 The cast of Timbuktu, USA (photo by Leah Floyd) Timbuktu, USA @ The New Marigny Theatre Review by Aura Bishop Two very different women choose the bear - or in this case, the monkey- over belonging to a man in Timbuktu, USA. This absurdist two-act play about power, politics, gender roles, and sex is presented by Intramural Theater company and deftly directed by Frenchie Faith. Kelly Kilkenny (Lauren Wells) is a career politician who turns down sex and marriage in order to maintain power. But she doesn’t stop at politics. She’s a puppet-master to her nephew Bobby Kilkenny (Benjamin Dougherty) who is plagued with gay sex scandals and gossip while pursuing his own political goals. Kelly makes the executive decision to find Bobby the perfect wife to smooth over his reputation (and hers.) She calls upon Babette (Mary Langley) - the overly-sheltered daughter of Senator Henry Rosequest (Joshua Tierney.) Babette and Kelly share an intense fascination and attraction to Kelly’s “pet” monkey Timbu (Emily Laychak) who was the gift of one of Kelly’s rejected suitors many years ago. We soon learn that Babette is more clever than given credit, and is privy to a secret that could destroy Kelly’s career and ambitions. Bobby, Babette, Kelly and Timbu are now in a kind of four-way-tango of tension, lust, and power. This is Timbuktu, USA’s regional premiere. It originated in Boston during the time of President Trump’s first inauguration and the subsequent women’s marches that followed. The subject matter, which was timely then, finds itself relevant still, or maybe yet again. Playwright Ken Prestininzi’s writing style in this piece in many ways seems to echo style, rhythm and themes in the works of late playwright Edward Albee. Actor Lauren Wells even seems to embody a little hint of Elizabeth Taylor in Who’s Afraid of Virgina Woolf? This was my first time attending a show in The New Marigny Theatre, which is a stunning and versatile space utilizing a renovated church just off of St Claude Avenue. It’s an excellent addition to other venues in the area. The space was used creatively with moving set pieces, hanging windows, and effective lighting. Timbuktu features strong, high-energy performances and innovative use of props. Be prepared to go on a strange trip into the human psyche and the monkeys that people have on their backs. Timbuktu, USA plays at the New Marigny Theatre through Feb 3rd. Click here for more information and ticketing MORE REVIEWS SIGN UP FOR YOUR FREE WEEKLY NEWSLETTER  Is this the ultimate large format breakfast? Meet the Krewe Bagel from Flour Moon Bagels - their version of a savory King Cake. The Krewe Bagel is cream cheese, smoked salmon, cucumbers, capers, and red onion all served on an oversized FM bagel, decorated with seeds reminiscent of a king cake’s traditional colored sugar topping. This giant is $95 and feeds 10-12 people. The Krewe Bagel must be pre-ordered online at least 48 hours prior to pick-up.
In the wake of the devastating wildfires in Los Angeles, New Orleans bakers Beth Biundo, Megan Forman, and Maggie Scales are rallying in solidarity to support relief efforts for fellow business owners. Several local bakeries and restaurants will join in the fundraising event, of which 100% of the proceeds will be donated to Regarding Her, an organization committed to accelerating the growth of women-owned businesses, and Direct Relief, a humanitarian aid organization committed to helping all people affected by poverty or emergencies. “We know first hand the devastation a natural disaster delivers,” said Beth Biundo. “While there is nothing we can do to assist on-site, we will do what we do best, and that’s to bake or cook. We hope that our efforts will provide resources that could be the difference between survival and closure.”
WHEN: Saturday, February 1, 2025 / 3 – 5 p.m. WHERE: La Boulangerie, 4600 Magazine Street WHO: (Participating bakeries and restaurants as of Jan. 15, 2025): Ayu Bakehouse, Beth Biundo, Bittersweet Confections, Bywater Bakery, Dakar, Flour Moon Bagels, Gracious Bakery, La Boulangerie, Lagniappe Bakehouse, Lilette, Leo’s, Molly’s Rise & Shine, Nolita, Paladar 511, Stein’s Deli, Breads on Oak, NOCHI. With Saint John’s new location (715 Saint Charles Ave.) running right along the parade route, the restaurant is excited to introduce its new Mardi Gras Grandstand Passes! Each pass is $250 and includes access to Saint John’s upstairs private rooms with open buffet featuring daily selections by Chef de Cuisine Darren Chabert, access to private bar (with four drink tickets), balcony and restrooms, plus grandstand access in front of the restaurant.
