In July, Everyman Theatre resident company member Paige Hernandez was tapped as the downtown playhouse’s new associate artistic director, helping to steer the company forward as it enters a new era. We caught up with the actor, director, choreographer, and now creative leader to talk about Everyman’s pandemic pivots and her next show, Pipeline, coming this spring.

How has it been taking on the new role?
My relationship with Everyman goes back to the ’90s. [I was able to] start my relationship and connection to this theater as a teenager [during high school at the Baltimore School for the Arts]. My first equity contract was through Everyman, and being asked to be a part of their resident company, I just felt like it couldn’t get any better. Then this summer, they offered me this role. Just the access to this world that I love is really a gift. To be in this place at this moment in time is tremendous.

How has Everyman pivoted since the pandemic shut your doors last March? A lot of thought has gone into how we make sure that our audiences still feel like we are connected. The piece after this month’s Cry It Out, which I’m directing, is Pipeline by Dominique Morisseau. That will be the first show of our digital experience that we created from scratch. There’s a lot of intention that goes into making sure that, while you enjoy this virtual experience, you’ll also want to see it in person.

Pipeline follows the story of a mother and son who clash with institutional racism in the education system—a story that seems especially relevant in Baltimore.
I am a proud product of Baltimore City Public Schools, from kindergarten through high school. [In Pipeline,] we get to hear multiple perspectives, which are just incredibly illuminating, and it’s done in a way that is not preachy. It doesn’t expect to pull this impossible empathy out of you. Instead, [Morrisseau] set up this very three-dimensional story that has in-depth characters that any audience member can resonate with.

What does it mean to you to share Pipeline with Baltimore students?
Oh, that means everything. I would almost say that this play might impact them the most. Not only will they see themselves, but I think they will hear stories that they’re so used to finally being told, finally being heard, in the hopes that change can come. I’m pumped to hear what students think of this production, whose side they take, what they agree with, and what their explanations may be for any given moment. That’s essentially what we want to do with theater. We want to cultivate critical thinkers. This is the perfect piece to do it with. I wish I saw this when I was in high school.

What do you want audiences to know about Everyman right now?
We are doing a lot of growing and introspective thinking so that things can be as equitable, accessible, and enjoyable as possible when we return. This is our 30th anniversary season. It’s bittersweet because things shut down, but then what a nice reboot to be able to say that we can use this very monumental year so that the next 30 years are even stronger.

There’s a particular brand of close-up magic happening on stage at Everyman Theatre’s new production of Agatha Christie’s Murder on the Orient Express, the story of famed detective Hercule Poirot and the mysterious death of one of the train’s wealthy passengers en route from Istanbul, on stage now through January 5.

It’s not uncommon in a show with as many twists and turns as this one to have a few sleight of hand tricks here or there, but the design team at Everyman has created something of a puzzle box out of the stage itself. What look to be solid walls are suddenly transparent with a change of the lights. Scenery flashes by on false windows, and sliding pieces of a club car, or compartment, or hallway in the Art Deco train move smoothly on their own tracks to reveal more and more surprises.

The stage, like Christie’s iconic whodunit, is layered with secrets. Though the puzzle itself is the work of Everyman’s resident set designer, Daniel Ettinger, it’s those in the backstage shop who are tasked with putting it all together.

Just a little more than 24 hours before opening night, the theater was buzzing as the final few feet of a half mile-worth of brass trim adorning the historic train were laid. We dodged gold paint in the halls and stumbled upon more than one unfortunate train passenger (what’s a murder mystery without a corpse?) on our way to the back, where Scene Shop Foreman Trevor Wilhelms and his team have been essentially hiding a train on an upstairs ledge for the past few weeks.

“There’s a total, including a chandelier, of about 20 large moving pieces of scenery. It’s wild,” Wilhelms says. “Our projection designer, in collaboration with our set designer, has just built incredible things. There are moments where you’ll really feel yourself moving along with the set. That kind of interplay between some more digital based work and practical effects and gags is what really sells so much of this show and just takes it into a whole different world.”

Like the crime in question, it all happens right under the audience’s nose. The first few rows are practically on the train themselves, with just feet separating them from the first glimpse at the Orient Express’ opulent compartments. It’s a tight space, but the challenge helps lend itself to the thrills that come with being trapped on that fateful train in the snow.

“So much of the aesthetic quality of not just thrillers, but the Art Deco sort of era, is angles and sharp lines and everything else, so we’re obviously taking advantage of every square inch to get as many dramatic shots as possible,” Wilhelms says. “We use a lot of our digital work to create a lot more depth than it feels like when you’re standing here. When you’re out and you’re looking through a window at mountain, snowy hills and everything a ways away, it really does just stretch.”

It’s all part of creating an atmosphere to match a story most people first read in high school, while still offering a few twists along the way.

The experience extends out of the theater, as well. Director of Patron Experience Corey Frier-Ritsch is responsible for the rotating cast of specialty drinks at Vinny’s Bar in the lobby. This show’s cocktail list, his tenth, is inspired by Christie’s famous characters and the time and places from which they’re pulled.

“I love the history, and I I look at some of the dramaturgy and sit in for first read and try to look for key points or things that could possibly be the names,” he says. “My liquor distributors also get really involved in it…they get really inspired.”

Prohibition-era flavors such as gin and elderflower are highlighted in the “Poire de Poirot,” and a spicy, creamy, Turkish coffee-inspired creation aptly named the “Istanbul Not Constantinople” feels right for the holidays while avoiding a straight-up eggnog sweetness. A twist on an Aviation inspired by the opening curtain’s travel stickers, the “Hotel Excelsior” features the requisite crème de violette but swaps Ketel One for gin and and a blueberry garnish. And in a nod to the bourbon-sipping American actress on the train, “Death at Mrs. Hubbard’s Door” blends Redemption with vermouth, Hum liqueur, hibiscus, and pomegranate for a drink that packs a punch.

“I’ve only been here for a year, but last year’s holiday show, [The Importance of Being] Earnest, was the biggest hit for the bar, as well,” says Frier-Ritsch. “And I predict the same thing happening if it’s anything like the last two previews that we’ve had. I’m pretty excited about the families coming in, just all of the energy around the holiday show. This show is visually stunning…It’s unbelievable. It’s beautiful. It’s sexy. I’m excited to see it all together.”

A quick turn down the hall from the Hippodrome Theatre’s Fayette Street side entrance reveals a strange sight for visitors to Baltimore’s base of operations for glitzy Broadway tours. Open double doors reveal two stories of windows pouring sunlight over long-hidden marble and steel beams, and pieces of the walls and floor seem to be missing. It’s hard to place what exactly what was there before. Were these doors always here? Did the building always go this far?

Take the time to look over a couple of project boards posted at the entrance and, if you’ve spent some time around the theater, it clicks. These walls were once a funny shade of tan, right? And those windows weren’t always so big, were they? No, they definitely weren’t. The space was once the France-Merrick Performing Arts Center’s ballroom, closed off to most and open only during special events (more than a few Best of Baltimore parties, for example).

The M&T Bank Pavilion, as the ballroom is officially known, was originally built as the Eutaw Savings Bank around 1881 and has been part of the France-Merrick Performing Arts Center since the adjacent buildings were acquired by the state of Maryland in the 1990s. But the building has sat mostly unused for the past 15 years, and now work is finally underway to follow through on the original plans for the space: to turn it into a new venue, one that could be a gateway for audiences of all ages and stripes to interact with the Hippodrome in a whole new way.

Once complete, this historic space will be home to a 25,000-plus-square-foot flexible performance space that will expand the nonprofit Hippodrome Foundation’s ability to present shows, events, and educational programs, in addition to hosting cultural institutions around the city and providing them with a place to perform without the struggle of lugging or renting technical equipment. The new space will also allow the foundation to run its free camps and workshops for Baltimore-area schoolchildren year-round instead of only during the summer when the Hippodrome stage is free.

The expansion is just one of the forward-thinking projects currently underway among Baltimore’s theaters. There’s something stirring behind the scenes in the local theater community—and in many ways, the Hippodrome and theaters like it are taking their cues from their smaller, more experimental brethren. To be clear, there are still plenty of chances to bring the family to a classic retelling of Romeo and Juliet or a Disney musical, but there’s a radical streak running through the rehearsal halls and stages across the city, one that’s hoping to bring people back into their dimmed halls by exploring new voices and lending power to those who need their voices amplified.

In some ways, that streak has been around for ages, inspiring storytelling in neighborhoods across the city. In Fells Point, The Vagabond Players, one of the oldest continuously operating community theaters in the country, has been sustained by actors volunteering time and energy beyond the responsibilities of their daily lives to bring drama to its audiences for more than 100 years. Downtown, the African-American community theater company Arena Players is nearing its seventh decade in Baltimore, having first sprung up at what was then Coppin State College a decade ahead of the Black Arts movement elsewhere in the country.

There’s something stirring behind the scenes in the local theater community.

Then there’s the wealth of independent theaters and companies throughout the city—groups like Baltimore Theatre Project and Charm City Fringe and Spotlighters and Iron Crow—that have consistently been exposing city audiences to diverse works and new types of performances. This year alone has brought artist-owned performance space Le Mondo to a long-awaited home on Howard Street, marked color-conscious theater troupe ArtsCentric’s move to a permanent home in Remington, and sent experimental troupe Single Carrot Theatre away from its marquee and into new corners of Baltimore in hopes of “activating different neighborhoods in different parts of the city that may be less seen,” according to artistic director Genevieve de Mahy.

But, now, as we roll toward a new decade, the city’s larger companies have caught up as well. The Bromo Arts District, home to Everyman Theatre, The Hippodrome, Le Mondo, Arena Players, and several other venues, is abuzz, and there’s talk among this tight-knit group of creative leaders of bringing new voices to new audiences. They want to engage with people in new ways, encourage a new generation of theater-goers, and sate current audiences’ appetites for more diverse and inclusive works.

Just how to tackle all those goals is the question of the hour for Baltimore’s theaters, and its creative community in general. How do these cultural stewards reach out to people and get them to engage with the art they’re producing? Part of the answer is producing stories that are more representative of the diverse world in which we live. At Center Stage, that means highlighting works by women, people of color, and LGBTQ playwrights and reexamining the way they work with artists. The same is true at Everyman, where founding artistic director Vincent Lancisi is using this new season to blend classics with highlights from the current “golden age of female playwrights.” The theater is gambling on the idea with its biggest season ever, eight total plays, four of which are written by women and three of which, including the premiere of the final play in Caleen Sinnette Jennings’ Queens Girl trilogy, are part of the first-ever New Voices Festival. The festival will also launch an intimate new upstairs space.

“There’s a renaissance of playwriting and women authors out there. How long have we been suppressing this? We just haven’t seen them because they haven’t had opportunities and see the light of day. . . Now the opportunity has presented itself,” Lancisi says. “Let’s take the best of the best famous plays, pay homage to those who came before us, but let’s create a lot of opportunity for some of these new voices to be heard. The world is changing faster than we care to recognize or are even able to keep up with, and the theaters have to catch up.”

With greater representation and dedication to wider populations, there’s hope that, like it has during so many eras before, the theater can become a gathering place and center of education and activism. It’s the reason why socially conscious Single Carrot left the stage and started scouting spots to bring their immersive performances to new neighborhoods. And it’s the idea that compelled the folks from Center Stage to bring a truck bearing an invitation to Miss You Like Hell, a “joyful musical about an undocumented mother and her U.S.-born daughter” to the September meeting of GOP leaders in Harbor East because, as they explained, they thought the House Republicans would find the play “illuminating.” Escapism, this is not. As Center Stage puts it, they want to meet audiences where they are.

When new director of artistic partnerships and innovation Annalisa Dias joined Center Stage this summer, she put that intention into action by meeting with both local independent theaters and social justice organizations with the aim to better understand the work already being done in the city to engage audiences and connect them to resources. One such meeting was an education event hosted by Guerrilla Theatre Front’s Dogs of Art that covered immigrant rights, ICE detentions in Baltimore, and how people can help. The event helped inspire programming for Miss You Like Hell, for which Center Stage created a lobby installation that offered information on direct service providers working with the local immigrant community.

“We’re going to start opening these doors and really trying to activate the space in a new way,” Dias says. “It’s trying to rethink the experience of walking through these doors and going to a show and what you do before and after. How do we make this a space where people want to hang out and interact in a different way?”

For many companies, that “meet people where they are” mentality extends to area schools. Giving students the opportunity to experience drama and see themselves reflected in it is a common thread among the leadership of the city’s theaters both big and small. Whether it’s introducing school groups to the Bard at Chesapeake Shakespeare Company or building and performing an in-class puppet show with Black Cherry Puppet Theater, these troupes are finding ways to connect kids to the performing arts and hopefully start a lifetime of participation in the city’s creative landscape. Partnerships between the Hippodrome Foundation and the Baltimore Design School have even opened up theater as a career path by offering older students interested in costuming opportunities to learn from area professionals and network with local costume warehouses that work with national productions.

Student matinees at theaters across the city feature talkbacks with casts and crews, and students often say these class visits are the first time they have ever seen a professional production, a trend Everyman’s Lancisi has seen grow over the past decades.

“Sadly we’ve lost entire generations [of theater-goers] to date, and we like to say it’s because of price, but I think it’s also because of theater-going traditions,” Lancisi says. “It always requires somebody or some place to provide the exposure. The first time that the students come and see a play can be a life-altering experience for them. They see themselves on stage, or represented in some way, or their point of view matters when they’re encouraged to talk to us about it and react out loud as a community together.”

“The world is changing faster than we care to recognize . . . and the theaters have to catch up.”

Making the younger generations a part of this community is one of the keys to Baltimore theaters’ broader vision for the future, but the hope is that new voices and experiences will be the siren songs that bring people both young and old back into the theaters, away from streaming at home and back downtown. And once those audiences are in the seats, that they’ll engage with all the little things that add to the experience —local art inspired by the shows on the walls, chances to discuss work with the cast, interactive elements of the performance itself —but also with one another.

“[Center Stage] could be activated as a space where people really want to gather and unpack and process, a fun, joyful space of healing, resistance, power-building, democratizing. . . all these things,” Dias says. “We have power to change the way things have always been done and uplift and amplify artists who are living in the city.”

