Washington City Paper (September 21, 2018)

CITYPAPER Washington

Free Volume 38, No. 38 WashiNgtoNCityPaPer.Com sePt. 21-27, 2018

Housing: an immaculate eviction 5 sports: esports takes over D.c. 6 Food: pizzerias take on moDern technology 18

BRIEF HISTORIES OF FLIGHT Photographs by Darrow Montgomery

P. 10

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INSIDE COVER StORy: BRIEF HIStORIES OF FLIGHt

10 A collection of contrails by Darrow Montgomery

ADvERTISEMENT

MARYLAND RENAISSANCE FESTIVAL

TIME TRAVEL TO...

DIStRICt LINE 5 housing complex: As the Basilica of the National Shrine of the Immaculate Conception prepares to sell a nearby building, residents of that building prepare for eviction.

SpORtS 6 e league of their own: D.C. sports team owners turn their attention to esports.

8 the scoreboard

FOOD 18 pie-o-neers: Traditional pizzerias fight to compete with delivery apps and conveyor belts.

ARtS 21 discography: Nenet on Escapeism’s The Lost Record and Bad Moves’ Tell No One 22 curtain calls: Klimek on South Pacific at Olney Theatre Center and Randall on Turn Me Loose at Arena Stage 23 speed reads: Ottenburg on Suffragists in Washington, D.C. 24 short subjects: Olszewski on Lizzie and Gittell on Blaze

CIty LISt 27 29 30 32

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EDITORIAL

editor: AlexA mills Managing editor: cAroline jones arts editor: mAtt cohen food editor: lAurA hAyes sports editor: Kelyn soong city lights editor: KAylA rAndAll housing coMplex reporter: morgAn BAsKin staff photographer: dArrow montgomery MultiMedia and copy editor: will wArren creative director: stephAnie rudig contributing writers: john Anderson, VAnce BrinKley, Kriston cApps, chAd clArK, rAchel m. cohen, riley croghAn, jeffry cudlin, eddie deAn, erin deVine, tim eBner, cAsey emBert, jAKe emen, jonAthAn l. fischer, noAh gittell, lAurA irene, AmAndA Kolson hurley, louis jAcoBson, rAchAel johnson, chris Kelly, steVe KiViAt, chris KlimeK, priyA Konings, julyssA lopez, Amy lyons, neVin mArtell, Keith mAthiAs, pABlo mAurer, j.f. meils, BriAn murphy, triciA olszewsKi, eVe ottenBerg, miKe pAArlBerg, pAt pAduA, justin peters, reBeccA j. ritzel, ABid shAh, tom sherwood, Quintin simmons, mAtt terl, dAn tromBly, KAArin VemBAr, emily wAlz, joe wArminsKy, AlonA wArtofsKy, justin weBer, michAel j. west, diAnA yAp, AlAn zilBermAn

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“This is not real. I’m just in Starbucks trying to get a Frap. This is not real.” —P. 6

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DistrictLine Immaculate Eviction

On a residential street blocks away from the largest Catholic church on the continent, a group of tenants watch and wait as the basilica sells their building to a buyer who they expect will evict them.

In her tIny sliver of Edgewood, just south of the Basilica of the National Shrine of the Immaculate Conception, the periodic tolling of the shrine’s bell rings clear at every hour, on the hour––a reminder, for resident Heather Benno, of the Catholic Church’s “huge, looming presence” in her neighborhood.

Benno, a three-and-a-half year tenant of a one-bedroom apartment at 636 Girard St. NE, where she lives with her 2-yearold daughter, her partner, Juan, and a charming array of pets, is now taking on the mammoth entity. The four-unit building she lives in is up for sale by a holding corporation owned by the basilica.

In January, the former owner of Benno’s building died, bequeathing the building––in a move that surprised its residents––to the basilica, the largest Catholic church both in the U.S. and North America.

Almost immediately, the tenants became aware that the church intended to sell the property. “They don’t want to know we exist, and we live two blocks away,” Benno says.

Communications between Benno and an employee of the basilica’s holdings corporation, BNSIC Title Holding Corporation, show why: As a Roman Catholic church, the basilica “is not permitted to manage or own rental properties as a trade or business,” according to a letter that BNSIC Treasurer Kevin Kavanaugh sent to Benno. “Unfortunately, there is no way for the Shrine to intercede on these issues and/or impose additional demands on the buyer regarding the tenants.”

(A representative for the basilica’s holding company did not return City Paper’s request for comment.)

The tenants found themselves in an unusual bind, caught in legal limbo by both District rental laws and those applying to religious institutions. Though D.C.’s Tenant Opportunity to Purchase Act gives tenants a first right of refusal to purchase their buildings when they

housing complex

Darrow Montgomery

By Morgan Baskin

go up for sale, TOPA doesn’t apply when the building changes hands through a deed transfer from a decedent to a charity.

So it wasn’t until BNSIC Title Holding Corporation entered into a contract of sale with a potential buyer that the Girard Street tenants could legally intervene. In mid-June, BNSIC did just that. Tenants obtained a copy of the sales contract, which Benno shared with City Paper, showing that a woman named Ongelle Higgins plans to purchase the four-unit building for $675,000.

Complicating matters was how tenants received the contract. Benno says a copy was unceremoniously dumped in the entryway of their apartment building and that nobody was notified that it was there.

By late June, every tenant in the building signed onto a letter of interest in purchasing the property, and submitted it to the Department of Housing and Community Development. “Please note that while one tenant found an Offer of Sale dated June 21, 2018 on the floor of the property … [it] was not properly posted to a conspicuous common area, or properly issued to all tenants via Certified Mail, as required by D.C. Code,” the letter points out.

Benno describes the intervening week as

wrought with anxiety.

The Girard Street tenants haven’t had contact with Higgins, which isn’t to say they haven’t tried.

Though Higgens lists her name as “Ongelle Higgens” on the document, as well as an email address that includes “Higgens” in it, some of her signatures on the contract say Ongelle Hickens. (City Paper’s email to the listed contact address that includes “Higgins” bounced back.) The tenants are wary of her taking over the property.

A copy of the contract of sale indicates that Higgins plans on occupying 636 Girard St. NE as her principal residence, indicating that residents will also be put out. “Once the property is sold, what happens next is between the buyer and his/her new tenants,” Kavanaugh’s letter says.

The tenants have tried, unsuccessfully, to find a nonprofit or affordable housing developer to manage and develop the property. They’re interested in buying the building and converting it into a co-op. One affordable housing developer they got in touch with advised that it would cost over $200,000 per apartment to purchase the building and that it would be difficult to receive financing for the endeavor, given DHCD’s guidelines requiring private loans to finance at least 34 percent of a TOPA sale.

Additionally, the affordable housing developer told them in a letter obtained by City Paper that a four-unit co-op would likely be viewed as risky from a long-term management perspective, should even one tenant refuse

(or struggle) to pay rent. “I am sorry I can’t be more optimistic,” the rejoinder concluded.

Benno says, of the church, “They’ve done the bare minimum as required by law. That’s what’s disgusting. They definitely could help us or try to find a buyer. There’s nothing preventing them from using their power for good.”

In the meantime, Benno says, the basilica has sent priests to the building to do walkthroughs of each unit. They give tenants, at best, a day’s notice, sometimes just knocking on apartment doors during dinner, or in the mornings as families prepare for school and work, the tenants say.

And in the months of legal drama since the basillica acquired the property, tenants say, maintenance requests have begun to go unanswered, and once-routine pest management treatments have become less frequent.

Mice, cockroach, and ant sightings have become more common, Benno says.

Joy Hazuka moved into 636 Girard in 2010, right across the hall from Benno. Like Benno, she loves the neighborhood. Her son, who’s in high school, has easy access to the bus, and she thinks the neighborhood is safe enough to raise a family. She’s worried that if they’re forced to move during the academic year, they’ll have to find him another school.

Her patience is waning, and she’s sick of strangers barging into her apartment without any notice.

“Up until now we’ve been confused––we don’t know what’s going to happen. We don’t have any defined answer,” she says. “Sometimes I ask myself, ‘What are we going to do?’” Some tenants are just waiting for the other shoe to drop, but Hazuka maintains a fighting spirit. “I believe we should go out forcefully,” she nods. “When they come and say ‘get out,’ we will. But we hope something will change.”

The distress of this year has pulled the tenants closer together, as they gather to strategize and lament. Hazuka says of the 636 Girard St. residents: “Now, we’re family.” CP

washingtoncitypaper.com september 21, 2018 5

Kelyn Soong

SPORTS

Two local entrepreneurs have launched The St. James, a 450,000-squarefoot sports and wellness complex in Springfield, with the ambitious mission of changing the way D.C. works out. washingtoncitypaper.com/sports

E League of Their Own Owners of traditional D.C. sports teams bet big on esports.

By Kelyn Soong

Wearing a black T-shirt and black Nike shorts, Johnathon Fields walks from his apartment to a nearby Starbucks on an early September evening for a quick F ra p p u cc i n o fix. He’s made this trip several times since moving to D.C. in April. There isn’t anything notable about his presence, no reason for him to interact with anyone, really, but shortly after entering the coffee shop, a man behind the counter he doesn’t recognize shouts, “Hey, JT!” Another screams, “Green!” at him in what he describes as a “demon voice.”

Fields doesn’t know how to react. “This is not real,” he remembers thinking. “I’m just in Starbucks trying to get a Frap. This is not real.”

On Twitter, Fields is a well-known persona who goes by the handle @DemonJT_ and has more than 16,300 followers. Those who have listened to him online know that he often screams, “Green!” in that same voice as the Starbucks employee. He’s not a complete unknown. But this moment, this unexpected dose of reality, is different than any of the attention he’s received through social media.

The 25-year-old Chicago native is getting a taste of mainstream fame. And for something that society has viewed as more of a timewasting hobby than a viable career path, or even a sport. Fields is a professional esports player for Wizards District Gaming, an NBA 2K team owned by local sports magnate Ted Leonsis. He is part of the new breed of professional athletes that are being paid to play video games. Every team in the NBA 2K League pays $35,000 to their first round draft pick for the six-month season and $32,000 for the other five players. Housing is also provided.

As esports becomes more accepted as a mainstream sport, professionals like Fields can only expect their profile to grow. Wizards District Gaming concluded its inaugural NBA 2K League season in mid-August, and the team selected Fields in the first round of the league’s draft in April. The Leonsis-led Monumental Sports and Entertainment also has controlling interest in Team Liquid, a multiregional professional esports organization that

Courtesy of The Overwatch League

Esports

oversees several teams.

Earlier this month, local entrepreneur and venture capitalist Mark Ein purchased a D.C.based franchise in The Overwatch League, which runs a professional esports competition for the enormously popular Overwatch first-person shooter video game. The team, Overwatch DC, will play its inaugural season in 2019.

Owners of traditional sports teams like Leonsis and Ein are banking on the prediction that esports is the future and that D.C. will be a key player in that universe.

“Esports is far and away the fastest growing platform in the world of sports,” says Ein, who owns the Washington Kastles of World Team Tennis (and, full disclosure, Washington City Paper). “Most traditional sports are declining or flat. Esports is exploding. The growth, by any measure—participation and viewership— is showing significant double-digit growth.”

Marketing research company Newzoo predicted in a February 2018 report that revenues for the global esports economy will hit $905 mil-

6 september 21, 2018 washingtoncitypaper.com

lion this year, a 38 percent increase from 2017.

When Ein asked recent U.S. Open women’s champion Naomi Osaka to come down early to practice for her Kastles match this summer, the 20-year-old told him she couldn’t. She was part of the sold-out crowd watching The Overwatch League Grand Finals at Barclays Center in Brooklyn. Tennis would have to wait.

The two-day event drew an estimated global average of 861,205 viewers per minute across TV and streaming platforms, with a U.S. average of 289,175 viewers per minute, according to L.A. Biz. Forty-five percent of the U.S. audience (129,792) fell into the highly coveted 18to-34 age demographic.

Video games are no longer relegated to basements, played among enthusiastic hobbyists. Rebranded as esports, it’s a lucrative business and an in-demand sport.

“I think for the longest time there’s been this debate whether esports is a sport, is it not a sport. You can go on Twitter after major esports event, people angrily tweeting one way

or another. From our perspective, truthfully it doesn’t matter,” says Grant Paranjape, the director of esports for Monumental Sports and Entertainment. “It’s a new, innovative form of entertainment. It’s highly engaging and captivating to millions of people—not just millions of people, but the key demographic for a lot of brands out there.”

Paranjape, 24, didn’t grow up as a sports fan in Birmingham, Michigan. Instead of going to Detroit Red Wings games, he would play video games with his friends on the Nintendo 64 console. Paranjape also played World of Warcraft competitively throughout high school, before going to college to study neuroscience. Because of this, he sees himself “as sports owners’ worst nightmare, to some degrees.” Playing and watching sports were not a priority for him.

“There are a lot of people like me, who play video games as a primary form of entertainment,” says Paranjape, who earned an MBA from Tulane University at 22. “Esports is a good vehicle to reach a lot of people like me

SPORTS and do it in a meaningful way.”

Mainstream media is slowly catching on.

Jacob Wolf got into esports about eight or nine years ago and played Call of Duty at “a pretty high level online.” He then jumped into the world of League of Legends, another popular video game with a die-hard fanbase.

Wolf started writing about esports as a freelancer four years ago, when coverage was usually limited to niche websites. A few years later, in spring of 2016, ESPN contacted him. The media giant was launching an esports site and wanted Wolf to be a staff writer. He’s been at ESPN since, and is considered one of the biggest names in esports media.

“The audience is out there, and they deserve coverage, want coverage,” says Wolf, 21. “It’s important for us to be there.”

In D.C., The Washington Post has tapped Mike Hume to be the assignment editor that handles esports. Previously, Hume (a friend and former colleague of this reporter) edited coverage of professional football and the local NFL team for the paper.

At a time when sports departments, and newsrooms in general, around the country are shrinking, it’s important to cover subjects that are seeing growth and have an engaged audience, says Hume.

