Lesley Malin will never forget the moment she met August Wilson. It was 1988, and she was giving the student commencement speech for Washington University in St. Louis, sharing the stage that day with the renowned playwright, who was receiving an honorary degree.

“I had not seen any of his work yet, but he was really lovely to me,” says Malin, pictured right, who was told afterwards that he had complimented her speech. The encounter left an indelible impression on the aspiring thespian, who went on to see a number of his Broadway premieres in the early days of her career, before eventually co-founding Baltimore’s Chesapeake Shakespeare Company, where she now serves as producing executive director.

“Over time, he’s become this towering figure in American theater,” she says. “I admire his work very deeply.”

August Wilson has been dubbed “theater’s poet of Black America,” distinguished for his powerful and poignant portrayal of the African-American experience. In his magnum opus, a 10-part series known collectively as the American Century Cycle, each play captures one decade of the 20th century— like Ma Rainey’s Black Bottom in the 1920s or Fences in the 1950s—altogether depicting 100 years of Black life through both fictional and fictionalized characters from Wilson’s native Pittsburgh.

In fact, it had long been a dream of Malin’s to perform this epic collection chronologically in theaters across Baltimore. She started reaching out to other companies, who met her inquiries with enthusiasm.

This past April, the Baltimore August Wilson Celebration presented the first performance of the full American Century Cycle, now running through 2027. It’s a collaboration among several of the city’s theaters, including the Everyman Theatre, Fells Point Corner Theatre, Baltimore Center Stage, and ArtsCentric.

“Over time, he’s become this towering figure in American theater.”

It all began at Arena Players, the oldest continuously operating African-American community theater in the United States, which, in a stroke of good luck, was already scheduled to perform Gem of the Ocean, set in the first decade of the 1900s.

“We had a full house every night. It’s a beautiful piece—it’s funny, it’s sad, it can be very painful,” says Donald Owens, artistic director at Arena Players, pictured left. “People appreciated the fact that this was history that was never told.”

Up next is Chesapeake Shakespeare Company’s production of Joe Turner’s Come and Gone, which is set in 1911 against the historical backdrop of the Great Migration, running from September 20 through October 13. It’s the first August Wilson play that the troupe has performed, but “we consider him to be a classic playwright on the level of William Shakespeare,” says Malin. “He is known for writing these arias of self-recognition. In [this work,] we see a man who’s been just so abused and repressed. And he finally bursts out and is able to recognize his song.”

Meanwhile, Arena Players has performed nearly all of Wilson’s works over the years, and Owens appreciates his skill as a storyteller, with narratives that draw in diverse audiences for their universal humanity.

“He’s telling the story of Black culture, but white people also are drawn to the story because he’s a good writer, and it’s good storytelling,” he says. “I think he was a truthful writer. He wrote about things that were very painful, yet he always instilled hope.”

Wilson’s ability to recognize a shared humanity has managed to bolster the local arts community as well.

“Baltimore is a very cultured city, but the cultures have not always worked together,” he says. “Now we see all of these theaters coming together because of August Wilson.”

Bill Henry has a deep understanding of how City Hall functions—and dysfunctions. The lifelong Baltimorean worked under Mayor Kurt Schmoke, and later served as legislative director to Councilwoman Mary Pat Clarke and chief of staff to former Council President Lawrence Bell. Running for Comptroller, the 4th District Councilman’s message was clear: If voters knew how the city spent their money, officials would spend it better.

What made you believe you could upset well-funded, six-term incumbent Joan Pratt?
If you make an argument that directly responds to the people’s concerns, it doesn’t matter how powerful your opponent is. My team and I knew that we had a message that was compelling enough to win. The question was whether we’d have the resources to get that message in front of every voter.

The Comptroller’s Office has been beset by controversy and accusations of favoritism for decades. How will you restore confidence in City Hall?
Transparency. In government, sunshine is often the best disinfectant. The public must have greater access to the proceedings of the Board of Estimates, where the business of government is transacted. We also must continue to reform ethics policies and financial disclosures.

What’s the most important function that the Comptroller performs? Is it voting on Board of Estimates contracts?
Thorough auditing can result in immediate and lasting change within city agencies. Unless we change the Board’s composition, the Comptroller’s single vote will rarely make a difference. Just being on the Board, however, provides a bully pulpit for communicating to the public, both what is happening at the BOE and what the Comptroller’s auditors are finding.

