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4 FEBRUARY 26, 2015 METROWEEKLY.COM

EDITORIAL

EDITOR-IN-CHIEFRandy Shulman

ART DIRECTORTodd Franson

POLITICAL EDITORJustin Snow

NEWS & BUSINESS EDITORJohn Riley

ASSISTANT EDITORRhuaridh Marr

CONTRIBUTING EDITORDoug Rule

SENIOR PHOTOGRAPHERSWard Morrison, Julian Vankim

CONTRIBUTING ILLUSTRATORScott G. Brooks

CONTRIBUTING WRITERSChristian Gerard, Troy Petenbrink,

Kate Wingfield

WEBMASTERDavid Uy

PRODUCTION ASSISTANTJulian Vankim

SALES & MARKETING

PUBLISHERRandy Shulman

BRAND STRATEGY & MARKETINGChristopher Cunetto

Cunetto Creative

NATIONAL ADVERTISING REPRESENTATIVERivendell Media Co.

212-242-6863

DISTRIBUTION MANAGERDennis Havrilla

PATRON SAINTSmokey Bear

ON THE COVER Perfect Shade by

Scott G. Brooks

METRO WEEKLY1425 K St. NW, Suite 350Washington, DC 20005

202-638-6830

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All material appearing in Metro Weekly is protected by federal copyright law and may not be

reproduced in whole or part without the permission of the publishers. Metro Weekly assumes noresponsibility for unsolicited materials submitted for publication. All such submissions are subject

to editing and will not be returned unless accompanied by a self-addressed, stamped envelope.Metro Weekly is supported by many fine advertisers, but we cannot accept responsibility for claims

made by advertisers, nor can we accept responsibility for materials provided by advertisers or

their agents. Publication of the name or photograph of any person or organization in articles oradvertising in Metro Weekly is not to be construed as any indication of the sexual orientation of

such person or organization.

© 2015 Jansi LLC.

4

FEBRUARY 26, 2015Volume 21 / Issue 42

NEWS 6

SUPPORTING TRANS TROOPSby Justin Snow

8 SURROGACY STRUGGLE

by John Riley

12 ABOUT FACE

by Justin Snow

13 DELAYED NUPTIALS

by Rhuaridh marr

14 COMMUNITY CALENDAR

FEATURE 18 THE INAPPROPRIATE NATURE

OF SCOTT G. BROOKS

Interview by Doug Rule

OUT ON THE TOWN 24 KATE EASTWOOD NORRIS

by Doug Rule

26 ATLAS INTERSECTIONS FESTIVAL

by Doug Rule

SCENE 31 GLAMOUR , GLITTER & GOLD:

THE DC CENTER ’S 10TH ANNUAL

OSCAR GALA AT TOWN

photography by Ward Morrison

STAGE 33 MUCH ADO ABOUT NOTHING

by Kate Wingfield

GAMES 35 E VOLVE

by Rhuaridh Marr

NIGHTLIFE 39 BLACK HEARTS V ALENTINE’S PARTY

AT COBALT

photography by Ward Morrison

46 LAST WORD


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Supporting Trans TroopsThe Obama administration is open to transgender military service

Carter

by Justin Snow

NEW LIFE HAS BEENinjected into the effort to

overturn the military’s long-standing ban on open trans-

gender service after the Obama admin-istration expressed support for allowing

transgender Americans to serve.

In the Obama administration’s mostdeclarative statement on the issue yet,

White House press secretary Josh Earnesttold reporters Monday that President

Barack Obama agrees with sentimentsexpressed a day earlier by Secretary of

D O D P H O T O B Y G L E N N F A W C E T T ( R E L E A S E D )

Defense Ashton Carter that all qualifiedAmericans who are transgender should be

allowed to serve in the military.During remarks to troops in Kandahar,

Afghanistan, Carter was asked histhoughts about transgender Americans

serving in an “austere environment” likeKandahar and said he approaches the

issue of transgender service from a fun-

damental starting point.“It’s not something I’ve studied a lot

since I became secretary of defense. But Icome at this kind of question from a fun-

damental starting point, which is that wewant to make our conditions and experi-

ence of service as attractive as possible to

our best people in our country,” Carter

said. “And I’m very open-minded about —otherwise about what their personal lives

and proclivities are, provided they can dowhat we need them to do for us. That’s

the important criteria. Are they goingto be excellent service members? And I

don’t think anything but their suitabilityfor service should preclude them.”

Carter’s statement marked the first

time the newly sworn-in defense secre-tary has addressed the issue of transgen-

der service.Earnest said Monday that Obama

holds the same views as Carter. “Thepresident agrees with the sentiment that

all Americans who are qualified to serve

should be able to serve,” Earnest said.

L G B TNews Now online at MetroWeekly.comRemembering Mame DennisNew Study shows PrEP Effective Daily or On-Demand


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who also runs the program for LGBTI

health at Vanderbilt University Medical

Center. Ehrenfeld said in an email he hascared for transgender patients, including

a transgender servicemember during thisdeployment.

“As you know, the current militaryrestrictions force transgender service-

members to hide who they really are. This

can cause undue stress and can preventthem from getting the care they need, and

ultimately serving to their fullest capac-ity,” Ehrenfeld said in an email. “During

his visit, I was delighted to be able to askSecretary Carter his opinion on the mat-

ter. I agree wholeheartedly with what hesaid – which is that we ought to pursue

any opportunity we have to remove dis-

crimination. It’s clear to me, that remov-ing the prohibition against transgender

service would be a step in that direction.”According to the LGBT military group

SPARTA, among those in the audienceduring Carter’s remarks was a transgen-

der servicemember who holds an enlist-ed rank and must hide their identity.

“I wanted to tell him I’m one of those

people serving in silence,” the service-member said in a statement. “I love my

job, I’m supported and respected by thepeople I serve with, and I want to make

the military a career. But until the regsare updated, just speaking up for myself

“And for that reason, we here at the

White House welcome the commentsfrom the secretary of defense. But in

terms of additional steps the Departmentof Defense will take to address this mat-

ter, I’d refer you to the secretary’s office.”Asked what those next steps may

be, Pentagon spokesperson Lt. Cmdr.Nate Christensen told Metro Weekly no

specific review of the military’s trans-gender ban is on-going. “We’ll let theSecretary’s comments stand for them-

selves,” Christensen added.Carter’s remarks come less than a

week into his tenure as defense sec-retary. Carter, who formerly served as

deputy secretary of defense, was nom-

inated by President Barack Obama toreplace outgoing Defense Secretary

Chuck Hagel in December and confirmedby the Senate 95-5 earlier this month.

Although Hagel, a Vietnam veteran and

the first former enlisted combat soldierto serve as defense secretary, voiced hissupport for a review of the military’s

longstanding ban on open transgender

service — a review the White House alsosignaled their support for — Hagel never

ordered such a review before departingthe Pentagon.

Carter was asked the question abouttransgender military service by Navy Lt.

Cmdr. Jesse M. Ehrenfeld, a physician

could end it all.”

With Hagel gone, focus has nowturned to Carter to order a review of

the medical regulatory ban that prohibitstransgender service. An estimated 15,500

transgender personnel currently serve inthe armed forces.

Carter’s comments and the affirma-

tion of that view by the White House

has provided many advocates with hopethat action will at last be taken on themilitary’s transgender ban. The Human

Rights Campaign, American MilitaryPartner Association, Palm Center and

SPARTA were universal in their praise of

Carter, but also their insistence that it isup to him to turn words into actions.

“To those familiar with how themilitary chain of command works, the

Commander-in-Chief’s intent could notbe clearer: President Obama has done

more to ensure transgender Americans

are treated fairly and with respect thanall those who’ve previously held the

office combined,” said Allyson Robinson,a former Army captain and director of

policy for SPARTA, in a statement. “Goodsubordinate leaders take their command-

er’s intent and execute – they get the jobdone. That’s what SPARTA’s transgender

members, their commanders, and their

families are looking to Secretary Carterto do now.” l

FEBRUARY 26, 2015 METROWEEKLY.COM

Surrogacy StruggleGestational surrogacy agreements may face opposition in

Maryland General Assembly

by John Riley

ADVOCATES FOR GESTA-

TIONAL surrogacy ran intointo a brick wall of legislatorslast week.

Attempts to convince Maryland law-makers to pass a bill setting forth stan-

dards for gestational carrier agreements

were met with a lack of understanding ofthe bill, or questions aimed at derailing

the measure in order to curry favor withsocially conservative groups who oppose

the concept of surrogacy in any form.The House version of the Collaborative

Reproduction Act both attempt to set

forth guidelines for who can be a ges-tational carrier, meaning a person who

carries a pregnancy to term but whois not genetically or biologically relat-

ed to the child being born. Both billsdefine requirements for who can serveas a gestational carrier, and put in place

a number of safeguards, including men-tal health screenings for the carrier, her

partner or spouse, and the intended par-ents, and a provision requiring each party

to get separate legal representation that

will represent their best interests.There are no guidelines govern-

ing gestational surrogacy under currentMaryland law, although the practice was

implicitly approved by the courts in a

2003 case where the Maryland Court of

Appeals overruled a lower court decisionrefusing to allow a gestational carrier to

remove her name as the mother from abirth certificate. Maryland still presumes

that the gestational carrier is the mother,but that presumption can be rebutted.

The measures were heard in the House

of Delegates’ Judiciary Committee on Feb.12 and the Senate Judicial Proceedings

Committee on Feb. 18. Throughout theHouse hearing, advocates for collab-

orative reproduction — including law-yers who work with gestational carri-

ers, reproductive specialists and mentalhealth professionals — testified on behalf

of the bill, educating lawmakers about

the technical aspects of the topic. Severaldelegates repeatedly expressed concerns

over the possible exploitation of gesta-tional carriers under such agreements,

but Dumais repeatedly reiterated thatsuch exploitation would be prevented bysetting up standards and model frame-

work for agreements between intend-ed parents and gestational surrogates.

