The Oasis Room at The Garde: Small but mighty

February 20, 2010 11:00 pm • Last Updated: February 21, 2010 3:05 am

By By RICK KOSTER Day Arts Writer

Garde Arts Center executive director Steve Sigel, left, and Ken Kitchings of Kitchings Productions have collaborated to develop the Garde's Oasis room as an intimate venue for a variety of performances, including jazz, folk, acoustic and theater.

Set your metaphorical GPS unit and follow the street called "If You Build It, He Will Come" until it intersects with the boulevard known as "Let's Put On A Show."Ahh, there you are.

Ahh, there you are. You've arrived at the Oasis Room - an intimate, 130-seat, increasingly-not-secret live music venue tucked away in the second floor of New London's Garde Arts Center.

You've arrived at the Oasis Room - an intimate, 130-seat, increasingly-not-secret live music venue tucked away in the second floor of New London's Garde Arts Center.The Oasis has slowly developed over the past year or so with sporadic but brilliant concerts by such artists as guitarist Jesse Cook and pianist Michael Kaeshammer. It's becoming a must-visit performance space featuring upcoming and renowned niche artists you're just not going to see in any other local halls.

The Oasis has slowly developed over the past year or so with sporadic but brilliant concerts by such artists as guitarist Jesse Cook and pianist Michael Kaeshammer. It's becoming a must-visit performance space featuring upcoming and renowned niche artists you're just not going to see in any other local halls.A just-announced spring schedule of 12 acts coming to the Oasis is a jaw-dropping collective of jazz, classical, rock and eclectic acts. They kick off Monday with post-bop wizards the Jeremy Pelt Quartet and include Leon Redbone (March 9), Dan Hicks and His Hot Licks (April 21), ex-Men at Work singer Colin Hay (May 6) and Patty Larkin (May 21).

A just-announced spring schedule of 12 acts coming to the Oasis is a jaw-dropping collective of jazz, classical, rock and eclectic acts. They kick off Monday with post-bop wizards the Jeremy Pelt Quartet and include Leon Redbone (March 9), Dan Hicks and His Hot Licks (April 21), ex-Men at Work singer Colin Hay (May 6) and Patty Larkin (May 21)."The whole way the Oasis Room came into being was more or less providence," says Steve Sigel, executive director of the Garde. "We'd always had the idea of a second venue, but exactly what that would be - a 400-seat theater, a 240-seat theater, a venue in an off-site location - has changed over the years."

"The whole way the Oasis Room came into being was more or less providence," says Steve Sigel, executive director of the Garde. "We'd always had the idea of a second venue, but exactly what that would be - a 400-seat theater, a 240-seat theater, a venue in an off-site location - has changed over the years."Sigel's concepts shifted with developments such as new casino venues and the downturning economy - but a friendship/partnership with booking agent Ken Kitchings of Kitchings Productions made a significant difference.

Sigel's concepts shifted with developments such as new casino venues and the downturning economy - but a friendship/partnership with booking agent Ken Kitchings of Kitchings Productions made a significant difference."While we were trying to negotiate through the economy and see which grants would come in or might not, Steve and I decided we couldn't just sit around," Kitchings says. "We had to do something. So we looked at the space that became the Oasis Room and thought, 'What's wrong with this? It wouldn't cost a lot of money to get lights and a stage and it's a nice room. We can do it now and not worry about what's going on everywhere else.'"

"While we were trying to negotiate through the economy and see which grants would come in or might not, Steve and I decided we couldn't just sit around," Kitchings says. "We had to do something. So we looked at the space that became the Oasis Room and thought, 'What's wrong with this? It wouldn't cost a lot of money to get lights and a stage and it's a nice room. We can do it now and not worry about what's going on everywhere else.'"The pair and Garde staff went to work, deepening the stage area, raising the headroom, upgrading the acoustics and décor, and generally aiming for a superb and comfortable listening area - with the idea that customers would feel almost as though they were hearing a concert in their own living room.

The pair and Garde staff went to work, deepening the stage area, raising the headroom, upgrading the acoustics and décor, and generally aiming for a superb and comfortable listening area - with the idea that customers would feel almost as though they were hearing a concert in their own living room.Over a handful of shows in the last year, Sigel and Kitchings fine-tuned the room and their vision. Both acknowledge they're still defining the space. For example, while drinks are available from the Garde's upstairs bar down the hallway, the Oasis won't be an old-style cabaret where waitresses are asking customers what they want for their two-drink minimum.

Over a handful of shows in the last year, Sigel and Kitchings fine-tuned the room and their vision. Both acknowledge they're still defining the space. For example, while drinks are available from the Garde's upstairs bar down the hallway, the Oasis won't be an old-style cabaret where waitresses are asking customers what they want for their two-drink minimum."We've been testing it, acoustically and programmatically, and in terms of comfort, and refining and ratcheting up as we go," Sigel says. "And we learned we're on the right track. The musicians that have played the room are very happy here. They like New London and they like the opportunity to play a small space.

