On the eve of the biggest night of his life, Lonzo Ball pops up from underneath a fluffy, white down comforter and digs through a box of chicken nuggets. On a television a few feet away, pundits debate De’Aaron Fox, one of the top point guards in this year’s NBA draft.

“Ey, bro, you have a turn down? Controller?” Ball calls across the room to Darren Moore, his trainer and manager.

He hadn’t really been listening anyway. The show was on in the background as he napped. But a lot of that is just noise to Ball right now. That stuff isn’t as real as what awaits him.

Thursday night in Brooklyn, his dream will come true, when he’s drafted by an NBA team — especially if the Lakers do what’s expected and take him second overall. It will end a pre-draft season dominated by his father, one in which Ball, the prospect, has been largely behind the scenes.



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The MSC Meraviglia has hit the water. The largest new cruise ship for 2017, whose name means “wonder,” sailed its maiden voyage earlier this month from Le Havre, France, to Genoa, Italy. Italian film legend and ship godmother Sophia Lauren christened the vessel.

It’s the largest ship made by a European cruise line, Swiss-based MSC Cruises, and it can hold up to 5,714 passengers. The ship has 19 decks and 22 room categories, including new connecting cabins for families and interior studio cabins with a single bed for solo travelers.

Walk along the ship’s Galleria, and you’ll stroll beneath an enormous LED dome that acts as “an atmospheric digital sky.” That means you’ll see designs and a starry night or sunrise on the 5,200-square-foot screen as you pass below.

Original Cirque du Soleil shows will be performed at the custom-made Carousel Lounge twice each night, six nights a week. This is the first Cirque at sea to be offered aboard ships.

Shows include “Viaggio,” which features a passionate artist and his muse, and “Sonor,” an “auditory adventure” with dancers, acrobats and other characters. Shows last 40 minutes.

Passengers can book a show and drinks for $17 or a show and a three-course dinner for $39.

And there’s plenty here for kids of all ages. An Aqua Park features water slides, splash pool and Champagne bowl. Anyone can test their mettle at the Himalayan Bridge ropes activity that takes you across the ship almost 200 feet above the water. There’s an amusement park and bowling alley too.

There are lots of kid-themed areas, like the Doremi Lounge where you’ll see Lego characters. The ship offers Baby Club for 1 to 3 year olds, Mini and Juniors Club for 3 to 11, and two teen clubs.

The ship has 12 restaurants, including four specialty eateries: Eataly, an American-style steakhouse called the Butcher’s Cut and a Kaito Teppanyaki sushi bar and Asian restaurant. The ship’s Marketplace Buffet is open 20 hours each day.

The Meraviglia also will debut MSC for Me, a digital interface. It acts as an on-board concierge that helps passengers book activities on the ship, find family members and friends and navigate their way from deck to deck.

The ship this summer will sail itineraries in the Mediterranean with stops in France, Italy, Spain and Malta. Prices vary by season, but MSC has a 2 for 1 sale on through Aug. 31.

With the sale, prices for interior cabins on eight-day cruises start at $1,069 for an Aug. 6 sailing and $499 for a Dec. 4 sailing.

The Meraviglia will gain a sister ship, the Bellissima, in spring 2019.

Info: MSC Cruises, (844) 284-9439

ALSO

Best summer camp at sea? Which cruise lines have splashy fun for kids

New Royal Caribbean corkage fee may put a damper on your BYOB celebrations aboard ship

You could get booted from your next cruise if you ignore these rules

travel@latimes.com

Twitter: @latimestravel



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Strolling through the modern design fair known as Dwell on Design is a lot like exploring the new Ikea store in Burbank: Even if you’re just looking, it’s fun to see what’s new.

And there will be much to see that is new as roughly 300 vendors return to the Los Angeles Convention Center on June 23-25 to share the latest furnishings, appliances, technology and concepts.

Not sure you want to attend? Here are six reasons why we think you should:

Graphic lines and geometric units combine in this Minarc design, open on June 25 in conjunction with Dwell on Design. (Mark Boster / Los Angeles Times)

House tours

The popular Home Tours give design fans an opportunity to go inside modern “Dwell-like” homes. Tours are divided into two days and will include five homes in Santa Monica, Culver City and Venice on June 24 and five in Hollywood, Silver Lake and Laurel Canyon on June 25. Tickets are $110 to $125 and often sell out. Register online at la.dwellondesign.com

The ASA-D2 modular outdoor kitchen by Brown Jordan.
The ASA-D2 modular outdoor kitchen by Brown Jordan. (Brown Jordan )

More than 2,0000 home products

Shop for the latest interior design products such as the ASA-D2, shown above, an innovative modular outdoor kitchen by Brown Jordan that starts at $33,000. Other exhibitors include Able and Baker, the Concrete Collective, Bolefloor, Harkavy Furniture, Knoll and Nana Wall Systems, among others.

