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Festival Guide Bagpipers at the Virginia International Tattoo

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April 2022

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April 2022

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Good Sense and Good Magic By Tom Robotham

And I go on believing in the possibility of love. – Pablo Neruda Twenty years ago, during my stint as editor of Port Folio Weekly, my friend Mike Pearson suggested that I get together with one of his colleagues at Old Dominion University—poet Tim Seibles—because the two of us seemed to have a lot in common. Shortly thereafter, Tim came to my office for a chat—and within minutes, I knew I’d met a kindred soul. Among other things, we talked about the works of Ralph Waldo Emerson, the single most influential writer in my life. I’d met other people who liked Emerson. But up to that point, I’d never met anyone who seemed to fully understand why his writing speaks to me so deeply. I thought about that conversation again recently when I picked up Tim’s new book, Voodoo Libretto: New & Selected Poems (Etruscan Press), and began reading the introduction in which he talks about his 40-year effort to “to build a home in poetr y.” “I don’t mean a career,” he writes, “but a place where I might be understood in ways that are simply unavailable in the daily shellacking of self I perform to approximate a character that can keep a job and pass for normal. I know I’m not alone in this daily self-erasure, this constant striving for the palatable face. We become so adept at adjusting that maybe we never fully comprehend how many masks we’re obliged to wear.” Emerson—whose chief project in life was the liberation of the authentic self—would no doubt respond to that passage with an emphatic yes, especially if he could see the cultural developments that have taken place in the 21st century. In spite of all the lip service we give to “rugged individualism,” we are pressured on a daily basis to conform and march in lockstep to the clicks of the corporate machine. And in my observation, many people succumb to that pressure, albeit with no small amount of quiet desperation, to borrow a phrase from Emerson’s protégé, Henry David Thoreau. Poets are an exception: our modern equivalents of the ancient prophets who laid bare potent truths about society, whether people wanted to hear them or not. It’s a dangerous business in our culture, which strongly discourages people from pointing out that that the emperor has no clothes. As a result, some of our best minds have been destroyed by madness, as Allen Ginsberg put it in Howl. Tim, in his introductory essay, reflects on this as well: “As a newly minted senior citizen,” he writes, he “can better see [his] own sharpening madness as it has taken shape over the four decades” that he has devoted to his calling. In many respects, that sentence seems to be wholly at odds with the person that I have come to know. In conversation, he is unfailingly a model of equanimity, solidly grounded in his sense of self but always humble and kind. And yet, I get it: In these troubled times—when Trumpism and its relentless gaslighting remains a potent force—it’s difficult sometimes to avoid the feeling that one’s own sanity is slipping away. In such a society as ours, moreover, there is a kind of

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madness in choosing to devote one’s life to poetry. After all, mainstream culture doesn’t seem to value it very much. It may be fine for Hallmark cards but otherwise it strikes many people as frivolous and perhaps a bit suspect. At any rate, it’s something that makes many folks scratch their heads. I’ve lost count over the years of how many people have told me that they don’t read poetry because they don’t understand it. The fact that it has been given short shrift in our public-education system—and is often poorly taught when taught at all—makes matters all the worse. Regarded in this light, Tim’s new collection seems all the more valuable because it makes the case that poetry is crucially important, both as a way of naming “what grinds our guts” and a way of reminding us of “our right to cultivate and savor all that’s marvelous.” This book serves as a vivid reminder that Tim has devoted himself to both in equal measure. Like any good musician (he is, in addition to being a poet, a serious student of the guitar), he likes to mix things up, shifting easily from stark verses about grim socio-political circumstances to poems of magical whimsy to those of ecstatic celebration. The more serious poems, in his mind, can perhaps offer some “resistance to bigotry and related dumbfuckery.” Take these lines from the poem “MAGA Hat III: Strategy,” for ex-

ample: “You don’t really think American history happened // by accident—as if the forefathers didn’t mean to do what they did. They meant it and they meant / for us to follow their lead. Did they ever // mention diversity? To say it simply: / some lives matter more.” Then, in the closing stanzas, he addresses, directly, our recent blight: “Liberals and mud people see Trump and wonder / how that got inside the White House. They’ve got no sense // of the long-term, the work required / to bring the harvest. The Donald is a seed. / They think today started this morning.” And yet, throughout the book there’s also an abundance of celebration. Tim is especially good at capturing the magic of simple sensual delights, as he does in “First Kiss”: “Her mouth / fell into my mouth / like a summer snow, like a / fifth season, like a fresh Eden // like Eden when Eve made God / whimper with the liquid / tilt of her hips…” In others, like “Notes from Big Brah, Tom the Bomb,” he revels in humorous nostalgia as he recalls advice about seduction that his older brother once gave him. Then, in the very next poem, the nostalgia is turned up a notch in a coming-of-age poem about a friend: “Our moms got us together at Woolworth’s / remember? Cheeseburgers. Summertime, 1967: twelve years in the world. Mostly we burned // for football / to get it and move, to shake anybody / that wanted to bring us down—six points / was all we needed and time to find the future…” These quoted lines capture only a small portion of the astonishing variety of Tim’s body of work. In the wake of the horrific cruelty on display during the strangulation of George Floyd—and the subsequent swell of Black Lives Matter protests—his poems dealing with race strike me as especially important. He addresses this in the introduction by remarking on how “exhausting is the prevailing assumption that black folks are here mainly to bear witness to our troubles. We are here—like all people—to delight in our lives: to make whatever noise, dance whatever dance best marks our time on Earth.” And yet, elsewhere, he emphasizes the need for “liberating social transformation, not just for people of color and other marginalized folks but for everyone who has suffered the many entrenched constraints on thought and witnessed chronic injustice wearing the face of the norm.” Constraints on thought have always been part of our culture. We’re taught from an early age to “pledge allegiance,” then sit down and be quiet. But they’ve grown tighter in recent years. Several recent studies have documented that increasing numbers of people are afraid to speak their minds. The reasons are manifold, from the viciousness of Trumpism to the knee-jerk efforts of some on the left to punish anyone who appears to violate the dictates of political correctness. With this in mind, it’s clear that Tim’s new collection couldn’t come at a more important time. He reminds us, first of all, that each of us was born with a “singularly distinct self” and our own songs to sing. At the same time, he believes that poetry can help us discover our “shared vulnerability.” [Emphasis added]. It should be abundantly clear, that therein lies our only hope. Tom Robotham welcomes feedback at tomrobotham@ gmail.com

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April 2022

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Big Honor for Dave McDonald By Jeff Maisey

Dave McDonald of Norfolk will be inducted into the Pittsburgh Running Hall of Fame on April 30 in conjunction with the Pittsburgh Marathon weekend. “It will be cool to return to Pittsburgh for this honor, a place where I was a high school 2-mile champion, the 5,000 and 10,000 meter record holder at the University of Pittsburgh, three US Olympic Marathon Trials participant,” said McDonald. Yes, Dave McDonald was an impressive distance runner. He continues to run today and coaches the Tidewater Striders’ Youth Running Team in Norfolk. It was McDonald in a coaching role where I first me Dave at Old Dominion University. As the Chesapeake City Champion in cross country and the 1,600-meter run in high school, I read the sports section of the daily newspaper and noticed Dave McDonald’s name topping the results in local road races such as the Elizabeth River Run 10K and CHKD’s Run for the Children. Who was the handlebar mustache madman dominating the local races? When I selected Old Dominion University for college, I delayed trying out for the track and cross country teams. Then, before my sophomore year, I met McDonald who had become the head coach of the cross country team and assistant coach of the track while still maintaining a regular 9-5 job. Among my ODU teammates were Burt Robinson and Mark Block. “Dave was committed,” recalled Block, who ran for ODU from 1982-86. “He worked a full-time job, trained hard and coached. He had a lot on his plate. I never heard him complain, and looking back it was a huge load to carry. Not to mention he had five of us living in his house which I know was not easy at all.” Dave and his wife, Sharon, owned a home on Delaware Avenue in the Colonial Place neighborhood in Norfolk. It was Dave’s wish to use the second floor of the house as a “dorm” for several of the team members. “Dave was my coach, mentor and friend,” said Burt Robinson. “He truly taught me how to run distance, showing me the way. His strength as a runner was his training,

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Dave McDonald’s favorite racing distance is the 10K.

lots of long slow distance (8-13 miles), with speed workouts on other days. “I ran from 1981-83, (track and cross country),” Robinson continued. “After dropping out of the 5,000 meters at an indoor meet at Virginia Tech, Dave had a lesson to teach me about dropping out. That Monday night, he and I ran 24 quarters (laps) on the small asphalt track around the soccer field at Foreman Field. I think we averaged around 74 seconds with a 200-meter rest. Guess what, I never dropped out of a race again.” Dave McDonald began running in the 9th grade in Pittsburg. “I was told if I made the track team I would get to miss a full day of school for the Junior High Championships,” said McDonald. “That sounded good to me.” McDonald was an exceptional high school athlete. He received scholarship offers, including from the US Naval Academy where he had an appointment to meet the coaching staff. “The day after I broke the Pittsburgh record for the two-mile run, the Pitt coaches were at my house with a four year full schol-

arship offer.” McDonald ran a 9:14 in the 2-mile run in high school. His PR (personal record) in the 5K was 14:06 and 28:51 in the 10K. The 10K (6.2 miles) remains his favorite distance for competition. “It was the most popular distance back in the day, and I had good success at that distance,” McDonald said. “I would say the marathon, but as you know, that is a lot of work to train for. I am guessing I am definitely retired from marathons.” Dave McDonald best time in the marathon (26.2 miles) was 2:17:51. That was good enough for 12th place at the 1984 Boston Marathon. Marathons are as mentally challenging as they are physical. The sheer amount of time commitment to train for that distance is daunting and takes its toll on the body. “When training for the US Olympic Trials (I qualified in 1980, 84, and 88), I was working full-time for the City of Virginia Beach for the last two attempts to make the team,” McDonald recalled. “I would run 20 miles to work once a week. I know if I put in the miles I would race well, which enhanced the positive mental part of training. I was running 80-100 miles a week. My best finish was 31st in 1984, and I was pretty happy being the 31st best runner in the US, and realizing the top three were indeed solely focused on running and had shoe companies to pay their income.” Reflecting on his career as coach and the Pittsburgh Running Hall of Fame induction, McDonald shared this: “Running has been very good to me—financially, physically, and friendships. Being in good shape going through chemo when I had cancer seven years ago made a big difference. In some way I guess I still see my ODU runners as my children, although they were not much younger than me. “It is a great honor to be inducted into the Pittsburgh Running Hall of Fame. I ran a lot of miles there, and won some big races there. I worked my butt off in high school and college in Pittsburgh, and had decent success from that hard work, so it is nice to be recognized for anything you work hard at.”

PUBLISHER/EDITOR Jeff Maisey

(757) 237-2762 jeffmaisey@yahoo.com

CREATIVE DIRECTOR Pam Johnson

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ADVERTISING & MARKETING CONSULTANT Jennifer McDonald

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CONTRIBUTING WRITERS

Tom Robotham, Diane Catanzaro, Chris Jones, Jerome Langston, Marisa Marsey, Jim Morrison, Montague Gammon III, and Jim Roberts

CONTRIBUTING designERS Brenda Mihalko, Giorgio Valentini Cover Artwork by Walt Taylor Veer is published by Veer Magazine, Inc. on the 15th of each month and is free of charge. Veer may be distributed by authorized distributors only. Veer assumes no responsibility for unsolicited manuscripts or artwork. The views and opinions expressed are those of the writers and not necessarily of Veer Magazine.

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news&views military geographical area and it also reflects on an attack on the forces of the country, like a ship or aircraft, not just the territory. As long as it is in the geographical boundary of the north Atlantic and Europe it applies and would be a reason for bringing Article 5 into place. Once Article 5 has been invoked, nations can decide what ever response they want in terms of how they contribute. We are a defensive alliance. The premise of Article 5 is how do you increase the security of any allied nation. If you attack me, I can call on my other 29 allied nations to come to my defense. You pointed out 9/11. That’s the only time we’ve invoked Article 5 in the history of the Alliance. Of course nations came to the support of the US when they requested it in dealing with that terrorist threat as in manifested at the time. NATO Allied Command Transformation Chief of Staff Vice Admiral Guy Robinson of the United Kingdom’s Royal Navy is stationed in Norfolk, Virginia.

What You Should Know About NATO By Jeff Maisey

With Russia’s invasion of Ukraine and the horrific images of its murdered citizens being buried in mass graves broadcasted on a 24/7 news cycle, NATO has been the topic of many discussions on and off camera. What can and should NATO do in response given its only obligation is in the collective defense of its 30 member nations, and Ukraine is not one of them? On April 6-7, NATO Foreign Ministers met at its headquarters in Brussels and agreed to sustain and further strengthen support for Ukraine. To provide the most clear information to our readership, I asked United Kingdom Vice Admiral and NATO ACT Chief of Staff Guy Robinson for his insights. Mr. Robinson is stationed in Norfolk at NATO’s Allied Command Transformation Headquarters. As a disclaimer, I should share that I am this year’s chairman of the Norfolk NATO Festival. Here’s our conversation. VEER: Can you briefly share with readers how NATO works? There is both a political side headed by NATO Secretary General Jens Stoltenberg and the military side with headquarters in Belgium as well as Norfolk. Robinson: As you have alluded to, Jeff, there are two parts to NATO. There is the political

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structure which represents the 30 member nations in Brussels. On a routine basis all nations have an ambassador. They meet every week unless the current environment requires they meet more frequently. We are a consensus organization where political decisions then drive military action. VEER: Article 5 of the Washington Treaty basically states an attack on one NATO member nation is an attack on all should the attacked nation invoke its use. In NATO’s history, the only country to invoke Article 5 was the United States after 9/11. Is there a best way to explain how the process works? Robinson: The Washington Treat that was signed 73 years ago by those 12 nations has a number of articles, but the one that is most commonly referred to, as you say, Article 5, which refers to the collective defense of the Alliance. It is worth pointing out that Article 4 is an opportunity for any nation to consult when there are security threats to their nation where all allies come together and identify threats and risks. But back to Article 5 which is the collective defense article where an attack on one nation is considered an attack on all. It comes with a few caveats. It’s founded in a

VEER: We often hear American citizens and commentators on CNN and other news outlets wanting NATO to do more, whether it is to enforce a no-fly zone, put boots on the ground or provide offensive weapons to Ukraine. How would you respond to people who have those questions? Robinson: Just to avoid any doubt, Ukraine is not a member of the Alliance, so Article 5 does not apply. Now, Ukraine has aspirations to join the Alliance at some point when the conditions have been met. Again, that’s a political decision, part of the Alliance’s Open Door policy. We don’t go out recruiting nations to join the Alliance, but we’ll always judge whether there are security interests in them being a NATO member or not. Within a set of criteria we have a policy to allow nations to join the Alliance. But Ukraine is not a member of the Alliance, so that collective defense does not apply. That is not to suggest that NATO doesn’t recognize the severe consequences of a war occurring in Europe on its very border. It’s obviously seized by the disastrous and appalling situation that is unfolding in Ukraine. The political decision makers have to make a judgement in terms of how they will support Ukraine, either as a nation or as NATO, and are very conscious that engaging in direct support by fighting in Ukraine will almost certainly lead to a direct confrontation with Russia, and that is not something we want if it can be avoided because the consequences, as anyone could see, will be absolutely terrible. We are trying to avoid a direct confrontation with Russia in our activity at the moment. Nations are putting a huge amount of direct support into Ukraine and will continue to support their very brave and determined efforts.

VEER: Under the umbrella of hybrid warfare there is false information being disseminated. How does NATO address the information warfare issue, and when Russia may target Russian-speaking populations in parts of the Baltic nations? Robinson: I think what’s fascinating in this particular crisis that has occurred is that certain Allied members decided to share intelligence in a way they probably wouldn’t have done previously to head-off actions they thought Russia would be taking and they try to indicate where there might be these false flag operations, as you’ve described, in order to not allow Russia to seize those opportunities. So that’s been a very interesting part of this conflict that is going on in Eastern Europe. I think what is also interesting is nonmilitary actors that have gotten involved in this. There are many open source organizations that have pulled together energy that is perfectly accessible anywhere on the web in trying to draw deductions or shine a spotlight on what’s going on it that crisis in a way that is new and far more expanded. It just shows how that dynamic of how warfare is changing in a very substantial way in the 21st century. VEER: The Russian invasion of Ukraine really seems to have strengthened NATO and reaffirmed its value to its member nations. Is this the case in your view from headquarters? Robinson: It is an overused saying but NATO is unique. We’re not comparing ourselves to another huge military alliance. We don’t have a competitor. There is no other organization that exists like NATO to have 30 alined nations. There have been some very powerful statements by Alliance leaders over the last weeks and months as this crisis has unfolded where people have described unprecedented actions and situations or even perceiving the threat now that Russia has presented to the Alliance in an unprecedented way. Through all of that it has been very clear to me, having the privilege of sitting and witnessing all of the sessions of senior leadership, that the unity has never been stronger than I have witnessed in my 36-year career. Clearly the end of the Cold War was a turning point for the Alliance and it took a very different direction, but it remained unified and grew. But I don’t think we’ve ever seen as much cooperation, as much intense activity together as aligned to move forward to take actions to prepare defense more robustly, investing more money in people and resources and thinking of how we are going to adapt for the future. This really is unprecedented. It has absolutely underlined the unity of the Alliance, the strength of this defensive Alliance and how we will absolutely remain focused on insuring security of the allied nations.

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April 2022

news&views militarytattoo the audience to enjoy a show without having to fight through any discomfort or distraction from heat, cold, wind, rain, etc. We can perform much more complex music because we have better acoustics indoors and we don’t have to worry about how wind affects the sound and causes problems with the microphones. We can rely on more sophisticated lighting and video as part of the story telling aspect of the show and equally importantly, can better control darkness as a theatrical device. By having our Hullabaloo for three hours prior to each show outdoors we offer the best of both worlds. I would also say that we had a great experience at ODU’s SB Ballard Stadium last year, it is an outstanding venue and we received enormous support from the University and venue staff. The key issue is weather patterns in Virginia—when it’s warm enough to be outside you are always facing the possibility of thunderstorms. You can prepare a great show for a rain or shine environment, but you there are no options to perform when there is lightning present or anywhere nearby. The oldest and biggest Tattoo in the world, the Edinburgh Military Tattoo, has been presented outdoors for more than 70 years without ever losing a show to weather. I can tell you from personal experience that it can get very cold and windy in Scotland even in August, but they don’t have the risk of thunderstorms. Bagpipers are a fan-favorite during the Virginia International Tattoo. Pictured in the foreground is Pipe Major Peter Grant for the Royal Regiment of Scotland - 4 Scots. Photo courtesy of Virginia Arts Festival.

Scott Jackson Talks Tattoo By Jeff Maisey

An essential ingredient each year of the Virginia Arts Festival is the massively popular Virginia International Arts Festival. This year’s 4-day Tattoo is scheduled April 28 through May 1 at Norfolk scope Arena. Wikipedia describes military tattoos as a “performance of music or display of armed forces in general.” The most famous in the world is the Royal Edinburgh Tattoo held on the Esplanade in front of Scottish capital city’s dramatic, hillside castle. The Virginia International Tattoo features American armed forces branch bands as well as an international cast. It’s a rousing salute to the military and our allies, a real spotlight on Norfolk’s historical connection to the armed services. To get the latest on our local Tattoo, I reached out to its founding producer Scott Jackson. Jackson is also the general manager of Virginia Arts Festival. VEER: The Virginia International Tattoo was the only Tattoo in the world to be presented last year. Does that give you a sense of accomplishment? Scott Jackson: Yes, I think that the entire community can take great pride in the level of resilience that the region has displayed through these last

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two years. For the Tattoo in particular, one of our core missions is to honor and recognize the resilience of our military. I particularly like the word that the military uses for this—intrepidity— which is a word so rich in meaning but basically boils down to resolute courageousness. We have celebrated and been around a lot of intrepidity over the years with special guests including original Tuskegee Airman, Medal of Honor Recipients, World War II Veterans, Vietnam Veterans, and Groundbreaking Women in the military—just to name a few. In 2021 it was time for the Tattoo to show some resolute courageousness. Despite the many challenges, we never wavered from our commitment to presenting a world class Tattoo as part of our 2021 Virginia Arts Festival. VEER: You pivoted last year by holding the Tattoo outside at SB Ballard Stadium ODU. Most Tattoos in the world are outside events, but my sense is you’ll be glad to return to Norfolk Scope this year. Please explain why. SJ: Most importantly, the Virginia International Tattoo has been an indoor show from its inception and our show has evolved to take full advantage of being indoors. We can offer our cast and patrons a climate controlled environment which allows performers to be at their best and

VEER: Bus tour groups are a big part of the Tattoo’s economic success not only for ticket sales, but also hotel stays and restaurant visits. What are the advanced bookings looking like this year? SJ: The advance bookings are outstanding. We have two key types of tour groups that love the Tattoo, senior groups and student band groups. They have been very limited in their ability to travel over the past 2 years and there is a lot of pent up demand. Groups bring so much to the region from an economic impact standpoint, but they also bring great energy to the events themselves. Tattoo Groups both attend and march in the Parade of Nations, they visit other attractions throughout the area and they are often are our best ambassadors as they tell friends and family back home about what a truly special experience they had in Hampton Roads. We get a lot or repeat groups every year. VEER: What was the first Tattoo you attended and how did you decide Norfolk was the ideal city to present such an event? SJ: The Tattoo that I first attended outside of the U.S. and the one that has had the biggest influence on us in Virginia was the Royal Nova Scotia International Tattoo in Halifax, Nova Scotia. Halifax has a lot in common with Hampton Roads. It is a place with a vibrant shipping/ port business, they have a strong military and especially navy community and they are an important tourist destination. Watching what a great fit a Tattoo was for Halifax really gave us confidence that we could create something special with a Tattoo here in our area.

