St. Louis Eats and Drinks With Joe and Ann Pollack

Veritas

Looking for Veritas is a bit of a treasure hunt, finding it brings the reward. Tucked into a hill on the east side of Clarkson Road, south of I-64, it shares parking with a number of businesses, including Dierbergs. David and Stephanie Stitt have been successful enough to expand into space next door, and to move much of the retail wine and wine-tasting into that area, along with good-looking items for kitchen and dining-room gifts ranging from cocktail napkins to important, fancy-gift platters. The original space still has a counter facing the open kitchen, plus more tables for those enjoying coffee, a glass of wine, lunch or dinner. 
It's a very casual place, with lots of regulars. Even newcomers feel comfortable enough to get up and browse after ordering. Most of the time both of the Stitts are present, David presiding over wine activity and Stephanie covering plenty of ground beyond that.

Unfortunately, breakfast is on hiatus because lunch and dinner are busier. But we found Veritas more than convenient for dinner before theater at Chesterfield Mall, just up the road. We kicked things off with a cup of tomato soup. Tomato-forward, as predicted by its brilliant red color, its flavor was quite buttery, with perhaps a little basil and cayenne in the back, and drizzled with a hit of cream and one of olive oil, it was a hands-down winner in any soup competition.

The appetizer list also includes French fries, or pommes frites, as the menu, the French and the Belgians say. No matter; they're a don't-miss item for the potato-phile. Thin, crisp, some as crunchy as shoestring potatoes, they're perfectly seasoned and served with a mushroom aioli. Aioli, the garlic mayonnaise, is a great dip for fries, and the mushroominess adds an extra fillip that heightens the pleasure. But the fries are so good, it's almost superfluous. We just can't think of a better nibble to go with a chilled bottle of Bandol rose, the perfect summer wine from France's Mediterranean coast.

If you forget the fries as an appetizer,or just think more are necessary with a second course, they're also available among the entrees, and are a great asset to the catfish sandwich, also highly recommended. Two filets are coated in cornmeal and fried, topped with bacon, pickled onions and cucumbers, and more aioli, this time punched up with Tabasco. A little messy to eat, but a first-rate sandwich.

Housemade fettuccine wore a light sauce, bolstered by bits of roast pork, bacon, and roasted radishes, a combination that sang. We hadn't had those before, but they're chunky, still retaining some tooth-resistance, their heat made milder by the oven's, and a good textural addition to the pasta. The menu says English peas, an old Southern term that differentiates green peas from, say, crowder or black-eyed peas. These fellows looked more like baby limas, but whatever, they were tender and sweet, a visual pleasure.

Another new-to-us item popped up on the dessert menu. Chocolate marble bread pudding  came with housemade ice cream. What flavor was so new? Gjetost, the brown Norwegian cheese, title of a book, "Brown Cheese, Please," that explains Norway and Norwegians to foreigners. It's made with goats' milk; milk, cream and whey are boiled down until the lactose, or milk sugar, caramelizes. In its usual state, it's very dense, and often found on Norwegian breakfast tables. (There's also a thinner version, much like dulce de leche.) Using it this way produced what may be the richest ice cream we've ever tasted, dense and flavorful. The bread pudding was indeed marbled with brown and white, and a fine bittersweet chocolate sauce also drew acclaim.

We always warn visitors here that the service can be a little iffy, good-natured, to be sure, but inexperienced, for the most part. Bear with that, pick out a nice bottle of wine or choose from the by-the-glass list, and relax. It's worth the wait.

 

Veritas Gateway

1722 Clarkson Rd., Chesterfield

636-530-9505

www.veritasgateway.com

 Credit cards: Yes

Wheelchair access: Good

Smoking: No

Entrees: $15-$27

 

The Daughter of the Regiment

A couiple of young singers made dazzling debuts last night at the Opera Theatre of St. Louis, with soprano Ashley Emerson and tenor Rene Barbera receiving roaring ovations after glorious performances in "The Daughter of the Regiment." Gaetano Donizetti's light-hearted opera, which dates to 1840, will have six more performances through June 26

Speaking of debuts, St. Louis-born John McDaniel, who has spent a lot of time in Hollywood and on Broadway, and six years as Rosie O'Donnell's music director, conducted members of the St. Louis Symphony Orchestra in fine style. He was in complete command all the way in his first opera and first time conducting the SLSO.

