Categories
Living

Orzo’s secret ingredient: A new chef’s steering the kitchen in a different direction

As tightly knit as Charlottesville is, newcomers are likely to feel intimidated—especially so in our food world, which is as inextricably linked an industry as any. Evermore daunting would be taking the helm of a restaurant that’s collected a massive following in the five years it’s been open. But more now than ever, the connections between farmers and chefs are crucial, so when there’s a new chef on the block who’s unwaveringly committed to sourcing locally, he’s welcomed with open arms.

Braised greens ravioli with chicken sausage. Yum! Photo: Andrea Hubbell

Tommy Lasley came in July via upstate New York to take the executive chef post at Orzo after Bryan Szeliga moved to Philadelphia. A North Carolina native, Lasley attended the Culinary Institute of America at Hyde Park (graduating in 2007 and meeting The Rock Barn’s Ben Thompson along the way), then stayed in the area to work at Blue Hill at Stone Barns. This particularly ambitious farm-to-table restaurant that’s also a year-round working farm crystallized Lasley’s desire to be a seasonal chef taking Mother Nature’s lead, and a local chef buying farmers’ products.

Getting a hard sell on Virginia every time he spoke with Thompson led the earnest 31-year-old chef here—and diners are only beginning to experience what Charlottesville has gained with his arrival.

Respecting the loyal customer base built by owners Charles Roumeliotes and Ken Wooten, Lasley’s been gradual and studied in his approach to change. He spent the first month working with his staff and Szeliga’s menu. By early September, he began running his own dishes as specials, and even though the menu’s now his, he gauges the interest (and resistance) of guests at every service. Comforting pasta dishes had always been a cornerstone of Orzo’s menu, and since Lasley recognizes the potentially mutinous implications behind taking away a regular’s beloved baked penne, he’ll happily make the old favorites by request.

On the other hand, we eagerly accepted Lasley’s invitation to leave us in his hands. And, welcoming the opportunity to abandon all decision-making, we even asked Roumeliotes to pair our wines.

Piquing our palates with cava and baguette dipped into lemony hummus, we noticed that while the scene on a chilly Wednesday night was as warm and lively as it always is at Orzo, the diners seemed decidedly more focused on their food—admiring, discussing, and Instagramming. And then a slate dotted with petits fours-like canapes stole our attention. Smoked trout on farro flatbread anointed with roe and chives and a pork croquette dipped in beer mustard were both glorious. Olive oil cornbread with squash and goat cheese looked like macarons, and the square of pork terrine between two crackly chocolate crisps looked like fluffy nougat.

Butternut squash soup with hazelnut oil and toasted hazelnuts arrived piping hot from just enough time spent in the oven to melt the cranberry marshmallow on top. It invoked (yet far surpassed) the sweet potato casserole that’s a requisite on Thanksgiving.

Roumeliotes came by with a tropical and briny Albariño to accompany seared scallops with sweet potato, Brussels sprout leaves, and a golden beet emulsion. And a crispy farm egg atop porcini, chickpeas, pecorino, and roasted rapini leaves was a Scotch egg gone gourmet.

We hadn’t looked up once—and the delights just kept on coming. Crispy rounds of chicken mousseline took to a plate strewn with roasted baby beets, walnuts, arugula, and ginger yogurt; and satiny discs of butternut squash joined fried cubes of squash, mizuna, and pumpkin seeds. Variations on an earthy theme that sang between sips of white Burgundy.

Pasta was next, and though the butternut squash ravioli with crispy amaretti, pear mostarda, crispy sage, and brown butter was far more refined than Orzo’s former pastas, it was no less comforting. Half moons packed with peppery, prosciutto-braised greens and mascarpone then studded with crispy chicken sausage met their match with an herbal and juicy Ruché from Piemonte.

When the black wine of Cahors was poured, we were warned that the end was in sight. And the grilled octopus with merguez, potato gnocchi, chili oil, and crème fraîche, plus the Rock Barn pork with Brussels sprouts, apples, and rutabagas, made for quite a finale.

