All posts by RVO

7 Odd Things to See in Seattle Parks (North End Edition)

“The HIker” at Woodland Park (Photo: MvB)

With more than 400 public parks, Seattle’s park system is easily one of the finest in the country. The system’s variety of experiences and recreational opportunities are astounding. Included in the city’s roster of parks are first class beaches (Alki, Golden Gardens, Madison Park), old-growth forests (Schmitz Park), historic military bases (Discovery Park, Magnuson Park), rare plants and trees (Cowen Park, Volunteer Park, Arboretum), some spectacular views (Bhy Kracke Park, Myrtle Edwards Park), to name just a few stand-outs.

However, along with the physical beauty of our parks comes an ad hoc collection of oddities and one-shots, truly strange stuff. Over the century-plus development of our park system, any number of relics and memorials have found their way onto park property. In some cases, time has robbed these items of their meaning and context. In other cases, stuff just ended up in our parks because no one had anywhere else to put it, and they couldn’t bear to throw it away.

For a fun and enjoyable weekend, it’s worth seeking out these artifacts, if only to rediscover their meaning and purpose. Let’s start with parks north of the Lake Washington Ship Canal.

When it was first designed and designated for public use, Woodland Park Zoo was an open, free park with zoological exhibits. It was part of the original Olmstead park plan for the city’s park system. Over time, as the cost of maintaining animals in captivity grew, it became necessary to fence the park and branch it off as a traditional zoo.

“The HIker” at Woodland Park (Photo: MvB)

When that was done in the 1970s, a section of the park on its southern border — roughly at the corner of N 5oth Street and Phinney Avenue N — was not incorporated into the zoo. What’s left is a lovely open field in a woodland setting. There, in the center of the park is one of the finest sculptures in the city, a tribute to the local boys who fought in the Spanish American War. Entitled “The Hiker,” it carries the inscription: “1898-1902: To the memory of the soldiers, sailors, and Marines who gave their lives in defense of our flag in the war with Spain, the Philippine Insurrection, and the China Relief Expedition.”

U.S.S. Maine memorial at Woodland Park (Photo: MvB)

On the base of the statue is another memorial, a bronze relief forged from metal recovered from the wreck of the U.S.S. Maine, which exploded in Havana Harbor on the evening of February 15, 1898. The loss of the Maine ignited the Spanish-American War and this memorial commemorates that event.

Woodland Park guns (Photo: MvB)

Close by are two, 6.5-inch guns purportedly off of the U.S.S. Concord, a ship which also served in the Spanish-American War. It’s hard to tell because there are no plaques or labels on the guns or anywhere close by. The Concord was retired in 1909 and broken down in Bremerton. And the guns seem to have been moved to the present location in 1915, a gift from Spanish-American Veterans. The veterans also requested that the mounted guns be named Battery Dewey, after the great Admiral George Dewey who led the Navy to victory in the War. If these two guns were from the Concord, they were most likely used in the Battle of Manila Bay, a critical battle in the war.

Woodland Park guns (Photo: MvB)

Unfortunately, the guns are in bad shape. In the past, they looked imposingly out over the zoo parking lot. At some point, someone must have thought that was a bad idea. Plants were placed in front of the guns, which now obscure the guns from easy viewing. Having lost their majesty, the guns were forgotten and are now covered in rust and graffiti.

U.S.S. Boston guns at Hamlin Park (Photo: MvB)

For some reason, memorials to the Spanish American War are quite common in Seattle. Though not part of the Seattle Park system, Hamlin Park in Shoreline also features two large naval guns from that period. Labels on the 8-inch guns say that they are off the U.S.S. Boston and, amazingly, fired the first shots in the Battle of Manila Bay, the opening battle in the war and a decisive American victory. The Boston’s opening salvo must have been impressive, because these guns are massive. Strangely, no one is sure why or when they got to Hamlin Park. They are well preserved and look great.

U.S.S. Boston guns at Hamlin Park (Photo: MvB)

Traveling south out of Hamlin Park, head over to Magnuson Park. Seattle is lucky because two former military bases were turned over to the city in the 1970s for use as parks. Magnuson is the former Naval Air Station – Puget Sound. As part of the official transfer from the Navy, the city is obliged to protect many of the buildings within the park. What you have is a wonderful, living museum of World War II military architecture.

