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Arts Culture

PICK: Food From Our Farms

Rewarding harvest: A salad of autumn lettuces and herbs, Asian pear, toasted pecans, and Surryano ham crisp with nectarine vinaigrette. Empanadas made from Caromont chevre, butternut squash, and heirloom apples. It’s harvest time in the Blue Ridge, and the menu for Food From Our Farms: 2020 Edition features the bounty of the season while honoring the Local Food Hub’s work with small family farms and the food community. Support LFH as you enjoy a delivered dinner prepared by APimento Catering and Caromont Farm, with desserts by Albemarle Baking Company, and wine options from local wineries. Orders due by 9/26.

Saturday 10/3. $100 suggested donation. localfoodhub.org/dinner

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Arts Culture

Bright explorations: David Summers’ uplifting tribute to light at Les Yeux du Monde

A Renaissance man as well as a Renaissance scholar, David Summers uses his vast knowledge to explore light physically and from a philosophical standpoint. “David Summers: Nothing but Light” at Les Yeux du Monde examines the artist’s continued preoccupation with the visual topic that has been at the center of his artistic output for decades.

“There’s one thing I should tell you about the paintings,” says Summers, pausing for effect. “You’re supposed to like them.” He chuckles. “They’re supposed to be likable.”

Summers is the Emeritus William R. Kenan Jr. Professor of Art Theory and Italian Renaissance Art at UVA. He is also an author whose works include Real Spaces: World Art History and the Rise of Western Modernism, Michelangelo and the Language of Art, and The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics.

“David Summers is that rare art historian who can also paint,” says Les Yeux du Monde Director Lyn Warren. “He draws on his broad knowledge to create glorious paintings that hide unexpected treasures.”

Summers is also known to augment his work with historical, mythological, or other erudite references. His “Net of Indra” series takes its name from an ancient Buddhist allegory that deals with the concept of interconnectedness or emptiness (of a separate self/ego). The net stretches out infinitely above the dwelling of the god Indra. Within each mesh rhombus of the net, a single jewel glitters. All the other jewels are reflected in this one jewel and are also reflecting all the other jewels, ultimately resulting in an infinite ricocheting of reflections within the net. Summers may be making a statement about the interconnection of all things, but it’s the behavior of light that’s particularly relevant to his work. Capturing, with his brush, light glinting off reflective surfaces appears to be one of the artist’s greatest challenges and joys.

Indra’s net figures prominently in the show with four paintings referencing it. “Play of Light in the Net of Indra (Two Blue Pitchers)” is a work of hue, light, and texture. “Fragment of the Net of Indra (Night)” is equally arresting, and “Still Life with Sunrise” thrums with shimmering energy. The outer edges of the painting, where pink underpainting is visible peeking out from beneath the background, tells us a bit about Summers’ process, while creating a quietly beautiful effect. 

“Play of Light in the Net of Indra (Two Blue Pitchers)” Image courtesy of the artist

“Mondrian’s Recycling” pays homage to the Dutch modernist with subtlety and humor. Summers creates an alluring image of cool verdancy in his arrangement of glass objects, mostly blue, green and clear, placed on a table top and its lower shelf. This setup is in front of a window through which a hedge of trees is visible. Thanks to the title, we detect how the outlines of the window, wall, and table cleverly produce a version of Mondrian’s iconic grid formation. It’s a light touch that could have gone unnoticed. Another droll art reference—a deadpan jab at Jeff Koons’ vacuous, overly merchandised output—is dropped into “Still Life with Million-Dollar Balloon Dog.”

“Big Still Life with Mirrors, Homage to van Eyck (For D.W.)” has an interesting backstory. A friend of Summers’, D.W. presented him with a convex mirror similar to the one prominently featured in Jan van Eyck’s “The Arnolfini Portrait.”

Van Eyck has special significance to Summers as a prominent member of the early northern Renaissance school of painting whose developments in the use of oil paint were hugely influential. In addition to falling within his purview of study, Summers relies on the medium van Eyck perfected to create his own transparent glazes. These are fundamental to his oeuvre as they enable Summers to render glass and produce reflections.

In Summers’ painting, the convex van Eyck mirror is surrounded by other mirrors, including, amusingly, a rearview mirror that sits insouciantly at the bottom of the pile. There are also clear glass balls (Japanese fishing net floats), tin cans, and a vase. As in the original van Eyck, you can just make out the artist’s reflection in the convex mirror.