You’ve got an extraordinary range of government experience. What elected official did you learn from the most?
That’s an easy one—Mary Pat Clarke. I worked on her re-election campaign for Council President in 1991, in her office as legislative director and assistant to her chief of staff, on her mayoral campaign in 1995, and as her colleague for the last 12 years. I’ve never met anyone more committed to her constituents or to the concept of community empowerment. She’s been a great example of how elected office should be about the people and not the official.

On a personal note, you’re on the board of the Chesapeake Shakespeare Company. Where does your love for and interest
in theater come from?
I was on stage for 30 years—school plays from grade school through college and then community theater—until I was elected. Being on the
CSC board gives me a chance to help other people do theater and enjoy theater, which is enough now.

If you could wave a magic wand to make one policy change in Baltimore, what would it be?
A universal basic income, which would directly alleviate poverty in Baltimore City and transform our economy.

Visual Art

WOKE Exhibition by Alma Roberts
Opens Dec. 8, Baltimore City Hall, 100 Holliday St. Ste 101. By day, Alma Roberts is a healthcare executive but, when she’s not working on serving her community through health initiatives, she’s enriching it through poetry, plays, and, of course, painting. Roberts brings her work to Baltimore City Hall to share pieces that communicate awareness of social, political, and racial injustices, as well as her hope for an equitable future.

James Hennessey: Enduring Concerns
Open Dec. 9, Creative Alliance, 3134 Eastern Ave. Over the 37 years he spent teaching painting at MICA, James Hennessey influenced thousands of artists. Step into the shoes of those many students as Creative Alliance takes a look back at Hennessey’s decades-spanning career in Baltimore and the large paintings that define it. For more insight into the fables and influences that emerge from his canvases, stop by for a free gallery talk on Jan. 6 at 7 p.m.

Performing Art

The Revolutionists
Opens Dec. 6, Everyman Theatre, 315 West Fayette St. A notorious queen, an assassin, a playwright, and a spy walk into a room. What could happen? Take a trip back to the French Revolution with some of the baddest babes in history: Marie Antoinette, Charlotte Corday, Olympe de Gouges, and Marianne Angelle. These French femmes are sure to have you laughing as you learn more about their incredible lives and legacies.

ArtsCentric Presents Sister Act
Opens Dec. 8, Motor House, 120 W. North Ave. Revel in the gospel vibes and hilarious twists of this classic convent caper. ArtsCentric brings the story of diva Deloris Van Cartier (Whoopi played her in the movie, but you knew that), the murder she witnessed, and her new life as Catholicism’s funkiest nun to the Motor House stage. This show is sure to be just heavenly.

Cirque de la Symphonie Holiday Spectacular
Dec. 22-23, Joseph Meyerhoff Symphony Hall, 1212 Cathedral St. Spice up your symphony experience for the holidays with a visit from aerial flyers, acrobats, contortionists, dancers, jugglers, balancers and strongmen. These cirque performers will showcase their talents through choreography set to classical scores performed by the BSO. Come early for festive fare and a visit from St. Nick himself.

Hedwig and the Angry Inch
Dec. 21, Ottobar, 2549 N. Howard St. Join East German glam goddess Hedwig and her backing band, The Angry Inch, as they rock their way through Hedwig’s glitter- and innuendo-filled story of sex, love, music, and discovering exactly who she is. She made it over the great divide, now she’s coming for you.

A Christmas Carol adapted by Ian Gallanar
Opens Dec. 8, Chesapeake Shakespeare Company, 7 S. Calvert St. You’ve seen the original by now, so why not take in a different version of this Charles Dickens classic? Opt for a uniquely regional retelling of the tale of Ebenezer Scrooge and his ghostly visitors with CSC artistic director Ian Gallanar’s adaptation, which swaps out London for Victorian-era Baltimore.

Events

We Are Baltimore Rising
Dec. 12, The 29th Street Community Center, 300 E. 29th St. Come for the screening of director Sonja Sohn’s HBO documentary, Baltimore Rising, following activists, police officers, gang affiliates and community leaders in the wake of the death of Freddie Gray. But stay for the discussion to follow with those still addressing the issues covered in the film. Strong City Baltimore, which is hosting the event, encourages “young community leaders” ages 16-30 to attend. Lunch will also be provided.

