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Show Page 12 Thursday, August 7, 1980 The Newspaper R ESTAURANT J 1 Best Salad Bar in Town Serving Prime Rib nightly 649-7100 OPEN 7 DA YS A WEEK FOR DINNER Monday-Thursday, 5:30 p.m.-10:00 p.m. Friday & Saturday, 5:30 p.m.-ll:00 p.m. Sunday, 5:00-10:00 p.m. (i 4k If x r' yew ; vx, J 5 - Mattress:' Fun with Fairy Tales 2GT In the middle of Friday night's production of "Once Upon a Mattress," a couple of fellows walked by the Prospector Square Tent and one of them barked sarcastically, sar-castically, "Hark! Who goes there?" It's a tribute to the Intermounatin Actors Ensemble En-semble that the kibitzer's comment seemed to fit in with the elegantly flippant atmosphere of the evening. "Mattress" is the irrever ent version of the "Princess "Prin-cess and the Pea" story that finds several eddies of sexual frustration whirling whirl-ing around the court of Queen Aggravain (Linda Martin) who thinks no one is good enough to marry her weak-willed son, Dauntless (Jere Calmes). She turns down one princess applicant after another with a series of brain-stumping questions devised by her wizard (played by Mike Eberlein with the toothsome congeniality con-geniality of a game-show host.) This is distressing to the court virgins who can't marry unless Dauntless finds a bride and, until then, must elude the grasp of the good-hearted lecher, silent King Sextimus (Chuck Folkerth). It's a particular problem for Lady Larken (Jean Piatt) who finds herself her-self with child, courtest of NOW OPEN FOR LUNCH Weekdays 11:00 a.m.-2:00 p.m. PARK CITY'S NEWEST 7-11 EL PAPAGAYO NOW SERVES BREAKFAST FROM 7:00 to 11:00 mmmmmttJ I X k -$sp W. Iff . rP j vi i' ' 1' f V" 1 i TVK-, V V'v is 430 Kiln Street 849-8900 BREAKFAST 7:00 to 11:00 All breakfasts include coffee or tea, potatoes or beans, juice, tortillas (corn or flour) miciint! BAiiPiiRnnc Corn tortilla fried topped with two fresh nUCVUu nnilunCluJtj' eggs and covered with ranch sauce or chile verde $3.95 CHQRIZfl BOIi HUEVDS: SZ'''S DIIDIinilln CDCPIAI In this omelette you will find bacon, peppers, rnrflUniU yrCulllU onions, cheese, and mild chiles $3.95 BDCAHCAriil Dlinnin A flour tortilla filled with two eggs, bacon, nCftHrnar DUllllllU sour cream, tomatoes and cheese topped with red sauce, you have a meal $3.95 SPAlilSH OMELETTE: "I16 .r0MBd.r.TS CHILE AND CHEESE: 'T..T'.r! PUII D IICDflC Thu3 1,. r fie only way we know how to improve bfliUD VClliJC .Jiii chik- vunJo $3.95 OMELETTE: CHEESE OMELETTE : i tht; Jcsii adventurous one, but still !,,.;at. (Try it with diced tomatoes) $3.95 by Rick Lanman In the Oak While a discussion of wine certainly lends itself to a degree of romance, wine production remains a complicated and obviously experimental process. Due in part to deadlines and available copy space, a tendency exists to gloss over certain facets of wine production, especially those dealing with experimentation. In time this becomes a serious omission as it prevents the wine drinker from gaining a clear understanding of why he or she may prefer one wine over another. We have spoken frequently in Winepress of the aging process which occurs in both the cask and bottle. While bottle aging is certainly important, the time a wine spends in the cask is significant in defining the eventual characteristics of the grape's personalty. As many readers first begin to drink wine, little time is spent analyzing it, Yet as our naivete dissolves, we find it increasinly important to understand what may or may not make a particular wine agreeable. Wine casks have been constructed of a great many materials over the centuries, depending depend-ing upon the region, climate, cost of lumber and other aspects pertinent to the location in which the grapes were grown. Many of the classed growths of France have been aged in European oak for centuries and these casks have increasingly become the center of controversy. In the early 1950s James Zellerbach retired from the paper industry and moved near Sonoma, California, with the express thought of producing some fine wine. Developing a vineyard on some twenty acres he called Hanzell Winery, Zellerbach specialized in Pinot Noirand Chardonney grapes, renowned as the great grapes of Burgundy; the Pinot Noir producing the fine reds of Burgundy and the Chardonney (which we mentioned earlier as playing a role in Champagne ) , creating the full bodied white Burgundies. To a great extent, Zellerbach emulated the techniques of European wine production; in creating exceptional wines he pruned his vines well to keep yields small for example. Eyebrows were raised, however, when Zellerbach ordered Limousin oak casks all the way from France to age his wine in. At the time, most American vineyards were using native oak and this impulse on Zellerbach's part was considered a bit of an affectation. Nevertheless, the first vintage of Chardonney Chardon-ney from Hanzell Winery startled nearly everyone. The wine bore a remarkable resemblance to the wonderful Chardonnies of the Cote de Beaune, a region within the famous Cote d'Or where all the great Burgundies