Washington City Paper (November 20, 2015)

CITYPAPER Washington

Free Volume 35, no. 47 WashingtonCityPaPer.Com noVember 20–26, 2015

For the past 15 years, The Max Levine Ensemble has been shaping D.C.’s DIY punk scene. 14

By Matt Cohen Photographs by Darrow Montgomery

politiCs: raCine’s Campaign Debts 7

arts: D.C. Queer theatre Festival 27

More Clean Energy for DC We want a cleaner and greener District. The Pepco Holdings-Exelon merger will bring $7 million to fund renewable energy and energy efficiency programs, add more than $10 million into the District’s Green Building Fund and make it easier for customers to connect their solar panels to the grid.

Exelon will also significantly expand solar energy in the District and purchase wind energy– enough to power more than 23,000 homes.

The merger also brings other benefits that will help our neighbors like a one-time direct bill credit of more than $50 per residential customer and increased reliability standards that would lead to fewer and shorter power outages.

We support the merger, and we made our voices heard.You can, too. Go to PHITomorrow.com where you can sign the petition and send a letter to voice your support.

“A greener DC is good for everyone.”

Edith Shipley

Pepco Customer Anacostia

“The merger will make it easier for customers to add solar energy in their homes.”

Mark Davis

Owner – WDC Solar

The Pepco Holdings-Exelon Merger: Affordability, Reliability and Sustainability for DC.

For more information or to voice your support visit PHITomorrow.com Paid for by Exelon Corporation.

2 NOVEMBER 20, 2015 washingtoncitypaper.com

INSIDE 14 chords

HUGE INVENTORY REDUCTION SALE!

EVERYTHING MUST GO!

with friends How The Max Levine Ensemble became the godfather of D.C.’s DIY punk scene

by matt cohen photographs by Darrow montgomery

4 chatter district Line

7 9

10 11 12 13 20

Loose Lips: Karl Racine’s campaign debts, revisited City Desk: We found God in a public place.

Unobstructed View Gear Prudence Savage Love Straight Dope Buy D.C.

d.c. feed

23 Scaling Up: Changing the way D.C. eats seafood 25 Grazer: Restaurant additions 25 Brew In Town: Fair Winds Siren’s Lure 25 The ’Wiching Hour: Small Fry’s Fried Catfish

arts

27 Avenue LGBTQ: The D.C. Queer Theatre Festival is trying to change the city’s arts scene.

29 Arts Desk: ‘Tis the season for off-kilter holiday productions 29 One Track Mind: A toxic blast of feedback and sludge on Polyon’s heavy “Reserve” 30 Short Subjects: Gittell on Heart of a Dog and Olszewski on Ingrid Bergman in Her Own Words 32 Curtain Calls: Ritzel on Unexplored Interior

33 Sketches: Goukassian on “Pathmakers: Women in Art, Craft, and Design, Midcentury and Today” 34 Discography: Essner on Swings’ Sugarwater

city List

37 City Lights: Angel Haze raps about identity, struggle, and perseverance.

37 Music 40 Books 40 Galleries 42 Dance 43 Theater 44 Film

45 cLassifieds diversions 46 Dirt Farm 47 Crossword

“

It became lIke, the D.c. lGbtQIIa theatre FestIval, anD I was lIke, I can’t Do that. —PaGe 27

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CHATTER Fresh to Death

In which readers air their paranoia about entrenched corruption

Darrow MontgoMery

In response to Will Sommer’s cover column on FreshPAC’s demise (“Green Scheme,” Nov. 13), readers took the opportunity to rail against the District’s political system and the corruption, if the prevailing sentiment is to be believed, endemic to it. REALDC in particular was not convinced that an end to FreshPAC means an end to fishy fundraising. “Make no mistake about it, ‘brokeAzz’ lazy DC politicians will always be susceptible to Freshy PACs, Shadow Campaigns, etc. That is the problem when you elect these career politicians with no real work experience and having NOT done anything of significance in their careers.” Sound like a Brandon Todd jab to anyone? “The current Ward 4 council member is such a joke that people voted for him even though his only work experience was holding Bowser’s purse for 7 years.” Yep, there it is. REALDC pointed out that something else will inevitably take FreshPAC’s place: “But don’t get it twisted, its just gone away formally, now the underground game will take over.....because the Mayor Bowser can be BOUGHT!!” Truth weighed in: “RealDC for Mayor!” Does this mean REALDC is getting his/her own PAC soon? Watch our comments section closely for any fundraising calls.

Lucky Strike. If our readers took just one thing away from Jessica Sidman’s Young & Hungry column from last week (“Against the Grain”), it’s that even the most unorthodox local food offerings will find their fans.

Lucky 888 beer has a new drinker in Dave B, who wrote in the comments, “This is awesome. I wish this ambitious gentleman all the best. Given that good beer isn’t hard to make and that there isn’t that much difference among the god knows how many IPAs there are out there (they are all pretty good), I will gladly buy this beer when I see it.” If good beer isn’t that hard to make, as this reader claims, we’re assuming it’s just a matter of time before Dave B makes his own contribution to the —Emily Q. Hazzard local brew scene. Stay tuned.

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

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DISTRICTLINE

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ting money in his bank account.

He’s also apparently avoided another pitfall facing FreshPAC. The PAC’s operators were cagey about whether they asked power utilities Pepco and Exelon for contributions while Bowser negotiated a settlement over their merger. Marus tells LL that Racine hasn’t solicited contributions from the power companies.

Fundraising to retire personal campaign debt isn’t unheard of at the Wilson Building.

At-Large Councilmember Vincent Orange, for example, has raised loan-retirement money that then went into his own bank account years after races.

More about any new money and its donors will be revealed on Dec. 10, when Racine’s campaign committee files a new report on how it is spending the money it raises more than a year after the campaign officially “ended.”

Loose Lips

Karl Marks

Karl Racine has campaign finance issues of his own; District Republicans turn inside out over college student Karl Racine’s campaign owed him $451,000 as of July 31.

Darrow Montgomery

Of Mice and Maras

By Will Sommer District Attorney General Karl Racine took on another title earlier this month: campaign finance watchdog. In an appearance on WAMU’s The Politics Hour, Racine complained that he had been “deluged” by tips about FreshPAC, the Muriel Bowser-affiliated political action committee that he says created the appearance of pay-to-play at city hall.

Bowser’s associates have since shuttered FreshPAC, but Racine’s own campaign finance issues remain. While griping about

Bowser, Racine has been fundraising to retire his campaign debt, nearly half a million dollars of which is owed to Racine himself.

Back in March, LL wrote about Racine’s efforts to retire his campaign debt. Now that Racine is presenting himself as the honest alternative to Bowser, though, it’s time to take another look at the debts the District’s attorney general owes to his campaign vendors— and to himself.

As of the July 31 finance filing deadline, Racine’s campaign owed him $451,000 on loans he made during the 2014 campaign.

Racine raised nearly $13,000 in the first half of the year to eliminate his campaign debt, much of the money coming from lawyers, and, in one instance, the union that represents District firefighters.

So far, Racine hasn’t spent any of those funds on himself, instead opting to pay off his debts to campaign consultants. But now, Racine spokesman Robert Marus tells LL that, with the vendor debts paid off, Racine is fundraising to retire the campaign’s debt to himself. Cut a check to the attorney general’s campaign, and you’ll be effectively put-

The 2016 general election is a year away, but LL can make one prediction now: the D.C. GOP will maintain its losing streak and not win a single seat on the D.C. Council.

That’d be a safe call in any year for the District, where 76 percent of registered voters are Democrats. But 2016 was supposed to be the year of GOP revival! Instead, the party finds itself struggling to keep its only declared candidate while dealing with a Catholic University sophomore who’s become a surprising power player.

Just a few months ago, prominent Republican Pat Mara—once the party’s best hope, until he lost three at-large races—regained control of the GOP from cigar-chomping Tea Party types. By ditching the right wing of the party, the theory went, the Republicans might actually win back one of the atlarge seats that they haven’t held since Mara ousted longtime GOP-er Carol Schwartz in the 2008 Republican primary.

To help rebuild the party, Mara and new Chairman José Cunningham recruited former corporate headhunter Dave Oberting, who currently spends his days pushing out press releases at his free market-y think tank Economic Growth D.C., to run for an at-large seat. But then, Oberting made a surprising choice: He hired Walter Deleon, a Catholic University sophomore, as his campaign manager.

Deleon is an “only in D.C.” type of wouldbe political operator. He was a Ward 5 advisory neighborhood commissioner until last

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week, when he announced he will resign to run for a spot on the (mostly pointless) State Board of Education. At one point last year, the flailing Tommy Wells mayoral campaign touted Deleon’s endorsement in a blast email: “High School Senior Endorses Tommy.”

This campaign cycle, Deleon is moonlighting as a supporter for the Martin O’Malley presidential campaign. This guy really knows how to choose ‘em.

Oberting’s pick didn’t impress Republicans bigwigs, according to Deleon. Kris Hammond, the GOP’s 2014 candidate for Council chairman, tells LL he asked Deleon questions about working for the campaign because of his otherwise liberal politics.

“It appeared that his support for Dave was genuine,” Hammond says.

Last week, Deleon called up LL to say Oberting was considering splitting from the party to run as an independent next November. Among the reasons Deleon cited for the potential split: a lack of support from the D.C. GOP, and Oberting’s continuing unhappiness with belonging to the same party as Donald Trump, who he called “a fucking menace to society” when he announced his campaign in August. Deleon himself remained a sticking point in the party, he says.

“He felt very uncomfortable with some of the people who are uneasy about me being Dave’s campaign manager,” Deleon said.

When LL asked Oberting whether he really was going to bail on the pachyderms, Oberting turned cryptic, emailing back only, “Walter talks too much.” For his part, Mara seemed unconcerned.

“We can’t really control the individual decisions [of candidates],” Mara said, although he conceded that one member of the D.C. GOP was “obsessed” with Oberting’s decision to hire Deleon.

Soon after getting off the phone with LL, though, Mara left Oberting a voicemail asking whether he was really going to leave the party.

“I don’t like this,” Oberting wrote to Deleon. “What do you want me to say?”

“Be brutally honest,” Deleon replied, writing later, “Remind him that this isn’t personal, it’s solely political.”

As of Tuesday, Oberting hadn’t changed his candidate affiliation. Now he tells LL that jumping parties was only a “stray thought,” and he intends to stay with the Republicans.

Still, the D.C. GOP, out of office for seven years, has now confounded itself over a college student. Given the party’s track record lately, though, maybe they should put Deleon in charge. He couldn’t do much worse. CP Got a tip for LL? Send suggestions to lips@washingtoncitypaper.com.

Or call (202) 650-6925.

8 NOVEMBER 20, 2015 washingtoncitypaper.com

DISTRICTLINE

Tomorrow’s history today: This was the week that D.C. was a little more on edge—and security was visibly higher—after attacks in Paris.

City Desk

Earlier this month, the National Capital Planning Commission had to recommend where on public land to place the text of a Christian prayer. Congress passed a law in 2014 that directs the “Secretary of the Interior to install in the area of the World War II Memorial in the District of Columbia a suitable plaque or an inscription with the words that President Franklin D. Roosevelt prayed” on D-Day. Those words include “Almighty God: Our sons, pride of our Nation, this day have set upon a mighty endeavor, a struggle to preserve our Republic, our religion, and our civilization, and to set free a suffering humanity”; and “And, O Lord, give us Faith. Give us Faith in Thee.”

The NCPC recommended to the National Park Service where the plaque, paid for and sponsored by the nonprofit Friends of the World War II Memorial, should be placed. It agreed with the National Capital

Memorial Advisory Commission and Commission of Fine Arts that it should be located in the Circle of Remembrance, a garden area northwest of the memorial’s main section.

To groups advocating church-and-state separation, the plaque is problematic for a number of reasons. As Americans United for Church and State Separation argued last year, “adding a prayer to the monument is disrespectful to veterans who do not believe in the Judeo-Christian God.” While the plaque will be the latest addition of God to government-owned land in D.C., it certainly is not the first. (It should be noted that none of the quotations featured on FDR’s own memorial directly reference the deity.) Here, we run down some of the places to find God on —Sarah Anne Hughes Washington’s federal land.

Where is your God noW?

Senate Chamber, U.S. Capitol “Annuit coeptis” or “God has favored our undertakings”

Washington Monument • “Holiness to the Lord” • “Laus Deo” or “God be praised”

Lincoln Memorial “With malice toward none; with charity for all; with firmness in the right, as God gives us to see the right, let us strive on to finish the work we are in.”

Jefferson Memorial • “God who gave us life gave us liberty. Can the liberties of a nation be secure when we have removed a conviction that these liberties are the gift of God?” • “Almighty God hath created the mind free.”

Library of Congress • “What doth the Lord require of thee, but to do justly, and to love mercy and to walk humbly with thy God.” • “The heavens declare the glory of God; and the firmament showeth His handywork.”

• “One God, one law, one element, and one far-off divine event, to which the whole creation moves.”

Prayer Room, U.S. Capitol “Preserve me, O God: for in thee do I put my trust.”

washingtoncitypaper.com NOVEMBER 20, 2015 9

UNOBSTRUCTEDVIEW Don’t Start Believin’ (Yet)

By Matt Terl Landover’s finest professional football squad kicked the living hell out of the New Orleans Saints, and even I can’t bleed the joy out of this one. Much.

It was the most potent output this team has managed in years, regardless of what metric you use. It’s been a decade since they scored more points, two and a half decades since they racked up more yards.

The quarterback—who, at least for the moment, is actually not beleaguered—put up a team-record stat line: 324 yards and four touchdowns and no interceptions for a perfect QB rating of 158.3. In fact, since I bluntly declared him “awful,” Kirk Cousins has completed 75 of 105 passes for 858 yards, eight touchdowns, and just one interception. And even that single interception deflected cleanly off the intended receiver’s hands.

The defense started slowly, giving up a cou-

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hadn’t realized just how fully I’d internalized the doomed-and-awful narrative.

Because even as they went into the half leading 27–14, I assumed that the best they could hope for was to hold on and eke out a win. I assumed that Cousins would throw catastrophically stupid interceptions, and/or that the defense would remember that they don’t like tackling.

I didn’t think these things in a malicious way, or even a self-pitying one. This is just what I assumed would happen, because this football team simply doesn’t win blowouts.

It’s too soon to say that this one win heralds a legitimate culture change, just like it’s too soon to declare that Cousins’ streak of three good games is anything more than a dead cat bounce in a career that winds up Rex Grossman–esque.

But one thing happened during and in the wake of the game against New Orleans that does give me a little glimmer of genuine hope.

The last time Washington and New Orleans faced off was Robert Griffin III’s first game at QB, and Washington hung 40 on them and won. It was the start of that fascinating, electrifying, and devastating playoff season. And

It’s too soon to say that this one win heralds a legitimate culture change, just like it’s too soon to declare that Cousins’ streak of three good games is anything more than a dead cat bounce. ple touchdown drives and looking inept in the process, but once they settled in during the second quarter, it was an all-but-flawless game to watch. For one crisp fall Sunday, there was virtually nothing for fans to complain about.

But because there is no silver lining so bright that I can’t find the dark cloud inside, what it really brought home to me is just how bad this team has become in recent years.

I’ve had conversations over the years with people who came to the team from other NFL markets—as players, staff, or media—who were taken aback to find out just how highly the Washington franchise regards itself. The glory days were three decades gone, faded to all but the most dedicated fans. To newcomers, this was at best a mediocre team whose glory days were past, and at worst this was one of the dregs of the NFL, a perennial sad sack alongside the Raiders and Browns and Jaguars.

But even though I’d heard that, and even though I regularly write about how D.C. sports is proof that the universe can kill any joy, I

I didn’t see any articles on it, nor did I see it mentioned on the TV broadcast. Even postgame, I haven’t seen the comparison between Cousins’ numbers and Griffin’s. (And they’re pretty comparable.)

Impossible as it seemed in preseason, the team seems to have put the Robert Griffin III saga behind it. The questions surrounding Cousins now have to do with contracts, not competition.

Griffin is inactive every game and the cameras seem to have stopped looking for him.

So for the second time in three years, a win over the Saints appears to herald a culture change. If GM Scot McCloughan and the team’s coaches have genuinely navigated out of the Robert Griffin circus, then maybe they are capable of altering the team’s wider narrative.

But I’m going to need more than one win, no matter how emphatic, to break the deeply ingrained belief that it’s all going to somehow CP go wrong.

Follow Matt Terl on Twitter @Matt_Terl.

SKY AD PAGE Gear Prudence: I have a dilemma and I hope you can help me. The changing seasons and the variable weather have been making it really hard to dress for bike rides. I’m either too hot or too cold, and no matter what combination of clothing items I try, it never seems to work out. I know how to bundle up for winter and strip down for summer, but autumn dressing baffles me. What am I doing wrong?

—Failing as Leaves Lessen Dear FALL: There’s a trite adage about how “there’s no bad weather, only the wrong clothes.” This is utter bunk, as there is most assuredly bad weather (i.e. sharknadoes) that no clothing combination will render pleasant. However, the problem here isn’t so much that the weather is crummy, but that you’ve chanced upon the Goldilocks of seasons, where the temperature is just right. Faced with this blessed reality, you are unable to attire accordingly. Perhaps your first mistake is expecting to be comfortable. If you want climate control, hermetically enclose yourself in an SUV like a normal person. To be outside on a bike is to sometimes be too hot or too cold, and no matter how smartly you adorn yourself, you should accept the eventuality that the elements might outsmart you.

That’s not to say that you’re hopeless against climatic mercuriality, and there are a few key tips for dressing in a season with a wide degree of variability. Think “Dobos torte” and layer. Wearing many thin layers and having the willingness to add or shed them as needed can help you home in on the right comfort level as both your internal and the external temperature change. Unlike a Dobos torte, it is inadvisable to spread chocolate buttercream between clothing layers.

In addition to layering, fabric choices are key. Cotton is bad, wool is good. “Tech” fabrics, especially as base layers, can also be good, provided they wick away moisture from your skin. Moist skin leads to clamminess and clamminess to discomfort and discomfort to a whole host of terrible things like a desire to cut short your bike ride or write a complainy letter to a bike advice columnist.

