Summer Shows at SFMOMA Range from Timeless Contemplation of Nature to Timely Social Quest

Much anticipated “Natural Affinities” exhibition of Georgia O’Keeffe and Ansel Adams opened at SFMOMA, defined by the curatorial juxtapositions of O’Keeffe’s color-obsessed paintings of mountain ridges, plants, and indigenous architecture and Adams’s black and white tonal photography of the same subject matter. The dialog of the two great American artists, equally fascinated by the grander of Nature, unfolds in the dry desert air of New Mexico, under its vast blue sky, on the land scarcely populated and far removed from the mainstream masses and events. In this rarified air of solitude and close observation evolved the masterpieces of O’Keeffe’s sensual, feminine abstractions of hills, trees and flowers, characterized by delicate yet meticulous and disciplined brushstrokes (perhaps, a far consequence of her upbringing by a stern mother and severe nuns in a boarding school). Similarly, Adams’s photography is highly recognizable through the amount of labor invested in its measured exposition, adjusted contrast and the very choice of a particular moment in the life of nature when it creates a stir – a cloud in the sky, a shadow in the snow, a foam on a wave crashing against a shore. The show is challenged by another important exhibition, also just opened in the Photography gallery – “Looking In: Robert Frank’s ‘The Americans’,” a profound socio-psychological venture into the very soul of the nation, taken step-by-step, person-by-person, all across the country, exposing the loneliness, the misery, the desperate hopes of the people crushed by the injustices and inequalities of their daily lives, clinging to each other in search of love and solace in public parks, diners, and on the roads of their land of the free. The exhibition is dedicated to the 50th anniversary of the famously important photography book, created by Frank after a nine-month exploration of “the kind of civilization born here and spreading elsewhere” – it seems, not only in space, but also in time, affecting the present as well as the past. The O’Keeffee/Adams show closes on September 7, and the Frank show on August 23. San Francisco Museum of Modern Art is located at 151 Third Street, SF. Call 415-357-4000 or visit sfmoma.org. Images: 1. Georgia O’Keeffee, The Black Iris, 1926. 2. Ansel Adams, Winter Sunrise, 1944. 3. Robert Frank, 40 Fotos [page 19], 1946. 4. Robert Frank, 40 Fotos [page 20], 1946.

Paris Found at Left Bank, San Mateo

Recently added to the menu authentic French delicacies – les tartes flambees and house made pates – were reason enough to forgo my trip to Paris (not feasible anyway with our euro-to-dollar situation and their fears of our flu), and settle for the Left Bank in San Mateo, one of the five locations owned by the chef/owner of La Folie, Roland Passot. I now can wholeheartedly recommend both the classic Alsacian thin crust tarts topped with duck confit, onions and mushrooms, or shrimp, chorizo and tomato sauce, or with other delectable combinations, and the pates, be it chicken lever truffle mousse or duck and pork rillette, or just an old favorite chunky country pate. Also added to the menu are two innovative meals: a TGV speedy lunch, named after a high-speed French train, and a $21/21h supper, served in two courses after 9 p.m. Not that the old tried and true menu is not enticing enough with fresh oysters, creative appetizers, and daily specials of slowly cooked classics like beef bourguignon, bouillabaisse, or duck a l’orange. Left bank San Mateo executive sous chef, Brendy Monsada treated my dining companion and me to his own spicy tomato-y lobster bisque and some silky-smooth seared foie gras. Brian Emerson, manager, admitted that it is not unusual for the kitchen crew to feel a sudden kinship with one or another party in the dining room, and spoil the patrons rotten with additional niceties, just because… A wonderful glass of rose (Lebreton Domaine des Rochelles cabernet d’Anjou) added a refreshingly sweet, fruit forward note to my tart Perigord, and some great pinot noir and cabernet sauvignon tastes were duly noted (Kenneth Volk, Santa Maria Valley 2006 pinot definitely prevailed even over good French ones). The wine list with all the martinis, aperitifs, and pastis, is very much Left Bank, Seine, as well as the ambience – red velvet curtains, antique posters, intimate booths, and an open kitchen decorated with a copper porker – a symbol of the restaurant. Located at 1100 Park Place, San Mateo. For reservations, call 650-345-2250 or visit www.leftbank.com. Photography by Yuri Krasov. 1. Bar at Left Bank. 2. Outdoor seating. 3. Executive sous chef Brendy Monsada. 4. Steak frits, so French!