Because Maryland lacks any statute gov-


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erning the matter, lawyers and medical professionals who work

with gestational carriers have no binding legal requirementsplaced on them, although many adhere to best practices and

professional standards as set forth by groups like the AmericanSociety for Reproductive Medicine.

Advocates pointed out that even if the bill were not to pass,

gestational surrogacy has been — and will continue to be —practiced.

“The issue is not whether or not collaborative reproductionexists, but the most appropriate legal framework and whether

best practice will be used to structure the process,” said Dr.Joyce McDowell, who explained the type of mental health

screening that all parties to collaborative reproduction must

undergo.The biggest sticking points in the deliberations over col-

laborative reproduction are several amendments added to asimilar bill last year. One such amendment was so burdensome

and egregious, it prompted Dumais to pull the bill. That amend-ment would have required a court to approve a gestational car-

rier agreement beforehand, which Dumais objected to becauseapproving such a provision would have made Maryland the only

state to require a court to approve a contract prior to the par-

ties entering into it. Other amendments attached to last year’sSenate bill deal with provisions on abortion or liabilities.

As the House hearing progressed, it became obvious thatsome delegates were opposed to the bill, concocting a variety of

scenarios where something could go wrong or where there wasa disagreement between the intended parents and the gestation-

al carrier, even though both House and Senate versions set up

provisions that require all parties to undergo mental screeningand meet prior to any implantation of a fertilized egg to discuss

what the expectations of those involved are. Delegates whohave previously sided with the Catholic Conference in their

opposition to social issues such as abortion and marriage equal-ity raised a myriad of objections, peppering witnesses speaking

in favor of collaborative reproduction with questions rangingfrom issues like determining parentage to which party would

bear the medical costs associated with the pregnancy, even rais-

ing the specter that insurance companies might one day refuseto cover such procedures.

Opponents frequently sought to conflate the issue of gesta-tional surrogacy with traditional surrogacy, where the carrier

has a biological link to the child, or with egg donation. Someeven seemed unfamiliar with the concept of surrogacy in gen-

eral. Still others objected to a provision in the bill that would list

the intended parents as the child’s parents on the birth certifi-

cate. At one point, Delegates Susan McComas (R-Harford Co.)

and Geraldine Valentino-Smith (D-Prince George’s Co.) evenalleged that Shady Grove Fertility Center, one of the leaders in

gestational surrogacy was coercing or trying to lure women withthe promise of money for serving as a gestational carrier on its

website, something later proven to be false by freshman Del. Vanessa Atterbeary (D-Howard Co.).

Conservative-leaning members also raised the issue of abor-

tion or selective reduction, which can sometimes happen when

a woman is implanted with one or two eggs via in vitro fertiliza-tion. Although lawyers and medical professionals who workwith gestational carriers noted that a match would not be made

if the carrier and intended parents did not agree on what to doin a variety of scenarios, other witnesses, including the Catholic

Conference and Maryland Right to Life, insisted that the law, as

written, has too many loopholes that can lead to the exploita-tion of women serving as gestational carriers. Andrea Garvey,

testifying on behalf of the Maryland Catholic Conference, evenalleged that the bill would do nothing to prevent child traffick-

ing or the targeting of financially vulnerable young women toserve as gestational surrogates, leading to a heated exchange

with Dumais, particularly after she accused Dumais of being

unwilling to listen to their concerns. Garvey insisted that severalamendments, including the ones passed by the Senate last year,

be added to the bill.The Senate hearing, by contrast, was more low-key. Since

the committee had previously voted to pass similar bills duringthe past three legislative sessions, there were fewer witnesses

and many fewer questions asked by senators. At that hearing,supporters of the measure did note that, despite claims from the

Catholic Conference that they did not outright oppose the bill,

the Vatican has generally opposed any and all forms of assistedreproduction such as in vitro fertilization, the only method by

which gestational surrogacy may occur.Even though gestational surrogacy is commonly practiced

in the state of Maryland, getting lawmakers to pass legislationcould be an uphill battle. The goal of advocates is to pass a bill

that hasn’t been significantly altered by “compromise” amend-ments so as to be unsalvageable, as was the case with last year’s

Senate bill. The trick will be for those supporting collaborative

reproduction to convince lawmakers that the bill will imple-ment the necessary safeguards to protect all parties involved,

rather than unleashing a Pandora’s box of social ills.Jennifer Fairfax, an attorney specializing in reproductive

law testified in favor of the House bill and took a much brighterview of the hearings.

“I was actually pleased that the delegates were asking ques-

tions, and trying to figure out what is going on with the bill,” shesays. “I think it also informed us, as supporters of the bill, what

they’re looking for and what friendly amendments we can maketo get support for the bill. The hearing, at least to me, demon-

strated that we need to get more information to the GeneralAssembly. We need to show that this is all about protecting

children born through gestational surrogacy.”Fairfax also noted that the bill’s length, breadth and its very

scientific and highly detailed terminology, as well as the fact

that it delves into a niche area of law that is not familiar tomost people, could have added to some confusion on the part

of lawmakers.“This is creating an entire new law, from soup to nuts,” she

says. “It’s a good bill. It’s meant to protect kids, and I’m reallyoptimistic that the legislature will pass it this year.” l



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rity inside the main entrance on Maryland Ave. at3rd St. SW. Lunch in Museum’s Mitsitam café fol-lows. Contact Craig, 202-462-0535. craighowell1@ verizon.net.

HOPE DC, a support group for HIV-positive gaymen, hosts a monthly social get-together at The DCCenter. 7-10 p.m. 2000 14th St. NW, Suite 105. Formore information, visit hopedc.org.

WEEKLY EVENTS

BET MISHPACHAH, founded by members of theLGBT community, holds Saturday morning Shabbatservices, 10 a.m., followed by Kiddush luncheon.Services in DCJCC Community Room, 1529 16th St.NW. betmish.org.

BRAZILIAN GLBT GROUP, including others inter-ested in Brazilian culture, meets. For location/time,email [email protected].

DC FRONT RUNNERS running/walking/socialclub welcomes all levels for exercise in a fun andsupportive environment, socializing afterward.Meet 9:30 a.m., 23rd & P Streets NW, for a walk; or

10 a.m. for fun run. dcfrontrunners.org.

DC SENTINELS basketball team meets at TurkeyThicket Recreation Center, 1100 Michigan Ave. NE,2-4 p.m. For players of all levels, gay or straight.teamdcbasketball.org.

DIGNITYUSA sponsors Mass for LGBT community,family and friends. 6:30 p.m., Immanuel Church-on-the-Hill, 3606 Seminary Road, Alexandria. Allwelcome. For more info, visit dignitynova.org.

GAY LANGUAGE CLUB discusses critical languag-es and foreign languages. 7 p.m. Nellie’s, 900 U St.NW. RVSP preferred. [email protected].

IDENTITY offers free and confidential HIV testingin Takoma Park, 7676 New Hampshire Ave., Suite411. Walk-ins 12-3 p.m. For appointments otherhours, call 301-422-2398.

SUNDAY, MARCH 1ADVENTURING outdoors group hikes 10 strenu-ous miles with 2400 feet of elevation gain on SignalKnob at northern end of Massanutten Mountainoverlooking Strasburg, Va. Bring beverages, lunch,winter-worthy boots, and about $15 for fees; nodogs, please. Carpool at 9 a.m. from East FallsChurch Metro Kiss & Ride lot. Contact Craig, 202-462-0535. adventuring.org.

WEEKLY EVENTS

LGBT-inclusive ALL SOULS MEMORIALEPISCOPAL CHURCH celebrates Low Mass at 8:30a.m., High Mass at 11 a.m. 2300 Cathedral Ave. NW.202-232-4244, allsoulsdc.org.

DC AQUATICS CLUB (DCAC) practice session atHains Point, 972 Ohio Dr., SW. 9:30-11 a.m. Visitswimdcac.org.

DIGNITYUSA offers Roman Catholic Mass for theLGBT community. 6 p.m., St. Margaret’s Church,1820 Connecticut Ave. NW. All welcome. Sign inter-preted. For more info, visit dignitynova.org.

FRIDAY, FEBRUARY 27GAY MARRIED MEN’S ASSOCIATION (GAMMA)is a confidential support group for men who aregay, bisexual, questioning and who are marriedor involved with a woman, that meets regularly inDupont Circle and monthly in Northern Virginiaand Hagerstown, Md. 7:30-9:30 p.m. For more

information, visit gammaindc.org.

WOMEN IN THEIR TWENTIES, a social discussionand activity group for LBT women, meets on thesecond and fourth Fridays of each month at TheDC Center. Social activity after meeting concludes.8-9:30 p.m. 2000 14th St. NW, Suite 105. For moreinformation, visit thedccenter.org.

WEEKLY EVENTS

ANDROMEDA TRANSCULTURAL HEALTH offersfree HIV testing, 9-5 p.m., and HIV services (byappointment). 202-291-4707, andromedatranscul-turalhealth.org.

DC AQUATICS CLUB (DCAC) practice sessionat Hains Point, 927 Ohio Dr. SW. 6:30-8 p.m. Visitswimdcac.org.

HIV TESTING at Whitman-Walker Health, Elizabeth Taylor Medical Center, 1701 14th St. NW,9 a.m.-5 p.m. 202-745-7000, whitman-walker.org.

METROHEALTH CENTER offers free, rapid HIVtesting. Appointment needed. 1012 14th St. NW,Suite 700. 202-638-0750.

PROJECT STRIPES hosts LGBT-affirming socialgroup for ages 11-24. 4-6 p.m. 1419 Columbia RoadNW. Contact Tamara, 202-319-0422, layc-dc.org.