Everyone has a slightly different capacity to tolerate the heat or the cold, so your willingness to experiment with assorted clothing combinations is admirable. And while you don’t need to bring a full wardrobe with you to be maximally prepared for fluctuations, you might want to carry more weather gear on you than you would otherwise. Some packable jackets fit in jersey pockets or you could always just bring a small bag. Don’t be —GP stubborn. Adjust or cope.

Gear Prudence is Brian McEntee, who tweets @sharrowsDC. Got a question about bicycling?

Email gearprudence@washcp.com.

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SAVAGELOVE I’ve always been a big believer in the common-sense obviousness that monogamy is hard. Additionally, I like the idea of my wife getting fucked. I don’t have any desire to be denigrated or emasculated; I just get off on the idea of her being satisfied and a little transgressive. Early in our relationship, we talked about monogomish guidelines: I’d like to be informed and consulted, and she would rather I kept mine to myself. Last weekend we were having sex, and she asked me if I “wanted to hear a story,” code for treating me to a tale of a sexual contact. She’d been out of town for work most of the summer, and she told me that one of her roommates had gotten in the shower with her and fingered her until she came. I asked her if she’d fucked him, and she said yes. It was all hot and awesome. But a few hours later, I was experiencing pangs: Why hadn’t she told me or asked me at the time? Also, I felt very alone and depressed that summer, and when I’d gone to visit her, my wife and this roommate acted very strangely. I told her that I thought it was hot and cool, but that I didn’t think it was cool that she’d kept this from me for so long. Things got worse from there: Over the last week, we’ve had some great sex and open conversations but also a lot of anger and hurt. The truth is that she carried on with this guy all summer. It’s not the sex that bothers me so much as the breadth of the deception, the disregard for my feelings, and the violation of our agreement. And, yes, I’m feeling a little emasculated. How does a loving husband who intellectually believes that fooling around is okay—and who finds it hot sexually—get over this kind of hurt and anger? Help me get right with GGGesus.

—Cocked Up Cuckold Keeps Stressing Two things have to happen in order for you to move on. One thing your wife has to do, CUCKS, and one thing you have to do.

Your wife has to express remorse for this affair—and it was an affair, not an adventure— and take responsibility for the anger, the hurt, and, um, all the great sex you two have been having since the big reveal.

You don’t give her version of events—why she kept this from you—but you were de-

pressed and lonely while she was away, and she may have concluded that informing and consulting you about this guy (first when she wanted to fuck him, and then when she was actually fucking him) would’ve made you feel worse. This conclusion is a massive selfserving rationalization, of course, because she knew you would veto the affair if she informed and consulted you. Figuring it would be easier to ask for forgiveness than permission, she went ahead and fucked the guy all summer long and then disclosed when your dick was hard.

There are worse things than being single for a year or two in your 20s.

Your wife needs to own up to the deception, the dishonesty, and the manipulation, and then take responsibility for the hurt she caused—that requires a sincere expression of remorse—and promise it won’t happen again.

She shouldn’t promise not to fuck around on you again. You don’t want that, right? What

she’s promising is not to deceive you again, not to go in for self-serving rationalizations again, and not to avoid informing and consulting you again.

And one more thing that won’t do: She won’t humiliate you again. You feel emasculated in the wake of this affair because her summer fuck buddy knew what was up when you two met and you didn’t. He knew who you were (the husband), but you didn’t know who he was (the fuck buddy).

Now here’s the thing you have to do, CUCKS: You have to forgive your wife. Mistakes were made, feelings were hurt, massive loads were blown. The fact that there was an upside for you even in this messy affair (see: massive loads, blown) should make forgiving —Dan Savage your wife a little easier.

I’m a 27-year-old straight woman. I’ve spent this last year back on the dating market, and it’s HORRIBLE. I have a reasonably pretty face, I’m fit, and I take care of myself. I have my life together—friends, interests, job—and I’m emotionally stable. I go out, I enjoy meeting people, I’m on Tinder. And I keep hearing that with a huge influx of young dudes, Seattle is an easy place to date as a woman. So why am I finding it so hard? I can get casual sex, and that’s fun. But as far as finding a relationship beyond just fuck buddies, it’s depressingly predictable: Guy acts interested, texts me all the time, but eventually starts fading away. I’ve asked close friends to be honest with me; I even had a heart-to-heart with an ex-boyfriend. Everyone says I’m not doing anything wrong. Are they all lying to me? I’m currently seeing someone I really like. When we’re together, it seems like he likes me a lot. But now he’s starting to do the fade. I’m really sad and anxious. It’s killing my soul to be rejected constantly. —Bummed About Dating You’ve been “back on the dating market” for one year, BAD. Twelve measly months! And in that time, you’ve dated/fucked a handful of men and nothing panned out. That sounds pretty normal. If you expected to be back

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in a committed relationship within weeks, BAD, then your unrealistic expectations are the source of your grief, not your thoroughly typical dating/mating/fading experiences.

There are worse things than being single for a year or two in your 20s. Get out there and meet men, pursue those non-men interests, and throw yourself into your work. Being single is not an aggressive cancer—there’s no immediate need for a cure—and panicking about being single isn’t the secret to romantic success. (And being single means being miserable only if you convince yourself that single = miserable.)

So here’s what you can do: Chill the fuck out; listen to your friends, your ex, and your advice columnist; and stop melting down about what sounds like a thoroughly normal love life, BAD, not an unfolding catastrophe.

—Dan This is NGAA, the guy you advised to make a gay friend and listen to some musicals with him.

I didn’t find a gay friend, but I did buy recordings of the shows you suggested and I’ve been listening to the songs you recommended. I don’t know them by heart yet, so I have more listening to do. But Mr. Stephen Sondheim’s message seems to be that I need to quietly move on.

Thanks for your answer, Dan. It really helped.

—No Good At Acronyms Thank you for writing back, NGAA, and for listening to the shows I recommended: Company, Follies, and A Little Night Music. My advice for you made a lot of my other readers angry— really angry. They accused me of blowing you off and not answering your question and failing at this whole advice column thing. But I didn’t blow you off. I directed you, as I’ve directed many other readers, to the expert I thought could help you. In your case, NGAA, that per—Dan son was Mr. Stephen Sondheim.

Send your Savage Love questions to mail@savagelove.net.

For as long as I can remember, I’ve been schooled on the importance of eating a substantial breakfast. But millions of people routinely skip breakfast and it doesn’t seem to hurt them. In fact, we’re now hearing that periods of fasting are beneficial. So why is breakfast supposed to be such a great thing?

—Rob Lewis Funny you should mention this just now, Rob. We’re fast approaching the culmination of a five-year cycle wherein the Departments of Agriculture and Health and Human Services draw on the current scientific literature and come up with recommendations about how people should be eating. Last time around, in 2010, the Dietary Guidelines for Americans suggested that skipping breakfast could lead to obesity, leaning on evidence like a 2007 study in which men who ate a morning meal were found less likely to gain weight. (If you’re thinking there’s a lot more to good health than skinniness: don’t worry, we’ll get there.) “Eat a nutrient-dense breakfast,” goes this terse recommendation, noting that breakfast-skipping has been “associated with” weight gain.

Hang on, you say—“associated with”?

That’s even slipperier than “correlated with,” right? Buddy, you’re not alone. A 2013 paper on the “proposed effect of breakfast on obesity,” or PEBO, undertook a meta-analysis of the available research. The paper’s title is “Belief Beyond the Evidence,” if that gives you any idea of where and how strongly its authors stand on the subject; they write, “The observational literature on the PEBO has gratuitously established the association, but not the causal relation, between skipping breakfast and obesity.”

They also spend a little time tracking the PEBO on its journey from the academy to the popular consciousness, finding it parroted everywhere from respected sources like the Mayo Clinic to, um, less-respected sources like Dr. Oz. Their objections are several, but revolve (as suggested in the above quote) around the observational nature of the work they analyze—observational studies being, as their name indicates, far less rigorous than those based on that scientific gold standard, the randomized controlled trial.

Helpfully, a couple teams of researchers have pitched in with RCTs over the last several years.

One such study, conducted at a New York hospital, divided obese patients into three groups; over four weeks, one got high-fiber oatmeal for breakfast, one got no-fiber Frosted Flakes, and a control cohort skipped breakfast altogether.

Turned out that the no-breakfast crew lost a little weight compared to the other two. A study published in 2014 in the American Journal of Clinical Nutrition arrived at a similar conclusion.

(How this will affect the 2015 Dietary Guidelines is impossible to know, but the advisorycommittee report that comes out ahead of the guidelines, which was published in February, keeps mum on the association between break-

Slug Signorino

THESTRAIGHTDOPE fast-skipping and obesity. “I just don’t think it surfaced as a priority question,” the committee chair told the Washington Post. The report notes only that breakfast tends to have a “higher overall dietary quality” compared with other meals because of the greater nutrient density of breakfast foods. Presumably they’re not eating Frosted Flakes.)

Those New York researchers did find higher cholesterol levels in the breakfast-skippers, which suggests to me that “Does it or doesn’t it make you fat?” is perhaps not the apposite question here, though in recent years it’s one that’s preoccupied nutritionists and, as those federal guidelines indicate, policymakers. There’s plenty of other health benefits breakfast has to recommend to it: regular consumption of the meal has been linked to lower risks of heart disease and type 2 diabetes, for instance.

Of course, in my tender youth, it wasn’t like my mother was telling me to eat a good breakfast so I’d have better cholesterol in middle age. Rather, kids get some hazy bromide about “feeding your brain.” So what about that? Well, a 2013 lit review in Frontiers in Human Neuroscience found that the available information “may indicate that children who eat breakfast are more able to concentrate, pay attention and are more alert at school.” On the other hand, it also noted that much of the research (again) lacked “scientific rigor”: beyond the subjective nature of evaluating kids’ classroom behavior, you’ve got major confounding factors like socioeconomic status, which tends to correlate independently with both academic performance and breakfast-eating.

But what if, as you suggest, we rebrand breakfast-skipping as fasting, in accordance with new diet trends? Eh—the jury’s still out. The case has been made that skipping breakfast—i.e., de facto fasting, assuming you haven’t eaten all night—increases the stress on your body such that it can result in insulin sensitivity, then diabetes, then high blood pressure, etc. The case has also been made (via work with mice, at least) that skipping a meal increases stress on the body such that cells build important defenses, and the skippers end up leaner and healthier. Maybe by 2020 the feds will have something to offer this discussion; maybe by 2025 it’ll even be right.

—Cecil Adams Have something you need to get straight? Take it up with Cecil at straightdope.com.

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From left: Ben Epstein, Nick Popovici, and David Combs

14 NOVEMBER 20, 2015 washingtoncitypaper.com

By Matt Cohen / Photographs by Darrow Montgomery

For the past 15 years, The Max Levine enseMbLe has been shaping D.C.’s DIY punk scene.

It didn’t seem like too complicated of a setup: a simple, over-the-shoulder shot of Priests’ Katie Alice Greer—dressed in full James Bond regalia—running blindly into Ilsa bass player Sharad Satsangi’s villain character, knocking her to the ground. But David Combs and Ben Epstein are having a back-and-forth over how the shot should be framed. Combs wants it one way, while Epstein has something different in mind. It doesn’t take long for them to compromise; they’ll film it both ways and see what works best while editing.

It’s a balmy April morning and Combs and Epstein have assembled a squad of friends to help them make a new music video for their band, The Max Levine Ensemble. For anyone else, the minor squabble could’ve easily escalated into a petty argument, ending the shoot for the day, but after nearly two decades of friendship—most of which has revolved around their long-running pop-punk band— Combs and Epstein know each other about as well as any two people could. They know to hear each other out, to try each other’s ideas, because each knows from experience that the other might have a better idea.

This is the first in a trilogy of music videos they’re releasing to promote Backlash, Baby, the group’s first full-length album in nearly a decade. They’re releasing them in reverse chronological order because... well, there is no good reason. It’s just one of the band’s weird quirks, like its members’ obsession with Monopoly Deal, kickball, and a terrible energy drink called Rumba that isn’t even produced anymore. In many ways, this band is ridiculous: It’s a high school punk band which— its members now in their early 30s—never stopped being a high school punk band. But dig a little deeper and the Max Levine ethos becomes clear: Have a good time. Make sure everyone around you is having a good time.

And then, when the good time is over, let’s stop and think about what’s going on in the world around us. Question authority and convention, but make sure you’re doing it in a way that’s constructive.

Above all: Think for yourself, be yourself, and never let anyone make you feel bad about that.

After 15 years, five full-lengths, three EPs, two split 7-inches, two compilation records, 20 music videos, and 570 shows across the U.S. and U.K., the group has prevailed with an ethos that has helped shape what D.C.’s DIY punk scene is today.

But none of its members would ever admit to that. In their eyes, they’re just doing the thing they’ve been doing since high school: Hanging out, playing music, making silly videos. It’s just that everyone has since joined their party.

It’s hard not to feel like we’re all back in high school when The Max Levine Ensemble meets up for band practice on a recent Wednesday afternoon. Combs, Epstein, and drummer Nick Popovici are unloading their gear into a house deep in the Potomac suburbs just as the elementary school down the street lets out.

In the last 15 years, they’ve practiced in dozens of weird places: from their various group houses, to DIY spaces, to friends’ houses, to their own parents’ houses, to— perhaps the weirdest, given that they’re all in their early 30s—the houses of friends’ parents in the suburbs, where they are today.

It’s fitting, really. After all, it’s a band born out of the basements of friends’ parents’ houses.

Their friend Dan greets them at the garage.

His parents, who have let the band practice there on occasion for the past several years, are at work. The Max Levine Ensemble’s got the whole afternoon to get ready for its record release tour. It’s the first time the band’s members have gotten together to practice in several weeks and the only chance they’ll have to do so before they leave for tour.

“What’s our objective for this practice?”

Epstein says. “Let’s try and get ready for the release show and tour,” Combs responds in a let’s-get-down-to-business manner. “Speak for yourself, I’m already ready,” Popovici jokes. “As a unit, Nick,” Combs fires back.

“We need to be good as a unit. If I play bad, then you play bad.”

For the next three and a half hours, The Max Levine Ensemble charges through the songs on Backlash, Baby—as well as some older fan favorites—polishing the ones it will most likely play on tour. The tour is short, just a five-day trip along the East Coast, but after more than a decade, touring isn’t as easy as it was when Combs, Epstein, and Popovici were younger. Plus, there’s a lot of hype riding on their new record. NPR Music did a coveted “First Listen” of the album last week, potentially introducing the band to a legion of listeners not plugged into the world of DIY punk.

With a nonchalant focus that appears to shift between disinterest and intensity, Popovici, 30, pounds on his kit with speed and finesse. His shaggy black hair slowly creeps over his face as he appears to stare off into the distance. Whether he’s practicing or playing live, he exudes the same sense of aloofness, as if he’d rather be doing anything else. It’s all a façade, though: He loves playing in this band.

Epstein (or Bepstein as he’s affectionately known to friends), 31, bounces up and down—his thick, curly black hair ricocheting back and forth—as he diligently plucks away on the bass, every so often looking back with his wide, bearded grin. He’s by far the band’s most animated member, with an ultra-positive outlook that was endearingly captured in a 2011 documentary about his attempts to make the most of a long summer and write a song a day.

Meanwhile, Combs strums and works his fingers up and down the neck of his guitar—he’s a much better guitarist than he lets on. He’s 32 but looks 22, and his distinctively high-pitched tenor only adds to his youthful demeanor.

You can barely hear him, though—no one brought a PA. It’s a DIY band after all, so such things aren’t a necessity, and its mem-

washingtoncitypaper.com NOVEMBER 20, 2015 15

bers make do with what they have. That’s how they’ve always done it.

The first thing you need to know about The Max Levine Ensemble is that no one in the band is named Max Levine.

The band’s origin story goes something like this: As ska-loving high school sophomores at Charles E. Smith Jewish Day School in Rockville, Combs and friends Alex Mazer, Adam Soffrin, and Ari “Rejy” Jacobovits started a band to just play covers. At some point, a punk-obsessed junior named Max Levine took notice of the group and befriended Combs.

“Max Levine was like ‘Oh, I’m into punk rock and I notice that these kids a year younger than me are into it. I’m going to show them the good stuff,’” Combs says. “He made me a whole CD wallet of burned CDs, with Minor Threat, Fugazi, Propagandhi, The Clash— some classic stuff that leaned a little more political.” He would encourage Combs and friends to cover more punk songs, but they were in a ska band—punk wasn’t really their style.

In the summer of 2000, Combs—who had just been playing guitar in his ska band—decided he wanted to know what it was like to be the singer in a band. He figured it’d just be another cover band that hangs around at one of his friends’ parents’ house and covers Green Day songs (“It’s just what we did for fun in high school,” Epstein recalls), but also “cover the songs that Max wants to hear.”

So he called up Epstein and asked him if he wanted to start a band. “‘You want to be in a band called The Max Levine Ensemble?’”

Combs recalls asking Epstein, “And he was like ‘Yeah.’ And I was like ‘Cool. Who else should be in it?’”

Their only other friends who played music were Combs’ other bandmates, so it was only natural that Mazer, Soffrin, and Jacobovits would also be in it.

They played their first show in December of 2000 at their high school’s “JDStival”—a Battle of the Bands-type thing, covering Green Day, Propagandhi, and whatever other songs Levine wanted them to play. Shortly after, they stopped being a cover band and “started writing their songs without really making a conscious decision,” Combs says.

In 2001, The Max Levine Ensemble recorded and released its first album, a collection of 13 blisteringly bouncy pop-punk tunes titled Songs That Make You Wanna Jump Up, Run Outside, Grab a Donut From a Cop and Yell Chach Rules!!! With songs like “Pizza Guy” and “Curly Brown Hair Love Affair,” it’s an album made by goofy high school punk kids almost exclusively for goofy high school punk kids (luckily, Montgomery County was teeming with them in the early ’00s).

16 NOVEMBER 20, 2015 washingtoncitypaper.com

Not long after high school, Soffrin left the band, leaving one of their friends, Mat Lewis, to take over drums. Somewhere in 2003, Mazer and Jacobovits faded out of the picture, just as Lewis’ commitment to the group was waning.

