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First Draught: Naughty Neighbour, a sessionable American-style pale ale from Nickel Brook

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Years ago, before “beer knowledge” was added to my list of geeky obsessions, I struggled to remember the difference between pale lagers and pale ales. To some extent, they look the same, but they really share very little else in common.

Pale lagers are the beers that still dominate most markets. Pale ales grew out of the English tradition for cask bitters, and historically have been slightly stronger bottled versions of bitters. In North America, where home consumption is the default (rather than pints in a pub), American-style pale ales are the banner-carriers for the craft beer movement. One of Nickel Brook’s recent releases, Naughty Neighbour APA, pays homage to this flourishing tradition.

This APA pours a bright gold with a touch of haze, and it has a just off-white head that quickly dissipates. Wet pine needles, prickly spice and vibrant citrus peel dominate the aroma. The first sip continues on that theme of bright hop characteristics with a restrained bitterness and a barely-there backbone of maltiness. Naughty Neighbour finishes on a dry crisp note.

At only 4.9 per cent alcohol and with all of those bright and refreshing flavors, this beer sits at the end of the pale-ale spectrum that is opposite to hop-bomb IPA’s (like Nickel Brook’s own Headstock IPA). In other words, Naughty Neighbour is a sessionable pale ale and it makes good sense that it comes in a six pack.

Bright citrus flavors and a touch of refreshing bitterness also make this beer a great one for pairing with full-flavored food. I like it especially with curries – either Indian or Thai. Because it is relatively low in alcohol, it will calm the spicy heat from chilis.

In an ironic twist of fate, American pale ales are generally much better partners for the local cuisine than those fizzy pale lagers that are brewed in India and Thailand.

Nickel Brook Brewery Naughty Neighbour APA, $12.25 for 6 x 355 mL bottles, LCBO #339416

In addition to covering beer, new restaurants and food trucks for Post City, David Ort writes about food and drink for several Toronto publications including his own site, Food With Legs. He is also the author of the upcoming Canadian Craft Beer Cookbook. For more of his thoughts on food, beer and life in general, follow him on Twitter or get in touch at [email protected].

Theatre Review: Shakespeare in High Park’s The Taming of the Shrew

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Word of warning: I love Canadian Stage’s Shakespeare in High Park, but I will try to remain objective. It’s a wonderful Toronto tradition that appeals on many levels. I’ve seen some great productions and some not-so-great, but I’ve always enjoyed it. And last night was no different.

It was the opening night of the company’s second play to be featured this summer: The Taming of the Shrew. And despite some mechanical hiccups and some inconsistency in the acting department, it proved to be both a fine production and a fine evening.

The Taming of the Shrew isn’t one of The Bard’s more commonly produced plays, what with all the over-the-top misogyny and all. It also doesn’t have the big thematic payoffs that you might get from Romeo and Juliet, Hamlet or Canadian Stage’s other production of the summer, Macbeth.

This archaic domestic abuse comedy wouldn’t really fly with today’s audiences — or the audiences of the past half-century, to be truthful — but director Ted Witzel manages to coax some powerful feminism out of it. Throw in a few additional sideshow theatrics (and I mean that in a good way), add some cool music, sex it up a bit and you’ve got yourself a bona fide winner.

The storyline is simple: it’s about two sisters, Kate and Bianca, and how they end up getting married off. Bianca, played by Jennifer Dzialoszynski, is younger and popular, with plenty of suitors lined up at her door, including a mildly creepy older gentleman named Gremio (played by Marvin Ishmael). But older sister Kate (the “shrew” in question), played stunningly by Sophie Goulet, has to get married first before Little Miss Popular gets her choice of fellas.

Trouble is, Kate doesn’t play by the rules. She thinks for herself, does what she wants and is in no rush to get hitched, despite pressure from pretty much everyone. So, she’s labelled a “shrew” and is basically cursed by all who know her, including her dad. Nice, right?

