Metro Weekly - 05-19-16 - Jose Carasquillo

EDITORIAL
EDITOR-IN-CHIEF
Randy Shulman
MAY 19, 2016

Volume 23 / Issue 3
ART DIRECTOR
Todd Franson
MANAGING EDITOR
Rhuaridh Marr
SENIOR EDITOR
John Riley
CONTRIBUTING EDITOR
Doug Rule
PRODUCTION ASSISTANT
Julian Vankim
Convoluted Caucusing
by John Riley
SCENE
14
Community Calendar
20th Annual Youth Pride Day
photography by Ward Morrison
CONTRIBUTING WRITERS
Gordon Ashenhurst, Sean Bugg, Fallon Forbush,
Sean Maunier, Troy Petenbrink, Kate Wingfield
WEBMASTER
David Uy
10
SENIOR PHOTOGRAPHERS
Ward Morrison, Julian Vankim
CONTRIBUTING ILLUSTRATOR
Scott G. Brooks
NEWS
FEATURE
16
Storyteller
Interview by John Riley

Photography by Todd Franson
SALES & MARKETING

PUBLISHER
Randy Shulman
NATIONAL ADVERTISING REPRESENTATIVE
Rivendell Media Co.
212-242-6863
DISTRIBUTION MANAGER
Dennis Havrilla
PATRON SAINT
Gabriel Garca Mrquez
COVER PHOTOGRAPHY
Todd Franson
METRO WEEKLY
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MAY 19, 2016
METROWEEKLY.COM
OUT ON THE TOWN
22
Group Dining
by Doug Rule
24
On The Hunt
by Doug Rule
MUSIC
31
Views by Drake
by Sean Maunier
OPERA
33
Siegfried and Twilight of the Gods
by Kate Wingfield
GAMES
36
Doom
by Rhuaridh Marr
NIGHTLIFE
39
Distrkt C at the DC Eagle
photography by Ward Morrison
46
Last Word
JULIAN VANKIM
LGBT
News
Now online at MetroWeekly.com
Eric Fanning Confirmed as Army Secretary

An online Tribute to Vicki Voxx
Fanning
Convoluted Caucusing
Getting elected as a D.C. delegate for this years Democratic National
Convention is a needlessly complex process
by John Riley
TS TOUGH RUNNING FOR A POSITION WHEN

most people dont even know theres a contest going on.
But thats exactly what John Fanning is up against, as
he seeks to become a delegate at this years Democratic
National Convention.
Ive asked several of my neighbors to vote for me, and they
tell me, John, we didnt even know there was a caucus, says
Fanning. Its not well-advertised, and I sense that the establishment candidates want it that way.
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MAY 19, 2016
METROWEEKLY.COM
An Advisory Neighborhood Commissioner for Ward 2,

Fanning has previously assisted other candidates with their own
grassroots campaigns, but has never personally run before. This
year, however, he hopes to be at the convention in Philadelphia
to cast a vote for former Secretary of State and New York Sen.
Hillary Rodham Clinton.
I thought it was fitting, because I am originally from New
York, Clinton was the Senator from New York, and its a historical moment in time, Fanning says, referring to Clintons
LGBTNews
potential to be the countrys first female head of state.
In total, D.C. has been allocated 46 delegates at the national
convention, but 26 are superdelegates distinguished party
leaders, elected officials and DNC members not bound to any
particular candidate. In addition and adding needless extra
confusion to the process members of the D.C. Democratic
State Committee select five at-large delegates, and two spots
are reserved for party leaders and elected officials who are
pledged to particular candidates.
As a result, only 13 district-level delegates, and one alternate, can actually be selected by the average D.C. Democratic
voter. Unlike New York, Rhode Island, Maryland, and other
states, where delegates appear on the ballot alongside the presidential contenders, with candidate preference clearly listed,
D.C.s selection process for delegates gets even more complex.
Voters must select who they want to represent them at
this summers national convention. Across the city, 60 people
have announced their intention to run as delegates pledged
to Clinton, while only 12 have announced their preference for
Sen. Bernie Sanders. Delegates are chosen at a caucus on May
21, nearly a month before D.C. voters cast their ballots in D.Cs
June presidential primary. The caucus is only open to registered
Democratic voters in the city, though the party does allow sameday registration.
If you havent dozed off yet, heres the gist: John Fanning has
to compete with 59 other people who also support Clinton for a
total of at most 13 slots. And it gets even more convoluted from
there. According to the D.C. Democratic Partys (overwrought)
process for delegate selection, seven of those 13 delegate slots
are allotted to people living in Wards 1, 2, 6, and 8, and six are
allotted to people living in Wards 3, 4, 5, and 7. Due to party
rules emphasizing gender parity, six slots are reserved for men,
and seven for women. The alternate slot will be reserved for a
male from Wards 3, 4, 5, or 7. As such, Fanning is competing for
one of three spots reserved for males from Wards 1, 2, 6 and 8.
The methods of selection are so oblique, the process so tangled,
its no wonder the average voter is clueless that theres even an
election.
Once the caucus results are finalized, the delegates are then
distributed based on the results of the June 14 primary. It is
likely that both Clinton and Sanders will meet the 15 percent
threshold for earning delegates, so the delegates will be split
proportionally, starting with the top vote-getters from the May
21 caucus based on both candidate preference and gender, and
moving subsequently down the list. Anything beyond a first- or
second-place finish on May 21 likely dooms a potential delegates chance of getting their ticket to Philadelphia. Not understanding how any of this actually works dooms them further.
The odds are daunting, particularly for those delegates
pledged to Clinton, a fact of which Fanning is fully aware.
My challenge is even more challenging, because I basically
have to try to finish second in order to be selected, he says.
Further complicating the process is that some candidates are
running as part of a slate though such information is not made
public by the D.C. Democratic Party. By becoming part of a slate,
candidates can shepherd votes from people who are in the
know about the slates existence towards themselves and their
allies. Fanning had previously approached other candidates,
such as Councilmember Jack Evans (D-Ward 2) and local activist Peter Rosenstein, about the possibility of running as a slate,
but they declined the offer, having already formed their own.
I would prefer voting for delegates on the ballot with the
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MAY 19, 2016
METROWEEKLY.COM
candidates on the day of the primary, as they did in Maryland,

says Fanning. I think the process would be promoted better.
The Board of Elections would be running the process, and not
the party. I hope in the future we could convince the party leadership to adopt that process.
Because he is not part of a slate, Fanning is focused mainly
on increasing turnout. In past years, it has been small: while the
caucus is technically open to all registered Democrats, fewer
than 200 voters typically participate. He has also floated the
possibility of bullet voting, where voters select only his name
from the list of male delegate candidates for Wards 1, 2, 6, and
8, and opt not to use their two remaining votes for other male
delegates.
Fanning has knocked on doors in his neighborhood, attended
local meetings of Democratic ward groups, traveled to all four
wards in the district and stood in front of Giant and Whole
Foods supermarkets to inform people of his candidacy. But he
also notes that his role as ANC Commissioner gives him a constituent base from which to recruit potential voters, providing
an edge over other non-elected delegate candidates.
Im promoting the whole process, he says. Everyone
should know about the caucus. [The Democratic Party] should
be bringing out young people, seniors, folks who are new to the
country who are registered to vote, bringing them all under the
blue tent.
The D.C. Democratic Party has set goals for allocating delegates to ensure that as many groups and constituencies as possible are represented. It has an affirmative action and inclusion
plan based on statistics for the overall population of D.C. Since
LGBT people are estimated to make up 13 percent of D.C.s population, the party hopes to have at least five of its 46 members
belong to the LGBT community.
Currently, there are seven openly gay men, including Fanning
and Rosenstein, running to be pledged delegates for Hillary
Clinton there are no openly LGBT people running to become
pledged delegates for Sanders. As such, if the party does not
meet its goals with superdelegates or through the delegate process, members of the D.C. Democratic State Committee could
opt to select LGBT citizens for the five at-large delegates who
will be sent to the convention. But such a development is certainly not guaranteed, meaning May 21 is the best and perhaps
the only way for LGBT candidates to guarantee themselves a
spot on the convention floor.
But whatever the outcome, Fanning is a loyal Democrat,
interested in ensuring the partys success this November. And
part of that lies in how successfully members of the party can
unite behind their nominee in the general election. Fanning
believes he can help mend fences and hurt feelings from this
years combative primary process, to help Democrats keep their
hold on the White House for the next four to eight years.
Most of my lifes work has been community organizing and
bringing people together, he says. I think its going to take
people like myself to bring Bernie Sanders supporters into the
Clinton camp in order to defeat Trump, or else he might win. l
The D.C. Democratic Partys Pre-Primary Caucus will take place
on Saturday, May 21, from 10 a.m. to 2 p.m., and then again from
9 p.m. to 10:30 p.m., at the Walter E. Washington Convention
Center, 801 Mt. Vernon Pl. NW, between 7th and 9th Streets.
Anybody who is a registered Democratic voter may vote in the
caucus during either time period. For more information, visit
dcdemocraticparty.org.
METROWEEKLY.COM
MAY 19, 2016
LGBTCommunityCalendar
Metro Weeklys Community Calendar highlights important events in the D.C.-area
LGBT community, from alternative social events to volunteer opportunities.
Event information should be sent by email to calendar@MetroWeekly.com.
Deadline for inclusion is noon of the Friday before Thursdays publication.
Questions about the calendar may be directed to the
Metro Weekly office at 202-638-6830 or
the calendar email address.
DIGNITYUSA sponsors Mass for
LGBT community, family and friends.

6:30 p.m., Immanuel Church-on-theHill, 3606 Seminary Road, Alexandria.
All welcome. For more info, visit dignitynova.org.
GAY LANGUAGE CLUB discusses

critical languages and foreign languages. 7 p.m. Nellies, 900 U St. NW.
RVSP preferred. brendandarcy@
gmail.com.
IDENTITY offers free and confidential
HIV testing in Takoma Park, 7676

New Hampshire Ave., Suite 411. Walkins 12-3 p.m. For appointments other
hours, call 301-422-2398.
THURSDAY, MAY 19
FRIDAY, MAY 20
SATURDAY, MAY 21
Iona Senior Services offers a seminar

on UNDERSTANDING PUBLIC
GAY DISTRICT, a group for GBTQQI

men between the ages of 18-35, meets
on the first and third Fridays of each
month. 8:30-9:30 p.m. 2000 14th St.
NW, Suite 105. For more information,
visit gaydistrict.org.
CHRYSALIS arts & culture group
SUNDAY, MAY 22
The DC Center hosts a monthly LGBT

ASYLEES SUPPORT MEETING
AND DINNER for LGBT refugees and
ADVENTURING outdoors group

hikes 8 strenuous miles with 2260
feet of elevation gain to Bear Church
Rock overlook in central Shenandoah
National Park. Bring lunch, beverages,
sturdy boots, bug spray, sunscreen and
about $12 for fees. Carpool at 9 a.m.
from East Falls Church Metro Kiss
& Ride lot; return by 7 p.m. Jay, 415203-7498. adventuring.org.
BENEFITS: BENEFITS AND

ELIGIBILITY FOR THE LGBTQ
COMMUNITY. 3:30-5:30 p.m. 4125
Albemarle St. NW. For more information, visit iona.org.

The DC Center holds a meeting of
its POLY DISCUSSION GROUP, for
people interested in polyamory, nonmonogamy or other non-traditional
relationships. 7-8 p.m. 2000 14th St.
visit thedccenter.org.
WEEKLY EVENTS
DC LAMBDA SQUARES gay and lesbian square-dancing group features
mainstream through advanced square
dancing at the National City Christian
Church, 5 Thomas Circle NW, 7-9:30
p.m. Casual dress. 301-257-0517,
dclambdasquares.org.
The DULLES TRIANGLES Northern
Virginia social group meets for happy
hour at Sheraton in Reston, 11810
Sunrise Valley Drive, second-floor
bar, 7-9 p.m. All welcome. dullestriangles.com.
IDENTITY offers free and confiden-
tial HIV testing in Gaithersburg,

414 East Diamond Ave., and in
Takoma Park, 7676 New Hampshire
Ave., Suite 411. Walk-ins 2-6 p.m.
For appointments other hours, call
Gaithersburg, 301-300-9978, or
Takoma Park, 301-422-2398.
US HELPING US hosts a Narcotics
Anonymous Meeting, 6:30-7:30 p.m.,

3636 Georgia Ave. NW. The group is
independent of UHU. 202-446-1100.
WOMENS LEADERSHIP
INSTITUTE for young LBTQ women,
13-21, interested in leadership development. 5-6:30 p.m. SMYAL Youth
Center, 410 7th St. SE. 202-567-3163,
catherine.chu@smyal.org.
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MAY 19, 2016
LGB PSYCHOTHERAPY GROUP for

adults in Montgomery County offers
a safe space to explore coming out
and issues of identity. 10-11:30 a.m.
16220 S. Frederick Rd., Suite 512,
Gaithersburg, Md. For more information, visit thedccenter.org.
The Institute of Current World
Affairs and the Center for
Transatlantic Relations host a conference on THE GEOPOLITICS OF
LGBT RIGHTS. Keynote speech by
Ambassador Randy Berry. 9 a.m.-1
p.m. Capitol Visitor Center, SVC
209-208, First Street and East Capitol
Street SE. For more information, contact Haley Aubuchon, 202-364-4068.
WEEKLY EVENTS
ANDROMEDA TRANSCULTURAL
HEALTH offers free HIV testing, 9-5
p.m., and HIV services (by appointment). 202-291-4707, andromedatransculturalhealth.org.
DC AQUATICS CLUB (DCAC) practice

session at Hains Point, 927 Ohio Dr.
SW. 6:30-8 p.m. Visit swimdcac.org.
METROHEALTH CENTER offers
free, rapid HIV testing. Appointment

needed. 1012 14th St. NW, Suite 700.
202-638-0750.
PROJECT STRIPES hosts LGBT-
affirming social group for ages 11-24.

