Washington City Paper (May 29, 2015)

CITYPAPER Washington

politics: the d.c. gop tries again 7

Free Volume 35, no. 22 WashingtonCityPaPer.Com may 29–June 4, 2015

Stream of ConSCiouSneSS Marvin Gaye Park is ready for its next act. 14

By Sarah anne hugheS PhotograP hS By Darrow MontgoMery

Food: vinegar you’ll want to drink 23

FINAL SHOWS AT

ARTISPHERE

WE STILL HAVE SO MUCH TO SHARE WITH YOU!

IMPOSSIBLE LIGHT FRI MAY 29 AT 7PM / DOME THEATRE

This documentary provides an inside glimpse at how a small team of visionaries battled numerous obstacles— from the drawing board to the boardroom to 500 feet above San Francisco Bay—to turn an impossible dream into a glimmering reality.

“...a powerful example of what’s possible when you dream (very) big.” —Forbes.com

SHAKE YOUR BRASS OFF!

STOOGES BRASS BAND + BLACK MASALA SAT JUNE 6 AT 8PM / BALLROOM

Join us as we send Artisphere out New Orleans style with Stooges, one of the most elite and well known brass bands from the Big Easy. The concert begins with DCbased Black Masala, described by The Washington Post as “face-melting brass [with] rhythms as varied as Balkan beats, New Orleans jazz...and Appalachian roots music.”

And we kick off the evening with a visit from Our Lady of the Vanishing Arts at Artisphere, a FREE performance at 7PM in the Upper Town Hall.

Don’t miss our final shows!

www.artisphere.com

1101 Wilson Boulevard, Arlington, VA 22209 Free parking weekdays after 5pm + all day on weekends Two blocks from the Rosslyn Metro Follow us: @Artisphere Like us: ArtisphereVA 2 may 29, 2015 washingtoncitypaper.com

INSIDE

14 stream of ConsCiousness Marvin Gaye Park is ready for its next act.

by Sarah anne hugheS PhotograPhS by Darrow montgomery

4 Chatter DistriCt Line 7 9 10 11 12 20

Loose Lips: The Grand Old Party tries again for a D.C. Council seat.

City Desk: Exelon Arena?

Douglas Development Dome?

Gear Prudence Savage Love Straight Dope Buy D.C.

D.C. feeD

23 Young & Hungry: The man behind D.C.’s drinking vinegar revolution 25 Grazer: Ice cream sandwiches go gourmet 25 Brew In Town: Adroit Theory’s Legion 25 The ’Wiching Hour: Songbyrd’s Kraftwerk

arts

27 Galleries: Cudlin on “Drawing in Silver and Gold” at the National Gallery 30 Arts Desk: Local bands take on the D.C. condo craze.

31 Curtain Calls: Lapin on The Letters, Paarlberg on The Price, Graham on The Shipment and A Tale of Two Cities 34 Film: Olszewski on Dark Star: H.R. Giger’s World and Sunshine Superman 36 Sketches: Capps on “Filthy Lucre” at the Sackler Gallery 38 Speed Reads: Domonoske on Sandra Beasley’s Count the Waves

City List

41 City Lights: When the Olsen twins are your only friends 41 Music 48 Galleries 50 Theater 52 Film

53 CLassifieDs Diversions 53 Dirt Farm 55 Crossword

on the Cover

Photograph by Darrow Montgomery

“”

They will super kill you.

—page 23

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CHATTER

in which readers agree that arresting people for standing around is bad idea, then propose neighborhoods where police should make more such arrests.

Arrest Warranted

naryder wanted to know “So when can we expect some arrests in G’Town?” crookedbill set sights on Columbia Heights: “Nobody’s getting arrested for ‘incommoding’ around the Columbia Heights Metro Station and adjacent sidewalks (especially in front of or near the 7/11) where dozens of people just stand around smoking and catcalling passersby.”

And Takoma! Takoma DC Reader made the case: “MPD does nothing to clear the groups congregating on the small sidewalk area in front of the Electric Maid in Takoma.” And the tourist attractions! “So can we expect to start seeing arrests of the tour groups that block the sidewalks?” asked Susan. You hear that MPD? We citizens didn’t pay for those sidewalks just so they could weather that kind of round-the-clock use.

Blessed are we who are not trolled, not even once, on a cover

story about institutionalized inequality in the District (Will Sommer’s “Where The Sidewalk Ends,” May 22). Blessed is our commenting system for allowing us to screen and approve comments before they appear. (This club has a bouncer, though still no dress code.) Blessed are those commenters, like 3000 14th NW, who completely missed the point, for they know not what they do: “Why on earth does a retail pizza employee at Dulles need a security clearance?”

Metis gave us props: “best story by WCP in a while. comforting the afflicted and elevating the plight of poor black people in DC who are paying a ‘tax’ just for being black.”

Finally, we heard from someone who claimed to be an officer in D.C. “I think that law is petty,” opinionated wrote, “and I don’t think people should be arrested for it but I do think incommoding is a real big problem in the ctiy. In cerRooftop PooL tain parts of the city you can walk down the street and see 15 or more males standing around for hours leaving trash, smoking and hanging out all day and every day. True this SHOULD be ok but when you have young teenage girls walking down the street to the store for her grandmother and she feels intimidated to pass because this many people are ‘hanging out’ then it becomes a problem.... I remember how I felt just walking down the street to the bus stop when I would see a group of males ‘hanging out’ even if they weren’t smoking or doing anything wrong. Some would just give that look like they could see through my clothes and some would make derogatory —Emily Q. Hazzard comments.” OK, but: Is that a crime?

TuEsDay 2015 Liaison Capitol Hill

JUne 9 @ 6:30 Pm $35

But incommoding arrests aren’t without their fans! Northwesterneer led the charge for more such arrests. “I for one wish the city would perform these arrests across the city and not just in certain neighborhoods.” We secretly hope that the next time Northwesterneer stops to tie a shoelace or have a smoke, a SWAT team is waiting. “If you have time to hang out on the sidewalk then you have time to be in graduate school- so get your butt to graduate school and make something of yourself so you don’t hang out on the sidewalk like you’re low class.” Graduate

washingtoncitypaper.com/events

school or standing in one place, those are your options. Others chimed in, calling for arrests elsewhere around the city: dy-

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

publiSHER EMERiTuS: Amy Austin iNTERiM publiSHER: Eric norwood MaNagiNg EDiToRS: Emily q. hAzzArd, sArAh AnnE hughEs aRTS EDiToR: christinA cAutErucci fooD EDiToR: jEssicA sidmAn CiTy ligHTS EDiToR: cArolinE jonEs STaff WRiTER: will sommEr STaff pHoTogRapHER: dArrow montgomEry CoNTRibuTiNg WRiTERS: john AndErson, jonEttA rosE BArrAs, EricA BrucE, sophiA Bushong, Kriston cApps, rilEy croghAn, jEffry cudlin, Erin dEvinE, sAdiE dingfEldEr, mAtt dunn, sArAh godfrEy, trEy grAhAm, louis jAcoBson, stEvE KiviAt, chris KlimEK, ryAn littlE, christinE mAcdonAld, dAvE mcKEnnA, BoB mondEllo, mArcus j. moorE, justin moyEr, triciA olszEwsKi, miKE pAArlBErg, tim rEgAn, rEBEccA j. ritzEl, Ally schwEitzEr, tAmmy tucK, KAArin vEmBAr, joE wArminsKy, michAEl j. wEst, BrAndon wu oNliNE DEvElopER: zAch rAusnitz DigiTal SalES MaNagER: sArA dicK SalES MaNagER: nicholAs diBlAsio SENioR aCCouNT ExECuTivES: mElAniE BABB, joE hicKling, AliciA mErritt aCCouNT ExECuTivES: lindsAy BowErmAn, chElsEA EstEs, stu KElly, chAd vAlE MaRkETiNg aND pRoMoTioNS MaNagER: stEphEn BAll SalES opERaTioNS MaNagER: hEAthEr mcAndrEws SalES aND MaRkETiNg aSSoCiaTE: chloE fEdynA CREaTivE DiRECToR: jAndos rothstEin aRT DiRECToR: lAurEn hEnEghAn CREaTivE SERviCES MaNagER: BrAndon yAtEs gRapHiC DESigNER: lisA dEloAch opERaTioNS DiRECToR: jEff BoswEll SENioR SalES opERaTioN aND pRoDuCTioN CooRDiNaToR: jAnE mArtinAchE DigiTal aD opS SpECialiST: lori holtz iNfoRMaTioN TECHNology DiRECToR: jim gumm SouTHCoMM: CHiEf ExECuTivE offiCER: pAul BonAiuto pRESiDENT: chris fErrEll CHiEf fiNaNCial offiCER: Ed tEArmAn ExECuTivE viCE pRESiDENT of DigiTal & SuppoRT SERviCES: BlAir johnson DiRECToR of fiNaNCial plaNNiNg & aNalySiS: cArlA simon viCE pRESiDENT of HuMaN RESouRCES: Ed wood viCE pRESiDENT of pRoDuCTioN opERaTioNS: curt pordEs gRoup publiSHER: Eric norwood CHiEf REvENuE offiCER: dAvE cArtEr DiRECToR of DigiTal SalES & MaRkETiNg: dAvid wAlKEr CoNTRollER: todd pAtton CREaTivE DiRECToR: hEAthEr piErcE loCal aDvERTiSiNg: (202) 332-2100, fax: (202) 618-3959, Ads@wAshingtoncitypApEr.com vol. 35, No. 22, May 29-juNE 4, 2015 wAshington city pApEr is puBlishEd EvEry wEEK And is locAtEd At 1400 EyE st. nw, suitE 900, wAshington, d.c. 20005. cAlEndAr suBmissions ArE wElcomEd; thEy must BE rEcEivEd 10 dAys BEforE puBlicAtion. u.s. suBscriptions ArE AvAilABlE for $250 pEr yEAr. issuE will ArrivE sEvErAl dAys AftEr puBlicAtion. BAcK issuEs of thE pAst fivE wEEKs ArE AvAilABlE At thE officE for $1 ($5 for oldEr issuEs).

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DISTRICTLINE

New York writer goes on a paid-for media junket, distills D.C. into a few blocks: washingtoncitypaper.com/go/mediajunk.

Loose Lips

Grand Old Project After a leadership shake-up, the D.C. Gop tries to get one Council seat.

Darrow Montgomery/File

As national Republicans look to retake the White House in 2016, their local compatriots in the D.C. GOP will face a substantially more modest goal: getting a single seat on the D.C. Council. These days, though, even that might beyond the party’s grasp.

It’s hard to imagine a worse time to be an ambitious District Republican. The party represents a miniscule percentage of District voters, and its national colleagues spend their time trying to overturn the city’s laws.

Republican’s one loophole to power has been overrun by party-hopping Democrats, while the party itself is still smarting after a bruising leadership fight.

That hasn’t stopped the remaining Republicans from trying to rebuild—and maybe regain elective office in the process.

“We are not as relevant as we were only a few years ago, and that’s what I’m trying to change,” says José Cunningham, the D.C. GOP’s new chairman.

It shouldn’t be this hard. In the 1973 Home Rule charter, congressional Republicans subsidized their local little brothers by creating the two at-large Council seats that effectively can’t be held by Democrats. This worked out pretty well for the D.C. GOP until hungry Democrats realized they could just change their party affiliation to “Independent” and take the seats instead. The Council’s current successful examples of party-hopping are at-largers Elissa Silverman and David Grosso.

The party hasn’t held a Council seat since 2009, when charismatic Republican AtLarge Councilmember Carol Schwartz lost a primary challenge to Pat Mara, who went on to lose the general election himself. Even Schwartz doesn’t want much to do with the party now—in 2014, she declined an offer to take the party’s mayoral nomination, choosing to lose as an Independent instead.

Caption TK

By Will Sommer

An Elephant Never Elects: D.C. GOP executive director Pat Mara wants to rebuild his party.

When the D.C. GOP held its leadership vote in January, the blame for the party’s sorry state fell on then-Chairman Ron Phillips, a cigar-chomping Florida operative with a lobbying background. Phillips’ taste for infighting went down poorly with more moderate local Republicans, who suffered the double injury of being in a powerless party, then being hassled for the privilege.

In one memorable email sent ahead of the

vote, failed 2014 GOP Council chairman candidate Kris Hammond lamented that Phillips even turned an argument about who should pay for croissants into an attack on him. In early January, the party booted Phillips in favor of Cunningham, a prominent gay fundraiser.

Now the D.C. GOP has new leadership in Cunningham and Mara, the party’s new executive director. It’s trying to pay off debt racked up in the Phillips year (Cunningham won’t say

how much remains) and is looking for a new headquarters. Mara tells LL that the party is trying to rebuild connections with alienated Republicans through a mail campaign.

The D.C. GOP faces another challenge: actually convincing anyone to run for the humble offices that the party has a better—but still slim—chance of taking. In 2016, seats in Wards 2, 4, 7, and 8 will be on the block, as well as two at-large spots. washingtoncitypaper.com may 29, 2015 7

DISTRICTLINE “Someone might pop up in Ward 2,” Mara says. “You could get somebody in Ward 4, and then I know we could have someone in Ward 7.”

If Republicans want to compete for a Council seat next year, they’d have to start early— really early. New Ward 1 Councilmember Brianne Nadeau only knocked off Jim Graham after a nearly two-year-long campaign, and Grosso started his 2012 election campaign against Michael Brown a year in advance.

And neither of them had an “R” next to their name. Complicating things further, Mara says potential office-seekers generally look for a more prestigious post than a Council spot, even if there’s no way they’ll win it.

“There’s always people coming out of the woodwork to run for mayor,” Mara says.

Even taking one of the at-large seats looks nigh impossible for Republicans. Last year, Republican at-large candidate Marc Morgan received just 2.8 percent of votes cast in the race for two seats, one of which was vacated by exRepublican David Catania. Hammond, who was essentially the entire challenger field to

Chairman Phil Mendelson, received only 6.8 percent—only a little more than the percentage of people who didn’t vote in the race at all.

The long-term outlook for D.C. Republicans is just as abysmal, even as the party looks to win over young residents who are settling down with families. Roughly 75 percent of District voters are registered as Democrats, while only around 6 percent are registered Republicans.

Meanwhile, Republicans on Capitol Hill, led

by Utah Rep. Jason Chaffetz, are more interested than they have been in decades in overturning local District laws.

“I can’t say that it doesn’t hurt here,” Mara says.

A Rev. Motley Mystery As the District enters the summer sleepy season, here’s something to ponder: What did Rev. Anthony Motley do to avoid any jail time?

Motley played a key role in late Ward 8 Councilmember Marion Barry’s schemes to

8 may 29, 2015 washingtoncitypaper.com

plunder city grant money through earmarks and shady nonprofits. Barry earned himself a Council censure in 2010; Motley got away scot-free—or so LL thought, until last month, when Motley entered a surprising guilty plea for a new charge of fraud related to the nowsix-year-old crime.

In the feds’ telling, Motley schemed with an unnamed nonprofit employee to lift more than $35,000 for himself out of grants steered by Barry that were meant to help foster children (Motley’s unnamed associate made off with an unnamed amount of his own). Motley also plundered other unnamed grants, adding up to more than $50,000 for himself personally.

It’s all very Harry Thomas Jr.-chic. Unlike with the disgraced former councilmember, though, prosecutors dragged their heels on actually charging Motley. His whole scheme has been laid out since 2010, when a Council investigative report revealed him taking the money and cooking up supporting documents when investigators came calling.

But what’s stranger still about Motley is how light he’s getting off. The guy plunders north

of $50,000, helps somebody else do something similar, and prosecutors are now recommending that he not get any jail time. Instead, according to a document filed along with his plea, the U.S. Attorney’s Office just wants him to get probation at his sentencing next month.

That’s enough to make shadow campaign maestro Jeff Thompson, facing only six months of house arrest for corrupting District elections, jealous. In Thompson’s case, though, it’s clear that he’s supposed to give up ex-Mayor Vince Gray and who knows how many other pols. Motley’s value to prosecutors is less clear, since his biggest potential get—Barry—is dead.

Prosecutors aren’t talking. As for Motley, usually a reliable quote machine about east of the river machinations? He says he’s “not going to be able to comment on that.” Check back on June 24, when Motley will receive his sentence, and presumably, prosecutors will outline whatever deal is keeping him out of the pen. CP Got a tip for LL? Send suggestions to lips@washingtoncitypaper.com. Or call (202) 650-6925.

DISTRICTLINE City Desk

PLay My NamE exelon arena What better way to celebrate the electricity company’s controversial and likely merger with Pepco and build goodwill with customers than to broadcast its name all over the city? Since Exelon’s threatening to raise rates for customers throughout the region, it will certainly be able to pay whatever price Ted Leonsis names.

Tomorrow’s history today: This was the week D.C. cabbies sued the city—again.

Last week, the Washington Business Journal reported that Verizon won’t renew its naming rights to Verizon Center when they expire in 2018, and Monumental Sports & Entertainment is already in search of a new partner. A spokesperson for Verizon says no decisions have been made yet. But we here at Washington City Paper prefer to be proactive, so we’ve drafted a list of local companies whose names we think could light up the corner of F and 7th streets NW. —caroline Jones

Sweetgreen arena The D.C.-based salad chain has rapidly expanded across the nation in less than eight years and has devoted itself to building a young, hip following with its fitness classes and Sweetlife Music Festival. Who’s hipper right now than the Wizards, who have a combined average age of 28 years and 8 months and tend to act even younger.

MedStar center It’s already one of the largest job providers in the area but MedStar is desperate to build its brand— just look at its ubiquitous Metro advertising campaigns. MedStar is already the official medical partner of the Capitals, Wizards, and Nationals, so build on that relationship by treating all the players with broken faces and busted feet and plaster more signage on the outside of the arena.

lockheed Martin center Fellow defense contractor Leidos has already had its name emblazoned on the jerseys of DC United. Lockheed, which employs more local residents than Leidos and makes much more money, should also get in on the naming action.

They’ll be able to help the arena’s staff improve the quality of the drones that fly around before and after games.

Turkish airlines arena European soccer teams have reeled in money by forming relationships with Middle East-based airlines. Monumental Sports & Entertainment should do the same and work with Turkish Airlines, which always appears eager to partner with new clients in the D.C. area.

Douglas Development Dome Douglas Jemal has been stamping his name and logo all over downtown D.C. since he bought his first property at 425 7th Street NW in 1981. Aside from Abe Pollin, Jemal probably contributed to the transformation of the neighborhood more than anyone else, so go ahead and stick one more Douglas Development flag on 7th Street.

1400 block of I STreeT nw, May 27. by Darrow MonTgoMery

washingtoncitypaper.com may 29, 2015 9

Gear Prudence: After months of lobbying, my boss finally agreed to let me work from home. I’ve been teleworking for a few weeks now, and it’s great, except I really, really miss my bike commute. I’ve taken a few lunchtime rides, but they’re not the same. Would I be crazy to stop working from home just so I could ride my bike to work?

—Having Obvious Melancholy, Ennui Dear HOME: A dramatist once wrote, “In this world there are only two tragedies. One is not getting what one wants, and the other is getting it.” It sounds like you didn’t realize how profoundly you would feel the loss of your bike commute. You could perform a cost-benefit analysis to determine if riding back and forth outweighs office drudgery, but begging your boss to return to your former arrangement so soon makes you seem fickle. And what happens when one of your charming coworkers heats up her fishy lunch in the microwave? Will you look at your bike with scorn and resentment and think, I could be wearing pajamas right now! WHY DID YOU DO THIS TO ME?!

Try this: In the morning, ride your bike halfway to work. Then turn around and ride home.

At the end of day, do the same. You’ll reap all the benefits of bike commuting and all of the benefits of working from home. And maybe take a ride at lunchtime, too. Because why not? —GP Gear Prudence: My husband and I were having a debate, and I’d like you to settle it. How many days a week can you wear the same bike clothes on your commute? He says you can wear the same clothes multiple days (and does) and I say once and done, because ewww. What do you think?

—Difference In Rank Tolerance Dear DIRT: It’s hard to think of a more personal question than one that focuses on the intersection of cloth and skin and the relative grime that sits between. It seems like a matter of personal tolerance, and preferences will vary widely based on a number of factors related to individual bodies, the route, the weather, and if you happen to make a wrong turn and accidentally ride through a carwash.

Wearing the same clothes a few times does cut down on laundry, which seems like a nice benefit. Also, repeating your outfit is just simpler.

It’s not slobbery; it’s smug minimalism.

The benefits of wearing different bike attire each day seem obvious. Primarily, it makes it harder for enemy spies to track you, if, for example, you’re the kind of person tracked by enemy spies. There are clear hygienic advantages to not wearing soiled clothes as well. Bacteria has consequences, including saddle sores, which can be quite painful. You really don’t want that. —GP Gear Prudence is Brian McEntee, who tweets @sharrowsDC. Got a question about bicycling?

Email gearprudence@washcp.com.

10 may 29, 2015 washingtoncitypaper.com

SAVAGELOVE You often mention asexual people. I believe I may be one. I’m a 51-year-old woman. I’ve been separated from my opposite-sex partner for nearly nine years. I’ve been approached by a variety of men, each one interested in becoming “more than friends.” I haunt Craigslist’s “platonic m4w” section, but each time I reach out to someone, he turns out to want a FWB or NSA relationship. It’s frustrating! That part of my life—the sex part—is really and truly over! I had many sex partners for many years, I had a good run, and now I’m done.

When I find someone attractive, I admire them in a nonsexual way. But I do masturbate. Not often.

I can go two or three weeks without needing (or thinking about) release. When I do masturbate, it’s more of a “stretching activity” than a passionate requirement. Do true asexuals masturbate? Am I correct in identifying as asexual instead of heterosexual? Or am I a straight person who has simply —No Need For Sex retired from the field?

“There’s some handy-dandy research on this topic,” said David Jay, founder of the Asexual Visibility and Education Network (AVEN).

Jay is the world’s most prominent asexuality activist and widely acknowledged as the founder of the asexuality movement.

Researchers at the University of British Columbia studied the masturbatory habits of asexual individuals and compared them to the masturbatory habits of people with low sexual desire (“Sexual Fantasy and Masturbation Among Asexual Individuals,” Morag A. Yule, Lori A. Brotto, and Boris B. Gorzalka, the Canadian Journal of Human Sexuality). “[They found that] the majority of asexual people (about 56 percent) masturbate on at least a monthly basis,” said Jay, compared to 75 percent of individuals with low sexual desire.

“For a sizable chunk of us, this is about a sense of physical release rather than about sexual fantasy. Masturbation and partnered sex are very different things, and desiring one doesn’t mean that we automatically desire the other.”

So, NNFS, the fact that you masturbate occasionally—as a “stretching activity” (ouch?)—doesn’t disqualify you from identifying as asexual. And while the fact that you were sexually active for many years, presumably happily, and always with men could mean you’re a straight lady with low to no sexual desire, you’re nevertheless free to embrace the asexual label if it works for you.

