Washington City Paper (May 19, 2017)

CITYPAPER Washington

politics: Bowser’s Budget Bungling 8 food: the salt line’s new england style 19 arts: ian of the Bard 23

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A D.C. teacher proposes a bold vision to improve scandalously poor student performance. P. 12

By Rob Barnett

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2 may 19, 2017 washingtoncitypaper.com

INSIDE

12 When Passing is Failure

TheThing Frederick, Md.’s local music festival

This Saturday

A D.C. teacher proposes a bold vision to improve scandalously poor student performance.

By Rob Barnett Photographs by Darrow Montgomery Illustrations by Stephanie Rudig

4 Chatter

11 Indy List

25 Flyer By Night: A recurring feature that highlights the art of gig posters and flyers 25 One Track Mind: Mathias on Tuff Junior’s “Denim VS Leather” 26 Theater: Justice Ruth Bader Ginsburg made a special appearance at this year’s Helen Hayes Awards, where diversity was the unifying theme.

28 Short Subjects: Zilberman on Alien: Covenant 30 Discography: Lopez on Nick Hakim’s Green Twins

d.C. feed

City List

distriCt Line 7 Concrete Details: Can a mile of old streetcar tunnels under Dupont Circle become a permanent arts space for D.C.?

8 Loose Lips: The mayor makes enemies with her bungling of the school budget and lottery fracas.

9 Gear Prudence 10 Savage Love

19 Wicked Seafood: Taste unpretentious New England fare at The Salt Line opening by the ballpark June 1.

20 Protein Bars: Follow this bar crawl for free happy hour food with the purchase of discounted drinks.

20 Underserved: The Tresor at MGM National Harbor Resort & Casino 20 Veg Diner Monologues: The Eggless Omelet Breakfast Pita at Shouk

33 City Lights: The Make-Up has reunited for a summer tour, and their only D.C. performance is this Friday night at Black Cat. 33 Music 39 Books 40 Theater 41 Film

42 CLassifieds diversions 43 Crossword

Featuring

xxxx 60+ bands. 16 venues.

All day. All night.

Buy wristbands now WWW.THETHING.ROCKS Best deal: Wristbands get you access to all 16 shows for $30 general admission, or $40 VIP, which includes The Thing T-shirt, mug, and “Best of 200 East” CD. Day-of admission is $10 at the door of the 200 East Art Haus show, and $5 at all others.

arts 23 Of Most Rare Note: Can a working actor get famous in one of Shakespeare’s least-famous plays? washingtoncitypaper.com may 19, 2017 3

CHATTER

In which we explain why Dan Savage isn’t always in the paper

Darrow MontgoMery

Tired of Being Savaged Like cLockwork, readers call in waves twice a month to bemoan the absence of Savage Love in City Paper. As much as I enjoy jawing with readers—and, really, with all respect because where would we be without you?— I’m getting tired of calling you all back. I’ve got a paper to run.

So by way of explanation: Over the last year, I’ve chosen to hold the popular sex-advice column every other week in favor of an expanded local news section that has investigated the city’s housing crisis, political imbroglios, soulless slumlords, the school system, and our halls of power generally.

Like our counterparts in cities across the country, we too love the peerless Dan Savage and his, um, rigid allegiance to candid consultation on any and all matters of sex—orthodox, kinky, and all flavors in between.

Sex in all its complicated glory is as important to us as anyone, and no one unpacks the affairs of the heart and body better or more provocatively than our favorite Seattle advice scribe.

But we have a limited number of pages every week and have made a deliberate decision to make local news a priority because we believe that’s what matters most to our readers and to the District.

Here’s the deal, though: We have a website, where we run Savage Love every week without exception. It’s always there. So if you pick up the paper and are disappointed not to see the column, please hit us on the web, where you’ll also find other stories, reviews, and commentary that we may not have room for in the dead-tree edition.

Thanks for reading. And please give my phone line a rest.

—Liz Garrigan

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EDITORIAL

eDitor: liz garrigan ManaGinG eDitor: alexa Mills artS eDitor: Matt Cohen fooD eDitor: laura hayes city LiGhtS eDitor: Caroline jones Staff Writer: andrew giaMbrone Senior Writer: jeffrey anderson Staff PhotoGraPher: darrow MontgoMery interactive neWS DeveLoPer: zaCh rausnitz creative Director: stephanie rudig coPy eDitor/ProDuction aSSiStant: will warren contriButinG WriterS: jonetta rose barras, VanCe brinkley, eriCa bruCe, kriston Capps, ruben Castaneda, Chad Clark, justin Cook, riley Croghan, jeffry Cudlin, erin deVine, Matt dunn, tiM ebner, jake eMen, noah gittell, elena goukassian, aManda kolson hurley, louis jaCobson, raChael johnson, Chris kelly, aMrita khalid, steVe kiViat, Chris kliMek, ron knox, john krizel, jeroMe langston, aMy lyons, kelly MagyariCs, neVin Martell, keith Mathias, traVis MitChell, triCia olszewski, eVe ottenberg, Mike paarlberg, noa rosinplotz, beth shook, Quintin siMMons, Matt terl, dan troMbly, kaarin VeMbar, eMily walz, joe warMinsky, alona wartofsky, justin weber, MiChael j. west, alan zilberMan

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chief executive officer: Chris ferrell chief oPeratinG officer: blair johnson chief financiaL officer: bob Mahoney executive vice PreSiDent: Mark bartel GraPhic DeSiGnerS: katy barrett-alley, aMy goMoljak, abbie leali, liz loewenstein, Melanie Mays

LocaL aDvertiSinG: (202) 650-6937 fax: (202) 618-3959, ads@washingtonCitypaper.CoM Find a STaFF direcTory wiTh conTacT inFormaTion aT waShingTonciTypaper.com voL. 37, no. 2o May 19-25, 2017 washington City paper is published eVery week and is loCated at 734 15th st. nw, suite 400, washington, d.C. 20005.

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DistrictLine Tunnel Vision

Can a mile of old streetcar tunnels under Dupont Circle become a permanent arts space for D.C.?

As growing cities like D.C. hurtle to prosperity after decades of decline, some of them face an unexpected problem: what to do with the defunct but captivating spaces hidden beneath their streets.

In London, a cocktail bar and a hydroponic farm have moved into underground airraid shelters left behind from World War II. In New York, there’s a plan to turn a disused trolley terminal in the Lower East Side into a subterranean park called the Low Line (a nod to its aboveground counterpart, the super-popular High Line).

The District has its own buried ruins of obsolete transit. Two streetcar tunnels dating to the 1940s begin underneath Connecticut Avenue and head north to Dupont Circle, where they diverge, each making an underground semicircle around the park. The tunnels then continue up Connecticut to just past Q Street NW. They cover a mile in total and, with their platforms, comprise 75,000 square feet—an area larger than a football field.

After D.C.’s streetcars stopped running in the early 1960s the tunnels were sealed off, then converted to a fallout shelter and stocked with enough rations to feed 1,700 people for a couple of weeks. In the 1990s a businessman attempted to revive part of the space as a food court called Dupont Down Under. The project was a disaster, closing after just 15 months. That scared off any underground revivalists for a while, and the tunnels remained abandoned as their entrances gave fleeting shelter to the homeless.

Several years ago, a newly formed arts group petitioned D.C. to turn the trolley platforms into a cultural venue it christened the Dupont Underground, and in 2014 the group signed a five-year lease with the city, which owns the subterranean space. Last summer, the DU was the setting for “Raise/Raze,” an interactive installation by the studio Hou de Sousa that repurposed 650,000 of the white plastic balls used in the National Building Museum’s installation “The Beach.” It sold out

concrete details

and became a minor Instagram sensation.

Now the Dupont Underground is hosting an a-la-carte mix of art installations, fashion shows, DJ sets, lectures, protest-related gatherings, and theatrical performances. It offers 45-minute tours of the tunnels at $15 a pop and rents out the east platform for private events. With a temporary certificate of occupancy allowing up to 400 people inside, and growing name recognition, the DU is closer to being a permanent public fixture than ever before. But its existence is nevertheless tenuous.

Dupont Underground founder Julian Hunt

Darrow Montgomery

By Amanda Kolson Hurley

A few of the things the Underground lacks: running water, proper lighting, bathrooms, air conditioning, and disabled access. Getting part of the space—the east platform—up to basic operating standards will cost at least $250,000, says Julian Hunt, the founder of the eponymous nonprofit that manages the Dupont Underground. A museum-grade buildout would require about $5 million.

Hunt, an architect who leads the local Hunt

Laudi Studio with his wife, Lucrecia Laudi, has a grand vision to turn the space into a cultural institution that’s both edgier than the museums on the Mall and more flexible than the small galleries around town. He sees it playing a role something like PS1, the contemporary-art lab of the Museum of Modern Art, or the Serpentine Gallery in London.

“Ultimately, we would want to be part of a constellation of international galleries with similar missions and similar size,” Hunt says.

“Not the national-scale galleries, and not the local, either. This is a niche that the District has never been part of. It didn’t have a gallery at that scale.”

Hunt contrasts D.C. unfavorably against Barcelona, where he used to live, in terms of the stature of artists and architects and their role in shaping urban life. He wants DU to become a magnet for cultural impulses that are now latent—driven underground, you might say—or eclipsed by the goings-on of federal Washington. “We want to be the place where the identity of the city is explained and defined and b r o a d c a s t ,” Hunt says.

Programming in the DU has picked up in recent months. Descend to the east platform today and you’ll see evidence of various activities: graffiti murals, leftover balls from “Raise/Raze,” posters from a People’s Climate March event, and a bare-bones theater set .

Last week, New York’s Alliance for New Music-Theatre began a short run of the play Protest by Czech dissident (and later president) Václav Havel.

Next on the nonprofit’s agenda is securing a building permit and a certificate of occupancy for up to 1,500 people. There is a mystery to solve with DC Water (“We have a dry pipe and nobody knows why,” Hunt says), and the Underground will need a mechanized

chair lift. Longer-term, Hunt anticipates installing LED lighting and possibly cutting a skylight through the median of Dupont Circle. Ideally, he would also build stairs from the tunnels up to the park in Dupont, and he has proposed putting a lid over the lanes of Connecticut as they dip below the circle to form a new “cap park,” which would also be an entrance for the Underground. (DDOT finds the cap-park plan feasible.)

But all this depends on money. So far, the Dupont Underground has received no city funds, major grants, or big philanthropic gifts. The nonprofit employs a staff of three, and Hunt says they are paid out of revenues from event rentals and tours.

His hope is to partner with a like-minded developer who will build out half the space for a commercial purpose and support a cultural mission in the other half. The challenge is finding the right use. Proposals have come and gone: a winery, a restaurant, a microhotel. Although a subterranean “pod hotel” sounds claustrophobic, it’s easy to imagine a trendy restaurant or nightclub inside the concrete vault.

Under the terms of its lease with the city, the nonprofit must pay $150,000 in rent by 2019. Its staff and board have experienced high turnover in the past couple of years. If it can’t attract a private investor or count on financial help from the city, it seems likely to run out of cash and momentum.

Submerged urban spaces have a powerful appeal. The problem is that by definition, they’re out of sight, out of mind. The DU is also in an affluent area with no need for economic stimulus. The 11th Street Bridge Park, by contrast, secured a substantial financial commitment from the city thanks to its pledge to spur equitable development east of the river.

Hunt’s vision may have to be scaled back considerably. But it would be a pity if the Dupont Underground were open only for flashlight tours, or not at all. In Houston, the Buffalo Bayou Partnership turned a former drinking-water reservoir, the Cistern, into an arts space. The first phase of Philadelphia’s Rail Park, on three miles of obsolete train tracks, has started construction.

The Dupont Underground is a distinctive attraction, and the only gallery in such a setting in the U.S. (There are parallels in Germany). As aboveground real estate in the District becomes prohibitively expensive, a cultural space that can’t easily be repositioned for profit would hold singular public value—if only it could find some security.

CP

washingtoncitypaper.com may 19, 2017 7

DistrictLinE Grade-A Mishandling The mayor makes enemies with her bungling of the school budget and lottery fracas.

By Jeffrey Anderson Some people have a knack for taking a difficult situation and making it worse for themselves. Such appears to be the case in Mayor Muriel Bowser’s recent handling of a couple high profile education-related issues.

Earlier this year, after taking months to prepare her budget, Bowser proposed a 1.5 percent per-pupil funding increase for D.C. Public Schools and charter students, heralding her overall education investments as the largest ever in D.C. history.

Problem was, a working group she convened to advise on the matter recommended a 3.5 percent per-pupil increase, and critics immediately decried her proposal as insufficient not only to meet the school district’s needs, but also to keep pace with inflation and rising labor costs.

Then, with the budget session headed into overtime, Bowser issued what’s known as an “errata letter” that raised per-pupil funding by an additional 0.5 percent and re-allocated funds from her original proposal, ostensibly to make up for the shortfall. In the process, she alienated D.C. Councilmembers and generally pissed off education reform advocates of all stripes.

At-Large Councilmember David Grosso, chair of the Committee on Education, and Ward 3 Councilmember Mary Cheh issued a blistering statement excoriating Bowser for “political gamesmanship” and a lack of transparency. Of Bowser’s letter, they wrote, “This bears all the hallmarks of an attempt to regain control of [allocated] funds. And it irresponsibly claims to have solved the uniform per student funding formula shortfall that the mayor created.”

What’s more, Bowser’s maneuver includes only one-time money, whereas the council had already worked to identify funds for a recurring increase that would be more sustainable.

“It’s a substantive change, and it’s in the middle of the process,” Cheh tells Loose Lips. “It’s complicated, like a multi-dimensional game of chess. She altered the process but didn’t solve the problem. Now the task falls to us.”

Just a week earlier, Cheh had written to DCPS Chancellor Antwan Wilson expressing concern over budget cuts at Wilson High School that will lead to a loss of guidance counselors and other staff. Other schools are also facing staff cuts. Reform advocate Matthew Frumin says that the costs of teacher and assistant positions are going up more than 4 percent from last fiscal year. “So the same number of dollars does not let you have the same number of teachers,” Frumin says. “Buying power matters.”

LOOSE LIPS

8 may 19, 2017 washingtoncitypaper.com

The mayor’s increase would put local school funding at $632 million—up from $610 million. Her conciliatory bump would raise that to $634 million, according to DCPS spokesman Michelle Lerner. Which is just fine, she says. “DCPS and the chancellor thought 1.5 percent was enough,” Lerner says.

“We will gladly take the increase.”

The budget increases will apply to charter schools as well, and school choice advocates such as PAVE—Parents Amplifying Voices In Education—disagree with the mayor’s party line. “That minimum increase of 1.5 percent was insufficient, falling well below the 3.5 percent increase that a working group convened by the mayor recommended,” says Maya Martin, the group’s executive director. “With already tight budgets, and adding inflation and rising school costs and teacher salaries, [it] was was not enough to support our schools.”

Budget analyst Mary Levy is more blunt, noting that charters are already feeling pinched by the elimination of summer school funding on the rationale that funds for at-risk students could make up for the loss. Charters also pay for their own facilities maintenance and teacher retirement, Levy says. And on the traditional public school side, salary negotiations with teacher’s union loom—as does a 2.5 percent rate of inflation for all concerned, according to the Office of the Chief Financial Officer.

“Perhaps the mayor didn’t realize the extent of public discontent that school funding would generate,” she says, wondering what kind of budget trickery might be at play. “I haven’t talked to anyone who fully understands what is going on here. I suppose those who know won’t say.”

Bowser’s office says the errata letter stemmed from being “able to go back and find additional money.” But observers have been mystified with her responses to this and other public concerns of late, such as the controversy over preferential school placements for government officials bestowed by former Chancellor Kaya Henderson. Initially brushing those aside and claiming ignorance, Bowser poked the hornet’s nest that is the dreaded school lottery.

Parents were pissed. Her subsequent suspension of discretionary placements and pledge to implement new rules were seen as too little, too late, coming only after Post reports.

There are any number of ways the mayor could have directed that narrative, and many are puzzling over where she gets her advice.

“Her instinct seems to be to defend or justify,” says Cheh. “She has a tough job. That’s why you need good people around you to make sure you are coming up with productive solutions. I’m not sure she has that.”

CP

Gear Prudence Gear Prudence: I’ve had a few close calls lately, which got me thinking about buying a video camera that I can attach to my bike. I know a few people who’ve been in accidents, and without any proof that the driver was at fault, the cops didn’t believe them. If I get hit, I want incontrovertible video evidence. I told my husband about this plan, thinking that he would be supportive—he’s always been worried about my safety—and he had the exact opposite reaction from the one I expected. He said that this just proved biking was too dangerous and that I should stop before “something seriously bad happens.” I was at a loss for words. I want to keep biking, I still want to get the camera, and I want my husband to understand. What am I supposed to do?

