Washington City Paper (August 23, 2019)

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LOOSE LIPS: HARASSMENT ACCUSATIONS AT DFHV 4 SPORTS: NATIONALS PUSH TOWARD THE PLAYOFFS 10 THEATER: TWO PLAYS ABOUT SCANDALS 20

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COVER STORY: THE PLOT THICKENS

12 Digging deep into the world of local community gardens with the people who sustain them

DISTRICT LINE 4 Loose Lips: A D.C. government contractor lost her job after reporting sexual comments from her supervisor, who is still employed.

6 Mumble Sauce: The family feel of Provost restaurant in Woodridge 8 Fast Lane: Can D.C. learn anything from Richmond’s bus rapid transit plan?

SPORTS 10 Whole New Ball Game: The Nats’ dance with the postseason

ARTS 18 Galleries: Capps on The Warmth of Other Suns at the Phillips Collection 20 Curtain Calls: Thal on 4615 Theatre Company’s Enron and Betrayal 22 Short Subjects: Gittell on Angel Has Fallen 23 Speed Reads: Ottenberg on Miracle Creek

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EDITORIAL

EDITOR: ALEXA MILLS MANAGING EDITOR: CAROLINE JONES ARTS EDITOR: KAYLA RANDALL FOOD EDITOR: LAURA HAYES SPORTS EDITOR: KELYN SOONG LOOSE LIPS REPORTER: MITCH RYALS CITY DESK REPORTER: AMANDA MICHELLE GOMEZ CITY LIGHTS EDITOR: EMMA SARAPPO STAFF PHOTOGRAPHER: DARROW MONTGOMERY MULTIMEDIA AND COPY EDITOR: WILL WARREN CREATIVE DIRECTOR: JULIA TERBROCK SOCIAL MEDIA MANAGER: ELIZABETH TUTEN INTERNS: ELLA FELDMAN, AYOMI WOLFF CONTRIBUTING WRITERS: MICHON BOSTON, KRISTON CAPPS, CHAD CLARK, MATT COHEN, RACHEL M. COHEN, RILEY CROGHAN, JEFFRY CUDLIN, EDDIE DEAN, CUNEYT DIL, TIM EBNER, CASEY EMBERT, JONATHAN L. FISCHER, NOAH GITTELL, SRIRAM GOPAL, HAMIL R. HARRIS, LAURA IRENE, LOUIS JACOBSON, JOSHUA KAPLAN, CHRIS KELLY, AMAN KIDWAI, STEVE KIVIAT, CHRIS KLIMEK, PRIYA KONINGS, NEVIN MARTELL, KEITH MATHIAS, BRIAN MCENTEE, CANDACE Y.A. MONTAGUE, BRIAN MURPHY, NENET, TRICIA OLSZEWSKI, EVE OTTENBERG, MIKE PAARLBERG, PAT PADUA, JUSTIN PETERS, REBECCA J. RITZEL, ABID SHAH, TOM SHERWOOD, CHRISTINA STURDIVANT SANI, MATT TERL, IAN THAL, SIDNEY THOMAS, HAYWOOD TURNIPSEED JR., JOE WARMINSKY, ALONA WARTOFSKY, JUSTIN WEBER, MICHAEL J. WEST, DIANA MICHELE YAP, ALAN ZILBERMAN

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DISTRICTLINE

Driven Out

A contract employee accused a public information officer at the Department of For-Hire Vehicles of sexually harassing her. She was fired. He still has a job.

By Mitch Ryals Two monThs afTer a female contract employee filed a sexual harassment complaint against her supervisor, D.C. Department of For-Hire Vehicles public information officer Neville Waters, the woman was fired. Waters was suspended for one day and continues to work for the agency, earning a salary of $126,000 a year.

Neither Waters, nor DFHV Director David Do responded to requests for comment.

But the general counsel for DFHV, Nakeasha SandersSmall, wrote in an email to the female complainant, obtained by City Paper, that her termination was “separate and apart from the sexual harassment claim she filed; any temporal connection is pure coincidence.”

The woman, who spoke with LL on the condition that he would not identify her by name, filed an official complaint against Waters in March for making repeated comments about her appearance, making sexual jokes, and soliciting and sharing information about his personal dating preferences. In one meeting in Waters’ office before she filed the complaint, the woman says she asked if her proposed deadline to complete a project was acceptable. Waters responded that it was, and asked “If you don’t finish it by then, what should I do? Spank you?” The woman says she wanted to projectile vomit. She responded that a “stern reprimand” would be sufficient.

Shortly after she filed the complaint, a sexual harassment officer in the District government emailed the woman a confidentiality notice “which we require you to sign and return immediately,” according to the email, which also requested that she schedule a formal interview and informed her that she would be separated from Waters. The woman signed the Darrow Montgomery

LOOSE LIPS

agreement, which says “we strongly recommend that you maintain an appropriate level of confidentiality regarding the details of your complaint and the investigation.” She says that when coworkers asked why she moved desks, she was told to say she had been “reassigned.”

As a contract copy editor, the woman, who is in her late 20s, edited content for DFHV’s website and its newsletters, ghost wrote blog posts for director Do, and helped with marketing materials. DFHV, renamed and restructured from the former D.C. Taxicab Commis-

4 august 23, 2019 washingtoncitypaper.com

sion, regulates taxis and ride-hailing services.

After she filed her complaint, the woman says, she was moved to a different desk on a different floor, per D.C. government policy, and had to abandon all of her uncompleted work. The woman says she was reassigned to other copy editing tasks, such as editing standard operating procedures, but “for the most part my duties were gone.”

By early May, the woman says, DFHV’s chief of staff Dory Peters told her that there was only enough work to keep her employed

through the end of that month. On May 29, the woman met with Peters and a human resources representative for an exit interview, during which she received a two-page document affirming that Waters’ behavior violated the District’s sexual misconduct policy. Peters and the HR rep emphasized that the woman’s contract was not being terminated because of the complaint. Rather, the officials explained, her contract was ending six months early because they could no longer find work for her to do and the department was dealing with budgetary problems.

(LL has to wonder whether the “lack of work” has anything to do with the fact that the woman was separated from Waters, who was her supervisor, and could no longer work with him.)

“All I know for sure is that I was let go early after filing my complaint,” the woman says. “I am not there anymore, and he is still there with apparently no repercussions other than a one-day suspension, still representing the government, still releasing the podcast that he harassed me on, on behalf of the D.C. government.”

A memo outlining DFHV’s official findings says Waters “frequently made unsolicited comments about [the woman’s] appearance and the appearance of other female colleagues,” “solicited and shared information regarding his personal dating preferences or other information of a sexual nature,” and made sexual jokes in violation of the District government’s employee manual.

The memo specifically references a meeting on Feb. 12, 2019, in which the woman and other DFHV employees were offended by Waters’ sexual comments. The group met to talk about a marketing strategy, the woman tells LL, but Waters kept asking if Frederick Douglass and another 19th century black activist, Anna Julia Cooper, were “bumping uglies” and “doing the nasty.”

One of the men in the meeting responded “Jesus, Neville,” the woman recalls.

Waters also repeatedly asked in that meeting if Harriet Tubman was gay, the woman says.

The woman recorded several more examples of harassment in a five-page document that she submitted with her complaint and shared with LL. In the document and in an interview, the woman describes speaking with Waters in a November 2018 episode of DFHV’s podcast, the Weekly Drop-Off. Waters asked if she was old enough to drink and then turned to his co-host and asked “Was that a ‘Me Too’?”

DISTRICTLINE “Inside I was screaming,” the woman says.

“Like that’s not what the movement is about.

Oh my god. But I didn’t say anything.” The episode is still live on DFHV’s website, and the “Me Too” comment appears to have been edited out.

In another incident, while giving the woman a ride to the Metro, Waters told her about his idea for a screenplay. She says his story focused on main characters who were young “horny” men “not looking for Miss Right, looking for Miss Right Now.” After that, the woman says she stopped accepting rides from him.

In January, she says, Waters asked for her personal email address, which she gave him, so he could send her something he thought would make her laugh. The email read “Res[t].

Enjoy. Digest. Discuss…” and included a link to a 2006 Washington Post Date Lab article featuring Waters.

Waters’ date recalled that he said he “liked younger women.” When she prompted him for more details, “he confessed the last person he dated was 21. I’m not lying!” she told the Post.

“She good-naturedly chided me about that,” Waters is quoted as saying. “I’m not offended. I know who I am. A year ago, I went to Budapest with a woman who I’ve never seen again. I’m all about life’s adventures. But she wasn’t clicking on my humor.”

Waters, who was 49 at the time, told the Post his type is “young, cute, and skinny,” and that on his best date ever he “hooked up with a former intern after 15 years, went to an art exhibit, had drinks and a late dinner, then stayed the night at her place.”

Waters asked the employee on three separate occasions if she’d read the article and what she thought about it, she says.

Other examples of Waters’ harassment include comments about the woman’s hair, clothes, and shoes. One day, she wore a new pair of pants into the office. Waters commented that she looked “particularly fetching,” she says. “That’s basically weird old man code for ‘nice ass,’” she says. “And it’s so unsettling.”

She says she felt targeted to the point where she would occasionally work from home. On days when she would go into the office, the woman says, “I would look in the mirror and check my appearance and my outfit to make sure there was nothing he could comment about.”

During her exit interview, the woman says, she asked how the department would ensure Waters didn’t continue with similar behavior. She says Peters and the HR rep declined to share many details beyond Waters’ one-day suspension, saying it was a “personnel matter.”

In 2017, Mayor Muriel Bowser ordered all 30,000 District employees to go through sexual harassment training by February 2018. A

spokesperson for the mayor says Waters was not exempt from the training and that he completed it, but could not immediately provide documentation.

The pervasiveness of sexual harassment within the D.C. government is also a bit murky because no single agency is tasked with tracking complaints and settlements.

Ward 6 Advisory Neighborhood Commissioner Denise Krepp, who has tweeted about Waters’ harassment, began requesting information on sexual harassment in the D.C. government shortly after Bowser’s 2017 order.

In response to her requests for data on complaints and settlements, the Office of the Attorney General provided Krepp with a spreadsheet listing nine cases that settled between 2015 and January 2019. The cases span five agencies and the payouts total $2.1 million.

OAG senior counsel William J. Chang notes in the email to Krepp that the list is likely not exhaustive and only includes cases handled by his office. Many District agencies defend their own cases, he writes. The Office of Human Rights also provided Krepp with information showing a total of 122 “sex-based discrimination settlements,” totalling $1.3 million from fiscal year 2015 through August 2018.

When Krepp specifically inquired about the DFHV employee’s case, Chang told her in a separate email that he could not determine whether the woman was fired in retaliation for her complaint.

“I encourage [the woman] to consult with an attorney if she has additional questions about her legal rights,” Chang writes. “I also want to add that, should [the woman’s] claim end up in litigation, OAG would represent the District in that litigation.”

In April, D.C. Auditor Kathy Patterson notified Krepp that she was planning to begin an audit of settlements and judgments across D.C. agencies. Patterson writes that the idea for such an audit “arose in local reporting on the ‘Me Too’ movement in fall of 2017 when it was apparent that local journalists had difficulty securing information on whether sexual harassment had been an issue for the District as an employer.”

Krepp has railed on social media against what she sees as apathy among local pols around sexual harassment. “Tax dollars are being spent to settle these agreements and the D.C. Council keeps appropriating money for them instead of doing oversight,” she tells LL. “I’m more than frustrated. I’m angry, and I’m unwilling to let the status quo of inaction continue, so I’ll do the oversight.”

As for the woman who was fired from DFHV, she says she’s had a few interviews but so far hasn’t found another job.

CP

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DISTRICTLINE Mumble Sauce At Provost, food is care, and family rolls deep.

Mumble Sauce is a summer 2019 column about how DMV Black communities uplift healing and creativity in the face of gentrification, displacement, policing, and incarceration. This is installment six of 10.

It’s hard to get proper crispy home fries in D.C. Trust that I’ve tried. As someone who’s obsessed with potatoes in all their forms, trust that I’ve tried more than I should.

I didn’t have to tell the server at Provost my potato preferences when I ate there for the first time on a hot Sunday afternoon. Each piece came out brown and crispy on the outside, and warm, golden, and soft at the core. A glass of freshly made raspberry juice washed it down.

Ask the folks at Provost how they do it, and they say they just got it like that.

Provost is Nina Gilchrist’s creative child.

The D.C. born-and-raised restaurateur and bartender decided in 1998, when she was still a teenager, that she would one day own a restaurant. She enrolled in culinary classes like pastry making and hors d’oeuvres at Prince George’s Community College and trained under chefs through the Roosevelt S.T.A.Y program, a DC Public Schools academy that caters to 16 to 24-year-old people.

After years of training, envisioning, and exploring alternate career paths—Gilchrist also used to be a teacher and a Realtor—Provost had its soft launch this summer.

Nina Gilchrist has always been about her business. “I’m the middle child, but a lot of my siblings call me big sister,” Gilchrist says. She grew up in Michigan Park and Rock Creek Park with her mother, father, and three siblings, and often helped her parents at night with housekeeping and getting her siblings ready for school the next day.

She enjoys being part of the balance in her family. And her family rolls deep. When I went to Provost to eat and talk with Gilchrist, I also ended up meeting her mother, father, multiple nieces and nephews, and cousins. The younger family members sat in booths with their noses in their phones and tablets. Other family members were working at the restaurant, and some came to laugh and hang out.

“I’m a nurturer,” says Gilchrist. Soft-spoken with golden locs, her gentle and nurturing nature is present both in conversation and in the restaurant she’s created. Provost offers vegan,

vegetarian, and organic food options, as well as off-menu items for children, people who are gluten-free, and people with a variety of other dietary needs. “I believe in organic food, in animals living a certain life and being a part of certain habitats,” Gilchrist says. “And I wanted to open an establishment that caters to the needs of many people. We want you to come and eat and feel satisfied.”

Gilchrist credits her background in early childhood education as one of the reasons why she takes such a caring approach to food. She used to work with 6-week-old to 3-year-old children as a teacher in Maryland.

This path felt natural to her. Her mother ran a child care center, and many of her other family members are teachers. This commitment to education is one of the inspirations behind Provost’s name.

It’s a fitting name, given that the building Provost is in has a lot of history waiting to be learned. The restaurant sits on Rhode Island Ave NE in a small red brick building flanked by a Black beauty supply store and salon on one side and her father’s realty business on the other.

