September 2022 Veer Magazine

Young and Free

By Tom Robotham

During this summer’s heatwave, when I stayed home as much as possible, I spent a few afternoons binge-watching The Andy Griffith Show. I loved the program when it aired in primetime, beginning in 1960, and to my mind it’s lost none of its charms. Every episode remains funny and heartwarming.

In many ways, the lifestyle depicted in the show also reminds me of my own childhood. Given that I grew up in Staten Island, one of New York City’s five boroughs, that may seem like an odd thing to say. But it’s true. My earliest years were as simple and free as Opie’s.

It all began shortly before my 3rd birthday, when my parents bought a modest three-bedroom house in a new development just north of historic Richmondtown, which boasts a number of preserved Colonial-era buildings including the oldest standing schoolhouse in America. When we moved in, the street in front of our house wasn’t even paved, and was surrounded by woods on three sides.

At some point that summer, my mom met one of our new neighbors and learned that the woman also had a 3-year-old boy. His name was Charlie. Shortly thereafter, they got us together—but not for a “playdate” in the modern sense of that term. My mother simply pointed to Charlie’s house and told me to go see if he wanted to play. His mom, in turn, told us to go out and have fun. For the next hour or so, we roamed through the woods without a care in the world. I remember, in particular, stopping to examine some berries on a bush.

“My father said we’re not supposed to eat those,” Charlie said, and I took that to heart. Instead, we just squished them between our fingers, until our hands were stained with purple juice. After a while, we walked back to Charlie’s house, where his mother made us peanut butter and jelly sandwiches.

Over the next few years, I learned a lot more about the local flora—and what to avoid, such as poison ivy. My dad, who sometimes took me on walks, taught me a lot, but I also learned a lot from friends— who’d learned from their fathers—as we rambled freely without adult supervision.

By the time we were 6, Charlie and I

were venturing farther afield. I remember one summer afternoon, in particular, when he and I walked about a mile to a friend’s birthday party on Lighthouse Hill, one of the highest points on the Island. Ten minutes or so into our walk home, a man stopped his car and offered us a ride. As it happened, we had just recently had the don’t-take-candy-from-strangers lesson in school. It obviously stuck because the

later, when Charlie’s dad got wind of this, he walked over with a shovel and caved the tunnel in, pointing out that it could collapse while we were in it.

in, in 1959.

moment the man spoke to us, Charlie and I looked at each other and, without saying a word, tore off into the woods and didn’t stop running till we got to Charlie’s house. Breathless, we haltingly told his father what had happened.

“You did the right thing,” his father said without a hint of alarm. Of all people, he certainly would have been aware of the potential danger we’d faced. He was a cop. I suspect his show of nonchalance was for our benefit. Why scare us by blowing the thing out of proportion? We’d obviously learned our stranger-danger lesson well.

I DON’T MEAN TO SUGGEST that Charlie’s parents—or mine—were indifferent. One Saturday, when we were about 7, Charlie and I and four or five other boys dug a tunnel through the side of a small hill, burrowing about eight feet horizontally, then about three feet upward to make an exit. We spent the next hour pretending we were in The Great Escape, which had just come out, oblivious to the danger. A few hours

We faced other dangers as well—notably in the half-constructed houses, which we explored on a regular basis. One day, Charlie and I, along with our friend Jimmy, climbed into one of the basements, which was filled with about two feet of water, and took turns floating around on a piece of plywood. After tiring of that game, we decided to climb back out, via the make-shift workman’s ladder that we’d used to descend. Charlie went first, then Jimmy—then they pulled the ladder up, leaving me stranded. After laughing and teasing me for a minute, they lowered the ladder again. I was momentarily upset, but quickly got over it. There was a lot of teasing among us in those days—and the occasional fist-fight/ wrestling match when tempers flared, but we had each other’s backs when anything serious happened.

PUBLISHER/EDITOR

JEFF MAISEY

(757) 237-2762 jeffmaisey@yahoo.com

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ADVERTISING & MARKETING CONSULTANT

Mostly, we just roamed in those woods, catching toads, frogs, salamanders and the occasional snake—or playing “army,” chasing each other through the hilly terrain and “shooting” each other with sticks that we pretended were guns. The goal was to avoid getting shot, but I liked pretending I’d been hit and tumbling down a hill through the fallen leaves.

For the first two years of school, we also walked or rode our bikes a mile or so to what was quite literally a little red schoolhouse, with just three classrooms. By the time we were ready for third-grade, though, the city had cleared the woods behind our street to make way for a large new elementary school. It was nice to be able to just walk around the block to school—nicer still, to have a large asphalt playground, where we could play basketball, stickball and a game variously called skully, skelly or skelsies, which involved flicking bottle caps filled with wax or melted crayon on a chalk-drawn board. No adult ever taught us this game. Somehow, it had just been passed down through the generations, as if by osmosis.

Our parents were around to help us if we needed them—or give us quarters for the Good Humor truck—but during weekends and summers we generally only saw them at breakfast and dinner—or the after-dinner

JENNIFER MCDONALD Jennifer.McDonald@hotmail.com

CONTRIBUTING WRITERS

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

CONTRIBUTING DESIGNERS

Brenda Mihalko, Giorgio Valentini

Cover Artwork by Walt Taylor

Veer is published by Veer Magazine, Inc. on the 15th of each month and is free of charge. Veer may be distributed by authorized distributors only. Veer assumes no responsibility for unsolicited manuscripts or artwork.

The views and opinions expressed are those of the writers and not necessarily of Veer Magazine

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ARTS

BARRY ART MUSEUM

The second annual Public Arts Festival at ODU is proud to present Mars: a large-scale sculpture by UK-based artist Luke Jerram. Serving as a meeting point on 43rd Street, Mars brings the campus and community together for three out-of-this-world nights.

Mars Fest features the artists and makers of Selden "MARTIAN" Market, local food vendors – and over 60 community partners presenting performances, hands-on experiences, and more! Telescopes are available to observe the actual red planet, alongside lively events every hour-on-the-hour. The Barry Art Museum will be open to welcome visitors with activities from our partners at NASA Langley. FREE AND OPEN TO THE PUBLIC.

(continued from page 8)

TV shows, like Andy Griffith and Gunsmoke .

“Just make sure you come home when the street lights go on,” was the common refrain—which, in the summer, meant going back out for a couple of hours after dinner.

My sense of independence was culti vated in Manhattan as well. According to my mother, I was just 18 months old the first time she took me into “the city,” as we called it. I don’t remember that trip, but I recall many others from age 3 onward. One moment in particular stands out in my mind—a lesson my mother taught me about riding the subway.

“If we ever get separated for any reason, and you’re left on the train,” my mother said after we’d pushed our way through the crowd, “just get off at the next stop and wait there for me.”

That certainly was not out of the realm of possibility, as you well know if you’ve ever tried to navigate the chaos of incom ing and outgoing passengers on a busy New York City subway car. Her instructions, de livered in a calm voice, reassured me that I was equipped to deal with that scenario, should it ever arise. As a result, by age of 6 or 7, I was as comfortable on the subway and in the streets of Manhattan as I was in the woods near my house. By the time I was in middle-school, in fact, my friends and I were venturing into Manhattan on our own, to wander around Times Square or catch the 7 train to Shea Stadium. Never once did I feel unsafe, and I don’t think that was na ivete. By the age of 12, my friends and I had a fair amount of street smarts.

REFLECTING ON ALL OF THIS, I’m struck by how much childhood has changed. Curious to verify this impression, I recently posed a question on Facebook, asking parents of young children if they ever let their kids go out unsupervised.

“God, no!” one responded. “My kids are never out of my sight.” Most of the other re sponses were similar. One parent even said she won’t let her 13-year-old go off without adult supervision.

People closer to my age recalled experi ences similar to mine but said, “Times have changed.”

Clearly, they have in a whole lot of ways, and not just with regard to adult supervision. The pervasiveness of technol ogy stands out. I have come to rely on it as much as anyone. I enjoy my streaming ser vices and my iPhone, and I couldn’t do my work without the Internet. I also use Face book, both for diversion and information,

as noted above.

That said, I’m awfully glad that none of this was around when I was a child. Video games didn’t exist (Atari didn’t introduce Pong until I was a sophomore in high school), and thank God for that. If my friends and I had had them, we would likely have missed out on all those stickball and skelly games, plucking bullfrogs from the muck, and tum bling through dead leaves.

I’m also grateful to have grown up with just six TV channels—the three networks and, in New York, three independents, which aired old movies every weekend. Because I was stuck with limited choices, I discovered through those channels an abundance of film classics, from High Noon to Duck Soup. In today’s environment of un limited choices, one has to seek things out— and I doubt I would have done so, at least not as a kid. WPIX curated them for me.

I’m glad as well that we didn’t have cell phones. There was something almost in expressibly liberating about being wholly out of touch from our parents for hours at a time—liberating and educational: without adults, we had to learn on our own and rely on our wits, as Charlie and I did at 6 when we eluded that stranger.

Most of all, I’m glad there was no so cial media. It sometimes messes with my psyche, even now. I can’t even imagine what it does to the mind of a 10-year-old.

Yeah, I know what some of you are think ing: I sound like an old man who loves to yammer on about how much better things were when I was a kid. It’s a mixed bag, for sure. When I was quite small, our family se dan had no seat belts; moreover, I’d some times lie on the platform below the back window. One day my father had to jam on his brakes, and I flew onto the floor, bang ing my head on the hump. Seat belts and car seats are surely a mark of progress.

I also wouldn’t presume to tell today’s parents how to raise their children. Every generation has to do that in accordance with their own values and sensibilities. Maybe the world has become too dangerous to let kids roam free. If so, that’s a sad com mentary on our society—but we all have to adapt to current realities.

I simply offer these reflections for any one who cares to consider them. It seems to me that a large degree of freedom in child hood is important as a way of learning to make good decisions, settle disputes and have faith in ourselves. I’m glad, at any rate, that I grew up when and where and how I did.

Matthew stewart r

into r etirement

By Jeff Maisey

After 43 years, Coastal Import Repair found ing owner Matthew stewart has decided to ride off into the sunset of retirement.

To many in Hampton Roads, and especially in norfolk, Coastal Import Repair has been a trust worthy, highly professional and capable repair shop for foreign designed/manufactured ve hicles. They fix everything from luxury brands such as Porsche, Mercedes-Benz, Lexus, Jaguar, Maserati, BM w, Bugatti, Rolls Royce, and Land Rover to subaru, Toyota, Mazda, Honda, and Fiat. Coastal has also been keen on keeping rare and antique import cars on the road like MGs, Austin-Healy, Aston Martin, and Ferrari.

w hile these carmakers arguably represent the best driving experience anyone could want, perhaps no brand has been more close to Mat thew stewart’s heart than the most common of all — Volkswagen.

For stewart it all began as a teenager.

“I attribute my inspiration to my mom, Mar tha stewart,” he said. “It started after her 1968 V w bus blew up. I was 16 and repaired it in front of our house on Hanover Avenue (in norfolk).”

Before jumping to the rescue of fixing the family V w, Matthew stewart tinkered around with lawn mowers and bicycles. All were similar in they have moving parts to keep them operat ing. But it was the V w bus that changed his life forever.

At age 67, stewart admitted his hands were “getting sore” and the time just felt right. not only was stewart the business owner, he was a handson employee working on jobs big and small.

“ well, it’s like an automobile: you changes gears and I’m ready for it,” stewart said of his decision to call it a day. “I’m very thankful for the people who have worked for me over the years and I’m very lucky to have had such nice customers.”

Coastal Import Repair has maintained an excellent reputation that has kept customers coming back. Most referrals are from satisfied car owners who spread the word on stewart’s company.

Coastal will continue to operate on 21st street in the Ghent business corridor of norfolk under new ownership.

As for stewart, what’s retirement look like for a self-described “car nut”?

“I’m going to chill out for awhile,” stewart said, “but I’m going to continue because I have a lot of car projects.”

After a few months of relaxing and traveling, Matthew stewart plans to operate as a solo “for hire” mechanic for select customers from his new home in suffolk as well as maintaining his vast personal collection of vehicles — including at least three V w buses. Once a car enthusiast,

always a car enthusiast.

Appointments can be scheduled via email at matthewweber15@gmail.com .

spirit Award

Governor Glenn Youngkin and First Lady su zanne s. Youngkin recently presented the spirit of Virginia Award to An Achievable Dream, a full K-12 education program that operates six schools in Virginia in partnership with newport news Public schools, Virginia Beach City Public schools and Henrico County Public schools.

“education is a critical component of opportu nity for all and An Achievable Dream’s approach to caring for the whole student, supporting families, and setting high standards is unparalleled,” said the First Lady suzanne s. Youngkin.

“On behalf of An Achievable Dream’s boards of directors, staff, faculty, and most impor tantly, our students and families, I express our gratitude as a recipient of the spirit of Virginia Award. Thirty years after our founding, we are proud of the work An Achievable Dream contin ues to do through our innovative partnership with our school division partners. we are so grateful for our community of supporters,” said Dr. Lee Vreeland, President & CeO, An Achiev able Dream.

The spirit of Virginia Award recognizes unique qualities and standout achievements across the Commonwealth and salutes Virgin ians for their uncommon contributions in pri vate industries, education, culture, the arts and philanthropy.

Matthew stewart hits the retirement road.

THESCENE

Opening Night of Glen McClure’s “100 in the Spotlight” Exhibition at Gallery 21

Sponsored by

Diana Blanchard Gross Lands in Hampton

By Betsy DiJulio

Coming under the umbrella of Hampton a rts—aka the Hampton a rts Commission, which was created by Hampton City Council in 1987—together with the a merican the atre and Hampton Coliseum, the Charles H. taylor Visual a rts Center came into being in 1989 in the renovated eponymous Memo rial Library building. In 2018, t he Center was renamed the Charles H. taylor Visual a rts Center (CH t VaC) to more accurately reflect the visual arts component of Hamp ton a rts. recently, the organization hired Diana Blanchard Gross as the Visual a rts Center Manager. Known to the regional art community largely through her role as longtime curator at the erstwhile Peninsula Fine a rts Center, Blanchard Gross was kind enough to take some time out of her first week on the job to answer a few questions for VEEr readers.

Betsy DiJulio (BD): First, Diana, congratulations on your new position. Will you share some details about what this job entails, including how your role advances the Center’s mission?

Diana Blanchard Gross (DBG): I will be responsible for curating, planning, orga nizing, and executing the visual arts pro gramming, which includes exhibitions, art classes, and other events and programs at CH t VaC. Our mission is to advance the arts and enhance the quality of life for the resi dents and visitors of the City of Hampton and Coastal Virginia. We look to educate and inspire teachers, students, and lifelong learners to embrace the arts through our exhibitions, workshops, volunteer ism, and community outreach. We want to provide opportunities for Hampton roads artists to showcase and develop visual and educational arts in both traditional and non-traditional formats.

BD: Besides your long tenure as curator at the former Peninsula Fine Arts Center, how did your educational background and career path lead here?

DBG: I have always enjoyed being a cura tor and wanted to make a difference in this region. Being in the arts field for numerous years and earning my Master’s degree in art

history and museum studies from Virginia Commonwealth University (the top art school in the nation) has helped propel me forward to more exciting and challenging experiences. In addition to my full-time cu ratorial work, I have, since 2005, served as a part-time curator of artifacts and objects for the Sports Hall of Fame. a nd, through out, I have been involved in independent curatorial work, most recently with Linda Matney Gallery in Williamsburg and with the Cook Foundation in Gloucester.

BD: What skillsets, knowledge, and experiences from your personal and profes sional past—art-related or not, e.g. parenting or weight lifting!--do you feel made you the ideal candidate for the job?

DBG: In this job, there are a multitude of personalities from artists to volunteers to staff. Dealing with this is similar to deal ing with your own family and children. You need to maneuver and negotiate each one’s demands, which I try to do. a ll these life ex periences, as well as my educational back ground, professional knowledge, and job

skills helped to make me the best-qualified candidate for this job.

BD: As you are settling into your new role, what do you envision maintaining about the way CHTVAC does business in terms of your purview?

DBG: We will continue with the scheduled exhibitions and art classes, but look to add more variety to the art classes and incorpo rate nighttime offerings as well as different media. We also want to boost our programs for children to include preschoolers, home schoolers, and teens. We want to offer camps whether it be during the holidays, Spring Break, or summer. We will have a scavenger hunt for our school tours so that even the youngest visitors and their caretakers can view our exhibitions and actively participate in visual learning. I have always felt that art needs to be introduced to the youngest to en courage their life-long passion.

BD: Sounds like a lot of meaningful work ahead for you. On the flip-side, what do you hope to discontinue or expand in terms of exhibitions? Are there artists with whom you particularly want to work or exhibi tions you especially want to mount?

DBG: I have no plans to discontinue any of our programs. I do have several exhibitions on my bucket list that I want to mount in the next few years, but am keeping them under wraps for now. I am also interested in working with outdoor sculptors to place works on our grounds. CH t VaC is in a prime location on Victoria and Kecoughtan Boulevard in Hampton, which offers an ide al location for sculpture on the grounds.

BD: I am a fan of the idea of a mini-outdoor sculpture garden and look forward to seeing that evolve. From your perspective, what are CHTVAC’s greatest challenges and greatest opportunities at this point in its organizational life?

DBG: the greatest opportunities are to reach out to the community and engage them through the arts. We hope to draw in families, children of all ages, millennials, under-served audiences, and our older gen erations. the challenge is to educate all on the importance of art and the difference it can make in your life.

BD: What else would you like readers to know about your vision for the Center that we haven’t addressed?

DBG: My vision for the CH t VaC is to make it a place where everyone is welcomed. We hope that all can find inspiration in the vi sual arts.

Diana L. Blanchard Gross preparing for the 2022 Virginia Artists Juried Exhibition.

Mars Exhibition Highlights Fall Visual Art

Compiled by Staff

Western culture has had a long fascina tion with planet Mars.

From the Italian astronomer Gali leo Gailei who discovered the red planet through his telescope in the year 1610 to Na Sa’s landing of the Viking 1 Lander in 1976 and later the Mars rover, the fourth planet from the sun has been well observed, so much so missions to Mars by human as tronauts are being planned.

the age-old question “Is there life on Mars?” remains a subject of intrigue as we continue to probe its surface and subsur face for potential evidence of water, and thus a perceived affirmation of the possi bility as we understand.

Pop culture has mirrored our space age dreaming too, including the 1963-66 tele vision sitcom “My Favorite Martian,” the release of David Bowie’s “Life on Mars” single in 1971, and a long list of films like “ the Martian” (2015), “Christmas on Mars” (2008), “Species II” (1998), “Escape from Mars” (1999) and “Mission to Mars” (2000).

a nd, of course, who can forget Elton John’s “rocket Man” with the lyric, “Mars ain‘t the kind of place to raise your kids/ In fact it‘s cold as hell/a nd there‘s no one there to raise them/If you did”?

to bring it all home, Old Dominion Uni versity’s Barry a rt Museum will present

Mars, a large-scale sculpture by UK-based artist Luke Jerram. Building on last year’s journey to the Moon, Jerram’s red planet shimmers at nearly 23 feet in diameter; an approximate scale of 1:1 million. Each cen timeter of the sculpture represents 10 ki lometers of the surface of Mars, and pairs its galactic imagery with lights and custom surround sound.

this free public art display hovers over 43rd Street and will be complemented with on-site telescopes, visual art displays, ven dors, dance, conversation, and live music from Paper a liens, rocky 7, and United Souls.