4-6 p.m. 1419 Columbia Road NW.
Contact Tamara, 202-319-0422, laycdc.org.
SMYALS REC NIGHT provides

a social atmosphere for GLBT and
questioning youth, featuring dance
parties, vogue nights, movies and
games. More info, catherine.chu@
smyal.org.
METROWEEKLY.COM
holds bi-monthly potluck social on the

roofdeck of a Kalorama co-op overlooking downtown. 7 p.m. Bring dish to
share with 6 people; Chrysalis provides
beverages and paper goods. Kevin, 571338-1433. kgiles27@gmail.com.
asylum seekers. 5-7 p.m. 2000 14th St.

visit thedccenter.org.
WEEKLY EVENTS
p.m., and HIV services (by appointment). 202-291-4707 or andromedatransculturalhealth.org.
BET MISHPACHAH, founded by

members of the LGBT community,
holds Saturday morning Shabbat
services, 10 a.m., followed by Kiddush
luncheon. Services in DCJCC
Community Room, 1529 16th St. NW.
betmish.org.
BRAZILIAN GLBT GROUP, includ-
ing others interested in Brazilian culture, meets. For location/time, email

braziliangaygroup@yahoo.com.

session at Hains Point, 972 Ohio Dr.,
SW. 8:30-10 a.m. Visit swimdcac.org.
DC FRONT RUNNERS running/
walking/social club welcomes all

levels for exercise in a fun and supportive environment, socializing
afterward. Meet 9:30 a.m., 23rd & P
Streets NW, for a walk; or 10 a.m. for
fun run. dcfrontrunners.org.
DC SENTINELS basketball team
meets at Turkey Thicket Recreation

Center, 1100 Michigan Ave. NE, 2-4
p.m. For players of all levels, gay or
straight. teamdcbasketball.org.
WEEKLY EVENTS
LGBT-inclusive ALL SOULS
MEMORIAL EPISCOPAL CHURCH
celebrates Low Mass at 8:30 a.m., High

Mass at 11 a.m. 2300 Cathedral Ave.
NW. 202-232-4244, allsoulsdc.org.

session at Hains Point, 972 Ohio Dr.,
SW. 9:30-11 a.m. Visit swimdcac.org.
FIRST CONGREGATIONAL UNITED
CHURCH OF CHRIST welcomes all
to 10:30 a.m. service, 945 G St. NW.
firstuccdc.org or 202-628-4317.
HOPE UNITED CHURCH OF CHRIST

welcomes GLBT community for worship. 10:30 a.m., 6130 Old Telegraph
Road, Alexandria. hopeucc.org.
HSV-2 SOCIAL AND SUPPORT

GROUP for gay men living in the DC
metro area. This group will be meeting

once a month. For information on location and time, visit H2gether.com.
INSTITUTE FOR SPIRITUAL

DEVELOPMENT, God-centered new
age church & learning center. Sunday

Services and Workshops event. 5419
Sherier Place NW. isd-dc.org.
LUTHERAN CHURCH OF
REFORMATION invites all to Sunday
worship at 8:30 or 11 a.m. Childcare is

available at both services. Welcoming
LGBT people for 25 years. 212 East
Capitol St. NE. reformationdc.org.
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MAY 19, 2016
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METROPOLITAN COMMUNITY
CHURCH OF WASHINGTON, D.C.
services at 9 a.m. (ASL interpreted)

and 11 a.m. Childrens Sunday School
at 11 a.m. 474 Ridge St. NW. 202-6387373, mccdc.com.
RIVERSIDE BAPTIST CHURCH,
a Christ-centered, interracial, welcoming-and-affirming church, offers

service at 10 a.m. 680 I St. SW. 202554-4330, riversidedc.org.
UNITARIAN CHURCH OF
ARLINGTON, an LGBTQ welcoming-
NOVASALUD offers free HIV testing.

5-7 p.m. 2049 N. 15th St., Suite 200,
Arlington. Appointments: 703-7894467.
SMYAL offers free HIV Testing, 3-5
p.m., by appointment and walk-in, for

youth 21 and younger. Youth Center,
410 7th St. SE. 202-567-3155 or testing@smyal.org.
THE DC CENTER hosts Coffee DropIn for the Senior LGBT Community.
10 a.m.-noon. 2000 14th St. NW. 202682-2245, thedccenter.org.
and-affirming congregation, offers

services at 10 a.m. Virginia Rainbow
UU Ministry. 4444 Arlington Blvd.
uucava.org.
US HELPING US hosts a black gay

mens evening affinity group. 3636
Georgia Ave. NW. 202-446-1100.
UNITARIAN UNIVERSALIST
CHURCH OF SILVER SPRING
WASHINGTON WETSKINS WATER

POLO TEAM practices 7-9 p.m.
invites LGBTQ families and individuals of all creeds and cultures to join
the church. Services 9:15 and 11:15
a.m. 10309 New Hampshire Ave.
uucss.org.
Takoma Aquatic Center, 300 Van

Buren St. NW. Newcomers with at
least basic swimming ability always
welcome. Tom, 703-299-0504, secretary@wetskins.org, wetskins.org.
UNIVERSALIST NATIONAL
MEMORIAL CHURCH, a welcom-
WHITMAN-WALKER HEALTH
ing and inclusive church. GLBT

Interweave social/service group
meets monthly. Services at 11 a.m.,
Romanesque sanctuary. 1810 16th St.
NW. 202-387-3411, universalist.org.
MONDAY, MAY 23
WEEKLY EVENTS
DC AQUATICS CLUB (DCAC) practice session at Hains Point, 927 Ohio
Dr. SW. 7-8:30 p.m. Visit swimdcac.org.
DC SCANDALS RUGBY holds
practice, 6:30-8:30 p.m. Garrison

Elementary, 1200 S St. NW. dcscandals.wordpress.com.
GETEQUAL meets 6:30-8 p.m. at
Quaker House, 2111 Florida Ave. NW.

getequal.wdc@gmail.com.
HIV/AIDS Support Group for newly

diagnosed individuals, meets 7 p.m.
Registration required. 202-939-7671,
hivsupport@whitman-walker.org.
TUESDAY, MAY 24
The DC Centers GENDERQUEER DC
support and discussion group for people who identify outside the gender
binary, meets on the fourth Tuesday
of every month. 7-8:30 p.m. 2000 14th
St. NW, Suite 105. For more information, visit thedccenter.org.
WEEKLY EVENTS
ASIANS AND FRIENDS weekly dinner

HIV Testing at WHITMANWALKER HEALTH. At the Elizabeth
Taylor Medical Center, 1701 14th
St. NW, 9 a.m.-5 p.m. At the Max
Robinson Center, 2301 MLK Jr. Ave.
SE, 9 a.m.-4:30 p.m. For an appointment call 202-745-7000. Visit whitman-walker.org.
in Dupont/Logan Circle area, 6:30 p.m.

afwash@aol.com, afwashington.net.
DC AQUATICS CLUB (DCAC)
practice session at Takoma Aquatic

Center, 300 Van Buren St. NW. 7:30-9
p.m. swimdcac.org.
DC FRONT RUNNERS running/walkKARING WITH INDIVIDUALITY

(K.I.) SERVICES, 3333 Duke St.,
Alexandria, offers free rapid HIV

testing and counseling, 9 a.m.-4 p.m.
703-823-4401.

free, rapid HIV testing. No appointment needed. 11 a.m.-7 p.m. 1012 14th
St. NW, Suite 700. 202-638-0750.
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MAY 19, 2016
METROWEEKLY.COM
ing/social club serving greater D.C.s

LGBT community and allies hosts an
evening run/walk. dcfrontrunners.org.
THE GAY MENS HEALTH

COLLABORATIVE offers free HIV
testing and STI screening and treatment every Tuesday. 5-6:30 p.m.
Rainbow Tuesday LGBT Clinic,
Alexandria Health Department, 4480
King St. 703-746-4986 or text 571-2149617. james.leslie@inova.org.
HIV TESTING at Whitman-Walker

Health. At the Elizabeth Taylor
Medical Center, 1701 14th St. NW,
9 a.m.-5 p.m. At the Max Robinson
Center, 2301 MLK Jr. Ave. SE, 9
a.m.-4:30 p.m. For an appointment
call 202-745-7000. Visit whitmanwalker.org.
THE HIV WORKING GROUP of THE
DC CENTER hosts Packing Party,
where volunteers assemble safe-sex
kits of condoms and lube. 7 p.m.,
Green Lantern, 1335 Green Court
NW. thedccenter.org.
tial HIV testing in Gaithersburg,

414 East Diamond Ave., and in
Takoma Park, 7676 New Hampshire
Ave., Suite 411. Walk-ins 2-6 p.m.
Gaithersburg at 301-300-9978 or
Takoma Park at 301-422-2398.
KARING WITH INDIVIDUALITY

(K.I.) SERVICES, at 3333 Duke St.,
Alexandria, offers free rapid HIV

testing and counseling, 9 a.m.-4 p.m.
703-823-4401.
free, rapid HIV testing. Appointment

needed. 1012 14th St. NW, Suite 700.
202-638-0750.
OVEREATERS ANONYMOUS
LGBT focused meeting every

Tuesday, 7 p.m. St. Georges
Episcopal Church, 915 Oakland Ave.,
Arlington, just steps from Virginia
Square Metro. For more info. call
Dick, 703-521-1999. Handicapped
accessible. Newcomers welcome.
liveandletliveoa@gmail.com.
SMYAL offers free HIV Testing, 3-5

p.m., by appointment and walk-in, for
youth 21 and younger. Youth Center,
410 7th St. SE. 202-567-3155, testing@smyal.org.
SUPPORT GROUP FOR LGBTQ
YOUTH ages 13-21 meets at SMYAL,
410 7th St. SE, 5-6:30 p.m. Cathy
Chu, 202-567-3163, catherine.chu@
smyal.org.
US HELPING US hosts a support

group for black gay men 40 and older.
7-9 p.m., 3636 Georgia Ave. NW. 202446-1100.
Whitman-Walker Healths GAY
MENS HEALTH AND WELLNESS/

STD CLINIC opens at 6 p.m., 1701
14th St. NW. Patients are seen on

walk-in basis. No-cost screening for
HIV, syphilis, gonorrhea and chlamydia. Hepatitis and herpes testing
available for fee. whitman-walker.org.
WEDNESDAY, MAY 25
The DC Center hosts a monthly
meeting of its HIV PREVENTION
WORKING GROUP. 6-8 p.m. 2000

14th St. NW, Suite 105. For more
information, visit thedccenter.org.
THE TOM DAVOREN SOCIAL
BRIDGE CLUB meets for Social
Bridge. 7:30 p.m. Dignity Center,

721 8th St SE (across from Marine
Barracks). No reservations and partner needed. All welcome. 301-345-1571
for more information.
WEEKLY EVENTS
AD LIB, a group for freestyle conversation, meets about 6:30-6 p.m.,
Steam, 17th and R NW. All welcome.
For more information, call Fausto
Fernandez, 703-732-5174.
DC AQUATICS CLUB (DCAC) practice session at Hains Point, 927 Ohio

Dr. SW. 7-8:30 p.m. Visit swimdcac.org.
DC SCANDALS RUGBY holds
practice, 6:30-8:30 p.m. Garrison

Elementary, 1200 S St. NW. dcscandals.wordpress.com.
HISTORIC CHRIST CHURCH
offers Wednesday worship 7:15 a.m.

and 12:05 p.m. All welcome. 118 N.
Washington St., Alexandria. 703-5491450, historicchristchurch.org.
HIV TESTING at Whitman-Walker

Health. At the Elizabeth Taylor
Medical Center, 1701 14th St. NW,
9 a.m.-5 p.m. At the Max Robinson
Center, 2301 MLK Jr. Ave. SE, 9 a.m.4:30 p.m. For an appointment call 202745-7000. Visit whitman-walker.org.
tial HIV testing in Gaithersburg, 414

East Diamond Ave. Walk-ins 2-7 p.m.
Gaithersburg at 301-300-9978.
JOB CLUB, a weekly support pro-
gram for job entrants and seekers,

meets at The DC Center. 6-7:30 p.m.
2000 14th St. NW, Suite 105. For more
info, www.centercareers.org.
free, rapid HIV testing. No appointment needed. 11 a.m.-7 p.m. 1012 14th
St. NW, Suite 700. 202-638-0750.
NOVASALUD offers free HIV testing.

11 a.m.-2 p.m. 2049 N. 15th St., Suite
200, Arlington. Appointments: 703789-4467.
PRIME TIMERS OF DC, social

club for mature gay men, hosts
weekly happy hour/dinner. 6:30 p.m.,
Windows Bar above Dupont Italian
Kitchen, 1637 17th St. NW. Carl,
703-573-8316. l
METROWEEKLY.COM
MAY 19, 2016
13
scene
20th Annual
Youth Pride Day
Saturday, May 14
Dupont Circle
scan this tag
with your
smartphone
for bonus scene
pics online!
Photography by
Ward Morrison
14
SEE MORE PHOTOS FROM THIS EVENT AT WWW.METROWEEKLY.COM/SCENE
15
STORYTE
16
MAY 19, 2016
METROWEEKLY.COM
ELLER
Every few years,

Jos Carrasquillo
revisits D.C. to
remind us why our
theater scene is, in
fact, magical
Interview by John Riley
Photography by Todd Franson
I love telling stories,
says Jos Carrasquillo. I love talking about

people and what they go through on a daily
basis. Directing is the way I can allow my
storytelling ability to flourish.
The 55-year-old began directing his own
shows with imaginary players as a child.
After studying theater in college, he bounced
around for a bit, before settling in D.C. for
the better part of 25 years, fulfilling a goal
of becoming a theatrical director. Twelve
years ago, Carrasquillo moved back to his
native Puerto Rico, where, until recently he
ran a guesthouse for tourists. That business
allowed him the flexibility to direct one or
two shows each year.
With two of his productions being
staged at local theaters The Body of an
American at Theater J, and El Paso Blue at
GALA Hispanic Theatre Carrasquillo has
made a brief return to the city that initially
embraced his aesthetic, which he likens to
the magic realism made famous by the
works of Colombian writer Gabriel Garca
Mrquez.
Garca Mrquezs work is one of the reasons I ended up working in theater, he says.
That was the literature I grew up with as a
child. When I went to school, I was always
attracted to the things that were adaptable
that didnt exist. I was able to tell those
stories, they came very easy to me. I became
known as the director who can make people
fly on stage or who can do stories underwater. I became known early on as a magic
realist.
Carrasquillo hopes to resettle in
Washington and continue directing parttime, but work in theater can be sporadic
even with more than 80 theaters in the
D.C. area. Rarely do I ever get called by
METROWEEKLY.COM
MAY 19, 2016
17
somebody and assigned a play, he says. Thats not how I work,

he says. About ten times a year, I pitch an idea to a theater about
something I want to do for a number of reasons. They listen to
me, theyre very polite. And then I dont hear from them at all
for sometimes years, until I get a call and they say, Remember
that story you pitched? We want to put it in the season two years
from now. Get your people, start working on it.
Working on a show can be a long and intensive process,
which is why Carrasquillo fully absorbs himself when mounting a production. To ensure hes being true to the play, he often
consults with the playwright, then studies the geography, the
culture, the speaking mannerisms and the backgrounds of his
characters to know how he can best portray them. Its another
reason why he prefers to work on only one or two shows a year.
One show takes me hundreds of hours, he says. It takes
me years of work, maybe one-and-a-half to two years of very
intense work. And I dont want to shortchange any particular
show because Im doing a million other things.
Carrasquillo believes Washington is unlike any other theater
market in that its participants are supportive, compassionate,
even welcoming.
In a lot of other markets, people want you to fall flat on your
face, because it will be one less person to compete for a spot, he
says. In D.C., people hire you and allow you to fail without the
repercussions of being labeled a bad director, or things like that.
Theres always somebody who will extend their hand and say,
Get up. Lets do the next show. And thats a really comforting
thing, because thats how you grow as an artist.
METRO WEEKLY: Talk a bit about your childhood.
JOS CARRASQUILLO: I was born and raised in Puerto Rico. I had
a very happy childhood, an incredible family. I grew up among a

