Washington City Paper (May 24, 2019)

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NEWS: D.C.’S CHILDHOOD ASTHMA EPIDEMIC 6 SPORTS: REMEMBER CHIEN-MING WANG? 8 ARTS: ZORA NEALE HURSTON ON STAGE 18

Murder, He Wrote Did The Princeton Place Killer take credit for a murder he didn’t commit? P. 10

By Bill Myers

Photographs by Darrow Montgomery

Take Metrobus and Metrorail to the...

Tickets at dcjazzfest.org | @dcjazzfest 2/26/2019

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DC JAZZ FESTIVAL AND THE KENNEDY CENTER PRESENT

GREAT MASTERS OF JAZZ Honoring the life and work of

Quincy Jones • Roy Hargrove • Nancy Wilson • and more!

Sunday June 16, 2019 • 8:00 PM

John F. Kennedy Center for the Performing Arts • Concert Hall Tickets available at kennedy-center.org WITH PERFORMANCES BY

PATTI AUSTIN

JUSTIN KAUFLIN

ROY HARGROVE BIG BAND

SHARÓN CLARK

and Kenny Garrett • Princess Mhoon Dance Project Adam Clayton Powell III • Angela Stribling • and more!

Presentation of Annual DC Jazz Festival Lifetime Achievement Awards to Quincy Jones and Fred Foss

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The DC Jazz Festival®, a 501(c)(3) non-profit service organization, and its 2019 programs are made possible, in part, with major grants from the Government of the District of Columbia, Muriel Bowser, Mayor; with awards from the National Endowment for the Arts, the DC Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts; the Office of Cable Television, Film, Music & Entertainment; the Office of the Deputy Mayor for Planning and Economic Development; and, in part, by major grants from the Doris Duke Charitable Foundation, the Galena-Yorktown Foundation, The Morris and Gwendolyn Cafritz Foundation, Wells Fargo Foundation, Gillon Family Charitable Fund, the NEA Foundation, Venable Foundation, The Dallas Morse Coors Foundation for the Performing Arts, The Max and Victoria Dreyfus Foundation, and the Reva & David Logan Foundation. ©2019 DC Jazz Festival. All rights reserved.

2 may 24, 2019 washingtoncitypaper.com

INSIDE

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COVER STORY:

MURDER, HE WROTE

10 The Princeton Place Killer has taken credit for nine homicides. Some question if he’s responsible for all of them.

DISTRICT LINE 4 Loose Lips: Vince Gray’s accelerated plan to close United Medical Center may have disastrous consequences for patients and staff.

6 Housing Complex: Doctors blame poor housing conditions for heightened rates of asthma in Wards 7 and 8.

7 Indie in D.C.: Kia Phillips and Nekol Gaskins of Glamourina

SPORTS 8

Late in the Game: Former Nationals pitcher Chien-Ming Wang reflects on his baseball career in a new documentary.

FOOD 16 Full Plate: In a city obsessed with small plates, some chefs are still focusing on artful entrées.

ARTS 18 Theater: Ritzel on Spunk at Signature Theatre 20 The Scene Report: The best new releases from local hip-hop artists 22 Curtain Calls: Randall on Jubilee at Arena Stage and Klimek on Mary Stuart at Olney Theatre Center 23 Short Subjects: Olszewski on Booksmart and Gittell on The Souvenir

CITY LIST 25 28 28 28 30

Music Books Dance Theater Film

DIVERSIONS 32 Savage Love 33 Classifieds 35 Crossword On the cover: 700 block of Princeton Place NW, 1998 photograph

by Darrow Montgomery

DARROW MONTGOMERY 1600 BLOCK OF PENNSYLVANIA AVE. NW, MAY 21

EDITORIAL

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

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LELAND INVESTMENT CORP. OWNER: MARK D. EIN

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DISTRICTLINE Divided Medical Center

Ward 7 Councilmember Vince Gray continues to push for a new hospital in Southeast, but what will the cost be to residents?

Ward 7 CounCilmember Vince Gray’s legacy hinges on his ability to bring a new, equitable health care system to the residents of Southeast D.C. His newest plan to get it done has critics asking: At what cost?

In a series of proposals in the Fiscal Year 2020 budget, the D.C. Council’s Committee on Health, which Gray chairs, moved to cut the subsidy to the city’s only existing hospital in Southeast, the troubled United Medical Center. Gray is also pushing to accelerate the construction of a replacement community hospital on the St. Elizabeths campus—a goal he’s pursued since his time as mayor.

But with UMC still seeing patients, and no deal currently in place with George Washington University Hospital, the city’s preferred operator for the new facility, hospital workers are concerned for their jobs and say patients’ lives could be at risk.

Last week, the D.C. Council approved Gray’s proposal to cut UMC’s subsidy to $15 million per year. UMC would maintain its emergency department and its psychiatric unit; its board will have leeway to add more services as long as the costs don’t exceed a $15 million budget.

If the UMC board can’t present a budget within that limit, a control board would take over its finances. Under this plan, UMC would close for good by 2023.

Council Chairman Phil Mendelson supports the reduced subsidy and expects the control board will be activated at some point.

Mayor Muriel Bowser’s proposed budget included a $40 million subsidy for UMC. In a memo on the Council’s cuts to her budget, Bowser writes that lawmakers can’t possibly know the full impact of a subsidy reduction on UMC, and calls Gray’s proposed cut “disappointing and impetuous.”

Roberta LeNoir, an emergency room nurse at UMC and president of the D.C. Nurses Association, says the severe cut will force UMC out of existence prematurely.

“At this point, I really don’t see how they plan on safely operating the hospital if they take that cut, if they lose all those employees,” LeNoir says. “If you take away all of those departments, then we’re like an island.”

LOOSE LIPS

The Bowser administration also questions Gray’s proposed timeline for completion of a new hospital.

“One thing that Councilmember Gray did that we do not support is he proposed moving up the date of construction from 2023 to 2022,” says Deputy Mayor for Health and Human Services Wayne Turnage. “We don’t think that’s possible.”

Djawa Hall, an organizer for 1199 SEIU, which represents many UMC workers, lays the blame not only with Gray, but with the entire Council.

“This is Gray’s legacy,” Hall says. “The other councilmembers are scared to do anything that will be to the detriment of Vince Gray’s goal of bringing a hospital to the city since he was mayor. No one will challenge him b ecaus e that would be killing his legacy, and that’s a problem.”

Gray was in Las Vegas for the International Council of Shopping Centers Convention at the time LL was reporting this story, and his staff said he was unavailable for questions.

But in a letter to the Council dated May 8, Gray defends the subsidy cut as a fiscally responsible decision for a hospital that’s bleeding money. In 2018, D.C. CFO Jeffrey DeWitt declared UMC functionally bankrupt, according to a Washington Post report.

Gray’s letter points to UMC’s falling patient volume, writing that “the most recent daily census reflected only 78 patients, while UMC has 850 staff positions.”

Although patient volumes have decreased since 2017 when its obstetrics unit closed, according to city data provided to City Paper, Gray’s letter paints a picture the D.C. Nurses Association calls a “grave mischaracterization.”

In response, the DCNA sent their own letter to councilmembers clarifying that Gray’s

4 may 24, 2019 washingtoncitypaper.com

numbers refer to only a fraction of the hospitals patients and boost the amount of employees by including non-clinical staff. Left out are the 200 to 300 patients who visit the emergency room on a daily basis, the 100 patients in the skilled nursing facility, and the 26 patients in the psychiatric unit. Included in the 850 staff positions are cafeteria workers, janitorial workers, human resources staff, and secretaries, the DCNA letter says.

Gray’s staff later clarified to LL that UMC’s 70 to 80 daily inpatients, when compared to the facility’s 210 operational beds, indicate the hospital’s poor health.

“If we are discussing utilization of the hospital, it is important that lawmakers have an accurate count of the patients Vince Gray visiting the hospital, which is between 400 to 500 patients per day,” writes Wala Blegay, an attorney for DCNA. The proposed subsidy cut triggered a notice from UMC chief executive Matthew Hamilton to its unions that layoffs could begin as soon as July.

In addition to the shuttered obstetrics unit, LeNoir says the closure of Providence Hospital in Northeast has sent more patients to UMC. “The residents have to do what I call hospital hopping because waits in the [emergency departments] are going from three days,” she says. “That’s the norm now. We’ve had incidents in the last week where we were unable to transfer out critically ill patients because there was nowhere to transfer them to.”

In his letter, Gray also suggests that some of the money he’s cut from UMC’s subsidy can be used to accelerate construction of the new Ward 8 hospital. Before the new hospital can be built, the city has to finish building a new men’s homeless shelter, then demolish the old shelter to make room for the hospital.

“We know there will be some [environmenDarrow Montgomery/File

By Mitch Ryals

tal] remediation there,” says Ward 1 Councilmember Brianne Nadeau, of the site for the new men’s shelter. “But we don’t know what it is or how bad it is. But if that takes longer than planned, then everything slides back.”

The shelter demolition is currently scheduled to begin in July of 2021. The Council approved a construction timeline for the new hospital with a completion date of December 2022.

As if Gray didn’t have enough on his plate, he and Ward 8 Councilmember Trayon White, whose constituents live closest to and stand to benefit most from the new facility, are in a stalemate over how the forthcoming hospital should be run.

White spoke against Gray’s proposed subsidy cut, saying during last week’s Committee of the Whole meeting that “we should not pull the plug because people are still living there.

I’m concerned about this budget, and the manner in which the money was taken, and even the fact that we tried to close [the hospital] earlier than we need to without a new hospital being built.”

White also introduced an amendment that requires Howard University’s medical school to have some role in the future of the Ward 8 facility. The amendment had seven co-sponsors and passed despite objections from Gray.

White pushed a similar measure late last year, which Gray repealed in his committee as part of a larger bill, the East End Health Equity Act. White was also in Vegas and didn’t respond to LL’s request for comment.

“The effect of this amendment means that there will be no hospital deal,” Gray said, explaining that George Washington University’s exclusivity agreement with Universal Health Services, which owns GW Hospital, precludes any partnership with Howard University.

Before the Council gave initial approval for the $15.5 billion budget last week, Gray floated the idea of a legislative mechanism to give Howard University’s medical school up to $10 million for the next 30 years.

Mendelson says he facilitated a meeting with Gray and White last week but couldn’t broker a compromise.

Given the level of support for White’s amendment, Mendelson says it’s up to Gray as the chair of the health committee to find a solution for Howard University’s medical school.

The Council will vote on the budget for a second and final time Tuesday, May 28. CP

GRANTS DC Documentary Short Film Partnership Grant (DC DOCS) Washington, DC, as we know it today, has a treasured cultural legacy that spans generations.

HumanitiesDC (HDC) is committed to supporting projects that breathe life into the unique stories of our rich communities. HDC is seeking qualified partners for its DC DOCS program to help us with this mission.

AWARD AMOUNT: Applicants may request up to $30,000 depending on the scope of their projects.

PROJECT PERIOD: This opportunity is for documentary short film projects conducted between July 15, 2019-July 15, 2020.

DEADLINE: All proposals must be received by May 29, 2019.

DC DOCS provides financial and capacity building resources to established filmmakers interested in telling a humanities story about Washington, DC through a documentary short film. Potential projects must incorporate relevant humanities scholarship into the stories that they tell.

Selected partners will have the opportunity to work with the HDC grants team who will provide capacity-building and subject-matter support throughout the life of the project.

To view the full RFP, workshops and webinars, please visit www.wdchumanities.org.

DC Community Heritage Project Grant The DC Community Heritage Project (DCCHP)* puts the power of the past in the hands of the local historians who preserve, protect, and live it every day! Since 2007, these small grants have afforded communities, neighborhood organizations, churches, and others the chance to tell their stories through public humanities projects such as: written publications, documentary films, websites, lesson plans, tours, and many more. This year, we are seeking partners aiming to document the history and heritage of Washington, DC’s Asian and Pacific Islander communities including their major institutions, organizations, their culture, and their people.

AWARD AMOUNT: Applicants may request $5,000.

PROJECT PERIOD: This opportunity is for projects conducted between June 30, 2019 and October 30, 2019.

DEADLINE: All proposals must be received by Wednesday, May 29, 2019.

DCCHP Partnership grants are driven by the proposed final product which is added to an online archive and presented at a public showcase. One of the many things that makes HumanitiesDC’s funding programs unique is the close partnership awarded grantees forge with HumanitiesDC grants officers. This partnership produces academically authoritative, technically polished final products that will be of continued benefit to students, researchers, and the residents of Washington, DC as part of the DC Digital Museum, a permanent digital archive administered by HumanitiesDC. To view the full RFP, workshops and webinars, please visit www.wdchumanities.org.

Humanities Fellowship Program In effort to create stronger ties between Humanities departments in Washington, DC area colleges and universities and the city’s communities and neighborhoods, HumanitiesDC is offering fellowships to graduate students and young professional scholars. Each fellow will create a public humanities program based on their research or area of expertise, in conjunction with a community partner. The public programs will follow HumanitiesDC’s successful Humanitini model that brings thoughtful humanities discussions to Washington, DC’s happy-hour scene.

AWARD AMOUNT: Fellows will receive $2,000; half as a stipend, and half as the budget for their Humanitini program.

DEADLINE: We will begin accepting applications for fellowships taking place between April through December 2019 on March 1, 2019. The application will remain open on a rolling basis until all program funds have been distributed.

Each fellowship project will be free for the public to attend or experience. Fellows will also write an evaluative report on the challenges and successes encountered while translating their research for a public audience.

PROJECT PERIOD: Fellowships may be as short as one month or as long as six months depending on how much research and planning is required to develop the public program.

Applications will be accepted on a rolling basis. The pool of applicants will be reviewed on the third Friday of every month between March 15 and September 20. Selected Fellows will be informed of their awards no more than 4 weeks after the deadline for which they’ve submitted their application.

To view the full RFP, workshops and webinars, please visit www.wdchumanities.org.

HumanitiesDC | 1140 3rd Street NE 2nd Floor | Washington, DC 20002 | 202.747.6470 | www.wdchumanities.org

washingtoncitypaper.com may 24, 2019 5

DISTRICTLINE

Breathing Room

Children in Wards 7 and 8 see higher asthma rates than the rest of the city. Their doctors place significant blame on poor housing.

Darrow Montgomery

Greenleaf Gardens

the ability to relocate families living in some of the Authority’s most dilapidated housing units—including units like Alina’s. (In April, DCHA announced that it is seeking a codeveloper to help it rehabilitate Greenleaf Gardens.)

But even if HUD disperses those vouchers to DCHA, whose clients would use them to rent housing units on the private market, it often takes months for families to successfully transfer to a new home, if they’re able to do so at all. In the meantime, they’re stuck living in units making them sick.

“There are cases here where [our patient’s] housing is so bad, we are at a loss—we think, is this child safer to be out of the house, or even be homeless and looped back into the system, than living in this home that could be killing this child?”

Shah says.

Alina’s mother, Felicia Ross, told City Paper in March that both she and her other two children also have asthma. But Alina has fared worse, suffering from allergic bronchopulmonary aspergillosis (ABPA), the body’s more extreme response to mold allergens.

The conditions are difficult to shake. Continued exposure to toxic environmental factors will continue to exacerbate respiratory ailments—in some cases, regardless of how much or what kind of medication doctors prescribe to patients. In others, once families move out of the home containing allergens, Shah says he’s seen children stop using their inhalers altogether.

“You could keep adding more and more and more” prescriptions to a patient, Shah says, but if health providers focus exclusively on patients’ medication at the expense of environmental contributors, “you’re only doing half the treatment. There are lopsided treatment plans for some kids that are very sick, and we need the environment part to kick in. A lot of that is out of our control.”

Shah adds that, to convey the urgency of some patients’ housing conditions, he and colleagues have taken to frequently writing letters to landlords and housing providers, including the DC Housing Authority, explaining that ameliorating environmental irritators is as significant in solving a patient’s health crisis as timely medical treatment.

“This is a social justice issue in the city.

Healthy housing is a core component, if not a main driver, to improve childhood asthma in the city,” Shah says. “Kids who are poor are having worse asthma outcomes. It’s something that’s urgent that we need to work on now.”

CP

By Morgan Baskin The DisTricT has a child asthma problem— an “epidemic, in a way,” says Ankoor Shah, a pediatrician and associate professor at George Washington University.

Shah, who is also the medical director of Children’s National Medical Center’s asthma clinic, rattles off the statistics: Fourteen percent of children in D.C. have asthma, and Children’s National takes the bulk of those cases. As the largest provider of primary, urgent, and intensive care for D.C.’s kids, the hospital sees about 1 percent of the entire country’s emergency department visits for asthma.

What Shah can also say with certainty is that this epidemic “disproportionately affects poor, urban minority children. And the severity is worse, specifically when you think about Wards 7 and 8.”