In addition to ODU’s Mars Fest, here are the other fall season visual art highlights.

“The Human Frame: Prints by Leonard Baskin”

Through September 25

Muscarelle Museum of Art @ W&M this exhibition demonstrates Leonard Baskin’s use of the body as a vehicle for re flection, highlighting themes of mortality and morality in the natural world.

“Carpe Diem”

Through September 25

Lemon Tree Gallery/Cape Charles resident and guest artists from the Eastern Shore showcase their recent works.

“Body of work”

Through October 2

The Artists Gallery @ Virginia Beach Art Center

the human figure is one of the most attrac tive—and most challenging—themes in art. Subjects may be clothed or not, active or in repose. See what forms their in-gallery art ists choose.

“Roberto Lugo: Pottery with Purpose”

Through October 2

Hermitage Museum & Gardens

Lugo is an artist, activist, educator, poet, and the founder of Village Potter. He is most recognized for hand thrown ceramic work that contrasts traditional forms such as porcelain teapots and urns with subject matter that is culturally and politically

motivated. a s an expert in many forms, he combines many mediums into one project. From designing and creating the shipping containers for his ceramics, to a custom Nike a ir Force 1 collaboration, his multicul tural mashups, as he references, reimagine traditional forms and techniques with a 21st century street sensibility. the exhibition includes include ceramics, murals, visual art, and installations to highlight Lugo as a purposeful artist who weaves his abilities into a creative brand focused on disruption and evolution in the art world.

OCTOBER OCTOBER 114TH-16TH 14TH-16TH 4TH-16TH

“Divulge”

Through October 8 d’Art Center

This is d’Art’s second national exhibi tion and features the use of art for mental health awareness and thrapy.

“Places: A Solo Exhibition by Charles Rucker”

Through October 14

Offsite Gallery @ MacArthur Center

Photographer Charles Rucker aims to evoke a sense of joy and contentment while por traying the emotion of scenic encounters.

“Places” captures both the warmth and chill of the North Dakota landscape, the dis tinct beauty of the Southwestern Sonoran Desert and a reverence for vast prairie lands.

Currently residing in Virginia Beach, Rucker states, “Expressing gratitude and kindness is an art. We must take the time to embrace the art of life and living and enjoy long walks while listening to the sounds of the waves.”

“

If Not Now”

Through October 16

Portsmouth Art & Cultural Center www.portmouthartcenter.com

The most recent exhibition in an ongoing se ries of environmentally-themed shows cu rated by Gayle Paul at the Portsmouth Art & Cultural Center, If Not Now, brings together the work of eight artists from upstate New York to Washington state with a strong repre sentation by Hampton Roads-based artists.

Though some of the work falls under the rubric of art activism, this is not an overt ly political or polemical show, as viewers can read as much or as little between the lines—or the horsehair—as they choose. It is, rather, a strikingly beautiful one, both powerful and elegant.

“Linger

A While: The Art of Ken Wright” Through October 22

Dr. Clarence Cuffee Outreach &

Innovation Library

Internationally renounced abstract painter Ken Wright exhibits his work to an audi ence in need as described by the artist here: “It is my honor to bring my work to this community for those who may not have the opportunity to view art and meet someone who looks like them.”

“ALLiGATER HELLHOUND: Works from the Permanent Collection of Baron and Ellin Gordon”

Through December 17

Baron and Ellin Gordon Art Galleries @ ODU

This exhibition features selections from hundreds of self-taught artworks donated to ODU by Baron and Ellin Gordon. With many works made from found and repurposed materials, and with their visual commen tary on communities and the costs of social ills and justice, they support the theme of sustainability—social, environmental, and

THE RED PLANET LAGER: AN OUT OF THIS WORLD MEDIUM BODIED BREW, WITH A THE RED PLANET LAGER: AN OUT OF THIS MEDIUM BODIED A BODIED A TOASTY, TOFFEE LIKE MALT CHARACTER SURE TO TAKE YOU TO ANOTHER PLANET! TOASTY, TOFFEE LIKE TO TAKE YOU TO PLANET! PLANET!

Charles Taylor Visual Arts Center, Jonathan Ashe, “Tres Guitares”

As part on Virginia Museum of Contemporary Art’s “Made in VA 2022” exhibition is Mahari Chabwera, “Dadme La Muerte Que Me Falta,” 2020. Oil, shells, acrylics, and fabric on stretched canvas. Courtesy of the artist.

economic—during ODU’s themed semester this fall. The exhibition likewise includes several candidates for future display across campus as public art.

DesignHer: Works by Contemporary Women Graphic Designers

Through November 12

Baron and Ellin Gordon Art Galleries @ ODU

DesignHer is an exhibition of contempo rary graphic design focusing on women practitioners. Highlighting how women have been at the forefront of defining and challenging the conceptions of design, the exhibition presents a sampling of the vari ous purposes design is put to in our culture and the motivations that prompted its use. Participants range from younger artists building a reputation to internationally re nowned leaders in the discipline, and works range from individually crafted objects to mass media campaigns.

“100 in the Spotlight”

Through September 30 Gallery 21

Photographer Glen McClure captures 100 local people under the warm glow of his studio portrait hot lights for a genius exhi bition of the medium.

“Four of a Kind”

Through October 28

Perrell Gallery @ Norfolk Academy

In honor of the “Year of Kindness” at Nor folk Academy, this exhibition, Four of a Kind: Leigh Anne Chambers, Tammy Dean, Sheila Giolitti, Karen Rudd , brings together for the first time the paintings of four noted women artists based in the Hampton Roads area but with broad reach. Curated by Betsy DiJulio.

The word ‘kindness’ harkens back

SEPTEMBER 30 - DECEMBER 11, 2022

This exhibition highlights the diverse talents of the William & Mary Studio Art instructors in a variety of media, including drawing, painting, photography, printmaking, sculpture and ceramics.

A long-standing collaboration between the Muscarelle Museum of Art and the Department of Art & Art History, the show includes artists William D. Barnes, Christian Brahe, David Campbell, Lewis Cohen, Eliot Dudik, Michael Gaynes, Kat Hall, Mike Jabbur, Brian Kreydatus, John Lee, Jayson Lowery, Elizabeth Mead, Barry O’Keefe, Nicole McCormick Santiago, and Christopher B. Wagner.

to the Old English ‘kyndnes’ which meant “nation”—and has roots in the word ‘kin’, as in one’s family, race, or relations. By the 14th century, the word had evolved into our more modern understanding of “courtesy or noble deeds.” It is in the spirit of “kin” or “kinship” that this “family” of four nonobjective painters come together. Widely diverse, yet complimentary in style, these artists are “four of a kind” in the sense that they have chosen to work with no—or virtually no—recognizable subject matter. Their large, dynamic paintings appear, ini tially, to be purely decorative and formal in appearance, yet each one expresses deep personal meaning for the artist.

Virginia Artists

Through November 24

The Charles H. Taylor Visual Arts Center

This much-anticipated annual juried exhibi tion showcases many of Virginia’s finest art ists and artisans. This year’s exhibition fea tures cash prizes awarded to Best in Show, First, Second, and Third Places, and several awards of distinction in a variety of media. Artists from across the Commonwealth, who work in all styles, genres, and media,

“

were invited to submit artworks for consid eration.

Jonathan Ashe Solo Exhibition: God Haunting”

Through November 24

The

Charles H. Taylor Visual Arts Center

Last year’s Virginia Artists Juried Exhibition “Best in Show” winner Jonathan Ashe pres ents his solo exhibition—a group of mixed media works that explores the origins of creative and spiritual energy. “I draw a lot of my inspiration from ancient and primi tive forms of art in the past,” said Ashe. “The title of the show, ‘God Haunting,’ refers to some of the relics and ideas in the past that were held in high regard that have faded and been replaced by more modern religions and prayer. In my work, I try to revisit themes of the past and reimagine them interacting with the current ideologies of the day. Much of my work is a free-flowing stream of con sciousness in pen and ink illustration, so I don’t look to depict certain subjects but rather explore these ideas and find the piece through the process of its creation.”

(continued on page 28)

Go see “Alligator Hellhound” at ODU’s Gordon Gallery.

Frankie Moreno

Coco Peru

The Rocky Horror Picture Show

Through January

Chrysler Museum of Art

This global collaborative project showcases both the richness of the Earth and its poten tial to yield incredible beauty from the sim plest materials. This exhibition will display examples of glass and glassware created by melting sands collected from around the globe, as well as magnified photographs of sand grains that draw attention to micro scopic details of color, shape, and texture to demonstrate the extraordinary diversity of sand as a material.

“A Tribute to Peace”

September 20 through October 28

Suffolk Center for Cultural Arts

In challenging times, honoring peace and tranquility through art is the focus of this exhibit. Artists’ works will feature two-and three-dimensional pieces that project their visions of peacefulness, whether it be a bright and cheerful landscape, a colorful floral, or a portrait of someone in a tranquil pose.

(continued on page 30)

“To See The World in a Grain of Sand”

On view at Virginia Museum of Contemporary Art’s Community Gallery: Brian Kreydatus, “Self Portrait on 53rd Birthday,” 2022. Oil on paper mounted on board. Courtesy of the artist.

SPONSORS�

“Faculty Show 15” September 30 through December 11

Muscarelle Museum of art (Sheridan Gallery)

Recent works of William & Mary’s studio art faculty, including visiting instructors and emeriti professors, will be featured. This exhibition will highlight the diverse talents of the William & Mary studio in structors in a variety of media including ceramics, drawing, painting, printmaking, photography, and sculpture.

“Black Orpheus: Jacob Lawrence & The Mbari Club”

October 7 through January 8

Chrysler Museum of Art

This exhibition explores the connection between African American artist Jacob

Lawrence and his contemporaries based in the Global South through the Nigerian jour nal Black Orpheus.

The exhibition features over 125 objects, including Lawrence’s little-known 1964–65 Nigeria series, works by the artists fea tured in Black Orpheus, archival images, videos, and letters.

The Mbari Artists & Writers Club was an artistic organization of Nigerian-based artists, writers, and dramatists promot ing modern African and international artistic practice. The core of the exhibi tion centers on the Mbari arts and culture magazine Black Orpheus (1957–67). The publication was one of the main vehicles for circulating fictional and non-fictional writings by African and African Diaspora writers.

“Going To Extremes” October 7-30

The Artists Gallery @ Virginia Beach Art Center

Art that is large enough to make a state ment or small enough to fit anywhere. Ei ther very large or very small, but nothing in between.

“Laura Frazure: Bodily Rhetoric”

October 8 through December 31

Linda

Matney Gallery

Presented in collaboration with the College of William & Mary, the title of the exhibi tion reflects Frazure’s interest in the con ventions of “bodily rhetoric,” described as denaturalized figural attitudes or poses, invented to express ideas intrinsic to a par ticular medium. The Greek Kouros figures

serve as notable examples of a derived pose specific to the medium of sculpture. A num ber of Frazure’s sculptures reference the id iosyncratic, media generated poses of con temporary fashion photography, with the presentation of the body, as in the Kouros figures, lying outside the realm of normal posture and colloquial gesture.

“Made

in VA 2022”

October 8

through February 5

Virginia Museum of Contemporary Art

Virginia MOCA continues its celebration of regional artists through our annual juried exhibition, Made in VA. We find our roots in a concerned and connected artist com munity. We remain committed to keeping

Chrysler Museum of Art’s must-see exhibition: “Black Orpheus: Jacob Lawrence & The Mbari Club”

close ties with the talented artists who live close to our doors.

“More Than Shelter”

October 8 through February 5

Virginia Museum of Contemporary Art

The essentials for human survival are food, water, and shelter. These needs take prece dence over all the others. Virginia MOCA continues its investigations of basic human needs with the new exhibition, “More Than Shelter.” Eleven artists received an invita tion to participate in this exhibition. Each was asked to consider what the idea of shel ter means to them and choose an avenue of investigation. The artists connected with partners who provided unique insight into their area of expertise. Shelter is both a verb and a noun. It can mean a home, a com munity, or the people and places that makes us feel safe and welcomed. It also means to listen, care, and to support one another, our community, our land, our minds, our soci ety, and our futures.

“Brian Kreydatus: Homebodies” October 8 through February 5

Virginia Museum of Contemporary Art/ Community Gallery

In Homebodies, artist Brian Kreydatus ex plores relationships and spaces in the time of a pandemic. These paintings and prints document and archive him, his home, and his family during this challenging time. From messy tables, to Zoom meetings, to naps, to mindless internet scrolling, this is how he lived. In fact, it is how many of us lived.

“Dynamic” October 15 through November 19 d’Art Center

A juried national contemporary art exhi bition featuring works created within the past two years.

“Ansel Adams: Compositions in Nature”

October 29 through March 5

Mary M. Torggler Fine Arts Center

This exhibition is organized by the Virginia

Museum of Fine Arts in collaboration with the Turtle Bay Exploration Park, Redding, CA, managed by Landau Traveling Exhibi tions, Los Angeles. It will feature many of the famous photographer’s unique land scape photographs that have inspired shut terbugs for decades.

“Rhonda

Holy Bear: Artist and Story-Keeper”

Through December 31

The Barry Art Museum @ ODU

As the central focal point of the newly re designed Doll Gallery, this visiting exhibi tion features the meticulous doll-making of Rhonda Holy bear, a member of the Cheyenne River Lakota. These indigenous American dolls are remarkable for their micro-beading of clothing with no detail overlooked—in cluding the bottom of each shoe.

“Voice-Overs”

Through November 24

The Charles H. Taylor Visual Arts Center

Presented in collaboration with the Virginia Center for the Book, “Voice-Overs” includes more than a dozen broadside posters cre ated by Virginia poets, writers, and visual artists responding to the themes of racism, sexism, and bias. The rarely-seen display offers words and images as overlays to this cultural moment and an opportunity for genuine seeing and listening to how our fel low Virginians perceive public spaces and expression.

“Takin’

Care of Business”

November 10 through December 16

Suffolk Center for Cultural Arts

Small businesses are the lifeblood of all communities. This exhibit honors business leaders in the City of Suffolk past and pres ent, allowing guests to see who these cou rageous people are and what they bring to our community daily. The exhibit includes portraits of these leaders as well as art work depicting life in the world of work and business.

Choreographer Dwight Roden

Dwight Rhoden’s Choreography Comes to Hampton Roads

By Kate Mattingly

dancers form unique friendships. endless hours spent training, rehearsing, performing, plus partnering and sharing dressing rooms, lead to bonds that are long-lasting and steadfast. a perfect example is the friendship between Lydia Roberts coco, Ballet Virginia’s company director, and d wight Rhoden, co-founder and artistic di rector of complexions contemporary Ballet.

Lydia met d wight in 1989 when she was a member of The Jamison Project, a dance com pany created by Judith Jamison, and d wight was a member of a lvin a iley a merican dance The ater, arguably the most famous dance company in this country. She recalls, “I always enjoyed watching his way of moving.”

Once she was invited to join the a iley com pany in 1990, Lydia danced with d wight in a piece choreographed by Louis Johnson called “Fontessa and Friends,” set to music by John Lewis, James P. Johnson, Scott Joplin, a ram Ka chaturian, dorothy Fields, c y coleman, and Giu seppe Verdi. “ We were a couple in this piece and really enjoyed dancing with each other,” says Lydia. She also admired d wight’s creativity as a choreographer when he created a piece for the a iley company called “Frames” in 1992.

Fast forward three decades: Lydia and d wight reconnected when they were asked to serve as

judges for the Universal Ballet competition in Florida. By then, d wight had attracted interna tional acclaim for his choreography for com plexions, which he established with desmond Richardson in 1994, and Lydia had been appoint ed resident choreographer for Ballet Virginia in 2019 and then named artistic director in 2021.

“d wight said he wanted to support me and to let him know what he could do to help me in this new leadership position, and then he asked if I would like Ballet Virginia to perform one of his pieces. I was like, ‘Yes! I would!!” Lydia describes the bond that dancers form as distinct. “You pret ty much become family when you are dancing in a company together, and, when we connected in Florida, it was like no years had passed.”

She is looking forward to sharing d wight’s distinct movement vocabulary with the dancers of Ballet Virginia and the audiences of Hampton Roads. a s a genre of dance, contemporary ballet expands possibilities for dancers by merging tra ditional positions and shapes with extended lines and asymmetrical poses. d wight is acclaimed for his ability to choreograph to a spectrum of dif ferent musical styles. He created a production set to music by david Bowie, called “Stardust,” in 2016, and it featured a male dancer in pointe shoes (which are traditionally worn by women).

For Ballet Virginia, Lydia selected his piece called “evermore,” set to music by nat King cole. It is an exquisite example of contemporary ballet, featuring gestures that convey a sense of vulner ability and poignancy (especially during “Smile”) plus partnering that’s vir tuosic and exhilarating. Ballet Virginia will have two weeks to learn the piece, and it will be taught by clifford Williams, who danced with complex ions from 2004 to 2008, then again from 2009 to 2012.

Lydia is excited about introducing this jazzy and cutting-edge work to Virginia au diences, because it will give people a view of how current choreographers keep ballet enticing and fresh. “It’s great for our com pany as well,” she adds, noting how she wants to keep the performers challenged and stimulated. “evermore” demands precision, nuance, and flexibility. Jared Brunson, a dancer with com plexions from 2018 to 2021, joined Ballet Vir ginia in January of 2022. He says, “dwight is a choreographic genius. He’s so prolific, and there’s an unpredictability in his choreography. I’ll be do ing ballet steps, and then, all of a sudden, there’s

a human moment, a very poignant movement.” Jared stars in a recent film created by complexions called Black is Beautiful [available here: https:// www.complexionsdance.org/black-is-beautiful ] and shines as a dancer, singer, and actor. He adds, “With other choreographers, it’s all about their vi sion and what they want to see, but with dwight, he has this ability to bring out the best in dancers and to see what makes each person unique.”

a n instruction d wight often gives dancers is to be “on the edge,” meaning to test the limits of a balance or an extension. The phrase is also an apt description for Ballet Virginia’s decision to bring d wight’s choreography to Hampton Roads.

d wight grew up in dayton, Ohio, and started dance classes at age 17 (which is late for a profes sional dancer). When he established complexions, the company broke numerous barriers: there was a variety of body types, skin tones, gender expressions, and dance styles. complexions is an exciting company to watch because d wight’s choreography challenges ballet’s traditions and exclusions. Often the artists who are considered outliers or doing something “different” are the ones who propel creativity.

complexions continues to be at the forefront of ballet’s redefining, and Jared is excited by Bal let Virginia’s ability to “change people’s perspecti ves” on ballet and on life. Lydia also values think ing (and choreographing) beyond the known or familiar. Last year she created “FIV e” based on the story of the central Park Five who were wron gly accused and sentenced to prison. In order to tell the story, she hired two Black male dancers as guest artists so she could present a cast of five Black male ballet dancers. Jared says that per forming this piece is “healing,” because it’s about self-determination. “We get to define ourselves through this story, and I had never experienced that before in ballet. We are usually princes or an imals or forest fairies.” “FIV e” will be performed again in February 2023.