lot of people who were musicians, poets and storytellers. I was
very artistic.
MW: In what ways were you artistic?
CARRASQUILLO: I was a loner. I really always have been. One of
the things, very early on, that my mom gave me was a box theater piece thing. It was like a stage that came in a box, and it had
little slats where you could stick little figures. It was a theater
box, and I created my own stories. I played with that for hours
and hours, just creating and disappearing into my own world. So
today, when parents tell me their kids have imaginary friends, I
know exactly what that is. As a kid, I loved reading and read a lot
of literature and works that people dont read until much later.
And all of that was really because of my mom. I was really very
close to her and she gave me this world that was unbelievable,
and to me, that was plenty. It gave me a wonderful base in life.
MW: What was it about the mainland United States that made you
stay here for 25 years?
CARRASQUILLO: Thats a complicated thing. Back then, when I
came from Puerto Rico, the whole idea of a person being openly
gay was still in its infancy. We were about thirty years behind
the United States. I was always supported by my mom and by my
family, but here, in the United States, one of the things I loved
about it was I found a lot of people like me, whereas [back home],
there were no people like me. I didnt fit the notion of what a gay
man was in their eyes, because to them, it was guys who wore
dresses. And when I came to the United States, it turns out that
most gay and lesbian people are exactly like you and I. Its like,
Wow, this is incredible.
MW: When did you come out?
CARRASQUILLO: I didnt ever come out. I was always out. That
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MAY 19, 2016
METROWEEKLY.COM
The major thing was, of course

decimated so many people. And th
WE EITHER DID TH
whole notion of telling the world, Im a gay man, I never
went through that.
MW: But did people know you were gay as a child?
CARRASQUILLO: My mom did, and we talked about it. My grandparents knew. They just really always knew. It wasnt until I
was an adult that I could really formulate thoughts about my
sexuality and what that meant psychologically. But that wasnt
coming out. That was just part of our everyday conversations
that we would have.
When I came to D.C., one of the things that was very appealing to me was that, when I got here in 85, not only did I make
a large, extended group of friends, but also, D.C. was beginning
to be a very fertile ground for theater. And I benefitted tremendously from that. It was a time of a lot of activism, and a time of
finding my aesthetic as an artist. It turns out that coming out,
and embracing a specific aesthetic, a queer aesthetic, and being
political, was something I learned when I came to D.C. Because
there was so much going on.
The major thing was, of course, the HIV/AIDS epidemic that
decimated so many people. And that made activists out of all of
us. We either did that, or we died. It made us politically aware
in ways that we were not before, because it was pretty clear that
the government didnt care, so we had to take care of each other.
The Whitman-Walker Clinic, which now we take for granted,
was really the work of a lot of men who had this notion that, if
we dont do this, no one else is going to, so we have to care for
each other.
MW: Did you get involved in any other political things when you
came here?
CARRASQUILLO: ACT UP. Socially, one of the things I did was
I immediately started running with DC Front Runners. That
organization changed my life in many ways. It not only gave me
an intro into a healthy world how to eat right, how to exercise
but it gave me a network of friends, many of whom were losing
loved ones. we became very political. We marched everywhere
on the east side of the United States. Every time there was a
march, wed be there.
But there were also things we did that began to change the perception of how gay men saw themselves here in the city. We started a memorial in Rock Creek Park, to plant trees for every member
that we lost. And today, I still run by that little group of trees, and
I know exactly all the friends I lost. Things like that are forever.
Politically, the problem with the disease was that it was just a
bad label to brand all of these people with. It wasnt. And today,
many people are living with HIV. Its not how it was before.
MW: What would you say is a trademark characteristic of your
work?
CARRASQUILLO: If you see the body of my entire work, there are
certain things that are my signature. For instance, I dont do realism very well. What I typically rely on more is the imagination
of the audience. You stimulate it, and they just go with you. So a
lot of the work that I do is either driven by the words, the actors
or movement.
The show playing at Theater J is an example of the kind of
work I do. And an interesting thing about that work, The Body
of an American, is that when you check the other productions
se, the HIV/AIDS epidemic that

hat made activists out of all of us.
HAT, OR WE DIED.
of the play I think were the fifth or sixth production every
other production has been set more realistically. Mine isnt.
Theres no props. Just two actors, two stools. Thats it. Let the
actors do the work, let the actors tell the story.
Another example of how magic realism and the kinds of stories I do informs my work. There are two guys, buddies, after
one gets out of jail, searching for his wife and his father. And
both couples are on stage all the time, they just cant see each
other. There are times when theyre literally on two chairs doing
this. And I decided I didnt want to do that. How then do you
manifest movement that would let us know that youre in a car.
Well, were going to do line dancing. And that will be wonderful, because its exciting, and it doesnt keep the actors static on
stage. So were going to dance. Thats where the magic comes
from. Thats magic realism at its best. You just take what is written the audience will get it, that theyre driving. Its a lot of
stuff about faith and fate in the play, and all of that is magic realism. Its other-worldly. The characters dont understand it, but
they feel the presence of that in their lives, and how they see it.
MW: What else have you learned from your years as a director?
CARRASQUILLO: That in addition to being storytellers, were doing a
play, and our main goal should be to serve the play. Not to serve how
we think it should be done, but to serve it as the playwright wrote
it. The guy who wrote The Body of an American is Dan OBrien,
an Irish playwright, a beautiful, stunning writer. Hes a poet. And
what is interesting is that when he and I talked on the phone about
this work, what an amazing, enlightening conversation that was.
First, because he asked me, Why do you want to do the show?
And my response was:
Two actors, two stools. It
just doesnt get any better
than that for me. And he
said, Oh my God, thats
why I wrote it. I wrote
it just like that, but all of
the other productions
have treated it more like
realism, so theres hotel
rooms and all of this, and
all of that. None of that.
And then he asked me what I thought the play was about. And I
launched into a 40-minute monologue on it.
MW: What would you say it is about?
CARRASQUILLO: Thematically, the play is about learning to forgive
ourselves for things we have done in the past that have affected
other people. In this case, a journalist, who is a war photographer, took a photograph in 1993 of a soldier being dragged
through the streets of Mogadishu. And he carries such a guilt, a
weight, over having taken the photo. It basically haunts him. He
heard the voice of the soldier, the moment he took the picture.
Dont do this. Because if you do this, I will own you forever.
You see 19 years in the life of these two people: the photographer and the playwright, who many years later, listened to a podcast of Terry Gross Fresh Air. He was listening to it because
the photographer had written a book about his experiences and
specifically about the photograph. Now, the playwright is writ-
We started a memorial in Rock Creek Park, to

plant trees for every member that we lost. And
today, I STILL RUN BY THAT LITTLE GROUP
OF TREES, AND I KNOW EXACTLY
ALL THE FRIENDS I LOST.
ing a play about ghosts that haunt people. And the second he
hears the podcast, he begins to track down the photographer.
In doing so, they develop a friendship that lasts many, many
years. To this day, theyre good friends. And it turns out, not
only is Paul Watson, the photographer, dealing with the ghost
that haunts him, but in becoming friends with Paul Watson, Dan
OBrien is able to deal with the ghosts that haunt him.
I was talking to Dan about what I thought the play was about.
At the end of the discussion, I said, Dan, please call the theater
in five minutes, because I cannot wait until tomorrow. Im living
with this show day and night, and it would just kill me. I havent
slept in days, and I really need to know if you want me to do
this. And he said, Oh, no, relax. I want you to do it. But the
show is a love story. You have to treat it as one, or it wont work.
It was truly unbelievable, because its two straight dudes. But
it turns out he was absolutely right. The two men have never
METROWEEKLY.COM
MAY 19, 2016
19
MW: Whats the most compli-
cated part of staging a play?

It depends.
There are many, many areas
of a production. And because
each play, and each team, and
each theater is different, there
are areas that are very difficult
to do a specific play. For example, The Body of an American,
the most difficult thing was
to cast it. And it took months.
You needed two actors whose
chemistry on stage had to be
there. I saw many, many great
actors, actors I love and want
to work with. There were a
lot of choices to be had. But
the second these two actors
walked into the room, it was
like, Okay. There you go.
Because it has to be about the
chemistry. That was the most
difficult thing. Everything else
Eric Hissom and Thomas Keegan in The Body of an American
was easy.
found friends or anybody they can talk to or relate to, the way
At GALA, this is a very, very complicated story, El Paso Blue,
they do to each other, and therefore they become essential to based on a classic that people know. It has music, dance, actors
each others lives. That was illuminating to me.
singing, all of that, with a company that has a history of 40 years,
MW: Tell me more about your show at GALA.
and they do very strong work. But when you are at GALA, you
CARRASQUILLO: That other show that Im doing is called El Paso
have to do a lot of the work yourself. Theres not a staff doing this
Blue. It takes place in Texas. Ive been wanting to do that show and that. A lot of that falls to the director to re-execute and direct
since 1997. The second I read the show, I immediately began and guide people to do it. In that sense, you have to come ready
pitching it here, because I thought it would be a great story to to do a lot of work, and a lot of work in areas where you may not
tell. Theaters were not interested.
be as seasoned. I could use a musical director, a choreographer,
The writer is Octavio Solis, one of the foremost second- which I dont have. Im tapping into friends and people that
generation Latino writers. While I think they admired the can come and help me realize my vision. And sometimes that
writing, back in 1997 many theater producers maybe saw him is the best definition of community theater, where everyone is
as Oh, hes a Chicano writer, that kind of story might not inter- invested in telling the story.
est people here, because were more of this region. What I MW: What would you say your greatest success was?
love about Octavios work is he takes a classic, the Oedipus Rex CARRASQUILLO: The most successful play Ive ever done was
idea, and sets it in a contemporary setting, in this case, El Paso, Samuel Becketts Happy Days. I did that three or four years ago
Texas, which happens to be where Octavio was born. If I could with an actress named Delia Taylor. I directed it, and I was in
make a comparison, hes probably the Latino equivalent of Sam it with her. It has to be the most fulfilling thing Ive ever done.
Shepard. its just a land which is sexual and sensual and raw and Beckett is work that Ive studied, work that I love, not work that
very culturally specific. But in this case, its also a very feminist I wish to do on stage. Its too difficult, its too important, and I
play. I just love the play, Im having so much fun with it.
feel like I sometimes dont have the tools to do it. I got into it
MW: What attracted you to it?
because Delia wanted to do it, and she and I are artistic soulCARRASQUILLO: Its just the beautiful language. And again, the fact mates. It turned out that our production was a very sincere and
that that particular story, that particular setting, were not famil- honest production. So Im very proud of it.
iar with here. The story is very much Oedipus Rex. In this case, a
Very early on in my career, I did a show called Patient A,
guy goes to jail. He gives his wife to his father to take care of her based on the story of one woman who died of AIDS. She believed
for a year. When he comes out of jail a year later, the old guy and that her doctor gave her the HIV virus in the dentists chair. That
the girl have run away, they become lovers. That was an inter- was a very controversial play for its time. It was very powerful.
esting setting for the classic. Texas is very much almost its own And in D.C., it was the production that made me. Because we
country. El Paso is a border town, theres many different cul- were at a time I think it was around 1992 when there was so
tures, and they are all explored in this play. I just thought, What much politics, and finger-pointing, and blaming. This was a very
an amazing setting, and what a beautiful set of characters.
honest show that tried to look at AIDS/HIV from many points
When you read a play sometimes, you know that the play- of view, and the production was just a great, great play to have
wright is eloquent and has a distinctive voice, has talent. In the this kind of conversation. And again, very theatrical. No props,
case of Octavio, its that each of those characters sounds so dif- nothing. Just three actors on stage.
ferent. Sometimes you read a play and the voice of the characters
There are other things. I love comedy, I just dont get to do
seems very much similar to the rhythms of the play. Not here. it that often, because comedy is very hard. Theres a little show
Each person is distinctive, and thats whats exciting.
I did at GALA a couple of years ago called The True History of
STAN BAROUH
CARRASQUILLO:
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MAY 19, 2016
METROWEEKLY.COM
Coca-Cola in Mexico. I love that show.

MW: Whats hard about doing comedy?
CARRASQUILLO: Directors who are good at it, they just look at a
sentence, and know how to build it, lay it out, and land it. Its
a formula. Its second-nature. I dont have that. I have to work
very hard on it. This play at GALA is a comedy, and Im terrified
of it. And yet I have very good actors who, during the rehearsal
process, are completely willing to make total asses of themselves
until we find where it lands, and whats funny, and that they
understand it, and make it organic so it really works within
the characters and what theyre doing. Comedy has a different
drive and energy than regular drama. You need to understand
that. When jokes are flying, are they staggered? Are
they building to a bigger
joke? What are they revealing about the character? And
then you have to make certain that youre not going so
out there that youre not creating stereotypes, because
the jokes are really not being
felt or being delivered from a
place of the heart, that youre
just playing a type or whatever. For all of those reasons,
its really, really difficult. I cant tell you how much I admire
comedians, people who do stand-up, and people who can take a
play and elevate it to the next level because they understand the
levity of what comedy does and how its supposed to function.
MW: What is a play that you havent done yet that youd like to direct?
CARRASQUILLO: Oh, wow. Thats a good question. Im 55 now, and
I have a bucket list. Theres so many of them. I would love to do
The Crucible. I think it is one of the greatest pieces of theater. Id
like to do some Tennessee Williams.
MW: A Streetcar Named Desire, maybe?
CARRASQUILLO: Interestingly, no. There are others that are better placed. I love Streetcar, but I think The Glass Menagerie is
an astonishing piece of theater. And also, he wrote a play called
Camino Real. Thats the one I want to do. Because again, its a
sufrio, magic realism. Id love to do A Long Days Journey into
Night, by [Eugene] ONeill, because when you think of giants
of the American theater, you cant speak without mentioning
him. And that play, which was not supposed to be produced,
is as good as it gets. The whole fucking four hours of it means
something. There is not one word that is not meant to be spoken.
MW: Are there any actors you really want to work with?
CARRASQUILLO: Yes. Sarah Marshall is at the top of the list. Holly
Twyford would be second. Ive been really lucky with male
actors, because Ive worked with so many big D.C. stars. Jerry
Whiddon, Id love to work with him I think hes a phenomenal actor. I would give my life to work again with the two I just
worked with in Theater J Eric Hissom and Thomas Keegan.
Theyre the best. Thats an incredible gift, to know, as a director, youre working with two actors at the top of their game,
and theyre giving you their body and soul. Thats incredible. If
I could ever find work for them, where we could work together
again, I would do that in a heartbeat.
Craig Wallace is another. Fords Theater, every year, does A
Christmas Carol. For the first time ever, they will have a black
Scrooge, Craig Wallace. Ive never seen it, because its really not
my thing, but this year I will see it. That man is so sensational.
MW: Do you think D.C. has the kind of theater reputation that a
place like New York does, at least nationally?

