GAINSWave Therapy in Wolf Trap, VA

VIENNA, VA — The summer season unofficially begins over Memorial Day weekend, and so does the summer concert season at Wolf Trap.

Wolf Trap National Park for the Performing Arts is a popular destination for summer concerts at its Filene Center, an outdoor amphitheater. Summer concerts kick off Thursday as The Avett Brothers perform on three nights.

Families can then enjoy a free concert with fireworks. On Sunday at 8 p.m., the popular Blast Off! with "The President’s Own" United States Marine Band returns. The band will perform concert band favorites, including tunes from "The Music Man," a medley of the Armed Forces’ service songs and more.

A fireworks display will be held after the concert around 9:45 p.m. Fireworks viewing areas will open around 9:30 p.m. This free event is open to all, but seating is offered first come, first served.

Wolf Trap's Filene Center has a packed season with big-name performers. Some shows have already sold out, including Robert Plant & Alison Krauss, Charlie Puth and Sting.

Other concerts have limited ticket availability, including John Legend, Ms. Lauryn Hill, Steve Miller Band, KIDZ BOP, Train and James Taylor & His All-Star Band.

One other summer highlight will be the Out & About Festival headlined by Brandi Carlile and featuring 11 LBGTQ+ artists and allies to celebrate Pride month. The festival will be held June 24 and 25.

Beyond the Filene Center, the Wolf Trap Opera will perform its summer residency program at The Barns at Wolf Trap. The season includes three full scale productions, as well as recitals and concerts throughout the community.

For younger audiences, Children's Theatre-in-the-Woods performances will be held over seven weeks. The performances from June 20 to Aug. 5 range from music and dance to theater and puppetry. Children will stay engaged as the performances encourage audience interactions.

Those attending Filene Center performances can bring their own food and drinks, including alcohol, to enjoy at the new Meadow Overlook picnic areas or on the Filene Center lawn during performances. Another option is the returning The Fermented Pig at Ovations' farm-to-table barbecue buffet before Filene Center performances. New this year is a quick service bar with drinks and bites. Picnic boxes can also be preordered. Concession stands are also available during performances, providing meals, snacks and drinks.

Wolf Trap National Park for the Performing Arts is located at 1551 Trap Rd., Vienna, VA. Parking is free but limited. A Wolf Trap Express Shuttle is available roundtrip from the McLean Metro station during all Filene Center summer performances.

To see the full calendar for Wolf Trap's summer season, visit www.wolftrap.org/calendar.

Grammy Award–winner Jason Mraz, famous for hits like “The Remedy” and “I’m Yours,” returns to his home state to play at Wolf Trap for the first time.

Two-time Grammy Award winner and Virginia native Jason Mraz is currently on tour, promoting his new album Mystical Magical Rhythmical Radical Ride. Mraz, who won Grammys for “Make it Mine” and “Lucky” with Colbie Caillet performs for the first time at Wolf Trap on August 6.

Mraz talks to Northern Virginia Magazine about his new album, the Jason Mraz Foundation that supports arts education and the advancement of equality, and what it will be like coming back to his home state.

Congrats on your new album. Tell us more about the vibe you were going for.

Touring last summer was quite insightful because we were able to test out new songs and get a feel for what songs the audience was not into. What they were telling us was that they wanted to stay on their feet and dance. So, we went into the studio to try and make a dance album. It’s been a bucket list item of mine for years. I knew it wasn’t going to be electronic dance music. I had to still figure out how my band and I could pull it off. I’ve made pop music my whole life, I’ll admit that. I stayed in that lane. Looking for new experiences, still, we’d never attempted to do something so up. We set out to make something you could dance to.

I’m always writing from wherever I am in life. I’m in my mid-40s, and it’s long enough to look back and see that I’ve been on a ride. I’m still optimistic about how much of that ride and time I have left, even though time is no guarantee. There’s a preciousness to the optimism on this record. I love this record and how it came out. There’s a freedom to it, and still a fresh naivete to it, but there’s also a little more learned experience and maturity inside of it as well.

