Washington City Paper (September 18, 2015) by Washington City Paper

CITYPAPER WashiNgtoN

INSIDE: FALL ARTS GUIDE

Free Volume 35, No. 38 WashiNgtoNCityPaPer.Com sePtember 18–24, 2015

“If we hadn’t been part of the Smithsonian, we would’ve gone the way of the Corcoran.”

Melissa Chiu takes over the Hirshhorn. 16 By Kriston Capps pHotograpHs By Darrow MontgoMery

2 september 18, 2015 washingtoncitypaper.com

INSIDE 16 the

hirshhorn’s next chapter Can Melissa Chiu guide D.C.’s arts giant toward a secure future? By kriston capps photographs By darrow montgomery

4 chatter District Line

7 Loose Lips: Is the PepcoExelon merger really dead? 10 City Desk: To pope or not to pope, ask for directions 11 Gear Prudence 12 Unobstructed View 14 Savage Love 15 Straight Dope 24 Buy D.C.

D.c. FeeD

27 Young & Hungry: Newcomer Bad Saint shrugs off trends 30 Grazer: Can you tell a memegenerated dish from a real one? 30 Brew In Town: Atlas Brew Works’ Wet Hop American Summer 30 Are You Gonna Eat That? Pig Lip Tacos at Taqueria La Placita

arts

33 Theater: Heroism and body shame, in images 35 Arts Desk: What to see at the Women’s Voices Theater Festival 36 Short Subjects: Gittell on The Black Panthers and Olszewski on Jeremy Scott 38 Curtain Calls: Paarlberg on Yerma 39 Sketches: Capps on “Palmyra” at Arthur M. Sackler Gallery

city List 43 48 49 49 51

Music Galleries Dance Theater Film

53 cLassiFieDs Diversions 54 Dirt Farm 55 Crossword

on the cover Photograph by Darrow Montgomery

“

I felt I’m already so outrageous and strange as It Is, why would I exacerbate that at all? —Page27

”

washingtoncitypaper.com september 18, 2015 3

CHATTER

Time Travel to Fun!

In which readers debate Vision Zero and D.C. driving habits

Zero Vision?

Last week’s cover package on pedestrian and cyclist safety in D.C. (“The Walking Dread,” Sept. 11) included a piece by staff writer Andrew Giambrone on Vision Zero, an initiative to end traffic fatalities in the District by 2024. Readers were dubious. Commenter Northwesterner said that the problem is NEAR ANNAPOLIS, clearly… zombies? “Twice when IN CROWNSVILLE, MD my car got hit the drivers were dead-eyed idiots. One deliveryman, drawling like he was from Charles County, greasy clothes and unclean hair, gripping some Saturdays & Sundays odd communication device where he probably asked homeowners through October 25th to sign. You could neither reason 10 am - 7 pm with him nor expect him to reaRain or Shine sonably pay attention to the road. Another time, a young adult, maybe not high right then, but who had the slack-jawed look of someone who got high plenty, also incapable and incompetent of really, truly, paying attention to what they were doils. Visit Our Website for deta ing, clearly a product of Mayor Barry’s Washington, DC. If DC wants to stop car accidents from them, they need to keep everyone who dropped out of school and smoked the love boat, played xbox all afternoon, and never got a job outside of Barry’s job program from getting driver’s licenses. As long as that’s part of DC, there will be car accidents in DC.” Got it. So no more deliveries or slacker teenagers. Anybody else? Not Telling? “Removing visusigns, plus lane-changing schemes that are unfamiliar to al clutter would also help tremendously. There’s too much most drivers in the world, plus worrying about what all the to look at on most roads in DC--dozens upon dozens of road

Maryland Renaissance Festival

Last Weekend to Save At the Gate!

d NyO lan

Mar

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other drivers are doing. A driver is almost guaranteed to miss something. Sadly sometimes that something is a pedestrian.” So it’s the roads that have been inducing ADD? We’ll have some Ritalin to go with our bike lanes. Or wait! Maybe blame cell phones? Yeah, let’s try that. CN “Would love it if DC police would enforce the cell phone laws, or even if we could get some more signs reminding drivers about the cell phone laws. The number of people I see talking on the phone or texting is just ridiculous.” Meanwhile Gene thinks the biggest problem are the bikes. “I have yet to see one DC Police Officer give a ticket to a bicyclist for breaking the law. I’m tired of looking for blind sites to see what some nut case bicyclist does. ARE YOU LISTEN DC POLICE?” All our base will belong to Gene someday. JM, meanwhile, laments that it’s really too difficult NOT to hit people with one’s car when one is trying to get around the city as quickly as possible. “One issue is that the city has made it so onerous to drive a car efficiently, that drivers get frustrated and speed just to beat the myriad of ill timed red lights.” The struggle is real. JM’s solution: just go the separate-but-equal route. “Rather than continuing to wage war on drivers, I’d like to see the District better separate autos from bikes and pedestrians. Some major arterials (NY Ave, North Capitol) should be preserved as high-throughput “expressways” for vehicles. Other roads should have personal cars banned completely and be pre—Steve Cavendish served for bikes and buses.”

BIG SAV INGS AT THE GATE THROUGH SEPT. 13TH!

OPE ! N com ance Fe s t i va l .

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

puBliSher eMeriTuS: Amy Austin iNTeriM puBliSher: Eric norwood ediTor: stEVE cAVEndisH MANAGiNG ediTorS: Emily q. HAzzArd, sArAH AnnE HugHEs food ediTor: jEssicA sidmAn CiTy liGhTS ediTor: cArolinE jonEs STAff wriTerS: AndrEw giAmbronE, will sommEr STAff phoToGrApher: dArrow montgomEry CoNTriBuTiNG wriTerS: jEffrEy AndErson, jonEttA rosE bArrAs, EricA brucE, sopHiA busHong, Kriston cApps, rilEy crogHAn, jEffry cudlin, Erin dEVinE, sAdiE dingfEldEr, mAtt dunn, noAH gittEll, ElEnA gouKAssiAn, trEy grAHAm, lAurA HAyEs, louis jAcobson, AmritA KHAlid, stEVE KiViAt, cHris KlimEK, mAEVE mcdErmott, cHristinE mAcdonAld, mArcus j. moorE, justin moyEr, triciA olszEwsKi, miKE pAArlbErg, tim rEgAn, rEbEccA j. ritzEl, jordAn-mAriE smitH, mAtt tErl, tAmmy tucK, nAtAliE VillAcortA, KAArin VEmbAr, jonEllE wAlKEr, Emily wAlz, joE wArminsKy, micHAEl j. wEst, brAndon wu iNTerN: tAtiAnA cirisAno, cunEyt dil, frEddy rodriguEz oNliNe developer: zAcH rAusnitz direCTor of AudieNCe developMeNT: sArA dicK SAleS MANAGer: nicHolAs diblAsio SeNior ACCouNT exeCuTiveS: mElAniE bAbb, joE HicKling, ArlEnE KAminsKy, AliciA mErritt ACCouNT exeCuTiveS: stu KElly, cHAd VAlE SAleS operATioNS MANAGer: HEAtHEr mcAndrEws SAleS ANd MArkeTiNG ASSoCiATe: cHloE fEdynA CreATive direCTor: jAndos rotHstEin ArT direCTor: lAurEn HEnEgHAn CreATive ServiCeS MANAGer: brAndon yAtEs GrAphiC deSiGNer: lisA dEloAcH operATioNS direCTor: jEff boswEll SeNior SAleS operATioN ANd produCTioN CoordiNATor: jAnE mArtinAcHE SouThCoMM: Chief exeCuTive offiCer: cHris fErrEll Chief fiNANCiAl offiCer: Ed tEArmAn exeCuTive viCe preSideNT of diGiTAl & SupporT ServiCeS: blAir joHnson direCTor of fiNANCiAl plANNiNG & ANAlySiS: cArlA simon viCe preSideNT of produCTioN operATioNS: curt pordEs Group puBliSher: Eric norwood CoNTroller: todd pAtton CreATive direCTor: HEAtHEr piErcE loCAl AdverTiSiNG: (202) 332-2100, fAx: (202) 618-3959, Ads@wAsHingtoncitypApEr.com vol. 35, No. 38, SepT. 18–24, 2015 wAsHington city pApEr is publisHEd EVEry wEEK And is locAtEd At 1400 EyE st. nw, suitE 900, wAsHington, d.c. 20005. cAlEndAr submissions ArE wElcomEd; tHEy must bE rEcEiVEd 10 dAys bEforE publicAtion. u.s. subscriptions ArE AVAilAblE for $250 pEr yEAr. issuE will ArriVE sEVErAl dAys AftEr publicAtion. bAcK issuEs of tHE pAst fiVE wEEKs ArE AVAilAblE At tHE officE for $1 ($5 for oldEr issuEs). bAcK issuEs ArE AVAilAblE by mAil for $5. mAKE cHEcKs pAyAblE to wAsHington city pApEr or cAll for morE options. © 2015 All rigHts rEsErVEd. no pArt of tHis publicAtion mAy bE rEproducEd witHout tHE writtEn pErmission of tHE Editor.

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Lead can be found in dust, on toys, in paint, and in water. The only way to know if your child is being exposed is to get tested twice, by the age of two.

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6 september 18, 2015 washingtoncitypaper.com

DISTRICTLINE Loose Lips

90% D.C. will Cover

of the cost of a new Wizards practice facility at St. Elizabeths.

washingtoncitypaper.com/go/WizArena

By Will Sommer

Nuclear Fallout

Darrow Montgomery/File

Activists try to stop the takeover of Pepco by Exelon. Again.

On Thursday, a smattering of activists, councilmembers, and non-profit types will head to Freedom Plaza to protest something that the District has heard a lot about lately: the takeover of local power utility Pepco by Chicago-based power company Exelon. The two power companies, meanwhile, have continued their campaign of radio and newspaper ads in favor of the merger. Wait, what month is it? Wasn’t this resolved in August? LL can’t blame you if you thought that the Pepco takeover fight—somehow both surprising and inscrutable—was over when the District’s Public Service Commission made a surprise ruling against it in August. But a $6.8 billion business deal isn’t going to go away that quietly. While the PSC ruling seemed to put the kibosh on an agreement which other state commissions had already approved, Pepco and Exelon still had 30 days to appeal the ruling, with a potential court appeal after that. The two companies tell LL that they plan to file an appeal before the 30-day period runs out. The activists’ arguments against the merger have remained the same, although they’ve now been bolstered by hearing PSC echo their concerns. Green activists fret that Exelon will keep Pepco from focusing on renewable energy. Cash-conscious power customers (like the Apartment and Office Building Association real estate trade group) think it’ll mean higher rates as Exelon looks to fund its fleet of aging nuclear plants. This time, though, merger opponents are focused not on the PSC, but on a new target: Mayor Muriel Bowser. Thursday’s rally in front of Bowser’s office in the Wilson Building is aimed at convincing the mayor not to sign on to a settlement agreement that may or may not actually exist. The final decision lies with the PSC, not with Bowser. But if Pepco and Exelon can win her over as a potential stakeholder, presumably with the offer of more money for low-income ratepayers and improved infrastructure, they could appeal to the PSC that the District government is now supportive of the takeover. Bowser’s backing for the merger could also convince other stakeholder groups to change their mind and back it, instead. “Our understanding is now, after the fact, Pepco and Exelon are going to the mayor and

washingtoncitypaper.com september 18, 2015 7

DISTRICTLINE City Desk

trying to cut a behind-the-scenes deal,” says Anya Schoolman, the executive director of the Community Power Network, a green energy organization. If the settlement offer does exist, though, its opponents are having trouble finding out what the terms are. Bowser spokesman Michael Czin declined to comment about the possibility of a settlement. When LL asked the power companies if they had made a settlement offer to the administration, Pepco and Exelon responded with a joint statement refusing to “discuss the specifics of our merger approach at this time.” “It’s all rumors at this point,” Schoolman says. “You know, we hear vague mentionings.” Indeed, for all the opponents know, Bowser might feed any settlement agreement directly into a shredder. After the PSC decided against the merger last month, Bowser’s office issued a statement saying she supported the ruling to block the takeover. Since then, the mayor hasn’t said anything—at least publicly—to suggest she’s changed her mind.

“Our understanding is now... Pepco and Exelon are going to the mayor and trying to cut a behind-the-scenes deal.” In the end, opponents’ best defense against the merger might not be a Freedom Plaza protest, but the self-interest of the four states involved in the deal. If Bowser and the District cuts too good a deal, commissions in states like Virginia, Maryland, Delaware, and New Jersey might throw their own deals with Exelon into chaos by trying to extract more concessions. “If Exelon [were] to come to the table with a bigger package deal on the consumer investment fund, that would be problem-

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atic for the other states that have already signed off on the deal,” says Allison Fisher, climate and energy outreach director at Public Citizen. Still, Pepco and Exelon aren’t giving up just yet. Along with a series of radio ads, the two companies paid for a full-page ad in the Washington Post Tuesday making the case for the merger. Signed by District heavies like Greater Washington Board of Trade boss Jim Dinegar, D.C. Chamber of Commerce President Harry Wingo, and

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Got a tip for LL? Send suggestions to lips@ washingtoncitypaper.com. Or call (202) 650-6925.

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former mayor-turned-Federal City Council CEO Tony Williams, the ad promises quicker reactions to storm outages if the merger goes through. Activists also fret about Pepco’s influence in and around the administration. Former top Pepco exec Beverly Perry works as one of Bowser’s most influential staffers as senior advisor. Former Pepco exec Vincent Orange, meanwhile, now serves as an at-large councilmember with a committee portfolio that includes his old employer. Despite their PSC setback, Pepco and Exelon are no slouches when it comes to influencing the Wilson Building. Pepco’s influence in the District government was enough, for example, to gut Ward 3 Councilmember Mary Cheh’s plan to study a publicly-owned alternative to the company earlier this year. Now activists are left hoping that lobbying won’t extend to a settlement with Bowser— CP if the deal exists at all.

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washingtoncitypaper.com september 18, 2015 9

DISTRICTLINE City Desk

Tomorrow’s history today: This was the week that vaping became illegal on National Park Service land where smoking was already prohibited

PoPe or NoPe

The world’s most popular Catholic arrives in D.C. next Tuesday for a three-day trip, during which he will meet with President Obama, celebrate his first Mass on U.S. soil, and deliver remarks to a joint session of Congress. Pope Francis will also participate in a Popemobile parade next to the White House, around the Ellipse. Borrowing from Beyoncé, we ask: Can you see his halo...? Or, if you don’t want to see Francis and the massive crowds he’ll surely draw: How can you not? Here is an annotated version of Francis’ public schedule, with tips on how to spot or avoid him. —Andrew Giambrone

TuesdAy, sepT. 22

WedNesdAy, sepT. 23

4 p.m.

9:15 a.m.

The former cardinal’s plane lands at Andrews Air Force Base in Maryland. No events are scheduled, but Francis will head to the Vatican Embassy (a.k.a. the Apostolic Nunciature of the Holy See), near the Naval Observatory. Parts of Massachusetts Avenue NW are closed for all three days.

Pope Francis visits President Obama at the White House, where they’ll discuss social issues, including economic opportunity, environmentalism, religious freedom, and immigration.

pOpe: No Pope for you! (But you’ll likely hear his motorcade heading northwest through D.C.)

pOpe: This State Arrival Ceremony will occur on the South Lawn (there’ll even be a red carpet), but, again, you likely won’t get to see His Excellency through thousands of invited state-guests.

NOpe: Avoid northbound Massachusetts Avenue between Observatory Circle South and 34th Place NW. If you must travel south on that road, it’ll be open between 34th and Waterside Drive.

NOpe: A large swath of downtown D.C. will be closed to traffic, in part bounded by I Street NW, 7th St. SW, Independence Avenue SW, and 23rd Street NW. Telework if you can—many Feds will be doing so.

Darrow MontgoMery

11 a.m. Parade time! Il Papa will be in the Popemobile between the Ellipse and a slice of the National Mall. This is the average person’s best opportunity to see him: It’s publicly open. pOpe: Get to the area EARLY. Security gates open at 4 a.m.; entrance is first-come, first-served. Nearby Metro stations include Farragut West/North, McPherson Square, and Federal Triangle. NOpe: If you’re driving near the Mall, you’ll have to take alternative routes like 12th Street SW (north), Independence Avenue SW (east), 23rd Street NW (north), and the 3rd Street Tunnel (north). 12:01 p.m. Francis will lead a midday prayer with U.S. Bishops at the Cathedral of St. Matthew. pOpe: This is likely to be a private event, so your chances of seeing the Pope are slim at best. NOpe: A triangle bounded by M Street, 17th Street, and Rhode Island Avenue NW will be shut. 4:15 p.m. The Pope will deliver a canonization Mass for Junípero Serra at the Basilica of the National Shrine of the Immaculate Conception, in Brookland. It will be his first Mass in the U.S.

600 BLOCK OF H STREET NW, SEPT. 10. 10 september 18, 2015 washingtoncitypaper.com

pOpe: You need one of 25,000 tickets for this one; as the Mass will be given in Spanish, they’re mostly going to the District’s Hispanic Catholic community via local parishes and charities. The Brookland Metro station—which will be exit-only before the event—can only process about 4,500 riders an hour, so transit officials are encouraging worshippers to get off at adjacent stops, where shuttle bus service, including Circulators diverted from the Mall, will be available. The D.C. Archdiocese will broadcast the Mass on Jumbotrons near the intersection of 15th Street and Constitution Ave. NOpe: The area immediately surrounding the basilica—partially bounded by Taylor Street, John McCormack Drive, Michigan Avenue, and North Capitol Street NE—will be closed, as will parts of 4th Street NE. Detours will run in both directions along Franklin Street and 12th Street NE. ThursdAy, sepT. 24 10 a.m. Pope Francis will deliver an address to a joint meeting of Congress—the first time a reigning pope will have addressed the body. pOpe: The Pope’s speech will air live on a screen on the West Front of the Capitol Building. NOpe: Stay away from the dome: A three-block radius around the Capitol will be closed, except for the 3rd Street Tunnel, which will permit northbound traffic. Southwest Freeway will remain open in both directions. 11:15 a.m. Francis will be whisked to St. Patrick’s Church to give a blessing and serve the poor. pOpe: The event will likely be closed to public access, but, hey, we can’t stop you from trying to catch a glipse. NOpe: A rectangle around the church, bordered by F, H, 10th, and 9th streets NW, will closed. 4 p.m. Pope Francis departs for New York from Andrews Air Force Base.