CARRASQUILLO: Let me tell you the reality of it. Actors here make
more money than actors in New York. In New York, they get
paid very little. What people make here for a show in a professional theater company is a lot more than what they make in
New York. So that word is out. Many people come here because
they love the community. Its not a secret anymore. The [actors]
union has, I bet, over 1,000 actors in this region. Thats a lot of
actors. Theyre working professionally, not only in theater, but in
film work, and commercial work, and theyre doing voiceovers.
New York is a different thing, because people view Broadway
and that kind of potential project as the highlight of American
Im tapping into friends and people that can

come and help me realize my vision. And
sometimes THAT IS THE BEST DEFINITION
OF COMMUNITY THEATER, WHERE
EVERYONE IS INVESTED IN
TELLING THE STORY.
theater. It isnt. Its the highlight for producers when a show like
Hamilton happens. But those are only 1 in 20. Where the real
work happens has always been in regional theater. Its been in
Seattle, its been here, its been in Chicago. And a lot of things
that happen in New York were first tested elsewhere. There
was a show called Photograph 51, which had a workshop at Joes
Dance Emporium in Maryland. Then it had a world premiere at
Theater J. That show went to London. Nicole Kidman was in it.
Its now coming to Broadway with Nicole Kidman in it. Thats
an example of a show that in New York would not have been
workshopped and produced and given the care that it needed
before it opened at that level. But it started here. Arena has
done work, Woolly continues to do world premieres and work
theyve developed, and so on. Were not only a theater town,
were fertile ground to do work that really means something at
a national level.
One of the reasons I want to be here, want to come back here,
is I think D.C. is the best theater town in the entire country.
Theres nothing like it. Its very tight. Its like an extended family
of people. And its a very loving town in that way. When people
come from the outside, and they dont play by our rules, theyre
not liked. Thats just the way it is. And that means something
to me when I see actors who come to view each others work,
and theyre there for people, and hug each other, and say, Good
work. That is just tremendous. That sometimes doesnt happen in other places, because other places are more competitive.
People think: If youre on stage, and I didnt get the part, then
you are taking my job and I hate you for it. Not here. l
The Body of an American runs through May 22 at Theater J,
located at the Washington, D.C. Jewish Community Center, 1529
16th St. NW. To purchase tickets or for more information, visit
washingtondcjcc.org.
El Paso Blue opens on June 2 and runs through June 26 at GALA
Hispanic Theatre, 3333 14th St. NW. For tickets or more information, visit galatheatre.org.
METROWEEKLY.COM
MAY 19, 2016
21
MAY 19 - 26, 2016
Compiled by Doug Rule
SPOTLIGHT
WARD MORRISON
ANJAL CHANDE AT
SMITHSONIANS CROSSLINES:
CULTURE LAB
Chefs and participants at Chefs Best 2015
Group Dining
Chefs Best is a signature event for Food & Friends and

philanthropic foodies
EBORAH PEEPLES MAY HAVE ONLY SIGNED ON LAST FALL TO BE THE CHIEF
development officer at Food & Friends, but she has long been invested in the cause.
My late husband rode in the first AIDS Ride in 97 from Philly to Washington, and
then he rode in subsequent ones, Peeples says. Ive been raising money in the community for
a really long time, with a lot of other really wonderful nonprofits.
Peeples couldnt pass up the chance to work for Food & Friends, which is known for providing meals and nutritional services to those suffering from HIV/AIDS, cancer and other lifechallenging illnesses. The organization is also known for several annual fundraisers that tug at
the hearts and appeal to the stomachs, including Chefs Best, set for Monday, May 23.
Now in its 26th year, Chefs Best highlights the restaurant community, which, says Peeples,
has been incredibly supportive of Food & Friends from its very beginning days. The event has
grown in tandem with the rise in the regions restaurant scene, as many of todays nationally
recognized chefs and mixologists take part. Last years 25th anniversary event raised $1 million,
a figure the organization hopes to match this year.
Michael Friedman of The Red Hen and All Purpose Pizzeria is the Celebrity Chef Chair,
recruiting a total of 38 chefs and mixologists from restaurants throughout the city, including Amy Brandwein of Centrolina, Patrick Curran of Momofuku, Salvatore Ferro of the Old
Ebbit Grille, Louis Goral of Rural Society, Anthony Lombardo of The Hamilton, Joe Palma of
Bourbon Steak and Ed Scarpone, DBGB Kitchen & Bar. The event, held this year at the National
Building Museum, also offers a silent and live auction, including far-flung trips, one-of-a-kind
experiences and private dining opportunities.
Its a wonderful evening if youre at all inclined to being a foodie, says Peeples. For people
looking to be part of a community, and part of a communitys solution, coming out to be Chefs
Best is just a really great night of what we call food, fun and philanthropy. Doug Rule
Chefs Best is Monday, May 23, starting at 6:30 p.m., at the National Building Museum, 401 F St.
NW. Tickets are $350. Call 202-269-2277 or visit foodandfriends.org.
22
MAY 19, 2016
METROWEEKLY.COM
As part of a celebration of its multigenre convening Crosslines: A

Culture Lab on Intersectionality,
the Smithsonian presents an original
dance piece by contemporary Indian
dance artist Anjal Chande. A commission of the Smithsonian Asian
Pacific Center, Out of the Shadows:
A Colored Solidarity is a contemporary bharatanatyam dance work that
spotlights two feminist figures, based
on the research of Nico Slate: Indian
activist Kamaladevi Chattopadhyay
and often-overlooked American queer
activist Pauli Murray, who exemplifies the cross-pollination between
Indias independence movement and
Americas civil rights movement from
the late 19th century to the 1960s. All
told, more than 40 artists and scholars
will offer performances, lectures and
activities presenting new perspectives
on identity, including internationally
renowned painter Roger Shimomura
and local artists SuperWaxx and No
Kings Collective. Crosslines runs
Saturday, May 28, and Sunday, May
29, from 10 a.m. to 9 p.m. Arts and
Industries Building, 900 Jefferson Dr.
SW. Call 202-633-1000 or visit smithsonianapa.org.
BARD IN THE PARK: THE

MERCHANT OF VENICE, WEST
SIDE STORY
As part of its 400 Years of

Shakespeare celebration, Folger
Theatre teams up with the Capitol
Riverfront BID to offer two free outdoor screenings of Hollywoods best
takes on the Bard. First up, Al Pacinos
bold, uncompromising 2014 take on
The Merchant of Venice, the first fulllength filmed version of Shakespeares
problem play since the silent era.
The next night offers one of the greatest musicals, Robert Wise and Jerome
Robbinss 1961 West Side Story, a take
on Romeo and Juliet with classic, glorious music by Leonard Bernstein and
a book by Stephen Sondheim. The
Merchant of Venice screens Saturday,
May 21, and West Side Story on
Sunday, May 22. Actors from Folgers
upcoming production of District
Merchants will introduce each film,
which screen at sundown (a little after
7:30 p.m.) Canal Park, 200 M St. SE.
Free. Call 202-544-7077 or visit folger.
edu for more information.
CAPITAL REEDS AT GOURMET

SYMPHONYS SALOON CONCERT
SERIES
MELVIN SIMON PRODUCTIONS, TWENTIETH CENTURY FOX FILM CORPORATION
Created last year partly to shake up

how people experience and engage
with classical music, the Gourmet
Symphony presents another culinary-inspired concert. American
Roots & Reeds, part of the Saloon
Concert Series, features barbeque on
the garden patio at Beucherts Saloon
on Capitol Hill paired with artisanal
craft beers and meads from Atlas Brew
Works and Charm City Meadworks.
D.C. chamber ensemble the Capital
Reeds performs and shares insights
into a few short pieces by American
composers. Wednesday, May 25, starting at 6 p.m. Beucherts Saloon, 623
Pennsylvania Ave. SE. Tickets are $45,
including spirits tastings paired with
custom small plates. Call 202-733-1384
or visit gourmetsymphony.org.
IRELAND 100: CELEBRATING

A CENTURY OF IRISH ARTS &
CULTURE
Scavenger Hunt (1979)
On
The
Hunt
United Social Sports Hunt DC is a fun way to sightsee or a good
excuse to day drink
OMETIMES, ITS IMPORTANT TO REMEMBER THAT WASHINGTON ISNT

all monuments and landmarks. Theres a lot to see in the nations capital and
thats a core part of Hunt DC, a three-hour city-wide scavenger hunt organized by
local adult sports company United Social Sports.
The Hunt is really everyones opportunity to take advantage of the great city that we
live in, says Christina Rheault.
And for the fifth annual event, Rheault, events manager at USS, opted to create three
different sightseeing routes. In addition to the monument-heavy DC Treasures, theres
also a CHAW Art Trek, to look for the animal sculptures on street signs in the Capitol
Hill neighborhood, and a Boozy Bar Route.
For people who want to do a little day drinking, they can just take that route,
Rheault says. You can do a little hunting, and stop and get a drink, and then hunt again.
Teams earn 50 points per receipt from participating bars.
Choosing a different route is meant to add to the fun of the hunt, which features over
100 clues that people can seek out. The winning team will earn a $1,000 travel voucher.
But just as with USS, which offers amateur leagues in nearly every sport or pastime you
can imagine for people from all walks of life, the focus is more on camaraderie than competition. This town has enough of that as it is.
Cementing that idea is an evening block party just down from the Southwest
Waterfront Metro stop. It features lawn games, music from the Brass Connection Band
and DJ Phil, plus local food trucks and a Bud Light truck pouring booze.
Hunt DC is for anyone who just needs to relieve some stress because they work so
hard five or six or seven days a week, Rheault says. Its a great opportunity to be able
to bring people together to just have fun and play. Doug Rule
Hunt DC 2016 is Saturday, May 21, starting at 11 a.m., at 401 M St. SE. Tickets are $39 in
advance, or $55 day-of, or $175 for a team of six. Call 202-290-1969 or visit huntdc.com.
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MAY 19, 2016
METROWEEKLY.COM
The Kennedy Center presents this

major festival commemorating the
100th anniversary of the 1916 Easter
Rising that led to Irelands independence. Curated by Alicia Adams, the
centers vice president of international programming and dance, some
of Irelands best contemporary musicians, dancers and theater companies
will be on tap, as well as other events,
from a literature series to documentary screenings to installations.
Upcoming highlights include: Uilleann
pipe players Gay McKeon, Emmett
Gill and Amy Campbell with Irish flutist Catherine McEvoy, on Friday, May
20, at 6:30 p.m., and Saturday, May 21,
at 1:30 p.m. and 6:30 p.m.; world-class
opera singers mezzo-soprano Tara
Erraught and Anthony Kearns of the
Irish Tenors, on Monday, May 23, at
7 p.m.; a multidisciplinary solo show
from Riverdance dancer/co-choreographer Colin Dunne, on Tuesday, May
24, at 6:45 p.m.; a culinary demonstration and lecture drawing on the
Irish roots of Restaurant Eves Cathal
Armstrong, on Wednesday, May 25, at
6 p.m.; and a full-length duet between
Riverdance dancer/co-choreographer
Jean Butler and composing cellist Neil
Martin, on Thursday, May 26, and
Friday, May 27, at 7 p.m. Festival runs
to June 5. Call 202-467-4600 or visit
kennedy-center.org.
MAGNETIC ZEROS WITH

PRESERVATION HALL JAZZ BAND
Wolf Trap kicks off its outdoor season with an unexpected and intriguing
double-bill, featuring a quirky, unconventional psychedelic-folk 10-piece
band from L.A. led by Edward Sharpe
and an exuberant yet tradition-minded big-band jazz septet from New
Orleans. Wednesday, May 25, at 8 p.m.
The Filene Center at Wolf Trap, 1551
Trap Road, Vienna. Tickets are $25
to $50. Call 877-WOLFTRAP or visit
wolftrap.org.
RUBY CORADO, MESHELL

NDEGEOCELLO AT ASTRAEA
FOUNDATION AWARDS
Aa part of its multi-year, multi-million dollar global grassroots funding

campaign Fueling the Frontlines, the
Astraea Lesbian Foundation for Justice
will honor the LGBT women of the
Obama Administration as well as Casa
Ruby founder Ruby Corado. Grammynominated Meshell Ndegeocello
will offer a special performance.
Wednesday, May 25, at 6:30 to 9:30
p.m. LongView Gallery, 1234 9th St.
NW. Individual tickets are $200, or
$100 for Next Generation attendees
under 35. Call 202-232-4788 or visit
astraeafoundation.org.
RUPAULS DRAG RACE:

BATTLE OF THE SEASONS
The 2016 Extravaganza Tour features

most of the drag acts who have become
famous thanks to RuPauls hit show.
Michelle Visage hosts and Pearl offers
an opening DJ set for this all-queen
show, including Adore Delano, Alaska
Thunderfuck, Courtney Act, Ginger
Minj, Miss Fame, Phi Phi OHara and
Violet Chachki. Saturday, May 21.
Doors at 8 p.m. 9:30 Club, 815 V St.
NW. Tickets are $37.50. Call 202-2650930 or visit 930.com.
TENNESSEE LOVELESS:
THE ART OUTSIDERS
The Chicago-based drag and contemporary artist will unveil a new exhibit
at Restons ArtInsights Gallery. The
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MAY 19, 2016
Art Outsiders is a portrait collection of

influential creators who have changed
the world with their genius, a growing list of 40 names that includes
Divine, Coco Chanel, Andy Warhol,
Keith Haring, David Bowie and
Judy Garland. Saturday, May 21, and
Sunday, May 22, from 2 p.m. to 4
p.m. ArtInsights Animation and Film
Art Gallery, 11921 Freedom Drive.
Reston, Va. Call 703-478-0778 or visit
ArtInsights.com.
THE TAMING OF THE SHREW
After a ravishing production last

fall of Cole Porters musical take
on Shakespeares classic, the
Shakespeare Theatre Company ends
its season with Ed Sylvanus Iskandars
provocative, new, all-male production that features the pop music of
Tony- and Grammy-winning composer Duncan Sheik (Broadways Spring
Awakening), including a 30-minute
musical intermezzo. Stage and screen
actors Maulik Pancholy (Weeds, 30
Rock) and Peter Gadiot (Once Upon
A Time in Wonderland) will play
Katherina and Petruchio, respectively, in a cast that also includes Andre
De Shields, Telly Leung, Gregory
Linington, Matthew Russell, Tom
Story, Oliver Thornton and Bernard
White in featured performances. Now
in previews. Opens Tuesday, May
24, at 7:45 p.m. To June 26. Sidney
Harman Hall, Harman Center for the
Arts, 610 F St. NW. Call 202-547-1122
or visit shakespearetheatre.org.
METROWEEKLY.COM
WHEN JANUARY FEELS