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April 2022

s t e s Sounnthe River

news&views musicindustry

Hip-hop group Three 6 Mafia opens the 2022 season at Atlantic Union Bank Pavilion

Showtime at The Pavilion in Portsmouth By Jeff Maisey

Concerts are back—finally—in Portsmouth, and the 2022 season will be one to remember. After a couple years of dashed hopes due to a tear in the tent top roof covering the seats and stage of Atlantic Union Bank Pavilion, and then struggling through essentially two years of pandemic that severely hampered the live entertainment industry worldwide, Portsmouth’s 6,000-plus “seat” amphitheater returns with a full schedule that can best be described as “something for everyone.” “At the Atlantic Union Bank Pavilion we have always done our best to program a diverse line-up of shows,” said Ken MacDonald, CEO and owner of IMGoing, the entertainment booking agency that manages Atlantic Union Bank Pavilion in Portsmouth and Beach Events at the Oceanfront. “We want as many people as possible to experience a show at The Pavilion. Additionally, it is our goal to use our programming to showcase the vibrancy and diversity of Portsmouth.” The Pavilion’s schedule opens April 20 with a hip-hop double-bill featuring Three 6 Mafia and Kevin Gates. Additional shows include Jack White (April 23), Zach Williams (April 30), classic rock/pop supergroup Chicago (May 14), alternative rock legends Smashing Pumpkins (May 24), R&B great Chaka Khan (May 27), 5-time Grammy winner H.E.R. (June 7), Americana stars The Avett Brothers (June 12), Southern roots rockers The Black Crowes (June 22), and blues star Kenny Wayne Shepherd (August 21) just to list a few with many more announcements to come. Last summer, as concerts slowly began to be presented in a limited way, The Pavilion managed to host a few outstanding concerts such as the Virginia Symphony Orchestra’s Music of David Bowie tribute and the sold-out Earth, Wind & Fire show. This year bands are more eager than ever to tour. “After being forced to the sidelines, artists are eager to do what they do best: perform,” said MacDonald. “Like all of us, they’ve dealt with uncertainty, worry, financial strain, and all of the trappings that have come with the pandem-

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ic. With restrictions easing, they are anxious to get back on the road and share their talents.” As a longtime talent buyer and concert promoter, Ken MacDonald knows the business side of the concert business very well. He has observed the changes and navigated the highly competitive industry as an independent businessman. “Most people don’t understand how a show comes to perform in a certain venue and there are a lot of dynamics that come into play,” he said. “This year was highly competitive. We not only compete with other venues in Hampton Roads, we compete with other venues in the state and in the country. Artists choose to play a limited number of shows each year and they look for the most desirable situations which includes the market, venue, and how much they will be paid. Fortunately, the Atlantic Union Bank Pavilion is a unique, first-class venue located in a picturesque setting on the Elizabeth River. We strive to make the artists feel welcome and ensure their visits to Portsmouth are great experiences and positive representations of the city of Portsmouth.” On concert day, the Portsmouth Pavilion, like the amphitheater in Virginia Beach, starts with an empty stage. The huge speaker systems, lights, stage props, amplifiers, drum sets, backdrops—everything—arrives early in the morning, unpacked, and set up on stage. Wardrobes arrive in travel boxes on wheels and placed in the dressing rooms. In addition to the band, sound and instrument technicians, lighting techs, and truck drivers are part of the team. All of this, combined with inflation, is reflected in today’s ticket prices. “Like all of us, touring bands are dealing with higher costs,” shared MacDonald. “It’s important to remember that the artists don’t walk onto a fully lit and amplified stage. It takes trucks loaded with gear and buses loaded with crew to make it all happen. All of which are more expensive. Because of that, band fees have increased.” Still, concertgoers are ready to experience live music once again. It’s showtime.

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April 2022

news&views festivals

Crawfish and corn are a popular menu item during Festevent’s Bayou Bon Vinant

40 Years of Festevents in Norfolk By Jeff Maisey

Forty years ago, Downtown Norfolk was a very different place that it is today. The waterfront property was either vacant or in derelict condition. The crime rate was high. Few restaurants were open. Retail, except for a shady newsstand selling lots of porn magazines, an ol’ piano store (Mozart Music), and out of date record store (Frankie’s Got It), was a faded shadow of his glorious past. Many families had left Norfolk for the suburbs, leaving downtown life in the dust. Several factors came together in planting the seeds that would eventually revitalize downtown. Between 1981 and ’83, a farm market named Bessie’s Place opened right next to a concert venue known as The Boathouse. At the same time, Waterside Festival Marketplace opened its doors with unique restaurants—including the region’s first British pub and Indian cuisine kitchen—as well as interesting retailers like the Puppet Tree and Kitty Hawk Kites. There’s was nothing like it in Hampton Roads. The most enduring addition to downtown was as much concept as space—Norfolk Festevents. To bring weary suburbanites back to the downtown waterfront, Festevents made use of what today is known as Town Point Park to program/produce an array of festivals and events. This amazing effort was headed up by Karen Scherberger. It its 40-year history, Festevents has produced over 5,000 events, featured more than 10,000 live entertainment events, and launched some 937,500 fireworks shells dur-

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ing Harborfest, 4th of July, and New Year’s Eve celebrations. An estimated 11,875,000 people attended a diverse array of events ranging from the Norfolk Waterfront Jazz Festival and Bayou Bon Vivant to Harborfest, Town Point Virginia Wine Festival, Children’s Festival, and Juneteenth. The total economic impact to the city of Norfolk is estimated at over $400 million. These are impressive numbers and provide ample reason for the city’s continued financial support for both the quality of life for its residents but also in bringing visitors to Norfolk. According to the proposed 2023 Fiscal Year Budget, the city of Norfolk will provide $2.06 million in funding to Norfolk Festevents. Well worth it, according to Sarah Hughes, Director of Marketing & Communications with Visit Norfolk. “Our data shows that, on average in recent years, Harborfest brings in approximately $15-20 million per year in visitor spending (including spending at the event and around Downtown) and the Norfolk Waterfront Jazz Festival brings in approximately $800 K to $1 million, Hughes shared. “Festevents’ annual season of events, including events at both Town Point Park and Ocean View Beach Park, bring in a total of $25-35 million per year.” That is a nice return on investment. Festevents came into existence after a group of volunteers created Harborfest to celebrate the city maritime heritage. “After Harborfest had happened for a few years, that group of volunteers and city lead-

ership was wise enough to say, ‘Hey, why don’t we do this all year long?, said Festevents CEO Ted Baroody. “People who didn’t always feel safe in downtown Norfolk saw its potential. It was an awakening of our waterfront’s potential and in downtown Norfolk.” In 1982, Norfolk Festevents LTD was formed with partnerships established with the Harborfest committee. Both organizations operated as non-profit organizations and have since merged their boards. “It was ahead of its time in that it was one of the first public/private partnerships that became a model for a lot of other cities across the country,” Baroody said. “In our case it was a full season of special events.” Over the years, Festevents has produced a range of thematic events. Some have not stood the test of time and were dropped from the schedule years ago like the British Isles Festival and New Age Music Fest. Juneteenth and Nash Fest are newer additions and already deemed successful. The core events that have become traditions and continue to draw large crowds are Harborfest, Bayou Bon Vivant, Spring & Fall Town Point Virginia Wine Festivals, the Waterfront Jazz Festival, and Children’s Festival. Regarding the wine events, Baroody shared this: “As food and beverage events became popular over the last few decades, the wine festival was a little bit ahead of the curve. Those early wine festivals were a fun scene, a great way to bring people together. It’s a great way to unite. We’ve always stayed loyal to Virginia wines. It has been a purposeful mission.” Because Virginia wines are still a rarity on restaurant wine lists and retailers generally feature lower end vino from the Commonwealth, the Town Point Virginia Wine Festivals offer tasters an educational experience and exposure to a wider selection of made in VA product. Festival-goers may in the process meet the winemaker and be impressed enough to make a day-trip to Barboursville Vineyards or Veritas. Arguably the most interesting festival each year is the Bayou Bon Vivant, a celebration of New Orleans and Cajun food, art and live music. This year’s event has a delightful music lineup that includes Grammy-winning Terrance Simien, Marcia Ball, The Iguanas, Dumpstaphunk, and more. “It’s a staff favorite,” said Baroody. “For those who have not been to New Orleans it is such a unique environment—the music, food, personalities, art are just unlike anywhere else in the country. “For us we’re always trying to see what we can bring to Norfolk that is new and different,” continued Baroody. “After 30-plus years, we try to bring the best of New Orleans in a family-friendly environment.” And now for the next 40 years of Norfolk Festevents.

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April 2022

festivals thenaro

Historic Phoebus Spring Fling & Beer Fest April 23, 10am-6pm Downtown Phoebus Mellen Street, Hampton Vibrant outdoor street festival featuring handmade works from local artisans, beer & cider tastings, food vendors, live music from local artists, antique car show, & more! Tickets for Beer Fest: $40. 420ish Unity Festival April 23-24 1801 Portsmouth BLVD www.420ishvafestival.com Music headliners include Shaggy, Mobb Deep, and Method Man/Red Man

One of the many highlights of this year’s 25th Annual Virginia Arts Festival is InHEIRitance Project on May 5-7 at the Attucks Theatre

2022 Spring & Summer Festival Guide Compiled by Staff

After two years enduring pandemic restrictions, things are back to normal and everyone’s ready to get back to enjoying life. Perhaps the best way to do so is by attending one of the many festivals happening in the 757 region. Here’s our list on must-attend festivities, literally something for everyone. 25th Annual Virginia Arts Festival April 15, James McMurtry, Perry Pavilion April 19, Danish String Quartet, Hixon Theater April 20, Gary Thomas w/John Toomey Trio April 21, Shawn Colvin, Hixon Theater April 23, Nashville Ballet: Lucy Negro Redux, Chrysler Hall April 24, Yo-Yo Ma/Kathryn Stott, Chrysler Hall April 25, Jerusalem Quartet, Hixon Theater April 26, Tallis Scholar, Christ & St Luke’s Church April 28-May 1, Virginia International Tattoo, Norfolk Scope May 5-7, InHEIRitance Project, Attucks Theatre May 5, Kitchen Dwellers, Perry Pavilion May 6, Renee Elise Goldsberry, Chrysler Hall May 7, Music of Queen, Sandler Center May 8, Amanda Mole, Chris & St Luke’s Church May 10, Joel Ross, Hixon Theater May 11, Malpaso Dance Company, Sandler Center May 12, Cowboy Junkies, Perry Pavilion May 13-15, The Sound of Music, Harrison Opera House May 14, Rhythm Project Showcase, Perry Pavilion May 18, Buster Williams & Something More, Perry Pavilion May 19, Samantha Fish, Perry Pavilion May 20, Arturo O’Farrill and the Afro Latin Jazz Orchestra, Sandler Center

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May 21, Kristin Chenoweth/Renee Fleming, Chrysler Hall May 22, Aoife O’Donovan, Perry Pavilion May 25, Olga Kern & Friends, Hixon Theater May 26, The War & Treaty, Perry Pavilion June 2, Allison Russell, Perry Pavilion June 3 & 5, “Briar Patch” and “Companionship,” Attucks Theatre June 4, Symphonic Celebration of Water, Chrysler Hall June 17, Mandy Moore, Lawn of the Art Museums of Colonial Williamsburg June 18, Jason Isbell & the 400 Unit, Lawn of the Art Museums of Colonial Williamsburg June 19, Martina McBride, Lawn of the Art Museums of Colonial Williamsburg www.vafest,org Revolutionary Craft Beer Festival April 16, 1–5pm Khedive Shrine Center 645 Woodlake Drive, Chesapeake 757.482.4480 Celebrate amber suds with historical reverence as we pay tribute to the history of beer! Enjoy unlimited samples of 30+ craft beers and ciders from 15 breweries, food trucks, live music featuring the Dave Cynar Band and Kershaw & Foutz, artisans, more. Isle of Wight County Fair Spring Fest April 22-24 Joel Bradshaw Fairgrounds, Windsor A festival of food, drink and music by Celeste Kellogg, Request Station, and more. Brill Music Festival Williamsburg April 23 Under the Tent on the Lawn of the Art

Museums of Colonial Williamsburg www.culture-fix.org Start the morning at 8 am with Yoga & Bubbles followed by a drum circle (10 am), and live music from Cook County Bluegrass Band, Little Birdies, Adwela & The Uprising, and The English Channel. Earth Fest April 23, Noon - 5 pm Tradition Brewing Company www.traditionbrewing.com Over 30 local vendors, food trucks, live music, and craft beer from Tradition. East Coast She Crab Soup Classic April 23 24th Street Park @ Oceanfront www.beacheventsvb.com Regional restaurants compete to determine who has the best she crab soup. Gongstock 4/20 Festival at Benchtop April 23-24 Benchtop Brewing Company www.benchtopbrewing.com Celebrating our Hazy Gong Series with a two-day fest packed with live music on stage, multiple food trucks, market vendors, and special Gong release. Spotlight Portsmouth April 23, 3-7pm Renaissance Hotel, Portsmouth www.eventbrite.com Featuring multiple Virginia beer, wine and liquor partners. Food will be catered by Portsmouth restaurants. Join us for live local musicians, vendors, and raffle prizes. Tickets: $30 GA, $75 VIP

Clyde’s High Tide Cannafest April 24 Sly Clyde Ciderworks www.slyclyde.com A cannabis festival with award-winning cider, reggae music from Lions Bridge, glass blowing, and food trucks. 2022 Williamsburg Craft Beer Festival April 24, 1-5pm The Lawn of the Art Museums of Colonial Williamsburg 301 South Nassau Street, Williamsburg www.williamsburgcraftbeerfest.com Williamsburg’s Biggest Beer Benefit is back and presented by The Rotary Club of Williamsburg and Aspire Young Professionals. Enjoy a day of craft beer, local food, and live music. Tickets: $15-$100. Proceeds benefit non-profit organizations. 69th Annual Norfolk NATO Festival April 28 through May 1 Scope Plaza & Town Point Park www.vafest.org The region’s longest running festival once again celebrates our NATO allies with a flag raising ceremony on April 28 on Scope Plaza (5 PM) and the Parade of Nations on April 30 (10 am). NATO Village in Town Point Park (April 30, 11:30 am) will feature food, beverages, and live entertainment. Helles Yes – Helles Beer Festival April 30 Elation Brewing www.elation.beer 12 local breweries, live music, and food specials all day. Atlantic Coast Kite Festival April 30 - May 1 Between 16-18th Streets on Oceanfront www.beacheventsvb.com Open to the public, show off your favorite kite and compete in the Best Kite Contest. Plus kitemaking workshops and more.

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April 2022

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The legendary Chaka Khan headlines the Umoja Festival on May 27

Virginia International PAN Fest May 6-7 24th Street Park @ The Oceanfront www.vafest.org A fun celebration of steel drum music and Caribbean culture. Blues, Brews, & BBQ May 7, 2-6pm 400 Water Street, Yorktown www.villageevents.org Sample more than 30 craft beers, dig into some amazing BBQ, and listen to some of the best Blues musicians in Hampton Roads. Proceeds Benefit Sister Cities Yorktown and the York Foundation for Public Education, Inc. Coastal VA Spirits Festival May 7, 12-3pm Event starts on Saturday, 7 May 2022 and happening at MacArthur Center, Norfolk, VA. Dharma Fest May 7-8 Good Vibes Concert Hall A benefit for Adhesive Arachnoiditis feature the live music of The Dharma Initiative, Grateful Jed, Matt Lochhardt’s Freedom Funk, Roy Ira Moats, Karl Werne and more. Neptune’s 17th Annual Spring Wine Festival May 14, Noon - 5 pm 31st Street Park @ The Oceanfront www.neptunefestival.com A beautiful setting for a wine festival with food and live music. Suds & Buds May 19, 5:30-8:30pm Norfolk Botanical Gardens 6700 Azalea Garden Road, Norfolk sudsandbuds.org Tickets include garden admission and features food from area restaurants, craft beer, wine, and live music by Dave Welsh. Proceeds benefit Norfolk Botanical Garden and the Rotary Club of Norfolk.

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Bayou BonVivant May 20-22 Town Point Park, Norfolk www.festevents.org Indulge in the flavors of New Orleans with this three-day celebration of the tastes, tunes, and traditions of the Crescent City. From juicy handfuls of crawfish to world-renowned N’awlins musicians, the festival offers a fun experience for the entire family. Plus, there’s an Arts Market featuring 30+ New Orleans crafters, crocodile and reptile exhibits, mouth-watering Cajun dishes, and an upgraded VIP tasting experience. Performers include Terrance Simien, Marcia Ball, The Iguanas, Rebirth Brass Band, and Dumpstaphunk. Beach Music Cruise-in May 20-22 30th Street on The Oceanfront www.beacheventsvb.com A festival of Beach Music featuring bands such as The Embers, Chairmen of the Board, The Tams, Swingin’ Medallions, and Bill Deal’s Original Rhondels. Stockley Gardens Spring Arts Festival May 21-22, Noon - 5 pm Stockley Gardens/Ghent A beloved neighborhood outdoor art show featuring over 100 regional artists, plus live music, food and drink. Umoja Festival May 27-29 Atlantic Union Bank Pavilion www.pavilionconcerts.com A celebration of Black culture featuring live music from legends Chaka Khan, The Stylistics, Heatwave and more. It’s a ‘70s soul jam.

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April 2022

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april 2022

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NorfolkNATOFestival.org

April 2022

(continued from page 22) Salute To Summer May 27-29 17th Street and 24th Street Stages @ The Oceanfront www.beacheventsvb.com Three fun days of live bands paying tribute to hitmakers of yesteryear. Patriotic Festival May 27-29 Norfolk Scope Arena & Town Point Park www.patrioticfestival.com A celebration of the US armed forces and country music featuring Morgan Wallen, Kane Brown, Jon Pardi, and more. Spring Craft Beer Festival May 28, 12-6pm Cogans North 4311 Colley Avenue, Norfolk Pretty Ugly Distribution and Cogans North present Pretty Ugly Gorilla Spring Craft Beer Festival featuring local breweries and live music. Newport News Greek Festival June 2-5 Saints Constantine & Helen Greek Orthodox Church www.newportnewsgreekfestival.org A celebration of Greek culture through food, dance, and traditional music. Opa! Portsmouth Pride Festival June 4, 11 am - 5 pm Festival Field/Atlantic Union Bank Pavilion www.portsmouthprideva.com Music, entertainment, retail vendors, food, beer and more. Blackbeard Pirate Festival June 5, Noon to 6 PM Mill Point Park, Hampton www.visithampton.com Pirate re-enactors take over the downtown Hampton waterfront with period vendors,

crafts, history stories, musical entertainment, and more. A must-do for families. Bodacious Bazaar Wine & Spring Festival June 5, 10 am to 6 pm Hampton Roads Convention Center www.visithampton.com Shop for local art, crafts, Virginia wine and more. Annual Norfolk Harborfest June 10-12 Town Point Park, Norfolk www.festevents.org America’s largest, longest-running, free maritime festival, Norfolk Harborfest celebrates all of the elements that make Norfolk & Hampton Roads a historic maritime & Naval community. Featuring the annual Parade of Sails featuring international tall ships, one of the largest fire-

works shows on the East Coast, a drone show, interactive family games and activities, Navy exhibits and demonstrations, artisan foods and beverages, live entertainment, and more. 43rd Annual Seawall Music Festival June 10-11 High Street Landing, Portsmouth Two days of food, drink, and live music including Bill Deal’s Original Rhondels, Champagne Band, Hot Cakes, Michael Clark Band, and more. Juneteenth in the Park June 18, 12-5 pm Town Point Park, Norfolk www.festevents.org A celebration marking the arrival of Africans to North America. Music, education, and more. Ghent Pride June 20, 6-10 pm The Palace Shops & Station, Norfolk www.ghentnorfolk.org Live music, cocktails, food and more. Benefits LGBT Life Center, Hampton Roads Pride, and the Ghent Business Association. La Fiesta Virginia Beach June 24-25 24th Street Park @ The Oceanfront www.beacheventsvb.com A mix of authentic food, colorful costumes, and Latin music by Fulanito, Aymee Nuviola, Jerry Rivera, El Rey Tulile, and more.

Totally Tribute Music Fest July 1-3 17th & 24th Street Stages @ The Oceanfront www.beacheventsvb.com Celebration of music by tribute bands. IPA Invitational Beer Festival July 2 Elation Brewing www.elation.beer 12 local breweries, live music, and food specials all day. Fourth of July Great American Picnic & Fireworks Celebration July 4, 5-10pm Town Point Park, Norfolk www.festevents.org Relax on the lawn and enjoy an evening of AllAmerican fare, including hot dogs, hamburgers, barbecue, seafood, cotton candy, and much more, along with live musical entertainment from military brass bands! The night is capped off by the sensational fireworks show high above the Elizabeth River, beginning at 9:30 pm. Butterfly Festival July 16, 10 am - 4 pm Norfolk Botanical Garden www.norfolkbotanicalgarden.org The Garden’s newly reworked butterfly house will be open for visitors to walk through and be dazzled by the beauty and grace of these winged creatures.

