ENNW’s award-winning reviewer Christopher Key will introduce and interview guest artist Milica Jelaca Jovanovic at an event immediately following the Whatcom Symphony Orchestra concert on Sunday, February 19. The event will take place in the Walton Theatre at Mount Baker Theatre.
Holiday nuts are back
by Christopher Key
Wut would the holiday season be like without Drue Robinson and the Bellingham Childrens Theatre? It would be totally sub, dude! If you think that’s a groaner, just wait until you hear some of the horrendous puns strewn about the stage like rats in the second annual production of The Wutcraker.
After several years fermenting in Robinson’s mental wine cellar, The Wutcraker made an astonishing comeback last year and ‘Hamsters couldn’t get enough. Many who didn’t get their tickets early found that there was no room at the inn and had to rely on my review to find out wut went down. No false modesty here, but my review comes in a distant second compared to seeing this bit of Bedlam brought to life.
Political Correctness demands that I note newcomers to Bellingham won’t get a lot of the inside jokes that make this show rock. If you want to get hip to this small town with delusions of grandeur, this is a good place to start. You’ll want to find out about the Bikmans’ legendary New Year’s parties with The Walrus and what happened in the recent elections.
The whole thing, of course, is an inspired takeoff on The Nutcracker. Having performed in the original this year gives me a new appreciation for what Robinson has done. She has written fiendishly clever lyrics to Tchaikovsky’s familiar themes and has recruited actors who truly understand satire.
One of the things Robinson does better than almost anyone is teaching young actors how to enunciate and project. When the jokes fly as thick and fast as they do in this show, it is vital. It’s also refreshing if you’re as frustrated as I am when you can’t understand what the kids are saying in lesser shows.
There are dozens of young actors in this cast and they all perform above and beyond expectations. Several of them deserve special mention. Lauren Valenti is both bratty and beautiful as Clara. Oskar Sjostrom demonstrates outstanding physicality as The Dummy. Genevieve Dunn channels Betty Boop to perfection. Lauren Pittis is delightfully dumb as Duhwhera.
As the Prince Formerly Known as the Artist Formerly Known as Prince, Aaron Helms delivers another confident performance that adds to his already solid stage cred. All of the Snowflakes give meltingly hot performances in their rap number.
There are also some adults in this show and they acquit themselves remarkably well given the young talent that they’re competing with. Vicky Reardon truly gets her Lady Gaga on as Ice. Robert Muzzy reprises his role as the supremely snotty Sugah, King of the Booger Flung Scaries. Deb Currier is devastating as Mrs. Middlecamp.
As both Mr. Middlecamp and The Rat King, Brian Watson owns the stage. Michael Spinale is both endearing and perfectly befuddled as the occasionally magical Uncle Doppelganger.
As usual in The Wutcraker, certain Bellebrities are involved. In this production, they are The Politician Formerly Known as Mayor (Dan Pike) and The Politician Formerly Known as County Executive (Pete Kremen). Only in Bellingham would such characters be willing to humiliate themselves onstage by trying to dance and remember lines.
The three narrators couldn’t have been more perfectly cast. Leon Charbonneau as Grandpa Sheridan, Judith Owens-Lancaster as Grandma Grace, and Miska Marker as Annabelle tie the whole performance together with exquisite style.
I wasn’t given a crew list, but the lighting, set and costume designers all deserve a standing ovation. You know who you are.
A word to the wise: a lot of people got turned away last year because they didn’t score their tickets in time. The Wutcraker performs December 15, 16 and 17 at 7:00 p.m. and December 18 at 2:00 p.m. The venue is the wonderful second stage at Western Washington University’s Performing Arts Center. Tickets are available at Village Books, the Community Food Co-ops and the WWU box office. Call 360-650-6146 or order online at http://www.tickets.wwu.edu.
Good luck trying to score $15 tickets at the door.
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So much more than sugar plums
by Sally Lubetich
We all know how frantic this time of year can be. Time seems to just fly by. You rush around to get it all done, and then you’re left saying “It doesn’t feel like Christmas!”
