Washington City Paper (September 8, 2017)

CITYPAPER Washington

Free Volume 37, No. 36 WAshiNgtoNCityPAPer.Com sePt. 8-14, 2017

housing: mAKiNg moNey oN historiC PreserVAtioN 7 PoLiTiCs: CleAN eNergy short-CirCuits 8 ThEATER: hoWArD shAlWitZ returNs to the stAge 21

in the

bellies of the beasts

bloodsicles and beef bouillon bubbles: how a behind-the-scenes team at smithsonian’s national zoo feeds 350 species of animals. p.12 by laura hayes

photographs by darrow montgomery

2 september 8, 2017 washingtoncitypaper.com

INSIDE

14 in the bellies of thebeasts Bloodsicles and beef bouillon bubbles: how a behind-the-scenes team at Smithsonian’s National Zoo feeds 350 species of animals.

By Laura Hayes

Photographs by Darrow Montgomery

4 Chatter distriCt Line 7 Housing Complex: Why a development team wants to preserve Northwest’s Fannie Mae headquarters as historic.

8 Loose Lips: Ted Trabue of the D.C. Sustainable Energy Utility offered inaccurate and questionable information in a public hearing, and his solar program failed to deliver cost savings.

10 The Indy List 11 Gear Prudence

24 Film: Short reviews of short films from the DC Shorts Film Festival

City List 29 City Lights: Hear Mount Eerie’s emotional new songs at St. Stephen’s on Friday.

29 Music 36 Theater 37 Film

OUR RATES ARE SWEETER.

38 CLassifieds diversions 39 Crossword

12 Savage Love

arts 21 Staged Exit: As Woolly Mammoth’s veteran artistic director Howard Shalwitz eyes retirement, he also readies a return to the stage.

23 The Scene Report: New cuts from the D.C. area’s R&B, gospel, and rap scenes

Signal’s Money Market rates are 3x the national average1. Go ahead. Treat yourself.

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CHATTER The Meaning of a City

TIME TRAVEL TO Maryland Renaissance Festival

Last week City Paper formally launched a contest called “You are so D.C. if…”

CROWNSVILLE, MD To our surprise readers have submitted hundreds of entries, and they’re still coming.

The idea is to the finish the sentence however you want. We included a few examples in our original announcement to get readers thinking, starting with “You are so D.C. if … you got a D.C. flag tattoo three months into your residency.” People can enter the contest as many times as they want through a form on our website or by writing down answers on a postcard and sending them to City Paper offices.

We originally launched the contest with a non-committal blogpost specifying no end date and no clear statement on how we would publish the winning answers. Within City Paper, staff members debated whether anyone would enter and and how to phrase the question. We considered “You’re a real Washingtonian if…” and “You know you’re from D.C. if…” among other options.

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In which divisions emerge between old and new

By the time we went to print last Wednesday evening, though, it was clear to us that readers had a lot to say about this topic. We committed to the contest, set an end date of Sept. 14, and decided to print and illustrate the winning answers in a future issue.

Though the formal entries are secret for the duration of the contest, plenty of people have made their feelings known on social media or in our comments section.

“I kind of love this,” wrote @aumminger on Twitter. That sentiment is proving accurate for many. “You are so D.C. if…” isn’t inspiring true or boundless love (though our springtime Peeps diorama contest sure does.) But the mixed feelings don’t seem to stop people who have something to say from entering.

“This must not be for DC natives … interesting to see what ‘new to DC’ ends up picking,” commented Bri Cooley on the City Paper website. This is wrong. We want D.C. natives and longtime residents to enter, and our spreadsheet tells us that they are. Please keep those entries coming. Expressing a similar sentiment, @sweet_epiphany tweeted “...you grew up there,” to finish the sentence. She added: “Yo, don’t let these transplants inundate the ‘X is so DC narrative.’” True. Whomever you are and whenever you got here, go ahead and inundate.

—Alexa Mills

EDITORIAL

editor: AlexA mIlls MAnAging editor: cArolIne jones Arts editor: mAtt cohen food editor: lAurA hAyes stAff writer: Andrew gIAmbrone senior writer: jeffrey Anderson stAff photogrApher: dArrow montgomery interACtive news developer: zAch rAusnItz CreAtive direCtor: stephAnIe rudIg Copy editor/produCtion AssistAnt: wIll wArren ContriButing writers: jonettA rose bArrAs, VAnce brInkley, erIcA bruce, krIston cApps, ruben cAstAnedA, chAd clArk, justIn cook, rIley croghAn, jeffry cudlIn, erIn deVIne, mAtt dunn, tIm ebner, jAke emen, noAh gIttell, elenA goukAssIAn, AmAndA kolson hurley, louIs jAcobson, rAchAel johnson, chrIs kelly, AmrItA khAlId, steVe kIVIAt, chrIs klImek, ron knox, john krIzel, jerome lAngston, Amy lyons, kelly mAgyArIcs, neVIn mArtell, keIth mAthIAs, j.f. meIls, trAVIs mItchell, trIcIA olszewskI, eVe ottenberg, mIke pAArlberg, noA rosInplotz, beth shook, QuIntIn sImmons, mAtt terl, dAn trombly, kAArIn VembAr, emIly wAlz, joe wArmInsky, AlonA wArtofsky, justIn weber, mIchAel j. west, AlAn zIlbermAn

ADvERTIsIng AnD OpERATIOns

puBlisher: erIc norwood sAles MAnAger: melAnIe bAbb senior ACCount exeCutives: renee hIcks, Arlene kAmInsky, ArIs wIllIAms ACCount exeCutives: chIp py, chAd VAle, brIttAny woodlAnd sAles operAtions MAnAger: heAther mcAndrews direCtor of MArketing, events, And Business developMent: edgArd IzAguIrre operAtions direCtor: jeff boswell senior sAles operAtion And produCtion CoordinAtor: jAne mArtInAche puBlisher eMeritus: Amy AustIn

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Chief exeCutive offiCer: chrIs ferrell Chief operAting offiCer: blAIr johnson Chief finAnCiAl offiCer: bob mAhoney exeCutive viCe president: mArk bArtel grAphiC designers: kAty bArrett-Alley, Amy gomoljAk, AbbIe leAlI, lIz loewensteIn, melAnIe mAys

loCAl Advertising: (202) 650-6937 fAx: (202) 618-3959, Ads@wAshIngtoncItypAper.com Find a sTaFF direCTory wiTh ConTaCT inForMaTion aT washingTonCiTypaper.CoM vol. 37, no. 36 sept. 8-14, 2017 wAshIngton cIty pAper Is publIshed eVery week And Is locAted At 734 15th st. nw, suIte 400, wAshIngton, d.c. 20005. cAlendAr submIssIons Are welcomed; they must be receIVed 10 dAys before publIcAtIon. u.s. subscrIptIons Are AVAIlAble for $250 per yeAr. Issue wIll ArrIVe seVerAl dAys After publIcAtIon. bAck Issues of the pAst fIVe weeks Are AVAIlAble At the offIce for $1 ($5 for older Issues). bAck Issues Are AVAIlAble by mAIl for $5. mAke checks pAyAble to wAshIngton cIty pAper or cAll for more optIons. © 2017 All rIghts reserVed. no pArt of thIs publIcAtIon mAy be reproduced wIthout the wrItten permIssIon of the edItor.

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6 september 8, 2017 washingtoncitypaper.com

DistrictLine Preserve Judgment

up to 150 rooms, several restaurants, a health club, and a movie theater. The team is in talks with prospective tenants, but none except Wegmans has been announced.

Lake says the density of the site will increase as one moves north so as to match the profile and height of townhomes in McLean Gardens to the south. “It’s our neighbors to the south who will be the most affected by the activity,” he notes. “We wanted to get together with them early and often, and we’ll continue to.”

A separate four-acre site to the north, at 4000 Wisconsin Ave. NW, is set to be privately redeveloped into a mixed-use project, too. And across the avenue from the headquarters building, Sidwell Friends School plans to expand its campus by adding its lower school, currently in Bethesda, on adjacent land it bought from Fannie Mae and The Washington Home, a former nursing home. They obtained the latter in a contentious deal that upended the lives of elderly

that building,” Lake admits. “This building was going to be kept one way or the other, probably really more so because the community wasn’t going to let it fall down. [The landmark application] was a way to give them comfort that we were going to protect this building, this legacy, this iconic structure through this process.” Lake notes that his team held multiple community meetings on the project and conducted a survey to solicit design input.

The olive branch appears to be paying off.

Angela Bradbery, the advisory neighborhood commissioner for the area in which the site is located, says residents are pleased with the decision to preserve the headquarters structure, and excited about the prospect of using the lawn as community space. She says many are still concerned that 39th Street NW, behind the site, may see a big jump in vehicular traffic (and possibly greater stress on street parking, too) from Wegmans shoppers. The development team will soon submit what’s known as a “large tract review” to D.C. for consideration of these potential effects, but some remain worried about cumulative impacts.

“It’s an attractive building,” Bradbery says.

“For lack of a better word, it’s a handsome building, and it’s stately.” But right now, she points out, Wisconsin Avenue can already be a “parking lot.”

residents and their families.

All this prospective development has some neighbors concerned about impacts to parking, traffic, and neighborhood character.

Here’s where the second reason for keeping the Fannie Mae headquarters structure comes into play, this one no less calculated than the team’s economic motives for choosing historic preservation. Upper Northwest residents have vocally opposed new projects of significant scale, including—recently—a family homeless shelter.

“Like it or not, the reality is everyone knows

The third reason to keep the existing Fannie Mae headquarters building has yet to come to fruition. The federal government administers historic tax credits, and developers can leverage them into hundreds of thousands, even millions of dollars in cost-savings. Lake says the team is “in the exploratory phase” of seeking those credits, pending a final hotel deal for the site.

“What I can say is that to get tax credits is meaningful,” he explains. “If we were able to secure them, that would certainly help us and the things we’d try to accomplish at the site through that.”

CP

By Andrew Giambrone So far, the buzziest news about the massive redevelopment planned for the Fannie Mae headquarters, a 10-acre site at 3900 Wisconsin Ave. NW, has centered on a supermarket. Wegmans, producer of extra-large grocery utopias, will open its inaugural District store underneath the 228,000-square-foot headquarters building as early as 2021. D.C.-based Roadside Development and North America Sekisui House, a Japanese building firm, acquired the site last year through a joint venture for $89 million. Their plans include additional retail and housing.

The project’s size and price make it one of the District’s most closely watched redevelopments in recent memory, even earning it the distinction of “Deal of the Year” for 2016 from Washington Business Journal. The development team announced the Wegmans component at a May retail conference in Las Vegas that Mayor Muriel Bowser and nine out of 13 D.C. councilmembers attended. (They also threw a party there.)

But the project is also notable for how it will modify and reuse an existing structure. Just this summer, the joint venture filed an application with D.C.’s Historic Preservation Office to designate the red brick Fannie Mae headquarters, built in the mid-1950s, as a landmark.

Why would a for-profit development team pursue historic preservation when it has the option to demolish an old building in favor of new ones, theoretically maximizing its profits?

The team plans to work under current zoning rules, so it doesn’t need any variances to begin construction.

The answer is threefold, and the reasons are practical and financial. First, says Roadside founding principal Richard Lake, the Fannie Mae building is in “terrific shape,” and is expected to remain occupied by the federal mortgage giant until the end of 2018. New headquarters for Fannie Mae are under construction at The Washington Post’s former address, 1150 15th St. NW. About 3,500 Fannie Mae employees will move to their new, glassy building downtown.

Lake explains that an occupied, well-kept property with functioning utilities is easier to

housing complex

maintain and ultimately incorporate into a redevelopment than an empty one is. He speaks from experience. Roadside has led upscale historic preservation redevelopments, such as City Market at O in Shaw and Cityline in Tenleytown. The company was also a partner in a failed effort to redevelop D.C.’s ailing Grimke School near the U Street NW corridor. After years of anticipation, a major deal with the District imploded last December. (Another development team later brokered an agreement with city officials for that historic site.)

“I think that our task is not to screw it up,” Lake quips of the four-story Fannie Mae headquarters structure. “But the fact that we’ll be able to put that building into good use … that’s terrific for us.”

The team’s application for landmark status makes much of the building’s Colonial Revival style, which D.C. architect Leon Chatelain, Jr. used to evoke the Governor’s Palace in Williamsburg, Virginia. Formerly occupied by the Equitable Life Insurance Company, the structure recalls postwar boom times for American insurance companies, according to the applicants.

I n L a k e ’s telling, Roadside’s approach is “holistic,” meaning it considers how a given property has served its community and what uses it’s currently missing. At the Upper Northwest site, Roadside and NASH are looking to replace the daytime activity Fannie Mae’s employees have brought with seven new buildings of both for-sale and rental housing, Lake says. The exact breakdown, though, will depend on market conditions.

The team wants to transform the property’s expansive lawn along Wisconsin Avenue into a community space to feature various events, and the back of the Fannie Mae building into a “town square.” There may also be a hotel of

Darrow Montgomery

Why a development team wants to preserve Northwest’s Fannie Mae headquarters as historic

washingtoncitypaper.com september 8, 2017 7

DistrictLinE Power Outage

Ted Trabue of the D.C. Sustainable Energy Utility offered inaccurate and questionable information in a public hearing, and his solar program failed to deliver cost savings.

Darrow Montgomery/File

Mary Cheh

By Jeffrey Anderson gOvernment Oversight is a thankless job. One D.C. official who doesn’t phone it in is Ward 3 Councilmember Mary Cheh.

But even Cheh had her resolve tested earlier this year after City Paper exposed inappropriate spending and fuzzy performance benchmarks orchestrated by the city’s renewable energy contractor.

Since 2011, the District has paid D.C. Sustainable Energy Utility $100 million (via Vermont Energy Investment Corp., a nonprofit firm that has held DCSEU’s sole contract for the period in question) to forge a path to a 50 percent renewable energy target by 2032. At its current rate, the city will not reach that goal.

Despite red flags and underperformance, D.C.’s Department of Energy and the Environment awarded DCSEU a new five-year, $100 million contract, which the D.C. Council approved on April 13 without batting an eye.

A couple weeks later, at an April 28 hearing, managing director of DCSEU Ted Trabue testified before Cheh’s Committee on Trans-

Loose LIPs

portation and the Environment that his firm has reduced non-renewable energy use by 1 percent per year in recent years. Yet data from the U.S. Department of Energy shows that annual sales of electricity in the District have increased since 2013.

That was not the only misrepresentation.

Under Cheh’s questioning, Trabue served up a number of misleading statements, obfuscations, and bland excuses. Under his leadership, DCSEU’s solar program has failed to deliver promised cost savings to low-income residents and small businesses. Director of DOEE Tommy Wells has not been an aggressive regulator.

Oversight hearings can go on for hours.

The devil is in the details. At 3 hours and 55 minutes, during the April 28 hearing, Trabue told Cheh, “Last year our work helped to reduce electric use here in D.C. by 266,000 MWh.” (One megawatt hour [MWh] is equal to 1,000 kilowatt hours [KWh], which is the number of kilowatts of electricity used continuously for one hour.)

But a June 12 presentation of fiscal year 2016 performance results to the DCSEU Advisory Board by Tetra Tech, the city’s third-par-

8 september 8, 2017 washingtoncitypaper.com

ty evaluator, shows a reduction of electric use of 74,983 MWh for 2016—about 30 percent of the reduction amout Trabue claimed. (The figures he offered on natural gas reduction in his testimony included a similar disparity.)