SMYAL’S REC NIGHT provides a social atmo-sphere for GLBT and questioning youth, featuringdance parties, vogue nights, movies and games.More info, [email protected].

SATURDAY, FEBRUARY 28BURGUNDY CRESCENT, a gay volunteer orga-nization, volunteers today for Food & Friends. Toparticipate, burgundycrescent.org.

CHRYSALIS arts & culture group visitsSmithsonian Museum of the American Indian to view exhibition on history of treaties betweenNative American tribes and the United States. Free;non-members welcome. Meet at 11 a.m. past secu-

THURSDAY, FEBRUARY 26GAYS AND LESBIANS OPPOSING VIOLENCE(GLOV), a group committed to combating andpreventing anti-gay hate crimes, holds its monthlymeeting at The DC Center. 7-8:30 p.m. 2000 14th St.NW, Suite 105. For more information, visit thedc-center.org.

KAPPA ALPHA LAMBDA SORORITY, a lesbiansorority for professional women interested in com-munity service, meets at The DC Center. 6:30-8 p.m.2000 14th St. NW, Suite 105. For more information, visit thedccenter.org.

OUTWRITE LGBT BOOK FESTIVAL meetsmonthly at The DC Center to plan for OutWrite’sfifth anniversary, to be held July 31-Aug. 2 at theReeves Center this summer. 6-7 p.m. 2000 14th St.NW, Suite 105. For more information, visit thedc-center.org.

WEEKLY EVENTS

DC LAMBDA SQUARES gay and lesbian square-dancing group features mainstream throughadvanced square dancing at the National CityChristian Church, 5 Thomas Circle NW, 7-9:30 p.m.Casual dress. 301-257-0517, dclambdasquares.org.

The DULLES TRIANGLES Northern Virginia socialgroup meets for happy hour at Sheraton in Reston,11810 Sunrise Valley Drive, second-floor bar, 7-9p.m. All welcome. dullestriangles.com.

IDENTITY offers free and confidential HIV testingin Gaithersburg, 414 East Diamond Ave., and inTakoma Park, 7676 New Hampshire Ave., Suite 411.Walk-ins 2-6 p.m. For appointments other hours,call Gaithersburg, 301-300-9978, or Takoma Park,

301-422-2398.

METROHEALTH CENTER offers free, rapid HIVtesting. Appointment needed. 1012 14th St. NW,Suite 700. 202-638-0750.

SMYAL offers free HIV Testing, 3-5 p.m., byappointment and walk-in, for youth 21 and younger.202-567-3155 or [email protected].

US HELPING US hosts a Narcotics AnonymousMeeting, 6:30-7:30 p.m., 3636 Georgia Ave. NW.The group is independent of UHU. 202-446-1100.

WOMEN’S LEADERSHIP INSTITUTE for youngLBTQ women, 13-21, interested in leadership devel-opment. 5-6:30 p.m. SMYAL Youth Center, 410 7th

St. SE. 202-567-3163, [email protected].

Metro Weekly’s Community Calendar highlights important events in

the D.C.-area LGBT community, from alternative social events to

volunteer opportunities. Event information should be sent by email to

[email protected]. Deadline for inclusion is noon

of the Friday before Thursday’s publication. Questions about

the calendar may be directed to the Metro Weekly office at

202-638-6830 or the calendar email address.

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MONDAY, MARCH 2BOOK READING UPLIFTS HIS SPIRIT (BRUHS),a literary and movie discussion group for GBTmen, hosts special guest Otis Randolf, author of“Shadows Behind the Rainbow” at the MartinLuther King, Jr. Library. 6 p.m. 901 G St. NW, Auditorium A-5. More info, visit facebook.com/ BRUHSDC.

The DC Center hosts a monthly VOLUNTEERNIGHT for those interested in sorting through bookdonations, cleaning up around the center, takinginventory for safe-sex packets, and other activities.Pizza will be provided. 6:30-8:30 p.m. 2000 14th St.NW, Suite 105. For more information, visit thedc-center.org.

WEEKLY EVENTS

Michael Brazell teaches BEARS DO YOGA, a pro-gram of The DC Center. 6:30 p.m., Green Lantern,1335 Green Court NW. No cost, newcomers wel-come. 202-682-2245, thedccenter.org.

DC AQUATICS CLUB (DCAC) practice sessionat Hains Point, 927 Ohio Dr. SW. 7-8:30 p.m. Visitswimdcac.org.

DC SCANDALS RUGBY holds practice, 6:30-8:30p.m. Garrison Elementary, 1200 S St. NW. dcscan-dals.wordpress.com.

GETEQUAL meets 6:30-8 p.m. at Quaker House,2111 Florida Ave. NW. [email protected].

HIV TESTING at Whitman-Walker Health. D.C.: Elizabeth Taylor Medical Center, 1701 14th St. NW,9 a.m.-6 p.m. At the Max Robinson Center, 2301MLK Jr. Ave. SE, 9 a.m.-4:30 p.m. For an appoint-ment call 202-745-7000. Visit whitman-walker.org.

KARING WITH INDIVIDUALITY (K.I.) SERVICES,3333 Duke St., Alexandria, offers free “rapid” HIVtesting and counseling, 9 a.m.-4 p.m. 703-823-4401.

NOVASALUD offers free HIV testing. 5-7 p.m. 2049N. 15th St., Suite 200, Arlington. Appointments:703-789-4467.

The DC Center hosts COFFEE DROP-IN FOR THESENIOR LGBT COMMUNITY. 10 a.m.-noon. 200014th St. NW. 202-682-2245, thedccenter.org.

WASHINGTON WETSKINS Water Polo Teampractices 7-9 p.m. Takoma Aquatic Center, 300 VanBuren St. NW. Newcomers with at least basic swim-ming ability always welcome. Tom, 703-299-0504,[email protected], wetskins.org.

Whitman-Walker Health HIV/AIDS SUPPORTGROUP for newly diagnosed individuals, meets 7p.m. Registration required. 202-939-7671, [email protected].

UNITED CHURCH OF CHRIST for an inclusive,loving and progressive faith community everySunday. 11 a.m. 1701 11th Street NW, near R inShaw/Logan neighborhood. lincolntemple.org.

METROPOLITAN COMMUNITY CHURCH OFNORTHERN VIRGINIA services at 11 a.m., led byRev. Onetta Brooks. Children’s Sunday School, 11a.m. 10383 Democracy Lane, Fairfax. 703-691-0930,mccnova.com.

ST. STEPHEN AND THE INCARNATION, an“interracial, multi-ethnic Christian Community”offers services in English, 8 a.m. and 10:30 a.m., andin Spanish at 5:15 p.m. 1525 Newton St. NW. 202-232-0900, saintstephensdc.org.

FIRST CONGREGATIONAL UNITED CHURCH OFCHRIST welcomes all to 10:30 a.m. service, 945 GSt. NW. firstuccdc.org or 202-628-4317.

FRIENDS MEETING OF WASHINGTON meets forworship, 10:30 a.m., 2111 Florida Ave. NW, QuakerHouse Living Room (next to Meeting House onDecatur Place), 2nd floor. Special welcome to lesbi-ans and gays. Handicapped accessible from PhelpsPlace gate. Hearing assistance. quakersdc.org.

HOPE UNITED CHURCH OF CHRIST welcomesGLBT community for worship. 10:30 a.m., 6130 OldTelegraph Road, Alexandria. hopeucc.org.

Join LINCOLN CONGREGATIONAL TEMPLE –

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TUESDAY, MARCH 3DC RECOVERY NETWORK, a program of theCampbell Center, holds a meeting at The DCCenter. 7-9 p.m. 2000 14th St. NW, Suite 105. Formore information, contact Misha, misha@thecamp- bellcenter.org.

WEEKLY EVENTS

ASIANS AND FRIENDS weekly dinner in Dupont/ Logan Circle area, 6:30 p.m. [email protected],afwashington.net.

THE GAY MEN’S HEALTH COLLABORATIVEoffers free HIV testing and STI screening and treat-ment every Tuesday. 5-6:30 p.m. Rainbow TuesdayLGBT Clinic, Alexandria Health Department, 4480King St. 703-746-4986 or text 571-214-9617. [email protected].

OVEREATERS ANONYMOUS—LGBT focusedmeeting every Tuesday, 7 p.m. St. George’sEpiscopal Church, 915 Oakland Ave., Arlington, juststeps from Virginia Square Metro. For more info.call Dick, 703-521-1999. Handicapped accessible.Newcomers welcome. [email protected].

SMYAL offers free HIV Testing, 3-5 p.m., byappointment and walk-in, for youth 21 and younger. Youth Center, 410 7th St. SE. 202-567-3155, [email protected].

SUPPORT GROUP FOR LGBTQ YOUTH ages 13-21meets at SMYAL, 410 7th St. SE, 5-6:30 p.m. Cathy

Chu, 202-567-3163, [email protected].

US HELPING US hosts a support group for blackgay men 40 and older. 7-9 p.m., 3636 Georgia Ave.NW. 202-446-1100.

WEDNESDAY, MARCH 4BOOKMEN DC, an informal men’s gay-literaturegroup, discusses Richard Rodriguez’s “Darling,” anessay collection. 7:30 p.m. Cleveland Park Library,3310 Connecticut Ave. NW. All welcome. book-mendc.blogspot.com.

DUPONT SOCIAL CLUB hosts a meeting at TheDC Center. 7-8:30 p.m. 2000 14th St. NW, Suite 105.For more information, visit the dccenter.org.

Rayceen Pendarvis hosts THE ASK RAYCEENSHOW, welcoming performer Septimius The Great,The Improv Imps, Coach G, and plays “The DatingGame” with participating audience members. Doorsopen 6 p.m. Club Liv, 2001 11th St. NW. For moreinformation, visit facebook.com/askrayceen.