Shanghai 1930 circa San Francisco 2009

In a city with the largest Chinatown on the West Coast and second largest in the nation, how hard it is to stand out with some traditional Chinese food preparations? Cynthia Wong-Chen, co-owner and chef of Shanghai 1930, featured in Taste TV’s newly released book “Sexy Dishes,” took on the challenge. At first, one might have imagined that Cindy’s appearance on the coveted pages was assured solely by her good looks. However, on the night we dined, her prix-fixe 5-course proved that her culinary talent was as good, indeed. After a refreshing Shanghaipolitan – the signature cocktail of the house, Nanking Spring Rolls were crispy and full of flavor, and Neptune Hot and Sour Soup packed a refreshing punch with vinegar and chili added to the broth that contained chopped seafood, tofu and eggs. Crispy Chewy Szechwan Beef in slender slivers lived up to its name, and Fish Pillows were accompanied by thin ribbons of rare tree ear fungi, both black and silver. A crème-brulee dessert, although, hardly having anything to do with Chinese cuisine, was nevertheless smooth and creamy, not at all eggy, with some smoky undertones and a perfect caramel crust on top. Shanghai 1930 makes an effort to maintain the allure of its namesake with the intimate booths and family-style tables in a darkish, underground dining hall, decorated with sparse thematic artifacts, and enlivened with nightly live jazz performances. Catch Kelly Park Trio tonight, or Jeanette Harris Quartet tomorrow. For more information, reservations, and jazz schedule, visit www.shaghai1930.com. Shanghai 1930 is located in the Embarcadero restaurant row at 133 Steuart Street, SF. Call 415-896-5600. Photography by Yuri Krasov.

Supperclub Experience Offers Lots of Drama

There is supper, and there is club, but the two don’t mix like oil and water. A young Sexy Dishes book-featured chef, Alex Molitz, does his best with the fresh produce and some succulent chicken leg (which is about the sexiest leg in house) but honestly, the food could have been much worse, and no one would have noticed. Well, where to begin… the concept started in Amsterdam eons ago, spread out to London, Singapore, Istanbul, and they say, Kiev… haven’t been to my home town in ages, but here, in San Francisco the experience seemed rather juvenile, and in part dramatic. Oh, I know, I know, I’m so 15 minutes ago with my silly demands for professionalism. Now, to the dramatic part. Scene 1. On arrival, I’m asked if I have a reservation. (Duh, how else would I be here?) Who confirmed your reservation - Adelaide, Aurora or Eugenia? (all names changed to protect… who knows who). Hmm… Mary Smith confirmed my reservation. Who? A person who works here. On staff. Has a position. Title. I think she does. She has a business card (I’m losing ground and searching for the card)… Hmm… What is your name? Emma Krasov (my own real name, not changed). Oh, I see, you are Arcadiana Catnip? No, I insist on being called Emma Krasov. Ok, but you are Arcadiana Catnip on my list. (?) (A series of suspicious glances. I feel like a person who does not know her own name.) Ok, here’s a ticket for you. Stick it to your chest, proceed to the bar, have a drink, and wait there to be seated. Scene 2. In the bar (red light, 25 disco balls flickering overhead, groups of bare-shouldered women from 30 to 60 having girls’ nights out or just looking for guys on the off chance guys do come here on their own). A bartender: where is your ticket? I stick my chest out. That’s all you got? I feel insulted. No one complained before. Oh, he means a ticket, some additional ticket. No, don’t have any. That’s the only ticket stuck to my chest that I got at the entrance. Ok, he says, what would you like to drink? Me: I prefer sour cocktails. Please give me your least sugary one. How about this sourpuss with a lemon wedge? (all names made up). He: no, that one is no good. Try this one, I invented it myself. It’s so sweet, everyone loves it. Very popular. Called sweetness wrapped in sugar. (No point in arguing, right?) Scene 3. An hour later, the bar area empties with the last groups of supperers being taken inside, behind the white double doors with letters S and C on them. My dining companion and I are all alone in the bar under the strange looks of twin bartenders. I start regretting my stubbornness. Should I have agreed to be called Arcadiana Catnip we might have been taken inside half an hour ago. Scene 4. Inside. Wide white beds with large pillows along the perimeter of the dining room. People take off their shoes and awkwardly climb up. Tiny tables are placed in front of them. Strobe light in pink and purple hues. An abstract film projected on the back wall. Deafening music. Our hostess looks around helplessly and sees no place for us. She gestures toward two groups of diners on the bed. Do you want to sit in-between, by that round table? The round table is actually a tray put between two buts (pardon me, backs of the seated patrons). The arrangement does not seem feasible… She walks away to consult her colleagues. Do you prefer to sit in the upstairs area? Scene 5. Upstairs. The blasting speakers are now on the ear level. I feel how those tender little sound receptors die out in my ears in droves. Our waiter, [over]dressed in Adidas (others are in drag and rags of undistinguishable sort), decidedly cannot hear us, and just because he happens to wear shades in a half-lit room, he most likely cannot see us either. Good that the menu is prix-fixe, so I just nod and smile. Scene 6. Performance and massage (yes, you read that right). All waiters are performers. Acrobats, contortionists, pole dancers, and what not. They perform their numbers between the courses, and then make up a living staircase from the open kitchen to the tables on the second level to deliver the next course. From our vantage point we can clearly see how the food is prepared conveyer-belt style, and some flashing body parts of the performers (all the legit body parts, don’t get me wrong), but the full view is obscured by the security fence. The concept of actor-waiter comes to its full bloom here, although it’s hard to tell which side of it comes across as more amateurish than the other. What blows me away though, is the presence of a stocky middle-aged masseur dressed as a waiter in a long black apron. He is wearing glasses and his hair is braided on the back of his head. He is offering his services for real, and even performs a couple of vigorous neck and back massages in the midst of blasting music, flickering lights, and shrieking half-drunk gals of all ages who just want to have fun. Scene 7. We leave the club 4 deafening hours later (sorry, I still mourn the death of my sound receptors) and race each other to our car. The street parking is free and abundant in this area. Supperclub is located at 657 Harrison Street, San Francisco. Call for reservations: 415-348-0900. Photography by Yuri Krasov. 1. Cool disco balls in the bar. 2. Awashed in pink. 3. Get a room. Not this one. 4. Girls just wanna have fun. 5. Waiter-actor performing mock striptease.

