Motif

Tag: Things to do in RI

  • Roots Report: The Kindness (and Unkindness) of Strangers

    Roots Report: The Kindness (and Unkindness) of Strangers

    ROOTS

    Seeing a live show at one of the many venues in Providence? Be careful where you park, even members of the band are getting towed.

    Okee dokee, folks … Never underestimate the kindness of strangers or the greed of an unscrupulous tow-truck driver. The human race never fails to baffle me. Animals are far more loyal and honest, but occasionally a human, or two, or three, rises to their ranks.

    For the past month I have been dealing with the excruciating pain of a pinched nerve (hence the request for massage in last month’s column). Not only has there been pain, I have had weakness in my arm and hand as well as dexterity issues. For someone who plays guitar, this is not a good thing. The pinched nerve wreaked havoc on my life, particularly my guitar playing. Fortunately January has been a little light on gigs, but the performances that were scheduled had edited set lists and much more stage banter. I just couldn’t form certain chords with my fingers, something I have been doing effortlessly for over 35 years. I prefaced all of my recent gigs with the disclaimer, “My guitar playing usually doesn’t suck as much as it may tonight. I have a pinched nerve.”

    I should have canceled these gigs, but I was sick in December and already missed quite a few. At one gig a couple of weeks ago, I made my pre-show pain announcement and went into my set flubbing chords as I played. At the intermission, quite a few folks came up to me to let me know that I was doing just fine and they were really enjoying the songs and the stories in between. Then a woman came up and told me she was a chiropractor and discussed my problem with two other audience members. One was a physical therapist and the other a sort of spirit healer. They ALL were going to work on me after the show. And that they did. The PT and the spirit healer each took a turn and then came time for the chiropractor. I could feel that they were definitely getting to the problem. The chiropractor told me that I could go to her office, which was just down the street, and she would give me a full treatment. That she did and blessed me with an hour-long session. She found “buttons” that released the pain and I felt much better, but not perfect. Chiropractic care is not a quick fix; it takes many adjustments and time, but it works. Unfortunately my medical coverage does not include chiropractic, something I am very disappointed in.

    After a couple of days, the pain and problems returned and I had to bite the bullet and see a doctor. Now I am in physical therapy, going to multiple doctors, and popping pharmaceuticals for the pain. Honestly I would prefer chiropractic care. Either way, if it wasn’t for the kindness of those folks at the gig I probably would have kept putting off getting the issue resolved and stuck with my stubbornness about treatment. These strangers gave this strange guy some much needed help and TLC. I thank them.

    As for the unscrupulous tow-truck driver, well, these are the kind of people who make sewer rats look like cuddly teddy bears. Providence is getting to be an unfriendly city once again, and greed is taking over, which it can’t afford to do when businesses are closing and the ones that remain struggle.

    I was meeting a friend in Providence at Cafe Zog before a gig. I like Zog. It’s a quirky little coffee shop, great for chilling and chatting. From there we jumped in her truck, grabbed a pizza and headed over to AS220 for a gig. Parking was a nightmare and available parking was $20. INSANE! Fortunately, we found a rare street spot and hoofed it to the venue. The show was the RISA 10th anniversary Songwriters in the Round, with a great line-up and lots of very memorable songs. Stand-outs were Kala Farnham, Joanne Lurgio, Jake Haller and Carolyn Waters. Everyone shined. After the show we drove back to Zog where I left my truck. It was not there. I saw a tow driver loading a car onto a flat bed, and asked about my truck. Sure enough, he towed it. I was PISSED!!!

    Evidently there are signs in the lot behind Zog that non-customer cars would be towed. Earlier, when I arrived, none of the signs were visible as they were BLOCKED BY CARS! Besides, I was a customer at Zog and often patronize the establishment. Why was my truck towed? Zog was closed by then anyway.

    I asked the tow driver how to get my truck back. He said I had to bring $138 CASH to the lot across from the Amazing Superstore (admit it, you all know where that is). Of course I didn’t have the cash. I am a musician and feel lucky if I have $20 in my pocket. They wouldn’t take credit cards. The whole deal seemed very shady, and I hope the IRS pays them a little visit. I had to get a ride home and get my truck the next day. The tow driver said they would be there.

    Sunday morning I woke up and got a ride. THE PLACE WAS LOCKED!!! I called the number on the sign and the voice on the phone said they are never open on Sunday, though I was SPECIFICALLY TOLD that they would be there. He told me someone would stop by in 45 minutes. So I waited. An hour later, the same rude driver from the night before came. Smug. Now, I don’t hate tow drivers. Drivers who make their living HELPING people who are stuck or moving vehicles with consent are fine. I have benefited from their assistance many times. This process of kidnapping someone’s vehicle and ransoming it for an OBSCENE amount of money should be illegal (karma, baby, karma!!!).

