil. —Joe Warminsky

Sat., April 22, 9 p.m., AMC Mazza Gallerie; Wed., April 26, 9 p.m., AMC Mazza Gallerie.

All Governments Lie: Truth, Deception, and the Spirit of I.F. Stone

Sat., April 22, 8:45 p.m., Landmark’s E Street Cinema; Tues., April 25, 6:30 p.m., Landmark’s E Street Cinema.

Fast Convoy Directed by Frédéric Schoendoerffer France Fast Convoy is a low-rent version of The Fast and the Furious, minus the fun. It follows several professional criminals as they drive a shipment of hashish from

southern Spain through Paris. Only one car has the actual drugs—the others are there to monitor potential police blockades. But they fail at that task, and the car with drugs finds itself at a checkpoint. A shootout ensues, and the criminals try to make sense of the ensuing chaos. The characters all have a chance to chat (the drive to Paris is a long one), yet the dialogue is coarse and banal to a fault. A sun-soaked opening sequence eventually gives way to the midnight blues of a Michael Mann film, and yet the experimen-

Directed by Fred Peabody Canada Investigative journalist I.F. Stone knew about fake news long before a certain commander-in-chief began crowing about it. Stone’s claim, however, wasn’t self-serving. Untethered to a mainstream news outlet, Stone ran a newsletter from 1953-71, examining government documents himself to tease out what was really going on with any given incident versus what other journalists were telling the public. It’s this legacy that fuels the present-day rogue reporters featured in All Governments Lie: Truth, Deception, and the Spirit of I.F. Stone. Director Fred Peabody includes commentary from the usual suspects, like Noam Chomsky and Michael Moore,

washingtoncitypaper.com april 21, 2017 15

and features independent outlets such as Democracy Now! and Young Turks. Heralded as the modern-day Stone is Rolling Stone’s Matt Taibbi, who reams today’s media—regardless of political leanings—as “creating this endless minefield of stupidity.” No administration, not even seemingly clean Barack Obama’s, emerges from this documentary unscathed. —Tricia Olszewski Sun., April 23, 3:30 p.m., AMC Mazza Gallerie; Tues., April 25, 6:15 p.m., Landmark’s E Street Cinema.

The Messengers Directed by Lucian Perkins USA Tucked away on a dead-end street in Adams Morgan, Joseph’s House is a place of rest and end-of-life care for homeless men and women with terminal AIDS and cancer. In his first fulllength documentary, Pulitzer Prize-winning photographer Lucian Perkins turns his attention to the volunteers, the majority of whom are college students and recent graduates in their early twenties, who learn to care for the dying residents over the course of a year. One young woman, Cameron, enters Joseph’s House unsure of what she wants to do with her life, but she learns to trust and love herself from the residents for whom she cares. Brittney, a volunteer certain she wants to work with HIV positive individuals, finds her faith being tested by stubborn residents who struggle to accept their fates. The interactions between the volunteers and the residents provide the film’s narrative arc, but Perkins’ subtle cinematography is what makes the film so memorable. He captures their deaths, at times focusing on the open mouths and eyes of the recently departed, with dignity. It doesn’t feel exploitative or cheap. Rather, it tells a necessary story about how kindness and compassion benefit the dying and those who care for them. —Caroline Jones Sun., April 23, 3:30 p.m., Landmark’s E Street Cinema.

Mali Blues Directed by Lutz Gregor Germany Early in Mali Blues, a stirring and soulful documentary, a poor black musician sits on the edge of a broad river, picking out a blues melody on his guitar. It’s not the Mississippi Delta, but the Niger River on the outskirts of Timbuktu, where jihadists have banned music and driven the city’s musicians out to the country. It’s a fascinating parallel that lingers throughout the film. There is little

conflict or drama in Mali Blues. Instead, it’s a pleasing hangout movie in which we chill with some of the country’s finest musicians at a time when their livelihood—and their very reason for living—is threatened. We hear songs about poverty and politics and angry rappers taking on the radicals in verse. The emotional show-stopper is a folk song about genital mutilation sung in front of a group of teary-eyed women, young and old. None of the songs resemble American blues, but they serve the same purpose: to tell the truth and let their singers soar above their pain, if only for a few bars. —Noah Gittell Sun., April 23, 3:45 p.m., Landmark’s E Street Cinema; Mon., April 24, 8:45 p.m.

Lipstick Under My Burkha Directed by Alankrita Shrivastava India Hollywood may be lagging on showcasing complex female characters, but Bollywood’s Lipstick Under My Burkha doesn’t shy away from the intricacies of its female characters’ lives. The film follows a multigenerational cast of four loosely connected women in a small Indian town, weaving their stories together with the narration of a romance novel. The language of sexual desire and longing is extended to all of the women’s wishes: for true love, for a fulfilling career, for ownership of their own destinies. As these women struggle with what’s expected of them and attempt to rewrite the fates that have been handed to them, they grow and gain confidence, breathing a little easier with each hardwon scrap of freedom. The tone remains airy and upbeat with some genuinely hilarious sequences, and for a while it seems that each woman has all she desires within the scope of her grasp. The film ends on an optimistic note, but not

16 april 21, 2017 washingtoncitypaper.com

before each character gets her own sobering reminder of the indignities of womanhood and the futile feeling of trying to defeat them. —Stephanie Rudig Sun., April 22, 4 p.m., AMC Mazza Gallerie; Sat., April 29, 4:45 p.m., AMC Mazza Gallerie.

The Hippopotamus Directed by John Jencks United Kingdom A story about a soused writer is nothing new. But a story about a soused writer who’s sent to investigate a family and concludes that a boy might have fucked a horse? Now that’s novel. The

Hippopotamus, based on the novel by multihyphenate Stephen Fry, walks a tightrope between witty and too clever, aimless and too contrived. But in the end, it’s amiable enough. Roger Allam plays Ted Wallace, a Christopher Hitchens-like washed-up poet and freshly fired theater critic who happens to run into his adult goddaughter (Emily Berrington) at a bar. She has leukemia and has been given three weeks to live, but has a proposition for him: Starting with a $25,000 check and a promise of more to come, she wants him to visit the manor of an old friend (a terrible Matthew Modine) to find something involving the miraculous. He’ll know it when he sees it, she assures. Well, the film takes a while

Clockwise from Upper left: The Hippopotamus, To Keep the Light, Solitaire, Two Trains Runnin’

example, that the couple’s marriage is troubled and that their young daughter has anger issues. Neither of those problems, however, factor into the main story. The point of the film is itself a bit of a mystery, though it eventually settles on the notion of identity. It doesn’t help that Martin is a jerk, pissing in the family’s garden, wearing the man’s clothes, and knocking all of their books off the shelves. Love—or lust—does come to rescue him, but he makes a mess of that just like he’d made a mess of the living room, and the directors made a mess of this film. —Tricia Olszewski Sun., April 23, 7:30 p.m., Landmark’s E Street Cinema; Sat., April 29, 9 p.m., Landmark’s E Street Cinema.

The Outsider

to get there, and in the meantime you’re stuck watching Wallace get drunk and spout put-downs such as “the snaggletoothed myopic hobbit.” Some of it is hilarious; much of it would never escape an actual person’s lips. Like the amateur investigator, you’ll have to suspend disbelief. —Tricia Olszewski Sun., April 23, 6 p.m., AMC Mazza Gallerie; Sat., April 29, 9 p.m., AMC Mazza Gallerie.

Family Life Directed by Alicia Scherson, Cristian Jimenez Chile Sometimes, it’s OK to let supporting characters be one-dimensional. Yes, it goes against a standard that critics often rail about, but Family Life is proof that there can be exceptions to the rule. Though the Chilean film is about a house-sitter named Martin (Jorge Becker), the film bookends his exploits with unusually in-depth portraits of the family who hired him. There are hints, for

house while her husband recovers from illness. One day, a handsome foreigner washes up on the rocks. As she nurses him back to health, the two exchange stolen glances and unspoken promises, while a gaggle of townsmen circle her property, seeking to remove her from duty with her husband in extended convalescence. Despite the languid pace and lurid romance, there is much to admire here: effective use of light and shadow, a clever plot twist, and strong attention to historical detail. But the twin aims of titillation and propagation never quite come together in a meaningful way. To Keep the Light has a firm sense of time and place, just not of purpose. —Noah Gittell Wed., April 26, 8:45 p.m., Landmark’s E Street Cinema; Thurs., April 27, 6:15 p.m., Landmark’s E Street Cinema.

ry, and with far more depth and detail. But the second journey chronicled is new. That same summer, several groups of rich, white, blues-obsessed college students traveled to the South to search for two forgotten bluesmen: Skip James and Son House. The juxtaposition, which was surely alluring in the pre-production room, doesn’t serve either story particularly well. Comparing these music nerds to the civil rights activists reflects more poorly on them than they deserve, and the realities of Freedom Summer are drastically underdeveloped. At least the music is good. The film features Lucinda Williams and Buddy Guy performing the work of the old blues masters, as well as previously unseen performances by James himself that will set your soul on fire. —Noah Gittell Thurs., April 27, 6:30 p.m., Landmark’s E Street Cinema; Fri., April 28, 6:30 p.m., Landmark’s E Street Cinema.

Directed by Christophe Barratier France On the heels of the 2008 subprime mortgage crisis, the French bank Société Générale experienced a loss of nearly 5 billion euros and the only alleged culprit, Jérôme Kerviel, was found to have created fraudulent transactions and traded millions more euros than he was authorized to. Thus, an inevitable question: Was Jérôme really acting alone, and even if he was, how could he have traded such huge amounts unnoticed? The film The Outsider supports the notion that bank bigshots encouraged Jérôme (Arthur Dupont) to continue his methods in pursuit of increasingly bigger profits. Jérôme kept a modest salary and took relatively little bonus money, so what might have driven him to commit his crimes? Unfortunately, the film is vague on those details. Jérôme has parents he loves, a flimsy romance with a coworker, and a knockoff Gordon Gecko mentor, but none of these details paint a complete portrait of the man nor give him a compelling motive. Still, The Outsider tightly ratchets up the tension and suspense as Jérôme’s misdeeds inevitably catch up to him. —Stephanie Rudig

Directed by Ivan Sen Australia Goldstone probably has more resonance in its native Australia than in the United States, but it’s still an effective thriller. An indigenous detective (Aaron Pedersen) stumbles into a small town to investigate a missing girl. Come to think of it, the word “small” does not do the desolation justice. There are no traffic lights and only a handful of buildings. The detective attracts the attention of the mayor (Jacki Weaver), the local cop (Alex Russell), and the seedy businessman (David Wenham). Director and screenwriter Ivan Sen weaves these characters gracefully, adding a solemn touch to the harsh climate. Goldstone might be an allegory for Australia’s birth—the film overtly deals with white/Aboriginal relations—and uses genre thrills to explore them. There are shootouts and even a car chase, and Sen films them in a deliberate way that only heightens the suspense. The conclusion is practically foregone, but inevitability has its purpose, too. —Alan Zilberman

Sun., April 23, 8 p.m., Landmark’s E Street Cinema; Fri., April 28, 8:30 p.m., AMC Mazza Gallerie.