“If you’re a sports department, you need to be aware of that,” he adds. “Here, we have a very ripe growth opportunity.”

The professionalization of esports has been an exciting development for longtime video game fans in the area. And the fact that teams and leagues are coming to D.C. is an added bonus.

Jared Brody, a 26-year-old from Silver Spring, has been to a number of Super Smash Bros. tournaments over the last decade, honing his skills in competitions around the region.

More recently, he started playing and streaming Overwatch on Twitch, the Amazon-owned live streaming video platform that has become a popular way to watch gamers compete.

One of his roommates is into NBA 2K and plans to attend watch parties for Wizards District Gaming, and both are excited about the arrival of the Overwatch DC team. D.C. may not be as well-known for its esports scene as some cities in California, where many video game companies are based, but Brody believes it’s only a matter of time before the District gets there.

“It seems like it’s up and coming,” he says.

Kay Kennedy of Springfield has more than 350,000 followers on Twitter and Instagram combined. She’s a professional cosplayer—short for “costume play” in which people dress as fictional characters—and has her own streaming channel on Twitch. She’s been working on a costume for the Overwatch character Junkrat for years and is currently finishing up her Mercy costume.

The more mainstream esports has become,

the more opportunities and attention Kennedy, who goes by the name Byndo Gehk online, receives. And she no longer needs to explain what she does for a living—at least not as often. People are starting to understand and catch up to her world.

“I think it’s opening everyone’s mind a little bit more,” says Kennedy, 27. “It’s easier for us to engage with a new audience coming in.”

Having more eyes on esports, and the professionalization of it, also means issues that plague the gaming world will be magnified.

Women in esports have had to deal with harassment and misogyny to the point that some choose not to speak at all during voice chats in video games, Kennedy says. The culture of the angry male video gamer, she hopes, will slowly fade as esports becomes more mainstream.

“Everyone has to be professional,” says Kennedy. “Just like any other sport, the players will get in trouble if they act out, do something uncouth. ... That has to be normalized too.”

On the top center of poster board ads for the soon-to-be-opened Entertainment and Sports Arena in Ward 8 is the word “ESPORTS,” featured prominently in the same size and font as the words, “BASKETBALL” and “MUSIC.” This is by carefully researched design.

Events DC, the convention and sports authority for D.C. that co-developed the arena, built the 4,200-seat venue with esports in mind.

The St. James, a 450,000-square-foot sports and wellness complex that recently opened in Springfield, also plans to host esports events.

“It has been a really big deal for us. We look at some key, strategic initiatives for our organizations that can come in the form of building new venues or new market segments, and esports was at the forefront of the new market segment,” says Gregory O’Dell, president and chief executive officer of Events DC. Like with mainstream sports, the idea and hope behind those who run esports franchises is that the community will rally around the teams. They believe that fans will buy team merchandise and feel passion for local esports players the same way they do for local athletes like John Wall, Alex Ovechkin, or Elena Delle Donne. And that they will watch the teams, both online and in person, cheering loudly alongside thousands of fellow fans.

“It is so tremendously exciting. It really does feel like we’re in a middle of a revolution of people not just watching screens but participating,” says Overwatch DC assistant general manager Kate Mitchell.

Eventually, if esports continues to grow the way fans, media members, and team owners expect, and the D.C. teams continue to build an audience, professional players like Fields will find it difficult to blend in during their daily routines.

In some ways, it’s already happening.

CP

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AFRICAN STUDY A study at NIH is recruiting healthy black African men and women to understand diabetes and heart disease risk in Africans.

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D C O F F I C E O F T H E T E N A N T A D V O C AT E

11TH ANNUAL TENANT & TENANT ASSOCIATION SUMMIT

Mark your calendars and join us as we celebrate our 11th year! We believe all tenants living in the District have a right to decent, safe and affordable housing. This year, learn how the District’s new eviction rules will protect families. And for the second year, real estate agents can get three CEUs by attending the Renter’s 101 session.

SATURDAY, SEPTEMBER 29, 2018 WASHINGTON, DC Kellogg Conference Hotel at Gallaudet University • 9:00 am – 5:00 pm Lunch Provided. Shuttle service from NoMa-Gallaudet U. Metro.

FREE EVENT WHO SHOULD ATTEND We welcome anyone who supports tenants’ rights, including: • Renters living in DC • Landlords with rental property in DC • Real estate agents • Emergency housing agencies • Children’s health advocates • Senior services agencies • Disability rights groups Register at OTA11.eventbrite.com or call (202) 241-5942

8 september 21, 2018 washingtoncitypaper.com

T H E

S C OR E B O A R D

The Scoreboard is a sports feature spotlighting the winners and losers, the champs and chumps, the highlights and lowlights, and anything in between, of sports in the D.C. area.

Mystics’ Mission Mystics rookie Ariel Atkins went into the season with “no expectations at all.” She just wanted to play. What happened in the months after coach and general manager Mike Thibault selected Atkins as the number seven overall pick in April’s draft has been a pleasant surprise to even the most tunedin fans. According to at least one projection, the team was predicted to finish eighth in the 12-league team. The Mystics ended up reaching the WNBA Finals.

Atkins had a memorable season, averaging 11.3 points per game in the regular season and 15.2 points per game in the playoffs. Even though the Seattle Storm swept the Mystics in three games last week, Atkins and her team gave viewers a glimpse of the promising future ahead.

six teams in each of the two conferences qualify for the MLS Cup Playoffs.)

D.C. United will next play on Sept. 29 in an away game against the Montreal Impact, currently sixth in the Eastern Conference.

“The playoff spot is still in our hands,” Rooney said in a story on mlssoccer. com. “We can beat Montreal in the next game, and then we have the game in hand where we can go above them, so we have to try and take the positives from that.” opening doors On Saturday, Sept. 15, The St. James, a 450,000-square-foot sports and wellness complex, opened in Fairfax with the aim of becoming a destination spot for D.C.-area fitness enthusiasts.

On Saturday, Sept. 22, a ribbon-cutting will mark the official opening of the 4,200seat Entertainment and Sports Arena, which will serve as the home arena for the Mystics and the new NBA G-League team, the Capital City Go-Go, as well as the practice facility for the Wizards.

“I think it demonstrates the demand for sports in this town,” says Craig Dixon, cofounder of The St. James. “I think it demonstrates that this town has a real passion for sports and being active that wasn’t being met before. Now we have lots of new options people can check out.”

“I think that’s the most exciting thing about what we saw in this final series is that we’re not even the best team we could possibly be,” Atkins told City Paper. “I think that’s exciting because we have so much room for growth.”

More than 9,000 fans showed up at EagleBank Arena in Fairfax to cheer on the team during Game 3. Next season, the Mystics will play in their new arena in Ward 8.

United Front Not long ago, D.C. United was sitting near the bottom of the MLS standings. Missing the playoffs in backto-back seasons looked inevitable.

Now with Wayne Rooney playing the part he was brought in to do and Luciano Acosta enjoying the benefits of not being the main focus for defenses, D.C. United is within one spot of qualifying for the postseason heading into a mini break. (The top

eMpty seats For decades, the local NFL team has claimed that it has sold out its home games, despite visual evidence to the contrary. The team is now finally being honest about its attendance. It’s historically bad.

An announced 57,013 fans attended the game on Sunday, Sept. 16—a 21-9 loss to the Indianapolis Colts—compared to the 78,658 who attended last year’s home opener. The Washington Post noted that it was the lowest-attended home opener in FedEx Field’s 21-year history.

The team didn’t give those who went much to cheer about, either. Instead, the fans booed.

“It was a new one for me,” running back Adrian Peterson told The Post. “It was different.”

—Kelyn Soong

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BRIEF HISTORIES OF FLIGHT Photographs by Darrow Montgomery 10 september 21, 2018 washingtoncitypaper.com

Darrow Montgomery was walking down an alley off K Street NW when he looked up and saw a contrail.

This is not a remarkable sight, but the little white streak in the sky between towering downtown buildings did make for a remarkable photo.

That was five years ago, and Montgomery has been capturing contrails ever since. As City Paper’s photographer of 32 years, this isn’t his first essay. He’s spent weeks, months, or years studying D.C. bus stops, the 600 block of H Street NW, disappearing commercial signs, people obsessed with their smart devices, and other topics. Contrails are different because he can’t control when he finds them. “You just have to be ready for them, and you have to do it right then or it will be gone—or it will be different,” he says.

He took the photos with his iPhone. “Most of these are from when I’m out riding my bike,” he says.

“In the old days, I wouldn’t have gotten them because I wouldn’t have been able to bring a big camera with me.”

Some contrails in this collection are bright streaks against a blue sky, or billowed out airplane trails big enough for a toddler to recognize. Others are thin, disappearing stripes that catch sunlight as they slip in and out of the clouds. In one photo, a woman (who happens to be reading City Paper) and a boy unknowingly have twin contrails in the sky above their heads.

In a few photos, it’s hard to tell whether you’re looking at regular clouds or the remnants of a flight. But Montgomery didn’t count anything ambiguous. Look for the indisputable contrails.

— Alexa Mills

Clockwise from top left: Ohio Drive SW, Jan. 20, 2018; Metropolitan Branch Trail, March 7, 2016; K Street NW (rear), June 4, 2013; Dupont Circle, March 2, 2015

washingtoncitypaper.com september 21, 2018 11

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Lefthand page: 15th Street NW, Nov. 17, 2017 Righthand page, clockwise from top left: Washington Monument, Jan. 20, 2018; Logan Circle, June 19, 2017; Franklin Square, Dec. 4, 2017; Florida Avenue NW, Sept. 29, 2017; National Mall, Jan. 20, 2018

washingtoncitypaper.com september 21, 2018 13

Clockwise from top left: Thomas Circle, Dec. 13, 2017; Bladensburg, Md., Oct. 21, 2017; RFK Stadium parking lot, Aug. 25, 2018; H Street NE, Feb. 14, 2014; Franklin Street NE, July 29, 2018; Bladensburg, Md., Oct. 21, 2017; Unknown location, Dec. 16, 2017; McMillan Reservoir, Feb. 13, 2018

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Clockwise from top left: Alexandria, Va., June 26, 2018; 16th Street NW, April 13, 2018; East Potomac Golf Course, Jan. 20, 2018; H Street NW, Oct. 29, 2015; Irving Street NW, March 2, 2015; Mount Pleasant Street NW, Jan. 20, 2018

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EMBRACE FALL WITH NEW MUSIC!

1231 GOOD HOPE RD SE

UPCOMING EVENTS

SEP.

25 SEP.

CLOSING PARTY for All The Way Live Tuesdays in The Hut!

TUESDAY • 7PM • FREE To celebrate the finale of the All The Way Live Tuesdays! Series, Anacostia Arts Center and The Hut are bringing you TWO amazing local bands. Join us for the Kromonauts and Thaylobleu!

Brave Soul Collective presents “Safeguards”

27

THURSDAY • 8-10PM • $10 Touching on a host of hot button issues including HIV/AIDS, family, sex, dating & relationships, substance abuse, mental health, harm reduction & much more, this special one-night-only engagement features a series of dramatic & comedic monologues, short scenes and staged readings of works which aim to entertain, educate, and inspire

OCT.

Artist Market

6 OCT.

7 OCT.

14 OCT.

16 NOV.

11

SATURDAY • 1-4PM Back for another pop-up Saturday of local artists. Home furnishings, artwork, henna and much more. Join us for an afternoon of community love and support. 1-4PM #anacostiaartistmarket

Footloose Dance Studio presents “Broken”

SUNDAY • 5:30-9PM • $15–$20 This is a one woman show to bring awareness to women and domestic violence. This woman will tell her story thru dance!

Second Sundays Jazz

SUNDAY • 3PM • FREE Enjoy jazz every second Sunday of the month at the Anacostia Arts Center. In October we welcome Benjie Porecki Organ Ensemble.

The Inner Loop: Autumn in Anacostia

TUESDAY • 7:30-9:30PM • FREE The Inner Loop is excited to be hosting this month’s event in the Black Box at Anacostia Arts Center, and to feature biologist, poet and writer Myra Sklarew, along with nine local writers in fiction, nonfiction and poetry.

Second Sundays Jazz Presents Of Color

SUNDAY • 3PM • FREE Enjoy jazz every second Sunday of the month at the Anacostia Arts Center. In November we welcome The Mark Prince Trio.

RESIDENT BUSINESSES

MAHOGANYBOOKS

| MahoganyBooks is dedicated to meeting the literary needs of readers in search of books written for, by, or about people of the African Diaspora.

Hours: Tues - Fri: 12p-7p • Sat: 10a-7p • Sun: 12-4p | For more information visit www.mahoganybooks.com

NUBIAN HUEMAN

| Nubian Hueman brings popular culture and fair-trade to a modern brand experience by serving as a means to promote collective interaction, community development, and global responsibility through a fresh and artistic platform.

Hours: Tues - Sat 12-7p • Sun 11a-3p | For more information visit www.nubianhueman.com

VINTAGE AND CHARMED

“From every point of view, this production is a total success.”

—Russia’s Nezavisimaya Gazeta

Cheek by Jowl & Pushkin Theatre Moscow

Measure for Measure Oct. 10–13, 2018 | Eisenhower Theater Part of the Kennedy Center WORLD STAGES series

| City Paper’s Best Vintage Clothing Store 2018

Hours: Tues - Sat 12-7p • Sundays 11a-4p | For more information visit www.vintageandcharmed.com

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Hours: Tues & Thur, morning session: 9:30a - 12:30p, afternoon session: 4:30p -7:30p • Fri: 9:30a - 12:30p

(202) 467-4600

| CHIROKEI Consulting, LLC provides the following holistic health and wellness services; Chiropractic, Physical therapy, Massage therapy, Nutritional counseling, Stress management.

THE DEN | READING ROOM & ARTIST EXCHANGE | The Den is a small business incubation project for small and micro businesses with owners that identify as people of color, women or youth.