We were still digesting the sheer glory of it all when Lasley came by. We couldn’t help but gush. While he hasn’t had time to dine around town much, he visits local farms every day. It will be a while before he can cook his locavore heart out, but he’ll still work with plenty of farmers throughout the winter, because as he puts it: “We only cook what we can get.” Well, we’ll take it.

Categories
Arts

Frank Fairfield makes a quiet return to the Downtown Mall

Old-time-music enthusiasts who missed Frank Fairfield‘s appearance in town two weeks ago, as well as fans eager for a second helping, are in for a pleasant surprise.

We spotted the distinctive Fairfield — hard to miss, with his vintage suite, pomade-ed hair, and a mustache worthy of Daniel Day-Lewis in There Will Be Blood — busking on the Downtown Mall this afternoon, entertaining cold passers-by with century-old fiddle tunes.

The whims of a traveling musician have apparently landed Fairfield in Charlottesville again for a few days, and he’s struck up a residence at the Southern Café and Music Hall, playing tunes in the venue’s bar area, Wednesday through Friday (November 28th – 30th).

It’s an extra treat for attendees of those concerts (David Wax Museum on Wednesday, the Last Bison and Hill & Wood on Thursday, and the Steel Wheels on Friday) but curious passers-by can check it out as well, as the Southern’s front bar area doesn’t require paid show admittance. Fairfield seemed unsure of precisely what time he’d be performing, but his vast repertoire ensures he’ll find a captive audience whenever and wherever he strikes up a tune.

For more on Fairfield, check out Andrew Cedermark’s homage published last year.

Categories
News

Charlottesville’s Facebook page goes viral

Every marketing firm and tourism board in the country is searching for social media’s magic bullet, and the Charlottesville Albemarle Convention & Visitors Bureau might have found it. With a small budget and a young social media coordinator’s instinctive touch, the CACVB’s Facebook page has shot to the top of national user engagement ratings.

John Freeman, 25, has had a front-row seat for the rapid rise of social media, but the Crozet native and UVA grad said he never thought he’d make a career out of Facebooking. Still, when the job with the CACVB opened up in 2010, he went for it. If a revolution was on the way, he said, “I’d rather be on the front end of it.”

When the CACVB started trying to build its social media presence a year ago, the page had 1,000 followers, Freeman said. He’s raised that number to over 41,000.

It turns out people who like our city love to say so. Professional Facebook watchers say the industry average for a page’s engage-
ment-—the number of people liking, commenting on, and sharing posts—ends up being about 5 to 10 percent of total page likes. For the CACVB page, it’s over 100 percent.

Many destination cities pay experts big bucks to get numbers like that. But Freeman developed his formula on his own: Post pretty pictures with a little attitude, and have a good understanding of your key demographic—mostly middle-aged moms.

Other tourism bureaus pour money into contests and giveaways to lure fans, he said. “We’ve just never done that.” The CACVB spent $11,000 on its Facebook campaign in the past year, Freeman said—just a sliver of its budget of over $1 million.

Late last month, a few well-timed posts quoting Jefferson on politics and some beautiful photos of fall foliage seemed to be driving activity on the page higher than usual. Freeman decided to check the major sites that compile data on the universe of 42 million-plus Facebook pages. “I pulled up the rankings for travel, and there we were. It was Disneyworld, Vegas, and us.” The Charlottesville page has now topped the social engagement lists for three weeks running, beating out sites with a million or more fans.

So what’s in a Facebook “like,” anyway? A lot, it turns out. The traditional method of marketing a destination has been to buy print ads and hope readers pause on the right page, Freeman said. “But with Facebook, you’re in their living room three times a day.”

And a recent study of fans of the Baton Rouge, Louisiana Facebook page found that each “like” brought an average of $56 in annual spending to the area, he said. Based on those numbers, CACVB’s social media presence is worth millions.

Freeman said the job satisfies his competitive nature, but he also brings to it the passion of a native son. He loves seeing other people rave about the area online. “‘This is where I grew up,’ ‘This is what I call home,’ ‘When I think of heaven, I think of this’—it gives you a different appreciation for living here,” he said.

