Alt-Nation: WBRU Rock Hunt Champions Torn Shorts

The highest compliment I can give this year’s WBRU Rock Hunt is that in the anxious minutes before the midnight announcement, there was no clear-cut winner. All the bands played to their strengths, so I could see the announcement going any which way. The Brother Kite brought their shimmering Brit-pop infused A-game. Torn Shorts picked up where they left off in semi-finals with a solid start that once again won the room over. Kid Mountain impressed, but by the end of their set things started to get a little generic sounding in the vein of something like the band Fun or other modern rock bands of the same ilk. Lolita Black singer, Scarlett Delgado, addressed those who thought that their band was too heavy for commercial rock radio by saying, “A lot of people also said that at one time about the band that wrote this next song.” Lolita Black then proceeded to do a blistering cover of Nirvana’s “Territorial Pissings.” Lolita Black dropped the hammer with a ferocious eruption of metal-infused punk rock with Delgado pulling out all the stops, including crowd surfing at one point.

When the confetti did rain down, so did plenty of boos as Torn Shorts was crowned the champion. This was more a product of the competitiveness of the event than anything Torn Shorts did. The bands were good, and there is going to be passionate people on different sides. Torn Shorts has a lot going on; I’ve heard people describe them as a jam band, an alternative band and even classic rock. They’re pretty good, and check out Torn Shorts’ new CD release, Through the Mill.

Check out the champs in person when Torn Shorts performs at AS220 on April 16th where they’ll play with Corin Ashley, Hey Ice Machine and Wash Hollow.

Odds & Sods

Green Day make their first appearance in Providence since probably sometime in the mid-90s at the Dunkin Donuts Center on April 9th. It’s good to see The Dunk bringing some arena rock shows to town. Ants In The Cellar, Last Remaining Pinnacle and Me After You will bring the rock ‘n’ roll thunder to AS220 on April 10th. The Spot has an epic show with Girls Guns & Glory, Consuelo’s Revenge and Smith & Weeden on April 12th. This show is a CD Release for Consuelo’s Revenge’s excellent self-titled debut that was reviewed here last week. Plumerai, Kris Hansen, Nymphidels and Daniel Ouellette & the Shobjin will be at Firehouse 13 on April 12th. The Met Café hosts the legendary Graham Parker & The Rumour on April 12th. Math The Band, Doomsday Student and Foot Soldier will play what promises to be a big night at AS220 on April 12th. Singer/Songwriter Joe Pug comes to town in support of his new album, The Great Despiser, at the Columbus Theatre on April 13th. Born Ruffians, Ravi Shavi and Moon King are at Firehouse 13 on April 14th. The Scandals, Melt Into Place and Faber are at AS220 on April 14th.

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Straight White Men at Brown University

Named, “the most adventurous playwright of her generation,” by the New York Times, Obie Award winning director and playwright, Young Jean Lee, explored a new discourse in her work-in-progress Straight White Men at Brown University on Saturday night.

Presented by Brown TAPS and Sock and Buskin, Lee’s project is set in the conventions of a middle-class home where three brothers and a widowed father explore racial identity, gender relations, and self- actualization.

The story was set during a cozy Christmas holiday that was soon destabilized by one brother’s struggle to find purpose as a straight, white male in contemporary society. In attempt to aid his struggle each character revealed his own issue to self-actualize in a declining monocultural world.

The performance compelled the audience to question forms of privilege through the patriarchy of the characters and the perspective of Lee herself. Lee explained to the Brown Daily Herald, “When starting a play I ask myself, ‘What’s the last show in the world I would ever want to make?’ Then I force myself to make it.” Lee also explained the script’s development as an “intensely collaborative” effort between the cast, crew, and direction.

Lee is no stranger to addressing controversial subjects on stage. Her projects often explore identity, as evidenced in her previous works, The Untitled Feminist Show, exploring feminist ideals, The Shipment, a play examining the black identity, and Asian-American social politics in Song of the Dragons Flying to H

Sock and Buskin will run “Straight White Men” April 4-7, 10-12 and 14th in the Leeds Theater at Brown University. Shows start at 8 p.m. of Fridays and Saturdays with afternoon matinees at 2 p.m. on Sundays. For more information, contact the Brown University box office at (401) 863-7552.eaven as shown on the Young Jean Lee’s Theater Company website.

