Hadestown: A Theatrical Review

I recently saw the filmed production of Hadestown in the movie theater. I was not overly familiar with the show, but I was intrigued by what I had heard about the film, most notably the talented cast, and that the cinematography and camera work was unusually well done for a filmed stage musical, so I went in with high hopes. 

I was not disappointed. 

For those unfamiliar with the show, it retells two Greek myths: the stories of Orpheus and Eurydice, and of Hades and Persephone. In Hadestown, the god Hermes narrates the intertwined stories. Orpheus, a gifted musician, is bussing tables in a bar when Eurydice, a homeless runaway, enters and he is immediately smitten. He tells her he is writing a song to bring back the spring, promising her they will no longer be poor and hungry once it is finished. He asks her to marry him, and she accepts. He sings the song so far, which is the story of Hades and Persephone. Persephone arrives on the train from the underworld and they all celebrate the summer, but Hades soon returns to bring her back, much to her chagrin, and winter returns. The Fates tempt a cold and hungry Eurydice with tales of warmth and food in the underworld. After fighting with Persephone, Hades returns to the world of the living looking for someone who will appreciate what he has to offer, and Eurydice willingly goes with him after calling out to a distracted Orpheus. When Orpheus realizes she is gone, he decides to walk into the underworld to bring her back, as Eurydice becomes one of the faceless, beaten-down workers in the mines. 

Orpheus' song allows him to enter the underworld, and he finds Eurydice, but Hades refuses to let her go and orders the workers to attack Orpheus. Undaunted, Orpheus rallies the workers to his side, catching Persephone's attention. She is moved by his love for Eurydice, remembering how she and Hades were once in love, and pleads with Hades to let them go. The Fates warn Hades that if he lets them go, he will look weak, but if he makes them stay, he will look cruel, so he proposes a test: Orpheus may lead Eurydice back the way he came, but she must follow behind him without touching him, and he may not look back at her. If he fails, she will have to stay in the underworld forever. As they leave, Hades and Persephone decide to give their love another chance, but just before Orpheus and Eurydice escape, Orpheus has a moment of doubt and looks back, and Eurydice sinks back into the underworld. Hermes appears and begins the story again, commenting, "It's a sad song, but we sing it anyway. 'Cause here’s the thing: To know how it ends and still begin to sing it again as if it might turn out this time, I learned that from a friend of mine...[Orpheus] could make you see how the world could be in spite of the way that it is." 

I love how well developed the characters are, and how beautifully they are portrayed by the actors. Let's look at the major players:

Hermes: Portrayed by Broadway legend André de Shields, Hermes is charming and charismatic. He wears a stylish shiny suit and brocade vest, with feathers on his jacket cuffs echoing Hermes' iconic winged sandals. De Shields' raspy, jazzy vocals and cooler-than-cool understated dance moves allow him to tell the story without becoming too much a part of it. Although Orpheus is his ward, Hermes is distanced from the story, but as he begins telling it again at the end of the show, it feels like he truly does have hope that maybe this time it will end differently, 

Orpheus: What kind of voice can sing a song so moving that it brings back the spring? Reeve Carney's ethereal countertenor, that's what kind. Often accompanying himself on the guitar, Carney's poignant, intense vocals and slight build emphasize Orpheus' youth and single-minded focus on his song to the exclusion of nearly all else. His Orpheus is naive without being foolish, and his love and devotion to Eurydice is clear (and genuine: he is married to Eva Noblezada, who plays Eurydice; the two met doing this show). His costume defines him as a hard-working laborer: a grubby t-shirt and overalls, with a bandana around his neck. 

Eurydice: Eva Noblezada's slight build gives her a waif-like appearance that suits her character. Like Orpheus, she is young and poor, but she is more beaten-down and world-weary than he is. She presents a tough exterior, but melts at the thought of being taken care of. Her expressive face shows her initial suspicion of Orpheus that turns into love, and her horror at realizing she has made a mistake in signing Hades' contract. Eurydice wears an oversized coat most of the time in the living world, making her look even more delicate and small, so when she begins to move with the workers in the underworld, flexing her now bare, muscular arms, you get the impression that she has been there for a very long time, which is a clever and subtle way to show the amount of time Orpheus' journey has taken. 