    After begrudgingly giving him the ransom to free my truck, I got the hell out of PVD and headed home. Please heed this story and warning. Watch out where you park! And as for PVD in general, it seems it is becoming less and less friendly to the folks who support it and sees them only as objects to suck money from. I feel bad for arts organizations in PVD. They squeak by as is, and it is hard to draw people into the city to support them. Ransoming cars, high parking rates and just general unpleasantness about going downtown will surely make folks think twice about heading down. Hopefully someone will get the message before Providence becomes the ghost town it was many years ago. Where is Buddy when you need him? Enough, for now. Read on …

    The legendary folk musician/activist Pete Seeger passed away last week. In all honesty, of anyone on this planet, Pete was the man I looked up to most of all. What he stood for and what he did for the world was nothing short of amazing. He kept it up well into his 90s. When his wife, Toshi, died last year I knew that it wouldn’t be long for Pete. They were together almost 70 years and they were each other’s rock. I was fortunate to meet and talk with both of them quite a few times over the past 30 years, and they were wonderful people. He left some pretty big shoes to fill. Some of us are going to TRY to fill his shoes on Friday night, February 14 at Sandywoods in Tiverton (not PVD!). We will present a memorial concert in honor of Mr. Seeger. Scheduled to appear are Atwater-Donelly, Bill Harley, Ron Tebbetts, Joyce Katzberg and Jimmy Warren, Sally Rogers and Howie Burson, and me. We will play songs that Pete wrote and made famous, and some of our own that fit into the spirit of things. The show is FREE, but get there early as it likely will be a packed house. Sandywoods was started by Pete Seeger’s daughter, Mika, so the venue is very fitting. For more about the show, inch by inch over to sandywoodsmusic.com

    Stone Soup Coffeehouse has a couple of great shows this month. Rani Arbo and daisy mayhem will perform on the stage at St. Paul’s Episcopal Church on February 8. They are a band that takes what’s lying around — from tin cans, to old songs, to human stories — and creates something new. With influences from Doc Watson to Django Reinhardt, from Fiddlin’ John Carson to the funky Meters, Rani Arbo and daisy mayhem celebrate America’s past and take it into the present. There will be a“Hoot” (otherwise known as an open mic) before the show. Sign-ups are on the day of the show and begin during ticket sales. Come early! My longtime and occasional partner in music, Mary Ann Rossoni, is performing on February 22 and will celebrate the release of her newest CD, Edentown, This, her eighth work, shows us an artist who has come full circle, from acoustic music and back again. Only this time, Mary Ann’s songwriting shows the benefit of passing time, of experience, of wisdom and of age. Many of the tunes on Edentown talk of loss, recovery and sacrifice. Opening the night will be Mike Laureanno and he is also celebrating the release of his new CD, Pushing Back Wintertime. For more, slurp over to soup.org

    The Narrows in Fall River has a fabulous February schedule to make the trip over the big old BragaBridge worth facing your fears for. On February 7, The Autumn Defense (Pat Sansone and John Stirratt from WILCO) and The Bob Kendall Band hit the Narrows stage. One of the most prominent and influential figures in late 20th century blues and roots music, composer, multi-instrumentalist and vocalist, Taj Mahal, brings it all on Feb 13. With stunning three-part harmonies, crisp musicianship and a warm, engaging stage presence, Red Molly has been gaining fans since they formed one night at a Falcon Ridge campfire. The lovely ladies bring the warmth on February 21. Opening the show is RI’s own Marc Douglas Berardo whose newest CD, Whalebone, will surely turn new fans onto his music. His songs are musical narratives in the feel of acoustic Springsteen and Waits, with Buffett-esque subjects. You’ll want to own this one. On February 22, one of my all times favorites, one of my biggest musical influences and my friends, Aztec Two-Step, show you why their music has been described as the bridge to the Beat Generation and why they were instrumental in ushering the music of the ’60s into the ’70s and beyond. Bring your toothbrush and stay for the month. So much music you won’t want to leave! For more about these and other shows, Ken doll over to narrowscenter.org (Bob K., get it?)

