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Arts Culture

Cast your eyes on the 2020 Virginia Film Festival

Unprecedented, unexpected, insane…we could go on, but after months of living in a world with coronavirus, a presidential campaign, and a series of transformative social justice movements, well, you get the idea.

To combat it all, we’ve been baking, we’ve been Zooming, we’ve been sitting six feet apart at social gatherings.  We’re ordering takeout, enjoying a cocktail (or five!), and streaming entertainment—a lot. During this strangest of autumns, movies have provided distraction, affirmation, education, and so much more.

Despite having to rethink audience participation, the Virginia Film Festival is a beacon of normalcy at a time when nothing feels normal. Gone are the tightly packed movie houses of previous years, but the quality programming and insightful guests remain the same. The pivot to virtual screenings gives everyone a front-row seat, and a return to drive-in movies offers a nostalgic connection to a bygone era.

We will miss the smell of popcorn, the collective laughter and tears, crawling over legs to the middle seat, and even that guy at the Q&A session who just won’t quit. But the time is still right for the 33rd annual Virginia Film Festival. Stay safe, promote peace. And I hope to see you sitting next to me next year.

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Arts Culture

PICK: 9 Pillars Hip Hop Music Video Showcase

Stage to screen: For the second year in a row, the Virginia Film Festival is screening works by local hip-hop video directors and rappers during the 9 Pillars Hip Hop Music Video Showcase. Curated by Cullen “Fellowman” Wade, who compiles a wide variety of styles within the genre, the showcase connects some of the most prolific creative work in the community to a broader audience. The lineup of eight music videos includes King Gemini’s “Play Me,” directed by Ty Cooper; J-Wright ft. Scottii’s “Memories,” directed by Kidd Nick; and Damani Harrison’s “One For George,” directed by Harrison and Eric Hurt. A discussion with filmmakers follows the screenings. Virtual access pass required.

Through 10/25, $8-65, content becomes available October 21 at 10am. virginiafilmfestival.org.

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Arts Culture

PICK: Gallery of Curiosities

Urine for a treat: More than 40 contributors dug into the dark recesses of their art closets to assemble the “deep-dive into the most peculiar parts of our community’s collective wonder” that is the Gallery of Curiosities. In other words, you’ll be offered a peek behind the curtain, past the sensical and the visually accessible, where your comfort level will be challenged with a display of weird collections. If you want to see a sample of Thomas Jefferson’s urine up close, this is your chance.

Through 10/31, The Bridge Progressive Arts Initiative, 209 Monticello Rd., 218-2060. brigdepai.org.

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Culture Living

Carving out history: Leni Sorensen bridges the gap between kitchen and table at Monticello

Thomas Jefferson never wrote about the food at Monticello.

His kitchens were stocked with ingredients from around the world—cinnamon from Asia, lemons from the Caribbean, brandies and fine cheeses from Richmond. But in his writing, Jefferson didn’t remark on the fine food that his enslaved chefs prepared for his table. He simply expected its consistent excellence.

More than 200 years later, food historian Leni Sorensen is working in the Monticello kitchen to make sure viewers of her livestream cooking series know, unlike Jefferson, not to take the efforts of those cooks for granted.

“It’s exhausting,” Sorensen says. “You’re in the smoke, constantly in the smoke. Your clothes smell of smoke, and your hair smells of smoke. You burn the hell out of yourself. And all the pans are heavy, except the copper pots on the stew stove. And you’re bending over all the time. So on a lot of levels, while it’s charming to do, I’m really glad I don’t have to do it.”

Sorensen’s cooking demo and Q&A session is part of a series of videos, broadcast live on YouTube and Facebook and available on the Monticello website (monticello.org), that seek to connect guests with the history of the Monticello estate even as the grounds themselves limit visitors.

As Sorensen peels, spices, and prepares an apple compote like the kind Jefferson would have eaten, she uses skills that were once a source of pride for Monticello’s enslaved workers—as well as, at times, a path to freedom. Cooking gave many workers what they needed to move after emancipation, settling into kitchens across the United States to carve out a new life for themselves.

“It was often done under terrible duress and hideous kinds of racism…but they had this skill that they could do that brought in money for their children’s education, to buy a piece of property, to act within their Black community…,” Sorensen says. “It’s quite a marvelous story, that level of independence that being able to cook [gave them].”