Hours: Tues - Fri 11a-7p • Sat 10a - 7p • Sun 11a-4p | For more information visit www.thedenproject.com LEARN MORE: ANACOSTIAARTSCENTER.COM/EVENTS/ | @ANACOSTIAARTS

Theater at the Kennedy Center is made possible by

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

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Anacostia Arts Center, Honfleur Gallery & Vivid Gallery are all projects of ARCH, a nonprofit organization dedicated to the economic vitality of Historic Anacostia.

washingtoncitypaper.com september 21, 2018 17

Courtesy of Eaton Workshop

DCFEED

Three of the four food and drink spaces inside Eaton Workshop are open, including lobby cocktail bar Allegory. Alexandra Bookless put together a short and sweet drink list inspired by literary works.

Pie-o-neers

In the era of conveyor-belt ovens, delivery apps, and social media, D.C.’s classic delivery pizza spots are figuring out how to distinguish themselves.

By Anthony Lacey Ask some of the District’s smaller, familyowned pizza places about modern technology and they’ll tell you it’s creating more problems than solutions for their businesses. These are the kind of places that have delivered pies before the dawn of the internet, where a medium cheese pizza rarely costs more than $10 and a takeout counter is a prominent part of the decor.

Many of these places have been around for years and some are newcomers, but regardless of vintage, they’re all grappling with competition due to technology— from conveyorbelt kitchens that churn out custom pies in minutes to delivery apps that can broaden a venue’s reach for a high cost. Several owners of traditional D.C. pizza joints say the ones who succeed have the best grasp of social media, yet another technological friend or foe.

Although delivery apps such as UberEats promise to expand a pizza shop’s customer base far beyond what a small team of in-house drivers might be able to achieve, they come at a high cost. UberEats routinely takes 30 percent of the value of each order, the owners of several pizza shops in the city say. Pizzerias with just one or a handful of locations are operating on tight margins in a crowded field already, and that slice of profit could prove fatal.

“I don’t want to pay 30 percent to someone sitting in Silicon Valley,” says Atilla Suzer, owner of Bacio Pizzeria in Bloomingdale, which opened in November 2011.

He’s already responsible for ingredients, rent, and employees’ salaries and doesn’t want to worry about an app siphoning off more money.

Fast-casual conveyor-belt or quick-fire pizza chains such as &pizza and Pidzza that promise quick service and customization are also a threat because they’ve taken over a siz-

Nasir Hussain and Abdelilah Souada

18 september 21, 2018 washingtoncitypaper.com

Darrow Montgomery

young & hungry

able share of the pizza market. The lines, and the subsequently discarded black-and-white rectangular pizza boxes outside &pizza’s multiple D.C. locations, are but one testament to the chain’s popularity. Founder Michael Lastoria has secured more than $60 million from investment firms since 2015.

Other quick-service pizza shops in the region haven’t been so fortunate. Veloce opened in May 2015 and closed in December 2017; SpinFire’s Rosslyn branch opened in 2015 and closed at the end of last year; and Black Iron Pizza closed in February 2016 after less than a year in business.

Nevertheless, the growing success of &pizza has some local pizza vendors trying to find ways to distinguish themselves.

Sohail Ghani, owner of Pizzoli’s Pizzeria, operating in Logan Circle since 2010, laments the rise of conveyor-belt pizza and believes people are picking convenience over quality. “The only places doing good in D.C. are the modern concepts like &pizza or the places for the late-night drunk crowd,” he says. “It’s not the product they want, it’s the concept. They just want the most convenience.” Ghani adds that the competition has forced him to shrink his workforce from 24 to 10 employees.

But Ghani, Suzer, and other pizza shop owners aren’t giving up. They’re pushing back against the 21st century challenges to their businesses by relying on a well-worn motto: The customer is always right.

Several pizza makers hyperbolically say they stay profitable by turning their food into a near-religious experience, buying high quality ingredients and making everything in-house instead of relying on cheap but low quality products like jarred sauce.

“I need people to evangelize us, and to do that I have to inspire them,” says Mike Bozzelli of Bozzelli’s Deli. The family-run pizzeria with four locations was founded in 1978.

“It’s people over pizza.” Bozzelli’s late father was Italian and his mother is Persian. “Cooking is in our blood. We’re a family with a love for food,” he says.

Pizza D’Oro co-owner Abdelilah Souada agrees that diner satisfaction equals success. He operates two locations in Northwest D.C. “It’s that connection with the customer that’s so important,” he says. “The customer is trusting you with something that is going in their body, and we respect that... I see the customers, my employees, everyone as a family.” The Moroccan-born business owner says it’s part of his culture to consider food a sacred thing.

Many of the owners interviewed for this

DCFEED story say they established a presence in their neighborhoods and maintain that visibility by building strong ties in the community.

No app is able to provide that kind of hyperlocal connection.

When Souada and his business partner launched the first Pizza D’Oro location in Shaw in 2011, they had support from many neighbors including Alexander Padro, the executive director of Shaw Main Streets.

Padro’s organization helped with permits and other issues, and also promoted the pizza shop.

Pizza D’Oro has built a loyal local customer base including police officers; the LGBTQ crowd from Nellie’s Sports Bar and the since-shuttered Town Danceboutique; and those needing to refuel after standing in line for Drink Company’s rotating popup bar. Making and maintaining those connections is a vital part of staying viable, says Souada, who opened a second Pizza D’Oro at 3618 14th St. NW in 2016.

Suzer of Bacio Pizzeria agrees that even in a time when customers are glued to their phones and obsessed with convenience, face-to-face interactions are what he prefers and what he believes helps his business hum along.

His takeout and sit-down restaurant is heavily involved in local events. He provides free pizzas to volunteers participating in the Bloomingdale Civic Association’s annual home and tree box Beautification Day and sponsors the Bloomingdale toddler soccer league. “I like the neighborhood. I don’t see it as my business or my profit, I see it as the place where I have friends, not customers,” Suzer says.

The focus on preserving a community feeling is a major reason why Suzer only offers sitdown or carryout service at the restaurant and refuses to sign up for a delivery app. “Come in and pick up your pizza, let’s talk, let’s be social, let’s stop making everything online,” he says.

Other pizza vendors will do delivery, but they won’t sign up for UberEats and others because of the steep commission the app takes and uncertainty about the quality of drivers.

The only app Souada will use is Grubhub and even that is simply for taking orders. All deliveries are still completed by Pizza D’Oro’s in-house team. “I need to know my drivers because it represents me to the customer,” he says. A third-party driver connected via an app might “get greedy” and pick up two or three more deliveries before dropping off a Pizza D’Oro order. Having all delivery done by the Pizza D’Oro team gives Souada greater oversight.

Bozzelli isn’t as reluctant to use third-party delivery services, but that’s only if the drivers are good and the commission is reasonable.

“We were initially excited about the reach of UberEats and thought it was a no-brainer,” but

StreetSense StreetSense

the 30 percent commission that the app wanted to take was not economically viable for Bozzelli’s, he says.

He partners exclusively with DoorDash, which has a “much more reasonable” revenue split that gives the app 25 percent on a delivery ordered through the app, 15 percent on delivery orders placed through the Bozzelli’s website, or just 5 percent for pick-ups at the store. Although the latter doesn’t involve any delivery, online orders still utilize Doordash’s technology.

Bozzelli’s early intrigue regarding apps’ ability to expand the reach of his company still lingers. He’s currently doing a costbenefit analysis at his Springfield store to determine whether it makes more economic sense to use a third-party delivery app or have an in-house delivery team. “We have a data team working on this. It’s all empirical data, nothing anecdotal,” he says. It’s too early to share results.

Bozzelli’s has also adopted the conveyorbelt technology used at fast-casual spots like &pizza. “We dumped all our deck ovens, so all our stores have conveyors,” he says, praising the XLT oven made of the same stainless steel as a Delorean, the car made famous in Back to the Future. Bozzelli says he doesn’t feel like he’s sacrificing quality with the faster ovens because he still starts with highquality ingredients.

Similarly, Bacio Pizzeria’s Suzer says he invests the money he saves by not doing delivery in prime produce such as cherry tomatoes and Amish mushrooms. “If you want to eat good pizza, come here. If you want greasy pizza, go to &pizza or Domino’s,” he says.

Ghani of Pizzoli’s Pizzeria laments what he sees as the crucial millennial market choosing the speed of conveyor-belt pizzas over the quality he says he can provide. “The small mom-and-pop pizza businesses are still figuring out how to survive, but we are surviving,” he says.

Though it’s challenging, he tries to keep up with the fast-casual eateries and new wave pizza places by utilizing social media. He has experimented with GoogleAds, Facebook, and Twitter, but says there is a steep learning curve for those whose knowledge is in the kitchen and not at a computer.

“English is not my first language and my spelling is horrible,” Ghani says. A few times on social media, people have made fun of his typos. But he keeps trying, with a strong belief in the quality of his product and his ability to win converts if they can just find his pizza place in a self-described “very hard” location.

“My specialty is making a good pizza.”

CP Eatery tips? Food pursuits? Send suggestions to lhayes@washingtoncitypaper.com.

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FACTS ABOUT OLLIE Ollie is a 2 year old Chihuahua/Terrier Mix. Ollie is the sweetest little guy whose owner died suddenly and he found himself in a high kill shelter in Georgia. Ollie is shy and nervous around people he doesn’t know and loud noises (including cars), and would do best in a quiet suburban neighborhood with another dog. He is a small to medium size chihuahua/short-haired terrier mix with adorably huge ears and a brindle coat. He loves egg and cheese biscuits and belly rubs! He can’t wait to find his forever home where he will get a second chance to share all the love he has to give!

Pick up a copy today MEET from vendors throughout OLLIE! downtown D.C. or visit www.streetsense.org for more information.

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washingtoncitypaper.com september 21, 2018 19

Mayor Muriel Bowser

“Blistering tragicomedy”

presents

Washington Post

“Explosive and thought-provoking” Broadway World

“Comedy with wit, bite and fear” MD Theatre Guide

“A stunning production”

Celebrating the 50th Anniversary of the DC Commission on the Arts and Humanities

DC Metro Theater Arts

“A precise, incisive Washington, DC premiere”

2018 MAYOR’S ARTS AWARDS FINALISTS Excellence in Creative Industries Michael Marshall Design | DC Jazz Festival | DC Independent Film Festival

TheaterMania

Excellence in Humanities Tara Campbell | African American Civil War Museum | One World Education

“A hilarious, dark satire”

Larry Neal Writers’ Award - Youth Madeleine Freedberg | Uniyah Campbell | Arisemma Okrah

Brightest Young Things

“Sometimes shocking, frequently hilarious”

Larry Neal Writers’ Award - Adult Kitty Felde | Elizabeth Acevedo | Martha Addy Young Excellence in Arts Education Young Playwrights’ Theater | Inner City - Inner Child | DC Scores

DC Theatre Scene

“Genuine artistry”

Excellence in Visual Arts Tim Tate | Jay F. Coleman/Jahlion | Cory L. Stowers

DCist

BY BRANDEN JACOBS-JENKINS DIRECTED BY KIP FAGAN

Excellence in Performing Arts Woolly Mammoth Theatre Company | Washington Performing Arts Chloe and Maud Arnold

Tuesday, September 25, 2018, 7:00 pm | The Lincoln Theatre 1215 U Street NW, Washington, DC

RSVP at dcarts.dc.gov | 202-724-5613

WOOLLY MAMMOTH THEATRE COMPANY

WOOLLYMAMMOTH.NET // 202-393-3939 // #WOOLLYGLORIA FOR OTHER 202CREATES SEPTEMBER EVENTS, VISIT WWW.202CREATES.COM WMTC_CityPaper_9.20.indd 1

9/17/18 11:59 AM

GREAT PERFORMANCES AT MASON 2018/2019 SEASON

The Manhattan Transfer

Featuring the American Festival Pops Orchestra Saturday, September 29 at 8:30 p.m.

This performance is part of the ARTS by George! benefit.

L.A. Theatre Works

Steel Magnolias Sunday, October 14 at 7 p.m.

This performance is also at the Hylton Performing Arts Center on Sat., Feb. 9 at 8 p.m. Information at HyltonCenter.org.

Daniel Hope and Friends Air-A Baroque Journey

PH

IS PL TIC US AT IO !

N

Spectrum Dance Theater

A Rap On Race

Friday, November 16 at 8 p.m.

Friday, November 2 at 8 p.m.

TICKETS ON SALE NOW! 703-993-2787 OR CFA.GMU.EDU 20 september 21, 2018 washingtoncitypaper.com

SO

Located on the Fairfax campus, six miles west of Beltway exit 54, at the intersection of Braddock Road and Rt. 123.

CPArts

Local author Mike Stacks talks about his wacky and wild new book, Randy: The Full and Complete Unedited Biography and Memoir of the Amazing Life and Times of Randy S. washingtoncitypaper.com

Lost and Found

The latest LP from Ian Svenonius’ Escape-ism is made to feel like a forgotten record, while Bad Moves’ debut album finds heartfelt and heavy emotions in its seriously catchy power-pop.

Escape-ism, The Lost Record Merge Records

Bad Moves, Tell No One Don Giovanni Records

By Nenet During my early 20s, when I was a barefoot rock ’n’ roll enthusiast wandering about 5,214 miles away from D.C., beautiful and oftentimes righteously violent women would talk to me about “this band from the U.S., The Make-Up.” It led me on a fruitless chase: one in search of records by a group that was vouching to “Free Arthur Lee” while the rest of the country was gearing up for another wave of indie rock and masculine self-indulgence.

It comes as no surprise to me that after receiving that piece of weird propaganda and moving to D.C., I casually ran into Ian Svenonius—The Make-Up’s polarizing frontman, who now records solo music as Escape-ism—years later, at a flea market installed in a dive bar, where we talked about music while digging around piles of DVDs, pins, and hats.