Thurs., April 27, 6:30 p.m., AMC Mazza Gallerie; Sat., April 29, 8:30 p.m., Landmark’s E Street Cinema.

To Keep the Light

Two Trains Runnin’

Directed by Erica Fae USA It feels silly to complain that a film set in a lighthouse is overly romanticized, but that’s a big part of the problem with To Keep the Light. Framed as a story of female empowerment, the debut feature from actress Erica Fae too often veers into the stuff of romance novels. Fae plays Abbie, a lightkeeper’s wife in colonial Maine, who is operating the light-

Directed by Sam Pollard USA Two Trains Runnin’ tells of two concurrent journeys through the segregated South during the early ’60s. If you have read an American history book, you already know about one of those journeys: Freedom Summer, in which whites and blacks alike rode to Mississippi to register new voters. Other films have been made about this sto-

Goldstone

Solitaire Directed by Sophie Boutros Lebanon, Jordan, Egypt “Do you want to sit still like statues?” This is a father’s refrain as he navigates a dramatic pre-wedding weekend with his son, future daughter-in-law’s family, and his frowning wife. The bride is from a small village in Lebanon. The groom is from Syria—a fact concealed from the bride’s mother until he arrives. Solitaire captures what follows on three levels. First: Of all the meetings humans have in their lives, the initial meeting of in-laws is the most awkward. Second: When that meeting is between families of different nationalities, races, or religions, things can get dicier. Third: When one parent has spent two decades nursing a hatred of the other family’s culture, the parties are reduced to a fight for emotional survival. And this is just Solitaire’s starting point. The bride’s mother is mourning her brother, who was killed by a Syrian bomb years earlier. So deep is her grief, she spends her days talking out loud to photos of her brother, which she keeps posted all over the house. And the photos talk back, egging her on as she does everything she can to sabotage her daughter’s engagement. In a delightful cross between Amélie, Volver, and My Big Fat Greek Wedding, the parties try to make it through weekend. Fortunately, most (but not all) of the characters are able to communicate their feelings better than Sesame Street muppets. They do not sit still like statues, physically or emotionally. —Alexa Mills Thurs., April 27, 9 p.m., AMC Mazza Gallerie; Fri., April 28, 6:30 p.m., AMC Mazza Gallerie.

washingtoncitypaper.com april 21, 2017 17

18 april 21, 2017 washingtoncitypaper.com

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DCFEED

The next restaurant from the Compass Rose team is Maydan going into the Manhattan Laundry Building off 14th Street NW. It’ll feature food inspired by the Caucasus, North Africa, and the Middle East.

Uni-fication

Photographs by Laura Hayes

We haven’t reached peak uni yet—urchin is still a chef’s plaything.

Sea urchin tray at Samuels and Sons By Laura Hayes There’s someThing inherenTly sexy about sea urchin, also known by its Japanese moniker “uni.” In the same way a runny egg yolk allowed to flow like lava can make an onlooker randy, uni is captivating with its Tuscan sun color, tongue-like texture, and an exoticism that photographs well and eats even better. No one is a bigger urchin fanboy than Chef Johnny Spero, who set his alarm for 5 a.m. to Amtrak it to Samuels and Sons Seafood in Philadelphia. His mission? To get some face time with his Tokyo-born sales rep Shinobu Habauchi and select which species of uni he’ll prominently feature when his restaurant Reverie opens in Georgetown. The morning was like a football combine, but Spero was the coach

Young & hungrY

and the players were briny, spiny sea creatures. He tested a few varieties, which taste drastically different depending on whether they come from the East Coast (Maine), West Coast (Santa Barbara or Seattle), South America, or Japan. Though Habauchi says its name translates to “horseshit” in Japanese, the most coveted urchin is typically the bafun from Hokkaido, Japan. Unlike others that are larger, firmer, and carry more funk, these are small, sweet, and melt in your mouth. These so-called “tongues,” which are excavated from the spiky shells, are actually the animal’s gonads, and fishing them out can feel a little like changing a dirty diaper. No how-to video makes it easy enough to attempt after purchasing a live one. Fortunately, by the time uni makes its way to a restaurant the work is done, the tongues are standing at attention in

Community Showcase Friday, April 28 6–8 p.m. | FREE

neat, ready-to-eat rows on a wood tray. While the texture is akin to fish frozen yogurt, the precise flavor profile of urchin is hard to pin down. Spero says uni’s minerality can make it taste like putting a penny under your tongue, while Chef Josh Hermias of minibar by José Andrés and barmini suggests, much like a sommelier, that it has notes of tanned leather. And Chef Katsuya Fukushima of Daikaya says, “It’s kind of like eating the ocean.” Fukushima grew up eating uni because his mother is from Miyako-jima in Japan. He recalls visiting the island where it was everywhere. “My mom would grab sea urchin and put it in the sand near the campfire and let it cook,” he says. “Then she’d crack it open, pull it out, and feed it to me.” Fukushima’s father, on the other hand, is half Japanese but won’t touch it. “That’s garbage, that’s for poor people,” Fukushima remembers his father saying.

Fukushima’s business partner at Daikaya, Daisuke Utagawa—who separately owns Sushiko in Chevy Chase—says that when his grandmother was a kid on the Izu peninsula in Japan, she would get scolded for plucking urchins from the water and keeping them as pets. “When she was a kid, only the poorest people ate uni because they didn’t have anything else to eat,” Utagawa explains. “It’s always the peasants who eat well, don’t they?” Today, urchin is still largely thought of as a delicacy unique to high-end sushi restaurants because it can get pricy, but that’s changing at a cheetah’s pace. Eager chefs of all genres are racing to include it in innovative ways on their menus, and uni’s built a bit of a cult following on social media. A Tuesday afternoon query reveals that 221,301 people are currently Instagramming pictures of #SeaUrchin. That’s roughly the size of Richmond, Virginia, according to 2015 population estimates. While that’s nothing compared to #tacos at 4.2 million people, it’s something, and both restaurateurs and fish wholesalers can confirm there’s heightened interest. “There’s more and more people using it all of the time—not just sushi bars,” says Glenn Casten. The fishmonger at ProFish in Ivy City says they used to sell a dozen trays a month and now they sell a couple dozen trays a week. Joe Lasprogata, the vice president of new product development at Samuels and Sons, echoes Casten. “I’ve been handling uni for 20 years, and I can say there’s been an uptick. Previously it was just sushi restaurants, now it’s everywhere,” he says. Lasprogata adds that the craze began when Mediterranean restaurants started serving dishes featuring raw fish. “I’m surprised how long it took,” he says. “In the late 1980s, you’d see an influx of sushi bars primarily in New York and California, but it took so long for the crudo to show up. It’s only been the last eight or nine years.” In fact, Spero first discovered uni at a Mediterranean restaurant. He was working alongside Chef Johnny Monis at Komi, where one of the highlights was pasta slathered in uni and tomato sauce topped with a whole tongue. “That was the first time I ever worked at a place with trays of uni coming in,” Spero says. “That’s where I fell in love with it.” Uni and pasta are common bedfellows. Locally, Chef Robert Wiedmaier plates uni with shrimp tagliatelle, uni butter, and pesto coulis. Chef Bill Williamson of Birch & Barley smokes his uni before swirling it into squid ink spaghetti with clams, chilies, and leeks. Chef John Melfi serves house-made linguine at The Oval Room with grilled shrimp, chilies, Pecorino cheese, and sea urchin emul-

washingtoncitypaper.com april 21, 2017 19

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Uni brioche at Ripple sion. And one of Osteria Morini’s classic dishes calls for bucatini, sea urchin, crab, tomato, and basil. Other non-Japanese restaurants serving urchin in the District include Conosci, where Chef George Rodrigues makes uni custard and serves it with crab cream espuma, lobster roe, and citrus zest. Whaley’s includes uni dressed in lemon vinaigrette on its seafood towers, and Fiola Mare marries it with foie gras, ginger, and rhubarb consommé. At the two-star Michelin restaurant minibar, Hermias uses Hokkaido uni in two preparations. One is dubbed “Ceviche a la Indiana Jones” because the uni-topped vinegared fish comes in a rambutan (a hairy red tropical fruit) that Hermias says “looks like that scene from Temple of Doom.” At the more casual but still baller barmini, guests can try Wagyu beef tartare bound with uni cream and served with steamed buns. It’s the number one selling bar snack. Hermias doesn’t have any quantifiable metrics but says uni is ubiquitous now. Chef Ryan Ratino of Ripple is no longer surprised to see uni at Japanese, Italian, or French restaurants. “It’s hitting that Brussels sprouts phase where everybody has it on their menu,” he says. Ratino just debuted a sandwich on the grilled cheese bar menu that he hopes will hook first-time uni eaters. He bakes brioche with rendered pork fat and stuffs it with whipped ’Nduja (a spicy Calabrian sausage whipped with soft lardo) and a nutty cheese called Ewephoria. He then toasts it and tops it with pickled onions and as many uni tongues that will fit for $13 (a good value given that a single piece of nigiri sushi goes for $8-$10 at Sushiko). The pressed sandwich is also on the dining room menu as a snack. “It’s a little odd, but we hope we get some adventurous eaters,” Ratino says. That’s no guarantee, as Chef Fukushima found out when he tried to serve a croissant

brushed with uni butter on Daikaya’s brunch menu. “It didn’t sell as much as I hoped because it’s not a sushi restaurant,” he explains. When diners head to sushi bars, they’re selfselecting as individuals eager to try all (or most) fish in the sea. Spero is similarly finding that not everyone is game just yet. “It’s hard enough to get people to eat a couple different pieces of it,” he says. He ordered his go-to hangover cure at Jaleo the night after his wedding—cristal bread topped with butter and sea urchin—but no one helped him eat it. “I’m not sure it’s quite there yet where chefs can throw it on everything assuming people will eat it,” he says. Perhaps there’s no better example of chefs betting on the fact that we’ve reached peak uni than the menu at Fish by José Andrés inside the MGM National Harbor, where diners can choose to add uni to their kale salad, much like adding chicken or shrimp. So what do some of the city’s longtime Japanese chefs and restaurateurs think of uni’s burgeoning popularity among young guns? “People can do whatever they want,” says Utagawa, who prefers his uni au natural. “For me the beautiful part is the subtle complexity and depth, so if you mix it up with a whole bunch of other things that taste strong, the uni taste goes away.” Urchin is served liberally on the tasting menu at Utagawa’s restaurant Kōbō by Sushiko in simple preparations like house-made tofu with Hokkaido sea urchin. Though Utagawa has embraced some new applications, as he admits to liking an unitopped pizza in Sicily. “I like cooks who understand the ingredients and how to bring out their inner beauty,” he says. Fukushima, who likens it to caviar, agrees. “I’m always for creativity, as long as it makes sense,” he says. “It’s such a unique ingredient.” CP Eatery tips? Food pursuits? Send suggestions to lhayes@washingtoncitypaper.com