Memorial to the first aerial circumnavigation of the globe at Magnuson Park (Photo: MvB)

But an earlier history of the base is also present. In 1924, the first aerial circumnavigation of the globe left from the air field in Magnuson that has long since been covered up. There is a wonderful memorial of that historical flight at the park’s front gate. The memorial for the flight is a sculpture of the globe with wings, which is mounted on a granite base. Unfortunately, you can’t really get a good look at it because it sits on a narrow median on two busy streets.  If you decide to brave the traffic, it’s worth your time.

Plaque at Magnuson Park (Photo: MvB)

Just inside the park gates, two buildings down to your left, is a small white obelisk under a tall evergreen tree. It is a memorial to all military personnel that are missing in action in the Vietnam War.

Vietnam War Memorial at Magnuson Park (Photo: MvB)

Leaving the former base, head over to the  the corner of 28th Avenue NE, near NE 72nd Street and spend a moment at the Wedgwood Rock, a glacial erratic. In all fairness, this giant rock, which was left behind by the retreating Vashon Glacier more than 14,000 years ago, is not really part of a park, though over the years, there have been many calls for this unique artifact to be protected through designation as a park.

Wedgwood’s glacial erratic (Photo: MvB)

At one point, it was accessioned by the city and, in fact, sits on public land, specifically a large parking strip.  As the neighborhood grew in the post-WW-II-era, the idea for a park vanished and the rock simply because a curiosity to passersby. It’s an impressive reminder that our city was shaped by walls of ice.

Exploring Seattle’s public parks is one of the great joys of living here. It’s easy to bask in the beauty of our parks. But adventurers will also enjoy finding and seeing the odd flotsam hiding in our parks’ corners: the hidden history of our city and country currently hiding in plain site. Next week, we’ll move south of the Cut and talk about some great oddities in our city parks there.

This series has a Part 2.

Two Women on the Verge in “Suor Angelica” & “Voix Humaine”

La Voix Humane_Sour Angelica
La Voix Humane_Sour Angelica

Nuccia Focile in La Voix Humaine (Photo: © Elise Bakketun)

Puccini’s Suor Angelica takes place in a convent in Italy. (Photo: © Elise Bakketun)

Rosalind Plowright as The Princess (Photo: © Elise Bakketun)

Maria Gavrilova as Suor Angelica (Photo: © Elise Bakketun)

This past Saturday, Seattle Opera opened a double bill of La Voix Humaine and Suor Angelica. The two, short operas will run through May 18 with five more performances. These are the last performances of the 2012 – 13 season and, sadly, they bring down the house on Seattle Opera subscription seasons as we have known them over the last 30 years. It was therefore a landmark night, though few noticed.

Since the mid-1980s, Seattle Opera has run five operas a season (though, as with this season, they have occasionally run two shorter operas together). Due to the lingering recession, a declining subscriber base, the inability to develop a larger, younger audience; and some major budget shortfalls, this will be the last five-opera subscriber series for the near future. This summer, the Opera will produce the Wagner Ring Festival, followed by a four-opera season, and in 2014, faithful subscribers will face famine with only three operas, plus have the chance to attend the International Wagner Competition, instead of a Meistersinger previously planned, along with their subscription season.

But if this is the end of an era, the Opera is going out on top. 2012-13 was one of the company’s best seasons in years. Seattle Opera presented a dazzling, exotic turn on Puccini’s Turandot; a somber, tense reading of Beethoven’s Fidelio; a rollicking, wickedly funny take on Rossini’s La Cenerentola; a breathtaking, beautiful conception of Puccini’s La bohème, and has concluded the season with this double-bill.

I don’t see how La Voix Humaine and Sour Angelica could be much better. Composed by Francis Poulenc in 1959, with a libretto by Jean Cocteau, La Voix Humaine is a short, powerful take on the end of a love affair. Only one performer takes the stage. In this case, Elle, the spurned lover who is caught in a long telephone call with her departed lover, carries the show.

Portrayed by the amazing Nuccia Focile, Elle is part courage, part anger, and partly on the verge of a nervous breakdown. Focile navigates the story with uncommon acting chops and a luscious, supple voice that conveys both the depth of Elle’s despair and the character’s strong will. The story feels modern, and the music, under the sympathetic baton of conductor Gary Thor Wedow, is romantic, lustful, and complex.