At this point, Lewis was splitting drum duties with Popovici, who also drummed in The Bowlcuts, a Ramones-worshipping poppunk outfit that played often with The Max Levine Ensemble in its early years, including the band’s first big (two and a half weeks) tour in early 2003. By the end of 2004, Lewis had left and the lineup of Combs, Epstein, and Popovici was solidified.

Over the years, the band has become known for abrasively socio-political lyrics— calling out everything from racism, sexism, and homophobia to police brutality and capitalism—as much as it has for its demeanor. That’s been there since the beginning, a symptom of early music influences from outspoken DIY punk bands like Propagandhi, The Devil is Electric, and Operation Chris Clavin. Combs moved to Bloomington, Ind., toward the end of 2003 to be a part of the growing anarcho-punk scene. There, he became deeply involved in the music and activism centered around influential folk-punk label Plan-It-X Records (who were early champions of bands like Against Me! and Andrew Jackson Jihad). That interest carried over into The Max Levine Ensemble’s music, and the band’s songs took on a more overtly political nature.

One particular song, “Fuck You I’m Not PC??,” is perhaps most emblematic of the band it would eventually become. Clocking in at barely a minute, it’s a prime example of a song you might hear from a group of teens beginning to question convention and society.

In it, Combs takes a step back and looks at the language and jokes his peers use in a seemingly innocent fashion and says “You know what? That’s not cool.”

I don’t think it’s OK to say that something bad is gay/ To imply there’s something wrong with that sexuality/ And I don’t think it’s funny when you joke about race or sex or money/ So determined to offend, and you defend it when you say/ “Fuck you, I’m not PC”/ Well is that all that you can see?

For Bobbie Dougherty, now a librarian at the D.C. Public Library and one of the cofounders of the D.C. Punk Archive, it was just the kind musical message she needed to hear from a band of her peers at that age.

“It’s so simple, so high school, but that song spoke to me so strongly,” Dougherty, 30, recalls. “And their music still says that. It just says that in a more refined, intelligent way.”

In many ways, The Max Levine Ensemble is the same band it’s been since “Fuck You

I’m Not PC??” That’s not a slight against the group: Combs has evolved into a vivid lyricist who can turn a phrase (“Kava kava chameleon/ Boswellia geranium/ They call her the setting sun/ But she’s my valerian” he sings on “My Valerian”) just as well as he can write a sobering rallying cry for the disenfranchised (“If we’re the core, the uninformed/ We are the ones whose votes are counted/ We still do nothing about it” he shouts with conviction on “Fall of the Constellations”). Its three members manage to write catchy, often anthemic music that gives pop-punk a new sense of urgency—something rarely achieved since the genre’s mid-’90s heyday. It’s just that they’re more experienced with an expanded world view and, well, they’re better at playing music than they were as teenagers.

Despite its local roots, The Max Levine Ensemble never quite fit into the D.C. scene.

It still doesn’t, really, which makes its longevity all the more curious. Just look at what came before it: Fugazi and the Dischord sound propagated dozens of angular post-hardcore bands whose music was as self-serious as the scene it spawned (“Thanks to Fugazi, D.C.’s rock scene is a steady diet of boring,” argued Michael Little in a now-infamous 2003 City Paper story).

What place does a snotty punk band with song titles like “Poop Farm” and “Aren’t All Songs Political? Aren’t All Songs Vaguely Self Referential?” have in all that?

“They’re very D.C.,” Dougherty contends. “They’re part of a lineage that came before them.” It’s not obvious in the style of the band’s music (“We’ve always kind of been the only pop-punk band in the area,” Popovici says), but it’s very much on display in Combs’ lyrics, and in the way the band conducts itself: primarily playing house shows and touring the national DIY circuit, ensuring that its shows are accessible to anyone and everyone who wants to see them, and giving Combs time in between songs to explain their social message.

And those messages resonate with kids.

Over the course of The Max Levine Ensemble’s tenure, its members have managed to win over legions of dedicated teenage fans.

It’s a total Matthew McConaughey in Dazed and Confused paradox: They get older, their fans stay the same age.

“David is this person who is very important to a lot of significantly younger people, and people look to him for political beliefs,” says Shira Pilarski, 30, who plays in the band Maneuvers and has been a fan and friend of the band since 2001.

Perhaps it’s because The Max Levine Ensemble retains, in some ways, the same ethic that its members had as teenagers that it’s still

so resonant with punk kids across the globe (scan its Facebook page and you’ll see recent love notes from fans as far as Indonesia). It’s deeper than that, though: It goes back to what Dougherty said about the band being “part of a lineage that came before them.”

Erica Freas, whose label, Rumbletowne Records, is releasing Backlash, Baby as a corelease with Philadelphia’s Lame-O Records, also sees the band as a continuation of the D.C. punk tradition. “The way I see D.C. is that it has the old reputation from the ’80s and ’90s,” says Freas, 33, who plays in the Olympia, Wash., punk band RVIVR. “I see people being more and more connected in each other’s projects in a more involved way—like a longstanding friendship.”

Like their punk forebearers before them, The Max Levine Ensemble’s members are not in it for the money. In the 15 years they’ve been in the band they’ve never paid themselves, Combs says. “All the money we make goes to a band fund toward van maintenance, recording, props for music videos, stuff like that.”

But unlike those forebearers, they know not to take themselves too seriously.

“Fugazi have this really austere, severe image, whereas The Max Levine Ensemble play around with their own image a lot,” says Larry Livermore, the co-founder of Lookout Records, the influential Bay Area punk label responsible for putting out early Green Day and Operation Ivy albums. Livermore, 68, is a longtime fan of the band and was responsible for what’s perhaps its biggest brush with controversy, when Ben Weasel—former frontman of the influential Chicago poppunk band Screeching Weasel—publicly ridiculed the group on his radio show.

In 2008, Weasel—a longtime friend of Livermore’s—asked him what new bands he should be paying attention to. Livermore told him he had to check out The Max Levine Ensemble (“If they were around in the mid-’90s, I would’ve signed them,” Livermore says).

Weeks later, Weasel played the group on his radio show and called it “the worst band in the world,” saying that “if that band was a horse, I’d shoot it.”

Combs, Epstein, and Popovici took the massive insult in stride, firing back with a deep level of trolling: They released a split 7-inch “with” Ben Weasel. The A-side featured original songs including “Ben Weasel Thinks We Suck,” while the B-Side comprised sound bites from Weasel’s radio show condemning the band.

While The Max Levine Ensemble may have always been the odd band out musically— when Combs moved back to D.C., the band would mostly play locally with hardcore and screamo bands at now-defunct house venues

like Death Star (where Combs lived for a period) and Girl Cave—it’s nonetheless adored and celebrated throughout the scene.

“The Max Levine Ensemble was one of the reasons I got into the local music scene,” says Jon Weiss, who co-owns the local indie label Babe City Records and plays in the bands The Sea Life, Witch Coast, and Den-Mate. Weiss, 24, was just 16 when he first saw Combs play as Spoonboy (Combs’ longtime solo project that he recently retired) at a pond in a suburban neighborhood in North Potomac.

“Spoonboy played and he kind of blew everything out of the water,” Weiss says.

In August, Weiss invited The Max Levine Ensemble to play on his label’s one-year anniversary show at the 9:30 Club—a venue that most D.C. bands dream about playing. “In my mind The Max Levine Ensemble have always been on this pedestal in the local music scene,” he says. “I kind of thought it was ridiculous a band that’s so influential has never played one of the most influential venues in D.C.” Many musicians who tour from afar to play in D.C. share that sentiment. Combs has been steadily booking shows since high school, and between his booking efforts and Max Levine tours, the band has a number of music friends scattered across the globe.

And friendship is the key to understanding The Max Levine Ensemble. Its members have been friends for very a long time, which has kept the band going after all these years, although it wasn’t always easy to maintain.

In 2008, the band released OK, Smartypants on Plan-It-X, the group’s first full-length record since moving out of its “high school phase.” Shortly after that release, Combs was convinced the band was done. “I was like ‘I just think we’ve done what we were meant to do [as a band] and made this album that expresses a lot of things that we meant to express and we’re not getting along great.’”

Epstein, who works as a videographer for the Baltimore Orioles, was getting more serious with his job, as was Popovici, who makes a living as an artist. All the while, Combs was getting more and more wrapped up with creating music as Spoonboy. With one last tour booked to promote OK, Smartypants, it seemed as good a time as any to call it quits.

Combs brought it up with Epstein, who didn’t want to end the band, but understood where Combs was coming from. “And then I brought it up to Nick and we weren’t communicating well at the time,” Combs says.

“I was like ‘Hey, after the tour, maybe we should plan a last show,’ and he was like ‘No.’ So I guess I kind of got outvoted to end the band,” he jokes.

What they did do was take a break to focus on their own lives and then, when it felt right, started playing again. That’s been the key to their longevity: Knowing when they need to slow down and focus on themselves, and when they’re excited to make music together as The Max Levine Ensemble.

Once they got out of their period of dormancy, they started writing the songs that would become Backlash, Baby in as early as 2011. In November of 2013, the band took a week-long “staycation” at an empty warehouse in Maryland to finish writing and demoing the record. Combs, Epstein, and Popovici emerged with more than enough songs for the record and, over the next two years, recorded and mixed them when they found the time.

Though Epstein sometimes writes Max Levine songs, Combs is the band’s primary songwriter, and one whose powerful messages are pulled directly from his own life experiences. On Backlash, Baby, a number of the songs are based on the time he spent organizing protests at the 2008 Republican National Convention in St. Paul, Minn., “experiencing really extreme police repression for doing Freedom of Speech activities.”

But it’s Epstein’s songs on Backlash, Baby—like “Going Home Parts I and II,” the sweeping two-part anthemic closer—that capture both the spirit and dichotomy of the music the trio makes together. Whereas Combs uses music to both ponder and interrogate politics and identity, Epstein’s songs are more rooted in the power of friendship and leaning on the people you love to pull you out of dark times. “Things will get better once we leave the winter far behind,” the band and a chorus of friends sing with conviction in the last seconds of the album.

And after 15 years, The Max Levine Ensemble knows that its winter is far behind.

You need not look further than its crazy music videos to see it, whether one of its own or a video Combs and Epstein made for another band, like New York’s Worriers, West Chester, Penn.’s Spraynard, or RVIVR. There’s a common theme in these videos: There’s a party, it’s the best one you’ve ever seen, and everyone they’ve ever met is invited. It’s this kind of inclusive positivity that’s kept its members going all these years, and why they’re beloved by so many.

They might have slowed down as they’ve gotten older, but their friendship has never been stronger.

“We’re kind of like brothers or something,” Combs says. “We love each other and sometimes we hate each other, but we’re never not going to be close to each other and that’s certainly something that’s grown out CP doing this project for so long.”

washingtoncitypaper.com NOVEMBER 20, 2015 17

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maximum rock ’n’ roll Backlash, Baby The Max Levine Ensemble Lame-O/Rumbletowne Records; 2015 Pop-punk trio The Max Levine Ensemble hasn’t had a full-length record in nearly a decade, and to gear up for the release of Backlash, Baby the group has rolled out a threepart music video series that’s an exercise in fantasy. In the clip for the triumphant “Sun’s Early Rays” the band is tied up and threatened to burn in a ring of fire as a Bond-like hero played by Katie Alice Greer makes off with a doomsday orb while a maniacal super-villain played by Ilsa bassist Sharad Satsang and his cronies try to track her down.

The glowing orb is placed in the cranium of Max Levine frontman David Combs in the video for the sweet “My Valerian” before his lurching venture through the city bleeds into a psychedelic daydream.

The Max Levine Ensemble doesn’t have a Hollywood budget or even an indie film’s microbudget—it’s a DIY band after all.

The videos’ shoestring visual effects are a little crude, but they’re watchable because of the same affection and sense of fun the group applied to the new Backlash, Baby.

The album’s pop-punk glee is as much a necessity as its frazzled energy and enginerevving guitars.

Combs certainly needed a shot of merriment since he recently retired his long-running solo project, Spoonboy. A handful of days after Combs played one final Spoonboy show at the Black Cat in June, Impose published an interview with him that dove into the effects of not only playing intimate, vulnerable material but sharing experiences of

trauma with fans around the country. As he told the magazine’s Liz Pelly, these conversations were powerful and important, but it takes a toll “when you find yourself being a receptacle for other people’s trauma… you do get filled up, and you get burnt out.”

Combs sounds freed from the weight of those experiences, but not entirely unburdened from the world. While amusement is key to Backlash, Baby, so is perspective, and Combs finds a way to fit anxious lamentations into melodies that bathe in sunlight and vocal harmonies that beg to be shouted to the sky. On “Born at the Wrong Time,” he rattles off the hard-to-pin-down feelings of unease and modern dislocation, and throughout the track he repeats the line “something’s tugging at the bottom of my soul.” What feels ominous at first begins to feel almost celebratory each time Combs circles back to the line—it creates a sense of collectivity, and he knows how powerful a shared experience can be.

The Max Levine Ensemble is something Combs has shared with his friends since high school, regardless of whether or not they were ever actually involved in the band.

Combs formed the group specifically to cover punk songs his buddy Max Levine requested. That was 15 years ago, when Combs was still in high school at suburban Charles E. Smith Jewish Day School. The band has managed to stick together through the years and lineup changes, and the spritely, sometimes nervy tracks on Backlash, Baby suggest the members are still as young and hungry as they were before any of them hit the road for a weekend tour. While the trio introduced its newest release with a series of videos exploring the cinematic imaginations of its members, The Max Levine Ensemble continues to live out one real-world dream that remains inescapable for so many others: creating art in a punk band. —Leor Galil

Fliers p. 16, clockwise from left: courtesy The Max Levine Ensemble; Nick Popovici; Althea Baird; David Combs Fliers p. 17: Combs; Alex Fine; Combs/Baird; Combs Fliers p. 19: Mike O’Brien; Michael Cantor; Izzy Jarvis washingtoncitypaper.com NOVEMBER 20, 2015 19

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YOUNG & HUNGRY

Scaling Up

Seafood wholesaler wants to change the way D.C. eats fish In the near future, buying fish in D.C. will look something like this: You go online and peruse a handful of specials or more than 1,000 types of seafood. The site displays information about each creature’s origins, nutritional value, Monterey Bay rating, and in some cases, recipes and videos of local chefs demonstrating how to prepare it.

You arrive at the market, and chat with your fishmonger, who actually knows what he’s talking about because he was a fisherman. Or maybe you don’t really want to hear about the benefits of eating the locally invasive blue catfish or snakehead on display. So you pull up, someone brings your seafood order to your car, and you pay curbside on a hand-held credit card machine.

This is the vision for Ivy City Smokehouse’s new “wholesale to the public” market, which quietly opened last Friday at 1356 Okie St. NE. It’s the first time wholesaler ProFish—a major supplier to restaurants and retailers in the area—is selling its seafood directly to individuals. Soon, the market will include a restaurant called Seafood Tavern at Ivy City Smokehouse. The company wants to eventually have three or four markets around the District.

ProFish Director of Sustainability John Rorapaugh says the idea is to give consumers the same buying power as chefs. “A chef can call me and say, ‘Hey I want 20 pounds of opah from Hawaii on Friday.’ That’s what it gives to the public now,” he says.

For a city so close to major waterways, D.C. has a surprisingly small number of seafood markets. A lot of that has to do with the business’ thin margins, constant fluctuations in price and availability, and high perishability. There’s the Maine Avenue Fish Market, where you can find live Maryland blue crabs in season, but also a lot of seafood of hazier provenance. More boutique-type mar-

Photographs by Darrow Montgomery

By Jessica Sidman

Fishmonger Peter Martone wants to promote lesser-known local fish. kets like BlackSalt and District Fishwife in Union Market carry plenty of local, sustainable product, but it can be pricey.

The Ivy City Smokehouse market hopes to beat grocery store prices on seafood by as much as 15 to 20 percent because they have the buying power of a wholesaler but no middle man.

“All these other people that are selling fish, they have to work on a bigger margin. I don’t have to work on that margin. I’m across the

street from an endless supply of seafood,” says fishmonger Peter Martone, who most recently worked at District Fishwife.

The market at Ivy City Smokehouse aims to offer one of the biggest selections of seafood in D.C. About 80 species will be displayed every day, but ProFish carries around 1,200 products, with up to 500 available inhouse at any given moment. By ordering in advance, a customer can have access to all of it. Or, if all that is too overwhelming, pa-

trons can choose from five highlighted, dinner-ready specials, like four 4-ounce swordfish steaks or two pounds of shrimp.

The mobile website, ivycitysmokehouse. com, is set to launch next week. Initially, it will just contain basic ordering info, but soon will include chef videos and recipes.

Because of the relationship with ProFish, Martone can walk over to the wholesaler and personally cherry-pick the best fish every day.

Whatever isn’t sold will go back into inventory. Martone was previously a longtime fisherman and seafood buyer.

“Your traditional market or grocery store is going to order swordfish. They don’t know if that was a long line Asian boat or if that was a local North Carolina hook and line boat,” Rorapaugh says. “[Martone] is going to say, ‘Oh these are hook and line’ because he knows the shape of the fish.”

Displayed on the wall is a tattered lifebuoy with the name Hannah Boden. Martone says he once worked on that boat as well as on its sister boat, the Andrea Gail, which is depicted in the book and film The Perfect Storm.

Martone hopes to introduce consumers to lesser-known and less-pricey local fish like porgy or croaker that you don’t typically find at your average grocery store. The market will also carry invasive species like blue catfish, a relatively inexpensive fish that has already become a big success story. ProFish is on track to sell just under a million pounds this year. Five years ago, Rorapaugh says, it was basically zero.

The market is also looking into having a Community Supported Fisheries program—a CSA for fish rather than produce. “Anything that I can do to help fishermen, I’m going to do it,” Rorapaugh says. “Those guys work their asses off.”

The market itself isn’t that big—a couple of refrigerated cases, whole fish and shellfish displayed on ice, a shelf with some spice mixes, and tanks of live lobsters. But the operation behind it is vast—just peer through the market’s window into a prep room and you’ll see hundreds of filets of salmon stacked up and ready to be smoked, for example.