Essex Inn, Renovated Chicago Old Time Charmer

Proudly towering over Grant Park in South Loop, a high-rise 15-story hotel is hardly “old,” but it emits a vague sense of old times – good times. When Mayor Richard Daley cut the cake in the shape of the building at groundbreaking ceremony back in 1960, the Essex Inn designed by Epstein and Sons surely indicated the dawn of modern era among the 19th century architectural gems of Michigan Avenue. Today, the newly renovated establishment achieves modernity in a contemporary way, so to speak. The hotel is going green, holds a double bronze certification, and strives for silver. A sign of times – key cards are made of a corn product, and recyclable. Windows open in every room to reduce the use of air conditioning, and energy efficient receding lights are installed over the beds. Located a walking distance away from the Art Institute of Chicago, Essex Inn has each floor dedicated to modern artists, so there are floors decorated with prints of Picasso, Matisse, Van Gogh, Warhol, etc. Wallpaper textured as canvas, burnt orange color scheme in room furnishings, granite counter tops and backlit mirrors in bathrooms add to the allure. Technologically modernized as well, the hotel offers plasma TV, Ipod adapter, and 24-hour WiFi for a bargain price of $5. Another huge attraction here is an all-season swimming pool under a glass dome, open from 6 am to 10 pm, with a lifeguard on duty. There is also a green space – an open terrace growing endangered plants on the 4th floor garage roof, an outstandingly equipped workout facility, and a dry sauna. The hotel provides shuttle service to the Water Tower Place, Museum Campus and Navy Pier. The Symphony Center and a number of theaters and music venues are accessible on foot, same as McCormick Place, Soldier Field, Millennium Park, and the Sears Tower (pardon me, your Chicago old-timer – Willis Tower, of course). Many of the 254 guest rooms and suites offer spectacular views of the Michigan lakefront, festive flowerbeds in the park, and the sunrise over the magnificent city skyline. On a clear day one can see all across to the state of Indiana, or the hotel staff says so. Meeting and banquet facilities accommodate up to 150 people, however, you will be better off with the outside catering. During our stay, the restaurant on premises, frivolously called Savoy, provided a listless breakfast with the even more apathetic service. Good that the restaurant Mecca is found just steps away from the hotel. Families with children and business visitors alike frequent the hotel, making a use of sleeper sofas and coffeemakers in every room, a convenient business center, and all the great advantages of this modernized, clean, and unpretentious space right in the heart of the beautiful city. Essex Inn located at 800 South Michigan Ave., Chicago. Call 312-939-2800 or visit essexinn.com. Photography by Yuri Krasov. 1. Essex Inn lobby. 2. A room at Essex Inn. 3. All season pool at Essex Inn. 4. Sculptures by Magdalena Abakanowicz in Grant Park by Essex Inn, a gift from the artist and the Polish ministry of culture (Chicago is the sister city of Warsaw).