Brown Lecture Series: Paul Butler
Dec 13, Enoch Pratt Free Central Library, African American Department, 400 Cathedral St. Listen as author, professor and former federal prosecutor Paul Butler shares insights from his book Chokehold: Policing Black Men. In it, he describes a system that isn’t broken, but is instead made to manufacture fear of black men from politicians, police, and ordinary people. This frank discussion of widespread issues with crime, law enforcement, and the criminal justice system is not to be missed.

A John Waters Christmas
Dec. 19, Baltimore Soundstage, 124 Market Pl. Nativity plays and Nutcracker performances not your thing? Consider attending this one-man show from longstanding resident of Santa’s naughty list John Waters. The Pope of Trash will share his yearly holiday musings and answers to age-old questions such as, “Is Prancer the only gay reindeer?” and “What would a Gaspar Noé Christmas movie look like?” among other, filthier queries. But leave the kiddies at home for this holiday outing, this show is (obviously) for adults only.

News

Several people and projects with Baltimore ties are up for NAACP Image Awards come January. On November 20, photographer Devin Allen, author Ta-Nehisi Coates, the documentary Step, and HBO docudrama The Immortal Life of Henrietta Lacks all received nominations for the annual awards honoring outstanding people of color in film, television, music, and literature. Winners will be announced Jan. 15.

Maryland natives also have several chances to shine at the Grammys. Country duo Brothers Osborne (Deale) is nominated for Best Country Duo/Group Performance for “It Ain’t My Fault.” Rapper Logic (Gaithersburg) scored a nom for “1-800-273-8255 (feat. Alessia Cara & Khalid)” in the Song of the Year and Best Music Video categories. Father John Misty (Rockville) is looking to score his first Grammy with Pure Comedy after a loss last year. Pure Comedy is nominated for Best Alternative Music Album and Best Recording Package. Columbia’s Brent Faiyaz also as a shot at a Grammy nod for his work on DC rappers Goldlink and Shy Glizzy’s “Crew,” which is up for Best Rap/Sung Performance.

Curtain Classics

THE GLASS MENAGERIE
9/8–10/1: Vagabond Players, 806 S. Broadway. The work that propelled Tennessee Williams to fame and cemented his status as a premier playwright takes center stage in Fells. 

THE CRADLE WILL ROCK
9/29–10/8: Iron Crow Theatre, 45 W. Preston St. In the reimagining of this 1937 musical (originally directed by Orson Welles), fiery class struggles ensue as townspeople challenge an affluent man’s exploitation of power.

TWO TRAINS RUNNING
9/8–10/8: Spotlighters Theatre, 817 St. Paul St. In this 1960s play, originally conceived by legendary playwright August Wilson, Memphis Lee’s coffee shop serves as a bastion of eclectic African-American characters.

Shakespeare Revisited

JULIUS CAESAR
9/29–10/29: Chesapeake Shakespeare Company, 7 S. Calvert St.
Corruption, deception, and murder are just some of the themes embedded in this Shakespearean classic. 

I HATE HAMLET
9/8–10/1: Fells Point Corner Theatre, 251 S. Ann St.
A young television star, who bemoans the Bard’s title character, finds hilarious adventure when he’s offered the titular role.

New(ish) Acts

M. BUTTERFLY 
9/6–10/8: Everyman Theatre, 315 W. Fayette St. The adage “love knows no bounds” is both tested and realized in this provocative play. 

THE CHRISTIANS
9/7–10/8: Center Stage, 700 N. Calvert St. This new American play explores the ways differing values of the same faith can be as divisive as the ideals separating all religions.

Women’s rights have been in the news a lot lately, with fears of female freedoms being endangered by the new right-leaning Republican White House and Congress. But if January’s Women’s March (and these 13 events) are any indication, our country’s wonder women won’t be backing down any time soon.

Lectures & Workshops

3/8: Nadia Hashimi
Baltimore County Public Library, 1301 Reisterstown Road, Pikesville. 2:30 p.m. Free. The young novelist behind The Pearl That Broke Its Shell comes to the county to discuss Afghan women and the immigrant experience.

3/12: Guerrilla Girls
The Baltimore Museum of Art, 10 Art Museum Dr. 3 p.m. Free. In conjunction with the closing of the Guerrilla Girls exhibit, artist-activist Frida Kahlo joins the BMA’s contemporary curator Kristen Hileman to reflect on the human rights group’s legacy.