Categories
Arts

Stand-up comedian Sheng Wang derives the oddball from the ordinary

Comedy in plain sight

Approaching the ordinary as absurd, Sheng Wang tells relatable tales laced with oddball observations within his own striking distance. “There’s a restaurant near my house called Sheng Wang. It’s spelled exactly like my name,” his deadpan delivery begins. “All my friends tell me I have to go and eat there, and I secretly agree. I don’t know what’s supposed to happen, what kind of fantasy I’m expecting. Like if I walk in and the whole staff will go, ‘Oh my god, it’s him! Man, we’ve been waiting for you. The prophecy has begun.’ And I look around, and there are baby pictures of me everywhere.”

While many of his contemporaries rely on shock and awe, Wang doesn’t strive to push the envelope. He turns stories about automatic paper towel dispensers, dental floss, and hardboiled eggs into laughs through physical comedy and tongue-in-cheek observations. “I don’t come off as a very edgy comedian,” Wang told C-VILLE. “I’m not too crazy about, or interested in, shock value. But if there is something I want to talk about, I don’t censor myself. I don’t want to preach, and I don’t want to say things that are lies or not honest. I want to make people think, and I want it to be funny and smart.”

Wang caught the bug to pursue comedy after participating in a performance group while attending the University of California, Berkeley. “I got involved with a performance arts group. A very amateur group that would let you do whatever you wanted on stage, and got a little taste of what stand-up was like,” he said. “I did horrible stuff.” He honed his routine in Bay Area clubs before making the jump to touring nationally. “It was a thrill to be a part of something creative and a live performance. After I finished college, I realized I didn’t want to do anything else. “ So he hit the road with the Comedians of Comedy and then American Eagle’s Campus Comedy Challenge. He is frequently in the line-up on Comedy Central and had his own half-hour special on the network in 2011.

The Taiwanese Texan comedian’s website defines his current residential status as “Sheng Wang pays rent in New York City.” As a new New Yorker, Wang is cautiously adjusting to the pace of big city life, and working out his fears through his art.

“My biggest paranoia in New York, my main fear, is bedbugs,” he began. “It’s how one day when I was falling asleep I felt something fall on my body, and I thought it was a bedbug. I thought, ‘This is it, I may have to throw all my belongings away and leave.’ Then I turned on the lights and it turned out to be a cockroach. And that’s disgusting, but in New York that became a positive experience for me.” Seeing the humor in such acceptance, Wang added, “So, it was a relief. I guess I’ll stay a little longer. I thought I had a problem, but it’s only roaches.”
http://www.youtube.com/watch?v=Ggx9kLLkpME

After 10 years playing a comedy scene wrought with talent, Wang is looking toward that bigger break. “I love doing a good show, but the most fun to me is writing new material and new jokes. Finding a new connection to the audience,” said Wang. “I’m working on being more of a presence on stage. Every performance is completely unique and you need to go with it. That is a philosophy that is interesting and inspiring to me.”

As a tactic for self-motivation, Sheng Wang has set some goals: “I’ve been trying to get my shit together… I want the perfect album—and when is that gonna happen? I have set this goal for myself, where I’m not drinking or smoking until I complete that project. Two parts to it: One goal is the album, the other is that I am trying to get 100,000 followers on Twitter.” He is currently just below 3,000.

Traipsing the comedy circuit doesn’t feel like a job to Wang. Beyond working out new material, another passion is sampling food on the road. “In general, I like to eat anything delicious,” he said. “When I’m on the road I like to seek out the best.” He hopes to find good barbecue, shrimp and grits, and chicken and waffles on his next stop in Virginia.

Looking forward to his third return to Charlottesville, it seems the city has worked its charms on Wang. “It’s a cool little town. Beautiful, and the people are nice,” he said. “I remember eating pretty decent food. I like a little bit of nature, good food and good people, so as far as I’m concerned, Charlottesville is a happy place for me to visit.”

Have your say. Drop a line to mailbag@c-ville.com, send a letter to 308 E. Main St., or post a comment at c-ville.com.