Teaching at Monticello is one of many jobs Sorensen has picked up due to COVID curtailing much of her regular work. She’s now selling bulk orders of homemade tamales, a business she first ran in Los Angeles in the ’70s. And in her free time, she plans and executes elaborately themed, socially distanced dinner parties at her Charlottesville home.

At the most recent dinner, her two guests arrived on their way back from a day at Monticello. Even in the time of the pandemic, people are finding a way to connect with Virginia’s past through the estate. And Sorensen anticipates that with potential future cooking livestreams, historic venues like Monticello and Montpelier can continue to create connections between past and present.

“I’m often trying to draw analogies so that we don’t see the enslaved community…as somehow being necessarily different,” Sorensen says. “We all have these incredible commonalities. Often, it’s wonderful to see places where people have bridged those gaps and eliminated those gaps.”

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Arts Culture

Wisdom and love: Eduardo Montes-Bradley composes a tribute to Alice Parker

When Melodious Accord, Inc., reached out to Charlottesville-based documentarian Eduardo Montes-Bradley and asked him to craft a film about the life of musician and composer Alice Parker, Montes-Bradley knew he had to meet Parker before he said yes.

He headed up to Boston, and the two drove together to Parker’s 17th-century New England cottage home, where Montes-Bradley pulled out his camera and asked her to describe her earliest memory. Parker told him of sitting on the floor by her mother as she played the piano. It sounded to Montes-Bradley like a picturesque description of an early 20th-century postcard.

“There is something absolutely magical about this person,” Montes-Bradley says. “I felt that I was running into my own grandmother. I felt enveloped by wisdom and love…when I saw her through the lens, I thought, ‘this is it. This is the person. This is my next movie.’”

The evening scene that Montes-Bradley shot in his very first meeting with his 95-year-old subject is cut throughout his latest film, Alice: At Home with Alice Parker, which will be shown at the festival beginning October 21. It’s the director’s latest in a long documentary career that took him from Buenos Aires to the University of Virginia’s Heritage Film Project.

Pinning Alice together is the music. Normally, Montes-Bradley doesn’t share his work until it’s finished, but this time he collaborated with Parker for her expert advice on the film’s score. He uses Parker’s own voice and compositions for most of the soundtrack, with the exception of a haunting underscore that is voiced by her late husband, Tom Pyle.

Pyle died in the ’70s, leaving Parker to raise five children alone. Around the time, Parker parted ways with her longtime mentor, conductor Robert Shaw.

“I believe that Alice Parker becomes Alice Parker when she traumatically detaches herself from the shadow of these two amazing men,” Montes-Bradley says. “She becomes the fabulous woman she is in a time of change in the world, and in America, with regards to women’s rights.”

The documentary was shot in February, meaning that Montes-Bradley pieced the work together in isolation. That unique process lends the film a warm kind of intimacy. Every shot of Parker’s gentle hands and gleaming eyes are proof of the connection Montes-Bradley found with her during this strange spring.

“I think what saved me from going insane during this quarantine early period was precisely my relationship to this subject,” Montes-Bradley says. “In the basement of my house in Charlottesville when I started editing…I had my conversations. The rest of my conversations with her, most of them happened in quarantine, with me in the basement and Alice on the screen.”

Parker is a prolific composer of everything from hymns to operas, and she set music to the words of everyone from Martin Luther King Jr. to Emily Dickinson. Alice reminds viewers that beyond the impact these works hold for the American choral scene, Parker is still a relatable human.

“The time that I took to do this, and the possibility to go deeper into those connections, allowed me to understand where she was coming from and the importance of her work, the relevance of her work,” Montes-Bradley says. “She connects us through music to some of the literary works of the first half of the century.”

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Arts Culture

The punks are alright

A punk rock arsonist is not the likely lead in a romantic comedy, but love has never been known to follow the rules. Dinner in America cheers for the underdogs and sees people for who they really are.

Writer/director Adam Rehmeier’s twist on a boy-meets-girl tale starts with punk rocker Simon (Kyle Gallner) setting a house on fire. He sells drugs and is a social rung below a roustabout, or at least that is how it appears from afar. Patty (Emily Skeggs) works at a pet store, though that seems to be more of a way to pass time than a passion. Local kids tease her and her boss doesn’t appreciate her. She lives at home with her parents, which is where she takes Simon to hide from the cops who are looking for him. Patty and Simon went to high school together years back, and she appears to have a lightly lingering crush.