A DCSEU spokesperson says Trabue mistakenly referred to cumulative savings from fiscal years 2012 through 2016.

Two minutes later, at 3 hours and 57 minutes, Trabue boasted that DCSEU ranked No. 3 in energy efficiency among cities in a study by the American Council for an Energy-Efficient Economy. That was for 2015 though. Two weeks after the hearing, newly released 2017 rankings showed DCSEU dropping to No. 8. Trabue’s spokesperson acknowledges the drop, and offers: “In the past, ACEEE has identified the DCSEU as a ‘best practice’ and lauded the DCSEU for its efforts in energy-efficiency and sustainability.”

Adds Trabue, in a statement: “The DCSEU is incredibly proud of the work it has done over the past six years to save District residents and businesses money on their energy bills, create green jobs for District residents, and reduce the burden of energy costs on low-income communities. Our results are verified and audited every year and we are proud of our performance.”

At 4 hours and 24 minutes, Cheh referred to expense reports that claim $300,000 on travel and $200,000 on conferences from FY14 to FY16 as “excessive.” Trabue, in an effort to mitigate those figures, pointed out that DCSEU has 50 employees. However, at DCSEU’s June 12 advisory board meeting, while addressing administrative costs, Trabue said his office had 38 employees, according to attendees. His spokesperson, in an email to City Paper, puts the number at 43.

Such discrepancies might seem common-

place, but Loose Lips is always on the lookout for officials and private contractors who offer different figures for different occasions.

Cheh, in a written statement, seems perturbed: “When I put people under oath, I expect them to be true to that oath. Anyone can make a mistake or misspeak, and I expect— and I will make that explicit going forward— that witnesses will supplement or correct any material mistakes that they make while under oath.”

At 4 hours and 31 minutes, Cheh asked Trabue about DCSEU’s $25,000 per month consulting contract with George Nichols & Associates, which operates out of a rowhouse near Union Station. (Nichols himself bills at more than $140 per hour.) Trabue responded that the Nichols’ firm includes “about three persons, sometimes four,” and that it provides program design, regulatory compliance, public affairs, and community relations services.

That might be a generous estimate of the firm’s operation. Observers say Nichols frequently sits for hours on end in meetings and hearings, saying and doing nothing. Invoices, obtained by LL through a Freedom of Information Act request, consist of single line entries for Nichols and his wife, Deborah Nichols, the former D.C. Auditor, that offer no specifics regarding their services. Wells, director of the DOEE, says he does not recall ever meeting the purported additional employees. a cOrnerstOne Of D.C.’s clean energy initiative is its solar program. But DCSEU has fallen down on that job too. A review of a $2.4 million investment in solar systems in FY2015 shows that DCSEU oversaw solar contractors who installed 158 solar systems for lowincome households and 13 systems on small businesses. Together these systems generated 552,000 watts of electricity for that period—a cost of $4.35 per watt for installation. According to a 2016 report by the U.S. Department of Energy’s National Renewable Energy Laboratory, however, the average cost for a single family residential installation is $2.93 per watt.

(Commercial installation costs even less, the report states.)

Sam Brooks, a former director of the energy division at D.C.’s Department of General Services, says solar installers also received a subsidy in the form of energy credits that they later can sell for between $1.60 and $3.00 per watt to electricity suppliers who are required to meet what is known as a Renewable Portfolio Standard. “This is the whole ballgame,” says Brooks, who is currently a renewable energy contractor (and submitted a bid on the most recent five-year contract). “While the rest of the country is doing everything they can to create efficient solar programs that keep costs down, it looks like we are spending twice as much on solar as anyone else.”

District

LinE

In addition to allowing solar installers to hoard energy credits, DCSEU allowed them to claim tax credits on the installed solar systems, and later require residents to purchase the systems at fair market value after depreciation. An August 17, 2016, email to Trabue from Taresa Lawrence, deputy director for energy administration at DOEE, expressed “grave concerns” and requested that Trabue submit the contracts for review. Despite warnings from DOEE that delays were “unacceptable,” Trabue stalled until Lawrence threatened to halt payments to DCSEU. Then, in an August 22, 2016, letter to Trabue’s principals at Vermont Energy Investment Corp., Wells took DCSEU to task for allowing practices that “do not adequately protect the interests” of solar customers. Wells also admonished DCSEU for functioning as a pass-through, and for relying on the government to conduct due diligence.

Wells concedes that DCSEU’s solar contractors may have taken advantage of low-income residents and blames it on contract terms that do not reflect DOEE guidelines. He says new contracts allow DOEE to scrutinize costs and ensure the public receives maximum benefit.

“There’s a bunch of people in the private sector who think they know how to spend millions of dollars, and it’s up to us to hold them accountable,” he says. “Because this is so new, it’s like the Wild West.”

DCSEU did such a poor job executing the solar program that the city took that portfolio away. Mayor Muriel Bowser’s “Solar for All” initiative recently replaced DCSEU’s program with $13 million in grants to 10 forprofit and nonprofit energy contractors. The new initiative aims to train District residents to install solar systems and allow hundreds of low-income residents to save up to $600 per year on their electricity bills over the next several years.

Even recipients of that grant money are unimpressed. “D.C. doesn’t have a long-term, consistent plan, and it has no reliable reporting program,” says Anya Schoolman of D.C. Solar United Neighborhoods, a nonprofit.

“There are these bursts of money that everyone runs toward, then it goes away. We need meaningful targets and goals, like other states do, so we can grow and invest. It’s one of those things we can do that creates real jobs and real relief to ratepayers.”

Realizing such gains will require D.C. to be honest. That’s where oversight of DOEE, by Cheh and the D.C. Council, which holds the purse strings, comes in.

“DCSEU could do better, but it’s up to Tommy,” Schoolman says. “The buck stops at DOEE.” CP

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Burn: This vegan candle.

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

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Gear Prudence Gear Prudence: My kid bikes to his elementary school (we go together) and his is the only bike locked up outside. I worry about how safe it is, so when he’s in class, I drive back and pick up his bike. Then I drive back before the end of the day and lock it up where it was so we can bike home together. He has no idea how far I go to prevent him from the potential devastation of a stolen bike. I’m beginning to wonder: Am I being one of those crazy moms they’re always talking about on the message boards? Should I stop the charade and leave the bike there?

—He Even Leaves It Chained Outside; Parent Takes Extraordinary Responsibility Dear HELICOPTER: It’s great that your kid bikes to school. It’s healthy and “green” and fun and all that crap bike people drone on about. It’s less great that his biking to school still requires four car trips, the same number it would take if you just drove him. If you’ve got the time in your day to ferry the bike back and forth, far be it from GP to call you crazy. Plenty of theft-averse bike commuters would love the peace of mind of a private bike security guard. Have you considered advertising your services? Throw in an occasional wash and chain lube and there’s a real business plan here.

Let’s suppose that you will eventually grow tired of the back and forth. To leave a bike outside and unattended (even if welllocked) is to leave it vulnerable to thieves.

With enough time, the right tools, and gumption, all locking methods eventually succumb. And if his is the only bike locked up, you can’t even rely on the old trick of being the second-most-stealable bike. Maybe school administrators would be willing to keep the bike inside, but there are plenty of good reasons why they might not (including the fact that they have perfectly good bike racks outside). Finding a bike rack with lots of eyes on it during the day would be useful, but it doesn’t solve your underlying problem: The costs of the bike being stolen (emotional and/or monetary) feel too high to you. Until those change, you’ll always be able to justify your actions.

So here’s what you do: 1) Set aside a few bucks a week until you can cover the cost of a replacement bike, and 2) start stealing other precious things of his to habituate him to loss.

Disappear a treasured stuffed animal or two.

Maybe a comfort blanket goes missing. That way, if his bike is eventually stolen, he’ll be so used to the fickleness of worldly possessions, it won’t sting at all. OK, don’t do 2. That’s actually crazy.

—GP Gear Prudence is Brian McEntee, who writes @sharrowsdc. Got a question about bicycling?

Email gearprudence@washcp.com.

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THE FAMOUS

MCDOOGALS

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I’m a lady considering taking on a foot fetishist as a slave. He would do chores around my house, including cleaning and laundry, and give foot rubs and pedicures in exchange for getting to worship and jack off to my model-perfect feet when I’ve decided he’s earned it. Am I morally obligated to tell my roommates? Technically the guy would be in their common space too. I will fully vet him with references and meet him in a neutral location at least once—and anything else you might suggest I do for security’s sake. Though my roommates are not what you would call conservative, I’m not sure they’d understand this kind of arrangement.

I would have my slave come over when no one is around, and then my roommates could come home to a sparkly clean common area! My slave would never have access to their personal spaces, nor would I leave him alone in any area of our home until a strong bond of trust had been established. No harm, no foul? Or am I crossing a line?

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A friend in Berlin has a similar arrangement.

This guy comes over to clean his apartment once a week and—if my friend thinks he’s done a good enough job—my friend rewards him with a knee to the balls. It’s a good deal for both parties: My vanilla-but-kink-adjacent friend gets a sparkly clean apartment (which he loves but doesn’t want to do himself ), this guy gets his balls busted on a regular basis (which he loves but can’t do himself ). But my friend lives alone, MICASA, and that makes all the difference. Or does it?

Time for some playing-games-with-foot-fetishists theory: If you were having sex with a boyfriend in the common areas of your apartment when your roommates weren’t home— let’s say your boyfriend (or even some rando) wanted to fuck you on the kitchen floor—you wouldn’t be morally obligated to text your roommates and ask their permission. But we’re not talking about a normal guy here or normal sex—we’re talking about a fetishist who wants to be your slave. Does that make a difference?

It might to people who regard kinksters as dangerous sex maniacs, MICASA, but a kinky guy isn’t any more or less dangerous than a vanilla guy. And a kinky guy you’ve gone to the trouble to vet—by getting his real name and contact information, by meeting in public at least once, by asking for and following up with references—presents less of a threat to you and your roommates than some presumed-to-be-vanilla rando one of you brought home from a bar at 2 a.m.

Strip away the sensational elements—his thing for feet, his desire to be your chore slave, the mental image of him jacking off all over your toes—and what are we left with? A friends-withbenefits arrangement. A sparkly clean apartment benefits you (and your roommates); the opportunity to worship your feet benefits him. This guy

12 september 8, 2017 washingtoncitypaper.com

would be a semi-regular sex partner of yours, MICASA, and while the sex you’re having may not be conventional, the sex you have in your apartment—including the sex you might have in the common areas when no one is at home—is ultimately none of your roommates’ business.

That said, MICASA, unless or until all your roommates know what’s up, I don’t think you should ever allow this guy to be alone in your apartment.

—Dan Savage

My girlfriend drunkenly confessed to me that she used to pee on her ex. I’m not sure what to do with this information.

—Dude’s Relationship In Peril Did she ask you to do something with this information? Did your girlfriend say, “Hey, I used to pee on my ex—now go make me a dreamcatcher with that news, would you?” Your GF got a little kinky with an ex, most likely at the ex’s request, and so what? If piss isn’t something you’re into, DRIP, don’t obsess on the distressing-to-you details and focus instead on the big picture: You’ve got an adventurous GF. Congrats. If she doesn’t have an equally adventurous BF, here’s hoping she finds one.

—DS

Lord knows kids obsess about the strangest shit.

(What is the deal with dinosaurs, anyway?)

My 7-year-old son started getting really into gauze, splints, and bandages when he was 3, and by the time he was 4, it became clearly sexualized. He gets a boner when he plays “broken bone” or just looks at bandages, and he has expressed how much he loves to touch his penis when he does this. My husband and I (both happily vanilla) have been accepting and casual about this. We’ve provided him with a stash of “supplies,” taught him the concept of privacy and alone time, and frequently remind him to never wrap bandages around his head or neck.

Is it normal to be so kinky at such a young age? I know kinks generally develop from childhood associations. When he was 2, he had surgery to correct a common issue on his groin. Might that have sparked this? I want my son to grow up with a healthy and positive sexuality. Are we doing him a favor or a disservice by supplying him with materials, freedom, and privacy to engage in a kink so young?

—Boy Always Needing “Doctoring” And Getting Edgier

Your son’s behavior isn’t that abnormal, BANDAGE. It’s standard for kids, even very young kids, to touch their genitals—in public, where it can be a problem, or in private, where it should never be a problem. And Lord knows kids obsess about the strangest shit. (What is the deal with dinosaurs, anyway?) Right now your son is obsessed with bandages and splints and gauze, his interests aren’t purely intellectual, and it’s easy to see a possible link between his experience with bandages and gauze in his swimsuit area and his obsession.

None of this means your son is definitely going to be kinky when he grows up, BANDAGE—not that there’s anything wrong with being kinky when you grow up. There are lots of happy, healthy kinksters out there, and your kid could be one of them when he grows up. But it’s too early to tell, and so long as his interests aren’t complicating his life (he’s not behaving inappropriately with friends or at school), your son’s whateverthis-is will become less of your concern over time, and ultimately it will be none of your business.

In the meantime, you don’t wanna slap a “so kinky” label on a 7-year-old. (If he were to overhear you using that term to describe him, does he have the computer skills to Google it himself?) But you’re doing everything right otherwise. You aren’t shaming your son, and you aren’t making bandages and gauze and splints more alluring by denying him access to them. You are teaching him important lessons about privacy and what needs to be reserved for “alone time.”

You ask if it’s normal to be “so kinky” (a phrase we shall both retire, at least when referring to your son, after today) at such a young age. Probably not—but so what? According to science, most adults have paraphilias, aka “non-normative sexual desires and interests.” That means kinks are normal—at least for grown-ups—so even if your son isn’t normal now, BANDAGE, he’ll be normal someday. Most happy, healthy, well-adjusted adult kinksters can point to things in their childhood that seemed to foreshadow their adult interests in bandages/bondage/balloons/whatever. Author, journalist, and spanking fetishist Jillian Keenan (Sex with Shakespeare) was fascinated by spanking when she was your son’s age. Keenan likes to say she was conscious of her kink orientation before she knew anything about her sexual orientation. So while your son’s behavior may not be “normal” for a kid who grows up to be vanilla, it would be “normal” for someone who grows up to be kinky.

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

D C

Jim

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in the

bellies of the

beasts Asian short-clawed otter

bloodsicles and beef bouillon bubbles: how a behind-the-scenes team at smithsonian’s national zoo feeds 350 species of animals. by laura hayes

photographs by darrow montgomery

14 september 8, 2017 washingtoncitypaper.com

Bandar enjoys his bloodsicle

bandar the tiger gorges on his blood popsicle in private. Animal keepers at Smithsonian’s National Zoo attach an oxtail to the frozen treat so he can clamp down on it and drag it into the bushes. Commissary manager Bill Clements sources the blood from a butcher at Eastern Market.

“We’ll freeze it up and mix some gelatin in to make it more viscous and more fun to lick,” Clements says. His team molds ground beef into stars and affixes them to the sides making it look at once glorious and grotesque.

A bloodsicle is a lavish snack for the lions and tigers. Their usual diet consists of ground beef from Nebraska, rabbits, and beef femur bones.

Occasionally they’re treated to a carcass feed, as gnawing on large portions of a whole animal best emulates how they eat in the wild. The meat is harder to break down, so it keeps their facial musculature well conditioned and their digestion systems revved up.

Though not as gory as the goat scene in Jurassic Park, carcass feeds are a bit controversial, according to Mike Maslanka, the senior nutritionist and head of the department of nutrition science. “We waver on carcass feeds,” he says.

