Folk explosion

Stone Soup and the Blackstone River Theatre celebrate their new homes

by Bob Gulla

Pendragon

"Did we have a triumph last night!" Stone Soup impresario Richard Walton whispered emphatically my way as the night of music began. Walton, in his trademark overalls and straw hat, was referring to the first of two opening nights at Stone Soup's new location, Slater Mill in Pawtucket. Walton, who cuts a figure somewhere between Will Gere and Burl Ives, with long white hair, full beard, and warm, ruddy complexion, played the part of happy host, as he usually does on Saturday nights during the "folk music" season.

Only this time, given the Soup's new location, things are a little different. Actually, a lot different. On this night, the second of the weekend's celebration, the Soup not only celebrated its new location after being in and around Providence for virtually all of its existence, it's also commemorating its 20th anniversary, a dog's age by live music standards and an eon in the cyclical world of folk music.

Walton's wry smile told the story. Fridays triumph, in which they "sadly" had to turn latecomers away -- "we hate doing that," said the magnanimous Walton -- was the beginning of a new chapter in Stone Soup's history. In the 19 years since forming the coffeehouse clique, the founders of Stone Soup have grown their venue from informal, living-room singalongs to one of New England's premier folk music destinations for fans and performers alike.

For those who knew Stone Soup from its recent nine-year stint at Gloria Dei Lutheran Church astride the Providence Place mall, you were more than likely familiar with their parking problems; you had trouble getting to shows on time, so much so that you may have even bagged trying. Well, Walton and Stone Soup felt the sting of that attrition, and after much agonizing, decided to pull the plug on that once-friendly location.

Enter Slater Mill, a spectacular new location by folk standards, one that should without question elevate Stone Soup's already rarefied place among the region's best venues. The fact that it's in Pawtucket rather than Providence is, if anything, a moot point. It's readily accessibly from Route 95, like three minutes off the highway, and it serves as the kind of classy venue the people of Providence would be proud to call their own. Not to mention the fact that it has a whopping 99 free parking spaces compared to Gloria Dei's less-than-adequate eight (legal) spots.

Beyond that there's the history. As the first water-powered workplace in the United States, Slater Mill, the site of the annual Labor & Ethnic Heritage Festival, represents the birthplace of the American Industrial Revolution, an original landmark on the timeline of labor's history. And, of course, when you think of American labor tradition, you think of the folksingers who sang on its behalf, like Pete Seeger, Joe Hill, Woody Guthrie and many others brought to prominence by Moe Asch and the Folkways organization. Indeed, Seeger has played both Stone Soup and at the Slater Mill, and, as Walton mentions, "is sort of the godfather of Stone Soup."

The venue inside Slater Mill is on the second floor. It's a long, rectangular space, supported by strong oak pillars and lined overhead by the same. Windows outline both sides of the room, one side of which overlooks the Blackstone River, the same water that powered the Mill's mechanisms hundreds of years ago. One end of the room is reserved for the coffeehouse's traditional concession of hot drinks and cookies, the other, at least for now, presents a variety of colorful, high school art projects. The stage sits in the middle of the room, against one wall, and the chairs are spread in a semi-circle around it. The sight lines are good and so is the sound. Between sets, you'll enjoy the soft lighting over Gloria Dei's church basement fluorescent monsters.

Elwood Donnelly and Aubrey Atwater

In celebration of its new location and glorious 20th year, Stone Soup kept it local, presenting a group of founding and current member performers. On Friday, they invited favorites Atwater-Donnelly, Bill Harley, and the topically enchanting Joyce Katzberg. "The mayor of the city came last night," said Walton, referring to Pawtucket's James Doyle, "and he took off his jacket and stayed the whole time!" It's a tribute to the allure of great music, not to mention a golden opportunity for the culturally bereft city of Pawtucket, to assert itself on the state's artistic map.

On Saturday, a second straight sold-out night, the stage was occupied by another batch of fine local talent, beginning with the quiet but trenchant Art Toegemann, the warble-voiced Kathy Danielson, and the silly but skilled Lindsay Adler.

The bill closed with a bang. The regional folk hit of Kate Katzberg and Steve Snyder, separated for seven years after 20-some years performing together, decided to reunite for the occasion. And a terrific decision it was. They frolicked through some old favorites, many of which were audience singalongs. Katzberg recited an affecting poem by Marge Piercy denouncing the treatment of women in society, while Snyder proved an ebullient complement and the perfect foil to Katzberg's cynical approach.

From Soup to nuts, the night proved a smashing success, a true momentum-builder as the coffeehouse careens into its third decade. "I don't think I even miss Gloria Dei," Walton smiled as he worked the room like a grassroots campaigner. With luck, no one else will miss the Soup's former site either. Slater Mill, welcomed with open arms by old fans, new fans, and the city of Pawtucket, is a natural venue for folk music. As I watched Richard Walton and the feel-good volunteer staff of the Stone Soup gang fill the room with glowing smiles, warm hugs, and kind words -- the hallmarks of a folk music night out -- it was clear that they will enjoy unprecedented success.