What can people who go to your Wolf Trap concert expect to see?

It’s a Technicolor dream show. I’ve got all my best friends with me, 12 of us on stage including me. It’s a colorful recollection of my songs but celebrating the new album, too. We don’t play the new album in its own entirety. The way the new album feels and sounds is how we dress up the old songs as well. We’re also able to play some old songs I’ve never been able to play before because I didn’t have the personnel to help me recreate the song the way it’s recorded on the album. It’s a sonically big and beautiful and fun show. We don’t take ourselves too seriously, so it’s relaxed, too, with audience interaction, whimsy, and a whole lot of dancing.

Are you looking forward to getting back to your home state? Do you have any favorite places to visit in Virginia?

I would go see shows at Wolf Trap growing up in my high school years. In those formative years, I was going to concerts and daydreaming about your life. My daydreaming about my life was being on a big stage one day. I’ve never performed at Wolf Trap, so for me it’s quite exciting because I’ve seen so many shows there as a kid. Specifically, Ani DiFranco and Bob Dylan were big ones for me. I was a fan of both, guitar for Ani and, of course, Bob Dylan for his legendary songwriting.

When I saw Wolf Trap was on the tour schedule, I was very excited about coming back because it gives my family the chance to come up from Richmond to see me and have a bit of a reunion that day. It will be an extra special day on tour.

It seems like you are very dedicated to a lot of important causes. Can you tell us more about the Jason Mraz Foundation or other issues you’re passionate about?

I am sensitive to all the issues. It’s kind of hard to live in this world because everything from climate to equality, social justice, criminal justice, they all need our constant attention and help. I feel like unfortunately this country has been kind of bought and sold and far from the people.

Where I feel like I succeed because I’m an entertainer and performer is the arts education lane. I feel like I can connect with young people and help give them resources and great opportunities for them to pursue not just the arts but an experience of inclusion, acceptance, and compassion, which I think the arts are great at.

The foundation provides grants and scholarships to programs all around the country to help young people get involved in local arts programs. I feel like my superpowers really work best when they’re connected to the arts, so that’s where I tend to do my work.

You just released Mystical Magical Rhythmical Radical Ride. What are your plans for the rest of the year?

We have a program in schools from October to February in San Diego at eight different participating schools. After this tour, I won’t be touring for the rest of the year. I’ll be spending more time doing the foundation program and a television project that I can’t mention much about yet, unfortunately.

It gives me the ability to work from home and still contribute to society. I’ll resume touring probably next summer.

Feature image of Jason Mraz by Shervin Lainez courtesy Ashley White PR

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On Sunday, a matinee of Wolf Trap Opera’s “Faust” didn’t feel all that far removed from the muggy afternoon beyond the sturdy walls of the Barns, set as it was in the deep heat of fin de siècle New Orleans.

But director Alison Moritz’s smartly refined production of Charles Gounod’s 1859 mainstay proved immediately transportive, casting the opera in an alluring new light and concentrating its grandeur into a potent potion.

This “Faust” — the tale of an aging scholar who strikes a deal with the devil for another taste of youth — had its own fateful bargain to strike: For the cozy purposes of the 382-seat Barns and its modest pit, conductor Geoffrey McDonald led his lean 26-piece orchestra in a reduced orchestration of the opera by Francis Griffin.

McDonald handled his short staff ably and energetically, filling in gaps of anticipated intensity and approximating vacancies of scale wherever he reasonably could, and otherwise offering a sensitive, responsive and clearly endeared reading of the score. (Admittedly, I’d have traded both of my shoes to the devil for a single trombone.)

This tamping of Gounod’s roaring flame put added pressure on the singers to sing — not to mention the intimacy of the space raises the stakes on those singers to act.

Fortunately, all aspects were in order on Sunday: Moritz’s vision is graced by a keenly cast ensemble of talented singers, well-complemented by a chorus of Wolf Trap studio artists, its ranks effervescently present and (for the most part) dynamically sound. (Here and there, the orchestra didn’t stand a chance.)

