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Jordan Wright
Feb 25, 2013
Special to The Alexandria Times
 Cast of The Tempest; photo by Johnny Shryock There is only one way to grok Synetic’s ‘Silent Shakespeare’ productions and that is to give your self over, heart, mind and soul, to the fantasy unfolding upon the stage. Because like a steamy love affair, Synetic’s style of theatre is a paean to passion with no holds barred. It’s total surrender without a net. There is neither map nor compass, nor sheet music nor gyroscope, to guide you – even for The Tempest, a tale you thought you knew. But in the time it takes one thunderous lightning bolt to reach earth, Synetic has entered your brain space and there is no turning back.
The play opens to a breathtaking set designed by Anastasia Rurikov Simes. The entire stage is an island of 2,500 gallons of six-inch deep water. As Artistic Director, Paata Tsikurishvili, announced on opening night, “This set is extremely dangerous and extremely difficult to perform on,” further evidence that Synetic’s alternate universe, filled to overflowing with technological wizardry, is a perilous experiment. In 2010 Synetic employed this same technique in its production of King Arthur and people have been raving about it ever since.
We enter this watery world with the appearance of Prospero (Phillip Fletcher) cutting an elegant swath through the mist – the backdrop lit by the swirling amorphous shapes of a ferocious storm and draped with diaphanous torn sails of a ship run aground. Ocean waves crash cacophonously against the island’s cliffs and eerie electronic music swells in the distance. A piano sits off to the side, its keyboard a waterfall under which Caliban retreats. A light box held by Prospero to reference his precious books, pulses in shades of red and pink.
Soon the two meet and lock in a ferocious battle as sprays of water spew across the stage and onto the first three rows known as the “splash zone”. No worries. Courtesy ponchos are graciously provided.
 Ryan Tumulty as Alonso and Philip Fletcher as Prospero; Irina Kavsadze as Miranda and Scott Brown as Ferdinand (in background) photo by Johnny Shryock Dan Istrate, one of the leading luminaries of Russian theatre, guest stars in his role as the pop-locking Ariel, clad in an anime-inspired costume deserving of the Silver Surfer, and designed by, yes, Simes again, who does triple duty with set, costumes and properties. Irakli Kavadze is outstanding as Stephano, the drunken captain, as are the sensuous sylph-like Irina Kavsadze as Miranda, and Vato Tsikurishvili as the brutish Caliban.
An overall sense of magic and mysticism pervades every riveting aspect of this production where dizzying acrobatics, flips, somersaults and ballet combine with the elements of water, sound and light to give the audience an electrifying rendition of Shakespeare without words, an unparalleled near-psychedelic experience, dotted with Gangnam style, Latin salsa and waltz, including a synchronized nod to Busby Berkeley.
Highly recommended.
Through March 24th at Synetic Theater, 1800 South Bell Street, Arlington in Crystal City. For tickets and information call 1 800 494-8497 or visit www.synetictheater.org.
Jordan Wright
February 11, 2013
Special to The Alexandria Times
 A tight-knit band of boarding school students (from left: Alex Mills, Joel David Santner, Jefferson Farber, and Rex Daugherty) uncover a secret copy of the banned play “Romeo and Juliet” in “Shakespeare’s R&J,” Photo: Teresa Wood. If you had in mind a romantic tale about two star-crossed lovers, the beautiful Juliet and her thwarted Romeo, only part of your fantasy will be realized…that would be the part about the star-crossed lovers. In Adaptor/Director Joe Calarco’s Shakespeare’s R & J, a modernist reinvention of Shakespeare’s classic drama, four young men who live by the strict rules and regulations of a boy’s Catholic boarding school, play all of the characters.
His edgy version of the tale has the rambunctious blue-blazered preppies asJuliet, Nurse, Lady Capulet, Lord Montague, Romeo, Tybalt et alia in an interpretation that will blow your breeches off, if you get my drift. The play begins when the students discover an illicit copy of Romeo and Juliet that they agree to act out amongst themselves. Calarco has woven some contemporary bits of dialogue into the original. But the play’s still the thing, if not the players.