Gear Prudence: My boss has always been very caring and supportive and has always looked out for me, professionally and personally. I’ve started biking to work recently and try to ride every day when the weather is nice. A few weeks ago, there was a serious afternoon storm predicted, and knowing this, my boss told me that I should leave early to avoid it, which I did. As I was packing up my stuff and heading out the door, I got the impression that my colleagues thought that I was getting special treatment and now I’m worried that they secretly hate me. I don’t want that, but I also really hate riding in thunderstorms and didn’t want to turn down such a kind offer. What do I do?! —Exceptional Ask, Rain Loathed, Y’all Dear EARLY: Great news! You don’t have to worry about your colleagues secretly hating you because you left early. Given the close relationship with your boss that you describe, it’s likely that they’ve secretly hated you long before you ducked out to beat the rain. Certainly this isn’t the first instance of favoritism, and they’re probably used to it by now. You have two choices going forward: politely decline the offer, staying until closing time and either riding home in the rain (remember lights) or getting home by different means; or you could embrace your heel turn with gusto and seek ever-increasing accommodation for your choice to bike commute. With any precipitation on the horizon, boldly announce to your boss that you’ll need to peace out at lunchtime. If she’s on board, proudly proclaim it to the rest of the office. Just remember to wear a helmet when you —GP tell them. Gear Prudence: Is biking drunk illegal in D.C.? —Safe Or Troubled? Asking for a friend. Dear SOT: While legal in many jurisdictions, it is not legal to bike drunk in D.C. This was affirmed in a 2010 ruling by the D.C. Court of Appeals on the basis of a 1925 law. While not nearly as potentially destructive as drunk driving, it’s still a pretty terrible idea, and there are likely other, better options for getting where you’re going. (That is, unless you are in a Roger Thornhill mistaken-identity situation, have been plied with bourbon against your will, and a bicycle is the only means of escape from a cabal of kidnappers.) If you’ve imbibed too much, it’s considerably less risky to leave your bike locked up somewhere (email yourself the location so you know where to come back) than to chance —GP the illegal and ill-advised ride. Gear Prudence is Brian McEntee, who tweets @sharrowsDC. Got a question about bicycling? Email gearprudence@washcp.com.

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washingtoncitypaper.com september 18, 2015 11

UNOBSTRUCTEDVIEW UPCOMING EVENTS

Mon. 9/21 at 6:30pm The Suicide of Claire Bishop Carmiel Banasky Sat & Sun, 9/26-9/27 10:00am-5:00pm Crafty Bastards Books, shirts, totes, mugs, and more! Don’t miss the fun! Mon. 9/28 at 6:30pm Asking for It Kate Harding Tues. 9/29 at 6:30pm Hyper Tim Denevi Wed. 9/30 at 6:30pm The Shift Theresa Brown Mon. 10/5 at 6:30pm A Window Opens Elisabeth Egan & Eight Hundred Grapes Laura Dave

Sports, Death, and Twitter By Matt Terl The Nationals’ season collapsed this week, and then their beleaguered reliever broke his hand on a non-existent locker door. Moses Malone, the first player on the Bullets I remember being awed by, died in his sleep at the age of 60. The Maryland football team got humiliated and their coach was introduced to the hot seat two weeks into the season. The Pigskins lost in standard fashion—the QB had more interceptions than TDs—and remain the poster child for dysfunction in a league where the premier team was accused of having conducted a decadelong coordinated cheating racket. Everything is normal in the world of D.C. sports, which is to say that everything is awful. Sometimes, when we’re having a typical run of family frustration—kids fighting, work drama, unexpected car repairs—my wife will send me a link to news of some kind of horrible tragedy with a note like, “I guess we should try to keep things in perspective.” I hate keeping things in perspective. Every type of misery has to have its own lane; you can’t really compare a lineman’s broken ankle with a plane crash, but that doesn’t mean that an injury is cause for celebration. Those of you who tend to agree with that sentiment probably aren’t going to like this column much. During Thursday night’s NFL opener, I got the following text from a friend: “Do you remember watching sports pre-Twitter? It has only been a few seasons, but I don’t.” I don’t either, and for me, that’s one of the greatest improvements in sports since the advent of HD broadcasts. With a well-curated twitter feed, any live TV broadcast becomes a real-time RiffTrax. For live sports, the jokes are interspersed with legitimate instant analysis from genuine experts, commentary from the teams’ beat writers, on-demand highlights (in the form of Vines and gifs), and ingame news updates. For me, I even prefer the sense of fan community on Twitter to the camaraderie in the stadium, probably because one lets me curate who I see while the other requires me to sit in traffic for two hours and burn off the entirety of my Sundays. I went to a funeral on Saturday for a guy named Hayden that I barely knew. He was a friend of my wife’s from middle school, which was why we went to the funeral, but

12 september 18, 2015 washingtoncitypaper.com

I was mainly familiar with him from Twitter, where he went by @MorePlacesToGo. I didn’t know him for real, of course, but in that D.C. Sports Twitter way—he’d respond to tweets, or I’d see him giving Dan Steinberg kudos for something, or he’d favorite things I had tweeted. I could tell he was smart, and that we had a similar sense of humor, and that he was a Georgetown superfan—his sister organized a bittersweet “HOYA! SAXA!” chant at the church service—and that was the bulk of our interaction. He died unexpectedly, and so it was the kind of gut-punch funeral you get when someone dies unexpectedly. As his family told stories, it became eminently clear just how much more there was to this guy than what I had seen on Twitter. He was a baker. He had been trying to visit all 50 states. He had been working in the Pentagon on 9/11. He was a loyal friend. He supported not only his friends, but their friends as well… which, I’m guessing, is the real reason he followed me on Twitter: because I was married to someone he was friends with, not because I offer trenchant insight in 140 characters or less. It’s sometimes hard to remember that there’s more to people than the funny things they write about the Phillies and the fact that they like your jokes. The only time I appeared in City Paper before I started writing this column was because people were being monumental assholes to me on the Internet. I had been writing the official blog for Ashburn’s finest professional football organization for less than two weeks at that point, and a small group of people on the internet had decided to let me know just how poorly I was doing. Then-WCP sports writer Dave McKenna asked to interview me about it. This was 2008, so McKenna was a known irritant but not yet Daniel Snyder’s own personal Nyarlathotep, the Crawling Chaos. I went into the interview tentatively, asking McKenna to try to do right by me. He did, a photo caption reading “lapdog with a laptop” notwithstanding. After a lengthy recounting of the kicking I had been taken that grim first week, McKenna bounces to me, sounding gawpish: “To go from anonymity, nowhere near a public figure, to having hundreds of people, literally hundreds, commenting on you and many not liking you, that was strange,” I said. “It’s weird being on this side of things.” That was me being understated and diplomatic in my first-ever for-print interview. To no one’s surprise, I’m sure, working for that organization isn’t exactly a buffet of joy to begin with, and the relentless barrage of

disdain I received made that first week one of the worst of my life. When people (including, eventually, @MorePlacesToGo) started offering supportive comments instead of offers to “beat the john-fuck out of” me with a bat, it made a real difference in my life. Once I’d found my feet, I spent most of my time in that job trying to, I would claim, “show the players as people.” For the most part, I think I failed at that. I think I did a great job of showing the players as slickly polished, sitcom versions of themselves (for example, anything I wrote about LaRon Landry or Fred Smoot), but only very rarely managed to show them as people. The reason for that is that actual people are kind of boring. You can get away with saying “LOL this pro athlete talks to his kids!!!!!” maybe once a season, but it’s not something that really sustains interest. To a certain extent I don’t think fans even want these people to be quotidian. We want their off-hours to be as iconic (or at least MTV Cribs-esque) as their on-field highlights. But at least with the players, people make an effort to humanize them, even if just through reality shows and bloggers. When Moses Malone dies, there’s an outpouring of grief and at least a few of the memories are about him as a person, or at least as a “person.” When a normal person disappears from your Twitter timeline, it’s very easy not to even mark the absence. There are multiple candidates for what’s causing me to think about this now—the funeral, of course, and the Jewish high holy days (which emphasize starting over and repenting). But it’s also that my Twitter feed is my main way of dealing with the never-ending stream of dreary news from the local sports teams—that’s the lens through which I absorb every PR misstep, on-field meltdown, and kicker unceremoniously getting cut. It’s really easy to make glib comments (as I did last week in this space) about how sports can be a reminder that you will die. In fact, before the wise minds and sharp pens of my editors prevailed, it was a reminder that you will die, probably alone. [Editor’s note: We also almost named this column “One-Dollar Hot Dog, Night” so don’t give us too much credit.] It’s worthwhile to consider that this is actually true, and to keep that in mind when you interact with people—athletes or fans— on the internet. I really do hate keeping things in perspective. CP

Follow Matt on Twitter @matt_terl

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SAVAGELOVE My son, who is almost 30 years old, was married four years ago. He just shared with us that for the last three years, he and his wife have been practicing polyamory. They are committed to their relationship but have each had relationships with both men and women. We are trying to get our heads around this, as we come from a more traditional background (we’ve been married 40 years in a loving and respectful relationship), and we find ourselves feeling very sad. We are accepting and nonjudgmental, just trying to understand how he came to this decision. He feels that to make love “finite,” to love only one person, is “not being true,” and that their kind of relationship prevents dishonesty and is based on truth. He shared that his wife was the first one to broach this idea—and after many deep conversations, he eventually overcame his jealousy and is embracing this practice. They do not have children or plan to have children. I asked my son if he’s happy, and he says he is. —Sad Mama If your son says he’s happy, SM, you should believe him and be happy for him. It’s unfortunate that your son framed the news about his choices and his marriage— which make him happy—in what sounds like a clumsy critique of your choices and your marriage. (If that’s what he did, SM. I’ve only got your characterization of his comments to go on, not a tape recording of them, and it has been my experience that monogamous folks sometimes hear critiques of their choices when we nonmonogamous folks talk about our own choices. “We’re not doing what you’re doing” ≠ “You’re doing it wrong.”) There’s nothing necessarily “finite,” untruthful, limiting, or dishonest about monogamy. If that’s what two people want, SM, and it makes those two people happy, that’s great. Monogamy is what you and your husband wanted, it’s what made you and your husband happy, and it worked for your marriage. You could see your son’s choice to be nonmonogamous as a rejection of everything

Sexsomnia is a real thing— sleepwalking plus sex—but it’s an exceedingly rare thing. you modeled for him, or you could see his choice as modeled on the fundamental bedrock stuff—for lack of a better word—that informed the choice you made. Your son and his wife are doing what they want, they’re doing what makes them happy, and they’re doing what works for their marriage. They’re not doing monogamy (or kids), but they’re doing what’s right for them and what works for them—just like his mom and dad did. There are lots of people out there in happy, fulfilling open/poly relationships, SM, and lots of people out there in happy, fulfilling monogamous relationships. (And there are lots of miserable people in both kinds of relationships.) There are also lots of people in happy, fulfilling monogamous relationships they will one day choose to open, and lots of people in happy, fulfilling nonmonogamous relationships they will one day choose to close. It’s happiness, consent, and mutual respect that matters, not whether a relationship is monogamous or nonmonogamous. If your son is happy, SM, you should be happy for him. But if he states—or clumsily implies—that you and his dad couldn’t be happy because you’re not doing the same thing he and his wife are doing, you tell him

from nonmonogamous me that he’s full of nonmonogamous shit. Two pieces of recommended reading: the book Open: Love, Sex, and Life in an Open Marriage by Jenny Block, and an informative interview poly activist and frequent Savage Lovecast guest Diana Adams did with The Atlantic. But I don’t think you need to do a whole lot of homework about this. Love your son, respect his choices, don’t blame or shame his wife, and be kind to any partners they introduce you to. Having a poly kid is a lot simpler than you think. —Dan Savage Many years ago, what was for me a bizarre sexual incident happened to me, and while I’ve largely laughed it off with no traumatic effects, the incident has always puzzled me. For the record, I’m a straight man in a good, loving marriage with no sexual issues to report. I was off on a golf weekend with a bunch of über-hetero buddies. We stayed in a condo that didn’t have enough beds for everyone, so I ended up sharing a bed with an ex-marine. In the middle of the night, I thought my girlfriend was waking me up with a blowjob, and a damn fine one at that. However, as I gradually became awake, I realized the mouth on my penis wasn’t my girlfriend’s. I called this guy’s name, and— this is the interesting part—he sprang up suddenly, like I just woke him up. I was also a little afraid, because he was a big guy who could have easily pummeled me to death out of embarrassment. But he jumped out of bed, went into the bathroom, and gargled before coming back into bed. Neither of us said a word afterward about what happened. Needless to say, I didn’t sleep too well after that. (And frankly, I was a little offended by the gargling.) So the question is: Can you fellate in your sleep? Can you sleep-blow and still be a straight guy? —Blown Latently One Wild Night Sexsomnia is a real thing—sleepwalking plus sex—but it’s an exceedingly rare thing. Closeted guys are a lot more common, BLOWN,

and guys who seem über-hetero are often more successfully closeted than your lighter-in-the-loafer guys. Three other details lead me to believe this was a crime/blowjob of opportunity: It’s typically pretty difficult to wake a sleepwalker/sleep-blower (it takes more than calling out a name), the skills on display during the incident (it takes practice to give a “damn fine” blowjob), and his actions after he woke up with your dick in his mouth (rushing to the bathroom to gargle) —Dan smack of overcompensation. I have no disagreement with what you said to letter writer WHIFFING (the man who wanted to know how to broach the subject of a female partner’s unpleasant vaginal odor). But I wanted to add something that seems to be largely unknown: A common side effect of long-term SSRI use is that the scent and amount of sweat can change to be offensive and copious. While it’s worth getting checked out if the person is unaware of the cause of an offensive groin smell (it could be a health issue), sometimes the cause turns out to be something the person is not willing to change because of the benefit it brings to their life. I’ve been in this position. Nothing I did to treat the sweating (beta blockers were offered to reduce the amount but couldn’t change the odor) made a difference, and my intimacy with my partner really suffered. We could basically be intimate only after I just showered; it took months for my partner even to bring it up. When I finally discovered the sweating in a list of side effects in a medical app, it was quickly confirmed by my prescriber as common but not talked about because it’s not physically harmful, so other SSRI users may not be aware of the connection. Just wanted to let your other —Shower Power readers know! Good info to have, SP. Thanks for sharing. —Dan Send your Savage Love questions to mail@savagelove.net

10/17/15 14 september 18, 2015 washingtoncitypaper.com

THESTRAIGHTDOPE Well, I wouldn’t waste any more of it on science fiction, Ted. Answer: no. I’m wondering if you’ve seen the old Star Trek episode “The Squire of Gothos,” because you’re not too far from its premise. In the show, the Enterprise crew stumbles on a planet inhabited by a nutty alien called Trelane, whose roughly Napoleonic-era taste in clothing and decor is based on what he somehow believes are up-to-date observations of earth, some 900 light-years away. Trelane also talks like an English country squire circa 1800 (or at least the actor tries to), so I guess he’s supposed to be really good at reading lips through his telescope. Whatever the case, it’s vintage Star Trek: endearing, superficially plausible, but basically nonsense when examined close up. Here in reality, telescopes are imperfect instruments subject to the constraints of physical existence. The planet-bound variety must contend with clouds, haze, dust, atmospheric distortion, and vibration. Even instruments in orbit like the Hubble Space Telescope must gather light that’s passed through trillions of miles of cosmic dust and debris. You say: I know, but surely advanced civilizations with super technology will figure out a way to deal with dust. Ain’t that easy, bubba. Here’s why. Even assuming a clear path between an alien’s telescope and us, the laws of physics put a cap on how much detail a distant observer can see. One indication of this is the diffraction limit, which effectively tells us the distance from which a telescope of a given diameter can distinguish between two objects a given distance apart. This limit is a function of the wavelength of the light conveying the distant image to your eye; shorter wavelengths (as in ultraviolet light) allow finer resolution. For example, if a Hubble-type telescope were anchored on earth and atmospheric interference were nonexistent, the smallest feature it could resolve on the moon would be about 250 feet across. Given the moon’s brightness, additional camera trickery could be employed to essentially double the resolution, meaning objects 125 feet across could be distinguished. To resolve a human-scale object, the Hubble would have to be within 5,360 miles. From

where I sit (Chicago), that’s about the distance to Rio de Janeiro. No problem, you say. I’ll build a bigger telescope. Fine. Let’s suppose (a) the aliens only need to resolve down to 100 feet, enough to track human activity at a gross level (large structures, aircraft carriers, Donald Trump), and (b) they’ve parked their telescope just outside where Pluto’s orbit comes closest to the sun. If it uses visible light, the telescope would have to be 46 miles wide to see details down to 100 feet, ignoring atmospheric haze. Citizens of the Alpha Centauri system, 4.37 light-years distant, would need a visible-light telescope 428,000 miles wide. If we were to switch strictly to UV light to economize, that would reduce the size to a not much more practical 214,000 miles. Can advanced technology get around this problem? Up to a point. A technique called optical interferometry takes what an array of small, widely-spaced telescopes sees and combines it into a single image, in effect sampling what a larger telescope would capture. An array of four one-meter telescopes can achieve the resolving power of a single 330-meter telescope. The current record holder, the Very Large Telescope array in Chile, uses eight connected telescopes to such effect that they could distinguish between the left and right headlights on a car parked on the moon. But the moon’s only about 1.3 light-seconds away. Optical interferometry is designed for use at much greater distances. It doesn’t produce direct images—at extreme ranges, the telescopes simply don’t capture enough photons. Instead, the technology takes precise measurements of the target using the relative handful of photons it does collect, and a computer synthesizes the data into the best visual approximation it can. The resulting images, while scientifically interesting, aren’t much to look at—typically fuzzy blobs. Interferometry works best with bright objects such as stars, which produce lots of photons; nonluminous bodies such as planets aren’t so cooperative. One now-canceled NASA planet-hunting project, the Space Interferometry Mission, would have probed for distant earth-size planets, but wouldn’t have been able to resolve more than a tiny light dot. No surface detail would have been visible. Given the march of progress, no doubt someday we’ll see detail about heavenly bodies 100 light-years distant that by today’s standards will seem astonishing. But making out the furtive scrabblings of dim creatures such as ourselves? Sorry, friend. Won’t happen. —Cecil Adams Slug Signorino

