Washington City Paper (July 7, 2017)

CITYPAPER Washington

Free Volume No. WashiNgtoNCityPaPer.Com moNth xx–xx, 2017 Free Volume 37,37, No. 27 xx WashiNgtoNCityPaPer.Com july 7-13, 2017

politics:saNford xxxx x CaPital housing: food: xxxoN xxloaNs arts:8xxxx defaults xx food: ChiKo Comes to barraCKs row 19 arts: the show revival features intense worK 21

Power Plays In a year filled with political strife, theater at the Capital Fringe Festival sends a powerful message. P. 12

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12 Power Plays

BROADWAY’S DEFINITIVE TONY®-WINNING MASTERPIECE

In a year filled with political strife, theater at the Capital Fringe Festival sends a powerful message.

By City Paper staff and contributors Photographs by Darrow Montgomery

4 Chatter distriCt Line 7 The Open Road: Obamacare may be near its demise, but the successful software behind DC Health Link is headed up north.

8 Housing Complex: As Sanford Capital faces foreclosure at two properties and is delinquent at three others, owner Carter Nowell blames the District.

10 Indy List 11 Gear Prudence

d.C. feed 19 Avant-Charred: ChiKo— casual Chinese and Korean— comes to Barracks Row. 20 Sauce-O-Meter: How recent food happenings measure up 20 Underserved: Babalu at Colada Shop 20 ’Wiching Hour: Roasted Pork Sandwich at Cucina al Volo stands at local farmers markets

22 Short Subjects: Gittell on The Little Hours, Olszewski on Nowhere to Hide, and Zilberman on Moka

DIVINELY, DANGEROUSLY

DECADENT.” BEN BRANTLEY

City List 27 City Lights: Enjoy the ongoing ’90s revival by checking out Mystery Science Theater 3000 Live at The Lincoln.

27 Music 32 Books 32 Galleries 33 Theater 33 Film

Leigh Ann Larkin, Jon Peterson, Tommy McDowell and the 2017 company of Roundabout Theatre Company’s CABARET. Photo © Joan Marcus

INSIDE

34 CLassifieds diversions 35 Crossword

JULY 11–AUGUST 6 EISENHOWER THEATER

arts

KENNEDY-CENTER.ORG | (202) 467-4600

21 A Shock to the System: For its first show celebrating its 30th anniversary, the National Museum of Women in the Arts highlights intense work from a myriad of living artists.

Tickets also available at the Box Office. Groups call (202) 416-8400.

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

Theater at the Kennedy Center is made possible by

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

Kennedy Center Theater Season Sponsor

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CHATTER

Bad Taste

In which readers (mostly) dish on the cashless restaurant trend

Darrow MontgoMery

Food editor Laura Hayes’ piece last week about the nascent trend among fast-casual restaurants to renounce cash entirely in favor of plastic (“Cash, Out,” June 30) inspired prolific comments and debate, some of which predictably trafficked in the wearisome and familiarly derogatory rhetoric about the poor and disadvantaged.

As City Paper reported, the District has one of the highest percentages of unbanked and underbanked citizens in the country—people who spend only or mostly in cash because they lack bank accounts entirely or don’t have adequate access to them. That means restaurants such as Sweetgreen and Jetties, which have gone cashless, aren’t options for such potential customers. Nor would vegetarian taco shop Chaia be, if it too decides to go that route, as its owners have been contemplating.

The story sent chronically cantankerous commenter NorthEazy, who apparently believes income level is the only predictor for being unbanked, into a censorious meltdown. “What the fuck are you doing ordering artisanal tacos in Georgetown if you are ‘disadvantaged and disenfranchised?’” the gremlin wrote. “If you do not have the requisite $50 to get a debit card or the awareness to get a pre-paid debit card with 20 bucks on it for emergencies, then you should not be eating $3.50 tacos when you can source those ingredients and make it your damn self for 20 cents.”

Ubuntourist and others were quick to point out that there are myriad reasons why some people don’t use credit or debit cards. “Not having a bank account is not the only reason to avoid cards,” he wrote. “Card companies make money from more than interest payments. The legal buying and selling of data relating to consumers habits is big business.”

Not that it should really matter why someone only uses cash. “I’m one of the people described in the article who lack a credit or debit card,” BP wrote. “I work hard, save money, and occasionally like to splurge on a nice meal out. Sometimes I treat people whose financial situations are worse than mine. I was humiliated recently to find that the fast-casual restaurant to which I had planned an outing wouldn’t accept my cash. There wasn’t any mention of this on the restaurant’s website, so I was blindsided. It is frightening to think of this practice becoming more widespread.”

Another reader, who was once unbanked, cautions against making assumptions. “Why judge those who prefer cash or want to save and enjoy a nice or healthy meal?” CaribDC wrote. “It is none of your business how and why others spend their money. It is a mindset that contributes to further dividing this city by just throwing out any stereotype that fits.”

—Liz Garrigan

JEffErsoN MEMoriaL, JUNE 29

EDITORIAL

EDitor: liz garrigan MaNaGiNG EDitor: alexa Mills arts EDitor: Matt Cohen fooD EDitor: laura hayes City LiGhts EDitor: Caroline jones staff writEr: andrew giaMbrone sENior writEr: jeffrey anderson staff PhotoGraPhEr: darrow MontgoMery iNtEraCtivE NEws DEvELoPEr: zaCh rausnitz CrEativE DirECtor: stephanie rudig CoPy EDitor/ProDUCtioN assistaNt: will warren iNtErN: j.f. Meils CoNtriBUtiNG writErs: jonetta rose barras, VanCe brinkley, eriCa bruCe, kriston Capps, ruben Castaneda, Chad Clark, justin Cook, riley Croghan, jeffry Cudlin, erin deVine, Matt dunn, tiM ebner, jake eMen, noah gittell, elena goukassian, aManda kolson hurley, louis jaCobson, raChael johnson, Chris kelly, aMrita khalid, steVe kiViat, Chris kliMek, ron knox, john krizel, jeroMe langston, aMy lyons, kelly MagyariCs, neVin Martell, keith Mathias, traVis MitChell, triCia olszewski, eVe ottenberg, Mike paarlberg, noa rosinplotz, beth shook, Quintin siMMons, Matt terl, dan troMbly, kaarin VeMbar, eMily walz, joe warMinsky, alona wartofsky, justin weber, MiChael j. west, alan zilberMan

ADvERTIsIng AnD OpERATIOns

PUBLishEr: eriC norwood saLEs MaNaGEr: Melanie babb sENior aCCoUNt ExECUtivEs: renee hiCks, arlene kaMinsky, aris williaMs aCCoUNt ExECUtivEs: stu kelly, Chip py, Chad Vale, brittany woodland saLEs oPEratioNs MaNaGEr: heather MCandrews DirECtor of MarkEtiNG, EvENts, aND BUsiNEss DEvELoPMENt: edgard izaguirre oPEratioNs DirECtor: jeff boswell sENior saLEs oPEratioN aND ProDUCtioN CoorDiNator: jane MartinaChe PUBLishEr EMEritUs: aMy austin

sOuThcOmm

ChiEf ExECUtivE offiCEr: Chris ferrell ChiEf oPEratiNG offiCEr: blair johnson ChiEf fiNaNCiaL offiCEr: bob Mahoney ExECUtivE viCE PrEsiDENt: Mark bartel GraPhiC DEsiGNErs: katy barrett-alley, aMy goMoljak, abbie leali, liz loewenstein, Melanie Mays

LoCaL aDvErtisiNG: (202) 650-6937 fax: (202) 618-3959, ads@washingtonCitypaper.CoM Find a sTaFF direcTory wiTh conTacT inFormaTion aT washingTonciTypaper.com voL. 37, No. 27 JULy 7-13, 2017 washington City paper is published eVery week and is loCated at 734 15th st. nw, suite 400, washington, d.C. 20005.

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DistrictLine The Open Road

Obamacare may be near its demise, but the successful software behind DC Health Link is headed up north.

NiNe moNths before the country’s Obamacare insurance marketplaces were due to debut online, the agency responsible for building the District’s version made its first hire. No state began work on its marketplace later than the District.

“So that was the worst year ever,” says Mila Kofman, the D.C. Health Benefit Exchange Authority’s executive director and first staffer, as she thinks back to 2013. “I call it a highrisk pregnancy. Seriously, every day was quite challenging.”

When the nationwide due date arrived in October 2013, the federal government’s marketplace, HealthCare.gov, face-planted. The website’s persistent outages and malfunctioning software were an embarrassment.

Just a few state marketplaces—the District is treated like a state for the purposes of the insurance exchange—successfully opened on time, and one of them was the District’s miracle baby, DC Health Link. Today the site functions so well that Massachusetts is copying its code.

But at first, DC Health Link couldn’t do much more than crawl. Kofman says, “We had no bells and whistles at all,” just a basic system whose core functions worked. “Part of my job was essentially to say no to everyone—my board members, to staff, to other agencies.”

The software, from commercial vendors, was clunky. Even fixing a typo on the website required the agency to run a bunch of tests, bring the whole system offline, and then deploy it anew, as if from scratch.

One of its glitches caused the system to characterize every customer as a smoker, which non-smokers could see but do nothing about. This ultimately didn’t matter to the District, as it had opted not to surcharge health insurance for smokers. But the arduous update process meant the glitch took time to quash, and a lot of irritated non-smokers fumed, including Kofman.

“I was highly offended when I saw that they built that. And you can’t just change it like that,” she says.

The agency and its new contractor set about redoing the DC Health Link software in 2015,

applying tools that are standard in Silicon Valley—Ruby on Rails, MongoDB, Amazon Web Services cloud servers—but still relatively exotic in government.

The revamped software is also opensource. Anyone with an Internet connection can view the code and suggest edits. It’s publicly visible on the agency’s account on GitHub, a service for developing and sharing software, chronicling code changes large and small pushed out multiple times each day. It’s a long way from the days of waiting to delete an errant comma from the website.

The agency also no longer has to pay recurring licensing fees for proprietary software.

The grander promise of opensource software is that anyone can copy it, free of charge.

For DC Health Link, this isn’t theoretical: Massachusetts is cloning the District’s code.

The ancestral home of Obamacare, a state whose healthcare overhaul preceded the landmark federal reform, is now adopting D.C.’s software for the part of its marketplace that handles insurance for small businesses.

“D.C. was able to offer: Take our platform, create an instance of it for you guys, and then customize it a little bit,” says Jason Hetherington, chief information officer of Massachusetts Health Connector.

Massachusetts is paying the DC Health Link software team to implement and maintain it.

The D.C. Health Benefit Exchange Authority also earns a 6 percent administrative fee.

Massachusetts didn’t go looking to hire a government rather than a business, nor was it targeting open-source software. “No one ever gets fired for choosing IBM,” says Hetherington, citing an old business-world saying.

“If you need a database and you propose Oracle, everybody thinks it’s a really good idea,” he says.

Massachusetts embarked on a routine procurement in 2014, going in search of a

Mila Kofman

Darrow Montgomery

By Zach Rausnitz

D.C. edged out Rhode Island as the winner.

“They were just the most modern, the most well-developed, the most resilient technology platform that we had seen in either of the prior commercial responses or in comparison to the other states we looked at,” Hetherington says.

He echoes Kofman’s emphasis on cost savings, noting they don’t have to pay software licensing fees or make a capital investment in servers to host the platform, instead renting only as much cloud computing power as they use.

Though a repeal of Obamacare could be devastating for people who receive subsidies to buy insurance, it would not necessarily doom state marketplaces. DC Health Link is funded by a 1 percent tax on the insurance companies doing business in D.C. Once the August launch in Massachusetts is finished, sharing software will mean that D.C. and Massachusetts can split the cost of

contractor to redo its small-business marketplace. None of the commercial proposals were fully adequate. Massachusetts tried another round a year later, unsuccessful once again. Then in 2016 it reached out to states whose marketplaces had strong reputations, looking for a partnership.

any new features they both want to see built.

Kofman has reached out to Minnesota about the possibility of adopting D.C.’s open-source software there.

“I would love to partner with other states as well, because it will make it less expensive for us and Massachusetts,” she says.

CP washingtoncitypaper.com july 7, 2017 7

DistrictLinE Fault Lines

By Alexa Mills D.C.’s notorious slumlorD, Carter Nowell of Sanford Capital, is now facing bank foreclosure at two of his properties and is delinquent in mortgage payments on three others. The company, which has received millions of dollars a year in taxpayer subsidies by way of housing vouchers for low-income tenants, was the subject of recent investigations in both City Paper and The Washington Post.

But financial data on these five properties, which together represent roughly a third of Sanford’s D.C. holdings, show a company in strong financial health through mid-2016, the period for which data is available.

While Sanford’s coffers were well padded, those living at its properties suffered conditions as desperate as repeated raw sewage leaks and persistent vermin infestations.

One such property, Elsinore Courtyards, is on the outer edge of Southeast D.C., blocks from the Maryland border and nearly a mile from the nearest Metro station. In financial statements provided to City Paper by Trepp Wire (a data provider to real estate and finance industries), Elsinore’s revenue numbers are attractive. Wells Fargo reviewed the statements and confirmed that, though it is not the original lender, it is the master loan servicer for all five properties.

The statements show that Elsinore Courtyards, like the other four properties, generates enough cash to meet its mortgage payments, suggesting that Sanford is able to pay but has chosen not to. Elsinore’s debt-service coverage ratio, a financial term that describes how much cash is available to pay current debt, is 1.23. (Any number over 1 indicates enough income to meet current debt obligations.)

The numbers also suggest the possibility that additional parties—whether individual investors, other funds, or Nowell himself— have also put money into these properties.

Elsinore’s loan-to-value ratio is about 70 percent, meaning that other funding sources may cover the remaining 30 percent of the deal.

Meanwhile, one building at Elsinore is in such disrepair that, for several years now, it has intermittently leaked human waste into its parking lot, flowing down into a neighbor’s back yard. Residents say the entire building smells like raw sewage inside. And when city inspectors examined Elsinore last March,

housing complex

8 july 7, 2017 washingtoncitypaper.com

they found an astounding 243 code violations across 152 apartments. One unit alone had 28 violations.

At Oak Hill Apartments, also in decrepit physical condition, the financials are even healthier.

Oak Hill’s 2016 occupancy rate was 94 percent, and its debt-service coverage ratio a comfortable 1.44. As of the third quarter of 2016, its net cash flow totaled nearly $700,000 for that year (though in the Trepp statements, that figure doesn’t account for debt payments).