“If you’re not drawn to be sexual with anyone, then you have a lot in common with a lot of people in the asexual community,” said Jay. “That being said, there’s no such thing as a ‘true’ asexual. If the word seems useful, use it. At the end of the day, what matters is how well we understand ourselves, not how well we match some Platonic ideal of our sexual orientation, and words like ‘asexual’ are just tools to help us understand ourselves.”

That guy could be a gay, WHAT, but any guy could be a gay.

All those crazy labels—bi, gay, lesbian, straight, pansexual, asexual, etc.—are there to help us communicate who we are and what we want. Once upon a time, NNFS, you wanted heterosexual sex, you had heterosexual sex, and you identified as heterosexual. That label was correct for you then. If the asexual label is a better fit for you now, if it more accurately communicates who you are (now) and what you want (now), you have none other than David Jay’s permission to use it.

“I also feel NNFS’s pain about Craigslist ‘strictly platonic’ ads,” said Jay. “But I’ve found there are plenty of people out there who are interested in hanging out if I simultaneously say ‘no’ to sex and ‘yes’ to an emotional connection. I wish NNFS the best of luck in finding some.”

Follow AVEN on Twitter at @asexuality.

Jay recommends The Invisible Orientation

by Julie Decker to people who want to learn more about asexuality. And Asexual Outreach is currently raising funds via Indiegogo to help finance the first North American Asexuality Conference in Toronto this June and other outreach programs: indiegogo.com/projects/ —Dan Savage asexual-outreach.

There’s this guy I stopped dating a few months ago, but we’ve remained friends. When we were still dating, he once wore a thong when we were having sex. He called it his “sexy underwear.”

He said he wore it only if he really liked a woman. He also told me he tried using a vibrator and fingers in his ass and really enjoyed it. I wasn’t bothered, but I am curious to know if straight guys really wear thongs and enjoy having their asses played with. Could he be a gay?

—What’s He Attracted To? That guy could be a gay, WHAT, but any guy could be a gay.

There are, however, lots of straight guys out there who dig sexy underwear—and some mistakenly believe thongs qualify. There are also lots of straight guys out there who like having their asses played with—and some are secure enough in their heterosexuality to share

that fact with the women in their lives. And I hope you’re sitting down because this may come as a shock: Not all gay guys wear thongs and not all gay guys like having their asses played with. The boyfriends of these guys— gay guys with thong-averse/ass-play-averse boyfriends—never write to ask me if their boyfriend could be a straight. Instead, they take the gay sex they’re having with their gay boyfriends for an answer. I understand why a straight woman might have more cause for concern: Very few gay-identified guys are secretly straight, while a significant percentage of straight-identified guys are secretly gay or bi. (Google “antigay pastor Matthew Makela caught on Grindr” for a recent example.)

But at some point, WHAT, a straight woman should relax and take all the straight sex she’s having with her thong-wearing, assplay-digging boyfriend for an answer. —Dan Just because a woman closes her eyes during sex doesn’t mean she’s fantasizing about something.

I love to look my husband in the eyes, but sometimes when I’m trying to get off, I just need to close my eyes and concentrate on what I’m feeling. Visual input is too distracting and makes it hard to focus. I get off pretty much every time we make love, but some times require more concentration than others.

—Concentrating On My Euphoria COME is referring to my advice a couple of weeks back for Come As You Are, a man whose wife had to lean back, close her eyes, and rub her clit in order to come. I advised CAYA to ask his wife what she was thinking about when she did that—what scenario she was fantasizing about—and not to panic if she wasn’t thinking about him.

Lots of women wrote in to say that they do—they must do—the same thing CAYA’s wife does in order to come: close their eyes and concentrate. A majority, like COME, said they’re not fantasizing about anything in particular; they’re just concentrating on the sensations. But a large minority said that they have specific and sometimes wild/unrealizable/disturbing fantasies that they have to concentrate on in order to climax. Just as every fantasy doesn’t have to be realized, not every fantasy has to be shared. But women (and men) who are lucky enough to have a loving, supportive, secure, and game partner should consider bringing their partner in. Allowing a partner to play an active role in your wild/ unrealizable fantasies—through dirty talk— will make your partner feel like a part of your fantasy world (and your orgasms) and not an —Dan exile from it.

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

UPCOMING EVENTS

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THESTRAIGHTDOPE I am the parent of two young children. I was recently reminiscing with fellow parents about our youth and the freedom we enjoyed to play around the neighborhood without parental supervision.

We all agreed we wouldn’t allow our children to do the same given today’s more dangerous world.

That made me wonder: Is today’s world really more dangerous for kids than it was 30 years ago? Have incidents of abduction and other assaults on children increased, or has the information age’s constant news barrage given us the impression that predators lurk around every corner?

—Peter Stedman No, today’s world isn’t more dangerous. You grew up during the most crime-ridden period in modern American history. By objective measures the country is far safer now. But you and countless other parents think the reverse is true.

What accounts for this delusion?

The facts, as explained in my 2002 column on this subject: A crude benchmark of public safety is the violent crime rate reported annually by the FBI. In 1960 the rate was 161 per 100,000 people. Starting in 1963 the rate began rising sharply, reaching 364 by 1970 and peaking at 758 in 1991. Since then it’s dropped steadily: In 2013 it was down to 368, about the same as in 1970.

Assuming you’re now 35, you were born in 1980 or so and were 11 in 1991, the worst year on record. And yet you think it was safer then than now. Possible explanations: You believe everything you’re told by the media (other than me). This is the theory advanced by Lenore Skenazy, author of Free-Range Kids, who created an uproar in 2008 when she revealed in her syndicated column that she’d let her nineyear-old son ride the New York subway home alone. Skenazy blames cable-news sensationmongers abetted by child-advocacy alarmists.

I don’t buy it. Alarmism is nothing new.

In the 1980s, following several cases of children being abducted and murdered, dairies around the country began publishing pictures of missing kids on the sides of milk cartons.

Newspapers reported that as many as two million children went missing each year. (One 1992 estimate put the actual number of kids abducted by strangers in the low hundreds annually; incidence now is thought to be in decline.) Posting missing-kid pix fell into disfavor late in the decade when child psychologists and the like warned it was needlessly frightening kids. As one such kid, Peter, you probably stared at a fair number of milk-carton abductees over your Frosted Flakes; obviously that didn’t frighten you.

You grew up in the suburbs and now live in a city.

You provide no details about your background, but raising a middle-class family in the city is more common now than in the 1980s. If that’s a flow you happened to go with, you’d have some legitimate basis for your rosy view of your

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ALLEN A. FLOOD, M.D.

childhood—crimewise, cities remain more dangerous than suburbs. For example, despite the crime drop in New York City, as of 2012 the violent crime rate there was 57 percent higher than for New York State.

People always think the good old days were better. You were unconscious of the dangers around you as a child; you’re acutely aware of them as a parent. Have you ever asked your parents how risky they felt the world was during the 1980s?

The it’s-more-dangerous-today meme had become embedded in the collective psyche by 1970 and nothing that’s happened since has been sufficient to root it out. This gets to the heart of the matter, in my opinion. Lenore Skenazy can argue all she likes that things are no worse now than they were in 1970. The fact remains that in 1970 people thought the world had gone to hell, and statistically speaking it had—crime had more than doubled in just seven years.

The case can be made that relaxed childrearing practices prior to 1963 had been made possible by an unusual conjunction of circumstances. First, as I pointed out in 2002, crime in the 1950s may have been exceptionally low by historical standards. Meanwhile, the baby boom was in full swing and families were large; frazzled parents had no choice but to let the kids go out and play without supervision, and anyway there was safety in numbers.

By 1970 this was no longer true. The world seemed, and demonstrably was, a more dangerous place. (The turning point in terms of public perception arguably was the widely publicized 1964 murder of Kitty Genovese, stabbed to death outside her Brooklyn apartment while her neighbors reportedly ignored her screams. It later turned out several neighbors had in fact stepped in to help, but newspaper editors distorted the story, seemingly to support a grim-city-life narrative.) Smaller families made it easier for parents to hover, and that’s what they’ve done since.

In short, Peter, whatever your childhood may have been like, the notion that the world at large is more dangerous than when you were young has no basis in reality. It’s just the conventional wisdom passed along unchallenged —Cecil Adams for going on 50 years.

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Marvin Gaye Park is ready for its next act.

By Sarah anne hugheS PhotograPhS By Darrow MontgoMery

washingtoncitypaper.com may 29, 2015 15

Growing up in Deanwood, RonDell Pooler saw the green spaces near his family’s home as “the woods.”

“I didn’t look at it as a park at that age,” the 32-year-old Washington Parks & People field coordinator says.

Watts Branch Park. Needle Park. Marvin Gaye Park.

The 1.6-mile-long stretch of greenery along the Watts Branch stream in Ward 7 has taken on many identities since its half-hearted founding in the 1930s to its well-intentioned rededication in the 1960s, and from its descent into a notorious drug haven in the 1990s to its rebirth into what now has the potential to be one of D.C.’s greatest parks.

This latest revival began in earnest fourteen years ago, when Washington Parks & People brought what it had learned at Malcolm X Park, a federal park pulled from the grips of drugs and violence, to Watts Branch.

As Steve Coleman walks with me near Heritage Green, the park’s central plaza on Division Avenue NE, he points out a playground where children who live in a nearby public housing complex regularly play. “We asked the kids where they wanted a playground,” says Coleman, Washington Parks & People’s executive director. They picked a spot at the foot of the hill leading up to Lincoln Heights.

“We said, ‘Really? But this is where the overdoses are happening.’”

Coleman promised the kids the group would help get the playground built if they threw a successful field day. It was installed six years ago.

“It really helped us a lot in the larger message we were trying to send about the park,” he says. “We found it was really hard to get the police to patrol the park because they didn’t believe it was a park until they saw kids were there… Now we have a lot more regular police officers—not regular enough.”

At the urging of community members, Watts Branch Park was rededicated as Marvin Gaye Park in 2006. Reminders of the soul singer, who was raised near the eastern end of the park, are everywhere. Bricks from the apartment building where Gaye grew up, part of the razed East Capitol Dwellings, now make up a wall in the Riverside Center, Washington Parks & People’s base of operations east of the Anacostia since 2004. The corner building, covered in mosaics and topped with a Union Market-esque sign, was once the Crystal Room, the nightclub where Gaye began his professional career. The goal is to have Riverside become D.C.’s first “comprehensive community food hub”—where food grown nearby is prepared and served by and to the local community— open seven days a week. Washington Parks & People is currently looking for a partner to take on the culinary side.

The remnants of the chaotic Watts Branch Park that existed more than a decade ago are still present—as Coleman leads me on a tour, we pass “RIP DOMO” sprayed in blue paint on the park plaza, a remembrance of a 27year-old man who was shot on a December afternoon in 2014. That homicide, one

of two reported near the park last year, remains unsolved. Within a quarter-mile of the park’s hub, 33 violent crimes were reported between May 2014 and May 2015, according to the Metropolitan Police Department’s online database.

But the progress is just as visible.

As we walk on, men call out “Steve! Steve!” to say hello or ask about playing basketball later in the day. “Ya’ll keeping this park looking good,” one man offers, unsolicited. “We can sit out and play dominoes, can play checkers… This park was a mess before you started here. You really got it looking nice.”

We also run into a graduate of the job training program the group runs, who was visiting Marvin Gaye Park that day. “We’ve got some work to do,” he says. “It’s never over.

It’s progress from what it used to be.”

A needle exchange truck still makes weekly visits to Heritage Green, but so does the Arcadia Mobile Market selling food grown at the Woodlawn Estate in Northern Virginia. On Mondays, Arcadia sets up shop next to the Riverside Center with produce, bread, and local honey for sale.

And for a second year, the Department of Justice chose the park as the site of its Earth Day photo-op. “This group’s work shows how the ‘national concern’ about the environment can lead to action at the local level,” Assistant Attorney General John C. Cruden said of Washington Parks & People at the 2015 event. “We are excited to be here today to work with this outstanding group and to celebrate its quarter century of work to revitalize the capital area’s parks and waterways.”

Fourteen years later, Coleman can celebrate these improvements while seeing what still needs to be done. Illegal dumping is a “tiny blip” compared to what it used to be, he says, and there’s “hardly any vandalism.”

“A lot of it is pride in the community,” he says. “People have stood up for their park.”

The city is also doing a better job with basic maintenance, although the park is “still not getting the level of maintenance it needs.”

(As we visit the amphitheater seating that overlooks a small wooden stage and H.D. Woodson’s football field, Coleman asks another Washington Parks & People employee to take photos of a patch of grass the Department of General Services failed to mow.

A few polite tweets and more than a week later, the grass was still not cut.)

“We have not succeeded in really sending the message about just how profoundly important parks are,” Coleman says. “We say that parks are critical for health, that they’re absolutely essential for community to be more than just a warm, fuzzy abstraction.”

Marvin Gaye Park has died and been reborn again and again and again.

Before the 1930s, the section of Northeast surrounding the Watts Branch stream, about half of which is in D.C., was primarily used for farming. The National Capital Park and Planning Commission proposed building a linear park along the flood-prone stream in 1920, and work got underway in the 1930s.

16 may 29, 2015 washingtoncitypaper.com

“this has taken everything we have.”

—Steve Coleman, Washington Parks & People

By the 1960s, the park had turned into an “eyesore, a dump for discarded refrigerators, dead cars, and other junk,” as a Washington Post article from the time put it. At the urging of a third-grade student from Lincoln Heights, who wrote her a letter, First Lady Claudia “Lady Bird” Johnson made the park part of her beautification campaign, using $110,000 in funds from Laurance S. Rockefeller to mow the grass, plant new greenery, and line the streambed with stone. “Instead of gritty banks, weeds, and garbage, eight acres of a parkway in Northeast Washington that has been ignored for years have been completely relandscaped,” another Post piece stated.

Johnson herself visited the park for the 1966 rededication. Dennis Chestnut, a lifelong resident of Ward 7, was there. “It really was a great improvement,” the 66-year-old says.

But after the 1968 riots, the neighborhoods near the park as well as the park itself became neglected “in a lot of ways,” Chestnut says.

“A lot of people moved out of the area, those that could afford to,” he says. “A lot of businesses left.”

An article in the Post written a few months after the riots questioned whether Johnson’s progress would last, noting vandalism in Watts Branch by “ ‘carloads of teenagers’ who held beer parties there this summer, littering the area, tore up paving stones and threw them in

the creek, smashed soft drink bottles, lit fires in the garbage cans, and covered preschool playground equipment with graffiti.”

In the early 1970s, control of the park was transferred from the National Park Service to D.C., and in 1977, the city received $500,000 in federal funds for Watts Branch improvements. A bike trail was constructed based on a community-developed plan the following year.

But the park continued its downward spiral into the 1980s as the crack epidemic swallowed the city. A 1995 Post article noted “piles of freshly dumped trash” in the “neglected” Watts Branch. “I don’t care how many staff you have—you can’t fight this stuff constantly,” a Barry official told the paper on a tour of the park. “There’s got to be a community consciousness.”

In 2000, three D.C. health inspectors studying aquatic life in Watts Branch were robbed at gunpoint near the Maryland border. One was kidnapped and sexually assaulted. Washington Parks & People arrived the following year.

They began as Friends of Meridian Hill, a community group that formed in 1990 after the murder of a young boy in the park, which was overrun by drug dealers and covered in graffiti. Friends of Meridian Hill mobilized hundreds of people from the nearby neighborhoods to help clean up the park and plant

trees and flowers. Four years later, President Bill Clinton presented the group with a leadership award in the park they helped reclaim and revitalize.

In 1997, a national foundation asked Friends of Meridan Hill to use what they learned at Malcolm X to create a model that could be used in other suffering parks. An official from the D.C. Recreation Department told the group that Ward 7’s Watts Branch Park “was the worst, by far,” Coleman recalls. A visit confirmed the dire assessment. Coleman says they found “massive dump piles everywhere.”

“I thought I had seen everything in disgusting park conditions, but I had never seen a park remotely close to this level of abject neglect and unfettered abuse,” he says.

But the group also found residents who cared about the park, who remembered better times and wanted to see Watts Branch and the stream that runs through it cleaned up. They asked the neighborhood kids what they want-

ed to see—a bike trail, an amphitheater, a safe, clean place to play—and they turned the wish list into a call to action. The call helped Washington Parks & People get a grant to launch its Down by the Riverside Campaign in 2001, and the revitalization began.

Coleman says there are parallels between the two parks, but “also some real differences.”

The scale of the problems at Marvin Gaye—the dozens of abandoned cars, thousands of discarded needles, millions of pounds of trash— made the work at Malcolm X seem “like a walk in the park.”

“This has taken everything that we have,” Coleman says of the Marvin Gaye rehabilitation efforts, even though Washington Parks & People is a “mightier” organization than it was 25 years ago. “This area was heavily abandoned. There was abandonment that was happening around Malcolm X, but nothing that was happening on the scale over here.”

The park as it exists today begins at Min-

nesota and Nannie Helen Burroughs avenues in a grassy area with benches called Lady Bird Johnson Meadows. There, a sixfoot circular, mosaic portrait of Marvin Gaye begins the dedicated trail. It runs east along the stream through quiet neighborhoods and past the D.C. government’s Lederer Youth Garden before connecting with the sidewalk on Nannie Helen Burroughs. The trail picks up again near the school founded by the avenue’s namesake and continues to the Watts Branch Playground and Marvin Gaye Recreation Center on the Maryland line.

For Washington Parks & People, the park’s future is deeply connected to urban agriculture.

They run the grant-funded D.C. Green Corps, an eight-week training program that prepares participants for green careers while paying them a stipend. Part of that training takes place at the Marvin Gaye Greening Center, a one-acre farm and native tree nursery near the Riverside Center run in partnership with D.C. Urban Greens.

“There’s a feeling of it being a park as well as a farm, and a training place as well as a real generator of food,” Coleman says.

Pooler, who grew up near the center, says he stumbled into the Green Corps program when he was looking for a job a few years ago.

He was interested in landscaping, and even though he wasn’t sure he wanted a green career, he figured it wouldn’t hurt to get paid while he looked for a job. Two months in, he started to enjoy himself.

He’s now a full-time staff member for Washington Parks & People, running the field training and volunteer programs. Pooler believes in giving people the skills to grow their own food, especially in areas like Ward 7

where access to fresh produce is limited. “You have people my age who have been eating… fast food their entire life,” he says.

Mark Bey apologizes as we meet on the corner of 44th and Gault streets NE. It’s two days before Memorial Day, a fact he didn’t realize when he scheduled a volunteer cleanup of the nearby section of Watts Branch.

Armed with a litter picker, he’s the only one out at 9:30 a.m. on a Saturday to remove trash from the stream.

He leads me down to the streambed and points out a natural litter trap covered in plastic bottles and other trash.

“We’re fighting a losing battle if we can’t get people, the larger community to do something,” he says of the littering. “You can bring 50 people out here, but you have hundreds of people throwing stuff on the ground every day... You’re just going to be walking up a hill of feathers.”

Bey is new to the fight to keep Marvin Gaye Park clean—he’s been holding cleanups for the past three or four months—but he’s loved nature since he was a child growing up in Oxon Hill.

After working two jobs, Bey, 42, decided to use his savings and take a year or two off.

He’s using the time to get his campaign for a “Cleaner Ward 7” underway. “For years, I said I needed to do something about certain things,” he says. “Finally I decided just to go ahead and do it.”

In addition to scheduling cleanup events across the Northeast ward and posting updates and photos on his website (“People need to see how bad this is”), Bey wants to enlist

washingtoncitypaper.com may 29, 2015 17

kids from D.C.’s Summer Jobs Program to help pick up trash, seek out volunteers from the community, and perform free showcases in the park. He also wants to recruit students and adults in need of community service hours.

“I’m hoping to get some nature nuts like myself,” he says.

I ask Bey if he’s seen any improvement in littering since he began his cleanups. “To tell you the truth, it just gets dirty again,” he replies.

He wants to use the outreach skills he learned with Americorps to build momentum for his campaign and give his neighbors the tools they need to keep the park and stream clean.

“I don’t feel like the people are empowered,” he says.

While Washington Parks & People has led the revitalization of Marvin Gaye, many other nonprofits, local and federal agencies, community groups, and for-profit companies have been involved. Planters Nuts even sponsored the building of a peanut-shaped park, known as Planters Grove, along the trail in 2011.

Ward 7 resident Chestnut is the executive director of one of those groups, Groundwork Anacostia River DC. The nonprofit manages three litter traps in D.C., including one the city installed in Watts Branch in 2009.

Thousands of pounds of litter have been caught in the trap instead of being dumped into the Anacostia. (The litter trap, the first of its kind installed in the Western Hemisphere, has become a bit of a tourist attraction, Chestnut says.)

Growing up in the ward, Chestnut says the Watts Branch stream introduced him to being a “citizen scientist.” The stream was “like a playground, where we spent a lot of our time there exploring, turning over rocks, catching all kinds of aquatic life.” It wasn’t pristine, but it wasn’t filled with trash, either.

But the stream eventually became a dumping ground for trash, construction debris, tires, and even vehicles. In 2012, the D.C. Department of the Environment partnered with federal agencies including the Environmental Protection Agency to restore the city’s portion of Watts Branch, which was heavily eroded and filled with sediment.

The restoration, which involved the planting of more than 10,000 trees and plants and the relocation of sewer lines, was complete within a year, and Washington Parks & People began using the watershed as a Green Corps classroom.

“It wound up transforming that corridor between the Maryland line… and Minnesota Avenue,” Chestnut says. The restoration brought low-impact and green development to the area, he says, and now some of the ward’s long-delayed economic projects appear to be making progress. “Marvin Gaye Park was one of the main catalysts.”

The heart of Marvin Gaye Park, off the 600 block of Division Avenue NE, is surrounded by single family homes, vacant buildings, a Chinese carryout, and liquor and corner stores. That section of the trail curves around H.D. Woodson, the D.C. public high school

that underwent a $102 million renovation a few years ago.

Up the hill, there’s Lincoln Heights, a public housing complex built in the 1940s that was tapped for mixed-used redevelopment as part of the New Communities Initiative. But a decade later, none of the 440 derelict apartments have been torn down. Thirty-two families have received new housing, as Washington City Paper reported earlier this year, and another 50 will be offered units at the recently announced, all-affordable Deanwood Hills.

Around the corner, there’s the Strand, a movie theater that opened in 1928. It’s been vacant since 1959. Former Mayor Adrian Fenty slated the building, located at Division and Nannie Helen Burroughs, for restaurant, retail, and office redevelopment in 2008. Six years later, then-Mayor Vince Gray set aside $1 million in the fiscal year 2015 budget to reinforce the empty Strand’s facade. The project has yet to attract any tenants.

Near the park’s Maryland border, where the playground and rec center are being renovated as part of a $14 million project, the city broke ground on the mixed-use phase of the Capitol Gateway development in March.