Children’s National emergency room data show that children who live in Ward 8 have 20 to 25 times the number of ER visits, total, as their counterparts who live in more affluent

HOUSING COMPLEX

Northwest neighborhoods. Ditto hospitalization rates for asthma, which are 10 times higher for Ward 8 kids, Shah says. (The median family income in those districts steadily declined between 2006 and 2015, to about $31,000 in Ward 7 and $24,000 in Ward 8; the same is not true for average incomes in areas like Ward 2, which increased over the same period.)

Exacerbating, if not directly contributing, to these asthma cases are poor housing conditions, Shah says.

He is part of the medical team for Alina, a 10-year-old public housing resident who lives with her mom and siblings in Greenleaf Gardens, a sprawling and notoriously vile Ward 6 apartment complex slated for redevelopment.

(Because she is a minor, City Paper gave Alina a pseudonym.)

City Paper wrote about Alina in March, months after she endured an extended hospital visit prompted by an episode of respiratory failure. At the time, her doctors submitted a letter to the DC Housing Authority, arguing that her living conditions—an apartment saturated in mold and riddled with pests—put her at risk for repeated hospitalizations, and of death.

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Though Alina’s attorneys submitted a housing transfer request to the Authority, they say that the agency has stalled on providing her family with a reasonable accommodation. The family is “still living in the same mold-infested apartment,” says a spokesperson for Shearman & Sterling LLP, the law firm representing Alina pro bono.

And in early May, Alina went to the hospital again. She presented with “the worst pulmonary function her doctors have seen in her to date,” the spokesperson says.

“There are so many children in which poor housing is the leading cause of their poor asthma,” Shah tells City Paper. “The way I know this is: A child is living in a house with mold, mice, pests, cockaroaches, and when the child is at home, the symptoms flare up. When they’re not at home, they’re fine. But the family has an inability to get out of the home.” All of the items on his list—mold, mice, pests, cockroaches—can be allergens.

The executive director of the DC Housing Authority, Tyrone Garrett, has asked the federal department of Housing and Urban Development to provide DCHA with some 2,400 housing vouchers, which would give it

INDIEIND.C.

MEHARI SEQUAR 1402 H Street NE Washington, DC 20002 202.644.3418

AKEM Photography

How do your garments get made?

KP: Nekol and I design the pieces, and through a lot of research and trial and error we found a manufacturer that mass produces the pieces from China. We have been fortunate enough to find the same manufacturer that Adidas uses. We did look at some manufacturers that are in the United States, and unfortunately the cost to manufacture the same number of pieces is five times more than doing it in another country. We send them our designs, our fabric choices, everything that we create here.

Then they send us samples first, then once we go through the sample process and approve, then they mass-produce the pieces for us.

Nekol Gaskins and Kia Phillips Kia Phillips and Nekol Gaskins are the founders of Glamourina, an athleisure line devoted to women of all body types and skin tones. Their products can be found at glamourina.com and at pop-up events, including one at Sassy Nail Spa on May 25.

What led you to found Glamourina?

Kia Phillips: I had Glamourina as a blog I was running several years ago. Probably in 2015, I approached Nekol about taking Glamourina from a blog to something else. We threw around some ideas about creating a clothing line and settled on creating an athletic line. We think women of color are highly underrepresented in the athletic market, so we wanted to create an apparel line that represents who we are, our culture, and also be able to motivate women of color to lead healthier, active lifestyles.

How do you go about designing your

Tom Turk

clothes, and what inspires you?

Nekol Gaskins: Each year we set up time to think about what colors we’re interested in, what prints. When we’re thinking about it, of course we’re going with culturally inspired prints, like the kente or different ankara prints inspired by Africa.

We’re geared toward what looks good on every body type, so it’s important to us to create a collection that looks good on all shapes, sizes, and skin tones. That’s one of the most important things we look for when we’re designing a new collection.

What are your most popular items?

KP: Definitely the leggings. Our first collection, we launched in 2017, and that was leggings and sports bras. Our leggings are made of great, high quality material, it keeps everything in place, it’s not too loose or soft or see through. You can bend down, lunge, and they don’t start riding down. You can wash them several times and the color doesn’t fade, the structure doesn’t get lost.

Are there certain patterns and prints that are more popular?

NG: There’s two types of women: one that’s bold and fearless and wants something that stands out, like the most colorful. Then you have your women who like to be more neutral. With each collection, we try to offer both options. They all sell pretty much on the same level, and I think it’s because we consider both types. A lot of people know us for our prints and it’s one of the things that stands out about our brand.

You sell in stores, in pop-ups, and online.

Are some methods more challenging?

NG: The pop-ups for me are the best because we actually get to meet our customers, see them in person, hear their actual reactions. I think the pop-ups are most effective in trying to introduce us as designers to our customers.

KP: I 100% agree. The pop-up shops work well for us. They’re definitely great for people in the D.C., Maryland, Baltimore area. And the website is a great additional tool for those outside those areas. We have customers overseas.

Essence magazine created an online marketplace, so our pieces are on that, and that has helped expand brand awareness. Having pieces in stores in California, sometimes that’s more challenging, just trying to keep up with the inventory.

You’ve said that you want your clothes to be worn all day, not just at the gym but for running errands or hanging around the house. Would you ever expand into something besides activewear?

NG: I think Kia and I have both identified the activewear market as our market. I don’t think we’d expand outside of activewear. We might introduce some pieces more on the leisure side that are still activewear.

What can we expect to see from Glamourina next?

KP: We’re not really looking to expand to other apparel that isn’t athleisure, but possibly a men’s line. Maybe a kids’ line, to have a matching set. Nekol and I are both mothers of young daughters, so we’re very much aware of body consciousness and body positivity. We want to really showcase those things, so expanding to have interns and young girls come on board so that we can show them that it’s possible to have a dream and create something and build your own business. We definitely want to mentor as well as expand our brand. We tell people, we’re not trying to be the next Nike or Lululemon or anything like that. We’re just trying to provide these functional, affordable pieces that you can’t find anywhere else.

—Stephanie Rudig

Jamilla Okubo “Ain't going to tell you no story, Ain't going to tell you no lie”

Gallery Opening Mehari Sequar Gallery Presents an Exhibtion of Works by Jamilla Okubo

Mehari Sequar Gallery is pleased to present “Ain't going to tell you no story, Ain't going to tell you no lie” our inaugural exhibition showcasing the mixed media works of Jamilla Okubo.

On view until June 7th 2019 Join us Saturday, May 25th 2019 2pm - 4pm for our artist talk series: 'The Abstract Dialogue.'

Artist, and illustrator Jamilla Okubo will discuss the visual interpretations of her works, connecting the significance of African-American folktales as well as storytelling. www.meharisequargallery.com meharisequargallery RSVP: info@meharisequargallery.com

washingtoncitypaper.com may 24, 2019 7

Kelyn Soong

SPORTS

New at Nats Park: a mural from local artists Peter Chang and Brandon Hill of No Kings Collective. washingtoncitypaper.com/sports

Late in the Game

time in New York. The Yankees let him become a free agent not long after winning the World Series in 2009. Fans in D.C. may not remember Wang’s brief and unspectacular tenure with the Nationals, but the team would play a pivotal role in his comeback journey, which is chronicled in the 2018 documentary, Late Life.

“I’m really grateful for the Nationals for giving me the opportunity to rehab,” Wang says in Mandarin. He recently visited D.C. to promote the film at the Twin Oaks estate, home of the Taipei Economic and Cultural Representative Office (TECRO). “It was right after my major surgery. The Nationals gave me another chance to play in the major leagues. They didn’t give me pressure.”

Despite numerous injuries in his career, former Nats pitcher Chien-Ming Wang repeatedly found a way to make it back to baseball’s biggest stage.

Courtesy of the Washington Nationals Baseball Club

Chien-Ming Wang, 2012

By Kelyn Soong While sitting in his office on a sticky, mid-summer day in Central Florida nine years ago, Steve Gober mentally prepared to get his ass kicked.

Chien-Ming Wang, a Washington Nationals pitcher who was rehabbing his shoulder, had just told Gober, then the team’s minor league medical and rehab coordinator, that he would not be throwing that day. If that’s the case, Gober respond-

BASEBALL

ed, then maybe you should quit—retire and go back home to Taiwan.

“I actually got scared when I mentioned it,” Gober says. “I thought he was going to kick my ass. He’s a big guy … That really lit a fire under him. He got pretty angry at the office. He was very professional, not disrespectful, but that definitely pissed him off.”

Luckily for Gober, the 6-foot-4 pro baseball player didn’t take his frustrations out on him.

Instead, Wang stormed out of the room. Later that week, he returned to the office. Wang told Gober he wanted to throw.

From that episode, Gober and the Na-

8 may 24, 2019 washingtoncitypaper.com

tionals saw the quiet competitiveness and burning desire to play that made Wang one of Major League Baseball’s most electrifying pitchers in the mid-to-late 2000s. Wang rode his sinker (a fastball pitch with tremendous downward motion that often produces ground balls) to back-to-back 19-win seasons for the New York Yankees in 2006 and 2007.

In his native Taiwan, Wang became a superstar, dubbed the “Pride of Taiwan,” and redefined the possibilities for professional Taiwanese baseball players.

But a rash of injuries, including a 2008 foot sprain while running the bases, derailed his

Before taiWanese-american pro basketball player Jeremy Lin—i.e. “Linsanity”—took over the NBA and Taiwan in 2012, there was the “Wang-derful” sensation in the Bronx.

According to director Frank W. Chen’s documentary on Wang, Taiwan’s largest daily newspaper claimed it sold up to 300,000 more copies the day after Wang’s starts.

Time magazine named Wang one of its “Heroes & Pioneers” in its 2007 “Time 100” list.

His face lit up billboards, and tabloids followed his every move in a country obessed with baseball.

Taiwan, an island in East Asia with a population of 23.6 million, has more Little League World Series titles (17) than any other nation.

“He was really the face, the voice, the spirit, and the pride of Taiwan, at least when he was still in prime time,” says Stanley Kao, the TECRO representative to the United States. “Nineteen wins a season, two in a row with the Yankees. Yankees. People in Taiwan ... they stayed up until 3 o’clock in the morning watching his games. That was really something.”

“I would say he’s Michael Jordan,” adds Chen, when asked which American athlete would compare to Wang’s stature in Taiwan.

“He’s a household name. He brought Major League Baseball interest into Taiwan.”

Chen first met Wang in 2013 while he was playing for the Scranton/Wilkes-Barre Rail Riders, the Yankees’ Triple-A affiliate. At that point, Wang’s star power had dimmed. Chen had dinner with him at a Ruby Tuesday in northeast Pennsylvania without any reporters or autograph-seekers nearby.

As they parted ways, Chen noticed Wang struggling to get into his rental car—an image that inspired Chen to make the documentary.

“I was like, no one ever talks about his pri-

SPORTS vate life and his struggles, trying to make it back into the big leagues,” the director says.

“It’s always the glam and glory of him pitching in the major leagues. I wanted to depict and tell a story of a different side of a ball player, because that’s a side that people rarely see.”

The film captures Wang’s peripatetic journey through small-market baseball stadiums across the country, including his stint playing for the Southern Maryland Blue Crabs of the indepedent Atlantic League of Professional Baseball in 2015. In the documentary, Wang describes traveling to so many places that he would forget which city he woke up in.

This was the side of Wang that his Nationals teammates didn’t witness. To the few that played with him in D.C. or faced him on opposing teams over the years, Wang was a gentle giant with a monstrous pitch.

“He sinker balled it, but he knew what he was doing with it, where he would throw it and make it bigger certain times and shorter certain times. He was a really smart pitcher in that way,” says Nationals catcher Kurt Suzuki, who played with Wang in 2012. “I was with [the Oakland Athletics] when I faced him and he was with the Yankees and he won all those games. He was good, man. I never got a hit off him. He was good.”

A yeAr After his confrontation with Wang, Gober paced back and forth in Nationals general manager Mike Rizzo’s box suite overlooking home plate. The pitcher and trainer had come a long way since their dustup in Florida.

Eddie Longosz, the Nationals’ director of scouting operations, has observed that relationship first-hand. Longosz started with the team as an intern, and his first assignment was to pick up Wang at Orlando International Airport. He was nearby the day when Wang walked out of Gober’s office in anger, and remembers that the pitcher returned to practice the next day.

“Gobes, he’s always going to get the best of you no matter what,” says Longosz. “And Chien-Ming, he carries himself very quietly, but on the inside he’s a competitor, which you don’t always see until he gets on the mound.”

When Wang first joined the Nationals in 2010, Gober had never treated a player that had undergone arthroscopic surgery to fix a shoulder capsule like Wang. Unlike with Tommy John surgery, few pitchers resume their careers after shoulder operations. According to Longosz, Wang’s then-agent, Alan Nero of Octagon, convinced Rizzo to take a chance on Wang.

“Riz is a firm believer of where if you had the stuff before, it’s going to come back,” Longosz says. “The ability he had before, the strength, and we knew about the work ethic,

which was the biggest thing with him. He was going to make it if he could.”

Throughout months of rehab in Florida, Wang slowly made progress. In the meantime, Gober and Wang went to dinner regularly and played “lots of golf ” to pass the time. Gober teased Wang for being a huge celebrity in Taiwan and joked that because of that, one day he might be famous in Taiwan, too.

On July 29, 2011, he watched anxiously as Wang made his Nationals debut. Gober felt like a proud parent.

“It was just really special,” he says. “The start didn’t really go as we had planned but just the fact that he got there was just so rewarding for me.” the bAtter bArely moved. The pitch, a fastball down the middle, measured at 93 mph.

Strike three.

As Bryce Harper, then a Nationals superstar outfielder, headed back to the dugout, the announced crowd of 33,729 at Kauffman Stadium in Kansas City, Missouri, roared.

Wang would go on to strike out the side in the top of the ninth, making way for a 7-6 Royals’ walk-off victory on May 3, 2016, and picking up the win. A month earlier, Wang pitched in his first MLB game since 2013, when he played one season with the Toronto Blue Jays.

In 2016, Wang would finish 6-0 with a 4.22 ERA in 38 relief appearances for the Royals.

His comeback resonated across the country, including among the D.C. media, which covered his return.

“It was cool seeing him, just the path that he took ’cause I think it’s something that’s not really examined too much in sports—the guy who gets the taste and falls off and has to work his way just to get back there,” says Nationals pitcher Stephen Strasburg, who overlapped briefly with Wang. “It’s a testament to his mentality and his drive to prove everybody wrong.”

Wang now splits his time between Orlando and Taiwan, where he serves as the pitching coordinator for the Fubon Guardians, a Chinese Professional Baseball League team based in Taiwan. He primarily helps with the team’s minor league players.

At 39, Wang has not pitched competitively since being released by the Royals in September 2016. Longosz, the Nats’ scouting director, predicts that Wang has moved on to the next chapter of his life. His MLB days are certainly in the past. But Wang is keeping the doors open for pitching again—no matter what level.

He has yet to officially retire.

“I’m reluctant to leave the game,” Wang says. “I don’t want to fully retire in case there are opportunities in the future and [if] I have that itch to play, then maybe I will.”

CP

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APPLIED ECONOMICS washingtoncitypaper.com may 24, 2019 9

700 Block of Princeton Place NW, 1998

Murder, He Wrote A former detective says D.C. cops may have helped a serial killer pad his resume.

By Bill Myers 10 may 24, 2019 washingtoncitypaper.com

Photographs by Darrow Montgomery

In September 2008, Metropolitan Police Department Det. Danny Whalen sat down with one of the District’s monsters.

A “come-up” order had fluttered through the federal prison system all the way through the D.C. Jail, and U.S. Marshals escorted Darryl Turner into a conference room on level B-1 at the U.S. Attorney’s office in Judiciary Square.

Turner had been in prison since October 2001, convicted of murder in the rapes and deaths of two women. Whalen knew that the women were only a sample of his victims.

In fact, prosecutors had indicted him in two other homicides but, once Turner was sentenced to life in prison without parole on the first case, decided it wasn’t worth the expense of a new trial.

The public knew Turner as “The Princeton Place Killer,” a werewolf who preyed on women in and around the Park View and Petworth neighborhoods in the 1990s. He had already been publicly linked to the deaths of several other women. Whalen wanted to talk to Turner about some of those unresolved cases.

“Ironically,” Whalen wrote in a woodenly phrased, oddly capitalized, and strangely melodramatic summary to his bosses, “Inmate TURNER” had written a series of letters to his appellate lawyer and the judge in his case, Nan R. Shuker.

“In these letters, he expressed a desire to clear his conscience and talk specifically to Detective WHALEN (who he trusts, based on the integrity displayed throughout this pur-

suit) about the entirety of the violent crimes he previously committed (the ones he was caught for, as well as others he had gotten away with),” the report states. “Since being in prison, Inmate TURNER has found religion and believes it is the honorable thing to do in taking responsibility for his actions; thus, he wanted to identify and clear the remaining unsolved murders, and convey his apologies to all the victims’ families.”