Persephone: Amber Gray's Persephone hides her misery behind false bravado and a flask. Always vaguely drunk yet in control, her exuberant song and dance as she returns to the world of the living is a delight, yet it is clear that underneath her heart is broken knowing her stay will be too short and she will soon return to a world of darkness and a husband who no longer loves her. The New Yorker perfectly described her portrayal as "a tornado of resentment and rascally rebellion." She appears on earth in a spring-green gown, shedding her white fur coat like melting snow and brandishing her flower-covered purse, while in the underworld she wears an identical gown in all black and tucks her hair into a subdued snood. Her frustration and anger toward Hades is palpable, and their reconciliation at the end is beautiful and believable. 

Hades: Patrick Page as Hades is a brilliant piece of casting. When he utters his first line in an impossibly deep, truly "basso profundo" voice, the audience loses their minds, and with good reason. His Hades is a study of control and curated image. His thick, snow-white hair is elegantly swept back, and his white beard is trimmed into an impeccable and vaguely-satanic Van Dyke. He wears a black pin-striped suit run through with metallic silver threads, sometimes removing the jacket to reveal a matching vest underneath, sometimes adding a black leather duster and wraparound sunglasses. Page snapped his Achilles tendon during rehearsals for the film, but instead of recasting the role, the team designed a sleek, shiny black orthopedic boot and walking cane topped with a silver dog's head, altering the blocking and choreography to accommodate his injury. I found the addition to be incredibly effective, giving Hades a visible weakness; a crack in his self-created "armor." Although Page's performance was not my favorite of the film (but still incredibly strong), perhaps my favorite moment was near the end, as Orpheus is singing the story of Hades' love for Persephone, when the camera zooms in on Hades' face, and his lips tremble slightly, his expression softens almost imperceptibly, and you see a tear glistening in his eye that does not quite fall. It is the perfect representation of Hades' struggle for control and his determination to maintain the image of a powerful king. It's practically a master class in subtle acting. 

The Fates: Portrayed in this version by (left to right in above photo) Allie Daniel, Bella Brown, and Madeline Charlemagne, the Fates serve as a kind of Greek chorus, commenting on the action and occasionally participating. Their powerful voices blend beautifully in the tight harmonies, although Daniel's deep contralto is sometimes just a hair too prominent. They also have some wonderful moments of a cappella vocals. Daniel also plays the accordion, Brown plays the violin, and Charlemagne plays bells, tambourine, and other percussion on stage. I love their floaty, layered dresses and head wraps, and I especially love that their makeup was glamorous and particularly clear-skinned, reminding us that they, too, are immortals, in contrast to the grubby underworld workers. All three have deliciously smug, haughty bearings as they watch and occasionally manipulate the mortal characters. 

The onstage musicians: The "pit orchestra" for the film (and the stage production) sits on onstage risers, and includes trombonist Daniel Higham, with featured brassy jazz riffs throughout; as well as piano, guitar, violin, cello, double bass, and percussion. Although they don't participate in the action per se, they are dressed like the cast in suit pants, vests, neckties, and porkpies or fedoras, reminiscent of a 1930s jazz club. It adds to the feel of the "living world" set, and although they are still present in the underworld, their presence is minimized by lighting and fog effects. 

The Ensemble: Five ensemble members are enough to fill the small stage, portraying bar customers in the living world and workers in the underworld. I loved the mix of genders, ethnicities, and body types that felt very individual in the living world but morphed into faceless clones in the underworld, where each wears a grimy white chest wrap under leather overalls with knee pads and tool belts, topped with a dark cap, nearly always bent over to matching heights to "keep your head low," as one of their songs reminds them. At the end, as they rebel against Hades and seek to claim their freedom, the simple act of standing and removing their caps as they look each other in the eye and interact brings back their individuality. A really lovely addition to what could have been merely stage fill and backing vocals. 

I would be remiss if I didn't talk about the set. The space feels somewhat smaller than a standard Broadway stage, in part due to having the band on risers on all sides, as well as featuring multiple levels. The bar in the living world has several steps leading to raised platforms with additional patrons, but there is also a balcony level upstage where we see Hades and Persephone. It feels light and open, and the band feels like they are part of the scene. 

When we move to the underworld, the stage is frequently fogged and lit in red, or with small point lights instead of a full stage wash. A central turntable doubles as an elevator which alternately rises to form a platform, drops as a character disappears, or rises so a character can make an appearance. In addition, there is a second, ring-shaped turntable surrounding the elevator which can turn opposite the center. This allows for a greater sense of movement in the small space, and also gives a sense of closeness, almost claustrophobia. 

