Restaurant Review: Dottie's True Blue Cafe- Dottie's Won't Leave You Feeling Blue

Lucky herself admitted that occasionally she’ll give false directions just because she wanted to feel helpful, even if it gets someone even more lost. So when she replied that we were headed in the right direction, I was a little more than skeptical. We had just passed O’Farrell’s Adult Entertainment, at least 5 liquor stores, and dozens of shops that were barred up for the morning. We finally reached the intersection of Jones and O’Farrell and saw what might possibly be Dottie’s True Blue Cafe.
“You think those people are waiting for Dottie’s?” I asked. From behind us came a voice, “Yeah, that place is goooooood. The line’s about a 30 minute wait, but it’s worth it.” I turned and saw a man dressed in a beanie and sweats, most likely one of the locals around the neighborhood. He was hustling for a couple bucks, but at least he was helpful and friendly. Lucky took out a few bucks and we thanked the man for his help. We had a couple hours to spare and no other places to eat, so we took our place in line.

Dottie’s is something of an oasis in the middle of the concrete dessert of the Tenderloin district, known more for its bars than it’s breakfast spots. Had it not been for the line of people out the door, there would have been nothing to distinguish this from the rest of the rest of the unimpressive block. But the warm cozy atmosphere, friendly wait staff, and delicious food made this crowded little spot a homey place. The walls are decorated with pictures of famous African-American entertainers Dorothy Dandridge and Josephine Baker, clad in a barely-there pearl outfit. In the background, barely audible over the whir of polite conversation, plays the music of artists like Ray Charles and Billie Holliday. Most were seated at one of the fifteen or so tables accompanying two to four, but there was also a counter seating five to six comfortably.

My mouth watered as I read over the entrees offered. Both breakfast and lunch were served, but by the looks of most tables, breakfast was the meal of choice. It wasn’t hard to see why: How could you pass up fresh baked pastries, fresh squeezed juice, pancakes- all the things that make up a breakfast of champions. In addition to the breakfast offerings on the menu, there were about a dozen daily specials written on a dry erase board. Lucky, in fact, decided on the Blueberry Cornmeal Pancakes with Pure Maple Syrup ($8.25) from the board. The pancakes were quite moist, and the fresh blueberries baked into them were still quite juicy and flavorful, making the addition of maple syrup almost unnecessary. The bacon that was ordered as a side had a robust smoked wood flavor, but it was overdone and too stiff.

I was torn between two items on the menu. There was The Open Road ($10.75), consisting of fresh-squeezed juice, two eggs done to your liking, your choice of pancakes or French toast, home potatoes, and either sausage, bacon, or ham. And then there was The Southwestern- andouille sausage, mushrooms, onions, peppers, jack cheese over an open faced omelet served with a side of home potatoes and tortillas. Aye caramba! The huge portion that came out did not disappoint. All the flavors of the different ingredients did not overpower the others, including the sausage. The eggs were not overcooked or runny, and the distribution of cheese was such that every bite was even.

Dottie’s neighborhood may be seedy, but it’s worth the trip. Go for their breakfasts ($6 to 10) and bring home some fresh pastries with you for later.

Dottie’s True Blue Café

522 Jones St.

SF, CA 94102

(415) 805-2767

Open 7 days a week from 7:30am to 3:30pm

Restaurant Review: Noriega Teriyaki House- Battling Big Fish

It was a grueling week filled with battles. I had been living on little food and even less sleep, spending every precious second trying to catch up on several weeks’ worth of material for a number of classes. On Monday, the first shots were fired at the Skirmish of Physiology, followed by even more intense fighting during the Battles of Pharmacology and Pharmaceutical Chemistry. It was a fight filled with innumerable casualties, but alas, I have not yet been kicked out of Pharmacy School. Although it was a pyrrhic victory, my pal Lucky and I decided to head over to Noriega Teriyaki House to celebrate the end of the first wave of midterms. Little did we know that we were in for yet another battle.