Well, one thing you must rush to do this weekend is to see The Nutcracker at the Mount Baker Theatre, a magical holiday tradition that is brought to life by the Northwest Ballet Theatre, under the artistic direction of John Bishop and choreographed by Miye Bishop.
This year the production is enhanced with live music performed by the Starry Night Orchestra, conducted by Dr. Daniel Schmidt. The live orchestra, a first for our area, adds another character to the story, the Narrator. This talented ensemble brings so much more depth to the story than recorded music ever could.
Young Clara (Holly Forsberg/ Ona Underwood) receives a gift of a beautiful nutcracker from her Godfather, Herr Drosselmeyer (Angus Mclane.) Clara’s naughty little brother Fritz (Tavian Ancheta) breaks the nutcracker, but Herr Drosselmeyer magically repairs it.
That night, after everyone has gone to bed, Clara sneaks back downstairs and falls asleep under the Christmas tree. She then has the most magical dream! First off, mice of all sizes come running through the house. Their leader, the Mouse Queen (Mija Bishop) leads her minions in an exciting battle against the Nutcracker (Jonathan D.Vogt) and his Toy Soldiers. Clara and the Nutcracker defeat the Mouse Queen.
The dream then transforms the Nutcracker into a handsome Prince and Clara into a beautiful young lady (Venise Lee) they are whisked off to the Land of Snow where they meet the Snow Queen (Ayesha Wise) and her dancing snowflakes. She leads them to the Kingdom of Sweets where they are treated to a delightful celebration of dance, featuring Spanish Chocolate (Anna Ford), Chinese Tea (Julianne Pemberton) and Arabian Coffee (Miye Bishop). Clara’s dream ends and she awakes to find her Nutcracker toy in her arms.
From the adorable pink mice and toy soldiers, charming snowflakes, fairies and flowers, to the delightful Red Riding Hood and the Wolf, this large cast of talented dancers will enchant everyone. Bring your younger children to see this lavish production. You’ll find them twirling in the aisles!
The Nutcracker plays December 9 and 10 at 7:30 p.m. and December 11 at 2:00 p.m. at the Mount Baker Theatre. Tickets are $15 and $24, with discounts for seniors and students. Call MBT at 360-734-6080 or order online at www.mountbakertheatre.com. Next weekend, The Nutcracker moves to McIntyre Hall in Mount Vernon for performances on December 17 and 18. Information regarding these performances is available at www.mcintyrehall.org.
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In the spirit of the season
by Christopher Key
It’s hard to imagine the holiday season in this area without the Whatcom Symphony Orchestra’s annual Holiday Treasures concert. I’d rather not try. Maestro Roger Briggs and the WSO partner with the Western Washington University Concert Choir to make this a much-anticipated event. Under the direction of Leslie Guelker-Cone, this is a truly superb vocal aggregation that performs at a much higher level of maturity that would be expected from college students.
In the church, those parishioners who only show up on Christmas are referred to as “oncers.” The holiday concert brings out a lot of symphony oncers and their grasp of symphony etiquette lies somewhere between feeble and nonexistent. I doubt than any of them read this blog, but just in case: it is not appropriate to use cell phones or keychain lights to illuminate the program during the concert. It is not appropriate to rattle said programs or candy wrappers. And, God help me, it is not appropriate to talk while musicians are performing.
The concert choir got things underway with a stunning version of Hans Leo Hassler’s Verbum caro factum est (And the word was made flesh). This was performed with the choir standing in the aisles of the Mount Baker Theatre holding candles.
Clarinetist David Alex was then joined by mezzo Danielle Bayne and tenor Brendan Littlefield for the haunting Alieh Neiri (Rise up, my light). The whole choir and orchestra got back into the act with a swinging version of the spiritual See Dat Babe.
