At Montgomery Royal Theater, six screens beam larger-than-life stars into the eyes of moviegoers during showings of recently released flicks and Hollywood blockbusters. Viewers can sink into the theater's plush, cushioned seats to absorb action-packed reels that showcase the twists of budding romance or the dire consequences of resurrecting an extinct flower’s DNA. The theater’s concession stand outfits viewers with buckets of popcorn and cups brimming with soda, providing the appropriate rations to accompany treks into the fantastical worlds of first-run films.
Since 1971, Maryland Youth Ballet's team of trained instructors has helped both amateur dancers and aspiring Baryshnikovs hone their skills with a range of comprehensive classes. True beginners can begin their swan transformations during the introductory series, which covers fundamental barre exercises and promotes proper alignment, molting, and musicality. More experienced students can drop into one of the studio's ongoing sessions that range from jazz- and Broadway-style routines to Horton-based modern movement. Adult classes are open to ages 13 and older, and all participants must bring their own ballet flats or oversize bunny slippers.
Now in its 21st year, the AFI Latin American Film Festival celebrates hitting the drinking age by hosting an array of cinematic achievements by Latin American filmmakers, with this year’s slate of films extending to motion pictures from Spain and Portugal. The 2010 lineup includes Revolution, a collection of short films from 10 Mexican moviemakers, including actors Gael Garcia Bernal and Diego Luna, that explores the themes of the Mexican Revolution on its 100th anniversary. Those with an off-kilter sense of humor or an unhealthy love for con-artistry can check out Uruguay’s Bad Day to Go Fishing, which follows a wrestler and his manager as they navigate through South America, putting on fake exhibitions of strength. Venezuela’s Story of a Day enthralls its viewers by poetically chronicling the numerous parties, feasts, and chores in a Venezuelan village, and Honduras’s Love and Beans comically details marital mysteries and draws attention to the plight of beans everywhere. Check the full lineup to see how the festival's schedule of silver-screen offerings matches up to your own sci-fi screenplay about the 1993 Buffalo Bills.
The graceful ease with which a good bartender mixes drinks masks the difficulty of the job, one that requires knowledge and dexterity—not to mention charisma. The seasoned barkeeps at Bartender of America, a TIPS-certified school, know what it takes to be a good bartender and lead their students through deliberate exercises inside a fully simulated tavern environment. Amid ambient sounds and music, novice bartenders dole out maraschino cherries and shake martinis while refining their conversational skills and learning how to identify underage kids by their mustaches. Fully committed students can opt for the entire Bar 101 curriculum, attaining a bartending license and valuable tricks for managing their resume and acing job interviews, while abbreviated classes offer insight into the fundamentals of the trade.
Brothers in arms, strings, and reality, Sérgio and Odair Assad hail from Brazil, where they were steeped in the Brazilian musical tradition like two man-sized sachets of tea. Over the years, they studied with some of the best guitarists in South America, honing their skills and musical partnership. More recently, the duo began further exploring the music of their ancestral homeland, Lebanon. Following the success of Sérgio's Lebanese-influenced composition Tahhiya II Oussilina, the Assads arranged a show that explores modern and ancient Lebanese work, the rhythmic motifs that Brazilian and Middle Eastern music never realized they had in common, and new, original compositions. The result was De Volta As Raizes, Portuguese for "back to our roots." Joining them on tour are the thoroughly embodied vocals of Lebanese-American singer Christiane Karam, the intricate dum-tek-kas of percussionist Jamey Haddad, and the double-handed support of pianist and singer Clarice Assad.
When it was founded in 1970, the theatre company Street ’70 didn’t have a home, instead serving as a nomadic outreach program for schools and community spaces. It would be seven years before they’d find their own space in the Round House Theatre, which would eventually become the company’s moniker. Since those early days, the ensemble has produced more than 200 performances per year out of their home theater in Bethesda and a black box theater in Silver Springs. Round House Theatre also spreads the drama bug through classes, workshops, and not washing their hands after handling freshly penned manuscripts.