 This summer, The Bower Bar invites guests to embark on a seaside-inspired escape with the launch of Bower Yacht Club, setting sail on Friday, June 6th, and running throughout June and July during regular operating hours. The bar will be transformed with nautical décor, transporting guests to the breezy elegance of The Hamptons or Nantucket, where they can indulge in coastal flavors and refreshing summer cocktails.
Executive Chef Marcus Woodham will serve a lineup of seasonal specials, including Fried Clams, Crispy Shrimp, Heirloom Tomato and Burrata Salad, Caviar Service, LobsterRolls, and other seaside delights. To complement the menu, Head Bartender Mickey Mullins and his team have crafted a selection of cocktails. Libations include Painkiller – a tropical blend of rums, citrus, and coconut cream; Rum Mango Old Fashioned – Don Q rum, spiced mango, and bitters; and Frozen Lillet Lemonade – a frozen, citrusy refreshment certain to beat the heat. The Bower Bar is located at 1320 Magazine Street in the Framework Building and is open Monday - Thursday 4PM - 9PM; Friday & Saturday 4PM - 11PM; Sunday 4PM - 9PM. For more information, visit thebowernola.com/the-bower-bar.  This summer, locals and visitors can enjoy an array of programming at Virgin Hotels New Orleans. Kicking off Memorial Day weekend, the hotel will offer a variety of parties and specials at The Pool Club.
Memorial Day - Kick things off with DJ entertainment on Saturday - Monday for brunch from 11AM-2PM. DJ entertainment can also be found at The Pool Club on Saturday from 12PM-4PM and on Monday from 1PM-5PM. The pool menu includes Wagyu Beef Hotdog, Shrimp Egg Rolls, Crispy Smoked Chicken Wings, and TPC Grilled Turkey ‘Club’ Sandwich. The Sunday party with River Beats is on 5/25. Heat Check will be a special rooftop pool party with music by New Orleans legends OTTO & Pretty Nasty. Doors are at 2PM, with music kicking off around 2:30PM! Limited tickets are available. Details HERE Golden Hour at The Pool Club - Head up to the 13th floor for city views and special discounts. Available weekdays from 4PM - 6PM, Golden Hour features $12 signature cocktails, $10 beer & shot duos, and $8 house wine-by-the-glass. Details HERE Set de Flo Sundays: Every 2nd Sunday of June, July & August from 1PM - 5PM, guests can enjoy DJ entertainment from Set de Flo, while sipping on cocktails & enjoying rooftop views. NO COVER CHARGE. Day passes are available for purchase. *Guests cannot swim. Love for Locals: Each Monday at The Pool Club, Louisiana residents can enjoy rooftop views, cocktails, bites & a dip in the pool with $10 day passes from 10AM - 7PM. *Day passes do not include food & beverage or dedicated seating. Reservations can be made HERE Summer Pool Day Passes & VIP Reservations: Non-hotel guests can enjoy the pool all summer long with day passes. Availability is limited, and reservations are required in advance. Book HERE
 The New Orleans Museum of Art (NOMA) presents a new film series, in collaboration with award-winning producer and filmmaker Meryl Poster. Each film screening at NOMA will be accompanied by a conversation with Poster and other leading figures. Discussions will draw connections to art more broadly and celebrate cinema as an essential art form.
The museum kicks off the series on Wednesday, May 21, with a screening of director Anthony Minghella’s The Talented Mr. Ripley (1999) followed by a conversation with actor Jude Law and producer Meryl Poster. Full schedule:
A limited number of tickets are available for each screening. Tickets are $10 for NOMA members and $15 for the general public. More information is available at noma.org/producerschoice. 