    Love is in the Air on February 7 at the Towers in Narragansett. Catch a night of Broadway Love Songs with a twist of jazz featuring Michael DiMucci, Phoebe Madden, David Marshall, and Ritchee Price accompanied by Philip Martorella. For more, love boat over to thetowersri.com

    Also on February 7, Josh Schurman and Paula Clare play the Gallery Acoustic Series at the Courthouse Center for the Arts in West Kingston. For more, bailiff to courthousearts.org

    Common Fence Music brings you Zili Misik, a 10-piece all female band that performs New World Soul dance and roots music of the African Diaspora on February 8. Rhode Island’s own global folk-fusion band, The Gnomes, invade the CFP Community Hall on February 15 and ride the Common Fence Music “Roots Caboose” for an evening of music that in some way suggests the topic of a sustainable community. For more, choo-choo to commonfencemusic.org

    Blackstone River Theatre will present a split concert featuring Sheila Falls (from Greenville, RI) and Mark Roberts, and the Irish/Norwegian music of NØÍR on Saturday, February 8. For more, fiddle over to riverfolk.org

    The Little Compton Band appears Live at the Meeting House on Main Road in Tiverton on Saturday, February 15. For more, greet over to fourcornersarts.org

    Saturday, February 15, Tallahassee and Dr. Jones and the Shiners leap into Lily Pads and present their uncharted sonic sound while harnessing diverse styles ranging from indie to classic rock, folk and blues. For more, ribbitt over to musicatlilypads.org.

    Monday, February 17 brings Leyla McCalla, The Sugar Honey Iced Tea, and Allysen Callery to the Fete Lounge in Olneyville. For more, “vive la” to fetemusic.com. Get some gaggers or ribs after the show!

    Get a jump on March. The 22nd Annual Mardi Gras Ball at Rhodes on the Pawtuxet with Leeroy Thomas and The Zydeco Road Runners, Steve Riley and the Mamou Playboys, Cj Chenier and the Red Hot Louisiana Band will serve all of your Fat Tuesday needs on Saturday, March 1. This is one of the biggest and BEST parties of the year. For more, Cajun over to mardigrasri.com

    The 15th Annual RI Pride Goddess Show will take place Sunday, March 2 at Chan’s in Woonsocket from 1 to 6 pm. The show will be hosted by the hilarious Poppy Champlin and feature The Mary Day Band, poet-Marie Michaelle, hooper- Rachel Lindenthal, Susan Souza, 5th Elament, Miss Gay RI, Justus, burlesque with Bettysioux Tailor and headliner, Rachael Sage. For more, enlighten your way to prideri.com

    That’s it for now. Thanks for reading!  John Fuzek www.johnfuzek.com

  • There’s Plenty of Laughter on the 23rd Floor

    Laugh hysterically while witnessing the mayhem of a 1950s sitcom desperately trying to stay afloat in the ratings in the Ocean State Theatre Company’s production of Neil Simon’s Laughter on the 23rd Floor.

    Ocean State Theatre Company marked its one year anniversary with the opening of Neil Simon’s Laughter on the 23rd Floor. And, thanks to a commanding performance by veteran actor Fred Sullivan, OSTC continues to shine as the area’s newest rising star.

    Chaos and laughs reign in this semiautobiographical play about a group of egocentric comedy writers trying to save the 1950s TV series “The Max Prince Show” from falling into ratings oblivion. Based on Simon’s own experiences as a young writer on Sid Caesar’s “Your Show of Shows,” the playwright smartly captures the mayhem of this sinking ship.

    Laughter is filled with non-stop gags and one-liners as the writers try to one-up each other and lay claim to the show’s funniest writer. While some of the jokes are tame by today’s standards and fall a bit flat, much of the production celebrates the true comic genius of yesteryear, a time when comedians were actually skilled actors and entertainers. Though the production does contain some R-rated language, it is not the punch-line of every joke, unlike much of today’s humor.

    Director Brad Van Grack makes an impressive OSTC debut by keeping the pace quick, easily digestible and, more importantly, funny. Van Grack is best known for his work in Washington, D.C. theaters as a long-time member of The Capital Steps, a musical-political satire group for which Playbill Online recently named him the Best Featured Actor in a Musical Off-Broadway.

    Adding to the play’s sense of paranoia, the country also finds itself in the throes of World War II and McCarthyism. With this serving as a constant backdrop, Sullivan’s manic portrayal of Max Prince wonderfully mirrors a nation’s growing sense of disillusionment. Times are changing and our show is “too smart and sophisticated,” the networks want “shit,” shouts Max.

    Sullivan’s performance is both powerful and funny. As his show’s ratings continue to drop, his confusion and disorientation — aided by prescription drugs and scotch — worsen. Reminiscent of Jackie Gleason, the comedy requires Sullivan to be loud and physical. I kept waiting for him to bust out with “One of theses days … one of these days … Pow! Right in the kisser!”

    His depiction of Julius Caesar, using a Marlon Brando voice during an Act II skit, is brilliant and hilarious – the highlight of the show. With each stab to his back, he painfully laments, “Et tu … Et three … Et four?” The audience howls, momentarily stopping the show.