Serge Prokoviev’s rollicking tribute to the mythical Lieutenant Kije obviously inspired the orchestra as they performed first the Troika from the Suite. A sextet of mini-ballerinas from Wendy Setter’s The Dance Studio then joined in for the Romance. They were awwwsome.
Closing out the first half of the concert was Johann Sebastian Bach’s beloved Magnificat. Several outstanding soloists from the choir delivered impassioned performances: mezzo Veronica Jensen, soprano Dana McGarr, baritone Daniel Smith, alto Soonja Doyle, and tenor James Reynolds.
Christmas Night, from Nikolai Rimsky Korsakov’s Christmas Suite opened the second half, when things tend to get a little less serious. The inimitable Jeff Margolis then narrated Twas the Night Before Christmas to an arrangement that let the percussion section show off a bit.
There have been many arrangements of Here We Come A-Wassailing and O Come, O Come Emmanuel, probably none better than those of John Rutter. The choir and orchestra brought freshness to the familiar carols. In between those two delights was a bit of virtuosic comic relief called BasSoon it Will be Christmas. Orchestra stalwarts Pat Nelson, Phil Thomas and Terhi Miikki Broersma should get more solos.
Santa hats were then donned in honor of Irving Berlin’s White Christmas, which always includes an audience sing-along. The concertgoers acquitted themselves quite well.
I can’t remember how many times I’ve witnessed the a capella singing of Silent Night in German and English, with the choir once again holding candles in the darkened theatre. It’s the traditional ending of the concert and it never fails to raise goosebumps. For those of us who treasure this orchestra and choir, this is the real start of the holiday season.
Coming up on February 19, it’s Russian Romance with pianist Milica Jelaca Jovanovich making an encore appearance. Call the MBT box office at (360) 734-6080 to reserve your seats or do it online at www.mountbakertheatre.com.
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Perfect present from Claire vg
by Christopher Key
Sometimes the sheer sentimentality of Christmas theatre productions can be a bit overwhelming. Claire vg Thomas Theatre director Shelley Jefferson has done us all a favor by finding a show with some edgy humor and gentle social commentary that helps avoid the diabetic shock that usually endangers us this time of year. It’s called The Christmas Toy Shop and it’s a delight.
The script was written by Michelle Vacca and the themes are timeless. The humor could have been derived from today’s headlines. Or at least Black Friday’s headlines. That gentle social commentary I mentioned could well be applied to the competitive shoppers who threaten to pepper spray what’s left of the Christmas spirit. There are a pair of orphans, toys that come alive, crazed elves, spoiled brats, Christmas carolers and enough energy to light the National Christmas Tree.
One of the highlights of the production actually occurs during the pre-show as the audience waits to be admitted to the theatre. Suddenly, an excess of elves transforms the Dutch Village Mall into a scene reminiscent of one of legendary cartoonist Rube Goldberg’s wacky contraptions. Scores of presents are dropped off balconies, tossed seven ways from Sunday and delivered back to the start only to repeat the frantic daisy-chain. There are also hints here of the production line insanity depicted in Modern Times. Yes, I know my references are dated. Look ‘em up, kiddies.
Photo credit - Christopher Key
If you think that things will settle down a bit once you enter the theatre, think again. This shop is filled with toys who, when they come to life, are serious anarchists. Trying to impose some order on this Bedlamic scene is Nix, the CEO (Chief Elf Officer) of the shop. Corey Anderson is perfectly stuffy as the anal-retentive, clipboard-carrying supervisor.
Carole May is typically over-the-top as Mrs. Wellington, a charter member of the one percent. Her offspring, two of the snottiest snowflakes you hope never to meet, are played to perfection by Maia Jensen and Samantha Nokes. Two of those subversive animated toys are particularly notable. Kristin Hoekema inhabits the toybox with an angelic smile that belies a nasty sense of humor. As the dancing doll, Kennedy Rainer demonstrates outstanding physicality with her robotic movement.
Presiding over the chaos is Ed Marantette as shop owner Nicholas S. Claus. He is gloriously goofy as the guy who will go to any lengths to keep the whole thing on schedule and avoid harshing his mellow.
