BmoreArt

This week’s news includes:  Devin Allen reflects on his fame, Baltimore 10 years after Freddie Gray’s murder, Amy Sherald continues to be sublime, a Maya Angelou reading protest in Annapolis, new season announcements from Chesapeake Shakespeare Company and the BSO, VisArts new CEO Lisa Marie Ryder, Andre De Shields on the John Mulaney Show, Baltimore’s hardcore scene, Baltimore x Baltimore 2025 season lineup, and CHARM gives voice to Baltimore youth  — with reporting from Baltimore Magazine, Baltimore Fishbowl, The Baltimore Banner, and other local and independent news sources.

Header Image: Amy Sherald, The Rabbit in the Hat, 2009. Oil on canvas, 54 × 43 × 2 1/2 in. (137.16 × 109.22 × 6.35 cm). Green Family Art Foundation, courtesy Adam Green Art Advisory. © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photograph by Christina Hussey

Ten Years Ago, Devin Allen’s Baltimore Uprising Photo Made the Cover of ‘Time,’ Launching His Singular Career
by Ron Cassie
Published April 14 in Baltimore Magazine

Excerpt: The demonstration at City Hall overflowed its expansive grass plaza. Protestors wearing hoodies in honor of Trayvon Martin and carrying signs that read “I Can’t Breathe”—the last words of Eric Garner—stretched to the War Memorial Building. Some of the crowd, which had marched from Gilmor Homes, dispersed after the planned rally. Others headed to Camden Yards.

“That’s where all the police were stationed to make sure we didn’t mess up the game,” recalls Devin Allen, then just a year older than Freddie Gray, the 25-year-old from West Baltimore who had succumbed to injuries suffered in police custody six days earlier.

A self-taught, independent photographer still new to documenting protests, Allen had friends who, like Gray, lived in the sprawling Gilmor public-housing complex. He, too, had once been arrested and been given a so-called “rough ride,” and he knew one of young women screaming out in the viral video of Gray’s arrest.

As protestors pushed past the ballpark’s outdoor bars, both Orioles and visiting Red Sox fans began taunting them—laughing, and throwing food and drinks.

Freddie Gray lives on in art, his eyes watching Baltimore
by Wesley Case
Published April 15 in The Baltimore Banner

His stare is impossible to pass without locking eyes. That was likely the point.

The mural at the corner of Presbury and Mount streets in Sandtown-Winchester depicts a close-up of Freddie Gray’s face. The 25-year-old is flanked by protesters — one group led by Martin Luther King Jr. during the 1965 marches in Alabama, the other by activists during the Uprising, the local protest movement after Gray’s arrest by Baltimore police led to his death.

The triptych in West Baltimore garnered international attention but was just one of countless responses from the city’s arts community following Gray’s death, 10 years ago this month. For many in Baltimore and around the country, the Uprising felt like the culmination of decades of long-simmering tensions between the police and Black Americans.

Artists, as they always do, employed their talents to express the myriad emotions that cannot be summed up solely by words.

“Art is not what you see but what you make others see,” the French impressionist Edgar Degas famously said. This is a look at just some of the art born from Gray’s death and the Uprising — and the continued work that refuses to let us forget.

A number of artists left lasting marks on Baltimore’s streets, including through the Eubie Blake: Sandtown Mural Project, curated by Ernest Shaw and Nether, who declined to be interviewed for this story.

There’s Gray’s name, painted on a sky blue backdrop adorned with a halo and angel wings, on the side of the Gilmor Homes apartment building where Gray was arrested. Nearby is a mural that reads “The Power of the People,” with its messages of “Rest in Peace Freddie ‘Pepper’ Gray” and “Seek Knowledge.”

Other visual artists displayed their work outside to ensure that the public paid attention, like veteran mosaicist Loring Cornish, who hung Black baby dolls from a tree on Parkwood Avenue next to a sign that read: “Lynching still exists, white police use bullets and law to lynch blacks legally.”

Artists from outside Baltimore felt compelled to make their own statements. Steve Locke of Hudson, New York, used photographs of Gray — a family photo, an image of his arrest and Gray in the hospital on life support — to create large monochromes that were installed on the facade of Boston’s Isabella Stewart Gardner Museum from June 2018 to January 2019.

“Three Deliberate Grays for Freddie” was a site for mourning and healing while showing the abstract progression of his life to death. Years later, Locke says he intended to make a work about Gray’s “erasure” at the hands of police.

“That’s what a memorial is supposed to do,” Locke said. “It’s not just supposed to be a pretty picture. It’s supposed to indict. It’s supposed to accuse. It’s supposed to remind people that this person was lost to us because of the state.”