Also striking is Sanford’s borrowing history for each of the five properties in question (Elsinore, Oak Hill, Sayles Place Apartments, Wayne Place Apartments, and Fitch Apartments, which are all in Wards 7 and 8), which follows a similar pattern over several years.

This pattern is well illustrated by the case of Sayles Place Apartments, which is currently in foreclosure.

Nowell and his original business partner Patrick Strauss, along with Patrick’s wife Mary Strauss, signed a $3.8 million loan, through their business entities, to buy Sayles Place in 2010. Four years later, Nowell more than doubled his loan amount to $7.25 million through a refinance with Basis Real Estate Capital II, part of the New York-based Basis Investment Group (an LLC in bad standing with the state of Maryland, which has since sold off all five of these loans), and the Strausses did not sign on subsequent mortgages. In documents provided by Trepp Wire, Sayles Place is appraised at $9.5 million.

This is the pattern across all five properties.

First Nowell and the Strausses sign for a loan.

Later, the bank uses an appraisal value several millions higher than the purchase price. Nowell refinances with Basis, vastly increasing the loan amount (in some cases it’s not the first refinance). He makes regular payments on properties that are, at least on paper, in great financial health. Then in February of 2017 he stops making payments, with a brief return to current status in March at Sayles Place only.

At Elsinore, Nowell is currently on the hook for a loan of $12.2 million, even though Sanford bought the property for a mere $2.3 million via a foreclosure sale in 2012. The mortgage-holder prior to the 2012 foreclosure was the District of Columbia Housing Finance Agency. In Trepp’s statements, Elsinore’s appraised value was $17.6 million as of 2014, the year Sanford increased its loan to $12.2 million.

Nowell, who has refused media inquiries for

Oak Hill Apartments the past several months, responded to City Paper’s request for comment on its foreclosures and delinquencies with an email statement.

“Sanford Capitol [sic] owns several properties that are being driven into bankruptcy by the Attorney General, District agencies, and tenant advocates,” wrote Nowell, making reference to lawsuits against the company filed by AG Karl Racine. “Each of these properties currently houses numerous tenants who haven’t paid rent in months or even years in some cases, severely limiting our ability to maintain and make improvements to these buildings. We are a business and do not have the unlimited resources of the District government.”

Racine sued Sanford Capital for conditions at its Congress Heights property in January of 2016 and its Terrace Manor property in October of 2016. Sanford subsequently filed for bankruptcy at Terrace Manor. All three cases are pending, and neither property is listed as delinquent in the Trepp reports.

Nowell writes that “Sanford took prompt action to sell its portfolio” after relationships with the city and tenants declined.

Sanford’s properties are on the market, though the company still owns most of its original D.C. portfolio.

The company has also proven itself adept at filing evictions. In the case of Terrace Manor, Sanford filed 33 eviction cases at the 61unit property in 2013, the first year it owned the complex.

For residents, the implications of foreclosure are vague. Though Wells Fargo is the master servicer on all of these loans, each is currently in the hands of a “special servicer,” who is charged with trying to work out a solution to nonpayment.

Living conditions that degrade daily life is the dominating issue for most of the 30-andcounting Sanford tenants City Paper has spoken with over the past seven months. Fore-

Darrow Montgomery

As Sanford Capital faces foreclosure at two properties and is delinquent at three others, owner Carter Nowell blames the District.

closure is a long and complicated process that may or may not result in a new property owner or spur tenant relocations.

In one special case among the five delinquent properties, Wayne Place Apartments, the combination of financial failure and terrible conditions has meant just that. The 57 units at Wayne Place were subject to a federal subsidy program through the Department of Housing and Urban Development, and the D.C. Housing Authority “initiated termination of the Moderate Rehabilitation (MOD) contract as a result of the owner’s non-compliance at that property,” says Rick White, communications director for the D.C. Housing Authority. Through HUD, the housing authority gave each Wayne Place tenant a housing voucher and also offered assistance in finding a new apartment.

But an apartment search for a voucher-holder is no easy matter in D.C., nor in many rapidly gentrifying cities in America. Displacement from a unit can mean displacement from the city entirely.

“Whenever we lose an entire building of affordable housing, that has consequences for all affordable housing in D.C.,” says Beth Harrison, supervising attorney in Legal Aid D.C.’s housing unit. “At Wayne Place, those tenants all get vouchers, but that building was a hard physical building of affordable housing.

That matters, because for tenants to use their vouchers, we need to have affordable housing units in the District, and they are scarce.”

“When you have, as in the case of Sanford, such neglected maintenance, you have tenants already under a lot of pressure to leave,” she says. “And whenever there is a change in ownership there is often also pressure for tenants to leave because a new owner may have new plans for the building, often plans that involve charging higher rents.”

CP Andrew Giambrone contributed reporting.

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By Kaarin Vembar Do you have a tip for The Indy List? Independent artists, retailers, and crafters, send your info to indylist@washingtoncitypaper.com.

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Gear Prudence Gear Prudence: Here’s an awkward thing I hope you can help with. I have a friend who I ride with and it’s good, except sometimes he’s just too damned slow. I go on rides to stretch my legs and challenge myself, but when I’m with him I feel like I’m always holding back.

I like the guy, and he’s joked before about his being too slow. But, seriously, how do I tell him that I wouldn’t mind if he hurried up?

—Here A Rider Envies Velocity.

Speaking Truth Obviously Requires Tough Observation; I Seek Elsewhere Dear HAREVSTORTOISE: Everyone’s been there. Another person, over whom you have no control and who might (how dare he!) have different abilities or preferences than you, isn’t doing the exact thing at the exact pace that you want him to do. But you don’t want to ruffle feathers, so you keep it to yourself at the cost of your own continued immiseration. You’ve got a situation in which you’re unhappy because you’re going too slow and he’s (probably) unhappy because he knows you’re indulging him. Given the length of the ride, you have varying options. If it’s a short trip where sociability is prized, suck it up and lay off. If it’s a longer jaunt, say that you’re legs are feeling great and ask if he wants to push it a little. If no, ask him if he’d be OK if you hammer for awhile.

If he assents, says thanks and tell him where you’ll meet down the road. Never just take off, and always promise to meet up. If he demurs (or you sense any degree of hesitancy), that’s OK too. Either you can ride fast or ride with your friend, but not both. Now you know. Plan accordingly.

—GP Gear Prudence: When is hot too hot? When do I know to just cancel a weekend ride and do brunch instead? Are there any indicators on the forecast when I can safely say “nope”?

—Highly Egregious Abnormal Temperatures

Dear HEAT: It’d be swell if GP could say 92 degrees with a 67 dew point, but “too hot” is a subjective measure, and it’s going to depend on your own capacity for discomfort in the heat and humidity. Unfortunately, the only way to learn when too much is “too much” is to take it on and fail miserably. Aside from temperature and humidity, it’s important to consider how far you’ll be riding and the terrain.

Hills have a way of complicating distances that you might otherwise be able to handle. It also might behoove you to decide in advance whether you’d mind a thunderstorm. It could be a welcome respite, but if it’ll ruin your day, you might want to cut your ride short or skip it altogether. Finding your limits requires a lot of trial and even more error.

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Power Plays In a year of political strife, theater at the Capital Fringe Festival sends a powerful message.

Photographs by Darrow Montgomery Capital Fringe has a lot to celebrate this year: 70 years ago, the first Fringe festival was held in Edinburgh, Scotland. Since then, the Edinburgh Fringe Festival has grown into the largest arts festival in the world, inspiring dozens of similar ones worldwide, including here in D.C. It’s a momentous anniversary for Fringe all over, but for Capital Fringe, this isn’t just a year for celebration. This is a year to send a message.

And its message this year is loud and clear. This year’s official logo, drawn by local artist Bill Warrell, takes inspiration from the Iwo Jima Memorial, with stagehands unified in erecting a tent instead of soldiers lifting the American flag. It’s a bold, stark image—the perfect embodiment of what this year’s event is all about.

“When approaching the design for the twelfth annual Fringe Festival, I felt the weight of the shrinking art scene in our nation’s Capital, and I was inspired by this inscription,” Capital Fringe founder and CEO Julianne Brienza writes, alluding to the inscription on the Iwo Jima Memorial that reads, “Uncommon valor was a common virtue.”

“Artists are equipped to examine what our human experience is right now,” she continues.

“Through art, they are constantly challenging boundaries and reminding us of what we all have in common. We all want to express ourselves, face the unexpected, and go towards the unknown.”

A look at this year’s programming confirms that. Many of the productions are direct reactions to, or commentary on, the current sociopolitical climate. Productions like “It’s What We Do”: A Play about the Occupation; HOWL: In the Time of Trump; Just Like a Woman; Nevertheless, She Persisted: Stories of Connection in a Disconnected Society; and P.I.C.: The Prison Industrial Complex all explicitly deal with current issues plaguing the world. Dozens more in this year’s festival tap into the fear, anxiety, anger, frustration, confusion, helplessness, hopelessness, and, ultimately, hopefulness of our collective consciousness.

At the center of Warrell’s drawing is an African-American man sporting a bandana, dark glasses, and a goatee, helping to lift up the tent. He’s not just some random figure Warrell drew. He was a real person and a longtime friend of Warrell’s: Anthony J. Houston, known as “Spade” to his friends and family. Spade spent years in D.C. as a stagehand and served as the technical director for Warrell’s longtime production company, District Curators. Spade died in 2013, and his inclusion in Fringe’s design this year is a testament to the people who lift up the District’s resilient arts scene, especially in the face of great adversity.

For her part, Brienza sums up this year’s mission with a question: “When will we ever hear answers to questions posed by the less powerful? Those that lift the lights, the tent, and ultimately our city up?”

—Matt Cohen

Driven to the Stage Clyde Ensslin

Uber driver Clyde Ensslin makes his Fringe debut with a one-man show about Thomas Jefferson’s secret, unflattering history.

By Caroline Jones Clyde ensslin’s journey to the Capital Fringe Festival began, of all places, in an Uber. Ensslin has driven for the rideshare company since 2014, and one night in the fall of that year he received a message to pick up a passenger at the bar Showtime in Bloomingdale. That passenger turned out to be Capital Fringe CEO Julianne Brienza.

As they rode, she told him she’d just closed on Fringe’s new headquarters on Florida Avenue NE. When Ensslin revealed he had never heard of the arts festival, Brienza gave him a crash course in the world of Fringe, from its

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roots in Edinburgh to her plans to build Trinidad into an arts district. “She just kind of blew me away,” he says of his first impression. She encouraged him to see shows when the festival returned in the summer. He bought an eight-pack of tickets.

“At the time, I did not think this was anything I’d want to do,” he says now. But after seeing pieces he loved, like Cara Gabriel’s I Am the Gentry, he bought another eight-pack the following year. By the end of the 2016 festival, he was hooked. At the same time, Ensslin’s passengers were regularly telling him how much he sounds like former president Bill Clinton, so he started thinking about constructing a play that would coincide with the 20th anniversary of the 42nd president’s impropriety and subsequent impeachment.

Ensslin is no stranger to the arts—he was the arts editor of the Daily Tar Heel while attending the University of North Carolina at Chapel Hill and makes a habit of seeing a wide variety of theater around town. In addition to that, he hosts a weekly radio show, “Ride with Clyde the DJ Driver,” on Takoma Park’s WOWD FM, during which he plays songs suggested and recommended to him by his passengers. But before creating his own Fringe show, he’d never written or performed an original piece.

Early on in the process, he discussed his plans with Ibe Crawley, the operator of IBe’ Arts, a small gallery in Historic Anacostia, who pushed him to not focus directly on Bill and Monica and instead tell the story of another lecherous commander-in-chief: Thomas Jefferson. The resulting play, a monologue called Thomas Jefferson: Hoochie-Coochie Man, is presented as a college lecture, taught by professor William Jefferson Clinton, that breaks down the relationship between Jefferson and Sally Hemings and the ways that story has evolved over time.

To begin his research, Ensslin consulted the authoritative text on the subject, historian Annette Gordon-Reed’s The Hemingses of Monticello: An American Family. GordonReed tells the stories of multiple generations of the Hemings family, who became Jefferson’s property when he inherited them from his father-in-law. She chronicles the hard labor they did on his plantation and follows members of the family after they were freed upon Jefferson’s death. After hearing her speak at the 2016 National Book Festival, Ensslin dove deeper into the historiographical archives, reading Christopher Hitchens’ Thomas Jefferson: Author of America and titles

by Michelle Alexander, Michael Eric Dyson, and Eddie S. Glaude Jr. as he tried to understand the paradox that Jefferson occupies in American history.

Ensslin’s show arrives at a time of renewed interest in Jeffersonian scholarship. After DNA evidence conclusively proved Jefferson fathered a child with Sally Hemings, historians and curators were forced to deal with that aspect of Jefferson’s life for the first time.

A large donation from philanthropist David Rubenstein in 2013 allowed curators at Mon-

ticello, Jefferson’s home in Charlottesville, Virginia, to build replicas of the cabins slaves lived in on the plantation. Visitors can now go on tours that specifically highlight the experiences of slaves and the Hemings family.

But even Hamilton, every woke theater nerd’s guide to early American history, paints Jefferson as a politically savvy bon vivant, only mentioning Sally in a winking reference for history buffs.

Ensslin regularly found articles that mischaracterized Jefferson’s relationship with Hemings in his research, citing a Teen Vogue article correcting a Washington Post story that referred to her as his mistress, not an enslaved young woman. More than 200 years of history and 39 presidential administrations separate Hemings and Monica Lewinsky, but as Americans learn more about them, it’s clear that their stories share similarities, something Ensslin hopes audiences will recognize during his show.

“As the story is now told by women, it becomes more accurate,” Ensslin says. “The men tried real hard back in the ‘60s and even in the ‘50s to make sure that that would never happen. That’s part of the story too.” Over the course of 75 minutes, he’ll provide audiences with a crash course in the unsavory details about Jefferson that aren’t shared in history books, like the fact that two of Jefferson and Hemings’ children passed as white after being freed, and that, as best as anyone can tell, Hemings’ remains are buried under what is now a Hampton Inn on West Main Street in Charlottesville.