“We have to do it in a thoughtful way and educate people who come through the zoo—we don’t want to offend someone’s sensibilities, even though they’re seeing carnivores doing what they do.”

Whenever there’s a carcass feed, Maslan-

ka or another zoo nutritionist posts up outside the exhibit like a chaperone at a PG-13 movie to answer visitors’ questions. Yet save for special eating events like these, and a short meeta-nutritionist demonstration each Wednesday morning, members of the zoo-visiting public rarely meet the people who spend their working hours lovingly keeping 350 species well-fed and nourished.

“The whole concept of feeding a zoo doesn’t cross anyone’s mind,” Clements says. “People come through and say, ‘We’ve never considered how all that happens. We figured you threw a couple of carrots in the cage.’” Rather, those carrots are “sourced, paid for, washed, weighed, evaluated for quality, and portioned out appropriately,” according to Clements.

Feeding 1,200 animals, from anemones to elephants, is a complex, integral, and utterly fascinating facet of life at the zoo. At an annual operating budget of $1.2 million, it is also the zoo’s biggest expenditure. And the keepers use food for far more than sustenance, making the operation even more complicated. Food serves as a training reward; a vehicle for giving medication; and a bonding mechanism for animals and keepers.

Members of the zoo’s food team navigate hidden passages to reach behind-the-scenes areas where they filet small, pungent fish for squeaking otters. Or they spend their days in the belly of the big cats exhibit sprinkling edi-

Bill Clements

ble glitter on ground beef so that when it comes out the other end, they can test the cats’ hormone levels. Then there’s the back room of the the commissary, where Clements might be sawing through a steamship round of beef for Murphy the komodo dragon.

The 23,000-square-foot commissary is the heart of the operation. It sets the National Zoo apart from other zoos, where food is more commonly prepared at individual exhibits. “Each kitchen has its own disasters going on,” Clem-

ents says of other zoos. “Favorite animals get more. Animals are overfed. We want to rule all that stuff out.”

In contrast, the National Zoo’s commissary is centralized, meaning keepers prepare all meals under one roof before providing room service to every exhibit from the Asia Trail down to the kid’s farm all before the first visitors enter at 8 a.m.

“It’s like cooking for Oprah down here,” says Clements. “Everything is weighed out to the gram.”

washingtoncitypaper.com september 8, 2017 15

Murphy the komodo dragon

Small mammal house animal diets The federal government considers Clements and his team of ten commissary keepers to be essential personnel. The animals must eat 365 days a year. During a snowstorm, keepers and nutritionists are at work. They were there, too, during the 2013 government shutdown when all Smithsonian properties closed to the public.

“You’d walk through the zoo and everyone was up front looking at you, barking at you,” Clements recounts. “They missed the people so bad.

It was really cool.”

Clements started at the zoo in the late ’90s as a conservatory gardener and animal keeper, and worked there three years before leaving to take a job at Costco, where he stayed for a decade. Then he returned to the zoo, this time in the commissary, where he has now been for more than six years.

His time at Costco proved to be a boot camp for buying in bulk. Clements is responsible for keeping the commissary fully stocked to feed a city of animals. They need 700 pounds of bananas a month and blow through seven tons of leafy greens annually.

A tour of his massive “office” reveals a living room-sized freezer set at 15 degrees below zero. It held Bandar’s bloodsicle and Bei Bei’s birthday cake. Ice flakes land on your eyelashes as you gape at the mound of fish bound for the seals. Next door is a second sub-zero freezer that looks like a frozen-over pet store, its shelves lined with mice, rats, and rabbits.

Another room in the sprawling warehouse looks and smells like the dog food aisle at the grocery store. But the boxes of biscuits and canned food are for primates, not puppies.

Nearby the commissary stocks cookout condiments. Keepers use ketchup and mustard as training rewards.

Turn the corner to catch a flurry of activity in the diet prep kitchen, lit like a doctor’s office and just as clinical. There, keepers make hundreds of meals daily. “Sometimes I cut grapes into quarters for the smaller animals,” says Mike Kirby, a commissary animal keeper. “Right now I’m working on a diet for a white-cheeked gibbon who is very old so she gets a special diet.”

His colleague Coral McDonald is at another station preparing 55 diets for the small mammal house. The stack of plastic containers holding meals is as tall as Marcin Gortat. “I’m working on a dusky titi,” she says. “He’s ancient so he has to have specific-sized pieces of things he can grab because he has arthritic issues.”

Not only do nutritionists tailor diets to each species, but some individual animals have their own diets based on their ages and abilities. It’s like they’re running a cafeteria for a nursery, an elementary school, a middle school, a high school, and a nursing home all at once.

On top of feeding 350 on-premise species, plus an additional 20 species at Smithsonian’s 3,000-acre Conservation and Research Center in Front Royal, Virginia, the commissary is prepared for the unexpected. One August morning, for example, a 70-year-old elephant stopped drinking, prompting Clements to drop his to-do list and head to Costco to pick up 25 gallons of coconut water. The errand allowed the elephant to stay hydrated.

“There are a lot of curveballs,” he says. “Like the seal pup last year that was getting salmon oil and heavy whipping cream by the gallons.” Local grocery stores have started to recognize Clements’ face. “If they see Gatorade, they’ll say, ‘Is this for the elephant?’”

According to Clements, the National Zoo also differentiates itself from other zoos through the

16 september 8, 2017 washingtoncitypaper.com

quality of meat, fish, fruits, and vegetables it feeds the animals. The commissary cooks are as proud of their carefully sourced ingredients as a chef at a farm-to-table restaurant boasting about heirloom tomatoes he plucked that morning.

“All of our meat is from the human food chain,” Clements says. “We don’t give any diseased or downed animals, but a lot of zoos will.

If we can’t eat it, we’re not feeding it out.” The rabbits, rats, and other small animals given to larger predators are raised the same way chickens and pigs are for people—at U.S. Department of Agriculture inspected facilities. The shrimp the red-bellied piranhas eat in the Amazonia exhibit are chemical free. “As good as Whole Foods,” quips Clements.

The same goes for produce. “Our guys will inspect it just like any restaurant,” Clements says, as a chorus of crickets chirp away in cardboard boxes on the loading dock. When crates of fruits and vegetables arrive, a team carefully combs through romaine lettuce, mangoes, tomatoes, and kale.

“We’re feeding endangered animals here,” Clements continues. “We don’t want to risk second-rate leftovers from a vendor to save a buck. We don’t want a moldy apple to take out a panda bear.”

While commissary keepers prepare and distribute food, a dedicated team of clinical nutritionists prescribes what the animals eat in the morning, in the evening, when they’re sick, and when they’re preparing to breed.

“One day I could be working on bird diets, the next day large cat diets, the following day on how to properly gut-load insects to feed to a reptile,” says Erin Kendrick, a clinical nutritionist who has been with the National Zoo for more than five years.

“Gut-loading” is a process that changes the nutrient profile of insects before the reptiles get to eat them. Feeding a cricket specific vitamins and minerals in advance makes it a more complete nutritional package.

“We’re focused on increasing the calcium and phosphorus and looking into increasing carotenoids,” Kendrick explains. “All animals require calcium and phosphorus in the appropriate ratio for proper bone growth and health.” Carotenoids are plant pigments that provide antioxidants and help with immune system health.

This strategy speaks to the zoo’s greater doctrine of building diets for its animals. Many think Kendrick’s job is to match what animals eat in the wild with what they eat at the zoo,

Commissary animal keeper Mike Kirby

but that’s impossible. Instead, Kendrick plays matchmaker with nutrients.

“We have to find a balance between the nutrients we believe they require and the ingredients we have available to us,” Kendrick says.

“No way could I ever foresee us having commercial-level ground antelope meat. It doesn’t make sense financially or from a conservation standpoint.” Instead of antelope, the lions and tigers get ground beef that arrives at the zoo already supplemented with bone meal, vitamins, minerals, and fiber.

Making these determinations is an onerous, scientific pursuit. “The information we have about wild diets is relatively limited because first you have to identify what they eat, then you have to identify how significant a certain thing might be to the animal,” Kendrick says.

“Once you know that information, you can do a nutritional analysis and figure out what nutrients are in there.”

Take fruit. “Wild fruits are low in sugar and starch and high in fiber and protein,” Kendrick says. “Our fruit, comparatively, is high in water and sugar and lower in fiber and protein.

They’re fruit, but they’re very different nutritionally.”

Even animals categorized as frugivores ben-

efit from eating leafy greens and vegetables instead of what you find in the fruit section at the local Giant. Think bell peppers instead of melons. That said, keepers still offer domesticated fruits, just in more limited quantities.

The tricky part of Kendrick’s job is that the animals must desire their diets. “I can formulate a diet that has the most ridiculous items in it and it will be balanced, but if the animal doesn’t eat it, it doesn’t help me,” she says. Red pandas are some of the most unpredictable eaters at the National Zoo. They’re ravenous one day and refuse to eat the next. “It can be frustrating, but that’s part of the fun,” Kendrick says.

The zoo has just over a million dollars to work with to feed the animals, so workers use some ingredients across multiple species. Consider that American alligators, bobcats, and maned wolves all eat rats and mice. “People we talk to are surprised it’s so cheap, but given the fact that our budget comes from the federal government and that comes from taxpayers, we try to be as responsible as possible,” Maslanka says.

The nutritionists conduct body condition scoring evaluations to assess whether their diets are working. You’ve seen this process at the veterinarian’s office, when the doctor runs her hands over the bony processes of your pet to

determine if your four-legger is getting chubby. Kendrick does the same thing.

“Everyone’s got a spine, shoulders, and hips. There’s just varying degrees on how easily I should be able to feel them,” Kendrick says. She scores zoo animals on a scale of one to nine, with five being ideal. Nine is obese; one is emaciated.

Sisters Clementine and Trixie still have some work to do in The Biggest Loser, skunk edition.

While palpating Clementine, Kendrick finds the skunk’s ribs generally, but can’t discern each bone. After the full body massage, she scores Clementine at a seven, down one from her last exam. Trixie comes in at a six. Kendrick ultimately keeps the pair on a diet and encourages the small mammal house keepers to let the skunks frolick in a back room to burn calories.

Adding another layer of difficulty, ideal scores vary from species to species. “We get a lot of feedback on our cats being thin,” Maslanka says, explaining that even the naked eye can make out their spines, hips, and ribs. “It’s an education process. They’re not supposed to look like house cats at home. They’re supposed to be slight.” having a centralized commissary allows keepers more time to devote to animal care.

At the small mammal house, it only takes them two hours to transfer pre-prepared food into stainless steel pans, as opposed to doing all of the chopping on site. “Before the [centralized] commissary, it took eight hours,” says small mammal house assistant curator Kenton Kerns. “That’s huge.”

Kerns and his colleagues devote a significant portion of this borrowed time to “enrichment.” The zoo considers these mentally and physically stimulating activities, which often in-

volve food, just as critical to animal welfare as preparing nutritionally balanced diets.

Introducing a toy, exposing an animal to a novel scent, making subtle changes to an animal’s habitat, and adjusting the way they feed an animal to coax it into behaving like it would in the wild are all forms of enrichment.

The National Zoo received the 2017 Lee Houts Advancement in Enrichment Award from the American Association of Zoo Keepers for its efforts and creativity in this field.

City Paper dug into the daily routines of three species—giant pandas, red-ruffed lemurs, and Asian short-clawed otters—to show how the commissary, department of nutrition, and keepers put their ideas into practice.

Panda Gourmet

Pandas are pickier than a toddler on a chicken-fingers bender when it comes to bamboo.

“No one has been able to break the panda code of why they like some bamboo and why they don’t like other bamboo,” Maslanka says. He speculates that it’s either the maturity of the bamboo or the soil chemistry where the bamboo grows.

Moisture is definitely key—panda keepers store bamboo in a special shed that resembles the produce section at the grocery store. Misters fire at full blast, keeping the long green stalks looking dewy.

Pandas are obligate bamboo eaters, meaning that’s all they eat outside of small helpings of biscuits. Keepers offer each panda at least 100 pounds of bamboo per day, spread across multiple feedings. In the summer they munch on the leaves, while in the winter they crave the stalks.

Given this volume, the zoo tries to secure its

washingtoncitypaper.com september 8, 2017 17

bamboo for free from large, privately owned tracts of land within an hour’s drive, such as the back of a golf course. And, there’s an “ace in hole” patch of bamboo on zoo property in case of a major snowstorm or other travel-restricting emergency.

“Most people who call have little quarteracre yards with a corner of bamboo on it and they’re like, ‘Come cut it but don’t step on my roses,’” Clements explains. “We want someone who has 12 acres who planted bamboo on the back corner and forgot about it for five years.”

The zoo keeps its prime patches of bamboo “low key,” according to Clements. “We wouldn’t want a panda hater to go out there,” he says. “You have to worry about all that stuff.”

To keep track of where they cut, the commissary maintains a secret dossier of Google Earth images annotated with comments about which swatches the pandas find delectable and which they’ve eschewed.

Pandas get their first meal around 7:30 a.m.

Mei Xiang, Tian Tian, and Bei Bei know it’s almost breakfast time when keepers Jenny Spotten and Shellie Pick arrive. While they set up an edible scavenger hunt in each animal’s “yard,” the pandas are in the enclosed rooms of their individual habitats, excited to get their first taste of bamboo. One bear sticks its nose, then its paw, then its other paw through a brick-sized hole.

After the bamboo is in position, the keepers prepare the pandas’ enrichment activities. First, they load up doughnut-shaped “puzzle feeders” full of biscuits and hang them from branches.

The pandas have to climb onto rocks and knock them down piñata-style to get at the food. Each feeder has a hole in it, and the zoo’s two adult pandas have wildly different strategies to get the biscuits out and into their mouths.

Mei Xiang finds the hole, lies on her back, and rotates the ring until biscuits fall out onto her belly. Tian Tian knocks the feeder against walls and tree trunks hoping the occasional biscuit escapes.

Biscuits won, it’s time to move onto scent enrichment. “We’re doing fennel today,” Pick says, as she rubs the anise flavor onto one of the logs in Tian Tian’s habitat. They’re exposing the bear to scents he wouldn’t normally encounter to see his reaction.

“There’s a panda behavior called scentanointing where they take a scent and rub it all over themselves,” Pick says. “Mei Xiang had a field day with coconut and Tian Tian likes bubbles.” Every smell has to be approved by the department of nutrition and the veterinarian.

Some ingredients are toxic to pandas, including coffee and onions.

Lemurs and doers Red-ruffed lemurs—who look like mutant Teddy bears with burnt sienna colored bodies and black bushy tails—start the day with a petite treat. “The commissary sends grapes that we feed to every single primate in the morning,” Kerns says. “That way if one of them gets sick and we need to give them medicine, they’re

Mei Xiang eating biscuits

like, ‘Oh, that’s my daily grape.’”

Keepers slide pills into grapes, just as pet owners bury medicine in cubes of cheese. It’s not a perfect system. “Sometimes the vets prescribe medicine that’s so terrible tasting that they go off grapes for a week,” Kerns says.

“That’s when we talk to Erin [Kendrick] about using something spectacular to get the medicine into them.”

At a daily hand-feeding session on a Thursday, the lemurs are as grabby as fresh-faced Washingtonians at a company-sponsored happy hour. They swipe at bananas, papayas, and mangoes and leap from branch to branch, but eventually settle down to receive fruit from staffer Ashton Ball in sequence.

“Any time we can get them to come over to us, it makes training easier,” Ball explains. She uses food to entice lemurs to step on a scale. Weight is indicative of an animal’s overall health. “This is really important to us because animals don’t tell you when they’re feeling sick,” Kerns says.

