For better or for worse, when we think of gin, we often conjure images from across the pond, from the moralists who condemned a lawless, drunken London to the precision of James Bond’s Vesper martini. The spirit was so tied to the British identity that, in 1808, as tensions rose leading up to the War of 1812, Baltimoreans even staged their own version of the Boston Tea Party, burning 720 gallons of that other beloved British beverage at Hampstead Hill.

“The proscribed [sic] liquor blazed to heaven amidst the discharge of cannon and the applause of fifteen thousand citizens met to show their love for independence, and to burn gin that had paid tribute to England,” wrote historian John Thomas Scharf. Luckily, in the 200-plus years since that terrible waste, locals have changed their tune a bit.

Gin has experienced a series of meteoric rises and a few steep falls from grace. It’s been demonized and celebrated, made secretly in dubious bathtubs and proudly in shining copper stills. And now, at the dawn of the second Roaring ’20s, it’s back again. Perhaps better than ever.

But first, a quick history lesson. Gin as we know it today is a far cry from its roots, which are firmly planted in Dutch, not British, soil. It all began with a distilled beverage flavored with juniper called genever, the first record of which comes from the Netherlands in 1552. Juniper is still the most prominent botanical in today’s gins, though some distillers have gotten more creative with the flavoring in recent years. And genever itself has been making a comeback. This malty precursor tasted more like a young whiskey than the clear spirit we know today, but it laid the groundwork for several hundred years of innovation.

Genever made its way to England during the 80 Years’ War, and it was dubbed “Dutch Courage” because it was given to soldiers to steady their nerves before battle. When a Dutchman, William of Orange, took the English throne in 1688, all things Dutch came into fashion. The king began encouraging his new countrymen to produce a version of his home spirit.

“So then we have what becomes the first sort of English gin,” says spirits historian Al Culliton, who also runs an online program for home bartenders called Al’s Cocktail Club. “They start calling it ‘gin,’ which obviously comes from genever. Usually it was sweetened, but still made on a pot still and based in grains. It’s always going to be based in grains, but how that grain is distilled is what changes. We’ve got the whole William Hogarth ‘Gin Lane’ period, where basically people that are used to drinking beer and ale across England start drinking genever in copious amounts. We have this sweetened form called Old Tom…and then finally we have London dry style. You don’t really see this super clean spirit take hold, especially in the U.S., until the very late 19th century.”

Today, many different styles of gin are flourishing, from classic Dutch-style genevers to New Western styles, which stray from the unwritten rules. The basic definition of gin is “a colorless alcoholic beverage made from distilled or redistilled neutral grain spirits flavored with juniper berries.” But tell that to the pink gins, the tea-colored gins, and the gins that veer way off course from the traditional juniper notes.

The aptly named Dutch Courage in Old Goucher alone stocks 140 styles, and includes tasting notes for each. Some exciting options include Corgi “Earl Grey” (black tea, brisk bergamot, and juicy citrus), KI NO BI Dry Gin (yuzu, orange oil, pine note, and eucalyptus), and Catoctin “Watershed” (caraway, faintly floral, woody, and white pepper).

“The cool thing is, we have so many options up there that people just want to try different stuff,” says Brendan Dorr, who co-owns Dutch Courage with Eric Fooy. “If you wanted to come in and just make your own sample, our spirit menu has those little descriptors under all the gins so you can get an idea of what flavors you might be getting or what you might get off the nose of it before you enjoy it.”

While some enthusiasts enjoy just sipping on the spirit, gin on its own isn’t everyone’s cup of tea. And that’s no problem. Gin has been essential to cocktails for as long as folks have been making them.

“Since the word cocktail was created and defined as a mixture of bitters, water, sugar, and spirit, gin has been in that mix. That’s kind of why we opened Dutch Courage. We wanted to pay homage to a spirit that has deep roots in cocktail history,” says Dorr. “Whiskey bars are out there, but in this city, there definitely weren’t any gin bars. So for us to open Dutch Courage was to be like, hey, here’s a whole other category of spirit that people probably didn’t realize is as vast as it is.”

There are currently around 6,000 gins produced worldwide, and Nielsen data shows a rise in U.S. gin consumption. Last summer it managed to outpace bourbon, rum, and even vodka in sales.

It’s a trend that’s been a long time coming. An August 2020 episode of The VinePair Podcast asked, “Is the Gin Boom Finally Here?” and, for once, the answer seemed to be yes. Gin’s rampant popularity across Europe appears to have finally made the leap across the pond, much to the delight of distillers.

 

Max Lents, CEO of Baltimore Spirits Company, has been watching that particular needle move with a keen interest for years. In 2015, BSC began distilling the first legal gin in Baltimore since Prohibition, Shot Tower. These days their lineup includes two other varieties, Barreled Shot Tower Gin and Skeleton Spirit Gin. The distillery’s recently opened Cocktail Gallery features all three offerings alongside other house products in both new and classic drinks.

“Gin seems to be having a moment, which has been predicted for many years. Europe had this gin revival over the last decade and Spain I might say was ground zero,” says Lents. “People figured because it was having such a moment there that eventually it would come over to the U.S. Normally, liquor trends happen the other way [America to Europe], but this seems to have happened the other direction, and I couldn’t be more thankful for it.”

The boom has come on the heels of another couple of trends, the revival of cocktail culture and the consumers’ desire to be more educated about the products they choose, making it an ideal time for both spirits enthusiasts and the curious casual drinker.

“I don’t think we would be having an amaro revolution, or a vermouth revolution, or a gin revolution without the reemergence of cocktail culture in America,” says Lents. “I think it’s the finding of the old cocktail books, it’s the reemergence of the [pioneering bartender] Jerry Thomas recipes. I think it’s their application in cocktails that’s driving the resurgence of these spirits.”

Culliton, who studies cocktail history and recreates many once-popular drinks for their cocktail club, has seen the same. Europe may have birthed gin, but cocktails made their journey across the Atlantic from the United States in the 1800s. From the earliest bartending guides to more recent history, gin is at the center of that story.

“We see a lot of gin in those recipes, and gin is always at least a variation, so we know that it had a huge foothold,” says Culliton. “And then I think the dry martini is very emblematic of the second half of cocktail history and the staying power of the American cocktail across the world. It supplanted a lot of drinks as the emblem of our cocktail culture. [The cocktail] is one of our first and greatest exports.”

The martini in particular has taken on dozens of iterations. Its original recipe included London Dry, sweet vermouth, orange bitters, simple syrup, lemon peel, and an olive, a veritable kitchen sink compared to the current standard.

Then there’s perhaps the most famous drink order ever uttered, James Bond’s vodka martini, “shaken, not stirred.” The movie Bond may have snubbed his home spirit a bit—vodka was booming when he first hit the silver screen—but the novels have plenty of nods to gin. Bond author Ian Fleming had 007 invent the Vesper (“Three measures of Gordon’s, one of vodka, half a measure of Kina Lillet. Shake it very well until it’s ice-cold, then add a large slice of lemon-peel. Got it?”) and enjoy a variety of other gin classics, including the gin martini, pink gin, and negroni.

Culliton also counts the pandemic among the reasons people have renewed their interest in the classic spirit. When bars closed, the bar cart and liquor cabinet got more use than ever before, and simple options like the gin and tonic thrived. People also expanded their home bartending skills.

“The pandemic has given people time to invest in learning more about the cocktails they’ve been drinking for years,” says Culliton. “There’s an extra aspect of people wanting to know what’s behind the drink and how to make it at home. I taught 60 Zoom classes this year. People are really into it.”

Whether it’s in a simple gin and tonic mixed at home, a historic recipe followed to the letter (try an Aviation, originally made with El Bart Gin distilled right here in Baltimore, from 1916), or an entirely new creation, experts advise taking note of what you like. There are thousands of international options and plenty of regional producers to try.

“Gin deserves attention, and the more people that drink gin and really start to love it, the more people are gonna understand the differences and what they like,” says Lents. “It’s a whole culture of understanding. Understanding your own consumption and the provenance of it.”

Not into that strong, Christmassy hit of juniper? No problem. McClintock Distilling in Frederick’s Gardener’s Gin leads with cucumber, hibiscus, and lavender for a refreshing, floral option. More of a dark liquor person? Seek out a bottle of Genever Inspired Gin from Tenth Ward Distilling Company, also in Frederick, for a malty, earthy flavor that looks to gin’s roots while winking at Maryland’s love of rye. Feeling adventurous? BSC’s Skeleton Spirit features an herbaceous blend of eucalyptus, aloe, and avocado leaf that begs to be the star of something simple that will let its unique flavors shine.

And if you don’t know what you like, well, that’s what those experts are for.

“It’s a fun, exciting spirit that’s finally seeing the light of day in the most positive way. The sky’s the limit for flavor combinations, so there will always be new combinations coming out by different distilleries,” says Dorr, glancing over at the hundred-plus bottles behind his bar. “It’s an exciting time. I don’t have enough shelf.”

Whether you’re working with years of experience or trying out gin for the very first time, our experts have a cocktail for you.

Brendan Dorr, Dutch Courage

When it comes to introducing the unfamiliar to the joys of this juniper spirit, Dorr recommends this easy cocktail, a variation on a gin sour, that probably doesn’t even require a special trip to the store. Just whip up the syrup, combine your ingredients, and enjoy the fruits of your minimal labor.

Bee’s Knees
1 oz. honey syrup
1 oz. lemon juice
2 oz. gin

Make a quick honey syrup (50/50 water and honey); add it to a shaker with ice, one part lemon juice, and two parts gin; then shake, strain, and enjoy. It’s the bee’s knees.

Max Lents, Baltimore Spirit Co.

Barreled Shot Tower Gin, which spends 9 months hanging out in Epoch Rye barrels, and Averna Amaro lend some citrusy, caramely notes to this gin option that may just convert the dedicated whiskey and rye drinkers out there. 

The Black Tuesday
2 oz. Barreled Shot Tower Gin
1 oz. Averna Amaro
5 shakes Black Walnut Bitters

Stir over ice and strain onto a large ice cube. Express an orange peel over the top of the glass and garnish with the expressed orange peel.

Al Culliton, Al’s Cocktail Club

Culliton’s study of cocktail history has led them to all kinds of historic drinks and their many variations. Follow a condensed timeline of gin history by making these gin, Old Tom, and genever drinks.

Fall Martini
¾ oz. gin (Neversink)
¾ oz. unaged apple brandy (Laird’s)
¾ oz. dry vermouth (Noilly Prat extra dry)
½ oz. Manzanilla sherry (La Guita)
¼ oz. Gentian liqueur (Salers)
¼ oz. “brine”*

Combine all in a mixing glass. Fill with ice and stir for 20 seconds. Strain into a Nick and Nora glass. Garnish with a Castelvetrano olive on a pick.