The modernity, ironically, comes from its portrayal of 20th-century communications – how they tend to separate us and interfere with our emotions. Who among us hasn’t been on one of those calls where you would say anything to make a lover stay on the phone just a minute longer? Responding to her lover’s question about her possible suicide, Elle says, “Can you imagine me with a gun? I don’t even know where to get one.”

Focile, who has done magnificent work at Seattle Opera as Iphigénie in Iphigénie en Tauride and many others, moves around the single bedroom set with grace and excellence; at one point she wraps the phone cord around her neck and in the audience there is a chilling sense of doom. She is a revelation as both a singer and actor here.

Luckily, the composer and librettist give her a few moments of humor as the phone continually drops out or unseen callers join her party line. No one in the audience will miss the point that service assurance wasn’t any better for 50s-era French landlines than it is for 21st-century cell users. At one point, Elle even says, “Can you hear me now?”

With only one singer and one set, this opera can’t be very expensive to mount, and I wonder if Seattle Opera’s creative team couldn’t find other small opera gems to expand future seasons. Menotti’s The Medium, anyone? With someone as powerful as Focile, even modest opera is a wonder to behold.

The second half of the night’s double treat was a seldom-seen Puccini opera, Suor Angelica. Set in an abbey in 1600s Italy, the opera, with its all-women cast, presents us with the story of a humble nun who was once a princess. The young princess had a child out of wedlock, was separated from her son, and sent to a lifetime of penance as an abbess.

This one-act opera starts with Angelica working in the abbey’s garden. Other nuns gently tease her about her past, but, inwardly, she is desperate to hear news from her family. It has been seven long years since she last held her newborn. In a plot worthy of O’Neill or O. Henry, Angelica is visited by her aunt on official family business, who near the end of her visit offhandedly mentions to Angelica that her son is dead, a victim of an unidentified illness.

In her sorrow, Angelica makes the heart-rending decision to take her life. As the poison takes effect, she realizes she has committed a mortal sin.

General Director Speight Jenkins was canny to put these two operas together. Both are stories of discarded women who are robbed of everything they have, even their illusions. Maria Gavrilova sings the role of Sister Angelica with power and sadness. It would be easy to see Angelica as a victim, but Gavrilova steers the character out of the pits of despair and presents her as a strong-willed, but naïve woman.

Rosalind Plowright plays the pious aunt with bone-hard conviction and holier-than-thou righteousness. With acting skills to match her instrument, Plowright comes up with the best performance I’ve seen at Seattle Opera this year.

Also coming through with an amazing performance is the Seattle Opera chorus under the direction of chorusmaster Beth Kirchhoff. Kirchhoff is a jewel among music direction in Seattle or anywhere else. In Suor Angelica, she guides the women’s chorus through a triumphant reading of Puccini’s music, which has overtones of sacred vespers. It’s powerfully nostalgic if, like me, you were taught by Catholic nuns, who sang their morning devotions.

Despite the evening’s sad overtones, you walk out thinking about miracles — a happy presentation for all concerned.

What’s-That-Thingamajig? Comes to MOHAI this Saturday

MOHAI under construction, June 2011 (Photo: MvB)
MOHAI under construction, June 2011. See the new digs for yourself. (Photo: MvB)

In the realm of collecting, knowledge is power. It’s also profitable. Buying and selling art, antiques, artifacts and collectibles is easier when you understand the history, provenance and uniqueness of whatever you are buying and selling.

All categories of collecting, from toys to vintage clothes, antiques to art, and ephemera to books are inundated with fakes and reproductions. At the same time, many truly valuable items are simply hiding in plain site. If you intend to sell some of your valuable items to raise some cash, or are curious about the history behind a cherished item, Seattle’s Museum of History and Industry can help. But first you have to schlep.

On Saturday, March 9, from 10:00 a.m. to 4:00 p.m., MOHAI is scheduling the Bring Your Artifact to MOHAI Day! MOHAI will have experts [including our SunBreak What’s-That-Thingamajig Correspondent RvO — ed.] on hand to look at your historic artifact, textile, photograph, document, or art and help you figure out its story, or give you tips on how to go about doing further research on your own.