While Patty might seem to be aimlessly drifting through life in her Michigan suburb, she does have a passion for music. The indie-punk band Psyops are her obsession and she desperately wants to connect with the lead singer John Q. As she shares their music with Simon and opens up her heart just a little bit, their connection grows, and soon they are inseparable.

Dinner in America is not particularly polished or elegant. It does not have a soaring score to telegraph to the audience that love has blossomed, or feature sunset walks on the beach. But all of this is true to the honest nature of the protagonists’ bond. These two found each other when they were not looking for love, and their mutual appreciation and attraction is what sparks their romance. Both of them were stumbling through life, underappreciated by their families and misunderstood by their peers, but in each other they found someone who helped them make sense in their worlds.

Add to all that some frankly exceptional punk rock music moments, and Dinner in America is destined to be the preeminent alt-romance of 2020.—Deirdre Crimmins

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Arts Culture

Real to reel: Director Nicole Kassell discusses bringing ‘Watchmen’ to life

HBO’s hit series “Watchmen” presents a universe where high fantasy collides with horrible reality, a world where an alternate world replete with superheroes and interdimensional creatures shifts to a very real American atrocity. Building on the 1985 graphic novel Watchmen, writer/executive producer Damon Lindelof (“Lost”) has crafted a frequently askew viewing experience around the 1921 Tulsa massacre, a brutal incident of racial violence.

Having previously collaborated with Emmy-winning director (and former Charlottesville resident) Nicole Kassell on his series “The Leftovers,” Lindelof hired her to direct the “Watchmen” pilot, “It’s Summer, and We’re Running Out of Ice.” Kassell wisely approached the series’ often arcane events with an abiding goal: verisimilitude.

“I think that’s especially why Damon had brought me onboard,” Kassell, 48, says, “because as wild as the scenario goes, I keep it grounded. Number one is keeping the performances totally grounded in realism.”

The show’s excellent ensemble cast, headed by Regina King, must “fully believe the world around them,” she observes.

Lindelof worked closely with every facet of the production. “He sees everything, from production design to key props, before it goes on screen,” says Kassell. “And especially with this one because there was so much inventing of new things.” The two collaborators had a “lot of dialogue,” she says, “because we’re all working together to create a new and interesting world and a new language.”

The “Watchmen” pilot also required Kassell to pursue another kind of realism. The episode opens graphically on a true-life American tragedy: the racist destruction of Tulsa’s African American Greenwood district. Their depiction of this historically neglected 1921 atrocity is likely its first-ever dramatization, and Kassell felt an unstinting commitment to do it justice.

She thoroughly researched the event, using Tim Madigan’s book The Burning as her primary source. When location scouting began, her very first stop was Tulsa’s Greenwood community. “It was essential to me that we started there, to go to the Greenwood Cultural Center and talk to people, and stand on the street where the Greenwood Theater was, and take in that history,” she says.

Kassell describes the two days of filming the sequence as “definitely intense.” It was meticulously designed in preproduction, “and most importantly,” Kassell says, “we really worked to inform the cast and the crew of exactly what we were doing. Because so many of us were learning about this [event] for the first time from the screenplay.

“It was essential to me that we were not taking it lightly or in vain or just for dramatic purposes…to treat it with the utmost respect. It was very powerful and very harrowing and disturbing. But everybody involved, whether they were playing the perpetrator or the victim, we were all there working together for a cause.”

That intensity created a bond on location. “The gift was really to see, in-between takes, background actors sitting, chatting, laughing together, and these were people that had just been fighting during the take a moment before.”

No stranger to Virginia, Kassell spent “half my childhood” in Charlottesville, she says, and has been a guest at the Virginia Film Festival in the past. She was here in 2004 with her breakout film The Woodsman, starring Kevin Bacon.

Proud that the enormous viewership of “Watchmen” has inspired discussions of key issues like race, Kassell was initially excited that the series was “just giving a place for people to talk about these issues.” Now, she notes, “so much more has happened that is causing the conversation, which is invaluable that it’s happening.”

