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Leah Cohen

District Fringe to pick up where Capital Fringe Festival left off

By Leah Cohen

This article was originally published in DC Theater Arts here.

After nearly two decades of spotlighting local theater, the Capital Fringe Festival went dark, just when the arts needed it most. District Fringe is picking up where Capital Fringe left off.

“There’s a vibrant community of artists. They deserve a place where they can afford to do it. They deserve a chance to get on stage,” said Karen Lange (artistic director, Pinky Swear Productions), one of District Fringe’s leaders.

Not unlike Capital Fringe, District Fringe will work to unite the DC theater collective but with a stronger emphasis on community and collaboration. Led by three artistic directors and longtime Capital Fringe supporters, Tracey Erbacher (artistic director, Theater Prometheus), Aubri O’Connor (artistic director, Nu Sass Productions), and Lange, District Fringe is on a mission to “promote and propel the strong independent theater tradition in the DC area.”

When the news broke in December that Capital Fringe would not be returning, the now leaders went to work to begin production of District Fringe — recruiting applications, fundraising, and searching for spaces to hold the festival, which will take place in July.

District Fringe is coming at a time when the Trump administration is targeting performing arts and diversity initiatives, particularly in once-vibrant cultural spaces like The Kennedy Center.

“Part of what fuels me is they wouldn’t be bothering with the arts if the arts weren’t important,” Erbacher said. “This is an opportunity to expand outward and support those voices.”

Because of the original festival’s finances and space availability, Capital Fringe accepted applications from artists on a first-come, first-served basis. Being in its first year, District Fringe will limit the number of shows to about 10 to 20, depending on space, following an application process. After receiving over 40 applications, the festival’s leaders and team of readers ultimately made decisions based on what excites them most and reflects DC’s diverse artistic collective.

While the team is still working to secure a venue or venues to host the festival, no matter where they choose, there will be a community space for festival goers and artists to gather. Lange recalled having a similar space during the early years of Capital Fringe.

“Most of us met each other there. We actually got to hang out and have a drink and party late into the night, dancing together. That was really special and one of the things we really want to bring back,” Lange said.

District Fringe will be an opportunity to celebrate not only the artists but also the volunteers and donors who have helped with the festival’s production.

“I’ve been running a company for 11 years and I’ve never had this level of community support where people are coming out of the woodwork to be like, ‘Hi, I care about this, this is important, how can we help?’ Which is really moving,” Lange said.

The District Fringe team is looking for volunteers with experiences doing artistic producing, media and press outreach, technical support, and on-the-ground support when the festival begins. And, donations big and small.

“Donations have such a direct impact. A little bit of money goes so far given how low our fundraising goal is compared to other big theater efforts, and that’s going straight to making art possible for more artists,” said Erbacher.

With one of the main goals of the festival being to make local art as accessible as possible, the team has set admission at $15 per show (including fees), with additional options like discounted ticket bundles, buy-one-get-one offers, and an all-access festival pass.

“Everybody’s art makes everyone else’s stronger because you might not hear about one individual company making one small show, but you hear about Fringe and everyone’s working together,” Erbacher said. “It’s about the power of the community there banding together and making a festival.”

For those looking to get involved and volunteer with District Fringe, reach out to info@districtfringe.com for more information.

At Omnium Circus, inclusion and accessibility take center stage

By Leah Cohen

This article was originally published in DC Theater Arts here.

The Omnium Circus made its debut in 2021, but for founder and executive director Lisa B. Lewis, the journey began more than three decades earlier.

While performing as a clown, Lewis noticed an entire section of the arena sitting with their arms crossed and seemed angry. Despite being at the circus, they struggled to understand the acts going on around them. Lewis’ clown partner started telling jokes in sign language, and the group erupted in laughter.

“It was the power of inclusion,” she said.

In 1986 Lewis moved to New York and began working in a hospital performing a “Circus of the Senses” adapted show for children and their families. It was such a hit that parents wanted to know why they could come only once. So, Lewis created weekend and evening shows for families to experience and enjoy together. When the pandemic hit, Lewis began to push the idea further, asking how she and others could create this type of access all the time.

