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Telling the lion’s story: Charlottesville’s faith community employs activism to unite against supremacy

Photography by Eze Amos

Sunlight had just begun to illuminate the candy-colored stained glass windows of First Baptist Church as people filed through the door and slid into the wooden pews.

“This little light of mine, I’m going to let it shine,” the crowd sang louder as it grew larger. When the pews were full, people stood arm to arm against the back walls and in the balcony. “Let it shine, let it shine, let it shine,” they sang in Charlottesville’s oldest black church, asking the lyrics and melody that were sung at sit-ins and marches of the American civil rights movement of the 1960s to carry them through the day ahead. It was August 12, 2017.

A few minutes after 6am, First Baptist Church deacon Don Gathers addressed the now-quiet congregation that included First Baptist parishioners, Charlottesville community members, and dozens of clergy and people of many faiths. “Thank you for coming out early in the morning. It is truly early in the morning,” he said.

He asked everyone present to pray for an end to oppression, tyranny, and “400 years of misdeeds.” The mood was energetic but reverent as each speaker addressed the seriousness of what might lie ahead of them that day.

“In the face of fear, the only weapon that wins is love…It is not your body that wins your battle, it is your heart,” Reverend Traci Blackmon, executive minister of justice and local church ministries for the United Church of Christ, told them. “Until the lion tells his whole story, the hunter will be the hero.”

“I didn’t come to Charlottesville to run my mouth. I came to go to jail,” philosopher and political activist Dr. Cornel West told them. “This is not a discourse about hope. We’re going to be the hope.”

“Go and be brave and be fierce…because we can,” said Reverend Winnie Varghese, priest and director of Community Outreach at Trinity Episcopal Church Wall Street in New York City, before Reverend Osagyefo Sekou, who directed most of the morning’s musical offerings, led the congregation in another civil rights movement song, “Freedom In The Air.”

As the song wound down, Sekou asked those who had “been trained” to come forward to the altar. Dozens of clergy, most of them dressed in their religious garb, walked to the altar and bowed their heads as Sekou asked the congregation to extend their hands and pray for the safety of the clergy as they prepared to bear witness.

He asked them to pray, too, for the people who were against them, who wished to cause them harm. To pray for the white supremacists.

Don Gathers, a deacon at First Baptist Church on West Main Street, put together the program for the August 12, 2017, sunrise prayer service. He offered the site—Charlottesville’s oldest black church—when he heard clergy wanted to do something that morning. It wasn’t without risk, though: Black churches, along with mosques and other houses of prayer, have been frequent targets of white supremacist violence.

“Be safe, be mindful, be vigilant. Look out for the brother and sister beside you,” Gathers reminded the group as the clergy walked from the church sanctuary.

In front of the church, the clergy formed two groups: One proceeded quietly to Market Street Park, the planned site of the Unite the Right rally. A second sang “This Little Light Of Mine” as it’s members walked to designated safe spaces around town.

They sought to be a nonviolent but strong presence, a visible indication that love is greater than hate. They were ready to bear witness to God’s love, wherever it may be that day, and to bear witness to injustice.

It goes without saying that the day was mayhem. The rally was shut down before it started, and a melee broke out in the streets of Charlottesville.

After a white supremacist drove his car into a crowd of protesters on Fourth Street, killing Heather Heyer and injuring dozens of other people, Gathers stood at the corner of Fourth and Water streets with other activists, community members, and clergy, the asphalt covered in bloody and broken bodies, the air filled with the smell of tires and sweat and screams of pain. The deacon who’d put together the program for that morning’s prayer service at First Baptist had reached his limit.

“I was tired of the fight. I didn’t want to see anyone else hurt or injured. All the fight had left out of me at that point. I was just done,” Gathers recalls nearly one year later. When it came time for him to leave the scene of the attack, he hadn’t walked half a block down Water Street before running into NBC29 news director David Foky. Before Gathers could say a word, Foky embraced him and whispered, “you can’t give up. You can’t walk away.”

“Oh, my God,” Gathers thought. “How did he know?”

Gathers has long felt God tapping on his shoulder; that chance meeting with Foky was one such tap. Most people feel it but try to outrun the proverbial tapping hand, he says, and in the past year, he’s realized he’s not so fast.

Gathers, 59, answered the call. He’s now making plans to enter seminary and become an ordained minister.

Enduring mission

Over the past year and a half—and even before then—a number of Charlottesville faith leaders have been visible and audible beyond their pulpits and sanctuaries in order to address racial, social, and economic injustices. And they’ve done so together.

Some have taken pilgrimages to civil rights landmark sites like Selma, Alabama, and visited the site of a slave auction block in Richmond. They have attended demonstrations in support of DREAMers and affordable housing, and signed and sent a letter to the Albemarle County Jail Board asking the facility to reconsider its choice to notify ICE when an undocumented person enters the facility. Some of them have literally put their bodies on the line. For these members of the clergy, their call to social justice and activism is part of, and inseparable from, the call received from God.

“The events of last year were not new to us,” says Reverend Cass Bailey, vicar of Trinity Episcopal Church on Preston Avenue since 2010. While many folks in Charlottesville are just now beginning to understand how white supremacy and racism have manifest in every corner of the city, it’s a familiar story to many, including members of Bailey’s parish.

What is new, says Bailey, is how many people—particularly white people—are now willing to acknowledge racism and white supremacy as a problem that needs to be solved.

Trinity Episcopal began as a mission in the Vinegar Hill neighborhood in 1919, a mostly black church that today has a racially and economically diverse congregation, which is a bit unusual in Charlottesville (and, really, in the United States), says Bailey—most houses of worship, whether intentionally or not, are not terribly diverse.

Trinity Episcopal pastors and parishioners were active during the massive resistance and the civil rights movement of the 1950s and ’60s, and in the 1970s, Trinity Episcopal was one of the first parishes in town to intentionally integrate. Currently, the parish has a ministry program that works to address systemic problems of access to healthy food that disproportionately affect people of color in our community.

Reverend Dr. Alvin Edwards, senior pastor at Mt. Zion First African Baptist Church, says his congregation emphasizes equity and equality through education. Mt. Zion sponsors an annual back to school bash, where they hand out school supplies to children. “Education is the best transport to equalizing, to making the ground level” for all, says Edwards, who has served at Mt. Zion since 1981, making him almost certainly the longest-serving clergy person in Charlottesville. “I believe it’s one of the best things we could do as a community, and as a city,” he says.

Clergy of different faiths “may not agree doctrinally on everything, but we can impact the lives of people in our community by doing different things” together, says Edwards.

The promise of what a group of diverse and interfaith clergy can accomplish when working together is what led Edwards to establish the Charlottesville Clergy Collective in 2015 with the intention “to discuss and address the challenge of race relations” in Charlottesville and Albemarle County.

After a white supremacist opened fire on a prayer service at Emmanuel African Methodist Episcopal Church in Charleston, South Carolina, Edwards began to wonder if pastors and faith leaders in town knew one another well enough to call upon each other if something like this were to happen in Charlottesville. At a breakfast meeting, he and a few other pastors admitted that the answer was no.

It now seems an almost prophetic action on Edwards’ part, because in 2017, it became clear to members of the Charlottesville Clergy Collective that they would need to rely on one another as white supremacists began holding rallies in the city and threatening the Jewish synagogue, black churches, and people of color in the community.