Affordable Luxury at Affinia Chicago Comes With Six-Pillow Menu

Any weary traveler knows that true luxury is not about gilded chandeliers and rose petals; it’s about creature comfort. A cozy room, a good night sleep, a number of little things one cannot go without… You don’t know luxury until you get to stay at Affinia Chicago. It dawned on me like a round copper lampshade I was staring at after a luscious dinner at Marcus Samuelsson’s C-House restaurant. Utterly warmed up and heavy in the eyelids I realized that my dear husband and I didn’t have to venture into the chilly night and endure the sweeping gusts of Windy City yet again. Instead, we took an elevator to our cleverly designed L-shaped room with a bed and a flat-screen TV in one appendage, and a sitting area and workstation in the other. Warm wood and cool glass furnishing details, orange-and-steel color scheme, sepia views of the city on the wall mirroring skyscrapers behind the curtains, and oh that refreshing smell of clean linens! Everything is sparkling, aesthetically pleasing, and modern up to the bathroom décor with black countertops, round mirrors in LED frames, and patterned orange foil for wallpaper. But lo and behold, the hotel offers a range of customized additions to your already outstandingly comfortable stay, like a choice of a pillow, a fitness kit, a guitar, a putter, a gel eye mask, or a rubber duckie if that’s what your heart desires at the moment. No wonder return customers happily refer to their Affinia accounts for their individually requested and documented quirks. Some swear by the magnetic therapy pillow that presumably rids you of headaches and neck strains, others stick with hypoallergenic one, and there are also a sound pillow, a Swedish memory pillow, and buckwheat and down ones on the menu.
Opened just a year ago, the 215-room Affinia Chicago is located within the Magnificent Mile, mere steps from Michigan Ave. In addition to signature beds covered with a down comforters; large executive desks and ergonomic chairs; 24-hour fitness center; high speed Internet and WiFi, and a series of other “signature” features, the hotel offers over 3,000 square feet of meeting space with plenty of well-appointed conference rooms and nooks. The posh rooftop lounge, called C-View, affords spectacular views of surrounding architectural gems and a cool breeze on hot summer nights. A signature welcome drink is offered to guests at check-in, and a list of other niceties, like Jet Set Pet program, make a stay here outstandingly accommodating for all. For more information, visit www.affinia.com or call 1-866-AFFINIA. Affinia Chicago, 166 East Superior Street, Chicago, IL 60611. Tel: 312.787.6000 l Fax: 312.787.6133. Photography by Yuri Krasov. 1. Affinia Chicago room. 2. A view from the room. 3. A meeting space outside a conference room. 4. A view from the rooftop lounge.

Chi-Town, C-House

Once transferred from the City by the Lake to the City by the Bay, I never quite abandoned my Sweet Home Chicago nostalgia. Every visit back still holds and fulfills a promise of all things Midwestern – architecture (Frank Lloyd Wright, Sullivan, Burnham, van der Rohe, Frank Gehry…); art and history (The Field Museum, Shedd Aquarium, Adler Planetarium, The Art Institute, MCA); theatre (The Joffrey Ballet, Lookingglass, The Second City); shopping (Marshall Field’s, Oak Street, American Girl), and that Italian beef sandwich (au jus on white bread, green peppers and all)...mm…dreamy. Yeah, the weather, but it makes us tougher. What California sissy can endure digging out her car from a solid ice cube, accumulated overnight in the wake of a show plow? Or swimming in icy Michigan in July when air temp climbs to a solid hundred and humidity turns city streets into a sauna – you say, YOU’RE having a bad hair day? Meanwhile, from the Big Apple to the Big Onion Marcus Samuelsson of Aquavit, NYC made his footprint in downtown Chicago with the opening of C-House Restaurant at Affinia Hotel less than a year ago. Steps from the Magnificent Mile enter a Brazilian Arthur Casas-designed space, filled with the culinary wonders of the Ethiopian-Swedish-American star chef. The “fish and chops” C-House is brimming with youthful energy in the kitchen, and emits a kind of romantic calm in the dining room. Copper pots and pans hanging over the open work area reflect in spherical copper lampshades over the tables. Soft light is streaming from the floor-to-ceiling windows, and lingers on warm wood panels and glassed nautical photographs on the walls. Seth Siegel-Gardner, the executive chef with a movie-star last name, who worked with Samuelsson in New York, and sous chef David Ford put some whimsical tidbits on the menu – the likes of honeydew granita to accompany oysters from both coasts, or crab salad mini wraps made of house-pickled Granny Smith apples dressed with bacon vinaigrette. I marveled at a spring pea soup with crab/cheese balls and tomato confit, enjoyed a pouched duck egg over green and white asparagus in house-made hollandaise, but what blew me away was a plate of pork ravioli – fanned out in mussel and clam consommé, topped with thinly shaved celery, radishes and gouda – graceful, delicate – a ballerina among dishes. Since menu items contain much more that meets the eye on a printed sheet, our server, James, made sure every course was properly introduced and paired with some excellent Australian malbec or California char from a well-prepared wine list. The Candy Bar is a natural choice for dessert, with already famous pistachio brittle, salted fudge brownies, rocky road truffles, and (my fave) sour candied wedges of lemon, lime, and orange. Mmm… childhood. Now I’ve got a destination restaurant to drool about until the next visit to my hometown. Forget the weather, I think I’ll be back soon. Photography by Yuri Krasov. 1. C-House open kitchen. 2. and 3. Dining room views. 4. This reporter developed an instant rapport with David Ford and James Albanese of C-House. 5. – 8. Masterpieces from the menu.