Omnium, a diverse, accessible, and inclusive circus, was born. The goal of the circus is to create an experience reflective and welcoming of all people. To mirror the one in four Americans with a disability, over 25 percent of the nonprofit’s performing company and 40 percent of its total team are members of the disabled community.

“The idea was to create representation so people can see themselves reflected on stage and know they are capable with hard work to be their best selves,” Lewis said.

When she presented her initial idea to current team members in 2020, Lewis worried it might have been too crazy. But no one talked her out of it. Instead, they joined her, and immediately got to work on building the show. The team behind Omnium Circus is made up of not only others like Lewis who have spent their entire careers in the industry, but newcomers as well, including members of the disabled community who never previously had the opportunity to join a circus.

For Ermiyas Muluken, a seasoned performer with over half his life dedicated to the circus industry, joining Omnium with his ladder-balancing act was more than just a new experience — it was a powerful extension of his mission to inspire through his craft.

“Circus is not just going and doing your thing and getting money,” he said. “It’s also to inspire people. It’s a message and you don’t have to speak it.”

An Ethiopian native, Muluken has since relocated to DC, where Omnium Circus will kick off its 2025 nationwide tour on February 22 at DC’s Warner Theatre.

In addition to Muluken’s ladder act, the audience will get to see the world’s fastest juggler, a chair-stacking act, and a hair-hanging act, to name a few.

During the show, Omnium offers different accessibility options including audio description for blind audience members, ASL integrated into the performance, a calming area in the lobby, ADA seating, and more. Lewis listens to members of the disability community and constantly asks how Omnium can make the experience better.

“Accessibility is not as hard as you think,” she said. “You have to pay attention and figure it out.”

Omnium Circus is an experience for the whole family to enjoy, a show for “human beings,” as Lewis explained. The 90-minute performance is an opportunity to connect and bond with others no matter the differences. During one show, for instance, a young girl sat next to another child who happened to be deaf. The two figured out how to communicate with one another and ended the show as friends.

Omnium is more than just a circus; it’s an opportunity to bring people together.

“So much is dividing us; we have to find more of what unites us,” Lewis said.

An Interview with Ira Shapiro

By Leah Cohen

This article was originally published in The Washington Independent Review of Books here.

With his latest book, The Betrayal: How Mitch McConnell and the Senate Republicans Abandoned America, Ira Shapiro completes his critically acclaimed trilogy on the U.S. Senate. In addition to writing, the former Senate staffer and trade ambassador for the Clinton Administration serves as president of Ira Shapiro Global Strategies, LLC, a consulting firm focused on trade policy and international government relations. A new edition of The Betrayal includes an updated foreword that adds the events of 2022-2023 to the story.

The Betrayal first came out in 2022. Why did you feel compelled to publish an updated version so soon, in 2024?

I was delighted that my publisher (Rowman & Littlefield) thought that The Betrayal was an important book that warranted a paperback edition. Jonathan Sisk, R&L’s senior editor, and I quickly agreed that the past two years (2022-23) were part of a continuing story about the Senate’s performance during this period dominated by Donald Trump, necessitating a substantial new foreword to bring the story up to date. I believe the updated edition provides important perspectives on the success of the Biden presidency; the Senate’s role in a surprising set of bipartisan accomplishments; Trump’s unexpected resilience and continued dominance of the Republican Party; the rampaging Supreme Court supermajority; and the consequences of the Republican Senate’s catastrophic failure to stop Trump’s assault on our democracy when it had the opportunity and the responsibility to do so. America has watched as the legal system has struggled to make up for the failure of the Senate to perform its constitutional role.

What was the process like for writing from ideation to completion?

I wrote The Betrayal in 2021 in anger about the Republican Senate’s knowing and deliberate failure to protect our democracy from Trump, particularly in the crisis year of 2020, including their last clear chance in the second impeachment trial in February 2021. The book told the story of how the Senate Republicans repeatedly put partisanship above patriotism. They stood by while America had an unhinged president during a pandemic, which caused hundreds of thousands of Americans to die needlessly. The book also illustrated that it was clear that Trump was not going to accept the results of the election unless he won. I was incensed that McConnell and his Senate roused [themselves] from torpor only long enough to ram through the confirmation of Amy Coney Barrett eight days before Election Day. By the time I wrote the foreword to the paperback, my white-hot anger had become deep concern and growing dread for the condition and future of our country.

