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Chef Ariel Coplan’s breakthrough dish was jerk chicken

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Some recipes are universal; most memories are not. The process of shaping raw ingredients into something palatable — and the events that surround this endeavour — can lead to all kinds of unforgettable moments: kitchen disasters, severed digits, epic struggles with newfangled culinary gadgets and, sometimes, personal triumphs. So why not ask some of the city’s top chefs for their most memorable recipes? Why not, indeed? No, really — that’s what we did, and will continue to do weekly.

This week, we asked Ariel Coplan, Nyood’s brand new chef, to tell us about his breakthrough dish. Coplan, born and raised here in Toronto, learned his craft under the tutelage of Lorenzo Loseto at George Restaurant. After working at Café Grey in New York City, and Number One — a Michelin-starred restaurant at the Balmoral Hotel in Edinburgh — Coplan returned to his hometown with his eyebrows intact (more on this below). Herewith, Coplan shares his favourite jerk chicken recipe with us.

Says Coplan:

“For most people, food is an afterthought. They are hungry, so they eat. I've always been on a journey to find and create something better. Like most teenagers, I was less impressed with the classroom than the world that was shaping around me. On a regular basis, I'd have friends over and cook lunch for them. I was never afraid to try something new, or expand and develop on a recipe I had. This led to another obsession that I developed at an early age: the barbecue.

When I was 10 years old, I tried to light the barbecue to make myself a snack. Not exactly knowing the proper way of lighting it, I wound up singeing off my eyebrows. Yes, it was an easy way to get the baby sitter fired at the time, but more importantly, the experience taught me how to properly light the barbecue. Once it was lit, my obsession for barbecue didn't go out for years. 

When I first started thinking about cooking on a professional level, my goal was to make homemade sauces and ketchups. When I met a neighbour who was equally as passionate about good food as I was, and willing to cook meals several times a day — sometimes in the dead of winter — a friendship began. Among all the food we ate, jerk chicken was heavily in the rotation; it was a perfect chance for me to try and experiment with sauces and cooking techniques. Over the years I've developed this recipe quite a bit, and shared it with many good friends.”

Jerk Chicken

Ingredients:

4 white cooking onions
2 scotch bonnet peppers
½ bulb garlic
1 bunch scallions
½ bunch thyme
1 cup orange juice
½ cup sweet soy sauce
2 tbsp. allspice
2 tbsp. salt
6 boneless, skinless chicken thighs

Directions:

  1. Put all ingredients (minus the chicken, of course) into a blender and blend into a liquid state.
  2. Over low heat cook down mixture slowly, stirring regularly.
  3. Once the sauce has reduced significantly, check for seasoning, and adjust the spice, salt and sweetness of the jerk sauce to taste.
  4. Marinate the chicken thighs overnight in fridge with the homemade jerk sauce. Refrigerate some sauce separately for “saucing” during the grilling process.
  5. Remove chicken from fridge and grill on charcoal grill until chicken is cooked — saucing liberally as you grill.
  6. Serve with coleslaw, rice and peas.

Band of the Week: The Class Assassins

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Punk rock can be problematic: it’s often difficult for a band to remain true to the spirit and history of the genre while still sounding relevant. Luckily, Toronto’s The Class Assassins somehow avoid sounding like a caricature. Sure, all the elements are there: the rocking riffs, the driving rhythms and the protest songs. But those riffs lock themselves in your head.

After a long hiatus, the band has come back with gusto, landing some big gigs around town, releasing a new seven-inch record and, most recently, preparing for a big St. Patrick’s Day concert with the The Mahones at the Horseshoe Tavern. We caught up with lead guitarist Cactus Vella to talk about what’s next.

The band’s been around for a while now. For the uninitiated, could you give us a brief history?
The Class Assassins began around 1999. Chris and Dan Farr — the brothers who started the band — were looking to do something new. They had played together in Hockey Teeth, and when that band ended they decided to put something else together. They found Chad, who had been the vocalist in Bitter Grin and added him to the band. They also brought in Dave and Gary on bass and drums. Dave was an original member of Direct Action and Gary was the drummer for the Problem Children. Several years later Dan decided he couldn’t do it any longer and that’s when I was brought in.