As Ivy City Smokehouse’s name suggests, the market is attached to ProFish’s newly expanded smokery, which can smoke up to 10,000 pounds of fish a day and nine million pounds in a year.

The Seafood Tavern at Ivy City Smokehouse is slated to open early next year in the second level of the warehouse. The eatery will have about 70 seats inside, as well as a

washingtoncitypaper.com NOVEMBER 20, 2015 23

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150-person outdoor patio and an even larger event space. A greenhouse will go on the roof. The open kitchen will be outfitted like a cooking show set with cameras overlooking the stove and TV screens. Chefs will come in to film videos demonstrating fish preparation for the market’s website. The setup will also allow for cooking classes. Rorapaugh says they plan to have public sessions on how to shuck oysters or filet a fish.

The restaurant doesn’t have a chef yet, but, obviously, it will be heavy on seafood and smoked foods. Like Martone, the chef will have the advantage of being able to go through the wholesaler’s inventory and choosing the very freshest fish. Rorapaugh also envisions a seafood “charcuterie” board with various cured and smoked products and possibly a collaboration with one of the neighborhood distilleries to smoke a barrel of liquor.

The operation will no doubt benefit from the neighborhood’s revitalization. But Ivy City isn’t quite there yet. Rorapaugh cancelled our original interview last week after a homeless man was murdered in front of their facility, and the streets had been blocked off.

But beyond crime, will people venture to a neighborhood without Metro accessibility on a Tuesday night?

“The simple quick answer is Uber’s changed everything,” Rorapaugh says. “It has

made local much larger now.” The restaurant and retail operations are also hoping to draw from the heavy commuter traffic up and down New York Avenue every day.

ProFish president Greg Casten says Ivy City Smokehouse is not a reaction to the development boom in Ivy City, which will soon be home to new apartments and trendy eateries. Rather, he says it’s the evolution of a business that’s been in the neighborhood for nearly 30 years.

When Casten bought the Ivy City Smokehouse building in 2012, he initially planned to use it for additional freezer space for ProFish.

Then, he and partner Ron Goodman, who used to run a smoked fish company and has a chef background, decided to convert it to a smokery as well. The idea for a market and restaurant quickly followed. Casten owned restaurants before he got in the wholesale business and continues to operate Tony and Joe’s Seafood Place and Nick’s Riverside Grill in Georgetown.

“A lot of the message we’ve built over the years is on sustainability and local,” Rorapaugh says. “And the next natural step is to the public, because I think that’s where we CP can really make a difference.”

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

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what we ate last week:

Fried chicken “coq au vin,” $17, Convivial. Satisfaction level: 4 out of 5 what we’ll eat next week:

Monkfish osso buco, $28, Pennsylvania 6. Excitement level: 3 out of 5

Grazer

Restaurant Additions Keeping track of the ongoing rollout of restaurant after restaurant isn’t getting easier. For those who don’t want the play-by-play of the chef’s history or the decor inspiration, here’s the CliffsNotes guide of the latest openings.

—Jessica Sidman

brew in town

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Non-Americanized Chinese Panda Express-like name forks and spoons a nine-course tasting menu ornamental umbrellas Secret Chopsticks (1850 Fort Myer Drive, Arlington) Ray Lopez

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Fair Winds Siren’s Lure

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Where in Town: Glen’s Garden Market, 2001 S St. NW

Fake fireplace raw bar private dining downtown office crowd power spot aspirations a master sommelier Pennsylvania 6 (1350 I St. NW)

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Price: $4/10 oz.

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Green for Less Green Glen’s Garden Market in north Dupont Circle is well known for its commitment to sourcing nearly all its artisanal products and prepared food ingredients from within the Chesapeake Bay watershed, a 64,000 square–mile area that cuts across six midAtlantic states (and D.C.). But lesser known is the fact that the eco-friendly store is also one of the better craft beer spots in town, with a modest but well-curated bottle shop and a bar featuring eight taps and growler fills. The best part, though, aside from another location opening in Shaw next month: full pours of all drafts are always only $4, a price lower than most happy hour specials.

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Mintwood Place soundproofing entrees “medium plates” escargots “in a blanket” fancy ice liquid nitrogenchilled cocktail glasses Convivial (801 O St. NW)

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Salad pasta pasta pasta cannolis any other food edison lightbulbs sidewalk kitchen view = Red, White and Basil (1781 Florida Ave. NW)

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Plate lunches spam musubi poke surfer dudes the food truck bring your dog Metro vicinity Hula Girl Bar & Grill (4044 Campbell Ave., Arlington)

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Pork buns $17 ramen hype long lines proximity to Gucci cereal milk soft-serve more hype Momofuku CCDC (1090 I St. NW)

THE’WICHINGHOUR The Sandwich: Fried Catfish Where: Small Fry, 3212 Georgia Ave. NW Price: $11, including a choice of one side Bread: White sandwich roll Stuffings: Fried catfish, lettuce, tomato, red onion, house tartar sauce

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Thickness: 3.5 inches Pros: This sandwich shop from the owner of Sundevich lives up to the “fry” in its name: The catfish is crunchy on the outside but flaky and moist on the inside. A healthy spread of tangy housemade tartar sauce on both sides of the bun adds brightness.

Cons: The dense, slightly dry roll is so heavy that it overpowers the other ingredients. Not even the tomato and onion slices can cut through the breadiness. Plus, the whole thing could use a bit more salt.

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Sloppiness level (1 to 5): 4. Putting lettuce directly on top of a bun spread with tartar sauce creates a slippery structure that slides apart when you take a bite. Expect to rebuild this sandwich multiple times before you can finish eating it.

Overall score (1 to 5): 3.5. While the core part of the sandwich—the catfish— is near perfect, its accompaniments bring the quality of this sandwich down a notch.

If only it had the bold flavors of sandwiches sold at its sister shop.

—Caroline Jones

America’s Cup On a recent visit, I was pleased to pair my Olli prosciutto panini with Siren’s Lure from Fair Winds Brewing Company. The hoppy saison won founder Casey Jones and his team (including Mad Fox alum brewer Charlie Buettner) a gold medal at this year’s Great American Beer Festival. The award came just six months after the nautically themed brewery opened in Lorton, Va. in March. Quite a feat, and well-deserved: Siren’s Lure is a delicious, easy-to-drink beer. Its flavors—a blend of grapefruit rind, lemon, and sweet bread—come from the French farmhouse yeast’s interplay with Calypso and Citra hops and mix of Pale and Vienna malts. A late addition of more Citra hops and a German varietal called Hallertau Blanc gives Siren’s Lure pineapple and citrus aromas. The 7.2 percent–alcohol brew is earthy and dry, with a smooth finish and just-bitter-enough aftertaste. Sound tasty? Luckily, Fair Winds launched in D.C. in September, so kegs are easy to find.

—Tammy Tuck

washingtoncitypaper.com NOVEMBER 20, 2015 25

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Appomattox—now at the Kennedy Center—is a must-see, even if you’re not an opera fan. washingtoncitypaper.com/go/appomattox

Avenue LGBTQ

Lauren Heneghan

The 24-hour writing process isn’t even the most remarkable thing about the D.C. Queer Theatre Festival.

By Tatiana Cirisano When Samy Hayder first began auditioning for roles in D.C. three years ago, he noticed a trend: Most character descriptions were for straight, white people. Even when the occasional character deviated from this model, LGBTQ roles were usually targeted toward white, gay men.

It didn’t bode well for Hayder, a 28-year old actor who is Lebanese, Hispanic, and transgender.

Though he sometimes auditions for “male” roles, Hayder says he’s often turned down when he discloses his gender

identity, especially when the play involves nudity. And when the play does include a trans character, Hayder says he feels forced to audition.

“What tends to happen whenever they need sort of a gender-non-binary performer, they always talk to me... they’re always like, ‘oh you can do it, right?’” he says, “whether or not I’m actually a good fit for the role.”

Hayder’s experience is all too familiar for many members of the local theater community, who can struggle to find a platform to share their voice. The D.C. Queer Theatre Festival aims to change that.

When Play Time, the festival’s fourth installment, kicks off at the Anacostia Arts Center this Friday, six playwrights will each have 24 hours to write and prepare an original ten-minute play to be shown the following night. Each playwright will be teamed up randomly with a director and five actors, and will be assigned a prop and theme related to LGBTQ history to work into their story.

The festival will be “a ton of queer people and allies in one room for 24 hours,” as co-founder Matt Ripa describes it.

The idea for the festival began as a three-night show performed inside the D.C. Center for the LGBT Community’s small U Street NW office. “Along the side of the audience were fax machines and telephones and computers,” Ripa says, laughing. “At any moment in the middle of the show, the phones could ring.”

Ripa and co-founders Alan Balch and Rebecca GingrichJones, who met while attending Catholic University, had always talked about filling the void of local LGBTQ-focused theater. But it was David Mariner, the D.C. Center’s executive director, who came to the trio in 2012 with the idea to host the festival as part of the center’s programming.

Mariner felt that D.C.’s diversity wasn’t being translated onstage, a problem not only for LGBTQ members of the theater industry who weren’t being given the opportunity for roles, but also for audiences who may not identify with the straight characters on stage.

“LGBT folks want to see their lives and their stories represented in the arts,” he says. “The stories that you might see on the big screen or the stories that you might see in the mainstream arts don’t necessarily represent the diversity that is in our community.”

Ripa saw a lack of LGBTQ representation in the local art scene, too: While a few local groups promote minorities in theater, like Serenity Players and Brave Soul Collective, at the time there was no local queer theater company that focused on brand-new plays. (D.C.’s Rainbow Theatre Project, an LGBTQ-focused company, held its first season in 2013.)

Balch says prejudice in theater stems mostly from the history of the medium, which has traditionally catered to white, upper-class audiences. Minorities, he says, have since found other forms of expression in the arts that are more accessible, leaving a gap in LGBTQ representation onstage.

“As the definition of theater expands, I think it becomes more accessible to other people,” he says.

The inaugural festival at the D.C. Center’s old office sold out on one night, and was packed the other two nights. So in its next year, the festival expanded its reach even further, putting out a call for submissions from across the globe. Ripa and his co-founders received 114 submissions that year, some from as far away as Australia.

“As they started coming in, the three of us had a moment of, ‘we need some help because I’m going to go crazy reading all these plays,’” Ripa says. “It was really exciting.”

Ripa says the festival promotes work that showcases all voices and perspectives—especially plays that “no one else is going to produce.” Over the years, this has included everything from a play about intersex snails to another about a transgender resident in a retirement home. washingtoncitypaper.com NOVEMBER 20, 2015 27

CPARTS Continued

To keep up with the diversity of the material, Ripa changes the format of the festival year-by-year. While the 2013 show included six ten-minute plays, last year’s event was a one-night reading of a full-length play: Bob Bartlett’s Kuchu Uganda, about the bill that made homosexuality punishable by death in the East African country.

Still, advocates say the festival is just the beginning of better LGBTQ representation in D.C. theater.

Scrolling through the casting calls around D.C. he receives from online theater forums, Ripa says it’s rare to see a character description for anything but “male” or “female” roles. He adds that many directors aren’t open to casting people with non-conforming gender identities for “straight” characters.

“You don’t see many plays that say, ‘Jane Doe, transgendered female, ages 15-20,’” Ripa says. “It’s exciting when directors contact me and say, ‘I’m looking for a transgendered actress, do you know anybody?’ That’s like the greatest email I could ever receive.”

During the festival’s first year, Ripa produced a play that called for a “butch lesbian,” and insisted on finding a woman who was an actual butch lesbian to play the role. “I was like, there has to be a butch actress in D.C.,” he says. “I don’t know if she’s working that much because I don’t know how many roles [there] are for that character type. It could be very limiting.”

Another actor in this year’s festival, Reginald Richard, says that even when local playwrights include LGBTQ characters in scripts, the “go-to” is the gay white male: “sassy, high-pitched voice, very bright and colorful.” (Think Cameron Tucker in Modern Family or Kurt Hummel in Glee.)

“There’s more to us than just that.”

Richard, who is openly gay, has considered becoming a playwright as a way to help rid the theater scene of that stereotype. “I think that’s the only true way to bring more of a focus to the LGBT community,” he says.

Hayder, who met other transgender actors in the area for the first time this year, says inclusion of all gender identities needs to happen “both on and off the stage.” While it’s possible for straight playwrights to write plays with LGBTQ characters, he says it’s a missed opportunity when those characters aren’t written by people who understand the experience.

“I don’t think there’s a lot of opportunity for queer voices yet,” he says. “I think people still have a tendency to speak for us.”

When Madeline Burrows, a queer playwright and actor in this year’s festival, went on a national tour for her play MOM BABY GOD—which tackles themes like teenage female sexuality, sexual repression, and the anti-abortion-rights movement—she felt pushback from theaters who feared that queer themes would drive away audiences.

Despite opposition from some theaters, Burrows says the play always had a packed audience. “I’m always amazed that there’s such a concern about diversity onstage as if it’s going to turn people away,” she says. “I think it’s actually going to do the opposite.”

John Bavoso, a playwright in this year’s festival and selfdescribed “newbie” to the theater community, builds his plays around the “gray areas” of sexuality—those individuals who are still exploring their gender identity.

His first play, Olizza, which he self-produced for Fringe

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Festival last year, tells the story of two straight female friends who discover feelings for one another while traveling together. The more he exchanges ideas with others, the more common this in-between sexuality seems. “If you do see gay characters [in theater]… there’s not a lot of questioning in that,” Bavoso says. “So I find the sort of gray areas to be really interesting.”

To represent the many experiences of the LGBTQ community, Ripa used the word “queer” in the festival title—a decision he’s “gotten flack” for. The idea was to reclaim the word as one of power instead of one of hate, and use it as an umbrella term for all gender identities. “Any identity could kind of fall under that flag,” Ripa says.

But the decision also had a practical side: “It became like, the D.C. LGBTQIIA Theatre Festival, and I was like, I can’t do that,” he says, laughing. “You start to talk about this, you get a lot of acronyms.”

In the coming years, Ripa wants to expand the festival over multiple weekends and feature different events, like standup comedy and panel discussions. Currently, the D.C. Center sponsors the festival and pays the upfront costs of the event.

The money earned from ticket sales helps repay the cost of holding the festival, and any profit is used to help fund the center’s future programs.

Ripa hopes the festival will also reach another member of the theater community: the audience. At the heart of the festival is the idea that theater should reflect life—and without including the LGBTQ community, Ripa says, that simply can’t happen.

“I like to go see plays where I see myself, and I see my community, and I see people who look like me and sound like me and feel like me and love like me,” he says. “That’s important.” CP The D.C. Queer Theatre Festival presents Play Time Saturday at 7 p.m. and 9:30 p.m. at the Anacostia Arts Center, 1231 Good Hope Road SE. $15. anacostiaartscenter.com.

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If you see any sort of performance between Thanksgiving and New Year’s Day, it will probably have a holiday bent to it. But while in years past, your options were limited to multiple reimaginings of The Nutcracker and A Christmas Carol, this year’s offerings are more unique, ranging from a modern take on the nativity story to a Jewish musical revue to a staged version of a classic NPR essay. Better yet, you can bring the whole family to most of these shows, granting —Caroline Jones you a peaceful moment of entertainment outside the house.

The Production: It’s a Wonderful Life: A Live Radio Play, Nov. 12 to Dec. 6 at Washington Stage Guild Based On: The 1946 film of the same name What You’ll See: Stage actors pretending to be voice actors in the 1940s performing a radio version of the film, with some help from their sound effects guy.

One-Sentence Takeaway: Life has meaning, even if you need to be told so by an aging angel named Clarence.

Bring The Family? Yes. Kids love sound effects.

The Production: Holiday Memories, Nov. 25 to Dec. 20 at Theatre on the Run Based On: Truman Capote’s 1956 short story “A Christmas Memory” What You’ll See: A seven-year-old boy and his elderly best friend making dozens of holiday desserts for their notso-nearest and dearest.

One-Sentence Takeaway: Nothing spreads goodwill like sending a fruitcake to a stranger.

Bring The Family? Why not? It’s about a young boy’s love of the holidays.

The Production: Black Nativity, Nov. 25 to Jan. 3 at Anacostia Playhouse Based On: The nativity story, as adapted by Langston Hughes in 1961 What You’ll See: A frustrated young man imagining his role in the nativity story, with updated gifts.

One-Sentence Takeaway: The story of Jesus’ birth is relevant whether it takes place in Bethlehem or Harlem.

Bring The Family?

Absolutely. Hughes aimed to inspire young people with this take on the classic story.

The Production: The Santaland Diaries, Dec. 2 to Dec. 24 at Logan Fringe Arts Space

The Production: Stars of David: Story to Song, Dec. 22 to 27 at Theater J

Based On: David Sedaris’ 1992 essay

Based On: The book of the same name by Abigail Pogrebin

What You’ll See: An angsty, underemployed man dressed in velvet and railing against the Santa industrial complex.

One-Sentence Takeaway: Avoid department store Christmas displays at all costs.

Bring The Family?

Maybe not. The elves are notoriously anti-Santa.

What You’ll See: Local actors sharing the words and holiday memories of famous Jews, from Gwyneth Paltrow to Gloria Steinem.

One-Sentence Takeaway: Like “The Hanukkah Song” but serious.

Bring The Family? Your bubbe and zayde will appreciate it.

“Reserve” Standout Track: Feedback gives way to a blast of sludgy riffs coated in saccharine melodies on “Reserve,” the first track on Polyon’s recently released Blue EP. It’s easily the heaviest that the trio has gotten and represents both a literal and figurative change of pace for the band. “We still haven’t even mastered it,” says guitarist and vocalist Ryan McLaughlin, “and it’s taken us a long time to even feel comfortable playing it because it’s such a slow paced song.” That’s the point, as McLaughlin points out. Writing an album full of songs that sound the same isn’t something he strives for.

Musical Motivation: Lyrically, the song is a piece of advice from McLaughlin to himself.