And as these spaces expand and diversify, the whole community benefits. More so than some other industries, there’s a feeling of camaraderie and support among Baltimore’s creative class. The larger venues are inspired by experimentation and new ideas coming from the smaller companies, and smaller companies can be assisted by the resources of the large as each inspires its audiences to seek out more from the wealth of options around it. The Hippodrome Foundation has already been in talks with 56 groups, including local concert series, art spaces, and other theater companies, about using their new state-of-the-art location once the renovation is complete.

“There are 70 arts organizations that don’t have permanent homes. We want to be the incubator for the growth that’s happening,” says Ron Legler, president of the France-Merrick Performing Arts Center. “What we’re hoping to do is take some of the smaller things that are out there that are gems in the city and help them grow and help them find different revenue sources to stay competitive.”

That growth and support means bringing works and performers to new audiences, and giving those audiences what has always worked in the theater, stories that connect and contribute to the conversation. If successful, they have the power to change the way people think and feel. It’s a big ask, but Baltimore’s casts and crews and creative leaders are willing to do the work. They’re used to doing things the hard way.

“The best case scenario for me has never changed, which is that all the theaters of Baltimore are full of audiences hungry for the work they’re doing, that their marquees are bright, that they’re reaching a wider audience, a more diverse audience, that people are willing to try new things or go to a theater they’ve never heard of before,” says Lancisi. “Doing things live is the most labor-intensive and challenging thing to do, but we do it because it’s magic. There’s nothing like it. You’ll have a communal experience, and it’ll just blow you away.”

Baltimore Craft Beer Festival:
Nov. 2. Back when Nepenthe Brewing was solely a homebrew shop in Meadow Mill, husband-and-wife team Brian Arnold and Jill Antos hosted the Baltimore Craft Beer Festival’s homebrew competition for at-home makers. But now that the couple, (pictured center and right), along with co-owner Brendan Kirklin, (left), have expanded Nepenthe Brewing Co. into a popular brewpub/restaurant/homebrew shop, the team is ready to serve their own brews at the fifth annual festival at Canton Waterfront Park on November 2. Kirklin says they’re excited to pour alongside dozens of other Maryland brewery teams and share Nepenthe’s wide variety of sips with the festival’s thousands of attendees. “It’s always a warm and fuzzy feeling when someone tries your beer for the first time and they say, ‘This is so good! Where are you guys located?’” says Antos.—KP 12-5 p.m.. Canton Waterfront Park. $10-60.

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Miracle on 34th Street
Nov. 30-Dec. 31. The Miracle on 34th Street light display that illuminates Hampden every winter has become a statewide phenomenon, thanks to the homeowners who welcome onlookers onto their decked-out porches and lawns. Once the sun sets, stroll through the 700 block of West 34th Street to “ooh” and “ahh” at the uniquely Baltimore displays, including brightly lit Bohs, crabs, flamingos, and, of course, local artist Jim Pollock’s famous hubcap tree. Don’t miss the chance to admire “the most outrageous” Christmas lights in Maryland. W. 34th St.. 6-11 p.m.. Free.

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Día de los Muertos
Nov. 2. This beloved Mexican holiday—translated to “Day of the Dead”—is a colorful celebration filled with music, sugar skulls, and marigolds that honor family members and loved ones who have passed. Luckily for locals, the Walters Art Museum hosts one of the largest celebrations in the region, bringing traditional dance performances, Mexican folk-art activities for families, authentic snacks and drinks, and a community altar to its halls. After the festivities, stick around to take tours of the collection in English or Spanish. 11 a.m.-4 p.m.. 600 N. Charles St. Free.

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Baltimore Vintage Expo
Nov. 3. In need of a fringe jacket or some vintage denim for the cool months ahead? Pop into the annual Baltimore Vintage Expo—Baltimore’s fan-favorite vintage and antiques sale hosted by local go-to shops Milk & Ice Vintage and Bottle of Bread at Union Craft Brewing. Browse through racks of high-end selections of vintage clothing, accessories, furniture, and decor from some of the best retailers in the region. 12 p.m.-6 p.m.. 1700 W. 41st St.. Free.

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Bob Dylan
Nov. 12. Times may be a-changin’, but the legendary folk music of Bob Dylan will never go out of style. With 10 Grammy awards, a Presidential Medal of Freedom, and even a Nobel Prize in Literature, this rock ‘n’ roll icon can do it all. Don’t miss this once-in-a-lifetime chance to see Dylan perform at the UMBC Event Center this fall, where he’s almost guaranteed to play crowd favorites like “Knockin’ On Heaven’s Door” and “Like a Rolling Stone.” A must for Dylan diehards, this show will have you toe-tapping to familiar and fresh melodies all night long. 8-11 p.m.. UMBC Event Center. $52.50-85.50.

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Aladdin
Nov. 13-Dec. 1. On the heels of the live-action version of this classic Disney film, the story of Aladdin will come alive on The Hippodrome stage, minus the presence of Will Smith. Bring the whole family to the historic downtown theater to experience the adventures of a street urchin who falls in love with the princess of Agrabah, with plenty of songs, colorful characters, and romance to keep audience members of all ages entertained. Catch this eye-popping musical during its almost three-week run and get ready to go on a magic carpet ride for the ages. Times vary. 12 North Eutaw St. $52-175.50.

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Colson Whitehead
Nov. 14. Acclaimed author Colson Whitehead has earned a reputation for his striking imagination, groundbreaking style, and perspective on American history and society, thanks in part to his Pulitzer Prize-winning novel, The Underground Railroad. Join Whitehead at the Enoch Pratt Central Library to hear this literary master read from his latest novel, The Nickel Boys, based on the true story of a Florida reform school, and answer questions from attendees about his career and works. 7 p.m.. 400 Cathedral St.. Free.

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Baltimore Whiskey Festival
Nov. 23. Spend the evening sipping whiskeys from around the world during this fine-spirits festival. Choose from 100-plus craft-distilled whiskeys, stop by the Founder’s Finds table to browse a curated selection of rare products, or learn about the art of distillation from experts during a series of free seminars. If the entry price gives you pause, keep in mind that a portion of event’s proceeds will go toward the Spirit of Hope Children’s Foundation. 12-4p.m.. 316 Guilford Ave. $69

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Jonas Brothers
Nov. 30. When the JoBros announced in February that the trio would reunite and release new music for the first time in six years, you could practically hear the squeals of excitement from aging millennials across the world. At the end of this month, pack the Royal Farms Arena to dance and sing along with the boy band that stole the hearts of millions during the early 2000s as they play smash-hit songs such as their latest single “Sucker” and throwback bops such as “Burnin’ Up” and “When You Look Me in the Eyes.” Bonus points go to fans who don their original Jonas Brothers’ merch. 7:30 p.m.. Royal Farms Arena. $35.95-495.95

August Wilson’s Radio Golf
To Nov. 17. The latest production by Everyman Theatre brings the final show in playwright August Wilson’s 10-play series about the African-American experience during the 20th century to Baltimore. This fast-paced show follows the story of a successful real estate developer who hopes to become Pittsburgh’s first black mayor, but hits a roadblock after discovering an uncomfortable truth about his family’s history. Settle into the downtown theater and take in this thought-provoking work that points out similarities to issues still present in the modern world. Times vary. 315 West Fayette St.. $25-62

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Visual Art

Eye to Eye

Rethink the way African-American male bodies are viewed at this new exhibition featuring artists Christopher Batten, Schroeder Cherry, and James Williams II. Observations are both welcomed and obscured in these three contemporary painters’ works. Stop by Oct. 10 from 5-8 p.m. to celebrate the pieces at the opening reception. Oct. 10 through Nov. 9. Catalyst Contemporary, 523 N. Charles St.

Elizabeth Catlett: Artist as Activist

Elizabeth Catlett spent a lifetime using her art to advocate for social and political change, lending her support to Mexican workers and African-Americans living under racist policies during the Jim Crow era. Starting this month, dozens of her sculptures and graphic prints will go on display at the Reginald F. Lewis Museum, beginning a long stretch of programming surrounding the iconic artist-activist. Oct. 26 through March 1, 2020. Reginald F. Lewis Museum, 830 E. Pratt St.

Literature

Story Time with Rachel Kolar

Grab your littlest ghouls and head to The Children’s Bookstore for this story time with local author Rachel Kolar, who will read from and sign her book of spooky retellings of classic nursery rhymes. Enjoy such spirited new versions as “We Willie Werewolf” and “Mary Had a Little Ghost,” and don’t forget to grab your own copy of Mother Ghost: Nursery Rhymes for Little Monsters. Oct. 19. 1-2 p.m.The Children’s Bookstore, 4717 Harford Rd.

An Evening with Mike Rowe: The Way I Heard It

Baltimore’s own jack of all trades and Discovery Channel superstar Mike Rowe is coming home to share some highlights from his new book, The Way I Heard It, featuring a collection of 35 true(ish) stories about figures you think you know. Grab your copy at the door and join hosts from The Ivy Bookshop for a moderated Q&A and audience questions. Oct. 19. 7-9 p.m. Church of the Redeemer, Baltimore, 5603 N. Charles St.

Music

Off the Cuff: Brahms Symphony No. 4

Johann Brahms’ “Symphony No. 4” represents a transitional period from the lush Romantics to the very beginnings of the 20th century’s modernists. Join Baltimore Symphony Orchestra conductor Marin Alsop for an evening of food, drinks, and lively conversation as she reveals the importance of this 19th-century master work. 7 p.m. Oct. 19. Joseph Meyerhoff Symphony Hall, 1212 Cathedral St.

Theatre

Charm City Fringe Festival

Charm City Fringe is back and ready to spread its stories all over the Bromo Arts & Entertainment District. Catch such exciting new pieces as WombWorks’ The Channeling of Ms. Sybby Grant, Amanda Erin Miller’s The Jew in the Ashram solo show, and Tres Brujas Productions’ exploration of witchcraft and Virginia Woolf, Modern Witches. There are 10 days of productions across six venues to explore, so we suggest you start making your checklist now. Oct. 10-20. Various locations.

August Wilson’s Radio Golf

As we roll ever closer to an election year, August Wilson’s final play feels as timely as ever. Resident company member Dawn Ursula will be joined by Charles Dumas, Anton Floyd, Jamil A.C. Mangan, and Jason B. McIntosh on the Everyman stage for this tale of real estate developer Harmond Wikins’ run at becoming Pittsburgh’s first black mayor. Oct. 15 through Nov. 19. Everyman Theatre, 315 W. Fayette St.

Stoop Storytelling: Twilight Zone

Everyone knows someone who swears that thing that went bump in the night was more than their imagination. Meet a few more at this month’s iteration of the Stoop Storytelling series featuring takes of all things strange and supernatural. Be sure to come early for cocktails and live music from local rockers Super City. 7 p.m. Oct. 24. The Senator Theatre, 5904 York Rd.

Film

Art, Youth, and Justice Day at the Baltimore Museum of Art

Greenmount West Community Center and Advocates for Children and Youth are celebrating Youth Justice Month with a whole day of programming at the Baltimore Museum of Art. In addition to self-guided tours of Generations: A History of Black Abstract Art (the ticketed exhibition will be free all weekend long) and an evening concert, the day will feature screenings and panels of both PUSHOUT: The Criminalization of Black Girls in Schools and Rethink Baltimore. 12-5 p.m. Oct. 26. Baltimore Museum of Art, 10 Art Museum Dr.

Shen Yun
Feb. 17-19. Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St. Fri. 7:30 p.m., Sat. 2 & 7:30 p.m., Sun. 2 p.m. $91-230. 410-837-7400. In the dead of winter, travel to the mystical world of ancient China with this colorful performance by the world-famous Shen Yun dance and music company. Marvel at the vibrant costumes, breathtaking sets, and an awe-inspiring soundtrack as you embark on a journey across 5,000 years of Chinese culture.

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Timeless Weft
Feb. 1-July 30. The Baltimore Museum of Art, 10 Art Museum Dr. Wed.-Fri. 10 a.m.-5 p.m., Sat. & Sun. 11 a.m.-6 p.m. Free. 443-573-1700. In this intimate exhibit, explore exquisite tapestries from the decades-long career of local artist Louise B. Wheatley. Using ancient techniques with homegrown dyes and hand-harvested fibers, she presents unique textiles with earthy colors, a deep connection to nature, and a celebration of philosophical and religious thought.

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Charles Dickens’ Great Expectations
Feb. 1-March 5. Everyman Theatre, 315 W. Fayette St. Times & prices vary. 410-752-2208. Ever since last season’s remarkable rendition of August Wilson’s Fences and impressive repertory productions of Death of a Salesman and A Streetcar Named Desire, we’ve been keeping our eye on Everyman. This month’s premiere is sure to impress, as the local theater takes on the timeless Charles Dickens classic, where six actors will play a staggering 35 characters.

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Black Memorabilia Fine Art & Craft Show
Feb. 11. Reginald F. Lewis Museum, 830 E. Pratt St. 10 a.m.-5 p.m. Free-$8. 443-263-1800. Celebrate Black History Month with a full day of African-American culture and heritage at the Reginald F. Lewis Museum. Throughout the day, meet baseball players from the Negro League, grab autographs from Tuskegee Airmen, and learn about the upcoming Harriet Tubman Underground Railroad National Historical Park on the Eastern Shore.

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Capturing Pablo
Feb. 12. The Fillmore, 8656 Colesville Road, Silver Spring. 7 p.m. $35-45. 301-960-9999. With “Netflix and chill” consuming our social lives, perhaps you’ve followed suit and become deeply addicted to Narcos. The hit series is inspired by the real story of Colombian cocaine king Pablo Escobar and the DEA agents who helped bring him down. For those who didn’t want last season to end, make your way to Silver Spring for one night only as real-life agents Steve Murphy and Javier Pena, pictured above center beside their respective actors, tell their version of the tale.

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Riverdance
Feb. 17-19. Modell Performing Arts Center at the Lyric, 140 Mount Royal Ave. Fri. 8 p.m., Sat. 2 & 8 p.m., Sun. 1 p.m. $35-85. 410-900-1150. One month before the green-covered, beer-filled festivities of St. Patrick’s Day, celebrate Ireland with the critically acclaimed high kicks of Riverdance. Now in its 20th year, the Irish dance production returns to the U.S. with awe-inspiring dance numbers (including the all-new “Anna Livia”), eye-catching costumes, mesmerizing lighting effects, and serious athleticism to boot.