The collective realized it needed to respond as a unified group with some measure of authority, to assert that white supremacy in all forms “is not acceptable, and then find tangible ways to support more vulnerable members of the community,” says volunteer secretary Reverend Michael Cheuk.

The morning of the Ku Klux Klan rally on July 8, 2017, a group of Charlottesville Clergy Collective members linked arms and walked to the park together in a show of solidarity. When they came into view of the people who had set up to protest the Klan’s rally, some people started yelling, “The clergy are here! The clergy are here!” and it became clear that their presence meant something positive to people in the community.

Collecting trust

While the Charlottesville Clergy Collective seeks to foster trust and relationships among faith leaders, a few of the group’s members wanted to develop stronger relationships with local social activists as well.

For Reverend Brittany Caine-Conley, a member of Sojourners United Church of Christ and current interim campus minister at Westminster Presbyterian Church, her faith and her activism are “very much the same thing.”

Reverend Brittany Caine-Conley, interim campus minister at Westminster Presbyterian and a member of Sojourners, is called to social activism because of her faith. She is a co-founder of Congregate Charlottesville, a group established last year to “equip and prepare people of faith to bear public witness to injustice and educate faith communities on issues of justice and liberation” through nonviolent direct action and faithful presence trainings.

“I’m called to action because of my faith,” she says. “The more I study, the more I read the Bible, the more I read theologians, the more I dig deep into the Christian tradition, the more I am pushed toward activism. I am convinced that the basic premise of the gospel is that Jesus absorbed violence so that others didn’t have to.”

With that activism in mind, in early summer 2017, Caine-Conley and Reverend Seth Wispelwey of Restoration Village Arts, both members of the Charlottesville Clergy Collective, founded Congregate Charlottesville, a group whose mission is “to prepare and equip people of faith to bear public witness and to show up for matters of justice,” says Caine-Conley.

While the Charlottesville Clergy Collective and Congregate Charlottesville are two different groups, there’s a fair amount of crossover between them, says Caine-Conley.

Last summer, Congregate Charlottesville put out a nationwide call to clergy requesting their presence on August 12, to participate in nonviolent direction action and civil disobedience training and dozens actually showed up to be present in a variety of ways that day—most of them were clergy of color, LGBTQ+ clergy, and female clergy, joined by plenty of Jewish, Muslim, and other non-Christian clergy. People who are used to showing up.

Over the past year, Congregate Charlottesville has continued to hold trainings on faithful presence for clergy and for laypeople alike, and they’ve established a rapid response network through which the community can request their presence. The Congregate folks will show up “only through invitation,” says Caine-Conley. “We never want to show up somewhere where we’re not wanted or helpful.”

Heightened threat

Walk toward Congregation Beth Israel on East Jefferson Street and it’s likely you’ll hear shouts of delight from the synagogue’s preschoolers. Once you’re standing in front of the magnificent brick building, it’s hard not to notice that the children are playing under the watch of an armed security guard. The juxtaposition is jarring, heartbreaking even, but it’s evidence of what the Reform synagogue’s congregation has been through in the past year.

Last year, on the night of August 11 and the morning of August 12, as the congregation held its weekly prayer services, white supremacists and neo-Nazis loitered outside yelling anti-Semitic slurs loud enough for those inside to hear. When prayer services were over, congregants had to leave in small groups through a side door—the prominent front door was deemed too dangerous an exit.

Rabbi Tom Gutherz, senior rabbi at Congregation Beth Israel, seen here on the bus during last month’s community pilgrimage to the Equal Justice Initiative in Montgomery, Alabama, says that in order to “create a better, more equitable, more just community and country,” we have to open our hearts as well as take action.

“To have that kind of hate, and specifically some of the anti-Semitic hate, parading around the streets so proudly, and assertively, that’s…unsettling,” says CBI Senior Rabbi Tom Gutherz. “People from different generations maybe deal with it in different ways; for some people, they’d never seen anything like that, and for other people, they had,” depending on where and when they grew up.

Congregation Beth Israel’s existence as a community of Jewish ethnic culture and worship makes it vulnerable ideologically; the synagogue’s location has made it vulnerable physically, too. With Market Street Park one block to the west, and Court Square Park one block to the east, the synagogue is literally in the middle of where many of the white supremacist rallies have taken place. Gutherz points out, too, that the city and county courtrooms where some of these white supremacists have been tried throughout the year—often bringing a group of like-minded friends along for support—are only a few blocks away as well.

Printed on a piece of paper taped up to a doorway in the Congregation Beth Israel office is the congregation’s principles: Worship; culture; lifelong learning; repair of the world; gladness and joy; caring and kindness; commitment to Israel. The sign also reads, “We promote social justice, charitable giving and lifetime learning.”

Gutherz, who participated in last month’s pilgrimage from Charlottesville to the Equal Justice Initiative in Montgomery, Alabama, says that Congregation Beth Israel is a community of people that “feels very strongly” about social justice initiatives; many congregants are involved on both a personal and a community level. “I think it’s part of the Jewish worldview,” says Gutherz. “I would say part of the Jewish mission is to see that the teachings that we teach, and the words that we speak, should also lead to action out there in the world.”

Ministry of presence

Showing up to court is something that Reverend Dr. Susan Minasian never anticipated would be part of her ministry. But there she was, sitting in the Charlottesville General District Court the morning of July 19, 2018, wearing a short-sleeved black collared top, the bright white rectangle of the clerical tab at the center of her throat.

A second generation Armenian American whose grandparents immigrated to escape Ottoman Turk rule—and the Armenian Genocide—in the early 20th century, Minasian was raised in the United Church of Christ by a mother who she says was ahead of her time—an electrologist, frequently offering hair removal services gratis to people going through gender reassignment.

Minasian recalls playing receptionist in her mother’s office one day, and asking her about a client: “He looks like a she, but I thought he was a he?” 7-year-old Minasian asked.

Reverend Dr. Susan Minasian, pastor at Sojourners United Church of Christ who recently celebrated the 30th anniversary of her ordination, has incorporated social justice initiatives into her ministry since the beginning—she’s attended protests, served as a clinic escort for Planned Parenthood patients, and performed same-sex unions before they were legal.

Without missing a beat, Minasian’s mother replied, “She’s becoming who God created her to be.”

That sort of love—acknowledging, recognizing, and valuing people for who they are—is the focus of Minasian’s ministry through Sojourners United Church of Christ. It’s a ministry of presence, both physically and spiritually.

Minasian, like the other clergy interviewed for this story, are upset by the ways in which religion, and Christianity in particular, is used by some—including American white nationalists—as a weapon of oppression against people of different races, genders, sexualities, and faiths.

Local clergy of all faiths hope to help dismantle that system eventually, but they know it will take time and patience—they have to recognize when to be present and when to give someone their space. They understand that for those who have been turned away from a church, or abused emotionally or physically by a religious ideology or religious person, the clerical collar, stoles, and robes might not be a welcome sight. And so these particular clergy have to do a lot of gentle convincing that they are not “terrible people,” says Caine-Conley, and that process involves showing up, quietly, over and over again.