You recently put out a new seven-inch. How has the response been so far?
The response has been fantastic! Rebel Time Records has been pushing the seven-inch hard. The fan feedback is great and the reviews are all positive. The record just got picked up by distributors in France and Germany, so we’re very excited about that!

What was the motivation behind releasing it on vinyl as opposed to CD or a digital release?
Vinyl has always been the preferred format for us, and I dare to say the majority of the punk rock community. Our very first release was a seven-inch on Soap and Spikes Records followed by a seven-inch on Insurgence Records. Also our first full length, State of Emergency was available on CD and Vinyl. Somewhere in the last 15 years it became really easy and affordable to make CDs and more difficult and expensive to make vinyl. It’s now nice to see vinyl being a realistic option for independent bands again.

It seems like there was a pretty long break between your releases. Was there any reason behind that? And what’s prompted the flurry of activity over the last few years?
Honestly, I don’t think it’s any secret that the band got pretty lazy there for a while. This was during a time when the future of the band was a little uncertain. Dan was on his way out, and the band had stopped touring for a while. I think I joined sometime in 2008 and my first goal was to get them to finish recording the material that would become the You’ve Got It All Wrong CD. The CD was released on Insurgence, eventually, and after that we started playing around Ontario and surrounding areas in support of the CD. Since then we’ve written a ton of new material and are an active band again. We released the Treason seven-inch on Rebel Time Records last fall, and just released another CD on my own label, Anxiety Attack Records, a month ago. It’s really difficult for me to be a part of a lazy band. I don’t see the point in it. Hobby bands aren’t for me. Do it hard or don’t do it at all.

You’ve had some pretty high profile gigs lately, most notably opening for Dropkick Murphys last month. How did that come about?
The Dropkick Murphys gig was awesome! Basically, their camp emailed me and said the Dropkicks wanted us to open up for them in Toronto. We’ve been wanting that spot for a long time. We’ve been very lucky over the years as we’ve shared the stage with some great bands, like Bad Religion, The Bronx, GBH, Agnostic Front, The Business, Crass and Red Alert, to name a few. Hard work and a good work ethic go a long way in our scene.

And what’s next for the band?
As far as new material goes, we’re writing a bunch of songs and there’s talk about releasing another seven-inch and/or a split record this spring or summer. We don’t plan on dropping off the radar again anytime soon. Famous last words

Search for fashion after dark at Vintage’s Night Out

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While Toronto readies itself for next week’s official Fashion Week (though events are peppered throughout the month), the folks over at Plaid Magazine have decided to throw a little shindig of their own.

On Tuesday March 13, Hogtown’s inaugural Vintage’s Night Out will invite the sartorially inclined to an evening of meandering the streets around the west end in search of great fashion.

As we’ve already pointed out, Toronto’s vintage scene is world-renowned, what with international journalists taking note and new boutiques popping up left, right and center.

Stores participating in Vintage′s Night Out are all within walking distance of each other and include Cabaret (672 Queen St. W., 416-504-7126), I Miss You Vintage (63 Ossington Ave.), 69 Vintage (1100 Queen St. W., 416-516-0669), Chosen Vintage (960 Queen St. W., 647-802-7704) and Magwood (1418 Dundas St. W., 416-818-3975). Several of these stores made it into our recent round-up of Toronto's best vintage.

Each location will remain open until the chime of midnight, and shoppers can expect store-specific discounts.

One hundred years of Oreos: a tribute

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Oreo cookies turned 100 today. That’s right — the first Oreo was sold on this day in Hoboken, New Jersey, in 1912. Does anybody actually care about that? Well, Colin Mochrie made an appearance at the Toronto Eaton Centre to celebrate the occasion today, so the answer is, yes, some people actually care. Either way, now is a good time to indulge in some useless Oreo trivia. Below, five ways that the sandwich cookie has influenced our culture.

1. Design. Ever marveled at the design emblazoned on each Oreo? No? Pay attention next time. It’s needlessly elaborate. Nobody’s totally sure who, exactly, is behind it, but it is revered. According to the The Atlantic, Pulitzer Prize-winning architecture critic Paul Goldberger called it “the stuff of legend.”      