The second part of the show’s title becomes relevant when the fictional Professor Clinton touches on the impact of the blues, a traditionally black genre that, over time, has been co-opted by white men, including Clinton. Muddy Waters’ predatory lyrics on “Hoochie Coochie Man,” “I’m gonna mess with you/ I’m gonna make you girls/ Lead me by my hand/ Then the world’ll know/ The hoochie-coochie man,” both describe and react to the actions of a powerful slaveholder. Waters was instrumental in creating modern Chicago blues, but at the same time he might not have left his Mississippi plantation had Alan Lomax not traveled to record blues musicians in the early 1940s on behalf of the Library of Congress. That institution, by the way, would not exist without Thomas Jefferson.

These intersections of seemingly disparate subjects particularly appeal to Ensslin, a guy who first came to D.C. to work for George H.W. Bush’s 1980 presidential campaign and now takes pride in being part of a nonprofit, non-commercial local radio station. While he might consider turning his stage project into a radio drama in the future, for now he’s content circling the District, interacting with passengers and, of course, picking up new music recommendations along the way.

July 6, 8, 13, 15, 18, and 22. Pursuit Wine Bar, 1421 H St. NE. $17. capitalfringe.org.

Stolen Glances A playwright explores what led a disgraced local rabbi to voyeurism.

By Chris Klimek Reality bites. in recent years, D.C. playgoers have seen fictionalized versions of Ponzi schemer Bernie Madoff, closeted red-baiter (and paradoxically, Trump mentor) Roy Cohn, and long-serving Supreme Court Justice Antonin Scalia. The Scalia drama, The Originalist, returns to Arena Stage on July 7.

But the night before that, the Capital Fringe Festival will host the premiere of another play about a powerful conservative whose departure was swift and surprising: Bernard “Barry” Freundel, the rabbi who led Georgetown’s Kesher Israel synagogue for 25 years before being arrested in 2014 for voyeurism.

Freundel was accused of making secret video recordings of women from his congregation as they undressed to use the mikvah, a ritual bath. Most of his victims were converts or students, women he was helping to shepherd into the faith. His primary device was a clock radio with a camera concealed inside. He edited the videos, organizing them and labeling them, as police discovered when they raided his residence and seized a dozen computers along with various portable storage drives.

In 2015, Freundel pleaded guilty to filming 52 women without their knowledge, though some 100 additional victims were unable to press charges because the statute of limitations had expired. He was sentenced to sixand-a-half years in prison.

A.J. Campbell, 48, who was raised a Modern Orthodox Jew in Southern California before coming to D.C. in the early aughts, followed the case in the press obsessively. Having spent most of her career as a graphic artist, she’d been itching to take another run at playwriting, a pursuit she’d experimented with in her early twenties. Her early efforts are, she says now, “unwatchable.” Constructive Fictions, which imagines Freundel in his jail cell as he is visited by four women—composites of his victims—is her third play, and her first contribution to the Fringe Festival. It’ll be her first as an attendee, too, though she says she sees plays “as often as I can afford it.”

Campbell describes herself now as a Conservative, a strain of Judaism that she says is “more egalitarian and discussion friendly” than Orthodoxy. Conservatives also permit women to become rabbis, which is forbidden in Orthodox practice. She says Freundel fascinated her because his word was considered unimpeachable where conversions are concerned. “He was obsessed with determining who’s really a Jew,” she says. “He had a need to be a gatekeeper.”

Converting to Judaism is much more difficult than converting to Christianity or Islam and much is left to the discretion of your rabbi, Campbell notes. The process is long and expensive, and in the end just because one rabbi says you’re Jewish doesn’t necessarily mean that every other rabbi must accept you as a member of the tribe.

Moreover, the rabbi who oversees your conversion is important. “It’s a little like going to college, in that where you go to college matters,” Campbell explains. “In Orthodox conversion, you can be in process for years, until the rabbi says you’re ready. You sort of have to prove yourself.”

But Freundel served as the leader of the Rabbinical Council’s conversion committee— which meant that his word was rarely questioned in such affairs.

As the bearded, rotund, now-65-year-old Freundel, she and director David Moretti cast Matty Griffiths, a 52-year-old actor whose face may be familiar to Capital Fringe veterans from his long tenure overseeing its food and beverage operation. If you bought a beer or a half-smoke or a hummus plate at the Baldacchino Gypsy Tent Bar between 2008 and 2014, before Capital Fringe moved into its new permanent headquarters in Trinidad, you probably met him. Griffiths was more recently seen in an almost-wordless but emotionally powerful role at Forum Theatre in the teen pregnancy drama Dry Land last spring.

For what it’s worth, Griffiths is not Jewish. washingtoncitypaper.com july 7, 2017 13

He says he discussed the role with friends who serve in leadership roles in their own religious communities, to try to understand their sense of obligation. He also read some of Freundel’s extensive writings to prepare for the part, but he’s making no attempt to mimic the man’s speech, even though there are many videos of him publicly available. Campbell used them to help her write, she says. She submitted a re-

quest to Frendel’s attorney for an interview with the disgraced rabbi but didn’t receive a response.

Campbell says her imagined version of Freundel comes from her belief that he made the videos more out of a drive for control than for sexual gratification. She thinks he might have justified the years of spying by convincing himself it was necessary to verify that his

converts were performing the prescribed sequence of Orthodox bathing and grooming tasks properly.

In her fiction, she uses the names of the four Biblical matriarchs—Sarah, Rebekah, Leah, and Rachel—for her composite women. “Leah’s story is really my own story,” she says. Her premise is that Freundel must endure their nightly visitations until he admits

why he committed his crimes.

In September 2015, the rabbi published a letter of apology in Washington Jewish Week.

“It was awful,” Campbell says. “He didn’t get it.”

July 6, 7, 8, 20 and 23. Eastman Studio Theatre, Florida Avenue NE and 8th Street NE. $17. capitalfringe.org.

Pamela Nice

Bank Accounts

An award-winning Fringe production about the West Bank occupation brings its propeace message back to the stage.

By Amy Lyons FiFty years have passed since the 1967 SixDay War, which marked the beginning of Israel’s occupation of East Jerusalem and the West Bank. The continuous feuding between Israelis and Palestinians has resulted in thousands of lives lost, given rise to Hamas, and failed to move Israelis and Palestinians toward a sustainable, peaceful solution. It’s a complicated war of borders, a literal bloody mess.

Despite decades of wars—or perhaps because of them—powerful pieces of art have come out of the region. For 17 years, the Voices of a Changing Middle East Festival, first presented by Theater J and now by Mosaic Theater Company of D.C., brought many significant plays to local audiences.

This year’s Capital Fringe Festival includes another particularly emotional part of the canon, Pamela Nice’s It’s What We Do: A Play About the Occupation.

The play emerged from a presentation by Breaking The Silence, an organization that collects and publishes testimonies from Israeli soldiers who have served in the West Bank, Gaza, and East Jerusalem since 2000. Organizers curate text and mount public events to

share the stories of Israeli soldiers with the goal of exposing audiences to the brutal and untenable realities of life in the occupied territories. Nice attended one such event at Busboys and Poets in 2013, which inspired her to write It’s What We Do. “I was so taken by the courage of the soldiers from Breaking the Silence, most of whom were conscripted, talking about what they did and talking about what the occupation means,” Nice says. “They are not the policymakers. They are the boots-on-the-ground people.”

Her play centers around three Israel Defense Forces soldiers. As they are interviewed about the acts of violence and subjugation they committed against Palestinians, the soldiers express regret and, at times, agonizing guilt about enforcing an occupation that they morally oppose. Intermittent scenes dramatize the horror and supply a close-up view of the ramifications of the occupation. The play premiered at Capital Fringe in 2015, winning the Audience Award for Best Drama.

This year’s iteration, which Nice brought back to coincide with the 50th anniversary of the occupation, is largely unchanged, with the exception of several new cast mem-

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bers and some additional text from the Palestinian point of view. Nice gathered direct quotes from Palestinians when she visited the region in 2016 on an interfaith peacebuilding trip. She called the situation at checkpoints Kafkaesque—there was no way to know why and how, and for how long, Palestinians are detained.

Nice also spoke to many Israelis. “We went to Sderot, the city that receives most of the Hamas rockets from Gaza,” she says.

“We talked to a woman there who started an NGO to build relationships with Gazans. She refused to accept that Palestinians had to be her enemy.”

The playwright has a history of using art to increase understanding between Americans and Arabs. Her 2003 documentary Letters from Cairo features interviews with Egyptian artists and intellectuals. She has lived in Morocco, where she taught theater of the oppressed techniques, which encourage artists to use the-

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ater to promote social change, to students who complained of sexual harassment by the police. During a stint in Egypt she taught a studyabroad course for Americans who wanted to learn about Egyptian life through the eyes of Egyptian artists. She has taught courses in theater, Arab film, and Arab literature at the University of St. Thomas in Minnesota and been a film critic for Al Jadid, a review of Arab arts and literature. She is currently working on a film script about a Muslim scientist in the U.S. who is targeted when a vial of his newly developed bioterrorism agent goes missing.

“It’s based on a true story of a non-Muslim scientist whose life was ruined when his vial disappeared,” Nice says. “You can only imagine what would have happened if the scientist was Muslim.”

It’s meaningful, says Nice, to bring It’s What We Do back to Fringe this year, given the current political climate. “Some of the language coming out of the highest office in the land is encouraging the dehumanization of Muslims,” Nice says. “The U.S. gives over $3.2 billion in military aid each year to Israel, much of it to fund the occupation, and that amount will rise.”

One thing that remains constant from the 2015 production is the presence of Jamal Najjab. A Palestinian-American who made his acting debut in the original production, Najjab is returning to the stage in a play that is close to his heart.

After working as a reporter and photographer in the West Bank for three years, Najjab was beaten and jailed, after which he says he didn’t take photographs for many years. Since coming to the D.C. area, he’s become a fixture in the art scene’s conversation about the West Bank crisis. Ari Roth, founding artistic director of Mosaic Theater Company, has worked with Najjab on Mosaic’s Peace Café conversation for several years. In a show of artistic camaraderie, Nice and Roth cross-market and support each other artistically, and both artists have drawn from Breaking the Silence to develop and distribute anti-occupation, pro-peace art.

“We couldn’t believe any more in Breaking the Silence, and Nice’s play really respects the source material,” Roth says. “The material measures the cost of occupation. What Israeli soldiers are being asked to do is difficult and terrible. The price that is paid in order to maintain a security apparatus has a lasting and corrosive impact on the Israeli body politic, on the Israeli character and soul.”

Fringe audiences will go into the show knowing there is no peaceful solution yet to the Israel-Palestine problem, but a harmonious union of D.C. artists gives voice to the injustices in the region and calls for peace. Roth finds the local collaboration compelling.

“Making art out of conflict and making something that is a beautiful human expression of pain and difficulty is important,” Roth says.

“It breeds understanding and a whole different take on political strife.

July 13, 15, 19, 21, and 23. Atlas Performing Arts Center: Lab II. 1333 H St. NE. $17. capitalfringe.org.

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Lauren Hanna

Let’s Take This Offline

In Nevertheless, She Persisted, Lauren Hanna crowdsources stories for the stage.

By Becky Little the idea For one of Capital Fringe’s new plays began with Pantsuit Nation, the “secret” Facebook group for Hillary Clinton supporters that emerged in October 2016. After Clinton lost the election, the group became a place for users—mostly women—to share their personal stories and anxieties about the incoming administration. But it didn’t take long for the whole thing to turn sour.

Lauren Hanna observed the devolution of Pantsuit Nation from her home in Germantown. Hanna is a storyteller whose personal company, The SMArtsLab, helps organizations figure out the best and most creative ways to reach their audiences. As someone who’s interested in helping people communicate, she paid close attention to the problems that arose in the Facebook group.

“It started off as one of those safe spaces for people to congregate and share their experiences,” she says. But even before the group’s

founder Libby Chamberlain announced in December that she was publishing a Pantsuit Nation book—prompting questions of whether users’ stories would be pulled from Facebook without permission or compensation— Hanna noticed that members were growing uncomfortable.

Though many used the group to share powerful personal stories, a lot of white women started using Pantsuit Nation “as a place to be very self-congratulatory… ‘Look at me, I did this wonderful thing, I’m a sup-

por tive person, I’m an ally,’” Hanna says. Others wondered why the platform was being used for storytelling and not activism, or chafed at the merchandise that Chamb erlain star ted selling on the Facebook group.

Hanna believes that storytelling can be powerful when executed through the right medium. And although she liked the story-sharing idea behind Pantsuit Nation—and believes storytelling can be effective in certain social media settings—it was clear that Pantsuit Nation’s format wasn’t working. How, she wondered, would the exp erience change if people were asked to share their stories for the stage, rather than on Facebook?

The result is Nevertheless, She Persisted: Stories of Connection in a Disconnected Society, Hanna’s first show in the Capital Fringe Festival. The play is made up of a series of personal stories that Hanna crowdsourced through social media, email, and outreach to different organizations—some written specifically for the play, and some were adapted from material already posted on social media. Although Pantsuit Nation helped give Hanna the idea for the play, she doesn’t consider her play to be a response to, or a critique of, the Facebook group.

“I wanted to give life to stories in a more personal, face-to-face nature, because you can’t convey tone online as well as you can in person,” she says. “When you’re in a room with someone who’s telling a story, it’s easier to listen—and really listen, instead of just listening to react.”

Her calls for pitches were vague about the topics people should write about. But with a title like Nevertheless, She Persisted, a lot of submissions gravitated toward subjects like discrimination, activism, and social media, as well as political issues like the travel ban and healthcare. Most, but not all, of the submissions she received were from women.

When soliciting for stories, Hanna—who is a white woman in her 30s—tried to reach out to diverse groups of people. She got in touch with a Muslim woman who blogs about par-

enting and asked a friend to talk to members of her Islamic IMAAM Center in Silver Spring about participating in the project. Hanna also contacted Montgomery County’s chapter of the activist group Together We Will; the Harry Potter Alliance, an activism and storytelling organization with many LGBTQ participants; and D.C.’s Pantsuit District (which Hanna says has recently changed its name to Rise District). In light of the controversy over Chamberlain’s Pantsuit Nation book, Hanna emphasized to potential submitters that the stories would only be used on their terms.

“I really want people to share with the knowledge that their story is going to be taken seriously and that it’s for sharing’s sake,” she says. “It’s not to come in and save the community or be a spokesperson for community, it’s because I want their voices to speak for their community.”