The restaurant’s design is a mixture of modern and rustic, taking advantage of the integrity and beauty of the building’s older parts. The walls alternate between old crimson brick and sleek modern overlays.

The building used to be a dry cleaners. Irvin Gilchrist, Nina Gilchrist’s father who has lived in D.C. since his elementary school days, tells me that a Black seamstress opened the dry cleaning business at the property sometime in the 1960s and

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Darrow Montgomery

By Jordan N. DeLoach

ran it as Colbert’s Cleaners for years. A few decades later, that property came into the hands of the Gilchrists. This section of Rhode Island Ave NE is a rare sliver of D.C. where multiple spaces are owned by and cater to Black people.

Keeping the spirit of local Black communities alive is what the Gilchrist family is all about.

Many local, young Black chefs are getting their start through Provost. The restaurant’s pastry chef was trained at Prince George’s Community College and makes a mean bread pudding.

Gilchrist’s niece, who fills multiple roles at the restaurant, is a current student. The head chef, Chef Taye—the person responsible for the perfection of my hash browns—grew up in Prince George’s County.

Nina Gilchrist feels honored to be surrounded by so many Black people with a passion for food, and investing in their success is important to her. “My goal is to do things right within my reach,” Gilchrist says, her hands politely folded across her lap.

She is grounded. While the excitement of the restaurant finally being open continues to brew, Gilchrist is focused on what she needs to do next. It was a long road to the restaurant’s first

day of serving customers, and she knows more journeys lie ahead. “Many people who know me when I was trying to open the restaurant, they know it was like I didn’t even want to talk about it anymore because it was so challenging,” Gilchrist says. “But now I’ve reached my goal, and there’s many more action steps to take.” Among those action steps: applying to be a certified organic restaurant and throwing a grand opening sometime in the fall.

In the meantime, Gilchrist is devoted to learning how to make Provost a creative space for the community. She grew up with D.C.-based photographer Beverly Price (who I interviewed for this column previously) and went to one of Price’s parties at House of Secrets. Inspired by the art there and reminiscing about her former days as a singer and dancer, Gilchrist knew that live performances and creativity would be an important aspect of Provost’s culture.

“The way they vibrated and connected with each other at House of Secrets,” Gilchrist says, “that’s the kind of vibe we want.”

Gilchrist’s vision for Provost is bigger than she lets on. She leads me to the restaurant’s upstairs rooftop, a patio with colorful floor cushions and lush greenery overlooking Northeast.

On this Sunday, I linger between the rooftop and Provost’s main floor until well past sundown, laughing with Nina Gilchrist’s relatives and eating bread pudding until my belly is stretched past its capacity. Meanwhile, Gilchrist made her way back behind the bar, mixing drinks and making sure all of her guests feel welcome.

“In D.C., we have so many talented people who aren’t recognized. I’d like for this to be a place where people can shine and grow,” Gilchrist says slowly, tasting the potential in her words, taking her time to savor each one. “I would like for this to be a space where people can be creative and free.”

CP Nina Gilchrist

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DISTRICTLINE Fast Lane

Darrow Montgomery

What lessons can D.C. glean from Richmond’s bus overhaul?

The Virginia city boasts a 17 percent increase in ridership, but the bold redesign left some riders behind.

By Josh Kramer Tim WrighT, 41, lives in Carver/Langston.

He owns a tour company but also blogs and tweets as “The X2.” Wright doesn’t have a car and mostly gets around using the bus. “I love these routes, the long ones, like the 90s, the 30s, the X2, because you can really see the city,” he says.

But Wright notes that unlike Metrorail, Metrobus doesn’t have any slogans or public presence. “You only know it if you ride the route,” he says, and points out that Metrorail has an iconic architectural style and map. “They have T-shirts. They have a store that sells Metrorail branded stuff.”

Metrobus, not so much.

The D.C. area’s bus system is not in great shape: Metrobus ridership has declined 13 percent since 2012. Average bus speed is down to around 10 mph, the speed limit for scooters.

Buses are arriving on or near schedule only about three quarters of the time.

There’s a ton that only the bus could accomplish with its flexibility, ubiquity, and relative affordability. (Metrobus costs about half

as much as Metrorail to operate for each hour of service.) Few tools are as effective as a busy bus system at reducing traffic, crashes, and climate-changing emissions.

If D.C. wants more bus riders, maybe it should look to Richmond, Virginia. Richmond, with a metro region population of about 1.2 million, saw a 17 percent jump in ridership just last year.

Before last June, Richmond had the same problems with their bus system, the Greater Richmond Transit Company, as so many other places. According to the National Transit Database, bus ridership in the U.S. declined 5 percent between 2016 and 2017. Overall, numbers are at their lowest level in 30 years.

In Richmond, many areas were difficult to reach and service on nights and weekends was skeletal. The bus was slow and hemorrhaging riders—losing about a quarter of its ridership since 2010.

Then, armed with projections of a rapidly growing region and prominent success stories from Seattle, San Francisco, and Houston, Richmond embarked on a two-pronged

8 august 23, 2019 washingtoncitypaper.com

effort to modernize its bus system that would take effect all on the same day, June 24, 2018.

The first part is the Pulse, a still-rare-forNorth America bus rapid transit, or BRT, system. Thanks in part to a transit grant awarded during the Obama administration, Richmond built a bus-only lane that runs down Broad Street through Richmond, about 35 minutes end-to-end.

The system uses signal prioritization and off-bus payment technologies to keep the Pulse fast and frequent. The average Pulse bus goes at about 12 mph. D.C.’s X2, the crosstown route that Wright often rides, averages around 9 mph.

Tyler Fisher, a high schooler, uses the bus every day. They like the Pulse. “Riding the bus as a teenager is scary,” they say, “but riding the Pulse is more idiot-proof.”

Along with the Pulse, Richmond commissioned a system redesign from Jarrett Walker + Associates, a firm that has worked with many cities around the world to streamline their bus service. The map transformed from many lines that branch out of a central node to

something more like spokes on a wheel.

These successes, though, came with some ugly failures. Residents and researchers found that the new system put some longtime and African American riders at a disadvantage, and GRTC admits that the system makes service worse for many elderly and disabled residents who can’t walk to new, farther stops.

Richmond is now playing catch-up.

A draft of the new map initially sparked debate about whether the redrawn routes would disproportionately disadvantage lower income and African American residents, especially in Richmond’s East End. JWA made changes, but it was too late: Some Richmonders, aware that the city devotes very little to transportation funding compared with similarly sized American cities, saw the Pulse and redesign as choices intended to bring in new, white riders instead of improving service for black riders. Then in December, months after the change-over, a Virginia Commonwealth University study charged the new design with cutting off thousands of disadvantaged riders.

Six months later, JWA produced a rebuttal twice as long as the VCU study, which had obviously touched a nerve.

It took issue with the study’s methodology, but at the same time offered this defense— the city decided that that even if riders now had to walk a little farther to get to the new stops, the total travel time would be shorter because buses run more often. For Richmonders who feel their access to the bus is now worse, that’s just not good enough.

“In certain parts of the city there aren’t enough stops,” says Fischer, specifically Shockoe Bottom east of downtown.

GRTC Director of Communications Carrie Rose Pace says that now the East End receives more service than was initially recommended. “The goal was to still cover everyone that we covered, and we did that,” she says.

“We’re not leaving anyone behind.” However, says Pace, disabled and elderly riders have difficulty walking farther and the GRTC is developing strategies to meet their needs, including paratransit options.

Rich Hoffman, 50, lives in Highland Park in North Side Richmond. Hoffman likes the Pulse but says that the rest of the buses are often late and in disrepair. “They run extremely slow,” he says. “Makes you wish you had a car it’s so bad.”

Could D.C. pull off as significant an increase in ridership as Richmond has—without sacrificing equity?

“The existing bus system doesn’t work for anyone,” says Joe McAndrew, director of transportation policy at the Greater Washington Partnership, a self-described “civic alliance of CEOs.” “We are devaluing the bus rider and we’re also creating a very inefficient, costly system as a result.”

Two different, but not necessarily exclusive routes for improving bus service in D.C. are moving forward right now.

WMATA is working on the express route— the Bus Transformation Project, a $2 million study about the future of the bus in our region.

In an email statement, WMATA Media Relations Manager Sherri Ly says the Project is bringing together businesses, nonprofits, and transit agencies across the region to “explore the challenges and identify opportunities to create a world class bus system that will make bus the transportation choice in the region.”

In its current form, the Bus Transformation Project recommends changes that range from prioritizing buses on roads to free transfers between rail and bus to optimizing back office administration. Make no mistake, it is explicitly not a Jarrett Walkerstyle redesign.

However, the project may eventually lead to a redesign, says Executive Steering Committee Chair Rob Puentes. “The region has changed tremendously since some of these routes have been laid out,” he says.

“There’s new challenges, there’s new concerns and there’s new technologies. We should certainly be looking at that, but it’s not happening right now.”

And, because it is not a redesign, the Bus Transformation Project is able to sidestep, or delay, some of the controversial choices Richmond faced. According to the Greater Washington Partnership, “Black residents in the Capital Region are almost three times as likely as white residents to live in areas with poor transit access to jobs and low vehicle ownership rates.”

But Puentes does not hesitate to explain that equity is a priority for the Project regardless. “While we want the bus to be broadly accessible to all segments of society across the region,” he says, “we have to make sure, that if nothing else, it does no harm to the folks who really depend on it, and it also enhances their service.”

The final Bus Transformation Project report is expected late this summer says Ly at WMATA. And although it won’t include a redesign, that doesn’t mean the Project won’t be important or useful.

“If we implemented all of the recommendations that are in there, it would radically

transform our bus service,” says McAndrew.

The project, or what follows it, could be an opportunity to bring attention to buses and rebrand them. It could be a chance to win new riders as well as those scared off years ago by a poor experience.

But change is never easy—especially at large institutions with so many stakeholders. Many of the comments on the project’s draft report are from local governments and transit agencies that are deeply skeptical of shifting responsibilities or funding.

Asked whether he thought there was sufficient political will to implement the project’s recommendations, McAndrew took a long, thoughtful pause before answering simply, “one would hope.”

The other approach, the local route, involves making one’s own political will, one small victory at a time. Led by District Department of Transportation Director Jeff Marootian, with support from his boss, Mayor Muriel Bowser, DDOT is moving forward with its own innovative bus projects to improve service.

Larger, more traditional bus projects are in the works, including dedicated lanes on 16th Street NW and the long-awaited K Street Transitway downtown. But before heavier construction can begin on those, DDOT has started several “quick-build infrastructure” projects that can be rolled out faster.

According to Marootian, they are a unique opportunity to collect data and build momentum. “It’s a focus on quicker implementation—being more open to innovation and also iteration,” he says.

One of those pilots began in early June on H and I streets NW downtown. The agency painted the rightmost lane bright red and changed signage so that during rush-hour, only buses are allowed. It’s too early to judge the results, but the speedy completion of the project has impressed many.

There will be more pilots, as well as significant changes to the Circulator Bus, which DDOT operates. “We’re looking at several other corridors across all eight wards of the District of Columbia,” says Marootian.

DDOT exchanges information and ideas with groups around the country, including the GRTC. And Pace confirms that her agency is closely watching how the Metropolitan Police Department is enforcing D.C.’s red lane pilot.

Richmond isn’t finished working on its bus service. GRTC plans on doing a lot more with the bus, including expanding service with more routes, upgrading stops into shelters, and eventually creating up to four more BRT lines. Richmond took big, bold moves with its bus system and is now trying to build on that growth with incremental changes. It remains to be seen whether D.C.’s bus system will follow a similar route.

CP

YOUR SPACE TO PL AY washingtoncitypaper.com august 23, 2019 9

Darrow Montgomery/File

SPORTS

Whole New Ball Game The WashingTon naTionals find themselves in an unfamiliar position. After opening the season with a 19-31 record, the next five and a half weeks will determine whether the team will win the National League East division, host a wild-card game, be a visiting wildcard team, or miss the postseason entirely.

A few months ago, the thought of the Nats having options would’ve been stunning. They languished near the bottom of the National League standings as trade rumors swirled around the team. Fans and sportswriters called for manager Dave Martinez to be fired.

Now the team is in a true pennant race for the first time since the franchise returned to D.C. in 2005. Every game matters.

“It just feels like maybe there’s a little bit more energy in the dugouts,” says pitcher Sean Doolittle. “There seems to be a little more buzz in the stadium. You’re not just playing the season out. There’s something that’s very much on the line every night, and it’s fun.

We work all year for that opportunity to play meaningful baseball in August and September, so it’s fun.”

The Nats have recently dominated their way to the playoffs on four occasions, winning the NL East and clinching a playoff spot weeks before the regular season wraps up. They last did it in 2017 when they finished with a 97-65 regular season record and another NL East crown.

But each time the team fell short of its preseason goals, losing in the National League Division Series and often in heartbreaking fashion.

Being in a pennant race, instead of cruising to the playoffs, could help.

“It’s about peaking at the right time,” Doolittle says. “I remember in ’17, it was tough for us to be at the high of clinching the division, then we were trying to catch the Dodgers for home field. It just didn’t have the same feel of a playoff race. You go into the playoffs not having played a real meaningful game in three weeks. I’m not saying that’s why we lost, but

Kelyn Soong

BASEBALL

this way, if we keep going in the direction that we’re going, we can take that momentum right into the playoffs.”

First baseman Matt Adams agrees. As of Aug. 21, the Nats are 68-57 and just six games behind the NL East-leading Atlanta Braves.

“I think it’s more beneficial to be in a tight race, just because you’re focused daily,” he says. “I think the bigger leads, you can kinda coast through it, and then come playoffs, you’re going into it a little bit relaxed. I think we’re right where we want to be.”

But some fans still need more time before believing in Martinez’s team. Browse Twitter late during Nats games and it’s clear that the manager’s mishandling of the bullpen draws ire—or at least confusion.

During a recent press conference, Washington Post sports columnist Thomas Boswell asked Martinez why he felt the need to use Doolittle as the closer while the Nats had a three-run lead in the bottom of the ninth inning of the Nats’ eventual 15-14 loss to the Milwaukee Brewers on Aug. 17. The Nats eventu-

10 august 23, 2019 washingtoncitypaper.com

washingtoncitypaper.com/sports

Martinez’s decisions.

But even with the bullpen issues, the team has repeatedly shown its ability to rebound.

Less than 24 hours after the 14-inning loss, the Nats pummeled the Brewers, 16-8, before flying to Pittsburgh and beating the Pirates, 13-0, the following day.

