March 2023 Veer Magazine

Spring Arts Preview

Behind the scenes of Virginia

Behind the scenes of Virginia

International Tattoo with Jim Roberts

International Tattoo with Jim Roberts

On Television

By Tom Robotham

As an instructor of media studies, I spend a lot of time thinking about the ways in which various mass media affect our lives. I’m struck, especially, by the fact that today ’s children can barely imagine what life was like before the advent of smartphones and the internet.

There is, of course, some comparable technology for every generation. Consider, for example, that even our oldest citizens today never knew a world without radio.

For me it was television. And I can’t help wondering how that has affected me.

Its profound impact on me is underscored by the fact that one of my earliest memories—from the age of 2—places television front and center. The mental picture remains clear: It’s 1958, and I’m sitting on the living room rug in my pajamas, with my sister next to me and my dad behind us in his easy chair, watching an episode of The Donna Reed Show

From then on, television remained a daily companion. There was something supremely comforting about those family sitcoms, in particular: Leave it To Beaver, Father Knows Best, Ozzie and Harriet, The Dick Van Dyke Show, and The Andy Griffith Show, to name a few. And why not? They depicted lives devoid of any serious problems, shepherded by parents who were unfailingly gentle and wise. When minor problems did arise, due to the shenanigans of Eddie Haskell, for example, they were always resolved by the end of the episode.

The TV Westerns of the era tapped into other fantasies. Early on, I favored Roy Rogers, but that was soon supplanted by grittier shows— Gunsmoke, especially, and Have Gun Will Travel. For one thing, I’m certain that my lifelong love of horseback riding is due in part to those shows. As a midcentury American boy, moreover, I naturally had a desire to grow up to become a tough guy. And so it was that heroes like Matt Dillon lived in me even when the programs were not airing, as I strapped on my toy six-shooters and practiced my draw.

There were the cartoons as well, of course, which brings another memory to mind. When I was 5, my mother took me on a train trip to attend her sister’s wedding. In the evening, as we sat in the dining car, I told my mom I wanted spinach. She never served it at home, but I’d been well-schooled in its magical effects, thanks to Popeye. When it came, I was disappointed in the boiled dark-green slop. It looked nothing like the stuff that Popeye ate. I ate it, nevertheless, hoping that it would give me muscles like the ones he had.

More compelling still, during those early years, was The Adventures of Superman. As soon as I heard the intro’s opening words— faster

than a speeding bullet—I was riveted. The appeal was multifaceted: In addition to reveling in the fantasy of being bullet proof and able to fly, I had a serious crush on Noel Neill, the actress who played Lois Lane after the first season.

Then there were the commercials. Some, like those for Ring Dings, made my mouth water, and I think it’s fair to say that television in those days wasn ’t a very good dietary influence, Popeye notwithstanding. There was, as well, the Marlboro Man, who made me want to smoke and undoubtedly fueled my desire for bubble gum “cigarettes.” The most vivid commercial of all, though, was for PF Flyers, which promised that they could make you “run faster and jump higher.”

As I grew into adolescence, I watched TV less often, preferring to gather with my friends, drinking beer, smoking weed and going to concerts. Nevertheless, TV remained a staple. At night, after hanging out, I had a ritual of going home and turning on reruns of The Honeymooners. I watched a lot of it on Saturday and Sunday afternoons, too, when New York ’s independent stations would air old movies. Thanks to them, I fell in love with the films of W.C. Fields and the Marx Brothers, among other stars from before my time.

On Saturday evenings, moreover, there was one show I wouldn’t miss: All in the Family. It was fortuitous that television was maturing during the same period that I was. The ways in which it made fun of Archie’s racism, in particular, coincided with my own struggles to comprehend our racial divide as I navigated life in an integrated high school.

During my college years, I watched TV only occasionally, but after I graduated and began working the night shift at a newspaper, it once again became an anchor—especially the latenight reruns of The Mary Tyler Moore Show, which came on as soon as I got home. Lots of people my age had the same ritual. In 1985, in fact, when I had my first date with a woman I ended up marrying, I asked her if she watched much television.

“ I don’t need a television,” she said. “ I have a fireplace.”

I laughed, immediately recognizing it as a line from Mary Tyler Moore, and she laughed in turn when I picked up on her ironic comment. A year later, as we sat in pre-marriage counseling with our priest, he asked what brought us together.

“ Television,” I said, half-jokingly.

He looked at me quizzically, and I said, “ Never mind.” But there was some truth to that.

Throughout our marriage, we watched a lot of TV together: L.A. Law, Friends, and ER, among them, then, when HBO debuted, The Sopranos, Sex and the City and many others. When our

kids were young, I also enjoyed living through a second childhood, in a way, as I watched their favorite shows with them—everything from Blue’s Clues to Rugrats to Dexter’s Laboratory. For the last 15 years, post-divorce and living alone, television has remained important to me. Since I don’t have a nine to five job, I often watch it during the day—CNN, primarily. It can get irritating, mostly because of the nonstop pharmaceutical commercials, which make my want to hurl my TV out the window, but I like a lot of the anchors and commentators, and they can be of great comfort. I happened to be watching, for example, when the attack on the Capitol unfolded. I don’t know about you, but I felt intense anxiety as it was happening, and in the absence of real human companionship, I was glad to be in the “company” of the news team.

That ’s one of the great things about television: It can still bind us together as a community and a nation—not as strongly as it did during my childhood when I joined 73 million other Americans to watch The Beatles on The Ed Sullivan Show, but to some degree.

I sometimes wish we still had the common ground that existed when there were only three networks, but the benefits of streaming technology outweigh the negatives. Chief among them is that MLB.TV allows me to watch my beloved Mets, as I did as a child in New York.

I do wonder, as I reflect on the fact that I’ ve never known life without TV, whether it ’s had a negative effect. Among other things, I suspect that my addiction from an early age eroded my attention span. Much as I love reading, I’ ve rarely been able to do so for hours at a time. I also think a lot about Neil Postman’ s Amusing Ourselves to Death, which argues that television turned everything into mere entertainment. I suppose there’s a contradiction there: that I love TV on the one hand and, on the other, think Postman ’s study is one of the most important books of modern times.

So be it. I happen to think Facebook and its offspring are far more culturally corrosive than television, and I think Postman would agree, were he alive today—though he would probably observe that it’s just part of a continuum that began with TV.

That said, it ’s all here to stay. The best we can do, as he himself concluded, is to become media literate—and I’m not sure how you do that if you ’re not actually a user.

Given what I do for a living, in other words, watching TV is at times part of my work. Much of the time, though, it remains for me what it’ s always been—a source of entertainment, a comfort when I can’t sleep, a vessel of news and information, and, depending on the show, a catalyst for deep reflection. Surely, for example, the Netflix show Our Planet serves that purpose.

In short, growing up with TV no doubt had its downsides. But as Churchill said of alcohol, I always got more out of it than it got out of me.

Diane Catanzaro, Chris Jones, Jerome Langston, Marisa Marsey, Jim Morrison, Montague Gammon III, Betsy DiJulio and Jim Roberts, Kate Mattingly, Joel Rubin, Mark Edward Atkinson

The More Things Change, The More They Remain the Same

By Joel Rubin

I recently came into possession of a piece of local television history, a one-inchwide tape of the first of about 900 “On the Record” Sunday morning talk shows I hosted and produced on WVEC TV from March 8, 1992, through December 2008.

For nearly 31 years, Channel 13’s Greg Brauer, who directed that charter episode, held onto the tape, and made me aware of that last December as he prepared to retire as the station’s esteemed program director. I located a source, Pro Media Video Services in Suffolk, transferred it into a watchable format. And what I saw was a bit stunning.

My guests that day were two now deceased Norfolk political figures, Dr. John Foster, an African American pastor and a member of City Council, and Bill Rutherford, for 14 years the city’s commonwealth’s attorney but that week was to become a circuit court judge. The topic du jour was urban violence, specifically murders and mayhem committed by young people, mostly Black.

Foster bemoaned the “lack of values” in so many Black households, and “ breakdowns in the family.” “Young people use guns for something to do,” he said. “ We live in a violent society,” added Rutherford, where parents “have surrendered their children to the gangs.” Too many kids “ are seeking attention because they aren’t getting the right attention at home.”

“ We cannot lose hope,” stated Foster, who believed that “political leaders are coming forward, lay people are coming forward, they’re going to make a real difference now.” But Rutherford argued that “economics” restrained progress. “ They can make $500 a week taking drugs from one corner to another.”

For whatever reason, 1991 had been one of Norfolk’s bloodiest years, with 86 homicides, 203 across the seven cities. The city recorded (just) 63 in 2022, but this column is not about the numbers. It’s the fact that

we keep talking about the same things over and over, expecting a different result. Indeed the second segment of this first “On the Record” covered the same territory but with three of the brightest (yes, white) media minds we have ever had here. Daily Press columnist Jim Spencer noted that “ 2/3 of Black babies are born out of wedlock, that single parent households are six times as likely to be poor.” Maybe due to political correctness, but I don’t think you can even say that today, even in quotes, as I just did. Fred Talbot, formerly a Pilot reporter but then a journalism prof at ODU, said “ we walk on eggshells, we can’t talk about race.” I would hazard to say it’s worse today. On this program, Spencer, Talbott and former Pilot editorial page editor, the late Bill Wood, spoke about an incident from that past week where a white teacher in Newport News was criticized for commenting about the behavior of her minority students. We discussed what should be her punishment for speaking “her truth.” There are, I know, distinct racial elements in the recent Richneck tragedy, but all parties, so far, seem to skirt them.

“ What is leadership today?” said Fred Talbott in 1992. “I don’t see anyone really taking dynamic action.” Indeed. In the more than three decades since Talbott uttered

those words, who has been willing, publicly, to say anything more than we need stiffer sentences or more social programs, rather than, for instance, challenging citizens, black and white, to accept responsibility for their own actions? Who among the growing number of African American political, academic or law enforcement professionals will say openly that “lack of values and bad parenting,” Dr. Foster’s prescriptions, are still true today?

Jim Spencer, the most brutally honest, and hardest working, commentator of my generation, said on the show that we “pay lip service” to the scourge of violence. Now, in the media world, we hardly pay at all. In late January, Jim’s last employer, the Lee Enterprises-owned Daily Progress in Charlottesville, removed him and every other editorial writer from all but one of the many papers Lee controls in Virginia. Budget cuts.

You can watch the video from 1992 on this link. https://drive.google.com/file/d/ 1cwikEWBjx0Sw5sdzhrdfEqzPWnBbEL AL/view?usp=sharing And then ask, how far have we really come? Thirty-one years from now, when there may be no newspapers, and (as today) no provocative local Sunday morning talk shows, will our “leaders” still be too timid to say what they really think, that government is helpless, and hapless, when families are broken and morality is missing? The same challenge that confronted John Foster and Bill Rutherford in 1992 is with us today. Let’s honor them, and perhaps curb the violence, by speaking more directly to our children, to our leaders and to ourselves.

Joel Rubin was a political and features reporter for WAVY TV from 1977-1991, host of On the Record on WVEC from 1992-2008 and is today president of Rubin Communications Group, a Virginia Beach based public relations firm.

Joel Rubin, in 1992, as host of WVEC’s “On The Record”

Violent Crime in Norfolk is up. The jury is still out on why — and what to do about it.

By Jim Morrison

In March of 2021, a Norfolk prosecutor who had recently retired after 27 years wrote to City Council, the police chief and the city manager urging them to cast aside what he called a “malaise” and explore changes to combat the city’s longstanding violent crime problem.

“ Violent crime has been a constant over the last few decades in the city of Norfolk whether the city is experiencing a positive economic boom or a more challenging economic period,” wrote Philip G. Evans II in an 18-page memorandum. “ Sadly, although the trends over time with respect to upper end violent crime are disturbing, no one seems to want to address this issue.”

The city that year went on to record 61 homicides and then top that in 2022 with 63 murders, the most in nearly 30 years. It wasn’t until October 2022, following a series of shootings downtown, that the city issued a plan to address crime, 18 months after the Evans memo.

Even before that rise in killings, Evans had noted how high Norfolk’s homicide rate was. In the years leading up to his memo, it was two times the national average. In 2018, when Norfolk had 37 homicides, New York’s murder rate was just one-third of Norfolk’s, he wrote. The problem spanned generations: Evans prosecuted a father for multiple armed robberies only to later prosecute his son for murder.

“ Why,” he wrote, “is no one screaming about Norfolk’s homicide rate? ” And “ when,” he asked officials, “did you last receive a comprehensive briefing regarding the subject of violent crime in Norfolk over time which included the chief of the Norfolk Police Department, the chief of the Old Dominion [University] Police Department, and the Commonwealth’s Attorney?”

“ It has not occurred,” he added, answering the question.

Finally, Evans outlined a series of suggestions to tackle the problem, ranging from addressing the personnel drain in the police department to improving and increasing camera surveillance to creating a collaborative effort with schools to identify and divert youthful offenders who may become violent offenders.

According to a public records request, Evans received a reply from only one council member, Courtney Doyle, whose husband is now a judge but once was a fellow prosecutor. She wished him a happy retirement and thanked him for his observations.

City Manager Larry “Chip” Filer said he recalled the email as one of many policy proposals examined over the last year but added that “a lot of other people said similar stuff.” Like other cities facing rising violent crime in the wake of police shootings, police recruitment issues and the

pandemic, Norfolk was searching for answers.

Complicating the problem was the fact that patterns of gun violence seemed to be changing in the city. Gun violence in the past, Filer said, was economic — drugs, burglary, robbery. Now, though, he said, “relational violence” seems to be the main driver. “ Very rarely is our gun violence occurring between folks that don’t know each other,” he said.

“ It took us quite a while to figure out what was happening, and particularly why it was happening,” Filer added. “One of the very first steps we took was to recognize that the violent crime, that particularly gun crime that we were seeing, was different than it had ever been in the city’s history. It was very personal. It was mostly between folks who knew each other, had a beef and were settling scores.”

To Evans, though, while the term “relational violence” is new, the problem is not.

“‘ Relational violence ’ has always been a substantial contributor to homicides in Norfolk,” he said.

New approaches to crime reduction

In October 2022, after high-profile shootings on Granby Street downtown, Filer released a paper outlining crime reduction strategies. Fourteen, including the deployment of hot spot

policing with specialized units and the installation of portable security cameras, were intended to be put in place within three months. Twelve, including the establishment of a realtime crime center to monitor camera and data feeds, the use of automatic license plate readers and aggressive code enforcement, were scheduled to be implemented within a year. Nine, including the creation of a regional crime data center and integration of the city’s camera system, are long-term efforts expected to take more than a year.

The strategies reflect how cities awash in guns like Norfolk are reimagining fighting crime by turning to technology and softer social initiatives like violence interruption and conflict resolution.

A number of the proposals in Filer’s paper had also appeared in the Evans memo, giving rise to the question of whether the city could have acted sooner.

But Filer said the pandemic and the closing of schools made it difficult for Norfolk to implement community outreach, particularly with youth.

“ It’s unfair to suggest that we were just sitting on our hands idly, you know, pontificating whether or not crime would go down by itself,” he said.

Police staffing challenges

Part of the reason behind Norfolk’s efforts to find new ways of fighting crime was the dramatic decrease in its police forces. According to a police spokesman, the department had 727 officers at the start of 2013, 756 at the start of 2018 and 501 at the start of this year.

For years, Evans said it was clear staffing Norfolk’s department was going to be a problem as other local cities offered better pay and, more recently, officers became disenchanted with the policies of the commonwealth attorney’s office. He said the losses are reflected in other data: The city’s homicide clearance rate, which had once been above 80%, had been dropping. A Virginian-Pilot story reported it was 37% for 2022.

“ More than half of the homicide squad is sitting in other police departments right now from three or four years ago,” he told the Mercury. “ They went over to Chesapeake. They went out to Suffolk, or Isle of Wight, or Franklin, or they just retired.”

When Filer arrived in 2019, he said he was given an internal memo outlining a “retirement bubble.” Then the George Floyd murder and other police incidents intervened, creating morale and recruitment issues. A program to recruit police from larger cities, called “ Today Will Be Different,” has had some success. But the reality, he added, is police departments will be augmented by civilian analysts manning a real-time crime center so sworn officers can be dedicated to patrolling the streets.

“ We have been a little slow to that pivot compared to other major cities,” he said. “ The

A portable security camera on Granby Street in downtown Norfolk being used by police as part of a hot spot policing strategy. (Photo by Jim Morrison)

2023 CAST

(continued from page 10)

days of us having 700 sworn officers are over. It’s done. And part of that is due to the fact that we probably can’t get there in the new reality of policing. But also part of it is that that’s not necessarily how large cities are going to police anymore.”

Violent crime hot spots

The Evans memo called for developing a program to deploy cameras mounted on telephone and other poles in areas where violent crime can statistically be predicted to occur, to work with businesses to upgrade their surveillance systems and to use license plate reader systems more widely. He added that the cameras should be able to produce video useful in court. “As a prosecutor, my team encountered numerous cases in which a crime of violence within the coverage area of cameras associated with a governmental structure only to learn the quality of the resulting video is insufficient to identify the actors in the crime or non-operational,” he wrote.

But a year later, the city confirmed that cameras in eight of the 12 city-owned parking garages did not work. Funds to replace them have been approved. After a March shooting outside a restaurant downtown that killed three people and injured two others, the city added mobile cameras downtown.

While the downtown shootings spurred

media coverage, statistics show that crime and particularly shootings and homicides are clustered in other neighborhoods.

The Evans paper identified the densest concentrations of homicides over the past 20 years in the city’s public housing areas. That fits with the city’s own 2012-21 map of homicide and aggravated assault hot spots, which shows four housing developments operated by the Norfolk Redevelopment and Housing Authority as the most dangerous places to live.

“ For far too many of the residents of our economically challenged neighborhoods in Norfolk,” Evans wrote, “ the fear of violent crime in their neighborhoods is their daily reality.”

In September, Karen Rose, the authority’s security program manager, sought increased security funding from the authority, noting that people with a grudge were shooting from streets at the edge of public housing communities so they could escape easily. During that meeting, Ronald Jackson, NRHA’s executive director, said he was frustrated that the city was not acting faster to install speed bumps and take other actions to reduce opportunities for crime.

“ If something happens, we’re looked at as if we’re not doing everything that we can to get things done within the community,” he said. “ These are not citizens of the Norfolk Redevelopment and Housing Authority. These are citizens of Norfolk.”

“ To me, if there’s a call there for police service as there would be in Ghent, they should get the same type of response,” he continued, referring to a more affluent area of the city. “And to me, I get the feeling as if they’re on a reservation and are treated differently.”

Filer disputed that.

“ To say that they don’t get the same response in those communities as someone in Ghent is simply not true,” he said. “ In fact, if you were to observe our patrols, we have far more police officers patrolling in those areas than we do in Ghent in large part, for good reason. We allocate resources based on those hot spot maps.”

Diverting young people from crime

Evans recommended creating a collaborative effort to divert youth who end up in juvenile court or face disciplinary actions at school before they escalate into becoming violent offenders.

Norfolk’s plan — hiring consultants who have worked in violence intervention — is a distant cousin of that suggestion. The city last summer announced a two-year, $180,000 contract with the Newark Community Street Team, a New Jersey-based nonprofit, to train members of Norfolk organizations on ways to resolve disputes before they escalate. The first place they targeted was Young Terrace, one of the public housing communities highlighted on the city’s

homicide hot spot map.

The Newark program, which began in 2014 and focuses on at-risk youth and young adults from 14 to 30, is one of several community violence intervention efforts that have emerged recently in cities like Louisville, Baltimore, Chicago, Atlanta and Wichita. The programs are so new and sorting out why crime rates drop is so thorny that researchers say evaluating them is difficult.

The city is committed to three years with the program.

“

We’re very hopeful this will help us get to the bottom of at least some of what we’re seeing in this gun violence space,” Filer said.

Researchers agree, though, that violent crime does not have a single cause. Nor is there a silver bullet solution. So the city is trying a range of strategies.

“

We’re going to do everything we can do at the city level to deter and have the evidence to be able to effectively prosecute criminal activity,” Filer said. “We do need all hands on deck to try and limit the amount of criminal activity that’s happening in the city. We’re not happy with where we are right now. And so we’re going to take actions to try and move in a different direction.”

This report is republished courtesy of VirginiaMercury.com.

“I request that during that month (March) our people rededicate themselves to splendid aims and activities of the Red Cross.”

President Franklin D. Roosevelt, 1943

SATURDAY, AUGUST 12

Angel On Eros Takes Flight

By Jeff Maisey

Ricardo Melendez’s riveting play “Angel On Eros” has been selected to be performed at the International Dublin Gay Theater Festival in Ireland on May 7-14 as well as Fresh Fruit Festival in NYC the week of April 24-30.

The play was recently awarded the Bursary award from the Irish Department of Tourism and Culture.

“Angel On Eros” delves into the nature of the interpersonal relationship amongst men, and the humanity at times vailed behind the beauty of art.”

Performing the work will be the Actor’s Workshop of Virginia (AWV). Melendez and AWV will prepare for their “tour” by performing the work locally as part of Zeiders American Dream Theater’s Fringe Festival on April 8 and then April 14-15 at Todd Rosenlieb Dance’s Benjack Studio Theater.

Ricardo Melendez is a producing choreographer with Todd Rosenlieb Dance, an actor and playwright. He also teaches at the Governor’s School for the Arts.

The Z Fringe Festival

In addition to Ricardo Melendez’s “Angel On Eros,” The Z Fringe Festival will showcase the works of 32 producing artists on the two stages at Zeiders American Dream Theater in Virginia Beach. A third stage — outdoors — may be included depending on weather.

The Z has a full season of individual performances featuring live music, film, comedy, theater, and more. It has enhanced its season with a few monumental festivals such as the Fringe.

“The Z Fringe Festival is part of that model, answering a specific need we saw for artists and audiences,” said the venues executive director, Terry S. Flint.  “It was specifically created as an opportunity for area artists to explore performance art boundaries because we get so many proposals from performing artists that don’t fit a traditional full theater production or solo evening event. We have done a single day of fringe performances as part of Proteus before, but I wanted to find a way to encourage and support that type of creative exploration more and particularly to give audiences a chance to see the broad variety of creative work happening in this area.”

A sampling of edgy works to be performed include “Faryard: A Cry From Iran” by Katayoun Farashahi, “License & Registration” by Kanya Edmonds, “A Box of Cookies” by Akayla-Janise Baja, “”Risk The Dark” by M.E. Hart, and “Black Girl Magic” from Sharon Cook.