It will include 312 affordable units, retail including a Walmart, and space for a restaurant.

Capitol Gateway is being built on the sites of East Capitol Dwellings, Capitol View Plaza, and Capitol View Plaza II, public housing developments torn down in the early 2000s as part of a HOPE VI project. In total, around 1,100 units were demolished. According to the D.C. Housing Authority, 379 units have been replaced to date.

Nice parks are good for property values, a seemingly no-brainer impact economists call

18 may 29, 2015 washingtoncitypaper.com

“hedonic value.” Residential properties in D.C. within 500 feet of a park were valued at $24 billion by the Trust for Public Land in 2009, and parks added $1.2 billion to that value, according to the report. Malcolm X Park, the Trust wrote, “provides extra value to the thousands of dwelling units surrounding it, and to the city itself through higher property tax receipts.”

The added value can be seen in Washington Parks & People’s grand headquarters, located on 15th Street beside the park in a former embassy. Purchased in 1999 for $760,000, the Josephine Butler Parks Center is currently valued at more than $3.4 million. Home prices in surrounding Adams Morgan and Columbia Heights are similarly high compared with other parts of the city, especially neighborhoods east of the Anacostia.

But as the city’s population continues to rise, so do home prices in that section of the District. Neighborhoods near Marvin Gaye Park, like Hillbrook and Deanwood, have seen 8 and 10 percent increases in the median home price over the past year, according to real estate database Zillow, while staying affordable. And that affordability, coupled with the park’s improvements, are attracting new residents.

When Keren Murphy and her husband bought a home for their family of five near Heritage Green 16 months ago, Marvin Gaye Park was the deciding factor.

“The first things on our wish list was access to green space and a playground,” says Murphy, who works for the D.C. Department of the Environment and has three children under the age of 4. “We were able to buy a single family detached home across the street from a park and within a

few blocks of three different playgrounds, a pool, and a spray [park] all on a District government salary. There is nowhere else in the District where that could happen.”

Murphy is aware of the problems the park still faces—the crime, the drug use— but she says her family has always felt safe.

During her family’s first trips to the playground near Heritage Green—the one where the overdoses used to happen—Murphy met some community members who invited her to Soular Sundays, weekly events during the summer featuring a farmers market and music.

“The work these activists are doing are bringing more people and events to the park which will only make it better and safer,” she says.

Murphy says her family visits the park daily, sometimes multiple times. She and her children use the trail to bike to pre-school, and her kids use the playgrounds near Heritage Green and the recreation center after school. “My four-year-old son’s favorite thing to do is walk with his dad to the footbridge near the amphitheater and look for dolphins,” she says. “I don’t have the heart to tell him that Watts Branch doesn’t have any marine mammals.”

As a longtime resident, Chestnut saw the area near Heritage Green go from a “vibrant commercial corridor” in the 1950s to an area marked by neglect. The decision to move a methadone clinic from the 14th Street NW corridor to the intersection of Division and Nannie Helen Burroughs in the ’90s “was a recipe for disaster,” he says. As a councilmember, Gray closed the clinic in 2005.

“It took a long time for the community to recover from that.”

Chestnut helped Washington Parks & People with outreach at the beginning of its restoration effort. Residents who attended meetings about the project, he says, had a hard time believing improvements would come.

“It has turned a corner,” Chestnut says of the park today. “It was once a broken place, but now it’s drawing people for the reasons that a really nice place in a community like that would draw people.”

For Washington Parks & People, the work continues. Changing the physical park is just part of the job, and it’s arguably much simpler than changing what Coleman calls the “invisible park,” the side shaped by perceptions, by memories, by history, by myths. The side altered through programming, community building, engagement, and job training; the work that, after the trash and needles have been removed, takes decades.

“It should never have gotten as bad as it was,” Coleman says. “No one should be happy with it as the way it is now.”

But the progress has been “staggering,” he says, in large part because the community was willing to fight for it, even “when they had nothing” and were ignored by the city.

“In some ways we’ve come way farther than we ever expected. And in some ways we’ve barely scratched the surface of what CP needs to be done.”

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Fresh Food Market-Tu-Su Arts & Crafts - Weekends easternmarket-dc.org Tu-Fr 7-7 | Sa 7-6 | Su 9-5 UNITED STATES DISTRICT COURT FOR THE DISTRICT OF COLUMBIA Notice of Class Action, Proposed Class Settlement and Hearing Barham, et al., v. Ramsey, et al., Case No. 02-CV-02283 (EGS)(JMF) A Proposed Settlement has been reached with the Federal Defendants in the class action alleging the illegality of the arrests of approximately 400 protesters and others in Pershing Park on September 27, 2002, in Washington, D.C. The Federal Defendants deny all wrongdoing. This notice informs you of the Proposed Settlement and describes certain rights and options you may have.

Who’s included? The Class is defined as “all persons who were arrested in Pershing Park in the District of Columbia on September 27, 2002,” except those persons who have already been deemed to have excluded themselves from the Class.

What is the Settlement? The Federal Defendants have agreed to compensate eligible Claimants up to $5,000 each and to enact substantial policy and rule reform within the U.S. Park Police to avoid recurrence. The Settlement Agreement provides for a total monetary component of $2,208,000. Of this amount, the Settlement will provide $568,000 in attorneys’ fees and costs to Class Counsel.

This amount is separate from and does not reduce or affect the monies paid to Class Members. This Proposed Settlement is subject to Court approval. Payment will be made only upon final approval by the Court. You will be bound by any judgment in this lawsuit unless you exclude yourself.

What you need to do to claim funds. If you received compensation as part of the earlier Settlement with the District of Columbia, you are automatically a part of the Proposed Settlement. You will be mailed a check unless you exclude yourself.

You need to take no further action except to update your address with the Claims Administrator at 1-877-678-0736. If you are a Class Member who did not file a timely and eligible claim in the District of Columbia Settlement, you must submit a Proof of Claim form postmarked by no later than June 15, 2015.

To Exclude Yourself or Object. If you don’t want a payment and don’t want to be legally bound by the Settlement, the Court will exclude from the Class any member who requests exclusion. You may send a letter stating you want to be excluded by mail postmarked no later than June 15, 2015, to Barham Class Exclusions c/o Gilardi & Co. LLC, P.O. Box 8060, San Rafael, CA, 94912-8060 (include your name, current address, telephone and address at date of arrest).

If you previously were deemed excluded, you do not need to exclude yourself again. If you stay in the Class, you may object to the Settlement by June 15, 2015.

The detailed notice describes how to exclude yourself or object. Strict deadlines apply. The Court will hold a hearing in this case on June 22, 2015, at 10:30 a.m. at the U.S. District Court for the District of Columbia, Courtroom 24A, to consider whether to approve the Settlement. You may appear at the hearing or enter an appearance through an attorney at your own expense, but don’t have to.

This notice provides limited information. The full detailed notice, Proof of Claim form and other information are available at www.PershingParkSettlement.com.

Or call 1-877-678-0736.

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1709 Connecticut Ave. NW. (202) 621-8868

Pinot Noir, Caviar, Myanmar, Roseanne Barr Can’t remember the day you opened that pinot noir? This D.C.-shaped cork topper is made out of slate—which means you can write notes (or song lyrics) with the enclosed chalk.

D.C. slate wine cork topper, $9.99. Hill’s Kitchen. 713 D St. SE. (202) 543-1997

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Glen’s Garden Market

is opening its second localcentric grocery in Shaw later this fall with double the beer garden.

Read more at washingtoncitypaper.com/go/glens2.

YOUNG & HUNGRY

Acid Fest

Meet the guy who’s quietly bringing a vinegar revolution to D.C.

Jessica Sidman

Lindera Farms Vinegar founder Daniel Liberson forages for ingredients.

By Jessica Sidman Daniel Liberson wades ankle-deep through a pathway of clover looking for edible flora—the weirder, the better. The 220-acre nature reserve around him in Delaplane, Va., looks like a Grant Wood landscape with perfect blue skies, rolling hills cut by a stream, grasses that bend like waves in the wind, and butterflies fluttering.

In a wooded area, Liberson kneels down to pick some white violets, then he spots some ground ivy and hands me a few of their little green leaves to taste.

“It’s going to be pretty potent, I’m warning you about that now,” he says. “It’s got this basil kind of minty flavor to it, very herbaceous. It gets very bitter very quickly, so you’re going to want to eventually spit it out. But that first burst of flavor…”

Liberson passes by the giant leaves of mayapple plants— “they will super kill you”—and heads over to a spicebush, which really looks more like a tree. He uses his thumb to

scrape back the skin of the branch, revealing the aromatic green flesh underneath.

“For me, it always smells like a combination of lemons and cayenne and allspice and birch,” he says. Later in summer, he’ll pick the spicebush’s little bright red berries, which also have a woody-lemon flavor.

Liberson will use all of these lesser known ingredients to produce his Lindera Farms Vinegar in a red barn nearby. The vinegars will then make their way into some of the very best restaurants and bars in the country: Minibar and Zaytinya in D.C., Per Se and Gramercy Tavern in New York, and McCrady’s and Husk in Charleston, S.C. While vinegar production is as ancient as wine, Liberson is aiming to take it in a direction that no one has before. For the most part, other producers in the western world are making grape- or apple-based vinegars. Flavored vinegars often begin with a finished vinegar that’s then infused and sweetened.

Liberson doesn’t do infusions. Rather, he ferments fruits,

flowers, and other plants into alcohols, and then converts that into vinegar.

Every ingredient Liberson uses comes from Virginia. If he doesn’t forage it himself on the Bolling Branch nature reserve his parents restored from cattle farmland beginning in 2006, he gets it from small organic farms nearby. Since launching his business full-time in September, the 28-yearold is quickly building a name for himself in culinary circles for esoteric and complex vinegar flavors like mulberry, elderflower, wild chamomile, milkweed, black locust, bee balm, and matsutake mushroom. As far as Liberson is aware, many of these vinegar flavors have never been bottled and sold— or even made—before.

In the concrete-walled barn where Liberson produces his vinegars, the fermentation process begins in 100-liter maroon bins where a bacteria and yeast colony known as the “mother” forms on top of the liquid. Currently brewing are the beginnings of wild ginger and strawberry vinegars sweetened with honey from Golden Angels Apiary, a family-owned beekeeping operation in Singers Glen, Va. The concoctions are later transferred into stainless steel vats where they’re no longer exposed to oxygen, causing the yeast to consume the excess sugar and convert it into alcohol. In total, most of Liberson’s vinegars take six months to a year to develop, and he’s starting to work on a few that are aged longer.

Among the many flavors in progress is a ramp vinegar that Liberson has been thinking about for five years. He wagers it’s the largest batch of ramp vinegar ever made.

“When you smell it, it’s going to smell a little bit like kimchi, and when you try it, it’s going to be very buttery,” he says, offering a taste of the very young fermented liquid. “When it all comes together, you’re going to get a very savory, umamidriven kind of slightly spicy vinegar.”

What becomes evident after hanging out with Liberson for just a little bit is how much he’s shooting from the hip. While there’s no shortage of resources on how to make vinegar, there aren’t necessarily guides to making the best vinegars or how to make them out of some of the unusual ingredients he’s using.

He often won’t mention some of his experiments because he’s not actually sure how they will pan out. “The ramp is scary as hell to me,” he says. “Because the ramp could be amazing or it could be god awful, and I don’t see there being much of a middle ground. So this is either going to be a colossal waste of time and money and space, or it’s going to be the best thing I’ve ever done.”

Liberson knows how to sell stuff like this to top chefs, because he’s worked with them. He detoured from a political science track after graduating from Salisbury University in 2009 to cook in the kitchens of Bryan Voltaggio’s Volt in Frederick, Md. and John Shields’ former Chilhowie, Va. restaurant Town House, among others. Chefs like these instilled in Liberson the importance of sourcing local ingredients from small farms. But while it was easy enough to get mid-Atlantic beets or pork, other kitchen staples like soy sauce, vinegar, and fish sauce had to be imported from Europe or Asia. Why should chefs pickle locally foraged ramps in imported white wine vinegar, Liberson wondered. What if they could make a ramp vinegar? Not only would making their own vinegars washingtoncitypaper.com may 29, 2015 23

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allow the restaurants to better control the flavor and quality, but it could give them a bit of a competitive edge in the sea of farm-to-table restaurants.

At the same time, Shields helped turn Liberson into a foraging geek, introducing him to flavors and ingredients in his own backyard that other chefs weren’t really using. As a cook, Liberson says he was always trying to make food that nobody else was making and source from places where nobody else was sourcing. That same drive now applies to his vinegars.

Liberson started trying to put together “vinegar programs” for some of the restaurants where he worked as a line cook, but the circumstances and timing weren’t initially right. And while Liberson says he developed a decent palate and creative instinct, he wasn’t the best line cook. Instead, he took some time to work in the front-of-house at restaurants including Bourbon Steak, Blue Duck Tavern, and Rose’s Luxury. That’s when his vinegar experiments became more serious.

Liberson began selling his line of vinegars part-time about two years ago before going full-time last fall. The operation is just him for now, although his mom helps out on the business end.

Lindera Farms has a growing list of more than 60 restaurants and bars looking to take advantage of vinegars like these. Chef Tim Ma started using Lindera’s vinegars a few months ago, and now they’re embedded all over his menu at Arlington’s Water & Wall.

He uses a matsutake mushroom vinegar with a “really nice earthy punch to it” to finish a fermented black bean clam special, and he hits sautéed ramps and spinach with a spicebush vinegar for a quail dish. Ma also uses the elderflower or honey vinegars to pickle golden raisin or maitake mushroom garnishes. “It’s super unique. I never use vinegars to finish, so this is a new thing for me,” Ma says.

“It’s kind of like a finishing oil.”

Ma even gave the elderflower vinegar to his bartender to experiment with. But at $18 a bottle wholesale for chefs, the stuff isn’t cheap.

“I was like, ‘If I start seeing my vinegars disappear off the shelves, I’m going to stick my fist up your ass,’” Ma told the bartender. So the bartender created a whiskey drink with St. Germain and vinegar named “Chef’s Fist” on the menu. The name was soon watered down to “A Fistful of Elderflower.”

The vinegars have quickly spread to a number of local bars, including Daikaya, 2 Birds 1 Stone, the Partisan, and Iron Gate.

“He’s starting a vinegar revolution in D.C. that I don’t think people are paying attention to,” says bar owner Derek Brown, who uses Lindera Farms at Eat the Rich and Southern Efficiency. “You’re starting to see his product pop up everywhere.”

Brown, Southern Efficiency bar manager JP Fetherston, and a bartender from Columbia Room visited Lindera Farms last year and were immediately converted. Previously, they hadn’t really used much vinegar in cocktails. But now, you’ll find one or two cocktails with Lindera’s vinegar at any given time across Brown’s bars.

Currently, Southern Efficiency is featuring a drink called Don’t Write Mine Yet with Green Hat’s summer seasonal gin, vermouth, Strega Italian herbal liqueur, and elderflower vinegar.

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DCFEED(cont.)

“The vinegar just adds this nice little bite, this little tart undertone to it,” Fetherston says.

Lindera is helping bars like Brown’s explore what cocktails start looking like if they only use local product. Fetherston says citrus—a very not local ingredient—can be somewhat of a crutch for bartenders. And although vinegar isn’t a perfect substitute for lemon juice, it does offer an alternate way to introduce acid to cocktail.

“We’re trying to focus on local foods and local farms and sourcing everything from people that we can see and meet and go visit in our kitchens,” Fetherston says. “So why wouldn’t we do that behind the bar?”

Liberson lives for the praise of his industry comrades. Yes, he sells his products to the general public at retail locations like Salt & Sundry, Glen’s Garden Market, Red Apron Butcher, and others. (Bottles retail for $22 to $26.) But it’s the restaurant kitchen staff he really wants to impress. “I really liked cooking, but only for other chefs and cooks… I wanted their approval. Because they would never just come back to you and say, ‘Wow that’s really good’ like my family or my friends would,” Liberson says. “Cooks and chefs would sit there and just rip stuff apart.”

Perhaps because he was once also a cook, Liberson can be just as critical and self-deprecating about himself.

“I’m just a nerd who grows stuff in barrels,” he says, “and sometimes it tastes good.” CP Eatery tips? Food pursuits? Send suggestions to hungry@washingtoncitypaper.com.

DCFEED

what we ate last week:

Pork belly banh mi, $15, The Pub and the People. Satisfaction level: 4 out of 5 what we’ll eat next week:

Pork belly Cuban sandwich, $13, McClellan’s Retreat. Excitement level: 3 out of 5

Grazer

BeTween The SweeTS

THE’WICHINGHOUR

The Good Humor ice cream sandwich is a classic, but it has a number of gourmet rivals around D.C. Whether it’s pop-tarts, muffin tops, or doughnuts, there seems to be no limit to desserts stuffed with ice cream. What will be next: the biscuitwich or the sconewich? —Jessica Sidman

The Sandwich: The Kraftwerk Where: Songbyrd Record Cafe, 2477 18th St. NW Price: $10, including one side Bread: Sourdough toast

The doughnuT ice creaM Sandwich

The Muffin ice creaM Sandwich Uprising Muffin Company 1817 7th St. NW The Shaw muffin shop debuted this creation last week. Choose from chocolate chip or double chocolate muffin tops stuffed with vanilla ice cream. What happens to the muffin stumps?

Uprising avoids a Seinfeld-esque disposal dilemma by using a muffin top pan.

Price: $4.99

brew in town Adroit Theory Legion Where in Town: Adroit Theory Brewing Company, 404 Browning Court, Unit C, Purcellville, Va. Price: $12/375 mL Form Is Function Husband-and-wife duo Mark and Nina Osborne founded Adroit Theory Brewing in early 2014 with the motto “Consume life. Drink art.” The brewery presents as much information about each beer’s concept, name, and thought-

The waffle ice creaM Sandwich Pop’s SeaBar 1817 Columbia Road NW Aside from ice cream sandwich “luge” where you pour a shot of amaro along the side of the dessert and into your mouth, Pop’s SeaBar offers a waffle ice cream sandwich stuffed with vanilla ice cream and dusted with powdered sugar.

Price: $7.99

Goodies Frozen Custard & Treats 150 American Way, Oxon Hill or find the truck location at twitter.com/goodiesdc From a 1952 van and a stand and soda bar in National Harbor, Goodies serves its vanilla frozen custard in between a variety of doughnuts, including flavors like maple bacon and strawberry shortcake. The “big red” is a menu staple with vanilla custard between red velvet doughnuts covered in cream cheese frosting and dark chocolate.

Price: $10

fully designed packaging as its ingredients and flavors. Head brewer Greg Skotzko crafts three or four small batches a week and made more than 150 distinct brews in Adroit’s first year. Most are high-alcohol, experimental styles with intricate recipes—like a Thai noodle soup beer with Sriracha, lemongrass, and ginger—and many are aged in wine, whiskey, or spirit barrels.

Close But No Cigar One such brew, Legion, was a collaboration with New Zealand’s 666 Brewing Company. The Belgian-style stout was brewed with Green Bullet hops and horopito pepper leaves from the kiwi isles and then aged in pinot noir barrels.

Legion has a woody, spicy nose with

Stuffings: Chicken schnitzel, Brie and Gournay cheeses, rotkraut, raspberry sauce

The cookie ice creaM Sandwich

Thickness: 3 inches

Milk Cult Glen’s Garden Market, 2001 S St. NW; Union Kitchen Grocery, 538 3rd St. NE Milk Cult is known for wacky ice cream flavors like avocado chocolate and salted butter caramel popcorn, but the Union Kitchen producer is keeping its ice cream sandwiches pretty simple for now with vanilla ice cream between salty chocolate chip cookies.

Price: $3.49

notes of dark red wine. Complex chocolate, tart fruit, and bitter coffee flavors are followed by a dry, slightly salty finish with an intense peppery heat. I found Legion surprisingly drinkable for its 10.7 percent alcohol, partially due to a lack of body. The label suggests specific meat, cheese, and cigar pairings, but I didn’t have any Wagyu beef or Alec Bradleys on hand; a few squares of dark chocolate sufficed. Sampling Adroit requires an hour-long drive from D.C. or membership in the brewery’s Black Heart Society, which includes mail delivery in Virginia. However, since Nina Osborne started a distribution company this fall, bottles and kegs have popped up at Loudoun County venues and may become available elsewhere in northern Virginia.

—Tammy Tuck

Pros: Many of the sandwiches at Songbyrd are named after different musical artists, and the Kraftwerk pays tribute to both the German electronic band and a traditional German sandwich. The schnitzel, which could taste too bready on a sandwich, adds just enough salty crispness without feeling heavy or dull, while the tangy red cabbage kraut contrasts the rich, oozing cheese.

Cons: The raspberry sauce tastes like warm jam—it’s shockingly sweet and doesn’t blend well with the rest of the ingredients. Meanwhile, the sourdough is sliced so thin that its surface cracks, leaving your hands coated with a sticky film of sauce and cheese.

Sloppiness level (1 to 5): 3.5. The kraut mix falls out the back of the sandwich, melted cheese leaks from the top, and you’re left trying to reassemble the sandwich on tiny scraps of bread. Thankfully, Songbyrd serves all of its sandwiches on round, high walled trays, so at least your mess is contained.

Overall score (1 to 5): 3.5. While the idea of this schnitzel sandwich is a good one (D.C. deserves more German options), the execution and strange flavor choices prevent the Kraftwerk from fully working. Swap the sugary raspberry sauce for something saltier (mushroom gravy) or more acidic (what’s a German meal without mustard?), and it will —Caroline Jones really sing.

washingtoncitypaper.com may 29, 2015 25

26 may 29, 2015 washingtoncitypaper.com

CPARTS

The Foo FighTeRS, David Letterman’s favorite band, were his show’s last musical guests. washingtoncitypaper.com/go/letterman

GALLERIES

Put the Mettle to the Metal A Renaissance-era drawing technique is impressive on old work, boring on new.

“Drawing in Silver and Gold: Leonardo to Jasper Johns” At the National Gallery of Art to July 26

By Jeffry Cudlin Visitors to “Drawing in Silver and Gold”might wonder if human eyesight has seriously devolved in the last half-millennium. The exhibition’s first two rooms contain dozens of washed-out, minutely detailed drawings from the Renaissance, many 5 inches by 4 or smaller.

The thin contour lines and subtle tonal modulations in these portraits, landscapes, and religious scenes demand sustained study, preferably up close. True, the lights in the galleries of old-works-on-paper shows are typically dimmed a bit to protect the art, but the impression is still strong: Either our contemporary eyes have been ruined by glowing screens and tablets, or squinting was big in the 15th century.