—Very Indignant, Didn’t Expect Opposition Dear VIDEO: There’s a lot going on here, but let’s start with the camera part. Many bicyclists elect to mount video cameras—which are now comparatively cheap and compact—to their bicycles or their helmets to record their rides.

Some do this to record “epic” rides because maybe they are visually interesting or to keep a digital record of an athletic exploit. If you’re doing this, resist the urge to share too widely—there is very limited interest in 16 minutes of slowly pedaling through Arlington—and be sure not to go full Norma Desmond. Relive a ride in the confines of your memory rather than via YouTube. Elide the bad parts.

The other reason people record their rides is, as you mentioned, as an insurance policy should something awful happen. Video of an incident, in and of itself, doesn’t necessarily guarantee a just outcome (or even one that favors you), but it might support a certain narrative of events or disprove another. And that might make the difference between punishment and exoneration, recompense or squat.

But keep in mind that recording your ride won’t proactively make you safer. It’s like a helmet—there to try to help should things go bad, but pretty useless until then.

Given his unease, your husband probably isn’t a regular cyclist. His prism into bike safety is what you tell him, and you’ve just told him that you want to record “evidence” should you get into a crash. He just heard, “I’m worried about getting run over,” and hence the freakout.

So what now? First, level with him. “Biking is great, but there are risks. I’m careful, but sometimes in life, bad things happen.” Then, explain how the camera is like a helmet (or a seatbelt or car insurance). Then tell him how you’re not going to stop biking (unless you are, but you shouldn’t), but want him to be as comfortable with this as possible. Then see what he thinks.

And hopefully this does the trick.

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

Email gearprudence@washcp.com

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SAVAGELOVE

I’m a happily married straight man. My wife, who is 33, cannot orgasm through intercourse since we had our last child. Her explanation is that she has this constant sensation of needing to pee. Now we find other means to please her through toys, oral, etc. Are there exercises or other means to get her to climax through intercourse? Is this common from childbirth?

—Climaxing Liberally Is Fun

“Failure to orgasm with penile penetration is not a medical condition,” says Dr. Jennifer Gunter, an ob-gyn, writer (drjengunter.wordpress.com), and kick-ass tweeter who practices in the San Francisco Bay Area. “If a woman can orgasm with other methods—oral sex or masturbation or toys—then that means everything is working just fine. Remember, it’s not how she gets to the party that matters. It’s that she got to attend the party.”

As all straight men need to be aware, CLIF, only a small number of women—less than a quarter—can get off from vaginal intercourse alone, aka PIV (penis in vagina).

“Most women require clitoral stimulation to have an orgasm, and often the mechanics of penile penetration just don’t produce the right kind of friction,” says Dr. Gunter. “It’s possible that the subtle anatomical changes postchildbirth have altered the friction mechanics of your coupling. Introducing a vibrator during sex might help.”

And while we’re on the subject of clits, CLIF… We abbreviate sign-offs around here, as everyone knows, and like PIV for your wife, CLIF, your sign-off didn’t quite get you there. You could’ve gone with “Climaxing Liberally Is Terrific” or “Tremendous” or “Totally Spectacular,” but you didn’t. Perhaps it was an innocent brain fart—perhaps I’m reading too much into this—but if you didn’t spot the near-CLIT staring you in the face in your sign-off, CLIF, it seems possible that you may have overlooked your wife’s clit, too.

Also possible: Your wife wasn’t actually having orgasms “through intercourse” before she gave birth to your last child. You’re clearly invested in climaxing together—just like in the movies and porn and other fictions—and your wife, like many women, may have been faking orgasms to please a male partner. Tired of faking orgasms, your wife seized on the birth of your last child to explain why she “suddenly” couldn’t come from PIV alone anymore.

What about your wife’s constant sensation of needing to pee during intercourse?

“That’s something to be looked at,” Dr. Gunter says. “After childbirth (and sometimes just with age), women can develop an overactive bladder or pelvic-muscle is10 may 19, 2017 washingtoncitypaper.com

sues, and these could be exacerbated during penetration, making a woman feel as if she needs to empty her bladder. Worrying about peeing during sex might be holding her back. It might be worth a visit to a pelvic floor physical therapist and/or a urogynecologist if this sensation [of needing] to pee during sex is bothering her. But if neither the lack of orgasm with penile penetration nor the urgency to pee is bothering her, and she is having orgasms other ways and is happy with that, I would be happy with it, too. After all, it’s her orgasm, and stress or pressure to orgasm a particular way might negatively affect her party.”

—Dan Savage

Fakes and flakes annoy the people who are looking for actual dates on those apps, of course, but apps are the new pick-up bars, and partnered people were strolling into pick-up bars to harmlessly flirt with strangers before heading home to their mates, all charged up, long before apps came along.

I’m a 29-year-old man who desires a monogamous relationship. I’m currently in a long-term relationship with a 29-year-old woman. Despite my feelings about monogamy, I’ve sought attention from women and men on dating apps.

I’ve gotten caught doing this more than once.

I have never met up with anyone in real life, and my girlfriend has yet to find out about the use of gay dating apps. After some soul-searching, I realized that my bisexuality is a huge is-

sue in our relationship. I’ve never discussed it with her, and while I don’t think she would react negatively, I’m scared of how it would affect our relationship. I’m not sure whether to go to therapy, bring it up with my girlfriend, or do some combination of the two. I’d love some advice about having this discussion in a way that won’t end my relationship. I’m not really interested in an open relationship, and I would like to stay with my girlfriend, but I’m confused because I don’t know if a monogamous relationship will still be what I want once I open up about my sexuality. It seems like a no-win situation—stay in the closet and no one knows but I keep wanting outside attention, or tell her the real reason I’ve used dating apps and probably lose the relationship.

—Bisexual Reeling About Closeted Ethical Dilemma The use of gay dating apps isn’t the issue— it’s your use of them. And while I’m nitpicking: It’s not “outside attention” you want, BRACED. It’s cock.

Backing way the hell up: Lots of partnered people—even contentedly monogamous people—dink around on dating apps for the attention, for the ego boost, for the spank bank. Fakes and flakes annoy the people who are looking for actual dates on those apps, of course, but apps are the new pick-up bars, and partnered people were strolling into pick-up bars to harmlessly flirt with strangers before heading home to their mates, all charged up, long before apps came along.

The dangers and temptations of app-facilitated flirtations are greater, of course, because unlike the person you briefly flirted with in a bar, the person you flirted with on an app can find you again—hell, they come home with you, in your pocket, and you can easily reconnect with them later.

But the real issue here isn’t apps or flirting along the harmless/dangerous spectrum, BRACED. It’s closets—specifically, the one you’re in. The closet is a miserable place to be, as you know, and the only relevant question is whether you can spend the rest of your life in there. If the answer is no—and it sure sounds like it’s no (you sound miserable)— then you’ll have to come out to your girlfriend. If you don’t think monogamy will be right for you once you’re out, then monogamy may not be right for you period. Find yourself a queer-positive therapist, come out to your GF with their help, and allow her to make an informed choice about whether she wants to be with you. Worry less about the right words, BRACED, and more about the truthful ones.

—DS

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

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Stephanie Rudig

When Passing is

Failure

A D.C. teacher proposes a bold vision to improve scandalously poor student performance.

By rob Barnett Photographs by Darrow Montgomery EvEry spring, as the end of the school year approaches, I start losing sleep. I’m a D.C. public high school teacher, so it should be the most rewarding time of the year, full of pomp and circumstance. Instead, I’m haunted by an agonizing question: Are my students ready for the next level? And its corollary for each student: to pass or to fail?

Our city and country are currently in the midst of an epidemic of passing. Our high schoolers are graduating at increasing rates, while measures of proficiency remain stagnant—we are passing kids who haven’t learned. It’s a problem with roots in the very design of our educational system, but it’s also one we can solve.

So, imagine you’re me. It’s the last day of the year, and final grades are due.

Most of your students did fine. They attended class, paid attention, completed the assigned work, and learned. Some students struggled, others excelled. That’s life. You’re comfortable passing them on to next year’s courses.

But there’s at least one student who gives you pause. “Robert” is a sweet kid with a lot of potential, but he missed a lot of class. Some of his absences were for health reasons (although he never completed the make-up work you provided). Other times, you heard he was just cutting class. Even when he was present, he was often distracted: his eyes on his phone or his head on his desk. He entered your room three grade levels behind, and his work, when he completed it, showed major gaps in understanding. You’re pretty sure his performance on the state test will fall short of grade-level 12 may 19, 2017 washingtoncitypaper.com

expectations, though neither you nor he will know his score until next fall. His final project for your class was due three days ago, and he still hasn’t submitted anything.

You’ve tried to help Robert catch up, but to no avail—there’s a lot going on in his life.

You’ve offered to stay after school, but Robert has to pick up his younger sister, drop her off, then go to work. You’ve tried calling his mother, but her number changes frequently, and even when you leave a message, she doesn’t call back. You’ve reached out to counselors and administrators and social workers. They may have time for a quick conversation with Robert, but each of them is responsible for 250 other students too. (You, by comparison, only teach 125.) You’ve given up your lunch period and bought Robert snacks and encouraged him in every way you know how. Sometimes, it has worked. More often, it hasn’t.

It’s clear to you that Robert hasn’t truly mastered the content of your course. So what should you do?

Red pill: Give him a failing grade and have him repeat the course next year. Is that best for him? He knows some of the course content—won’t he be bored re-learning that? His life will still be messy, so will a second time through your course be any different? Or will he be in exactly the same precarious position next spring?

Blue pill: Give him a passing grade, which means he’ll go on to more advanced courses next year. Is that best for him? He knows some of the course content, but will that be enough of a foundation for him to master what’s next?

Or will he be in exactly the same precarious position next spring?

The Matrix, and the reason you’re losing sleep: You’re under tremendous pressure to see Robert pass.

It’s the last day of the year, and final grades are due. What do you do? robErt’s casE is not unique. Nor, for that matter, is the dilemma which I, a math teacher in D.C. Public Schools, face not only every year but every day: What should I do with students whose learning doesn’t fit neatly into the scope and sequence of my curriculum? It isn’t just Robert who causes me to lose sleep. It’s Maria, whose brilliance on stage earns her a free pass during play season. It’s William, whose sunny demeanor and B average mask the fact that he really doesn’t understand what x in an equation represents. It’s Destiny, whose jokes dull the boredom she feels when she masters new concepts immediately and must wait for her peers to catch on.

Yet each year, these students—these brilliant, unique sparks of potential—will all receive the same thing: a year-long course covering certain material in a certain amount of time, resulting in a single, binary outcome: pass or fail? Blue pill or red pill?

Increasingly, both nationally and here in D.C. Public Schools, that outcome has been the blue pill of “pass.” Nationwide, the class of 2015’s high school graduation rate of 83 percent is an all-time high. In the District, graduation rates reached a record 69 percent for the class of 2016, a five-point increase from the previous year and the largest such gain compared to any state in the country. In October 2016, then-President Obama visited Benjamin Banneker Academic High School, which graduated 100 percent of its students, to hold up the District as an example of the tremendous progress that American students are making.

But other statistics tell a much grimmer story. On 2015’s National Assessment of Progress, the national average reading score for twelfthgrade students was lower than the average score on the test’s first administration in 1992.

The average mathematics score was not significantly different from that test’s first administration in 2005. Just 37 percent of twelfthgrade students were judged proficient or better in reading, and only 25 percent achieved that level in math; 28 percent of students were below the basic level in reading while 38 percent were below basic in math. Meanwhile, 83 percent of students graduated.

The gap between proficiency and graduation rates in D.C. reflects this nationwide trend. In 2016, results on the Partnership for Assessment of Readiness for Career and College (PARCC) rated 21 percent of DCPS students as “college and career ready” in tenthgrade English, and 11 percent as “college and career ready” in Geometry. But 69 percent of twelfth-graders (who do not take the PARCC test) graduated. At my own school, 18 percent of students were proficient in reading, 1 percent were proficient in math, and nearly 80 percent crossed the stage.

Tests are crude instruments—even the best have their flaws and limitations. Both the NAEP

and PARCC exams have been heavily scrutinized: Many critics believe the NAEP’s standard of proficiency is unnaturally high, while the PARCC has proved so controversial that many states have abandoned it altogether. Yet, in D.C. at least, they are the metric by which the District has chosen to assess its students. When 69 percent of students graduate in a school system where only 11 percent of students are rated as proficient in tenth-grade math, the conclusion is inescapable. We are graduating students we have failed to educate.

approximately half the number of credits required for a traditional diploma and fewer than the admission requirements for many colleges. Almost 90 percent of school districts now offer “credit recovery” classes, which attempt to cram a year’s worth of learning into abbreviated summer or after-school sessions. Is it any wonder that graduation rates are on the rise?

Not in D.C. In the same year that D.C. saw the nation’s largest increase in graduation rates, our public schools implemented a new grading policy designed explicitly to soften the The author, Rob Barnett

givEn all of this, how in the world are these kids graduating?

The answer lies in lower standards, both nationally and in D.C. Alabama, for instance, saw the nation’s second-highest graduation-rate increase in 2014—the same year that the state removed its required high-school exit exam.

Arizona now offers a “Grand Canyon Diploma,” which requires students to complete only two courses in English, math, and science—

impact of failing grades. Under the old system, a student received no credit for earning an F; under the new system, a failing grade in any marking period was automatically weighted as a 59 percent in the calculation of a student’s year-end grade. A student’s yearend average needed to be above 64 percent in any course to pass.

This change was technical, but its effect was significant. By giving students an automatic

score of 59 percent for failing in any marking period, it also dramatically lowered the bar for passing a class: a single grade of B- or higher in any marking period would suffice in order for a student to pass an entire course. Robert could earn a B in the first quarter, skip every single class for the rest of the year, and pass.

To its credit, DCPS dropped this grading policy after one year, although it replaced it with a policy that still allows a student to pass based on a strong grade in a single marking period. (Depending on the structure of a course, the current policy allows a student to pass for the year with a single grade of a B, B+, or A-).

Yet the shifting grading policies illustrate the sometimes subtle ways the system can be manipulated to increase graduation rates without enhancing learning.

The grading policy has been changed, but a system in motion remains in motion. As graduation rates increase, and such increases become the standard by which growth in DCPS is measured, the pressure to “get students across the stage” flows downstream. High school principals and assistant principals are evaluated based on their students’ graduation and promotion rates. A principal whose school’s rates do not increase is considered “ineffective.” Teachers, meanwhile, are evaluated based on the percentage of students who pass their teacher-created final exams. To earn the highest possible rating at my school, a teacher must give passing grades on 90 percent of final exams. At my school, talk of graduation rates and “getting kids across that stage” dominates faculty meetings from August to June.

The intense pressure to graduate students has fueled the development of an array of structures to ensure that students do not fail.

In addition to extra-credit assignments at the end of each term, nine-week credit recovery classes, summer school, etc., the DCPS Secondary School Grading and Reporting Policy mandates that: “Instructional support plans must be developed for all failing students. These plans should identify what each student needs to do to improve his/her grade. ... All plans should be documented and approved by teachers; however, students can be given the opportunity to draft their own plans. … Teachers must maintain written documentation of all efforts taken to communicate the plan with the student and parent/guardian.”

That policy seems reasonable, but consider its implications. When a student like Robert starts to fail, his or her teacher must develop, document, and communicate a written plan for grade improvement—a significant administrative burden that teachers receive no additional time to complete.

While this directs teachers’ attention to students who may need the most support, it also sends a clear message to teachers and students alike: the teacher’s job is to find a way for the student to pass. And once Robert’s grade reaches the magic threshold of a D, such attention is no longer required.

To me, teaching in DCPS today means teaching in a setting where students’ failures become teachers’ responsibilities, where no

washingtoncitypaper.com may 19, 2017 13

stone is left unturned in pursuit of Ds, and where students who make little effort require teachers to go many extra miles. A teacher who teaches 125 students is expected to pass as many of those students as humanly possible, even when those students enter unprepared or attend infrequently. When students do fail, it becomes the teacher—always the teacher— who bears the burden of conducting, and documenting, repeated interventions. Simply passing students, regardless of proficiency, becomes the goal and the default. Real learning becomes a desirable side effect. policiEs likE thEsE obviously serve politicians and school districts, who claim ample credit for higher graduation rates. Graduation rates are easy to track, easy to understand, and, apparently, easy to inflate. Measuring learning is much harder. Yet if a high school diploma is to mean anything, it is learning, and not graduating, that must be the goal of high school.