Another really nice effect in the underworld set is some choreography performed with the hanging lights. The workers enter wearing headlamps and carrying large round lights which later hang from the ceiling, and they swing them rhythmically in patterns in time to the music. I can only imagine the rehearsal required to get the timing so perfectly synchronized with the music and with each other. The moving shadows they created were a marvelous effect, as well.

Finally, I'd like to comment on the cinematography and filming style. The most common ways of filming a live musical on stage are either having a single camera filming the entire stage, with an occasional closeup of an individual or small group of actors, or filming like a "standard" movie, with lots of moving cameras and closeups that make it feel less like a stage musical. I love that this film balanced the two, including a few shots from far back enough that you had the feeling of sitting in the audience, a number of cuts (especially near the beginning of the film) to audience members reacting or applauding, a shot or two watching from the wings as an actor made an entrance; plus a mix of wide shots showing choreography, closeups showing actors' faces, and some wonderful overhead shots of the elevator. It gave the energy of being at a live performance, but also provided film's advantages, including a closer look at the most emotional moments of the show and highlighting the choreography. The lighting and sound design is worth going to the theater for; most films I'm happy to stream at home, but I'm glad I saw this on the big screen with surround sound. Orpheus' clear voice filling the house and hanging in the air, the moving shadows and fog, and the gorgeous costumes are all worth going to the theater for. 

In summary, if you are a fan of musical theater, Greek mythology, jazz music, any of the actors, or simply excellent acting and singing, this is a movie you shouldn't miss. And when you go, "Wait for me, I'm comin'!"

The Best Potluck Recipes

I love potlucks! I love being able to try a little taste of new foods and old favorites. I love being able to share some of my favorite dishes with others. But not every dish is appropriate for a potluck. You need to be able to make it ahead of time (sometimes hours, sometimes even the day before), transport it safely, keep it hot or cold, and it needs to be able to sit out for some time without ruining its taste or texture. 

Over my many years of participating in potlucks, I have developed a collection of recipes that work well for potlucks, including not only main dishes but also appetizers, sides, and desserts. Here are my recommendations for the best potluck dishes!

Appetizers

Although you can do appetizers that require a plate and utensils, my preference is for easy finger foods. Also, these are all vegetarian recipes and (except for the Cranberry Brie Bites) dairy-free, which accommodates some dietary restrictions as well as being more forgiving of sitting at room temperature for a few hours.  

Rainbow Pinwheels

4 large tortillas
1 cup hummus
1 red bell pepper, sliced thin
2 carrots, cut into matchsticks
1 yellow bell pepper, sliced thin
1/2 cup baby spinach leaves
1/2 cup purple cabbage, sliced thin or shredded

*Feel free to substitute, omit, or add any other vegetables: zucchini, summer squash, eggplant, cucumber, radish, etc. 

Spread about ¼ cup hummus over each tortilla, leaving room on the edge. Arrange the veggies on the hummus covered tortillas in rainbow order. Roll up each tortilla tightly. Wrap in plastic wrap and chill for several hours. When ready to serve, unwrap and cut crosswise into pinwheels. 

Cranberry Brie Bites

1 (8-oz.) tube crescent roll dough
Flour, for dusting
8 oz. Brie
1/2 c. whole berry or jellied cranberry sauce (seedless raspberry jam is also good)
1/4 c. chopped pecans (plain or candied)
6 sprigs fresh rosemary

Preheat oven to 375 degrees. Line a mini (24-cup) muffin tin with mini muffin cup liners. On a lightly floured surface, roll out crescent dough and pinch together seams. Cut into 24 squares. Press squares into prepared cups. Cut Brie into small pieces and place inside dough. Top with a spoonful of cranberry sauce, a few pecans, and one small sprig of rosemary. Bake bites until pastry is golden brown, about 15 minutes.

These bites are fine to be left at room temperature for hours, and I think the flavor is better at room temperature than chilled, so I recommend refrigerating them until you head off for the party, then don't worry about the temperature after that. 

Southwestern Black Bean Dip

1 (15-oz) can black beans, drained and rinsed
1-3/4 cups frozen corn, thawed
3 tomatoes, chopped
1 sweet bell pepper, chopped
1/2 red onion, chopped
1 jalapeno pepper, ribs and seeds removed, finely chopped (optional)
1 clove garlic, minced
1/4 chopped cilantro (adjust amount to taste, or substitute fresh parsley)
1 teaspoon cumin
salt and pepper
3/4 cup Zesty Italian salad dressing

Toss together all ingredients in a large bowl. Serve with tortilla chips. May be made up to one day ahead and kept in a covered container in the refrigerator. This is another non-dairy dressing that tolerates sitting out longer than other options.  