These delicately rendered, eyestrain-inducing images all stem from the early Renaissance’s go-to drawing medium: metalpoint. The Flemish, German, Swiss, and Italian artists who created these ghostly pictures didn’t draw them by smearing charcoal or brushing ink; instead, they scratched thin rods of gold, silver, or lead on paper coated with an abrasive ground. Metalpoint produces more or less indelible marks—making it a durable medium for sketchbooks—but it only allows artists to draw uninflected lines in pale shades of gray or reddish-brown. Within these constraints, a skilled hand could nonetheless produce a range of effects, from soft, illusionistic shadows on flesh to angular, abstract patterns in folds of cloth.

Organized by the National Gallery of Art and the British Museum, “Drawing in Silver and Gold” features more than 100 metalpoint drawings dating from 1390 to 2013.

The show is organized chronologically, and it’s front-

heavy: Most of the work on view was created prior to 1600. After the 16th century, as paper became cheaper and more readily available, artists gravitated toward pen and ink for more spontaneity and impact. Ultimately, metalpoint went from an essential tool for studio practice to an archaic novelty. The final rooms of “Silver and Gold” include a few rediscoveries and revivals of the unforgiving medium, but it seems like a loose, unnecessary coda to an otherwise cohesive story.

The limitations of metalpoint—the challenge of creating dark shadows or dynamic contour lines—give many of these drawings a semi-abstract quality. In the first room of the show, followers of Flemish artists like Jan van Eyck and Rogier van der Weyden jump back and forth between pattern-making and super-smooth mimesis in ways that can make the viewer briefly forget what century the work came from.

Take, for example, the copy of the Mary Magdalene panel of van der Weyden’s “Braque Triptych,” created circa 1455-65. Although the identity of the artist is unknown, “Saint Mary Magdalene” masterfully distills the hyper-illusionistic yet otherworldly quality of van der Weyden’s original oil-on-wood triptych, currently at the Louvre.

In the roughly 7-inch-by-5 drawing, a flurry of light, crosshatched lines convey the volume of Magdalene’s soft chin and slightly parted lips; heavy tears cling to the corners of the saint’s almond-shaped

“Saint Mary Magdalene,” circle of Rogier van der Weyden (c. 1455-65) eyes. Magdalene sits in three-quarter profile, yet her right eye appears to be as close to the viewer as her left—causing a strange torquing and flattening of form. This is typical of Netherlandish art of the period and of van der Weyden’s work specifically: The surfaces and volumes of objects seem lavishly tactile, yet the pictorial space they exist in defies physics.

Despite all the fussy attention given to the saint’s grief-stricken face, the straight lines and hard angles throughout the rest of the drawing look more appropriate for a cubist still life than a Renaissance altarpiece. Light and shadow cling to the edges of stiff, architectonic draperies; distinctions between positive and negative space erode in flurries of repetitive mark-making. washingtoncitypaper.com may 29, 2015 27

CPARTS Continued

Viewers can almost feel the artist fighting the metal stylus with every sharp, stabbing line.

In the hands of German master Albrecht Dürer, metalpoint could be used to create waves of overlapping textures akin to engraving: “A Dog Resting” (1520) is exhaustively rendered with flowing curlicues of hair and shadowy crosshatching. As with “Saint Mary Magdalene,” the level of vivid detail excites the senses, yet the image overall is so stylized that it appears more like a product of the artist’s imagination.

Some artists in the period would combine metalpoint with other media in order to heighten contrasts between light and shade. In Hans Holbein the Elder’s “Portrait of a Woman” (c. 1508), the artist worked in layers of silverpoint, leadpoint, charcoal, and ink. Vivid white highlights dot the folds of the woman’s lips and lightly hooded eyes; by contrast, the less-manipulated clothing and drapery that make up the rest of the drawing are blurred, barely there.

And then, of course, there’s Leonardo da Vinci. As an apprentice to Florentine artist and goldsmith Andrea del Verrocchio, Leonardo mastered metalpoint and went on to experiment with it throughout his career. Under his teacher’s influence, he created ornate, decorative images—like “A Bust of a Warrior” (c. 1475/1480), which features a li-

28 may 29, 2015 washingtoncitypaper.com

on’s head embedded in the breastplate of a fantastically adorned suit of armor. Later studies of a horse, hands, and a male nude, all circa 1490, showcase the muscularity Leon-

“A Dog Resting (recto)” by Albrecht Dürer (1520) ardo could bring to this seemingly stiff and unyielding medium—pushing and repositioning contours, defining sinew and bone with deep shadows, and, well, just generally being Leonardo da Vinci.

There are some stunning miniature works in the show from the late 16th century by Dutch artist Hendrick Goltzius, and a handful of lovely studies from 1633 by Rembrandt, but in the show’s last act, there’s less to love. The silverpoint revival of the 19th century seems faddish and fey; the portraits of children by William Holman Hunt and Joseph Edward Southall are competently done, but cartoonish. None of the 20th-century drawings in silverpoint

by Otto Dix, Avigdor Arikha, and Jasper Johns will surprise viewers familiar with the artists’ respective oeuvres.

More importantly, none of them suggest how the medium could find a new life outside of the simple fetishization of the artistic past.

For a time, working artists saw advantages in metalpoint in addition to its constraints, and their studios accordingly filled with scratchy, silvery images. At its best, “Drawing in Silver and Gold” shows how artists in the past stored and shared motifs, and how they wrestled with the technology of the moment to communicate their pictorial ideas. Viewers might mourn the loss of artists who seemed so adept at transcending the limitations of their historical moment—but they shouldn’t mourn the loss of CP those limitations.

6th Street and Constitution Avenue NW. Free. (202) 737-4215. nga.gov

JUNE H 2015 1 MON H Woodrow Wilson High

10 WED H Sweet Lu Olutosin

The vocalist and his sextet perform a unique brand of soul jazz, blended with straight-ahead styles.

School Vocal Music Program

The performance features the DC public school’s Concert Choir, Women’s Choir, Vocal Jazz Ensemble, and The Wilson Singers.

2 TUE H Victor Provost

FREE PERFORMANCES

The D.C.-based steelpan player and his quartet perform music from his soon-to-be-recorded project Bright Eyes.

365 DAYS A

YEAR

EVERY DAY AT 6 P.M. NO TICKETS REQUIRED *Unless noted otherwise

3 WED H Levine Music’s

Voice Department

5–6 P.M. NIGHTLY H GRAND FOYER BARS

Live Internet broadcast, video archive, artist information, and more at kennedy-center.org/millennium For more information call: (202) 467-4600 TAKE METRO to the Foggy Bottom/GWU station and ride the free Kennedy Center shuttle departing every 15 minutes until midnight.

4 THU H Soldiers’ Chorus of the U.S. Army Field Band

Army Goes to the Opera! with songs and arias from well-known operas such as Rigoletto, La Cenerentola, Der Rosenkavalier, and Werther.

5 FRI H Kennedy Center Opera House Orchestra

Members of the KCOHO play Onslow’s String Quartet in C minor and Mozart’s Oboe Quartet in F major.

6 SAT H Seth Kibel Quintet and Gottaswing Join in a celebration of the centennial year of Frank Sinatra’s birth with the acclaimed woodwind quintet.

Tom Koerner and Debra Sternberg (Gottaswing) lead free swing dance lessons at 5 p.m.

A Salute to the Cappies features music from Broadway favorites and Cappies-nominated shows, including Chicago, West Side Story, and Fiddler on the Roof.

8 MON H The JoGo Project

The D.C.-based group created by saxophonist Elijah Balbed brings its mix of jazz, rock, hip-hop, and, of course, go-go for a lively performance.

9 TUE H Rep Ya Hood: The Untold Stories of D.C. Neighborhoods

Poets and MCs in this city-wide spoken-word and rap competition face off for college scholarships.

Presented by Words Beats & Life and The Diamond Cutter DJs.

Part of the 2015 Smithsonian Folklife Festival.

25 THU H Coro Entrevoces

This program contains mature themes and strong language. Note: this program will be streamed live but will not be archived.

DC JAZZ FESTIVAL 12 FRI H Alison Crockett

Known for her velvety tone and sensual singingstyle, the acclaimed vocalist stands out as the quintessential nu jazz/progressive soul singer of her generation.

13 SAT H Siné Qua Non

Igniting the stage with its fusion of classical and world music flavors, the jazz quintet is joined by Elite String Quartet and vocalist Christie Dashiell for selections from their upcoming album Of the People.

14 SUN H Crush Funk Brass

The local jazz band is made up of musicians who have attended or are currently enrolled in D.C. area schools.

The Cuban choir is known for unparalleled performances of music from all periods and styles, including polyphony as well as contemporary music, spirituals, and Latin American and Cuban folk music.

Presented in collaboration with Classical Movements.

26 FRI H

Family Night: The YMCA Jerusalem Youth Chorus

The group empowers young Palestinian and Israeli singers from East and West Jerusalem to grow together in song and dialogue and become leaders for peace within their communities.

27 SAT H Chicago Children’s Choir

This diverse group’s repertoire spans classical, world, gospel, and popular music.

28 SUN H Tapiola Chamber Choir

The prominent Finnish choir is known for adventurous programming and diverse repertoire, ranging from major classical choral works to contemporary a cappella renditions.

29 MON H Los Angeles Children’s

Choir / Australian Children’s Choir

A youth choral showcase.

Presented in collaboration with Classical Movements.

YOUNGARTS@KENNEDYCENTER Presented by the National YoungArts Foundation

I N T H E T H E AT E R L A B

15 MON H Danny Rothschild*

Written by Rothschild, Home, Again tells the story of Dakota, who has returned to the small town of Silver Creek for a family funeral, 11 years after she ran away, and reconnects with her friend Lucy.

16 TUE H Ranjani Murthy

The 24-year old is an accomplished dancer of bharatanatyam and kuchipudi styles of Indian classical dance.

IN THE FAMILY THEATER

30 TUE H Marinera Viva!!!*

The group showcases a different way of living, feeling, and dancing the Marinera—the national dance of Peru that has become a symbol of what it means to be Peruvian.

Part of the 2015 Smithsonian Folklife Festival.

*Free general admission tickets will be distributed in the States Gallery (Family Theater lobby for 6/30) starting at approximately 5:30 p.m., up to two tickets per person.

ALL PERFORMERS AND PROGRAMS ARE SUBJECT TO CHANGE WITHOUT NOTICE.

18 THU H Teodross “Teo”Avery

A Jazz Sound features a jazz quartet led by the awardwinning saxophonist, who has performed with Amy Winehouse, G-Unit All Stars, and Joss Stone.

are given daily by the Friends of the Kennedy Center tour guides. Tour hours: Monday thru Friday, 10 a.m.–5 p.m., and Saturday and Sunday from 10 a.m.–1 p.m. For information, call (202) 416-8340.

19 FRI H Brittany Bailey Dance Company

The Kennedy Center welcomes persons with disabilities.

FRI 12 H Alison Crockett

The Company performs Shape Dance. Bailey’s technique, The Dance Warm-Up, emphasizes moving with the body and not against it.

The Millennium Stage was created and underwritten by James A. Johnson and Maxine Isaacs to make the performing arts accessible to everyone in fulfillment of the Kennedy Center's mission to its community and the nation.

21 SUN H Chicago Harp Quartet

The group brings its innovative, charismatic, and forward-thinking programs of classical arrangements and new commissions.

Additional funding for the Millennium Stage is provided by The Isadore and Bertha Gudelsky Family Foundation, Inc., The Meredith Foundation, The Morris and Gwendolyn Cafritz Foundation, Dr. Deborah Rose and Dr. Jan A.J. Stolwijk, U.S. Department of Education, and the Millennium Stage Endowment Fund.

22

MON H Tyné Angela Freeman, Melissa Goldstein, Kelley Kessell, and Miranda Scott

The Millennium Stage Endowment Fund was made possible by James A. Johnson and Maxine Isaacs, Fannie Mae Foundation, James V. Kimsey, Gilbert† and Jaylee† Mead, Mortgage Bankers Association of America and other anonymous gifts to secure the future of the Millennium Stage.

Kennedy Center education and related artistic programming is also made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

Center: W. Kamau Bell*

Praised by the New York Times as “the most promising new talent in political comedy in many years,” Bell has multiple comedy albums to his credit, is a regular on several of the biggest comedy podcasts. Cameron Esposito opens.

From China with Love–Connecting Cultures Through Music is an engaging piano recital that showcases both Chinese and Western favorites.

FREE TOURS

There is no free parking for free performances.

The splendor of Andean folklore comes alive in performances by this Boston-based group.

17 WED H Joel Fan

GET CONNECTED! Become a fan of Millennium Stage on Facebook and check out artist photos, upcoming events, and more!

PLEASE NOTE:

11 THU H Comedy at the Kennedy

Students from the community music school’s renowned Act Two @ Levine musical theater program and adult choruses perform.

7 SUN H Fairfax Wind Symphony

DAILY FOOD AND DRINK SPECIALS.

IN THE TERRACE THEATER

20 SAT H Stay Tuned!

23 TUE H Stay Tuned!

24 WED H New Inca Son

TUE 2 H Victor Provost

In Lost & Found, the four singer/songwriters weave together their stories and songs, accompanied by Jack Schunk on percussion and Max Lorick on bass.

TUE 16 H Ranjani Murthy

washingtoncitypaper.com may 29, 2015 29

CPARTS Pros &Condos Cayetana will play

In IT TogeTheR FeST’S main showcase at St. Stephen’s. Who else?

washingtoncitypaper.com/go/infest2015

arTs desk

Housing advocates and real estate moguls aren’t the only ones who care about D.C.’s mushrooming jungle of condo complexes. Local musicians write songs in the shadow of towering cranes, scramble for dwindling practice spaces and performance venues, and cast a critical gaze on the changing culture of their hometown.

So what do D.C. bands think of the city’s condo craze? The consensus, unsurprisingly, reads grim.

—Christina Cauterucci

One Track Mind

PaPerhaus

The Afterworld EP

At the suggestion of a friend, Paperhaus guitarist Eduardo Rivera looked into the history of the 121-year-old Cairo condo complex in Dupont, which once hosted extravagant parties: Rumor has it, one featured 1,000 singing canaries. Rivera folded the story of an alleged murder of the building’s painter into “Cairo,” the first single from Paperhaus’ most recent album.

CouP sauvage & the sniPs “Show the urban pioneers in your ‘transitioning’ neighborhood how you really feel about their condos—all without saying a word,” Coup Sauvage & the Snips’ online merch store advises. This T-shirt’s anti-gentrification spin on an Audre Lorde quote also comes in a version that swaps “condos” for “small plates.”

Pentamon

Standout Track: No. 1, “The Afterworld,” a dark, Prince-sampling techno jam that explores life after death. For almost six minutes, producer Pentamon, a pseudonym, employs a cavernous stomp: Metallic synths rattle in the background while the beat becomes brighter as it moves along.

Musical Motivation: Pentamon recorded the EP in 2013 as a way to reflect on the afterlife. The EP’s second track, “Virgil,” pays homage to the fictional character that guides Dante through hell in his Inferno. On “The Afterworld,” the producer examines the social aspects of what comes after death. “How would your soul interact with others in its environment?” Pentamon says of the track. “It was a dual purpose of exercising some artistic creativity, but also trying to think of the physical world in a different sense.”

JaCk on Fire The rabble-rousing electro-punk band, whose repertoire includes a 42-second tongue-twister that repeats the word “condos” 16 times in a row, designed a Shepard Fairey-esque sticker mocking Mayor Muriel Bowser’s connections to developers. Bowser’s nixing of the contemporary art space that was set to take over the historic Franklin School building (in favor of a luxury hotel or, uh, condos) was the last straw, the band says. Wonder if Herroner’s seen the sticker outside the Wilson Building.

Chain & the gang Ian Svenonius’ experiment in rock ‘n’ roll nihilism reaches a fever pitch in “Devitalize,” Chain & the Gang’s fantasy of a decrepit urban landscape that makes upper-middle-class residents shake in their Tory Burches.

“I wanna... bring down real estate/Make produce second rate,” Svenonius snarls in the track’s video over images of new construction going up (and blowing up) and a sign for the Yards, a luxury megacomplex/microneighborhood with high-priced lofts.

Get Lost: If nothing else, Pentamon wants listeners to pay close attention to the music.

“I want them to have an out of body experience,” he says. “I’d like for them to lose themselves for the five minutes they’re listening to that track.” That means not picking up your cell phone to tweet or post pictures to Instagram. Instead, focus on how you feel when the music plays: “If I could have one motto, it would be ‘put your damn phone down.’”

—Marcus J. Moore Listen to “The Afterworld” at washingtoncitypaper.com/go/afterworld.

30 may 29, 2015 washingtoncitypaper.com

oddisee “Gentrification,” a track from the Diamond District rapper’s Foot in the Door album, explores the migration of black families from D.C. to its surrounding suburbs as rents rise. “My city don’t look the same/What a shame, it’s tragic,” he spits. “Urban decay making way for Ikeas, luxury lofts/Replacing what I see as a history lost.”

PuFF PieCes In a statement on Puff Pieces’ website, the band lays out its condo-incompatible mission: “Based on their... long-term involvement in D.C.’s punk and noise scenes, Puff Pieces strives to destroy the bland hegemony of their city’s condo-crazed culture with a mix of melody and nervous dissonance.” Preach.

Film

Impulse Patrol

Create monsters or jump into the abyss, and fear stands no chance.

Dark Star: H.R. Giger’s World Directed by Belinda Sallin Sunshine Superman Directed by Marah Strauch

By Tricia Olszewski When you get about halfway through Dark Star: H.R. Giger’s World, you realize that only $150-an-hour professionals whose offices feature couches and books by Freud will likely be able to truly understand the influences behind the titular Swiss painter, sculptor, and Oscar-winning set designer’s work.

One of the documentary’s talking heads, in fact, is a psychiatrist (so let’s bump that up to $250-an-hour); later in the film, Andreas J. Hirsch, an Austrian photographer who’s curated Giger exhibitions, analyzes the artist as if he were one: “He feels most at home around the uncanny,” Hirsch says. “He feels at home in places we run from in fear.” In contrast, Hirsch adds, most people (at least the nonpsychotic) may visit their dark sides, but prefer the light.

That’s the simplified form. Even more straightforward: Giger created what terrified him as a means of overcoming that fear or healing raw wounds. And throughout Belinda Sallin’s 95-minute debut documentary, you’ll hear this again and again and again, as if there’s nothing else to say.

It might have been helpful if someone had used the term “art therapy,” which is why Giger started drawing in the first place when he was a child. Giger’s wife, Carmen Maria Scheifele Giger, tells an anecdote of the fateful experience that scared him creative: He accompanied his sister to a museum and was frightened by a mummy. To his mortification, his sister laughed. So he visited that mummy every week until he was no longer afraid.

Still—despite Giger’s mesmerizing images— Dark Star is a superficial bore. There’s no linearity here; instead, either Giger or members of his social and creative circles relate random memories, often with very little indication of who they are or what their relationship to Giger is. Even his award-winning work on Alien is all but glossed over, and perhaps worse, no mention is made of the amazing art he planned for Alejandro Jodorowsky’s version of Dune, which was shamefully never filmed. It makes for a frustrating viewer experience for anyone who’s not an H.R. obsessive.

The best segments of the documentary are fan-related: At a book (or body) signing during the grand opening of his museum, one fan weeps; another calls him “Master.” Someone

H.R. Giger found his home in darkness. also had the brilliant idea to project Giger’s paintings onto a movie-theater-sized screen, which leads to powerful visuals. When the artist walks toward the screen and stands there a minute, facing the audience and dwarfed by his consistently mysterious, complex, and foreboding images, the sight is even more magnificent.

Most of Dark Star, however, is filmed in Giger’s residence, which is painted black and overwhelmed with books and artwork, making it seem more like a forgotten storage space than a home. (The “ghost ride” in his backyard—a train adults can hop on for a tour of his scarier sculptures—though, is very cool.)

The doc also feels rather staged, as if you can hear Sallin telling Giger to, for instance, open the front door and look contemplative, or walk through his museum alone and look contemplative.

Giger died in 2014 shortly after filming wrapped, and here, he mostly comes across as an elderly man who shuffles around his home and isn’t very happy. It’s a joy, then, to see archival footage of his younger self, even if these photos and films pop up without context. It’s especially inspiring to watch Giger design his museum with energy and enthusiasm. Of course, a documentary of a then-living celebrated artist would feel incomplete without filming him in the present, barring crippling frailty. Dark Star covers the present thoroughly—well, at least Sallin shoots in the present, not that it tells you much. What it needs is a more complete retrospective of the past.

“Just jump. The angels will take care of you.”

That Satan, always telling lies.

Carl Boenish, the title character in the BASEjumping documentary Sunshine Superman, dies.

And he dies after relating this line—which the devil, as the story goes, told Jesus—to the guys who

accompanied him on a ridiculously high, ridiculously jagged cliff the day after he broke a world record in Norway in 1984. Boenish’s last words referred to his parachute: “This is my angel.”

(Oh, come on. You knew what happened going into Grizzly Man, too.)

First time writer-director Marah Strauch (who also plays Boenish’s wife, Jean, in re-creations) has crafted a jubilant tribute to Boenish’s life and passion, which morphed from simple skydiving to a derivation he invented, “fixedobject jumping.” When it caught on, Boenish and his inner group of enthusiasts knew they needed a catchier name, which led to the acronym BASE: buildings, antenna towers, spans (bridges), and Earth. You have to leap off of all four to be considered a BASE jumper.

According to the family and friends interviewed in the film, Boenish was a fount of perseverance and joy. He contracted polio—from the vaccine—when he was a child, and as soon as he overcame it, he was challenging classmates to footraces and himself to just about anything he could. In archival footage, which comprises much of the film, Boenish tells a reporter that he didn’t want to “grow old or grow up,” because a child “hasn’t been taught what he can’t do.”

Strauch portrays Boenish as the equivalent of a modern motivational speaker, complete with the sense you get from a few of them that something’s a little off. TV producer John Long describes Boenish and Jean as “not weird, just different.” He also said that being in Boenish’s presence was “like running into a geyser.” It’s this aspect that makes Boenish seem—well, actually, weird. Can anyone possibly be that high on life?

Throughout the film, Boenish speaks in flowery hyperbole that would feel off to most.

He attributes the success of a jump he and his friends made off Yosemite’s El Capitan to the

fact that “we were glorifying mankind’s beautiful spirit of seeking adventure, and that we were within our rights of freedom and dominion over all the earth.” Oookay.

More rationally, Boenish answers the oft-repeated question of why he jumps by saying he sees it as “rejuvenation” and that it gives him the confidence to reach for other goals, which inspires his spectators, too. One of these spectators was a Yosemite park ranger, who, though he supported Boenish and his friends, had a job to do: “There were too many free spirits,” he says in the film. “We had to shut them down.”

Jean was a different kind of free spirit—the quiet kind, who in the doc seems nearly out of touch with the reality of her husband’s death, both in footage filmed immediately afterward and in her talking-head interview. Let’s just say that tears are not shed.