“This team is incredibly competitive,” Martinez said after losing to the Brewers. “They don’t quit.

Nationals Park on Aug. 17 Down 5-0 in the fourth inning and we come back.

And we keep coming back, and we fell short. But man, I’m proud of these guys.

They don’t quit. They fight through the last out. They keep fighting.”

Part of the reason for the team’s tenacity this season is that Martinez never lost the trust of his players, says MASN’s Mark Zuckerman, who has covered the Nats for various outlets since 2005.

There hasn’t been any of the finger pointing and sniping that the long-time reporter says he’s seen in previous locker rooms.

“He may not be a perfect Xs and Os manager,” Zuckerman says, “but I don’t think there’s any question now how much respect the players in the clubhouse have for ally placed Doolittle on a 10-day injured list him and how he and the veterans in the clubhouse kept that team together at a time where with “right knee tendinitis.”

The team had just added relief pitchers they could’ve fallen apart.”

It also helps to have players who know how Daniel Hudson, Hunter Strickland, and the since-injured Roenis Elías at the trade and when to have fun. Turn on a Nationals deadline in part to lessen Doolittle’s workload. game and you may see second baseman Bri“Doolittle’s the closer,” Martinez respond- an Dozier or outfielder Victor Robles twerked. “He’s the closer of this team. We’ve said ing in the dugout after hitting a home run.

Players credit outfielder Gerardo Parra that before. And this is based off conversations with Doo. If he’s available, as we talked for introducing the dance party and bringing about, he’s going to pitch the ninth inning. And a certain levity to the team. He’s the guy who he’s always been in the game when he said he’s uses “Baby Shark” as his walk-up song and has gotten a stadium full of fans and even opposavailable to pitch.”

Boswell pushed back: “That’s not the only ing players to clap along.

“We’re having more fun,” Doolittle says. way it’s been done in baseball. There are closers that are closers, and then there are situa- “We’re coming to the field every day expecttions where they don’t close, because the man- ing to win. I don’t think you can overstate the ager thinks it’s better for the team, better for impact Parra has had on this team, keeping people loose, but at the same time staying fothe guy.”

Martinez replied that he trusts Doolittle’s cused on what we have to do to win ball games honesty and the team wouldn’t be where it is … Maybe it helps that you have some veteran without him. “Do you have to use more of your guys in here, guys just want to win. Everyjudgment and less of theirs?” Boswell asked, body’s pulling for the guy next to them. I don’t echoing the thoughts of fans who question know, man. It’s been really fun.”

CP

After a 19-31 start, the Nats have turned around their season with dugout dance parties and a pennant race.

By Kelyn Soong

Howard University will debut varsity golf with help from Stephen Curry.

washingtoncitypaper.com august 23, 2019 11

The Plot Thickens “I don’t want this to be a garden in a community, I want it to be an actual community garden.”

T

By Laura Hayes

he green thumbs who transformed a neglected patch of D.C. dirt into a sunflowersmattered community garden weren’t about to stand down against the U.S. military. “They were thinking of moving Marine barracks over here,” says Hal Seitz. Better known as “Hal the Gardener,” he’s tended a plot at the Virginia Avenue Community Garden since even before its official creation in 2004. “We fought them and we’re still here. That’s the nice thing about having Capitol Hill people in your garden.

They’re lawyers and they know the lingo.”

In 2010, the U.S. Marine Corps were considering the 4-acre site where the garden sits as a place to build additional living quarters. Gardeners and fans of the park located at 901 Virginia Ave. SE rallied and fought back. They collected 5,000 signatures to “Save The Virginia Avenue Park,” got buy-in from Delegate Eleanor Holmes Norton, and drew up the argument that Pierre L’Enfant’s 1791 plans for the city designated the land parcel as open space.

Then-Ward 6 Councilmember Tommy Wells couldn’t believe the gardeners persevered. “I was telling them, you’re not going to beat the Department of Defense,” he recalls.

“That’s why I was so convinced there had to be a Plan B, but every time they said, ‘There is no Plan B!’ It taught me a lesson … A small group of people can either prevent or make big changes. I was proud of them.”

Today the Virginia Avenue Community Garden is made up of about 80 individual plots and a small shared orchard. Neat rows of Swiss chard and collard greens dominate Seitz’s piece of paradise. “If you plant a lot of leafy greens, you can eat from the garden every day,” he advises. The Salad Days T-shirt he wears depicts the name of a 2014 documentary he’s featured in about D.C.’s punk scene. Not one leaf has a blemish or a bug bite.

“It’s totally worth the $75 every year. I grow thousands of dollars of vegetables just on the greens alone.”

There are close to 80 community gardens like this one spread across all eight wards of the city, with the most concentrated in Wards 5 and 6. Some, like the Glover Park Community Garden, started as victory gardens to address food shortages during World War II and nod at their history today by mandating that gar-

Photographs by Darrow Montgomery

Hal the Gardener, Virginia Avenue Community Garden deners grow only vegetables and herbs. Others are new, like the Marvin Gaye Community Garden which opened in 2018.

Marvin Gaye is one of 35 community gardens which sit on Department of Parks and Recreation property. Additional gardens grace National Park Service land and an array of other places such as churches, arts venues, and retirement centers where they’re largely operated by nonprofit organizations. DPR gardens get city assistance with access to water, infrastructure support, and help with conflict mediation, according to DPR Director Delano Hunter.

Most community gardens accept applications for individual plots through their websites or via email. Interviews with 20 community gardeners reveal that annual dues for individual plots range from $0 to $75. DPR officially sets its limit at $30. There are, of course, further costs to maintaining a plot,

12 august 23, 2019 washingtoncitypaper.com

such as purchasing seeds and tools, though some gardens have shared tool sheds.

Demand far outpaces supply for these individual plots. Most garden managers quote waiting times of two or three years. But finding land and funding for more gardens to double or triple the number of individual plots may not be the panacea to make D.C.’s community gardens a boon for the maximum amount of Washingtonians. Some of the city’s gardeners see other ways to put the “community” in community gardens that already exist, and ensure these glorious green spaces are for the many, not the few.

L

argely, community gardens provide D.C.’s apartment-dwelling worker bees, young families, and retirees with a place to escape and swap screen time for the more wholesome hobby of growing food for

supper. They’re places where today’s culture of immediate gratification won in retweets and likes gives way to a slower tempo of trial and error where you wait to see if you can grow a watermelon worthy of a picnic or braid garlic into garlands.

Those with children look for teachable moments. “It’s fun for her to know how a tomato grows,” says Adrienne McCann, the garden manager at Virginia Avenue Community Garden. She has a 4-year-old daughter capable of weeding and rolling up the hose after watering. “We had to plant this. It doesn’t just come from the store.”

Ryan May secured a plot at the Langdon Youth & Community Garden in Ward 5 for the same reason. “The goal was to teach my kids how to garden and not be afraid to get dirty,” he says. “It’s a better way to entertain them than an iPad. It shows the kids how food

is produced and not to take it for granted.”

His 3-year-old daughter has a garden kit with a bucket and trowel. “This is something I hope will last 15 to 20 years,” May continues. Every spring they plan what to grow as a family.

For Lucretia Jones, the most rewarding part of community gardening is “seeing other people with their hands in the dirt.” She gardens at the Upshur Community Garden in Ward 4. “Especially in this environment, it has the power to change so much.”

Jones is with Herbalists Without Borders, a nonprofit network of gardeners who grow medicinal plants such as Saint-John’s-wort, mugwort, lemon balm, mint, and lavender. She’s experimenting with white sage and may move it from her home to the garden. “There’s controversy about it being over-harvested,” she explains, suggesting that “cleansing” spaces by burning sage has become so popular that bundles of the herb are now sold at Five Below.

What Jones grows at Upshur is up for grabs by her fellow gardeners.

There are signs of fellowship among gardeners in many gardens, including at one of the largest and most established community gardens—Newark Street Community Garden—which opened in 1975 in Ward 3. Eavesdrop as you traverse neat rows of plots lush with corn, squash, and tomatoes and you’ll learn that mason jars of homemade pesto are currency exchanged for help watering during summer vacations.

With 220 plots there’s significant turnover at Newark Street. Garden president Maureen Spagnolo estimates that there are 40 new gardeners each year. She brings in a master gardener from Virginia, Larry Rice, who offers seminars such as how to “put your garden to bed” in the fall. “A few of our other gardeners go around to people’s plots if they’ve got questions,” Spagnolo says. “There’s lots of camaraderie there.”

But with any shared space inevitably comes conflict. Most plays out in breathless group email chains. At the Bruce Monroe Community Garden in Ward 1, for example, there was a dust up in July after a gardener named Mohammad wrote an email to his fellow gardeners where he singled out a garden-mate for getting too “angry, upset, or emotional” about theft in the garden even though he himself described “thieves” as “mainly low-income undocumented immigrants” who “got angry and threw rocks at him.”

(Theft is a somewhat common occurrence in community gardens. Gardeners report camouflaging watermelons in paper bags and growing cherry tomatoes instead of sought-after heirlooms.)

Some on the email chain asked Mohammad to apologize and classified his emails as disrespectful, disheartening, and belittling. One more dramatically said he was leaving the garden. “I’m very much hoping to see the aggressive emails stop and more of an actual community garden forum take their place,” a gardener named Sara wrote to the group. “Perhaps the community garden leaders could step in to see to this…” Neither Mohammad nor Sara would answer City Paper’s requests for comment.

Spagnolo is going into her third year as the president of Newark Street Community Garden, which has seven board members and a host of other volunteer positions. “In many ways we set the standard because we came up with our rules before the city came up with rules,” she says. “Now they’re coming up with rules, which is funny.”

Newark Street gardeners are expected to participate in a monthly work day; skip installing bird baths; plant things that creep, like mint, in containers; and utilize the majority of their plots for cultivation. Some rebels install tables and chairs. “That’s not what it’s supposed to be for,” Spagnolo says. “Generally people get away with this kind of thing. You don’t want to be too draconian after all.”

The most delicate job belongs to the volunteers on the rules committee who serve as plot monitors. These weed warriors make sure gardeners’ plots are at least partially planted by May 1 and are well maintained throughout the growing season in fairness to the 90 would-be gardeners on the waitlist. “Some gardeners can be angry and nasty about it even though the approach is usually a little note saying your plot has more weeds than are acceptable,” Spagnolo says.

Gardeners get three warnings before losing their plot.

Felicity Amos says she has held that job.

“People were so upset they were given citations,” she says. “I got hate mail.” She describes gardeners who were incredulous despite the fact that they hadn’t planted anything

by July. “One summer I had 3,000 emails back and forth. I don’t get paid for this! It’s all volunteer.” She inhales. “Most people are so nice.

It’s a very harmonious, idyllic little place.”

Adrienne McCann, Virginia Avenue Community Garden

Virginia Avenue Community Garden

D

Madeleine McCann, age 4 “It’s amazing how much drama comes from community gardens,” says DPR Community Garden Specialist Josh Singer. He’s held the position for six years and has been a community garden evangelist in D.C. even longer.

“They’re great practice for people to learn how to be in a community, get along, and problem solve. We help train people in mediation—especially garden managers. Some of them deal with tough situations.”

Community gardens on DPR land are volunteer cooperatives that must self-govern.

“The idea is we help them organize with sample bylaws with the hope that they sustain themselves,” Singer says. The gardens should

have a minimum of a garden manager, but some floral fiefdoms have more developed leadership structures like boards of directors and other volunteers who take on everything from ensuring the compost is nutrient rich to facing yellowjacket nests head-on.

DPR has unofficial materials to guide garden leaders in making and setting rules, but none will be enforceable by the city until there has been a public comment period this fall on the Community Garden Agreement all gardeners will be asked to sign in 2020. Sample suggestions include banning aggressive behavior, non-organic fertilizer, and any structures that block another plot’s sun.

.C. saw a growth spurt in community gardens kick off under Mayor Vince Gray, according to Singer. Many of the gardens came to fruition through a joint initiative between DPR and the Department of General Services called Play DC that launched in 2012 with the goal of renovating 32 playgrounds and adding eight new ones. Community gardens are frequently nestled next to playgrounds or adjacent to recreation centers.

“We more than doubled the amount of community gardens in five years,” Singer says.

“Gray gave us a lot of funding to build.” Just as Mayor Muriel Bowser was taking office in 2015, D.C. was named the city with the most community gardens per capita by the Trust for Public Land.

Today new gardens aren’t popping up as fast and furiously because there’s less targeted funding. DPR now looks to team up with community partners or tack onto large-scale city projects like the total renovation of a rec center. “Now that we have to work with community partners for funding, we’re able to do a lot more community outreach which creates a lot more community engagement with our new gardens,” says Singer.

When neighbors don’t feel like a community garden is for them, the garden can become susceptible to vandalism. “A lot of these com-

washingtoncitypaper.com august 23, 2019 13

Coy and Pam McKinney, SW Community Garden

Virginia Avenue Community Garden

Laura Hayes

munity gardens are great for people who get plots, but they become exclusive for everyone else,” Singer says. “With gentrification and marginalization, it can become divisive in these communities.”

When Powell Elementary School expanded in 2015, the northern part of the Twin Oaks Community Garden was Joni-Mitchelled— they paved paradise and put up a parking lot.

The city mollified the gardeners by building the Upshur Community Garden less than a quarter mile away inside Upshur Park in 2016.

Jones was one of the gardeners who migrated.

“The garden got put in without anyone’s input in the neighborhood as far as I can tell,” she says, despite that Hunter says DPR doesn’t move forward with a garden unless it meets the needs of the community and all community concerns have been addressed. “There was already an established culture there and all of a sudden there’s a garden with a gate on it … There’s a lot of emotions that go along with that. We had a thing where people were jumping over the fence.”

Current garden manager Sarah Joy Albrecht says there was initial outreach to two neighboring senior centers and two schools, but doesn’t dispute that vandalism has been an issue. “The first year we got there, teenagers would hop the fence and hang out in the greenhouse, which is at this point totally trashed,” she says. “The next year they would hang out in the garden. I mean, here we are with this new fancy place.”

Albrecht says there was a lot of back and forth on the topic on the listserv. “Some were bothered by [the kids and teens] being in the garden and smoking,” she says. “The issue of dialing the police on them came up. Several gardeners spoke out against that. And then that ended up fading away.”

One of the chief issues is that Upshur Park doesn’t have working water fountains. Younger kids were breaking in to access water and play with the hoses, according to Albrecht.