Sheng Wang/United Nations of Comedy Tour

Paramount Theater on December 1

 

 

Categories
Arts

ARTS Pick: Parachute

Double bubble

Crush-pop Charlottesville natives Parachute received national attention through two major label albums, and non-stop touring that includes stage-sharing with the likes of Kelly Clarkson and megastar Taylor Swift. The group of five best friends has had anything but the slow descent implied by its name—it’s been a crash-landing into musical success. For its annual homecoming shows, the band is performing one album in full, each night, along with plenty of unreleased tracks. A rewarding tradition for family, fans and friends who helped them launch.

Thursday 11/29 and Friday 11/30 $18-50, 7:30pm. The Jefferson Theater, 110 E. Main St., Downtown Mall. 245-4980.

 

Categories
Arts

ARTS Pick: Charlie and the Chocolate Factory

Hats off

Charlie and the Chocolate Factory is the latest gem in a long line of family-pleasing productions from the Black Box Players and its founder/director MaryAnne Thornton. An active realtor, a children’s book author, and sponsor of the annual C’ville Jr. Idol competition, Thornton has provided community access to the stage since 1986. She has led her productions with hands-on everything, from scripts to costumes to sets, and worn many, many hats along the way. Thornton gives her gift, and keeps on giving.

Through 12/9 $9, times vary. Burnley Moran School Auditorium, 1300 Long St. 970-7600.

 

Categories
Living

Oh, behave! Should you connect with someone new while on a date?

Modern dating is full of etiquette land mines, from appropriate texting to when to “friend” request. But here is one I am most curious about since available single people are rare in the “middle” age bracket: What is the etiquette for connecting with someone else when out on a date?

The situation:
You are at a party with a date with whom you have not yet committed to a singular relationship (we used to call that status “going steady”). You meet an attractive, available person with whom you have much in common and you would like to get to know better. Should you:

A. Give them your number and ask them to call you? After all, good prospects are scarce.

B. Wait for them to ask for your contact information and give it freely? They made the first move. Obviously they are interested.

C. Neither give nor receive contact information? Behave! You are out on a date after all.

D. Get their contact information later from the host or a mutual friend? This discrete tact saves face for you and your date while allowing you a way to pursue something interesting.

Given the lack of information available online on this particular subject, I consulted the next best source of information at hand—my Facebook friends—and got some pretty hilarious answers . One likened the situation to U.S. international relations and bridge-burning, using a supply and demand model. Another suggested that cuteness and winking would smooth over any bad feelings on the date’s part and entice the third party. Several responses concerned defining the “dating” relationship and gave answers based on the level of involvement—the more involved you are with the “date,” the less passing out of contact info you should be doing. But my favorite response was this: Take a cue from Frank Sinatra’s song list (not his personal life) and listen to the lyrics of “Luck be a Lady Tonight.” I think my friend meant this stanza in particular:

A lady never flirts with strangers
She’d have a heart, she’d be nice
A lady doesn’t wander all over the room
And blow on some other guy’s dice

I have to agree. The way one behaves in public speaks volumes regarding their character. Plus, if dating is an audition for a long term relationship then loyalty is an important character trait. I would be offended if my date gave out contact information to another woman for personal reasons (business is another matter). It shows a lack of respect. If I am out with a guy and we are just friends and we both have a clear understanding of that, then I would explain that to any potential dating material before I gave him my contact information. If the date and I are not exclusively dating, I would totally get the third party’s information from the host(ess) later.

It seems to me the better behaved one is, the better chance of attracting a nice person in the long run.

Mary Burruss is a freelance writer and blogger who thinks moving to Charlottesville was one of the best decisions she ever made. She writes about art and culture for pubs like Art Times, US Airways Magazine and Virginia Living, and blogs on culturenuts.wordpress.com and datingbycommittee.wordpress.com. Salsa dancing is the latest in a long string of her passions.

Categories
Living

Wine, cheese, and a Beer Run: This week’s restaurant news

Clifton Inn makes a Beer Run
Tucker Yoder of the Clifton Inn teams up with Beer Run on a collaborative “Winter Beer Dinner” on Monday, December 3. Five inventive courses will be paired with unique beers inspired by winter from Bells, La Chouffe, Victory, 21st Amendment, and Liefmans breweries. Festivities and canapés begin at 6pm, with dinner seated at 7pm. For more information and to make reservations, visit cliftoninn.net.