“Hi, I’m the lost record, I’m not lost as much as unloved” opens the first line of Escape-ism’s new album, presenting us with a message and a theme—or maybe an aesthetic rather than a theme. The album feels like a neglected object intend-

music

ed for the listener to find, crate-digging into the past, somewhere between a delayed projection of the rise of rock ’n’ roll and a monster movie.

After the introduction comes “It’s Nothing Personal,” a minimal track with a disdainful vibe, as if the now-defaced crooner behind it was entering a scene in a Richard Kern film. The Lost Album then jumps into what sounds like the hit of an imaginary summer with “Bodysnatcher.” This song, three minutes and 47 seconds long—complete with an accompanying video of Svenonius dancing close to a mystifying woman dressed in a black nylon oneshoulder one-piece—draws a slight parallel with Olympia, Washington’s Selector Dub Narcotic. But where SDN’s Calvin Johnson gets into an odd party mood that is often absurd and contagious, Svenonius hisses lyrics over beats that make you think of Alan Vega singing atop a Soviet video montage.

There’s a certain economy of sound in the rudimentary use of an electric guitar that scratches the surface of all of The Lost Album’s tracks, and it’s paired with keyboard and bass. The style borders both the self-taught and the prolific, producing a hypnotic rhythm that appears eager to become a new eccentric oracle.

Perhaps the most noteworthy track for D.C. listeners is “Exorcist Stairs,” a song that narrates a date gone awry on Prospect Street NW, complete with a possession at the devil’s gate and what might be the most awkward riff of 2018. Before listeners can get out of Georgetown, Svenonius stumbles into another vision of a bygone era in “Rome Wasn’t Burnt in a Day,” a track

heavy on the echoes of an angry mob with an appetite for gossip and destruction.

Like a character in a book, Svenonius’ narrator wanders—unaware—to ask himself one last question on the album’s closer, “What Sign (Was Frankenstein)?” It affirms the intentions of his “lost record” as an object of divination, giving listeners insight into the future by turning the act of listening into an occult ritual.

As for the naysayers—and some inflamed comments I found online—if there’s nothing wrong with being a witch or a seer, what’s wrong with putting out a record based on repetition? ask the members of Bad Moves how the band started and they’ll modestly kick aside the question with a simple reply: “Just some friends starting a band, you know?” It might be a simple origin story, but their debut LP tells far more complex ones: On Tell No One, guitarist/vocalist David Combs, bassist/ vocalist Emma Cleveland, guitarist/vocalist Katie Park, and drummer/vocalist Daoud Tyler-Ameen demonstrate musicianship and honest dedication.

“We named the album Tell No One because its clearest throughline, lyrically, is the feeling of carrying a secret with you,” the band tells City Paper. “The songs are meant to collectively tell a story about how self-discovery works when you’re a kid—perhaps too young to truly understand your own feelings or read the world around you, most certainly too young to feel safe talking about your inner life openly—and how those experiences, lessons, absences, revelations, and regrets ripple into your adult life.”

The band tracked Tell No One over 10 days at the Headroom recording studio in Philadelphia with producer Joe Reinhart (of revered Philly indie outfit Hop Along). This record opens strong with “Change Your Mind,” a total jam with a powerful bass line and loud gradual guitar feedback that leaves just enough room for vocals. The song sets the tone for what’s to follow on the album’s next 11 songs: An even louder choir of vocals that the band says are “a call to action for the listener to look past the ghosts that may haunt them and remember that we are all people with the agency to make changes in our lives.”

Throughout the album, Bad Moves hones in on a distinct power-pop sound—spread in shimmering guitar riffs and thundering drum beats anchored by lyrics that, even when heated, manage to sound hopeful. The band draws from some ’70s and ’80s influences, like The Nerves, The Replacements, and The Cars, along with more contemporary rockers, like Ex Hex or Sheer Mag. But their sound is totally their own: fresh without turning tacky, and poppy without the perils of glamour.

There isn’t a dull moment on the album; no reliance on unnecessary drones or meaningless ballads for the sake of filling up space. Instead, Tell No One comes out effortless and fun, swinging seamlessly between songs and delivering punchy gems like the dancy “One Thing” and the heavier—but still catchy—“Cool Generator,” the latter of which lends itself to mellow headbanging while dealing with the politics of, as the band puts it, “how queer people and people of color are the most likely to have their culture and fashion mined by capitalism, while simultaneously being put under the most risk.” In this way, the album follows a great, yet simple, punk formula: meaningful, but quick.

CP Listen to “The Lost Record” and “Tell No One” at washingtoncitypaper.com/arts. Bad Moves plays a record release show on Friday, Sept. 21 at Black Cat with The Obsessives and Ultra Beauty. 7:30 p.m., $10. washingtoncitypaper.com september 21, 2018 21

TheaTerCurtain Calls to Joe by her Tonkinese ex-pat mother, Bloody Mary, who learned all her English from profane American sailors and soldiers. (Supposedly Bloody Mary was inspired by a real woman Michener encountered during his own naval service in the region, which doesn’t make the character seem any less like a stock comic type now, despite an earnest performance from Cheryl J. Campo.) Joe loves this kid—or loves having sex with her anyway; it’s tough to know if they commune on any other level since poor Liat doesn’t get so much as a line—but he knows his snooty Main Line family would never accept her as his spouse. Woe is Joe! That’s the musical’s secondary romance, of course. The lion’s share of its bangers—“Some Enchanted Evening,” “I’m Gonna Wash That Man Right Outta My Hair,” “This Nearly Was Mine,” the songs you may know whether or not you even know that you know them—all come from its central coupling, of Nellie and the French silver-fox widower Emile de Becque. Their romance hums along swimmingly until Nellie discovers her beau is the father of two adorable mixed-race children, a stumbling block for this Arkansas girl.

Emile, a civilian who still has his two children and a thriving plantation to lose after Nellie spurns him, nevertheless volunteers for a risky reconnaissance mission to help the U.S. Pacific Fleet get the upper hand over the, er, Japanese forces.

Every work of art must be judged in the context of its time, of course. Director Alan Muraoka—an American of Japanese descent, and a longtime Sesame Street cast member— doesn’t go out of his way to reframe the material, offering a straight-down-the-middle South Pacific that sounds fuller and more transporting than it looks. If enlisting a nine-piece orchestra to perform the score meant less money for the sets and costumes, well, that’s a sensible allocation of funds.

The show cruises by on the strength of its well-chosen leads: Barrel-chested and lushly bewigged, William Michals fairly rattles the seats with his tectonic baritone as Emile, and Jessica Lauren Ball is so disarming as the wholesome Nellie that the character’s revelation of her latent bigotry lands like a bomb, even if you know it’s coming.

Ball is so comfortable delivering fullthroated, unironic versions of “Wash That Man” and “Honey Bun”—a song that stops the narrative cold, so it had better be good— you can see why she keeps getting cast in anachronistic stuff like The Sound of Music, Guys and Dolls, and Elmer Gantry. David Schlumpf affects a cartoonish accent as the bumbling but gold-hearted seabee Luther Billis, but he isn’t as assured in this antiquated comic style as Ball is, and none of his fel-

South Pacific

If You’ll ExcusE thE ExprEssIons thEY usE South Pacific

Music by Richard Rodgers Lyrics by Oscar Hammerstein II Book by Oscar Hammerstein II and Joshua Logan Directed by Alan Muraoka At Olney Theatre Center to Oct. 7 South Pacific, that toe-tappin’, fingersnappin’, heart-string-strummin’ indictment of racial prejudice, is the most progressive musical of its time. Which was 1949, five years before Brown v. Board of Education, which almost necessarily means that by contemporary standards, it’s more than a little dicey.

The epithets heard in the show are not as harsh as the ones used by U.S. Navy Nurse Nellie Forbush in James A. Michener’s Pulitzer Prize-winning short-story collection Tales of the South Pacific, from which the musical was freely adapted, but the U.S. Navy officers stationed on an island in what is now the Republic of Vanuatu during World War II still refer to their enemy as “the Japs.” That’s less—ugh—problematic than the show’s “romantic” pairing of all-American Lt. Joe Cable, who hails from a high society Philadelphia family, and Liat, a “Younger than Springtime” woman—a “girl,” in modern parlance—who is unceremoniously offered up

22 september 21, 2018 washingtoncitypaper.com

low sailors are very memorable, either.

It’s probably no longer kosher to say there’s nothing like a dame, but there may be nothing like this one.

—Chris Klimek 2001 Olney-Sandy Spring Road, Olney. $42– $84. (301) 924-3400. olneytheatre.org.

gruff tones. At his core, he remains the same spirited funnyman who made comedy his tool for activism.

At the heart of this 90-minute presentation is Dick Gregory’s racial comedy—the first of its kind by a black comedian, often scorching his own audience, which sometimes included

Turn Me Loose

comIc, shook Turn Me Loose

By Gretchen Law Directed by John Gould Rubin At Arena Stage to Oct. 14 the Dick GreGory tribute Turn Me Loose, currently running at Arena Stage, contains all of the fire of the man himself. The production, which plays out like one of Gregory’s stand-up shows, holds nothing back, and the audience is better for it.

It’s clear from his very first words that the time from which he came and was formed— the civil rights era, a period of unrest, violence, and assassinations of high profile movement leaders—fueled the comedian’s work. Time is as much a character in the show as its two stars, Edwin Lee Gibson as Gregory and John Carlin in a host of roles, from cabbie to racist heckler. It’s an intimate show, with just the two men and time, and Arena’s Kreeger Theater proves well-suited for that intimacy.

The show moves back and forth between Gregory performing in the 1960s and Gregory in 2017, two very different men whose messages never waver. When he’s young, Gibson plays Gregory as the spry, smoking, drinking fun-lover. As an older man in 2017, he labors across the stage, plodding up and down the steps with a world-weary gait and speaking in

white supremacists. Among the many sharp jokes in the show is a Gregory classic: Black people voted six or seven times for Kennedy to make up for all the times they couldn’t vote.

Gibson is brilliant in the role of Gregory and showcases his comedic timing and dramatic chops in equal measure.

The emotional moments of black pain and struggle are heavy and important, and Gibson forces you to feel their weight. One such moment occurs when Gregory discusses the death of his son and the racist troll who called him to gloat about it.

Turn Me Loose reminds those who may have forgotten and teaches new generations about Gregory’s comedic brilliance. He was a revolutionary who paved the way for those who followed him, including Richard Pryor, Chris Rock, and countless others. He was close friends with civil rights activist and icon Medgar Evers, who was killed by a white supremacist at his Jackson, Mississippi, home in 1963.

Gregory reflects on that friendship during the show, describing how devastating the loss was and how he would’ve been right by Evers’ side and likely would have died with him if he hadn’t decided to fly home upon learning of the death of his son. Evers’ last words are said to have been “Sit me up! Turn me loose!”

Those words still ring true, from one fraught time to another. Turn Me Loose is a production that D.C., the city where Gregory died just over a year ago, can use.

—Kayla Randall 1101 6th St. SW. $66–$115. (202) 488-3300. arenastage.org.

booksSpeed readS

The RighT FighT Suffragists in Washington, D.C.: The 1913 Parade and the Fight for the Vote

WASHINGTON,

By Rebecca Boggs Roberts The History Press, 158 pages

Like many monumentaL victories for ordinary people, women’s suffrage was touch and go until the last minute. Women finally got the vote in 1920, but that’s all they got.

According to Rebecca Boggs Roberts’ Suffragists in Washington, D.C., activists like Alice Paul tried to win more, but walked away with lackluster results. Paul “drafted the first version of the Equal Rights Amendment,” but it didn’t pass Congress until 1972. Forty-six years later, it still awaits ratification by more states, but prospects still look poor. Unlike the battle for the franchise, ERA supporters don’t present the implacable, united organization that endured for years to get the job done. There are no regular protests, parades, petitions—all things the suffragists used.

Roberts’ thorough and deeply researched book depicts a generational struggle, dating back to 1848, for the women’s franchise. The effort required so much organization, such unremitting politicking and such excellent, determined leadership, that it’s no surprise it has not been replicated for the ERA. Internecine feminist struggle—which isn’t reported in Roberts’ book—also hindered the ERA. Many trade union women opposed it, as it would have invalidated special laws that guaranteed a minimum wage and an eight-hour day for working women. They did not wish to see these gender-specific laws sacrificed on the altar of a purist principle of equality. But they were eventually scrapped anyway. Meanwhile, the ERA floundered, ultimately tanked in the 1970s by arch-conservative Phyllis Schafly, whose alarmist disinformation helped an anti-feminist movement gel against it.

Luckily, according to Roberts, more than one group battled for the women’s vote. There was the National American Woman Suffrage Association (NAWSA), pushing for state-bystate legalization of women’s suffrage, and the more militant Nation Women’s Party (NWP), desperately promoting a federal amendment in Congress. Often at loggerheads, the two groups managed, in the end, to unite.

After the amendment passed Congress, with the NWP relentlessly harassing senators and President Woodrow Wilson for support, there came state ratification struggles, which were “expensive, time-consuming and not what the NWP was best at … NAWSA had much better state-level organizations and now brought them to bear on the ratification process.” If not for these two forces with their different empha-

ses, female enfranchisement would not have happened—at least not as early as 1920.

The heroine of Suffragists in Washington, D.C. is NWP leader Paul. This is not to slight the mighty efforts of other activists, but Paul’s drive and insight enabled the NWP to challenge the tepid Wilson, who was at first against the female franchise and later an unenthusiastic supporter. As women won the vote in various states, Paul’s group pressured Wilson to support a federal constitutional amendment. He finally capitulated: “All of his previous objections— states’ rights, the Democratic Party platform, not a wartime measure—fell before political realities. If women were going to vote, they might as well vote for Democrats,” Roberts writes.

The great suffrage parade of 1913 in Washington, D.C., “was a turning point,” Roberts writes, “a revival of energy and effort for a movement that was unquestionably flagging.” (It was also the first protest march down Pennsylvania Avenue NW, Roberts notes, a route favored later in the century by other protesters.) The suffrage movement also had enemies: “The best organized opposition came from special interests that worried female voters would restrict or prohibit their businesses. These included the liquor lobby, corrupt party machines and industrialists who relied on child labor and unregulated working condition.”