Improved Holland Gin Cocktail—Java edition
1½ oz. oude genever (Bols)
½ oz. Batavia arrack (van Oosten)
¼ oz. oloroso sherry (Hidalgo “Faraon”)
¼ oz. crème de banane (Tempus Fugit)
¾ teaspoon lime-ginger syrup*
4 drops chocolate bitters (Fee Brothers “Aztec Chocolate”)
Coffee bean, for garnish (BCRC)

Combine all in a mixing glass. Fill three-quarters with ice and stir for 20 seconds. Strain into a small, stemmed cocktail glass. Grate coffee bean on top using a microplane.

Band of Horse Thieves (serves 4-5)
9 oz. Old Tom gin
3 oz. Sweet vermouth
3 ¾ oz. Water
Absinthe for spritzing/rinsing

Combine Old Tom gin, sweet vermouth, and water in a ~20 oz. jar. Freeze for 6+ hours. Freeze single rocks glasses 2+ hours ahead of time. Before serving, spritz or rinse frozen glasses with absinthe. Pour 3-4 oz. of mixture in each. Serve immediately.

It’s been entirely too long, Baltimore. We missed running into you at galleries, chatting in the lobby before the curtain goes up, and squeezing past you during concerts. And, no, things aren’t perfect yet, but we’re getting there.

Whether it’s masked up a few seats over on opening night at the theater or dancing in streets to local bands performing al fresco, we’re so glad to see you out experiencing one of our city’s greatest assets in person again.

But, if you feel like sticking to streaming and virtual tours a while longer, well, that’s okay too. It’s been a serious year of learning for everyone, and it has brought about some silver linings. Theater is more accessible than ever, international artists are just a Zoom call away, and you can catch that lecture from your couch if you need to.

So whatever your comfort level, it’s time to take a look at the months ahead. As usual, your arts community has plenty to offer.

To Nov. 6, 2021: Rania Matar’s She
Lebanese-born American artist Rania Matar showcases the beauty of young adulthood in her photographic exhibition entitled SHE. Her ethereal series specifically captures young women who are in their twenties and from the United States and the Middle East. Each of Matar’s subjects are featured in unique environments that contribute to their own individuality and allure. C. Grimaldis Gallery, 523 N. Charles St.

To Oct. 23, 2021: Within/Without
This exhibition displays the interpretation of nature by Marianne Calenda and Baltimore artist Andrea Huppert through different mediums. Inspired by the natural environment, Andrea Huppert uses observations from her daily hikes and travels to create mixed media works. Using aqueous media, Calenda incorporates soft pastel and charcoal to convey the layers and textures of seasonal changes in nature’s flora. Gallery Blue Door, 833 Park Ave.

To Mar. 2022: Discover Maryland
Explore the evolution of culture and history in Maryland since its founding in 1634 in this exhibition. Discover who Marylanders are and what makes them so passionate about their home, and learn how Maryland’s unique geography has driven its industry, population, and identity. This exhibit will teach even lifelong residents something new about the state’s rich past. Maryland Center for History and Culture, 610 Park Ave.

To Fall 2022: The Science and Mystery of Sleep
Embark on a personal and creative endeavor where art meets science! This interactive exhibit showcases three artists, who will display their own handmade and fantastical bedrooms. Each design represents the artistic visions and latest scientific research behind the phenomena of sleep. The exhibit’s main inspiration stems from multidisciplinary research on sleep, including its impact on obesity, diabetes, hormones, and more. American Visionary Art Museum, 800 Key Hwy.

Sept. 11 – Oct. 30: Future Ancestors
Juried by artist Aisha Harrison, this claywork exhibit curates sculptural works that throughline our past, present, and future, compelling artists and audiences to answer the question: “What kind of future ancestor do you hope to be?” The works on display include local artists Sarah McCann, Mia Halton, Murjoni Merriweather, and many more. Baltimore Clayworks, 5707 Smith Ave.

Sept. 12, 2021—Jan. 9, 2022: Color and Illusion: The Still Lifes of Juan Gris
Color, form, tension, stasis, and abstraction are just a few themes present in Juan Gris’ collection of artworks. The Spanish artist is known for his pioneering contributions to the Cubist movement and his incorporation of the experimental style called Synthetic Cubism. In this new exhibit, Gris’ compositions showcase his visual simplicity and stylistic growth from the years 1911 until 1927. Baltimore Museum of Art, 10 Art Museum Dr.

Sept. 19, 2021– Jan. 2, 2022: Betty Cooke: The Circle and the Line
In this first major museum retrospective of her work, Baltimore designer Betty Cooke showcases the intricacies within her jewelry designs from the early 1940s up until present day. Much of Cooke’s artwork draws inspiration from natural landscapes and animals and is made with different materials of enamel, wood, and gemstones. Cooke’s jewelry was also featured in Vogue and her designs have won two Diamonds Today awards from DeBeers. The Walters Art Museum, 600 N. Charles St.

Oct. 1 – Oct. 24: Wit by Margaret Edson
Get ready for Margaret Edson’s Pulitzer Prize-winning play to take over a Charm City franchise. Helmed by local director Lindsey R. Barr and starring Baltimore native actor Kay-Megan Washington, Wit explores the meaning of life through the unifying human experience—mortality—and cross-examines the importance of human relationships. Fells Point Corner Theatre, 251 S. Ann St.

Oct. 2: Dylan @ 80
Celebrate the music, lyrics, and talent of Bob Dylan for his 80th birthday, hosted by tribute band The Complete Unknowns. Accompanied by the Stable Shakers, folk artist Caleb Stine, Tex-Mex group Los Engreidos, and Southern artist Linda Nelson, this dedicated concert will honor the man that some consider to be the greatest songwriter of all time. Creative Alliance, 3134 Eastern Ave.

Oct. 2-3, 2021: International Edgar Allan Poe Festival & Awards
Poe Baltimore invites you to join fellow Edgar Allan Poe fans for a weekend of performances, movies, music, and art in commemoration of the legendary master of the macabre. The free, two-day outdoor festival will feature Poe-themed performances, art, craft vendors, and food to help visitors wallow in Poe’s special brand of darkness and celebrate his life, works, and contributions to the arts. During the festival weekend, the winners of the 2021 Saturday “Visiter” Awards will also be announced. The Edgar Allan Poe House & Museum, 203 North Amity St.

Oct. 5-31, 2021: Flyin’ West
Flyin’ West introduces the story of four African-American female pioneers and their journey settling in the all-Black town of Nicodemus, Kansas. Set at the turn of the 19th century, the play follows these American homesteaders as they work to build a better life for themselves and their families while faced with harsh circumstances. Written by Pearl Cleage and directed by Paige Hernandez, Flyin’ West is a journey of overcoming tremendous obstacles. Everyman Theatre, 315 W. Fayette St.

Oct. 8-10: The 13th Annual Baltimore Tattoo Arts Convention
Itching for a new tattoo? Want to know the most trending tattoo designs? Head to The 13th Annual Baltimore Tattoo Arts Convention. The weekend-long event will showcase some of the top tattoo artists from the region and the country, including special guests Black Ink Crew and a band of artists from the popular show Ink Master. Some artists are available for walk up tattoos, or you can make an appointment ahead of time. Baltimore Convention Center, 1 W Pratt St.

Oct. 8: Fantasy Machine, an Experimental Fashion Show and Pop Up Shop Presented by Meg Beck
This third iteration of Current Space’s popular fashion event will return this fall, featuring unique new looks, local art, and the opportunity to refresh your closet with bold, fresh pieces from the pop up shop. Current Space, 421 N Howard St.

Oct. 9: Black Lung
Baltimore band Black Lung returns to the city along with Asthma Castle, Haze Mage, and Queen Wolf. Channel dark October evenings with music from this lineup of punk rock bands. Black Lung’s rough and unrefined sound highlights explosive drum beats and electric guitar riffs, and has been described as “sonic pain and melodic bliss” that reflects the tone of the city. Ottobar. 2549 N. Howard St. 

Oct. 14-17: Celebrating John Williams
This performance, led by Principal Pops Conductor Jack Everly, celebrates quintessentially American composer John Williams. With a career spanning over six decades across composing, conducting, and performing, Williams is best known for his critically acclaimed film scores, including, of course, Raiders of the Lost Ark and Star Wars. This tribute concert performed by the Baltimore Symphony Orchestra honors his legendary career and work. Baltimore Symphony Orchestra, 1212 Cathedral St.

Oct. 22 – Nov. 6: Blood Countess
Just in time for Halloween, The Strand Theater Company, which is dedicated to women playwrights and theater artists, is presenting Blood Countess, about the Hungarian noblewoman Elizabeth Báthory, who is rumored to have murdered anywhere between 60 to 600 young women.This fun and creepy take of the supernatural was written by Kelleen Conway Blanchard will be directed by Erin Riley. The Strand Theater Company, 5426 Harford Rd. 

Oct. 23-24: Baltimore Open Studio Tour
Hosted by the Baltimore Office of Promotion & The Arts, Baltimore Open Studio Tour is an annual city-wide event allowing artists to connect with the art-loving public, students, collectors, and creative influencers. Each year, people travel all over Maryland and beyond to meet Baltimore artists in their own studios and get to know the inner workings of their creative processes. Locations vary.

POSTPONED TO 4/2022: The Jazz Age Gala
This black-tie event celebrates the “birth and rise” of jazz music during The Jazz Age—a cultural and artistic period following World War I in the 1920s. The Jazz Age marked the emergence of new fashion styles, progressive social change, radio broadcasting, and recording technology. Enjoy an evening filled with wonderful entertainment and plenty of awards. The Reginald F. Lewis Museum of Maryland African American History & Culture, 830 E. Pratt Street.

Nov. 5: Baltimore Soundstage 10 Year Anniversary Party
Celebrate Baltimore Soundstage’s 10th Anniversary with a special reunion show from Pasadena, a rock, reggae, and ska band. Named after the city in Anne Arundel County, the band was founded in 2000 by lead singer/songwriter Joey Harkum. After embarking on multiple tours across the nation for more than 17 years, the band played their last show in Annapolis’ Union Jack’s in 2017. This year’s reunion show will bring back the band’s feel-good music and, we’re guessing, their devoted fan base. Baltimore Soundstage, 124 Market Pl.

Nov. 12-13: Baltimore Old Time Music Festival
Join old time musicians, singers, and dancers from across the country to celebrate the influence of this music today for the second annual Baltimore Old Time Music Festival. Hosted by musicians Ken and Brad Kolodner, the festival features performances from a long lineup of musical artists. The weekend will be filled with hands-on workshops hosted by headlining performers, concerts and performances in the Marquee Lounge and theater, and a nighttime hoedown square dance to close out the festival. Creative Alliance, 3134 Eastern Ave.