Set designer James Kronzer’s simple coffered ceiling-surround frames the rigorous, near militaristic, life of bells and classes, prayers and confessions against the Ten Commandments and Latin conjugations. In this isolated social laboratory the young men recite cautionary homilies describing the differences between the sexes. It is only after dark, when they extricate the book from its cache beneath the floorboards and take on the character’s roles, that their individual personae emerge, freed from the discipline of the institution. At first they revel in Shakespeare’s double entendres, the sexual references scattered amid the romantic prose, and play those to the hilt – four schoolboys displaying their childish glee is predictable. But then their individual characters come into focus and we begin to see a clearer definition of their hidden frustrations and yearnings.
There is whooping and hollering, nipple tweaks, roughhousing and campy high-voiced interpretations of some female characters – these are boys after all. And then there are the love scenes – most assuredly not for the prudish.
 Two students (Alex Mills, left, and Joel David Santner) get caught up in their reading of “Romeo and Juliet” ,” Photo: Teresa Wood. The production starts out slowly, perhaps too slowly, but becomes rivetingly alluring, though there is a certain constant wide-eyed emotiveness to the delivery of the lines that lacks interstitial relief. It is in-your-face Shakespeare forsooth. But therein lies the rub. It’s actually exciting to see a Juliet that is assertive, aggressive and demanding of her lover; a Romeo that is muscular, passionate and sexual; and a production that is tremendously physical. One wonders how they will keep up such dizzying athleticism throughout the run.
Yet be assured that tempus fugit when you’re condensing an entire play in one fell swoop. There is no nudity, but the imagination does what the imagination does, and a few buff bare-chested men and a silky red 15-foot length of cloth can create a world of gender-bending fantasy encompassing both violence and love.
Presenting Shakespeare is a first for Signature Theatre and this one makes for an explosive debut. Chris Lee has created magnificently atmospheric lighting, once dropping down a framework with hundreds of candles to border the stage, in another scene creating a prison wall of pin lights to pair with sound designer Matt Rowe’s often eerie sometimes thunderous sound concepts.
 One of a tight-knit band of boarding school students (Alex Mills) attempts to express himself through poetry Photo: Teresa Wood. Actor Alex Mills, who performs regularly at Synetic Theater, where their silent Shakespeare series affords him few lines, is outstanding. Along with Joel David Santner, Rex Daugherty and Jefferson Farber they make up the compact but spectacular cast.
Through March 3th 2013 at Signature Theatre (Shirlington Village), 4200 Campbell Avenue, Arlington, VA 22206. For tickets and information call 703 820-9771 or visit www.signature-theatre.org.
Jordan Wright
January 28, 2013
Special to The Alexandria Times
 Lori Williams, Anthony Manough, Yvette Spears, Sandy Bainum, Roz White Photo credit: Christopher Banks The pioneering influence that Charlie “Yardbird” Parker made on the world of jazz, blues and bebop in the mid-twentieth century is the most inextricable part of his legacy. Blowing new sounds from his alto saxophone, he crafted a sound so original and so addictive that fans would do anything to “chase the music…just to hear what Bird heard”. Every hall of fame jazzman and jazz singer of the era brought their craft to Birdland, the eponymously named club in the heart of Manhattan, where they could marvel at Parker’s signature technique of playing the higher intervals of a chord for the melody, then backing it up with double- and triple-time extensions.
Jazz legends Dizzy Gillespie, John Coltrane, Miles Davis, Count Basie, Duke Ellington, Earl “Fatha” Hines, Stan Getz and Billy Eckstine played the club with Bird in those golden days along with the divine divas, “The First Lady of Jazz” Ella Fitzgerald, Billie “Lady Day” Holiday, Sarah “Sassy” Vaughan and Peggy Lee, each bringing the music to new heights with their unique vocal interpretations. Within the span of a decade Parker brought forth a sound so captivating, so under your skin and bones, that it galvanized American music and helped break down racial barriers as white celebrities from Frank Sinatra to Marilyn Monroe and Beat Generation author, Jack Kerouac, became regular denizens of the iconic club.
In the world premiere musical “Ladies Swing the Blues – A Jazz Fable” at MetroStage, Author, Director and Lyricist Thomas W. Jones ll in partnership with Composer, Arranger, Pianist and Musical Director William Knowles, who co-wrote five of the show’s original numbers have, through their divine collaboration, crystallized the essence of that era by portraying both the on-stage and behind-the-scenes lives of Birdland’s leading musicians from those heady days.