If aliens on a planet 100 light-years away had a really strong telescope with super zoom, could they look at earth and see life as it was 100 years ago? I know they can travel at warp 90 and have cloaking devices so why should they bother when they can get here in five seconds? But say they didn’t. Please answer. I’ve wondered about this for 55 years, and I don’t have as much time left as when I was 11. —Ted Steckley

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“If we hadn’t been part of the Smithsonian, we would’ve gone the way of the Corcoran.” Melissa Chiu takes over the Hirshhorn. By Kriston Capps pHotograpHs By Darrow MontgoMery

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Over the summer,

the director of the Hirshhorn Museum and Sculpture Garden somehow managed to offend an entire city. Last October, when Melissa Chiu took up her post as the Hirshhorn’s new director, she raised eyebrows right off the bat. With her first hire, she appointed a curatorat-large to be based in New York. That’s where Chiu’s husband and daughter live, and where (until recently) she has been stationed, near the epicenter of the contemporary art world. For as long as she’s been with the Hirshhorn, museum watchers have asked whether and when Chiu would move her base of operations from New York to the National Mall. Then, in August, much to the dismay of D.C.’s arts community, she signaled that she’d chosen the dark side: The New York Times reported that the Hirshhorn would host its 40th anniversary gala in New York. Instead of bringing society with her to D.C., the director of the Hirshhorn had decided to move one of the museum’s biggest celebrations ever off of the Mall and out of the city. Few saw eye-to-eye with Chiu’s decision, and many District residents who had no reason to know her name were suddenly saying it through gritted teeth. The Washington Post’s Philip Kennicott put it bluntly: This was a snub. The Times reported that the November 9th party will honor 40 artists who have all played a role in the museum’s growth over four decades, among them Jeff Koons, Anish Kapoor, and Marina Abramović. These 40 artists (and the gala’s 400 guests) will celebrate the Hirshhorn at 4 World Trade Center, at a comfortable remove from the city where the museum is located—and the teachers, docents, members, and viewers who know it best. Yet few of her critics could possibly know the depths of the crisis at D.C.’s favorite bunker. She arrived at a museum in much worse shape than people on the outside knew. The staff was depleted, a result of natural attrition but also chaos over the last few years. Board members had walked off in a highly publicized spat with the previous director, Richard Koshalek, who also resigned. So did the chief curator, Kerry Brougher, who will serve as the inaugural director for the Academy Museum of Motion Pictures in Los Angeles. “The climate was pretty serious,” Chiu says. “The institution just before I came on board was in the red. If we hadn’t been part of the Smithsonian, we would’ve gone the

fixed National Mall viewers during the spring of 2012. (More on those plans in a moment.) But Chiu’s immediate answer to the outcry was less than reassuring.

Does Melissa Chiu hate D.C.? In the words of hometown hero Bryce Harper: That’s a clown question, bro. Her protestations of Natitude notwithstanding, Chiu could be a strong friend to the District and its artists and viewers. There may be some things she doesn’t understand about the city. But there are also things that residents don’t realize about her, and in particular, about her plans for D.C. Chiu insists she can start to put the city’s art on the art-world map by hosting the museum’s 40th birthday in New York— by dissing D.C., even if she insists that this isn’t what she’s doing. Is she right?

way of the Corcoran.” The C-word might’ve shut some people up: District residents are still struggling with psychic trauma from the failure of the Corcoran Gallery of Art. She also could have mentioned that the Archives of American Art and the National Museum of African American Culture and History host fundraiser galas elsewhere (New York and Los Angeles, respectively). The Tate Americas Foundation hosts a major benefit gala in New York every three years and smaller dinners and events in between. Since 1999, the charity has raised more than $100 mil-

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lion for the Tate—the U.K. art institution. Or the director could have appealed to the cold logic of cash. Whereas the ceiling for a gala at the Hirshhorn tops out at around $300,000—including the one that Chiu hosted for the opening of “Shirin Neshat: Facing History”—the museum has raised more than $1 million toward its New York event. (Chiu says that event can raise $1.5 million by the time it’s over.) Frankly, Chiu could’ve shushed a lot of District residents by telling them that the Hirshhorn is doing another “SONG1,” the hyper-popular video projection that trans-

Back in 2003, the artist Bani Abidi commissioned a traditional Pakistani brass pipe band to star in a video project. She asked the street troupe to perform the U.S. national anthem and recorded their well-intentioned efforts. The resulting video piece, “Shan Pipe Band Learns the Star-Spangled Banner,” speaks in squeaks and squawks to the frailty of the U.S.– Pakistani alliance. Abidi’s video was one of the works in “Hanging Fire,” the first-ever U.S. survey of contemporary Pakistani art, an important show that Chiu organized for the Asia Society Museum in New York in 2009. “Hanging Fire” set the stage for an even more difficult test, according to Vishakha Desai, the former president and CEO of the Asia Society. Bringing a collection of Buddhist artworks from Pakistan to the U.S. in 2011—following the raid that killed Osama bin Laden in Abbottabad that year—required Chiu to enlist the help of Pakistan’s ambassador to the United Nations. “It looked like the show was going to completely fall apart,” Desai says. “She handled really problematic negotiations very well. She brought the right people to the table. She knows how to not take no for an answer.”

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Commissioning skronk video art and negotiating with the U.N. are the kind of résumé line-items that stand out in a museum director search. Desai lists “poise” as another one of Chiu’s admirable qualities. Richard Kurin, the Smithsonian’s undersecretary for History, Art, and Culture—who chaired the committee that selected Chiu, as well as the one that picked her predecessor—highlights her scholarship and fundraising prowess. Her international perspective is almost certainly another mark in her favor. She is the first non-American director at the Hirshhorn. Chiu was born and raised in Darwin, in Northern Australia, a place that she says is distinguished mostly for how remote it is. (“You can see Indonesia on a clear day,” Chiu says. “I basically grew up on the beach.”) She was educated in Sydney, where she received a Ph.D. in Chinese art, focusing on contemporary work within the Pacific diaspora. There in Sydney she also founded a grassroots contemporary art center (now known as the 4A Centre for Contemporary Asian Art). “I think the world’s a much bigger place then maybe we thought of it, 40 years on,” Chiu says. Desai brought Chiu to the Asia Society Museum (and to the United States) in 2001. “At that point, very, very few people had a broad-gauge interest or expertise in Chinese or Asian contemporary art,” Desai says. Chiu climbed the ranks quickly: She succeeded Desai as the director of the Asia Society Museum in 2004 and was later named the vice president of global art programs, overseeing Asia Society centers in New York, Houston, and Hong Kong. With Chiu at the helm, “the Hirshhorn has an opportunity to go well beyond where it’s been in the past,” Kurin says. So far, though, the wider world has had to wait. Administrative minutiae has absorbed Chiu’s attention since she arrived. The Hirshhorn’s board was greatly diminished after the high-profile struggle over the plan devised by Koshalek, her predecessor, to build the so-called Bubble—a temporary inflatable pavilion designed by New York architecture firm Diller Scofidio + Renfro. The Bubble sucked up all the oxygen for other Hirshhorn functions. When Chiu arrived, she says, there was just one staff member left in development. “My efforts have been to rebuild the capacity, the internal team, and also put the institution on a firm financial footing,” she says. “So much of what we’ve done in the last 10 months has been in some sense invisible to the public, but essential to the Hirshhorn’s future.” Since starting at the museum, Chiu has filled six senior leadership positions, including a new chief curator (Stéphane Aquin, former curator of contemporary art at the Montreal Museum of Fine Art); director of collections (Sarah Stauderman); and a New York–based director of advancement (Emily Moqtaderi, formerly

“So much of what we’ve done in the last 10 months has been in some sense invisible to the public, but essential to the Hirshhorn’s future.” —Melissa CHiu

of the Asia Society). She has also appointed eight new trustees, nearly doubling the size of the board. Somewhere in there, she put together the Shirin Neshat survey (with assistant curator Melissa Ho). “Looking at where we are 10 months into her tenure, I feel very optimistic about the direction we are going in,” says Dan Sallick, a longtime board member. “We had been through a really difficult time. We lost board members. We lost our director. We lost our chief curator.” Then again, the Hirshhorn’s been in triage mode for at least the last decade. When former director Olga Viso left the concrete donut for the Walker Art Museum in 2005 after two years, then–chief curator Kerry Brougher stepped up as interim director. He returned to that role again when Koshalek resigned after four years in 2013. (Brougher declined to be interviewed for

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this story; Koshalek could not be reached.) Long searches for the next director filled the gaps. The Hirshhorn has endured nearly 10 straight years of rebuilding, and yet by the time Chiu arrived, its future was murky. “Uncertainty goes against the grain of museums,” Chiu says. “We take care of collections.” The Smithsonian gave Chiu immediate stop-gap support in the form of a $1 million advance of discretionary funds to hire staff and build a fundraising apparatus. The Castle also detailed to the museum Elizabeth Duggal, a Smithsonian veteran who has overseen fundraising campaigns that have raised millions for the National Museum of the American Indian and the National Museum of Natural History. (Duggal was made acting deputy director at the Hirshhorn in June 2014 and took on the role officially in February.) So with help from the Smithsonian, Chiu

was able to stop the bleeding. She has not yet, however, been able to demonstrate to what she means to do with her (reasonably) staffed-up museum. “These things take museum time,” she says, “and then there’s Smithsonian time.” Chiu and others at the Hirshhorn discuss the museum’s programmatic agenda in two concrete ways. The first is to expand the museum’s global range. The second is to invent new ways to activate the hard architecture of Gordon Bunshaft’s building. Associate curator Evelyn Hankins is assembling a retrospective on the Light and Space artist Robert Irwin in which an immersive scrim installation will dominate part of the museum. Aquin says he dreams of a sound installation that would occupy an entire 360-degree floor of the museum. “There are no white cubes in this building!” Chiu says. Chiu is an ice skater; when she talks about the Hirshhorn’s next era of exhibitions, she likes to frame it in terms of short program and long program. So far, Washington viewers haven’t seen any of it. She hasn’t taken the ice, if you will. “A lot of people at the Hirshhorn are curious,” says one former staffer who spoke on condition of anonymity. “I think [Chiu] has hit the ground running, but I don’t think she’s let people know her intentions.” That comes next. Plenty of Washingtonians will line up to see what she has in store. Doug Aitken’s “SONG1,” the wrap-around video installation projected onto the facade of the Hirshhorn in 2012, was easily the museum’s most popular program of the last decade—maybe ever—judging by the reaction of crowds, media, and passersby. It always seemed like a piece of unrepeatable magic, a one-time stunt by Aitken (and Koshalek) that would stand out in the city’s collective memory. (Critics didn’t love the piece, by and large, including this one. But we were outnumbered.) It was only a matter of time before someone decided to show “SONG1” again. But the most revolutionary decision that Chiu and Aquin have made so far may be the way they’re treating “SONG1”: less like a moment to be archived, more like a format to be adopted. Instead of dusting off this oneshot piece every couple of decades, the Hirshhorn means to invite artists to make their own “SONG1s” (so to speak) on an annual or seasonal basis. The museum has already invited Christian Marclay to do a projection piece on the surface of the Hirshhorn. Marclay is best known for a video piece called “The Clock” (2010)—a 24-hour film comprising scenes of time (as in clock-faces, alarms, watches, etc.) drawn from popular movies. The moments are stitched together sequentially, so that minute by minute, the film scenes line up with real time, making for a narrative that expresses the frenetic energy of morning rush-hour or the eerie lull of dusk, even as it jumps from movie to movie and genre

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to genre. “The Clock” is a mesmerizing masterpiece that has been shown seemingly in every great American museum except the Hirshhorn. (And it may be joining whatever Marclay creates for the Hirshhorn for 2017, details pending.) “You’d have queues of people going up and down Independence Avenue,” Aquin says. Projections are one plank in Chiu’s short program for the Hirshhorn. The first experiment will happen on Friday, during the (newly resumed) “After Hours” concert and party. This one won’t be an artwork, but rather a social-media platform, more in keeping with the museum’s inaugural happy-hour series or its Friday outdoor yoga classes—both big draws over the summer. Gianni Jetzer, the museum’s curator-atlarge, may lead the charge in quickly bringing new contemporary work to the museum, including “Suspended Animations,” an exhibition that opens in February. Jetzer’s hire promises to bring a lot of energy to the Hirshhorn, but perhaps at a cost. His contract for the Hirshhorn is part time; his extra-curricular projects include “Untitled,” an annual project for Switzerland’s Art Basel art fair. There’s at least an appearance of a conflict of interest in these dual roles: Artists who show at a major museum stand to see their prices rise in the marketplace. Chiu says Jetzer “does not benefit financially” from sales at Basel, but he will have to navigate carefully to avoid any “showand-sell” conflicts. The real risk, however, is that the Hirshhorn will place second for the best artworks. All the curators expect to have a hand in programming the Hirshhorn’s Sculpture Garden, lobby entrance, and plaza. These pavilions (for lack of a better term) won’t feature dazzling music videos like “SONG1” every time—not by any means. Aquin showed me one challenging, unsettling piece by a group he is working to commission. Suffice it to say that if and when it happens, it won’t be a backdrop for goopy first dates. The Hirshhorn will be serving broccoli to go with the ice cream. “Believe me,” he says of the artists involved, “they’re just mindblowing.” Chiu and company have only recently turned to the museum’s long program: research-driven shows which can take anywhere from three to five years to assemble. Curators are working on one such show of artworks responding to the Vietnam War as well as a joint project with the Museum of Fine Arts Houston and the Walker exploring Cuban art from 1950 to the present day. The museum’s acquisitions push also reflects its global ambitions: Over the last 10 months, the Hirshhorn has acquired significant works by artists from around the world, including Chung Sang-Hwa, Park Seo-bo, Senga Nengudi, and Monir Shahroudy Farmanfarmaian. “The Hirshhorn’s always thought of itself with a national imprimatur,” Chiu says. “What we’re thinking about is how to build a national and international reputation.”

Even the Phillips Collection, a museum that has never substantially revised or expanded its mission, secured financial health at a time when the Hirshhorn found itself struggling and the Corcoran collapsed completely. Assistant Curator Mika Yoshitake is working on show that will potentially pair work by Giuseppe Penone, an Italian conceptualist artist and sculptor, with Kishio Suga, a like-minded installation artist from Japan. By the sound of it, it’s a show that’s unlike anything we’ve seen from the Hirshhorn over the last decade. Chiu explains that museums can draw lines across the world between artists who work in parallel but also in isolation from one another. “What has come to light is that there is this unusual moment for taking stock of the 20th century in a kind of global approach,” Chiu says. “We are eager to include a broader world vision into the museum,” Aquin says, who seems to share his director’s approach to planning shows—something that has not always been true of top Hirshhorn brass. “I’m not against monographic exhibitions,” he adds. “They’re important sometimes to come to terms with what an artist has done. We’ll certainly keep on doing them.” The new dawn at the Hirshhorn has brought a shift in perspective and personnel. It also entails a change in process and approach. If the Hirshhorn can raise funds in New York (or elsewhere) to put on faster, more globally sensitive, more spatially assertive exhibitions in D.C.—then hell, maybe Chiu shouldn’t hesitate to think of D.C. as the Lowest West Side. “The Hirshhorn is the national museum of modern and contemporary art,” Duggal says. “We’re not just a Washington museum. We’re a museum for the nation and for the world.” D.C. isn’t New York rich or L.A. rich. There’s no industry native to D.C. that generates mega-philanthropy or blue-chip sales on the scale of Wall Street or Hollywood. But the D.C. metro area is still plenty wealthy, even after sequestration and the budget stalemates that have racked the de-

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fense and contracting sectors. Moving the museum’s biggest party out of town means missing out on the chance to cultivate those critical donors. “A gala does more than just raise the number at the bottom of a spreadsheet,” says Tyler Green, host of the Modern Art Notes podcast and a prickly pear when it comes to museum administration. “A gala provides the institution with an opportunity to build relationships that quite possibly pay off more in year 1 or 5 or 10 than on day 1.” Money for the arts in D.C. is everywhere, as a matter of fact. Just look to theater: The Studio Theater (to name one) lists hundreds and hundreds of individual supporters on its donor wall, in addition to the usual corporate, government, and foundation sources. Even the Phillips Collection, a museum that has never substantially revised or expanded its mission, managed to secure its financial health at a time when the Hirshhorn found itself struggling and the Corcoran collapsed completely. “The whole idea that there is something about Washington, D.C., that is different, that you can’t raise money here, is leftover thinking from the 1970s or something,” Green says. Yet while the Hirshhorn’s development office (currently a staff of four) is based at the museum, the director of museum giving (Moqtaderi, formerly of the Asia Society and most recently of the Pratt Institute) works in New York. Lisa Gold, the director of public engagement at the Hirshhorn—and until recently the director of the Washington Project for the Arts—may be the person to sherpa the museum toward a role that’s more responsive or relevant to the local arts community. Chiu hired Gold in July, making her the Hirshhorn’s latest hire. Her role at the museum is both brand new and not yet set in stone. “When [Melissa and I] talked, I said, ‘There is a real opportunity to step in after

the demise of the Corcoran,’ and we talked a lot about that, and the role that the Hirshhorn could play,” Gold says. “That’s where my strength is, in connecting with people and organizations and artists and collectors—people here.” There are some local outreach plans in the works. Chiu mentions the museum’s new collaborations with George Washington University and the Goethe-Institut. The Hirshhorn’s partnerships will be few but strong. (“For a staff this size, those oneoff events take a lot of time and are not always sustainable,” Chiu says.) Looking beyond November, another fancy dinner isn’t really what the District needs. (Let’s be real: virtually no one who felt dissed by Chiu’s decision was ever going to be invited in the first place.) The way that Chiu could do right by D.C. is fulfill a real term at the Hirshhorn—to stick around the city (and her Penn Quarter apartment) for at least five years. Some of the roles a Hirshhorn director can and should inhabit will only become apparent once she’s a real resident. “If you think about Dallas or Denver or Seattle, the directors of the major art museums play a civic role,” Green says. “That is a role that no art museum director has fulfilled [in D.C.] since Carter Brown left the National Gallery [in 1992]. One of the opportunities for a Hirshhorn director is to play that role in Washington. So you won’t have [Mayor] Muriel Bowser undoing deals with kunsthalles that her predecessor made.” Green refers to Bowser’s decision in February to break a pledge made by former Mayor Vince Gray’s administration to Dani Levinas, an art collector and businessman. The deal granted him the old, historic, and thoroughly historic-preservation-ed out Franklin School to serve as the funky headquarters of the Institute for Contemporary Expression, a would-be contemporary-arts venue. Bowser didn’t see the value in it. Who was here to tell her? “The Hirshhorn can and should play a role in the community, and I think [the museum] will,” Gold says. “My whole Rolodex is filled with Washington artists, so we’ll see what that leads to.” It’s probably premature to expect Chiu to lock horns with the mayor before she’s even been at the job for a year. She may never take up the cape and fight City Hall on behalf of the city’s artists. (In fact, the Hirshhorn maintains that any negotiations between the museum and D.C. or Congress must flow through the Castle.) It would be enough, absolutely, for her to do what she’s promised: to find new ways to invite viewers into the Hirshhorn and to seek new ways to connect the museum to the world. She may be focused globally, but she can’t help but live locally some of the time. So far, her gripes about D.C. sound relatable. “If someone can help me get a table at Rose’s Luxury early on in the evening rather than later on in the evening, that would CP be very nice,” she says.