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Arts Culture

Films to rally around at the 2020 VAFF

Many of us have found safe, socially distant ways to do the things we considered normal before the pandemic, such as drive-by birthday parties or outdoor, masked haircuts. When and how we might go to the movies like we once did is a tougher issue to resolve, because there’s no getting around the problem of a group of strangers sharing circulated air in a closed room for two hours.

Until we can breathe easy again, audiences have rallied around the previously undervalued drive-in experience, and virtual cinemas have allowed independent theaters and filmmakers to connect in innovative ways. You may have to experience the Virginia Film Festival in isolation this year, but rest assured, you are not alone.

One Night in Miami & Shiva Baby

As of the moment this preview was written, two drive-in highlights have already sold out: One Night in Miami on opening night, and Shiva Baby on closing night. The films are very different in tone and content, yet both are deeply personal to their respective filmmakers—industry veteran Regina King in her directorial debut, and newcomer Emma Seligman—and are essential examples of why the festival experience, however diminished at the moment, is worth saving. (One Night in Miami, October 21, at 7:30pm at Morven Farm, and 8pm at Dairy Market; Shiva Baby, October 25, at 8pm at Dairy Market)

Jumbo

Here’s a useful festival tip: Whenever you see anything labeled a “hidden gem,” give it a chance, no matter how odd it may seem. These movies rely on your word of mouth, and you may find a new favorite in an unlikely package. This is certainly true of Jumbo, from French writer-director Zoé Wittock in her feature debut. The most shocking thing about Wittock’s film isn’t its premise, about a woman (Noémie Merlant, Portrait of a Lady on Fire) who falls madly in love with a carnival ride. It’s that she makes you believe it. With each new romantic escalation, Jumbo challenges you to remember when you were judged for feelings you couldn’t explain, or loved someone you shouldn’t. Wittock directs the story like this the only way one could, with total earnestness and respect for the character’s point of view. The ride, communicating only through spinning, flashing lights, and—ahem—leaking, is as expressive as any human actor. Jumbo will make you stand up and cheer as you rethink your definition of “wholesome.” (October 21, streaming)

Feels Good Man

Moving to documentaries, Feels Good Man is the single most clarifying political film I’ve seen in years. Director Arthur Jones explores the long journey of Pepe the Frog, the ubiquitous meme that once captured the anarchic spirit of the internet before becoming a mascot for its darkest underbelly. We follow Pepe creator Matt Furie, a positive-minded artist, as he attempts to understand how his easygoing character, originally part of the harmless Boy’s Club comic series, was absorbed and reappropriated without his knowledge or permission. Feels Good Man is the first documentary I’ve seen that understands how to navigate the hive mind of the internet, and how to comprehend the alt-right’s irony-drenched iconography. It is an essential film for understanding the current moment, how this toxic movement formed the way it did, and why it congealed around an innocent figure like Pepe. (October 21, streaming)

Coded Bias

Where Feels Good Man focuses on the lawlessness of digital culture, Coded Bias looks at how the norms of technology are written, by whom, and who gets left behind. For example, MIT researcher Joy Buolamwini discovers that her facial recognition software only acknowledges her when she wears a totally white mask. As the documentary shows, that’s far more than a glitch. Algorithms are not objective, they are as we create them, and those creators come from a very slim, very white, extremely wealthy, and overwhelmingly male segment of the population. Not only is the technology’s failure to recognize people of color an insult, it is omnipresent in our smartphones, our surveillance cameras, and our law enforcement, with virtually no oversight or accountability. Is technology improving our lives and lifting all boats, or is it another means of enforcing the same social order? Director Shalini Kantayya’s documentary comes to VFF after a huge impact at Sundance, where some called it the most important documentary of the year. (October 21, streaming)

Boys State

The third documentary recommendation is Boys State. I cannot decide whether this film is exciting, charming, or harrowing, but I am certain that it is vital. We are a nation in desperate search of a metaphor for our current situation, and I can think of no better microcosm of our fractured state than a gathering of 1,000 young men who all want different things, attempting to build a model of representative democracy from the ground up at a Texas summer program. Some are participating to rule according to their own values, some are treating it like a game, and some want to ensure that all voices are heard in a room of 1,000 primarily white and conservative boys. The very purpose of power and democracy come into question, as many of the participants have already cemented their views along the current divides that dominate national politics. Are we giving the next generation a chance to build a better world, or are we training them to continue fighting our proxy wars? (October 24, streaming)

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Culture Living

Growing up: Jason Tesauro Talks Virginia Wine for #VAWineMonth

Every October Virginians raise a glass to living in a state with the oldest wine month in the country (it dates back to 1988). We also celebrate the fact that Virginia has become the sixth-largest wine region in the United States, contributing well over $1 billion to the state’s economy, while the industry continues to grow in both size and reputation.