2. Music. Ah yes, “Weird Al” Yankovic. Back in the ‘90s, he paid serious homage to the Oreo in order to parody the New Kids on The Block with his song “The White Stuff.” In the words of the man himself: “Nothing gets me high as that sandwich cookie does.”  

3. Art. Oreos apparently make great canvases. Judith G. Klausner, an artist from the U.S., carves these portraits into her cookies. Making art out of an Oreo without eating it? That’s willpower.

4. Tradition. Marketers tried as hard as they could to convince us that eating Oreos is better with the “twist, lick and dunk” technique. There’s even a strategy guide for it. According to Kraft Foods, about half of Oreo eaters prefer that method.

5. Engineering. This guy set to find out whether Oreos can physically withstand being stacked up as high as the Gateway Arch in St. Louis (which stands 630 feet tall). His conclusion? Oreos start to show failure at around 180 lbs., which means that, no, they could not be stacked 15,120 high in a single tower to reach that height. However, if the weight was distributed among two or more cookies at the base, then it could be done. Hey — learning is half the battle.

Designer watch: Ivanka Trump and Mary Katrantzou launch at The Bay

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Today's going to be a busy one at The Bay, which has two product launches in its Toronto stores.

Ivanka Trump, model, fashion designer and daughter of mogul Donald Trump, will be making a lunchtime appearance at the flagship Queen Street store. Trump will drop by for an hour to launch her new line of handbags, clothing and footwear. Guests will have a chance to meet the designer and get her autograph. Front of line access will be granted to those who purchase $75 or more from the collection (before tax). There’s that Trump business savvy we know and love.

Up at The Bay in Yorkdale Mall, the Mary Katrantzou collection for Topshop will be launching. After significant success in the U.K., the collection, which consists mostly of Asian-inspired floral prints, structured bubble skirts, pants and tunics, will finally land in Canada. Unlike Jason Wu's pop-up store for Target a few weeks ago, The Bay has a permanent Topshop collection. However, based on the collection’s success overseas, expect it to be snapped up fast. As a bonus, if you spend $100 or more, you’ll receive a free Mary Katrantzou tote.

Ivanka Trump at The Bay Queen Street, March 6, noon to 1 p.m. Mary Katrantzou for Topshop launches at The Bay at Yorkdale Mall, March 6, 10 a.m.

Last weekend, I helped consume an entire suckling pig at Bestellen restaurant

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Here is how I know that I live in one of the most civilized countries in the world: if I want to have a newborn piglet wrenched from its loving mother’s teat, slaughtered, rubbed with salt, injected with brine, roasted for four hours and placed on a platter purely for my own enjoyment, all that I have to do is call Bestellen restaurant.

This act of unimaginable cruelty has been rendered so simple that the only way I — an average Joe — cannot do it is if my fingers are too fat to properly dial Bestellen’s phone number. Of course, there are other places in the city where I can do the same thing (order an entire suckling pig to be consumed solely for my enjoyment, that is), but I decided to go with Bestellen because it’s new and I wanted to see what chef/co-owner Rob Rossi, a.k.a the Top Chef Canada finalist, would do with the pig.

There is something gratifying, in the most primeval sense, about having a baby animal cooked and served in its entirety. In nature, babies aren’t easy to come by. They usually have angry parents guarding them. Only an intelligent, strong animal can have another baby animal served to them on a platter. That is why, throughout history, powerful civilizations have made a ceremony out of consuming whole suckling pig: the Chinese, the Greeks, the Romans.

So — I wanted a baby pig. How could I properly call myself a man if I hadn’t partaken in such an act of barbarism? I gave Bestellen the requisite 72-hours notice and gathered people to help me. A few days later, we walked into the brand new restaurant. It was big. Eighty seats. Terrazzo floors. A windowed meat-curing room. Cuts of beef covered in that desirable fungal crust. A mural paying homage to all things carnivore. Led Zeppelin was playing. It was an apt setting for the task at hand.

I approached the hostess and said, “I want baby pig.” Our swagger had already given us away, though.