The dimSocialite

Alt-Nation Presents an Interview with Brown Bird’s David Lamb

Brown Bird – Fits of Reason Interview

This has been a big week for Brown Bird with the release of their new record, Fits of Reason (Supply and Demand). Brown Bird will cap it off with a good ole hometown CD release party this Friday, April 5, at the Met Café. I spoke with half of Brown Bird’s dynamic duo, David Lamb, on the eve of the big week to find out more about the new record and what lies ahead for the band.

MC: Was there anything different in the approach to writing and recording Fits of Reason compared to your earlier albums?

DL: Some of it is a bit transitional just like our previous release; Salt for Salt (Supply and Demand) was an evolutional movement forward. I don’t see it as a vast departure from the earlier recordings. Our good friend and landlord, Will Schaff, who is a great local artist, did the artwork for this album and the last record too.

MC: Brown Bird started as solo vehicle for your songwriting and you’ve gone through a few lineup changes to get to the current state of a two-piece with MorganEve Swain. Can you give a brief history of the band? DL: Ten years ago I was living in Maine and had decided to move to Seattle. I didn’t know anyone out there so I started playing solo under the name Brown Bird. I moved back to Maine and started to play out as Brown Bird with some old buddies as a three-piece. Then we expanded to a five-piece and went on to tour as such. After the tour, my friends had their own bands that they wanted to concentrate on and around that time I met MorganEve Swain and Brown Bird went back to being a three-piece for a couple of years. It was never really a plan to be a two-piece band but when it became so, it just felt right.

MC: The list of influences for Fits of Reason is pretty eclectic – between philosophers from different points in history and ample kind of Old Testament biblical imagery. What inspires you when it comes to writing lyrics?

DL: I was raised in a strict household where we were required to read the Bible every day. My father was a minister. This left me with a strong desire to seek out other points of view that I wasn’t exposed to growing up. Some of this definitely came out in the writing Fits of Reason.

MC: What were your biggest musical influences growing up and today?

DL: The Beatles definitely; I remember seeking out their entire catalogue. MorganEve would say the same as far as The Beatles. Then I moved on to Led Zeppelin and I remember putting on all their records and trying to learn all the drum parts. Nowadays there are a ton of artists but some of the constants are A Hawk and Hacksaw and Omar Khorshid, who’s an amazing ‘60s Egyptian surf guitarist. I also listen to a healthy dose of metal with bands like Mastodon and The Sword. We were touring with our good friend Joe Fletcher and he made a comment that I bet nobody would ever guess how much metal we listen to in the van.

MC: You have a lot of touring on your plate, are there any places you’re excited about hitting up?

DL: We’re really excited to take our friends, The Last Good Tooth, out on the road with us for the first leg of the tour. We’ll be going out from the record release into June in hitting the East Coast and the Midwest. As far as places, Indianapolis has always been really good for us. We play this place in Chino, California where we didn’t know what to expect but from the first song it was crazy. There is also this brewery in South Dakota that we didn’t know anything about, but we played there and had a great show too. We’re excited that we’re going to be going back there on this upcoming tour.

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Mike D’s Top Five: The Can’t Miss Shows in April

By Michael Delehanty

#1 Friday, April 5: Brown Bird (Fits of Reason album release), Last Good Tooth, Alec K Redfearn and The Eyesores. $15 advance, $17 day of. 8pm. All ages. The Met, 1005 Main Street, Pawtucket. Brown Bird have been touring like crazy in the last year, not only repping Rhode Island while doing so, but also taking some of our best talent out with them for support like Joe Fletcher and the Wron

#2 Sunday, April 21: All The Punks: Benefit for Lisa Gourley with Hope Anchor, The Loud Ones, Tony Jones and the Cretin 3, Gentlemen Soundsystem DJs and more. $10 donation. 3pm doors. McNeil’s Tavern, 888 Charles Street, North Providence.g Reasons and Last Good Tooth. Come give them a big welcome home and support for their new album, Fits of Reason. Go to brownbird.net to check out some of the new album.

Lisa Gourley has been chronicling the Providence music scene for longer than I can remember, taking amazing photos and sharing them with the community for free. She is a Providence music scene institution, and we love her for it. This is a great way for us to say thank you.

#3 Saturday, April 6: WBRU Rock Hunt Finals with The Brother Kite, Kid Mountain, Lolita Black and Torn Shorts. $6. 7pm. All ages. The Met, 1005 Main Street, Pawtucket. WBRU’s annual talent showcase really hit a home run this year as all the bands are great. Will The Brother Kite and Kid Mountain split indie rock votes? Will the darkest of dark horses, Lolita Black, stun alt-rock nation? I predict Torn Shorts take the belt, but it’s definitely up for grabs.