And with a sluggish economy, knowledge about items you own can be helpful whether you want to make sure you are adequately insured against theft, looking to build a collection, or liquidate a collection.

Be advised that MOHAI will not offer written appraisals. This event is for mining information. Also, no firearms will be allowed into the museum. Museums aren’t usually happy to give out trade secrets, so get there early and take advantage of their offer, which is free with admission to the museum.

“Downton Abbey” Fans, Don’t Despair — These Films Can Help

poster_downtonabbey3What the hell are we going to do now? On Sunday, season three of Downton Abbey is ending and we have seven months of lousy alphabet television to look forward to. NCIS, CSI, 5-O, I can’t keep them all straight.

The Seattle Times ran a nifty list of Downton-esque books to read, but what if you crave the visceral visual treat of aristocrats and servants behaving shockingly?

Herewith, a list of films that will soothe Abbey addicts meantime. (Go see our friends at Scarecrow Video if you need a hand.)

Gosford Park (2001). This is a no-brainer for the Downton Abbey fan. Robert Altman’s murder mystery (the director cared so little about the solution to the murder, the secret is literally tossed away near the end) was written by Downton Abbey creator and chief writer Julian Fellowes. Set in the mid-1930s, the film stars a host of British acting royalty headed by Maggie Smith. She serves the story here as she does on Downton as a foil and ironic commentator. She always reminds me of Bill Murray’s comic reactions in Ghostbusters. No matter what hideous creature arrives at the door, simply cut to Maggie and she nails it.

Charile Chan in London (1934). One of the subplots of Gosford Park features a producer of the Charlie Chan films seeking inspiration for a film set in London. Well, there actually is a London-set Charlie Chan movie and it’s one of the best of this long-running series, a sparkling murder mystery swiftly solved by the great detective.  The series is much maligned these days for its lack of political correctness (Chan is played by Swedish actor Warner Oland). But in recent years, Yunte Huang has written a wonderful book explaining why would we should stop worrying and learn to love the honorable detective.

The Rules of the Game  or La règle du jeu (1939). Off to the Continent! This film is on every list of the greatest movies of all time, sometimes heading the list. Director Jean Renoir’s undisputed masterpiece is both a serious and comic treatment of the foibles and sometimes-awkward nobility of the French aristocracy. Some rich French nobles and their poor servants arrive at a country chateau for a weekend shooting party. Before long, they begin to shoot each other. This is a brilliant film and much more fun that nearly any other film on the “greatest ever” lists.

The Shooting Party (1985). Why does this film never show up on television? You can see Live Free and Die Hard and Armageddon eight days a week, but this neglected masterpiece simply can’t be found. James Mason, in his last film appearance, plays the master of a splendid country estate who plans a shooting party on the eve of World War I. There are several scenes between Mason and John Gielgud that define great acting. This film must be on the list for any serious Downton fan.

Maurice (1987). Downton is coy about its treatment of contemporary issues within the Edwardian setting. Maurice, starring a young Hugh Grant, is based on a novel by E.M. Forster that the author insisted be published only after his death. Directed by James Ivory, it is the story of a young Edwardian nobleman who comes out amid a stilted, mannered society.

The Remains of the Day (1993), Howard’s End (1992), and A Room With a View (1987). Director James Ivory has made a career of documenting the collapse of English aristocracy but the survival of British nobility. These three films are the cream of his crop. Remains is told from the servant’s point of view – think of a Downton spin-off focusing on Carson and Hughes. It’s wonderfully repressive. Howard’s End might be Mary and Edith’s future — a frightened, bitter woman collapsing in fear. View is a lovely romance. All are worth your time.

All these films provide ample entertainment and distraction for the crushingly long season-break of Downton Abbey. They will hold you.

