begins this week Mendo See Centerspread for schedule vs. the freshMen 7
ex-cons get second chance in kitchens 19
Ten years ago, Capital Fringe was just a theater festival. Ten years from now, Julianne Brienza wants it to be much more. 12 BY CHRIS KLIMEK PHOTOGRAPHS BY DARROW MONTGOMERY
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INSIDE
12 Fringe on top Capital Fringe is ready for its first year in Trinidad. by chris klimek photographs by darrow montgomery
4 Chatter DistriCt Line
7 Loose Lips: Freshman! Freshman! 9 City Desk: A message to the Foo Fighters 10 Savage Love 11 Gear Prudence 28 Buy D.C.
D.C. FeeD
19 Young & Hungry: Returning citizens find work at D.C.’s restaurants. 22 Grazer: Maki Shop vs. Buredo 22 Underserved: Farmers Fishers Bakers’ The Islay Swizzle
arts
29 Decade of Dilla: DC Loves Dilla turns ten and attracts a major headliner. 30 Arts Desk: Local authors make summer reading suggestions. 31 Curtain Calls: Graham on Cat on a Hot Tin Roof 32 Galleries: Cudlin on “Gustave Caillebotte: The Painter’s Eye” 33 Short Subjects: Gittel on Jimmy’s Hall 34 Speed Reads: Spanberg on The Grind
City List
35 City Lights: A night of music and new art exhibits in Anacostia 35 Music 40 Galleries 42 Dance 42 Theater 44 Film
46 CLassiFieDs Diversions 47 Crossword
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One thing that i’ve learned bOth as a parent and a chef, it’s tO be nOsy abOut what Others are dOing. —page 19
”
washingtoncitypaper.com july 10, 2015 3
CHATTER You Got Served
In which readers call for firings
Darrow MontGoMerY
Anger, DismAy, and disgust: The reactions to Jeffrey Anderson’s cover story (“Hunger Games,” July 3) on D.C. Public Schools’ food contractor were primarily of the horrified variety. Anderson’s piece detailed allegations against Chartwells laid out in Jeff Mills’ whistleblower lawsuit, including that the private company served subpar food to D.C. students in order to reap large rebates. Despite moves by Councilmember Mary Cheh, it appears Chartwells will once again handle food services during the next school year. @evoque tweeted, “Food insecurity has direct impacts on childhood development, making this story all the more horrific.” “WOW, WOW, WOW I am disgusted and devastated who does this?” commented DC Parent. “Better yet who allows this to continue to happen to children. As a DC resident, parent and DC Government worker I would like to see some heads roll behind this. Kaya Henderson must go. Enough is enough. Get some asses out of the office now. No excuses a few people need to go behind this.” Meade said, “Thank you CP for bringing us the article. I really appreciate it. No one is doing much investigative journalism these days. What’s going on at DCPS is going on in many many other agencies, especially those involving DGS. So what are the repercussions for Henderson and Bowser? How can they get away with it? Is there anything for the average citizen to do?” I read the whole article criticized the piece for not including information on Chartwells’ lobbyists, and J. Lee commented, “This article does a poor job explaining a cost-plus contract.” Former Washington Post reporter Ed Bruske pointed out that he wrote about Chartwells and processed food rebates on his site, the Slow Cook, several years ago: “No, the problem has been the local media, the mayor, the D.C. Council, repeatedly hitting the snooze button where school food fraud is concerned. Maybe it’s time for federal prosecutors to give a look.” We agree that there’s much more to this story, and Anderson plans to continue reporting on —Sarah Anne Hughes Chartwells for the paper. Want to see your name in bold on this page? Send letters, gripes, clarifications, or praise to editor@washingtoncitypaper.com.
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DISTRICTLINE
Mayor Bowser had a SLIGHT difference of opinion with the D.C. Council on body cameras: “Unfortunately for all of us, the D.C. Council decided that police accountability and public safety isn’t a top priority.” washingtoncitypaper.com/go/ bodycameras
Loose Lips
New Kids on the Bloc
phil Mendelson deals with the freshmen; UDC considers dumping its unoccupied presidential mansion. Phil Mendelson has a freshmen problem. Facing a breakfast revolt last week from councilmembers opposed to phasing in tax cuts early, the chairman of the D.C. Council lamented the “problem” with so many new councilmembers. That problem, according to Mendelson? They missed the debates that happened before they were on the Council, so they want to litigate them again. Indeed, the five new councilmembers, two of whom qualify as millennials, have fallen for that most millennial of afflictions: FOMO, or Fear of Missing Out. As Mendelson tried to push for new tax cuts to go into effect this summer, the new councilmembers and others supported Mayor Muriel Bowser’s plan to keep the cuts in February 2016—or at to least wait long enough to talk about them some more. “Let’s just have the conversation,” said LaRuby May, Ward 8’s freshman councilmember. Mendelson wasn’t just facing down May and Ward 4 Councilmember Brandon Todd, both of whom were elected by Bowser’s fundraising and campaign apparatus in April. Newbies like Ward 1’s Brianne Nadeau, Ward 6’s Charles Allen, and at-larger Elissa Silverman don’t owe their nascent political careers to Bowser, but they were just as active as the mayor’s councilmembers in opposing Mendelson’s schedule. In the end, Mendelson agreed to a compromise September trigger offered by Allen and At-Large Councilmember Anita Bonds that just barely succeeded, 7-6. The newly restless freshmen could challenge the hegemony Mendelson has enjoyed for more than a year. Under lame duck Mayor Vince Gray, Mendelson had no problem calling the shots, with even Gray allies like Ward 7’s Yvette Alexander bailing on the mayor. But now that Bowser’s in the mayoral
Darrow Montgomery/File
By Will Sommer
Phil Mendelson isn’t worried about the Council’s frosh. suite and the freshmen are starting to flex their votes, Mendelson can’t whip the Council together on every issue like he used to. After the budget vote, Mendelson walked back his “problem” line on new councilmembers. Now, in Mendelson’s telling, acclimating the new councilmembers to issues that have already been debated doesn’t meet the threshold for a “problem.” “I used the word ‘problem,’ and I some-
times use that word too quickly,” Mendelson says. “Not ‘problem’ in a negative way, it’s more like the word ‘challenge.’” Still, the newly vocal freshmen—who are denied their own committees, per Mendelson’s rules—delighted frequent Mendelson antagonist and At-Large Councilmember Vincent Orange. “The fact that we have five new councilmembers, that’s the reality of the day,” he
told Mendelson at the contentious breakfast. Mendelson denies LL’s theory that the vocal freshmen are going to cause trouble for his agenda. “I don’t see it as a bloc,” Mendelson says. Mendelson’s right that the freshmen don’t always vote in unison. Later last week, when Bonds tried to gut Ward 3 Councilmember Mary Cheh’s proposal to study a publiclyowned Pepco, the freshmen split. Nadeau, Silwashingtoncitypaper.com july 10, 2015 7
DISTRICTLINE verman, and Allen opposed the move, while Todd and May supported it. (Bonds won in the end, 7-6, helped by a vote from Orange, a former Pepco executive.) Still, last week’s tax cut vote showed that the new freshmen aren’t always willing to follow their chairman’s direction. Mendelson, who says the idea of his power struggle with Bowser has also been overplayed, tried to put a positive spin on it. “I think it’s a good thing that they’re beginning to find their voice,” Mendelson says. House of Blues Any LL readers want a house in Chevy Chase? If so, LL knows a motivated seller: the University of the District of Columbia, which is considering dumping the presidential house that the school’s presidents don’t actually want to live in. Lots of colleges and universities provide their presidents with housing, but it’s hard to imagine any of them bungling it as badly as the District’s public university. That’s because UDC’s
“I think it’s a good thing that they’re beginning to find their voice,” Mendelson says of the freshmen. house, at a roughly 10-minute, 2-mile drive to UDC’s Van Ness campus, is too far from the university for its presidents to live in it without exposing themselves to huge tax bills. LL wrote about the empty presidential house last year, when interim president James E. Lyons opted to live downtown and pocket a nearly $6,000 monthly housing allowance. Lyons is gone now, but the house’s woes aren’t. The vacancy surfaced again last week, when the Council approved an employment contract for new UDC President Ronald Mason Jr., who, like his interim predecessor, still won’t live in the house at 3520 Rittenhouse St. NW. Instead of residing in the presidential manse, Mason will pull down $7,000 a month
in housing allowance, in addition to his $303,850 annual salary. It’d be bad enough for the District to be on the hook for a $1.6 million house that sits empty. But the District has sunk much more than that into the house. Under spendthrift previous president Allen Sessoms, UDC spent nearly $500,000 on renovations for the house between 2007 and 2011, according to a 2011 Washington Post article. Apparently, $43,370 of upgraded cabinets and bookcases weren’t enough to lure later presidents. But UDC’s—and by extension, the District’s—commitment to the house doesn’t end there. According to UDC documents obtained through a Freedom of Information Act request,
the school has previously spent $45 a week on pest control at the house, along with $1,025 a year on a security system. (UDC spokesman Michael C. Rogers couldn’t provide the latest figures on housing expenses by press time.) That’s in addition to the $84,000 Mason will receive for opting not to live in the house. Now the university is belatedly getting ready to dump the house—maybe. Rogers says members of UDC’s Board of Trustees are talking about getting a broker to consider what the school could get for selling the house. “No determination has been made yet,” Rogers says. An empty house isn’t among UDC’s biggest problems. That would be dumping majors like economics and physics, then narrowly avoiding budget cuts in the mayoral budget. So let LL save the board the energy on this one. It’s time to set out an open house sign and get UDC out of the real estate business. CP Got a tip for LL? Send suggestions to lips@washingtoncitypaper.com. Or call (202) 650-6925.
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DISTRICTLINE TImES LIkE ThESE
Photo by Michael Rachel
Dave Grohl sat on his throne at RFK Stadium last weekend, defying the broken leg which threatened to cancel the Foo Fighters’ 20th anniversary bash. “I would not… I WOULD NEVER, NEVER have cancelled this fucking show for anything,” Grohl says. “This is the one! This is the one! I’m so fucking glad you guys are here to see this shit. Because I fucking hope this never happens again.” Through a full day of music and thunderstorms, which cleared the stadium for a time, fans enjoyed acts like Gary Clark Jr., Trombone Shorty, and Heart. As a newspaper that covers the local scene, we were there for it all. But when the Foos came on, we had a problem—we couldn’t take any pictures. The band’s management gave our freelance photographer a release form which would have given the Foo Fighters “the right to exploit all or a part of the Photos in any and all media, now known or hereafter devised, throughout the universe, in perpetuity, in all configurations” without any approval or payment or consideration for the photographer. That contract is absurd. It not only demanded the photographers’ copyright, but also reserved the right to tell City Paper what images we could use and how we could use them. So, we went around them, asking fans for their best pictures from the show. We paid the two winners on this page, and they keep their copyright to their photos. It was a good, one-time solution to ridiculous demands. Grohl and the Foos put on a good show, but they ought to have somebody look at that contract. Demanding the work of creatives for free isn’t very rock ’n’ roll. —Steve Cavendish
Photo by Fernando Nuñez
City Desk
Tomorrow’s history today: This was the week a federal judge in Virginia ruled against the Washington football team’s trademark.
For pictures from the rest of the show, go to washingtoncitypaper.com/FooFotos washingtoncitypaper.com july 10, 2015 9
SAVAGELOVE UPCOMING EVENTS
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I entered into a civil union with another woman in Vermont in 2000. My ex and I were together until 2003, when we decided to go our separate ways. It is now 2015, and my new partner (who happens to be male) and I are expecting a baby and talking about getting married. We live in Texas. I know that there are ways to dissolve my civil union in Vermont, but I can’t get ahold of my ex (ex-wife? Ex-CUer?) to sign any of the forms. Neither do I want to, because frankly it was an abusive relationship and I still bear emotional scars. She threatened my life, encouraged my suicidal thoughts, and told me I was a loser who didn’t deserve to live. I feel I have finally found peace, but now that it has become an issue again, I don’t know. I have intense thoughts of wanting to kill her if I should ever see her. Thank goodness she lives in another state! She used to stalk me until she finally moved back to the Pacific Northwest. Is there a way to dissolve my civil union without having to directly contact my ex? —Undoing Niggling Compact In Vermont Isn’t Legally Uncomplicated Vermont played a groundbreaking role in the fight for marriage equality in the United States. (Spoiler alert: We won the fight on June 26, 2015.) A little history… Way, way back in 1999, before same-sex marriage was legal anywhere in the United States, the Vermont Supreme Court ruled that same-sex couples were entitled to the same “benefits and protections” as opposite-sex couples. Vermont’s highest court ordered the state legislature to come up with a solution. Instead of allowing same-sex couples to marry—a simpler fix legislatively but a more explosive one politically—in 2000, Vermont’s lawmakers created a separatebut-equal compromise, aka “civil unions.” (One of the chief ironies of the fight for marriage equality: listening to the same people who violently opposed civil unions in 2000 bitterly complain that “unreasonable” marriage-equality supporters wouldn’t settle for civil unions—a “compromise” opponents of equality got behind only after it became clear that we were going to win marriage.) Full marriage equality came to Vermont in 2009, making it the fourth US state to allow same-sex couples to wed. So what became of your civil union after 2009, UNCIVILU? Did it become a marriage after same-sex marriage became legal in Vermont? “Our marriage law didn’t automatically convert CUs to marriages,” said Elizabeth Kruska, an attorney in Vermont who handles family law. “And although civil unions were (and are) legal in Vermont, other states did not have to recognize them as legal unions. That’s where UNCIVILU
10 july 10, 2015 washingtoncitypaper.com
has a problem. Her civil union is still legal and on the books here in Vermont. Now, I’m pretty sure Texas didn’t recognize civil unions—I’m not a lawyer in Texas, so I don’t know for sure, but I am a human being with functional brain cells who lives in the United States, so I think it’s probably fair to say.” So if Texas doesn’t recognize your Vermont civil union, does that mean you’re in the clear? Sadly, no. “There is an interesting case from Massachusetts that hit this same issue square on the head,” said Kruska. “A couple got a civil union in Vermont, the parties then separated, and one of the people got married to a different person in Massachusetts. The court in Massachusetts said that the civil union invalidated the subsequent Massachusetts marriage.” Even if Texas doesn’t recognize your Vermont civil union—and it probably wouldn’t—Vermont would recognize your Texas marriage. “That would create a situation where the letter writer, at least in one state, would have two legal spouses,” said Kruska. “And that’s not legal. So the smartest thing for UNCIVILU to do is to dissolve her Vermont civil union. The last thing she wants is to try to get married to the new person and for the marriage later to be found void because she had this other union out there.” Kruska suggested that you contact legal service organizations in Vermont to find a lawyer who can help you. And if you don’t want to contact your ex, or if your ex won’t respond to you, she recommended that you file for a dissolution and let the court serve your former partner. “UNCIVILU and her ex may both be able to participate in the hearings by telephone, since they live in other states and it would be burdensome for them to travel back to Vermont,” said Kruska, “and as an added bonus, UNCIVILU wouldn’t have to see her ex —Dan Savage in person.” In a former life, I was a staunch Republican and voted for antigay ballot initiatives. Then, after a bad divorce 18 years ago, I moved to another state and fell in with an artistic crowd. Over the years, I became close friends with people with vastly different life experiences, and I’ve developed an entirely new attitude toward gay rights. My dilemma: When SCOTUS handed down their ruling making marriage a right for all, I congratulated all my non-straight friends on Facebook. One of those friends posted a note thanking me for “always being in [their] corner.” My asshole brother then commented that not only had I not “always” been supportive, in my previous life I
campaigned against gay rights. Several nonstraight friends jumped to my defense, stating that it couldn’t be true. I am ashamed of the person I was and have worked hard to be a better person. Is there any point in apologizing? —Don’t Have A Clever Acronym Anthony Kennedy, the Supreme Court justice who wrote the majority decision in Obergefell v. Hodges, which legalized same-sex marriage in all 50 states, also wrote the majority opinions in Lawrence v. Texas (2003), which declared laws against sodomy to be unconstitutional, and Windsor v. United States (2013), which overturned the Defense of Marriage Act. Kennedy will obviously go down in history as a hero to the gay-rights movement— but his record isn’t perfect. Richard Frank Adams, a U.S. citizen, legally married Anthony Corbett Sullivan, an Australian citizen, in 1975 in Boulder, Colo. The men had been issued a marriage license by a county clerk who couldn’t find anything in state law that prevented two men from marrying. Sullivan and Adams applied for a spousal visa for Adams. Here’s the response the couple got—the entire response—on official US Citizenship and Immigration Services letterhead: “You have failed to establish that a bona fide marital relationship can exist between two faggots.” The couple sued, and Kennedy, then a circuit court judge, heard their case—and he ruled against the “two faggots.” Sullivan and Adams had to leave the country to be together. Exactly 18 years passed between 1985, when Kennedy signed off on the deportation of Adams, and 2003, when Kennedy wrote his first major gay-rights decision. In Obergefell, Kennedy wrote that “new insights and societal understandings” changed the way many Americans—including a majority of Americans on the Supreme Court— see gay people. The same goes for you: New insights and understandings have changed how you think, feel, and vote about gay people. And that’s exactly what the queer-rights movement has been asking of straight people all along: to think, feel, and vote differently—and you have done all three. You can and perhaps should apologize to your gay friends for the antigay attitudes you once held—and for antigay votes you once cast— but they should immediately thank you for being the person you are now. You can be ashamed of the person you once were but proud of the person you are now—unlike Roberts, Alito, Thomas, and Scalia, four men who are as shameful now as —Dan they ever were. Send your Savage Love questions to mail@savagelove.net.