#4 Saturday, April 13: Brown University Folk Fest. 1 Prospect Street, Providence. This is a great showcase of the best and hardest working local revival movement with Smith & Weeden, Vudu Sister, The Sugar Honey Iced Tea, and The Mighty Good Boys. Who’s playing when? No clue. What time does it start? No idea. Check out posts from the bands and make sure to get there early.

#5 Tuesday, April 23: Big Boi and Killer Mike. $25 advance; $28 day of. 8pm. All ages. Lupo’s, 79 Washington Street, Providence. Killer Mike’s 2012 album R.A.P. Music was one of the best of the year; pairing him with El-P for production turned out to be perfect. Add Big Boi to the mix and you’ve got a classic veterans of hip-hop mega show. Holding out for an Outkast reunion show? Buy a ticket to the 2018 Superbowl. By Michael Delehanty, Talent Buyer at Lupo’s and The Met Alt-Nation: New CDs, a Road Trip, and the WBRU Rock Finals

Brown Bird – Fits of Reason (Supply and Demand Music) Brown Bird is another in the recent run of successful local bands to graduate out of the Providence scene to the national realm. They spent much of the past year on tour and played the main stage at festivals like the Newport Folk Fest. It gets tricky doing things like the nominations for the Motif Awards last month to judge when it is time to start disqualifying bands for being national. Truth is, there is no higher compliment to a band to say you’ve graduated out of this. Brown Bird was one of the bands I didn’t nominate for this reason. Brown Bird may have gone national, but they still have their local roots. Their new CD, Fits of Reason, was recorded at Machines With Magnets in Pawtucket. They’ll also be doing a local CD Release show at The Met Café on April 5th. Fits of Reason, the third full-length (fourth in total) release from Brown Bird, builds sonically on the dark folk from their earlier releases. As a two-piece composed of David Lamb and MorganEve Swain, they have become known for using simple percussion with an array of instruments such as cello, violin, and upright bass. It doesn’t take long to notice the changes when the first track, “Seven Hells,” features an electric guitar. The minimal thump and biblical imagery of the Lamb’s lyrics mesh well to create a vibe of urgency. “Bow For Blade” is another winner, coming in a guitar then switching over to violin. The lyrics paint a stark picture of turmoil in the town square as Swain sings, “falling through the sky, crowds have gathered mouths gaped open wide, some are shouting, some are stupefied, others would rather be home.” The lyrics as a whole on Fits of Reason are interesting as Brown Bird list influences from different stages in history, such as Thomas Paine, Omar Khayyam, Christopher Hitchens, and Plato. The philosophical bent becomes more apparent with repeated listens on tunes like “The Messenger” and “Threads of Reason.” I’ve never been the biggest fan, but Brown Bird is much more than traditional folk. There are elements of blues, Americana, and rock that make songs like “Threads of Reason” sound like rock ‘n’ roll demos. Swain and Lamb’s combined harmonies on the closer, “Caves,” is downright hypnotizing over a simple beat. Fits of Reason shows an evolved Brown Bird trudging forward without straying from their strengths. Brown Bird will release Fits of Reason on April 2nd. The CD Release Show for Fits of Reason, featuring Brown Bird, Last Good Tooth, and Alec K Redfearn And The Eyesores, will take place at The Met Café on April 5th. There will also be a Fits of Reason after party at Local 121 immediately after The Met show with Ark Life (featuring Jesse Elliott of These United States), Smith & Weeden, and Tristan Omand.

Caroline Hecht – 10 Song Digital Download Release For the past few years, Providence has had the pleasure of enjoying Caroline Hecht’s music as a member of Tig and Bean and as a solo artist. Unfortunately, that is about to come to an end as Caroline is soon to leave town to go on a six-month unchartered tour around the country in her car playing music wherever she can. But no goodbye is any good without a party, and Caroline will be throwing one and giving out her new album that she recorded a few weeks ago. Caroline’s music is dark folk with undercurrents of blues, kind of like Cat Power or Mazzy Star. Last year she released the well-received album, Avenue of Giants, which was a four-years-in-the-making undertaking. For her new album, she changed it up and recorded everything over three days. The album hadn’t been mixed and mastered at press time, but Caroline let me hear a few tracks on the condition that I post it all over the Internet. My favorite is “Apothegm,” which is a great tell off song, somewhere between PJ Harvey and Ani Difranco. “Something So” has a kind of wistful yearning of raw emotion. “Swallowed By Swells” has a slow blues/indie folk feel. “Orchid” is another winner in the same vibe as the above. I’m usually more of a rock guy, but I really dig Hecht’s work. Caroline Hecht’s Release/Bon Voyage Party will take place on April 6th at Local 121 in Providence. The Doors are at 9 pm with $10 cover that includes a digital download card for Caroline’s latest release. DJ Micah Jackson will handle the turntable honors for the post show dance party.