The cast of Tiny Beautiful Things: Photo by Brittany Werner
First night review: Tiny Beautiful Things @ The Marquette Theatre at Loyola University, New Orleans
Review by Dorian Hatchett The French have a concept called jolie-laide, which roughly translates to 'ugly-beautiful'. It’s used to describe unconventionally attractive women, but it gets thrown around to describe all sorts of concepts where the true beauty of something lies in its imperfections, rather than in some divine symmetry. Tiny Beautiful Things is a melange of everything imperfect about people, and how the intersection of lives can bring those imperfections together like facets of cut crystal. It is presented by Crescent City Stage, based on the novel by Cheryl Strayed. A novel writer takes on the project of an advice column. It seems simple enough. The word on the page is easy to compartmentalize into something separate from life, though, and our main character finds out all too quickly that the letters are real; perhaps more real than she was prepared for. The stage is austere. A single room, with a desk and a different chair at each corner. The entire progression of the plot is in the dialogue, and the lack of fussiness is perfect for forcing the audience to focus on the words, rather than the room. Tenea Intriago plays Sugar, the pseudonym for an anonymous advice-broker. She is quirky and interesting, and when she reaches into her lived experience to give guidance, the audience gains a glimpse not only into her life and history, but also a master class in grief and finding yourself through the tides of human experience. The writing is pithy and poignant, and full of brilliant analogies for experiencing life through our fragile conscious. Ms. Intriago is sublime in her portrayal of the complicated, clever Sugar. The letter writers are a Greek chorus; three voices in atomic orbit around our columnist. They are portrayed by Steve Zissis, Helena Wang, and Rashif Ali. Three actors with a plethora of characters, they quick-change from one to the next as simple spotlights frame small monologues. A barrage of voices, of problems, of the eternal question, “WTF?!” ring out to surround, overwhelm, and intrigue the writer. There is genuine laughter from the audience at times, and the chorus soaks it up and uses it as further fuel to turn around and thrust deep the knives of pain that cover our bravado and our elaborate coping masks– the things that we would use to separate ourselves from the lives of others. Once they have us hanging on to their every word, they effortlessly bring forth our own grief, mirrored in bullet points about loss and the moments we cannot seem to escape. Sugar expertly plucks these threads out of the air and weaves them together into a tapestry that is rich and beautiful and ugly, in just the right places. Tiny Beautiful Things is playing through May 25th at the Marquette Theatre at Loyola University. Click here for more information and ticketing Sign up for your free, weekly arts and culture newsletter: 
First Night Review: The Wiz @ The Saenger Theatre, New Orleans
Review by Dorian Hatchett Frank L. Baum’s saga of The Wonderful Wizard of Oz and its expansive universe has captivated audiences since the initial novel was published in 1900. Every generation since has had its own adaptations, right up to the most recent craze surrounding the blockbuster movie adaptation of Wicked. One of the most unique approaches to the world of the Emerald City and the cardinal witches was the 1974 production of The Wiz, which portrays the story of the first Oz book through the lens of then-contemporary black culture. When the show made the jump to Broadway in 1975, it was groundbreaking. The first Broadway production to feature an all-black cast, it also managed to get a nod from the Billboard Music Charts with its single “Ease on Down the Road” covered by a disco group. Despite mixed critical reviews, the show managed to win eight of the nine Tony Awards it was nominated for during its first year running. In 1978, the show was adapted into a feature film, starring Diana Ross as Dorothy (and the feature film debut of Michael Jackson, as the Scarecrow). The current touring production in the US comes after numerous Broadway revivals and international adaptations. To say that this show, never a unanimous critics darling, has had an impact, would be a grave understatement. This tour is certainly living up to the hype. Dana Cimone as Dorothy is imminently relatable as a teen girl far from the home she grew up in, but when she sings she channels the voices of her musical theatre ancestors. This girl has pipes. Elijah Ahmad Lewis, D. Jerome, and Cal Mitchell are superb companions as the Scarecrow, Tin Man, and Lion. Their characters are as much physical comedy as steadfast companions, and the galvanizing force of the quest to take down the witch who has wronged them each in turn is as funny as it is ambitious. The costuming of this show deserves special mention. Using high-fashion as an element of storytelling has