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Infinity Mirrors
Feb. 23-May 14. Hirshhorn Museum, Independence Avenue SW, Washington, D.C. Mon.-Sun. 10 a.m.-5:30 p.m. Free. 202-633-4674. Grab your cellphones, fire up your Instagrams, and practice your best selfie. Japanese artist Yayoi Kusama is coming to the Smithsonian’s Hirshhorn Museum in Washington, D.C., to present her immersive installations that drip in color, dazzle with light, and mesmerize with floor-to-ceiling mirrors. Delve into the legendary artist’s sensory immersions with some of her most famous works on view, including six mirror rooms, whimsical installations, colorful sculptures, and large-scale paintings that have never before been seen in the U.S.

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American Craft Council Show
Feb. 24-26. Baltimore Convention Center, 1 W. Pratt St. Fri. 10 a.m.-8 p.m., Sat. 10 a.m.-6 p.m., Sun. 11 a.m.-5 p.m. Free-$36. 612-206-3100.
At the country’s largest indoor craft show, more than 650 makers of all disciplines come together to present their wares. Weave your way through contemporary crafts, including jewelry by Rebecca Myers of The Village of Cross Keys, ceramics by Ronni Aronin of Baltimore Clayworks, metal sculptures by Devin Mack of Drawn Metal Studios, and woodworks by Darryl Patterson of D. Patterson Design Studio.

The White Snake
Feb. 24-March 26. Center Stage, 700 N. Calvert St. Dates & times vary. $20-74. 410-986-4000. After many months and a $32-million renovation, experience the grand reopening of Center Stage. Described by Artistic Director Kwame Kwei-Armah as “transformative,” the newly redesigned Head Theater sets the stage for this ancient Chinese fable of two magical animal spirits.

Tell us about Queens Girl in the World and Queens Girl in Africa, the one-woman shows running this month at the Everyman Theatre that chronicle the life of a young African-American girl during the onset of Civil Rights-era social change.
A few years ago, I did Queens Girl in the World for the first time at Theater J in Washington, D.C., and it was an amazing success. People have been clamoring since then for the revival of it. And then Queens Girl in Africa was written by Caleen Sinnette Jennings and performed by the amazing Erika Rose last year.

[Everyman Theatre founder and artistic director] Vinny Lancisi had the fantastic idea to see if we would be interested in bringing back both shows in a world-premiere repertory experience. It’s fantastic to be back with all these wonderful characters. They’re both solo pieces, so both shows are performed by one actor playing the main protagonist, Jacqueline Marie Butler, but we also do all the different people in her world.

How does presenting these stories in repertory change the experience?
What’s great about these plays is that they stand alone even though they are connected. It takes an amazing playwright to write both plays in a way that they don’t have to be done together; they could be done independently and enjoyed in any theater. They enhance each other in the most helpful way and enrich the experience if you see them in repertory, but they’re also two complete, amazing stories on their own.

What has it been like to develop this character that’s shared with another person?
It’s interesting because Jennings has such a clear voice, and her writing is so rich and poetic and funny and direct. It was a lovely experience for these characters to blossom and find their footing in the language. It’s funny, when I went to see Erika in Queens Girl in Africa I recognized things that she was doing and thought, “My character does that! I do that the same way!”

We created these characters so separately, but that’s just a testament to the writing. And now to have Paige Hernandez directing both of us—the smart and powerful director that she is—she’s allowing each play to stand on its own, and yet creating things that will probably be a lovely surprise or exciting addition for audience members to see in both shows.

How does the arts community in Baltimore differ from other cities?
Baltimore has such a rich art, theater, and music culture to it. I don’t know that it necessarily gets the recognition that it deserves in that way. My experience coming here and meeting people and being engaged in collaborations with other artists is that it just needs a little more spotlight. I would love to see more of that for this city that really appreciates and loves the arts. The vibe and the energy when I come and work in Baltimore—it rivals that of any other place that I’ve been.

As much as we may try to control our own lives, they’re fairly easy to disrupt. There are so many moving parts—family, kids, money, friends—that one change can throw off the whole system.

That uneasiness, the strange sensation of a life thrown out of balance despite your best efforts, is at the heart of Everyman Theatre’s latest production, Dinner with Friends, which runs through April 7.

You may have seen the TV movie starring Dennis Quaid and Andie MacDowell back in the day, but it’s worth seeing Donald Marguiles’ Pulitzer Prize-winning drama on the stage. Resident company members Megan Anderson, Danny Gavigan, and Beth Hylton, joined by Baltimore newcomer M. Scott McLean, give life to this all-too-relatable tale of love won, lost, and changed, which plays out against a (literally) rotating array of HGTV-worthy set pieces and a nostalgia-inducing soundtrack.

Smart writing and a healthy dose of humor lighten this contemplation of the nature of lifelong (or maybe just temporary) relationships, saving it from what could have been too many spousal squabbles for anyone’s liking. It has its poignant moments, its “awws” and tender realities that remind us that, yes, relationships aren’t always perfect, but they’re often wonderful despite it all. But the knowing chuckles and groans from audience members as transgressions are explained and excuses are given made it clear just how familiar these two couples are to everyone.

We’ve all met them before. One couple (Anderson and Gavigan) falls apart, while the other (Hylton and McLean) seems to be perfectly in sync. But even they, despite their enviable jobs and outwardly perfect relationship, can’t claim a life without uncertainty. And as they cling to one another, they also begin to wonder just what their friends’ new lives mean for their own pasts and futures.

All four cast members have mastered the timing of this sometimes biting, yet often tender, piece and both acts seem to fly by without feeling incomplete. Hylton and McLean as Karen and Gabe, whose relationship has the benefit of restoring some faith to those jaded by the failure of their friends’, are lovely together, and the sincerity with which they jab at, question, and ultimately cherish one another is enough to convince even the most ahem cynical of us that the hard work and low points of relationships might just be worth the joy of the highs.

Their conversations with Gavigan’s and Anderson’s Tom and Beth over meals and flashes of vacations gone by act more like vignettes, quick windows into decades of friendship, than they do a straight narrative. They’re brief, and there are moments when the timeline is uncertain, but the result feels right for the story being told. After all, that’s how we experience each other’s lives—in stories told while wine is poured, during long weekends away, and over dinners with friends.

OPEN

Mason’s Famous Lobster Rolls: This Annapolis staple changed the game when it brought its signature lobster rolls to Belvedere Square in 2017. The Northern expansion was so well received, that Mason’s has now debuted a second Baltimore outpost in the Inner Harbor. Founder Dan Beck, a veteran seafood buyer who spent more than 20 years getting to know New England lobstermen, packs Mason’s buttery buns with hearty chunks of meat hauled from the waterways of Maine. The new Harborplace eatery features rolls served both classic (warm with melted butter) or salad (chilled meat with mayo, celery, and lemon) style, along with lobster mac and cheese and classic clam chowder. Mason’s adds a much-needed dining option to the Inner Harbor area, which lost Five Guys, M&S Grill, Noodles & Co., and Brio Tuscan Grill all within the past year. 201 E. Pratt St. 443-453-9664

NEWS

Bmore Licks: As temperatures creep up into the 60s this week, we couldn’t have asked for a better time for this Patterson Park sweets shop to reopen for the season. Bmore Licks took its annual winter hiatus after the holidays to test new recipes and spruce up the interior. Now, it’s back just in time for spring with plenty of soft-serve, snowballs, donuts, dessert nachos, and ice cream scoops to go around. Among the new featured flavors to look out for is the St. Patrick’s Day-inspired “Magically Delicious,” made with a sweet cream base and lots of colorful Lucky Charms marshmallows. 2437 Eastern Ave. 410-732-5425

NextAct Cinema at The Pikes: Pikesville locals were ecstatic when the landmark Pikes Theatre, one of the oldest in the area with roots dating back to 1938, reopened in full force earlier this month. Now operating as NextAct Cinema, the renovated facility boasts two intimate screening rooms, stadium seating, accompanying plush blankets, a full lobby bar, and updated concession areas with digital menu screens. Perhaps the greatest perk: guests who arrive 30 minutes prior to showtime can order wine, beer, popcorn, candy, or a full meal from the adjacent Pikes Cinema Bar and Grill to have delivered straight to their seats. The menu at includes quick-turnaround bites such as sliders, personal pizzas, quesadillas, soups, salads, and chicken tenders. The first wave of showings includes Captain Marvel, Us, and How to Train Your Dragon: The Hidden World. 921 Reisterstown Rd. 443-548-3783

COMING SOON

Char’d City: As its name implies, wood-fired fare will steal the spotlight at this new Hamilton restaurant. Expected to open in the former home of Clementine on Harford Road this spring, the neighborhood spot from owners Sindee Gibson and Yassine Rhamdhnia will offer house-made pizzas alongside other gluten-free, paleo, vegetarian, and vegan selections. Specifically, the menu will fuse Southern Italian flavors with North African recipes inspired by Rhamdhinia’s roots in Tunisia. A grand opening could be on the horizon as soon as next month. 5402 Harford Rd. 443-760-1501

Pizza Palace: Speaking of pizza, this new spot is slated to open any day now in Federal Hill. The Light Street space will stay open until 2 a.m. on weekends, so we can only expect that it will soon become a favorite of Federal Hill revelers in need of fuel after last call. In addition to hot subs and regular red sauce pies, the menu also lists specialty options like a Philly cheesesteak pizza and a Greek version with tzatziki sauce. 1538 Light St. 410-244-0444

Das Bier Haus: Pizza Palace takes over the former home of Fornicolli’s, an Italian concept that was briefly run by the owners of Das Bier Haus next door. Soon after they closed the pizza shop, management also shuttered the German beer hall while working to resolve structural issues that have plagued the building throughout the years. “A lot of the problems that made the previous businesses in this location fail have come back to haunt the place,” reads a January post to Das Bier Haus’ Facebook page. “It has taken away from our core values as a business of customer service, inventory, and overall consistency.” Here’s hoping Das Bier Haus reopens soon after its new neighbor Pizza Palace joins the scene. 1542 Light St.

CHEF CH-CH CHANGES

Hotel Revival: As Mt. Vernon’s newest hotel approaches its first anniversary in April, the food and beverage team is welcoming some new faces. Chef Scott Hines, formerly of B&O American Brasserie inside the Hotel Monaco, has been brought on as the new executive chef. Simultaneously, Revival has appointed new food and beverage director Lindsay Chapon—a Le Cordon Bleu College of Culinary Arts grad who has racked up a decade’s worth of experience at hotels throughout the country. Together, the two will spearhead seasonal menus for the restaurant’s all-day cafe Square Meal, rooftop bar Topside, and private karaoke rooms. 101 W. Monument St. 410-727-7101

Noona’s: This Bolton Hill newbie recently debuted its spring menu highlighting house-made pizzas, abruzzo meatballs, pork belly rillette, and ricotta gnocchi. Not only does the new menu mark Noona’s first seasonal rotation since opening, but it’s also the first to premiere under the helm of new chef Cai Lindeman. The chef is an alum of Michelin-rated The Dabney in Washington, D.C., and also known as the brains behind the Burnt Coat pop-up—which served its locally sourced dishes at spots like R. House and the former New America Diner. The farm-to-table ethos will be translated into the menu at Noona’s, which makes use of baby radishes from Karma Farm in Monkton, local Keepwell vinegars, free-range pork belly from Liberty Delight Farms in Reisterstown, and Lindeman’s own foraged spicebush berries. 410-424-0857

Sagamore Pendry Baltimore: Chef Andrew Carmellini’s NoHo Hospitality Group has brought new blood into the kitchens of this luxe hotel in Fells Point. Now overseeing the property’s Italian-influenced Rec Pier Chop House and whiskey bar The Cannon Room is chef Robert McGrattan. His resume includes 14 years of experience behind the line at acclaimed properties such as Nashville’s Hutton Hotel and The Westin Charlotte in North Carolina. He brings culinary knowledge and skills that have also awarded him the opportunity to cook alongside all-stars Edward Lee, Josiah Citrin, and Ken Frank at multiple James Beard House dinners. 1715 Thames St. 443-552-1400

EPICUREAN EVENTS

3/21: Fogo and Friends
Everyman Theatre is teaming up with Fogo de Chão in the Inner Harbor to host this special dinner-and-a-show event inspired by its current production Dinner With Friends. In addition to parking and round-trip transportation to the restaurant, guests will enjoy one free drink, endless prime cuts of meat, Fogo’s bottomless salad bar, coffee, and dessert before heading back to the theater to see the play. A portion of all proceeds will benefit Everyman’s future productions. 315 W. Fayette St. $95.50. 410-752-2208

3/26: Cosima Turns Three
To celebrate its third anniversary, Cosima at Mill No. 1 in Hampden is hosting a special three-course dinner with three options for each section. Chef Donna Crivello will pay homage to the restaurant’s run with Sicilian specialties, as well as dishes that have been customer favorites since it opened. Offerings to look out for will include baked ricotta gnocchi, grilled swordfish, stuffed eggplant with red peppers and marinara, and the classic Sicilian doughnuts rolled in cinnamon sugar. 3000 Falls Rd. $66. 443-708-7352

Fleetwood Mac
March 24. 8 p.m. $73.50-207.50. Across its 50-year history, legendary rock-blues band Fleetwood Mac has had a revolving door of guitarists and singers, but despite its rotating crew, it has cemented its place as one of the world’s bestselling bands. During this one-night stop on the group’s 50-city tour, hear original bandmates Mick Fleetwood and John McVie, longtime members Stevie Nicks and Christine McVie, and newcomers Mike Campbell and Neil Finn rock the Royal Farms Arena with classics such as “The Chain” and “Dreams.”

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Ed Schrader’s Music Beat
March 2. 9 p.m. $13-15. We’ve been following this post-punk duo’s climb through the city’s DIY scene for years and, following the release of Riddles last spring, have watched them finally get the kudos they deserve. To tie up a year of touring around the U.S. and Europe, frontmen Ed Schrader and Devlin Rice will rock this hometown show with crowd favorites such as “Dunce” and “Kid Radium,” following sets by up-and-coming acts Param Anand Singh and Infinity Knives + Randi.

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Jonathan Van Ness
March 2. 7 p.m. $55-318.30. Whether you recognize his flowing locks and gut-busting catchphrases from the popular Netflix series Queer Eye or his parody web series Gay of Thrones, you know Jonathan Van Ness. This month, the grooming guru is bringing his pop culture quips to the Hippodrome Theatre as part of his first-ever stand-up comedy tour, where fans can laugh along with “America’s sassiest sweetheart.” Can you believe?