San Francisco Sexy Dishes Served by Taste TV: Market Street Grill

Since its inception just a few years back, Taste TV became a hugely popular community of people who know their food – be it in the kitchen, in print, or on a TV screen. The latest from Taste TV – Sexy Dishes book released last week – is a compact “guide to who’s hot in the kitchen,” almost too easy to follow when it comes to its San Francisco Bay Area Edition. I’ve heard some rave reviews about the Market Street Grill before, but subconsciously discarded the unimaginative name. My list of restaurants to visit mostly started with Chez or La… Little did I know that Executive Chef Adam Jones, formerly of Michel Mina and the Franciscan, one of the sexy (yes, looks, too) chefs featured in the book was working his magic here, noticed mostly by a pre-show crowd heading for Orpheum Theatre. Now I know better. The place is actually a destination restaurant; a hidden gem that combines inspired food with enticing ambience. It is located inside the historic Hotel Whitcomb – The Shining-style architectural marvel of it’s own (sorry, David, the comparison was too tempting to abstain from) with endless mirrored hallways and a grand ballroom. Austrian crystal chandeliers, marble staircase, and a Tiffany dome over a bar precede the dining room with tapestry-upholstered chairs and a flaming fireplace. On the night we dined, chef Adam, who specializes in modern seafood, prepared an elegant starter of a single Kumamoto oyster, seared in hot miso consommé, with a couple of daikon radish sprouts on top. His chilled sweet pea soup made of fresh English peas with micro mint and goat cheese foam evoked that childhood taste of emerald pods, snapped right off their stalks in a field. To implement his ideas, chef Adam often brings herbs and fruit from his own garden in Pittsburg. In a dish, featured in the book and served in the restaurant – branzino (a Mediterranean white fish) pouched in chardonnay lemon butter, was sided with olives grown and cured by the chef, along with heirloom beans, shiitake mushrooms, and broccolini, all in a heavenly harmony of flavors. A well thought-through wine list, compiled by the wine director David Batista, complements the menu and enhances the experience. It is recommended to make reservations for a slow, pleasurable, unforgettable Market Street Grill dinner around 8:15 in the evening, when the theatregoers cleared the premises. Or, if you must, reserve a pre-show meal that promises to be excellent no matter what. Market Street Grill is located at 1231 Market Street, SF. More information and reservations at: 415-626-8000 or www.marketstreetgrillsf.com. Photography by Yuri Krasov. 1. Tiffany dome at the bar. 2. Chef Adam Jones. 3. Pea soup. 4. Branzino fish.

Ask Emma

Question: We recently held an intimate wedding reception for our daughter in an expensive restaurant. We invited only family members and close friends of the newlyweds. None of my long-time girlfriends was invited, but I informed them all that the party was supposed to be very small and limited mostly to relatives. Regardless of that my friends volunteered a lot of help with the wedding ceremony. Now I feel that they are holding some grudge against me. I don’t want to be ungrateful, but I can’t see any fault of mine here. Should I feel guilty?
Answer: You didn’t refuse your friends help, did ya? Although they knew they were not invited to the wedding reception, they probably counted on some kind of celebration, since you are a long-time friend, and I assume, your daughter is not a stranger to them either. Why don’t you allocate some time in your busy schedule to throw a party just for your girlfriends where the newlyweds would be present. Call it a post-honeymoon reunion party, or anything you wish, but express your gratitude and your appreciation to your friends. That little guilty feeling that nags you now will be gone, I promise.