Hampton Roads Pride Fest June 25, Noon to 8 pm Town Point Park, Norfolk www.hamptonroadspride.org Entertainment, music, vendors, food, drink, and activities. Don’t miss Neptune’s Spring Wine Festival on May

Celebrate steel drums and Caribbean culture during PAN Fest

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April 2022

(continued from page 26) Norfolk Latino Music & Food Festival July 23 4-10pm Town Point Park, Norfolk www.festevents.org Featuring explosive live music performances, an eclectic offering of Latin cuisine including tacos and empanadas, fun family-friendly activities, authentic dance lessons and performances, and much more. Taste of VA on the Bay July 29, 6-9:30pm Ocean View Beach Park, Norfolk www.festevents.org Craft beer, wine, spirits, food sampling, and live music. Virginia Honey Bee Festival August 20, 10 am - 4 pm Norfolk Botanical Garden www.norfolkbotanicalgarden.org Honey bees are essential. Learn about which plants help the bees and the production of honey. Backroads Blues Festival August 21 Atlantic Union Bank Pavilion www.pavilionconcerts.com Live music featuring Buddy Guy, Kenny Wayne Shepherd, and more. 39th Annual Norfolk Waterfront Jazz Festival August 26-27 Town Point Park, Norfolk www.festevents.org A two-day festival featuring world-class smooth jazz artists. This year’s lineup includes Tower of Power, Pieces of a Dream, Chris Standring, Althea Rene, and Brian Culbertson. Virginia Beach Funk Fest Beach Party August 26-27 24th Street Park @ The Oceanfront

www.beacheventsvb.com A throwback party featuring funk music from the 1970s and ‘80s. Bands to be announced by early summer. 7th Annual Neptune’s Coastal Craft Beer Festival August 27, 1-6pm 31st Street & Oceanfront, Virginia Beach www.neptunefestival.com Enjoy over 65 beers from across the Commonwealth and beyond, live music, food trucks, and more! Each ticket includes a commemorative beer glass and tastings throughout the day. Tickets starting at $40. Sunflower Music Festival August 28, Noon to 6:30 pm Norfolk Botanical Garden www.norfolkbotanicalgarden.org Music by Last Fair Deal, Tailgate Down, and HM Johnson Band, plus craft vendors, food and beer. Dogs welcome, especially if they can howl along to the music. Neptune’s 25th Annual Fall Wine Festival September 10-11, Noon - 5 pm 31st Street Park @ The Oceanfront www.neptunefestival.com The weather is delightful for this 2-day celebration of international wine, food, and tasteful music. NashFest 757 Sept.17, 12-8pm Town Point Park, Norfolk www.festevents.org Hot chicken, hard drinks, and Music City sounds! Celebrating the iconic culture and cuisine of Nashville and featuring national and local recording artists, mouth-watering hot chicken, barbecue, line dancing, craft beer & whiskey tastings, and much more.

The Parade of Nations is part of Norfolk NATO Festival on Saturday, April 30 at 10 AM

april 2022

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june 20th, 2022 | 6 - 10 pm 301 w. 21st street norfolk, va 23517

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April 2022

music festival

Simien: It’s something don’t get to see. You see them on TV but not too many people bring ‘em around and share it with everybody.

Terrance Simien

Resilient Zydeco By Jeff Maisey

Earlier this year, Zydeco music great Terrance Simien and his band were in Henderson, Nevada for an educational engagement with his Creole4Kidz program that brings the sounds and instruments to children around the globe. After a good night’s sleep at the hotel, Simien could not believe his eyes: gone was his trailer filled with the band’s musical equipment and his coveted Grammy Award. Terrance Simien & The Zydeco Experience will perform twice as part of the three-day Bayou Bon Vivant at Town Point Park in Norfolk. The musical lineup is impressive and includes sets by North Mississippi Allstars, The Iguanas, Rebirth Brass Band, Dumpstaphunk, and more. To learn more about Terrance Simien’s resilience and his return to the road, I called him as his home in Louisiana. Here’s an excerpt from our conversation. VEER: I saw where your trailer was stolen and that fans set up a Go Fund Me account to raise enough money to replace the musical instruments. What’s the latest on this? Simien: We were performing in Henderson but staying in Las Vegas at a casino hotel. We had parked in a parking lot where there was security on bicycles, valet parking, cameras everywhere, and yet this still happened. It was a shock. I’ve had my band now since 1981. In 41

april 2022

years, nothing like this happened. It was the perfect example of how God can take something bad and turn it around into something good. We raised over $32,000, which is going to be enough to cover everything. We are so grateful and humbled by that gesture of unbelievable kindness from our friends from around the globe who donated so generously. We’re just gonna keep on rolling, man. Now we’ve got new equipment. We’re going to be more cautious. VEER: Most instruments can be replaced, but I wonder if there were any sentiment items that were taken from you? Simien: Some of the stuff we lost had sentimental value. I carried by first Grammy Award with me that I take mainly to show the kids when we do our educational performance we created called Creole4Kidz. We also do some in classroom demos. It’s fun to bring the Grammy out and let the kids pass it around, hold it, and take pictures with it. They (the thieves) stole one of the Grammys, but we’re going to get it replaced. That was the first Grammy we won and it had some sentimental value. And these rub-boards. I think about the rub-boards we had. We use them also in our children’s show. Those rub-boards they stole were the ones kids in Russia and Ukraine played when we were there. That

Bayou Bon Vivant Town Point Park, Norfolk Festevents.org May 20 Main Stage: The Iguanas (3:30 pm), New Orleans Suspects (6 pm), Marc Broussard (8:30 pm) Crescent City Stage: Jason Cale Band (2 pm), Flow Tribe (5 pm), Tuba Skinny (7:30 pm)

May 21 Main Stage: Marcia Ball (3:45 pm), Rebirth Brass Band (6 pm), North Mississippi Allstars Crescent City Stage: Magnolia Sisters (1 pm), Nathan & The Zydeco Cha Cha’s (2;30 pm), John Papa Gros (5 pm), Terrance Simien (7:15 pm)

May 22 Main Stage: Terrance Simien (12:30 pm), Rebirth Brass Band (2:15 pm), Dumpstaphunk (4:30 pm) Crescent City Stage: Chance Bushman & The Ibervillianaires (1:30 pm & 3:30 pm) vibe soaked into the steel. VEER: I remember you breaking out your Grammy on stage here in Norfolk and letting the audience get a close look at Town Point Park.

VEER: How did you and the band cope with going through the pandemic? Simien: We were all able to tap into the assistance from the government. That really helped out. We understood we weren’t the only ones going through it. The whole world was dealing with this. It was a time for me to actually reflect. I was the first time in 40 years I wasn’t on the road for more than two months at a time. I enjoyed that, you know? But then I started missing everybody— friends, performing our live music. It was so weird that live music was gone. I think a lot of people took to the streets (in protests) because it was a reason to gather. If live music had of been there some of that would not have been as much. VEER: Education struggled through the pandemic as well. How was Creole4Kidz impacted with children not being able to learn and perform music together? Simien: You know that’s the one thing I thought about the most. As adults we are going through this, but the kids most be totally tweaked out over this because they can’t play with their friends. That’s all part of growing up and becoming the person you are. Music is that alternative, that comfort zone for so many people. And live music. Nothing brings people together more than live music—young and old. I’ve been able to experience live performances. I know it had to impact the kids in a major way. We’ve done some outreach through the internet through that time. But there’s just nothing like seeing it live; feeling it live. Kids had to show enormous strength to get through this time. We had just finished performing with 600 kids in Henderson, Nevada when our trailer was stolen. They were digging it, man. You could see the joy on their faces and it was amazing. VEER: Do you see yourself as an ambassador for Zydeco music? Simien: Yeah, I try to be because I really take to seriously in putting the right information out about our Creole culture. I’ve done a lot of research. We’ve been doing our Creole4Kids program for over 20 years. I feel good that I’m able to pass on information about our music and our culture.

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April 2022

music rock

Jack White Supplies the Rock By Jim Morrison

Jack White recently released one album, “Fear of the Dawn,” with another, “Entering Heaven Alive,” arriving July 22. He’s also rehearsing about 100 songs for his Supply Chain Issues Tour that stops in Portsmouth on April 23. What’s the secret to the former White Stripes member’s productivity? It just might be that he hasn’t owned a smartphone. “I never had a smartphone, but that time is about to come to a close. When I was trying to get COVID tests, I’d pull up to a place and needed a QR code and I couldn’t get the test. Now I can’t pick up my kids without calling first, so because of things like that my days are numbered,” White told USA Today recently. White, as with too many artists these days, was not available for an interview, according to his publicist. He has done interviews with USA Today and Spin about his latest project. Reactions have been mixed. A reviewer for Paste said the disc of guitar fury yielded mixed results. “It’s a loud album, full of stomping rhythms and stadiumsized riffs. That’s an aesthetic, sure, but one that tends not to allow for nuance or shifting musical dynamics—two key components of White’s most interesting work,” he said. Pitchfork focused on its weirdness. “Excess has become White’s driving muse, and he’s never piled it on thicker than he does on Fear of the Dawn, a chaotic, illogical fusion of blues-rock and carnival prog that contains some of the most outlandish stylistic experi-

april 2022

ments of his career,” the reviewer wrote. getting to be like, ‘Now this is a good time to White began as a drummer in Detroit for go and spend by myself alone.’ And I thought, several bands before founding the White ‘If I’m going to do that, maybe I should write Stripes with his then-wife, Meg, in 1997. a couple songs while I’m there.’” They broke through in 2001 with “White White said he wrote 10-12 songs. Some of Blood Cells” and the hit, “Fell in Love with them will be on his second release this year, a Girl.” White went on to collaborate with which he says is a “gentle Sunday morning Loretta Lynn and Bob Dylan. In 2005, he album.” But, really, who knows? founded The Raconteurs. Their second alWhen he hunkered down in Nashville to bum was nominated for a Grammy in record, two albums evolved from the 2008. Prior to this year, he’d resessions, one much harder than leased three solo albums, inwhat he wrote in Michigan. cluding the excellent “Blun“It was obvious,” White Jack White derbuss” in 2012. said. “The playlists on my April 23 The new albums came in computer were all the Atlantic Union Bank Pavilion a rush of writing during last heavy ones and all the soft PavilionConcerts.com year. “These songs that were ones. I would try to take a coming out of me didn’t flow soft one, put it in and juxwith one another. The eclectitapose, but it wasn’t working cism wasn’t a bad thing; it was a like it usually did. They were too benefit,” he told USA Today. “I had takdifferent. In a way, the harder ones en 2020 off from writing because I wasn’t in- stayed together and the softer ones stayed spired. When playing live was taken off the together. Not just that they’re quieter and table, it took a lot of the zest out of me. Most softer, but they actually worked together. of these songs were written in 2021. So much They had a nice flow to them.” time had gone by that my brain didn’t know Now, he carries both of them along with what to do without making music.” that large back catalog on the road. White While not owning a smartphone may have says he missed the adventure of performing been one reason, he cited another to Spin. He live. “That creativity, the danger of working fasted extensively at his place in Kalamazoo, without a net, is what I thrive on for myself. going five days at a time, inspired by Upton Sometimes you think about touring and the Sinclair’s 1911 book, “The Fasting Cure.” lighting and the costumes and the photo “I thought I hadn’t written a song in a year shoots,” he said. “But to play live, that’s why and a half because I’d been on tour with the I love this. So, if I had to summarize what I Raconteurs [before that],” he said. “It was missed … perspective.”

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April 2022

music rock/pop

Reyes. “When the first Beatle album came out to the last Beatle album, I had them all. And then Led Zeppelin “I,” “II” and on. And the same with Chicago.” Chicago has sold more than 40 million albums thus far in America alone, with 23 being certified gold, 18 platinum, and 8 multi-platinum. Because of Chicago’s horn-forward material, many high school and college marching and concert bands perform their music. As a result, in today’s concert audience Reyes sees a lot of younger faces—people who know the music and who are anxious to hear the songs performed by the legendary hitmakers. “A lot of the young kids now are going back and learning Chicago music,” Reyes said. “They’re coming to the concerts. They may have heard these records through their dad or grandpa. Now that they are studying music they’re going back. It’s interesting.” One Chicago tune performed by marching bands is “25 or 6 to 4.” Its opening riff is instantly recognizable and full of energy. “The perfect song is a song that has a hook,” Reyes said. “If you cannot hum the song, you cannot take anything away from that song. That song has many hooks—the guitar solo, the bass line, the drum beat. I am a hook musician. There has to be something for the audience to take away, and Chicago had that magic. Even though they were serious musicians and could have put out a very complicated record that other musicians would be blown away by, but they gave those hooks to the regular people. That’s why it was so successful and they still are.” Ballads have been a major part of Chicago’s radio success. Songs such as “Colour My World,” “Wishing You Were Here” and “(I’ve Been) Searching So Long” remain fan favorites. “It goes to show you once again the prolific versatile writing of Robert Lamm, Terry Kath, Jimmy Pankow and Peter Cetera.,” said Reyes. “Some bands are great at only one thing, but those guys can write the love songs, the fun songs, the rocking song. A lot of people love the mega ballads, but we do a rocking show.” The first Chicago song Reyes heard on the In fact, Chicago’s rockin’ songs like “”Feelin’ radio was “Beginnings.” Stronger Every Day” and the straight-up pop “I loved the drumming; the tom-tom fills and songs such as “Call On Me,” “Saturday in the the song itself,” Reyes recalled. “Then later “I’m Park” and “Just You ’n’ Me” continue to bring aua Man” came on the radio. The guy (DJ) said diences to their feet at concerts. it was Chicago Transit Authority. I “My job with Chicago is to add went, ‘That’s the same band.’” the right amount of groove to Chicago What Reyes really loved each song,” said Reyes, from a about Chicago as a teenager drummer’s perspective. “It’s May 14 was they could play the rock almost like cooking with the Atlantic Union Bank music style popular in the late right amount of salt, pepper Pavilion 1960s and early ’70s, but also and flavoring. So I play for the PavilionConcerts.com expand the sound with jazz, songs, not my ego or showing Latin and other influences. off. That’s not why I’m there. He continued to follow the muWhatever the song needs I play. sic of Chicago even as, at the age of 16, As a drummer there are a lot of songs he began playing in clubs, lounges and big that only need salt and pepper. Chicago, for stages of Vegas with singers such as Paul Anka, me, is a very versatile band those songs have Marilyn McCoo and Ben Vereen. He believes his shuffles, 6/8 triplets, there’s Latin, there’s jazz. generation—Baby Boomers—remained loyal So when you go to a Chicago show we open with to bands they liked, more so than today’s audi- “Introduction,” which as five different styles. ences. As a drummer, if you don’t know different styles “I have three grown kids and they are not you can’t cut it. Chicago switches gears a lot. It’s as faithful with artists like we were,” explained like a buffet of styles.”

From Ballads to Rockers, Chicago Brings a Buffet of Styles By Jeff Maisey

Talk to anyone about the music of Chicago and you’ll hear reeled-off the song title of hit after hit—“Does Anybody Really Know What Time it Is?,” “Saturday in the Park,” “Call on Me,” “If You Leave Me Now,” “Wishing You were Here,” “Baby, What a Big Surprise.” The list is seemingly endless and spans over five decades with every imaginable honor along the way from a Grammy Lifetime Achievement Award to induction into the Rock ’n Roll Hall of Fame. For an interesting perspective on the band, I recently interviewed Chicago drummer Walfredo (Wally) Reyes, Jr. While Chicago original members Robert Lamm (keyboards/vocals), Lee Loughnane (trumpet), and James Pankow (trombone) are still in the band, Reyes, along with six additional accomplished musicians, help bring the big sound of the group to life. And, I might add, Reyes brings an impressive resume having toured as drummer/percussionist with the likes of Steve Winwood, Santana, Lindsey Buckingham, Boz Scaggs, Jackson Browne, Gloria Estefan, and others. He has been with Chicago for 10 years. Walfredo Reyes was born in a family of mu-

april 2022

sicians in Cuba, then Porto Rico. At age 13, the Reyes family moved to Las Vegas, Nevada when his father was hired as the drummer for the Desert Inn Hotel’s house band. Walfredo soon picked up the drum sticks and followed the path of his father. Interestingly enough, Chicago’s 1969 debut record, “Chicago Transit Authority,” was the first album he purchased with money made from mowing lawns in his neighborhood. Why Chicago? “My dad was a Cuban jazz musician and my mom, in the kitchen, was always playing the Salsa, Latin records,” Reyes explained. “I was a teenager so I had the British Invasion fever— Rolling Stones, Led Zeppelin, The Who, The Beatles, and all that music that came through the radio when I was in Porto Rico being raised. “When I heard Chicago,” Reyes continued, “it was still rock, long-haired hippy looking guys like the guys from bands I liked. It was a revolution, not just music. It was our music. “So when Chicago came out with horns and jazz stuff and different styles, my dad went, like, ‘Damn, who is that?,’” said Reyes.

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music country/rock

An Album of Covers from Cowboys Junkies

Go Different

UPCOMING PORTSMOUTH EVENTS May 27-29

By Jeff Maisey

Cowboy Junkies have long been appreciated by fans for their version of cover songs they bring to the live concert stage. This spring, the alt-country band delivered a studio album of some of their and fans’ favorites. The record is titled “Songs of the Recollection.” The concept isn’t a surprise given the members of the band are mostly comprised of siblings—Margo, Michael and Peter Timmins—who were raised in Montreal and, along with friend Alan Anton, spent hours around the house listening to vinyl records in the 1970s long before picking up an instrument. “I think everybody in the band are passionate music fans,” said guitarist and songwriterin-chief Michael Timmins. “Music at a very early age had a huge affect on me. When I look back at the age I was—I was 9 or 10 years old—I still remember hearing certain Beatles albums and songs, and really being moved by them sitting in my room and playing them over and over again. I look back now and think of how powerful those moments were.” Cowboy Junkies made a strong impression on millions of Canadians and Americans with the release of their sophomore album, “The Trinity Session,” in 1988.The album included a cover of the Velvet Underground’s “Sweet Jane,” which remains their best known single. Cowboy Junkies continued a string of successful albums through 2004’s “One Soul Now.” With “Songs of the Recollection,” the band puts its twist on two Neil Young pieces (“Love in Mind” and “Don’t Let It Bring You Down”), a Rolling Stones’ “No Expectations,” a recent Bob Dylan number called “I’ve Made Up My Mind To Give Myself To You,” “Vic Chesnutt’s “Marathon,” and “Five Years” by David Bowie. Bowie was a major influence on Michael Timmins. “‘Ziggy Stardust’ is probably one of my favorite albums of all time,” he said. “When you go through his collection you realize how relevant he was and how timeless his albums and his music was. From a point of view of performance. Alan and I were fortunate to see the ‘Diamond Dogs’ tour in Montreal and that was so revolutionary as far as putting on a stage show. It’s hard to overstate his importance, I think.” The album opens with a sensual version of David Bowie’s “Five Years.” Singer Margo Timmins’ voice fits the song like a glove. “We were putting together a series of themed live shows with a bunch of acts in this small club in downtown Toronto and one of the set themes

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April 23 and 24 was Dead Heroes,” explained Michael, “and ‘Five Years’ popped out. It seemed so relevant to the times, and so we thought maybe we could do a cool version of this. It is such a powerful song lyrically, and Margo really owns it. It remains in our live set and is now the lead track of an album.” The album ends with their take on “Seventeen Seconds” by The Cure. Cowboy Junkies had recorded the song during the sessions for their 2005 album of anti-war, anti-violence tunes titled “Early 21st Century Blues,” but it didn’t make the cut as one of the final 11 tracks for that release. When deciding on material for “Songs of Recollection,” they found the Cure tune in their archives. “This is a funny one,” said Timmins. “Those punk rock days of the late ’70s and early ’80s, and that’s really the era that inspired me and Alan to start making music together. Those DYI guys coming out of London and New York said to us, ‘You know you don’t have to be a Mick Jagger to make music. You could be somebody on the streets who picks up a guitar to make music.’ That was what really inspired us to start making music. “Then those first couple of Cure records were a sound we really gravitated towards,” he continued. “I think it was more kind of spacey and gothic and in someways reflected back to the early ’70s of Pink Floyd, The Doors.”