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Expressions
March 2-3, 5. $20-375. The Baltimore School for the Arts has long been heralded as a shining star in the city’s arts community, and its annual fundraiser, Expressions, has become a can’t-miss event. This year, the series of performances—along with the traditional gala and cocktail party—is dedicated to the beloved creator of Expressions, Sally Michel, who passed away in August. Support the esteemed local art school during this honorary benefit and celebrate the memory of one of BSA’s longtime leaders.

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Love Thy Self
March 7. 5:30-6:30 p.m. Free. In our February issue, we featured a few of the love-inspired letters and drawings included in Beyond Beautiful: One Thousand Love Letters, an exhibition by Baltimore-based artist Peter Bruun that explores expressions of love. In conjunction with the final days of this heart-stirring exhibit, hear testimonials and performances from exhibit participants, including singer-songwriter ellen cherry and artist Phylicia Ghee, during this one-night event. Arrive to Maryland Art Place early to hear local jazz keyboardist George Spicka perform during the opening reception.

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Dinner with Friends
March 12-April 7. Times vary. $43-52. With serendipitous timing to our Best Restaurants issue, the latest production from Everyman Theatre takes on a tension-filled dinner party thrown by two food writers whose guests are grappling with loyalty and commitment issues. Head to the downtown theater to see resident company actors Megan Anderson, Danny Gavigan, and Beth Hylton bring this Pulitzer Prize-winning drama to life and prove that even a picture-perfect dinner can get messy.

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National Cherry Blossom Festival
March 20-April 14. Times and prices vary. In the DMV, spring has not officially sprung until the trees surrounding D.C.’s Tidal Basin turn pale pink and white with an abundance of cherry blossoms. Celebrate the nearly four weeks that these famed trees are in bloom with springtime festivities such as a pink-tie party, a kite festival, a lavish parade, and an all-out festival along the National Harbor.

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Burn Baby Burn
March 23. 12-4 p.m. $25-85. On the first day of spring in 1978, Annapolis boatbuilder Bob Turner decided he was sick of wearing his “oppressive” winter socks and invited his fellow sailing enthusiasts to join him in burning his socks to celebrate the start of another sailing season. Although Turner moved south in 1994, the sock-torching tradition lives on through the Annapolis Maritime Museum’s annual Oyster Roast & Sock Burning (this year on March 23), where locals and visitors alike recite the poem “Ode to the Equinox” before tossing their mid-calfs into the bonfire. “Let’s face it: We all have socks that have gotten worn out by March,” says AMM executive director Alice Estrada, middle. “That moment when socks of all different sizes and colors are cascading onto the fire just fills my heart.”

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The Big Baltimore Kite Fest
March 30. 12-4 p.m. Blowing into Patterson Park for the first time, this high-flying festival invites artists, kids, and kite-lovers to enter nontraditional kites in its park-wide contest. For a birds-eye view, watch the vibrant sky-flyers from the top of the Pagoda. Back on the ground, enjoy live music and the chance to be a part of this brand-new springtime tradition.

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The Ghost of Johns Hopkins
March 24. 4-5:30 p.m. $10. There’s no debating that the philanthropist Johns Hopkins and his namesake institutions have shaped modern-day Baltimore. In his latest book, The Ghost of Johns Hopkins, longtime Baltimore Sun journalist Antero Pietila examines the effect they’ve had on the racial patchwork of our city. Hear the well-regarded writer at The Engineers Club in Mt. Vernon for an in-depth discussion about what has been deemed the first real biography of Hopkins and how it explores the city’s complicated relationship with race and community.

In the world of Chelsea Marcantel’s Everything is Wonderful, nothing really is. Life is hard, and it’s made harder by the people in it. Faith is a gift and an excuse, depending on who you ask. Set in Amish Country, in a community often written off for its otherness or idealized for perhaps the wrong reasons, the play uses the unfamiliar to explore radical forgiveness, a concept that may be just as foreign to most as the Pennsylvania Dutch accent.

The new Everyman Theatre production, up through February 24, is not glitzy or extravagant. Its costumes and sets are well done but simple, as befits its setting, and the light and sound design evokes the softness and stillness of the community at its surface. For most the Everything is Wonderful and the lifestyle it depicts will be wholly unknown, but that works entirely in its favor.

Between the joy of Ruth (Hannah Kelly), the wisdom of Jacob (Bruce Randolph Nelson), the rage of Miriam (Alex Spieth), and the steadfastness of Esther (Deborah Hazlett), I felt torn in two directions, not unlike the the family itself. I couldn’t quite tell you if I wanted to run to the comfort of a church or far from its flawed congregation by the end, but that’s the trouble with faith. It’s supposed to be blind, but it’s hard not to peek and see flaws in it when things go badly. This is a story without a clear moral. Should we forgive and forget? Should we do it always? Never? Sometimes? Everything is Wonderful doesn’t leave you with an answer, but a question, and sometimes that’s more useful.

As for the performance itself, company members Hazlett and Nelson prove again why they are stalwarts of the Baltimore stage. Paired for the eighth time as fictional husband and wife, they inhabit their characters and feel so completely tied to one another. They hold together this family coming apart, if only barely.

The men whose choices necessitate such incredible forgiveness, Tony Nam as the repentant “English” among the Amish, Eric, and Steve Polites as Abram, whose status as the “LeBron James of being Amish” isn’t close to his whole story, conjure some of the most complicated feelings in the play and shine in their moments of vulnerability. Kelly exudes sweetness as Ruth, who makes the best case for faith itself. She is all love and forgiveness and light, even as darkness creeps in around her. Spieth, meanwhile, is probably the most relatable of the bunch. Wronged and angry but unable to fully leave those who wronged her behind, her personal journey feels the most real, making its final destination all the more wrenching.

The play’s format takes a few scenes to get used to, flashing from past to present and sometimes pairing the two together to construct the details we need to move forward, but it fits the narrative so well that the early moments of confusion are worth it. After all, “what’s past is past” never seems to be true. What’s past always creeps its way into the present. It sticks to you and changes you.

As we watch scenes five years apart unfold concurrently, that seems more true than ever. Forgiveness is a choice, but some things—love, loss, hurt—are impossible to forget, whether we want to or not. Days later, I’m still unsure if I could forgive all of the characters in Everything is Wonderful. But I know I won’t forget them for a long while.

Visual Art

Under $500
Looking for that last big gift for someone special (or yourself) this holiday season? Stop by the sixth annual Under $500 art sale at Maryland Art Place. View works by dozens of local artists, grab a festive drink, and get the chance to purchase a collector’s piece for less than $500. If you’re in the giving mood, bring along a new toy or book because MAP will be collecting for Philanthropi’s toy drive during the sale. Opening reception 7 p.m. Dec. 14; on view during gallery hours Dec. 14-18. Maryland Art Place, 218 West Saratoga St.

School 33 Openings
Three new exhibitions at School 33 promise new explorations of the human experience. Your silence will not protect you brings together the work of five artists inspired by “black womyn’s experiences in America past, present, and future.” Two single-artist exhibitions, Nature As A Metaphor For Economic, Emotional And Existential Horror and Labor of Suggestion offer individual takes on humanity’s separation from the natural world and the line between reach and grasp. On view through Feb. 2, 2019. School 33 Art Center, 1427 Light St.

Music

Winter Formal Benefit for House of Ruth
Get all dolled up and give back at this formal benefit for House of Ruth, which provides services for women and their children who have been victims of domestic violence in Baltimore and Prince George’s County. This night of Christmas Eve Eve Merrymaking will feature a raffle, a prize for the best-dressed partier, and music from Eze Jackson, Blacksage, Humanmania, Spooled Up, Sickle Cell, and DJ Pancakes. 7 p.m. to 1 a.m. Dec 23, The Windup Space, 12 West North Ave.

Baltimore Plays: Soul Christmas
Join some of Baltimore’s beloved independent artists for five decades-worth of Christmas songs at latest event in the Creative Alliance’s Baltimore Plays series. Marc Avon Evans & Soul Centered, Kevin Jackson, Jamaal “Black Root” Collier, Karin Dominique Evans, Kyana Graham and Chuck the Madd Ox are all on this bill for this evening of soulful holiday hits. 8 p.m. Dec. 21, Creative Alliance, 3134 Eastern Ave.

Nico Sarbanes & Ben Wolfe Holiday Concert
Don’t miss your opportunity to catch this dynamic duo swinging in the holidays at the intimate An die Musik. Baltimore native Nico Sarbanes and celebrated jazz bassist Ben Wolfe will come together for one night of bass and trumpet virtuosity. Can’t make a 7:30 start? No worries, Sarbanes and Wolf are performing a second set at 9:00 p.m. Sets at 7:30 and 9 p.m. Dec. 22, An die Musik, 409 North Charles St.

Theater

Heathers The Musical: In Concert
Need a break from all the holiday cheer? Try adding a little chaos to the mix (it is what killed the dinosaurs, darling) with this live performance of the musical version of 1980s cult classic Heathers. Grab your tickets early to get dibs on the seated section and your very own Heathers cup (and slushie!). 8-11 p.m. Dec 20-22. Ottobar, 2549 North Howard St.

The Rocky Horror Show
The Christmas season always starts early, so who says Halloween can’t run a little late? Put on your best gold short shorts or maid’s outfit and sing along to a live performance of this weird and wonderful musical. Every ticket comes with all the props you’ll need for the iconic interactive Rocky Horror experience. Shows at 8 and 11:30 p.m. Dec. 14-15, Show at 5:30 p.m. Dec. 16. Baltimore Theatre Project, 45 West Preston St.

Go Oscar WILDE! Pride Night
Everyman Theatre is celebrating its first-ever Pride Night with a happy hour reception featuring cocktail specials and snacks, a conversation with director Joseph W. Ritsch about the fascinating life and work of Oscar Wilde, and, of course, a performance of the company’s colorful new production of The Importance of Being Earnest. Happy Hour Reception 6-7:30 p.m., show at 8:00 p.m. Dec. 14. Everyman Theatre, 315 West Fayette St.

Film

Blocked in Baltimore Screening
Root Branch Film Academy’s first-ever Friday Film Factory class is ready for their close up. Join this group of beginner filmmakers for the screening of their first documentary, Blocked in Baltimore, which chronicles local artists and why they feel their careers get limited to the city alone. 8 p.m. Dec. 21, The Startup Nest, 1401 Severn St.

It’s a Wonderful Life Annual Benefit Screening
Spend part of your weekend with this Frank Capra Christmas classic at The Senator. Gather as many friends and family members as you’d like for these morning showtimes—admission is free! Just be sure to bring along some non-perishable food items for the GEDCO Cares Food Pantry. Doors at 9 a.m., show at 10 a.m. Dec. 22 and 23. The Senator Theatre, 5904 York Rd.

News

Current Space’s Ruin Garden and Expansion Approved by CHAP
The artist-run gallery and studio space has been working for three years to try to convert the collapsing 417 North Howard Street into a ruin garden and studio space. With unanimous approval from Commission for Historical and Architectural Preservation (CHAP) behind them, Current Space can begin the process of demolition and move forward with the long-awaited project. More money still needs to be raised to fund the expansion, but once completed it will add an additional 5,000 square feet of outdoor performance space (including an outdoor bar) and double the available space for the space’s studio program.

“Oscar Wilde once said” could lead to a great number of things. His unmatched ability to turn a phrase is part of why his short life endures well into the 21st century. But leaving Everyman Theatre on opening night of their new production of The Importance of Being Earnest, the quote that stuck in my head was this: “Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.”

While it’s more than likely you once sat in an English class discussing satire and Wilde’s wicked use of it to expose the hypocrisy and, well, silliness of the upper classes, you probably weren’t given a crash course on Wilde’s personal life (his longtime tumultuous relationship with Lord Alfred Douglas would lead to his eventual imprisonment and exile) and how he used coded language to allude to it in his work. While he lived much of his life in whispers, Earnest allowed him to shout through his characters’ unending cleverness.

Everyman has chosen to ditch the 10th grade English vibe and lean fully into this spectacle poking fun at the ridiculous propriety (and lack thereof) of Victorian British life, and the result is a joy to behold. I’ll skip the glossary and the explanation of Wilde’s timeline, as Everyman has provided it right in the program. If you’re interested in an added layer of analysis and queer subtext, you’ll have all the information you need. (And if you’re really interested, the time to see it is during the Go Oscar Wilde! Pride Night, a theater first, which will feature a conversation with director Joseph W. Ritsch on the topic of Wilde’s life and the way it’s woven into his work.)

The version of Earnest that Ritsch, along with set designer Daniel Ettinger and costume designer David Burdick, has produced is a decadent, candy-colored world where demure young ladies wear electric pink and the garden roses bloom in shades previously reserved for Smooth & Meltys.

Gone are the soft pastels and exacting period costumes of many performances, and who can miss them when Lady Bracknell (a bitingly funny Bruce Randolph Nelson in heels and heavy rouge) storms in in several yards of teal fabric, or Algernon Moncrieff (Danny Gavigan sporting a Wilde-esque haircut and delivering some of the best jokes in the play) emerges from playing “It’s Not Unusual” on the piano in a look that could be described as “Oscar Wilde wearing several materials you might find on a great aunt’s couch,” but in a good way?

Having Wilde’s comedic timing to work with is an excellent place to start, but this version of Earnest holds up to the theater’s “great stories, well told” mantra. A cutting comment or absurd aphorism is nothing without the delivery, and this cast nails each one. Pay particular attention to the two butlers, Merriman and Lane (Carl Schurr), who blend in on the page but provide some of the best laughs in a live performance.

Earnest gave us some of the best lines of Wilde’s career (“The truth is rarely pure and never simple,” “All women become like their mothers. That is their tragedy. No man does, and that is his,” etc.), but it is the ending that best sums things up, as endings are wont to do. With the freshness of its design and the effort by Everyman to give this production context and make it the celebration of Wilde that it should be, I could adapt that namesake final line to my own experience. Because, you see, I’ve now realized for the first time in my life the vital importance of The Importance of Being Earnest.