Some of the toys who arrive later in the show include some serious scene-stealers. Chief among these is Alex Gardipe as the neurotic jack-in-the-box who is afraid of everything, especially the idea of commitment to Trudi. Played by Lisa Litchfield, Trudi proves that “Ya sure, ya betcha” isn’t confined to Ballard.
Evan Duncan, whose theatrical genes are impeccable, delivers a fine French accent and sneeringly superior Gallic sensibility as General Lafitte. His nemesis is the gypsy doll Esmerelda, played by Corinne Charbonneau with pointed patooey.
The relatively unsung hero of the plot is Mr. Thompkins, manically portrayed by Dave Duncan. He inherits the toy shop, the orphans and everybody lives happily ever after.
Director Jefferson and several of her talented technical compatriots from Western Washington University are responsible for the set, lighting and sound. They are submitting this production as their senior project and I’m giving it an A-plus.
The Christmas Toy Shop plays November 30 through December 17 at the Claire vg Thomas Theatre, 655 Front Street, in Lynden. November 30 and December 1 performances are dinner theatre shows at 6:30 p.m. with the show starting at 7:30. For the complete schedule, see http://sites.google.com/site/lyndenperformingartsguild/. The box office is open Tuesday – Saturday 1:00 p.m. to 3:00 p.m. For reservations, call (360) 354-4425.
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Plaid Tidings rocks the BTG
by Christopher Key
Having endured more lame theatrical sequels that any mortal should be subject to, I have a rather jaundiced view of the genre. Occasionally, however, someone brings forth a reprise that is as good as the original. Such is the case with Plaid Tidings, sequel to last year’s hands-down Bellingham Theatre Guild favorite, Forever Plaid. Playwright Stuart Ross makes it work by being unashamed to apply high schmaltz and sly humor to those holiday specials we used to watch year after year on TV.
Teri Grimes and Mish Kriz direct this production with an obvious love for all those cheesy guy groups that made us swoon in a in a kinder, gentler era. The cast from last year’s wildly funny production returns with one exception. That exception, Jinx, is played by the amazing Brad Anderson, who obviously groks the whole guy group scene and fits in as though he played in the original.
Plaid Tidings, like its predecessor, relies on close vocal harmonies that are a challenge for any group. Brad Anderson’s voice fits in perfectly with those of Colin Weiss, Andy Reinhardt and TJ Anderson. Helping to make that happen is the inevitable Steve Barnes, who returns as both Music Director and himself. Marcel Ardans also reprises his role as the slightly sleazy Uncle Chester, who happens to play a rockin’ acoustic bass.
I have reviewed Weiss, Reinhardt and TJ Anderson so many times that I am at something of a loss to come up with adequate adjectives to describe their talent. Not only do they have superb voices, but they have the acting chops that would frighten performers with far more experience.
Photo credit - David Cohn
The guy groups of that time usually just sang. The thing that makes Ross’ productions stand out is that he incorporates dance moves from the Motown era. Plaid Tidings goes a step or two further by adding tap dancing, among other things. When the four go into one of their tap numbers, it makes you realize just how multi-talented these actors are. Weiss does a Moonwalk that would make MJ envious. Choreographer Michelle Vanleeuwen deserves enormous credit.
Since this is a holiday show, the Plaids incorporate some Christmas/Hanukkah/Kwanzaa influences that are both politically correct and hysterically funny. For those of us who view certain Christmas standards as akin to waterboarding, these twisted arrangements are very refreshing.
Perry Como is the icon that the Plaids worship above all others. Not only did he bequeath them a Como Cardigan, he is present onstage in a nifty bit of special effects that allows the Plaids to sing backup to one of his Christmas performances. Our fave mad scientists Steve Barnes and Andy Backus are responsible for that bit of theatrical magic.