A focus on graduation and promotion creates perverse incentives for teachers and administrators alike, which impede this sacred goal. As a teacher I have earned high ratings, pleased administrators, and bolstered my school by passing along students who have not mastered my courses. Passing these young people has cost me sleep, but I’ve done it.

And what about the students themselves?

What is it like to be Robert at a school where a D average is seen as sufficient, where a failing grade is a teacher’s responsibility, and where passing —not learning —is the ultimate goal?

The educators I know are deeply divided on the effects of policies that facilitate passing: Some feel that these policies keep struggling students engaged, while others argue that they lower the standards for everyone else. Leave no child behind, versus the soft bigotry of low expectations. Both sides, I think, want what’s best for Robert. The road to low proficiency is paved with good intentions.

But from where I sit as a teacher, it’s very hard for me to feel that policies like these, which prioritize promotion over learning, prepare my students for the world ahead of them.

College and the working world require competence (not 64 percent grades), initiative (not hand-holding), and accountability (not partial credit for showing up). These are the values our policies should instill. Anything less, and we set our students up for rude—and expensive—awakenings in college and beyond.

Anything less, and we have failed. It is our students who will pay the price.

The basic message: We can’t help.

Neither is satisfactory. Yes, structural factors are real—it’s hard to learn when you’re hungry—and I know every teacher has at times felt personally inadequate. But I’ve seen enough poor students succeed to know that every student is capable of real learning, whatever the challenges. The vast majority of educators and parents I know are doing their absolute best to help students succeed. What I wonder is this: With so many well-meaning people working so hard to educate such brilliant young people, how is it that we can be doing so badly?

It’s the design of our entire entire school system. Specifically, it is a system in which yearlong, pass-or-fail courses, whose students are grouped largely by age, create incentives that allow students to pass through high school without ever being required to learn anything.

As a result, many don’t.

Say you drop into an average high school class one day. You’ll see 25 completely different students—each unique in terms of innate ability, background knowledge, mindset, motivation, interests, life circumstances, etc.—expected to learn at one uniform pace. Regardless of absences, prior experiences, anything and everything that makes students different from one another, every student is expected to learn the exact same things in the exact same amount of time. Students, of course, don’t. Sal Khan, founder of the online learning platform Khan Academy, compares our system to building a house on a strict timeline, without checking to see whether the foundation or first floor is properly constructed—a process that “pretty much ensur[es] a variable outcome.” By the end of the year, it’s inevitable that students will have achieved different levels of content understanding.

put asidE inflatEd graduation rates, and the truth remains: the majority of our highschool graduates are not prepared for college.

Why? What problems or obstacles keep our young people from learning, even as they continue to pass? And what can we do to fix that?

Explanations of our schools’ struggles tend to fall into two buckets. The first set are what I call structural: persistent poverty, funding formulas, institutional racism, etc. The basic message: Under current conditions, poor kids can’t learn. The second set is personal: bad teachers, lazy administrators, negligent parents, etc.

14 may 19, 2017 washingtoncitypaper.com

But for the most part, each student faces the same two paths at the end of the year. Repeat the entire course to fill in gaps in understanding, or move on to a more advanced course where gaps continue to widen? The teacher faces a similar choice: produce the documentation required to hold a student back, or let the student advance by default? Red pill, or blue?

The year-long course is a convenient method of education. Teachers teach one lesson at a time, students move along with their peers, the school year runs neatly from August to June, and the cycle repeats itself every year.

But think of the individual students: those who learn fast and those who need more time; those who have perfect attendance and those who miss weeks; those who want to be doctors, athletes, cosmetologists, lawyers, and everything in between. Is this really the best way to help each student reach his or her unique potential? And is there any feasible alternative?

There is. Over the years, many educational thinkers have suggested that we adopt an approach generally known as “mastery learning,” which requires each student to master one topic before moving on to the next and gives each student as much (or as little) time as she needs to master each topic. Fast learners don’t become bored and slower learners don’t become overwhelmed. Every student learns every skill. i’vE bEcomE convincEd that mastery learning is the right model for my students and, with the full support of my school’s caring and devoted administrators, have spent the past three years trying to bring masterybased practices into my classroom. I no longer lecture. Instead, I record all of my lessons

As graduation rates increase, and such increases become the standard by which growth in DCPS is measured, the pressure to “get students across the stage” flows downstream.

and put my videos online. Students move through these lessons at their own pace, and they must show they understand one topic before advancing to the next. I think of myself not so much as a teacher but as a facilitator of inquiry.

This approach can be painful for students— most are not used to taking responsibility for their own learning. At the start of the year many students fall behind: They mistake my hands-off approach for leniency and spend more time in class watching YouTube than learning math. Yet over time, most students— none of whom likes being behind the curve— start to learn not only the content, but something more important: They discover HOW to learn. They learn to assess their own understanding, to ask for help when they need it, and to teach themselves and their peers without my guidance. By the end of the year, my classes run smoothly and efficiently.

Yet even this approach is limited by the traditional structure of my courses. I have 10 months, spread over four grading periods, to teach a given subject. I must also give midterm and final exams in predetermined windows. Imagine a student who falls behind during the first quarter of the year. When the second quarter starts, should that student still be required to complete all first-quarter material? Red pill, or blue?

Try as I have to bring real, mastery learning into my classroom, I still face the dilemma of students like Robert—every year, every quarter, in some ways every day. As long as students take pass/fail, year-long classes, the impossible choice will continue to arise.

We need to dispense with traditional courses altogether. imaginE if wE divided each academic discipline into a series of topics and skills, arranged them in a logical sequence, and defined an end goal for each. For high school math, for instance, we might start with basic number operations and properties, then introduce algebra, use algebra to explore geometry and statistics, and end with the applications of calculus. We could follow the existing sequence of high school math, or create something completely different. Let veteran teachers and content experts sort that out. What matters is that each discipline has a logical, step-by-step sequence of topics and skills to be learned.

Next, we define the criteria for mastery. A student can show that he or she understands linear equations, or poetry, or chemical reactions, or the Civil War, in many different ways.

Students can take rigorous tests, produce final projects, give oral presentations or anything in between—witness AP and IB courses that have both exam and project components. Again, let content experts write these assessments.

What matters is that there is a clear way for each student to demonstrate his or her mastery for each topic or skill. Students would no longer have to worry about completion-based homework grades, or make-up work, or subjective participation grades that do little more than reflect teacher biases. (All of these are hallmarks of current grading schemes.) Stu-

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dents would only have to focus on demonstrating that they have actually learned.

Finally, we overhaul the structure of a traditional high school by assigning classroom teachers to topics or skills, and not to courses. My colleague and I would no longer each teach the same, year-long Probability & Statistics course. I might teach data collection and analysis while he teaches probability and decision-making. Classrooms would become places of specialized, targeted instruction, focusing on depth instead of breadth.

How do students learn at such a school? Simple: They work in Room A until they achieve mastery, then do the same in Rooms B, C, D, and so on. Students would learn at their own paces and move at their own paces as well. No student would move to more advanced material before he or she has demonstrated authentic mastery of prerequisite knowledge. Robert could no longer skate by with a 64 percent understanding (a D average), nor would he have to repeat an entire year’s work with a 63 percent (F). Instead, he would just have to learn.

Logistical challenges would abound—especially compared to the brutal efficiency of our current system. Would some students fly through the curriculum in two years, rather than the traditional four? Absolutely. Would other students lag behind, taking six months to learn a topic designed to be learned in two?

Absolutely. We replace the red pill and the blue pill altogether. We stop worrying about how long it takes to teach a given discipline, and start focusing on how well students learn it. Isn’t that the point? a systEm likE this would surely create new

challenges for teaching and learning: At any time in any given classroom, students of different ages would inevitably be learning different sub-topics or sub-skills at the same time.

In a traditional classroom, where a teacher lectures and students take notes, this is impossible. Yet with the aid of technology—online videos for each sub-skill, adaptive practice problems that adjust to a student’s level and explain correct answers, discussion boards for students to share knowledge—it becomes easy. Such a classroom, where a teacher facilitates but does not direct learning, might also encourage students to teach, and learn from, each other.

This style of learning might also help students develop something much more valuable than any particular skill or content knowledge: a sense of personal agency. Schools as currently structured breed helplessness. Students miss fundamental skills early on, lack the tools and confidence to tackle more complex assignments, and rely heavily on teacher assistance to complete assignments. Students learn quickly that they can get extra help and support by giving up. When it is a teacher’s responsibility to pass their students, it is no longer a student’s responsibility to learn.

But what if it were? What if students had to teach themselves in order to advance through school? Success would breed success—a student who has authentically mastered skill A would feel (and actually be) capable of learning skills B, C, D, and so on.

A classroom like this would create a virtuous cycle, in which real learning builds confidence, self-esteem, and perseverance. Who doesn’t take satisfaction in learning some-

16 may 19, 2017 washingtoncitypaper.com

thing new? The words “I can’t” would disappear from students’ vocabularies.

Finally, students in such a school would learn HOW to learn. (Easier said than done.)

One student might learn fractions by reading a textbook, another by watching a video, a third by playing with different-colored blocks, and a fourth by questioning her classmates. In a traditional classroom, students are expected to learn the same things in the same ways. A truly skilled teacher might find two ways to teach a concept. In a self-directed classroom, students become masters of their own learning. What matters is simply that they learn.

The sort of customized learning inherent to a student-directed classroom opens up one of the most exciting possibilities for this style of school: the possibility for students to design their own paths through high school. An alternative, college-style approach, which would set a minimum required standard of mastery in each subject and let students chart their own courses after that, would allow and encourage students to pursue their specific passions. William might attain a basic level of competence in social studies while taking college-level calculus classes. Maria might master the fundamentals of math and spend her free time painting. Destiny might achieve proficiency and focus on an internship. At graduation, every single one of them would be ready for his or her unique future. i am not the first person to suggest such an approach to learning. In fact, several schools have tried it. At Desert View Middle and High School, a public charter school in Yuma, Arizona, students sit at cubicles and work through

online modules in all subjects, which are supported by daily, subject-specific, small-group sessions. The school’s test scores outpace state averages despite per-student funding that is roughly 20 percent less than traditional public school funding. At Chicago International Charter School West Belden, students learn from individualized “playlists” in multi-age classrooms. In 2015, West Belden students “learned as much in one year as the average U.S. student learns in two.”

These schools represent important and valuable attempts to prioritize mastery. Yet each is limited. Charter schools like Desert View and West Belden reach small, self-selecting groups of students. We need to open schools like these up to students like mine.

Would schools like this be challenging for students? Absolutely. True learning is hard.

Might some students fail to reach a basic level of proficiency before they decide to leave?

Probably. But we do students no favors by letting them pass easily. Stopping the automatic social promotion of students who struggle to learn may seem callous, but unlike our current approach, a mastery-based approach grounded in the belief that these students CAN learn at a high level—even if it takes a little longer.

Every student just needs the chance.

Finally, the idea of a mastery-based school opens up tantalizing prospects for the reform of our entire educational apparatus. Why offer a two-month summer break when lessons are online and learning is individualized? Why hold school only between the hours of 8 a.m. and 3:30 p.m.? Why limit classrooms to students under the age of 18, when the criteria for each classroom are based on understanding? The possibilities, like our students’ potentials, are endless. think back to Robert. He, and you his teacher, are facing an unenviable choice. But what if there were another way? What if, instead of making him repeat your course, you identified his specific areas of weakness and helped him master those? What if, instead of sending him along to material for which he is unprepared, you made him prove his readiness—with true mastery, not a D? What if, instead of having to choose between two inadequate options, you could actually help him learn?

The technology to do this exists. The online content, at least for math, exists; what doesn’t can be created. The need of our students, the passion of our educators, and the limitless ability of both, are most certainly there. We just need to summon the courage, the political willpower, and the humility to make the change.

Because “Robert” is real. He graduated—I chose the blue pill—and last winter I ran into him near school. He was working at a local pizza chain and planning to start taking classes at UDC soon. We had a nice conversation, save for my troubling realization that, if he ever takes a college statistics class, he’ll be nowhere close to ready. Yet I admire his ambition despite his challenges, and I wish Robert a life of academic and professional success. I just wonder: Have we really prepared him for it? CP

washingtoncitypaper.com may 19, 2017 17

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DCFEED Wicked Seafood

Taste unpretentious New England fare at The Salt Line opening June 1 by the ballpark.

Darrow Montgomery

Jeremy Carman and Kyle Bailey

By Laura Hayes Chef Kyle Bailey grew up outside Philadelphia in what he calls a “chicken fingers household” and didn’t eat fish until culinary school.

“I was told if you eat seafood, you’ll get a fishbone and choke to death,” says the executive chef and partner of the forthcoming New England-style seafood restaurant The Salt Line.

“That’s why we didn’t eat it. It’s dangerous.”

In fact, it wasn’t until a few years ago that he became a fan of oysters, which will be a prime offering at the restaurant located in the Dock 79 development across from Nationals Park. “My mom came to visit, and we took her to Brine in Mosaic [District],” he recalls, noting that she had never tried the briny bivalves. “But we sat there and ate them all, and I had a revelation: I like oysters now.”

Bailey has been heralded locally for his terrestrial cooking, first as the opening executive chef at Birch & Barley, where he’d serve up “beast feasts” featuring meaty dishes like porchetta, and later at Sixth Engine, where

Young & hungrY

he championed whole animal butchery.

But for his next act at The Salt Line, opening June 1 on the Anacostia River, Bailey had some catching up to do. “Never having been to New England, and not knowing much at all, we went to eat at all of these places,” he says. “Why have I never had this food?”

To get h e r with his Long Shot Hospitality partners Gavin Coleman, Paul H o l d e r , and Jeremy Carman, Bailey headed north on several scouting trips. For inspiration, they visited Portland’s Eventide Oyster Co., whose chefs won a James Beard Award this month for their brown butter lobster rolls and glitzy raw bar.

But what made a bigger impression were New England’s roadside fry shacks. Carman was born in Massachusetts before moving to Maine at 12, which qualified him for chief tour guide. “I wanted to show them these institution places that have been around, the original fried clam spots,” he says.

Just because the time-capsuled shacks are casual doesn’t mean they’re cheap. “Seafood is expensive,” Carman says. “You go to these hole-in-the-walls, and people don’t blink at spending $30 on a box of fried clams. But here, people would say that’s so expensive.”

Pricing is something Long Shot Hospitality seriously considered. “We were a little concerned about being labeled overpriced,” Carman says. “But we’re not doing the Siren thing, the Fiola Mare thing,” he continues, referencing two local luxury seafood restaurants. At The Salt Line, he says diners can get a $5 beer, “stuffies,” and still tip their bartender for under $20.

Save the date for Lamb Jam coming to Eastern Market on June 5. The event pits six D.C. chefs against each other for the title of Lamb Jam pit-master including Federalist Pig’s Rob Sonderman and CAVA’s Dimitri Moshovitis. Tickets are $75.

“It’s been an exercise looking at our space and thinking about the New England concept, blue-collar concept,” Carman says. He wants customers to get a good value at the restaurant named for the point in an estuary where salt water meets fresh water. “They’re getting a really fresh product, eating seafood in an unpretentious way.”

The menu includes classics like five-ingredient clam chowder ($6), fried Ipswich clam bellies ($15), and Johnny cakes with smoked trout ($9). In addition to so-called “stuffies”— baked clams dressed with smoked linguica, lemon, breadcrumbs, and parmesan ($8)— there are coddies ($6).

“Coddies are actually a Baltimore thing that date back to when crabcakes became too expensive,” Bailey says. “They’re fried salt cod balls served between two saltines with housemade yellow mustard.”

The lobster rolls took the longest to perfect. “We’ll offer both styles,” Bailey says.

“It’s too easy not to, and some days are butter days and some days are mayo days.” A splittop bun overflows with morsels of lobster that will typically come from Maine.

Then there’s more nouveau cuisine like a chilled octopus terrine ($15), mackerel escabeche with blistered asparagus and whipped feta ($15), and uni carbonara featuring bucatini, house-made bacon, ramp greens, grana padano cheese, and sea urchin ($21).

There will be plenty of nostalgic dishes for meat eaters too. Chef de Cuisine Mike O’Brien talks up the Boston roast beef sandwich ($16) because it nods at Kelly’s Roast Beef in Revere Beach, Massachusetts. “It’s warm, shaved, really rare roast beef with cheese, barbecue sauce, and sometimes mayo, other times horseradish,” he says.