More info at TheZ.org

Miller Jazz Series Grows

Vocalists take center stage as the Miller Jazz Series gets set for a new monthly lineup of concerts in the intimate Miller Studio Theatre at Sandler Center for the Performing Arts.

On April 20, founding Manhattan Transfer singer Janis Siegel will join series programmer and local jazz bassist Jimmy Masters along with John Toomey (piano) and Emre Kartari (drums).

To her credit, Siegel has earned 9 Grammy Awards with 17 nominations.

Wyatt Michael, a finalist of the TV show “The Voice,” will showcase the styles of Tony Bennett, Frank Sinatra, Dean Martin and Bobby Darin on a May 25 date with the local backing group featuring Masters, Toomey, Kartari, and guitarist Chris Whiteman.

Another internationally acclaimed vocalist, Lori Williams, will perform August 17 and highlight women in jazz.

For those who like it straight with no sining at all, the Miller Series has you covered with a June 22 concert spotlighting modern jazz composers such as Herbie Hancock, Steve Swallow and Kenny Wheeler; a set of originals composed and performed by John Toomey Quartet on July 20; and a historic account of the works from Duke Ellington and Billy Strayhorn.

New Shades of Van Gogh

The Virginia Arts Festival, which uniquely presented an up-close look at the “paintings” of Michelangelo at MacArthur Center, will use a similar approach to showcasing Vincent Van Gogh works like “The Starry Night,” Cafe Terrace at Night,” “Sunflowers” and some 300 additional imagery.

The immersive exhibition will place visitors in the center of a mesmerizing 3-dimensional visual experience engulfing the viewer with the post-Impressionist’s art in a larger than life presentation.

To see “Beyond Van Gogh,” you’ll have many opportunities July 6 through September 2 at the Virginia Beach Conversion Center Exhibit Hall A.

Ricardo Melendez

Ghent – One of the 2018 Great Neighborhoods named by The American Planning Association. With its unique blend of fine restaurants, boutiques, cafes, specialty stores, hip salons & spas, and professional services, Ghent is truly a diverse urban destination. And, remember, buying from locally owned businesses, not only supports the local economy, but it also supports your friends, neighbors, and the community as a whole.

Kara Walker: Provocative, Impactful Art

By Betsy DiJulio

Kara Walker’s reputation as one of the most important artists working today is undisputed. Her self-proclaimed uneasy relationship with her own imagination is similarly solidified.

Walker is best known for ambiguous, but hard-hitting, tableaux rendered in her iconic large scale black paper silhouettes, a reinterpretation of the popular 18th and 19th century cut-paper craft. This artist, whose bright penetrating light was recognized at the age of 24 with her first major show at the Drawing Center in New York, continues to burn brightly. And I do mean burn.

It’s tricky territory, hers. When an artist chooses to dwell in the realm of hateful racial stereotypes—feeding the noise back loud if you will—the intended irony is lost on some. And when those 19th C. black stereotypes such as pickaninnies, minstrels, and other visual tropes are the chief actors in narratives and disparate interactions—truths woven together with fictions and self-described exaggerations—about brutalities from slavery to sexual violence and other forms of exploitation and physical abuse, the terrain becomes a minefield.

read of the work to reading poetry, Rouse asserts that “ We first feel language in our bodies.” And the initial reaction to Walker’s work is likely to be visceral while leaving viewers with more questions than answers.

One of the key questions that resides at the heart of the exhibition is stated by Edwards in her catalogue essay, “Can provoking discomfort, disgust, tension, and anxiety explode stereotypes and set us on a more equitable and just path?” To help answer that question—and others about identity, values, power, prejudices, colonialism, and imperialism—both Rouse and Hakimzadeh applaud the Programming Committee who has been meeting since last summer to craft a series of community conversations and events that Hakimzadeh describes as “extremely robust.” Though there are no trigger warnings, per se—

Kara Walker: Cut to the Quick from the Collections of Jordan D. Schnitzer and His Family Foundation

Through June 11 Virginia MOCA www.virginiamoca.org

“Art is triggering—walking into a museum is the trigger,” says Rouse—it is recommended that parents view the exhibition first and make a determination about the appropriateness for their own children.

Created between 1994 and 2019, the 83 works in this exhibition are from the collections of the Jordan D. Schnitzer Family Foundation. Representing the artist’s prodigious output in a range of media—prints, sculpture, film, and more—the exhibition originated at the Frist Museum of Art in Nashville. There it was co-curated by then Executive Director, Susan H. Edwards, Ph.D., and Ciona Rouse, the latter of whom is also serving as co-curator with Heather Hakimzadeh for the exhibition’s run at MOCA.

A student of history, literature, and popular culture, Walker’s work is extensively researched and poetically rendered, filtered through her personal experiences and identity as a Black woman. Rouse, who is a Nashville-based poet, shared that in a recent interview, Walker referred to herself as a “painter-poet.” Likening a close visual

Noting that Hampton Roads is “entangled” with the history of slavery, e.g. the documented beginning of chattel slavery in what would become the United States has been traced to Point Comfort in Hampton, Hakimzadeh feels that MOCA is “a wonderful place to have this discourse.” Everyone, she asserts, “should sit with” the exhibition content and “ find their place in it,” embracing the discomfort…even those who think they are “dialed in,” as she previously did.

From Rouse’s perspective, the exhibition and its attendant programming, from the Hold Space Place curated by Get Well Soon to the ever innovative and fresh ArtLab, asks viewers to synthesize the past and present into a way forward. But for those who align more with the “put the art in a room and turn on the lights…I’ll do the thinking on my own” stance of my friend, who formerly worked at MOMA in NYC, the lights will be on through June 11.

On view concurrently is LaToya M. Hobbs:

Flourish, a portrait-based tribute to the matriarchs of her community. Based in Baltimore where she is a professor at the Maryland Institute College of Art, Hobbs earned her MFA from Perdue University and has gone on to create work collected by the likes of the Metropolitan Museum of Art. In her mixedmedia portraits, the artist fuses painting with the carving that characterizes relief

printmaking into a practice that, through its “subtractive” aspects, serves as a metaphor for the need of Black women to shed negative beliefs and stereotypes in order to allow a positive, beautiful, and authentic image to emerge. Here, as in much of the best contemporary art, the process of creation—carving, collaging, and painting—is inextricably linked to content.

Kara Walker (American, b. 1969). Boo-hoo (for Parkett no. 59), edition PP 5/6, 2000. Linocut, 40 x 20 1/2 in. (101.6 x 52.1 cm). Collections of Jordan D. Schnitzer and His Family Foundation, 2003.13. © Kara Walker

Preston Singletary RAVEN AND THE BOX OF DAYLIGHT

LOCAL PRESENTING SPONSOR:

Preston Singletary (American Tlingit, born 1963), Gagaan Awutáawu Yéil (Raven Steals the Sun), made at Museum of Glass in 2008, Blown, hot-sculpted, and sand-carved glass, Collection of Museum of Glass, Tacoma, Washington, gift of the artist (VA.2009.28), Photo by Russell Johnson, Courtesy of Museum of Glass

Preston Singletary: Raven and the Box of Daylight has been organized by the artist and Museum of Glass, Tacoma, Washington.

Thus Quoth The Raven: See The Light

By Jeff Maisey

Ravens are powerful.

Throughout human history, the mysterious bird is both revered and feared.

In Greek mythology, the raven is associated with the God of prophecy, Apollo, and a source of bad luck.

Wikipedia suggests ravens were also associated with murdered people void of Christian burials in Swedish folklore and damned souls in early Germanic culture.

Ravens were viewed in a more positive light in other cultures. Numerous stories in the Bible reveal God used ravens to positive effect. The bird released by Noah from the fabled ark to see if the flood waters had receded was a raven.

In the Quran, a raven was a creature who taught. Ravens, even today, keep watch on the walled grounds at the Tower of London, and should they be eradicated the English kingdom will fall, says legend.

According to the American Museum of Natural History, the raven, in northern Northwest Coast mythology, “transforms the world” and “created the land, released the people from a cockle shell, and brought them fire. Raven stole the light and brought it out to light up the world.”

It is this rich storytelling of the black bird in Pacific Northwest Indigenous culture, and specifically of the Tlingit tribe of southern Alaska, that the Chrysler Museum of Art is presenting the exceptional exhibition “Preston Singletary: Raven and the Box of Daylight” through the end of June.

The topic of light in the world provides glass artwork an intriguing avenue for sharing this otherwise spoken tradition to a new and expanded audience. The exhibition also reminds viewers that today’s indigenous artists are on the cutting edge of the modern art world.

To learn more about the exhibition, I spoke with Carolyn Swan Needell, Ph.D., Chrysler Museum of Art’s Barry Curator of Glass, before the exhibition was installed for her insights.

VEER: What do you hope visitors learn specifically about the raven in the culture of the indigenous people of the Coastal Pacific Northwest when viewing Preston Singletary’s work?

Carolyn Swan Needell (CSN): I hope people learn about a particular narrative, an oral tradition from a particular people.

I’m hoping people are going to encounter a new — maybe new to them — group of people. They’ll be taken on a journey that is important for many tribal groups on the Pacific Northwest coast.

Many different groups on the Pacific Northwest coast have stories about ravens, but this is a specific one.

VEER: When I viewed some of the images of the artwork sent in advance, I was struck by how the glasswork in someways took on those qualities of wooden sculptures or carvings that we might normally see in native artifacts. From a glass artist’s perspective, how technically challenging is it for a Preston Singletary to produce work that can mimic wood like his “Xaat (Salmon)” or “Killer Whale Canoe and Canoe Paddles”?

CSN: I think glassblowing is a really challenging art form. The three techniques Preston Singletary uses are a challenging art form. So if you’re blowing glass it takes years to hone that capability to get the shapes, to get the colors right, to get the tones, to get the thickness of where you want the glass to be. It’s a difficult medium to begin with that people work years and years and years to

perfect. So that’s blowing.

Another technique he uses is kiln casting. That has technical challenges in itself because glass has to cool the right way so it doesn’t crack. It’s incredibly heavy. So that’s another challenging way to work with glass.

Glass is not just one technique, there are many.

The third way that is evident in his work is that after having the glass be hot, whether it was blown or kiln cast and cooled, when it’s finished or cooled that’s when a lot of the decorative work takes place.

Preston primarily sandblasts the glass, not carving. And that presents challenges in getting lines perfectly straight and not abrase the glass too deeply. It’s another really refined skill. It’s an impressive technique that’s being used.

Some of the glass objects are monumental, like absolutely huge. With size, obviously, there’s added risks in making these artworks when you’re handling them.

The work is pristine and beautiful. It’s a fabulous marriage of European glassblowing techniques.

There are many indigenous artists that are using glass but it was not something that was traditionally used. It’s really only since the 1970s that it is being used.

Preston is bringing a new highlighted view that indigenous artists are not limited to what, maybe, Westerners perceive as traditional native materials like wood. I think his work helps us all. There are indigenous artists today using many kinds of materials and glass is a fabulous material to make these particular artworks.

I find this particular story mesmerizing by using glass because all the objects in the exhibition are of one narrative: how light came into the world.

I think about the material that could be used. You could use wood, stone, metal, paper, anything. He’s using glass and glass has this fabulous ability to capture and hold light like no other material.

It reflects. It refracts. It transmits light. When you shine light through it or on it it glows.

It’s the best material, I think, that you could use to tell a story on the origin of life in the world.

There’s a long line of indigenous artists doing amazing works works for centuries and he’s part of that story.

VEER: How much instruction were you as curator provided by Preston regarding

Preston Singletary (American Tlingit, b. 1963) Gagaan Awutáawu Yéil (Raven Steals the Sun), made at Museum of Glass in 2008 Blown, hot-sculpted, and sand-carved glass Collection of Museum of Glass, Tacoma, Washington, gift of the artist. Photo by Russell Johnson, courtesy of Museum of Glass.

how the work would be exhibited and how each piece would be illuminated to really illustrate to the visitor the impact of the light?

CSN: The installation is pretty scripted to where things go and how far apart things are. That’s good practice.

Lighting is actually something typically left to the venues to decide whether it’s the Smithsonian or us. Lighting is done last.

In most cases it’s going to be the team that goes in to see how it looks best.

There are three artworks that actually have neon inside them so they do light up and glow. Those works the light is very much controlled.

be the lat thing we do we haven’t experienced this yet.

I can tell you there is one piece that went up and I can already see how the light is interacting with it and we’re getting ideas.

VEER: Does the artist have an opportunity to view the exhibition for additional input before opening to the public or does he attend the opening and is maybe surprised by the approach you and your team brought to lighting the work?

“Preston Singletary: Raven and the Box of Daylight”

Through June 30 Chrysler Museum of Art chrysler.org

VEER: Did you and your team experiment with different lighting angles to see how the light through the glass would be viewed? Do you come across anything during such a process that perhaps surprised you and that might enhance the telling of the story?

CSN: That’s a great question. We haven’t gotten to that point yet. We are literally installing this whole week. Since lighting will

CSN: Maybe a little of both. The artist was heavily involved as was the organizer — the Museum of Glass in Tacoma. We worked on the layout together in our space. Everyone was aware of our space and how the artwork was laid out and displayed. This is a heavy audio/visual show as well with some projections and sound. We have a technician that’s worked with the Museum of Glass. Preston designed the audio/visual. We’re going to mimic what it looked like at the Museum of Glass. Lighting might be slightly different, but it’s going to have the right overall feel.

Artist Preston Singletary in his studio.

Visual Art Highlights

Listings Compiled By Staff

“ Barbara Earl Thomas: The Illustrated Mind”

Through August 20

Chrysler Museum of Art/Glass Projects

Space & The Box

An exhibition of new works by the celebrated artist, writer, and thinker meditate on the visual experience of the body within a physical and metaphorical world of light and shadow. Based on real people, the portraits “elevate to the magnificent” her family, friends, and neighbors, as well as cultural icons of the African American literary landscape.

“2023 Hampton Arts League Member Exhibition”

Through April 1

Charles H. Taylor Visual Arts Center

The Hampton Arts League Member Exhibition presents the artwork of The Charles H. Taylor Visual Arts Center’s member organization showcasing both emerging and established artists working in a variety of media. This diverse exhibition represents the talented and unique artists who reside and work in Hampton Roads.

“Blue Musings: A Solo Exhibition by Hanna Kirby”

Through April 28

Offsite Gallery @ MacArthur Center

“Blue Musings” is a practice in artistic mindfulness, of living in the moment of creation. Using the historical process of cyanotype and collage, each piece touches on the themes of motherhood, family, and the duality of the intense love and intense sadness of postpartum depression.

“Latoya M. Hobbs: Flourish”

Through June 11

Virginia MOCA

When artist LaToya M. Hobbs sees women of her community, she sees them for the deep, powerful, and complex people that they are. Much like the delicate tendrils of plant life edging their way into her panels, Hobbs’ women are fully formed and thriving in their own right. Drawing from her experience as a printmaker, Hobbs carved their images into wood panel to explore “ the print matrix as art object.” These multifaceted, mixed media relief carvings hover between sculpture and painting. Each one is richly textured and three-dimensional, much like the women they represent.

“Show Off”

Through April 2

Virginia Beach Art Center

Over 70 contemporary artists from around the country are featured in this juried exhibition.

“Prefaces 2023”

Through April 2

Mary Torggler Fine Arts Center @ CNU

This annual exhibition features skilled work by high school students in public and private schools in Newport News, York County, Williamsburg James City County, Poquoson and Hampton. Art teachers at area high schools selected up to 15 works from their students to display at the Torggler Center. Some works will be selected for awards by guest judge James Warwick Jones, well-respected local artist and a painting instructor at the Torggler.

“Juried Student Exhibition”

Through April 8

Gordon Art Galleries @ ODU

This exhibition features works selected by an invited art professional from submissions by students in ODU’s Art Department programs. It represents the breadth and quality of work being produced by undergraduates in several disciplines including drawing and design, graphic design, print and photo media, painting and 3-D media. This year’s juror is Chelsea Pierce, Curator of Modern and Contemporary Art at the Chrysler Museum of Art.

“Sailing to Freedom”

Through April 16

Portsmouth Arts & Cultural Center

Based on the book Sailing to Freedom, this exhibit highlights little-known stories of the less-understood maritime side of the Underground Railroad.

“Low Stakes: Everyday Comix and Plywood Cutouts”

Through May 6

Gordon Art Galleries @ ODU

This whimsical exhibition features some 70 sculptures made from salvaged wood by artist Sam Bartlett. Bartlett is also a musician and author, and his recorded music accompanies the exhibition.

“Perspectives: Modern & Contemporary Glass from the Waitzer Collection”

Through December 31

Barry Art Museum

This exhibition will debut selections from the Leah and Richard Waitzer Foundation’s gift of 165 glass artworks to the museum, nearly doubling the Barry’s holdings of glass art and design objects.

“Notice”

March 18 through April 11

d’Art Center

Local and national female identifying artists are recognized in d’Art Center’s final Persistence series exhibition featuring Lori Pratico. The names of 110 artists will cover the walls and floor of d’Art’s Vault exhibition space.

“Atrium Artistsin Residence: Amber Pierce, Poetry Jackson, Nadd Harvin

Through June 11

Virginia MOCA’s Community Gallery

This exhibition features the work of Amber Pierce, Poetry Jackson, and Nadd Harvin,

At the Chrysler Museum of Art: Barbara Earl Thomas, “Girl and the World”

Photographer Ed Obermeyer captures the perfect wave. See it at Charles H. Taylor Visual Arts Center.

d'Art Center

cut to the quick Kara Walker

March 9–June 11, 2023

This spring Virginia MOCA presents Kara Walker: Cut to the Quick, From the Collections of Jordan D. Schnitzer and His Family Foundation, LaToya M. Hobbs: Flourish, and an artist residency program and exhibition featuring Amber Pierce, Poetry Jackson, and Nadd Harvin. Engage with the exhibitions through a series of expansive community programs inspired by the work in our galleries.

Mar 24

An Evening with Annette Gordon-Reed

Harvard professor and Pulitzer Prize–winning historian Annette GordonReed will deliver a lecture about the sweeping story of Juneteenth and the painful legacies of slavery that persist today.

Apr 1

Community Day

Presented in partnership with the Virginia African American Cultural Center

Explore our current exhibitions, and join us for a day of performances, activities, artist demos, food, and more.

Apr 18

Norfolk State University Night at Virginia MOCA

Join Norfolk State University students, faculty, staff, and administrators for an evening of art and conversation. All are welcome.

May 11

Lecture: Valerie Cassel Oliver on Kara Walker

Valerie Cassel Oliver, Sydney and Frances Lewis Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts, will discuss Kara Walker, her work, and her impact on the world of contemporary art.

Learn more about these events at virginiamoca.org

Kara Walker, Harper’s Pictorial History of the Civil War (Annotated): Exodus of Confederates from Atlanta, edition 21/35, 2005. Offset lithography and screenprint, 39 x 53 in. Collection of Jordan D. Schnitzer. © Kara Walker

From the Collections of Jordan D. Schnitzer and His Family Foundation

(continued from page 22)

who have been invited to participate in the 2023 Atrium Artist in Residence Program. The residency aims to support and amplify the work of regional artists while creating another entry point for Museum visitors to engage with contemporary art and ideas in connection with the main gallery exhibition.

“Installation/Works on Paper 2023”

April through June

Linda Matney Gallery

Curated by John Lee Matney and Isabella Chalfant, this exhibition will feature new paintings on a variety of paper surfaces.

“Mother Earth”

April 7-30

Virginia Beach Art Center

Artists celebrate all she gives in flowers, fauna, and clay, but some also note how she suffers from man’s mistakes.

“Walk on the Wild Side”

April 13 through May 13

Suffolk Center for Cultural Arts

This juried exhibition will specifically showcase drawings, photographs, paintings, wood carving, and sculpture inspired by the creatures inhabiting the Great Dismal Swamp.

“From the Sea to the Stars”

April 22 through June 17

Charles H. Taylor Visual Arts Center

Hampton, the coastal town formed on July 9, 1610, has a multi-generational legacy of history and culture. With the title taken from the city’s motto, this exhibition will showcase how our region’s talented artists

interpret From the Sea to the Stars in their artwork. Works by twenty five artists will explore motifs from the representational to the abstract including paintings, sculpture, glass, photography, and mixed media. This exhibition celebrates how the simplicity of a city motto can reach across geographical and artistic boundaries to touch on the economic, creative and place-making impact Hampton offers to all of Coastal Virginia.

35th Annual Spring Juried Show

April 28

Commune NFK

The visual art students from the Governor’s School for the Arts display their recent works in this exhibition.

“My Happy Place”

May 5-28

Virginia Beach Art Center

What centers you? What brings you joy? VBAC’s in-house artists searched their souls. Go see what they found.

Outdoor Sculpture 2023

May 5 through October 8

Portsmouth Arts & Cultural Center

Artist Sheila Giolitti will jury outdoor sculptures for this annual exhibition in the courtyard of the art center.

Spring Art Show

April 1, 11am-5pm

Nancy Thomas Galleries

814 W. 45th Street, Norfolk

Featuring guest artists and performers, face-painting, and refreshments.

At Linda Matney Gallery: Grayson Chandler, “ Proteome”

Sam Bartlett’s “Neck” is on exhibit at ODU’s Gordon Galleries

On exhibition at Virginia Museum of Contemporary Art: LaToya M. Hobbs, The Founder, 2020 . Acrylic, collage, and relief carving on wood panel, 48 x 36 in. Courtesy of the artist. Photo by Ariston Jacks.

Virginia Beach Art Center’s exhibition includes “Surface” by Seda Pound

Three Women Make Swan Lake Shine: Nayara Lopes, Oksana Maslova, and Dayesi Torriente

By Kate Mattingly

One of the most famous tales of devoted fans is the story of ballet aficionados eating the pointe shoes of dancer Marie Taglioni in 1842. Taglioni attracted acclaim for her superhuman performances that merged strength and delicacy, and she used her pointe shoes to enhance her ethereal, otherworldly qualities. She passed in 1884, a decade before Swan Lake, choreographed by Marius Petipa and Lev Ivanov to music by Pyotr Tchaikovsky, had its premiere and revolutionized roles for women and choreography for the pointe shoe.