By telling stories that resonate with diverse audiences, Ballet Virginia is keeping this art form relevant. Lydia is also nurturing future generations of leaders by naming Jared the company’s Resident a rtist and giving him responsibili ties to rehearse dancers and to hone teaching and admin istrative skills.

Lydia also hopes to grow her Hampton Roads audiences, “I know there are a lot of people here who love dance,” she says. “a nd coming from the a iley company, I want to share the joy of dance through a variety of works that touch people.”

Kate Mattingly is an assistant professor in the Department of Communication and Theatre Arts at Old Dominion University. Her book, Shaping Dance Canons: Criticism, Aesthetics and Equity, will be published in 2023, and she is currently co-editing an anthology with Iyun Ashani Harrison called Antiracism in Ballet Teaching.

fallaRtspREViEw Dance

Dance Highlights

compiled by Staff

Kiv City Ballet

“Tribute to Peace: Ukrainian Repertoire,” September 21 “Swan Lake,” September 22 Suffolk Center for Cultural Arts Kyiv c ity Ballet, founded in 2012, mission is to bring joy to audiences through ballet by bring ing exemplary artists to theaters around the world. In the past decade, the company has suc cessfully toured throughout dozens of countries on four continents.

Two of Ukraine’s prima ballerinas: Krystina Kadashevych and Oksana Bondarenko will per form with the company on their US tour. The company’s principal dancer is Vsevolod Maevs kiy, a former soloist of the Mariinsky Ballet and Kozlov’s former student.

Viva MOMIX September 29

Ferguson Center

Known internationally for presenting works of astounding inventiveness and physical beauty, MOMIX is a company of unbelievable dancer-il lusionists. In VIVa MOMIX, the company mixes traditional MOMIX styles of fun and beauty in a two-act program that is sure to keep you at the edge of your seat.

In an endless search for another gravity, a rtistic Director Moses Pendleton combines athletic dance, riveting music, outrageous costumes, props, and pure talent to create an entertaining multimedia experience that will surprise and astonish. MOMIX has something for everyone ... experience the exceptional.

Riddick Dance Company

“Afro Funk”

October 28

The American Theatre a fter being absent on The a merican Theatre stage for two years, Riddick Dance will deliver a powerful vision of contemporary dance from resident choreographer Marshall Swiney and a rtistic Director David Riddick. This show will present one world premiere, Deconstruction of the “Booty in The Groove,” and from its rep ertoire, Miss Virginia Traveling and David Rid dick’s Mindz. a ll the choreography features the music of Yoruba People, new music, and Rhythm and Blues.

Stars of American Ballet

October 29

Ferguson Center

Praised by The Boston Globe as “a n unapologetic showcase of virtuosity,” Stars of a merican Bal let brings together today’s most remarkable bal

let talents. Led by Daniel Ulbricht, “one of the best male ballet dancers in new York,” (Dance Magazine) and featuring a cast of principal and soloist dancers from the new York c ity Bal let and other renowned companies, this collec tive makes its Ferguson center debut celebrat ing a glorious evening of ballet masterpieces.

“Muses”

Presented by Todd Rosenlieb Dance’s Professional Company

December 2-3

ODU University Theatre

TRDance and Old Dominion University join forces for the intriguing “Muses.”

“Arts For Life: A World AIDS Day Arts Dance & Theatre Showcase”

Presented by TRDance

Monday, December 5

Benjack Studio Theatre

TRDance unveils its annual contemporary dance production with proceeds to benefit LGBT Life center.

The State Ballet Theatre of Ukraine “Sleeping Beauty”

December 20

Harrison Opera House

The evil fairy c arabosse curses Princess aurora for 100 years of sleep with a single-finger prick on her 16th birthday. Doomed by fate, only a sweet kiss from the prince can break the spell and wake up the sleeping beauty. a bewitching and dark tale comes to life in a ndrey Litvinov’s exquisite production, “a master class in clas sical style” (The Guardian), with “some of the most delightful steps in the 19th-century rep ertoire”. Visually stunning with lavish sets and elaborate costumes by Konstantin Pinchuk, this superb classical production features Tchai kovsky’s delightful music performed live by the Dnipro Philharmonic Orchestra.

Kiv City Ballet set to make two performances at Suffolk Center for Cultural Arts.

fallaRtspREViEw

opera

One Valkyrie to Enchant Us All

By Montague Gammon III

The Virginia o pera’s season opening pro duction of Wagner’s The Valkyrie has it all: Gods and Heroes battling, marital strife among the earthlings and among the gods, the power of Love versus the Love of power, all in a plot that foreshadowed Game of Thrones and Lord of the r ings and Marvel comics and movies, every thing backed up by high tech projected effects. plus it has powerfully voiced professionals and rising opera stars and local talent on stage, a forward thinking stage director, Joachim Schamberger, who respects tradition, having cut his opera teeth on Wagner before he hit his teens, and Vo a rtistic Director a dam Turner conducting Virginia Symphony orchestra mu sicians in the glorious music of r ichard Wagner.

“It contains a complex universe in itself,” proclaims Schamberger.

o f course it includes that familiar and most accessibly thrilling of all of Wagner’s composi tional excerpts, “The r ide of the Valkyries,” be loved of directors of film, TV and every medium that needs an heroic sound track. (Think the he licopter assault scene in Francis Ford Coppola’s Apocalypse Now.)

(This production is a somewhat abridged from almost three hours to about two, but it’s still all Wagner, all the time, with every one of the familiar essentials, director and conductor both promise.)

Valkyrie, a.k.a. Die Walküre, picks up where last year’s Vo production of Das Rheingold left off in the four “music drama”—Wagner’s pre ferred term—series Der Ring des Nibelungen, which chronicles the consequences of head Norse god Wotan’s illicit acquisition of a stash of magic gold from the r iver r hine.

Here the story begins with Siegmund and Sieglinde falling in love—despite or perhaps because of Sieglinde’s apparently abusive mar riage to the brutal Hunding—not knowing they are twin siblings. Wotan is their father by a mor tal woman.

Wotan would protect Siegmund in the in evitable duel with Hunding, but Wotan’s wife Fricka, goddess of marriage herself, hence un derstandably offended by the wholesale viola tion of marriage vows by all concerned and by the forbidden nature of the Sieg-twins romance, forces him to let his son die.

a sidelight: When Virginia o pera staged a full length Die Walküre in early 2011, a girl of 10 or 11 years old in the audience, a budding instru mentalist herself, exclaimed enthusiastically during an intermission, “I never knew there was

anything like this! I love it!” So the “mature” subjects underpinning the plot need not restrict Valkyrie’s appeal to chronologically mature au diences.

The titular character is Brünhilde, daugh ter of earth goddess erda by Wotan, and the favorite of this apparently reproductively inde fatigable deity’s nine Valkyrie daughters. (This version uses only three.) Wotan initially sends Brünhilde to protect Siegmund from Hunding. However, once Fricka forces Wotan to let his son lose, Wotan countermands his initial order and forbids Brünhilde to protect Siegmund. at tempting (futilely) to disobey dad’s reluctant new command for Siegmund’s death (but suc cessfully rescuing the pregnant Sieglinde) puts Brünhilde on Dad’s wrong side, an unwise move when Dad is the gods’ Ceo

Her punishment, Sleeping Beauty raised to the nth power, sets the figurative and literal stage for Siegfried, the third music drama in the cycle, which Vo will produce next season.

Stage director Schamberger was born and raised “about 50 miles” from Bayreuth, which since 1876 has been the center of all things Wagnerian, home of an annual Wagner fes tival in an theater the design and construc tion of which the composer himself oversaw. (Schamberger first encountered Wagner’s work at the age of ten.)

He took time out from working on prepara tion for rehearsals to chat on the phone from New York, and Turner, “home in Norfolk” and just a few hours before conducting the one of Virginia Symphony’s outdoor summer concerts, which conveniently included Wagner’s “r ide”, later spoke about the show too.

Schamberger, who will direct the rest of the Vo’s r ing cycle over the next two years, is not only a successful stage director, but an accom plished projection designer, which artistry he will bring to these productions. Court Watson, who is designing the physical set and the cos tumes, is a Chesapeake native and Manteo, NC Lost Colony veteran “returning triumphantly,” in Turner’s phrase, from 19 years in NYC and worldwide designing credits.

Met o pera veteran Kyle a bertson reprises his role as Wotan from last year’s pandemic defying outdoor production of Das Rheingold Tuner says that Brünhilde performer a lexan dra Loutsion’s “huge” “voice was made for this role…it really excels in this style.” our Gover nor’s School for the a rts is represented by voice teacher a drianne Kerr (rossweisse, a Valkyrie)

and graduate Courtney Johnson (Grimgerde, Valkyrie). Lesley a nne Friend (Helmwige, Valky rie) teaches at Norfolk State.

Condensing what Schamberger and Turner had to say about Valkyrie in general and about this production:

It can be seen as a story of a young girl, Brün hilde. It can and will be appreciated by fans of its currently popular descendants, “all these shows that reference these North mythologies”, the swords and sorcery and fantasy stories from which “Hulu and a mazon are making their big bucks,” quoth Turner

It’s even “the story of the humans of this planet…of the evolution of consciousness…and of humanity taking itself away from nature… taking itself into a virtual world, into comput ers, bionics, what you could call it sci-fi but we see this sci-fi moment unfolding itself in from of us as we speak, and ultimately it’s evolv ing towards machine mixed human algorithm driven…analog-to-digital beings and taking consciousness into that realm.”

“His approach is really about the theft of our humanity,” said Turner.

“It’s easy to get lost and swept away and spellbound by it all…to get lulled into this dreamlike state…time suspends itself,” prom ises Turner.

The Valkyrie

Score and Libretto by Richard Wagner

Virginia Opera

8:00 p.m., Fri., Sept. 30

7:30 p.m., Sat., Oct. 1

2:30 p.m., Sun., Oct 2 Edythe C. and Stanley L. Harrison Opera House

160 E. Virginia Beach Blvd., (Llewellyn at VaBeach Blvd.)Norfolk 866-673-7282 (1-866-OPERAVA)

www.vaopera.or g Sung in German, English supertitles (Additional performances in Fairfax and Richmond)

A Wicked Musical Returns

By Jerome Langston

“Oh my gosh, that iconic entrance com ing in on the bubble, and getting to deliver that first line of the show...it’s so special,” says actress Jennafer Newberry, who stars as glinda in the North a merican touring production of the iconic Broadway smash, Wicked . Newberry, who is currently in Min neapolis preparing for the touring compa ny’s show tonight at the Orpheum theatre, describes that early scene as one of her favorites to perform, night after night. Jen nafer has been with the show since May of 2019, when she first understudied for glin da, but the Houston Native, who of course now calls New York City home, has only occupied the lead role of glinda full-time, since this past March. a nd just like every other Broadway show, Wicked was shut down for over a year due to the pandemic. However, the still hugely popular Broadway show’s national touring production, has been playing to packed theatres around the country for about a year now.

Wicked makes its grand return to Nor folk’s Chrysler Hall next month for 16 per

formances. the unprecedented box-office successes of its prior engagements at the storied downtown venue, have led to the show being called “Norfolk’s most popular musical.” the musical, which so many the ater loving patrons have already seen, is also a great warm up for the new season of Broadway in Norfolk, which officially kicks off with the Norfolk premiere of Dear Evan Hansen in November. “For a lot of the pa trons who are coming to see the show, this is their first theatrical experience back,” says Jennafer, at a later point in our phone chat. “a nd it’s a special moment that we’re sharing with them.”

Based on gregory Maguire’s 1995 novel, Wicked: The Life and Times of the Wicked Witch of the West, the musical stormed Broadway’s g ershwin theatre in October 2003. With music and lyrics by the great stephen schwartz, and its book by Winnie Holzman, Wicked , like the novel that it is based upon, reimagines the core story of our a merican film classic, The Wizard of Oz , as well as the L. Frank Baum novel that the

movie was based upon. starring Idina Men zel as elphaba, and Kristin Chenoweth as glinda, the original Broadway production won three tony awards and six Drama Desk awards. since that early success, Wicked has reportedly won over 100 international awards for its various productions, and even more impressively, is now the 5th lon gest running show in Broadway history, as it approaches its 20 th anniversary next year. the show has been seen by tens of millions of people, and has amassed global sales reportedly topping $5 billion. the iconic show has also received major critical acclaim from newspapers around the globe, and especially with its hugely successful score—has gone on to become a cultural phenomenon...which is rare for a theatrical production in the 21st century.

Centering on the complicated friendship that develops between the emerald-green elphaba, and the popular blond glinda, in the Land of Oz, initially before Dorothy arrives— Wicked explores what it means to be misun derstood and mischaracterized. “I think that

the way it is written is so timeless,” says Jen nafer. “It centers on these themes of friend ship, love and acceptance.”

“I think that when people go, they’re not only in awe of these soaring vocals, and the beautiful score that steven schwartz has written, and the award-winning costumes that susan Hilferty has designed—they are also connecting on a very deep level about this beautiful, timeless story of two wom en...front and center, and their friendship, and the way they grow up and experience the world,” Jennafer says, in response to why Wicked continues to play to sold-out audiences. “I think everyone can connect with someone in the show, on some level.”

the actress and singer, who studied at NYU, first saw the show on Broadway, when she was a teenager in 2004. she re calls saying that she “had to be glinda,” at some point in the future. she knew that it was her role to play. “I think there’s so much depth to her. a nd I learn new things about her, every time I get to step into her shoes,” says Jennafer.

“she feels so deeply. she truly doesn’t mean to do harm. It’s just the fact that she doesn’t know better, when she does,” the actress continues. “I just loved her arc, as act II progresses, and her eyes are open to the things that she’s been a part of that she doesn’t necessarily agree with—and how she tries to right her wrongs.”

Lissa Deguzman inhabits the meaty lead role of elphaba, who eventually becomes the infamous Wicked Witch of the West. I ask Jennafer about their working relation ship in the show. “What I love about working with Lissa, is that we are both very strong women, and we make each other stronger... It’s a beautiful friendship that we have, on and off stage,” she says.

Part of the show’s lasting appeal has clearly been its well-arranged, melodic and truly well-composed songs. “I have been a fan of this score since the minute that I heard it,” says Jennafer. “steven schwartz wrote the most stunning score.” the Wicked cast re cording has won a grammy, and is certified multi-platinum. In terms of what songs she enjoys performing the most, Jennafer men tions “Popular” and “For good,” as “it’s this beautiful bow at the end of the show.” Before arriving here in Norfolk, the show will spend time playing the a ltria theater in Richmond. However, it’s the Norfolk dates that really excites Jennafer, whose husband is from Va . “We are so excited to bring this show to Norfolk. I have a lot of friends in Norfolk,” she says. “I love Norfolk. It has a very spe cial place in my heart.”

Jennafer Newberry as Glinda and Lissa deGuzman as Elphaba in the National Tour of WICKED, photo by Joan Marcus

Musical Theater Highlights

“Wicked”

September 14-25

Chrysler

Hall

“Wicked,” the Broadway sensation, looks at what happened in the Land of Oz... but from a different angle. From the first electrify ing note to the final breathtaking moment, “Wicked”—the untold true story of the Witches of Oz—transfixes audiences with its wildly inventive story that USa today cheers is “a complete triumph! a n original musical that will make you laugh, cry, and think.”

“The Lion King”

Presented by Hurrah Players

September 30 - October 2, Sandler Center October 15, Suffolk Center

for Cultural Arts

Based on the Broadway production directed by Julie taymor. Music and Lyrics by elton John and tim r ice. Disney’s the LION KING experience is presented through special ar rangement with Music theatre Internation al (MtI). additional Music and Lyrics by Lebo M, Mark Mancina, Jay r ifkin, and hans Zim mer. Book by roger a llers & Irene Mecchi.

“Grease”

Presented by Virginia Musical Theatre & Governor’s School for the Arts

October 7-9

“Anastasia” November 7

Ferguson Center

Inspired by the beloved films, the romantic and adventure-filled new musical “a nasta sia” is on a journey to Newport News at last! From the tony award-winning creators of the Broadway classic r agtime, this dazzling show transports us from the twilight of the russian empire to the euphoria of Paris in the 1920s, as a brave young woman sets out to discover the mystery of her past. Pursued by a ruthless Soviet officer determined to silence her, a nya enlists the aid of a dash ing con man and a lovable ex-aristocrat. together, they embark on an epic adven ture to help her find home, love and family.

“a nastasia” features a book by celebrated playwright terrence McNally, a lush new score by Stephen Flaherty (music) and Lynn a hrens (lyrics) based on original direction by tony award winner Darko tresnjak with choreography by Peggy hickey and tour di rection by Sarah hartmann.

“Dear Evan Hansen”

November 8-13

Chrysler

Hall

Sandler Center

the fun-filled classic musical with the dance moves, music and singing celebrating 1950s-era a merican culture gets a youthful burst of energy. “Grease” is the word.

DC’s Reflecting Fools October 15 American Theatre

While with a sad heart we said goodbye to the Capitol Steps in 2021, thankfully the stairway to heavenly political satire contin ues upward with DC’s reflecting Fools—the new musical parody group created by the performers and co-writer from the Capitol Steps. DC’s reflecting Fools hold up a mir ror to our crazy political culture, providing hilarious song parodies and foolish reflec tions that continue to inspire belly-laugh ter. audiences will continue to see casts from past seasons of the Capitol Steps per forming all the beloved bits, the show-end ing and mind-boggling backward talking spoonerisms, break-neck costume changes, over-the-top impressions, and all-new song parodies reflecting the day’s news. So just in time for the crazy Mid term elections— let’s welcome some hilarious reflection.

“The Pirates of Penzance”

Presented by Virginia Opera

November 4-6

Harrison Opera House a young apprentice pirate with no stom ach for a future of piracy is due to be re leased from his required service on his twenty-first birthday… trouble is, fate might just intervene with the plan. With his newly found sweetheart, a long-wind ed but well-intentioned father, and a Pi rate King boss with his own merry band of buccaneers, “ t he Pirates of Penzance” is a modern, major spectacle for the en tire family.

“Matilda: The Musical” November 4-20

Williamsburg Players transformed into a catchy, high energy musical, roald Dahl’s classic celebrates the anarchy of childhood, the power of imagi nation, and an inspiring girl heroine who dreams of a better life. Matilda’s astonish ing wit, instinctive intelligence and psycho kinetic powers give her strength to survive the cruelty of neglectful parents and the spite of Miss trunchbull, a headmistress who enjoys nothing more than thinking up new punishments for students. encouraged by the support of lovable Miss honey, Mat ilda finds the courage to take a stand and changes her own destiny.

a letter that was never meant to be seen, a lie that was never meant to be told, a life he never dreamed he could have. evan hansen is about to get the one thing he’s always wanted: a chance to finally fit in. “Dear evan hansen” is the deeply personal and profoundly contemporary musical about life and the way we live it.