LIKE SUMMER
Serge Seiden transports Cori Thomas

Off-Broadway romantic urban comedy
to the Anacostia and H Street neighborhoods in the inaugural seasonclosing production of Mosaic Theater
Company. When January Feels Like
Summer follows five ordinary lives that
collide in one extraordinary January
as characters navigate immigration,
gender transition, interracial relationships, coming of age, homophobia, racism, death and divorce all relayed
through comedy. Lynette Rathnam,
Shravan Amin, Jason B. McIntosh,
Jeremy Keith Hunter and Vaughn
Ryan Midder comprise the cast. Opens
in previews Thursday, May 19, at 8
p.m. Opening night is Sunday, May
22, at 7:30 p.m. Runs to June 12. Atlas
Performing Arts Center, 1333 H St. NE.
Tickets are $40 to $60. Call 202-3997993 or mosaictheater.org.
FILM
HOLLYWOOD ON TRIAL: INVASION
OF THE BODY SNATCHERS
This seasons Seeing Red Film Series

at the Hill Center, with hosts New
Yorker staff writer Margaret Talbot
and movie critic Nell Minow, concludes with the 1956 film Invasion of
the Body Snatchers, which has been
called the most frightening film ever
made. Based on a novella by Jack
Finney that has been remade multi-
ple times, Don Siegels original film

is about the biggest threat of them
all, greater than any non-human,
extraterrestrial monster: Fellow citizens you thought you could trust. In
this case, the emotionless pod people
reflect the obsessions of the Cold War
and could be seen as representing
Communists or McCarthyite conformists, depending on your point of view.
Sunday, May 22, at 4 p.m. Hill Center,
Old Navy Hospital, 921 Pennsylvania
Ave. SE. Free. Call 202-549-4172 or
visit HillCenterDC.org.
NEIGHBORS 2: SORORITY RISING
Neighbors was something of a surprise

hit, both critically and commercially,
in 2014. This second entry sees the
main cast return, but really, was anyone else that eager for more fraternity and sorority-related antics? Opens
Friday, May 20. Area theaters. Visit
fandango.com. (Rhuaridh Marr)
THE NICE GUYS
If you had to pick an ideal pairing for a

mystery comedy, would Ryan Gosling
and Russell Crowe be anywhere on
that list? Despite (or, perhaps, because
of) their odd couple stature, The Nice
Guys looks to be genuine fun, with
Crowe a hired enforcer and Gosling
a private eye teaming up to solve the
case of a missing girl in 1970s L.A.
Opens Friday, May 20. Area theaters.
Visit fandango.com. (RM)
STAGE
AN AMERICAN DAUGHTER
Keegan Theatre takes on the late

Wendy Wassersteins angry, daring
play about a political woman, daughter of a U.S. Senator, who gets caught
up in a scandal after being nominated
to a Cabinet post. Company co-director Susan Marie Rhea plays the title
role in this production directed by
Brandon McCoy. To May 28. Keegan
Theatre, 1742 Church St. NW. Tickets
are $35 to $45. Call 703-892-0202 or
visit keegantheatre.com.
BLACK PEARL SINGS!
Over 20 American folk and spiritual songs factor into Frank Higgins
story inspired by the real-life discovery of Huddie Lead Belly Ledbetter
by folklorist John Lomax. Sandra
Holloway directs this MetroStage
production featuring Roz White as
Alberta Pearl Johnson and Teresa
Castracane as Susannah Mullally. To
May 29. MetroStage, 1201 North Royal
St., Alexandria. Tickets are $55. Call
800-494-8497 or visit metrostage.org.
BROUHAHA
Local theater company Happenstance

Theater presents another run of its
devised clown-esque piece focused
on an ensemble of eccentrics on the
precipice at the end of the world.
Happenstance co-founders and married team Sabrina Mandell and Mark
Jaster direct and perform among the

cast. What we actually do, nobody
is doing...and its hard to describe,
Mandell told Metro Weekly two years
ago. Each devised theater show is built
from scratch by the entire ensemble,
working as a collective from script
start to finished performance. Closes
Sunday, May 22. Baltimore Theatre
Project, 45 West Preston St. Baltimore.
Tickets are $22. Call 410-752-8558 or
visit happenstancetheater.com.
CAROLINE, OR CHANGE
Virginias fledgling theater company

Creative Cauldron presents a production of Tony Kushner and Jeanine
Tesoris coming-of-age musical set in
racially and politically charged 1960s
Louisiana. Now in previews. To May
29. ArtSpace Falls Church, 410 South
Maple Ave. in Falls Church. Tickets
are $26, or $50 for opening night.
Call 703-436-9948 or visit creativecauldron.org.
DISGRACED
Arena Stage offers a production of

Avad Akhtars Pulitzer Prize-winning
incendiary examination of ones self
and ones beliefs of American identity and South Asian culture. Timothy
Douglas directs Felicia Curry, Joe
Isenberg, Nehal Joshi, Samip Raval
and Ivy Vahanian. To May 29. Kreeger
Theater in the Mead Center for
American Theater, 1101 6th St. SW.
Call 202-488-3300 or visit arenastage.org.
Oral
Fixation
you can listen
to any story at
MetroWeekly.com
just look for the
speak button
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MAY 19, 2016
METROWEEKLY.COM
EMPERORS NIGHTINGALE
Adventure Theatre MTC presents a

re-imagining of the Hans Christian
Anderson fairytale about an aimless prince who ultimately becomes
king. Natsu Onoda Power directs
Damon Chuas adaptation. To May
30. Adventure Theatre MTC, 7300
MacArthur Blvd., Glen Echo. Tickets
are $19. Call 301-634-2270 or visit
adventuretheatre-mtc.org.
HEDDA GABLER
Mark ORowes contemporary adaptation of Henrik Ibsens classic intends

to provide a nuanced portrait of one
of the most fascinating figures in modern drama, with a mesmerizing study
of power, control and self-deception.
Matt Torney directs Julia Coffey in
the title role in this Studio Theatre
production, also featuring Avery
Clark, Kimberly Schraf, Michael
Early, Kimiye Corwin, Shane Kenyon
and Rosemary Regan. To June 19.
Studio Theatre, 14th & P Streets NW.
Call 202-332-3300 or visit studiotheatre.org.
JOURNEY TO THE WEST
Constellation Theatre Companys

Allison Arkell Stockman directs the
fanciful global tale adapted by Mary
Zimmerman from an ancient Chinese
novel about a Buddhist monk who
travels in search of sacred scriptures,
meeting a monkey, a pig, a river monster and a monk along the way. Tom
Teasley returns to Constellation to
provide his percussive-based world

music style of live accompaniment.
Closes Sunday, May 22. Source
Theatre, 1835 14th St. NW. Tickets are
$35 to $45. Call 202-204-7741 or visit
constellationtheatre.org.
ORSON WELLES
WAR OF THE WORLDS
SCENA Theatres Robert McNamara

directs the stage version of the historic American classic. The original
radio broadcast terrified America on
Halloween 1938, depicting giant green
Martians invading Earth in a series
of News bulletins portraying mass
destruction, military battles and vast
chaos. To May 28. Atlas Performing
Arts Center, 1333 H St. NE. Tickets are
$20 to $40. Call 202-399-7993 or visit
atlasarts.org.
PHAETON
Taffety Punk Theater Company, whose

tagline is We Will Rock You and
styles itself as a theatrical rock band,
presents Michael Milligans retelling
of the classic Greek myth, exploring the failure of society to live up to
the promise of its visionaries and the
repercussions of that failure. Marcus
Kyd directs a large cast featuring company members Dan Crane and Helen
Hayes Award-winner Kimberly Gilbert
and James Flanagan in the title role,
with choreography by Kelly King. To
May 28. Capitol Hill Arts Workshop,
545 7th St. SE. Tickets are $15. Call
202-547-6839 or visit taffetypunk.com.
THE MAN IN THE MASK
Although known for its dialogue-free,

movement-focused fare most notably
its silent Shakespeare productions
Virginias Synetic Theater offers a rare
show with dialogue, an adaptation of
Alexandre Dumas follow-up to The
Three Musketeers. Husband-and-wife
duo of director Paata Tsikurishvili and
choreographer Irina Tsikurishvili lead
this swashbuckling and high-pageantry
bombastic adventure, following hero
DArtagnan and the corrupt King Louis
XIV. To June 19. Theater at Crystal
City, 1800 South Bell St., Arlington.
Tickets are $15 to $55. Call 800-4948497 or visit synetictheater.org.
TRANSMISSION
A three-year-old D.C.-based playwriting collective, and one of this

years Helen Hayes Award winners
as Outstanding Emerging Theatre
Company, the Welders offers its latest
production, an immersive, participatory performance play written and
performed by Gwydion Suilebhan.
Devised for a small audience of 20
people, all seated in 1930s armchairs
clustered around period radios,
Transmission focuses on the viral evolution of culture, from the radio age to
the present day. Touted as part-jazz,
part-science lecture and part-ritual
invocation, the show investigates
what it means to be inundated in our
always-connected, always-sharing
culture, which demands skepticism
and inquisitiveness. To May 28. Atlas
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MAY 19, 2016
Performing Arts Center, 1333 H St.

NE. Tickets are $15 to $30. Call 202399-7993 or visit atlasarts.org.
MUSIC
BIZ MARKIE:
FILLMORE FLASHBACK
The Clown Prince of Hip-Hop, as

MTV once called him, will once again
relive his glory days, hosting and spinning for the third 80s vs 90s Dance
Party at the Fillmore Silver Spring
and presented by radio station Hot
99.5. Local cover bands New Romance
(the 80s) and Heres To The Night
(the 90s) join Markie, a Maryland
resident known for Just A Friend.
Saturday, May 21, at 8 p.m. Fillmore
Silver Spring, 8656 Colesville Road,
Silver Spring. Tickets are $15.50. Call
301.960.9999 or visit fillmoresilverspring.com.
DIGITALISM
Over the course of a decade-long

career, this duo has churned out
some playful and charming tunes,
including break-out instrumental
dance single Zdarlight and the New
Order-influenced Pogo. Digitalism
tours in support of its first new set
in five years, Mirage, set for release
on Friday, May 13. Local juggernaut
Nadastrom opens for this 9:30 Clubpresented concert. Friday, May 20, at
7 p.m. U Street Music Hall, 1115A U St.
METROWEEKLY.COM
NW. Tickets are $20. Call 202-5881880 or visit ustreetmusichall.com.
ABOVE AND BEYOND

A PRAIRIE HOME COMPANION
Public radio star Garrison Keillor

makes his annual Memorial Day
weekend trip to Wolf Trap, including
a live broadcast on Saturday, May 28.
This years stop brings special guests
Chris Thile, Heather Masse, and
Vince Giordano and the Nighthawks,
in association with Minnesota Public
Radio and WAMU. Friday, May 27,
at 8 p.m., and Saturday, May 28, at
5:45 p.m. Wolf Trap, 1645 Trap Rd.,
Vienna. Lawn seats are available for
$30 to $80. Call 703-255-1900 or visit
wolftrap.org.
CAPITAL CITY SHOWCASE
The Capital City Showcase, which

bills itself as the variety show that
features the DMVs best comedians,
musicians and performing artists,
returns for another installment, this
time at the Columbia Heights restaurant Acre 121. Danny Rouhier, co-host
of Grant & Danny on radio station
106.7 The Fan, Nicki Fuchs, and Pat
Riley bring the funny while nationally
touring, locally based hip-hop artists
Bo Jankans and DJ Ragz bring the
beats. Saturday, May 21, at 9 p.m. Acre
121, 1400 Irving St. NW. Tickets are
$10. Call 202-431-4704 or visit capitalcityshowcase.com.
LUCREZIA BLOZIAS UNDERWATER

BIRTHDAY BURLESQUE
Lucrezia Blozia aka Chris Griffin turns

another year older this month and will
celebrate a life in drag with a Little
Mermaid-inspired party featuring
Philanthrotease performance artists
including carny man Charlie Artful,
clown Jim Dandy, and burlesquers
Isabelle Epoque, Aaron Bowie of
Boylesque Spaace and Victoria Vixen.
And each performer is giving at least
10 percent of earnings to the Anacostia
Watershed Society to help cleanup of
D.C.s waterways. Sunday, May 29, at 8
p.m. Bier Baron Tavern, 1523 22nd St.
NW. Tickets are $12 in advance, or $15
day-of show. Call 202-293-1887 or visit
inlovewithbier.com.
NORTHERN VIRGINIA FINE ARTS

FESTIVAL
More than 200 artists from around the

nation will take part in this 25th annual event drawing over 30,000 people
and organized by the Greater Reston
Arts Center. In addition to artworks
in a variety of media, from painting to
photography to jewelry, the festival
also includes performances and family
art-making activities. Saturday, May
21, from 10 a.m. to 6 p.m., and Sunday,
May 22, from 10 a.m. to 5 p.m. Reston
Town Center, 11900 Market St. Reston.
Suggested donation of $5 provides festival program with dining certificates
inside. Call 703-471-9242 or visit rsetonarts.org. l
music
The View from the Top