 Sandy Bainum, Yvette Spears, Roz White and Lori Williams – Photo Credit Christopher Banks Set in New York City the story features four female singers – Roz White as Lady, Lori Williams as Ella, Yvette Spears as Sassy, Sandy Bainum as Peggy, and Anthony Manough as Parker, better known by the nickname “Bird”, who are backed up by a sizzling hot five-piece band.
The story begins with Parker’s untimely but not unpredicted death at the age of thirty at the Stanhope Hotel apartment of his friend the Baroness “Nica”, scion of the Rothschild family. Parker had been living on the edge battling addictions throughout much of his career. He’s got the “junkie monkey” the ladies declare, trying to pinpoint what killed him. “All jazzmen die a mystery,” insists Ella.
As his ghost visits the women, they sing his memory through stories and song. If you like classics like Fever, Thelonius Monk’s Round Midnight, George Shearing’s Lullaby of Birdland plus twenty-three more evocative jazz numbers performed up close and personal, this show is for you. If there is mo betta’ singing in one show, I have yet to hear it. The vocals are mad crazy and the band with its ripping solos could uncurl an Afro.
To single out any of the performers as less than brilliant would be criminal. But it would be unconscionable not to spotlight Lori Williams, whose scattin’ Ella blew the roof off the theatre, and Anthony Manough’s Bird, whose octave-bending vocal range knows no boundaries. And who used his velvet voice to carve out a piece of the world, which, for all I know, he still owns.
Highly recommended.
At MetroStage through March 17th – 1201 North Royal Street, Alexandria, 22314. For tickets and information visit www.metrostage.org.
Jordan Wright
January 26, 2013
Special to DC Metro Theater Arts, Broadway Stars, and localKicks
It’s been a whirlwind of deliciousness since my last column. Umpteen restaurants have opened in the Metro area, most notably Ambar with its authentic Serbian chefs in a modern setting housed in an old brownstone on Capitol Hill; Suna, across from Eastern Market; and Bryan Voltaggio’s Range, which at 14,000 square feet is an astonishingly large undertaking for gourmet food. So far reviews are good. Not much to personally report as sadly I missed the recent press opening.
What’s New
 Range Restaurant – Potato Vodka In Dupont Circle the Russian-inspired Mari Vanna is getting a lot of buzz. Could it be the vodka or the Ovechkin-watchers? With outposts in London, Moscow and New York Mari Vanna has planted its Cossack boots firmly in DC. Where else could we get pirozhok, borsch and caviar with blini?
 Energy Kitchen Black Bean and Mango Salad and Cali Veggie Burger On K Street the 500-calories-or-less fast food concept Energy Kitchen has weight-watching office workers in its thrall. The healthy fast-casual resto developed by Anthony Leone and Randy Schechter plans an additional outlet in DC soon. Here smoothies are called “Smart Shakes” and have energy-boosting ingredients like fresh fruits, protein powder and yogurt. Add to that a wrap; veggie, turkey or bison burger; or a large salad and one of their low-cal sides like black bean and mango or creamed spinach and eating light and right never tasted so filling!
 The bar at Ambar – Photo by Jordan Wright The aforementioned Ambar is the much-anticipated restaurant from Richard Sandoval and Ivan Iricanin whose Balkan Peninsula style-cuisine is helmed by Serbian-born Executive Chef Bojan Bocvarov, Pastry Chef Danilo Bucan and Sous Chef Ivan Zivkovic. The restaurant plans a Valentine’s Day dinner of Roasted Squash Salad with mixed greens, panko-crusted mozzarella, crispy bacon and pomegranate dressing; Cheese Pie with phyllo, cucumber yogurt and red pepper spread; Roasted Mushroom Crepe with red pepper emulsion, béchamel and gouda; Veal Stew with kajmak and sautéed onions and carrots, as well as Sesame Crusted Atlantic Salmon with spicy eggplant jam, sesame crust and horseradish sauce. I certainly hope there’s a dessert in there somewhere.
Priced at $35 per person exclusive of tax and tip, couples select one drink each from the house red, house white, Mango Lemonade, Mojito Classic, Margarita Classic, Grappa Rakia, Corona or National Bohemian. Believe me one Mango Lemonade will cure what ails you, so you’ll be tempted to have a few. Follow your impulses!