“Does anybody hear us pray for Michael Brown or Freddie Gray?” Prince sang to the crowd at then-Royal Farms Arena in May 2015. One of the last songs he released before his own death, “Baltimore,” was part of the Purple One’s “Rally 4 Peace” concert — his first performance in the city in 14 years.

Though it was announced on short notice, thousands attended, showing up in gray attire at Prince’s request.

While other nationally known artists weighed in — Pusha T (“Sunshine”), Lyfe Jennings (“Baltimore (Tribute Song)”), Kevin Morby (“Beautiful Strangers”) and Kevin Devine (“Freddie Gray Blues”), to name a few — the most resonant songs came from musicians from here.

“Said it before and I’ma say it again, whatcha gonna do when they throw you in the pen?” Joy Postell soulfully sings over an acoustic guitar on “Hands Up, Don’t Shoot.” Other artists like jazz pianist Lafayette Gilchrist, R&B group Dru Hill and rapper Lor Chris also contributed Gray-inspired tracks.

No song captured the city’s hurt, frustration and resiliency like “No SunShine” by Young Moose and Martina Lynch. “We live in poverty, probably seen some things that could take you out of your normal state and turn you to a fiend or maybe give up your dreams and take you out to the street,” Lynch raps in a verse that followed Young Moose drawing a direct line from Gray to Rodney King and Emmett Till.

In 2016, composer and pianist Judah Adashi founded Rise Bmore, an annual free concert and speaking event in honor of Gray. This year’s event, set for April 19 at 2640 Space, will feature Sanahara Ama Chandra, Brooks Long and more.

A new exhibit at the Creative Alliance illustrates how the images of the Uprising have only grown more powerful over time.

“In the Wake Of: Resilience and Revolution,” on view through April 19, features photographer Devin Allen’s indelible black-and-white photographs of the Uprising (including his Time magazine cover), powerful portraits of activists five years later by Joseph Giordano and filmmaker Paul Abowd’s documentary footage of Sandtown-Winchester after Gray’s death.

The exhibit is not to retraumatize visitors but rather inspire them by highlighting community members who continue to advocate for safety and development in their neighborhoods through activism, said Joy Davis, Creative Alliance’s visual arts director.

“It’s really to highlight these people who are often seen as smaller players in some cases or forgotten figures even in the short time period of 10 years,” Davis said.

The contributions from Giordano, who has done freelance work for The Banner, go beyond just striking images. He also includes a QR code that leads to reflective interviews with the subjects, including Makayla Gilliam-Price, co-founder of the grassroots organization City Bloc, and Abdul-Jaami O. Salaam of the nonprofit KEYS Empowers.

“I wanted people to look at these people in the eye, one on one, and get their story,” Giordano said, “so that they could relate to a human and not just like, a group shot of people yelling.”

When Kwame Rose went viral for telling then-Fox News contributor Geraldo Rivera to “get out of Baltimore City,” the activist expressed how many Baltimoreans felt about the national media seemingly parachuting into their hometown to cover riots rather than Gray’s death.

Some filmmakers took it upon themselves to correct the narrative. Malaika Aminata Clements’ 2015 documentary, “Not About a Riot,” skips voiceover narration in favor of footage of street interviews, marches and even moments of joy, like the release of collectively letting loose to Rod Lee’s Baltimore Club anthem ”Dance My Pain Away.”

HBO’s 2017 documentary “Baltimore Rising,” directed by “The Wire” actress Sonja Sohn, earned strong reviews for centering its story on the fractured relationship between residents and the police.

And there’s more to come. Researcher and painter S. Rasheem is behind the forthcoming “Baltimore Legacy Project,” a seven-part documentary series based on interviews with Black Baltimoreans. The first installment, the Uprising-focused “Baltimore Still Rising,” uses 20 interviews with teachers, community leaders, clergy, elected officials and more. The film will premiere at the Senator Theatre on April 24.

Rasheem believes these first-hand accounts will better serve future generations who are looking to understand Baltimore’s history.

“This is about a city’s fight for justice,” Rasheem said. “These problems don’t happen in a silo. … And one of the things that really came through in talking to so many people is how they worked with each other.”

It didn’t take long for some of Baltimore’s most prominent writers to weigh in on Gray’s death and the Uprising, from Ta-Nehisi Coates in The Atlantic to D. Watkins’ New York Times op-ed “In Baltimore, We’re All Freddie Gray.” The Texas-based nonprofit American Short Fiction also collected thoughts and reactions from local writers.

“Growing up in Baltimore I’ve seen the odds shoot first and ask questions later. I’ve seen the odds shatter Freddie Gray’s voice box and smash his spinal cord,” poet and author Kondwani Fidel wrote in his 2017 essay, “This is Why I Wanna Die Young.”