Midinettes of San Francisco, Unite at midi

Lunchtime in Paris comes at midi – noon, and a French brasserie-style “midi” – a new restaurant in the Galleria Park Hotel on Kearny and Sutter is busy at noon, filled with midinettes – lunching office girls, or in the case of SF Financial District with suits, too. Chef Michelle Mah, who reins supreme in the kitchen, creates equally enticing savory and sweet dishes and puts together wonderful lunches for any taste and appetite. The most recent addition to the menu – her signature lunch quartet – a cup of soup, a taste of salad, a sandwich, and a mini dessert. All are served at once on their individual small square plates, positioned upon a large one. It’s not fast food; it’s some great flavorful food one can eat fast if need be. On the day we lunched, the crowd was buzzing, the wait staff was flying, and the lunch quartet consisted of corona bean soup with crème fraiche and bacon; pencil asparagus salad; grilled truffled brie sandwich stuffed with mushrooms, and a tiny apple tart on puff pastry. Not that regular size dishes were any less enticing: my lunch companion shared with me a very seasonal burrata sandwich (Italian cheese made with fresh mozzarella and cream); a warm frisee salad with shreds of chicken meat and a split deep fried duck egg. A side of fragrant garlicky ron de nice squash came to the table in a tiny roasting pan. A fuzzy bunny kept us company, and it’s a sparkling peachy soft drink with lemon and orange wedges arranged as bunny ears in a tall glass. Before we left, our server told us about a great summer deal for locals only: on Saturday nights, if you present your photo ID with a Bay Area address, a bottle of wine at midi will cost you only a half of its usual price. Sweet summer deals don’t end here: midi is a Joie de Vivre restaurant, and its parent company which holds California’s largest boutique
hotel collection this Memorial Day will be giving away 25 Explore California Passports each valued at more than $17,000. Every passport features a two-night stay at Joie de Vivre’s 35 hotels with two-year validity, transferability to friends and family, and no blackout dates. To register, U.S. residents can sign up by May 20, 2009 on www.summercalifornia.com. Everyone who visits the website will receive a free tip sheet featuring 100 affordable things to do in California and a $25 per night credit when he or she books a hotel on this website. The 25 sweepstakes winners will be announced in a video posted to the website on Monday, May 25. For more information, visit midisanfrancisco.com, jdvhotels.com. Photography by Emma Krasov.

I Can Hold My Chocolate… Not If It’s SOCOLA

So, a month after the San Francisco International Chocolate Salon (Presented by Taste TV) I find myself not able to toss a little teal and brown box with a winged alpaca image that used to hold Socola truffles… It seems that should I open it again, I might find that one last piece still there, not noticed before, hiding in a rustling brown ruffles of empty paper cups. Nope, not there. What makes them SO special? Maybe, gold shimmery dust that covers Guinness-filled ones, or red Hawaiian salt on burnt caramel, or guava pate de fruit, that melts in your mouth at the first bite. Well, there is no second bite. Nope, not any more. In other words, I have my own personal winner of the Salon competition, and it’s Socola Chocolatier, a two-sister-owned and operated company in Oakland. Not that they haven’t won a first place in Best Gift Set and a second place in Best Presentation and Packaging, but Socola (Vietnamese for “chocolate”) is much more than that – a soulful combination of flavor, texture and “meltiness” that creates a TASTE, and then an aftertaste one remembers and craves long after the very last piece is gone. If you insist on dissecting the magic, the company co-founders Susan and Wendy Lieu (Harvard and Davis graduates, now in their 20s) create their chocolates by hand, boldly experimenting with flavors, but consistently using Straus Family Creamery’s butter and cream in their recipes, and making fresh-to-order truffles in small quantities. Some of their assortments are found in retail in Daily Delectables (Oakland), Alameda Natural Grocery Store (Alameda), and Whole Foods South Market (SF), and orders are accepted through their very informative website, www.socolachocolates.com, or call 510-931-0007. Photo courtesy of Susan Lieu.