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Three-Courses from the menu! Create Your Own Party Ideal For Small Groups

Unlimited By The Glass Saturdays – A-La-Carte $29.95 Sunday – Buffet $38.95

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6–8 p.m. | Free Grazer

UnderServed The best cocktail you’re not ordering Quarter + Glory’s Wooly Bully What: Wooly Bully, with Rittenhouse Rye Whiskey, Don Ciccio & Figli Cinque Aperitivo, Punt E Mes, Yellow Chartreuse, and Angostura bitters Where: Quarter + Glory, 2017 14th St. NW; (202) 450-5757; quarterandglory.com Price: $14 What You Should Be Drinking: While everyone else around town is busting out the slushie machines for fro-

The players: MISFIT Juicery and Baldor Specialty Foods What they share: MISFIT Juicery, which is dedicated to making use of ugly produce, partnered with Baldor Specialty Foods to source the scraps they discard when preparing fresh-cut products like carrot sticks or melon cubes. “They’re sending us the sides and tops from that production as a part of their commitment to sending zero food waste to the landfill,” says MISFIT co-founder Ann Yang. Carrot scraps, for example, make their way into “24carrot gold” juice. Try it: Various locations, misfitjuicery. co/locations The players: PassionFish and Congressional Seafood Co. What they share: Chef Chris Clime of PassionFish has plenty of bones to pick, thanks to Congressional Seafood Co. He sé and mixing up patio-pounding gin & tonics, Quarter + Glory’s boozy and stirred game is still strong. This “Manhattan on steroids” beefs up the whiskey potable with several heavy-hitting components. Public House Collective chief creative director Kenneth McCoy stirs spicy Rittenhouse Rye with Punt e Mes (a dark brown bitter Italian vermouth), Yellow Chartreuse, Angostura bitters, and locally-made Don Ciccio & Figli Cinque Aperitivo, served on the rocks with an orange peel. “Not everyone is gonna love it, but I feel it deserves its moment in the spotlight,” McCoy says.

uses the supplier’s halibut bones to make a classic fish stock, souped up with wine, bay leaves, and aromatics. This concentrated liquid is added to dishes like cioppino. Clime counts maximizing product, minimizing waste, and getting the best quality stock as benefits of the partnership. Try it: PassionFish Reston; 11960 Democracy Dr., Reston, Va.; (703) 2303474; passionfishreston.com The players: Red’s Table and Caboose Brewing Co. What they share: Hopheads may recognize a familiar flavor in several Red’s Table desserts. That’s because pastry Chef Chris Works incorporates spent grains from Caboose Brewing Company into pie crusts, cookies, graham crackers, cakes, and muffins. Works dehydrates the grains, grinds them into powder, and uses them to replace a portion of flour. “I use them mainly for their nutty flavor,” he says. Try it: Red’s Table; 11150 South Lakes Dr., Reston, Va.; (571) 375-7755; redstableva.com

Photo courtesy of Red’s Table

Photo courtesy of Masseria

The players: Masseria and Don Ciccio & Figli What they share: The bread served with foie gras at Masseria gets its symphony of flavors from the grains used to make Don Ciccio & Figli’s Concerto liqueur. Chef Nick Stefanelli dries the spent grains, grinds them, and incorporates them into whole-wheat bread. “Its slight sweetness especially complements the foie gras,” he says. Try it: Masseria; 1340 4th St. NE; (202) 608-13330; masseria-dc.com

Photo courtesy of MISFIT Juicery

The players: Vermilion and Catoctin Creek What they share: The flavors in gin—like juniper and citrus—often overlap with those in cured fish, so why not marry the two? That’s what Chef Will Morris has done at Vermilion with the help of Catoctin Creek. After the gin botanicals impart their piney flavor to the spirit, Morris blends them into the salt and sugar cure he uses for fish. Try it: Vermilion; 1120 King St., Alexandria, Va; (703) 684-9669; vermilionrestaurant.com

what we’ll eat next week: Starbuck road quesadilla with seared scallops, tomato and sweet corn salad, and cheese, $21, Millie’s. Excitement level: 3 out of 5.

In nature, little birds are seen policing insect hitchhikers on the backs of large mammals, and small fish act as groomers for sharks. It’s known as symbiosis, and it’s not exclusive to the animal kingdom. These mutually beneficial relationships also exist in the restaurant world and demonstrate a mastery of a grade school golden rule: sharing is caring. —Lani Furbank

Quarter + Glo ry

Joining Sources

what we ate this week: Lomi Homey with salmon marinated with red onion, tomatoes, scallions, sea salt, and fresh lime, $11.49, Poké Papa. Satisfaction level: 4 out of 5.

Why You Should Be Drinking It: Guests at Quarter + Glory seem to consider drinking such a spirit-forward cocktail in springtime as incomprehensible as the lyrics to just about any Red Hot Chili Peppers song. But this drink has two secret weapons that make it work no matter what the mercury reads: Cinque Aperitivo’s bitter orange peel and earthy notes and Yellow Chartreuse, which brings sweet and herbal tones. And forget about asparagus, ramps, and spring peas for a minute, because this drink goes best with an always-in-season smoked mozzarella and bacon burger with house-made pickles and fries. —Kelly Magyarics

Veg Diner Monologues A look at vegetarian dishes in the District that all should try

Rina Rapuano

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Cabbage Steak at BLT Steak The Dish: Seared and Braised Cabbage Steak Where to Get It: BLT Steak, 1625 I St. NW Price: $16 What It Is: The cabbage “steak” is actually a seared cabbage wedge braised in vegetable broth and white wine. It’s then plated with toasted hazelnuts, sesame seeds, and seared Brussels sprouts atop buttermilk dressing flecked with chives, parsley, and tarragon. Chef Jorge Chicas says he wasn’t thinking of this as a warm wedge salad, but that’s what it evokes—and he hears that frequently from diners. The Story: Chicas says his new vegetarian blackboard specials are part of a wider initiative to add more composed and thoughtful vegetarian dishes to the menu. The chef offers a seasonal, meatfree appetizer, entree, and side dish daily, with winter’s cauliflower steak morphing into the more springy cabbage dish. He says it will be on the menu for a while and that there’s always cabbage in the kitchen, so he can make it anytime with a bit of notice. Why Even Meat Eaters Will Like It: It’s no easy task to make cabbage sexy, but Chicas manages it. He works with the natural sweetness and bitterness of the cabbage by marrying it with the herbal and bright creaminess of buttermilk dressing and the toasty crunch of hazelnuts. I’ll admit it—I also ordered a burger to eat with this entree. But while I was happy to give up the last quarter of the burger to a dining companion, I scraped at every last morsel on the cabbage steak plate. —Rina Rapuano

washingtoncitypaper.com april 21, 2017 21

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CPArts

The tour diary of Hand Grenade Job’s Beck Levy continues. washingtoncitypaper.com/arts

Big Deals

At one of D.C.’s best small galleries, abstract art makes a bold environmental statement, while one of the city’s biggest museums celebrates the centennial of the great Ella Fitzgerald. Jowita Wyszomirska: Vanishing Point At gallery neptune & brown to May 13.

The First Lady of Song: Ella Fitzgerald at 100

At the Smithsonian National Museum of American History to April 2, 2018 By Becky Little In her graphIc memoir, Fun Home, cartoonist Alison Bechdel recalls seeing sunsets made “pyrotechnic” by air pollution from a local paper mill and a creek that was beautifully clear only because mine runoff had made it too acidic for life to thrive. “Wading in this fishless creek and swooning at the salmon sky, I learned firsthand that most elemental of all ironies,” she writes of her 1960s and ’70s childhood. “That, as Wallace Stevens put it in mom’s favorite poem, ‘death is the mother of beauty.’” The idea that suffering can beget art is hardly a new concept, but these observations about the environment have a particular sting in 2017, as Donald Trump pursues his plan to roll back efforts to fight climate change. Here in D.C., the city where Trump sort-of lives, artist Jowita Wyszomirska has tapped into the real anxiety many Americans have about the future by offering up a beautiful elegy to a suffering planet. The pieces in Vanishing Point, Wyszomirska’s new exhibit at gallery neptune & brown, are conceptual of the highest order. She takes her inspiration from satellite imagery documenting the changing weather patterns near northern glaciers and, more locally, the Chesapeake Bay. After digitally tracing and laser cutting the images, she creates paintings that are at once elegant and frightening. You have to get up close to really appreciate these pieces, especially the 11-foot-wide installation. The suspended strings and materials creep out at you from the installation, which can make it a little difficult to get into. But if you stand close enough to it to look—really look—at the paintings behind them, you’ll see winds and crashing waves and little lines that might even remind you of the calligraphy you learned in school. Wyszomirska is interested in landscape on an experiential level—sunlight and wind, that kind of thing. And when you look at her pieces, you can definitely sense those elements, even recognize the places and feelings. This, you might think, is the ice mountain on some dis-

GALLERIES

tant moon I’ve seen in my dreams; that is a country I’ve never been to; and that is what a hurricane looks and feels like. Two of the most striking pieces are “Melt 1” and “Melt 2,” both inspired by melting glaciers. The first one has the rich, understated colors of a ’70s stop-motion or animated film— think Bilbo going over the Misty Mountains in the animated Hobbit film. Yet if the first one is a beautiful, dream-like image of mountains gently sliding into the sea, the second is lifted from a nightmare. It is harsher, more violent, and closer to the idea of what too much glacier melt will actually lead to—a biblical flood, the end of days. “I think there is beauty in change,” Wyszomirska says. And strangely, even tragically, she is correct in finding it here. If you know that the inspiration for the show is climate change, the connection is easy to see. In fact, it rolls over you as you look at each piece. There will undoubtedly be visitors who don’t understand that intention; and there could even be people who, once they realize that the works are about climate change, be-

come less interested, because they don’t believe in it. Despite the possibility for misunderstandings and missed connections, Wyszomirska does hope that her show will prompt reflection in people who don’t believe in or care about the issue. You don’t need the context of climate change to understand that Wyszomirska’s art is incredible; but you do to know its horror. It’s hard to understate the popularity of Ella Fitzgerald. During her decades-long career, she won 13 Grammys, sold over 40 million albums, and influenced an entire generation of singers. So, in honor of what would’ve been her 100th birthday, The Smithsonian National Museum of American History, along with the Ella Fitzgerald Charitable Foundation, is celebrating her history and legacy with First Lady of Song: Ella Fitzgerald at 100, a year-long exhibit at the Smithsonian National Museum of American History . In addition to clips of Fitzgerald’s performances playing on

“Melt 1 (59°7′40′N 138°37′14′W)” by Jowita Wyszomirska (2017) washingtoncitypaper.com april 21, 2017 23