Honey-Mustard Chex Mix

3 cups Chex cereal (Rice, Corn, Wheat, Multigrain, or a combination)
2 cups pretzels (any shape)
2 cups pita chips or bagel chips (break into bite-size pieces if necessary)
2 cups peanuts*
6 tablespoons butter
3 tablespoons honey
1 tablespoon prepared mustard
3 tablespoons ground mustard
1 teaspoon onion powder
1 teaspoon garlic powder

*You can omit the peanuts and add in 2 cups of any other ingredient. Feel free to mix and match ingredients and include other options: Melba toast, Cheez-Its, cheese puffs, Goldfish crackers, mixed nuts, etc. As long as the final volume is about 9 cups it's fine. 

In a large mixing bowl, toss together cereal, pretzels, chips, and nuts. In a small saucepan, melt the butter over low heat. Stir in remaining ingredients until dissolved. Pour over the cereal mixture and toss well to coat. Line two large cookie sheets with foil and spread the mixture in an even layer. Bake at 250 degrees for 20 minutes, stirring halfway through. Allow to cool, breaking up clumps as needed. Store in an airtight container.

Main Dishes

I love slow cooker recipes for potlucks, because they're designed for being kept warm for hours at a time without overcooking or drying out, and they're easy to throw together the night before and cook overnight. You can also make a stovetop or oven recipe and keep it warm in the slow cooker. 

Sausage Lentil Stew (can be made vegetarian/vegan)

3 tbsp butter*
½ onion, sliced thin
1 Tbsp minced garlic
1 tsp thyme
1 tsp cumin
½ tsp salt
½ tsp black pepper
6 cups chicken broth*
1-1/2 cups carrots, sliced
1-1/2 cups celery, sliced
½ package dried lentils (~1 cup)
1 lb. sweet Italian sausage*
Grated Parmesan-Romano cheese (add to individual servings as desired)

* This recipe can easily be made vegetarian or vegan by substituting olive oil for butter and vegetable broth for chicken broth, and either omitting the Italian sausage and grated cheese or serving it on the side.

Melt the butter in the bottom of a dutch oven or large saucepan. Saute the onions and garlic for a few minutes. Stir in the thyme, cumin, salt, and pepper. Slowly add the broth. Stir in the carrots, celery, and lentils. If using, remove the casing of the sausage and crumble into the pot. Bring to a boil then reduce heat and simmer for 50 minutes (covered). The stew can be made ahead of time and refrigerated, then reheated on the stove or in the slow cooker. In either case, transfer to a slow cooker on "keep warm" to transport and serve. 

Pulled Pork

3-4 lb. boneless pork shoulder or butt roast
1 tsp salt
1 tsp ground cumin
1 tsp paprika
1 tsp black pepper
½ tsp ground red pepper
1 yellow onion medium, thinly sliced
1 green bell pepper medium, cut into thin strips (optional)
18 oz. barbecue sauce
½ cup brown sugar

*Note: I can often find a good deal on a 5-6 lb pork shoulder at Costco, so I double the remaining ingredients. There is no change in cooking time. 

Trim excess fat and silver skin from pork. Combine salt, cumin, paprika, black pepper, and red pepper in small bowl; rub over roast. Place onion and bell pepper (if using) in slow cooker; add pork. Combine barbecue sauce and brown sugar; pour over meat. Cover; cook on low 8-10 hours. I like to stir a few times during the cooking process. Transfer roast to cutting board. Trim and discard any remaining fat . Use 2 forks to pull pork apart and return shredded meat to cooker. Keep on keep warm. 

You can provide bulky rolls to serve as sandwiches, but I find that at potlucks, people usually prefer just the meat so they have room for other dishes! 