    The supporting cast also proves to be more than up to the task. Jean-Pierre Ferragamo (Milt) delivers some of the play’s funniest one-liners: “I’ve got a wife and kids to support; it’s murder on the mistress … ta da ta da!” Or, when one writer warns, “This is not the day to get me angry.” Milt responds, “Put me down for Wednesday.” He also has a penchant for wearing bizarre clothing, “I do it so people notice me, … [otherwise] I’m just a putz,” he explains, which doesn’t stop a bewildered Max from pronouncing, “You dress weird.”

    The scene stealing Tommy Labanaris, as the perpetually late hypochondriac Ira, provokes his share of laughter. One listens in amazement during his entrance as he remarkably and breathlessly rattles off a litany of ailments and suggested treatments. He also surprises with a fine singing voice and some nifty dance moves in the “Julius Caesar” skit.

    The role of Lucas, based on Neil Simon’s own experiences, is handled nicely by Matt Dasilva. As the youngest writer on “The Max Prince Show,” Dasilva also serves as the play’s narrator moving things along with an easy Matthew Broderick-like boyish charm.

    Neil Simon’s Laughter on the 23rd Floor runs through February 16 in Ocean State Theatre Company’s new state-of-the-art theater in Warwick. For tickets, call 401-921-1777 or visit oceanstatetheatre.org.

     

  • Providence Children’s Film Festival: A Great Alternative to “The Nut Job” This February Vacation

    Discover the future filmmaker in your children while attending one of the many wonderful independent films at the Providence Children’s Film Festival.

    With school vacation fast approaching, the demand to go the movies will surely be forthcoming.  This demand can be a blessing and a curse. On the one hand, your kids sit quietly for 90-plus minutes. On the other hand, you might be forced to sit through an atrocity like The Nut Job. This school vacation, I will not be seeing The Nut Job. Instead, I’ll be at the Providence Children’s Film Festival.

    As a lover of independent films, I was immediately intrigued when I first heard of this festival, but then I wondered: Would I be watching movies made by children? If so, am I in for a series of YouTube videos where young girls dressed as princesses belt out Disney tunes, or boys reenact epic battles with LEGO versions of Luke and Darth Vader? These thoughts held my excitement at bay.

    As it turns out, the films screened at this festival are not made by children; they’re not even made exclusively for children. They’re simply wonderful films made for people of all ages.

    The 5th Annual Providence Children’s Film Festival will feature a variety of full-length and short films from filmmakers all around the globe. A full schedule of events can be found at pcffri.org. The films range from sophisticated productions with serious credentials to those made by amateurs on shoestring budgets. The one thing in common:  independence. You won’t see these films on a Happy Meal box, nor will you be asked for the accompanying toy on your next trip to Target.

    At first glance, the selection overwhelmed me. Which movies would we see and when? Fortunately the films are grouped by age appropriateness, with trailers available for each to help narrow your choices. My boys are 7 and 4, so right there we’re limited to the “all ages” category. After viewing the trailers, a clear favorite emerged: Moon Man, based on the best-selling novel by Tomi Ungerer.  I was personally drawn to Academy Award nominated Ernest et Celestine – a French film about an unlikely friendship between a bear and a mouse. My boys, however, couldn’t handle the subtitles (ditto for My Neighbor Totoro).

    Later, on my own, I watched all the trailers. Aside from the animated films, there was a generous selection of live action and documentaries. Themes range from loss of a parent to bullying and mental illness. I couldn’t get through the trailer of the documentary Gold Star Children – directed by Rhode Island’s own Mitty Griffis Mirrer – without shedding a tear or two. Every film sucked me in. I’m actually considering getting a sitter so I can see them all myself.

    Aside from the films, the festival offers so much more – a true home for film lovers and would-be filmmakers. Family-friendly discussions take place after many screenings. Hands-on workshops are available to children ages 6 through 14 where young filmmakers get first-hand experience creating animation and learning about the green screen. Then there are the parties. The week begins on opening night, where The Zig Zag Kid will be shown, followed by a reception.  The awards ceremony, which takes place on the last Saturday night of the festival, features a screening of Once in a Lullaby, after which the Rhode Island Children’s Chorus will perform songs from the movies.

    This festival offers an incredible opportunity to young lovers of film, as well as would-be filmmakers. My brother is an amateur filmmaker – something he knew he’d be at the tender of age of 3. As a child, he had zero resources available to him. It wasn’t until he reached adulthood that he discovered a community of people equally passionate about film. How fantastic that kids like my brother have these incredible resources available to them at such a young age.