Finally, the raw bar will boast a rotating selection of Chesapeake and New England oysters, seafood towers ($75 or $140), and adventurous oyster shooters with dressed oysters atop mini cocktails. Bailey’s wife Tiffany MacIsaac of Buttercream Bakeshop consulted on the desserts, including a banana split.

Despite the casual atmosphere at The Salt Line—even more so at the 125-seat riverfront outdoor bar than in the 110-seat dining room—Bailey is taking sourcing as seriously as some of the nation’s top chefs, including Eric Ripert in New York and Thomas Keller in San Francisco.

They all tap into the Montauk, N.J.-based organization Dock to Dish, which connects small-scale watermen and their sustainable seafood to restaurants, much like a community supported agriculture program (CSA).

The goals are to minimize the number of “touches” that occur from catch to plate and to

eliminate seafood fraud. “The whole premise is built on knowing your fisherman,” Dock to Dish co-founder Sean Barrett says. “Within the industry, there can be smoke and mirrors.”

The Salt Line partnership will mark the organization’s foray into D.C. “Kyle is a badass chef,” Barrett says. “They all want to be farmto-table, but they end up being farm-to-fable.

But Kyle is the real deal.” Bailey will get boxes of whatever fishermen from Annapolis-based Old Line Seafood reel in, positioning him to offer the catches as specials.

But because The Salt Line is a New Englandstyle restaurant, sourcing seafood from there is also a priority. Fortunately, Carman’s parents once owned a seafood distribution company in Maine, and he’s making plans to have Maine lobster, Mahogany clams, Peekytoe crab, and steamers shipped to the restaurant.

In building his team, Bailey sought to hire chefs who share his obsession with sustainable sourcing. In addition to O’Brien, sous chef Mike Haney worked with Bailey at Birch & Barley. All three have since grown matching beards that help them look the part of haggard New England fisherman.

Donato Alvarez, who has been bartending at Sixth Engine, created the beverage list, which is replete with wines that pair well with seafood ($9-$14 by the glass), plus local and New England beers ($5-$11) like Maine’s Oxbow Beer and Rhode Island’s Narragansett.

The cocktails too should feel sentimental.

The “Allen’s Flip,” for example, contains Allen’s Coffee Brandy, porter, Amaro Montenegro, egg, and simple syrup ($12). “That brandy is the highest-selling spirit in the state of Maine,” Alvarez says. “They call it the ‘Champagne of Maine.’” Other cocktails include a boozy Fish House Punch ($10) and a Blueberry Cobbler made with bourbon and sherry ($13). Selections of sherry, vermouth, and sake round out the drink menu.

The Salt Line will serve dinner nightly and weekend lunch. The outdoor bar will open at 3 p.m. for happy hour, and the restaurant will open at 5 p.m. Weekend brunch will roll out in the fall.

The restaurant’s proximity to the ballpark means the restaurant will operate if there’s a day game. Which is fitting because Nationals first baseman Ryan Zimmerman is an investor.

The slugger spent his early twenties at another Long Shot Hospitality bar, Town Hall, where he befriended Carman. “It makes sense because it’s right next to the stadium, so there’s an obvious tie-in,” Zimmerman told Y&H in February. “It’s a cool thing to be a part of.”

CP The Salt Line, 79 Potomac Ave. SE; thesaltline.com

washingtoncitypaper.com may 19, 2017 19

DCFEED

what we ate this week: anoixi with ramps, spring onion, peas, morels, crispy squash blossom, and fried egg, $15, Kapnos.

Satisfaction level: 4 out of 5. what we’ll eat next week: Whole pan-roasted fish dusted in rice flour with fennel two ways, $30, Sospeso. Excitement level: 4 out of 5.

Protein Bars

In a city where a ham sandwich costs $26 at Mirabelle and a pear martini costs $19 at Off The Record, wallets can feel squeezed even before the weekend hits. Enter the antidote—weekday happy hours that include free food with the purchase of discounted drinks. There aren’t as many gratis snacks as there used to be, but it’s still possible to come away with a full stomach by 7 p.m. if you chart the following path. —Laura Hayes

Ave NW Florida

Ne w

11th Street NW

5

Stop No. 1: 4 p.m.

Piola, 2208 14th St. NW What it is: An international pizza chain restaurant positioned at the top of the 14th Street corridor The deal: Free pizza, salads, and appetizers during 4-7 p.m. happy hour What you’re drinking: $4 beers, $5 wines, $6 cocktails

14th Street NW

Ha m ps hi re Av eN W

1

Ma ssa chu set ts A ve NW

2

K Street NW

Where to Get It: Shouk, 655 K St. NW Price: $9.75

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

What It Is: A breakfast sandwich that comes with an omelet stuffed inside a warm pita and topped with mashed avocado and a chopped salad of roasted red pepper, tomato, cucumber, and onion. But this is no ordinary “omelet.”

Instead of being made with eggs, this take is composed of chickpea flour, potatoes, and onions. The texture is super soft and spongy, almost like a pancake, and the chickpea flour brings forth a nutty, savory flavor that’s the perfect

Stop No. 4: 6:15 p.m.

Kellari Taverna, 1700 K St. NW What it is: An underrated veteran Greek restaurant serving all the classics downtown The deal: Free olives, crostini, and cheese during the daily 3-9 p.m. happy hour What you’re drinking: $6 wine, $5 beer, $7 martinis, $6 sangria and mojitos

counterpart to the bright vegetables in the pita.

The Story: Although Shouk is primarily a fast casual lunch spot, founder Ran Nussbächer and Chef Dennis Friedman wanted to offer a hearty and satisfying vegan breakfast.

Friedman spent time developing the texture of the vegan omelet so that it would closely mirror that of an egg omelet,

Priya Konings

The Dish: The Eggless Omelet Breakfast Pita

Stop No. 3: 5:30 p.m.

Claudia’s Steakhouse, 1501 K St. NW What it is: A swanky, woman-owned downtown steakhouse with Latin flair The deal: Free plantain chips served with tangy poblano aioli from 4-7 p.m.

What you’re drinking: $7 mojitos, $9 apple martinis, $7 wine

(Thursdays only) Stop No. 5: 7 p.m.

The Front Page, 1333 New Hampshire Ave. NW What it is: A Dupont Circle pub full of networking millennials swiping at fries The deal: Free taco bar on Thursdays from 6-8 p.m.

What you’re drinking: $3 beer, $4 wine, $3 rail drinks, $5 margaritas

3 4

Stop No. 2: 4:45 p.m.

The Bird, 1337 11th St. NW What it is: A poultry and gamebird-centric restaurant from Michael Bonk in Logan Circle The deal: Each drink comes with three rotating aperitivo bites such as a confit chicken wing or deviled quail egg during 4-7 p.m. “early bird” hour.

What you’re drinking: $7 strawberry aperol spritzes, $8 Old Fashioneds, $4 Natty Boh, $6-$9 wine

20 may 19, 2017 washingtoncitypaper.com

and in turn it serves as the protein in the veggie-laden sandwich. It’s soft but has crispy bits from being cooked on a griddle, making it especially sumptuous. The uber light and fluffy pita is the vehicle for the now quintessential vegan breakfast sandwich.

Why Even Meat Eaters Will Like It: While a regular egg sandwich might be what you turn to when you are craving a guilty-pleasure breakfast, this option is lighter, brighter, and healthier—ideal for a weekday morning when you need something to power you through the workday. It’s a breakfast sandwich without the grease, cholesterol, and grogginess.

—Priya Konings

Kelly Magyarics

Grazer

UnderServed The best cocktail you’re not ordering

What: Tresor with Absolut Elyx Vodka, St. George Botanivore Gin, Lillet Blanc, butterfly pea extract, and a rim of mandarin lillet powder Where: MGM National Harbor Resort & Casino, 101 MGM National Harbor, Oxon Hill, MD; (301) 971-5000; mgmnationalharbor.com Price: $16 What You Should Be Drinking: For this Vesper-esque sip at the crafty bar in the lobby at the region’s new resort and casino, beverage director Ricardo Murcia takes the clean profile of St. George Botanivore Gin—made in California with 19 botanicals—and stirs it with Absolut Elyx, a luxury winter wheat vodka from the Swedish spirits giant that’s handcrafted in copper stills. He adds a splash of French apérifit Lillet Blanc and a few drops of an extract from the butterfly pea flower for sweet flavor and a hint of color.

Why You Should Be Drinking It: This cocktail should be a surefire bet for both gin and vodka fans. But because a neutral and flavorful white spirit play together sans syrups or juices, customers have been skittish about taking a chance. Forget about your libation loyalties and double down. Both base spirit brands are sublime choices, and delicate Lillet Blanc is delicious in any glass.

Plus, where else can you find a cocktail whose natural color changes with the light and that’s served in a glass whose rim skips the expected sea salt or sugar? Throw one back to forget about that credit card advance, celebrate beating the house, or glean a little liquid courage before bellying up to the Texas Hold ’em table.

—Kelly Magyarics

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Support for JFKC: A Centennial Celebration of John F. Kennedy is provided by Ambassador Elizabeth Frawley Bagley, Chevron, The Blanche and Irving Laurie Foundation, and Target.

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22 may 19, 2017 washingtoncitypaper.com

CPArts

Read select reviews from this year’s Washington Jewish Film Festival. washingtoncitypaper.com/arts

Of Most Rare Note

Can a working actor get famous in one of Shakespeare’s least-famous plays? en with the text is to make Timon’s revenge more disgusting. Peakes says he doesn’t know exactly what substance he smears on his fellows during the part of the show “we’re affectionately calling ‘the poo party.’” He’s been assured it’s edible and non-toxic.

Of the 37 plays credited to William Shakespeare, Timon lands somewhere in the thirties, recognition-wise. It’s rarely performed, and unlike its more famous siblings it has not generated any turns of phrase that remain in common usage by people who may not realize they’re quoting a 400-year-old play. Over a late breakfast at a bakery near the Folger the morning after Timon’s third preview, Peakes speculates much of the audience will be Shakespeare completists checking a deep cut off their list. You could’ve said the same about Henry VIII, which Richmond directed Peakes in at the Folger in the fall of 2010. But even professional stage actors don’t know Timon.

“I’d seen it once, with an old guy,” he says. “But there’s no mention of Timon’s age. He just has to be old enough to have amassed a great deal of wealth and have been a soldier.”

By Chris Klimek Ian MerrIll Peakes was nominated for the Helen Hayes Award for Outstanding Lead Actor in a Resident Play three times before he finally took a trophy home last year. It was in the Outstanding Supporting Actor category, for playing The Player in the Folger Theatre’s 2015 production of Rosencrantz and Guildenstern Are Dead. So: An award for a supporting part, in a play named for two minor characters from Hamlet, for a role playwright Tom Stoppard didn’t even bother to assign a name. Don’t let it go to your head, Guy! Still, this low-key, long-overdue honor befits the unassuming 48-year-old, a changeling of an actor who has appeared in about a dozen productions at the Folger in a slightly greater number of years. He’s as persuasive playing a cocksure

swaggerer like that Player as he is exuding calm and reason as the prime minister of England—his part in the Shakespeare Theatre Company’s King Charles III earlier this year.

He doesn’t have a type, not even within the Shakespearean canon, where he has portrayed loveable ruffians, like Benedick in Much Ado About Nothing, and indefensible shits, like Iago—or like Angelo, the hypocritical, sexually exploitative usurper who cultivates an outward appearance of piety in Measure for Measure.

His latest D.C. gig is the title role in Robert Richmond’s futuristic gloss on Timon of Athens, a play that’s about as obscure as Shakespeare gets. Timon concerns a wealthy man who squanders his fortune on lavish gifts for his friends.

Once he’s broke, they abandon him, leaving him to go insane and plot revenge. One of the liberties Richmond has tak-

In PerforMance, Peakes has given the character a peculiar tic: He dislikes shaking hands. When an attendant presents him with a tablet device to “sign” with his palm print, Timon wipes his hand off after touching the device, then tosses his flunky the used handkerchief.

The actor is quick to shoot down the suggestion he got this bit of business from another high profile germophobe given to boasting about how rich he is. “I think people will probably take stuff away, based on what’s going on in our ridiculous government right now,” he says. The Folger is situated right behind the U.S Capitol, inviting the temptation to read everything through a political lens.

Most scholars now believe much of Timon was written by Thomas Middleton, though just how much back-and-forth collaboration there was between its two authors remains a subject of debate. It’s generally accepted that Shakespeare left his contributions to the play unfinished, with the puzzling climax being one of many traits that mark it as an outlier.

Michele Osherow has worked with Peakes on a number washingtoncitypaper.com may 19, 2017 23

CPArts of shows as Folger’s resident dramaturg, but she’s also been on stage with him, having appeared in that 2006 Measure for Measure. “He made me look really good” she laughs.

She credits Peakes with much of the inspiration for the Folger Timon’s bold second act, which may or may not be located mostly within the character’s roiling psyche. That was suggested by questions the actor asked of her early in the creative process, Osherow says, pointing out that it makes the show less a social critique and more of a character study.

Peakes’s father co-founded the BoarsHead Theatre in Lansing, Michigan in the late 1960s and ran it for decades. (The BoarsHead shut down in 2010.) Though the actor grew up watching others ply their trade there, he has no formal training as a performer. He went to Michigan State on a golf scholarship. “I was going to try the pro tour in Australia,” he says over breakfast at a bakery near the Folger. “But this is pre-Tiger Woods. It was [a] very white, homophobic, Christian [world].

It was everything that I wasn’t.” He decided to return to acting.

He says he still sometimes unconsciously practices his swing during rehearsal breaks. for a few years after college, he subsidized his stage career with a job at a long-defunct software company. But for almost two decades now, he’s made a living at the job he never trained for, performing 40 to 45 weeks per year. He doesn’t even record audiobooks or appear in industrial videos. “I haven’t done anything other than [work] onstage since ’99,” he says.

[Peakes] doesn’t have a type, not even within the Shakespearean canon, where he has portrayed loveable ruffians, like Benedick in Much Ado About Nothing, and indefensible shits, like Iago—or like Angelo, the hypocritical, sexually exploitative usurper who cultivates an outward appearance of piety in Measure for Measure.

His wife of 17 years, Karen Peakes, is a finalist for an Audie award this year. The duo have appeared in at least 15 shows together. In that 2006 Folger Measure for Measure, Karen played Isabella, who Angelo tries to blackmail into giving up her virginity to him.

Ian mentions that his wife was just cast in four shows without being asked to audition. “I think we’re getting older and we’re outlasting the competition,” he says. They have a house in Merchantville, New Jersey, just across the Delaware River from Philadelphia. Ian says that by avoiding the “star trap” of moving to New York or Los Angeles he’s instead managed to put together a modest, creatively fulfilling career. He’s booked for the next 18 months, playing Sherlock Holmes, Macbeth, Jacques in As You Like It, and “one of the Three Musketeers—one of the evidently very old Musketeers,” he laughs.

“Philadelphia is an affordable city, and there’s a ton of theater,” he says. He’s done about 20 shows at the Arden Theatre there and eight or nine at the Walnut Street Theatre. “You become a professional actor, and you have two choices: You can go to a big market and try to become famous, or you can go to a medium-sized market and work a lot. I chose Option B.” Option B has now brought him to what might generously be characterized as a B-list Shakespeare. But he’ll be back to the Alist soon enough: This time next year, he’ll be at Chicago Shakespeare doing Macbeth again.

He says he and Karen asked their eight-year-old son, Owen, if he was interested in a small part. “He said, ‘I’ll have to see the script first.’”

CP

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CPArts

Watch the music video for Collider’s “The River.”

Arts Desk

washingtoncitypaper.com/arts.

Flyer By Night

One Track Mind

Tuff Junior’s “Denim VS Leather”

A recurring feature that highlights the art of gig posters and flyers.

Standout Track: Pure, unadulterated rock ’n’ roll. That’s what listeners can expect from “Denim VS Leather,” the first single from Tuff Junior’s debut EP Denim Feather. There’s a tight groove of a main riff and sweet guitar licks between chorus and verse that culminate in a ripping solo. There are earworm lyrics. There’s fucking cowbell. And to top it all off, the song is about how good you look when wearing leather or denim. What’s more rock ’n’ roll that that?

Nothing.

Show: Coke Bust, Loud Boyz, Bacchae, Disinfectant at Slash Run. 201 Upshur St. NW. 10 p.m. May 18. $7.

Artist: Nick Candela Show: Homosuperior, HIRS, Romantic States, and Mock Identity at Hole in the Sky. 2110 5th St. NE. 7 p.m. May 28. $5-$10.