The stomach-dropping sequences of freefalls, including gasp-inducing leaps that Boenish and a friend take on a pogo stick and stilts— right up to the edge of a mountain—are certainly thrilling, but they’re made even more so by a buoyant soundtrack of ’60s candy-coated pop. You might even walk away from the film saying not, “That was cool” or “That was sad,” but, “That soundtrack was really fantastic.”

But, of course, Sunshine Superman is ultimately sad, and the puzzling details of Boenish’s death make it even more tragic. Unlike Werner Herzog, who filmed himself listening to the audio of his subjects getting eaten by a bear, the two friends who accompanied Boenish on his last jump instinctively destroyed the photos they took as soon as it was clear things went wrong.

Strauch doesn’t sugarcoat the accident, and lets her interview subjects muse about that day.

But the biggest takeaway from her documentary isn’t that Boenish was crazy (though that’s somewhere in the top 10). It’s that he had, as that conflicted park ranger described it, “an CP aura of life.”

Dark Star: H.R. Giger’s World and Sunshine Superman open May 29 at E Street Cinema.

washingtoncitypaper.com may 29, 2015 31

TheaTerCurtain Calls Red Red Lines

One of Miller’s most flawed works gets a rare moment to shine in Olney’s production.

Handout photo by Stan Barouh

Passion trumps state authority in The Letters, John W. Lowell’s brief, bitter two-hander currently enjoying a run at Alexandria’s MetroStage. The 2009 play, set in a propaganda ministry in Soviet Russia, does what any good one-act show should do and effectively sketches in the world just beyond the cloistered onstage setting. This is good: The action is so stripped-down, so devoid of theatrics, that only our belief in the larger ideas at stake keeps The Letters from crumbling like the society it depicts.

In the expansive office of the too-important-to-be-named Director (Michael Russotto), a ministry grunt named Anna (Susan Lynskey) is summoned for mysterious reasons. Over the next hour, the Director will grill Anna on everything from her job (she exorcises lewd passages from significant Russian cultural figures’ correspondences) to her coworkers (she shares an office with an old drunk and a younger man of dubious loyalty) to the nature of truth in society (“It takes a certain skill to differentiate between a desperate lie and a desperate truth”).

After much meandering, Anna is teased with a promotion. But first there’s an investigation at hand: Someone in her office has been making uncensored copies of their documents, including particularly pornographic letters by a noteworthy composer.

As a mark of her presumed commitment to the Party, Anna must help the Director bring the culprit to justice. (Lowell’s script is mercifully free of overly political lectures, because we get it.) The play is based on Soviet efforts to purge the writings of Tchaikovsky of all their passion, though the “composer” here is never named.

As is typically the case with two-handers, including 1st Stage’s just-wrapped run of Old Wicked Songs, the fun of The Letters comes from seeing who is in control and watching the tables turn. For much of the play, the Director stalks Anna like a lion, circling her as he badgers her with misleading questions, flipping emotions on a dime from cloyingly sweet to spittle-inflected rage. Credit Russotto’s suitably terrifying work with keeping tensions lively: “No! Interruptions!” he bellows at one point, as chills run down our spines. But Lynskey’s subtler, largely reactive performance may be more impressive—she really does seem to shrink and wither with every verbal blow. She rarely gets a chance to grow, to turn those tables, until the interrogation is winding down, and the play’s central weak-

The Price

By Arthur Miller Directed by Michael Bloom At Olney Theatre Center to June 21

Handout photo by Chris Banks

The Letters

By John W. Lowell Directed by John Vreeke At MetroStage to June 14

MiLLeR stone

Dueling performances make this stripped-down Soviet-era thriller riveting.

ness is how the sparring resembles a Floyd Mayweather bout: few showy maneuvers, a verdict awarded by technical skill.

John Vreeke, the director (as opposed to the Director), barrels through this slim material with enough momentum to make its brevity a positive. Lighting designer Alexander Keen milks some nice noir moments from actors’ silhouettes appearing just outside the office door, but otherwise Vreeke rarely opens up the talk-heavy af-

32 may 29, 2015 washingtoncitypaper.com

fair to stylistic flourishes, and there isn’t much puncturing the Director’s steady stream of intimidations. Audiences who expected a bit more meat with their $50– 55 tickets may leave unsatisfied. Then again, this is the Soviet Union, where meat must be rationed and the truly loyal can al—Andrew Lapin ways thrive on less.

1201 N. Royal St., Alexandria. $50–$55.

(703) 548-9044. metrostage.org.

Arthur Miller’s The Price, on the few occasions it’s staged at all, tends to draw attention to its perceived deficiencies. It’s too long. Two of the four characters are superfluous, and one of the important ones doesn’t show up until the second half. It veers confusingly from absurdist farce to moral reckoning. Miller’s style—hard-talking, emotionally naked—was already passé by the time it came out, in 1968. For these reasons, The Price isn’t usually the first choice for a theater company doing a Miller revival, so seeing any production of it is a rare treat. A great production, such as Olney Theatre’s, is even rarer.

The drama centers on two brothers, Victor and Walter, who are ostensibly selling off their deceased father’s belongings while really navigating years of unspoken resentment. Both were good students with promising futures, but only one of them made it big: Walter left home and became a successful doctor, while Victor quit school to take care of their father (who was broken by the 1929 crash) and then became a cop. The two haven’t seen each other in years. When Walter saunters in, seeking not his half of the inheritance but absolution from Victor, his brother, understandably, has a few feelings he wants to air out first.

The skill of Olney’s cast in conveying the slipperiness of the past that produced these feelings is what makes it all work.

Charlie Kevin’s Victor, the world-weary cop, is immediately sympathetic, while Sean Haberle’s Walter comes in glad-handing with the shark’s grin and nervous energy of a rich man hoping to buy his way into heaven. That we root for Victor is a given; that we manage to see things from Walter’s perspective is a testament to Haberle’s acting chops. Yet the character most crucial to this shift in perspective is the one the audience never sees: their father. His story of financial ruin makes The Price not just a family drama, but a brutal commentary on the toll—both material and psychological—that a boom-bust economy can take on multiple generations.

The two ancillary characters—Victor’s wife Esther and the furniture trader Solomon, to whom Victor is selling off his father’s possessions—exist primarily to flesh out Victor. Esther’s despair over missed opportunities contrasts with Victor’s contempt for the rat race; Solomon’s silver tongue contrasts with Victor’s straight shooting. So it’s most impressive to see Valerie Leonard and Conrad Feininger make both characters feel totally nec-

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TheaTerCurtain Calls

2001 Olney-Sandy Spring Road, Olney. $22–$65. (301) 924-3400. olneytheatre.org.

RACE TO THE FINISH The Shipment

By Young Jean Lee Directed by Psalmayene 24 Forum Theatre at the Black Box Silver Spring to June 13 The playwright’s headshot tells you more than most: A stylish, black-clad, Korean-American woman eyes the camera warily, arms wrapped around herself, shoulders hunching anxiously inward, a tambourine—wait, a tambourine?— clutched in one hand. She manages to look bold, anxious, mischievous all at once. That’s the reputation Young Jean Lee has made for herself professionally, too. She’s a writer with a potent voice and an appetite for topics and approaches that, she says, set both her and her au-

dRAg mOTHER

Handout photo by C. Stanley Photography

A Tale of Two Cities

By Everett Quinton Directed by Serge Seiden Synetic Theater to June 21

The Shipment wants you to squirm and grin. diences on edge.

Forum Theatre’s production of Lee’s The Shipment sure bears that reputation out. It’s rude, provocative, smart, and slick—a postmodern minstrel show, in the words of director Psalmayene 24, that does anything but tapdance around the subjects of race and expectations. A big baby and a big queen tell a Dickens of a Tale.

Structured in three dissimilar sections staged in three divergent implication when Lee deploys that slightstyles, it adds up to one distinctly uncom- ly sadistic twist. fortable comedy. In a brisk and intermisPsalmayene 24 and his cast have staged sion-less 90 minutes, The Shipment invites all this with thoughtful precision and theatergoers to confront both the assump- what seems to be a near-miraculous lack tions it points out and the ones it deliber- of self-consciousness, especially given ately ignores until its final, puckish table- the show’s peculiar demands. But while flip—a “What? Oh!” surprise that left me that polish, plus the choice of subject squirming and grinning at the same time. and the general stylistic brio, would be The Shipment begins with a stand-up enough to make for a perk-up evening in comic, or more precisely an actor (Dari- the theater, it’s authorial chutzpah that us McCall) playing a stand-up comic, talk- makes The Shipment a play that pays oning about how much he doesn’t want to going dividends. In each section, Lee talk about race. The second movement— serves up just enough structure and arc the evening is more a thematically driven to provoke the hope that something like a quasi-musical meme-riff than a coherent definite point of view will emerge—then drama concerned with plot—enlists the abandons the pretense of story, leaving show’s all-black ensemble in a parade of behind the sinking feeling that we may the types black actors are often asked to never shed preconception to see clearly play (at-risk teen, street-corner drug hus- what and who is before us. All perception tler, video ho, nurturing single mom, etc., involves distortion, she seems to have all of them conjured in the exaggerated, concluded, but when it comes to race and presentational style associated with per- identity, the corrupting lens may forever formances in blackface). Finally, there’s a be the American eye. —Trey Graham cocktail party depicted with a kind of lulling naturalism, right up until things Get 8641 Colesville Road, Silver Spring. $30–$35.

(240) 644-1390. forum-theatre.com.

Real—and then dissolve into a chaos of

34 may 29, 2015 washingtoncitypaper.com

Handout photo by Koko Lanham

essary. Leonard has perhaps the toughest job, as Esther is an almost contemptible figure, brow-beating her husband (she’s sometimes intimated to be an alcoholic) before being shushed out of the negotiations by the men. Feininger provides that rarest of things in a Miller play: comic relief (“I’ve never heard of a Jewish acrobat.” “What, you never heard of Jacob? He wrestled with an angel!”). Solomon is the obvious stand-in for Miller, with his three (or was it four?) wives (Solomon doesn’t say if one of them was Marilyn Monroe).

The characters are further distinguished by their accents, from Victor’s Bugs Bunny Brooklyn to Esther’s faintly Roosevelt UES to the Yiddish of Solomon’s Russian Jewish émigré, the contribution of Olney’s dialect coach, Lynn Watson.

Aside from Olney’s in-the-round staging at its Mulitz-Gudelsky Theatre Lab, it’s a pretty by-the-book production, staged in a cramped attic with tables and wardrobes jumbled together and chairs hanging perilously from the rafters. Director Michael Bloom doesn’t put any contemporary spin on the work, so it does feel dated, even for the 1960s period in which it’s set. But there’s a lulling quality to the old fashioned repartee, which feels almost like a self-homage to Miller’s earlier, better loved plays.

It’s not that the play’s known deficiencies aren’t present, but they don’t distract from its heart: four characters with conflicting interests trying, and failing, to find common ground over what appears to be furniture and turns out to be history itself.

—Mike Paarlberg

A story that begins as schizophrenically as “It was the best of times, it was the worst of times” was pretty much destined to find its way into the twisted dramaturgical hands of Everett Quinton, whose travesties as a member of the Ridiculous Theatrical Company most famously included The Mystery of Irma Vep, the cross-dressing, quickchanging vampire-movie sendup for which he won an Obie Award alongside Ridiculous mastermind Charles Ludlam. If that sentence seems both painfully knotty and overly dense, you’re not the target audience for Quinton’s take on A Tale of Two Cities, which potboils that classic down to its bones and gives them to a late-’80s drag queen to conjure with.

I’ll spare you the synopsis of the Dickens Tale, not least because it’s tiresomely Dickensian. All you need know is that in this version, our hero, an aspiring downtown diva who today would skip all the angst and proceed directly to RuPaul’s Drag Race, needs a bedtime story for the baby who’s been abandoned on his doorstep. Seizing upon the titular saga of true love and redemptive sacrifice, he finds himself carried away by the story, enacting all the parts even as he begins to dress for the debut performance his inconveniently wakeful visitor threatens to derail. Silliness ensues, with mayhem always threatening but never quite arriving as plots thicken, crosses are doubled, and catfights—involving Miss Pross, Madame Defarge, and those fatal knitting needles, natch—are somehow staged by a single performer.

The sense of lunatic high-wire risk involved ought to lend fizz to the proceedings, and in the eminently bendy actor Alex Mills, director Serge Seiden certainly has a star willing to throw himself into things. (Literally: I’m pretty sure there’s a bit where he throws himself into something, and if there isn’t, there probably will be by the end of the show’s run.) And though I can’t imagine what strain of off-kilter inspiration led Seiden to cast the distinctly unbabyish Vato Tsikurishvili as that interloping infant, I’d sure like to smoke some of it.

Game as the two men are, and perfect as Luciana Stecconi’s eye-gougingly garish Alphabet City apartment set is, an exercise that’s meant to spiral into the sublimely Ridiculous stays firmly if energetically grounded.

That Madame Defarge impersonation, though—if Mills doesn’t trot that out at a few cocktail parties this season, he’s not the diva I —Trey Graham hope he is.

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W L NA !

FI ND KE EE G W OR T N RE. P S 00 T & .33 EA TH 32 TH 14 2.3 IO 20 TUD S

S ba ara c tr k ’s St eas up life a ag u in is au nd a ed res he per fo die li ca in r l fec r n ve ba th ife t M a ful ce in ban ret- is ex , thr , unt l im t d st p e il ED , l a a m he m Mu yle osiv ten n o IA er i rd wi e in ld siv dd er th ro g fl PA RT e ex le of Bal full ck mever ame p i la ba u yt s N ER erients ac d pu r se sica hing how ce tio ts t rvi l. sh s . n he ce e

ITH W Y D SB N AN RIC DA Y B

BY LY R D D JO ICS SH VE AN LIA LYR NA BY EI E K D A NC OO JU ND N TE US C A IA M CO B IC UL IRE ID D V US J M DA

James McNeill Whistler’s Peacock Room is a ready-made allegory for the art market, a perennial cautionary tale. Here’s how the story goes: A prominent shipowner in Victorian London named Frederick Leyland commissioned Whistler to paint his dining room.

Thomas Jeckyll, a renowned British interior architect, designed the room, and Whistler recognized its importance right away, or so it seemed; he was seized by a grandiose vision in gold and blue, which he executed during the summer of 1876.

Leyland did not share Whistler’s vision—quite the opposite, in fact. The falling out that followed between them is one of the saucier disputes in the well-heeled history of art.

Whistler continued work on the Peacock Room after Leyland suspended payment, even incorporating his disagreement with his patron into a mural that pictured the two of them as piqued peacocks. Leyland fired Whistler; Whistler denounced Leyland. Though their friendship was broken, happily, Leyland never replaced Whistler with another decorator.

The opulent Peacock Room is now the core of the Freer Gallery, unchanged today except by location. (The industrialist Charles Lang Freer moved the entire room first from London to Detroit, then again from Detroit to D.C. to serve as the cornerstone for the museum in 1916.) Now, thanks to a new installation at the Sackler Gallery, the catty history of the Peacock Room—as the bitter artifact of a contract turned sour—is once again at the fore.

“Filthy Lucre” is a tip-totail recreation of the Peacock Room by painter Darren Waterston. During a residency at MASS MoCA in North Adams, Mass., the artist doubled every aspect of the original in a room-sized installation that’s now on view at the Sackler.

Every detail is there, but nothing’s been preserved: Waterston’s piece is a careful wreck.

The installation is a ruin-porn reinvention of the Peacock Room, as if it had been abandoned in London in the 1870s and only just reopened today. The allegory here is blunt:

36 may 29, 2015 washingtoncitypaper.com

The notion of the artist, itself a Victorianera creation, has been spoiled by the market.

The art world is a corruption to rival anything that has come before it.

That’s at least one of the meanings that Waterston intends to convey with “Filthy Lucre,” a project that is narrative to the point of condescending. The divine Asian pottery that graces Whistler’s Peacock Room is shattered in Waterston’s version. Haphazard paint spills in the Sackler installation mimic and mock the precise embellishments of the Freer original.

Where Whistler painted his peacocks squabbling for dominance, Waterston imagines them ripping each other’s guts out.

“Filthy Lucre” is ruined in more than one

ors aren’t faded in the slightest. The Peacock Room’s distinguished chandeliers are twinned here without any signs of distress. The wood’s not rotted and the mouldings aren’t molding.

There’s a paradox at play—the artist means to create an installation that reads as both Whistler’s extravagant dining room and as a longforgotten ruin. “Filthy Lucre” is more decadent than decayed.

Other artists might’ve pulled it off better. Kristen Morgin, a sculptor, has used to clay and wood to depict a bygone Americana, and I mean bygone: a burned-out Mighty Mouse statue, a wrecked roadster, the savaged shell of a cello. Charles Long, another sculptor, uses weathered texture for slightly more abstract ends. Waterston’s noble abstract paintings wouldn’t seem to put him in the same quadrant as a critique like “Filthy Lucre.”

To be fair, there’s more than enough to Waterston’s installation to suggest that “Filthy Lucre” isn’t meant to be read so literally. The alien glow behind closed window shutters and moody soundtrack suggest some supernatural significance to the apocalypse visited upon the Peacock Room. Maybe “Filthy Lucre” is the physical manifestation of the moral decay of the relationship between the artist and collector.

I wish there were more to that. To capture the truly fraught dimensions of today’s art market, Waterston would need to rebuild something the size of the Titanic. Earlier this month, Picasso’s “Les femmes d’Alger (Version ‘O’)” sold at auction for $179 million—exactly what it cost (in 2015 dollars) to build the greatest ship the oceans have ever seen. The commodification of the art market today exceeds the wildest reaches of the Gilded Age. That goes for installations, too. A few years back, the in“Filthy Lucre” stallation artists Justin Lowe (detail) by Darren and Jonah Freeman built an enWaterston (2013-14) tire immersive slum in Chelsea’s Marlborough Gallery. By way: Specifically, it presents a Peacock Room comparison, the Peacock Room itself barethat’s been visited by more than one type of ly registers as exaggerated. To make a stateruin. Stalactites grow from the furniture, sug- ment about the exuberance of this art margesting that the whole thing sank into the At- ket would take something even more dubious lantic, or maybe the Detroit River. The detail- than its richest excesses—or perhaps someing of the room is disheveled, as if the dining thing a lot subtler. On any score, “Filthy Lu—Kriston Capps room is due some deferred maintenance—but cre” is untidy at best. it hasn’t exactly suffered the ravages of time.

Waterston, it seems, has pulled his punch- 1050 Independence Ave. SW. Free. (202) 633es. While “Filthy Lucre” is blighted, its col- 1000. asia.si.edu

Tuesday

Compete your way to the top & win tickets to:

jun 9

@ 6:30 PM Liaison Capitol Hill Rooftop PooL

$35

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“Astonishing… theatrical vitality” —The New York Times

BooksSpeed ReadS Code Read

Carlos Acosta as Basilio and Marianela Nuñez as Kitri in Don Quixote ©ROH / Johan Persson 2013

Count the Waves

By Sandra Beasley W.W. Norton & Company, 96 pps.

US PREMIERE!

Don Quixote Production and Choreography by Carlos Acosta, after Marius Petipa Music by Ludwig Minkus, arranged by Martin Yates with the Kennedy Center Opera House Orchestra

June 9–14, 2015 | Opera House Casting available at kennedy-center.org.

Tickets on sale now! (202) 467-4600 kennedy-center.org Tickets also available at the Box Office | Groups (202) 416-8400 The Kennedy Center’s Ballet Season is presented with the support of Elizabeth and Michael Kojaian.

General Dynamics is the proud sponsor of the 2014–2015 Ballet Season.

The Royal Ballet’s engagement is made possible through generous support of Chevron.

International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts.

38 may 29, 2015 washingtoncitypaper.com

In the age before emoji, long-distance communication was hard. So much ink, so much paper, so much meaning to fit into fiddly words.

So in the mid-19th century, as D.C. poet Sandra Beasley would like to tell you, one A.C. Baldwin set off on a quest to tame the English language. He put together a book of codes that could condense lengthy sentences to numbers, and expand them back again. His title (which could have used a little condensing of its own): The Traveler’s Vade Mecum; or Instantaneous Letter Writer, by Mail or Telegraph, for the Convenience of Persons Traveling on Business or for Pleasure, and for Others, Whereby a Vast Amount of Time, Labor, and Trouble is Saved.

None of us read poetry for convenience, or out of the hope of saving ourselves trouble. There are, as poet William Carlos Williams suggested, better ways to get the news. But Beasley’s new collection, Count the Waves, suggests that Baldwin’s project and the poet’s labors have more in common than you’d think. They share the illusion of brevity—a few marks on a page expanding into meaning. And for all Baldwin’s talk of saving time, there’s copious labor behind packing and unpacking so much significance.

Beasley titles poems with Baldwin’s phrases, from line 4983 (“How long ago was it?”) to line 6716 (“The strictest order must be preserved.”). Her pieces prove an unstated point: Where the Vade Mecum seeks to send one meaning in a few numbers, poetry packs a multitude of meanings in a few words. It’s not efficiency, but expansiveness.

In some cases, the connection between the phrase and the verse is evocative; in others, it’s obscure. But all of the Vade Mecum poems are triumphs, challenging the question of what it means to mean, hinting at how much might be hidden behind a string of numbers.

And they aren’t just intellectual exercises. The poems are full of subtly arresting imagery, the kind that takes a beat to register: “If you could see oaks/in their entirety, you would be offended/by their many-fingered grab of dirt and sky.”

They star a panoply of speakers. “The Traveler’s Vade Mecum, Line #2485: ‘I Have Not Decided’” shows weary Tantalus serving in an all-night diner in the afterlife, always one customer away from his break. “The Traveler’s Vade Mecum, Line #346, ‘The Banks Have Begun To Contract,’” wraps a city in

metaphors that seem celebratory, until they start to echo of apocalypse.

The Vade Mecum poems would merit a volume all their own. But this collection isn’t it.

Instead, it’s half-full of unrelated works— some striking, some forgettable. (Highlights include a lovelorn sword-swallower’s lament and the title poem, a sestina on the subject of modern poetry that manages to be downright gleeful.)

All the poems, Vade Mecum and otherwise, frequently allude to history and myth, from the boats of Abydos to Metro’s June 2009 Red Line disaster. But they strip away dates and names to turn the stories into parables, unmoored from time and circumstance (one poem is even named “Parable,” in case you’ve missed the trend). Outside D.C., the specific Metro crash Beasley references might be unrecognized, but the dread of impending disaster is universal.

And they all reveal how deftly Beasley wields the final line. A poem’s close can tie it up or blow it apart—and Beasley almost always chooses an explosion, or at least a startling pivot. Her closing words shift speakers, realign priorities, reveal what’s at stake. A poem full of smirking love advice for a gravedigger reveals, as it ends, that the speaker is the grave herself: “I’m just a truck crash away./You’re so close.”

The darker meaning was always near, if only we could see it. There may be no Vade Mecum to unlock the code, but there is a generous closing word to mark the way.