    The Providence Children’s Film Festival takes place February 13 through 23 at three separate locations:  The Cable Car Cinema, the Metcalf Auditorium in the RISD museum and the RISD Auditorium. Get your tickets now, as the smaller venues often sell out. I’ll be getting mine for the Monday screening of Moon Man. Maybe I’ll see you there.

  • True Love Is All Around You

    True Love Is All Around You

     Live music becomes a gateway to love

    heartHeadphonesIt’s easy to become consumed with finding the right partner. Our primal urges combined with ego fulfillment turn love into something to be obtained, rather than something that is all around us. As a conscious being, will you ever truly be happy fulfilling these animal instincts? Joy does not come only from human relations, yet many people seek to fulfill their need for love solely through companionship. Those who pursue love in this fashion tend to feel unfulfilled or even dependent on others.  But you must first love you and your unique life experience before extending true love to anyone else. Find what drives you, and let your passion take you down a road of love. When you stop looking for love from another person, you’ll start to see love is everywhere you look.

    So what does love have to do with music? It’s one of the simple joys in life. You can love it and sometimes feel the love in it. Music can be a mood booster and whether performed or simply heard, can be salvation to those feeling desperation. Every live show is a unique moment in time that will never happen the same way again.

    The core of your spirit comes from new experiences, so it’s important to keep your soul expanding by being open to inspiration and new experiences, like live shows, which allow for appreciation and wonder, the gateways to love. When people feel sad, the simplest explanation is they are disconnected from the universe. If you’re not enjoying what’s happening in your life, find a way to eliminate the bad and bring in something that gives you joy.

    When the music plays, some people become so entranced with finding a dance partner that they forget to appreciate the beauty of the notes being played, just like some people are so consumed with the tanned bodies at the beach they miss the beauty right in front of them.  The ocean endlessly kisses the sand, giving love with every wave of hesitation and progression.

    As we enter February and approach Valentine’s Day, couples are reminded to show appreciation to each other and single people are often reminded of their lone status.  For the solos, it’s often hard to appreciate that the greatest love for yourself should stem from your experiences.  That’s the difference between loneliness and solitude. When you appreciate you are part of the grand universe, loneliness naturally dissipates.

    February also has a lineup of fantastic shows in Providence for you to experience. Lettuce has their Providence debut at Fete on February 6.  Umphrey’s McGee will have their first show at Lupo’s on February 7. Resin Ed and Elephant have a double album release at The Spot on February 8. Use any one of these performances to see the love surrounding music.  Will you seek to find the love in music, nature, art, even silence, and transcend into a different mindset? When you love and appreciate your existence, the universe’s light shines on you. Let that light guide you on your journey, and may the music have you dancing along the way.

  • MoTiV: Top “To Do’s” This Weekend

    MoTiV: Top “To Do’s” This Weekend

  • Alt-Nation: Swan Point

    Alt-Nation: Swan Point

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    “A more groove orientated T. Rex kind of Electric Warrior feel.” –Swan Point’s upcoming album Salt 

    Whelp, the polar vortex has metamorphosed into a balmy-January-by-New-England-standards vortex. So let’s continue with a heat wave and talk about a new band that’s ready to catch some waves in Swan Point. I caught Swan Point a number of months ago at the Celtic Pub in Pawtucket, which just goes to show one you should never overlook any place that has live music.  One never knows where one is going to find their next favorite band. Swan Point is getting ready to release their debut seven-song CD, Salt, and I’ve come into possession of a rough version of it.  I like it.  I’ll save a full review for when it is actually ready for release in a month or two.  The CD features tracks like “Ruined,” which kicks off with a Stones “Live with Me” groove before veering into a more funky direction with the chorus.  “Love in The Ghetto” has a definite T. Rex flavor. “The Pin” reminds me a little of the band Spoon. So on the cusp of Swan Point’s debut inside Providence city limits, I posed some questions to guitarist/bassist Dino Paolantonio (ex-Shed and Mustang Cobra) on what Swan Point is up to and what to expect this Friday.

    Marc Clarkin: How and when did Swan Point come together?

    Dino Paolantonio: Swan Point has been together for roughly a year. Our drummer, John Reddington, who I’ve played shows with for over 20 years back when I was in Shed and he was in Freakshow, asked me if I wanted to come play guitar with his childhood friend Pat Baron who had recently moved back to RI after living in LA, Detroit and Austin, TX. I knew of Pat just by name from stories John would tell me throughout the years, and also knew of his songwriting talent.  So after one session, we already had four or five skeletons of songs that were ready for work. I would switch off between guitar and bass. We wrote enough songs to start recording a record. That’s when we realized we needed a true bass player. And who better to ask than the big guy Paul (Zeus) Souza. The record is called Salt and should be available for a record release in early March

    MC: Listening to the new CD, I hear a more groove orientated T. Rex kind of Electric Warrior feel. What are some of the influences for you guys?