After the parade, suffragists went on the attack, protesting and picketing—often getting arrested in the process. In prison, they started hunger strikes and were force-fed. They even had a “prison special” train ride. Thus they kept their issue front and center in the national press.

One notable feature of this book is the national indifference or resistance for so many years to something that we now take for granted.

For many politicians, it was easier to ignore the issue, or, like Wilson, to stall for years. Also remarkable is how one big win failed to cause others. The country briefly woke up, somehow righted a wrong and then went back to sleep. During the decades of that slumber, Alice Paul labored for the ERA. She is gone now, the ERA languishes, the nation sleeps.

—Eve Ottenberg

D.C.

TICKETS ON SALE NOW! craftybastardsdc.com

Saturday, October 27 & Sunday, October 28 10 A.M. to 5 P.M. YARDS PARK @ CAPITOL RIVERFRONT

washingtoncitypaper.com september 21, 2018 23

BlacKkKlansmen

FilmShort SubjectS Lizzie

Ax Poetic Lizzie

Directed by Craig William Macneill Fact mixes with fiction in Lizzie, Craig William Macneill’s chilling portrait of alleged murderer Lizzie Borden. Or, if not complete fiction, at least speculation. Borden’s was the trial of the 19th century, garnering a riveted national audience a la O.J. as the prosecution tried to prove that Borden killed her father and stepmother with several blows of an ax. (She was acquitted.)

The deaths were grisly, and Macneill doesn’t shy away from the bloodshed here. But more important to this psychological thriller is the relationship that might have bolstered Borden’s conviction that her loathsome parents must die.

The film, penned by first-time scripter Bryce Kass, starts on Aug. 4, 1892, the day of the murders. Lizzie (Chloë Sevigny) screams as she discovers—or “discovers”—the bodies.

Then the film jumps six months prior as the Borden family is welcoming Bridget (Kristen Stewart), the Irish servant whom Lizzie’s stepmother, Abby (Fiona Shaw), brusquely informs will be called Maggie because, you know, it’s hard to remember a new housekeeper’s name.

But Lizzie insists on calling her Bridget. It’s already clear that she battles her father (Jamey Sheridan) and barely tolerates Abby. Her relationship with her sister, Emma (Kim Dickens), is civil but cool. So Bridget is her chance for a genuine companion, albeit one several stations below her social class.

That social class means that Lizzie and Emma, both unmarried and in their 30s, are financially controlled by Dad, an unpopular

businessman who scares up a will after receiving death threats for unspecified deeds.

And he deems that control of the women’s part of the estate is to go to their sketchy maternal uncle, thus continuing to keep them under the patriarchal thumb. In the meantime, he starts raping Bridget. Lizzie regularly challenges her father on these and other matters but is ultimately kept in check with the warning that she’ll be “sent away.”

Lizzie is a passion project of Sevigny’s a decade in the making. Though she doesn’t quite pull off playing someone nearly a dozen years younger than she is, she’s steely as Lizzie, who is portrayed as an epileptic and queer woman.

(Borden’s sexuality was only rumored.) She’s electric whether her Lizzie is unleashing a verbal tirade on her parents or cozying up to Bridget, who’s up for a barn-burnin’ good time.

Stewart, though the far less showy character here, is also terrific, ably handling an Irish accent and portraying Bridget as meek, quiet, and unwilling to rock the boat. Sheridan’s mustache-twirling turn, meanwhile, is sufficiently evil if occasionally melodramatic.

Even though you know where things are headed, the film keeps the journey taut and tense. You’re angry for Lizzie and furious for Bridget, and the murders are horrific, a bit batshit, and satisfying in a sick way—you want the women to get their revenge, one way or another. Borden’s story has been told as many times as she swung that ax—allegedly—in everything from musicals to rope-skipping rhymes. Lizzie makes it worth telling again.

—Tricia Olszewski Lizzie opens Friday at Landmark E Street Cinema and Landmark Bethesda Row Cinema.

24 september 21, 2018 washingtoncitypaper.com

BlAze of Glory Blaze

Directed by Ethan Hawke Right FRom the start, Blaze reassures you it’s OK if you have never heard of its subject, the late country singer Blaze Foley. In an early scene, Townes Van Zandt (Charlie Sexton), a much more famous singer, mentions him in a radio interview. Even the DJ doesn’t know his name. After snarkily shaming the host for his ignorance, Townes proceeds to tell Blaze’s broken and beautiful tale.

On the surface, Blaze follows the same path as the many musician biopics that have come before. It traces its great singer’s rise, fall, and untimely death, and it reveals the origins of his most well-known songs. But nothing about Blaze feels conventional. Director Ethan Hawke, in his best work yet behind the camera, has crafted a unique American myth that

gently coaxes you into a world of backwoods country bars, despairing artists, and the poor souls who put their faith in them.

As played by musician and first-time actor Ben Dickey, Blaze is a gentle giant, a self-destructive alcoholic, and a trickster whose soft eyes insists he only wants trouble for himself, and he is deeply sorry, ma’am, if he gets some of that trouble on you. When he meets Sybil (Alia Shawkat), a young actress, he settles down in a house in the woods and thinks he has found paradise. There is running water but no heat, except for that which they can provide each other.

She acts in a local theater collective. He strums his guitar by the fire, writing songs. But nothing so perfect can last, and when she suggests they move to Austin so he can start his career in earnest, we know that their well-intentioned stab at success will be their eventual downfall.

For an actor-turned-director, Hawke has a terrific eye and, along with cinematographer Steve Cosens, makes Blaze shine with beauty.

Although it takes place in the 1980s, the film has a timeless feel, and every shot looks like a halftorn, sepia-toned photo found in an old box of junk. Blaze’s story is set in a series of small Texas towns that haven’t changed much in decades.

He lives next to a meat marBlaze ket and plays shows in gas stations. More than Foley himself, these details are what linger in the mind after Blaze has unfolded. Coming in at a languid 127 minutes, Hawke occasionally loses sight of the story, but his genuine curiosity in Blaze’s ramshackle world and its inhabitants more than makes up for it.

The film is fascinated in its faces, like the aging waitress at the Austin Outhouse, where Blaze played one of his most famous shows. The camera finds her going outside for a cigarette break during one of Blaze’s better songs, and, as we watch her quietly smoke, the music from inside the club imprints upon her. Some music biopics would show throngs of fans screaming the musician’s name. Blaze only shows the lines on a cocktail waitress’ face, and somehow it matters more.

It’s a portrait of a tragic artist who decides, consciously or not, that it’s better to burn out than to fade away, and with its intimate scope, we feel the full weight of that choice. Sybil asks him early on if he wants to be famous, and he says no. “I want to be a legend,” he replies, “because legends last forever.” It’s hard to imagine more ominous words. With his beautiful film, Hawke has elevated Foley into the legend that he always wanted to be, with a more careful eye on the cost of that decision than most films of its kind. For the tiring musician biopic genre, it blazes a new path forward.

—Noah Gittell Blaze opens Friday at Landmark E Street Cinema and Landmark Bethesda Row Cinema.

Merriweather Post Pavilion • Columbia, MD THIS FRIDAY!

Portugal. The Man w/ Lucius ...........................................SEPT 21

THIS SATURDAY!

TRILLECTRO FEATURING

THIS WEEK’S SHOWS

Gary Numan w/ Nightmare Air Early Show! 6pm Doors .............................. F SEP 21

The National w/ Cat Power & Phoebe Bridgers

.......SEPT 28

U STREET MUSIC HALL PRESENTS

Whethan w/ Sweater Beats & Andrew Luce Late Show! 10pm Doors .................. F 21 The Growlers w/ Kirin J Callinan ................................................................ Su 23 SEPTEMBER

WPOC SUNDAY IN THE COUNTRY FEATURING

Brett Eldredge • Dan + Shay • Dustin Lynch • Devin Dawson • Morgan Evans • Jimmie Allen • Jillian Jacqueline .........................SEPT 30 M E R R I W E AT H E R 2 0 1 8 • Experiences in Art + Sound .OCT 13

OCTOBER (cont.)

D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Highly Suspect w/ Monk Tamony .F 28 AN EVENING WITH

Belly .........................................Sa 29 OCTOBER

Our Lady Peace w/ Oak & Ash .Tu 2 Lupe Fiasco w/ Nikki Jean •

Billy Blue • Mickey Factz • Dayne Jordan ..................................F 5 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Kali Uchis w/ Gabriel Garzon-Montano .........W 10 Bob Moses w/ Mansionair .......Th 11 Murder By Death w/ William Elliott Whitmore & Tim Barry Early Show! 6pm Doors .....................F 12

U STREET MUSIC HALL PRESENTS

What So Not w/ Chrome Sparks (DJ Set)

Twiddle (F 26 - w/ Bumpin’ Uglies) .F 26 & Sa 27 Moon Taxi w/ Moon Hooch .............Sa 27 & Su 28 Jain w/ Drama ............................M 29 Jake Shears (of Scissor Sisters) w/ SSION ..W 31 NOVEMBER U STREET MUSIC HALL PRESENTS

Soulection’s The Sound of Tomorrow feat. Andre Power •

Joe Kay • Devin Tracy • J. Robb • Andres Uribe .............................Th 1

Cursive w/ Meat Wave & Campdogzz ..........F 2 Ekali w/ 1788-L & Jaron

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

The Record Company w/ Madisen Ward

U STREET MUSIC HALL PRESENTS

Lucero w/ Brent Cowles ...........Su 14 Passenger ...............................Tu 16 Atmosphere w/ deM atlaS •

St. Lucia w/ Arkells ....................M 5

Fleetmac Wood

The Lioness • DJ Keezy ...............W 17

Late Show! 10pm Doors ....................Sa 3 U STREET MUSIC HALL PRESENTS

MAX w/ Bryce Vine & EZI

Early Show! 6pm Doors.....................Th 8

AN EVENING WITH

Midland w/ Desure Late Show! 10pm Doors ......................Th 8

featuring Tommy Larkins

AN EVENING WITH

Jonathan Richman

Early Show! 6:30pm Doors. 14+ to enter. Sa 20 STEEZ PROMO PRESENTS

Black Tiger Sex Machine w/ Kai Wachi & Lektrique

Late Show! 10pm Doors ..................Sa 20

Big Thief w/ The Range of Light

Wilderness & .michael. ..............Su 21

Gallant w/ Jamila Woods ..........M 22 We Were Promised Jetpacks w/ Hurry Up .............Tu 23 Hippo Campus w/ The Districts ...........................W 24

MANY MORE SHOWS ON SALE!

• For full lineups and more info, visit merriweathermusic.com • 930.com

ALL GOOD PRESENTS

U STREET MUSIC HALL PRESENTS

and the Mama Bear.....................Sa 13

For more info, visit opusmerriweather.com

ALL GOOD PRESENTS

Late Show! 10pm Doors .....................F 12

9:30 CUPCAKES

SZA • 2 Chainz • RL Grime • special guest Carnage • Young Thug • Playboi Carti • The Internet • Smokepurpp and more! .................SEPT 22

Chris Robinson Brotherhood . F 9 Brett Dennen w/ Nick Mulvey

Early Show! 6pm Doors ...................Sa 10

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

Ingrid Michaelson Trio - Songs for the Season .... DECEMBER 12

ALICE SMITH

............................................................ SAT MARCH 9

On Sale Friday, September 21 at 10am

THIS WEDNESDAY!

Welcome To Night Vale .. SEPT 26 Lykke Li w/ TiRon & Ayomari ......... OCT 5 Gad Elmaleh ............................. OCT 10 Eric Hutchinson & The Believers w/ Jeremy Messersmith .................... OCT 12 The Milk Carton Kids w/ The Barr Brothers ....................... OCT 13 ED! SOLD OUT! SECOND NIGHT ADD

FIRST NIGHT

Elle King w/ Cordovas ...................NOV 2 AN EVENING WITH

Edie Brickell & New Bohemians ................NOV 3 Inside Netflix’s The Staircase & Making a Murderer: Fabrications, Lies, Fake Science, and the Owl Theory feat. David Rudolf and Jerry Buting Moderated by NPR’s Carrie Johnson .NOV 5

Garbage w/ Rituals of Mine Richard Thompson Version 2.0 20th Anniversary Tour ... OCT 22 Electric Trio ..............................NOV 8 THE BYT BENTZEN BALL COMEDY FESTIVAL OPENING NIGHT FEAT.

Phoebe Robinson with special guest Tig Notaro

Early Show! 5:30pm Doors ......... OCT 25 D NIGHT ADDED!

SOLD OUT! SECON FIRST NIGHT

SMART FUNNY & BLACK FEAT.

Amanda Seales (HBO’s Insecure), Jemele Hill, and Reese Waters

#ADULTING with Michelle Buteau and Jordan Carlos Early Show! 5:30pm Doors ......... FRI OCT 26

Cameron Esposito, Rhea Butcher, & Friends Late Show! 8:30pm Doors ... SAT OCT 27

Late Show! 9pm Doors .......... TH OCT 25 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

ALL GOOD PRESENTS

Papadosio w/ LITZ

Late Show! 10:30pm Doors ...............Sa 10

Toro Y Moi w/ Dizzy Fae ...........M 12 Ty Segall (Solo Acoustic) This is a seated show. ......................Tu 13

Randy Rogers Band w/ Parker McCollum ....................F 16

930.com

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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

The Buttertones w/ Wild Wing ........................Th SEP 20 Carl Broemel of My Morning Jacket w/ Steelism ..................................F 21 SYML w/ Flora Cash .....................Sa 22 Reignwolf ................................ M 24

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

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

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

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

Meg Myers w/ Adam Jones ...........Sa 29 The Charlatans UK w/ Strawberry Sleepover .......... Tu OCT 2 The Presets w/ Blood Red Shoes ......Sa 6 Azizi Gibson ............................Sa 13

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

930.com washingtoncitypaper.com september 21, 2018 25

26 september 21, 2018 washingtoncitypaper.com

SEASON

CITYLIST

2018 2019

Music 27 Books 29 Theater 30 Film 32

Music

CITY LIGHTS: FRIDAY

FRIDAY COunTRY

Union Stage 740 Water St. SW. (877) 987-6487.