THE TOM DAVOREN BRIDGE CLUB meets forSocial Bridge. 7:30 p.m. Dignity Center, 721 8th StSE, across from Marine Barrack. No reservation andpartner needed. 301-345-1571.

WEEKLY EVENTS

AD LIB, a group for freestyle conversation, meetsabout 6:30-6 p.m., Steam, 17th and R NW. All wel-

come. For more information, call Fausto Fernandez,703-732-5174.

DC AQUATICS CLUB (DCAC) practice sessionat Hains Point, 927 Ohio Dr. SW. 7-8:30 p.m. Visitswimdcac.org.

HIV TESTING at Whitman-Walker Health. At theElizabeth Taylor Medical Center, 1701 14th St. NW,9 a.m.-6 p.m. At the Max Robinson Center, 2301

MLK Jr. Ave. SE, 9 a.m.-4:30 p.m. 202-745-7000,whitman-walker.org.

IDENTITY offers free and confidential HIV testingin Gaithersburg, 414 East Diamond Ave. Walk-ins 2-7 p.m. For appointments other hours, call

Gaithersburg at 301-300-9978.

JOB CLUB, a weekly support program for jobentrants and seekers, meets at The DC Center. 200014th St. NW, Suite 105. 6 p.m.-7:30 p.m. More info,www.centercareers.org.

METROHEALTH CENTER offers free, rapid HIVtesting. No appointment needed. 11 a.m.-7 p.m. 101214th St. NW, Suite 700. 202-638-0750.

NOVASALUD offers free HIV testing. 11 a.m.-2 p.m. 2049 N. 15th St., Suite 200, Arlington. Appointments: 703-789-4467.

PRIME TIMERS OF DC, social club for mature gaymen, hosts weekly happy hour/dinner. 6:30 p.m.,Windows Bar above Dupont Italian Kitchen, 163717th St. NW. Carl, 703-573-8316. l

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METROWEEKLY.COM FEBRUARY 26, 2015


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SCOTT G. BROOKS’ ART IS LESS WINNIE THE POOH, MORE SMOKEY THE BEAR —if Smokey were a scruffy, sexualized gay bear, that is.

Though he started his career painting murals in his hometown of Flint, Mich., it wasthe works he created in his spare time during high school that shaped the artist he is

today.“When I went home and I would paint for myself,” Brooks says, “I wanted to do some-

thing a little more fun and edgy and a little more reflective of the kind of person I was.”

In the decades since, the 54-year-old’s pursuit of making art “that’s unique and will get peopleto pay attention” hasn’t been without controversy. But it’s also come with great success. Brooks has

been one of D.C.’s most recognized artists since moving to the area 25 years ago. And his work goesbeyond signature oil paintings to encompass digital work for clients (regular readers have enjoyed

several of Brooks’ illustrations on our covers).For the past several years, Brooks has worked out of his home studio in a spacious upper-level

apartment, just north of the 9:30 Club, that he shares with his partner Mike Layton. His colorful,cartoon-inspired artworks often feature characters based on familiar faces around town, mostrecently Metro Weekly’s 2013 Coverboy of the Year finalist Jared Keith Lee and folk singer-song-writer Tom Goss.

In December, Brooks will present works in a Star Wars-themed show at the Anacostia ArtsCenter, his first local showing in years. Right now, however, you can see his latest works in a soloshow at New York’s Last Rites Gallery. “Inappropriate Nature” features 11 large-scale paintings that

playfully pivot on serious concerns about the nature of humans. “There’s irony in these works,”Brooks says in his official artist statement. “Much of what is considered natural, such as nudity and

sexuality, is deemed inappropriate by contemporary standards.”

METRO WEEKLY: “Inappropriate Nature” is your

third show in the past decade at this gallery in Hell’s Kitchen. Tell us more about the gallery.SCOTT G. BROOKS: Paul Booth, a really well-

known tattoo artist, is the owner. The mainfloor of Last Rites is where the show is, and in

the basement they have a parlor — they call it aTattoo Theater. It’s always very dark pop, and

very edgy themes, so it’s a really good fit.This is my first solo show since 2011, which

is kind of a long stretch for me. It spans a couple

years of work. I’ve been working on includingmore natural surroundings in my paintings.

Just more nature and landscape elements. But

there are always people in the paintings. All

my work can sometimes get a little edgy, so“Inappropriate Nature” seemed like a perfect

title for the show. A lot of people look at my

work kind of suspect. I think it makes peopleuncomfortable, and they look at it as odd.MW: Because it’s too playful in depicting seriousconcerns?BROOKS: I don’t know. I’ve always just paintedwhat I wanted to paint. I didn’t really worry about

whether it fit other people’s ideas. Stylistically

and technically, I do strive to get better, andmake it as technically accurate as I can.

I just kind of have a good time with it and put

Interview by Doug Rule

Scott G. Brooks Nature

Inappropriatethe

of


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Mon sters of War


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in whatever I want to put in. There are gay references from a lotof pop culture and politics in all of my work, but in the newer

work as well. There’s one called Monsters of War. And there’s alot of nudity. Although they’re figurative. All of my work startswith a model and a figure, and then I work around that. I embel-

lish and create a tableau.MW: Is this the kind of work you’ve always wanted to do?BROOKS: Yeah, pretty much. I didn’t quite have an idea of thistype of art. I grew up in Michigan, and I was surrounded by

either wildlife or religious art. We had the sad-eyed puppies, andthe Keane prints. Children’s books or comic books or cartoons,

Disney — that was kind of what I thought about. I got into murals

when I was in high school. I was invited to work and do somemurals at the local school. And I ended up painting more than

100 murals all over Michigan, the Flint and Detroit area.When I went to college I expanded my view of what was

possible. And right away I just started doing stuff that was alittle odd, and a little darker. I grew up watching science fiction,

and monster movies — the same as most kids. So it didn’t really

seem odd to me to start painting stuff with monsters and thingsthat were a little bizarre. Because that’s what was fun for me to

watch. I never was really interested in just painting landscapes

or wildlife. I do have some straight-out wildlife paintings of bob-cats and deer from when I was really young. And there is a lot

of wildlife in my work. The “nature” part of the “Inappropriate

Nature” comes from that. It’s still interesting to me — but tofocus and just become a wildlife artist, I knew that wasn’t going

to work for me.MW: Were your parents encouraging of your artistic pursuits?What did they do for work?BROOKS: My mom was a nurse, and my dad was a barber. My

dad kind of got me going in art. He would draw. And he thoughtof cutting hair and drawing as very similar, because you had to

visualize the haircut. Before you started cutting you had to know

what you were going to cut. And we would sit down and draw.They were supportive, but I think they were more supportive

of me playing hockey and hunting. I’ve played hockey since Iwas young. I had two older brothers and a younger sister and

we hunted and fished. It was much easier for me to just go alongwith the crowd. They bought me paper, they bought me pencils,

they bought me canvasses, but they didn’t really know — you

know, we don’t come from an art background. And I don’t thinkthey really knew what was possible. My mom is still around.

She’s very proud. I’ll have a show up in Flint in April. My first

“One piece was

in the restaurantarea at Baltimore’s

American Visionary Art Museum. Theydecided it was justtoo much, and they

had to take it down.PEOPLE WERE

COMPLAINING .”

Actaeon

Trimming the Hedge


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show in Flint since I left 25 years ago.MW: What’s the theme of that show?BROOKS: It’s called “Unfinished Business,” which is kind of

appropriate. You can take it a couple different ways. A lot ofthe work that’s going to be in the Flint show will be work that’s

already done — some pieces that I finished, but I wasn’t quitehappy with them, so I’m going to be re-working them a little bit.

I left 25 years ago, and a lot’s changed. I wasn’t really out backthen. I mean, I did go out and I lived with my partner at the time,

but it was pretty low-key.MW: This isn’t your first show in Flint?BROOKS: Well, I showed in Flint a couple weeks before I left. And

in that show there were some pieces that were banned. It was apublic space. People who had the space came over and saw my

work and they asked me to not put in a few pieces because theywere inappropriate.

MW: So you took them out?BROOKS: Yeah, I understood. It’s a difficult position for both of

us. It was a bank lobby. I’ve shown in galleries, which isn’t really

an issue. But this was a public space. They were just figurativesculptures and paintings. Papier-maché sculptures, which hadbreasts, and animal/people hybrids.

MW: Have you dealt with censorship at other points in your career?Or other episodes where there was interference or pushback dis-

playing some of your work?BROOKS: I don’t recall any problems. I don’t really think about ittoo much. In galleries, you don’t really have to worry about it.

And certainly in this gallery, Last Rites, it’s pretty much a free-for-all. And that’s why I like it. I don’t ever have to worry about

them being offended by something I paint.Two decades ago, I had a sculpture in the HRC auction.

And it was called “An Allegory of the GOP.” And it was like alittle fat Buddha/bald eagle-ish kind of character — a Buddha

with a big belly, and then in his claws was a cross. And he was

maybe sitting on a Bible, I don’t really remember. People atthe auction — there was a struggle back and forth whether to

leave it in. There was the sculpture that I had made, and thenright next to it was a box of porn videos. And yet my sculpture

was the one that people were disgruntled about, because of theRepublican angle on it.

One piece, Monsters of Medicine, was in the restaurant area atBaltimore’s American Visionary Art Museum. We had it up for acouple days, and then they decided it was just too much, and so

they had to take it down. People were complaining.