On an Aug. 18 visit, the gray water fountain by the baseball field was broken; the green water fountain by the playground was broken; and the blue water fountain by the basketball court eked out a trickle.

The same condition exists at Lansburgh Park where the SW Community Garden is located in Ward 6. Gardeners there say they have been asking the city to install water fountains since 2014. The park has basketball courts and a dog park. Only the dog park has water.

“There’s no silver bullet on vandalism,” Singer says. “There are things you can do to reduce it. Community involvement is big. We had a garden at Fort Greble where they experienced a lot of vandalism. Kids didn’t have a lot to do. They involved them and gave them a plot. They instantly saw the vandalism go down. It’s about finding ways to include people who at times feel excluded. It’s part of a larger trend of exclusion.”

Albrecht wishes there was more manpower to encourage community involvement at the garden. “I’m at capacity, but it’s something I’d love to do,” she says. “I agree these could

Upshur Community Garden on Sunday, Aug. 18 be beautiful, engaged, interactive community spaces.”

A

stereotype of community gardens is that they exist to solely benefit those who are socioeconomically situated to have the time and money to tend to a plot if they’re lucky enough to make it off a waitlist.

Keeping a garden well maintained can take several visits per week. While some gardens give

14 august 23, 2019 washingtoncitypaper.com

preference to those who live within a certain distance or offer discounts to low-income residents, most only require that plot holders live in D.C. If community gardens should reflect the make-up of the communities they’re in, there will always be opportunities to bolster inclusivity and diversity.

To start, gardens could conduct steadier, more thoughtful outreach about how to get involved. “It really is important for people to

know that this is free, this is yours, this is a part of your community and you can be just as involved as anyone else here,” says Sharri Fultz.

She manages the “Urban Roots” Benning Community Garden in Ward 7, which sat dormant until about two months ago. Soilful City founder Xavier Brown was looking for help reviving it and Fultz answered the call.

Fultz describes the group of six women currently growing everything from Scotch bonnet peppers to sunflowers as a sisterhood, but wants to see neighbors claim the six plots that are up for grabs at no cost.

“This is not just planting seeds,” she says.

“We’re trying to sow the seeds of change—economic change, social change. This is something African Americans need to reach back and get ourselves more involved in to help make change not only socially but health-wise. Organic is expensive in the store. Get out here and grow your own. Be your own medicine man.”

“Gardening not only produces food that’s healthy for the body but it’s physical activity,” says Dr. Phronie Jackson, echoing Fultz’s sentiment. “How you move your body matters.” Jackson has a doctorate degree in public health. She is the founder of the Ward 5 Health Coalition and gardens at the Langdon Youth & Community Garden.

Jackson says there can be some real barriers to getting involved in community gardening if you don’t know who to contact. Information about community gardens is primarily posted on government websites or niche online resources like DUG Network, which Singer helps run. The latter offers a comprehensive list of D.C.’s community gardens, educational materials, and volunteer opportunities.

“I think part of the problem is how do we let folks know that these gardens are available?”

Jackson asks. “We have to make this information available through different resources.” She recommends conducting outreach at churches, senior centers, community meetings, Advisory Neighborhood Commission meetings, and AARP functions. “You cannot wait for people to find you.”

A second strategy for increasing community participation at D.C.’s community gardens is through better utilization of public plots where anyone can share in maintaining the garden and harvesting vegetables. Many community gardens on DPR land have such areas, and a “Community Inclusion Plan” could become a requirement in 2020. Some gardens, like the SW Community Garden, already prioritize nurturing activity in public plots.

During dedicated work times on Wednesday evenings and Sunday afternoons, married gardeners Coy and Pam McKinney open up the garden hoping residents of the Greenleaf Gardens public housing complex across the street will come over and take part in growing corn, Swiss chard, snap peas, sweet potatoes, peppers, and peanuts in the community plots.

The Housing Authority named Greenleaf as one of its properties most in need of repair, especially as a quarter of people who live there are children. City Paper previously reported that a 10-year-old tenant was hospitalized in 2018 after suffering respiratory failure. A medical team

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Newark Street Community Garden at Children’s National Medical Center attributed her illness to the extensive mold in her family’s apartment. Attorneys with both Howard University Law School’s Fair Housing Clinic and the Legal Aid Society say their Greenleaf clients experience leaking sewage and insect infestations.

“When we first started my push was, I don’t want this to be a garden in a community, I want it to be an actual community garden,” Coy says. He oversees the public plot work days and teaches urban agriculture at Friendship Technology Preparatory High. “When it’s just individual plot owners, then you get 30 people who have access and that’s it. That closes the door to everyone else. To be an actual community garden we have to open the doors and let everybody come in.”

Participation was low on a recent Sunday, but Pam says when school’s in session they typically get 10 to 20 people on work days. On this visit, Blaire Johnson, 11, and Jarmal Pannell, 14, were busy watering. They’re friends and neighbors who live in Greenleaf. Johnson says she comes almost every week and brings cucumbers, sweet peas, and peanuts home to her family. “I saw them across the street and came over,” she says. Pannell also visits frequently, though he

jokes that the garden should be a splash park with a 10-foot water slide instead. Coy and Pam set out a station where they can quickly pickle cucumbers in salt and vinegar.

“I like seeing the kids come over and interact with each other,” says Caroline Waddell Koehler, who gardens in the communal plots.

“Sometimes they’re bad, and I mean that in a loving way. Sometimes they get kicked out of the garden, but they’re always contrite because they want to come back in.”

Coy also hopes the garden is a place where adults can talk openly and notes that four of the 32 individual plots are reserved for public housing residents. “We don’t want to shove it down people’s throats, but these are opportunities to talk about what’s happening at Greenleaf, opportunities to talk to your neighbors about gentrification and affordability issues. People think they come here to weed, but if you weed together then that time can lead to conversations where you learn about your neighborhood.”

Since not every community garden has volunteers who are as dialed-in as the McKinneys, partnering with nonprofit organizations, schools, or even local businesses is a third way gardens can increase overall participation be-

16 august 23, 2019 washingtoncitypaper.com

yond what individual plot holders are privy to.

The Langdon Youth & Community Garden, for example, is on DPR land but has buy-in from a local grocer and at least two nonprofit organizations—Rooftop Roots and The Green Scheme.

Together they manage the public plots and associated educational programming. “Community gardens are an essential part of the food system of the future and a great place here and now to meet people you otherwise wouldn’t,” says Good Food Markets co-owner Philip Sambol.

Good Food Markets not only provides seeds for the various herbs, flowers, and vegetables that grow in the beds, but Sambol also worked with DC SNAP-Ed to develop lessons for students at two nearby elementary schools and YMCA-Calomiris. More than 200 students have participated since the program’s inception. “It covers basic food systems, nutrition, and environmental science,” Sambol says. “We do a tour of the market and then go to the community garden and pull something out of the ground and talk about plant parts and composting.”

For Ronnie Webb, the co-founder of The Green Scheme, getting involved in the Langdon Youth & Community Garden was particularly meaningful. “I was born and raised

in that neighborhood,” Webb explains. His grandfather still has a house there. “There’s a lot of street things, violence in the community with neighborhoods beefing, but it’s also going through big gentrification.”

When Singer called Webb to see if he would be interested in getting a community garden off the ground, it was an easy “yes.” His organization’s chief goal is to teach kids how to care for gardens and grow food through curriculum developed with American University and the U.S. Department of Agriculture.

In this case, The Green Scheme partners with the Langdon Park Community Center.

“We go and get the kids for after school programming so they can help maintain the garden, grow the food, and give it out to seniors in the community,” Webb says. He’s noticed that the neighbors that gather in the garden are a mix of new residents and seniors who have lived there for five decades.

“Gardens take the tension off,” Webb continues. “But you have to make sure the gardens are a customized fit for that community. We get the pulse and tone of the communities we go into so nobody feels like they’re left out. Everyone feels like they have a handprint on the garden.” CP

September 7–22, 2019 Join us for 16 full days and nights of creativity in action—ALL FREE! The Kennedy Center is celebrating the opening of the REACH, its first-ever expansion.

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WASHINGTON NATIONAL OPERA

THE PEOPLE WE ARE: CELEBRATING FIRST NATIONS CULTURES

OF MY MORNING JACKET

FAMILY DAY

SPOTLIGHT ON THEATER

Monday, September 9

JIM JAMES

Friday, September 20

NATIONAL DANCE DAY

National Dance Day is presented as part of the Irene Pollin Audience Development and Community Engagement Initiatives.

Saturday, September 21 Fela! The Concert CLOSING DAY

Sunday, September 22 Salute to the Peace Corps

Plus check out film screenings indoors and out and drop-in spaces for hands-on discovery like the Moonshot Studio, the Virtual Reality Lounge, and Skylight Soundscapes!

Programs and artists subject to change

Download the REACH Fest app and create your own custom schedule!

September 4 | Concert Hall Kennedy-Center.org (202) 467-4600

Groups call (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540

AARP is the Presenting Sponsor of the NSO Pops Season.

David M. Rubenstein Cornerstone of the REACH

washingtoncitypaper.com august 23, 2019 17

Darrow Montgomery

CPARTS Sea Change

The Phillips Collection brings together a massive group of artists to tell the stories of migration in The Warmth of Other Suns.

“Don’t Cross the Bridge Before You Get to the River” by Francis Alÿs, 2008

By Kriston Capps John AkomfrAh’s “Vertigo Sea” is at times a meditation on the sublime. The three-channel video installation points to a tradition dating back to the Romantic movement, when painters such as J.M.W. Turner and Caspar David Friedrich revolted against rationalism and retreated to nature. The 2015 work features gorgeous documentary video of animal migrations. Kaleidoscopic swarms of butterflies. Mesmerizing blooms of jellyfish.

The artist’s psalm of the sea is alternatingly serene and unsettling. Whaling is the nominal subject of “Vertigo Sea,” and Akomfrah pairs rapturous scenes of whales breaching the surface, spraying water into the sky, with grainy footage of whalers flaying blubber from carcasses, raining blood over the ship’s hold.

Akomfrah’s work touches on human migrations over the sea, too.

Newsreel shows white enslavers forcing shirtless black men overboard in a reenactment of an 18th-century ship massacre.

Akomfrah’s video bricolage is unrelenting, but sometimes a screen will pause on a portrait. One features a black figure, dressed in a colonial jacket and tricorn hat, who stares over 18 august 23, 2019 washingtoncitypaper.com

a lonely promontory, a reference to Olaudah Equiano, an enslaved man who purchased his freedom and sailed the world.

“Vertigo Sea” courts the comparison to Moby-Dick, literally with a reading from the novel, but moreover in its immense scope, symbolic treatment of race and perception, and cool tenor and temperature. Yet “Vertigo Sea” dispenses with any lofty notions about Ahab or his quest. In one arresting sequence, the film lingers on a harpooned whale’s bloody eye, an otherworldly camera lens that gazes back at the viewer.

“Vertigo Sea” sets the pace for The Warmth of Other Suns: Stories of Global Displacement, an unprecedented exhibition for the Phillips Collection which runs to Sept. 22. The massive video format alone is something the museum has never tried before, and it appears as a preface to the show. The Warmth of Other Suns assembles work of more than 75 international artists. Photographers, painters, sculptors, and filmmakers— plus workers, children, refugees, academics, politicians, and more non-artists—tell the stories of global migrations, both forced and voluntary, as far back as the 18th century to the present day. It illuminates how conflict shapes migration, and

D.C.’s arts commission director resigns. washingtoncitypaper.com/arts how migration shapes the world. More importantly, the show never tries to bring a false sense of order to what feels like a force of human nature.

The Warmth of Other Suns is achingly prescient. Just this month, Ken Cuccinelli, acting director of U.S. Citizenship and Immigration Services, proposed an edit to the credo of the Statue of Liberty. A reporter asked if America still stands behind Emma Lazarus’ immortal words, and Cuccinelli rephrased them: “Give me your tired and your poor, who can stand on their own two feet, and who will not become a public charge.”

Danh Vō’s “We the People: Element #L9 (2011–13)” could be the artist’s response. It’s one of some 300 fragments of a replica of the Statue of Liberty fabricated by Vō and distributed around the world—an exact copy at scale, never to be assembled. Divided, not united. The piece speaks to the fragility of the American dream.

Ellis Island figures prominently in The Warmth of Other Suns, namely in Augustus Sherman and Lewis Wickes Hine photographs. Sherman, who worked as a registry clerk, took administrative photographs of the European immigrants streaming into Ellis Island. While he was untrained, he snapped portraits of people in traditional folk dress that captured their dignity.

Anti-immigrant publications nevertheless used these same pictures to stoke fear and hatred.

There’s a lot of photography in the show, and little of it fine art, from Dorothea Lange’s picture of a destitute mother fleeing the Great Depression in California to Guillermo Arias’ photos of a Honduran migrant caravan taken just last October in Mexico. As if to demonstrate that fine art can be journalistic, the Phillips Collection put all 30 of Jacob Lawrence’s tremendous Migration Series paintings (1940–41) in the show. Gorgeous covers from the Italian newsweekly La Domenica del Corriere use illustration to chronicle the great Italian exodus to America.

The Warmth of Other Suns could be a thesis exhibition on the exchanges between media and migration.

Massimiliano Giono and Natalie Bell, director and curator for the New Museum, respectively, produced the exhibition at the invitation of Dani Levinas, the museum’s board chair who is himself an immigrant. It’s a show made specifically for the Phillips Collection, although viewers would be forgiven for thinking that Giono and Bell had decided to drop an entire Venice Biennale on Dupont Circle. (Giono did in fact organize the Venice spectacular in 2013; “Vertigo Sea” debuted in the following Biennale.)

The exhibition features interventions designed to provoke even the most sympathetic viewer.

Hanging high in the stairwell, there’s a massive 2012 painting by El Anatsui, “Dzesi,” made with crumpled aluminum bottle caps and copper wire, which takes the form of a West African textile and points to the destructive influx of alcohol in Ghana under European colonization. In the Rothko Room, a sacred space for lovers of contemplative postwar Abstract Expressionism, the curators installed a heartbreaking vitrine containing an embroidered doily and pair of shoes recovered near the Arizona-Mexico border. The confrontational display is part of an ongoing University of California-Los Angeles program called the Undocumented Migration Project. The Warmth of Other Suns tests the boundaries of the historically staid Phillips Collection as well as the limits of what people choose to recognize as art.