Joshua Hedley. 7 p.m. $15–$20. unionstage.com.

ElECTROnIC 9:30 ClUb 815 V St. NW. (202) 265-0930. Whethan.

10 p.m. $25. 930.com.

U Street MUSiC Hall 1115 U St. NW. (202) 588-1889.

Hot Mix. 10 p.m. $12–$15. ustreetmusichall.com.

FOlk aMP by StratHMore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Karla Bonoff. 8 p.m. $30–$40. ampbystrathmore.com.

DC9 1940 9th St. NW. (202) 483-5000. Saint Sister. 8 p.m. $12. dcnine.com. gyPSy Sally’S 3401 K St. NW. (202) 333-7700.

Shane Smith & the Saints. 9 p.m. $13–$15. gypsysallys.com.

Funk & R&B MiraCle tHeatre 535 8th St. SE. (202) 400-3210.

Union Stage Presents Luther Re-Lives: A Tribute to Luther Vandross. 8 p.m. $39.50. themiracletheatre.com.

Union Stage 740 Water St. SW. (877) 987-6487. April + Vista. 10:30 p.m. $13–$15. unionstage.com.

HIP-HOP KenneDy Center eiSenHower tHeater 2700 F St. NW. (202) 467-4600. MC Lyte. 8 p.m. $29–$89. kennedy-center.org.

JAzz birCHMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Euge Groove. 7:30 p.m. $39.50. birchmere.com. blUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Mike Stern and Dennis Chambers. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

POP 9:30 ClUb 815 V St. NW. (202) 265-0930. Gary Numan. 6 p.m. $30. 930.com. blaCK Cat 1811 14th St. NW. (202) 667-4490. Bad Moves. 7:30 p.m. $10. blackcatdc.com.

SongbyrD MUSiC HoUSe anD reCorD Cafe 2477 18th St. NW. (202) 450-2917. Cumulus. 8 p.m. Free. songbyrddc.com.

ROCk fillMore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Mastodon. 7:30 p.m. $39–$40. fillmoresilverspring.com.

DIANA ROSS

Tue & Wed, Sept 25 & 26

#PHOTOGRAPHFORPROGRESS

Seventeen women contributed images to the exhibition #PhotographForProgress at Leica Store DC, which aims to showcase “the female perspective.” The diversity of the images’ settings and the almost complete lack of context about the photographs’ locations and backstories make the exhibition almost disorienting—but individually, the images impress. Amanda Sophia Rose photographs two young women lounging on a car hood on a languid summer afternoon, while Rachel Demy skillfully harnesses low light to trace a reclining woman’s curves. Mioara Chiparus photographs a seated woman with a strikingly wrinkled face; Anna Indalegio unexpectedly captures a tear rolling down the cheek of a bus rider. Thematically, Deanna Templeton may express the exhibition’s goals most faithfully: Her image features a woman on a beach exultantly standing atop the hands of a man. The exhibition is on view to Nov. 7 at the Leica Store DC, 977 F St. NW. Free. (202) 787-5900. leicacamerausa.com.

—Louis Jacobson

SATuRDAY ClASSICAl KenneDy Center ConCert Hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra. 7 p.m. $65–$175. kennedy-center.org.

FOlk

roCK & roll Hotel 1353 H St. NE. (202) 388-7625.

Arthur Buck. 8 p.m. $25. rockandrollhoteldc.com.

JaMMin Java 227 Maple Ave. East, Vienna. (703) 255-

SongbyrD MUSiC HoUSe anD reCorD Cafe 2477 18th St. NW. (202) 450-2917. Mothers. 8 p.m. $15–$17. songbyrddc.com.

jamminjava.com.

U Street MUSiC Hall 1115 U St. NW. (202) 588-1889.

9:30 Club Presents Carl Broemel. 7 p.m. $20. ustreetmusichall.com.

Union Stage 740 Water St. SW. (877) 987-6487.

1566. Shenandoah Run. 6:30 p.m. $20–$25.

HIP-HOP All Good Presents The Soul Rebels. 8 p.m. $25–$35. unionstage.com.

THE GIPSY KINGS PARK88

Thu, Sept 27

BILL MURRAY, JAN VOGLER & FRIENDS NEW WORLDS Fri, Sept 28

THE AUSTRALIAN PINK FLOYD SHOW Sun, Sept 30

JAzz blUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Mike Stern and Dennis Chambers. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

POP 9:30 ClUb 815 V St. NW. (202) 265-0930. Owl City. 7 p.m. $30. 930.com.

U Street MUSiC Hall 1115 U St. NW. (202) 588-1889.

SYML. 7 p.m. $15. ustreetmusichall.com.

ROCk DC9 1940 9th St. NW. (202) 483-5000. Mystic Braves.

8 p.m. $12–$14. dcnine.com. tHe HaMilton 600 14th St. NW. (202) 787-1000. The Young Dubliners. 8 p.m. $19.75–$29.75. thehamiltondc.com.

COLIN MOCHRIE & BRAD SHERWOOD SCARED SCRIPTLESS

Whose Line Is It Anyway? stars

Fri, Oct 5 Diana Ross, Bill Murray, Jan Vogler & Friends by Peter Rigaud; Colin Mochrie & Brad Sherwood

STRATHMORE.ORG 301.581.5100

washingtoncitypaper.com september 21, 2018 27

JaMMin Java 227 Maple Ave. East, Vienna. (703) 2551566. Family and Friends. 10 p.m. $13–$25. jamminjava.com. roCK & roll Hotel 1353 H St. NE. (202) 388-7625.

Rooney. 7:30 p.m. $20–$22. rockandrollhoteldc.com.

CITY LIGHTS: SATuRDAY

SongbyrD MUSiC HoUSe anD reCorD Cafe 2477 18th St. NW. (202) 450-2917. Slow Hollows. 8 p.m. $13–$15. songbyrddc.com.

A BENEFIT CONCERT IN SUPPORT OF THE WINWARD FOUNDATION

DISTRICT

SunDAY

FEAT. DONNA THE BUFFALO

tHe HaMilton 600 14th St. NW. (202) 787-1000.

Davina & The Vagabonds. 7:30 p.m. $15–$20. thehamiltondc.com.

MUSIC BENEFIT

LEIGH NASH AND LUCY SCHOLL FRIDAY

SEPT 21

the YOUNG DUBLINERS

W/ SIOBHÁN O’BRIEN 22

SATURDAY SEPT SUN, SEPT 23

DAVINA & THE VAGABONDS WED, SEPT 26

ISRAEL VIBRATION AND ROOTS RADICS THURS, SEPT 27

THEO CROKER

W/ ELIJAH JAMAL BALBED

FRI, SEPT 28

THE REVEREND PEYTON’S BIG DAMN BAND SAT, SEPT 29

THE CLARKS SUN, SEPT 30

JASON BOLAND & THE STRAGGLERS AND CODY CANADA & THE DEPARTED FRI, OCT 5

SHEMEKIA COPELAND W/ VANESSA COLLIER

SAT, OCT 6

BluES

ClASSICAl

ClariCe SMitH PerforMing artS Center Stadium Drive and Route 193, College Park. (301) 405-2787.

Faculty Artist Series: Woodwind Faculty Showcase. 8 p.m. Free. theclarice.umd.edu.

FOlk

MiraCle tHeatre 535 8th St. SE. (202) 400-3210.

Union Stage Presents Noah Gundersen. 7 p.m. $20. themiracletheatre.com.

JAzz

blUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Mike Stern and Dennis Chambers. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

POP

DC9 1940 9th St. NW. (202) 483-5000. The Score. 8 p.m. $12–$15. dcnine.com.

ROCk

9:30 ClUb 815 V St. NW. (202) 265-0930. The Growlers. 7 p.m. $30. 930.com. blaCK Cat 1811 14th St. NW. (202) 667-4490. Luna Honey. 7:30 p.m. $10. blackcatdc.com. roCK & roll Hotel 1353 H St. NE. (202) 388-7625.

Graham Coxon. 8 p.m. $29.50. rockandrollhoteldc.com.

SongbyrD MUSiC HoUSe anD reCorD Cafe 2477 18th St. NW. (202) 450-2917. The National Reserve. 8 p.m. $12–$15. songbyrddc.com.

WORlD

tHe antHeM 901 Wharf St. SW. (202) 888-0020. Carlos Vives. 7 p.m. $56–$156. theanthemdc.com.

MOnDAY ElECTROnIC

eCHoStage 2135 Queens Chapel Road NE. (202) 503-2330. ZHU. 8 p.m. $30. echostage.com.

HIP-HOP

fillMore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Jay Rock. 8 p.m. $20–$60. fillmoresilverspring.com. blUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Mark Guilana. 8 p.m.; 10 p.m. $25. bluesalley.com.

ROCk

SongbyrD MUSiC HoUSe anD reCorD Cafe 2477 18th St. NW. (202) 450-2917. Hana Vu. 8 p.m. $10–$12. songbyrddc.com.

SUN, OCT 7

U Street MUSiC Hall 1115 U St. NW. (202) 588-1889.

9:30 Club Presents Reignwolf. 7 p.m. $25. ustreetmusichall.com.

MELVIN SEALS & JGB MON, OCT 8

AN EVENING WITH CAPITAL

PRIDE’S “MUSIC IN THE NIGHT” FUNDRAISER

WED, OCT 10

JEFFREY FOUCAULT W/ LAURIE SARGENT

TuESDAY BluES

SixtH & i HiStoriC SynagogUe 600 I St. NW. (202) 408-3100. Beth Hart. 8 p.m. $49.50–$55. sixthandi.org.

ElECTROnIC

Union Stage 740 Water St. SW. (877) 987-6487. SG Lewis. 8 p.m. $18–$25. unionstage.com.

JAzz

blUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Veronneau. 8 p.m.; 10 p.m. $25. bluesalley.com.

POP THEHAMILTONDC.COM

H Street may have rapidly gentrified in the past five years, but the Atlas Performing Arts Center still doesn’t seem like the sort of joint where you’d go to hear a Metropolitan Opera singer debut a new leading role. It’s pretty cool that UrbanArias, a D.C. troupe dedicated to inventive contemporary opera, will open its season with renowned soprano Elizabeth Futral starring in Peter Hilliard’s The Last American Hammer. The plot of this new opera sounds ripped from the chyrons of a Colbert sketch: A deep state conspiracy theorist occupies a rural folk art museum after it receives a federal grant. A rookie FBI agent is assigned to the hostage case and attempts to calm a downtrodden American armed with the last hammers to roll off the assembly line at a hardware factory. Futral, who teaches at Baltimore’s Peabody Institute, will star as the quirky museum curator. Her previous crazy-lady roles include the title character in Lucia di Lammermoor at the Metropolitan Opera and Stella in the premiere of A Streetcar Named Desire at the San Francisco Opera. Is Hammer destined to soon hit a much larger operatic stage? Take the X2 bus to H Street, grab Sticky Rice or tacos, and find out. The show runs to Sept. 29 at the Atlas Performing Arts Center, 1333 H St. NE. $25–$45. (202) 399-7993. atlasarts.org.

—Rebecca J. Ritzel

JAzz

THE BLACK LILLIES LIVE NATION PRESENTS AN EVENING WITH

THE lAST AMERICAn HAMMER

DC9 1940 9th St. NW. (202) 483-5000. Fickle Friends.

8 p.m. $13–$15. dcnine.com.

28 september 21, 2018 washingtoncitypaper.com

ROCk

SongbyrD MUSiC HoUSe anD reCorD Cafe 2477 18th St. NW. (202) 450-2917. Fractal Cat and Ezra Mae and the Gypsy Moon. 8 p.m. $10–$12. songbyrddc.com.

WEDnESDAY

wooDriDge library 1801 Hamlin St. NE. (202) 5416226. DC Punk Archive Rooftop Shows. 6:30 p.m.

Free. dclibrary.org/woodridge.

ClariCe SMitH PerforMing artS Center Stadium Drive and Route 193, College Park. (301) 405-2787.

Guest Artist Series: Colin Carr. 6:30 p.m. Free. theclarice.umd.edu.

THuRSDAY

roCK & roll Hotel 1353 H St. NE. (202) 388-7625.

IDLES. 8 p.m. $15. rockandrollhoteldc.com.

ClASSICAl

FOlk

Union Stage 740 Water St. SW. (877) 987-6487. The 9 Songwriter Series. 8 p.m. $12–$15. unionstage.com.

JAzz

blUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Lindsey Webster. 8 p.m.; 10 p.m. $25. bluesalley.com.

POP

U Street MUSiC Hall 1115 U St. NW. (202) 588-1889.

Anne-Marie. 7 p.m. $18. ustreetmusichall.com.

ROCk

DC9 1940 9th St. NW. (202) 483-5000. Future Thieves and CROUSE. 8 p.m. $15. dcnine.com. roCK & roll Hotel 1353 H St. NE. (202) 388-7625.

SALES. 8 p.m. $17–$19. rockandrollhoteldc.com.

BluES

blaCK Cat 1811 14th St. NW. (202) 667-4490. Clarence “The Blues Man” Turner. 7:30 p.m. $10. blackcatdc.com.

HIP-HOP

SongbyrD MUSiC HoUSe anD reCorD Cafe 2477 18th St. NW. (202) 450-2917. Open Mike Eagle. 11 p.m. $15–$18. songbyrddc.com.

JAzz

blUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Andaiye featuring Oshun. 8 p.m.; 10 p.m. $25. bluesalley.com. tHe HaMilton 600 14th St. NW. (202) 787-1000.

Theo Croker. 7 p.m. $20–$45. thehamiltondc.com.

SongbyrD MUSiC HoUSe anD reCorD Cafe 2477 18th St. NW. (202) 450-2917. Sons of Kemet. 8 p.m. $15–$20. songbyrddc.com.