During each Fringe performance, a diverse group of four or five actors will read 30 stories collected from Hanna’s crowdsourcing. Some of the stories were written anonymously, but a lot of them were not.

When Hanna originally submitted her application to Fringe in November, her working title was Dispatches from Pantsuit Nation.

But the news that Chamberlain was publishing a book and registering Pantsuit Nation as a nonprofit raised some legal concerns about using the name in her play. In February, when Senator Mitch McConnell (R-KY) made his now infamous remark about Senator Elizabeth Warren (D-MA)—“Nevertheless, she persisted”—Hanna decided to make that her new title.

At the time, the phrase seemed powerful, and less baggage-laden than Pantsuit Nation.

Now, it feels strangely oversaturated: McConnell’s words have inspired over 100 tattoos, an entire section of Etsy, and a children’s book by Chelsea Clinton. Given all this, is Hanna still happy with her title?

“I am happy with it, actually,” she says.

“By opening up the title and focusing on persistence rather than just one small group on the internet, it allows for a greater depth and breadth of stories from different groups of people… There has been some dilution of the phrase since [February], but I think there are enough people now who are still fired up by the phrase.”

In any case, Hanna is less concerned by what people think of her title than whether they’ll be able to get anything out of the stories she’s curated.

So often, she says, “we listen because we’re trying to figure out what our response is or how we’re going to react to it, rather than listening to take things in.” Hanna thinks that listening to listen, not just to react, “is one of the only ways that we can change our own opinions and change norms. So I think if people come out and learn one new thing or gain some perspective that they never thought of before, I think that that would be a success to me.”

July 6, 9, 15, 19, and 22. Atlas Performing Arts Center: Lang Theatre, 1333 H St. NE. $17. capitalfringe.org.

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D.C.’s Burmese food stall in Union Market launched a new menu this month. Toli Moli, known best for its layered falooda desserts, now serves savory rice bowls on Saturdays and Sundays including a “chicken aloo” bowl with chicken thighs, potatoes, tomatoes, kaffir lime leaves, and cilantro.

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Darrow Montgomery

ChiKo—casual Chinese and Korean—comes to Barracks Row.

By Laura Hayes To eaT The best thing on the menu at ChiKo, opening on Barracks Row Friday, use a chopstick to pierce a soft-boiled egg that’s stained brown from sweet soy sauce. Then watch as yolk dribbles out, coating everything in the bowl: Wagshal’s smoked brisket in a shiny soy glaze, a round of chilled butter flecked green with dried seaweed, steamed rice, and pickled Korean long chilies.

The calorically naughty dish costs about $20 and is at once comforting and playful. But best of all, it doesn’t fit squarely into any mold, much like the restaurant itself, which was founded by hospitality partners Danny Lee of Mandu, Scott Drewno (formerly of The Source by Wolfgang Puck), and Drew Kim (formerly of Matchbox Food Group). They call their group The Fried Rice Collective.

The name ChiKo suggests that the 28-seat restaurant serves Chinese and Korean food.

“The dishes are based in Chinese techniques and flavors, and Korean techniques and flavors,” Lee says. “But does that mean those dishes exist in China or Korea? No.”

Young & hungrY

Nor is ChiKo’s cuisine the distinct genre of Korean Chinese fusion that’s becoming increasingly popular at eateries like Jang Won in northern Virginia. The Annandale restaurant is best known for its jjajangmyun—noodles slippery with fermented black bean sauce.

“Some dishes we make might blur into that, but we’re not overly concerned about that,” Drewno says. “People are going to think it’s fusion. A long time ago that would probably bother me, but as long as you like it and think the food is good …”

The concept is as unorthodox as the food.

Diners will find themselves in front of a rainbow display of preened and prepped cilantro, Thai basil, mint, dragon fruit, avocado, and more. And though they’ll line up to order at the counter, ChiKo’s fast-casual brand is not the build-a-bowl variety.

Instead, it serves a menu of dishes that arrive in steel bowls on sheet-pan trays. Appetizer-sized snacks cost around $10 while entrees rarely eclipse $20. After ordering, find a seat and someone will deliver your food. There will also be a selection of beers, wines, cocktails, and soju.

It’s clear from the circumference of the cartoonishly large wok that Lee and Drewno hope to

get their flavors in front of a crush of people. “The market is moving this way—fine dining will have its day, but right now fast-casual is what people want,” Drewno says.

But they’re not compromising quality to feed the crowds. Drewno says they’ll still shop at farmers markets for produce and will source whole hogs from Loudoun County’s Spring House Farm.

And they’ll soon begin offering “Save The Bay Fridays,” featuring local oysters or invasive species such as snakehead fish. Similarly, they’ll serve up vegetarian specials for their weekly “Meatless Monday” theme night.

While ChiKo’s main dining area is first-come, first-served, there are four chairs positioned directly in front of the lively kitchen where diners can make reservations for up to four people for two nightly seatings (6 p.m. and 8:30 p.m.) and order a tasting menu in the $50 price range—but not the kind that calls for tweezers or edible flowers. “It’s basically, eat the menu,” Drewno says. Expect three sheet pans of food, which will include items from the regular menu, plus some surprises.

ChiKo was first conceived more than a year ago. “It started off with Drew [Kim] asking me out on a date for lunch,” Lee says. “We sit down and he says, ‘This is going to be a business lunch.’” Kim was itching to break away from Matchbox Food Group, where he had worked since 2003. As his company began growing into other cities, he says the concept became too cookie cutter. “One of the things that was really lacking was creativity. That’s my thing, and I just wasn’t able to do it anymore.”

The partners initially considered siting ChiKo in the rapidly developing Union Market area, but the deal fell through, so it was on to Barracks Row where Matchbox still held the lease for 423 8th St. SE—the former home of its concept DC-3 that closed last June. Kim has also lived in the neighborhood since 2007.

Kim and Lee eventually brought in Drewno, who has cooked Chinese food for 20 years—10 of them at The Source by Wolfgang Puck. “The great thing about these guys is there’s no ego

involved, and I think that’s what happens to a lot of restaurant groups,” Kim says of his new partners. “Especially in a town that’s blowing up with restaurants, you have to check your ego at the door.”

What Lee and Drewno share in the kitchen at ChiKo is the freedom to “just cook.” Drewno says, “I wouldn’t want to do anything that would embarrass Wolfgang [Puck], but when it’s just us, we can do the dishes we want to do.”

One of them is a bowl of black and blue fried rice with hot and numbing smoked blue catfish from Ivy City Smokehouse, bonito flakes, and cured egg yolk. “It’s a little more down and dirty,” he says.

Another dish that wouldn’t fly in fine dining, Drewno says, is the wok-fired peel-and-eat shrimp with XO sauce, crispy garlic, fermented Chinese black bean, and chili-dusted lime. The sticky sweet shrimp that have been butterflied splay out on parchment paper on top of a tray.

While Drewno is shedding white tablecloth formality, Lee is gaining the freedom to stray from tradition. “For 11 years at Mandu, we’ve called dishes by their Korean names and tried to be very traditional,” he says. Where Mandu is time-honored, ChiKo is modern, and that takes the pressure off pleasing “people who think they know what traditional, authentic Korean food is.”

At Mandu, Lee has cooked side-by-side with his mother, Yesoon Lee. While “Mama Lee” isn’t an official partner at ChiKo, she’s supportive of her son’s next chapter. “She already jumped behind the line, and I was like, ‘Get out!’” Lee says. “I don’t show her any menu items on purpose because she’s going to be like, ‘What the hell is this?’ But she’s really proud too.”

Kim, who is half Korean, thinks his father would also be proud. “My dad was the chef in the house—he taught my mom how to cook Korean,” he says. Growing up in West Virginia, Kim says there were no other Korean families, and to get Korean ingredients they would drive to a store in Athens, Ohio, once a month.

“My dad would go hog-wild and load up,” Kim says. “I have vivid memories of him having a fridge in the garage just for kimchi because it smelled so bad.”

“This is bucket list for me,” he continues.

“This is a tribute to my dad. It’s something I wanted to do when he was still with us, but I think he’d be super happy.”

ChiKo opens July 7 for dinner only. The hours are Monday-Thursday from 5-11 p.m.; FridaySaturday from 5 p.m. to midnight; and Sunday from 5-10 p.m. They’ll eventually add take-out, possibly delivery, and definitely brunch. CP Eatery tips? Food pursuits? Send suggestions to lhayes@washingtoncitypaper.com. washingtoncitypaper.com july 7, 2017 19

DCFEED

what we ate this week: Stone fruit salad with peach, nectarine, strawberry, chili, herbs, shallot, and tamarind, $13, Doi Moi. Satisfaction level: 4 out of 5. what we’ll eat next week: Spicy salmon poke with onion, fish roe, avocado, lettuce, seaweed salad, and chili pepper aioli, $12.95, Abunai Poke. Excitement level: 4 out of 5.

Grazer

Sauce-O-Meter How recent food happenings measure up

By Laura Hayes

Cleveland Park lost two mainstay restaurants in June.

Ripple shuttered despite fresh chef talent in Ryan Ratino, and NamViet says it closed over competition from trendier dining neighborhoods.

MUMBO SAUCE

The LINE DC Hotel still isn’t open.

That means we’ll have to continue to wait for Brothers & Sisters and Spoken English from Erik Bruner-Yang and A Rake’s Progress from Spike Gjerde.

L’Hommage Bistro in Mt. Vernon Triangle is closed but its restaurateur Hakan Ilhan plans to reopen it as a new Latin American small plates restaurant that caters to younger diners.

Forthcoming Shaw sushi restaurant Mirai from the Sushi Capitol team will rush you through their omakase tasting menu in 30 minutes.

The must-wear-white dinner party Dîner en Blanc is coming back to D.C. Aug. 26, and 30,000 people are already on the waiting list to haul their tables and chairs to an undisclosed location.

’WichingHour

Chef Kwame Onwuachi of The Shaw Bijou is back on the horse. He’s opening a new D.C. restaurant inside the InterContinental Hotel at The Wharf where he’ll be responsible for breakfast, lunch, and dinner.

A new bill introduced

by Councilmember Brianne K. Nadeau could help restaurants that have been open for 10 or more years get grants to supplement rent in gentrifying neighborhoods.

Cost: $10 Stuffings: Roasted pork, caramelized peppers and onions, provolone cheese, salsa verde Bread: ciabatta roll

Darrow Montgomery

Thickness: 3 inches

The Sandwich: Roasted Pork Sandwich Where: Cucina al Volo stands at local farmers markets, including the White House, U Street NW, Bloomingdale, Foggy Bottom, Ballston, and McLean

Pros: The pork in this sandwich is as fresh as you’re going to get—the pig roasts in a smoker, and your meat is chopped to order. The layering of ingredients is also key. With the verdant, slightly spicy sauce and nutty cheese on the bottom, you’re assured a taste of each in every bite, while a topping of caramelized onions adds a sweet note.

Cons: Roasting a pig in a portable smoker on the streets of D.C. is an inexact science, so some pieces come out

20 july 7, 2017 washingtoncitypaper.com

The massive, 17,000-squarefoot District Winery coming to Navy Yard this summer hopes to produce about 20 wines, and it snagged Chef Benjamin Lambert from 701 Restaurant to cook.

Buredo’s new menu includes new rolls like the “Nikkia” with charred salmon, salmon roe, kimchi slaw, blistered shishito peppers, red onion, shiso, tempura crunch, and a creamy sesame sauce.

dryer while other pieces taste a bit too fatty. While the salsa verde does provide a bright kick that cuts through the rich meat, it’s also quite oily, which detracts from the otherwise perfect flavor combination.

Sloppiness level (1 to 5): 3. Your roll is packed to the gills with meat and veggies, and though you get a real bang for your buck, it’s hard to bite through. The oil that drips from the bun doesn’t make gripping it any easier.

Overall score (1 to 5): 5. Although the execution varies from sandwich to sandwich, the intentional design and flavorful ingredients make it a winner.

You’re not likely to find a fresher sandwich on the streets of D.C. —Caroline Jones

Courtesy of Colada Shop

LAME SAUCE

UnderServed The best cocktail you’re not ordering

What: Babalu with Bacardi Carta Blanca rum, passion fruit, lime juice, palo santo syrup, and palo santo dust.

Where: Colada Shop, 1405 T St. NW; (202) 332-8800; coladashop.com Price: $8 What You Should Be Drinking: In the Afro-American and Caribbean religion Santeria, Babalú-Ayé is an orisha (deity) whose name translates to “Father, Lord of the Earth.” Partner and creative director Juan Coronado wanted to pay tribute to the Afro-Cuban heritage with an elegantly earthy cocktail. He mixes white rum, lime juice, and passion fruit with syrup made from palo santo (“holy wood”), a mystical tree native to Peru, Venezuela, and Mexico’s Yucatan Peninsula that’s widely used in folk remedies.

The drink is served up and garnished with palo santo dust. Coronado says the “mixability” of white rum makes it the best base for the ingredients included in the drink.

Why You Should Be Drinking It: Pray to the gods for a sunny day so you can sit on the Cuban cafe and bar’s inviting patio and taste your way through Coronado’s cocktails, all priced at $8. But sticking only with mojitos and piña coladas is sacrilegious when there are other amazing rum drinks on the list. Palo santo—in the same family as frankincense and myrrh—is an unfamiliar ingredient in this part of the Americas. But its distinctive incense-like aroma and barky vanilla flavor form an irreverent holy trinity with tangy passion fruit and lime.

Along with a basket of flaky empanadas, the sugarcane sipper makes for a divine late afternoon snack.

—Kelly Magyarics

CPArts

The D.C. Hip-Hop Theater Festival returns for its 17th edition this week, bringing together dancers, actors, directors, and musicians to reflect on hip-hop culture. Check out free performances throughout the week at the Kennedy Center Millennium Stage, Honfleur Gallery, and Busboys and Poets at 14th & V.

A Shock to the System

For its first show celebrating its 30th anniversary, the National Museum of Women in the Arts highlights intense work from a myriad of living artists.

Revival

At the National Museum of Women in the Arts to September 10.

By Becky Little The arT in Revival doesn’t so much catch viewers’ attention as it assails them into acknowledging it. At the main entrance is an enormous video projection of a two-year-old smoking.

During a 19-second loop, he lifts the cigarette to his mouth, withdraws, and blows smoke rings right at the camera. At one point, the camera zooms in so close that the boy’s mouth fills the entire screen.