The stars in the sky Gear Prudence: I commute on the Mount Vernon Trail from Old Town. Lately, I’ve had problems with other bicyclists riding up really close behind me, then just staying there. They don’t pass, and we go on for miles with them right on my wheel. I’ve always been self-conscious about my speed, and this makes me feel really uncomfortable. Do you have any tips on how to get them to just go around already? —Bicycling Around, Can’t Keep Off Fiendish Followers Dear BACKOFF: Ah, the wheelsucker. The trailgater. The bike barnacle. Whatever you call a cyclist who latches onto your back wheel, you’ve identified one of the more annoying (but ultimately innocuous) behaviors in bike commuting. It could be that the person behind you lacks the temerity to pass or that trail conditions don’t warrant it, but GP certainly understands your desire to slough him or her off. You could try gradually slowing in the hope that at some point your lack of forward movement will force the rider into taking some action. Or maybe a flick of wrist from an arm dangling at your side will demonstrate your “permission” to pass. If that doesn’t work, wear a Tshirt with the text of this column printed on the back. If you’re currently reading these words off a T-shirt, turns out the question was about —GP you. Quit lurking and just pass, OK?
Park within
the white lines
Gear Prudence: It’s summer. It’s hot. It’s muggy. Sometimes I want to ride my bike with my shirt off. There’s no problem with this, right? —Bros Always Relax, Enjoy Dear BARE: The wearing of a shirt isn’t strictly necessary for the proper operation of a bicycle. You might even see some aerodynamic gains from a reduction in pernicious fabric drag. However, before committing to shirtlessness, consider some potential areas of concern. Are you planning on entering a convenience store where shirts are a prerequisite for service? Are there any bands that you like that you would not be able to advertise for lack of sufficient textile platform? Do you have enough space in your closet or dresser to accommodate a full complement of unworn shirts? These issues aside, shirts do also have benefits. They help protect your skin from the sun’s harmful rays (please use sunscreen), the stings of biting bugs (consider bug spray), and guard against the accumulation of airborne dirt and soot (remember to bathe occasionally). Also, in the event of falling off your bike, a shirt might prove useful in conveying a very minor safety benefit against road rash. But if the urge to McConaughey proves irresistible, go crazy. Biking —GP is for everyone, topless or otherwise. Gear Prudence is Brian McEntee, who tweets @sharrowsDC. Got a question about bicycling? Email gearprudence@washcp.com.
How can you stop a streetcar dead in its track, cause delays and get towed? Sloppy and improper parking. Streetcars operate on tracks and cannot go around improperly parked cars or cars doubleparked on the tracks. So park your entire vehicle, including side mirrors, within the white lines. Don’t hold up the show, and don’t get towed.
dcstreetcar.com washingtoncitypaper.com july 10, 2015 11
are not solitary.
Ten years ago, Capital Fringe was just a theater festival. Ten years from now, Julianne Brienza wants it to be much more.
By Chris KlimeK PhoTograPhs By Darrow monTgomery Julianne Brienza had lived in D.C. for only a few weeks when somebody mugged her at knifepoint as she was walking home from Union Station. She didn’t know where to go. The guy had taken her ID and keys. Her landlord was away. Her new colleagues at the Cultural Development Corporation were the only people she knew in town, and she didn’t want to call them at 11 p.m. on a Friday to ask if she could come over. She spent most of the night riding in the 12 july 10, 2015 washingtoncitypaper.com
back of a police cruiser, talking with the cops who had taken her complaint. Brienza pressed charges and even testified against her mugger. He was acquitted. She had already been feeling depressed. It was the winter of 2004. Her 29th birthday was a few months off and she was, for the first time in her life, working a boring nine-to-five. She’d grown up a town of 4,000 (Dillon, Mont.), and graduated from a college smaller than that (Viterbo University in Lacrosse, Wis.). In Phil-
adelphia, she’d completed the Arden Theatre Company’s intensive, year-long apprentice program, then spent a couple years working for the all-comedy theater company 1812 Productions and for Fringe Arts, the outfit that has put on the Philadelphia Fringe Festival annually since 1996. In downtown D.C., everyone she passed on the sidewalk looked like a lawyer or a lobbyist to her. She had no idea where to find people among whom she would feel at home. Maybe at the District’s fringe festival that summer. “I thought every city had one,” Brienza says. But it would take more than two years for the first Capital Fringe Festival to open. And she would have to start it herself. On July 9, the House That Julianne Built turns ten. That’s the opening night of the 10th Capital Fringe Festival—the unjuried, DIY, no-subjects-barred theater, music, and dance bacchanal that for a certain risk-and-discomfort-tolerant strain of play-
washingtoncitypaper.com july 10, 2015 13
goer has become as synonymous with July in our nation’s capital as back sweat and tourists. If titles like Ambien Date Night, Girl With Two Belly Buttons, and Shit Stories make you ask, “Why in Hell?” instead of “Why Not?”, then you are likely not part of this crowd. (Sadly, Tinderella and something called Apocalypse Meow have already canceled their engagements.) What Fringe does is put a sales-and-marketing machine, an often-rudimentary stage, and potentially an audience within reach of anyone who can scrape together $850 ($575 to register, plus $275 for insurance) and then muster the wherewithal to put on a show. Brienza didn’t start it all herself, of course. Damian Sinclair co-founded Capital Fringe with her in 2005, and served as its executive director through 2007. Scot McKenzie was a founding member of the team, too; he held several posts before departing at the end of 2011. Brienza hired Program Manager Alex Engel, a veteran of the 68-year-old Magna Carta of Fringe festivals, the Edinburgh Festival Fringe, in 2013. Peter Korbel—a George Washington University MBA who co-founded the Fojol Bros. food-truck operation— signed on as chief operating officer only 18 months ago, but he and Brienza appeared to gel into a single, two-headed organism almost immediately. But since the beginning, Capital Fringe’s face and voice have been Brienza’s, and that’s not going to change anytime soon. The first time I wrote about Fringe, in 2010, she told me she had a three-year plan to make it selfsufficient so she could go do something else. Last year, she signed a contract—her first—to stay on as executive director through at least 2019. In the past she expressed discomfort that the organization she created is often conflated with her as a person. As fundraising has become an ever-larger part of her duties, she’s made her peace with it. “I need to make sure people who give us money really understand where we’re coming from,” she says. “I need to make them understand that [work performed in the festival] won’t always be palatable to them.” The occasion of the festival’s 10th is more than just an anniversary. This year’s Fringe is the first in the nonprofit arts organization’s permanent new home—a two-story auto-body shop-cum-art gallery at 1358 Florida Ave. NE that it bought for an eyebrow-raising $4.5 million last year and has dubbed the Logan Fringe Arts Space. Brienza and Korbel have ambitious plans to expand the venue. She wants to soundproof the two performance spaces in the building so they can be used simultaneously. She wants the year-round bar to become a year-round cafe. She wants an on-site scene shop: “Even people from the neighborhood could use it,” for their own construction projects, she says. Most ambitious of all, she wants to build three additional floors on top of the Logan venue to be used as permanent housing for working artists—not just ones who are in their twenties and single, but people with families.
Peter Korbel—a George Washington University MBA who co-founded the Fojol Bros. food-truck operation—signed on as chief operating officer only 18 months ago, but he and Brienza appeared to gel into a single, two-headed organism almost immediately. “When I moved to D.C., I made $26,000 per year, and my rent was $900 a month,” she says. “We need to make it possible for artists to live here.” For now, she’s just glad her office is in a building not shared with rats. “I would be terrified” to buy a building, says Jeff Larson, executive director of Minnesota Fringe, the only unjuried U.S. fringe festival larger than D.C.’s. (It features about 175 shows this year, to CapFringe’s 129.) “It’s so ambitious.”
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But Brienza’s worries about the new locale aren’t about attendance. “I’m more concerned that we’re doing the festival in a residential neighborhood,” she says. “That involves respecting our neighbors. People can’t be outside yelling at 2 a.m. on a Wednesday, even though it’s totally zoned as commercial.” “I think we’ll bring some people over from our old space who are into the Fringe and who are loyal,” Korbel says. “We could lose a few. But the big wildcard is that we’re in this new neighborhood... There’s a big
marketing effort on our part to reach out to this community.” One of her best customers says he doesn’t think the new location will depress attendance, either. “People were afraid to go to New York Avenue in 2008,” says David Kessler, a self-described “Fringe fanatic” who says he saw 62 shows in the 2014 festival. “I think it’s going to be hunky dory.” Kessler will make the leap from patron to performer this year: His show Wombat Drool draws upon his 39 years as a keeper at the National Zoo, a job he retired from in 2014. “The character I’m playing isn’t me,” he says. “But the animal facts in the story are true.” Kessler is emblematic of what Capital Fringe Board Chair Gerry Widdicombe says is still the festival’s top priority. “They find, nurture, and grow the artists,” Widdicombe says. “There’s the creative side, but there’s a whole business side, too.”
There’s a long list of companies that debuted in the festival and have gone on to produce work outside of it: Pinky Swear Productions. Pointless Theatre Co. Faction of Fools. Factory 449. Happenstance Theater, which did shows in the first five Capital Fringes, then skipped a few, and is returning this year. Some of these established companies have outgrown the old digs. “We got tired of the 15-minute load times,” says Happenstance Co-Artistic Director Mark Jaster, referring to the inconvenience of having to share Fringe venues with other producers. This year, the company is staging an elaborate circus called IMPOSSIBLE! at Bethesda’s Round House Theatre, then bringing a more modest production, called Brouhaha, to Fringe. “It’s about clowns at the end of the world,” says Sabrina Mandell, Jaster’s co-artistic director and spouse. “So, you know: Fringe-y.” While Capital Fringe has yet to produce a breakout hit like Urinetown, which premiered at the New York International Fringe Festival in 2001, producing breakout companies seems more valuable. The New York Fringe uses a juried admission process. Brienza says that while she’s interested in hiring curators to enhance the music and visual art offerings that the Logan space will host outside of the summer festival, she wants the festival itself to remain open to anyone committed and organized enough to hit a few application deadlines and pony up the fee. “D.C. is not like other cities in the United States,” she notes. “There’s so much highbrow stuff that’s heavily curated, because of all the federal institutions.” “The core of the festival will always be to serve that independent artist who wants to try something,” she says. “I don’t want some panel of experts going through applications going, ‘Oh, I loooove puppetry.”
Brienza and Korbel plan to turn the year-round bar into a year-round cafe and add an on-site scene shop. Most ambitious of all, Brienza wants to build three additional floors to be used as permanent housing for working artists. The festival says it pays producing artists 60 percent of their ticket gross—on average. Brienza says what cut each of them gets varies according to the number of seats in their venue, how much Fringe had to pay to rent it, and the number of performances they get, which for most shows is five or six. Find-your-own venue producers earn 81 percent of the net revenue for tickets sold through Fringe, but have the option to sell up to 50 percent of the tickets outside of Fringe’s box office operation. They can perform
as many shows as they want. Assessing profitability is difficult, because what artists spend on their shows varies wildly. I estimate that I’ve seen a cumulative 125 to 150 Fringe productions since the 2007 festival; while their overall level of polish and professionalism has ticked up notably since 2011 or 2012, production values, including performance acumen, still run the gamut from “grade-school play” to something indistinguishable from a professional theater compa-
ny. (And of course, a number of professional companies produce shows for Fringe.) For the most part, shows that manage to fill most of their available seats make their money back; some even turn a modest profit. That artists and administrators get paid for their work has always been part of the idea. This year, for the first time, a fourth week will feature additional performances of shows for which demand exists and the artists remain available. Ninety-seven companies or individuals presented work in the first Capital Fringe, in 2006. This year, that number is 129, though, “It will never be bigger than 200 shows,” says Brienza. Brienza estimates that half the producing artists and companies in the 2015 lineup are new to Capital Fringe. Specifically, she says, about half (48 percent) are from D.C., a third (32.4 percent) are from Maryland or Virginia, 17.6 percent are from other parts of the U.S., and 1.6 percent are from other countries.