While this is definitely Shakespeare’s play, there have been a few little twists added (including a bit of lesbianism, which does create some holes in the dialogue that aren’t really filled up too well). But the best part, by far, is the ending. When it is time for fiery Kate to deliver her big speech as a reformed “shrew,” some clever direction and an incredible, jaw-dropping bit of acting turn it around. Using Shakespeare’s own words, she questions the very foundation upon which marriage stands. It is a scorching inferno of criticism directed towards the patriarchal, oppressive and superficial society in which Kate is forced to reside. It is awesome, and I really don’t say that all too often.

It isn’t the first time Shakespeare’s Shrew has been presented in this way, but it is exciting nonetheless. The lead characters are memorable. The set is simple but fun. And Ryan Hollyman plays a fantastic Biondello (in addition to his roles as chief audience participation expert and all-around mood lightener).

Go, have your fun.

The Taming of the Shrew runs every Tuesday, Thursday and Saturday at 8 p.m. until August 31. Admission is pay-what-you-can, but the suggested donation is $20

A satisfying role: Toronto’s Leah Renee co-stars in CTV’s new summer comedy, Satisfaction

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Inside a TV studio at the eastern edge of Toronto, actress Leah Renee and her two Satisfaction co-stars are on set, comfortably sprawled across worn-in couches, discussing strategies for handling the mouse that’s been tormenting them in their apartment.

Their well-travelled living quarters — with colourful walls, makeshift furniture and orderly clutter — would doubtless be familiar to anyone who spent their 20s in a shared living situation in Toronto (or any other major Canadian city, for that matter). And the conversation about the mouse probably hits home as well, possibly even down to the agreement that the best way to deal with a pest in the bathroom is simply never to use the bathroom again. The whole scene screams urban, twentysomething everyday life and not the pristine Dwell magazine version of that life, either.

Then suddenly Jason Priestley yells “Cut!” and darts across the set to give his actors notes, and the full artifice of the scene comes into the foreground.

The three stars of the new CTV sitcom listen attentively to Priestley (their director for two episodes) while crew members hover at the periphery of the living room, preparing for the next take.

It’s all a show, but it looks strikingly real: the set is accurate down to the chipped paint on the apartment radiators, the tacky decor of the local hockey-themed pub and the eclectic selection at the convenience store.

This attention to detail speaks to the show’s commitment to depicting the daily intricacies of life and relationships of today’s twentysomethings — and making you laugh while doing so.

As the melee around the living room couches breaks up, Renee jokes with her onscreen boyfriend, London, Ont., native Luke Macfarlane (of Brothers & Sisters fame) and Calgary comic Ryan Belleville, who plays their third wheel of a roommate. Moments later, though, they snap professionally back into their dialogue without missing a beat.

Like her character, Maggie, Renee is from Toronto and in her late 20s. Unlike Maggie, Renee has never had to pour pints to make rent, since she’s worked in entertainment pretty much from the time she could speak.

“I like that they don’t shy away from the fact that it is Toronto.”

When her father first explained the profession of acting to his five-year-old daughter (who was curious about “how people got into the television”), Renee announced that she was the girl for the job.

“My dad said, ‘I don’t know how to help make that happen,’ because nobody in my family’s in the industry at all,” says Renee, “but he ended up taking the night shift at his job so that during the day he could take me out to auditions for commercials and stuff.”

Her family’s sacrifices and encouragement helped Renee succeed in the business from the outset; although the early days were not about showcasing her acting.

“I was really terrible in the beginning,” she readily admits, recounting having just recently seen her seven-year-old self, on an old audition tape, hard at work. “It is some of the worst acting I’ve ever seen in my life. I was definitely not one of those child prodigies, that’s for sure.”

Shaky acting and all, her nascent career blossomed.

First she focused on advertising work until she hit her stride at age nine with voice acting for animation. Upon graduation from high school, though, Renee took a slight detour away from drama to focus on her other passion —singing.

For five years she built a music career in New York, but she wasn’t quite able to find her place in the industry. 

“While I was happy to do music, I wasn’t happy with the genre of music that I was doing at that point,” says Renee, citing a pop-crazy climate in which labels were itching to find the next Britney Spears.

Her own tastes veered away from sugar-coated pop into singer-songwriter and country music territory, and when she realized she was not headed in that direction, she knew her music career wouldn’t last.

“If you’re doing something you don’t love to do, it’s probably not going to work out,” she reflects.