CPArts a monitor, visitors can gaze upon artifacts from the museum’s and the foundation’s archives: the sheet music Fitzgerald composed, the awards she won, and even the notes that the Apollo Theater’s management made about her performances during the 1940s and ’50s. Fitzgerald’s first recognition came when she was only 17. After singing at and winning the Apollo Theater’s amateur night contest, she joined a jazz band lead by Chick Webb. When Webb died a few years later, 22-year-old Fitzgerald took over, becoming one of the first female musicians to lead her own orchestra. The exhibit features a picture of her with her band the very year she began to lead, and it’s incredible to see, with her looking very young but fully in control. This early success came on the heels of a troubled adolescence. After suffering abuse from her father, Fitzgerald moved into an early type of foster care and then a reformatory. At the latter, black girls like her were segregated into crowded, dilapidated housing and beaten by the male staff, The New York Times reported after her death in 1996. In the same article, a superintendent who had worked at the reformatory told the Times that Fitzgerald “had been held in the basement of one of the cottages once and all but tortured.” Joining Webb’s band was the way that she escaped. Though the museum’s exhibit is small, it still conveys the magnitude of her success. There’s a concert poster featuring her portrait drawn by Picasso, a video clip of her singing with Duke Ellington, a passport filled with stamps from her international performances, and a dozen keys to cities that she was given. And while you browse the exhibit, admiring these artifacts, you can hear her voice from the monitor. Fitzgerald was

The exhibit acknowledges that Fitzgerald had to work against gender and racial barriers, but it is a little vague about what those barriers were. On the monitor, visitors can see a clip of her singing her hit song “A-Tisket, A-Tasket” in the 1942 Abbott and Costello movie Ride ‘Em, Cowboy. It was her first film appearance and it’s great fun to watch Fitzgerald perform so early in her career. What the exhibit doesn’t mention, however, is that in this movie, she plays a maid who sits down in the back of the bus after she’s finished singing the cowboys her song. One of the interesting points that the exhibit does make is that Fitzgerald was “one of the first African American female celebrities to appear in advertising aimed at a general audience.” The dress she wore in a 1986 American Express ad is on display, as well as her 1961 American Express card (before 1974, it was very difficult for women to get credit cards, so Fitzgerald would have been part of a small percentage of women who had them). And in a very funny Memorex cassette commercial from 1972 the company brags that its recordings are so good, a tape of Fitzgerald’s singing would still shatter a wine glass the way it would at a live performance. It’s not totally clear if Fitzgerald ever really did shatter glass with her voice—but that doesn’t really matter, because in real life she shattered many a glass ceiling. CP Ella Fitzgerald performing at the Imperial Room at the Royal York Hotel, Toronto, Canada, January 1983. renowned for her vocal range, scat singing, and ability to imitate the instruments in her orchestra, and the best way to understand her music’s impact is to hear it for yourself.

1530 14th St. NW. Free. (202) 986-1200. www.galleryneptunebrown.com. 12th Street & Constitution Avenue, NW. Free. (202) 633-1000. americanhistory.si.edu.

APRIL 26–30 Warner Theatre

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Sona Kharatian & Gian Carlo Perez by Dean Alexander

Balanchine, Ratmansky, Tharp

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Do yo

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d a jo

• Determine how work will impact your benefits. • Connect and apply for full-time job

opportunities in the metro area!

• Update your resume and cover letter. • Participate in mock-interviews. • Overcome employment gaps, work

accommodations, criminal background or other barriers to employment

• Develop an individual work plan which

will lead to full time employment in your desired career field! • Find referrals for clothing, transportation and other local resources.

1720 I Street NW, 9th Floor Washington, D.C. 20006

To register for an Orientation Session or learn more information call us (855)268-1935 or visit site www.americaworks.com/tickettowork

SHE MAdE tHE ULtIMAtE SACrIFICE FOr LOVE.

Madame Butterfly Photo by Scott Suchman

If you receive SSI/SSDI, are between ages 18-64 and are looking for work America Works can help you…

Francesca Zambello, Artistic Director

Madame Butterfly Giacomo Puccini / Luigi Illica and Giuseppe Giacosa

May 6–21, 2017 | Opera House In Italian with Projected English Titles Co-Production of Opera Omaha and San Francisco Opera

tICKEtS ON SALE NOW! KENNEdy-CENtEr.Org | (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400. For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540.

Major support for WNO is provided by Jacqueline Badger Mars. david and Alice rubenstein are the Presenting Underwriters of WNO. WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey. WNO’s Presenting Sponsor

Generous support for WNO Italian Opera is provided by Daniel and Gayle D’Aniello. Madame Butterfly is a production of the Clarice Smith Opera Series.

washingtoncitypaper.com april 21, 2017 25

FilmShort SubjectS

SAT, APR 22

BRANFORD MARSALIS QUARTET WITH SPECIAL GUEST

KURT ELLING TWO SHOWS!

IDAN RAICHEL PIANO-SONGS

WED, APR 26

Adventure time

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

The Lost City of Z

WED, MAY 3 + THU, MAY 4

Directed by James Gray

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

PUBLICK PLAYHOUSE

5445 Landover Road, Cheverly, MD 20784

Dallas Black Dance Theatre Friday-Saturday, April 28-29, 8 pm & Sunday, April 30, 4 pm

“…the cornerstone of black dance experience” —OUT & ABOUT NYC

Tickets & Info: $30 General Admission $25 Seniors, Students, Groups of 20 or More

Call 301.277.1710 (TTY 301.699.2544) arts.pgparks.com | FREE, ON-SITE PARKING

“These dancers are just flawless, beautiful, and stunning to watch.” —BROADWAY WORLD

26 april 21, 2017 washingtoncitypaper.com

In the 19th and early 20th centuries, there was a race to find the most monumental discovery in uncharted parts of the planet. Ernest Shackleton and Richard Burton were awarded fame and fortune for their adventures, during which they faced harsh conditions, disease, and hostile indigenous peoples. Percy Fawcett, the hero of James Gray’s The Lost City of Z, represents one of the last of these explorers. Gray’s film is a grand adventure, the sort that uses classic techniques but is never old-fashioned. By letting the story speak for itself, Gray unearths the crucial difference between curiosity and dominance. Charlie Hunnam plays Fawcett, and he is in every single scene. The yearning for adventure is not immediate: At first, Percy complains to his wife, Nina (Sienna Miller), that his tenure in the English army has yielded few medals. When The Royal Geographical Society offers Percy the chance to chart a river in the Bolivian jungle, he sees an opportunity to redeem himself. Alongside his aide Henry Costin (Robert Pattinson), Percy treks into the jungle and nearly starves on his journey to the river’s source. He also finds some intriguing archeological discoveries, suggesting that an ancient city may have once existed deep in the Amazon. Colleagues laugh off his hypothesis, and yet Percy prepares a second journey into Bolivia. He is certain the city, nicknamed “Zed,” is waiting for him. The Lost City of Z covers nearly thirty years and never feels rushed. Gray’s strategy is to follow the David Lean school of epic storytelling: He focuses on the most exciting/peculiar incidents, letting them play out deliberately, so the drawn-out action mirrors the passing of time. There is an agonizing early sequence where indigenous people attack a riverboat, and one of Percy’s underlings is eaten alive by piranhas. Gray does not dwell on blood or the queasy re-

alities of jungle life and instead provides his audience a sense of gnawing desperation. The compositions are frequently beautiful—he shot on 35mm film—and the soft edges of celluloid smooths the image as if the film itself is a longlost artifact. The sequences between the South American voyages could have been perfunctory. Nina objects to Percy leaving for years at a time, and their son Jack (Tom Holland) outright resents his absence. But the mannered dialogue has a way of elevating the emotional stakes—each word carries significant heft—and the actors all strike a superb balance between heartbreak and stoic resolve. By the time Percy embarks on his third journey to the Amazon, now bringing Jack with him, the Fawcetts coalesce into something grander than a family. They realize they’re extraordinary, both in fortitude and resolve, and Gray has enough skill to have us share in their desire for glory. In between battle scenes and carefully composed jungle vistas, there are enough small flourishes to give the film a personal touch. Pattison disappears into his role—the thick beard hides his high cheekbones—and his understated comic delivery is a welcome reprieve. There are some bold editing choices, harking back to Lawrence of Arabia and 2001: A Space Odyssey, so Gray’s nods to cinematic history are a shorthand way to expand the film’s scope. Percy’s third voyage to Bolivia ended in his untimely death, but there are so few specifics that Gray has license to imagine what could have happened. The subtext of the final voyage is that the West had already corrupted the jungle, so the indigenous treat Percy/Jack with hostility, instead of friendship. With Jack in tow, Percy arrives at a transcendence; his probable final minutes are not filled with fear. Percy speaks measuredly, waxing poetic about how remarkable lives are better than mundane ones, and it is to Hunnam’s credit that Percy is convincing. His words mirror how to feel about the film: regret for the outcome and gratitude for the journey. —Alan Zilberman The Lost City of Z opens Friday at Arclight Bethesda and Angelika Film Center Mosaic.

GalleriesSketcheS

Ground Control Jason Gubbiotti: Glass Giant At Civilian Art Projects to April 26.

When Julie Mehretu debuted her wallspanning, densely plotted abstractions in the 2000s, she unlocked globalization as a concern for painters. Her focus was interconnectivity within the digital and political landscape (and still is). She represented these abstract ideas through flags, blips, stamps, and other bits rendered like so many 0s and 1s swirling in a non-Euclidean maelstrom. Jason Gubbiotti belongs to the same class of contemporary artists using painting to explore the world as information. But if Mehretu tends to a globalized world from a sense of awe and admiration, Gubbiotti paints it at red alert. For Glass Giant, a show of about two dozen new works on view at Civilian Art Projects, Gubbiotti brings most of his signature strat-

“GOLD TOP” by Jason Gubbiotti (2017) egies to bear. He builds his meticulous paintings using custom wood supports (no two are alike) and acrylic paint (layers and layers of it). Builds is the word for it: Gubbiotti uses tools such as masking tape and razor blades to make (or rather apply) his textured paintings, but rarely uses brushes. A few of his pieces hang high, low, or even off the wall, such as “Square Waves” (2017), a painting that meets the gallery wall on its side, like a shopkeeper’s shingle. Zippy lines run right off the front onto the sides of the canvas and threaten to continue on along

the wall, as in “GOLD TOP” (2017). Glass Giant is a painting show for an era of rising populism. In “GOLD TOP,” for example, Gubbiotti’s circumscribed gold acrylic lines resemble a pattern, like a dense meandros—the ancient Greek fret design that the fascist Golden Dawn party has adopted as its key. While Gubbiotti’s methods haven’t changed much since he first started showing in D.C. in the early ’00s, his patterns have condensed. The paintings that once looked like topographic landscapes as seen from a drone have been subsumed by more rigidly symmetrical mazes and maps. Tropical and burgeeshaped, “MEGA TOUCH” (2016–17) could be mistaken for a flag for an offshore tax haven. It would be a mistake to read too much into Gubbiotti’s paintings. They are severe but hardly didactic. “Cold Bottom” (2016), a shieldshaped acrylic painting on textured foam over cement, is unmistakably martial, but it’s not out of step with the psychedelic optical illusion of “Pink and Gold Are My Favorite Colors” (2012; 2014–15). Rendered in alternating black and gray lines, “Moonhead” (2017) summons Frank Stella’s black stripes but repurposes them as encrypted network data—a sinister painting indeed. Yet it’s not so far removed from “Negative 40” (2016), a tight, squirrely pen and watercolor drawing that looks like a Gubbiotti painting seen from 30,000 feet up. “Fight Analysis” (2015–16) and “ALPHA DETECTOR” (2016) serve as bridges between Gubbiotti’s old and new work. “WARM WAR” (2016) also features larger planes of space framed by asymmetrical borders. It’s as if these paintings have not yet harmonized into the denser structures that mark his newer, more paranoid paintings. Tracing the details in Gubbiotti’s work is a pleasure, but the way the newer works virtually hum is unsettling. They reflect an anxiety about the role of information that was only barely present in his earlier, more optimistic paintings. The standout in Glass Giant is “Chinese Star” (2016), a painting unlike anything Gubbiotti’s shown before: Densely textured and layered, the painting is a storm of neutral whites and grays, like the weather bands of a frosty gas giant. The signal is gone. Only noise remains. The painting represents collapse. The systems that his abstractions represent have fallen. So, too, has the artist’s system for making his labored works. This one certainly looks like it was made with a brush: a striking suggestion of the artist’s hand in a show about the appearance of control. —Kriston Capps

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

Maly Drama Theatre

Three SiSTerS Directed by Lev Dodin

April 26–30 | Eisenhower Theater The conclusion of the Spotlight on Directors series. Performed in Russian with projected English titles. Recommended for age 14 and up.