Donizetti's music brings all the style and power to a light-hearted story by Jules-Henri Vernoy de Saint-Georges and Jean-Francois-Alfred Bayard. It's as thin as a newspaper page but Donizetti brings it to rich, robust life. So do the singers. Emerson, as Marie, the title character, is about as big as a minute and cute as the proverbial button, with the power of a soprano twice her size, and when she bats her blue eyes at a red-coated soldier, it's all over. She spent last summer here as a Gerdine young artist, and she stepped into the starring role with grace and power. She's a promising comic, too, showing it well in a "ballet lesson" she takes with Elizabeth Coker Giron, Julie Opiel and Sydnee Reese. Excellent timing and fine choreography by Sean Curran, whose direction found -- and emphasized -- the humor in the story, and in a couple of libretto and lyric adaptations by Stephen Lord and Michael Albano.

It's a role that has been sung by Jenny Lind, Joan Sutherland and Beverly Sills, among hundreds of others, but Emerson's youth, expressive blue eyes, wicked grin and flouncy attitude give her an extra fillip. One can even almost believe that she was a foundling reared by the 21st French Army regiment

Barbera, the Swiss peasant who joins the army so he can get close enough to pursue his suit with , has a wondrous tenor, with a brilliant range and a warmth that enveloped the audience at every note.

Dale Travis, also making his Opera Theatre debut as Sergeant Sulice, Marie's foster father, offers a rich, warm bass-baritone that complemented Emerson and Barbera perfectly in a robust version of "Is it You"?

And then there was Sylvia McNair, who brought down the house in a lengthy solo as the Duchess of Krakenthorp, confessing that she has a singing problem. It was a superb performance by the veteran soprano, who made her opera debut here in 1983. It isn't easy to deliberately sing badly, but McNair was terrific. Interesting, too, that the song is a precursor of "Sing," from "A Chorus Line" when Kristine confesses "I could never really sing," and demonstrates in a manner similar to that shown by McNair.

Good comic relief from Dorothy Byrne as the Marquise of Berkenfeld, trying to become a guardian for Marie

Director Curran is a winner as he controls a large cast in an exemplary manner. Small stage. Large cast. A recipe for trouble, but Curran avoids it skillfully and allows his many singers plenty of opportunty to sparkle.

The set is rather simple, but James Schuette, who also designed costumes, pulled out the stops in the latter area, helping make this a bright, breezy, tuneful romp.

The Daughter of the Regiment, an Opera Theatre of St. Louis production, opened last night at the Loretto-Hilton Center and will play there June 1, 3, 9, 18, 22 and 26

--Joe

The Taming of the Shrew

William Shakepeare put his fingers on the manners and morals, the follies and foibles, of his 17th-century audience, and those fingers remain in place today. Whether it's a lust for power, or a lust for gold, or a lust for sex, Shakespeare wrote about it, and the plots are still valid.

And he took on the War Between the Sexes, especially in "The Taming of the Shrew," which opened the annual free Shakespeare in the Park festival for 2011. It began amid the raindrops last night at Shakespeare Glen in Forest Park, and continues through June 19. Performances are at 8 p.m. nightly, except Tuesday. Pre-show rain delayed the first pitch -- oops, the first speech -- a little while and a few minutes later there was a wait of almost an hour. Once the rain stopped, however, it remained stopped. The fact is that you just don't interrupt Shakespeare more than once.

"Shrew" is a comedy, but its view of women, and their treatment by men, even more than 400 years ago, makes the hackles rise. Direrctor Sean Graney, setting the play in the 1950s, with music of the period offering some delightful moments, lets Shakespeare tell the stories of Kate and Bianca, and of Petruchio's often-harsh methods of convincing Kate (or breaking her will) to become subservient. There are times when it isn't very pleasant. Even Shakespeare's use of a play within a play was a method of distancing the audience from Petruchio's actions. After all, if it happens in a play, it can't be real, can it? There are many enjoyable moments in Shakespeare Glen, but it wasn't totally successful.