So, while in court, Minasian says she’s “usually praying for some people to be comforted and to be of peace and okay,” she says. “And then I’m praying for the other side, saying, ‘Dear God, if there is any way to soften their hearts and change their minds, this would be a good time to zap ’em.’”

This particular morning, one of the activists who was found guilty of stepping in a road with poor visibility during a recent protest didn’t have the money to pay the fine—$15—plus $89 in court fees. As the activist’s name was called to go into the clerk’s office, Minasian rose from the bench, clutching her change purse in her hand.

“I’m sorry,” the activist said to Minasian as they walked to the clerk’s office door side by side. “I’m sorry.”

“What do you have to be sorry for?” Minasian asked, waving her change purse in the air. “I’ll take care of you.”

Walking the talk

It’s the job of the clergy to take care of people, says Reverend Brenda Brown-Grooms, co-pastor of New Beginnings Christian Community on Market Street. “Our spirits need growing, and care, and a pastor is someone who grows people’s spirits up.”

The Reverend Brenda Brown-Grooms believes that every faith leader has a single sermon that they preach “a million different ways, a million different times” throughout their lives. Hers is: What is just? What does God say? Where is justice in this?

Sometimes that care requires pastors to be in court, at protests. It requires sitting on a park bench with a grieving congregant. It requires difficult conversations with community members and even with fellow clergy. Caine-Conley says that Brown-Grooms, who grew in Charlottesville, attending a church that was razed along with the Vinegar Hill neighborhood, will frequently “pipe up” in meetings and “say what needs to be said.” Brown-Grooms will remind white clergy and male clergy that the work of social justice has long been done by women and clergy of color in town—and that women and clergy of color should be supported in and given credit for that work. She won’t let that story go untold or unheard.

And while so many pastors have been active in the community outside of their church buildings and congregations, one should not forget the profound work a pastor can accomplish in a worship service. In a sermon in particular.

“A church is a hospital. From the pulpit to the door, we are all broken. And this is the place where there’s space enough for all, the space to be and become in. To be a church is to understand your position in helping people,” says Brown-Grooms. She says every faith leader has a single sermon that they are called to preach “a million different ways, a million different times” throughout their lives. Hers is: What is just? What does God say? Where is justice in this?

She preaches her sermons with the intention of getting people to relate to one another. She knows a sermon is working when people respond. They murmur, shift in their seats, nod their heads, turn their gaze upward and take a deep breath. When a sermon works, she says, “it can accomplish healing.” A sermon can change minds and hearts.

“Stories are the Tupperware of the universe,” she says. “Everything that’s important and that we need to know as human beings is contained in a story. It’s a proper container—you can carry it from one generation to the next, and you can pop it open, and it’s there. This is why I preach. It’s stories.”

Faith in community

The ability to see the humanity of all people is the gold thread among the ideologies of the clergy interviewed for this story.

Through the meetings of the Charlottesville Clergy Collective, “I feel like we’ve strengthened our sense that our religions are maybe sometimes using different language” to say the same thing, that “we all have the same idea of the dignity of every human being, that every human being is created in the image of God,” says Gutherz.

Reverend Phil Woodson of First United Methodist Church and Rabbi Rachel Schmelkin of Congregation Beth Israel participate in a community prayer on Fourth St. SE on August 13, 2017.

“I can never ignore the humanity in the people who are on a side opposite than I am,” says Reverend Elaine Ellis Thomas, formerly of St. Paul’s Memorial Church on University Avenue, who participated in various events with both the Clergy Collective and Congregate Cville last year.

“It gets interesting sometimes,” says Gathers about this challenge. “It’s not easy to separate the two, because that means I have to look [at all these white supremacists] and be able to love what’s standing in front of me, and look past everything that they’re doing and what’s coming out of them, and love the spirit that’s inside of them.”

The “emotional, spiritual toll” this work takes on the clergy “is great,” says Cheuk.

What’s more, Cheuk says he knows for certain that several of those involved with the Clergy Collective and in Congregate C’ville, “face tremendous pushback and criticism from their own congregants” for their faith-driven activism. “Their lives and their calling are at stake. So the amount of courage that is required to stay connected to their own community of faith while also doing this work” is extraordinary, says Cheuk.

The work is perhaps made easier by the fact that none of them are doing it alone. They heard and, over and over again, have heeded the request Gathers made of them during that sunrise service at First Baptist Church: “Be safe, be mindful, be vigilant. Look out for the brother and sister beside you.”

One of the “really beautiful things that came out of last summer are these amazing, really deep relationships I’ve formed with clergy of different faiths, through the work of activism,” says CBI rabbi educator Rabbi Rachel Schmelkin, who regularly keeps in touch with her protest buddy and frequent “This Little Light Of Mine” duet partner Thomas—now rector of All Saints Episcopal Parish in Hoboken, New Jersey—via text message.

Reverends Susan Minasian and Brenda Brown-Grooms and Rabbi Tom Gutherz led a prayer during a ceremony when soil was collected from the site where John Henry James was lynched by an Albemarle County mob on July 12, 1898. Many local clergy believe that by strengthening relationships among clergy, they can better serve the Charlottesville community as a whole.

Perhaps because she has a bit of physical distance from Charlottesville now, Thomas believes that what happened here last summer was a watershed moment that finally got the community—and some clergy—acting on issues of justice they’d only been talking about for years and years.

It is very difficult to be what God created us to be when we have borne witness to the worst, says Thomas. “It’s very difficult to do if you are by yourself. If you are in some kind of community that is seeking to do good, it’s much easier to recognize that in some small way, in your corner of the universe, you might be able to make a difference.”


Throughout this week, the Charlottesville Clergy Collective is sponsoring a number of interfaith prayer and worship services open to the community. See the group’s website for times and locations.

Categories
Arts

First Fridays: August 3

“The root of my inspiration—pun intended—is firmly planted in the natural world,” says local artist Sam Gray. “When I’m feeling crazy, the best medicine is to go into the woods and be with the mosses, trees, herbs, fungi and critters,” she says. “I find a lot of magic in that connection.”

That connection between the natural world and the human soul is what Gray explores in the paintings and drawings of her premiere solo show, “Gaean Reveries,” currently on view in the McGuffey Art Center’s Sarah B. Smith Gallery. The work “is characterized by feminist, witchy, natural motifs that viewers will take in as they will,” she says.

For instance, there’s a painting of a pink uterus, ovaries, fallopian tubes and cervix intertwined with pink roses on a blue background. Another painting is of a grapefruit, pulled in half, juice dripping from the wedges still enclosed in the pith as a snake curls around it. In yet another, a vulva emerges from the center of a rose.

When Gray creates, she doesn’t anticipate how viewers might react to her work—“that would dilute my own creativity,” she says—and so she focuses on channeling what comes from within her, or through her, and it’s developed into an individual style she calls “anthro-botanical surrealism.”

Gray especially didn’t anticipate how viewers might react to paintings of vaginas and uteruses, and she worried for a moment that the work might be censored. But that wasn’t the case, and gallery-goers have been supportive of the work. She’s even overheard a few comments about parents wanting to take their daughters to “the vagina exhibit.”

Gray doesn’t want to tell viewers of her work what to see, or feel, but she’ll share a small seed of suggestion: “I hope that my work helps encourage people to slow down and be curious so that they can see magic around themselves more often,” and perhaps “learn to apply their eyes in new ways to the world around them.”