If they show signs of weakness in the wild, predators will pick them off first.

The small mammal house where the redruffed lemurs live is one of the areas of the zoo with the most robust enrichment programs.

In the staff-only zone, just off a small kitchen, there’s a room not unlike a children’s daycare.

Keepers stock cubbyhole after cubbyhole with toys and puzzle feeders, and they have a ball pit.

Watching animals hunt for mealworms in a kiddie pool of plastic rainbow balls begs for an Instagram Boomerang.

“We do scent enrichment, play with mirrors, put their food in water so they have to fish it out,” Kerns says. Each species gets a new enrichment activity every day for 30 days before the cycle starts again. Zoos across the country

18 september 8, 2017 washingtoncitypaper.com

Mealworms

share enrichment ideas on social media. That’s where Kerns got the idea to put a bouillon cube in a bubble maker. It spits out beef flavored bubbles—a culinary trick equal to what Chef José Andrés pulls off at minibar, his D.C. molecular gastronomy restaurant.

Since most toys are made for house pets, the zoo keeps an Amazon wish list that en-

ables the public to purchase puzzles and more for the animals. That Thursday the lemurs got their hands on “holly rollers” that could have just as easily entertained a house cat. To use them, keepers stuff crumpled paper towels full of insects into the balls, which have generous holes.

“The [red-ruffed] lemurs are into anything,”

Be a Mentor. Change a Life.

City Paper

Red-ruffed lemur

Kerns says. “They’ll rip apart puzzle feeders in ten minutes. Paper towels will be strewn all across the exhibit.”

How THe oTTer Half lives Usually an empty animal habitat is disappointing for zoo visitors, but if you visit the Asian small-clawed otter exhibit and don’t spot the sleek little creatures, you could be in for a show.

The otters might be rolling all over each other in their private indoor pens while keeper Mindy Babitz strategically scatters food in their outdoor exhibit.

On a summer afternoon, Babitz flings frozen mussels and clams in the stream, goes back inside, and releases a group of otters. They bolt single-file through a series of narrow glass shoots before darting into their habitat like the Racing Presidents entering the field at a Nationals game.

A crowd of visitors greet the otters with shouts of “cold, colder!” as they flash to corners of the habitat far from where the food hides in plain sight. Then finally, “hot, hotter, hottest!” as the otters find the chilly bivalves that demand ten minutes of strained effort to crack open.

The members of this family of otters are named Chowder, Pickles, Peaches, Turnip, Olive, and Rutabaga. But then there’s Kevin.

He’s the one with the dot on his nose, but no one can say for sure how he got the lone human moniker.

Unlike most animals at the zoo that feed once or twice a day, otters eat every two hours on account of their high metabolism. Babitz says they nosh on a variety of fish, insects,

and small animals in the wild, which translates to a zoo diet of beef, canned cat food, cat kibble, crickets, mealworms, and a variety of fish.

“Smelt is their favorite, but they get live crayfish, and sometimes we feed them larger fish like herring,” she says.

The otters know when it’s time for enrichment. As Babitz readies the frozen mussels and clams mere feet away from their pens, they squeak like chew toys.

“We want them to use natural behaviors by finding and processing food like they would in the wild,” Babitz explains. “They have to use species-specific behaviors to break these open.”

Keepers collect the shells post-meal and send them to the Oyster Recovery Partnership in Annapolis so they can be recycled and used to restore reefs.

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8 Achievement Centers higherachievement.org/volunteer4.666” in DC and Alexandria, Va.

a message painted on one wall of the otherwise-stark commissary says, “Together, We Save Species.” Conservation is the National Zoo’s raison d’être. Clements says it’s why he left Costco and returned to the zoo.

The commissary and the nutrition teams work tirelessly in the background to set the standard for what animals should look like and act like when they’re healthy. Most zoo visitors will never encounter them in the wild. Everything from slipping lemurs pills in grapes when they’re feeling sick to providing the big cats with the occasional half calf to shred is part of the overall mission.

“Most people who come to the zoo have no idea we exist and leave not knowing we exist, but hopefully they see the fruits of our labor every day, which is the animals looking good,” Maslanka says. “That’s our contribution to species conservation. It’s a badge of honor.” CP

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washingtoncitypaper.com september 8, 2017 19

20 september 8, 2017 washingtoncitypaper.com

CPArts

Mayor Muriel Bowser kicks off a month celebrating the city’s loosely defined “creative economy” called 202Creates.

Staged Exit

By Chris Klimek It’s a handshake that threatens to turn into a judo throw: Burly Tim Getman, newly bearded and shaven-headed, yanks the older, slimmer Howard Shalwitz violently towards him.

“Take care,” Getman says, quietly but with menace.

His voice softens. “Was that okay?” he asks Shalwitz. He means the handshake. Is he pulling too hard? Should he change the position of his feet before he extends his hand? He’s performed in this man’s playhouse many times, but never before with Shalwitz himself as a scene partner.

It’s a little past noon on a Wednesday, three-and-a-half weeks into rehearsals for The Arsonists, the play Woolly Mammoth Theatre Company has chosen to open its 38th season. The first preview is six days away. Written by Swiss playwright/philosopher/architect Max Frisch in 1953, the absurdist comedy was first interpreted as an indictment of communism, but has also been read as a reflection on Hitler’s ascension to power. Director Michael John Garcés and Shalwitz sought and were granted the permission of the play’s latter-day translator, the Scottish satirist Alistair Beaton, to change the play’s setting to D.C. and to “Americanize” phrases and character names. While The Arsonists—more literally, The Fire Raisers, in its original German— resists facile synopsizing, its nonperishable payload would appear to be something about the way bourgeois values make us timid in the face of gathering extremism.

It’s the sort of play Woolly might’ve put on in its Reagan-era infancy, Shalwitz will reflect later, noshing on a salad during a rehearsal break: European, allegorical, epic—in the Brechtian sense. In the 21st century, Woolly has built a sterling reputation as an incubator for provocative new work. But in those first few seasons—Shalwitz founded the company with partners Linda Reinisch and Roger Brady in 1980—the troupe favored material that was geographically and stylistically remote; stuff that encouraged a performance style that went beyond mere naturalism. Before Brady left in the mid-’80s, he and Shalwitz would take turns directing one another in plays like this. Stuff by Sławomir Mrożek. Boris Vian. Harold Pinter.

There’s a certain symmetry in the fact that Woolly is returning to postwar absurdism now. Shalwitz announced in June that he will step down from his post as artistic director next year.

He isn’t retiring. He’ll continue to direct. He intends to finish the book of essays he’s been working on in fits and starts. He may even consider acting work, depending on how the next month or so goes.

THEATER

The Arsonists marks Shalwitz’s return to the stage, eight years after his most recent part. It was in Charles Mees’ Full Circle, where the veteran artistic director played German theater artist Heiner Müller—a role much closer to his own history and temperament than others in his oeuvre, it’s fair to say. He began his career as an actor, drifting into directing and running a company as those tasks became necessary. “I’m a theater person,” he says simply, calling his catholic way of thinking about his work “somewhat old-fashioned.”

Theater-making has grown professionalized and specialized during the span of his career. But Shalwitz, 65, never got an MFA. He learned on the job. He recognizes that whomever succeeds him as Woolly’s captain likely will not. Their task, he says, will be to avoid “Founder’s Syndrome”—a short, undistinguished tenure wherein the newbie struggles to step outside the shadow of their forebear. Who, in this case, is one of the most revered artistic directors in the country.

But as an actor he is, by his own account, rusty.

“It has been too long,” he says. This interval between roles was nearly three times as long as the break before that, between Woolly’s remount of The Gigli Concert in 2006 and Full Circle in 2009. He’s had to make sure he’s exercising daily, to make sure he has the physical stamina for the show.

Even just learning his lines feels like it’s taking longer than it used to. “I’m sure I’ll know them by the time we open,” he chuckles.

He’s confessed these jitters to some of his castmates, particularly three company members whose careers have flourished at the company he built: Getman, Kimberly Gilbert, Emily Townley—all actors who have appeared in the sorts of challenging new plays that in the 21st century have become Woolly’s signature.

Gilbert, whom Shalwitz first hired in 2003 and made a company member in 2006, might be the company’s good luck

Cade Martin

As Woolly Mammoth’s veteran artistic director Howard Shalwitz eyes retirement, he also readies a return to the stage.

charm, having performed in the second-ever production of Bruce Norris’s Clybourne Park—the play went on to win the Pulitzer Prize—and the world premieres of Anne Washburn’s Mr. Burns, a Post-Electric Play and Aaron Posner’s Stupid Fucking Bird. (Two of those three were directed by Shalwitz.)

“There is no difference between Howard-the-person and Howard-the-actor,” says Gilbert, who cites Shalwitz as a mentor. “There’s a big difference between Howard-the-director and Howard-the-actor.” In conversation, he’s airy and friendly, she says. When he’s directing, he’s the guy behind the table with a sheaf of handwritten notes.

Shalwitz had contemplated a return to the stage for a long while. Garcés staged a workshop of The Arsonists in the summer of 2016, but the two of them had put aside the idea of a full production.

As Shalwitz remembers it, he got a text from Garcés mere moments after Hillary Clinton conceded the election to Donald Trump suggesting that they reconsider. But even aside from Frisch’s oblique topicality, the idea of opening the season with an oldie was appealing. washingtoncitypaper.com september 8, 2017 21

CPArts “Sometimes it’s nice not to have a playwright in the room,” he says. “Because we’re also a director’s company, where directors are asked to bring their own personalized and sometimes aggressive vision to a play.”

Jennifer Mendenhall is one of the few Woolly company members who’s has the experience of directing Shalwitz herself. They met when Todd London cast her opposite him in John Patrick Shanley’s Savage in Limbo in 1987. “Here was a man who would say yes to anything,” Mendenhall says, recalling that the role of barfly Tony Aronica required Shalwitz to put on leather pants, a toupee, and an outsized New Yawk Italian accent. “He had absolutely no fear of looking foolish,” she says. “He completely inhabited this creature he created.

That made a huge impression on me, because so often people in leadership positions carefully guard their dignity. Howard threw his dignity out the window.”

Sometimes he threw his body out the window, too. When Tom Prewitt, who was Woolly’s associate artistic director at the time, directed Shalwitz in Tom Murphy’s The Gigli Concert in 1996 at the theatre’s cramped, low-ceilinged former home on Church Street NW, he needed him to take a suicidal leap, “supposedly over the Dublin skyline,” but in reality a belly flop from a comically low fake ledge onto a hidden mattress. Making the stunt work in such a tiny space required a lot of technical rehearsal that had nothing to do with the more interior work of acting. Still Shalwitz was trying to dig in and make sure he’d mined every portion of the text. “And at some point you have to say, ‘We need to move on here, to make sure we have time for the technical ele-

ments to gel,” Prewitt says.

You hear that a lot about Shalwitz-the-actor: He takes his time.

Mendenhall, whom Shalwitz invited to direct him in Wallace Shawn’s one-man-play The Fever in 1992, says his process is more analytical than that of many actors, who find their way into a role by instinct and experimentation. Shalwitz wants to talk through every choice, a process that at least sometimes will eventually bring him back around to the performance decision he made impulsively.

He responded enthusiastically to Mendenhall’s suggestion that they open The Fever by having him stagger on and pretend to vomit into a pink toilet in the center of the stage.

It was both an example of the kind of outsized physical commitment Shalwitz likes to bring to a part, and the solution to a practical problem: Because The Fever was performed in rep with another show whose set was still standing. Mendenhall needed to direct the audience’s eyes.

“He didn’t really need me to direct him in that piece,” Mendenhall says now. “He needed a set of eyes and ears.”

That wilder side of Shalwitz is the one that those who haven’t seen him act just haven’t seen. His collaborators describe him as cerebral but still warm, calm, and even tempered, a far cry from some of his characters. “He has an unexpected volatility on stage,” says Garcés, who saw Shalwitz act only once, in Full Circle, before casting him in The Arsonists.

Townley—part of The Arsonists’ chorus—is familiar to Woolly audiences from her powerhouse performances in Taylor Mac’s

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Hir, The Totalitarians, and many others. She’s the rare company member who’s never been directed by Shalwitz, though she credits him with getting her back in the game. She did her first Woolly show in 1997, but by the time the company moved into its permanent space on D Street NW in 2005 she had decamped for Los Angeles and quit acting. It was 2008 when she stumbled upon Woolly’s striking new digs. She’d recently returned to the area and was looking for a place in Penn Quarter to take a friend for lunch. She asked for Shalwitz and was directed upstairs to his office.

“He stood up and said, ‘Where the hell have you been?’” she recalls. She was skeptical when he declared that he would put her back on stage, but three months later he cast her in Jason Grote’s Maria/Stuart. She joined the company the following year.

Acting with him is a whole new thing, she says, wondering aloud how witnessing him slowly finding his way into a role will affect how she receives direction from him in the future.

“He’s doing some really layered, interesting work in this show, and it’s coming together just now,” says Townley. “He’s needed all of this time to think about it, and he’s finding it in this last week before we go into the theater.”

As he wraps up his lunch and prepares to go back into rehearsal, Shalwitz concedes that while his method in analytical, his goal is something beyond craft, a quality of performance that people used to associate with Woolly: release.

“Some people might look at it and go, ‘Oh my God, that’s over the top,’” Shalwitz says. “But control is not what I think of as the Woolly style.”

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CPArts Arts Desk

D.C. dance-pop trio Light Beams announces debut album on Don Giovanni Records.

The Scene RepoRT

In this week’s Scene Report, new cuts from the D.C. area’s R&B, gospel, and rap scenes —Steve Kiviat Jim Bennett, His Latest/His Greatest JaBen Records Bennett, a veteran Southern soul man, is back with an album of seven new songs and five older cuts. Bennett’s R&B uses modern keyboards and oldschool guitar licks to produce a sound that’s drawn from the past but doesn’t try to simply reproduce it. His deep, church-rooted vocals can stretch out words on both dance numbers and ballads alike. And like most singers in the genre, he’s fond of both cheating songs (“Jody Got It All”) and, uh, entendre-filled ones (“Slap It, Tap It”).

RIYL: Mel Waiters, Lee Fields, and listening to WPFW’s Saturday afternoon “Southern Soul Rumpin’” program.

Bottled Up, Bottled Up Maximum Pelt On their self-titled tape, D.C. five-piece Bottled Up offer surf and psychedelic garage rock through a post-punk filter, with drolly delivered lyrical references to PCP and LSD. While the detached vocals sound far away on “Higher,” the speedy three-chord instrumentation evokes a Nuggets outtake. Their tune “Binary Worm” sounds like an audition for a beach party film with its blend of fuzztone guitar and organ rhythms.

RIYL: Oh Sees, Roky Erickson, Shannon and the Clams, DIIV.

Anthony Brown and Group Therapy, A Long Way from Sunday Fair Trade Services On Anthony Brown and Group Therapy’s third gospel album, Brown’s forceful baritone is ever-present and striking, but it’s actually less dazzling than the high-pitched female vocals that intertwine with his on many of the album’s cuts. Brown, who is the worship leader at the First Baptist Church of Glenarden in Upper Marlboro, also serves as songwriter and arranger, so he’s comfortable taking a back seat when the tune calls for it.

RIYL: Modern gospel, Kirk Franklin, Todd Dulaney, J.J. Hairston & Youthful Praise.