    DP: Personally, the only way I can answer this is with the word “music.” I listen to all genres of music and am influenced by all of it. If I feel any emotion from a song, I am influenced. The T. Rex comparison is a compliment. I’m sure that there are some artists who are stronger influences on John, Pat and Zeus that I don’t feel as strongly about, and vice versa, but each member brings their own unique style that we add to the nucleus of the song. We ended up with something special that we are all proud of.  For 20 years Johnny and I have been introducing new bands, or often old bands, to each other.  For instance Ween, Phish, Grandaddy and Cake are a few that we are fans of.  But again, when it comes to music, genre doesn’t matter. Good is good.

    MC: You’ve been involved in the local music scene for a long time between your time with Shed and Mustang Cobra. How has it changed?

    DP: You know, going back 20 years, the local music scene was at its best in my opinion. No matter who was performing, all the bands came out and supported.  That was the scene.  It was one big scene.  Now I feel it’s a bunch of little scenes.  With technology evolving and the social media boom, most bands can build a personal page or create a Facebook event and that’s it. The show is promoted.  Back then we would go to the shows and meet people and hand out flyers to promote upcoming shows. I feel the connection from actual interaction with the folks is needed to make/build a scene. We have the venues to do it. There are pros and cons with social media. It’s a great way to keep people informed, but you also have local artists whining that no one came to your show or people are even bad mouthing other local artists. Those types of actions end up hurting the process of building a scene. Local artists need to support each other. The cliques and negativity only divide it. If four people show up to our show, we’ll do our best to make four fans.

    MC: Having played in hardcore and metal bands, has it been a tough adjustment adapting your style for Swan Point’s music?

    DP: It hasn’t been tough at all. When I was playing in Shed, it was loud, fast and aggressive or what have you. But at the time it wasn’t the only type of music I was listening to. I’ve always been a fan of music. I remember getting my balls busted unmercifully for going to Phish, Medeski Martin & Wood, and Billy Joel Shows cause, “That’s not metal.” I just never understood that if you play metal that’s all you’re supposed to listen to. And playing with Swan Point, it’s a totally different process when it comes to writing in comparison to Shed or Mustang Cobra. After Pat or John will bring a piece to a rehearsal, as a group we work out structure and dynamics. Then it might be a week or two before I’m fully comfortable with a lead for the song. I like to let the song develop an identity, and then proceed to work on what the song calls for to make it whole. I feel lucky and honored to be playing with these guys. We got a couple of great songwriters with Pat and his way of bringing his life experiences into song, and our drummer Johnny, who’s been on fire lately writing songs on guitar and piano.  So that along with playing with my best friends, putting out a record I couldn’t be more proud of, and fully enjoying it, it would be ridiculous to describe it as “tough.”

    MC: What should we expect this Friday at Dusk, and who is playing?

    DP: We are happy that we were asked to play with our good friends Hope Anchor & Dog Day Afternoon. We will be going on first; my guess is 9:30/10:00. We will showcase the songs on our upcoming release, Salt. This will be our little warm-up for the record release. There are going to be three great bands with a $6 cover charge. Hope to see you there. You as well, Freddy!

    Swan Point, Hope Anchor, and Dog Day Afternoon will all rock Dusk on January 17.

    Email music news to mclarkin33@gmail.com

  • Tribes: Kill the Wabbit

    Tribes: Kill the Wabbit

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    “Despite all of the multi-layered wit, much of the play depends upon non-verbal communication by the cast.” — Epic Theatre’s Tribes at Theatre 82

    The challenge of a play about tribal affiliation is that literally any arbitrary characteristic can be yanked out of thin air and turned into a criterion in order to draw a circle around some people and not others, defining who is in the tribe and who is not. This begins, for Tribes, in the opening announcement before the play even starts that masquerades as an innocuously conventional warning to the audience that there will be a pistol shot in the final act: it immediately creates an in-group who realizes, when that pistol shot finally comes, that it is a playful homage by playwright Nina Raine to her obvious influence Anton Chekhov and the theatrical trope known as “Chekhov’s gun,” first explained by him in a letter: “One must never place a loaded rifle on the stage if it isn’t going to go off. It’s wrong to make promises you don’t mean to keep.” Such meta-witticism might be appreciated by academics and theater critics, but – and this is my point –  excludes those not of that particular tribe unless, luckily, a theater critic explains the joke in a review.