“Dear evan hansen” has struck a re markable chord with audiences and critics everywhere, including The Washington Post who says “Dear evan hansen” is “ theatrical magic. One of the most remarkable shows in musical theatre history.” The New York Times calls it “a breathtaking knockout of a musical.” a nd NBC Nightly News declares the musical “an anthem resonating on Broadway and beyond.”

“Always…Patsy Cline”

Presented by Virginia Musical Theatre

November

18020

Sandler Center

the life and songs of Virginia’s First Lady of Country Music comes alive is this enjoyable musical. Fun fact: the first time the late Patsy Cline performed “Crazy” was in Vir ginia Beach. She performed it at the Dome. None other than Willie Nelson, the song writer, was also onstage that night playing guitar in her backup band.

Compiled by Staff

Hurrah Players present Disney’s The Lion King at both the Sandler Center and Suffolk Center.

Cat on a Steamy Hot Tin Roof

By Jerome Langston

“We were all about to get on a plane, when COVID hit,” says theater artist Khanisha Fos ter, about the first postponement of the play that she’s finally come to the Wells theatre to direct. that play is the tennessee Williams classic, Cat on a Hot Tin Roof, which was originally scheduled as part of Virginia stage Company’s 41st season. With a run slated for april 2020, that intended production of the Pulitzer Prize winning drama, was just one of the many casualties of the pandemic. a nd to make matters worse, the rescheduled run for last season also had to be cancelled, due to the concerning uptick in COVID cases, from the highly contagious variant that was circulating at the time.

so now the lively three-act drama, a sta ple of a merican theater, launches V sC’s 44th season, with all of the expected community buzz due in part to those unfortunate post ponements. sitting across from director Foster earlier this week, inside the ornate theatre’s lobby—it appears the third time is a charm cliché is apropos. the director and I are joined by actors a nna sundberg, who plays Maggie, and gregory Warren, who plays her husband, Brick. We’re all masked and socially distanced...a sign that the pan demic is still with us, though it won’t keep

the show from running this time. Most of 2020’s intended cast and creative team are still on board for this production. “We did lose a couple of people to Broadway...which is fair enough,” says Foster, with a chuckle.

“One thing I told the cast, and it’s been my philosophy since coming back to the atre during the pandemic, and that’s been to take panic out of the room,” Foster says emphatically, in response to my question about the process thus far. “I feel like ev erybody has really embraced that. It’s been a really joyful process.”

tom Quaintance, VsC’s producing artistic director, offered this directing job to Foster, who had previously directed Disgraced and The Bluest Eye, both well regarded produc tions in prior seasons. the mixed-race ac tress/director/writer is busy working in t V and film, but tom felt that, as her work often explores issues of race and intersectional ity, her take on Cat on a Hot Tin Roof would be worthwhile to produce. “ there is inter sectionality built into the piece,” she says, mentioning that the play explores class and sexual identity, amongst other themes.

“When tom asked me what I wanted to do with it, I wanted to bring race into the con versation. Not as a distraction or as an af

terthought. I read the play to see if I thought there was room for it, and if it made sense,” Foster says. “Because you know, my family dynamic is one of white and black together. so that’s a very normal dynamic for me, and was also for my family during this era.” In spired in part by the story of south Carolina senator strom thurmond and his bi-racial daughter, Foster decided to cast actors of color in key roles for this production of the classic play. “What happens to the play if Big Mama’s black, and Big Daddy’s white?”

Cat on a Hot Tin Roof won the Pulitzer Prize for Drama in 1955, and was nominated for a number of tony awards, including for Best Play, in 1956. the lengthy play is one of the finest works created by a merican playwright, tennessee Williams, who also penned the classic, A Streetcar Named Desire , as well as other well regarded literary works over the course of his storied decades long career. the play was also adapted into the 1958 film classic of the same name, which starred elizabeth taylor and Paul Newman, as Mag gie and Brick, respectively. the film went on

to receive six academy award nominations. a s a classic though of a merican theater, there have been multiple Broadway reviv als of the play produced over the years. set in Mississippi, on Big Daddy’s esta te—the play tackles the weighty themes of death, sexual repression, illness, and how secrets can derail our most important fa milial relationships. “ today, in this play, everybody has a secret, or multiple secrets that come out, and to me that’s very, very exciting,” says Foster, later in our conversa tion. Besides the aforementioned a nna and gregory, who portray Maggie and Brick re spectively, the V sC production also features actress Marsha estell as Big Mama, and ac tor Jeffrey King as patriarch, Big Daddy.

“ the cast is just incredible,” says Foster proudly. “I look at my cast, and I’m just like ‘we just hit the jackpot’.” Despite how the character of Maggie is sometimes viewed as a sort of villain... a nna is quite sympathetic towards her character’s motivations, de spite her questionable choices. “she’s trying to help the people she loves by having them face the truth,” says the NYC based actress. “so I think Maggie is just like a very fierce advocate for the truth, all the time. that’s how I see her.”

a nna really believes that Maggie loves her Brick. “His relationship with Maggie is so interesting and complicated,” says greg ory, regarding his character’s marriage. “I know that there was this moment in time, when it felt right as it could for Brick...that he was as happy as he could possibly be...” the actor also reflects on being a mixedrace man, portraying Brick, as a mixed-race man. “It’s me being me for the first time.”

Despite its sometimes heavy themes, the director promises that this pro duction of the classic southern drama will not be a dirge. “ev erything is new and electric,” she says. Foster also notes that “ tennessee had a great sense of humor.” In digging deep, she’s discovered how to mine even this work for its com edy and humor.

a nd considering that the production was postponed twice, seeing the large set, in development on the Wells stage, feels like a win already for Khanisha and her cre ative team and cast. the set is designed by Josafath Reynoso, while the costumes are by Bryce turgeon.

“Plays are to be set free. so once you make them, they’re really for the audi ence...” says Foster. “I’m happy to let it go, and let it be theirs.”

Margaret (Anna Sundberg) and Brick (Gregory Warren) are lead characters in the Virginia Stage Company’s production of “Cat on a Hot Tin Roof.” Photo by Crystal Tuxhorn.

“Cat on a Hot Tin Roof” September 14-October 2 Virginia Stage Company Wells Theatre VaStage.or g

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LET US INTRODUCE YOU.

WILLIAM KWAMENA-POH

William Kwamena-Poh is an award winning self-taught artist from Ghana, West Africa. He came to the United States in the early 1980’s and has resided in Alabama, Washington DC, Chicago and has called Savannah, GA home since 1995. His studio is in the heart of Savannah’s City Market. William is internationally known for his series images of Women, Fisherman, Children and Market Scenes. His work is collected by private and public figures. His Corporate collections include: Disney Corporation, DuSable Museum, Amoco Corp., Ford Motors and Prudential Financial. In November 2019 William debut his solo exhibit “The Journey is Mine: Chapter One” at Savannah’s Telfair Museums – The Jepson Center.

William paints with gouache, also known as opaque watercolor; the same medium used by Jacob Lawrence and also experimented with by Dali, Picasso, and Klimt. “The density and opacity of gouache allows me to capture and give the viewer a small window into my beautiful and wonder-filled homeland. The sun’s strength is ever present, providing a colorful environment which is strongly reflected in Ghana culture and clothing,” says William.

William’s father was a notable history professor who spent most of his teaching career at the University of Science and Technology in Kumasi, Ghana. He came to the U.S. in the early 1980’s as a Fulbright Scholar, teaching African history at Talladega College, AL. He brought young William with him, where he received his B.A. in Sociology. His father was aware of William’s budding artistic gift, inherited from his father who was an art teacher. However, William’s father hoped he would follow in his academic foot-steps, sharing the history of his people. William has been doing just that for over 30 years; not in a classroom but with his paintbrush.

MEET OUR ESTEEMED JUDGE LIZ LIGUORI

Liz Liguori is an artist creating photographic, sculptural, and time-based work at the intersection of science and light. With process and experimentation as her touchstones, Liguori’s work blends high and low technology to realize the subtle qualities discovered in their communication. Her works range from interactive light installations to explorations of everyday objects which are dismantled, repurposed, and refashioned to propose a new form or perspective. The work invites an experiential exchange where the viewer can meditate upon form, function, and chance.

Liguori’s work has been presented in New York City at the La Mama Galleria, Lazy Susan Gallery, Haven Arts, and 222 Bowery Art. Other selected exhibits include The Taubman Museum of Art (Roanoke, VA), Reynolds Gallery (Richmond, VA), Jordan Faye Contemporary (Baltimore, MD), The Gallery at Serenbe (Palmetto, GA), Science Museum of Western Virginia, and The Armory Gallery (Blacksburg, VA). Liguori’s artwork is highlighted in the book, The Mountain Lake Symposium, and Workshop: Artists in Locale to which she also contributed an essay on her process. Liguori has worked extensively in lighting design and editorial and portrait photography. She holds an MFA in Creative Technologies from Virginia Polytechnic Institute and State University, and a BA in Studio Art from Drew University.

Anderson, Eryn/JE/C-31

Anderson, Tracy/PA/B-2

Andrews, Patrick/ME/C-44&45

Arbogast, Jack/MM/C-34

Axman, Jane/PH/C-17

Barnes, Tom/PA/A-7&8

Beecher, Kristen/MM/A-9

Benvenuto, Jean/DR/PA/B-27

Bet, Debra/JE/B-3

Bond, Angela/PA/C-32

Bradley, Anita/MM/A-16

Britt, Anne/JE/A-17

Brower, Jennifer/JE/B-38

Bruce, Kathleen/MM/C-42

Burkett, Hillary/JE/B-53

Callaghan, Zack/PO/B-22

Clarke, Caroline/LE/B-9

Cockman, Pui-Lan/PA/A-23

Collins, Derek/PA/C-12

Conner, Dana/PA/C-41

Connolly, Karin/PH/B-43

Dailey, Eva/WO/C-20

Davin, Lisa/JE/B-31

deSerres, Lauren/MM/B-28

Doody, Liz/MM/C-5&6

Dressler, Julia/PH/C-47

Duvall, Sharon/LE/A-14

Easley, Bruce/DR/C-48

Epstein, Jana/PH/C-24

Fadool, Ed/PA/C-25

Finnie, Kelsey/GL/B-57

Fizer, Richard/GL/A-21

Frey, Benjamin/MM/B-18&19

Gal, Yoram/PA/A-24

Gao & Chang, Wayne & Michelle/MM/C-2

Gerek, Linda/PA/B-56

Gibson, Jeremy/PH/A-10

Glassman, Alan/PH/C-39

Green, Malika/JE/A-5

Greenberg, Daniel/PH/A-4

Grooscors, Amelie/PA/C-29

Hall, Tricia/JE/B-40

Helfant-Frye, Andi/PA/B-46

Hemming, Rod/PO/B-25

Hill, Pamela/PA/A-2

Hirtz, Don/PA/C-10

Hoff, Michelle/MM/B-21

Hopson, Tonya/PA/B-32

Horta, Jeannette/JE/C-50

Horvath, Corinne/JE/C-9

Howard, Teresa/JE/C-21

Huston-Field,Victor & Megan/MM/C-23

Ives, Steven/PH/C-49

Jeanguenat, Chris/PA/B-36

Johansen, Leif/MM/B-5

Johnson, Brittany/DR/B-47

Johnson, Eafrica/PA/C-22

Jones, Steve/PH/B-13

Kapoor, Gopal/JE/B-20

Katic, Milenko/PA/B-49

Kelly, Celeste/MM/B-6

Kelly, Mike/PO/C-53

Kennedy, Kristine/JE/B-16

Kennon, Alyssa/JE/C-16

Kerper, Jennifer/JE/C-28

Kwamena-Poh, William/PA/B-17

Lee, Letitia/PA/B-52

Lewando, Peter/PH/C-52

Lewis, Glenn/PH/B-50&51

Ligmont, Alyssa/PO/C-43

Lillemoe, Ethan/PO/B-4

Liu, Weihong/PA/C-26

Livingston, David/ME/C-19

Maiwald, Andre/WO/B-42

Massey, Albert/WO/A-15

Master, Kathleen/MM/C-35

Maxwell, Kent/MM/B-55

McCormick, James/PH/C-51

McCrary, Elginia/PA/B-10 McGowan, Laura/PA/C-40 McLaughlin, Olena/JE/C-38 Melita, Lisa/PO/B-48 Moss, Leanne/PA/A-13 Murphy, Brian/PA/B-29 Myers, Barbara/PA/C-27 Nelson, Wendy/PH/B-41 Neuvirth, Karin/PA/B-39 Nichols, Merrianne/LE/C-14 Nikitchenko, Paul/MM/B-30 Obermeyer, Ed/PA/PH/B-11 O’Shell, Mike/PH/B-7 Pembroke, Gene/PH/C-33 Pool, Terry/JE/B-44 Potrafka, Cory/PO/B-37 Pratelli, Rejane/JE/C-11 Reims, Edgar/PA/B-54 Roberts, Scott/WO/A-1 Robins, Dicke/MM/A-3 Senecal, Coleman/PA/B-35 Sertzen, Cesar/JE/B-26 Sleeper, Carolyn/PO/C-46 Solomon, Joshua/GL/A-12 Swan, Allison/PA/C-15 Swayze, Carroll/PA/A-22 TeviaClark, Lisa/PO/C-3 Toft, Richard/PA/B-24 Tyree, Tanya/SC/A-20 Vale, Veronica/PA/A-19 Verwoerd, Marcelle/PO/B-8 Walko, Nickolai/MM/B-14&15 Wang, Yandong/ME/B-12 Willis, Kayleigh/DR/B-34 Wilson, Sharon/JE/B-58 Wooldridge, Kathy/GL/C-1 Wylie, Terry/PA/DR/C-7 Zah, George/PH/C-13 Zoellner, Jeff/JE/B-23

& The JellyCats popped onto the Virginia scene in 2018 through various chance meetings, open mic nights, and immediate musical connection. This high-energy septet has established itself with stellar live shows, a professional attitude, and good old-fashioned hard work. With influences ranging from Ruthie Foster and Nina Simone to Bill Withers and Amy Winehouse, the band draws from the last 100 years of American music to create music that celebrates life, love, fun, and frivolity with a nod to all who came before. Led by Rachel Micheletti, the band prides itself on its humble yet complex musicianship and comradery. There’s an honesty to the band’s performance and it comes across as they love what they do. Micheletti is all sass and seduction one moment which turns into purrs and growls, then whispers and wails the next. Her voice is a flexible instrument comprised of sugar and grit, with raw power retaining a sweet innocence that compliments the band’s versatile style and prowess. Rachel & The JellyCats are purveyors of good times and good music, bringing together the old and the new for something completely original. Join us as we help to make the celebration of life a little bit better, and let’s leave a little sparkle wherever we may go.

Rachel

T H R I F T S H O P

Fall in to savings

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

VISIT DR. MARK HAYNES OF COASTAL CHIROPRACTIC’S BOOTH

A longtime Friend of Stockley, Dr. Haynes and staff massage therapists from Coastal Chiropractic will provide FREE 5 minute chair massages and wellness screenings. Don’t stop at 5 minutes – get a longer massage and all fees/tips collected will go directly to Hope House. Also, should the wellness screening demonstrate the need for a complete evaluation, Dr. Haynes will donate his time to do this – a $180 value – for those willing to donate $50, or more to Hope House Foundation.

Christ and St. Luke’s Episcopal

Christ and St. Luke’s Church will be open Saturday, Oct. 15, 11am-3pm, and Sunday, Oct. 16, 12pm-3pm. All are welcome to enjoy the peace and beauty of this space, as well as music of the great organ. Information is available for the self-guided tours.

YOU BELIEVE

That we’re at our best when we’re working to improve the quality of life in our community.

WE AGREE

Drama/Comedy theater highlights

Compiled by Staff

“12 a ngry Men” t hrough September 25 Williamsburg Players

A 19-year-old stands trial for the fatal stab bing of his father. It is now up to a jury to de cide his fate. As arguments grow heated and tempers rise on the way to a verdict, each of the twelve will reveal hidden character traits, some good, some bad. As alliances shift and the personal history of twelve ordinary people clash and coincide on the way to a life-or-death decision, this time less courtroom drama weaves its magic, keeping audiences guessing until the final result. We keep the original title but feature women and men in our first production of this classic thriller.

“Cat on a hot t in r oof”

Presented by Virginia Stage Company t hrough October 2

Wells t heatre

Tennessee Williams’ Pulitzer Prize-winning drama paints a portrait of a family in crisis in the steamy Mississippi South. A birthday celebration brings secrets to the surface as everyone gathers at the family home. With Big Daddy’s dwindling health, Brick’s troubled past, and Maggie’s des peration for love and money, will the truth ever be revealed?

“Dracula”

t hrough October 2

Little t heatre of Virginia Beach

Lucy Seward, whose father is the doctor in charge of an English sanitorium, has been attacked by some mysterious illness. Dr. Van Helsing, a specialist, believes that the girl is the victim of a vampire, a sort of ghost that goes about at night sucking blood from its victims. The vampire is at last found to be a certain Count Dracula, whose ghost is finally laid to rest in a striking and novel manner. The play is intended for all who love thrills in the theater and is appropriate for all groups.

“

“Let Me tell You What It ’ s r eally Like; Living Both Sides of Bipolar Disorder”

Presented by Generic t heater

September 30 — October 1

Location t B a

In support of mental health awareness, Ge neric Theater will also be presenting this special weekend production written and performed by Kate Ives and Jennifer Ives.

“Pilgrims: Musa & Sheri in the New World”

October 7-30

Generic t heater

Anyone who has ever looked for love knows the dilemma. Do you make a safe, sensible match? Or take a risk on an exciting some one who might—just might—be the One Great Romance of your life? Musa, an Egyp tian immigrant, and Sheri, a very quirky New York waitress, must negotiate the twists and turns of not only love but cultur al expectations in this charming romantic comedy with a delightful twist.

“Jitters”

October 14-30

Peninsula Community t heatre

A warm-hearted, lively and truly hilarious examination of backstage shenanigans by one of Canada’s leading playwrights. Dealing with the trials and tribulations of a provincial theatre company as it ap proaches opening night of its latest pro duction. Animosity has developed between the featured actress and a local celebrity, a veteran character actor who cannot retain his lines, a male juvenile who is soused and a tyrannical stage manager and overly ea ger young director and novice playwright. What could(n’t) go wrong?

t he hobbit”

Presented by Virginia Stage Company w/ Governor’s School for the a rts

October 19 through November 6

Wells t heatre

“Mummenschanz”

Presented by Virginia a rts Festival October 29

Chrysler hall

For its 50th anniversary, the interna tionally acclaimed company has gathered some of its most iconic and beloved char acters—the Clay Masks who grab hunks of their plasticized faces, creating hilari ous expressions; the Toilet Paper Faces who weep streams of undulating paper; the delicate Giants filled with air, the Pipe Creature, and so many more, along with new creatures created for the new show. A fun note: one of the original founders, Nor folk, Virginian-born Floriana Frassetto still remains as the main artistic driving force behind the multi-award-winning troupe to this day.