Sausage, Red Beans, and Rice

12 ounces sausage (sweet Italian, bratwurst, kielbasa, etc.), sliced
1 teaspoon olive or vegetable oil
1/2 onion, chopped (or 1/2 cup frozen diced onion)
1 (14-oz) can diced tomatoes (do not drain)
1 (15-oz) can red kidney beans, light or dark, drained but not rinsed
1 cup cooked rice OR 1/2 cup uncooked rice
1/2 cup chicken or beef broth, optional
Salt and pepper, to taste

Heat oil in a large pot over medium heat. Add sausage and onion and cook, stirring occasionally, until meat is browned. Drain fat, then add tomatoes and kidney beans. If using uncooked rice, add rice and amount of water in cooking directions and simmer according to directions. If using cooked rice, stir in and simmer. If you prefer a "saucier" dish, you can add the broth before simmering. Add salt and pepper to taste. (The original recipe did not call for seasoning but I felt it needed a little. Feel free to experiment with spices like cumin, smoked paprika, and chili powder for a more flavorful dish!) Simmer until sauce thickens, then transfer to a slow cooker set to "keep warm" until ready to serve. 

Orange Chicken

3 lbs chicken breasts
3/4 cup orange marmalade
3/4 cup barbecue sauce
2 tbsp soy sauce

Trim any excess fat from chicken and place in slow cooker. Cook on high for 3 hours or low for 6 hours. Remove chicken from pot and cut into bite-sized cubes. Drain juices and return chicken to pot. Stir together marmalade, barbecue sauce, and soy sauce and pour over chicken. Cook onto high for 30 additional minutes. Leave on keep warm until ready to serve. 

Bonus Vegetarian Main Dish: Chickpeas and Wild Rice

½ cup uncooked wild rice 
1 tablespoon olive oil
1 medium shallot (or 1/2 yellow onion), finely chopped
1 tablespoon minced garlic
8 oz cremini mushrooms, finely chopped
1/2 teaspoon kosher salt
½ teaspoon ground black pepper
1 (15-oz) can chickpeas, rinsed and drained
⅓ cup craisins
¼ cup toasted pepitas, chopped pecans, or sunflower seeds
1 tablespoon fresh thyme leaves, chopped

*Note: This recipe is actually the filling for a stuffed acorn squash recipe, but it stands fine on its own. My (non-vegetarian) kids don't like squash, but they love the filling. You could throw in some cubed roasted squash, though. 

Cook the rice according to the package directions and set aside. Heat the olive oil in a large skillet over medium low. Add the shallot and cook until softened, about 4 minutes. Add the garlic and cook 30 seconds until fragrant, then add the mushrooms, kosher salt, and black pepper. Increase heat to medium and cook until the mushrooms are softened and browned, about 5 to 7 additional minutes. Add the chickpeas, cranberries, pepitas/pecans/sunflower seeds, thyme, and cooked rice and stir to heat through, about 2 additional minutes. Taste and adjust seasonings as desired.

Side Dishes

Light salads are great for when people are sampling lots of dishes, and they tend to keep better than cooked vegetables. 

Chickpea Apple Broccoli Salad

1 head broccoli, very finely chopped
1 (15 ounce) can of chickpeas, rinsed and drained
2 cups diced or julienned sweet apples
1 cup shredded or julienned carrots
⅓ cup diced green onion
⅓ cup craisins
⅓ cup chopped pecans
½ cup chopped flat leaf parsley
3 tablespoons olive oil
1 ½ tablespoons apple cider vinegar
1 tablespoon dijon mustard
½ tablespoon honey
1 clove of garlic, minced
Freshly ground salt and pepper, to taste
Extra craisins and pecans (optional), for garnish

In a large bowl, combine broccoli, chickpeas, apples, carrots, green onion, craisins, pecans, and parsley. Set aside. In a small bowl, whisk together olive oil, vinegar, mustard, honey, garlic, salt and pepper. If making ahead, refrigerate both salad and dressing. When ready to serve (or transport), drizzle dressing over salad and toss to combine. Season with salt and pepper to taste. Serve with additional craisins and pecans to garnish individual servings, if desired. (Pecans can be omitted from the salad or served only on the side if allergies are a concern.)

Hearty Pasta Salad

16 oz uncooked pasta (fusilli, farfalle, elbows, etc.)
3 cups cherry tomatoes, cut in half
1/2 pound provolone cheese, cubed
1/4 pound sliced pepperoni, cut in half
1/2 pound salami, cubed
1 sweet bell pepper, seeded and diced
1 (10-ounce) can of sliced black olives, drained
1 (8-ounce) bottle of Italian dressing

Cook pasta as directed on package for "al dente" results. Drain. In a large bowl, combine pasta with all remaining ingredients except dressing and toss. Pour dressing over top and toss until well-coated. 

Feel free to swap out any ingredients to suit your own taste - add broccoli florets and/or shredded carrots, skip the olives or the meats, use a different kind of cheese. 