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April 2022

music classicrock

Three Dog Night’s current lineup continue to perform to sold-out crowds

Three Dog Night Brings the Hits of the 1970s By Jeff Maisey

If you can remember the days of handheld cently flopped or were not known to the masses. AM transistor radios chances are you know the This proved to be their Midas Touch. music of Three Dog Night. “I never thought we covered other people’s From 1969 to 1974, no other recording artist songs,” Hutton said. “There were songs that were achieved more top 10 hits, moved more records or released by other people on albums that didn’t sold more concert tickets than Three Dog Night. happen. Like ‘One’ by Harry Nilsson. That had Some of those hits include “Eli’s Coming,” been out for a year. We got it and turned it into “One,” “Joy to the World,” “Liar,” “Old Fashioned a hit. We did that with a lot of songs. I always Love Song,” “Black and White,” “Never Been to thought we resurrected songs from the dead.” Spain” and “Mama Told Me (Not to Come).” One of those resurrected tunes DanThree Dog Night was fronted by ny Hutton sag lead on—“Black and a dynamic trio of singers—Cory White.” Three Dog Wells, Chuck Negron, and Danny “Earl Robinson and David ArNight Hutton. Today, Hutton is the kin wrote that song (in 1954),” April 21 sole original vocalist keeping Hutton said. “He (Earl) wrote the band together. 30 verses. We just went along Sandler Center for the Arts Before Three Dog Night’s with what Greyhound (British 1968 debut, Hutton was a Los group) did. SandlerCenter.org Angeles-based songwriter and “I was in the studio recording singer. He toured as the opening it. I wasn’t thinking lyrically about act for Sonny & Cher in 1965. He also making a political statement, but I worked with Brian Wilson of the Beach think it’s a good one. Boys, doing studio work on the “God Only “All night I spent in the studio thinking how Knows” sessions. to get a beat on it. It’s reggae and very few peoWhen Three Dog Night formed, Hutton said ple were doing reggae then. I had this epiphany his management company insisted they have a where I said, ‘I’m going to sing like Gene Pitney.’ full-time band of musicians backing the vocal So when you hear that song it’s me trying to trio. Things came together so quickly the trio sound like Gene Pitney. And it worked.” didn’t have time to write songs before opportuAnother major hit for Three Dog Night was nity—and fate—came knocking. “Joy To The World” and its instantly recogniz“We were together just a month or two when able opening lyric, “Jeremiah was a bullfrog.” It we auditioned at The Troubadour for ABC Re- wasn’t intended to be a single, but radio stations cords,” Hutton said. The group performed a few started playing so often the band had to delay little-known songs they enjoyed. “They (ABC Re- recording its next album due to the success of cords) said, ‘We’ll sign you and we want you to get “Joy To The World.” in the studio next week and do your album.’” “We released two singles in a row, and we “We said, ‘We don’t have an album.’ Those were getting ready for the next album when we are just songs that we liked.’” got these phone calls from all over the country,” “They said, ‘No, that’s your first album.’” Hutton explained. “I think it sold 10 million sinAs it turns out, Three Dog Night became a gles. It’s about drinking wine. It got the kids. The band that made hits out of songs that had re- Vietnam vets loved it.”

april 2022

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CHRIS JEANGUENAT Chris Jeanguenat is a Suffolk painter, whose fun, illustrative paintings reflect her love of nature and adventure. She works primarily in acrylic and chalk paint, and will paint anything if it stands still long enough. Her inspiration is taken from raising two sons, with her playful pitbulls and her husband and high school sweetheart. Her childhood adventures, from living in 300 acres of solitary forests, digging for treasures, building forts, climbing trees with books and snacks, are threaded within her paintings. Chris hopes the viewer can feel as if they’ve stepped in to their own magical childhood memories. Chris was awarded the T.S. Elliot award for Excellence in Painting at the 2021 Port Warwick Arts and Sculpture Festival, Best in Show at the Fall 2021 Stockley Gardens Arts Festival, and the Jane Butler Memorial Award at the 2021 Suffolk Art Gallery Juried Exhibition. She was a featured artist at the Norfolk Botanical Gardens in 2021 and will be a featured artist again in June of this year. She currently shows her work at the Bay School Community Arts Center, Pop Shop by Jo Louise in Newport News as well as local restaurants, coffee houses and shops. Chris is also a regular contributor to Painting World Magazine and was recently featured in Voyage Baltimore Magazine. She welcomes customers to her home studio, for coffee, friendship and viewing her paintings, in downtown Suffolk.

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Craig Hadley currently serves as the Executive Director and Chief Curator of the Dennos Museum Center at Northwestern Michigan College, where he is responsible for overseeing the day-to-day operations, programs, and expenditures for northwestern Michigan’s premier museum center. The museum features 20,000 square feet of exhibition space, a children’s gallery, and one of the largest Inuit art collections in the United States. The center also programs a series of concerts, lectures, and performances in its 367 seat Milliken Auditorium. Mr. Hadley holds a master’s degree in History and Museum Studies from the University of Missouri and a bachelor’s degree from Beloit College. His writing has appeared in The Museum Review, AAM’s Museum magazine, and on the Institute of Museum and Library Services’ website.

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ARTIST & VENDOR MAP

ARTIST/MEDIUM/SPACE Abdelahad, Elie/LE/C-22 Anderson, Eryn/JE/B-14 Anderson, Tracy/PA/B-2 Andrews, Patrick/ME/C-44&45 Baldauf, Stephen/MM/C-46&47 Barnes, James/WO/C-38 Barnes, Tom/PA/A-7&8 Benkendorf, Jason/WO/C-51 Bet, Debra/JE/B-42 Bice, John/PH/B-31 Bock, Susan/MM/B-57 Bryant, Michael/PA/C-34 Burkett, Hillary/JE/B-53 Cantilo, Icka/JE/B-48 Chen, Kevin/PA/A-9 Cheng, John/MM/C-20 Clarke, Caroline/LE/B-9 Collins, Derek/PA/C-7 Copeland, Ellen/PA/A-4 Dahms, Kristen/MM/A-6 Daniel, Arlene/PA/B-41 Delisle, Tracy/SC/A-1 Diener, Jeffrey/PH/C-5&6 Dobbs, Loura/SC/B-43 Dressler, Julia/PH/C-26 Duvall, Sharon/LE/A-14 Easley, Bruce/DR/C-52 Easter, Dwight/DR/A-13 Epstein, Jana/PH/C-24 Fadool, Ed/PA/C-25 Finnie, Kelsey/GL/C-10 Frey, Benjamin/MM/B-18&19 Gao & Chang, Wayne & Michelle/MM/C-2 Garrett, Suzanna/JE/A-23 Geiman, Brecken/JE/C-28 Geiman, Lisa/PA/C-29 Gerek, Linda/PA/B-56 Glassman, Alan/PH/C-39 Gutierrez, Luis/PO/B-32 Heiser, Tiffany/DR/A-15

Helfant-Frye, Andi/MM/B-46 Hemming, Rod/MM/B-39 Hicks, John/WO/A-17 Hill, Pamela/PA/A-2 Hopson, Rick/PH/C-42 Hopson, Tonya/PA/A-22 Horvath, Corinne/JE/B-12 Huston-Field, Victor & Megan/PO/C-23 Ives, Steven/PH/B-15 Jeanguenat, Chris/PA/B-37 Johnson, Brittany/DR/B-47 Johnson, Eafrica/PA/C-41 Jones, Steve/PH/B-13 Kamolpornwijit, Wiwat/JE/C-40 Kapoor, Gopal/JE/B-20 Katic, Milenko/PA/B-49 Kennedy, Kristine/JE/B-26 Kline, Brandon/PH/C-17 Kwamena-Poh, William/PA/B-17 Lassak, James/PO/C-50 Lee, Letitia/PA/B-52 Lewando, Peter/PH/C-53 Ligmont, Alyssa/PO/C-43 Loomis, Kate/JE/B-33 Maiwald, Andre/WO/B-40 Martin, Juanita/JE/B-38 Master, Kathleen/MM/C-3 Maurer, John/PA/C-4 Mayberry, Karla/PH/B-4 McClain, Sean/PA/A-18 McCrary, Elginia/PA/B-10 McLaughlin, Olena/JE/B-7 Mehta, Meena/JE/B-29 Merriman, Michael/MM/C-16 Morrison, Brenda/JE/C-31 Myers, Barbara/PA/C-27 Nguyen, Ai/JE/C-9 Nichols, Merrianne/LE/B-36 Obermeyer, Ed/PA/PH/B-11 Odom, Michelle/JE/B-58

Parrish, Ginnie/MM/JE/B-16 Pratelli, Rejane/JE/C-11 Rhodes, George/PH/B-35 Roberts, Scott/WO/A-5 Robins, Dicke/MM/A-3 Rodrigue, Kevin/PO/B-25 Ruiz, Leon/PA/B-44&45 Rush, Barbara/PA/B-22 Samero, Marjorie/GL/A-25 Sauder Miller, Ashley/MM/C-12 Savely, Clay/PO/B-6 Schamerhorn, Bob/PH/C-35 Schappell, Melissa/MM/B-30 Senecal, Coleman/PA/C-21 Shields, Emily Louise/PA/B-54 Solomon, Joshua/GL/A-11 Spillane, Jim/PH/B-50&51 Spillar, Sharon/PA/C-36&37 Stolvoort, Peter/PA/C-8 Toft, Richard/PA/B-24 Turnage, Russell/PO/B-55 Tyree, Tanya/SC/A-20 Velez, Juan/JE/A-10 Verwoerd, Marcelle/PO/A-16 Walko, Nickolai/MM/B-8 Walton, Calvin/WO/C-15 Wang, Yandong/ME/B-5 Waugaman, Wendy/JE/B-3 Whitlow, Bill/PH/C-49 Willis, Kayleigh/DR/B-23 Witwer, Timothy/WO/C-32 Wolf, Susan/WO/B-28 Wooldridge, Kathy/GL/C-1 Wylie, Terry/PA/DR/B-21 Yao, Samuel/MM/C-48 Yates, Elizabeth/MM/B-27 Young, Kenn/WO/C-14 Yuan, David/PA/B-34 Zah, George/PH/C-13 Zuk, Tom/MM/C-30

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PUT YOUR SUPPORT ON FULL DISPLAY! Visit our merchandise booth for t-shirts and posters.

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ENTERTAINMENTSCHEDULE SATURDAY, MAY 21 SUNDAY, MAY 22 11AM

NOON

LIZ & BRYDGE Bass/Voice Duo with imaginative arrangements of jazz and pop tunes

JIMMY MASTERS & EDDIE WILLIAMS Jazz

2 BIG LOCATIONS

VIRGINIA BEACH 12:15PM

RED STAPLER DUO

1 PM

Modern variety power duo

2PM

MICHAEL LILLE Singer, songwriter - Folk meets blues with a touch of Americana

CHESAPEAKE

JIM BULLEIT Literate-introspective-indieAmericana-folk-rock

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CODY CHRISTAN Americana/Country

3:30 PM

THEWITHSTORYWEAVERS PERFORMANCE ARTIST JENNIFER MCLAUGHLIN Original Americana Folk with ASL

5PM

THE JAILTONES Rockabilly

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DrivingSouthern.com HOPE-HOUSE.ORG/DONATE April 2022 APRIL

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ENTERTAINMENT SCHEDULE CONT'D KIDS' ACTIVITIES SATURDAY, MAY 21

BOBBY THE CLOWN Magic Show and Balloon Animals

10 AM-5 PM

COAST DIY: MAKE & TAKE ART VIOLIN GROUP 3 PM STAHR SUZUKIStrings (ACADEMY OF MUSIC) 1-3 PM

4 PM

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C SHELLS Music for Kids

SUNDAY, MAY 22 NOON-5 PM

BOBBY THE CLOWN Magic Show and Balloon Animals

1-3 PM

COAST DIY: MAKE & TAKE ART

4 PM

C SHELLS Music for Kids

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JOIN US FOR THE AFTER HOURS PARTY/AWARDS PRESENTATION

THE JAILTONES SATURDAY, MAY 21ST FROM 5-7PM The Jailtones are a rockabilly band originally formed in the 1980s. They cover different styles from roots to rock, and this is echoed in their original music. The group was started by guitarist Rick Winters, Ted Steen (deceased), Bruce Fowler on bass and Jim Stephenson on drums. Their evolution continued with the addition of Bruce Gray on vocals and Nick Bonis on bass. Blues, Americana, classic rock and soul were added to their repertoire while staying loyal to their rockabilly roots. They made the rounds of all the local venues until they disbanded in 1992. Sixteen years later came the reunion for their 2009 Trolling Bones Tour at the Norva. Their first CD, Dinosaurs of Pleasure, was released in 2016, and featured mostly older material and one new tune. In 2017, they recorded The Shed Years, comprised all new songs. Get ready to experience a true Hampton Roads legendary sound that will get you out of your seats.

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VISIT THE HOPE HOUSE FOUNDATION

THRIFT SHOP TUNE IN TO SAVINGS

at the Hope House Thrift Shop located at 1800 Monticello Avenue across from Doumar’s or visit them in C block during the Stockley Gardens Spring Arts Festival. The Thrift Shop has a wide variety of gently used items at great prices. Different items will be on sale each month, so stop by and check it out! 100% of the proceeds from the Thrift Shop go directly to support adults with developmental disabilities served by Hope House Foundation. Check out www.hope-house-thrift-store.com and sign up to receive advance notifications of monthly specials and discounts!

VISIT DR. MARK HAYNES OF COASTAL CHIROPRACTIC’S BOOTH A longtime Friend of Stockley, Dr. Haynes and staff massage therapists from Coastal Chiropractic will provide FREE 5 minute chair massages and wellness screenings. Don’t stop at 5 minutes – get a longer massage and all fees/tips collected will go directly to Hope House. Also, should the wellness screening demonstrate the need for a complete evaluation, Dr. Haynes will donate his time to do this – a $190 value – for those willing to donate $50, or more to Hope House Foundation.

Christ and St. Luke’s Episcopal Christ and St. Luke’s Church will be open Saturday, May 21, 11am-3pm, and Sunday, May 22, 12pm-3pm. All are welcome to enjoy the peace and beauty of this space, as well as music of the great organ. Information is available for the self-guided tours.

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music various

Shows to See Compiled by Staff

Following is a spotlight on shows to see. Lucky Daye April 17 The NorVa Lucky’s live show continues to gain new fans for the multi-talented singer-songwriter. His recent appearance on NPR’s Tiny Desk was notable, packing the small stage with a full 10-piece band and extended horn section, yet still allowing his incredible voice to cut through. Fans, peers and critics also saw Lucky perform at the 2019 BET Awards on the Music Matters stage where he delivered an electrifying performance of “Roll Some Mo” before he headed to his hometown of New Orleans to play at the 25th Anniversary Essence Festival. Little Feat April 20 Sandler Center Little Feat is the classic example of a fusion of many styles and musical genres made into something utterly distinctive. Their brilliant musicianship transcends boundaries, uniting California rock, funk, folk, jazz, country, rockabilly, and New Orleans swamp boogie into a rich gumbo, that has been leading people in joyful dance ever since. Shawn Colvin Presented by Virginia Arts Festival April 21 Robin Hixon Theater www.vafest.org Three-time Grammy Award winner Shawn Colvin has shared stories in music for decades, penning songs of craft and catharsis that have become treasured lifetime companions for her fans. Her debut album, Steady On, was released in 1989 and instantly ignited passion in audiences, capturing the Grammy for Best Contemporary Folk Album. Now Colvin returns to her earlier days, performing the entire Steady On album acoustic, in its entirety—and area fans can enjoy this extraordinary musical experience. Blackberry Smoke April 21 The NorVa Blackberry Smoke has evolved from roughedged club act to arena-ready rock ‘n’ roll juggernauts, while steadily extending and expanding the Southern rock tradition. Since the group’s formation in 2000, the band has never shied away from hard work, playing more than 250 shows a year and building an ever-expanding audience on the strength of its live shows.

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Ä*!,! $$1 p $ !% D / '-& $ & !& *] '& /*!, * KEM/Babyface April 22 Chartway Arena If you love contemporary R&B this is a must attend concert. Kem’s hits include I Can’t Stop Loving You” and “Share My Life.” Essential Babyface tunes include “For the Cool In You,” “It’s No Crime,” and “Whip Appeal.”

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Jimmy Buffett April 28 Veterans Home Loans Amphitheater at Virginia Beach Parrot Heads rejoice. The laidback beach themed pop star returns with “Margaritaville,” “Come Monday,” “Son of a Son of a Sailor,” and “Changes in Latitudes, Changes in Attitudes.” Yngwie Malmsteen April 30 The NorVa Time Magazine listed Malmsteen as one of the “10 Greatest Electric Guitar Players.” Go see why. Kitchen Dwellers Presented by Virginia Arts Festival May 5 Perry Pavilion www.vafest.org For this Montana-based progressive bluegrass band, it all started as a series of after-school jam sessions in the kitchen. In the near-decade they’ve been together, the Kitchen Dwellers have performed for thousands at Red Rocks Amphitheater, shared the stage with the likes of Railroad Earth, The Infamous String Dusters, and Twiddle, graced festival stages from Northwest String Summit to Winter Wonder Grass, and transcended traditional genre boundaries, blending virtuosic bluegrass wizardry with ecstatic rock and roll energy and adventurous psychedelia.

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Victor Wooten, Steve Bailey & Gregg Bissonette May 6 Good Vibes The show is dubbed “Bass Extremes,” and it is sure to be a clinic given the resume these cats have. Japanese Breakfast May 7 The NorVa From the moment she began writing her new album, Japanese Breakfast’s Michelle Zauner knew that she wanted to call it Jubilee. After all, a jubilee is a celebration of the passage of time—a festival to usher in the hope of a new era in brilliant technicolor. Zauner’s first two albums garnered acclaim for the way they grappled with anguish; Psychopomp was written as her mother underwent cancer treatment, while Soft Sounds From Another Planet took the grief she held from her mother‘s death and used it as a conduit to explore the cosmos. Now, at the start of a new decade, Japanese Breakfast is ready to fight for happiness, an all-too-scarce resource in our seemingly crumbling world.

April 2022

GIGGUIDE musichighlight

Disturbed headlines FM99’s Lunatic Luau May 20 at Veterans United Home Loans Amphitheater in Virginia Beach. Atlantic Union Bank Pavilion 4/20 - Three 6 Mafia 4/23 - Jack White 4/30 - Zach Williams w/ Anne Wilson 5/14 - Chicago

Veterans United Home Loans Amphitheater 4/28 - Jimmy Buffett 5/20 - FM99 Lunatic Luau

The NorVa 4/17 - Lucky Daye 4/21 - Blackberry Smoke 4/22 - Rainbow Kitten Surprise 4/23 - Big K.R.I.T. 4/24 - Beartooth/ Silverstein/Devil Wears Prada 4/25 - Three Days Grace

4/26 - Kurt Vile & The Violators 4/29 - NOCAP 4/30 - Yngwie Malmsteen 5/07 - Japanese Breakfast 5/12 - Aly & AJ 5/13 - Jimmie Allen

Chartway Arena 4/22 - KEM & Babyface 4/27 - Black Veil Brides/ Motionless in White 4/29 - Fred Hammond/ Israel Highton 5/03 - Limp Bizkit 5/08 - Isley Brothers

Ferguson Center 4/30 - Diana Krall 5/20 - The Drifters/ Coasters/Platters

Sandler Center 4/20 - Little Feat 4/21 - Three Dog Night

Elevation 27 4/16 - Last Fair Deal 4/18 - Cody Canada & The Departed 4/21 - Saxsquatch 4/22 - Live At The Fillmore: Allman Bros Tribute 4/23 - Heart Breaker: Heart Tribute 4/26 - Spafford 4/27 - While She Sleeps with Gideon 4/28 - Dopapod 4/29 - Start Making Sense: Talking Heads Tribute 5/01 - Unite for Ukraine: Tornado Bait/Thermal Heat/Dual Gravitons/Dave Poitevin/Vo-Bla Show 5/16 - Hatebreed

Brothers Norfolk (Jazz Series) 4/15-16 - Maysa 4/21 - RaJazz Trio 5/03 - RaJazz Trio

5/12 - Jason Cale Band 5/20-22 - Althea Rene & Jeanette Harris

5/06 - Victor Wooten/Steve Bailey/Gregg Bissonette 5/20 - Sister Hazel

The Vanguard Distillery & Brewpub

The Bunker

4/15 - Snackbar Jones 4/16 - Lord Nelson 4/22 - Lane Rice 4/23 - The Hookz 4/29 - The Deloreans 4/30 - Into The Fog 5/05 - Latin Jazz Conspiracy 5/06 - Sea of Souls Reunion 5/07 - Magg Dylan/Absolute Zero & More 5/13 - Tyler Smilo& Dominick DeCecco 5/14 - Big Forest Fire 5/20 - English Channel

5/07 - The Reverend Peyton’s Big Damn Band 5/13 - Freedom Hawk

Taphouse Grill NFK 4/22 - Pears/Old Scars/Song of Praise 5/08 - Demons/Rid of Me/ Prisoner 5/10 - Bad Cop/Good Cop

Scandals Live

Out of the Box Series @ Sandler Center

4/22 - Dirtball 5/07 - Flying High Again/ SAT/Embrace The Oblivion 5/11 - Davey Suicide 5/16 - The Veer Union

4/14 - Anthony Rosano & The Conqueroos

Flatiron Crossroads

Sunsets on the River (Hermitage

4/22 - Bart Chucker 4/30 - Spring Funk Festival 5/06 - Roy Book Binder 5/7 - Mary Moore 5/13 - Grayson Torrence 5/14 - Slapnation

Museum & Gardens) 5/12 - 504 Supreme 5/26 - Lucky 757

Centered Around You Nights at Bridgeport (Suffolk) 5/05 - Gentlemen & Their Lady

Acoustic Carnival @ The Coffee Shoppe 4/28 - Jonah Ross 5/26 - Lena Klett

Good Vibes 4/20 - 420 Reggae Fest w/ Mighty Mystic 4/22 - Steve Wilson w/Jae Sinnett Trio 4/29 - Randy Brecker w/Jae Sinnett Trio

(Gloucester)

Froggies 4/15 - Kurt Crandall CD Release 4/16 - Anthony Roano & The Conqueroos 4/17 - Bellatrix 4/21 - TA Gatling & The Guns 4/22 - Plastic Eddie 4/23 - Almost Famous Band 4/28 - Lewis McGehee 5/08 - Joe Heilman

Grace O’Malley’s Irish Pub 4/15-16 - Sean Heely 4/19-23 - JJ Smith 4/26-30 - Glasgow kiss 5/03-07 - Brian Gaffney 5/10-14 - Mossy Moran

Makers Craft Brewery 4/16 - Derek Smith 4/17 - Red Stapler 5/06 - Amy Kaus

Smartmouth Pilot House 4/23 - Grateful Jed 5/06 - Bennett Wales

Abbey Road

St. George Brewing Co.

