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"Sweat"

"The Moment Was Now"

"We Were There"

Review: Parasite

Theater
"Sweat" at the UUCF Glasshouse Theater
Performances Thu., Feb. 27, 7 p.m., and Fri. & Sat., Feb. 28-29, 8 p.m. (A talk-back discussion will be held after the Friday performance.)
[link removed] CLICK HERE for tickets
Lynn Nottage's Pulitzer Prize-winning play about a group of friends in a small town in Pennsylvania who find their livelihoods and relationships threatened as rumors of layoffs start to swirl at the factory where they work. Racial tensions lend an uncomfortable undertone as they try to navigate their lives in the face of changing expectations. Mature themes including strong language, racism and a violent scene. Parental guidance is encouraged. Tickets available on this page, in the Commons after services starting Jan. 19 and at the door.
Proceeds go to OAR NOVA and Phoenix House. RSVP for child care by emailing [email protected] by Feb. 25.

Theater
"The Moment Was Now" returns
After a successful run last Fall, The Moment Was Now musical returns to post-civil war Baltimore during the period of Reconstruction, "a moment when America almost did the right thing." Arlene Holt Baker, Exec VP, AFL-CIO (ret) called it "A historical masterpiece."
Echoing the current moment, the musical - written by longtime organizer Gene Bruskin -- centers around the impassioned search for unity among the dynamic leaders of powerful movements, at a meeting convened by Frederick Douglass. Hope hangs in the balance at this turning point in U.S. history. "Compelling...provocative...hard-hitting," said Chris Kaltenbach in the Baltimore Sun.
[link removed] Click here to buy tickets now.
February 28-March 1 and March 6-8 at the Emmanuel Episcopal Church, 811 Cathedral St., Baltimore.
Information about group ticket discounts and student prices at mailto:[email protected] [email protected]

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"We Were There"
Tuesday, March 17, 6-8PM
Busboys and Poets, 235 Carroll St NW, Washington, DC 20012http://bit.ly/DCLFF-WeWereThere2020
Free but you must RSVP here
In celebration of Women's History Month, local labor activists will bring the history of the struggles of women workers to life, depicting our sisters' struggles from abolitionist Sojourner Truth, fighting for women's rights to Dolores Huerta fighting on behalf of the farmworkers of today.
Directed by Elise Bryant and featuring members of the DC Labor Chorus.
PLUS: Busboys & Poets' delicious food and drink will be available for purchase.
Part of the DC LaborFest's ongoing Bread & Roses series. Bread & Roses is a monthly labor series that features a variety of events focused on workers and organized labor. Each month brings a new topic through interactive discussions, film screenings, and performances. The hope for these events is that attendees walk away with a greater understanding of organized labor, its role in shaping history and current relevance. The name "Bread & Roses" was inspired by a poem/song written by James Oppenheim that appeals for both fair wages and dignified conditions.

Film Review
Parasite
We ran this review back on November 19, 2019; with Parasite winning four Academy Awards -- Best Picture, Best Director, Best Foreign Language Film and Best Original Screenplay -- it's worth another look.

by Patrick Dixon
Not many Korean-language films make it to American multiplex screens. Bong Joon-ho's black comedy Parasite, winner of this year's Palme d'Or at Cannes, has proven an exception and with good cause. Parasite has a wickedly sharp sensibility absent from other more earnest films on domestic work, which has already helped to make the picture the highest-grossing non-English language film in U.S. markets this year.
At the center of the film is the evolving relationship between the wealthy Park family and the broke but resourceful Kims, who we first meet in their grubby basement apartment folding pizza boxes for cash and waving cell phones in the air in search of a WiFi signal that can make up for their own disconnected wireless service.
When Kim Ki-woo's friend Min, English-language tutor to the Parks' daughter, leaves to study abroad, Ki-woo is presented with the opportunity to replace him. As the new tutor, re-named "Mr. Kevin" by the airy homemaker Park Yeon-gyo, Ki-woo recommends "Jessica," allegedly an artist of high repute who studied at the impressive Illinois State University, to teach the Park's son Da-jong, who happens to believe he's Native American. Jessica is actually Ki-jeong, Ki-woo's sister and neither has any teaching experience but they're good at convincing Park Yeon-gyo to part with her money. "I googled art therapy then ad-libbed the rest," Ki-jeong says.
The clever and subtly crafted members of the Kim family build an ever-more elaborate web of lies in this sharply twisting and unpredictable tale. It is a story of contrasts, between broken slums and designer mansions, between sheltered naivete and finely honed street smarts, and between conflicting class cultures and the suppression of coarse manners that domestic workers must engage with in genteel spaces.
This may be the first time you've heard of Parasite but with the growing interest in class struggle in the United States, chances are it won't be the last.
Parasite; 2019; Drama/Mystery; 2h 12m; Dir. Bong Joon-ho. At area theaters and streaming on Amazon.

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Published by the Metropolitan Washington Council, an AFL-CIO "Union City" Central Labor Council whose 200 affiliated union locals represent 150,000 area union members. JACKIE JETER, PRESIDENT.

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