Brienza and Korbel have pencilled “Phase 2” of their new building’s renovation on the calendar for Sept. 2017, after the 12th Capital Fringe has wrapped. Widdicombe says the improvements they have in mind will take another $1 to $3 million in funding: “There are Chevrolet, BMW, and Maserati versions” of the expansion, he says. How much Brienza can raise will determine what she can do. “Julianne has done an amazing job on fundraising, both capital and operative,” he says. But when I ask Brienza about this, she says she isn’t interested in the Chevrolet or BMW versions. “We’re not gonna downplay it,” she says. “Artist housing is what we’re going to do. Someone can fund that.” Widdicombe, who has been on the board for three and a half years, says the festival’s finances are healthy. “Our debt is good debt,” Korbel says. “It’s real estate debt. People are starting to realize now that Trinidad is hot.” Widdicombe says that two years from now, the festival will plan to have paid the debt on its $4.5 million building down to a prudent $1.2 million. Korbel tells me they’re seeking a $2.2 million bank loan to replace the seller-financing they got when they bought the build-
washingtoncitypaper.com july 10, 2015 15
ing from Leigh Conner and Jamie Smith, which will bring their monthly mortgage payment down and free up funds for other things Brienza and Korbel want to do, such as expanding Capital Fringe’s permanent, full-time staff. Other objectives, like wanting to attract more international performers to the festival, will have to wait until they’ve brought on more full-time help. Fringe hires more than 40 additional temporary staffers during the festival; some of them, like Communications Associate Ebony Dumas and Bar Manager Matty Griffiths, have returned each summer for years. Not bad for an organization that four years ago was running a deficit of $86,000, equal to almost 10 percent of its operating budget at the time, and was operating out of dilapidated, rat-infested building that it could be kicked out of with only 90 days’ notice. Among other measures taken to help right the fiscal ship: Brienza says she and two employees took a 10percent pay cut. That was then. This year, the festival’s operating budget will be about $1.2 million, according to Widdicombe. Fringe has always relied more on earned and less on contributed revenue than traditional arts organizations, bringing in more than 70 percent of its budget through participation fees from artists, ticket sales, and food and beverage sales. The “contributed” slice of the pie will grow as the organization continues to mature. (Washington City Paper, for example, is a sustaining sponsor of Capital Fringe.) Ticket sales are a bigger unknown. Korbel says they’d “like to sell 40,000” individual tickets this year, though they’re not betting the farm on it. That target would represent a 27 percent uptick from 2014’s ticket-tally of 31,395, which would seem awfully ambitious if the festival hadn’t beaten it at least once before. Between the 2009 and 2010 festivals, single-ticket sales grew by almost one-third. The fifth Capital Fringe had 137 shows on the roster that year; since then, it has slightly, but deliberately, scaled back: 129 acts are set to appear. And even if single-ticket sales fall short of 40,000, beating the previous record of 33,897 tickets sold in 2010, seems plausible. Korbel says Brienza quickly scuttled the notion of a price hike. The only time Capital Fringe has raised ticket prices was in 2011, when tickets jumped from $15 to $17, and buttons increased from $5 to $7. Pandemonium ensued, with one indignant observer going so far as to post Brienza’s salary—a not-particularly-extravagant $63,000 per year at the time—on Facebook. From 2008 through the 2014 summer festival, Fringe’s headquarters, box office, and four of its performance venues were housed within the crumbling, six-decade-old former Italian restaurant at 607 New York Ave. NW dubbed “Fort Fringe.” Capital Fringe leased the building on a scheduled-for-redevelopment block for a thrifty $5,000 per month, a rate that reflected
venues on campus), and the Logan Fringe Arts Space, from which eight venues are easily walkable. Brienza says she wants to post a YouTube video poking fun at the idea that Trinidad is hard to get to from elsewhere in the city.
Because Trinidad is more residential than their old ’hood, Fringe actively discourages attendees from driving, and urges them to carpool if they do. the beneficence of their landlord, real estate developer Douglas Jemal. It was a dilapidated husk of a building that never had enough bathrooms—just two for all attendees. But it was also perfect: In 2008, when the festival moved in, Brienza was able to set up the Baldacchino Gypsy Tent Bar in an adjacent parking lot. The addition of a place where patrons and artists could, and actually did, mingle over draft beer (or in later iterations, Prosecco) and half-smokes, all within an easy walk of a half-dozen of the sites where Fringe productions were taking place, was the masterstroke that helped engender a sense of community that felt unique to Fringe. That continues to grow. The Logan venue’s bar is open year-round. Brienza, meanwhile, wants the festival to spread geographically as well as formally. She sees the music programming as critical — she pushed to have language about music inserted into the charter of the United States Association of Fringe Festivals. A Late Night Cabaret will present bills of bands every Wednesday through Sunday night at the Logan venue during the festival. Despite the address change, there’s continuity with prior festivals. The Atlas Perform-
16 july 10, 2015 washingtoncitypaper.com
ing Arts Center, home to two Fringe venues this year, is only a block south of the Logan Fringe Arts Space, and it’s been used in several prior Fringes. Still, the Logan space is, by any measure, far less public-transit accessible than the crumbling former space. From that space, three Metro stops serving five lines were within a 10-minute walk. Their new digs are 1.2 miles from the nearest station, NoMa-Gallaudet, which serves only the benighted Red Line. (Nine bus lines go there, to be fair.) The H Street-Benning streetcar line, which will stop one block away from the venue, is still not carrying passengers. Because Trinidad is more residential than their old ’hood, Fringe actively discourages attendees from driving, and urges them to carpool if they do. It’s not as though people aren’t used to getting themselves to that corner of the city—the nearby Rock & Roll Hotel has been operating since 2006, and many other nightlife destinations have followed in its wake. And a Fringe shuttle will ferry at 45-minute intervals anyone wearing their $7 fringe button among three different sites, each surrounded by a cluster of festival venues: the Brookland-CUA Red Line stop (five venues), Gallaudet University (two
On the mid-June day I visit, she’s anxious about Dance of the Cranes, a performance that’s still a month in the future: It seems 1,400 punters have indicated on Facebook they’ll be attending, a bigger number than expected. (As of press time, more than 3,800 have RSVP’d on Facebook.) For the performance, the Canadian artist Brandon Vickerd is going to make two construction cranes dance, for an hour, to ambient music. He’s going to remount the performance in Brooklyn through the arts organization Franklin Furnace. The festival is suggesting Milian Park at 499 Massachusetts Ave. NW, as an ideal place from which to see it. “We’re going to set up event fencing. We’re going to cover the park in blankets,” she says. It sounds like something the environmental artist duo Christo and Jeanne Claude would’ve done—or rather something they did do, erecting 7,500 brightly-colored fabric “Gates” in Central Park for two weeks in 2005. Brienza seems pleased by the association when I mention it: Site-specific work, and public art, are both things she’s been trying to get into the festival in a more substantial way for years. “I find it a very practical way for thousands of people to get exposed to art,” she says. “Lots of schools don’t have art classes any more. But this makes people curious, when they see a large public art thing.” This serves two Brienzian priorities: getting Fringe into other parts of D.C. geographically, and expanding its content into other disciplines. “It can’t just be people in theaters watching theater shows,” she says. Widdicombe says that cultivating an arts audience beyond the one already captured by extant, well-funded institutions is a part of “city-building.” But that’s a city for independent artists, too. Widdicombe formerly sat on the board of directors for Woolly Mammoth, the most adventurous theater company in D.C. He left, he told me, because it was “too establishment.” “I like to say, ‘Stretch your right hand out, you get the Kennedy Center,’” he says. “‘Stretch your left hand out, you get the Fringe.’” CP Editor’s note: Washington City Paper is Capital Fringe’s media partner. In exchange for reduced ad rates online and in the newspaper, the business department of this paper receives free passes and inclusion in Fringe promotional materials. This site also hosts audience award voting. The editorial department receives nothing from Capital Fringe, and business-side employees do not see content prior to publication.
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Second Helping
No matter the restaurant or hour, an ex-con is probably helping prepare your meal. But for people exiting the prison system, the restaurant industry has a long history of giving second chances. In fact, at almost any point in the day, there might be an ex-con helping prepare your meal. Here are just a few.
By Tim Ebner
8 a.m., DCity Smokehouse
Darrow Montgomery
Jonathan Cayol was not your average drug dealer. In his early 20s, he hustled to make money any way he could, and eventually started cooking and selling crack from his Greenway apartment. But that wasn’t the only type of cooking he did. “We were also eating, and eating really good,” he says. The television was always tuned to the Food Network. In fact, Cayol says he and his brother would do drug deals at the front door while Rachael Ray’s 30 Minute Meals (his brother’s favorite show) aired in the background. “We loved to cook. We shopped at Whole Foods, and we ate aged cheese, fancy cheese, and weird things, like bison meat.” Looking back, Cayol says his love for food helped move him beyond drug dealing—a life that put him in jail several times, including a one-year sentence for a weapons charge inside a medium-security federal prison in New Jersey. As a drug dealer, Cayol says he earned about $1,000 a day selling crack. But by the time he was 25 years old, a prophecy from a church minister and a new job opportunity would lead him on a path back to the kitchen. Cayol, now 33, is one of the many graduates to come out of D.C. Central Kitchen’s culinary job training program, which focuses on turning unemployed men and women (including former prisoners) into cooks. The program has a strong track record: In 2014, DCCK graduated 96 students with a 93 percent job placement rate and an average salary of $11.14 per hour. This month, the program will graduate its 100th class. Cayol’s story isn’t that uncommon. If you go past the white tablecloths, you’ll hear plenty of stories about transformation and redemption in restaurant kitchens. Today, about 7,500 D.C. residents convicted of a crime are being held in either a federal or D.C. Department of Correction facility. And, unlike the 50 states, the District’s pris-
Jonathan Cayol has gone from drug dealer to culinary job training graduate. on population largely resides in federal prisons scattered throughout the country. The distance from home can make it challenging for returning citizens, says Deborah Golden, director of the Washington Lawyers’ Committee’s D.C. Prisoners’ Project. “The big thing is that the D.C. prison population is so far away. Not just physically, but when it comes to reentry opportunities too. This city has changed in 10 years, and if you’ve been
away, it’s a completely different place. It can be really hard to break into the local economy.” In addition to the distance, Golden says the federal parole system is stricter than most states, making it easy for returning citizens to violate on a technical offense. “If you forgot to take a urine test, don’t notify your parole officer of a new job, or work in an industry where the hours don’t accommodate things like drug therapy, you can easily violate.”
Shawn McWhirter is coming off the overnight shift at one of the most popular barbecue restaurants in D.C. Since midnight, he’s been checking the smokers out back and prepping sides like greens and beans for the day’s service. McWhirter is the sous chef at DCity Smokehouse, and the mastermind behind the pork belly and turkey sandwich known as the Meaty Palmer (named the best sandwich of 2014 by Washington City Paper). McWhirter also has a criminal record that’s put him in jail six times. His crimes ranged from possession of marijuana to breaking and entering, and he says without family and a job, it would have been tough to turn his life around. Inside the DCity Smokehouse kitchen, the work can sometimes be lonely. McWhirter is the only one working the overnight shift, but cooking is his passion, he says, along with music. He plays a mix of hip-hop and R&B that greets pitmaster and co-owner Rob Sonderman at the start of the morning shift. Sonderman met McWhirter more than five years ago while working at Hill Country Barbecue in Penn Quarter. At the time, McWhirter was still on parole for an aggravated assault charge. Texas barbecue and country music was new territory for McWhirter, but his kitchen team—the “brisket squad”—kept him focused on cooking. Then, a year ago, he followed Sonderman to DCity Smokehouse. When he was younger, McWhirter’s grandmother and aunt largely kept watch over him. They taught him how to cook, and he worked for his mother when she managed a local Mc-
washingtoncitypaper.com july 10, 2015 19
DCFEED(cont.) Donald’s. “Cooking was always an outlet for me. That’s the reason I can get out of bed in the morning,” he says. Now, after seven years of cooking barbecue, the 38-year-old says he’s off parole, raising four children, and balancing the demands of the restaurant. “One thing that I’ve learned both as a parent and a chef, it’s to be nosy about what others are doing,” he says with a laugh. 3 p.m., Central The lunch rush is dying down at Michel Richard’s American bistro Central, and William Shorter is finishing up at the fry station. Three months ago, he was a culinary student, learning how to julienne onions and create a basic roux. Now, he works on the line serving fried softshell crab and calamari. “I never cooked a day in my life before I got to D.C. Central Kitchen,” Shorter says. “But somehow I figured it out really quick. [Central] Chef David [Deshaies] can be tough, but already he has taught me a lot.” “Frustrating” is how Shorter describes life after prison. His second-degree assault charge prevented him from getting a $19 per hour managerial position at Safeway. Then, there were the job applications that went unanswered. “In my mind, I had the kitchen training and knew what I wanted to do,” he says. “So to hear a ‘yes, you’re hired’ was just amazing. Central took a chance on me.” According to Alex Moore, chief development officer at DCCK and author of the book The Food Fighters, it takes about three years to ensure that a returning citizen will not recidivate. First, you have to deal with the underlying drivers of the problem, he says: behavior, housing, work, and family relationships. For someone like Shorter, who has a full-time job with stable hours and the support of his family, his chances for success are far greater. He says, without hesitation, that he wants to be an executive chef with his own restaurant soon. Shorter also has a few friends in high places. As part of the 99th graduating class at DCCK, he worked at chef Tim Ma’s Water & Wall for a few weeks this spring. In the small kitchen of about eight, he did prep work and manned the dessert station. When Ma was down a line cook earlier this year, he went searching for Shorter, only to find that he was at Central. Still, what resonates with Ma is a simple thank you note that Shorter wrote. Part of it reads, “I understand you’re a very busy man chef, but I just wanted to take the time to say thank you.” Ma keeps the card in his office. 10 p.m., Union Kitchen Will Avila’s day is just starting at Union Kitchen. He calls his upstart kitchen cleaning 20 july 10, 2015 washingtoncitypaper.com
company, Clean Decisions, a “brotherhood,” and his team of six will work until 2 a.m. scrubbing, scraping, and mopping a mess that comes from dozens of food entrepreneurs using the kitchen incubator space during the day. At just about midnight, there’s only one pastry chef left in the kitchen, dipping pretzel sticks into a pot of melted chocolate. “Brotherhood” is also how Avila used to look at gang life. He grew up in Brightwood, the D.C. neighborhood just south of the Maryland border, and was surrounded by drugs, alcohol, and gang violence. At home, Avila’s family didn’t offer much protection from the outside world. “My real family that I had at the time was the gang,” he says “The homies were the ones who were there for you.” Avila entered the prison system as a 15year-old and was in and out of jail four times. Two years ago, he says he locked himself up in a “personal prison”—a small one-bedroom apartment that rented for $650 per month in Petworth. He took a job as a dishwasher at the Chipotle in Tenleytown, earning about $9.50 an hour. “Once I changed my environment, it started to change me,” he says. “But the kitchen wasn’t always easy. I’ve worked in construction. I’ve worked with my hands, but in this job, you have to deal with people. It was hard for me, because I can come off as distant.” While at Chipotle, Avila rose quickly from dishwasher to kitchen manager in six months. Then, he went on to become a service manager at a busier downtown location. He was succeeding but not fulfilled. “I kept juggling jobs, but I wanted to start something on my own,” he says. That’s when he met Graham McLaughlin, who he says was his first white friend. The pair got to know each other through a book club and writing workshop called Free Minds. McLaughlin, who works as a consultant for the Advisory Board Company, is a minority owner in Clean Decisions and helped Avila start the business in October. They’re also Capitol Hill roommates and run the company from their house with twofull time employees and a handful of apprentices. Their client roster includes food industry partners like One Eight Distilling, The Argonaut, and Blind Dog Cafe. His employees have a bond that goes beyond a typical eight-hour workday. They share meals, workout routines, and even group therapy and meditation sessions. “What we’re really trying to teach here is that in life you don’t have to be perfect, and we don’t expect you to be perfect,” Avila says. “This is dirty work, and we’re trying to show these guys CP how to put their best self forward.” Eatery tips? Food pursuits? Send suggestions to jsidman@washingtoncitypaper.com.
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what we ate last week:
Biscuit with egg and ham, $4.50, Bayou Bakery. Satisfaction level: 3 out of 5 what we’ll eat next week:
Fried roots and tubers, $6, Songbyrd Music House. Excitement level: 3 out of 5
Grazer
With it
Sushi purists may turn their noses up at romaine lettuce and kimchi in their rolls. But at two new sushi spots, fusion should be fully embraced. Maki Shop, which opened in Logan Circle in April, offers 15 types of hand rolls with a range of proteins far beyond fish. Meanwhile, newcomer Buredo near Franklin Park sells burritosized sushi rolls in seven different combinations. Stop thinking of sushi as simply white rice and raw fish, and you’ll be pleasantly surprised. Here’s what to expect. —Jessica Sidman
Maki Shop
Buredo
Each roll comes with a sheet of nori that’s wrapped separately in plastic, like a slice of American cheese. The protective covering helps keep the nori extra crunchy.
The owners experimented with 30 types of nori before settling on the current one. The seaweed keeps the roll intact, but naturally, it gets a little soggy fast.
Rice
A shari mixer is used to quickly and evenly distribute vinegar in the rice by injecting cool air and spinning it. Brown, white, and black rice are used in different rolls.