Between Art and Coffee at SFMOMA, or Through the Roof in Blue Bottle

Entering fifth-floor galleries at SFMOMA now is like visiting a whole new museum on the top of the [not so] old one. A gently curved enclosed bridge to the just opened Rooftop Garden grants a New York view of San Francisco skyscrapers on one side, and a subtle nuanced wall painting by Rosana Castrillo Diaz on the other. The newly installed “Between Art and Life” exhibition extends into a glassed overlook of the garden with its large-scale pieces and envelopes a visitor in a double vision of inside and outside. The majority of artwork in the exhibition, tastefully curated by Gary Garrels, is derived from the permanent collection and produced in the last three decades. Robert Rauschenberg, Tom Friedman, Damien Hirst, Anish Kapoor, Katharina Fritsch, Jim Hodges and Zhang Huan, to name just a few, share the sunlit space as a precursor to the garden - this airy art world all its own. The Lens of Rotterdam, by Mario Merz, is a central piece of the sculpture garden, also populated by Alexander Calder’s “Big Crinkly,” Ellsworth Kelly’s “Stele I,” Henry Moore’s “Large Torso Arch,” and Barnett Newman’s “Zim Zum I.” (I never noticed silver veins on “Virgin Mary” by Kiki Smith when the sculpture was in the second-floor gallery). Besides the sculpture garden, the roof space includes the narrow terrace with more intimate Arneson and Shapiro pieces, and gingko biloba trees and assorted shrubs complete the picture. In-between two outside terraces there is a cleverly designed glass-enclosed pavilion, which can stay open or closed depending on the weather, and where “The Nest” by Louise Bourgeois found its proper representation alongside the no less enticing “Conversation Piece” by Juan Munoz. What seems slightly out of place is a newly-acquired piece by Ranjani Shettar “Me, no, not me, buy me, eat me, wear me, have me, me, no, not me,” whose very title (not to mention the busy look of different-size metal-weaved baskets) sounds like a bazaar cry in this otherwise highly refined and contemplative space. Another newcomer to the pavilion, though, will definitely enhance the art experience – Blue Bottle Coffee Bar, where double shots of artisan, micro-roasted, individually mixed blends are served in custom-designed cups by Heath Ceramics. For more information, visit www.sfmoma.org, or call 415-357-4000. Photo by Henrik Kam: A view of the Rooftop Garden with Alexander Calder’s “Big Crinkly.”

Eifman Ballet Revolutionizes Russian Classic With Mixed Results

Onegin, staged by Eifman Ballet of St. Petersburg and based on a classic poem by Alexander Pushkin and music by Tchaikovsky, premiered at Cal Performances’ Zellerbach Hall in Berkeley the first days of May. Boris Eifman, the founder and artistic director, is internationally recognized for his revolutionary approach to classical dance, his victorious struggle with the oppression by the Soviets, and his amazing proficiency (over 40 ballets in the last three decades). Onegin became the last part of his “literary” trilogy of ballets, which also includes Chekhov’s The Seagull (2007) and Tolstoy’s Anna Karenina (2005). If the latter captured the high tension and deep soul searching of Tolstoy’s prose perfectly with the means of choreography, the other two remained mostly excellent ballets that have very little to do with the original literature. (Not that they were any less fascinating to watch because of that). In its literary form, Eugene Onegin is a subtly, almost playfully told story of many facets and tribulations of a “mysterious Russian soul.” The conflicts are varied, while all encompassed in a single plot: boy meets girl, boy dumps girl, boy finds her again in the arms of another, he tries to win her back, but it’s too late… The greatest Russian poet explores his characters’ conflicting traits of superficiality and depth, moral surfeit and emotional hunger, and makes them experience pure love, dark passion, the inevitability of loss, and the prevalence of honor. The failure to follow poetry in the case of Eifman’s Onegin must be attributed to the choreographer’s decision to transport early 19th century characters to post-coup 1991 Yeltzin’s Russia, and to turn the poem’s blue blood aristocrats into blue-collar simpletons with their respective [anti]aesthetics. Thus half of the Pushkin’s story became immediately irrelevant. The original Olga was not engaged in a hot and heavy sexual relationship with Lensky, and the latter was only “dreaming about the upcoming wedding night” before being killed at a tender age. By Pushkin, he could never attain intimacy with his beloved. Tatiana’s clairvoyant dream was not as much about her hot and heavy coitus with Onegin as about his duel with Lensky – his friend, and her future brother in law. Despite what’s happening onstage, Tatiana was not a slut, who married for money and enjoyed her “new” status in society. She was not taken into marriage from unwashed masses to become a ring leader’s trophy wife... When in Pushkin’s story Tatiana refuses to accept Onegin’s belated love on the premise that she “belongs to another now and would be faithful forever,” somehow we believe it, even though the times have changed and in this day and age honor for many sounds like a rather outdated notion. Eifman admits that by making Onegin a contemporary piece he wanted to make it attractive for the youth of today, and that he succeeded in this. But what price success? If you are seasoned, wise, and sophisticated, all of which often comes with “sobriety, obesity and growing old” [William Kentridge] what is it about trying to look simple, crude and vulgar? If you are so much above the crowd, why fight it? There are many young and vulgar out there – they will take what’s theirs; they will deliver the simple truth of their inexperience... Should the ballet in question be called “Gangstas” or “Pimps and Sluts” it would make measurably more sense. However, the choreographer's true nature shines in refined scenes like "Mourning," and the unparalleled beauty of his dance and the notoriously superhuman physique of his dancers still create an unforgettable encounter with the very particular brand of Eifman’s magic. For information on programs and tickets, call 510-642-0212, or visit calperfs.berkeley.edu. Photo by Anton Sazonov: Oleg Gabyshev (Onegin) and Maria Abashova (Tatiana) of Eifman Ballet.