"We've been testing it, acoustically and programmatically, and in terms of comfort, and refining and ratcheting up as we go," Sigel says. "And we learned we're on the right track. The musicians that have played the room are very happy here. They like New London and they like the opportunity to play a small space."Plus, a lot of these artists draw in Boston or Providence and New York, and they're delighted to have an opportunity to add another venue and play to new fans."

"Plus, a lot of these artists draw in Boston or Providence and New York, and they're delighted to have an opportunity to add another venue and play to new fans."Kitchings says, "There's no fourth wall, no proscenium. There's a feeling of exclusivity for the audience, and a fun, casual feeling for the performers - like they're playing for friends at a house party. There's been a lot of interaction between the musicians and the audience, and it's been fun for both. In fact, we've gotten a boost from the performers because they go on with their tours and tell other musicians about the place, and they in turn have their management contact us about playing here."

Kitchings says, "There's no fourth wall, no proscenium. There's a feeling of exclusivity for the audience, and a fun, casual feeling for the performers - like they're playing for friends at a house party. There's been a lot of interaction between the musicians and the audience, and it's been fun for both. In fact, we've gotten a boost from the performers because they go on with their tours and tell other musicians about the place, and they in turn have their management contact us about playing here."At the same time, Kitchings' and Sigel's efforts to book a 130-seat room tapped into a slightly-off-the-beaten-path entertainment sector. To wit: working, touring artists who play musical styles that appeal to a perhaps limited but, at the same time, sophisticated audience.

At the same time, Kitchings' and Sigel's efforts to book a 130-seat room tapped into a slightly-off-the-beaten-path entertainment sector. To wit: working, touring artists who play musical styles that appeal to a perhaps limited but, at the same time, sophisticated audience.For the past few years, each January, Sigel and Kitchings have attended the Association of Performing Arts Presenters conference, the largest arts booking event of its kind in the world. It's an almost surreal construct: talent buyers wander the corridors of a large hotel in New York City, peering into or entering rooms where artists are set up - everything from well-known musicians to jugglers, clowns and balloon blowers - performing in hopes of a gig.

For the past few years, each January, Sigel and Kitchings have attended the Association of Performing Arts Presenters conference, the largest arts booking event of its kind in the world. It's an almost surreal construct: talent buyers wander the corridors of a large hotel in New York City, peering into or entering rooms where artists are set up - everything from well-known musicians to jugglers, clowns and balloon blowers - performing in hopes of a gig."It's a mind-blowing experience to see musicians in that context," Sigel says. "You might have Livingston Taylor or Colin Hay playing for three people in a hotel room, and they're just putting on these sensational performances."

"It's a mind-blowing experience to see musicians in that context," Sigel says. "You might have Livingston Taylor or Colin Hay playing for three people in a hotel room, and they're just putting on these sensational performances."Sigel says Kitchings' knowledge as a music fan of great curiosity and stylistic thirst has been invaluable.

Sigel says Kitchings' knowledge as a music fan of great curiosity and stylistic thirst has been invaluable."I knew Kenny loved music, but when we started to work together it was amazing how much he knows, in detail, about artists in any genre," Sigel says. "Ken talks to agents and they appreciate how much he knows and it's developed this pipeline of talent. In a lot of cases, we're getting established names, and we're also getting known for bringing in artists who are on their way up."

"I knew Kenny loved music, but when we started to work together it was amazing how much he knows, in detail, about artists in any genre," Sigel says. "Ken talks to agents and they appreciate how much he knows and it's developed this pipeline of talent. In a lot of cases, we're getting established names, and we're also getting known for bringing in artists who are on their way up."At the same time, Kitchings says that Sigel's experience running a large arts center has provided valuable lessons and parameters.

At the same time, Kitchings says that Sigel's experience running a large arts center has provided valuable lessons and parameters."It's one thing to know the music, but the trick is to not go too crazy because that sort of indicates a weakness," Kitchings laughs. "Steve had to teach me how to put on the buyer's hat and the all-important No Factor. There's a fine line between business and art in this context, and I think it's working out well."

"It's one thing to know the music, but the trick is to not go too crazy because that sort of indicates a weakness," Kitchings laughs. "Steve had to teach me how to put on the buyer's hat and the all-important No Factor. There's a fine line between business and art in this context, and I think it's working out well.""Agreed," Sigel says. "Most importantly, we're integrating local audiences. We're getting folks in the Oasis Room who've maybe been across the street from the Garde for 15 years and never been inside. And they're sitting next to our subscription holders. Because they're all seeing something new and enjoying the characteristics of the experience."

"Agreed," Sigel says. "Most importantly, we're integrating local audiences. We're getting folks in the Oasis Room who've maybe been across the street from the Garde for 15 years and never been inside. And they're sitting next to our subscription holders. Because they're all seeing something new and enjoying the characteristics of the experience."