I like to make this salad the night before, put it in a bowl with a tight-fitting lid, and give it a shake now and then so the ingredients absorb the dressing. Bring an ice pack to set the bowl on to keep it cold, but the vinegar- and oil-based dressing doesn't need to be kept as cold as a mayo-based dressing. 

Harvard Beets

1 pound fresh beets
2 tablespoons lemon juice or vinegar (optional, to prevent bleeding)
1 tablespoon cornstarch
⅓ cup sugar
¼ teaspoon salt
¼ cup vinegar
½ cup water
1 tablespoon butter

Trim any leaves to about 2 inches from each beet. Wash any loose dirt from the beets under running water. Place in a large saucepan and cover with cold water. Add lemon juice or vinegar, if desired. Bring to a boil, then reduce heat and simmer until fork tender, about 45 minutes to an hour. Drain and let cool, then slip off skins, trimming any bits that don't come off easily. Slice or cube.

Mix cornstarch, sugar and salt together in a medium sized saucepan. Add the 1/4 cup vinegar and water and stir until dissolved. Bring to a boil over medium high heat, stirring constantly until mixture thickens. Boil for additional 1 minute. Stir in the butter. Add the sliced beets and heat through. To serve warm, transfer to a slow cooker set to "keep warm." To serve cold (my preference), simply refrigerate in a sealed container until ready to serve. 

Macaroni and Cheese

1 lb. elbow macaroni (or rotini or cavatappi, if you want to be fancy) 
8 oz. sharp cheddar cheese, grated
4 oz. American deli cheese, cut into 1-inch cubes
4 tablespoons cold butter, cut into slices
3 cups half and half
1 tablespoon dijon mustard
1 teaspoon onion powder
1 teaspoon salt
½ teaspoon black pepper
½ teaspoon paprika

Add all ingredients to the slow cooker, still well, and cook on LOW, stirring every 30 minutes. At 90 minutes, check for doneness and continue cooking if needed. If sauce is too thick, stir in a few tablespoons of milk. Set to "keep warm" until ready to serve. This recipe may also be made up to a few days in advance and refrigerated. Transfer to slow cooker set to "keep warm" for at least 30 minutes before serving. 

Desserts

Bars and cakes that can be cut into small servings, or cookies made in smaller than usual sizes, are ideal for potluck sampling. I avoid pastries that are overly crumbly or sticky, and aim for mainly finger foods.

Raspberry Thumbprint Cookies

For the cookies:
1 cup butter, softened
2/3 cup sugar
1/2 tsp almond extract
2 cups plus 2 Tbsp flour
1/2 cup seedless raspberry jam

For the glaze:
1 cup powdered sugar
3-4 tsp water
1 tsp almond extract

In a medium bowl, beat butter for about 30 seconds, then scrape down sides of bowl. Add the sugar and the almond extract, beating for about 30 seconds or just until combined. On low speed, beat in the flour a little at a time, scraping the sides as necessary until dough is formed. Using a spatula or a wooden spoon, stir in any remaining flour in the bottom of the bowl. Do not overwork dough or allow to get too warm. Roll dough into 1-inch balls and place on a cookie sheet lined with parchment. Using your fingertip or knuckle, press an indentation into the center of each ball. Chill in refrigerator for at least one hour. (If chilling for longer than 1 hour, cover with plastic wrap.) 

Preheat the oven to 350 degrees. Place cookies 2 inches apart on a cookie sheet lined with parchment. (Return remaining cookies to refrigerator until ready to bake the next batch.) Spoon about ¼ teaspoon jam into each indentation. Bake for 11-13 minutes or until the edges are very light brown. Allow to cool on the cookie sheet for 5 minutes. Transfer to a wire rack to finish cooling. Continue baking batches until all cookies are baked. 

For glaze, in a medium bowl, combine powdered sugar, 1 teaspoon water and almond extract. Add enough of the remaining water to make a drizzling consistency. When cookies are completely cooled, drizzle with icing using a fork. Allow glaze to set completely before storing. 

Chocolate Truffles

2/3 cup heavy cream
12 ounces bittersweet chocolate, finely chopped (or semisweet chocolate chips)
1 teaspoon vanilla extract
1/3 cup cocoa powder (dark or regular)

Heat the heavy cream in a small saucepan over medium heat until almost boiling. Remove from heat. Add chocolate and vanilla extract and stir until completely smooth. Place the whole pan into the refrigerator and chill until firm enough to roll into balls. Rinse your hands with cold water and dry them. Working quickly, roll the ganache into a ball. If it gets too warm, put it back in the fridge for a few minutes to firm up. Rinse and dry your hands if needed to keep them cool. Chill the balls, a few at a time, as you go. Roll the chilled balls in a shallow dish of cocoa powder to coat, then return to the fridge. When ready to serve, use a chilled plate with an ice pack underneath to keep the truffles cold and firm. 