Ballet fans continue to flock to Swan Lake to see women transform into iconic characters––Odette, the white swan, and Odile, the black swan––and to savor their performances instead of the pointe shoes. From April 14 to 16, audiences in Norfolk have a chance to see Swan Lake performed by Philadelphia Ballet, with internationally acclaimed dancers in the role of Odette/Odile: Nayara Lopes, born in Brazil; Oksana Maslova, born in Ukraine; Dayesi Torriente, born in Cuba.

This version of Swan Lake, choreographed by Angel Corella, draws inspiration

from the 1895 Petipa/Ivanov version and will be presented at Chrysler Hall as part of the Virginia Arts Festival. Corella is not only famous for his thoughtful leadership of Philadelphia Ballet––he was appointed artistic director in 2014––but also for his own performances of Swan Lake

In 2005, when Corella was a principal dancer with American Ballet Theatre, he was filmed performing Swan Lake at The Kennedy Center with Gillian Murphy.  The DVD has been called “the greatest performance ever of Swan Lake.” The technical feats of Corella and Murphy, combined with their expressive storytelling, are extraordinary. When asked about his choice of choreographing Swan Lake, Angel Corella recently told a reporter, “I think I danced Swan Lake with like 20 different companies around the world… I tried to gather all the different beautiful moments from the many different versions that I’ve done and put them together into this Swan Lake.”

Swan Lake

Philadelphia Ballet

April 14 to 16

Chrysler Hall vafest.org

attract devoted fans and grow audiences for ballet is the dual role of Odette/Odile: one dancer performs radically different choreography. As Odette, she is demure and kind; as Odile she is seductive and fiery. She is both the hero and the villain of the story. Talking to the three women who will perform this role in Norfolk revealed the intricacies of the dancing and why people should see each of these dancers in this ballet.   Dayesi Torriente says the role is challenging “ because it’ s so iconic, and I always want it to be better than the last time I did it.” Dayesi, who remembers seeing Swan Lake performed in Cuba when she was a child, is invested in adding details and finding elements in the acting and choreography to make each performance more compelling and captivating.

a swan, the ballerina must articulate each part her arms to suggest wings. Oksana adds, “There are so many tiny muscles in each arm and to look like a swan is really hard!”

Nayara Lopes remembers seeing Gillian Murphy perform Swan Lake when Nayara was 17. She says the dancing is challenging because of the combination of technical demands plus the acting that role requires. “ You have to be strong, and you have to be tasteful,” she says.  The Odile role is famous for the 32 fouettés, or whipping turns on one leg, that occur in Act 3, and this difficult step occurs three-quarters of the way through the performance when the ballerina is, understandably, very tired.

One reason why this story continues to

For Oksana, who remembers seeing Swan Lake as “a 5- or 6-year-old” on a television program in Ukraine, says the challenge is in the technical demands, especially the choreography for the dancer’s arms. To transform into

These fouettés are also one of the most famous choreographic moments in the classical repertory: the whipping action of the ballerina’s leg suggests a snare trap that she is using to lure Prince Siegfried into pronouncing his love for her. The ballet step functions as both a virtuosic feat and a metaphor for reeling someone in. Typically, the audience bursts into applause when the ballerina finishes the fouettés, signaling

appreciation for her strength and for driving the narrative towards its tragic ending.

Nayara says she “looks up to” Oksana and Dayesi who have both performed the role to critical acclaim. Oksana has been praised for her performances as Odette/Odile: she “seems to emanate emotion from every limb. Maslova’s flexibility and extension are always impressive, but today her arms seemed to transform into fluttering wings.” Dayesi has been complimented for her strong and beautiful dancing in the dual role of Odette/Odile.

In February, when we met on Zoom for an interview about the performances, the three women laughed and listened to one another in ways that suggested friends more than work colleagues. The conversation was full of insights about similarities and differences in their careers, all shared with a refreshing sense of curiosity and support for one another. This camaraderie contrasts with ballet settings that are known for competition and rivalries. For instance, Dayesi is known for taking time to do her nails, because this enhances her beautiful hands and port de bras, and said, “I do my nails myself. I don’t go to a salon.” Nayara laughed, “I like having beautiful nails too, but I need to get them done by someone else!”

When asked what makes Philadelphia Ballet different from other ballet companies, each dancer noted how the people in the organization make it unique.

Oksana, who has danced at the Odessa National Opera House and with Grand Rapids Ballet, says that she was attracted to Philadelphia Ballet because “I think it’s about the people, because people in a company influence what repertory a company does, and I like being in a company that has dancers from everywhere.” Nayara, who danced with National Ballet of Canada and the Dance Theatre of Harlem prior to Philadelphia Ballet, echoes this sentiment saying, “It has been really nice to see everyone understand the value of diversity.”

Audiences in Philadelphia are lucky to have a company that often presents performances with multiple casts, and casts that are very different. Dayesi, who danced with the National Ballet of Cuba prior to coming to Philadelphia, says that she feels supported in exploring different facets of a role: “ We all have our personalities and our own ways of dancing certain parts. It is not as if there is only way to do a role.”

While this may seem obvious, ballet companies have, historically, struggled with adapting to societal changes and some directors have held onto rigid notions of who can be

a ballet dancer and what kind of performances should be presented. This kind of narrowmindedness has led some people to avoid ballet performances and to regard the art form as antiquated. Angel Corella is changing this mindset by presenting Swan Lake as a story about desire and commitment that connects with many people’s lived experiences, and showcasing beautiful ballerinas from around the world in its leading role.

Each of these women has invested deeply in ballet and navigated challenges in order to perform the role of Odette/Odile. Nayara, who shares a favorite quote from Albert Einstein in her biography on Philadelphia Ballet’ s website, says “I came to this country when I was 16 years old. I had no money, like $200 in my pocket, and I stayed in the house of a friend that my mom knew. Since then, my path to this role has been a journey, and I met so many people who helped me, but I never had someone with me, never had a family. In some ways I feel like a loner. People have helped me and have taught me how you have to live with curiosity. You have to put yourself out there if you want to enjoy life. And now I feel like I finally have a company and really good friends. I’m still alone, but with a good foundation and good all around me.” The Einstein quote is, “Be a loner. That gives you time to wonder, to search for the truth. Have holy curiosity. Make your life worth living.”

For Oksana, these performances are especially meaningful due to the war in Ukraine. She says, “Honestly, it’s hard to wake up every day and push myself to leave my home and not be depressed. There is so much tragedy. Every day, I feel pain most of the time. I remember performing the white swan after the war started and I would cry onstage because it fits the role and fits what I was feeling. With the Black Swan, I keep thinking about the courage of the soldiers and what people are going through. The only reason why I’m dancing now, and have not given up, is because I want people to see my name and see that it says I’m from Ukraine, from a little town, Nikopol. This is very important for me. It’s my little victory during a really difficult time.”

Oksana’s words speak to the power of dancing, the power of communicating through our bodies and movement, that can connect humans across borders and cultures. Audiences today may not be as obsessed as the fans who ate Taglioni ’s pointe shoes, but these women, Dayesi, Nayara, and Oksana, ignite wonder and awe. They are deeply invested, curious, and knowledgeable about the world. When they are on stage, ballet’s future is bright.

Coastal Collective is co-working with a twist! We offer several different types of workspaces with amenities, but we also offer something no one else does. We have a fully functioning sound studio for any manner of media production. Whether you need a space to roll up your sleeves and work or a place to film your music video, we’ve got you covered.

Schedule your free tour today.

Spring Dance Highlights

Listings Compiled by Staff

Riddick Dance Company - Sermon

March 31

The American Theatre

Riddick Dance performs the world premiere of Sermon, a gospel music celebration in the African American tradition, which explores themes of peace of the mind and body. Through the devotional song and dance, the music of this choreography will pay homage to traditional African American gospel music.

University Dance Theatre Spring Concert

Presented by Old Dominion University Dance Theatre

April 12-15

University Theatre

Experience an unforgettable evening of diverse works as emerging and established artists expand the boundaries of dance. The University Dance Theatre’s Spring Concert presents pieces performed by Old Dominion University students in a variety of dance styles - modern, Afro-Fusion, jazz, and hip hop. Choreographers this season include visiting artist Jennifer Archibald, ODU Dance faculty members Davianna Griffin, Janelle Spruill, and Megan Thompson, as well as a collection of emerging choreographers.

Philadelphia Ballet - Swan Lake with Virginia Symphony Orchestra

Presented by Virginia Arts Festival

April 14-16

Chrysler Hall

This sleek company, as versatile as it is beautiful, has been transformed by its Artistic Director, Angel Corella—the legendary former American Ballet Theatre principal called “nothing short of perfect ” by The New York Times. When Corella set out to stage the classic Swan Lake for Philadelphia Ballet, he brought decades of experience, and the result is a revelation, an experience that fully forms the characters of the prince, the spellbound “swans,” and the romance at the heart of the story. Add to that, vivid storytelling, “ gorgeous costumes” and sets (Phindie.com) and a company of dancers drawn from the best in the ballet world, and you have an unforgettable experience, “dazzling and lovely to behold ” (Bachtrack.com).

Alvin Ailey American Dance Theater

Presented by Virginia Arts Festival

April 25, Ferguson Center for the Arts

April 28-30, Chrysler Hall

Beloved by generations of audiences and revered by critics around the world, this legendary dance company lifts audiences to their feet with performances of classics by their founder, the Presidential Medal of Freedom-awarded Kennedy Center Honoree Alvin Ailey, and some of the most exciting contemporary choreographers of the 20th and 21st centuries. “ The dancing is wonderful—assured, skillful, incredibly fast. The evening concludes, as does every performance, with Ailey’s Revelations,

Alvin Ailey American Dance Theater

from 1960, set to spirituals and gospel, a triumphant hymn to the human spirit, moving from a sense of sorrow to joy-filled life” (The Guardian, UK). Best advice? “Go see Ailey. It ’s change-your-life good ” (NBC).

Ballet Hispanico

Presented by Virginia Arts Festival

May 5

Sandler Center for the Performing Arts

A Cinco de Mayo celebration not to be missed. This international—and internationally acclaimed—company mines the music, myths, and traditions of Spanish-speaking countries from around the world in dance that draws on the techniques of ballet, contemporary and Latin dance. “ Illuminating and thrilling,” (The Berkshire Eagle), they “can wake up the neighborhood with a sudden, brassy shout or it can croon softly in your ear, whispering words of love” (The Star-Ledger).

Mark Morris Dance Group: The Look of Love Music by Burt Bacharach

Presented by Virginia Arts Festival

May 13

Sandler Center for the Performing Arts

Praised as “ the most successful and influential choreographer alive, and indisputably the most musical ” (The New York Times), Mark Morris has melded music from Bach to the Beatles with dance that charms and thrills audiences. In his newest work, co-commissioned by Virginia Arts Festival, Morris takes on the hits of pop icons Burt Bacharach and Hal David, partnering with pianist and composer Ethan Iverson and famed designer and author Isaac Mizrahi, who created the costumes. Be there as favorites like “Alfie,” “I Say A Little Prayer,” “I’ ll Never Fall in Love Again,” and more leap to life in dance.

Governor’s School for the Arts: Spring Dance Concert

May 18-20

Goode Performing Arts Center@ Virginia Wesleyan

Dancers from area high schools enrolled in the Governor’s School showcase their talents.

A place to collaborate, create, work, produce and be a star!

Up coming Performa nces

A NIGHT WITH TAYLOR DAYNE

March 18 at 8PM

THE SECOND CITY SWIPES RIGHT

March 25 at 8PM

YAKOV SMIRNOFF: HAPPILY EVER LAUGHTER

April 8 at 8PM

ARTURO SANDOVAL

May 6 at 8PM

RIDDICK DANCE: SERMON

March 31 at 8PM

DESIREE ROOTS: CELEBRATING NANCY WILSON

May 13 at 8PM & May 14 at 3PM

or The American Theat re Box O f fice

Two Hours Prior to Show t ime!

Jim Roberts

Music, Might and Gratitude

Local bagpiper reflects on 25 years of the Virginia International Tattoo

By Jim Roberts

I’ve played the bagpipes for more than 30 years. My piping has taken me all over the United States and to Canada and Scotland. My band, Tidewater Pipes & Drums, has opened for Rod Stewart— twice—and we’ve played on stage with the Chieftains, the Piano Guys and the Virginia Symphony. In spite of all these experiences, I can honestly say there is no feeling in the world like performing in the Virginia International Tattoo.

When I think about the Tattoo, I think of the nervous excitement I feel 10 to 15 minutes into the show—when the pipers and drummers are hiding under the elevated stage in Scope Arena, waiting in the pitch black for our dramatic entrance. Once our eyes adjust to the darkness, there are silent glances between musicians, fist bumps and whispered words of encouragement—maybe even an inside joke or two. Then the curtains open, we strike in the pipes and play onto the floor and into a flood of light, music and might.

It’s a thrill—whether it’s the Wednesday night dress rehearsal, an educational performance on Thursday or Friday morning, or one of the four shows for paying customers. And when it’s over on Sunday afternoon, we can’t wait to do it all over again the next year.

The Tattoo also makes me think about more lasting things—like the tremendous sense of patriotism that’s now synonymous with the Virginia International Tattoo brand, the strong bonds that develop between the performers every year, and the friendships I’ve formed with the Virginia Arts Festival staff and volunteers over the last 20 years.

MY BAGPIPING JOURNEY started when I was 8 or 9 years old.

My recollection is that I wanted to play the drums, but my mother’s father was from Scotland, and my guess is that he made the decision for me. His brother, my great uncle, played the bagpipes, and I had

the good fortune to inherit his instrument, which I still play. (Side note: My pipes were stolen on St. Patrick’s Day in 2000, but I was able to recover them after WAVY-TV featured me in a “10 On Your Side” report. Thanks again, Andy Fox!)

My first teacher’s name was Rhett MacPherson, a piper we met at the Tidewater Scottish Festival, when it took place in Virginia Beach. I took private lessons with him for a year or two. It wasn’t long before I joined my first band, Tidewater Pipes & Drums, and then started attending summer camps led by world-renowned pipers Jimmy McIntosh and Murray Henderson.

I wish I could say I’ve played with Tidewater my whole life, but the truth is: I quit playing in high school after my grandfather died. I started up again not long after finishing college, but I’ll always regret those lost years. While I’ve also had stints with bands in Richmond and Washington, D.C., Tidewater Pipes & Drums has always been my home band.

We have a threefold mission: education, performance and competition. Our commitment to performance will be on full display in March and April. Upcoming engagements include the Shamrockin’ in Ghent on Friday, March 10, the Onancock St. Patrick’s Day Parade on Saturday, March 18, the Nags Head St. Patrick’s Day Parade on Sunday, March 19, and the World Culture Festival on Saturday, March 25.

We are also hosting our second annual Tartan Day Concert on Thursday, April 6 at Mount Trashmore Park in Virginia Beach. “Tattoo Week”—seven grueling but rewarding days of rehearsals, promotions, performances and parties—starts 10 days later.

We played in the Virginia International Tattoo for the first time in 1999, and we’ve been in nearly every show since. Over the years, we’ve forged a strong partnership with the Virginia Arts Festival. We now have the honor of wearing the Virginia International Tattoo Hixon tartan and helping to promote the show throughout the year.

We’ve been working on the music for this year’s show for a couple months now. Having performed in or seen every Virginia International Tattoo over the last 25 years, I can report that this year’s music is the most challenging to date!

This year’s show also boasts the largest international cast ever. Performers will come from Australia, France, Latvia, New Zealand, Singapore, Ukraine and the United Kingdom.

The theme for this year’s Tattoo is “Salute to Military Families.” Producer/Director

Scott Jackson always adds elements to the show that will tug at your heartstrings. Last year, for example, he included a video of a woman from Ukraine singing a verse of “Amazing Grace” in the finale.

I don’t know what Scott has planned this year, but I do know that American Gold Star Mothers, Blue Star Families and Tragedy Assistance Program for Survivors (TAPS) will be involved. My advice? Bring some tissues.

Even in the years when I’m not performing in the show, “ Tattoo Week” is special to me. I spend as much time as possible backstage with my bandmates and with old and new friends from around the world.

On Saturday morning, I watch the Norfolk NATO Festival Parade of Nations with my kids, and that afternoon, I volunteer at the Virginia International Tattoo American Pipe Band Championship, a world-class competition that takes place on the Scope Plaza. It is free and open to the public.

I have a tradition of taking my kids to the Tattoo’s final performance on Sunday afternoon, and we always arrive early to experience the “Hullaballoo” activities on the Scope Plaza. (Even if you don’t buy tickets for the Tattoo, I encourage you to check out the Hullabaloo, which is also free and open to the public.)

My kids love the Tattoo. In fact, my son, who is now realizing my dream of playing drums, isn’t quite ready to perform in the Tattoo, but he will be in the next few years. I know he will love the nervous excitement of waiting under the stage and then the overwhelming thrill of playing for thousands of people. And when he’s older and wiser, I hope he will feel the gratitude I feel now—for the many doors music has unlocked for me over the course of my life.

My Tattoo experience isn’t unique. Hundreds of musicians from all over the world converge in Norfolk every spring to put on this incredible show, and they all have their own stories to share. Thanks to the Virginia Arts Festival and the Virginia International Tattoo for bringing all of us together—and all of our stories to life.

The Virginia International Tattoo will take place at 7:30 p.m. on Thursday, April 20, Friday, April 21, and Saturday, April 22 and at 2:30 p.m. on Sunday, April 23 at Norfolk Scope. Ticket prices start at $20; discounts are available for children (under 18), students (under 25), military and seniors (over 60). For tickets or more information, visit vafest.org. Follow Tidewater Pipes & Drums on Facebook and Instagram. Follow Jim Roberts Bagpipes on Facebook.

Join and Make a Difference

For Michael who receives in-home support through our residential services through our day programs

in-home support through our residential services engage in his community through our day programs work through our Community Employment division

For Michael who receives in-home support through our residential services

For Kyle who gets to engage in his community through our day programs

For Linwood who gets to work through our Community Employment division

For Linwood who gets to work through our Community Employment division

For over 65 years, Eggleston has been serving the Hampton Roads community by providing adults with disabilities employment, training and education services.

• Locally grown plants that thrive in Hampton Roads: Hundreds of varieties of trees, shrubs, flowers and greenery

In addition, the organization has grown its programs to support both residential living and day services across the continuum of care throughout the region.

For 65 years, Eggleston has been serving the Hampton Roads community by providing adults with disabilities employment, training and education services.

In addition, the organization has grown its programs to support both residential living and day services across the continuum of care throughout the region.

For 65 years, Eggleston has been serving the Hampton Roads community by providing adults with disabilities employment, training and education services. In addition, the organization has grown its programs to support both residential living and day services across the continuum of care throughout the region. Eggleston is looking for hard working, caring individuals who want to make a difference in their community.

For 65 years, Eggleston has been serving the Hampton Roads community by providing adults with disabilities employment, training and education services. In addition, the organization has grown its programs to support both residential living and day services across the continuum of care throughout the region. Eggleston is looking for hard working, caring individuals who want to make a difference in their community.

Eggleston is looking for hard working, caring individuals who want to make a difference in their community.

To Learn more or Apply today visit EgglestonServices.org/careers or Call 757-858-8011

To Learn more or Apply today visit EgglestonServices.org/careers or Call 757-858-8011

E.O.E. /M/F/DISABLED/VET/AFFIRMATIVE ACTION EMPLOYER

E.O.E. /M/F/DISABLED/VET/AFFIRMATIVE ACTION EMPLOYER

• Herbs, spices and veggies for all the at-home farmers

• NEW expanded selection of Garden tools, soil, natural and organic chemicals, and much more to make your garden spring to life!

• Large selection of indoor plants & expert staff to help you select “the one” for you

• NEW unique décor you won’t find anywhere else!

757-625-2044 • Open: Tues-Sat 9-7 and Sun 9-5 (Closed Monday) 110 La Valette Ave (Located in the Norfolk Riverview Historic district)

offers a large selection of locally sourced produce and products including peanuts, spices, spirits, honey, soaps, jams and more.

England’s Star Shines in Henry V at Virginia Stage

By Montague Gammon III

The greatest coach-to-underdogs pregame speech the world has ever heard, or can ever expect to hear, is part of what makes Shakespeare’s c. 1599 history play, Henry V (more formally titled The Chronicle History of [or The Life of] Henry the Fifth) great.

It has “probably the earliest example of ‘Undercover Boss’ in literature,” noted director Tom Quaintance, in a person-to-person chat about the upcoming production at the Virginia Stage Company, where he is Producing Artistic Director. It’s the only play in which “Shakespeare wrote scenes in French,” Quaintance pointed out. (Since those are love scenes, they’re easy to follow

without knowing the exact words.)

As if to counteract that non-Anglo interpolation, there’s an uncommon amount of English prose in the script, which makes the play all the more accessible.

“We’re just people,” is an unspoken message Quaintance felt when he first encountered the play in Kenneth Branagh’s 1989 film version.

For all its presentation of titled and royal characters, there’s another, contrasting, important element of this time-condensed recounting of a bit of the Hundred Years’ War, that on and off 1337-1453 broil between England and France, when the Kings of England also claimed the French throne.

That element is “How much care Shakespeare pays to the everyday soldier and the people whose lives are on the line,” noted Quaintance.

Shakespearean trained Anthony Stockard, head of the Drama and Theater Program at Norfolk Stage University, whose students and alumni turned professional actors are prominent in this co-production of VSC and Norfolk State University Theatre Company, was included in that chat with Quaintance. Stockard is, Quantance explained in a later email, acting as a coach and mentor for his students and alums..

Stockard said, “A king could be a common man…It is the people who are the heroes. They are the ones who are contributing significantly.. There’s so much humor, there’s so much love in what is usually the tense war struggle, the power struggle, and it is unique in that way.”

advantage makes their struggle a source of greater honor. Henry uses humor, even getting laughs, “to rally his men,” Quaintance said, while vowing that he, the King, and they are fighting side by side as “this happy few, this band of brothers,” promising that in future days those who survive will have a special place in history “to the ending of the world.”

It’s not only the greatest pep talk ever, but acknowledged as one of the greatest speeches Shakespeare ever wrote.

The play does not reveal that the historical Henry probably knew what elements of strategy were on his side in a case of “They have us right where we want them”, in modern lingo.