    Billy (Joseph Ausanio) is born deaf into a hearing family. His parents, Christopher (Geoff White) and Beth (Carol Schlink), are a retired academic frustrated by his inability to do anything useful and an aspiring novelist frustrated by her inability to publish. His siblings temporarily reduced to living at home, Ruth (Blanche Case) and Daniel (C.T. Larsen), are an opera singer frustrated by her inability to get gigs of more than a few people in a small room and an aspiring academic frustrated by his inability to complete his thesis.

    No one listens to anyone else, regardless of their ability to hear. Christopher is trying to learn Chinese wearing earphones that isolate him from what is going on in the room around him. Ruth is trying to learn to sing opera in French, a language she does not understand; the work in question is, ironically, Saint-Saëns’ “Mon cœur s’ouvre à ta voix,” which literally means “My heart opens itself to your voice.” (I warned you about meta-witticisms.) Daniel, among other serious problems, is writing a thesis about communication that is so fluffed-up with over-the-top academic jargon that it is incoherent. The family members interact via argument, profanity, name-calling, ridicule and constant interruption – all except Billy who, due to his deafness, is unable to follow these heated exchanges and then is told, when he asks what happened after each storm blows over, that it was nothing.

    Billy meets Sylvia (Stephanie Traversa), who works as an event coordinator for a deaf charity and is herself going deaf. She introduces him to sign language, which his family strongly resisted because the “bloody deaf community,” as Christopher puts it, with its own language is a rival tribe to that of the family. As Billy and Sylvia become romantically involved, they form something of a tribe of their own, him distancing himself from his family and her distancing herself from what she sees as the limited and parochial community of deaf people.

    Eventually these people are forced to start listening to each other, or at least making the attempt to the best of their ability, and that changes a lot. Although the dialogue is often clever and funny, it carries tinges of viciousness that are hard to ignore and are not meant to be ignored. Daniel at one point attacks opera, and therefore implicitly Ruth, by ridiculing the work of Richard Wagner, the ultimate expositor of regressive and ignorant tribal primitivism in music; Beth cuts him off: “Of course it’s silly, it’s Wagner.”

    Despite all of the multi-layered wit, much of the play depends upon non-verbal communication by the cast. C.T. Larsen as Daniel especially stands out, a character going quite mad from his own inner demons, at one point unknowingly re-enacting a legendary story with himself as Androcles and his mother Beth as the lion. Geoff White as Christopher rises to the demands of an unlikable character, the sort of man who believes that blunt impoliteness accompanied by abusive profanity can be mislabeled as “honesty” and thereby become a positive thing. Joseph Ausanio as Billy has an exceptionally difficult role, conveying the perspective of a deaf character to a hearing audience. As with any good play in the Chekhovian style, what is not said, and the significance of how it is not said, is generally more important than what is said, making deafness a particularly effective metaphor amongst a veritable sea of symbolism and allusion. Director T.J. Curran understands that and employs his cast accordingly.

    Even Chekhov, in his last play The Cherry Orchard, was not above making a joke at his own expense: he has a character brandish a gun that never does get fired.

    Tribes, Epic Theatre’s Theatre 82, 82 Rolfe Sq, Cranston, RI. http://www.epictheatreri.org In association with the Rhode Island School for the Deaf.

    Fri, Sat (1/17, 1/18, 1/24, 1/25) 8:00pm. About 2 hours including intermission. Includes mature content, including subject matter and language, not appropriate for anyone under 17.

    Tickets: Artists Exchange, 401-490-9475 or at http://www.artists-exchange.org

    Facebook event: https://www.facebook.com/events/224941627678555/

  • Arsenic and Old Lace Is High-Spirited Fun

    Arsenic and Old Lace Is High-Spirited Fun

    arsenic

    Murderous Aunts and a delusional nephew make for a wacky family dynamic in Aresenic and Old Lace

    The Community Players are having a bloody good time bringing the classic farce Arsenic and Old Lace to life on the stage of the Jenks Auditorium in Pawtucket. The show runs until January 19.

    Written in 1941 by Joseph Kesselring, the story is about the two Brewster sisters Abby (Cathy Fox) and Martha (Lynn Price), who live in a house in Brooklyn with their nephews Mortimer (Tom Coughlin) and Teddy (Rick Braun). Mortimer, a theater critic, is engaged to Elaine Harper (Kathleen Seagriff), the daughter of Reverend Harper (Lee Hakeem).

    Mortimer is mortified to find a dead body in the window seat of the house and discovers his two aunts have murdered a dozen men by giving them elderberry wine spiked with arsenic, strychnine and cyanide.

    “How did the poison get in the wine?” Mortimer asks.

    “Oh, we put it in the wine cause it’s less noticeable,” Martha replies. “When it’s in tea, it has a distinct odor.”

    That exchange is typical of the dry wit of Kesselring’s dialogue. There is much more of it in a story that gets even more madcap as it proceeds.