Brookie Bars

For the Brownie Layer:

3/4 cup butter, melted
1-1/2 cups sugar
3 eggs
2 tsp vanilla
2/3 cup unsweetened cocoa powder
1 cup flour
1/2 tsp salt
1/2 tsp baking powder

For the Cookie Layer:

3/4 cup butter, softened
1/2 cup sugar
1/2 cup brown sugar
1 egg
1 tsp vanilla
1/2 tsp baking powder
1/2 tsp salt
1-1/4 cup flour
2 cups semisweet chocolate chips

Preheat the oven to 350 degrees. Spray a 9x13 pan with non-stick cooking spray.

For the Brownie Layer: Stir sugar, eggs, and vanilla in the melted butter. Stir in the cocoa, flour, salt, and baking powder by hand. Pour the batter evenly onto the bottom of the prepared pan, spreading with a spatula if needed.

For the Cookie Layer: Beat the sugars, butter, and vanilla together until creamy with a mixer.  Add in the egg. Stir in the baking powder, salt and flour. Do not over mix. Gently fold in the chocolate chips. Drop spoonfuls of the dough on top of the brownie batter. Spread with a spatula (will not completely cover brownie layer). 

Bake for 25-28 minutes until a toothpick inserted into the center comes out clean and the cookie dough on top is golden brown. Cool completely before cutting into small squares. 

Classic Toll House Cookies

2-1/4 cups flour
1 teaspoon baking soda
1 teaspoon salt
1 cup butter, softened
3/4 cup sugar
3/4 cup brown sugar
1 teaspoon vanilla
2 eggs
2 cups semisweet chocolate chips
1 cup chopped walnuts or pecans, optional (I usually omit due to possible allergies)

Preheat the oven to 375 degrees and line a baking sheet with parchment paper.

Whisk together baking soda and salt into the flour (I do this right in the measuring cup). In a large mixing bowl, beat the butter, sugar, and brown sugar until light and fluffy (about 3 minutes). Add the eggs, one at a time, beating well after each addition. Beat in the vanilla. Gradually beat in the flour mixture. Fold in in the chocolate chips and nuts (if using). Drop heaping tablespoons of dough onto the baking sheet, leaving 2 inches between each cookie. (You can make them smaller, but reduce the baking time.) Bake for 9 to 11 minutes or until golden brown. Allow to cool on the sheet for 2 minutes, then transfer to cooling racks.

Happy eating!

Fashion Review: The Swift-Kelce Wedding

Taylor Swift and Travis Kelce got married last weekend, and naturally the guest list was filled with A-list celebrities (musicians, movie stars, and athletes) who knew how to dress for the black-tie dress code. Let's see who looked good and who missed the mark!

Karlie Kloss wore a shimmery gold strapless Grecian-inspired Tove sheath with a rear slit and matching gold strappy sandals. Elegant, memorable, but not spotlight-stealing, as it should be. 

Erin Andrews wore a black Gucci halter gown with a hint of shimmer, while husband Jarrett Stoll opted for a navy tuxedo. The bare shoulders and slightly open sides are sexy but not inappropriately so. 

Dakota Johnson wore a similar black halter gown; hers was a Valentino design with a crushed collar band, trailing scarf at the back of the neck, and an angled, thigh-high slit. 

Singer Camila Cabello looked more appropriate for the red carpet than a wedding in a voluminous off-the-shoulder red lace Zimmerman design with a bloused top featuring a deep keyhole opening, a built-in cape, and a full, sheer skirt. It was pretty, but a bit much for the occasion. 

Selena Gomez absolutely understood the assignment in an understated but glamorous heavily-beaded, champagne-colored Oscar de la Renta sheath. 

Gigi Hadid went Barbiecore in a form-fitting bubblegum pink beaded Wiederhoeft gown with tiny straps and a draped bodice. Simple design plus eye-catching fabric = excellent choice. 

Jennifer Lopez opted for a high-low hemline in this Bach Mai gown, which featured a black velvet sleeveless bodice with a deep scoop neckline that was fitted to mid-hip, and a metallic black full skirt. It had a bit of an '80s feel, but it fit the occasion. 