In one narrow room, it’s tricky to look at the delicate Huong Ngo and Hong- An Truong prints for the Zoe Leonard suitcas-

CPARTS es in the middle of the hall. A Francis Alÿs installation spans several joined rooms rather uncomfortably. Finding a throughline from the past to the present, or from Syrian war refugees to Northern Triangle asylum seekers, isn’t impossible. It’s just not made easy. This is a strategy to project a mimetic sense of the constant and contradictory narratives that bombard immigrants. It’s also a matter of curatorial style: Bell says that Giono’s motto is “Always leave them wanting less.”

The Phillips Collection has a long record of showing pictures that conform to elite perspectives. Renoir’s “Luncheon of the Boating Party” might be the museum’s most celebrated product of the haut monde. Recently, the museum has mounted shows by artists who challenge or upend the canon; a firstever retrospective for the Cuban-born artist Zilia Sánchez is a fine example. No one has called for decolonizing the Phillips Collection, but the New Museum has shown what that project might look like.

One room brings together notions of seas and borders like so many swirling eddies. It includes three Alighiero Boetti embroideries of global maps in which countries take the form of flags, a Wolfgang Tillmans print of an indistinguishable point in the Atlantic Ocean where international borders meet, and a Kader Attia installation of abandoned blue garments strewn across the floor to evoke the sea. There’s no place or people depicted in these artworks. But the room conveys the ineffable feelings of pain and loss and belonging and identity that move whole nations. Melville writes in Moby-Dick: “It is not down in any map; true places never are.”

CP “Mappa” by Alighiero Boetti, 1972

1600 21st St. NW. $10–$12. (202) 387-2151. phillipscollection.org.

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THEATERCURTAIN CALLS

DAYS OF RAPTORS Enron

By Lucy Prebble Directed by Jordan Friend At Dance Loft on 14 to Sept. 1 Enron, British playwright Lucy Prebble’s account of the rise and fall of the energy corporation, was a hit when it opened on London’s West End in 2009 and a flop on Broadway in 2010. Where larger companies may have been too risk-adverse to tell this story, it has been left to a small company like 4615 Theatre to finally present its D.C. premiere.

Ken Lay (Nick Torres) founded Enron in 1985 through the merger of two natural gas pipeline companies. A Baptist preacher’s son whose religiosity Prebble precisely captures, he is also a corporate libertarian who believes the nation-state will be and should be eclipsed by the corporation. He’s keen to proselytize the gospel of deregulation to politicians of both parties. Early on, he pits his two proteges, Jeff Skilling (Andrew Scott Zimmer) and Claudia Roe (Amanda Forstrom), against one another to succeed him as CEO while he moves on to serve as chairman of the board. Roe is enough of a traditionalist to believe that energy companies should actually produce energy, but Skilling thinks outside the box and gets the promotion.

In Prebble’s telling, Skilling’s ascent is built on two big ideas: The first was to introduce markto-market accounting to the energy industry, which allowed estimated future profits from a recently signed contract to be declared as profits the moment the deal was made; the second was to make Enron an energy trading company. Instead of building new infrastructure and producing more energy, Enron would be in the business of buying energy from the producers and reselling it for a profit. Unsurprisingly for a writer who now works on the HBO series Succession, Prebble particularly relishes dramatizing the byzantine complexity of financial crimes as well as the personal corruption of the malefactors.

Skilling’s scheme has one major problem: Enron’s assets do not match its reported profits, creating questions from financial analysts and shareholders. Skilling’s hand-picked chief financial officer, Andy Fastow (Charlie Cook),

has an ingenious solution: nested shell companies that absorb Enron’s debts, while remaining almost completely owned by Enron and under Fastow’s control. In 2000 and 2001, Enron traders would engineer rolling blackouts in the newly deregulated California energy market, allowing them to jack up prices and literally make a killing as both hospitals and traffic lights were left without power. Meanwhile Skilling could dream up new ideas like trading futures in broadband and streaming video even though the technology did not yet exist.

In the end, shareholders sued, and Enron would file for bankruptcy, bringing down other financial institutions. Lay, Skilling, and Fastow would be convicted on multiple counts of fraud, money laundering, and conspiracy. Tens of thousands of Enron employees would lose everything as their stock options became worthless.

Because Skilling and Lay still embody a heroic archetype for some Americans, Prebble consciously worked in a mock epic mode, using a style that freely melded naturalistic drama with the symbolic. Fastow named his shell companies “raptors” after the dinosaurs of Jurassic Park, so necktie-wearing velociraptors stalk the boards feasting on the debt of failed projects. Director Jordan Friend and 4615’s 13-member ensemble embrace this aesthetic with aplomb. Zimmer, doing double duty as the multimedia designer, has created video clips that intersperse archival footage with garishly colored infographics and tickers that evoke the worst in 1990s graphic design. The defunct holding company Arthur Andersen LLP is portrayed as a vaudeville ventriloquist (Joshua Simon). Costume designer Benjamin Weigel clothes the cast in corporate conformity but his real coup is the heads of the raptors: Printouts of the corporate emails that California investigators released to the public domain have been cut into polygons that recall 1990s 3D video games and assembled into frightful shapes.

Intimacy and fight director Jonathan Ezra Rubin makes manifest the aggressively toxic culture at Enron, but his greatest accomplishment is turning Cook’s awkwardly chipper Fastow into an axe-wielding vanquisher of allegorical dinosaurs.

What allowed Enron to inflict so much economic damage was its proximity to political power. Imagine a worthy sequel to Enron in which a similarly rapacious corporate leadership actually held political power. —Ian Thal 4618 14th St. NW $16.50–$20. 4615theatre.com.

20 august 23, 2019 washingtoncitypaper.com

AFFAIRS TO REMEMBER Betrayal

By Harold Pinter Directed by Stevie Zimmerman At Dance Loft on 14 to Sept. 8 at a taBle in a London pub, Emma (Caroline Dubberly), the director of an art gallery, is seated with an old friend, Jerry (Matt Dewberry). A quick glance at their clothing— Emma in a trench coat, burgundy blouse, and tan bell-bottom slacks, Jerry in a heavy tweed over his sweater and scarf—tells us it’s the 1970s and that it’s chilly outside.

Over drinks, the pair trade smiles and polite inquiries about their spouses, children, and work. Soon the conversation turns to more intimate gossip: Rumor has it that E m m a i s h av ing an affair with Casey, a novelist whom Jerry, a literary agent, represents. Jerry is less shocked by the infidelity than by the lack of secrecy because until two years ago, he and Emma had maintained an affair for seven years without scandal. Most shockingly to Jerry, Emma and her husband, Robert, his oldest and closest friend, are separating on account of Robert’s own previously unknown infidelities. Jerry is worried about his own exposure.

Later that evening, Jerry is near hysterical when Robert (Jared H. Graham) arrives in his study. Unfazed by the end of his marriage, Robert’s only stated concern is the future arrangement regarding his children. He sees no reason to end their long friendship. When Jerry tries to apologize for his own betrayal, Robert nonchalantly responds that Emma had told him years prior. As the publisher of some of the novelists Jerry represents, Robert would rather discuss books.

Harold Pinter based Betrayal on his own recently ended seven-year affair. (Jerry appears to be Pinter’s stand-in, with one of the writers Jerry represents representing Pinter’s self-critique of the project; Pinter also played Robert in a radio broadcast.) At its 1978 premiere, Betrayal introduced the innovation of non-linear storytelling to naturalistic drama.

One scene change may move the story for-

ward days, weeks, or months, the next may skip backward years, ending on the evening in 1968 when Emma and Jerry begin their affair.

It’s become a cliché to talk about the importance of the pause in performing Pinter, but in this 4615 Theatre production at least, it is perhaps more important what an actor does after they finish their line. Director Stevie Zimmerman and her cast understand that when their characters aren’t speaking, they are being spoken to, and so much rests on how they listen, and in the recurring gestural motif of Jerry and Emma’s interwoven fingers. Dubberly, in particular, has stand-out moments when she must pretend to be too absorbed in a novel by a writer whom Jerry represents to express concern that Robert has come across clues to the affair, or in another scene where she silently smiles, betraying the erotic thrill as she imagines her husband and her lover competing in a game of squash, betraying that at least in that one moment, she loves them both and feels no guilt.

Kiana Vincenty’s costumes capture the subtle and not-so-subtle changes in fashion and personal politics they reflect over the nine years the play covers. The three characters are a few years too old and just a bit too bourgeois for the counterculture, but too avant-garde in their own selfregard to dress like the establishment: Robert is a peacock in paisley in 1968 and stylishly aloof in 1977, while Emma seems to be exploring different identities over the years.

Particularly effective is the use of the thrust staging, a feature shared with Enron, which runs in repertory with Betrayal. As the scenes shift from pub to home to flat to hotel, sometimes we find ourselves just over the shoulder of one character, while others might feel they are watching from an objective distance. Yet as one watches Emma, Jerry, and Robert engage in infidelities and self-deceptions, anxiously wondering if they still deserve love and friendship, one catches glimpses of the audience members seated across the alley. Whether or not one watches with a clear conscience, one recognizes that the well rehearsed gestures and line readings are invoking sideways glances, nervous displays of affection, and the squirming realization that by the slightest gesture, one could betray oneself.

—Ian Thal 4618 14th St. NW $16.50–$20.

4615theatre.com.

Merriweather Post Pavilion • Columbia, MD THIS THURSDAY!

BECK & CAGE THE ELEPHANT *

w/ Spoon & Sunflower Bean.................................................................... AUGUST 22

THIS FRIDAY!

THIS WEEK’S SHOWS

AUGUST SEPTEMBER (cont.)

Sonic Youth: 30 Years of Daydream Nation Screening

No Scrubs: ‘90s Dance Party

Ride w/ The Spirit Of The Beehive..Su 22

DC Music SEPTEMBER Rocks Festival feat.

Pinegrove w/ Boyscott ............Th 26 half•alive w/ Sure Sure

with panel discussion featuring Steve Shelley, Brendan Canty

with DJs Will Eastman and Ozker • Whitney w/ Hand Habits............M 23 (Fugazi/The Messthetics), and SY Archivist Aaron Mullan Visuals

by Kylos ........................F 30 This is a seated show.......................................................................................F AUG 16 The Eli Lev Collective withADDED special guest Jarreau Williams, !

Early Show! 6pm Doors. .....................F 27 D NIGHT More AM Than FM, and more! .........................................................................Sa 17

FIRST NIGHT SOLD OUT! SECON

dodie w/ Adam Melchor ................F 6 Deerhunter + Dirty Projectors .....................Su 8 Wilder Woods

BLISSPOP DISCO FEST feat.

CHICKEN & MUMBO SAUCE PRESENTS

Chromeo (DJ Set), DāM-FunK (DJ Set), RAC (DJ Set), and more!

BLISSPOP & U ST MUSIC HALL PRESENT

The Black Madonna, Josey Rebelle, Wayne Davis & Lisa Moody (Deep Sugar), Amy Douglas,

(Bear Rinehart of NEEDTOBREATHE) ..................W 11

and more! Late Show! 10pm Doors ...F 27

Crank Karaoke with Live Band, Go-Go Karaoke, and Jam Session featuring Walk Like Walt, Crank Karaoke Band, & DJ Money...............................F 13 Barns Courtney w/ The Hunna

Late Show! 10pm Doors ................Sa 28

GARY CLARK JR. AND NATHANIEL RATELIFF & THE NIGHT SWEATS w/ Nicole Atkins ................................................................................................ AUGUST 25

THIS MONDAY!

PENTATONIX

* w/ Rachel Platten ................................................. AUGUST 26

Vampire Weekend * w/ Christone “Kingfish” Ingram ..................... AUGUST 29 Morrissey w/ Interpol ..............................................................................SEPT 5 O.A.R. Recording their 7th live album! w/ Andrew McMahon in the Wilderness & American Authors ................................SEPT 7

WPOC SUNDAY IN THE COUNTRY FEATURING

Old Dominion • Michael Ray • Jordan Davis • Lauren Alaina • Dylan Scott • Jimmie Allen • Brandon Lay • Filmore.....................SEPT 29

Ticketmaster • For full lineup & more info, visit merriweathermusic.com • impconcerts.com * Presented by Live Nation

Early Show! 6pm Doors.....................Sa 28

K.Flay w/ Houses & Your Smith ..Su 29 Dean Lewis w/ Scott Helman...M 30

Early Show! 6pm Doors ....................Sa 14

OCTOBER

Marc Rebillet

Joseph w/ Deep Sea Diver...........W 2 Caravan Palace

Late Show! 10pm Doors ...................Sa 14

Polo & Pan w/ Mindchatter ......Su 15 Band of Skulls

Early Show! 6pm Doors. .....................Th 3

Built to Spill - Keep It Like A

w/ Demob Happy ........................Th 19

Grace VanderWaal

Secret 20th Anniversary Tour

grandson w/ nothing,nowhere.

Luna performing Penthouse

w/ Prism Bitch & Love As Laughter .F 4

w/ Patrick Martin .........................F 20

w/ Olden Yolk

Early Show! 6pm Doors. .....................Sa 21

Early Show! 6pm Doors. ....................Sa 5

U STREET MUSIC HALL PRESENTS

The Joe Kay Experience -

Bombay Bicycle Club

A Special 4 Hour Set

w/ The Greeting Committee Late Show! 10pm Doors .....................Sa 5

Late Show! 10pm Doors ...................Sa 21

MANY MORE SHOWS ON SALE!

930.com

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

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

BENDELACREME & JINKX MONSOON:

All I Want for Christmas is Attention .......... FRI NOVEMBER 29 On Sale Friday, August 23 at 1pm

Criminal Podcast

AEG PRESENTS

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

Tinariwen w/ Lonnie Holley ........ SEP 19 AN EVENING WITH

The Waterboys ..................... SEP 22 Adam Ant: Friend or Foe w/ Glam Skanks................................. SEP 23

Cat Power w/ Arsun ................... SEP 25 SECOND NIGHT ADDED!

POLITICS AND PROSE PRESENTS

Ta-Nehisi Coates -

The Water Dancer Book Tour .......SEP 26 (Moderated by Michele Norris) ....& SEP 27 (Moderated by Ibram X. Kendi)

ALL GOOD PRESENTS

Nahko and Medicine for The People w/ Ayla Nereo . SEP 29

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

Alex Lahey w/ Kingsbury ..... Th AUG 22 Why? w/ Barrie...........................Su 25 Benjamin Francis Leftwich w/ Abraham Alexander...............Th SEP 5 Ceremony w/ Choir Boy & Glitterer .Tu 10

w/ AHI ......................................... AUGUST 23

THIS SUNDAY!