Paul Hurley, whose program biography indicates a great deal of Shakespeare experience for a young actor, is a splendid Petruchio, handling the physical demands stylishly. And there are many physical demands involving stage-right and stage-left areas that stretch beyond the usual performance boundaries. It appeared that the playing area was larger than the Muny stage, and that's going some. Hurley is a commanding presence. He also has a rogueish air as he admits he has come "to wive it wealthily in Padua," as Cole Porter wrote in "Kiss Me, Kate," a glorious musical that will offer a different perspective and light up the Muny June 27-July 3.

There also was delightful work from Will Shaw as Lucentio, who wins Bianca, and from Steve Isom as Baptista, father to Kate and Bianca, and owner of the wonderfully garish ranch house, right from the period but more suited to be in Malibu than in Padua. High marks also to Gary Glasgow as Gremio, loser of the race for Bianca; Karl Gregory as Grumio, servant to Petruchio; Kurt Ehrmann in three comic roles, all nifty; and the ensemble of Justin Leibrecht, Laura Sexauer and Peter Winfrey, who seemed to be everywhere, singing, acting, dancing and in different costume every time they appeared. They brought a noticeable brightness to the evening.

On the other hand, I found little to admire in the rich, spoiled sisters, Annie Worden as Kate and Megan M. Storti as Bianca. Neither struck a spark, and a tussle over stuffed toys made then appear as pre-teens, or even Mouseketeers. Maybe this was the way Graney wanted them, but Kate should be a lot more of a self-assured, confident, strong woman than she showed, and Storti was a cipher. Porter's lyric says, "I would gladly give up coffee for Sanka, even Sanka, Bianca, for you." Not the way Storti played her.

Tech credits were strong. Scott C. Neale's scenic design was a winner; the delightfully garish house a perfect setting, along with a tail-finned Cadillac in the car port, a guest house at stage right and an Airstream trailer at stage left. Then audience was an immediate believer. Same for Alison Siple's costumes, with colors as garish as the house and memories of the era bringing smiles. Ellen Isom did the limited choreography, again causing good memories, and Robin Weatherall added spot-on sound design.

Shakespeare in Forest Park has become an ingrained part of the St. Louis summer in its 10-year history, and even with a few flaws, the show is worth a visit. And you can't beat the price!

The Taming of the Shrew, aShakespeare Festival St. Louis production, continues at the Shakespeare Glen in Forest Park through June 19, every night except Tuesday

--Joe

 

Mass Appeal

He's just coasting along, keeping his parishioners happy on his advice and sermons, keeping himself happy on their contributions of sparkling Burgundy. And, one sunny Sunday morning, a young seminarian questions Father Tim Farley and turns his life around. "Mass Appeal," Bill C. Davis' fine play, is 31 years old, but the production that opened last night at Chesterfield Mall remains viable, even vehement. It will run thrugh June 12.

A Dramatic License production, starring Alan Knoll as Farley and Dylan Duke as Mark Dolson, the seminarian, it's a first-rate evening of theater, with cool, smooth direction by Deanna Jent and a pair of fine performances. The questions that Davis poses, speaking through Dolson, and that Farley will not answer, were old ones in the church (in practically all churches) when he asked them, and they're older today, and still largely unanswered.

Even when "Mass Appeal" first opened, Davis was behind the curve; the '60s were a time of upheaval in society, and recent statements from the Vatican indicate that societal changes caused priests to sexually abuse children. No abuse here, merely some polite questioning about the purpose of a priest in a comfortable, upper-middle class parish. If there's a weakness about the play, it's that Davis is too easy on the position of the church -- all churches -- in the 20th century.

Knoll, one of the busiest actors in town this year, is excellent as Farley, gaining some courage, but not enough, from the wine bottle, trying to convince Dolson of the American business man's motto that you have to go along to get along. He also has to convince himself that he is doing the right thing. It's another fine performance in what may be known as the Year of Alan Knoll in St. Louis theater. Young Duke is an excellent counterpoint, his youthful enthusiasm and idealism peeking through nicely; he works well with Knoll, and their timing is proper on the comic lines, such as when he accuses the older priest of practicing "song and dance theology."