    The Brewsters are a truly odd bunch of characters. Besides his murderous aunts, Mortimer has to deal with Teddy’s belief he is President Teddy Roosevelt. Teddy’s favorite pasttime is running up the stairs and yelling, “Charge!” as if he is going up San Juan Hill. He also is digging the Panama Canal – in the basement.

    Mortimer’s long lost brother Jonathan (Eric Barbato) soon arrives with his friend Dr. Einstein (Lawrence Calabro) in tow. Jonathan is a bad man who resembles Boris Karloff after some botched plastic surgery. The two unwanted house guests are determined to stir up even more trouble for everyone in the house.

    The large ensemble cast succeeds brilliantly in bringing these wacky characters to life. Fox makes Abby into a cheerful eccentric, and she meshes well with her counterpart Price. These two actresses manage the difficult feat of being charming and likable even though they are also mass murderers.

    Coughlin is a solid presence as Mortimer. He has exquisite comic timing and serves as the dependable voice of reason in a sea of insanity. One funny moment is when he chases a potential victim of his two aunts around the living room in an effort to save his life.

    Barbato brings the right amount of menace to Jonathan, who poses a real threat to Mortimer in the play’s third act. Braun and Calabro deliver very fine comic performances and complement the other actors perfectly in every scene, and the direction by Peggy Pires is crisp and fast paced.

    Victor Turenne’s set design convincingly recreates a Brooklyn home in the 1940s, complete with vintage furniture and antiques.

    Arsenic and Old Lace holds up pretty well for a play more than 70 years old. This production is a well-staged, entertaining way to spend a few hours.

    For reservations, go to thecommunityplayers.org. Or call 401-726-6860.

  • Dysfunctional Family Makes for Dark Comedy in The Lyons

    Dysfunctional Family Makes for Dark Comedy in The Lyons

    2nd Story, Press Photo, The Lyons, Faber, Petronio

    ” This is a show that deals with life, death and everything in between–” The Lyons at 2nd Story

    The lives of a dysfunctional family take center stage in the black comedy The Lyons, which opened in previews January 10 and is running through February 9 at Warren’s 2nd Story Theatre.

    The Lyons was written by Nicky Silver and debuted on Broadway at the Cort Theatre in April 2012. This is a show that deals with life, death and everything in between.

    Paula Faber, a veteran member of the theater’s acting company, gives a tour de force performance as Rita, the overbearing wife of Ben Lyons (Vince Petronio), who is dying from cancer. Rita, stuck in a 40-year loveless marriage, now thinks of the future without Ben and plans to re-decorate their home. Ben lays in his hospital bed and speaks in a flurry of profanities. He is constantly annoyed by Rita and despises her.

    Their grown children Curtis (Kevin Broccoli) and Lisa (Lara Hakeem) also come to his hospital room to pay a visit.

    Lisa has left an abusive marriage and is a recovering alcoholic. Curtis, who is gay, has had little to do with his father, who is homophobic.

    Throughout the play, all the resentments between the Lyons bubble up to the surface.

    Rita is a fundamentally selfish woman who will not spare anyone’s feelings. However, she is not a one dimensional caricature either. Late in Act One, while her husband sleeps under dimmed lights, Rita realizes how empty her life will be once Ben is gone. The man she has spent so many years with has occupied a major part of her time and energy. Faber masterfully manages to gain the audience’s sympathy in a short monologue.

    Broccoli dominates most of Act Two, when Curtis has a fateful encounter with a wily real estate agent (Jeff Church) who is not who he appears to be.

    Broccoli gives a note perfect performance as Curtis, a troubled man who writes short stories for a living and has a non-existent love life.

    Petronio has a lot of funny moments as he quarrels with Rita about her plan to redecorate their living room after he is gone. There is also a touching and bittersweet moment when he reveals that despite all the hostility he expresses toward Rita, deep down he really loves her.

    The dialogue is witty and sometimes poetic. One exchange goes like this:

    Ben: “Rita, I’m dying!”

    Rita: “Just try to be positive.”

    Lucia Gill Case plays Ben’s nurse, who has some tart repartee late in the play with Curtis.

    Mark Peckham directed the production, which moves at a brisk pace.  The downstage theater provides an intimate setting for a show like The Lyons.

    The four lead actors convincingly portray a family at odds with each other. The Lyons all seek happiness in their own way, and by the end, you are pulling for them to find it.

    2nd  Story Theatre DownStage, 28 Market Street, Warren, RI 02885, Box Office:401-247-4200, Web:2ndstorytheatre.com, Email: Boxoffice@2ndstorytheatre.com

  • Motif TV : Top things to do this weekend

    Motif TV : Top things to do this weekend