With Kenwood House Exhibit, SAM Goes Downtown Downton

J890372
The Music Room
IMGP2526
IMGP2528
IMGP2532
IMGP2535
IMGP2543
J910506
J920722

Kenwood House (Photo: ©English Heritage Photo Library)

Kenwood House Music Room, with paintings hung salon style

Detail from Old London Bridge, 1630, by Claude de Jongh, Dutch, ca. 1600-1663 (Oil on oak panel, 20 x 66 in.) Kenwood House, English Heritage; Iveagh Bequest, 1927 TL2012.49.21(Photo: MvB)

Kenwood House exhibit curator Susan Jenkins with Frans Hals' portrait of Pieter van den Broecke, 1633 (Oil on canvas, 26 3/4 x 21 5/8 in.) Kenwood House, English Heritage; Iveagh Bequest (Photo: MvB)

Detail from Anne, Countess of Albemarle and Son, 1777-79, by George Romney, English, 1734–1802 (Oil on canvas framed: 105 1/2 x 70 1/4 in.) Kenwood House, English Heritage; Iveagh Bequest, 1927 TL2012.49.39 (Photo: MvB)

Detail from Lady Brisco, ca. 1776, by Thomas Gainsborough, English, 1727–1788 (Oil on canvas framed: 99 3/16 x 67 7/8 in.) Kenwood House, English Heritage; Iveagh Bequest, 1927 TL2012.49.14 (Photo: MvB)

Chiyo Ishikawa, SAM curator, discussing SAM's European treasures (Photo: MvB)

Emma Hart as "The Spinstress," ca. 1784-85, by George Romney (Oil on canvas, 68 5/8 x 50 5/8 in.) Kenwood House, English Heritage; Iveagh Bequest (Photo: American Federation of Arts)

Kitty Fisher as “Cleopatra” Dissolving the Pearl, 1759, by Joshua Reynolds (English, 1723–1792, oil on canvas, 30 1/4 x 25 1/4 in.) Kenwood House, English Heritage; Iveagh Bequest (Photo: American Federation of Arts)

J890372 thumbnail
The Music Room thumbnail
IMGP2526 thumbnail
IMGP2528 thumbnail
IMGP2532 thumbnail
IMGP2535 thumbnail
IMGP2543 thumbnail
J910506 thumbnail
J920722 thumbnail

How kind of the Seattle Art Museum! With seemingly, the whole civilized world hurtling towards its end (or rather the season-ending episode of Downton Abbey), SAM has whipped up a charming exhibition of paintings that Lord and Lady Grantham would have proudly displayed in their fine home.

Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House, London (opening at SAM February 14 and running through May 19) features 50 works of art from one of the great houses of England. It’s a tasty and representative look at the kind of art that, well, the owners of the great houses in England would hang in their luscious, well-appointed rooms while legions of servants served lavish meals and dressed their charges in wonderful gowns.

Organized by the American Federation of Arts and English Heritage, the exhibit over-promises in one area: there is only one Rembrandt, though it’s a good one. The late self-portrait shows an aged, tired face but still gives a hint of the artistic fire that drove the great artist. The collection on view was built by and donated to England by Edward Cecil Guinness, (1847–1927), the first Earl of Iveagh and heir to the Guinness Brewery.

The paintings hearken back to a time in the 17th and 18th centuries when the great lords and ladies of England paid hard-working and ambitious society painters to portray them in their best light, in clothes that are as fancy as all get out. It’s not unusual to see subjects dressed as Greek gods or characters from Shakespeare.

Much later, in the 1800s, collectors like Guinness bought these paintings to decorate their stately homes. Watching Downton Abbey, which is largely filmed at Highclere Castle an hour north of London, you can see many paintings very similar to the ones on display at SAM. Indeed, the lovely painting in the Grantham’s dining room, behind the sideboard where breakfast is served, is a huge painting by Van Dyck, a famous society painter whose work is amply featured in this SAM exhibition.

One of the many themes of Downton Abbey is the fall of the aristocracy. This exhibition has an elegiac feel, like a dream that is just out of reach. Treat yourself to a visit to SAM to see how an earlier times’ 1-percent lived.

The sheer size of these massive portraits, though, poses a problem for the museum: Hung on bare stretches of wall, presented as a series of individual paintings, these bulky works look strangely out of context. Smarter to have recreated rooms with overstuffed chairs, chandeliers, and windows, and to have displayed the works salon-style (stacked one on top of the other) as they are seen in situ at Kenwood or Highclere. There, they become part of a house’s mise-en-scène, part of the overall décor. It is in this kind of setting that such paintings give off emotional heat and a sense of history.

Despite this miscalculation by SAM, it’s a free-ranging, frolicking group of works, much more fun to see than anyone might expect, akin to going through old photo albums of the rich and famous. These works ask not for your intense contemplation, but rather show the privileged men, women and children of their time enjoying their privileges and, frequently, their cherished dogs.