Berkeley Rep Special: IRA and Box of Kittens Mix in Bubbly Bloody Cocktail

It takes some guts to stage a real black comedy in the nation raised on Hollywood and Broadway. And it takes 12 gallons of blood (made of corn syrup, food coloring and laundry detergent) to stage The Lieutenant of Inishmore by wildly talented Martin McDonagh at The Berkeley Rep. It also takes Les Waters’ direction and a harmonious cast of highly skilled professional actors to make this surreal bloody cocktail of a story an uproariously funny show, one of the few that make strong long-lasting impression even in the most successful theatre. Now, I have a bone to pick with that guy who stood up and left before the play was over. Sorry to burst your bubble, sweetie, but Little Mermaid didn’t marry a prince. In the original, she died from suffering, punished for her leap out of her element. It takes some maturity to finally get it that happy endings are as rare in great literature as they are in real life, but once you acquire a taste for great literature, there is no turning back… As always, the mightily acclaimed and multiple award-winning author derives his inspiration from the history of his native Ireland, its many pains and troubles, and its resilient national spirit, entangled in unfairness that breeds unfairness and violence that begets violence. It takes a lot of moral stamina to transform the still unfolding controversial and painful historical process into a comic plot, and to offer an unblinking look into the bottomless well of suffering through the lens of humor and humanity. From the beginning of the play, we are thrown right in the middle of a murder and suspense story – so what that the victim is a black cat, ran over on a rural highway. Another classic element of a murder mystery - concealing the body – kicks right in when it becomes obvious that the feline death will be ruthlessly retaliated by a human monster, an IRA lieutenant Padraic (Blake Ellis) who happened to care for the victim. Padraic is not only partial to his kitty; he is capable of loving a woman, a party comrade Mairead (Molly Camp) who also happened to care for her own feline and more than ready to retaliate if anyone dares to touch it – anyone at all. A fascinating plot unfolds with gunshots blasting, blood gushing, and frozen in rigor mortis bodies being dismembered for further concealing. But, giving away any more of it would be spoiling an unparalleled pleasure of viewing the show at Roda Theatre. And yeah, it’s about time a famous playwright speaks on behalf of statistically most abused animals… (I seriously consider offering a ticket to the play to my prospective cat sitter). The Lieutenant of Inishmore runs through May 24 at 2015 Addison St., Berkeley. For tickets call 510-647-2949 or visit berkeleyrep.org. Photo: (clockwise from top) At Berkeley Rep, Danny Wolohan, Michael Barrett Austin, Blake Ellis and Rowan Brooks star in The Lieutenant of Inishmore, another bloody comedy from Obie Award-winning director Les Waters and Oscar-winning writer Martin McDonagh. Photo courtesy of mellopix.com

School of Fashion Graduation Show

Academy of Art University, San Francisco, presented its School of Fashion (one of the very best in the nation) at the 13th annual graduation show on April 23. The school offers degrees in Fashion Design, Fashion Merchandising, Fashion Marketing Merchandising, Fashion Journalism, Menswear Design, Knitwear Design, Textile Design, Active Sportswear Design, Visual Merchandising, Store Design, Business of Beauty (Beauty Industry Retail and Product Development), History of Fashion, History of Beauty Industry, Cosmetics and Fragrance Industry, Sustainable Design, Green Design and more. Fashion design and merchandising graduates from the City by the Bay build their careers with houses like Versace, Calvin Klein, Givenchy and Alexander McQueen, and work for companies like Banana Republic, Byer California, Danskin, Escada, Diane von Furstenberg, Gap Inc. Georgiou, Giorgio Armani, IISLI, Jeremy Scott, Jessica McClintock, Inc., Louis Vuitton, Macy’s, Nice Collective, Old Navy, Saks Fifth Avenue, St. John, Target, Three Dots, Williams-Sonoma, Inc. and others. Besides the runway show (photos by Randy Brooke) graduation program presents a window display by Bob Toy at 79 New Montgomery (corner of Mission Street) that includes designs seen on the runway and a ‘work in progress’ story leading up to the fashion show. It also has timeline panels of School of Fashion highlights throughout the years, and will be on view until June 6. The fashion show can be watched at: http://www.academyart.edu/fashionsf09.html