“Now in my spare time I get to write music that I really like, and even if I’m just singing it for my family and my friends, it’s way more fulfilling than what I was doing.”

Renee’s return to acting was, evidently, successful.

After a slew of guest spots and then a principal role in NBC’s much-hyped, short-lived Playboy Club, she landed the part of Maggie. Renee’s confidence seems bolstered by the fact that her first leading role has her playing a down-to-earth girl who is neither a Britney Spears type nor a Playboy Playmate.

“I felt more than ready to jump in and play the role of Maggie, and I don’t know if it was a different show if I would have felt the same way,” she says.

“I think that’s probably because being in a sitcom is what I’ve always wanted to do and this is where I feel most comfortable.”

That comfort is obvious on the Satisfaction set, especially in the easy rapport between Renee and her colleagues.

When she tries to downplay her own natural gifts, proclaiming “I am not the funny one on the show,” Belleville starts waving his arms behind her, miming his disagreement.

The other source of comfort is home. Renee’s downtime is spent exploring new areas of the city she loves, hitting up vegan restaurants along the way (Feel Good Guru is one of her haunts).

And Satisfaction showcases her hometown, to Renee’s approval.

“That was one of the things that I was so excited about,” she says. “I like that they don’t shy away from the fact that it is Toronto. It’s not just some random generic city.”

With the cast about to shoot on location at King and Jarvis, the actress is looking forward to an on-set visit from her grandmother, who lives nearby. (Other family members have already biked over to the studio to watch her at work.)

“I just hope we’re doing things that are appropriate for a grandmother to see, ’cause it’s a little risqué sometimes.” Renee laughs.

“I mean, we shot a scene yesterday where we walk in on Mark watching porn, and that’s not something you want your grandma to sit there and watch, you know?”

But although it might not be suitable for Grandma, this Toronto show about twentysomethings is just right for Renee.

Drink This: the Napoli Reposado from Paese

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Recognized as one of Toronto’s top mixologists, Moses McIntee has poured drinks at a who’s who list of sundown spots: Lucid, the Ritz-Carlton and Museum Tavern. Most recently, McIntee took the reins at Paese, where he’s built a well thought-out cocktail menu of crowd-pleasing libations.

The newest addition is the so-called Napoli Reposado ($14). Inspired by the Paloma — a classic cocktail that pairs tequila with grapefruit — McIntee starts by torching salted grapefruit segments with — what else? — a blowtorch.

“This intensifies the flavour,” he says, “bringing out the sugars in the grapefruit and infusing the salt.”

After muddling the fruit, the drink is loaded up with Cazadores Reposado tequila, lemon juice, rosemary-infused limoncello and crushed ice. The finishing touch? Fire and Damnation bitters, imbued with capsaicin spice and smoke.

Paese, 333 King St. W., 416-599-6585

For more must-try Toronto cocktails, check out our Pinterest page

 

Concert Review: Bob Dylan at the Molson Amphitheatre

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If Bob Dylan ever decided that he wanted to get into the business of serving up crowd-pleasing concert performances, he wouldn’t have to go far to find a pretty good role model.

Wilco, who have been travelling with Dylan as part of the Americanarama festival that touched down at the Molson Amphitheatre on Monday night, was everything that the 72-year-old legend is not. Where Dylan tends to puzzle and alienate his audience with rambling, inaudible, off-tune takes on his substantial songbook, Wilco was engaging and personable, and they looked genuinely excited to be performing.

Throughout their hour-long set, Wilco demonstrated a consistent awareness of who their audience was. Acknowledging that for one night the tour should probably be called “Canadianarama,” the Chicago-based alt rockers put forth a localized set that included covers of Leonard Cohen and Neil Young (they were joined by My Morning Jacket members for the latter), as well as a surprise appearance by Feist, who lent her vocals to the duet “You and I.” Call it pandering if you will, but the effort did not go unappreciated by an adoring crowd.

By the time Dylan got on stage just after 9:30 p.m., that crowd had actually diminished, with one faction of fans complaining that he was late (he did go on at his scheduled time, however) and other fans simply having come to see a capable roster of openers. Once the headlining act got rolling, the crowd of just under 10,000 had probably dwindled to 8,000 or fewer.