The kitchen of the Neolith Tiny House.
The kitchen of the Neolith Tiny House. (Neolith Tiny House )

Tiny homes

There will be a variety of tiny homes on display this year: A 500-square-foot luxury home featuring Toto toilets, Miele interior appliances, a 36-inch Wolf outdoor gas grill and Neolith surfaces. There’s also a 560-square-foot trailer design for the “desert dweller” created by Kim Lewis and the Happier Camper, an ultra-light, retro-modern, fiberglass camper that features a modular interior.

Method Home’s new Anatta Series highlights indoor-outdoor living.
Method Home’s new Anatta Series highlights indoor-outdoor living. (Method Homes)

Prefabs

Method Homes will launch the new Anatta Series, a prefab home with a focus on indoor-outdoor living designed by Method’s architect partners at Chris Pardo Design: Elemental Architecture.

https://www.instagram.com/p/BU_yoYIlMYe/?taken-by=christianelemieux&hl=en

A chance to mingle with designers

Who will be there? Celebrity designer Nate Berkus, for one. Noted interior designers and authors Martyn Lawrence Bullard and Christiane Lemieux will also be speaking at Dwell on Design along with architect David Adjaye who recently completed the Smithsonian National Museum of African American History and Culture in Washington, D.C. Adjaye will talk with Times architecture critic Christopher Hawthorne at 11:45 a.m. Friday.

Santa Barbara Autocamp Airstream in Santa Barbara
Santa Barbara Autocamp Airstream in Santa Barbara (Santa Barbara Autocamp)

Outdoor living showcase

Dwell Outdoor will feature prefab homes, an Outdoor Cinema curated by Architecture + Design Film Festival and Autocamp’s Outdoor Adventure featuring two full-size custom Airstreams and a luxury tent.

————————————————————————–

What: Dwell on Design 2017

Where: Los Angeles Convention Center, South Hall, 1201 S. Figueroa St., downtown Los Angeles.

When: June 23, 10 a.m. to 6 p.m.; June 24, 10 a.m. to 5 p.m.; June 25, 10 a.m. to 4 p.m.

Admission: Tickets and passes start at $30 and go up from there, depending on events selected. Multiple-day discounts available.

Info: dwellondesign.com

ALSO:

A modern home connects a family to the outdoors — and to one another

This new guesthouse is a mere 380 square feet — but still feels sunny and spacious

More Southern California home tours



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It’s hard to imagine Georgia O’Keeffe, nunchaku, scorpions and Wu-Tang Clan’s RZA sharing the same sentence, much less the same fashion runway, but all of those things — and a whole lot more — were in the mix at Opening Ceremony’s fall 2017 women’s runway show presented June 9 downtown as part of Made LA’s second annual art, fashion and music showcase.

It marked the first time the New York-based label has shown here, and because founders Humberto Leon and Carol Lim are both Southern California natives, they took it as an opportunity to pay homage to their roots.

“We’re kind of celebrating a journey — and our parents and immigration,” Lim said backstage just before the show. “It was a journey westward knowing that we’d be showing in L.A. on the eve of our [West Hollywood store’s] 10-year anniversary. It’s a celebration of that — and Georgia O’Keeffe and powerful women.”



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Michael Aronov won the first Tony Awards of the night, winning for featured actor in a play.

The top nominees of the 2017 Tony Award nominations include the musical “Natasha, Pierre & the Great Comet of 1812” with 12, the Bette Midler revival of “Hello, Dolly!” with 10, “Dear Evan Hansen” with nine, “A Doll’s House, Part 2” with eight and “Come From Away,” “Groundhog Day” and “Oslo,” each with seven.

A bevy of familiar names from TV and film are among the nominees, including Sally Field, Cate Blanchett, Laura Linney, David Hyde Pierce, Laurie Metcalf, Cynthia Nixon, Kevin Kline, Chris Cooper and Danny DeVito.