LOVE'S LABOUR FOUND. The occasion: the grand opening of the new Blackstone River Theatre. Executive director Bob Drouin walked slowly up to the microphone and, with a subtle smile, joked to a quiet crowd, "Such a somber occasion." He waited a beat and a half, and then, without warning, screeched, "We did it!!"And the crowd, split between older patrons and 40-something folk music and dance fans, erupted into laughter and applause.

And they did do it. Drouin, along with managing director Russell Gusetti, artistic director Mary Lee Partington, and a host of friends and supporters, rallied together over the course of what seemed like forever to turn a dilapidated, abandoned building, a former Masonic Temple in downtown Cumberland into a brand-spanking beautiful new center for the arts.

It was, as you hear often in this cash-poor pastime of the arts, "a labor of love" that took four years, or as Gusetti put it: "Four years, three months, and 20 days. I finally have an answer for all those people who ask me if we're going to open!" That's how long it took for Gusetti and a number of goodhearted volunteers to convert the former pigeon-habitat into a glistening new theater.

The Blackstone River Theatre did have a notable past life, one Gusetti and company put on hold to undertake this renovation. Back then, as now, they focused on presenting a wide cross-section of Blackstone Valley-derived art traditions, from Celtic acts like Atwater-Donnelly to French Canadian songsmiths and presentations. Today they'll push that booking envelope, enhancing it with kids programs like Rosalita's puppets and Marvelous Marvin's "The Magic of Science."

Still, to Gusetti, it seemed like a long haul. "We never realized what kind of project it was going to be until we got involved." Now the building has new everything -- from electrical systems to plumbing. It's also lead paint-free!

Considering the project was done via the volunteer method, the theatre came out beautifully, with gorgeous hardwood floors, a perfectly elevated stage for performance, and a comfortable viewing space. A garden out back, something they call a "Celtic Grove," now houses Laura Travis's sculptures, adding a rural, sort of wine-and-cheese feel.

As Cumberland's Mayor Gaschen put it, "This was a project of partnerships, of people working together for the betterment of the community." Today, Cumberland is that much better for the new theater. With the input of Partington, the non-profit cultural arts center will be presenting music, dance and folk arts tradition, largely of the Blackstone River Valley region.

Last week there was incidental music by Scottish bagpiper Eric Armour, Celtic harp music by Terrence Coe, and an outdoor traditional Irish music session. But it was mostly a congratulatory celebration, an official ceremony of gratitude and appreciation. With a lease of 15 years granted by the City of Cumberland and an ambitious booking policy, the Blackstone River Theatre has a rosy future indeed. Here's what's in store this week: On Friday at 8 p.m., Celtic harpist Aine Minogue appears with Irish flute player Skip Healy. On Saturday at 8, Pendragon, Ken Lyon and sean-nos singer Bridget Fitzgerald will perform. And on Sunday from 2 to 5 p.m., the first of the BRT's monthly French Canadian Quadrille dance presentations, with Conrad Les Joyeaux Capin's. For more information on shows at the new Blackstone River Theatre, call 725-9272, or wait a few weeks and check out their website, www.riverfolk.org.

WANDERING EYE. In other folkie news, the Peeptoad Coffeehouse is part of the all volunteer, non-profit Foster Foundation for the Arts. The organization (www. fosteringarts.org/peep. htm), led by Elwood Donnelly, is committed to bringing the best folk and traditional music to our area. They have roughly one performance a month or so, including folk fave Garnet Rogers on 9/22 and songbird Carrie Newcomer on 10/13. All performances are at the North Foster Baptist Church, 81 East Killingly Road, Foster. Admission and time is noted with each event, kids are half-price, and refreshments are available.

A venue we ought to mention more often is Common Fence Point o'er in Portsmouth. Now in its eighth season, Common Fence Music, an all-volunteer non-profit organization, promotes quality roots, traditional, world and related genres "underplayed and under-promoted" by the radio and recording industry. Located at 933 Anthony Road in Portsmouth, the Common Fence Point Community Hall is a 200-seat, intimate-style dance hall with a downhome vibe and good live sound. Kevin Fennessey and the Bluegrass Ensemble entertain on 9/30, local great Paul Geremia hits the stage on 10/7, folksinger David Olney arrives on 10/14, and cowboy singer Skip Gorman on 10/28. Check it out on the Internet at www.onaquidneck.com/ commonfencemusic.htm, or call 683-5085.

It's a big weekend for new stuff: At the Call on Saturday, the Becky Chace Band will celebrate the release of their sharp new CD, Take Your Shot. Chace, of course, was the winner of the Best Female Vocalist category in our recent Best Music Poll. Find out why. The Sneaky Midgets open for the BCB . . . Steve Smith and the Nakeds are also issuing a new disc, which features saxophonist by Clarence Clemons and songs by Nils Lofgren. They'll be at the Call on Friday, Art's Tavern in Portsmouth on Saturday, and at the Blackstone on the 22nd.