Passes are available to purchase via Resy or by calling the restaurant at (504) 381-0385. Available dates/times are listed below:
 Known for its Latin American cuisine (read our review of the original location here), Alma Cafe’s new location will officially open to the public on Saturday, February 1st, at 301 North Carrollton Avenue in Mid-City New Orleans. This is the second opening from Chef Melissa Araujo, two-time James Beard: Best Chef South semifinalist (2024, 2025).
Alma Mid-City, just like the flagship location, promises a menu that showcases the highest-quality ingredients with dishes that are rooted in Chef Araujo’s childhood. Traditional dishes are reimagined with a modern twist, using fresh, locally sourced ingredients. Diners can enjoy signature dishes like Baleada Sencilla, Melissa’s Pancakes, Brussels Sprouts Bowl with Louisiana Jasmine rice, Celebration of Tomatoes, Pastelitos de Carne – meat pies served with Encurtido and Honduran red sauce, Bistec Encebollado (pictured) – hand-cut sirloin and caramelized onions, and The Deep South – chile habanero marinated fried chicken thigh, coleslaw, and Honduran crack sauce, served with rosemary fries. Araujo has been testing recipes in Bywater - her Friday dinner series - and is excited to unveil the dinner menu in Mid-City. Alma Mid-City will introduce exciting features, including an oyster bar offering a Happy Hour with $1 raw and $1.50 chargrilled, as well as a dedicated Tortillera producing fresh tortillas throughout the day. Expanded vegan and gluten-free options and an array of seasonal specials will reflect Araujo’s dedication to inclusive, health-conscious dining. The restaurant will also include a full-service cocktail bar, offering beverages inspired by both Honduran and New Orleans traditions. The restaurant will open to the public on Saturday, February 1st. Brunch will be served daily from 8AM – 3PM, and dinner will be offered Monday through Saturday, from 5PM to 10PM. For more information, visit www.eatalmanola.com. More than 200,000 people will pop question this Valentine’s Day, and those that do it at Medium Rare (their New Orleans location is at 5538 Magazine St.) will win a FREE Steak Frites dinner on their wedding anniversary date every year for the rest of their married lives. The Medium Rare Steak Frites dinner includes a culotte steak served with Medium Rare’s famous secret sauce, French fries, a side salad, and rustic bread all for the price of $29.95, and there are complimentary second servings of the steak and fries. If you're considering it, you can read our review of Medium rare here.