Turner had some conditions. First, he wanted immunity from any further prosecutions. Second, he didn’t want any of these other cases to make the news (it would be too embarrassing for Turner’s stricken wife, Barbara). Finally, he wanted to be moved to a prison “closer to his family and roots” in North Carolina.

Whalen got the deal approved, and in three separate interviews over the next few weeks, Turner confessed to nine rape-homicides, including those two for which he had been convicted already. It was, by any standard, a coup.

The problem, former MPD Det. Jim Trainum says, is that at least one of those confessions is “total bullshit.”

On the 1997 disappearance and death of Jessica “Bird” Cole, Trainum tells City Paper, Turner’s words have little relationship with the facts.

Heaters “Darryl Turner’s confession is inaccurate and unreliable and should never have been used to

close out that case,” Trainum says. “And the means by which they obtained that confession tainted any other confession that he gave at that stage.”

“Basically, what his confession consisted of was, ‘I did it,’ and a bunch of details that were not accurate or could not be corroborated,” Trainum adds. “But D.C. police were very happy to be able to close out these cases so that’s all they cared about.”

D.C. cops still refer to high-profile cases as “heaters.” (The word is probably an import from former Chief Charles Ramsey, who brought it with him from Chicago and who was in charge when Turner was finally brought to justice.) It refers to cases where outsized public attention puts pressure on the department to handle a case with care and—above all—to get it closed.

None of the nine homicides for which Turner has confessed would qualify, on their own, as a heater. His victims were mostly middleaged, poor and drug-addicted black women of the kind who were increasingly inconvenient in a gentrifying city still binding up its wounds from the crack wars of the late 1980s and early 1990s.

But cumulatively, the Princeton Place killings became a heater for the department.

Among other things, the neighborhood was beginning to gentrify. The killings pricked the consciences of those who wanted the unfortunate women to “move on” from the area— but certainly weren’t comfortable seeing their desires take on the menacing shapes of Turner’s fever.

John Slack, Turner’s landlord, had his own theory about the Real Culprit.

“What I believe is happening here is nothing less than the tip of what’s going to be happening in the 21st century,” Slack told City Paper shortly after Turner’s arrest in 1998.

“Most of this is due to racism, a racism which is so sophisticated today that these young black men have no way of defending themselves against racism.”

Slack, a public health professor at the University of the District of Columbia, didn’t live in Park View, but he had bought several properties in the area and was rehabbing them. In 1998, one contractor described him to City Paper as a kind of “white godfather” to the neighborhood.

But Slack’s own experiences suggest caution with the Turner cases. Turner was not Princeton Place’s only killer. Slack found three homicide victims in his gutted properties—but only two of them would turn out to “belong” to Turner.

The first body Slack found, in May, 1997, was Lateashia Blocker’s. She was wedged in the floorboards in a building Slack was rehabbing on the 700 block of Princeton Place NW. In the years after Turner’s arrest, Whalen and other detectives looked for evidence that linked Turner with Blocker’s homicide—until authorities charged a District Heights man with her murder.

All that was to come later. At the time, Slack had to help D.C. police protect the evidence of the Blocker crime scene. He used one of his circular saws and cut a wedge out of the floor around Blocker’s corpse so that officials could carry her out.

“It’s really a very small, wonderful neighborhood,” Slack told City Paper at the time.

The Confession

700 Block of Princeton Place NW, present day

The Confession of Darryl Turner, as reported

by Danny Whalen, reads something like one of those old Victorian blue books—dispatches of concerned bureaucrats from life among the lowly.

Turner “non-boastfully defined himself as a ‘serial killer,’” according to Whalen’s notes, and “had ‘major issues’ at the time he was committing these murders, and did them through his own arrogance.” Just as he was getting out of prison for petty crime in North Carolina in 1987, Turner’s brother and an aunt “introduced” him to crack cocaine.

“In an effort to try to get away from crack, he naively left NC and went to DC—where he ran head-on into the crack cocaine epidemic and his drug habit continued (he developed a sex addiction too),” Whalen wrote.

But it wasn’t until Turner’s own mother died, around July 1992, that “something kicked in, and he began the process of retaliating against crack addicted women by killing them.”

“He targeted prostitutes—he looked down on them, and at [the] time believed they got exactly what they deserved,” Whalen reportwashingtoncitypaper.com may 24, 2019 11

ed. “In the beginning, his motivation for killing was simply revenge. But this soon turned into a compulsion he couldn’t control. Inmate TURNER knew what he was doing was wrong, but he seemed powerless to stop.”

In short order, Turner developed what Whalen called his “signature.” He liked to choke women from behind while having sex with them, wrapping his right arm around their throats until they passed out.

Once they were dead, he would carry them to nearby buildings—including Slack’s—and dump them in floorboards or crawl spaces.

He left them naked, “to degrade them,” Whalen’s said.

The problem—as even Whalen acknowledges in his report—is that Cole’s case doesn’t bear Turner’s “signature.”

Turner didn’t have a saw and had only a bathtub in a cramped, one-bedroom apartment. His wife, Barbara, was an in-home nurse who often worked weekends, but authorities have never recovered any evidence that Bird was dismembered there.

Then there’s the dump site. Meridian Place NW is more than a mile from where Turner had been stashing his other victims—includ-

cut Jessica up and threw different parts of her body into trash bags, then pedaled her bike all over the city, dumping the bags, because he wanted to draw prying eyes away from himself.

But having gone through the trouble to scatter Cole’s body around Northwest, Turner claimed in his confession, he became “exhausted” and decided, after all, that he “want-

Internal Affairs Trainum had been assigned to Cole’s homicide from the early days. He was there at her autopsy and had to tell her family that the DNA proved that Bird was dead. As the department’s lone “cold case” detective, he was supposed to be in charge of the investigation. He Jim Trainum, 2017

Jessica “Bird” Cole Around 7:30 on Columbus Day morning, 1997, a man was on his way out to his car on the 1400 block of Meridian Place NW when he saw a partially torn garbage bag near his driveway.

A woman’s torso was inside it.

It took months for authorities to identify the dead woman as Jessica Cole, whom people in the Park View neighborhood knew as “Bird.”

Cole had run a cleaning business with her husband, her high school sweetheart. The couple had raised two children together, but by the time she disappeared, she had fallen into drug addiction. Sometimes she had sex in exchange for money to support herself.

Turner was a suspect in the case, Trainum conceded in a 2009 memo to Internal Affairs.

Cole knew Turner from the neighborhood— in Turner’s confession, he says he often paid her for sex. Cole’s cousin saw her with Turner around 1 a.m. on the Saturday before her torso was discovered.

But one of Bird’s friends told police that she had called him from a payphone about three hours later, having left Turner’s apartment.

She asked the friend, who lived near the Old Soldiers’ Home, if she could stay with him. She promised to be there shortly. She never showed.

The forensic science doesn’t add up, either, Trainum said, then and now. Whoever dismembered Jessica used a fine-tooth power saw, a Pentagon forensic anthropologist told police. Turner didn’t own anything like it. (He claimed to have cut her up in his bathtub with a chisel and a Ginsu knife, neither of which matched the patterns on Jessica’s torso.)

The D.C. medical examiner’s office determined that there were no signs of lividity on Cole’s torso—the blood in her body had not settled, which would leave a distinct discoloration.In other words, someone had taken the time and the trouble to drain her body of blood before cutting her up.

“The offender required privacy, electricity for a saw and plumbing to drain the victim’s blood,” one forensic analyst wrote to D.C.’s police department in 2000, one of hundreds of pages of documents Trainum has provided to City Paper.

ing women he killed before and after Cole’s body was discovered. Emile Dennis’ body, in fact, was found under his apartment, in August 1997—Barbara had called the city to complain about the stench.

Furthermore, Cole’s locally famous gold bike was found at the McMillan Reservoir shortly after her disappearance—another mile in the other direction.

In late 1999, more than a year after Turner was arrested, Trainum brought in Vancouver Police Department Det. Kim Rossmo, a Ph.D. and an expert in geographic profiling of crime.

The connection to Turner, Rossmo wrote after his analysis, “needs to be further examined.”

“But an important difference between these crimes is the degree of offender organization and the method of body disposal,” Rossmo quickly added.

Whoever dumped Cole’s torso probably used a car and more than likely was hoping to draw attention away from the neighborhood where she was killed, Rossmo said. Turner was arrested with a bus pass in his pocket and—given where he dumped his other victims—obviously didn’t mind bringing attention to his own door, let alone the neighborhood.

In his confession, Turner claims that he

12 may 24, 2019 washingtoncitypaper.com

ed to make a statement.” He claimed he dumped Cole’s torso at Meridian Place NW early on Columbus Day morning. But then, despite his exhaustion, he pedaled the bike to the McMillan Reservoir, more than a mile away, and then walked home.

There are other inconsistencies. For instance, Turner claims that he bit Cole on her left breast “to punish her.” But her breast showed no sign of bite marks.

And key documents went missing from the file, Trainum said at the time. The first was an entry into the Violent Criminal Apprehension Program, better known as ViCAP, which the federal government administers and can help investigators link crimes by their patterns. The second was a forensic anthropologist’s report that Trainum said went into great detail about how Cole would have been dismembered.

It’s true that investigators also found orange fibers on Cole’s torso that matched a blanket in Turner’s apartment. But authorities knew she had been with him, and besides, Trainum said then and says now, there were also two other pieces of evidence: One was a hair from “a Caucasian man.” The other was a hair from “an unusual dog.”

spent nearly a decade working the case.

It wasn’t just his ordinary diligence. At the time, D.C. didn’t have its own DNA lab and its crime lab was a sick parody.

As Trainum saw it, the key to the Cole homicide might well have been the two strange hairs found on her body, one belonging to a white man and the other to a rare dog.

He spent months lobbying his superiors to bring in an outside forensic expert to help lead the investigation. Around 2008, the approval finally came, Trainum says.

“And then Danny goes and does this end run around everybody,” Trainum recalls. “Using very questionable tactics, he gets this confession that’s totally inaccurate and for all investigative purposes was totally unreliable.

And the department allowed him to do that and close out the case.”

Trainum took his concerns to Internal Affairs in 2009, just before he retired. But he says that the brass dismissed his report as a personal problem between him and Whalen.

“I don’t know anything about Whalen as a person, but as an investigator, I think he’s really sucky,” Trainum says.

Whalen declined to comment for this story.

A D.C. police spokeswoman declined to com-

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700 Block of Princeton Place NW (rear), present day

ment, as did a spokesman for the U.S. Attorney’s office. The warden at the medium-security South Carolina prison where Turner is now serving his sentence declined City Paper’s request to interview Turner, claiming it might endanger him.

Julie Grohovsky was the prosecutor who put Turner behind bars. Even though she’s now in private practice, she says the U.S. Attorney’s office urged her not to discuss the case’s specifics for fear that she might reveal information that’s supposed to be subject to grand jury secrecy. Nonetheless, she says Trainum has a voice she trusts.

“Jim is one of the most professional, thorough investigators I had a chance to work with,” she said. “His commitment to criminal justice and to comforting victims’ families was unparalleled.”

Cole’s homicide is now officially closed, one of hundreds shuttered by “exceptional means”—cases where no arrest is made but police believe they know who the culprit is— which the D.C. police department has used to clean its records for decades.

“It was easy,” Trainum says. “It gave them a stat. And that’s all they were looking for— stats. That’s all they ever looked for, is stats.”

In the first part of this century, D.C.’s crime rate dropped precipitously, but in recent years, it has begun a disturbing uptick. It’s nowhere near as bad as it once was, but still, many lead-

John Slack, 1998

ers are nervous.

Trainum, now a consultant who lives in the Hill East neighborhood, says he’s worried, too.

“It’s the same attitude and the same practices, because they went unchecked 20 years ago, 10 years ago, that are still in place today,” he says. “The same pressures to close the case— to not worry so much about the outcome of the case. The department is hoping you don’t look

14 may 24, 2019 washingtoncitypaper.com

beyond the closure numbers.”

Trainum says he’s still open to the possibility that Turner killed Cole, for all the obvious reasons, but he thinks it’s improbable. It’s also possible that Turner killed Cole and someone else discovered her body and dismembered her, for reasons of their own. Another remote possibility is that Turner killed Cole but had someone help him dismember her body and

stash it. Given the totality of evidence, though, Trainum thinks Turner has taken credit for someone else’s work.

Police interviewed dozens of people in the Cole homicide, from Cole’s nephew—who confronted Turner after her disappearance— to the man found pedaling around on her bicycle that fall. One person stands out in Trainum’s memory.

John Slack, the UDC professor and landlord, had been known to argue with Cole around the neighborhood. In his interviews with Trainum, he came across as a bit of an odd duck—he talked fast, and in circles, spinning elaborate theories about what had happened to Cole. He seemed unusually interested in the details of her dismemberment and talked “hypothetically” about how it might have been done, according to Trainum.

Of course, Trainum admits, “when you start looking at behavioral stuff, it’s so subjective and it’s prone to all kinds of errors,” so he could be wrong about Slack.

Then again, Slack owned Neapolitan mastiffs and once chaired the Rare Breed Dog Show on the Mall.

Slack died in a fire in his Capitol Hill home in February 2017.

CP Bill Myers lives and works in Washington, DC. Email him at myers101@outlook.com. He tweets from @billcaphill.

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Full Plate

Diners feeling small plate fatigue can turn to restaurants holding tight to the art of the entrée.

By Laura Hayes The creaTors of Portlandia weren’t shy about poking fun at evolving restaurant culture. In the premiere of the second season, a ravenous Fred Armisen and Carrie Brownstein seek out a simple burger at Around The World in 80 Plates. “Have you guys eaten with us before?” the over-enthusiastic server asks. “Oh, you haven’t? All right, let me walk you through the menu. We do things a little different here. A little quirky.

A little fun.”

It’s a sermon District diners have heard on repeat as area restaurants increasingly swap out classic menus of appetizers and entrées for small plates or share plates. As a barometer, Washingtonian’s 2019 “100 Very Best Restaurants” had an even split between restaurants that honor the entrée versus those with alternative dining formats such as small plates or tasting menus.

Building a meal out of small plates comes with perks for the diner, the biggest being variety. But subsist on entrées for a week and you might come to the same conclusion: If a small plate is a snappy summer pop song that holds surprises, an entrée is a classic rock anthem you can count on.

Fortunately, a strong contingent of D.C. restaurants excel at cooking full plates. Some chefs find composing entrées especially satisfying. Meanwhile, the restaurateurs that back them are grasping at what’s resonating with customers at a time when dining in the District feels particularly expensive. Some operators can even speak to the business implications that come from sticking with what was once the status quo.

“It’s very cool right now and a lot of people are doing small plates, but I’m still drawn to entrées,” says The Salt Line Executive Chef Kyle Bailey. He recommends his squid ink tagliatelle with oil-poached squid, tentacle sugo, smoked mussels, fermented fresno mash, fennel, and Parmesan. “I love entrée pastas,” Bailey continues. “It hits that reptile part of your brain. It’s

YOUNG & HUNGRY

something very satisfying and homey.”

Entrées potentially bring diners comfort because they remind people of how they ate growing up. Mom wasn’t sending food out of the kitchen three bites at a time. But that doesn’t mean what’s familiar is easy.

“It’s really hard,” Bailey says. “That’s why you see a lot of restaurants having appetizers that are so cool and really interesting but with the entrées, you’re like, ‘Oh man, they fall short.’ It’s difficult to compose a full entrée and make it a shining star.” He ticks off components of a typical entrée: protein, vegetable, sauce, and starch. “With small plates,

16 may 24, 2019 washingtoncitypaper.com

you don’t need as much and it still looks good on a plate.”

Bailey also favors the tradition of thoughtfully coursing a meal. When a team of cooks and servers harmonizes, guests get to enjoy the rhythm of a three- or four-part meal. He says a number of food critics have bemoaned the service style where small plates come out as they’re ready regardless of who ordered them or how many plates crowd the table at once.

Even though Chez Billy Sud has white tablecloths, co-owner Clementine Thomas believes customers come to the French restaurant for comfort food, echoing Bailey. “Having entrées really helps with that,” she says.

“Sometimes diners want simple, they want their own dish that they don’t have to share.”

Herself included. “If I’m at the end of a long day, I want to have wine and a big delicious entrée all to myself.”

Thomas believes serving entrées helps control food costs. “It’s very predictable,” she says. “We have a good sense of what the average check is going to look like. Most people do all three courses.” Thomas also says it makes service less intrusive. “We’re able to interact

with people as needed,” she says. “You don’t have to stand at the table and give the whole 20-minute spiel about how you interact with the food.”