The dinner began much like any other dinner. We ordered drinks, talked about what movies we had seen lately, chit-chatted. You know, mundane formalities. But then the chef opened up the oven, where our animal had been slowly roasting. A thick waft of pig seeped out from the open kitchen and overtook the room. At that moment, everything changed.

Everyone got giddy. It was a palpable giddiness. The servers, the customers, the cooks — even the vegetarians who had come along just to witness the whole spectacle — were all affected. I could feel the giddiness in my stomach. The smell of pork is always magical. It has a perfume that the aromas of beef, poultry or lamb simply do not have. Conversation at the table suddenly drifted to more interesting topics: emperors, gladiators, wars, pillaging. The giddiness only increased when a cook began blowtorching the pig’s skin for crispiness.

Then, two servers brought out the whole pig and set it on the table. They put it there so we could admire our animal before it was chopped to pieces. It was a pig, no doubt about it. Often, we’re distanced from the animals we eat: they’re minced, mixed with other things and packaged so that they’re nice and sparkly, like iPads. It’s very easy to pretend that there is no animal in our Big Macs at all. But this was clearly a dead pig. It was six weeks old and weighed exactly 25 pounds.

I wish I could say with certainty that this particular baby pig lived a life of luxury before sacrificing itself, albeit unwillingly, for us. But Rossi told me that this was just a “normal” pig. You see, the farms that raise special pigs, like Beretta Organic Farms or Perth Pork Products, usually don’t sell their baby pigs. They keep them so that they can be fed organic barley and organic oats and whatnot. They grow their pigs so that they can become delicious, full-sized pork chops.    

Now, I am convinced that if Rob Rossi were a pig surgeon, the pig community would revere him. He could easily be a pig hero, but he has chosen to be a chef instead (props). Oinky was taken off the table, and Rossi carved it so quickly, with such surety, that it was clear he’s mastered the anatomy of swine. He gets it. The pig came back ready to eat. Our table applauded. We started pulling it apart with tongs.

I brought my plate to the pig carcass and took heaps of pork. There were lots of sides: lightly caramelized cauliflower, al dente white beans, crispy French fries and yellow, fluffy bread that had to have been related to pretzel somehow. It was great, all of it, but I was there for the pork.

I took a few bites. It tasted good, but the effect it had on me went beyond taste. Slowly, it began to feel a little more like 451 A.D. in the room, and I had the distinct impression that our party had, earlier in the day, experienced a great military victory against the Huns. It wasn’t long before I ditched my cutlery and began pushing hunks of baby pig into my mouth with my hands. I bit into a piece that was so buttery, so fatty, so porky, so moist and so salty that my eyes rolled back in ecstasy. My mind said, “this is good,” but my body said, “as long as you keep eating, you will be able to easily survive the winter and then set upon the task of preparing for next winter.”

I fell into what Anthony Bourdain would have described as a “blissed-out fugue state.” I didn’t talk very much. I didn’t think very much. My hands just kept pushing pork into my mouth. I took hold of the pig’s foot and gnawed at it. I grabbed a knife and cut the pig’s head in half. I scooped out a big chunk of the brain and ate it. It was superlatively chalky, and was equally as creamy.

“You just ate that pig’s memories,” someone commented.

Restaurants should serve pigs’ memories more often.

Eventually, the bliss state passed. When I emerged, I was in great pain. I had shoved so much pork into my stomach, in so little time, that I could hardly move. Other members of the group had gotten themselves into a similar pickle. I have a feeling that I was not the only one who reached a dissociative state through pork. But when the servers brought out dessert — chocolate ganache with salt flakes and crushed pistachios — I didn’t hesitate for a second. I paid for it later.

Lying in bed that night, in sheer agony, I was convinced that I would never need to eat another meal for the remainder of my life. I would subsist solely off the succulent baby fat that I had packed away. If I ever felt the need to taste food, I would need only to burp. Instead of constantly worrying about my next meal, I could focus on other things. Like ideas.

Eventually, I got hungry again. Yesterday, I almost had a pulled pork sandwich. I was this close. I am happy to say that I am pretty much back to normal. I may even find myself back at Bestellen soon eating some form of baby once again. I hear suckling goat is to die for. Rossi tells me he’d be happy to oblige.

Bestellen, 972 College St., 647-341-6769. Cost for a suckling pig is $59 per person, sides and fixings included.