NEWS STORY: A wide-spread field for 2017 Tony nominations »

Best musical

“Come From Away” | Review | Critic’s Notebook | Interview

“Dear Evan Hansen” | Feature | Interview

“Groundhog Day the Musical” | Review | Feature

“Natasha, Pierre & the Great Comet of 1812” | Interview

Best play

“A Doll’s House, Part 2,” Lucas Hnath | SoCal review | Broadway review

“Indecent,” Paula Vogel

“Oslo,” J.T. Rogers

“Sweat,” Lynn Nottage | Interview | Critic’s Notebook | News

Best book of a musical

“Come From Away,” Irene Sankoff and David Hein | Review | Critic’s Notebook | Interview

“Dear Evan Hansen,” Steven Levenson | Feature | Interview

“Groundhog Day the Musical,” Danny Rubin | Review | Feature

“Natasha, Pierre & the Great Comet of 1812,” Dave Malloy | Interview

Original score (music and/or lyrics) written for the theater

“Come From Away,” music and lyrics by Irene Sankoff and David Hein | Review | Critic’s Notebook | Interview

“Dear Evan Hansen,” music and lyrics by Benj Pasek & Justin Paul | Feature | Interview

“Groundhog Day the Musical,” music and lyrics by Tim Minchin | Review | Feature

“Natasha, Pierre & the Great Comet of 1812,” music and lyrics by Dave Malloy | Interview

Revival of a play

“August Wilson’s Jitney”

“Lillian Hellman’s The Little Foxes”

“Present Laughter”

“Six Degrees of Separation”

Revival of a musical

“Falsettos” | Critic’s Notebook

“Hello, Dolly!” | Review

“Miss Saigon”

Actor in a leading role in a play

Denis Arndt, “Heisenberg” | Feature

Chris Cooper, “A Doll’s House, Part 2” | SoCal review | Broadway review

Corey Hawkins, “Six Degrees of Separation”

Kevin Kline, “Present Laughter”

Jefferson Mays, “Oslo”

Actress in a leading role in a play

Cate Blanchett, “The Present”

Jennifer Ehle, “Oslo”

Sally Field, “The Glass Menagerie”

Laura Linney, “Lillian Hellman’s The Little Foxes”

Laurie Metcalf, “A Doll’s House, Part 2” | SoCal review | Broadway review

Actor in a leading role in a musical

Christian Borle, “Falsettos” | Critic’s Notebook

Josh Groban, “Natasha, Pierre & the Great Comet of 1812” | Interview

Andy Karl, “Groundhog Day the Musical” | Review | Feature

David Hyde Pierce, “Hello, Dolly!” | Review

Ben Platt, “Dear Evan Hansen” | Feature | Interview

Actress in a leading role in a musical

Denée Benton, “Natasha, Pierre & the Great Comet of 1812” | Interview

Christine Ebersole, “War Paint”

Patti LuPone, “War Paint”

Bette Midler, “Hello, Dolly!” | Review

Eva Noblezada, “Miss Saigon”

Actor in a featured role in a play

WINNER: Michael Aronov, “Oslo”

Danny DeVito, “Arthur Miller’s the Price”

Nathan Lane, “The Front Page” | Critic’s Notebook

Richard Thomas, “Lillian Hellman’s The Little Foxes”

John Douglas Thompson, “August Wilson’s Jitney”

Actress in a featured role in a play

Johanna Day, “Sweat” | Interview | Critic’s Notebook | News

Jayne Houdyshell, “A Doll’s House, Part 2” | SoCal review | Broadway review

Cynthia Nixon, “Lillian Hellman’s The Little Foxes”

Condola Rashad, “A Doll’s House, Part 2” | SoCal review | Broadway review

Michelle Wilson, “Sweat” | Interview | Critic’s Notebook | News

Actor in a featured role in a musical

Gavin Creel, “Hello, Dolly!” | Review

Mike Faist, “Dear Evan Hansen” | Feature | Interview

Andrew Rannells, “Falsettos” | Critic’s Notebook

Lucas Steele, “Natasha, Pierre & the Great Comet of 1812” | Interview

Brandon Uranowitz, “Falsettos” | Critic’s Notebook

Actress in a featured role in a musical

Kate Baldwin, “Hello, Dolly!” | Review

Stephanie J. Block, “Falsettos” | Critic’s Notebook

Jenn Colella, “Come From Away” | Review | Critic’s Notebook | Interview

Rachel Bay Jones, “Dear Evan Hansen” | Feature | Interview

Mary Beth Peil, “Anastasia”