Fellow French restaurant Convivial started out serving medium plates when it opened in 2015. But then Chef Cedric Maupillier reverted back to “regular-sized” plates. “People were confused,” he says, noting many of his regulars from Mintwood Place followed his trail to his new restaurant expecting a similar experience. “I didn’t want to alienate them, so I shifted back.”

When some diners book a reservation at a French restaurant they have certain expectations, according to Maupillier. “Older people, they grew up on Julia Child and Jacques Pépin,” he says. “They know French food.

Most of them that come to my restaurant have been to Europe and bistros before.”

The best entrées on Convivial’s menu are the ones Maupillier built from memory such as the bouillabaisse that reminds him of growing up in Toulon and La Seyne-sur-Mer, France, or the choucroute garnie Alsacienne that features various sausages, pork loin, and pork belly nesGrilled daurade at Convivial

Laura Hayes

DCFEED

Fine dining restaurant Komi will serve a sevencourse vegetarian menu throughout June that includes a gyro. You can make reservations for the “Happy Gyro” pop-up from Chef Johnny Monis on Komi’s website. Dinner is $60 per person.

DCFEED tled atop sauerkraut. “My grandmother traveled to Alsace regularly and enjoyed the dish immensely,” he says.

Maupillier doesn’t mean to dissuade people from sharing at his restaurant. “When you have a big plate, you can actually share it,” he says. “There’s more food to be shared …

Small plates are frustrating when you receive not enough food for a table of four to all have a good bite.”

“I have some friends that I go out to eat with and I have to eat the first bite or they’ll eat the whole fucking thing,” says Michael Schlow.

Even restaurateurs have to act fast to snap up food at small plates spots.

Schlow has both types of restaurants in his portfolio. Tico offers Latin small plates, while The Riggsby serves an array of nostalgic entrées reminiscent of continental cuisine including the Australian lamb chop with harissa, chimichurri, tzatziki, and pearl couscous. “As a kid we had rack of lamb with breadcrumbs and mustard,” Schlow says. “The team said, ‘How can we take this dish and put a personal twist on it?’”

In showcasing entrées, The Riggsby must be more mindful about profit margins. “There’s a greater margin of error on protein cost and portioning,” Schlow explains. “If you say a steak is 9 ounces or 12 ounces and it’s really 13 or 14 ounces, every ounce starts to add up.”

Schlow points out potential stumbling blocks at small plates restaurants, too. He is averse to servers recommending how many plates per person a group should order, for example. It’s not fun to have your appetite sized up, nor is it welcoming to feel like you’re getting an immediate upsell.

He also believes patrons are catching on to how quickly small plates can add up. “With appetizers and entrées, it’s an easier and quicker calculation—$14 appetizer, $28 entrée, I know I’m spending about $40,” he says. “When I get into small plates restaurants, it’s ‘Oh shit! I just spent $60.’”

Another Portlandia sketch satirizes how settling up grows more complicated with small plates. In season three, episode four, Nina celebrates her 32nd birthday at a tapas restaurant.

When it comes time to pay, the large party calls in an expert whose job it is to divvy up complicated checks across town. The savior works out who drank and who’s a vegetarian before assigning totals.

Like Schlow, Neighborhood Restaurant Group Operations Director Erik Bergman handles both genres of restaurants. While Hazel and Iron Gate offer sharable mezze, Birch & Barley has always served appetizers and entrées, even as the baton has passed from chef to chef over the course of a decade. Newly appointed Jarrad Silver’s top entrée features Rohan duck breast with confit duck fritters, green hummus, and marcona almonds.

Bergman says they make the call based on

who’s dining. “A restaurant like Birch has always attracted a lot of visitors to the city,” he says. “That signals a desire for more traditional dining. When I was the general manager there I had guests ask if entrées come with side salads.”

His other goal is to present a menu that people can easily interpret. “Gone are the days of the two-minute spiel,” Bergman says, though the trend drags on. “We’re hyper-aware of that mostly because we were some of the worst offenders at times, even at Birch.”

With more restaurants to choose from than ever, Bergman believes diners are more discerning when it comes to perceived value.

They might not return to a restaurant that served a meal they didn’t deem worth the money. “We’re constantly trying to take ourselves out of restaurateur shoes and say, ‘How do I read this as the average diner coming to the restaurant?’”

He explains the psychology behind designing a menu. “If the price range is $6 to $15 for the appetizer section and you put on an $18 item in the same section, most diners will see that as a more expensive section even though you have a $6 item on there,” he says.

Diners are more forgiving with creeping appetizer prices than entrée prices, where $30 continues to be the sticky point—the line restaurants feel they can’t cross without landing in a different price bracket in diners’ minds.

“You’re going to sell more of your $24 to $26 entrées, but you need to have an $18 entrée to communicate value whether that’s a vegetarian dish or pasta. That does a huge amount to convey to the diner that you’re listening to them and are trying to build value for them.”

Primrose Executive Chef Jon De Paz also emphasizes the importance of communicating value and suggests entrées do so more effectively. He recommends the branzino that’s currently on the menu. It’s roasted and served with radishes, brown butter, and his take on sauce persillade that’s reminiscent of chimichurri. “[Entrées] make it seem like it’s more [food] as opposed to these small plates where you feel like you’re being robbed at times,” De Paz says.

“If you do a bunch of these small things, it only makes sense if it’s a tasting menu that’s all encapsulated in one price. A la carte, it’s hit or miss.”

He worries too many restaurateurs lean on the small plates format to compensate for market forces such as increased competition.

“Sometimes you can feel the saturation,” De Paz continues. “You have an abundance of restaurants. The quantity of cooks is low. [Operators] are trying to figure out ways to make their businesses run and turning away from why we’re in this industry. You can tell by all these restaurants doing the same thing. They come out with an array of small plates that don’t make sense and they’ll charge you an entrée price for them. Because they can.”

CP

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The DC Jazz Festival®, a 501(c)(3) non-profit service organization, and its 2019 programs are made possible, in part, with major grants from the Government of the District of Columbia, Muriel Bowser, Mayor; with awards from the National Endowment for the Arts, the DC Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts; the Office of Cable Television, Film, Music & Entertainment; the Office of the Deputy Mayor for Planning and Economic Development; and, in part, by major grants from the Doris Duke Charitable Foundation, the Galena-Yorktown Foundation, The Morris and Gwendolyn Cafritz Foundation, Wells Fargo Foundation, Gillon Family Charitable Fund, the NEA Foundation, Venable Foundation, The Dallas Morse Coors Foundation for the Performing Arts, The Max and Victoria Dreyfus Foundation, and the Reva & David Logan Foundation. ©2019 DC Jazz Festival. All rights reserved.

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CPARTS

Meet your new arts editor, Kayla Randall! washingtoncitypaper.com/arts

Renaissance Fare An adaptation of three Zora Neale Hurston stories reminds our reviewer why the theater is a place of hope.

By Rebecca J. Ritzel

Spunk

Adapted from Zora Neale Hurston’s short stories by George C. Wolfe Directed by Timothy Douglas At Signature Theatre to June 23 What Was the first show you saw in a theater?

Not a school assembly. Not an auditorium tour of Les Mis. Not community theater outdoor Shakespeare, as fine as those experiences may be.

The first show I ever saw in a theater was Spunk, George C. Wolfe’s colorful stage adaptation of three Zora Neale Hurston short stories. 23 years later, I finally had a chance to see Spunk again. Signature Theatre’s revival of the 1989 play with music is good, but revisiting this play triggered a trip down memory lane that made it even better.

Spunk was an unlikely script to get a white future English major from suburban Baltimore hooked on theater. And in truth, I remember being more enthralled with the experience than the play’s specifics. We were juniors and seniors in our school’s 18 may 24, 2019 washingtoncitypaper.com

lone creative writing class, taking a field trip to Center Stage to cap off the year.

How I made it to 12th grade without ever visiting my hometown’s flagship theater says a lot about the state of public arts education funding, which from what I hear has only gotten worse. It also says a bit about my family. Only one of my grandparents managed to attend high school. While my father worked hard and climbed the social ladder, if you’ve seen Season 2 of The Wire, you’ve met my relatives, and you are not going to find Frank Sobotka at the theater.

So thank you, Mrs. Wright. Somehow she got money for tickets, the tour, and a school bus. And equally important, she prepared us for the show. We studied the Harlem Renaissance, read Hurston’s three short stories that were the basis for Spunk, and got on that bus ready to appreciate early 20th century black vernacular as poetry.

A theater, we learned, is much more than just a place where people enter, see a show and leave. That’s Radio City Music Hall, where months earlier, my parents had proudly taken our family to see the Rockettes. A real theater is where seamstresses spend hours backstage stitching costumes. It’s a place with rehearsal halls, like where the guys in Dead Poet’s Society prepared to put

on a play, but for real. And at Center Stage, the theater was (at the time), a place with a bar tucked into a gorgeous Jesuit chapel.

A theater is a place to experience spiritual magic.

That may make sound saccharine and simplistic. I swear my nostalgia is not, because Spunk includes depictions of rape, racism, and domestic abuse. As Hurston did in her short stories, Spunk accurately reflects the worst of humanity while still being about the light. It’s about resilience. That was my impression at age 18, and that’s my takeaway in 2019.

Too many plays—both of the school-assembly variety and those marketed to adults having dinner beforehand—are about issues rather than people. Seeing Spunk at Signature will not shatter the earth of any seasoned theatergoer, but it will serve as a reminder that good storytelling is far superior to brand messaging.

Wolfe preserved much of Hurston’s signature dialogue from the three short stories he repackaged: “Sweat,” “Story in Harlem Slang” and “The Gilded Six-Bits.” The six performers include Jonathan Mosley-Perry as Guitar Man and Iyona Blake as Blues Speak Woman, plus an ensemble of three men and a woman who each take on a variety of roles. Blake returns to Signature with the same indomitable presence she brought to the theater’s recent staging of Ain’t Misbehavin’. She is a lady you don’t mess with, and she dresses the part, in a series of gorgeous robes and fascinators for each of the three vignettes.

Director Timothy Douglas and music director Mark G. Meadows took some liberties with Chic Street Man’s original music, and the subtle ostinato-style underscoring that MosleyPerry plays throughout the show is as transportive as the songs.

Spunk runs in the smaller of two black boxes at Signature, where Douglas made the bold choice to stage Spunk in the round. Occasionally words are lost as actors introduce their own lines, then change their vocal inflection to deliver dialogue in character, but otherwise, the immersive concept works. Narrators occasionally lock eyes with audience members, and twice I nearly jumped out of my seat in surprise.

The opening tale of domestic abuse is harrowing, and a cheeky story about two Harlem pimps (KenYatta Rogers and Marty Austin Lamar) attempting to rent themselves out for the afternoon follows. (Ines Nassara plays the well heeled lady who puts them in their place.)

Watching Spunk now, after getting to know the works of August Wilson, I was struck by the importance of Spunk as a period drama with black female narratives at its forefront. In “SixBits,” a story about a husband and wife coping with coerced infidelity, you’ll find a more moving and nuanced depiction of marriage than in many plays that run three times as long.

There are no student matinees scheduled during Signature’s run of Spunk, although a theater spokesperson said some school groups are purchasing tickets to regular showtimes at a discounted rate. That could explain why three disinterested young people at the performance I attended broke my heart by leaving at intermission.

Maybe times have changed, and maybe teens who grew up playing with cell phones in the long shadows of Trayvon Martin and Columbine will never be transformed by a play like Spunk. Or maybe they just don’t have a teacher like Mrs. Wright, who taught me that while I can read all the books I want, theater will always be the best place to experience stories about humanity and hope. CP 4200 Campbell Ave., Arlington. $40–$89. (703) 820-9771. sigtheatre.org.

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CPARTS ARTS DESK

With GoGoTix, Malachi Johns wants to connect more people to the world of go-go. washingtoncitypaper.com/arts

THE SCENE REPORT Checking in with the latest jams in the local hip-hop world.

—Sidney Thomas

CvpSet Martae, “Do Not Drop” CvpSet DC Records

Yung Wise,“Hate on Me”

ADÉ, Always Something

Yung Wise, a tenacious Korean-American rapper from Northwest D.C., has released a new banger, “Hate on Me,” and the song is notable not only for its propulsive lyrics and thunderous production, but also because it features a verse from Nipsey Hussle, the West Coast rap legend who was tragically murdered earlier this year. Yung Wise has experienced ups and downs and was even homeless at one point in his career, but he survived the tough times and is now a thriving entrepreneur and recording artist. Yung Wise understands that Asian rappers have not been extremely successful in the hip-hop genre—but he’s ready for that challenge too. “Hate on Me” is receiving positive press reviews and also got airplay locally on WPGC. And with an EP scheduled for a mid-summer release, Yung Wise is definitely an artist to keep your eye on for the remainder of 2019.

RIYL: ScHoolboy Q

ADÉ just dropped his debut EP on Epic Records, Always Something, and the sixsong effort is overflowing with slick lyricism and sumptuous beats. ADÉ, previously known as Phil Ade, has successfully carved out a career in the music industry working with Wale, Raheem DeVaughn, and a host of other artists, but it’s been a while since he’s released a solo project. Always Something gives fans everything they’ve been waiting for, and more— with contributions from Lil Baby, Rich The Kid, and GoldLink. ADÉ has performed at venues all over the globe but never forgets where he came from. The song “Play Something” from the new EP recounts the hard work he put in on the U Street hiphop club circuit, “I was really in the street, made a name at the open-mic, Pure and Indulj, duh this wasn’t overnight.”

RIYL: J. Cole, Wale

Diverse Music Group

Epic Records

CvpSet (pronounced Cup Set) Martae’s new single “Do Not Drop” is the first track from his upcoming project, Vibe Addicts Only 2. In celebratory fashion, CvpSet describes his come-up from “sleeping on the floor,” to his current status as a young mogul, drinking top shelf liquor and hanging out with sexy socialites.

CvpSet says he wanted to make “a funfilled, playful party record guaranteed to make you want to sip Champagne.”

His in-house producers Dee Beale and Sean Minatti collaborated on the “Do Not Drop” beat and they have created the perfect early summer vibe, whether you’re poppin’ bottles in Stadium Club or spending a lazy Sunday afternoon eating crabs at The Wharf.

RIYL: A$AP Rocky

Nonchalant, “RATRINANON” Aralc Records

Nonchalant, one of the most influential female rappers in the history of D.C. 20 may 24, 2019 washingtoncitypaper.com

hip-hop, has hooked up with two other elite femcees from the area, RA the MC and Kenilworth Katrina, to create the dope new single “RATRINANON.” The title is a cagey mash-up of their names, and by the same token, the song is also a cauldron of the extraordinary verbal skills they each bring to the mic. Nonchalant is best known for her hit song “5 O’Clock” that soared up the Billboard charts and was eventually certified gold by the RIAA. But in addition to being an iconic rapper, she is also an accomplished DJ and music producer. In fact, Nonchalant gets sole credit for chopping up the haunting horns and aggressive breakbeats to assemble the RATRINANON track.

RIYL: Remy Ma

Pinky Killacorn, Pinky & the Pain Grindstone Music

Pinky Killacorn is back from a musical hiatus with a new album entitled Pinky & the Pain. With Pinky & the Pain, the venerable rapper is revitalized with a fresh focus and new label relationship at Grindstone Music. Pinky’s music is as captivating as ever, and her wordplay is as attention grabbing as her electric pink hair. Everything about this album represents her irrepressible spirit and personality. Sometimes the music is intense, like with “The Answer” and “Loving Me,” and at other times it’s playful, like the flirtatious “Cumin’” that features Pinky uninhibitedly rapping over a screwed-up Diana Ross sample. She probably could have left out the interludes and skits, but what remains are nine solid tracks of pure, unadulterated hip-hop. Welcome back Pinky!

RIYL: Wiz Khalifa

M A RY L A N D LY R I C O P E R A

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Michael Smerconish:

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THEATERCURTAIN CALLS Thompson intentionally includes moments of real levity, a pleasant surprise in a musical that sticks close to history. Actor Greg Watkins uses his body to give the show its most theatrical sense of joy and fun. He’s got killer jazz hands that’ll make your soul leave your body.

There are also moments of profundity, such as Joy Jones’ poetic soliloquy about the simultaneous pride and peril of moving through the world with dark skin. Jubilee’s performers really sell these moments, adding some rich depth to the story.

The show is at its best when it understands what it is: a musical with a little history, triumphant and tragic, sprinkled throughout. In the end, it’s all about the ensemble, as it should be.

—Kayla Randall 1101 6th St. SW. $86–$125. (202) 554-9066. arenastage.org.

LIFT EVERY VOICE Jubilee

Written and directed by Tazewell Thompson At Arena Stage to June 9 the new historical musical Jubilee, now running at Arena Stage, is an ensemble work in every sense of the word. No one performer outshines another, but everyone shines in their respective roles.