One of the scenes repeated almost intact from the original is the three-minute-and-eleven-second reenactment of The Ed Sullivan Show. Deservedly so. This is one of those theatrical moments that will make liquid come out of your nose if you take a sip at the wrong time. Provided, of course, that you are old enough to remember the original.
Plaid Tidings is a holiday show that will ease the pain of suffering through the multitudinous incarnations of A Christmas Carol. It plays November 25 through December 11 at the BTG Playhouse at 1600 H Street. Tickets are $12 for adults, $10 for seniors and students, and $8 for children. The box office is open Tuesdays through Saturdays from 1:00 to 6:00 p.m. Call (360) 733-1811 to make reservations and do it soon because this is a sure sellout. For more information on specific times and dates, see http://bellinghamtheatreguild.com/playbill/.
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Moscow Ballet does Romeo and Juliet
by John Evans French
Your humble reviewer has something of a hang up which I will get off my chest at the very beginning of this review. I do not like productions where one of the centerpieces is music and it is canned. I really do not care how good the can is. When I am paying to see live people that is exactly what I want.
Part of the orchestra that would have been required to perform Prokofiev’s score or some of the corps de ballet or the first two rows of audience would have had to sit in another part of the building to make it work. The pit area at the Mount Baker Theatre simply would not accommodate that large of a group, and please believe that I have had first-hand experience with this situation.
As to what did work, the production was really quite elegant all the way through. The costumes, from in the house, were vibrant, colorful and very much enhanced the dancers’ movements and expression. A well-deserved kudo goes to Arthur Oliver for his very intriguing work.
The stand out for me last night was Juliet. Alexandra Elagina had all of the facets for her character. The sublime beauty of the ballerina and her charmingly graceful mannerisms – especially in her duets with Romeo – were superb. She was quite simply, grace personified.
The other stand outs were Benvolio and Mercutio (Romeo’s close friends) who were incredibly charming and irritating (in the little brother sort of way) as they continually terrorized Juliet’s cousin, Tybalt. The three of them spent a great deal time chasing each other and it was marvelous – until Tybalt killed Mercutio, that is. And Romeo then killed Tybalt. But that’s the way the cookie crumbles sometimes.
Some the most exciting dancing of the evening took place during the sword play moments. There just is something about Russians, swords and dance that brings out excitement all the time for me.
The scenic backdrops for this production were of high quality, especially the Capulet family tomb which drew the audience in to being a part of the room. The lighting effects were very well done and wonderfully subtle, especially in the scenes with Friar Lawrence.
My two main criticisms of this experience are not with the production, but with the MBT. The volume of the orchestra in the can almost drove the audience out of the building in the first act. This is not the first time I have experienced this effect at the MBT. The “Spotlight” program I was given was 47 pages long of which 4 & 1/4 were given to information about the company. Do you really need to give me the construction shots of the MBT in 1926 every time and not let me read anything except a brief paragraph about each of the principal dancers?
This was a terrific night for dance lovers in Bellingham and I look forward to more.
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Multi-media spectacular from WSO
by Christopher Key
My companion for last night’s Whatcom Symphony Orchestra concert had never been in the Mount Baker Theatre before. MBT and the WSO gave her a show that was a tour-de-force of just what our local treasures can do when all the stops are pulled out. The focus for the concert was MBT’s Mighty Wurlitzer and I’ve always wondered if there is such a thing as an Adequate Wurlitzer. Never mind.
The WSO is known for adventurous programming and this concert took it to a whole new level. I am a huge fan of Armenian-American composer Alan Hovhaness, partly because much of his music was inspired by the Pacific Northwest. And God Created Great Whales, Op. 229, is a daunting challenge to perform, not only because of its free-form rhythms, but because it incorporates the recorded sounds of whales singing. The WSO went one step further and added a projected video of sporting whales produced by marketing director and cellist Noel Evans. The WSO and MBT’s technical wizards made it a memorable experience.