How did your view of the Senate evolve over the decade you spent researching and writing the trilogy? Or did it?

I am very proud that Brookings Institution scholar William A. Galston, one of my wisest and most experienced political commentators, said that The Betrayal “completed an epic trilogy” about the modern Senate. I came of age during the last constitutional crisis, when Lyndon Johnson’s Vietnam War tore America apart and then led almost inexorably into Richard Nixon’s abuses of power known as Watergate. During that difficult period, the Senate was a beacon of hope that drew many idealistic young people to public service. I became a lawyer to work in the Senate, and I had 12 great years there from 1975-87. Decades later, dismayed by the Senate’s long decline, I circled back to write The Last Great Senate: Courage and Statesmanship in Times of Crisis (2012). I wanted to show how the Senate worked when it was at its best, hoping to inspire senators and Senate leaders to emulate their great predecessors. Can’t claim to have succeeded; unfortunately, the second and third books chart the decline and accelerating downward spiral. The once-great Senate becomes the “broken” Senate (2018) and then the Senate that betrayed America (2022).

It’s clear how you see Mitch McConnell’s legacy vis-à-vis the Senate, but how do you imagine he sees it? Is it “mission accomplished,” or did things go off the rails for him?

That’s a great question! The longest-serving Senate leader ever, McConnell is by any measure one of the most impactful political leaders in our history; he has profoundly affected all three branches of government. I have no doubt that McConnell was surprised that Trump might be president again; he expected Trump’s power to wither away after the January 6th attack on the Capitol. McConnell’s steadfast advocacy for Ukraine has been his finest hour; he knows with absolute certainty that Trump is a danger to Ukraine and [to] the security of our NATO allies and America. But he endorsed Trump anyway because ultimately what matters most to him is Republican power — and winning. In February 2024, McConnell waxed philosophical, saying: “History will settle every account.” His legacy will be one thing he didn’t do — stop Trump’s assault on our democracy — and one thing he did: create the radical Supreme Court supermajority. And at a time when America desperately needed a great Senate leader like Howard Baker to help bring us together, we had Mitch McConnell, a fiercely effective and endlessly divisive partisan.

What’s next for you as an author? Do you anticipate a fourth book?

Thanks for asking. There won’t be another Senate book; a trilogy is enough. I love to write, and I hope to find another subject that excites me. But for this year, I’m entirely focused on writing articles and speaking about the stakes in the presidential and Congressional elections. Everything else — other than family and friends — can wait.

An Interview with Jonathan D. Reich

By Leah Cohen

This article was originally published in The Washington Independent Review of Books here.

As a cardiologist on faculty at the Johns Hopkins School of Medicine, Jonathan D. Reich is no stranger to research. The author of multiple articles for medical journals, he shifted his focus to historical research during the pandemic. After reading A. Scott Berg’s Lindbergh, Reich dove into studying the groundbreaking aviator and onetime presidential candidate. The result is his first book, A Convenient Villain: Charles A. Lindbergh’s Remarkable and Controversial Legacy Preparing the U.S. for War.

As a physician by training, how did you make the jump to writing a book?

Before I went to medical school, I was an aerospace engineer. I worked for the Navy designing airplanes and got a master’s degree. Part of my coursework was done in Israel. I had always known that Lindbergh had a legacy as an antisemite. So, during the pandemic, I read the Pulitzer Prize-winning biography Lindbergh. I expected to conclude this was his legacy. While reading the book, I had two realizations. First, although the author, A. Scott Berg, wrote an outstanding encyclopedic book, he had no appreciation for the aerospace contributions of Lindbergh’s life. I read a few other books about Lindbergh, especially about the period of his life when he lived in Europe and visited German air force facilities. I concluded that much of Lindbergh’s legacy was misrepresented. Second, Lindbergh’s legacy was too facile. He was a complicated man with a complicated, nuanced legacy. I decided that no one else would ever try to establish an accurate legacy of Lindbergh because it was unlikely there was another Jewish aerospace engineer who would want to spend years researching his life. I tried writing a magazine article but found it was impossible to condense the misrepresentations of Lindbergh’s legacy into 1,500 words. So, three years later, here it is: a biography of Charles Lindbergh’s life. I believe this is the first biography written by someone who is qualified to define his legacy.