Lightshow, Yellow Tape & White Chalk #7 Spinrilla Southeast D.C. rapper Lightshow is now up to number seven in his Yellow Tape & White Chalk series of tapes, on which he freestyles over remixed instrumental versions of recent rap hits. Lightshow’s flow is largely shouty and bellicose here, but with a catchy syncopation that makes some of his drugs-and-misogyny-filled lyrics bearable. On Kodak Black’s “Patty Cake” he shows he has range, as he slows and softens his patter over the cut’s bouncy piano notes.

RIYL: Meek Mill, D.C. street rappers like Shy Glizzy and WillThaRapper.

washingtoncitypaper.com september 8, 2017 23

FilmShort SubjectS

Short Order Short reviews of short films from the DC Shorts Film Festival Intruder Man

Siren Directed by Nobuyuki Miyake Rapid-fire flashbacks incrementally reveal the tense history between an Arab immigrant in Japan and the old man in the apartment next door. It’s a jagged puzzle—including broken glass, a knife, and the titular siren—that nonetheless reveals two memorable characters.

Showcase 1 screens Thursday, Sept. 7 at 7 p.m. and Sunday, Sept. 10 at 3 p.m. at Landmark E Street Cinema.

ShowcaSe 6

Unknown Directed by Katie Sheridan

This short exists primarily to highlight how so many Spanish children were once separated from their parents. Its transparent attempt to be tragic would be offensive, if it weren’t so ineffective.

This is an affectionate, thoughtless profile of D.C. buskers with noteworthy talent and drive.

The filmmakers don’t do the musical group any favors, since the film spends way too much time highlighting the sheer number of positive Facebook comments.

The Milliner

An Indian-American father/daughter duo has an unforgettable moment prompted by the most uncool of travel accessories. They’re at their best when they’re arguing about medical school.

Intruder Man Directed by Peter Nelson Mildly grotesque stop-motion animation conveys an oddly affecting character study of an

Showcase 6 screens Friday, Sept. 8 at 9:30 p.m. and Monday, Sept. 11 at 5 p.m. at Landmark E Street Cinema.

ShowcaSe 7 Though these films are all loosely connected by the theme of death (or narrowly avoiding it), it’s not all doom and gloom.

The eclectic offerings in this showcase are wonderfully shot, and utilize unique filmmaking methods that serve each individual film. Pool, set eerily in a drained pool, and The Forger, augmented with beautiful silhouetted animation, are particular standouts.

—Stephanie Rudig

A woman who is addicted to secretly writing eulogies for living people finds a support group where she’s the least ridiculous person.

The climax is sweet; the punchline afterward is a little too ironic.

Fanny Pack Directed by Uttera Singh

Turnings Directed by Robert Herzog

Falsified Directed by Ashley Tabatabai

Eulogilia Directed by Alex Grossman

An example of a nonfiction film with a highly structured setup—Canadian artists kayak to the famous remains of a Haida village in the wilderness—that still delivers some unforced insights about its subjects.

This is an “animated” short film that amounts to little more than a slideshow. It aspires to be symbolic, even allegorical, and yet none of the imagery reaches the power for which it nakedly strives. At least the stills are well-composed, and might provide inspiration for your next tattoo.

Short films can be moving, innovative, or even thought-provoking. Most of the films in this showcase had none of those qualities.

—Alan Zilberman

Mortality or legacy is at the core of all seven of these films, which otherwise don’t have much in common aesthetically. The two documentaries are gorgeously made, and a couple of the fiction films have memorable duos whose age differences drive the tension.

—Joe Warminsky

Eyes of Society Directed by Allison Smith and Joseph Crawford

The Trees of Eden Directed by Dwight Hwang

A machinist makes a split-second decision, leading to personal success and the mutilation of his newfound rival. Sharply composed, this short shows how the machinist never quite feels remorse. Human nature can be like that.

Generation Mars Directed by Alexander Turpin This Norwegian short is about a young wom-

ShowcaSe 1

be more effective on Instagram.

Gridlock Directed by Ian Hunt Duffy elderly woman whose professional failings still haunt her. She’s ugly and broken, but the film’s lasting effect is its uneasy sympathy.

Prince of Smoke Directed by Matthew Gelb Lightweight but resonant, this documentary offers an inside view of the Robaina farm, a source of some of the finest Cuban cigar tobacco. As a new generation harvests its latest crop, you’ll want to smell and touch the leaves every step of the way.

Silent Sentinel Directed by Joe Dzikiewicz Clumsy sound design distracts from a well-intentioned re-enactment of a pivotal D.C. moment in the suffrage movement—activist Alice Paul’s famous 1917 imprisonment at the District Jail for picketing the White House.

24 september 8, 2017 washingtoncitypaper.com

an who won a reality show, and its top prize is a one-way trip to Mars. Shocker: It turns out she has second thoughts about the whole thing.

This is a thoughtful dive into alienation, even if nothing about it is provocative.

I’m In Here Directed by Willy Berliner The best short in this showcase is about a white man who would rather be a pushover than cause a fuss. Its scope is downright Kafkaesque, as is its pitch-black sense of humor.

Short films are at their best when their directors do not lose their nerve.

The Milliner Directed by Meagan Cignoli This is a cloying, godawful short film about the ubiquity of hats. Hats. There is a cute actress selling the whole thing, but her brand would

When a traffic jam hits a country road and a young girl goes missing from a car, her panicked father thinks she’s been kidnapped. As the tension ramps up, there are plenty of suspects: the couple that keeps furtively whispering to each other, the silent weirdo, and the dude who really doesn’t want you to touch his car.

Just Go! Directed by Pavels Gumennikovs The run of this film is mostly spent on an extended chase scene, but it’s amazingly inventive and tightly choreographed. The protagonist Just (Aleksandrs Ronis), doesn’t have legs and travels around by wheelchair, car, bus, skateboard, and—most often—his own two arms. Ronis had never acted before the filmmakers approached him while he was playing volleyball, and it’s clear why they thought he’d make a captivating subject.

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washingtoncitypaper.com september 8, 2017 25

Pool Directed by Leandro Goddinho A woman goes to meet her recently deceased grandmother’s former friend and lover, hoping to find out about the life her grandmother never talked about. The cinematography and story are dreamy, sliding between past and present, and the result is a deeply affecting tale about generational trauma.

Set Adrift Directed by Jennifer Sheridan After the death of his beloved owner, a dog struggles to understand where she’s gone and recalls his life with her. Some clever filmmaking devices and a particularly expressive dog make this a more fun romp than the premise might suggest.

Disco Obu Directed by Anand Kishore What starts off looking like a severe editing mistake—cameramen becoming visible in a mirror shot—quickly turns into a captivating criticism of the way media exploits human suffering. But the day-long journey of a journalist and his subject, a former child actor living in poverty as an adult in India, raises the question of whether this suffering is exaggerated for the sake of ratings or truly buried deep within us all.

Game Directed by Jeannie Donohoe AJ Brown is the new kid trying out for the basketball team, with incredible talents that aren’t the only things hidden in first impres-

you not only that everyone has a story to tell, but that there is good in the places you don’t always think to look.

The Road to Jericho Directed by Phillip Carroll A desperate screenwriter hijacks a cab and, in a series of highly unrealistic events, befriends an elderly woman with nothing to lose— whose character falls victim to the “wise old black woman” trope—during an adventure to sell a producer his script. With its bad acting and numerous plot holes, this short will be sure to make you laugh.

Showcase 8 screens Saturday, Sept. 9 at 2:30 p.m. and Monday, Sept. 11 at 7 p.m. at Landmark E Street Cinema.

en up. A man is placing flowers on a sidewalk to remember someone when a teenage girl attempts to kill herself nearby. A tad too coincidental? Yes. But its themes are too aching to write off.

Curse Words Directed by Paul Rodriguez Perhaps the ultimate short: One minute long, consisting of a setup and a punchline. Bam. The Importance of Sex Education Directed by L. Elizabeth Powers This comedy strains slightly by deriving its humor from mistaken thoughts that could clear up a mess yet remain infuriatingly unsaid. A mother gives her 12-year-old daughter a book about where babies come from that’s appar-

The Final Show Directed by Dana Nachman An elderly woman drops dead, and is transported to a sort of purgatory where she reunites with her past beaus and former hairdresser. Eternity doesn’t seem so bad in this delightfully charming and madcap comedy, and our winning heroine is a prime example of why there should be more (and better) roles out there for mature actresses.

The Forger Directed by Samantha Stark, Alexandra Garcia, and Pamela Druckerman As a member of the French Resistance during Nazi occupation, Adolfo Kaminsky saved thousands of people’s lives by forging documents that allowed them to escape the country. Despite this, he is still haunted by those he could not save, and those who still need saving. This documentary laces interviews with Kaminsky with gorgeous moving paper shadow puppets, reiterating the importance of “papers.”

The Lotto Directed by Guy Noffsinger What would happen if the grim reaper collected a winning lottery ticket from his latest victim? Apparently, a slightly befuddling and schmaltzy tale of paying it forward. The film is rescued by the execution of the beautifully rotoscoped animation, which evokes pastel drawings.

Showcase 7 screens Saturday, Sept. 9 at 2 p.m. and Monday, Sept. 11 at 5 p.m. at Landmark E Street Cinema.

ShowcaSe 8 Things aren’t what they seem with the films in Showcase 8. For some entries, hidden meanings unfold in life’s turning points. For others, they evolve out of the most bizarre circumstances. There are hits and misses, but they will all have you re-evaluating your own life — even if it’s just to ask, “Why am I watching this?”

—Jeanine Santucci

They Charge for the Sun sions. After AJ outpaces everyone vying for a spot on the boys varsity team, a somewhat predictable plot twist makes the film more of a commentary on the intricacies of gender roles than your average underdog-risesabove sports film.

I Am...

Directed by Sansar Sangidorj I Am... is not actually about a bicycle, it’s more of a metaphor for life and time. It’s 13 minutes of a man riding a bike through life, accompanied by the most overused cliches and shots of riding through the snow in shorts and a Tshirt. Not the strongest film in this bunch, but at least the music is nice.

Kojo: A Short Documentary Directed by Michael Fequiere The film follows Kojo Odu Roney, a charismatic jazz prodigy who shows us that “music is life.”

There isn’t much direction during the 13 minutes of interviews with him. Nonetheless, his talent at the drums is enough to keep you hooked.

Mister Sunshine Directed by Eldon Booth I wanted more out of Mister Sunshine than this three-minute documentary gave me. He’s a shoe shiner who changed his ritzy lifestyle when he realized that money wasn’t making him happy. It’s short and sweet, and reminds

26 september 8, 2017 washingtoncitypaper.com

ShowcaSe 10

When Showcase 10 is on its game, you won’t be able to take your eyes off the screen. When it’s not… well, there’s always that grocery list to think about. Sex, cursing, and terrorism are the topics of the top contenders, with tones from lighthearted to horrific. —Tricia Olszewski

ently meant for babies, thus the girl needs to extrapolate regarding the key step to getting pregnant. A few dangers: Short skirts, rock ‘n’ roll, sharing beverages. Just say you swapped spit already!

They Charge for the Sun Directed by Terence Nance

This slip of a short follows a guy named Peter, who’s getting baked in his dark apartment when a friend invites him to a party. He’s troubled but won’t open up to anyone, just like a teary girl he hooks up with won’t open up to him. The result is a shrug.

Another short that could do with a few more details to clarify its story. It’s Brooklyn in the near future, and an adult woman is caring for her grade-school sister. There’s some issue with the sun—good luck guessing what without reading the synopsis—but residents are able to pay a tidy sum to spend some time in a park that’s apparently protected. An ignored alarm proves something, but what?

Modern Romance Directed by Ian D’amelia

Watu Wote (All of Us) Directed by Katja Benrath

This charming short features a hologram version of Chatroulette. After a young and apparently successful man ends a 3D conversation with his mom—who naturally asks when he’s going to meet a nice girl—he takes the dating app for a spin. The lesson: You gotta kiss a lot of frogs, etc.

Watu Wote is based on a true story about a Kenyan bus carrying mostly Muslims and a Christian woman. They’re attacked by AlShabaab terrorists after their police escort broke down, and how they handle this unthinkably routine act is an encouraging indication that solidarity isn’t completely dead.

Powerful and gripping.

House Party Directed by John McCain

Departure Directed by Shin Sonoda Besides a laughable twist, Departure is a melancholic story about lives taken and lives giv-

Showcase 10 screens Saturday, Sept. 9 at 5 p.m. and Sunday, Sept. 10 at 9 p.m. at Landmark’s E Street Cinema.

“ It’s pretty much all

Send in the crowds.”

–THE WASHINGTON POST

a little

night music

Photo of Nicki Elledge and Sam Ludwig by Christopher Mueller

you can ask for...

Stephen Sondheim’s musical comedy featuring “Send in the Clowns” Now through October 8

SigTheatre.org | 703 820 9771

WAGNER, STRAUSS & BEETHOVEN Featuring Beethoven’s Symphony No. 5

SATURDAY, SEPT. 23 AT 8 PM SUNDAY, SEPT. 24 AT 3 PM MICHAEL ROSSI,

ADULT TICKETS: $20-$80, $5 YOUTH, $10 STUDENT

Fri, Sept 22

Guest Conductor

703-548-0885 WWW.ALEXSYM.ORG

STRATHMORE.ORG | 301.581.5100 5301 Tuckerman Lane, North Bethesda, MD 20852

washingtoncitypaper.com september 8, 2017 27

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

LINDSEY STIRLING - Warmer in the Winter Christmas Tour ..FRI NOVEMBER 10 On Sale Friday, September 8 at 10am

THIS WEEK’S SHOWS

Pat Green w/ Casey Donahew ......................................................................... Th 7 The Brian Jonestown Massacre w/ Dot Dash........................................... F 8 The Afghan Whigs w/ Har Mar Superstar Early Show! 6pm Doors .................. Sa 9 MIXTAPE 9 Year Anniversary Party

Kaleo w/ ZZ Ward & Wilder .......... OCT 14 Courtney Barnett & Kurt Vile (and The Sea Lice) .............................NOV 7 ALL GOOD PRESENTS Trombone Shorty & Orleans Grizzly Bear w/ serpentwithfeet .NOV 8 Avenue w/ Vintage Trouble ........ OCT 15 Tegan and Sara The Con 10th Anniv.

Phoenix ...................................... OCT 16 Acoustic Tour ....................................NOV 11 LCD Soundsystem ACD ENTERPRISES PRESENTS First Night Sold Out! Second Night Added!...... OCT 18 Erykah Badu ..........................NOV 18 Zedd w/ Grey & Lophiile ................ OCT 21 AEG PRESENTS The War On Drugs Odesza w/ The Building ................................. OCT 23 w/ Sofi Tukker & Louis Futon ............NOV 24 Phil Lesh & The Terrapin St. Vincent ................................NOV 27 Family Band ALL GOOD PRESENTS with special guests Nicki Bluhm & Robert Dark Star Orchestra Randolph featuring Jason Crosby, Ross James, Alex Koford, Grahame Lesh .. OCT 25 Recreating the Grateful Dead’s 6/14/91 RFK Show .............................DEC 2 The Head and the Heart w/ Phosphorescent ........................... OCT 27 O.A.R. ........................................... DEC 16 Primus with Clutch ............... OCT 28 ALL GOOD PRESENTS The Shins w/ Baio .......................NOV 2 SOJA w/ Twiddle & Footwerk....... DEC 29 GRiZ .................................................NOV 4 Lorde ................................. APRIL 8, 2018

with DJs Shea Van Horn & Matt Bailer Late Show! 11pm Doors ....................... Sa 9 dded!