Artist: Sarah O’Donoghue

Show: Anna Connolly, Domingues & Kane, Teething Veils at Slash Run. 201 Upshur St. NW. 8 p.m. May 22. $8-$10.

Artists: Adam de Boer/Greg Svitil Show: Thou, Cloud Rat, Moloch, False, Hand Grenade Job at Atlas Brew Works.

2052 West Virginia Ave. NE, Suite 102. 7 p.m. June 26. $15.

Artist: Nate Burns

Musical Motivation: It might not seem like it at first glance, but “Denim VS Leather” is kind of a two-part love story. “I love wearing denim, and I wear the Canadian Tuxedo quite often,” says guitarist and vocalist Cory Springirth. For him, the song is an attempt to recreate the effortless cool that comes with wearing or seeing someone wearing a really awesome looking pair of jeans or jacket. “When I met my wife,” he says, “she had this one picture on her Instagram of her in a leather jacket, and I just thought she looked really good in it.”

Something Catchy, Something New: Of course, Springirth is quick to point out that not all of his songs are about denim. In fact, a lot of what makes Tuff Junior different from his previous project, Old Indian, is the fact that he’s become more focused on his lyrics. “If you listen to any Old Indian songs,” he says, “...there’s not a lot of vocals at all, and that’s because Old Indian wasn’t about that. Trying to write with Derek [Salazar] now, we’re still writing rock ’n’ roll songs, but with a catchy, pop thing.”

—Keith Mathias Listen to “Denim VS Leather” at washingtoncitypaper.com/arts.

washingtoncitypaper.com may 19, 2017 25

O U R C U S T O M E R S H AV E R E TA I N E D

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A Show of Hands At the 2017 Helen Hayes Awards, a unifying theme of diversity—and a special appearance

by Supreme Court Justice Ruth Bader Ginsburg.

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The firsT sTanding ovation of Monday night’s Helen Hayes Awards came about 90 minutes into the three-hour ceremony honoring excellence in Washington, D.C. and outlying area playhouses, when Supreme Court Associate Justice Ruth Bader Ginsburg came to the stage of the Lincoln Theatre to present her friend Ted Van Griethuysen with the Helen Hayes Tribute for his career body of work. “Washington is where I came of age as an actor,” Van Griethuysen said. “I was 52.”

Preceding Ginsburg at the podium, Studio Theatre founder Joy Zinoman had approached the podium to sing Van Griethuysen’s praises, beginning her remarks with a warning to the orchestra that just moments earlier had tried to play off veteran actor Rick Foucheux: “I’m going to talk for a bit,” she said. (Foucheux won a Supporting Actor Hayes for Round House Theatre’s Cat on a Hot Tin Roof.) After her remarks came a video featuring Van Griethuysen reflecting on his career.

It was but one of many ways in which the Helen Hayes’ 33rd installment resembled a traditional awards show more than in years past, when various formal experiments and severely time-restricted acceptance speeches sometimes gave the event the feel of an auction. Though last night’s show was on the long side—and judging from the noise bleeding in from the Lincoln lobby, where the bars are, many attendees didn’t wait until the afterparty at the 9:30 Club to begin celebrating “theater prom”—it seemed to find its groove, showcasing the artistic diversity of D.C.’s theatrical menagerie.

Diversity of the racial sort was an explicit theme that echoed through the acceptance speeches given by the cast and creative team of the night’s most-awarded show, Theater Alliance’s production of Marc Bamuthi Joseph’s choreopoem Word Becomes Flesh. The show took Helen Awards (earmarked for predominantly non-Equity houses, in contrast with the Equity Hayeses) for Outstanding Production, Direction, Ensemble, Lighting, and Per-

formance by a Supporting Actor. “This is for all the artists of color in the room,” director Psalmayene24 said in his speech. “This is for Trayvon Martin and Emmett Till.”

Alyssa Wilmoth Keegan, who won the Hayes for Outstanding Lead Actress in a Play for Cat on a Hot Tin Roof, dedicated her award to the women of D.C. theater, while the Helen recipient for Outstanding Lead Actress in a Musical—Iyona Blake of Creative Cauldron’s Caroline, or Change—accepted her honor “for all the black girls.”

Tracy Lynn Olivera, who in a rare tie shared the Hayes for Outstanding Lead Actress in a Musical with Sheila Boswell (for Ford’s Theatre’s 110 in the Shade and Signature Theatre’s Jelly’s Last Jam, respectively), used her time at the podium to make a plea for bodily diversity in the theater. “A size 16 girl is not often cast as the object of two men’s affection,” she said, referencing her role at the center of 110 in the Shade’s love triangle.

Several shows came away with four awards each: Signature’s Jelly’s Last Jam won Hayes Awards for its costumes, lighting design, and choreography, in addition to Boswell’s performance. The Ford’s production of Come From Away, the Broadway version of which is now nominated for several Tony Awards, won four musical Hayeses, for Outstanding Production, Direction, Ensemble, and Supporting Actress.

Also collecting four Hayeses was Folger Theatre’s adaptation of the Jane Austen novel Sense & Sensibility, which was singled out for its choreography, direction, ensemble, and overall production.

Keegan Theatre’s production of Next to Normal, a musical that got an early production at Arena Stage in 2008-9 before moving on to Broadway and a Pulitzer Prize, was another big winner, scoring Helens for Outstanding Production, Direction, and Supporting Actor in a Musical.

CP See the complete list of winners of the 2017 Helen Hayes Awards at washingtoncitypaper. com/arts.

On View June 3– August 6, 2017 Special Exhibition Reception June 10, 2017 $50 /person Free Gallery Talks July 12 & 19 Costume Workshop - July 30

Return of “this decade’s most eloquent theatrical statement on race” (New York Times) by a MacArthur Genius Grant-winner

FREE ADMISSION & PARKING

Eudora Welty: Southern Narratives On View July 15, 2017 October 21, 2017 Pictured Right: Eudora Welty (Jackson, Mississippi 1909-2001 Jackson, Mississippi) Side Show, State Fair, 1939, Knoxville Museum of Art, Gift of David Lovett)

BY BRANDEN JACOBS-JENKINS DIRECTED BY NATAKI GARRETT

JULY 18 – AUGUST 6

WOOLLY MAMMOTH THEATRE COMPANY

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

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FOLLOW

Alien: Covenant

Directed by Ridley Scott The alien in the Alien franchise was first described as a “Perfect organism. Its structural perfection is matched only by its hostility.” In the nearly 40 years since then, filmmakers have explored and reshaped this malevolent creature, contorting its abilities to whatever the plot required. The franchise took a backslide with the undercooked Prometheus, but Alien: Covenant is a welcome return to form for Scott and the franchise. It shares the basic exoskeleton that we’ve come to expect from these films, and the philosophizing is almost intriguing enough to improve upon the lofty ambitions of Prometheus. Almost.

On the way toward Origae-6, a site for mankind’s first human colony, the spaceship Covenant has a fire onboard. This is an intense se-

quence, setting a mournful, chaotic tone for what’s to follow. Daniels (Katherine Waterston) loses her husband, the ship’s captain, so the new captain, Oram (Billy Crudup), assumes control.

Soft-spoken and religious, he sees providence in the incident’s wake: The ship intercepts a nearby message of human origin, and its source is a planet that looks more hospitable than Origae-6.

He sets a new course, and indeed the planet is too good to be true. Shortly after arriving, several Covenant crewmembers are infected with the same virus from Prometheus. It turns out the message is from a Prometheus survivor, and that ship’s android David (Michael Fassbender) lives in solitude on the new planet. David offers shelter to the frightened Covenant crew, hiding the planet’s secrets along the way.

Scott is nearly 80 years old, and if anything, he has only become more ambitious with age.

There is a sequence where miscommunication among the crew leads to utter chaos, and Scott ably juggles multiple locations so the imperfect information leads to suspense, not confusion. The sequence is ghastly fun, with more body horror and slippery blood than any previous Alien film. Scott’s immersive production design is also on full display—nearly every shot in Alien: Covenant, no matter how gruesome, is immaculately composed—but there is also 28 may 19, 2017 washingtoncitypaper.com

a rigorous theological curiosity underneath all the mayhem.

Michael Fassbender gets top billing here because he plays two roles: In addition to David, he plays Walter, the Covenant’s resident android. The chemistry between David and Walter is uncanny and subversive. David is sophisticated and idiosyncratic (Walter calls him “too human”), while Walter has less imagination and is more dependable. The script, cowritten by John Logan and Dante Harper, supplies David with barely-concealed contempt.

David is a misanthrope, perceiving himself as a God, and Walter disappoints him. This plays out with homoerotic subtext, leading to laughs alongside a query of what it means to create.

To David, creation and destruction are complementary processes, suggesting that Scott has a cynical idea of God’s nature. That all this happens inside an Alien film is remarkable.

One of the best things about Alien and Aliens is the plausibility of their dialogue. Nearly everyone in Alien talks like blue-collar truck drivers, while the marines of Aliens talk like seasoned grunts. Prometheus was a lapse, insofar as scientists behaved like incurious dullards, so Alien: Covenant goes forward by taking what made the early films great.

Characters make stupid mistakes, yet Logan and Harper create credible situations where mistakes would actually happen. The acting elevates the material beyond the requisite screams of terror. Danny McBride plays Tennessee, the Covenant pilot, and here he dials down his comic persona in favor of gnawing unease. With a similar haircut and rank on the spaceship, Waterston is convincing as Daniels, aka the de facto Ripley. Daniels veers from grief to ruthless competence, and the transition works because, like Ripley, her hatred for the alien is in her bones.

There are lots of surprises in Alien: Covenant, namely in terms of how the crew is killed.

Actually, the word “surprise” is not quite correct. Scott knows his audience is familiar with all the beats and tropes of the franchise, so part of the fun is the anticipation of the inevitable. No one deserves extra credit for figuring out what happens, since Scott and his screenwriters shrewdly develop themes and situations alongside the ever-escalating sense of horror. Alien jump-started Scott’s career, and after so many years, he now infuses the franchise with a welcome dose of gallows humor.

The implication of the film’s final minutes are downright wicked, even haunting, and may serve as nightmare fuel for years to come.

—Alan Zilberman Alien: Covenant opens Friday in theaters everywhere

“FASCINATING” —TheaterMania

HHHHH

“A THRILLING RIDE” —DC Theatre Scene

SHAKESPEARE’S

202.544.7077 | folger.edu/theatre Pictured: Ian Merrill Peakes as Timon

Hernan and Sean are renovating in Baltimore’s Pigtown neighborhood.

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Photo: Teresa Wood

ON STAGE THRU JUNE 11

5/17/17 9:52 AM

Just ask Hernan and Sean, who traded high rent in San Francisco for affordable luxury in Baltimore.

Closer to destinations in Europe and Argentina (and with airfare now in the budget), these jet-setters aren’t just residing in Baltimore—they’re living in it. What will you discover more of in Baltimore?

Find out at LiveBaltimore.com.

Find your home in Baltimore City. LiveBaltimore.com

17-LBT-001 Wash City_1-2Pg_May 18.indd 1

5/15/17 3:00 PM

washingtoncitypaper.com may 19, 2017 29

MusicDiscography “SPARKLING, FRESH, AND LIVELY.” —Los Angeles Times

Sound WaveS Green Twins Nick Hakim ATO Records

June 13–July 16, 2017 | Opera House TICKETS ON SALE NOW! (202) 467-4600 | KENNEDY-CENTER.ORG Tickets also available at the Box Office. Groups (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540

Theater at the Kennedy Center is made possible by

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

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

30 may 19, 2017 washingtoncitypaper.com

Kennedy Center Theater Season Sponsor

Nick Hakim opeNs his debut album Green Twins with an eponymous track that sounds like a warm, quivering ball of static and soul.

Through crackles, Hakim sings about a life and a family that he almost had: “I wanted to start it with you, but somebody said we ain’t ready...

They will always haunt my dreams, the green twins with your eyes.”

At first listen, this is a pretty direct portrait of love, loss, heartbreak, and all the other feelings that leak out of R&B. Except, the D.C.bred, Brooklyn-based artist has taught us by now that straightforward love songs aren’t really his thing.

In an interview with Noisey, he revealed that “Green Twins” came out of a dream he had three times in a row: “We were walking down the road in [Jamaica Plains] and two little green babies were running around the sidewalk. There was a crash behind us. As we walk away, we look back and the twins had been run over by a car. The babies were made out of some green Jello texture.”

Splattering Jello babies should be enough of a clue that something more hallucinatory and imaginative is going on in Hakim’s music. Even when the themes are rooted in deeply personal stories or emotions, Hakim renders his soulful creations through his hazy filters and dreamscapes, tinkering with production that reflects the strangely kaleidoscopic world inside his head.

On Green Twins, synths morph into beautifully

warped layers of glitchy distortion. Light melodies, like on “Slowly,” might collect fuzz mid-song, paving the way for a wobbly arrangement high on psychedelics.

A buzz might burst out of nowhere, the way a couple of drones appear suddenly on the charming “Roller Skates.” Hakim’s results are odd and experimental, but the songs also don’t lose their groove, accomplishing a style he has described as, “if RZA had produced a Portishead album.”

Hakim’s eclectic pointof-view comes from a range of influences he picked up as a kid in D.C. His older brother went to Fugazi shows, his Chilean-Peruvian parents played nueva canción around the house. Hakim himself listened to everyone from Phil Spector to Al Greene—all influences that linger on the new album.

Back in 2014, Hakim garnered attention for his back-to-back EPs, Where Will We Go, Pt. I & II, projects he released while he was a student at the Berklee College of Music. The songs were quiet but kinetic, soulful but restrained, and they established Hakim as a singer/producer who can manipulate space and emotion.

Hakim eventually moved to Brooklyn and started fleshing out some skeleton recordings that became the backbone for Green Twins.

The release is more full and lush than Hakim’s early work, and it allows him to really embrace the unexpected. Other young singer-producers are out there, bending and shaping minimalistic R&B and neo-soul like mounds of clay (see: Gabriel Garzón-Montano and his buoyant soul-funk). But Hakim is setting himself apart with his knack for the peculiar, making spine-tingling eeriness his calling card.

Hakim’s voice is another instrument that offsets the production acrobatics. Sometimes, the vocals are clouded and distant, reaching for you deep from under layers of reverb. Other times, they shatter through the arrangements, like on “Bet She Looks Like You,” in which Hakim hits his most impressive notes. The loops that braid in and out of “The Want” and “JP” continue to make good use of his falsetto.

With his combination of well-executed wails and warps and waves, Hakim’s sound is soul from the future, if not from another dimension entirely.

—Julyssa Lopez Nick Hakim performs at the Rock & Roll Hotel on Saturday, May 20. 1353 H St. NE. 7 p.m. $15.

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washingtoncitypaper.com may 19, 2017 31

Merriweather Post Pavilion • Columbia, MD THIS FRIDAY!

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

THIS WEDNESDAY!

Bon Iver w/ Hiss Golden Messenger ...................................................................... MAY 24

THIS WEEK’S SHOWS

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

DREAMCAR feat. members of

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

Karl Denson’s Tiny Universe featuring Melvin Seals ................................ F 19 Cloud Nothings w/ Daniel Bachman ........................................................... Sa 20 Laura Marling w/ Valley Queen ................................................................... Su 21 MAY

Sigur Rós .............................................................................................................. MAY 25 The Chainsmokers w/ Kiiara, Lost Frequencies, featuring Emily Warren ...... MAY 26 CAPITAL JAZZ FEST FEATURING

Charlie Wilson • Corinne Bailey Rae • George Benson • Robin Thicke • Jaheim •

Anthony Hamilton • Incognito • Chris Botti • The Whispers • Sheila E and more! ........... JUNE 2-4 SAVE $100 - HAPPY BIRTHDAY, INDEED!!!

Go to all four shows - get the same ticket type - take $100 off the total!

PAUL SIMON • STEVE MILLER BAND • 50TH ANNIVERSARY CONCERT • SANTANA

JUNE (cont)

No Scrubs: ‘90s Dance Party

with DJs Will Eastman and Brian Billion ........................F 26

JMSN w/ Gabriel Garzon-Montano

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

JUNE

LUPE FIASCO ..................F 2 STORY DISTRICT PRESENTS

Out/Spoken: Queer, Questioning,

Bold, and Proud ........................Sa 3

The Avalanches ........................M 5 Freddie Gibbs ...........................Th 8 Jamestown Revival w/ Colter Wall ................................F 9 The Record Company w/ The Deadmen Early Show! 7pm Doors ...................Sa 10

Shea Van Horn and Matt Bailer .Sa 10

Paul Simon w/ Sarah McLachlan.............................................................. JUNE 9 Jack Johnson w/ Lake Street Dive .....................................................................JUNE 11 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

dded!