St. Louisans get a few extra chuckles from the fact that the unseen villain of the piece, the head of the seminary, is known as Father Burke. Historical note: Milo O'Shea and Eric Roberts were Farley and Dolson, respectively, when the play opened off-Broadway in 1980, directed by Geraldine Fitzgerald. It tranferred to Broadway a year later, with Michael O'Keefe replacing Roberts. Jack Lemmon and Zeljko Ivanek were cast in the 1984 movie.

Mass Appeal, a Dramatic License production, opened last night at Chesterfield Mall, to run through June 12

--Joe

Into Eternity

This is them most frightening movie I've ever seen.

No blood, no weapons, no little green men, no predictions, no explosions.

Thankfully, neither I nor the vast majority of those who see "Into Eternity" as part of the Webster Film Series this weekend, will be around, but still. . . .

In northern Finland, about 60 degrees north latitude, men are building a deep, deep underground burial site to store thousands of tons of nuclear material. The builders expect this grave to last at least 100,000 years, but they have a big problem, and they discuss it calmly. How do they inform whoever (or whatever) finds the site in, say, 85,000 years.

A sign saying "Dangerous! Keep Out!"? In what language? In how many languages?

A cartoon? A copy of Edvard Munch's "The Scream"? Does the last person out just turn off the lights and hope that everyone forgets about it?

The cave is called Orkalo, which is Finnish for "hiding place." The movie is directed, written and narrated by Michael Madsen, a Finn and not the American actor of the same name. It's simple. It's clear. And it's scary as hell. The people who discuss the problem are scientists, engineers, teachers, and while they drop the occasional black-humored line that they are "making decisions based on uncertainty" and are in a situation of "having to remember forever to forget."

And even if markers are used, with warnings in 100 languages, and cartoons, drawings and symbols, remember that the Egyptians had warnings on the Pyramids. But no one could read the hieroglyphics by the time the Pyramids were discovered -- and the English explorers didn't care what they said and just broke into the tombs.

Into Eternity opens today and runs through Sunday at the Winifred Moore Auditorium at Webster University

--Joe

L'Amour Fou

Yves Saint Laurent, a man of incredible genius and an equal amount of unhappiness, had what should be all the elements for a successful life. His clothing designs were renowned, his art collection amazing, his lifestyle at the top of the A-list.

But he suffered from deep depression for practically his entire life, and reportedly was happy only two days a year, when his clothing collections werre seen on the Paris runways.

The third of three documentaries about Saint Laurent, "L'Amour Fou" ("Crazy Love") opens today, narrated by Pierre Berge, his partner in business and life for some 50 years. They met right after Saint Laurent became the head of the House of Dior at the age of 21. He died in 2008 after a half-century as one of the world's top designers. He battled depression with drugs, alcohol and parties for many years, and sometimes it worked, but he swore off illicit substances about 1990.

The two men amassed a almost-indescribable collection of paintings, sculptures and other objets d'art, arranged them beautifully in gorgeous houses. Berge put them up for auction in 2009 and they brought almost $500 million.

Pierre Theretton directed with a fine eye, and co-wrote the screenplay with Eve Gillou. Leo Hinsten cinematography is exciting. A sad story, but strong evidencve of a beautiful life.

L'Amour Fou opens today at the Plaza Frontenac

--Joe

13 Assassins

Japanese historical films get bloodier and more violent with each release, and director Takashui Miike has set a new target with "13 Assassins," opening today with a cast of thusands, of which only a handful survive. We start with a slow-motion sequence of a warrior committing suicide by knife, inserting it carefully into his stomach -- but you know the rest. A little while later, our villain, Lord Naritsugu (Giro Inagaki) casts a desirous eye on a pretty young woman. He rapes her, and whenn her boy friend protests, he quickly decapitates him and kicks his head around the room as if he were practicing for a soccer match. Eventually, we have a hero, too, in Koji Yakusho.

So don't say you weren't warned.

