Last week, Single Carrot Theatre hosted the grand opening of its beautiful and spacious new location at 2600 N. Howard St. It will eventually share the space with Spike Gjerde's Parts and Labor, who catered the event with a kickass charcuterie buffet full of great meats and cheeses, which Stephanie Rawlings-Blake, among the dignitaries at the event, commented on during her remarks to the crowd: "If I couldn't eat cheese or cured meat ever again, I don't know what I'd do . . . probably jump off the top of the Bromo-Seltzer." (Come on, now, Joan Pratt, stop plotting a cheese-and-meat shortage). Il Mayore also seemed to enjoy the rum punch, mentioning in the midst of acknowledgements, "If I miss anyone, I want each and every one of you to blame whoever made the rum punch."The rum punch evidently loosened $RB up a bit (this reporter largely stuck to the Fair-Shake APA), but when we introduced ourself to her, she turned immediately icy, interrupting the handshake we initiated, narrowing her eyes, and turning immediately away to talk with Station North's Ben Stone. Despite the fact that Sun freelancer Sloane Brown hashtagged her "Glimpsed" coverage of the event as #hipsterstyle, there were more dignitaries than bohemians in attendance, including Bernard C. "Jack" Young, Carl Stokes, Mary Pat Clarke, delegate Mary Washington, Jubilee Baltimore's Charlie Duff, BMA director Doreen Bolger, and developer Carolyn Frenkil.
Not all of these folks stayed for the play. Some, like Il Mayore, had good excuses. "I hear it might not be age-appropriate," she said, "and I have my daughter." Others split halfway through the play. In fact, the hundred or so seats were packed for the first act, but six or seven in our row alone were empty after intermission. The space is great, but the reason Single Carrot is there is to make plays, and the whole exercise seems futile if you don't bother to stick around for the play.
Still, it was a big night for Baltimore's creative class, and for Seawall Development Company, who contacted the Carrots directly and asked if it would be interested in moving out of Station North and into Remington. Folks at the theater have been talking to us since then about this space, but now that they're inside, we can see why they were so excited. (Baynard Woods)