 All talk? Goodnight, Oscar @ Le Petit Theatre Goodnight, Oscar @ Le Petit Theatre Review by Aura Bishop When I was a small child, I went through a “talk show” phase. My father worked the night shift at a radio station. I would pretend to fall asleep on the couch so that I could watch Johnny Carson and David Letterman and then get to say goodnight to Dad when he got home. I wish I could find a good way to explain what I loved about that kind of thing as a five-year-old: I couldn’t possibly have understood half of what anyone was talking about. But I loved TV and movies and music and I loved seeing people from TV and music and movies having conversations and making jokes and I hated going to bed early. One of Carson and Letterman’s predecessors was Jack Paar, who hosted a few early iterations of The Tonight Show under various names after the departure of Steve Allen, the originator of the late night series. A behind-the-scenes look at a fictitious episode of Tonight Starring Jack Paar is the setting of the current production of the play Good Night, Oscar, now playing at Le Petit Theater in the French Quarter. It’s a unique format for telling the story of Oscar Levant - a virtuosic piano player, composer, conductor, occasional actor, and humorist. In the play, Levant is given a four-hour pass to leave the psychiatric facility where he is being committed for in-patient treatment to make an appearance on The Tonight Show. This is based on an event that occurred in real life, but the conversations and specific circumstances are fictionalized as a means to tell Oscar Levant’s story and meet some of the key players in his life. Good Night, Oscar took me completely by surprise. I expected it to be interesting. I was not prepared to be swept off my feet. The cast is phenomenal. Kevin Wheatly is a convincing Jack Paar, particularly in his impressive delivery. Reid Williams is swanky and spooky as the haunting memory of George Gerswhin. Zane Syjansky as Max Weinbaum is like a mid-century 'Kenneth the Page' (from the show 30 Rock). The fan-boy character also acts as a means to fill in historical trivia, giving us backstory on Levant and other guests of the show. Leslie Castay as Oscar’s wife June brings depth and warmth to the discussions with and about Oscar. KC Simms gives a touching performance as the no-nonsense psychiatric nurse with a soft side. Nick Strauss delivers tension and conflict as blustering and uptight NBC executive Bob Sarnoff. Michael Paternostro brings down the house as Oscar Levant. It takes a great actor and excellent pianist to take on this role. Levant is a complex character in both his public and private life and a multi-talented performer. Paternostro switches adeptly between Oscar’s acerbic wit and heartbreaking pathos, and delivers a goosebump-inducing performance of Gershwin’s 'Rhapsody in Blue' in the middle of the character’s apparition-filled nervous breakdown. The set is a giant tube tv screen meets television studio soundstage meets padded cell, and the sound design takes you right into the world of mid-century television, complete with vintage commercial audio (“Nothing says lovin’ like something from the oven!”) Levant is the kind of performer whose many contributions to entertainment may be familiar while his name may not be. It makes him the perfect subject for a biographical play such as this. He was prolific and well-known in his day, but isn’t spoken of as frequently in the present as other stars of the day. I learned so much about him in this two-hour show, and was so fascinated that I found myself reading up on him immediately afterwards. Goodnight, Oscar runs its final shows this weekend at Le Petit Theater. Click here former information and ticketing  Out for the Count: Nosferatu
The themes of reanimation are hard to ignore in Robert Eggers' latest. Of course, there’s the undead nature of the monster itself, added to which the project itself is a remake of a remake of a remake of the original Dracula story. A (cough) revamp, if you will (though you probably won’t). Taking on Dracula is to operate under the weight of the mythos. Bram Stoker’s novel was published in 1897, and its grip on the human imagination means that we’ve had countless iterations since then. 1922’s Nosferatu, a classic of the German Expressionism movement, was essentially an unlicensed adaptation for German audiences. Changing a few minor details didn’t dissuade the Stoker estate from suing, and all copies should have been destroyed, the ruling coming too late to prevent its distribution. Since then we’ve had everything from the classic 1930s Bela Lugosi to Gary Oldman’s creepy Count in Copolla’s 1992 version. Twilight, Blade and Sesame Street’s Count Von Count show Dracula’s panoramic reach. Eggers (The VVitch, The Lighthouse) makes the canny choice to take the material, and shape it using his strengths. These would be, among other things, obsessive attention to historical detail, a fascination with esoteric folklore and an evocation of dark atmospherics that is among the best in modern cinema. Bill Skarsgård’s Count Orlock (‘Nosferatu’ is an archaic Romanian word for ‘vampire’) is a necrotic, zombie-like creature with a mustache you could lose a small nutria in. He swings between weakly