TICKETS ON SALE NOW! KENNEdy-CENTEr.Org | (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400. For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540.

International Theater is underwritten by HRH Foundation. Additional support for International Theater is provided by the Laura Pels International Foundation for Theater. International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts.

4718 14th St. NW. Free. civilianartprojects.com. washingtoncitypaper.com april 21, 2017 27

Merriweather Post Pavilion • Columbia, MD

JUST ANNOUNCED!

GORILLAZ

............................................................................. JULY 17

On Sale Friday, April 21 at 10am

THIS WEEK’S SHOWS

Oddisee & Good Compny w/ Olivier St. Louis .......................................... Th 20 Drive-By Truckers w/ Hiss Golden Messenger ........................................... F 21 ALL GOOD PRESENTS

Hurray For The Riff Raff w/ Ron Gallo ................................................... Su 23 The Pretty Reckless w/ Them Evils ...........................................................W 26

M3 ROCK FESTIVAL FEATURING

Ratt feat. Pearcy, De Martini, Croucier • Kix • Loverboy and more! ....APRIL 28 & 29 Lynyrd Skynyrd • Charlie Daniels Band and more! ......................... APRIL 30 The xx w/ Sampha ..................................................................................................... MAY 6

M3 SOUTHERN ROCK CLASSIC FEATURING

Ryan Adams w/ Jenny Lewis ............................................................................ MAY 12 DC101 KERFUFFLE FEATURING

APRIL

Kings of Leon • Weezer • Jimmy Eat World • Fitz and the Tantrums and more! ........... MAY 14

MAY (cont)

Balkan Beat Box w/ DJ Christine Moritz ................Th 27 The Black Angels w/ A Place to Bury Strangers .....Su 30 MAY

Rostam w/ Deradoorian .............Tu 2 The Maine w/ The Mowgli’s & Beach Weather .W 3 Hot In Herre: 2000s Dance Party

with DJs Will Eastman and Brian Billion .......................Sa 6

Twin Peaks w/ Chrome Pony & Post Animal ...Tu 9 San Fermin w/ Low Roar .........W 10 AEG LIVE PRESENTS

DESIIGNER w/ 16yrold ..........Th 11 Giorgio Moroder w/ Enamour ..F 12 Los Amigos Invisibles w/ Zakke .....................................Sa 13 Perfume Genius w/ serpentwithfeet ...................... M 15 DREAMCAR feat. members of

No Doubt, Tony Kanal, Adrian Young, Tom Dumont, & AFI frontman, Davey Havok w/ Superet .................................Th 18

Karl Denson’s Tiny Universe featuring Melvin Seals ............... F 19 Cloud Nothings Late Show! 10pm Doors ..................Sa 20 Laura Marling w/ Valley Queen ..........................Su 21 JMSN w/ Gabriel Garzon-Montano

I.M.P. & GOLDENVOICE PRESENT AN EVENING WITH

Sigur Rós .............................................................................................................. MAY 25

The Chainsmokers w/ Kiiara, Lost Frequencies, featuring Emily Warren ...... MAY 26 CAPITAL JAZZ FEST FEATURING

Corinne Bailey Rae • George Benson • Jaheim • Anthony Hamilton and more! .... JUNE 2-4

Paul Simon w/ Sarah McLachlan.............................................................. JUNE 9 Jack Johnson w/ Lake Street Dive .....................................................................JUNE 11 The Head and the Heart w/ Deer Tick .......................................................JUNE 15 John Legend w/ Gallant .....................................................................................JUNE 20 Steve Miller Band w/ Peter Frampton ................................................JUNE 23 Luke Bryan w/ Brett Eldredge & Lauren Alaina ..............................................JUNE 25 Jason Isbell and the 400 Unit w/ The Mountain Goats .........................JUNE 30 Dispatch w/ Guster & Marco Benevento ........................................................... JULY 7 My Morning Jacket w/ Gary Clark Jr. ......................................................... JULY 14

& Alcordo ....................................Tu 30

Frightened Rabbit w/ Torres & Kevin Devine ............W 31 JUNE STORY DISTRICT PRESENTS

Out/Spoken: Queer, Questioning, Bold, and Proud ........................Sa 3

VANS WARPED TOUR PRESENTED BY JOURNEYS FEATURING

Freddie Gibbs ...........................Th 8 Jamestown Revival w/ Colter Wall ................................F 9 The Record Company w/ The Deadmen ........................Sa 10 Rodrigo y Gabriela w/ Ryan Sheridan .......................Su 11 Lizzo ............................................F 16 Who’s Bad: The Ultimate Michael

Anti-Flag • The Ataris • Gwar • Hatebreed • Valient Thorr and many more! .............. JULY 16 THE MOST SUCCESSFUL FILM COMPOSER OF OUR ERA

Hans Zimmer Live with Orchestra and Chorus performing music from Pirates of the Caribbean, Gladiator, The Dark Knight and more! .................................. JULY 21 alt-J w/ Saint Motel & SOHN .................................................................................... JULY 27 Fleet Foxes w/ Animal Collective ........................................................... JULY 29 Belle and Sebastian / Spoon / Andrew Bird w/ Ex Hex .................. JULY 30 SUMMER SPIRIT FESTIVAL FEATURING

Kenny “Babyface” Edmonds • Bell Biv Devoe • Fantasia and more! .................AUGUST 5-6

Lady Antebellum w/ Kelsea Ballerini & Brett Young .............................. AUGUST 13 Santana ............................................................................................................ AUGUST 15 Sturgill Simpson w/ Fantastic Negrito ................................................ SEPTEMBER 15 Young The Giant w/ Cold War Kids & Joywave .................................. SEPTEMBER 16

Jackson Experience ................Sa 17

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

Dierks Bentley w/ Cole Swindell & Jon Pardi .................................................... MAY 19 Bon Iver ................................................................................................................. MAY 24

ALL GOOD PRESENTS

930.com

• For full lineups and more info, visit merriweathermusic.com

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

Echostage • Washington, D.C.

TYCHO w/ Nitemoves ............................................................................................ MAY 7 Empire of the Sun w/ Lee “Scratch” Perry & Subatomic Sound System ....... MAY 11 2135 Queens Chapel Rd. NE • Ticketmaster

Pimlico Race Course • Baltimore, MD

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

PREAKNESS BUDWEISER INFIELDFEST FEATURING

SAM HUNT • Good Charlotte • LOCASH • High Valley .................................................... MAY 20 preakness.com

Rhiannon Giddens w/ Amythyst Kiah..................................................................... MAY 9 Dwight Yoakam w/ Elliot Root .............................................................................. MAY 11 Demetri Martin ..................................................................................................... MAY 13 Added!

First Night Sold Out! Second Night

AN EVENING WITH

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Fenech-Soler Nancy & Beth & Knox Hamilton ..................... W APR 26 (Megan Mullally, Stephanie Hunt) .............. M 8 Run River North w/ Arkells & Cobi ..... Tu 9 ALL GOOD PRESENTS Too Many Zooz ................................. Th 27 Wavves ............................................... Sa 13 Meat Puppets and mike watt Jazz Cartier w/ J.I.D & Levi Carter ..... Sa 29 + the jom & terry show ....................... Su 14

Old Crow Medicine Show Performing Blonde on Blonde ............................ MAY 23 Feist .......................................................................................................................... JUNE 7 SECOND NIGHT ADDED! AEG LIVE PRESENTS

Tim And Eric: 10th Anniversary Awesome Tour ................................................ JULY 19 TajMo: The Taj Mahal and Keb’ Mo’ Band w/ Jontavious Willis ..................... AUGUST 9 Apocalyptica - Plays Metallica By Four Cellos ............................................ SEPTEMBER 9 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

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

impconcerts.com Tickets for 9:30 Club shows are available through TicketFly.com, by phone at 1-877-4FLY-TIX, and at the 9:30 Club box office. 9:30 CLUB BOX OFFICE HOURS are 12-7PM Weekdays & Until 11PM on show nights. 6-11PM on Sat & 6-10:30PM on Sun on show nights.

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

28 april 21, 2017 washingtoncitypaper.com

930.com

CITYLIST

INER

60S-INSPIRED D Serving

EVERYTHING from

BURGERS to BOOZY SHAKES

SPACE HOOPTY

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

FRIDAY NIGHTS, 10:30 - CLOSE

BRING YOUR TICKET

AFTER ANY SHOW AT

Music 29 Galleries 35 Theater 35 Film 37

Music Friday rock

9:30 Club 815 V St. NW. (202) 265-0930. Drive-By Truckers. 8 p.m. $35. 930.com. barns at Wolf trap 1635 Trap Road, Vienna. (703) 255-1900. Pat McGee Band. 8 p.m. $25–$30. wolftrap.org. birChmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Average White Band. 7:30 p.m. Sold out. birchmere.com. DC9 1940 9th St. NW. (202) 483-5000. Surfer Blood. 7 p.m. $15. dcnine.com. fillmore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Periphery, Sonic Unrest II. 7 p.m. $22. fillmoresilverspring.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625. Parachute, Kris Allen. 8 p.m. $25. rockandrollhoteldc.com. songbyrD musiC house anD reCorD Cafe 2477 18th St. NW. (202) 450-2917. Calm & Crisis, Black Dog Prowl, StockSmile. 8 p.m. $10–$12. songbyrddc.com.

classical

kenneDy Center ConCert hall 2700 F St. NW. (202) 467-4600. DECLASSIFIED: Zakir Hussain with the NSO. 9 p.m. $39. kennedy-center.org.