Direction of a play

Sam Gold, “A Doll’s House, Part 2” | SoCal review | Broadway review

Ruben Santiago-Hudson, “August Wilson’s Jitney”

Bartlett Sher, “Oslo”

Daniel Sullivan, “Lillian Hellman’s The Little Foxes”

Rebecca Taichman, “Indecent”

Direction of a musical

Christopher Ashley, “Come From Away” | Review | Critic’s Notebook | Interview

Rachel Chavkin, “Natasha, Pierre & the Great Comet of 1812” | Interview

Michael Greif, “Dear Evan Hansen” | Feature | Interview

Matthew Warchus, “Groundhog Day the Musical” | Review | Feature

Jerry Zaks, “Hello, Dolly!” | Review

Scenic design of a play

David Gallo, “August Wilson’s Jitney”

WINNER: Nigel Hook, “The Play That Goes Wrong”

Douglas W. Schmidt, “The Front Page” | Critic’s Notebook

Michael Yeargan, “Oslo”

Scenic design of a musical

Rob Howell, “Groundhog Day the Musical” | Review | Feature

David Korins, “War Paint”

WINNER: Mimi Lien, “Natasha, Pierre & the Great Comet of 1812” | Interview

Santo Loquasto, “Hello, Dolly!” | Review

Costume design of a play

WINNER: Jane Greenwood, “Lillian Hellman’s The Little Foxes”

Susan Hilferty, “Present Laughter”

Toni-Leslie James, “August Wilson’s Jitney”

David Zinn, “A Doll’s House, Part 2” | SoCal review | Broadway review

Costume design of a musical

Linda Cho, “Anastasia”

WINNER: Santo Loquasto, “Hello, Dolly!” | Review

Paloma Young, “Natasha, Pierre & the Great Comet of 1812” | Interview

Catherine Zuber, “War Paint”

Lighting design of a play

WINNER: Christopher Akerlind, “Indecent”

Jane Cox, “August Wilson’s Jitney”

Donald Holder, “Oslo”

Jennifer Tipton, “A Doll’s House, Part 2” | SoCal review | Broadway review

Lighting design of a musical

Howell Binkley, “Come From Away” | Review | Critic’s Notebook | Interview

Natasha Katz, “Hello, Dolly!” | Review

Bradley King, “Natasha, Pierre & the Great Comet of 1812” | Interview

Japhy Weideman, “Dear Evan Hansen” | Feature | Interview

Choreography

Andy Blankenbuehler, “Bandstand” | Interview

Peter Darling and Ellen Kane, “Groundhog Day the Musical” | Review | Feature

Kelly Devine, “Come From Away” | Review | Critic’s Notebook | Interview

Denis Jones, Holiday Inn, “The New Irving Berlin Musical”

Sam Pinkleton, “Natasha, Pierre & the Great Comet of 1812” | Interview

Orchestrations

Bill Elliott and Greg Anthony Rassen, “Bandstand” | Interview

Larry Hochman, “Hello, Dolly!” | Review

Alex Lacamoire, “Dear Evan Hansen” | Feature | Interview

Dave Malloy, “Natasha, Pierre & the Great Comet of 1812” | Interview

CRITIC’S NOTEBOOK: Why Hillary should speak at the Tonys »

♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦

Tony nominations count by production

“Natasha, Pierre & the Great Comet of 1812,” 12

“Hello, Dolly!” 10

“Dear Evan Hansen,” 9

“A Doll’s House, Part 2,” 8

“Come From Away,” 7

“Groundhog Day the Musical,” 7

“Oslo,” 7

“August Wilson’s Jitney,” 6

“Lillian Hellman’s The Little Foxes,” 6

“Falsettos,” 5

“War Paint,” 4

“Indecent,” 3

“Present Laughter,” 3

“Sweat,” 3

“Anastasia,” 2

“Bandstand,” 2

“The Front Page,” 2

“Miss Saigon,” 2

“Six Degrees of Separation,” 2

“Arthur Miller’s The Price,” 1

“The Glass Menagerie,” 1

“Heisenberg,” 1

“Holiday Inn, The New Irving Berlin Musical,” 1

“The Play That Goes Wrong,” 1

“The Present,” 1

SIGN UP for the free Essential Arts & Culture newsletter »

Follow our arts team @culturemonster.