Pan

Admit One T O D D F R

A N S O N


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If I rack my brain I will think of others. It happens on occa-sion, where a piece doesn’t work. I don’t take it personally. I’m

not doing this to be controversial.MW: When did you know you could make this your living? When

you were commissioned to do the murals in high school?BROOKS: Yeah. I started working for myself right away. And partof the reason I started doing kind of the bizarre weird stuff was

because — for work, for the murals, I was doing Winnie the Poohand Big Bird, and elementary school characters. So when I went

home and I would paint for myself, I wanted to do something alittle more fun and edgy and a little more reflective of the kind of

person I was. I learned early on that I could make a living fromit. And I sold stuff early. I used to do a lot more commissions. I

don’t do commissions too much anymore.MW: I understand you once gave Smokey Bear a makeover, on com-mission from the United States Forest Service.BROOKS: That never really took off. I did Smokey Bear, and I dida bunch of them. But the forest service never really — they used

it a little bit, but I don’t think they really got into it. Because Ithink he was too big and he was burly and he was hairy. I don’t

know where the artwork is. I know they printed a few of them.

It was kind of when the bear culture was just coming up — 1996

or 1997. I was aware of the bear culture. I had some friends whowere very self-identified as bears. But I didn’t think I was quite

there yet.MW: And now?BROOKS: [ Laughs. ] I’m pretty close now. Recently, I did a take offon it called Spanky Bear for a friend’s birthday. Which is basi-cally Smokey Bear in Daisy Dukes and nipple rings and leather,

a paddle.MW: Is that the type of benefits your friends get: special artwork

for their birthdays?BROOKS: Not very often. [ Laughs. ] It’s so personal. Even my fam-ily, I don’t give them artwork very often. Because I think it’sa very personal thing to have hanging in your home. It seems

a little presumptuous of me to say, “Here, you need this piece

to put in your home.” If they like a piece and I know they likea piece, then we can talk about it. It’s kind of expensive just to

give away as gifts. [ Laughs. ] I’ll give prints away. But I don’t giveoriginal artworks away.MW: What are the average costs for your artworks?BROOKS: The smaller pieces go for $2,800. And then it goes up to

$15,000. The most expensive was $16,000.MW: And people can buy older artworks, those no longer repre-

Strat egi c Neg oti at ions The Thr

“I grew up watching science fction seem odd to me to start painting stuI NEVER WAS REALLY INTERES

LANDSCAPES OR WILDLIFE.”


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sented by a gallery, through your website?BROOKS: Yeah, people contact me all the time to buy. And we

have open studios twice a year through Mid City Artists. Withinthe neighborhood, there’s about 20 to 30 of us. So people come

through and I’ll sell stuff that way.MW: These days you’re creating more work digitally, though Iunderstand that’s strictly for commissioned commercial work,such as the occasional Metro Weekly cover.BROOKS: I’ve always done both commercial illustration and fine

arts. It was always this weird kind of split-personality thing.The stuff that I do in digital is for commercial clients, children’s

books. It’s a way for me to separate — okay, now I’m doing finearts, now I’m doing work for myself. I turn the computer off,

and this is my work now. And again, that’s why I can kind of letmyself go and not really censor myself. I don’t restrict myself. I

just kind of do whatever I want to do and not really worry about

an audience. They’re not created for the public, they’re createdreally more for me.MW: Who do you work for in the children’s book realm?BROOKS: The last one I did was in 2013 for the Imagination Stage

up in Bethesda. It was called Mouse on the Move. They created abook based on a play that they did. So that’s for sale up there. It’s

got cute kittens and mice.It really throws people off when they find out I do children’s

books. My work has got a lot of characters, and there are a lot offun aspects to it, so it’s not much of a stretch for me to go from

something like that to this. And I’m incorporating more illustra-

tion elements into my work. The new pieces — you can see thelittle monsters and little characters. So I can see the crossover

pretty easily, but some people have a hard time. And I thinkpeople assume that, if I’m doing a children’s book, I’m going to

sneak stuff in. I just have no desire to do that.I think next for me would be to work on my own. I have some

ideas for my own children’s books. It would maybe be a littlemore twisted and dark than your typical, but it’s not so unusual.

I would be careful and I would be sensitive to the age group, likeGrimm’s Fairy Tales, or Roald Dahl. I mean, there are some reallydark children’s books out there. And the kids, what they’re see-

ing these days early, early on is pretty, pretty dark.

“Inappropriate Nature” runs to April 4 at Last Rites Gallery, 325W. 38th St. in New York. Visit lastrites.tv or call 202-529-0666.

For more information on Scott. G Brooks,visit scottgbrooks.com/. l

Orvieto The Wounded Sparrow

nster movies. So it didn’t reallyhings that were a little bizarre.

N JUST PAINTING


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FEBRUARY 26 - MARCH 5, 2015

SPOTLIGHT

CHOIR BOY

Tarrell Alvin McCraney’s Choir Boy centers on thegrowing concerns of a headmaster at an African- American all-boys school as to whether the starpupil is the right fit to lead their celebrated choir.No question Pharus is the most talented, charismaticand lovable. But maybe he’s just a little too lovable —too sweet, too soft, too sissy-like. McCraney exploresa lot of topics in his roughly 95-minute, inter-mission-less play, chief among them the power ofmusic — specifically, spirituals — to help people findinner-strength to carry on through pain and strife.But the real power of the piece is in McCraney’ssubtle, graceful and evocative style of storytelling.Heartstrings aren’t pulled in obviously manipula-

Compiled by Doug Rule

T E R E S A W O O D

Great ScotKate Eastwood Norris amps up the rage in Folger’s Mary Stuart

IF YOU’RE NOT FAMILIAR WITH THE PLAY MARY STUART , YOU’RE INgood company.

“Once I found out,” actress Kate Eastwood Norris says, “it was like something I hadbeen longing for but didn’t even know it.” No doubt you’ll be as shocked by Friedrich Schiller’s

Shakespearean play after seeing it as Norris was when she first read the script a year ago. “It’s a surprising thing for an actress of my age, who’s past the ingénue point, to find some-

thing classical and yet so huge and meaty.” It’s also a play whose leads are both women. Norris

plays the title character, a Scottish queen imprisoned and ultimately killed by her cousin,Queen Elizabeth I, portrayed by Holly Twyford.

In fact, director Richard Clifford secured three of Washington’s best actresses for the

Folger Theatre production, recruiting the local theater scene’s grande dame to playMary’s dutiful assistant. “When I found out that Nancy Robinette was playing the

part of my servant,” Norris says, “I just felt like, my job is easier. If she’s busy feel-

ing sorry for me, then I have a feeling the audience will too.”For the role, Norris is using nearly every technique she’s acquired as a veter-

an actor, one who performs on stages around the country but considers Folgerher classical home and Woolly Mammoth her contemporary home. “There’s

no moment in this play where Mary Stuart gets to rest. ... We keep using the

phrase ‘shooting ourselves out of a cannon,’ because a gun wouldn’t do it.At the top of the show everyone actually has to come out raging or the thing

won’t work.”One thing missing from this fraught role is humor. “I think I have half of

a laugh in Mary Stuart,” she says. But at the least she can find humor in herreal-life husband, Cody Nickell, who plays the duplicitous Earl of Leicester,

paramour to both Mary and Elizabeth. “He’s that guy you can’t tell who he’s inlove with,” Norris says, adding, “I’d like to think it’s me.” — Doug Rule

Mary Stuart runs to March 8 at the Folger Theatre, 201 East Capitol St. SE. Tickets are $40 to $75.

Call 202 -544-7077 or visit folger.edu.

tive ways, we’re not beaten on the head about thekey themes or takeaways, and everything remains

a little mysterious, more suggestive than definitive.Closes this Sunday, March 1. Studio Theatre, 14th &P Streets NW. Tickets are $44 to $88. Call 202-332-3300 or visit studiotheatre.org. (Doug Rule)

ERIC OWENS WITH TED ROSENTHAL TRIO A week before he stars in its revival of The Flying Dutchman, the Washington National Opera presentsa concert featuring bass-baritone Eric Owens. But thisis not an opera performance. Instead, it’s an “eveningof jazz standards,” those made famous by legendarysingers Billy Eckstine and Johnny Hartman. Owenswill be accompanied by a trio led by its namesake, an American jazz pianist, plus drummer Quincy Davisand bassist Norio Ueda. Saturday, Feb. 28, at 7:30p.m. Kennedy Center Terrace Theater. Tickets are$39. Call 202-467-4600 or visit kennedy-center.org.

FOLGER CONSORT WITHSIR DEREK JACOBI, RICHARD CLIFFORD A founding member of the Royal National Theatre,Sir Derek Jacobi stars as Sir Ian McKellen’s partnerin the British television series Vicious, aired in theU.S. on PBS, but in real-life his partner of nearly fourdecades is actor Richard Clifford. The couple willappear together at Strathmore, reading passages fromShakespeare’s The Merchant of Venice as part of aprogram in which the Folger Consort performs musicfrom Venice during the Bard’s era. London’s GabrieliConsort accompanies. Friday, Feb. 27, at 8 p.m. MusicCenter at Strathmore, 5301 Tuckerman Lane, NorthBethesda. Remaining tickets are $35 to $80. Call 301-581-5100 or visit strathmore.org.

JEN KIRKMANIf you don’t remember Jen Kirkman from regularstints on Chelsea Lately or Comedy Central’s @mid-

night, maybe you caught her hilarious narrations on


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Comedy Central’s Drunk History. Now you can catchthe standup comic Entertainment Weekly essen-tially called the female Louis CK when she stops bythe Arlington Drafthouse. Friday, Feb. 27, at 10:30p.m., and Saturday, Feb. 28, at 7 p.m. and 10 p.m. Arlington Cinema N’ Drafthouse, 2903 ColumbiaPike, Arlington. Tickets are $22. Call 703-486-2345or visit arlingtondrafthouse.com.