Drakes newest release is a
moody and ambitious ode to his
hometown of Toronto
by SEAN MAUNIER
ny way you want to look at it, Drake has been

doing pretty well for himself. Riding high on the
success of Hotline Bling and last years mixtape
What a Time to Be Alive, the 29-year-old Toronto
native shows no signs of slowing down. First announced as
Views from the 6 before being shortened to simply Views, his
fourth studio album is a sweeping, ambitious exploration of the
people and places that got him where he is today. Drake has
spent a lot of time climbing to the top of the hip-hop world, and
now hes ready to let us in on the journey.
While he has never exactly been given to low self esteem,
Drakes insecurities and anxieties are nevertheless on full dis) is no excepplay in much of his work, and Views (
tion. Balancing personal reminiscence with sharp observation,
he laments past miscommunications, his need for validation,
and the breakdown of relationships. His tone may be regretful, but it is never apologetic. Throughout Views, Drake namedrops former friends and companions, revisits old haunts and
hookup sites, and even gets in a sly jab at the Toronto Transit
Commission. It is easy to imagine him delivering the entire
album as he appears on its cover, crouched at the top of the CN
Tower under an overcast sky, surveying his hometown from
1000 feet in the air.
Drake is in no rush to take us to that point, though. Views
starts slowly, with five tracks that cover similar themes of past
mishaps and present insecurities. It finds its energy on the sixth,
Weston Road Flows, an evocative and nostalgic tour through
the neighbourhood where he grew up. The moody, understated
instrumentals and deliberate silences that were used to such
great effect on 2011s Take Care are once again on display here,
lending an emotional weight to the lyrics.
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MAY 19, 2016
31
Views is also kept fresh by a wide variety of influences,

ranging from synthy 80s pop to gospel to energetic dancehall
and Afrobeat. Too Good sees Drake and Rihanna revisit the
chemistry the two have displayed on their previous collaborations, with vocals that harmonize and play off each other seamlessly. One Dance is another collaborative highlight. Featuring
Nigerian Afrobeat artist Wizkid and British singer Kyla, its
an energetic and infectious celebration of letting go and losing
yourself in a dance. Granted, this is an old pop trope, but its
done well here, and the songs warmth and energy make it an
especially welcome interlude from the moodiness of the first
half of the album. The variety of influences and the strength of
collaboration on display here, along with flashes of Drakes wry
humour, balance out his self-reflection and act as a welcome
counterweight to the sombreness on display elsewhere.
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MAY 19, 2016
METROWEEKLY.COM
Views draws strength from its fantastic production, complex

style and genuinely clever songwriting, but after a few tracks the
album begins to feel weighed down by its own source material.
Spread over 20 songs and 82 minutes, Drakes vulnerability begins
to lose its punch. What felt fresh and innovative on Take Care is
now familiar, and Drakes introspective musings begin to seem a
little aimless by Redemption, one of several songs addressed to
former friends and ex-lovers that closes out with a quick litany of
people who have wronged him in one way or another.
While there are no truly weak tracks, many bleed together
over the long runtime, and the energetic artist weve seen on previous albums seems to have given way to a more subdued, almost
exhausted version of himself. Views closes out to the familiar
beat of Hotline Bling, the albums lead single and final track.
Ending on this note ultimately saves it from collapsing under the
weight of its own self-seriousness. It seems to be Drakes way of
leaving us with a reminder that he is capable of more than navelgazing hes versatile, able and willing to blur the boundaries
between hip-hop and pop.
For all the buildup to Views and the hype that it was going
to be Drakes magnum opus, it is surprisingly subdued and intimate. But this seems to work for Drake, whose strength lies is
his ability to convincingly balance genuine introspection with
the cocky swagger of an artist at the top of his world. While this
is not exactly a new approach for Drake, it has worked well for
him in the past and it continues to pay off on Views. Even if his
introspection starts to grate by the end of the album, there is a
lot to enjoy along the way and a lot to remind us how he got so
high up in the first place. l
Views is available to stream on Apple Music, Spotify, and TIDAL.
opera
Siegfried
Ringing the Changes

Siegfried and Twilight of the Gods offer
visual, emotional and moral potency and
a fist in the air for their female characters
by KATE WINGFIELD
SCOTT SUCHMAN
HE ENORMITY OF THE RING CYCLE (HHHHH)

is, not least, in the scope of its storytelling. In four
quite distinct operas, Wagner covers a tremendous
amount of ground.
Consider just the bare bones: The Rhinegold divides its time
between the affairs of unsettled gods, the underground-dwelling
Nibelung who create an all-powerful ring from stolen gold, and
the bartering of the ring to the giant, Fafner. The Valkyrie then
focuses on the god Wotans thwarted attempt to use his mortal
son Siegmund to win back the ring and his harsh punishment
of favored daughter Brunnhilde for defying his wishes. Then
comes Siegfried where time fast-forwards to the now-dead
Siegmunds son Siegfried, who wins the ring from Fafner and
wakes Brunnhilde from her prison of sleep, while Wotan wanders the earth in search of a way to avert the end of the world.
Finally, in Twilight of the Gods, the powerful Gibichung family conspires to betray Siegfried and take the ring, until they
implode with mistrust and Brunnhilde, now mortal, rises to the
occasion and returns the ring to the river from which it was first
stolen. Not only is the stolen ring cursed by its first owner the
Nibelung, Alberich, its theft from the river maidens has triggered
the beginning of the end of the gods world. There is infidelity,
incest, betrayal, murder, magic, cataclysm and suicide.
If the plot isnt dense enough, even with a fair portion of
expository to help connect the operas (and forgive a bit of doz-
ing), like the old legends from which much of the Ring is derived,
the story is light on context and more about living in the moment
and the music. This is, of course, as it should be in an opera. But
it nevertheless presents a tremendous challenge to the creator
of a new interpretation of the Ring. A concept or vision cannot
just be original, it must resonate intellectually and artistically
within the cycles many elements, bringing a logical cohesion.
Francesca Zambellos Ring achieves it power and magic
because she has met this challenge, seamlessly seeding her
unique vision into each of its operas and growing it over the
course of the cycle. While in Rhinegold and Valkyrie her themes
touch on the vulnerability and powerlessness of women, their
neglected promise, and mans ruthless greed and the resulting
pollution and decimation of the worlds resources, they evolve
exponentially in Siegfried and Twilight. They bring context to
the story, add dimension to it and, ultimately, deliver their own
visual, emotional and moral potency.
And when it comes to Zambellos vision, it cannot be emphasized enough how much the projections and video of Jan Hartley
and S. Katy Tucker complement and expand, not just the themes,
but the entire mood of the cycle. In Siegfried and Twilight, there
is a repeated return to slow-moving smoke, clouds that roil and
race, visions of forests verdant or ruined, industrial complexes,
chimneys polluting the skies, a feverish run along endless railway track. Each image speaks through the music and of the story,
but also of our story. It is Zambellos minds eye, and it is her
extraordinary experience of Wagners epic.
As visually and emotionally enthralling as this imagery is,
coupled with four incredibly long and languorously unhurried
operas, if the drama was equally as oblique, turgidity could easily
set in. But Zambello meets this head-on by, quite simply, enjoining her singers to keep it real, to act as if this fantastical world
is really no different from our own living rooms, bedrooms,
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MAY 19, 2016
33
SCOTT SUCHMAN
arrogance. When he kills, he is remorseless.

Thus, the question is how to give Siegfried, if not likability, then at least some convincing personality. Daniel
Brennas choice to edge him with a modern snarkiness
and petulance without doubt gives him an immediacy in
keeping with Zambellos goal of dramatic realism. But
Brenna is so convincing in his nerdy swagger, his Siegfried
so unpleasant, it almost cancels out the few places where
we might have seen another side of this man: his fear at
waking Brunnhilde and the last moments before his death
in Twilight. Matters are not helped by a lot of posturing in
an unflattering costume that looks like a paramilitary take
on one of Robin Hoods merry men.
There is no question that Zambello has a point to make
about the misguidedness of the men in this Ring: how,
for example, Wotan so pointedly ignores his noble and
heroic daughter, Brunnhilde. Juxtaposing the immature
and grasping Siegfried makes a powerful statement on this
aspect of the opera and on the modern female experience.
But its not easy to watch such a protracted interpretation
of this morally and heroically-challenged Siegfried, not
least in the annoying way he endlessly wraps and re-wraps
the blue scarf he keeps as reminder (or security blanket) of
the mother he never knew. Still, putting the interpretation
aside, Brenna does sing his man with an almost surprising nobility and authority though not always evenly
allowing one to savor his relation to the music, if not the
drama. Returning as Mime, David Cangelosi doesnt have
much chemistry with this Siegfried, but he sings with clarity and pleasing tone and gives a lively and entertaining
performance as the selfish Nibelung troll-cum-tramp.
Although Siegfrieds tale is predominant, his opera also
brings to a close Wotans story. Here he has become The
Wanderer, walking the earth in search of ways to stop its
imminent end. Alan Held returns in the role, giving much
(top) Siegfried (bottom) Twilight of the Gods
presence to this troubled Wotan, suggesting an irascible
boardrooms and cardboard cities. They shrug, they mug, they homeless man, but quickly shedding the persona when it suits,
stick out their tongues. Whatever, in short, real people do such as when he toys with Alberich as he guards the sleeping
minus the spears, giants, magic, and backdrop of mind-boggling monster, Fafner. Held is, as always, a charismatic presence.
projections. It may not always sit perfectly with the poetry of Indeed, when he finally runs into Siegfried at the end of the
the greater whole, but it without doubt draws one into each dra- opera, whether intended or not, he looks ten times the man in
matic dynamic quickly and accessibly. When characters become the way he moves and carries himself. He sings with assurance,
quirky, unpredictable, and earthy, they become interesting. In a surfing the dark and unsettled score in deftly sonorous tones.
As Erda, who pleads with Wotan to look to Brunnhilde
five-hour opera, the power of this approach cannot be underesfor her wisdom, Lindsay Ammann sings with expressive pain
timated.
That said, there are challenges. Though Siegfried offers some and anger, while Gordon Hawkins brings convincing frustraof the most searingly beautiful and searching music, such as the tion to the miserable Alberich. Singing Fafner, now the monmoment Siegfried comes across the sleeping Brunnhilde, there ster (Michael Yeargans surprisingly sinister digger-gone bad),
Soloman Howard is gloriously relentless and foreboding.
are dramatic aspects not always easy to love.
As the opera ends, Siegfried finds and awakens Brunnhilde,
Whatever Wagner may have had in mind in penning this
young man, viewed today he comes across as rather unpleasant now sung by Catherine Foster. Unfortunately for Foster, Christine
and spoiled, his few near-noble moments only arriving as he Goerkes strikingly effective young warrior in Valkyrie is a tough
meets his demise in Twilight. Its an impression made early and act to follow. Goerkes singing was majestic, but she also brought
heavily in Act I with an 18 year-old Siegfried, flumping around a compellingly punky defiance and easy warmth to the role. She
his home camp, bored and contemptuous of his adoptive father was utterly believable as the daughter-soldier, wanting nothing
Mime, the Nibelung troll who has raised him since the death of more than to do Wotans unspoken bidding. Foster, despite cuthis parents, Siegmund and Sieglinde. Its a protracted display of ting a statuesque figure, seems almost dithering and affected
loathing that leaves Siegfried seriously unlikable, long before we by comparison. And she has almost zero chemistry with this
learn that Mime isnt exactly parent-of-the-year, with his secret Siegfried, more a man-child in the presence of a glamorous
plan to use Siegfried to win back the gold stolen by Fafner in mother than lovers. Still, she sings with spectacular power, emitRhinegold. And matters never really improve. Once Siegfried ting a beautiful, exciting sound.
Wagner switches gears again in Twilight, focusing on the
realizes he is fearless (and therefore meets Wotans requirement
to forge the sword that can kill Fafner) his contempt becomes Gibichung clan, led by mortals Gunther and half-brother Hagen
34
MAY 19, 2016
METROWEEKLY.COM
(son of the Nibelung Alberich) and their sister Gutrune. They

plot to trick and betray the fearless yet gullible Siegfried and
force Brunnhilde to marry Gunther, but nothing quite goes as
planned. Siegfried is killed and Brunnhilde (with a silent cadre
of women) selflessly saves the ring, if not the world.
Foster does better here, her brittle anger affecting and formidable as she realizes that Siegfried who has been magically
drugged into loving Gutrune (yet another female pawn) has
forsaken her. Her relationship to Gutrune (played effectively by
Melissa Citro as a trophy wife who wakes to reality) is intriguing, especially when she shoves Siegfried aside so she can sing
straight into her adversarys face. It is a silent subtext that speaks
volumes to Zambellos deeper themes.
As Hagen, the half-Nibelung intent on getting the ring for
father Alberich, Eric Halfvarson sings with grim and convincing
intent, while Hawkins returns to deliver an expressive Alberich
in Hagens dreams. As Gunther, Ryan McKinny acts the part of
the ineffectual brother but doesnt sing with as much resonance
as he might. Brenna, still boyish in the way he climbs all over
his love interests, nevertheless becomes far more dimensional.
First in the guise of a masterful and mysterious Gunther (shapeshifted by the magic gold) when he forces Brunnhilde to submit
and later as his desolate, dying self, remembering too late
his love for Brunnhilde. The river maidens, Renee Tatum,
Jacqueline Echols and Catherine Martin, return to sing like
braids of spun gold.
But the highlights of this Twilight come like thematic bookends. First and early is the interlude in which the otherworldly
Norns (Lindsay Ammann, Jamie Barton and Marcy Stonikas)
sing of the earths unraveling and impending doom. Conceived
here as laboring like ghosts in the machine or the Internet
they sing in this cleverly adapted libretto of connecting and

breaking cables. The projections are, as always, a powerful presence, delivering silent evocations. Their song is at once sad for
the earth, but also a nightmarish reminder of the transference of
so much of life into a computer-driven ether.
The other great moment comes in the finale, when, the stage
as barren as the earth will become, Brunnhilde recognizes what
she must do to put things right for herself and for the world. It
is hard to put into words how simultaneously tragic and momentous it is when the music swells and suddenly Wagner is allowing
Brunnhilde as she faces death to briefly but brilliantly glory
in her warriors theme.
Here, finally, is our hero.
It is a priceless moment of opera, but also a final fist in the air
for this Rings women, a reckoning on their strength, whether or
not given their due.
Thus, this is a fantastically original Ring, but one that has also
been inestimably favored by the fabulous conducting of Philippe
Auguin, who delivers his Wagner with a profoundly delicate
touch and draws from the WNO orchestra some of their finest
hours of performing. The run may be sold out, but there is little
doubt that this Ring, ten years in the making and worth every
minute of the wait, will continue to be staged. It adds a uniquely
individual, contemplative and extraordinarily creative voice, not
just to interpretations of the Ring, but to the art form itself. l
The Ring Cycle runs to May 22 Siegfried closes May 20 and
Twilight of the Gods May 22 at the Kennedy Center Opera
House, 2700 F Street, NW Washington, DC. Tickets are $75 to $525
(though currently sold out). Call 202-467-4600 or visit kennedycenter.org.
METROWEEKLY.COM
MAY 19, 2016
35
games
Doom is an adrenaline-soaked,
bullshit-free reminder of the joy
of first-person shooters
by RHUARIDH MARR
OOM HAS NO TIME FOR YOUR NONSENSE.