Written and directed by Tazewell Thompson, with vocal arrangements and music direction by Dianne Adams McDowell, Jubilee tells the story of the Fisk Jubilee Singers, an African-American a cappella group that broke racial barriers domestically and abroad. Created on the campus of Nashville’s historically black Fisk University in 1871, the original singers were sharply dressed vocalists who would go on to perform for royalty and leave their mark on black history.

There are no complex narrative threads here, just an earnest tale of the love these history-making singers had for singing and each other, the devastating world in which they lived that sought to punish them at every turn, and their lasting but little-known legacy. Jubilee remembers the singers and gives a piece of musical history its due.

It should come as no surprise that the performers’ voices are the best part of a show about a singing group. The actors, seven women and six men, portray Fisk singers and adjacent characters, and it’s electric when they harmonize, their frenetic energy captivating and breathtaking. They’re wonderful when they all sing together, when their voices divide along gender lines, and when they sing individually. With more than three dozen songs

packed into the show’s 145 minutes, the show knows that voices are its strength.

Aundi Marie Moore’s operatics blow the house down. Katherine Alexis Thomas’ dulcet tones are soothing. Simone Paulwell, Travis Pratt, and Zonya Love’s solos are worthy of thunderous applause. Lisa Arrindell is the only actor who performs as multiple characters outside of the Fisk group, from the choral master to Queen Victoria, and she does it seamlessly.

Because there are 13 actors playing Fisk singers, the show splits the heavy dramatic lifting, giving every performer roughly equal time. We get to know the individual singers through dialogue spread across the length of the show, and by the end, we learn what became of them after their tenures singing with Fisk. Mostly though, that comes second to the singing.

The songs of Jubilee are the backbone of the African-American experience in the United States, songs that the Fisk Jubilee Singers helped introduce to the world in the 1800s.

They’re beloved spirituals and hymns— “Wade in the Water,” “Go Down, Moses,” “Swing Low, Sweet Chariot”—and when arranged and sung as beautifully as they are in the show, they feel even more grand, near and dear to the hearts of many in the audience.

Masterful as a celebration and tribute to Fisk’s extraordinary singers, the musical swings when it sings. When it preoccupies itself with dialogue and becomes more of a history lesson than a musical, it drags a bit.

The scenes of dialogue never last very long, though, and it is interesting to learn the history and certain intimate details of the Fisk singers’ lives.

Still, you can’t help but want the show to get back to the actual singing. There are some truly stunning musical numbers here, like the upbeat, fast-paced “Didn’t My Lord Deliver Daniel” sequence, which culminates in the show’s most tension-filled scene.

22 may 24, 2019 washingtoncitypaper.com

TWO GIRLS, ONE CROWN Mary Stuart

By Friedrich Schiller Adapted and directed by Jason Loewith At Olney Theatre Center to June 9 You might call the play currently occupying Olney Theatre Center’s Mulitz-Gudelsky Theatre Lab Mary Stuart Unplugged. Or Two Dope Queens.

OTC Artistic Director Jason Loewith’s new adaptation of Friedrich Schiller’s game-ofthrones drama Mary Stuart stips down what is often presented as an epic to just six actors in (mostly) modern dress on a minimal set. This 220-year-old play based on a 450-year-old historical pickle—Elizabeth I’s indecision over what to do with her long-term captive, Mary, Queen of Scots, whom many of Elizabeth’s subjects believed was the rightful heir to the throne— echoes down the centuries in ways that change with shocking rapidity.

When the Folger Theatre did this show just four year ago, the piece felt like a cautionary tale about how the patriarchy will always pit powerful women against one another. But in the wake of the Mueller Report, what resonates most deeply about it is the way Schiller imagined Elizabeth relying on sycophants to execute her plan to, well, execute her rival without suffering the political fallout (or open revolution) that formally issuing a kill order might provoke. Standing in her way are some members of her court, including the

nobleman who is holding Mary captive in his house on royal orders, who are going all Don McGahn on her, refusing commands they believe to be unlawful.

Okay, so it’s an imperfect analogy. But there’s symmetry enough with current events to warrant this oft-told tale’s renewal, and the company Loewith has assembled is full of ringers. Megan Anderson pulls double duty as Elizabeth, the most powerful character in the show, and as Mary’s handmaid, the show’s lowliest. She’s better in regal mode, letting us see exactly how draining power, and the omnipresent fear of losing it, can be.

Her sense of which of her courtiers to trust falters as the show progresses, and Anderson plays that incremental dissolution with specificity and conviction.

Eleasha Gamble is equally strong as Mary, a leader whose 20 years of confinement have, ironically, stripped her of the humility that might have allowed her to petition Elizabeth to release her. She’s also the actor charged with handling the largest burden of exposition, and she ladles out the chunky dollops of history as capably as anyone could. Elizabeth and Mary’s eventual meeting is Schiller’s ahistorical invention. It’s the show’s most electric scene, and Loewith, true to his less-is-more design, stages their sit-down as a lie-down, with Anderson and Gamble on their bellies, their faces inches apart, as they try to find some sisterhood in this man’s man’s man’s man’s world.

These central performances receive able support from veterans Mitchell Hébert as Shrewsbury, a weary advisor lobbying for Mary’s release, Paul Morella as Burleigh, who wants her dead, and Chris Genebach as Leicester, whose allegiance is uncertain. Jake Lozano does yeoman’s work as Mortimer, acting on Mary’s behalf within Elizabeth’s court.

The stage is a “smoked plexiglass turntable” designed by Loewith and Richard Ouellette,

essentially a lazy susan that, coupled with an in-the-round seating configuration, gives us perpetually shifting angles on all the skullduggery and diplomacy. If you can’t put the monarch who reigned during Shakespeare’s rise under a microscope, this is a somewhat adequate alternative.

—Chris Klimek 2001 Olney-Sandy Spring Road, Olney. $64– $84. (301) 924-3400. olneytheatre.org.

FILMSHORT SUBJECTS Booksmart

PARTY HARD Booksmart

Directed by Olivia Wilde It’s the nIght before graduation. The kids have spent four years stuck in classrooms and doing homework and participating in extracurricular activities to get ready for college. So now they want to party. And it’s gotta be legendary.

It’s a setup nearly as common as the coming-of-age story itself. But Booksmart, Olivia Wilde’s crackling, audacious directorial debut about two straight-A students looking to cut loose, manages to feel fresh even while trafficking in these tropes.

Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) are best friends who have studied hard to the exclusion of a social life, focused on getting into a top school. But on the final day of classes, Molly—after overhearing the popular crowd make fun of her while she was in a bathroom stall—finds out that the seeming screw-ups got into good colleges, too. She nearly hyperventilates with rage, convinced that she and Amy wasted their time doing nothing but studying. So she wants to go to a party that night thrown by a guy she otherwise regards as an idiot. “Nobody knows that we are fun!” she tells Amy in her typical class president diction.

Thanks to Molly lying to Amy’s parents, they’re free for the night. But there’s a problem: They don’t know where the party is, and no one is answering Molly’s texts. So an adventure begins that first takes the pair to two other parties (lame), the library (natch), and the backseat of a pizza delivery guy’s car (hilarious) before they finally reach their desired destination.

Penned by four women (including Isn’t It Romantic writer Katie Silberman), Booksmart’s raunch and laughs rival those of the bros ver-

sion of its party-before-graduation story, Superbad (starring Feldstein’s older brother, Jonah Hill). Porn and masturbation are topics, as is getting Amy laid, which obviously isn’t characteristic of female-led comedies, where the humor tends to be more delicate. And Amy’s sexuality—she’s into girls—is played like it’s NBD: Like any heterosexual in this setup, she’s got a crush who will be at the party, and when she starts making out with the class mean girl, it’s treated like any other unexpected consequence of a night of drinking and emotional roller coasters.

The cast is uniformly exceptional down to the bit players, which include Jason Sudeikis as the school principal and Billie Lourd as an unhinged spoiled classmate. But Dever and particularly Feldstein are the breakouts, nimbly handling the film’s rapidfire humor: Dever’s Amy is the introvert who just wants to go home after each escapade, while Feldstein’s Molly is the brash one who’s determined to get to the party regardless of dead cell phones and lack of directions. Their characters frequently buoy each other (another trait you don’t often find in female comedies) yet have a push-pull dynamic, one that inevitably leads to a blowup.

Wilde maintains a swift pace, and the film’s 97 minutes fly by. These are endearing characters who you’ll want to spend more time with; it’s a testament to Booksmart’s success that it ends before you’d like it to. You don’t even have to limit its comparison to other teen comedies: By any measure, it’s an easy A. —Tricia Olszewski Booksmart opens Friday in theaters everywhere.

HARD FOCUS The Souvenir

Directed by Joanna Hogg FIlms about drug addiction are rarely easy to watch, but Joanna Hogg’s The Sou-

venir is excruciating in fresh ways. Its depiction of a relationship between a young, idealistic film student and a habitual heroin user contains all the anguish we have come to expect from these tales, but its narrative approach creates a deeper and livelier sense of unease. It zigs where most addiction films zag, going down recognizable paths but stopping in unfamiliar areas. If you can get past your own creeping dread, there is a view worth admiring.

In 1980s London, Julie (Honor Swinton Byrne) is a young artist supported by her posh upbringing. She wants to make a film about Sunderland, a working-class area, but no one takes her aspirations seriously. We’re not even sure if she takes herself seriously. When she meets Anthony (Tom Burke), a smarmy faux intellectual who works for the foreign service office, she finds an apparent match for her adolescent dysfunction. He takes her seriously enough to belittle her directly, and Julie finds his matter-

an intensity that is impossible to ignore. It’s a sensational performance, but Swinton Byrne, a first-time actor, accomplishes just as much in a more complex role. Her character is an innocent seeking balance between vulnerability and self-protection. She’s learning how to love others and herself, and stumbling into many pits of despair along the way.

It’s a meaty role, and Swinton Byrne is well cast: Her nervous, naturalistic energy clashes beautifully with Burke’s technique-driven approach. It’s an intoxicating mix.

Still, it is Hogg’s strong, purposeful voice that frames their relationship so perfectly. Early on, she films the lovers’ interactions from behind them. We can barely see their eyes, removing any trace of sentimentality. She doesn’t want us to fall in love with these characters. That’s a brave choice in a romantic film.

It also allows us to see Anthony’s cruel banter more honestly, as systemic abuse rather than witty repartee. Later, when their relationship advances towards anguish, Hogg turns her camera toward them so that we can identify more deeply. As a result, the pain feels more real than the pleasure.

It’s an artful and authentic portrayal of addiction’s seismic impact on a relationship, but where Hogg finds her second masterstroke is The Souvenir

of-fact validation of her insecurities comforting. Of course, they begin an affair.

It’s a bit later that we learn about Anthony’s drug use. One of the film’s masterstrokes is how it foregrounds the psychological abuse that often accompanies addiction-tainted relationships. As soon as they unite, Anthony begins bending their dynamic to his favor. This way, when she learns of his addiction, her selfesteem will be low enough to tolerate it. He does this by systematically disputing her opinions, no matter how trivial the subject, and often brazenly demeaning her. “You’re lost,” he tells her coldly at one point. “And you’ll always be lost.”

Of course, he’s the lost one. Burke cuts a slyly menacing figure as Anthony. Handsome, burly, and with a piercing gaze, you can see why Julie is attracted to him: He has

how she spins this dynamic outward to create a broader portrayal of how men treat naive women. At film school, Julie is subjected to the same patronizing treatment. She is constantly required to justify herself to her older, male instructors. They know what they’re doing, zeroing in on her class-driven shame as a pressure point, brandishing their establishment power as a weapon. Hogg conveys this abuse subtly but unmistakably, and it’s easy to imagine she drew from her own years of experience as a female filmmaker in a man’s world. It is a rich and resonant subplot in an already devastating story, the kind that turns a good film into a great one.

—Noah Gittell The Souvenir opens Friday at Landmark’s E Street Cinema and Bethesda Row Cinema.

washingtoncitypaper.com may 24, 2019 23

June 1 2019

#WomxnsParty19

6pm-10pm Big Chief DC

Presented By:

Join us for an evening of dancing, drinks and endless fun celebrating the lesbian, bisexual, queer, transgender and gender nonconforming communities under the rainbow and beyond.

Music by

DJ ALEX LOVE

Feat. the

Ladies of LURe

$10

$30

General Admission

Deluxe Admission

Entry

Entry + 2 Drink Tickets

$100

VIP Package Entry for 2 + Open Bar and Food

June 15–August 11 | Theater Lab Comedy legends The Second City return to the Kennedy Center with an all-new, all-hilarious show that reaches way, way across the aisle for non-stop equal opportunity laughs.

Kennedy-Center.org (202) 467-4600

Get Your Tickets Today! whitman-walker.org/pride-womxns-party Diamond Sponosors

Group of 20 or more?

Call (202) 416-8400 for special group discounts and payment plans

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

Ruby Sponosors

Comedy at the Kennedy Center Presenting Sponsor

whitman-walker.org 24 may 24, 2019 washingtoncitypaper.com

CITYLIST

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

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

Tix @ Ticketmaster.com

23

Music 25 Books 28 Dance 28 Theater 28 Film 30

THE AMY RAY BAND w/Amanda Anne Platt & The Honeycutters

24

An Evening with

THE SELDOM SCENE "CD Release Show!"

Music

WALTER BEASLEY Pressing 30 JOANNE SHAW-TAYLOR Strings Steve 31 PAUL THORN Poltz

CITY LIGHTS: FRIDAY

26

FRIDAY

“Ain’t Love Strange” 20th Anniversary Tour

FOLK

2

FUNK & R&B

BETHESDA BLUES & JAZZ 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Dave Hollister. 8 p.m. $59.50–$79.50. bethesdabluesjazz.com.

4

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Mousey Thompson’s James Brown Experience.

8 p.m.; 10 p.m. $25. bluesalley.com.

ROCK

DC9 1940 9th St. NW. (202) 483-5000. Freelance.

7:30 p.m. $10–$12. dcnine.com.

LINCOLN THEATRE 1215 U St. NW. (202) 888-0050.

Yann Tiersen. 8 p.m. $35–$50. thelincolndc.com.

UNION STAGE 740 Water St. SW. (877) 987-6487. No Vacation. 6:30 p.m. $15–$30. unionstage.com.

WORLD

BOSSA BISTRO 2463 18th St NW. 202-667-0088.

Banda Flor de Maracujá. 7:30 p.m. $10. bossadc.com.

BOSSA BISTRO 2463 18th St NW. 202-667-0088.

Alfredo Mojica Group. 10:30 p.m. $5–$10. bossadc.com.

SATURDAY COUNTRY

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Daniel Donato. 8 p.m. $12. songbyrddc.com.

27

ELECTRONIC

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. The Avett Brothers. 7:30 p.m. $45– $75. wolftrap.org.

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Lori Williams. 8 p.m.; 10 p.m. $30. bluesalley. com.

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Roy Ayers. 8 p.m. $45–$55. citywinery.com.

POP

DC9 1940 9th St. NW. (202) 483-5000. October ‘71.

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

WORLD

BOSSA BISTRO 2463 18th St NW. 202-667-0088.

Tumbao y Raul Morel. 10:30 p.m. $5–$10. bossadc.com.

& The Sky Trails Band US Tour 2019

THE ENGLISH BEAT 6 MINDI ABAIR & The Boneshakers 7 the subdudes 8 JUNIOR BROWN 9 FUNNY WOMEN OF A CERTAIN AGE 14 THE NEW BIRTH 15 SOUTHSIDE JOHNNY & the asbury jukes 21 THE SMITHEREENS with MARSHALL CRENSHAW 22 BEBEL GILBERTO 23 PIECES OF A DREAM 24 KENNY G 26 EUGE GROOVE

KENNEDY CENTER OPERA HOUSE 2700 F St. NW. (202) 467-4600. Washington National Opera: A Concert of Comic Masterpieces. 7:30 p.m. $15–$35. kennedy-center.org.

FOLK

DAVID CROSBY

5

OPERA

9:30 CLUB 815 V St. NW. (202) 265-0930. CloZee. 10 p.m. $25. 930.com.

Chelsea MARC COHN Williams THE MUSICAL BOX "A Genesis Extravaganza"

June 1

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. The Avett Brothers. 7:30 p.m. $45– $75. wolftrap.org.

JOHN WATERS

In the

!

CELSO PINA 28 THE RIGHTEOUS BROTHERS

John Waters made his first underground films in the 1960s and became a hero of the midnight movie circuit in the early 1970s. With movies like Pink Flamingos and Multiple Maniacs, Waters carved out a niche as a proto-punk filmmaker, and although the limits of good taste have loosened since he made his early films, images from those movies (violent, sexual, scatological, you name it) still inspire shock. Years before the birth of the blockbuster, Waters left a high-water mark of surreal filth that has yet to be matched. Waters later went on to make more Hollywood-friendly films like Hairspray and Cry-Baby, but his most important contribution to cinema is a hard push in the direction of DIY subversion. Today, he is known for his writing and for his This Filthy World speaking tours.