Consuelo’s Revenge – Self Titled Debut CD Consuelo’s Revenge are poised to release their debut CD. I remember seeing their first show and thinking they had a type of thing going on. After listening to this disc, I can say they really sound nothing like Tom Waits. I couldn’t be happier about that. Lead singer Amanda Salemi has one hell of a powerhouse voice. The band also features Nick Smyth (Guitar/Piano/Vocals), Alexandra Gibbons (Violin), Kirk Anderson (Electric Guitar/Accordion), Kurtis Bento (Drums), and Ian Lacombe (Double Bass, Vocals). As for the biscuit itself, I never thought that I would really like something from a band in this style as much as I do! The verse of “Just The Drugs” may play out like an amped up waltz of Deer Tick’s “Ashamed,” but the song is really good. Salemi’s vocals make this tune, especially with the chorus hook and lyrics. Laccombe takes over the vocals on “Leave The World Behind,” which has a waltzing flamingo flavor, although the melody bears some similarity to Hope Anchor’s “Go.” This could just be a sign that I listen to too much local music, though. I’m pretty sure nobody else has these thoughts. “Pasadena” is another killer cut with Salemi back on lead vocals that has an up-tempo blues vibe. “Smile” has a kind of New Orleans meets Jessica Lea Mayfield vibe that hits you in the gut. On “When I Die,” Consuelo’s Revenge even branch out to dip into some gospel. Consuelo’s Revenge does three traditional covers in “Forest Flower Waltz,” “Well Well Well,” and “Henry Lee.” The cover of “Well, Well, Well” has the band sounding like early Nick Cave, while their version of “Henry Lee” may top Cave’s version on The Murder Ballads. I get a lot of things sent to me to review, but rarely does a CD make me want to go out and see the band right now. In fact, because I listen to a CD over and over in a short period of time, the last thing I want to see is usually the band I just reviewed. That said, Consuelo’s Revenge is potent enough that I actually wish their CD release show was tonight! But it is not. I’ll have to wait till April 12th for the CD Release Party, which will take place at The Spot in Providence. Consuelo’s Revenge; Girls, Guns, and Glory (great band from Boston); and other special guests, including Boo City’s horn section, will all be rocking on this bill.

WBRU Rock Finals The dust has cleared and we have the Final Four for the big dance with Lolita Black, The Brother Kite, Torn Shorts, and Kid Mountain all advancing out of their respective brackets. I went 2 for 4 on my semi- finals picks, which, while bad for me, is a testament to the overall strength of this year’s WBRU Rock Hunt field. The Finals aren’t going to be any easier to predict as I see three of the bands having the chance to take home the glory.

Lolita Black has the prototypical puncher’s chance to win. No band in this field has any chance to out-rock a band with Bob Otis in it. Lolita Black is the band that other bands do not want to follow. That said, one of the categories is “Radio Ready” and Lolita Black’s band of metal-punk is much heavier than WBRU’s format. Lolita Black is best off doing what they do best and bringing the thunder while trying to mix it up maybe a little. The Brother Kite is the universal favorite and with good reason. Their sound is polished and pretty diverse. People who I watched their semi-finals with brought up comparisons to everything from Brit-pop to Cheap Trick to Weezer. They slowed it down at one point for a song I didn’t like and played into their advantage by bringing it back up with the next one. Everybody else might have to play the perfect set to win, but these guys don’t have to.

Torn Shorts had one of the more bizarre sets in a Rock Hunt I’ve ever seen. They came on and started to play a set and then it almost looked like they had a meltdown. They stopped and got off stage for 10 minutes and then came back. It could have been a sound check, but it was just generally weird. They returned and started playing the same song and it was kind of just boring for a song or two. Then around the third song it just clicked; it was like watching the musical version of the 90s video game, NBA Jam. I even shouted, “They’re heating up!” One could see them win over the crowd, and it was no surprise when the announcement that they advanced was made.