Trending in Theatre This Week: The Happy Woman, The Night of the Iguana, Frances and Marybeth, Legally Blonde: The Musical and more

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The Happy Woman

Is there such a thing as being too happy? That’s the question raised in Rose Cullis’ new play that explores what’s lurking behind a seemingly perfect family’s veneer.
Berkeley Street Theatre, 26 Berkeley Street, Downstairs, Theatre 416-368-3110. March 5-24.


The Small Room at the Top of the Stairs

Grace’s new husband has only one request: never enter the small room at the top of the stairs. Besides wanting to know what’s in that room, we’d also like to ask: was Grace aware of this little rule before their nuptials?
Tarragon Theatre, 30 Bridgman Ave., 416-531-1827. March 7 – April 8.


The Night of the Iguana

It may not be one of Tennessee Williams’ best known plays, but it still has all the sex, sins, and sweat that are prevalent in his other works. This one features a menagerie of characters at a resort in Mexico.
Hart House Theatre, 7 Hart House Circle, 416-978-8849. March 2-10.


Frances and Marybeth

We were lucky to catch the first of Neale Kimmel’s original play at last year’s New Ideas Festival and we’re looking forward to how this comedy of errors about two sisters, three suitors and a helluva lot of milk turns out.
Factory Theatre, Studio, 125 Bathurst Street, 416-504-9971. March 8-18.


Legally Blonde: The Musical

Based on the hit movie, the musical that took Broadway by storm in 2007 “bends and snaps” its way to the Lower Ossington Theatre and proves it’s more than just a pretty face.
Lower Ossington Theatre, 100A Ossington Avenue, 416-915-6747. March 9-31.

Chef Anthony Rose to leave The Drake

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Anthony Rose, The Drake’s executive chef for the last six years, is to leave the famed hotel to open a restaurant of his own.

Though he chose not to reveal any details about his upcoming endeavor, he did tell The Grid, “It’s just time to move on. In my career, I like to stay at places for a while and what I’ve done with The Drake over the last six years has been amazing, but I’m just ready to do something different.”

Rose, who is known for his upscale take on classic American cuisine, said that he would be cooking up much of the same type of food in the future, but added, “I’ll just have control over everything — from the food, wine and cocktails to the beer and the service.”

Taking over the reins at The Drake will be Darren Glew, who has been working at the hotel for the last five years. Rose leaves at the end of the month.

[The Grid]

A look at some of the seriously delicious delights we sampled at Recipe for Change

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Last Thursday evening, a swarm of hungry foodies took over St. Lawrence Market, wining and dining their way through Recipe for Change, FoodShare’s biggest shindig of the year. Bringing together 30 of Toronto’s finest chefs — including Aaron Joseph Bear Robe, Brad Long and Rocco Agostino — the event raised over $50,000 for food literacy in schools, which aims to broaden the culinary horizons of Ontario’s youth.

While we dreamt of nibbling our way through each and every dish, we didn’t quite make it — time flew by and every last morsel was gobbled up too soon. Read on to discover some of the culinary creations we managed to discover.

ChocoSol’s Chrystal Porter whipped (and churned) up some Oaxacan cinnamon churros and xocolatl, a spiced chocolate beverage originally guzzled by the Aztecs. The vegan churros were spun from chia, flax, sorghum, buckwheat and amaranth — pretty much the healthiest churro imaginable.  

Winlai Wong, executive chef at Spice Route, offered up some dumplings because, well, who doesn’t love dumplings? Her version starred king oysters, celery, shallots, and garlic, and was served with organic soya sauce.

Next up were Brad Long’s vegan meatballs, a strong contender for best dish of the night. The delectable morsels were constructed from a tofu marinara mélange, nestled into a toutin — fried Newfoundland bread — and accented with a pickled mushroom and some orange and herb zest. It was love at first bite.

Frank’s Anne Yarymowich enticed attendees with her vegan version of carrot cake. We opted for the cream cheese frosting over the tofu and went with the pineapple coconut sauce and a sprinkling of toasted coconut. The teeny cake was moist and sumptuous, and most likely resulted in many re-thinking vegan (or in this case, almost-vegan) desserts. 