—Camila Domonoske Beasley reads at Politics & Prose on June 7.

Take Metrobus and Metrorail to the...

DCJAZZ FESTIVAL

Fri & Sat, May 29 & 30 at Midnight!

Buy Advance Tickets Online

tickets.landmarktheatres.com

JUNE 10 –16, 2015

D.C.’s awesomest events calendar. washingtoncitypaper.com/ calendar

washingtoncitypaper.com

10

Braxton Cook Quartet 7:30 PM & 9:30 PM Bohemian Caverns wednesday

10

John Scofield Überjam Band feat.

Andy Hess, Avi Bortnick 7:30 PM & Tony Mason DOORS OPEN AT 6:30 PM The Hamilton Live

wednesday

thursday

11

Paquito D’Rivera with special DOORS OPEN guest Edmar Castañeda AT 6:30 PM The Hamilton Live 7:30 PM

Su

er m m Concert

Series

May 29 — Aug. 28 FREE! No Tickets.

All concerts begin at 8 p.m.

Tuesdays U.S. Capitol West Steps Wednesdays Sylvan Theater

13

Jack DeJohnette Trio 10:30 PM feat. Ravi Coltrane & DOORS OPEN Matthew Garrison AT 9:30 PM The Hamilton Live saturday

The Cookers w/George Cables, Billy Harper, Donald Harrison, Billy Hart, Eddie Henderson, Cecil McBee & David Weiss sunday 8:00 PM Sixth & I Historic Synagogue

14

For tickets, artists, and complete schedule visit DCJAZZFEST.ORG Renaissance Hotels, official hotel of the DC Jazz Festival.

Rates start at $159. Check out our website for travel offers.

PLATINUM, GOLD, SILVER, BRONZE & PATRON SPONSORS

(near the Washington Monument)

Fridays Air Force Memorial Additional concerts in Maryland, Virginia and D.C.

See website for complete concert info **Outdoor concerts subject to weather cancellation.

www.usafband.af.mil

The DC Jazz Festival®, a 501(c)(3) non-profit service organization, is sponsored in part with major grants from the Government of the District of Columbia, Muriel Bowser, Mayor; and, in part, by major grants from The Mayo Charitable Foundation, and with a grant from the National Endowment for the Arts and the DC Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts; and by the City Fund, administered by The Community Foundation for the National Capital Region. ©2015 DC Jazz Festival. All rights reserved.

washingtoncitypaper.com may 29, 2015 39

40 may 29, 2015 washingtoncitypaper.com

CITYLIST Music

Friday Rock

9:30 Club 815 V St. NW. (202) 265-0930. Purity Ring, Braids, Born Gold. 6 p.m. (Sold out) & 10 p.m. (Sold out) 930.com.

DC9 1940 9th St. NW. (202) 483-5000. Jack Garratt. 7 p.m. $12. dcnine.com.

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

Honey Island Swamp Band. 9 p.m. $15–$17. gypsysallys.com.

The hamilTon 600 14th St. NW. (202) 787-1000.

Brent & Co. 10:30 p.m. Free. thehamiltondc.com. Bonerama, Mike Zito. 8:30 p.m. $20–$25. thehamiltondc.com. howarD TheaTre 620 T St. NW. (202) 803-2899.

Barrington Levy. 11:30 p.m. $25. thehowardtheatre.com. roCk & roll hoTel 1353 H St. NE. (202) 388-ROCK. Clap Your Hands Say Yeah. 9 p.m. $20. rockandrollhoteldc.com. u sTreeT musiC hall 1115 U St. NW. (202) 5881880. Ivan & Alyosha, Kris Orlowski. 7 p.m. $15. ustreetmusichall.com.

VelVeT lounGe 915 U St. NW. (202) 462-3213. The Prahns, Anti-Social Collective, Flow State. 9:30 p.m. $8. velvetloungedc.com. warner TheaTre 513 13th St. NW. (202) 783-4000.

Brit Floyd. 8 p.m. $37.50–$63. warnertheatre.com.

Funk & R&B beThesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Grainger and the New Pockets, Meritxell. 8 p.m. $25. bethesdabluesjazz.com. howarD TheaTre 620 T St. NW. (202) 803-2899.

Tweet, Orlando Dixon. 8 p.m. $25.50. thehowardtheatre.com.

TropiCalia 2001 14th St. NW. (202) 629-4535.

People’s Champs. 8 p.m. $10. tropicaliadc.com.

ElEctRonic Flash 645 Florida Ave. NW. (202) 827-8791. Ben Sims. 8 p.m. $8–$12. flashdc.com. u sTreeT musiC hall 1115 U St. NW. (202) 5881880. Hudson Mohawke. 10:30 p.m. $15–$20. ustreetmusichall.com.

Jazz blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Art Sherrod Jr., Ann Nesby. 8 p.m. & 10 p.m. $40. bluesalley.com. bohemian CaVerns 2001 11th St. NW. (202) 2990800. Joanna Pascale. 8 p.m. & 10 p.m. $20–$25. bohemiancaverns.com. library oF ConGress CooliDGe auDiTorium First Street and Independence Avenue SE. (202) 7075507. Etienne Charles. 8 p.m. Free. loc.gov. mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Dave Wilson Trio. 8 p.m. Free. mrhenrysdc.com.

Music . . . . . . . . . . . . . . . . . . . . . . . . .41 Galleries . . . . . . . . . . . . . . . . . . . . . 4 8 Theater . . . . . . . . . . . . . . . . . . . . . . 5 0 Film . . . . . . . . . . . . . . . . . . . . . . . . . . .52

SearCh LISTIngS aT waShIngTonCITYpaper.Com

CITY LIGHTS: FRIDAY

DON’T THINK I’VE FORGOTTEN: CAMBODIA’S LOST ROCK ‘N’ ROLL

uTopia bar & Grill 1418 U St. NW. (202) 4837669. Collector’s Edition. 11 p.m. Free. utopiaindc.com.

countRy hill CounTry liVe 410 7th St. NW. (202) 556-2050.

The Highballers. 9:30 p.m. Free. hillcountrywdc.com.

Folk alDen TheaTre 1234 Ingleside Ave., McLean. (703) 790-0123. Rani Arbo and daisy mayhem. 8 p.m. $20–$30. mcleancenter.org/alden/default.asp.

a y

F 29 grainger and the new pockets featuring meritxell sunday may 31

tHe Hitmen:

Former stars oF Frankie valli & tHe Four seasons

Although Don’t Think I’ve Forgotten initially appears to be a documentary crafted for mid20th-century music geeks, director John Pirozzi’s film looks at a much darker aspect of Cambodian history. The striking work examines the nation’s tragic destruction during the Vietnam War and the savage Khmer Rouge–led genocide from the perspective of musicians, particularly those playing traditional Cambodian work, as well as the Western-influenced pop heard in Phnom Penh. Mixing contemporary interviews with eye-opening rough-hewn archival footage, this effort captures generational musical changes—from tuxedo-wearing pop crooners to surf rock, garage rock, and bilingual takes on Santana and James Taylor—that occurred during the conflict. Performers like singer Sinn Sisamouth, guitarist Yol Aularong, and pop idol Ros Serey Sothea appear bright and lively in old clips; later, we learn of their murders. The film’s coverage of joy and horror is best captured through an interview with Sieng Vanthy, shown earlier in the film as a miniskirt and go-go bootwearing singer, who reveals that she lied to officials about her career. “I told them I was a banana seller. If I told them I was a singer, I would have been killed.” The film shows May 29 to June 4 at the AFI Silver Theatre and Cultural Center, 8633 Colesville Road, Sil—Steve Kiviat ver Spring. $7–$12. (301) 495-6700. afi.com/silver.

Twins Jazz 1344 U St. NW. (202) 234-0072. Marlon Jordan. 9 p.m. & 11 p.m. $15. twinsjazz.com.

m

J u n e monday June 1

daryl davis w/ special guest

Billy Hancock tH 4

country allstars: charley montalbano the hall brothers patsy stephens Friday June 5

mary wilson oF tHe supremes

sa 6 michael jackson tribute

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Jonatha Brooke. 7:30 p.m. $29.50. birchmere.com.

su 7 michael jackson acoustic brunch

caBaREt sourCe TheaTre 1835 14th St. NW. (202) 2047800. Latino Music Fever. 8 p.m. $16–$35. sourcedc.org.

7719 Wisconsin Ave., Bethesda, MD (240) 330-4500

Vocal amp by sTraThmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Mark Nadler. 8 p.m. $30. ampbystrathmore.com.

Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

washingtoncitypaper.com may 29, 2015 41

GRADE A.

“

EXHILARATING. A THRILL RIDE.

One of the best docs of the year.

Reminiscent of Man on Wire and Senna.”

- JOHN ANDERSON, INDIEWIRE

“BREATHTAKING. An engrossing, thrilling documentary.”

– K AT E K N I B B S , G I Z M O D O

“AWE-INSPIRIN G G.

A thrill, and one that seriously rewards big-screen viewing.”

– J O H N D E F O R E , T H E H O L LY WO O D R E P O R T E R

saturday Rock

DC9 1940 9th St. NW. (202) 483-5000. Cruzie Beaux, DJ Ayes Cold, Me And Karen, Chomp Chomp. 8 p.m. $8. dcnine.com.

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

Detached Retina, Eleven, Class Action, The Vonabees, The Bridge, Garter in the Cloud. 12:30 p.m. $10. gypsysallys.com. Better Off Dead, Black Muddy River Band.

9 p.m. $10–$14. gypsysallys.com.

The hamilTon 600 14th St. NW. (202) 787-1000.

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

JiFFy lube liVe 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Rush. 7:30 p.m. $37–$127. livenation.com. merriweaTher posT paVilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Sweetlife Festival. 12 p.m. $97.50–$350. merriweathermusic.com.

M AG P I C T U R E S .C O M /S U N S H I N E S U P E R M A N

STARTS FRIDAY, MAY 29

WASHINGTON DC LANDMARK E STREET CINEMA E St & 11th St NW (202)783-9494

ElEctRonic 9:30 Club 815 V St. NW. (202) 265-0930. 12th Planet, Loudpvck, Kove. 9 p.m. $22. 930.com. u sTreeT musiC hall 1115 U St. NW. (202) 5881880. Martyn & Anthony Parasole, Mike Servito. 10:30 p.m. $10. ustreetmusichall.com.

Jazz birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Walter Beasley. 7:30 p.m. $45. birchmere.com. blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Art Sherrod Jr., Ann Nesby. 8 p.m. & 10 p.m. $40. bluesalley.com. bohemian CaVerns 2001 11th St. NW. (202) 2990800. Joanna Pascale. 8 p.m. & 10 p.m. $20–$25. bohemiancaverns.com. mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Tacha Coleman Parr. 8 p.m. Free. mrhenrysdc.com.

Twins Jazz 1344 U St. NW. (202) 234-0072. Marlon Jordan. 9 p.m. & 11 p.m. $15. twinsjazz.com.

VelVeT lounGe 915 U St. NW. (202) 462-3213.

1519, Don Zientara, Hollertown. 8:30 p.m. $8. velvetloungedc.com.

uTopia bar & Grill 1418 U St. NW. (202) 4837669. Elijah’s Quintet. 11 p.m. Free. utopiaindc.com.

Funk & R&B

Folk

wolF Trap Filene CenTer 1551 Trap Road, Vienna.

(703) 255-1900. Kool & The Gang, Chaka Khan. 8 p.m. $30–$45. wolftrap.org.

amp by sTraThmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Cravin’ Dogs, The Oxymorons. 7:30 p.m. $20–$25. ampbystrathmore.com.

CITY LIGHTS: SATURDAY

SCOTTISH BALLET At least one streetcar will open in D.C. this week when the Glasgow-based Scottish Ballet brings Nancy Meckler and Annabelle Lopez Ochoa’s interpretation of A Streetcar Named Desire to the Kennedy Center. The pairing of Meckler, a film and theater director, and choreographer Ochoa shines as the ballet blends a variety of dance forms with theatrical staging and costuming, plus a jazz-inspired score evocative of the sweltering New Orleans setting. In this reformulation of Tennessee Williams’ Pulitzer-winning work, movement takes the place of words, but swapping dialogue for gesture does nothing to diminish the play’s dramatic social realism. Blanche, the troubled and newly estate-less Southern belle, is the central tragic figure, a moth hopelessly drawn to flame.

The tension and desperation underpinning her journey to her sister Stella’s apartment culminate in her clashes with Stella’s brutal, working-class husband Stanley, who hates Blanche’s airs and her illusions of grandeur. The ballet brings the passion, violence, and crumbled fantasy of the play and its lesson about the perils of desire to the stage in a visually stunning form that should impress fans of both Brando and Balanchine. Scottish Ballet performs May 28 to 30 at the Kennedy Center Opera House, 2700 F St. NW. $30– —Emily Walz $108. (202) 467-4600. kennedy-center.org.

42 may 29, 2015 washingtoncitypaper.com

KOOL & THE GANG CHAKA KHAN

JUNE 5

JUNE 3

MAY 30

INGRID MICHAELSON

JUNE 6

AN EVENING WITH THE CREATORS OF SERIAL:

THE B-52s

JUKEBOX THE GHOST

BERLIN

OH HONEY

SARAH KOENIG & JULIE SNYDER

WOLF TRAP’S 26TH ANNUAL

JUNE 7

LOUISIANA SWAMP ROMP™ ALLEN TOUSSAINT REBIRTH BRASS BAND PINE LEAF BOYS

CLASSIC ALBUMS LIVE PRESENTS

THE BEATLES – ABBEY ROAD JUNE 14

“WEIRD AL” YANKOVIC Low ticket availability!

OLIVIA SOMERLYN

JUNE 18

TICKETS ON SALE NOW!

BACK TO THE FUTURE

NATIONAL SYMPHONY ORCHESTRA EMIL DE COU, CONDUCTOR

™ & © UNIVERSAL STUDIOS AND U-DRIVE JOINT VENTURE

JUNE 19

JUNE 16

THE PIRATES OF PENZANCE NEW YORK GILBERT & SULLIVAN PLAYERS JUNE 13

THE MUSIC BOX TOUR

DAVID GRAY AMOS LEE

THE MANDATORY WORLD TOUR

JUNE 12

LINDSEY STIRLING

TCHAIKOVSKY’S 1812 OVERTURE EMANUEL AX PLAYS BRAHMS

STEVE MILLER BAND

NATIONAL SYMPHONY ORCHESTRA

ANDREW LITTON, CONDUCTOR

JUNE 17

JUNE 21

PLUS AUDRA McDONALD | NSO 6/22 » HUBBARD STREET DANCE CHICAGO 6/24 PETER FRAMPTON AND CHEAP TRICK 6/25 » MILLION DOLLAR QUARTET 6/26–28 JOHN FOGERTY 6/30 » MOVE FEATURING DEREK & JULIANNE HOUGH 7/3 » AND MANY MORE!

SUMMER 2015

WOLFTRAP.ORG

1.877.WOLFTRAP washingtoncitypaper.com may 29, 2015 43

CITY LIGHTS: SUNDAY

“INTERSECTIONS @ 5”

In all its promotional materials, the Phillips Collection bills itself as “America’s first museum of modern art.” But even though the museum has described itself that way for nearly 100 years, it focuses on the strict definition of modern art, highlighting pieces by a recurring cast of 19th and early 20th century artists. In 2009, curators launched the “Intersections” series in an attempt to get contemporary practitioners to create work that interacts with the museum’s permanent collection and location. Memorable highlights from the past five years include Spanish artist Bernardi Roig’s plaster figures placed throughout the museum and Sandra Cinto’s intricate ink drawings of waves and clouds. Now, the museum celebrates the series’ anniversary with an exhibition of work both new and old by all 21 of the “Intersections” artists. Visitors will find familiar oil paintings as well as some more challenging pieces, like Allan deSouza’s pedestrian sign, “Crossing.” The museum certainly owns more conventionally famous artworks, but these new pieces allow viewers to see the Phillips in a fresh light. The exhibition is on view Tuesdays, Wednesdays, Fridays, and Saturdays 10 a.m. to 5 p.m., Thursdays 10 a.m. to 8:30 p.m., and Sundays noon to 7 p.m., to Oct. 25, at the Phillips Collection, 1600 21st St. NW. $10–$12. (202) 387-2151. phillipscollection.org. —Caroline Jones

Gypsy sally’s 3401 K St. NW. (202) 333-7700. Stephen Spano. 7:30 p.m. Free. gypsysallys.com. ioTa Club & CaFé 2832 Wilson Blvd., Arlington.

(703) 522-8340. Drew Gibson, Flo Anito. 8:30 p.m. $12. iotaclubandcafe.com.

Hip-Hop eDen 1716 I St. NW. (202) 785-0270. Enoch 7th Prophet with DJ Earth1NE, Nature Boi, Jeus, Radio Rahim. 9 p.m. $10. edendc.com.

caBaREt sourCe TheaTre 1835 14th St. NW. (202) 2047800. Latino Music Fever. 8 p.m. $16–$35. sourcedc.org.

DC9 1940 9th St. NW. (202) 483-5000. Jakubi. 9 p.m. $10. dcnine.com. merriweaTher posT paVilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Sweetlife Festival. 12 p.m. $97.50–$350. merriweathermusic.com.

Funk & R&B howarD TheaTre 620 T St. NW. (202) 803-2899.

A Tribute to the Music of Motown. 7:30 p.m. $29.50. thehowardtheatre.com. u sTreeT musiC hall 1115 U St. NW. (202) 5881880. Seinabo Sey. 7 p.m. $15. ustreetmusichall.com.

DJ nigHts

Jazz

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

Depeche Mode Dance Party. 9:30 p.m. $10. blackcatdc.com.

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Johnny Boyd. 8 p.m. & 10 p.m. bluesalley.com.

sunday 44 may 29, 2015 washingtoncitypaper.com

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. ROAMfest 2015. 7 p.m. $15.50. birchmere.com.

kenneDy CenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. Janelle Gill. 6 p.m. Free. kennedy-center.org.

Rock

uTopia bar & Grill 1418 U St. NW. (202) 4837669. Sherryl Jones, Wayne Wilentz. 9:30 p.m. Free. utopiaindc.com.

beThesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. The Hit Men. 7:30 p.m. $40. bethesdabluesjazz.com.

zoo bar 3000 Connecticut Ave. NW. (202) 2324225. Mike Flaherty’s Dixieland Direct Jazz Band. 7:30 p.m. Free. zoobardc.com.

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

SURPRISE! AT THE CLUB! THIS WEEK’S SHOWS

THIS SUNDAY! STEEZ PROMO PRESENTS

Robin Schulz w/ Le Youth • Seba Yuri • Presa................................................................................W 18

THIS SAT & SUN!

w/ Mynabirds ............................................. May 31

STEEZ PROMO PRESENTS

FEATURING

EOTO w/ ELM • ill.Gates • Bunk Buddha .............................................................................................Sa 21 On Sale Friday, May 29 at 10am

Kendrick Lamar • Pixies and more! ......... MAY 30 Calvin Harris • The Weeknd and more!... MAY 31

Single-Day tickets on sale now. For more info, visit sweetlifefestival.com.

THIS WEEK’S SHOWS

FIDLAR & METZ w/ Sun Club......................................................................... Th MAY 28 STEEZ PROMO PRESENTS

12th Planet w/ Loudpvck & Kove ...........................................................................Sa 30

ALL GOOD PRESENTS

Rusted Root w/ Adam Ezra Group ................................................................... W JUN 3

JUNE Lil Dicky w/ ProbCause..................................................................................................... Th 4 SpeakeasyDC’s Out/Spoken: Queer, Questioning, Bold, and Proud Early Show! 6pm Doors .......................................................................................................F 5

Calexico w/ Gaby Moreno Late Show! 9:30pm Doors ..................................................F 5 The Vaccines w/ Little May ............................................................................................. Su 7 SBTRKT w/ Post Malone ..................................................................................................... M 8 Paul Weller w/ Hannah Cohen ....................................................................................... Tu 9 U STREET MUSIC HALL PRESENTS

A-Trak w/ Araabmuzik & Ape Drums ...................................................................... Th 11 Who’s Bad: The World’s #1 Michael Jackson Tribute Band .................................. F 12 Mixtape Pride Party .................................................................................................. Sa 13 Josh Rouse w/ Walter Martin ......................................................................................M 15 Best Coast w/ Bully ..................................................................................................... Tu 16 Jungle w/ Sunni Colón.................................................................................................. W 17 Soul Asylum & Meat Puppets w/ The World Takes .......................................... Th 18 White Ford Bronco ...................................................................................................... F 19 The Morrison Brothers Band w/ 19th St. Band .................................................... F 26 Snakehips w/ Louie Lastic ......................................................................................... Sa 27 Basement Jaxx (Live) ............................................................................................... Tu 30

JULY Powerman 5000 w/ Soil & 3 Years Hollow ............................................................... Th 2

930.com

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

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

The Decemberists

w/ Father John Misty .......................................................... JUNE 4

CAPITAL JAZZ FEST FEATURING

Kenny G • Michael McDonald and more! .......................................................JUNE 5 & 7 Florence + The Machine w/ Empress Of ....................................................... JUNE 9 Hozier w/ The Antlers .................................................................................................... JUNE 20 Fall Out Boy | Wiz Khalifa w/ Hoodie Allen & DJ Drama ............................... JUNE 27

VANS WARPED TOUR

FEATURING

Asking Alexandria • Black Veil Brides • Riff Raff and more! .................... JULY 18 Sam Smith .....................................................................................................................JULY 24 My Morning Jacket w/ Jason Isbell ...................................................................JULY 26

FAITH NO MORE w/ Refused ............................................................ AUGUST 2 CDE PRESENTS 2015 SUMMER SPIRIT FESTIVAL FEATURING

ERYKAH BADU • ANTHONY HAMILTON and more! .................... AUG 8

PHISH .........................................................................................................AUGUST 15 & 16

Willie Nelson & Family and Old Crow Medicine Show............ AUG 19 Darius Rucker w/ Brett Eldredge • Brothers Osborne • A Thousand Horses .... AUG 22 Death Cab For Cutie w/ Explosions in the Sky ..................................SEPT 13 Alabama Shakes w/ Drive-By Truckers ............................................FRI SEPT 18 • For full lineups and more info, visit merriweathermusic.com • 930.com

Echostage • Washington, D.C.