“Commodity Ghosts Dancing in the Sun” references our disposable culture with a row of plastic seltzer bottles—the ghosts of commodity—set against a patterned background. Summers reveals the beauty and humor in these throw-away items, and they, in turn, provide a nice edginess that contrasts with the refined polish of Summers’ execution. To balance Summers’ paintings of objects, interior and garden scenes and a series of enchanting vignettes from the Chesapeake Bay that evoke the best days of high summer are also included in the show.

“Do you remember the Shmoo from ‘Li’l Abner’?,” asks Summers. “It was a lovable little creature, that was any flavor you liked when you ate it. These paintings are like that. The subject matter is really light, I want it to be light. But the arbitrariness of the things is supposed to be slightly humorous—slightly humorous in the way somebody you like is.”

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Arts Culture

Tragedy and joy: Our Time Machine bridges generational divides

The difference between a nice story and a beautiful one is in the way it’s told. When a retired opera director starts losing his memory, and his son creates a play about a child who invents a time machine so his father can relive great moments from his past, that’s a nice story.

When the father (Ma Ke) is a former artistic director at the Shanghai Chinese Opera Theater, and the son (Maleonn) is a cutting-edge visual artist breaking new ground with puppet technology, and in their collaboration the son discovers new maturity while honoring his father’s legacy—that’s a beautiful story.

This same distinction is also true in documentary films. A diverting tale recounted by talking heads is often entertaining enough, but a greater accomplishment in nonfiction storytelling is the elevation of the subject by discovering truth among the facts. Through emotional and technical intelligence, S. Leo Chiang and Yang Sun make Our Time Machine a touching story of father and son, a procedural drama about the grueling life of a creative professional, and a resonant statement about the intertwined nature of tragedy and joy.

Ma Ke attributes his success to his work ethic and willingness to be demanding of his collaborators. Maleonn suggests his father’s prolific output is to make up for years lost during the Cultural Revolution, when opera was denounced and its practitioners sent to labor camps. It was in that camp that Maleonn was born, and once Ma Ke was allowed to work again, that’s nearly all he did.

The first thing viewers will notice is the striking style of Maleonn’s creation, filled with expressive puppetry, silhouettes against rear projections, and animatronic airplanes. The imagery brings to mind H. G. Wells, a Victorian sensibility of cold gears and hot steam manipulating the fabric of existence, imbued with modern sentimentality. Primarily a visual artist, this is Maleonn’s first venture into theater, and he takes no shortcuts in realizing his dream.

If this were merely a behind-the-scenes feature about a play’s creation, that would be enough to recommend it, simply for the technical marvel. But Our Time Machine is a story about determination and racing the clock, using the time we have now to reconcile with the past in order to brighten our future. Maleonn’s play is a means to get closer to his father, whom he idolizes despite the emotional distance, and though he is much more congenial in nature and collaborative with his team than Ma Ke is alleged to be, Maleonn is equally single-minded, pushing away all unrelated concerns until they threaten his or his family’s livelihood. He moves forward with production when there is no money, and struggles to balance the demands of his work with the question of assisted living for his worsening father. Early on, Maleonn speaks longingly about the possibility of starting a family, but is not forthcoming about his burgeoning relationship with a collaborator (though, charmingly, they do a bad job of hiding their feelings for one another).

Even without consideration for his relationship with his father, Maleonn’s play is still an impressive technical feat with a great deal of compassion for its characters, but at the expense of its soul. Similarly, the context of Our Time Machine is what makes it more beautiful than if it were a series of episodes in an artist’s life.

As a work of art, Our Time Machine is a fascinating look at the relationship between creator and creation, and does not remove itself from that equation. The greatest documentaries, in my opinion, call attention to the observer effect, and do not attempt to fool the audience into believing that the cameras are flies on the wall. The fact that this was documented matters; Maleonn could not have predicted the obstacles, and if everything had gone according to plan, this would have been a featurette on a DVD. But as Maleonn’s life evolves, so does the documentary. Filming continued well past the play’s premiere and into his next stage in life, coming to its own conclusion as a work of art with a soul of its own, separate from its subjects.