The restaurant seemed rather innocuous, even inviting with the full sized artificial maple tree adorning the front room. The sushi chefs behind the counter smiled and bowed as we walked by the bar. Soft shakuhachi bamboo flute played over the stereo as the modest waitress politely led us to our table. Looking over the menu, it seemed as if this would be a typical Kiki-like Japanese restaurant experience. There was a variety of reasonably priced sushi-vegetable ($2.50) or sushi maki ($2.75 to $4.95). Even the nigiri was afforadable, running from $2.95 to $3.95 for most. But we had come to celebrate surviving our first tour of duty. We decided to indulge ourselves and get some special rolls. I decided on the spider rainbow roll (soft shell crab topped with eel, yellowtail, tuna, snapper, shrimp and avocado for $5.95) and the double hamachi roll (yellowtail and scallions topped with yellowtail and avocado for $10.95). Lucky went for a little more variety, ordering the chirashi sushi- assorted raw fish (including but not limited to tuna, salmon, unagi, shrimp, octopus, tamago, halibut) over sushi rice. It also included miso soup, sunomono (a simple Japanese cucumber salad), and ice cream for $12.45.

Soon after ordering, the miso soup and sunomono were served. I waited until the waitress was out of site before I exhibited my warlike instincts: I took no prisoners, inhaling the soup and scarfing down the cucumber. I thought to myself “I better order another roll… 2 rolls won’t be enough.” But when the waitress brought the sushi, the battle began once again. I was caught off guard, shocked-and-awed by the sheer enormity of the rolls. Open your mouth as wide as you can- that was the circumference of the roll! I decided on a frontal assault of the spider roll, attempting to put the entire piece in my mouth. Lucky decided to divide and conquer, attempting to devour them in two or three bites. But handling the unwieldy pieces proved even more of a challenge, as Lucky’s placemat was splashed with soy sauce/wasabi puddles from the rolls that would wrest free of her expert chopstick grasp. My placemat wasn’t much better, riddled with fallen rice and smeared with avocado. Lucky, who usually has the appetite of a small horse, had to call for reinforcements to defeat the overwhelming number of fish in her bowl. It was a battle to be reckoned with, but in the end, we overcame our meals. Seeing that our victory was inevitable, they raised the white flag and surrendered. As a peace offering, they included a free banana coconut pudding. We gladly accepted the terms of their surrender, enjoying every bite of the refreshing dessert.

Noriega Teriyaki House offers generous portions using quality pieces of fresh fish. In addition to the aforementioned sushi, they offer a wide variety of appetizers, (from $4.95 for imperial rolls to $9.95 for 8 pieces of albacore tataki, seared white tuna), udon ( $7.45), and a variety of dinners, all including soup, sunomono, steamed rice, and ice cream (all less than $10.00). Lunch specials are seraved daily from 11:30 to 3pm and run from $6.95 for chicken teriyaki to $8.95 for a sushi lunch. Situated on the corner of 25^th and Noriega, it can easily be reached by the N-Judah if you are willing to walk a few blocks.

Noriega Teriyaki House

1755 Noriega St.

San Francisco, CA

(415) 664-7766

Restaurant Review: Asquew Grill- Good Food in Your Neighborhood

One of the things that I like most about San Francisco is all the little neighborhoods. With each neighborhood, there is a variety of interesting shops, boutiques, and, of course, restaurants. The Castro is definitely no exception. Admittedly, I have not ventured to that part of town as often as I would like although it is actually surprisingly close to campus: less than a 10 minute ride on the N-Judah plus a leisurely five minute walk. Today I had a chance to try explore The Castro and try a great restaurant where a few friends and I decided to celebrate the end of finals.

Asqew Grill is a local franchise of restaurants with locations including Emeryville, The Marina, Haight Ashbury (on 1607 Haight St. at Clayton), and The Castro. The unique name is a reference to the skewers, which are the core of the menu. Servings come as a half order (1 skewer for $5.75 to $6.75) or a regular order (2 skewers for $8.50 to $9.75). My friend Essbee thought that 1 skewer was the perfect portion for lunch. The skewers are divided into four main categories: Chicken, Meat, Seafood, and Vegetarian. As part of your order, your skewer is served atop one of five “starches” or one of eight salads.

Tired from the week of grueling finals, we turned our attention to the task at hand. Not only were there a wide variety of skewers, starches, and salads, there were also plenty of sides and soups to choose from. After we finally decided, it was only a few minutes before our meals were served. My friends Essbee and Smiles had ordered the Ragin’ Hot Buffalo-grilled chicken with roma tomatoes and red onions. Smiles thought it was “very enjoyable, a great choice for those who like spicy foods.” At first, Essbee was hesitant about having the cilantro jasmine rice as her starch, but “went with the recommendation and was very pleased with the combination.” My buddy Prima, who describers herself as “very picky when it comes to food,” thought the Cajun Chicken, with roma tomatoes, red onions, and blackened spices was “very light yet filling. The flavor was excellent with the right amount of spices.” My pal Lucky also picked up something from the Chicken menu. Her Texas BBQ chicken, with red onions and corn on the cob grilled on the skewer, was so delicious that she was inspired to write a poem about it:

I found it hard to make a choice
Between the ahi and the barbeque chicken.
I chose the chicken and found it quite moist.
So, so goood, it was finger lickin'.
The corn on the cob was the perfect side,
And the mashed potatoes really hit the spot.
I will tell you now that it’s all worth the Muni ride.
I'm sure you'll like it a lot lot lot.