What was your research process like?

During the pandemic, I had time to read nearly every biography I could find about Lindbergh and research references to see if statements had a valid basis. I also read dozens of other books about Europe in the 1930s, President Roosevelt, the 1940 presidential election, the Depression, and isolationism. I read [Lindbergh’s] journal and his wife’s journal. I read every New York Times article that mentioned Lindbergh and a host of other articles both critical and supportive of his legacy. As a physician, I concentrated on the two major medical advances that Lindbergh made: the first cardiac perfusion pump and his improvements in high-altitude aviation. I read about the different definitions of terms like “antisemite” and “Nazi sympathizer” and how they are applied to people from different eras. These figures existed and were sometimes dangerous, but using the definitions inaccurately hurts your credibility. Having a wife who is the daughter of a Holocaust survivor helped with perspective. Once the pandemic subsided, I made a trip to Yale University to go through Lindbergh’s papers. That was a fascinating experience; it felt almost as if I got to meet him.

What was the most interesting document you came across in your research?

The most interesting were the drafts of his speeches. Between September 1939 and December 1941, Charles Lindbergh gave five national radio addresses and 20 national speeches in opposition to the U.S.’ creeping involvement in World War II. The Yale archives contain not only the texts from which he read the speeches, some of which have handwritten edits, but the drafts of the speeches from his original handwritten notes (with his wife’s edits) to the final version of the speeches. But the most important document I came across was the letter from the U.S. embassy in Berlin on U.S. embassy letterhead in May 1936, asking Lindbergh to go to Germany to obtain information on Germany’s air force. Prominent historians have written that Lindbergh visited Germany because he admired the Nazis, and his intelligence work was “invented” later by his supporters. Finding this letter proved that no one “invented” Lindbergh’s intelligence work. It was the reason he visited Germany in the first place.

What made you want to take a closer look at Lindbergh’s life and politics?

I am continuously stunned by the poor academic scholarship and abject sloppiness that historians have engaged in when discussing this man. The more I write and the more feedback I get, the more examples I find. I not only find more misquotations and unsupported allegations, but I have found attempts at suppressing others’ opinions of him. We (defined as everyone, historians and non-historians, Jews and non-Jews) must be committed to the truth. He was a complicated, flawed man. I suspect we all are. Yet, his contributions to American security and medicine are remarkable and, in some respects, unparalleled. His flaws are discussed. But if we allow his flaws to supersede an honest discussion of his life, then we are truly doing a disservice to understanding the history of this country.

Did you uncover anything in particular that changed — or at least called into question — your previous understanding of him?

Reading his and his wife’s journals led me to an understanding of the times he lived in and the decisions he made. I tried strenuously to adopt a position of not judging people based on the ethics of our time. I spent a significant amount of time speaking to people who lived through the 1930s and 1940s to try and understand what it was like to be Jewish then.

Was Lindbergh a great man who had some flaws or a flawed man who did some great things? Does the distinction matter?

Fascinating question. Lindbergh was human. In his lifetime, his accomplishments are truly mind-boggling. However, he had major flaws — not just his legacy as an antisemite but in his personal relationships. He was not evil. He did not kill his son and he was not a Nazi. He was investigated by the FBI and exonerated. FBI director J. Edgar Hoover respected no restrictions on his investigative power and destroyed people when he had the chance. If he had found any evidence Lindbergh had any connection with any fascist power or organization, foreign or domestic, he would have produced it. He found nothing. I don’t think the distinction matters. We are all flawed. Few of us are great. Lindbergh’s contributions to the Allied effort to defeat both the Germans and the Japanese far outweigh his blemishes.