First Night Sold Out! Second Night A

Nick Murphy (Chet Faker) w/ Charlotte Cardin & Heathered Pearls .........M 11 SEPTEMBER

SEPTEMBER cont.

Joseph w/ Bailen .......................W 13 Hot In Herre: 2000s Dance Party

Mandolin Orange ...................W 27 Crystal Castles ......................Sa 30

BADBADNOTGOOD ...............Su 17

The Church w/ The Helio Sequence .................Su 1

with DJs Will Eastman and Brian Billion .....................Sa 16 dded!

First Night Sold Out! Second Night A

Broken Social Scene w/ Belle Game .............................W 20 Aaron Watson w/ Gunnar and the Grizzly Boys Early Show! 6pm Doors ....................F 22 U STREET MUSIC HALL PRESENTS

Space Jesus Late Show! 10pm Doors ....................F 22 White Ford Bronco: DC’s All ‘90s Band ...................Sa 23

ALL GOOD PRESENTS

Trevor Hall w/ East Forest ....Tu 26

OCTOBER

dded!

First Night Sold Out! Second Night A

Oh Wonder w/ Jaymes Young ...Tu 3 Chicano Batman/Khruangbin w/ The Shacks ...............................W 4 AEG PRESENTS

Cameron Esposito & Rhea Butcher: Back to Back Seated show! Early Show! 7pm Doors .Sa 7

Merriweather Post Pavilion • Columbia, MD

JUST ANNOUNCED!

U STREET MUSIC HALL PRESENTS

OPUS 1 - Experiences in Art + Sound .................... OCTOBER 7

Troyboi w/ Slumberjack Late Show! 10pm Doors ....................Sa 7 Ron Pope .................................Tu 10

For more info and to reserve free tickets, visit opusmerriweather.com

Sturgill Simpson

930.com

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

• theanthemdc.com

w/ Fantastic Negrito ...................................SEPTEMBER 15

YOUNG THE GIANT w/ Cold War Kids & Joywave .........SEPTEMBER 16

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

AN EVENING WITH

ALISON

KRAUSS & DAVID GRAY ......... SEPTEMBER 23

WPOC SUNDAY IN THE COUNTRY FEATURING

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

Rascal Flatts • Billy Currington • Scotty McCreery • Dylan Scott and more! . SEPTEMBER 24

JUST ANNOUNCED!

Daniel Johnston & Friends Hi, How Are You Tour

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

Performing with his world famous friends - Members of Fugazi ................................... OCTOBER 3 THE MOTH AND REI PRESENT

THE

DC MOTH GRANDSLAM On Sale Now ................................ OCTOBER 11

THE BETZEN BALL PRESENTS

COLIN

QUINN, HAYWOOD TURNIPSEED JR. and more! .............. SAT OCTOBER 28 POP-UP MAGAZINE On Sale Now ......................................................................... NOVEMBER 1 The English beat ........................................................................................ NOVEMBER 7 On Sale Friday, September 8 at 10am

AEG PRESENTS

Coyote Peterson ......................SEPT 16 STORY DISTRICT PRESENTS I Did It For The Story: A Tribute to

20 Years of Storytelling ..............SEPT 23 WESTBETH ENTERTAINMENT PRESENTS

Dylan Moran ..............................SEPT 25 The Script w/ Tom Walker ............... OCT 2 Paul Weller w/ Lucy Rose ............... OCT 7 Matisyahu

PERRY w/ Noah Cyrus................................................SEPTEMBER 25 Ticketmaster

Echostage • Washington, D.C.

Flying Lotus in 3D ......................................................................NOVEMBER 5 2135 Queens Chapel Rd. NE • Ticketmaster

OPENING NIGHT! THE MOST VERY SPECIALEST EVENING WITH TIG NOTARO & FRIENDS FEAT.

Tig Notaro .....................................OCT 26 Al Franken & Ira Glass Giant of the Senate and Giant of the Radio

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

in Conversation ................................OCT 29

Blind Pilot w/ Charlie Cunningham ..OCT 13 THE BIRCHMERE PRESENTS

AN EVENING WITH

Colin Hay w/ Chris Trapper ...........OCT 21

KATY

THE BYT BENTZEN BALL

Josh Ritter & The Royal City Band w/ Good Old War ................................. NOV 2 The Breeders w/ Flasher ............... NOV 4

w/ Common Kings & Orphan ..............OCT 10

Capital One Arena • Washington, D.C. AEG PRESENTS

Tei Shi w/ Lawrence Rothman .........F SEPT 8 Gabrielle Aplin w/ John Splithoff ....... W 20 Mondo Cozmo w/ Flagship ................ Tu 12 Coast Modern w/ Salt Cathedral .......... F 22 ALL GOOD PRESENTS The Cribs w/ Paws .............................. Sa 23 The Werks & Passafire ................. Th 14 Yelle .................................................... Tu 26 MHD ...................................................... F 15 Saint Etienne ..................................... W 27 • Buy advance tickets at the 9:30 Club box office • 930.com

Kevin Smith ................................... NOV 5

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

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

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

28 september 8, 2017 washingtoncitypaper.com

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

930.com

CITYLIST

SUNNY SWEENEY

Music 29 Theater 36 Film 37

Music

THUR. SEPT. 14 ~ 8:30PM TIX: $17-$20

CITY LIGHTS: FRIDAY

FRIDAY ROck

9:30 Club 815 V St. NW. (202) 265-0930. The Brian Jonestown Massacre, Dot Dash. 8 p.m. $25. 930.com. bethesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Pablo Cruise. 8 p.m. $35. bethesdabluesjazz.com. dC9 1940 9th St. NW. (202) 483-5000. NE-HI, Paperhaus. 7 p.m. $10–$12. dcnine.com.

H

Gypsy sally’s 3401 K St. NW. (202) 333-7700. Charlie Worsham, Lauren Calve. 8:30 p.m. $15–$18. gypsysallys.com.

H

9.7

ANDREW DUHON

RoCk & Roll hotel 1353 H St. NE. (202) 388-7625.

Dan Croll, The Dig. 8 p.m. $15. rockandrollhoteldc.com.

9.8

FORLORN STRANGERS

9.9

SARAH POTENZA / PALEFACE

st. stephen and the InCaRnatIon epIsCopal ChuRCh 1525 Newton St. NW. (202) 232-0900.

Mount Eerie. 7 p.m. Sold out. positiveforcedc.org.

9.12

ROD PICOTT

9.14

SUNNY SWEENEY

state theatRe 220 N. Washington St., Falls Church.

(703) 237-0300. Sun Dogs. 9 p.m. $12–$15. thestatetheatre.com.

9.15

HAYES CARLL

9.16

THE WOODSHEDDERS

u stReet MusIC hall 1115 U St. NW. (202) 588-1889.

Tei Shi, Lawrence Rothman. 7 p.m. $20. ustreetmusichall.com.

9.19

THE RAILSPLITTERS

9.21

THE BLASTERS & FLAT DUO JETS

clAssIcAl

9.22

HOMEMADE SIN & FRIENDS

9.23

KYLE LACY & THE HARLEM RIVER NOISE

9.29

DANGERMUFFIN

9.30

JASON EADY ALBUM RELEASE SHOW!

kennedy CenteR MIllennIuM staGe 2700 F St. NW. (202) 467-4600. The 2017–2018 Kennedy Center Citizen Artist Fellows. 6 p.m. Free. kennedy-center.org.

ElEcTRONIc

u stReet MusIC hall 1115 U St. NW. (202) 5881889. Jackal, Basscamp, SMASHA. 10:30 p.m. $5–$10. ustreetmusichall.com.

FUNk & R&B

bIRChMeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Manhattans featuring Gerald Alston. 7:30 p.m. Sold out. birchmere.com. howaRd theatRe 620 T St. NW. (202) 803-2899.

Tank. 8 p.m. $37.50–$99. thehowardtheatre.com. sonGbyRd MusIC house and ReCoRd Cafe 2477 18th St. NW. (202) 450-2917. Black Masala, Rufus Roundtree & Da B’more Brass Factory, Anandroid.

8:30 p.m. $15–$17. songbyrddc.com.

HIp-HOp

blaCk Cat 1811 14th St. NW. (202) 667-4490. Shabazz Palaces, Porter Ray, DJ Ayescold. 8 p.m. $18–$20. blackcatdc.com. fIllMoRe sIlveR spRInG 8656 Colesville Road, Silver Spring. (301) 960-9999. Lightshow. 8 p.m. $10–$30. fillmoresilverspring.com.

JAzz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Mike Stern, Dennis Chambers, Tom Kennedy, Randy Becker. 8 p.m.; 10 p.m. $40–$45. bluesalley.com. twIns Jazz 1344 U St. NW. (202) 234-0072. The Flail.

9 p.m.; 11 p.m. $15. twinsjazz.com.

WORlD

eaGlebank aRena 4500 Patriot Circle, Fairfax. (703) 993-3000. Marco Antonio Solis. 8 p.m. $54–$154. eaglebankarena.com.

MOUNT EERIE

The newest album from Mount Eerie—the solo project of songwriter Phil Elverum—is easily his starkest and most personal of his career, and probably the most heartbreaking thing you’ll hear in 2017. At least, I assume it is. I haven’t heard a single note of it yet. I just can’t bring myself to listen to it—I’m not ready. A Crow Looked at Me is the product of him grappling with the sudden loss of his wife, Geneviève Castrée—the acclaimed musician, artist, and graphic novelist who died of pancreatic cancer last summer. “Written and recorded August 31st to Dec. 6th, 2016 in the same room where Geneviève died, using mostly her instruments, her guitar, her bass, her pick, her amp, her old family accordion, writing the words on her paper, looking out the same window,” the liner notes on A Crow Looked at Me begin, preparing listeners for the emotional journey Elverum travels throughout the album. For those familiar with Elverum’s body of work— both as Mount Eerie and its previous incarnation, The Microphones—they know how intimate a songwriter he is. Bring a tissue. Mount Eerie performs at 7 p.m. at St. Stephen and the Incarnation Episcopal Church, 1525 Newton St. NW. $13. (202) 232-0900. ststephensdc.org.

—Matt Cohen

H

H

10.10

GREYHOUNDS

10.12

WILD PONIES ‘GALAX’ RELEASE TOUR

10.13

CASH’D OUT

10.24

GURF MORLIX

10.25

SLAID CLEAVES

10.27

POSSESSED BY PAUL JAMES

10.28

WHITNEY ROSE / NO GOOD SISTER, JOHN TRAIN

eChostaGe 2135 Queens Chapel Road NE. (202) 503-2330. Gente De Zona. 9 p.m. $36.80. echostage.com.

RoCk & Roll hotel 1353 H St. NE. (202) 388-7625.

Bottled Up, Wae, Play3r, Viu. 7:30 p.m. $12. rockandrollhoteldc.com.

10.31

sATURDAY

sonGbyRd MusIC house and ReCoRd Cafe 2477 18th St. NW. (202) 450-2917. O’, Bellows. 8 p.m. $12–$14. songbyrddc.com.

THE WOGGLES & THE HALL MONITORS, JAKE STARR AND THE DELICIOUS FULLNESS

11.3

SUNNY LEDFURD

11.9

PERE UBU

11.11

SLEEPY LABEEF

ROck

blaCk Cat 1811 14th St. NW. (202) 667-4490. Big Thief, Lucy Dacus, Molly Sarle. 8 p.m. Sold out. blackcatdc.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. Psycho Killers, Rockville Strings. 9 p.m. $15–$17. gypsysallys.com. lInColn theatRe 1215 U St. NW. (202) 888-0050.

Apocalyptica. 8 p.m. $35. thelincolndc.com.

RhIzoMe dC 6950 Maple St. NW. Freezing Black Rain, Tashi Dorji/Tyler Damon Duo, Heart of the Ghost, Brandon Lopez. 8 p.m. Free. rhizomedc.org.

u stReet MusIC hall 1115 U St. NW. (202) 588-1889.

A R I Z O N A, Glades. 7 p.m. $15. ustreetmusichall.com.

clAssIcAl

kennedy CenteR MIllennIuM staGe 2700 F St. NW. (202) 467-4600. The 2017–2018 Kennedy Center Citizen Artist Fellows. 6 p.m. Free. kennedy-center.org.

cOUNTRY

bIRChMeRe 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. The Seldom Scene, Jonathan Edwards. 8 p.m. $29.50. birchmere.com.

HILL COUNTRY BARBECUE MARKET

410 Seventh St, NW • 202.556.2050 Hillcountrylive.com • Twitter @hillcountrylive

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

washingtoncitypaper.com september 8, 2017 29

CITY LIGHTS: sATURDAY

THE AFGHAN WHIGs

It is still hard to understand what drew my 11-year-old self to Gentlemen, The Afghan Whigs’ ode to debauchery. Its libidinal, whiskey-soaked nihilism was a far cry from my chaste middleschool existence. And yet, songs like "What Jail Is Like" and "Debonair" made their way onto lovelorn mix tapes alongside more conventional fare such as Soundgarden and The Smashing Pumpkins. While the band was well loved in its time, their soul-inflected rock never found a widespread audience. They called it a day in the early aughts without my ever having seen them grace a dimly lit stage. The Whigs were resurrected in 2011 and have since released two comeback records, 2014’s excellent Do to the Beast and this year's equally worthy In Spades. Both take the band into a more electronic-oriented direction that feels like a natural progression of their established sound. And as excited as I am to hear the new stuff, the tortured pre-teen lothario inside me has my fingers crossed for some early ’90s classics. The Afghan Whigs perform with Har Mar Superstar at 6 p.m. at 9:30 Club, 815 V St. NW. $40. (202) 265-0930. 930.com. —Matt Siblo

DJ NIGHTs

blaCk Cat baCkstaGe 1811 14th St. NW. (202) 6674490. Real Friends? Beyoncé, Jay-Z, Kanye West, Rihanna & Drake Dance Party. 9:30 p.m. $6. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. Rumba Latina with DJ EZ. 10 p.m. $10. dcnine.com. state theatRe 220 N. Washington St., Falls Church.

(703) 237-0300. Saved by the ‘90s. 9 p.m. $17–$20. thestatetheatre.com.

ElEcTRONIc

eChostaGe 2135 Queens Chapel Road NE. (202) 503-2330. Audien, SNBRN. 9 p.m. Free. echostage.com.

FUNk & R&B

the haMIlton 600 14th St. NW. (202) 787-1000.

Luther Re-Lives, Drew Olivia Tillman. 8 p.m. $24.75– $49.75. thehamiltondc.com. howaRd theatRe 620 T St. NW. (202) 803-2899.

Chante Moore. 8 p.m. $40–$70. thehowardtheatre.com.

GO-GO

stRathMoRe Gudelsky ConCeRt Gazebo 5301 Tuckerman Ln., Bethesda. (301) 581-5100. Team Familiar. 7:30 p.m. Free. strathmore.org. yaRds paRk 3rd and Water streets SE. (202) 4657080. Big Tony & Trouble Funk. Noon. Free. yardspark.org.

HIp-HOp

fIllMoRe sIlveR spRInG 8656 Colesville Road, Silver Spring. (301) 960-9999. 2 Chainz, Young Dolph. 8 p.m. Sold out. fillmoresilverspring.com.

JAzz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Mike Stern, Dennis Chambers, Tom Kennedy, Randy Becker. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

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

30 september 8, 2017 washingtoncitypaper.com

6/26/17 11:00 AM

twIns Jazz 1344 U St. NW. (202) 234-0072. The Flail.