ALSO

Tony contenders roundtable with ‘Evan Hansen,’ ‘Great Comet,’ ‘Come From Away’

Review: ‘Come From Away’ at La Jolla Playhouse

Laurie Metcalf in ‘Doll’s House, Part 2’: An acting marvel in one of the year’s best plays

Their songs will linger in your ears: Pasek and Paul and ‘Dear Evan Hansen’

‘Come From Away,’ ‘Amélie’ and the long, bumpy road from West Coast to Broadway

Broadway’s fall revivals: Why big stars can’t make up for a lack of artistic vision

In Broadway’s post-‘Hamilton’ era, some shows aim big by going small

Who are these Trump voters? For a thoughtful portrait, turn to playwright Lynn Nottage’s ‘Sweat’

Lynn Nottage’s Pulitzer win for ‘Sweat’

What happens when factory jobs disappear? Playwright Lynn Nottage investigates in ‘Sweat’



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Jerry Zaks, director of the hit Broadway revival of “Hello, Dolly!,” has known success before. His Tony Award nomination for “Dolly” is his eighth, and he’s already taken home four Tonys for such shows as the 1990 production of “Six Degrees of Separation” and the 1992 revival of “Guys and Dolls.”

But nothing prepared him for directing Bette Midler and the “Dolly” juggernaut, which has won critical praise, earned 10 Tony nominations and broke the box-office record for first-day ticket sales. The top ticket price of $748 is second only to “Hamilton” and its $849 premium seats.

Few Broadway shows boast the pedigree of 1964’s “ Hello, Dolly!” starring Carol Channing as lovable 1890s New York matchmaker Dolly Gallagher Levi, with music and lyrics by the legendary Jerry Herman, book by Michael Stewart and direction by Gower Champion. That show took home 10 Tony Awards including best musical and was on Broadway for seven years.

As Zaks laughs his way through an interview, it is clear how much the 70-year-old actor-turned-director relishes his turn at the helm. Enamored of “Hello, Dolly!” since college, he says directing the show has been “a lifelong dream come true.”



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Nina Firooz, 31, an LGBTQ therapist who lives in Granada Hills, and her roommate, Cher Heath, a 30-year-old attorney, stood on Hollywood Boulevard early Sunday wearing black T-shirts with the words “Jesus Resisted” in rainbow hues. They were at the #ResistMarch with their North Hollywood church, InVision Church. Coming to the march, they said, was in essence their Sunday service.

Firooz said she’s frustrated by the rhetoric of the Trump administration and worries about her rights, the rights of the LGBTQ community and those of others being rolled back. It’s been a long, emotional six months for her, she said. Her parents are from Iran, and she has worried for them too.

“I am a queer Iranian woman in the Trump era,” Firooz said. “It’s not a partisan issue for me. It’s how Trump treats people.”

She said Sunday’s march is for anyone who wants to stand up for human rights. 

“It feels like a covering, the rainbow flag. It’s for everyone.”



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Have you been to Michael’s lately? Because the Stellas are still on the walls, the Charles Garabedian drawings are still kind of naughty, and the guys at the front bar are still drinking complicated things that involve whiskey more expensive than you can afford. It’s all very disco-era until you get out to the tented patio, where it is still pretty late-’70s except that the Robert Graham frieze is as good as anything you’ve seen at a museum lately and the foliage springs eternal; the seaside California we all wish we still lived in, where the people at the next table are just back from the Venice Biennale and you could probably throw together a gallery exhibit featuring nothing more than the customers’ shoes.

But that bowl in front of you — it might contain a bit of chopped summer squash, some cherries, rose geranium-scented cream and crisped grain; a vegetable appetizer that could pass as dessert. The wine in your glass is likely to be an orangey-pink skin-contact white from Slovenia instead of a Napa Sauvignon Blanc, and the bread on the table is dark and profoundly sour. Your last course may have been an uni-frosted spoonful or two of the Japanese custard called chawan mushi; your next may be include pork neck, cauliflower and a vaguely Thai-inflected coconut cream. The chef, Miles Thompson, late of the defunct modernist Echo Park restaurant Allumette, likes dusky greens and splashes of citrus, whole grains and pungent cheese, fermented things and custardy sauce.