Like at Maki Shop, a special machine dispenses the seasoned rice on the nori in a perfect layer. Only white rice is available, but because each roll is made to order, it’s extra fresh.
Sauces
A rotating selection of four sauces like wasabi mayo and spicy yuzu is available from a condiment dispenser, so you can dip your rolls. Tamari comes inside squeezable plastic fish.
The sauces—ranging from passion-fruit miso to toasted sesame mayo to garlic dill yogurt—are added inside rolls to pair with certain ingredient combos.
For the sushi traditionalist
If you’re playing it safe, go for a spicy tuna roll with tempura flakes, daikon, cucumber, and scallion.
The most popular roll so far is the Beatrix with yellowfin tuna, salmon sashimi, cucumber, pickled cabbage, green onion, tempura crunch, and unagi sauce.
For the fusion fearless
Spicy shrimp comes with potato crisps, romaine, and asparagus. Alternately, order a roll with curry chicken and Asian pear or beef short rib and kimchi.
For some Greek flavors, try the Riki with spicy beet, pea shoot leaves, avocado, jicama, pickled cucumber, red onion, and garlic dill yogurt. For more crazy, try the Crazy with pork shoulder and kimchi slaw.
Size
4.5 x 2 inches
7 x 2.5 inches
Price
$4.50-$6 (two make a decent sized meal)
$8.85-$11.75 (one will satisfy the average appetite)
Sides
Edamame, seaweed salad, beet salad, kinpira gobo (braised burdock root)
Wasabi peas, chocolate chip cookies with crisp rice, brown rice chips
825 14th St. NW
22 july 10, 2015 washingtoncitypaper.com
The best cocktail you’re not ordering What: The Islay Swizzle with Monkey Shoulder, Mahina Coco, lemon, passion fruit, bitters, and Lagavulin 16-year-old whiskey Where: Farmers Fishers Bakers, 3000 K St. NW Price: $14
1533 14th St. NW
Seaweed
Underserved
What You Should Be Drinking A tiki drink that shuns rum in favor of two types of Scotch may raise eyebrows at Founders Fishers Bakers, where tropical drinks are the specialty. Despite customers’ lack of interest, Beverage Director Jon Arroyo is too stubborn to take it off the menu. The name, Islay Swizzle, is a nod to the drink’s float of Lagavulin whiskey, which hails from the island of Islay where Scotch is generously peated. Monkey Shoulder, a blended Scotch, forms the base of the cocktail. Arroyo says two Scotches are used because it would be both overpowering and a waste to use a single-malt like Lagavulin throughout the whole drink. “If I’m making a cocktail with a nice single-malt, I’m just putting an ice cube in it,” he quips. The secret ingredient is the Mahina Coco liqueur. Arroyo discovered it on a trip to the Rhum Clément distillery in Martinique and convinced them to export it to the U.S. It’s delicate, unlike other coconut liqueurs, which taste like Banana Boat smells. The Mahina Coco plays well with the passion fruit syrup. Why You Should Be Drinking It Much to the chagrin of tiki drink connoisseurs, Scotch actually works. Swizzles are traditionally served in tall glasses over pebbled ice in order to dilute the big bold flavors. “When you think about Scotch it works the same way—you add a little water and it starts to open up,” Arroyo says. A leisurely taste test confirms the Islay Swizzle only gets better with time. If you’re around friends who don’t judge table manners, mimic the motion of an oil drill to make the most out of this cocktail. Start with your straw on the surface to suck up some of the Lagavulin resting on top before swooping down until your straw hits rock bottom. That’ll ensure you get a balanced gulp marrying all of the components. —Laura Hayes
You are a human vessel used to tell a story
Capital Fringe Festival 2015 July 9–August 2 WDC
New Space Logan Fringe Arts Space 1358 Florida Ave NE
New Neighborhoods Trinidad, Brookland, H Street NE capitalfringe.org #nedc #capfringe15
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washingtoncitypaper.com july 10, 2015 23
through combination of speech, gesture, music, dance, sound and spectacle. Shows running during the first week of the 2015 Capital Fringe. Check out shows this week or anytime between NOW and Aug 2nd capitalfringe.org
THURSDAY, JULY 9
The Dishwasher
Experimental
A Family Reunion
Graceless
I AM THE GENTRY
IMPROV WARS
The Last Burlesque
Neighborhood 3: Requisition of Doom
Our Lady of the Clouds
Priest / Penitent
Squares
straight on til moUrning
Stuff
Tammy Faye’s Final Audition
American Lit
...And Then I Woke Up
Artful Justice
DC Trash Recycled!!
Death and the Mermaid
Dishwasher
From Seven Layers to a Bikini Top in Less Than Five Hours
I Feel Funny: True Misadventures in Stand-Up Comedy
The Insanity of Mary Girard
It’s a Circus Out There
“It’s What We Do”: A Play about the Occupation
Lathem Prince
Neighborhood 3: Requisition of Doom
Out of Silence: Abortion Stories from the 1 in 3 Campaign
Poe Whitman
SONATA
Straight Faced Lies
The Winter’s Tale
Tomato Beard
War and Peas
Witches
Wombat Drool
Altered Archives
And Then I Woke Up
At Your Service, Mr. President!
Augustus the Sissy
Awake All Night
Baba
Barenaked Comedy
Belle and the Beasties
Brothel
Burlesque Classique’s Vaudevillian Romp
DC Trash Recycled!!
Dishwasher
District of Cara
Domestic Animals
Dust to Dust
Girl with Two Belly Buttons
God: The OneMan Show
Good Egg Fables
Graceless
The Great Awkward Hope
Here/Hear
Hero Complex
Baba
BellyFunkShun
The Life of King John
The Little Crane and mostly the VOICE: a black lesbian The Long Journey journey
Ten Principles )’( Twelfth Night: A Musical Remix
BoomeRaging: From LSD to OMG.
Up For Debate
FRIDAY, JULY 10
After Eleven
ALICE
Girl Versus Corinth
Hello Girls: Unknown Heroines of WWI
The Paper Game
Paper Glass
Ambien Date Night
How to Quit Your Day Job
SATURDAY, JULY 11
315
After Eleven
BOND: An Unauthorised Parody
Breaking BoomeRaging: From LSD to OMG. Character
A Family Reunion
The Giant Turnip
Girl Versus Corinth
24 july 10, 2015 washingtoncitypaper.com
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You are the keeper of secret knowledge. SATURDAY, JULY 11 (CONT)
How to Be a Good Mom... When You’ve Got a Schizophrenic Mother for a Role Model
How to Quit Your Day Job
Interconnected
Interviews With...
Lathem Prince
The Little Crane and the Long Journey
MacWHAT?!
mostly the VOICE: a black lesbian journey
Neda Wants To Die
Neighborhood 3: Requisition of Doom
Never Never
No AIDS No Maids: Stories I Can’t F*ckin’ Hear No More
Our Lady of the Clouds
Out of Sync
Paper Glass
POWER! Stokely Carmichael
ROGER (Not His Real Name)
Salvation Road
The Second Coming of Joan of Arc
Shit Stories: The Best of Our Worst Moments
Squares
The Suicide Journals
Tammy Faye’s Final Audition
The Theatre of Self Loathing
Trueheart: Live
War and Peas
The Wedding Party
To Err is Falstaff!!
Tongues and Savage/Love
When We Grow Up
Winter’s Tale
SUNDAY, JULY 12
ALICE
Ambien Date Night
American Lit
Artful Justice
At Your Service, Mr. President!
Awake All Night
Barenaked Comedy
BellyFunkShun
BOND: An Unauthorised Parody
BoomeRaging: From LSD to OMG.
Brothel
Burlesque Classique’s Vaudevillian Romp
Cold as Death
Dishwasher
El Sueño or The Delightful Nightmares of the Ladies
The Eulogy
Experimental
From Seven Layers to a Bikini Top in Less Than Five Hours
The Giant Turnip
Girl Versus Corinth
Girl with Two Belly Buttons
God: The OneMan Show
Good Egg Fables
Graceless
The Great Awkward Hope
Hello Girls: Unknown Heroines of WWI
Hero Complex
I AM THE GENTRY
IMPROV WARS
I Thought the Earth Remembered Me
It’s a Circus Out There
“It’s What We Do”: A Play about the Occupation
The Last Burlesque
The Life of King John
Neighborhood 3: Out of Sync Requisition of Doom
The Paper Game
Paper Glass
Poe Whitman
Priest / Penitent
Salvation Road
The Second Coming of Joan of Arc
#Sexts
Shit Stories: The Best of Our Worst Moments
Squares
Straight Faced Lies
straight on til moUrning
Stuff
Tammy Faye’s Final Audition
Ten Principles )’(
The Theatre of Self Loathing
To Err is Falstaff!!
Trueheart: Live
Up for Debate
The Winter’s Tale
Wombat Drool
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washingtoncitypaper.com july 10, 2015 25
Brimming with wit and cleverness. Late Night Cabaret Free Live Music and Variety acts on the Trinidad Theatre stage. DJs from the Vinyl District and Analog Soul Club in the outdoor courtyard. Wednesday to Sunday Logan Fringe Arts Space 1358 Florida Ave NE 10pm to 1am
Shuttle stop BROOKLAND / CUA
Festival Grounds #nedc
Brookland COLUMBIA HEIGHTS
U ST NW
U STREET
SHAW
MT. VERNON SQ 7TH STREET CONVENTION CENTER
Shuttle stop
LOGAN CIRCLE
GALLERY PLACE CHINATOWN
H STREET NE G ST NE
UNION STATION
395
ARCHIVES
D ST NW
Shuttle stop 10TH ST NE
METRO CENTER
NOMA / GALLAUDET
9TH ST NE
Main Festival Box OfďŹ ce
Trinidad
1
2
Logan Fringe Arts Space
H Street NE
JUDICIARY SQUARE
7TH ST
26 july 10, 2015 washingtoncitypaper.com
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HOW TO BE A GOOD MOM... WHEN YOU’VE GOT A SCHIZOPHRENIC MOTHER FOR A ROLE MODEL Written and Performed by Pamela Meek Directed by Lynnie Raybuck
For dysfunctional family members, parents and mental health professionals VENUE: THE ARGONAUT
1433 H St. NE, • Washington, DC 20002 DATES/TIMES: Saturday, July 11 at 2:30 pm • Sunday, July 19 at 6:30 pm Friday, July 24 at 9:20 pm • Saturday July 25 at 5 pm
Online at capitalfringe.org or by phone at 866.811.4111
Location: “Upstairs” in the Logan Fringe Arts Space at 1358 Florida Ave NE CAST: Justin Bell, Emily Berry, Pasquale Guiducci, Jon Jon Johnson, Anna Lynch, Taylor Robinson, Sharisse Taylor, and Ryan Tumulty WRITTEN BY: “straight on til moUrning” ensemble DESIGNED BY: Music Composition by Jessica Thorne; Lighting Design by Brittany Diliberto; Fight Choreography by Dallas Tolentino; Directed/Choreographed by Tori Bertocci; Assistant Directed/Choreographed by Pasquale Guiducci To purchase tickets go to CapitalFringe.org or by calling 866-811-4111.
Our website is: http://releasetheatre.wix.com/releasephysicaltheat • Follow us on twitter at @relEASEtheatre ! Look out for our hastags: #SOTM #straightontilmoUrning #faithandtrust #capfringe15 #CapFringeSoldOut
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washingtoncitypaper.com july 10, 2015 27
BUYD.C.
City Zoo By Kaarin Vembar
Portions for Foxes This foxy artwork is a mixed-media piece made of salvaged wood and yarn. “Fox Love” by Little Green Things, $65. Stitch & Rivet. 716 Monroe St. NE, Studio #3. (202) 340-3581
Run Away Together Antelope This handmade tote by Tree Fairfax is beautiful enough to be a work of art, but practical enough to become your daily handbag. Antelope tote, $80. Nomad Yard Collectiv. 411 New York Ave. NE.
Elephant in the Room Take the opportunity to teach your kiddos about animals (and many more subjects) at this used bookstore/pop-up shop. Animals book, $1. Carpe Librum. 140 M St. NE.
It’s Pandamonium These petite cookies come in three flavors (chocolate, strawberry, and cream) and make a perfect midafternoon snack. Hello Panda biscuits, $2.50. Honeycomb. 1309 5th St. NE (Union Market). 28 july 10, 2015 washingtoncitypaper.com
Toucan Play That Game This playful bird top can be worn as part of a colorful mix-and-match ensemble. Toucan top, $32. Gossip on 23rd. 570 23rd St., Arlington. (703) 920-1498.
CPARTS Decade of Dilla
Take a (fully cloThed) dip in the National Building Museum’s plastic ocean through labor day: washingtoncitypaper.com/go/plasticbeach.
la’s mom, Maureen Yancey. Affectionately known by most as Ma Dukes, she has been at all but one of the shows and is expected to attend this year’s as well. “Her constant attendance has been like a stamp of approval,” says Munch. And so have the multiple appearances by Slum Village. The duo is currently preparing for its European tour and is earning critical praise for its recently released album, Yes!, which features production by Dilla himself. “With this album, we just wanted to go back to the beginning, go back to the foundation, which was feel-good music,” explains T3. Among the highlights at DC Loves Dilla 10: a musical segment that celebrates the 15-year anniversary of Fantastic, Vol. 2, Slum Village’s now Brent Joseph classic commercial breakthrough. helped create “We’re happy to see that an event like this reDC Loves Dilla. volving around Dilla is still taking place after 10 years,” RJ says. “That means that the legacy has taken on a life of its own.” T3 remembers the young Dilla as an introvert, so much so that he didn’t even know they attended the same high school together. When they met at a mutual friend’s home though, he thought Dilla’s work was exceptional. And so did musical iconoclast Amp Fiddler. Fiddler first met Dilla in their shared Detroit neighborhood, Conant Gardens. “I have a studio in the basement, and kids in the neighborhood would stop and listen,” he says while laughing. “It was loud most of the time.” Dilla impressed Amp with his natural affinity and skill for producing, despite not having the equipment. That’s where Amp stepped in. “That’s how we built our relationship, from me having an MPC 60 the year that it was released.” “It was interesting and magical to watch a youngster grow and learn a drum machine so fast… and not only learn it, but to be amazing at forget that there are actually D.C. artists who live here and it,” Fiddler notes. work here and still make art,” says Felton, who is currently The singer-songwriter would later pass a cassette tape with enjoying regional buzz for his recent recording, Black Is Once Dilla’s music on it to rapper Q-Tip of A Tribe Called Quest. Again Black. “Dilla was one of those artists who was a cham- Amp explains that it still took a couple of years for Q-Tip to call Dilla, but once he did, Dilla’s career took off, especially pion for the underground.” as a producer. And that was in addition to his recording outStill, Munch says, getting Common is “a big deal.” “This is the culmination of years of requesting his presence put as a rapper. “We had a lot of the same admirations for music and records, at the show,” he says. Munch considers Common one of the key figures in Dilla’s musical life, and so finally landing him is clear- we talked often about samples… We always played the guessly a coup. In addition to Friday’s multi-artist concert, a panel ing game when it came down to what records were being used about beat making and Dilla’s artistry and influence will take for samples,” shares DJ Spinna a few minutes later. The NYCplace at the Kennedy Center on Thursday, and will feature the based producer will DJ the afterparty along with 9th Wonder, and participate in the Beat Sessions panel. likes of Amp Fiddler, DJ Spinna, and 9th Wonder. Today, Dilla tribute events are no longer obscure; they pop “He had his own swing, his own metronome, his own bounce… up at different times and locales each year, with some support- and he did it at a time when everybody was kind of straightfored by major artists such as Erykah Badu and Questlove. But ward,” explains Spinna, who considered Dilla a friend. Munch says that DC Loves Dilla has been the mainstay: “This is “The way he heard stuff was unlike any other person in CP probably the most consistent one that there has ever been.” the world, ever.” Munch’s reputation for quality—he also works on the annual BET Honors show—has made it easier, year after year, to at- DC Loves Dilla 10 featuring Common, Slum Village, and Georgia tract not only major talent for the tribute show, which also raises Anne Muldrow takes place July 10. Howard Theatre, 620 T St. funds for Lupus DMV and the J Dilla Foundation, but also Dil- NW. $35. (202) 803-2899. thehowardtheatre.com.