Night of 100 Elvises
Dec. 1. The Lord Baltimore Hotel, 20 W Baltimore St.. 4 p.m.-1 a.m. Prices vary. When he was 15 years old, Jed Duvall watched an Elvis Presley impersonator perform in his high-school auditorium and thought: “I bet I could do that.” On the bus ride home, he stood up and belted out “Heartbreak Hotel” to the astonishment of his classmates, and he has been perfecting his impression of the King of Rock and Roll ever since. Unlike other Elvis-themed events, where he’s one of dozens of entertainers donning the singer’s signature white jumpsuit and mutton chops, Duvall looks forward to the Night of 100 Elvises, taking place this year on December 1, where the only thing the bands and acts have in common is that they’re performing songs by the King. “When you hear a bluegrass band do ‘Suspicious Minds,’ then it’s a party,” he says. “At the end of the day, we’re all out here honoring Elvis any way we know how.”

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Washington Monument Lighting
Dec. 6. 699 Washington Pl. 5-8 p.m. Free. ’Tis the season for the city’s longest-standing holiday tradition, which fills the cobblestone streets of Mount Vernon Place with thousands of visitors, festive performances, and tons of holiday cheer. After fueling up on hot cocoa and snacks from local vendors, find the perfect spot on the lawn to watch the big-bang firework display illuminate the night sky during the annual lighting of the beloved Washington Monument.

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Olde Tyme Christmas

Dec. 1. Fells Point. 9AM-7PM. Prices Vary. Fells Point already feels otherworldly thanks to its storied history and cobblestone charm, but, for the 15th year, the waterfront neighborhood will transform into a winter wonderland during this annual fête. Snap pictures with Santa Claus after he arrives by tugboat, compete in the eggnog-drinking contest, and then cap off the night by witnessing the annual tree lighting in Broadway Square and the Lighted Boat Parade floating down the harbor.

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Mayor’s Christmas Parade
Dec. 2. Locations vary. 1 p.m. Free. Ring in the most wonderful time of the year with this 46th annual parade that leads a jolly assortment of local marching bands, giant balloons, festive floats, a fleet of Harley-Davidson motorcycles, and, of course, Santa Claus and Miss Yuletide through the streets of Medfield and Hampden. Find a spot along the two-and-a-half-mile parade route—which begins at Poly Western High School, winds down Cold Spring Lane, and ends at 37th Street—to catch some candy, sip on hot cocoa, and give a wave to Mayor Catherine Pugh.

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Anastasia
Dec. 4-9. 12 N Eutaw St. Times vary. $99-225. Based on the 1997 Disney film of the same name, this dazzling musical travels back in time to the Russian Empire during the 1920s and follows the tale of an adventurous young woman searching for answers about her past. With direction by Tony Award-winner Darko Tresnjak and a rich new score, this wintertime classic will warm the hearts of Hippodrome Theatre audiences with songs such as “Once Upon a December” and “Journey to the Past.”

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The Importance of Being Earnest
Dec. 4-30. 315 W Fayette St. $25-65. This month, Everyman Theatre’s critically acclaimed resident company will bring to life Oscar Wilde’s uproarious comedy that’s been applauded by generations for its portrayal of Victorian marriage, morality, and mistaken identities. Head to the downtown theater to experience the many twists and turns of this fast-paced play that’s considered Wilde’s masterpiece.

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A Charlie Brown Christmas
Dec. 9. 140 W. Mt Royal Ave. Times vary. $25-55. We all know and love the Peanuts, and this winter, see Charlie Brown, Snoopy, and the whole gang come alive on the Lyric stage during this all-new production of A Charlie Brown Christmas. Bring the entire family to this one-night-only musical and sing along to holiday carols and classic tunes by original composer Vince Guaraldi. $25-55, modell-lyric.com.

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The Stoop Ha-Ha-Holiday Show
Dec. 11. The Senator Theatre, 5904 York Rd. 7 p.m. $15-23. Whether it’s good, bad, or ugly, everyone has a memorable story about their holiday adventures (or misadventures). Pack the Senator Theatre for the Stoop Storytelling Series’ can’t-miss holiday show featuring cocktails, live music by Tongue and Cheek Jazz Band, and side-aching laughs as locals share their most unforgettable holiday tales.

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Baltimore Chanukah Festival
Dec. 12. McKeldin Square, Inner Harbor, 101 E. Pratt St. 2:30-5:30 p.m. Free. One of our city’s bragging points is that the Esther Anne Menorah, which stands in McKeldin Square during the holidays, is the second-largest menorah in the world. While the lighting of the 30-foot-tall menorah is the main event of this lively festival, head to the Inner Harbor early to hear live music, grabs eats and drinks from local vendors, and follow the dancing dreidels to the Chanukah Wonderland.

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Kwanzaa Celebration
Dec. 29. 830 E. Pratt St. 12-4 p.m. $5. Whether you’re a practiced celebrator or simply want to learn more about the week-long holiday, devote the third day of Kwanzaa to this all-out celebration at the Reginald F. Lewis Museum. Visit the downtown museum to take in traditional African dance and drumming performances, learn more about the holiday’s rich history during workshops and lectures, and browse locally made goods in the African Marketplace.

Some might think that visiting the same playwright four times in as many years would get repetitive. Not so with Everyman Theatre’s return to Lynn Nottage’s Pulitzer Prize-winning work with this month’s Sweat. The play tells the story of a group of friends, family, and coworkers, most ticking multiple boxes on that list, as they deal with the closing of the local mill and the personal and professional consequences that come with it.

A wrenching, compassionate look at people caught in the wake of the financial collapse of the early- and mid-2000s, Sweat looks to the past but feels firmly locked into the present. We all know these people. Some of us are or were these people. While the story plays out in Reading, Pennsylvania, in 2000 and 2008, the conversations and problems could unfold in any working-class bar in any blue-collar town.

In a time when we feel so divided and so at odds with one another, Sweat does not come bearing a message of hope, or unity, or some other seemingly unattainable thing. What it offers instead is a reminder of how we got here in the first place—a chance to understand the frustrations and situations that, allowed to fester and escalate, gave rise to the problems plaguing us today. Maybe, in order to move forward, we first have to look back. Lynn Nottage’s work gives us time to do that.

It’s done through relatable people (in this case, a talented mix of both the resident company and several actors in their Everyman debuts) in the most relatable of places, a local bar. At the end of each day, it plays host to celebrations and screaming matches, moments both triumphant and unspeakable. It’s an extension of these characters’ homes, and in fact is more real and tangible to us than any other location. Its illusion of familiarity can be credited in part to resident set designer Daniel Ettinger, who transformed the Everyman stage into a working pub, complete with taps pouring actual (non-alcoholic, there are lines to be remembered after all) beer, faded local ephemera on the walls, and a jukebox dispensing ’70s and ’80s hits as the stage literally revolves to move from scene to scene.

“I was lucky that the crew at Everyman has been developing their skills in motor control and moving scenery quite a bit lately, which let us pull off a lot of the things that would’ve been very difficult for us the three, four seasons ago,” Ettinger says. “The technical growth of the company has really been exciting lately. It looks simple from out front, but there was a lot of technology going on.”

We caught up with Ettinger to discuss his process, how he created a Reading bar on a Baltimore stage, and what the new setup offers future performances.

Where do you start when preparing to design pieces for a new show?
I absolutely begin with texts and the story that the director and the company is trying to tell and how the visuals of that story can impact an audience and help them understand the events we’re trying to describe to them. I’ve got to go through the script multiple times and look at the intention and requirements and that sort of thing to know what’s going to need to happen in a space. I kind of need that in my head as I began to then look for the inspiration of how to start.

How did you choose what sort of spaces to create for Sweat?
I looked at a lot of research about Reading, Pennsylvania. I was lucky that Deb Hazlett drove up to Reading and she had taken some local photographs as well, but there’s a lot of visuals available. The play deals with serious economic issues and the collapse of the financial infrastructure of the town, but the place where this group of friends is accustomed to going to for years and years, even before the play takes place, was once something that was actually quite nice. It’s very much still a neighborhood bar. It’s not that the financial collapse happened and suddenly the walls fell down.

So we wanted to make sure that there was a real sense of home and almost safety and comfort and familiarity in how the bar feels today. Then I wanted to set it all in some sort of gray void that told you nothing about what was going on outside, but that would just exist in a state of unease so that really the only way to find a place was to come inside the bar. The outside, it was kind of nothing but steel smoke, if you will. I didn’t want to describe the town of Reading or what’s outside the windows. I wanted it to be this mass of gray that all of their lives had been thrust into. And so I wanted to put the set in the middle of that sort of gray box.

What challenges came with designing the different spaces you needed to tell this story?
It all goes back into extreme practical. We were given such a beautiful text, and when you’re given a theater space and you’re given time and money and this really talented staff, choices begin to emerge that would not emerge without all of those elements in place. Coming up with the conceit of the splitting of the other side of the revolve in half for the parole offices and the two apartments for example. And thinking about the revolving terms of the way that it moves time forward and backward, which was really helpful as well. We’ve done some smaller turning pieces on stage before, but this is the first time we’ve done what is nearly as large a turntable as we could fit into the space. We were squeezed in in a way that we’ve not really done before. Just technically speaking, we couldn’t have done this before. Fortunately the revolve has been built to where it comes apart and it can be stored for future seasons. So it’s a real asset.

On top of the regular visuals, you also had to create a working bar for this show. How was that experience?
Yep! It’s tight back there. There’s not a lot of depth. They’re pouring non-alcoholic beers on tap, so there’s a keg and the ice chest, it’s all back there. There’s quite a bit happening behind the bar and a very narrow space when you go through. There’s a little swinging door in the back area of the bar that, when you go in that room, we really feel like we’re in the back storage section of a bar. There are also all those images that are covering the wall, which were done with the help of Jillian Matthews, who’s the prop master there. Except for the few images like the Yuengling labels or the whiskey labels, all of the pictures of the sports teams and the celebrities are people from Reading, Pennsylvania.

You’re working on a couple other shows this season. What upcoming projects are you excited about?
I’ll tell you the approach we’re taking with the holiday show, The Importance of Being Earnest, is just really going to be fun. Capital letters all the way across.The director, Joseph Ritsch, has got a really great visual idea. It’s a great cast and it’s going to be a lot of fun. It’s coming up way too quickly. The other piece I’m doing is called Everything is Wonderful. It’s a story set on an Amish farm. The playwright has been very careful to not be too specific as to where, but we have our thoughts about that. It’s a beautiful, beautiful play. I couldn’t put it down, and I really was moved when I finished the piece.

I feel so lucky that I love telling a wide variety of stories. I’ve been at this for quite a while, and sometimes people ask me, “Well, what else would you like to do?” And I’m like, “Well, no, sorry, this is kind of it.” Every time you sit down with a new play, even a play such as The Importance of Being Earnest, which might not be new, but it’s with a new creative team and the new director, there are new things happening out in the world that change what a play has to offer to an audience.

COMING SOON

Broadway Market: Earlier this week, Mayor Catherine Pugh announced six stalls that will be setting up shop inside the renovated Broadway Market in Fells Point this winter. Slated to debut in February, the north shed of the redesigned public market will house local icon Connie’s Chicken & Waffles, farmers’ market favorite Thai Street, social justice-driven ice cream purveyor Taharka Bros., Hampden-based Indian eatery The Verandah, and Old Boy—an authentic Korean concept from Phil Han of Dooby’s. Han will also operate the market’s centerpiece bar, which will feature an elevated coffee program and brunch menu during the day, and draft beer and cocktails in the evening.

Returning to the revamped space will be longtime vendors Sal’s Seafood, Vikki’s Fells Point Deli, and Sophia’s Place, the European cafe and bakery that first opened in the market in 1986. There is still one stall that has yet to be leased. Once the north shed reopens, construction will begin on the south shed, which will house collaborative seafood spot The Choptank from Atlas Restaurant Group and Captain James Landing. 1640 Aliceanna St.

Lyfe Cafe: Be on the lookout for this new dining destination at The Shops at Kenilworth while checking out the mall’s beloved holiday train garden this season. Expected to open in early 2019 (just in time to get started on those New Year’s resolutions), the healthful spot from local owner Penny Seabolt will feature an all-day menu prepared with ingredients that promote physical and mental wellness (think protein pancakes and waffles, a kale detox salad with lemon-tahini dressing, smoothie bowls, and wellness shots). The eatery is designed to accommodate every major diet—including low-calorie, gluten-free, dairy-free, vegan, and vegetarian—and will also offer meal prep services. The 1,788-square-foot cafe will be located next to Wilkes & Riley on the ground level of the recently-renovated Towson shopping plaza. 800 Kenilworth Drive, Towson

OPEN

The Common Kitchen: The food hall trend—which has taken off in Baltimore with spots like R. House, Mount Vernon Marketplace, and the upcoming Whitehall Mill—has now spread to Clarksville with this new communal space that will house 11 artisan makers. A grand opening celebration is scheduled for this Saturday, November 10, where local schools will perform live music and vendors like Scoop & Paddle ice cream and Indian street food shop Namaste Foodie will offer opening day specials. Located near Food Plenty inside the environmentally sustainable Clarksville Commons, the gathering space will mark the first food hall in all of Howard County. Other stalls to look out for include Egyptian eatery Koshary by Misteka, bubble tea purveyor Royaltea, barbecue joint Smokin’ on the Bayou, and Trifecto—a coffee and juice bar specializing in Ceremony Coffee drinks and colorful acai bowls. 12240 Clarksville Pike, Clarksville. 301-854-2090

Pat’s Select Pizza and Asian Garden: These new BYOB restaurants are opening next door to one another at the Crestridge Center in Cockeysville this month. The eateries are expected to be popular lunch destinations in the development, which features two office buildings and one retail property. Pat’s, a fast-casual pizza chain that is now open, features its signature brick-oven pies alongside flatbreads, burgers, salads, and a lengthy list of pasta dishes. Slated to debut next week, Asian Garden will highlight Chinese, Japanese, and Thai staples ranging from sushi to bowls of lo mein and pad thai. 10151-10155 York Road, Cockeysville

EPICUREAN EVENTS

11/12: Sweat: Our World, Your Stage
Everyman Theatre is known for bridging the gap between the food and theater world. The downtown showhouse is continuing that creativity with a Veteran’s Day event at Checkerspot Brewing that ties into the themes of Everyman’s current production, Sweat—a slice-of-life drama about steel mill workers facing a plant shutdown who routinely gather at their neighborhood bar. Make your way to the South Baltimore brewery to sip craft beers while watching scenes from the play, and listening in on a conversation comparing the themes in the script to the current hardships facing our own neighbors. Ten percent of all ticket proceeds will benefit South Baltimore-based nonprofit The Baltimore Station, which works to support homeless veterans and reintegrate them into the workforce. 1399 S. Sharp St. 6-8:30 p.m. $15

11/16: Intercostal Breakdown
Fittingly named after the anatomical term that means “situated between the ribs,” this one-night-only barbecue pop-up, hosted by food writer Amy Langrehr of Charm City Cook, will feature smoked ribs cooked on custom-built cages and grills. Head to Monument City Brewing in Highlandtown to sample meats prepared by chef Patrick Morrow of South Point and chef Damian Mosley of Blacksauce Kitchen. The evening will also feature $5 Monument City beers all night, and Annapolis-based folk rockers Ampersand Stringband playing live from 7:30-9:30 p.m. 1 N. Haven St. Free. 5-10 p.m.