My friend Booty was in the mood for something from the Seafood section. She went with the cajun swordfish which was “juicy but could use a little more kick.” Rather than choose a starch as her side, she decided on the spinach salad. In her words, “the plain walnuts, which were just plain walnuts, would have been better if they were candied. The dried cranberries added a nice balance to salad, though, tasting good and adding some nice color, too. For the most part, it was relatively good.” This was a ringing endorsement coming from someone who hates most San Francisco restaurants.

As for me, I had the mango lime swordfish on a bed of jasmine cilantro rice. The three fresh, firm pieces of fish, together with the ample serving of rice, were plentiful enough to satiate me. The chunks of mango, caps of mushroom, and lime salsa were delicious enough to impress me. The whole order may have been a better size for me, as I did not have breakfast earlier that day. Nevertheless, I was completely satisfied with my meal.

Asqew offers a simple, relatively healthy meal for an inexpensive price. The friendly staff are an interesting bunch, giving their honest recommendations and making sure everyone is enjoying their meals. Perhaps it was the great weather outside. Maybe it was because we had just finished finals. Most likely, it was the great company, coupled with tasty food, that made it an excellent meal overall.

Asqew

3583 16^th St (at Market)

San Francisco, CA 94114

415-626-3040

Restaurant Review: Ten Restaurant- A Perfect Ten?

Sure, if it’s a scale from one to 50. The newest addition to the Inner Sunset’s list of Japanese restaurants is Ten Restaurant, occupying the space of the now defunct Mae-Thip Thai restaurant at 524 Irving St. The only way it is going to avoid the fate of its predecessor is if drastic improvements are made at this upscale Japanese restaurant. Fighting for a slice of the upscale Japanese sushi market, Ten has stiff competition from the wildly popular Ebisu and notable Koo. But it may not be much of a fight, as an anemic menu offering middling food at inflated prices may have Ten committing seppuku.

The décor of the restaurant is chic with its dark red walls highlighted by sconce lighting. The black granite floors made the room feel dramatic and expansive until you notice that the tables are actually quite close together. Anime played on mute on three televisions stacked horizontally in the corner while music by Utada Hikaru and other J-pop artists with a dance beat filled the dining area.

I expected to wait awhile since it was 7pm on a Friday night at a newly opened restaurant. However, we were seated by our friendly waitress promptly, as only a quarter of the tables were occupied, not including the backroom for larger parties (which was also unoccupied). We perused the expansive menu, which offered a wide variety of options. Appetizers ranged from $3.75 to $11.75, offering anything from the usual edamame, tofu and miso soup to oysters on half shell. Assuming that their strengths lay in fish, we chose between the Sal & Man and the spicy hamachi. The first was described as smoked salmon and mango. My pal Lucky and I were uncertain if it was lox or some other way of preparing salmon. After all, how often do you get lox at a Japanese restaurant? We asked our waitress, who had a hard time describing what it was. When I asked if it was lox, her look said, “Your guess is as good as mine.” Had I noticed that baby back ribs ($16.75) was one of the selections in the a la carte menu, I would not have questioned that lox was being served under the guise of sushi. Instead, we opted for the spicy hamachi.

For our main entrees, we had the option of choosing among donburi (rice dishes for $8.75 to $13.50), soba or udon (noodle dishes from $7.25 to $8.75), sushi ($8 to $12), or sashimi ($17 to $25). The rice and udon selections available were quite ordinary, even mundane, for such a well dressed restaurant. Unfortunately, the sushi selections weren’t much better- it took a few minutes to choose an item, not because they all sounded delectable and appetizing, but because we couldn’t decide which sounded least uninteresting. Many seemed to be California rolls topped with fish; a few others were either crab salad or spicy tuna topped with fish. We settled on the spicy tuna tempura. We couldn’t find another roll that was either different or interesting, so we decided on a simple, unadulterated plate of sashimi.