Nov. 12 – 14: THE MEDIUM by Gian Carlo Menotti
The Baltimore Concert Opera presents a thrilling hour-long opera that follows a strange encounter and the subsequent perils that plague a pseudo psychic named Madame Flora, also known as “Baba.” This two-act opera, which was written and composed by Italian composer Menotti, will be sung in English with English supertitles. For all lovers of music, theatre and a good ghost story, this horrific performance will not disappoint. Grand Ballroom at The Engineers Club, 11 W. Mount Vernon Pl.   

Nov. 14: Miró Quartet
The Miró Quartet, an acclaimed national string quartet, returns to Baltimore during their world tour. Their performances have received praises from critics at The New York Times and The Houston Chronicle, who complimented the ensemble’s “refinement, drama, and adventure.” This year’s performance showcases an assortment of memorable musical pieces from Mozart and Beethoven. Shriver Hall, 3400 N. Charles St., Hall 105.

Nov. 27-Dec. 31: 2021 Flat Files 
This year’s Flat Files exhibition features more than 25 artists who specialize in an array of creative mediums ranging from photography to cloth and plastic. Showcased artworks will be available for purchase — all artworks are priced under $500.  Institute of Contemporary Art, Baltimore, 16 W. North Ave. 

Nov. 27-Dec. 19: Fires in the Mirror: Crown Heights, Brooklyn and Other Identities
Directed by Nicole Brewer, and presented in Partnership with Long Wharf Theatre, this series of monologues by Anna Deavere Smith looks back at the 1991 Crown Height Riot through the eyes of the Black and Jewish voices affected by those days of tension and violence. Baltimore Center Stage, 700 N. Calvert St.

Dec. 3, 2021: Laraaji
Center the mind with the sounds of meditative celestial music performed by Laraaji. Based in New York City, Laraaji began his music career playing on the city’s streets in the 1970s, where he was later discovered and invited to record an album. Laraaji brings joy to his sound bath performances, calming the souls of others. Creative Alliance, 3134 Eastern Ave.

Dec. 3-4: An Evening with André De Shields
Baltimore native and Hadestown star André De Shields returns to his hometown to perform with the Baltimore Symphony Orchestra, conducted by Andy Einhorn. His performance will tell the story of Charm City and the city’s influence on his career and personal success. This night out with the 2019 Tony Award winner for Best Featured Actor in a Musical is a must-see show. Baltimore Symphony Orchestra, 1212 Cathedral St.

Dec. 4, 2021: Winter Wonderland
Ring in the holiday season with this Winter Wonderland family concert. Listen to festive favorites from Disney’s Frozen, Tchaikovsky’s Nutcracker Suite, and more, performed by the Baltimore Symphony Orchestra accompanied by the dancers from the Ballet Theatre of Maryland. The family concert series is an opportunity to introduce classical music to younger audiences. Baltimore Symphony Orchestra, 1212 Cathedral St.

Dec. 7, 2021-Jan. 2, 2022: The Skin of Our Teeth
Protagonist George Antrobus is no stranger to chaos. The Skin of Our Teeth, directed by Noah Himmelstein, tells the story of his family—the Antrobuses of Excelsior, New Jersey—who seem to barely escape one disaster after another. Written by Thornton Wilder four years after the oft-lauded Our Town, this Pulitzer Prize winner will keep the audience guessing what turns the family will take next. Everyman Theatre, 315 West Fayette St.

Dec. 11-12, 18-19: The Nutcracker
Enjoy a holiday classic presented by the Ballet Theatre of Maryland. You’re undoubtedly already familiar with this two-act ballet, in which the young Clara must rescue her Nutcracker from the curse of the Rat Queen. Get whisked away to the Kingdoms of Snow and Sweets, and watch recognizable pieces like “Dance of the Sugar Plum Fairy.” Maryland Hall, 801 Chase St., Annapolis  

In July, a colorful shovel, decorated in purple, teal, and gold, hit the dirt at the empty lot across from Highlandtown’s Creative Alliance. It was a long time coming. The beloved arts nonprofit bought the building that used to be on the southwest corner of Eastern Avenue and South East Avenue six years ago, then razed the former bar.

Now, work is finally beginning on what will become the Creativity Center, a new Creative Alliance space that will expand both the organization’s footprint and community impact.

The center, which is slated to open in the fall of 2022, will include a number of new spaces and opportunities for cultural learning. A 1,000-square-foot professional dance studio, professional teaching kitchen, and several new classrooms will give all ages access to expanded resources, in addition to the classes, performances, and exhibitions available across the street in the Patterson Theater building.

“That’s going to be the great thing about the Creativity Center—just the facilities for more cross-disciplinary learning,” says Margaret Footner, founding executive director of Creative Alliance, now in its 27th year. “We work with our neighborhood artists and leaders to develop and produce community events. That’s really been a big part of what we see as the future of the Creativity Center, having more space for those projects and for the community to make some things happen.”

Renderings from project architects Quinn Evans envision an airy, welcoming space full of large windows, with passersby able to see all the action inside from the street. With the Creativity Center on one side of Eastern Avenue and Creative Alliance on the other, the buildings will act as a sort of gateway to the cultural heart of Highlandtown and give both residents and visitors ample opportunities to experience the varied traditions and arts practices that can be found throughout the neighborhood.

“There’s just a ton of vibrancy,” says Footner. “The arts have been an important part of the redevelopment of Southeast Baltimore in terms of evolving as a really multicultural and diverse neighborhood. And that’s been done with intention by all the community groups.”

 

“OUR MISSION IS ABOUT BRIDGING DIFFERENCES. . . BROADENING COMMUNITY THROUGH THE ARTS.”

 

While the organization hoped to have the Creativity Center up and running this fall, like most things, its plans were thrown off course by the pandemic. But, as one might expect from a group with “creative” in their name, organizers used the time to plan and develop new ways to reach the community virtually. And lessons learned over the past year will help inform their accessibility moving forward.

“It gave the staff some time to really think more about our own programming,” says Footner. “During the pandemic, we changed to more online programming, and I think there’s going to be carry-over from that in terms of opportunities for online education and experiences. Our mission is about bridging differences, generating community, and broadening community through the arts. That online reach will be really interesting in the future.”

Whether experienced through hands-on learning or streamed performances, the Creativity Center will give visitors the chance to enjoy an expanded range of arts opportunities, such as African dance, embroidery, batik, costume design, puppetry, storytelling, and vocal lessons. The professional kitchen will also make the center the perfect place to host community dinners and bring neighbors together to share their culinary traditions.

“It’s so important, with globalization and the amount of movement and immigration and social change the world is in, that we have organizations like the Creative Alliance that are intentionally working to connect different kinds of people to build understanding,” Footner says. “The arts are a great way to do that.”

Fans of video producer, musician, Baltimore native, and bureaucratic wunderkind Brian David Gilbert can head to one of The Charmery’s five locations this weekend to get their hands on a new flavor inspired by Gilbert’s foray into ice-cream making.

In a video documenting his own attempts, Gilbert created three “A+” ice cream flavors, a Peanut Butter Lychee, a non-dairy Pina Colada, and an Old Bay Hush Puppy variety that was partially inspired by The Charmery’s Old Bay Caramel. 

“If you’re in Baltimore, check out [The Charmery], it’s great,” he said in the video. “If you’re not in Baltimore, frickin’ rent a car and go there.”

Wise words, Brian. The shout out caught the attention of folks at the beloved local ice cream chain, and thus, a collaboration was born.

“[Making ice cream] is one of the many weird, niche hobbies I’ve gotten into during this pandemic,” Gilbert tells us. “I mentioned their really wonderful Old Bay Caramel ice cream because I made an Old Bay ice cream of my own. One of their PR people reached out [about a] collaboration. And I was like, absolutely. Yes. 100 percent. I’ve always wanted to do that. This is great.”

The one ice cream from the original video that didn’t quite make the grade was an impromptu cherry vanilla flavor, which was given a B, “with room for improvement.”

“When I first started talking to David [Alima, co-owner of The Charmery,] about potential ice creams and ways we could go, I mentioned that it’s sort of my white whale now—making a cherry ice cream that’s actually good,” Gilbert says. “And it was very reassuring, and also very scary, when he responded and was like, ‘Oh yeah, cherry ice cream is really hard to do well.’”

Enter The Charmery’s ice cream experts, who have concocted a new cherry scoop in collaboration with Gilbert: A+ Pickled Cherry Graham. The flavor features cherries pickled in apple cider vinegar and spices in a graham cracker base.

“[Alima] came back to me and said, ‘Hey, what if we pickled the cherries? We’ve done this with other things where we’ve pickled berries,’” Gilbert says. “And I’m a big fan of all things pickled. I got super excited when he came up with those ideas, and at that point I was like, ‘Yeah, I trust your judgment so much more than I trust my own about ice cream. So if you think that’s going to work, I’m all for it.’”

The scoops just hit stores on Sept. 24, but folks on the internet have already confirmed that the new flavor earns its A+. It’s good news, considering they put the grade in the name. 

“Omg. The cherry gives it a little sweetness, but not too [much] sweetness,” wrote one user on Twitter. “And the graham is the bassline; subtle, but crucial. Like the foundation of a house. Easy A+.”  

“What a joy!!!! Delicious!!! Truly A+!!!” raved another.

In addition to being reportedly delicious, the new flavor is also benefiting a good cause. A portion of proceeds will go to the Baltimore Action Legal Team, which works to offer legal assistance to Baltimore communities “as they exercise their civil liberties protesting against injustices rooted in structural racism and economic inequality,” according to the organization’s website. 

“All of the collabs have at least some part of the proceeds go to a local nonprofit, which I was really excited to hear,” Gilbert says. “Specifically, I thought that the Baltimore Action Legal Team was doing really good work. Not only just helping people get out with bail funds, but also educating people on making sure they know when there are illegal detainments, which I think is extremely, extremely important work to be doing.”

According to Alima, the Pickled Cherry Graham flavor will be available at all Charmery stores in Hampden, Towson, Columbia, and Federal Hill for the next week or so. So move quickly if you’re looking to try out the BDG-approved ice cream. Pints are also available to order online for pickup. 

If you can’t make it this week, there’s always the option to give it a whirl yourself. Gilbert’s missing out on tasting the collab flavor in person (he’s preparing for a cross-country move), but he plans on experimenting to recreate the A+ recipe at home. 