“a ngel on Eros”

November 11-13, 18-20

Benjack Studio t heatre

Travel to the fantasy world of Middle Earth, live on stage, as reluctant hero Bilbo Bag gins takes the audience on an epic magical adventure ensuring fun for the whole fam ily. When Bilbo is asked to leave his home to search for treasure, he encounters many obstacles along the way, including the leg endary dragon, Smaug. J.R.R. Tolkien’s charming classic is adapted with imagina tive stagecraft.

“Bell, Book and Candle”

October 28 through November 20

Little t heatre of Norfolk Gillian Holroyd is one of the few modern people who can actually cast spells and perform feats of supernaturalism. She casts a spell over an unattached publisher, Shepherd Henderson, partly to keep him away from a rival and partly because she is attracted to him. He falls head over heels in love with her at once and wants to marry her. But witches, unfortunately, cannot fall in love, and this minute imperfection leads into a number of difficulties. Ultimately, the lady breaks off with her companions in witchery, preferring the normal and human love offered her by the attractive publisher. But before the happy conclusion of the ro mance, Gillian comes very near to losing him—but doesn’t.

This new production by playwright Ricardo Melendez analyzes a friendship between two men of differing sexual orientations and offers a view into the transactional nature of human interactions. Mature audi ence only.

“Journey to the Center of the Earth” Presented by Children’s t heatre of hampton r oads

November 12

Zeiders a merican Dream t heater

Descend, bold traveler. Jules Verne’s classic tale is brought to life with actors, puppets, and interactive storytelling. What myster ies lie beneath the very ground below our feet? What secrets will it tell? Will there be treasure untold? Will we be met by mon sters out of time?

“ t he Effect”

November 18 through December 4

Generic t heater

Hearts racing. Minds reeling. Knees buck ling. Connie and Tristan have palpable chemistry—or is it a side effect of a new antidepressant? They are volunteers in a clinical trial, but their sudden and illicit romance forces the supervising doctors to face off over the ethical consequences of their work. The Effect takes on our pillpopping culture with humor and scintillat ing drama.

Peninsula Community t heater presents “Jitters” Oc tober 7-30 with the starring cast Jessica Katy Feldl, r obert Lawrence Nichols, Peggy a llison Stover, tom t race Coles, Nick Don-Michael Smith, George Chris tian Gonzalo, Patrick David a lexander, Phil Ben Jen kins, and Susi r achel Madden. Make it dinner and a show by going to Kismet beforehand

Making It Count

“Dracula” Kicks Off LTVB’s 75th Anniversary Season

By Jim Roberts

Sandra Epperson has directed “Dracula” three times over the last 50 years. If there’s one thing she’s learned, it’s this: “No existing theater company will allow you to cut a hole in their stage floor to create a trapdoor.”

On a more serious note—and in a pre view of the playbill essay she’s writing for her directorial debut at Little Theatre of Virginia Beach— Epperson added: “This is a nostalgic look back at a time when the most terrifying thing in our world was a vampire. Because we have now gone through World War II, we’ve gone through the Red Scare, we’ve gone through fear of the bomb. Now we fear pandemics. … You know, we’re just we’re back scared again.

“But,” she continued, “we also have learned that people who aren’t like us— meaning people who are physically handi capped, people who are on the spectrum, people who aren’t the same color we are, people who don’t hold the same religious views we do—we can no longer cast them as evil or bad. Society has evolved. So now what is the evil the Count embodies? And that’s what’s been so much fun about this one.”

Epperson, a North Carolina native who moved to Virginia Beach during the COVID19 pandemic, cast James McDaniel as Van Helsing and Tom O’Reilly as Dr. Seward.

“I’m thrilled to death,” McDaniel said. “This is kind of like a crime/drama-type thing, where you’ve got a villain that’s try ing to perpetrate evil on other people, and you’ve got a detective-like character in the one that I play, who’s trying to find out who the perpetrator is, and then trying to iden tify him, and then trapping him and stop ping him from doing his business. It’s fun being the good guy.”

McDaniel said the play moves fast.

“It’s one that doesn’t have wasted expo sition,” he said. “It gives you the facts when

you need them. It’s filled with actions that rivet your interest.”

The cast also includes Eric Frenck as Butterworth, Adam Haberman as John Harker, Micah Love as Lucy Seward, Bron wynne Marks as Miss Wells, and Steven West Renfield.

O’Reilly, who graduated from the Ameri can Academy of Dramatic Arts and worked in New York and California before settling in Virginia Beach, said he is amazed by the quality of the performers at LTVB.

“I’ve worked other places,” he said, “and really, an actor is an actor is an actor—wheth er you’re in New York or you’re in Podunk or you’re in Virginia Beach. There are so many talented people out there, and I’m just fortu nate enough to be working with a really good cast. I’ve had really good casts every time I’ve been on stage. It’s been a pleasure.”

O’Reilly has high praise for McDan iel. “I’m really kind of thankful that I got Seward rather than Van Helsing,” he said. “His role is much more technically difficult. … He’s got longer passages, a lot more to do in the play—so much more complicated. It’s been a real pleasure working with him.”

And the actor playing Dracula? Epper son is guarding his identity as long as pos sible (though he does appear in some of the theater’s publicity shots).

“We’re not going to tell you who it is,” she said. “The guy who’s doing the role—he came up with it. He said, ‘How about if we just don’t tell anybody who I am?’ I said, ‘Well, they’ll find out at curtain call. He said, ‘If you’ll remember, Ms. Epperson, Dracula’s not taking a curtain call.’ So, we’re hoping to get some chit-chat going.”

Call it a compromise for not getting a trapdoor.

Little Theater of Virginia Beach will present “Dracula” from hrough Oct. 2. Show times are 8 p.m. on Fridays and Saturdays and 2:30 p.m. on Sundays. Tickets are $20 for adults; $17 for seniors (over 60), active-duty military and fulltime students; and $9 for children under 12. Discounts are available for groups of 20 or more. The theater is located at 550 Barberton Drive—off of 24th Street at the oceanfront. For tickets or more information, visit: ltvb.com.

75th Anniversary Season!

“Dracula” kicks off the Little Theatre of Virginia Beach’s 75th an niversary season.

Other shows will include: “White Christmas” (Nov. 11 to Dec. 11), “Much Ado About Nothing” (Jan. 13 to Feb. 5, 2023), “The Leg end of Georgia McBride” (March 10 to April 2, 2023), “Murder on the Orient Express” (May 12 – June 4, 2023) and “Escape to Marga ritaville” (July 14 – Aug. 6, 2023). LTVB will also present a summer musical that is sold separately from the $75 season subscription.

An anniversary celebration is in the works for April. The theater is also planning a number of updates to its 1972 building, including a renovated concession area and re strooms; a “Broadway the Beach Way” mural; and a garden planted in memory of longtime board mem ber and performer MaryLou Mahl man.

“The Little Theatre of Virginia Beach would not be here for 75 seasons if it were not for volunteers lending their time and talent, the support of audiences from all over Hampton Roads, and the generos ity of our donors and granting en tities,” said Kay Burcher, president of the theater’s board of directors. “We look forward to continuing our mission of enriching our com munity with quality live theatri cal experiences for generations to come.”

Lucy with Dracula lurking in the background. Photo by J. Stubbs Photography.

Stand-up Comedy Highlights

Compiled by Staff

Anjelah Johnson-Reyes

September 18

Sandler

Center

Comedian and actress Johnson-Reyes has guest-starred on programs such as Ugly Betty and Curb Your Enthusiasm, recorded t V spe cials for Comedy Central and Warner Broth ers, and that’s only part of what she does.

Leonard Ouzts

September 30 & October 1

Virginia Beach Funny Bone a native of south Carolina and growing up in Chesapeake, Va , Leonard’s southern up bringing shaped his down to earth, obser vational comedic style. Leonard was most recently selected as a nEW FaCE at the pres tigious Montreal Just For Laughs Festival.

Brian Aldridge

October 7-8

Cozzy’s Comedy Club

this Chicago native got his start opening for comedians like Bill Burr, dave Chappelle and Carlos Mencia.

Joe Gatto’s Night of Comedy

October 7

Harrison Opera House

Joe Gatto, a well-known comedian, actor, and producer, is best known for the hit t V shows “Impractical Jokers” and “ the Misery Index.” He is one of the founding members of the tenderloins Comedy troupe who has toured with a live comedy show to sold-out crowds across the world.

Kier “Junior” Spates

October 7-8

Virginia Beach Funny Bone

Kier spates has appeared on BE t ’s “Comic View” and “Getting Paid.” steve Harvey has now made Kier spates a regular mem ber of the steve Harvey Morning show and included Junior as the opening act on steve Harvey’s Grand Finale Comedy tour. Critics everywhere have responded by calling Ju nior “ the next big thing in comedy.”

Akaash Singh October 14-15

Virginia Beach Funny Bone

a kaash singh is a nationally touring stand up comedian, podcaster, and actor. a fter moving to n YC and honing his comedy craft, his career started to take off with many shows including M t V’s Guy Code and Wild’n Out, netflix’s Brown nation, and HBO’s the Leftovers.

Nurse Blake: The p TO Comedy Tour

October 28

Chrysler

Hall

nurse Blake is a registered nurse and the most popular nurse influencer on social media, with over 3.5M followers. He has been a nurse for over seven years and has worked in a number of nursing roles at Level 1 trauma centers around the country. Blake is a founder of nurses support their Young, which aims to promote healthy work environments throughout the health care industry.

Coco peru

November 1-2

The American Theatre a fter everything that’s been going on in the world, Coco is ready to unleash her thoughts about the past, present and future! Yes, this exhausted dinosaur of drag is not hold ing back anything in her new show, Bit ter, Bothered, and Beyond. Miss Coco Peru (aka Clinton Leupp) has been a household name in the LGBtQ community for over 30 years. she got her start in the early 90’s as a downtown favorite in the cabaret world of new York after she wrote, produced, di rected, and starred in her first show, Miss Coco Peru in My Goddamn Cabaret, and has since enjoyed an expansive career, ranging from intimate cabaret stages in new York and L a , to television sets in millions of liv ing rooms.

Royal Comedy Tour

November 4

Chrysler Hall

the Royal Comedy tour showcases a starstudded lineup of world-class comedians including sommore, Bruce Bruce, Lavell Crawford and Henry Welch.

Steve-O December 4

Harrison Opera House

“Jackass” star, stand-up comedian, and New York Times best-selling author, steve-O, is bringing the Bucket List tour to norfolk with every idea on steve-O’s bucket list was so ill-advised, he never expected to go through with any of them. Until it was time to prepare for this tour.

Bruce Bruce is part of the Royal Comedy Tour.

Chesapeake’s Leonard Ouzts returns to the 757 at the VB Funny Bone.

The outrageous Coco peru performs at The American Theatre.

Violinist Simone Porter

Virginia Symphony Orchestra Celebrates a Century

By Montague Gammon III

From the impoverished Caribbean by way of New Orleans, to the Highlands of Scotland to the ancient Roman Empire, the Virginia Symphony Orchestra’s 100th An niversary Season opening “Rhythm and Respighi” concert ranges across the globe in the geographical inspiration of its pieces and across cultures in its instrumentation.

It’s probably the first time in the Sym phony’s long history that local high school students join the professionals on stage as equal partners in a season opener, and the first time that steel pans, also known imprecisely as steel pan drums, have been incorporated into the Symphony.

Louis Moreau Gottschalk’s c.1858 Sym phony No. 1 Festa Criolla from “A Night in the Tropics,” a rollicking curtain raiser, uniquely features, in this especially arranged version, the 25 member, steel pan playing Rhythm Project All Stars from the Virginia Arts Fes tival’s Rhythm Project, one of the Festival’s elementary through high school Community Engagement programs.

Over the years the All Stars, a premier group picked from the Rhythm Project by rigorous auditions, have performed on their steel pans as an opening act for Gladys Knight, at the Royal Nova Scotia and Virginia International Tattoos, and have been featured on NPR’s “From the Top” radio program.

Steel pans, the only family of acousti cal instruments invented in the 20th Cen tury, according to Rhythm Project Director David Longfellow, arose on Trinidad as the

natives of the island sought musical ex pression despite colonialists’ repeated at tempts to suppress their culture. Oil drums left behind during the US Navy’s WW2 use of ports on Trinidad were converted into makeshift percussion instruments, from which the tuned steel pans, ranging in sev en voices from bass to soprano, arose in the mid to late 1940’s.

Britannica calls New Orleans born and raised Gottschalk “the first American com poser to utilize Latin American and Creole folk themes and rhythms.” His mother, who as a girl had fled Haiti with thousands of other French speaking whites when Tous saint Louverture led his successful slave rebellion in the 1790’s, probably sparked his interest in Island musical culture. Gottschalk, her eldest child by her EnglishGerman Jewish husband, went on to be come the first American born composer to achieve international fame. Ironically, his 1st Symphony, which became Gottschalk’s most well known piece, did not make its US debut until 1955, 90-some years after its composition.

Virginia Symphony Music Director Eric Jacobsen, who calls himself “a fan of Gottschalk all around,” and Longfellow each expressed excitement at the prospect of this first collaboration between their groups. Jacobsen called Gottschalk “an in credible composer who found such spirit in his tunes and his symphonic works.”

From the lively, joyous, Latin-esque

“Rhythm and Respighi” Virginia Symphony Orchestra Eric Jacobsen, conductor Simone Porter, violin Rhythm Project All Stars

Louis Moreau Gottschalk: Symphony No. 1 Festa Criolla from “A Night in the Tropics” Max Bruch: Scottish Fantasy in E-flat major, Op. 46, Ottorino Respighi: Pines of Rome Sept. 23, Ferguson Center Sept. 25, Sandler Center 757-892-6366 virginiasymphony.or g

drone of the Scottish bagpipes.

Composed for violin virtuoso Pablo de Sarasate, the Fantasy references various Scottish tunes, most prominently “Scots wha hae,” sung, legend goes, by Robert the Bruce at the 1314 Battle of Bannockburn when the Scots triumphed over English forces.

“It’s so depictive of landscape...and col ors, very vivid…between the [prominently featured] harp and the strings and the solo ist there is [a] love of harmonies…It’s one of the more beautiful, lush concertos for vio lin,” Jacobsen said.

Ottorina Respighi’s 1924 four-part sym phonic tone poem The Pines of Rome, often heard on radio, has a sort of mirrored time traveling structure. Historically it retro gresses from 20th Century children at play in Rome to the catacombs of Roman’s early Christians to the Legions of the Roman Em pire marching along the Appian way, while progressing from childhood games to adult military service. (The Pines of Janiculum is the title of the third movement; Janus was the two faced god who looked both forward and backward simultaneously. The Hill of Janiculum is known for the view of the whole city that it provides from its location across the Tiber River.)

The locations where Respighi set the movements spiral sequentially outward from central Rome to its outskirts.

Gottschalk work the Symphony sails across the Atlantic to Max Bruch’s 1880-81 Scot tish Fantasy for violin and orchestra, fea turing young international violin star Si mone Porter. Jacobsen said she produces a “stunning sound” with “virtuosity and real creative imagination,” and “brings a depth to her playing that is really unique.” He first played with Porter “about five years ago… we’ve been trying to play together every year,” since, and he “look[s] forward to play ing with her for years to come.”

Like the Gottschalk, the Scottish Fan tasy has its roots in traditional tunes of a particular region, and a link to colonialism. The Scottish influence is evident; there’s even a passage where the basses mimic the

“It’s a very clear depiction,” Jacobsen says of the first movement, called “The Pines of the Villa Borghese” (A private resort turned public park), “of children playing… of beautiful trees. You also see the shad ows and the light of the pine trees and… ring around the rosy and all the games. And then [“The Pines near the Catacombs” is] eerie…meant to be majestic… it is an ode to death…a dirge, a processional that is re ally quite powerful. And then you have the Pines of Janiculum…you have the stars and the moon and the shadows…you have bird calls; you have all these ways to depict the nighttime which are just the best!”

(Those bird calls, specifically the song of the nightingale, marked one of the first times that a recorded sound was called for in the score of a concert.)

Jacobsen continued, speaking of the fi nal movement, called “The Pines of the Ap pian Way,” “you have…the pine trees that line the old road that was used by everyone to come in and out of Rome…. very trium phant and powerful. He’s going for some thing that is very brilliant and depictive at all times…it’s our job to story tell for this piece as much as possible.”

classical music Highlights

compiled by staff

Bokyung Byun

Presented by Tidewater c lassical Guitar september 15, Williamsburg Library Theatre

september 16, susan Goode Fine & Performing Arts center a true trailblazer, Ms. Byun holds the dis tinction of being the first female winner of the prestigious Joa nn Falletta international Guitar concerto competition, where Fallet ta herself described Byun’s performance as “stunning, showcasing her gorgeous tone, immaculate technique, and sophisticated musicianship.”

Tudor Treasures

Performed by Virginia c horale september 17, Galilee Episcopal c hurch september 18, st. Paul c atholic c hurch

The Virginia c horale opens its 39th season with a celebration of masterpieces from the Tudor period including works by William Byrd, Thomas Tallis, John sheppard and Or lando Gibbons.

Los Angele Piano Trio co-presented by Feldman c hamber music society & The c hamber music society of Williamsburg september 19, Kaufman Theater/c hrysler museum of Art september 20, Williamsburg Library Theatre

The l os a ngeles Piano Trio brings a new lev el of refinement, emotional depth and art istry to the piano trio repertoire, reflecting

the city of a ngels’ rich cultural legacy, glob al impact and vibrant energy. Pianist Fabio Bidini, violinist Margaret Batjer and cellist a ndrew shulman founded the ensemble in 2020, building upon their distinguished in ternational careers as critically acclaimed soloists, chamber musicians, recording art ists and pedagogues.

“Paremski Plays Rachmaninoff” Williamsburg symphony Orchestra september 29, Williamsburg community c hapel

Guest pianist Natasha Paremski joins the WsO for Rachmaninoff’s “Rhapsody on a Theme of Paganini. The symphony will also perform works by Brahms, Hindersmith and Korngold.

“Worth Your Bux” Norfolk c hamber music consort October 3, c hrist & st. Luke’s Episcopal c hurch consisting of works by Dietrich Buxtehude and those he influenced, including J. s. Bach, Handel and Telemann. Featured musicians will include Bradley Norris (organ), Marjo rie setnicky (organ), and Oksana l utsyshyn (harpsichord).

“ masterworks i” symphonicity October 16 sandler center Featuring electric guitarist D.J. sparr, sym phonicity performs Kenneth Fuchs’ “Gla

cier,” a concerto for guitar and orchestra. a lso to be performed are “The Firebird suite” by stravinsky and Ron Nelson’s “sa vannah River Holiday.”

Hampton Roads Philharmonic

October 16

The American Theatre

For this 10th anniversary season program, HRP focus on the themes of celebration, re flection, and excitement for the future as it paints a musical journey of the past decade. From raucous celebrations in opera to the simple beauty in introspection, enjoy a se lection of works that tell its story.