It doesnt care that you want a story. Your morality isnt something Doomguy will lose sleep over.
Youd like a little more antagonizing over whether
or not you should be ripping that hellspawn demons head open,
before driving the barrel of your Super Shotgun into the chest
of another? Tough shit. Its going to happen, and youre going to
love every adrenaline-pumping minute of it.
This is not a game where characters dance around the
legalities and ludicrousness of a major corporation using their
Martian base to open a portal to Hell and mine its resources.
You wont be given lengthy exposition about what a truly awful
idea that was, about the thousands of people who were killed
or transformed into zombie-like monstrosities, or about just
how action-packed your day is about to be. Heck, Doomguy,
the faceless hunk of metal, muscle and machismo who youll do
36
MAY 19, 2016
METROWEEKLY.COM
battle as, doesnt even speak. Forget Call of Dutys turgid, tasteless attempts to make us care about whatever nationality were
currently cleansing, Doom hands us literal incarnations of Hell,
a massive arsenal with which to dispatch them, and then tells us
to get a goddamn move on.
Much like Wolfenstein: The New Order, this is retro gaming
updated for a modern generation. But whereas that title nodded
towards its roots while polishing them to a modern standard,
Doom (HHH and a half) has no such pretensions. This is a
twitchy, fast-paced, streamlined shooter that demands attention and an uptick in your heart rate. Its old-school via a filter
of current-gen sheen, with the series run-and-gun gameplay
and joyous level design in full effect. For better or worse, this is
the glory days of 90s shooting for a market oversaturated with
increasingly bloated efforts from other major studios.
Not that Doom is afraid to teach you the basics again. Your
first few hours will be spent getting back to grips with the purity
of mass murder. Weapons are drip-fed at a steady pace: youll
start with just your pistol and fists, but quickly amass a shotgun,
a rifle, a plasma gun, grenades, a chainsaw and more within a
couple of hours. Enemies, too, are gradually introduced. Many
return from previous games, such as the Revenant, Mancubus
and Cyberdemon, but your first encounters will be with slow,
shambling possessed humans. They present little threat, easily dispatched with a shotgun shell or a couple of pounds with
your fists, but their purpose is one of Dooms greatest strengths:
BETHESDA SOFTWORKS
Hellraiser
theyre here to make up some rather impressive numbers. As

you work through levels, the quantity of enemy types will start
to climb. Whereas before all you had was a few slow-moving
demons, now theyre jumping around levels, hurling fire at you,
shooting you, charging at you. Where did that massive brute
come from? How on earth do I dispatch it? Will I have enough
ammo or health to take out everything else? Doom challenges
players to constantly change how they approach its battles. You
cant just rely on bullets alone you need brain and brawn in
equal measure. Save your ammo for the bigger guys and dispatch
smaller foes with fists, or recharging grenades, or by shooting
explosive barrels to take out more than one at a time. In a couple
of hours, those brutes will suddenly have become the cannon
fodder, as Doom wheels out yet another big bad to test just how
well youve adapted to its demands on your skills.
Thankfully, those skills can be improved through Dooms
upgrade system a concession to modern game design and a
not to the originals power-ups. Weapons can unlock alternate
fire modes, granting explosive ammo, wider shot patterns, or
the ability to focus on distant enemies, for instance, while your
armor can gain better explosive resistance, or better mapping
capabilities to sniff out the numerous secrets and hidden items
littered around each of Dooms levels. These secrets, from tiny
Doomguy dolls to extra upgrade points to hidden weapons, are
surprisingly addictive to find. Doomguy has access to a double
jump and the ability to grab and drag himself up onto ledges. Not
only does this aid in combat when enemies leap away from
you, chasing them down and forcing your chainsaw through
their skull is entirely possible it lends itself to some genuinely
enjoyable platforming and exploring.
There is an odd dichotomy in the games level design, however. Doom remains, at its core, an arena shooter. As you progress, the arenas youre tasked to fight in get grander, deeper, and
increase in complexity, but the same mechanic remains: clear
out every enemy in a given area, progress to the next, repeat.
Modern shooters try to hide this mechanic in various ways, from
utilizing cover and wave spawning, to alternate characters or
strategy elements, but Doom presents it in its most uncluttered
form. The levels themselves are often masterfully designed, with
multiple levels and areas to dispatch demons in, but they cant
disguise a certain level of fatigue that sets in after a while. Yes,
Doom makes the act of murder so gleefully pure and enjoyable,
but knowing that the next corridor will lead to yet another arena
of enemies that have to be dispatched, which in turn leads to
another, and another, and another can quickly become... banal?
Not helping matters is a rather simplistic AI system. Dooms
enemies dont offer a particularly great challenge. Your health
and ammo dont respawn, instead theyre scattered around the
level or dropped by enemies. This forces you to move through an
area looking for the last few rounds for your rocket launcher, or
the last drips of armor for your suit, but it also presents the paradoxical notion that if you want to survive, you have to run headlong into battle: that swarm of demons youre avoiding contains
a bunch of health and ammo, so youd better break out your fists
and get to work. Its an element of risk versus reward that makes
Dooms gunplay so exhilarating, but the enemies themselves are
as dumb as soup. They dont display some of the clever abilities
of other shooters rarely will you be flanked, or outsmarted, or
cornered. Instead, Doom uses sheer numbers, brute force and
scarce resources to overwhelm you, but after a certain point and
a certain number of upgrades, Doomguy will be so overpowered
that most of the enemies youre blasting through are little more
than bugs on a windshield. It also highlights another flaw in the
arena style of gameplay. Because enemies arent using smarts to

kill you, often theyll stay in a certain area, which can lead to a lot
of tedious hunting as you try to find that one lowly demon thats
left to kill before the door you need to go through will open.
That in turn highlights a grievance with Dooms audio. I have
no qualms with the sonorous way it depicts enemies turning into
mulch as I blast my way through them, I do take issue with its
heavy rock soundtrack. Yes, its wonderfully nostalgic, but its
also incredibly grating. It heightens the atmosphere perfectly at
the start of a firefight, pumping thrashing guitar into your ears,
but as the number of enemies thin and the action slows, the
soundtrack remains at full bore. Until the last enemy is ripped
asunder, the music remains at the tempo the game expects you
to play at, even if all youre doing is backtracking and trying to
spot that last Imp.
I could also take issue with Dooms visuals, but theyre here to
serve the gameplay, not to offer Uncharted levels of spectacle or
Splatoon-esque color palettes. Theres been some mention of the
violence and gore present, but in reality, its entirely in keeping
with the games overall ethos. These monsters are the product
of capitalism gone wrong and a heavy dose of Hell. They should
be blasted into gooey chunks, never to harm another human.
Ripping a demons arm off and bashing it around the head, splitting another in half with the chainsaw, then exploding a bunch
more with the BFG9000 its all part of the blood-soaked, bodypart strewn action, while tying neatly into the mild sense of horror that inhabits Dooms world. Sure, the actual game isnt that
pretty, relying on oranges and browns for the most part, and yes,
someone cranked the shiny setting up to eleven, so every surface and weapon gleams, but Doom doesnt care what you think
about its looks. You should be getting on with the action, soldier.
While the ten-hour campaign (its longer if you choose to
explore every collectible) is an adrenaline-soaked retro-inspired
joy, Dooms other elements fall flat. Bethesda should have taken
inspiration from its Wolfenstein reboot and made the game
single-player only. Whereas the main campaign has its roots in
old-school excitement, the multiplayer is a bizarre melding of
battle arenas of old and Call of Duty. Players are restricted to just
a two-weapon loadout, only certain weapons are made available
on the map (as are health and armor) and overall theres a sense
that something isnt quite gelling. Factor in some bizarrely long
loading times, another night where the game refused to load any
multiplayer matches on Xbox One (id Software and Bethesda
recommend port forwarding on routers, which is going to put
many off even bothering), and a relatively low number of players,
and Dooms multiplayer looks set to become a ghost town in the
not-too-distant future.
Taken as a whole, Doom is a bit of a mixed bag. Its soundtrack
grates, its twitchy, unstable multiplayer is passable at best, and
its devotion to retro game design can lead to fatigue in later
stages of the main game. But none of that should dissuade fans of
the series, or those burned out by the numerous generic sequels
of the mainstream first-person shooter games, from giving it a
try. At its purest form, Doom is about action. Just you, a gun, a
horde of enemies and adrenaline coursing through your veins.
Sure, theres enjoyable exploration, a welcome upgrade system
and some beautiful blood spatters, but when Doom is using the
tools learned over twenty years ago level design, gun type,
enemy count and steps out of the way of the player, its easily
one of the best shooters of the year. l
Doom retails for $59.99 and is available now on PC, PS4 and Xbox
One.
METROWEEKLY.COM
MAY 19, 2016
37
NIGHT
LIFE
LISTINGS
THURS., 05.19.16
9 1/2
Happy Hour: 2 for 1 on any
drink, 5-9pm Multiple TVs
showing movies, shows,
sports Expanded craft beer
selection Music videos
featuring DJ Wess
COBALT/30 DEGREES
Happy Hour: $6 Call Martini,
$3 Miller Lite, $4 Rail, $5
Call, 4-9pm $3 Rail Drinks,
10pm-midnight, $5 Red
Bull, Gatorade and Frozen
Virgin Drinks Locker Room
Thursday Nights DJs Sean
Morris and MadScience
Best Package Contest at
midnight, hosted by BaNaka
$200 Cash Prize Doors
open 10pm, 18+ $5 Cover
under 21 and free with college ID
DC9
1940 9th St. NW
Happy Hour, 5-8pm
dcnine.com
DC EAGLE
Doors open at 5pm Happy
Hour, 5-8pm $2 Bud and
Bud Light Draughts, $3
Domestic Bottles, $4 Rail
and Import Bottle Beer, $6
Call Strip Down Thursdays
Happy Hour starts with
shirtless men drink free rail
and domestic, 5-8pm Men
in jocks drink free rail and
domestic, 10pm-12am DJ
Kudjo starts spinning, 9pm1am No Cover 21+
FREDDIES BEACH BAR
Crazy Hour, 4-7pm
Karaoke, 8pm
JR.S
All You Can Drink for $15,
5-8pm $3 Rail Vodka
Highballs, $2 JR.s drafts,
8pm-close Flashback:
Music videos from 1975-
GREEN LANTERN
Happy Hour, 4-9pm Ladies
Drink Free Power Hour,
4-5pm Shirtless Thursday,
10-11pm DJs BacK2bACk
METROWEEKLY.COM
39
40
MAY 19, 2016
METROWEEKLY.COM
scene
Distrkt C at the DC Eagle
Saturday, May 14
scan this tag
with your
smartphone
for bonus scene
pics online!
Photography by
Ward Morrison
2005 with DJ Jason Royce,

8pm-12am
NELLIES SPORTS BAR
Beat the Clock Happy Hour
$2 (5-6pm), $3 (6-7pm),
$4 (7-8pm) Buckets of
Beer $15 Drag Bingo
NUMBER NINE
drink, 5-9pm No Cover
SHAWS TAVERN
Happy Hour 4-7pm
Magician Danny Dubin, 7:309:30pm
THROBBING THURSDAYS
@THE HOUSE
NIGHTCLUB
3530 Georgia Ave. NW
Diverse group of all male, all
nude dancers Doors open
9pm Shows all night until
close, starting at 9pm $5
Domestic Beer, $6 Imports
$12 cover For Table
Reservations, 202-487-6646
rockharddc.com
TOWN PATIO
Open 6pm Happy Hour all
night, $4 drinks and draughts
21+
TRADE
1410 14th St. NW
Doors open 5pm Huge
Happy Hour: Any drink
normally served in a cocktail
glass served in a huge glass
for the same price, 5-10pm
Beer and wine only $4
ZIEGFELDS/SECRETS
All male, nude dancers
Shirtless Thursday DJ
9pm Cover 21+
FRI., 05.20.16
9 1/2
Open at 5pm Happy Hour:
2 for 1 on any drink, 5-9pm
Friday Night Videos with
resident DJ Shea Van Horn
VJ Expanded craft beer
selection No Cover
COBALT/30 DEGREES
All You Can Drink Happy
Hour $15 Rail and
Domestic, $21 Call &
Imports, 6-9pm Guys
Night Out Free Rail
Vodka, 11pm-Midnight, $6
Belvedere Vodka Drinks all
night DJ MadScience
upstairs DJ Keenan Orr
downstairs $10 cover
10pm-1am, $5 after 1am
DC9
1940 9th St. NW
Happy Hour, 5-8pm
dcnine.com
DC EAGLE
Hour, 5-8pm $2 Bud and
Bud Light Draughts, $3
Call Rubber Meets the
Road: Spartan MC and MidAtlantic Rubber Collective
on Club Bar $2 Bud
Draughts, Jello Shooters
and Raffles No Cover
21+ The Endup with DJ
Kudjo Onux and Go-Go Boys
Party until 4am 3rd
Floor Exile Free at door,
10-11pm, $10 after 11pm
FREDDIES BEACH BAR
Crazy Hour, 4-7pm
Karaoke, 8pm
GREEN LANTERN
Happy Hour, 4-9pm $5
Smirnoff, all flavors, all
night long
JR.S
Happy Hour: 2-for-1, 4-9pm
$2 Skyy Highballs and $2
Drafts, 10pm-midnight Pop
and Dance Music Videos
with DJ Darryl Strickland

$5 Coronas, $8 Vodka Red
Bulls, 9pm-close
NELLIES SPORTS BAR
DJ Matt Bailer Videos,
Dancing Beat the Clock
Happy Hour $2 (5-6pm),
$3 (6-7pm), $4 (7-8pm)
Buckets of Beer $15
NUMBER NINE
Open 5pm Happy Hour: 2
for 1 on any drink, 5-9pm
No Cover
SHAWS TAVERN
Happy Hour 4-7pm
TOWN
Patio open at 6pm DC
Bear Crue Happy Hour,
6-11pm $3 Rail, $3 Draft,
$3 Bud Bottles Free Pizza,
7pm No cover before
9:30pm 21+ Drag
Show starts at 10:30pm
Hosted by Lena Lett and
featuring Miss Tatianna,
Shi-Queeta-Lee, Riley Knoxx
and BaNaka DJ Wess
upstairs, DJs BacK2bACk
downstairs GoGo Boys
after 11pm Doors open
at 10pm For those 21 and
over, $12 For those 18-20,
$15 18+ Patio: 21+
TRADE
1410 14th St. NW
Doors open 5pm Huge
Doors open 10pm $7

cover before midnight, $10
cover after 21+
ZIEGFELDS/SECRETS
All male, nude dancers,
hosted by LaTroya Nicole
Ladies of Ziegfelds,
9pm Rotating Hosts
DJ in Secrets VJ Tre in
Ziegfelds Cover 21+
DC EAGLE
Hour, 8-10pm $2 Bud
and Bud Light Draughts, $3
Call Mr. DC Eagle Danny
Kaylor-Hawkins on Club Bar
International Mr. Leather
XXXVIII send-off No Cover
21+ DCs Newest Latino
Dance Party, KUERO 3rd
Floor Exile - $10 in advance,
$15 at door Tickets
available online at kuero.
ticketleap.com/kuero
SAT., 05.21.16
9 1/2
drink, 3-9pm $5 Absolut
& Titos, $3 Miller Lite after
9pm Expanded craft beer
selection No Cover
Music videos featuring various DJs
COBALT/30 DEGREES
Drag Yourself to Brunch
at Level One, 11am-2pm
and 2-4pm Featuring
Kristina Kelly and the Ladies
of Illusion Bottomless
Mimosas and Bloody Marys
Happy Hour: $3 Miller
Lite, $4 Rail, $5 Call, 4-9pm
METROWEEKLY.COM
DC9
1940 9th St. NW
Happy Hour, 4-6pm
dcnine.com
FREDDIES BEACH BAR