The Virginia Wine Board has events planned throughout the month, including Virginia Wine 101, hosted by Jason Tesauro. In addition to his ongoing role as a fierce advocate for Virginia wine, Tesauro has contributed articles to such publications as Decanter, Esquire, and Travel+Leisure, and has served as the national brand director and chief sommelier for Barboursville Vineyards since 2002.

We asked Tesauro to highlight a handful of local wineries that tell the story of Virginia wine’s past, present, and future. His answers give insight into an industry that has come a long way, that is proud of what’s been accomplished, and is full of dreams and aspirations for the future.

C-VILLE Weekly: Are there wineries that you consider pioneers in the industry, that have done something notable in terms of Virginia wine being where it is today?

JT: Barboursville Vineyards is where vitis vinifera [the main species of grapevine used to make fine wine] was first cultivated on a commercial scale and where low-cropped, early-picked, high-acid, no-and-low oak, finesse-driven, Old World-style wine growing established itself as Virginia’s modus operandi.

Thibaut-Janisson Winery pioneered what’s possible with traditional-method sparkling wine in Virginia, and has defined the premium sparkling wine category in Virginia. I’ve showcased their Blanc de Chardonnay in blind tastings against champagne and blown people’s minds.

Ankida Ridge Vineyards is absolutely the pinot pioneer of Virginia. Embracing high-elevation viticulture, they’re leading the way toward cooler climate varieties and raising expectations of what can happen up in the mountains both there and in other places, such as the Shenandoah Valley.

What wineries do you consider at the forefront right now in terms of representing or promoting
Virginia wine?

Veritas Vineyard and Winery stands out to me as a complete wine estate. The combination of family-run farm and destination for hospitality is a compelling model. Dining and overnighting in The Farmhouse adds a sumptuous layer of leisure and wine country. Wine is supposed to transport us with “somewhereness.” When a winery combines that concept with physical acts of feeding us, pampering us, and nourishing us, something else happens. More and more wineries are adding this kind of hospitality element, and I bet that many of them started with an aspirational visit to Veritas.

King Family Vineyards is on every “Best of” list for good reason. Mathieu Finot is a brilliant winemaker who leads with his French instincts, but is never limited by them. He makes serious wines for cellaring and fun wines for carousing. He consults, collaborates, and experiments. That kind of balance remains a benchmark for every new winemaker in the state.

What do you see as the future of Virginia wine? How does the present inform what’s coming?

One thing we’ve learned through the pandemic, wineries built on events rather than wine are vulnerable. The future belongs to those that can deal with the mercurial weather with smart viticultural practices and deal with the mercurial economy with smartly scaled production and distribution. It will be challenging for those who depend overwhelmingly upon concert traffic and tasting-room sales to survive.

White wine blends are a promising trend. Wineries are experimenting with blends to craft consistent complexity and balance. We already know red blends afford winemakers the opportunity to adjust to vintage variation by playing with percentages. If late rains leave cabernet sauvignon less than richly ripe, then the winemaker can turn up the volume on cabernet franc and petit verdot. It’s a newer idea here to do something similar with white blends.

Higher-elevation grape growing is becoming more than a curiosity. Watch how small vineyard blocks located in the benchland (sides of mountains) and hilltops start coming to play in a serious way.

Esquire magazine recently reported that only one in 1,000 winemakers is black. Virginia wine, in partnership with Virginia Tech and community colleges, has an opportunity and, dare I say, a responsibility to create and bolster viticulture and enology programs at the regional and local level. It’s been said that 40 percent of Virginia winemakers have foreign accents such as French, Italian, Spanish, Indian, or South African. I expect to see a much more diverse slate of talent as we create a better farm system to draw BIPOC students into the fascinating world of agriculture.

Any other suggestions for people celebrating Virginia wine this month?

