Political protest gets top billing at theaters, comedy clubs and museums near you

Growing up in Silver Spring as the son of Iranian and Bolivian immigrants, Martin Amini noticed his father changed his name from Farooz to Fred in the aftermath of 9/11.

That reaction to bigotry isn’t obvious fodder for standup comedy. Amini added it to his set anyway.

“I think it’s important to be authentic and tell my truth, which is that I owe a lot to my immigrant parents, who sacrifice a lot,” he said.

The founder of D.C. comedy club Room 808, Amini delivers jokes about his immigrant upbringing onstage and in interviews with local politicians on his podcast.

He is part of a growing number of local comics and artists incorporating political commentary into their work in response to Trump administration policies.

This summer, as a deeply divided and pessimistic nation prepares for its 250th birthday, local theaters, museums and clubs in the left-leaning suburbs of Washington are embracing art to protest, delivering messages on immigration, diversity and the environment, among other issues.

As they entertain, they invite audiences to think critically about the state of the nation’s politics and culture, and how its past can shape its present.

Politics onstage and on display

It’s tough to avoid political conversations at local art and entertainment venues — especially amid the ongoing political battle over the Kennedy Center, which just received a ruling that President Donald Trump’s name must be removed from the building’s facade and branding.

Closer to home, theaters including the Olney Theatre Centre and Round House Theatre have produced myriad shows with political messaging — and their leaders have been explicit about why they’re telling these stories now.

“At this moment when President Trump, the president of the [expletive] United States, is trying to erase that history ... this is the Olney Theatre saying, ‘No, this history needs to be reckoned with,” artistic director Jason Loewith previously told The Banner of its production of “Appropriate,” a dramedy about a family struggling to reconcile with its racist past.

This year’s Helen Hayes Awards, which celebrate the best of D.C., Maryland and Virginia theater, opened with a politically charged number calling on artists to “make a scene” and speak out against injustices.

Potomac’s Glenstone Museum, which sources works of art from all over the world, introduced its first collection focusing solely on American artists as a collective this year.

Titled “Ties of our common kindred” after a line from the Declaration of Independence, the exhibit invites patrons to consider what brings Americans together even in moments of disagreement. Another exhibit on multidisciplinary artist Andrea Bowers showcases work that blends political activism with fine art, and comments on environmental, labor and immigration issues.

“Artists are often leading us to conversations that need to happen,” Nora Cafritz, senior director of collections at Glenstone, previously said. “Even if you don’t like an artwork, if it challenges you and makes you think or exposes you to a new perspective ... that’s just as important as seeing something you love. I think there’s space for all of that.”

Does art have to be political?

Not everyone wants politics weaved into their entertainment, especially if they disagree with the message. But some local creatives feel it’s their duty to speak out.

“There is a plethora of art for a reason and there are some people who I think want to just be entertained, and those people can find something in the D.C. area that satisfies them. That’s not what we offer,” said Ryan Rilette, artistic director of Round House Theatre.

The Bethesda theater’s most recent production, “Sally and Tom,” a play within a play about Sally Hemings and Thomas Jefferson, explores systemic racism, sexism and power through American history.

“We all knew that, coming up to the anniversary, what we’re going to get is a very, very, very positive, free-from-nuance recitation of our history and celebration of our history,” Rilette said of the current administration. “I think we have way more to gain from actually looking at it truthfully.”

Amini won’t speak for other comedians, but as the U.S. wages war on Iran and seeks to deport millions of immigrants, he is moved to share his own truths — and jokes — about his parents’ hard work and sacrifices for their children.

“Every comedian has their own path, and they have to find their voice,” Amini said. “For me, this is the most authentic voice.”

Bridging the divide through entertainment

Political commentary and entertaining art don’t have to be mutually exclusive, many local artists argue. And, if the goal is to sway people with opposing views, delivering ideas through comedy and art, they say, can work far better than an op-ed or rant on social media.

One of Amini’s most popular crowdwork interactions was with a heckler shouting racist comments about Middle Eastern people. Amini diffused the situation by blending humor with an earnest anecdote about his Middle Eastern immigrant father, who Potomac residents may recognize as Farooz “Fred” Amini, the man behind one of the area’s most famous ice cream trucks.

That temporary detour from his set ended in laughter from the audience and a concession from the heckler. Amini offered to buy him a drink after the show.

“Actually, don’t drink more,” he joked.

Bringing levity to moments of conflict is essential right now, Amini has found.

“A lot of people are going through a lot of trauma and depression, and I think comedy is a great way to unite people,” he said. “Community can be very healing, and comedy is just another tool to do that.”