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YOUNG & HUNGRY

Bad Saint Goes Marching In D.C.’s trendiest new Filipino restaurant isn’t interested in being part of a trend. By Jessica Sidman The bitter melon salad at Bad Saint does not mess around. More acerbic than coffee with the added saltiness of preserved black bean, the Filipino dish with soft pieces of egg and crunchy bits of fried shallots makes no apologies or compromises to the American palate. If you aren’t familiar with Filipino food, other new tastes might include ukoy, battered and fried strands of sweet potato, leeks, and mini shrimp whose beady black eyes peek out from the crunchy tangle, begging you to drag them through the sour dipping sauce. Another specialty that ran out early on a recent weekend: a grilled tuna jaw with sweet tender meat clinging to its boomerang-shaped bone. The dish tastes like a pork rib of the sea—its richness countered by a squeeze of lemon and sea salt imported from the Phillipines. Already, people have been lining up to try dishes like these at the no-reservations, 25-seat Filipino spot, which opened just last week at 3226 11th St. NW in Columbia Heights. These often pungent, funky flavors are totally “in,” after all. But owners Genevieve Villamora and Nick Pimentel chuckle when asked about Filipino cuisine being called trendy or “D.C.’s next ‘It’ cuisine,” as Zagat recently dubbed it. Growing up in the suburbs of Chicago and Baltimore, respectively, their native food was anything but. “It was really, for me, hard to share the flavors with other people,” Pimentel says. “It’s a cuisine that’s really hard to describe.” It’s easy to see why: the food is a melange of sweet, sour, and salty flavors with influences from throughout Southeast Asia, Spain, China, and beyond. And it’s not the kind of food that kids with peanut butter and jelly sandwiches in their lunchboxes tend to embrace. “I felt almost protective of it,” Villamora says. “I loved it so much that I didn’t want to see or hear other people say anything bad about it. And so to prevent that from happen-

Genevieve Villamora, Tom Cunanan, and Nick Pimental ing, I just didn’t share it with them. It was almost too painful… I felt I’m already so outrageous and strange as it is, why would I exacerbate that at all?” Chef Tom Cunanan likewise shared that experience:

“I’d have friends who come over, they see tripe, they see intestines, they see the odds and ends, and they smell the vinegar that’s cooking over on the stove. It’s just like, ‘Oh my god, what is that smell?’” he says. “You’re just like, ‘Oh, it’s Filipino food.” But within just the past year, Filipino dishes have popped up on a number of local menus. Alexandria fine dining spot Restaurant Eve now serves a Filipino-Asian tasting menu alongside its regular one, and Mount Pleasant’s Purple Patch offers Filipino specialties next to burgers and a macaroni gratinée. Meanwhile, 14th Street’s Provision No. 14 features a braised then deep-fried whole pork leg called pata, and Bethesda’s Urban Heights serves chicken adobo and egg roll-like lumpia on its Asian-Pacific menu. A popup called Kayle is bringing even more Filipino recipes to EatsPlace through January 2016. Bad Saint, however, is the first full-time restaurant in the District devoted exclusively to Filipino food. Cool, Villamora says, but not their motivation for opening the place. “It’s more how do we do the food justice... If anything the pressure that comes from being among the first, it’s a responsibility. A lot of people haven’t had Filipino food before and if we mess this up, they might never want to eat it again,” she says with a laugh. Before getting into restaurants, Villamora spent a decade working for a range of social justice nonprofits. When she decided she wanted a break, she got a job at Big Bear Cafe to figure out her next move. “That was eight years ago,” says Villamora. She stayed in the industry working front-of-house gigs at Komi, Little Serow, and Room 11, where she met Pimentel, who’s an owner in the Columbia Heights restaurant and has helped design a number of other bars and eateries. Room 11 is also where Pimentel was introduced to Cunanan, who was looking to get a job there as chef in 2012. He ultimately didn’t get hired, but because of their Filipino connection, Pimentel kept his contact info. An alum of Ardeo + Bardeo, Vidalia, Nopa Kitchen + Bar, and other kitchens, Cunanan ran a part-time catering company focusing on Filipino food at the suggestion of his mom. “She’s a phenomenal cook, and she was always giving me recipes, writDarrow Montgomery

DCFEED

Such a thing as rosé cider exists, and it’s coming to The Red Hen.

washingtoncitypaper.com september 18, 2015 27

28 september 18, 2015 washingtoncitypaper.com

DCFEED(cont.) ing stuff down for me,” he says. In early 2013, Pimentel went to a wedding in New York where he ran into some old family friends. They told him that Filipino food was “exploding” in New York, and two restaurants, Maharlika and Jeepney, even had lines to get in. “I’m like, ‘Huh?’ It got me really intrigued,” Pimentel says. The next day he visited both of them. “I saw my generation of Filipinos doing something really cool in these really rad spaces,” he says. When he got back, he told Villamora he wanted to open up a Filipino restaurant. “I was freaking out when he said it, because I had been following Filipino restaurants across the country just on my own,” she says. She was so into following them that she kept a file of various Filipino restaurants from Los Angeles to Chicago. Villamora credits the rise of Filipino cuisine in America to a new generation of second generation immigrants returning to their roots through food. The trend isn’t necessarily exclusive to Filipinos. Plenty of chefs and restaurateurs are now taking a fresh look at the cooking of their heritage. For example, Minibar alum and chef Katsuya Fukushima embraced his Japanese background with the opening of Daikaya, and the owners of French restaurants Café Bonaparte and Malmaison channeled their Afghan roots in their new Adams Morgan restaurant, Lapis. Villamora points out that when an immigrant community arrives in a new country, preparing food is something they can easily do without having to speak the language. So maybe

they open a little mom-and-pop restaurant to pay the bills. But as the community becomes more established, that’s not the only way to earn a living anymore. “We’re not that mom-and-pop generation, because we’ve had opportunities and we’ve had the chance to have other jobs,” Villamora says. “And so our approach to having a restaurant is really different because we’ve worked in the industry and other mainstream places. And I think this is happening across the board with Filipinos.” At the same time, representing Filipino food as a whole is almost an impossible job. After all, the archipelago is made up of a fragmentation of languages, religions, and cultures. The country is defined by its intense regionalism, and that’s also reflected in the food. One of Villamora’s favorite dishes growing up, for example, consisted of crabs cooked in coconut milk with ginger, lemongrass, greens, and chilies. Her husband, who’s also Filipino, had never seen or heard of it before. “You could grow up thinking, ‘Oh yeah, my family, we cook legit Filipino food. This is what all Filipinos eat.’ And then you meet another Filipino, and they don’t eat anything you ate growing up,” she says. That’s been true of Cunanan, Villamora, and Pimentel, who all grew up with different dishes as our Filipino staples. The menu is amalgamation of their experiences. The decor of Bad Saint is also highly personal, and much of the knick-knacks and art that fill the dining room’s nooks and crannies are borrowed from the owners’ families. “My mom doesn’t know that I have half of this stuff,” says Pimentel, who also recently designed interiors at Crane & Turtle and Petworth Citizen. Bad Saint has created a shrine on a top shelf in the dining room, an homage to Filipino homes that have a family altar with photos of relatives, a candle, a prayer card, or maybe a statue of the virgin Mary or the baby Jesus.

There are photos of both of Villamora’s sets of grandparents on their wedding days, as well as photos that some servers have contributed of their own families. The restrooms are a different kind of shrine. Growing up in the ’80s, Pimentel would trade punk cassette tapes with kids in the Philippines. He scanned copies of the zines that they would send with their tapes and blown up the images on the bathroom walls. Other tributes to Filipino culture might be less obvious to the casual observer. The ceiling is made up of sheets of rusted steel whose cutout patterns mimic rare woven baskets from Mindanao, an Island in the Philippines where Pimentel’s father is from. Meanwhile, a ridge between the windows and the counter seating is lined with 1940s Mahjong tiles made of bamboo and bone. “Filipinos love to play Mahjong. It’s like a total addiction,” Villamora says. “I can hear the sound of the tiles click-clacking from parties that I grew up going to as a kid… There’d always be some smokey little room in the basement where the adults were eating pork rinds and smoking and playing Mahjong and drinking beer. And the kids were not allowed in there, but we’d always peek in there.” All of which is to say the place doesn’t look “hip.” It’s cozy. From the smoke that fills the air from the woks in the open kitchen to the cramped dining counters, the place is meant to feel more like you’re stepping into someone’s home rather than the city’s coolest new restaurant. Trendy is not what Villamora and Pimentel are going for. “I don’t think we want to be another trend. We want to be around for a while… People are always chasing the next new thing, and so it’s easy enough to have a line for three months,” Villamora says. “But we have our eye on the long game.” CP Eatery tips? Food pursuits? Send suggestions to jsidman@washingtoncitypaper.com

SEPTEMBER 12-20 2015

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DCFEED

what we ate last week:

Smoked brisket nachos, $18, at Bourbon Steak lounge, Satisfaction level: 4 out of 5 what we’ll eat next week:

Breakfast sausage corn dogs, $9, at The Prospect, Excitement level: 3 out of 5

Grazer

Are you gonnA eAt that?

Some menu descriptions have become so absurd that made-up dishes from a recently viral Brooklyn Bar Menus generator could easily be mistaken for real dishes. Can you tell what is the result of a random computer algorithm and what D.C. chefs are actually cooking? Take this quiz to find out! —Jessica Sidman

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brew in town

Marrow sliders with miniature bluefish and tormented artichoke

Shaved octopus, fennel, fried tako ball, mountain wasabi jus, orange oil

ripe, freshly picked “wet” hop cones, which impart the truest possible aromas and flavors a hop can provide. As opposed to the usual dried hops, fresh hops begin to decay in a matter of hours. For years, breweries have been going to great lengths to gather them in time, even renting airplanes to haul back loads of the delicate flowers from the country’s most fertile hop-growing regions in Oregon, Idaho, or Washington’s Yakima Valley. These days, though, with the rising popularity of craft beer, and IPAs in particular, hop farms are popping up across the country, making wethopping a less cumbersome reality. Attention, Campers! Take the latest release from D.C.’s At-

30 september 18, 2015 washingtoncitypaper.com

Sea salt kraut with shell bean

Answers Real: 1 (Garrison), 4 (701 Restaurant), 5 (The Prospect), 6 (Teddy & The Bully Bar), 8 (Honeysuckle pop-up at Prequel), 10 (Rose’s Luxury), 12 (Crane & Turtle), 15 (China Chilcano) Fake: 2, 3, 7, 9, 11, 13, 14, 16

Tomato gazpacho with mustard ice cream

las Brew Works: a hoppy wheat ale brewed for its second anniversary called Wet Hop American Summer (a reference to the 2001 cult comedy Wet Hot American Summer). The 5.1-percent-alcohol beer features 40 pounds of Cascade hops added to the brew kettle within hours of being picked from the vines at Organarchy Farm in Oldtown, Md. For a wheat beer, Wet Hop American Summer is uncharacteristically clear, clean, and crisp. Its flavor is a lovely balance of grapefruit rind, candied orange, and honey wheat bread. Look for this refreshing brew on draft throughout D.C. and Northern Virginia, as well as at Atlas’ second anniversary celebration, a block party at the brewery on Oct. 3. —Tammy Tuck

The Dish: Pig Lip Tacos Where to Get It: Taqueria La Placita, 5020 Edmonston Road, Hyattsville; (301) 277-4477 Price: $2.36 What It Is: Technically, item No. 16—listed on the menu as “trompa/pork lips”—is mislabeled. What you’re really eating is the fatty part of the pig’s snout (where the two nostrils are located). Take one big bite, and you can imagine coming face-to-face with Wilbur. Trompa is some of the juiciest meat in the pig, so pucker up and give this taco a big, fat kiss. What It Tastes Like: Think pork belly, but gamier and fattier. Trompa is braised in pork fat, making it extra succulent. The meat is served on two corn tortillas with sautéed onions and cilantro. The taco comes dressed with a side of cucumber, radish, lime, and two varieties of hot sauce: a milder green sauce and a spicier red sauce. The Story: As it turns out, practically any part of the pig tastes good when you simmer it long enough in its own fat. The carnitas-style cooking approach is the main reason why you should plan a visit to Hyattsville soon. Taqueria La Placita, a road-side taco shop with rusted mariachi men mounted to the restaurant’s roof, is an old standby in its neighborhood. Of the two dozen or so taco varieties, there are a handful of pork options, including pig ear, pig skin, and pig cheek. And at about $2 each, you can easily go back for seconds and thirds. —Tim Ebner

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CPARTS

Remembering ska saxophonist Doc Night washingtoncitypaper.com/go/DocKnight

TheaTer

Personal is Geopolitical Tales of long-ago heroism and present-day body shame, both told in pictures. Chimerica by Lucy Kirkwood Directed by David Muse At the Studio Theatre to Oct. 18

Chimerica

Women Laughing Alone with Salad by Sheila Callaghan Directed by Kip Fagan At Woolly Mammoth Theatre Company to Oct. 4

Epic and intimate, Chimerica—British playwright Lucy Kirkwood’s long-gestating lay fantasia on international themes—has size and ambition like nothing else on a D.C. stage in 2015. The only thing that’s come close to its level of accomplishment is the other three-and-a-half-hour drama I saw this year, Forum Theatre’s production of Sarah Ruhl’s decadeold Passion Play. But Chimerica, making its U.S. debut in a stirring production at Studio Theatre, has an urgency that feels utterly contemporary. (If no one tries to turn it into a film, it’ll only be because it wouldn’t have a hope in hell of playing in China, the world’s number-one movie market.) Fifty or a hundred years from now, when China has long since surpassed the United States in every way power can be measured, Kirkwood’s play will stand as a striking, sympathetic document of the waning of one nation and the waxing of another. It feels like career-making achievement, and its prolific author was only 29 when it premiered in London in mid-2013. If that sounds like a long night, don’t worry: Despite Chimerica’s imposing run time, its pleasures are accessible and plentiful, and both Kirkwood and director David Muse know how to land a joke. At its core, the play is a compelling detective story, interwoven with a believably complicated romance and a haunting examination of grief. It opens in the “Batdance”-punctuated summer of 1989, with young-pup photojournalist Joe Schofield (Ron Menzel, in a richly shaded performance) covering the demonstrations in Tiananmen Square. He snaps that iconic photograph of a young man, dressed like a 1960s NASA employee and armed only with a plastic shopping bag in each hand, standing directly in the path of four tanks. In reality, several photographers got minor variations of the same shot; the most widely seen one was by Jeff Widener of the Associated Press. In the play,

Handout photo by Igor Dmitry

By Chris Klimek

Joe hides his roll of film in a toilet tank just before soldiers burst into his hotel room, as Newsweek photographer Charlie Cole, who captured a similar picture, did in real life. The action then leaps to 2012. Joe is now a fortysomething veteran of conflict zones, currently assigned the relatively low-stress gig of covering the U.S. presidential campaign for the (unnamed) New York Times. He’s friendly with Zhang Lin (Rob Yang, soulful and sad), a Beijing English teacher. A casual conversation over beers gets Joe hooked on a mystery that’s stymied real reporters for a generation: What happened to Tank Man? Who was he? Is still alive? As Joe’s curiosity turns into an obsession, he clashes with his editor (the ever-reliable Paul Morella), who repeats the fa-

miliar lament about how the Internet has taken away both the funding and the appetite for real journalism; and his partner on the story, writer Mel Stanwyck (Lee Sellars), who’s only interested in China insofar as it’s costing Americans jobs. On the other side of the world, Lin can’t sleep: His neighbor (Jade Wu) is dying noisily of “Beijing Lung,” and in his exhaustion, Lin dreams of the late 1980s, when he was a young man and his wife was still alive. He writes a blog post about the pollution, earning him a panicked rebuke from his brother Zhang Wei (Kenneth Lee), an executive at a factory owned by a party official. More frighteningly, Lin gets the attention of the police. Neither Wei nor the authorities want the “economic miracle” narrative of China’s rapid modernization stained by rewashingtoncitypaper.com september 18, 2015 33