Jade Bird w/ Flyte

U STREET MUSIC HALL PRESENTS

9:30 CUPCAKES

LAUREN DAIGLE

Fontaines D.C. w/ Pottery ............W 11 Black Pumas ...........................Th 12 Wovenhand .............................Su 15 Bleached w/ Paranoyds ...............Tu 17 Louis Cole ...............................Th 19

Bianca Del Rio -

It’s Jester Joke........................ OCT 18

Ingrid Michaelson All 9/24 9:30 Club tickets will be honored..................... OCT 23

THE BYT BENTZEN BALL AN EVENING WITH

MARIA BAMFORD ..................... OCT 24 THE NEW NEGROES FEAT. BARON VAUGHN • OPEN MIKE EAGLE • DULCE SLOAN • JABOUKIE YOUNG-WHITE • HAYWOOD TURNIPSEED JR. ............. OCT 25

TELL ME EVERYTHING with TIG NOTARO ...................... OCT 26 AEG PRESENTS

Jónsi & Alex Somers Riceboy Sleeps Zaz ................................................... OCT 4 with Wordless Orchestra .......... OCT 28 Natasha Bedingfield ........... OCT 14 X Ambassadors The Band Perry w/ Phangs .... OCT 15 w/ Bear Hands & LPX ....................... OCT 29 METROPOLITAN ENTERTAINMENT PRESENTS

• thelincolndc.com •

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

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

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

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

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

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

930.com washingtoncitypaper.com august 23, 2019 21

FILMSHORT SUBJECTS A CONCerT CeLeBrATING 244 YeArS OF SerVICe Wednesday, Oct. 2, 8 P.M. The Music Center at Strathmore Free tickets available starting on Aug. 26 at www.strathmore.org or 301-581-5100.

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arts & makers festival 22 august 23, 2019 washingtoncitypaper.com

FALL FROM GRACE Angel Has Fallen

Directed by Ric Roman Waugh In our era of superheroes who battle both intergalactic villains and their own nagging self-doubt, Mike Banning (Gerard Butler), the hero of 2013’s Olympus Has Fallen and 2016’s London Has Fallen, is an unlikely protagonist for a contemporary action franchise. He’s a throwback to a time when action stars spoke to a reactionary impulse in Americans, and a red-blooded male who has no time for questions before he blows away as many foreign, freedom-hating terrorists as he can. Angel Has Fallen, the newest and worst installment, fails for deviating from its franchise staples.

As we catch up with Banning, his adventures in nation-saving have taken a toll.

Middle age is approaching fast, and he suffers from migraines and chronic pain. He is agonizing over whether to accept a desk job, which would allow him to spend more time with his wife (Piper Perabo) and infant daughter, or stay in the field. Destiny decides for him. On a fishing trip with the president (Morgan Freeman), a coordinated drone attack takes out his entire team and critically injures the president. Banning, the only agent left alive, has been framed for the crime, and he goes on the run through the backwoods of Virginia to clear his name.

It’s an attempt at a more intimate story. Angel Has Fallen tries to make Banning a well rounded character, rather than a liv-

ing, breathing, ass-kicking embodiment of American grit. After Banning escapes from custody, he seeks out his estranged father (Nick Nolte), a Vietnam veteran with PTSD who, since abandoning his wife and child, has lived for decades off the grid. Delving into Banning’s backstory is a noble idea— all franchises have to go somewhere, so why not go inward—and Nolte is terrific, pivoting seamlessly from dramatic monologues to well timed quips. But Butler, whose only acting tool is to vary his level of gruffness, cannot rise to Nolte’s level, so none of it deepens our understanding of the character.

From its chaotic action sequences, badly staged by stuntman-turned-director Ric Roman Waugh, to its far-too-predictable plot twists, Angel Has Fallen is an all-out failure.

But its biggest error is its abandonment of the politics that defined it. The film’s choice of villain—I won’t reveal too much here, although it’s laughably easy to figure out— signals a complete reversal of the myopic foreign policy on which the franchise has succeeded. For the first time, the enemy is within, although the film approaches this development so mindlessly it doesn’t get credit for introspection. It’s just another opportunity for Banning to kill some folks.

We would all have been better off had the filmmakers stuck to what this film series does best. Whether or not you enjoy seeing America’s enemies repeatedly shot in the brains, at least it would have maintained a consistency to carry this film through its weaker spots. Angel Has Fallen simply has no reason to exist.

—Noah Gittell Angel Has Fallen opens Friday in theaters everywhere.

BOOKSSPEED READS

MIRACLES HAPPEN Miracle Creek

By Angie Kim Farrar, Straus & Giroux, 355 pages A murder triAl that could result in the death penalty makes for good fiction. This is Angie Kim’s material for her novel, Miracle Creek. Each chapter features the perspective of a different participant, combining Perry Mason legal suspense with detailed character development—except for the prosecutor and defense attorney. Their traits are telegraphed with a few quick sentences. Kim reveals what monsters prosecutors can be with a thumbnail s k e t ch : “ T h e prosecutor had been in a particularly good mood … he’d explained that the potential jurors most likely to be sympathetic … had been dismissed because they were antideath-penalty.”

Later, the prosecutor explains away the barbarity of capital punishment: “by injection, drugs in an IV. It’s painless.”

Set in Northe r n V i rg i n i a , Miracle Creek follows a Korean immigrant family’s efforts to manage the ruins of their business—technological therapy for special needs children—after arson destroys it and kills two of their patients. The immigrant experience in Baltimore and Virginia is knowledgeably laid out, and so is the experience of families with autistic children and children with disabilities. The ins and outs of the trial, something the author, a lawyer, understands deeply, are well drawn.

There are also many shrewd general authorial observations: “People talked so much about the loss of intimacy between married couples, as the years progress … but no one measured the number of hours spent holding your baby in the first year of life versus the remaining years, the dramatic dissipation of intimacy…”

This novel’s theme is parenthood; parenthood under extreme duress. Many of

the parents struggle with ambivalence and despair, even the wildly obsessive, overachieving mother charged with murder. The Korean parents have sacrificed everything for their daughter, Mary, to come live first in Baltimore and later in a very white Virginia community, where Mary feels out of place. As one witness thinks of this locale, “it wasn’t the kind of place anyone would expect to have a Korean immigrant running a mini-submarine as a so-called medical device, but there it was.”

The Yoos plunge into this homogeneous suburb, desperate to succeed for their daughter’s sake. This leads them to lie in court, and the lies twist and turn. Indeed, most of this story’s main witnesses lie. They all have something to hide, and even the threat of an acquaintance facing lethal injection cannot extract the truth from them.

Confronted with their lies, t h e y s t i ck to them. Lies beget more lies.

But with an extremely skillful defense att o r n e y, t h i s mendacity finally unravels, and with it, the world comes crashing down on them all.

People lie out of love and fear.

Once their terrible lies are exposed, relationships crumble, but not all relationships— not the ones between parent and child. This, the novel says, is the most foundational of all. It is what people die for. As one mother thinks, “stakes that mattered—not which college your kids got into, but their very survival in society, whether they’d learn to talk, if they’d ever move out of your house, and how they’d live when you died.”

Miracle Creek is not a cheery story. It casts an unsparing eye on parenthood, marriage, disability, the clumsy, often brutally wrong justice system, and the immigrant experience. One woman’s parents tell her fiancé, “We prefer she marry a Korean man, but at least you are a doctor.” The novel seems to ask: All this frantic striving for what? It can end in an instant, with a lie exposed, or a moment of emotional collapse. What counts is a parent’s love for their child.

—Eve Ottenberg

Limited availability!

Fourth performance added due to demand

National Symphony Orchestra Pops Steven Reineke, conductor Co-presented with Renée Fleming VOICES.

September 18–21 | Concert Hall Groups call (202) 416-8400

Kennedy-Center.org

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

(202) 467-4600 AARP is the Presenting Sponsor of the NSO Pops Season.

Support for Renée Fleming VOICES is provided by the Buffy and William Cafritz Family Foundation.

washingtoncitypaper.com august 23, 2019 23

24 august 23, 2019 washingtoncitypaper.com

CITYLIST

THE JAKOB’S FERRY STRAGGLERS + COLEBROOK ROAD

Music 25 Theater 28 Film 28

Music

CITY LIGHTS: FRIDAY

FRIDAY CABARET

SIGNATURE THEATRE 4200 Campbell Ave., Arlington. (703) 820-9771. The British Invasion $38. sigtheatre.org.

FRI, SEPT. 6 || 9:30PM || $10ADV/$12DOS

COUNTRY

H

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Roger Creager. 6 p.m. $25. citywinery.com.

FUNK & R&B

8/23 FRI 8/24 SAT 8/29 THU 8/30 FRI 8/31 SAT 9/6 FRI

HIP-HOP

9/7 SAT 9/12 THU

ECHOSTAGE 2135 Queens Chapel Road NE. (202) 503-2330. RL Grime. 9 p.m. $25– $30. echostage.com.

9/13 FRI

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Jason Eady & Courtney Patton. 8 p.m. $17–$20. citywinery.com.

COMET PING PONG 5037 Connecticut Ave. NW. (202) 364-0404. The High and Wides. 10 p.m. $12. cometpingpong.com.

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

THE ANTHEM 901 Wharf St. SW. (202) 888-0020. R&B ONLY with Ashanti and Kiana Ledé. 8 p.m. $39.99– $79.99. theanthemdc.com.

ENTERTAINMENT AND SPORTS ARENA 1100 Oak Drive SE. MC Hammer. 8 p.m. $50–$175. esaontherise.com.

9/17 TUE 9/19 THU

JAZZ

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Manhattan Transfer. 7:30 p.m. $55. birchmere.com.

9/20 FRI 9/20 FRI 9/21 SAT

POP

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Parthenon Huxley. 6:30 p.m. $15–$20. jamminjava.com.

MERRIWEATHER POST PAVILION 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Lauren Daigle. 6 p.m. $29.50–$89.50. merriweathermusic.com.

9/26 THU 9/27 FRI

ROCK & ROLL HOTEL 1353 H St. NE. (202) 388-7625.

The Reflex. 8 p.m. $20. rockandrollhoteldc.com.

ROCK

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Gary Hoey. 7 p.m. $20–$25. citywinery.com.

THE HAMILTON 600 14th St. NW. (202) 787-1000. Satisfaction. 6:30 p.m. $19.75–$24.75. thehamiltondc.com.

WORLD

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. Farruko. 8 p.m. $40–$150. wolftrap.org.

SATURDAY CABARET

SIGNATURE THEATRE 4200 Campbell Ave., Arlington. (703) 820-9771. The British Invasion $38. sigtheatre.org.

TED LEO AND THE PHARMACISTS

Even though he grew up in New Jersey, spent years in New York, and now resides in Rhode Island, Ted Leo has always felt like a “hometown guy” in D.C. After all, he spent much of the ’90s here, first as a member of mod punk act Chisel and then with The Pharmacists, the act that has defined his last 20 years of music. Ted Leo and the Pharmacists have remained a constant, in D.C. and around the country, thanks to seemingly nonstop touring and a handful of beloved albums. There’s a timeless quality to Leo’s music: sing- and scream-alongs that bound between power pop, punk, no-frills rock, and beyond. Plus, his political-is-personal approach has aged well, from the Bush-born outrages of the 2000s to songs like 2010’s “Mourning in America,” which seemed to predict the current political moment: “Of the long manipulated and the willfully dumb / You better watch what you ask for / ‘Cause someday / It might just come.”

And while the Pharmacists haven’t released an album in years (Leo released an excellent solo album in 2017), the band is back on tour, with a stop at what might as well be home. Ted Leo and the Pharmacists perform at 8 p.m. at Black Cat, 1811 14th St. NW. $20–$25. (202) 667-4490. blackcatdc.com.

—Chris Kelly

9/28 SAT 9/29 SUN 10/3 THU 10/5 SAT 10/9 WED

H

JUMPIN’ JUPITER $5 COVERED WITH JAM $5 KELLIE LODER FREE AMY LAVERE & WILL SEXTON $15 THE WOODSHEDDERS $5 THE JAKOB’S FERRY STRAGGLERS + COLEBROOK ROAD $10/$12 PALEFACE $10/$12 THE 9 SINGER SONGWRITER SERIES FT. JUSTIN TRAWICK, ALLISON BALANC, AND MORE! $12 JOE HERTLER & THE RAINBOW SEEKERS + STOP LIGHT OBSERVATIONS $15/$20 STEVE’N’SEAGULLS $15/$20 MATTHEW MAYFIELD BAND $12/$15 HUDSON MOORE BAND 8PM $12 THE DETROIT COBRAS 10PM $15 TRAGEDY: ALL METAL TRIBUTE TO THE BEE GEES & BEYOND $12 PIERCE EDENS & ROB BAIRD $12+ WILD ADRIATIC + BELLA’S BARTOK $12 MO LOWDA & THE HUMBLE + PATRICK SWEANY BAND $15+ ROANOKE $10 CHUCK HAWTHORNE + GREYHOUNDS $15 BAND OF TOMORROW & AFTER FUNK $10 IRA WOLF & ANDREA VON KAMPEN *ALL SEATED* $12

HILL COUNTRY BARBECUE MARKET 410 Seventh St, NW • 202.556.2050 HillCountry.com/DC • Twitter @hillcountrylive

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

washingtoncitypaper.com august 23, 2019 25

COUNTRY

JIFFY LUBE LIVE 7800 Cellar Door Drive, Bristow. (703) 754-6400. Rascal Flatts. 7:30 p.m. $25– $403.48. livenation.com.

FUNK & R&B

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Freddie Jackson. 7:30 p.m. $49.50. birchmere.com.

DAR CONSTITUTION HALL 1776 D St. NW. (202) 6284780. Dionne Warwick, Peabo Bryson, and Deniece Williams. 8 p.m. $70–$150. dar.org.

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Imani Wj Wright & SwanoDown.

6 p.m. Free. kennedy-center.org.

JAZZ

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

Calvin Brown. 7:30 p.m. $10. bossadc.com.

POP

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

Tame Impala. 8 p.m. $55–$95. theanthemdc.com.

ROCK

DC9 1940 9th St. NW. (202) 483-5000. Oso Oso. 7:30 p.m. $15. dcnine.com.

SUNDAY BLUES

MERRIWEATHER POST PAVILION 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Gary Clark Jr. & Nathaniel Rateliff. 5:30 p.m. $45–$75. merriweathermusic.com.

CABARET

SIGNATURE THEATRE 4200 Campbell Ave., Arlington. (703) 820-9771. The British Invasion $38. sigtheatre.org.