always been a pillar of this show, and the costume designers here did not disappoint. Colors so saturated they seem to absorb and reflect the stage lights, fantasy hair and makeup, and a generous application of metallics and rhinestones recall the disco era the show hails from, but brings in a modern finish that feels relevant and new, even for those of us who grew up watching the movie over and over. Under the expert direction of Schele Williams, the cast and choreography are polished, the voices are clarion, and the costumes are to die for. Every detail maintains the Broadway flair that we have come to know and expect from Broadway in New Orleans and the Saenger Theater. The Wiz runs at the Saenger Theatre through May 18th. Click here for information and ticketing Sign up for your free, weekly arts and culture newsletter: 
The cast of Doubt: A Parable @ Le Petit Theatre (photo: Brittney Werner)
Doubt: A Parable @ Le Petit Theater Review by David Lewis When Doubt: A Parable debuted on Broadway in 2005 it immediately won four Tonys and the Pulitzer, which seems like a striking feat for a four-character one-act play about suspected sexual abuse by a Catholic priest. John Patrick Shanley’s examination of a New York catholic school navigating the possible misdeeds of an affable young priest chose for setting and environment an incredibly loaded situation, but the play isn’t entirely “about” the high-stakes situation it tees up, but rather the dire processes behind the internal decisions faced by its four characters. When principal Sister Aloysius, deeply mistrustful of both the secular and the overly informal, fences with Father Brendan Flynn over her suspicions about his conduct, we wonder whether her struggle is actually more with her own faith. Actor Leslie Nipkow finds humor in the character, delivering some of the nun’s most acerbic lines with wicked timing, but also seems to establish herself with the eager and optimistic younger nun Sister James such as to remind you that “grooming” isn’t limited to sinister priests or male abusers. Elizabeth McCoy’s Sister James slowly unravels under the constant accusations and cynicism of her superior, until the shell that’s left is almost identifiable as a younger Aloysius. If there’s a close but reluctant alliance between the two nuns, the distant alliance of actors David Lind and Queen Shereen Macklin is more haunting and complex. Lind plays Father Flynn, the priest accused of abusing the school’s only African American student; Macklin portrays the boy’s mother, Mrs. Muller. Although the two won’t share a scene, they together explore complicity and deniability, two actors giving strangely corresponding performances, both characters with shockingly parallel agency. Macklin’s Mrs. Muller reminds me of the Greek chorus: it’s the most passive role of the four. These things are happening to her and her family, but we’re still never given the option to acquit her. Like the chorus, she in this way provides the most direct bridge to the audience. The dialogue is tense, but director Ashley Santos senses the play’s real tension stems from the unsaid implications in a narrative that coldly withholds resolution. We are forced to assess disparate themes as though they are truly natural contrasts: The tension between redemption and safety; “cancel culture” social reactions and the very real threat of child abuse by trusted adults in ostensibly safe places; the injurious certitude of the blindly faithful and the crippling risk-avoidance of those waiting for someone else to solve the problems. Shanley’s masterpiece is well positioned in our current social moment – and in the theater, you’ll find that the distance between yourself and the players is insufficient insulation from the invariable weakness of your own convictions. Doubt, A Parable plays at Le Petit Théâtre through May 18th. Click here for information and ticketing. Subscribe to our free weekly newsletter for more arts and culture:  Costera has announced a new Bar Tasting, The Magical Mystery Pour, and a refreshed Happy Hour Menu for this spring and summer.
Aimed at solo diners, date nights, or small groups (up to 4 guests), Costera’s Bar Tasting (available at the bar only), crafted by Chef de Cuisine Kathryn Searcy, offers a two-course curated journey through the kitchen’s most beloved dishes. For just $55 per person, guests will enjoy a spread of signature tapas and a rotating selection of small and large plates, tailored to party size. For guests seeking an even more expansive offering, Costera’s $75 Four-Course Family-Style Tasting Menu remains available year-round to all guests. The newly launched Magical Mystery Pour is a wine experience for adventurous sippers. For $20 a glass, enjoy a blind pour from a rotating selection of rare and limited wines that typically wouldn’t make it to the by-the-glass list. This special offering features higher-end bottles in small quantities. Reintroducing Happy Hour from 4PM–6PM, Wednesday through Sunday, Costera’s bar team is shaking things up with a rotating selection of $10 classic cocktails, $6 Costera originals, and an expanded menu of Tapas favorites. New to the Happy Hour menu are both half and full-size portions of popular dishes. Costera is located at 4938 Prytania Street. For reservations, call 504-302-2332. READ OUR INTERVIEW WITH KATHRYN SEARCY READ OUR REVIEW OF COSTERA  The New Orleans Wine & Food Experience announces its 2025 Labs & Experiences as part of its 33rd annual event, scheduled for June 11 - 15. NOWFE will present fifteen unique wine and food labs and hands-on experiences throughout the five-day event. Additionally, NOWFE will host its Wine Dinners, Vinola, Tournament of Rosés, The Grand Tasting, and Burlesque, Bubbly, and Brunch. 