Ma Ke and Maleonn came of age in two very different eras in modern Chinese history. Are their approaches at odds with one another, or are they of the same mind with their individual traits shaped by historical circumstances? Their openness about issues like the Cultural Revolution and political persecution is refreshing, and they are equally open about their feelings toward one another. But as Our Time Machine shows, openness is only the first step in establishing a connection. Two people can’t stand at opposite ends of a canyon and just will a bridge into existence; someone has to be the first to start building—like a playwright needs a play before he can connect with an audience.

Our Time Machine / NR, 84 minutes

Streaming (VioletCrown.com)

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Arts Culture

PICK: The Life of William Faulkner

Writer’s digest: Notable biographer Carl Rollyson has covered a range of remarkable lives in his work, from Marilyn Monroe, Lillian Hellman, and Norman Mailer to Susan Sontag, Sylvia Plath, and Walter Brennan. He completes a two-part bio with The Life of William Faulkner Volume 2: This Alarming Paradox, 1935-1962, and celebrates Faulkner’s birthday with a virtual launch party hosted by UVA Press and Knight’s Gambit Vineyard. The book examines Faulkner’s artistic struggles, various affairs, journey into film work, and how he eventually became a literary icon.  Rollyson will join the livestreamed discussion for a Q&A. Wine can be pre-ordered through Knight’s Gambit, and proceeds benefit the Southern Environmental Law Center.

Friday 9/25. Free, 6pm. Zoom required. upress.virginia.edu.

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Culture Living

PICK: Blue Ridge Mountain Maze

Way to unwind: It’s an amazing maze of maize, and it only gets cornier. The Blue Ridge Mountain Maze is five acres of corn stocks that are organized into a new and cornfusing design every fall (this year’s theme is “get outside”). Navigate by day or try a spooky challenge, and take on the night maze on weekends—and while you’re there, don’t miss the pumpkin patch, farm animals, obstacle course, and country store.

Through 11/8. $11-12 (free for children under 3), times vary. 165 Old Ridge Rd. Lovingston. blueridgemountainmaze.com.

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Arts Culture

PICK: One Man, Two Guvnors

Lasting laughs: Before he hosted “The Late Late Show with James Corden” and dueted with superstars in his Carpool Karaoke series, Corden was a comedy writer for British television and an award-winning stage actor. He stars as Francis Henshall in National Theatre Live’s HD rebroadcast of One Man, Two Guvnors, a role he reprised on Broadway, earning him the Tony Award for the Best Performance by a Leading Actor in a Play. 

Friday 9/25. $11-15, 7pm. The Paramount Theatre, 215 E. Main St., Downtown Mall. 979-1333.

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Arts Culture

Travel companion: UVA alum’s trivia app serves as a virtual escape during lockdown

Who is the city of Leesburg, Virginia, named after?

If you answered Robert E. Lee, you may need to study up. If, however, you said the city is named for Thomas Lee, an ancestor of the well-known Confederate general, you’d be a good candidate to play Triviappolis Treasures, a travel-based trivia app created by University of Virginia alum Donnie Edgemon.

An idea born out of a lifelong love of trivia—and a game show run that included appearances on “Jeopardy!” and “Who Wants to Be a Millionaire”—led Edgemon to begin developing the app in March. The goal was to create a city-based trivia game, designed to allow tourists to test their knowledge along their trip route.

“The day I don’t remember playing on ‘Jeopardy!’ anymore is the day you can put me down.” Donnie Edgemon (Publicity photo/Jeopardy!)

But even as Edgemon was reaching out to fellow trivia-loving UVA graduates and professional trivia writers for help crafting locally based questions that would inspire users to travel, the United States was closing its airports and borders.

As the app got closer to its June launch, it became clear the world into which it was launching was not the same one Edgemon had once envisioned.

“We knew the world was different in terms of travel and that it might still be different when we launched, it might still be different for months afterwards,” Edgemon says. “But we always knew there would be two stories to tell.”

Ideally, the app would serve as a travel companion. But the second story, which the app’s marketing has focused on, is even more relevant in our COVID-struck reality: The game itself can serve as a substitute for travel. Now more than ever, selecting a new category is far more feasible than booking a flight.

“In the long run, I’m not sure it really matters,” Edgemon says. “I think curiosity is curiosity, and if you want to learn things, if you’re stuck at home, you can learn. If you’re stimulated to learn because you’re changing planes at O’Hare, that’s great too. I think we have a solution whether you’re on the road or not, because everybody likes to at least think about being on the road.”