Hot Chip w/ Sinkane ........................................................................................................ JUNE 5 Tame Impala w/ Kuroma .............................................................................................. JUNE 6 I.M.P. & STEEZ PROMO PRESENT

Flume ................................................................................................................................. JUNE 10 Belle and Sebastian w/ Alvvays........................................................................... JUNE 11 Edward Sharpe and the Magnetic Zeros w/ Letts ............................... JUNE 16

Morrissey ................................................................................................................... JUNE 17

Milky Chance w/ X Ambassadors ..............................................................................JULY 27 Interpol ..............................................................................................................................JULY 28 Brandon Flowers .........................................................................................................JULY 29 9:30 CLUB PRESENTS AT U STREET MUSIC HALL Avan Lava..................................... Th MAY 28 Ivan & Alyosha w/ Kris Orlowski.......... F 29 Seinabo Sey w/ James Davis .............. Su 31 Jedi Mind Tricks ............................ W JUN 3 Kate Tempest w/ Den-Mate.................. Th 4 JEFF the Brotherhood w/ Dentist ........ F 5 Justine Skye .......................................... Sa 6 The Maccabees ................................... Sa 13 Unknown Mortal Orchestra w/ Alex G .M 15 Shamir w/ Soft Lit ................................ Tu 16

RDGLDGRN w/ E+ ................................ Th 18 The Griswolds w/ Urban Cone.............. F 19 King Gizzard and The Lizard Wizard . Su 21 Rubblebucket

SEPT 8 SOLD OUT! SECOND NIGHT

ADDED!

Twenty One Pilots w/ Echosmith.................................................................. SEPTEMBER 9 Stromae ............................................................................................................... SEPTEMBER 16 2135 Queens Chapel Rd. NE • Ticketmaster

w/ Alberta Cross & Cuddle Magic ......... W 24

Novalima w/ Nappy Riddem ................ Th 25 The Shadowboxers & Kopecky

w/ The Walking Sticks ............................ F 26 Sondre Lerche w/ Jonas Alaska ........ Sa 27 Turquoise Jeep w/ Oxymorons .......... Su 28

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

THIS FRIDAY!

1215 U Street NW

Washington, D.C.

Lisa Lampanelli .................................................................................................... MAY 29 LIVE NATION PRESENTS

T.J. Miller ...........................................................................................................JUNE 20

AEG LIVE PRESENTS

STUFF YOU SHOULD KNOW................................................. FRI JUNE 26

Berry Hill Farm • Summit Point, WV (75 minutes NW of D.C.)

ALL GOOD MUSIC FESTIVAL & CAMP OUT

FEATURING

PRIMUS • CAKE • THIEVERY CORPORATION • SOJA • MOE. • JOHN BUTLER TRIO •

LOTUS • GREENSKY BLUEGRASS • DARK STAR ORCHESTRA and many more! ...JULY 9-11 Full lineup at allgoodfestival.com - Eventbrite

AEG LIVE PRESENTS

Jim Jefferies ...............................................................................................NOVEMBER 7 • thelincolndc.com •

U Street (Green/Yellow) stop across the street!

RFK Stadium • Washington, D.C.

20th Anniversary Blowout!

Buddy Guy • Gary Clark Jr. • Heart • and more! For full lineup, visit 930.com ... JULY 4 Ticketmaster

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

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

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

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

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

930.com

washingtoncitypaper.com may 29, 2015 45

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

Tix @ Ticketmaster.com 800-745-3000

DOWN TO THE BONE Jo 29 JONATHA BROOKE Lawry 30 WALTER BEASLEY 31 ROAMFEST 2015 7pm June 1 JOE ELY / L 2 SAMANTHA FISH & ANDY POXON Andy Suzuki & 3 MARC BROUSSARD The Method 4 THE LONESOME TRIO w

ucette

UPTOWN BLUES

w/

Fri. June 5 stiLL standing Sat. June 6 Big Boy LittLe Band Fri. June 12 sooKey Jump BLues Band Sat. June 13 smoKin’ poLecats Sundays miKe FLaheRty’s

OTTMAR LIEBERT & Luna Negra 6 THE SELDOM SCENE 5

w/SHANNON WHITWORTH & BARRETT SMITH 7 In the !

KEVIN FOWLER 8&9 NILS LOFGREN (Acoustic) 10 THEMANHATTANTRANSFER 12 BILL KIRCHEN & TOO MUCH FUN and THE NIGHTHAWKS with BILLY PRICE C 13 BILLY JOE SHAVER M M 14 STEPHANE WREMBEL’S DJANGO-A-GO-GO REED 15 ELIZABETH COOK FOEHL urtis C urtry

June 16 & 17

MARK O’CONNOR ‘American Classics’

dixieLand diRect Jazz Band

3000 Connecticut Avenue, NW (across from the National Zoo)

202-232-4225 zoobardc.com

LIVE

UPCOMING PERFORMANCES

BONERAMA W/ MIKE ZITO FRIDAY MAY

29

JONNY GRAVE

TOMBSTONES,

HUMAN COUNTRY JUKEBOX, & SLIGO CREEK STOMPERS THURSDAY JUNE 4 FRI, JUNE 5

GRAHAM PARKER & THE RUMOUR 20 JEFFMAJORS Pete 21 MADELEINE PEYROUXTRIO Molinari An Evening 23 MARC COHN with Love 24 TREVOR HALL Mike Karen 25 MASON JENNINGS Jonas 26 MAYSA 27 PIECES OF A DREAM Sam 28 BRANDY CLARK Grow 29 THERIPPINGTONS feat. RUSSFREEMAN Grayson 30 LOS LONELY BOYS Capps Gregg July 1 AMERICA Cagno Angela 3 BILAL Johnson ‘The Bluegrass 9 ROBERT EARL KEEN Sessions’ 19

Open Mic Blues JaM Big Boy LittLe every Thursday

Fri. May 29 Kiss and Ride BLues Band Sat. May 30 t.B.a.

feat. ED HELMS, IAN RIGGS, JACOB TILOVE

18

Wednesday

blaCk CaT 1811 14th St. NW. (202) 667-4490. The Red Paintings. 7:30 p.m. $12. blackcatdc.com.

9:30 Club 815 V St. NW. (202) 265-0930. Rusted Root, Adam Ezra Group. 7 p.m. $30. 930.com.

linColn TheaTre 1215 U St. NW. (202) 328-6000.

The Tallest Man On Earth, Madisen Ward and The Mama Bear. 6:30 p.m. $35. thelincolndc.com.

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Marc Broussard. 7:30 p.m. $35. birchmere.com.

roCk & roll hoTel 1353 H St. NE. (202) 388-ROCK. Other Lives, Riothorse Royale. 8 p.m. $18. rockandrollhoteldc.com.

blaCk CaT 1811 14th St. NW. (202) 667-4490. Hutch & Kathy. 7:30 p.m. $12. blackcatdc.com.

Rock

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

May 28

Monday

Mike Gent

46 may 29, 2015 washingtoncitypaper.com

THE STEELDRIVERS

W/ TODD BURGE

SAT, JUNE 6

START MAKING SENSE: A TALKING HEADS TRIBUTE W/ HMFO — A HALL & OATES TRIBUTE SUN, JUNE 7

LEZ ZEPPELIN PERFORMING

“THE SONG REMAINS THE SAME” MSG CONCERTS (JULY, 1973) IN ITS ENTIRETY!

CO-PRESENTED BY DC JAZZ FESTIVAL AND THE WASHINGTON POST

JUNE 10 - JUNE 16

THEHAMILTONDC.COM

countRy birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Joe Ely. 7:30 p.m. $25. birchmere.com.

tuesday Rock

blaCk CaT 1811 14th St. NW. (202) 667-4490. The Woggles, Jake Starr & the Delicious Fullness, The Stents. 7:30 p.m. $12. blackcatdc.com.

ComeT pinG ponG 5037 Connecticut Ave. NW. (202) 364-0404. Cold Beat, Olivia Neutron-John, Sneaks. 9 p.m. $12. cometpingpong.com.

Rock

bossa bisTro 2463 18th St NW. 202-667-0088.

Marbin. 10 p.m. $5. bossproject.com.

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

9 p.m. $12–$14. dcnine.com. roCk & roll hoTel 1353 H St. NE. (202) 388-ROCK. The Early November, Restorations. 8 p.m. $17–$20. rockandrollhoteldc.com. wolF Trap Filene CenTer 1551 Trap Road, Vienna.

(703) 255-1900. Ingrid Michaelson, Jukebox the Ghost, Oh Honey. 7:30 p.m. $25–$100. wolftrap.org.

ElEctRonic u sTreeT musiC hall 1115 U St. NW. (202) 5881880. Daktyl, Ambassadeurs. 10 p.m. $10. ustreetmusichall.com.

Jazz

DC9 1940 9th St. NW. (202) 483-5000. DREAMERS, Gringo Starr, Shantih Shantih. 8:30 p.m. $12. dcnine.com.

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

Jazz

mr. henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Capitol Hill Jazz Jam with Herb Scott. 8 p.m.

Free. mrhenrysdc.com.

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Peter Bernstein, Larry Goldings, Bill Stewart Trio.

8 p.m. & 10 p.m. $22. bluesalley.com.

Twins Jazz 1344 U St. NW. (202) 234-0072. Joe Vetter. 8 p.m. & 10 p.m. $10. twinsjazz.com.

BluEs

countRy

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Samantha Fish, Andy Poxon. 7:30 p.m. $25. birchmere.com.

maDam’s orGan 2461 18th St. NW. (202) 6675370. The Human Country Jukebox Band. 9 p.m. Free. madamsorgan.com.

CITY LIGHTS: MONDAY

OTHER LIVES The plaintive mewling of mid-’90s British alt rock has been largely silenced since Oasis devolved into a fight between siblings and Radiohead got wrapped up in synthesizers. If you’re looking for something new that sounds like it’s from that two-decadeold scene, your new favorite band is Other Lives. But the group doesn’t hail from rainy England—lead singer Jesse Tabish perfected his wail in Stillwater, Okla. Lyrically, many tracks deal with the emotionally fraught arena of love, but what makes Other Lives truly captivating to watch is its delicately layered instrumentals. The combination of bass, cello, and piano with a smattering of suspended cymbal sounds lush and beautiful, even more so when you see the band members create it in person. You can get an idea of what it looks like by watching videos of the band play on YouTube, but do yourself a favor and witness the magic at Rock & Roll Hotel instead. Other Lives performs with Riothorse Royale at 8 p.m. at Rock & Roll Hotel, 1353 —Caroline Jones H St. NE. $18. (202) 388-7635. rockandrollhoteldc.com.

Folk

Jazz

AmP By strAtHmOre 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Ramblin’ Jack Elliott.

8 p.m. $20–$25. ampbystrathmore.com.

Blues Alley 1073 Wisconsin Ave. NW. (202) 3374141. Sarah Partridge. 8 p.m. & 10 p.m. $20. bluesalley.com.

Hip-Hop

Dukem BAr AnD restAurAnt 1114 U St. NW. (202) 667-8735. Elijah Balbed Quartet. 9 p.m. Free. dukemrestaurant.com.

u street musiC HAll 1115 U St. NW. (202) 5881880. Jedi Mind Tricks. 7 p.m. $20. ustreetmusichall.com.

Thursday roCk

BlACk CAt 1811 14th St. NW. (202) 667-4490.

Spoonboy, Nana Grizol, Art Sorority for Girls. 7:30 p.m. $10. blackcatdc.com.

FillmOre silVer sPrinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Michael Franti & Spearhead, See-I. 8 p.m. $35. fillmoresilverspring.com. merriweAtHer POst PAViliOn 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. The Decemberists, Father John Misty. 7:30 p.m. $38.50–$48.50. merriweathermusic.com. trOPiCAliA 2001 14th St. NW. (202) 629-4535.

Puma Ptah, Christos DC, DJ Dutty Bookman. 8 p.m. $10. tropicaliadc.com.

VelVet lOunGe 915 U St. NW. (202) 462-3213. Fellowcraft, The Lucky So and So’s, Ménage À Garage. 9 p.m. $8. velvetloungedc.com.

ElECtroniC u street musiC HAll 1115 U St. NW. (202) 5881880. Nicole Moudaber, DJ Lisa Frank. 10 p.m. $20. ustreetmusichall.com.

1811 14TH ST NW

twins JAzz 1344 U St. NW. (202) 234-0072. Jordon Dixon. 8 p.m. & 10 p.m. $10. twinsjazz.com.

www.blackcatdc.com @blackcatdc UPCOMING SHOWS

Country Hill COuntry liVe 410 7th St. NW. (202) 556-2050.

Wink Keziah & Delux Motel. 10 p.m. Free. hillcountrywdc.com.

MAY 28 MAY 29

mr. Henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Jessica Stiles. 8 p.m. Free. mrhenrysdc.com.

World BOssA BistrO 2463 18th St NW. 202-667-0088.

Feedel Band. 8 p.m. $10. bossproject.com.

Hip-Hop

E.” IS AWESOM D A L L A B UNG THINGS “MURDER —BRIGHTEST

YO

9:30 CluB 815 V St. NW. (202) 265-0930. Lil Dicky, ProbCause. 7 p.m. $25. 930.com.

ADAmsOn GAllery 1515 14th St. NW, Suite 202. (202) 232-0707. adamsongallery.jimdo.com.

OngOing: “Gordon Parks: A Segregation Story.”

Photographs chronicling racial segregation through-

MAY 30

DCDIT SHOWCASE FEAT. CHIMES RECORDS (DC) /

COMMUNITY RECORDS (NOLA)

CONCEIVED BY AND WITH BOOK AND LYRICS BY JULIA JORDAN MUSIC AND LYRICS BY JULIANA NASH DIRECTED BY DAVID MUSE

FINAL WEEKEND

THIS WEEK’S SHOWS

JUN 1 JUN 2

THU 28

BAR OPENS AT 7PM SHOW AT 8PM

FRI 28

BAR OPENS AT 6PM SHOW AT 7PM BAR OPENS AT 9PM SHOW AT 10PM

SAT 30

BAR OPENS AT 9PM SHOW AT 10PM

SUN 31

BAR OPENS AT 6PM SHOW AT 7PM

14TH & P STREETS STUDIOTHEATRE.ORG | 202.332.3300

MEDIA PARTNER

THE RED PAINTINGS

THE WOGGLES

JUN 3

HUTCH & KATHY

JUN 4

SPOONBOY (FINAL SHOW)

(OF THE THERMALS)

WIRE JUN 12 BOOTY REX JUN 6

JUN 16 JUN 21

Head to a performance by the Woggles and you’ll feel like you’ve entered some sort of time warp. The Atlanta-based quartet formed in the late ’80s, but somehow the members are able to squeeze decades worth of rock ‘n’ roll influences into each of their songs. Much like their predecessors the Ventures, the Woggles make you feel like you’re shimmying on a California beach, beehive bouffant included. That isn’t to say that the Woggles are ripping anyone off. Over the span of 11 albums, the band has added its own inventive touch to the ’60s rock nostalgia. Its 2003 album Ragged But Right showcased just how well the Georgia natives can get down with different genres while keeping their early rock essence at the core.

The Woggles’ creativity isn’t even limited to English: The band’s released several tracks entirely sung in Japanese, a throwback to the old surf-rock that made its way overseas. Even if the Black Cat doesn’t have a bonfire and waves crashing in the background, the Woggles can make you feel like you’re escaping D.C. for a tiny patch of paradise. The Woggles perform with Jake Starr and the Delicious Fullness and the Stents at 7:30 p.m. at the Black Cat Backstage, 1811 14th St. NW. $12. (202) 667-4490. blackcatdc.com. —Jordan-Marie Smith

DEPECHE MODE

DANCE PARTY MAY 30 TWIST & CRAWL

JUN 13

THE WOGGLES

QUEER DANCE PARTY

MAY 29 DARK & STORMY DARKER SIDE OF DANCE/ELECTRO/RETRO

MAY 31

MUST CLOSE MAY 31!

CITY LIGHTS: TUESDAY

BODYWORK

LIVE BANDS / DANCE NIGHT

u street musiC HAll 1115 U St. NW. (202) 5881880. Kate Tempest. 7 p.m. $15. ustreetmusichall.com.

Galleries

DEATH

JUN 25

BABE RAINBOW

THE HELIO SEQUENCE

JAGA JAZZIST

BLONDE REDHEAD

EVERY WEEKEND AT 7PM

FRIDAY

SATURDAY

TEN FORWARD SICK SAD WORLD A HAPPY HOUR "HAPPY" HOUR 1 STAR TREK:TNG TWO DARIA EP. PER WEEK

ROMULAN ALE SPECIALS

EPISODES PER WEEK MYSTIK SPIRAL DRINK SPECIALS

NOW OPEN at 5pm M-F!

RED ROOM & LUCKY CAT PINBALL

TAKE METRO!

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

TO BUY TICKETS VISIT TICKETFLY.COM washingtoncitypaper.com may 29, 2015 47

CITY LIGHTS: WEDNESDAY

MARY-KATE OLSEN IS IN LOVE What better way to celebrate the news of Netflix’s Full House reboot than with a play focusing on a friendship with the child stars-turned-millionaires the sitcom produced, MaryKate and Ashley Olsen? Playwright Mallery Avidon’s Mary-Kate Olsen Is In Love focuses on Grace, a married millennial whose seemingly perfect life is falling apart: Her husband’s lost his job and turned his attention to playing video games, and the only friends she has are the Olsen twins. Are the miniscule actresses and designers using Grace as living, breathing market research, or could they help pull Grace out of her quarter-life crisis? In the very capable directorial hands of local favorite Holly Twyford, the play offers a humorous look at people’s use of celebrity gossip as a life raft that transports them away from their own desperate lives. This production is presented as part of Studio’s 2ndStage program, which presents experimental work by emerging artists at a great price. The only answer to attending this show is “You got it, dude!” The play runs June 3 to June 21 at Studio Theatre, 1501 —Diana Metzger 14th St. NW. $20–$35. (202) 332-3300. studiotheatre.org.

out America by the late Life magazine photographer Gordon Parks. April 11–June 27. anaCoStia artS Center 1231 Good Hope Road SE. anacostiaartscenter.com. OngOing: “Storytelling with Saris.” Artist Monica Bose tells the story of women living in a remote part of Bangladesh in this exhibition that combines printmaking and storytelling.

May 9–June 6. arlinGton artS Center 3550 Wilson Blvd., Arlington. (703) 248-6800. arlingtonartscenter.org.

OngOing: “2015 Spring SOLOS.” Former AAC curators Andrea Pollan and Jeffry Cudlin judge this annual exhibition of work by emerging artists. Featured participants include Bradley Chriss, Nichola Kinch, Kate Kretz, Ariana Lamb, Nate Larson, Dan Perkins, and Paul Shortt. April 18–June 27. OngOing: “Every Now and Then.” Resident artist Bridget Sue Lambert presents large scale photos of dollhouse scenes that look both domestic and off-putting in this new, immersive exhibition. April 18–June 11. artiSpHere 1101 Wilson Blvd., Arlington. (703) 875-1100. artisphere.com. OngOing: “Bruised.” Local animator Safwat Saleem and WAMU’s Rebecca Sheir curate this new participatory art project that invites visitors to share their stories of defeat. Saleem will then animate the stories and display them on screens throughout the building. April 15–July 31. atHenaeuM 201 Prince St., Alexandria. (703) 5480035. nvfaa.org. ClOsing: “Rara Avis.” Martin Tarrat and Langley Spurlock present “The Abcdearium of Birds,” a collection of illustrations and verses about imaginary birds, while Beverly Ress presents large-scale drawings and constructions of birds. April 16–May 31.

Opening: “Saturate.” Six artists respond to the theme of water through painting, printmaking, glass, and sound works in this new group show. June 4–July 19.

BrentwooD artS exCHanGe 3901 Rhode Island Ave., Brentwood. (301) 277-2863. arts.pgparks.

48 may 29, 2015 washingtoncitypaper.com

com. OngOing: “At War With Ourselves—A Visual Art Response.” Members of the Black Artists of DC respond to poet Nikky Finney’s rumination on race and contribute to the national conversation on the black experience in America through visual art. May 25–July 18. OngOing: “Kristi Kelly.” New glasswork and bead decorations from the local artist. May 2–July 4.

Capitol Skyline Hotel 10 I St. SW. (202) 4887500. capitolskyline.com. OngOing: “Hothouse Video: Amy Finkelstein.” Stop-motion animations, unedited shorts, and abstract film pieces by the local video artist. May 7–June 21. OngOing: “Hothouse: ImPRINT.” Member artists showcase their work and write about their creative experiences in this juried exhibition.

May 7–June 20.

Civilian art projeCtS 1019 7th St. NW. (202) 6073804. civilianartprojects.com. ClOsing: “Post Nihilist Utopia.” New paintings, sculpture, and paper works by New Orleans-based artist Dan Tague. April 25–May 30.

CroSS MaCkenzie Gallery 2026 R St. NW. (202) 333-7970. crossmackenzie.com. ClOsing: “Carole Bolsey.” Paintings of horses, homes, and boats by artist Carole Bolsey. May 1–May 30.

DC artS Center 2438 18th St. NW. (202) 462-7833. dcartscenter.org. OngOing: “Self/Non-Self: Sequence and Abstraction.” Artist Justin D. Strom blends the techniques of photography and digital printmaking in this exhibition of pieces influenced by microbiology and genetic sequencing. April 24–June 14.

FlaSHpoint Gallery 916 G St. NW. (202) 3151305. culturaldc.org. ClOsing: “The Marginalia Archive.” Reader annotations contributed by individuals and gathered from items at MLK Library are examined in this exhibition curated by artist Molly Springfield. May 1–May 30.

FounDry Gallery 1314 18th St. NW. (202) 463– 0203. foundrygallery.org. Opening: “Patsy Fleming.”

washingtoncitypaper.com may 29, 2015 49

New paintings by abstract artist and Foundry Gallery member Fleming. June 3–June 28. $10 BURGER & BEER MON-FRI 4 P M -7 P M

TRIVIA EVERY M O N D AY & W E D N E S D AY

$3 PBR & NATTY BOH ALL DAY EVERY DAY

The FriDGe Rear Alley, 516 Eighth St. SE. (202) 6644151. thefridgedc.com. ClOsing: “Apoptosis.” Largescale sculptural works by local designer and muralist Peter Krsko. May 9–May 31.

GoeThe-insTiTuT washinGTon 812 7th St. NW. (202) 289-1200. www.goethe.de/washington. OngOing: “Take It Right Back.” Sculptural works inspired by plants and other natural materials by German artist Paula Doepfner. May 5–July 3.

600 beers from around the world

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GreaTer resTon arTs CenTer 12001 Market St., Ste. 103, Reston. (703) 471-9242. restonarts.org. onGoinG: “Installation.” Sculptor Patrick Dougherty installs a new piece in Reston’s Town Square Park and the Arts Center showcases images of his other large-scale works around the world. April 16—July 3. onGoinG: “Patterson Clark.” The Washington Post’s “Urban Jungle” columnist presents a series of works printed on wood carved from invasive tree species.