cadaverous and bounding towards us with the gait of a rutting grizzly bear. In his own worlds, he is not a mortal object. “I am appetite!” he growls, placing him beyond reasoning, and beyond mercy. He has become fixated on Ellen Hutter (Lily-Rose Depp), luridly projecting himself into her dreams before pursuing her through his business dealings with her effete husband Thomas (Nicholas Hoult). Ellen’s visions and seizures are equal parts seduction and repulsion, increasing in intensity as Orlock ships himself from Romania to take up residence in her home town. Depp does an incredible job swinging from sexual mania to nihilistic melancholy. Orlock is a one-man apocalypse, bringing pestilence, plague and infant death. He is parasite and strongman, terrible yet irresistible. Ellen’s condition reflects a physical darkness across the town, one that must be battled. Local doctor Wilhelm Sievers (Ralph Ineson) enlists eccentric metaphysician and occult scientist Professor Albin Eberhart von Franz (played with obvious relish by Willem Defoe), and once Orlock’s nature is beyond doubt, they wage war as best they can. Given the sheer scale of a century and a half of world building, Eggers’ take is even more impressive. Chilling psychological drama keeps the inevitable levels of camp in check, and the grotesque form of the Count - as opposed to a Brylcreemed, cape-flapping caricature - create a vampire that is stirringly novel, yet remains a sincere homage to both the original source material and the pioneering 1922 adaptation. Old horrors in new forms. It’s truly a monster for our times. (PO)  It's a Bard knock life...& Juliet at The Saenger Theatre First Night Review: & Juliet @ The Saenger Theatre review by Dorian Hatchett We are such stuff as dreams are made on Shakespeare is for the people. I would posit the notion that every adaptation, every derivative work, is exactly in keeping with the voice of the bard. Each time someone picks up a play that was written for the stage at the Globe Theatre and says “But what if…” a new flower grows in Stratford-Upon-Avon. Jukebox musicals are the very definition of theatre for the sake of fun. If music be the food of love, play on & Juliet premiered in 2019 at the Manchester Opera House, and has been playing continuously in one form or another ever since. The soundtrack is by Pop songwriting phenom Max Martin, who is arguably the reason we know names like The Backstreet Boys, Britney Spears, Pink, Katy Perry, and even Taylor Swift. The super-cut medleys in this show are pure nostalgia for millennials, candy coated love letters to the wreckless times in the late 90s and early aughts before social media and phones with built in cameras. The characters are believably teenagers because this was the treble and bass of our teenage years right there played out in lights and rhinestones. All the world's a stage, And all the men and women merely players: They have their exits and their entrances; And one man in his time plays many parts. & Juliet examines what would happen if the final tragic moments in Romeo and Juliet hadn’t been the end at all, but a prequel to Juliet waking up and realizing she kind of let herself get carried away with that star-crossed lovers bit. Rachel Simone Webb as Juliet is a rose we need by no other name. Her best friend May (Nick Drake) is the yassss every teenage girl needs in her corner. It also plays out a marital rift between the playwright (Shakespeare is played by Corey March) and his wife (Teal Wicks is Anne Hathaway) and as these story lines weave in and out of one another, and finally coalesce, we are shown a lesson about the value of kindness and truth in the pursuit of love. The course of true love never did run smooth This show is above all, polished. There’s a dynamic set, a company of skilled dancers who take up space and fill the background, a costume department that is at once a riot of color and variety and also completely cohesive. Just the right amount of broadway magic transports you into the action as confetti rains down during a rhinestone-studded climax when Juliet finally learns the lesson that her heart had been seeking the entire time. Love all, trust a few, do wrong to none &Juliet Plays at the Saenger Theatre January 14-19th, click here for information and ticketing WHO: New Orleans Culinary Hospitality Institute (NOCHI)
WHAT: King Cake Workshop with author Matt Haines and chef Martha Gilreath WHEN: Tuesday, January 28, 2025, from 6 – 8 p.m. Tuesday, February 18, 2025, from 6 – 8 p.m. WHERE: NOCHI, 725 Howard Avenue, New Orleans HOW: Have your king cake and make it, too! In this class, you will roll up your sleeves to shape and bake your own king cake, led by Martha Gilreath of Nolita, then take a deep, delicious dive into the history of this one-of-a-kind confection with Matt Haines, author of The Big Book of King Cake. Expect fragrant smells and fabulous storytelling. You'll go home with a fresh king cake (retail value: $30), decorating supplies, know-how, and plenty of inspiration to dress your cake up. Participants will also have the opportunity to purchase signed books onsite. Tickets are $85 and can be purchased at www.nochi.org. Participation is limited. |
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