Poulec Trio co-presented by Feldman c hamber music society & The c hamber music society of Williamsburg October 17, Kaufman Theater/c hrysler museum of Art October 18, Williamsburg Library Theatre a merica’s best-known oboe, bassoon and piano classical chamber music trio, the Poulenc Trio has rediscovered and rede fined piano-wind chamber music for the 21st century. since its founding in 2003, the Trio has vastly expanded the repertoire available for these three instruments with more than twenty new works written or ar ranged for the group, including three triple concertos for Trio and full orchestra.

“Glory & Grandeur”

Williamsburg symphony Orchestra October 20, Williamsburg community c hapel

Trumpeter Rex Richardson performs a ruti unian’s “Trumpet concerto in a-flat major” with WsO. The symphony will also perform

Tchaikovsky’s “symphony No. 2” and “Po lonaise from Eugene Onegin.”

“Power & Promise”

Virginia symphony Orchestra

October 21, Ferguson center

October 22, c hrysler Hall

October 23, s andler center

Written by the acclaimed a ndre Previn for Kathleen Battle with words by Nobel laure ate and poet Toni Morrison, the song cycle “Honey and Rue” takes its inspiration from jazz, blues, and a merican spirituals. V sO Principal Guest conductor Thomas Wilkins pairs this evocative piece with Danish com poser carl Nielsen’s “The inextinguishable,” written during WW i, which features a “bat tle” between two timpani and radiates the elemental will to live. Katherine Jolly per forms as soprano.

“Hogwarts Hullabaloo: The magical music of Harry Potter”

Virginia symphony Orchestra October 28, sandler center

Just in time for Halloween, come dressed as your favorite Harry Potter character and experience the sweeping symphonic scores of composer John Williams.

“Halloween spooktacular”

Virginia symphony Orchestra October 29, sandler center

The V sO explores some of the most scary classical and movie music ever composed. Dress up as your favorite dead composer or musician and enjoy the sounds.

Poulec Trio have redefined wind-piano chamber music.

Kossler Duo have become an instant hit on Billboard classical music charts.

2022-2023

Monday, October 3, 2022

Christ & St. Luke’s Episcopal Church 7:30 PM

Consisting of works by Dietrich Buxtehude

Freemason Street Baptist Church 7:30 PM

favorites and surprises!

(continued from page 60)

Kossler Duo

Presented by Tidewater Classical Guitar

November 11, Susan Goode Fine & Performing Arts Center

Brothers John and Adam Kossler will per form a selection of chamber music works. In 2019, the Kossler Duo released their first album, “Danse Macabre,” a collection of their own new transcriptions for guitar duo. The recording debuted at #2 on Bill board’s “Traditional Classical” chart, and #7 on Billboard’s “Classical Albums” chart.

“Masterworks II” Symphonicity November 13, Sandler Center Hear Tchaikovsky’s “Symphony No. 1,” Ro lan Pontinen’s “Blue Winter” and “Night on Bald Mountain” composed by Mussorgsky. Trombonist Robert Conquer is to be fea tured.

Manhattan Chamber Players Piano Quartet

Co-presented by Feldman Chamber Music Society & The Chamber Music Society of Williamsburg

November 14, Kaufman Theater/Chrysler Museum of Art

November 15 Williamsburg Library Theatre

Founded in 2015, the Manhattan Cham ber Players is a chamber music collective

of New York-based colleagues and friends who maintain impressive independent musical careers, while sharing a desire to come together in flexible combinations to perform the greatest works in the chamber repertoire at the highest level. The Minne sota Beethoven Festival lauded the MCP for its stunning musicianship, palpable energy and the “sheer joy” the ensemble brought to the stage.

“Chamber Music”

Governor’s School for the Arts

November 15-16

Minor Music Hall @ GSA

The student musicals from the Governor’s School will perform a selection of chamber music works.

“Neighbors

& Friends”

Virginia Symphony Orchestra

November 17, Ferguson Center

November 19, Chrysler Hall

Composer Jessie Montgomery, one of the greatest new voices of our time, wrote this nostalgic and beautiful piece — “Viola Concerto” — for soloist Masumi Per Rostad with whom she grew up on the lower East Side of Manhattan. Also to be performed is Antonin Dvorák’s “Symphony No. 8.” Though separated by 100 years, Dvor á k and Montgomery lived about 10 blocks away from each other. Eric Jacobsen conducts.

Monday, February 20, 2023

Chandler Recital Hall - Diehn Center for Performing Arts, Old Dominion University 7:30 PM

Purchase tickets here: ncconsort.org

Chandler Recital Hall - Diehn Center for Performing Arts, Old Dominion University 7:30 PM

Soprano Kathleen Jolly performs with Virginia Symphony Orchestra in October.

fallaRtspREViEw

Smooth Jazz High Notes with Paula Atherton

By Jeff Maisey

Paula atherton’s “Summer Song,” featur ing Nathan Mitchell, hit #1 on the Billboard’s Smooth jazz National a irplay for two consecu tive weeks.

During normal times such top-charting suc cess would translate into immediate increased ticket sales for concerts. The only downside in this case is that it came in june of 2021, a chal lenging time for touring musicians hunkered down due to the raging pandemic.

The track is from her sensational “Can You Feel It?” album, which was released in august 2020 during the thick of COVID lockdowns worldwide.

“I had my first two #1 songs on Billboard, miraculously, during COVID,” said atherton. “When everything was shut down my career took off — go figure.”

Paula atherton is a multi-instrumentalist known primarily for her saxophone playing, singing, and songwriting, but she started out as a young girl learning to play flute, an instrument she continues to integrate into her music.

She has shared the stage with the likes of David Sanborn, Bob james, Hiroshima, Brian Simpson and The Rippingtons.

More Billboard Top 30 charting singles in clude “Into The Night,” “Between You & Me,” “My Song for You,” “Sassy Strut,” and “Herbie.”

With the relaxation of pandemic restrictions touring musicians have hit the road in earnest in 2022, and atherton is amongst the in-demand jazz perform ers.

“I’ve been the busiest I’ve been — ever,” said atherton. “The first couple of shows I did… it was remarkable how much peo ple needed music. It was like a plant needing water. They were just so thirsty for the entertainment.”

atherton noted the importance of the so cializing component for live smooth jazz music audiences. Many performance opportunities in the genre come in the form of multi-act jazz fes tivals and thematic ocean cruises.

When Paula atherton plays October 7 and 8 (two performances each evening beginning at 6 PM and 8:30 PM) at downtown Norfolk’s hot test jazz club — Brothers Norfolk — she’ll turn fans on to the best of her catalog of tunes — the people discovering her music over the past two years, while often driving in their cars and lis tening to satellite radio, and the iHeart Radio

Network, as well as terrestrial stations across the country.”

“People are driving their cars, they see your name, and the name of the song,” explained atherton. “The deejays are talking about the artist. My entire back catalog sold out after my new album came out. I had to re-press my entire catalog.”

atherton said she sells a lot of recorded at concerts at her merchandise table. Her onsite CD sales success is shared by other jazz recording artists like trumpeter Chris Botti.

“If they (the concertgoer) go to a festival they want that CD to take home as a souvenir,” she shared. “The want it signed, they want to look at the picture, they want to read the liner notes. It’s wonderful.”

While Paula atherton didn’t share her setlist for the series on performance in Norfolk, some recent songs of note from the album “Can You Feel It” include the title track, “just Can’t Stop” and One Night in Madrid.”

When atherton features a cover song such as War’s “Low Rider” from her “Shake It” re cording, she wants to rearrange the original and makes it seamlessly her own. Credit producer Schuyler Deale for the reimagined “Low Rider.”

“It’s a fun thing to do live,” atherton said. “I put my twists on it.”

audiences can feel it live at Brothers.

Paula Atherton

Richard Elliott Rick Braun

Jazz Music Highlights

Compiled by Staff

Allan Harris

September 17 Attucks Theatre

Singer, composer and guitarist a llan Harris weaves mood-soaked, evocative stories in song, from his acclaimed recording Cross That River, which chronicled runaway slaves who chased a merica’s western dream, to his latest release, Kate’s Soulfood, in which he captures his childhood memories hang ing out at his aunt’s diner in Harlem. NPR calls this beguiling singer “velvet-voiced” and The New York Times praises Harris’s “formidable baritone, with its husky edges and deep, resonant low notes.” Harris joins the john Toomey Trio at the long-awaited reopening of the beloved attucks jazz Club.

Jeff Lorber/Everette Harp/Paul Jackson October 15

Harrison Opera House

jay Lang’s Church Street jazz Series kicks off with this uber talented trio bringing the groovin’ sounds of supergroup jazz Funk Soul.

Howard Curtis October 22 Attucks Theatre

Howard Curtis first knew he wanted to be a drummer when he heard a high school drum line. “It was the most powerful sound I’d ever heard,” he said. Born in Williams burg, he made a career in music right here in Virginia—despite years of professional urging that he make the New York jazz scene. a sought-after player up and down the East Coast, he has played at major jazz festivals across the U.S. and around the world, and has performed and/or recorded with such great artists as Lionel Hampton, Rosemary Clooney, a miri Baraka, Rene Marie, jon Faddis, Ellis Marsalis, and many more. a veteran educator at several Virgin ia universities, Curtis is now a full profes sor at Kunst University in Graz, austria. He returns to Hampton Roads for this attucks jazz Club performance, and a reunion with the jazz artists and fans he has made great music with in the past. Backing band: john Toomey, piano; jimmy Masters, bass; Eddie Williams, saxophone.

Matt Willard October 29

Ferguson Center

Matt Willard is a 23-year-old Hampton Roads-based saxophonist who has per

formed with Dave Koz on multiple occa sions. While recording his debut album titled “Soul a ssassin,” Matt worked with jason Webb, pianist for Vince Gill, jacob Lowery, bass player for Michael McDonald, as well as Roy a gee, trombonist for Prince. Don’t miss Matt’s debut performance at the Fer guson Center, featuring selections from his newly released album recorded at Sunset Studios in Nashville.

Michael Pedicin November 12 Attucks Theatre

This Philadelphia-based saxophone player fell in love with jazz listening to his fa ther, Mike Pedicin, a sought-after player who recorded prolifically with RC a Victor, 20th Century, a BC-Paramount and other major labels in the 1950s and ‘60s. Michael Pedicin’s own career has spanned decades of performance with such icons as Dave Brubeck, Frank Sinatra and Tony Bennett (as well as soul and rock stars The O’jays, Stevie Wonder and David Bowie). a soulful player whose lyrical style invites reveries, Pedicin is also a licensed psychologist who believes passionately in the power of mu sic to unite and heal. He’ll be joined by john Toomey, piano; jimmy Masters, bass; Tony Martucci, drums.

Diane Schuur November 12

The American

Theatre

Two-time Grammy award-winner Diane Schuur’s powerhouse vocals and dynamic range take over The a merican Theatre for a can’t-miss concert of contemporary jazz. Influenced by the great Dinah Washington, Schuur’s musical style has evolved through out her celebrated career from her 1979 dis covery at the Monterey jazz Festival to her latest album, “Running on Faith.”

Buster Williams & Something More November 19 Zeiders American Dream Theater

The Buster Williams Quartet “Something More” performs live in concert featuring Buster Williams (bass), Steve Wilson (saxo phone), Lenny White (drums), and George Colligan (piano).

Adam Hawley November 19 Attucks Theatre

Contemporary jazz guitarist adam Hawley Has released three studio album and has an array of smooth jazz hits that charted on Billboard including “Travelin’ Mood” fea turing julian Vaughn, “just Dance” featur ing Dave Koz, and “Can You Feel It” featur ing Marcus a nderson.

Brian Simpson & Jeff Kashiwa

November 25-27

Brothers Norfolk

jazz pianist Brian Simpson will be joined by saxophone great jeff Kashiwa for what should be a phenominal evening of smooth jazz. Simpson has worked with such nota ble people as janet jackson, Dave Koz, and james Ingram.

Big Bad Voodoo Daddy

December 17

The American Theatre

Together for over 28 years, Big Bad Voodoo Daddy—famously named after an auto graph by blues legend a lbert Collins—has appeared in concert venues across the world, sold millions of records, and had their music appear in hundreds of movies and television shows. With sold out con certs from the Hollywood Bowl to Lincoln Center, appearances with many of the country’s finest symphony orchestras, and television appearances ranging from Danc ing with the Stars to Super Bowl XXXIII, Big Bad Voodoo Daddy continues its decadeslong mission to celebrate and revitalize jazz and swing music—a merica’s original mu sical art form—and bring joy to audiences around the world.

Jeff Lorber (keyboard), Everette Harp (saxophone), and Paul Jackson (guitar) bring the ultimate mix of smooth jazz influences.

Tenor saxophonist Michael Pedicin

Italian CuisineAuthentic Authentic

Jazzy Take on Bacharach

By Jerome Langston

This year’s miller Jazz series concludes september 22 at the sandler center’s intimate miller studio Theatre, with a show titled The Music of Burt Bacharach. Featuring the talented Liz Terrell on vocals, Jimmy masters on bass, John Toomey on piano, Eddie Williams on sax, and Emre Kartari on drums—this program of all Burt Bacharach hits is a great way to close out this popular jazz series. Fortunately, both masters and Toomey will also play Nor folk’s legendary Attucks Theatre this month for its own jazz series, which kicks off in septem ber. so the local audience of committed jazz lovers will still have a couple of quality shows in the coming months to look forward to, following what should be a great night of Bacharach.

Jimmy masters curates the miller series, which he expects to be back next year. i ask him how the prior three shows were received this year. “musically, i thought all the shows were very well received,” he says. “As might be expected, The Beatles show drew the most people.” in particular with that popular program, he says that “ strawberry Fields Forever” and “Norwegian Wood (This Bird Has Flown)” were strongly received by the audi ence. Attendance for all dates were practically sold-out or at capacity.

The bassist settled on playing a night of Burt Bacharach’s legendary catalogue for the series, after hearing the collaboration between Rigmor Gustaffson and The Jacky Terrasson Trio, on an album entitled Close to You, which celebrated the stellar career of singer Dionne Warwick, whose catalogue of early hits of course were largely written and produced by the musical duo of Burt Bacharach and Hal David. As so many excellent female singers have sung their music, masters knew that he needed a quality female singer to perform the tunes. That led him to Liz Terrell, a Hampton Roads based jazz singer, who is known for her impeccable vocal exploration

of the Great American songbook. “i think she’s a really good singer,” he says.

Terrell released her first album as a leader this past February, It’s All Right With Me, which actually features the classic Bacharach compo sition, “What the World Needs Now is Love.” The album also features the aforementioned Wil liams and Kartari playing on her record. i ask Terrell who are some of the singers who inspired the development of her own vocal aes thetic. she mentions being fans of Ella and sarah, of course, but ex presses a real, genuine fond ness for Dionne.

“Actually Dionne War wick is a great pillar for me,” Terrell says. “And of course her whole repertoire, she and Burt Bacharach...his mu sic was an incredible pairing. in preparation for this concert, i first looked up her version of any given song that i could find of Burt Bacharach’s, and i knew it would be one of the greater representations of what that tune could really, really be and sound like.” some of the classics being performed during the program includes “The Look of Love,” “Alfie,” “Wives and Lovers,” and “i say a Little Prayer.”

“Of course, we could do a 5-hour concert of Burt Bacharach music and still have more to cover,” says Terrell. That is quite correct... as Burt Bacharach’s legendary collaboration with lyricist Hal David, has produced a ton of Billboard charting hits across many decades, and that success has led to Grammys and even Academy Awards—as well as countless other prestigious honors and accolades. Their music is clearly the soundtrack for many boomers, but their work has undoubtably impacted younger generations of music lovers as well.

Liz tells me towards the end of our conver sation, that she’s “very much looking forward to digging deep” into their work. “i’m just really looking forward to being able to insert myself into the music, as a 21st century woman.”

The Music of Burt Bacharach Miller Jazz Series September 22 Sandler Center for the Performing Arts Sandlercenter.org

Singer Liz Terrell to perform selections from pop composer Burt Bacharach’s extensive songbook.

Modern English Headlines Neptune Festival

By Jim Morrison

By some accounts, Modern English’s “I’ll Melt with You,” which just turned 40, is one of the top 500 most-played songs on U.S. radio.

But don’t call the British post-punk, New ro mantic band a one-hit wonder. The tune never reached the Top 40, settling in at 78 in Bill board’s Top 100 while reaching number 7 on the rock chart. It’s had staying power, though.

Written for the band’s second album, it’s a dark love song reflecting the times.

robbie Grey, the band’s vocalist says his fears of nuclear war inspired the lyrics portray ing a couple making love while the bomb drops. “ The last thing we wanted was to write a song where boy meets girl, they go to the cinema and make love, and that’s the end of it,” he adds.

The tune got a boost and a bit of reinterpreta tion in the movie “Valley Girl.” Mick conroy, the band’s bass player, says they never considered it as soundtrack material. “ We wrote it with one purpose and that was just to be a song or a track on the LP. When we went in to record the album, we just wanted to make an LP,” he told an interviewer earlier this year. “We didn’t have any idea. We weren’t thinking about singles or individual releases. When Valley Girl happened, I mean—we were still so young. We didn’t really know what was going on.”

“When it got to that scene in the middle, the kind of romeo and Juliet scene where they wander all over LA and “I Melt with You” comes on, we were all gobsmacked. our jaws were on the floor, think ing, “This is crazy! They’re playing our song all the way through!” And then of course at the closing credits, you know, then it happened again. We were just shocked by the whole affair. We absolutely had no idea that was what was going to happen.”

Grey seems still amused by the reaction. “The amount of times we get told people got married to our song, made love to that song for

the first time… whatever, it’s lovely. But liter ally the lyrics are about a couple making love as the atom bomb drops and sort of melting to gether,” he says. “But that’s quite good. I like the fact that it’s got layers to it that people can get what they want from it. … I like the fact that it’s like a love song, but with a dark lyric.”

While “I’ll Melt with You” did well in the States, it didn’t create any heat at home. The song and the album did not sell nor did they earn praise from critics.

“ When we did “I Melt with You,” in England we were seen as like this doom and gloom type band—you know, postpunk—and our first LP was called Mesh & Lace and it was just us doing what we were doing. With the second album, the press over there was a bit confused because it was so radically different from our first LP,” conroy says. “Then, “I Melt with You” happened in America, and After the Snow started to get quite a good reception. We spent a lot of our time in the ’80s tour ing in America. It was almost like, “Do we want to play in a rainy Northern town in England on a Tuesday night or do we want to play in Miami?” It was a bit like, “Well, let’s go to Miami.”

The song, which Grey says he wrote in three minutes, was an outlier on the album, far more pop than the rest of the disc. “Many people do only know us for that song in particular, but the album “After the Snow” is quite varied in its outlook, and it did sell quite well. We don’t see ourselves as a pop band at all,” conroy says. “our aim is to keep our music interesting and sometimes challenging to the listener who comes along expecting an ’80s New Wave type

of thing. My roots stemmed from music made by David Bowie and early roxy Music along with what are now termed post punk bands, includ ing Wire and the likes of Magazine.”

The band brings their dark and romantic songs to The Neptune Festival in Virginia Beach on Sept. 30 kicking off a weekend of shows that include The connells, The Wailers, The ocean Blue, Atlanta r hythm Section, and cowboy Mouth.