Few people will watch this video that artist Maria Marshall made of her son Jake and not feel deeply uncomfortable. And learning that the cigarette is fake and the smoke digitally added won’t necessarily put them at ease.

Marshall herself was disturbed by the footage, which was originally filmed for an anti-pollution ad. The ad’s director provided Marshall with the clip, and she digitally enhanced it to make it seem as though Jake were actually smoking. When she watched the film, she couldn’t help projecting onto her son her own parental anxiety about what kind of person he might grow into. “How,” she wondered, “does a mother calm herself and learn to let her children just be?”

Revival is the first in a series of shows celebrating the National Museum of Women in the Arts’ 30th anniversary, and it highlights a shift in the museum’s approach since it first opened in 1987. Back then, it focused heavily on highlighting female artists of the past who’d been left out of art history. That’s still a big part of the museum’s mission, but in recent years, it has shifted its focus more toward championing contemporary artists.

In that spirit, Revival showcases 16 artists, 15 of whom are living. The common theme among their work isn’t a set of ideas or emotions, but rather the intensity of the reactions they trigger in the viewer. The featured sculptures, photography, and videos overwhelm the senses with their almost painful explorations of feelings like love and fear. And like the sweaty, oldschool church revivals that partly inspired the exhibit’s name, this show is not here to make you feel comfortable.

Marshall isn’t the only artist in the group who explores how adults project their anxieties onto young people. The pale adolescent girls in Anna Gaskell and Deborah Paauwe’s photos look menacing, or maybe even inappropriately sensual. As with the 2008 controversy over a portrait that Annie Leibovitz took of 15-year-old Miley Cyrus for Vanity Fair, they raise the question: Are these girls being sexualized, or are viewers just unloading their own adult baggage onto them? Or, put it another

galleries

tos are eerily reminiscent of 19th century Orientalist paintings that fetishized Arab women through a Western gaze.

In Essaydi’s images, her female models are adorned with and surrounded by intricate patterns of golden bullet casings. These bullets evoke the violence that Westerners often imagine is inherent in Arab and Muslim people. But they also draw attention to how actual violence in the Arab world— which attracts less Western news coverage and sympathy than attacks in France or the United Kingdom—can be at once visible and hidden.

Just beyond Essaydi’s images is a sculpture so disconcerting that the museum consciously placed it in a tiny room by itself.

“The truth is, it doesn’t play well with others,” says Kathryn Wat, the museum’s chief curator. The piece by artist Patricia Piccinini is of a mother and her four babies, all of whom look kind of like human-pig hybrids. The creatures are realistically grotesque, and their hair even comes from human heads. The piece, like much of Piccinini’s work, is concerned with whether human empathy will be able to keep up with our own biotechnical advantages (visitors may be reminded of the recently invented artificial womb).

Through her work, Piccinini asks whether we will be able to accept the creatures we create, no matter what they look like.

Frankly, it seems an irrelevant question. The thriving white supremacy and Islamophobia in the United States and Western Europe shows that humanness on its own is not “Untitled #27 (override)” by Anna Gaskell (1997) enough to engender emNear the statue, another sculpture by Saar of a decapitated pathy (and if you need a reminder, just go back and look at Eswoman’s head lies on a raised, rectangular pedestal. The wom- saydi’s work). Still, Piccinini’s sculpture feels appropriate in the an’s hair hangs over the edge, tangled with the irons that she show. Like the other pieces in Revival, it’s so extreme that it forc(presumably) tried to straighten it with. Now, in a grotesque re- es you to have a feeling about it, even if that feeling is wanting to crawl out of your own skin. versal, her head appears to be the thing on the ironing board.

CP Two of the most subversive pieces in Revival are from Arab artist Lalla Essaydi’s Bullets Revisited series. The pho- 1250 New York Ave. NW. $8-$10. (202) 783-5000. nmwa.org.

way: If there is a problem here, could that problem be you?

There are also several images of inverted women in the exhibit, the most powerful of which is a statue of a naked black woman with antlers (a male adornment). She is suspended from the ceiling by a rope around her ankles, and the effect is striking—and disturbing—for its resemblance to a lynching.

But that isn’t the only thing artist Alison Saar had in mind when she made it.

“Being half-white and half-black, duality has always been a big part of my life,” Saar told the San Diego Union-Tribune in 2011. She sees her antlered woman as “being half-animal and half-civilized. She’s kind of trapped between these two and not able to decide which she is, or what world she belongs in.”

washingtoncitypaper.com july 7, 2017 21

FilmShort SubjectS

Pure nun-sense The Little Hours

Directed by Jeff Baena Officially, the MPaa has rated The Little Hours R for “graphic nudity, sexual content, and language.” Let’s be more specific.

It has been rated R for excessive profanity, severe beatings, drunkenness, drug use, threesomes, comically profuse pubic hair, and extensive witchcraft. It’s the kind of movie a 12-year-old boy might stay up late to catch on Cinemax: sweetly sophomoric, not so much a film as a series of sporadically funny sketches taking low-brow shots at a broad target.

A loose adaptation of one chapter in Boccaccio’s The Decameron, a 14th century collection of Italian novellas, it’s the story of three mischievous young nuns living at an Italian convent. The opening scenes, in which a character silently leads a mule and wagon over gorgeous Tuscan hills, tease with their humility and faithfulness a thorough skewering of religious piety, but The Little Hours doesn’t care enough about its aim. It promises sacrilege, but it’s really just light heresy. Bad Nuns would have been a more apt title.

Worse still, not all of them are even bad.

There’s Alessandra (Alison Brie), an innocent young woman waiting for her father (Paul Reiser) to come up with a dowry so she can marry her betrothed. She’s biding her time in a convent to please him, and struggling not to fall under the spell of Fernanda (Aubrey Plaza), a sarcastic degenerate who bears a strong resemblance to every other character Plaza has played.

Along with Genevra (Kate Micucci), a gentle innocent, the three find a prize worthy of their boredom-driven mischief with the arrival of a farm boy (Dave Franco), who was fired from his last job after being caught fraternizing with his employer’s wife. Convinced by the alcoholic priest who oversees the convent (John C. Reilly, whose gentle depravity gets the biggest laughs) to pretend to be a deaf mute, the boy stays silent while the three young nuns unleash their passions on him.

Didn’t we just see this story? The plot of The Little Hours is reminiscent of Sofia Coppola’s The Beguiled, which opened in theaters last week. Each is about a group of isolated young women who go a little nuts when a handsome man comes to stay. Both are set in the past and come with an expectation of feminist themes, but their actual sexual politics are a little more slippery. What does it say about women when they become jealous and violent in the presence of a hot guy?

Or are we supposed to blame a society that 22 july 7, 2017 washingtoncitypaper.com

isolates them in forced chastity? Ultimately, both films simply go for laughs, leaving the complex political subtext largely unexamined.

What is most problematic then about The Little Hours is how quickly those laughs fade. Sure, it’s fun to see Plaza scream and cuss, but her character starts out fallen, so her descent into further wickedness doesn’t have much of a punch. Brie feels curiously underused, and her character barely has an arc at all. Only sweet Micucci finds the anarchic tone the movie needs; Genevra’s first sip of wine sends her headfirst into a spiral of debauchery that concludes with

bombs and blessings Nowhere to Hide

Directed by Zaradasht Ahmed fearlessness in children is sometimes something to be admired. They forge new friendships, try new activities, are eager to untangle themselves from the apron strings. But brav-

The Little Hours

Nowhere to Hide

her smearing blood on her face and dancing naked through the woods wearing the world’s biggest merkin. In Micucci’s immodest performance, we see the brazen comedy that could have been, if only writer and director Jeff Baena had aimed a little lower.

—Noah Gittell The Little Hours opens Friday at E Street Cinema.

ery in a war-torn area is altogether different. In the fraught Nowhere to Hide, a nurse named Nori Sharif asks his daughters if they are afraid as the family flees their Central Iraq hometown, which has been seized and destroyed by ISIS. “No,” they say, smiling. Have they gotten used to the sights and sounds of artillery?

“Yes.” This, even after Sharif had asked his son to pray, “God, don’t let the plane bomb us” as they drove.

Though Zaradasht Ahmed is the credited writer-director of this documentary, he entreats Sharif to film as well in order to get closer to people’s stories of everyday life in the Diyala Desert, which has become known as the Triangle of Death in the handful of years since the U.S. withdrew troops in December 2011.

At the time, a radio broadcaster claimed that the withdrawal was “greeted with song and dance.” But times have changed, for reasons that have befuddled Iraqis along with the rest of the world.

After a short prologue, Ahmed starts here. He follows Sharif as the medic details how there’s been “a new reality” at his hospital since the 2003 invasion in terms of injuries, which were no longer mundane. Matter-of-fact yet upbeat—he often seems amused while setting up his camera—Sharif includes footage of his home life and says, “Honestly, my life is good.

I have everything I need.” Yet every day he sees patients and neighbors whose lives and livelihoods have been destroyed by the war. There’s a man whose mutilated foot keeps him from working. Video of a child who died because his mother couldn’t afford medication. “An army of orphans.” And a young man whose friends were killed while bullets left his body ravaged and paralyzed. “For all these people, the war entered their lives like a tornado,” he says. “For them, the war is still going on.”

Remarkably, some of these victims share Sharif ’s silver-lining attitude, such as a man who was twice kidnapped by al-Qaeda and is now in a wheelchair. Yet he muses about worse fates, such as if he had accidentally killed people while working as a crane driver. The luckier ones, meanwhile, question and lament the state of their country. While a group of medics hear about children who were beheaded, one asks, “Beheadings? In our history, this is not normal. I cannot understand it. We have been living here together for decades without conflict, and now all this. Why?” Sharif points out that whereas American tanks were easy to hide from, now the danger of internal conflicts is invisible, with “sticky bombs” placed underneath cars and suicide bombers showing up at funerals.

Nowhere to Hide may not offer answers, but it does offer insight crucial for the outside world. Viewers will be rattled by quietly shot footage of the immediate, bloody aftermaths of bombs and gunfire. A son identifying his father in a body bag is an impossibly wrenching moment. Kids who “of course” want to study and have careers are yanked out of school because their parents have no other way to earn money.

Ahmed includes a peaceful 2013 protest, but it isn’t powerful enough to overtake ISIS and the record numbers of casualties that spiked after the troops withdrew. Music is unnecessary, and the director smartly keeps it minimal.

As for Sharif, he and his family ended up traveling to 13 locations before they found safety and a chance to rebuild. “There’s a strange sort of quiet,” he says as the people he shares shelter with rebuild as well. There’s no sing-

Join the Public Service Commission of the District of Columbia (DCPSC) at a Community Hearing to consider the Pepco/DDOT Application to approve undergrounding of certain electric power lines and facilities in the District (Formal Case 1145).

Hearing Dates: Friday - July 21, 2017 - 2:30 p.m. start (Ward 8) Community of Hope DC 4 Atlantic Street S.W. Washington D.C. 20032 Monday - July 24, 2017 - 6:30 p.m. start (Ward 5) Trinity Washington University O’Connor Auditorium 125 Michigan Avenue N.E. Washington D.C. 20017 Tuesday - July 25, 2017 - 11:30 a.m. start (Ward 4) St. John’s United Baptist Church 6343 13th Street N.W. Washington, D.C. 20011 Tuesday - July 25, 2017 - 6:30 p.m. start (Ward 4) Temple Sinai 3100 Military Road N.W. Washington, D.C. 20015

To testify at a community hearing, please submit your name and organization (if any) to the Office of the Commission Secretary by 5 p.m., 3 days before a hearing by calling 202-626-5150 or by sending an email to psc-commissionsecretary@dc.gov. We welcome walk-ins the day of the hearing.

If an organization or an individual is unable to offer comments at the community hearing, written statements may be dropped off to the DCPSC at 1325 G Street N.W., Suite 800, Washington D.C. 20005, or submitted through the DCPSC website.

Individuals who need special accommodations, interpretation and/or translation services should inform the Office of the Commission Secretary at least 3 days prior to the hearing at 202-626-5150.

JULY 7 – 30. SHEPHERDSTOWN, WV.

800/999.CATF

CATF.org

Keep current with the DCPSC at www.dcpsc.org. Follow the “DCPSC” on

washingtoncitypaper.com july 7, 2017 23

Moka

Stand Up, Podcasts, Sketch Comedy, Music & More!

July 20–22, 2017 with appearances by Jane Krakowski & Tituss Burgess with the National Symphony Orchestra Pops The Daily Show Correspondents Tour with Roy Wood, Jr., Ronny Chieng and Gina Yashere  Louie Anderson  Puddles Pity Party The Second City’s Almost Accurate to America: Divided We Stand The Improvised Shakespeare Co.  Night Train with Wyatt Cenac How To Be Amazing with Michael Ian Black  Judah Friedlander Aparna Nancherla  Jo Firestone  Brandon Wardell Boast Rattle with Kyle Ayers  Mortified  Reductress presents Mouth Time Live!

Leah Bonnema  Brittany Carney  Petey DeAbreu  Ryan Donahue Chris Duffy  Sam Evans  Jared Freid  Violet Grey  Stavros Halkias Benjy Himmelfarb  Jamel Johnson  Sean Joyce  Matty Litwack Dylan Meyer  Joyelle Nicole  Molly Ruben-Long  Cerrome Russell Paris Sashay  Chelsea Shorte  Justin Smith  Kasaun Wilson  Will Winner Brightest Young Things presents The Bentzen Ball Podcast Studio Underground Comedy

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600

Tickets also available at the Box Office. Groups call (202) 416-8400.

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

Roy Wood, Jr.

Aparna Nancherla

Louie Anderson

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600

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24 july 7, 2017 washingtoncitypaper.com

ing or dancing. And Sharif likely no longer believes what he did in 2011: “To be independent is a beautiful thing.”

—Tricia Olszewski Nowhere to Hide opens Friday at the Angelika Pop-Up.

woman on the verge of a nervous breakdown Moka

Directed by Frédéric Mermoud it shOuld be no surprise that the world’s best thrillers come from France. Their heroes are more independently minded and a touch wicked, so part of the delicious charm is to watch them struggle through an impossible situation. In fact, the best French thrillers, like Elevator to the Gallows and Tell No One, can even convert skeptics of world cinema. Directed by Frédéric Mermoud, the new thriller Moka could have the opposite effect: It is a touch too timid and uninvolving, with most of its focus on psychological drama. Its outright reluctance to generate suspense seems deliberate.