“I feel like in a lot of social settings it’s really easy to compromise your core values to fit in a little bit more,” he says. “It’s really just advice to myself to always try and remember not to give up in those situations.” He’s also quick to point out that, while this might seem like a sort of punk music cliché, the older he gets the more weight he places on these values. “It really matters more now than when I was 20 years old and I could screw up all the time.”

Heavy Impatience: The slow, heavy pace of the track comes primarily from McLaughlin’s lifelong love of heavy music. However, he says, “as much as I love it and have been influenced by it, I just don’t have the patience anymore,” referring to tendency of many post-metal bands to write songs in excess of eight minutes long. “So the whole idea of this project is to condense stuff like that down to a more palatable length.” —Keith Mathias Polyon plays an EP release show Nov. 20 with Hurry, Governess, and Homosuperior at 7:30 p.m. at Songbyrd Music House & Record Cafe, 2477 18th St. NW. $10. songbyrddc.com.

washingtoncitypaper.com NOVEMBER 20, 2015 29

FilmShort SubjectS Dog Daze Heart of a Dog Directed by Laurie Anderson Conventional wisdom says filmmaking is a young person’s game. And while it’s true that most directors do their best work before they turn 50, there are always exceptions. Heart of a Dog, one of the year’s boldest films, is one of the best.

The documentary by 68-yearold first-time filmmaker Laurie Anderson is a singular and occasionally stunning work of personal art. It’s a mesmerizing melange of story elements that Heart of a Dog cohere only through the combination of Anderson’s uncompromising cinematic vision and the wisdom of her years.

Describing those elements won’t do the film justice, but let’s try anyway. Put most simply, it’s an avant-garde meditation on life and death brought on by the loss of Anderson’s rat terrier, Archie. Like many New Yorkers, Anderson has a special relationship with her dog. Some viewers will snicker at the luxuries afforded him; Archie had a permanent trainer, and as he slowly went blind in old age, the old boy was taught to play piano in order to stimulate his hearing. Raw footage of his performances reveals that, while he wasn’t a naturally gifted pianist, Archie at least knew how to work a crowd.

But their relationship transcended the stereotypes. After the consecutive deaths of her partner and her mother, Archie became Anderson’s primary companion. In an early scene, she describes a bizarre dream in which she surgically implants him in her womb so she can give birth to him, thus making the depth of structure makes it work. Once you surrentheir bond literal. The sequence is animated in der to her stream of consciousness, there’s an intentionally crude, messy style, with An- nowhere you won’t follow. derson’s confident, lilting voice inviting you to That’s not to say, however, that Heart of enter her dream world without judgment. a Dog is easy to love. There is much to apIt’s a remarkable feat. A vision as person- preciate about the film—it poses a challenge al and insular as this often inspires a split re- for the viewer in a good way—but it also reaction. Oddly, the film it recalls most closely mains a mystery to the end. You can accept is Magnolia, another bold treatise on grief, its dream logic and eclectic visual style, but it and one which received both raves and pans. rarely offers space for the viewer to actually But here the purity of Anderson’s intent relate. Anderson’s willingness to experiment doesn’t allow for such scoffing, even from with the color and clarity of the frame, for hardened cynics. Consider how she mirac- example, is often captivating, but it doesn’t ulously gets away with comparing the loss make the film any more accessible. of her dog to the tragedy on 9/11. AnderThen again, some its opacity stems from son describes the look on her dog’s face its uniqueness, and our inability to describe it when a hawk swooped down in an aborted adequately. Maybe reviewing Heart of a Dog attack—his terrifying realization that “the is like trying to describe color to a blind perenemy can come from above”—as similar son. Words don’t do it justice. You just have —Noah Gittell to the common expression of millions of to see it for yourself.

New Yorkers after the terror attacks. Comparing a personal loss to a national tragedy Heart of a Dog opens Friday at Landmark is risky business, but the dreamy, narrative Bethesda.

30 NOVEMBER 20, 2015 washingtoncitypaper.com

legitimate papers, not today’s sleazy, gotcha kind—took to their fainting couches. The Lexington Dispatch, for instance, crowed on A1: “Much Pressure to Ban Ingrid Bergman’s Films,” with the subhed, “Conduct Tends to Glorify Adultery.” Her reaction was one of disbelief, saying, “I thought [the public] should look upon an actress as an actress,” and not bother themselves with a star’s personal life. Ed Sullivan asked his audience to vote on whether they wanted her as a guest. What a difference a few decades—and the Internet—make.

Moments like this in Stig Björkman’s documentary arguably paint Bergman as cold and selfish; regarding a six-month span during which she was performing in a play and didn’t see Pia, she said, “One can’t have everything.” Bergman also didn’t live with the children she had with Rossellini (including, of course, Isabella) once she left him for husband No. 3. Yet her kids, interviewed here, don’t hold grudges, with their biggest Ingrid Bergman in Her Own Words compliment being, “She was so much fun.”

In addition to interviews, Ingrid Bergman is compiled of diary entries, read by Ex Machina star Alicia Vikander, as well as endless home movies; one montage shows Bergman holding various cameras to her face. These belie any contention that the actress was emotionally distant or cruel. Instead, Bergman comes across as strong, freespirited, restless, and true to herself, from the time she first left Sweden for Hollywood until her death in 1982.

Acting, as one quote from her diary reads, was as essential to her as breathing. During one four-month period of unemployment after she made Dr. Jekyll and Mr. Hyde, she wrote to a friend, Ingrid Bergman in Her “I think about every day that’s wasted. Only Own Words half of me is alive.”

Directed by Stig Björkman Bergman’s zest to see the world (she lived in several countries) and accept experiences If TMZ had been around in the 1940s, and changes as they come imbue the docuIngrid Bergman would have been a juicy mentary with an irresistible appeal regardless target. Neophytes may find Ingrid Berg- of how familiar you are with the star. The man in Her Own Words most compelling film does end on a note that’s a bit too worwhen it dives into the Swedish three-time shipful, with more home movies set to a treaOscar winner’s scandal: While married to cly song that seems to go on forever. But what her first husband and “one and only love,” you’re left with is warmth and possibly even Petter Lindström, with whom she had a inspiration to live as fully as Bergman did. child, Bergman began an affair with direc- Most remarkable is that she regarded hertor Roberto Rossellini while making the film self as timid: “I was the shyest [sic] creature Stromboli. Bergman didn’t hide the dalli- in the world,” a title card reads. “But I had ance, nor her subsequent pregnancy; in fact, a lion inside me that wouldn’t keep quiet.”

—Tricia Olszewski she decided to stay in Italy and marry Rossellini, leaving Lindström and their daughIngrid Bergman in Her Own Words opens ter, Pia, in the United States.

Both her fans and the American press— Friday at Landmark Bethesda.

Let Her Speak

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25th Anniversary Film with Live Orchestra

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The Choral Arts Society of Washington

November 19–22 Hartke Box Office: 202-319-4000 drama.cua.edu To request accommodations for individuals with disabilities, please call 202-319-5358.

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November 27 & 28 | Concert Hall David and Alice Rubenstein are the Presenting Underwriters of the NSO. Additional support for the 2015-2016 NSO Pops Season is provided by The Honorable Barbara H. Franklin and Mr. Wallace Barnes.

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Tickets are also available at the Box Office. Groups call (202) 416-8400.

KENNEDY-CENTER.ORG (202) 467-4600 Tickets are also available at the Box Office. Groups call (202) 416-8400. washingtoncitypaper.com NOVEMBER 20, 2015 31

TheaTerCurtain Calls huckleberry grim Unexplored Interior

By Jay O. Sanders Directed by Derek Goldman Mosaic Theater at Atlas Performing Arts Center to Nov. 29

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Why the hell is there a Mark Twain impersonator stumbling around onstage during a play about the Rwandan genocide? This is not a minor quibble. I wish it were. It’s a big problem emblematic of a play that is often tonally disconnected from its horrific subject matter, with a plot buried under a stack of metanarratives.

Gen. Romeo Dallaire, the United Nations commander who appears as a main character in Unexplored Interior, suffers from PTSD and continually hallucinates the ghost of Mark Twain. This seems odd, because Dallaire is a Francophone Canadian born in the Netherlands, and unlikely to be a huge Twain fan. Also, this seems odd because this is a play about genocide.

Mediocre dramas about terrible atrocities are pretty common on Washington stages, because D.C. is full of theatergoers with a conscience and theaters that sometimes prioritize message over medium. But if there was a serious play to root for this season, it was Unexplored Interior, the first production by Washington’s newest troupe. The Mosaic Theater Company is supposed to be the Phoenix rising from the ashes of last year’s dramatic spat that pitted Ari Roth, former artistic director of Theater J, against the leadership of the Jewish Community Center, the theater’s parent organization.

In less than a year, Roth has gotten a new theater company off the ground—complete with a 23-member board and a permanent home at the Atlas Performing Arts Center. Two venerable D.C. directors, Jennifer L. Nelson and Serge Seiden, joined Roth on staff, and a host of D.C. actors auditioned for the company’s eight-show inaugural season.

But these talented votes of confidence mean nothing if Roth continues to back scripts like Unexplored Interior, a worldpremiere play by the television character actor Jay O. Sanders. The play covers the same ground as the 2004 film Hotel Rwanda. Although Dallaire wasn’t named in the movie, the Nick Nolte character attempting to lead peacekeepers against a Hutu uprising is loosely modeled on the general.

Onstage at Mosaic, Dallaire is portrayed by Jeff Allin, who also plays Alan, an American documentary maker who travels to Africa in 1993, the year before the killings, and hires an aspiring Rwandan director named Raymond (Desmond Bing) to help him film gorillas. And that’s where things get very narratively murky.

Handout photo by Stan Barouh

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D.C.’s newest troupe makes its debut with a world premiere that’s appallingly tone-deaf about genocide.

The action is divided between flashbacks to Raymond’s 1980s youth, a central narrative of 1993 and the 1994 genocide, and flash-forward sequences set in 2003-04, when Raymond and Alan’s widow Kate (Erika Rose) travel to Rwanda together and begin contemplating making a movie about the genocide. Alan wrote the screenplay before he died of a mysterious heart ailment. And in their imaginary movie, Dallaire keeps hallucinating a Pudd’nhead Wilson–quoting Mark Twain (John Lescault), always lurking about in a Hal Holbrook–appropriate linen suit.

In a secondary narrative in the imaginary film, Raymond’s ex-girlfriend (Shannon Dorsey), who is Tutsi, becomes the mistress of a Hutu government official. Both the lovers lives are then put in peril. As cast members enact the film sequences, Bing circles around them, hand raised and fingers waving like a conductor beating time. Rose’s character, meanwhile, is used as a thankless expository device, frequently interjecting questions like, “And then what happened next? Did all the Tutsis hiding in the church get killed?”

The best acting in the show (which follows yet another narrative, about Raymond’s search to find out what happened to his beloved grandfather) comes courtesy of JaBen A. Early and Baakari Wilder. Their wildeyed depictions of Hutu militiamen are truly frightening, and for better or worse, are the most convincing characters in the play.

If Sanders had pared Unexplored Interior down to 90 minutes focusing on the government official, the mistress, and the ex-boyfriend, Mosaic might have had a pretty decent melodrama about Rwanda on its stage.

It appears no one at Mosaic made that suggestion. Let us hope that Unexplored Interior serves as a warning, and that Mosaic never again stages such a bloody mess.

—Rebecca Ritzel 1333 H St. NE. $25–$50. (202) 399-7993. atlasarts.org

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The Road Less TRaveLed “Pathmakers: Women in Art, Craft, and Design, Midcentury and Today” At the National Museum of Women in the Arts to Feb. 28 “Pathmakers: Women in Art, Craft, and Design, Midcentury and Today” seeks to spark conversations about the continued influence of women artists and designers from the U.S and Scandinavia. With an eye toward dispelling gender stereotypes, the show makes a point of including the works of female industrial and furniture designers alongside those of jewelers, ceramicists, and textile designers.

The National Museum of Women in the Arts’ newest exhibition begins in the 1950s, a time when macho modernism was the mainstream (think Jackson Pollock), and many artists not devoted to abstraction were seen as passé and even regressive. After World War II, the G.I. Bill opened up many teaching opportunities in newly formed crafts departments at universities throughout the U.S., and women artists jumped at the chance to fill these positions. By the mid-1960s, the feminist movement—and a turn away from the space-age aesthetic of the 1950s—led to increasing numbers of women artists moving beyond the “traditional” or “domestic” crafts and toward industrial design. As the title suggests, the women artists of the postwar era became pathmakers for contemporary artists and designers of all genders.

The exhibition itself is divided into “historical” and modern-day sections, but the galleries alternate, so visitors jump back and forth through time, making connections along the way. The largest historical galleries primarily gather works from the 1950s and ’60s—mostly functional ceramics, textiles, and jewelry.

Through the years, objects become less and less utilitarian, where today, even some of the seemingly practical objects appear more suited for museum display than anything else. Vivian Beer’s “Anchored Candy No. 7,” a giant, red spike heel made to serve as a desk, and the Swedish industrial design group Front’s complexly tangled copper pipes and shower installation (both from 2014), although technically functional, give the impression of being much less practical than earlier works, like Margaret de Patta’s 1960s broaches or Eva Zeisel’s cups and bowls.

But the key to the historical aspect of “Pathmakers” isn’t in the individual artists, it’s in the groups. This is written on the walls—literally. Reading through the wall text, many of the artists featured in the historical section knew each other and were part of a larger, intentional community of women artists who

“Belly Button Room Divider Prototype” by Eva Zeisel, 1957 mentored and supported one another. Artists like Anni Albers, Olga de Amaral, and Ruth Asawa were largely linked through the crafts departments where they studied and taught, most notably at the Cranbrook Academy of Art in Michigan and Black Mountain College in North Carolina.

In contrast, many of the contemporary artists and designers have little or no connection to each other and their work seems more disparate. In one of the contemporary galleries, Gabriel A. Maher’s 2014 installation and video exploring gender norms and queer theory in design and fashion sits across from the work of Front, a three-woman industrial design team that explicitly states that they don’t feel gender is part of their work.

Though the works in the two different sections may be markedly different from each other, they have in common the apparent labor that goes into their creation. The complex (even tedious) techniques behind Magdalene Odundo’s ceramics, Polly Apfelbaum’s “Handweaver’s Patternbook” installation, and Ruth Asawa’s “form-within-form” sculptures all evoke a greater appreciation of the time and effort behind the finished work, where the process is just as important as the final outcome.

It’s more politically ambitious than NMWA’s usual programming, but “Pathmakers” misses an opportunity to bring to light the subject of human geography. Although the Scandinavian artists included in the show provide unique perspectives, the exhibition may have been better served with a narrower focus on its American artists and their origins. A majority of the American artists represented (especially those in the historical section) are immigrants and minorities, and a large portion are from the Western half of the U.S., which could have launched an interesting discussion about the cultural geography of influential American women artists.

Even though gender is an important factor in thinking about the history of art, there are always many other identities layered throughout, and a strict emphasis on gender inevitably tunes out that inherent complexity.

—Elena Goukassian 1250 New York Ave NW. $8–$10.

(202) 783-5000. nmwa.org.

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Entertaining Mr Sloane

The Edge of the Universe Players 2 present

by JOE ORTON

Joe Orton’s dark comedy of people desperately searching for love, but weaving an outrageous tangle of lust, deceit and violence in its place directed by Stephen Jarrett with David Bryan Jackson, Jim Jorgensen, Matthew Aldwin McGee and Claire Schoonover

November 21–December 13

Joe Orton…the true heir to Oscar Wilde—The Guardian

at The Writer’s Center, Bethesda

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“Entertaining Mr Sloane” is presented by special arrangement with SAMUEL FRENCH, INC

washingtoncitypaper.com NOVEMBER 20, 2015 33

MusicDiscography Off The Deep enD Sugarwater Swings Exploding in Sound; 2015

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"This group is something special." ~ Mike West (CityPaper)

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The Hello?! Tour &

Key!

Special Guests

34 NOVEMBER 20, 2015 washingtoncitypaper.com

Nov 12th

www.LivDC.com

There’s something enigmatic about Sugarwater, the sophomore LP from local experimental rock trio Swings. Maybe it’s the way lead singer Jamie Finucane slurs and obfuscates his words to the point of complete inscrutability. Maybe it’s the way he sews together his melodies using the same jangly guitar arpeggios over and over again. Or perhaps it’s the way Dan Howard’s drums rumble and tumble with restless energy, rarely content to just be steadfast bedrock. Sugarwater may have inherited its sonic DNA from ’90s slowcore bands like Slint and Bedhead, but the album’s mood is damn near impossible to sum up, making it a strange and exciting piece of music to listen to.

Take standout track “Blood on Seersucker,” for example. There’s a mournful tone to the first part of the song, flanked by Howard’s sparse percussion stomp and Finucane’s halfcatatonic vocals. Then, a little more than halfway through, things shift significantly—Finucane begins wailing in falsetto and suddenly all is euphoric and uplifting. When the song contorts itself again, though, it isn’t to trod back over the prior melancholy. We’re left with something weirder and more chaotic: fleeting drone noises, shape-shifting drum fills, and noodly guitar phrases lined with deliberate wrong notes. All of this happens in less than four minutes.

Still, Swings’ first release on esteemed indie label Exploding in Sound is a more polished, refined release than the band’s debut, Divergent Hymns. There are pretty standard pop tracks

here—like the hazy, shoegaze ballad “Tiles” and the upbeat, Real Estate–esque “Dust”— that sometimes make you pine for Divergent Hymns’ more unhinged moments, like when the band loses its tempo on “Pale Trinity” and things slowly devolve into free jazz. With “Blood on Seersucker,” there are clearly passages of bedlam on Sugarwater, but Swings’ restraint is palpable.

Because of this commitment to increased cogency, it’s surprising that Finucane’s voice is as warbled and indecipherable as it is, which, for new listeners, can be both alluring and alienating. On the surface, it creates an air of mysterious melancholy—an aesthetic that neatly sums up Sugarwater. You want to plunge deeper into his mind. But with no concrete words to grab onto, Finucane’s world stays obtuse and out of reach. Even more frustrating: The lyrics on Divergent Hymns— which can be accessed on Swings’ Bandcamp page—are frequently brilliant and impressionistic (“Saturate your web spider woven strokes/ Dig for your heart of hearts and I’ll start singing,” Finucane sings on “Close You”). The writing on Sweetwater is probably just as literary and fascinating, and it’s disappointing that people will have to refer to the lyrics sheet to decipher Finucane’s sharp libretto.