Fast forward to 2025, and writers are still using their work to document and process the events of a decade ago. On recent Fridays, the Baltimore Museum of Art’s Lexington Market branch has hosted Baltimore Beat journalists and archivists as they gather community stories about the Uprising, which will be digitally archived and featured in the Beat.

And last month, the University of Maryland, Baltimore County’s Choice Program hosted Art Rysing, which brought together the theater company WombWork and the Black Arts District’s poetry program, DewMore Baltimore. The event provided space for young city residents to freely reflect on growing up in the city following the Uprising.

DewMore’s team of five teenage poets spoke about police brutality, the prison system and how little they feel things have changed since Gray’s death, said Keyma Flight, the program’s youth program coordinator. While that reality is disheartening, she said, Art Rysing served as a vital reminder of just how powerful artistic expression can be.

“In these times, art is one of the biggest things we can rely on,” Flight said. “The reality is art is a cushion that allows us to breathe a little easier.”

This story was republished with permission from The Baltimore Banner. Visit www.thebaltimorebanner.com for more.

:: See Also ::

COMMENTARY: I left Baltimore after Freddie Gray. This is why I still have hope for the city.
by Kwame Rose
Published April 11 in The Baltimore Banner

Art exhibits and events marking 10 years since Freddie Gray’s death
by Clara Longo de Freitas
Published April 10 in The Baltimore Banner

Amy Sherald’s Parables of Black American Life
by Jasmine Weber
Published April 16 in Hyperallergic

Excerpt: In the contemplative gazes of Amy Sherald’s characters, we might see ourselves, our friends and family, or any passersby. The Georgia-born artist situates her meticulous figurative paintings in the tradition of American Realism. Her focus on the universal, the “ordinary,” is characteristic of the movement, which has historically been defined by writers like Mark Twain and Henry James, and painters like Edward Hopper and Andrew Wyeth. American Sublime, Sherald’s mid-career survey at the Whitney Museum of American Art, presents her paintings as a refreshing expansion of its canon, and prompts us to consider the long-term disregard of Black representational painters such as Charles White, Laura Wheeler Waring, Archibald Motley Jr., or Barkley L. Hendricks, from mainstream conversations of figuration.

Sherald’s subjects — fashionably dressed Black people rendered in shades of gray — tell a story. She scouts, styles, poses, and photographs them, conceiving a narrative for each one. Roaming the galleries of the show, I thought of writers like Toni Morrison and Zora Neale Hurston, and their poetic yet unflinching refusal to look away from the everyday horrors of American life. Among the ultimate chroniclers of Black American experience, their writings offer a biting, blood-stained context for American Realism from the perspective of African Americans. Sherald has cited these women as among her conceptual guiding lights in developing her artistic ethos — on the walls of American Sublime are paintings whose titles nod to Morrison’s Beloved and Song of Solomon, Hurston’s Their Eyes Were Watching God, and the poetry of Lucille Clifton. Sherald knits historic, cinematic, and literary references into many of her artworks, embedding their legacies into the distinct visual world she’s created.

Amy Sherald’s Portraits Have Injected the Genre with New Life, But They Also Flatten Blackness
by Charles Moore
Published April 14 in ARTnews

Excerpt: In Amy Sherald’s unique visual language, muted yet commanding Black subjects are set against bold color fields. These eye-catching portraits reward longer looking. Her subjects, donning carefully selected garments, face audiences directly with quiet dignity, their skin painted in shades of gray. Sherald’s elegant compositions celebrate various American visual traditions, from fashion spreads and clothing advertisements to historical painting from John Singer Sargent’s intimate society portraits and Grant Wood’s distinctly American regionalism to Kehinde Wiley’s contemporary reframing of historical portraiture, though hers are refracted through a lens that subtly questions these traditions even as it engages them.

Bringing together some 40 portraits across nearly two decades of her career, Sherald’s current survey at Whitney Museum in New York (through August 10) invites us to see how the artist, who rose to international acclaim after painting Michelle Obama in 2018, has reimagined portraiture while posing deeper questions about identity and American mythology. These tensions—between beauty and complexity—remind us that reimagining national identity requires not just new images, but new ways of seeing.

:: See Also ::

Amy Sherald’s Sublime Museum Show Takes New York—See 6 Unmissable Standouts
by Min Chen
Published April 8 in ArtNet News

In Annapolis, reading Maya Angelou was a small act of rebellion
by Rick Hutzell
Published April 15 in The Baltimore Banner

Excerpt: It takes eight hours and 15 minutes to read “I Know Why the Caged Bird Sings” out loud.

“What are you looking at me for? I didn’t come to stay,” Ben Thompson read from the opening pages Saturday. ”I just came to tell you, it’s Easter Day.”

He was one of a few dozen people who spent parts of a damp spring day in Annapolis reading from the late writer and poet Maya Angelou’s 1969 memoir about growing up in the Jim Crow South.