First Night Sold Out! Second Night A

Rodrigo y Gabriela w/ Ryan Sheridan .......................Su 12 Lizzo ............................................F 16 Who’s Bad: The Ultimate Michael

Jackson Experience ................Sa 17 White Ford Bronco: DC’s All ‘90s Band ...................Sa 24

MERRIWEATHER 50TH ANNIVERSARY CONCERT FEATURING

JULY

Jackson

Browne and Willie Nelson w/ Father John Misty plus special guest host Grace Potter Talkin’ & Singin ... JULY 15

Caravan Palace ........................W 5 Mitski w/ Julia Jacklin & Half Waif .........Sa 8 Violent Femmes ......................Su 9 Conor Oberst (of Bright Eyes) w/ Hop Along ...............................W 26

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

Share the bargain with friends... tickets can be used by the purchaser or split up!

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Mixtape Pride Party with DJs

VANS WARPED TOUR PRESENTED BY JOURNEYS FEATURING

American Authors • Anti-Flag • The Ataris • Big D and The Kids Table • CKY •

Emmure • GWAR • Hatebreed • Hawthorne Heights • Municipal Waste and many more! ........ JULY 16 Gorillaz .................................................................................................................. JULY 17 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

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SUMMER SPIRIT FESTIVAL FEATURING

Kenny “Babyface” Edmonds • Bel Biv Devoe • Fantasia • SWV • De La Soul • Lincoln Theatre • 1215 U Street, NW Washington, D.C. JUST ANNOUNCED!

LOVETT or LEAVE IT ........................................................................... FRI JUNE 2 On Sale Friday, May 19 at 10am

AEG LIVE PRESENTS

Mystery Science Theater 3000 Live!

EEGAH Early Show! 5pm Doors ........................................................................................... JULY 9 SECRET SURPRISE FILM! Late Show! 8:30pm Doors ............................................ JULY 9 On Sale Friday, May 19 at Noon

The Internet • Trombone Shorty & Orleans Avenue • Guy featuring Teddy Riley 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 Chrysalis at Merriweather Park

Greensky Bluegrass w/ Leftover Salmon ................................................. JULY 22

THE KOOKS ...............................................................................................OCTOBER 4

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

On Sale Friday, May 19 at Noon

Rhett & Link Live! ..............................................................................FRI NOVEMBER 10 On Sale Friday, May 19 at 10am

Pimlico Race Course • Baltimore, MD

THIS SATURDAY! PREAKNESS BUDWEISER INFIELDFEST FEATURING

SAM HUNT • Zedd • Good Charlotte • LOCASH • High Valley ............................... MAY 20

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First Night Sold Out! Second Night A

AN EVENING WITH

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Old Crow Medicine Show Performing Blonde on Blonde .................................... MAY 23 Pop-Up Magazine ......................................................................................................... JUNE 6 dded!

First Night Sold Out! Second Night A

Feist .................................................................................................................................. JUNE 8

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 Paul Weller ..............................................................................................................OCTOBER 7 JOHNNYSWIM .....................................................................................................NOVEMBER 15

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Com Truise & Clark ................... F MAY 19 Tuxedo ............................................ F JUN 2 Lewis Watson ................................... Sa 20 !!! (Chk Chk Chk) w/ Nerftoss ................ Th 8 • Buy advance tickets at the 9:30 Club box office • 930.com

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

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!

32 may 19, 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

2ND & 4TH THURSDAYS 10:30 - CLOSE

BRING YOUR TICKET

AFTER ANY SHOW AT

Club

TO GET A

FREE SCHAEFERS

DAY PARTY

WITH DJ RUSSEL CAMPBELL 2nd & 4th Sundays

2 - 6pm

Music 33 Books 39 Theater 40 Film 41

Music Friday rock

9:30 Club 815 V St. NW. (202) 265-0930. Karl Denson’s Tiny Universe featuring Melvin Seals, Of Tomorrow. 8 p.m. $25. 930.com. bethesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Newmyer Flyer presents Laurel Canyon: Golden Songs of Los Angeles 1966-72.

8 p.m. $25. bethesdabluesjazz.com. birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Billy Price & The Keystone Rhythm Band Reunion, Bob Margolin Band, Skip Castro Band, Good Humor Band. 7:30 p.m. $25. birchmere.com. dC9 1940 9th St. NW. (202) 483-5000. Nightlands, The Building. 7 p.m. $14. dcnine.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. The Fat Catz, Disco Risqué, Buddahgraph Spaceship. 8:30 p.m. $5. gypsysallys.com. the hamilton 600 14th St. NW. (202) 787-1000. The Black Lillies, The Ragbirds. 8 p.m. $20–$25. thehamiltondc.com. howard theatre 620 T St. NW. (202) 803-2899. La Oreja de Van Gogh. 8 p.m. $65–$148. thehowardtheatre.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Tigers Jaw, Saintseneca, Smidley. 8 p.m. $18. rockandrollhoteldc.com. sonGbyrd musiC house and reCord Cafe 2477 18th St. NW. (202) 450-2917. Bash & Pop, BRNDA. 9 p.m. $16–$19. songbyrddc.com. tropiCalia 2001 14th St. NW. (202) 629-4535. Lucid Petrichord, Dr. Badlove, Mirror Factory. 7 p.m. $10. tropicaliadc.com. u street musiC hall 1115 U St. NW. (202) 588-1889.

Com Truise, Clark. 7 p.m. $20. ustreetmusichall.com.

classical

kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Bach’s Brandenburg Concerto No. 1, Music for the Royal Fireworks. 8 p.m. $15–$89. kennedy-center.org. kennedy Center millennium staGe 2700 F St. NW. (202) 467-4600. The Reston Chapter of Links, Inc., Washington, D.C. Chapter of Society Inc. 6 p.m.

Free. kennedy-center.org.

country

merriweather post pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Dierks Bentley, Cole Swindell, Jon Pardi. 7 p.m. $46–$76. merriweathermusic.com. verizon Center 601 F St. NW. (202) 628-3200. Eric Church. 8 p.m. $35–$129. verizoncenter.com.

located next door to 9:30 club

thE MakE-uP

Music moves through you. It is the essence of the soul, the sound and vibrations that bind us all together in the gospel of life. And in D.C., the punk rock preachers of this gospel, The Make-Up, have been largely absent in recent years. Its members—Ian Svenonius, James Canty, Michelle Mae, and Steve Gamboa—put the project to rest years ago to move on to bigger and better things (most notably, Svenonius starting his crime-rock outfit Chain & The Gang, and Canty as a member of Ted Leo’s Pharmacists). But these dark and weird times call for people to help guide us back toward the light. As such, The Make-Up is back, reuniting this summer to spread their lifeaffirming gospel-punk to the people of Earth. Though The Make-Up’s reunion this summer may be short-lived—the band’s playing a few high-profile festivals around the world, and there are currently no plans for new recordings—it’s nevertheless a welcome return, even just for a few shows. And Friday night at Black Cat, the band’s only local show, promises to be the soul-stirring sermon that D.C. desperately needs. Amen. The Make-Up performs with Permanent Waves and Tyvek at 8 p.m. at Black Cat, 1811 14th St. NW. $15–$18. (202) 667-4490. blackcatdc.com.

—Matt Cohen

Funk & r&B

World

howard theatre 620 T St. NW. (202) 803-2899.

Burna Boy, DJ Sam I Am. 11 p.m. $30–$55. thehowardtheatre.com.

Jazz

howard theatre 620 T St. NW. (202) 803-2899. La Oreja de Van Gogh. 8 p.m. $65 – $148. thehowardtheatre.com.

dJ nights

amp by strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Art Sherrod Jr. 8 p.m. $30–$40. ampbystrathmore.com.

ElEctronic

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Arturo Sandoval. 8 p.m.; 10 p.m. $70–$75. bluesalley.com.

blaCk Cat baCkstaGe 1811 14th St. NW. (202) 6674490. Tipsy with DJ Lil’e. 9:30 p.m. $7. blackcatdc.com.

2047 9th Street NW

CITY LIGHTS: Friday

eChostaGe 2135 Queens Chapel Road NE. (202) 503-2330. Nightmre, Ookay, Rickyxsan. 9 p.m. $25–$40. echostage.com. flash 645 Florida Ave. NW. (202) 827-8791. Avalon Emerson. 8 p.m. $8–$12. flashdc.com. u street musiC hall 1115 U St. NW. (202) 588-1889.

Thomas Gold, Sumner, Tony Smooth. 10:30 p.m. $12. ustreetmusichall.com.

twins Jazz 1344 U St. NW. (202) 234-0072. Project Natale. 9 p.m.; 11 p.m. $15. twinsjazz.com.

oPEra

kennedy Center opera house 2700 F St. NW. (202) 467-4600. Washington National Opera: Madame Butterfly. 7:30 p.m. $25 – $300. kennedy-center.org.

saturday rock

9:30 Club 815 V St. NW. (202) 265-0930. Whitney, Natalie Prass. 6 p.m. Sold out. Cloud Nothings, Daniel Bachman. 10 p.m. $25. 930.com. blaCk Cat baCkstaGe 1811 14th St. NW. (202) 6674490. Collider, Wildhoney, Big Hush. 9 p.m. $10–$12. blackcatdc.com. fillmore silver sprinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Flogging Molly. 8 p.m. $35. fillmoresilverspring.com.

washingtoncitypaper.com may 19, 2017 33

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

Breaking Biscuits. 9 p.m. $25–$27. gypsysallys.com.

K, Krasty McNasty, and Missguided. 9:30 p.m. $10. blackcatdc.com.

roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Nick Hakim, White Bike. 8 p.m. $15. rockandrollhoteldc.com.

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

Deep Sugar DC with Ultra Naté & Lisa Moody. 10:30 p.m. $10. ustreetmusichall.com.

sonGbyrd musiC house and reCord Cafe 2477 18th St. NW. (202) 450-2917. Holly Macve, Tom McBride. 8 p.m. $10–$15. songbyrddc.com.

ElEctronic

tropiCalia 2001 14th St. NW. (202) 629-4535. Amor Prohibido, Company Calls. 9 p.m. $15–$20. tropicaliadc.com. u street musiC hall 1115 U St. NW. (202) 588-1889.

Lewis Watson. 7 p.m. $20. ustreetmusichall.com. warner theatre 513 13th St. NW. (202) 783-4000.

Gov’t Mule. 8:30 p.m. $33.50. warnertheatredc.com.

classical

kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Bach’s Brandenburg Concerto No. 1, Music for the Royal Fireworks. 8 p.m. $15–$89. kennedy-center.org.

Rebirth of a Nation racism. Exploitation. Corruption.

DJ Spooky remixes the infamously racist 1915 silent film in a powerful multimedia event that examines how “exploitation and political corruption still haunt the world to this day, but in radically different forms.”

Paul D. Miller aka DJ Spooky with Sound Impact

kennedy Center millennium staGe 2700 F St. NW. (202) 467-4600. NSO Prelude. 6 p.m. Free. kennedy-center.org. musiC Center at strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. National Philharmonic: Carmina Burana. 8 p.m. Sold out. strathmore.org.

country

Jiffy lube live 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Jimmy Buffett. 8 p.m. $36–$136. livenation.com.

dJ nights

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

Depeche Mode Dance Party with DJs Steve EP, Killa

flash 645 Florida Ave. NW. (202) 827-8791. D’Julz. 8 p.m. $8–$15. flashdc.com. rhizome dC 6950 Maple St. NW. Pamelia Stickney, TL0741, Olga. 8 p.m. $10. rhizomedc.org.

Funk & r&B

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

Giant Panda Guerilla Dub Squad, Thunder Body. 8 p.m. $16–$21. thehamiltondc.com.

Jazz

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Walter Beasley. 7:30 p.m. $45. birchmere.com. blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Arturo Sandoval. 8 p.m.; 10 p.m. $70–$75. bluesalley.com. twins Jazz 1344 U St. NW. (202) 234-0072. Project Natale. 9 p.m.; 11 p.m. $15. twinsjazz.com.

World

eChostaGe 2135 Queens Chapel Road NE. (202) 503-2330. Ozuna. 9 p.m. $60. echostage.com.

sunday rock

9:30 Club 815 V St. NW. (202) 265-0930. Laura Marling, Valley Queen. 7 p.m. $30. 930.com.

CITY LIGHTS: saturday

May 23 at 8 p.m.

Eisenhower theater

MADAME BUTTERFLY 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.

Support for JFKC: A Centennial Celebration of John F. Kennedy is provided by Ambassador Elizabeth Frawley Bagley, Chevron, The Blanche and Irving Laurie Foundation, and Target.

34 may 19, 2017 washingtoncitypaper.com

The last time Japanese designer Jun Kaneko paired up with the Washington National Opera, it was for his whimsical imagining of The Magic Flute, in which he imagined half the characters (the magical ones) to be Asian, dressing them in kabuki outfits and makeup. It was a bold—and also unnecessary and confusing—Orientalization of Mozart’s original, which was inspired by German folk tradition and Freemasonry. So as the WNO prepares to do another Kaneko-designed opera, it makes sense for them to select Madame Butterfly. Not that the source material is particularly culturally accurate: This is, after all, an opera by an Italian composer based on an American play set in Japan. Nor are any of the singers Japanese, keeping with opera’s tradition of colorblind casting. Butterfly is one of those classic operas that’s at once beautiful and deeply fucked up—a lurid tale of the statutory rape of a Japanese teen by an American sailor. But given the setting, Kaneko’s bright, crazy colored kimonos and shoji screens are less incongruous this time around. The opera runs May 6 to May 21 at the Kennedy Center Opera House, 2700 F St. NW. $25–$300. (202) 467-4600. kennedy-center.org.

—Mike Paarlberg

washingtoncitypaper.com may 19, 2017 35

CITY LIGHTS: sunday

ULYSSES ON BOTTLES

An Arab-Israeli school teacher tries to smuggle copies of Dostoyevsky to Gaza on a raft made of plastic bottles. What happens next? That sounds like the set-up of a high-brow joke, but it’s actually the plot of Ulysses on Bottles, Israeli playwright Gilad Evron’s drama that kicks off this year’s edition of Mosaic Theater Company’s Voices of the Changing Middle East Festival. Led by managing director Serge Seiden, the play uses the case of the aforementioned school teacher, nicknamed Ulysses, and his Jewish, pro-bono defense attorney Izakov to view the Israeli-Palestinian conflict through a different lens. It focuses not on the aggressors and their motivations but the costs of the conflict and the emotional, intellectual, spiritual, and physical casualities in Gaza. The playwright and director see Ulysses on Bottles as an invitation to examine the commonalities that bind not just Israelis and Palenstinians but all people across the world in search of of mutual respect and education. The play runs May 18 to June 11 at Atlas Performing Arts Center, 1333 H St. NE. $15–$60. (202) 399-7993. atlasarts.org.

—Jackson Sinnenberg

RESULTS ARE IN! legacy.washingtoncitypaper.com/bestofdc

36 may 19, 2017 washingtoncitypaper.com

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Nitty Gritty Dirt Band with Baylor Wilson. 7:30 p.m. $45. birchmere.com. blaCk Cat baCkstaGe 1811 14th St. NW. (202) 6674490. Gringo Star, Shantih Shantih, Kit & the Chardonnay Boys. 7:30 p.m. $15. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. Skating Polly, Canker Blossom. 8 p.m. $10–$12. dcnine.com.

Galaxy hut 2711 Wilson Blvd., Arlington. (703) 5258646. Retroglyphs, Venn. 9 p.m. $5. galaxyhut.com. warner theatre 513 13th St. NW. (202) 783-4000.

Little Feat. 8 p.m. $37.50–$47.50. warnertheatredc.com.

classical

national Gallery of art east buildinG auditorium 4th Street and Constitution Avenue NW. (202) 842-6799. Poulenc Trio. 4 p.m. Free. nga.gov. national Gallery of art east Garden Court 4th Street NW and Constitution Avenue NW. (202) 842-6941. United States Marine Chamber Orchestra.

2 p.m. Free. nga.gov.

ElEctronic

flash 645 Florida Ave. NW. (202) 827-8791. Matthew Dekay. 8 p.m. $8–$15. flashdc.com.

Funk & r&B

BluEs

bethesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. The Persuaders. 7 p.m. $40. bethesdabluesjazz.com.