April 13-30

Presented by Virginia Stage Company and Norfolk State University Theatre Company Wells Theatre 757-627-1234

Henry V is, most especially, a “celebration of what makes theatre a unique experience,” Quaintance noted. “The coming together, the action between the audience and the performer,” enables the transmutation of huge real world events, such as the clash of battling armies, into events that fit the small space of a stage.

www.vastage.com

They faced the French from a position bounded by forest, which narrowed the front as the French knights charged them. The French cavalry would be charging across a muddy field that would further sap their momentum as they rushed into a lethal hail of arrows from the English archers, whose longbows fired far faster than the French infantry’s crossbow. It was the equivalent of automatic AK-47’s against bolt action, fire and reload and only than fire again, Mausers.

“Dynamic story telling,” is a feature of Henry V, Stockard said, in explaining his affection for the play.

“It’s just a beautiful language,” Stockard said. ”It’s an intense experience when actors build the bridge of understanding and paint the images for the audience…There’s something about [using] language to transport instead of spectacle…”

Henry V admits in a Prologue (one of the few instances where, perhaps, Shakespeare the author himself speaks) that the audience must use its “imaginary forces” to visualize great events, to “piece out our imperfections with your thoughts.”

Central to the play is the 1415 Battle of Agincourt, where Henry’s army, tired, ill, short on supplies, faced off against a fresh, eager French army, supplied with healthy fighting men numbering many times the force of the English.

Henry, disguised, walks though his camp the night before the battle, anonymously interacting with his soldiers, who are aware of the fearsome odds against them.

In the morning Coach Henry speaks to those who wish for a larger force, and proclaims in ringing tones that their very dis-

In what was apparently a novel defense, the English archers had build a barricade of sharpened stakes stuck in the ground and pointed at the mounted French attackers. French casualties outnumbered English losses on such an unimaginable scale that Henry and his nobles were assured that God had fought on their side.

Henry is then free to woo Princess Catherine of France, to further secure his claim on the French throne. There’s even a bit of bawdy humor arising from her mistaking innocent English words for similar sounding but very improper French words.

Of course, subplots abound, grounding historically important events in the lives of the foot soldier and the citizen at home.

The production features non-period costumes by Jeni Schaefer, and a stage that thrusts out into what is usually audience space.

Henry V closes with the Chorus—a role Quaintance and Stockard play in alternate performances—proclaiming that:

“Our bending author hath pursued the story, in little room confining mighty men, Mangling by starts the full course of their glory. Small time, but in that small most greatly lived This star of England.”

Virginia Stage Company’s producing director Tom Quaintance.

Henry V by William Shakespeare

Drama & Comedic Theater Highlights

Compiled By Staff

“

The Legend of Georgia McBride”

Through April 2

Little Theatre of Virginia Beach

He’s young, he’s broke, his landlord’s knocking at the door, and he’s just found out his wife is going to have a baby. To make matters even more desperate, Casey is fired from his gig as an Elvis impersonator in a run-down, small-town Florida bar. When the bar owner brings in a B-level drag show to replace his act, Casey finds that he has a whole lot to learn about show business—and himself.

“The Curious Incident of the Dog in the Nighttime”

Through March 25

Presented by Generic Theater

15-year-old Christopher has an extraordinary brain: He is exceptional at mathematics

but ill-equipped to interpret everyday life. He has never ventured alone beyond the end of his road, he detests being touched, and he distrusts strangers. Now it is 7 minutes after midnight, and Christopher stands beside his neighbor’s dead dog, Wellington, who has been speared with a garden fork. Finding himself under suspicion, Christopher is determined to solve the mystery of who murdered Wellington, and he carefully records each fact of the crime. But his detective work, forbidden by his father, takes him on a thrilling journey that upturns his world.

One-Act Play Festival

Presented by Arts Enter Cape Charles

March 24-26

Historic Palace Theatre

The play festival gives local actors and directors an opportunity to showcase their

talents while offering an audience humor, sadness, satire and a large variety of emotions and talent in one night. Playwrights include Woody Allen and Thornton Wilder. Plays include “Riverside,” “The Real Problem,” “Stealing Cars” and “The Happy Journey to Trenton and Camden.”

Emerging Playwrights Festival

March 29-April 1, April 6-9

ODU University Theatre

A collection of one-act plays performed by students and written by student playwrights. Produced by ODURep Theatre.

“Henry V”

April 12-30

Virginia Stage Company

From Shakespeare’s repertoire of famous history plays comes the story of two kingdoms, a young king, and an epic battle within the Hundred Years’ War.  In early 15th century England, Henry V contemplates making a claim to rule France as well as England. Ideas quickly turn to action when France’s Dauphin insults the newlyanointed king, who reacts by rallying his troops to begin the invasion. Who will be victorious? Can peace between these two countries be achieved? This re-imagined classic is a co-production with Norfolk State University Theatre Company.

“All Things Equal: The Life & Trials of Ruth Bader Ginsburg”

Presented by Virginia Arts Festival

May 2

Attucks Theatre

Written by Tony Award-winning playwright Rupert Holmes brings the strength, tenacity, sly wit and compassion of the late Supreme Court Justice to life in this 90-minute love letter to “the notorious RBG”—from losing her mother the day before she graduated as valedictorian of her Brooklyn High School to being one of the few women at Harvard Law to fighting for women’s rights before all-male courts to her tenure as a voice of reason and equality amid a splintering Supreme Court. As playwright Holmes puts it: get to know this woman who became one of this nation’s precious institutions: “Ruth… Justice…and the American way.”

“At the Illusionist’s Table”

Presented by Virginia Arts Festival

May 2-7, The Cavalier Resort

May 9-14, The Main

Acclaimed illusionist Scott Silven hosts intimate dinners interwoven with illusion, mentalism and storytelling. Candles flicker, whisky pours, conversation stirs...and before your eyes, mysteries materialize and dreams are revealed.

“Refraction of Light”

May 5-7

Zeiders American Dream Theater

“Refraction of Light,” a new original work from local playwright Jean Klein, explores friendship and prejudice in post WW2 America, more specifically in the Berkley neighborhood of Norfolk, Virginia.

“A Midsummer Night’s Dream”

Presented by Governor’s School for the Arts

May 11-13

ODU University Theatre

Directed by Ricardo Melendez, local students perform this classic Shakespeare play.

“Murder on the Orient Express”

May 12 through June 4

Little Theatre of Virginia Beach

Just after midnight, a snowdrift stops the Orient Express in its tracks. The luxurious train is surprisingly full for the time of the year, but by the morning it is one passenger fewer. An American tycoon lies dead in his compartment, stabbed a dozen times, his door locked from the inside. Isolated and with a killer in their midst, the passengers rely on detective Hercule Poirot to identify the murderer—in case he or she decides to strike again.

“Around the World in Eighty Days”

Presented by Children’s Theater of Hampton Roads

May 13

Zeiders American Dream Theater

Explorers Phileas Fogg and Jean Passepartout attempt to win a race across the globe. But to make this the trip of a lifetime, the explorers will need your (audience) help. Based on the novel by Jules Verne, this interactive CTHR production delights audiences of all ages. Will Jean and Phileas make it around the world on schedule, or will their hilarious antics slow them down? Only time will tell.

Cast members of LTVB’s “The Legend of Georgia McBride”: (L-R) Arlynn Parker (Jo), Caron Cooper (Jason), and Cody Hall (Casey). Image by J. Stubbs Photography.

TALBOT PARK FARMERS MARKET

Standup Comedy Highlights

Compiled By Staff

Straight Jokes, No Chaser

March 25

Hampton Coliseum

Hosted by Mike Epps with Cedric the Entertainer, D.L. Hughley, Earthquake & D.C. Young Fly.

The Second City Swipes Right

March 25

The American Theatre

Bring your partner, lover, significant other, spouse, friend with benefits, friend with EXTRA benefits, platonic BFF, or your spectacularly single self to this brand-new experience you’ve been aching for. Spend a naughty 90 minutes with this caliente cast of comedians as they (consensually) annihilate everything that turns us on— and off— about love, dating, relationships, and everything else in-between the sheets.

The Great Scott w/Jason Kypros

March 25

Cozzy’s Comedy Club

Clean comedian/magician. His highly developed sense of humor and his overactive creative core...put these together and yu have an explosive combination of laugh out loud fun.

Sam Morril

March 30

Attucks Theatre

Sam Morril is one of the fastest-rising stand-up comics in New York City and one of the best joke writers in the scene today. He was a regular on Comedy Central’s  This Week at the Comedy Cellar, where he appeared frequently when not touring cities across the nation.

Lewis Black

March 31

Sandler Center

EAST BEACH FARMERS MARKET

comedy, Barbosa’s laid-back style combined with sharp timing makes for a hilarious comedy set. From his Don’t Tell Comedy Set reaching over a million views on YouTube to making his HBO and Comedy Central debut in 2022, Barbosa is rocking stages all over.

Yakov Smirnoff

April 8

The American Theatre

“ What a country!” says legendary comedian Yakov Smirnoff. From Russia to the New York Catskills to The Comedy Store in Los Angeles, Smirnoff quickly gained fans for his lovable view of America. More than 40 years later, he still plays to sold-out crowds, delivering an optimistic message about how we’re more alike than different, with plenty of laughs along the way.

Known as the King of Rant, Lewis Black uses his trademark style of comedic yelling and fingerpointing to expose the absurdities of life. His comedic brilliance makes people laugh at life’s hypocrisies and the insanity he sees in the world.

Brian Regan

April 6

Harrison Opera House

Critics, fans and fellow comedians agree: Brian Regan is one of the most respected comedians in the country with Vanity Fair calling Brian, “ The funniest stand-up alive,” and Entertainment Weekly calling him, “ Your favorite comedian’s favorite comedian.” Having built his 30-plus year career on the strength of his material alone, Brian’s non-stop theater tour continuously fills the most beautiful venues across North America, visiting close to 100 cities each year.

Ralph Barbosa

April 7-8

Virginia Beach Funny Bone

One of the shyest attention hogs to ever do

Bad Friends Podcast Live

April 25

Chrysler Hall

Comedians Andrew Santino and Bobby Lee are taking their show on the road. Bad Friends showcases the dynamic and sometimes “contentious” relationship between Lee and Santino, providing audiences with a hilarious and entertaining glimpse into their world.

Nate Bargatze

May 7

Chrysler Hall

Hailing from Old Hickory, Tennessee, standup comedian Nate Bargatze is selling out shows across the world on his Raincheck Tour.

In July 2020, the comedian teamed up with All Things Comedy to release his weekly podcast, Nateland. The world is a crazy place and there are plenty of podcasts out there tackling the tough issues. However, Nateland will tackle the meaningless issues that we face day to day to give listeners a much-needed mental break from fighting the good fight.

The King of Rant returns on his “Off The Rails” Tour.

COMING SOON!

We are re-locating our original Mermaid Winery location from Ghent to 101 Granby Street in Downtown Norfolk. Our last day in Ghent will be March 31st and we will re-open in May in downtown Norfolk. Come help us celebrate these last couple weeks at the original location as we say good-bye to fun times and say hello to a grand new beginning.

Our new home in Norfolk is both a registered National & State Historic Landmark on the corner of Main & Granby Street. The building is a Beaux-Arts NeoClassical style and was built in 1908 as a bank. The building’s exterior is made of limestone and has stately, massive columns. The interior is spectacular with intricate ornate plaster. The beauty of this building is truly unparalleled.

Norfolk Wine Club Members: you will be able to pick up your April wine at our Virginia Beach location or we can hold it for you until we open Downtown. All members will receive grand opening celebration invitations coming soon.

2009. Eventually that led to workshops of the burgeoning musical, which led to its offBroadway premiere at The Public Theater in February of 2015. It opened on Broadway at the aforementioned Richard Rodgers Theatre on August 6, 2015, where it played to sold-out audiences, and continued to earn practically universal raves from critics.

Hamilton’s Triumphant Return

By Jerome Langston

“

It’s been going really well. The audiences are really fantastic. They’re just as energized and excited as they’ve ever been, which is a testament to Hamilton,” says actor/singer Blaine Alden Krauss, who portrays the principal role of Aaron Burr in the Philip cast, for the North American tour of Hamilton . The actor calls me from Boston, where the Philip company of the Broadway touring show is playing the Citizens Bank Opera House. He has two performances of the iconic musical to prepare himself for later today, but you would never know it by his calm, chill demeanor. The Florida native, who has been living and working in NYC since 2015, really enjoys the touring life, despite its rigor. “It’s great to be in awesome cities, and to experience the cities themselves...and have the opportunity to get to know the people,” he later says.

Hamilton will begin its run at Norfolk’s storied Chrysler Hall in late March, before the Philip show cast hits Richmond. Hampton Roads last got to experience this cultural phenomenon, back in December of 2019, just a few months before the pandemic would

transform our collective lives for the worse. That run, which of course was the first time that Hamilton played in this market, was one of the most successful Broadway show runs in Norfolk. My sister was my plus one for opening night...and as I’ve been privileged to have seen a substantial number of Broadway shows—I can undoubtedly say that I’d never experienced that level of high energy and audience excitement for a show.

And we know that Virginia’s response to Hamilton was no anomaly. Only a very few Broadway shows have become a cultural phenomenon—transcending the typical reach of the Great White Way. The musical attracted an astonishingly wide spectrum of fans: including theater nerds, hip hop enthusiasts, politicians on both the political left and right, suburban housewives...seemingly a large amount of every demographic enjoyed it—which has led to its record-breaking success on Broadway, and its ubiquity in American popular culture. Specifically, this dazzling show about the life of Alexander Hamilton, America’s first Secretary of the Treasury and one of

its founding fathers, won 11 Tony awards out of a record-breaking 16 nominations in 2016. It is also the recipient of the Pulitzer Prize for Drama, and for its hugely popular cast album, it won a Grammy. And with its many popular musical numbers, including “My Shot,” “You’ll Be Back,” and “One Last Time,” the Hamilton cast album is the bestselling cast album of all time. The original Broadway production is still packing them into the Richard Rodgers Theatre nightly, while productions of the show in major international cities like London and Toronto, are also still popular.

HAMILTON

Most of the off-Broadway cast of principals reprised their roles on Broadway, including Lin-Manuel as Alexander Hamilton, Christopher Jackson as George Washington, Leslie Odom Jr. as Aaron Burr, and Daveed Diggs in the dual roles of Thomas Jefferson and Marquis de Lafayette. They all delivered Tony Award nominated performances. And director Thomas Kail, who is a Virginia native, directed both the offBroadway and Broadway productions of the musical. His artistry earned him the Tony Award for Best Direction of a Musical.  While the Hamilton phenomenon was chugging along, Blaine was simply a fan of the show, like most of us. After graduating from college, he landed the coveted role of Simba in the touring production of The Lion King, but never thought that he’d act in Hamilton, due to its rawness and authenticity relative to its origin story. “It’s one of those shows that I never thought I’d be in,” he tells me. Well despite that, in late 2019 he joined the Philip cast touring show, as the standby for Hamilton, Burr and King George III. The show of course shut down in early 2020 due to the pandemic, but once it returned, he resumed his work in the cast. “It’s a unique thing to get to play both, and see both, and understand both—as an actor,” Blaine says. After a year though, he left for other opportunities, but is now back starring in the principal role of Aaron Burr, the show’s complicated antagonist and narrator, and a classic foil to Hamilton. He’s starring in the role for a temporary, months-long run.   “

March 28-April 9  Chrysler Hall  sevenvenues.com

The now famous playwright, Lin-Manuel Miranda, wrote the music, lyrics and book for  Hamilton, after being inspired to create some type of art about Alexander Hamilton, after reading the acclaimed 2004 Alexander Hamilton biography by Ron Chernow. That birth some years later, his  Hamilton Mixtape and performing at the Obama White House as part of a poetry and spoken word program, back in May

To get to do Aaron Burr full-time, versus as a standby, is obviously amazing,” Blaine says, towards the end of our chat. The multi-hyphenate has also had standout roles in FX’s “Pose,” and played the lead role of Lola in Kinky Boots. I ask him why he believes that Hamilton has been such an unparalleled success over these years. The actor explains that so many different types of people see themselves in this show, which makes it particularly special. “Hamilton meets you where you’re at.”

Hamilton cast on stage. Photo by Joan Marcus

YOUR SPRING DESTINATION FOR THE ARTS

GET YOUR TICKETS NOW FOR EXCITING PERFORMANCES!

CONNIE AND MARC JACOBSON

OPENING WEEKEND

Philadelphia Ballet - Swan Lake with Virginia Symphony Orchestra

DANCE

Alvin Ailey American Dance Theater

Ballet Hispánico

Mark Morris Dance Group - The Look of Love

RECITALS

David Russell, guitar

Colin MacKnight, organ

THEATER

Chicago - The Musical In Concert

Rob Fisher, conductor

Virginia Symphony Orchestra

All Things Equal - The Life & Trials of Ruth Bader Ginsburg

A Musical Tribute to Luther Vandross

VOCAL MUSIC

Calmus

Alisa Amador

VIRGINIA INTERNATIONAL TATTOO

NORFOLK NATO FESTIVAL

BLUEGRASS/R&B

Béla Fleck, Zakir Hussain, Edgar Meyer with Rakesh Chaurasia

Smokey Robinson

AMERICANA/FOLK

Mames Babegenush

Josh Ritter with The Royal City Band

Leyla McCalla

Sierra Hull

American Aquarium

Valerie June

Over the Rhine

Bria Skonberg

CLASSICAL

Chris Thile, mandolin

Eric Jacobsen, conductor

Virginia Symphony Orchestra

Julia Bullock , soprano

Five Freedom Songs by Jessie Montgomery

Eric Jacobsen, conductor Virginia Symphony Orchestra

CHAMBER MUSIC

Olga Kern, Connie and Marc Jacobson

Director of Chamber Music

Dalí Quartet

Emerson String Quartet

Olga Kern, piano

Olga Kern, piano, in concert with

• Dalí Quartet

• Tianwa Yang, violin; Sterling Elliott, cello; Debra Wendells Cross, flute

• Debra Wendells Cross, flute; Sherie Lake Aguirre & David Garcia, oboe; Michael Byerly, clarinet; Laura Leisring & David Savige, bassoon; Jacob Wilder & Helen Wargelin, horn; Barbara Chapman, harp

• Tianwa Yang, violin; Sterling Elliott, cello; Debra Wendells Cross, flute; Darrin C. Milling, bass trombone

VIRGINIA INTERNATIONAL PANFEST

WILLIAMSBURG LIVE

The Wood Brothers with special guest Shovels & Rope

Kenny Loggins

This is it!

His Final Tour 2023 with special guest Yacht Rock Revue Keb’ Mo’

2023 PLATINUM SPONSORS

ALVIN AILEY® AMERICAN DANCE THEATER APRIL 25, 28-30

B É LA FLECK, ZAKIR HUSSAIN, EDGAR MEYER with Rakesh Chaurasia MAY 3

CHRIS THILE, mandolin Eric Jacobsen, conductor Virginia Symphony Orchestra MAY 19-21

SKONBERG

WOOD BROTHERS

CHICAGO - THE MUSICAL IN CONCERT Rob Fisher, conductor Virginia Symphony Orchestra MAY 6

SIERRA HULL MAY 18

KENNY LOGGINS THIS IS IT! His Final Tour 2023 JUNE 17

JOSH RITTER with THE ROYAL CITY BAND MAY 7

BALLET HISPÁN ICO MAY 5

OLGA KERN MAY 7, 10-11, 23, 25-26

JULIA BULLOCK FIVE FREEDOM SONGS by Jessie Montgomery Eric Jacobsen, conductor Virginia Symphony Orchestra JUNE 14

MARK MORRIS DANCE GROUP THE LOOK OF LOVE MAY 13

PHILADELPHIA BALLET SWAN LAKE with Virginia Symphony Orchestra APRIL 14-16

Musical Theater Highlights

Listings Compiled By Staff

“Finding Nemo, Jr.”

Presented by Hurrah Players

March 17-19, Sandler Center

March 25, Suffolk Center

This new stage adaptation of the beloved movie “Finding Nemo” follows Nemo and all his friends, Dory, Crush, Marlin and the Tank gang helping Nemo tackle his challenges on his journey.

“Ain’t Misbehavin’: The Fats Waller Show”

March 17 through April 2

Williamsburg Players

Fats Waller is regarded as one of the greatest jazz pianists, a gifted songwriter whose rhythmic, contagious work captivated listeners. Ain’t Misbehavin’ brings to life a rowdy time when the Cotton Club and the Savoy Ballroom were playgrounds of high society and Lenox Avenue dives were filled with piano players banging out the new music known as Swing.

“Hits! The Musical”

March 25

Harrison Opera House

Dionne Warwick, six-time Grammy Award winner and music legend, presents “Hits! The Musical” - 90 minutes of pure joy with extraordinary singing, spectacular dancing, hundreds of costume changes and state-of-the-art lighting and sound that will leave you amazed. Imagine songs like “Signed, Sealed, Delivered,” “Hero,” “I Will Always Love You,” “Singing In The Rain,” and nearly 80 more of America’s most iconic songs performed by the greatest young singers and dancers in the country. The cast of 29, ages 10-22, was selected from a nationwide audition of over 7,000 individuals.

“Crazy for Patsy Cline”

April 1

Suffolk Center for Cultural Arts

Award-winning actress/singer/songwriter

Katie Deal soulfully embodies country icon Patsy Cline. Deal gained national acclaim for her superbly authentic Patsy, starring in numerous tours of “A Closer Walk with Patsy Cline” and “Always… Patsy Cline.” An accomplished country music artist, Deal received the Georgia Country Artist of the Year Award and

is an honored member of the Atlanta Country Music Hall of Fame. Columbus Free Press definitively states, “She’s pure Patsy.”

“Catch Me If You Can”

Presented by Virginia Musical Theatre

April 21-23, Sandler Center

Who hasn’t longed to travel the world? But would you want to do it if it meant constantly looking over your shoulder? Based on the hit movie starring Tom Hanks and Leonardo Di Caprio, this show is the true story of a man who did just that. Con artist Frank Abagnale fakes his way through a fantastic life of adventures, narrow escapes, and unimaginable circumstances…but can he move fast enough to outrun his past mistakes? This will mark this show’s professional debut in Hampton Roads.

“Legally Blonde: The Musical”

April 27

Ferguson Center

Fabulously fun and international awardwinning Legally Blonde - The Musical is the

ultimate Broadway tribute to Girl Power! The story follows the transformation of Elle Woods as she tackles stereotypes, sexism, snobbery and scandal in pursuit of her dreams, and proves that you can be legally blonde and STILL the smartest person in the room. This contemporary, sassy musical moves at a breakneck pace driven by memorable songs and explosive dances.