CPARTS Continued

ports of air so contaminated that Lin’s 59-year-old neighbor looks and sounds like she’s 90. The third major character is Tessa Kendrick (Tessa Klein), an English marketing specialist who forges a fast, with-benefits friendship with Joe on a New York–Beijing flight. Her purely mercenary mandate is at odds with Joe’s noble but arrogant one. In a presentation to the American bank that has hired her to get Chinese customers to sign up for their credit cards, she uses Joe’s Tank Man photo, pointing not to its subject’s astonishing courage, but to the shopping bags in his hands. Earlier, Joe’s colleague Mel mentioned that if he ever met Tank Man, he would ask him what he was carrying, citing this as the sort of humanizing detail on which good journalism relies. Good playwriting, too: The contents of those bags is ultimately what keeps the play’s climax from feeling too pat and schematic. Even with a dozen actors in the cast, Kirkwood’s sprawling story requires all but four of them to play multiple roles. It would be facile to interpret the principal trio—a Chinese, an American, and a Briton—as unwitting envoys for their respective nations. Certainly, Joe is a ready metaphor for U.S.: Decent but overconfident, prone to self-righteousness, and blind to how his zeal makes innocents suffer. But all three feel like real, complex, contradictory people. Especially Lin, whose visions of his wife and himself as young students in 1989 (played by

Kelsey Wang and Jacob Yeh, who’s terrific in his several small roles) grow more vivid as Joe’s reckless investigation proceeds. While Chimerica is not part of the Women’s Voices Festival, it’s apt that Studio has snagged the U.S. premiere of a play this smart and essential by one of the most perceptive working playwrights of any gender. To misquote the “radical feminist” Carol Hanisch, personal is geopolitical. The world-premiere comedy Women Laughing Alone with Salad, on the other hand, is part of the Women’s Voices Festival, and it’s more of a riff than a story. The title, while funny in isolation, comes from a Tumblr, which was in turn inspired by a 2011 post on The Hairpin. Both are just collections of stock images of ladies pantomiming near-orgasmic mirth just before they tear into a bowl of greens. Callaghan takes

Women Laughing Alone with Salad is a mess, but it’s never boring. the premise that advertisers use this kind of imagery to bodyshame women into becoming reliable streams of revenue and inflates it to satirical dimensions. What she’s come up with feels like a series of Inside Amy Schumer sketches crossed with a psychological profile of an advertising exec suffering an existential crisis. It’s a mess, but it’s never boring. Somewhat surprisingly, the character Callaghan explores most deeply is a guy, called Guy. Played by Thomas Keegan with a believable patina of self-loathing, he’s a jerk of a waiter with a creative writing MFA, disgusted both in his mother San-

dy (Janet Ulrich Brooks), a onetime feminist activist now devoted to her age-fighting beauty treatments, and his bulimic doormat of a girlfriend Tori (Meghan Reardon). He treats them both abysmally, seeming to want them to stand up for themselves the way Kimberly Gilbert’s Meredith—a voluptuous regular at the nightclub where he hangs out—does. After a surreal flirtation that includes a speed-of-thought stopover in Jazz Age Paris, Guy lures Meredith to his apartment for a hilariously athletic threesome that, if performed in Earth-gravity, would probably render all three participants immobile for days. After that, the waifish Tori begins to chip away at Meredith’s confidence by praising it. “It’s like you don’t even know what you look like,” goes one of her backhanded compliments. The narrative is frequently punctuated by parody TV ads and other interstitial bits. In one such interlude, the three women salivate over the single, raw bell pepper Keegan’s waiter has just served each of them, working themselves into a masturbatory froth while Keegan coos like Isaac Hayes into a microphone lowered from the rafters. (Tori promptly vomits the pepper right back up into a silver bucket Keegan has supplied.) It’s funny, and the actors are all committed and strong, but as these segments pile up—particularly one in which Reardon dances and lip-syncs to Kanye West’s “Power” for far longer than the joke warrants— you get the sense of a smart playwright treading water. Curiously, Salad bears more than a casual resemblance to Kirkwood’s 2012 play NSFW, which got a terrific staging at Round House Theatre this summer. NSFW examined the way men’s and women’s magazines both enforce a harmful, appearance-based notion of womanhood. Women Laughing Alone with Salad does the same thing, only with ads; as in NSFW, its second act is a bold inversion of its first. To say much more would be telling, but I can say the play’s final scene, wherein Brooks and Keegan both do far subtler work than the material has called for ’til then, is its best. Salad CP or no, dessert still comes last.

Smithsonian Anacostia Community Museum 1901 Fort Place SE Washington DC 20020

ON VIEW

How the Civil War Changed Washington, D.C. February 2, 2015 - November 15, 2015 Funded in pary by Joseph and Lynn Horning, The Humanities Council of Washington D.C., and SI Women’s Committee

Hand of Freedom:

The Life and Legacy of the Plummer Family On view through Dec. 27, 2015

Bridging the Americas: Community and Belonging from Panama to Washington, D.C.

On view indefinitely

UPCOMING

Opening December 14, 2015

Twelve Years that Shook and Shaped Washington (1963–1975)

Opening January 18, 2016

From the Permanent Collection, the Artists of the Spiral Collective, 1963-1965 Follow Us

34 september 18, 2015 washingtoncitypaper.com

Visit anacostia.si.edu for more info on exhibitions and public programs.

Program reservations 202.633.4844 General info 202.633.4820

CPARTS Arts Desk

Decision 2015 A century or more in the past? Why not?

The Women’s Voices Theater Festival has landed in D.C. with more than 50 different productions by female playwrights. Organized by the directors of Arena Stage, Ford’s Theatre, Round House Theatre, Shakespeare Theatre Company, Signature Theatre, Studio Theatre, and Woolly Mammoth Theatre Company, the festival aims to highlight new work by female authors and draw attention to the city’s ever-growing number of theater companies. Deciding which of these dozens of plays you should see over the next six weeks will be a challenge, so City Paper is helping you narrow down your options. Follow the flowchart to determine which play best suits your dramatic desires. —Caroline Jones

I’m fine where I am.

Absolutely!

Women Laughing Alone with Salad at Woolly Mammoth Theatre Company, Sept.7–Oct. 4.

Let’s stay slightly current.

Are you more interested in love troubles or life troubles?

Society?

Love

Are the troubles caused by... Pick a landmark.

Pick a David Bowie song

Whenever You’re Near Me I Feel Sick at Trinidad Theatre, Sept. 17–Oct. 4.

A man? “Rebel Rebel”

“Dancing in the Street”

Chimney Rock Do you want to experience the past through paintings or acid trips?

Acid trips

Paintings

Your feminist hero is...

Elizabeth Windsor

texts&beheadings/ ElizabethR at Folger Theatre, Sept. 19–Oct. 4.

The Guard at Ford’s Theatre, Sept. 25–Oct. 18.

Delilah

Harriet Tubman

The Oregon Trail at The Writer’s Center, Sept. 3–20.

The Berlin Wall

Lady Lay at Atlas Performing Arts Center, Oct. 6–10.

Alice in Wonderland at Synetic Theater, Sept. 30–Nov. 8.

Salomé at Lansburgh Theatre, Oct. 6–Nov. 8.

Uprising at MetroStage, Sept. 17–Oct. 25.

Niagra Falls

Princess Margaret at Trinidad Theatre, Sept. 19–Oct. 4.

Pick a show to binge.

Jane the Virgin Chopped Destiny of Desire at Arena Stage, Sept. 11–Oct. 18.

Cake Off at Signature Theatre, Sept. 29–Nov. 22.

Life

American Horror Story

Can’t Complain at Spooky Action Theater, Oct. 1–25.

washingtoncitypaper.com september 18, 2015 35

FilmShort SubjectS Conventional SCreenS

The Black Panthers: Vanguard of a Revolution

Jeremy Scott: The People’s Designer

The Black Panthers: Vanguard of a Revolution Directed by Stanley Nelson Jr The story of the Black Panthers has rarely been told on film, and the few times it has, their depiction has left much to be desired. Disappointingly, their most resonant portrayal may be in the reactionary Forrest Gump, when Forrest’s girlfriend is beaten by her white, Panther-supporting lover. Stanley Nelson Jr.’s new documentary The Black Panthers: Vanguard of a Revolution seems designed to revise such portrayals. It’s a fair, comprehensive (though admittedly not complete) depiction of the political party and activist group that changed the way Americans think about race 50 years ago, even if it lacks the revolutionary flair of its subject. Rarely does a film come along whose content is in such total opposition to its form. The Panthers were a radical social justice group that shook up the establishment and scared suburban America to its core. The film, on the other hand, treats its subject like any other political event, using talking heads, black-and-white photos, and Walter Cronkite-led news footage to tell the story of the unconventional group in the most conventional form possible. The early scenes are the most vital, as they demonstrate the combustible social environment that led to the Panthers’ creation. While the civil rights movement was focused on the South, systemic racism and police violence were being felt no less acutely in the Bay Area. The violent images that appear throughout the film evoke a visceral reaction, especially because they bear such strong similarities to images we see on the news these days. It is tempting to refer to the timing of this film’s release as propitious, but the truth is more damning: The story of the Black Panthers will always be timely until America solves its racial issues. As it stands, the horrifying images in the film are a lightning bolt connecting 1965 to 2015. Black Lives Matter activists are trying to make change today, but their tactics are downright tame compared to the Panthers. Huey Newton, the Panthers’ first leader, devised the strategy: Members followed police officers around, and when they pulled their gun on an unsuspecting black person, the Panthers pulled theirs. When the California State Assembly began debating a bill that would have limited their ability to carry guns, the Panthers showed up in Sacramento with their guns loaded and unconcealed. Unfortunately, the film can’t keep up with the Panthers’ gusto. From this dynamic opening salvo, the film quickly loses its mo-

mentum. Certainly, the movement had its share of dramatic touchstones—the police shooting of Newton is the most chilling— but the film is content to merely rattle off a list of events and actions, never arriving at a satisfying narrative. But even without a strong perspective, there are enough angles that everyone will find a way to connect to their struggle. For example: As an armed militia, the Panthers fought to maintain their right to bear arms, a position that attracted strange bedfellows. In one surreal scene, we see home video of a Panther speaking at a meeting of the Young Patriots, a group of white activists from Appalachia. If the pairing seemed strange back then, today it looks dangerous and even exciting. With cultural divisiveness at an alltime high, the Black Panthers come across as an open-minded group and a galvanizing force, which tells us as much about our own time than the one that they occupied. —Noah Gittell The Black Panthers: Vanguard of a Revolution opens Friday, Sept. 18 at E Street Cinema.

empty CalorieS Jeremy Scott: The People’s Designer Directed by Vlad Yudin High fashion is, I’ll argue, one of the more ridiculous subjects that many people take very, very seriously. Fashion shows tend to be parades of costumes, not outfits, yet ev-

36 september 18, 2015 washingtoncitypaper.com

eryone swoons and double-air-kisses the designer afterward. And so it went in early 2014, when U.S. designer Jeremy Scott debuted his first collection—AW2014, or autumn-winter, for the uninitiated—as creative director of the Italian line Moschino. In Vlad Yudin’s Jeremy Scott: The People’s Designer, we get to see what sets off wild applause and nauseatingly insincereseeming smooching: a wardrobe inspired by… McDonald’s. Soda cups as purses, visors emblazoned with a modified “M,” ketchup-red and mustard-yellow skirt suits, a ball gown in white fabric printed with nutritional info. Afterward, the likes of Katy Perry and Kanye practically worshipped at Scott’s feet. But not everyone was so kind: Among critics’ comments about the show were “Tacky for the sake of being tacky,” and “Jeremy Scott’s new Moschino collection has ruined fashion forever.” In a bizarre, green-screen interview that occasionally interrupts the film, Scott—who appears to be on a stage with stacks of TVs playing random images behind him, because why not?—responds to those burns with, “My clothes aren’t for critics. My clothes are for people.” Do they walk around asking, “Can I take your order?” OK, OK—Scott also has a contract with Adidas, and even though some of his shoes have teddy bears on them, everyone knows that certain-branded sneakers are going to be prized no matter what they look like. Scott’s shoe designs are for the (either wealthy or budget-busting) people. The rest are, well, tacky for the sake of being tacky. (His fans, notably

he and Perry, call what his clothes have “humor,” and his detractors “don’t get it.”) Yudin (Generation Iron) addresses Scott’s rise to fame, and it’s a story that many creative types share: an unaccepted and misunderstood youth (he grew up in rural Missouri). But then once unshackled from high school, Scott rose to his calling through sheer tenacity and grit. He moved to Paris, much to the shock of his family, and when he couldn’t get an internship with a famous designer, he just put on his own fashion show. Scott’s path is inspiring, and he seems like an easygoing, personable guy. (Much more so than his collaborator, Carlyne Cerf de Dudzeele, whose thickly French-accented voice is as abrasive as her demeanor. She at one point calls a group of gorgeous runway models she and Scott have just auditioned “shit.”) Can a man who, when asked “Who is Jeremy Scott?” calls himself an “icon” and says “I am pop culture” be anything but a deepdown dick, however? How about his status as a friend of Miley, who seems to drag out her tongue for every photo with Scott? It’s difficult not to judge the man more than the film. But this ultimate hagiography throws Scott out there to be analyzed by a circle of professionals for whom, by his own admission, he doesn’t make clothes. After the Moschino show, Scott says that he’s seen statues for war heroes and artists, but “I don’t think I’ve ever seen a statue for a critic.” Well, buddy, the same goes for fashion designers. —Tricia Olszewski Jeremy Scott: The People’s Designer opens Friday at the Angelika Pop-Up.

washingtoncitypaper.com september 18, 2015 37

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www.maryscenter.org 38 september 18, 2015 washingtoncitypaper.com

oppressive heat Yerma By Federico García Lorca Adapted by Fernando J. López Directed by José Luis Arellano García At GALA Theatre to Oct. 4 “Every woman lives as she’s allowed,” says Dolores to Yerma, the title character in Fernando J. López’ new adaptation of Federico García Lorca’s play about the lives of women in rural Spain a century ago. It’s a line that isn’t in the original, and, like this adaptation, it’s a bit on the nose. Yerma was part of Lorca’s Rural Trilogy, which dealt with the oppressive religious customs of his native Andalusia, seen mostly through the eyes of women. As social commentary, it was provocative enough to raise the ire of the fascists: They eventually murdered him. Lorca was, however, a poet first and a playwright second, so Yerma is harshly critical but also a bit oblique, filled with poetic monologues and metaphors and pagan imagery, references to water and sand and flowers and so on. López reduces the play to the five main characters and seeks to distill their personalities into a single mood, which is intensity. And in this debut production by GALA, directed by José Luis Arellano García, they convey this mostly by yelling. When Yerma tells her husband she wants a baby, she’s yelling. When her husband expresses indifference, he’s yelling. When she flirts with another man, they yell. When her friend has doubts about her pregnancy, she yells, too. There’s also fucking, and characters rolling around in dirt, often while yelling and sometimes naked. The dirt is a peculiar addition to a set design involving corrugated metal sliding doors, a metal table, a washtub, and fluorescent light tubes, which makes Lorca’s 1930s rural Spain resemble the set of Iron Chef America. There’s some logic to all this. “Men are of the earth,” the folk sorceress Dolores states. But if the symbolism is guaranteed not to be lost on you, some of the complexities of Lorca’s protagonists—Yerma above all—will be.

The central character, whose name means “barren” in old Spanish, is a young wife unable to have children in a society where a childless woman is considered less-than. She grows envious of her pregnant friend, then depressed, then desperate. She rages against the village gossips; society as a whole; and ultimately, her husband, in a violent manner. Yet she never acts on her temptation (personified by hunky acquaintance Victor) to leave her loveless marriage—she’s obsessed with honor. It’s a concept that imprisons her as she embraces it, defiantly against Dolores’ entreaties to take Victor’s bait. This willfully submissive side to Yerma is almost buried here under all that yelling. In showing Yerma’s attempts to conceive (she initiates very explicitly staged sex, then contorts herself to induce pregnancy), López gives her more agency than women were afforded in Lorca’s day, when a child was considered a gift from God. As Yerma, Spanish actress Mabel del Pozo pours her guts out, an impressive display that would come across as over-the-top were the supporting characters not equally emotive. The male characters—Eric Robledo as Yerma’s husband Juan and Iker Lastra as Victor—don’t come off as well, mostly because the histrionics don’t fit what are really quite bland roles. Better are the supporting female characters, GALA regulars Natalia Miranda-Guzmán as Yerma’s friend María and the always-terrific Luz Nicolás, as the most interesting character, the beguiling pagan witch Dolores. Though they don’t really pay off, GALA takes some bold risks with this staging: It’s a colder, bleaker, less folksy, and more industrial take on Lorca’s meditation on patriarchy and duty. Yerma was undeniably dark, but that darkness was leavened with Lorca’s lyricism, and his multifaceted characters. López and Arellano García downplay everything else in favor of tension, which is cranked up to 11 from the very beginning. This production wants to leave you drained; it succeeds, though it drains away Lorca’s poetic expression as well. —Mike Paarlberg Spanish with English surtitles. 3333 14th St. NW. $20–$42. (202) 234-7174. galatheatre.org.

washingtoncitypaper.com september 18, 2015 39

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KENNEDY-CENTER.ORG (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400.