Tenor Eric Taylor made a forceful and compassionate Dr. Faust, his “Rien! En vain j’interroge” a rending introduction of a man broken by longing and (here) jonesing for poison. A remaining fleck or two of the youthful vigor to which he was trying to bargain his way back would have been welcome, but it was still an assured demonstration of the grace and control Taylor wielded through all five acts.

Certainly soprano Brittany Logan was the afternoon’s standout singer as Marguerite — her voice clear and rich, capable of burnished color and shocking lightness. She has this way of tightening her voice around a particularly aching word; you can hear the stone in her throat. It’s not that she’s superhuman; she’s extra-human, a quality that made her Marguerite magnetic. This was especially so in her lithe and lilting jewel aria (“Ah! je ris de me voir si belle”) and her anguished pleas (and chilling heights) in the final trio (“Anges purs anges radieux”).

Méphistophélès was convincingly embodied in white linen finery and impressively sung by bass Wm. Clay Thompson. Part unholy spirit and part Deep South mob boss, he lent the devil suitably skeevy form and restrained vocal power. (Thompson apparently specializes at mining a sinister undercurrent in his voice, his lows smoldering like magma.) I loved his cloying faux-serenade in Act IV (“Vous qui faites l’endormie”) and his last stand in the demonic fifth act,presiding in a horned mask over an eerie mob of revelers in a humid-looking bordello.

In a pants role, mezzo-soprano Mary Beth Nelson offered a charming take on the crushingly dorky and perpetually friend-zoned Siébel, skillfully girding the young rival’s nervous voice with a thin rod of earnest nobility. Baritones Kyle White and Mario Manzo gave strong performances and likable energy to the duo of Valentin and Wagner, the former admirably rising to the required swagger and dying one of the slowest deaths I’ve ever seen onstage. I left the hall wanting to hear more of mezzo-soprano Kathleen Felty, whose voice was warm and rich, and gave more than the average Marthe.

The opera’s NOLA vibe was helped along with costumes by Lynly Saunders and lights by Colin K. Bills, whose golden-hour sunsets and crimson underworld bestowed the action with a poetic halo. Lawrence E. Moten III’s scenic designs were clean and clever — the wrought-iron rails and balconies of a New Orleans court quickly transforming into a chapel (complete with an effective shock of organ). A signpost in front of Marguerite’s home reads “1020 Rue Saint Ann” — a nod to Marie Laveau, a 19th-century free woman of color who became known as the “Voodoo Queen of New Orleans” that here serves as a spiritual template of sorts for our troubled heroine.

At times, Moritz’s vision of the Big Easy felt a touch congested onstage, and I wondered whether more routine use of a central platform thrust into the front rows might have helped. But these were small distractions in a production that otherwise wicked uncanny power from a limited palette. Even in reduced form, it felt like a deal worth striking.

Faust repeats July 27 and 29 at the Barns at Wolf Trap in Vienna, Va. wolftrap.org/opera.

Our picks in summer theater, dance, pop and classical

HAND CURATED

Ted Eytan / Flickr

Sunday night’s concert at the Wolf Trap National Park for the Performing Arts began like many others before it. A light rain fell as fans of headliner Ray LaMontagne filed into the Filene Center, Wolf Trap’s 7,000-seat outdoor amphitheater in Vienna, and purchased light fare and $14 drinks (in $6 spill-proof cups) imprinted with the Wolf Trap logo.

But fans weren’t using the time to purchase merchandise from opening act Sarah Beth Tomberlin — rather, they couldn’t, because unlike the typical Wolf Trap show, the artist, who goes by Tomberlin, wasn’t selling any T-shirts, records, or other paraphernalia.

Tomberlin explained the lack of merch after she finished her acoustic set: She told the crowd that she wasn’t selling her T-shirts because Wolf Trap takes a 41% cut (30% + 5% card fee + 6% tax).