… this story continues. Read the rest at The Baltimore Banner: In Annapolis, reading Maya Angelou was a small act of rebellion

Chesapeake Shakespeare Company Announces New Season: Love, Transformation, Classics
Press Release :: April 15

Chesapeake Shakespeare Company (CSC) is proud to unveil its 2025–2026 Season, a vibrant collection of works that deepen the company’s longstanding dedication to classical theatre, community engagement, and local artistry. This season offers a stirring exploration of love in its many forms: redemptive, enduring, and transformative. Through timeless texts, some reimagined, CSC continues to create space for dialogue between the past and present, bringing vitality to the stories that have shaped us.

The season opens against the backdrop of Regency-era England with Jane Austen’s Persuasion – including a special performance for the Jane Austen Society of North America. Sarah Rose Kearns’s adaptation ushers the literary classic gracefully to the stage, supported by CSC’s robust creative team and their unique ability to build immersive worlds. Under the direction of Megan Behm, admirer of Austen’s work, this story of social intrigue, family drama, and enduring love is brought to life with wit, intimacy and energy.

CSC’s annual holiday tradition, A Christmas Carol, returns in December, directed by Séamus Miller and Quae Simpson. Set in 19th-century Baltimore, this hauntingly beautiful and heartfelt retelling of Dickens’ masterpiece has become a vessel of nostalgia and fellowship. It continues to provide CSC with the opportunity to unite audiences, across generations, through the generous spirit of the holidays.

In the new year, the company culminates its journey through August Wilson’s American Century Cycle with the Pulitzer Prize-winning Fences. Set in 1950s Pittsburgh, the story centers on a former Negro League baseball star whose unfulfilled dreams ripple through his relationships with his wife and son. Award-winning director Reginald L. Douglas makes his CSC debut, infusing the landmark production with his approach to theatre as an instrument of connection and community. This show marks the company’s final staging in The Baltimore August Wilson Celebration, a citywide tribute CSC has been honored to spearhead.

Final bows continue in the spring. The Tempest, believed to be Shakespeare’s last play, will conclude the company’s Downtown Baltimore season. Directed by Founding Artistic Director Ian Gallanar, this production moves away from vengeance, placing redemption at its core. In a storm of past betrayals revealed, the play unfolds as a meditation on forgiveness and the magic of letting go.

The Tale of Cymbeline, one of Shakespeare’s rarely staged romances, will unfold under the stars. Packed with a mastery of storytelling, character, and language, this sweeping tale featuring a betrayed princess, an evil stepmother, and a headless corpse promises a spellbinding finale to the season.

CSC’s student matinee program continues, introducing a new staging alongside the annual production of Shakespeare’s Romeo and Juliet in the spring. This fall, students and their teachers will have the opportunity to experience Oedipus Rex by Sophocles, offering students an engaging approach to literature through live theatre.

Off the stage and in the parks, CSC’s Shakespeare Beyond program will also continue, entering its third summer. “Not everyone can visit our theater spaces, so we’ve built the Shakespeare Wagon that travels around the state providing free outdoor performances and free educational programs. We’ll be visiting dozens of communities during the summer months.” says Gallanar. The program is an excellent extension of the season’s emphasis on love and community.

Lesley Malin, CSC’s Producing Executive Director notes, “In these challenging times, the transformative power of theatre to change hearts and bring communities together is more important than ever before.  I hope this season, full of hope and a belief in second chances, will inspire our audiences to come to our beautiful theatre to hear these luminous, heartfelt stories brimming with rich language. Each play offers courage, optimism, and tenacity as well as a joyful evening of great storytelling.”

Audiences are invited to join this unforgettable journey through some of the canon’s finest works and to support Chesapeake Shakespeare Company’s dedication to bold, community-rooted classical theatre.

Full details for each show, including casting, will be announced closer to the dates of production. For more information about subscriptions, single tickets and School Matinees, visit www.chesapeakeshakespeare.com or call the box office at 410-244-8570.

TICKET INFORMATION

For those interested in securing their first choice of seats for CSC’s 2025-2026 season, subscription packages go on sale today. Single tickets for mainstage shows will go on sale later this summer.

With their fixed subscription package, full-season subscribers save 20% or more on single ticket prices; pay no exchange or service fees; receive a 10% discount on additional single tickets; secure early access to add-on shows like A Christmas Carol and The Tale of Cymbeline before they go on sale to the public; and get discounts on signature drinks for each downtown production at The Company Bar.