GLOE’S ANNUAL QUEER PURIM PARTYThe DC JCC’s Kurlander Program for Gay & LesbianOutreach and Engagement presents its eighth annualMardi Gras-like Purim party, “Mischief.” Purim

celebrates the Jews who were spared execution byPersian leader Haman in biblical times. It calls fordressing up — “especially drag - of every kind!” —and drinking a lot. Those in costume enjoy an open bar with beer, wine and champagne cocktails. Foodis also provided. Saturday, Feb. 28, from 8:30 p.m.to 12 a.m. Washington, D.C.’s Jewish CommunityCenter, 1529 16th St. NW. Tickets are $20 in advanceor $30 at the door. Call 202-518-9400 or visitwashingtondcjcc.org.

RUPAUL’S DRAG RACE:BATTLE OF THE SEASONSMany of the those you loved — or loved to hate —from past seasons of Logo’s RuPaul’s Drag Racereturn to the 9:30 Club next weekend for a showto promote the latest season, as well as to keep

these queens’ names in circulation. This round,we’re talking Alaska 5000 (aka Thunderfuck),BenDeLaCreme, Darienne Lake, Ivy Winters, JigglyCaliente, Jinkx Monsoon and Pandora Boxx. As withlast year’s show, the host is Michelle Visage, who has been RuPaul’s right-hand woman for two decadesnow. “For me, it’s all about the bravery that these boys go through on a daily basis,” Visage told MetroWeekly two years ago. “From the first moment I sawa drag queen when I moved to New York City when Iwas 17, it was all about admiration. I have the utmostrespect for these people and what they go through,every day, and their transformation.” Sunday, March8. Doors at 8 p.m. Nightclub 9:30, 815 V St. NW.Tickets are $35, $55 for VIP meet and greet at 7 p.m.Call 202-265-0930 or visit 930.com.

TEAM DC FASHION SHOW AND MODEL SEARCHThe popular annual event raises funds for the LGBTsports association’s College Scholarship Programfor LGBT student athletes. The fashion show fea-tures models in club wear, swimsuit, underwear andleather/sports/fetish competitions. And this year’sevent features special guest judge Lynda Erkiletianfrom The Real Housewives of DC. Saturday, Feb. 28,at 8 p.m. Town Danceboutique, 2009 8th NW. Coveris $15. Call 202-234-TOWN or visit teamdc.org.

TOSHI REAGONThree years after her last performance in the area,this veteran lesbian folk artist returns to the FreeState. This time, Reagon helps christen Strathmore’snew medium-sized performing arts center, AMP,located just off the Rockville Pike in the new multi-

purpose complex called Pike & Rose. The daughterof celebrated gospel singer Bernice Reagon and thegoddaughter of folk legend Pete Seeger, Reagon willperform with avant-garde New York-based drum-mer-singer Allison Miller. Vocal percussionist BeSteadwill aka B.Steady opens the show with “queerpop and soul.” Sunday, March 8, at 7:30 p.m. AMP byStrathmore, 11810 Grand Park Ave. North Bethesda.Tickets are $35. Call 301-581-5100 or visit ampbys-trathmore.com.

FILM

BIRDMAN Michael Keaton takes center stage, figuratively and

literally, as an actor desperately trying to stay rel-

Dog & Pony DC P H O T O C O U R T E S Y A T L A S

Arts MixersFive highlights still on tap at Atlas’s Intersections Festival

WE’VE CREATED A FESTIVAL WHERE THE STRUCTURE ENSURESthat people encounter one another in ways that they might not expect,”

Mary Hall Surface says of Intersections: A New America Arts Festival.Now in its sixth year, Surface’s Intersections presents shows in all genres of the

performing arts, staged throughout the various theaters in the Atlas PerformingArts Center, often in overlapping fashion, “so the audiences end up hanging out

together listening to a café concert.”

But the real draw of the festival is to see performances mixing media and genres,

often through audience interaction and engagement. Or, as Surface describes it,“using the arts as a catalyst for dialogue.”

We’ve selected five highlights still to come from this year’s festival, featuring

700 performers and running to March 7.*A national leader in devised, or participatory, theater, DOG & PONY DC stages its

new show Toast, intended “to push the boundaries of our current technology andexplore the awesome potential of group innovation.” (2/28 and 3/7)

*Aerial artists AIRBORNEDC pair up with the Zip Zap Circus from South Africa for

two performances demonstrating the two companies’ work in empowering inner-city youth through daring artistry and skill- and trust-building exercises. (2/28)

*An outgrowth of the now-defunct Lesbian & Gay Chorus of Washington, DC,the NOT WHAT YOU THINK ensemble performs a program of social justice-themed folk

and contemporary songs that will include audience participation in both song and

dance. (3/1)*DISSONANCE DANCE THEATRE, a contemporary dance company founded by a

gay veteran of the Washington Ballet, offers a mixed-repertory program of worksintentionally straddling the divide between classical ballet and contemporary urban

dance. (3/1)* The eclectic chamber ensemble ALL POINTS WEST — “hell-bent on transforming

the classical concert back into a fun, social experience” — aims to jump-start theweekend with a program of “Bach and Brews” featuring classical music performed

while the audience sips beer furnished by the local Atlas Brew Works. (2/27 and

3/6) — Doug Rule

Intersections runs weekends to March 7, at the Atlas Performing Arts Center, 1333 HSt. NE. Ticket prices and passes vary. Call 202-399-7993 or visit atlasarts.org.



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both interpretive acting as well as interpretive danc-ing — and even if you don’t find that pretentious, itcan be befuddling. The show is on soundest footingwhen it keeps the focus on Mitchell and the music.To March 15. MetroStage, 1201 North Royal St., Alexandria. Tickets are $55 to $60. Call 800-494-8497 or visit metrostage.org. (Doug Rule)

CHEROKEEJohn Vreeke directs a Woolly Mammoth productionof Lisa D’Amour’s latest comedy, about two couples— one black, one white — fleeing their suburbanpressures in an attempt to reconnect with nature

by going camping in Cherokee, N.C. A companionto last season’s hit Detroit, Cherokee takes a dispa-rate group of Americans beyond the brink and askswhat it means to lead an authentic life. To March 8.Woolly Mammoth, 641 D St. NW. Tickets are $35 to$68. Call 202-393-3939 or visit woollymammoth.net.

FROZENThe Anacostia Playhouse presents a local productionof Byrony Lavery’s play Frozen, about the disappear-ance of a 10-year-old girl named Rhona, followingher mother and killer over the years that follow.Delia Taylor directs. Closes this Sunday, March1. Anacostia Playhouse, 2020 Shannon Place SE.Tickets are $35. Call 202-241-2539 or visitanacostiaplayhouse.com.

HOUSE OF DESIRESHugo Medrano directs a GALA Hispanic Theatreproduction of this romantic Spanish Golden Agefarce, mixing lyrical poetry, songs, cross-dressingand mistaken identities. Sor Juana Iné de la Cruz’s House of Desires stars a large cast that includesNatalia Miranda, Mauricio Pits, Carlos Castillo andLuz Nicolas. Performend in Spanish with Englishsurtitles. Closes this Sunday, March 1. GALA Theatreat Tivoli Square, 3333 14th St. NW. Call 202-234-7174 or visit galatheatre.org.

KID VICTORYSignature Theatre offers another world-premieremusical, Kid Victory, a new collaboration betweenlegendary composer John Kander ( Chicago, Cabaret )and playwright Greg Pierce ( The Landing ). Theshow, a co-production with the Vineyard Theatreand directed by Liesl Tommy, is a dark and slight-ly twisted coming-of-age story about a confused17-year-old boy who returns home after vanish-ing for a year. Jake Winn stars as Luke, and thecast includes Signature veterans Donna Migliaccio,Christopher Bloch and Bobby Smith. To March 22.Signature Theatre, 4200 Campbell Ave., Arlington.Call 703-820-9771 or visit signature-theatre.org.

THE LIEUTENANT OF INISHMOREMatthew R. Wilson directs Constellation TheatreCompany’s production of a gleeful and gruesomecomedy sending up violence from Oscar winner andacclaimed Irish playwright Martin McDonagh. Theensemble cast includes Chris Dinolfo, Megan Dominy,Thomas Keegan and Matthew Ward. To March 8.Source, 1835 14th St. NW. Tickets are $20 to $45. Call202-204-7741 or visit constellationtheatre.org.

THE METROMANIACSMichael Kahn directs a new adaptation by DavidIves of Alexis Piron’s classic 1738 French farce, abouta would-be poet who has fallen for the works of amysterious Breton poetess. In fact, the works are by amiddle-aged gentleman, who pawns his own daughteroff as the author in an attempt to separate her fromthe son of a sworn enemy. Chaos ensues, as does somepoetic wooing reminiscent of Cyrano. Extended toMarch 15. Lansburgh Theatre, 450 7th St. NW. Call202-547-1122 or visit shakespearetheatre.org.

evant as he mounts a Broadway adaptation of theBirdman superhero he is known for playing. Fromthere, this year’s Oscar winner for Best Picture aswell as Best Director (Alejandro González Iñárritu)descends into madness — a beautiful, technicallydazzling kind of madness — with a cast that includesEdward Norton, Emma Stone and Zach Galifianakis.Now playing. Area theaters. Visit fandango.com.

STILL ALICEJulianne Moore deserved this year’s Oscar forBest Actress for yet another terrific, heartbreak-ing and unforgettable performance — this time as

Alice, a mother who is starting to forget her words(her stock-in-trade as a linguistics professor) dueto early onset Alzheimer’s. Richard Glatzer andWash Westmoreland direct this film, based on LisaGenova’s novel, that also stars Alec Baldwin as Alice’s husband and Kate Bosworth, Hunter Parrishand Kristen Stewart as their children. Now playing.Landmark’s E Street Cinema, 555 11th St. NW. Call202-452-7672 or visit landmarktheatres.com.