If your memories of Michael’s revolve around dishes like sautéed rouget with tomatoes, bacon-and-egg salad, and Heath bar cake, you may well feel as if you have stepped into an alternate reality, one where well-dressed humans drink focused, intensely yeasty Ultramarine blanc de noirs from Sonoma instead of pink Champagne and occasionally consider griddled potatoes with furikake aioli and curls of shaved tuna to be a main course. Either Michael’s has changed, or it’s you.

Michael’s, of course, is the place that kick-started California cuisine when it opened in 1979, the Santa Monica restaurant that established the tropes of produce obsessiveness, bright colors, clean flavors and taut-wire acidity that would become the hallmark of American cooking in the 1980s. Its auteur, Michael McCarty, furnished it with heavy silver, breathtaking tabs and an aesthetic rooted in French nouvelle cuisine. Ken Frank, Mark Peel, Billy Pflug, Nancy Silverton, Jonathan Waxman, Kazuto Matsusaka, Gordon Naccarato and Sally Clarke came out of its kitchen. The Manhattan branch of Michael’s has been a media power-lunch spot for decades.

Still, when I reviewed the Santa Monica restaurant in 1997, I regarded it as a nostalgia play, a place to stop by for shad roe in season, a nice Cabernet, and excellent aged shell steak with fries. Several years before that, I was already marveling that the squab with raspberry vinegar and the pasta with grilled seafood and Chardonnay cream were basically unchanged from the restaurant’s first months, and that its rather formal cooking might be a relic at a time when the best new restaurants seemed to be serving rustic Italian cuisine. With the exception of Sang Yoon, who left Michael’s in 2000 to start Father’s Office, it is hard to think of another chef the kitchen has produced in the last 20 years.

Then Thompson signed on as chef. The waitstaff leans more art school than prep school these days. Sommelier Roni Ginach introduced a slew of natural wines onto the list. The signature dessert is a light, creamy fluff flavored with roasted barley. The old Michael’s would have beaten up the new Michael’s and stolen its lunch money, but well-heeled restaurants are different now. Is Thompson’s version of Michael’s what Mugaritz is to Martín Berasategui in San Sebastian or Septime is to Taillevent in Paris? Not quite, although I suspect both Thompson and McCarty would like it to be.

So there are chewy ping pong balls of ricotta with crumbles of lamb sausage and flecks of lemon; crisped octopus with lime curd; baby broccoli with Chinese black beans; and those weirdly rich potatoes a la plancha. The chawan mushi custard with crab, uni and crisp grain has been broken and watery every time I’ve tried it, but the layering of flavors and textures has been solid.

I’ve found myself enjoying the broiled yellowtail collar, silky strands of rich, miso-infused flesh pried free from the bones, more than I’ve liked Thompson’s more conventional branzino slicked with brown butter. The crunchy, tonkatsu-like pork, marinated with molasses and a dash of fish sauce before it is breaded and fried, is surprisingly good when you fish it out from under a salad of mint leaves and fruit. And while I might still have trouble pointing to a Denver steak on a diagram of a steer — it’s a well-marbled, newly “discovered” cut carved from deep inside a beef shoulder — the juicy, deeply charred steak, sliced thin and served with sautéed morel mushrooms and a bordelaise sauce, is something you might consider, especially if there are a lot of you at the table.

As you might have expected if you’d dined at Allumette, Thompson’s version of Michael’s is a sharing-plate restaurant, which is harder to negotiate on a white tablecloth than you might think. And it may be something to keep in mind if you dread battling three other people over a single barbecued quail, or if your dessert requirements extend past a single spoonful of cheesecake mousse snagged from a communal plate. If old-school service is among your requirements, the restaurant may not be for you. But against all odds, Michael’s feels alive again. It’s a fair trade.

::

Michael’s

A new sharing-plate chef comes to an old market-driven restaurant

LOCATION

1147 3rd St., Santa Monica, (310) 451-0843, michaelssantamonica.com.

PRICES

Small dishes $6-$19; large dishes $20-$40; desserts $11-$13.

DETAILS

Dinner Mon.-Sat., 5:30 p.m. to 9:30 p.m. Credit cards accepted. Full bar. Valet parking (and city lot next door).

RECOMMENDED DISHES

Dungeness crab chawanmushi; fried quail; pork Milanese; roasted barley pot-de-crème.

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