Fresh off the bottling line
The long awaited 2011 Painted Red—a blend of Cabernet Franc, Syrah, and Malbec—and Painted White—a blend of Viognier, Rousanne, and Marsanne—wines from Blenheim Vineyards are finally bottled and ready, with label illustration by owner David Matthews.

The pre-sale of these wines runs through Sunday, December 2. This is the only opportunity to try these wines before they are available anywhere else, and at a discounted price. Each purchase also includes a limited edition, screen-printed, numbered handbill. Order online at blenheimvineyards.com, or purchase in the tasting room at the winery.

Wine and cheese, please
Join Keswick Vineyards on Saturday, December 8 from 1-4pm for a wine and cheese pairing. Keswick staff will lead a sensory adventure in the Barrel Room with cheeses from Caromont Farm and Keswick wines. The cost is $15 for wine club members and $20 for nonmembers. Walk-ins are accepted, or reservations can be made by calling Sandy at 294-3341.

Categories
Arts

Charlottesville’s tiny experimental metal scene gains ground

Heavy lifting
There are few local concerts I’ve anticipated as much as the upcoming quadruple bill at the Twisted Branch Tea Bazaar. The line-up boasts four excellent acts, all existing in the Venn diagram where heavy metal and psychedelica overlap with experimental music and improvisation. Such concerts are infrequent in Charlottesville, but are known to draw a small crowd of impassioned devotees, and are often among the best cultural events of the year, for those willing to step off the beaten path and bring a set of earplugs.
Kohoutek is a collective of improvisational noise and psychedelic rock musicians from D.C., loosely organized by drummer Scott Verrastro. The group plays formless, shifting instrumental jams that can stretch up to a half-hour in length, but its aesthetic hearts lie closer to experimental groups like Can and Sonic Youth than party-oriented jam bands like Phish. The band’s improvisations can take dark and unexpected turns.
The restless experimentation may mean the results aren’t always consistent or predictable, but on a good day its one of the finest live groups around. Verrastro often plays a key role offstage as well, organizing gigs and small tours for a number of notable and unlikely musicians, and it’s thanks to his efforts that Charlottesville has seen appearances by British folk legend Michael Chapman and veteran free-jazz vibraphonist Khan Jamal. Friday’s appearance is part of a short tour leg with another well-established figure, Junzo Suzuki.
Suzuki has played in the Japanese heavy-psychedelic-rock scene since the early-’90s, most prominently as a member of Overhang Party, playing groovy assaults of classic rock style riffs, boiled in distortion and reverb, and drizzled with endless feedbacking guitar solos. But Suzuki’s career extends well outside of that group; he’s also collaborated with an impressive roster of like-minded musicians, including members of Fushitshuya, Incapacitants, LSD-March and Acid Mothers Temple.
Suzuki’s current tour, his first in the U.S., will feature a series of solo performances for guitar and vocals. While his solo material is generally calmer and gentler than many of his rocking collaborations, it can be equally mind-expanding. “There is not much difference between playing alone and playing in the band or group for me,” Suzuki said. “But one thing—when I play alone, I have more direct conversation with my cosmos.”
Many bands who play “doom metal”—a sub-genre based on slow heavy metal chords that focus more on atmosphere than on tight riffs and guitar chops—end up sounding like a swampy sludge, for better or for worse. Horsefang, in contrast, sound like a parched, bone-dry desert. The local trio, headed by Nicholas Liivak, play sparse instrumental anthems, invoking wide-open spaces and timeless dread. Even when the band builds up to a pounding climax, the mood stays subdued and thoughtful. Its masterpiece, “River of Dead Horses,” eventually slows to a crawl until whole seconds pass between the individual pounding thuds.
For several years, Horsefang was a mainstay of Charlottesville avant-garde and metal concerts, but eventually the band slowed to a halt, finalized by the departure of its drummer. “Horsefang had lost a lot of momentum even before that,” Liivak wrote. “Building inertia is difficult in the best of times, and an absolute band-killer during the worst.” Luckily for local music fans, Horsefang has recently reunited, playing a handful of shows, revisiting half-completed recordings, and composing new material. Liivak and bassist Aaron Sanders are now joined by Jonny Kuthy on drums. “I hope by this time next year to be much busier musically,” said Liivak. “Our first show was in a basement, and our last show could be in a basement too. But hopefully, a basement with a wide staircase and more than one power outlet.”
The other major figure in Charlottesville’s tiny experimental metal community is Maxx Katz, known to locals for her roles in groups like Red Wizard and the Galactic Core, as well as a touring member of the Brooklyn-based group USAisaMonster. Her solo project, Miami Nights, began as a one-woman wall of crushing doom-metal riffs, a freeform ocean of deafeningly loud guitar buzz, over which Katz shrieks in a throat-shredding Viking roar.
“I was intentionally trying to do things you couldn’t do with a band,” Katz said. “You can add as many pauses, create as much suspense as you want. You can change the rhythms whenever it feels right—people may not understand what you’re doing, as much as when you play with a drummer, but you get to go all sorts of places on your own.” Nevertheless, the band soon evolved into a three-piece; Katz is currently backed by Dan Sebring and Nathaniel Bogan. “I’ve really enjoyed playing with Nathaniel and Daniel,” she said. “They’re a really great rhythm section. It changes the sound—it has to change, when you play with a band. I can’t do any of the old songs with them, but I’m working on making up new songs for the show. Who knows what will happen.”
“I’m really stoked for this show,” said Katz. “Horsefang is always great, and I’m looking forward to hearing the other bands. I feel like Charlottesville hasn’t had a weird show in a while, so I’m hoping this one is gonna be far out.”
Horsefang, Kohoutek, Miami Nights, and Junzo Suzuki play the Twisted Branch Tea Bazaar on Friday, November 30. The show begins at 9pm.