CITY LIGHTS: SunDAY

THE PIAnIST OF WIllESDEn lAnE

Theater J is homeless while the Edlavitch DC Jewish Community Center on 16th Street undergoes a 10-month renovation that began this month. But being a vagabond troupe for a season has its advantages, and the company’s 20182019 offerings include shows that might’ve otherwise fit poorly in its home space. Up first is The Pianist of Willesden Lane, a piano recital and Holocaust drama that will be performed at the Kennedy Center.

(FYI, this show has nothing to do with the 2002 Roman Polanski film, except for the Holocaust part.) The Pianist of Willesden Lane was written especially for Mona Golabek, the daughter of a pianist whose dreams of performing in Vienna’s finest halls faded into nightmares after Kristallnacht. The Los Angeles Times deemed Golabek’s 2012 homage to her mother “a deeply affecting triumph,” praise that bodes well for this itinerant Theater J production. The show runs to Sept. 30 at the Kennedy Center Family Theater, 2700 F St. NW. $44–$74. (202) 467-4600. kennedy-center.org.

—Rebecca J. Ritzel

ROCk

9:30 ClUb 815 V St. NW. (202) 265-0930. Highly Suspect. 7 p.m. $35. 930.com.

DC9 1940 9th St. NW. (202) 483-5000. Dream Wife. 8 p.m. $12. dcnine.com.

JaMMin Java 227 Maple Ave. East, Vienna. (703) 2551566. Israel Nash and Band. 8 p.m. $12–$25. jamminjava.com. roCK & roll Hotel 1353 H St. NE. (202) 388-7625.

Miniature Tigers. 8 p.m. $20–$25. rockandrollhoteldc.com.

U Street MUSiC Hall 1115 U St. NW. (202) 588-1889.

9:30 Club Presents Mt. Joy. 7 p.m. $20. ustreetmusichall.com.

Union Stage 740 Water St. SW. (877) 987-6487.

Dreamers. 8 p.m. $12–$22. unionstage.com.

Books

brian vanDeMarK In his new book Road to Disaster, United States Naval Academy professor Brian VanDeMark explains the complicated series of decisions by the Kennedy and Johnson Administrations that lead the country into the Vietnam War. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. Sep. 25. 6:30 p.m. Free. (202) 387-1400.

DeboraH HarKneSS Bestselling author Deborah Harkness chats about her new book Time’s Convert, the tale of a young man transformed into a vampire during the American Revolution and the woman he falls in love with over 200 years later. Politics and Prose at The Wharf. 70 District Square SW. Sep. 25. 7 p.m. Free. (202) 488-3867. eDwarD g. lengel Edward G. Lengel discusses his new book Never in Finer Company, which tells the stories of four members of World War I’s “Lost Battalion” and how they dealt with the ordeal. Politics and

Prose. 5015 Connecticut Ave. NW. Sep. 23. 1 p.m. Free.

(202) 364-1919. eriC Klinenberg In his new book Palaces for the People, sociologist Eric Klinenberg argues that the future of democratic societies relies on shared social infrastructure. Politics and Prose at The Wharf. 70 District Square SW. Sep. 26. 7 p.m. Free. (202) 4883867.

JaSon Stanley Philosopher Jason Stanley talks about his new book How Fascism Works, which identifies the ten pillars of fascist politics and tracks their disturbing yet deeply rooted history in the U.S. Politics and Prose. 5015 Connecticut Ave. NW. Sep. 25. 7 p.m. Free. (202) 364-1919.

Jennifer baKer, JaSon reynolDS anD HaSantHiKa SiriSena Jennifer Baker, Jason Reynolds and Hasanthika Sirisena chat about their book Everyday People, a diverse, carefully curated collection of short fiction by writers of color both emerging and established. Solid State Books. 600 H St. NE. Sep. 26. 7 p.m.

Free. (202) 897-4201.

JoSe antonio vargaS Pulitzer Prize-winning journalist Jose Antonio Vargas discusses his new book Dear America, a memoir about his struggles to fit in as an undocumented immigrant. Politics and Prose at The Wharf. 70 District Square SW. Sep. 21. 7 p.m. Free.

(202) 488-3867.

Joy tHoMaS Moore Joy Thomas Moore chats about her new book The Power of Presence, a guide on how to remain a guiding force in your child’s life even when you can’t be with them. Politics and Prose. 5015 Connecticut Ave. NW. Sep. 22. 6 p.m. Free. (202) 3641919.

MiCK Cornett Former Oklahoma City Mayor Mick Cornett talks about his book The Next American City, a testament to modest-sized but successful cities and how they’re leading progress in the United States. Solid State Books. 600 H St. NE. Sep. 24. 7 p.m.

Free. (202) 897-4201.

MiriaM Pawel In her new book The Browns of California, Pulitzer Prize-winning reporter Miriam Pawel tells a narrative history of California through the lens

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

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

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ERIC BENET 29 HIROSHIMA 30 BASIA Oct 1 CHICK COREA TRIO Vigilette with Carlitos Del Puerto & Marcus Gilmore 27&28

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MICHAEL FRANKS 7 HERMAN'S HERMITS starring PETER NOONE The Other 9 BONNIE 'PRINCE' BILLY Years 10 LEO KOTTKE Harrow 11 THE JAYHAWKS Fair 12&13 THE WHISPERS 14 KEIKO MATSUI 15 LISA STANSFIELD The Deeper Tour North America 6

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THU 9/20 FELLOWCRAFT SAT 9/22 LITTLE LESLEY + THE BLOODSHOTS THU 9/27 PIERCE EDENS & BROTHER DEGE FRI 9/28 ERIC LINDELL $30/$35 SAT 9/29 BUMPER JACKSONS $15/$20 TUE 10/2 ARKANSAUCE THU 10/4 BEN DANAHER BAND FRI 10/5 HUBBY JENKINS (CAROLINA CHOCOLATE DROPS) $15/$20 FRI 10/5 SHANNON LABRIE (9:30PM SHOW) SAT 10/6 C2 + THE BROTHERS REED TUE 10/9 SLAID CLEAVE $20/$28 THU 10/11 THE DETROIT COBRAS $15/$18 SAT 10/13 DOUG STRAHAN + RARE CREATURES SUN 10/14 COLD HARD CASH $10/$12 TUE 10/16 PATRICK SWEENEY BAND $15/$20 THU 10/18 JONAH TOLCHIN DHARMA SOUL BAND FRI 10/19 DRUNKEN HEARTS HILL COUNTRY BARBECUE MARKET

410 Seventh St, NW • 202.556.2050 HillCountry.com/DC • Twitter @hillcountrylive

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

washingtoncitypaper.com september 21, 2018 29

Steve USDin Steve Usdin talks about his new book Bureau of Spies, which details the long history of spies posting as journalists in D.C. Politics and Prose.

5015 Connecticut Ave. NW. Sep. 22. 3:30 p.m. Free.

(202) 364-1919.

CITY LIGHTS: MOnDAY

williaM PowerS William Powers discusses his new book Dispatches from the Sweet Life, a memoir about his journey moving to a small, rural Bolivia town in search of balance and happiness. Politics and Prose at Union Market. 1270 5th St. NE. Sep. 27. 7 p.m. Free.

(202) 364-1919.

Theater

born yeSterDay Set in the 1940s, this Broadway play tells the story of Billie Dawn, the naive girlfriend of a Washington tycoon who fights back against his corrupt political schemes. This regional production is directed by Aaron Posner and stars Kimberly Gilbert and Edward Gero. Ford’s Theatre. 511 10th St. NW. To Oct. 21. $20–$62. (202) 347-4833. fords.org. tHe CoMeDy of errorS Shakespeare Theatre Company presents this zany farce about two sets of

twins, each with the same name. The production is directed by Alan Paul. Lansburgh Theatre. 450 7th St. NW. To Oct. 28. $44–$102. (202) 547-1122. shakespearetheatre.org.

CoMo agUa Para CHoColate (liKe water for CHoColate) Making its U.S. premiere, this production centers on a young woman who is forbidden to marry because of family tradition and takes to expressing herself through cooking. It is based on the novel by Laura Esquivel, adapted to the stage

by Garbi Losada and directed by Olga Sánchez. Performed in Spanish with English subtitles. GALA Hispanic Theatre. 3333 14th St. NW. To Oct. 7. $20–$48.

(202) 234-7174. galatheatre.org. gloria Written by Pulitzer Prize-finalist Branden Jacobs-Jenkins, this new dark comedy centers on a group of ambition Manhattan editorial assistants.

When an average workday turns into a living nightmare, two survivors must compete to turn their experience into a career-making story. Woolly Mammoth Theatre. 641 D St. NW. To Sep. 30. $20–$61. (202) 3933939. woollymammoth.net. if i forget This acutely personal play tells the story of a Jewish D.C. family agonizing over whether to sell their 14th street home after their mother has died and their father is in need of full-time care. If I Forget is directed by Matt Torney and written by Dear Evan Hansen Tony-winner Steven Levenson. Studio The-

CITY LIGHTS: TuESDAY

SHAPInG ClAY In AnCIEnT IRAn

Persian artifacts stole headlines last year. The U.S. Supreme Court agreed to hear a case brought forward by the families of those who were killed in a 1997 bombing in Jerusalem. The plaintiffs are looking to seize ancient Persian artifacts, including the Persepolis tablets, which contain some of the oldest writings in world history and are currently part of museum collections in Chicago. The families argue that these artifacts represent Iranian property located in the U.S., suitable for seizure and restitution for the victims of Iranian-sponsored terrorism. Actually, these clay artifacts do not belong to Iran, the defense says, since the notion of Iran did not exist 25 centuries ago. This long-running case has nothing and everything to do with Shaping Clay in Ancient Iran, a survey of ceramics stretching all the way from the Chalcolithic period (5200 BCE– 3400 BCE) to the Parthian period (250 BCE–225 CE). In one light, such an epochal exhibition illustrates how thin our contemporary notions of statehood, empire, and borders really are; in another way, it shows indirectly how politics today might influence how museums organize the cultural artifacts of the ancient world going forward. Artifacts are never static. The exhibition is on view to September 2019 at the Arthur M. Sackler Gallery, 1050 Independence Ave. SW. Free. (202) 633-1000. freersackler.si.edu.

—Kriston Capps

of the Brown family, which led the state for decades.

Politics and Prose. 5015 Connecticut Ave. NW. Sep. 23. 5 p.m. Free. (202) 364-1919. reeSe witHerSPoon Award-winning actress Reese Witherspoon discusses her debut book Whiskey in a Teacup, an autobiographical account of her southern upbringing and its impact on her identity. The Anthem. 901 Wharf St. SW. Sep. 22. 8 p.m. $60–$400. (202) 888-0020.

SaraH SMarSH Sarah Smarsh talks about her new memoir Heartland, which examines the forces of

cyclical poverty through her experiences as a fifth generation Kansas wheat farmer. Politics and Prose.

5015 Connecticut Ave. NW. Sep. 24. 7 p.m. Free. (202) 364-1919.

SHane baUer In his new book American Prison, journalist Shane Bauer recounts his experiences as an undercover prison guard and chronicles the history of the private prison system in America. Politics and Prose. 5015 Connecticut Ave. NW. Sep. 21. 7 p.m.

Free. (202) 364-1919.

30 september 21, 2018 washingtoncitypaper.com

POP-uP MAGAzInE

At a time when the inundation of on-demand content causes decision paralysis, the desire for unique, one-off experiences is at an all-time high. But the pop-up model isn’t just for TV-themed bars and exotic late-night eats anymore: behold, Pop-Up Magazine, a show born in that cauldron of innovation, San Francisco. Each “issue” of the traveling Pop-Up Magazine features new, never-before-heard stories that are presented alongside photography, film, and music (provided by the rock world’s go-to collaborators, the Magik*Magik Orchestra). The show isn’t recorded or shared online, so you’ve got to be there to see it. For its upcoming D.C. visit, Pop-Up Magazine enlisted a who’s-who of storytellers for the city’s intelligentsia, including The Atlantic science writer Ed Yong, producer Yowei Shaw of NPR's Invisibilia, The Immortal Life of Henrietta Lacks author Rebecca Skloot, Call Your Girlfriend podcast co-host Ann Friedman, WIRED senior writer Emily Dreyfuss, and many others. Ever want to listen to your favorite podcast or read your favorite mag in a swanky theater and have a drink with the host afterward? Here’s your chance.

The show begins at 7:30 p.m. at the Warner Theatre, 513 13th St. NW. $24–$39. (202) 783-4000. warnertheatredc.com.

—Chris Kelly

Jazz

CITY LIGHTS: WEDnESDAY

Jason Moran Artistic Director

Kurt Elling Friday, October 5 at 7 & 9 p.m.

Terrace Theater “The standout male vocalist of our time” (The New York Times), Grammy Award® winner and 12-time nominee Kurt Elling is an artist with no creative limits. Kicking off the 2018–2019 season, he presents new songs from his album The Questions, and breathes new life into old favorites for today’s audiences.

KC Jazz Club

Odean Pope Friday, October 19 at 7 & 9 p.m.

Terrace Gallery Recent recipient of the 2017 BYN Mellon Living Legacy Jazz Award, fiery and intense saxophonist Odean Pope has been the “real thing” in modern jazz since John Coltrane personally chose him as his replacement in Jimmy Smith’s band.