COUNTRY

JIFFY LUBE LIVE 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Zac Brown Band. 7 p.m. $28–$2,045. livenation.com.

FUNK & R&B

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Chanté Moore. 7:30 p.m. $69.50. birchmere.com.

CITY LIGHTS: SATURDAY

BRITTANY HOWARD

The Runaways, No Doubt, Gladys Knight and the Pips: all bands led by women who didn’t give a damn about a bad reputation and furiously cultivated their solo careers.

Brittany Howard, primarily known as the frontwoman of Alabama Shakes, follows that path with grace. With her new album Jaime, the guitarist is stepping into her solo career while staying true to her blues and soul roots. The album is a very personal one for Howard; she named it after her late sister, who taught her how to write songs and shred on the keys. On Jaime, Howard invites her fans into a vulnerable place where she’s not afraid to get ugly. Often, her facial expressions tell the depth of her emotion, matched by gutting vocals that command a room.

As if Howard’s talent alone isn’t enough incentive, you can get a CD copy of the upcoming album with your online ticket purchase. Brittany Howard performs at 8 p.m. at 9:30 Club, 815 V St. NW. $55. (202) 265-0930. 930.com.

JAZZ

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Ricky Parrell. 6 p.m. $10–$20. jamminjava.com.

POP

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

Tame Impala. 8 p.m. $55–$95. theanthemdc.com.

ROCK

STATE THEATRE 220 N. Washington St., Falls Church.

(703) 237-0300. The Alarm & Modern English. 6 p.m. $33–$38. thestatetheatre.com.

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

Why?. 7 p.m. $20. ustreetmusichall.com.

WARNER THEATRE 513 13th St. NW. (202) 783-4000.

Hot Tuna & Dave Mason. 7 p.m. $33–$105. warnertheatredc.com.

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna. (703) 255-1900. The Beach Boys. 3 p.m. $35–$85. wolftrap.org.

MONDAY ELECTRONIC

SONGBYRD MUSIC HOUSE 2477 18th St. NW. (202) 450-2917. Black Taffy. 9 p.m. Free. songbyrddc.com.

FOLK

THE PUBLIC OPTION 1601 Rhode Island Ave. NE. (202) 636-3795. The Young’uns. 7:30 p.m. Free. thepublicoptiondc.com.

VELVET LOUNGE 915 U St. NW. (202) 462-3213. Minor Moon. 7:30 p.m. $8. velvetloungedc.com.

ROCK

COMET PING PONG 5037 Connecticut Ave. NW. (202) 364-0404. Big Business. 9 p.m. $12. cometpingpong.com.

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. Sting. 8 p.m. $49. wolftrap.org.

VOCAL

CITY LIGHTS: SUNDAY

TAME IMPALA

Like a half-full glass of wine—which is also the title of an extremely underrated song from their 2008 self-titled EP—Tame Impala, the Australian psychedelic project led by Kevin Parker, has only gotten better with time. Tame Impala made a splash touring their debut album InnerSpeaker as an opening act for MGMT in 2010, and made bigger waves in 2012 with Lonerism, which Filter and NME selected as album of the year. Currents, Parker’s latest, came in 2015 as an absolute tsunami of synth-, bass-, and drum-driven psychedelic pop, displaying his surging technical skill and musical talent.

“Patience” and “Borderline,” the two singles Parker has released this year, imply Tame Impala’s upward trajectory won’t see a ceiling any time soon.

Tame Impala perform at 8 p.m. at The Anthem, 901 Wharf St. SW. $55-$95.

(202) 888-0020. theanthemdc.com.

—Ella Feldman

MERRIWEATHER POST PAVILION 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Pentatonix. 6 p.m. $29.50–$129.50. merriweathermusic.com.

26 august 23, 2019 washingtoncitypaper.com

—Mikala Williams

CITY LIGHTS: MONDAY

STING

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

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

Tix @ Ticketmaster.com

Aug 22

An Evening with

RUFUS WAINWRIGHT "O Solo Wainwright" with special guest The Rails

THE MANHATTAN TRANSFER 24 FREDDIE JACKSON 25 CHANTÉ MOORE 29 BRIAN COURTNEY WILSON 23

ON SALE NOW!

w/ Gene Moore

30

Newmyer Flyer presents

A Tribute To The Everly Brothers & Grin Again

THE FABULOUS HUBCAPS 7 DANNY GATTON BIRTHDAY CELEBRATION! Sept 6

Since parting ways with bandmates Andy Summers and Stewart Copeland, Sting—former front man and lead vocalist of English rock group The Police—has enjoyed a successful solo career.

In addition to releasing a steady stream of chart-topping hits, he has collaborated with the likes of Alison Krauss, Shaggy, and Rod Stewart, produced an album of 16th-century lute music, and even composed a Broadway show inspired by his childhood in the shipbuilding town of Wallsend.

The artist’s latest global tour, named in honor of his new album, My Songs, reflects on this musical legacy by offering up reimagined versions of favorite tracks. Featuring selections from The Police’s oeuvre and later solo albums, the record aims to encapsulate Sting’s life in song, reconstructing, refitting, and reframing arrangements to add what the singer calls a “contemporary focus.” During the rock giant’s three-night engagement at Wolf Trap, concertgoers can expect to hear both lesser-known tracks and updated takes on such beloved numbers as “Englishman in New York,” “Fields of Gold,” and “Message in a Bottle.” Just don’t call the My Songs tour a recap of Sting’s greatest hits: As the artist notes, he hopes fans will be surprised by at least one or two items in the evening’s setlist. Sting performs at 6:30 p.m. at the Filene Center at Wolf Trap, 1551 Trap Road, Vienna. $55–$175. (703) 255-1900. wolftrap.org.

—Meilan Solly

CITY LIGHTS: TUESDAY

RION AMILCAR SCOTT

Author and professor Rion Amilcar Scott invented Cross River, Maryland, as the setting for his work, and he’s stuck to it. “Everything I write is set in Cross River,” he told Brooklyn Magazine. The setting was introduced to the public in Scott’s debut collection of stories, Insurrections.

That title is apt, because Cross River’s fictional history begins when its enslaved founders successfully revolted and founded their own town. Scott returns to Cross River in his new collection of stories, The World Doesn’t Require You, and delves deeper into the community’s rich past, its painful secrets, and its eclectic and lively characters (the stories follow people like a a lonely robot servant, a troublemaking adjunct professor, and a gifted Godly guitarist). Scott is a hometown hero through and through: He grew up in Silver Spring, has degrees from Howard and George Mason, and currently teaches at Bowie State in Prince George’s. It’s fitting, then, that he’ll be back in the city limits to discuss the book with author Amber Sparks. Rion Amilcar Scott speaks at 7 p.m. at Politics and Prose, 5015 Connecticut Ave. NW. Free. (202) 364-1919. politics-prose.com.

—Malika T. Benton

TONIGHT! BEN HARPER & THE INNOCENT CRIMINALS TROMBONE SHORTY & ORLEANS AVENUE JESSY WILSON

AUG 22

with Dave Chappell, Dave Elliott, Chick Hall, Tommy Lepson, Big Joe Maher,

John Previti, Tom Principato, Pete Raguso, & many more!

8

"Remembering Doc: A TRIBUTE TO DOC WATSON"

with T. Michael Coleman, Jack Lawrence, Wayne Henderson

THE MANHATTANS GERALD ALSTON 14 An Evening with MAYSA 13

featuring

15

The Trifecta of Folk Tour:

THE KINGSTON TRIO THE BROTHERS FOUR THE LIMELITERS 18 JAKE SHIMABUKURO 19,21 BILLY BRAGG

TOMORROW!

FARRUKO LARY OVER

AUG 23

"One Step Forward, Two Steps Back"

22

A BIRTHDAY TRIBUTE TO ROY BUCHANAN with Billy Price, Mike Zito & more!

25

RICK WAKEMAN "Grumpy Old Rock Star Tour"

THE ROBERT CRAY BAND 27 THE SELDOM SCENE & JONATHAN EDWARDS 29 THE STYLISTICS

SATURDAY! SING-A-LONG

SOUND OF MUSIC AUG 24

26

SUNDAY MATINEE!

THE BEACH BOYS AUG 25

presented by

Warner theatre Sat. Sept.14, 8pm Tickets at Ticketmaster.com

washingtoncitypaper.com august 23, 2019 27

TUESDAY CABARET

SIGNATURE THEATRE 4200 Campbell Ave., Arlington. (703) 820-9771. The British Invasion $38. sigtheatre.org.

HIP-HOP

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Slum Village. 7:30 p.m. $22–$35. citywinery.com.

ROCK

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. Sting. 8 p.m. $49. wolftrap.org.

GYPSY SALLY'S. 3401 K St. NW. $13–$15. (202) 3337700. Bishop Gunn. 8 p.m. $12–$15. gypsysallys.com.

WORLD

THE HOWARD THEATRE 620 T St. NW. (202) 8032899. Capleton. 9 p.m. $25–$60. thehowardtheatre.com.

WEDNESDAY CABARET

SIGNATURE THEATRE 4200 Campbell Ave., Arlington. (703) 820-9771. The British Invasion $38. sigtheatre.org.

COUNTRY

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. John Jorgenson Bluegrass Band. 6 p.m. $25. jamminjava.com.

FUNK & R&B

STRATHMORE GUDELSKY CONCERT GAZEBO 5301 Tuckerman Ln., Bethesda. (301) 581-5100. Aaron Abernathy. 7 p.m. Free. strathmore.org.

ROCK

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

7:30 p.m. $10–$12. dcnine.com.

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. Sting. 8 p.m. $49. wolftrap.org.

WORLD

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Mames Babegenush. 8 p.m. $26–$46. ampbystrathmore.com.

THURSDAY BLUES

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Chris Thomas King. 8 p.m. $25. bluesalley.com.

CABARET

SIGNATURE THEATRE 4200 Campbell Ave., Arlington. (703) 820-9771. The British Invasion $38. sigtheatre.org.

COUNTRY

THE HAMILTON 600 14th St. NW. (202) 787-1000.

Mipso. 6:30 p.m. $19.75–$24.75. thehamiltondc.com.

FOLK

ants. Signature Theatre. 4200 Campbell Ave., Arlington. To Sept. 29 $55–$93. (703) 820-9771. sigtheatre.org.

CABARET Alan Paul, Shakespeare Theatre Company’s associate artistic director, directs with Olney THeatre Center for the first time with this showing of Cabaret. Set in 1929 Berlin as Nazis rose to power, Cabaret focuses on the character of American writer Cliff Bradshaw and his foray into the world of cabaret and his romance with performer Sally Bowles. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Oct. 6. $42–$84. (301) 924-3400. olneytheatre.org.

DISNEY’S ALADDIN From the same producer as Broadway’s The Lion King, the new production of Disney’s Aladdin comes to the stage at the Kennedy Center with Clinton Greenspan as Aladdin and Kaena Kekoa as Jasmine. Kennedy Center Opera House.

2700 F St. NW. To Sept. 7. $39–$179. (202) 467-4600. kennedy-center.org.

ITALIAN BRED Created, written by, and starring comic Candice Guardino, Italian Bred is a heartwarming comedy about growing up Italian in New York.

State Theatre. 220 N. Washington St., Falls Church. To Aug. 24. $30. (703) 237-0300. thestatetheatre.com.

SHEAR MADNESS Shear Madness is an audienceinteractive crime comedy set in Georgetown about the murder of a pianist who lives in a hair salon. Each show delivers a unique performance based on the audience’s sleuthing. Kennedy Center Theater Lab. 2700 F St. NW. To Sept. 28. $56. 202-467-4600. kennedy-center.org.

THE WAR BOYS Three boys, best friends since childhood, spend their time patrolling the U.S.-Mexico border, learning lessons of belonging and who gets to be “American.” Joe’s Movement Emporium. 3309 Bunker Hill Road, Mount Rainier. To Aug. 31. $15–$25. (301) 699-1819. joesmovement.org.

Film

DORA AND THE LOST CITY OF GOLD The beloved children’s television character sets out on an adventure to save her parents and solve a grand mystery.

Starring Isabela Moner, Eva Longoria, and Benicio Del Toro. (See washingtoncitypaper.com for venue information) SCARY STORIES TO TELL IN THE DARK A group of teenagers have to fight frightening, supernatural creatures. Starring Dean Norris, Zoe Margaret Colletti, and Michael Garza. (See washingtoncitypaper.com for venue information)

ROCK

DC9 1940 9th St. NW. (202) 483-5000. Kindo. 7 p.m. $15. dcnine.com.

ONE CHILD NATION This documentary follows the social and personal ramifications of China’s one-child policy. Directed by Nanfu Wang and Lynn Zhang. (See washingtoncitypaper.com for venue information)

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Vertical Horizon. 6 p.m. $32–$45. citywinery.com.

EATON DC 1201 K St. NW. (202) 900-8414. 202 Creates Kickoff. 6 p.m. Free. eatonworkshop.com.

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Mon Laferte. 8:30 p.m. $39.50–$139.50. fillmoresilverspring.com.

MERRIWEATHER POST PAVILION 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Vampire Weekend. 7:30 p.m. $39.50–$89.50. merriweathermusic.com.

Theater

ASSASSINS Assassins is a musical based on John Weidman’s book with music by Stephen Sondheim. It is the dark comedy story of nine attempted and successful presidential assassinations and their assail-

VOLTA

DEAR EVAN HANSEN Dear Evan Hansen is the winner of six Tony Awards and a Grammy. It is directed by Michael Greif and features a score from Benj Pasek and Justin Paul. Kennedy Center Eisenhower Theater.

2700 F St. NW. To Sept. 8. $79–$175. (202) 467-4600. kennedy-center.org.

THE ART OF RACING IN THE RAIN A racecar driver learns lessons about life—and racing—from his dog.

Starring Milo Ventimiglia, Kevin Costner, and Amanda Seyfried. (See washingtoncitypaper.com for venue information)

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. SHEL. 6:30 p.m. $15. jamminjava.com.

CITY LIGHTS: WEDNESDAY

WHERE’D YOU GO, BERNADETTE A woman, tired of sacrificing herself for her family, takes off to reconnect with her creative side—and her daughter tries to find her. Starring Cate Blanchett, Kristen Wiig, and Judy Greer. (See washingtoncitypaper.com for venue information) GOOD BOYS Three sixth-grade boys ditch school and try to make their way to a highly-anticipated party.