THE THEORY OF EVERYTHINGEddie Redmayne won the Oscar for his portrayalof brilliant physicist Stephen Hawking, who suc-cumbed to motor neuron disease but still managed to become one of the most lauded scientists of his gen-eration. Redmayne’s transformation over the courseof James Marsh’s film is remarkable, as is his resem-

blance to Hawking. Opens Friday, Feb. 27. AngelikaPop-Up at Union Market, 550 Penn St. NE, Unit E.Call 800-680-9095 or visit angelikapopup.com.

WASHINGTON JEWISH FILM FESTIVALNow celebrating its silver anniversary, this largefestival offers 100 different events — from traditionalfilm screenings to related cultural and educationalprograms. In addition to its usual crop of new films,this year’s festival will toast its quarter-century mark by screening 12 Jewish cinema classics, includingFrancois Truffaut’s The Last Metro, Robert Hamer’s It Always Rains on Sunday and Golem, the 1920German silent horror-fantasy expressionist film withan original score to be performed live by Gary Lucas.Runs to Sunday, March 1, at various venues. Ticketprices are $12 for regular screenings or $30 for clos-ing and centerpiece evenings. Call 888-718-4253 or visit wjff.org.

STAGE

BACK TO METHUSELAHOne of the first works of science fiction ever put onstage, George Bernard Shaw’s Back to Methuselah features the writer’s celebrated wit and touch ofsatire as it examines the human lifespan, from theGarden of Eden to “as far as thought can reach.”Bill Largess directs the latest Washington StageGuild production. To March 15. Undercroft Theatreof Mount Vernon United Methodist Church, 900Massachusetts Ave. NW. Tickets are $40 to $50. Call

240-582-0050 or visit stageguild.org.

BESSIE’S BLUES

HHHHH

Twenty years ago, Studio Theatre won six HelenHayes Awards with its production of Bessie’s Blues by Thomas W. Jones II. If you missed its firstouting, you might wonder what all the fuss wasabout. Bernardine Mitchell reprises the lead role atMetroStage, and she is the chief reason to see therevival. Mitchell has one of the most powerful voicesaround, with stupendous range, conjuring Smith andother blues-informed divas, from Aretha Franklinto Patti LaBelle. The subtle way the music helpsnarrate the history and the influence of the blues isimpressive, but the script itself is a little too loose intelling us about Smith especially. Bessie’s Blues uses

THE TURN OF THE SCREW As the first installment in its five-year Bold NewWorks for Intimate Stages Initiative, Virginia’sCreative Cauldron commissioned this musical fromthe Signature Theatre-affiliated team (and real-life gay couple) writer Stephen Gregory Smith andmusician Matt Conner ( Nevermore, Crossing ). Smithand Conner adapted Henry James’s classic novella,a ghost story about a governess who learns darksecrets about the two young orphans in her care.Closes this Sunday, March 1. Creative Cauldron, 410South Maple Ave. Falls Church. Tickets are $25. Call703-436-9948 or visit creativecauldron.org.

COLLEGE THEATER

GOOD KIDSThe first commissioned work of a new playwritingand performance initiative known as Big Ten TheatreChairs, Naomi Iizuka’s Good Kids explores a casualsexual encounter gone wrong and its very publicaftermath. The play responds to actual events togenerate a national dialogue. Opens Friday, Feb. 27,at 7:30 p.m. To March 7. Kay Theatre at the Clariceat the University of Maryland, University Boulevardand Stadium Drive. College Park. Tickets are $25. Call301-405-ARTS or visit theclarice.umd.edu.

MUSIC

AUSTIN LOUNGE LIZARDS A kind of alt-country “Weird Al” Yankovic that billsitself as the “most laughable band in show busi-ness,” the Austin Lounge Lizards offer Americana, bluegrass and rock songs with pointedly satiricallyrics. The 35-year-old Austin-based touring bandperforms parodies such as the TSA-inspired “Thank You for Touching Me There” and last decade’s finan-cial collapse-inspired “Too Big to Fail.” Thursday,March 5, at 8 p.m. The Barns at Wolf Trap, 1645 TrapRoad, Vienna. Tickets are $25 to $27. Call 703-255-1900 or visit wolf-trap.org.

BALTIMORE SYMPHONY ORCHESTRACristian Macelaru conducts an evening of musicinspired by literature. Specifically, Shakespeare— the Fantasy Overtures from Tchaikovsky’s TheTempest and Romeo and Juliet — and Hans Christian Andersen — the “Divertimento” from Stravinsky’s ballet The Fairy’s Kiss, based on Andersen’s shortstory The Ice-Maiden. Simon Trpceski also joins toperform Prokofiev’s Piano Concerto No. 1. Friday,March 6, at 8 p.m., and Sunday, March 8, at 3 p.m.Joseph Meyerhoff Symphony Hall, 1212 CathedralSt., Baltimore. Also Saturday, March 7, at 8 p.m.Music Center at Strathmore, 5301 Tuckerman Lane,North Bethesda. Tickets are $29 to $95. Call 410-783-8000 or visit bsomusic.org.

FRENCH HORN REBELLION

Presented by the 9:30 Club at U Street Music Hall,French Horn Rebellion is a funky, disco-steepedBrooklyn duo, who’ve recently released severalsongs featuring Jody Watley. The Wisconsin-bredPerlick-Molinari brothers mostly rebel from the band’s namesake instrument, which one brother hadplayed in the Chicago Civic Orchestra before theymade the switch to making dance-pop music. Butthe music is infectious and melodically enthusiastic,even without the brass. Thursday, March 5, at 7 p.m.U Street Music Hall, 1115A U St. NW. Tickets are$15. Call 202-588-1880 or visit ustreetmusichall.com.

JOHN EATONThe Barns at Wolf Trap hosts another concert bylocal jazz veteran and pianist John Eaton, a flagshipartist on the Wolf Trap Recordings label. “Piano



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scene

scan this tag

with your

smartphonefor bonus scene

pics online!

Glamour, Glitter &Gold: The DC Center’s

10th Annual OscarGala at Town

Sunday, February 22

PHOTOGRAPHY BY WARD MORRISON


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SomethingSynetic’s dance-musical interpretation

of Much Ado About Nothing is a

clever, outside-the-box extravaganza

ANOTHER IN SYNETIC THEATER’S SILENTShakespeare series, the dance-musical interpre-

tation of Much Ado About Nothing is a clever,outside-the-box extravaganza. A pastiche of

1950s musical themes, along with numerous references to the

era’s icons, it admires as much as it pokes gentle fun at vintageAmericana, Las Vegas style.

But this is Synetic, a company led by two Georgians (thecountry, not the state), and the lens is, as always, colored

by a sensibility a little different from the American norm.As much as the piece is infused with an enthusiasm for

American music and images, there is something a little darkerin the mix. It’s intrinsically interesting — and also saves the

piece from being hopelessly corny.Of course, the novelty here is not just the 1950s setting

(which, truth be told, often feels a bit more like an earlier swingera), but also seeing Shakespeare through dance versus words.

For those familiar with the play, though there may be a fewvague moments, the gist can be readily tracked. For those less

familiar, this is stand-alone entertainment — you can let the

dance and mime provide whatever story you make of it. Or, youcan hedge your bets either way by reading the program notes.

Yet, to dwell too much on the literal and whether it matchesShakespeare is to miss the better point: the Bard’s meaningful

themes and emotions are delivered through dance, movementand Thomas Sowers’ and Konstantine Lortkipanidze’s inspired

score. It is the sense of the story, its characters and their intercon-nections, that are in play, and it is the clarity of their expression

that is the measure. And though not everyone will bond with the

brash concept, the piece delivers. Partnering with the cleverlycurated music and interludes of unsettled sound, choreographer

Irina Tsikurishvili embraces the task with a big, vibrant picture, juxtaposing the jumpy, expansive moves of bebop and swing

with smoother, more lyrical and expressive dance.But with Synetic there is always another conversation joining

the dance, and this production is no exception. As Tsikurishvili

by KATE WINGFIELD

stage

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evokes the musical numbers of bygone days, she does so with acertain tongue-in-cheek humor and often in piquant contrast to

the emotions of the players. No movement is ever superfluous

–- it all has expressive purpose and it makes for riveting viewing.Tsikurishvili delivers a dancing feast for the eyes –- a stage often

filled with a host of different mini-vignettes, all equally interest-ing and clever.

One of the edgier elements here comes in the form ofBeatrice, who Irina Tsikurishvili dances with a certain canny

sensuousness that gives her a touch of the louche. It makes foran interesting chemistry with the character’s on-again-off-again

beau, Benedick, played by Ben Cunis with an uncomplicated,

good-natured gallantry. They make a credible pair and dancetogether with exceptional clarity of expression.

Aside from the will-they-won’t-they of Beatrice and Benedickis the secondary plot centering on the fall and rise of ingénue

Hero, in the not overly mature eyes of her suitor Claudio. EmilyWhitworth is a stand-out here, giving her Hero an unassail-

able sweetness and also expressing some distinct personality.

Whitworth is another of Synetic’s treasures: a woman of heightand grace who shows just how limiting it is to see dance only in

terms of ballet’s traditional waif. Though there isn’t an abun-dance of chemistry between this Hero and Claudio, Scott Brown

delivers his young man with keen clarity.Carrying another of the darker themes here is Dallas

Tolentino as the devious Don John, who does his best to scuttlethe nascent romance between Hero and Claudio. Tolentino is

not just, to use a vintage term, devilishly handsome, he is also a

strikingly confident and dexterous mover, a complete natural.He delivers Synetic’s interesting take on Don John’s motives: a

cynicism born of a half-life existence in an urban underworld.