This is a remake of a 1963 movie written by Shoichirou Ikemiya, with Daisuke Tengan updating the screenplay. But we're still in medieval times, with medieval sensibilities.

13 Assassins opens today at the Tivoli

--Joe

Forks Over Knives

In the theater, we are lectured about good eating habits, like planting, growing and cooking vegetables. Meat is bad. In the lobby, the concession stand provides an exhibition of all the foods we should not eat.

There are a lot of mixed signals in "Forks Over Knives," a sincere movie written and directed by Lee Fulkerson that tries to convert us to a rocky path of goodness. T. Colin Campbell and Dr. Caldwell B. Esselstyn lecture a lot in this battle between good and evil.

No contest. When it was over, I went out for sausage pizza.

Forks Over Knives opens today at the Tivoli

--Joe

This Week's Wine, May 25, 2011

There are countless Chardonnays out there, with every style, every flavor, every finish making claims to greatness. I'm not a huge fan of California's offerings, though some can be very good. A few visits to the Burgundy area of France left wondrous memories of crisp, dry, citrus-y wines, but too many American wine-shop shelves and restaurant wine lists are laden with big, oaky, buttery, overdone California wines.

Since I'm willing to admit that the problem may be mine, and not the wine's, I keep tasting.

And every now and then I find a Chardonnay (actually two) that I consider pleasant and enjoyable.

There's a lot of distance between California and Australia, and just as much difference between 2009 Chardonnays from Sequoia Grove, in the heart of Napa County, and from Plantagenet Wines, whose Omrah Chardonnay comes from the Great Southern region of Western Australia.

Sequoia Grove's version (about $18) is extremely rich, but with great balance, and the basic Chardonnay flavors are clear and crisp. The wine, from Carneros grapes, was barrel-fermented with light oak, but did not go through malolactic fermentation, which I applaud. It's a delicious wine, either as an aperitif or with oysters on the shell. The Plantagenet version (about $15) never saw any oak, was fermented in stainless steel, then left on the lees for a goodly period of time before bottling. The result is an extra-crisp, flinty wine, with considerable citrus flavor and a stony undertone. It's very much in the Burgundian style.

And despite their difference, I liked both of them very much.

Plantagenet also makes Hazard Hill, a Sauvignon Blanc (68 percent), Semillon (32) blend, with a hint of Riesling. I'm very fond of Sauvignon Blanc, but I have difficulty with Semillon, especially when blended as it is here. My palate reacts badly to the combination, feeling that the Semillon makes the Sauvignon Blanc flabby and weak. Not for me, even at $13.

On the other hand, rose wines are for me, and as we come into summer, they're especially good at lunch, or an aperitif before dinner. Innocent Bystander, from Victoria, Australia, is a delight. Oddly, it comes with a crown cap, like bottled soda used to. The winemaker reports the cap keeps its slight fizz in fine shape. Made from Black Muscat and Muscat Gordo, it's light (5.5 percent alcohol)m, its bright and lovely, though the price ($35) is rather high.

Lots of other recent tastings, too. . . .

KITCHEN SINK: Owned by Adler Fels, this Santa Rosa operation offers a non-vintage red and white, both composed of many grapes, and a bargain price of $10. Some would say this is blending at its finest; others would claim that the winemaker merely put together a large amount of inexpensive grapes. The red, with Zinfandel (38 percent), Merlot (34), Cabernet Sauvignon (21), Petite Sirah (5) and mixed red varieties (2), tastes of Zin, and is dry and fruity, probably fine for a picnic. The white, made from Chardonnay (36), Chenin Blanc (32), Gewurztraminer (21) and mixed white varieties (11), is less satisfactory. There's a pleasant aroma, but not much flavor.

* * * *

FOUR-MILE CREEK: The Novy Family displays a 2008 red wine from the north coast. There's a pleasant Rhone-style richness, and the flavor indicates a good portion of Syrah, whose presence makes this a fine companion to pasta or pizza, especially in its 10-dollar price range.