She added that as an independent artist who rented a car with her cousin to go on the six-week Just Passing Through tour with LaMontagne, having to pay such a steep commission threatens her livelihood. She said she’d rather not sell her shirts for $60 to make a profit. After giving her statement, Tomberlin received applause from the crowd and later posted to Instagram, where she described the “aggressive merch cuts” as the highest she’s seen while on tour.

So what’s behind that cut? Tomberlin has little say in negotiating things like commission rates for merchandise sales, she says in a phone call with DCist/WAMU. Her booking agent and the tour promoter (in this case, Live Nation) agree to all those details before she agrees to go on the road, she says.

“It’s extremely important for artists’ survival to continue to talk about this and to create change and to inform an audience who has no idea about these merch cuts,” Tomberlin says. “People think when they’re going to a show and they’re paying $35 for a shirt that it’s going to us. Only a portion of that is going to me.”

Tomberlin said she was hoping the venue would let her sell her own merch and keep more of the profits, but Wolf Trap gave her the option to either agree to the terms and let the venue’s staff handle the sales or not sell at all.

“And I chose to not sell as a statement, because it is wrong and it is truly upsetting,” Tomberlin said.

Some fans took to social media to criticize the merchandise policy, commenting on the venue’s Instagram post about the concert. One Instagram user wrote: “Tomberlin deserved better treatment by you. Stop alienating the artists that make what you do possible in the first place. Do better.”

Wolf Trap doesn’t discuss contract terms publicly, according to Wolf Trap spokesperson Sandra Rodriguez. But, she adds, “Wolf Trap’s operations, including merchandise rates, are consistent through the summer, and all artists performing at the Filene Center have had the same terms without incident.”

Tomberlin’s stand against merch cuts comes two weeks after artist Jeff Rosenstock seemingly called out I.M.P’s 9:30 Club and other venues on his tour for taking cuts of merchandise sales. (He posted a screenshot to X, formerly Twitter, showing that the D.C. venue on his tour would be taking a 20% cut of sales of soft merch, such as shirts, and 10% for hard merch, including vinyl records. He performed at 9:30 Club on Sept. 6.)

An I.M.P. spokesperson said that “it can vary” when it comes to merch agreements between artists and the concert promoter’s venues — which include The Anthem, 9:30 Club, Merriweather Post Pavilion, and others. The spokesperson added that venues are “enormously expensive” to operate, especially since the pandemic began, and cited costs like insurance, taxes, liquor licenses, utilities, security, lighting, and staffing — including the staff that sells the merchandise on behalf of the artists.

“I don’t think that a merch cut from an artist keeps a venue open at all,” Tomberlin says when asked about venues’ expenses. “I think the bar tab keeps them open. I think having shows that people want to come see and then charging, what I’ve seen at some places, $20, $25 for a cocktail … I think that keeps venues open. I don’t think that stealing from an artist keeps venues open.”

Tomberlin on Instagram took specific aim at Wolf Trap, which operates under a public-private partnership between the nonprofit Wolf Trap Foundation and the National Park Service. She posted screenshots from Wolf Trap’s website advertising its “growing $31M endowment” and commitment to reducing “physical, financial, and societal barriers to access” to the arts.

Wolf Trap, which sits on 117 acres and includes an educational arm, a restaurant, and multiple performance venues, is the only U.S. national park dedicated to the performing arts. The venue is unique in that guests are encouraged to bring their own food and beverages to enjoy on the lawn.

“For transparency,” Tomberlin also shared on her Instagram stories what she says are the merchandise policies for the rest of the venues on the tour, most of which appear to be an 80/20 cut; meaning for every dollar spent, the venue keeps 20 cents:

Tomberlin says some fans have sent her money through Venmo to support her in lieu of her T-shirt sales.

“It’s not just going in my pocket. It’s going to gas, it’s going to hotels, it’s going to food, it’s going to pay for the merch, the rental car,” she adds. “I hope that it causes a wave of change for people to continue to speak up about it because Live Nation doesn’t want me to talk about it, Wolf Trap doesn’t want me to talk about it. But I feel it’s important to talk about.”