August Gallery Listings

Annie Gould Gallery 121B S. Main St., Gordonsville. An exhibition of industrial and marine wooden sculpture by Alex Gould; and a show of work from more than 25 artists, including Donna Ernest and Barbara Venerus.

FF Chroma Projects 103 W. Water St. “Colorforms,” acrylic, organic paintings by Iranian-born UVA student Hasti Kahlili. 5-7pm.

FF CitySpace Art Gallery 100 Fifth St. NE. “Roseberry’s Charlottesville,” a photography exhibit of rarely seen snapshots from the Ed Roseberry collection. 5:30-7:30pm.

FF C’ville Arts Cooperative Gallery 118 E. Main St., Downtown Mall. “On the Bright Side,” a jewelry art exhibition by Stephen Dalton. 6-8pm.

Darden School of Business 100 Darden Blvd., UVA. “Small Graces,” an exhibition of photographs of UVA’s Pavilion Gardens.

FF Fellini’s 200 Market St. “A Study of Pets in Pencil and Paint,” an exhibition by Maggie Stokes. 5:30-7pm.

FF Firefly 1304 E. Market St. “Finds and Designs,” an exhibition of textured, organic art by Christopher Kelly. 4-9pm.

The Fralin Museum of Art at UVA 155 Rugby Rd. “In My Room: Artists Paint the Interior 1950-Now”; “20th Century Still Lifes from the Permanent Collection,”  featuring the work of Picasso, Braque and Carrie Mae Weems, among others; and “Reflections: Native Art Across Generations.”

FF The Garage 100 E. Jefferson St. “Afterimage,” a mixed-media exhibition by Caroline Nilsson. 5:30-7:30pm.

FF Java Java Cafe 421 E. Main St., Downtown Mall. “Source Unknown,” paintings by Steve Keach that speculate on unknowable elements of reality. 5-6pm.

Kluge-Ruhe Aboriginal Art Collection 400 Worrell Dr. “Experimental Beds,” a collection of etchings by Judy Watson.

FF Les Yeux du Monde 841 Wolf Trap Rd. “Summertime…,” featuring work in acrylics, oils and other mediums by Anne Chesnut, Richard Crozier, Sarah Boyts Yoder and others. 1-5pm.

McGuffey Art Center 201 Second St. NW. “Gaean Reveries,” a multimedia, surrealistic exhibition from Sam Gray, in the Sarah B. Smith Gallery; “McGuffey Members’ Summer Group Show,” colorful multimedia works from members of the gallery, in the Downstairs South Hall Gallery and Upstairs North and South Hall Galleries; and The Incubator Show’s “Brood” in the North Hall First Floor Gallery. Through August 19.

FF Milli Coffee Roasters 400 Preston Ave., Ste. 150. “Dimensions and Dreamscapes,” an exhibition of oil paintings by Scott Marzano. 7-10pm.

FF Mudhouse 213 W. Main St., Downtown Mall. “UTOPIA,” a multimedia expressionist exhibition by Adam Martin Disbrow. 6-8pm.

FF New City Arts Initiative 114 Third St. NE. “Cville People Everyday,” a photography exhibit by Eze Amos. 5-7:30pm.

The Salad Maker 300 E. Market St. “Exploring the Bounds of Digital Art,” an exhibition of richly colored work by Martin Phillips.

Sentara Martha Jefferson Hospital 500 Martha Jefferson Dr. “Luminous Landscapes,” featuring work by impressionist artist Lee Nixon. Opens Aug. 14.

Shenandoah Valley Art Center 122 S. Wayne Ave., Waynesboro. An exhibition of Gene Provenzo’s work in the Cabell/Arehart Gallery; the Gerry Coe Memorial Exhibit in the Hallway Gallery; and an interpretation of the theme blue by Art Center members in the Member’s Gallery.

FF Spring Street Boutique 107 W. Main St., Downtown Mall. “Impressions of Nature,” an exhibition of paintings by Jane Goodman. 6-8pm.

FF Studio IX 969 Second St. SE. “Seasons of Light: A Kinetic Experience,” an interactive, multi-disciplinary art installation created by youth in the Computers4Kids program and Golara Haghtalab. 5-8pm.

Thomas Jefferson Memorial Church Unitarian-Universalist 717 Rugby Rd. “Portraits and Ankara Patterns,” featuring paintings and collage by Uzo Njoku. Opens Aug. 5, 11:30am.

FF VMDO Architects 200 E. Market St. A series of drawing by Deborah Ku. 5:30-7:30pm.

FF First Fridays is a monthly art event featuring exhibit openings at many downtown art galleries and additional exhibition venues. Several spaces offer receptions.

 

Categories
Arts

The Rainey Day Quartet gets downtown grooving

If you’ve been on the Downtown Mall this summer, you’ve likely seen four young musicians set up in front of Kilwin’s, beside a white board that reads “Help Us Pay For College” propped in a guitar case with a shallow sea of coins and crumpled bills pooling at its base.

The Rainey Day Quartet formed just over a month ago, but the band is already turning heads and swiveling hips with its approach to jazz music.

Home on summer break from Carnegie Mellon University, Albemarle High School graduate Sam Rainey was eager to busk on the mall and make a few bucks while doing what he loves—playing jazz. But jazz is more fun with a band, so he rang up Jack Treece, an AHS rising senior, to join him on upright bass (the backbone of a jazz quartet), and recent AHS graduate Ben Eisenberg to round out the rhythm section on drums. Rainey tapped another AHS jazz band alumnus and current James Madison University student, saxophonist Anthony Hoang, as the quartet’s soloist.

It’s a slightly unusual combination, explains Rainey. Typically, jazz quartets have piano rather than guitar, but pianos aren’t exactly portable (even keyboards are difficult to lug around and set up properly). Plus, guitar allows the band to explore a funkier, groovier sound that appeals to the quartet.

And also, evidently, to its listeners—the group draws a crowd during its noontime and Saturday evening pop-up performances, compelling passersby to stop and listen, tap a toe or even shimmy, swirl and twirl to the beat—summer heat be damned.

The four musicians, who play The Garage Friday night, are drawn to jazz because of its versatility, for the creative freedom it offers and encourages. “You don’t have to play exactly what’s on the page,” says Treece. “It can be more expressive within the band, because it’s meant to be more interpretive than exact.”

With that in mind, The Rainey Day Quartet is not averse to infusing swing, bop, bossa nova and funk elements into its music, and it’s equally willing to take a groove-heavy, see-where-it-goes approach to pop classics and current radio hits.

In a single set, RDQ might play jazz standards out of The Real Book, Erroll Garner’s classic “Misty” modernized with a hip-hop funk groove, a jazzy rendition of Jason Mraz’s pop track “I’m Yours” and a rendition of The Beatles’ “Yesterday.”

“Once we get a crowd, we like to give them something they’ve heard on the radio, something modern they can stop and dance to,” says Treece.

No matter what they play, it’s an adventure. Because jazz doesn’t demand musicians to play “exactly by the book,” says Hoang, the quartet is free to change key, tempo or flavor—even switch songs halfway through if they want to.

That freedom and versatility hinges on the quartet’s ability not just to play together, but actively listen to one another as they play. It’s a skill they say they learned from Albemarle High School band director Greg Thomas.