 Nando’s Peri Peri in Old Town Alexandria – photo credit Jordan Wright In Alexandria Nando’s Peri Peri the South African-roots flavorama has opened an outlet on King Street and at National Harbor recently. Known for its flame-grilled chickens, fans choose sauces ranging from mild to I-double-dog-dare-you hot as accompaniments. Have it with some spicy garlic olives and sangria – that’s the Afro-Portuguese influence. The international concept restaurant chose the DC area for its US debut and it’s been going gangbusters ever since. Lesser known but just as yummy is the pea mash with parsley, mint and chili and the gooey grilled halloumi.
 Nottinghill Restaurant & Garden Area One of my new favorite spots is the super creative Asian-fusion Sushi Naru with its multiple sushi masters and sleek blond wood interior. Very flavor forward, if you like that kind of thing – and I do. Also in Old Town is the upscale Notting Hill, which slid elegantly into the former Le Gaulois space just a few weeks ago. The restaurant, proud of their local farm-sourcing, will reopen the pretty garden in spring but in the meantime is hosting the Saturday night sing-a-longs formerly at the now-shuttered Bistrot Lafayette.
 Old Town Theater owner Bob Kaufman on Opening Night and some of the evening entertainment – photo credit Jordan Wright It’s a hit! Old Town Alexandria has gotten its historic King Street theatre back and that’s no joke, unless of course you want to make something of it, which is what the upcoming talent intends to do. Comic relief is on the bill for the foreseeable future in the stunning and totally restored 1914 Old Town Theater. Ask about the hidden windows and secret stairway uncovered during the rehab. http://www.oldtowntheater1914.com.
Invasive Fish Gets Its Due
 Snakehead – Fish Upcoming is the “Snakeheads At The Harbour!” dinner at Tony and Joe’s to benefit Miriam’s Kitchen and the Oyster Recovery Partnership on Georgetown’s restored waterfront, the perfect metaphor for restoration and recovery. On January 28th top DC chefs Scott Drewno of The Source by Wolfgang Puck, Victor Albisu of Del Campo, Chad Wells of The Rockfish, Phillipe Reininger of J&G Steakhouse at The W Hotel, Adam Litchfield, from Cause The Philanthropub, Dennis Marron, of Poste Moderne Brasserie, David Stein, of Tony and Joe’s Seafood Place and Matt Day of Woodberry Kitchen will prepare a number of delicacies. All chefs will do their culinary best to turn the mighty snakehead into a palatable fish…as long as it doesn’t taste like chicken! Though the invasive beast is named in the event, there will be lots of sustainable seafood too, thanks to host ProFish. For tickets go to https://tonyandjoes.com/snakeheads-at-the-harbour-benefit-dinner/.
Annual Capital Wine Festival Kicks Off With a Grand Tasting
 Cured meats at The Fairfax Hotel’s wine event – Photo Jordan Wright The tony Fairfax Hotel at Embassy Row is gearing up for its annual Capital Wine Festival dinners in February and March and Nibbles and Sips was on hand for the grand opening reception Friday night. The ballroom held several stations related to the reds and whites. The meat station offered lamb loin and beef tenderloin, another had cured meats and local cheeses (loved the La Quercia prosciutto and Maryland cheesemaker Cherry Glen’s Monocacy Ash goat cheese).
 Cherry Glen Monocacy Ash goat cheese – Photo Jordan Wright At the seafood station, tailored to pair with the evening’s white wines, was Executive Chef Christopher Ferrier, who eight months ago dovetailed seamlessly into the hotel’s classically elegant yet modern dynamic. Ferrier served up a luscious smoked scallop seviche topped with baby celery sprouts, togarashi and a light sauce made from yuzu, lemon, lime and grapefruit juices with sriracha and served in a tiny scallop shell.
 Smoked Scallop Seviche – Photo by Jordan Wright Boutique California wines were offering generous pours. From Napa were Darioush, Miner Family Winery, Heitz Wine Cellars, Burgess Cellars, Patz & Hall, Pine Ridge Vineyards, and artisan winemakers Julie Johnson’s Tres Sabores Winery along with her son Rory Williams’ Calder Wine Company. From Italy’s Alba area, where the rare white truffles are hunted, came the classic wines from Pio Cesare who make the coveted Piedmontese barolos, barbescos, nebbiolos and barberas. These exceptional wines will be featured at the wine dinners. What a tease!