3/15: Society of Excellent Women
Open Works, 1400 Greenmount Ave. 6-9 p.m. Free. At this new monthly meet-up that celebrates lady power, enjoy a zine workshop with the female frontrunners of Baltimore’s self-publishing community and explore the new Open Works makerspace in Station North.

3/23: Roxane Gay
Maryland State Library for the Blind & Physically Handicapped, 415 Park Ave. 6:30 p.m. Free. The acclaimed author chats about her best-selling books, such as Bad Feminist and Difficult Women.

History

3/2: Celebrating Women of the Renaissance
The Walters Art Museum, 600 N. Charles St. 6:30 p.m. Free. National Museum of Women in the Arts associate curator Virginia Treanor discusses the experience of women artists and patrons in European history.

3/17: 4,000 Years of Women in Science
Benjamin Banneker Historical Park & Museum, 300 Oella Ave., Catonsville. 7 p.m. Free. Join astronomer Sethanne Howard to learn about female contribution to the study of science.

3/19-5/19: Women of the B&O Railroad
B&O Railroad Museum, 2711 Maryland Ave., Ellicott City. Fri.-Sun. 10:30 a.m.-4:30 p.m. Free-$8. Get to know the female employees of the B&O, including legendary engineer Olive Dennis.

3/22: The Female Gaze in Anime & Manga
MICA, Brown Center, 1301 W. Mount Royal Ave. 12-1 p.m. Free. Delve into the gender politics of graphic novels.

Theater

3/30: Women Rabbis, Revealed
Gordon Center for Performing Arts, 3506 Gwynnbrook Ave., Owings Mills. 7:30 p.m. $20-25. The Strand Theater presents a staged reading of stories from On The Fringe, a documentary film about L.A.’s female rabbis.

3/17-4/9: The Taming of the Shrew
Chesapeake Shakespeare Company, 7 S. Calvert St. Times & prices vary. This topical comedy follows the rollicking story line of the “untamable” Kate and her romantic escapades.

To 3/19: Motherhood Out Loud
Vagabond Players, 806 S. Broadway. Fri.-Sat. 8 p.m., Sun. 2 p.m. $10-20. This moving play turns the notion of parenthood on its head with comedy and celebration.

3/24-25: Womanizm
Eubie Blake National Jazz Institute & Cultural Center, 847 N. Howard St. 8 p.m. $20-25. The Eubie Blake Cabaret Company performs this celebration of black women.

September means more than just buying school supplies and spending Sundays at Ravens games. It also marks the beginning of a new season of Baltimore theater, with everything from dark dramas to rock-and-roll musicals by Charm City’s many noteworthy companies.

9/2-10/2: THE ELEPHANT MAN
Fells Point Corner Theatre, 251 S. Ann St. 410-276-7837. Enjoy this witty, Tony Award-winning play inspired by a true story.

9/9-10/2: SMOKEY JOE’S CAFÉ
Arena Players, 801 McCulloh St. 410-728-6500. Hear the songs of legendary hit-makers Mike Stoller and Jerry Leiber—think “On Broadway,” and “Kansas City”—in Broadway’s longest-running revue.

9/16-10/9: OTHELLO
Chesapeake Shakespeare Company, 7 S. Calvert St. 410-244-8570. Follow themes of jealousy, pride, and revenge in the Bard’s classic tragedy.

9/7-10/9: WAIT UNTIL DARK
Everyman Theatre, 315 W. Fayette St. 410-752-2208. Watch this dark, gripping story unfold in the streets of New York City.

9/9-10/2: ALL MY SONS
Vagabond Players, 806 S. Broadway. 410-563-9135. Celebrate Vagabond Players’ 101st season with this Arthur drama about the all-American dream.

9/2-18: MARX IN SOHO
Spotlighters Theatre, 817 St. Paul St. 410-752-1225. Dive into this witty, insightful performance that chronicles the afterlife of Karl Marx.

If you find yourself—like most shopping malls, drug stores, and Starbucks—already over Thanksgiving and eager to skip straight to snowmen and hot chocolate, then you’re in luck. Here are nine early holiday happenings to get you that festive fix. 