Visit more wineries, pick a couple of favorites, and build a small collection. Use a decanter and don’t drink white wines so cold.

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News

Hard decisions: New learning center comes to Stonefield, as controversy reignites over in-person instruction

Beginning next month, Albemarle County Public Schools will bring kindergarten through third grade students back to classrooms for in-person instruction two days a week. That’s frustrated some teachers who maintain that the safety concerns outweigh potential benefits. Meanwhile, off-site learning centers aim to assist with childcare by hosting virtual learning.

As local schools began the fall semester virtually, many area parents struggled to balance their jobs and remote learning. Some paid to enroll their children in small learning pods, while others hired private tutors to work with their kids one-on-one. And those with the means opted out of public school entirely, and enrolled their students in private schools with in-person instruction.

Now, a recently founded Richmond-based company called Direct Learning Solutions is opening a new learning center for elementary schoolers participating in virtual classes. Located at the former Travinia Italian Kitchen site in Stonefield, the center will start off with three facilitators and 30 students, explains Executive Director Robin Lawson. But if demand goes up, it can safely accommodate 20 more students, along with two additional facilitators.

Beginning November 1, families will be able to send their child to the center for virtual learning and after-school care for $150 per week. Families who do not need after-school care will pay $100.

That $400-$600 a month is no small thing for cash-strapped families, but “We are partnering with [Arc of the Piedmont], so we can take donations, and families who cannot afford this service at all will have corporate sponsors that…pay for this service for them,” says CEO Samuel Anderson.

Several other community organizations—including Abundant Life Ministries, Boys & Girls Clubs, and Piedmont Family YMCA—have also opened up virtual learning centers, but almost all are at capacity, and have long wait lists.

As Albemarle County Public Schools prepares to move to Stage 3, DLS anticipates even more families will need to send their students to virtual learning centers on the days they won’t be in the classroom.

But some Albemarle teachers feel the sudden expansion of in-person learning is still not safe. According to the district’s most recent survey, about 67 percent of teachers wanted to continue with virtual learning for the second quarter, compared to 40 percent of parents.

“If a staff member or student tests positive, who will be quarantined at home for two weeks? We’ve been given kind of vague information, like the students’ closest contacts [or] the students who have assigned seats right next to them, even though we know students move around,” says Michelle Drago, who teaches first grade at Stone-Robinson Elementary.

“[Students] are going to be allowed to play with each other at recess with masks, but they’re going to touch each other and be in each others’ faces. And they’re allowed to take their masks off obviously for lunch and snack,” she says.

Additionally, teachers have not been provided with all of the safety equipment they’ve requested, including face shields and gloves.

Stage 3 also puts students’ mental health further at risk, says Debbie Stollings, who teaches second grade at Agnor-Hurt Elementary. As certain students and teachers switch from all-virtual to hybrid learning, it is likely that some will be reassigned to different homerooms.

“This is another trauma we are putting on them during a pandemic,” she adds. “One way or the other, I’m going to lose some of my kids.”

And with all of the safety precautions they must take to do in-person learning, many teachers do not think it is possible to still provide high-quality instruction, full of beneficial activities like reading groups and partner games.

“I’m afraid no matter how many laps I make with my six-foot perimeter, I won’t know when somebody’s struggling because I can’t see their little faces like I’ve been able to see them before,” she says. But over Zoom, “we’re right in each others’ faces. Even if they’re not showing me their page of work, I can tell when they’re struggling.”

Teachers who did not feel safe going into the classroom had until October 15—less than a week after the school board meeting—to request accommodations, while families had to decide by the following day.

If Stollings is not allowed to teach virtually, she says she will have no choice but to retire, even though she is not ready to. The only other options for teachers are to resign, or take a leave of absence.

Stallings fears even more for her fellow teachers who may be forced into the classroom, including Drago. With her three young children, Drago cannot afford to quit her job. (Her husband is also a teacher, so they are unable to support their household with just his income.)

The two teachers—along with many of their colleagues—ultimately wish the school board had gone the same route as Charlottesville City Schools, whose COVID-19 advisory committee recommended continuing virtual learning until January.

“My problem is with my immune system,” says Stollings, who has been a teacher for 31 years. “My doctor said…COVID probably won’t kill you but it will make you really sick for a really long time. And of course, you could always die.”