“James and the Giant Peach”

May 5-28

Little Theatre of Norfolk

When James is sent by his conniving aunts to chop down their old fruit tree, he discovers a magic potion that results in a tremendous peach... and launches a journey of enormous proportions. Suddenly, James finds himself in the center of the gigantic peach, among humansized insects with equally over-sized personalities, but after it falls from the tree and rolls into the ocean, the group faces hunger, sharks, and plenty of disagreements. Thanks to James’ quick wit and creative thinking, the residents learn to live and work together as a family. The dangerous voyage is a success, but the adventure takes a whole new twist once they land on the Empire State Building.

“Mary Poppins”

Presented by Arts Enter Players

May 5-7, 12-14

Historic Palace Theatre

Eastern Shore actors present this musical based in part on the Disney classic movie.

“Chicago The Musical in Concert”

Presented by Virginia Arts Festival & Virginia Symphony Orchestra

May 6

Chrysler Hall

The longest-running American musical in the history of Broadway—and still drawing cheering crowds in New York—John Kander and Fred Ebb’s Chicago won six Tony Awards, a Grammy for Best Musical Show Album, and six Oscars including Best Picture for the film version. And for all those years, since 1996, Rob Fisher has served as the music director for the show and its worldwide productions.

“The Book of Mormon”

May 9-10

Ferguson Center

The New York Times calls it “the best musical of this century.” The Washington Post says, “It is the kind of evening that restores your faith in musicals.” And Entertainment Weekly says, “Grade A: the funniest musical of all time.” Jimmy Fallon of The Tonight Show calls it “Genius. Brilliant. Phenomenal.” It’s “The Book of Mormon,” the nine-time Tony Award -winning Best Musical.

“No Fear and Blues Long Gone: Nina Simone”

May 10-14

Virginia Stage Company

This 90-minute, one-woman show features the  Jazz legend and Civil Rights activist when

Virginia Stage Company presents “No Fear and Blues Long Gone: Nina Simone” on May 10-14. Pictured is Nina Simone in 1968.

she returns to present times to address certain events in her life, answer questions and leave her audience with a unique perspective on dealing with fear and current events in our world today.  Featuring some of Ms. Simone’s greatest hits including “Don’t Let Me Be Misunderstood,”

“I Wish I Knew How it Would Feel to Be Free,” “Feeling Good” and “Young, Gifted and Black.”

“Madagascar —A Musical Adventure Jr.”

May 20-21

Hurrah Players

All of your crazy fun Madagascar characters in a really catchy musical.

“Madagascar —A Musical Adventure”

May 27

Ferguson Center

Based on the smash hit DreamWorks’ animated motion picture, “Madagascar - A Musical Adventure” follows all your favorite crackalackin’ friends (Alex the Lion, Marty the Zebra, Melman the Giraffe, Gloria the hip hip Hippo and a colony of hilarious, clever penguins) as they escape from their home in New York’s Central Park Zoo and find themselves on an unexpected journey to the madcap world of King Julien’s Madagascar.

“Jesus Christ Superstar”

May 30 through June 4

Chrysler Hall

Celebrating its 50 th Anniversary, a new mesmerizing production of the iconic musical phenomenon returns to the stage. Originally staged by London’s Regent’s Park Open Air Theatre and helmed by the acclaimed director Timothy Sheader (“Crazy for You,” “Into the Woods”) and cutting-edge choreographer Drew McOnie

(“King Kong,” “Strictly Ballroom”), this production won the 2017 Olivier Award for Best Musical Revival garnering unprecedented reviews and accolades. Appealing to both theater audiences and concert music fans, this production pays tribute to the historic 1971 Billboard Album of the Year while creating a modern, theatrical world that is uniquely fresh and inspiring.

“The Spitfire Grill”

June 2-18

Williamsburg Players

Just released from a five year prison sentence, feisty Percy Talbott is looking for a fresh start. Reading an old travel book, she discovers the small town of Gilead, Wisconsin and decides to move there. With the help of the local sheriff, Percy gets a job at the only eatery in this struggling town. When owner Hannah decides to raffle off the grill in an essay contest, mail begins to arrive by the wheelbarrow full. Things are getting hot at the Spitfire Grill and Percy’s precarious new existence is endangered. This inspirational musical triumph celebrates fresh starts and the power of what one person can do.

Actress Katie Deal is convincing in “Crazy for Patsy Cline” April 1 at Suffolk Center for Cultural Arts.

Shaham, Dvorák and "An Absolute Blast”

By Montague Gammon III

The Virginia Symphony Orchestra is bringing Hampton Roads audiences yet another world premiere, plus a visit from one of the world ’s great violinists who just happens to be a local favorite, in a concert that is being recorded for commercial release.

That soloist is Gil Shaham, who first wowed local audiences in the late 1980’ a as a last minute, 17 year old replacement for Yehudi Menhuhin. He’s been an orchestra and audience favorite ever since. He’s going to play not the usual single violin concerto, but two, one by Czech composer Antonin Dvorák and another by the African-English Samuel Coleridge-Taylor.

Shaham also plays one solo in the final piece on the program, the world premiere of contemporary violinist and composer Curtis Stewart’s “The Famous People,” which Stewart’s advance program notes term “recompositions of 5 Dvorák “Slavonic Dances.” Each segment is named after an abolitionist, Stewart said in a telephone interview as he traveled from New Jersey to Richmond for a friend ’s wedding.

Lest purists shudder at the idea of “ recomposing” any of the classical canon, consider a couple of facts about Dvorák that

suggest that he would have heartily approved of the idea.

First, as VSO Music Director and conductor of the concert Eric Jacobsen said, “ The thing about Dvorak in general [his music is] always reminiscent, [revealing] nostalgia for his country.”

Secondly, the composer, who spent three years in the US, encouraged American composers to make use of their own, uniquely American music as the basis for classical compositions, rather than following European models. He was, Jacobsen pointed out, “ The first to say that ‘Americans should write American music’.”

So Stewart’s work, which uses contemporary musical idioms, is very much in what might be called a Dvorákian tradition.

On Coleridge-Taylor, Jacobsen says that “So much of his music and the colors he’ s going for” can be compared to Dvorák. “ There’ s the clarity of a unique creator who’s born at a certain time in a certain world.” The two concertos “feel of a similar ilk.”

“Having violin concertos back to back is a super unique, and I can’t imagine that [these two] have been performed together before.”

Jacobsen said that Stewart has both

Gil Shaham Returns

Virginia Symphony Orchestra

Mar. 24, Ferguson Center

Mar. 25, Chrysler Hall

Mar. 26, Sandler Center

Antonin Dvorá k: Violin Concerto Samuel Coleridge-Taylor: Violin Concerto

Antonin Dvorák/Curtis Stewart: Slavonic Dances

virginiasymphony.org

757-892-6366

reimagined the Slavonic Dances—Jacobsen terms them “ bite sized little delicious morsels”—while simultaneously, “He’s paying homage to the greatness of those works and they are absolutely incredible works… to change them is to pay respect and to say ‘see what these works can do,’ and I think that’s what’s exciting.”

“I am so excited about this program.. What Gil is able to do onstage is truly unique. He’s really one of the greatest of his art form. The orchestra loves him, the audience loves him…” While Jacobsen said that

the Dvorá k Violin Concerto is “a slightly underplayed work…it doesn’t get played that much,” and that the Samuel Coleridge Taylor “is an underplayed work for the quality; it’s an absolutely wonderful work.”

Here are Stewart’s Slavonic dance homages to abolitionists and to Dvorák, as titled his program notes, with a bit about each of those Famous People, adding Stewart’s brief comments from our interview on each:

i. Slavonic Dance Opus 46 No. 1 - David Walker, (1796-1830) Black abolitionist whose views, though perceived by some (even by other abolitionists) as radical, were to influence later activists.

“It has a polyrhythm….reminds me so much of African music…people walking to gathering.”

ii. Slavonic Dance Opus 46 No. 2 - Frances Ellen Watkins Harper, (1825-1911) First African-American published short story writer. Abolitionist, poet, novelist, teacher, antislavery lecturer, prohibitionist, suffragist.

“Heavy, dark, rich sound. Solo violin. Sounds like someones grandmother.”

iii. Slavonic Dance Opus 46 No. 7 - Mary Ann Shadd Cary, (1823-1893) Activist, encouraged Blacks to emigrate to Canada. First North American female AfricanAmerican newspaper publisher, returned to the US, Union Army recruiter, at the age of 60 became the second African-American woman in the US to earn a law degree.

“ Virtuosic for the orchestra. A high bass melody somewhere in the middle. Somber.”

iv. Slavonic Dance Opus 72 No. 8 - Sojourner Truth, (c.1797-1883) Womens’ rights activist, Union Army recruiter, named by Smithsonian Magazine in 2014 as one of the “100 Most Significant Americans of All Time. and

v. Slavonic Dance Opus 46 No. 8 - Mum Bett, (c. 1742-1829) Formally named Elizabeth Freeman. First enslaved African American to file and win a freedom suit in Massachusetts, which indirectly helped lead to the abolition of slavery there.

“Rollicking. Vibrant. Such fun, again with the polyrhythms.There’s a couple of vocal cues in there too, so it will be fun.” (He said orchestra members would say “ a few things,” but wants what they say to be a surprise.)

And on the Virginia Symphony Orchestra: They are so open, they are so ready to try out sounds so eager to take on something new, so energetic.

Jacobsen’ s summary: “ When we come together for that week [of rehearsals, recording and performances] it’s going to be an absolute blast!”

Classical Music Highlights

Compiled By Staff

Randall Goosby, violin

Presented by Virginia Arts Festival

March 18

Attucks Theatre

At just 26 years old, this violinist has drawn rave reviews for his performances and recordings, including appearances with the Los Angeles Philharmonic with Gustavo Dudamel, the Philadelphia Orchestra with Yannick Nézet-Séguin, the London Philharmonic and more. A protégé of Itzhak Perlman, Goosby has received prestigious prizes including the Avery Fisher Career Grant and the Sphinx Medal of Excellence. Hear an artist of “exquisite tone and sheer virtuosity ” (The New York Times).

Li & Zogn Duo

Presented by Tidewater Classical Guitar

March 30

Williamsburg Regional Library Theatre

Andrew Zohn has enjoyed a decadeslong career as a performer, composer, and much sought-after teacher. He has performed concerts on five continents including venues in China, Malaysia, Egypt, Argentina, as well as throughout North America and Europe.

Erdong Li has performed on the guitar throughout China and the United States,

with the mission of promoting cultural exchange through musical celebration. Currently serving on the faculty of the Schwob School of Music (Columbus State University), Li also is vice-chairman of the Wenzhou Guitar Association (China) and tours throughout China annually as a part of W.E. Duo with violinist Weiru Sheng.

Rossini: Petite Messe Solennelle

Presented by Virginia Chorale

April 2, Trinity Episcopal Church, Portsmouth

Virginia Chorale’s successful 2022-23 season concludes in high style featuring Virginia Opera’s Adam Turner and Brandon Eldredge as pianists. Rossini composed the work 34 years after his last opera.

“ Masterworks IV: Pines of Rome”

Symphonicity

April 2

Sandler Center

The final masterworks concert of the season will conclude with musical presentations that reflect the beauty of earth’s diverse flora from rich evergreen trees to plush gardens. The concert will include Galbraith’s “A Festive Violet Pulse,” Respighi ’s “Pines of Rome,” and a special presentation

of de Falla’s “Nights in the Gardens of Spain” by featured pianist Clare Longendyke.

Hermitage Piano Trio

Presented by Feldman Chamber Music Society & The Chamber Music Society of Williamsburg

April 3, Chrysler Museum of Art

April 4, Williamsburg Library Theatre

Now entering their second decade, the United States-based Hermitage Piano Trio has solidified its place as one of the world’s leading piano trios, garnering multiple Grammy Award nominations and receiving both audience and press accolades for their performances that The Washington Post singled out for “such power and sweeping passion that it left you nearly out of breath.” Program to feature: Joaquin Turina ( Trio in b minor, Op. 76), Dmitri Shostakovich ( Trio No. 2 in e minor, Op. 67 ), Sergei Rachmaninoff ( Trio No. 1 in g minor “Elégiaque” and Vocalise), and Gaspar Cassadó ( Trio in C major).

“ Romantic Meltdown”

Presented by Virginia Symphony Orchestra

April 21, Ferguson Center

April 22, Chrysler Hall

His Symphony No. 1 was reportedly Tchaikovsky’s own favorite piece. Like Tchaikovsky, composer Anna Clyne, an inventive collaborator once described by NPR as “ fearless,” always tells a story with her music to create a very distinct sound and color. Also on the program is the piece lovingly called “Rach 2” by its legions of devotees—the ultimate piano thrill ride. Eric Jacobsen conducts with Gabriela Martinez on piano.

2023 Spring Choral Fest

April 23

Suffolk Center for Cultural Arts

The Spring Choral Fest welcomes the Chowan University Singers under the direction of Dr. Benjamin Thorburn, Director of Choral Activities and Associate Professor of Music at Chowan University. This community event will also feature Suffolk Public School’s Center for Performance and Production Arts choral ensembles.

Calmus

Presented by Virginia Arts Festival

April 24, Christ & St. Luke’s Episcopal Church, Norfolk

What can’t this internationally renowned ensemble sing? In programs that leap from the Renaissance to the Romantic periods, with side journeys into pop, folk, and jazz,

Hermitage Piano Trio

Calmus

MUSIC

Music for You and the Music Lover on your

(continued from page 46)

“they infuse their singing with wonderful lyricism and exquisite expressiveness they, quite simply, bring whatever they sing to glorious life” (Deseret Morning News).

“ The Game of Pairs”

Presented by Norfolk Chamber Consort

April 24, Chandler Recital Hall @ Old Dominion University

ODU professors Andrey Kasparov and Oksana Lutsyshyn give their final 2022-23 season performance.

David Russell, Guitar

Co-Presented by Virginia Arts Festival & Tidewater Classical Guitar

April 26, Hixon Theater

Classical guitarist David Russell is world renowned for his superb musicianship and inspired artistry, having earned the highest praise from audiences and critics alike. In 2005, Russell won a Grammy for his album “Aire Latino.”

“ The Music of Star Wars”

Virginia Symphony Orchestra

May 4, Ferguson Center

Guest conductor Anthony Parnther leads the symphony through the dramatic film scores of the “Star Wars” movies.

Celebrating Rachmaninoff 150

Olga Kern, piano

Presented by Virginia Arts Festival

May 7, Sandler Center for the Performing Arts

Connie and Marc Jacobson Director of Chamber Music Olga Kern has curated an exciting chamber music season honoring the prolific composer and pianist Sergei Rachmaninoff as part of the worldwide celebration of his 150th birthday. Born into a family of musicians, Kern has direct ties to Rachmaninoff; he had accompanied her great-grandmother, an acclaimed mezzosoprano, on performances of his romances and songs. In recital (solo at piano) for this performance, Kern will showcase the composer’s “Polka de W.R.,” “Piano Sonata No. 2, Op. 36,” and “Variations on a Theme by Corelli, Opus 42.”

Dalí Q uartet

Olga Kern, piano

Presented by Virginia Arts Festival

May 11, Norfolk Academy

When this internationally renowned quartet performed with pianist Olga Kern at the 2019 Virginia Arts Festival, the Virginia Gazette praised their “stellar, capti-

vating performance… They offered a big sound and big rewards in coordinated, extremely artistic, and panoramic sounds that brought the crowd to its feet in spontaneous applause.” In 2022 they recorded an album of Brahms and Shostakovich together that drew raves for its “ truly joyous… sparkling performances” (The Whole Note).

“From the Silk Road to The Planets”

Presented by Virginia Symphony Orchestra

May 12, Chrysler Hall

May 13, Ferguson Center

May 14, Sandler Center

The VSO welcomes three members of the legendary Silk Road Ensemble: cellist Karen Ouzonian, the world’s leading virtuoso on the tabla, Sandeep Das, and composer Kayhan Kalhor. Music Director Eric Jacobsen takes us all on a journey from the farthest reaches of our universe to the most joyous human dance imaginable, an accessible emotional bridge to one of the world’s most ancient cultures.

Colin MacKnight, organ

Presented by Virginia Arts Festival & Tidewater Chapter of The American Guild of Organists

May 14, Christ & St. Luke’s Episcopal Church, Norfolk

Discover one of the most extraordinary of the new generation of organists. Named

one of the top “ 20 under 30” eminent young organists by The Diapason magazine, this gifted young player has performed at such famed venues as New York ’s St. Patrick ’ s Cathedral and The National Cathedral in Washington, D.C. Now hear him play the magnificent pipe organ at Norfolk ’s Christ and St. Luke’s Episcopal Church—a beautiful setting for an unforgettable concert.

Emerson String Quartet

Presented by Virginia Arts Festival & Feldman Chamber Music Society

May 15, Robin Hixon Theater

For more than four decades, this legendary quartet has reigned as one of the world ’s premier chamber music ensembles, inspiring awe and ovations. With more than 30 critically acclaimed recordings, and nine Grammy Awards including two for Best Classical Album, they have earned their place in classical music royalty. Their performances are spellbinding, marked with “easy virtuosity, precise sense of ensemble, rhythmic vigor and rich polished tone” (The Washington Post). Hear one of the greatest classical music ensembles of all time.

World Premiere: Mandolin Concerto/ Narrative Song Cycle

Chris Thile, mandolin

Eric Jacobsen, conductor

Presented by Virginia Symphony Orchestra and Virginia Arts Festival

May 19, Ferguson Center

May 20, Chrysler Hall

May 21, Sandler Center

Grammy Award-winning mandolinist, singer, songwriter Chris Thile, who The Guardian calls “ that rare being: an all-round musician who can settle into any style, from bluegrass to classical,” describes this newly commissioned work as “a big ol ’ narrative song cycle/mandolin concerto that tells, plays, and sings the true story of the time I attempted to impress a Starbucks executive and accidentally met Carrie Fisher as a result. It ’s a DOOZY.”

Thee Phantom & The Illharmonic Orchestra

May 19, Sandler Center

Talk about classical crossover: This group melds hip hop with piano, horns and strings for an orchestral kaleidoscope of musical intrigue.

“There’s No Tune Like a Show Tune!”

Presented by Virginia Beach Chorale

May 20, Sandler Center

Giving their regards to Broadway, the vocalists from the Beach perform an array of classics from “Phantom of the Opera,” “Hamilton,” and many more.

Tianwa Yang, violin

Olga Kern, piano

Presented by Virginia Arts Festival

May 23, Robin Hixon Theater

Two superb artists at the top of their form…in one extraordinary evening! Van Cliburn Gold Medalist Olga Kern’s “electricity at the keyboard is palpable” (The Washington Post), and violinist Tianwa Yang is a “spellbinding” performer who has “brilliant, flawless technique” (Virginia Gazette).

“ Five Freedom Songs”

Julia Bullock, soprano

Presented by Virginia Arts Festival & Virginia Symphony Orchestra

June 14, Attucks Theatre

Composer and instrumentalist Jessie Montgomery is drawing much-deserved attention from top orchestras and presenters for her “wildly colorful ” music “exploding with life” (The Washington Post). Conceived in collaboration with famed operatic soprano Julia Bullock, who performs it here with Montgomery, the new song cycle honors African American heritage and the tradition of the Negro spiritual, revealing historic songs’ deepest meaning and emotion in new music that takes on new importance today.

Julia Bullock, soprano

Ronald

McDonald House Charities & McDonald’s Our Founding and Forever Mission Partner since 1974

Ronald McDonald House Charities & McDonald’s Our Founding and Forever Mission Partner since 1974

From the moment the first Ronald McDonald House opened, McDonald’s franchisees, suppliers, employees, and customers have helped RMHC provide stability and vital resources to families around the world. The generosity of time, as well as funds and in-kind services provided by the McDonald's community, have helped RMHC positively impact millions of children and their families since 1974.

From the moment the first Ronald McDonald House opened, McDonald’s franchisees, suppliers, employees, and customers have helped RMHC provide stability and vital resources to families around the world. The generosity of time, as well as funds and in-kind services provided by the McDonald's community, have helped RMHC positively impact millions of children and their families since 1974.

Ways McDonald's and you can give back...

Ways McDonald's and you can give back...

The Piano at Cafe Stella

By Jeff Maisey

You can’t miss it.

Broad and shiny black, a beauty to behold. Positioned to the midway right wall where the quilt with circle fan-like folk art hangs. Ebony and ivory keys. Mostly silent during the day; awakened by night, especially on Thursday and Friday evenings.

There’s a piano in the room. A baby grand. A game changer for the local jazz musicians who assemble at Cafe Stella in Ghent.

For over a decade, Cafe Stella has been an extended living room for neighborhood residents. College students and creatives grab a cup of coffee, pull-open their laptops, and busy themselves with work. Others meet friends or colleagues for conversation. Business deals get done while wife and husband owners Stella and Mariusz Pomianek respectively prepare breakfast, lunch and dinner menu items and roast coffee beans onsite. There’s wine and a fantastic European beer selection. It’s an eclectic spot where everyone is welcomed to a warm and inviting atmosphere adorned with antique furniture, shaded lamps, and festive lighting draped across the ceiling.

Live acoustic music has been an essential ingredient of Cafe Stella’s charm and for nine years guitarist Woody Beckner has presented Thursday Jazz Nite with the rotating quartet of upright bass players Chris Brydge, Jimmy Masters, Jordan Ponzi, and Joe Bussey.

“We have a quite loyal following with many of the same people coming out weekly,” said Beckner, who by day is a jazz guitar lecturer at the College of William & Mary.

When Beckner injured his mallet finger (pinky) early last December, it seemed jazz music might take a hiatus at the cafe.

Stella Pomianek, who said she has been playing piano since the age of five, decided the time had come to purchase a house piano and entice an expanded role for jazz music.

Unlike other instruments, it is a challenge for musicians to roll a non-electric piano out of their front door and down the street for a gig. Having a piano allows Cafe Stella to keep jazz flowing.

“Jazz has always been what we do,” said Stella. “I think there’s more of a demand for it. The piano has added a segment to our place. It changes the environment, whether

its daytime jazz or nighttime. I think people are drawn to the piano.”

The immediate impact of an in-house piano turned into an opportunity for a Saturday Jazz Brunch (10:30 AM to 12: 30 PM) featuring Paper Aliens’ Andrew Wright solo at the keyboard.