Another top-notch dessert offering came from Bernardin’s Emerie Brine. A baked cinnamon puff pastry was wrapped around their apple pie in a jar (they are Canada’s canners, after all), before being topped off with a dollop of crème fraiche.  

Steffan Howard of Palais Royale served up tiny spheres of Ontario chèvre rolled in shards of apple and pistachio. The truffles were then drizzled with either a subtle July or a more robust September harvest of Fred D’s Rooftop Honey.  

At Rocco Agostino’s table, one diner announced that this was the only table worthy of seconds. The Pizzeria Libretto and Enoteca Sociale exec chef was busy ladling up a patate e fagioli soup into paper cups. Although the presentation was somewhat uninspiring, the soup itself was a lovely medley of chickpeas, white beans puréed with chard, sweet potatoes and a tomato confit.  

Fabio Bondi of Local Kitchen & Wine Bar was furiously pulling mozzarella when we strolled by. His beautifully simple dish was lightly sprinkled with sea salt, gently drizzled with olive oil and flagged with a torn bit of basil.

On the menu at Mildred’s Temple Kitchen was a chickpea and roasted squash tagine. The dish was served on a bed of orange and cardamom couscous, and topped off with chef Donna Dooher’s ras el hanout — a Moroccan blend of 38 (yes, 38) spices.

When we finally made it to Keriwa Café’s table, chef Aaron Joseph Bear Robe was putting the finishing touches on his braised bison tongue pierogies. Bringing together his background (he originally hails from Alberta’s Siksika Nation) and his wife’s (she’s Polish), the red fife pierogies were plated with shallot jam and juniper crème fraiche, and finished off with a medley of spiced, pickled vegetables. Carnivores could not stop singing the dish’s praises.

Le Sélect Bistro’s Albert Ponzo delivered a Texas-style beef brisket. Created using a traditional Texas rub, the meat had been smoked for four hours before being cooked sous vide for 72 hours. It was then served on a house-made brioche with a sunny side up quail egg cheerfully perched on top. The affable Ponzo — whose own kids have no problem mowing down on fois gras — noted that the reaction to the dish was so great that he’s thinking of introducing it to the menu. 

Top to bottom: Steffan Howard's chèvre; Fabio Bondi's mozzarella; Donna Dooher's chickpea and roasted squash tagine; Albert Ponzo's beef brisket

Boutique Monique brings vintage fashion to St. Clair West

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With the sprawl of vintage boutiques taking over Toronto, standing out in a sea of flannel and ’60s cocktail frocks can be a daunting task. Not so for Monique Nanton, owner of Boutique Monique, the newest retail offering on St. Clair West, where there’s nary a grungy plaid in sight.

Opening up shop in a hood that is distinctly different from the Queen West strip may be a seen as a surprising move, however for Nanton the range of customers is just what she hoped for. “There’s no judgment here — everyone’s welcome.” she says.

Nanton — who lives a hop, skip and jump away from the shop — has unearthed an extensive space in which to showcase her goods. More casual, daytime garb is kept in the main area, outerwear lines are in the hallway and shoes — including a selection for men — are housed in a room of their own. Eveningwear and finery are tucked away in the back, complete with an intimate living-room set-up and a fireplace to boot. Shoppers (and their companions) in it for the long haul will appreciate the change rooms fitted with seating for both parties, as well as hooks for coats and bags in addition to the garments.

Notable names are scattered throughout the boutique; Nanton, however, stresses that she selects based on cut and construction, not because of a label. A sequined Oleg Cassini number twinkles in the front window (Nanton mentions that Cassini used to dress the inimitable Jackie O); a duo of mannequins in the back have outfitted themselves in Nanton’s most-cherished pieces: an iridescent Bill Blass dress with patch pockets, and a 1960s Givenchy frock, complete with a dramatic feathered collar.

We fell for a circle-print Marimekko dress with bell sleeves, while what appeared to be a Caché mini-dress — with a bronze-studded collar — turned out to be a playful romper. Although shoppers may expect gasp-inducing prices, Nanton is a savvy buyer and, on average, pieces fall around the $80 mark.