 The Ladies of Boxwood Winery – Photo by Jordan Wright Squeezed into the mix were two Virginia wineries, Boxwood whose wines are distinctly French-inspired, and Barboursville, known for winemaker Luca Paschina’s Italian styled wines. As I raved about Barboursville’s Octagon, and who doesn’t, the sommelier took out a bottle hidden behind a backpack and poured me a glass. Squeaky wheel gets the grease, as my mother used to say. Visit www.CapitalWineFestival.com for tickets and dates of the upcoming dinners.
Jordan Wright
January 15, 2013
Special to The Alexandria Times
 Marcus Fisk (Reg), Michael Gale (Malcolm), Rene Keith Flores (Marty), Ben Norcross (Ensemble), Dan Deisz (Teddy), Christopher Harris (Dave), and Michael Bagwell (Tony) – Photo credit to Shane Canfield One of the most astonishing things about Alexandria’s Little Theatre is their ability to mount a production as complex and energetic as The Full Monty, a strapping show with book by Terrence McNally and score by David Yazbek. No less than twenty-nine performers backed by a stellar sixteen-piece orchestra are in full throttle to give audiences fourteen great numbers for a terrific evening of theater.
Rachel Alberts and Carolyn Winters are back on board producing this sizzling hot musical comedy, as is Director Frank Shutts, a WATCH Award-winner who has directed 18 productions at The Little Theatre. Pair them with choreographer, Ivan Davila (kudos on his “Michael Jordan’s Ball” number), who won two WATCH awards for his work on Hairspray last year at the Little Theatre;the award-winning team of lighting designers, Ken and Patti Crowley; and costume designers, Jean Schlichting and Kit Sibley, and you have a powerhouse pack of theatrical pros.
 James Hotsko (Jerry), Daniel McKay (Buddy) and fans, Christopher Harris (Dave), Michael Gale (Malcolm), and James Hotsko (Jerry) – Photo credit to Shane Canfield For those unfamiliar with this British import, which was also a successful film, the American version is set in Buffalo and is a story of out-of-work, out-of-options mill workers and their wives. The fun-loving wives, who are still employed, spend their girl’s-night-out dollars at a local Chippendales strip club.
One night best friends Jerry and Dave sneak into a bathroom window at the nightclub only to overhear their wives talk about the lack of spark in their marriages and the sexy strippers. “All those men. All those meat!” Dave’s wife Georgie exclaims. Defeated and deflated, the guys decide that they too have the goods as well as any other man and agree to join forces to stage their own show. Fifty thousand dollars is the take for the night, enough to pay off Jerry’s child support and Dave’s bills. They confab with the evening’s talent, a gay man who goes by “Buddy”, to divine some tips. They decide it’s all just bump-and-grind and manly attitude.
The sports-loving, butt-scratching couch potatoes decide to audition a few other guys to fill out their act and hire the ex-plant manager slash dance hall teacher Harold Nichols to teach them some sexy moves. “Do you know what a pelvic thrust is?” Jerry asks the sensitive rail-thin Malcolm. A more motley group of out-of-shape candidates could not be imagined. “First we gave the world Buffalo wings. Now we’re gonna give ‘em Buffalo wieners!” they concur. The plan is for them to take it all off, right down to the “business”.
 Michael Gale (Malcolm) and Mary Lou Bruno (Molly) – Photo credit to Shane Canfield Malcolm Lee plays a memorable Noah “Horse” T. Simmons. In the “Big Black Man” he transforms himself from a cane-carrying geezer who does the Monkey, the Mashed Potatoes and the Moonwalk to garner a part in their revue. “What’s the use of a big bundle,” he crows, “if you need a walker to carry it around!”
First rate performances by this gifted cast – James Hotsko as Jerry Lukowski; Annie Ermlick as the Latin firecracker Vicki Nichols who tears up the stage in “Love That Man”; Christopher Harris as the lovable loser Dave Bukatinsky; Jack Stein as Harold Nichols; Jennifer Strand as Jeanette Burmeister, the street savvy ex-actress; Keith Miller as Ethan Girard; Michael Gale as Malcolm MacGregor; Cara Giambrone as Georgie Bukatinsky; Amy Conley as the sassy Pam Lukowski; and Colin Cech as Jerry’s kid Nathan Lukowski.
The music in this show is fabulous – the ballads and duets, tender tearjerkers – the showstoppers, big and brassy. Leave your delicate sensibilities at home. This “Monty” is a rip-roaring naughty riot.
Highly recommended.