Wright believes the local jazz scene is growing both in terms of musicians dedicated to the genre and in listening audience. He feels the piano at Stella will only enhance the visibility and interest in jazz.

“There are a lot of true listeners that do seek it out and understand why this art form has an interesting history behind it,” shared Wright. “Once you really get into it you start to realize this is such amazing art.”

Another unexpected boon is a new Friday Night Jazz series featuring bassist Jimmy Masters accompanied by pianist John Toomey and, on occasion, Justin Kauflin. Toomey’s “day job” is as a music professor at Old Dominion University. He also accompanies jazz headliners in concert presented by the Virginia Arts Festival at the Attucks Theatre.

“I think its opened up a lot of possibilities,” said Toomey of the addition of the instrument. “First of all, it’s hard to find a place that has a piano. There’s something about an acoustic piano and the way it resonates that really makes a difference. Hav-

ing it here (Cafe Stella) makes it so easy for musicians just to walk in and play.”

Toomey noted the business also committed to having the piano tuned on a regular basis by Henry Faivre. Having specified “jazz nights” also helps brand and attract music lovers knowing they can experience top quality local talent on reliable dates.

Jimmy Masters and John Toomey have upcoming appearances at Cafe Stella on March 17, April 7, and April 21. On March 31, Masters will be joined by Kauflin, a jazz piano heavyweight, having recorded 13 albums, and worked with Quincy Jones as well as local recording artist Jae Sinnett.

Masters, who also performs and programs the Miller Jazz Series at Sandler Center for the Performing Arts, feels Cafe Stella is setting a positive example and tone for success.

“It’s a very comfortable space and the people are great,” Masters said. We can play what we want. Listeners tend to sit closer to the band and the others are scattered around. I think it’s something we can build on with already having a great start from Woody being there for so long.”

That’s music to the ears of Cafe Stella’s ownership.

“There are so many accomplished musicians in the area,” Stella said. “We love jazz.”

Don’t miss it.

Pianist John Tooney and bassist Jimmy Masters on a recent Friday Jazz Night at Cafe Stella. Image courtesy of Dustin Furlow Photography

LocalFarmers

SPRINGARTSPREVIEW

Jazz Music Highlights

Listings Compiled By Staff

Eddie Williams Quartet

March 24

Zeiders American Dream Theater

757 saxophonist Eddie Williams leads his quartet as they perform music from his most recent album “Acceptance,” featuring Justin Kauflin (piano), Chris Brydge (bass), and Emre Kartari (drums)

Mike Phillips

March 25

Attucks Theatre

Contemporary jazz saxophonist Mike Phillips combines smooth, romantic riffs with a funky, hip-hop-influenced sound. Initially emerging as a sideman for Jill Scott in the 2000s, Phillips has played with a bevy of name artists, including Bootsy Collins, Stevie Wonder, and Prince. He has also distinguished himself with his own albums, including 2005’s “Uncommon Denominator” and 2020’s “Pulling Off the Covers.”

Jazz 4 Justice “The Return”

March 30

Ferguson Center

CNU’s Jazz Ensemble performs a broad ranging concert to benefit the Legal Aid Society of Eastern Virginia.

John Fedchock

April 17

Chander Recital Hall, ODU

John Fedchock ’s illustrious career in jazz has spanned over four decades. Since his emergence on the scene in 1980, Fedchock has established himself as a world-class trombone soloist, a heralded bandleader, and a Grammy-nominated arranger.

Arturo Sandoval

May 6

The American Theatre

“ This astonishing trumpeter, pianist and composer has inspired audiences in every corner of the world and awakened a new generation of great performers,” said President Barack Obama of the legendary jazz musician Arturo Sandoval. The Cuban native’s decade-spanning career has earned him 10 Grammy Awards, the Presidential Medal of Freedom, and countless other accolades for his musicianship and humanitarian efforts. Sandoval was a protégé of jazz trumpeter Dizzy Gillespie and is also recognized as a renowned classical artist, pianist and composer.

Kirk Whalum

May 6

Harrison Opera House

Memphis-born saxophonist Kirk Whalum

has continually drawn inspiration from the rich musical traditions of that city, including gospel, R&B, blues, and jazz. Whalum, who has drawn comparisons to artists like John Coltrane and Grover Washington Jr, has gained acclaim for his cross-pollinated sound, topping the contemporary jazz chart with 1998’s “For You”  and winning the Grammy for Best Gospel Song for “It’s What I Do” in 2011. He has also recorded with icons like Al Green, Luther Vandross, and Whitney Houston (playing on her classic “I Will Always Love You” off The Bodyguard soundtrack).

Desiree Roots: Celebrating Nancy Wilson

May 13-14

The American Theatre

Virginia native and vocal powerhouse Desiree Roots pays tribute to Nancy Wilson, one of the great female jazz and pop voices of the 20th century, in an intimate cabaret setting—just in time for Mother’s Day weekend! The Grammywinning Wilson transcended genres throughout her career, just as Roots has done on stage as a solo performer and through lead roles in hit musicals such as “Dreamgirls” and “The Color Purple.” Roots, who wrote and starred in a centennial celebration of Ella Fitzgerald and continues to tour with the show, now finds inspiration in the renowned Wilson, who won her first Grammy for the hit song “ How Glad I Am” in 1965, and 40 years later was recognized again for Best Jazz Vocal Album, “R.S.V.P.”

Bria Skonberg

Presented by Virginia Arts Festival & North Shore Point House Concerts

June 9

Perry Pavilion “

I play jazz because it’s the closest I can get to flying,” said this gifted young trumpeter and singer-songwriter who has taken the music world by storm. “A mature, versatile musician who sings and plays with confidence in any style she wants” (AllAboutJazz.com), Skonberg has won a passionate following among critics and audiences alike. Discover “ the shining hope of hot jazz, on the strength of a clarion trumpet style indebted to Louis Armstrong, a smooth purr of a singing voice inspired by Anita O’Day, and the wholesome glow of youth ” (The New York Times).

Summer Jazz 2

June 9-11

Virginia Beach Convention Center

Presented by Jazz Legacy Foundation, the three-day concert features some amazing talent including Marcus Miller, Average White Band, Norman Brown, Lalah Hathaway, Incognito, and Cameo.

Named one of the top food and drink festivals in the nation by Business Insider, the 15th Annual Spring Town Point Virginia Wine Festival is one of Hampton Roads’ most anticipated wine festivals. Held on Saturday & Sunday, May 6 & 7, 2023 at Town Point Park along the Downtown Norfolk Waterfront, the festival showcases more than 25 of the Commonwealth’s top wineries in a picturesque setting along the Elizabeth River, to go along with gourmet foods, specialty merchants, live music, and much more!

Guster Builds Fans on the Road

By Jim Morrison

For three decades, the guys who formed Guster after walking in the door as freshmen at Tufts University followed a comforting pattern. Record an album, then hit the road for 100 dates or so.

It was on the road where Adam Gardner, Ryan Miller, and Brian Rosenworcel connected with fans—and paid their bills. The band has never had a chart-topping hit, but it has built an enduring career of songs you’ve heard—or think you’ve heard.

They’ve had some chart success. “Fa Fa” from their third album made the Top 40 followed by familiar cuts like “Amsterdam” from “Keep It Together” and “Satellite” from 2006’s “Ganging up on the Sun,” an album that peaked at number 25 on the Billboard charts.

But the pandemic forced the members to explore other avenues—and other revenue streams—when the music stopped.

“It was a dark time,” says drummer Brian Rosenworcel.

Those days appear to be in the rearview mirror as the band hits the road for a spring tour that brings them to The NorVa on March 29. Rosenworcel traced the band’s challenges, their creative collaborations, and their history during a call from his home in Brooklyn.

Veer: What it’s like to get back out there after having to cancel tours in recent years?

Rosenworcel: For a band like us, our livelihood was on the road. It was never from selling records. It was just always like, yeah, we can tour forever. Then suddenly in 2020 it’s like, ‘No you can’t.’ It was a shock to the system.

Veer: You hit the road in the fall.

Rosenworcel: We had so much fun. We went out West and drove all the way East and nobody got sick. People that were in the venues were just so thrilled to be there. You could tell that they were there because they really cared. I kind of expect the same on this spring run we’re about to do.

the whole deal—he’s our tour manager and our front of house sound guy—tested positive. He put on his backpack, said I’m gonna rent a car and drive east. Good luck, guys.

Veer: What happened?

Rosenworcel: Fortunately, it was Nashville so there’s no lack of like experienced crew members ready to go in a moment. We found some guy who mixes country artists and he did a great job. Never a dull moment these days.

Guster

March 29

The NorVa thenorva.com

If you tour in the summer, you used to run into thunderstorms as your main challenge. It’s like, oh, God, we’ve got to cancel two shows because they got wiped out by storms. And now you got all these other things you’ve got to dodge. We played in Nashville with the symphony. And because some of the symphony members are older to get in the building, you’ve got to test negative. This was June last year. And the one guy on our crew who kind of knows

Veer: What did you guys do during the down time. I saw you worked with Josh Kaufman (of Bonny Light Horseman).

Rosenworcel: We probably ended up with like eight songs from that (the Kaufman sessions). And then we just did a few more with Ron Aniello who had done a bunch of stuff with us in the past. So if you’re familiar with Josh Kaufman, he’s an awesome figure to work with and a longtime friend.

Veer: Ron Aniello recently worked with that nobody, Bruce Springsteen.

Rosenworcel: Ron moved to Jersey because he’s Bruce’s guy now. When Bruce

went on tour, he had a week. So we worked down in Asbury Park. And it was it was great. As you know, we worked with him 20 years ago on “Keep It Together.” It was just a trip to get back together. Same old Ron.

Veer: You seem to have a different producer for each album.

Rosenworcel: It’s almost like every time we come around to recording songs, our brains and our hearts are all attached to this direction, or that direction. It’s just exciting because we always want to evolve. We never want to feel like we’re in a stagnant place. So it’s not that we have a bad experience of this producer that we wouldn’t want to repeat. But each album is its own kind of thing.

Veer: Guster is a band you could fall in love with during a certain time and think it has one sound. It doesn’t.

Rosenworcel: The story of our career is people who thought they knew what we were or have in mind a certain version of us and it’s like, well, have you listened to the last four records? But that evolution is part of why we’ve had longevity. Part of what keeps us excited and interested is we can go wherever we want. We’re liberated from what once was a strict rule that we can only have acoustic guitars and bongos and harmonies. A long time ago, we opened it up. We can be anything. Melody is the king. We can, can take it in any direction that feels good to us.

Veer: You started out just playing with your hands. Tell me about making the move to the kit.

Rosenworcel: I made that choice about 20 years ago for “Keep It Together.” It wasn’t because my hands were in miserable shape even though they were. It was a musical decision. It was like I don’t think I can do another album with this kind of limitation. We had just kind of finally conquered the sound—meaning we got Steve Lillywhite on board and he captured it. So it was like, I don’t need to do that again. Now that we’ve done it, what if we started playing bass and I’ll play a kit and we can sound like Fleetwood Mac and the Talking Heads and The Kinks, all these bands we love.

But it was a challenge. To be honest, I wasn’t good at the kit. I couldn’t coordinate my feet after 10 years of only playing hand drums. And it took a long time to make “Keep It Together” and it took a long time to make “Ganging Up on the Sun.” But it was fresh and exciting. And that comes through. Also learning how to play the instrument on stage to people who would rather you just

play hand drums was frustrating. It was like, I know that you’re mad at me for this. But trust me, I have to do it for myself.

Veer: You contribute lyrics. How does how does that work?

Rosenworcel: I’m not the guy singing them into the mic so I never I never feel particularly comfortable writing a lyric and saying here Ryan sing this sentiment that you may or may not connect with in your heart. But then somewhere during “Keep It Together,” a long process, he got fried and so I wrote a few on that album. I wrote “Amsterdam” and “Keep It Together” and then I wrote “Satellite” and some others and on the next record, when also we were fried, and somebody just needed to step up. But

you know, the last couple of albums, Ryan’s had a whole album’s worth of lyrics in front of him. So I think it works really well when we collaborate when we’re bouncing ideas back and forth. And it also works really well when he just has something he really wants to say. I don’t aim to be a lyricist. But I feel like I have I have a brain for it when when called upon.

Veer: Take me back. You guys met at Tufts.

Rosenworcel: We were 18. And I’m 49 (now). But I’m still connected to the emotion behind it. We were eager freshmen. We met at the orientation of the school. We’re all on these wilderness trips. And we were all kind of like, Oh, you were in high school band, I was in a high

school band. And so the three of us agreed we would jam some time. I was really just pretending that I played bongos because I wanted to be in with these other guys. We figured out early on to write our own songs, and not just to play covers, which is, you know, impressive for a college band. And to sort of follow the energy One thing led to another, you know, started to play parties and started to play out in clubs and decided to give it a go after college. So it’s all just a career path that blindsided all of us. But super proud to look back at, you know, eight or nine albums.

Veer: What were you studying there? I’m curious.

Rosenworcel: I think I think Ryan and Adam were both pre-med and then bailed. We all ended up with these liberal arts degrees that you couldn’t do anything with like religious studies. I was American Studies. Adam was psychology. But it became evident by junior year we were gonna get a van and hit the road and give this a try and see where it went.

Pop Music Highlights

Compiled By Staff

The Monkees/Micky Dolenz

April 4

Sandler Center

Hey, hey, it’s the last remaining Monkee performing the TV sitcom band’s classics like “Daydream Believer,” “Last Train to Clarksville,” “I’m a Believer,” and “Steppin’ Stone.”

The Church

April 5

The NorVa

Post-punk Australian band brings its dreamy fan-favorite hit “Under The Milkyway” along with tons of material spanning 26 Albus. They’re touring in support of their latest record, “The Hypnogogue.”

Silversteen

April 7

The NorVa

The Canadian post-hardcore punk band returns to The NorVa with its fan favorite tunes along with recent material like “It’s Over” and “Ultraviolet.”

Orville Peck

April 15

The NorVa

The mysterious masked alt-country singer is akin to the Lone Ranger of indie music. He’s touring in support of the recent album, “Bronco.” Check out songs such as “The Curse of the Blackened Eye,” “Dayto-

na Sand,” “Kalahari Down,” and “Take You Back.” Old school country with a heartfelt modern twist and a extended middle finger to today’s corporate Nashville sound.

Little Feat

April 24

Sandler Center

For fans of the late ‘60s era California rock, which blended a variety of music genres and played exceptionally well, Little Feat remain a cult classic jam band. While “Willin’” is the most recognizable of the band’s “hits,” other tunes like “Dixie Chicken, “Spanish Moon” and “Let It Roll” and fun in concert.

Coheed & Cambria

April 28

The NorVa

If you love progressive, experimental metal this group is not to sleep on in a live setting. Expect a major focus on their elaborate new album, “VAXIS - Act II: A Window of the Waking Mind.”

Hoodoo Gurus

May 3

The NorVa

No one will be happier than concert promoter Rick Mersel to see Hoodoo Gurus finally return to his venue. Expect a lively concert with fan-loved songs “My Girl,” “I Want You Back,” “Miss Freelove ’69,” “Waking Up Tired,” and “Down on Me.”

Amy Grant

May 3

Sandler Center

Regarded as the Queen of Christian Pop,” singer Amy Grant brings her classics spanning some four decades like “”Baby, Baby,” “Every Heartbeat,” “Lucky One,” and “Thy Word.” The tour marks the 25th anniversary of “Behind The Eyes.”

Voivod

May 10

Elevation 27

Innovative metal-meets-industrial still cranks out the music with their recent album, “Synchro Anarchy,” and EP “Ultraman” marking the band’s 40th anniversary.

Janet Jackson

May 14

Veterans United Home Loans

Amphitheater

From the famous Jackson family, Janet does it all from songwriting, singing, and all those dance moves. An incredible performer not to be missed, check out those fan-fav tunes like “What Have You Done for Me Lately,” “All Nite,” “I Get Lonely,” “All For You,” “Rhythm Nation” and “Escapade.”

Robert Plant & Alison Krauss

May 17

Atlantic Union Bank Pavilion

The former Led Zeppelin singer and Americana sweetheart join together again to perform their recent singles “High and Lonesome” and“Can’t Let Go,” along with tracks from their joint studio records, and a re-arranged Zeppelin song of two. Last year they performed “When the Levee Breaks” at Glastonbury Festival.

Legendary Shack Shakers w/Dexter

Romweber

May 18

The Bunker Brewpub

Raunchy rockabilly meets Americana, the Shack Shakers put on a rousing live show like few others. Icing on the cake: Dexter Romweber of Flat Duo Jets fame returns as the opening act. Dexter lived in Norfolk for a two-year period in the 1990s.

Smokey Robinson

May 21

Chrysler Hall

If you missed his performance during the Grammy Awards let us assure you he’s still got it. This Motown legend will deliver a memorable concert with such hits as “The Tears of a Clown,” “Cruisin’,” “Baby, Baby Don’t Cry,” “I Second That Emotion,” and “You’ve Really Got a Hold on Me.”

Orville Peck rides into The NorVa on April 15.

Pop music great Janet Jackson performs May 14 at Veterans United Home Loans Amphitheater

Peter Murphy Leads Bowie Celebration

By Jeff Maisey

Seven years have passed since David Bowie departed this earth, leaving fans with a parting gift — his 26th album “Black Star” — as a final yet somber reminder of his artistic brilliance. Even as he faced death in his final days Bowie was a creative force until his last breath.

For fans still yearning to hear the pop/rock icon’s music live in concert, Celebrating David Bowie brings an impressive cast of musicians to revive his work in homage — and it certainly is not your typical tribute band.

Leading the convincing cast of players is Bauhaus singer and solo artist Peter Murphy Murphy will be solidly accompanied by Adrian Belew (NIN, King Crimson, Frank Zappa, Talking Heads), Spacehog’s Royston Langdon, guitarist Eric Schermerhorn (Iggy Pop, Seal), saxophonist Ron Dziubla (Jon Batiste, Joe Bonamassa), A Perfect Circle bassist Matt McJunkins and drummer Jeff Friedl. The band is also joined by the tour creator and producer Scrote, who’ll serve as a guitarist and vocalist.

Murphy to essentially jump right in with an accomplished ensemble.

The Celebration band will perform classics and deep cuts from the catalog including “Moonage Daydream,” “Starman,” “Five Years,” “The Jean Genie,” “Suffragette City,” and “Rebel Rebel.”

“With Bowie, it’s so incredible because it is five decades of favorites and everyone seems to have a personal connection to different eras of songs,” said Scrote by telephone. “So in putting this show together there’s endless amounts of material. We always throw in some unusual picks that someone out there relates to.”

Celebrating David Bowie

April 14

Sandler Center for the Performing Arts sandlercenter.org

This latest version of the tour lineup will focus on Bowie’s “Ziggy Stardust” glam rock era, his groundbreaking Berlin trilogy records (“Low,” “Heroes,” and “Lodger”), and his later “Earthling” era of industrial inspired music such as “I’m Afraid of Americans.”

Scrote, whose’s real name is Angelo Bundini, has toured several variations of the band and had always wanted to feature Peter Murphy in the leading roll, but scheduling followed by Covid had not allowed the connection to happen until now.

Murphy, who covered Bowie’s “Ziggy Stardust” in Bauhaus, is arguably the best possible singer for the role given his on-stage theatrical persona, rich baritone voice, and love of Bowie’s repertoire. In fact, Murphy has performed an entire set of Bowie classics as his own solo tribute to the Thin White Duke.

Most of the core band members for this rendition of the band are based in Los Angeles as is Scrote. Since Murphy lives in Turkey, the band will have rehearsed the music and allow for

The inclusion of Adrian Belew on this tour is another cast highlight as Belew actually played guitar on the tracks “DJ” and “Boys Keep Swinging” in the recording studio with David Bowie. “He actually sings and plays (guitar) on both of those,” said Scrote of Belew’s participation on the tour. “Not only is it amazing for fans to hear Adrian it’s quite a thrill for the band.”

Other songs from the Berlinera of Bowie music likely will include “Heroes,” “Beauty and the Beast,” and “Joe the Lion.” Belew will play a 12-string acoustic guitar on “Starman.”

From the so-called Trent Reznor period in Bowie’s career, Scrote confirmed the band will touch on material from the albums “Earthling” and “Outside.”

“For the first time we have Matt McJunkins on bass and Jeff Friedl on drums, and they are very learned in that style of music and that period,” Scrote said.

The overall performance during Celebrating David Bowie, while faithful to the original versions, will allow for the musicians to bring their personal styles to bear.

“We’re not trying to be Bowie or Bowie’s band,” said Scrote. “We’re not copying his show. We’re doing a show we feel is current and we’re all experimenters. Everyone in the band is on the forefront of playing heavy music. Every song we’re going full-out.”

SPRINGARTSPREVIEW MUSIC

Acoustic & Traditional Music Highlights

Listing Compiled By Staff

Kodo

Presented by Virginia Arts Festival

March 19

Chrysler Hall

The name “ Kodo” in Japanese means both “ heartbeat ” and, with some slight modification, “children of the drum” — either way an apt appellation for this internationally beloved troupe. Playing traditional taiko drums that vary in size from 12 inches to 6 feet in diameter, these rigorously trained drummers elicit sounds that range from gentle rain to crashing thunder, in performances that offer the physicality and acrobatics of dance and a truly astonishing sonic experience. “A sensational evening [the audience] were held silent and rapt, viscerally sharing that thrilling, throbbing sound ” (Phindie.com).

Mames Babegenush

Presented by Virginia Arts Festival, United Jewish Federation of Tidewater/Simon Family

JCC

April 27

Perry Pavilion

Scandinavian roots merge with the vibrant dance music of Eastern Europe in a musical mashup that proves utterly irresistible to audiences. With top players who can weave classical artistry with a jazz pulse and a driving klezmer beat, this Danish ensemble has won fans around the world. “It ’s impossible to listen to their exciting energy without feeling the urge to dance, move some part of one’s body, or simply feel better about the world in general. The band is crisp, with top players, intriguing originals, tight arrangements, and delightful wit ” (AllAboutJazz.com).