40 september 18, 2015 washingtoncitypaper.com

The Smithsonian Institution is taking a symbolic stand on the destruction of cultural artifacts in the Middle East. Through December, the Arthur M. Sackler Gallery is exhibiting a funerary bust from Palmyra, an ancient destination in Syria which Islamic State militants have recently ravaged. Earlier this month, the United Nations confirmed that ISIS has destroyed the Temple of Baal, a grand structure whose prominent high altar and plaza lined with stone columns graced the ancient city for some 2,000 years. The bust of Haliphat, which is part of the Freer–Sackler collection, is only slightly more recent: it dates back to 231 A.D., when Palmyra was still a wealthy trading outpost within the Roman Empire. The bust has been the subject of extensive research on polychromy, or pigments and paints used to decorate stone monuments throughout the Ancient Near East. Charles Lang Freer bought the bust in 1908 in Areppo from Joseph Marcopoli, a dealer. The history of the Haliphat acquisition is at least as fascinating as the sculpture itself—and especially pertinent as ISIS fighters continue to destroy what still remains of Palmyra. Charles Howard Colket, a Philadelphia adventurer and archaeologist, was the first to bring Palmyrene sculpture to the U.S. In 1880, he traveled some 1,300 miles on horseback from Beirut to Baghdad. The following year, Colket made the long trek from Beirut to Damascus and Palmyra, where he collected three Palmyrene sculptures—inspiring several antiquities tours that would follow, including Freer’s visit. Colket and Marcopoli did not operate as baldly as the tomb raiders who looted the pyramids in the 1820s, when a fever for Egyptiana seized Victorian London. Still, the provenance of many historical artifacts that make up the foundations of museum, institutional, and university collections is often incomplete. James Cuno, the president and CEO of the J. Paul Getty Trust, has published widely on cultural property matters, specifically on the obligation of encyclopedic art museums in the West to collect and care for artifacts from the East (or Near East). In Who Owns Antiquities?, Cuno writes about the heat he took in the 1990s, when, as director of the Harvard University Art Museums, he showed Greek vase fragments whose provenance was somewhat murky. (To be clear, the Smithsonian abides by the UNESCO Convention of 1970 and other international museum policies on provenance.) ISIS has inadvertently drawn some bright lines through the still-fiery debate about where the material cultural history of the world belongs. Some might say that an ancient Syrian artifact has no context outside Syria, and that museums have no business acquiring artifacts

whose provenance is lost or clearly illegal. For the counterpoint, ISIS might say that there is no Syria. Artifacts depicting the Mithraic Mysteries have been found everywhere from Rome to the Crimea—but what authentic claim can any of these nations make today on objects detailing the ancient Persian cult of Mithras? “Nationalist retentionist cultural property laws are based on false assumptions about art and culture: that the parameters of art and cul-

As ISIS destroys history in Syria, what role should Western museums play? ture can be fixed—that the currents of influence can be stopped—and identified as national, as having national characteristics,” Cuno writes. Cuno makes the strong argument that institutions like the Smithsonian are obliged to serve as keepers of the world’s history. As the black flag of ISIS rises over the Levant and cult warriors destroy the national heritage of Syria, who could argue otherwise? Freer’s bust once marked the tomb of Haliphat, daughter of Oglata, son of Harimai, according to Alex Nagel, researcher and former assistant curator of Ancient Near Eastern Art for the Smithsonian. “Originally, reliefs like this one would have marked the tombs of wealthy Palmyrene citizens, either in towertombs or complex hypogea below ground,” Nagel writes in a 2012 post for a site called Day of Archaeology. Idealist historians hold out for the day when Western museums will return artifacts to their places of origin (Western museum directors less so). The war being waged now in Syria will decide whether anything is left of Palmyra, the Place of Palms, dating back to its golden day under the Roman Empire. Despite the invaluable role that the Smithsonian plays as a central repository of research and history, still I shudder to think that it is the only sensible outcome. The world we strive for—and fight for—is one in which Syria can share in its own sacred history. For now, that is not the world we live in. —Kriston Capps 1050 Independence Ave. SW. Free. (202) 633-1000. asia.si.edu

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42 september 18, 2015 washingtoncitypaper.com

CITYLIST

Music . . . . . . . . . . . . . . . . . . . . . . . . .43 Galleries . . . . . . . . . . . . . . . . . . . . . 4 8 Dance . . . . . . . . . . . . . . . . . . . . . . . 4 9 Theater . . . . . . . . . . . . . . . . . . . . . . 4 9 Film . . . . . . . . . . . . . . . . . . . . . . . . . . .51

SearCh LISTIngS aT waShIngTonCITYpaper.Com

Inheritance Canyon at capitol hill arts workshop, sept. 17–Oct. 10

Music

Friday Rock

Birchmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Bill Kirchen & Too Much Fun, Jumpin’ Jupiter. 7:30 p.m. $25. birchmere.com. Gypsy sally’s 3401 K St. NW. (202) 333-7700. Cris Jacobs Band, John Ginty. 9 p.m. $12–$14. gypsysallys.com. iOTa cluB & café 2832 Wilson Blvd., Arlington. (703) 522-8340. Tommy Keene, Dot Dash. 9 p.m. $15. iotaclubandcafe.com. Jammin Java 227 Maple Ave. East, Vienna. (703) 255-1566. Rocknoceros. 7 p.m. $10. jamminjava.com. Black Alley. 9:30 p.m. $10–$18. jamminjava.com. merriweaTher pOsT paviliOn 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Alabama Shakes, Drive By Truckers. 8 p.m. $40–$55. merriweathermusic.com. rOck & rOll hOTel 1353 H St. NE. (202) 388-ROCK. Greg Graffin. 9 p.m. $25. rockandrollhoteldc.com.

echOsTaGe 2135 Queens Chapel Road NE. (202) 503-2330. Tchami, Don Diablo. 9 p.m. $30. echostage.com. pyramid aTlanTic arT cenTer 8230 Georgia Ave., Silver Spring. (301) 608-9101. international electromagnetics, Dennis Kane, Michel Banabila, Trumpet Trumpet Synthesizer, TL0741, Z’EV. 7:30 p.m. $20. pyramidatlanticartcenter.org. u sTreeT music hall 1115 U St. NW. (202) 5881880. Vacationer. 7 p.m. $18. Gaiser. 10 p.m. $15. ustreetmusichall.com.

Jazz aTlas perfOrminG arTs cenTer 1333 H St. NE. (202) 399-7993. Brad Linde: Useless Machines. 8 p.m. $20–$22. atlasarts.org.

saturday Rock

Gypsy sally’s 3401 K St. NW. (202) 333-7700. Psycho Killers. 9 p.m. $15–$20. gypsysallys.com. Jammin Java 227 Maple Ave. East, Vienna. (703) 255-1566. Wrinkle Neck Mules. 9:30 p.m. $15–$20. jamminjava.com. u sTreeT music hall 1115 U St. NW. (202) 5881880. SayWeCanFly. 6 p.m. $15. ustreetmusichall.com.

Funk & R&B

BeThesda Blues and Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Marcus Johnson. 8 p.m. $30–$45. bethesdabluesjazz.com.

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Regina Belle. 8 p.m. & 10 p.m. $45. bluesalley.com.

Folk

hOward TheaTre 620 T St. NW. (202) 803-2899. Chante Moore. 7:30 p.m. $37.50. thehowardtheatre.com.

hill cOunTry live 410 7th St. NW. (202) 556-2050. The Damn Quails. 9:30 p.m. Free. hillcountrywdc.com.

WoRld

TrOpicalia 2001 14th St. NW. (202) 629-4535. Skyline Hotel, Broke Royals, Bencoolen, Federico Aubele. 7 p.m. $10. tropicaliadc.com.

lincOln TheaTre 1215 U St. NW. (202) 328-6000. Ana Carolina. 6:30 p.m. $45. thelincolndc.com.

velveT lOunGe 915 U St. NW. (202) 462-3213. The Prahns, Moral Hangover, A Place In Time, More AM Than FM. 8:30 p.m. $8. velvetloungedc.com.

mOnTpelier arTs cenTer 9652 Muirkirk Road, Laurel. (301) 377-7800. Rogerio Souza Quartet. 8 p.m. $25. arts.pgparks.com.

Funk & R&B

classical

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Regina Belle. 8 p.m. & 10 p.m. $45. bluesalley.com.

paTriOT cenTer 4500 Patriot Circle, Fairfax. (703) 993-3000. Spirit of America. 10:30 a.m. & 7:30 p.m. Free. patriotcenter.com.

ElEctRonic

dJ nights

9:30 cluB 815 V St. NW. (202) 265-0930. Viceroy. 10 p.m. $18. 930.com.

marx café 3203 Mt. Pleasant St. NW. (202) 5187600. Taking the Piss. 10 p.m. Free. marxcafemtp.com.

ElEctRonic 9:30 cluB 815 V St. NW. (202) 265-0930. Years & Years, Tei Shi. 10 p.m. (Sold out). 930.com. echOsTaGe 2135 Queens Chapel Road NE. (202) 503-2330. Bingo Players, Henry Fong. 9 p.m. $30. echostage.com. pyramid aTlanTic arT cenTer 8230 Georgia Ave., Silver Spring. (301) 608-9101. Nate Scheible, Chester Hawkins, Videll Barsky Wolf, Anne-F Jaques, Johannes Bergmark, CoCo, Bob Bellerue, Clive Graham & Adam Bohman, BDM, Prehistoric Horse, Hay Fever, Black Spirituals. 5 p.m. $20. pyramidatlanticartcenter.org. u sTreeT music hall 1115 U St. NW. (202) 5881880. Julio Bashmore, Youandewan, Trev-ski. 10 p.m. $12. ustreetmusichall.com.

washingtoncitypaper.com september 18, 2015 43

BluEs

classical

hill cOunTry live 410 7th St. NW. (202) 556-2050. Jonny Grave & the Tombstones. 9:30 p.m. Free. hillcountrywdc.com.

aTlas perfOrminG arTs cenTer 1333 H St. NE. (202) 399-7993. Great Noise Ensemble. 8 p.m. $20–$30. atlasarts.org.

prince GeOrGe’s cOmmuniTy cOlleGe, larGO 301 Largo Road, Largo. Bluebird Blues Festival. 12 p.m. Free. pgcc.edu. zOO Bar 3000 Connecticut Ave. NW. (202) 2324225. Stacy Brooks Blues Band. 9 p.m. Free. zoobardc.com.

Folk Birchmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Brigitte. 7:30 p.m. $25. birchmere.com.

WoRld dar cOnsTiTuTiOn hall 1776 D St. NW. (202) 6284780. Music Magic Mast Kalaiyaan. 8 p.m. $29–$129. dar.org.

paTriOT cenTer 4500 Patriot Circle, Fairfax. (703) 993-3000. Spirit of America. 2 p.m. & 7:30 p.m. Free. patriotcenter.com.

Vocal hylTOn perfOrminG arTs cenTer 10960 George Mason Circle, Manassas. (703) 993-7759. The Midtown Men. 8 p.m. $32–$54. hyltoncenter.org. Jammin Java 227 Maple Ave. East, Vienna. (703) 255-1566. Street Corner Symphony. 6:30 p.m. $20–$25. jamminjava.com.

sunday Rock

9:30 cluB 815 V St. NW. (202) 265-0930. Three Days Grace, Pop Evil. 7 p.m. $40. 930.com.

alabama shakes at merriweather post pavilion, sept. 18 44 september 18, 2015 washingtoncitypaper.com

LOW T

TOM SEGURA

ICK ET S !

FRI SEPTEMBER 18TH

COMEDY AT THE HOWARD:

(LATE)

LOW

THE INTERNET

TIC KET S!

FRI SEPTEMBER 18TH

SAT SEPTEMBER 19TH

CHANTE MOORE TUES SEPTEMBER 22ND

Thursday sepTember 17

aLGebra bLesseTT f 18

MARCUS JOHNSON

s 19

JOE CLAIR COMEDY SHOW

ERIC ROBERSON

s 20

TRACY HAMLIN

BLACK UHURU

m 2I

DARYL DAVIS presents MICHELLE LOCKEY & HAYLEY FAHEY

T 22

THE JAM w/ GARY GRAINGER & FRIENDS

KY-MANI MARLEY FRI SEPTEMBER 25TH

FRI SEPTEMBER 25TH (LATE)

SAT SEPT 26TH & MON SEPT 28TH WHUR 96.3 FM PRESENTS: 2 NIGHTS OF

LALAH HATHAWAY SUN SEPTEMBER 27TH

two shows

“No Limits” CD ReLease

VIEUX FARKA TOURE & JULIA EASTERLIN PRESENT: TOURISTES

THURS OCTOBER 1ST

YO GOTTI

FRI OCTOBER 2ND

BENTZEN BALL & STORY DISTRICT PRESENT:

NOT FUNNY! TRUE TALES OF THE HILARIOUSLY TRAGIC

WED OCTOBER 7TH

COMEDY AT THE HOWARD:

KYLE DUNNIGAN THURS OCTOBER 8TH

WPGC 95.5 FM PRESENTS:

BIG DADDY KANE & RAKIM FRI OCTOBER 9TH

WHITE FORD BRONCO DC'S ALL 90’S BAND

JOIN US FOR BRUNCH EVERY SUNDAY!

wednesday sepTember 23

mOOnChILd

Th 24 ORLANDO JULIUS & THE AFROSOUNDZ f 25 s 26

AMEL LARRIEUX

two shows

OTIS CLAY & bILLY pRICE

7719 Wisconsin Ave., Bethesda, MD (240) 330-4500 Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends washingtoncitypaper.com september 18, 2015 45

Full Moon in Paris at national Gallery of art, sept. 20 fillmOre silver sprinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Cheap Trick. 8 p.m. $45. fillmoresilverspring.com. iOTa cluB & café 2832 Wilson Blvd., Arlington. (703) 522-8340. Rebecca Loebe, Betty Soo. 7:30 p.m. $15. iotaclubandcafe.com. merriweaTher pOsT paviliOn 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Of Monsters and Men, Oh Land. 8 p.m. $40–$55. merriweathermusic.com. rOck & rOll hOTel 1353 H St. NE. (202) 388-ROCK. Algiers. 8 p.m. $12. rockandrollhoteldc.com.

BOssa BisTrO 2463 18th St NW. 202-667-0088. The Fourth Stream. 9:30 p.m. $5. bossproject.com.

hip-hop verizOn cenTer 601 F St. NW. (202) 628-3200. Rich Homie Quan, K Camp, Justine Skye, Elijah Blake, Jacquees, Diggy Simmons, Rawyals, Anthony Lewis, Chris Miles, 4ey the Future. 7 p.m. $39.50–$89.50. verizoncenter.com.

go-go

Funk & R&B

hOward TheaTre 620 T St. NW. (202) 803-2899. W.H.A.T. Band. 8 p.m. $50. thehowardtheatre.com.

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Regina Belle. 8 p.m. & 10 p.m. $45. bluesalley.com.

classical

The hamilTOn 600 14th St. NW. (202) 787-1000. The Nightowls. 7:30 p.m. $14–$18. thehamiltondc.com.

ElEctRonic pyramid aTlanTic arT cenTer 8230 Georgia Ave., Silver Spring. (301) 608-9101. Gut/Head, Eva Zöllner (with Gary Rouzer + Dan Barbiero), Jen Shyu, Anthony Pirog, Janel Leppin, Rafael Toral, Boat Burning, Mia Zabelka. 5 p.m. $20. pyramidatlanticartcenter.org.

Jazz Gypsy sally’s 3401 K St. NW. (202) 333-7700. Blair Crimmins & The Hookers, Dan and the Wild Fire. 8 p.m. $10–$14. gypsysallys.com. naTiOnal Gallery Of arT sculpTure Garden 4th Street and Constitution Avenue NW. (202) 7374215. Dukes of Dixieland. 12 p.m. & 1 p.m. Free. nga.gov.

BluEs madam’s OrGan 2461 18th St. NW. (202) 6675370. Stacy Brooks. 9 p.m. $3–$7. madamsorgan.com.

46 september 18, 2015 washingtoncitypaper.com

WoRld

kennedy cenTer cOncerT hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Season Opening Ball Concert. 7 p.m. $49–$125. kennedy-center.org.

Monday Rock

9:30 cluB 815 V St. NW. (202) 265-0930. The Fratellis, Grizfolk. 7 p.m. $25. 930.com.

Funk & R&B Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Darrell Hill. 8 p.m. & 10 p.m. $20. bluesalley.com.

tuesday Rock

dc9 1940 9th St. NW. (202) 483-5000. The Bellfuries. 9 p.m. $10–$12. dcnine.com. fillmOre silver sprinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Ghost, Purson. 8:30 p.m. $25. fillmoresilverspring.com.

countRy

The hamilTOn 600 14th St. NW. (202) 787-1000. Jackie Greene, Lauren Shera. 7:30 p.m. $20–$23. thehamiltondc.com.

Birchmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Larry Gatlin & The Gatlin Brothers. 7:30 p.m. $45. birchmere.com.

u sTreeT music hall 1115 U St. NW. (202) 5881880. Mikal Cronin, Calvin Love, The Cairo Gang. 7 p.m. $15. ustreetmusichall.com.

verizOn cenTer 601 F St. NW. (202) 628-3200. Ed Sheeran, Christina Perri. 7:30 p.m. $17–$71.50. verizoncenter.com.

countRy hill cOunTry live 410 7th St. NW. (202) 556-2050. Wayne “The Train” Hancock. 9 p.m. $15–$20. hillcountrywdc.com.

hip-hop hOward TheaTre 620 T St. NW. (202) 803-2899. Ky-Mani Marley. 8 p.m. $20. thehowardtheatre.com.

Wednesday Rock

9:30 cluB 815 V St. NW. (202) 265-0930. Lianne La Havas. 7 p.m. $33.50. 930.com. Birchmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Steve Earle & The Dukes, The Mastersons. 7:30 p.m. $59.50. birchmere.com.