4/20 - Mike Proffitt 4/21 - Fixity 4/22-23 - Rob Oliver 4/27 - Mike Proffitt 4/28 - Fixity 5/04 - Mike Proffitt 5/05 - Fixity 5/11 - Mike Proffitt 5/12 Fixity

4/15 - Tony Bob 4/21 - Phil Potear 4/29 - Crumpler & Glass

Hilton Tavern

Big Ugly Brewing Company 4/15 - Tre Smith 4/20 - PC Duo 4/22 - The Blend

4/15 - Jim Masters 4/16 - The Bill Miles Band 4/19 - Jordan Cooper 4/20 - Bob Wilson 4/21 - Rusty Ancel 4/22 - Thru w/Therapy 4/23 - Nathan Lienard 4/26 - Second Wind 4/27 - Rich Ridolfino 4/28 - Cody Christian 4/29 - Zack Salsberry 4/30 - Karl Werne 5/03 - Troy Breslow

GIGGUIDE 42

april 2022

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musichighlight

Sea of Souls Reunion On Friday, May 6 at The Vangaurd Brewpub in Hampton, various Sea of Souls past and present members including original drummer Bill Adams, Mike Doyle, Herb McNeely, Stu Bryson and other guests will join Noel Winslow, Lucky Riggs, and Bone Price for a memorable evening celebrating bassist/ singer Andrew McNeely’s 60th birthday. 5/04 - Alex Woodland 5/05 - Kevin Barry 5/06 - Rusty Ancel 5/07 - Jim Masters 5/10 - Bob Wilson 5/11 - Gary Lively 5/12 - Nick Caffacus 5/13 - Rich Ridolfino 5/14 - Marie-Claire Evans

Vibrant Shore Brewing 4/16 - TomKat Music 4/28 - Leonard Rex 5/03 - Open Mic 5/14 - DJ Swingset

Victorian Station/ The Big Pink 5/13 - David Picco

Zeiders American Dream Theater 4/16 - No BS Brass Band 4/29 - John Toomey Quartet

Tuesdays - Froggies Tuesdays - 501 North Wednesdays - Sunset Grill Wednesdays - Capstan Bar Brewing Co. Wednesdays - Stellar Wine Co. Wednesdays - BLVD Bistro Thursdays - Blue Ribbon BBQ Thursdays - Poppa’s Pub

Open Mic Nights Mondays - South Beach Grill Mondays - Tap It Local Tuesdays - Abbey Road w/ Doyle & Dunn Tuesdays - Winston’s Cafe w/Joey Wood

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Wanna be listed? Send band schedule to jeffmaisey@yahoo.com

April 2022

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April 2022

music jazz

ALL THAT JAZZ Gary Thomas with John Toomey Trio Presented by Virginia Arts Festival April 20 Perry Pavilion www.vafest.org Saxophonist and flutist Gary Thomas established himself in the 1980s as one of the most jarring soloists of his generation. He performs live with John Toomey Trio. Jae Sinnett Quartet with Symphonicity April 24 Sandler Center www.sandlercenter.org Jazz and orchestra combine in this innovative evening of original music by legendary WHRO/WHRV jazz radio host and nationally recognized composer, Jae Sinnett. The melodies will be tuneful and the harmonies soulful as Symphonicity is featured along with members of Sinnett’s Zero to 60 Quartet.

Stepping Out with Diana Krall By Jim Morrison

Diana Krall may be a marquee jazz singer today, musicians] Jimmy Rowles, Ray Brown and John but she grew up as a piano player, listening to her Clayton—people I’d listen to on vinyl as a kid. father’s collection of 78s, never imagining more. So I remember talking to the [registrar’s office] “Oscar Peterson, Monty Alexander, and Bill about the fact I had this opportunity to go to Evans were the really important artists for me as L.A. to learn from [musicians] who used to play a young piano player in high school, not to forget with Billie Holiday. She said, “I’m sure this will playing along with Elton John records in our base- be much better for you.” Who would say that?” ment,” she said in an interview earlier this year. She used a Canadian government arts grant Krall, who plays the Ferguson Center for the to move to Los Angeles to start her career. “I Arts on April 30, also saw her heroes live as a drove down with my father and I rented a room teen. “I grew up on Vancouver Island, Canada,” in a house in the suburbs of L.A. It didn’t even she added, “but I got a chance to see both Oscar have a door. Before I got the grant, I had to fill out Peterson and Monty Alexander perform live all these forms. Ray Brown wrote my letter of refwhen I was about 16. Those experiences erence on a cocktail napkin,” she said.” Jimmy definitely changed my life.” As for Bill Rowles doodled a little animated characEvans—“I love Bill Evans. The first ter of himself on my application form! recordings I heard were given I sent it all in. Thank God there Diana Krall to me by my high school band was somebody who understood April 30 director, Bryan Stovall. They it didn’t matter if my references Ferguson Center were “Live at the Village Vanweren’t typed out formally.” guard” and “Waltz for Debby.” She released her first album, FergusonCenter.org Then, I heard the albums with “Stepping Out” in 1993, funding Tony Bennett and Claus Ogerman, the recording herself. Producer and, of course, “Kind of Blue” (the Tommy LiPuma liked what he heard classic 1959 Miles Davis album).” and they began a long partnership with The three-time Grammy winner who has her second album, “Only Trust Your Heart.” “I had eight albums debut atop the jazz charts started playing in piano bars when I was 15; changed paths, as so many artists do, thanks that’s two years older than my kids are now. to that one mentor. “I really wanted to be a jazz I did my own album before all that and raised musician. I wasn’t singing at that time. I was at my own money for it. I worked and worked and Berklee College of Music and came back home got to New York City and was introduced to Carl to B.C. I figured I’d go back to school,” she said. Griffin (then the senior VP of A&R at GRP Re“I finally got a scholarship to another school in cords) who was, credit where credit’s due, lookBoston and then I got the call to study with [jazz ing to sign me first,” she said. “He gave me that

april 2022

chance and believed in me before Tommy heard me. He turned Tommy on to that BET thing… You find people to champion you, partner with you. Al Schmitt (the renowned recording engineer), Tommy and I had an amazing partnership. Tommy wouldn’t sit in the booth. He would sit with me in the room when we recorded.” He was a devoted partner. “He would sit with his headphones on, eyes closed, and let the music be. When you finished a tune, he’d just let it be… until he opened his eyes,” she added. “He’d look at you and say, “Yeah,” or “One more,” quietly. Ever so quietly. He knew I needed quiet to work, to process, to vibe off of the musicians. The less Tommy said, the more he knew he would get from me. The more that we worked together, the more intimate that process, and trust, became.” Her 2017 Verve release, “Turn Up the Quiet,” was the eleventh and last he produced before his death. Their work spanned every genre from the Great American Songbook to popular songs by writers like Tom Waits, Chris Smither, and Joni Mitchell to compositions she wrote with Elvis Costello. The two married in 2003 and have twins. Her 2020 release, “This Dream of You,” features the title tune by Bob Dylan plus classics including Vernon Duke’s “Autumn In New York,” Irving Berlin’s “How Deep Is The Ocean,” and Gene Kelley’s “Singing In the Rain.” How does she choose what to cover? “I just pick songs I like, in which I can find a story, whether it is Joni Mitchell or Irving Berlin”, she said. But, about the greatest composer I can think of is Duke Ellington.”

Glenn Miller Orchestra April 30 Suffolk Center for Cultural Arts www.suffolkcenter.org The legendary Glenn Miller was one of the most successful of all dance bandleaders back in the Swing Era of the 1930s and ’40s. Today, the 18-member ensemble continues to play many of the original Miller arrangements, plus modern selections performed in the Miller style and sound. Joel Rose Presented by Virginia Arts Festival May 10 Hixon Theater www.vafest.org If you want to hear where jazz is going, score tickets to this concert by vibraphonist Joel Ross and his band. This innovative young artist has thrilled audiences and critics alike, with playing that “erupts through the layers of lush arrangements like consistent currents of electricity, high-powered and full of luminous energy” (DownBeat). Buster Williams & Something More Presented by Virginia Arts Festival May 18 Perry Pavilion www.vafest.org Grammy-winning bassist Buster Williams is jazz royalty, having played and recorded with the greats of the 20th century and beyond, including Art Blakey, Carmen McRae, Chet Baker, Chick Corea, Sarah Vaughan, Jimmy Heath, Wynton Marsalis, Herbie Hancock, McCoy Tyner, Nancy Wilson, Miles Davis, County Basie…the list goes on and on. Now the subject of a critically acclaimed documentary on his life in music, Williams tops the must-hear list of jazz lovers

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April 2022

music broadway

Rob Fisher

Sound of Love, Sound of Music, Afresh Yet Familiar By Montague Gammon III

The beloved Sound of Music theatrical musical, from which the even more beloved movie of the same name was derived, is “all about love.” So says rising directorial star Matt Kunkel. He joins with Bayview Norfolk raised, Norview High graduate and home town hero made very good on Broadway, musical director and conductor Rob Fisher, to helm a joint Arts Festival and Virginia Opera production coming to Hampton Roads for two nights and one matinee at the Harrison Opera House. Love “is the essence of the show” said the soon to-be-married Kunkel, in a phone interviewfrom New York. (Fiancée, dancer and choreographer Emma Gassett, is not involved in this production.) Fisher chatted separately from his home in Connecticut. The Festival’s recently appointed Goode Family Artistic Advisor For Musical Theater and American Songbook, Fisher took a break from preparing for both Sound of Music and “the 25th anniversary concert for the Arts Festival with Renée Fleming and Kristin Chenoweth,” as well as “an all-Jerry Herman program …in early July, with San Diego Symphony and Megan Hilty,” he later explained by email. Kunkel and Fisher have previous “SoM” experience. Kunkel recently directed a production at the high capacity Muny (outdoor theater) in St. Louis last August. Broadway World online said it “is rich with emotion and tension and exceeds all expectations.” Fisher’s Sound of Music shows at Carnegie Hall (a one night benefit for the Hall, with Brooke Shields in the cast) and Chicago Lyric Opera packed houses and got reviews such as “splendidly sung and acted, and vivaciously played by the orchestra under Rob

april 2022

Fisher” (Chicago Tribune). In The Sound of Music, “The family dynamics and the love story and the music are just timeless,” Fisher pointed out. “People never get tired of it.” He added, “It’s the unique combination of the love story that grabs a lot of people. [And] seeing children on stage.” Fisher went on to praise the “great local kids” who came to the local auditions. “I’m delighted with that, going [back] to my home town.” Kunkel said “There’s a lyric that stands out to me, ‘Love isn’t love ‘til you give it away,’ and that to me is the essence of this show and why it’s lasted for so long…It’s about love of God, it’s about love of country. It’s about love of family, it’s about trying to find your place in the world. It’s about how you love God and then you find yourself in a different situation like Maria… who loves these kids…It’s about a man who is steadfast in his beliefs about country, who loves his country and when he sees it going another way, he holds to his values.” Fisher had said, “The political element keeps being relevant even when we wish it were not.” That political element, the love of county that Kunkel mentioned, is where the tension of the play resides. The story takes place in 1938. Captain George von Trapp is a retired from the Austro-Hungarian Navy. (The real Georg von Trapp was the most successful WWI sub captain of that fleet. He was not on “our side.”) When the Nazis annex Austria, von Trapp is ordered to take command of a German ship, but he opposes the new regime. A high stakes game of hide and seek ensues, as he and heroine Maria, the young former convent novice, former von Trapp governess whom he has just married,

try to make their escape to neutral Switzerland with the children who brought them together. Kunkel promises that “the production we [will] do is definitely a fresh take on The Sound of Music without …doing something radical with it. It’s a very polished and lush production…that will be sung exceptionally well but it will have these little moments that…you wouldn’t necessarily have seen or known in another production.” Both Fisher and Kunkel were intent on “making [the show] as diverse as possible,” Fisher said. Canadian vocalist, actress and Carnegie Hall veteran, Juilliard grad Mikaela Bennett, who plays Maria, is mixed race. Chesapeake native, opera soprano, recitalist and actor Aundi Marie Moore, who plays the Mother Abbess of the convent where Maria’s story begins, is Black. Fisher said that Kunkel’s historical research showed that there were convents of Black nuns in Austria in the 1930’s. Bennet sang another Maria, the West Side Story one, for the Lyric Opera of Chicago and has a Lincoln Center Award for Emerging Artists on her resume. She’s been featured with the Los Angeles Philharmonic and the San Francisco Symphony, and has credits stretching from the BBC Proms in London through New York cabarets and on to the US West Coast. Moore came up through the Washington National Opera Young Artist Program. She played Serena in Porgy and Bess at the Virginia and Atlanta Operas and sang in Va Opera’s world premiere of Rappahannock County, which Fisher conducted. Her voice, heard on opera stages from Monte Carlo to Sarasota and DC; has been praised for its “clarion beauty” by the Washington Post and described as “compelling” by Opera News. Fisher has raked up pages and pages of high profile Broadway credits. In Hampton Roads he conducted that April 2011 Rappahannock County, and has been involved in a host of Virginia Arts Festival. Fisher frequently refers to “my home town.” Kunkel taught remotely in the Governor’s School for the Arts Musical Theatre program last year, visiting for a couple of weeks to rehearse each of two cabarets, one play and one musical with the students in person, wrote Chip Gallagher, GSA’s Musical Theatre program chair, in an email. Gallagher added, “The students loved Matt. He is energetic and speaks their language and approached everything from a positive place which was important, considering the challenges [of] learning over Zoom.” Kunkel will be in his element working with the Governor’s School students, Hurrah Players performers and young Virginia Stage veterans who fill out the cast as von Trapp offspring. Between them, Hurrah and the GSA have birthed Flash TV series lead Grant Gustin, Hamilton Broadway ensemble and National Tour featured performer Emmy Raver-Lampman, Met Opera National Council Award Winner Barbara Quintilliani, and double Tony winner Adrienne Warren, so “Broadway Bound” could well apply to some of these nascent careers. Hurrah Players has supplied four cast members. Deep Creek Middle School student Stephen

Culpepper, was also in Matilda the Musical with Virginia Stage Company. Avelyn Bollen, from the Old Donation School in Virginia Beach. Is already an Actor’s Equity Membership Candidate and headed for GSA next year. Ten-year-old Rainey Treviño, a Southeastern Elementary student in Chesapeake, has been on stage since she was three. Her younger sister StormieTreviño, making her professional debut at 6 years old, was the local performer whom Fisher especially mentioned when discussing his memories of impressive local auditions during that phone interview. Home schooled 9th grader Alitheia West is another Virginia Stage, Matilda the Musical, vet. Rhys West has done Boy Scrooge, Peter Cratchit, and Turkey Boy in the VSC Christmas Carol. There’s one more teen in the show; Rolf Gruber, a suitor to the oldest daughter turned Hitler Youth member. That role went to Connor Crowley, another Governor’s School veteran. The role of Captain von Trapp is played by Edward Watts, a true theatrical veteran of Broadway, regional theatre and national tours, recurring TV roles in The Sopranos and All My Children, and who has also concertized with orchestras across the country. Kiara Lee, a Carnegie Mellon BFA candidate from Atlanta, has the part of eldest von Trapp daughter, Liesl. Captain von Trapp’s close companion (until Maria arrives on the scene), Baroness Elsa Schraeder, is played by recitalist and actress Carlyn Connolly, whose credits stretch from Tokyo and South Korea to Roanoke’s Mill Mountain Playhouse with stops in between. Ontario’s David Foley Jr., son of 1960’s TV veteran Foley Sr. and a former stand up comic who can point to film (Flight before Christmas, Broadcasting Christmas) and musical tour (Phantom, Shrek) and Walt Disney World credits, is cast as family friend Max Detweiler. Kunkel pointing out that the film made less use of notable secondary characters than does the live show, says “There are some really great scenes in the play. It’s such an acting vehicle! There’s so much meat on the bones of Sound of Music that it does not get credit for.” He reminds audiences that “The stage version and the film version are two different entities; they are two very different pieces of art.”

The Sound of Music

Co-presented by Virginia Arts Festival and Virginia Opera Rob Fisher, conductor Music by Richard Rodgers, lyrics by Oscar Hammerstein II Book by Howard Lindsay and Russel Crouse 8:00 p.m., Fri. and Sat., May 13 &14 2:00 p.m., Sun., May 15 Harrison Opera House, Norfolk VaFest.org 757-282-2822

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April 2022

music broadway

Renée Elise Goldsberry

have and if you keep working at it some tremendously surprising dreams can come true.” In a 2011 interview with TheaterMania, she said “the most important thing you have to do is to show up and believe you can.” About the role of Mimi in Rent, and its astounding athleticism, and more generally about goals: “Sometimes I think we surprise ourselves with the things that we can do if we take some risks and the physicality of that role was really a risk and it worked out fantastically.” About her upcoming concert: “It’s a celebration of love. It’s a great time! I think that people think that concerting is somehow formal and that it’s going to be a sit down and observe and appreciate … and it really is more of a party, we have a really good time …it’s important to me that when people leave that they feel that they are inspired… like we hung out together for an hour and a half in the kitchen or the family room, laughing and talking and sharing music that we both love.” About her career so far: “I’m so very grateful for the people who have believed in me and that [called me up] to play surprising characters, and I’ve really enjoyed what i’ve done so far.” About family; she’s been married for 20 years to attorney Alexis Johnson. In 2011 she said this to TheaterMania: “That’s the beauty of my life. At night I get to star in a Broadway show and during the day I get to be home and potty train my little two-year-old. I’m so blessed. It’s the happiest time of my life.” Since then they have adopted a girl from Africa, named Brielle, who is 9 years old to her brother Benjamin Johnson’s 13. About her future: “I have a voice and I have an opportunity to produce and write roles for myself and for people like me … and I feel Renée Elise Goldsberry Presented by pretty excited about that.” Virginia Arts Festival Without going into details Hamilton (Drama Desk, Lucille 7:30 p.m., Fri., May 6 about prospective work she Lortel, Broadway.com AudienChrysler Hall says, “I have at least four difce, Emmy and Grammy Awards VaFest.org ferent groups of people that winner, plus she’s up for a PriI am working with to develop metime Emmy for 2021.). some projects that I am very excited The New Yorker magazine called about. I feel empowered and inspired her “dynamite” and “incandescent” in by other actors who have been able to cross Hamilton. She chatted by phone while on the way to La over to the other side of the table. I’m very grateful Guardia Airport, headed to Cincinnati for a con- that the path has been laid in front of me by other cert on the tour that puts her “most weekends people … [I’m] following in their footsteps.” She made a point of mentioning “The album some place, some times two places.” It all began when a Houston middle school that I am writing and producing, that I’m putting teacher, a lady whose name she does not im- out in the next few months and…Girls5eva.” That show is summarized in official publicmediately remember, figured out that young Renée’s skill at mocking mimicry of adults, ity like this: “When a one-hit-wonder girl group coupled with singing ability, warranted positive from the 1990s gets sampled by a young rapper, its members reunite to give their pop star dreams attention and vocal solos. “I love to talk about that because I don’t one more shot—this time while balancing spouses, think our teachers get enough credit and people kids, jobs, debt, aging parents and shoulder pain.” Goldsberry rattled off the names of her codon’t spend enough time being grateful for the people who believed in them when no one else stars: Sara Bareilles and Busy Philipps and Paula did…that was a very good teacher who gave me Pell, and said “It feels really good to be in the company of these women…not worried about inhibian identity that I still have.” On the progress of her career she said: “The tion and just going for it all. We’re talking about most constant thing in your career, especially if people who are starting to climb this mountain at you have been around long enough, is disappoint- this age. Everybody deserves to dream.” “Everybody deserves to dream…we surprise ment and times when you have been disregarded and things fall short of what you had hoped for, ourselves with the things that we can do…show and its important to remember that life is trial up and believe you can… if we take some risks… and error and you get what you are supposed to surprising dreams can come true.”