Forty years on, the group is still writing. conroy says they’re hoping to record an album this fall. “ We pretty much have a whole album of music that’s we’ve been riffing over the lockdown periods. In this day and age, you can record at home. I have my own studio, but dur ing lockdown I had to take stuff from the studio home and write. robbie has the same Programs that I use— Logic, which most bands have—so we would just send files to each other,” he adds. “You know, “Here’s an idea for a song,” and he’d send it back with his interpretation of it and his vocals, and we just sent stuff backward and forwards to each other. And then, during breaks in the lockdown in the Uk , we were all able to get together and play the songs and work them out together as a band as well. Hopefully, we’re going to be re cording in September of this year.

Four of the five original members remain, a rarity. “ We all used to live together when we were starting out, living in squats in Notting Hill and Ladbroke Grove in west London,” con roy says. “It may sound a bit corny, but we are a bit like brothers, each with his own quirks. The thing is, when we go onstage and play together, something very exciting happens.”

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Norfolk’s own Pusha T returns to The NorVa for two shows on September 22 and 23.

Christopher Cross 40th Anniversary Tour

October 19 Sandler Center

Jim Messina w/Michael Goldberg October 19 Elevation 27

Mary J. Blige October 22 Hampton Coliseum

Vegas Nights with Frankie Moreno October 22

The American Theatre

Rumour of Fleetwood Mac October 22 Sandler Center

Blue Man Group October 23 Ferguson Center

Disco Biscuits October 29 The NorVa

Puscifer November 3 Chrysler Hall

Gaelic Storm November 3 Elevation 27

Bruce Hornsby November 4 Ferguson Center

The Doo Wop Project W/Virginia Symphony Orchestra November 10, Ferguson Center November 11, Chrysler Hall

Joanne Shaw Taylor November 11 Sandler Center

Peabo Bryson November 11 Hampton Roads Convention Center

Goblin November 13 The NorVa

Mania: The Abba Tribute November 16 Harrison Opera House

Carbon Leaf November 17 Elevation 27

Voctave November 19 Ferguson Center

Mercy Me November 20 Chartway Arena

WASP’November 21 The NorVa

Kendall Street Company November 23 Elevation 27

Waxing Poetics November 26 Elevation 27

Blue October November 30 The NorVa

fallaRtspREViEw localmusic

Jae sinnett’s Zero to 60 Quartet With symphonicity

“Live at the s andler center (s elf-Release)

Back in a pril, Jae Sinnett’s Zero to 60 Quartet performed live at Sandler center with the backing of Symphonicity, Virginia Beach’s official orchestra conducted by Daniel Boothe.

Symphonies backing rock and pop music acts live in concert are common and generally a success. a n exception was bluegrass star Bela Fleck when a piece he composed for banjo and symphony debuted in Nashville and the steely strings of his instrument soni cally clashed with the warmth of the orchestral tones.

I’m delighted to say this rare meeting of the traditional jazz styling of Sinnett and company with sounds of Symphonicity proved to be a match made in heaven.

Five of the six tracks on this live record come from Sinnett’s 2012 album, “Still Standing,” and in clude the wonderful title track, “Said & Done,” “Nor Easter,” “Burrell’s choice,” and “See It Through.”

The one addition to the evening’s setlist is “c hocolate Sole,” which was included on Sinnett’s 2014 album, “Subject to c hange.”

The overall result is a fantastically lush and enhanced version of Sinnett’s studio recordings. There’s an almost 1960s-era sonic umbrella vibe that works extremely well, and an endeavor worth repeating both in a live setting and in the stdio.

Will this inspire Sinnett to compose a new set of originals for jazz quartet and symphony? It’s defi nitely something Jazzy Jae should consider — while he’s still standing tall in the saddle of creativity.

Hopefully, there’s more to come. — Jeff Maisey

The JD3 Band

“Homestead” (s elf-Release)

Hampton-based blues-rock trio The JD3 Band released this powerdriving 4-song EP, a real showcase for James Dowdy’s big, gravely voice and some ripping guitar solos.

“Hard Driving Woman” is a classic blues tune with some swingin’ beats that give the piece of real swagger with a touch of ZZ Top’s “l e Grange” and nice use of wha-wha pedal. The song liter ally crashes at the end at supersonic speed.

The other standout track is the opening “You Know Me,” with yet another excellent guitar solo.

“Homestead” sounds right at home. — Jeff Maisey

Jared Farrell

“c alifornia smile” (single) (s elf-Release)

There’s a new pop star rising in Hampton Roads, and his name is Jared Farrell.

Farrell dropped his new single “c alifornia Smile” in late sum mer and the melodic track has an instant appeal that’s practically made for Top 40 radio.

Who needs a K Pop boy band to groove to when Jared’s made for mass appeal tune is right on time.

l ook forward to hearing more. — Jeff Maisey

The Duel Gravitons

“ it’s a Riddle” (Black Lung Records)

Norfolk punk rockers The Duel Gravitons have had a prolific sum mer with the release of two cD EPs and a new single.

Singer and guitar player a l Bloch shines on this 7-song studio recording as songwriter.

The clangy guitar of the opening recalls the tonality of The Buzzcocks, and the vocal melody and solid rhythm section harken back to the 1970s roots of British-style punk.

Where “France” picks up pace at Ramones speed and the title track burns as the EP’s best track, the band invites Katie Teardrop to guest star for a fun cover of Johnny Kidd and The Pirates’ 1959 UK hit, “Please Don’t Touch.”

Music can be fun. — Jeff Maisey

fallaRtspREViEw

Virginia Arts Festival Chamber Orchestra “William Walton: The Complete Façades” (Naxos)

“Façade” is the original title of quirky, witty poetry of edith Sitwell read to the music of w illiam walton. this naxos label CD, recorded at v irginia wesleyan in 2021, features an all star cast of narrators with instrumental accompaniment by the v ir ginia Arts Festival Chamber Orchestra (or Chamber Players) under the baton of JoAnn Falletta.

not only are recordings of “Façade,” the century old erudite and ever so very British precursor of “spoken word” performances and rap as well, about as easily found as the dentition of barnyard fowl, but this lo cally performed and recorded version fea tures the world’s first-ever recordings of 12 verses that Sitwell added to the work, a dozen years after its 1922 premiere. eight of those are in a segment titled “Façade 2 – A Further entertainment” and four more in “Façade – Additional numbers.” (Hence, the “Complete” part and plural form of its title.)

the poetry, while rich with mythologi cal, Biblical and literary references and larded with allusions to Sitwell’s friends and family, focus more on sound more than on sense. At various times, Beelzebub calls for his syllabub, “leafage” rhymes with “grief age” and some Hispanic named flirts “take mantillas, capes / Hiding their sim ian shapes.” Pronounced rhythms shift into brief moments of something like but not quite prose.

A rousing opening hornpipe nautical patter song is followed by a deceptively gentle intro to a poem titled “en Famille” about someone’s admiral father, which sud denly finds its listeners on “the street of Hell / watching siesta shutters that fell.”

A languorous tune begins “long steel grass – / the white soldiers pass” and then turns forceful. throughout the reading the narrators – Performance today radio host Fred Child, baritone Kevin Deas and sopra no Hila Plitmann – hasten or prolong their words as the music dictates.

the music of a 20-year-old walton leaps, soars, threatens, and rushes along with Sit well’s pedal-to-the-metal flow of rhymes, alliteration, assonance and sheer joy in the sound of the english language.

the CD does come with the text of the poems, but following along with the reading really ought to be left for a second or third listening. Sitwell’s vocabulary did send this writer on several occasions scurrying to an unabridged dictionary.

A wild, and perhaps random alternation of tempi is a hallmark of music and readings alike, and there simply no way to fully grasp the work without more than one hearing. the effort of careful listening is more than rewarded by Sitwell’s quirky sense of humor and the sense that behind her facade of fast paced, lighthearted and almost certainly conscious, even contrived eccentricity of word-play lies a similarly turbulent psyche of an artist who could still thoroughly enjoy not taking herself seriously. ( there’s prob ably a PhD dissertation, or at least an un dergrad senior thesis lurking here, either in literature or psychology.)

Sitwell was born in the reign of Queen v ictoria and lived to see elizabeth ii reign for a dozen years. She was the eldest child and only daughter of an aloof Baronet and his rage prone wife, the maternal grand daughter of an earl and the great grand daughter of a Duke. it’s easy to see her determined rebellion against traditional verse forms as a wholesale rejection of the emotionally sterile formality of her distant parentage. Alternatively, one can just let the sounds of her verbal outpourings wash over one with peaks of comprehension and, inevitably, of sympathy for and delighted fascination with this author, so clearly bril liant and remarkably articulate in her own, truly unique way.

most importantly, Sitwell and walton had fun with “Façade,” and the listener should do the same.

Brothers Norfolk (Jazz

9/24 - Everything 9/30 - Big Forest Fire 10/1 - The Champagne Band

Froggies

9/16 - Jason Cale Band

9/17 - Anthony Rosano & The Conqueroos

9/18 - Brad Claywell

9/22 - Intangible Cats 9/23 - Plastic Eddie

9/24 - Tommy V Band 9/25 - Blue Mile

9/29 - Lewis McGehee

9/30 - EverAfter

Grace O’Malley’s Irish Pub

9/15-17 - Glasgow Kiss

9/20-24 - Brian Gaffney

9/16 - The Virginia Shellphish Coalition

9/17 - Marie-Claire Evans

9/20 - Micah Foxx

9/21 - Nick Caffacus

9/22 - Lane Rice

9/23 - Rich Ridolfino

9/24 - Rusty Ancel

9/27 - Alex Woodland

9/28 - Gary Lively

9/29 - Rootz EQ

9/30 - Octoberfest with the Happy Dutchmen

10/1 - Nick Caffacus / Thru w/ Therapy

10/4 - Kevin Barry

10/5 - Brian Bleakley

10/6 - Roy Ira Moats

10/7 - The Virginia Shellphish Coalition

10/8 - Rusty Ancel

The Vanguard

9/27 - 10/1 - Pat Garvey

10/4-8 - Glasgow kiss 10/11-15 - Mossy Moran

Hilton Tavern

9/15 - Karl Werne

10/11 - Rich Ridolfino

10/12 - Nathan Lienard

10/13 - Rootz EQ

10/14 - Jim Masters

10/15 - Marie-Claire Evans

Open Mic Nights

Mondays - South Beach Grill

Mondays - Tap It Local

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

Hard psychedelic rock band Freedom Hawk releases its new album, “Take All You Can,” with a live show September 23 at The Bunker Brewpub in Virginia Beach.

Festival & Event Highlights

Staff Suggestions

Oktoberfest Celebrations

September 17 - O’Connor Brewing Company

September 17 - Wasserhund Chesapeake

September 17 & 24 - elation Brewing

September 18 - New Realm Brewing Company

September 23 - Big Ugly Brewing

September 23-25 - Maker’s Craft Brewery September 24 - Benchtop Brewing September 24 - New Realm Brewing Company

September 25 - a lewerks Brewing Co. October 1 - Cova Brewing Company October 1 - Bold Mariner Brewing

October 8 - Pleasure House Brewing October 8 - the Bier Garden, Portsmouth

Nash fest 757 September 17 town Point Park Details at festevents.or g

fall Punk Rock flea Market September 17 Smartmouth Brewing Company

Wednesday Wind Down September 21 Harrison Opera House l awn Details at vaOpera.or g

elizabeth River Gospel fest feat. fred Hammond, Kierra Sheatd, Bishop Hezekiah Walker September 24 town Point Park Details at festevents.or g

Neptune festival a rt & Craft Show September 30 - October 2

Oceanfront Boardwalk between 20th & 31st Streets Details at neptunefestival.com

international Sand Sculpting Championship

September 30 - October 2

Between 6th-8th Streets at Oceanfront Details at neptunefestival.com

Proteus festival September 30 - October 8 Zeiders a merican Dream theater Details at thez.or g

Smartmouth 10th Birthday Bash September 30 - October 1 Smartmouth Brewing Company

Neptune festival Grand Parade

October 1, 11:30 a M

Between 16th & 32nd Streets on atlantic ave. Details at neptunefestival.com

Neptune’s Surfing Classic

October 1-2, 7:30 a M

On the beach at 2nd Street Details at neptunefestival.com

Chelsea West fest

October 1, Noon - 6 PM Space at Orapax/Boissevain avenue Details at Hope-House.or g

33rd a nnual Children’s festival October 1 town Point Park Details at festevents.or g

the 45th a nnual ODU l iterary festival “Sustaining Community” October 2-6 full schedule at odu.edu/litfes t

fusion l atina: Hispanic Heritage Dance Celebration October 3 tCC Roper Performing arts theater

Domestic v iolence awareness Month Candlelight v igil October 3

Samaritan House Details at samaritanhouseva.or g

Nightcap at the Museum October 7 & November 4 Hermitage Museum & Gardens Details at thehermitagemuseum.or g

neptune Festival Art & Craft Show happens September 30 through October 2.

Bishop Hezekiah Walker will appear as part of the Elizabeth Rive Gospel Festival September 24

Go Different

(continued from page 82)

Red Show at The Zoo

October 8 Virginia Zoo Details at rmhcnorfolk.or g

Phoebus Fall Festival October 8, 10 AM - 6 PM Mellen street/Phoebus

Broadway Under the Stars October 8

The American Theatre Details at HamptonArts.or g

Norfolk Greek Festival October 13-16

Annunciation Greek Orthodox Cathedral Details at norfolkgreekfestival.com

Stockley Gardens Fall Arts Festival October 15-16

Stockley Gardens/Ghent Details in center spread of this magazine or hope-house.or g

Fall Fest at COVA October 15

COVA Brewing Company Details at covabrewco.com

34th Annual Fall Town Point Virginia Wine Festival October 15-16

Town Point Park Details at festevents.or g

Benefit By The Bay

October 16 Cape Charles Details at artsentercapecharles.or g

Antiracism in the Arts Symposium October 18

Old Dominion University Details at ODU.edu

NEON Festival

October 20-21 Norfolk arts District Details at NeonNFK.com

Virginia MOCA’s 66th Annual Boardwalk Art Show

October 21-23

17th Street to 31st Street Details at virginiamoca.or g

Ghost Walk October 28

Olde Towne Portsmouth Details at visitportsva.com

Fangtastic Festival October 29

Strawberry Street/Cape Charles Details at artsentercapecharles.or g

Red, White & Brews

November 19

Suffolk Center for Cultural Arts Details at suffolkcenter.or g

the crowd in beautiful Town Point Park October 15-16 for the Fall Town Point Virginia Wine Festival. Photo courtesy Visit Norfolk.

Charities Benefit From Beer Event

757 Battle of the Beers celebrates 10 years in September

by Jeff Maisey

Over the last decade, craft beer festivals have come and gone in the Hampton r oads.

Today the 757 battle of the beers, celebrat ing its 10th anniversary on September 24, is the longest running beer event in the region.

The 757 battle concept was developed by two Virginia beach businessmen — Shawn Fischer and Andy beale — who formed the beach Ambas sadors as a non-profit organization whose mis sion is solely to raise money for local charities.

“ The concept came together over evening beer-storming, I mean brainstorming, sessions,” explained beale. “In late 2012/early 2013, craft beer was just starting to be a thing in Hampton roads, and we saw how people were accepting of the movement early on. There weren’t very many festivals out there that brought all the lo cal craft producers at that time, and we decided the timing was right to showcase local beer and raise some money for charity at the same time. The first event was held in early August 2013 at Tapped Gastropub in Hilltop and Alewerks, back bay, O’Connor, beach brewing (now reaver beach), Smartmouth, St. George and Young Vet eran’s were the first participants.”

In its first nine years, this event alone has raised just over $210,000.

“b y our count, 22 unique charities have ben efitted financially from this event,” shared Fis cher. “Our charities St. Mary’s Home and Hope House Foundation, plus another 20 chosen by the brewers. This year, we will add charity do nations for 2nd and 3rd place category winners so the number of charities who benefit will cer tainly increase moving forward.”

The way charities benefit from 757 battle of the beers is multi-fold. The primary chari ties championed by beach Ambassadors receive funds resulting from ticket sales and sponsor ships. each participating brewery has a named charitable organization they hope to help by win ning one of the competitions — People’s Choice, brewers’ Choice, and battle of the brewers.

For charities, the financial assistance is always welcomed and appreciated, but so to is the exposure and awareness the event brings to their non-profit organization.

“Inclusion for people with disabilities can be defined as a sense of belonging, feeling re spected, feeling a level of energy and commit ment from one’s community. As one of the ben efiting charities for this event brings all of this together and raises awareness to a large group of community minded people who understand the impact of true community inclusion. We are beyond thankful to be part of such a wonderful event,” said elena Montello, Director of Devel opment, Hope House Foundation in Norfolk.

Craft breweries have long taken great strides to help non-profits in their communi ties, and many say this is an important aspect of the 757 battle of the beers worthy of their con tinued involvement.

“For me it’s the main reason to be involved in a festival,” said Charles “Drew” Stephenson, owner/head brewer, Pleasure House brewing of Virginia beach.

“It gives meaning to the event and we love hav ing the opportunity to support our chosen charity,” contributed the entire staff at big Ugly brewing.

“I’d say it’s an added bonus to the event, not only is it fun and exciting to have friendly com petition but knowing that charity is a focus of the event makes all the work and effort for the event worth it,” shared Ulyana Wingard, found er, The Garage brewery in Chesapeake.

“It would not be what it is as an event with out the knowledge that it’s all for the benefit of some of our favorite charitable organizations,” agreed Jeramy biggie, president, Common wealth brewing Company.

elaborating further, Aaron Holley, owner/head brewer of Wasserhund brewing Company, had this viewpoint to share: “This is one of the only events in the area that is completely charity based. Was serhund opened on the idea that we should give

money back to the community that supports us by giving 5% of revenue to local charities. We now do 30% of revenue from 5pm-10pm every Thursday. I can support any organization that is giving back to our Hampton roads community.”

As for the beer competition aspect of the 757 battle of the beers, each of the 40-plus brewer ies exclusively from the Hampton roads region enters two unique beers. A panel of selected brewers participate in a blind taste test to pick the overall best beers. This year there’s be a first, second, and third place in this brewers Choice Award category.

The general public attending are asked to vote for their favorite in the resulting People’s Choice Award category.

because of the nature of the events, the word “competition” hardly applies, and every in the end cheers on the winners.

“ We love that there is so much participation from the breweries, almost everyone joins this event,” shared Team big Ugly. “The event is fo cused on the breweries and sampling and ‘good fun.’ The camaraderie is felt between the brew eries and the brewers.”

“It’s an incredible opportunity to showcase your best beers, but most importantly it’s incred ibly fun and really emphasizes that the 757 craft beer market is a true community,” said Wingard.

In total agreement, biggie said, “This one brings everyone in the industry together in the spirit of friendly competition, but with a focus on helping others in need.”

Said Phil Shannon, National Accounts Man ager, New realm brewing Company in Virginia beach: “It is a rare opportunity to get together with all the breweries in the 757, try each other’s beers and share our passion for brewing with lo cal craft beer fans.”