9 p.m.; 11 p.m. $15. twinsjazz.com.

OpERA kennedy CenteR opeRa house 2700 F St. NW. (202) 467-4600. Washington National Opera: Aida. 7 p.m. $45–$300. kennedy-center.org.

WORlD bethesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Yehunie Belay. 8 p.m. $35–$45. bethesdabluesjazz.com.

sUNDAY ROck

9:30 Club 815 V St. NW. (202) 265-0930. Nick Murphy, Charlotte Cardin, Heathered Pearls. 7 p.m. $35.

930.com. blaCk Cat baCkstaGe 1811 14th St. NW. (202) 6674490. Beverly, EZTV. 7:30 p.m. $10–$12. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. Aldous Harding, Den-Mate. 9 p.m. $12. dcnine.com.

Galaxy hut 2711 Wilson Blvd., Arlington. (703) 5258646. Star FK Radium, Two Ton Twig. 9 p.m. $5. galaxyhut.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. Conspirator, Electric Love Machine. 8 p.m. $22.50–$25. gypsysallys.com.

RhIzoMe dC 6950 Maple St. NW. William Hooker, Weed Tree. 8 p.m. $10–$15. rhizomedc.org. sonGbyRd MusIC house and ReCoRd Cafe 2477 18th St. NW. (202) 450-2917. Dent May, Poppy Patica.

9:30 p.m. $10–$12. songbyrddc.com. wolf tRap fIlene CenteR 1551 Trap Road, Vienna.

(703) 255-1900. Rick Springfield, Richard Marx. 8 p.m. $30–$65. wolftrap.org.

America’s Navy: Celebrating 242 years of service THURSDAY, OCT. 5 AT 7:30 P.M. The Music Center at Strathmore For free tickets and information visit www.strathmore.org or call 301-581-5100

City Paper NavyDay242 full page.indd 1

9/5/2017 8:59:17

washingtoncitypaper.com september 8, 2017 31

TRIVIA E V E RY M O N DAY & W E D N E S DAY

$12 BURGER & BEER MON-FRI 4 P M -7 P M

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

CITY LIGHTS: sUNDAY

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

Tix @ Ticketmaster.com 800-745-3000

KIRK FRANKLIN

LEDISI

THE REBEL THE SOUL & THE SAINT TOUR

SATURDAY NOV. 25, 7:30PM

600 beers from around the world

Downstairs: good food, great beer: all day every day

DAR CONSTITUTION HALL

TICKETS ON SALE NOW AT TICKETMASTER.COM OR CALL 800-745-3000

Sept 7

*all shows 21+

9 SEPTEMBER 7TH

SUPER SPECTACULAR COMEDY SHOW FOR CYSTIC FIBROSIS

DOORS AT 6PM, SHOW AT 7:30PM SEPTEMBER 8TH

TOMMYTAYLORJR

D O O R S AT 8 P M , S H OW AT 9 P M SEPTEMBER 11TH

PRETTY FUNNY MONDAYS FREE COMEDY SHOW S H OW AT 8 P M

SEPTEMBER 12TH

CAPITAL LAUGHS OPEN MIC AT 8 : 3 0 P M

SEPTEMBER 13TH

BROKEN DIAMONDS OPEN MIC AT 8 : 3 0 P M

SEPTEMBER 15TH

DCWEIRDO SHOW

D O O R S AT 8 P M , S H OW AT 9 P M SEPTEMBER 16TH

SMASHED:NERDYAND DIRTY COMEDY AT 8 P M

BIER BARON’S FALL SOUR SHOWCASE SEPTEMBER 17TH

SCIENCE COMEDY

P R E S E N T E D BY KA S H A PAT E L SEPTEMBER 18TH

6:30PM

Keene

HOT RIZE

12

BELLYDANCE EVOLUTION presents Fantasm – Odyssey of Dreams

BIG BAD VOODOO DADDY Lowland 14 PENNY & SPARROW Hum 15 KARLA BONOFF 16 MAYSA 17 RALPHIE MAY 13

18&19

An Evening with

RANDY NEWMAN 20 BRAND X REUNION TOUR

WIllIAM HOOkER

William Hooker is a living legend—full stop. Since the late 1970s, Hooker has emerged as one of the most innovative composers and improvisers in modern jazz, pushing the boundaries as a drummer by collaborating with countless musicians. Over the years, he’s worked with everyone from Thurston Moore and Lee Ranaldo to David Murray, Billy Bang, Malachi Thompson, and DJ Spooky. Though Hooker is primarily known for his work as a drummer and jazz composer, he’s also a powerful poet, whose literary prowess is nothing short of revolutionary. In a rare and intimate performance at Rhizome, Hooker will perform a solo set on drums and read original compositions. It’s quite the opportunity to see a living legend in a setting that feels too good to be true. William Hooker performs with Weed Tree at 8 p.m. at Rhizome DC, 6950 Maple St. NW. $10–$15. rhizomedc.org.

—Matt Cohen

with THE JANE GETTER PREMONITION

VALERIE JUNE Amythyst Kiah 22 JOHN McCUTCHEON 23 RED MOLLY 24 AVERY*SUNSHINE 26 CHRIS HILLMAN & HERB PEDERSON with JOHN JORGENSON 27 JESSE COOK 21

Beyond Borders Tour 2017

28

THE RIPPINGTONS featuring Russ

Freeman

HERE COME THE MUMMIES 30 LEO KOTTKE 29

Oct 1

In the

!

MASHROU’ LEILA All Standing Doors 6pm

3

HERMAN’S HERMITS starring PETER NOONE

4 1523 22nd St NW – Washington, DC 20037 (202) 293-1887 - www.bierbarondc.com @bierbarondc.com for news and events

with Tommy

THE SELDOM SCENE & JONATHAN EDWARDS

10

DISTRICTTRIVIA AT 7 : 3 0 P M COMICSAND COCKTAILS SPONSORED BY FANTOM COMICS

MATTHEW SWEET

In the

!

THE PSYCHEDELIC FURS

32 september 8, 2017 washingtoncitypaper.com

with Bash & Pop All Standing Doors 6pm

FOlk

kennedy CenteR MIllennIuM staGe 2700 F St. NW. (202) 467-4600. Rachel Baiman. 6 p.m. Free. kennedy-center.org.

FUNk & R&B

dC9 1940 9th St. NW. (202) 483-5000. Tim Darcy, Devon Welsh. 9 p.m. $12–$14. dcnine.com.

RhIzoMe dC 6950 Maple St. NW. Kuschty Rye Ergot, Jeff Barsky, Bushmeat Airways, Scant+Floodbeast.

7:30 p.m. Free. rhizomedc.org.

the haMIlton 600 14th St. NW. (202) 787-1000.

Brass-A-Holics. 7:30 p.m. $19.50–$25.50. thehamiltondc.com.

sIxth & I hIstoRIC synaGoGue 600 I St. NW. (202) 408-3100. Alison Moyet. 8 p.m. $40–$45. sixthandi.org.

HIp-HOp

sonGbyRd MusIC house and ReCoRd Cafe 2477 18th St. NW. (202) 450-2917. Dear Nora, Nicholas Krgovich, Hello Shark. 8 p.m. $10–$12. songbyrddc.com.

JAzz

FUNk & R&B

eChostaGe 2135 Queens Chapel Road NE. (202) 503-2330. John Bellion, Dizzy Wright. 7 p.m. $34.50. echostage.com. bethesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Nothing But The Sax featuring Tony Exum Jr., Dee Lucas, and Marqueal Jordan.

7:30 p.m. $25. bethesdabluesjazz.com. blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Mike Stern, Dennis Chambers, Tom Kennedy, Randy Becker. 8 p.m.; 10 p.m. $40–$45. bluesalley.com. twIns Jazz 1344 U St. NW. (202) 234-0072. Neotolia.

8 p.m.; 10 p.m. $10. twinsjazz.com.

OpERA

kennedy CenteR opeRa house 2700 F St. NW. (202) 467-4600. Washington National Opera: Aida. 2 p.m. $45–$300. kennedy-center.org.

MONDAY ROck

9:30 Club 815 V St. NW. (202) 265-0930. Nick Murphy, Charlotte Cardin, Heathered Pearls. 7 p.m. $35.

930.com. blaCk Cat baCkstaGe 1811 14th St. NW. (202) 6674490. Black Cat 24th Anniversary Show. 7:30 p.m. $10. blackcatdc.com.

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Jarrod Lawson. 8 p.m.; 10 p.m. $22. bluesalley.com. u stReet MusIC hall 1115 U St. NW. (202) 588-1889.

Tank and the Bangas, Sweet Crude. 7 p.m. Sold out. ustreetmusichall.com.

HIp-HOp

fIllMoRe sIlveR spRInG 8656 Colesville Road, Silver Spring. (301) 960-9999. Big Boi. 8 p.m. $29.50. fillmoresilverspring.com.

WORlD

kennedy CenteR MIllennIuM staGe 2700 F St. NW. (202) 467-4600. Bideew Bou Bess. 6 p.m. Free. kennedy-center.org.

TUEsDAY ROck

blaCk Cat 1811 14th St. NW. (202) 667-4490. Swervedriver. 7:30 p.m. $23–$25. blackcatdc.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. The Gypsy Sally’s Jam with Gordon Sterling. 8 p.m. Free. gypsysallys.com.

washingtoncitypaper.com september 8, 2017 33

CITY LIGHTS: MONDAY

RHETT MILLER OF OLD 97’s W/ ANTHONY D’AMATO

THURSDAY SEPT

the JAMES

7

BROWN DANCE PARTY THE FUNKIEST ALL-STAR TRIBUTE IN SHOW BUSINESS

FRIDAY

SEPTEMBER F8 S9 SU 10

TH 14

SEPT 8 F 15

SAT, SEPT 9

LUTHER RE-LIVES

W/ DREW OLIVIA TILLMAN

S 16

SUN, SEPT 10

AN EVENING WITH BRASS-A-HOLICS TUES, SEPT 12

NICOLE ATKINS W/ THE KERNAL

2 SHOWS 7/10PM

SU 17 W 20

THURS, SEPT 14

THE FUNKY METERS W/ 7COME11

FRI, SEPT 15

CHRIS SMITHER W/ MILTON SAT, SEPT 16

NEWMYER FLYER PRESENTS

R 21

DREAM DISCS:

THE ROLLING STONES

F 22

AND TOM PETTY & THE HEARTBREAKERS

S 23

STICKY FINGERS

DAMN THE TORPEDOS

SU 24

SUN, SEPT 17

PAUL KELLY

W/ SPECIAL GUEST JESS CORNELIUS TUES, SEPT 19

SEUN KUTI & EGYPT 80

10/1

WED, SEPT 20

RADNEY FOSTER

A SPECIAL ACOUSTIC CD/BOOK RELEASE PARTY

W/ CHAD ELLIOTT

THE STEELDRIVERS SAT, SEPT 23

WILL HOGE W/ DAN LAYUS THURS, SEPT 28

SOUL REVIVAL MYCAH CHEVALIER: A CELEBRATION OF LIFE & PREVIEW NEW CD THE CREOLE BUTTERFLY MICHAEL HENDERSON & CHERRELLE STARSHIP LANDING MARCUS JOHNSON BE’LA DONA A TRIBUTE TO THE MUSIC OF THE O’JAYS FEAT. FOREVER YOURS

JUST ANNOUNCED

W/ SAHEL

FRI, SEPT 22

PABLO CRUISE ETHIOPIAN NEW YEAR W/ YEHUNIE BELAY NOTHING BUT THE SAX FEAT. TONY EXUM JR., DEE LUCAS & MARQUEAL JORDAN BOB BALDWIN FEAT. LORI WILLIAMS A TRIBUTE TO THE MUSIC OF MOTOWN JOE CLAIR & FRIENDS COMEDY SHOW

11/3

BRICLYN ENT. PINK ALIVE BREAST CANCER CONCERT W/ MAIMOUNA YOUSSEF, THE AMOURS & VICTORIA SKIE JESSE COLIN YOUNG BAND

http://igg.me/at/bethesdablues

BIG BOI

OutKast was the most influential, intriguing, and important rap group of all time. Andre 3000 and Big Boi proved, without a doubt, that the South had something to say, leaving an indelible mark not just in the history of hip-hop, but in the history of all music and art. It may sound like hagiography or hyperbole, but OutKast was just that damn good. With all that in mind, how do the members of such a legendary act find purpose when they no longer work together? For Andre, expression has taken the form of the occasional collaboration with Kanye and Frank Ocean, movie roles, and razor ads. For Big Boi, it's meant doing what he does best, building a solo career marked by his one-of-a-kind, syllable-heavy rap attack. For all the credit that Andre gets for being the artsy one, Big Boi has held his own as a rap innovator. “We spit universes, birthing worlds with words,” says Dungeon Family OG Big Rube on Big Boi’s new album Boomiverse.

At their best, the members of OutKast created their own world. Now, Big Boi is just doing it on his own. Big Boi performs at 8 p.m. at the Fillmore, 8656 Colesville Road, Silver Spring. $29.50. (301) 960-9999. fillmoresilverspring.com.

—Chris Kelly the haMIlton 600 14th St. NW. (202) 787-1000.

Nicole Atkins, The Kernal. 7:30 p.m. $15–$30. thehamiltondc.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. The Last Revel, Jon Stickley Trio. 8 p.m. $12. gypsysallys.com.

kennedy CenteR MIllennIuM staGe 2700 F St. NW. (202) 467-4600. The Cambodian Space Project. 6 p.m. Free. kennedy-center.org.

sonGbyRd MusIC house and ReCoRd Cafe 2477 18th St. NW. (202) 450-2917. William Clark Green. 8 p.m. $12–$15. songbyrddc.com.

sonGbyRd MusIC house and ReCoRd Cafe 2477 18th St. NW. (202) 450-2917. Teen Daze, Rivers Wilder Green. 8 p.m. $10–$12. songbyrddc.com.

wolf tRap fIlene CenteR 1551 Trap Road, Vienna.

(703) 255-1900. YES featuring Jon Anderson, Trevor Rabin, and Rick Wakeman. 8 p.m. $30–$75. wolftrap.org.

u stReet MusIC hall 1115 U St. NW. (202) 588-1889.

Mondo Cozmo, Flagship. 7 p.m. $20. ustreetmusichall.com.

clAssIcAl

wolf tRap fIlene CenteR 1551 Trap Road, Vienna.

(703) 255-1900. 2CELLOS. 8 p.m. $30–$65. wolftrap.org. howaRd theatRe 620 T St. NW. (202) 803-2899.

UB40 Legends Ali, Astro & Mickey. 8 p.m. $45–$85. thehowardtheatre.com.

twIns Jazz 1344 U St. NW. (202) 234-0072. De’Sean Jones and Knomadik. 8 p.m.; 10 p.m. $10. twinsjazz.com.

JAzz

OpERA

WEDNEsDAY

WORlD

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Swing Shift. 8 p.m.; 10 p.m. $22. bluesalley.com.

ROck

www. BethesdaBluesJazz.com

bIRChMeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Big Bad Voodoo Daddy. 7:30 p.m. $49.50. birchmere.com.

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

THEHAMILTONDC.COM 34 september 8, 2017 washingtoncitypaper.com

JAzz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Veronneau. 8 p.m.; 10 p.m. $22. bluesalley.com.

9:30 Club 815 V St. NW. (202) 265-0930. Joseph, Bailen. 6 p.m. $20. 930.com.

(240) 330-4500

RoCk & Roll hotel 1353 H St. NE. (202) 388-7625.