reside. The Hanzell Chardonney exhibited just the right taste of oak and within several years many California wineries were busily seeking the same result. Yet the transition occurred mostly among smaller establishments ; the cost involved for a major winery to completely change their aging apparatus being phenomenal. Throughout the past twenty years, California Cali-fornia wineries have learned the value of aging in oak; specifically several of the European oak varieties. For those of you who have begun to explore the myriad of tastes associated with wine, the oak relationship is an important one. As a great deal of wine is aged in oak you should be able to isolate this taste with each new bottle you drink; it is a slightly heavy, acidic and perhaps smokey taste. Many California wineries still are learning to use oak, however, and some are not successful. Oak must be used sparingly to highlight delicate tastes and flavors. Over the years, too many people have come to believe the taste of oak is the taste of Chardonney. Not so! Wineries frequently overwhelm the sublte aspects of Chardonney with oppressive amounts of oak. Gerald Asher, writing for Gourmet, once remarked upon an experience he had during a Chardonney tasting. A bottle of Chardonney from a California vineyard named Chalone was compared to a Chardonney produced by Louis Latour. At first Asher felt the Chalone Chardonney to be far superior, lusty, sensuous and full-bodied when compared to its French counterpart. But further examination examina-tion revealed the fine delicate properties of the Chardonney grapes were being vastly overwhelmed by the oak in which it had been aged. A clear undcrstanuing of how wine is produced will help all of us appreciate its cost. It you know the wine on your dinner table was aged in European oak, then its higher cost also will make sense. What you imisl decide is the value of the flavor to you, is it worlh the exlra expenditure? Used skillfully; iwk will obviously enhance the wine and that means an interesting wine experience for you. 'I'll i t ik about it! the gallant Sir Harry. Piatt and Craig Sanchez, as Harry, are in worse trouble than that; they're stuck with the two most boring parts in this kind of play the juveniles. Sanchez in particular seems to be at odds with either the piano or his heroic love songs the kind that only Robert Goulet deserves. We wait with bated breath for the entrance of Princess Winnifred, (Fred for short.) Margaret Reno is a fine heroine, but when she schlumps on stage, she's dragging the ghost of Carol Burnett, who originated the role, and in the more boisterous moments, like Fred's "I'm SHYYYY" song, you tend to remember what Burnett did with the part, not what Reno is working to do. Reno clicks in quieter moments. In fact, the two best musical numbers are hers. In "The Swamps of Home" she waxes nostalgic about the sunlight shining through the slime and the lovely sucking sound of quicksand in the moonlight. (She is given excellent support sup-port by the court maidens.) In another scene, all the singing is done by Mary Ellen Wharton, playing an old hen called the Nightingale of Samarkand who lullabies the princess on top of her twenty mattresses and really does sound like a nightingale! Reno treats her with bewildered "who-is-this-nut" stupefaction. By almost any standard, these are wonderfully goofy and lovely moments. Reno has one problem that might be serious; the lack of pretension she supposedly got from an upbringing in the swamps seems a little too often to be Street Smarts, little too citified and modern. As it is the script by Jay Thompson, Marshall Barer, and Dean Fuller often gives Fred a back seat to the supporting sup-porting performances. But the IAE players have seized joyfully on the opportunity. David Gomes, as the minstrel-narrator, is the epitome epi-tome of many grace and good sense. Van Martin's jester spins and hops with madcap brio. As silent Sextimus, Sex-timus, Chuck Folkerth comes on like a horny Burger King, and constantly suggests his royal robes may hide as many surprises as Harpo Marx's old raincoat. And if he makes you believe he s been silent for 15 years, Linda Martin's croaky queen Aggravain makes you wish she were in his place. Jere Calmes, as Dauntless, can't stand up to a sneeze, but bounces back eagerly. The less-than-lush facilities facil-ities at the Prospector Tent have been overcome by production designer Jean Piatt and the well-done costumes by Heather Staheli. Ron gprnett guides his cast ably over a small stage though things get a bit dull when there are only two or three people present. Anne Burnett and Doug Ap-plehoff Ap-plehoff stage the musical numbers as if they were meant for the place. There is good acting and reacting from the supporting cast: Connie Jean Boyle, , Robert Jarvis, Geno Pirraglio, John Lehmer, Todd Nelson, Mary Austin, Anne Burnett, Robin Kaari, Kathleen Kelly, Chris Eberlein, and Carrie More-craft. More-craft. "Once Upon a Mattress" is scheduled to play again August 7th, 8th and 9th. Tickets are $4 for adults, $2.50 for students and senior citizens. |