Visual Art

Perspectives: Annual Highlandtown Arts District Exhibition
Head to the Amalie Rothschild Gallery at Creative Alliance to view this showcase featuring artists who live and work in the Highlandtown Arts District. Entrants into the annual competition were asked to submit works that display their personal perspective on the world around us, and the winner will earn their own solo exhibition at the gallery in 2020. Kick off the annual celebration of Highlandtown’s artistic community with a reception on Oct. 19 from 6-8 p.m. Reception from 6-8 p.m. Oct. 19; show on view during gallery hours through Nov. 10. Amalie Rothschild Gallery at Creative Alliance, 3134 Eastern Ave.

Atomic Banana: Emotion and Heirospliffics Exhibition
Where language fails, symbols fill in the blanks and bring people together. Artist Gerry Mak knows that better than most, and his new exhibition at the Waller Gallery seeks to explore the significance of symbols in the information overload of modern life. Need some help with interpretation? Not to worry, Mak will be on hand on several occasions throughout the exhibition’s six-week run for artist talks and tours. Opening and artist tour from 6-9 p.m. Oct. 20; Make Studio Panel from 3-5 p.m. Oct. 27; Closing cocktails and artist talk from 7-10 p.m. Dec. 1. Waller Gallery, 2420 N. Calvert St.

The Necessity of Tomorrow(s): Hank Willis Thomas
The latest installment of this free BMA series exploring the relationships between art, race, and social justice hosts Hank Willis Thomas, cofounder of For Freedoms, a platform for creative civic engagement, discourse, and action. This year For Freedoms launched the 50 States Initiative, a nationwide public art project to place provocative artist-designed billboards in every state (plus Puerto Rico and Washington, D.C.) during the 2018 midterm elections and the largest creative collaboration in U.S. history. The billboards are now up throughout the country, and the group hopes to foster civil discourse and engagement through their installations and artist and institution partnerships, including those with MICA and the BMA. Reception at 5 p.m.; Doors at 5:30; Artist talk begins at 6 p.m. Oct. 17, Falvey Hall at MICA, 1301 W. Mt. Royal Ave.

Music

WTMD Towson Rock Block
Grab the whole family and spend your Saturday celebrating one of Baltimore’s favorite radio stations. As part of their 15th Birthday Celebration WTMD is closing down the block for a full day of music, food, drinks, and art. Hear from Brooklyn psychedelic rockers Sunflower Bean, John Brodeur’s Bird Streets, and German indie-pop duo HAERTS as you wander the Art Village and grab good eats from local spots such as Cunningham’s, The Point, and Burger Bros. 4-9 p.m. Oct. 20, 1 Olympic Pl.

Theater

A Chaste Maid in Cheapside
Follow Moll Yellowhammer as she sets out to marry her true love in this 1613 comedy presented by The Baltimore Shakespeare Factory. Don’t miss your chance to see Thomas Middleton’s scandalous romp through London (performed by an all-female cast in this production). This masterpiece of Jacobean city comedy is rarely staged. Oct. 26 through Nov. 18, The Great Hall Theater at St. Mary’s Community Center, 3900 Roland Ave.

Sweat
If last year’s performance of Lynn Nottage’s Intimate Apparel is anything to go by, this staging of the playwright’s Sweat is sure to be a hit. Everyman Theatre’s Dawn Ursula and Deborah Hazlett star in this tale of two working-class friends, their tight-knit community, and the unpleasant realities that could force them apart, which won Nottage the 2017 Pulitzer Prize for Drama. Oct. 23 through Nov. 25, Everyman Theatre, 315 W. Fayette St.

Evil Dead: The Musical
Want to mix up your Halloween season with a theater experience beyond Rocky Horror? Look no further than Motor House, where Deer in the Spotlight Productions is bringing Evil Dead to the stage with music, comedy, and a bloody splash zone. If it’s been a while since you’ve seen the cult classics, you may want to binge beforehand. This show covers Evil Dead, Evil Dead 2, and Army of Darkness. And we shouldn’t have to say it, but maybe leave the kiddos at home for this one. The show is recommended for ages 16-plus due to violence, language, sexual situations, and gore. 8 p.m. Oct. 19-20 and Oct. 26-27, Motor House, 120 W. North Ave.

Film

The Art of Style
Join professional skaters Joey Jett, Mike Vallely, and Ron Allen for this demonstration, art show, and screening of Jett’s film The Dream to benefit Jake’s Skate Park and Sharp Dressed Man. The 20-year-old Jett, a Baltimore native, directed, edited, and stars in the film showcasing original skate tricks performed all over the world. At this final premiere of The Dream before it’s released Oct. 22 viewers can also snack on local bites, sip on beers from Key Brewing, and catch a live set by local rockers To The Moon. 7-9:30 p.m. Oct. 20, Coppermine Field House at Du Burns Arena, 3100 Boston St.

Literary Arts

The Art of Making Books
Ever wonder how those beautiful tomes on antiquarian shelves came to be? Join Ink Press Productions founder Amanda McCormick to learn about bookbinding and printmaking, as well as how the way a book is made helps tell its story. Attendees will be learn about the process using tools, supplies, and reference materials supplied by the workshop, which is part of a five-event series presented by Greedy Reads and D.C.-based arts/literature programming group MoonLit. 6:30 p.m. Oct. 25, Greedy Reads, 1744 Aliceanna St.

Everyman Theatre’s latest production, The Book of Joseph, explores themes of love, war, survival, and decades-long family secrets. The play, by Karen Hartman and directed by Noah Himmelstein, is making its East Coast premiere in Baltimore this week, which marks a homecoming of sorts. It’s adapted from the nonfiction book Every Day Lasts a Year: A Jewish Family’s Correspondence From Poland, edited by Baltimore-based Richard Hollander after he discovered a suitcase of Swastika-stamped letters in his parents’ home after they’d died, revealing a piece of his family’s history he hadn’t ever known about.

Opening night is May 11, and the play continues its run through June 10. Additional events coincide with the production, including the Giving Voice to the Hollander Family Exhibit at the Jewish Museum of Maryland, which displays original Hollander family letters and artifacts.

Because the play deals with some pretty heavy-hitting subject matter, we thought we’d take this moment to lighten the mood a bit and show another side of the actors and the real-life people they portray by asking them each the same five questions. Consider this your comic relief.

(Note: The actors were not in character when responding to the following questions.)

How do you decompress after a long day?

Bruce Randolph Nelson (who plays Richard Hollander): At the beginning of the year, I started meditating—after a long time avoiding sitting in silence. Now it’s become routine, and is a great way to calm an anxious mind.

The Actual Richard Hollander: Actually, I decompress at the very beginning of the day, at the gym. That way, I can face the day knowing that I at least accomplished something.

Elliott Kashner (who plays Craig Hollander): My absolute favorite thing to do at the end of a long day is to cook dinner with my wife. We’ve been experimenting with all kinds of different recipes, so it has been a lot of fun trying to cook new things that we normally would never try and to make a list of our tried-and-true favorites.

The Actual Craig Hollander: I scour my DVR for something mind-numbing. Depending on how long the day, I might also scour my liquor cabinet for the same thing.

What’s your favorite pizza topping?

Bruce Randolph Nelson: Anything but pineapple. If forced to go there I would probably eat it anyway. Love to eat just about anything.

Richard Hollander: I enjoy pizza without toppings. That is probably a reflection of my personality: pedestrian.

Elliott Kashner: Bacon and banana peppers. It sounds really bizarre, but the saltiness of the bacon with the tanginess of the peppers . . . You’ve gotta try it.

Craig Hollander: Pepperoni. And anyone who answers “cheese” or “plain” doesn’t understand the definition of “topping.”

If you could travel back to any time of your life, where would you go and why?

Bruce Randolph Nelson: Early Rome, to see how it all started. Although, a close second would be Renaissance Florence—for the culture.

Richard Hollander: I would probably go back to age 8 or 9, when I still believed I could play in the major leagues.

Elliott Kashner: Our honeymoon. My wife and I went to St. Croix in April 2013. It was off-season there, but the weather was still perfect. We enjoyed personal tours of the rum distilleries, had the beaches to ourselves, and the complex where we stayed bumped us up to a cabin right on the beach (since no one else was there). We went kayaking at night, and the kayaks were clear and had lights on the bottom, so you could paddle around and look at all the fish (and octopi!) swimming under you. I’d love to go back and do all of that again.

Craig Hollander: I would travel back to the early 1980s because I don’t remember those years from the first time around.

Do you collect anything?

Bruce Randolph Nelson: The tears of my regrets. Seriously, love the occasional well-placed antique.

Richard Hollander: To the great dismay of my wife, I collect everything and rarely throw out anything.

Elliott Kashner: Not anymore. We live in a small studio, so we just don’t have room to collect much, other than a library of plays. I used to play tabletop strategy games when I was younger, and I loved collecting the miniatures and painting them. They are still sitting in my parents’ basement, I think. If we ever move into an apartment with more space, I think that’s something I might like to start collecting again.

Craig Hollander: I always seem to have a lot of near-empty pens on my desk.

Who—real or fictional—made the greatest impression on you growing up?

Bruce Randolph Nelson: The whole psychological-horror genre of books. Lot’s of Stephen King. I like it dark.

Richard Hollander: As a kid, Hank Aaron made the greatest impression. Is there anything else worth achieving if one can hit for average, hit for power, run, field, and throw? From a kid’s perspective, that is about as perfect as it gets.

Elliott Kashner: Atticus Finch. My mom was an English teacher, and her favorite book was To Kill a Mockingbird; Harper Lee had even signed and personalized a copy for her. In high school, I really wanted to be a lawyer, and Atticus was the model of what I thought a lawyer should be: someone who always stood up for what was right. He was decent, modest, and resolute, and I used to imagine that when I became a lawyer, I would be like him. I ended up not studying law, but I still think of the character from time to time, and ask myself what Atticus might do in a given situation.

Craig Hollander: Homer Simpson.

NEWS

NuBohemia Cafe: The days are numbered for this celebrated coffee and arts venue, which has been a staple in the Mt. Vernon community for the past five years. Earlier this week, owner Jay Rags took to Facebook to announce that the cafe would be closing this summer. “The reason for us closing without a new home is a simple one,” the post reads. “We ‘settled’ for the location we are in now, and made the best of it. We do not want to continue with that philosophy moving forward. Until we find a location that makes sense to us, we will take a break.” Though this isn’t the last we’ll be seeing of NuBohemia, an official closing date for the shop in Mt. Vernon has been set for June 1. In the meantime, be sure to stop in to browse the cafe’s collection of local artwork while sipping fresh-brewed coffees and teas. 42 W. Biddle St., 919-408-7723

Camden Yards Announces New Vendor Lineup: Orioles fans should be on the lookout for some familiar food concepts while backing the birds at Camden Yards this season. Among the new local eateries setting up shop inside the stadium include Corned Beef Row mainstay Attman’s Deli, Ocean City-based Boardwalk Fries, Mount Vernon Marketplace favorite Pinch Dumplings, and longtime Baltimore County pizza purveyor Pizza John’s. Beer lovers will also be happy to hear that Free State Pub, known for its hyper-local craft beer lineup, has expanded its presence in the park. 333 W. Camden St.

COMING SOON

B.C. Brewery: A grand opening date has finally been set for this family-friendly taproom in Hunt Valley, which was formerly referred to as at Balt County Brewing. (Owner Rich Mak recently decided to shorten the name to avoid possible legal issues with other local breweries that use similar monikers.) The 12,000-square-foot facility and taproom will officially open its doors on Saturday, April 14, boasting warm woods, strung lights, group games like corn hole and bocce, a serve-yourself beer wall, and even its own food truck parked outside. Head brewer Jim Wagner will offer 25 taps filled with signature releases including the M2 Imperial New England Pale Ale, End of Summer Dark Mexican lager, Soul Reed Chocolate Double Rye porter, and the Paw Paw New England India pale ale. 10950 Gilroy Ave., Ste F., Hunt Valley, 443-391-3847

The Common Kitchen: Come summer, Howard County residents won’t have to make their way to Baltimore to experience the communal food market concept at hotspots like the Mount Vernon Marketplace or R. House in Remington. The county’s first-ever food hall is slated to debut inside Clarksville Commons—the new sustainable, mixed-use project from local developers George and Holly Stone—in the coming months. Though the vendor lineup has yet to be solidified, the 6,000-square-foot space will feature 10 stalls, as well as a bar selling coffee and cocktails. The market is expected to seat 50 guests inside, and feature garage-style doors for al fresco dining throughout the warmer months. Stay tuned for more details. 12240 Clarksville Pike, Clarksville.

POP-UP PRESS

TO 4/1: The Local Fry at R. House
There’s still time to catch this fan-favorite Federal Hill fry shop at R. House. Throughout the weekend, husband-and-wife duo Kevin and Elizabeth Irish will be serving up a special menu of their signature loaded fries, banh mi sandwiches, and rice bowls for foodies grazing at the market. You can’t go wrong with eats like honey Old Bay tofu bites, a bulgogi banh mi loaded with pickled daikon and carrots, or the classic Local Fry basket topped with taco beef, shredded cheddar, and a spicy sauce. 301 W. 29th St.