Based on a novel by Tatiana de Rosnay, Mermoud sets the action around the border between France and Switzerland in Lake Geneva. The lake itself is like a character in the film, or perhaps a Rorschach test. Depending on what the scene requires, the lake can seem picturesque, inviting, or deadly.

The film revolves around Diane (Emmanuelle Devos), a middle-aged woman whose only child was killed in a hit-and-run accident. A detective (Jean-Philippe Écoffey) helps Diane track the culprit through a deduction of witness testimony: They think the driver owns a vintage German car, in a coffee color, hence the title. Diane discovers a married couple— the sultry Marlène (Nathalie Baye) and her younger husband Michel (David Clavel)—that she suspects of wrongdoing. As she independently ingratiates herself with both of them, she internally begins deciding what punishments they deserve.

Devos and Baye are two of France’s finest actors, and they are appropriately cast for this material. Devos has dark, sharp features, her lips naturally curling into a frown, and she downplays Diane’s grief in favor of steely resolve. Diane is not a gifted improviser, and yet she finds herself in situations where she must invent one lie after another. There is little sense she could get caught, however, since everyone in Moka is overtly deferential. In more ways than one, Marlène is Diane’s opposite: She is blonde, for one thing, with a cheerful, open face. Baye does not play her as someone sinister, but instead as an intelligent, welcoming woman who can easily spot a ruse. Baye appears in far fewer scenes than Devos, and it’s to her credit that we constantly wonder what Marlène is thinking.

The plot is a long—sometimes achingly so—build toward suspense. Diane meets Vincent (Olivier Chantreau), a shifty young man who eventually supplies her with a pistol. Mermoud films them matter-of-factly, without much consideration for danger’s seductive qualities or what it means for an ordinary woman to consider violence. Its ambivalence toward Diane’s investigation makes the film a non-starter, the sort of affair that puzzles more than involves.

That is not to say, however, that Mermoud is incapable of an arresting image. There is a long, aching scene in which Diane observes a woman in the nightclub while Beethoven’s “Moonlight Sonata” plays. Moody lights and gyrating young people only heighten Diane’s pervasive melancholy, and the scene is one of the few moments where we sense her depth of feeling. The rest of Moka is practically polite in how it frames its situations. In thrillers, characters make deadly choices, compromising themselves along the way. Moka has an abundance of tact, to the point where barely anyone has an opportunity to sully themselves.

Diane is not exactly after vengeance, or justice. She simply wants the culprit to share her horrible feelings. This goal can be cinematic, and Moka nearly veers into an understated character study. Still, there is a dearth of curiosity here, so instead of a dramatic thriller, Moka is a mirthless revenge tale that defaults toward drama. When Diane finally finds peace, it is a narrative afterthought. She should have skipped straight to the coda and avoided all the awkward, morbid business of attempted murder.

—Alan Zilberman Moka opens Friday at E Street Cinema.

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JUL 14 PUCCINI’S TOSCA

WOLF TRAP OPERA NATIONAL SYMPHONY ORCHESTRA

JUL 18 + 19

JUL 15 THE TENORS

NATIONAL SYMPHONY ORCHESTRA

MAMMA MIA!

FAREWELL TOUR

STEVEN REINEKE, CONDUCTOR

GRANT GERSHON, CONDUCTOR

u

ASIAN YOUTH ORCHESTRA WITH SARAH CHANG

u

DASHBOARD CONFESSIONAL

u

LYLE LOVETT & HIS LARGE BAND

u

MARY CHAPIN CARPENTER LUCINDA WILLIAMS

u

LIFEHOUSE SWITCHFOOT

THE ALL-AMERICAN REJECTS

BRYNN ELLIOTT u

PILOBOLUS

AND MANY MORE! PREMIER SPONSOR

HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. J.K. ROWLING`S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s17)

2017 SUMMER SEASON

washingtoncitypaper.com july 7, 2017 25

The Anthem • 901 Wharf St. SW, Washington, D.C.

JULY

THIS WEEK’S SHOWS

KALEO w/ ZZ Ward & Wilder....................................................................OCTOBER 14 PHOENIX ............................................................................................OCTOBER 16 Queens of the Stone Age w/ Royal Blood ...........................OCTOBER 20

AUGUST cont.

Freddie Gibbs................................................................................................. Th 8 Release the Pressure Bomba Estéreo .....................Th 179 Jamestown Revival w/with Colter Wall ...............................................................F Martín Miguel, Hot Coffee, The Districts The Record Company w/ The Deadmen Early Show! 7pm Doors .................. Sa 10 Samantha Francesca & Ozker ..F 7 w/ Sam Evian & Soccer Mommy ...F 18 Mixtape Second Pride Party with DJs Shea Van Horn and Matt Bailer .............. Sa 10 Show Added!

U STREET MUSIC HALL PRESENTS First Show Sold Out! Valentino Khan.....................Sa 19 Bitch Sesh Live Matinee Show!

Rodrigo y Gabriela w/ Ryan Sheridan ........................................................

M 12 .....Su 16 2pm Doors. This is a seated show.

Waxahatchee Amadou & Mariam w/ Palehound & Outer Spaces .....M 21 w/ Redline Graffiti ......................Th 20 Delta Rae Sister Hazel w/ Christian Lopez .F 21 w/ Lauren Jenkins......................Th 24 AN EVENING WITH Uhh Yeah Dude This is a seated show.......................Sa 22 The Chris Robinson Conor Oberst (of Bright Eyes) Brotherhood ........................Sa 26 w/ Hop Along ...............................W 26 Washed Out ............................Th 31 AUGUST

SEPTEMBER

U STREET MUSIC HALL PRESENTS

First Show Sold Out! Second Show

Added!

9:30 CUPCAKES

MERRIWEATHER 50TH ANNIVERSARY CONCERT FEATURING

Jackson Browne and Willie Nelson

Hans Zimmer Live with Orchestra and Chorus performing music from

Pirates of the Caribbean, Gladiator, The Dark Knight and more!.................................. JULY 21 Children 12 and under FREE on the lawn with paid ticket!

John Legend New date! All 6/20 tickets honored. ................................................. JULY 25 alt-J w/ Saint Motel & SOHN .................................................................................. JULY 27 Fleet Foxes w/ Animal Collective ........................................................ JULY 29 Belle and Sebastian / Spoon / Andrew Bird w/ Ex Hex ........ JULY 30

w/ Gunnar and the Grizzly Boys ...F 22

MANY MORE SHOWS ON SALE!

Dispatch w/ Guster & Marco Benevento.......................................................... JULY 7 My Morning Jacket w/ Gary Clark Jr. ..................................................... JULY 14

THE MOST SUCCESSFUL FILM COMPOSER OF OUR ERA

Aaron Watson

and The Common Good • Oh He Dead and more! .................F 11

Merriweather Post Pavilion • Columbia, MD THIS FRIDAY!

Gorillaz w/ Vince Staples & Danny Brown ........................................................... JULY 17

w/ Belle Game ............................Tu 16

Party Like It’s • Justin Trawick

• theanthemdc.com

American Authors • Anti-Flag • The Ataris • Big D and The Kids Table • CKY • Emmure • GWAR • Hatebreed • Hawthorne Heights • Municipal Waste and many more! ........ JULY 16

Broken Social Scene

THE CIRCUS LIFE PODCAST 4TH ANNIVERSARY CONCERT FEATURING

Lorde ............................................................................................................ APRIL 8, 2018

VANS WARPED TOUR PRESENTED BY JOURNEYS FEATURING

w/ Har Mar Superstar ..................Sa 9 Nick Murphy (Chet Faker) ...Su 10 Joseph w/ Bailen .......................W 13

Little Dragon w/ Xavier Omär ...W 9

Courtney Barnett & Kurt Vile (and The Sea Lice) ................NOVEMBER 7 ST. VINCENT ........................................................................................NOVEMBER 27

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

The Brian Jonestown Massacre ....................................F 8 The Afghan Whigs

Petit Biscuit ..............................W 2 Michelle Branch w/ Haerts.......F 4 Mew w/ Monakr ...........................Sa 5

ZEDD w/ Grey & Lophiile ...............................................................................OCTOBER 21

930.com

SUMMER SPIRIT FESTIVAL FEATURING

The best thing you could possibly put in your mouth

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

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

Lady Antebellum w/ Kelsea Ballerini & Brett Young .......................... AUGUST 13 Santana .......................................................................................................... AUGUST 15 Sturgill Simpson w/ Fantastic Negrito ............................................ SEPTEMBER 15 Young The Giant w/ Cold War Kids & Joywave .............................. SEPTEMBER 16 1215 U Street NW

AN EVENING WITH

Washington, D.C.

THIS SUNDAY! AEG LIVE PRESENTS

Alison Krauss & David Gray .................................................. SEPTEMBER 23

WPOC SUNDAY IN THE COUNTRY FEATURING

Mystery Science Theater 3000 Live!

SECRET SURPRISE FILM! Late Show! 8:30pm Doors ........................................... JULY 9

Rascal Flatts • Billy Currington • Scotty McCreery • Dylan Scott and more!. SEPTEMBER 24 Chrysalis at Merriweather Park

SECOND NIGHT ADDED! AEG LIVE PRESENTS

Tim And Eric: 10th Anniversary Awesome Tour ........................................................ JULY 19

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

TajMo: The Taj Mahal and Keb’ Mo’ Band w/ Jontavious Willis............................. AUGUST 9 Apocalyptica - Plays Metallica By Four Cellos .................................................... SEPTEMBER 9

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

STORY DISTRICT PRESENTS

I Did It For The Story: A Tribute to 20 Years of Storytelling ........ SEPTEMBER 23 The Kooks .................................................................................................................OCTOBER 4 Paul Weller ..............................................................................................................OCTOBER 7 Blind Pilot ...............................................................................................................OCTOBER 13 THE BIRCHMERE PRESENTS

Colin Hay ................................................................................................................OCTOBER 21 Iron & Wine w/ John Moreland ..............................................................................NOVEMBER 9

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

ALL GOOD PRESENTS

John McLaughlin/Jimmy Herring: Meeting of the Spirits ....................NOVEMBER 11 JOHNNYSWIM.....................................................................................................NOVEMBER 15 Liam Gallagher ..................................................................................................NOVEMBER 29 • thelincolndc.com •

3TEETH ........................................... F JUL 7 Kap G & JR Donato w/ Paper Paulk

ALL GOOD PRESENTS

The Hip Abduction .......................... Th 20

New date! All 2/23 tickets will be honored. . Su JUL 9

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

Myles Parrish ................................... Sa 15 Frank Iero w/ The Homeless Gospel Choir . F 21 • Buy advance tickets at the 9:30 Club box office • 930.com

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

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

26 july 7, 2017 washingtoncitypaper.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!

930.com

CITYLIST Music 27 Books 32 Galleries 32 Theater 33 Film 33

Music Friday rock

DC9 1940 9th St. NW. (202) 483-5000. Eternal Champion, Red Death, Venomous Maximus. 6:30 p.m. $10. dcnine.com.

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

Nocoda, Capital Funk Squad. 9 p.m. $12. gypsysallys.com.

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

Swear and Shake, Caroline Rose. 8 p.m. $10–$25. thehamiltondc.com. ioTa Club & Café 2832 Wilson Blvd., Arlington. (703) 522-8340. Albino Rhino, Pleasure Train, Sauce. 8:30 p.m. $12. iotaclubandcafe.com. merriweaTher posT pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Dispatch, Guster, Marco Benevento. 7 p.m. $46–$56. merriweathermusic.com. roCk & roll hoTel 1353 H St. NE. (202) 388-7625.

Wolf Alice, Lavender. 9 p.m. Sold out. rockandrollhoteldc.com.

classical

wolf Trap filene CenTer 1551 Trap Road, Vienna. (703) 255-1900. National Symphony Orchestra performs Harry Potter and the Sorcerer’s Stone. 8:30 p.m. $35–$58. wolftrap.org.

country

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Jerry Jeff Walker, Django Walker. 7:30 p.m. $65. birchmere.com.

dJ nights

9:30 Club 815 V St. NW. (202) 265-0930. Release the Pressure with Martín Miguel, Hot Coffee, Samantha Francesca, Ozker. 9 p.m. $10. 930.com. blaCk CaT 1811 14th St. NW. (202) 667-4490. The IndepenDANCE—A Pro-Choice Prom. 8 p.m. $25–$30. blackcatdc.com.

CITY LIGHTS: Friday

rico nasty

For the past several years, the Great Rap Hope of the DMV has been a title passed from dude to dude every year or so: from Wale to Fat Trel to Shy Glizzy to GoldLink. Success in pop music is more the result of timing than talent, and in the ever-changing world of hip-hop, you have to read the zeitgeist before you can, to paraphrase Kanye, pop a wheelie on it. Perhaps no one in the DMV is better at reading the rap zeitgeist than Rico Nasty, a young woman from Largo who calls her music “sugar trap,” as in trap-rap with a sweet edge. Her mixtape cover of the same name finds her smiling like Mona Lisa with an assault rifle in hand, flanked by unicorns and teddy bears. Like divisive hitmakers Lil Yachty and Lil Uzi Vert, Rico has a sing-song flow that makes her boasts and threats sound like playground taunts, and gives no fucks about embracing childhood nostalgia, naming songs after Nickelodeon classics Hey Arnold and iCarly. She’s bound to be as divisive as Yachty and Uzi, but the Great Rap Hope baton might end up in her hands anyway. Rico Nasty performs with Dae World and O Slice at 8 p.m. at Songbyrd Music House, 2477 17th St. NW. $10–$12.

(202) 450-2917. songbyrddc.com.

—Chris Kelly

ElEctronic

flash 645 Florida Ave. NW. (202) 827-8791. Silent Servant, Feroun, Jett Chandon, Team Zapata. 8 p.m. $12. flashdc.com. u sTreeT musiC hall 1115 U St. NW. (202) 588-1889.

Bondax, Frankliin. 10:30 p.m. $15. ustreetmusichall.com.

Funk & r&B

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Jean Carne. 8 p.m.; 10 p.m. $25–$30. bluesalley.com. howarD TheaTre 620 T St. NW. (202) 803-2899.

Ruben Studdard, Johnathan Celestin. 7:30 p.m. $37.50–$69.50. Special Tribute to Polo the Bounce Beat King. 11 p.m. $30–$40. thehowardtheatre.com.