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

David Bromberg Big Band, Honey Child. 7:30 p.m. $34.75–$73.50. thehamiltondc.com.

eChostaGe 2135 Queens Chapel Road NE. (202) 503-2330. Rick Ross. 9 p.m. $36.80. echostage.com.

hiP-hoP

CITY LIGHTS: Monday

AMERICA COLLECTS EIGHTEENTHCENTURY FRENCH PAINTINGS

When America came of age as a nation in the early 19th century, its citizens started collecting art and building the new country’s museums. After two wars, British work was seemingly off limits and American artists had yet to fully develop their styles, so they gravitated toward French paintings, especially after Joseph Bonaparte, brother of Napoleon, displayed his collection upon arriving in the U.S. in 1815. As a result, museums across the nation, from Phoenix to Birmingham, now have works by painters like François Boucher and Jacques Louis David in their permanent collections. In its latest exhibition, the National Gallery of Art brings together many of those pieces and attempts to explain the art preferences of early Americans. Covering everything from the eruption of Mount Vesuvius to portraits of American leaders who spent time in France to stories from classic literature, the show focuses more on the similarities in style than substance. The delicate beauty of the 68 paintings on display will teach you about both craft and curating. The exhibition is on view Mondays through Saturdays 10 a.m. to 5 p.m. and Sundays 11 a.m. to 6 p.m., to Aug. 20, at the National Gallery of Art, 6th Street and Constitution Avenue NW. Free. (202) 737-4215. nga.gov.

—Caroline Jones sonGbyrd musiC house and reCord Cafe 2477 18th St. NW. (202) 450-2917. Loyle Carner. 8 p.m. $12–$14. songbyrddc.com.

Jazz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Arturo Sandoval. 8 p.m.; 10 p.m. $70–$75. bluesalley.com. twins Jazz 1344 U St. NW. (202) 234-0072. Joe Fiedler. 8 p.m.; 10 p.m. $10. twinsjazz.com.

Monday rock

9:30 Club 815 V St. NW. (202) 265-0930. Animal Collective, Circuit des Yeux. 7 p.m. Sold out. 930.com. fillmore silver sprinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Sabaton. 8 p.m. $26. fillmoresilverspring.com.

BluEs

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Robert Cray Band. 7:30 p.m. $55. birchmere.com.

classical

kennedy Center millennium staGe 2700 F St. NW. (202) 467-4600. AYPO’s Chamber Ensembles. 6 p.m. Free. kennedy-center.org.

rock

9:30 Club 815 V St. NW. (202) 265-0930. Mac DeMarco, Tonstartssbandht. 7 p.m. Sold out. 930.com.

dC9 1940 9th St. NW. (202) 483-5000. Lincoln Durham, Will Varley. 9 p.m. $10–$12. dcnine.com. fillmore silver sprinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Chevelle. 7:30 p.m. $29.50. fillmoresilverspring.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Kevin Morby, John Andrews & The Yawns. 8 p.m. $15. rockandrollhoteldc.com.

classical

kennedy Center eisenhower theater 2700 F St. NW. (202) 467-4600. Rebirth of a Nation with DJ Spooky and Sound Impact. 8 p.m. $19–$55. kennedy-center.org. kennedy Center millennium staGe 2700 F St. NW. (202) 467-4600. The Trombonists of the Kennedy Center Opera House Orchestra and the National Symphony Orchestra. 6 p.m. Free. kennedy-center.org.

Jazz

Funk & r&B

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Gerald Clayton Trio. 8 p.m.; 10 p.m. $22.50. bluesalley.com.

20

linColn theatre 1215 U St. NW. (202) 888-0050.

Old Crow Medicine Show. 8 p.m. $45. thelincolndc.com. howard theatre 620 T St. NW. (202) 803-2899.

Capleton. 9 p.m. $25–$60. thehowardtheatre.com.

Jazz

bethesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Bethesda-Chevy Chase High School Jazz Ensemble, MCPS Faculty Big Band.

7:30 p.m. $10. bethesdabluesjazz.com.

SHANNON MCNALLY

GOLDEN SONGS OF LOS ANGELES 1966-72 JOE CLAIR & FRIENDS COMEDY SHOW

THUR., MAY 25 ~ 8:30PM TIX: $17-$20

2SHOWS (7/10PM)

SU 21 W 24

THE PERSUADERS: THIN LINE BETWEEN LOVE & HATE THE VOCAL WORKSHOP WITH CHRIS GRASSO

H

SHOWCASE 7/9PM

TH 25 &F 26 S 27 SU 28

5.18

ROY AYERS W/ SPECIAL GUEST CAROLYN MALACHI BE’LA DONA CONFUNKSHUN

5.19 5.20 5.23 5.25 5.26 5.27

T

30

W 31

F

2

SAT 3 W 7 F

9

TH’ LEGENDARY SHACK SHAKERS & JESSE DAYTON THE HIGHBALLERS KITI GARTNER JASON RINGENBERG SHANNON MCNALLY CHARLIE OWEN & POCKET CHANGE SCOTT KURT & MEMPHIS 59

A TRIBUTE TO THE MUSIC OF ALEXANDER O’NEAL FEAT. KEITH SOUL EDWIN ORTIZ LA MAFIA DEL GUAGUANCO

H

6.1

GANGSTAGRASS / THE WHISKEY GENTRY 6.2 BILLY JOE SHAVER 6.3 STRAHAN & THE GOOD NEIGHBORS 6.8 TOM HEYMAN / DAN STUART 6.9 WOODY PINES 6.15 JUMPIN’ JUPITER 6.16 MARAH 6.17 KRIS LAGER BAND 6.19 THE BLAIR - PONGRACIC BAND / ATOMIC MOSQUITOS 6.23 FOLK SOUL REVIVAL 6.27 FLAT DUO JETS & DADDY LONG LEGS 7.1 RANDY THOMPSON BAND 7.2 SUNNY SWEENEY 7.6 QUILES & CLOUD 7.11 ROSELIT BONE 7.18 THE CRANE WIVES 7.21 SUPERSUCKERS / THE UPPER CRUST 8.15 BELLA HARDY 8.17 RAY WYLIE HUBBARD 8.18 RAY WYLIE HUBBARD 8.24 THE YAYHOOS 8.28 SCOTT H. BIRAM 8.29 DALE WATSON & HIS LONE STARS 9.21 THE BLASTERS 10.25 SLAID CLEAVES

JUNE TH 1

H

H

2SHOWS (7/10PM)

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Kiefer Sutherland, Rick Brantley. 7:30 p.m. Sold out. birchmere.com.

Folk

bethesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Walt Whitman High School Jazz Band. 7:30 p.m. $10. bethesdabluesjazz.com.

S

M AY 19 NEWMYER FLYERS PRESENT LAUREL CANYON:

tuEsday

Folk

linColn theatre 1215 U St. NW. (202) 888-0050.

Old Crow Medicine Show. 8 p.m. $45. thelincolndc.com.

F

MICHAEL HENDERSON & CHERRELLE STARSHIP LANDING THE FABULOUS HUBCAPS THE WANNA BEATLES PLUS VI-KINGS PRINCE TRIBUTE SHOW WAYNA

http://igg.me/at/bethesdablues 7719 Wisconsin Ave., Bethesda, MD

HILL COUNTRY BARBECUE MARKET

(240) 330-4500

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

410 Seventh St, NW • 202.556.2050 Hillcountrylive.com • Twitter @hillcountrylive

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

washingtoncitypaper.com may 19, 2017 37

LIVE MORGAN

CITY LIGHTS: tuEsday

UPCOMING PERFORMANCES

JAMES

THE RECKLESS ABANDON TOUR

W/ ANDY ALLO THURSDAY MAY

the

18

BLACK

LILLIES

W/ THE RAGBIRDS FRIDAY MAY

19

SAT, MAY 20

GIANT PANDA GUERILLA DUB SQUAD W/ THUNDER BODY SUN, MAY 21

DAVID BROMBERG BIG BAND W/ HONEY CHILD

WED, MAY 24

BEN SIDRAN FRI, MAY 26

JOHN MAYALL W/ BILL CARTER SAT, MAY 27

TDC SHOWS PRESENTS

7pm & 10:30pm

AMEL LARRIEUX WED, MAY 31

JOHN NEMETH AND DANIELLE NICOLE BAND THURS, JUNE 1

THE NEW STEW

Mac dEMarco

Mac DeMarco has often been described as the court jester of indie rock, a title he’s embraced, whether by smoking a cigarette through the gap in his teeth, inviting fans to visit his Queens home, or hiring a fan club assistant proficient in dank memes. But on his latest album, This Old Dog, the 27-year-old singer-songwriter with a penchant for laidback, Lennon-esque melodies is a bit more serious. His third solo album is heavy with themes of loss and pain caused by failed romances, the transition into adulthood and, predominantly, his relationship with his father, who struggled with addiction and was not a part of DeMarco’s life. On “My Old Man,” he frets about “seeing more of my old man in me,” and by the closing, one-two punch of “Moonlight on the River” and “Watching Him Fade Away,” he’s even more honest. “I’d say, see you later, if I thought I’d see you later, and I’d tell you, that I loved you, if I did,” he coos on the former; on the latter, he admits that “even though we barely know each other, it still hurts watching him fade away.” Over the course of 13 tracks, DeMarco proves that This Old Dog certainly has a few new tricks. Mac DeMarco performs with Tonstartssbandht at 8 p.m. at 9:30 Club, 815 V St. NW. Sold out.

(202) 265-0930. 930.com.

—Chris Kelly

PERFORMING THE ALBUM

BILL WITHERS LIVE AT CARNEGIE HALL W/ PARIS MONSTER FRI, JUNE 2

CHUBBY CARRIER & THE BAYOU SWAMP BAND W/ THE GET RIGHT BAND SAT, JUNE 3

OLD EBBITT GRILL PRESENTS

AUSTRIAN WINE TOUR SAT, JUNE 3

NEWMYER FLYER PRESENTS

PAUL McCARTNEY’S 75TH BIRTHDAY TRIBUTE SUN, JUNE 4

BAND TOGETHER WITH

MARK G. MEADOWS AND BRAXTON COOK

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Lena Seikaly. 8 p.m.; 10 p.m. $22. bluesalley.com.

WEdnEsday rock

38 may 19, 2017 washingtoncitypaper.com

fillmore silver sprinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Russ. 9 p.m. $34. fillmoresilverspring.com.

Jazz

9:30 Club 815 V St. NW. (202) 265-0930. Mac DeMarco, Tonstartssbandht. 7 p.m. Sold out. 930.com.

bethesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Roy Ayers, Carolyn Malachi. 8 p.m. $45–$55. bethesdabluesjazz.com.

dC9 1940 9th St. NW. (202) 483-5000. Br’er, Odetta Hartman, Nappy Nappa. 9 p.m. $10. dcnine.com.

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Cecily. 8 p.m.; 10 p.m. $20. bluesalley.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. King Washington. 8:30 p.m. $8–$10. gypsysallys.com.

the hamilton 600 14th St. NW. (202) 787-1000. Ben Sidran, Sarah Quintana. 7:30 p.m. $14.75–$34.75. thehamiltondc.com.

merriweather post pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Bon Iver, Hiss Golden Messenger. 8 p.m. $46–$76. merriweathermusic.com.

classical

kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: John F. Kennedy Centennial Celebration with Yo-Yo Ma. 8 p.m. $79–$199. kennedy-center.org.

country

kennedy Center millennium staGe 2700 F St. NW. (202) 467-4600. David Ball. 6 p.m. Free. kennedy-center.org.

Funk & r&B THEHAMILTONDC.COM

hiP-hoP

sonGbyrd musiC house and reCord Cafe 2477 18th St. NW. (202) 450-2917. Tkay Maidza. 8 p.m. $12–$14. songbyrddc.com.

mansion at strathmore 10701 Rockville Pike, North Bethesda. (301) 581-5100. Simone Baron. 7:30 p.m. $17. strathmore.org. twins Jazz 1344 U St. NW. (202) 234-0072. Benny Sharoni. 8 p.m.; 10 p.m. $10. twinsjazz.com.

thursday rock

9:30 Club 815 V St. NW. (202) 265-0930. Marian Hill, Opia. 7 p.m. Sold out. 930.com. blaCk Cat baCkstaGe 1811 14th St. NW. (202) 6674490. Stone Driver, Classified Frequency, Derek Evry.

7:30 p.m. $12. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. Thomas Wynn & The Believers. 9 p.m. $12. dcnine.com.

CITY LIGHTS: WEdnEsday

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

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

Tix @ Ticketmaster.com 800-745-3000

May As seen in “O Brother, Where Art Thou?”

18

SOGGY BOTTOM BOYS

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

Reunion 2017!

7 pm

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

WALTER BEASLEY

20 21

THE ROBERT CRAY BAND & Luna 26 OTTMAR LIEBERT Negra

22

hiss goldEn MEssEngEr

Nothing better epitomizes the spirit of dad rock (read: rock music preferred by cisgender straight white males of a certain age) than a desire to enjoy sensible, adult-oriented tunes and a perpetual obsession with avoiding rush hour traffic. Which is why it’s crucially important to take some extra flex time on Wednesday to ensure you’re in your seat or parked on the lawn to catch the opening set of Durham, N.C.’s Hiss Golden Messenger prior to the night’s main attraction, Bon Iver. Essentially the project of singer-songwriter MC Taylor, the band has slowly evolved from a hushed, acoustic project to a fuller band-oriented sound that wouldn’t be out of place among parental perennials such as Van Morrison and The Band. Songs like “Heart like a Levee” and “Saturday’s Song” feel tailor-made for the easy vibes of a spring sunset at Merriweather, allowing one to momentarily forget their worries before the dread of the drive home and early morning work responsibilities rears its ugly head. Hiss Golden Messenger performs with Bon Iver at 8 p.m. at Merriweather Post Pavilion, 10475 Little Patuxent Parkway, Columbia. $46–$76. (410) 715-5550. merriweathermusic.com.

—Matt Siblo Gypsy sally’s 3401 K St. NW. (202) 333-7700. Caroline Spence, Chamomile & Whiskey. 8 p.m. $8. gypsysallys.com. merriweather post pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Sigur Ros. 8 p.m. $46–$183. merriweathermusic.com.

classical

kennedy Center millennium staGe 2700 F St. NW. (202) 467-4600. VSA International Young Soloists. 6 p.m. Free. kennedy-center.org. musiC Center at strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Maryland Classic Youth Orchestras: Luminosity with special guest Corky Siegel. 7:30 p.m. $15–$25. strathmore.org.

ElEctronic

flash 645 Florida Ave. NW. (202) 827-8791. Claptone. 8 p.m. $20–$40. flashdc.com.

Funk & r&B

wolf trap filene Center 1551 Trap Road, Vienna.

(703) 255-1900. Mary J. Blige. 8 p.m. $45–$145. wolftrap.org.

gosPEl

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Ronnette Harrison. 8 p.m.; 10 p.m. $22. bluesalley.com.

Vocal

kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. The Hubble Cantata. 7:30 p.m. $15–$45. kennedy-center.org.

Books

sidney blumenthal The former journalist and political operative discusses his new book, Wrestling with His Angel: The Political Life of Abraham Lincoln Vol. II, 1849-1856. Politics & Prose. 5015 Connecticut Ave. NW. May 19 7 p.m. Free. (202) 364-1919. riChard dawkins The controversial evolutionary biologist and author discusses his work and current events with Jerry Coyne. GW Lisner Auditorium. 730 21st St. NW. May 24 7 p.m. $29. (202) 994-6800.

Jean r. freedman The author and historian reads from Peggy Seeger: A Life of Music, Love, and Politics, her biography of one of folk music’s favorite daughters. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. May 22 6:30 p.m. Free. (202) 387-1400.

bethesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Roy Ayers, Carolyn Malachi. 8 p.m. $45–$55. bethesdabluesjazz.com.

Granta best of younG ameriCan novelists 3 Writers selected as the best of the best by the acclaimed literary magazine, including Jesse Ball, Rachel B. Glaser, and Sana Krasikov, read at this event. Politics & Prose. 5015 Connecticut Ave. NW. May 24 7 p.m. Free. (202) 364-1919.

twins Jazz 1344 U St. NW. (202) 234-0072. Spider Saloff. 8 p.m.; 10 p.m. $10. twinsjazz.com.

dennis lehane The popular crime novelist and Massachusetts native behind titles like Mystic

Jazz

An Evening with

THE SELDOM SCENE June THE HOT SARDINES 2 With Love” LULU “To Sir& more!

3 Harrow 4 TAB BENOIT Fair 6 ERIC JOHNSON ELECTRIC BAND with Special Guest Arielle

MIKI HOWARD

9

10 The Mike Seeger Commemorative

OLD TIME BANJO FESTIVAL In the

15

!