Kid Mountain is the bettor’s long shot dream here. It’s like putting money on the Jacksonville Jaguars to win the Super Bowl. They’re kind of Americana/indie pop and who knows, it would be a great story if they pull it off. It is just a really tough year to do it. It’s really tough to pick here because my head says the Brother Kite should win. My heart always favors the underdog – Kid Mountain. My eyes say Torn Shirts after witnessing them at Fete. So I’m going to do the responsible thing and ignore all of that malarkey and go with Lolita Black. Why? Because Bob Otis winning the WBRU Rock Hunt is the coolest thing I can think of happening here. WBRU Rock Hunt Finals take place at The Met Café in Pawtucket on April 6th. Email to [email protected] A Fresh New Theatre Space in Cranston

Tom Chace playing the part of the Stage Manager in Our Town

The Artists’ Exchange has been open since 2004 at 50 Rolfe Square in Cranston, serving both the community at large and developmentally disabled adults with innovative arts programs. The creative people who run the Artists’ Exchange, operating under the umbrella of Gateways to Change, Inc., have always had new ideas but limited space.

With careful planning and judicious fundraising, Elaine McKenna-Yeaw, Director of the Artists’ Exchange, has announced that they have taken over a building just a few doors down at 82 Rolfe Square. The new space is called Theater #82. “We are all very excited about this,” says McKenna-Yeaw. “We’ve been hoping to expand for some time, and the right opportunity presented itself.”

The new space at Theater #82 has a small café with a space so that musicians will have a spot to perform. Mike and Jen Ray will run the new Characters Café. The main space seats 80 to 120 people, which triples the size of the audience they have been able to seat so far. Modular set pieces give flexibility to the space and the building also includes a huge basement level with plenty of room for a spacious green room, set piece storage and a walk-in closet for costume storage.

McKenna-Yeaw said that the entire slate of plays for the season will be moved to the new Theater #82. The grand opening of Theater #82 is set for April 5 and will include a performance of Our Town, directed by Tom Chace. In addition, the space is available for other groups to rent, and they’re already booking into August. McKenna-Yeaw hopes to utilize the building during the day with movement classes such as yoga.

The original building at #50 Rolfe Square will continue to provide a variety of arts programs, summer camps and other activities. McKenna-Yeaw plans to develop a teen music program on Friday nights and an ongoing film screening event on Saturday nights. The Black Box theatre and other smaller rehearsal spaces will still be available to outside groups to rent.

A Rhode Island comedy improv group called Bring Your Own Improv (BYOI) will now have a permanent home at Theater #82 with weekly performances on Fridays at 10pm. Daniel Lee White, founder of BYOI said, “Theater #82 had a good feel to it, run by good people. We could tell it was going to be the new place for theater and the arts in Rhode Island, and we wanted to be part of that.”

According to Christina Mealey, former Development Director for the Artists’ Exchange, Thorton Wilder’s Pulitzer Prize-winning Our Town is the perfect performance to go with the opening. Says Mealey, “Our Town is celebrating its 75th anniversary this year and contains heartfelt, universal themes. It’s the story of a small community and the simple lives of the characters that inhabit it.”

For more information about programs at the Artists’ Exchange or for tickets to Our Town, visit artists- exchange.org. To make a booking, please contact Elaine McKenna-Yeaw at elaine.yeaw@artists- exchange.org.

Photo by Christina Monahan

Words Take Center Stage in The Real Thing

Even without any foreknowledge of the plot of The Real Thing, we’re tipped off as soon as we walk into the space that Tom Stoppard’s tale will examine lives both onstage and off. Patrick Lynch’s set design incorporates a simple and obvious stroke of symbolism by blending raw, bare scenery into the surroundings, revealing the inner structure of the flats and platforms. Characters walk in and out of these unfinished areas, reminding us to question both the art and artifice of everything we see and hear. This is, of course, Stoppard’s habitual realm and The Real Thing abounds in linguistic acrobatics, not-so-romantic intrigues, a healthy dose of rock music (on vinyl, naturally), and treatises on the nature of love tempered with a dollop of global politics. If it sounds like The Gamm’s rendition of Stoppard’s Rock ‘n’ Roll from a couple of years ago (complete with obligatory Pink Floyd references), then it should. This is familiar ground for both Stoppard and Tony Estrella’s Gamm Theatre. A brilliant script by a master wordsmith delivered by a cast and production team at the top of their game. What more could we ask for? Not much, it seems.