By Jerome Langston When James “J Dilla” Yancey—the Detroitoriginated, ethereal hip-hop producer known for his jazz-informed, beat-heavy soundscapes that many credit as revolutionizing modern hip-hop— died in Feb. 2006, it sparked a large outpouring of tributes. From new Dilla-inspired recordings from fellow contemporaries, to live music events that celebrated his oeuvre, artists expressed how they were inspired by the 32-year-old Dilla, who suffered from lupus. In the wake of his death, cultural curator Brent “Munch” Joseph, musician Jon Laine, and DJ Roddy Rod created DC Loves Dilla, a homegrown concert and fundraiser that honors Dilla’s legacy. In June 2006, Slum Village, the pioneering rap group that Dilla (also known as Jay Dee) co-founded, headlined the event, which now takes place annually. In spite of Slum Village’s participation, the first show was definitely humble, held at a small, nowdefunct nightclub called Mirrors. “We’ve been able to take it from something that was much smaller and grow it so that we could produce it in higher-profile venues,” explains Munch on a recent rainy Tuesday afternoon. Munch and his Hedrush marketing agency have been producing music-related events since his days at Howard University in the late ’90s. It was Laine, however, who approached him to create an event honoring Dilla. Munch was quickly on board with the idea, as both a fan and connoisseur of Dilla’s art. “He created some incredible music that spoke to me in unique ways,” he says. Following a successful ninth concert last year, which drew around 600 attendees to the Howard Theatre, DC Loves Dilla 10 ups the ante with headliner Common; the Grammy- and recent Oscar-winning emcee’s catalogue, especially his nearbrilliant Like Water for Chocolate, was often touched by Dilla’s production wizardry. Slum Village, now a duo featuring T3 and Young RJ, is also headlining. It will be joined by Georgia Anne Muldrow, as well as D.C.-based artists including Wes Felton, Alison Carney, Muhsinah, and Awthentik. Joseph is very purposeful about the involvement of many of D.C.’s indie soul and hip-hop artists in the annual show, as is Laine, who serves as the event’s musical director and co-producer. “So often, D.C. artists are kind of outshined by the ‘popular artists’ that come from this region, and so people tend to
Handout photo by Jati Lindsay
As the tribute concert and fundraiser turns ten, DC Loves Dilla adds a big name.
washingtoncitypaper.com july 10, 2015 29
CPARTS Arts Desk
“Prison isn’t like summer camp”: An ex-con reviews another episode of Orange is the New Black:
washingtoncitypaper.com/go/OINTB3.
Summertime ProSe
For some people, summer is the only time of year when they find time to read. Even if your vacation spot has Wi-Fi, you’ll be glad you took a break from Twitter to read something a bit longer (remember books?). We asked seven local authors to tell us what they’re reading this summer, so you can make the most of your reading blitz. —Natalie Villacorta
Richard Peabody, The Richard Peabody Reader I can’t wait to tackle Sally Mann’s Hold Still: A Memoir with Photographs. Her book is a Pandora’s Box of family history, secrets, and photos. Controversy surrounds Mann’s work. We’re contemporaries; our daughters are similar ages, though she stretches the bonds of privacy further than I can imagine. My daughters were caught up in Greek myths a few years ago, and I’m now riffing on same. Adam Nicholson’s Why Homer Matters is a fresh doorway into the epic poet. My novelin-progress focuses on him and the women in “The Odyssey.”
Alice McDermott, Someone Summer seems to be the only time of year I can chose the books I read by whimsy, rather than by professional obligation. Thus far, a June trip to Barcelona inspired me to revisit George Orwell’s brilliant memoir of the Spanish Civil War, Homage to Catalonia. I’ve also discovered Merce Rodoreda’s In Diamond Square, a beautiful story that covers the same events from a woman’s, and a novelist’s, perspective. And I’ve just received an excellent new translation of the stories of Guy de Maupassant by Sandra Smith, who translated Nemirovsky’s Suite Francaise. Smith makes de Maupassant’s work, which has suffered from too many dull, high-school-anthology translations, seem fresh again. Already I’m planning to share them with my students in the fall— not that summer’s ever going to end.
George Pelecanos, The Martini Shot
Maude Casey, The Man Who Walked Away
Dolen Perkins-Valdez, Balm
So far, the book of the summer for me is David Nicholson’s newly-published Flying Home: Seven Stories of the Secret City. Nicholson writes beautifully about the lives of Washingtonians, past and present, who rarely get a voice in American fiction. The heart of D.C. still beats in these short stories. I put this one on the shelf alongside the work of Edward P. Jones.
I recently finished Maggie Nelson’s genrebender The Argonauts. The other day my friend Ailish Hopper—an amazing poet and D.C. native, whose recent book, Dark~Sky Society, deserves a major shout-out—said, “Maybe love is a conspiracy theory,” which made me laugh because it’s funny and because it’s true. Crack open the conspiracy theory of love, foisted on us by a culture made anxious by things that are ever shifting and unpindownable, and there are endless, more expansive, varieties of love, or whatever you want to call it, and that’s what Nelson’s book speaks to, as well as to pregnancy and death and family and, well, it contains multitudes, that book.
Every summer I look forward to my annual beach vacation. While my family frolics in the ocean with the jellyfish and sharks, I find a comfy spot on the hot sand where I can hide beneath my umbrella with a good book. This year I am looking forward to discovering some new writers. This is starting out as a very promising year for debut novelists, and I couldn’t be more thrilled. I’ve just finished Lauren Francis-Sharma’s ’Til The Well Runs Dry, a big and absolutely gorgeous novel set on the island of Trinidad. Angela Flournoy’s novel The Turner House about the ups and downs of a large family in Detroit is up next. I’ve already started it and had to stop myself for fear I would finish it before my vacation starts. I also have an advance copy of Kim van Alkemade’s debut Orphan #8, which is due out in the fall. I already know that this tragic story of children in a New York Jewish orphanage who are experimented upon in the name of science will virtually guarantee that I never make it into the water with my family. Is there anything more gratifying than discovering a debut talent?
Elliot Holt, You Are One of Them Right now, I’m reading the fourth and final Neapolitan novel by Elena Ferrante. These books move fast—the reader is plunged headlong into the story of Elena and Lila’s friendship—and the ferocity of the narrative voice is irresistible. I intend to reread all four books in the series this summer. I recently reread The Bostonians, which has me hankering for more Henry James. I love James (especially Washington Square and The Portrait of a Lady). The Ambassadors is next on my list. And because I loved Hanya Yanagihara’s A Little Life (a very bleak tragedy about a young man named Jude), I’m going to reread Thomas Hardy’s Jude the Obscure. I reread Tess of the D’Urbervilles (for the first time in 25 years) last winter and wasn’t as moved by it as I was at sixteen. I hope Jude holds up to my memories of it.
30 july 10, 2015 washingtoncitypaper.com
Sandra Beasley, Count the Waves My in-laws recently gave me Elizabeth Alexander’s memoir, The Light of the World. An elegy for a husband is a slightly perverse gift from one’s new in-laws, but the poet in me is excited to open a bottle of wine one July night and dive in. The summer lull in my teaching and freelance commitments is when I can take a chance on new authors. So I’ve picked up two debut collections—The Verging Cities, by Natalie Scenters-Zapico, and Danez Smith’s [insert] Boy. I found them the way I find all my future favorites: Their voices hollered at me from the page.
TheaTerCurtain Calls
Handout photo by C. Stanley Photography
Kevin Hasser and Brianna Letourneau anchor a Tennessee Williams evening that feels both dutiful and a little dullish.
cat and mousy Cat on a Hot Tin Roof By Tennessee Williams Directed by Mark A. Rhea and Susan Marie Rhea At the Keegan Theatre to Aug. 1 There’s style to spare in the Keegan Theatre’s Cat on a Hot Tin Roof—apt costuming, blue-moody lighting, languid language rolling lazily off reasonably Southern-accented lips, a handsomely rehabbed Church Street playhouse to contain Big Daddy’s Mississippi plantation—but the humidity you want in a production of Tennessee Williams’ long, oppressive night of bickering and bad news is missing. There’s too much fresh air in those big, high-ceilinged rooms, so no matter how many times the servants say it, there’s no real sense that a storm’s coming. First, a few words about that playhouse: For decades, the Church Street Theater was a go-to space for small companies that wanted to reach an adventurous audience. David Drake’s The Night Larry Kramer Kissed Me played there years and years ago, long before the Source went dark and was revived as an affordable venue for small troupes. So did provocations from Sartre’s No Exit (courtesy of WSC Avant Bard, then called the Washington Shakespeare Company) to Party, a Chicago-born excuse for an all-male cast to get naked and attract sell-out gay crowds. Synetic Theater did eye-popping early work there; I vaguely recall a staging of Caryl Churchill’s Cloud 9 from one tiny company or another. If you wanted to put on a show with some edge, Church Street was a safe-ish space in which to take a risk: intimate, well-situated, and not too insanely expensive to rent. So the house has been a priceless proving
ground for D.C.’s small theater companies, and the Keegan crew was another beneficiary. They’ve produced everything from modern Irish two-handers to surprisingly sprawling musicals in the former girls’-school gymnasium. In the process, they’ve found both a professional groove and a permanent home: The Church Street Theater, as of this month, has become the Keegan Theatre. The company, somewhat miraculously, pulled together $4 million-plus to buy and renovate the building. And their inaugural season in the overhauled building promises an extraordinarily ambitious 10 productions. Once a scrappy shoestring sort of company, Keegan is officially one of the big kids now. That, in some ways, makes the straightforward approach to Cat a little disappointing. Co-directors Mark and Susan Rhea, who jointly run the artistic operations of the company, aren’t digging for revelations here; instead they’ve steered their cast toward naturalistic performances that highlight the personalities and relationships powering Williams’ story. That tale—of an estranged couple jockeying to maintain Most Favored Nation status in a clan shadowed by its patriarch’s terminal illness, of carnality frustrated and queerness repressed and all manner of appetites starved—still builds to something like intensity, but the proceedings too often feel cautious, merely respectful, more like the work of a company feeling its way into a niche than that of one triumphantly turning the key on a new palace. Maggie the Cat paces sure-footedly enough on that metaphorical roof, but it’ll take one of those other nine shows coming down the pike to make audiences feel like there’s anything really at risk. —Trey Graham
Now thru August 16 Eisenhower Theater Tickets on sale now! (202) 467-4600 kennedy-center.org Tickets also available at the Box Office | Groups (202) 416-8400 Musical Theater at the Kennedy Center is made possible through the generosity of the Adrienne Arsht Musical Theater Fund.
Kennedy Center Theater Season Sponsor
1742 Church St. NW. $25–$36. (202) 2653767. keegantheatre.com. washingtoncitypaper.com july 10, 2015 31
Galleries
Second Impression
Caillebotte is known more for his patronage than his paintings, but is that fair? A new show explores his work. By Jeffry Cudlin Gustave Caillebotte gets no respect. In 1876, at the age of 27, the Paris-born painter was invited to join the Impressionists; he went on to help organize and participate in five of the group’s eight official exhibitions. Yet he’s mostly remembered as the group’s doomed rich dilettante—the guy who paid Monet’s rent, collected his friends’ art, and dropped dead in his mid-forties while puttering around in his garden. True, Caillebotte didn’t quite fit in with his contemporaries. Like Degas, he used black in his palette, and didn’t share the Impressionists’ broken contours and bright complementary colors. He was a studio painter, more suited to constructing deep-focus images of people wandering city streets than sketching hazy, flattened landscapes en plein air. And he eventually retreated from art, leaving Paris in 1888 to focus on collecting stamps, yachting, and tending to his estate on the Seine at Petit Gennevilliers near Argenteuil. Caillebotte may have inadvertently engineered his own obscurity. When he died in 1894, the French government accepted a gift of 40 pieces from his collection. That group included Monet’s “Interior of the St. Lazare Train Station” (1877) and Renoir’s “Ball at the Moulin de la Galette” (1876), both now at the Musée d’Orsay in Paris. In his will, Caillebotte insisted that these paintings remain on public view—thereby helping to establish his friends’ future legacies. Meanwhile, most of his own paintings stayed in the hands of his family and out of circulation until the 1950s. “Gustave Caillebotte: The Painter’s Eye” is the latest effort to rehabilitate Caillebotte’s reputation as a painter, not just a benefactor. On view at the National Gallery of Art through October 4, the show is a medium-sized greatest hits collection, bringing together 57 of Caillebotte’s works. Why only 57? As curators Mary Morton and George Shackleford explain in the show’s catalogue: “Of the some 500 paintings in his known oeuvre, only a fraction warrant the attention of a major exhibition.” Even Caillebotte’s champions still have their doubts. The exhibition largely breaks down Caillebotte’s work by genre. His best-loved cityscapes appear in the first three rooms; the back galleries contain less-familiar still-lifes, a couple of clumsy yet compelling nudes, and landscapes that the curators must regard as subpar. “Dozens of views of riverbanks, of sailboats at anchor, of seaside cliffs, stands of trees, or orchards in bloom were executed over the course of the second half of [the 1880s],” Shackleford writes in his essay, “seemingly without much aim and without much conviction.” So much for the show’s seventh room, devoted to boats, flowers, and fields. Caillebotte’s paintings reflect his privilege. His breakthrough piece from the April 1876 Impressionist exhibition, “The Floor Scrapers” (1875), depicts shirtless workmen 32 july 10, 2015 washingtoncitypaper.com
finishing the floors of his custom-built studio—paid for by his father. The subject is a product of Caillebotte’s early, more conventional ambitions: He trained at the École des Beaux-Arts in Paris and was interested in the classical male nude. Yet this is not a polite, academic painting. The three figures are depicted kneeling, their elongated, sinewy arms and bony torsos rendered in wan shades of yellow and brown. Light from a window bounces off gilt wall accents and limns the workers’ straining muscles. The viewer’s relationship to these laborers is complicated by the picture’s perspective: The floor appears to tilt downward, suggesting that “The Floor Scrapers,” Gustave Caillebotte, 1875 the artist was standing on a ladder or chair, towering over his subjects. er’s eye far away, to clumps of tiny, interchangeable pedesThese two elements—wealthy and working-class life inter- trians, the right side is cramped and close-up. A man and a secting, and odd, stagey pictorial spaces—typify Caillebotte’s woman appear ready to stroll out of the painting arm-inbest paintings. In “On the Pont de l’Europe” (1876-7), for arm as they squeeze past a man with his back to the viewer. example, three men stand on a bridge one gray, chilly morn- This third figure seems like an afterthought, jammed into the ing. One wears a bowler hat and a workingman’s blue jacket; margin and radically cropped. the other two wear silk top hats and long coats. Their faces Yet this tension is precisely what makes the painting excepare all turned away from the viewer; two stand side-by-side, tional, reflecting the excitement, anxiety, and loneliness of watching the Gare Saint-Lazare railroad yards. modern cities at the end of the 19th century. With paintings Yet the yards are mostly hidden from the viewer: The like this, Caillebotte seems to answer Baudelaire’s 1863 essay, bridge’s thick, criss-crossing girders and railings fill the paint- “The Painter of Modern Life,” which calls on artists to ading and fragment the pale city skyline. The result is a view of dress “the ephemeral, the fugitive, the contingent.” Paris radically altered by new construction and technology— If only he’d kept courting that tension. The show’s later almost closer in spirit to the New Vision photography that rooms reveal an artist playing against his strengths. Caillewould appear between the two world wars than to Monet’s botte was not really a colorist; he did better when he focused painterly atmospherics or Pisarro’s peasant reveries. on line, perspective, and tonal contrasts. Yet in the back Caillebotte’s images frequently beg comparisons with rooms of the show, the artist spends his later years painting photography. Take the snapshot-like cropping and jumps sun-dappled fields and skiffs on the water in a manner that in scale of “Interior, a Woman Reading” (1880). A woman recalls Monet without ever matching him. with a newspaper, occupying nearly two-thirds of the canIf Caillebotte hadn’t abandoned his own pictorial ideas, vas, is cropped above the waist; the head of a comically much maybe “The Painter’s Eye” would feel like a sampling smaller man, lying on a couch deep in the background, in- of an artistic oeuvre worth exploring in depth. Instead, tersects with her knuckles. These figures share a domestic even at a mere 57 paintings, the show feels bloated—it’s a space—but the picture’s discontinuities suggest they are psy- half-great show. Caillebotte’s real problem wasn’t that he chologically isolated. didn’t fit in with the Impressionists, but that he desperCP And then there’s “Paris Street, Rainy Day” (1877), a sev- ately wanted to. en-by-nine-foot image of the eighth arrondissement that’s almost certainly based on photos. A bright green lamppost 6th Street and Constitution Avenue NW. Free. (202) 737splits the picture in half; while the left side draws the view- 4215. nga.gov.