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Wolf Trap has some fantastic shows, but before you head there, make sure you know what to expect.

The Wolf Trap National Park for the Performing Arts in Vienna has been a staple in Northern Virginia for over 50 years ago. Every year, it hosts an expansive lineup of live performances, from big-name concerts to symphonic orchestras to kid-friendly puppet shows.

If you’re planning to attend any of the shows on Wolf Trap’s calendar, here are some things you’ll want to know before you visit one of its three individual venues: the Filene Center, the Barns at Wolf Trap, and the Children’s Theatre-in-the-Woods.

The Filene Center is the largest venue at Wolf Trap. It’s a large outdoor amphitheater where many of the biggest shows at Wolf Trap perform.

Entrance inspection: Yes, everything you bring in — coolers, purses, baskets, totes, diaper bags — will be inspected. Bags, backpacks, and suitcases can be no larger than 14-inches-by-13-inches-by-10-inches, and you may only bring in two items, excluding purses and blankets.

Seating: The Filene Center seats over 7,000. Guests purchase seats within the covered amphitheater or opt for general admission lawn seating.

Guests with lawn tickets can bring blankets or chairs to sit on, but lawn chairs, including legless beach chairs, are only permitted in the back area of the lawn. Seat cushions with back support are allowed anywhere on the lawn and can be rented at the gift shop, located on the plaza.

When to arrive: Park gates typically open 90 minutes before the show starts. Since lawn seating is first-come first-served, people often line up at the gate to get a good spot.

Guests with seated tickets can make their way to their seats in the amphitheater 30 minutes before the start of the show.

Food and drink: Guests are welcome to bring their own food and beverages – including alcohol, as long as it’s not in a keg – to enjoy picnics on the lawn. In the covered seating area, guests can bring water and other beverages in reusable spill-proof Wolf Trap cups, which can be purchased at concessions.

Wagons and coolers on wheels are OK, as long as they are no larger than 18 inches-by-16-inches-by-12- inches.

The concessions stand has casual food, such as burgers, sandwiches, and snacks. You can also buy beer, wine, and cocktails to take to your seat, but no food is allowed in the covered area.

What’s prohibited: The center has a list of items you cannot bring.

The Barns is an indoor theater space, housed in two restored barns from the 18^th century.

Entrance inspection: Wolf Trap reserves the right to inspect what you bring in.

Seating: Guests select their seats when purchasing tickets. There are 284 seats on the floor level, and an additional 98 on the balcony.

When to arrive: The lobby and bar open 90 minutes before showtime, and theatre doors open 30 minutes before showtime.

Food and drink: The lobby has a full bar, which sells specialty drinks and food – you’ll find starters like a charcuterie board, entrées, including a crab cake sandwich and a margherita flatbread, and desserts. Drinks can be taken to your seat, but food cannot. No outside food or drink is permitted.

Children’s Theatre-in-the-Woods is a small outdoor stage tucked into the woods of the park, where Wolf Trap hosts host kid-friendly shows.

Seating: Shows at the Children’s Theatre are all general admission. There are rows of benches for seating, with space for about 700.

When to arrive: The theater opens at 10 a.m., 30 minutes before the performances start.

Food and drink: No food or drink, except water, is allowed.

There is free parking available for all venues, but space is limited. The address to give your GPS will depend on which venue you’re attending.

The Filene Center and the Children’s Theatre-in-the-Woods: 1551 Trap Rd., Vienna

The Barns at Wolf Trap: 1635 Trap Rd., Vienna

If you’d prefer to take public transit, a shuttle between Wolf Trap and the McLean Metro station for every summer show at the Filene Center. Shuttles to the venue run every 20 minutes, starting two hours before the show and ending at showtime. Return shuttles leave 20 minutes after the show, and no later than 10:45 p.m. on Sundays through Thursdays or 11:20 p.m. on Fridays and Saturdays. Shuttle tickets cost $3 to $5.

Rideshares and taxis go to a designated pickup/drop-off area, located on the west side of Trap Road.

Feature image courtesy Wolf Trap

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