“I’m currently literally walking between boxes in my apartment trying to figure out which place to put my ice cream maker so it’s easily accessible as soon as I get to my new apartment,” Gilbert says. “When I get there, I think I’m going to try to pickle a couple different things and put them into the ice cream. And my poor partner is going to have to deal with a lot of bad ice cream for the next two months until I get it right.” 

As for those who wanted to taste the other flavors from the original video, or had ideas for others (a Pepcorn flavor perhaps?), Gilbert has some simple advice: “If you have the opportunity to make your own weird ice cream, you should do it,” he says. “It’s really worth it.”

When Jim Phelan, a former jockey and pub owner, moved to Baltimore from his native Ireland 15 years ago and began looking for a home, he had one big must-have on his list: a perfect basement.

A home with a bar in the basement is hardly uncommon, but most wouldn’t have designs on transforming their basement into an authentic pub. Nor would they spend a couple months and several thousand dollars turning a bare space into a bona fide piece of the Emerald Isle on American soil. But lucky for one Parkville street, their friendly neighborhood Irishman isn’t most people.

“The worst part about owning the pub [in Ireland] was having to deal with customers,” says Phelan, who these days manages farm animals at the Baltimore County Center for Maryland Agriculture instead of rowdy bar patrons. “I joked at the time that I’d love to have a house and just put in a private bar, so I don’t have to deal with all the hassle. So eventually when I came over here about 15 years ago, I decided that I would look for a place with a basement that was basically wide open, a blank canvas to build something like that.”

He found the future home of Phelan’s Irish Pub in a three bed, two bath, 1,334-square-foot house, where the entire lower level had been combined into one room. Just white walls, carpet, a fireplace, and an exit that led up a few stairs into the yard. And with inspiration from a few local pubs back home, Phelan set about designing his own. A bar along one wall, a stage where his band, The ShamRogues, could practice and play, and a pool table were the essentials.

“I just started doing it from scratch, and everything ended up being done by hand,” says Phelan. “My wife, Katie, and I did all the building of bits and pieces, like the bar and the stage and everything. My mother-in-law painted the place for me. So it was kind of a little family project between the three of us for a while.”

They created every part of the pub together, save for the floors, which were laid down by a friend. A group of friends then joined Jim to lend a hand when flood damage to the space required major repairs three years ago. And the DIY-ing goes all the way up to the mock tin ceiling.

“I had an idea to put in a nice tin ceiling,” Phelan says. “I knew nothing about that sort of a thing.” After doing some research, he discovered that the real tin tiles ran about $25 apiece, but a cheaper PVC alternative that could be cut at home had a nearly identical look. “I bought a hundred fully expecting that I would return them, that they wouldn’t look as good as they did online—like most things. But they arrived, and no one could tell the difference.” Instead of $2,500, Phelan ended up spending $600 on the project.

The result is a near-perfect replica of the antique tin tiles that came into fashion around the turn of the 19th-century. With the basement’s low seven-foot ceilings, visitors to Phelan’s Irish Pub can, and have, reached up to touch the intricate pattern. Still, they don’t believe it’s not tin. It’s just one of the many successful projects that the rookie DIYer took on to create his dream bar.

“I spent a lifetime riding horses, so I never did anything artistic or anything like that before. I kind of joked about it, because I have a wood-burning fireplace upstairs, and I was just going to go out, buy a bunch of two-by-fours, and worst-case scenario, I’ll just tear the whole thing down and I’ve got firewood,” says Phelan. “So I started from scratch, and bit-by-bit-by-bit it just started to come together. And the more I did, the more confident I got. I got pretty decent at it by the time it was all finished.”

Pretty decent is one way to describe it. Lucky friends and neighbors can take the outside stairs to a door under a glowing Guinness sign and enter a dim, welcoming space with felt green walls for a drink and good company. (To be clear, tempting though it may be, folks can’t just walk in off the street. This pub is private, and no one’s keeping a tab.)

While Phelan himself is a Bud Light man (“I don’t drink whiskey or spirits at all, which is not very stereotypically Irish.”), there are bottles of every type lining the back wall and plenty of beer on offer. And whether they choose to belly up to the handmade bar or gather around one of the high tops, there’s plenty of history to look at—or sit on.

The barstools were saved from Ryan’s Daughter, the shuttered Irish pub where Phelan had one of his first drinks in America. So, too, was the shelf on the left side of the bar, where eagle-eyed visitors might spot knickknacks and tchotchkes from the former Belvedere watering hole.

Phelan’s home has become a final resting place for relics from quite a few past pubs. As bars have closed, friendly owners who have hosted his band have gifted Phelan with glasses, mirrors, signage, and all manner of ephemera.

“There was one bar in Baltimore called Patrick’s of Pratt Street, which was the oldest family-owned Irish pub in America,” says Phelan. “They closed down four or five years ago, and Pat, the owner, I knew him very well. He gave me some lovely bits of pieces that had been hanging up in that pub for years and years. He wanted to keep them local, and he said that he’d like to have them in a pub. So he gave them to me.”

Everywhere you look, there’s a theme. One wall is covered with motocross jerseys, plaques, and trophies collected by Katie’s brother, Sean Simmons, who died shortly after the pub was completed. Another corner is dedicated to pieces Phelan’s brother sent over from his own pub back in Ireland, signs for Guinness and the like.

But the wall above the fireplace features the collection that Phelan is perhaps proudest of. Above the mantel, a custom-built cabinet (another DIY project, with a decal painted by a friend) houses 49 Preakness Stakes commemorative glasses—so far.

“They introduced the Preakness commemorative glasses in 1973, and there were only a few of them made that year because it was a brand-new thing. But it worked out that Secretariat happened to win the Triple Crown that year. He became the most famous American racehorse of all time. So from that, the glasses became very, very sought after and rare,” says Phelan.

He searched all over the country, eventually coming across a 1973 glass in excellent condition. When the cabinet was built, it housed just two glasses. Now, only the slot for 2022 remains. Phelan even had plans to have Secretariat’s jockey, Ronnie Turcotte, sign the original glass last year, but the appearance was canceled due to COVID-19.

“I’ve reached out to his team, and they’re going to let me know when he’s going to make another appearance,” Phelan says. “Wherever it is, I’m going to go and get that thing signed.”

Pandemic life slowed the stream of friends and guests that typically filled the space, but pre-COVID, the pub played host to birthday parties, New Year’s celebrations, concerts, and gatherings for races and game days. And with restrictions loosened up and vaccinations on the rise, the couple has slowly returned to hosting friends, even getting a few live bands back on stage. As we return to normal, Phelan is looking forward to living above a proper gathering place again.

“It’s nothing if you don’t have the friends around you,” he says. “The people make a great pub.”

For most of us, vermouth is an ingredient. Swirled around a martini glass or splashed into a Manhattan, it is quickly placed back on the bar cart as the stars of the show (gin, vodka, bourbon, pick your poison) make their entrance.

But at Hampden’s The Wine Collective, co-founder Enrique Pallares and his team are on a mission to push vermouth into the spotlight, a placement it already enjoys in Spain, where the daily “hora del Vermut”—vermouth hour—brings young people out in spades to sip the fortified wine on its own, with olives and orange slices, or fizzed up with a bit of seltzer. 

Sitting in the cozy Barrel Room at The Wine Collective as Pallares pours from the first batch of his Vermú Rosé, it takes very little convincing to consider borrowing a tradition from the Spanish. The pinkish-orange concoction of the collective’s 2019 rosé aromatized with cinchona bark, Spanish oranges, chamomile, wormwood, gentian root, juniper berries, clove, and star anise is spicy and bittersweet on its own, and refreshing and mellow served “vermuteria style” with soda water, an orange slice, and an olive. There are also several vermú cocktails on offer, including a light, botanical spritz and the warm, sugary “Burnt Flamingo.”

“It’s one of the most versatile drinks out there,” says Vallares. “You can really drink it on a Sunday morning spritzed up with bubbly water, or you can mix it with sparkling wine and it’s a perfect anytime drink like the Aperol Spritz. At the same time you can have it in the afternoon, or you can serve it in like a little Nick and Nora after dinner and it’s the perfect cocktail or digestif. It’s very, very simple, and that’s why I think it’s so popular among young people in Spain.”

With trends pushing drinkers more and more toward options with less sugar and lower alcohol content, Vermú Rosé has arrived at the perfect moment, ticking boxes in flavor and versatility and clocking in at just 16.5% ABV in the bottle.

“It’s the meeting point between the distiller, the winemaker, the chef, and the witch doctor. All those [botanicals] have components that are good for you, and then you blend that with the wine,” says Vallares. “[The American palate] is learning to let go of the sugar a little bit, and it’s learning to love bitterness a little bit more. [Vermouth] has this wave of people ready for that palate, but it’s also tied to the interest in the lower-ABV stuff. There’s all these interesting forces in the booze and culinary movement in America that are perfect for vermouth.”

They may not quite be doctor’s orders, but Vallares recommends pairing the spirit with salty pintxos such as tinned fish and olives. (The Wine Collective’s smoked fish dip, served with crackers and chili crisp, is a stunner.) And look for a new red vermouth —“More vanilla forward, more herbal, more of the traditional style,” according to Vallares — launching this month. With the rosé variety already lauded by Wine & Spirits, Condé Nast Traveler, and Forbes, we look forward to adding a second style to our vermouth hour supplies soon.

Make an appointment at this Old Goucher gallery from September 11 to October 16 to examine personal links to the South, both concrete and conceptual, in the work of 10 Black artists. Co-curated by artist Felandus Thames and historian-curator Key Jo Lee, this collection does not just ruminate on the past, but experiments with current identity and sets the region apart as something beyond location: “a repository for memory, hallowed ground for Black people, and a cornerstone for cultural transmission in the West.”

When hundreds of poached cactuses were recently trapped in limbo between Italy, where they were discovered, and Chile, where they had been removed from their natural habitat, B. Willow owner Liz Vayda felt she had to step in to help.

As chronicled in a recent New York Times story, cactus traffickers had poached more than a thousand rare cactuses from the Chilean desert, valued at more than $1.2 million on the black market, and shipped them abroad—only for them to be confiscated in Italy.

Yes, there is a black market for plants, and it’s only growing according to experts. Driven by social media and a surging interest in houseplants, more and more habitats are being scoured for rare and desirable species, leading to a growing problem with the poaching of cacti and succulents.

Vayda, who holds a master’s degree in environmental science, has been aware of the problem for a few years. She first connected with Dr. Jared Margulies—a Goucher and UMBC alum and plant trafficking expert—prior to opening B.Willow. The friends began having talks about the rapidly progressing problems with illegal cacti in 2018.