Yet several works stand on their own. Kitty Fisher as ‘Cleopatra’ by Joshua Reynolds is an excellent work of art. Reynolds, who is represented by many pieces in the exhibition, was a rival of Gainsborough and to my mind his equal. To redress history’s slight, he should have been a named party in the title of this exhibition.

Close by, artist George Romney painted Emma Hart, the future Lady Hamilton, as The Spinstress. Lady Hamilton was one of the great beauties of her day, and a woman who used her beauty for power and title. Nearly every Lord of her time tried to — or in fact succeeded — in seducing her. Even the artist fell in love with her. Romney painted her portrait dozens of times and often kept the portraits in his studio. He had to settle, it seems, for the paintings because historians now believe he never became her lover.

In The Spinstress, Lady Hamilton is painted in an all-white dress next to a spinning wheel, a tool I can promise you she rarely saw and never used. But in her face, painted with obvious love and care, you can see the eyes that broke Lord Nelson’s heart.

There is also a fine, early JMW Turner, an artist beloved in England and seen too rarely in Seattle, and a series of children’s portraits that demonstrate all too well that we don’t raise kids like that anymore.

One thing SAM is always good at is beefing up their traveling exhibitions with a full slate of events. In conjunction with the Kenwood House exhibition, SAM is showing The Treasures of Seattle, a fine series of European paintings from local Seattle collections. The highlight is a wall of delicate still life paintings, again, meant to be part of a room’s décor.

SAM is showing three magnificent films to accompany their joint exhibitions. Stanley Kubrick’s Barry Lyndon (1975), is a polarizing film that critics either love or hate. But it is well worth your time, truly one of the most beautiful films ever made. Also screening are The Innocents (1961), a Deborah Kerr masterpiece about ghosts in a stately manor; and, Gosford Park (2001) the Robert Altman film that directly led to the production of Downton Abby. It was written by Downton creator Julian Fellowes and stars the great Maggie Smith.

“New” Palisade a Contender for Seattle’s Best Business Lunch

IMGP1656
IMGP1654
IMGP1668
IMGP1665
IMGP1653
IMGP1652
IMGP1651

Albacore Niçoise salad, with haricot verts, deviled eggs, tomatoes, Yukon Gold potatoes, and balsamic vinaigrette (Photo: MvB)

Apple-wood smoked prime rib dip, perfectly cooked, with Provolone melted on roasted bone jus, and twice-fried Yukon Golds (Photo: MvB)

Red and gold beets mingled with bite-sized frisée, pistachios, Mt. Townsend Cirrus camembert, with basil-pistachio pesto (Photo: MvB)

Apple-wood smoked salmon chowder with bacon, sherry-cream, dill, and smoked salmon croutons (Photo: MvB)

The Devil's Food cake chocolate trife, with Mascarpone crème, Riesling cherries, and crunchy nuggets of brown butter brittle (Photo: MvB)

The pear and apple bread pudding, drizzled with Bourbon caramel, and topped with crème fraîche and cranberries (Photo: MvB)

The new décor at Palisade (Photo: MvB)

A tiny Space Needle to the left orients you, at Palisade. (Photo: MvB)

No matter what the weather's doing, the view of Elliott Bay is phenomenal from your table. (Photo: MvB)

IMGP1660 thumbnail
IMGP1663 thumbnail
IMGP1656 thumbnail
IMGP1654 thumbnail
IMGP1668 thumbnail
IMGP1665 thumbnail
IMGP1653 thumbnail
IMGP1652 thumbnail
IMGP1651 thumbnail

Palisade Restaurant, at the southern tip of Magnolia, opened in 1992 and immediately earned a reputation as a “celebration” restaurant, a place to dine out for a birthday, anniversary, prom, or any other days that marketers refer to as “life moments.” Seattle doesn’t have that many restaurants that can live up to the weight of expectations that Palisade took on during its first years. Mess up someone’s 25th wedding anniversary dinner and you won’t often get a second chance.

More often than not, they did it well. And there was always that view of boats rocking in the marina and the weather over Elliott Bay.

For many years after opening, the restaurant featured a then-trendy Asian fusion cuisine – and probably stuck with that trend longer than it should have. It’s no secret that fine-dining restaurants can coast on breathtaking views and pleasant familiarity for quite a while in Seattle.