PRODUCTION INFORMATION

Persuasion
Adapted from Sarah Rose Kearns by Jane Austen
Directed by Megan Behm
September 26 – October 19, 2025

Student Matinee: Oedipus Rex
By Sophocles
Performances run October 29 – November 7, 2025

A Christmas Carol
Adapted from Charles Dickens by Laura Rocklyn
Directed by Sèamus Miller and Quae Simpson
November 29 – December 23, 2025

Fences
By August Wilson
Directed by Reginald L. Douglas
February 6 – March 1, 2026

Student Matinee: Romeo and Juliet
By William Shakespeare
Performances run: March 16 – May 15, 2026 (no show April 3, public show April 6)

The Tempest
By William Shakespeare

Directed by Ian Gallanar
April 24 – May 17, 2026

The Tale of Cymbeline
Chesapeake Shakespeare-in-the-Ruins
By William Shakespeare
June 12 – July 19, 2026

ABOUT CHESAPEAKE SHAKESPEARE COMPANY:

Founded in 2002, Chesapeake Shakespeare Company brings great classic theatre to Baltimore, Howard County, the state of Maryland, and beyond. The company offers performances of Shakespeare and other plays of classic stature that are unforgettable, challenging, and innovative. In 2012, Chesapeake Shakespeare Company acquired the Mercantile Safe Deposit and Trust Company building in downtown Baltimore, renovating it into a modern Globe Theater for indoor performances, while continuing to produce outdoor Shakespeare every summer at the PFI Historic Park in Howard County. The organization regularly serves 30,000+ people annually through artistic projects and intentional community engagement. CSC’s vibrant education program includes an extensive matinee series, camps, classes, and in- and out-of-school residencies. The company invites patrons, students, and neighbors to become part of the creative collaboration that generates powerful, magical theatre and a more purposeful, engaged, and connected community.

Baltimore Symphony Orchestra Announces Expanded 2025 Summer Season Across Four Exciting Venues
Press Release :: April 16

The Baltimore Symphony Orchestra (BSO) is excited to welcome the 2025 summer season including SummerFest at the BSO, its signature summer concert series. This year, SummerFest expands its footprint with performances at the BSO’s musical home in North Bethesda, The Music Center at Strathmore, alongside an increased lineup of concerts and special events at the Joseph Meyerhoff Symphony Hall. Additional summer celebrations include returns to Oregon Ridge Park and Boordy Vineyards in Baltimore County.

From July 2 through August 9, the BSO’s summer season creates a vibrant atmosphere perfect for music lovers of all ages. Whether enjoying summer block-party energy at the Meyerhoff, a refined musical evening at Strathmore, a family-friendly concert under the open sky at Oregon Ridge, or a glass of wine with live music at Boordy Vineyards, audiences can choose from a wide range of accessible experiences that celebrate community, connection, and the joy of music in every setting.

“Summer with the BSO is about more than great music, it’s about creating shared musical memories,” said BSO President and CEO Mark C. Hanson. “Whether you’re taking in a performance under the stars or beating the summer heat at one of our concert homes, each moment offers a chance to connect with the music, with one another, and with the incredible energy of our community.”

BSO Summer 2025 Highlights:

SummerFest
Patriotic Pops

Wednesday, July 2, 7:30 PM | Meyerhoff
Saturday, July 5, 7:30 PM | Strathmore

Nicholas Hersh, conductor

Celebrate Independence Day weekend with a Star-Spangled Spectacular featuring American favorites, selections from Wicked and Star Wars, plus Tchaikovsky’s thunderous 1812 Overture.

Special Pay-What-You-Wish pricing available.

Robert E. Meyerhoff and Rheda Becker Community Concert
Star-Spangled Spectacular

Thursday, July 3, 8 PM | Oregon Ridge Park

Nicholas Hersh, conductor

Gather with family and friends for an Independence Day celebration and beloved Baltimore County tradition. Music lovers can enjoy an evening of patriotic favorites, American classics, and a dazzling fireworks finale sponsored by Atlas Restaurant Group.

Powered by PNC Bank

SummerFest
National Geographic Live: The Untold Story of Sharks

Thursday, July 10, 7 PM | Meyerhoff

Join Dr. Jess Cramp as she uncovers pioneering women in shark science, shares her own conservation efforts, and dives into the vibrant waters of the South Pacific.
Please Note: The Orchestra does not appear on this program.

SummerFest
JAWS In Concert

Saturday, July 12, 7:30 PM | Meyerhoff
Sunday, July 13, 3 PM | Meyerhoff

Sarah Hicks, conductor

In celebration of the 50th Anniversary of “JAWS,” John Williams’ iconic score comes to life as the film plays on the big screen.
“JAWS” is a trademark and copyright of Universal Studios. Licensed by Universal Studios. All rights reserved.