“He approached me to talk about my experience with cacti specifically,” she says. “He let me know that there are people poaching cactus. At that time, you really weren’t hearing anything about it, and it blew my mind. With Jared bringing up the illegal cacti trade, it started to dawn on me, ‘You’re a player in the horticultural industry, and there are people doing very bad things within this industry.’”

It drove Vayda to not only examine her own processes—making sure she was sourcing her plants from reliable, ethical purveyors—but also advocate for better conservation of these popular plant species. 

Now, through a partnership with the International Union for Conservation of Nature’s Cactus and Succulent Plants Specialist Group and Desert Botanical Garden, B. Willow is promoting conservation and combating the illegal plant trade from Baltimore. 

Through educational efforts, such as informational blogs and guest lectures, and fundraising via portions of sales and donations, Vayda hopes to make an impact on both conservation itself and people’s understanding of the issues affecting our plant populations. 

“Plants are more endangered and at risk than mammals and other animals, yet the proportion of funds going towards plants is exponentially less,” she says. “So there’s a lot of gaps within the conservation funding world. And it’s the simple fact that we relate more to animals and we’re more blind to plants.”

She’s right. As the Times noted, more than 30 percent of cacti species are endangered, but little is done to combat the collection of these vulnerable plants. The underfunding of their conservation is so critical that, when it came time to return the stolen Chilean cacti from Italy, a $3,600 shipping bill became the insurmountable obstacle. It was eventually covered by the IUCN, a Milan botanical garden, and Vayda, who donated $950 raised from event ticket sales and portions of plant purchases. 

While the main drivers of the illegal cacti trade are hardcore rare plant collectors—who increase demand for old, slow-growing varieties that are plucked from the wild—Vayda says that the average person can still take active steps toward mitigating their damage by making sure they are buying responsibly. She also suggests contributing funds to organizations working to protect cacti and succulents.

“I think the best thing people can do is support companies like us who are taking a stance and being very transparent about how we are funding conservation efforts,” she says. “But also financially supporting those groups themselves. Just the thousand dollars that we raised through a Bernie Sanders approach, small amounts of money, to see that it can make an impact is just crazy. I think people see conservation as something that takes millions of dollars, but it’s not always the case.”

She says buyers should also feel encouraged to ask more questions, especially about rare plants. If you are purchasing a species that is not widely cultivated, it could be problematic. It is also important to buy from reputable retailers. While many rare species can be found online via Etsy or Ebay, sellers often are not licensed by the USDA—with some even explicitly stating that their plants are “buy at your own risk” transactions that do not include proper legal paperwork.

Vayda is also looking to join forces within the horticultural industry. She is in early conversations about establishing industry standards for sourcing and growing, eventually hoping for something akin to certified organic foods or fair-trade labels to make it easy to identify sustainably sourced products for consumers.

But even that has its hurdles. Certifications can be inaccessible to small growers who cannot afford the extra expense. To help with that, Vayda envisions a collective effort among boutique plant businesses. 

“What if we had a concerted effort, some sort of pledge, some sort of standards that we could all operate within so that we’re accountable to each other, but then we also are pooling information so that we can all be more ethical with our sourcing?” she says. “I think there’s just so many ways for this to go, but right now, there’s nothing happening. We have to figure out how to bring awareness, first and foremost.”

Beyond that, Vayda says the other thing that could help shape a brighter future for these endangered plant species is further study and advocacy. She sees many young people come through B. Willow who are enthusiastic about plants and hope to someday open their own shop to share that passion with others. And while that path toward connecting people to nature is one Vayda followed herself, she hopes others will consider a more scientific approach.

“If I have a second career, that’s the direction I would want to go in,” she says. “The world needs more botanists. We need more people studying. That could be so motivating for people who are like, ‘I love plants. I want to make a difference.’ On one hand, I’m happy with what I’ve done, and I’m grateful, but I’m also aware of the fact that I am in a trade that is potentially doing adverse things to the environment. We need more people to see the need to go in that direction with their love of plants.”

Visual Art

If I’m no longer here, I want you to Know…
Portraiture and ornamentation reveal truths about both artist and subjects in this new solo exhibition at Galerie Myrtis. If I’m no longer here, I want you to Know…features intimate images of photographer Tawny Chatmon’s friends and family, adorned with stones in an elaborate, Byzantine-influenced style. These beautiful works, on display through July, convey messages of social justice and personal legacy. May 15 through July 10. Galerie Myrtis, 2224 North Charles St.

Film

2021 Maryland Film Festival
Make some popcorn, dim the lights, and find your perfect seat on the couch. The 23rd Maryland Film Festival is virtual again this year, providing viewers with nine days of new and exciting feature films and shorts to take in from home. Catch Baltimore-based projects such as All Light, Everywhere and Mom & M, and don’t forget to stick around after the credits for opening and closing night festivities. May 19-27, Online.

Music

Eubie Blake: A Conversation About Rags, Rhythm, and Race
In celebration of Shuffle Along’s 100th anniversary, the Maryland Center for History and Culture presents this Zoom webinar with Richard Carlin and Ken Bloom, co-authors of Eubie Blake: Rads, Rhythm, and Race. The Grammy winners will discuss how they used Blake’s personal collections to research their biography of the composer and pianist, as well as the ways in which his experiences in Baltimore shaped his identity and impact on our culture. May 6, 12 p.m. Virtual

Media

palatePALETTE
Krystal Mack is a force in the often-overlapping worlds of art, food, and justice, and her new project, palatePALETTE, is a testament to her work across all three. Along with a talented team of contributors, Mack has created a beautiful newsprint-format zine that explores the stories of workers and organizers adapting, thriving, and creating a vibrant culinary community. Physical copies of Issue 1 can be found at Greedy Reads, Red Emma’s, Charm City Books, Normal’s, and Good Neighbor, while digital copies are available for purchase here. 

Theater

Serious Adverse Effects
Rapid Lemon Productions returns to the Motor House stage this month for the world premiere of Derek Lee McPhatter’s Serious Adverse Effects, directed by company member Noah Silas. This all-too-relevant tale of a scientist chasing the cure for a mysterious disease sits at the intersection of medical ethics and how we forgive when we cannot forget. May 7-23, Online and at Motor House, 120 West North Ave.

Last year, after the city shut down (the first time) and artists were in desperate need of spaces and platforms to show their work, the folks at Asian Pasifika Arts Collective (APAC) launched a virtual art gallery for Asian American and Pacific Islander Heritage Month in May. Now, as we creep dangerously close to the anniversary of when the world first went indoors, APAC is back with a new gallery in celebration of the Lunar New Year—this time with a unifying theme everyone can appreciate: “New Beginnings.”

The online gallery, launched Feb. 10, features seven artists, including APAC’s own Catrece Ann Tipon and Ken Tsui. Each one shared their own experience with APAC’s overarching 2021 theme of “Crossing Borders” along with the “New Beginnings” prompt.

“With all the tension that is going on with different races and politics, we wanted to kind of bring everyone back,” says Tipon, who is also co-executive director of the collective. “We wanted to remind people that we need to cross borders—whether it is politically, whether it is racially motivated, in any form—to understand each other and to continue to be good to each other and learn our differences in a positive way.”

The featured artists, some based in Baltimore, others from as far away as London, have responded to the theme differently, and short essays about the works and the artists themselves lend context to videos, digital art, paintings, and collage. Kim Sandara, a Brooklyn-based Laotian/Vietnamese artist and MICA grad, offered this as explanation for “False American Dream” and “Naga”—two striking stop-motion animations in stark black and white.

“The two animations circle back into identity both as a child of immigrants and specifically the reveal of a dark history of being Lao American. 2020 challenged me to start looking at my identity more critically than I ever have, and 2021 begs me to continue.”

Tipon hopes that viewers of the virtual gallery will take the time to not just examine the works on display, but engage with the artists themselves, asking questions and replicating the conversations that often arise when we gather in a typical gallery.

“Not only do I want people to see their work, but also reach out to them, ask them more questions, understand their process,” Tipon says. “And not only reach out to the artists, support the communities that they also belong to…I want people to really broaden their viewpoint on these Asian artists and their communities outside of the virtual gallery. It’s so pertinent right now to understand the violence that’s going on and understand that the communities are suffering. And these artists are another platform into a bigger community.”

APAC actually delayed the start of the Lunar New Year Virtual Gallery in order to focus on their statement regarding the recent rise of anti-Asian hate crimes in the U.S. and anti-Black rhetoric that arose in response. Tipon says that the community is in need of solidarity in the wake of this violence, which has always existed but has surged since COVID-19 and over the weeks leading up to Lunar New Year.

“These artists have given the public a platform to understand this community and really talk more about it, about the problems that are going on and about the violence, just a bigger, deeper discussion into all of this,” she says. “As artists we give out this art, but we do it for a bigger purpose. We don’t do it just to show off. We do it to show who we are, our community behind it, and everything in between. And we always hope that people will understand that and try and learn more.”

[Editor’s note: We will continue to update this space as more information becomes available.]

Following an announcement by Governor Larry Hogan on March 12 that all gatherings of 250 people or more are to be postponed, many of Baltimore’s venues and art spaces have announced cancellations and rescheduled events. Here’s what’s still open, what’s coming later this year, and what to expect from the weeks ahead.

Visual Arts

The JHU Museums have announced that, as of March 16, all locations will be closed and public programs through April 12 are postponed or canceled. The American Visionary Art Museum has closed through March 31, with public programs and tours cancelled through April 12. The previously scheduled Logan Visionary Eco-Conference has been postponed to a later date.

Leadership teams are hoping that the BMA’s 2020 Vision Community Celebration and the opening for Brice Brown’s PROSCENIUM at Evergreen Library and Museum can be rescheduled for later in the year.

The Walters Art Museum and The Baltimore Museum of Art have closed to the public through March 31 and cancelled all events and programming through April 12. The Reginald F. Lewis Museum is also closed to the public, and a reopening date has yet to be released.

Some options remain for viewing museum collections. The Walters’ St. Francis Missal can be viewed in full on the museum’s Ex Libris site along with many other precious manuscripts.

The Baltimore Office of Promotion & Arts announced that all galleries and attractions will be closed starting March 14.

Events related to Maryland Art Place’s Out of Order and Merkin Dream have been postponed, with new dates TBA. Y:Art Gallery has cancelled its March 21 artist talk with Maureen Delaney, Erin Raedeke, and Richard Townsend but will remain open for regular business. Please check with your local galleries for information on postponements and adjusted hours.

Music

Creative Alliance has instituted a new full refund/exchange policy during the month of March and fully canceled the March 21 performance by the Marja Mortensson Trio. The annual Baltimore Old Time Music Festival has been postponed, and the leadership team is currently looking at new weekends, likely in the summer, to hold the event. Tickets will be transferred to the new date once it is confirmed, and refunds will be available at that time for those who do not wish to attend.