Edgemon has loved trivia since he watched Alex Trebek’s “Jeopardy!” debut in 1984. His own appearance on “Jeopardy!” introduced him to the tight-knit world of trivia’s elite, a network of show alumni that opened the door for future game show appearances and helped him find backers for his own trivia game. Listing “Jeopardy!” on a resume is the gold standard for quiz show enthusiasts.

“The day I don’t remember playing on ‘Jeopardy!’ anymore is the day you can put me down,” Edgemon laughs. “Drive me out into the woods and just leave me there, because I’m done. This is so important to me.”

It’s not surprising that an app that challenges players to know the difference between generations of the Lee family was created by an American history buff. Drawing on that knowledge helped Edgemon collect money during both of his game show appearances. It also shaped the first sets of questions he wrote for his app, based on the history of Washington, D.C., and his mom’s hometown of St. Louis, Missouri.

Inspired by “Jeopardy!,” which can pack 61 clues into a 30-minute episode, he stuffed  as much information into his game as possible. Thirteen-thousand questions later, a combination of user-submitted and expert-generated trivia has expanded Triviappolis Treasures to include 51 cities. The team behind the app, Edgemon, Steve Nerheim, Brad Lucas, Brian King, Jack Miller, and Laura Miller, are all UVA alumni. But Edgemon hopes to use the game’s wide scope to push the app further than Charlottesville.

“This has kind of spun off as a Charlottesville or UVA thing, and if we can get out of Charlottesville, that would be even better,” Edgemon says. “The best thing we can do to grow is create a product that people like enough to tell their friends about, and I think that’s happening.”—Julia Stumbaugh

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News

In brief: Bob’s not so good, COVID’s on the rise, and more

Tossing it around

Bob Good, the 5th Congressional District’s Republican candidate, released a bizarre campaign advertisement this week. In the spot, Good draws on his experience as a wrestling coach—everyone’s favorite kind of authority figure—and shows how he’ll “put liberal ideas in a headlock.” As Good grapples on the mat with his son, the candidate periodically looks up from the tangle of arms and legs to deliver a zinger such as “Government-run health care? I’ll pin that idea.”

Meanwhile, election forecasters at the Cook Political Report are now rating the race a toss-up, something formerly unthinkable in a district Donald Trump won by 11 points in 2016. On Twitter, Cook’s Dave Wasserman called Cameron Webb “perhaps the Dems’ best House candidate anywhere in the country…Webb is a young, telegenic Black doctor w/deep ties in both Charlottesville & Southside.” 

Proof positive

Sticky notes in the window of Echols dorm show how students are feeling about quarantine. PC: Julia Hyde

Despite evidence from colleges around the country that inviting students back to campus would lead to coronavirus outbreaks in on-campus housing, UVA’s administration made the decision to bring first-year students back to Grounds. Now, less than three weeks later, there are outbreaks in several dorms.

Last Wednesday, the school announced at least five cases of COVID-19 were found in the wastewater of the Balz-Dobie freshman residence hall. The dorm immediately went into lockdown and all residents were tested Wednesday evening. The tests turned up 15 cases of COVID-19 in a dorm of 188 students, says the university. Students who tested positive have been placed in isolation housing and their close contacts (such as roommates) have been placed in quarantine housing.

Thursday evening, residents of the Lefevre dorm were instructed to undergo mandatory asymptomatic testing after wastewater tests indicated possible infections there, too. That dorm turned up three more positive cases. Then on Friday, the Echols and Kellogg dorms underwent the same routine, and 17 additional cases were confirmed.

“All students with positive tests are doing well,” says UVA in an official statement.

As of Friday, 19 percent of the university’s quarantine rooms were occupied by students and 1 percent of isolation rooms were occupied. Quarantine rooms are for those who have been exposed to COVID-19 and isolation rooms are for students who have tested positive for COVID-19. The school’s coronavirus tracker shows 241 active cases as of Tuesday morning, including students, staff, faculty, and contracted workers.—Amelia Delphos

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Quote of the week

“The issue is that y’all don’t have your facts together. You’re trying to cite me for a [Black Youth Action Committee] event, claiming that it took place in Washington Park and it didn’t.”