Estrella’s Stoppard-esque doppelganger is a playwright floundering to make sense of love and monogamy in a world that, for him, abounds in wordplay and 60s AM radio classics. Real longing and passion is better expressed by the Righteous Brothers than Maria Callas. (“That woman would have a job getting into the Top Thirty if she were hyped.”) Estrella, bouncing off of his extraordinary turn in The Gamm’s Anne Boleyn, even resurrects his saucy Scottish brogue to season his often manic John Cleese-like playwright, Henry. The romantic intrigues that entangle Henry, his friends, and his soon-to- be ex-wife all revolve around words. While his friend Max, an actor (delivered with charming understatement by Tom Gleadow), appears to be the second coming of Oscar Wilde when delivering Henry’s script onstage, he is somewhat ungifted in the language area when offstage. Henry writes love as a verbal sparring, but he also cannot muster the same brilliance in his own life.

Without revealing the adulterous plot twists, suffice it say that our notions of love and marriage are torn apart and examined repeatedly. While Henry would seem to be the worldly artiste, his notions of love and fidelity are actually rather parsimonious and the women in his life float notions of free love that to Henry seem to reek of misogynistic polygamy. What Henry interprets as a life of “dignified cuckoldry” is a declaration of freedom for his daughter, Debbie, who declares that monogamy is nothing more than “colonization.” Faced with a growing suspicion that he is less patrician than he wants to be, Henry is forced to defend and re-examine all of his notions about art/love vs. commerce/sex.

Annie (a perfectly cast Jeanine Kane) and Charlotte (a forceful and fetching Marianna Bassham) tag team Henry’s sensibilities over the course of the years the play inhabits and try to temper his literary snobbery all while attempting to bolster his societal and political awareness. It sounds dry when explained, but watching actors work their craft this skillfully with such delicious dialogue is satisfying in and of itself. And, while at times, the script tends to come across as too self-indulgent, it hits the mark far more often than it misses. In the end, Henry’s notion of love as a perfect three-minute pop song seems refreshing rather than naïve, and he ultimately saves himself (and Stoppard) with the declaration, “I’m not saying writers are sacred, but words are.”

Elemental Theatre Presents Bare Stages Katie Hughes

It is reassuring to know that innovative and experimental theatre is alive and well at AS220. In the space formerly known as Perishable Theatre, now The Performance Space at 95 Empire, new ideas are thriving.

Audiences who frequented the fresh, new theatre fare at Perishable were concerned that their initiative of supporting experimental, new work would be compromised after the change. Not so.

There are several companies “In Residence” at AS220, however, the space at 95 Empire is still available to other performers. Elemental Theatre is a group still in search of a performance space of their own. They are well-known for their annual “Go-Go” plays, and are currently experimenting with the work of non-playwrights. This series is titled Bare Stages: New Plays in Various States of Undress.

That may sound odd, but many actors, stage managers and directors also want to write. So the Elemental decided to take a chance on some of these other theatre people – those unschooled in the art of playwriting. The works have been presented since the first of the year. The pieces are in various stages of development, and all are presented with minimal set pieces and no special wardrobe. Plays are presented to the audience, who is asked to stay afterward to give candid feedback to the playwright.

I went to see Coping Mechanisms and Ladle Day Saints by Katie Hughes. Hughes has worked with Elemental Theatre as a stage manager, actor and managing director. Her staged reading was directed by Alexander Platt.

Essentially, shortly after their mother passes away, a grown up brother and sister try to cope with the resulting changes at a holiday family gathering. Presented as a staged reading, it was an entertaining comedy, but with a few sad scenes. With flashbacks of the brother and sister from childhood, it all made sense, but did feel a bit uneven.

Afterward, the audience was quite forthcoming with constructive criticism, and Hughes took all the suggestions in stride, making notes in a giant binder.

It is fascinating to get a chance to see and be part of the creative process. The unschooled playwrights are thrilled to have a chance to show their work and get feedback.

According to artistic director Alexander Platt, the response to this series has been very positive. There are plans underway to repeat the series with all new plays. The next in the series is Ghost Story by Dave Rabinow on March 19 at 7:30pm.

For more information about Elemental Theatre Collective, their work and this series, please visit elementaltheatre.org.