At 20 (mid-life in restaurant years), Palisade has brought in a new chef (imported from Portland City Grill), $200,000 worth of updated décor, and a revamped menu, but it’s also paring away everything that detracts from an uncomplicated, classic appeal. Manager Doug Zellers invited us out to try their refreshed menu, created by Executive Chef Ryan O’Brien, so we drove to Magnolia to taste their $16, 3-course Magnolia Lunch (Monday to Saturday, 11:30 a.m. to 2 p.m.).

Zellers told us that Palisade is done only with the first part of a two-phase redo: New furniture, new rugs and a lighter, fresher color palette catch your eye, but the bridge over a coy pond is still there and so is the piano bar, featuring a player piano above the bar. And so is that view that no other restaurant in town can offer.

We settled in and examined the new menu. New chef Ryan O’Brien has ripped out any 90210-era trappings and replaced it with a solid line-up of favorites like salmon and steak with sometimes-whimsical, inventive side-pairings. (In a nod to the Northwest’s perennial Asian influence, there’s tuna and sushi on the menu still.) The menu foregrounds proteins, skipping heavy sauces for the most part, and aims to surprise the palate by employing a variety of techniques. O’Brien rattled off an idea for an upcoming salmon dinner entrée that sounded worth a second trip.

The Magnolia Lunch menu features three appetizers, five entrées, and four desserts to choose from. I lunged for the smoked salmon chowder to start, albacore Niçoise salad and bread pudding to finish up. The meal got better with every course. The chowder was loaded with house-smoked salmon and fresh, still crisp veggies–a great bowl on the first day of November.

The Niçoise was a revelation, thanks to seared albacore carrying a spicy, woodsy flavor which O’Brien told us was from blow-torching the seasonings, highlighted by thyme, instead of simply pan-searing them. It’s a good, not-too-large lunch portion stacked with deviled egg, green beans, fresh greens, and nice salty olives to finish it off. O’Brien told us he wants all the ingredients to stand out in every bite and with these two dishes he hit the mark. The bread pudding at the end was the best I’ve had in town since the long-lamented closing of Rippe’s five years ago.

Editor MvB chose the beet salad, beef dip, and chocolat trifle, impressed by the red and gold beets’ consistency and piquant flavors, pre-sliced-for-easy-eating frisée, the rich, rich bone jus, and the brittle smuggled into the crumbled, brownie-like Devil’s Food cake. You can order a la carte for lunch as well and diners close to us were raving about the sushi rolls. (Playing against type, another table turned out to be half-composed of Parrotheads, one of them providing a fair but dining-room friendly rendition of the first verse of “A Pirate Looks at 40.”)

Location is a challenge for secluded Palisade–even Seattleites might have to refresh their memory with a glance at a map, or switch on GPS. Zellers knows this and that’s why he’s running a free town-car service to downtown hotels. But for a business lunch, having your client for a little extra time actually helps. And O’Brien’s 3-course lunches taste like expense account luxe without having to email the CFO afterward. (Or, impress a frugal client with your nose for deals.) The trip also allows for conversation in amiable, out-of-the-way surroundings where you won’t be interrupted.

That said, want to splurge? Seattle Magazine recommends the eye-popping “family-style seafood spread called the Ocean Tower that includes lobster, oysters on the half shell, jumbo prawn cocktail, ahi poke and King Crab ($59 without the crab, $83 with) and a divine Filet Mignon Oscar whose flesh was even softer and meltier than the potato gratin that accompanied it.”

Zellers has remade the wine list for lunch and dinner with an eye towards great offerings up and down the price meter. In a nice touch, he hasn’t yielded to charging more for older vintages in a winery’s run. So feel free to try an older vintage to accentuate the meal. He and O’Brien have made common cause over the importance of service and hospitality, and the wait staff is highly competent (warning shellfish-allergic MvB off the salmon chowder because they knew chef sometimes used clam broth). Our entrées were just slightly delayed because O’Brien wanted my tuna prepared precisely as I’d specified–it says something when a chef makes that call.

Seattle has a good deal of business lunch venues to choose from, but few downtown options could deliver that potent Palisade charm and gravitas–with O’Brien firing up the kitchen, the “celebration” restaurant can offer you “celebration” business lunches, too.