Jazz

beThesDa blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. VIP Summer White Affair featuring Gerald Veasley, Cindy Bradley & Matthew Whitaker. 7:30 p.m. $40–$65. bethesdabluesjazz.com. naTional Gallery of arT sCulpTure GarDen 4th Street and Constitution Avenue NW. (202) 7374215. Speakers of the House. 5:30 p.m. Free. nga.gov.

Twins Jazz 1344 U St. NW. (202) 234-0072. Tony Martucci. 9 p.m.; 11 p.m. $15. twinsjazz.com.

saturday

country

9:30 Club 815 V St. NW. (202) 265-0930. Mitski, Julia Jacklin, Half Waif. 7 p.m. Sold out. 930.com.

dJ nights

rock

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Jerry Jeff Walker, Django Walker. 7:30 p.m. $65. birchmere.com.

J U LY F 7

S 8

SONGS OF BURT BACHARACH/HAL DAVID W/ DAVE YLVISAKER DOZEN

S 15 ERIC ROBERSON SU 16 A TRIBUTE TO THE MUSIC OF

ARETHA FRANKLIN, CHAKA KHAN & GLADYS KNIGHT W 19 THE FIX F 21 THE CHI-LITES FT. MARSHALL THOMPSON

S 22 JOE CLAIR & FRIENDS

COMEDY SHOW (7/10PM)

SU 23 A TRIBUTE TO THE

MUSIC OF MARVIN GAYE & TEDDY PENDERGRASS TH 27 ANTHONY DAVID

W/SPECIAL GUEST GORDON CHAMBERS

F 28 SUTTLE S 29 SUGAR BEAR’S BIRTHDAY

CELEBRATION W/ EU SU 30 SECRET SOCIETY AU G U S T W 2

sTaTe TheaTre 220 N. Washington St., Falls Church.

(703) 237-0300. Temptation: ‘70s vs ‘80s Dance Party. 9 p.m. $5. thestatetheatre.com.

TH 3

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

Lake Street Dive, The Rad Trads. 8 p.m. Sold out. thelincolndc.com.

ElEctronic

classical wolf Trap filene CenTer 1551 Trap Road, Vienna. (703) 255-1900. National Symphony Orchestra performs Harry Potter and the Sorcerer’s Stone. 8:30 p.m. $35–$58. wolftrap.org.

Funk & r&B

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Jean Carne. 8 p.m.; 10 p.m. $25–$30. bluesalley.com.

PLUS SIR JOE QUARTERMAN & FREE SOUL

F 14 JULIA NIXON SINGS

ioTa Club & Café 2832 Wilson Blvd., Arlington. (703) 522-8340. Justin Jones, Long Arms. 8:30 p.m. $12. iotaclubandcafe.com.

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

Gigamesh, Ozker. 10 p.m. $10. ustreetmusichall.com.

THE YOUNG SENATORS

WITH SPECIAL GUEST THE WALKER REDDS PROJECT

howarD TheaTre 620 T St. NW. (202) 803-2899.

Chicken & Mumbo Sauce. 10 p.m. $30–$40. thehowardtheatre.com.

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

Rooney, Run River North. 8 p.m. $20. rockandrollhoteldc.com.

GERALD VEASLEY, CINDY BRADLEY & MATTHEW (7:30PM)

LAKE ARBOR JAZZ FESTIVAL GRAND FINALE ALL JAM SESSION (7:00PM) W 12 QUIET STORM TH 13 MICHAEL MUSE SU 9

DC9 1940 9th St. NW. (202) 483-5000. Oh He Dead.

9:30 p.m. $13–$15. dcnine.com.

flash 645 Florida Ave. NW. (202) 827-8791. Cassy, Ostrich, Charles Martin, Uptown House Experience. 8 p.m. $8–$15. flashdc.com.

LAKE ARBOR JAZZ FESTIVAL VIP SUMMER WHITE AFFAIR FEAT.

GENO MARRIOTT & THE SPIRIT OF JAZZ GIRLFRIEND IN A COMA & N.E.W. ATHENS

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

(240) 330-4500

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

Gypsy sally’s 3401 K St. NW. (202) 333-7700. Capitol Island Fest featuring Thunder Body, Joint Opera-

washingtoncitypaper.com july 7, 2017 27

tion, Gang of Thieves. 8:30 p.m. $12–$14. gypsysallys.com.

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

Superflydisco. 8 p.m. $12–$17. thehamiltondc.com.

Jazz

beThesDa blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Howard Hewett, Jazmin Ghent, Pam Ward. 2 p.m. $40–$75. The Young Senators, Sir Joe Quarterman & Free Soul. 8 p.m. $20. bethesdabluesjazz.com.

Twins Jazz 1344 U St. NW. (202) 234-0072. Tony Martucci. 9 p.m.; 11 p.m. $15. twinsjazz.com.

Funk & r&B blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Jean Carne. 8 p.m.; 10 p.m. $25–$30. bluesalley.com.

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

Mingo Fishtrap, The Young Senators Reloaded. 7:30 p.m. $15–$20. thehamiltondc.com.

hip-hop u sTreeT musiC hall 1115 U St. NW. (202) 588-1889.

Kap G, JR Donato, Paper Paulk. 7 p.m. $20. ustreetmusichall.com.

opEra

Jazz

sunday

Twins Jazz 1344 U St. NW. (202) 234-0072. Sarah Hughes. 8 p.m.; 10 p.m. $10. twinsjazz.com.

kenneDy CenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. WNO Opera Institute. 6 p.m.

Free. kennedy-center.org.

rock

9:30 Club 815 V St. NW. (202) 265-0930. Violent Femmes. 7 p.m. Sold out. 930.com. blaCk CaT baCksTaGe 1811 14th St. NW. (202) 667-4490. The Artisanals, The Shandies. 7:30 p.m. $10–$12. blackcatdc.com. sTaTe TheaTre 220 N. Washington St., Falls Church.

(703) 237-0300. Gin Blossoms, Classified Frequency.

8 p.m. $30–$34. thestatetheatre.com.

classical

kenneDy CenTer opera house 2700 F St. NW. (202) 467-4600. NSO National Trustees’ NSO Summer Music Institute Orchestra. 6 p.m. Free. kennedy-center.org.

ElEctronic

flash 645 Florida Ave. NW. (202) 827-8791. Baltra, J. Albert, Hot Coffee, Samantha Francesca, Eli Cash. 2 p.m. Free. flashdc.com.

beThesDa blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Ken Ford, Jeanette Harris, the Marcus Mitchell Project, Drew Davidsen. 7 p.m. $35. bethesdabluesjazz.com.

Monday rock

DC9 1940 9th St. NW. (202) 483-5000. Broncho, Billy Changer, Raindeer. 8:30 p.m. $15. dcnine.com. forT reno 3800 Donaldson Place NW. (202) 3556356. Signal 30, Apollo 66, The Dupont Circles. 7 p.m.

Free. fortreno.com.

hip-hop kenneDy CenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. Syncing Ink. 6 p.m. Free. kennedy-center.org.

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

CITY LIGHTS: saturday

art garFunkEl

Art Garfunkel’s ethereal voice was forged in the fires of the 1960s, during the burgeoning civil rights movement and the televised atrocities of the Vietnam War. Alongside his harmonizing partner, the great American songwriter Paul Simon, Garfunkel set to music the outrage and uncertainty felt by an entire generation. If he sounds weathered now, it is only because his clear voice, seemingly delicate yet resiliently sturdy, has suffered a few chips and cracks from bearing a good portion of the world’s pain and relief. Garfunkel still gets on stage to deliver Simon & Garfunkel’s longstanding hymns of hope like “The Boxer” or “Bridge Over Troubled Water,” but now mixes in some of his own favorites by artists like the Everly Brothers, Randy Newman, the Gershwins and other masters of American song. Mostly, Art Garfunkel is there to be a voice of soft reassurance, as he was in our first Nixonian era, our bridge over troubled water. Art Garfunkel performs at 8 p.m. at the Kennedy Center Concert Hall, 2700 F St. NW. $39–$99. (202) 4674600. kennedy-center.org.

—Jackson Sinnenberg Washington DC City Paper 07-06-17_09-07-17.indd 1

28 july 7, 2017 washingtoncitypaper.com

6/26/17 11:00 AM

washingtoncitypaper.com july 7, 2017 29

CITY LIGHTS: sunday

MYSTERY SCIENCE THEATER 3000 liVE!

If there is a God, he/she/they/it sure must love the ’90s. How else can you explain the ’90s revival pop culture is currently in the midst of? Last year saw the return of The X-Files and this year it’s Twin Peaks. But this year also saw the quiet return of one of the most quintessential ’90s shows (even if it technically premiered in 1988): Mystery Science Theater 3000. The show, created by Joel Hodgson, took a simple premise and turned it into one of the most beloved cult comedies of all time. Hodgson portrays a janitor named Joel who is trapped on a spacecraft by mad scientists and forced to watch shitty B-movies with his three robot friends, Tom Servo, Crow T. Robot, and Gypsy. It’s essentially a dumb plot that serves as a vehicle for what MST3K really is: a bunch of really funny, nerdy dudes riffing on bad movies as they’re watching them. Think of it as live commentary before the era of live commentary, thanks to the internet. As such, it kind of makes sense for MTS3K to come back, revived by Netflix. And seeing Hodgson and his ’bots live will feel like you’re watching terrible movies with your funniest friends. The shows begin at 6 p.m. and 9 p.m. at The Lincoln Theatre, 1215 U St. NW. $39.50–$299. (202) 888-0050. thelincolndc. com.

—Matt Cohen

tuEsday

Folk

blaCk CaT baCksTaGe 1811 14th St. NW. (202) 6674490. The Flatliners, Pkew Pkew Pkew, Garrett Dale.

7:30 p.m. $13–$15. blackcatdc.com.

Jazz

rock

DC

BURGER WEEK JULY 23-30, 2017 DCBurgerWeek.com #DCBurgerWeek

sTaTe TheaTre 220 N. Washington St., Falls Church. (703) 237-0300. Boys of Summer 2017. 5 p.m. $35–$149. thestatetheatre.com.

Jazz

beThesDa blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Quiet Storm. 8 p.m. $20. bethesdabluesjazz.com. blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Jay Williams. 8 p.m.; 10 p.m. $22. bluesalley.com.

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

Twins Jazz 1344 U St. NW. (202) 234-0072. Keigo Hirakawa Trio. 8 p.m.; 10 p.m. $10. twinsjazz.com.

WEdnEsday

thursday

rock

DC9 1940 9th St. NW. (202) 483-5000. The Meer, Glen Echo, Rail City. 8:30 p.m. $10. dcnine.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. Christian Lopez, Dead Men’s Hollow. 8 p.m. $12. gypsysallys.com.

Jiffy lube live 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Incubus, Jimmy Eat World, Judah & the Lion. 6:45 p.m. $29.50–$89.50. livenation.com. roCk & roll hoTel 1353 H St. NE. (202) 388-7625.

Sir Sly, Shaed. 8 p.m. $20. rockandrollhoteldc.com. u sTreeT musiC hall 1115 U St. NW. (202) 588-1889.

Beth Ditto, U.S. Girls. 7 p.m. $20. ustreetmusichall.com.

ElEctronic

flash 645 Florida Ave. NW. (202) 827-8791. Two Friends, JR Nelson, Fung Sway. 10 p.m. $15. flashdc.com.

30 july 7, 2017 washingtoncitypaper.com

sTraThmore ouTDoors 5301 Tuckerman Lane, Bethesda. (301) 581-5100. Karen Jonas, Lauren Calve.

7 p.m. Free. strathmore.org.

rock

DC9 1940 9th St. NW. (202) 483-5000. The Skints, The Loving Paupers. 9 p.m. $12. dcnine.com. forT reno 3800 Donaldson Place NW. (202) 3556356. Lunamvtic, Tempercrush, Furniteur. 7 p.m. Free. fortreno.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. Nora Jane Struthers and the Party Line, Virginia Man. 8 p.m. $12. gypsysallys.com.

The hamilTon 600 14th St. NW. (202) 787-1000. Burt The Dirt. 10:30 p.m. Free. thehamiltondc.com. ioTa Club & Café 2832 Wilson Blvd., Arlington. (703) 522-8340. Laura Tsagarris, Alex the Red Paraz,. 8:30 p.m. $10. iotaclubandcafe.com. roCk & roll hoTel 1353 H St. NE. (202) 388-7625.

Woods, John Andrews and the Yawns. 8 p.m. $15. rockandrollhoteldc.com. u sTreeT musiC hall 1115 U St. NW. (202) 588-1889.

Why Don’t We. 7 p.m. Sold out. ustreetmusichall.com.

CITY LIGHTS: Monday

hiVE

It’s not a human maze, it’s not an adult ball pit, it’s not even a plastic iceberg, but the National Building Museum’s latest summer installation, Hive, can still provide some entertainment if you want to spend an afternoon inside. Constructed from nearly 3,000 wound paper tubes of varying sizes, the structures designed

by Studio Gang should, according to press materials, remind viewers of the Gateway Arch in St. Louis, the dome of the Duomo in Florence, and mud huts in Cameroon. It’s up to you whether you see those connections or not, but you will have different acoustic experiences as you explore the exhibit. To emphasize the sound differences, the museum has invited different bands to play concerts every Sunday afternoon and hired a “creative-in-residence,” Steve Bloom, to lead interactive sound experiences. The structures are large enough to experience from the museum’s second floor balconies, allowing curious or aspiring builders to fully understand the power of paper. The exhibit is on view Mondays through Saturdays 10 a.m. to 5 p.m. and Sundays 11 a.m. to 5 p.m., to Sept. 4, at the National Building Museum, 401 F St. NW. $5–$16. (202) 272-2448. nbm.org.