“A big thing for us is how we communicate through a conversation of improvisation,” says Eisenberg. That conversation is spoken in a secret language that only the band understands—a unique combination of eye contact, body language and music cues. For example, if the band is playing at medium tempo, Rainey can move it into double time on guitar, prompting Eisenberg to match that tempo on drums so that Treece can lay into a heavier groove on bass, paving the way for Hoang to divert his sax solos down an untrodden path.

This is what makes jazz the ultimate creative exercise, says Hoang to sounds of agreement from his band members.

And people seem to like it, adds Rainey. At one point during a recent Saturday evening performance, a crowd of at least 20 people gathered to listen to the band. Most of them were dancing, laughing and smiling as they moved, says Rainey. These are the moments that he savors, seeing firsthand how the music touches its listeners. “It feels great to make a small difference in their day,” he says.

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Arts

Black Mac puts a contemporary look on Macbeth

Ti Ames loves William Shakespeare. Or rather, Ames loves the plays of William Shakespeare.

It’s a love that started when Ames played a fairy in The Tempest at Live Arts at age 9, and it grew when, at 16, Ames became the first black actor to win the English-Speaking Union National Shakespeare Competition in 2012.

Now 23, Ames loves how Shakespeare’s verse feels alive like a heartbeat and its ability to “make people feel something more than they have ever felt” in a single moment.

Ames believes that Shakespeare wrote “to tell the stories that he wanted to tell,” malleable, universal stories that reveal our shared humanity.

With Black Mac, the Charlottesville Players Guild’s original retelling of Shakespeare’s Macbeth in a black aesthetic, which runs through July 29 at the Jefferson School African American Heritage Center, Ames tells the story that Ames wants to tell.

Shakespeare’s Macbeth is about two Scottish soldiers, Macbeth and Banquo, who upon returning victorious from a battle are given three prophesies by three witches. The witches hail Macbeth as Thane of Cawdor and king; they hail Banquo as the father of kings to come. Throughout the play, Macbeth and his wife, Lady Macbeth, obsess to the point of madness over the prophesies.

Macbeth isn’t Shakespeare’s bloodiest play (that’s Titus Andronicus), but it’s his greatest thriller. Most productions play up the blood, the gore, the ghosts and the madness. Not Black Mac. “This show is about what happens when you let greed take over and you don’t learn from that lesson,” says Ames, who developed Black Mac with guidance from actor, director, writer and Oberlin professor Justin Emeka. It’s less sensational, more embellished reality, performed in the round, with the house lights on and minimal set pieces and costumes.

Eleven black actors play Community Members who are cast in The Community’s annual production of Shakespeare’s Macbeth (a clever mirroring of the Charlottesville Players Guild’s mission of fostering a community of black theater artists here in town). A single father and his son are cast as Banquo and his son, Fleance. Two best friends, one who made it out of the hood and one who did not, are cast as Malcolm, son of King Duncan, and Macduff, a soldier. Those members of The Community who Ames says “have told it the most”—black women—are cast as the three witches.

But the actors alone don’t make Black Mac black. “Blackness [influences] the story in every way,” says Ames.

The witches are goddesses dressed in white, three Yoruban Orishas, deities of the Yoruba people of various West African nations.

Lady Macbeth’s famous “unsex me here” monologue is an African dance in which she calls upon her ancestors for strength. Malcolm throws serious shade at Macbeth once he suspects Macbeth has killed King Duncan. The latter is Ames’ way of showing the importance of balancing sadness and humor, something Ames says Shakespeare’s plays—and black people—do both well and out of necessity.

While Ames has changed very few words in the play, it “has been completely reimagined in the black vernacular,” says Black Mac producer Leslie Scott-Jones, who plays the Community Member playing the role of the Orisha Oshun and a few smaller, one-off parts.

“That’s the great thing about working with Shakespeare,” says Scott-Jones. “It is literally a universal language; you can bend it, twist it to your will. Once you understand what’s being said, you can put any spin on it.”

“Surprisingly,” reciting Shakespeare’s verse is “a lot like spitting raps,” says Louis Hampton, who plays the Community Member cast as Macduff. Hampton’s one half of the local hip-hop group The Beetnix, and he says once he got familiar with the message, the meter and the words, it flowed.

Black Mac adds unique significance to one of Macbeth’s most dominant themes. Macbeth and Lady Macbeth want children and cannot have them. This fuels Macbeth’s jealousy of Banquo, a father who is told his descendants will be kings. In Black Mac, it’s not power, money or fame that haunts the couple—it’s the lack of a legacy, says Ames.

“For black people, that’s one of the most important things to us, that we have that history to look back on,” knowing that despite slavery, peonage, Jim Crow and more, black people have been able “to make something beautiful,” says Ames. Without a child, a legacy, Mac (played by David Vaughn Straughn) and Lady Mac (played by Richelle Claiborne) have “nothing to keep them going,” says Ames.

Ames knows that Black Mac is not what most people expect when they think of Shakespeare. That’s the point.

“I want people to start thinking differently about how we do theater. Because this should not be ‘the black version of Macbeth.’ It should be Macbeth. It should be Black Mac. It should be exactly what it is.” And forget what your English teacher might have implied, Ames says, because Shakespeare is for everyone.

Ames hopes audience members will exit the auditorium after the show saying, “I never thought of it like that.”

“No, you didn’t,” Ames would say to them with a smile. “And welcome.”

Black Mac

Jefferson School African-American Heritage Center

Through July 29

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Arts

Sahara Clemons steps out in SSG’s Backroom

Like most teenagers, Sahara Clemons is figuring out who she is.

She describes herself as “quirky” and “introverted,” a bit shy and quiet. She wears bright lipstick and expresses herself via clothing. She likes to read, travel and look at art. And she’s a Charlottesville High School rising senior who only recently started thinking of herself as an artist.

Clemons can’t remember a time when she wasn’t drawing or sketching, and was often told that she had talent, but she wasn’t entirely sure what that meant. “Talent can motivate you, but it’s hard to distinguish” between enjoyment and talent, especially when you’re young, says Clemons.

She developed a distinct visual voice through both pop art pen-and-ink self-portraits and fashion design—Clemons has participated in the Virginia Museum of Fine Arts Teen Stylin’ program more than once and won “most creative construction” accolades. She has always created for herself, as a means of self-reflection, but about a year ago, she noticed that people weren’t just looking at her work—they were reacting to it, connecting with it. That’s when she felt like she could call herself an artist.

Clemons’ exploration of her identity as a black woman is a central theme in her collection of paint-and-textile works of abstract portraiture on view in the Backroom at Second Street Gallery—how she sees herself, how she imagines others see her and how she can’t help but incorporate the world’s perception of her into her inner self.

Selections from Sahara Clemons’ collection of new work are on view in Second Street Gallery’s Backroom through July 27.

At the top of a long, vertical piece, Clemons’ face is drawn in pop-art style, with thick, expressive black lines outlining her features, hair, arms and hands, all rendered in yellow against a deep cobalt. The viewer has caught her mid-dance pose, and below Clemons’ face is a pattern comprised of four pairs of feet, all on tiptoe, in yellow and black, dancing across a striped plane. In each black shadow cast by the feet is a dancing figure.