Still, the mysterious distance between the band’s intentions and its listeners is infectious—at least at first. According to Sugarwater’s press notes, the trio “knowingly avoids the stifling nostalgia that permeates less memorable acts.” If this is referring to D.C.’s rich history of influential-yet-obscure songwriters—the Travis Morrisons, the Devin Ocampos, the Guy Picciottos—then there’s truth in such a claim: Swings’ sound and approach owes no debt to the city’s past.

At the same time, Swings’ second album is actually a deeply nostalgic record for the way it resists analysis, branding, or categorization. Without any lyrics to guide you, you’re forced to find clarity in things like the album’s erratic chord changes and somersaulting drum breakdowns. You’ll never dive past the surface on Sugarwater, but at least there’s plenty of space to tread.

—Dean Essner Swings plays an album-release show at Songbyrd Music House & Record Cafe on Dec. 4. Listen to tracks from Sugarwater at washingtoncitypaper.com/go/sugarwater.

NOVEMBER

FRI NOVEMBER 20TH

LOOSE ENDS

FT. JANE EUGENE

SAT NOVEMBER 21ST

DOM KENNEDY FT. CASEY VEGGIES & JAY 305 SUN NOVEMBER 22ND

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36 NOVEMBER 20, 2015 washingtoncitypaper.com

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CITYLIST Music

Friday Rock

Gypsy sally’s 3401 K St. NW. (202) 333-7700.

Blue Miracle, The Golden Road. 9 p.m. $12–$14. gypsysallys.com.

Funk & R&B Howard THeaTre 620 T St. NW. (202) 803-2899.

Loose Ends featuring Jane Eugene. 7:30 p.m. $30–$65. thehowardtheatre.com. rock & roll HoTel 1353 H St. NE. (202) 388ROCK. Angel Haze, Beau Young, Reece. 9 p.m. $15. rockandrollhoteldc.com.

ElEctRonic U sTreeT MUsic Hall 1115 U St. NW. (202) 5881880. Fur Coat, Waff, Wahi. 10 p.m. $15. ustreetmusichall.com.

Jazz clarice sMiTH perforMinG arTs cenTer Stadium Drive and Route 193, College Park. (301) 4052787. Airmen of Note. 8 p.m. Free. claricesmithcenter.umd.edu. kennedy cenTer Terrace THeaTer 2700 F St. NW. (202) 467-4600. Carmen Lundy. 7 p.m. & 9 p.m. $26–$39. kennedy-center.org.

Mr. Henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Chuck Holden. 8 p.m. Free. mrhenrysdc.com.

BluEs Zoo Bar 3000 Connecticut Ave. NW. (202) 2324225. Moonshine Society. 9 p.m. Free. zoobardc.com.

Folk THe HaMilTon 600 14th St. NW. (202) 787-1000.

19th Street Band. 10:30 p.m. Free. thehamiltondc.com.

WoRld HylTon perforMinG arTs cenTer 10960 George Mason Circle, Manassas. (703) 993-7759. Bollywood Masala Orchestra and Dancers of India. 8 p.m. $29–$48. hyltoncenter.org.

2047 9th Street NW located next door to 9:30 club

Music . . . . . . . . . . . . . . . . . . . . . . . . .37 Books . . . . . . . . . . . . . . . . . . . . . . . . .40 Galleries . . . . . . . . . . . . . . . . . . . . . .40 Dance . . . . . . . . . . . . . . . . . . . . . . . .42 Theater . . . . . . . . . . . . . . . . . . . . . . 4 3 Film . . . . . . . . . . . . . . . . . . . . . . . . . . .44

SearCh LISTIngS aT waShIngTonCITYpaper.Com

CITY LIGHTS: FRIDAY

ANGEL HAZE

Detroit-born rapper and singer Angel Haze has experienced a lot of trauma in 23 years of life. Raised in the constricting community of the Greater Apostolic Faith, everything from the music Haze listened to, to the clothes they wore and the food they ate was controlled by others. Beginning at age 7, Haze (who identifies as agender and uses plural pronouns) was repeatedly raped, an experience chronicled in their breakout 2012 single “Cleaning Out My Closet,” which borrows beats from the Eminem song of the same name. In the two years since the release of their debut album Dirty Gold, Haze continued to struggle, breaking off a highprofile relationship with model Ireland Baldwin and twice being committed to psychiatric wards, but the pain has provided inspiration for a new album, the self-released Back to the Woods. The project’s title refers to the forested area near the Springfield home that was Haze’s refuge during their teenage years. Its stark lyrics reflect the confessional rapper’s post-breakup love troubles as well longstanding ones with family members. On “Dark Places,” Haze adeptly alternates between rapid, snarled patter and mournful Sia-like sung verses over synth washes from album producer Tk Kayembe. What could have been uncomfortable, Haze turns into something empowering. Angel Haze performs at 9 p.m. at Rock & Roll Hotel, 1353 H —Steve Kiviat St. NE. $15. (202) 388-7625. rockandrollhoteldc.com.

dJ nights Marx café 3203 Mt. Pleasant St. NW. (202) 518-

kennedy cenTer MillenniUM sTaGe 2700 F St. NW. (202) 467-4600. Suricato. 6 p.m. Free. kennedy-center.org.

7600. Taking the Piss. 10 p.m. Free.

classical

Vocal

kennedy cenTer concerT Hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Jiri Belohlavek, conductor, and Igor Levit, piano. 8 p.m. $15–$99. kennedy-center.org.

NW. (202) 467-4600. John Lloyd Young. 7 p.m. $75.

Rock

Black caT 1811 14th St. NW. (202) 667-4490.

Diarrhea Planet, Music Band. 9 p.m. $15. blackcatdc.com.

marxcafemtp.com.

kennedy cenTer Terrace THeaTer 2700 F St. kennedy-center.org.

saturday fillMore silver sprinG 8656 Colesville Road, Silver Spring. (301) 960-9999. Parkway Drive. 7 p.m. $25. fillmoresilverspring.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700.

Everyone Orchestra with special guest Ron Hollo-

washingtoncitypaper.com NOVEMBER 20, 2015 37

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CITY LIGHTS: SATURDAY

DAVID WAX MUSEUM David Wax Museum’s frontman says the duo’s latest album, Guesthouse, is more about belonging and less about visiting. David Wax and Suz Selak’s sense of belonging in the nation’s capital goes back to when they would play house shows in friends’ basements and living rooms. It was here that Wax and Slezak developed a steady following of fans who wanted to see them live over and over again. Even though the Mexo-Americana rootsrock act has toured the nation several times and headlined the 9:30 Club, it never loses its charm. A set at the intimate U Street Music Hall brings everyone closer together, with each rousing song feeling like a story shared by longtime friends. In the past, the group has gone so far as to move from the stage to the middle of the dance floor, resulting in the entire audience sitting down. Driven by two people with a lot of heart, a David Wax Museum show is less a production and more of an interaction between familiar strangers. The David Wax Museum performs with Anthony D’Amato at 7 p.m. at U Street Music Hall, 1115 —Jordan-Marie Smith U St. NW. $20. (202) 588-1889. ustreetmusichall.com. way, Covered with Jam. 9 p.m. $20–$24. gypsysallys.com. rock & roll HoTel 1353 H St. NE. (202) 388ROCK. Hemlines, Company Calls, Psychic Subcreatures. 8 p.m. $12. rockandrollhoteldc.com.

U sTreeT MUsic Hall 1115 U St. NW. (202) 5881880. David Wax Museum, Anthony D’Amato.

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

ElEctRonic 9:30 clUB 815 V St. NW. (202) 265-0930. Slow Magic, Giraffage, Daktyl. 6 p.m. $20. 930.com.

U sTreeT MUsic Hall 1115 U St. NW. (202) 5881880. Pleasurekraft, Oscar Rojas. 10:30 p.m. $15. ustreetmusichall.com.

Jazz aTlas perforMinG arTs cenTer 1333 H St. NE. (202) 399-7993. Jamie Baum. 8 p.m. $20–$28. atlasarts.org. kennedy cenTer Terrace THeaTer 2700 F St. NW. (202) 467-4600. Carmen Lundy. 7 p.m. & 9 p.m. $26–$39. kennedy-center.org.

38 NOVEMBER 20, 2015 washingtoncitypaper.com

BluEs Barns aT wolf Trap 1645 Trap Road, Vienna.

(703) 255-1900. Sonny Landreth. 7:30 p.m. $27. wolftrap.org.

Zoo Bar 3000 Connecticut Ave. NW. (202) 2324225. Stacy Brooks Blues Band. 9 p.m. Free. zoobardc.com.

WoRld GeorGe Mason UniversiTy cenTer for THe arTs 4400 University Drive, Fairfax. (703) 993-2787.

Bollywood Masala Orchestra and Dancers of India.

8 p.m. $29–$48. cfa.gmu.edu. paTrioT cenTer 4500 Patriot Circle, Fairfax. (703) 993-3000. Alejandro Fernandez. 8 p.m. $59–$149. patriotcenter.com.

hip-hop Howard THeaTre 620 T St. NW. (202) 803-2899.

Dom Kennedy, Casey Veggies, Jay 305. 9 p.m. $25–$30. thehowardtheatre.com.

classical

Mr. Henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Anita King with Dial 251. 8 p.m. Free. mrhenrysdc.com.

kennedy cenTer concerT Hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Jiri Belohlavek, conductor, and Igor Levit, piano. 8 p.m. $15–$99. kennedy-center.org.

sixTH & i HisToric synaGoGUe 600 I St. NW. (202) 408-3100. Joey Alexander Trio. 8 p.m. $25. sixthandi.org.

kennedy cenTer MillenniUM sTaGe 2700 F St. NW. (202) 467-4600. National Symphony Orchestra Prelude. 6 p.m. Free. kennedy-center.org.

dJ nights Black caT BacksTaGe 1811 14th St. NW. (202) 667-4490. Common People with DJ lil’e. 11 p.m. $7. blackcatdc.com. rock & roll HoTel 1353 H St. NE. (202) 388ROCK. DJs Rex Riot and Basecamp. 11:30 p.m. Free. rockandrollhoteldc.com.

Vocal MUsic cenTer aT sTraTHMore 5301 Tuckerman Lane, Bethesda. (301) 581-5100. The Tenors. 8 p.m. $45–$85. strathmore.org.

sunday Rock

9:30 clUB 815 V St. NW. (202) 265-0930. Lights, The Mowglis. 6:30 p.m. $25. 930.com.

Black caT BacksTaGe 1811 14th St. NW. (202) 667-4490. The Max Levine Ensemble, Sundials, Maneuvers. 7:30 p.m. $10. blackcatdc.com.

Funk & R&B Howard THeaTre 620 T St. NW. (202) 803-2899.

Macy Gray, Valise. 8 p.m. $29.50. thehowardtheatre.com.

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

Folk kennedy cenTer MillenniUM sTaGe 2700 F St. NW. (202) 467-4600. Pre-Thanksgiving Square Dance with Leah Weiss, Gary Wright, Kate Brett, and Kevin Enoch. 6 p.m. Free. kennedy-center.org.

opERa Gw lisner aUdiToriUM 730 21st St. NW. (202) 994-6800. Washington Concert Opera performs Rossini’s Semiramide. 6 p.m. $15–$110. lisner.org.

classical aTlas perforMinG arTs cenTer 1333 H St. NE. (202) 399-7993. Capital City Symphony. 4:30 p.m. $15–$25. atlasarts.org. kennedy cenTer Terrace THeaTer 2700 F St. NW. (202) 467-4600. The Kennedy Center Chamber Players. 2 p.m. $36. kennedy-center.org. naTional Gallery of arT wesT Garden coUrT 4th Street and Constitution Avenue NW. (202) 8426941. National Gallery of Art New Music Ensemble.

3:30 p.m. Free. nga.gov.

dJ nights rock & roll HoTel 1353 H St. NE. (202) 388ROCK. The House That France Built: An Evening of French House Music. 5 p.m. Free. rockandrollhoteldc.com.

Vocal sixTH & i HisToric synaGoGUe 600 I St. NW. (202) 408-3100. Anonymous 4, Bruce Molsky. 7 p.m. $40. sixthandi.org.

Monday Rock

9:30 clUB 815 V St. NW. (202) 265-0930. Ryn Weaver, ASTR, HOLYCHILD. 7 p.m. $25. 930.com.

Black caT BacksTaGe 1811 14th St. NW. (202) 667-4490. The Cowards Choir, Christopher the Conquered. 7:30 p.m. $10–$12. blackcatdc.com.

washingtoncitypaper.com NOVEMBER 20, 2015 39

rock & roll HoTel 1353 H St. NE. (202) 388ROCK. Flamin Groovies, The Ubangis, Jake Starr and the Delicious Fullness. 8 p.m. $25. rockandrollhoteldc.com.

classical

1811 14 ST NW TH

www.blackcatdc.com @blackcatdc

NOV / DEC SHOWS THU 19 FRI 20

!!! (CHK CHK CHK) OKKERVIL RIVER SOLD OUT

FRI 20 STUDIO HOLLIDAY’S BUDDING

BURLESQUE BEAUTIES

SAT 21

DIARRHEA PLANET

caTHolic UniversiTy of aMerica 620 Michigan Ave. NE. (202) 319-5000. Beethoven Piano Sonata Series No. 8. 8 p.m. Free. cua.edu.

tuesday Rock

Gypsy sally’s 3401 K St. NW. (202) 333-7700. The Heavy Pets, Moogatu. 8:30 p.m. $10–$12. gypsysallys.com.

Funk & R&B

THE MAX LEVINE ENSEMBLE (RECORD RELEASE)

Wednesday

SINKANE

9:30 clUB 815 V St. NW. (202) 265-0930. The English Beat. 7 p.m. $25. 930.com.

FRI 17

TWIST & CRAWL

DANCE PARTY / LIVE MUSIC

SAT 28

DAMES

Gypsy sally’s 3401 K St. NW. (202) 333-7700.

Better Off Dead, the U-Liners, Vasudeva. 8:30 p.m. $12–$16. gypsysallys.com.

CLASSIC BURLESQUE (21+)

U sTreeT MUsic Hall 1115 U St. NW. (202) 5881880. Dragonette, Avan Lava, Young Empires.

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

SUN 22

MON 23 THE WED 25 FRI 27

FRI 4 SAT 5 SUN 13

COWAR’DS CHOIR

CANNA HOLIDAY POP-UP MARKET

SUPER ART FIGHT EIGHTIES MAYHEM

THE GET UP KIDS 20TH ANNIVERSARY TOUR

SAT NOV 21

Rock

Black caT BacksTaGe 1811 14th St. NW. (202) 667-4490. Sinkane, Steven A. Clark. 7:30 p.m. $15. blackcatdc.com.

ElEctRonic U sTreeT MUsic Hall 1115 U St. NW. (202) 5881880. AK1200, Gridlok. 10 p.m. $15. ustreetmusichall.com.

Jazz Mr. Henry’s 601 Pennsylvania Ave. SE. (202) 5468412. Capitol Hill Jazz Jam. 8 p.m. Free. mrhenrysdc.com.

countRy DIARRHEA PLANET

THU NOV 19

MadaM’s orGan 2461 18th St. NW. (202) 6675370. The Human Country Jukebox Band. 9 p.m.

Free. madamsorgan.com.

Folk kennedy cenTer MillenniUM sTaGe 2700 F St. NW. (202) 467-4600. Charm City Junction. 6 p.m.

Free. kennedy-center.org.

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Fifteen years ago, it was nearly impossible to turn on the radio or TV without hearing Macy Gray’s “I Try,” her soulful lament about losing a lover. None of her other songs have had the same reach, so it’d be easy to misclassify Gray as a one-hit wonder. Not so fast. In the intervening decade and a half, she’s released seven more albums, appeared in a variety of films and TV programs, and had a heart to heart with Oprah in which she revealed her struggles with drug abuse. Now clean, Gray has hit the road in support of her 2014 album, The Way. Those who enjoyed listening to Gray in the early part of this century will be pleased to learn that she still writes songs that highlight her vulnerability and joy, like The Way’s opening track, “Stoned.” Macy Gray performs with Valise at 8 p.m. at the Howard Theatre, 620 T St. NW. $29.50–$55. (202) 803-2899. thehowardtheatre.com.

—Freddy Rodriguez

classical kennedy cenTer MillenniUM sTaGe 2700 F St. NW. (202) 467-4600. Sofya Melikyan. 6 p.m. Free. kennedy-center.org.

90S ALT POP / HIP HOP/ DJ LIL’E

MACY GRAY

Howard THeaTre 620 T St. NW. (202) 803-2899.

Ray, Goodman, & Brown. 8 p.m. $30–$45. thehowardtheatre.com.

COMMON PEOPLE

SAT 21

CITY LIGHTS: SUNDAY

Howard THeaTre 620 T St. NW. (202) 803-2899.

Thanksgiving Eve Jam with Team Familiar. 11 p.m. $27.50–$42.50. thehowardtheatre.com.

thursday Jazz

kennedy cenTer MillenniUM sTaGe 2700 F St. NW. (202) 467-4600. Jive Aces with Gottaswing.

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

40 NOVEMBER 20, 2015 washingtoncitypaper.com

Books

Galleries

JUlianna BaGGoTT and laUra kasiscHke The poets, who reference nature and insects in their work, read together. Folger Elizabethan Theatre.

201 E. Capitol St. SE. Nov. 23, 7:30 p.m. $15.

(202) 544-7077.

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

vanessa Blakeslee and dave reidy Blakeslee reads from her novel Juventud, about a woman who grows up privileged in Colombia but gives it all up when she flees to the United States. Reidy reads from The Voiceover Artist, about a man with a stutter who dreams of becoming a famous narrator.

Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. Nov. 23, 6:30 p.m. Free. (202) 387-1400.

arlinGTon arTs cenTer 3550 Wilson Blvd., Arlington. (703) 248-6800. arlingtonartscenter.org.

OngOing: “2015 Fall SOLOS.” New works by local artists are presented in this year-end show.

Oct. 24–Dec. 21.

freddie dUnn Dunn discusses the music and career of jazz pianist Billie Strayhorn as part of a celebration honoring the 100th anniversary of Strayhorn’s birth. Dorothy I. Height/Benning Library. 3935 Benning Road NE. Nov. 21, 2 p.m. Free. (202) 281-2583.

Jesse eisenBerG The actor, an Oscar nominee for his role in The Social Network, also contributes to the New Yorker. He reads from his first collection of short fiction, Bream Gives Me Hiccups. Politics & Prose. 5015 Connecticut Ave. NW. Nov. 23, 7 p.m.

Free. (202) 364-1919. elisavieTTa riTcHie and ricHard HarTeis Ritchie reads from her latest poetry collection, Guy Wires; Harteis and other poets discuss Andrew Oerke’s collection of poems, The Wall. The Writer’s Center. 4508 Walsh St., Bethesda. Nov. 22, 2 p.m.

Free. (301) 654-8664. alexander woolf The intersection between basketball and presidential politics is explored in Woolf’s new book, The Audacity of Hoop: Basketball and the Age of Obama. Politics & Prose. 5015 Connecticut Ave. NW. Nov. 23, 7 p.m. Free.

(202) 364-1919.

THe aTHenaeUM 201 Prince St., Alexandria. (703) 548-0035. nvfaa.org. OngOing: “Mike McConnell.”

New works by McConnell, who worked for many years as a commercial illustrator before turning his attention to fine arts. Oct. 29–Dec. 13. capiTol Hill arTs worksHop 545 7th St. SE. (202) 547-6839. chaw.org. OngOing: “CHAL Small Works Show.” Members of the Art League present pieces that are small in size but not in impact at this group show. Nov. 14–Dec. 5. carroll sqUare Gallery 975 F St. NW. (202) 234-5601. carrollsquare.com. ClOsing: “This Is Light.” See works by Tommy Bobo, Lisa Dillin, Pamela Gwaltney, and Esther Ruiz, four east coast artists who use light in their pieces, in this new exhibition.

Sept. 18–Nov. 25. cross MackenZie Gallery 2026 R St. NW. (202) 333-7970. crossmackenzie.com. OngOing: “Rob Hitzig.” Paintings, sculptures, and painted sculptures by the Vermont-based multimedia artist.

Nov. 4–Nov. 29. flasHpoinT Gallery 916 G St. NW. (202) 3151305. culturaldc.org. ClOsing: “Diamond Blind.”

Brightly colored, site-specific paintings that mix formalism with abstraction by Erin Curtis.

Oct. 24–Nov. 21.

----------

CITY LIGHTS: MONDAY

ADA CALHOUN AND PRESTON LAUTERBACH In his latest book, Beale Street Dynasty, author Preston Lauterbach remembers when the Memphis, Tenn. locale was the main street of black America, a home for lawyers and businesses as well as a haven for gambling and brothels (with only white prostitutes), and, most significantly, a birthplace for the blues. In St. Marks Is Dead: The Many Lives of America’s Hippest Street, author Ada Calhoun takes a similar look at the East Village thoroughfare where radicals, poets, punks, and addicts lived, hung out, and performed. In these lively non-fiction tales of two cities, Calhoun, who grew up on St. Marks Place, devotes more pages to the street in the latter half of the 20th century, while Lauterbach looks at Memphis before World War I, when Robert Church became the South’s first black millionaire after investing in both real estate and certain vice establishments. Lauterbach and Calhoun balance their recitations of grim examples of hatred, violence, and crime with depictions of the vivid personalities, from journalist Ida B. Wells in Memphis to poet Allen Ginsberg in New York, who inhabited these locales. Expect these presentations, held near the street once known as “Black Broadway,” to encourage lively discussions about race, culture, and the transformation of urban neighborhoods. Ada Calhoun and Preston Lauterbach read at 6:30 p.m. at Busboys and Poets 14th & V, 2021 14th St. NW. Free.

(202) 387-7638. busboysandpoets.com.

—Steve Kiviat

GoeTHe-insTiTUT wasHinGTon 812 7th St. NW. (202) 289-1200. www.goethe.de/washington.

OngOing: “Surveillance Blind.” This group exhibition asks American and German artists to consider the digital footprints we leave and the people who have access to the information we leave behind and create work in response to that. Sept. 17–Dec. 3.

HeMpHill 1515 14th St. NW. (202) 234-5601. hemphillfinearts.com. OngOing: “Wild World.”

Artist Renee Strout creates handmade machines powered by spiritual energy and invites viewers to interact with them in her fifth Hemphill exhibition.

Sept. 26–Dec. 19.

Hillyer arT space 9 Hillyer Court NW. (202) 3380680. hillyerartspace.org. OngOing: “Iberoamerican Cultural Attachés Association.” Works by artists from Spain and Portugal. Nov. 6–Nov. 28. OngOing: “Marissa White.” New works by the Alexandriabased artist. Nov. 6–Nov. 28 OngOing: “Leah Appel.” Abstract photos that defy conventions by the local photographer. Nov. 6–Nov. 28.

HonfleUr Gallery 1241 Good Hope Road SE. (202) 365-8392. honfleurgallery.com. OngOing: “Icons: Las Virgincitas.” In this series of twelve paintings, Dariana Arias depicts women from around the world as the Virgin Mary. Nov. 13–Jan. 8. lonG view Gallery 1234 9th St. NW. (202) 232-4788. longviewgallery.com. OngOing: “Tony Savoie.” Mixed-media works by the Florida-based artist. Oct. 29–Nov. 29.

MonTpelier arTs cenTer 9652 Muirkirk Road, Laurel. (301) 377-7800. arts.pgparks.com. OngOing: “Sushama Parikh.” Studies of horses and bulls, ceramic tiles, and plates by Indian-born artist Sushama Parikh. Nov. 7–Dec. 27. OngOing: “Menagerie.” Paintings of animals by artist Caroline Thorington. Nov. 7–Dec. 27. OngOing: “All Hung

Open Exhibition: Gratitude.” Participants are invited to post individual pieces based around the theme of gratitude in this collaborative community exhibition. Nov. 7–Dec. 27.

MorTon fine arT 1781 Florida Ave. NW. (202) 628-2787. mortonfineart.com. ClOsing: “Vonn Sumner.” New paintings by the acclaimed San Francisco-born painter. Nov. 6–Nov. 24. pyraMid aTlanTic arT cenTer 8230 Georgia Ave., Silver Spring. (301) 608-9101. pyramidatlanticartcenter.org. OngOing: “SHERWOOD TRUE, The Phoenix Project, Photographs 2012-2015.” James Sherwood and Shirley True share photos from their four years of work in Phoenix, Az. After each day of shooting, the pair downloaded their photos, selecting two that they would later email to friends and colleagues. The results can be seen in their book, Two by Two Sherwood True, The Phoenix Project.

Oct. 28–Nov. 30. visarTs 155 Gibbs St., Rockville. (301) 315-8200. visartsatrockville.org. OngOing: “Project 837, Part 2.” This exhibition, the first part of which was displayed in Baltimore earlier this year, comments on the ideas of home and homelessness and asks artists, curators, and community members to contribute their thoughts. Oct. 28–Dec. 13. vivid solUTions Gallery 1231 Good Hope Road SE. (202) 365-8392. vividsolutionsdc.com. OngOing: “La Vie en Rose.” A new and colorful multimedia installation by local visual artist Carolina Mayorga.

Nov. 13–Jan. 8. wasHinGTon prinTMakers Gallery 1641 Wisconsin Ave. NW. (202) 669-1497. washingtonprintmakers.com. OngOing: “Pauline Jakobsberg.”

Hand-pulled prints made from recycled materials by the co-founder of Washington Printmakers Gallery.

Nov. 3–Nov. 29.

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

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

Tix @ Ticketmaster.com 800-745-3000

Nov 19

THREE DOG NIGHT

JERRY DOUGLAS 27&28 THE SELDOM SCENE

$10 BURGER & BEER MON-FRI 4 P M -7 P M

TRIVIA EVERY M O N D AY & W E D N E S D AY

$3 PBR & NATTY BOH ALL DAY EVERY DAY

22

BUMPER JACKSONS (27) & THE KENNEDYS (28)

600 beers from around the world

MADISEN WARD & THE MAMA BEAR LUKE BELL Penny & Dec 1 DELTA RAE w/ Sparrow Winter Acoustic Tour • A Holiday Celebration

Downstairs: good food, great beer: $3 PBR & Natty Boh’s all day every day

30

SHEILA E 4 BLOOD SWEAT & TEARS

*all shows 21+

3

featuring BO BICE

CHERYLWHEELER & JOHNGORKA 7 A DAVID BENOIT CHRISTMAS

5

“Tribute to Charlie Brown” MONHEIT

with special guest JANE

FOURPLAY Nathan East, Bob James, Harvey Mason, Chuck Loeb

8

THE DAN BAND Holiday Show!

Ari 11&12 JUDY COLLINS Hest 15 THEAIMEEMANN & TEDLEOCHRISTMASSHOW 10

with JONATHAN COULTON, LIZ PHAIR and very special guests!

16

ASLEEP AT THE WHEEL JEANNE JOLLY “Merry Texas Xmas Y’all!”

CARBON LEAF 19 PIECES OF A DREAM 20 ROBERT GLASPER EXPERIMENT 21 A JOHN WATERS’ CHRISTMAS 17

Holier & Dirtier

22

An Evening with

TODD RUNDGREN 26 SOUTHSIDEJOHNNY & THEASBURYJUKES 27

19th Annual

HANK WILLIAMS TRIBUTE

featuring Robin & Linda Williams, Robbie Fulks, Cathy Fink &

Marcy Marxer, Rickie Simpkins, Dave Chappell, Mark Schatz

28,29,30 31

MINT CONDITION “Holiday Show” New Year’s Eve with

THE SELDOM SCENE Gold Heart & Only Lonesome – 8 pm MO’FIRE

Jan 1 featuring In Gratitude: A Tribute to Earth, Wind & Fire and Motown & More: A Tribute to Motown & Soul Legends 2

Honky Tonk Holiday Hangover Show!

BILL KIRCHEN & TOO MUCH FUN WITH COMMANDER CODY KENTUCKY 8&9 RICKY SKAGGS & THUNDER 10 MACEO PARKER 12 TRAVIS TRITT

THU, NOVEMBER 19TH

SPECIFIC IGNORANCE DOORS AT 5PM SHOW AT 6PM

UNDERGROUND COMEDY

DOORS AT 730PM SHOW AT 8PM FRI, NOVEMBER 20TH

WEIRDO SHOW

DOORS AT 8PM SHOW AT 10PM S AT, N O V E M B E R 2 1 S T

HEAVY SEAS AND BLACK MARKET BURLESQUE PRESENT LOOSE CANNON

DOORS AT 7 SHOW WARMING UP AT 8PM SUN, NOVEMBER 22ND

BLANCHE BOUDOIR PRESENTS DOORS AT 8PM SHOW AT 10PM MON, NOVEMBER 23RD

DISTRICT TRIVIA STARTS AT 730PM

TUES, NOVEMBER 24TH

LAST RESORT COMEDY

DOORS AT 8PM SHOW AT 830PM WED, NOVEMBER 25TH

DISTRICT TRIVIA STARTS AT 730PM

THU, NOVEMBER 26TH

CLOSED FOR THANKSGIVING

SUN, NOVEMBER 29TH

ALEXX STARR COMEDY

DOORS AT 7PM SHOW AT 8PM 1523 22nd St NW – Washington, DC 20037 (202) 293-1887 - www.bierbarondc.com @bierbarondc.com for news and events

washingtoncitypaper.com NOVEMBER 20, 2015 41

UPTOWN BLUES

HAPPY HOUR M-F • 4-8 1/2 Priced APPetizers Fri. Nov. 20 Moonshine society Sat. Nov. 21 stacy Brooks Blues Band Fri. Nov. 27 swaMp keepers Band Sat. Nov. 28 Bruce ewan

the red harMonica king

Fri. Dec. 4 still standing

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

Sat. Dec. 5 Big Boy little Band Sundays Mike Flaherty’s

dixieland direct Jazz Band

3000 Connecticut Avenue, NW (across from the National Zoo)

202-232-4225 zoobardc.com

washingtoncitypaper.com

Saturday, November 21

tHE cRimEstoPPERs

CITY LIGHTS: TUESDAY

TANGO GLORIES The languages and ways in which we communicate help form our identities and impact our connection with others. Argentine director Oliver Kolker examines this idea in his latest film, Tango Glories, which focuses on the relationship between Fermín, an 85-yearold psychiatric patient at a Buenos Aires Hospital who only speaks in lyrics from tango songs, and Ezequiel, the doctor who takes an interest in his case (and his granddaughter).

Though they initially have difficulty understanding each other, the pair is drawn together through the language of tango. Their conversations draw them back to Fermín’s life in the 1940s and the experiences that caused him to lose his conventional speaking pattern, a process that transforms both men. Before the screening, Tango Mercurio gets the audience in the mood with a demonstration and afterwards, Kolker will discuss the filmmaking process. The film shows at 7:30 p.m. at the Washington D.C. Jewish Community Center, 1529 —Caroline Jones 16th St. NW. $13. (202) 518-9400. wjff.org.

{Blues Rock covers and originals} Tuesday, November 24

4tH tUEsdaYs JaZZ / FUsion oPEn Jam hosted by Pulp Fusion {open Jam} Wednesday, November 25

lloYd doBlER EFFEct

night Before thanksgiving Bash!

Friday, November 27

JonatHan sloanE tRio {Blues and Rock}

Saturday, November 28

Goin’ Goin’ GonE and caZ {{Roots Rock covers and originals} Tuesday, December 1

sinGER sonGwRitER oPEn Jam hosted by Erik Richardson

Wednesday, December 2 - oPEn mic niGHt!

hosted by Phil Kominski

Thursday, December 3

sHEd Band 9

{variety of cover songs} Friday, December 4

JaKE staR and tHE dElicioUs FUllnEss {High octane Garage Rock}

Saturday, December 5

littlE REd and tHE REnEGadEs

wasHinGTon proJecT for THe arTs 2124 8th St. NW. (202) 234-7103. wpadc.org. OngOing: “Washington Produced Artists.” In honor of its 40th anniversary, the Washington Project for the Arts presents this exhibition of work by D.C.-based artists who’ve been involved with the organization, including William Christenberry, Jim Sanborn, Joyce J. Scott, and Dan Steinhilber. Nov. 14–Dec. 19.

ZeniTH Gallery 1429 Iris St. NW. (202) 783-2963. zenithgallery.com. OngOing: “Voyages on Earth and in Space.” New paintings and sculptures by Ken and Julie Girardini. Nov. 5–Nov. 28.

dance

Bollywood Masala orcHesTra and dancers of india The musicians and dancers tell stories from their nation, recreate dance sequences from favorite films, and charm reptiles in this lively and colorful presentation. George Mason University Center for the Arts. 4400 University Drive, Fairfax.

Nov. 21, 8 p.m. $29–$48. (703) 993-2787. cfa.gmu.edu.

hosted by moonshine society Jam with Blues legends!!

devi dance THeaTer, soMapa THai dance coMpany, sanTi BUdaya indonesian perforMinG arTs The three local companies collaborate to present Sita Gentle Warrior, a new piece that combines movement and martial arts to tell the story of the ideal woman. Dance Place. 3225 8th St. NE. Nov. 21, 8 p.m.; Nov. 22, 4 p.m. $15–$50. (202) 269-1600. danceplace.org.

w w w. v i l l a i n a n d s a i n t. c o m

THe Joffrey BalleT The Chicago-based company retires its popular, Victorian-set production of The Nutcracker this season in anticipation of a new version that’s set to debut next year. Catch this celebrated take on the holiday classic one more time when it stops at the Kennedy Center for a final time.

Kennedy Center Opera House. 2700 F St. NW. Nov.

{squeezebox Rock ‘n’ Roll, Zydeco & cajun} Sunday, December 6

BacH 2 RocK stUdEnt sHowcasE {music school showcase}

Tuesday, December 8

sEcond tUEsdaY BlUEs daY BlUEs Jam

42 NOVEMBER 20, 2015 washingtoncitypaper.com

25, 7 p.m. $55–$165. 202-467-4600. kennedy-center.org. lUla wasHinGTon dance THeaTre The nationally known dance company presents pieces that combine elements of ballet, modern, and traditional African dance styles. Publick Playhouse. 5445 Landover Rd., Cheverly,. Nov. 21, 2 p.m.; Nov. 21, 8 p.m. $25–$30. (301) 277-1710. pgparks.com/ Things_To_Do/Arts/Publick_Playhouse.htm. palissiMo Choreographer Pavel Zuštiak, composer Christian Frederickson, and designer Joe Levasseur comment on a variety of conceptions of beauty, with reference to Plato, Pope Benedict XVI, and Susan Sontag, in Custodians of Beauty, a new piece making its world premiere at ADI. American Dance Institute. 1570 East Jefferson St., Rockville. Nov. 20, 8 p.m.; Nov. 21, 8 p.m. $15–$30. (855) 263-2623. americandance.org. second season: “dance cineMa” and “snake TeleGraM” Dance student Colette Krogol presents a new look at how cinema is presented by incorporating movement into the act of watching a film. Sarah Beth Oppenheim performs a mysterious and course jazz solo. Clarice Smith Performing Arts Center. Stadium Drive and Route 193, College Park.

Nov. 20, 7:30 p.m.; Nov. 22, 3 p.m.; Nov. 22, 7 p.m.

Free. (301) 405-2787. claricesmithcenter.umd.edu. spekTrUM Howard University students debut newly choreographed works at this annual dance showcase. Ira Aldridge Theater at Howard University. 2455 6th St. NW. Nov. 20, 7:30 p.m. $7–$17.