As we sat drinking our lukewarm tea (not because we had been waiting a long time, but because the tea being served was lukewarm), we overheard the neighboring table complain that one of the items ordered had not yet arrived. At this point, all we could do was cross our fingers and hope for the best. The spicy hamachi arrived first. The presentation was pretty, with red and green peppers contrasting the five pale pink pieces arranged like leaves of a petal around the centered shredded daikon in a puddle of yuzu sauce. However, even my pal Lucky, whose tolerance for spiciness is quite low, did not once reach for the tea to put out any fires in her mouth. Within a couple of minutes, we polished off the average appetizer and started on our roll. Stuffed with tempura battered shrimp, rice and spicy tuna, I was expecting a contrast of textures. Instead, the sauce that was drizzled over the top made the entire roll uniformly soft and mushy. My hopes for a decent roll were further dashed by the fact that it tasted like one homogenous roll- we couldn’t distinguish the spicy tuna from the tempura shrimp.

The one good thing about the place was that the food came out in a timely manner, at least for us. However, at a nearby table, we heard them complain that the kitchen had forgotten one of their dishes. After finishing our spicy tuna tempura roll, our sashimi moriwase came out. Pieces of ahi, hamachi, salmon, hamaguri (clam), and maguro were arranged on a platter served over ice to keep the fish cool. The pieces of fish were of decent quality- firm yet sufficiently soft. However, the sushi chef’s precision with a knife was sorely lacking as the pieces were far from uniform thickness and consistency. Even worse, the hamaguri was surprisingly fishy and did not taste fresh.

Close to forty dollars later and twenty minutes later (that must have been the fastest sushi meal we’d eaten), we were still hungry. Rather than take a chance on ordering another disappointing dish, we went home to eat the leftover chili that we had eaten earlier that day for lunch. I hope that my dining experience will be different from yours, but if I were you, I would spend my ten dollars someplace else.

Ten Restaurant

524 Irving St.

San Francisco, 94122

Open: Mon., Wed.–Fri. 11:30-2:30pm and 5-10pm

Closed Tues.

One star out of five

Theatre Review: Berkeley Rep- Argonautika Sets Sail on Tale of Humor and Adventure

The story of Jason and the Argonauts is a staple in Greek mythology. The fearless leader, aided by his band of testosterone laden men, seeks out the Golden Fleece, encountering lusty sirens, a formidable sea monster, menacing harpies and a fierce dragon along the way. While many retellings portray our protagonists as courageous men with nary a blemish, Mary Zimmerman’s Argonautika, playing at Berkeley Rep’s Rhoda Theatre, paints a more human picture, using a palette filled with deceit, love and betrayal to paint on a canvas of humor and adventure. The result is a complex masterpiece that tells us a bit about mythology and a lot about human nature.

Zimmerman’s Argonautika is a triumph on multiple levels. Using creative yet relatively simple puppets and a talented cast of 14, many playing various roles, the audience is successfully transported to a world of gods and mythical creatures. Once that reality is established, the individual actors do an amazing job of fleshing out the characters, recreating them with distinct personalities with unique quirks and attributes. The fact that the several actors successfully play multiple characters with differing personas is a testament to the high caliber of their ability. One of the most striking examples is Søren Oliver, who plays both the strong yet dense Hercules as well as the conniving antagonist King Aieetes. The characters are diametric opposites, yet Oliver plays both perfectly.

The source material already makes the story a classic, but the nuances woven into this production make it a worthy retelling. For one, this is one of the most human renditions of the tale. The protagonists are portrayed as a ragtag group of competent yet somewhat bumbling he-men who growl and beat their chests. Jason, meanwhile, is their charismatic yet ultimately self-serving leader. We see their blemishes and realize they are human (or at least half-human, half-god). Even the gods are anthropomorphic: Manipulative, nepotistic and meddlesome as they are, they hardly seem the detached entities that watch from above. Instead, they abet their favorite humans through complicit interventions to the harm of others. The most onerous example is Aphrodite and Eros’ role in influencing Medea to betray her father and her countrymen. Somehow we are able to forgive the likable characters and hope they make it home to their families with the Golden Fleece. Despite their flaws and shortcomings, the audience finds itself rooting for them in the face of danger and trouble.

But perhaps the most entertaining aspect of this extremely entertaining play is the adventures and exploits of the Argonauts. It is always curious how one can relay the epic scope of the story in a medium as limited as a play. Zimmerman’s staging and direction keeps the story majestic and sweeping. Even when using miniature scale props, the magnificence and grandeur of the scene is apparent to the audience. Zimmerman shows why she has won numerous accolades, including the 2002 Tony for Best Director.

