The French Quarter, the signature restaurant of the Mardi Gras Casino, features an upscale menu brimming with sandwiches, steaks, and seafood. Sandwiches such as the portobello burger, marinated and grilled with roasted red peppers, silence stomachs begging for breaded bliss ($7.95), and fans of beef and silent t's sink their incisors into 8-ounce filet mignon ($23). Pan-seared mahi mahi covered in fresh mango salsa ($13.95) swims into the bellies of seafoodies not already noshing on an 8-ounce sirloins accompanied by jumbo shrimp ($20.94). Live dog races and panoramic views of Fort Lauderdale also entertain diners from the comfort of their tables or the discomfort of their mohair unitards.
When Ronni Delvalle grabs ahold of one of her mirrored studio's chrome poles, she feels more graceful, beautiful, and self-assured than when she's practicing any other type of dance or fitness. Fueled by a drive to share this empowering form of sensual exercise with women of all shapes and sizes, Delvalle and her a team of female instructors lead a variety of fitness and instructional pole-dancing classes designed to build confidence, tone muscles, and burn calories.
The team also conducts an aerial-yoga course that incorporates soft cloth hammocks suspended from the ceiling, offering a practical alternative to equestrian yoga, which requires students to form downward facing dogs on the backs of speeding Clydesdales.
In Joni Sheram's one-woman play, Cups, the playwright gives audiences a peek into her packed lingerie drawer through intimate knowledge of her history and character via the progression of tangled straps and faded lace. As Sheram pulls out assorted bras, she reminisces on the myriad memories marked by the quotidian bits of fabric, from the hopeful clasp of a training bra to the daunting responsibility marked by a nursing bra. A strapless bra is used to convey coming-of-age anecdotes, and a heap of ashes commemorates a bra burned during the firewood famine of the 1960s. Hailed as hilarious by scads of reviewers and department-store managers, the play also touches on aging, loss, and decades of women's personal and collective history.