ElEctronic

Club

TO GET A

FREE SCHAEFERS

DAY PARTY WITH DJ KEENAN ORR

First Sunday every month

2 - 6pm

u street musiC hall 1115 U St. NW. (202) 5881889. Luca Lush, Savage Patch, K Cap. 10 p.m. $5–$10. ustreetmusichall.com.

Folk

the hamilton 600 14th St. NW. (202) 787-1000. Hackensaw Boys, The Tillers. 8 p.m. $15–$20. thehamiltondc.com.

Funk & r&B

bethesDa blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Luther Re-Lives. 8 p.m. $40. bethesdabluesjazz.com. gypsy sally’s 3401 K St. NW. (202) 333-7700. Nappy Riddem, Talking Dreads, Higher Education. 8:30 p.m. $12–$15. gypsysallys.com.

Jazz

atlas performing arts Center 1333 H St. NE. (202) 399-7993. Anna Webber’s Simple Trio. 8 p.m. $20–$32. atlasarts.org. blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Roberta Gambarini. 8 p.m.; 10 p.m. $30–$35. bluesalley.com. hoWarD theatre 620 T St. NW. (202) 803-2899. Lizz Wright. 8 p.m. $39.50–$65. thehowardtheatre.com. mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Herb Scott. 8 p.m. Free. mrhenrysdc.com. tWins Jazz 1344 U St. NW. (202) 234-0072. Luis Faife Quartet. 9 p.m.; 11 p.m. $27. twinsjazz.com.

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

CITY LIGHTS: Friday

luca lush

Luca Lush taught himself how to play drums in high school and played in various local bands until he left for college. But as it turns out, he couldn’t fit a drum set in his dorm room, so he replaced it with a computer and taught himself how to produce electronic beats instead. Since then, the Los Angeles-based producer has taken SoundCloud and energetic EDM parties by storm with his high-powered remixes and original productions. Ranging from wobbly dubstep to bass-heavy trap music, Luca Lush has a knack for transforming his favorite hip-hop hits and EDM bangers into rollercoasters of emotion. “Drop Top” re-imagines the Migos hit “Bad and Boujee” into a creative hybrid of club music and future bass, doubling down on the hip-hop single’s inherent party-starting energy. And his remix of “Kids” adds a little more oomph to the breezy 2007 MGMT single, making it perfectly tailored for a wild EDM festival. Luca Lush performs with Savage Patch and K Cap at 10 p.m. at U Street Music Hall, 1115 U St. NW. $5–$10. (202) 588-1889. ustreetmusichall.com. —Casey Embert

saturday

roCk & roll hotel 1353 H St. NE. (202) 388-7625. Soohan, Rawk Paper Scissors, Mr. Jennings, Choppyoppy. 9 p.m. $12–$15. rockandrollhoteldc.com.

classical

kenneDy Center ConCert hall 2700 F St. NW. (202) 467-4600. NSO: Beethoven’s Violin Concerto. 8 p.m. $15–$89. kennedy-center.org. musiC Center at strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. National Philharmonic: Mussorgsky’s Pictures at an Exhibition. 3 p.m.; 8 p.m. $23–$78. strathmore.org.

dJ nights

DeW Drop inn 2801 8th St. NE. (209) 353-3767. Taraka Larson. 10 p.m. Free. dewdropinndc.com.

World

ElEctronic

logan fringe arts spaCe 1358 Florida Ave. NE. (202) 737-7230. Amir Vahab Ensemble, Rimi Basu and Ensemble. 7 p.m. $15. capitalfringe.org.

kenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. Yoko Sen. 6 p.m. Free. kennedy-center.org.

kenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. Brooklyn Raga Massive. 6 p.m. Free. kennedy-center.org.

u street musiC hall 1115 U St. NW. (202) 588-1889. Will Eastman. 10 p.m. $10. ustreetmusichall.com.

Funk & r&B gypsy sally’s 3401 K St. NW. (202) 333-7700. The Skatalites, Jah Works. 9 p.m. $20–$23. gypsysallys.com. the hamilton 600 14th St. NW. (202) 787-1000. The Music of Burt Bacharach & Hal David performed by Julia Nixon with Dave Ylvisaker Dozen, Jon Carroll. 8 p.m. $25–$50. thehamiltondc.com. hoWarD theatre 620 T St. NW. (202) 803-2899. Goapele. 8 p.m. $30–$60. thehowardtheatre.com.

eChostage 2135 Queens Chapel Road NE. (202) 503-2330. Dada Life, Lost Kings. 9 p.m. $25–$30. echostage.com.

Jazz atlas performing arts Center 1333 H St. NE. (202) 399-7993. Ben Allison & The Easy Way. 8 p.m. $20–$32. atlasarts.org.

washingtoncitypaper.com april 21, 2017 29

barns at Wolf trap 1635 Trap Road, Vienna. (703) 255-1900. Branford Marsalis Quartet. 3 p.m.; 8 p.m. $66–$78. wolftrap.org. blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Roberta Gambarini. 8 p.m.; 10 p.m. $30–$35. bluesalley.com. mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Akua Allrich. 8 p.m. Free. mrhenrysdc.com.

Indigo Girls May 5 & 6 | Concert Hall The Grammy®-winning duo behind hits like “Closer to Fine” and “Galileo” brings its signature sonic blend of folk and rock to the NSO Pops for an outstanding program of fan favorites from across their groundbreaking career.

tWins Jazz 1344 U St. NW. (202) 234-0072. Luis Faife Quartet. 9 p.m.; 11 p.m. $27. twinsjazz.com.

World

gospEl

bethesDa blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. The Psalm Full Of Soul Project. 7 p.m. $12–$25. bethesdabluesjazz.com.

hip-hop

gW lisner auDitorium 730 21st St. NW. (202) 9946800. D.R.A.M. 6 p.m. $30. lisner.gwu.edu.

Jazz

atlas performing arts Center 1333 H St. NE. (202) 399-7993. Brad Linde’s Urbane Outfit. 8 p.m. $20–$32. atlasarts.org.

amp by strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Dengue Fever. 8 p.m. $30. ampbystrathmore.com.

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Roberta Gambarini. 8 p.m.; 10 p.m. $30–$35. bluesalley.com.

sunday

tWins Jazz 1344 U St. NW. (202) 234-0072. Tucker Flythe Quartet. 8 p.m.; 10 p.m. $22. twinsjazz.com.

rock

Vocal

birChmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. The Jayhawks. 7:30 p.m. $39.50. birchmere.com.

kenneDy Center ConCert hall 2700 F St. NW. (202) 467-4600. The Choral Arts Society of Washington presents Mozart: Requiem, K. 626. 5 p.m. $15–$69. kennedy-center.org.

roCk & roll hotel 1353 H St. NE. (202) 388-7625. Twin Forks, Dan Layus, The Social Animals. 8 p.m. $18. rockandrollhoteldc.com.

Monday

classical

Funk & r&B

kenneDy Center ConCert hall 2700 F St. NW. (202) 467-4600. The Choral Arts Society of Washington presents Mozart: Requiem, K. 626. 5 p.m. $15–$69. kennedy-center.org.

kenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. Stooges Brass Band. 6 p.m. Free. kennedy-center.org.

country

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Afro Blue Reunion Concert. 8 p.m.; 10 p.m. $22. bluesalley.com.

the hamilton 600 14th St. NW. (202) 7871000. Brandy Clark, Charlie Worsham. 7:30 p.m. $20–$49.50. thehamiltondc.com.

Jazz

Folk

tuEsday

Funk & r&B

DC9 1940 9th St. NW. (202) 483-5000. Tobin Sprout, DTCV. 9 p.m. $15. dcnine.com.

9:30 Club 815 V St. NW. (202) 265-0930. Hurray For The Riff Raff. 7 p.m. $20. 930.com. hoWarD theatre 620 T St. NW. (202) 803-2899. Rhonda Ross. 8 p.m. $20–$40. thehowardtheatre.com.

rock

roCk & roll hotel 1353 H St. NE. (202) 388-7625. Panama Wedding, Sun Seeker. 8 p.m. $16. rockandrollhoteldc.com.

CITY LIGHTS: saturday

Julia niXon

SAT. MATINEE JUST ADDED!

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400. For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540.

David and Alice Rubenstein are the Presenting Underwriters of the NSO. AARP is the Presenting Sponsor of the 2016-2017 NSO Pops Season.

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Julia Nixon’s powerful voice, an alluring blend of sultry R&B and Broadway brassiness, is perfectly suited for the music of Burt Bacharach and Hal David. Beginning in the ’60s, composer Bacharach and lyricist David penned numerous pop hits for singers like Dionne Warwick. Bacharach’s signature style mixes orchestral instrumentation, dramatic theatrical pauses, and a touch of jazz. Listeners of all ages can identify this blend on songs like “Walk on By,” “Do You Know the Way to San Jose,” and the schmaltzy, Oscar-winning “Raindrops Keep Falling on My Head.” Nixon established herself first as an international pop star (her song “Breakin’ Down (Sugar Samba)" reached #15 on the U.K. dance charts), then as an actress following her 1983 appearance in Dreamgirls on Broadway. After several years away from the stage, she reintroduced herself to D.C. audiences in Studio Theatre’s 2006 production of Caroline, Or Change. She now appears regularly at venues like Strathmore and Mr. Henry’s. Performing with the Dave Ylvisaker Dozen, an ensemble of exemplary local musicians helmed by her longtime partner. Count on Nixon to deliver the chorus of “I Say a Little Prayer,” with its carefully placed piano, horns, and strings accompaniment, with passion. Julia Nixon performs with the Dave Ylvisaker Dozen and Jon Carroll at 8 p.m. at The Hamilton, 600 14th St. NW. $25–$50. (202) 787-1000. thehamiltondc.com. —Steve Kiviat

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CITY LIGHTS: sunday

hurray For thE riFF raFF

After 10 years of making music as Hurray for the Riff Raff, Alynda Segarra sounds more like herself than ever before. Her earnest southern folk music endeared her to critics and fans of traditional Americana, but her newest record, The Navigator, draws inspiration from Motown, jazz, punk, salsa, bomba, and her upbringing in a Puerto Rican family in the Bronx. The rich tapestry of styles feels dense and enticing like the city in the summer. Segarra pulls them all together in a concept album that plays out like a Broadway musical, telling a story of segregation and gentrification through the eyes of a young woman. It peaks with the breathtaking “Pa’lante,” a rallying cry destined to become a protest staple. Segarra’s masterful work subverts the nostalgia of the genre to make the case there is no going back, only forward. Any resistance to classify it as Americana shows just how loaded a term like Americana is. Hurray for the Riff Raff performs with Ron Gallo at 7 p.m. at 9:30 Club, 815 V St. NW. $20. (202) 265-0930. 930.com. —Justin Weber

Folk

birChmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Sarah Jarosz. 7:30 p.m. $29.50. birchmere.com.

Jazz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Smithsonian Jazz Masterworks Orchestra: “Celebrating Ella Fitzgerald at 100” with Sharon Clark. 8 p.m.; 10 p.m. $35. bluesalley.com. kenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. The Blues Alley Youth Orchestra. 6 p.m. Free. kennedy-center.org.