* * * *

ALENTE VINHO BRANCO: The Alentejo region of southern Portugal produces some lovely, crisp white wines in the $10 range. An '09 white, blended from antao vaz and arinto grapes, has a charming crispness and an overlay of sweetness to make this an excellent dessert wine or as an aperitif. Lots of very good fruit.

* * * *

VERAMONTE SAUVIGNON BLANC: A splendid wine from an Argentine standby, the '09 Veramonte Sauvignon Blanc is a delight. Good mineral undertones and a crisp, long finish add extra layers to a rich, full-bodied wine that makes a fine companion to grilled chicken. The $12 price tag is just one more note of value.

 

-Joe

 

Central Cafe and Bakery

One of the Central West End's best locations for al fresco dining again has sprouted tables – and diners. The height of the terrace in front of the Central Cafe and Bakery gives a wider vista and a comfortable amount of distance from the passing parade, which provide the neighborhood's brightest charm. And this part of the Euclid strip is certainly ready for Middle Eastern food, highlighted by the fact that it serves breakfast. That terrace on a sunny morning, as some of us recall from years ago, is a fine place indeed.

The atmosphere is often family-oriented; we've seen several groups with babes in strollers or high chairs accompanying several generations of elders, and a lad who seemed to be part of the owner's family happily playing computer games until the table was needed for guests. A dog slept comfortably under another.

Whille the menu describes the food as having the flavors of Lebanon, Central's seems more assertively seasoned than we usually find around town. For us, that's a good thing. Like a lot of Middle Eastern restaurants, many items serve as either first or main courses, often a pleasurable situstion in which which a diner can avoid having to make a Hobson's choice.

That said, however, while lebneh is only in the appetizer column, we'd order it no matter where it was. The thick, rich yogurt with a little olive oil and some za'tar (a mixture of sumac, sesame and thyme) sprinkled on top arrives with a basket of warm pita. The result is a dish to soothe a pasha. Babaganoush (pictured here), or roasted eggplant pureed with lemon juice, olive oil and garlic, is velvet-smooth, its flavor heightened by a good dollop of tahini, and also accompanied by pita. Mana-ish, found on the breakfast menu but available any time, is a flatbread; we opted for the spicy cheese which displayed a reasonable kick. Plain cheese or cheese with parsley are other options

Tabouli is notable for its abundance of parsley over the bulgur grain, with lemon and mint sparkling in the dressing. The same flavors also brighten the fatoush, a lettuce-tomato-toasted pita salad topped with tasty grilled beef or chicken. Fat patties of falafel, greaseless and crunchy, were graceful and tasty, showing evidence of a happy amount of cumin to emphasize just a little pepper. Kafta kebabs of ground beef stayed moist, their juices reminding us of the garlic and onion inside.

It could be argued that the sandwiches are not as generously filled with meat as Americans have come to expect. Beef Shwarma, thin slices of marinated meat, is tasty, with tomatoes, onions, parsley, two kinds of pickles and tahini joining the grilled beef on the soft-crusted French loaf put in a panini press to crisp it up. Saujok, described as “homemade spicy Lebanese sausage,” but looking more like a pate, was smeared inside its loaf and then dressed the same way, the serving so scant that it was difficult to assess the sausge itself. Several dishes are available as sandwiches or entrees, with the latter adding several sides.

The don't-miss dish is the grilled chicken. The half-bird arrived as two quarters, not large, certainly, but extremely tasty, rubbed with a mysterious and unidentifiable, but intriguing spice mixture, its skin crisp and its meat juicy to perfection. Spicy potatoes, somewhere between roasted and fried, were winners, too, showing a little garlic along with the pepper, waiting for the eater to salt to taste.

We were a little surprised when we asked about the various filo-dough pastries to be told they all had the same filling, pistachios. Our choc-lava, melted chocolate drizzled on the top layer of baklava and allowed to harden, wasn't oversweet, and the crust was nicely crisp. American and Arabian coffee and tea, hot or iced. Amiable guys doing the serving and the owner coming by to check on things. No alcohol.

 

Central Cafe and Bakery

331 N. Euclid Ave.

314-875-0657

www.centralcafesstl.com

 Credit cards: Yes

Smoking: No

Entrees: $9-$21

Wheelchair access: No