Hamilton Star Celebrates Love and Dreams Come True By Montague Gammon III

She’s won awards, or been nominated for them, for Shakespeare and soap opera and songwriting and Off-Broadway, she’s been a Latina junkie stripper in the late 20th Century and the rapping socialite sister-in-law (and maybe secret love) of Alexander Hamilton in the late 18th. She’s been a poor Black, sexually abused, Georgia farm girl teen and an African lioness queen. She’s the junior-high class clown turned Broadway star who’s set her sights on writing and producing, she’s touring the country with a concert that she likens to a party, and she’s landing on the Chrysler Hall Stage, via the Virginia Arts Festival, May 6, for one of those party/concerts. She’s Renée Elise Goldsberry, and if her real name is not familiar, you may remember the characters she’s played: on TV, as Evangeline Williamson in the daytime drama One Life to Live (Two Daytime Emmy and two NAACP Image Award nominations, Soap Opera Digest Award winner) or as a back up vocalist for Vonda Shepard on Ally McBeal, or in the recurring part of Geneva Pine in The Good Wife. Or the title character of HBO’s The Immortal Life of Henrietta Lacks, or as a guest on Star Trek: Enterprise and Royal Pains, on Law & Order: Special Victims Unit and on Younger, on Masters of Sex and That ‘80s Show and in a bunch of others. Girls5eva, the Peacock TV streaming series in which she stars, starts its second season the day before her concert here. Its first season got nomi-

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nated for a Television Critics Award for Outstanding Achievement in Comedy, and Goldsberry earned a TCA nomination for Individual Achievement in Comedy; the Hollywood Critics Association nominated the show for Best Streaming Series, Comedy, nominating Goldsberry and co-star Paula Pell for Best Actress and Best Supporting Actress in a Streaming Series, Comedy. She’s been on the big screen too, in a good dozen movies, including All About You, for which she had the leading role of Nicolle Taylor and also co-wrote and performed over 50% of the songs, title song included. (Her rock and roll writing got her a Grand Prize in the first John Lennon Songwriting Contest, in 1997). Her discography numbers seven, with one on the way. Her Masters degree from USC is in jazz vocals; she can also do show tunes and rap, Christmas songs and even, quite movingly, ’50s style Doo-wop love tunes. She’s best known for live performances: Nala in The Lion King, Michelle in Dreamgirls, Nettie in The Color Purple, Silvia in the rock musical version of Two Gentlemen of Verona (Drama League Award nominee), The Princess of France in Love’s Labors Lost, romantic lead Rosalind’s sidekick sister Celia in As You Like It, leading man Mike’s wife Kate in Good People (Outer Critics Circle Award nomination), the feline, acrobatic, drug fueled Mimi in Rent, and most famously and visibly, Angelica Schuyer in

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April 2022

music

classical

Cellist Sterling Elliott is from Newport News

Sterling Elliott Takes Center Stage By Montague Gammon III

Hampton Roads natives who have gone on to excellence in some of the greatest musical venues of the world bring the achievements of two and a half centuries of musical innovators, rendered by the Virginia Symphony Orchestra, to the Ferguson Center for the Arts in Newport News for one night only, the last Friday in April. The concert includes the work of a contemporary young composer who “brings to the business the same kind of newness, revolutionariness that Beethoven brought,” conductor Thomas Wilkins said. “There is this thread of tradition and departing from tradition that runs through this program,” he added. That composer whose innovative drive Wilkins likens to Beethoven is Atlanta native Carlos Simon—or formally, Dr. Carlos Simon, Jr.,

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who earned his doctoral degree in music from the University of Michigan. A cello concerto by Joseph Haydn, who was, in Wilkins’ words, “the crown jewel of symphonic writing when Beethoven was coming along” sits on the program between the 36 year old Simon’s Beethoven-inspired orchestral work from 2020 and the Beethoven 3rd Symphony that “helped usher in the Romantic Movement,” which dominated the musical soundscape of the 19th Century. The Haydn piece is his 1784 or ’83 Concerto in D major for Violoncello; Haydn’s numerous innovations included the string quartet and what became the traditional symphonic form. Simon’s piece is titled “Fate Now Conquers.” VSO Principal Guest Conductor Wilkins, whose life story—Norfolk born, raised in pov-

erty in the Young Park housing project, now a the nationwide Sphinx Competition for young highly respected conductor, music director and classical string players of Black and Latin anuniversity professor at one of the finest music cestry, a former student of Michael Daniels, school in the world—is becoming well known, the VSO principal cellist, and his professional took time from his thrice yearly teaching stints career is well on its way. He’s soloed here, and at the Indiana University Jacobs School of Mu- with four of the symphony orchestras of the sosic, where he holds the Henry A. Upper Chair of called “Big 5”: New York, Philadelphia, Boston Orchestral Conducting, to chat about the con- and Cleveland (no Chicago, yet). Plus Detroit, cert by phone. Dallas, Buffalo, Los Angeles, Richmond, West Asked about who chose this particular triplet Virginia… of works, he said “I programmed everything but Wilkins worked with Elliott in Boston. “We the Haydn, because that’s what the soloist is of- did a last minute concert… right before the fering. Once that happens the idea is to build the pandemic. The Boston Symphony had to cancel rest of the program...around the sound world of its Asian tour so we decided to do a program in the Haydn. So we basically pretty much stayed Boston… and we invited this young man to parin Vienna, and Beethoven appeared when Haydn ticipate and…the orchestra fell in love with him, was at the height of his fame…So it makes sense and rightfully so. I’m really excited to get back to turn in the direction of Beethoven after the with him, because he’s a terrific young man, a Haydn.” terrific human being and a really phe“And Carlos Simon was inspired nomenal musician.” by Beethoven. So that’s sort of Then comes Beethoven. the thread that runs through Victorian era music Beethoven Symphony No. 3 the entire program.” critic Corno di Bassetto Virginia Symphony Orchestra “I just met [Simon] rewrote, “Haydn is refined Thomas Wilkins, Conductor cently and have been… as the most cultivated intrigued by his writing country gentlemen of Sterling Elliott, Cello and his enthusiasm and his day were refined… April 29 knew I wanted to bring Beethoven was an obFerguson Center for the Arts, some of his music to Virstreperous Bohemian, Newport News ginia at some point, and a man of the people… VirginiaSymphony.org this has turned out to be Beethoven was a Santhe perfect time because of sculotte…Haydn a [court] what else is on the program.” flunky in the old livery…the “He has exploded onto the mu[French] Revolution stood besic scene. His formal training in compotween them as it stood between the sition came late in his life, and he’s been a quick eighteenth and the nineteenth centuries.” (di learner and his writing skills have caught with Bassetto later turned to playwriting under the his imagination…That’s the case for all of us in surname of Shaw.) everything we do…Our maturity only enhances Wilkins has conducted Beethoven’s 3rd “at the energy that we hope to bring to the table.” least half a dozen” times, he says, adding, “The Simon wrote online about “Fate Now Con- older I got the more fun it was.” (Not unlike his quers:” remark about skills catching up with inspira“This piece was inspired by a journal entry tion, he acknowledges.) from Ludwig van Beethoven’s notebook, writAs a conductor, he asks of himself and his ten in 1815: musicians, “What is it that Beethoven hopes “‘Iliad. The Twenty-Second Book that the listener gains from [some] phrase?” But Fate now conquers; I am hers; and yet not “When I study Beethoven from an intellecshe shall share In my renown; that life is left to tual standpoint, I see his good ideas on paper every noble spirit. and I realize how perfect they are…his genius is And that some great deed shall beget that all not just intellectually inspiring but it’s emotionlives shall inherit.’’’ ally inspiring as well.” “Using the beautifully fluid harmonic strucSymphony No. 3 is the work of “a composer ture of the second movement of Beethoven’s who shows you that he is willing to wear his Seventh Symphony,” Simon wrote, “I have com- heart on his sleeve..[It’s] impactful, it can be posed musical gestures that are representative forceful and it can be utterly charming also at of the unpredictable ways of fate…the uncer- the same time, and then witty and clever.” tainty of life that hovers over us.” To folks who are novices to classical mu(Wilkins, in general remarks about sic, or who are seldom classical concert goers, Beethoven’s symphonies, termed that particu- Wilkins would say, “Don’t assume that you have lar movement “one of the great moments in the to have a pre-determined body of knowledge in history of Western music.”) order to appreciate the music that you are going The Haydn concerto manages to be soaring to hear [or] to relate to the music that you are and joyous, a showpiece for the soloist without going to hear, because it’s perfectly capable of being obtrusive, that is, without ever giving the taking care of itself in that regard. You just have sense that any element of it exists solely for the to come and savor.” purpose of being a showcase. “The most important people in the room are That soloist is Sterling Elliott, a Newport sitting in the audience… It’s not about instrucNews native. He’s the youngest winner ever of tion, it’s about invitation.”

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Sparkle and Recharge with the Jerusalem String Quartet By Montague Gammon III

Two Ukrainian violinists, a cellist from Belarus, and a California born violist—the Israel based Jerusalem String Quartet—will play an eclectic mix of German, Russian and Austrian music in a pair of Virginia Arts Festival concerts April 25. First violin Alexander Pavlovsky and second violin Sergei Bresler, with cellist Kyril Zlotnikov, are founding members of the group, which dates to their student days in 1993. Ori Kam joined up later as a replacement violist. All four of them have been racking up awards and printed praise, individually and as a group for all their years together. The NY Times said “Passion, precision, warmth, a gold blend: these are the trademarks of this excellent Israeli string quartet.” BBC magazine weighed in with “Their playing has everything you could ask for.” Favorable reviews of performances and recordings fill pages of their website. Their concerts here include an 1837 vintage “sparkling champagne” by the German Felix Mendelssohn and a simple Russian folk tune elaborated, in 1871, into “pure and holy” sounding chamber music by Tchaikovsky. These bracket the literal romance of a piece by the young Austrian Anton Webern, inspired by his bride-to-be in 1905, for a Monday evening con-

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cert at the Festival’s downtown Norfolk, Robin Hixon Theater Works by two more Austrians, innovative geniuses both, make up the Quartet’s Monday morning Coffee Concert program at Portsmouth’s St. John’s Episcopal Church: Joseph Haydn a.k.a. “Papa Haydn,” and the towering, o’er topping, crowd pleasing for good reasons, Beethoven. Those brief, quoted characterizations above, about Mendelssohn’s Quartet in E-Minor, Op. 44, No. 2 and Tchaikovsky’s Quartet No. 1 in DMajor, Op.11 are taken from an insightful and informative chat with first violin Alexander Pavlovsky, on the phone from Israel. “Papa” Haydn is so called (by fans as far removed as an enraptured Snoopy of Peanuts comic strip fame) because, Pavlovsky explained, Haydn is considered the father of the string quartet genre. (And, for that matter, of the symphonic form as well.) The six quartets that make up Haydn’s Opus 20 provided, Pavlovsky said, “a platform which was learned from by Beethoven and Mozart and Brahms and many others…for the centuries to come.” The Jerusalem String Quartet is playing one

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of that half dozen, No. 5, in their Monday morning Coffee Concert. It’s “a milestone of quartet writing,” said Pavlovsky. Being written in a minor key, F minor, he explained, “means it’s more dark…The tension and drama between major and minor is very important,” he added, noting that parts of the piece possess a “beautiful…light dancing” quality. In sum, he termed Haydn’s work “masterfully written.” Beethoven’s 1808 Quartet No. 9 in C major, Op. 59, No. 3, “a very festive work” which is the second half of that morning performance, represents “the platforms of Haydn and Mozart taken to a new level. Everything is bigger and longer; the themes are longer; the development is longer. He knew how to take a little idea, a little motif and develop it in different ideas and directions…it’s really kind of a grand work…always very exciting to play,” Even members of “the public [who] do not often go to classical, chamber” concerts, Pavlovsky said, find it easy to connect to and enjoy this piece, as a way to “recharge your batteries.” The Mendelssohn Quartet kicks off the longer Monday evening concert. Pavlovsky comments, “The work is really full of nervous expression and some beautiful romantic lyricism and a lot of dancing moments, …The scherzo [movement] is light and sparkling like you open a bottle of champagne.” “There is a kind of driving pulse that runs through it … a beautiful melancholy melody. There is … like a theme of water running under, all the time from the beginning to the end … which adds this kind of inner drama.” “Not every composer will make four movements that are quite amazing,” he adds, saying that Mendelssohn’s Quartet in E -Minor is “The final fruit or flowers of the style created by Haydn and Mozart.” Anton Webern’s nine-minute or so Langsamer Satz [Slow Movement] for String Quartet, written when he was a 22 year old guy in love, follows the Mendelssohn work. The story goes that he and his girlfriend, later fiancée and wife, took a hiking holiday in the mountains near his native Vienna, and that trip inspired this piece. It’s a lushly romantic work, suffused with tenderness and easily recognized as the intense outpourings of a young man flush with the joys and the worries of well requited love. (They remained married all his life.) Webern wrote just this one movement of what may have been intended as a four movement string quartet, and then put it aside. He’s best known for being part of the musical avant garde of the early to mid 20th Century, so this distinctly conventional piece is a noteworthy, small bit of music history. Pavlovsky commented: “It’s very touching and beautiful. It’s a love story. It’s music [which has] some passionate inspiration, love, and some very quiet intimate moments and some… wild moments…but basically it’s a very intimate, beautiful movement.” Tchaikovsky’s Quartet No. 1 in D-Major closes the evening concert with one of the rare works he wrote for small groups. The orchestra, the opera, the ballet were more usual vehicles

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for Tchaikovsky’s artistry, but this work has drawn lavish praise from folks as diverse as Leo Tolstoy, whom it apparently brought to tears, and Hellen Keller, who rested her fingers on a tabletop to sense the musical vibrations. It’s popular among musicians too; the second movement, Pavlovsky pointed out, is often played as an encore, noting that Tchaikovsky himself made an arrangement for cello and orchestra. That’s the movement apparently sparked by a Russian folk song, which Tchaikovsky overheard whistled or sung by a painter or a carpenter or a gardener (depending on what source one uses), with lyrics about Vanya sitting on a sofa either smoking his pipe or pouring a glass of rum. Some sources add that the composer was visiting his sister’s home in the Ukraine at the time. (His birthplace was part of the Russian Empire when he was born; now it is in the northern part of the Ukraine.) Pavlovsky added that Tchaikovsky wrote this quartet in “a few days or a few weeks.” It was premiered at a Moscow Conservatory concert dedicated to his work, when he was teaching there for, it is universally reported, a meager salary. Being financially unable to pay for a large orchestra, he had to make do with works that a few musicians could play. Even financing a quartet was out of the question until violinist and fellow professor Ferdinand Laub offered to play, with the other members of his Russian Musical Society Quartet, for free. San Francisco based musicologist and chamber music specialist, Kai Christiansen, wrote on his earsense.org site that this was “Tchaikovsky’s first chamber composition and it showed a complete technical mastery… full of bristling vigor, wonderful quartet textures, unmistakable touches of Tchaikovsky’s lyrical drama and tinged, in parts, with a distinctly Russian cast. It is one of the finest chamber music movements he wrote…Despite the definite mark of Tchaikovsky’s personality, it bears a striking and detailed resemblance to the string quartet music of Tchaikovsky’s greatest musical idol: Mozart.” “The harmonies are very Orthodox…The character is kind of pure and holy, very Russian I think,” noted Ukrainian born Alexander Pavlovsky. PS: A Tchaikovsky family home in the Ukraine was destroyed by the Russian army as this was being written.

Jerusalem String Quartet Co-Presented by Virginia Arts Festival & Feldman Chamber Music Society Coffee Concert II 10:30 a.m., Mon., April 25 St. John’s Episcopal Church, 424 Washington St., Portsmouth Jerusalem String Quartet 7:30 p.m., Mon., April 25 Robin Hixon Theater 440 Bank St., Norfolk VaFest.org 757-282-2822

Fri. June 10, 2022 | 7:30 PM | Ferguson Center Experience the entire Star Wars saga through the ÀOPV· VFRUHV ZULWWHQ E\ WKH OHJHQGDU\ -RKQ :LOOLDPV LQFOXGLQJ PXVLF IURP 5RJXH 2QH DQG (SLVRGH 9,, The Force Awakens.

Eric Jacobsen, Music Director

Reserve the BEST SEATS now! Visit virginiasymphony.org or call 757.892.6366.

April 2022

stage musicaltheater

The Dreamettes. Photo by Sam Flint.

Dreamgirls Brings Glitz and Glamor By Jerome Langston

MAY 7TH & 8TH AT 2PM The Perry Pavillion in Downtown NorfolK

Tickets on sale at hurrahplayers.com 56

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“I was holding on to this,” says Anthony Stockard, the producing Artistic Director of Norfolk State University Theatre Company, regarding his theatre company’s latest collaboration with Virginia Stage Company, the iconic Broadway musical, Dreamgirls, the latest show in VSC’s current 43rd season. “When I threw it out there, Tom was all for it.” Anthony is referring to Tom Quaintance, VSC’s producing Artistic Director, and this was back when they were first discussing collaborating for season 43. NSU Theatre has collaborated on several high-profile VSC shows in past seasons, including the classic musical, The Wiz, which was a huge success during season 38. Anthony mentions some of these past successes with VSC during our chat this past Sunday at the gorgeous, state of the art G.W.C Brown Memorial Hall, the formal home of NSU Theatre Company, which is of course on the campus of Norfolk State University. The cast of Dreamgirls has been rehearsing there for just over a month, and will finally

head to the Wells Theatre later in the week to prep for previews. Anthony and I are joined by two of the young, key cast members, both students at NSU, though one is actually working under an Equity contract. “This is the first time that students, NSU Theatre company members, and alum are being offered Equity contracts to perform under,” says Anthony, who pushed for this rare distinction. Consequently, after Tom agreed, several such cast members were offered these professional contracts normally reserved for the New York actors who come down to VA to perform in VSC shows. Katelan Corprew, a current junior at NSU, is one of the recipients of an Equity contract, and she portrays Deena Jones, who many believe was primarily modeled after the legendary Diana Ross. Regardless of who Deena was inspired by, her character has one of the most striking arcs within the show. “She turns into this woman who is about her business. And she doesn’t want to be put in a box anymore,” says Katelan.

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“I identify with that part, when she wants of Dreamgirls coincides with the 40th anto just break out and do everything that she niversary of the show’s original Broadway can to be up to her potential.” production winning six Tony Awards back Much of Deena’s story, of course, is heav- in 1982. With book and lyrics by Tom Eyen, ily informed by her relationship with Curtis and music by Henry Krieger, Dreamgirls is Taylor Jr., the Berry Gordy type music fig- easily one of the most successful Broadway ure whom she eventually marries and who shows in history featuring a predominately turns her into a major star. “Her relationship African-American cast. The show opened in with Curtis has a lot to do with the growth December of 1981 at the Imperial Theatre that you’ll see throughout the course of the and remarkably ran until August of 1985, folshow,” says the actress. “It plays a big factor lowing over 1500 performances. Besides its in who she later becomes.” six Tony Awards, the show also won multiple C.C. White is being portrayed here by Drama Desk awards and Grammys for its Adam Moskowitz, a freshman who is new cast show album, including a win for Jennifer to acting, but has a much longer history as a Holiday’s astonishing performance of “And I talented singer and musician. “C.C. is a very Am Telling You I’m Not Going,” which many confident character,” says the young actor. R&B music critics still regard as one of the “He’s confident in his work as a best female vocal performances songwriter, as a choreograof all time. pher, and he really sets the Following the success Dreamgirls pace for The Dreams.” of the original Broadway April 13-May 1 Both Katelan and show, a revival and a Presented by Virginia Arts Adam impressed Annumber of national tours Festival with Virginia Stage thony, who is directing Company & NSU Theatre Company followed...but it was the show, with their rereally the blockbuster Wells Theatre spective talents for singfilm adaptation in 2006, VaStage.org ing, as well as their work which starred Jamie Foxx, ethic. “He has a wonderful Beyonce, Eddie Murphy and singing voice,” the director of course, Jennifer Hudson as says of Adam. “Both of them do.” Effie White, which really introThe two actors are part of a large cast of 19, duced the story to the younger generations. which is also supported by 15 musicians. That movie was nominated for eight Academy And this is one of the first productions at Awards, and saw Hudson win the coveted troVSC, since the pandemic began, that is able phy for Best Supporting Actress. to relax some of the COVID-19 protocols for Dreamgirls tells the story of a 1960s cast and creative team. Patrons are still black girl group who through their sucrequired to wear masks inside the theatre cess, hardships and eventual triumph over though, regardless of vaccination status. adversity—transforms the American music For this show, besides all of the great mu- industry, and the broader culture at large, sic and elaborate set designs...the costumes during some remarkably tumultuous times. tell their own story. And Anthony is excited And it’s an exciting history lesson about about the costumes. They are being de- Black popular music of the mid to late 20th signed by VSC’s Jeni Schaefer, and by Bryce century, and even includes plenty of proTurgeon, a NYC based costume designer for vocative relationship drama. As director of this new Virginia producmajor Broadway shows, who is well known for dressing some of the most popular drag tion of the show, Anthony is most concerned queens, including Sasha Velour from Ru- about “honoring the acting, and trusting Paul’s Drag Race. “He has come up with very that the music will take care of itself.” He elaborate, out of the box costumes for The says towards the end of our chat. “I know Dreams,” says Anthony, with more than a the music will be there. The dancing will be hint of excitement in his voice. “They’re be- there. The glitz, glamour...all of that will be there, but it is a complicated, dynamic story ing built in NYC and shipped here.” Virginia Stage Company’s production of watching people find their way.”

Focused on producing the best sounding tracks Mixing, recording, live recording, voice-overs, band recording, movie sound design, and commericials – we can help you with almost anything in Hampton Roads, VA. 757-825-2441 | www.BlackLabelMultiMedia.com

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April 2022

dance ballet

Lucy Negro Redux: A Groundbreaking Ballet By Jerome Langston

The February 2019 world premiere at TPAC’s Polk Theater of Nashville Ballet’s Lucy Negro Redux, a provocative and illuminating work of contemporary ballet that embraces spoken word poetry, narration and a range of acoustic music, garnered considerable national attention and acclaim. Even The New York Times devoted a number of highly positive articles to the ballet’s premiere in Nashville. Lucy Negro Redux is a sensuous and crossdisciplinary work of dance, which was written and choreographed by Paul Vasterling, Nashville Ballet’s longtime artistic director, and based upon the 2015 book of poetry by Nashville’s famous writer/activist/scholar, Caroline Randall Williams. With its score written by acclaimed singer/songwriter Rhiannon Giddens, and performed live by Rhiannon and Francesco Turrisi, the ballet imagines a love triangle between the character of Shakespeare, and his “Dark Lady” Lucy, and the “Fair Youth.” Caroline appears on stage, and narrates the work, giving voice to Lucy—whose life and perspective is at the center of this groundbreaking work. “I’ve done a lot of Shakespeare over my time, in ballets... I’ve done MacBeth, Romeo and Juliet, A Midsummer Night’s Dream,” says Paul, during a brief chat by phone a few days ago. “And so his language many times speaks to me.” And when someone passed him Caroline’s book, her poetry spoke to him as well.