B éla Fleck, Zakir Hussain, Edgar Meyer with Rakesh Chaurasia

May 3

Perry Pavilion

Count them: there are 21 Grammy Awards between banjo master Béla Fleck, virtuoso bassist Edgar Meyer and tabla (Indian hand drum) legend Zakir Hussain. These powerhouse musicians, already veteran fellow travelers on their self-created road to no-boundaries-just-greatmusic nirvana, join with the extraordinary Indian flutist Rakesh Chaurasia for an exhilarating musical thrill ride, mixing styles from Western classical to bluegrass to centuries-old traditional Indian music to jazz and beyond. “A total immersion in talent it was heaven. The audience literally begged—and cheered and shouted — for more” (The Herald-Times).

Josh Ritter

May 7

Perry Pavilion

Presented by Virginia Arts Festival & North Shore Point House Concerts

Named one of the 100 Best Living Songwriters by Paste Magazine, Josh Ritter is a chameleon, drawing from the deep reservoir filled by predecessors like Leonard Cohen, Paul McCartney, Bruce Springsteen and Bob Dylan to develop a creative spring distinctly his own. Don’t miss him with a full band on a spring evening.

Leyla McCalla

Presented by Virginia Arts Festival & North Shore Point House Concerts

May 10

Perry Pavilion

This gifted banjo player, cellist, and singersongwriter weaves intricate stories in music that sighs and shouts. She won fame as a member of the Carolina Chocolate Drops and her collaborations with singer/songwriter/musical historian and activist Rhiannon Giddens and Our Native Daughters (joined with Giddens, Amythyst Kiah and Allison Russell). Her latest album Break the Thermometer is a vivid recounting of Haitian his-

tory — “magnificently transparent music [that] holds tidings of family, memory, solitude” (The New York Times). A concert that transports the listener…get your tickets now.

The Sound & Soul of Puerto Rico

May 13

Sandler Center Outdoor Plaza

Bomba y Plena captures the heart of western Puerto Rico, telling the stories of its people through lyrics that weave an image of culture, society and daily life. Salsa, or “musica caliente,” may have origins in Cuba, but its popularity in the U.S. can be directly attributed to Puerto Ricans in New York, starting in the 1950s. Learn about the origins of this infectious music, move to the rhythm of the island and dance the night away in Town Center. Music provided by the chart-topping, and internationally renowned 11-piece band, Kadencia.

Sierra Hull

Presented by Virginia Arts Festival & North Shore Point House Concerts

May 18

Perry Pavilion

“ Pure, angelic vocals mixed with superior musicianship and solid songwriting a riveting listen” (Glide Magazine). While still a child, Sierra Hull hit more milestones than many musicians accomplish in a lifetime: she started playing mandolin at 8, made her Grand Ole Opry debut at 10, played Carnegie Hall at 12, and got a record deal at 13. With a shelf full of awards, she has become a genre-bending artist with fans who will follow her wherever her genius takes her. Catch “one of the most imaginative and openly curious musicians in American roots music” (Free Times).

Song & Dance of Ghana

May 20

Williams Farm Recreation Center

Ghanian-American singer, dancer and educator Rita Addico Cohen will join dancers and musicians from the Tidewater African Cultural Alliance for this truly interactive family performance of dance and music straight from Ghana. Dance is a central part of much of Ghanaian life, and is used in different ceremonies to connect communities in a country home to more than 50 languages. Jump up and learn “ asa foforo,” a new dance, which will have you singing in Twi and dancing to soul shaking beats.

Over the Rhine

Presented by Virginia Arts Festival & North Shore Point House Concerts

June 8 Perry Pavilion

Karin Bergquist ’s supple, soulful singing entices you into the songs of Over the Rhine, but then the lyrics she and husband Linford Detweiler pen slide into your head on songs like I Want You to be My Lover and All I Need Is Everything. In a few minutes, you’re transported. “Over the Rhine creates true confessional masterpieces that know neither border nor boundary,” (Paste magazine).

Alisa Almador

Presented by Virginia Arts Festival

June 10

Robin Hixon Theater

NPR 2022 Tiny Desk Concert contest winner Alisa Amador brings heartfelt, hypnotic songs that have traveled far, from her heart and soul through Latin America to whatever stage she occupies. With a sound that has been described as “a pitch-perfect rendition of my wildest dreams” (NPR), her soulful singing, poetically incisive lyrics, and syncopated rhythms are likely to make you cry, laugh and dance all within one set.

B éla Fleck, Zakir Hussain and Edgar Meyer bridge cultures for an intriguing May 3 performance at Virginia Arts Festival’s tented Perry Pavilion. Leyla McCalla

March

3-31

Show Off! Virginia Beach Art Center artcentervb.org

3

5

1

Masterworks III: Earthrise Symphonicity at Sandler Center symphonicity.org

9-31

Kara Walker: Cut to the Quick Latoya M. Hobbs: Flourish Atrium Artists in Residence Virgnia MOCA virginiamoca.org

10-31

The Legend of Georgia McBride Little Theatre of Virginia Beach Itvb.com

11 Coppelia Ballet Virginia at the Sandler Center balletvirginia.org

12

Mozart’s Requiem Virginia Symphony Orchestra at the Sandler Center virginiasymphony.org

16

Masterpiece Series #5 feat. Quynn Johnson (virtual) Virginia African American Cultural Center vaaccvb.org

Book Detective: Zar & the Broken Spaceship TCC Joint-Use Library arts4learningva.org

17-19

Finding Nemo Jr.

Hurrah Players at the Sandler Center hurrahplayers.com

18

Mosaic Steel Orchestra: From Steel MEO Central Library arts4learningva.org

25 World Culture Festival - Hampton Roads Edition

The Art of Living, Virginia Beach Convention Center visitvirginiabeach.com/convention-center

26

Violinist Gil Shaham Returns Virginia Symphony Orchestra at the Sandler Center virginiasymphony.org

April

Broadway ROCKS! Virginia Symphony Orchestra at the Sandler Center virginiasymphony.org

1-2

Show Off! Virginia Beach Art Center artcentervb.org

The Legend of Georgia McBride Little Theatre of Virginia Beach Itvb.com

1-30

Kara Walker: Cut to the Quick Latoya M. Hobbs: Flourish Atrium Artists in Residence Virginia Beach MOCA Virginiamoca.org

2

May

1-31

Kara Walker: Cut to the Quick Latoya M. Hobbs: Flourish Atrium Artists in Residence Virginia Beach MOCA virginiamoca.org

5

20

Summer of Flight: Consolidated PBY Catalina Military Aviation Museum militaryaviationmuseum.org

21

Ballet Hispanico Virginia Arts Festival at the Sandler Center vafest.org

5-28

My Happy Place Virginia Beach Art Center artcentervb.org

6 Summer of Flight: Messerschmitt Bf 109 Military Aviation Museum militaryaviationmuseum.org

7

Masterworks IV: Pines of Rome Symphonicity, Sandler Center Symphonicity.org

7-30

Mother Earth Virginia Beach Art Center artcentervb.org

21-23

Catch Me if You Can Virginia Musical Theatre at the Sandler Center vmtheatre.org

22

It’s Easy to be Green Zeiders American Dream Theater thez.org

29

ImmortALL Finale Teens With a Purpose twp-themovement.org

30

Earth, Wind & Fire + Chicago Tribute with Brasswind Symphonicity, Sandler Center symphonicity.org

Olga Kern, Piano Virginia Arts Festival at the Sandler Center vafest.org

12-31

Murder On The Orient Express Little Theatre of Virginia Beach ltvb.com

13

Mark Morris Dance Group: The Look of Love Virginia Arts Festival at the Sandler Center vafest.org

Summer of Flight: Curtiss P-40 Warhawk Military Aviation Museum militaryaviationmuseum.org

14

From the Silk Road to The Planets Virginia Symphony Orchestra at the Sandler Center virginiasymphony.org

18

Chris Thile, Mandolin Virginia Arts Festival and Virginia Symphony Orchestra at the Sandler Center sandlercenter.org

27

Summer of Flight: Hawker Hurricane Military Aviation Museum militaryaviationmuseum.org

June

1-4

Murder On The Orient Express Little Theatre of Virginia Beach ltvb.com

3

Summer of Flight: Grumman FM-2 Wildcat & TBM Avenger Military Aviation Museum militaryaviationmuseum.org

10

Summer of Flight: Goodyear FG-1D Cosair Military Aviation Museum militaryaviationmuseum.org

17

Summer of Flight: Boeing Stearman

Military Aviation Museum militaryaviationmuseum.org

24

Summer of Flight: B-25 Mitchell Military Aviation Museum militaryaviationmuseum.org

Masterpiece Series #6 feat. Judine Somerville (virtual) Virginia African American Cultural Center vaaccvb.org

Access Virginia: open-caption narration of performing arts events accessvirginia.info

Arts for Learning: educational programs with Virginia Beach Public Libraries and City Public Schools arts4learningva.org

Tidewater African Cultural Alliance: SOL-aligned African Story Time programs for 4th and 5th grade students taca757.org

Tidewater Arts Outreach: arts outreach programs for isolated

www.virginiabeach.gov/culture

Virginia Beach adults tidewaterartsoutreach.org

Virginia Arts Festival: arts-in-education programs with Virginia Beach City Public Schools vafest.org

Virginia Stage Company: in-school performances and workshops for Virginia Beach students vastage.org

WHRO: “Curate” arts television program blending regional art scene with nationally-produced content whro.org

GIGGUIDE

Acoustic Carnival

The Coffee Shoppe/Olde

Towne Portsmouth

3/16 - Cody Christian/Fox & The Bear

4/13 - Jason Cale

Attucks Theatre

3/25 - Mike Phillips

American Theatre

3/18 - Taylor Dayne

Ferguson Center

4/8 - Bernadette Peters

4/13 - The Temptations/

Four Tops

Sandler Center

4/4 - The Monkees

4/6 - Scott Bradlee’s Post

Modern Jukebox

4/14 - Celebrating David Bowie

4/15 - Chapel Hart

The NorVa

3/17 - The English Beat

3/23 - The Movement

3/24 - Nashville Nights

Band

3/25 - R&B Only Live

3/29 - Guster

3/30 - JXDN

3/31 - Polyphia

4/1 - Kaivon 4/4 - Lukas Nelson 4/5 - The Church 4/7 - Silversteen 4/8 - Chase Rice 4/9 - K Camp

- Clutch

4/13 - Killswitch Engage

4/15 - Orville Peck

Elevation 27

3/15 - Pepper

3/18 - Bumpin Uglies

3/19 - Anthony B

3/23 - Frank Foster3/25 -

Drug Church

3/28 - Pop Evil

3/30 - The Winery Dogs

3/31 - The Deloreans

4/1 - Breaking The Chain

4/7 - Last Fair Deal

4/8 - The Carpool

4/14 - Completely

Unchained

The Vanguard Distillery & Brewpub

3/18 - Nashville Nights

3/24 - Midnight Rain

(Taylor Swift tribute)

3/25 - Jeremiah Tall w/ Everafter

3/31 - Big Forest Fire

4/13 - Songwriter Night

Zeiders American Dream Theater

3/24 - Eddie Williams

Quartet

The Bunker Brewpub

4/4 - Unwritten Law/ Authority Zero

4/5 - Little Stranger

Scandals Live

3/17 - Living Dead Girl

3/25 - Anthony Rosano &

MUSICHIGHLIGHT

3/23 - Alex Woodland

3/24 - Thru w/Therapy

3/25 - Rusty Ancel

3/29 - Lane Rice

3/30 - Roots EQ

3/31 - Marie-Claire Evans

4/1 - Rich Ridolfino

4/5 - Brian Bleakley

4/6 - Nick Caffacus

4/7 - The Virginia Shellphish Coalition

4/8 - Karl Werne

4/12 - Alex Woodland

4/13 - Roots EQ

4/14 - Jim Masters

4/15 - Thru w/Therapy

Open Mic Nights

Mondays - South Beach Grill

Mondays - Tap It Local

Tuesdays - C.I.P.H.E.R. at Noir

Tuesdays - Hilton Tavern w/ Megan & Zach Moats

Nashville Nights Band plays The NorVa March 24

The Conqueroos w/Lucky

757

3/27 - Lost Gun/Peter

Rono/Vantana Row

4/8 - Weapons of Anew

4/11 - False Cape

Big Pink/Victorian Station

3/19 - Nate Sacks/Jeremy

Mangrum/Rob Oliver/ Jennifer Gammill

3/26 - Open Mic w/Karl

Werne

O’Connor Brewing Co

3/25 - Red Stapler Duo

Froggies

3/18 - EverAfter

3/23 - Brad & Fred

3/24 - Anthony Rosano & The Conqueroos

3/25 - Almost Famous Band

3/30 - Lewis McGehee

3/31 - Hotcakes

South Beach Grill

3/17 - River Boyz

3/31 - Radio 80s

Grace O’Malley’ s Irish Pub

3/16-18 - Glasgow Kiss

3/17 - Don Bunch

3/21-25 - Donal

O’Shaughnessy

3/28-4/1 - Pat Garvey

4/5-9 - Gabreil Donohue

4/12-16 - Sean Heely

Hilton Tavern

3/15 - Bob Wilson

3/16 - Rich Ridolfino

3/17 - The Virginia

Shellphish Coalition

3/18 - Second Wind

3/22 - Troy Breslow

Tuesdays - Abbey Road w/ Doyle & Dunn

Tuesdays - STUFT Open Jam

Tuesdays - Winston’s Cafe w/Joey Wood

Tuesdays - Froggies w/Fred Karam

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

3rd Thursdays - Victorian Station

Wanna be listed?

Send band schedule to jeffmaisey@yahoo.com

C C C

SPRINGARTSPREVIEW FESTIVALS

Festival Highlights

CCompiled By Staff

LAVA MiniFest

April 15

Toast

An indie pop music festival featuring The North Country, Berries, The Warm Hug, Drook, Prabir, and more.

Williamsburg Craft Beer Festival

April 23

Lawn of the Museums of Colonial Williamsburg www.williamsburgcraftbeerfest.com

Norfolk NATO Festival Parade of Nations

April 22

Town Point Park www.vafest.org

She-Crab Classic

April 22

24th Street Park @ Oceanfront www.beacheventsvb.com

Hampton Mosaic Festival: A Celebration of Culture, History and the Arts

April 22

Mill Point Park www.hamptonhistorymuseum.org

SOMETHING IN THE WATER

April 28-30

Virginia Beach Oceanfront www.somethinginthewater.com

Atlantic Coast Kite Festival

May 6-7

Between 16th & 18th Streets @ Oceanfront www.beacheventsvb.com

15th Annual Spring Town Point Wine Festival

May 6-7

Town Point Park www.festevents.org

Beach Music Weekend

May 12-13

30th Street @ The Oceanfront www.beacheventsvb.com

Bayou Bon Vivant: Cajun Music, Food & Art Festival

Music includes Blues Traveler, Anders Osbourne, Big Sam’s Funky Nation, North Mississippi Allstars, Terrance Simien & more.

May 19-21

Town Point Park www.festevents.org

Neptune’s 18th Annual Spring Wine Festival

May 20

31st Street Park @ Oceanfront www.neptunefestival.com

Stockley Gardens Arts Festival

May 20-21

Stockley Gardens/Ghent www.hope-house.org

Portsmouth UMOJA Festival

May 26-28

Festival Park www.umojafestportsmouth.com

Memorial Day Salute to Summer

May 26-28

17th & 24th Street Stage @ The Oceanfront www.beacheventsvb.com

Patriotic Festival

May 26-29

Scope Arena & Town Point Park www.patrioticfestival.com

Newport News Greek Festival

June 1-4

Saints Constantine & Helen Greek Orthodox Church www.newportnewsgreekfestival.org

2023 Hampton Black Beard Festival

June 3-4

Mill Point Park www.visithampton.com

Norfolk Harborfest

June 9-11

Town Point Park www.festevents.org

Bluegrass & Brew Festival

June 9-11

The American Theatre

Enjoy a cold pint of regional craft beer while checking out some stellar bluegrass from Daily & Vincent (June 9), the dynamic Steep Canyon Rangers (June 10), and the roots rockin’ Carbon Leaf (June 11).

Juneteenth in the Park

June 17

Town Point Park www.festevents.org

Neptune’s Spring Wine Festival is always a crowd pleaser.

4 to Explore

Compiled by Staff

New Realm Brewing Company Peaceful Groove

Virginia Beach

As music fans await the release of the SOMETHING IN THE WATER lineup, some news is spilling out — New Realm is unveiling its Peaceful Groove in collaboration with Pharrell’s big event. The tropical wheat ale made with passionfruit and pineapple will debut on March 31 at the brewery on draft and 16-oz cans.

Precarious Beer Project Proton Bomb

Williamsburg

Known for doing great things with their IPAs, the brewers at Precarious make good on their latest old school West Coast variety. As they describe, Proton Bomb is “full of explosive flavor thanks to dank hops like Amarillo, CTZ, Simcoe, and BRU-1, and an intergalactic yeast strain known as Star Party.”

Grab a 4-pack for Captain Kirk.

lewerks Brewing Company Why Would You Not? Hazy IPA

Williamsburg

The 2022 Veer Magazine Golden Tap Awards winning brewery delivers a convincing new Hazy IPA with an electric blend of pineapple, pear, and grapefruit with an intriguing aroma of red cherries thanks to the use of Idaho Gem during dry hopping.

Billsburg Brewery Cherry Lime Hard Seltzer Williamsburg

Like most craft breweries, Billsburg is giving its patrons a low calories, gluten-free option of those health conscious customers seeking a little buzz. New to Billsburg is this delicious Cherry Lime smooth sailing hard seltzer. Drink it cold from the can after your next group bicycle ride.

Saturday, April 15, 2023, 1–5 PM

Khedive Shrine Center, 645 Woodlake Drive, Chesapeake, VA 23320

Celebrate amber suds with historical reverence as we pay tribute to the history of beer from the earliest days of our nation all the way to today’s beer and cider breweries.

Unlimited free samples of 30 plus craft beers and ciders from 15 breweries, food available for purchase from your favorite local food trucks, live music featuring Kershaw & Foutz, artisans, vendors, raffle items and much more!

INDOOR & OUTDOOR EVENT

Rain or shine Adults Only21 and over

Pink Boots Society Beer Release

By Diane Catanzaro and Chris Jones

In honor of the International Women’s Day, a special Yakima Chief Hops-Pink Boots Society hops blend has been chosen each year by women brewers from around the country, and used to brew a collaboration beer. Each participating Pink Boots Society chapter nationwide designs  a unique recipe using these hops. A portion of the sales of the special hops blend funds scholarships to empower women in brewing through education.

This year the featured hops are Loral, Ekunot, and HBC  586. These hops create floral, citrus, and tropical fruit notes of aroma and flavor.

Pilsner Fest at Billsburg

Local breweries have started a trend of hosting thematic competitions featuring a particular beer style.

Billsburg Brewery, located near the historic Jamestown Settlement, has been on the forefront with its annual Pilsner Invitational.

This year, Billsburg will host some 18-plus regional beer makers on Saturday, April 15 from noon to 5 PM. — JM

Dark Knight Winners at St. George

Speaking of brewery-run competitions, The St. George Brewing Company in Hampton recently held its annual Dark Knights of Winter competition featuring a variety of dark beers.

The Hampton Roads Pink Boots chapter brewed a porter called Hear Me Roar using this hops blend and was released on March 8. Expect dark malty roasted and chocolate notes punctuated by floral, citrus, and tropical notes.

Participating Hampton Roads breweries this year are Makers Craft Brewery (where the collaboration beer was brewed), Elation, St. George, 1700 Brewing, Capstan, Tradition. Harbor Trail, Vibrant Shore, and Gloucester Brewing.  Support women in brewing and drink this special limited release beer!

Gorgeous Hazy IPA to its year-round port folio of flagship beers. The packaging/label design of its 16-oz cans is in keeping with its new brand refresh. “ We’ve been steadily introducing the market to the new look and feel of the packaging on our core beers since last spring,” said Chris Smith, co-founder of The Virginia Beer Company. “ Brand refreshes take a lot of planning but have started to become a little more common in the industry. We thought timing the official announcement of the refresh around the new year-round status of Gorgeous would give our customers something to get excited about.”

General Admission: $40 in advance / $45 @ the door

Includes a complimentary 5-oz tasting glass with unlimited 4-oz pours, plus live music, and food is available for purchase from one of our vendors.

VIP: $75

Includes entry into exclusive VIP area with Special beer selection of additional craft choices, heavy hors d’oeuvres, complimentary 5-0z tasting glass with unlimited 4-oz pours, live music, and a souvenir Revolutionary Beer Fest Growlette with one complimentary fill.

Designated Driver: $15

Includes unlimited root beer and water, live music and food available for purchase from one of our food vendors. TICKETS:

Available at EVENTBRITE.COM Revolutionary Beer Fest

For more information visit gbbattlefield.org or email info@gbbattlefield.org • Telephone: 757.482.4480

The winners are as follows:

• Best in Show, Caiseal Beer & Spirits Co.

• Runner Up, The Garage Brewery

• People’s Choice, The Garage Brewery

• Heaviest, Nost Brewing Project/Oozlefinch

Beers & Blending

• Roastiest, Capstan Bar Brewing Company

• Darkest, Dragon Run Brewing

As a side note, St George will be celebrating its 25th anniversary on April 29 from 10 am to 8 PM. Look for their 2nd Annual Lawnmower Beer Festival competition on June 17. — JM

Gorgeous All Year ‘Round

The Virginia Beer Company, in Williamsburg, has moved forward with adding its award-winning

Gorgeous joins Free Verse Hazy IPA, Elbow Patches (oatmeal stout), and Saving Daylight (American wheat) as the brewery’s core, widely distributed offerings. The popularity of these beers spoke volumes to the brewery’s team.

“

We want people to really understand that when we get feedback, we listen,” said Robby Willey, co-founder of The Virginia Beer Company. “ This was a collaborative effort that included feedback from everyone in our brewery’ s family: our distributors, retailers, loyal customers, and the ‘ VBC ’ team all gave feedback on the brand refresh. We’re an incredibly communityconscious brewery, and we really treated this process like a community event. And we are really excited how this new look and feel reflects not just the liquid in the cans, but our whole brand identity these 7 years after first opening our doors & taps in 2016.” — JM

Delfosse Vineyards Wins Governor’s Cup

By Jeff Maisey

Faber-based Delfosse Vineyards and Winery won the 2023 Virginia Governor’s Cup for its 2021 vintage of Screaming Hawk Meritage, a signature estate red blend of 50% Petit Verdot, 30% Cabernet Sauvignon, 10% Cabernet Franc and 10% Malbec.