Robert E. Meyerhoff and Rheda Becker Community Concert
Notes from Italy at Boordy Vineyards

July 17, 7 PM | Boordy Vineyards

Cosette Justo Valdes, conductor

Overtures by Rossini and Strauss are paired with Boccherini’s Cello Concerto and Mendelssohn’s “Italian” Symphony in a program that celebrates Italy.

Powered by PNC Bank

SummerFest
Gershwin, Featuring Rhapsody in Blue

Saturday, July 19, 7:30 PM | Meyerhoff
Sunday, July 20, 3 PM | Strathmore

Moon Doh, conductor | Drew Peterson, piano

A night of Gershwin’s greatest hits including An American in Paris, Cuban Overture,
Rhapsody in Blue, and selections from Porgy and Bess.

SummerFest
Nas: Illmatic Live with the Baltimore Symphony Orchestra [SOLD OUT]

Wednesday, July 23, 7:30 PM | Meyerhoff

Steven Reineke, conductor
Nas, featured guest artist

The GRAMMY® Award-winning hip-hop icon joins the BSO for a powerful, one-night-only orchestral performance of his landmark debut album
Illmatic blending lyricism and symphonic sound in a genre-defying collaboration.

SummerFest
Harry Potter Family Day

Saturday, July 26, 9:30 AM (pre-concert activities) 11 AM (concert) | Meyerhoff

Step into the wizarding world of Harry Potter as the BSO musicians bring the music selections from these classic films to life. This family concert introduces the instruments of the orchestra through the spellbinding score of John Williams, and more.

SummerFest
John Williams Blockbuster

Saturday, July 26, 7:30 PM | Meyerhoff

John Williams’ iconic music defines movie magic. Join the BSO for an epic evening tribute to his greatest film scores.

Robert E. Meyerhoff and Rheda Becker Community Concert
Sunset Serenades at Boordy Vineyards

July 31, 7 PM| Boordy Vineyards

Nicholas Hersh, conductor

Featuring graceful works by Shostakovich, Tailleferre, Dvořák, and Strauss, it’s an evening of beauty, charm, and rich musical color.

Powered by PNC Bank

SummerFest
Tchaikovsky Spectacular

Saturday, August 2, 7:30 PM | Meyerhoff

Paolo Bortolameolli, conductor
Maxim Lando, piano

An evening of Tchaikovsky’s most powerful and romantic works.

SummerFest
Simply Charming Mozart

Friday, August 8, 7:30 PM | Strathmore
Saturday, August 9, 7:30 PM | Meyerhoff

Nicolas Ellis, conductor
Geneva Lewis, violin

Enjoy Mozart’s Eine kleine Nachtmusik, Violin Concerto No. 3, and the majestic “Prague”
Symphony.

Tickets start at $25 for adults and $21 for children, with pay-what-you-wish pricing available for select performances. For the full schedule, ticket purchases, and VIP upgrade options, visit
BSOmusic.org/Summer.

The Baltimore Symphony Orchestra 

Joseph Meyerhoff Symphony Hall |1212 Cathedral Street | Baltimore, MD 21201
The Music Center at Strathmore | 5301 Tuckerman Lane | North Bethesda, MD 20852
Oregon Ridge Park and Lodge | 13555 Beaver Dam Road | Cockeysville, MD 21030
Boordy Vineyards | 12820 Long Green Pike | Hydes, MD 21082

About the Baltimore Symphony Orchestra

For over a century, the Baltimore Symphony Orchestra (BSO) has been recognized as one of America’s leading orchestras and one of Maryland’s most significant cultural institutions. The orchestra is internationally renowned and locally admired for its innovation, performances, recordings, and educational outreach initiatives, including OrchKids.

The Baltimore Symphony Orchestra performs annually for more than 275,000 people throughout the State of Maryland. Since 1982, the BSO has performed at the Joseph Meyerhoff Symphony Hall in Baltimore, and since 2005, with the opening of The Music Center at Strathmore in North Bethesda, MD, the BSO became the nation’s first orchestra performing its full season of classical and pops concerts in two metropolitan areas.

In July 2022, the BSO made history with the announcement that Jonathon Heyward would succeed Music Director Laureate and OrchKids Founder Marin Alsop as the Orchestra’s next Music Director. Maestro Heyward began his inaugural season in September 2023.

The Baltimore Symphony Orchestra is a proud member of the League of American Orchestras.

More information about the BSO can be found at BSOmusic.org.

Rockville Arts Incubator VisArts Welcomes Chief Executive Officer Lisa Marie Ryder
Press Release :: April 15

VisArts, a nonprofit arts hub and incubator in Rockville, Maryland, is pleased to announce Lisa Marie Ryder as CEO, succeeding retiring CEO Alice Nappy. Following an extensive national search led by Good Insight, Ryder begins her new role on May 27. In the interim, nonprofit leader Heller An Shapiro is guiding the arts organization’s programming.