Got Beer? An April Fool’s Pale Ale

Stone Enjoy By 04.01.13 IPA Beer nerd’s log, stardate, em… March nineteenth… point two. After much trickery and guile, I’ve been able to obtain a bottle of Stone’s latest, super-limited, highly-sought-after and wholly coveted “Enjoy By.” This specialty brew is boasted as a “devastatingly fresh” double IPA. Freshness is the gimmick here, which ensures that if we do see its like again, it shall have a completely different date. Either that or it’s an elaborate April Fool’s joke. I wonder if Stone just packaged a watery pilsner, told everyone it was a super-fresh IPA, and then said it expires on April first. I wouldn’t put it past the company whose other brews are often labeled as bastards. Let’s find out! After all, the clock is ticking on this one.

Cracking and pouring, we get a light amber color with a resilient foamy head (phrasing!) that leaves a perfect lace upon the glass. The aroma smacks of largely floral hops flanked by lesser notes of citrusy grapefruit and the fresh pine smell of the outdoors. Of sound body and with a hops bite that would take a lesser beer nerd’s head off, this brew’s final kiss of death is the alcohol content, which reigns in at 9.4%, more than double that of a typical “lite” lager in the uninspired American style.

The mouthfeel is crisp with a pleasantly tingly carbonation that dances on the tongue. The malt sweetness is present, if overpowered by the ridiculous amount of hops. While it’s nowhere near a point of balance, this is a beer for hopheads. If you’re a lightweight, then this is not the beer for you. If you’re a hophead who loves IPAs, then I hope you’ve already grabbed your bottle (phrasing) because I don’t think it’s going to be around or as fresh as it… hey, wait a tic… Alcohol is a natural preservative, as are hops… Hence the India Pale Ale, which was designed to not spoil on long sea journeys. And this is a double IPA, so it’s even stronger and hoppier than a normal IPA. Its true, hop flavor can degrade over time, but nonetheless.

Did I just figure out the April Fools joke? Why, those cunning bastards!

The Great International Spring Beer Festival

The Great International Spring Beer Festival is returning to Providence on April 20. This yearly festival of beer includes live music, food and a wide variety of beer from all over the region and beyond. The typical lineup includes names like Samuel Adams, Magic Hat, Long Trail, Sierra Nevada, Ipswitch, Berkshire Brewing Co., Trinity Brewhouse and Newport Storm. Hopefully this year we’ll see some of our newbie brewers popping up. There’s two sessions, afternoon and evening, though the afternoon session is usually more preferable as it often sees a calmer, more enlightened crowd whereas the night session often attracts the more, shall we say, overly enthusiastic imbiber.

As much fun as this event is, there’s always those people who go to these things to destroy their brain cells in exchange for a criminal record, and once again I could launch into my usual tired tirade about how you should drink responsibly, how this festival is a celebration not an excuse to destroy your better judgment and math skills, and how the Providence Police mark this date on their calendar every year.

So, perhaps instead I shall instruct you in how to be civilized. It probably will work about as well as teaching math to a cat. But if my cat can learn that pee plus the carpet equals getting dumped into a bathtub full of water, then perhaps there’s hope for all of you yet. So, let’s see if we can’t class it up a little this year.

1. Upon entering the festivities, thou art provided a small plastic sampling vessel. This vessel is not to exceed, in volume, two ounces. This might seem limited, however, the astute patron will notice that sampling is unlimited, therefore creating both the illusion of oppression and the reality of freedom. Therefore, be cautious and patient, and thou shalt taste any brews thy should want, in a moderated fashion, thereby warding off unnecessary inebriation whilst still experiencing maximum enjoyment.

2. Take care in sampling as some of these delicious concoctions can range from 5% alcohol by volume, which is slightly greater than your typical “lite” lager, to 9% or higher. If thou should imbibe such a hearty brew, perhaps getting into the nearest line of excessive length would give thou time to properly process such robustness. In addition, as there are three and-a-half hours within which to imbibe, a steady, measured pace is easily attainable and sustainable. 3. Do show the utmost respect to those gifting you with refreshments, as well as those officers of the peace who may be present. Everyone at such events are there for your enjoyment, and those performing the tending services will certainly be rather overworked. An unsociable demeanor will in no way endear oneself to them, and has, in past circumstances, often resulted in the physical ejection of the offending patron.

4. There are often, at such events that draw a largely male crowd, certain members of the female persuasion that may be scandalously clad. In such circumstances, respect is once again asked, nay, demanded such that no unfortunate misunderstandings should result in the necessity of peace officer intervention. This is, after all, supposed to be a celebration of beer, and the personal space rule still applies, despite the abundance of patrons in the limited area.

That is all, my good sirs and madams. As always, please enjoy with responsibility and good judgment when sampling your libations. Indubitably!