The humor is yet another layer of this production, keeping the story from becoming too heavy or serious. And still, Zimmerman adds yet another layer by cleverly pointing out a few similarities between our current president’s foray into Iraq and Jason’s quest, which brings him to the unwelcome shores of Colchis.

Human, humorous, exciting and timely, Argonautika is another feather in Berkeley Rep’s exciting 40th anniversary season. Take some time to see it before it closes on December 23.

Originally published: www.ucsf.edu/synapse/articles/2007/Nov/29/argonautika.html

Performance Review: SF Symphony- More Than Meets the Ear

I think of myself as representative of the average classical music listener. I have taken a few music appreciation classes in college. I enjoy hearing live performances by the San Francisco Symphony. I’m familiar with the biggies – Beethoven, Mozart and Bach. But within the past few years, I have made an attempt to expand beyond my musical “comfort zones,” choosing programs featuring composers that I may know by name, but not necessarily by ear. On occasion, this has resulted in some less than satisfying results. But the majority of the time, my curiosity and adventurousness are rewarded: Last week’s all-Shostakovich program is one such example.

To be honest, my prior exposure to Russian composers did not extend far beyond Tchaikovsky and Rachmaninoff. But several factors made me interested in this program in particular. First, I had been told on several occasions that Shostakovich’s 5th Symphony was a must-hear. Also, these performances were being taped for Keeping Score, a national program aimed at making classical music accessible to all people hosted by the symphony’s maestro Michael Tilson Thomas.

The three pieces performed were as varied and storied as the composer himself. The first consisted of three pieces that made up the suite from a ballet entitled The Golden Age. The next was an 11-song cycle From Jewish Folk Poetry, featuring a soprano, a mezzo-soprano and a tenor. The last was the most famous of the three – Symphony No.5 in D minor, Opus 47. Each piece was stunning and lush in its own way. But knowing the historical context in which these pieces were written made them that much more exciting and fascinating because of the added meaning, nuance and character.

In order to get the most out of the performances, it helps to become familiar with the music on different levels. Sometimes that means listening to the music beforehand. However, the pieces are not always readily accessible. Often, reading the program notes about the history surrounding the pieces provides great insight. Doing so in this case was almost integral to really appreciate the music.

Shostakovich wrote the pieces during Stalin’s regime in the USSR. On several occasions, his work was censored and criticized as being against the state. Fearing reprisal, Shostakovich was forced to temper his condemnation, hiding it under a guise of mock admiration and faux nationalism. This is quite evident in music from The Golden Age, which tells the tale of a Soviet soccer team that travels to a Western city.

The thundering beats representing the power of the communist ideology nonetheless provided a rousing piece that was exciting and fun to listen to. Dance of the Black Man and two Soviet Footballers, which was heavy on the percussion instruments, timpani and triangle and included parts for tuba, bassoon and saxophone, was reminiscent of a march at a college football game rather than a ballet.

That Shostakovich even dared to write From Jewish Folk Poetry in 1930s Russia is a testament to his commitment to humanity in the face of an overtly anti-Semitic totalitarian dictatorship. Everyday pain and suffering is Jewish life in Russia was represented in works with names such as Lament for a Dead Infant and A Song of Poverty. The pieces provided snapshots of Jewish life through a Klezmer-influenced lens. Soprano Oksana Dyka and mezzo-soprano Elana Manistina sang with great power and emotion, providing even more depth and substance to the music. Tenor Vsevolod Grisnov, however could not match their vocal clout.

The 5th Symphony was an epic piece, soaring and jubilant, but often interspersed with stretches that seemed uncertain and stunted, particularly at the end of the first movement. The way Shostakovich juxtaposed these two motifs heightened the disparity. It can be interpreted as his attempt to please Stalin while stealthily injecting his veiled venom. Historical context aside, the 5th is also technically interesting because he splits the violins into three sections (typically there are two), and the violas and the cellos into two sections (rather than the usual single section for each). The result is a complex mélange that is expertly handled by the San Francisco Symphony.

The symphony allows not only for the enjoyment of the tried and true, but offers opportunities to sample lesser known composers. Some may scoff at the notion of Shostakovich being lesser known, but that is just proof of my musical naïveté. Fortunately, the symphony provides the opportunity to grow through these types of performances and programs like Keeping Score.