4/2: Haenyo at Forno
It’s only fitting that this Korean-fusion pop-up would partner with Everyman Theatre to celebrate the company’s current run of Aubergine—a play that chronicles the life of a Korean chef and his ailing father. To honor the story, Haenyo chefs Collin Morstein and Irvin Seo are transforming Italian restaurant Forno (Everyman’s neighbor) into a Korean kitchen for one night only. The evening’s menu will include authentic offerings commonly served in Korean-American homes, such as a traditional muguk dish with dumplings and roasted fish. 17 N Eutaw St., 5-10 p.m., $8-25, 443-873-9427

SHUT

8 Ball Bar & Grill: Fells Point locals are going to have a tough time saying goodbye to this neighborhood favorite, which opened in the former home of Tapas Adela on Broadway just two years ago. Earlier this week, management announced that the Italian eatery would be closing its doors for good on Monday, April 2. “It is with heavy hearts that we announce we have accepted another offer on our location and this week will be our last,” reads a statement posted to Facebook. “We love Baltimore and Fells Point, and we truly believe we are leaving you all in good hands with the next group.” There’s no word yet on who has taken over the space. Throughout its short-but-sweet run, 8 Ball became a destination for craft cocktails, Detroit-style square pizzas, and a variety of meatballs in savory sauces. 814 S. Broadway, 443-759-5315

Is it surprising to be in your 20th season with Everyman Theatre?
I sometimes feel like Vinny [Lancisi, founding artistic director of Everyman] and I grew up together. In that 20 years, I always came back once a year—always—to do one show. When my husband, James, and I decided to stop moving, we bought a house in Baltimore [in 2016]. I’d been living in D.C., New York, Baltimore, and L.A. since 1988. I’ve lived in all these cities, but my artistic home for all these years has been, well, Vinny, really, and wherever he is. He’s committed to artists and all the people he works with. He has this phrase he always says—“people matter”—and he doesn’t just say it; he lives it. 

Maybe in another theater, you’re afraid to try something. Here, you just go for it. And if it’s a big failure, he says, ‘Thank you for trying!’ He has a strong voice and a strong vision, but he also really lets the actor discover and try and make mistakes. When it comes from the top down, it [becomes] the aesthetic of the workplace. And that’s why I keep coming back.

Is it also important to you that you be part of a resident company?
As a child, I knew what I wanted to do. I was in the third grade and I saw Godspell at Ford’s Theatre in Washington on a family trip from Sumter, South Carolina. I said to my mom, ‘That’s what I’m doing; I want to do that.’ And she got me involved in Sumter Little Theater, which happened to have these extraordinary teachers, Katie Dameron and Jan Taylor. I tried to do some other things—I worked for Congress, for a while; I tried law school—but this was always where my heart was. 

In this business, we’re all independent contractors, but here [at Everyman], we are members of a family that has a work ethic that is similar, that has an artistic voice that has some history, that has the purpose of looking for truth—which is, I think, Vinny’s goal: to tell the truth when you’re onstage. We all trust and love each other and work together to create that, so you don’t have to start at the beginning every time you show up on the first day of rehearsal. I mean, we’re a family—we squabble, we love each other. The gift of the resident company is a common purpose.

It also seems that having an established sense of closeness and an understanding of the dynamics between actors.
Yes, and I’m not afraid! I love these people. So when Bruce Nelson and I play a married couple, we already love each other. He’s married, I’m married—it’s not like that—but the love is there. Beth and I, Megan and I, Dawn and I. So if the love needs to come across, it can; if the hate needs to come across, we trust each other enough to move into that. It’s a huge gift, and one that I really, really value because it can be a brutal business.

How have you evolved as an actor alongside the evolution of Everyman?
The through-line for me is that I have to be after telling the truth, and I’m not much interested in artifice. Even if you’re playing broad style, which I love, you still gotta tell the truth, and that’s what sort of lifts the play. Rather than commenting on what you’re doing, you’re actually doing it, no matter what the character is—how awful they are, how lovely they are. 

Also I’ve learned not to care if the audience likes my character. You gotta let that go. When I was playing Hedda Gabler, this man actually stood up in the audience and yelled at me, ‘You’re a psycho!’ A grown man. [Laughs.] I often play difficult characters. But I love them, I advocate for them. And if I’m doing my job, I’m not trying to make the audience like them either. That’s not telling the truth of the story.

I read that you’re drawn to gritty characters and survival stories.
Well, I know that’s how I get cast. [Laughs.] Over the years, that has been my work. Vinny has recently cast me in some very broad comedy. Talk about being scared out of my mind. But I sort of channeled Carol Burnett and Lucille Ball and I had a blast. I loved every moment of it. And while I was physically tired at the end of the night, I was not emotionally worn out at all. I love comedy, I love comic timing, I love the way it feels. It’s a different game. It’s fun. I’m actually hoping to do more.

But, you know, I’m getting ready to do the play “Long Day’s Journey into Night,” and since I knew who Mary Tyrone was, I’ve wanted to play her, so this is a huge artistic gift for me. My husband and I went to New London, Connecticut, and went to [Eugene O’Neill’s house], and I took my shoes off and walked on the floors and sat in her rocking chair—they’ve preserved it. I felt like I was holding my breath most of the time. You don’t often get to do that kind of research.

What was it about her character that was so enthralling to you?
I understand something about when the pain in your life becomes unbearable, having to do something to survive that. And while I blessedly have never been addicted to morphine or any other drug, I understand something about Ella’s [O’Neill’s mother on whom the character is based] inability to tolerate the circumstances of her life, so that she removes herself. And I’m interested in discovering in rehearsal how it affects the people around her. 

I play characters so often who suffer, and she certainly is suffering, but once she begins to use and remove herself from the suffering, it’s the people around her who suffer. And given what’s happening in our country with opioid addiction, with alcohol addiction—and certainly here in Baltimore, where we are suffering from heroin addiction right around the corner—once someone removes themselves and then are helpless to do anything about it, I think that suffering is sort of universal. And I hope that can be the catharsis with the audience. You don’t have to use morphine to understand the kind of pain that makes you pull in and pull away. Hopefully this play will strike a chord of compassion in the people who see it, for the people around them who are suffering.

Wow. That’s big.
At our best, our work is big. I’ve often, over the years, wondered: should I be a nurse, should I join the Peace Corps, is there something more valuable I can be doing with my life? At the end of “Death of a Salesman,” you could hear men weeping in the audience. When you have that catharsis, I truly believe it can change lives. That is what I’m after. 

Even if people spend two hours laughing together, there’s also that gift of sharing that moment. That exchange with the audience is everything. I’m very passionate about this right now because of what’s going on in the world, because of the divisions, because of the lack of compassion. I think we have to speak to the need to connect and the need to forgive and understand each other. We have to. I’m hoping I can be a part of that.

“Long Day’s Journey Into Night” runs from January 31-March 5.

Playwright Olympe de Gouge, assassin Charlotte Corday, former queen Marie Antoinette, and Caribbean spy Marianne Angelle walk into a bar . . . okay, maybe it wasn’t a bar, but if you found yourself slightly interested in the punchline to that poorly executed (no pun intended) joke, then you will want to grab a ticket to Everyman’s Theatre‘s The Revolutionists, which opens this week and runs through the first week of January. 

The play, which is set during the French Revolution, propels itself to modern times with a bold, brave, and hilarious take on feminism and standing up for one’s beliefs. We talked to resident costume designer, David Burdick about the show and the inspiration behind the costumes.

This is a play full of strong female characters. How did you draw inspiration for their costumes?
Three of the four women in this play are real historical figures, so I started out doing research on those actual women. Of course, Marie Antoinette is very famous so there were a lot of portraits of her. The other two are a little less known. Charlotte Corday is a bit of a legend so there were a few portraits and romanticized versions of her out there, but Olympe de Gouges was difficult because she wasn’t as celebrated in her day. So I started with the historical aspects, and then as we were talking we discussed the fact that the play and the language is very modern. It’s definitely not a period piece, so we talked about mixing in modern with period items with both the set and the costumes. 

A lot of times one of the things that is really popular to do with shows like this is to have a very abstract set and then have the costumes be more period and what really sets you into that time, but we kind of flipped that on this one. We decided to have the set be more period and then have the clothes be more modern. A lot of the research I did was both looking at 18th century clothes and contemporary fashion designers and fashion layouts that were sort of inspired by the 18th century so that is sort of where the costumes wound up.

Who are some of the designers that you referenced and what type of modern trends were you able to incorporate?
Charlotte’s dress is inspired by and based on Yohji Yamamoto, so it’s very avant-garde Japanese. Her character is kind of punk, so I found a collection by Yohji Yamamoto which felt very 18th century inspired and kind of went with that. Marie’s outfit was heavily inspired by John Galliano who did a big 18th-century collection, but also Vivienne Westwood and Jean Paul Gaultier. Olympe was sort of tough, and my first go-round at it there were a lot great sort of riding suits and things like that because her character is a little bit more tailored. But then I saw coverage of the Emmys, and saw Evan Rachel Wood wearing this fantastic wide legged tuxedo and it all came together. Her hair is actually also inspired by a red carpet look Evan Rachel Wood did a couple of years ago where it was kind of punk-y and purple.

How was the design process different for the fictional character?
Marianne Angelle was definitely the most difficult because she is fictional. But for her I looked at 18th century images of women in the Caribbean, and also looked at contemporary Caribbean fashion to see what Caribbean fashion designers were doing currently. We tried a lot of different things. And eventually I found a skirt, which is actually TopShop, that was really interesting and had this ruffled detail and I combined that piece with inspiration from this image we found and liked. So the final product is a lace effect over a silk that is the same color as her skin so it looks almost see through. For her hair we noticed that a lot of the portraits of women during this time that had their hair in these high wrapped turbans. So to avoid a literal translation of that we gave her dreadlocks that are piled up echoing the shop of the actual wrap.  

How long do you have to prepare for a show? What is the process like?

This whole process starts probably 6 months or so before the play is set to open.The director, set designer, sound designer, lighting designer, and costume designer all get together and have a meeting. That first meeting is usually just talking about the play itself, themes, and figuring out the direction that we want to go. 

Then we will have subsequent meetings after doing lots of research to get the directors initial thoughts on what I am putting together, and then from that research I start sketching and doing drawings that actually incorporate the pieces that we want to use to. Then we create samples, which we call mock-ups, in a cheap fabric just to get the fit and proportion right before going into the actual fabric and making the costume that will be in the show. 

What is your day-to-day like while the show is running?

So right now we are doing our technical rehearsals where we are perfecting the lighting and sound, but also it’s the first time that we are seeing the costumes on stage, under lights, and moving. So we are figuring out what works and what doesn’t and taking notes on what we need to fix or alter. 

For example, there is point in the show where there is a quick change for Marie and she is switching wigs so we decided to put a little magnet on her necklace because I wanted her to be able to get her necklace back on quickly for the last scene. So it’s really just figuring those last minute things out. And with this show since it is only four women and they have four costumes it’s a bit easier than doing something where people have multiple changes.

How long have you been at Everyman?

I’ve been at Everyman since 2009. My first shows were the The Mystery of Irma Vep and All My Sons. After All My Sons, they asked me to become a company member and the resident costume designer. And ever since depending on the season and my schedule I’ve been doing two shows, sometimes three shows, a season. This year however I am doing four out of the six shows, but they were all just really great projects that I couldn’t pass them up. I am really excited about this show because it’s so funny, so well-written, and has four really great female characters. Three of the four actresses are company members here and the characters in this show were such fantastic roles for each of them.

What would you say is your favorite look in The Revolutionists?

This is hard. I can’t choose. I mean, Charlotte’s look is great and so fun and I love how the suit for Olympe turned out, but the Marie thing is so over the top. Beth Hylton is just an actress that can handle anything you throw at her. It’s definitely not an easy costume to wear. The wig is tall, the dress is wide, and she is wearing more than five-inch Betsey Johnson platforms that would be a challenge for anyone.

That sounds like a heavy burden to carry! 

It’s actually not. It’s really just a little bit of silk and a little bit of metal.

The intimate Everyman Theatre is just about the perfect place for a re-staging of playwright Lynn Nottage’s Intimate Apparel. First produced in Baltimore in 2003, the play is full of small moments that say bigger things and moments of closeness that would be easily lost in a larger space.

Running through November 19, the production is one of Nottage’s best-known works. Most of Nottage’s work, including Intimate Apparel and her two Pulitzer Prize-winning plays, Sweat and Ruined, centers on the lives of black women. The MacArthur Genius’ prize for Sweat this year made her the first woman to win the Drama prize twice.

And from Intimate Apparel’s return to its birthplace, it’s not hard to see why critics have been such fans of her work. 

The show is paced like the train whose clanging punctuated the silence of the small set on several occasions. It slows almost to a stop and lingers on some scenes, and it barrels through others almost too quickly. Driving the action is Esther, a black seamstress of ladies’ underthings in turn-of-the-century New York, expertly brought to life by Dawn Ursula. The earnestness and sincerity of her expressions is often more telling than than her words, but that’s not to say her delivery of Nottage’s lines is lacking. The opposite is true. Ardently hopeful and crushingly realistic, Esther is a lonely soul with wonderful dreams but feet set firmly on the ground. For all her practicality, she longs for lovely things—a fine fabric, beautiful words, a loving touch.

The characters around her are few but rich. Beth Hylton’s Mrs. Van Buren has a sing-songy drawl and a wonderful, wicked laugh that brings to mind Blanche Devereaux. The striking voices of George (Bueka Uwemedimo) and Mayme (Jade Wheeler) are luckily given their due attention by Nottage’s script. One long and booming, the other short and lilting, the two make an interesting pair in more ways than one. 

Rounding out the cast are a delightful gossipy mother hen in Mrs. Dickson (Jenn Walker) and Jewish fabric merchant Mr. Marks, played by Drew Kopas. Kopas makes the most out of the least in his role. And the scenes in his small shop are some of the very best in the show. There’s so much between Esther and Mr. Marks that cannot be said, so one-sided looks and heart-wrenching silences fill in for dialogue. Kopas’ Mr. Marks says all the audience needs to understand through careful movements and familiar expressions. Like the fine embroidered silks over which he and Esther bond, it’s masterful work.

Words come second to moments in Intimate Apparel. What can’t be spoken aloud is said loudly enough through light touches, the care with which a garment is eased over shoulders, and beautiful fabrics tossed carelessly away.

Esther’s story is one of fear of loneliness, hope for the future and an acceptance of one’s reality that are so often at odds with one another. And like reality, there are no easy answers. Loose ends aren’t easily tied off and snipped clean. Instead we are left to want and to wonder, just as Esther does, going faithfully forward about our work.