—community organizer Zyahna Bryant on the $500 fine the BYAC received for hosting Black Joy Fest, criticizing City Council for not being consistent with enforcing the ban on large gatherings

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In brief

The lost art

Seven paintings by Charlottesville artist Megan Read, worth a total of $12,000, have gone missing. They weren’t stolen in a dramatic art heist, though: FedEx lost track of the packages, which were en route to a gallery in Denver. Read has tried to track the paintings down, and says she thinks they’re stuck in a shipping center in Kernersville, North Carolina, but she hasn’t been able to find anyone who can help her. 

Sign of the times

A blunt sign on the door of one of UVA’s historic Lawn rooms has caught the attention of some of the university’s more traditionally minded alumni. “FUCK UVA,” it says, before reminding passersby of the school’s history of slavery and other crimes. The sign prompted Bert Ellis, class of ’75 and CEO of Atlanta’s Ellis Capital, to drive to town and indignantly knock on the Lawn room door, where, according to his own Facebook post, he was given an eye-opening history lesson from the student who lives there.

Name game

After debating the issue late into the night during multiple recent meetings—and getting nowhere—City Council decided on Monday to send proposals for honorary street names to the city’s Historic Resources Committee. Several proposals would honor local Black figures, including activist Wyatt Johnson and enslaved laborer William Henry Martin, while two others suggest honoring UVA men’s basketball coach Tony Bennett.

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News

Class in session: Teachers say in-person learning has been safe for special education

After months of debate, the Albemarle County School Board decided in July to hold the first nine weeks of classes with distance learning for most students. One exception to the mandate was made for students with special needs.

The decision immediately stirred up controversy and concern, with many community members believing face-to-face instruction was not only unsafe, but unfair to test out on vulnerable populations of students. “To have a school that could potentially be filled with vulnerable students in any capacity places the burdens of the illness upon them,” ACPS instructional coach Adrienne Oliver told C-VILLE in July.

But for at least two special education teachers in the district, in-person learning has been a largely positive experience since school began September 8.

At Broadus Wood Elementary, Kimberly Hannis currently teaches four of her kindergarten-through-fifth-grade special ed students in person.

“There are so many different routines than last year, so I’ve had to take a step back, and rethink how to create a calm, supportive environment with clear expectations,” she says. “That’s been challenging, but we’re getting better and figuring it out together.”

Each student has separate workstations, books, toys, and other learning materials, which are sanitized regularly. Because there are very few students and staff inside of the building, she’s able to use multiple rooms for teaching.

Taylor Aylor, who teaches special education for grades nine through 12, also has just four students in her classroom at Monticello High School, allowing them to safely distance from each other.

Though it has not been easy getting students acclimated to all the new rules and practices, both teachers say that masks have surprisingly not been an issue.

“I thought my kids were going to do awful with wearing their masks and sanitizing. These are kids where…there is no such thing as a bubble,” says Aylor. “[But] they have been complying, and are leaving their masks on.”

Both teachers also have students whose specific needs require remote learning. With the help of teaching assistants, they’ve been able to balance the individualized needs of the two groups, and create a structured routine that helps them “thrive,” says Aylor.

At the beginning of each school day, Aylor hosts a class Zoom meeting, allowing her 10 students learning from home to socialize with those inside the classroom. She then works with her in-person students alongside four teaching assistants, while another special ed teacher—also with support from TAs—does live classes with those who are learning virtually.

Hannis also has four TAs in her classroom, who assist students with their work whenever she is not working with them. At scheduled times, she teaches the same content during live classes with her two students learning from home, and assigns work for them to do on their own.

Throughout the school day, students participate in virtual classes with their homeroom, “depending on what’s appropriate for them,” says Hannis.

The decision to teach students in person was not easy for Hannis. But because she is “young and doesn’t have high risk people around [her]” at home, she felt more comfortable doing so.

Aylor has a 4-year-old daughter, and at first didn’t think she’d return to the classroom.

“I knew that my daughter needed to go back into a daycare setting, even if I was going to be doing virtual, just to make sure I’m giving my undivided attention to the kids,” she says. “So [eventually] I was like, I’m going to go in. I’m not just going to submit my daughter to exposure…and me stay at home.”