(202) 806-7050.

theater

akeelaH and THe Bee A young girl growing up in Chicago challenges herself to succeed and winds up competing in the Scripps National Spelling Bee, but

will she be prepared enough to beat competitors from around the country? Charles Randolph-Wright directs the world premiere of this play adapted from the popular film of the same name. Arena Stage.

1101 6th St. SW. To Dec. 27. $55–$90. (202) 4883300. arenastage.org.

a Broadway cHrisTMas carol This seasonal favorite, which sets Dickens’ tale of holiday reflection to the tune of favorite showtunes, returns to MetroStage for a fifth go-round. MetroStage. 1201 N. Royal St., Alexandria. To Dec. 27. $50. (703) 5489044. metrostage.org.

THe apple faMily cycle Two years after Studio presented the first two plays in Richard Nelson’s series about a family experiencing changes in contemporary America, the company presents the final two plays. In Sorry, set on Election Day 2012, the siblings come together to move their uncle into an assisted living facility and discuss their reactions to the political and personal changes in their lives. In Regular Singing, as the siblings hold a vigil for one of their own, they remember the 50th anniversary of the JFK assassination and reflect on the past halfcentury of American history. Studio Theatre. 1501 14th St. NW. To Dec. 13. $20–$71. (202) 332-3300. studiotheatre.org.

cake off Sherri L. Edelen stars in this new play about a bake off with a one million dollar prize and the tough competitors aiming to take home the dough. Expect a production full of flour, sugar, and bitter batter battles. Signature Theatre. 4200 Campbell Ave., Arlington. To Nov. 22. $40–$96. (703) 8209771. signature-theatre.org.

avenUe q Constellation’s actors break out their puppetry skills in this lively musical about a young college graduate and the eccentric monsters, humans, and friends he makes in his new neighborhood. Allison Arkell Stockman directs this production written by Robert Lopez and Jeff Marx. Constellation Theatre at Source. 1835 14th St. NW. To Nov. 22. $20–$45. (202) 204-7741. constellationtheatre.org.

Black naTiviTy Theatre Alliance again presents their production of this Langston Hughes play that retells the Christmas story from an African-American perspective and features a lively gospel soundtrack.

Anacostia Playhouse. 2020 Shannon Place SE. To Jan. 3. $10–$35. (202) 544-0703. anacostiaplayhouse.com.

TELLURIDE FILM FESTIVAL

NEW YORK FILM FESTIVAL

2015

2015

Official Selection

L’Oeil d’Or, Special Mention

2015

“

Official Selection

— N E W YO R K O B SERVER

”

LIFE MORE “A PERSONAL ELECTRIFYING THAN HER MOVIES. ” RADIANT “AINREVEALED STAR ALL HER COMPLEXITY. ” — M A N O H L A DA R G I S , N E W YO R K TI M E S

a cHrisTMas carol For more than 30 years, Ford’s Theatre has welcomed the holiday season with a production of Dickens’ tale of cheer and forgiveness. Local actor Edward Gero returns to play everyone’s favorite miser, Ebenezer Scrooge. Ford’s Theatre. 511 10th St. NW. To Dec. 31. $44–$91.

(202) 347-4833. fordstheatre.org.

—JOE M O R G EN STER N , WALL STR EE T J O U R NAL

THe cripple of inisHMaan A disabled young boy living in 1930s Ireland vies for a chance to appear in a big Hollywood movie alongside the rest of his neighbors and aims to impress the casting directors in this black comedy from Irish playwright Martin McDonagh. Atlas Performing Arts Center. 1333 H St. NE. To Nov. 29. $35–$45. (202) 399-7993. atlasarts.org.

INGRID BERGMAN

GUys and dolls Gamblers, evangelists, musicians, and dancers come together in this classic musical based on stories by Damon Runyon. Among this production’s memorable songs are “Luck Be a Lady,” “I’ll Know,” and “A Bushel and a Peck.”

Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Dec. 27. $30–$75. (301) 924-3400. olneytheatre.org.

IN HER OWN WORDS

DIRECTED BY STIG BJÖRKMAN NARRATED BY ALICIA VIKANDER rialtopictures.com/ingrid

EXCLUSIVE ENGAGEMENT STARTS FRIDAY, NOVEMBER 20

CITY LIGHTS: WEDNESDAY

www.landmarktheatres.com

THE ENGLISH BEAT

When I was 14 and getting garbage grades, my school-appointed “mentor” gave me an English Beat CD. That’s an unusual choice for get-your-life-on-track tunes; with its early ’80s keys-and-bass combination, “Mirror in the Bathroom” sure sounds like an ode to snorting up. Still, this middle-aged guy knew what he was doing. That’s because, at the risk of angering New Jersey, British ska is always better than the stateside equivalent. Coming out of a 1970s scene obsessed with horns and Jamaica—instead of, say, a basement in Montclair, N.J.—The English Beat’s “2 Tone” revival scene was all about racial harmony and disliking Margaret Thatcher. The English Beat had four or five new wave hits, along with other jams about how much they weren’t into the Falklands War, before splitting into factions. Thankfully, they haven’t split up the hits. In other words, they’ll play “Save It For Later” when the current iteration plays the 9:30 Club. The English Beat performs at 7 p.m.

—Will Sommer at the 9:30 Club, 815 V St. NW. $25. (202) 265-0930. 930.com.

Fri, Mon-Wed 1:40, 4:30, 7:20 & 9:55 PM Sat, Sun & Thu 10:50 AM, 1:40, 4:30, 7:20 & 9:55 PM

Fri & Sat, Nov 20 & 21 at Midnight!

Buy Advance Tickets Online

tickets.landmarktheatres.com

30 TH IV

AN N

ERSA

RY!

“SHEER JOY IN CINEMATIC FORM, Full Of Fine Actors Giving Rich Performances With Endlessly Layered Characters.”

Scott Mendelson,

100% TOP CRITICS

WASHINGTON, DC The Avalon(202) 966-6000 WASHINGTON, DC Landmark’s E Street Cinema (202) 783-9494 ANNAPOLIS Bow Tie Harbour 9 (410) 224-1145

ARLINGTON AMC Loews Shirlington 7 FAIRFAX Cinema Arts Theatre amctheatres.com (703) 978-6991 BETHESDA ArcLight Bethesda FAIRFAX Fairfax Corner 14 + Xtreme (301) 365-0213 (703) 378-6550 FAIRFAX Angelika at Mosaic MCLEAN AMC Tysons Corner 16 (571) 512-3301 amctheatres.com

ROCKVILLE Regal Rockville Stadium 13 (844) 462-7342 #248 SILVER SPRING AFI Silver (301) 495-6700

washingtoncitypaper.com NOVEMBER 20, 2015 43

joyful musical about a leading man who winds up co-starring alongside his ex-wife and the fellow castmembers whose lives revolve around them. Among the popular songs from this musical are “Another Op’nin’, Another Show,” “Tom, Dick, or Harry,” and “Too Darn Hot.” Sidney Harman Hall. 610 F St. NW. To Jan. 3. $20–$108. (202) 547-1122. shakespearetheatre.org.

“ROBERT MOTHERWELL: A CENTENNIAL CELEBRATION”

To the frustration of many art museum visitors, well-known abstract expressionist painters like Jackson Pollock and Mark Rothko weren’t always keen on explaining their nonrepresentational work, leaving viewers to puzzle out the meaning behind “No. 5” and “No. 61 (Rust and Blue)” for themselves. Their contemporary, Robert Motherwell, however, left behind a trove of materials that offer some insight into the artist’s mind and process. From catalogs for his early exhibitions at Peggy Guggenheim’s Art of This Century gallery to correspondence with fellow artists and critics, many items related to Motherwell’s work will be on view at the Donald W. Reynolds Center for American Art and Portraiture as part of an exhibition sponsored by the Archives of American Art. Presented to commemorate the 100th anniversary of Motherwell’s birth, the small show explores the creation of his famous “Elegy to the Spanish Republic” series and his intricate collages. Unfortunately, visitors won’t be able to compare the artist’s sketches to his completed work: None of the American Art Museum’s works by Motherwell are currently on display. The exhibition is on view daily 11:30 a.m. to 7 p.m. at the Donald W. Reynolds Center for American Art and Portraiture, 8th and F Streets NW. Free. (202) 399-5015. aaa.si.edu.

—Caroline Jones Harvey A man insists on including his best friend, an enormous invisible rabbit, in all his activities, forcing his friends and family to deal with the aftermath in this lively, Pulitzer Prize-winning drama by Mary Chase. 1st Stage. 1524 Spring Hill Road, McLean. To Dec. 20. $15–$30. (703) 854-1856.

1ststagespringhill.org.

Holiday MeMories In this play adapted from short stories by Truman Capote, a younger version of the author, growing up in Depression-era Alabama, connects with his adult self and together, they reflect on memories from holidays gone by.

Tom Prewitt directs this edgy and heartwarming tale. Theatre on the Run. 3700 S. Four Mile Run Drive, Arlington. To Dec. 20. $10–$35. (703) 2281850. arlingtonarts.org.

an irisH carol The Keegan gang revives its popular Irish adaptation of Dickens’ holiday tale, featuring a pub owner called David instead of a banker called Scrooge. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To Dec. 31. $20–$40.

(703) 892-0202. keegantheatre.com. iT’s a wonderfUl life: a live radio play The classic holiday tale about hard work and forgiveness is transformed into a 1940s radio play in this holiday production. Actors collaborate with a sound effects man to tell the story of George Bailey, his family, and his guardian angel, Clarence. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To Dec. 6. $40–$50. (240) 582-0050. stageguild.org. kiss Me, kaTe Cole Porter looks to Shakespeare’s The Taming of the Shrew for inspiration in this

44 NOVEMBER 20, 2015 washingtoncitypaper.com

THe 33 The true story of the Chilean miners trapped underground for 69 days is told in this inspiring film adapted from Hector Tobar’s book Deep Down Dark. Starring Antonio Banderas, Rodrigo Santoro,

oliver! Arena’s artistic director Molly Smith directs this musical adaptation of Charles Dickens’ classic novel about an industrious orphan and the friends he meets in London. Classic songs from this show include “Consider Yourself,” “Where is Love?” and “Food, Glorious Food.” Arena Stage. 1101 6th St. SW. To Jan. 3. $64–$99. (202) 488-3300. arenastage.org.

and Juliette Binoche. (See washingtoncitypaper.com

pericles Joseph Haj, known for directing the Folger’s 2010 production of Hamlet, returns to tell the tale of the prince who gets washed out to sea, chased by a wicked king, and meets the love of his life, only to lose her again. Celebrated Shakespearean actor Wayne T. Carr stars in the title character.

Folger Elizabethan Theatre. 201 E. Capitol St. SE. To Dec. 20. $35–$75. (202) 544-7077. folger.edu.

information)

peTer pan: THe Boy wHo HaTed MoTHers In this radical retelling of Peter Pan, the boy who will never grow up gets a dark introductory story and viewers see a different side of the familiar character they know. George Mason University Center for the Arts.

4400 University Drive, Fairfax. To Nov. 22. $10–$15.

(703) 993-2787. cfa.gmu.edu.

CITY LIGHTS: THURSDAY

FilM

rodGers + HaMMersTein’s cinderella Handsome princes, wicked stepsisters, and glass slippers come together in this timeless musical about the power of true love and pumpkin carriages. Memorable songs from this musical treatment include “Impossible; It’s Possible” and “In My Own Little Corner. National Theatre. 1321 Pennsylvania Ave. NW. To Nov. 29. $58–$98. (202) 628-6161. nationaltheatre.org. sHear Madness Enjoy the record-breaking comedy whodunit that lets the audience spot the clues, question the suspects and solve the funniest murder mystery in the annals of crime, now celebrating 25 years at the Kennedy Center. Kennedy Center Theater Lab. 2700 F St. NW. To Dec. 31. $48. 202-4674600. kennedy-center.org. sHerlock HolMes Comedic actor David Arquette stars in this new adaptation of Sir Arthur Conan Doyle’s fictitious detective. Warner Theatre. 513 13th St. NW. To Nov. 22. $39.95–$119.95. (202) 783-4000. warnertheatre.com. sons of THe propHeT In this dark comedy by Stephen Karam, a man is forced to deal with his father’s death in a freak accident involving a plastic deer, an event that sends his life into a tailspin. From incompetent insurance providers to eccentric co-workers, he’s forced to take on all these tasks while holding on to his own sanity. Theater J. 1529 16th St. NW. To Dec. 20. $15–$67. (202) 518-9400. theaterj.org. war of THe newTs Natsu Onoda Power presents her new play, about a newly discovered amphibian species that can be trained to use tools, as part of the Czech Embassy’s Mutual Inspirations festival.

Davis Performing Arts Center at Georgetown University. 3700 O St. NW. To Nov. 21. $7–$18. (202) 687-3838. performingarts.georgetown.edu. winners and losers Two friends engage in lively debates about whether certain cultural icons (Kanye, the Berlin Wall, goat cheese) are winners or losers, a casual game that turns serious as their discussion topics begin to touch on privilege and class issues. Canadian performers James Long & Marcus Youssef star in this production they also created.

Woolly Mammoth Theatre. 641 D St. NW. To Nov. 22. $35–$68. (202) 393-3939. woollymammoth.net. world BUilders Two schizophrenia patients interact while participating in a clinical trial and fall in love while they fight to hold on to the fantasy worlds they’ve come to know in Johnna Adams’ play about unconventional romance and the lengths we’ll go to for love. Woolly Mammoth Theatre, Melton Rehearsal Hall. 641 D St. NW. To Nov. 21. $30–$35. (202) 393-3939. woollymammoth.net.

for venue information) THe sea Brad Pitt and Angelina Jolie star in n By this drama about a seemingly estranged couple who reconnect during their stay in a French seaside town. (See washingtoncitypaper.com for venue

HUnGer GaMes: MockinGJay parT 2 n THe Katniss and her company of fighters due battle with the autocratic Capitol in this final film in the Hunger Games series. Starring Jennifer Lawrence, Josh Hutcherson, and Liam Hemsworth. (See washingtoncitypaper.com for venue information) love THe coopers Four generations of a family come together for their annual Christmas Eve celebration and encounter random visitors and unexpected events that derail the party, only to be reminded of the reason for the season. Starring Diane Keaton, John Goodman, Ed Helms, and Marisa Tomei. (See washingtoncitypaper.com for venue information) My all aMerican A young man wins a scholarship to the University of Texas and leads the football team to a winning season, only to face an injury and the greatest challenge of his life in this film from the creators of Rudy and Hoosiers. (See washingtoncitypaper.com for venue information) niGHT Before Three longtime friends, n THe two of whom are Jewish, come together on Christmas Eve to find New York’s best party in this comedy starring Seth Rogen, Joseph Gordon-Levitt, and Anthony Mackie. (See washingtoncitypaper. com for venue information) secreT in THeir eyes A team of investigators n come together to fight back when one of their daughters is brutally murdered in this thriller starring Chiwetel Ejiofor and Julia Roberts. (See washingtoncitypaper.com for venue information) Investigative reporters at the Bosn spoTliGHT ton Globe discover decades of misdeeds by the Catholic Church and its priests in this drama based on true events. Starring Michael Keaton, Mark Ruffalo, and Rachel McAdams. (See washingtoncitypaper.com for venue information) TanGo Glories A reclusive octogenarian n breaks out of his institution with the help of his doctor and begins to connect with the outside world again through the art of the tango in this heartwarming drama from directors Oliver Kolker and Hernán Findling. Washington D.C. Jewish Community Center. 1529 16th St. NW. (202) 518-9400. dcjcc.org.

Film clips are written by Caroline Jones.

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/MIND, BODY & SPIRIT

Contents:

Adult ..............................................45 Auto/Wheels/Boat .....................46 Buy, Sell, Trade, Marketplace.................................46 Community...................................47 Employment.................................46 Health/Mind, Body & Spirit ...............................47 Housing/Rentals.........................46 Legals Notices ............................45 Music/Music Row ......................46 Real Estate...................................46 Services........................................46

Adult Services FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/MIND, Adult Phone BODY &Entertainment SPIRIT

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http://www.washingtonciLegals typaper.com/ MAMIE D. LEE, LLC REQUEST FOR PROPOSALS MATERIALS TESTING SERVICES AND THIRD PARTY INSPECTION SERVICES Bridges Public Charter School and Briya Public Charter School, through the Mamie D. Lee, LLC partnership, are seeking competitive proposals for Materials Testing Services and Third Party Inspection Services for a public charter school facility project. For a copy of the RFP, please contact Mr. Brenden Kollar of Brailsford & Dunlavey at bkollar@ programmanagers.com. All proposals must be submitted by 9:00am on Monday, November 23, 2015.

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★ In Merrilee Station Shopping Center ★

Classified Ads Print & Web Classified Packages may be placed on our Web site, by fax, mail, phone, or in person at our office: 1400 I (EYE) Street NW Suite 900 Washington, D.C. 20005.

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Apartments for Rent

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2015 ADM 1290 Name of Decedent: Estate of Ella Mae Wilson Name and Address of Attorney: Brian Gormley, Esq. 10605 Concord St., Ste 440 Kensington, MD 20895 Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs Ronnie E. Wilson, whose address is 11410 Mary Catherine Drive/ Clinton, MD 20735 was appointed Personal Representative of the estate of Ella Mae Wilson who died on August 21,2015 without a Will and will serve without Court supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment (or to the probate of decedent’s Will) shall be filed With the Register of Wills, D.C., Building A, 515 5th Street, N.W., 3” Floor, Washington, D.C. 20001, on or before 05/19/2016. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or filed with the Register of Wills with a copy to the undersigned, on or before 05/19/2016, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship.

Date of first publication: 11/19/2015 Name of newspaper and/or periodical: Washington Law Reporter Washington City Paper Personal Representative: Ronnie E. Wilson TRUE TEST copy Anne Meister Register of Wills Pub Dates: Nov. 19, 26, Dec. 3.

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Alfonso & Associates Consulting, Inc. seeking engineer to work in Washington, DC to maintain generation of electricity, chilled water, and steam to commercial and institutional buildings. Provide electrical energy management analysis; project analysis for coordination of electricity generating equipment. Resume to: 7925 Jones Branch Drive, Suite 5300, Tysons Corner, VA 22102.

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