Alt Nation: Hot People, Take Three

The Hot People of Local Rock ‘n’ Roll continues and this week we’re spotlighting our first male in the six or seven years of the series. This man is a giant, both in stature and on the local music scene. He has his own show on WARL that can be heard on Sundays at 5pm on 1320AM. He’s one of the organizers of the Banshee Festival. He on his own fronts a punk rock band that is playing at Firehouse 13 on March 22as part of the WXIN Rock Hunt. From the band Tony Jones & The Cretin 3, let’s meet Tony Jones

MC: Tony Jones & The Cretin 3 returns once again to the WXIN Rock Hunt. Do you like the competition aspect of these contests? How do you like your chances?

TJ: A lot of times these things get poo pooed on, but we tend to like them and have had good luck. It’s also great to play with bands and meet folks we normally wouldn’t have while out on our regular circuit. Also, WXIN does a great job with their hunt and for the younger kids in the audience we’re a bit different than what they are used to seeing. Last year’s 3rd place win for us helped to fund the recording of Midnight Mass, so that was cool. This year we have a few tricks up our sleeves, and some new tunes. I think we have a shot at once again going to the final. MC: how would you describe your band to people that haven’t heard you?

TJ: Joe Moody describes us as “The Foremost Raunchabilly Band.” We bring a rockabilly/psychobilly sound infused with a bit of punk and garage, but we also try not to do too much of just one thing. With Midnight Mass consisting of only five tracks, we really took it as a chance to jump around. We go from stuff that is just plain fun, to heavy and dark. I like to make people ask, “Is this the same band?”

MC: You guys do some of my favorite covers from bands like The Independents to the Electric Six that most people don’t know about. I remember one WXIN Rock Hunt where other bands were getting dinged for covers but you guys weren’t because nobody knew it was a cover. What do you look for when choosing a song to cover and what are some of your favorites?

TJ: Not to over simplify, but we like to cover stuff that is fun – the tunes that you scream in the shower when no one is around. For me that can sometimes be some more obscure stuff. But we also like to throw in deep cuts from newer bands. I love to do The Cramps, and we always have a Ramones tune in our back pocket. We’ve actually started recording for a disc of all covers. We wanted to see some of the great tunes live on.

MC: What’s the Banshee Festival all about? Who’s playing and where can we get advance tickets?

TJ: I’ve been lucky enough to be involved with a bunch of different charity events over the years. Also, as you might have guessed, I’m also a big fan of horror and paranormal. When we found out that the great local charity, A Wish Come True (awish.org), had so much going on and so many kids they are currently working with, we wanted to help. We wanted to do something a bit different, and we wanted to go big. The Banshee Paranormal Festival is an all day all ages event at the historic Varnum Armory in East Greenwich on March 30. We’ll have vendors, paranormal groups, meet and greets and contests all day (including a beer-off with the R.I. Beard & Moustache Club). We’ll also have some live music kicking off at 7pm with The Evil Streaks, Reverend Bastien and November Party. Visit Bansheefest.com for the full skinny or facebook.com/Bansheefest. www.tonyjones.org

Lucero

Lucero are a must see act in my book anytime they come to town. Lucero reminds me of punk rockers forming a country band. Over the years they’ve expanded their sound to include a horn section and have mixed in some soul on their last two records. They are one of the best live bands in the country today. The addition of Joe Fletcher & The Wrong Reasons means that this show could definitely sell out. Get your advance tickets at the Lupo’s Box Office or online because trust me, you don’t want to get shut out!

Lucero with Joe Fletcher & The Wrong Reasons rock the Met Café on March 23.

Rachel Brooke

The Roots Hoot House Concert Series has been quietly bringing national A-List talent to Peace Dale for intimate house concerts. Next up for the root series is Rachel Brooke who’s touring behind her excellent new album, Killer’s Dream. Brooke mixes old country and a dark blues vibe to create tunes that cut through the bone. For this tour she will be backed by Florida’s Viva le Vox for full rocking propulsion. The Roots Hoot House Concert Series really nails in when it comes to finding talent that may not be well known at this time and creating exposure for the artist that he or she wouldn’t get as an unknown playing in a club.

Rachel Brooke backed by Viva le Vox will play in Peace Dale on March 24. Doors are at 4pm with the music starting at 4:30pm with an $18 suggested donation. The event is potluck BYOB. Advance reservations are required; email [email protected] or call 965-0833. Advance tickets are available online at brownpapertickets.com/event/318359.

Email music news to [email protected].

Photo by Lisa Gourley.