This year’s statewide competition event marked its 41st anniversary and included 614 entries from some 115 wineries, cideries, and mead makers.

“Each year I see the advancement in the caliber of wines and ciders in this competition. With another record breaking year, 66 producers received a 90 point score or higher,” said Secretary of Agriculture and Forestry Matthew Lohr. “As this industry grows, it continues to support and strengthen both the agricultural community in the Commonwealth and Virginia’s economy.”

The 2021 Screaming Hawk earned the highest average score from a panel of esteemed judges who evaluated the wines based on appearance, aroma, flavor, commercial suitability and overall quality. Screaming Hawk, along with 11 other wines that represented the competition’s 12 highest scoring wines, is highlighted as the Virginia Governor’s Cup Case. The best of the best are as follows:

Delfosse Vineyards and Winery, 2021

Screaming Hawk Meritage

50 West Vineyards, 2020 Petit Manseng

Barboursville Vineyards, 2021 Vermentino Reserve

Barren Ridge Vineyards, 2019 Petit Verdot

Jefferson Vineyards, 2021 Petit Manseng

Jefferson Vineyards, 2019 Meritage

Mountain Run Winery, 2021 Petit Verdot

Paradise Springs Winery, 2021 Petit Verdot

Pollak Vineyards, 2017 Meritage

The Williamsburg Winery, 2019 Petit Verdot

Trump Winery, 2016 Blanc de Noir

Trump Winery, 2019 New World Reserve

For winery owners Mike and Adrienne Albers, the honor comes at an interesting time as they plan to rebrand Delfosse as Mountain and Vine Vineyards and Winery. They purchased the property in 2016 with the goal of producing 100% estate grown fruit. Success is already realized.

“ I have told my team every year throughout the grape growing season and winemaking process that we want to win the Governor’s Cup–it ’s been our goal,” said Mike Albers.

Part of Albers winning formula was in hiring Andrew Bilenkij as winemaker.

“ Since coming to Delfosse in 2019, this is one of my first vintages to see from vineyard to bot-

tle. I’m excited and proud to see it recognized by the Virginia Governor’s Cup judges,” said Bilenkij, who was on-hand to receive the top award.

“ Delfosse is adding an exciting new chapter to its venerable history and we look forward to all they do next as Mountain and Vine Vineyards and Winery,” added Governor Glenn Youngkin during the award presentation ceremony.

Waters Edge Winery Opens in Norfolk

Waters Edge Winery became Mermaid City’s second “urban-format” winery when it opened its doors on March 11 in the former TASTE location on Hampton Boulevard next to d’Egg West. Owners Jason and Dyan Witt — husband and wife — are bringing together their love for wine, food, and friends/family.

Waters Edge Wineries are a national franchise created in 2012 by Californians Ken and Angela Lineberger with the stated philosophy of focusing on “helping people learn about the amazing world of wine and remove the barriers that keep people from enjoying the winery lifestyle on a regular basis.”

To date there are roughly 17 Waters Edge Wineries in operation nationwide. Waters Edge Winery Norfolk is the only one operating in Virginia. Its logo features an anchor as a nod to Jason’s time spent in the Navy.

The Norfolk location features a Wine Club as well as a bistro menu.

Look for our review in the next issue of Veer.

Up PERi-PERi Scope

By Marisa Marsey

Paging all red hot chili pepper fans (of the Capsicum variety, that is, vis-à-vis the band). Make haste to Nando’s at Virginia Beach Town Center, the newest outpost of the multinational, fast-casual chain that originated in Johannesburg over 35 years ago to put chicken permeated with PERi-PERi (aka African bird’s-eye chili) into perspective.

Nando’s marinates its birds in the piercing chili for 24 hours. They’ll flame-grill and baste yours once you order at the counter, indicating your comfort zone for heat per the “PERi-ometer.” The Scoville-like scale starts at Plainish (no additional spice beyond the PERi-PERi marinade; so not totally mild) and caps out at Xtra Hot (“like tackling a ferociously fiery dragon”). Further customize your chicken—available in quarters (breast or leg), halves, thigh skewers, wings, livers or boneless butterflied breasts—with an array of bottled sauces at your fingertips that blend the chili with garlic, fresh lemons and more.

While PERi-PERi chicken is the purview, you’ll still want to partake in robust snacks,

17 Hands Expands

How fitting that a phalanx of the Virginia Beach Police Mounted Patrol, including Big Busta Brown (a Percheron/Thoroughbred mix) and Justino (part Quarter Horse, part Oldenburg), celebrated the recent ribbon-cutting ceremony for the expansion of 17 Hands Coffee/Robin Simmons Bakery. “ We’re all about horses here,” said the eponymous Robin Simmons who

sandwiches, salads, bowls and sides. There’s even a Nandinos menu for kids under 10. Nando’s numbers over 1200 across five continents, yet no two look identical. Each is designed from scratch starting with an orange-dominant palette, as spicy as its fare, but design elements—from patterns and textures to lights—are unique to each location. So, too, paintings on “Creative Blocks” commissioned by emerging Southern African artists who have been nurtured by the company.

The one commonality is a prominentlyplaced wash basin. No, not a Covid-prompted precaution. It’s long been a fixture, encouraging guests to “make a mess” and feel at home. After all, who doesn’t love eating chicken with their hands?

And Nando’s PERi-PERi is so delectable that when it comes to devouring it, like those other notable Chili Peppers put it, you “Can’t Stop.”

221 Central Park Avenue, Virginia Beach. 757-271-4320. Open daily. nandosperiperi. com/find/virginia-beach

No word from Busta and Justino on their usual order (they’ve been here before for “neigh”borhoood outreach) but former WVEC-TV anchor Sandra Parker, who now owns SPARKER Productions, swears by the sweet potato biscuits. “I’ll crave this for days,” she enthused between nibbles. “I better get a dozen to go.”

Virginia Beach Mayor Bobby Dyer, who lives nearby, raved about the chocolate cake: “It’s to die for.”

Practically everyone with the horse sense to stop into 17 Hands, located near the corner of Kempsville Road and Centerville Turnpike, professes a different fave, putting Simmons and her energetic team through their paces and reflecting the breadth of their offerings from quiche to Key lime pie, lemon-lavender cake (bursting with fresh lemon zest just like the homemade lemonade) to banana chocolate chip scones (over-the-top paired with a banana pancake latte). KETO, vegan and wheat-free items, too.

Simmons, a Great Bridge High grad, launched the shop four years ago. Her love affair with baking, though, stretches back decades, spurred by her quest to recreate the cheesecakes of her childhood from erstwhile Mama Kayer’s Bakery.

Taking over the next-door unit nearly doubled her space, allowing for bread production, a second bakery counter and a third Italian espresso bar. New, too, is a liquor license, plus more seating. An Irish coffee crowned with house-whipped Kahlua cream makes 17 Hands even more alluring for unwinding, digital nomad-ing or just horsing around.

1830 Kempsville Road, #104, Virginia Beach. 757-648-1777. Open daily. 17handscoffee.com

Black Angus “Moo”ves

Mike Savvides, a nephew of the original owners. In 1986, he moved it to Atlantic Avenue and 7th Street where it thrived for the next 35 years. Chris, having grown up in the family business, took charge in 1990.

History and modernity reign at Great Neck. The circa 1953 Norfolk sign and a butcher block worktop from the 33rd Street days repurposed into a communal table coexist stunningly with new, splashy white subway tile and rich valances. Regulars will remember the vintage Beach photos lining the walls and the rolling high back chairs (freshly reupholstered), while that reinvigorated mascot watches over all. Chef Scott Pyle, who was mentored by the late Spiros Boubas and upholds the long-time culinarian’s menu, not only painted the bull, he pinned on a blue ribbon. Why not? This latest incarnation is a Black Angus beauty.

1340 N. Great Neck Road, #1228, Virginia Beach. 757-428-7700. Open nightly for dinner except Tues. and Wed. blackangusrestaurant.com

Another Growth Spurt

Ghent’s Mr. Shawarma is bringing its ridiculously-delicious Middle Eastern street food to Virginia Beach with a second location opening soon at 1965 Laskin Road. Stay tuned for more. mrshawarma.com

2023 Soiree en Blanc

Norfolk Sister City Association has announced its 2023 Soiree en Blanc will happen Thursday, May 18.

did, indeed, name the popular Virginia Beach coffee shop-cum-bakery after her beloved horse Tango, a Dutch Warmblood measuring 17 hands (in horse-speak, a hand equals four inches when determining height from ground to shoulders aka withers…hmmm, withering heights?). But her business is also about irresistible, from-scratch cakes, pies, scones, specialty coffees (featuring locally-sourced Eastern Shore Coastal Roasting Co.) and more.

Black Angus’ three-foot tall bovine mascot has a fresh coat of paint…and a new home. Chris Savvides, who closed the legendary steakhouse at the Oceanfront at the end of 2021, has reestablished it in the former Pasta e Pani footprint at Great Neck Village.

This marks the third Virginia Beach address for the restaurant that grew to encompass seafood and catering over its sixdecade run. The first, opened in the 1960s at Pacific Avenue and 33rd Street, was sired by the swanky, now defunct Norfolk original founded in the 1950s.

Black Angus had a successful quartercentury hitch on Pacific under Chris’ dad

As is the case each year, guests will learn of the location of the all-dressed-in-white affair just 24 hours in advance. Also new this year: The space allows for tables of 8 and 10. Baker’s Crust Artisan Kitchen is the food vendor and will offer three boxed dinner options with entrees featuring salmon with herb butter, pork tenderloin, and wine country salad with grilled chicken.

Advance reservations are a must at norfolksistercities.org.

Opening Soon

508 Crafthouse is expected to open later this spring in the former Tortilla West location in the Chelsea District of Norfolk. Craft food and cocktails will be their thing, and Sunday brunches from 11-3. Plus Taco Tuesdays ($2 each) with $2 beers. That’s two thumbs up.

If you’re perspicacious about peri-peri, head to Nando’s at Virginia Beach Town Center.

Vegan Planet Caf é Sent Me into Orbit

By Betsy DiJulio

A few years back, I visited Vegan Planet Café with the intention of reviewing it, but the casual, eclectic storefront didn’t seem quite ready for its close-up, so I ordered some food, which was just fine, and went elsewhere for my review.

But that was then, and this is now…and it is ready!

On a recent Friday in March during my Spring Break, I visited at around 2 p.m. and was surprised—and delighted—that several people were leaving with tasty looking shakes as I was arriving and more joined me while I waited for my made-to-order meal. We gathered in the intimate

dining space with a pair of two-tops, a few charmingly mis-matched stools at the counter, and a few more with an industrial modern vibe at an inviting wooden edge in the bright window. I took my food to-go, but only because I had been gone from home most of the day.

In the tiny open kitchen, the chef was hustling, at times quiet and focused and, at other times, focused, but peppering his culinary choreography with friendly banter directed both at patrons and himself. Topics ranged from the progress of our orders to what his plants must be thinking about

the cold front to a garden one of the customers wanted to hire him to install at her townhome, all delightfully shared with a rhythmic cadence reminiscent of spoken word poetry straight from Jamaica.

Vegan Planet Café is more than a café and more like an Afro-centric micro-marketplace with books, herbs, jewelry, scarves, and lots of plants. Buddha statues seem right at home as they preside over shea butter, various oils, art, and musical instruments. But, for me, it was all about the stellar food and the chill, casual, and welcoming vibe.

Orders are made from a handwritten chalkboard menu that hangs over the kitchen bar directly to the chef. Most dishes come on their own or as a combo with a drink and a side: fries, sweet potato fries, pasta salad, Rasta Shmack, and mac and cheese ($3.99-$5.99). Main dishes include the Planet Burger or the Blackened Spicy Planet Burger, Vegan Sausage in a bun, Philly Chz (sub), Fried “Chicken” Sandwich, Vegan Cauliflower Wings, Vegan Oxtail (made with black eyed peas), Falafel Pita, and Cajun Mushroom Pita ($7.99-$10.99 + $4 to make it a combo). But I gather the menu changes a bit from time to time—with various wraps, melts, and nachos making cameo appearances--and that the curry coleslaw is not to be missed.

I don’t often splurge on fried food, much less two different fried items, but I couldn’t decide between the “chikken” sammie and the wings, so I ordered both. Much to my delight, the “chicken” was not seitan, which I like, but it can be heavy. Rather it was a mushroom—a maitake I believe—that was deep fried in the most flavorful, but understated, flour-based coating. Crispy and not greasy, it was devoured before I pulled away from the curb. I asked for no barbecue sauce because it can overwhelm other ingredients and I wanted to taste every bit of the fresh bright green baby spinach leaves ever-so-slightly steamed under the “chicken,” caramelized onions, ruby red tomato slice, tangy-sweet bread-and-butter pickle slices, and creamy Vegenaise. The bread was golden in color and lightly toasted but, alas, I abstained.

Why? Because nestled next to my sandwich was 15— yes, 15—of the plumpest, juiciest, and crispiest deep fried cauliflower florets perfectly bathed in a light gloss of chili sauce described as having just a little kick, which it did. Quite simply, they were out of this world. Other sauces included barbecue and sweet teriyaki. My mouth watered as the wings sizzled in their oil bath, but nothing prepared me for how simple, but elevated, this rendition was. Too often at restaurants, the cauli wings are vegetarian, but not vegan. Even if you decline the ubiquitous ranch dressing, they are often dipped in a buttermilk bath. Not here. You can eat the entire order—or a third of it in my case—knowing every bite is vegan.

The crispiness of the “chicken” and the wings was preserved despite the Styrofoam carry-out container. So I hope an overnight stay in the fridge and an oven heat-up will render the leftover wings the creamy inside, crispy outside tender morsels of glistening perfection I experienced curbside. But even if they are half as good, they will be delicious.

Vegan Planet Café, 2718 Granby St, Norfolk, https://vegan-planet-cafe.business.site/

757.844.8329, open 12-7:30 M-F, 9 -5 Sat-Sun

Stiff Drinks and Poetry in Elko

Words & Photographs by Mark Edward Atkinson

A year ago when my son announced he was moving to Ohio I told him straight up “no one moves to Ohio.” After all it’s too landlocked with miserable winters. But here I was in the dead of winter heading on a vacation of sorts, not to some balmy island with coconut drinks but to Elko, Nevada for the National Cowboy Poetry Gathering where last night the temp dropped to minus 4. I bought my son a plane ticket. Misery and company. There better be some good poetry and stiff drinks I thought, cause no one in their right mind goes to Elko in the winter.

Turns out I was wrong about that. Several thousand people braved the chill and welcomed back the Gathering that had been on a covid-induced hiatus the past two years. It was nothing to speak with folks who said “oh yes this is my 22nd year” or “my wife and I have been coming since it started.” These were folks who loved the cowboy lore, appreciated the poetry and relished the rekindling of friendships that hung on a once-a-year pilgrimage to the middle of nowhere.

At the Star Hotel—a beacon in the middle of Elko—my first night I was surrounded by a sea of cowboy hats and western gear that made my admission moot when I confessed

to being from the east coast. “No kidding,” was generally followed by an incredulous “ you came all the way out here for this?” I never explained that I was intrigued by the visual possibilities and my curiosity about cowboys and poetry. No good reason was reason enough and it didn’t seem to matter. If you’re here, hanging at the bar in the dead of winter and you came all this way, welcome seemed to be the attitude. An alien embrace in a new world of old cowhands.

For this weeklong celebration, the Western Folklife Center which puts on the Gathering brings together a program filled with talent. In addition to the poets, there is great live music everywhere, workshops that feature rawhide braiding, cowboy hat making, fancy leather work, pulled-wool blanket weaving, lessons on singing harmony, learning the two-step, cowboy cuisine, whiskey mixology and quick-witted verse writing. You get the gist. The evening shows are a mixture of storytelling, poetry and music and all seem seamlessly curated with a folksy but polished delivery. Small group sessions during the day offer open-mic opportunities for new poets and musicians, as well as previews of films for and about the cowboy experience.

Venders from all over fill the convention

center hallways selling hats and boots, big silver belt buckles, beadwork, paintings, western wear and lots of turquoise. Two days in I found myself struggling with a yen to get a good western hat or a pair of boots. Everyone looked so good. I fought it off. You’re not a cowboy just because you go to Elko. I bought a tee shirt.

Ramblin’ Jack Elliot was a big hit at this year ’s gathering. A Texas Ramble, the documentary film on his life was previewed over the week. Thirty years in the making, it featured restored concert footage and commentary by Guy Clark, Arlo Guthrie, and Lyle Lovett, and stories of Elliot’s adventures with Bob Dylan, Woody Guthrie and Jerry Jeff Walker. It’s worth checking out. Ramblin’ Jack, now 92, showed up and performed with Andy Hedges on the final night in the packed G Three Bar Theater. For this crowd it was a bit of second coming event. In the middle of one song Jack appeared stumped on a lyric when someone in the audience yelled “Don’t worry Jack, if you need to change horses, we’ll wait.” Cowboy reverence.

Ground zero for the Gathering is the Western Folklife Center housed in the old Pioneer Hotel, that started out as a tent in 1868 called the Pioneer Saloon, and suppos-

edly served as the first bar in Elko. The hotel was built on the spot in the early 1900s and still features an impressive 40-foot Brunswick back bar built in 1890. This gracious lobby bar is the great gathering spot during the day and hosts musical jam sessions late into the evening with talent from different groups playing impressively together. Drinks and conversation go down easy.

Notably missing from this years Gathering was Baxter Black—perhaps the most well-known cowboy poet. Black who was part of the first Cowboy Poetry Gathering in 1985, died in 2022 while the Gathering was on hiatus. Black soared to fame in the 80s after retiring from his large animal vet practice. He wrote 30 books of poetry, fiction and commentary—selling over two million. Quite by accident he became a wellloved radio commentator—doing regular stints on NPR’s Morning Edition. He was also a regular on Johnny Carson’s Tonight Show becoming the face and voice of cowboy poetry to a larger audience. It was he who wrote “ when an innocent group of people in Nevada had the brass monkeys to connect the word ‘cowboy’ with the word ‘poetry,’ it was like the mixing uranium-235 with strontium-90, and Cowboy Poetry became a magic phrase.” The world media circus stormed Elko that first year, a gold rush of interest—the Times, People, Newsweek, the BBC, Carson and others came to see what it was all about. This was a lunar landing, a story that was so new and fresh and real, and everybody wanted in. And 38 years on, this event still rings true to its roots. It’s authentic and untarnished, original not uppity. There are good yarns about exactly what you’d expect - hard times, hard work, lonesome days and nights, calamities, big open spaces, ponies more valued than people, pick up trucks, pining for loves lost, steers straying and drinking away sadness. There are mad cows and bucking horses. Black coffee and campfires. And more often than not, the words are self deprecating and funny. Wistful and nostalgic, while hopeful and grateful. A singular cowboy (and they’re not always boys) stands alone in a spotlight and paints a picture of a life he’s led—not one he’s read about—and you can see the words clear as day.

“ You can’t climb up in a saddle and ride ‘cross prairie sod or see an eagle on the wing and not believe in God.

A cowboy doesn’t worship in a building made of stone

But worships with his Maker out with nature all alone.”

Yvonne Hollenbeck - South Dakota cattle rancher

When asked what made him decide to become a cowboy, Baxter Black said, “You either are one, or you aren’t. You never have to decide.”

I stuck with the tee shirt decision.

After a day or two of wandering the venues, you start to get a feel for the place. The faces become more familiar and the “stars” are friendly to a point of suspicion. The secondary haunts like the Duncan Gallery Bar and Machi ’s Saloon are a short brisk walk from the Folklife Center, sandwiched between the Cowboy Arts and Gear Museum, various diners and saddle shops. The town has an inordinate number of casinos for a population just north of 20,000, but a Komatsu sales rep set me straight one night over beers at a nearby bar. Seems Elko and it’s surrounds produce two million ounces of gold each year—the single largest gold production in the world. So this place ain’t all about cattle drives.

There’s nothing elevated about the food offerings around Elko, though you can get a good steak along with a family style, cattle car of sides at the Basque inspired Star Hotel. By the closing weekend, the bar there was wall to wall with every other person coddling a Picon, a 19th century cocktail featuring a unique Picon liqueur, grenadine, brandy, sparkling water and a lemon. Goes well with beer evidently, or by itself as long as you don’t have far to drive. My bartender suggests maxing out at two, but I get the feeling she’ll serve you as many as you like.

I loved the poetry and variety of styles in terms of both delivery and content. Many wrapped fanciful yarns between their poems, taking audiences on adventure rides with a stage presence practiced and comfortable. Old timers will tell you the first years of the Gathering were a little rough. Many of the cowboys—good at recitations around family and friends and campfires— were stagestruck in front of big audiences at the Gathering. As the years passed, deliveries were fine tuned and the best floated to the top, eventually making it to a circuit of cowboy gatherings that began to dot the west. This years headliners included Waddie Mitchell, Yvonne Hollenbeck, Bill Lowman and Doris Daley.

But as much as I loved the verse, the music was the perfect companion in Elko. After all, a good song is just a good poem set to

music. And it was all day and everywhere, and into the night, including Sourdough Slim & Robert Armstrong, Dave Stamey, Jessie Veeder, the Quebe Sisters, Sam Platts and the Plainsmen, Hot Club of Cowtown, Ismay, and the Munsick Boys. Each and everyone a magnet to their maestro, toe tapping good.

On a final night back at the Folklife Center, headliners Mike Beck and Flapjack are taking a rowdy crowd on towards midnight while off in the wings a handful of gleeful youngsters surrounding a hot plate and a skillet are turning out pancakes and passing em through the room on paper plates. Flapjacks, get it? Everyone seems happy about something. And that alone is something. Outside there’s snow on the ground and it’s crazy cold. Inside none of that weather stuff matters.

So why don’t you do this gathering in the spring or summer? I asked the kindly woman checking me in the first day. “ Well son, the cowboys are working in the spring,” she explained, “ this is the only time they have.”

“ Where are you from?” she followed up sensing the answer to my question should be self evident. “ Virginia? You came all the way out here for this?”

Yep, crazy, right?

A lot of summers have come and gone since that one at Douglas Lake, but none that did as much to mold the kind of man I’d make. It was a season full of adventure; there’s lots of memories there: like when Darwin’s horse pitched him in

the creek or the time Red roped a bear. But by far the fondest memory of a summer that ended too soon was ten cowboys lying in the cool, damp grass jes’ wachin’ the man in the moon.

— Mike Puhallo