Originally published: www.ucsf.edu/synapse/articles/2007/Dec/6/shostakovich.html

Performance Review: Cirque du Soleil- KOOZA Will Take Your Breath Away

Several weeks ago, as I was riding the T to Mission Bay, I remember seeing another “building” going up. Several stories tall, this one seemed a bit different. First of all, it was going up in the AT&T parking lot. Second, this one had a festive blue and yellow motif to it. And then it dawned on me … the circus was back in town: Cirque du Soleil, that is!

Every time Cirque du Soleil rolls into town, one can expect an amazing show filled with gorgeous costumes, magnificent sets, original music and some of the most entertaining acts around. Cirque’s latest, "Kooza," which started its tour of the US here in San Francisco, is no different. Or rather, I should say, it is just as stunning and entertaining as previous Cirque performances.

"Kooza," inspired by the Sanskrit word for treasure chest, tells the tale of the Innocent, a melancholy loner who encounters strange and enchanting characters including a wand-wielding wizard called the Trickster, the wily Pickpocket and the burlesque King. Rather than follow a coherent storyline, it is actually a montage of death-defying acts, clowning and audience interaction pieces stitched together. Add costumes that allude to Alice in Wonderland, Baron Munchausen and the Wizard of Oz, set it to music blending and inspired by ’70s funk, orchestral music and traditional Indian music played by a live band, and the result? A veritable treasure trove for the senses to be enjoyed by kids of all ages.

Packed with some mind-blowing stunts, the over 2½-hour evening began with 19 artists that performed Chairvari, a combination of acrobatics, trampolines and human pyramids. Based on the Inuit game of “blanket toss,” performers took turns flying through the air and diving into a fabric held by the others (think of how firefighters catching someone jumping out of a burning building). Other acts, though less elaborate, were equally stunning. One such act, which was my wife Lucky’s favorite act, was by the three female performers in Contortion. Flexible beyond belief, these women take turns balancing on one another in unimaginable configurations and positions. Even as we watched them bend and move, it was often difficult to comprehend how what they did was humanly possible.

There were also acts that are seen at most any circus, including trapeze, highwire and unicycle. But if you’ve ever seen a Cirque du Soleil show, you know that even the most ordinary is made extraordinary. In the case of the highwire act, two taut wires cross diagonally at 15 and 25 feet above the stage with a total of four walkers performing. One frightening moment came when one of the walkers lost his balance and fell, grabbing the wire just in the nick of time. It was a frightening reminder of just how difficult and dangerous these acts were.

My favorite act was the Wheel of Death, in which two artists leap and counter-rotate in a three-story tall, 1,600-pound contraption consisting of two opposing large metal wheels spinning on its axis at dizzyingly high speeds. Inside, and occasionally on, the two wheels are two crazy men balancing on either side. I apologize to the children who sat within earshot – expletives accidentally left my mouth on more than one occasion as we watched in both amazement and terror as these fearless men thumbed their noses at gravity and laughed at the laws of physics while using their weight and movements to make the contraption rotate. For the most part, I was transfixed on every move. But part of me wished they would just finish the act and put an end to their flirtations with death.

Bits of clowning were interspersed between death-defying acts to allow the audience to catch its collective breath. While I admit that I am not a big fan of most of it, when it was mixed with audience interaction, it was very entertaining. The Pickpocket, in particular, was just phenomenal. It was amazing that he was able to remove a patron’s wrist watch without his cognizance. But it was absolutely mind-boggling that the Pickpocket was able to remove the man’s tie without him being any wiser. The Obnoxious Tourist was on the other side of the spectrum – an annoying character with few, if any, endearing characteristics or skills.

Any evening out is likely to cost a pretty penny, especially for the starving student, but here are a few tips you may want to consider to keep the cost down. 1) Take the N to the end. You can then jump on the T or take a 10-minute walk to the Grand Chapiteau (the blue and yellow tent). Either way, a $3 roundtrip Muni ride beats the price of gas+parking ($20 at AT&T Park’s lot A). 2) Eat before or after the show. A hotdog meal was selling for about $12. 3) Cirque du Soleil offers student discounts for those with a valid ID for shows on Tuesday through Thursday as well as the 4 p.m. shows on Friday. Discounted prices range from $49.50 to $81, not including any handling charges.

Cirque du Soleil’s KOOZA
Under the Grand Chapiteau at AT&T Park
Through January 20
$55-90 for adults; $38.50-$63 for children under 12
www.cirquedusoleil.com or call (800) 361-4595 for tickets

Originally published: www.ucsf.edu/synapse/articles/2007/Dec/6/kooza.html