Kennedy-Center.org

Groups call (202) 416-8400

(202) 467-4600

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

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SEAn SCullY: lAnDlInE

Sean Scully has a deep connection with museums in the District. The Irish-born, Americanbased abstract artist has enjoyed surveys at the Phillips Collection and Smithsonian American Art Museum. Now, his Landline series—the subject of a special exhibition during the Venice Biennale in 2015—will get a thoroughgoing review at the Hirshhorn Museum and Sculpture Garden. Sean Scully: Landline comprises more than 40 paintings, drawings, and even photographs, all centered around the same simple impulse: horizontal bands of color. Scully’s closest cousin in American abstraction might be Marsden Hartley, at least in terms of the deep, rich colors he favors. (Although one of the highlights in this show is Scully’s stacks of aluminum painted bars, which will inevitably, if mistakenly, summon Donald Judd to the conversation.) Scully’s work is conservative: He channels postwar values of deep looking, spiritual immersion, and personal expressionism. That outlook in painting isn’t so much gone as it is classic. The exhibition is on view to Feb. 3, 2019 at the Hirshhorn Museum and Sculpture Garden, Independence Avenue and 7th Street SW. Free. (202) 633-1000. hirshhorn.si.edu.

—Kriston Capps

atre. 1501 14th St. NW. To Oct. 14. $20–$80. (202) 3323300. studiotheatre.org. laboUr of love Fresh from London’s West End, this new comedy traces the ups and downs of leftwing politics in Britain over the past two decades.

Labour of Love is directed by Leora Morris with an Olivier-winning script by James Graham. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Oct. 28. $49–$74. (301) 924-3400. olneytheatre.org.

MaCbetH Amended by Sir William Davenant, this Restoration-era adaptation of Shakespeare’s classic

is directed by Robert Richmond and features music

by John Eccles performed live by Folger Consort. In this timeless tragedy, Macbeth and Lady Macbeth are tormented by guilt after they murder King Duncan and take the Scottish throne. Folger Shakespeare Library. 201 E. Capitol St. SE. To Sep. 23. $42-$79.

(202) 544-7077. folger.edu.

Marie anD roSetta Directed by Sandra L. Holloway, Mosaic Theater Company presents a musical celebration of two extraordinary black women. Marie and Rosetta chronicles the unlikely first rehears-

UPCOMING SHOWS SEP 20

SEP 21

SEP 21

SEP 23

Steven Page Trio (former frontman of Barenaked Ladies) w/ Special Guest Wesley Stace (aka John Wesley Harding)

An Evening With Edwin McCain

Chris Trapper w/ Diana Chittester in the Wine Garden

Boyce Avenue

SEP 24

SEP 25

SEP 26

SEP 27

SEP 28

Louis Prima Jr. & the Witnesses

Jump, Little Children

Face To Face Acoustic w/ Austin Lucas

Art Sherrod Jr & The ASJ Orchestra

Iris Dement

SEP 29

SEP 29

SEP 30

OCT 1

OCT 3

Wasabassco

Folk Soul Revival

Dwele

Marcia Ball

Tim Reynolds & TR3

Late Night Burlesque

album release show

early show & late show

SEP 23

Ian Moore “Toronto”

album release show

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al between Rosetta Tharpe and Marie Knight, who would go on to become one of the great duos in music history. Atlas Performing Arts Center. 1333 H St. NE. To Sep. 30. $50–$68. (202) 399-7993. atlasarts.org.

he plans to have an affiar—must decide a case involv-

tHe PianiSt of willeSDen lane Theater J presents this Hershey Felder-directed play, adapted from the book The Children of Willesden Lane. Based on true events, the show tells the story of a young Jewish piano prodigy whose musical aspirations are thwarted by the onset of World War II. Kennedy Center Family Theater. 2700 F St. NW. To Sep. 30. $44–$74. (202) 467-4600. kennedy-center.org.

ingtoncitypaper.com for venue information)

SMall MoUtH SoUnDS This Ryan Rilette-directed play opens Round House’s 41st season. When six strangers arrive at a week-long silent retreat in the woods in search of enlightenment, they discover that finding inner peace isn’t as easy as they thought.

Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To Sep. 23. $36–$57. (240) 6441100. roundhousetheatre.org.

SoUtH PaCifiC This regional production of Rodgers and Hammerstein’s Pulitzer Prize-winning musical is directed by Alan Muraoka and choreographed by Darren Lee. Set during World War II on a distant Pacific island, South Pacific tells the sweeping love story of nurse Nellie Forbush and French plantation owner Emile de Becque. Olney Theatre Center. 2001 OlneySandy Spring Road, Olney. To Oct. 7. $64–$84. (301) 924-3400. olneytheatre.org. tUrn Me looSe This John Gould Rubin-directed play traces comic genius Dick Gregory’s rise to fame as the first black comedian to utilize racial comedy, intertwining art and activism and risking his safety in the process. Arena Stage. 1101 6th St. SW. To Oct. 14. $56–76. (202) 488-3300. arenastage.org.

ing a teenage boy who refuses a life-saving blood transfusion on religious grounds. Co-starring Stanley Tucci, Fionn Whitehead, and Ben Chaplin. (See washtHe HoUSe witH a CloCK in itS wallS After being sent to live with his magical uncle, young orphan Lewis must help him and his good witch neighbor locate a clock which could bring about the end of the world. Starring Cate Blanchett, Jack Black, and Lorenza Izzo. (See washingtoncitypaper.com for venue information) life itSelf A New York couple experience twists, trials, and tribulations on their life journey, from college sweethearts to the birth of their first child. Starring Olivia Wilde, Oscar Isaac, and Annette Bening. (See washingtoncitypaper.com for venue information) PiCK of tHe litter This documentary, directed by Dana Nachman, follows a litter of five puppies from their births to their journeys to becoming guide dogs for the blind. (See washingtoncitypaper.com for venue information) tHe PreDator A ragtag crew of ex-soldiers and a science teacher must prevent the end of life as they know it after a little boy triggers the return of the universe’s most deadly predators, now more deadly than ever before, genetically upgraded with the DNA of other species. Starring Olivia Munn, Jacob Tremblay, and Boyd Holbrook. (See washingtoncitypaper. com for venue information)

Film

aMeriCan CHaoS Filmmaker James D. Stern travels across the country six months before the 2016 presidential election to find insights and answers about then-candidate Donald Trump’s surging appeal for his red state supporters in this documentary. (See washingtoncitypaper.com for venue information) tHe CHilDren aCt Emma Thompson stars as a judge who, in the midst of her own personal challenges—including her longtime husband telling her

a SiMPle favor A mommy vlogger tries to uncover the mystery behind the disappearance of her rich, enigmatic friend. Starring Anna Kendrick, Blake Lively, and Henry Golding. (See washingtoncitypaper.com for venue information) tHe wife On the way with her writer husband to watch him receive a Nobel Prize, a wife questions their entire relationship, including the sacrifices she’s made in her own life for him. Starring Glenn Close, Jonathan Pryce, and Christian Slater. (See washingtoncitypaper.com for venue information)

CITY LIGHTS: THuRSDAY

THE nEW FIlIPInO kITCHEn

It wasn’t long ago that you had to go to the suburbs for Filipino food. But with local options that include the comfort food of Purple Patch, the destination dining of Bad Saint, the fusion dishes of Kaliwa, and even more choices just outside the city, the question may be just where should you go out for lumpia, the Filipino version of spring rolls?

Well, what if you could roll your own? Home cooks shouldn’t miss this launch party for The New Filipino Kitchen, an anthology edited by Jacqueline Chio-Lauri that features recipes and stories from 30 chefs and writers, including the team behind the D.C.-area supper club Timpla. Experience this complex and increasingly popular cuisine in the heart of Dupont Circle—then head out to Beltsville to pick up ingredients at Manila Mart. The talk begins at 6:30 p.m. at Kramerbooks & Afterwords, 1517 Connecticut Ave. NW. Free. (202) 387-1400. kramers.com.

—Pat Padua

32 september 21, 2018 washingtoncitypaper.com

SAVAGELOVE I am newly divorced and have started a relationship with a man I’ve known and deeply cared about for decades. The sex is amazing—from start to finish, I feel better than I ever did even in the best moments with my ex. And in the most intense moments? He makes me see stars. He is a very generous lover—he turns me on like crazy and I regularly come while sexting with him. But I have yet to have an orgasm with him. In the past, I have had an orgasm with a partner only from oral or very occasionally from digital clit stim. My exhusband was not skilled at oral, so I always had to fantasize pretty hard to get there (and regularly chose not to bother). My new partner has amazing moves and amazing oral skills. And he is willing to keep at it for as long as it takes. But regardless of how amazing I feel when he’s going down on me, every single time I eventually hit a wall where I am just done. I haven’t had a single session with him where I’m left feeling unfulfilled, despite the lack of orgasm. In contrast, any sex with my ex that didn’t end in an orgasm left me feeling frustrated or, worse yet, bored. (There were also times when I’d ask my ex to leave the room so I could masturbate after sex.) Do you have any ideas as to why I can’t get over that hump? I wonder if I just need him to be more boring and repetitive so that I can focus. But if that’s the case, is it even worth it?

Why would I want to make the sex worse to make it “better”? Or should I just be satisfied with the mind-blowing sex I am having, even if it means I don’t have an orgasm? Is it OK to give myself permission to give up on partner-based climaxing?

—No Orgasm Possibly Ever

Beware of those self-fulfilling prophecies! If you sit there—or lie there—telling yourself that being with Mr. AmazingMoves means giving up on “partner-based climaxing,” NOPE, you’re increasing the odds that you’ll never have an orgasm with this guy or any other guy ever again.

Here’s what I think the problem is: You had tons of shitty sex with your ex, but you could climax so long as you focused, i.e., so long as you were able to “fantasize pretty hard.”

Your ex provided you with some half-assed oral and/or uninspiring digital clit stim that didn’t interfere with your ability to focus/fantasize. In other words, NOPE, with your ex you were able to—you had no other choice but to—retreat into your own head and rely on your own erotic imagination to get you there. You may have been physically present during sex, but you were not emotionally or erotically present.

Because Mr. AmazingMoves’ moves are so amazing—because he turns you on like crazy, because whatever he’s doing feels great, because sometimes you see stars—you aren’t able to retreat into your own head. For years, you had to figuratively leave the room so you could focus/concentrate on whatever it was

you needed to focus/concentrate on in order to come; sometimes you even asked your ex to literally leave the room. You created a powerful association between going to a private, safe, sexy place—pulling away from your partner emotionally, erotically, and sometimes even physically—and climaxing.

You aren’t able to pull away from your current partner in the same way. Nor do you want to. And, hey, wanna know why you come when you sext with him? Because sexting is assisted fantasizing. You’re alone when you’re swapping those dirty messages with Mr. AmazingMoves, NOPE, kind of like you were alone when you were having sex with your ex.

It’s going to take some time to carve a new groove, i.e., you’re going to have to create a new association, one that allows you to be fully present (emotionally, erotically, physically) during partner-based sex and able to climax

Sometimes people react negatively to any mention of a kink, not because they’re necessarily turned off or grossed out but because they assume their partner is. during it. The trick is not to rush it and, again, not to box yourself into negative self-fulfilling prophecies like the one you ended your letter with. So instead of telling yourself you’re never going to come again during partnered sex, tell yourself that your orgasms will come again. It may take some time, sure, but trust that your body and your brain are already hard at work carving that new groove.

One practical suggestion: The next time you have sex with Mr. AmazingMoves—the next 10 times you have sex with him—tell him in advance that you’re going to ask him to stop eating you out long before you hit that wall. Then stimulate yourself, either digitally or with a vibrator, while he holds you. If you need to lean back and close your eyes, lean back and close your eyes—but do not retreat into your own head. Maintain physical contact and ask him to say dirty/sexy things to you while you get

yourself the rest of the way there, so you’re always aware of his presence. A couple of dozen self-administered orgasms with both of you in the room—in the room emotionally, erotically, and physically—will speed that new-groovecarving process along.

—Dan Savage I’m a straight man and I recently got out of a relationship with a woman who would monitor my internet use to make sure I wasn’t “masturbating to the wrong things.” (My kinks are nothing too outrageous: feet and mild FemDom.) I’ve been dating a new woman for three months, and it’s time to lay my kink cards on the table. But I’m really afraid to open up, thanks to my kink-shaming ex. My new girlfriend and I read your column together—so if you publish my letter, I’ll be able to gauge her likely response if I decide to disclose.

—Help A Guy Out? My pleasure, HAGO, but be careful: Sometimes people react negatively to any mention of a kink, not because they’re necessarily turned off or grossed out but because they assume their partner is. So don’t panic if your new girlfriend’s first reaction is negative (“Ew, gross! Feet and FemDom!”), because it may not represent her true feelings and/or openness to your kinks. To learn how she really feels, you’re probably going to have to make the disclosure you’re trying to sidestep. —DS I’m a 24-year-old woman, and three weeks ago I got out of a long-term relationship with a guy in his mid-30s. Over the last few months of the relationship, I started falling for someone else and began dating the new guy pretty much immediately after the breakup. When should I tell my old boyfriend? We agreed to stay friends, and we still talk and see each other at least once a week. I want him to hear it from me, but I’m not sure how much time is appropriate/respectful.

—Don’t Wanna Be An Asshole Meeting up too soon after a breakup has a way of keeping emotional wounds open and fresh, DWBAA, particularly for the person who was dumped (I’m assuming you did the dumping here). And once-a-week meetings definitely qualify as too much, too soon. That said, if you think your ex-boyfriend is likely to hear about your new boyfriend from mutual friends, telling him yourself (and soon) is obviously the right (and difficult) thing to do. But if your ex is going to find out about your new boyfriend from, say, your Instagram account, encouraging him to unfollow you and letting some time pass—enough so you can fudge the start date of your new relationship—would be the right (and ego-sparing) thing to do.

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

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and staff development with school leadersLegals and teacher. The decision to DC SCHOLARS PCS REQUEST sole source is because FOR PROPOSALS – ModuIDEA is in its second lar Contractor Services - DC school Scholars year Publicpartnering Charter School with Town solicitsBoys proposals forusing a modular their Well-Managed contractor to provide professional Schools concept in our management and construction services to construct a modular high school.

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The in training for our Request leaders. for Proposals school They (RFP) specifi cations can be obtained on have a successful track and after Monday, November 27, record training 2017 fromofEmily Stone school via comleaders around successmunityschools@dcscholars.org. ful student culture All questions should be by sent in motivating students writing by e-mail.

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