FilmShort SubjectS Pol Dancing Jimmy’s Hall Directed by Ken Loach There’s more room for heroes in the world than there is for movies about them; names that deserve to be immortalized onscreen can get lost to history. Jimmy’s Hall, a sturdy political drama from esteemed director Ken Loach, attempts to rescue Jimmy Gralton’s name from obscurity. It’s a small tale of immense courage, and Loach brings it to life with efficiency, subtlety, and a keen eye for what matters.
Jimmy has brought back from New York, the dancing, or the library stocked with books unsanctioned by the church. More than that, he foresees the danger of real political power springing up from a place where ordinary people congregate—a place that isn’t a church. It’s such a politically rich central conflict that when that when Jimmy (and the film) turn overtly political late in the second act, it feels shoe-horned in. After a wealthy landowner wrongfully evicts a worker, Jimmy agrees to lead the people in a protest. The scene is effectively dramatic—guns and fists guarantee tension—but Loach never follows up to see how it turned out. Or how Winning performances and a naturally tense story compete with blunt political messages.
In 1932, Gralton (Barry Ward) returns to his small hometown in Ireland to help his aging mother take care of the family farm. Because he spent ten years in New York City, the local teens immediately view him as a source of worldly knowledge, and they convince him to re-open the local dance hall that the church had closed down before he went overseas. With the help of a few eager friends and an old flame (Simone Kirby), now married with two children, he fixes up the hall and creates a community space where teens and adults alike can dance, teach, take art classes, and, perhaps most importantly, organize politically. Yes, it’s at this point that Jimmy’s Hall starts to resemble an Irish version of Footloose, although the dancing is far more subdued. The church’s cantankerous, old priest (Jim Norton) predicts trouble from the hall long before politics even enter the scene. He doesn’t appreciate the jazz music
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any of this turns out, for that matter. Those who turn to the Internet after the credits roll to learn the real story of Gralton will discover that these actions led to the formation of the Irish Communist Party, but the film only hints at such grand political strokes. It might have been smarter to leave them out together, as the story has tremendous power on its own simple terms. Loach gets winningly naturalistic performances out of his cast (several of them stumble over their lines, and it works), which makes up for the clunky dialogue and the one-dimensional nature of the characters. There is little poetry in the script by Paul Laverty, but Loach finds it anyway in the lush Irish countryside, the everyday bravery of its people, and the resonance of a political idea— populism—that may be as timely as ever. —Noah Gittel Jimmy’s Hall opens Friday at Bethesda Row. washingtoncitypaper.com july 10, 2015 33
BooksSpeed ReadS Ground Fresh
due in October. She negotiated with doctors to induce the birth on Oct. 10—a day off between the division series and the league chamThe Grind pionship series—so Ian could be at the hosBy Barry Svrluga pital. “Baseball wives,” Svrluga writes, “are Blue Rider Press, 176 pps. expected to wed at a certain time of year, to give birth at a certain time of year, to pick up the toys and the car and the dogs and the kids when Dad is sent to the minors or traded midseason. They are full-time moms, part-time real estate agents, occasional fathers, all-hours dog walkers, logistical magicians.” Other profiles include: Kris Kline, a scout and baseball lifer who spends his time following college players and other prospects as part of an endlessly repeating loop leading up to the annual MLB Draft; Doug Fister, a starting pitcher who takes the reader inside the mental and physical demands of gearing up for a starring role every fifth day; Tyler Moore, dubbed the 26th man by Svrluga, who shares the frustrations of coping with regressing to the minors after playing more than 400 big-league games; McDonald, the Nats’ travel planner, and Mike Wallace, the team’s clubhouse and equipment manager; and Drew Storen, a top-notch relief pitcher haunted by blowing a playoff-series clincher after twice being one strike away in 2012. That setback, so public and so scrutinized beSvrluga might be just as relentlessly driven as cause of the stakes, crushed Stothe pro baseball personalities he profiles. ren the next season, so much so the Nats sent him to the minors for During spring training, the Washington a short stint. And Mike Rizzo, the GM whose Nationals bring along 600 bats and 16,800 blue-collar work ethic fuels him through spring baseballs to tide them over until the regular training, a 162-game regular season, playoffs season. During a three-city road trip in 2014, (when things go well), and the most important Rob McDonald, the team’s travel coordina- time of year for any team executive—winter tor, presided over a to-do list that included ar- trades and free-agent signings. rangements for “1 train ride, 3 flights, 46 bus Again and again, Svrluga demonstrates his rides, 78 passengers, 25 equipment trunks, 6 own relentlessness, similar to that of the playsets of golf clubs, 1 massage table, 125 pieces ers and insiders profiled here. Short of the of luggage, including 2 guitars.” Running Presidents, nothing escapes his eye— These details are among the many inter- or his willingness and ability to dig deeper, deesting nuggets Barry Svrluga mines in his livering specifics where most reporters would new book. The Washington Post sportswrit- stop with generalities. Best of all, whether er developed The Grind from a series of ar- baseball bores you or thrills you, The Grind ticles chronicling the toll of a major league offers a glimpse into what it feels like to be a season and showing the strain of baseball life part of a rarefied world punctuated as much through magazine-length profiles of a range by failure and frustration as glitz and glamor. of Nationals players and front-office staffers. Slim and brisk, Svrluga avoids the literThe subjects, whom the author trailed ary equivalent of throwing over to first too throughout 2014, include household names— many times to check on a baserunner, instead Ryan Zimmerman, the veteran with 1,250 serving up a story easily consumed in a sitgames to his name—and the heads of house- ting or two. Consider The Grind the perfect holds, like Chelsey Desmond, wife of short- balm for fans suffering withdrawal during the stop Ian Desmond. Last season, as the Nats All-Star break or, worse, a lengthy rain delay. —Erik Spanberg entered the playoffs, Chelsey’s third child was 34 july 10, 2015 washingtoncitypaper.com
CITYLIST Music
Friday Rock
9:30 Club 815 V St. NW. (202) 265-0930. The New Pornographers, Thao & the Get Down Stay Down. 8 p.m. $35. 930.com. The New Pornographers, Thao & the Get Down Stay Down. 8 p.m. $35. 930.com. bossa bistro 2463 18th St NW. 202-667-0088. Catscan, the Capitol Heights. 7 p.m. $5. bossproject.com. DC9 1940 9th St. NW. (202) 483-5000. The Heydaze, William Bolton. 7 p.m. $12–$14. dcnine.com. Fillmore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Fillmore Flashback, Biz Markie, Here’s To The Night. 8 p.m. $15.50. fillmoresilverspring.com. the hamilton 600 14th St. NW. (202) 787-1000. Yacht Rock Revue. 8:30 p.m. $20–$25. thehamiltondc.com. logan Fringe arts spaCe 1358 Florida Ave. NE. (202) 737-7230. Cigarbox Planetarium, Orchester Praževica, Balti Mare. 9:30 p.m. Free. capitalfringe.org.
Funk & R&B blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Jean Carne. 8 p.m. & 10 p.m. $25. bluesalley.com.
countRy birChmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Jason D. Williams, Dale Watson & The Lonestars. 7:30 p.m. $25. birchmere.com. JiFFy lube live 7800 Cellar Door Drive, Bristow. (703) 754-6400. Dierks Bentley, Kip Moore, Maddie & Tae, Canaan Smith. 7 p.m. $31.25–$56. livenation.com.
WoRld tropiCalia 2001 14th St. NW. (202) 629-4535. Los Wemblers de Iquitos, Leon City Sounds. 8 p.m. $10–$12. tropicaliadc.com.
opeRa barns at WolF trap 1645 Trap Road, Vienna. (703) 255-1900. The Ghost of Versailles. 7:30 p.m. $42–$88. wolftrap.org. Castleton Farms 663 Castleton View Rd., Castleton. (866) 974-0767. Roméo et Juliette. 8 p.m. $20–$85. castletonfestival.org.
classical KenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. Tim Park, Tanya Gabrielian. 6 p.m. Free. kennedy-center.org.
Vocal amp by strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. The Persuasions. 8 p.m. $25–$35. ampbystrathmore.com.
Music . . . . . . . . . . . . . . . . . . . . . . . . .35 Galleries . . . . . . . . . . . . . . . . . . . . . 4 0 Dance . . . . . . . . . . . . . . . . . . . . . . . 4 2 Theater . . . . . . . . . . . . . . . . . . . . . . 4 2 Film . . . . . . . . . . . . . . . . . . . . . . . . . . 44
SearCh LISTIngS aT waShIngTonCITYpaper.Com
CITY LIGHTS: FRIDAY
“ART ART ART” Expect Good Hope Road SE to be busier than usual Friday when the Anacostia Arts Center opens two new art exhibits and neighboring Honfleur Gallery opens a third, featuring art by residents of wards 7 and 8, as part of the “Art Art Art” celebration. The Arts Center will also host a “Metro Mambo” dance with music by Latin act Eddie Drennon (pictured) and Charanga Soul, and a discussion with Drennon, Cuban painter Gustavo Díaz Sosa, and Anacostiabased photographer Jonathan French led by WPFW DJ Jim Byers. Drennon, a violinist who has performed with Celia Cruz and Bo Diddley and now mainly teaches music, is making a rare public appearance. Sosa’s solo show, “Apotheosis of One Humankind,” is his first in the U.S. since 2011. Using lots of dark tones, Sosa’s work seeks to convey through painting and drawing the drabness of life that his literary idols Kafka and Dostoevsky express through prose. French’s “Innocent Eyes of Tierra Bomba” is a group project with photos taken on the Colombian island by French photographers who traveled with him and some young residents. The event begins at 6 p.m. at the Anacostia Arts Center, 1231 Good Hope Road SE. Free. —Steve Kiviat (202) 631-6291. anacostiaartscenter.org.
saturday Rock
amp by strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. The VI-Kings. 8 p.m. $15–$25. ampbystrathmore.com. DC9 1940 9th St. NW. (202) 483-5000. Mr Twin Sister, Moon King. 9 p.m. $12–$14. dcnine.com. hoWarD theatre 620 T St. NW. (202) 803-2899. Los Autenticos Decadentes. 8 p.m. $35. thehowardtheatre.com. logan Fringe arts spaCe 1358 Florida Ave. NE. (202) 737-7230. Three Man Soul Machine, Backbeat Underground, Little Red & The Renegades. 9:30 p.m. Free. capitalfringe.org. velvet lounge 915 U St. NW. (202) 462-3213. Bloody Diamonds, Black Dog Prowl, The Grocers. 9:30 p.m. $8. velvetloungedc.com.
Funk & R&B bethesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. 76 Degrees West Band, Jimmy Sommers, Tom Browne. 8 p.m. $25–$30. bethesdabluesjazz.com. blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Jean Carne. 8 p.m. & 10 p.m. $25. bluesalley.com.
Fillmore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Mint Condition. 8 p.m. $35. fillmoresilverspring.com.
Jazz bairD auDitorium at national museum oF natural history 10th Street and Constitution Avenue NW. (202) 633-3030. Smithsonian Jazz Masterworks Orchestra. 7:30 p.m. $18–$25. residentassociates.org.
countRy reston toWn Center 11900 Market St., Reston. (703) 912-4062. Della Mae. 7:30 p.m. Free. restontowncenter.com.
Folk birChmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Old Time Banjo Festival. 7:30 p.m. $29.50. birchmere.com.
j u l y tH 9
The Tom newman projecT
f 10
The Good ThinG feaTurinG Kim jade fry dc funK / dance free Show
sa 11 76 deGreeS weST Band su 12 hernan romero flamenco-GypSy GuiTariST
wednesday july 15
tHe cHi-lites featuring MarsHall tHoMpson
tH 16 carolyn malachi f 17
SecreT SocieTy
sa 18 joe clair comedy Show M 20
BlinddoG SmoKin’ w/ BoBBy ruSh BlueS
w 22 nrBQ
a u g u s t **just announced** tHurs & fri august 20 & 21
steve tyrell
sat & sun august 22 & 23
jo dee Messina
Hip-Hop 9:30 Club 815 V St. NW. (202) 265-0930. Death Grips. 6 p.m. (Sold out). 930.com. Death Grips. 6 p.m. (Sold out). 930.com.
opeRa Castleton Farms 663 Castleton View Rd., Castleton. (866) 974-0767. L’heure espagnole and Scalia/ Ginsburg. 7 p.m. $20–$120. castletonfestival.org.
7719 Wisconsin Ave., Bethesda, MD (240) 330-4500 Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends washingtoncitypaper.com july 10, 2015 35
KenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. Washington National Opera Institute. 6 p.m. Free. kennedy-center.org.
bossa bistro 2463 18th St NW. 202-667-0088. Faun and a Pan Flute, Sealab. 9 p.m. $10. bossproject.com.
classical
DC9 1940 9th St. NW. (202) 483-5000. SOAK. 9 p.m. $12–$14. dcnine.com.
WolF trap Filene Center 1551 Trap Road, Vienna. (703) 255-1900. National Symphony Orchestra, Sarah Chang. 8:15 p.m. $20–$75. wolftrap.org.
Jammin Java 227 Maple Ave. East, Vienna. (703) 255-1566. The Battle. 7:30 p.m. $10–$15. jamminjava.com.
dJ nigHts
WolF trap Filene Center 1551 Trap Road, Vienna. (703) 255-1900. R5, Jacob Whitesides, Ryland. 7 p.m. $30–$45. wolftrap.org.
9:30 Club 815 V St. NW. (202) 265-0930. MIXTAPE Alternative Dance Party. 11 p.m. $15. 930.com. DC9 1940 9th St. NW. (202) 483-5000. BODYWERK with DJs Corduroy Mavericks, Kochi, Ramirez, and Felipe. 11 p.m. $2–$5.
sunday Rock
9:30 Club 815 V St. NW. (202) 265-0930. The Mighty Mighty Bosstones, Street Dogs, The Interrupters. 7 p.m. $25. 930.com. The Mighty Mighty Bosstones, Street Dogs, The Interrupters. 7 p.m. $25. 930.com. birChmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Southside Johnny & The Asbury Jukes. 7:30 p.m. $39.50. birchmere.com.