As the only organization in the region focused exclusively on transforming individuals and communities through the visual arts and the largest employer of visual artists in Montgomery County, Maryland, VisArts offers a wide range of programs for artists of all ages and abilities.

“Lisa Marie’s experience and passion for arts and cultural programming will be a tremendous asset to VisArts,” said Bob Elliott, who co-chaired VisArts’ Board Search Committee, along with fellow board member Anand Vaishnav. “As we approach 40 years of enriching lives through the arts, I’m confident Lisa Marie has the vision to expand and strengthen our contributions.”

“VisArts provides unique value, both to artists and the wider community,” said Ryder. “I’m thrilled to work with the talented instructors, board members, and arts supporters who are drawn to and co-create the special environment that is VisArts. Together, we’ll foster creativity and further advance VisArts’ mission of social impact, strengthening the fabric of our community.”

Interim CEO Shapiro is an executive coach and nonprofit management specialist. She previously served as executive director of the inclusive theater nonprofit ArtStream. In 2024, Shapiro led a board development project for VisArts and is currently a ceramics student at the organization.

“We’re incredibly fortunate to access the talents of Heller An, a great friend to VisArts who has provided expert guidance on our most recent strategic planning initiatives,” said Sonal Verma, VisArts board president.

About Lisa Marie Ryder

Lisa Marie Ryder brings an extensive arts background and expertise in nonprofit management, museum education, and community engagement. She comes to VisArts from the Claggett Center, a multigenerational camp and conference facility, where, as co-executive director, she led operations, strategic planning, and financial growth, including a $5 million capital campaign and diversity initiatives.

Ryder’s past roles include directing the Alabama Folk School and Camp Latgawa, where she expanded programs and increased community engagement. She also held leadership positions at the National Children’s Museum in Washington, D.C., enhancing outreach and visitor experiences. She worked in education at The Phillips Collection, developing programs that connect diverse audiences with art through literacy.

She holds a Master of Arts in Teaching in Museum Education from The George Washington University and a Bachelor of Arts in Art from Eureka College.

Andre De Shields is the latest celebrity from Baltimore to be featured on John Mulaney’s Netflix variety show
by Ed Gunts
Published April 14 in Baltimore Fishbowl

Excerpt: For the second week in a row, a celebrity from Baltimore has been featured prominently on John Mulaney’s new variety show on Netflix.

On April 2, writer and filmmaker John Waters and actor/comedian Stavros Halkias were among the guests on “Everybody’s Live with John Mulaney,” a weekly variety show that appears at 10 p.m. EST on Wednesdays on Netflix. They dominated the discussion for much of the hour-long program, talking about “Club Chuck” (AKA Club Charles), Ikaros restaurant and other local spots as if they were having a private conversation.

On the April 9 show, Mulaney devoted his eight-minute opening monologue to a story involving former Baltimore Ravens linebacker Ray Lewis and some career advice he once offered. One of his guests was Johnny Knoxville, who starred in Waters’ 2004 movie “A Dirty Shame,” filmed in the Baltimore area.

Baltimore’s hardcore music scene is bigger — and better — than it’s ever been
by Wesley Case
Published April 14 in The Baltimore Banner

Excerpt: Jivebomb lead singer Kat Madeira stalked and stomped the stage, mixing in chin-level high kicks and far-reaching back contortions as her bandmates stormed through their 18-minute set filled with chugging guitar riffs, thundering bass and pounding drums.

“Baltimore, you know what to do! Side to f——ing side!” Madeira shouted, whipping the rapt Baltimore Soundstage audience into a moshing frenzy. The stage divers got to work, launching themselves headfirst back into the crowd after two-stepping between the band members.

The smiles at Baltimore’s annual Disturbin’ the Peace festival were contagious. The February performance was an emblematic snapshot of Baltimore’s boundless hardcore scene in 2025. The city’s latest crop of rising bands is having a moment — one that’s making fans of the hard-hitting, us-against-everybody genre take notice around the world.

Waterfront Partnership Announces 2025 “Baltimore by Baltimore” Festival Series Dates
Press Release :: April 9

Waterfront Partnership of Baltimore announced today the return of Baltimore by Baltimore, an annual waterfront music and maker festival series, to be held every first Saturday from June to October at Baltimore’s longtime home for public performance, the Inner Harbor Amphitheater.

Baltimore by Baltimore is a series of all-day festivals, from 2:00 p.m. to 8:00 p.m., that serve as a platform for Baltimore’s leading artists, makers, and creatives to showcase the City’s diverse and creative community. Each festival will feature a different emerging or local professional producer who selects the best representation of artists and makers in their network to fill the Inner Harbor with locally produced goods, music, art, and food. New this year, Chyno, the Baltimore Foodie will curate the best street food experience in Baltimore.