As for the recipe for success regarding the 757 battle of the beers, beach Ambassadors cofounder Shawn Fischer shared this: “I think that the uniqueness of this event in featuring only lo

Confirmed returning breweries in clude Alewerks Brewing Company (Wil liamsburg), Back Bay Brewing Company (Virginia Beach), BenchTop Brewing Com pany (Norfolk), Big Ugly Brewing Compa ny (Chesapeake), Billsburg Brewing Com pany (Jamestown), Bold Mariner Brewing Company (Norfolk), Bull Island Brewing Company (Hampton), Caiseal Beer & Spi rits (Hampton), Cape Charles Brewing Company (Cape Charles), Coastal Fermen tory (Newport News), Commonwealth Brewing Company (Virginia Beach), COVA Brewing Company (Norfolk), Deadline Brewing Project (Virginia Beach), Elation Brewing Company (Norfolk), Farmhouse Brewing Company (Virginia Beach), The Garage Brewery (Chesapeake), MoMac Brewing Company (Portsmouth), Nan semond Brewing Station (Suffolk), New Realm Brewing Company (Virginia Beach), O’Connor Brewing Company (Norfolk), Oozlefinch Beers & Blending (Fort Mon roe), Pleasure House Brewing Company (Virginia Beach), Precarious Beer Project (Williamsburg), Reaver Beach Brewing Company (Virginia Beach), Rip Rap Brew ing Company (Norfolk), Smartmouth Brewing Company (Norfolk), St. George Brewing Company (Hampton), Thin Brew Line (Virginia Beach), Tradition Brewing Company (Newport News), Vibrant Shore Brewing Company (Virginia Beach), Vir ginia Beer Company (Williamsburg), Wasserhund Brewing Company (Virginia Beach), Wharf Hill Brewing Company (Smithfield), and Young Veterans Brew ing Company (Virginia Beach).

Confirmed new breweries include 1700 Brewing Company (Newport News), Cap stan Bar Brewing Company (Hampton), Nost Brewing Company (Fort Monroe), Three Notch’d Brewing Company (Vir ginia Beach), and the soon-to-be-opening Studly Brewing Company (Chesapeake). Sly Clyde Ciderworks (Hampton) will rep resent the cider category.

cal brewers and benefitting local charities has done wonders for keeping the event relevant and in growth-mode. The growing local brew ing landscape has also helped. We really had no idea that the 757 could support more than 10 lo cal brewers, let alone 40. It is also super helpful that the brewers support the event directly by assisting in planning, ticket selling, and schedul ing. While certain distributors help us get ready for the event, it’s mainly the brewers who pull it off themselves. This is unique in the beer festi val world where festivals are typically unique to certain distributors. With this, everyone seems to come together to make it happen.”

EDITOR NOTE: VEER Magazine is a continuing and active partner in the 757 Battle of the Beers.

Back in 2019, award-winning brewers from Big Ugly, Deadline and Benchtop share a fun moment promoting Beach Ambassadors’ 757 Battle of the Beers. Photo by Eye of the Storm Photography.

DrINK beernews Local Breweries win Awards

by Marshall Hanbury Jr.

Fourteen craft breweries from Hampton roads scored medals — gold, silver, or bronze — when the Virginia Craft brewers Guild (VCbG) announced the 2022 Virginia Craft beer Cup winners in august at Hardywood Park Craft brewery’s West Creek location. Norfolk’s bench top brewing Company was the biggest local win ner with one gold and two silver medals.

This year’s competition was managed by Head Judge, Charlie Harr, and took place at Old Ox brewery in Ashburn, Virginia. A record 106 breweries competed in this year’s competi tion. brewers were able to submit up to four beers to be judged in 33 different categories. A record 396 beers were entered in the competition.

“Wow, what a great competition,” said Harr. “It was clearly evident in the tight race that ev ery brewery is extremely dedicated to the craft and their dedication is inspiring. This year’s competition proves Virginia has some of the best craft brewers in the nation.”

Following are our award winners from the 757 region.

GOLD

Makers Craft brewery, bragadocious (Alterna tive Grains category)

Tradition brewing Company, Tradition Honey brown (brown Ale category) benchtop brewing Company, Trial of Dmitri (e xperimental category)

Precarious beer Project, Chug rug (IPA category) Nansemond brewing Station, Golden e xpress belgian Singel (Monastic Ale category) Alewerks brewing Company, Chesapeake Pale Ale (Pale Ale category)

Wasserhund brewing Company, Zero Tolerance (Strong european Lager category)

St George brewing Company, Honey Mead Lager (Vegetable/Spice category)

sILV e R

bold Mariner brewing Company, Lucky Cat (Alternative Grains category)

benchtop brewing Company, r ice Cubed (e xperimental category)

benchtop brewing Company, blanc Water (Specialty IPA category) big Ugly brewing, Hot Pursuit (Fruit category) The Virginia beer Company, Saving Daylight (German & American Wheat category)

BROn Z e

The Garage brewery, rusted Nail Amber Ale (Amber Ale category)

Caiseal beer and Spirits Co., r ed Ale (british bitters category)

Alewerks brewing Company, Protocol Porter (Porter category)

Cova brewing Company, Coffee Snob (Vegetable/Spice category)

nansemond Brewing station shines in national Competition

And the silver medal for best-of-Show goes to… Suffolk, Virginia’s Nansemond brewing Station.

Mystic Maiden Heather Ale, a Scotch ale brewed with Scottish heather flower and honey, was all the buzz at the National Honey board’s Honey beer Competition in Colorado. In addition to its second overall award, the beer won gold in the General Ales category.

And that’s not all: Nansemond brewing’s Hubs beenut butter took bronze in the Amber/ brown Ales category.

smartmouth Turns 10

Smartmouth brewing Company will celebrate its 10th anniversary on Saturday, October 1 with a street party at its Norfolk headquarters from noon until 10 PM. Among the live music performers are Paper Aliens, The Fuzz band, Jonah ross, and the world’s best beer-themed band — e soteric r amblers.

During the course of the past decade, Smartmouth gained national and statewide acclaim for its West Coast-style IPA, a Lucky Charms-inspired, magically delicious “breakfast” brew, and a pilsner called Safety Dance, which won an overall best-of-Show from the Virginia Craft brewers Guild’s annual competition.

Head brewer Chris Richards has nansemond Brewing station delivering some hardware.

Oktoberfest Beers Abound

Compiled by Staff

If beer has a national — make that multinational — holiday then surely it is Oktoberfest. Celebrations and beer brewed specially for the occasion abound, including right here in Hamp ton roads.

So how did it all begin?

Way back on October 12, 1810, King Ludwig I married Princess Terese of Sax-Hildburghausen in Munich, Germany. Citizens of the city were in vited to celebrate the festivities, which included 15th-century-style horse racing. Held in the fields outside the gates of Munich, the celebration be came an annual event with a parade, carnival booths, games, bavarian dancing and music.

This year’s Oktoberfest celebration in Ger many began September 17 and is set to conclude October 3. Traditionally, the Mayor of Munich taps the first keg of beer and then the non-stop Oktoberfest beer drinking can begin.

Interestingly, only beer brewed within Munich city limits and conforming to the reinheitsgebot can be served at the Munich Oktoberfest. The of ficial Oktoberfest beers come from just six brew eries: Spatenbrau, Paulaner, Hofbrau, Augustinerbrau, Hacker-Pschorr brau, and Lowenbrau.

In Virginia, Oktoberfest celebrations hap pened mostly in late September, but there are a few that will continue in October.

If Oktoberfest slipped your mind, no need to worry. Consumers can enjoy Oktoberfest-style beers throughout the fall season thanks to an

Alewerks has an authentic Oktoberfest planned and a beer for it on September 25.

ample supply of Marzen beers brewed within the 757 region.

Following are but a sample of what you’ll find at local breweries, restaurants, and retail shelves.

Celebrate Oktoberfest. Prost!

Young Veterans Brewing Company (Virginia Beach)

Oktoberfest Prost Pals!

Young Vets brewers Tom, Jeremy, and Andy are featured here on this illustrated label, and we absolutely love the spirit it conveys.

Here’s how they describe their brew: “With malted barley and yeast hailing from the An dech’s region of Upper bavaria to honor the mod ern traditions of what is served at Munich’s Okto berfest, this golden straw colored beauty has an impeccably crispy malty backbone with a clean finish and deliciously fluffy white foamy top.”

Big Ugly Brewing

Schitzengiggle

The Chesapeake brewery will release its festive Marzen on September 23 during its Oktoberfest. enjoy it served in a limited edition wood mug and pair it with German food and event T-shirt.

New Realm Brewing Company

The Bavarian Prince

A classic Marzen style Oktoberfest with deep amber color, european malty flavors and aro mas with a balanced floral hop character. Named for Crown Prince Ludwig, the honoree of the first bavarian Oktoberfest celebration. brewed in the German tradition, it’s perfectly easy-drinking at 6.3% A bV and it goes as good in a stein as it does in a boot.

Young Veterans Brewing Company produced a fun label for its Oktoberfest beer.

St. George Brewing Company (Hampton)

Oktoberfest

For nearly 30 years, St. George brewers have fo cused on the traditional beers styles of Europe that influenced the decade-old Renaissance of craft beer. Not surprising, this Oktoberfest beer is a true Marzen and an absolute delight to drink. Packaged in 12-oz cans and available on draft.

Wasserhund Brewing Company (Virginia Beach/Chesapeake)

Oktoberfest Lager

Known for their focus on German-style beers, Wasserhund traditionally goes all-out for Ok toberfest and this year is no exception. And speaking of exceptional, grab a 4-pack of their canned Oktoberfest Lager, built with the malt character that gives a lager the full body you expect. 6.3% ABV.

Nansemond Brewing Station (Suffolk)

Geisterbahn Festbier

According to the brewers, “Clocking in at 6.1% this smooth easy drinking Festbier lends to the perfect blend of malt and bitterness. Golden in color this bier has notes of toast and a touch of honey on the nose. Upon tasting you may notice notes of spice and pepper due to the Perle Hops used in the brewing process.”

Elation Brewing (Norfolk)

Fiestbier

A rich, smooth malt backbone paired with an earthy and floral hop character make for a most quaffable treat. Aromas of cedar and leather meld beautifully with a sweet bread dough maltiness. 6.5% ABV, 20 IBU.

The Garage Brewery (Chesapeake)

Attack of the Marzens

A classic staple of the Bavarian festival, this Märzen invades your mouth with a balance of toasted-malty sweetness, a bouquet of German

noble hops, and a slightly dry finish.

The Bold Mariner Brewing Company (Norfolk) Festbier

Bold Mariner will release its Festbier on October 1 as part of its day-long Oktoberfest.

O’Connor

Brewing

Company (Norfolk)

Imperial O’Ctoberfest

Grab a can of the malty, powerful 8% ABV Marzen-style lager at the brewery tasting room.

Alewerks (Williamsburg) Oktoberfest

Alewerks has set September 25 for its onsite Oktoberfest and will serve its malty version of the beer. Chef Hans Schadler will be serving up traditional German food. Tickets are $75 and in cludes food, beer, wine and live music.

Pleasure House Brewing (Virginia Beach) Oktoberfest

Pleasure House will host its Oktoberfest and serve its Marzen on October 8 in a fundraising ef fort benefiting CHKD. Drink for a good cause.

Maker’s Craft Brewery (Norfolk) Oktoberfest

Maker’s will celebrate Oktoberfest on Septem ber 23-25 with German food, music, games, and several specialty Oktoberfest beers.

The Virginia Beer Company (Williamsburg)

Oktoberfest

The brewery has produced its annual Marzen la ger, and best of all you can purchase a half-litre glass boot to drink it Fest-style.

Benchtop Brewing Company (Norfolk)

Festbier

Benchtop is releasing a Foeder-aged festival lager designed for easy drinking at 5.3% ABV. Their Ok toberfest celebration is scheduled September 24.

The Garage Brewery appears is in the spirit of the season. Their Octoberfest event is slated for October 1.

Quemar’s Vegan Menu is on Fire

By Betsy DiJulio

a n open kitchen with a wood fired grill is not all that smolders at Quemar. The namesake smokiness is this restaurant’s signature, lending distinction and a nu anced layer of flavor to the cuisine while wrapping diners in a subtle mouthwatering aroma. But the interior décor of the lounge, restaurant, and patio is as sultry and seduc tive as the menu.

The synergistic progeny of good friends John Stein, of Baker’s Crust fame, and Kelly and Brian Large, aka Kelbri, Quemar is a celebration of the cuisine of South a mer ica—plus Mexico and Central a merica— style, and smoke. Though Chef evan Drake didn’t set out to create a vegan menu, he

wanted the plant-based people in his life— as well as his mostly vegetarian wife—to feel as welcome as carnivores. So the menu happened organically and leans into dishes that are naturally vegan like mole verde, which doesn’t need dairy to burst with rich, satisfying flavor and texture.

Infatuated with Latin america, through which he tasted his way for 10 months, and classically trained at the Leiths School of Food and Wine in London—he had met a British gal in Mexico and chose the school to be near her, now his wife—Drake calls the menu at Quemar “an amalgamation of a lot of things.” Though he never studied Latin cooking formally, he pursues it as a passion and a reflection of how

he likes to cook and eat.

In addition to not-your-garden-variety— though certainly garden-fresh—chips, salsa, and guac, the vegan menu features six other plant-based dishes which embrace the res taurant’s commitment to from-scratch dish es painstakingly crafted from authentic in gredients like tortillas made from imported ancient heirloom varietals of corn.

Drake claims that deceptively simple dishes like Smashed Beets are all about time over the coals. “Fire gives it every thing,” he insists. I will give the fire its due, but also the chef who describes the dish as a riff on a rgentinian food he had read about: simple grilled vegetables tossed in a vinaigrette. For his version, Drake com bines tender mustard greens, which “take on a whole new life when they are grilled,” with smashed beets—poached before they are grilled—and tosses them in a red wine vinaigrette. If the dish sounds meh, trust me, it is more than the sum of its parts.

In addition to the beets, I sampled the Loaded Yuca Frita, a rustic-elegant ver sion of loaded fries. actually, they bear no resemblance. Perfectly crispy-on-the-out side-creamy-on-the-inside chunks of fried yuca are set-off by mouth-puckering pickled red onion and jalapeño, a perfect foil for the pleasingly unctuous yuca. Chimichurri, my favorite condiment of all time, guilds this lily, along with a sauce containing avocado, to which I am allergic. Without missing a beat, the kitchen subbed a roasted salsa verde that I would happily sip through a straw.

My third taste was of Charred Chayote Squash. Drake describes this typical Mexi can squash as possessing body and texture that some summer squashes lack. Served with red rice and those addicting grilled mustard greens, the squash is bathed in a pistachio and poblano-forward mole and accented with a grilled orange wedge about which I still fantasize.

I look forward to returning for the Chay ote enchiladas, grilled a sparagus, and even the Mixed green Salad which replaces tomato, croutons and ranch dressing with apple, cucumber, pickled onions, and pepi tas kissed by a roasted jalapeño and agave dressing.

To be honest, I would probably be per fectly content sipping on a flight of sauces and dressings, but you may not want to miss sampling a cocktail at the Bar Tranquila, an anchor of the lounge. virtually all liquor and spirits made without cream—including tequila—are vegan-friendly. We dined on the lounge side, seduced not only be the vibe, but by the warm and helpful bartender who

doubled as our server and saved the day. The only notable drawback to my vegan experi ence was discovering that valet parking is required in the tiny lot, a function of a veri table onslaught when Quemar first opened. When we explained that none of us carries cash, she said we could simply add an addi tional $5 to our tips in exchange for a fiver for the valet. Crisis averted.

In every way, the interior of Quemar no longer bears any resemblance to the erst while and beloved Bella Monte which occu pied the space at the corner of Birdneck and Laskin Roads in virginia Beach for decades. What do you do when you want to carve what is arguably one of virginia Beach’s most styl ish spaces out of what was surely one of the Beach’s most traditional spaces with a 1990s vibe? Partner with an Occupational Thera pist, of course. While Kelly Large’s quarter century as an OT who loves to cook left no time for formal design training, she has an eye—and a brain—for interior transforma tion. But she and her developer husband, Brian’s, former projects were residential.

Though she modestly claims the design “from the back of the house to the front door” just “fell together” and is quick to credit her team, including Brian, Drake and, of course, Stein, it only did so because of painstaking planning and procuring, not to mention prayer. The whole process, which she terms “a blur,” began at the High Point Furniture Show in October 2021.

Four large rugs—two on the floor and two on the wall—and four shipping contain ers later and the design had taken shape. The style defies easy categorization with dark walls, but lots of diffused light, and rich colors and textures like burnt orange velvet. a nd it skews bohemian-industrial modern with a hint of global chic. a ll the wood components—except the two existing reclaimed wood walls—and there is a lot of it, are the handiwork of artisan, Jeff Shaub. The graffiti—yes, graffiti—which started as an assumed joke was made to work by their friend and artist, Silas Baker.

a nd the rattan monkey, well, if anyone has information about it, Team Quemar would really like it back. But monkey or no monkey, you should treat yourself to a night of Latin-inspired cooking and loung ing, including in the living room-style patio spaces with their nod to South Beach in the heart of v irginia Beach.

WANT TO GO? Quemar Wood-Fired Cocina and Bar Tranquilo, 1201 Laskin Road, Suite 100, Virginia Beach, 757.965.2066, www. quemarcocina.com .

arts @odu

ALLiGATER HELLHOUND —

On view Aug. 30 – Dec. 17. Free reception

Sept. 8, 6 – 8 p.m. This exhibition features selections from hundreds of selftaught artworks in the permanent collection of the Baron and Ellin Gordon Art Galleries. With many works made from found and repurposed materials, and with their visual commentary on communities and the hellish costs of social ills, they support the theme of sustainability — social, environmental and economic — during ODU’s themed semester this fall. The exhibition likewise includes several candidates for future display across campus as public art. More at odu.edu/gordongalleries.

DesignHer: Works by Contemporary Women Graphic Designers

— On view Aug. 30 – Nov. 12. Free receptions Sept. 8 and Nov. 10, 6 – 8 p.m. DesignHer is an exhibition of contemporary graphic design focusing on women practitioners. Highlighting how women have been at the forefront of defining and challenging the conceptions of design, the exhibition presents a sampling of the various purposes design is put to in our culture and the motivations that prompted its use. Participants range from younger artists building a reputation to internationally renowned leaders in the discipline, and works range from individually crafted objects to mass media campaigns. More at odu.edu/gordongalleries.. l

Sustaining Community — Oct. 2 – 6. Join us for the 45th Annual ODU Literary Festival as we celebrate literature’s capacity to forge and preserve community, work that examines the ways we live in relationship to one another, and remarkable writers who sustain and are sustained by the communities in which they live, work and make.

Full schedule at odu.edu/litfest.

designher

Old Dominion University, located in Norfolk, is Virginia’s forward-focused public doctoral research university with approximately 24,000 students, rigorous academics, an energetic residential community and initiatives that contribute $2.6 billion annually to Virginia’s economy. On campus and online, ODU is Virginia’s most affordable public doctoral university.

september 2022