This particular piece represents Clemons’ love of dance, an aspect of herself she generally keeps under wraps. Not that she doesn’t want people to know, but because she likes to surprise people by dancing when the moment is right. By publicly declaring her sub-secret love for dance in a slightly abstract way, she says she is able to “reiterate my means of feeling different, but also feeling somewhat empowered by keeping it in.”

The pattern is reminiscent of Dutch wax fabric (also called ankara), which Clemons first saw during a trip to Uganda where she connected with the bold, unique fabrics in a way she didn’t connect with other things in the country. The fabric has a long history, but in brief, the Dutch adopted a centuries-old Indonesian wax resist-dyeing technique and brought it, along with the bright, batik-style patterns, to Dutch colonies in southern and western Africa in the 19th century. Ever since, the brightly colored bold patterns have been widely associated with West African garb.

One of Clemons’ favorite artists, Yinka Shonibare, uses Dutch wax fabric in his sculptural works to comment on “expansionism and colonialism…and how the world was tapered with that kind of imperialistic mindset,” Clemons explains.

She says the fabrics have allowed her to reflect upon her identity “as a black person, feeling like I was taking something that was part of myself and putting it out there [in a way] I hadn’t done so before.”

Another piece in the collection, “Bleached,” is inspired by the same trip to Uganda, where Clemons and her mother, Eboni Bugg, stayed in a birth center. In the piece, a light brown figure appears to either consume, or be consumed by, white liquid bleach, while a smaller, darker brown figure looks on; they’re cradled by bright green pieces of a Dutch wax fabric pattern.

At the birth center, one woman had much lighter skin than the other women and children there, including her own child, Clemons says. She later learned that this woman bleached her skin “probably for years and months” in order to lighten it.

Clemons felt extraordinary sadness at the idea that this woman was reacting to pressure to look a certain way, and she also “felt some sort of guilt” in her own (naturally) light skin: “I felt like I was perpetuating something for her,” says Clemons, adding that she intends the piece to “show the generational trauma” that can persist among black women when the idea that light skin is more beautiful than dark skin permeates a society. And she wonders how it has affected her perception of, and the perception of her within, black culture.

In creating these pieces, Clemons has come to understand how many things converge to form her identity. “As I became more developed and more aware of things that would be reflective upon me as a black person, my character, my self-expression, it sometimes became easier to walk life more freely, and it became harder, too.” Such is the paradox of self-awareness.

But Clemons continues to search, (she’s still in high school!), and that’s the function of art, after all, she says. It’s “a language to find something in others, find something in yourself, that you didn’t see before.”

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Arts

Maupintown Film Festival shines through the eyes of others

When Lorenzo Dickerson was in fifth grade at Murray Elementary school, he had to write a book report.

He went down to the school library and came across Extraordinary Black Americans, a book full of dozens of profiles on inventors, politicians, activists, artists, writers and more.

It was a sizable read for the fifth-grader, who read the book, wrote the report and kept checking the book out of the library until Dickerson’s father took note and purchased a copy that his son could call his own.

Extraordinary Black Americans is “what really got me hooked on African American stories, aside from the elders in my family constantly telling me stories,” says Dickerson, now an independent filmmaker who focuses his lens on the African American experience in Charlottesville and Albemarle County, and runs the annual Maupintown Film Festival that takes place this week, from July 13 to 15 at the Jefferson School African American Heritage Center.

Dickerson is drawn to film for its ability to hold attention unlike any other storytelling medium. “Being able to hear the stories directly from people who have those experiences, and being able to see their faces as they tell the stories,” is unbeatable, he says.

He learned this in his first documentary film, The Coachman, about one of his ancestors, Warren Dickerson, a descendant of slaves who lived, loved and worked in Albemarle County through the Great Depression, the Great Migration, World War I and World War II. It was a way for Dickerson to capture his research into a single narrative story for his family members.

From that point on, when he saw a movie that moved him and made him think, he wanted to share it with others. “How am I going to get other people to see this?” he thought. He decided to have a film festival.

The first Maupintown Film Festival took place in 2015, at St. John Baptist Church in Cobham, Virginia, on land that Dickerson’s family has lived on for generations—some of them were enslaved on a plantation (now the Castle Hill estate) just across the street.

The theme for the 28 films that will be shown at this year’s festival is “aware of the evidence.” Dickerson says the intention is “to highlight stories that we don’t typically hear. In schools, we’re going to get Harriet Tubman, we’re going to get Martin Luther King, Rosa Parks. And then it kind of drops off from there.” They’re important figures, but it’s the same type of story every time. “And a lot of times, you only get that in February,” during black history month, so “that’s part of the reason why the film festival is in July, so we can get this [history] some other time of the year.”

A variety of perspectives are presented at the Maupintown Film Festival, from an animated cartoon about Harriet Tubman to local director Paul Wagner’s 1982 documentary Miles of Smiles, Years of Struggle, about a group of Pullman car porters who in the 1920s organized the first African American-led labor organization to receive a charter in the American Federation of Labor.

It’s about “bringing awareness to these stories that we don’t often hear and allowing people to understand the experience of [people] of African descent from various parts of the world,” says Dickerson.

There are hyper-local stories in films like Phil Audibert and Ross Hunter’s Someday: The Unexpected Story of School Integration in Orange County, Virginia. Frederick DeShon Murphy’s The American South As We Know It considers African American history in a national sense, examining how African American history began in the South and moved to different parts of the country.

Murphy interviewed community civil rights activists, Negro league baseball players, historians and regular people for his film that he says is ultimately about “the resiliencies of African Americans living in the South, from enslaved people to sharecroppers and people living through and after Jim Crow.”

“A lot of people perished along the way,” says Murphy. They died on slave ships and on plantations, at the hands of the Ku Klux Klan, their employers and their neighbors. “It could have been easy to give up during Jim Crow…if you’re here today, you spawn from a resilient bloodline. That’s what I push people to understand with this film,” says Murphy. “African American history is American history.”

Ebony Bailey’s 15-minute documentary, Life Between Borders: Black Migrants in Mexico, offers an international perspective. The film focuses mostly on Haitians currently living in Tijuana, Mexico, who are trying to get to the United States. Many of them left Haiti after a 2010 earthquake devastated the island, and went to Brazil in search of work, but when the economic crisis hit that country, they migrated to Mexico. Now, with U.S. immigration laws tightening and changing, they’re settling in Tijuana, having families and opening businesses.

Showing these rich stories at the Maupintown Film Festival emphasizes that local, personal stories can (and do) carry the same weight as national ones. And Dickerson never forgets the impetus for it all—he still has that copy of Extraordinary Black Americans, and he frequently reads it to his children, ages 3 and 6, so that they, too, might get hooked and have a broader understanding of American history, themselves and the world.

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Arts

First Fridays: July 6

About a decade ago, Rich Tarbell sold a guitar to pay for his first camera.

Frustrated with his own music, Tarbell decided instead to document local music on film. And while live concert photography is fun, it all starts to look the same after a while, says Tarbell, who likes the behind-the-scenes stuff that most of us don’t get to see.

Last fall, in the middle of a creative slump, Tarbell decided to work on a project that would celebrate the local music scene in a new way. Instead of choosing his own subjects, Tarbell asked the musicians themselves who he should photograph. He started with Terri Allard and Jamie Dyer (the matriarch and patriarch of local music, according to Tarbell) as well as Sally Rose Monnes and Koda Kerl, asking each of them to pick two artists he should shoot next.