Del the Funky Homosapien, Richie Cunning, DJ Bad DJ. 8 p.m. $20. rockandrollhoteldc.com.

FUNk & R&B

7719 Wisconsin Ave., Bethesda, MD

GOGO PENGUIN W/ THE MATTSON 2

HIp-HOp

blaCk Cat baCkstaGe 1811 14th St. NW. (202) 6674490. Lionize, Tomato Dodgers, Raygunomics. 7:30 p.m. $5. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. Julian Velard. 9 p.m. $10–$12. dcnine.com.

kennedy CenteR opeRa house 2700 F St. NW. (202) 467-4600. Washington National Opera: Aida.

7:30 p.m. $45–$300. kennedy-center.org. kennedy CenteR MIllennIuM staGe 2700 F St. NW. (202) 467-4600. Josecito Alvarenga. 6 p.m. Free. kennedy-center.org.

THURsDAY ROck

9:30 Club 815 V St. NW. (202) 265-0930. Prophets of Rage. 7 p.m. Sold out. 930.com. blaCk Cat 1811 14th St. NW. (202) 667-4490. Wild Belle, Fred Thomas. 7:30 p.m. $16–$18. blackcatdc.com.

CITY LIGHTS: TUEsDAY

1811 14TH ST NW

www.blackcatdc.com @blackcatdc

LAST SHOWS OF SUMMER!

SEPTEMBER SHOWS THU 7

FRI 8

SEP 17

THE cAMBODIAN spAcE pROJEcT

In 2009, Tasmanian guitarist Julien Poulson strolled into a Phnom Penh karaoke bar and heard a Cambodian woman singing Peggy Lee’s mournful ballad “Johnny Guitar.” Poulson, wowed by her talent, asked the singer, Srey Thy, to form a group with him, which soon became known as The Cambodian Space Project. Over eight years, the band has released five albums of classic 1960s Cambodian pop and garage rock covers and fuzz-filled originals. They’ve also made plans for a musical about singer Poev Vannary, one of the many Cambodian musicians killed by the Khmer Rouge during their genocidal reign in the 1970s. While the Project may remind some of Dengue Fever, an American group with a Cambodian singer and similar repertoire, Thy says she had never heard of Dengue Fever when her own group was forming. Backed by Poulson’s impressive guitar riffs, it’s Thy’s vocal range that stands out. She can wail traditional Khmer glottal consonants and hit the high notes on upbeat choruses in a single song, conveying plenty of meaning through her tone, even if listeners don’t know the language of her lyrics. The Cambodian Space Project performs at 6 p.m. at the Kennedy Center Millennium Stage, 2700 F St. NW. Free.

(202) 467-4600. kennedy-center.org.

—Steve Kiviat

dC9 1940 9th St. NW. (202) 483-5000. Waker, Pierce Edens. 9 p.m. $12. dcnine.com. fIllMoRe sIlveR spRInG 8656 Colesville Road, Silver Spring. (301) 960-9999. Boyce Avenue. 9 p.m. $25. fillmoresilverspring.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. The Heavy Pets, Staycation. 8:30 p.m. $10–$14. gypsysallys.com.

FUNk & R&B

the haMIlton 600 14th St. NW. (202) 787-1000. The Funky Meters, 7 Come 11. 7:30 p.m. $32–$45. thehamiltondc.com. howaRd theatRe 620 T St. NW. (202) 803-2899.

Sizzla. 9 p.m. $45–$82.50. thehowardtheatre.com.

JAzz

sonGbyRd MusIC house and ReCoRd Cafe 2477 18th St. NW. (202) 450-2917. Muscadine Bloodline, Scott Kurt. 8 p.m. $10–$12. songbyrddc.com.

bethesda blues & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Bob Baldwin featuring Lori Williams. 8 p.m. $30. bethesdabluesjazz.com.

u stReet MusIC hall 1115 U St. NW. (202) 588-1889.

The Werks, Passafire. 6 p.m. $20. ustreetmusichall.com.

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Yellowjackets. 8 p.m.; 10 p.m. $47–$52. bluesalley.com.

clAssIcAl

twIns Jazz 1344 U St. NW. (202) 234-0072. Nelson Dougherty. 8 p.m.; 10 p.m. $10. twinsjazz.com.

MusIC CenteR at stRathMoRe 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Baltimore Symphony Orchestra: Tchaikovsky Thrill Ride. 8 p.m. $35–$99. strathmore.org.

FOlk

bIRChMeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Penny & Sparrow, Lowland Hum. 7:30 p.m. $25. birchmere.com.

u

u

SUN 10

BEVERLY

SOLD

LUCY DACUS OUT BLACK CAT’S

24TH

ANNIVERSARY SHOW

SWERVEDRIVER PERFORMING RAISE & MEXCAL HEAD

RICK SPRINGFIELD RICHARD MARX

WED 13

2CELLOS

THU 14

YES FEATURING JON ANDERSON, TREVOR RABIN & RICK WAKEMAN

FRI 15 AND

GIPSY KINGS FEATURING NICOLAS REYES AND TONINO BALIARDO

LIONIZE

WILD BELLE TED LEO AND THE

SAT 16

PHARMACISTS

FRI 22

FRANKIE COSMOS

SAT 23

3 KINGS DANCE PARTY

PRINCE/ MJ / STEVIE WONDER

WILD BELLE

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

WORlD

THU SEPT 14

FRI SEPT 15 & SAT SEPT 16 TED LEO & THE PHARMACISTS

TAKE METRO!

eaGlebank aRena 4500 Patriot Circle, Fairfax.

(703) 993-3000. J. Balvin. 8 p.m. $75–$95. eaglebankarena.com. kennedy CenteR MIllennIuM staGe 2700 F St. NW. (202) 467-4600. Combo Chimbita & Dark Water Rising. 6 p.m. Free. kennedy-center.org.

BIG THIEF

TUE 12 AN EVENING WITH

PLUS

u

SAT 9

MON 11

DADDY YANKEE u

JAPANESE BREAKFAST SHABAZZ PALACES

washingtoncitypaper.com

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

TO BUY TICKETS VISIT TICKETFLY.COM washingtoncitypaper.com september 8, 2017 35

CITY LIGHTS: WEDNEsDAY

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

washingtoncitypaper.com/ calendar

ILYA AND EMILIA KABAKOV: THE UTOPIAN PROJECTS

At first glance, the art of Ilya and Emilia Kabakov is unabashedly joyful, filled with bright colors and sunny scenes. Their optimism is contagious but it also comments on something much darker: the oppression both of the artists encountered while growing up in the Soviet Union.

The couple now live and work on Long Island and are the subject of two major exhibitions this fall. London’s Tate Modern hosts their first major show in the U.K. starting in October, spanning the length of their careers, while the Hirshhorn’s exhibit focuses on models for work made after 1985. This includes original plans for “The Man Who Flew Into Space From His Apartment,” an expansive installation and tribute to the human spirit first seen in D.C. in 1990, and “The Ship of Tolerance,” an ongoing installation mounted in different bodies of water around the world with the assistance of children. As visitors explore the exhibit, they’ll begin to understand the Kabakov’s process and, perhaps, they’ll find their spirits lifted as well. The exhibition is on view daily 10 a.m. to 5:30 p.m., to March 4, at the Hirshhorn Museum and Sculpture Garden, 7th Street and Independence Avenue SW. Free. (202) 633-4674. hirshhorn.si.edu.

—Caroline Jones

Theater

the aRsonIsts Woolly Mammoth Theatre presents a new production and translation of Max Frisch’s reflection on Nazism and Communism. The themes in this classic comedy remain relevant today and Woolly’s production stars company members Colin K. Bills, Michael John Garcés, Tim Getman, Kimberly Gilbert, Misha Kachman, Jared Mezzocchi, Ivania Stack, Emily Townley, and outgoing artistic director Howard Shalwitz. Woolly Mammoth Theatre. 641 D St. NW. To Oct. 8. $20–$59. (202) 393-3939. woollymammoth.net. the devIl’s MusIC: the lIfe & blues of bessIe sMIth Mosaic Theater Company opens its third season with this chronicle of Bessie Smith’s final performance, after being tirned away from a whites-only club. Actress Miche Brandon channels Smith’s pain in this musical revue directed by Joe Brancato. Atlas Performing Arts Center. 1333 H St. NE. To Sept. 24. $20–$65. (202) 399-7993. atlasarts.org. don Juan tenoRIo, the InfaMous seduCeR of all tIMes Nando López adapts the story of the legendary lothario in this world premiere production directed by José Carrasquillo. When the famous and suave Don Juan is felled by the love of a woman, his entire worldview changes in this sensual and poetic drama. GALA Hispanic Theatre. 3333 14th St. NW. To Oct. 1. $25–$55. (202) 234-7174. galatheatre.org.

36 september 8, 2017 washingtoncitypaper.com

the heIdI ChRonICles Rep Stage opens its season with Wendy Wasserstein’s Pulitzer Prize-winning comedy about an acclaimed art historian who struggles to find her place in the rapidly changing world and within the women’s movement. Set in the 1980s, when women were battling for recognition in the workplace, this play wonders out loud whether women can ever have it all. Rep Stage at Howard Community College. 10901 Little Patuxent Parkway, Columbia. To Sept. 24. $10–$40. (443) 518-1500. repstage.org.

In the heIGhts Olney Theatre Center and Round House Theatre collaborate on a new production of Lin-Manuel Miranda’s first musical. Set in New York’s Washington Heights neighborhood, the play follows the neighborhood residents as they try to make their fortunes in the neighborhood. Tony nominee and original Broadway cast member Robin de Jesús stars as Usnavi. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Oct. 22. $37–$84. (301) 9243400. olneytheatre.org.

Jesus hopped the “a” tRaIn As a bike messenger waits on Rikers Island for his murder trial, he meets a born-again serial killer who challenges the way he looks at the world and changes his life forever in this emotional drama. Directors Alex Levy and Juan Francisco Villa kick off 1st Stage’s 10th anniversary season with their take on Stephen Adly Guirgis’ play about redemption and friendship. 1st Stage. 1524 Spring Hill Road, McLean. To Oct. 8. $15–$33. (703) 854-1856.

1ststagetysons.org.

JulIus CaesaR Scena Theatre presents a modern retelling of Shakespeare’s classic drama about power and ambition that makes connections between

CITY LIGHTS: THURsDAY

J. BAlVIN

Medellin, Colombia’s J. Balvin has become reggaeton’s latest it boy. His Spanish-language vocals are smoother than the genre’s pioneers and he’s melded the style’s insistent dembow beat with other programmed club rhythms. This summer, he teamed up with Afro-French producer and vocalist Willy William to create “La Gente,” a global hit full of repeating horn-like blips and synthetic tones drawn from William’s song “Voodoo,” Danish dance group Enur, and moombahton. Coming across more suave than bad boy, Balvin has also reached an international audience with his appearance on the Latino remix of Justin Bieber’s “Sorry.” He’s also recently partnered with Pharrell Williams on the groove-filled “Safari.” While his many collaborators are unlikely to be with him in Fairfax, expect Balvin to get the audience going all by himself. J. Balvin performs at 8 p.m. at EagleBank Arena, 4500 Patriot Circle, Fairfax. $75–$95. (703) 993-3000. eaglebankarena.com.

—Steve Kiviat ancient Rome and contemporary Washington. Director Robert McNamara stars in this production, leading a cast of American and Irish actors. Atlas Performing Arts Center. 1333 H St. NE. To Sept. 24. $30–$40. (202) 399-7993. atlasarts.org. lela & Co. Factory 449 presents this spooky drama about a woman’s struggle for survival and the small changes that put on edge. Helen Hayes Award nominee Felicia Curry stars in this production directed

by Rick Hammerly. Anacostia Arts Center. 1231 Good Hope Road SE. To Sept. 30. anacostiaartscenter.com. a lIttle nIGht MusIC Set in Sweden over the course of one magical night, this classic musical from Stephen Sondheim and Hugh Wheeler chronicles the love affairs of an aging actress, a married virgin, a student, and a count. Signature artistic director Eric Schaeffer leads this production that features favorite songs including “A Weekend in the Country” and “Send In the Clowns.” Signature Theatre. 4200 Campbell Ave., Arlington. To Oct. 8. $68–$101. (703) 8209771. sigtheatre.org. neveRwheRe Rorschach Theater brings back its adaptation of Neil Gaiman’s spooky novel about a man who stumbles into a lively world that exists below London. Occupied by angels, monsters, and beasts, this land welcomes newcomers who know where to find it. This remounted production is directed by Jenny McConnell Frederick. Atlas Performing Arts Center. 1333 H St. NE. To Oct. 1. $20–$30. (202) 399-7993. atlasarts.org. skeleton CRew Set in one of Detroit’s last autostamping plant, this play follows a close-knit family of workers who must figure out the lengths they’ll go to to survive as rumors start to echo through the factory. Patricia McGregor directs this drama written by Detroit native Dominique Morisseau. Studio Theatre.

1501 14th St. NW. To Oct. 8. $20–$85. (202) 332-3300. studiotheatre.org.

the wIzaRd of hIp After nearly 30 years, this musical coming-of-age tale from Thomas W. Jones II returns to MetroStage. As the central character tries to figure out what’s “hip,” he learns to find his place in the world as he explores issues related to class, gender, and race. MetroStage. 1201 N. Royal St., Alexandria. To Sept. 17. $55–$60. (703) 548-9044. metrostage.org. woRd beCoMes flesh As a father waits for his son to be born, he begins communicating with the child and chronicling his emotions. Theater Alliance opens its 2017/2018 season with a remounting of its awardwinning production of this Marc Bamuthi Joseph.

Anacostia Playhouse. 2020 Shannon Place SE. To Oct. 8. $30–$40. (202) 290-2328. anacostiaplayhouse.com.

Film

hoMe aGaIn Reese Witherspoon plays a single mother who takes in three young men as roommates in this comedy from Hallie Meyers-Shyer. Co-starring Reid Scott, Michael Sheen, and Lake Bell. (See washingtoncitypaper.com for venue information)

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It A murderous clown terrifies the children of a small Maine town in this adaptation of the 1986 Stephen King novel. Directed by Andy Muschietti, the film stars Bill Skarsgård and Jaeden Lieberher. (See washingtoncitypaper.com for venue information)

washingtoncitypaper.com september 8, 2017 37

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NOTICE: FOR REQUEST FOR PROPOSAL D.C. Bilingual Public Charter School in accordance with section 2204(c) of the District of Columbia School Reform Act of 1995 solicits proposals for vendors to provide the following services for SY17.18: •Maintenance & Repair Services •Security/Traffi c Services •IT Support Services Proposal Submission A Portable Document Format (pdf) election version of your proposal must be received by the school no later than 4:00 p.m.

EST on Wednesday, September 18, 2017. Proposals should be emailed to bids@dcbilingual.org No phone call submission or late responses please. Interviews, samples, demonstrations will be scheduled at our request after the review of the proposals only.

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

You may contact the Classifieds Rep by e-mailing classifieds@washingtoncitypaper. com or calling 202-650-6926.

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CITYPAPER WASHINGTON

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HOUSE FOR SALE. Gorgeous 4 BD 3.5 BA in the great community of Hillcrest.

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Rare, attached 2-car garage and large driveway. House is 9 years young. $654,900.

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Apartments for Rent $1400/mo. incl. utils. Spacious Basement in single family home.

Silver Spring, MD. Near shopping, Metro, I-495 Beltway. 1BR, full bath, rec room, private entrance, parking, nonsmoker pets ok. 240338-7437, dichtb40@gmail.com.

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