Waters’ more recent output—including his raw new memoir, Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder—makes it clear that, although the paradigms of politics and pop culture have shifted, his ironclad iconoclasm keeps him on the side of the angels, kneecapping the cultural establishment, whoever they may be. John Waters speaks at 7 p.m. at Politics and Prose, 5015 Connecticut Ave. NW. Free. (202) 364-1919. politics-prose.com.

—Will Lennon

Bill Medley & Bucky Heard

29

NEWMYER FLYER PRESENTS

LAUREL CANYON Golden Songs of LA 1966–73

Friday, July 12, 8pm Music Center at Strathmore

Tickets at Strathmore.org or call 301-581-5100.

washingtoncitypaper.com may 24, 2019 25

SPRING INTO ROMANCE NOW ON STAGE THRU JUNE 9

CITY LIGHTS: SATURDAY

PASSION PIT

Ten years after the debut of Manners, Passion Pit’s Michael Angelakos has never felt better. With its saccharine sweet synths and euphoric electro-pop, Manners quickly established Passion Pit as an indie-pop mainstay—but at the expense of Angelakos’ mental health. In 2009, the creation of Manners was informed by a bipolar diagnosis, suicidal ideations, and a five-week stay in a mental health clinic for the Passion Pit frontman. Performing music turned into a doubleedged sword for Angelakos, simultaneously deteriorating his sense of self while also reliving his mental health crisis over and over again in front of an audience. Three full-length albums later, Angelakos realized that the spotlight isn’t a healthy place for artists who struggle with mental wellness and stepped away from the music industry. So, it came as quite a shock to almost everyone when he announced a 10-year anniversary tour for Manners, the album that marked such a tumultuous time in his life. But after looking back at all he’s been through, Angelakos can finally celebrate his accomplishments and gain the closure to plot his next move. Passion Pit perform at 8 p.m. at The Anthem, 901 Wharf St. SW. $40–$119. (202) 888-0020. theanthemdc.com.

—Casey Embert

PHOTO BY BRITTANY DILIBERTO

folger.edu/theatre 202.544.7077

SUNDAY

ROCK

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Akua Allrich “This Mother’s Daughter”. 8 p.m.; 10 p.m. $25. bluesalley.com.

LINCOLN THEATRE 1215 U St. NW. (202) 888-0050.

Apocalyptica. 8 p.m. $40. thelincolndc.com.

JAZZ

DC9 1940 9th St. NW. (202) 483-5000. Circa Waves. 8 p.m. $15. dcnine.com.

ROCK

WEDNESDAY

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Makeup Girl and Ritual Talk. 8 p.m. $10–$12. songbyrddc.com.

WORLD

BOSSA BISTRO 2463 18th St NW. 202-667-0088.

Globus Nexum. 8 p.m. $10. bossadc.com.

PODCAST

Every week, City Paper reporters interview someone who helps tell the story of D.C.

PODCAST

Subscribe at washingtoncitypaper.com/podcast or wherever you get you podcasts.

MONDAY HIP-HOP

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Kari Faux. 8 p.m. $15–$17. songbyrddc.com.

TUESDAY CLASSICAL

HYLTON PERFORMING ARTS CENTER 10960 George Mason Circle, Manassas. (703) 993-7759. Old Bridge Chamber Orchestra. 7:30 p.m. $15–$20. hyltoncenter.org.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Thelma. 9 p.m. $8. songbyrddc.com.

GOSPEL

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

JAZZ

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Stephane Wrembel Band. 8 p.m. $20–$28. citywinery. com.

POP

9:30 CLUB 815 V St. NW. (202) 265-0930. Betty Who. 7 p.m. $26. 930.com.

DC9 1940 9th St. NW. (202) 483-5000. Suzi Wu. 8 p.m. $12. dcnine.com.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Cub Sport. 8 p.m. $13– $15. songbyrddc.com.

JAZZ

ROCK

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Joel Ross “Good Vibes”. 8 p.m.; 10 p.m. $25. bluesalley.com.

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Walk Off The Earth. 8 p.m. $38.50–$188.50. fillmoresilverspring.com.

POP

THURSDAY

9:30 CLUB 815 V St. NW. (202) 265-0930. Betty Who. 7 p.m. $26. 930.com.

CITY WINERY 1350 Okie St. NE. (202) 250-2531. AJ Croce. 7:30 p.m. $22–$25. citywinery.com.

26 may 24, 2019 washingtoncitypaper.com

FOLK

CLASSICAL

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra:

Merriweather Post Pavilion • Columbia, MD

Florence + The Machine * w/ Blood Orange ................................. JUNE 3 CAPITAL JAZZ FEST FEATURING

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

THIS WEEK’S SHOWS

No Scrubs: ‘90s Dance Party

with DJs Will Eastman & Ozker, Visuals by Kylos ............................ F MAY 24 U STREET MUSIC HALL PRESENTS

CloZee w/ Bluetech & Choppy Oppy (live) ...................................................... Sa 25 JUNE

JULY

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

Story District’s Out/Spoken This is a seated show..........................Sa 6 Nick Murphy (fka Chet Faker) ..W 10 Randy Rogers Band .............Th 11 Yeasayer w/ Steady Holiday ......F 12 BENT: Back with a Bang ........Sa 13 Yuna w/ Skylar Stecker .............Tu 16 Beyoncé vs Rihanna Summer Dance Party ...............F 19 Hot In Herre: 2000s Dance Party

w/ Middle Kids ....................M 3 & Tu 4

FRENSHIP w/ Glades ................Th 6 Dennis Lloyd ..............................F 7 Pink Sweat$ w/ Raiche Early Show! 6pm Doors ......................Sa 8 Mixtape Pride Party with DJs Matt Bailer, Lemz, Keenan Orr, Tezrah Late Show! 10pm Doors .....................Sa 8

with Das Will Eastman and Ozker, Visuals by Kylos ......................Sa 20

Ibeyi w/ Sudan Archives ..............Su 9 Monsieur Periné ....................M 10 Wolfmother .............................W 12 The Lemonheads w/ Tommy Stinson ......................Th 13 Who’s Bad: The World’s #1

STEEZ PROMO PRESENTS

G Jones w/ Ivy Lab & tiedye ky .................F 26 THE CIRCUS LIFE PODCAST 6TH ANNIVERSARY CONCERT FEAT.

Justin Trawick and The Common Good • FeelFree • The Dirty Grass Players • Mystery Friends ....Sa 27

Michael Jackson Tribute Band Early Show! 6pm Doors ...................Sa 15

Priests w/ Mock Identity

AUGUST

Late Show! 10pm Doors ..................Sa 15

The Faint w/ Ritual Howls & Closeness .......Sa 3 Tuxedo

White Ford Bronco: DC’s All ‘90s Band .....................F 21 Can’t Feel My Face:

(Mayer Hawthorne & Jake One) .Su 4

2010s Dance Party with DJs Wiley Jay and Ozker, Visuals by Kylos ......................Sa 22

Neurosis w/ Bell Witch & DEAFKIDS .............F 9

Brandi Carlile w/ Lucius ........................................................................ JUNE 14 Willie Nelson & Family and Alison Krauss w/ Lukas Nelson (A Star is Born) ............................................................... JUNE 19 Jason Isbell and The 400 Unit & Father John Misty w/ Jade Bird ............................................................................................................ JUNE 21

Phish ................................................................................................................ JUNE 23 Pitbull .............................................................................................................. JULY 11 Thomas Rhett w/ Dustin Lynch • Russell Dickerson • Rhett Akins ........... JULY 18 Third Eye Blind & Jimmy Eat World * w/ Ra Ra Riot..... JULY 19 blink-182 & Lil Wayne * w/ Neck Deep ......................................... JULY 21 CHRYSALIS AT MERRIWEATHER PARK

LORD HURON w/ Bully ....................................................................JULY 23 311 & Dirty Heads w/ The Interrupters • Dreamers • Bikini Trill .......... JULY 27 CDE PRESENTS : 2019 SUMMER SPIRIT FESTIVAL FEATURING

Anthony Hamilton • Jhené Aiko • Raphael Saadiq • DVSN • PJ Morton and more! .....................................................................AUGUST 3

Train/Goo Goo Dolls * w/ Allen Stone ...........................................AUGUST 9 Chris Stapleton * w/ Margo Price & The Marcus King Band ................ AUGUST 11 Heart* w/ Joan Jett and The Blackhearts & Elle King........................... AUGUST 13 The Smashing Pumpkins & Noel Gallagher’s High Flying Birds* w/ AFI ......... AUGUST 17 Beck & Cage the Elephant * w/ Spoon & Sunflower Bean . AUGUST 22 Lauren Daigle w/ AHI ........................................................................ AUGUST 23 Gary Clark Jr. and Nathaniel Rateliff & The Night Sweats .................... AUGUST 25 Pentatonix * w/ Rachel Platten ........................................................... AUGUST 26 Morrissey w/ Interpol ..............................................................................SEPT 5 O.A.R. w/ Andrew McMahon in the Wilderness & American Authors ..............SEPT 7 Ticketmaster • For full lineup & more info, visit merriweathermusic.com • impconcerts.com * Presented by Live Nation

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

Alex Aiono w/ 4th Ave & Aja9 .Su 30

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

930.com

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

THIS FRIDAY!

Yann Tiersen (Solo In Concert) ..........................MAY 24

Corinne Bailey Rae .............. JUL 30 AN EVENING WITH

Dawes ............................................AUG 6

THIS TUESDAY!

AN EVENING WITH

Apocalyptica-

Joey Coco Diaz ..........................AUG 9

Plays Metallica By Four Cellos Tour .MAY 28

Criminal Podcast

Glen Hansard w/ Junior Brother .JUN 3

- Live Show .................................... SEP 11

POLITICS AND PROSE PRESENTS

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

Rolling Blackouts Coastal Fever w/ RVG ...............................W MAY 29 Geographer w/ Manatee Commune ............... W JUN 5 Charly Bliss w/ Emily Reo ................F 7

The Teskey Brothers ................Sa 8 Remo Drive w/ Slow Pulp & Slow Bullet ................Su 9 Sinkane w/ Bassel & The Supernaturals ..........W 12

Tinariwen ................................... SEP 19 Elizabeth Gilbert: A Discussion on City of Girls .JUN 6 The Waterboys ....................... SEP 22 STORY DISTRICT’S Adam Ant: Friend or Foe .... SEP 23

Breaking Bread: True Stories by

Celebrity Chefs & Industry Insiders . JUL 27

Cat Power w/ Arsun ................... SEP 25

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

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

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

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

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

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

930.com washingtoncitypaper.com may 24, 2019 27

Stage. 1101 6th St. SW. To June 2. $96–$115. (202) 4883300. arenastage.org.

CITY LIGHTS: SUNDAY

Theater

THE CHILDREN After a natural disaster, married retired nuclear physicists live out their days in a remote cottage on the British coast only to have an arrival from their past upend the balance they’ve carefully curated. Studio Theatre. 1501 14th St. NW. To June 2. $20–$90. (202) 332-3300. studiotheatre.org.

GOD OF CARNAGE After their adolescent sons get into a physical altercation on the playground, two Brooklyn couples meet up in an attempt to resolve the disputes of their offspring. As the night progresses and the alcohol flows, civilized courtesies devolve and taboo discussions materialize in the bitter air.

Keegan Theatre. 1742 Church St. NW. To May 25. $20– $50. (202) 265-3767. keegantheatre.com.

JUBILEE First organized in 1871 on the Fisk University campus, the Fisk Jubilee Singers—an African-American a cappella ensemble—triumphed in the face of racism and prejudice in the U.S. and abroad. This a cappella musical boasts more than three dozen songs (including spirituals and hymns like “Swing Low, Sweet Chariot” and “Wade in the Water”) to bring the enduring legacy of the Singers to life. Arena

ROY AYERS

Roy Ayers is the man who put the “vibe” in vibraphone. If he had merely contributed “Searching” and “Everybody Loves the Sunshine” to the canon, it still would have been enough to secure his place in musical history. But those two hits merely foreshadowed Ayers’ real contribution.

He transformed his instrument from a fairly aggressive lead into a textural background ingredient—like a brighter, cleaner Fender Rhodes. In doing so, he also invented a new sound in which to fit his new component: a fusion of jazz and funk that was as moody and grooving as Bitches Brew-period Miles Davis, but accessible, danceable, and sexy. Ayers hasn’t walked away from upbeat grooves, or from virtuoso solo lines. Still, his very name carries with it a certain character. Make out music, if you will, that happens to also be head-nodding funk. Roy Ayers performs at 8 p.m. at City Winery, 1350 Okie St. NE. $45–$55. (202) 250-2531. citywinery.com.

—Michael J. West

LOVE’S LABOR’S LOST The King of Navarre and his three compatriots swear off women for three years of focused study and humble fasting in this early Shakespeare comedy. The Princess of France and her ladies render their lofty ambitions precarious; hijinks and affairs of the heart ensue. Folger Shakespeare Library. 201 E. Capitol St. SE. To June 9. $42–$79. (202) 544-7077. folger.edu.

MARY STUART With only six performers and a minimalist set, Mary Stuart examines the complex relationship of Queen Elizabeth I and Mary, Queen of Scots through the contemporary lens of the #MeToo movement. Sex, court intrigue, and the minds and hearts of the most powerful women in the world collide. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To June 9. $44–$64. (301) 924-3400. olneytheatre.org.

THE ORESTEIA A new version of the only surviving Greek tragedy, The Oresteia poetically combines the works of Aeschylus to tell the ten year tale of grief and murder that characterizes the interlocking lives of Queen Clytemnestra, her husband Agamemnon, and Orestes. Shakespeare Theatre Company Studios.

610 F Street NW. To June 30. $44–$118. 202-547-1122. shakespearetheatre.org.

SPUNK A Guitar Man and Blues Speak Woman intertwine three stories of the black experience in early 20th century America (based on short stories by Zora

CITY LIGHTS: MONDAY

Unexpected Italy. 7 p.m. $15–$89. kennedy-center.org.

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. NSO Youth Fellows. 6 p.m. Free. kennedy-center.org.

COUNTRY UNION STAGE 740 Water St. SW. (877) 987-6487. Jade Jackson. 8 p.m. Free. unionstage.com.

JAZZ BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Jazzy Mob. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

CITY WINERY 1350 Okie St. NE. (202) 250-2531. John “Papa” Gros. 8 p.m. $17. citywinery.com.

Books

WORDSLUT WITH AMANDA MONTELL In conversation with Soraya Chemaly, author Amanda MontellI discusses her book Wordslut: A Feminist Guide to Taking Back the English Language, which explores how gendered language shapes us and uses brash, biting humor and playfulness to challenge our language and how we use it. Solid State Books. 600 H St. NE. May 28. 7 p.m. Free. (202) 897-4201. solidstatebooksdc.com

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Marcus Johnson. 8 p.m. $30–$45. citywinery.com.

POP 9:30 CLUB 815 V St. NW. (202) 265-0930. Betty Who. 7 p.m. $26. 930.com.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Chaos Chaos. 8 p.m. $12– $15. songbyrddc.com.

ROCK THE ANTHEM 901 Wharf St. SW. (202) 888-0020.

David Gray. 8 p.m. $55–$75. theanthemdc.com.

DC9 1940 9th St. NW. (202) 483-5000. The Exits. 8 p.m. $10. dcnine.com.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Teenage Halloween. 9 p.m. $7. songbyrddc.com.

Dance

DANCEAFRICA, DC 2019 Dance Place’s 32nd annual festival celebrates the dance, music, and spirit of the African diaspora, featuring Mama Sylvia Soumah as Griot, outstanding African dance companies like KanKouran West African Dance Company and Coyaba Dance Theater. The event, supported through funding from the DC Commission on the Arts and Humanities, also features a master class series, free outdoor activities, and its signature African Marketplace. Dance Place. 3225 8th St. NE. May 28–June 2. $15–$30. (202) 269-1600. danceplace.org.