He photographed the musicians in their creative spaces—for many, it was a studio, a bedroom or basement practice room. For others, it was the steps outside the old Prism Coffeehouse, a rock near the river, or, in one case, wearing a chicken costume and standing at a desk in the river.

Tarbell soon realized that the photo shoots led to valuable discussions of Charlottesville music past and present, so he started recording the conversations. Together, the photographs of more than 100 local musicians, plus the oral histories, make up re: Charlottesville Music, Tarbell’s printed-and-bound ode to the local music scene, to be released later this year.

Until then, about 20 of the book’s photographs will be on display at Studio IX in July. “It’s worth documenting,” Tarbell says of the stories contained in the book, “to celebrate what we have, and have had, here.”—Erin O’Hare


First Fridays: July 6

Annie Gould Gallery 121B S. Main St., Gordonsville. An exhibition of industrial and marine wooden sculpture by Alex Gould; and a show of work from more than 25 artists, including Donna Ernest and Barbara Venerus.

Art on the Trax 5784 Three Notch’d Rd., Crozet. “SUMMER018,” collage by William H. Atwood. Opens July 14.

FF Chroma Projects 103 W. Water St. “Synonyms & Antonyms,” gestural drawings by Nym Pedersen; and “Personal Truths,” lithographs and mixed-media sculptures by Akemi Ohira and Chuxin Zhang. 5-7pm.

FF CitySpace Art Gallery 100 Fifth St. NE. “Eclectic, Clever, Composed & Collective,” a photography exhibit. 5:30-7:30pm.

Common House 206 W. Market St. “Motherland,” a pop-up exhibition of paintings by Jum Jirapan. 4-8pm.

Crozet Artisan Depot 5791 Three Notch’d Rd., Crozet. “Useful by Design” pottery by Nan Rothwell. Opens July 14.

FF C’ville Arts Cooperative Gallery 118 E. Main St., Downtown Mall. “Virginia’s Best—Retro Style Posters,” featuring graphic designs by Barbara Shenefield. 6-8pm.

FF Dovetail Design & Cabinetry 309 E. Water St. Alaina Clarke displays her metalsmith with original jewelry pieces. 5-7pm.

The Fralin Museum of Art at UVA 155 Rugby Rd. “In My Room: Artists Paint the Interior 1950-Now”; “20th Century Still Lifes from the Permanent Collection,”  featuring the work of Picasso, Braque and Carrie Mae Weems, among others; “The Art of Protest”; “Reflections: Native Art Across Generations”; and “Oriforme” by Jean Arp.

FF The Garage 100 W. Jefferson St. “Learn how to farm, the end is near,” an exhibition of walnut ink and pigment paintings from Allyson Mellberg-Taylor and Jeremy Taylor. 5:30-7:30pm.

Java Java 421 E. Main St., Downtown Mall. Kris Bowmaster exhibits a new, five- panel work.

Jefferson School African American Heritage Center 233 Fourth St. NW. An exhibition of new work by Frank Walker that addresses the notion that black bodies are disposable and easily erased.

Kluge-Ruhe Aboriginal Art Collection 400 Worrell Dr. “Beyond Dreaming: The Rise of Indigenous Australian Art in the United States”; and “Ngunguni: Old Techniques Remain Strong,” an exhibition of paintings on eucalyptus bark from northern Australia.

Les Yeux du Monde 841 Wolf Trap Rd. “The Livestock Marker Show,” featuring paintings by Gwyn Kohr, Kathy Kuhlmann and Russ Warren that use livestock markers as the medium.

FF McGuffey Art Center 201 Second St. NW. “Gaean Reveries,” a multimedia, surrealistic exhibition from Sam Gray, in the Sarah B. Smith Gallery; “McGuffey Members’ Summer Group Show,” colorful multimedia works from members of the gallery, in the Downstairs South Hall Gallery and Upstairs North and South Hall Galleries; and Heather Owens’ “Safety” in the Downstairs North Hall Gallery. 5:30-7:30pm.

FF Milli Coffee Roasters 400 Preston Ave. “The Sea Change Series,” an exhibition from Tina Curtis. 6-8pm.

FF Music Resource Center 105 Ridge St. “Women in Color,” a mixed-media exhibition from Sri Kodakalla. 5-7pm.

FF Roy Wheeler Downtown Office 404 Eighth St. NE. Ceramic arts exhibition from Angela Gleeson. 5-7pm.

FF The Salad Maker 300 E. Market St. “Exploring the Bounds of Digital Art,” an exhibition of richly colored work by Martin Phillips. 5:30-7:30pm.

FF Second Street Gallery 115 Second St. SE. In the main gallery, “Ngerringkrrety: One Voice, Many Stories,” an exhibition of paintings and weaving by Australian Aboriginal artist Regina Pilawuk Wilson; and in the backroom, a mixed-media exhibition by Sahara Clemons. 5:30-7:30pm.

Shenandoah Valley Art Center 122 S. Wayne Ave., Waynesboro. A members’ anniversary show judged by Leah Stoddard.

FF Spring Street Boutique 107 W. Main St., Downtown Mall. “Scrapes,” an exhibition of oil paintings by Lizzie Dudley. 6-8pm.

FF Studio IX 969 Second St. SE. “re: Charlottesville Music,” an exhibition of photographs taken by Rich Tarbell related to the local music scene. 5-8pm.

FF VMDO Architects 200 E. Market St. An exhibition of oil paintings by Bettie Dexter. 5:30-7:30pm.

FF First Fridays is a monthly art event featuring exhibit openings at many downtown art galleries and additional exhibition venues. Several spaces offer receptions.

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Charlottesville Opera tells modern stories

Most of the time, when we talk about characters in books, in movies and plays, we talk about their arc—who the character is when the action begins and when it ends, and the curve followed in between.

But opera singer Trevor Scheunemann knows it’s not always that simple.

It’s especially not that simple for Count Almaviva in Wolfgang Amadeus Mozart’s The Marriage of Figaro, a role Scheunemann has sung a number of times throughout his career, with the San Francisco Opera, the Washington National Opera and the Opéra National de Bordeaux.

The Marriage of Figaro takes place over the course of a single day in the Count’s villa near Seville. It’s a continuation of the story presented in Rossini’s The Barber of Seville, but in Figaro, the Count has fallen out of love with his wife, Rosina (the Countess Almaviva, whom he pursued so intensely in Barber), and now lusts after Susanna, the maid and the bride-to-be of the servant Figaro.

“The opera’s not named after the Count, but—and maybe I’m biased—he’s one of the more interesting characters, since he goes through so much in the opera,” says Scheunemann. Through tricks and clever maneuvers, Figaro, Susanna and the Countess manage to thwart the Count’s effort at seduction while teaching him a lesson and provoking him to beg for forgiveness. Count Almaviva has “less of an arc than a roller coaster of arcs, peaks and valleys,” says Scheunemann.

The Marriage of Figaro
July 814

Into the Woods
July 27-August 5

The Paramount Theater

Scheunemann says that often, the Count is portrayed either as “a Don Juan figure, very smooth and seductive,” or an “aggressive, monstrous, demonic figure.” But with guidance from director David Paul, Scheunemann has come to understand a vulnerability that’s rarely lent to the character.