Funk & R&B blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Jean Carne. 8 p.m. & 10 p.m. $25. bluesalley.com.
opeRa barns at WolF trap 1645 Trap Road, Vienna. (703) 255-1900. The Ghost of Versailles. 3 p.m. $42–$88. wolftrap.org.
classical KenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. NSO Summer Music Institute Orchestra. 6 p.m. Free. kennedy-center.org.
CITY LIGHTS: SATURDAY
D.C. HIP-HOP THEATER FESTIVAL Lin-Manuel Miranda may have turned the ears of Broadway listeners toward hip-hop with his scores for the musicals In the Heights and Hamilton, but his scores don’t quite capture hip-hop culture the way music does. The Hip-Hop Theater Festival has been going on for 15 years and highlights work by b-boys young and old, DJs, and storytellers from around the District. The weekend’s lineup focuses on street choreography, with young emcees trying out their rhymes and competing for a cash prize, plus a headlining performance by choreographer Raphael Xavier. He uses 20 years of remembered verses, stories, and movements to share memories of his career with the audience. Beyond performances, the festival also looks at D.C.’s newest mural, an interactive representation of the life of singer and activist Paul Robeson that was recently completed on U Street NW. Soon enough, you’ll be inspired to incorporate bits of rhythmic rhyme into your work. Raphael Xavier performs at 8 p.m. at Dance Place, 3225 8th St. NE. $15–$30. —Caroline Jones (202) 269-1600. danceplace.org.
36 july 10, 2015 washingtoncitypaper.com
I.M.P. PRESENTS Merriweather Post Pavilion • Columbia, MD
JUST ANNOUNCED!
TRILLECTRO MUSIC FESTIVAL
Chance the Rapper and more!
THIS WEEK’S SHOWS
MIXTAPE Alternative Dance Party with special performance by Double Duchess ...................................................Sa 11 The Mighty Mighty Bosstones w/ Street Dogs & The Interrupters ............. Su 12
JULY Maggie Rose w/ The Morrison Brothers Band....................................................... Th 16 Jake Miller w/ Jasmine V & Alex Angelo .................................................................. F 17 No Scrubs: ‘90s Dance Party with DJs Will Eastman & Brian Billion................. Sa 18 GoldLink w/ Sango • Esta • Lakim • Joe Kay .................................................. W 22 U.S. Air Guitar Conference Finals w/ special performances by National and World Air Guitar Champions............. Th 23 Cowboy Mouth w/ The Last Year ............................................................................... F 24 The Dead Milkmen w/ Ego Likeness & Bastards of Fate .................................... Sa 25 Django Django w/ Beat Connection ........................................................................... W 29 Los Amigos Invisibles .............................................................................................. Th 30 Laura Marling w/ Johnny Flynn & Marika Hackman .............................................. F 31
AUGUST Veruca Salt w/ Charly Bliss ..........................................................................................Sa 1 REV909: Daft Punk/French House Tribute and Indie Dance Classics with Will Eastman & Ozker, Visuals by Bell Visuals ....................................................F 7
Desaparecidos w/ The Banddroidz & The So So Glos ..............................................Sa 8 Failure & Hum............................................................................................................. Tu 11 Basement w/ Adventures • LVL UP • Palehound ................................................... Th 13 Jonny Grave and the Tombstones
.................................................SAT AUGUST 29 For a full lineup and more info, visit trillectro.com. On Sale Friday, July 10 at 10am
FEATURING Asking Alexandria and more! . JULY 18 Sam Smith w/ Jazmine Sullivan...........................................................................JULY 24 My Morning Jacket w/ Jason Isbell ...................................................JULY 26 Faith No More w/ Refused......................................................................... AUGUST 2
VANS WARPED TOUR
CDE PRESENTS 2015 SUMMER SPIRIT FESTIVAL FEATURING
ERYKAH BADU • ANTHONY HAMILTON and more!...... AUG 8 PHISH ...............................................................................................................AUGUST 15 & 16
Willie Nelson & Family and Old Crow Medicine Show ........ AUG 19
O.A.R. w/ Allen Stone & Brynn Elliott .............................................................. AUGUST 21
Darius Rucker w/ Brett Eldredge • Brothers Osborne • A Thousand Horses. AUG 22
Death Cab For Cutie w/ Explosions in the Sky .........................SEPT 13 Alabama Shakes w/ Drive-By Truckers .........................................SEPT 18 Of Monsters and Men ...........................................................SEPTEMBER 20 WPOC WEEKEND IN THE COUNTRY FEATURING
BRANTLEY GILBERT • SAM HUNT and more! ...... OCTOBER 3 & 4 • For full lineups and more info, visit merriweathermusic.com • 930.com
w/ Derek Evry and his Band of Misanthropes & Olivia Mancini .............................. F 14
Echostage • Washington, D.C.
Touchpants ................................................................................................................... Tu 16
930.com
MANY MORE SHOWS ON SALE!
9:30 CUPCAKES
FEATURING
The best thing you could possibly put in your mouth Cupcakes by BUZZ... your neighborhood bakery in Alexandria, VA. | www.buzzonslaters.com
JUST ANNOUNCED!
ALL TIME LOW & SLEEPING WITH SIRENS
...........NOVEMBER 16
On Sale Friday, July 10 at 10am
Milky Chance w/ X Ambassadors ..............................................................................JULY 27 Interpol ..............................................................................................................................JULY 28 Brandon Flowers .........................................................................................................JULY 29
CHARLI XCX & BLEACHERS
w/ Robert DeLong ....................................... SEPTEMBER 23
Andrew McMahon in the Wilderness & New Politics
w/ The Griswolds & Lolo ......................................................................................... NOVEMBER 17 2135 Queens Chapel Rd. NE • Ticketmaster
9:30 CLUB PRESENTS AT U STREET MUSIC HALL FATHER w/ KeithCharles Spacebar •
Emily King w/ Redline Graffiti ............. W 22 Slug Christ • Playboi Carti ............. Sa JUL 11 Tanlines w/ Mas Ysa ............................ Th 23 Chaz French Little Boots w/ Prinze George ............ Sa 25 w/ Kelow • Jay IDK • Mista Selecta ...... Su 12 Skepta................................................... Su 26 Federico Aubele ................................. Th 16 Sheppard w/ Lawson ............................ M 27 Toe w/ StarRo ......................................... F 17 Young Rising Sons Son Lux w/ Landlady............................. M 20 & Hunter Hunted .......................... M AUG 3 • Buy advance tickets at the 9:30 Club box office
1215 U Street NW
Lilly Singh............................................................................................................ JULY 11 The Australian Pink Floyd Show ........................................................ AUGUST 8 LIVE NATION PRESENTS
T.J. Miller New date! All 6/20 tickets honored. ............................................. AUGUST 9
Ana Carolina .......................................................................................... SEPTEMBER 18 SEPT 23 SOLD OUT! SECOND NIGHT
Berry Hill Farm • Summit Point, WV (75 minutes NW of D.C.) THIS WEEKEND!
ALL GOOD MUSIC FESTIVAL & CAMP OUT
FEATURING
PRIMUS • CAKE • THIEVERY CORPORATION • SOJA • MOE. • JOHN BUTLER TRIO •
LOTUS • GREENSKY BLUEGRASS • DARK STAR ORCHESTRA and many more! ...JULY 9-11 Full lineup at allgoodfestival.com - Eventbrite
Washington, D.C.
THIS SATURDAY!
ADDED!
Sturgill Simpson w/ Billy Wayne Davis .............................................. SEPTEMBER 24 AN ACOUSTIC EVENING WITH
Yo La Tengo feat. Dave Schramm ................................................. SEPTEMBER 25 Loretta Lynn .......................................................................................... SEPTEMBER 27 Kacey Musgraves .....................................................................................OCTOBER 16 Steve Hackett From ACOLYTE to WOLFLIGHT plus Genesis Classics (1970-1977)
Including The Lamb Lies Down on Broadway, Cinema Show and more! ...........NOVEMBER 13 • thelincolndc.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. 9:30 CUPCAKES The best thing you could possibly put in your mouth. Cupcakes by BUZZ... your neighborhood bakery in Alexandria, VA. www.buzzbakery.com
U Street (Green/Yellow) stop across the street!
PARKING: THE OFFICIAL 9:30 parking lot entrance is on 9th Street, directly behind the 9:30 club. Buy your advance parking tickets at the same time as your concert tickets!
HAPPY HOUR DRINK PRICES
AFTER THE SHOW AT THE BACK BAR!
930.com
washingtoncitypaper.com july 10, 2015 37
Capital Fringe Festival 2015
July 9–August 2 WDC capitalfringe.org #nedc #capfringe15
CITY LIGHTS: SUNDAY
CHAZ FRENCH
Chaz French’s music is drenched with blood, sweat, and tears. The rapper throws himself head first into his musical projects, and the passion was evident on his 2014 mixtape, Happy Belated. French infused his debut project with infectious intensity, from the emotional laundry list of complaints of “Came Down” to the naked honesty of “Watcha Know,” and quickly gathered national attention. French’s style—the impassioned sermon of a preacher who’s living with demons—is rooted in the D.C.-based artist’s influences. The sway of gospel music is obvious, but the bounce of traditional southern hip-hop is also present. His explosive, free-form style even nods at the abstract graffiti artist Jean-Michel Basquiat. Whatever his motivation, the combination makes French an energetic live performer—a talent he’ll flex during his night at U Street Music Hall. In just a year, French’s zeal has helped him make major strides in the industry. It’s only fitting that he finish his victory lap in the same place it began. Chaz French performs with Kelow, Jay IDK, and Mista Selecta at 7 p.m. at U Street Music —Julian Kimble Hall, 1115 U St. NW. $15. (202) 588-1889. ustreetmusichall.com.
Monday
Funk & R&B
Rock
tropiCalia 2001 14th St. NW. (202) 629-4535. Kenyatta Hill, Christos. 8 p.m. $12–$15. tropicaliadc.com.
DC9 1940 9th St. NW. (202) 483-5000. Mourn, Big Moth. 9 p.m. $12–$14. dcnine.com.
Jazz
Fort reno 3800 Donaldson Place NW. (202) 3556356. Notaries Public, Spirit Plots, Teen Liver. 7 p.m. Free. fortreno.com.
blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Duane Eubanks Quintet. 8 p.m. & 10 p.m. $20. bluesalley.com.
classical
Folk
KenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. NSO Summer Music Institute Chamber Ensembles. 6 p.m. Free. kennedy-center.org.
maDam’s organ 2461 18th St. NW. (202) 6675370. Bob Perilla’s Big Hillbilly Bluegrass. 9 p.m. madamsorgan.com.
tuesday
WolF trap Filene Center 1551 Trap Road, Vienna. (703) 255-1900. Punch Brothers, Bela Fleck & Abigail Washburn. 7:30 p.m. $30–$45. wolftrap.org.
Rock
DC9 1940 9th St. NW. (202) 483-5000. Elvis Depressedly, Mitski, Eskimeaux. 8:30 p.m. $12. dcnine.com.
Folk roCK & roll hotel 1353 H St. NE. (202) 388-ROCK. A.A. Bondy. 8 p.m. $12. rockandrollhoteldc.com.
classical KenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. NSO Summer Music Intstitute Chamber Ensembles. 6 p.m. Free. kennedy-center.org.
Wednesday Rock
DC9 1940 9th St. NW. (202) 483-5000. Night Kitchen, Seaknuckle, Heavy Lights. 8:30 p.m. $8. dcnine.com.
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opeRa barns at WolF trap 1645 Trap Road, Vienna. (703) 255-1900. The Ghost of Versailles. 7:30 p.m. $42–$88. wolftrap.org.
classical KenneDy Center millennium stage 2700 F St. NW. (202) 467-4600. NSO Summer Music Intstitute Chamber Ensembles. 6 p.m. Free. kennedy-center.org.
thursday Rock
9:30 Club 815 V St. NW. (202) 265-0930. Maggie Rose, The Morrison Brothers Band. 7 p.m. $25. 930.com. birChmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. The Bacon Brothers. 7:30 p.m. $39.50. birchmere.com.
washingtoncitypaper.com july 10, 2015 39
---------3701 Mount Vernon Ave. Alexandria, VA • 703-549-7500
1811 14TH ST NW
www.blackcatdc.com @blackcatdc UPCOMING SHOWS
JUL 9 JUL 10 JUL 10 JUL 11 JUL 11
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DC BENNY
PUNK ROCK KARAOKE
JASON D. WILLIAMS and his & DALE WATSON Lone Stars
11 9th Annual Mike Seeger Commemorative
OLD TIME BANJO FESTIVAL feat. Cathy Fink & Marcy Marxer, Jayme Stone, David Reed, Adam Hurt
SOUTHSIDE JOHNNY & The Asbury Jukes Derik 14,15 TOAD THE WET SPROCKET Hutlquist 16 Cleopatra &17 THE BACON BROTHERS Degher 19 AMBROSIA 20 JONNY LANG 21 STEELEYE SPAN 12
featuring MADDY PRIOR
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GRAHAM NASH 6 KASEY CHAMBERS 7 KIM WATERS 13 PRESERVATIONHALLJAZZBAND 14 DRY BRANCH FIRE SQUAD and LOU REID & CAROLINA 15 TANK Jenn 16 EDWIN McCAIN (Trio) Grinels In the
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40 july 10, 2015 washingtoncitypaper.com
J.D. CROWE & THE NEW SOUTH “FLASHBACK” BAND
DC9 1940 9th St. NW. (202) 483-5000. Body Thief, Deal Casino, Dreamcatcher, Sunbathers. 7:30 p.m. $8. dcnine.com. Fort reno 3800 Donaldson Place NW. (202) 3556356. Delanos, Wanted Man, Alfajor. 7 p.m. Free. fortreno.com. Jammin Java 227 Maple Ave. East, Vienna. (703) 255-1566. Hollywood Ending. 7 p.m. $15–$45. jamminjava.com. roCK & roll hotel 1353 H St. NE. (202) 388-ROCK. mewithoutYou. 7:30 p.m. $18. rockandrollhoteldc.com. WolF trap Filene Center 1551 Trap Road, Vienna. (703) 255-1900. Guster, Kishi Bashi. 8 p.m. $32–$100. wolftrap.org.
Funk & R&B bossa bistro 2463 18th St NW. 202-667-0088. The West Kensingtons, The Fuss, Eastern Standard Time. 8:30 p.m. $10. bossproject.com.
electRonic u street musiC hall 1115 U St. NW. (202) 5881880. Spor. 10 p.m. $15. ustreetmusichall.com.
Jazz blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Marcus Johnson. 8 p.m. & 10 p.m. $27.50. bluesalley.com.
Folk the hamilton 600 14th St. NW. (202) 787-1000. Eilen Jewell, Dietrich Strause. 7:30 p.m. $15–$22. thehamiltondc.com.