“I love finding the right thing for the right person — nothing makes me happier,” says Nanton.

Boutique Monique, 1024 St. Clair Ave. W., open Wed. to Sat. from 11 a.m.
 

Dark Horse hits up the Entertainment District

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It’s no secret that Toronto is completely inundated with espresso bars, but at least two downtown areas have managed to avoid indie oversaturation: the Financial District and the Entertainment District. Sam James plans to tap into the former with an upcoming shop on the PATH, and Dark Horse Espresso Bar has ventured into the latter with a fourth location, which officially opened on John Street this morning.

Set in the space that formerly housed Smokeless Joe — which relocated to College Street last year — this incarnation of Dark Horse is smaller, seating around 15. Still, it’s a standard Dark Horse through and through, complete with lots of hardwood and pressed tin ceiling tiles. The menu and price points are right in line with the other locations.

Shots are pulled on a Kees van der Westen Mirage espresso machine, similar to the one used at Dark Horse’s original location on Queen Street. Pastries are provided by Circles and Squares, Desmond and Beatrice and other local purveyors.

A menu of paninis and soups is also in the works.

Dark Horse Espresso Bar, 125 John St.

Theatre review: Long Day’s Journey Into Night

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Long Day’s Journey Into Night centres on the Tyrone family, and is a thinly disguised study of American playwright Eugene O’Neills own parents and sibling in the early decades of the 20th century. The Tyrones are a family of Irish heritage that is filled with hurt, rage, anger and deep love. Sadly, they’re also filled with endless liquor and, in the case of the mother Mary, with morphine.

The family is tortured. The father, a once-great stage actor who sold out for wealth and success in a stupid melodramatic play which he performed thousands of times, is a cruel miser; the mother is filled with self-loathing and sickness over turning her back on a musical career and on her beloved Virgin Mary. And of the two brothers, one is a wastrel and the other is possibly dying of consumption.

The play is savagely and heartbreakingly autobiographical, so there are good reasons why O’Neill — who is widely seen as one of the greatest American playwrights (although not in this critic’s opinion, beyond this single play) — wanted it locked away for a quarter-century after his death. It was not. Instead, it won a Pulitzer Prize, and the 1962 film version (starring Katharine Hepburn, Ralph Richardson, Jason Robards and Dean Stockwell) was wildly praised and is still remembered fondly by most who have seen it.

Who else today would dare to perform this powerful, occasionally funny, but ultimately emotionally crushing, three-hour-long play, except the magnificent Soulpepper, in the Distillery District? Diana Leblanc, who directs this production, gave it a superior rendering at Stratford back in the mid-90s, and it is wonderful that she is trying to climb this treacherous mountain once again. While Leblac’s latest production of this truly towering play is extremely good, it does not achieve the earlier heights. But I come to praise this fine attempt, not to bury it, and I would not have missed it for the world. Nancy Palk, as the drug-addled Tyrone mother, has never been better. Her final scene, as she drifts into a room where the men in her family sit drunk in the dark (“I'm tired of making the power company rich!” says father Tyrone — played decently by Joseph Ziegler, Palk’s real-life, sober husband — as he twists off the light bulbs), can break your heart. Next to Palk, the greatest impressions are made by the two loser sons, Evan Buliung as the older and Gregory Prest as O’Neill’s stand-in for himself. They are both excellent, and act at Broadway level.

Do you want to be challenged by theatre, or merely patted on the head, as most modern theatre, both comic and dramatic, does? Do you want to be moved to tears and see one of the most agonizing — yet deeply loving — fictional families in human history? I cannot say that this family is typical, thank God, although I wish that every psychiatrist in the world would sit through a production like this one; they would see just how much parents and children can hurt, betray, yet still care so deeply for one another.

Long Day’s Journey Into Night is a play written in sorrow and pain, and, at its best, is deeply moving and unforgettable. I applaud Soulpepper for bringing it to southwestern Ontario again, since it is far and away O’Neill’s finest piece of theatre. It is probably not a show for a family in crisis to watch together, as its laughs are few. But its insights are many, and I am very glad to have seen it once again.

Young Centre for the Performing Arts, 50 Mill St., Bldg. 49, 416-203-6264. Runs until March 31.