The production is set in mid-20th century America, giving the whole thing a sort of “Mad Men” feel, says Charlottesville Opera Executive Director Kevin O’Halloran, adding that it won’t be the “park and bark” that most people think of when they think of opera. The smaller setting means this opera company can take more risks.

First performed more than 200 years ago, Figaro’s story is timely in light of the #MeToo movement, says Scheunemann. He says that audience members may feel a sense of solidarity with Susanna (portrayed by Karin Mushegain), how she faces “pressures from a male-dominated workplace to acquiesce to certain things she would not be comfortable with otherwise.”

Charlottesville Opera’s second production of the season, Stephen Sondheim’s Into the Woods opening (July 27) at the Paramount, is perhaps equally timely in America’s social and political climate, says interim Artistic Director Steven Jarvi.

The musical weaves together various Brothers Grimm fairy tales, and is very much about how “we’re all going to see the consequences of the road we walk down,” says Jarvi.

At the heart of the musical is the story of a childless baker and his wife seeking to start a family, their encounters with the witch who cursed them, and their run-ins with other fairy tale characters, like Little Red Riding Hood.

Rena Strober, who plays the Witch, says Into the Woods is largely about seeing the humanity in every person. Strober, who has acted on Broadway and on television (“Veep,” “Shameless” and the Disney Channel’s “Liv and Maddie”), says that before she stepped into the role she “viewed the Witch as the villain of the show. But now that I’m getting behind her, I’m finding her humanity…she is the heroine in my mind, as she wants what’s best for her and the child she raises.”

Deborah Grausman, another Broadway-trained actor with television experience (she voices Smartie the smart phone on “Elmo’s World” and “Sesame Street”), who plays Little Red Riding Hood, is compelled by her character’s straightforwardness. “She pretty much tells it like it is,” says Grausman. “She calls people on things; she’s a truth-teller [who] doesn’t necessarily change her opinion for whatever company she’s in.”

There are plenty of adult themes in the musical, so a children’s performance is offered, but the original opera is suitable for ages 11 and up. “I think it’s important for families to see this show together in order to have conversations about the more difficult questions Into the Woods brings up,” says Strober.

As with The Marriage of Figaro, Charlottesville Opera is taking a few risks with Into the Woods.

Strober won’t spoil the surprise, but she says that director Raymond Zilberberg has found “a very perfect window into how to connect the present.” The cast “ooh-ed and aah-ed” throughout the first read as it saw how the audience members will be forced to use their imaginations in ways they haven’t since they were kids, says Strober. “It’s a new telling of the story with absolute integrity and respect. People will leave really affected.”

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Four of a kind: Zocalo’s margarita flights take the choose work out of your booze work

One glance at Zocalo’s drink menu on a warm day and there’s no question what you’ll imbibe: a margarita. The question then becomes, which margarita? Zocalo offers a few, and it can be hard to decide between a salty-but-sweet classic or a smoky Mezcal (for the uninitiated, Mezcal is to tequila what Scotch is to whiskey).

For those who simply cannot decide, you no longer have to. Zocalo has introduced a margarita flight, where $20 gets you four mini margs: original, Mezcal, blood orange (on the sweeter side) and jalapeño (this one has a li’l kick to it). Served with or without salt in four small glasses on a wooden paddle, they amount to about two regular-size margaritas, so it’s a decent serving of drink.

Zocalo bar manager Peter Larson says that the margarita flights pair well with Zocalo’s Yucatan-style pork chop, as the versatile dish’s peppery, earthy, semi-sweet flavor profile and slightly acidic bite complements all four of the margarita flavors.

If you’re more of the snacking type, Larson recommends ordering the raspberry-chili glazed cheese fritters (even better: They’re half price during happy hour), which would go well with the margarita flight or its brethren, a mojito flight featuring original, lychee, blood orange and passionfruit flavors.

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Vegan anew: Local blogger dishes on all things vegan

“I could never live without cheese!” That was one of Ashley Addington’s mottoes. She’d been vegetarian since she was a tween, after seeing videos of animals being “processed” in what was supposed to be a humane facility. “It really upset me…to watch a life violently end for someone’s five-minute meal didn’t make sense to me,” she says. She knew she’d never eat animals again.

She’d always thought veganism—eliminating all animal products, not just meat, from one’s diet—was extreme. But once she realized veganism better aligned with her values of not wanting animals to suffer in any way for her sake, she decided to try it.

Addington, who works for a local solar energy company, blogs about veganism (as well as motherhood and transitioning to a zero-waste lifestyle) on ashleyjanethevegan.wordpress.com, where she keeps an impressive log of where to get vegan eats in town (including vegan cheese). Here, she shares some advice for anyone interested in going vegan.

K&F: How was the transition from vegetarian to vegan?

Addington: Making the switch seemed daunting. I enjoyed the taste of some meats and especially cheese and ice cream. I asked myself, “What do vegans even eat?” And most importantly, “How will I live without cheese?” What helped me wrap my mind around it was advice from a longtime vegan friend: Replace one thing at a time, one day at a time. I felt less pressure to be perfect and I was pretty much vegan within a week. Don’t aim for perfection immediately—just start!

What was the easiest part of going vegan? The hardest part?

The easiest part was aligning my diet with my values, as I had been fighting with my conscience while I ate animal products and parts. The hardest part was learning to navigate eating with friends and family, and at restaurants. Now it’s second nature.

What might people be surprised to learn is easy about a vegan lifestyle?

Veganism can be as cheap or as expensive as you make it. You can meal prep around plant-based staples like bananas, oats, beans, rice, corn, potatoes, etc. for dollars a day. Or you can eat expensive, processed and packaged vegan food, or, if you have the means, gourmet vegan burgers and fancy cultured vegan cheese.

Veganism can also be as healthy or unhealthy as you make it. You can gorge on French fries, chips, bread, faux meats, Taco Bell burritos and vegan ice cream…or you can stick to whole foods and plant-based meals.

What is it like to be vegan in Charlottesville?

Larger cities do have higher concentrations of fully vegan restaurants and vegan options. For this reason, my husband and I take trips to vegan- friendly cities like Montreal, and for date nights we might drive to Richmond or Washington, D.C. Charlottesville is adapting, though. I see new vegan offerings all the time; even barbecue places here offer vegan sides and some even do smoked pulled tofu with barbecue sauce. If I have to be at a certain restaurant for family or work, I’ve had luck politely asking the kitchen to make me something vegan.

What is your advice to someone contemplating a vegan lifestyle?

Try it! Remember: Replace one item at a time, one day at a time. Read labels. So many things are already accidentally vegan.


Ashley Jane’s four local faves

Bodo’s Bagels 

“They’re completely vegan and inexpensive; the PB&J and hummus sandwiches are especially good.”

Texas hummus at Continental Divide

“A classic. One of my favorite hummus recipes in town.”

The Impossible Burger at Boylan Heights

“It bleeds like a burger and tastes like one. It’s pretty crazy.”

Anything from
Juice Laundry 

“In addition to juice and smoothies, this all-vegan, sustainable company often serves hot food like chili with cashew sour cream or broccoli cheddar soup.”