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“And then of course Caroline’s language New York was spent working on the story was inspired by, in many ways, and were of the ballet, and included considerable riffs upon Shakespeare’s own language, input from Caroline, who joined him there but accepted through her own personal for a few days. Her suggestion that “there lens,” he says. “For me personally as an art- needs to be a moment of just Shakespeare ist, there’s a real affinity for Shakespeare... and Lucy in love,” as there is so much drama he speaks in multitudes.” to come later in the work, was followed by William Shakespeare’s so-called “Dark Paul and changed the ballet’s beginning. Lady” sonnets describes a woman who Paul also listened to his principal balmay have been of African delerina, whom he developed this scent, though that has never work for, as it pertained to the been factually established, actual choreography, which Nashville Ballet: Lucy despite various efforts to. he considers an inherently Negro Redux Lucy Negro is one of the collaborative discipline Presented by Virginia Arts names mentioned, and this anyway. Kayla expressed Festival “black” woman apparently to him, during the preApril 23 owned a brothel in London. liminary stages for just Chrysler Hall It’s an intriguing story, and doing movement for Lucy, VaFest.org it inspired Caroline’s well-rethat she felt most powerful garded book. as a woman and dancer, when Yet it was really Paul’s desire to en pointe. “My plan was to do it in find an ideal work for one of his company’s flat shoes for most of the ballet, and then by stand-out ballerinas, Kayla Rowser, who has the end, put her up en pointe,” he says. But since retired, that motivated him to pursue after receiving that feedback from Kayla, the possibility of Lucy Negro Redux becoming he reimagined the choreography. “It really an actual ballet. “I was looking for ballets that changed the choreography for the charmight fit her, for her to tell a story in,” he says. acter of Lucy. She’s the only one en pointe, “I definitely saw Kayla in the role of Lucy.” pretty much all the way to the end of the After contacting Caroline about his ballet.” ambition to turn her literary work into a “It really sets her apart, and also makes her work of dance—Paul eventually headed to movement more of the classical ballet idiom,” New York as part of a fellowship that he Paul continues. Once Kayla retired though, won to develop a story ballet. That time in he says it “was a little scary that she wasn’t

around to do it anymore.” However, this nationwide tour of the ballet, which plays Norfolk’s Chrysler Hall for a single performance later this month, will feature a couple of different ballerinas who will inhabit Lucy in a new way, which Paul is happy about. “We got these beautiful other dancers to step into the role, Imani and Claudia, and what I love most about it is how different they are in it,” he says. “And how much they’re able to bring their own experiences to what they do.” For the Norfolk performance, ballerina Imani Sailers portrays Lucy, while Garritt McCabe, who is a new addition to the company, is the Fair Youth. Prior to my chat with Paul, I was called by Imani, to chat about this big, important role for her. “I am really excited that Lucy Negro Redux is my first principal role for a full-length ballet,” she says happily. “This role definitely required a lot more care on my body—just because it’s a lot more involved than the roles that I have performed with Nashville Ballet in the past.” A Chicago native, Imani has done a lot of prep work for the role, going back to being an understudy for Kayla, during the 2019 premiere. “The biggest thing that sets Lucy apart from other roles, is just the amount of character development that we’ve had to do, all three of the principal characters in the ballet, but especially Lucy, just because this is her story.”

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April 2022

dance modern

A Different Type Of Richmond Ballet

Virginia Beach performance will feature four diverse works By Jim Roberts Jennifer Chapman lives in Virginia Beach but works for Richmond Ballet. Her job—even before the rest of the world embraced telecommuting—is to help the dance company build an audience beyond Richmond and specifically in Hampton Roads. In the past, that has meant bringing long, classical performances like “The Nutcracker” and “Carmina Burana” to large venues in Norfolk and Newport News. They’re about to try a different approach, though, presenting a variety of short works in a small theater at Virginia Wesleyan University on April 24. “I think a lot of people maybe still have in their minds that classical view of what ballet is,” Chapman recently told Veer Magazine. “But it can be really cool and funky and contemporary and modern, and that’s kind of what our Studio Series is like. We’re just excited for the community to see a different type of Richmond Ballet.” One of the four pieces coming to Virginia Beach was choreographed by Ma Cong, Richmond Ballet’s new associate artistic director. “‘Glare’ is a piece that is really trying to connect to people and with their human experiences,” Cong said. “Every single section is talking about the different human experiences. It’s a piece to unify people and bring people together.” Cong said the music, composed by David McAlmont and Michael Nyman, has a “1980s kind of vibe” to it. “There’s lyrics to the music as well,” he said. “I just tried to use that as the foundation. … When I talked to people after the premiere in September, people did feel this work is very, very passionate. And also they think it’s so powerful because they really relate to their experience.” The Virginia Wesleyan performance will also include “Allegro Brillante” (choreography by George Balanchine and music by Peter Tchaikovsky), “Three Preludes” (choreography by Ben Stevenson and music by Sergei Rachmaninoff), and the Pas de Deux from “Vestiges” (choreography by Colin Connor and music by Michael Nyman). “I really do encourage people to come to see this show,” Cong said. “They will be really, really blown away that they probably never saw a ballet like this. … They will see that ballet can be everything.” While Cong recently visited Hampton Roads—to scout Virginia Wesleyan’s Susan S. Goode Fine and Performing Arts Center and to teach a master class at the Governor’s School

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for the Arts—the performance will be his first in the area. Cong’s journey to Virginia has been long. He was born and raised in China and studied at the Beijing Dance Academy. He began his career at the National Ballet of China but dreamed of living and working in the United States after spending one of his teen-age summers at a ballet program in Fargo, North Dakota. He eventually left China for Tulsa, Oklahoma, where he finished his dance career and seamlessly transitioned into the world of choreography. He was hired by Richmond Ballet in 2020 and officially finished the move to the Old Dominion with his family last December. About five years ago, he also became a U.S. citizen. “I just find this is a country with freedom—a country with the possibility that dreams do come true,” Cong said. “I have been chasing my dreams step by step—chasing dreams to become a dancer, chasing dreams to become a choreographer, and chasing my dream to lead a company—including chasing the dream to become a citizen. I got all those wishes came true. So I just feel like one of the very lucky ones.” Richmond Ballet will perform at 4:30 p.m. Sunday, April 24 at the Susan S. Goode Fine and Performing Arts Center on the campus of Virginia Wesleyan University in Virginia Beach. General admission tickets are $40; tickets for college students are $20. For tickets or more information, visit RichmondBallet.com.

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April 2022

aroundtown highlight

EVENTS (Non-Festival) The Taste of Art April 30 - May 1, 10 AM - 3 PM The Artists Gallery www.theartistsgallery.org An outside art show and demonstrations. The Hermitage Collective Presents: May Day May 1, 12-3 pm www.thehermitagemuseum.org A spring celebration featuring family-friendly art & garden activities, museum & garden tours, a May Pole, music, food & a bar, picnic basket contest, lawn games and more. Free.

Virginia Poet Laureate Luisa A. Igloria is CNU’s keynote speaker.

Christopher Newport University’s 40th Annual Writers Conference May 6-7 CNU Campus, Freeman Center www.cnu.edu/writers For 40 years the Christopher Newport University Writers Conference has brought together people who love words as a hobby and as a vocation. Participants learn from agents, editors, publishers, accomplished authors, poets, professional teachers and from each other. The program this year includes a series of three workshops on getting published, two on writing fiction, four on genre writing and two on creativity. Writing contests in fiction, nonfiction, poetry and young adult fiction are also being held. The Friday keynote talk, How to Talk About Your Writing, by Steven Salpeter, Assemble Media president of literary and IP development, will provide insights into effective author communication with agents and editors. The Saturday morning keynote by Luisa A. Igloria, poet laureate of Virginia, is titled Opening to the World Again: Writing Poetry From Out of This Time of Vulnerability. Also on the agenda is a panel discussion led by Mary Batten, popular children’s science writer, with agents representing numerous authors at major publishing houses. This is the 40th annual conference and it has a long tradition of helping writers learn the skills needed to transfer their thoughts and imagination with clarity and heart to the written page, and to understand the many facets of professionally publishing and marketing their work in a fast-changing technological world. — MacKenzie Masterson

Wine & Run for the Roses May 7 Williamsburg Lodge www.muscarelle.wm.edu A Virginia Wine reception before the live telecast of the 148th Kentucky Derby with required Derby Attire, hat contest, food, and race raffle.

www.diningoutforlife. com/757 Check out the website for a list of participating restaurants. Benefits AIDS research. Soiree en Blanc 2022 May 12, 5:30-8 PM www.norfolksistercities. org Everyone’s favorite all in-white dinner gets a new date and, of course, location to be determined. Cuisine from Taste Catering & Events.

PERFORMING ARTS Ferguson Center for the Arts “Bennie & The Jets: Elton John Tribute,” April 22 Diana Krall, April 30 “South Pacific,” May 12 “Stayin’ Alive: One Night of Bee Gees,” May 13 Clay Jenkinson as Thomas Jefferson, May 14 “Beautiful: The Carole King Musical,” May 17 www.fergusoncenter.org

Rockin’ for Rescues May 7 The Vanguard Brewpub & Distillery www.magpiedaisyrescue. com This benefit concert is for the charitable organization, Magpie & Daisy’s Pet Rescue. This epic benefit show will feature several local bands and artists performing including Crazy Daze, Magg Dylan, Absolute Zero and more.

Hurrah Players “How I Became a Pirate, May 7-8, Perry Pavilion www.hurrahplayers.com

Dining Out for Life May 12 Participating restaurants throughout Hampton Roads

Sandler Center for the Performing Arts Little Feat, April 20 Three Dog Night, April 21 www.sandlercenter.org

Little Theatre of Virginia Beach “Clue: On Stage,” May 13 through June 5 www.ltvb.com Little Theatre of Norfolk “The Curious Savage,” May 6-22 www.ltnonline.org

Symphonicity Masterworks V: In Jazz,” April 24, Sandler Center www.sandlercenter.org Virginia Arts Festival (Look in our Festival Guide for details) Virginia Beach Chorale “Sing Me to Heaven, May 8, Sandler Center www.sandlercenter.org Virginia Musical Theatre “The Full Monty,” April 29 through May 1, Sandler Center www.sandlercenter.org Virginia Stage Company “Dreamgirls,” April 13 through May 1, Wells Theatre www.vastage.org Virginia Symphony Orchestra “Golden Age of Broadway,” April 26, Chrysler Hall “Golden Age of Broadway,” April 27, Ferguson Center Beethoven Symphony No. 3, April 29, Ferguson Center The Sound of Music, May 13-15, Harrison Opera House www.virginiasymphonyorchestra.org Zeiders American Dream Theater No BS Brass Band, April 16 Plan B Comedy Show, April 23 Immortal Poetry Finale, April 24 John Toomey Quartet, April 29 Plan B Comedy Show, May 14 www.thez.org

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april 2022

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T H E A R T GALLERY I S T S G A L LPRESENTS ERY THE ARTISTS

Taste of Art Get all you need to celebrate the special Moms in your life!

Apr. 30th & May 1st, 10am -3 pm Outside Art Show & Demonstrations

You are invited to join us in the ViBe District to enjoy the fresh open air, sunshine and some of the finest arts and crafts in the area. There will be artists’ demonstrations, a sidewalk art show, and fine food and drink at our unique restaurants. (You are also invited to visit the exhibits within the gallery.)

Participating Businesses include: Prosperity Kitchen & Pantry, 17th Street Marketplace, & Gypsy Soul

THE ARTISTS GALLERY Located at the Virginia Beach Art Center 532 Virginia Beach Blvd., ART Virginia Beach, VA 23451 757-425-6671 s www.theartistsgallery.org

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April 2022

CENTER

visualart review

“Sade,” Anthony Burks, Sr

april 2022

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Three Friends Shine in Soul Finger Project By Betsy DiJulio

Delayed for two years due to the global is a profound and prolific presence in the pandemic, Soul Finger Project was worth regional art scene and has been for a good the wait. long time. Filled with North African Adinkra Conceived by Ramel Jasir, (FL) the show symbols, among others, patterns, and metbrings together for the first time his work aphorical objects, his lush figurative paintand that of three friends: Anthony Burks, ings are about ideas that matter, elevating Sr. (FL), Arthur Rogers (NC), and Clayton people and building community. Frequently Singleton (VA). Though I spoke with Gallery using his friends and family members as Supervisor Stephen Grunnet in advance of subjects, Singleton’s work is nonetheless my visit to the Portsmouth Art & Cultural universal, rife with resonant themes. Center and had seen photos from the openThe new-to-me artist in this show who I ing online, I was not prepared for the glory can’t stop thinking about is Anthony Burks, that is this show. Sr. His mixed-media pieces have a no less Grunnet called it a “visual anti-depres- impactful, though quieter, presence. In his sant,” but I still was not prepared large-scale work, he includes porfor the exuberant song sung traits, most often rendered by these large, commanding in black-and-white profiles Soul Finger Project paintings. Other patrons against clean white backThrough June 12 were in the gallery during grounds, adorned with Portsmouth Art my Thursday afternoon colorful insects and acces& Cultural Center visit, and we all kept exsories: hats, headscarves, PortsmouthArtCenter.com claiming to each other, jewelry, and hair combs. our jaws in a permanent In his richly earth-toned drop. Rooted Ground series, trees The show, which draws on grow from exaggeratedly high influences from contemporary horizon lines, their roots reaching Black culture, North African roots, and the far down to morph into stunning portraits Caribbean, occupies both the upstairs and of insects and animals like elephants, rhidownstairs galleries. While I have long felt nos, and zebras. the upstairs space, with its gleaming black Jasir creates similarly large, but syncopatpolished floors, elevates any work shown ed and dazzling, non-objective compositions there—though the work never needs elevat- in palettes that are, at times, jewel-toned ing—the saturated colors, strong patterns, and, at others, earthy and more subdued. and assertive presences in these paintings Some of the paintings appear to be poured sing out not only from the walls, but from acrylic while others are painstakingly painttheir reflections on the floor. A palpable ed patterns. For one body of the latter, he has energy pulsates from this work, apparently developed a laborious technique for creating channeling that of the makers. Says Grun- a meticulous, raised, tone-on-tone surface. net, “All these guys run circles around me… This relief texture, in and of itself, is captithey are super-energetic and passionate.” vating with a mod vibe. Much has been written about Singleton, Rogers’ large contributions to the joyous especially of late, including by me, and with celebration are figurative portraits of Caribgood reason. He is the senior statesman— bean Carnival-goers with flamboyant body though not so “senior”—and sonorous voice adornment. Considered somewhat raucous for the transformative power of art in the and hedonistic, this long heterogeneous culrealm of social justice and the need for a quickening evolution of race relations. His (continued on page 66)

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“Town Ting Riddim,” Arthur Rogers Jr.

April 2022

(continued from page 65)

“Rare,” Arthur Rogers Jr.

tural tradition is a complex mash-up of influences from Catholicism and Colonialism, but also emancipation and liberation. In Rogers depictions, one can almost hear the music and feel the sweat of dancers in masquerade. The show is, as always, exquisitely installed. Curator, Gayle Paul, not only creates visual reverberations through echoing forms and colors in adjacent works, but establishes sly pairings of repeated images or gestures that sneak up on you. An example of the latter includes a Singleton painting of vocalizing children hung across from a Burks painting of a zebra either barking, braying, or snorting, his intention—alertness, curiosity, impatience, or anger—unclear. In sum, reflects Gunnet, “It is such a positive exhibition…exactly what this community needs right now.” As humanity seems, in so many sectors, to be circling the drain faster and faster, I would have to agree.

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“Two Sisters,” Clayton Singleton

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April 2022

visualart

ROUND’TOWN

4 to Explore Compiled by Staff

M.C. Escher: Infinite Variations”

Maya Lin: A Study of Water

April 15 through August 28 Chrysler Museum of Art

April 21 through September 4 Virginia Museum of Contemporary Art

The Chrysler will show some 150 works by the famous Dutch artist. The work will span his career including the iconic “Day and Night.”

Even if you have not been following the sweeping career of artist and architect Maya Lin, you surely know of her as the designer at age 21 of the, initially highly controversial, Vietnam Veterans Memorial in Washington, D.C. Over the five ensuing decades, Lin has built an international following for her memorials, architecture, sculpture, and installations. This spring, the Virginia Museum of Contemporary Art (MOCA) presents Maya Lin: A Study of Water, a solo exhibition curated by Melissa Messina that explores Lin’s sculptural interpretations of water spanning the years between 1994 and the present.

“Motion/Emotion: Exploring Affect From Automata To Robots”

Through December 31 Barry Art Museum @ ODU www.barryartmuseum.odu.edu Springboarding from the Barry Museum’s collection of historical automata, this three-prong exhibition highlights intersections between art, science, and emotion asking, somewhat paradoxically, how robots can better help us understand our own humanity. Alongside the Museum’s kinetic sculptures, which predate modern robotics, are the multimedia, anatomically-based works of Elizabeth King, the abstract mechanical sculptures of Joseph Morris, and a showcase of ODU robotics projects. Permanent collection + contemporary artists + academic scientists = an integrated and dynamic exploration of automation, autonomy, articulation, and affect.

“Terra Firma”

Through April 24 The Artists Gallery @ Virginia Beach Art Center Earth grounds us, and the art in this show features the bounty of the earth. Clay pieces will play a prominent role.

ROUND’TOWN april 2022

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April 2022

DRINK local

Vibrant Shore Brewing Rising Bun This 5.4% ABV brew is a non-European Mexicaninfluenced light lager which features pilsner malt, rice adjuncts for added crispness, and New World Sorachi Ace hops to complete the profile. It is crisp enough to drink on a beach with a touch of salt or a lime on the rim of your glass. The brewery will feature the new draft-only release of this beer at our Cinco de Mayo celebration in the tasting room on Thursday, May 5. A food truck will feature tacos, quesadillas and chips/salsa. Alewerks Brewing Company Sabado Domingo This beer is a variation of our staple Weekend Lager brewed with jalapeños and lime. “We like to get it out in advance of Cinco de Mayo so people have the opportunity to take some home to celebrate later,” said Alewerks’ Michael Claar. Sabado Domingo has an aroma of fresh cut limes with a subtle hint of pepper in the background. A quick pop of spice drops on the first taste but washes away as its slowly replaced with jalapeño heat. Big Ugly Brewing Gose de Mayo A traditional German-style sour wheat ale brewed with sea salt. For a Cinco de Mayo twist, Big Ugly add Estes sea salt along with hundreds of pounds of lime and cara cara orange to flavor like your favorite frozen Mexican drink. Tart and citrusy with a lingering sea salt finish. 5.4% AV, draft only. Stay tuned for tequila barrelaged version this summer.

Mexican-Inspired for Cinco de Mayo By Jeff Maisey

Mexican lagers have been a favorite amongst local beer lovers, especially on Hampton Roads’ notoriously humid, hot days of spring and summer. Beer brands from South of the Border like Modelo, Dos Equis, Tecate, Cerveza Pacifico Clara have inspired local craft brewers as well. As a nice tie-in with Cinco de Mayo, several local breweries are releasing their crisp, low ABV variations. Here are a few to try. MoMac Brewing Company Orizaba Head brewer Chris Richards made MoMac’s Orizaba Mexican-style lager with flaked maize and a lager yeast strain specific to Mexico. The name Orizaba is the name of the City of Portsmouth’s sister city in Mexico. The beer spends 100% of fermentation inside of a tequila barrel with a hint of lime zest. “One of my favorite barrel aged beers we make,” said Richards. The non-barrel aged version of this Mexican lager will also be available in 16 o.z. cans.

april 2022

Caiseal Brewing/The Vanguard Brewpub Mexican Lime Lager Said brewmaster Todd Emr: “We brewed a Mexican-style lager with corn in the malt bill and added just enough lime puree to give this lager a refreshing, slightly tart kick.” 4.7% ABV. Draft only. The Vanguard will be celebrating Cinco de Mayo with drink and food specials and most importantly featuring the band The Latin Jazz Conspiracy. They are an eight member band performing Latin Jazz hits like “Manteca” by Dizzy Gillespie, “Song for My Father” by Horace Silver and “Caravan” by Duke Ellington. They cover several Latin styles like Salsa, Mambo, Bolero, Bossa Nova, Samba and Cha-cha.

O’Connor Brewing Company Liquid Churro Imperial Cream Ale “No, we didn’t put churros in the mash, but we did the next best thing: We made a liquid version of our favorite treat from South of the Border,” said Penny O’Connor. “This beer is very big and very sweet. Unlike a traditional brew, this liquid has little to no hop aroma or bitterness, allowing it to boast a bready sweet pastry aroma that melds together with Lactose, Vanilla, Coconut (cholaca), Cinnamon (ceylon), and Brown Sugar. One sip of this 9% ABV beer will take you right to the churro cart—and that’s one delicious place to be. Available on draft and in cans. Salud.”