—Caroline Jones

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

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

Tix @ Ticketmaster.com 800-745-3000

Walker JERRY JEFF WALKER Django Garrett 13 KASEY CHAMBERS Kato Ruston 14 ROBERT EARL KEEN Kelly 15 SOUTHSIDE JOHNNY & The Asbury Jukes 16 GARY PUCKETT & The Union Gap July

7

THE ZOMBIES

17

STEVE EARLE & THE DUKES M T 19 SAWYER FREDERICKS w/Gabriel Wolfchild & The Northern Light, Haley Johnson he asTersons

Jocelyn & Arndt ROGER CLYNE & THE PEACEMAKERS Chris JEFFREY OSBORNE 22 23 PURE PRAIRIE LEAGUE & ATLANTA RHYTHM SECTION

20

BILLY BRAGG

with

SONIA (from disappear fear)

26& 27

TOAD THE WET SPROCKET 28,29 &30 THE BACON BROTHERS 31 NIKKI LANE Steelism Aug 4 GORDON LIGHTFOOT Beta Play

kylE MoonEy

People have said Saturday Night Live sucks “now” from practically the moment it started airing 42 years ago, and they’re mostly right. But in the midst of last season’s endless parade of regular celebrity guests and gags that boiled down to “What’s up with Trump, anyway?,” Kyle Mooney ended up cultivating one of the most reliable SNL careers this side of Kenan Thompson. Mooney’s character work, honed at the Upright Citizens Brigade and on YouTube, operates on sliding axes: from a little too enthusiastic bro to a shutin just emerged from the basement, from earnest to functionally stoned. Mooney also knows how to deploy his tools: a plummeting hairline that looks like what would happen if Ben Franklin played lacrosse, and an array of accents that verge on speech impediments. The archetypal Mooney character—awkward, desperate 1980’s hack comic-out-of-time Bruce Chandling— sums up the Mooney method, which relies most on a thick layer of sweat. Kyle Mooney performs at 7 p.m. at 9:30 Club, 815 V St. NW. $25. (202) 265-0930. 930.com.

—Will Sommer

@blackcatdc

JULY SHOWS FRI 7 FRI 7

SAT 8 SUN 9

THE INDEPENDANCE A PRO-CHOICE PROM

TALES FROM THE ROUND WORLD BURLESQUE (21+)

RISK

(18+)

THE ARTISINALS

THE SHANDIES

MON 10 MUGGLE MONDAYS BUTTERBEER & THE 2ND FILM TUE 11

THE FLATLINERS

THU 13

WITCH TAINT

FRI 14

PKEW PKEW PKEW GARRETT DALE

THE BLACK METAL DIALOGUES LIVE!

ROYAL HEADACHE THE REMEMBERABLES WILDHONEY

SAT 15

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5

FRI 21

VENN & BOTTLED UP

LITTLE RIVER BAND THE FIXX 7 8 GENE WEEN does BILLY JOEL

SAT 22

THE 9: SONGWRITER SERIES

6

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Don DiLego

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24

1811 14TH ST NW

THE RADIOGRAPHERS COOL BABY

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CHRISETTE MICHELE 11& 12 STEPHEN STILLS & JUDY COLLINS

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FRIDAY Aug 11, 8pm

YOUSSOU N’ DOUR The Voice of Senegal

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CITY LIGHTS: WEdnEsday

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AN EVENING WITH SUPERFLYDISCO:

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SUN, JULY 9

MINGO FISHTRAP

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LES NUBIANS

You’re not likely to hear Kanye West sung by musical theater performers during their cabaret acts. Then again, Signature Theatre’s Sizzlin’ Summer is no ordinary cabaret series. Every year, local performers are invited to craft their own shows around a specific theme, and Kevin McAllister has chosen to focus on the songs he never gets to sing. Area audiences have seen the charismatic tenor in traditional musicals like Titanic and Ragtime, and it turns out that he also has a passion for classic pop songs. He’s selected music from artists as diverse as Joni Mitchell and Gloria Estefan and crafted a humorous narrative about missed opportunities and making bad choices that joins each song together. It’s unclear where Yeezy fits into the act but it’s worth checking out McAllister’s interpretation. After all, it’s only a matter of time before West turns his eyes to Broadway. Kevin McAllister performs at 8 p.m. at Signature Theatre, 4200 Campbell Ave., Arlington. $35. (703) 820-9771. sigtheatre.org.

—Caroline Jones

UP CLOSE & PERSONAL TOUR SAT, JULY 15

TOWN MOUNTAIN AND I DRAW SLOW THURS, JULY 20

PARTICLE

FRI, JULY 21

LARRY CAMPBELL & TERESA WILLIAMS SAT, JULY 22

SONNY LANDRETH

classical

kenneDy CenTer millennium sTaGe 2700 F St. NW. (202) 467-4600. National Symphony Orchestra’s Summer Music Institute. 6 p.m. Free. kennedy-center.org.

country

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Kasey Chambers, Garrett Kato. 7:30 p.m. $35. birchmere.com.

ElEctronic

flash 645 Florida Ave. NW. (202) 827-8791. Vice DJs. 6 p.m. Free. flashdc.com.

Cafe. 1517 Connecticut Ave. NW. July 11 6:30 p.m. Free.

(202) 387-1400. neil Gaiman The acclaimed author reads from his work, answers questions, and discusses his creative process at this large gathering. Wolf Trap Filene Center. 1551 Trap Road, Vienna. July 9 8 p.m. $25–$65.

(703) 255-1900. alleGra GooDman The popular author reads from her 8th novel, The Chalk Artist, which follows the relationship between a high school teacher and her student, a devoted video gamer she attempts to nurture in class. Politics & Prose. 5015 Connecticut Ave. NW. July 11 7 p.m. Free. (202) 364-1919.

Funk & r&B

SUN, JULY 23

beThesDa blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Michael Muse, The Walker Redds Project. 8 p.m. $25. bethesdabluesjazz.com.

Colin harrison In You Belong to Me, Harrison creates a mystery involving an immigration lawyer obsessed with maps and a missing friend on the streets of New York. Politics & Prose. 5015 Connecticut Ave. NW. July 7 7 p.m. Free. (202) 364-1919.

TUES, JULY 25

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

moniCa hesse The Washington Post writer reads from American Fire: Love, Arson, and Life in a Vanishing Land, her account of life in rural Virginia and how economic stress can cause people to turn to crime.

Politics & Prose. 5015 Connecticut Ave. NW. July 13 7 p.m. Free. (202) 364-1919.

W/ SPECIAL GUEST TORONZO CANNON

THE STEPPIN STONES OKKERVIL RIVER W/ JESSE HALE MOORE THURS, JULY 27

PETER HIMMELMAN FRI, JULY 28

AN EVENING WITH

LIVE AT THE FILLMORE THE DEFINITIVE TRIBUTE TO THE ORIGINAL ALLMAN BROTHERS BAND SAT, JULY 29

AN EVENING WITH inGRATITUDE:

A TRIBUTE TO EARTH, WIND, & FIRE

THEHAMILTONDC.COM 32 july 7, 2017 washingtoncitypaper.com

fillmore silver sprinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Kehlani. 8 p.m. Sold out. fillmoresilverspring.com.

gospEl

merriweaTher posT pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. MercyMe, Jeremy Camp, Natalie Grant, Meredith Andrews, Jimi Cravity. 7 p.m. $28–$98. merriweathermusic.com.

Jazz

Twins Jazz 1344 U St. NW. (202) 234-0072. Marty Nau. 8 p.m.; 10 p.m. $10. twinsjazz.com.

Books

CoverinG The whiTe house Journalists Peter Baker of the New York Times, Dana Milbank of the Washington Post, and Julie Pace of the AP discuss the changing relationship between the press and the presidency at this discussion moderated by Maura Reynolds of Politico. Kramerbooks & Afterwords

Galleries

GreaTer resTon arTs CenTer 12001 Market St., Ste. 103, Reston. (703) 471-9242. restonarts.org. Closing: “The Great Dismal Swamp.” Acclaimed multimedia artist Radcliffe Bailey makes his D.C. area debut with this exhibition that addresses his family’s Virginia heritage and the state’s role in the Underground Railroad. April 21 to July 8. hemphill 1515 14th St. NW. (202) 234-5601. hemphillfinearts.com. Ongoing: “35 Days.” Hemphill’s latest exhibit focuses on the contributions of local artists, featuring pieces from a diverse ensemble that includes Sam Gilliam, Thomas Downey, and William Christenberry. June 24 to Aug. 11. honfleur Gallery 1241 Good Hope Road SE. (202) 365-8392. honfleurgallery.com. Ongoing: “11th Annu-

BASED ON THE TRUE STORY OF THE MAN MINUTES AWAY FROM ALMOST

KILLING ADOLF HITLER “EXTRAORDINARY.” “GRIPPING.”

CITY LIGHTS: thursday

Woods

- Stephen Schaefer, BOSTON HERALD

Woods, a beloved Brooklyn psych folk quintet, reacted like many after November’s election: They had to do something. In the months following the election, the band—never the type ever to get too political before—recorded a response. The resulting six-song album, Love is Love, feels calm and considered, not reactionary. If you’re looking for cathartic anger or to commiserate in despair, you’ll need to look elsewhere. Love is Love approaches a full hippie revival as it invokes capital L Love like a god who saves us all in a battle against Hate. There are moments of doubt, but it never breaks through Woods’ warm, gentle ’70s-tinged tones. “Bleeding Blue” is triumphant, with a trumpet line that sounds as celebratory as Bill Conti’s Rocky theme. It’s a continuation of the vibrant jazz sound they started to build on 2014’s City Sun Eater in the River of Light. Even if you don’t find relief in flowery reassurances, you can take comfort in Woods’ continued growth in mixing jazz, folk, and world music. Woods performs with John Andrews and the Yawns at 8 p.m. at Rock & Roll Hotel, 1353 H St. NE. $15. (202) 388-7625. rockandrollhoteldc.com.

—Justin Weber al East of the River Exhibition.” Artists Asha Elana Casey, Sheila Crider, and Amber Robles-Gordon present multimedia pieces based around themes of spirituality, identity, and repetition at this exhibition sponsored by the Anacostia BID and 11th Street Bridge Park. June 16 to Aug. 5.

Directed by Sofia Coppola. (See washingtoncitypaper.

viviD soluTions Gallery 1231 Good Hope Road SE. (202) 365-8392. vividsolutionsdc.com. Ongoing: “City Under Siege.” For his first solo show, photographer Vincent Brown presents a series of images chronicling the District’s chronic homelessness problem. June 16 to Aug. 5.

es they had to overcome. Directed by Michael Show-

com for venue information) The biG siCk Kumail Nanjiani stars in this autobiographical film that chronicles how he met and fell in

- Geoffrey Macnab, THE INDEPENDENT

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love with his wife, Emily, as well as the cultural forcalter. (See washingtoncitypaper.com for venue information) DespiCable me 3 The minions are back in this third entry in the animated series, which finds Gru reuniting with his more cheerful brother Dru for another caper. Featuring the voices of Steve Carell, Kristen

Theater

Wiig, and Trey Parker. (See washingtoncitypaper.com for venue information) The exCepTion Set in the early days of World War

CabareT The classic musical set in a Weimar Germany nightclub returns to the Kennedy Center to celebrate the 50th anniversary of the Roundabout Theater Company, which produced this revival. Kennedy Center Eisenhower Theater. 2700 F St. NW. To Aug. 6 $59–$149. (202) 467-4600. kennedy-center.org.

I, this drama follows a German soldier tasked with

The sounD of musiC Local favorite Nicholas Rodriguez stars as Captain Von Trapp in this touring production of the beloved musical that includes classic songs like “Do-Re-Mi,” “Edelweiss,” and “Climb Every Mountain.” Kennedy Center Opera House. 2700 F St. NW. To July 16 $49–$169. (202) 467-4600. kennedy-center.org.

com for venue information)

wiG ouT! In this boy-meets-boy tale, a chance meeting on the subway takes a man into the underground world of drag ball culture. Written by Tarell Alvin McCraney, co-writer of Moonlight, this warm drama about finding your community incorporates the influences of Jay-Z, Ovid, and Destiny’s Child. Studio Theatre. 1501 14th St. NW. To Aug. 6 $20–$54. (202) 3323300. studiotheatre.org.

kas, Nick Kroll, and Allison Tolman. (See washington-

determining whether the Dutch have planted a spy in the ranks as he becomes enamored with a Jewish woman he meets. Starring Christopher Plummer, Jai Courtney, and Lily James. (See washingtoncitypaper.

The house Amy Poehler and Will Ferrell play parents who try to raise money by running a casino in their basement after spending their child’s college fund in this raunchy comedy from writers Brendan O’Brien and Andrew Jay Cohen. Co-starring Jason Mantzoucitypaper.com for venue information) The Journey The complex relationship between Northern Irish enemiesIan Paisley of the Democratic Unionist Party and Martin McGuinness of Sinn Fein is chronicled in this intense drama from director Nick Hamm. (See washingtoncitypaper.com for venue information)

Film

The beGuileD In this Palme d’Or winning film, a girls’ school in Civil War-era Virginia becomes a temporary home for a wounded Union soldier and before long, the house is taken over by sexual tension and rivalry.

spiDer-man: homeCominG In the latest iteration of the Spider-Man series, young Peter Parker tries to balance his obligations as a high school student and as a crime fighter as a new enemy emerges. Starring Tom Holland, Michael Keaton, and Robert Downey Jr. (See washingtoncitypaper.com for venue information)

washingtoncitypaper.com july 7, 2017 33

Contents: Adult . . . . . . . . . . . . . . . . . . . . . . . 34 Auto/Wheels/Boat . . . . . . . . . . . 34 Buy, Sell, Trade Marketplace . . . . . . . . . . . . . . . . . 34 Community . . . . . . . . . . . . . . . . . . 35 Employment . . . . . . . . . . . . . . . . . 34 Health/Mind . . . . . . . . . . . . . . . . . . . .

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Print & Web Classified Packages may be placed on our Web site, by fax, mail, phone, or in person at our office:

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SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2017 ADM 644 Name of Decedent, Mason C. Thomas Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Michael S. Thomas, whose address is 150 U Street, NW #1, Washington, DC 20001 was appointed Personal Representative of the estate of Mason C. Thomas who died on July 23, 2012, without a Will and will serve without Court Supervision. All unknown heirs and heirs whose wherabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 12/22/2017.

Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or to the Register of Wills with a copy to the undersigned, on or before 12/22/2017, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship.

Date of first publication: 6/22/2017 Name of Newspaper and/or periodical: Washington City Paper/ Washington Law Reporter Name of Person Representative: Michael S. Thomas.

TRUE TEST copy Anne Meister Register of Wills Pub Dates: June 22, 29, July 6.

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DC

BURGER WEEK

JUL 7 Y 231 30, 2 0

30+ Restaurants. $7 Burgers.

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