28 may 24, 2019 washingtoncitypaper.com

KARI FAUX

Since breaking through with the ringtone menace of “No Small Talk” in 2014, Kari Faux has been an artist to watch. In the years since, the Little Rock, Arkansas, product has traversed the soulfunk-rap-R&B spectrum, distilling a few years out West into an album called Lost En Los Angeles, collaborating with Childish Gambino, and contributing to the Zeitgeist-riding soundtrack of HBO’s Insecure. The rapper-singer-songwriter has always spoken her truth, but perhaps never as strongly as on her latest effort, CRY 4 HELP. The EP condenses a lifetime into five syrupy explorations of past traumas, as Faux bounces from high to low, self-medicating with liquor and smoke along the way. The pièce de résistance is “LATCH KEY,” a decidedly old school slab of storytelling in which she details losing her virginity and a subsequent miscarriage. In the song, Faux finds strength in vulnerability, as she does on the EP’s cover art, which sees her strike a face-down-ass-up pose while flipping the bird to the past. Kari Faux performs at 8 p.m. at Songbyrd Music House, 2477 18th St. NW. $15–$17. (202) 450-2917. songbyrddc.com. —Chris Kelly

washingtoncitypaper.com may 24, 2019 29

CITY LIGHTS: TUESDAY

CITY LIGHTS: THURSDAY

ALIEN

“In space no one can hear you scream.” That’s the famous tagline for Alien, the sci-fi horror classic which celebrates its 40th anniversary this month, and follows the crew of spacecraft Nostromo as they attempt to navigate their ship back to Earth. Their journey is delayed when they detect a distress signal from an alien vessel, and things don’t get much better from there. Running at nearly two hours, one thing that makes Alien so brilliant is its careful pacing. The film’s most gut-wrenching moments are delayed to make room for compelling character development, carried out most notably

by Sigourney Weaver, Tom Skerritt, Veronica Cartwright, and John Hurt.

Add in Jerry Goldsmith’s goosebump-inducing score, and you have one of the greatest, creepiest movies ever to stand the test of time. Grab some popcorn and blankets and get ready to scream in Adams Morgan. The film screens at 8 p.m. at the Marie Reed Soccer Field, 2201 18th St. NW. Free. (202) 997-0783. admodc.org/movies.

—Ella Feldman

CITY LIGHTS: WEDNESDAY

ALL THE PRESIDENT’S MEN

All The President’s Men is more than a movie. It is a template that has been copy-pasted and tweaked to create a dozen other awardbait “journalism movies” that pale in comparison to the original. It is an adaptation of a book by Bob Woodward and Carl Bernstein chronicling how their investigation into a break-in at an office complex unraveled the most famous scandal in American history. Most importantly, it is the definitive version of a chapter in American history mythologized on film. The investigation, the scandal, the book, and the movie, (all of which happened within the span of a few of years) are hopelessly entangled. It was Robert Redford who convinced Woodward to rethink the book as a thriller about journalists instead of a story about the fall of Nixon, and screenwriter William Goldman studied the Washington Post’s staff to accurately depict a newsroom. Goldman succeeded to the extent that Roger Ebert complained the movie’s pacing was bogged down by its commitment to realistically portraying investigative journalism. Today, as far as the American hive-mind is concerned, All The President’s Men is practically a documentary. When we think of Woodward, Bernstein, and Watergate, we think of Robert Redford and Dustin Hoffman. The AFI Silver will present the film and a post-screening Q&A with Bob Woodward himself. The film screens at 7 p.m. at the AFI Silver Theatre and Cultural Center, 8633 Colesville Road, Silver Spring. $8–$13. (301) 495-6700. afi.com/silver.

—Will Lennon

30 may 24, 2019 washingtoncitypaper.com

OMAR APOLLO

First generation Mexican-American songwriter and soulster Omar Velasco, widely known under his Omar Apollo moniker, stepped into the limelight of success and has put in the work to sustain it. Pulling deeply from his Mexican heritage, Apollo’s sound is reflective of modern R&B and Mexican soul. Mexcian soul singers Pedro Infante, Vicente Fernández, and Estela Núñez were didactic influences during his formative years, which has helped him develop his current musical regime. The 21-year-old artist romanced his audience in 2017 with his single “Ugotme,” and EP Friends, released in April, is a wonderful collective of electric-funk R&B lines that meander through the pining ideas of young love, letting go, and the boundaries of friendship. As his growing fanbase can attest, there is much to swoon over. Omar Apollo performs at 7 p.m. at U Street Music Hall, 1115 U St. NW. $20. (202) 588-1889. ustreetmusichall.com. —Mikala Williams

Neale Hurston) to illustrate the endurance of the human spirit. Signature Theatre. 4200 Campbell Ave., Arlington. To June 23. $40–$85. (703) 820-9771. sigtheatre.org.

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

Film

ALADDIN Kind young street rat Aladdin finds a magic lamp which releases a wise-cracking genie who can grant wishes. Starring Will Smith, Mena Massoud, and Naomi Scott. (See washingtoncitypaper.com for venue information) ALL IS TRUE This biography chronicles the final days and trials and tribulations of playwright William Shakespeare’s life. Starring Kenneth Branagh, Lolita Chakrabarti, and Jack Colgrave Hirst. (See washingtoncitypaper.com for venue information) BOOKSMART Two academically successful high school students attempt to cram four years of partying into one night before they graduate. Starring Kait-

lyn Dever, Beanie Feldstein, and Jessica Williams. (See washingtoncitypaper.com for venue information) A DOG’S JOURNEY In this sequel to A Dog’s Purpose, happy-go-lucky dog Bailey finds a new home and destiny. Starring Dennis Quaid, Kathryn Prescott, and Betty Gilpin. (See washingtoncitypaper.com for venue information) JOHN WICK: CHAPTER 3 — PARABELLUM Assassin John Wick goes on the run and becomes a target after killing a member of the international assassin’s guild. Starring Keanu Reeves, Halle Berry, and Ian McShane. (See washingtoncitypaper.com for venue information) PHOTOGRAPH In Mumbai, a street photographer convinces a stranger to pose as his fiancée, amid pressure from his family to marry. Starring Nawazuddin Siddiqui, Sanya Malhotra, and Sachin Khedekar. (See washingtoncitypaper.com for venue information) THE SOUVENIR A timid young film student falls for a charming, untrustworthy older man in the early 1980s. Starring Neil Young, Tosin Cole, and Jack McMullen. (See washingtoncitypaper.com for venue information) THE SUN IS ALSO A STAR Two young people—one a romantic and the other a pragmatist—meet and fall in love over the course of one magical day. Starring Yara Shahidi, Charles Melton, and Keong Sim. (See washingtoncitypaper.com for venue information)

washingtoncitypaper.com may 24, 2019 31

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SAVAGELOVE I keep running into the same issue with my best friend of five years. (She’s also my maid of honor at my upcoming wedding.) We’re both empaths— most of my friends are—and we’re both in therapy working on how to cope with that. I have severe anxiety that impacts my physical health, so one of the empath-related issues I’m working on is not following through with plans when I need to take time alone. My friend claims she understands this but my actions severely impact her mood. Example: We’ll make tentative plans to get together, I’ll feel too sick to follow through, and then she’s in a negative emotional spiral for days. The final straw came when she called me late this past Friday night—just once, with no subsequent voicemail, text message, or follow-up call. On Monday morning, I sent her a text message asking how her weekend was and got an icy reply. Evidently, something happened to her on Friday, she called me for support, and my failure to return her call left her feeling very upset. I apologized for the accidental trigger and tried to lay down some protocols for reaching out in an emergency situation (leave me a voicemail and send a follow-up text) so I know it’s urgent. She hasn’t replied. I’m really frustrated. She has a lot of baggage around being shamed for being emotional, so I try to be careful not to invalidate her feelings, but I don’t know if that’s even making a difference. We’ve had several conflicts over the last year, always triggered by something I did or said, almost always accidentally, that caused her to “take a step back.”

She insists she understands I’m doing my best to be a good friend while also working through my own emotional shit. But that’s not the sense I’m getting. I’m feeling increasingly like it’s impossible to be a human being AND her friend. Until recently, I had zero emotional boundaries and made myself available to her at a moment’s notice to help shoulder her emotional burden. But now that I’m trying to be more conservative with my abundance and take better care of myself, it seems like all I do is hurt her. What the fuck do I do? I’ve tried to be open-minded and patient with her dramatic mood swings, but she seems unable to give me the benefit of the doubt, which I always try to give her. This rocky ground between us is adding more stress to the whole wedding situation.

(You’re supposed to be able to rely on your maid of honor, right?) This thing we have is not sustainable as it is, although I love her deeply. Help me figure this out?

—Emotions Making Personal Affection Too Hard Being so attuned to other people’s emotional states that you feel their pain—being an empath—sounds exhausting. But Lori Gottlieb, a psychotherapist in private practice, isn’t convinced your empath superpowers are the problem here.

“EMPATH’s moods seem overly dependent on what the other person does,” said Gottli-

32 may 24, 2019 washingtoncitypaper.com

eb. “That’s not being ‘an empath.’ Most people are empathetic, which isn’t the same as what these two are doing. They’re drowning in each other’s feelings. This is what pop culture might call codependency, and what in therapy we’d call an attachment issue.”

From your letter, EMPATH, it sounds like you might be ready to detach from your friend—you mentioned a final straw and described the relationship as not sustainable—and detaching would resolve this attachment issue.

“This feels less like a friendship and more like a psychodrama where they’re each playing out their respective issues,” said Gottlieb. “A friendship isn’t about solving another person’s emotional issues or being the container for them. It isn’t about being devastated by another person’s feelings or boundaries.

It should be a mutually fulfilling relationship, not being co-therapists to each other. In a strong friendship, each person can handle her own emotions rather than relying on the friend to regulate them for her.”

Gottlieb started writing an advice column because, unlike psychotherapists, advice columnists are supposed to tell people what to do.

I’m guessing your therapist mostly asks questions and gently nudges, EMPATH, but since Gottlieb has her advice-columnist hat on today and not her psychotherapist hat, I asked her to tell you what to do.

“She should act more like a friend than a therapist/caretaker,” said Gottlieb. “She shouldn’t treat her friend or herself as if they’re too fragile to handle basic communication or boundaries. And they should both be working out their issues with their respective therapists, not with each other.”

And if you decide to keep this woman in your life (and your wedding party), EMPATH, you’ll both have to work on—sigh—your communication skills.

“Right now, they don’t seem to know how to communicate directly with each other,” said Gottlieb. “It’s either an icy text or complaining to outside parties about each other. But when it comes to how they interact with each other, they’re so careful, as if one or both might break if they simply said, ‘Hey, I really care about you and I know sometimes you want to talk about stuff, but sometimes it feels like too much and maybe something you can talk to your therapist about.’”

Lori Gottlieb’s new book, Maybe You Should Talk to Someone, is a New York Times best seller. Follow her on Twitter @LoriGottlieb1.

—Dan Savage I will be driving to New Orleans from Toronto. It’s almost impossible to drive from Ontario to Louisiana without stopping for fuel/food/hotel in

Ohio, Georgia, or Alabama. But I want to boycott Handmaid states during my trip. Even then, I feel I have to check the news every day to see what state is next. Do you have any practical advice for me?

Or should I just stay home until your democratic systems and your courts are fixed and your Electoral College is abolished? —Canadian Avoids Nearing Terrible Georgia, Ohio…

Why head south, CANTGO? Even if you’ve lived in Canada all your life, you couldn’t possibly have explored every corner of your beautiful country. But if you absolutely, positively must board the Titanic—excuse me, if you must visit the United States—take a hard right after you cross the border and head west instead. Enjoy Michigan’s Upper Peninsula, check out some of those lakes they’re always talking about in Minnesota, speed through the Dakotas, Montana, and the skinniest part of Idaho, and pretty soon you’ll be in Washington State, where a woman’s right to choose is enshrined in the state constitution. The summers are lovely, we’ve got hiking trails that will take you to mountain lakes, and Democrats control both houses of the state legislature and the governor’s mansion, so you won’t have to check the news every day when you’re in Seattle.

CONFIDENTIAL TO EVERYONE: Antichoice, anti-woman, anti-sex bills have been rammed through Republican-controlled state legislatures in Ohio, Georgia, Kentucky, Missouri, Arkansas, Utah, Mississippi, and Alabama. “The new wave of anti-abortion laws suggests that a post-Roe America won’t look like the country did before 1973, when the court case was decided,” Michelle Goldberg wrote in the New York Times. “It will probably be worse.”

If these bills are declared constitutional—a real possibility now—doctors will be jailed, women who have miscarriages will be prosecuted, and many forms of birth control will be banned. If you’re as pissed off as I am—and anyone who isn’t can piss right off—please make sure you and all your friends are registered to vote so you can vote out anti-choice state legislators and governors in 2020. To be clear: Right now, abortion remains legal in all 50 states. So you don’t have to wait until next November to send a “fuck you” to red-state Republicans pushing these laws. Make a donation to an organization that helps women obtain abortions in red states—like The Yellowhammer Fund in Alabama (yellowhammerfund.org), Gateway Women’s Access Fund in Missouri (gwaf.org), and Women Have Options in Ohio (womenhaveoptions.org).

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

Superior Court of the District of Columbia, Case No. 2019 LTB Adult . . . . . . . . . . . . . . . . . . . . . . . 42 Leather & Lace Stone 005626. A judgment for Massage for the Gentlepossession to Auto/Wheels/Boat . . . . . .may . . . lead . . 42 men Only (Serving eviction and the loss of Buy, Sell, Trade . . personal . . . . . . property . . . . . . in . . the . .

Rockville/Potomac/ Bethesda) 301-655residence.

Marketplace . . . . . . . . . . . . . . . . .

42 0598 Any interested person, Community . . . . . including . . . . . . .but . . not . . .limited . 42 to creditors, heirs, and Employment . . . . legatees . . . . . . of . .the . . .dece . . 42 SUPERIOR COURT Health/Mind . . . . dent, . . . . shall . . . .appear . . . . .on . . .

OF THE DISTRICT OF June 13, 2019 at 10:00 COLUMBIA Body & Spirit . . . . am . . .in . Courtroom . . . . . . . .B109, . 42 Landlord and Tenant in the Landlord and Housing/Rentals Tenant . . . . . Court, . . . . .located . . . 42 Branch 2019 LTB 005626 Legal Notices . . . at . .510 . . .4 . th . . Street . . . . .NW, 42 D.C. Housing Authority : Washington, DC, to Plaintiff, Music/Music Row .show . . . cause . . . . if . .there . . . be 42 v. any reason why the . . . . . . . . . . . complaint . . . . . . . for . . possession . . . . 42 BettyPets Jenkins Defendant.

Real Estate . . . . . should . . . . .not . . .be . .granted . . . 42 NOTICE TO HEIRS OF and the plaintiff take BETTYShared JENKINS Housing . possession, of, . . . . . . . . dispose . . . . . 42 or take any other ac . . . . . . tion . . . as . . ordered . . . . . .by . .this 42 Betty Services .

Jenkins, who .lived at 1425 N Street, NW, Court of any personal Unit 702, Washington, property contained in DC 20005, at the time the unit. Inquiries may of her reported death, be directed to: is the subject of an acLisa J. Dessel, Esq. tion for a Complaint for Musolino & Dessel PLLC Possession by Plaintiff 1615 L Street, NW D.C Housing AuthorSuite 440 ity, in the Landlord and Washington, DC 20036 Tenant Branch of the (202) 466-3883

Contents:

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Shining Stars Montessori Academy Public Charter School solicits proposals for the following services: * Construction Management * School Apparel * Curriculum Support

*Building & Grounds Legals Management DC SCHOLARS PCS - REQUEST *Translation &InterpreFOR PROPOSALS – Modutation Services lar Contractor Services - DC Scholars Public Charter School *Teacher Training solicits proposals for a &modular Support contractor to provide professional management and construction services construct a modular * LegaltoServices building to house four classrooms andHVAC one faculty offi ce suite. The * & Building Request for Proposals (RFP) Maintenance specifi cations can be obtained on and after Monday, November 27, Full RFP available 2017 from Emily Stone by via comrequest. Proposals munityschools@dcscholars.org. shall be emailed as PDFin All questions should be sent documents noNolater writing by e-mail. phonethan calls regarding will be ac5:00 PMthis on RFP 6/5/2019. cepted. Bidsprocurement@ must be received by Contact: 5:00 PM on Thursday, December shiningstarspcs.org 14, 2017 at DC Scholars Public Charter School, COURT ATTN: Sharonda SUPERIOR Mann, 5601 E. Capitol St. SE, OF THE DISTRICT Washington, DC 20019. AnyOF bids COLUMBIA not addressing all areas as outPROBATE DIVISION lined in the RFP specifi cations will 2019 ADM 000462 not be considered.

Name of Decedent, Corrie E. Shanahan.

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Rooms for Rent All unknown heirs and heirs whose whereHoliday SpecialTwo furaboutsrooms are unknown nished for short or long shall enter their term rental ($900 andappear$800 per ance thisaccess proceedmonth)inwith to W/D, WiFi, Kitchen, and to Den. Utiliing. Objections such ties included. Best N.E. location appointment shall be along H St. Corridor.