These moments feel and look far more 21st century than mid-century. Whether intended or not, the fact that Tolentino, and

director Paata Tsikurishvili, can convincingly meld such diver-

gent moods with the whole speaks volumes.Less successful is Claudio’s rather graphic and altogether

contemporary imaginings of Hero’s supposed wantonness –-they don’t sit well with the overall tone of the production and

the spirited but chaste banter between Beatrice and Benedick.Still, these are just a few moments and they don’t overly dent the

proceedings.Adding to the color and fun of the piece are a charismatic

Peter Pereyra as a slick, club-owning Leonato and the ever-

acrobatic Vato Tsikurishvili as Dogberry, seen here as a blun-dering state trooper. Tsikurishvili is an accomplished purveyor

of slapstick which is thankfully mitigated by a subversive senseof humor. Other standouts are Zana Gankhuyag delivering a

comedic transformation as Verges, one of Dogberry’s men.Philip Fletcher succeeds in making his Don Pedro credible and

compelling whether he is leading the bikers or jittering through

a big dance number.It is, without doubt, a bold take on Shakespeare. Delivering

the ins-and-outs of the plot requires a careful balance betweenthe exciting dance and enough mime to advance the plot.

Although there are a few moments when the mime threatens toput a damper on the pace, overall, director Tsikurishvili makes it

sing. The bottom line is, taken as a Shakespearean concept piece,this is bold stuff. Taken as pure entertainment, it beats the band.

Much Ado About Nothing ( HHHHH ) runs to March 22 at SyneticTheater, 1800 South Bell St., in Crystal City. Tickets are $20 to $95.Call 800-494-8497 or visit synetictheater.org. l


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Unrevolutionary

While great in concept,in practice Evolve is

somewhat of a mess

IT WOULD BE FAR TOO EASY TO STOMP ALL OVER

Evolve. Much like the monsters the game so gloriouslydepicts, I could rampage and wreak havoc on it, tearing it to

shreds, so underwhelmed was I by something touted as thenext big event in multiplayer gaming. But I can’t. For, as much

as I ended up forcing myself to play the game in order to write

this review, I can’t deny that what Turtle Rock Studios have pro-

duced is indeed different, original, refreshing and wonderfullycrafted. It’s just a shame, then, that my own enthusiasm for thegame is tepid at best.

As a concept, it’s fantastic. The studio that gave us multiplayergem Left 4 Dead would build an online-only game which pitshumans against a giant monster, in a David versus Goliath situ-

ation where all bets are off as to which side will eventually win.Four players would control a team of Hunters, who must work

together to take down the savage, two-story tall beast. The twist?The monster isn’t AI, it’s a fifth player at the controls of the brute.

It’s player-versus-player in a way we haven’t really seen before.In practice? Well, it’s more than a little messy. Evolve takes

place on Shear, a planet colonized by humanity that transpiresto contain monstrous alien creatures, who take umbrage to this

puny species building homes, power plants and research stations

on their world. The entire story is established in one cutscene,where we’re introduced to the various Hunters the player can

control. A full scale evacuation is in order, and the Hunters are

tasked with delaying or killing as many of the Monsters as pos-sible, to give colonists a chance of salvation aboard a rescue ship.And that’s it. That’s all the plot Evolve feels the need to tell inorder to justify its multiplayer action — don’t expect a lengthy

campaign to play through, because it isn’t here.If there are echoes of Titanfall in this approach, you’re not

the only one detecting them. Last year’s Xbox One exclusive wasalso online-only, and similarly eschewed a story mode in favor

of wrapping a vague narrative around its multiplayer matches.Indeed, the two share more than a passing similarity — if you

stripped away most of the players and reduced Titanfall to fourpilots versus one Titan, you’ll have a better understanding of

Evolve’s gameplay. Unfortunately, unlike Titanfall, Evolve’s mul-

tiplayer failed to sink its teeth into my bones and drag me intohours of uninterrupted multiplayer battles. Instead, knowing I

had to review it, it gently clawed my face, an irritant I could onlyignore for so long before I had to attend to its needs.

Really, the core of Evolve’s problems stem from its restric-tion to four-versus-one gameplay. That’s all there is to play

here — don’t expect to do large-scale battle with an army of

Hunters fighting hordes of Monsters. It’s not going to happen.That restriction extends to Evolve’s game types, which involveHunt (the Hunters must track and kill the Monster, before itevolves and kills them), Nest (Hunters must find and destroy

the Monster’s eggs, and any minions which hatch from them),Rescue (Hunters must find injured humans and return them to

a dropship, while the Monster must kill them), and Defend (the

by RHUARIDH MARR

games

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starship tasked with lifting the colonists to safety is refuelling,

and Hunters must survive an assault by the Monster and itsminions, which will attempt to destroy the refuelling point and

thus the starship). Four modes; that’s your lot. In-game pop-upsduring loading screens will tell you that there are 800,000 pos-

sible match varieties across the game’s dozen maps, but in realityit feels far more restricted.

In battle, your experience will depend on which side you are.Playing as a Monster is arguably where Evolve is at its best. Asyou may have guessed, one of the key strategies when control-

ling these beasts is to evolve, achieved by killing and eating thewildlife found in each map. This increases the Monster’s armor,

eventually allowing it to upgrade through two stages, building instrength and ability as it does so. Monsters have a basic attack, as

well as four special abilities. Your starter Monster, the Goliath,will have the ability to throw boulders, breath fire, smash down

on Hunters from a great height, and charge through them,

knocking them out of firing range. Unlocking the game’s threeother Monsters will bring abilities such as lightening strikes,

supernova explosions, lava bombs, proximity mines, decoycloning and rock traps. Watching your Monster evolve and

grow as you play, and then taking the fight to the Hunters, is anexhilarating experience. They’re more than a little cumbersome

to control, but there’s a weight and solidity that is more thanappropriate given their ginormous size.

Playing as a Hunter offers its own rewards and challeng-

es. There are four main classes: Assault, Medic, Trapper andSupport. Each has three characters, which can be unlocked as

you play, offering various gun types and abilities. Assault arethe main attack class, with a personal shield granting temporary

invulnerability against the Monster’s strikes. Guns are big andpowerful, as are the the characters wielding them. Medics heal

their teammates, and are a vital part of winning a match — lose

the medic, and you’ll easily lose the game. Trappers are expertsin finding the Monster, and can utilize traps (hence the name) to

prevent the Monster from escaping, letting players coordinate

their attacks in a smaller area. Support class does exactly whatit says on the tin — using a cloaking device to hide from theMonster, you’ll lay down covering fire or provide teammates with

additional shields to aid them in battle. Each class can be levelledup, unlocking new abilities, and there is a welcome variety to the

way each character plays. Gunplay is solid, with the game’s future

tech lending itself well to a wide variety of explosive weaponry.Unfortunately, in play, is where the game starts to lose you.

Each of Evolve’s maps are pleasingly vertical, which adds anextra dimension to gameplay — Monsters can climb surfaces and

leap between points, while all Hunters have jetpacks to enabletemporary boosts and to scale cliffs and buildings. Outside of

that, and especially when playing as a Hunter, the game quickly

loses focus. In Hunt mode — the core gameplay type and the one

you’ll play most often — depending on who is controlling theMonster, you’re likely to spend the vast majority of your gameas a Hunter aimlessly running around. Tracking the Monster is

aided by following its tracks, watching out for disturbed birds,fallen trees, and dead animals, or utilizing the tech at your dis-

posal. In practice, and definitely not aided by each map beingalmost unbearably dark in places, you’ll be wandering through

the map, waiting for the game to throw a visual cue at you when

it senses that the Hunters have completely lost the Monster.Almost every Hunt game I played followed this pattern — and

while we were dithering about, trying to find the Monster, theperson controlling it was evolving into a Stage 3 behemoth,

which is almost unbearably difficult to kill.

It’s here that a four person team needs to work together, mak-ing the most of their skill sets and their headsets to communicate

with one another to bring it down. The Trapper can throw up adome that keeps the Monster within a certain distance, the Medic

can take out its armor to highlight areas that will grant more

damage, the Support can buff the other players and the Assaultcan go in for the kill. In practice, not once would anyone speak

during a game, and usually players would lose one another and bequickly overwhelmed by the Monster — and this is true for every

game type. Single players in a disparate team won’t stick together,which is vital to win. When playing as a Monster, I would seek

out the Medic and kill them — once they’re gone, it then becomes

a case of taking out the other three and you’ve won. Evolve worksbest when you’ve got three friends with you, working as a team

to do battle — without friends, it’s a horrible, unbalanced mess.It’s somewhat telling that I had more fun playing as a Hunter

in Evolve’s Solo mode, which replaces human players withAI-controlled bots. My team of CPU code and I worked wonder-

fully together to bring down Monster after Monster — we were abetter team than any human players I’d come across.

That lack of balance when faced with uncoordinated team-

mates is what ultimately caused me to switch off from Evolve.Evacuation mode is a five-match “story mode” of sorts, pitting

Hunters against Monster across four maps of random game types,with the intention to see how many survivors you can save in the

lead up to the final, fifth match type — which is always Defend.Start with a weak team and you’re going to have a long, boring

session ahead of you as you slog through the various game modes

having your ass handed to you by the Monster — even with autobalancing lending buffs and upgrades to the losing team for the

next round. There’s only so much losing as a Hunter I could takebefore I wanted to eject the disc and play something else.

And yet, I can’t hate Evolve. For those with friends to playwith — no one on my Xbox Live friends list owns the game — it

must surely be an absolute blast. Working together to take downa Monster must be as exhilarating as it was for me to be the

Monster, trying to crush individual Hunters until I won. What’smore, the whole game screams quality. Though predominantlydark, it’s beautifully depicted, with lush jungle areas, rocky out-

crops, wonderfully rendered buildings and fantastic characterdesigns — particularly on the

Documents

022615 Scott G Brooks Issue Small