This press release is from NOMA:
On Wednesday, March 5, 2008, the New Orleans Museum of Art initiates new evening hours one day a week. The Museum will be open every Wednesday from Noon until 8:00 pm. The adjacent Sydney and Walda Besthoff Sculpture Garden will be open from 10:00 am until 8:00 pm on Wednesdays as well. The Museum and Garden also are open Thursday through Sunday from 10:00 am to 5:00 pm.
The purpose of the extended hours is not only to make the Museum available in the evening for students and those who work during the day but to help to promote the many fine restaurants, both old and new, in the Mid-City area. So after touring the Museum, visitors are encouraged to have dinner at an area restaurant. A list of Mid-City participating restaurants will be available at the Museum.
For my recent column on China Rose and its authentic Chinese menu, I sampled many more dishes than I could fit in our column space. The menu is fascinating, but offers very little in the manner of descriptions to guide the neophyte. The staff was always eager to help once we showed an interest in their traditional cooking, but their own tableside descriptions were often ambiguous as well. Imagine if you've never heard of gumbo before, much less tasted it, and you're presented with a menu listing simply "seafood gumbo." So I wanted to use this blog entry to describe more of the dishes we tried that just didn't make into the printed column.
One dish I really enjoyed but that didn't make the cut is the appetizer of steamed pork buns (pictured at right), or noodle dough filled with pork sausage. In appearance and composition, these resemble dumplings (a platonic dish at China Rose when and only when they are ordered from the Chinese menu). Yet the taste is quite different. The buns are steamed for something like a half hour, during which time the mound of pork within releases a surfeit of its juices. When you finally take a bite, the bun bursts open with this flavorful shot of pork soup.
Chris Anderson, A.K.A. the Birdman, was officially re-instated to the Hornets organization this morning in a press conference before shoot-around. Nothing truly out of the ordinary happened but there were some highlights:
Public relations may be an art to some people, but its materials don't often end up in museums or thick coffeetable books.
Here's a remarkable exception.
In one of the first publicly funded municipal promotional efforts, the city of New Orleans commissioned photographer Theodore Lilienthal to survey the city and send the prints to the Paris World Exhibition in 1867. He took pictures of buildings, sites of commerce, paddlewheel boats on the docks, neighborhoods, etc. The collection of 150 large-sized prints presented an excellent portrait of New Orleans.
by Sam Winston
That's sure what it seems like if he can stroll into a restaurant unnoticed by journalists that were at one time chasing him around the capital as he bobbed and weaved into side doors and idling cars to avoid them.
Anne Schroeder Mullins has the scoop.
I shook hands with director Wilbert L. Williams after A Soldier's Play to congratulate him on such a fine casting job. Lately, I've come to appreciate more how critical casting is to the success a production.
For example, veteran actor and Big Easy Theatre Award winner, Harold X. Evans, gives a disquieting performance in the play's most difficult role, as a black man prejudiced against other black people, especially the "Yah suh, Massah, step-n-fetchit type" (his words). Evans, an army sergeant, is hated by his all-black soldiers, and his murder causes little shock or remorse. Yet, his murder and its investigation are the crux of A Soldier's Play.
Chicago is the setting of two offbeat romantic comedies recently released on DVD. Hannah Takes the Stairs and I Want Someone to Eat Cheese With are both quirky little stories of rather odd leading characters looking for love in the Windy City.
In Hannah Takes the Stairs we follow Hannah, played by Greta Gerwig, who resembles a young Chloe Sevigny (from her Kids days), while she struggles to find herself through her work and various male counterparts. The film leaves you with the feeling that Hannah will not end up with any of the guys that she dates. Even the final scene, with her and her office romance,