2025's Labs & Experiences (all LABS will take place at the New Orleans Marriott Warehouse Arts District Hotel)
Wednesday, June 11, 10 am – 1 pm, Gonzo’s Smokehouse & BBQ, 12325 River Rd, Luling, LA EXPERIENCE: Masterclass: Smoking Secrets with Award-Winning BBQ Master Jason Gonzales Friday, June 13, 10 am – 11 am LAB: Farming for Flavor: Oregon Wines Friday, June 13, 10 am – 12 pm, The Exchange Club, 2120 Rousseau St., New Orleans EXPERIENCE: Pickleball & Prosecco Friday, June 13, 11:15 am – 12:15 pm LAB: Passport Lab: Around the World in One Hour: 8 Countries/8 Wines with Sommelier Marika Vida Friday, June 13, 12:30 pm – 1:30 pm LAB: Stag’s Leap Wine Cellars: Iconic Estate Cabernet Sauvignon Friday, June 13, 1 pm – 3 pm, The Tchoup Yard, 405 Third St., New Orleans EXPERIENCE: Food Truck Funk Friday, June 13, 1:45 – 2:45 pm LAB: Natural Wine Decode with RedThumb Natural Wines Friday, June 13, 3 – 4 pm LAB: New Mexico: The Unexpected Wine Country Saturday, June 14, 10 am – 11 am LAB: EHRET Winery & Nonna Randazzo’s Bakery: The Art of Wine & Pastry Pairing Saturday, June 14, 11 am – 1 pm, Brennan’s Restaurant, 417 Royal St., New Orleans EXPERIENCE: Sabering Experience at Brennan's Saturday, June 14, 11:15 am – 12:15 pm LAB: Contemporary Rioja with Master Sommelier Evan Goldstein Saturday, June 14, 12:30 pm – 1:30 pm LAB: Southern Hemisphere: Old World Viticulture, New World Wines with Marika Vida Saturday, June 14, 2 pm - 4 pm, Cure, 4905 Freret St., New Orleans EXPERIENCE: Cure Presents Cocktails of the World Saturday, June 14, 3 pm - 5 pm, Ogden Museum of Southern Art, 925 Camp St., New Orleans EXPERIENCE: Art & Wine: An Inspirational Afternoon at Ogden Museum Saturday, June 14, 7:30 pm – 9:30 pm, Paradigm Gardens, 1131 S. Rampart St., New Orleans EXPERIENCE: Shuck n’ Jive: Drink, Eat, Dance For more info and ticketing, go to NOWFE's website  At James Beard nominated GW Fins, Executive Chef Michael Nelson’s relationship with local fishermen secures some of the Gulf's freshest fish. The restaurant is now offering a new Catch & Cook program, in which fishing enthusiasts can bring their own catch to GW Fins, where Chef Michael will prepare the fish caught earlier that day.
GW Fins can recommend charter companies that will take guests out for a day of fishing, and some will even clean your catch and drop them off at the restaurant. Simply make a reservation for dinner later that evening, note that you will be bringing in your own fish, and show up to enjoy your meal (Chef Michael requests that all fish be dropped off at GW Fins by 3pm on the day that guests would like to dine). The cost is $35, plus tax and gratuity, per person for Chef Michael to create an entrée from the catch. The way he prepares the fish depends on the variety of the fish and which local ingredients are at their seasonal peak. Recent dishes include Drum with a Redfish cracklin' crust, Crawfish maque choux, sweet corn spoonbread and roasted corn butter; pan seared Red Snapper served with Louisiana Shrimp Creole, long grain rice and crispy okra; and Sheepshead with a parmesan crust along with jumbo lump crab, asparagus, truffled potatoes, crispy capers and a Meyer lemon beurre blanc (pictured). GW Fins, located at 808 Bienville Street, is open for dinner seven nights a week. For reservations, visit the restaurant's website or call 504 581 3467 to secure reservations.  After a successful regional premiere of Adam Szymkowicz’s CLOWN BAR ten years ago, the itinerant theatre company is returning to their clown roots with a sequel – this time trading a saloon for a twilight room.
In this follow up to Szymkowicz's long-running comedy, two years have passed since the events of CLOWN BAR, and Happy Mahoney – the new clown-crime boss – is missing. Foul play is suspected, so two cops from the “beige life” are enlisted to go deep undercover and solve the mystery. The NOLA Project’s Khiry Armstead directs ensemble members Natalie Boyd, Keith Claverie, Matthew Thompson, Alex Martinez Wallace, Megan Whittle and Kristin Witt with Benjamin Dougherty, Jessica Lozano, David Sellers and Joe Signorelli completing the cast. Please note that CLOWN BAR 2 is intended for mature audiences – must be 21+ to attend. For schedule, tickets and more, visit NOLAProject.com. |
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