With the temperatures dropping, it’s always a good time to add Edvard Grieg in to the mix. The quintessential Norwegian composer is perhaps most famous for his Peer Gynt Suite No. 1, Op. 46. The melodies are so familiar that the occasional audience member wants to hum along. She was shushed pretty quickly. This showpiece is always capped by the fourth movement, “In the Hall of the Mountain King.” The WSO ripped through it at a breakneck pace that made my hair stand on end.
Bedrich Smetana’s tone poem The Moldau wrapped up the first half of the concert and the woodwinds were superb.
Then it was showtime as the Mighty Wurlitzer ascended from beneath the stage and guest artist Jonas Nordwall led off the second half with Charles Ives’ Organ Variations on America. The theme is a familiar one, “America the Beautiful.” Ives was known for his musical wit and the audience chuckled with appreciation as Nordwall demonstrated the multifarious voices of the Wurlitzer.
The much-anticipated centerpiece of the evening was Camille Saint-Saëns’ Symphony No. 3, Op 78, “The Organ.” Nordwall was nothing short of virtuosic and the orchestra responded by taking this work into near-earth orbit. The strings were particularly crisp in the second movement, but the whole orchestra seemed to rise to the challenge throughout.
There was a thunderous, and well-deserved, standing ovation at the end, both for Nordwall and the symphony. Nordwall was called back for three bows and the orchestra sections were recognized one-by-one for a performance that exceeded my usual high standards for this group.
Next on the WSO schedule is the beloved “Holiday Treasures” concert. As always, that includes the Western Washington University Concert Choir performing carols new and old. I have become something of a cynic in my old age about the commercialism of Christmas, but the annual candlelight singing of “Silent Night” in both German and English never fails to bring tears to my eyes.
This is a sure sellout, so reserve your tickets now. “Holiday Treasures” is on Sunday, December 4, 3:00 p.m., at the Mount Baker Theatre. Call the box office at (360) 734-6080 or purchase online at www.mountbakertheatrte.com.
For more information about upcoming Whatcom Symphony Orchestra concerts, see www.whatcomsymphony.com.
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Stirring season opener at WCC
by Christopher Key
St. Augustine is perhaps most famous for his (possibly apocryphal) prayer, “God grant me celibacy…but not yet.” Those warring instincts inform Augustine’s Confessions: Scenes from American Life, the opening production of the season at Whatcom Community College. It’s a series of fourteen short plays by New York actor and playwright John Augustine that focus on the agony and ecstasy of Generation X.
As one of the actors points out, X represents the unknown factor. Struggling to resolve that unknown in the equation of life is what drives the characters in these vignettes. Generation X got stuck with one of those labels that society, or at least the media, insists on imposing in order to pigeonhole people. Part of the genius of this production lies in exploding the myth that labeling a generation leads us to some kind of understanding when all it leads us to is simplistic stereotypes. I should know. I’m a Boomer.
Augustine (the playwright, not the saint), makes his point by recognizing the archetypal angst that every generation, regardless of label, experiences in the eternal search for identity. It transcends generations and labels.
WCC drama guru Gerry Large has a proven gift for recognizing and developing young talent. He directs with a sure hand and gives his actors room to be creative. That is a precious gift and the actors in this production respond with élan.
Sandi Coughlin, as Rebecca Ruth, ties the production together as one of the Temporary People. In this case, she is both a worker who can find employment only as a temp and as the eternal bridesmaid. Coughlin, who is seen mostly in projected videos, can do more with her expressive eyes than many actors can do with their entire bodies.
Two of the female actors in this production deliver nothing short of tour-de-force performances. Erika Olson and Emily Dickson play multiple characters ranging from over-the-top comedy to heart-wrenching poignancy and I can’t wait to see where they go from here. I have reviewed Selena Flannery before and continue to be impressed by her gifts for subtlety and understatement, something rare in young actors.
Selena Flannery and Emily Dickson are among the many stars of Augustine's Confessions opening this weekend at Whatcom Community College. Photo credit - Christopher Key
Cecilee Beck gets only one shot at the spotlight, but makes the most of it as a dementedly self-centered yuppie whose overweening insensitivity also transcends generational labels. Quite frankly, the women dominate this show, partly because the script focuses on their struggles to choose between emergent feminism and more traditional values.