“And now since the first day coming back, it’s just been like ‘Whoa, that wasn’t as scary as I thought,’” she says.

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Back so soon?

Though the Charlottesville School Board voted to start the first nine weeks of classes virtually, students could be returning to the classroom sooner than expected.

City school officials have shared a reopening plan with the district’s COVID-19 Advisory Committee that would allow preschool through second-grade students to participate in face-to-face classes beginning on October 13, nearly four weeks earlier than initially planned.

Other groups would soon follow: third through fifth graders would return on October 20, and sixth grade and up would go back on October 27.

All families could still opt into virtual learning.

This change still needs to be discussed, revised, and approved by the committee.

Since the proposed plan was announced in an email to families last week, the division has faced backlash from teachers, parents, and even school board members, who feel it is unsafe and unnecessary amidst rising COVID cases in the area.

“We voted to go virtual for the first nine weeks and develop thoughtful criteria for how and when we return to in-person learning, and this change in direction by Dr. Atkins is unacceptable,” tweeted board member LaShundra Bryson-Morsberger. “We made a plan and gave our word; we voted on it! We have to stick to the plan.”

The committee will make a recommendation to the Charlottesville School Board on October 8. Albemarle’s school board will also meet that day, and is expected to hear several reopening options for the next quarter.

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News

Out of dough: BreadWorks shuts down from pandemic losses

After nearly 30 years of serving up sunflower wheat bread, curry chicken salad sandwiches, and other local favorites, BreadWorks Bakery & Deli is shutting its doors this week.

Due to a huge drop off in sales, “it’s just not sustainable,” says Charles McElroy, president of nonprofit WorkSource Enterprises, which owns and operates the business.

Since opening in 1994, what’s brought customers to the Preston Avenue shop is not just its wide assortment of baked goods—seriously, you have to try the cookies—but the people behind the counter: Over half of its employees are disabled, and involved in every aspect of the business, from mixing dough to manning the cash register.

“For many people, customer service was our biggest attraction. Our retail staff knew a lot of customers by name,” says McElroy.

At BreadWorks, disabled adults built up a variety of crucial skills in a positive and uplifting environment, he says. After receiving hands-on training, they’d try different jobs, and pick the one they felt best suited them.

“The sense of being a part of a team, the accomplishment, the popularity of BreadWorks—they all make an enjoyable work experience for them,” says McElroy. “They stay many years on end.”

Longtime employee Raquel Terrell says she’s done a “little bit of everything” during her 15 years at BreadWorks. She eventually decided to work the front counter, where she felt the most at ease.

“I’m a shy person. …When I first started here, I felt comfortable being in a corner, looking out the window. But I met some nice friends that broke me out of that,” says Terrell, now 39. “[BreadWorks] was a place where I felt comfortable.”

When she learned that the shop was shutting down, Terrell was devastated. “I was really looking forward to staying here until my retirement.”

The decision to close was incredibly difficult, but after months of severe financial losses, it is necessary, explains McElroy.

As soon as the pandemic hit, BreadWorks lost a huge source of income: catering. Its once-popular sandwich platters and breakfast spreads were no longer in demand, thanks to massive closures and event cancellations.

The shop stayed open for curbside pickup, but a decline in sales forced it to shut down in mid-April. (WorkSource ensured that all of its employees still received their regular paychecks and benefits.)

Since BreadWorks reopened for take-out in June, foot traffic and catering orders have not picked up.

McElroy hopes the shop will be able to open again someday, perhaps in a different location. But with no end to the pandemic in sight, he remains unsure when that could happen.

“We’ll keep our eyes open…but at this point, it’s impossible to predict when the local economy will rebound to the point where the BreadWorks model is viable,” he says.

All disabled BreadWorks employees will be referred to the WorkSource community job placement program, which has partnerships with businesses in Charlottesville and surrounding counties.

“They are all very capable…We should be able to place [them] in other jobs fairly quickly,” says McElroy, encouraging local employers looking to hire “talented and dedicated staff” to contact WorkSource.

Since announcing its closure, BreadWorks has received an outpouring of support on social media, offering a glimpse of its longstanding impact on Charlottesville.

“We are incredibly thankful for the support from the community over the years,” says McElroy. “[But] the real legacy is the fact that we’ve had such a positive impact on persons with disabilities.”

BreadWorks’ last day of business is Friday, September 25.