Dita Von Teese veered into "is it a wedding gown?" territory in a champagne and ivory lace vintage gown with a sheer yoke and a bunch of giant rosettes on one shoulder. Pretty, but not very appropriate for a wedding. 

Jessica Alba, on the arm of boyfriend Danny Ramirez, wore a two-toned Prada gown with a metallic, paillette-covered column skirt and a plunging-to-the-waist black halter bodice. Definitely black tie, but again, a bit much for a wedding. 

Lena Dunham's sartorial choices can be questionable, but I wholeheartedly approve of her Christian Cowan flared skirt and hot pink satin blouse with super-flared bell sleeves and plunging surplice neckline. The giant lavender flower was a bit over the top, but I'll give it a pass. 

Joey King wore a lovely design by Leo Lin for Myteresa: a black halter gown wrapped with lavender morning glories and green vines that combined black-tie formal with a light, summery floral motif. I would wear this look. Husband Steven Piet dressed up his black tux with a gold brooch. 

Kimberly Williams-Paisley wore a black Theia gown with a similar lavender morning glory on black motif. Her off-the shoulder gown featured 3-D flowers on the shoulders and a slightly flared skirt. (I'd wear this one, too.) Husband Brad Paisley wore a three-piece black tux with a dress shirt and long black necktie. 

Brittany Mahomes wore a shimmery ice-blue Marmar Halim column with a subtle sweetheart neckline that darkened just a tiny bit toward the hem and featured a back slit, accessorized with a stunning diamond necklace. The dress was simple, but those subtle details brought it up a notch. Husband Patrick Mahomes wore a navy Tom Ford tuxedo with an elegantly hand-tied bow tie.  

Sydney Silverman wore a sleeveless, round-necked semi-sheer Rachel Gilbert gold sheath encrusted with metallic gold leaves and sparkly gems. It was a great combination of glamour and restraint. Escort Drew Kirsch accessorized his black tuxedo with a hand-tied black bow tie and a white pocket square. 

Kristin Juszczyk paired a tightly-fitted slate blue satin BALYKINA strapless hip-length corset bodice with a black taffeta high-low skirt by Aknvas. I found the hip detail to be less than flattering, but on the whole it wasn't a bad look. Husband Kyle Juszczyk wore a black tuxedo with an unbuttoned collar and no tie. (Not a fan of that for a black tie wedding.)

Claire Kittle wore an ice blue silk sheath with a super-scooped neckline of illusion fabric, filled in with multiple strands of crystal and blue gemstone necklaces. It was a lovely look except for her ribs showing through the fabric. Husband George Kittle wore a dark navy tuxedo that featured textured stripes and multiple flap pockets, both of which added a lot of style to his look.

Charissa Thompson wore a heavily-beaded art deco style champagne gown with an extremely sheer skirt (although it appeared less sheer without the bright backlighting in this photo). A lovely gown but a reminder to check your look under multiple lighting conditions before leaving the house! Partner Steven Cundari wore a slim-fit double-breasted black tuxedo with a black shirt for a sleek, chic look.

Kelly Stafford wore a sleeveless sage green satin ruched gown with a thigh-high slit. Another elegant and sexy but not overdone look Husband Matthew Stafford wore a coordinating dark green tuxedo with a black bow tie. 

Abigail Wolfe wore a sleeveless, one-shouldered burgundy halter with a large triangular cutout at the waist, accessorized with matching opera gloves and a large marabou boa. Another look best left for the red carpet, not a wedding. Husband Derek Wolfe wore a black tuxedo with burgundy piping to match her dress and, somewhat inexplicably, a blue dress shirt. 
 

Elizabeth Banks wore a cobalt blue vintage Versace halter gown with black and silver floral detailing, with what seems to be a thigh-length skirt but floor-length front and back panels. It's different and intriguing without being weird. I approve. 

Gracie Hunt wore a sleeveless sparkly seafoam green Roberto Cavalli gown that was gathered into a silver starburst at the hip. It had fabulous lines and a great silhouette. 

Simone Biles wore a burgundy Do Long halter gown made of rings and leather patches, with a small diagonal slit at one hip that exploded into a frothy and voluminous tulle side train. Either the leather or the tulle would have worked, but the combination was too haute couture for a wedding. But bonus points to husband Jonathan Owens for his gorgeous coordinating burgundy velvet tuxedo jacket.