O’Connor Brewing Company Rancho Veza Tequila Barrel-aged Surf Veza It’s a Surv Veza Remix! This delightfully complex beer took a nice long siesta in the finest Tequila barrels the brewery could source. This beer has all the things you love about Surf Veza: limey sea salty goodness, with layers of agave, and tannic and smokey barrel notes. Said Penny O’Connor: “This beer will have you pulling up your cowboy boots and hitting the dance-floor.” 5.3% ABV. Cans and draft. Rip Rap Brewing Company Amidships Mexican Lager Released in time for Cinco de Mayo. 5.4% ABV and available in cans and draft. Benchtop Brewing Company Friar Storm Friar Storm is a Foeder-Aged Mexican lager made with Tuxpeno Corn, 5%, Draft and cans, Released on Cinco de Mayo. Benchtop Brewing Company Chapulin Exchange A toasted Grasshopper Gose made with Chipotle peppers and lime zest. 4.6% ABV. Draft and crowlers. Releases 4/14, but will still be available for their Cinco De Mayo release event. The Bold Mariner Brewing Company Senor Frogman Mexican-style amber lager with lime. Available in draft and 16oz four-pack cans. “We took our Frogman Lager recipe and added malted corn to the mash and finished off with a big dose of lime during fermentation. Carmel and bready notes with some corn sweetness followed by bright lime flavors,” said head brewery John O’Reilly. Crisp and refreshing. 5.3% ABV. CoVA Brewing Company Seaveza Head brewer Matt Topping shared this description of their Mexican-inspired lager: “Picture a beach. Now picture the beer you’re drinking on the beach. Now open the tap. Seaveza is our take on a classic Mexican-style lager. Light, refreshing, and the perfect beach companion.” 4.6% ABV to be released April 22 in cans and on draft.

Elation Brewing Rosa’s Cantina Rosa’s Cantina is a 4.9% ABV Mexican -style lager brewed with a high percentage of flaked maze for a light, crisp, refreshing finish with just a touch of sweet cereal character.

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April 2022

DRINK local

Reaver Beach NFK Marks 1st Anniversary By Jeff Maisey

Since opening in an industrial park area of Virginia Beach in 2010, Reaver Beach Brewing Company has established itself as an awardwinning producer of exceptional hop-heavy IPAs and Belgian-influenced barrel-aged sours. Last year, Reaver Beach NFK opened its doors in a former US Post Office at the gateway of the North Colley Avenue corridor of Norfolk known as the new hotspot for neighborhood restaurants and watering holes. I recently caught up with Head Reaver Mark Adkins to get his reflections on the 1st year anniversary in NFK. VEER: What was Reaver Beach’s objective with opening a Norfolk location? Mark Adkins: Our goal was to expand our accessibility of the wide selection of beers and experiences to a new audience in Hampton Roads. This location was designed to expand our capabilities engaging the community and expand our brand awareness locally. VEER: Reflecting on the last year, have on-site beer sales in Norfolk met expectations? MA: On-premise beer sales did not meet our expectations last year but has been steadily growing. Completing construction in the middle of the pandemic stacked the cards against us. However, the teams at both locations adapted and perceived through challenges and over the last 4-months sales have been steadily increasing resulting in us getting close to our expectations. VEER: Do you feel the Reaver Beach brand has been strengthened as a result of the Norfolk location? MA: This has absolutely strengthened our brand and brand recognition. Being able to operate in another local market, like Norfolk, has brought the opportunity of new customers as well as strengthening our involvement with multiple community events. VEER: Can you compare taproom VB sales verses NFK (in percentage, ie 60% VB, 40% NFK). MA: We’re currently selling roughly 60% of our taproom volume in Norfolk vs. 40% in Va. Beach. Norfolk’s 5,000-sq.-ft. taproom as well as its large enclosed parking lot has given us endless opportunities for growing the business and increasing sales as a whole. VEER: What events have been we received in Norfolk? MA: We have had the opportunity to bring Crafted Indie Arts and Craft Market to Reaver, a local favorite. Teaming up with Push Comedy, we are able host Improv nights once a month, as well as the

april 2022

creation of our own in-house all female improv group the Reaver Beavers. Lastly we have found great success creating beer festivals, Bleak and Brewtal Festival and the Yours, Mine, and Sours festival, which showcases the skill and relationship of breweries throughout Hampton Roads. VEER: What are your top taproom sellers in NFK? MA: Norfolk drinkers tend to gravitate towards lower ABV beers. Raise Hell, Praise Dale (light lager), and Stage Presence, both NFK exclusives, Hazy Tides, and our wild sours have all be leading the way this past year. VEER: What are your top taproom sellers in VB? MA: Virginia Beach drinkers continue to enjoy the staple classics we are known for. House lager, Hoptopus, Hazy Tides, and Hammerhead are consistently at the top of our list. VEER: Has expanding your brand footprint had a positive impact on sales at restaurants and retailers such as Total Wine? MA: Yes, sales have been growing, especially over the last 6 months. The addition of another flagship, Hazy Tides, has also helped bolster the market growth. We were excited to announce our distribution in the North Carolina markets, including the Outer Banks last summer and will expect to see that market grow in 2022. VEER: Any additional thoughts on Reaver Beach NFK’s first year and what’s in store for the second year? MA: The response from the community has been outstanding. We have fought through the Pandemic and adapted to the different tastes at each location. The teams at VB and NFK have worked tirelessly to bring the best experiences and the highest quality beer to market. For the second year, we’re adding an enhanced and expanded outdoor beer garden along with exciting new beers and events. We’re also planning a major production expansion in Va. Beach to meet growing demand from our customers.

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April 2022

DRINK news

How Norfolk Starts Trends in Craft Beer

d’morning

april 2022

By Jeff Maisey

Arryved, a Colorado-based hospitality industry marketing and consulting firm, has recently released its 2022 Craft Brewing Growth Trends Report. Many of the results will confirm what most in the beer business already know. The report begins with this statement: “The brewing landscape has gone through a pandemic-induced evolution, and things will continue to change as breweries head into an uncertain future. But this much is certain: breweries are choosing to lean in, adapt, and wow as they prove resilience time and time again.” In the Coastal Virginia region we certainly have seen this play out. When the pandemic began, many believed Covid would be a knockout punch to the industry, with some projections showing half of the craft breweries across the nation would go belly up. Such dire predictions never materialized, in part, due to the creative and hardworking sensibilities and the craft beer industry, and for the devoted consumer base who continued to buy directly from breweries to help keep them afloat. From Arryved’s research, 2% of craft breweries have an annual revenue of $5 million or more; 37% show $1 million to $5 million, and the majority—61%—show less than $1 million. The survey showed 86% of breweries operate one location and 14% have multiple locations. In Hampton Roads, Alewerks, Smartmouth, Reaver Beach, Back Bay, Wasserhund, and Young Veterans operate two locations. Benchtop Brewing recently opened a taproom/micro-brewery in Richmond. New Realm Brewing Company in Virginia Beach is one of four locations for the Atlanta-based company. Three Notch’d Brewing Company at Town Center in Virginia Beach is one of multiple satellites for the Charlottesville company. The Veil, with a location in Norfolk, is headquartered in Richmond. Breweries come in all sizes with different business models. Research shows 59% of craft breweries have the goal of being known as a neighborhood establishment, while 39% ultimately aim to have multiple taprooms. Just 12% have a goal to distribute regionally as O’Connor, Virginia Beer Company and Smartmouth do. 5% plan to distribute nationally, a more than challenging goal given the competitiveness of established nationwide brands

Service with a smile at Young Veterans Brewing Company’s second location known as The Bunker in Virginia Beach. A growing trend in the beer industry is to have multiple locations. Photo by Brian Koski.

such as Sierra Nevada, Bell’s, Yuengling, and Sam Adams. According to Arryved, a growing trend is craft breweries food service. Some 45% of breweries nationwide said they do serve food, 43% do not, but 12% plan to offer food in-house in the future. This is an interesting development because operating an in-house kitchen was seen as a financial barrier to operating a craft brewery and a major reason for the passing of SB604 in 2012 in Virginia which allow breweries to operate a taproom and serve beer directly to customers without operating as a brewpub (brewery/restaurant combined). Some good news: 76% of surveyed breweries project growth in 2022. Given the easing of Covid restrictions this isn’t a surprise. Perhaps it is even a lower than expected number. We’ll see. How did craft breweries perform in 2021? Some 62% reported sales growth, with 59% of those polled saying revenue increased 11-40%. Inflation nation? Yes, about 73% of breweries anticipate increasing prices in 2022. Where are craft breweries selling their beers? About 65% of sales are done directly at the brewery; just over 30% is sold in retail stores and restaurants/bars, and roughly 5% through online delivery services. Another big number: Nearly 84% of brewery profit comes from sales in their own taproom. What’s on the nix list for 2022? High ABV beers, growler sales, cans/bottles for in-house consumption. Trending upward: expanding brand awareness and releasing more beer in cans. Bottom line: craft beer continues to boom.

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April 2022

DRINK news

Monticello Mountain Ale Debuts By Jeff Maisey

Beer was such an essential ingredient to colonial life, Thomas Jefferson designed spaces for brewing and storing home-brew on the grounds of Monticello. Much has been written on the topic, and now some 210 years after Jefferson’s first batch was bottled—May 12, 1812—a modern Monticello Ale makes its debut at the famous home of the nation’s third president. Monticello Ale—made with honey harvested onsite—is a collaborative effort between the Monticello Foundation and Blue Mountain Brewery in Afton, Virginia. To learn more about this exciting venture, I reached out to Stephanie Fox, the retail product manager at Monticello, and Blue Mountain’s Taylor Smack. VEER: How did a beer collaboration become of interest to the Monticello Foundation? Stephanie Fox: Monticello has a number of products made with ingredients grown in our gardens—pepper jelly, hot sauce, Bloody Mary mix. We wanted to explore how we might do the same with a new beverage, and beer brewing has a long history at Monticello. When we started the project, we knew we wanted to partner with a local brewery that shared similar values and goals. After meeting with Taylor, we knew that Blue Mountain was the perfect fit. Like Monticello, they are focused on sustainability, investing in our local community, and creating a high-quality product. VEER: Is the recipe based on those of Thomas Jefferson or of a style likely to have been brewed at Monticello by his

april 2022

wife or Peter Hemings? Fox: We wanted Monticello Mountain Ale to celebrate the long tradition of brewing at Monticello. Initially it was Jefferson’s wife, Martha Wayles Skelton Jefferson, who brewed fifteen-gallon batches of small beer (which has a relatively low alcoholic content) nearly every two weeks at Monticello. After her death in 1782, enslaved chef Peter Hemings became the plantation’s head brewer. Hemings, who learned malting and brewing from British brewmaster Joseph Smith, increased beer production and introduced a stronger ale. VEER: Can you provide the ingredients used and ABV? Taylor Smack: At first glance this is a delicious, relatively simple beer—two-row pale barely malt, a small amount of crystal malts, and an easy hand of German and English hops. What sets Monticello Mountain Ale apart is the secret ingredient: honey harvested from Monticello’s own beehives. The bees help pollinate Monticello’s gardens, and in turn, a taste of the nearby land is in our beer. We also wanted to nod to the history of beer at Monticello, which would have been a beverage with only moderate strength, also described as a “table liquor,” consumed at Thomas Jefferson’s dinner table. Monticello Mountain Ale has flavor and depth, and at 5.5% ABV, it is built on the same principle of a moderate beverage for daily consumption, though it is just a bit stronger than Jefferson’s table beer. Whether you enjoy it at Monticello or a Blue Mountain location, we’d humbly suggest

that it’s a ‘must try’ beer in 2022. VEER: Can you share details of the packaging (cans/bottles) and label design? Smack: This first springtime release of our collaborative beer will be in draft, six packs of 12oz bottles, and a limited run of corkedand-caged 750ml bottles. Those visiting Monticello will find it available at Monticello Farm Table café (draft) and Museum Shop (to-go bottles). It will also be available at Blue Mountain’s two locations in Nelson County, and South Street Brewery in Charlottesville. There also may be a very limited amount of this beer funneled to retailers through Blue Mountain’s distribution network. Fox: There will be rather limited distribution of this special beer, and what there is will be centered around the Charlottesville area. What we really want to do is encourage people to experience Monticello Mountain Ale onsite at Monticello itself or at the rural and beautiful Blue Mountain locations. VEER: What percent of sales benefits Monticello Foundation? Fox: 100% of beer sales at Monticello will go toward the historic site’s dual mission of education and preservation. VEER: Final thoughts? Fox: We hope Monticello Mountain Ale is the first of many collaborations with Blue Mountain Brewery. Our goal is to develop other beers that include Monticello-grown ingredients and connect people with history.

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food review&News

A vegan’s dream come true dish. Photo courtesy of Crudo Nudo.

Crudo Nudo is a Delight By Betsy DiJulio

Sadly, I was late to the Crudo Nudo party. Until recently, I was under the mistaken impression that the storefront restaurant, open for four years, was charcuterie-heavy with little to offer a plant-based diner. The lushly laden table of our cozy booth on a recent Friday night serves as tantalizing evidence that I was so wrong. Though my husband made inappropriate jokes about the name of this restaurant, the translation from Spanish is “raw knot.” While the kitchen certainly celebrates raw fish—in addition to meat and cheese boards—that same salt, spice, and citrus also infuses vegan dishes. Plus, nudo refers to the house made noodles and pastas, many of which can be made vegan. So, what was, in my mind, an off-limits spot for charcuterie, quickly became a coveted tapas bar with plant-based options a plenty. Owner Eric Nelson, having trained in top notch restaurants all over this region—e.g. Todd Jurich’s Bistro in Norfolk, the erst-

april 2022

while and legendary Trellis in Williamsburg, Chops in Virginia Beach, Riverstone Chophouse, and Vintage Tavern and Riverstone in Suffolk—imprinted Crudo Nudo with memories of the freshness and simplicity of Spanish cuisine. With a twist, or a knot, as it were. Many of the dishes are naturally vegan while others can be cooked with olive oil instead of butter with just a simple request, and we ordered some of both. I was the only vegan in our group, so we all enjoyed my choices with the others ordering some additional items. Our dishes came out perfectly prepared and perfectly paced. From the Snacks menu we devoured warm Spanish olives marinated in citrus ($5) and warm Marcona almonds with a slick of olive oil and sprinkle of sea salt ($7). And from the Veggies menu, we enjoyed sautéed spinach / apple / golden raisins / pine nuts, one of Nelson’s favorite Catalan combinations ($8), and cremini mushrooms ($8). These little orbs are

roasted until quite dry before being vacuum sealed with vinaigrette while hot, so that they absorb loads of flavor, transforming into perfectly chewy flavor bombs. The backdrop of our meal was the perfect accompaniment. Nelson credits his wife, Jennifer, with the establishment’s appealingly eclectic and tactile interior: exposed brick and ductwork, a live edge bar, fan-back wicker chairs, floating wood shelves, and a neutral painting on reclaimed wood. A vibrant wall mural and both striped and floral fabrics in the booths and banquets infuse the organic materials and palette with just enough energy. Josh, our server, was memorable for all the right reasons. As Nelson said, “He is taking stock of you as you are taking stock of him,” adding with a laugh, “If you do well with snark, you do well with him.” We didn’t detect even a hint of snark, just wit, and Josh seemed to have our number from the beginning with a pace, rapport, and suggestions that were all on point. I may be naïve in thinking he wasn’t trying to upsell us with the absolutely perfect bottle of $70 wine on special, but he genuinely seemed to want us to have a peak, if relaxed, experience. And

he knew that wine would have more than a little to do with it. Incidentally, the wines, all Spanish, are not chosen specifically to pair with the food, though they do. Rather, Nelson explained, the team likes to serve what they like to drink, so they participate in casual staff samplings with the fan favorites taking their rightful place on the menu. When I return, it will, be for all of the above plus the hummus and giant corn nuts, a staff favorite. Want to go? Crudo Nudo, www.crudonudo. com, 727 W. 21st St., Norfolk, 757.351.6080

Mermaid Winery Receives National Praise Norfolk’s Mermaid Winery was listed as on of Wine Spectator’s top seven winery restaurants. Receiving a Best of Award of Excellence, the nation’s most respected wine magazine wrote this: Mermaid produces small lots of wines with grapes from Virginia and California. A

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page of owner Jennifer Eichert’s 800-selection list is dedicated to these labels, which range from a Bordeaux-style blend to sweet selections like strawberry wine blended with Merlot…California, Champagne and Burgundy are the strongest regions on the list at Norfolk, and picks from Germany, Italy, Spain, Portugal and farther abroad help round out the program. Chef Steve Weiner serves an inexpensive menu of wine-friendly dishes, from small plates like spinach-artichoke dip and hummus with naan to heartier fare like blackened tuna and cavatappi with seared chicken. Guests can also build charcuterie boards from a list of meats and cheeses, including house-made farmer’s cheese. Other winery restaurants receiving accolades included The Dining Room (at the Inn on Biltmore Estate), The Restaurant at Justin (Paso Robles, California), Farmstead at Long Meadow Ranch (St. Helena, CA), City Winery Chicago, and Cooper’s Hawk Winery & Restaurant (Chicago).

ly celebrated the fourth anniversary of its satellite location in Virginia Beach and has now decided to add a pizza kitchen in partnership with the Chelsea Bakehouse. This concept first happened last year when the Bakehouse added a wood-burning oven to Elation Brewing in the North Colley Avenue corridor near Old Dominion University in Norfolk. Now, a similar arrangement will bring gourmet pizza and baked goods to the Pilot House. Ironically, Smartmouth’s Norfolk headquarters is located just two blocks from Chelsea Bakehouse. “Pizza and beer were made for each other.” says Smartmouth founding president Porter Hardy. “Our Norfolk guests have been enjoying Bakehouse pizzas for years, so we’re excited to introduce them to the Beach.” In addition to the pizza, Smartmouth applied for an ABC license to allow them to sell wine and cider. “While we are a brewery and beer will always be our focus, we realize that some of our customers would like additional opSmartmouth Pilot House tions. So, we are hoping to have a limited Adds Pizza wine and cider menu to expand our cusSmartmouth Brewing Company recent- tomer base.” Hardy said.

New Realm Turns 4

New Realm Brewing Company, headquartered in Atlanta and with locations in Savannah, Charleston and Virginia Beach, turned four in early April. “I can’t believe it has been four years, we’ve done some amazing things and shared great experiences with our team since opening,” shared Mitch Steele, Co-Founder and Brewmaster of New Realm Brewing. “Now, we have four locations, all in wonderful parts of the country. I want to thank all who come to our taprooms and enjoy our beers, food, and drinks, and I hope you enjoy our 4th Anniversary Imperial Oak Aged Pilsner beer-this is the first year we’ve done an official beer for the celebration.” New Realm has won numerous awards in its short history including Best in Show at the Virginia Craft Brewers Cup Awards for its Euphonia Pilsner.

News at ABC Stores

The next time you visit an ABC store you may notice some of the 45 new spirits, mixers and wines added to the shelves. Virginia-made Navy Hill Club Soda de-

buts grapefruit and blood orange flavors. Other spring selections include new and noteworthy bourbons, ryes, rums, moonshines, gins, Virginia wines, cordials, cocktails, vodka and 18 new tequilas. New bourbons and whiskeys are coming from distilleries as far as Colorado, while several Kentucky and Virginia bourbons are also new to ABC’s offerings. Some products, such as Evan Williams 1783 and Jefferson Ocean Rye, bring a more traditional twist. Other spirits feature refreshing flavors such as Smirnoff Peach Lemonade and Ciroc Summer Citrus. Best known for seltzers, Truly is stepping into the liquor market with Truly Pineapple Mango & Strawberry Lemonade vodkas. “ABC is proud to bring customers a lineup of new options from all over the world, including right here in Virginia,” said Virginia ABC’s Chief Executive Officer Travis Hill. “Despite the challenges of the last couple of years, our retail teams remain committed to providing gold-standard customer service. Our industry partners both within the state and across the globe continue to craft new and exciting products, making it possible for consumers to find new favorites on our shelves each quarter.”

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April 2022

arts@odu

ART FROM GUANTÁNAMO BAY — Now on view through May 7, 2022.

Detainees at the United States military prison camp known as Guantánamo Bay have made art from the time they arrived. This exhibition features 101 of these evocative works, made by men held without trial, some for more than 15 years. The six artists include both current (Moath Al Alwi and Ahmed Rabbani) and former (Muhammad Ansi, Abdualmalik Alrahabi Abud, Sabri Al 4XUDVKL 0DQVRRU $GD\ȴ GHWDLQHHV QRQH RI ZKRP KDYH EHHQ FKDUJHG ZLWK committing a crime.

GRAPHIC DESIGN EXIT REVIEW — April 21, 7 – 9 p.m. SPRING 2022 SENIOR EXHIBITION — On view April 29 – May 7.

Opening reception April 28, 6 – 8 p.m.

GORDON THE ROBOT

Reserve your time with this telepresence robot to view exhibitions at ODUArtsTix.com!

MUHAMMAD ANSI, UNTITLED (HANDS HOLDING FLOWERS THROUGH BARS), 2016, ACRYLIC ON PAPER, 11 X 8.5 INCHES

+Ζ5$7$ *ď<ď THE BIRTH OF THE JAPANESE ART DOLL — On view

through July 31.

027Ζ21 (027Ζ21 (;3/25Ζ1* $))(&7 )520 $8720$7$ 72 ROBOTS — On view through Dec. 31.

UNIVERSITY DANCE THEATRE SPRING CONCERT. April 13 – 16, 7:30 p.m.; April 16, 2 p.m. The University Dance Theatre presents solo and group choreography from established and emerging artists, performed by ODU Dance students in a wide variety of dance styles – jazz, hip-hop, modern, and more. Pieces this season include those from guest artist Rebecca R. Levy, ODU Dance faculty members James Morrow and Janelle Spruill, as well as from select student choreographers. Free parking, Garage D, 1070 W. 45th St. Tickets: ODUArtsTix.com.

UNIVERSITY DANCE THEATRE SPRING CONCERT

Old Dominion University, located in Norfolk, is Virginia’s forward-focused public doctoral research university with more than 23,000 students, rigorous academics, an energetic residential community and initiatives that contribute $2.6 billion annually to Virginia’s economy. On campus and online, ODU is 9LUJLQLDȇV PRVW D΍RUGDEOH SXEOLF GRFWRUDO XQLYHUVLW\

april 2022