April 16—July 3. hillyer arT spaCe 9 Hillyer Court NW. (202) 3380680. artsandartists.org. ClOsing: “Pulse15.” Fifteen artists who’ve previously presented work at Hillyer return to raise money for the gallery at this fundraising exhibition. May 1–May 30. honFleur Gallery 1241 Good Hope Road SE. (202) 365-8392. honfleurgallery.com. OngOing: “Under Pressure.” Paintings that explore themes of chaos and world politics by local resident and artist Rush Baker. May 8–June 26. lonG View Gallery 1234 9th St. NW. (202) 2324788. longviewgallery.com. OngOing: “V E R S U S.” New paintings of boats, houses, and streets by Hawaiibased artist Jason Wright. May 7–June 7. olD prinT Gallery 1220 31st St. NW. (202) 9651818. oldprintgallery.com. OngOing: “Resonant Terrain.” Photographs and prints of landscapes and seascapes from the 20th and 21st centuries.

April 17–July 11. pleasanT plains workshop 2608 Georgia Ave. NW. pleasantplainsworkshop.blogspot.com. ClOsing: “The NASCAR Series.” Photographs of racing fans and the NASCAR environment by artist Ann-Marie VanTassell. May 2–May 31. sTuDio Gallery 2108 R St. NW. (202) 232-8734. studiogallerydc.com. OngOing: “My Beautiful Bones.”

Paintings highlighting the beauty of bones and joints by artist Joyce McCarten. May 27–June 20. OngOing: “Vessels of Light.” Rounded sculptures that explore the limits of form by Micheline Klagsbrun. May 27–June 20. OngOing: “Images: Bazaars.” Drawings, photographs, and mixed-media works inspired by trips to markets around the world by artist Andrea Kraus.

May 27–June 20.

TaTe Gallery oF ChrisT ConGreGaTional ChurCh 9525 Colesville Road, Silver Spring. (301) 585-8010. ccsilverspring.org. onGoinG: “Exploring Abstracts.” Eighteen members of the Silver Spring Camera Club, the D.C. area’s oldest camera club, display their abstract works in this exhibition.

April 20—June 12.

CHROME ANGEL’S EXHIBITION

TouChsTone Gallery 901 New York Ave. NW. (202) 347-2787. touchstonegallery.com. ClOsing: “In Pursuit of Happiness.” Figurative paintings that explore themes of happiness and identity by Touchstone Foundation for the Arts Young Artist Fellow Aleksandra Katargina. May 1–May 31.

S AT, J U N E 6 T H

TransFormer Gallery 1404 P St. NW. (202) 4831102. transformergallery.org. OngOing: “Interspatial.” Artists Rachel Schmidt, Johab Silva, and Levester Williams explore the idea of space and its limits in this group show organized by the arts group Quota.

May 9–June 13.

DOORS AT 830PM

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ViViD soluTions Gallery 1231 Good Hope Road SE. (202) 365-8392. vividsolutionsdc.com. OngOing: “3 Millimeters.” Local photojournalist Greg Kahn chronicles the impact of rising sea levels on the residents of Maryland’s Eastern Shore, many of whom work as watermen. May 8–June 26. washinGTon prinTmakers Gallery 8230 Georgia Ave., Silver Spring. (301) 273-3660. washingtonprintmakers.com. ClOsing: “Observations.” Watercol-

50 may 29, 2015 washingtoncitypaper.com

CITY LIGHTS: THURSDAY

TARTUFFE When the great French satirist Molière wrote Tartuffe, about a con artist who disguises himself as a religious man, in 1664, he so outraged the Catholic Church that the Archbishop of Paris threatened anyone who watched or performed the play with excommunication. Members of the French upper crust, too, protested the fact that the character taken for a ride was one of their own. Molière had to rewrite the play twice before he came up with a version that remained uncensored and could be published. Because his themes of religious hypocrisy and powerful idiots endure, that version remains a popular production to this day. Before Jon Stewart was on the air offering up his own brand of sometimes silly, sometimes tragic social commentary, this play stuck a commedia dell’arte mask on the crooks and liars and sent them sailing across a stage. To ring in the summer, Shakespeare Theatre Company presents the play with a Tartuffe who appears in black leather. The action should be accordingly steamy. The play runs June 2 to July 5 at Sidney Harman Hall, 610 F St. NW. —Anya Van Wagtendonk $20–$110. (202) 547-1122. shakespearetheatre.org. ors and monotypes of outdoor scenes by artist Deron DeCesare. April 29–May 31. zeniTh Gallery 1429 Iris St. NW. (202) 783-2963. zenithgallery.com. Opening: “Lucent Moments.”

Photorealistic skyscapes and brightly colored works by artist Emily Piccirillo. May 29–July 4.

theater

The blooD QuilT Katori Hall, author of The Mountaintop, presents the world premiere of this story about four sisters who come together to create a quilt in honor of their deceased mother. When the talk turns to inheritance, they must decide whether to strengthen their family bonds or pull away from each other once and for all. Arena Stage. 1101 6th St. SW. To June 7. $45-$110. (202) 488-3300. arenastage.org.

CabareT Wesley Taylor stars as the Emcee in this classic musical set at a Berlin nightclub during the Nazis rise to power. An American journalist and a nightclub singer begin a tumultuous affair but the political changes forces an end to their carefree way of life. Signature Theatre. 4200 Campbell Ave., Arlington. To June 28. $29-$95. (703) 820-9771. signature-theatre.org.

The Call A white couple sets out to adopt a child from Africa but quickly encounters opposition from African-American friends. Tanya Barfield’s play examines how global issues manifest themselves within our lives. Atlas Performing Arts Center. 1333 H St. NE. To May 31. $25-$45. (202) 399-7993. atlasarts.org.

DonTrell, who kisseD The sea Theater Alliance presents Nathan Davis’ play about a young man who’s determined to swim into the Atlantic Ocean to cope with his family’s past before he can move on with his life. Anacostia Playhouse. 2020 Shannon Place SE. To May 31. $20-$35. (202) 544-0703. anacostiaplayhouse.com.

Jarry insiDe ouT The life of French author Alfred Jarry, whose work inspired the Surrealist artists and the Theater of the Absurd movement, is chronicled in this biographic play written by Richard Henrich.

Spooky Action Theater. 1810 16th St. NW. To June 21. $10-$35. (301) 920-1414. spookyaction.org.

Jumpers For GoalposTs An amateur pub soccer team tries to succeed even though the players and their town have seen better days in the U.S. premiere of this play by Tom Wells. Studio Theatre. 1501 14th St. NW. To June 21. $20-$78. (202) 332-3300. studiotheatre.org. las polaCas: The Jewish Girls oF buenos aires This somber new musical tells the story of thousands Polish-Jewish women who were lured into prostitution by a slave trading organization in early 1900s Argentina from the perspective of Rachela, a young woman whose dreams disappear under these horrific circumstances. GALA Hispanic Theatre. 3333 14th St. NW. To June 28. $20-$50. (202) 234-7174. galatheatre.org.

The leTTers Travel back in time to Stalin’s Soviet Union in this tense play about the censorship of artists in an authoritarian state. John Vreeke directs John W. Lowell’s script. MetroStage. 1201 N. Royal St., Alexandria. To June 7. $50-$55. (703) 548-9044. metrostage.org.

The maDwoman oF ChailloT WSC Avant Bard presents a new translation of Jean Giraudoux’s play about four women who come together with a group of street friends to overthrow radical capitalists.

Gunston Arts Center, Theatre Two. 2700 South Lang St., Arlington. To June 28. $10-$35. (703) 998-4555. americancentury.org. mary-kaTe olsen is in loVe The Olsen Twins might be 27-year-old Grace’s only friends and they just might save her life in this funny play about sad people

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from Mallery Avidon. Studio Theatre. 1501 14th St. NW. To June 21. $20-$35. (202) 332-3300. studiotheatre.org. nsFw Explore the world of glossy magazines and discover how women are exploited by both men’s and women’s lifestyle publications in Lucy Kirkwood’s biting comedy. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To June 21. $10-$50.

(240) 644-1100. roundhousetheatre.org.

The olDesT proFession Rainbow Theatre Project presents Paula Vogel’s play about Reagan-era retirees who must consider the effects of their profession as they grow older. Flashpoint Mead Theatre Lab. 916 G St. NW. To June 8. $35. (202) 315-1306. culturaldc.org. our Town The company adds its traditional commedia dell’arte twist to Thornton Wilder’s classic play about love and life in a small town. Originally presented last year as part of Arena Stage’s Kogod Cradle Series, Faction of Fools now presents a fully staged, extended adaptation. Faction of Fools at Gallaudet University’s Elstad Auditorium. 800 Florida Ave. NE. To June 21. $12-$25. factionoffools.org. poTTeD poTTer Two super fans send up a parody of the Harry Potter universe in this 70-minute performance. Those sitting in the premium seats can join the action in a live Quidditch match. Lansburgh Theatre.

450 7th St. NW. To June 21. $39.95-$99.95. (202) 547-1122. shakespearetheatre.org. rosenCranTz anD GuilDensTern are DeaD Aaron Posner directs Tom Stoppard’s take on the fate of Hamlet, as assessed and told by his two old friends Rosencrantz and Guildenstern. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To June 21. $37-$75. (202) 544-7077. folger.edu.

The shipmenT This series of comedic vignettes examines the African-American experience through stand-up, sketches, and movement pieces and makes its regional debut at Forum. Forum Theatre at Silver Spring Black Box Theatre. 8641 Colesville Road, Silver Spring. To June 13. $30-$35. (240) 644-1390. forum-theatre.org. swinG Time—The musiCal Enjoy the music of Benny Goodman, Glen Miller, and Duke Ellington in this comedic wartime musical set during a war bond radio drive broadcast. Arleigh & Roberta Burke Theater at the U.S. Naval Heritage Center. 701 Pennsylvania Ave. NW. To June 24. $19-$49. (202) 573-8127. swingtimethemusical.com a Tale oF Two CiTies Synetic company member Alex Mills stars as drag queen who finds a baby on the street and entertains it by performing the Dickens classic in its entirety in this lively comedy directed by Serge Seiden. Synetic Theater at Crystal City. 1800 South Bell St., Arlington. To June 21. $10-$50. (800) 494-8497. synetictheater.org.

Tales oF The allerGisT’s wiFe An Upper West Side professional luncher finds herself in the midst of a midlife crisis when she unexpectedly reunites with a mysterious childhood friend. Charles Busch’s lively comedy explores what happens when her happy, obligation-free life is upset and how her family responds.

Theater J. 1529 16th St. NW. To July 5. $30-$65. (202) 518-9400. theaterj.org.

TarTuFFe Moliere’s indictment of religion and its associated hypocrisy comes to Sidney Harman Hall in a co-production with Berkeley Repertory Theatre and South Coast Repertory Theatre. Sidney Harman Hall.

610 F St. NW. To July 5. $20-$110. (202) 547-1122. shakespearetheatre.org. zombie: The ameriCan In this new sci-fi thriller, America’s first gay president faces a looming civil war, a philandering spouse, and, oh yeah, a zombie invasion of the White House basement. Howard Shalwitz directs the world premiere of Robert O’Hara’s creepy comedy. Woolly Mammoth Theatre. 641 D St. NW. To June 21. $40-$68. (202) 393-3939. woollymammoth.net.

FilM

The 100-year-olD man who ClimbeD ouT The winDow anD DisappeareD In this film described as a “Nordic Forrest Gump,” a man remembers a life

52 may 29, 2015 washingtoncitypaper.com

spent surviving the Spanish Civil War, the Manhattan Project, and Stalin-era purges only to find himself trapped in a nursing home. (See washingtoncitypaper. com for venue information) aloha A military pilot (Bradley Cooper) reconn nects with an old love (Rachel McAdams) and also falls for the Air Force official assigned to oversee his work (Emma Stone) in Cameron Crowe’s latest romantic comedy. (See washingtoncitypaper.com for venue information) Dark sTar: h.r. GiGer’s worlD Learn about n the man behind the monsters in ALIEN and dozens of author dark art and music projects in this documentary directed by Belinda Sallin. (See washingtoncitypaper.com for venue information) E, Drama, Turtle, and Vince reunite n inenTouraGe this film based on the HBO TV series. When Vince’s directorial debut goes millions of dollars over budget, the gang is forced to scramble to find additional funding. (See washingtoncitypaper.com for venue information) GooD kill Ethan Hawke stars as a drone pilot who begins to doubt his work the longer his mission continues. As his relationship with his family deteriorates, he’s forced to make difficult choices about the way he lives his life. (See washingtoncitypaper.com for venue information) i’ll see you in my Dreams Blythe Danner stars as a widow in her 70s who decides to start dating again in this emotional comedy. Among her prospects are a charming older fellow, as well as her friendly, young pool boy. (See washingtoncitypaper.com for venue information) in The name oF my DauGhTer In this true-crime thriller, a woman seeks vengeance for her daughter’s death 30 years before. Acclaimed director Andre Techine oversees this drama set in the south of France.

(See washingtoncitypaper.com for venue information) polTerGeisT Gil Kenan reimagines Steven Spielberg’s thriller about a house that’s overtaken by evil spirits and the parents who have to save their child when the spirits overwhelm her. Starring Sam Rockwell and Rosemarie DeWitt. (See washingtoncitypaper.com for venue information) san anDreas When a massive earthquake n completely obliterates Los Angeles, a helicopter pilot heads north to rescue his daughter in San Francisco. Dwayne “The Rock” Johnson and Carla Gugino star in this thrilling action flick directed by Brad Peyton.

(See washingtoncitypaper.com for venue information) slow wesT A 16-year-old boy sets off on a crosscountry trek in search of the woman he loves and along the way, picks up a mysterious loner. Michael Fassbender stars in this 19th-century pioneer story.

(See washingtoncitypaper.com for venue information) superman The BASE jumping n sunshine movement is celebrated in this historical documentary centered around BASE jumping founder and enthusiast Carl Boenish. (See washingtoncitypaper. com for venue information) TomorrowlanD The world of the future comes alive in this new film starring George Clooney and inspired by the Disneyland attraction of the same name. (See washingtoncitypaper.com for venue information)

Film clips are written by Caroline Jones.

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Contents:

Adult ..............................................53 Auto/Wheels/Boat .....................55 Buy, Sell, Trade, Marketplace.................................55 Community...................................55 Employment.................................53 Health/Mind, Body & Spirit ...............................55 Housing/Rentals .........................53 Legals Notices.............................53 Music/Music ...............................55 Real Estate...................................53 Moving? Find A Services........................................55

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WETA, Washington, DC’s public television and classical radio station, is growing their Facilities Department. We’re looking for an Administrative Services Coordinator to provide excellent building service and departmental support. For more info, go to http:// w w w.wet a.org /about /c areers/ jobs. WETA is EOE.

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Rooms for Rent Nice Old Bungalow to Share, Hyattsville Historic District Seeking considerate, friendly, neat woman to share attractive bungalow in Hyattsville historic district. All-female house. Room is 10x16, has a twin-size bed. A straight chair and a chest of drawers are available. Off-white walls, nice big windows. Lovely, quiet neighborhood. Wireless internet, Kitchen has two refrigerators, toaster oven, gas range, microwave, all shared. Shared washer-dryer in basement. Porch, patio, spacious yard with trees. Near DC, one mile to Prince George’s Plaza Metro station. (Bus runs very near house but only till about 8:30 p.m.) Seeking responsible, friendly, very neat woman, with full-time permanent job, strong references. $400/month plus utilities (utilities vary through the year, averaging around $120 per month per person). Please do not call before 8:30 a.m.or after 9:00 p.m. Females only. Room is available now.

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School services 7.Cleaning services with the implementation of green cleaning program – daily cleaning services after school for school’s newly renovated 64,000 sf facility 8.Bus service – daily round trip bus service from three DC locations to the school in morning and afternoon; and additional services as needed 9.International travel lead – expertise in educational student travel for the school year 20152016.

10.Tutoring, OT, Audiology and PT services – provide services to students with an individualized educational program Questions and proposals may be e-mailed to gizurieta@latinpcs.org with the subject line in the type of service. Deadline for submissions is 12pm (noon) June 9, 2015. Appointments for presentations will be scheduled at the discretion of the school offi ce after receipt of proposals only. No phone calls please.

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The Washington Latin Publichttp://www.washingtoncityCharter School solicits expres-paper.com/ sions of interest in the form of Condos for Rent proposals with references from qualifi ed vendors for each of the Sunny Jr. One bedroomed condo 10 services listed below. for rent in the heart of DuPont CirBusiness Services: cle. Walk to amenities restaurants, 1.Technology consulting – supcafes, theatre, metro and shops. port the school’s technology $1950.00 includes utilities. needs with installation, mainteAvailable July 1 or earlier, call nance, repair, and professional 202 436 6115 or email: Lesleywildevelopment son33656@yahoo.com.

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Computer/Technical Blen Inc has openings for the position Sr. Software Engineer with Bachelor’s degree in Computer Science, Engineering (any),Technology or related and 5 yrs of exp. to design, develop, implement and support of software components that enhance or extend the reach of client software development initiatives. Contributes to the development, delivery and maintenance of technology based business solutions. He/She must be skilled in designing, coding, testing and implementing configuration changes to software applications to meet both functional and technical requirements. Work location is Washington, DC with required travel to client locations throughout USA. Please mail resumes to 641 S St. NW, 3rd floor, Washington, DC 20001 or e-mail to info@blencorp.com

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The Phillips Collection

Overview: The Museum Assistant will assist the Security offi ce by helping protect The Phillips Collection’s artwork from being touched, damaged, destroyed or stolen. The incumbent will also assist and serve the visiting public as they view the exhibitions.

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Insurance

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Volunteer Services

AUTO INSURANCE STARTING AT $25/ MONTH! Call 855-9779537

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services will begin July 5, 2015.

Proposals are due no later than 12:00 PM on Friday, June 12, 2015. The complete RFP can be obtained by contacting rfp@ buildinghope.org, please indicate which RFP you are requesting.

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NEED A CAR, TRUCK or SUV?

in Second/Third A Specializing Chance Financing!

A R I A L N -Income must gross a minimum A $2k Nmonthly S Aor more N D Y L -2ACurrent K MPay EStubs &S1 Bill U D O V O Required D G AllAvehicles V E M 2010-2015 A L A are from O @ N202.704.8213 E N O Y Call Jason B U O N A G Laurel, MD B A C K S S L Y Cash C H I AAnyNCar/Truck.

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Volunteer Services

The Dupont-Kalorama Museums Consortium needs volunteers for Walk Weekend, June 6 & 7, at Dumbarton House, Heurich House, National Museum of American Jewish Military History, and Woodrow Wilson House. For details and an application: kridgley@societyofthecincinnati.org

Where the Washington area’s poor and homeless earn and give their two cents

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FIND A HELPING Street HAND Sense YOUR OUTLET. RELAX, TODAYFIND UNWIND, REPEAT CLASSIFIEDS Mark your calendar now! The Hall of Fame and Distinguished Service award program will be held May 28th from 5:30 to 8 pm at Knight Hall, University of Maryland, College Park. The reception immediately prior to the program will feature our Reese Cleghorn interns.

TWO STATE SOLUTION

oncitypaper.com/

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

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MOVING? FIND A HELPING HAND TODAY

oncitypaper.com/ 1 ___ del Sol 6 Planner headings, for short 11 Booster seat user 14 Invite to the living room, say 15 Helvetica’s cousin 16 “Just sayin’,” briefly 17 Like horror/scifi writer Neil after going to the beach?

19 It keeps the fire burning 20 Barely make (out) 21 Delibes opera 22 Acts all emo 24 Schlumpy male physique 26 Brand in the bathroom or the candy aisle 27 Sleeping sickness you can get from mescal?

33 Sentimental one 36 Strong bridge opening with a balanced hand 37 Horse trainer Baffert 38 Letters from Greece 39 “___ sera!”

40 It can make you you

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25 Cuckoo bananas 26 CNN’s Bash or Fox 15 16 News’s Perino 28 Give a guarantee 18 19 29 Japanese mushroom 22 23 30 Group whose youngest 26 member joined 28 29 30 31 32 at age 2 31 ___ Rucker of 36 37 WeTV’s Love Thy Sister 39 40 32 Aid partner 33 Unleash an 43 http://www.washingtoncitypaper.com/ invective 46 34 “Pick me, pick me” 48 49 50 51 35 Mortal Kombat instruction 54 55 56 57 39 “The Art of Fugue” 60 61 composer 64 40 Superficially fluent 42 Indirect routes 67 43 Runs uncovered 45 “Buy It ___” (eBay button) 3 Engaged in a 41 Time in between 46 Typical amount biathlon gigs, seemingly, 49 King Pachacutec, to an impatient 4 Comic Heidecker e.g. freelancer 5 Comparison 50 Govt. security 42 Supports on 6 Hockey goalie’s issue Kickstarter protection 51 Quenches 43 Nor’easter 7 Vehicle making 52 Comfortably forecast http://www.washingtoncitypaper.com/ pit stops? under a 44 Red 8-Down that 8 See 44-Across comforter brings out the 9 Teensy bit 53 Bamboo stick crab in you?

10 Go it alone, 54 Put the pedal 47 PSAT taker, metaphorically to the metal sometimes 11 Aggressive stinger 55 “___ you ever 48 Goes around 12 Stumblebum’s been in a Turkish the world? reassurance prison?”

52 13 Walker’s charges 56 Lacoste rival 54 The Hobbit 18 Squat 60 “Another Labatt’s setting Bleue?” response 23 Sch. in the Rolling 57 Org. with a ping Stone rape 61 “It’s like this ...” pong ball lottery story fiasco 58 “I’m full, thanks” 59 Yellowish creature that leads LAST WEEK: CHANTS ENCOUNTERS the cheers?

62 ___-ball pens I D S T V H O S T J A W 63 Egg served M I N O R E D A L A N R A with chorizo P O R L A N C O M E B A S S 64 Artist Margaret C O N T Z A N Y E N D O R whom Amy T O M H A N K S G I V I N G Adams portayed in Big Eyes E L S N E T 65 No-hitter, say S P I N F L O M A X S E E D 66 Joined forces I R S B R R I D O (with) E B A Y R A N D O M P A U L 67 Mails off A V A I L L R O M A N S C R E A M I N G Down H I H O F E N C E Q U I P 1 Like MMA fights N O M E A T F R E A K T I N 2 Universal Studios F L O S S E S P A K I N K Japan city L E N T T O T S O P S S 6

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Moving? Find A Helping Hand Today Out with the old, In with the new Post your listing with Washington City Paper Classifieds

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Out with the old, In with the new Post your listing with Washington City Paper Classifieds

http://www.washingtwashingtoncitypaper.com May 29, 2015 55 oncitypaper.com/ http://www washingtoncitypaper.com/

participating bars and restaurants include Brick & Mortar • Casa Luca • Copycat Co. • Duke’s Grocery • Fairmont Washington DC • Farmers Fishers Bakers • Fiola • Fiola Mare Founding Farmers DC • GCDC Grilled Cheese Bar • Lupo • Osteria Morini • Poste Brasserie • Provision No. 14 The Pursuit Winebar • The Red Hen • The Rye Bar at Capella Washington, D.C., Georgetown • Urbana Wisdom • Zentan