Through February 2nd at The Little Theatre of Alexandria, 600 Wolfe Street. For tickets and information call the box office at 703 683-0496 or visit www.thelittletheatre.com
Jordan Wright
January 11, 2013
Special to The Alexandria Times
 SinS
Iris Dement’s singing voice can best be described as the mournful sound of a dove, the backwoods twang of Appalachia, and having what is known in the industry as a “cry” in her voice reminiscent of Patsy Cline. The woman’s got soul – White soul – though she was once classified with a Grammy nomination for the Best Contemporary Folk Album category.
So I was somewhat taken aback when I reached her by phone last week in her Iowa home, where she has lived for the past five years with her singer/songwriter husband, Greg Brown and she spoke with an accent as pure and American as a television anchorwoman. I asked her where her accent comes from when she sings and she explained, “You know I grew up listening to a lot of country music and that’s the music that rubbed off on me. That’s where I actually go and always have. I don’t think it’s like anything in particular. I don’t know what it is. It’s my accent. It’s just me. I grew up in a house full of Southerners in California and I listened to all kinds of music but I’ve always leaned towards country.”
It’s been 16 years since DeMent last put out an album, if you don’t include Lifeline, released in 2004 in which she covered well-known gospel tunes with the exception of He Reached Down, an original composition. During a career spanning over a quarter of a century, she has sung with some of the greats like Ralph Stanley, John Prine and Emmy Lou Harris, and made frequent appearances on Garrison Keillor’s radio show, A Prairie Home Companion. A role in the 2000 film Songcatcher, in which she played the character Rose Gentry, featured her singing on the movie’s soundtrack and in 2010 one of her songs was used in the closing credits of the Coen Brothers film, True Grit.
Released in October 2012, Sing the Delta is DeMent’s long-awaited, self-composed and much anticipated album. On January 21st she will perform at the Birchmere along with a band consisting of guitar, mandolin, bass, drums and pedal steel guitar.
You grew up in a fairly strict Pentecostal household. How much has religion affected your music?
I don’t reject religion. I think I’ve just decided to take religion and tune it up to suit myself. I grew up in the church and that environment had a great impact on me musically and every other way, so I couldn’t separate what I do from that world that I was submerged in. It’s all kind of one and the same. I’ve allowed my self to grow with it. I didn’t long ago. I didn’t buy into the stories and all the answers that were written. It was my job to just go along. I took what I learned from church and I kept moving through life with it and adapting it to where I was at any particular time. I’m willing to move as far away from it as I have to. The heart of the thing is still in there intensely for me.
Would you say that creating a context for social change within your music is part of your inspiration?
I don’t think of things as issues. I’m just talking about what’s going on in my world – what I care about. I am trying to unravel things for myself and put them back together in a way that makes sense, whether that’s music or sitting down having coffee with friends. I think that’s just human nature to try to make sense of your world. And I do that to a great extent through music. I don’t have an agenda. I just want to see what my heart says about the thing.
What was it like growing up in such a large family in a house with over a dozen siblings? Was it hard to get heard?
It was hard to get heard. But looking back I think there was a huge advantage to that. It meant listening a lot especially when you’re the youngest. I learned to be quiet a lot. I’m really grateful that I was in that position. I think it’s a lot of the reason I did end up writing.
Is any one else in your family in music?
Oh yes! They all play or sing in the churches. I’m the only one that went out in the world with my music.
You have your own label – Flariella. Is it more difficult to get airtime with your own label?
For me it’s always been difficult to get airtime. The music business has changed so much that now everybody is on their own label. I enjoy the independence of it. I’m inclined to be by myself. Thankfully there have been enough journalists like yourself that will write about me.
What was happening in your life when you wrote “Before the Colors Fade”?
I had just lost my mother. She had been gone only a few weeks. When you lose somebody they’re gone, but their presence, and my sense of them, is intensified. No matter how close you are, there’s a fading.
Have you played the Birchmere before?
I love the Birchmere. I’ve been playing there just about every year since 1992. It’s a great environment. It’s a world made for music. The sound is wonderful. The audience is always really warm. It’s a good place to play.
How would you define your audience?
I wouldn’t do that.
Iris DeMent will perform with Jason Wilbur for one night only at The Birchmere on January 21st at 7:30pm. For tickets visit www.ticketmaster.com. For venue information visit www.birchmere.com. The Birchmere is located at 3701 Mount Vernon Avenue, Alexandria VA 22305
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