Folk BOssa BisTrO 2463 18th St NW. 202-667-0088. Orchester Praževica, The Harry Bells. 10 p.m. $5. bossproject.com. Gypsy sally’s 3401 K St. NW. (202) 333-7700. Clydes on Fire. 7 p.m. Free. gypsysallys.com. The hamilTOn 600 14th St. NW. (202) 787-1000. Spirit Family Reunion. 7:30 p.m. $17–$22. thehamiltondc.com.

Rock

Birchmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. John Ondrasik, Marie Miller. 7:30 p.m. $29.50. birchmere.com. dc9 1940 9th St. NW. (202) 483-5000. Truly. 9 p.m. $10–$13. dcnine.com. Gypsy sally’s 3401 K St. NW. (202) 333-7700. DeadPhish Orchestra. 8:30 p.m. $12–$15. gypsysallys.com. The hamilTOn 600 14th St. NW. (202) 787-1000. moe. 8 p.m. $39. thehamiltondc.com.

dc9 1940 9th St. NW. (202) 483-5000. Farao. 9 p.m. $12. dcnine.com.

rOck & rOll hOTel 1353 H St. NE. (202) 388-ROCK. Gardens & Villa. 8 p.m. $15. rockandrollhoteldc.com.

echOsTaGe 2135 Queens Chapel Road NE. (202) 503-2330. Charli XCX, Bleachers, Robert DeLong. 7 p.m. $44.45. echostage.com.

ElEctRonic

TrOpicalia 2001 14th St. NW. (202) 629-4535. Botellita de Jerez. 7 p.m. $32.64. tropicaliadc.com.

echOsTaGe 2135 Queens Chapel Road NE. (202) 503-2330. Armin Van Buuren. 9 p.m. $40. echostage.com.

u sTreeT music hall 1115 U St. NW. (202) 5881880. The Cribs. 7 p.m. $20. ustreetmusichall.com.

u sTreeT music hall 1115 U St. NW. (202) 5881880. Sam Feldt. 10 p.m. $15. ustreetmusichall.com.

verizOn cenTer 601 F St. NW. (202) 628-3200. Ed Sheeran, Christina Perri. 7:30 p.m. $17–$71.50. verizoncenter.com.

Jazz

countRy Gypsy sally’s 3401 K St. NW. (202) 333-7700. Sundy Best, Angela Perley. 8:30 p.m. $12–$15. gypsysallys.com. lincOln TheaTre 1215 U St. NW. (202) 328-6000. Sturgill Simpson, Billy Wayne Davis. 6:30 p.m. (Sold out). thelincolndc.com. madam’s OrGan 2461 18th St. NW. (202) 6675370. The Human Country Jukebox Band. 9 p.m. Free. madamsorgan.com.

triVia eVery m O n D ay & W e D n e s D ay

$3 pbr & natty bOh all Day eVery Day

thursday

Black caT 1811 14th St. NW. (202) 667-4490. Joyce Manor, Cheap Girls, Tracks. 7:30 p.m. $15. blackcatdc.com.

warner TheaTre 513 13th St. NW. (202) 783-4000. Joe Walsh. 8 p.m. $63–$83. warnertheatre.com.

$10 burger & beer mOn-Fri 4 p m -7 p m

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

countRy hill cOunTry live 410 7th St. NW. (202) 556-2050. Mockingbird Sun, Whitney Rose. 9 p.m. $12–$15. hillcountrywdc.com. lincOln TheaTre 1215 U St. NW. (202) 328-6000. Sturgill Simpson, Billy Wayne Davis. 6:30 p.m. (Sold out). thelincolndc.com.

Folk Gypsy sally’s 3401 K St. NW. (202) 333-7700. Brian Dolzani. 7:30 p.m. Free. gypsysallys.com.

600 beers from around the world

downstairs: good food, great beer: $3 pbr & natty boh’s all day every day *all shows 21+ thurs, september 17th

UndergroUnd Comedy doors at 730pm show at 830pm Fri, september 18th

hot night prodUCtions presents door at 8pm show at 10pm

s at, s e p t e m b e r 1 9 t h

blaCk market presents doors at 8pm show at 9pm

sun, september 20th

dC kings final show post-apoCalyptiC doors at 6pm show at 7pm

tues, september 21st

distriCt trivia starts at 730pm

WeDs, september 22nD

last resort Comedy doors at 630pm show at 7pm

WeDs, september 23rD

distriCt trivia starts at 730pm

thurs, september 24th

game show Comedy hosted by Chris milner doors at 5pm show at 6pm

UndergroUnd Comedy doors open at 7pm show at 8pm Fri, september 25th

b.a.m listening party simply sUbtle doors at 8pm bands start at 9pm s at, s e p t e m b e r 2 6 t h

weirdo show

doors open at 8pm show at 10pm sun, september 27th

dr. sketChy’s anti art sChool doors at 3pm

Chrome angel’s pole danCing expose doors at 6pm show at 7pm

“40 chances” at the newseum, sept. 18–Jan. 3, 2016

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

washingtoncitypaper.com september 18, 2015 47

1318 14th St. NW • 202-299-9148

BuffaloExchange.com new work in this exhibition that causes spectators to question the creative process. Sept. 11–Oct. 11. OngOWorlds.” Textural and detailed works on ing: “Small sAT, sEPT 12 / 1-7Pm/GATEWAY PARK/FOOD TRUCKs/BEER & WinE GARDEn paper by Rebecca Grace Jones. July 24–Oct. 25. DIRTY DOZEN BRASS BAND/DEBO BAND/SONNY KNIGHT & THE LAKERS

FREE ADmissiOn

flashpOinT Gallery 916 G St. NW. (202) 315THE FUNK ARK/TROKER*

1305. culturaldc.org. *Troker‘s Friday night performance is Sold Out. Opening: “Fairway.” Kyle Bauer’s latest installation responds to the architecture of the gallery space and uses a variety of colors and textures to create a specific path through the gallery. Sept. 19–Oct. 17.

GOeThe-insTiTuT washinGTOn 812 7th St. NW. (202) 289-1200. www.goethe.de/washington. Opening: “Surveillance Blind.” This group exhibition asks American and German artists to consider the digital footprints we leave and the people who have access to the information we leave behind and create work in response to that. Sept. 17–Dec. 3.

liBrary Of cOnGress cOOlidGe audiTOrium First Street and Independence Avenue SE. (202) 7075507. The Down Hill Strugglers, John Cohen, Jerron “Blind Boy” Paxton. 12 p.m. Free. loc.gov.

Galleries

1200 firsT sT. ne 1200 First St. NE. OngOing: “David Bellard.” Muralist David Bellard draws inspiration from the NoMA neighborhood for this new installation that features photos of the neighborhood’s architecture. / Sept. 3–Nov. 27. POWERED BY

Bohemian Caverns Tuesdays Artist in Residency

Brad Linde

(various groups)

PT SE

DC’s Legendary Jazz Club

Established in 1926 2001 11th ST NW - (202)299-0800

Christian Scott

aTunde Adjuah

Stretch Music Album Release

Federico Peña T OC

Legends of Jazz Series

Pharoah Sanders Fri - Sun

Oct 16th - 18th

Donald Harrison

Fri & Sat Sept 18th & 19th

Cecily

Salutes DC Thur Sept 24th

The Thing

Fri & Sat

Mark Meadows Fri & Sat

Oct 30th & 31st

Sun presented in conjunction w/ Sept 27th

@LivNightclub

Transparent Productions

Jesse Fischer Day Dreamer Release Thur Oct 1st

Oct 23rd & 24th

Nappy Riddem Time is Fire

Sat Sept 19 Bohemian Caverns Jazz Orchestra WonderFull™ Mondays @ 8pm DJ Spinna Sat 0 "This group is something special." ~ Mike West (CityPaper)

www.BohemianCaverns.com

Jahsonic

48 september 18, 2015 washingtoncitypaper.com

Oct

www.LivDC.com

hamilTOnian Gallery 1353 U St. NW. (202) 3321116. hamiltoniangallery.com. Opening: “new. now. 2015.” New works by a variety of local artists. Sept. 19–Oct. 31. GROOVEsCAPEs.COm

“vermeer’s ‘woman in Blue reading a letter’ from the rijksmuseum” at national Gallery of art, sept. 19–dec. 1

GreaTer resTOn arTs cenTer 12001 Market St., Ste. 103, Reston. (703) 471-9242. restonarts.org. OngOing: “Ephemeral.” Area sculptors present a variety of work that comments on the temporary nature of art. Featured artists include Millicent Young, Artemis Herber, Elissa Farrow-Savos, Elizabeth Burger, and Diane Szczepaniak. Sept. 10–Nov. 14.

hillyer arT space 9 Hillyer Court NW. (202) 3380680. hillyerartspace.org. OngOing: “Under the Sun.” Recent work by 14 artists affiliated with Sol Print Studios, a Baltimore printmaking studio dedicated to solar plate etching. Sept. 4–Sept. 26. OngOing: “Novie Trump.” New work inspired by archaeology and intertwined relationships by Arizona-based sculptor Novie Trump. Sept. 4–Sept. 26. OngOing: “Lay of the Land.” New paintings by Arlington-based artist Sue Grace. Sept. 4–Sept. 26.

hOnfleur Gallery 1241 Good Hope Road SE. JAZZ.COM arlinGTOn arTs cenTer 3550 Wilson Blvd., Arling(202) 365-8392. honfleurgallery.com. OngOing: ton. (703) 248-6800. arlingtonartscenter.org. OngO“How We Lost DC.” Members of the Delusions of ing: “Play.” Games and toys are examined through the Grandeur collective comment on the gentrification of lens of contemporary art in this group show that aims D.C. and its impact on life in the city in this new group OngOto engage viewers of all ages. July 11–Oct. 10.washingtoncitypaper.com exhibition. Sept. 11–Oct. 31. september 11, 2015 19 ing: “Perspectives in Two Cities.” Teen photographers i sTreeT Galleries 200 I St. SE. (202) 724-5613. present the work they created during a summer dcarts.dc.gov. OngOing: “AFP16 Visual Arts Exhibiinstitute that taught them the basics of the medium, tion.” Participants in the DC Commission on the Arts in this exhibition co-presented with Capitol Hill Arts and Humanities’ Artist Fellowship Program showcase Workshop. Aug. 21–Oct. 25. OngOing: “Resident their work at the District’s first operated public gallery. Artist Group Show.” Resident artists at the arts center Aug. 14–Sept. 30. present a variety of work at this show curated by Caitlin Tucker-Melvin. Aug. 29–Oct. 11. mOnTpelier arTs cenTer 9652 Muirkirk Road, Laurel. (301) 377-7800. arts.pgparks.com. OngOing: The aThenaeum 201 Prince St., Alexandria. (703) “Come Together.” Friends and collaborators Linda 548-0035. nvfaa.org. OngOing: “The Athenaeum InviBernard and Roslyn Logsdon present new works in tational.” Based on the theme of Cole Porter’s “Don’t this collaborative exhibition. Sept. 4–Sept. 27. OngOFence Me In,” this exhibition features works solicited ing: “Unique Visions.” Brightly colored images by from invitations and open calls. Sept. 10–Oct. 25. photographer Richard Paul Weiblinger. Sept. 11–Nov. BrenTwOOd arTs exchanGe 3901 Rhode Island 1. OngOing: “Chaotic Attractors: Fractal Art of Abdi Ave., Brentwood. (301) 277-2863. arts.pgparks.com. Darai.” Geometric designs by UDC mathematics proOngOing: “The Art of the Tale.” After winning Project fessor Abdi Darai. Sept. 11–Nov. 1. America’s Next Top Master Artist contest, CheverlyOld prinT Gallery 1220 31st St. NW. (202) 965based artist Cornett presents a variety of paintings 1818. oldprintgallery.com. Opening: “20th Century and drawings, some inspired by fairy tales and poems, People.” Works by acclaimed 20th century printmakin this solo show. Aug. 31–Oct. 24. OngOing: “Allen ers are showcased in this new exhibition. Alexopulos.” Wood-turning artist Alexopulos presents Sept. 18–Nov. 14. a variety of pieces crafted from tree species native to central Maryland, wood that otherwise would have sTudiO Gallery 2108 R St. NW. (202) 232-8734. been destroyed or burned, in this window exhibition. studiogallerydc.com. OngOing: “Seeing Through the Aug. 31–Oct. 24. Mind’s Eye.” Abstract portraits of strange, imagined characters presented by artist Deborah Addison carrOll square Gallery 975 F St. NW. (202) Cohen. Sept. 2–Sept. 26. OngOing: “The Six-Armed 234-5601. carrollsquare.com. Opening: “This Is Light.” Buddha.” Watercolor painter Barbara Williams presSee works by Tommy Bobo, Lisa Dillin, Pamela Gwaltents a series of works inspired by Tibetan prayer flags. ney, and Esther Ruiz, four east coast artists who use Sept. 2–Sept. 26. OngOing: “Jennie Lea Knight.” light in their pieces, in this new exhibition. Rarely seen pieces by the founder of Studio Gallery. Sept. 18–Nov. 25. Knight’s work is also in the collections of the SmithcrOss mackenzie Gallery 2026 R St. NW. (202) sonian American Art Museum, the Phillips Collection, 333-7970. crossmackenzie.com. OngOing: “Walter and the National Museum of Women in the Arts. McConnell.” A variety of works by the Belmont, N.Y.Sept. 2–Sept. 26. based ceramic artist, presented concurrently with the TOuchsTOne Gallery 901 New York Ave. NW. Katzen Arts Center’s show of McConnell’s work. (202) 347-2787. touchstonegallery.com. OngOing: Sept. 2–Sept. 27. “Layers.” Members of the gallery respond to the dc arTs cenTer 2438 18th St. NW. (202) 462-7833. theme of layers in a variety of mediums, including dcartscenter.org. OngOing: “Studio Sacrilege.” Artists photography, abstract painting, sculpture, and collage. Amy Hughes Braden, Roxana Geffen, and Jackie Milad Sept. 4–Sept. 27. OngOing: “Metropolis.” Painter reuse some of their already painted canvases to create

McCain McMurry presents a series of architectural and geometric paintings of cityscapes. Sept. 4–Sept. 27. OngOing: “Quarter Sections.” Assemblages by artist Janet Wheeler. Sept. 4–Sept. 27. visarTs 155 Gibbs St., Rockville. (301) 315-8200. visartsatrockville.org. OngOing: “Sea of Tranquility, Ocean of Doubt.” Site-specific sculptures that look like they’re still works-in-progress by sculptor Christian Benefiel. Sept. 4–Oct. 4. vivid sOluTiOns Gallery 1231 Good Hope Road SE. (202) 365-8392. vividsolutionsdc.com. OngOing: “Chromatic Canyon.” Sculptor Elisa Berry Fonseca creates unique stalagmites and hoodoos out of felt in this new exhibition inspired by caverns. Sept. 11–Oct. 27. washinGTOn prinTmakers Gallery 8230 Georgia Ave., Silver Spring. (301) 273-3660. washingtonprintmakers.com. OngOing: “Show and Teach: Look and Learn.” Visitors can explore printmaking techniques in this interactive exhibition that invites artists to explain their processes. Sept. 2–Oct. 4. OngOing: “Back to School: Color and Abstraction.” Inspired by the 50th anniversary of the Washington Color School, the gallery showcases works by two artists who emphasize color in their work. Sept. 2–Oct. 4. whinO On h sT. ne 700 H St. NE. (301) 567-8210. artwhino.com. OngOing: “G40 Art Summit.” More than 70 artists from around the world participate in

music, and a silent auction. Dance Place. 3225 8th St. NE. Sept. 19, 7 p.m. $150. (202) 269-1600. danceplace.org.

theater

chimerica Inspired by the Tiananmen Square protests on 1992, this play by Lucy Kirkwood focuses on a journalist who photographed the events and seeks out his subject years later. Two decades later, with ChineseAmerican relations dominating the election cycle, he’s approached by another Chinese acquaintance with a different proposal. David Muse directs this play about political correctness, change, and responsibility. Studio Theatre. 1501 14th St. NW. To Oct. 18. $20–$71. (202) 332-3300. studiotheatre.org. desTiny Of desire Drawing inspiration from Latin American telenovelas, this new play from local author Karen Zacarías focuses on the aftermath of a shocking baby swap. When one is raised by a rich family and and one is raised in poverty, the stage is set for an even more unbelievable reunion. Arena Stage. 1101 6th St. SW. To Oct. 18. $50–$90. (202) 488-3300. arenastage.org. dOGfiGhT Three Marines, on the verge of being deployed to Southeast Asia, come together for a final night of fun and confront their own mortality when a young waitress teaches them a few lessons about love

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FEAST YOUR EARS: THE STORY OF WHFS film Kickstarter Party Sunday Sept. 20

Botellita de Jerez at Tropicalia, sept. 23 this annual group show, taking place for the first time in Art Whino’s space in H St. NE. Other artists will create and present their own installations and Polish artist Pener will create a mural around the building. Sept. 12–Sept. 24.

dance

dana Tai sOOn BurGess dance cOmpany In Fluency of Four, the local company presents three works from its repertoire, “Picasso Dances,” “Mandala,” and “Confluence.” It also debuts “We choose to go to the moon,” a new work co-created with NASA that incorporates images, ‘60s-era costumes, and pop songs from the same era. Kennedy Center Terrace Theater. 2700 F St. NW. Sept. 19, 7 p.m.; Sept. 20, 7 p.m. $28–$45. (202) 467-4600. kennedy-center.org. J.a.m. 5Th elemenT—a dance specTacular musical revue This dance revue, set to popular songs from the 1970s and 1980s, features a variety of local performers who encourage audience members to get up and dance with them. Joe’s Movement Emporium. 3309 Bunker Hill Road, Mount Rainier. Sept. 18, 8 p.m.; Sept. 19, 8 p.m. $20–$25. (301) 699-1819. joesmovement.org. Thrive 35! The Brookland-based dance venue celebrates 35 years of classes and shows at this gala that features performances by its resident company, live

BACH TO ROCK STUDENT SHOWCASE - free show! and companionship. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To Sept. 19. $35–$45. (703) 892-0202. keegantheatre.com. The fix When a presidential candidate dies unexpectedly, his widow recruits her son to run in his place in this lively musical directed by Signature Artistic Director Eric Schaeffer. Signature Theatre. 4200 Campbell Ave., Arlington. To Sept. 20. $29–$85. (703) 820-9771. signature-theatre.org. friendship BeTrayed This 17th-century play by María de Zayas y Sotomayor, like Sex and the City, explores what happens to female friendships while women look for and find love. Kari Ginsburg sets her production in the 1920s, a time when women were beginning to explore their sexual curiosities and passions. Gunston Arts Center. 2700 S. Lang St., Arlington. To Oct. 11. $10–$35. (703) 228-1850. arlingtonarts.org.