Have your say. Drop a line to mailbag@c-ville.com, send a letter to 308 E. Main St., or post a comment at c-ville.com.

Categories
Arts

Dark Star Orchestra keeps it real for Deadheads

An unfortunate but well understood fact of life for the contemporary Deadhead is the ubiquity of piss-poor cover bands. There are many categories into which these imposters may fit. On one side of the spectrum you’ve got your well-meaning long-hairs. Troupes of patchouli drenched neo-hipsters convening in moldy garages, stoning themselves into smiley oblivion, noodling through limp-wristed takes on “Fire on the Mountain”, “The Other One”, “I Know You Rider,” etc. Then, more sinister,   are the capitalist-minded poseur types. Those nine to five-ers who’d love nothing more than to cash in on the upcoming generation of post-Jerry heads.

In short, covering the Grateful Dead’s music is not to be taken lightly. For many, these tunes are a religion. And the concert hall is the church. Although they may each tell it a bit differently, real devotees will all attest: there is a tangible magic that occurs at such gatherings. The band is the facilitator, the music is the vessel, and dancing is the act of communion. This is something that cannot possibly be faked. For a band whose live-music archive is more circulated than any other group in history, there are just too many experienced listeners.

Luckily, there is light, in the form of the Dark Star Orchestra. These guys sound less like a cover-band than a revitalized, fountain-of-youth-dipped version of the original lineup. The vibe is absolutely authentic. And there is a reason for this. The band selects a particular show, studies the set-list, and replicates the event as truthfully as possible. Thus, attending a Dark Star orchestration is much like taking a ride on a time machine. A ticket to this show buys you a trip into the purportedly vanished, psychedelic realm of ’60s and ’70s San Francisco.

Once upon a time, vigorously endorsing some Led Zepplin impersonators, slamming his fist down on the healthily lacquered hard-wood, a drunken bar-mate proclaimed: “Close your eyes and it is Led-fucking-Zepplin.” Dark Star Orchestra takes the fanaticism of this concept a step further—there is no need to close your eyes, the band even looks like the Grateful Dead.

On Wednesday, the faithful will be digging these guys  in the Jefferson’s intimate setting. That’s where things’ll be shaking—no poking around necessary. —Eric Wallace

Wednesday 11/28 Dark Star Orchestra/The Jefferson Theater