To his credit, Dylan was on his game for the most part last night. Classic offerings like “All Along the Watchtower” and “Tangled Up in Blue” were performed with relative faithfulness and with a surprising degree of clarity and energy, though the same could not be said for the mumbly show-closer, “Blowin’ in the Wind.”

Dylan also seemed committed to opening some eyes to his newer work, most notably 2012’s Tempest. Tracks like “Early Roman Kings” and “Duquesne Whistle” were performed with a gruff, lively edge to them, with the aging folk legend showing off some fire.

Unlike his November appearance at the Air Canada Centre, Dylan’s Amphitheatre performance didn’t serve as a frustrating example of how far he has fallen. It did, however, highlight the damage done by years of uneven, inconsistent and unreliable efforts, as evidenced by a surprisingly sparse and tentative crowd.

That being said, with or without Dylan, fans in attendance last night got more than their money’s worth — and that was before the legend even took the stage.

Poolside posh: Jeanne Beker picks seven of the city’s hottest bikinis

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Stay (and look) cool this summer with Jeanne Beker’s picks for the GTA’s hottest bikinis.

 

WINNER:
SHAN, SHAN, 38 AVENUE RD., $190 TOP, $95 BOTTOM
“This is a very beautiful little two-piece suit. It’s nice because it has got a solid, padded cup here that really gives you the support you need. I just think that this is a great classic suit that will take you a long way.”

 

A reptilian take
ONDADEMAR, FRAGOLA, BAYVIEW VILLAGE, $118 TOP, $78 BOTTOM
“This has a great print — it’s got a tiny bit of a metallic trim running through the print, and it’s that lizard print that’s so hot and really is becoming a classic.” 

 

In the name of nautical
BURBERRY, HOLT RENFREW, 50 BLOOR ST. W., $265
“Stripes are hot, hot, hot! They have become a classic, certainly, and they’re not going anywhere anytime soon. So, this little suit from Burberry might suit you.”

 

 

Flower girl
TRINIA TURK, PREMIER JOUR, 1288 ST.CLAIR W., $235
“If you want to be noticed in your hot two-piece, this is definitely the way to go. And it’s sexy because it’s got the little ties at the side, with a beautiful wee gold charm dangling down.” 

 

 

Beauty in simplicity
MARYAN MELHORN, LINEA INTIMA, 1925 AVENUE RD., $302
“I really like the tassels hanging off the side. It’s very feminine, very optimistic and, really, just a pretty little two-piece for the season.”

 

 

Something exotic
VIX, SANDPIPERS, 2580 YONGE ST., $240
“I like the play of the animal print stripe — although it’s navy and white, which is quite nautical. If you’re gonna go the ultra-sexy route, it’s a very classy way to go.”

 

 

A little lace
VITAMIN A, MELMIRA, 3319 YONGE ST.,$89 TOP, $89 BOTTOM
“Lace is all the rage right now, and this is a nice lacy suit. It’s extremely sexy because it’s got these big gold hoops on the sides, so you’ve got these big peekaboo openings at the side.”

 

 

Acclaimed menswear brand Suitsupply is coming to Yorkville this fall

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The first Canadian location of popular menswear store Suitsupply is set to open in Toronto this fall. Though the upcoming store’s specific location has yet to be confirmed, a company spokesperson told us that it will be in Yorkville.

The Netherlands-based brand decided to open up a bricks-and-mortar space in Toronto after developing a strong online customer base here. Suitsupply has received numerous accolades, including mentions in New York Magazine, GQ and The Wall Street Journal, the latter of which equated Suitsupply’s quality to the much more expensive Armani.

Concert Review: Train at the Molson Amphitheatre

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Under a blue sky at the Molson Amphitheatre on Sunday, Train served up a show that was not only fun, but refreshingly absent of any real promotional agenda. In front of about 8,000 fans, the boys from San Francisco gave plenty of shine to their capable opening acts, and they even offered up a few covers during a show that was high on energy and low on self-absorption.

The pop-rock trio was in town for their Mermaids of Alcatraz tour, partly in promotion of their recently released California 37. Although the new album was featured regularly during the near-two-hour set (six of their 19 songs came from the album), it never felt unwelcome, and there was still plenty of time for the older crowd favourites.