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hay fever A husband and wife aim to escape the pressures of their lives by visiting their quiet country home. A quiet weekend becomes anything but that when their children also occupy the estate, in this classic farce by Noel Coward. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Sept. 27. $15–$60. (301) 924-3400. olneytheatre.org. inheriTance canyOn In this dark new play, playwright Liz Maestri takes the characters from her play

W W W. V I L L A I N A N D SA I N T. C O M washingtoncitypaper.com september 18, 2015 49

Fri & Sat, Sep 18 & 19 at Midnight! Buy Advance Tickets Online

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IN JAPANESE WITH ENGLISH SUBTITLES!

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down hill strugglers at kennedy center millennium stage, sept. 24 Owl Moon and sets them in an alternate reality where, after surviving a mysterious disaster, they’re left to fend for themselves while trapped in a canyon. Lise Bruneau directs this production, presented as part of the Women’s Voices Theater Festival. Taffety Punk at Capitol Hill Arts Workshop. 545 7th St. SE. To Oct. 10. $15. (202) 261-6612. taffetypunk.com. irOnBOund Over the course of 22 years, a Polish immigrant examines her romantic relationships and the values she takes from them in this new drama by Martyna Majok. Despite a lack of employment and in order to provide for her son, Darja is able to persevere and fight for what’s most important. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To Oct. 4. $36–$61. (240) 644-1100. roundhousetheatre.org. niGhT falls On The Blue planeT A woman aims to discover herself after spending her life struggling with familial estrangement and alcoholism. As she begins to understand her emotions and the inner world that exists under her skin, will she be able to reconnect with her sister or remain alone? Rex Daugherty directs this play by Kathleen Akerly as part of the Women’s Voices Theater Festival. Anacostia Playhouse. 2020 Shannon Place SE. To Sept. 27. $20–$35. (202) 544-0703. anacostiaplayhouse.com. nOw cOmes The niGhT In E.M. Lewis’ world premiere play, an American journalist is released after being held hostage for 18 months but his transition back into society meets challenges. A disagreement with a friend shakes both men, causing them to consider the consequences of being a hero in these times. Alex Levy directs 1st Stage’s first contribution to the Women’s Voices Theater Festival. 1st Stage. 1524 Spring Hill Road, McLean. To Oct. 11. $15–$30. (703) 854-1856. 1ststagespringhill.org. queens Girl in The wOrld When she’s transferred from her familiar environment in Queens to a progressive school in Greenwich Village where she’s one of four black students, 12-year-old Jacqueline Marie Butler feels her world shrinking. In this world premiere play by Caleen Sinnette Jennings, Jacqueline’s journey of

50 september 18, 2015 washingtoncitypaper.com

understanding and growth comes to life. Presented as part of of the Women’s Voices Theater Festival. Theater J. 1529 16th St. NW. To Oct. 11. $17–$67. (202) 5189400. theaterj.org. seuls In this play, which comes to the Kennedy Center as part of its World Stages initiative, director and performer Wajdi Mouawad tells the story of his escape from Lebanon to Montreal in order to avoid his nation’s civil war. Only after he grows up and is able to look back on history is he able to realize that he has lost a significant amount self-knowledge in the process. Presented in French with English titles. Kennedy Center Eisenhower Theater. 2700 F St. NW. To Sept. 19. $39–$60. (202) 467-4600. kennedy-center.org. shear madness Enjoy the record-breaking comedy whodunit that lets the audience spot the clues, question the suspects and solve the funniest murder mystery in the annals of crime, now celebrating 25 years at the Kennedy Center. Kennedy Center Theater Lab. 2700 F St. NW. To December 31. $48. 202-467-4600. kennedy-center.org. a Tale Of TwO ciTies The National Players present Benjamin Kingsland’s new adaptation of Charles Dickens’ novel about live in London and Paris during the Reign of Terror. Olney Theatre Center. 2001 OlneySandy Spring Road, Olney. To Sept. 20. $10–$15. (301) 924-3400. olneytheatre.org. TexTs&BeheadinGs/elizaBeThr In this new devised theater piece, created and directed by Karin Coonrod as part of the Women’s Voices Theater Festival, Elizabeth I’s letters from the Folger collection are used to tell the story of the queen’s reign. Four actresses read Elizabeth’s words that have been transformed into poems and personal reflections. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To Oct. 4. $35. (202) 544-7077. folger.edu. TruTh & BeauTy BOmBs: a sOfTer wOrld Inspired by the web comic created by Emily Horne and Joey Comeau, this new play imagines a world where the edges might be softer but monsters are real. A variety of well-known local actors and dramatists,

algiers at rock & roll hotel, sept. 20 including Alexandra Petri, Frank Britton, and Randy Baker collaborate on this production. Atlas Performing Arts Center. 1333 H St. NE. To Oct. 4. $20–$30. (202) 399-7993. atlasarts.org.

FilM

Russian champion Boris Spassky. Directed by Edward Zwick. (See washingtoncitypaper.com for venue information)

TxT Brian Feldman presents this interactive show in which he reads anonymous online messages sent from audience members every Sunday in 2015. Anything goes in terms of subject matter and profanity, so arrive with no expectations. American Poetry Museum. 716 Monroe St. #25. To December 27. $15–$20. (800) 838-3006. txtshow.brownpapertickets.com.

man who terrorized the city while also working as an FBI informant, in this dark drama that also stars Jesse Plemons, Joel Edgerton, and Benedict Cumberbatch. (See washingtoncitypaper.com for venue information)

The perfecT Guy Sanaa Lathan stars as a hardworking lobbyist who finds herself in danger after beginning a relationship with a mysterious stranger. When her old boyfriend resurfaces, she’s forced to decide whether she’ll stay with either man. Co-starring Michael Ealy and Morris Chestnut. (See washingtoncitypaper.com for venue information)

uprisinG In this new musical set in the aftermath of John Brown’s raid on Harper’s Ferry, a group of free black fall under the spell of Ossie, a revolutionary who aims to change the world around him. Thomas W. Jones II directs Gabrielle Fulton’s production, a world premiere. MetroStage. 1201 N. Royal St., Alexandria. To Oct. 25. $55–$60. (703) 548-9044. metrostage.org.

Black mass Johnny Depp transforms into n Boston gangster James “Whitey” Bulger, the

a BrillianT yOunG mind An awkward young n man finds meaning in his life when he joins Britain’s International Mathematics Olympiad in this warm drama by Morgan Matthews. (See washingtoncitypaper.com for venue information) diary Of a TeenaGe Girl A teenage girl coming of age in 1970s San Francisco embraces her sexuality by beginning an affair with her mother’s boyfriend in this drama based on the novel by Phoebe Gloeckner. Starring Kristin Wiig, Bel Powley, and Alexander Skarsgård. (See washingtoncitypaper.com for venue information)

The weiGhT Of waTer In order to connect with the spirit of her last living relative, a young woman must piece together the pieces of her family’s past. Factory 449 presents Allyson Curtin’s drama about the secrets families keep from each other as part of the Women’s Voices Theater Festival. Anacostia Arts Center. 1231 Good Hope Road SE. To Sept. 27. $15–$20. anacostiaartscenter.com.

runner: The scOrch Trials In the n maze next chapter of this series, Thomas and his

wOmen lauGhinG alOne wiTh salad Three women balance their relationships with the same man and their own life priorities in this world-premiere comedy from Sheila Callaghan, who previously presented her play Fever/Dream in 2009. Woolly Mammoth Theatre. 641 D St. NW. To Oct. 4. $43–$68. (202) 3933939. woollymammoth.net.

ents and the woman he wants to marry in this comedic documentary starring Champa V. Patel, Geeta Patel, and Ravi Patel. (See washingtoncitypaper.com for venue information)

yerma (Barren) In this adaptation of the classic Federico Garcia Lorca play, a poor, childless peasant confronts the repressive society in which she lives. This contemporary update and its comments on the fate of modern women who stand up for their rights remains relevant today. GALA Hispanic Theatre. 3333 14th St. NW. To Oct. 4. $20–$42. (202) 234-7174. galatheatre.org.

friends must uncover secrets about the operations of a powerful organization and use their knowledge to overpower it. (See washingtoncitypaper.com for venue information) meeT The paTels An Indian-American man n finds himself in a love triangle between his par-

new Girlfriend After losing her best n The friend, Lea forms a friendship with the woman’s husband, only to discover his penchant for cross-dressing and confused feelings about gender. She helps him create a female persona but the sacrifices cause Lea to question her relationship both with this man and her husband in this French drama by François Ozon. (See washingtoncitypaper.com for venue information) sacrifice Tobey Maguire stars as the n pawn enigmatic American chess champion Bobby Fischer in this drama about Fischer’s tense match with

wiTh OTher peOple A man who n sleepinG regularly takes advantage of women and a woman who frequently cheats in her relationships form a platonic friendship in this movie starring Alison Brie and Jason Sudeikis. As their relationship grows closer, however, will they be able to fight off the attraction or give up and embrace it? (See washingtoncitypaper.com for venue information) sTeve JOBs: The man in The machine Alex Gibney, known for directing documentaries like Going Clear: Scientology and the Prison of Belief and Enron: The Smartest Guys in the Room, looks at the life of the late Apple founder and visionary in this new film. (See washingtoncitypaper.com for venue information) Time OuT Of mind Richard Gere stars as a homeless ma struggling to put his life back together in this drama directed and written by Oren Moverman. (See washingtoncitypaper.com for venue information)

The visiT Two children spend the weekend with their grandparents but things quickly turn spooky and dangerous in this thriller written, produced, and directed by M. Night Shyamalan. (See washingtoncitypaper.com for venue information)

washingtoncitypaper.com/craftybastards

VOLUNTEERS NEEDED! ARTS & CRAFTS FAIR Union Market

& 10 to

a.m.

5 p.m.

Have fun! Meet great Crafty folks! To sign up, email Chloe at craftybastardsvolunteers@ washingtoncitypaper.com.

All volunteers will receive free entry into the fair and a free Crafty Bastards gift bag filled with awesome goodies.

Film clips are written by Caroline Jones. washingtoncitypaper.com september 18, 2015 51

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Computer/Technical

Multiple IT Related Positions (National Placement out of Loudon County, VA). Must be able to travel/relocate to unanticipated client sites as needed. U.S. Degree or foreign equiv. Any suitable combo of educ training or exp acceped. Candidates may qualify for either job listed below:

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Jr. Management Analysts – Business Strategy: Although no exp req’d candidate must have coursework or internship in: Business Modeling; Technology Management; Business Strategy. In addition, candidate must have coursework or internship in Managerial Economics or Finance. Ref# JMBS-0115

MANAGEMENT ANALYSTS: Senior candidate will gather & analyze data & info to eval & design sys’s & procedures to improve workflow, QC &QA & assist management in operating more effi ciently & effectively. MS degree in either, Computers, Eng’g, Info Sys’s, Telecommunications, IT, Management, Business, International or related fi eld. See Salary Below:

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Management Analysts – Database: Although no ex req’d candidate must have coursework or internship in: Database Design; Systems Analysis; & Management Info Technology (MIT) or Management Info Sys’s (MIS) Salary $103,750Yr. Ref# MGTD-0115 Management Analysts – International Finance: Although no exp req’d candidate must have coursework or internship in: Strategic Planning; Managerial Economics; International Economics or Finance; & Emerging Markets. Salary $102,149Yr. Ref# MGTI-0115 Positions are FT/Perm 9-5, 40 hrs/wk. Use Ref# & Resume to: Asta CRS, Inc. 44121 Harry Byrd Hwy, Suite 230, Ashburn, VA 20147 or resumes@astacrs.com. Asta CRS, Inc. is EOE M/F/V/D

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Driver/Delivery/Courier Takeout Taxi the areas leading Restaurant delivery service is hiring Drivers. Own vehicle required. Must be 21. Earn tips + commission. Must bring: -Insurance Declaration Page -Driving Record -Car Registration -Driver’s License Please apply at 10516 Summit Avenue 100 Kensington MD 20895. 301-571-0111

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Producer, MLB at SiriusXM Producer, Sports ProgramRadio: Under direct supervision, ming at SiriusXM Radio: Prothis position is responsible for ducer will be responsible for all the daily show preparation of an aspects involved in producing assigned talk show or shows. The successful daily talk shows producer will meet with the execincluding studio/technical operutive producers on a regular basis ations, promotion, production, and will report to the executive guest booking, call-screening producers. This person will also and research. Meet with executive meet with his assigned host(s) producer, program director and each day to discuss topics and host(s) on a daily basis to prepare plan segments for the show. Apfor shows. Implement daily tasks ply at : https://careers-siriusxm. assigned from management and icims.com/jobs/10784/producmeet broadcast deadlines. Aper%2c-mlb/job ply at: http://www.washingtoncitypaper.com/ https://careers-siriusxm. icims.com/jobs/10895/producOn-Air Host, Music Programer%2c-sports-programming/job ming at SiriusXM Radio: On Air Host for one or more music chanExecutive Producer/ Content nels. Host a unique, compelling, Manager, Sports Programming and conversational radio show. at SiriusXM Radio: Executive Prepare and host various music Producer/Content Manager will intensive shows incorporating operate and maintain the promocontent appropriate for intended tional content airing across all audience. Apply at : https:// of our sports channels (digital c a r e er s - sirius x m.icim s.c om / and radio). Role involves content jobs/10809/on-air-host%2c-mucreation, coordination of camsic-programming/job paigns, and tracking trends. Apply at: https://careers-siriusxm. icims.com/jobs/10879/executive - produc er- - content- man ager%2c-sports-programming/ job

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Part-Time Help Wanted- Ofﬁce/ Clerical PT Clerical Person needed from Monday-Friday, $600.00 weekly.Computer skills are a must. Need to be detail oriented, possess good customer service skills, some cash & items handling skills,Must be able to do Lil errand. Apply Email: lanbright2013@outlook.com

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Planned Parenthood believes in the fundamental right of each individual, throughout the world, to manage his or her fertility, regardless of the individual’s income, marital status, race, ethnicity, sexual orientation, age, national origin, or residence. We believe that respect and value for diversity in all aspects of our organization are essential to our well-being. We believe that reproductive self-determination must be voluntary and preserve the individual’s right to privacy. We further believe that such self-determination will contribute to an enhancement of the quality of life and strong family relationships. Planned Parenthood Federation of America is seeking for a Front Desk Concierge in our Washington DC location, whose main responsibility will be managing the reception desk. The candidate must be experience in security management or a related fi eld. The ideal candidate will be familiar with building evacuation plans, have local law enforcement contacts. He /she will possess certifi cation in CPR and AED, prehttp://www.washingtpare incident/accident reports, and contact law enforcement on oncitypaper.com/ matters requiring assistance. Additionally, he/she will assist PPFA in securing confidential records, documents and communications.

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Planned Parenthood Federation of America is an equal employment opportunity employer and is committed to maintaining a non-discriminatory work environment. Planned Parenthood of America does not discriminate against any employee or applicant for employment on the basis of race, color, religion, sex, national origin, age, disability, veteran status, marital status, sexual orientation, or any other characteristic protected by applicable law. Planned Parenthood Federation of America is committed to creating a dynamic work environment that values diversity and inclusion, respect and integrity, customer focus, and innovation. http://www.plannedparenthood.org/

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Commercial NOTICE! Commercial? ______with all inherent rights___________ NOTICE! to all Municipalities. Local and National Governments. STATES. U.S. Agents. Attorney’s. Corporations. Persons. Vessels. Counties. Militaries. Courts. Untied States?of America. UNITED STATES. UNITED NATIONS. And to Territories in Possession of UNITED STATES. United States d/b/a Department of Home Land Security. United States Treasury Department. United Nations and United Nations Security Counsel.?Vatican. Indian tribes, Associated Bands and Clans. The following election to Occupy?the Offi ce of General Executor for RASHAWN LAMONT BLAKE JACKSON, Estate was held in the City of?Jersey city, Hudson Counhttp://www.washingtoncity, State of New Jersey on January typaper.com/ 15th 1987. For which I Rashawn Lamont Blake tribe Jackson, a American National, A man standing on the land Amexem/ Alkebulan/North America.? I have now accepted the position of General Executor, and General Guardian of the?divine Estate gifted and granted to me by the Divine Creator. Therefore, I affirm and?declare that upon occupying this offi ce, I will not be responsible for the payments of?any debts or obligations of the United States of America and neither for any payments?or Obligations of any debts for any United States Person/citizen. ======================== ======== by, Rashawn Lamont Blake tribe Jackson GENERAL EXECUTOR ======================== ======== For any questions or statements please feel free to contact Score13LLC@gmail.com

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MT PLEASANT MULTI-FAMILY YARD SALE, Sat. 9/19, 10am3p.m., 3300 Block, 18th St. NW (Alley) - Furniture, clothes, cool kitchen stuff, tools, vintage posters, games, books, jewelry, art, collectibles & more!

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