“There is so much talent in Baltimore, and we’re thrilled to bring this series back every year and continue to amplify both the veteran and up-and-coming artists, community leaders and makers that celebrate Baltimore’s rich arts and culture community,” said Laurie Schwartz, president of Waterfront Partnership of Baltimore.

Every year, the festival series draws hundreds of attendees to the Inner Harbor Amphitheater and serves as a beacon for Baltimore’s artists, makers and musicians. This year’s producers range from DJ Biskit, who will host a full day of house music, to Tecla Tesnau, the queen of Baltimore rock and roll. The lineup also includes Waterfront Partnership’s own Mr. Trash Wheel, joined by some of his friends, including ultra-marathon swimmer Katie Pumphrey, comedian Big Fred Watkins and stilt-and-puppet troupe Jes Raschella.

The season kicks off Saturday, June 7, 2025, celebrating “50 Years of Pride in Baltimore”, produced by DDm, also known as Dapper Dan Midas. The Baltimore native will celebrate the city’s vibrant LGBTQ community with a lineup highlighting drag artistry and gender expression, including a performance by DDm himself.

Known for his bold and magnetic presence, DDm is one of the most distinctive new voices in entertainment. He rose to prominence in Baltimore’s rap scene as a standout live performer and songwriter, and has been featured on Netflix, BET and The Hill. Today, he’s recognized as a rising star in both music and pop culture commentary.

“I think it’s incredibly important to spotlight drag artists and the LGBTQ community,” said DDm. “In today’s climate—and always—showing queer people thriving in everyday spaces really matters to me. My hope is that Baltimore by Baltimore becomes something the community can carry forward, where each artist has the opportunity to produce their own show. Events like this stay fresh and powerful when new perspectives are at the helm.”

The 2025 Baltimore by Baltimore festivals will each be a personally curated experience featuring the following emerging and professional producers:

• June 7: Produced by DDM, also known as Emmanuel Williams, the first festival will celebrate Pride Month and Queen Culture with a Drag Show from Kotic Couture Club Car and Stealya-manz and tunes from DJ Joey.
• August 2: Produced by DJ Biskit, aka Brian Hardy, this festival will celebrate “House at the Harbor” – a full day of original house beats from leaders of the Collective Minds and the forefathers of House Music history.
• Sept. 6: Produced by Mr. Trash Wheel with a little help from his friends, ultra-marathon swimmer and artist Katie Pumphrey, comedian Big Fred Watkins, and Jes Raschella, stiltwalker and puppeteer with the troupe, Baltimore Hoop Love.
• Oct. 7: Produced by the queen of Baltimore Rock and Roll, Tecla Tesnau, the owner of the Ottobar, this festival will focus on Baltimore’s many rock subgenres – surf rock, hardcore, and electric opera, with performances from the Outcalls, Bali Llamas, and a brand new punk band, Chromafix.

The Baltimore by Baltimore festival series is made possible by the generous support of Visit Baltimore, Baltimore City Recreation and Parks, Baltimore Tourism Improvement District, Brown Advisory, M&T Bank, T. Rowe Price and MCB Real Estate.

The Waterfront Partnership website, waterfrontpartnership.org/BxB, will be updated throughout the season with details on each festival.

Waterfront Partnership, in collaboration with our government, business, and community partners, creates a clean, green, safe, sustainable and thriving urban waterfront for all to enjoy. We’re lean, nimble and effective; the only organization that wakes up every day, rolls its sleeves up and gets to work on new ways we can make Baltimore’s Waterfront even more active, attractive and appealing. We’re the hosts who greet visitors, the creators of programs and promotions and managers of our beautiful parks. We encourage investment in Baltimore’s most celebrated asset so it can continue to grow, to serve as a place of pride and the place where Baltimoreans come together to recreate and to celebrate. For more information, visit waterfrontpartnership.org.

This Literary Arts Org Has Spent a Decade Empowering the City’s Young Storytellers
by Stella Garner
Published April 16 in Baltimore Magazine

Excerpt: Throughout the past decade, CHARM: Voices of Baltimore Youth has written the book on supporting the city’s budding storytellers.

Part publication, part literary arts program, the organization connects students with writing and reporting opportunities both in school and through field trips and workshops. So far, the efforts have materialized in the pages of 30 different magazines, where more than 1,200 students have seen their poetry and writing in print.

Founder, and former teacher, Whitney Birenbaum says providing these opportunities for students to get published is what it’s all about.

“The things that I loved the most about teaching were having my students create products that had real audiences and served a real purpose in the community, and the world,” Birenbaum says. “In 2014, with a group of five other teachers across the city, and our students, we decided we wanted to create a magazine that could be a platform for our students to make their voices heard.”