Large SUVs are fine for long-distance travel. But in the city? Not so much.

That’s where subcompacts come in. They fit anywhere. Yet they often remind me of sensible shoes: practical, dependable and kinda dull. 

Now, though, more and more small crossovers are starting to channel their inner Christian Louboutin. Stylish. Sassy. And with some swagger to make things interesting.

CHEVROLET TRAX

$22,000

MPG: 28 city/32 highway

0 to 60 mph: 9.1 seconds

Cargo space: 54.1 cu. ft.

PROS: Affordable. Updated. Roomier than expected.

CONS: So-so acceleration. No all-wheel drive. Some road noise.

The Chevrolet Trax has undergone a stunning redo. Longer. Lower. Sharper. And more muscular — especially in sporty trims like the RS, which adds darker accents and a bit of attitude.

It’s like watching an understudy get a breakout moment. 

Under the hood sits a three-cylinder turbo. No, that’s not NASCAR material, but it’s perfectly adequate for daily life. Around town, the Trax felt light, easy to maneuver and surprisingly smooth. While I wasn’t going to be chasing lap times like Brad Pitt in “F1,” this pint-sized SUV kept up with traffic comfortably.

Another plus: Chevy re-tuned the suspension. Rough pavement softens. Long drives are relaxed.

Inside, the dashboard is more upscale than the price tag suggests. A large infotainment display dominates the center stack, and wireless smartphone connectivity is standard. Rear passenger room is generous thanks to the longer wheelbase, and cargo space is decent. 

Inexpensive, yes. And now stylish enough to earn an ovation.

MAZDA CX-30

$26,000

MPG: 24 city/31 highway

0 to 60 mph: 8.0 seconds

Cargo space: 45.2 cu. ft.

PROS: Sexy exterior. Chic cabin. Sporty handling.

CONS: Limited rear visibility. Smallish cargo area.    

Mazda has mastered the art of making affordable cars feel expensive, and the CX-30 might be its best performance yet. Sculpted curves. Dramatic fenders. Rich paint colors that shimmer under sunlight. Park this crossover next to competitors and it looks like it wandered in from a more upscale showroom.

The base four-cylinder engine is lively enough. But the real fun starts with the optional turbo. Press the throttle and the CX-30 surges forward with gusto, whipping you from 0 to 60 mph in as little as 5.9 seconds. Suddenly, merging onto the highway feels less like commuting and more like making an entrance worthy of Lady Gaga.

Handling also shines, with sharp steering, minimal body roll and controlled cornering. To me, the CX-30 is one of the few small rides that genuinely rewards enthusiastic driving.

Inside, the cabin feels premium. Soft-touch materials, elegant stitching and a minimalist dashboard create a refined atmosphere. 

There are tradeoffs. Backseat legroom is tighter than some rivals, and outward visibility can feel limited due to the thick roof pillars.

But if you enjoy driving — really enjoy it — the CX-30 stands apart. 

VOLVO XC40

$40,000

MPG: 23 city/30 highway

0 to 60 mph: 8.1 seconds

Cargo space: 57.5 cu. ft.

PROS: Euro styling. High-quality materials. Top safety gear.

CONS: Bit jarring over potholes. Average fuel economy. 

For a more sophisticated look, there’s the Volvo XC40. Crisp lines. Upright stance. Signature “Thor’s hammer” LED headlights that give the front-end an unmistakable presence.

Under the hood, the XC40 pairs a four-cylinder turbo with standard all-wheel drive. While the XC 40 won’t outrun a true sports car, it moves with purpose. Think quiet confidence — like Jodie Foster in practically all her movies. 

The ride balances comfort and composure nicely. Firm enough for zigzagging through congested traffic, but smooth enough to endure long highway drives.

Inside, the cabin is modern, airy and beautifully assembled. Volvo uses soft textiles, brushed metal and minimalist trim pieces to create an upscale aura. The vertically oriented touchscreen integrates Google apps, like Maps and Assistant. Once you get used to it, the system feels intuitive and tech-forward.

Volvo also excels at clever practicality. Door pockets are enormous. There’s even a removable trash bin in the center console.

While the XC40 may cost more than its mainstream rivals, it offers something they can’t quite replicate. Effortless cool.

‘Inherit the Wind’
Through April 5
Arena Stage
1101 Sixth St., S.W.
Tickets start at $73
Arenastage.org

When “Inherit the Wind” premiered on Broadway in 1955 with a cast of 50, its fictional setting of Hillsboro, an obscure country town described as the buckle on the Bible Belt, was filled with townspeople. And now at Arena Stage, director Ryan Guzzo Purcell has somehow crowded Arena’s large Fichandler space with just 10 actors, five principals and a delightful ensemble of five playing multiple roles. 