The Baltimore Symphony Orchestra and other events scheduled at both the Joseph Meyerhoff Symphony Hall and The Music Center at Strathmore are cancelled through March 21. BSO president and CEO released the following statement regarding the closure: “Of course, as recent history has shown us, the BSO has navigated challenging times thanks to the collective support and strength of our community. In addition to inviting patrons to exchange into future programs, we are also deeply appreciative to those patrons who would consider donating their tickets to support the BSO at a pivotal time in our transformation.”

The Modell Performing Arts Center at The Lyric has postponed all events through March 18, and some performances have already begun being rescheduled for this summer.

Horse Lords, Mdou Moctar, Versus, and Joy Postell have postponed their upcoming shows at the Ottobar, though the venue remains open at this time. According to the Ottobar Facebook page, “Our plan is to remain open this weekend in full capacity, and evaluate throughout. We’ll then start the new week studying the news and continue on from there…We will post online and our website any sudden changes that may arise. If you do not feel comfortable attending a show, you have the option to adjust or refund your ticket.”

Rams Head Live! has closed indefinitely in response to the 250+ gathering rule, and will work to reschedule impacted performances. Tickets for performances that are rescheduled will remain valid, and tickets for shows that cannot be rescheduled will be refunded within 30 days of an announcement of cancellation. Baltimore Soundstage and Metro Gallery have also postponed events through late March.

Sound Garden announced today that Record Store Day will be moved to June 20, 2020, affecting all area record stores.

Literature

Enoch Pratt Libraries has closed to the public, and all public programs, including the CityLit Festival, are postponed or cancelled through March 31.

According to a statement from Enoch Pratt CEO Heidi Daniel, the library is expanding programs for those stuck at home, including instituting a digital library card program to offer those without library cards the opportunity to register for instant access to online materials and databases. The Books by Mail program for homebound customers will also be expanding and can be initiated by contacting the library’s circulation department.

Greedy Reads has closed to the public and suspended all events through the month of March at both locations, but patrons can still make purchases via phone/email for pick up or delivery, or through bookshop.org and Libro.fm. Charm City Books announced that all events are cancelled. In addition, all Charm City Books stock will be available for purchase online, and delivery within Baltimore City is available for free. For those outside the city, delivery is still an option at the cost of $5 or less. Events at The Ivy Bookshop and Bird in Hand are cancelled through March 30, and updates will be posted as soon as new dates are scheduled.

Theater

As of March 12, the Hippodrome Theatre has cancelled the upcoming Celtic Woman and The Band’s Visit touring dates and shared the following: “If you are a ticket holder for one of these events, please hold onto your tickets as we work to reschedule their performances in Baltimore. We will be in touch in the next 7-14 days with more information on the status of this event.”

Everyman Theatre has waived ticket exchange fees and upgrade charges for the remainder of the New Voices Festival, and the two remaining shows in the festival, Cry It Out and Berta, Berta, have been postponed to the summer. Queens Girl: Black in the Green Mountains will be suspended following the March 14 performance and resume on April 15. The theater’s annual gala, originally scheduled for March 14, has also been postponed. Center Stage has postponed the Baltimore Butterfly Session previously scheduled for March 14, but is organizing with local artists to hold a virtual discussion about responses to the current public health crisis within the creative community. More information about this online gathering can be found here.

Charm City Players’ production of Matilda originally scheduled for March 14-29 is postponed, and CCP has encouraged ticket holders to keep their tickets while they work to reschedule show dates. Announcements regarding the status of the show will be communicated over the next two weeks.

Baltimore Improv Group’s managing director Terry Withers announced on Thursday that it would suspend all performances starting March 16 and reevaluate the following week. This includes practices, meetings, and unofficial gatherings at BIG’s theater and training center. Classes will continue but switch to larger venues to enable distance between performers beginning March 16.

Vagabond Players will suspend the remaining performances of Constellations, which were originally scheduled through March 22. The Fells Point company will offer ticket holders refunds or exchanges for future performances.

Chesapeake Shakespeare Company, which had previously reduced seating capacity to promote social distancing, has suspended The Complete Works of William Shakespeare (Abridged) and March student matinees for Romeo and Juliet after March 15. Those with tickets to this weekend’s shows are asked to make responsible choices about their attendance. Options for ticket holders beyond those dates are outlined here, and the company hopes to continue with Studio classes.

The closing weekend of The Mineola Twins at Fells Point Corner Theatre has been suspended, and plans for the upcoming production of Who’s Afraid of Virginia Woolf are to be determined. Tickets for the current production can be exchanged for future performances.

Arena Players is suspended through March 27 and has also reduced seating capacity for its shows effective immediately. Spotlighters Theatre has delayed the opening of its Dogfight until March 26. The Strand remains open with increased sanitation measures.

Film

The SNF Parkway Theatre is closed from March 13-March 26, and the theater will be deep-cleaned before staff and patrons return at the end of the month. The Charles, CinéBistro at The Rotunda, The Landmark Harbor East, and The Senator Theatre will be closing by end of day March 16 in response to the latest announcement by Gov. Hogan.

Editor’s note: As cancellations and postponements due to COVID-19 precautions continue to roll in, please remember to check with venues about changes to events and procedures. A running list of changes to programs and events can be found here.

Visual Art

Too Long, Didn’t Read

South African-born artist Candice Breitz examines privilege and visibility through two vastly different groups in this new video installation at the BMA. TLDR highlights the treatment of workers in her home country and the power structures that keep them from the rights they deserve, while Love Story features Julianne Moore and Alec Baldwin joining six refugees in the retelling of their experiences. Baltimore Museum of Art, 10 Art Museum Dr., March 15 through July 12.

News

2020 Baker Artist Award Finalists Announced
Keep an eye out for upcoming showcases from the finalists for the 2020 Baker Artists Award, which will take place throughout the city over the coming months. The winners from this talented pool of 31 Baltimore creatives will be announced later in the spring. The finalists are:

Literary: Maria Adelmann, Pat Montley, Timmy Reed, Pamela Woolford, Jung Yun

Film/Video: Chung-Wei Huang, Amy Oden, Matthew Porterfield, Lynn Tomlinson

Interdisciplinary: Laura Amussen, ellen cherry, Hosey Corona, FORCE, Phylicia Ghee

Performance: Anna Fitzgerald, Ryan Johnson, Lola B. Pierson, Glenn Ricci, Allen Xing

Visual: Larry Poncho Brown, Michael Kirby, Christine Neill, Lauren Schott, René Treviño, Susan Waters-Eller

Music: Abdu Ali, Andrew Bernstein, Ami Dang, Lura Johnson, Outcalls, Meng Su

Coronavirus News:

Update: Following an announcement by Governor Larry Hogan on March 12 that all gatherings of 250+ people are to be postponed, most theaters are in the process of cancellation or rescheduling procedures. Check with box offices for information concerning tickets and new dates.

The Baltimore Museum of Art, the Walters Art Museum, and the JHU Museums have announced that all public programs through April 12 are postponed or canceled, though they remain open during regular hours. Enoch Pratt Libraries will remain open, but all public programs, including the CityLit Festival, are postponed or cancelled. Greedy Reads has also suspended all events through the month of March.

As of March 12, the Hippodrome Theatre has cancelled the upcoming Celtic Woman and The Band’s Visit touring dates and shared the following: “If you are a ticket holder for one of these events, please hold onto your tickets as we work to reschedule their performances in Baltimore. We will be in touch in the next 7-14 days with more information on the status of this event.”

Similar statements regarding increased sanitation measures and continued monitoring of the situation have been issued by the Reginald F. Lewis Museum, Baltimore Improv Group, The Strand, Arena Players, Vagabond Players, Chesapeake Shakespeare Company, Rams Head Live!, Fells Point Corner Theatre, the SNF Parkway Theatre, and Creative Alliance.

In addition, Creative Alliance has instituted a new full refund/exchange policy during the month of March, postponed the Baltimore Old Time Music Festival (likely until the summer), and fully canceled the March 21 performance by the Marja Mortensson Trio. Everyman Theatre has waived ticket exchange fees and upgrade charges for the remainder of the New Voices Festival. Charm City Players has suspended pre-show activities, but performances will continue as scheduled.

Has the climate crisis impacted your shopping habits recently? Maybe you’ve decided to patronize a secondhand clothing store or refurbish an antique piece of furniture for your home. Those choices matter, and that’s what the new exhibition Naturally Beautiful: Uncovering Nature in the Nineteenth-Century Home, opening March 11 at the Homewood Museum at Johns Hopkins, aims to explore.

The exhibit implores visitors to consider that the prominent Carroll family, who resided for a short period at Homewood, likely faced the same predicament that we do now as shoppers, deciding between conservation or consumerism.

“We’re committed to taking objects that we carefully furnish this house with and looking at them in new and interesting ways,” Homewood assistant curator Michelle Fitzgerald says.

In Naturally Beautiful, the Homewood Museum displays its collection of decorative art and furnishings in distinct rooms or environments throughout the home to show 19th-century homeowners’ relationship to nature, their increasing appreciation for it, and how their choices affected the environment.

“The idea is that the consumer habits of the 19th century truly impacted the environment,” says the museum’s director and curator Julie Rose, “which is something not unfamiliar to us today, and exploring how our predecessors valued mother nature,”

One of Fitzgerald’s favorite pieces on display is a mahogany desk from the 1800s. “It has these beautiful inlays,” she says. “And its primary wood is mahogany, which was hugely popular in colonial America. At this point, while it’s so popular and is considered a luxury item, the Jamaican mahogany trade is almost done because they’ve harvested all of the commercially viable lumber…Today, we still don’t have great commercial mahogany around.”

Visitors can also expect to see Homewood’s popular Blue John urns prominently displayed. Blue John is a semi-precious mineral often featuring eye-catching veins of electric blue and purple. Today, it can only be found in a limited number of mines and caverns in Derbyshire, England. Other featured raw materials among the household items and apparel in the exhibit include silver, coral, and bird feathers.

Naturally Beautiful also explores the growing popularity of picnicking in the 19th century. The curatorial team has created a picnic setting inside Homewood that speaks to the movement of appreciating the environment in a safe, recreational way.

“There were tables, wine, toys for the children, and enslaved people were tasked with setting up this luxurious environment all to admire the beautiful natural setting surrounding Homewood,” Rose says. “This was typical of wealthy Baltimoreans who had summer retreats.”

This exhibition was more than a year in the making, with much research conducted by curatorial assistant and JHU senior Ian Waggoner.