Galleries
arlington arts Center 3550 Wilson Blvd., Arlington. (703) 248-6800. arlingtonartscenter.org. Opening: “Play.” Games and toys are examined through the lens of contemporary art in this group show that aims to engage viewers of all ages. July 11–Oct. 10.
artisphere 1101 Wilson Blvd., Arlington. (703) 875-1100. artisphere.com. OngOing: “Bruised.” Local animator Safwat Saleem and WAMU’s Rebecca Sheir curate this new participatory art project that invites visitors to share their stories of defeat. Saleem will then animate the stories and display them on screens throughout the building. April 15–July 31. athenaeum 201 Prince St., Alexandria. (703) 5480035. nvfaa.org. OngOing: “Saturate.” Six artists respond to the theme of water through painting, printmaking, glass, and sound works in this new group show. June 4–July 19. brentWooD arts exChange 3901 Rhode Island Ave., Brentwood. (301) 277-2863. arts.pgparks. com. OngOing: “At War With Ourselves—A Visual Art Response.” Members of the Black Artists of DC respond to poet Nikky Finney’s rumination on race and contribute to the national conversation on the black experience in America through visual art. May 25–July 18. DC arts Center 2438 18th St. NW. (202) 462-7833. dcartscenter.org. Opening: DCAC members and amateur artists display their own work at this annual celebration of experimental and inventive art. July 10–Aug. 30. hemphill Fine arts 1515 14th St. NW. (202) 2345601. hemphillfinearts.com. OngOing: “William Christenberry.” Images of rural Alabama by the American photographer. June 10–Aug. 1. hillyer art spaCe 9 Hillyer Court NW. (202) 3380680. artsandartists.org. ClOsing: “Zachary Oxman.” Large-scale sculptures by artist Zachary Oxman. June 11–July 12. honFleur gallery 1241 Good Hope Road SE. (202) 365-8392. honfleurgallery.com. Opening: “8th Annual East of the River Exhibition.” Works by artists living and working in Wards 7 and 8 are selected by a panel of jurors and displayed at this annual exhibition. July 10–Aug. 28. mosaiC 2910 District Ave., Fairfax. OngOing: “Transcendence.” Muralist James Walker creates a largescale installation and painter James Bullough installs a 30-foot mural inspired by break dancers at this out-
CITY LIGHTS: MONDAY
BLOCHIN—THE LIVING AND THE DEAD If you’ve caught up on both seasons of True Detective, and D.C.’s oppressive weather has you trapped inside craving some moody TV, maybe it’s time to look overseas. While the Brits have historically had crime dramas on lock, recent Nordic serials like Sweden’s Wallander and Denmark’s The Killing have given them a run for their money. Now German producers are putting their own spin on long-form, character-driven television with Blochin—The Living and the Dead. The title character is a Berlin cop with a mysterious past and a bad attitude working homicide alongside his straight-laced brother-in-law. Add in an organized crime syndicate, a wife at home afflicted with MS, political corruption, and motorcycle rides through Berlin’s seedy underbelly, and you’ve got all the makings of solid summer TV. If the Germans don’t already have a 37-letter word for “binge watching,” maybe this’ll inspire them to come up with one. Catch up on all five, hourlong episodes at the GoetheInstitut throughout July—in an air-conditioned theater, of course. The series shows at 6:30 p.m. at Goethe-Institut Washington. 812 7th St. NW. $4–$7. (202) 289-1200. washington.goethe.org. —Anya van Wagtendonk
washingtoncitypaper.com july 10, 2015 41
CITY LIGHTS: TUESDAY
NATIONAL BALLET OF CHINA The National Ballet of China—which performs under the somewhat strange motto “United, Pragmatic, Independent, and Enterprising”—has gone full circle and then some since its early days of Soviet tutelage and inaugural Swan Lake performance in 1959. By the 1960s (post-Sino-Soviet split and mid-Cultural Revolution), art forms like ballet were under suspicion as bourgeois, Western-influenced activities. The company’s repertoire dwindled to two “revolutionary” pieces as the ballet corps trudged around China, performing on dirt stages during a punishing tour through the Chinese countryside. Far from that harsh decade, the National Ballet’s new works are still a piece of a national project—the “Chinese Dream” of a resurgent China. In the cultural realm, this means infusing classical ballet with “Chinese characteristics.” At Wolf Trap, the company presents an adaptation of a famous Chinese love story, The Peony Pavilion—that old “noblewoman falls in love with a scholar who appears to her in a dream, can’t find him in the waking world, dies of a broken heart, descends into the underworld, comes back to appear to him as a ghost, and then they try to figure out how to bring her back from the dead” story—distilled from a 20-hour 1598 Ming dynasty opera. The National Ballet of China performs at 7:30 p.m. at Wolf Trap’s Filene Center, 1551 Trap Road, Vienna. $20– —Emily Walz $65. (703) 255-1900. wolftrap.org.
door exhibition presented by Art Whino. March 7–July 26.
Petworth Recreation Center. 801 Taylor St. NW. July 11, 7 p.m. Free. (202) 576-6850.
olD print gallery 1220 31st St. NW. (202) 965-1818. oldprintgallery.com. ClOsing: “Resonant Terrain.” Photographs and prints of landscapes and seascapes from the 20th and 21st centuries. April 17–July 11.
national ballet oF China The acclaimed company presents The Peony Pavilion, a work based on a 16th-century opera about star-crossed lovers, set to music by Guo Wenjing. Wolf Trap Filene Center. 1551 Trap Road, Vienna. July 14, 8:30 p.m. $20-$65. (703) 255-1900. wolftrap.org.
viviD solutions gallery 1231 Good Hope Road SE. (202) 365-8392. vividsolutionsdc.com. Opening: “Innocent Eyes of Tierra Bomba.” Photographs of the remote Colombian island by Jonathan French, winner of the 2014 East of the River Distinguished Artist Award. July 10–Aug. 28.
dance
ballroom With a tWist Professionals from Dancing With the Stars and So You Think You Can Dance perform at this lively showcase that combines traditional ballroom dance with contemporary music from American Idol finalists. Music Center at Strathmore. 5301 Tuckerman Lane, Bethesda. July 11, 8 p.m. $31.50–F$75. (301) 581-5100. strathmore.org. DC hip-hop theater Festival Hip-hop performers from around the nation perform at this showcase celebrating the wealth and importance of hip-hop culture. Dance Place. 3225 8th St. NE. July 10, 8 p.m.; July 11, 8 p.m. $15-$30. (202) 269-1600. danceplace.org. light sWitCh DanCe theatre The local contemporary dance company, which specializes in site-specific works, performs as part of the Petworth Dance Project.
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niChe Company members from Jane Franklin Dance present this piece about a couple searching for a suitable home while they navigate new careers and eccentric neighbors that incorporates recycled materials and overhead projections. Presented as part of the Capital Fringe Festival. Dance Place. 3225 8th St. NE. July 15, 7:45 p.m. $12-$17. (202) 269-1600. danceplace.org.
theater
ameriCan moor In this one-man show, acclaimed actor Keith Hamilton Cobb explores race in America by using Shakespeare’s famous moor, Othello, as a metaphor. Cobb’s play also examines diversity, the state of American theater, and unadulterated love. Anacostia Playhouse. 2020 Shannon Place SE. To August 16. $15-$25. (202) 544-0703. anacostiaplayhouse.com. the booK oF mormon The Broadway musical about two missionaries and their misadventures in Africa arrives at the Kennedy Center for an extended summer stay. Kennedy Center Opera House. 2700 F St. NW. To August 16. $43-$250. (202) 467-4600. kennedy-center.org.
Capital Fringe Festival This festival that brings together performers of all stripes from around the world returns for its 10th anniversary with 129 different groups setting up camp at a new, permanent location in Trinidad. Logan Fringe Arts Space. 1358 Florida Ave. NE. To July 26. (202) 737-7230. capitalfringe.org. Cat on a Hot tin rooF The company celebrates its return to the renovated Church Street Theatre with a new production of the Tennessee Williams classic about the family living on the Mississippi Delta plantation of cotton tycoon Big Daddy Pollitt. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To July 25. $25-$36. (703) 892-0202. keegantheatre.com. Dear evan Hansen In this moving musical, Ben Platt (Pitch Perfect) stars as a man who appears to have a perfect life—a beautiful girlfriend, a happy family, and a chance to finally fit in—but his secrets threaten the life he’s built. Tony Award nominee Michael Greif directs this new piece about how we survive in a modern world. Arena Stage. 1101 6th St. SW. To August 23. $40-$100. (202) 488-3300. arenastage.org. impossible! a HappenstanCe CirCus The lively players from Happenstance Theatre travel back to the1930s and 1940s in this inventive circus performance that incorporates acrobatics and acts of wonder. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To July 12. $20. (240) 644-1100. roundhousetheatre.org. tHe islanD This South African play, devised by Athol Fugard, John Kani, and Winston Ntshona, explores the physical and psychological torture suffered by black political prisoners during Apartheid through the guide of a performance of Antigone. MetroStage honors the play’s 30th anniversary with this production directed by Thomas W. Jones II. MetroStage. 1201 N. Royal St., Alexandria. To August 2. $50-$55. (703) 548-9044. metrostage.org. let tHem eat CHaos Chicago’s legendary Second City comedy company presents another lively satire of American culture and politics in a subversive manner. Woolly Mammoth Theatre. 641 D St. NW. To August 2. $35-$68. (202) 393-3939. woollymammoth.net.
leto legenD Charlie works as a writer and a mother, while managing some work as a superhero on the side. Find out how she manages to do it all and whether she’ll find a way to control her work in this comedy by Kristen LePine. The Hub Theatre at John Swayze Theatre. 9431 Silver King Court, Fairfax. To August 2. $20-$30. (703) 674-3177. thehubtheatre.org. a miDsummer nigHt’s Dream The National Players begin their summer season at Olney Theatre Center with an outdoor production of Shakespeare’s comedy about amateur actors, confused lovers, and disgruntled fairies. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To July 26. Free. (301) 924-3400. olneytheatre.org. a miDsummer nigHt’s Dream Synetic revives its acclaimed, acrobatic adaptation of the Shakespearean comedy featuring a stubborn donkey, confused lovers, and a tyrannical fairy. Synetic Theater at Crystal City. 1800 South Bell St., Arlington. To August 9. $10-$50. (800) 494-8497. synetictheater.org.
D.C.’s awesomest events calendar. washingtoncitypaper.com/ calendar
onCe An Irish musician meets a young piano player in this romantic, Tony Award-winning musical based on the film by John Carney. Kennedy Center Eisenhower Theater. 2700 F St. NW. To August 16. $65-$135. (202) 467-4600. kennedy-center.org. tHe proDuCers Two producers, one a striver and one a schemer, attempt to force a terrible musical onto a Broadway stage in this award-winning musical based on the film by Mel Brooks. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To July 26. $30-$75. (301) 924-3400. olneytheatre.org. silenCe! tHe musiCal The cannibalistic Dr. Hannibal Lecter, Clarice Starling, and Buffalo Bill sing and dance in this musical adaptation of the Academy Award-winning film. Studio Theatre. 1501 14th St. NW. To August 9. $20-$40. (202) 332-3300. studiotheatre.org. sweeney toDD: tHe Demon barber oF Fleet street prog metal version The rock-infused musical theater company revives its adaptation of the Stephen Sondheim musical about a murderous barber who turns his customers into meat pies. Atlas Perform-
CITY LIGHTS: WEDNESDAY
THE RAISED BY WOLVES In a city where DIY punk rock commands significant musical authority, a band like The Raised by Wolves sounds refreshing and different. Its songs are dense, for one thing, with swells of complex instrumentation that add depth to hooks. On its first album, Sadie Hawkins, and its newest single, “Gorgeously Yours,” the band has the confidence to go in many directions at once without ever sacrificing a sense of fun. Contemporary pop music can sound needlessly complex at times, and the better songwriters know when to rein in their ideas. Ben Eskin and Dusty Durston, the band’s only members, have the right mix of ambition and patience so that the crowd can sing along with them live and appreciate the artistry later. Based on what we’ve heard so far, this may be one of those shows that tell you tell your friends about years later just so you can make them jealous. The Raised by Wolves performs with Lighting Fires at 7:30 p.m. at the Black Cat Backstage, 1811 14th St. NW. $10. (202) 667-4490. blackcatdc.com. —Alan Zilberman
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AREYOUAWINNER?
PROvEIt!
ing Arts Center. 1333 H St. NE. To August 2. $29. (202) 399-7993. atlasarts.org. this lime tree boWer In Conor McPherson’s play, three young men meet on the coast of Ireland to recall events that changed their lives forever. Jack Sparbori directs this dark comedy about the human condition. Quotidian Theatre Company at The Writer’s Center. 4508 Walsh St., Bethesda. To August 9. $15-$30. (301) 816-1023. quotidiantheatre.org. txt Brian Feldman presents this interactive show in which he reads anonymous online messages sent from audience members every Sunday in 2015. Anything goes in terms of subject matter and profanity, so arrive with no expectations. American Poetry Museum. 716 Monroe St. #25. To December 27. $15-$20. (800) 8383006. txtshow.brownpapertickets.com.
FilM
amy The tragically short life of singer Amy Winen house is chronicled in this sensitive documentary
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from filmmaker Asif Kapadia. (See washingtoncitypaper.com for venue information)
realize that this plan won’t fix what’s already been done. Starring Reese Mishler, Pfeifer Brown, and Ryan Shoos. (See washingtoncitypaper.com for venue information) hall This British drama chronicles the n Jimmy’s life and subsequent deportation to America of Jimmy Gralton, a leader of the precursor to the Irish Communist Party. (See washingtoncitypaper.com for venue information) The lovable yellow creatures from the n minions Despicable Me movies are recruited by an evil villain to help her take over the world in this silly sequel featuring the voices of Jon Hamm, Michael Keaton, and Sandra Bullock. (See washingtoncitypaper.com for venue information) the neW riJKsmuseum Go behind the scenes of the radical renovation of Amsterdam’s most famous museum, home to Rembrandt’s “The Night Watch” and many other notable works, in this documentary directed by Oeke Hoogendijk. (See washingtoncitypaper.com for venue information)
batKiD begins In November 2013, a 5-year-old oF a neon goD 23 years after it was n leukemia n rebels survivor named Miles Scott saved San initially released, director Tsai Ming-Liang’s debut
Francisco dressed as “Batkid” as part of a gift through the Make-a-Wish Foundation. This new documentary chronicles the event and tries to explain why this one act affected people all over the world. (See washingtoncitypaper.com for venue information)
film, which follows a group of young people revolting against their parents, finally makes its way to American theaters. (See washingtoncitypaper.com for venue information)
An ailing man has his consciousness Cartel lanD Matthew Heineman’s stirring docn selF/less placed in the body of a younger, healthier man, n umentary looks at the Mexican illegal drug trade, the United States’ border policies, and the complicated relationship between the nations. (See washingtoncitypaper.com for venue information) the galloWs Friends from high school reunite n 20 years after a tragic accident to try and remedy the situation and ease their consciences. They soon
played by Ryan Reynolds, only to find that the body is not a suitable a host as he thought in this thriller also starring Ben Kingsley. (See washingtoncitypaper.com for venue information)
Film clips are written by Caroline Jones
CITY LIGHTS: THURSDAY
GUSTER Unlike many of its peers from the heyday of ’90s college rock, Guster has aged rather gracefully during its 24-year run. Although the band has implemented a few new tricks since its early days busking in Harvard Square—most notably the drum kit that usurped percussionist Brian Rosenworcel’s trademark bongos starting on 2003’s Keep It Together—Guster’s amiable discography is united by clever songwriting, dynamic grooves, and bright melodies. January’s Evermotion, the band’s seventh studio album, marks Guster’s most ambitious development to date: a foray into synth-filled space rock that recalls Soft Bulletin-era Flaming Lips ballads. Guster devotees might initially find the electronics and lo-fi production to be jarring, but Evermotion is a grower that appreciates with multiple listens. The album has no shortage of familiar Guster motifs, such as the midtempo pop craftsmanship of “Simple Machine” and the cheeky Americana on “Never Coming Down,” but the change of scenery breathes new life into the band’s most endearing qualities. It’s a delight to hear the veterans taking inspired risks, fending off nostalgic complacency by escaping to a new frontier, and bantering with the audience during live show. Guster performs with Kishi Bashi at 8 p.m. at Wolf Trap’s Filene Center, 1551 Trap Road, —Dan Singer Vienna. $32–$45. (703) 255-1900. wolftrap.org.
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