The care and success with which Intimate Apparel has been brought to the Everyman stage bodes well for a season of small casts with big stories. Audiences will see Ursula and Hylton together again in next month’s The Revolutionists. After the joy they brought to most of their scenes together over the past weeks, the possibilities for what the two will be able to do with a whole comedy are endless.

This weekend, Everyman Theatre opens its second production of the season, Intimate Apparel, which has themes of class, culture, and circumstance. It centers on an African-American seamstress in turn of the century New York, who makes intimate garments for a variety of clients, and shares lingering affections with a Jewish fabric maker. Intimate Apparel’s playwright Lynn Nottage is the first woman to win two Pulitzer Prizes for her work, and this is the third of her plays that Everyman has produced. Everyman Resident Company member Dawn Ursula, who plays the lead Esther, joined us to talk about preparing for the role, the power of live theater, and getting star struck.

This is your third leading role in a Lynn Nottage play at Everyman. Nottage is one of the most acclaimed playwrights around right now, as she won the Pulitzer Prize for drama last year. Are you starting to feel like you know her characters and her style?

That’s a good question. I think with some playwrights and their work, you might be able to say that. But I think what’s so brilliant about Lynn Nottage is how varied her plays are. [Last year’s prize] was the second Pulitzer that she’s won, she won for Ruined previously, and when I think about Ruined [about the plight of women in war-torn Democratic Republic of Congo] versus Intimate Apparel, you could convince me, if I didn’t know better, that different playwrights wrote those plays. She can really craft something so uniquely that you can’t quite peg the way she’s going to channel the story. Although I could find and draw similarities between the characters and their struggles, they are such wonderfully different people. It’s a real joy to be able to start fresh and really begin, asking, “Ok, who is this person? How do they walk in the world?”

Even if they are so different, they seem like such complex characters.

And that’s a gift from the playwright to us as the actors that these characters are so wonderfully human. And when a playwright crafts something like that, you’re able to give it full body, and that’s what makes that much more of an impact on the audience. Human beings are such complex creatures, we can have such empathy and be so brilliant and yet so brutal. She knows how to draw that out.

Do you ever get star struck when you’re performing Nottage’s works because of who she is and the quality of what you’re preforming?

Yes, I can admit to that happening. I think it probably manifests itself in some good, positive nervousness. It’s like, ok, we’re doing a Lynn Nottage play, and we really can’t mess this up, ya’ll, because it’s her. (laughs) There’s a little bit of good intimidation and fear that we’re able to recognize and put into the work, and that drives us all that much more. It’s the same with an August Wilson piece—it’s of that caliber. We recognize how precious it is.

Intimate Apparel has a history in Baltimore. It had its premier at Center Stage in 2003, and Esther seems like a character who could have easily existed here. What’s your process been like researching and preparing to play her?

Luckily for us, we have a director, Tazewell Thompson, who has directed it before, and even the way he conducts rehearsals, he sets up what the world was like for us in Manhattan in 1905. The character of Esther is based off of some facts and information about a relative of Nottage’s, and she puts pretty much all the information you need in the text—which also shows how amazing a playwright she is, because the character is clear because of the circumstances she is going through, what she says, what people say about her.

How do Lynn Nottage characters compare with others you’ve played in terms of how deeply you feel them?

I grow immensely and so quickly affectionate towards the characters that I play, and it’s easy with Lynn Nottage pieces. Even Mama Nadi, the madam in Ruined. I might have my issues with her, but I loved me some Mama Nadi. I will know when Intimate Apparel is done based on how long it takes Esther to leave me alone. Sometimes, when a show is closed and I’m ready to move on, a character will leave me quickly. But others might still be rattling around. With Mama Nadi, I had to ask her to go. I had to be like, “I love you, I’m so glad we got to tell your story, but you need to leave now.”

What’s it like to bring this play at this time in history? And what has really resonated about the story with you?

Hopefully one day this play is done and it’s just done for the beautiful story that it is and it doesn’t feel so timely. But it’s such an immigrant story— it’s about this new country where people want to come and work hard and make a life and be prosperous and fruitful and good and the hardships that they encounter. And then the discrimination and the classicism that occurs and the socio-economic barriers that come up. There are also challenges that these women are experiencing. I fully expect there to be lots of moments in the play when the women in the audience, and hopefully the men too, cringe at the fact that though it’s set in 1905, that incredibly sexist thing that’s happening on stage could happen in 2017. Hopefully, that gives us all pause.

In some ways, I’m sure that’s frustrating, but in other ways, that also serves as a connection point between you and the audience.

I do think about it that way. So much about what the gift of theater is for us to acknowledge and see ourselves where we are and where we want to go. We watch these real people on stage living these lives and it is for us as an audience to take a moment to reflect, to be empathetic, to make a discovery. That’s like a good bowl of chicken soup when you’re sick, and that’s one of the wonderful things that a play like this does.

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.

Everyman Theatre’s artistic director Vincent Lancisi and veteran company member Bruce Nelson got the rarest of opportunities this summer. A chance encounter led them to a meeting with the man who was the inspiration for the main character, Rene Gallimard, in the Tony Award-winning M. Butterfly, which opens Everyman’s season on September 6.

In the play, Gallimard, a French diplomat, is seduced by Chinese opera singer, who turns about to be masquerading as a man. The two are swept up in a tale of espionage, hidden identities, and betrayal. Nelson, who plays Gallimard, joined us to talk about what happens when you meet the real-life inspiration for your character.

This story seems like you couldn’t make it up if you tried. How did all of this happen?
One day, I was passing by Vinny’s office, and he told me to come in and sit down, that he had a story for me. This crazy coincidence begins to unfold, where Vinny’s wife had opened up to the driver of a tour bus in France and that tour guide had told them that he was the private driver for a famous guy, that there was a movie and a play about. Vinny’s ears perk up immediately, and the driver can’t believe he knows that it’s M. Butterfly. They get the man, Bernard Boursicot, on the phone, and they arrange for a visit. The only sticking point was it seemed too good to be true. We all decided to take a leap of faith, and these donors stepped forward to make the trip possible. Maybe two weeks later, I was on a plane to Paris.

It seems like you never get these kinds of opportunities as an actor.
Yes. You assume for the better part of your career you’re not going to know anything about the person you’re playing except for what you’ve made up. It was thrilling to be able to layer on my experience with Bernard. I had developed in my mind that he was a bigger-than-life personality. Somehow, I’d gotten into my mind that, as a former diplomat, he was living in a fabulous chateau in the French countryside where he was waited on by white-gloved waiters. And we would be swept in, wined and dined, told this fabulous story—and maybe we would get a scoop, there would be something we’d learn that nobody knew.

But then we showed up at a nursing home, and he was this 74-year-old man—and old for 74—with too much hair and needing a shave, wearing clothes that maybe he’d worn a couple of days in a row. And he lived in a little cell of a room—like the jail cell where his character is at the beginning of the play. He is diminished, he is small, and he is real—not larger-than-life. There might have been a part of me that thought, ‘I don’t want to know this.’ The Bernard in my mind is very different from this. He did seem to give credence to the fact that as a twenty-something, going on this very wild adventure, he was naïve and he was easily taken advantage of. And he kept saying ‘yes’ to wild opportunities that he had no business saying yes to, but that informed the next several steps in his past. The idea that he was open to being duped I think made the duping possible. It does make for an amazing, epic story. 

What was the visit like?
He was waiting outside in the rain for us under a little awning. It was like out of a movie. There was rain on the windshield, and we could see him waiting, and we were like, that’s Bernard? We get out and he takes us into the wing where he lives. It had glaring fluorescent lights, and there weren’t enough seats for us, so we kind of perched on his bed.

In the book, when Bernard needed money, he would sell off some item that he’d collected in his adventures. His room was spare and Spartan. There was one little album that he flipped through and showed us some things. And he did present us, wonderfully, charmingly, with two ties. The visit was about four hours. At one point, we had this wonderful meal, a four-course dinner catered by the nursing home’s kitchen—wine, cognac, lovely dessert. He ate like a horse, and the actor, the psych 101 in me, wondered what he was really hungry for—has he got enough in life? So it was just eating, chitchatting, and then we were on the road, dumbfounded that it had happened.

How has that experienced informed the character for you?
He’s small now. We open the show, not on a bigger than life, grand scale type guy. He is a simple, real man. And it’s sad that he couldn’t be fully who he was. He was a gay man who can’t be a gay man. And I can get that you can’t be yourself, you have to hide. Even when all the evidence points to what you truly are, you deny, deny, deny.

He was a man clearly rooted in a certain way of being, and I guess the fight out of that was probably why it hit him so dreadfully hard that the opera singer was a man that he was able to deny that. That suggests wanting to save himself and that he’s an insecure person who needs to maintain the wall. Oh, it’s so sad. But when you go on stage, you can’t play the sad, you can’t play the pity, you’ve got to advocate for your character. And it’s the audience’s job to get drawn into the sadness.

So, during the visit, did you get your scoop?
There were no scoops. He continually recounted, in an almost formulaic way, what we already know from the book and the articles about the story. We didn’t expect that [during our visit] Bernard would continue to refer to the opera singer as ‘his majesty.’ There was an upper hand.

We want the story in a lot of ways to be a love story, and I think part of the power of the play is you are led to believe that they are falling in love, and then it’s something much, much more. It’s espionage, a man pretending to be a woman. You have to draw the audience in, believe that it’s a love story, and then you break that apart. You get the audience questioning and wondering.  

Everyman Theatre is all about getting creative to elevate the experience of its productions. Now, in addition to launching collaborative screenings at the Parkway Theatre this season, the 27-year-old arts venue is partnering with the local food community to bring back its annual Taste of Everyman series.

“This is an opportunity to frame the theatre-going experience in a way that everyone can relate,” says Everyman’s director of marketing Michele Alexander, who was instrumental in launching the series. “When it comes to the shows, I like to find every way in.”

Now in its third year, the pre-show program offers theatre-goers local bites, beers, and cocktails that are all designed to complement the theme of each performance. This time around, the series will not only incorporate restaurants, but also area farms, markets, breweries, and bartenders.

“Localism is really engrained here,” Alexander says. “We like to spread our arms around the whole city when we can.”

The series kicks off on Thursday, September 14, with a tasting preceding the 7:30 p.m. main stage performance of David Henry Hwang’s M. Butterfly. As a nod to its title, the play’s pairings will focus on edible insects, with crispy critters (think  cricket-flour protein snacks and Chiridos) from MOM’s Organic Market, insect-infused cocktails from Clavel, and a talk with Eric Kelly of Charm City Farms about the benefits of eating and breeding bugs.

During the second installment on Thursday, October 26, the food pairings will mimic the motifs in Lynn Nottage’s Intimate Apparel—the story of an African-American seamstress living in New York City at the turn of the century, which premiered at Center Stage in 2003.

“The main character becomes a confidante for some of the other characters who are sharing some of their most intimate secrets and desires,” Alexander explains. “So we thought it would be great to highlight some of the top local foods that people really crave.”

To achieve this, Everyman consulted Baltimore blogger and resident food expert Amy Langrehr about some of her favorite dishes around the city.

“It actually took me a long time to think about,” Langrehr says. “But, ultimately, I just picked the top dishes that I would be really sad about if they went away. They’re the kind of things that I order over and over again. When I first ate them, I sat there, closed my eyes, and thought, ‘This is amazing.’”

Among the eats that Langrehr will feature during the “Classified Cravings” installment will include the tempura broccoli from Ekiben in Fells Point, the clam chowder from Dylan’s Oyster Cellar in Hampden, and the tuna tartare from Lobo in Fells Point. To sweeten the deal, the samplings will be paired with some of Langrehr’s favorite local beers from Union, Monument City, and The Brewer’s Art.

Closing out the year on Thursday, December 14, will be a special holiday-themed beverage competition inspired by Lauren Gunderson’s The Revolutionists, a comedy about four women living during the French Revolution. To pay homage to the play, the last segment of the year will pit female bartenders Chelsea Gregoire of Ida B’s Table, Pam Haner of W.C. Harlan, and Amie Ward of R. Bar against one another and also feature Marie Antoinette-style cakes sliced by the guillotine.

Taste of Everyman tickets cost $60, and include admission to each of the evening’s accompanying performances. Aside from sampling all of the quirky food tie-ins, Alexander says that she is looking forward to seeing the collaboration between the local food and arts communities.

“People are looking for something that’s unique,” she says. “It’s a win-win for those who are interested in the experience of food, which engages all of your senses, and people who are interested in theatre, which is meant to hit your head and your heart.”

You don’t have to be a hardcore movie buff or drama nerd to see that film and theater are related. We’ve all likely seen film adaptations of plays we loved, or perhaps we’ve been reminded of a favorite character or noticed a similar theme when thinking about stage or screen productions.

It’s in that spirit of connecting across genres that Everyman Theatre and the Maryland Film Festival are partnering to bring about a six-part screening series at the Stavros Niarchos Foundation Parkway. “Everyman at the Parkway” will bring influential films to the Parkway that relate to Everyman’s 2017/18 season.

“All arts audiences are passionate audiences, and we are delighted by this opportunity to merge two mediums, bringing film- and theatre-lovers together to celebrate and discuss the many ways of bringing great stories to life,” said Everyman’s founding artistic director Vincent Lancisi.

Whether artistically, structurally or thematically, each film/play coupling aims to inspire conversation about the material exhibited on stage and on screen. Every film will be introduced and accompanied by a post-screening audience discussion, hosted by the Everyman artist who selected the pairing.

First up on September 26 is David Cronenberg’s M. Butterfly, a 1993 film adaptation of the stage play that stars Academy Award-winner Jeremy Irons and written by David Henry Hwang, based on his Tony Award winning play of the same name. The pairing is inspired by Everyman Theatre’s fall production of M. Butterfly, directed by Lancisi (in performance Sept. 6-Oct. 8).

Upcoming screenings will also include Ava DuVernay’s 2012 feature Middle of Nowhere, presented by Everyman Resident Company actor Dawn Ursula as a companion to Everyman’s Intimate Apparel on October 24 and, on December 12, Benoît Jacquot’s 2012 French drama Farewell My Queen, hosted by set designer Daniel Ettinger, to pair with Everyman’s The Revolutionists.

“We are thrilled to partner with Everyman Theatre to continue to explore the translation of one medium to another—film,” said Jed Dietz, founding director of the Maryland Film Festival. “We’re building many community partnerships, and we have been big fans of Everyman’s work, so it’s especially exciting to be part of this Everyman season.”