World

bethesDa blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Edwin Ortiz y La Mafia Del Guaguanco. 8 p.m. $10. bethesdabluesjazz.com.

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WEdnEsday rock

9:30 Club 815 V St. NW. (202) 265-0930. The Pretty Reckless, Them Evils. 7 p.m. $30. 930.com. amp by strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Noah & Abby Gunderson. 8 p.m. $22–$32. ampbystrathmore.com. blaCk Cat baCkstage 1811 14th St. NW. (202) 6674490. Foreseen, Red Death, Witchtrial. 7:30 p.m. $10. blackcatdc.com. songbyrD musiC house anD reCorD Cafe 2477 18th St. NW. (202) 450-2917. Froth, Wildhoney. 8 p.m. $12–$14. songbyrddc.com.

BluEs

gypsy sally’s 3401 K St. NW. (202) 333-7700. Ladies Sing the Blues featuring Cathy Ponton King and Ida Campbell. 8 p.m. $10–$12. gypsysallys.com.

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the hamilton 600 14th St. NW. (202) 787-1000. Ruthie Foster. 7:30 p.m. $15–$35. thehamiltondc.com.

classical

kenneDy Center family theater 2700 F St. NW. (202) 467-4600. Elena Urioste and Michael Brown. 5:59 p.m. $45. kennedy-center.org.

ElEctronic

DC9 1940 9th St. NW. (202) 483-5000. Overcoats. 9 p.m. $12. dcnine.com.

Funk & r&B

birChmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Tower of Power. 7:30 p.m. $55. birchmere.com.

Jazz

bethesDa blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Cyrus Chestnut. 8 p.m. $35. bethesdabluesjazz.com. blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Andrew White’s 75th Birthday Celebration. 8 p.m.; 10 p.m. $25. bluesalley.com. tWins Jazz 1344 U St. NW. (202) 234-0072. Monika Herzig Acoustic Project. 8 p.m.; 10 p.m. $22. twinsjazz.com.

thursday rock

birChmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. The Everly Brothers Experience featuring The Zmed Brothers. 7:30 p.m. $25. birchmere.com. blaCk Cat 1811 14th St. NW. (202) 667-4490. Generationals, Psychic Twin. 7:30 p.m. $15–$17. blackcatdc.com. DC9 1940 9th St. NW. (202) 483-5000. Matthew Logan Vasquez. 9 p.m. $15. dcnine.com.

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CITY LIGHTS: Monday

COMPANION PIECES

APRIL TH 20

SU 23

W 26 F

SU 30

TITO PUENTE BIRTHDAY CELEBRATION WITH THE TITO PUENTE, JR. JAZZ BAND LUTHER RE-LIVES THE PSALM FULL OF SOUL PROJECT EDWIN ORTIZ Y LA MAFIA DEL GUANGUANCO CYRUS CHESTNUT CHOPTEETH AFROFUNK BIG BAND JOE CLAIR & FRIENDS COMEDY SHOW (7/10PM) CONYA DOSS

Despite being a visual medium, performance art is not permanent. During its mid-20th century heyday, unless it was committed to film, which was more challenging in the days before the iPhone, posters and other promotional materials were all that remained of a performance. The National Gallery of Art has reached into its archives and now displays a variety of these items as part of its latest exhibit. Invitations to shows by minimalist artists like John Cage, for example, offer more lasting commentary on his work than some retelling of it in a textbook. Other items in the exhibit include explanations for how to execute certain works and various programs for shows by Dan Graham, Daniel Spoerri, and Allan Kaprow. The pieces might not be visually engaging—text and images on white paper rarely are—but if you’re looking to understand the what and the why of conceptual art, this exhibit attempts an explanation. The exhibit is on view Mondays through Fridays 10 a.m. to 5 p.m., to Aug. 25, at the National Gallery of Art Library, 4th Street and Pennsylvania Avenue NW. Free. (202) 737-4215. nga.gov. —Caroline Jones

CITY LIGHTS: tuEsday

APRIL F

SU 7 W 10

MOTOWN & MORE THE CHUCK BROWN BAND SALUTE TO THE DIVAS (3/8PM) ISRAELI JAZZ PIANIST TAMIR HENDELMAN

7719 Wisconsin Ave., Bethesda, MD

(240) 330-4500

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

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nuMEro Factory outlEt

For record collectors, the hunt for rare vinyl is a thrill, albeit an expensive one. But for vinyl heads that want to discover forgotten gems and deep cuts without going broke, there’s one label to rule them all: Numero Group. Since 2003, Numero Group has been one of the world’s leading archival music labels, digging deep into music history to compile gorgeously packaged collections of forgotten music from across the country. Its flagship is undoubtedly the Eccentric Soul series, which mines archives for obscure soul and funk, usually compiling them into collections focused on a specific label or region. But there are other ongoing series that collectors also lust after: Wayfaring Strangers (obscure folk compilations), Cult Cargo (“foreign interpretations of American music genres”), and Good God! (weirdo gospel and praise songs). Indeed, Numero Group’s records have become so sought after that even some of their re-issues have gone out of print, they're only available at its factory outlet store in Chicago. That is, until now, when the Numero Group takes its back stock out on the road for a Factory Outlet tour across the country. The event begins at noon at Bossa Bistro, 2463 18th St. NW. Free. (202) 667-0088. bossadc.com. —Matt Cohen

eaglebank arena 4500 Patriot Circle, Fairfax. (703) 993-3000. The OUTCRY Tour with Jesus Culture, Elevation Worship. 7 p.m. $19.95–$64.95. eaglebankarena.com.

roCk & roll hotel 1353 H St. NE. (202) 388-7625. Lucky Chops, Madaila. 8 p.m. $18. rockandrollhoteldc.com.

fillmore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. The Revolution. 8 p.m. $35. fillmoresilverspring.com.

songbyrD musiC house anD reCorD Cafe 2477 18th St. NW. (202) 450-2917. Big Thief, Infinity Crush. 8 p.m. Sold out. songbyrddc.com.

classical

gypsy sally’s 3401 K St. NW. (202) 333-7700. Everyone Orchestra conducted by Matt Butler. 9 p.m. $24–$27. gypsysallys.com.

country

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

Folk

barns at Wolf trap 1635 Trap Road, Vienna. (703) 255-1900. Tom Paxton. 8 p.m. $24–$28. wolftrap.org.

hip-hop

eChostage 2135 Queens Chapel Road NE. (202) 503-2330. Gucci Mane, Playboi Carty, Dreezy. 9 p.m. $48.40–$147. echostage.com.

World

DANNY BARNES / JENNI LYN THUR., APR. 27 ~ 8:30PM TIX: $15-$22

9:30 Club 815 V St. NW. (202) 265-0930. Balkan Beat Box, DJ Christine Moritz. 7 p.m. $25. 930.com.

Galleries

arlington arts Center 3550 Wilson Blvd., Arlington. (703) 248-6800. arlingtonartscenter.org. Ongoing: “Spring Solos 2017.” More than 100 artists from around the region applied and 14 were selected to participate in this annual exhibition that allows each artist to curate and display their work throughout the arts center. April 8 to June 11. the athenaeum 201 Prince St., Alexandria. (703) 548-0035. nvfaa.org. Ongoing: “Virginia Plants and Pollinators.” See up-close images of bees, plants, and the process of pollination in this exhibition of work by photographer Deanna Marion. April 6 to May 14. greater reston arts Center 12001 Market St., Ste. 103, Reston. (703) 471-9242. restonarts.org. Opening: “The Great Dismal Swamp.” Acclaimed multimedia artist Radcliffe Bailey makes his D.C. area debut with this exhibition that addresses his family’s Virginia heritage and the state’s role in the Underground Railroad. April 21 to July 8. montpelier arts Center 9652 Muirkirk Road, Laurel. (301) 377-7800. arts.pgparks.com. Ongoing: “Barbara Talbott.” Talbott, who worked professionally in advertising and graphic design, returns to her roots with this exhibition, that incorporates the training she received at MICA. April 8 to April 30. Ongoing: “Substrates.” Artists present paintings and drawings on unconventional surfaces like cardboard, ceramic, and fabric in this group show. April 2 to May 28. morton fine art 1781 Florida Ave. NW. (202) 6282787. mortonfineart.com. Closing: “Natalie Cheung and Nate Lewis.” Cheung presents a series of colorful, altered photographs, while Lewis displays paper sculptures inspired by the human form. April 7 to April 26. Washington printmakers gallery 1641 Wisconsin Ave. NW. (202) 669-1497. washingtonprintmakers.com. Ongoing: “Marian Osher.” The artist combines elements of mixed media, painting, and printmaking in the works she presents. March 29 to April 29.

Theater

blooD knot Joy Zinoman directs Athol Fugard’s searing drama about the conflict between a lightskinned man and his darker-skinned brother who navigate the horrors of Apartheid and emotional tension in a divided South Africa. Mosaic Theater presents this play as part of its “South Africa: Then & Now” series. Atlas Performing Arts Center. 1333 H St. NE. To April 30. $20–$60. (202) 399-7993. atlasarts.org. brighton beaCh memoirs Neil Simon’s landmark play about Eugene, a Brooklyn boy eager to grow up and explore the world comes to Theater J in a new production directed by Matt Torney. Lise Bruneau, Michael Glenn, and Susan Rome star in this lively, witty, and warm comedy. Theater J. 1529 16th St. NW. To May 14. $17–$47. (202) 777-3210. theaterj.org. Dorian’s Closet Joseph Ritsch directs this world premiere musical based on the life of legendary female impersonator Dorian Corey, widely introduced

H 4.20 4.21 4.22 4.25 4.27 4.28 4.29

H K. PHILLIPS THE HIGHBALLERS THE WOODSHEDDERS AMELIA WHITE / MARY BATTIATA DANNY BARNES / JENNI LYN DUKES OF DARTFORD RENCH (GANGSTAGRASS)

H 5.2 5.4 5.5 5.8 5.9 5.11 5.12 5.13 5.15 5.16 5.18 5.23 5.25 5.26 5.27 6.1 6.2 6.3 6.8 6.9 6.15 6.16 6.19 6.23 6.27 7.2 8.29 9.21

H LA TERZA CLASSE REVELATOR HILL BLOODSHOT BILL TIM EASTON OLD SALT UNION SHAWN JAMES THE WHISTLE & THE BELLS DIBBS AND THE DETONATORS GURF MORLIX COLONEL JOSH & THE HONKY TONK HEROES TH’ LEGENDARY SHACK SHAKERS & JESSE DAYTON JASON RINGENBERG SHANNON MCNALLY CHARLIE OWEN & POCKET CHANGE SCOTT KURT & MEMPHIS 59 GANGSTAGRASS / THE WHISKEY GENTRY BILLY JOE SHAVER STRAHAN & THE GOOD NEIGHBORS TOM HEYMAN / DAN STUART WOODY PINES JUMPIN’ JUPITER MARAH THE BLAIR - PONGRACIC BAND / ATOMIC MOSQUITOS FOLK SOUL REVIVAL FLAT DUO JETS & DADDY LONG LEGS SUNNY SWEENEY DALE WATSON & HIS LONE STARS THE BLASTERS