That’s not say that the male actors are any less talented. Michael Grab and Kyle J. Musilek demonstrate this with sensitive performances as a pair of gay playwrights trying to express their love for each other by putting their words into the mouths of heterosexual characters. Marc Broyles demonstrates impressive range as both a stereotypically victimized Vietnam vet and an immensely insecure geek.
As usual, space and time limitations interfere with giving credit to all the actors who make this production live up to the standards I have come to expect from the WCC program. My apologies to Amanda Thorton, Viet Ha, Katie Dec, Khandsuren, Amanda Molsee and Phillip Kaltenbach for not giving you the kudos you deserve.
The technological Einstein of local theatre, Russ Nelson, delivers a simple and imaginative set and lighting design that contribute enormously to the effectiveness of this production. Not to mention the dynamic projected videos.
Augustine’s Confessions will make you laugh and make you cry and make you realize that our struggles to define ourselves are universal, regardless of our generational identities. The show runs for only three performances, November 17 – 19, 7:30 p.m., at the Syre Student Center Theatre. Tickets are $6 across the board. Call (360) 383-3532 or take your chances at the door.
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It’s all about authenticity
by Christopher Key
As those of you who have followed this blog for a while know, it has grown rather organically from what was originally imagined. I started with theatrical reviews, soon added music, then ballet and opera, even a ride in a World War II airplane. Once again, I intend to boldly split infinitives that have never been split before. Welcome to my first restaurant review.
I am on somewhat safer ground here than when I ventured into reviewing ballet and opera since I have a somewhat deeper appreciation for good food than most. During a catastrophic illness some years ago, I took my nutrition through a stomach tube for several months. Trust me, food takes on a whole new meaning after an experience like that.
So when my long-time barber Wally Whaley asked me to review his wife’s new restaurant and deli in Lynden, I didn’t turn a hair. So to speak.
Renate’s German Deli is located at 312 Front Street in Lynden and brings a new level of authenticity to German cuisine in this area. Not that there’s much competition. While there are Mexican, Chinese, Italian and Thai restaurants by the dozen, those who know and appreciate German food have usually had to go to Vancouver, BC, or Seattle to satisfy their cravings.
Renate and Wally have done an outstanding job converting the storefront space into a welcoming and comfortable environment. The beer and wine license had not quite come through when I was there last week, but the lovely granite-topped bar just screams gemütlichkeit.
As much as I was tempted by the various wurst dishes on the menu, I knew that schnitzel was the true test. The pork schnitzel was as good as I’ve had anywhere, with a perfectly crisp breaded outside and tender meat inside. It comes with some snappy stone ground mustard in the best German tradition.
But the true test of a good German restaurant, for me, is warmer kartoffelsalat. That’s the iconic German hot potato salad that is one of the greatest comfort foods ever conceived. Renate’s version has a subtle tang of vinegar and lots of bacon. Real bacon, not the kind that comes in bottles. Jawohl!
Also very traditional is rotkohl, red cabbage, and it should be redolent of cloves and bay leaves. Renate scores again. Some substantial rye bread accompanies the meal and, again, it’s the real deal.
The word “hearty” is probably overused when it comes to describing German food and it’s something of an understatement. It’s filling, fattening, high in carbs and cholesterol, and completely wonderful. Renate’s makes no pretensions toward serving food that will appeal to vegans or dieters and that is refreshing in a world that seems devoted to gastronomic political correctness.
Renate’s is open for breakfast, lunch and dinner, and also offers a deli case full of meats, cheeses and other delights that are not to be found anywhere else between Vancouver and Seattle. She even has marzipan, which ranks right up there with chocolate in my food pantheon. As a Bellinghamster, it takes a lot of motivation for me to drive to Lynden for dinner.
You vill go to Renate’s und you vill like it!
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