Drag Queen Broadway
Brunch, 10am-3pm
Starring Freddies Broadway
Babes Crazy Hour, 4-7pm
Freddies Follies Drag
Show, 8-10pm, hosted by
Miss Destiny B. Childs
No Cover
MAY 19, 2016
41
GREEN LANTERN
Happy Hour, 4-9pm $5
Bacardi, all flavors, all night
long 495 Bears presents
Bears Can Dance, 9pm-close
No Cover
JR.S
$4 Coors, $5 Vodka
Highballs, $7 Vodka Red
Bulls
NELLIES SPORTS BAR
Guest DJs Zing Zang
Bloody Marys, Nellie Beer,
House Rail Drinks and
Mimosas, $4, 11am-5pm
Buckets of Beer, $15
NUMBER NINE
drink, 3-9pm Eurovision
Viewing Party, 3pm
Jawbreakers 2nd Year
Anniversary Party, 9:30pm
Featuring DJ Chord and DJ
Kelly $5 Absolut and $5
Bulleit Bourbon No Cover
SHAWS TAVERN
Bottomless Mimosas, 10am3pm Happy Hour, 5-7pm
42
MAY 19, 2016
METROWEEKLY.COM
TOWN
Patio open 2pm Joan
Rivers Drag Tribute, 8pm
Doors open 7:30pm $15
Cover MadScience vs.
Wess: a DJ Battle Royale,
11pm-close Ivy Winters
hosts special after party for
RuPauls Drag Race Battle of
the Seasons at the 9:30 Club
Free admission with your
9:30 Club ticket stub Drag
Show starts at 10:30pm
Hosted by Lena Lett and
featuring Miss Tatianna,
Shi-Queeta-Lee, Riley Knoxx
and BaNaka Doors open
10pm for Battle Royale
$12 Cover 21+
TRADE
1410 14th St. NW
Doors open 2pm Huge
ZIEGFELDS/SECRETS
Men of Secrets, 9pm
Guest dancers Ladies
of Illusion with host Ella
Fitzgerald Doors at 9 p.m.,
first show at 11:30 p.m.
DJs Doors open 8pm
Cover 21+
SUN., 05.22.16
9 1/2
selection No Cover
COBALT/30 DEGREES
$4 Stoli, Stoli flavors and
Miller Lite all day First
Lady Continental Pageant
Doors open 11pm 21+
DC9
1940 9th St. NW
Happy Hour, 2-6pm
dcnine.com
DC EAGLE
Doors open at 12pm $2
Bud and Bud Light Draughts
all day and night, $3
Call Sunday BBQ $10
includes first rail or domestic
drink No Cover 21+
FREDDIES BEACH BAR
Champagne Brunch Buffet,
10am-3pm Crazy Hour,
4-7pm Karaoke, 8pm-1am
GREEN LANTERN
Happy Hour, 4-9pm
Mamas Trailer Park Karaoke
downstairs, 9:30pm-close
JR.S
Sunday Funday Liquid
Brunch Doors open at
1pm $2 Coors Lights and
$3 Skyy (all flavors), all day
and night
NELLIES SPORTS BAR
Drag Brunch, hosted by
Shi-Queeta-Lee, 11am-3pm
$20 Brunch Buffet
House Rail Drinks, Zing Zang
Bloody Marys, Nellie Beer
and Mimosas, $4, 11amclose Buckets of Beer, $15
NUMBER NINE
Pop Goes the World with
Wes Della Volla at 9:30pm
ROCK HARD SUNDAYS
@THE HOUSE
NIGHTCLUB
3530 Georgia Ave. NW
Diverse group of all male, all
nude dancers Doors open
9pm Shows all night until
close, starting at 9pm $5

Domestic Beer, $6 Imports
$12 cover For Table
Reservations, 202-487-6646
rockharddc.com
SHAWS TAVERN
Bottomless Mimosas,
10am-3pm Sunday Funday
Karaoke, 2nd Floor, 3-7pm
Happy Hour, 5-7pm
TOWN PATIO
Open 2pm Cornhole, Giant
Jenga, and Flip-cup
TRADE
1410 14th St. NW
Doors open 2pm Huge
ZIEGFELDS/SECRETS
Decades of Dance DJ
Tim-e in Secrets Doors
9pm Cover 21+
MON., 05.23.16
9 1/2
selection No Cover
ANNIES
4@4 Happy Hour, 4-7pm
$4 Small Plates, $4 Stella
Artois, $4 House Wines,
$4 Stolichnaya Cocktails,
$4 Manhattans and Vodka
Martinis
COBALT/30 DEGREES
Happy Hour: $2 Rail, $3
Miller Lite, $5 Call, 4-9pm
Monday Nights A Drag,
hosted by Kristina Kelly
Doors open at 10pm $3
Skyy Cocktails, $8 Skyy and
Red Bull $8 Long Islands
No Cover, 18+
DC9
1940 9th St. NW
Happy Hour, 5-8pm
dcnine.com
DC EAGLE
Hour, 5-8pm Free Pool
all day and night Endless
Happy Hour prices to anyone
in a DC Eagle T-Shirt $1
Bud and Bud Light Draughts,
$3 Domestic Bottles, $4 Rail
Call No Cover 21+
FREDDIES BEACH BAR
Crazy Hour, 4-7pm
Karaoke, 8pm
GREEN LANTERN
Happy Hour all night long
Puppy-Oke: Open Mic Night
Karaoke, 9:30pm-close
JR.S
Happy Hour: 2-for-1, 4-9pm
Showtunes Songs &
Singalongs, 9pm-close
DJ James $3 Draft Pints,
8pm-midnight
NELLIES SPORTS BAR
$2 (5-6pm), $3 (6-7pm),
Beer $15 Texas Holdem
Poker, 8pm Dart Boards
NUMBER NINE
SHAWS TAVERN
Happy Hour, 4-7pm Trivia
w/Jeremy, 7:30pm
TRADE
1410 14th St. NW
Doors open 5pm Huge
TUES., 05.24.16
9 1/2
selection No Cover
ANNIES
4@4 Happy Hour, 4-7pm
$4 Stella Artois, $4 House
Wines, $4 Stolichnaya
Cocktails, $4 Manhattans
and Vodka Martinis
COBALT/30 DEGREES
DJ Honey Happy Hour:
$2 Rail, $3 Miller Lite, $5
Call, 4-9pm SIN Service
Industry Night, 10pm-close
$1 Rail Drinks all night
DC9
1940 9th St. NW
Happy Hour, 5-8pm
dcnine.com
METROWEEKLY.COM
FREDDIES BEACH BAR

Crazy Hour, 4-7pm
Karaoke, 8pm
GREEN LANTERN
Happy Hour all night long,
4pm-close
JR.S
Birdie LaCage Show,
10:30pm Underground
(Indie Pop/Alt/Brit Rock),
9pm-close DJ Wes
Della Volla 2-for-1, 5pmmidnight
NELLIES SPORTS BAR
$2 (5-6pm), $3 (6-7pm),
Beer $15 Karaoke and
Drag Bingo
NUMBER NINE
Safe Word: A Gay Spelling
Bee, 8-11pm Prizes to the
top three spellers After
9pm, $3 Absolut, Bulleit
& Stella
SHAWS TAVERN
Half Priced Burgers & Pizzas,
5pm-close $5 House
Wines & Sam Adams Drafts,
5pm-close
MAY 19, 2016
43
TOWN PATIO
Open 6pm Yappy Hour
Bring Your Dogs $4 Drinks
and Draughts
DC9
1940 9th St. NW
Happy Hour, 5-8pm
dcnine.com
TRADE
1410 14th St. NW
Doors open 5pm Huge
FREDDIES BEACH BAR

Crazy Hour, 4-7pm $6
Burgers Drag Bingo Night,
hosted by Ms. Regina Jozet
Adams, 8pm Bingo prizes
Karaoke, 10pm-1am
WED., 05.25.16
9 1/2
selection No Cover
COBALT/30 DEGREES
Happy Hour: $2 Rail, $3
Miller Lite, $5 Call, 4-9pm
Wednesday Night Karaoke,
hosted by Miss India Larelle
Houston, 10pm-2am $4
Stoli and Stoli Flavors and
Miller Lite all night No
Cover 21+
44
MAY 19, 2016
METROWEEKLY.COM
GREEN LANTERN
Happy Hour all night long,
4pm-close
JR.S
Buy 1, Get 1 Free, 4-9pm
Trivia with MC Jay Ray,
8pm The Feud: Drag
Trivia, hosted by BaNaka,
10-11pm, with a $200 prize
$2 JR.s Drafts and $4
Vodka ($2 with College ID or
JR.s Team Shirt)
NELLIES SPORTS BAR
SmartAss Trivia Night, 8pm
and 9pm Prizes include bar
tabs and tickets to shows at
the 9:30 Club $15 Buckets
of Beer for SmartAss Teams
only Bring a new team
member and each get a free
$10 Dinner
NUMBER NINE
SHAWS TAVERN
Happy Hour, 4-7pm Piano
Bar Second Floor, 8pm-close
TOWN PATIO
Open 6pm $4 drinks and
draughts, 5-9pm Nashville
Wednesdays: Pop-Country
music and line dancing, with
line dancing lessons from DC
Rawhides every other week
TRADE
1410 14th St. NW
Doors open 5pm Huge
ZIEGFELDS/SECRETS
Shirtless Night, 10-11pm,
12-12:30am Military
Night, no cover with military
ID DJ Don T. in Secrets
9pm Cover 21+ l
45
In our country,
there cant be those who have certain rights in some states
and others who do not.
Mexican President ENRIQUE PEA NIETO, announcing a proposal to legalize same-sex marriage. Pea Nieto introduced two
bills that would change Mexicos Constitution to allow same-sex couples to wed and amend the federal civil code to ensure those
marriages are treated equally under the law.
JFK wanted to send a man to the moon.

Obama wants to send a man to the womens restroom.
We must get our country back on track.
Texas Gov. GREG ABBOTT, in a tweet criticizing the Obama administrations efforts to promote transgender rights, both through
its lawsuit against laws like North Carolinas HB 2 and the Department of Education and Department of Justices guidance
allowing transgender students to use facilities consistent with their gender identity.
Everyone deserves to live free of stigma, persecution and

discrimination
no matter who they are or whom they love.
Canadian Prime Minister JUSTIN TRUDEAU, in a statement justifying the Liberal governments introduction of a bill that would
ban discrimination against transgender people and add crimes committed against them to Canadas hate crimes law.
The failure of McCrory and other lawmakers to see this is a failure of compassion, a failure to recognize
the difficult and frequently unwelcoming world
transgender people must navigate every day.
Sir ELTON JOHN, in an op-ed for The Hill, blasting North Carolina Gov. Pat McCrory and other politicians who push legislation
targeting transgender people without having met a transgender person or understanding the issues that affect them.
These laws should be reconsidered

as soon as possible.
A EUROPEAN UNION SPOKESPERSON, in a statement. According to the EU, recent anti-LGBT laws in Mississippi, North Carolina
and Tennessee contravene the International Covenant on Civil and Political Rights, which guarantees all persons equal and
effective protection. The statement asserts that cultural, traditional or religious values cannot be invoked to justify
any form of discrimination.
46
MAY 19, 2016
METROWEEKLY.COM

Metro Weekly - 05-19-16 - Jose Carasquillo

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EDITORIAL

MAY 19, 2016

photography by Ward Morrison

Interview by John Riley

SALES & MARKETING

2016 Jansi LLC.

MAY 19, 2016

OUT ON THE TOWN

Siegfried and Twilight of the Gods

Distrkt C at the DC Eagle

photography by Ward Morrison

Now online at MetroWeekly.com

Eric Fanning Confirmed as Army Secretary

TS TOUGH RUNNING FOR A POSITION WHEN

MAY 19, 2016

An Advisory Neighborhood Commissioner for Ward 2,

MAY 19, 2016

candidates on the day of the primary, as they did in Maryland,

MAY 19, 2016

DIGNITYUSA sponsors Mass for

LGBT community, family and friends.

GAY LANGUAGE CLUB discusses

HIV testing in Takoma Park, 7676

Iona Senior Services offers a seminar

GAY DISTRICT, a group for GBTQQI

CHRYSALIS arts & culture group

The DC Center hosts a monthly LGBT

ADVENTURING outdoors group

BENEFITS: BENEFITS AND

Albemarle St. NW. For more information, visit iona.org.

IDENTITY offers free and confiden-

tial HIV testing in Gaithersburg,

US HELPING US hosts a Narcotics

Anonymous Meeting, 6:30-7:30 p.m.,

MAY 19, 2016

LGB PSYCHOTHERAPY GROUP for

p.m., and HIV services (by appointment). 202-291-4707, andromedatransculturalhealth.org.

DC AQUATICS CLUB (DCAC) practice

METROHEALTH CENTER offers

free, rapid HIV testing. Appointment

PROJECT STRIPES hosts LGBT-

affirming social group for ages 11-24.

SMYALS REC NIGHT provides

holds bi-monthly potluck social on the

asylum seekers. 5-7 p.m. 2000 14th St.

p.m., and HIV services (by appointment). 202-291-4707 or andromedatransculturalhealth.org.

BET MISHPACHAH, founded by

ing others interested in Brazilian culture, meets. For location/time, email

DC AQUATICS CLUB (DCAC) practice

DC FRONT RUNNERS running/

walking/social club welcomes all

DC SENTINELS basketball team

meets at Turkey Thicket Recreation

celebrates Low Mass at 8:30 a.m., High

DC AQUATICS CLUB (DCAC) practice

HOPE UNITED CHURCH OF CHRIST

HSV-2 SOCIAL AND SUPPORT

metro area. This group will be meeting

INSTITUTE FOR SPIRITUAL

age church & learning center. Sunday

worship at 8:30 or 11 a.m. Childcare is

MAY 19, 2016

services at 9 a.m. (ASL interpreted)

RIVERSIDE BAPTIST CHURCH,