MAY / JUNE SHOWS THU 18

18

KINDRED THE FAMILY SOUL Stephanie AMERICA Urbina Jones

21

GERALD ALBRIGHT & JONATHAN BUTLER

16&17

JACK ON FIRE (LAST SHOW!)

FRI 19

THE MAKE UP

FRI 19

TIPSY WITH DJ LIL’E

SAT 20

2000S ALT DANCE PARTY

DEPECHE MODE

DANCE PARTY

COLLIDER

(RECORD RELEASE)

GRINGO STAR

WED 24 DRUNK

EDUCATION

THU 25 JOE STRUMMER FOUND. BENEFIT:

STONE DRIVER

FRI 26

BEY V JAY

THE CARTER V CARTER DANCE PARTY W/ DJ DREDD

FRI 26

ELIZABETH CROYDEN

SAT 27

THE ORWELLS

FRI 2

SUPER ART FIGHT

SAT 3

WHEDONISM VI

FRI 9

OLD 97s

22

@blackcatdc

SUN 21

FREDDIE JACKSON

28

www.blackcatdc.com

SAT 20

with Baylor Wilson

27

1811 14TH ST NW

BOOTY REX

THE ORWELLS

From ruPaul’s Drag race

BenIDel- a- c-reme

SAT MAY 27

nFerno a go go

AIMEE MANN Jonathan Coulton 24 ALEJANDRO ESCOVEDO BAND 25 THREE DOG NIGHT 26 ROSANNE CASH and Band BADFINGER 28 “Straight Up” Live & Complete starring JOEY MOLLAND 29 KATHLEEN EDWARDS

23

Canada 150 Celebration!

30

VIVIAN GREEN

SAT JUNE 17

JC BROOKS

TAKE METRO!

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

TO BUY TICKETS VISIT TICKETFLY.COM washingtoncitypaper.com may 19, 2017 39

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

THE FAMOUS

MCDOOGALS

Laura Marling at 9:30 Club, may 21

600 beers from around the world

Downstairs: good food, great beer: all day every day *all shows 21+ M AY 1 8 T H

FORDHAMBREWING TAPPINGNIGHT River and Shutter Island reads from his new book, Since We Fell. Politics & Prose. 5015 Connecticut Ave. NW. May 20 6 p.m. Free. (202) 364-1919.

M AY 1 9 T H

DCWEIRDOSHOWPRESENTS: THEGENDERQUEERDOSHOW!

matt moore In The South’s Best Butts, the food writer gives readers an in-depth look at the barbecue industry in the American South. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. May 25 6:30 p.m. Free. (202) 387-1400.

DOORS AT 8PM,SHOW AT 9PM

COASTTOCOASTIPAS TAPPING NIGHT 4PM

J. Courtney sullivan The author of the popular novels Commencement, The Engagements, and Maine discusses All These Saints, her new novel about two dramatically different sisters who are forced to reunite following a family emergency. Sullivan will appear in conversation with WAMU’s Tayla Burney. Politics & Prose. 5015 Connecticut Ave. NW. May 21 3 p.m. Free. (202) 364-1919.

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40 may 19, 2017 washingtoncitypaper.com

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the arabian niGhts Ten years after first presenting this drama based on The Book of the Thousand Nights and One Night, Constellation Theatre revives it. Director Allison Arkell Stockman tells stories of love, desire, and sacrifice in this elaborate production. Constellation Theatre at Source. 1835 14th St. NW. To June 4. $20–$45. (202) 204-7741. constellationtheatre.org. the father In this internationally acclaimed drama, an elderly man starts to lose track of his life and experiences strange events, from disappearing furniture to unknown people in his home. Local favorite Ted van Griethuysen stars in Florian Zeller’s drama, translated by Christopher Hampton. Studio Theatre. 1501 14th St. NW. To June 18. $20–$85. (202) 3323300. studiotheatre.org. the hunChbaCk of notre dame The story of the deformed bellringer Quasimodo and the enchanting dancer Esmerelda who captures his heart comes alive in a wordless production helmed by Founding Artistic Director Paata Tsikurishvili. The city runs wild when Quasimodo’s adoptive father pursues Esmerelda but Quasimodo’s inclination to protect the woman he cares for remains. Synetic Theater at Crystal City.

1800 South Bell St. , Arlington. To June 11. $20–$60.

(866) 811-4111. synetictheater.org.

Jesus Christ superstar Signature presents this classic Andrew Lloyd Webber musical that chronicles the last week of Christ’s life. Featuring songs like “I Don’t Know How to Love Him” and “Everything’s Alright,” this production is directed by Joe Calarco.

Signature Theatre. 4200 Campbell Ave., Arlington. To July 2. $40–$99. (703) 820-9771. sigtheatre.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.

the man who Inspired by the late Oliver Sachs’ The Man Who Mistook his Wife for a Hat, this play incorporates research and improvisation techniques. Originally performed in French, Peter Woods’ play closes the Spooky Action season. Spooky Action Theater.

1810 16th St. NW. To June 4. $20–$40. (202) 248-0301. spookyaction.org. master Class Young opera students train with an aging Maria Callas in Terrence McNally’s drama about the sacrifices artists make for their craft and the demands of performing at a high level. Local favorite Ilona Dulaski stars in this production directed by Nick Olcott. MetroStage. 1201 N. Royal St., Alexandria. To June 11. $55–$60. (703) 548-9044. metrostage.org. outside mullinGar John Patrick Shanley’s latest play gets its D.C. premiere at the Keegan under the direction of Mark A. Rhea. Told from the perspective of two farmers, it’s a rumination on love and the nature of relationships. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To May 28. $35–$45. (202) 265-3767. keegantheatre.com. 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. 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. timon of athens The generous and wealthy Timon experiences a downturn of fortune and must figure out a way to survive in this biting Shakespearean satire. Robert Richmond, last seen at the Folger directing Julius Caesar, leads this production starring Helen Hayes Award-winner Ian Merrill Peakes. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To June 11. $35–$75. (202) 544-7077. folger.edu. topdoG/underdoG Jessica Frances Dukes and Dawn Ursula star in this Pulitzer-winning drama about two brothers who end up fighting each other for the upper hand in the game of life. For the first time since the play premiered, Olney and director Timothy Douglas have decided to cast two women in traditionally male roles. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To June 11. $35–$70.

(301) 924-3400. olneytheatre.org. ulysses on bottles An Israeli teacher faces legal consequences when he tries to smuggle copies of Crime & Punishment to his students in this searing drama from Gilad Evron. Presented as part of Mosaic Theater Company’s “Voices of a Changing Middle East” festival. Atlas Performing Arts Center. 1333 H St. NE. To June 11. $15–$60. (202) 399-7993. atlasarts.org.

DIANE LANE

CITY LIGHTS: thursday

diary of a wimpy kid: the lonG haul The family departs on a road trip to celebrate their grandmother’s 90th birthday and plenty of hijinks ensue. Starring Jason Drucker, Alicia Silverstone, and Tom Everett Scott. (See washingtoncitypaper.com for venue information) everythinG, everythinG In this story of young love, a teenager who spends most of her life inside due to serious allergies develops a relationship with her new neighbor. Starring Amandla Stenberg, Nick Robinson, and Anika Noni Rose. (See washingtoncitypaper.com for venue information) kinG arthur: leGend of the sword Charlie Hunnam stars as the impoverished king who retakes his destiny when he removes a sword from a stone in

ALEC BALDWIN

LIOR HANK STEVE RICHARD GERE ASHKENAZI AZARIA BUSCEMI CHARLOTTE MICHAEL DAN JOSH GAINSBOURG SHEEN STEVENS CHARLES

“AMAZINGLY FUNNY.” -A.O. Scott, THE NEW YORK TIMES

NORMAN

-Peter Travers, ROLLING STONE

Mary J. Blige has made a career of vividly conveying her personal life in her songs. As she navigates a messy divorce from her manager/husband, the vocalist turns heartbreak into transformative anthems on her new album, Strength of a Woman. While song titles like “Love Yourself ” and “Set Me Free” may sound cliché, these are crafty, hook-filled numbers that the Yonkersraised powerhouse imbues with her raw yet tender wail. On “Thick of It,” Blige laments her “hell of a year,” while telling herself “no more crying and trying.” Musically, Blige’s tales of catharsis are aided by production from innovative beatmakers like DJ Camper and Kaytranada, who blend her Pentecostal church-rooted timbre with insistent, danceable rhythms. Blige, who first came to fame seeking “Real Love” in 1992, and later yearned for “No More Drama” in 2001, is still succeeding in turning the ups and downs of love into triumphant songs of survival 25 years later. Mary J. Blige performs at 8 p.m. at the Filene Center at Wolf Trap, 1551 Trap Road, Vienna. $45–$145. (703) 255-1900. wolftrap.org.

—Steve Kiviat

alien: Covenant A space crew discovers a fantastical paradise but must attempt a narrow escape when they encounter a threat in this latest entry in the Alien franchise. Directed by Ridley Scott. (See washingtoncitypaper.com for venue information)

AND

“A DELICIOUS ROMANTIC BON BON. DIANE LANE IS IRRESISTIBLE.”

Mary J. BligE

Film

ARNAUD VIARD

this retelling of the ancient legend from director Guy Ritchie. Co-starring Jude Law, Astrid Bergès-Frisbey, and Djimon Hounsou. (See washingtoncitypaper.com for venue information) the lovers Tracy Letts and Debra Winger play a divorced couple who suddenly reunite in this intense personal drama written and directed by Azazel Jacobs. (See washingtoncitypaper.com for venue information) paris Can wait A woman facing a crossroads in her life attempts to add some excitement by taking off on an impromptu road trip with her husband’s business associate in this drama from director and screenwriter Eleanor Coppola. Starring Diane Lane, Alec Baldwin, and Arnaud Viard. (See washingtoncitypaper. com for venue information) snatChed An adventurous daughter persuades her cautious mother to accompany her on an exotic vacation when shenanigans ensue in the comedy starring Amy Schumer and Goldie Hawn. Directed by Jonathan Levine. (See washingtoncitypaper.com for venue information)

PARIS CAN WAIT a film by

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WASHINGTON CITY THUR 5/18 2 COL. (2.25) X 3.371 ALL.NMN.0518.WCP

DC JAZZFESTIVAL JUNE 9 – 18, 2017 WASHINGTON CITY PAPER THU 5/18 2.25" X 3.371" 1/12 PG JL ALL.PCW.0518.WCP #6

A Night at the Kennedy Center

AN EVENING WITH

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W/ANTONIO SANCHEZ, LINDA MAY HAN OH & GWILYM SIMCOCK

Monday 6/12 | 7:30 PM | The Kennedy Center Concert Hall

FOR TICKETS VISIT KENNEDY-CENTER.ORG @DCJAZZFEST

For tickets, artists and a complete schedule, visit DCJAZZFEST.ORG PRESENTING SPONSOR

PLATINUM SPONSORS

The DC Jazz Festival®, a 501(c)(3) non-profit service organization, and its programs are made possible, in part, with major grants from the Government of the District of Columbia, Muriel Bowser, Mayor; and, in part, by major grants from the Anne and Ronald Abramson Family Foundation, The Morris and Gwendolyn Cafritz Foundation, Gillon Family Charitable Fund, The Mayo Charitable Foundation, CrossCurrents Foundation, Wells Fargo Foundation, The NEA Foundation, Venable Foundation, The Dallas Morse Coors Foundation for the Performing Arts, The Max and Victoria Dreyfus Foundation, The Reva & David Logan Foundation, John Edward Fowler Memorial Foundation, Bill and Melinda Gates Foundation; and with awards from the National Endowment for the Arts and the DC Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts. ©2017 DC Jazz Festival. All rights reserved.

washingtoncitypaper.com may 19, 2017 41

Contents:

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Adult . . . . . . . . . . . . . . . . . . . . . . . 42 Auto/Wheels/Boat . . . . . . . . . . . 42 Buy, Sell, Trade Marketplace . . . . . . . . . . . . . . . . . 42 Community . . . . . . . . . . . . . . . . . . 43 Employment . . . . . . . . . . . . . . . . . 42 Health/Mind . . . . . . . . . . . . . . . . . . . .

Body & Spirit . . . . . . . . . . . . . . . . . 43 Housing/Rentals . . . . . . . . . . . . . 42 Legal Notices . . . . . . . . . . . . . . . . 42 Music/Music Row . . . . . . . . . . . . . 42 Pets . . . . . . . . . . . . . . . . . . . . . . . . 42 Real Estate . . . . . . . . . . . . . . . . . . 42 Shared Housing . . . . . . . . . . . . . . 42 Services . . . . . . . . . . . . . . . . . . . . . 42

Diversions Crossword . . . . . . . . . . . . . . . . . . . 43

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Legals

WASHINGTON LEADERSHIP ACADEMY REQUEST FOR PROPOSALS School Furniture

Achievement Prep PCS - Request for Proposal – Facilities Support Services Achievement Prep PCS is seeking competitive bids for the following services: 1) Provision of HVAC Maintenance Services 2) Middle School Interior Painting Service Please find RFP specifi cations at www.achievementprep.org under “News”. Proposals must be received by 5:00PM on Friday, May 26, 2017. Please send proposals to bids@achievmentprep.org and include “RFP for Maintenance” or “RFP for Painting” in the heading as appropriate.

Washington Leadership Academy Public Charter School, an approved 501(c)3 organization, requests proposals for the following furniture: Item Quantity *HON SmartLink Seating 18” 4L Chair with Wheels - 120 *HON Student Desk Lam Top/SecurEdge Adj Leg Assembled-set - 30 *Vicro Sigma Series Desk 20” x 26” Top With 27” Fixed Height - 60 *Vicro Zuma Series Cantilever 2-Student Desk 22”D x 60”W x 29”H - 15 *White, locking, classroom storage options, preferably on wheels (roughly 30W x 60H) - 10 Freight and installation Installation should occur on August 1, 2017 Washington Leadership Academy Public Charter School is seeking qualifi ed professionals for the above services. Applications must include references, resumes exhibiting experience in said fi eld, and estimated fees. Please email proposals to ngould@wlapcs.org.

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Subcontracting opportunity for certifi ed DBEs, MBEs, & WBEs with Fort Myer Construction for DC Water, Invitation No. 170050: Emergency Sewer Main IR&R Contract for FY18-FY20. Work includes emergency repair, repair/replace various pressurized and gravity sewers, stormwater drainage systems, and water mains. Items include point repair, excavation, asphalt, cleaning of sewer lines, CCTV inspection, chemical root treatment, adjustments of drainage structures, etc.

Subcontracting Quotes Due: 5/16/17. Mandatory: Submit Subcontractor Approval Request form w/ quote. For more info, contact P. Batista: pbatista@fortmyer.com or 202.636.9535. Visit fortmyer. com for upcoming solicitations.

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BRIYA PUBLIC SCHOOL

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Announcements DC International School Invitation for Bid RFP for Janitorial & Landscaping Services: DC International School (DCI) is seeking competitive bids for Janitorial Services.

Bids must include day porters for school hours (8 am - 4 pm), as well as night cleaning for facility.

DCI next year will be located at 14th and Aspen on the Walter Reed Campus at Delano Hall. The building is 100,000 square feet on 4 floors and on 2 acres until the Gym addition opens in the spring.

Please provide estimates for building (100k square feet) and ground maintenance. Bids must include evidence of experience in fi eld, qualifi cations and estimated fees. Proposals must include supplies.

Preference will be given to environmentally friendly supplies and practices. We will be having a site visit on May 23, 2017 at 9 am. Please email rfp@ dcinternationalschool.org should you wish to get information for the tour. Proposals must be received no later than the close of business Wednesday, May 31, 2017.

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Carlos Rosario Public Charter School is looking to purchase a new Assisted Listening System that includes 300 Portable Assisted Listening Receivers and between 6 - 10 Portable Assisted Listening Transmitters. The devices must be multi-channel programmable devices ideal for working in auditoriums FIND YOUR OUTLET.and public halls. For further information RELAX, UNWIND, REPEAT please contact Gus Viteri at gviteri@carlosrosario.org.

All quotes CLASSIFIEDS HEALTH/ must be submitted no later than MIND, BODY & SPIRIT May 31, 2017

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

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plus commissions, and a full array of benefitswashingthttp://www including medical/dental/life/disability insurance, oncitypaper.com/ a 401K plan, and paid time off including holidays.

Compensation potential has no limits – we pay based on performance.

For consideration please send an introduction letter and resume to Melanie Babb at mbabb@washingtoncitypaper.com.

No phone calls please.

washingtoncitypaper.com May 19, 2017 43

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