“We spent time interviewing and working with Hopkins’ environmental science and anthropology departments and learning from those professors,” Fitzgerald says. “It’s been a wonderful opportunity to bring in new departments, and hopefully visitors, to the museum.”

Rose and Fitzgerald both hope that, after seeing the exhibit, visitors are more aware of their consumer habits and look at the objects in their home differently.

“This exhibit supports the idea of recognizing that our natural environment provides so much beauty, but it’s at a cost,” Rose says, “and appreciating the beautiful things and materials that go into making things for the home.”

Naturally Beautiful runs at the Homewood Museum from March 11 to June 5.

New voices take the spotlight this month at Everyman Theatre, where three new plays, all written by women, will premiere in a brand-new space.

The inaugural New Voices Festival will feature Queens Girl: Black in the Green Mountains; Berta, Berta; and Cry It Out over eight weeks of performances, all hosted in the intimate new 211-seat theater on the second floor of the downtown venue.

“We didn’t have relationships with any of these playwrights a year ago, and it’s nice to have new creative juices,” Founding Artistic Director Vincent Lancisi told us this fall. “The creative forces that are flowing through this organization are intense and very, very special. And we’re working with some artists, writers, actors, and directors that are infusing us with a new vibrancy that is showing up on our stages.”

Those artists include playwright Angelica Chéri, who has rewritten the ending of her Berta, Berta for the Baltimore performance, as well as playwright and Orange is the New Black and Shameless alum Molly Smith Metzler, whose Cry It Out will be directed by Lancisi. The third playwright, Caleen Sinnette Jennings, is certainly no stranger to Everyman, having staged much-lauded (including a Best of Baltimore win) performances of Queens Girl in the World and Queens Girl in Africa at the venue last season. Everyman commissioned this final installment of Jacqueline Marie Butler’s story specifically for the festival, and it will be directed by resident company member Paige Hernandez, who also led last season’s performances.

“There’s a lot of new audience members out there, but even the older audience members are really interested in these new works,” Lancisi said. “Some of our most seasoned theatergoers are really curious about the new work. Queens Girl was our quickest single ticket buy because they saw Queens Girl [in the World] or [in Africa] and loved them and they can’t wait.”

Chéri, Metzler, and Jennings will all be on hand during the festival, and Reginald L. Douglas—recently named Associate Artistic Director of Studio Theatre in Washington, D.C.—will join Hernandez and Lancisi as the director of Berta, Berta.

Performances begin March 3 with the world premiere of Queens Girl: Black in the Green Mountains. Here’s a bit about what to expect from each of these great works from new voices:

Queens Girl: Black in the Green Mountains

What’s it about?: We rejoin Jacqueline Marie Butler, out of Queens and now out of Africa as she heads off to college in Vermont. Set against the backdrop of the Vietnam War and Kent State killings, the story finds Jackie grappling with black and white culture and where she fits between them.

Who’s in it?: Previously played by Dawn Ursula and Erika Rose, the role of Jacqueline is now being taken on by D.C.’s Felicia Curry.

When can I go?: March 3 through April 12.

Berta, Berta

What’s it about?: This 1920s tale of conflict and love is inspired by the prison work song of the same name. After a Mississippi man commits crime that dooms him to prison, he shows up on Berta’s doorstep in search of love—and maybe absolution.

Who’s in it?: Everyman newcomers Clinton Lowe and Myxolydia Tyler star as Leroy and Berta. Some may remember Tyler’s turn as Camae in The Mountaintop at Center Stage in 2013.

When can I go?: March 17 through April 26.

Cry It Out

What’s it about?: Take a journey a few hours north to Long Island, where this dark comedy follows new mothers finding common ground in the joys and absurdities of parenthood.

Who’s in it?: Resident company members Megan Anderson, Beth Hylton, and Tony Nam are joined by 2020 Helen Hayes Outstanding Lead Actress nominee Laura C. Harris.

When can I go?: March 31 through May 3.

Visual Art

Amalie R. Rothschild Rock Icons & Images

Don’t miss your opportunity to catch the work of Amalie R. Rothschild, the “unofficial photographer of Woodstock,” at Goya Contemporary Gallery. The documentary-style work captures some of rock’s greatest personalities during the turbulent late ‘60s and early ‘70s, chronicling one of the most iconic periods of American music and history. Through March 2. Goya Contemporary Gallery, 3000 Chestnut Ave.

Literature

Writers LIVE! R. Eric Thomas, Here For It

Park School alum R. Eric Thomas offers the internet his best jokes and hottest takes in his daily humor column, “Eric Reads the News.” Now get a more personal set of tales with his new book of essays, Here for It. The man himself will make a stop at Central Library’s Wheeler Auditorium this month to discuss his childhood between two vastly different neighborhoods, finding love, and the wild world of internet fame. Feb. 20. Enoch Pratt Free Library, 400 Cathedral St.

Bruce Goldfarb’s 18 Tiny Deaths

Hear the story of one of Baltimore’s most impactful quirks as Bruce Goldfarb presents his 18 Tiny Deaths, The Untold Story of Frances Glessner Lee and the Invention of Modern Forensics. The 18 tiny deaths refer to the Nutshell Studies of Unexplained Death, a series of painstakingly recreated crime scenes that, at first a hobby for Lee, turned into a teaching tool for generations of criminal investigators. The scenes, now housed Maryland Medical Examiner’s Office, are still used for forensic seminars today. 7-9 p.m. Feb. 15. Atomic Books, 3620 Falls Rd.

Music

Psycho Killers at Union Craft Brewing

Before David Byrne takes the SNL stage this month, get your fix with this tribute to the New Wave icon’s first project: The Talking Heads. The boys of Psycho Killers will be on hand at Union on Valentine’s Day to play hits like “This Must Be The Place” and “Once in a Lifetime,” as well as love songs from other bands’ discographies, throughout the evening. 7 p.m. to 12 a.m. Feb. 14. UNION Craft Brewing, 1700 W. 41st St.

Pleasure For Your Palette: A Colorful Night With Emerging Opera Stars

February is the month for opera, with multiple opportunities from the likes of The Acme Corporation and Opera Alchemy around the city. But for those looking for a survey of the operatic talent Baltimore has to offer, Creative Alliance has gathered a crew of rising stars. In this intimate performance, soprano Victoria Zelefsky, mezzo Taylor Hillary Boykins, tenor Henry William Hubbard, bass Aaron Thacker, and pianist Maria Adele Scott will join together for a night of solo and ensemble work and discussion. 8 p.m. Feb. 28. Creative Alliance, 3134 Eastern Ave.

Theatre

MICA Fifth Annual Benefit Drag Show

Great music, creative costumes, lots of glitter, and the chance to support MICA’s LGBTQ scholarships—this drag show truly has it all. Members of the art school’s Faculty and Staff Queer Alliance will join pro kings and queens Miss Sue Nami, Dee Dee Dereon, Venus Festrada, Gadfrie Arbulu, and Chris Jay for this night of fun that helps fund the FASQA Awards, given each year to a a student in the community who demonstrated financial need and another to a student who has shown involvement in and commitment to LGBTQ+ issues. 8-10 p.m. Feb. 28. The Gateway BBOX Theater, 1601 W. Mount Royal Ave.

Film

Open House: True Laurels—A Gallop Through Time

Though they’re not as prevalent as they once were, Baltimore’s arabbers remain an essential part of the city’s cultural identity. On Feb. 22, join True Laurels founder Lawrence Burney for a screening of the documentary We Are Arabbers and a discussion with former members of the trade to discuss the occupation’s past and what can be done to preserve it for the future. 2-4 p.m. Feb. 22. The Baltimore Museum Art, 10 Art Museum Dr.

News

Black Arts District Launches its New Brand

The new Pennsylvania Avenue Black Arts and Entertainment District plans to launch its first branding initiative in style with a party at Shake & Bake Family Fun Center on Feb. 16. Creative Director Tia Newton and her team will be on hand to talk about what’s coming up for the newly minted arts district in addition to plenty of fun events such as dancing, $1 skating and bowling, and themed giveaways.

The Walters Receives $500,000 Endowment from Boshell

The Boshell Foundation, the group responsible for The Walters’ long-running ancient art and architecture lectures, recently announced a $500,000 endowment for the museum to go toward the continuation of the popular series. “We are deeply thankful for their generous endowment gift and look forward to the lectures it will provide in years to come,” Walters Director Julia Marciari-Alexander said in a statement released by the museum. The Boshell Lecture Series was originally launched in 2017, and the newest installment, “How Many Noses Can One Face Have?,” about the evolution of taste when it comes to restoration and repair work, will take place Sunday, April 19.

A meeting of the creative minds will christen the brand new Voxel stage this week as playwright Lola B. Pierson and local avante-garde rockers Horse Lords premiere their joint venture, The First Thing That Happens, on Feb. 13.

The new experimental opera, from local theater company The Acme Corporation, is an exploration of the human experience that finds a series of actors struggling to make their ideas come across and come to life. It’s a meditation on “the construction of the piece itself and about what we as humans and artists give up to communicate with other people,” says Pierson, who wrote and directed the piece.

The idea was born from an earlier collaboration with Horse Lords’ Andrew Bernstein, who worked with Pierson on Azimuth for Baltimore Rock Opera Society in 2015.

“We both had a really good experience working together,” Pierson says. “I’m a pretty big fan of their work, and Acme does a fair amount of work with music. So I approached Horse Lords about a year ago about maybe doing another thing together, and they for some reason said yes.”

The partnership highlights the avant-garde sensibilities of both groups, and the creative process has allowed them to experiment with what exactly “opera” means.

“I’m not sure if classic opera people would call it that, but we’re calling it that,” Pierson says. She and Horse Lords have been working together since last summer in a back-and-forth process, adding and changing elements in a sort of ongoing conversation as they crafted the piece.

“They’re very flexible and adaptable people, and they’re a highly collaborative band,” Pierson says. “Day to day they embodied a thing that I think theater is all about, which is reacting to the thing that’s actually happening in the room. They said something in one of our first meetings where they were like, ‘We kind of think of our work as tricking people into dancing to avant-garde music. And I was like, ‘Oh, I think of my work as tricking people into feeling to avant-garde theater.’ We’re good teammates.”

The results of this team effort will be performed in seven acts on the newly minted Voxel stage from Feb. 13-March 1. It’s the first performance at the Old Goucher performance space (and former home of The Autograph), which is owned by local software company Figure 53. While its daytime mission is to be an education and exploratory resource for the community, by night it’s on offer as a DIY theater space for rotating resident artists. Pierson, who works part time with Figure 53, was selected to be the first artist to use the new black box theater to stage The First Thing That Happens.

The venue offers a flexible new space for performers, who can reconfigure the 70-100 seats as needed and have access to in-house professional lighting and audio equipment.