Starring Jacob Tremblay, Will Forte, and Retta. (See washingtoncitypaper.com for venue information) THE KITCHEN A group of mobsters’ wives continue their rackets while their husbands are locked up in 1970s New York. Starring Elisabeth Moss, Melissa McCarthy, and Tiffany Haddish. (See washingtoncitypaper.com for venue information) THE ANGRY BIRDS MOVIE 2 Furious red birds and green pigs—the ones from the popular iOS game— feud further. Starring Jason Sudeikis, Leslie Jones, and Bill Hader. (See washingtoncitypaper.com for venue information)

28 august 23, 2019 washingtoncitypaper.com

No one goes to a Cirque du Soleil show for the plot. But as acrobatic backstories go, Volta has one of the best. This summer’s show under the tent in Tyson’s Corner is like the classic 2000 film Billy Elliot—but on LSD: It’s “Billy in the Sky With Diamonds.” Waz, the central character in Volta, is a lovable kid who lost his mom and longs to be a dancer, but he’s mocked for his dreams— and his blue-feathered hair. After being laughed off a reality TV talent show, Waz takes his prodigious talents to the streets, where he learns to mix up ballet, hip-hop, and b-boy moves from BMX stunt bikers and trampoline acrobats. He also recalls the joys of growing up with his gorgeous ballerina mom and soars to the top of the tent on a silken rope, boosted by his newfound confidence. Cirque fans who aren’t fans of freaky contortionists can relax; there are none in Volta, although there are some very flexible, very muscular shirtless aerial artists. So there’s plenty of bravado and brawn to impress the adults, while the mix of dance and extreme sports—plus the relatable plot—broadens Volta’s appeal for kids. All LSD jokes aside, this show is innocent, inspiring fun. Volta runs to Sept. 29 at Tysons II, 8025 Galleria Drive, Tysons. $38.50–$145. (877) 924-7783. cirquedusoleil.com.

—Rebecca J. Ritzel

CITY LIGHTS: THURSDAY

VAMPIRE WEEKEND

Vampire Weekend’s early albums are skittering, pellmell genre juxtapositions, yacht rock playfully mashed together with Latin and African music. They’re compulsively listenable, but when their self-titled album first blew up in 2008, one could have been forgiven for assuming that Vampire Weekend’s sound was a gimmick with an expiration date. A decade later, most of their blog-era contemporaries (see: the bands you used to use to pad your Last.fm playlists) have disappeared or been reduced to laboring in obscurity, but Vampire Weekend are as cheeky as ever—and the easy charisma of their music is only getting more charming with age. The preppy, anti-punk aesthetic they made their signature when they first blew up (and which singer Ezra Koenig now insists was a joke) has given way to a more naturalistic look, and their new album feels more like the next phase in an evolution than the next trial in an experiment. It’s anyone’s guess how such an odd little band came to so perfectly encapsulate a Zeitgeist moment in indie rock history, and enough ink has been expended trying to work out how they pulled it off. The bottom line is that they did, and we’re lucky to still be getting new music from Vampire Weekend in 2019. Vampire Weekend perform at 7:30 p.m. at Merriweather Post Pavilion, 10475 Little Patuxent Parkway, Columbia. $39.50–$89.50. (410) 715-5550. merriweathermusic.com.

—Will Lennon

SAVAGELOVE I took Molly with my best bud. We wound up cuddling and telling each other everything. We didn’t mess around—we’re both straight guys— but one of the things I told him is that I would much rather eat pussy than fuck, and one of the things he told me is that he’s not at all into eating pussy and pretty much only likes to fuck. I think we’d make a great team: We’re both good-looking, athletic dudes and we should find a woman who loves to have her pussy eaten and loves to get fucked. I would go down on her and get her going (and coming), then he steps in and dicks her down (and gets her off one last time). What say you?

—Ultimate Package Deal I would say, “FUCK YES!” if I were a woman, UPD, which I’m not. And while I can’t promise you every woman will have the same reaction I did, some women most definitely will.

—Dan Savage I’m a male in my late 50s. I went to a urologist for my erection problem, which was helped with ED medication. But orgasms are very hard to achieve, and the ED medication does not seem to make orgasms any easier to have. My girlfriend appreciates the erections, but I would also like to climax. This is very frustrating. Any advice?

—Pills Inhibiting Lusty Loads Tits and dicks both sag with age, which is why push-up bras and push-up pills were invented. And while ED meds do make it easier for a guy to get an erection, they can also make it more difficult for a guy to climax. Upside: You last longer. Downside: You may sometimes have sex without climaxing. Or you can shift your perspective and try to see this downside as a secret upside: Sometimes you get to enjoy sex without climaxing—and next time, when you do climax, you’ll blow a bigger load.

—DS I am a bisexual man who’s active in the sexpositive community, and I love playing with couples. I was updating my Feeld profile to reflect this desire, but I realized there’s no consistent term for a male unicorn. So I listed “Male/Stag/Stallion/ Minotaur/Pegasus,” various terms I’ve seen people use. WTF, it shouldn’t require a whole line in my profile to run through all the terms! As the person who famously crowdsourced “pegging,” I was hoping you could work your magic and get everyone to agree on a nonbinary term that works for all sexual identities.

—Having One Reliable Name What’s wrong with “unicorn”? Unicorns— the mythical beasts—can be female, male, or, I suppose, genderless or genderfluid. They can be anything we want them to be, HORN, since we made them up. And while the term first came

into use to describe bi women who weren’t just open to having sex with an established, opposite-sex couple, but open to committing to a couple and forming a poly triad, there’s no reason men and/or nonbinary folks who are interested in the same—hooking up with and forming relationships with established couples—couldn’t identify as unicorns, too. But are you a unicorn?

People began to call those bi women “unicorns” because they were hard to find and everyone, it seemed, was looking for one. People interested in simply playing with couples aren’t anywhere near as hard to find.

—DS

But you got something out of it, too: You learned an important lesson.

Namely, no one can read your mind.

I’ve recently begun to experiment with a few kinky friends. One of them is a voyeur who is super into bukkake. I’d be open to a group bukkake scene, but how do I avoid contracting an STI? —Anonymous Assistant “On me, not in me” was a safe-sex message crafted in the earliest, darkest, most terrifying days of the AIDS crisis—and a bukkake scene, which involves multiple men ejaculating on one person, is all about “on me,” which makes it relatively safe. So long as you’re careful not to get anyone’s come in your eyes (ocular gonorrhea, syphilis, and chlamydia are all things) or on your hole(s), you won’t have anything to worry about.

—DS Is there a regional difference between people who use the word “come” versus people who use “jizz”? I personally only use the word “come” and rarely hear anyone use “jizz.” Do people not use “jizz” or do they just not use it where I live?

—Seeking Pretty Unnecessary Niche Knowledge I’ve seen maps that track regionalisms like “soda” versus “pop,” SPUNK, but I’ve never seen one tracking “come” versus “jizz.” Seems like something a sex-positive linguist might want to jump on.

—DS I’m a 46-year-old man and I recently met a 31-year-old woman. We have not had PIV sex yet, but we have enjoyed several nights of cud-

dling, spooning, etc. as the relationship progresses. She has made it very clear she wants our first time to be a fairy-tale evening, so we have yet to take things past mild foreplay. Plot twist: After two nights of us sleeping together, I realized she’s a sexsomniac. She had no idea until I told her, and she barely believes me. But if I put my arm around her to cuddle when she’s asleep, she immediately sexually responds to the skin-to-skin contact. On two occasions she’s performed oral on me. I’m not complaining, as this is quite possibly every guy’s dream. My question is around consent when dealing with situations like this.

—She’s My Dream Girl Unless your new girlfriend gave you permission to initiate skin-to-skin contact in the middle of the night—unless she not only didn’t have a problem with the first blowjob you accidentally triggered but explicitly gave you the go-ahead to trigger more—you have already and repeatedly violated her consent. If she doesn’t want to do more than cuddle or spoon when she’s awake, you shouldn’t be manipulating her into blowing you when she’s asleep.

Most people who are partnered with sexsomniacs prefer not to have sex with their partners when they’re unconscious, but some do—with their sexsomniac partner’s prior consent. It’s a gray area, because an unconscious person can’t offer meaningful, enthusiastic, ongoing consent. But unless there are details you’ve omitted—details like your partner saying, “I blew you in my sleep? Really! Neat! I’m happy to keep doing that!”—stop initiating skinto-skin contact when she’s asleep or stop pretending you care about consent. (You should care about consent and you should stop.) —DS I’ve been seeing a guy. We’re not really “boyfriend and girlfriend” and we’re not exclusive.

Last night, him and my best friend and I were all hanging out in his bedroom. After a while, I went to sleep on the couch in the living room and left them in the bedroom. When I woke up, they were having sex. I had told them both it was okay for them to have sex with each other, but I didn’t expect them to do it when I was just in the other room.

—Unwelcome Personal Surprise Enraging Totally You’re not exclusive, UPSET, and you gave this guy and your best friend permission to fuck, and … they fucked. But you got something out of it, too: You learned an important lesson. Namely, no one can read your mind.

If you give someone permission to do something with someone else sometime, and both those someones are sitting on a bed, you need to bring up any and all additional conditions before falling asleep on the couch in the next room.

—DS

Scene and

Heard Downpour, August 2019 The sky grows dark early. It’s not the natural sort of darkness the Earth’s revolution brings like clockwork each year. It’s super natural; the sort of darkness that says the Earth intends to demonstrate its power suddenly and unequivocally.

It begins to rain. It pours. It’s torrential, and a strong wind buffets trees and blows the rain sideways. It looks like the fake rain that comes in sheets in old Hollywood movies.

People caught outside—or those who bravely enter the storm—soon realize umbrellas serve no purpose today. The storm drenches them easily.

A downtown lobby fills up with workers who were heading home but stopped in their tracks when they looked up from their phones and saw the scene outside. Even a short walk to the Metro or a bus is imprudent right now.

Community forms in the lobby, as it always does during storms like these. The rain pools and seeps under the building’s door, while people anxiously check on Uber and Lyft drivers who do not seem to be getting any closer. Occasionally someone makes a break for it.

The doors open and a group of tourists rush in. The security guard wonders aloud who they are and they explain, though English is not their native language, that they’re seeking shelter from the storm. They’re allowed to stay. The only thing the rain has dampened is their clothes; they laugh and chat as they wait for the deluge to let up.

Across town people comment that this is the worst rain they’ve ever seen. Though they may have said the same thing during last year’s historic rains.

—Will Warren Will Warren writes Scene and Heard. If you know of a location worthy of being seen or heard, email him at wwarren@washingtoncitypaper.com.

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Public Charter School in accordance with section 2204(c) of the District of Adult . . . . . . . . . . . . . . . . . . . . . . . 42 Total relaxation Asian Columbia School Reform best relaxation service Act .of . 1995 Auto/Wheels/Boat . . . . intends . . . . . to 42 in town friendly clean enter into a sole source Buy, Sell, Trade . . contract . . . . . . with . . . Edmentum . . . . . . . environment provide best service possible Marketplace . . . . for . . an . . .online . . . .learning . . . . 42 9 AM- 11PM please call system designed to help 202 658 9571 Community . . . . . students . . . . . . who . . . .have . . . been 42 identified as at-risk of Employment . . . . not . . .graduating . . . . . . . on . . .time.

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BRIYA PUBLIC CHARto ensure high-quality TER SCHOOL Body & Spirit . . . . instruction . . . . . . . .for . .Kingsman . . . 42 REQUEST FOR Academy’s overaged, Housing/Rentals under . . . . credited . . . . . . popula . . . 42 PROPOS-ALS Briya PCS solicits protion.

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Contact: bids@briya.org personalized learning.

Kingsman Academy KINGSMAN ACADEMY welcomes all students, PUBLIC CHARTER especially those who are SCHOOL over-aged and underNOTICE: FOR REQUEST credited, who have FOR PROPOSAL attendance problems, or Kingsman Academy who have behavioral or

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NOTICE IS HEREBY GIVEN CARLOS ROSARIO THAT: INTERNATIONAL TRAVISA OUTSOURCING, INC. (DISTRICT CHARTER OF COLUMBIA DEPUBLIC PARTMENT OF CONSUMER SCHOOL AND REGULATORY REQUEST FOR AFFAIRS FILE NUMBER 271941) HAS QUOTES DISSOLVED EFFECTIVE NOVEMKonica Minolta Copiers BER 27, 2017 AND HAS FILED Maintenance Contract OF ARTICLES OF DISSOLUTION DOMESTIC FOR-PROFIT CORCarlos Rosario InterPORATION WITH THE DISTRICT national Public Charter OF COLUMBIA CORPORATIONS DIVISION is seeking School submissions for a ARequest CLAIM for AGAINST TRAVISA Quotes OUTSOURCING, INC. MUST (RFQ) for a maintenance INCLUDE THE NAME OF THE contract on Konica DISSOLVED CORPORATION, Minolta B/W INCLUDE copiers THE NAME OF &THE Color.

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POSAL Kingsman Academy Public Charter School in accordance with section 2204(c) of the District of Columbia School Reform Act of 1995 intends to enter into a sole source contract with Kazoo for a customized student behavior incentive and employee engagement and recognition platform. This services pro-

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vided by this platform are integral to the Legals school's positive DC SCHOLARS PCS - REQUEST behavior supports sysFOR PROPOSALS – Modutem and efforts to retain lar Contractor Services - DC a high-quality team.School Scholars Public Charter School Overview solicits proposals for a modular Kingsman Academy is contractor to provide professional an open-enrollment management and construction services charter to construct a modular public school building to houseapproxifour classrooms that serves and one faculty offi ce suite.inThe mately 300 students Request 6forthrough Proposals12 (RFP) grades specifi cations can be obtained on in a project-based and after Monday, November 27, academic program 2017 from Emily Stone via comthat emphasizes a munityschools@dcscholars.org. therapeutic approach All questions should be senttoin personalized writing by e-mail. learning.

No phone calls regarding thisAcademy RFP will be acKingsman cepted. Bids must be received by welcomes all students, 5:00 PM on Thursday, December especially those who are 14, 2017 at DC Scholars Public over-aged and underCharter School, ATTN: Sharonda credited, who have Mann, 5601 E. Capitol St. SE, attendance or Washington, DCproblems, 20019. Any bids whoaddressing have behavioral not all areas as or outemotional lined in the RFPchallenges. specifi cations will not be considered. ● For further information regarding this notice, Apartments for Rent contact rfp@kingsmanacademy.org no later than 4:00 pm Tuesday, September 3, 2019. No phone calls, please.

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