THE POLAR EXPRESS IN 4-D
NOV. 14-JAN. 4, 2015: National Aquarium, 501 E. Pratt St. Showtimes vary. $5-35. 410-576-3800. This festive film goes 4-D with special effects and sensory details like mist, wind, and the smell of hot chocolate.

WINDOW WONDERLAND
NOV. 19: Harbor East. 5:30-8:30 p.m. Free. The unveiling event for this month-long holiday arts exhibit features seasonal storefronts decorated by local artists, plus carolers, stilt walkers, acrobats, and refreshments.

INNER HARBOR ICE SKATING
NOV. 21-JAN. 19: Inner Harbor Ice Rink, McKeldin Sq. Open daily. Times subject to change. $7-12. 443-743-3306. For the first time in a decade, ice skating returns to the Inner Harbor with this seasonal, outdoor rink, so grab a sweater (and your beau) and take advantage while it lasts.

CHRISTMAS VILLAGE IN BALTIMORE
NOV. 27-DEC. 24: West Shore Park, 501 Light St. Sun.-Thurs. 11 a.m.-7 p.m., Fri.-Sat. 11 a.m.-8 p.m. Free-$5. 443-760-0686. This outdoor German Christmas market boasts 45 vendors of arts, crafts, and goods, plus a Bavarian beer garden for brews, bratwurst, and mulled wine. 

THE BLIND BOYS OF ALABAMA CHRISTMAS SHOW
NOV. 28: Weinberg Center for the Arts, 20 W. Patrick St., Frederick. 8 p.m. $20-30. 301-600-2828. The Grammy-winning Blind Boys of Alabama perform their creative take on classic holiday hits. 

25TH ANNUAL FESTIVAL OF TREES
NOV. 28-30: Maryland State Fairgrounds, 2200 York Rd., Timonium. Fri.-Sat. 10 a.m.-9 p.m. Sun. 10 a.m.-6 p.m. Free-$13. 443-923-7300. This holiday extravaganza includes gingerbread towns, toy trains, live music, festive food, and over 100 craft boutiques.

HOLIDAY FESTIVAL OF TRAINS AND TOYS
NOV. 28-JAN. 25, 2015: B&O Railroad Museum at Ellicott City Station, 2711 Maryland Ave., Ellicott City. Wed.-Sun. 11 a.m.-4 p.m. Free-$16. 410-461-1945. For post-Thanksgiving family fun, head to the B&O Museum for its annual holiday celebration of toy trains and model railroads. 

A CHRISTMAS CAROL
NOV. 29-DEC. 23: Chesapeake Shakespeare Company, 7 S. Calvert St. Thurs.-Sat. 8 p.m., Sun. 2 & 7 p.m. $15-48. 410-244-8570. Kick off the holiday season with this Charles Dickens classic. Set in 19th-century Baltimore, the play gets a Charm City twist and features a cast of local ghosts. 

Between Everyman Theatre’s new space, Center Stage’s innovative direction under Kwame Kwei-Armah, and Single Carrot Theatre’s successful relocation, the local theater scene is enjoying quite a revival.

So, no better time for the Howard County-based Chesapeake Shakespeare Company (CSC) to expand into downtown Baltimore, kicking off its season September 20, and cementing the area as a bona fide theater district.

“We had always stayed away from Baltimore because we didn’t want to conflict with the other company in the city,” says CSC’s founding artistic director Ian Gallanar, pictured, left, referring to the erstwhile Baltimore Shakespeare Festival. “But when they folded [in 2011], it became clear that this is where we want to pursue our expansion.”

For 12 years, CSC has performed outdoors in Ellicott City (which it will continue to do in the summer), but once Gallanar got a glimpse of the old Mercantile Trust and Deposit Company building, he knew this was the company’s new home. “The building is evocative and reminds one of the configuration of the Globe Theatre,” he says. “It’s an intimate, vertical theater where the furthest audience member is only 20 feet from the stage.”

While the theater is reminiscent of an Elizabethan playhouse, it has modern amenities, like a side family room where kids can settle down during shows. The season opens with A Midsummer Night’s Dream followed by Richard II and will include non-Shakespeare works like A Christmas Carol around the holidays. Additionally, matinee showings of Romeo and Juliet will be performed for school children starting in the spring.

“We’re anxious to bring our kind of Shakespeare to town,” says CSC managing director Lesley Malin, pictured, right. “It’s informal, quirky, and fun—very right for Baltimore.”