Call Eddie filed with the Register 202-744-9811 for 515 info. 5th or visit of Wills, D.C., www.TheCurryEstate.com Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 11/23/2019. Claims against the decedent shall be presented to the undersigned with a copy to the Register of

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by Carts this & Trays, 2016 Kettles up Court of any personal to 200 Gallons, Urschel property Cutters &contained Shreddersininthe unit. 2016 Inquiries may cluding Diversacut be2110 directed Dicer, to: 6 Chill/Freeze Lisa Dessel, Esq. Cabs,J. Double Rack Ovens & Ranges,& (12) Braising Musolino Dessel PLLC Tables,L 2016 (3+)NW Stephan 1615 Street, VCMs, 30+ Scales, Suite 440 Hobart 80 qt Washington, DC Mixers, 20036 Complete Machine Shop, (202) 466-3883 and much more! View the catalog at Request for Proposal www.mdavisgroup.com or Food Service Man412-521-5751 agement Company Services Garage/Yard/ Paul Public Charter Rummage/Estate Sales School Flea Market every Fri-Sat Paul Public5615 Charter 10am-4pm.

Landover Rd. School isMD. advertising Cheverly, 20784. Can buy thebulk. opportunity to bid in Contact 202-355-2068 on301-772-3341 the management or for detailsof or if intrested in being a vendor. breakfast, lunch, snack and/or CACFP supper program to children enrolled at the school for the 2019-2020 school year with a possible extension of (4) one year renewals.

All meals must meet at a minimum, but are not restricted to, the USDA National School Breakfast, Lunch, Afterschool Snack and At Risk Supper meal pattern requirements. Additional specifications outlined in the Request for Proposal (RFP) such as; student data, days of service, meal quality, etc. may be obtained beginning on May 24, 2019 from Shelby Legel, Operations Manager, at (202)

541-6619 or via email at Miscellaneous slegel@paulcharter.org.

NEW COOPERATIVE Proposals will beSHOP! accepted at 5800 8 th St FROM EGPYT THINGS NW, Washington, DC AND BEYOND 20011 on June 17, 2019 240-725-6025 not later than 11:00 am. www.thingsfromegypt.com thingsfromegypt@yahoo.com All bids not addressing all areas as outlined SOUTH AFRICAN BAZAAR Craft Cooperative in the RFP will not be 202-341-0209 considered. www.southafricanbazaarcraftcoo perative.com SUPERIOR COURT southafricanba z a ar @hotmail.

OF THE DISTRICT OF com COLUMBIA Landlord Tenant WEST FARMand WOODWORKS BranchCreative Furniture Custom 2018 LTB 028523 202-316-3372 info@westfarmwoodworks.com D.C. Housing Authority : www.westfarmwoodworks.com Plaintiff, v.

7002 Carroll Lynch Avenue Lawrence Takoma Park, MD 20912 Defendant.

Mon-Sat 11am-7pm, NOTICE TO HEIRS OF Sun 10am-6pm LAWRENCE LYNCH

Motorcycles/Scooters

Lawrence Lynch, who lived Suzuki at 635TU250X Edgewood 2016 for sale.

1200 miles.

Just serStreet, NE,CLEAN. 710, Washviced. Comes with bikeatcover ington, DC 20017, and $3000 the saddlebags. time of hisAsking reported Cash only.is the subject of death, Call 202-417-1870 M-F between an action for a Com6-9PM, or weekends. plaint for Possession by Plaintiff D.C Housing Bands/DJs for Hire Authority, in the Landlord and Tenant Branch of the Superior Court of the District of Columbia, Case No. 2018 LTB 028523. A judgment for possession may lead to eviction and the loss of personal property in the residence.

Get It Productions: ProfesAnyWit interested person, sional soundbut and not lighting availincluding limited able for club, corporate, private, to creditors, heirs, and wedding receptions, holiday legatees of the deceevents and much more. Insured, dent, shall appear on 531competitive rates.

Call (866) June 13, at 10:00 6612 Ext 1, 2019 leave message for a am in Courtroom ten-minute call back, or B109, book onin Landlord and linethe at: agetwititproductions.com Tenant Court, located at 510 4 Announcements th Street NW, Washington, DC, to show cause if there be all Announcements - Hey, you lovers of erotic any reason why and the bizarre romantic fi ction!

Visit www. complaint for possession nightlightproductions.club should not be granted and submitthe yourplaintiff stories totake me Happy and Holidays! James K. West possession, dispose of, wpermanentwink@aol.com

or take any other action as ordered byEvents this Court of any personal Christmas in Silver Spring property contained in Saturday, December 2, 2017 the unit.

Inquiries may Veteran’s Plaza be directed to: 9:00 a.m. to 7:00 p.m.

Lisa J.celebrate Dessel,Christmas Esq. Come in Musolino & Dessel the heart of Silver SpringPLLC at our 1615 Village L Street, NW PlaVendor on Veteran’s Suite 440 za. There will be shopping, arts Washington, 20036 and crafts for kids,DC pictures with Santa, and entertainment (202)music 466-3883 to spread holiday cheer and more.

Proceeds from the market will BREAKTHROUGH provide a “wish” toy PUBLIC for children MONTESSORI in need. Join us at your one stop CHARTER SCHOOL shop for everything Christmas.

REQUEST FOR PROFor more information, contact POSALS Futsum, Breakthrough Montes- or info@leadersinstitutemd.org sori301-655-9679 seeks bids for the call following services: General Special Education, Accounting, and PlayLooking to Rent yard space for ground Procurement and hunting dogs. Alexandria/ArlingInstallation.

To obtain ton, VA area only. Medium sized a full copy of the RFPs, dogs will be well-maintained in please contact 202-246temperature controled dog hous1928 or advanced emily.hedin@ es. I have animal care breakthroughmontesexperience and dogs will be rid sori.org. for all free of feces,Bids flies, urine and oder.

Dogs willservices be in a ventilated three must kennel be so they will not exposed to winreceived nobelater than ter and24, harsh weather Space May 2019 at etc.

5:00 will PM.be needed as soon as possible. Yard for dogs must be Metro accessible. Serious callers only, IDEA Integrated call anytime Kevin, 415- 846Design 5268.

Priceand Neg. Electronic Academy PCS NOTICE: FORCounseling PROPOSALS FOR MULTIPLE SERVICES MAKE THE CALL TO START IDEA Integrated Design GETTING CLEAN TODAY. Free 24/7 for alcohol & drug and Helpline Electronic Academy addiction treatment.

Get help! It PCS solicits proposis take following your life back! Call alstime forto the Now: 855-732-4139 services: *Professional DevelopPregnant? Considering AdopmentCall us first. Living expenstion? es, housing, medical, *Accounting andand continued support afterwards. Choose Finance adoptive family ofConsulting your choice. *Contractual Call 24/7. 877-362-2401.

Services *Special Education Services *Extended Year Program for Special Education Students Full RFP available by request. Proposals shall be emailed as PDF documents no later than 5:00 PM on 6/5/2019.

Contact:bids@ideapcs. org

Print Deadline The deadline for submission and payment of classified ads for print is each Monday, 5 pm.

You may contact the classifieds rep by emailing classifieds@washingtoncitypaper.com or calling 202-650-6941.

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washingtoncitypaper.com may 24, 2019 33

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA Landlord and Tenant Branch 2019 LTB 000896 D.C. Housing Authority : Plaintiff, v.

Linwood Deloatch Defendant.

NOTICE TO HEIRS OF LINWOOD DELOATCH Linwood Deloatch, who lived at 1845 Harvard Street, NW, 321, Washington, DC 20009, at the time of his reported death, is the subject of an action for a Complaint for Possession by Plaintiff D.C Housing Authority, in the Landlord and Tenant Branch of the Superior Court of the District of Columbia, Case No. 2019 LTB 000896. A judgment for possession may lead to eviction and the loss of personal property in the residence.

Any interested person, including but not limited to creditors, heirs, and legatees of the decedent, shall appear on June 13, 2019 at 10:00 am in Courtroom B109, in the Landlord and Tenant Court, located at 510 4 th Street NW, Washington, DC, to show cause if there be any reason why the complaint for possession should not be granted and the plaintiff take possession, dispose of, or take any other action as ordered by this Court of any personal property contained in the unit. Inquiries may be directed to: Lisa J. Dessel, Esq. Musolino & Dessel PLLC 1615 L Street, NW Suite 440 Washington, DC 20036 (202) 466-3883 MAYA ANGELOU PUBLIC CHARTER SCHOOL REQUESTS FOR PROPOSALS Vended Meals MAPCS is advertising the opportunity to bid on the delivery of breakfast, lunch, snack and/or CACFP supper program to children enrolled at the school for the 2019-2020 school year with a possible extension of (4) one year renewals. All meals must meet at a minimum, but are not restricted to, the USDA National School Breakfast, Lunch, Afterschool Snack and At Risk Supper meal pattern requirements. Additional specifications outlined in the Request for Proposal (RFP) such as; student data, days of service, meal quality, etc. may be obtained beginning on May 24, 2019 from Heather Hesslink at hhesslink@seeforever. org .

Proposals will be accepted at https://app. smartsheet.com/b/form/ edb745d44b9846ef95ca070acb22a751 until June 17, 2019, no later than 5:00p.m.

Complete details can be found on https://www.seeforever. org/request-for-proposals/ All bids not addressing all areas as outlined in the RFP will not be considered.

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA Landlord and Tenant Branch 2019 LTB 000901 D.C. Housing Authority : Plaintiff, v.

Muhammad El Amin Defendant.

NOTICE TO HEIRS OF MUHAMMAD EL AMIN Muhammad El Amin, who lived at 5336 Colorado Ave., NW, 204, Washington, DC 20011, at the time of his reported death, is the subject of an action for a Complaint for Possession by Plaintiff D.C Housing Authority, in the Landlord and Tenant Branch of the Superior Court of the District of Columbia, Case No. 2019 LTB 000901. A judgment for possession may lead to eviction and the loss of personal property in the residence.

Any interested person, including but not limited to creditors, heirs, and legatees of the decedent, shall appear on June 13, 2019 at 10:00 am in Courtroom B109, in the Landlord and Tenant Court, located at 510 4 th Street NW, Washington, DC, to show cause if there be any reason why the complaint for possession should not be granted and the plaintiff take possession, dispose of, or take any other action as ordered by this Court of any personal property contained in the unit. Inquiries may be directed to: Lisa J. Dessel, Esq. Musolino & Dessel PLLC 1615 L Street, NW Suite 440 Washington, DC 20036 (202) 466-3883 SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2019 ADM 000515 Name of Decedent, William H Douglas, Sr. Notice of Standard Probate, Notice is hereby given that a petition has been files in this Court

by Tajuanna Douglas for standard probate, including the appointment of one or more personal representatives. Unless a responsive pleading in the form of a complaint or an objection in accordance with Superior Court Probate Division Rule 407 is filed in this Court within 30 days from the date of first publication of this notice, the Court may take the action hereinafter set forth.

Order Dominga Douglas and Torre Douglas-

Tracie Cook-Ricardo Douglas-William Douglas Jr.-Juanita Douglas who are alleged to have custody of the will, to deliver it to the Court.

Date of first publication: 5/23/2019 Name of Newspaper and/or periodical: Washington City Paper/Daily Washington Law Reporter Name of Petitioner: Tajuanna Douglas TRUE TEST copy Nicole Stevens Acting Register of Wills Clerk of the Probate Division Pub Dates: May 23, 30, June 6.

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA Landlord and Tenant Branch 2019 LTB 000899 D.C. Housing Authority : Plaintiff, v.

Stanley Bradley, Defendant.

NOTICE TO HEIRS OF STANLEY BRADLEY Stanley Bradley, who lived at 1845 Harvard Street, NW, 602, Washington, DC 20009, at the time of his reported death, is the subject of an action for a Complaint for Possession by Plaintiff D.C Housing Authority, in the Landlord and Tenant Branch of the Superior Court of the District of Columbia, Case No. 2019 LTB 000899. A judgment for possession may lead to eviction and the loss of personal property in the residence.

Any interested person, including but not limited to creditors, heirs, and legatees of the decedent, shall appear on June 13, 2019 at 10:00 am in Courtroom B109, in the Landlord and Tenant Court, located at 510 4 th Street NW, Washington, DC, to show cause if there be any reason why the complaint for possession should not be granted and the plaintiff take possession, dispose of, or take any other action as ordered by this Court of any personal property contained in the unit. Inquiries may be directed to: Lisa J. Dessel, Esq. Musolino & Dessel PLLC 1615 L Street, NW Suite 440 Washington, DC 20036 (202) 466-3883 INSPIRED TEACHING DEMONSTRATION PUBLIC CHARTER SCHOOL NOTICE OF INTENT TO ENTER INTO A SOLE SOURCE CONTRACT IN LIEU OF RFP The Inspired Teaching Demonstration Public Charter School and its partner Shaed LLC, intends to enter into a sole source design/build construction contract with MCN Build for the renovation of the ground floor in our facility at 200 Douglas Street

34 may 24, 2019 washingtoncitypaper.com

NE. The sole source is necessary because financing was just secured to cover the cost of the work and we need to take occupancy in August, 2019. It is imperative that we commence the work immediately to meet this timeline.

In addition, MCN was previously chosen through an RFP process for this project, but the project was put on hold. As a mitigating factor, MCN Build will bid out their subcontractors (which is most of their contract), so we are confident that a competitive price will be obtained. The proposed contract amount is approximately $3.5MM. INSPIRED TEACHING DEMONSTRATION PUBLIC CHARTER SCHOOL REQUEST FOR PROPOSALS FOR PROJECT MANAGEMENT SERVICES The Inspired Teaching Demonstration Public Charter School and its partner Shaed LLC, are soliciting proposals from qualified firms to provide project management services related to the on time and on budget delivery of the ground floor renovation of its facility at 200 Douglas St. NE. The proposed project for the ground floor renovation is approximately $3.5MM and will take place in summer/fall 2019. For the full RFP please contact Kate Keplinger at kate.keplinger@ inspiredteachingschool. org. Responses will be due on June 5, 2019.

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA Landlord and Tenant Branch 2019 LTB 001682 D.C. Housing Authority : Plaintiff, v.

Estate of Cosanders Adams Defendant.

NOTICE TO HEIRS OF COSANDERS ADAMS Cosanders Adams, who lived at 208 L Street, SW, Washington, DC 20024, at the time of her reported death, is the subject of an action for a Complaint for Possession by Plaintiff D.C Housing Authority, in the Landlord and Tenant Branch of the Superior Court of the District of Columbia, Case No. 2019 LTB 0001682. A judgment for possession may lead to eviction and the loss of personal property in the residence.

Any interested person, including but not limited to creditors, heirs, and legatees of the decedent, shall appear on June 13, 2019 at 10:00 am in Courtroom B109, in the Landlord and Tenant Court, located

at 510 4 th Street NW, Washington, DC, to show cause if there be any reason why the complaint for possession should not be granted and the plaintiff take possession, dispose of, or take any other action as ordered by this Court of any personal property contained in the unit. Inquiries may be directed to: Lisa J. Dessel, Esq. Musolino & Dessel PLLC 1615 L Street, NW Suite 440 Washington, DC 20036 (202) 466-3883 D.C. BILINGUAL PUBLIC CHARTER SCHOOL NOTICE: FOR REQUEST FOR PROPOSAL D.C. Bilingual Public Charter School in accordance with section 2204(c) of the District of Columbia School Reform Act of 1995 solicits proposals for vendors to provide the following services for SY19.20: * Landscape and Snow Removal Services Proposal Submission A Portable Document Format (pdf) election version of your proposal must be received by the school no later than 4:00 p.m. EST on Tuesday, June 4, 2019.

Proposals should be emailed to bids@dcbilingual.org No phone call submission or late responses please. Interviews, samples, demonstra-

tions will be scheduled at our request after the review of the proposals only.

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA Landlord and Tenant Branch 2019 LTB 002162 D.C. Housing Authority : Plaintiff, v.

Eva Britt Defendant.

NOTICE TO HEIRS OF EVA BRITT Eva Britt, who lived at 3700 9 th Street, SE, 227, Washington, DC 20032, at the time of her reported death, is the subject of an action for a Complaint for Possession by Plaintiff D.C Housing Authority, in the Landlord and Tenant Branch of the Superior Court of the District of Columbia, Case No. 2019 LTB 0002162. A judgment for possession may lead to eviction and the loss of personal property in the residence. Any interested person, including but not limited to creditors, heirs, and legatees of the decedent, shall appear on June 13, 2019 at 10:00 am in Courtroom B109, in the Landlord and Tenant Court, located at 510 4 th Street NW, Washington, DC, to show cause if there be any reason why the complaint for possession should not

be granted and the plaintiff take possession, dispose of, or take any other action as ordered by this Court of any personal property contained in the unit. Inquiries may be directed to: Lisa J. Dessel, Esq. Musolino & Dessel PLLC 1615 L Street, NW Suite 440 Washington, DC 20036 (202) 466-3883

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New renovation, hardwood floors, large rear deck, washer/dryer, available May 1, Shopping, restaurants, very close by. $1300 each, wi-Fi and cable included.

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