Inspired by the real-life Scopes Monkey Trial of 1925, Jerome Lawrence and Robert E. Lee’s fictionalized work pits intellectual freedom against McCarthyism via the imagined trial of Bertram Cates (Noah Plomgren), a Tennessee educator charged with teaching evolution. Drawn into the fracas are big shot lawyers, defense attorney Henry Drummond (Billy Eugene Jones), and conservative prosecutor, Matthew Harrison Brady (Dakin Matthew). On hand to cover the closely watched story is wisecracking city slicker and Baltimore reporter E.K. Horneck (played by nonbinary actor Alyssa Keegan). 

Out actor Holly Twyford, a four-time Helen Hayes Award winner who has appeared in more than 80 Washington area plays, is part of the ensemble. In jeans and boots, she memorably plays Meeker, the bailiff at the Hillsboro courthouse and the jailer responsible for holding Cates in the days leading to his trial. 

Twyford also plays Sillers, a slack jawed earnest employee at the local feed store who’s called to serve on the jury. And more importantly she plays Brady’s quietly strong wife Sarah whom he affectionately calls “Mother.”

When Twyford makes her memorable first entrance as Meeker, she’s wiping shaving cream from her face with a hand towel. With shades of Mayberry R.F.D., the jail is run casually. Meeker says Cates isn’t the criminal type, and he’s not. 

“There’s a joke among actors,” says Twyford. “When an actor gets his shoes, they know who their character is. And it’s sort of true. When you put on boots, heels, or flip flops, there’s a different feeling, and you walk differently.”

Similarly, shares Twyford, it goes for clothes too: “When Mother slips a pink coat dress over her cowboy boots, dons a little hat and ties her scarf, or Meeker puts on his work shirt, I know where I am. And all of that is thanks to a remarkable wardrobe crew. 

“Additionally, some of the ensemble characters are played broadly which is helpful to the actors and super identifying for the audience too.”   

During intermission, an audience member loudly described the production as “a proper play” filled with beautifully written passages. And it’s true. Twyford agrees, adding “That’s all true, and it’s also been was fun for us to be a part of the Arena legacy as well. Arena took ‘Inherit the Wind’ to the Soviet Union in the early ‘70s when the respective governments did a cultural exchange. At the time, the iron curtain was very much in place, and they traveled with a play about a man with his own thoughts.”

When the ensemble was cast, actors didn’t know which tracts exactly they were going to play. “What came together was a cast, diverse in different ways. Some directors, including myself when I direct, are interested in assembling a cast that’s a good group. No time for egos. It’s more about who will make the best group to help me tell this story.” 

At one point during rehearsal, ensemble members began to help one another with minor onstage costume changes, like jackets and hats: “We just started doing it and Ryan [Guzzo Purcell] picked up on it, saying things really began to come alive when we helped each other, so we went with that.”

“For me, it was reminiscent of ‘The Laramie Project’ [Ford’s Theatre in 2013] when we played five different parts and we’d help each other with a vest or jacket in a similar way. It worked so well then too,” says Twyford.

“Inherit the Wind” isn’t about science versus religion. It’s about the right to think, playwright Jerome Lawrrence has been quoted as saying. And it’s a quote that makes the play that much more relevant today. 

Twford remembers a chat in a hair salon: “I was getting my hair cut and the woman next to me shared that she was tired of message plays. Understandably there are theater makers who believe that message plays are the point, while others think it’s all about entertainment. I feel like ‘Inherit the Wind’ sits in a nice place in the middle.” 

She adds “the work is a creative way of showing different opinions and that, I think, is what we should be paying attention to right now. Clearly, it’s not right or wrong to express what you think.”

Friends of Dorothy Cafe will host “Part One, Living History: How We Survived,” will take place on Wednesday, March 25 at 7:30 p.m. at Spark Social House.

This event will be moderated by Abby Stuckrath, host of the “Queering the District” podcast. Panelists include: Earline Budd, activist, trans rights advocate; TJ Flavell of Go Gay DC; DC LGBTQ+ Center Board Member David Bissette; and Alexa Rodriguez, founder and executive director, Trans-Latinx DMV.

This event is part of a four-part storytelling series called “Living History,” which centers LGBTQ elders, activists, artists, and icons sharing their lived experiences and reflections with younger generations. The conversations explore themes like resilience, community organizing, chosen family, and the lessons earlier generations hope today’s LGBTQ+ and ally communities will carry forward.