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Near Archives/Navy Memorial [G, Y] and Gallery PI/Chinatown [R] Metro washingtoncitypaper.com april 21, 2017 35

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CITY LIGHTS: WEdnEsday

kElly osBournE

Kelly Osbourne was first introduced to the world as the unruly offspring of metal legend Ozzy Osbourne on the unaltered mid-aughts reality show The Osbournes. Since then, she’s dabbled in all aspects of the arts, from music (remember her bizarre cover of Madonna’s “Papa Don’t Preach?”) to fashion (as both a commentator and a designer) to kids’ TV (she currently voices a character on the Disney XD series The 7D). Her big personality and outspoken beliefs, which got her into trouble during a 2015 appearance on The View, fuel her latest endeavor, a new book called There Is No F*cking Secret: Letters from a Badass Bitch. The memoir, composed of stories in the form of letters addressed to different people and concepts, aims to empower readers to live in truth and own their destiny but includes plenty of the dishy details that celebrity memoirs are known for. At Sixth & I Historic Synagogue, she’s joined by another reality show veteran: Kelly Cutrone, the publicist seen bossing around cast members on The Hills. Kelly Osbourne reads at 7:30 p.m. at Sixth & I Historic Synagogue, 600 I St. NW. $17–$42. (202) 408-3100. sixthandi.org. —Fredora Kamara to the public in Jennie Livingston’s Paris Is Burning. From her early days on the drag circuit to her death and the discovery of a mummified human in her closet, this production explores themes of love, acceptance, and identity. Rep Stage at Howard Community College. 10901 Little Patuxent Parkway, Columbia. To May 14. $15–$40. (443) 518-1500. repstage.org. Doubt: a parable Set at a New York Catholic school in the 1960s, this Tony-winning play follows a charismatic priest and the nun who leads the school and suspects him of mistreating a shy African-American student. Chelsea Mayo and Stephanie Mumford star in this production of John Patrick Shanley’s searing drama. Quotidian Theatre Company at The Writer’s Center. 4508 Walsh St., Bethesda. To May 7. $15–$30. (301) 816-1023. quotidiantheatre.org. fun home Based on the graphic memoir by Alison Bechdel, this Tony-winning musical follows Bechdel as she chronicles her coming out and the subsequent death of her father. Featuring three different actresses playing Bechdel over time, this production includes the songs “Ring of Keys” and “Changing My Major.” National Theatre. 1321 Pennsylvania Ave. NW. To May 13. $48–$98. (202) 628-6161. nationaltheatre.org. a human being DieD that night A black psychologist interrogates one of the Apartheid era’s most aggressive torturers and murderers in this intense drama based on true events. Presented as part of Mosaic Theater’s “South Africa: Then & Now” series. Atlas Performing Arts Center. 1333 H St. NE. To April 30. $9–$50. (202) 399-7993. atlasarts.org.

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king lear A mighty leader retires, disowns his favorite daughter, and banishes his closest advisor and confidante. From the moment Lear appears, we know we will witness his unraveling. A dominion teeters in the balance as a once-powerful tycoon becomes increasingly out of touch with reality. Lean & Hungry’s celebrates its 10th anniversary with this production that removes the Foley table and the microphone stands to create a fully staged production. Atlas Performing Arts Center. 1333 H St. NE. To April 23. $20. (202) 399-7993. atlasarts.org. the late WeDDing This drama directed by Kate Bryer draws inspiration from the fantastical work of author Italo Calvino and explores themes of love and longing. It also combines elements of science fiction and romance. The Hub Theatre at John Swayze Theatre. 9431 Silver King Court, Fairfax. To May 7. $22–$32. (703) 674-3177. thehubtheatre.org. maCbeth Liesl Tommy, the director behind acclaimed productions of Danai Gurira’s Eclipsed and Brandon Jacobs-Jenkins’ Appropriate, leads this production of Shakespeare’s classic tale of murder, magic, and ambition. Sidney Harman Hall. 610 F St.

NW. To May 28. $44–$118. (202) 547-1122. shakespearetheatre.org. miDWestern gothiC Royce Vavrek and Josh Schmidt present this new musical about a woman who wants more than anything to escape her dull surroundings. As she fantasizes about her goals, her thoughts take a perverse turn, resulting in a shocking resolution. Signature Theatre. 4200 Campbell Ave., Arlington. To April 30. $40–$94. (703) 820-9771. sigtheatre.org. no sisters While Chekhov’s Three Sisters plays in one theater, Aaron Posner directs his new adaptation of the Russian comedy that follows the rest of the characters while the title characters opine their fates. This world-premiere work is presented as part of Studio R&D, the theater’s new works initiative. Studio Theatre. 1501 14th St. NW. To April 23. $20–$55. (202) 332-3300. studiotheatre.org. or, Local favorite Holly Twyford stars as Aphra Behn in this play inspired by Restoration comedy. As she struggles to save the King of England and deliver her play in the same night, a madcap series of foibles unfolds. Round House Theatre Bethesda. 4545 EastWest Highway, Bethesda. To May 7. $36–$65. (240) 644-1100. roundhousetheatre.org. pike st. Nilaja Sun stars in this one-woman show about a Puerto Rican family settling into their new life on New York’s Lower East Side. Ron Russell directs this warm show about the many people who work together to make the world work. Woolly Mammoth Theatre. 641 D St. NW. To April 23. $20–$54. (202) 393-3939. woollymammoth.net. ragtime This stirring musical, written by Lynn Ahrens and Stephen Flaherty and inspired by E.L. Doctorow novel, tells the story of three different New York families at the turn of the 20th century. Featuring memorable songs like “Your Daddy’s Eyes,” “Wheels of a Dream,” and “Make Them Hear You,” this production stars Tracy Lynn Olivera, Nova Y. Payton, and Jonathan Atkinson. Ford’s Theatre. 511 10th St. NW. To May 20. $18–$71. (202) 347-4833. fords.org. a raisin in the sun Lorraine Hansbury’s landmark play about a family that strives to create a life beyond its Chicago apartment receives a new treatment from director Tazewell Thompson. A sudden influx of income makes their dream seem possible but when it turns out their goals are different, each member must figure out how to make things work. Arena Stage. 1101 6th St. SW. To April 30. $40–$90. (202) 488-3300. arenastage.org. smart people Four intellectuals look for love and try to understand themselves in this witty drama from playwright Lydia R. Diamond. Through the characters, the play explores issues of identity, prejudice, and cultural bias. Arena Stage. 1101 6th St. SW. To May 21. $40–$90. (202) 488-3300. arenastage.org.

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

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

CITY LIGHTS: thursday

LIVE

UPCOMING PERFORMANCES

JOE PUG

W/ LAURA TSAGGARIS THURSDAY APRIL

HACKENSAW

600 beers from around the world

BOYS W/ THE TILLERS

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

FRIDAY APRIL

APRIL 20TH

TBD

NEWMYER FLYER PRESENTS

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

DCWEIRDO SHOW

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

three sisters St. Petersburg acclaimed Maly Drama Theatre presents this dark new production of Chekhov’s drama about three siblings’ desire to stay true to their goals even as their circumstances force them to leave their Moscow home for life in a small village. Performed in Russian with English supertitles. Kennedy Center Eisenhower Theater. 2700 F St. NW. To April 30. $19–$49. (202) 467-4600. kennedy-center.org. three sisters The title characters in this Chekhov comedy fight against the restrictions of their small town and lament their missed opportunities as they deal with annoying relatives and unworthy mates. Jackson Gay directs this production, presented in collaboration with New Neighborhood. Studio Theatre. 1501 14th St. NW. To April 23. $20–$85. (202) 3323300. studiotheatre.org.

writer and director Ben Wheatley. Starring Brie Larson, Armie Hammer, and Cillian Murphy. (See washingtoncitypaper.com for venue information) graDuation Cristian Mungiu wrote and directed this Romanian drama about a young woman who plans to study in the United Kingdom but is attacked the day before her departure. As her father struggles to figure out what to do, he reflects on all the things he’s taught her. (See washingtoncitypaper.com for venue information) the promise A medical student and an American journalist romance the same woman in this drama set in the waning days of the Ottoman Empire. Starring Christian Bale, Oscar Issac, and Shohreh Agh-

Film

born in China Celebrate Earth Day with this latest documentary from Disney Nature, which follows young panda cubs, monkeys, and snow leopards during their first months of life. Narrated by John Krasinski. (See washingtoncitypaper.com for venue information) the fate of the furious In the latest entry into the Fast and the Furious canon, a mysterious woman brings Dom into a terrorist circle, testing the crew as they try to carry on. (See washingtoncitypaper.com for venue information) free fire When rival gangs meet in a Boston warehouse, it leads to a shootout in this action thriller from

W/ JON CARROLL

BIERBARON’SSPRINGSOUR

For much of his decade-plus career, the rallying cry of Gucci Mane fans has been “Free Gucci!” The exploits of the Atlanta trap-rap pioneer have often led to incarceration, but thanks to his prodigious talents, he hasn’t stopped producing music, even while he was behind bars. (During his last two-year stint, he released more than two dozen mixtapes.) Gucci has been home since last May and he got back to work immediately, recording Everybody Looking in less than a week, rapping “I can’t even sleep, I got so much to say” on the album’s opening track. The album also included a shout-out to his many stylistic descendants on “All My Children” (“all these rappers are all my children”). Gucci teamed with two of his “children”—the brotherly duo Rae Sremmurd—on one of the year’s biggest songs, the viral video-inspiring “Black Beatles.” This year, the self-described Trap God embarks on his first proper tour, one that doubles as a celebration of a rap icon, finally free. Gucci Mane performs with Playboi Carti and Dreezy at Echostage, 2135 Queens Chapel Road NE. $48.40–$147. (202) 503-2330. echostage.com. —Chris Kelly

dashloo. (See washingtoncitypaper.com for venue information) their finest Gemma Arterton, Sam Claflin, and Bill Nighy star in this British drama about a film crew that lifts spirits following the London Blitz by making a propaganda film. Directed by Lone Scherfig. (See washingtoncitypaper.com for venue information) unforgettable Katherine Heigl and Rosario Dawson star in this thriller about a woman who

SUN, APRIL 23

TAPPING AT 5PM

BRANDY CLARK AND CHARLIE WORSHAM

SCIENCE COMEDY

DOORS AT 5:30 SHOW AT 7PM, DOORS AT 8:30PM SHOW AT 9PM

WED, APRIL 26

RUTHIE FOSTER

APRIL 23RD

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

SAT, APRIL 29

JON McLAUGHLIN THE INDIANA TOUR W/ KATRINA WOOLVERTON

AT 7PM

SUN, APRIL 30

AN ACOUSTIC EVENING WITH

APRIL 24TH

EMILY KING: YOU & I TOUR 2017

DISTRICTTRIVIAAT 7:30PM COMICBOOKS&COCKTAILS

THURS, MAY 4