“Right now it looks like a big empty box that’s available to do whatever you want, which to me as an artist is the most exciting thing in the world,” Pierson says. “I think it really has the potential to be an incredible asset to the Baltimore performance community as a whole. The support and the artists’ community we have here feels unique, and it feels like there’s this really special moment going on.”

Wicked, the musical tale from Oz that L. Frank Baum didn’t tell, returns to the Hippodrome this week, and with it a colorful, magical cast of characters. At its center are two good friends—two best friends—the verdant Elphaba, destined to become the Wicked Witch of the West, and Glinda, the popular girl with a bubblegum personality who would eventually float down in her bubble to guide Dorothy to the Emerald City.

Before that bubble descends on Eutaw Street for the show’s month-long run, we caught up with Glinda actress Allison Bailey to chat about why people still want to travel to Oz and what it’s like to have a dream come true.

You’ve been on tour with Wicked for quite a while now. How has it been?
I have! I understudied [as Glinda] for over three years, and I was only home for like six weeks and then got the call that I was coming back to lead the tour. So I’ve been leading the tour for about five months now. We’re definitely in the middle of our run, and we’re so excited.

What are you looking forward to as you bring the show to Baltimore?
I’m really excited to see the little local things that make Baltimore tick. I’m hoping to visit the aquarium and the little coffee shops, and I have heard the crabs are very good. I’m very excited about that. I’m just so excited just to come to Baltimore. It’s a dream, and I’ve never been, so I’m just looking forward to being able to be there for a month.

Having understudied as her for so long and now leading the tour as Glinda, can you tell us a little about what it’s like to get to share this character with so many different audiences?
I mean, honestly, it’s a dream. The role is so iconic. I’ve dreamed about playing this role since the musical came out when I was 12 years old and I saw it at the Gershwin Theatre in New York City. It’s nothing short of a dream, just because I think this is a character that so many little girls look up to. It’s an honor to be able to play that every night.

Glinda really goes through such a journey in the two and a half hours that we see her. She goes from being such a shallow, surface-level college girl, and then we see the hard lessons that are learned throughout. And I think she has such a strong character arch that makes it so interesting to play every night eight times a week. It’s funny, because we see the Wicked Witch, and we see that she’s perceived differently than how we really see her in the movie. And so they almost discount Glinda because it seems like she has such a happy facade. But when we see her throughout the show, she really goes through so many different changes.

Do you have a favorite number in the show?
I love “Popular.” I love my pink fluffy dress, and it’s the first time that you see the friendship between the two girls and really see them bond. You hear an audience reaction every single night, and it changes from night to night. It just makes it so much fun.

Why do you think this show persists and continues to be so popular?
I think it has so many messages that resonate with the age group from 8 to 80. I think people find themselves in the characters and identify with them on stage. We see bullying and not judging a book by its cover, and I think everybody can find themselves in one part of the story.

There’s so much heart to it. There’s so much spectacle with magic and flying and the bubble, but there’s so much heart at its core. I really can’t wait to bring that joy to every single person who comes to see the show.

Whether for the love of art or the love of a venerated saint, viewing The St. Francis Missal, opening at The Walters Art Museum on Feb. 1, is an essential pilgrimage.

At the center of this exhibition, housed on the third floor among other medieval treasures, is the Missal itself, said to have been the book consulted by St. Francis when he was looking for guidance from God on what his path might be. Legend has it that Francis and two followers opened the Missal, which sat on an alter in Assisi, three times at random. Each time, the text encouraged the renouncing of earthly possessions, thus laying the foundation for the Franciscan order.

As with most relics, the veracity of the claim can’t be positively proven, but the known facts about the manuscript do make its interaction with the saint plausible.

“This was a very heavily used manuscript,” says The Walters’ Curator of Rare Books and Manuscripts Lynley Herbert. “This is the book that would be on the altar and used regularly during the services. It was made for the church of San Nicolo, so we know that it was in the church that we want it to be in for the story of Francis. And we also have the name of a donor who was known to have lived in the 1180s and 1190s. So we can sort of use those things to triangulate the date and place of this manuscript. There really has never been another proposed book that could have been the book he opened. It’s actually more unlikely that I get to touch this book then that he would have.”

The Missal was acquired by Henry Walters in 1924. Since then, this relic of touch has been visited by scores of pilgrims and scholars. The decades of handling took their toll, and in 2017 a restoration to preserve it begun. Head of Book and Paper Conservation Abigail Quandt and Mellon Fellow Cathie Magee presided over the meticulous repair and stabilization project, which included taking the manuscript apart, hand-sewing the pages back together with linen thread, and binding new leather to heavily damaged 15th-century boards.

“The fact that it’s handled, and the pages are turned, we took that into consideration when making the decision about whether to actually take apart the whole book,” says Quandt. “But ultimately we decided that it would be best for the text to take it apart because then we could do the repair more successfully. It would be stronger repairs and it would last longer.”

Magee’s 21st-century stitches now run through the 15th-century binding holes and the 12th-century pages, very literally tying the relic’s presence at the Walters to its medieval past.

The new exhibition, which runs through May 31, is the first time in nearly 40 years that the Missal has been displayed publicly. It’s surrounded by other Franciscan pieces and relics pulled from the Walters’ archives, including items of private devotion and images of Saints Anthony and Clare—two important early Franciscan followers. They’re arranged around the Missal in an intimate space that evokes the side chapels of Europe’s old cathedrals—the traditional homes of many a Catholic relic.

In fact, the Missal is one of very few relics of St. Francis available to worshipers and historians in the United States. “I’m not aware of any other major relics connected to him in the country,” says Herbert. “This is one of the ones that people are most excited about.”

To give visitors the best experience with the Missal, on crowded days a limited number of people will be allowed in the small exhibition space at a time, with no time limit on viewing. The goal, says Herbert, is to allow those captivated by the relic to have their space and take the time they need, whether for interest or devotion.

“You don’t have to be religious to appreciate the fact that it’s this important historical moment,” says Herbert. “If somebody wants to come and stand here for an hour, having a moment with the book, that’s going to be probably one person in a hundred. It’s not going to cause a traffic jam. I’d rather that they get to have that experience, and I hope that people will feel comfortable coming in here and not having the crowds around. I hope it’s special for different reasons for different people.”

The St. Francis Missal opens Feb. 1 and will run through May 31. Herbert and Quandt will also present a lecture on the conservation of the manuscript, “Saving the Sacred: Medieval Tales and Modern Technology in the St. Francis Missal” on April 9.

With the Christmas season (beginning the day after Halloween, the day after Thanksgiving, or December 1, depending on who you’re asking) comes the yearly deluge of Christmas movies.

Big-city girls rediscover their holiday spirit with struggling small-town single dads/Christmas tree farmers/exceptionally handsome handymen; kids confirm that yes, [insert name], there is a Santa Claus; and scary movies insert themselves into the season by murdering people near snow.

The Christmas genre is, in a word, varied. But whether your tastes lean toward Capra or Krampus, there’s likely a place for you among the city’s many holiday-themed screenings. And, yes, we have included a section for celebrated Christmas classic Die Hard. Yippee-ki-yay to all, and to all a good movie night.

Fun for the Whole Family:

The sparkling Senator Theatre plays host to a couple of holiday hits leading up to Christmas. The Griswold family will hit the big screen for one night only on Dec. 18 in National Lampoon’s Christmas Vacation, and film lovers looking to give back can stop by early on Dec. 21 and 24 for the theater’s annual charity screening of It’s a Wonderful Life. Admission to the 9:45 a.m. shows is free, but a donation of at least $5-worth of non-perishable food items is encouraged. Doors open at 8:45 a.m., and brunch cocktails will be available.

Those who aren’t such early risers can visit SweetSide Cafe in Hampden over the next few weeks to catch an array of Christmas favorites at its regular Lights, Camera, Action! Movie Nights, including How the Grinch Stole Christmas, Elf, and all four (yes, four) Home Alone installments.

Nightmares Before Christmas:

Golden West Cafe’s regular Shocktail Hour with Aurora Gorealis will take on a holiday twist on Dec. 12 with a screening of Baltimore-made holiday horror flick Two Front Teeth. Bring a gift for an exchange presided over by both Santa and Krampus, and take in this wild tale of a vampiric St. Nick, zombie elves, and a Christmas conspiracy.

For even more haunted holiday offerings, revelers can head to Dr. Gloom’s Crypt of Curiosities at Protean Books & Records for the first-ever Cryptmas. This packed night will include a screening of I’m Dreaming of a White Doomsday, in addition to a lecture, reading, and other seasonal spooky programming. While admission is free, attendees who bring donations for local homeless shelters will receive a Christmas gift from the venerable Dr. Gloom.

Season’s Greetings from Nakatomi:

We can fight about whether Die Hard is a Christmas movie, or we can all just enjoy some explosions, iconic catchphrases, and German Alan Rickman. Lucky fans of John McClane’s terrorist-fighting antics have multiple options for screenings ranging from low-key to full immersion.

If you’re looking for another chance to catch the explosion at the top of Nakatomi Plaza in a theater, head to The Charles. The first installment of McClane’s adventures will be back on the big screen at the cozy Charles Street theater on Dec. 19. The Backbar Movies series at Paulie Gee’s Hampden offers a more casual Die Hard experience on Dec. 17, featuring drink specials and $6 cheese pizzas to snack on while you watch the action unfold.

For something a little more intense, visit Creative Alliance on Dec. 12 for their Interactive Movie Night version of the film, complete with Bruce Willis drink specials, a Die Hard game, and prizes for the audience members rocking the best ’80s corporate party attire.

Bonus Round: Test your Christmas movie knowledge.

If you’ve already worked your way through all the holiday flicks that streaming services and the Hallmark Channel have to offer, prove your superior knowledge against other bar patrons at these Christmas movie-themed trivia nights.

Charm City Trivia’s Christmas Movie Quiz, Dec. 17: Gather your team and grab a table at Frank and Nic’s West End Grille for this themed version of Charm City Trivia’s usual six-round quiz. Winners receive a $20, $15, or $10 gift card, but everyone playing can enjoy all-night happy hour pricing on food and drinks.

Christmas Movie Trivia at Smaltimore, Dec. 18: Compete in three rounds of trivia covering Elf, A Christmas Story, and, Die Hard while enjoying food specials and themed cocktails. Prizes will be available for first, second, and third place.

Holiday Movie Trivia at Tin Roof, Dec. 19: This quiz is open to all ages and covers everything from Miracle on 34th Street to The Nightmare Before Christmas and offers big-time prizes. First place receives a whopping $200 to spend at the Power Plant Live! hangout.