Not only were all of Train’s main hits, including the show-opening “Calling All Angels,” “Meet Virginia,” “Hey Soul Sister” and the newer “Drive By” accounted for, but the band had time to dabble into the work of other artists. Their covers included a Beatles medley, a post-“Mermaid” outro of Bob Marley’s “Could You Be Loved” and even a tongue-in-cheek take on Macklemore’s “Can’t Hold Us.”

The one constant throughout the show was an unmistakable aura of fun. It was especially present when lead singer Pat Monahan took a romp through the crowd during “Save Me, San Francisco,” but also during “Hey, Soul Sister,” which was heavy with crowd involvement, and “Drops of Jupiter,” which was belted out as part of a three-song encore.

Train’s supporting players were game to take part in the fun atmosphere. The band had country singer Ashley Monroe on hand to handle her own vocals on “Bruises,” a new collaboration track, and they allowed her a platform to showcase her own catchy-but-forgettable “Weed Instead of Roses.”

Most of the crowd was already on hand to be charmed by opener Gavin DeGraw, who kicked off the night with a tight 45-minute set. He was followed by Michael Franti & Spearhead, who created one of the night’s most memorable images when some young kids from the crowd traipsed around the stage to the uptempo sounds of “Say Hey (I Love You).”

Both openers rejoined Train onstage for a show-closing cover of The Band’s “The Weight,” bringing a satisfying, collaborative end to an awfully fun night.

Wanted: this perfect biker jacket from Philistine

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A high-quality leather jacket in a contemporary style that doesn’t cost a month’s rent seems nearly mythical these days. And hunting for it in a sea of “vegan” leather and outdated styles can sometimes feel like a fruitless endeavour.

This Ark biker jacket, available online and in stores such as Philistine in Parkdale, is the antidote to this seemingly hopeless fashion problem. Constructed from high-quality salvaged leather, this classically-cut piece fits slim and looks remarkably on-trend, given the continued popularity of motorcycle jackets. The lining is created from a soft flannel, making it a delightfully toasty fall wardrobe staple. Plus, every woman needs a touch of badass-itude in their wardrobe.

Now for the best part. This one-of-a-kind piece is available year-round at Philistine for a very reasonable $165. You could buy one for yourself and your best friend.

Biker jacket by Ark. $165. Available at Philistine

Concert Review: Marianas Trench plays the Molson Canadian Amphitheatre

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There is no question that Vancouver-based pop-punk outfit Marianas Trench are coming into their own as performers. In the past year alone, they performed in the 100th Grey Cup halftime show, served up a show-stopping performance of “Stutter” at the 2013 Juno Awards and launched their first arena tour as headliners, titled Face the Music.

But as Friday night’s Molson Amphitheatre show highlighted, they still have a ways left to go.

It’s not that the band didn’t offer up some entertainment. Josh Ramsay, Matt Webb, Mike Ayley and Ian Casselman clearly enjoy being on stage, and they brought a level of infectious fun as they moved through their songbook. Tracks like “Desperate Measures,” “Fallout” and “Celebrity Status” were crooned with no shortage of unscripted, messy dancing or eager audience participation.

But a headlining act requires more than fun, frivolity and a couple of high points. Much of the needlessly long, two-hour set felt like filler, and the inclusion of several video interludes felt like time wasters more than complementary assets. The show lacked flow and couldn’t sustain its energy for longer than two or three songs at a time.

There were other issues, too. Ramsay’s voice wasn’t bad per se, but its uniqueness — apparent in the band’s recorded tracks — doesn’t stand out as clearly live. As a whole, the band’s musicality left plenty to be desired, especially during a bland acoustic offering of “Lover Dearest.” Evidence that they have yet to completely emerge as headliners was also evident from a rather sparse — albeit adoring — crowd, with one staff member noting that he had been told the audience tally was less than 7,000.

The band’s ace in the hole over what has almost been a full year of touring as headliners has been the assistance of highly capable supporting acts. Following in the mold of other Canadian talents such as Carly Rae Jepsen, Down With Webster, Victoria Duffield and Danny Fernandes, Lights stepped up to fill the role admirably with a 45-minute set that featured hits like “Ice” and “Second Go.”

Maybe Marianas Trench should take a page from the book of their skilled opener. Armed with plenty of promise and an ever-growing fan base, their time will come. But for now, at a time when the band is probably best consumed in short bursts, less is probably more.

Chef Profile: Anthony Rose, the man behind Rose and Sons and the newly opened Big Crow

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Although he’s become known for upscale versions of the sort of simple fare that’s currently enjoying a moment, Anthony Rose, of Rose and Sons, is hesitant to slap any labels on his dishes. The 40-year-old chef-cum-restaurateur confesses that he has simply always preferred serving the food that he most enjoys making. If people find his food comforting, so be it — just don’t call it comfort food.

“It’s such a bullshit term,” he says. “For me, it’s just the only way I know how to cook. I’ll go out to eat molecular food, but I just don’t know how to do it, and I don’t really want to learn.”

Instead, Rose has taken the upscale approach to classic food that helped him make a name for himself for six years as the executive chef at The Drake Hotel. His first restaurant, Rose and Sons, which opened last year, has already made waves — both good and bad.

“People either love us or hate us,” he admits of his often-heavy, greasy spoon–inspired fare. Indeed, reviews either skew toward fawning praise of Rose’s cardiovascular-health-be-damned menu or toward lamenting his laid-back approach as the death of sophisticated dining culture as we know it.

For his part, Rose doesn’t seem to care too much what the critics have to say (the lineups of customers hungry for items like his $16 fried chicken club sandwich probably help), and instead he’s characteristically nonchalant about what makes his approach to dining a success.

“We’re cooking stuff that any of these people can cook at home,” he says. “But we put a little more love into it, cook it a little slower, make it just a little bit juicier, a little fatter.” Rose’s fried rice comes with a generous portion of pork belly, and other dishes are made fatter with Rose and Sons’ own Dr. Pepper–marinated bacon.  

“Dr. Pepper and love are two of the best ingredients,” he quips.

Despite his modesty, however, Rose’s (and chef Chris Sanderson’s) approach to the fare wasn’t something they came up with overnight. Prior to his six years at The Drake, Rose attended San Francisco’s California Culinary Academy before stints cooking in Boston and New York — the latter under renowned chef Jean-Georges Vongerichten. Still, he’s just getting started.

Earlier this week he debuted his second restaurant, Big Crow, which opened up just behind his first venue in a space initially planned as a Rose and Sons’ patio.

The focus is on “backyard barbecue,” a.k.a. quick-grilled meats — although there is some slow-cooked and smoked barbecue, too.

After that? Well, Rose hopes to open a third restaurant, a promise he made when leaving his Drake gig.

“I think when I said I was doing three, it was both the smartest and stupidest thing I’ve ever said,” he says, laughing. “People hold you to that!”

Stress aside, Rose seems to be enjoying the ride.

“This is a new chapter of my life,” he says. “The hardest day in a kitchen, when shit is hitting the fan, doesn’t even come close to being an owner.”

And whereas he’s quick to dismiss labels, Rose would be happy if the future held a permanent place for him and the familiar food for which he’s come to be known.

“I think that it makes people happy to know what they’re getting themselves into,” he notes. “Places like Allen’s — I could only ever wish to have a restaurant like that.”

Meanwhile, Rose seems to have found a loyal following by virtue of his restaurant’s old-school, rustic charms and food made with love — regardless of whether or not he’s willing to let you call it comfort food.

Tony Aspler’s Weekly Wine Pick: a stylish rosé from a Niagara winery

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This wine is so deep in colour you could call it a pale ruby. The flavour is a mix of redcurrants and cranberries, very dry, and crisp and stylish for the price.

Food match: pork skewers and tzatziki

 

13th Street Pink Palette Rosé, 2012, Ontario, $14.95. Vintages #275834

Post City Magazines’ wine columnist, Tony Aspler, has written 14 books on wine and food. Tony also created the Ontario Wine Awards and has been inducted into the New York Media Wine Writers’ Hall of Fame. He can be heard on 680News.