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How to get your French food fix in Perth, inspired by Beauty And The Beast

How to get your French food fix in Perth, inspired by Beauty And The Beast

West Australian5 days ago
'Be our guest!' enchanted candlestick Lumiere exclaims in the legendary Beauty And The Beast showstopper.
In the decadent dining room of a country chateau, Disney princess Belle is presented with an overwhelming array of classic French dishes, from soup du jour to hot hors d'oeuvres, beef ragout, cheese souffle and 'pie and pudding, en flambe'.
The banquet scene will come to life on stage in Perth for the first time when the musical version of Beauty And The Beast makes its debut at Crown Theatre this week.
If the mention of such gastronomic delights whets your appetite, but boarding a plane to Paris isn't an immediate option, we have some suggestions for how to get your French fix without leaving WA.
So tie your napkin round your neck, cherie!
Celebrity chef Guillaume Brahimi's contemporary restaurant at the Crown complex is the obvious choice for a pre-show dinner, with all the traditional suspects appearing on the menu. Start with escargot, then tuck into beef bourguignon and top it off with profiteroles for dessert. Tres bien.
Its name may not scream French but this Fremantle bistro is known for its authentic, comforting dishes and warm setting. Housed in a heritage-listed cottage on Essex Street, Angel's House looks to the seasons when planning its culinary offering so there's always an exciting special to try.
Down the road in East Fremantle, La Lune oozes Parisian charm with its chic dining room and sidewalk tables (excellent for people-watching). The signature dish is the bavette a la Lune served with bearnaise and frites, or embrace joie de vivre by ordering fresh-baked madeleines with a glass of champagne on a sunny afternoon.
The crab toast here is basically a local legend with its own loyal fan club. The Mt Lawley diner's menu is tiny but mighty, with famed fare that foodies return to time and again. Le Rebelle is also big on atmosphere and vibes, making it a prime choice for a French-inspired date night.
A carefully curated wine list inspired by the regions of Champagne, Burgundy, Bordeaux and the Rhone is a major drawcard for this neighbourhood restaurant, tucked away in Shenton Park. In addition to its a la carte and brunch offering, La Bastide has a dedicated classics menu that changes monthly showcasing refined French techniques.
If desserts are more your flavour, pop into Chu for a sugar hit. Sample buttery sable, smooth creme patisserie, moist frangipane, flaky pastry, airy choux and soft meringue from the cabinet of treats, which is always serving up surprise specials and unexpected flavours. The queue is worth the sweet reward.
French food is notoriously tricky for those with dietary requirements, but vegans can have their croissant and eat it, too, thanks to award-winning pastry chef Cedric Manile. His Inglewood bakery crafts an assortment of plant-based goodies and celebration cakes, and he also teaches others tricks of the trade through his academy.
+ Beauty And The Beast opens in Perth on July 24. Tickets are via beautyandthebeastmusical.com.au
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Ryan Gosling and faceless alien wow crowd at Comic-Con

Comic-Con got a lot of Ryan and a little bit of Rocky at a panel on Project Hail Mary, the forthcoming film that's equal parts space adventure, real-science deep-dive, broad comedy and relationship drama. "What's up Hall H!" a giddy Ryan Gosling in a trucker hat and flannel shirt shouted to the crowd of more than 6000 at Comic-Con's biggest venue. Amazon MGM Studios showed the opening five minutes and several other slightly unfinished scenes from the first third of the film, seven months before its planned release. (Spoilers for that section follow). It included an extended glimpse at Rocky, the stone-shaped and faceless alien who becomes Gosling's mission partner as they attempt to save the universe from ecological disaster. Phil Lord, who co-directed the film with Chris Miller, said the relationship between the two beings stuck alone together in space represents the central theme. "If the universe depended on it," Miller said, "can adult men make friends?" 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(Spoilers for that section follow). It included an extended glimpse at Rocky, the stone-shaped and faceless alien who becomes Gosling's mission partner as they attempt to save the universe from ecological disaster. Phil Lord, who co-directed the film with Chris Miller, said the relationship between the two beings stuck alone together in space represents the central theme. "If the universe depended on it," Miller said, "can adult men make friends?" Rocky is already a cult favourite for readers of Andy Weir's novel, and is sure to be a future staple of Comic-Con cosplay. Gosling said he got on board immediately after reading Project Hail Mary in manuscript form, and was only partly kidding when he called Weir, who was sitting next to him, "the greatest sci-fi mind of our time". "I knew it would be brilliant, because it's Andy, but nothing could prepare me," Gosling said. "It took me places I'd never been, it showed me things I'd never seen, it was as heartbreaking as it was funny." Gosling plays Ryland Grace, a middle school teacher and underachiever drafted for the mission. The opening five minutes show a gloppy, long-bearded, amnesiac Gosling as he awakes in a pod. He climbs out, confused. He finds other people in pods who are clearly dead. Then he finds a window and learns he's in space. He gives a mealy-mouthed scream of "Where am ?!" The movie represents the return to directing, and return to space, of Lord and Miller for the first time since they were fired and replaced by Ron Howard by Disney and Lucasfilm from 2018's Solo. Like The Martian, the movie goes heavy on the science but takes the messy, kitchen-sink, everything-is-comedy approach Lord and Miller used in films like The Lego Movie. "This movie is not a Mac, it's a PC," Lord said. "It can be beautiful, it just can't be pretty." Comic-Con got a lot of Ryan and a little bit of Rocky at a panel on Project Hail Mary, the forthcoming film that's equal parts space adventure, real-science deep-dive, broad comedy and relationship drama. "What's up Hall H!" a giddy Ryan Gosling in a trucker hat and flannel shirt shouted to the crowd of more than 6000 at Comic-Con's biggest venue. Amazon MGM Studios showed the opening five minutes and several other slightly unfinished scenes from the first third of the film, seven months before its planned release. (Spoilers for that section follow). It included an extended glimpse at Rocky, the stone-shaped and faceless alien who becomes Gosling's mission partner as they attempt to save the universe from ecological disaster. Phil Lord, who co-directed the film with Chris Miller, said the relationship between the two beings stuck alone together in space represents the central theme. "If the universe depended on it," Miller said, "can adult men make friends?" Rocky is already a cult favourite for readers of Andy Weir's novel, and is sure to be a future staple of Comic-Con cosplay. Gosling said he got on board immediately after reading Project Hail Mary in manuscript form, and was only partly kidding when he called Weir, who was sitting next to him, "the greatest sci-fi mind of our time". "I knew it would be brilliant, because it's Andy, but nothing could prepare me," Gosling said. "It took me places I'd never been, it showed me things I'd never seen, it was as heartbreaking as it was funny." Gosling plays Ryland Grace, a middle school teacher and underachiever drafted for the mission. The opening five minutes show a gloppy, long-bearded, amnesiac Gosling as he awakes in a pod. He climbs out, confused. He finds other people in pods who are clearly dead. Then he finds a window and learns he's in space. He gives a mealy-mouthed scream of "Where am ?!" The movie represents the return to directing, and return to space, of Lord and Miller for the first time since they were fired and replaced by Ron Howard by Disney and Lucasfilm from 2018's Solo. Like The Martian, the movie goes heavy on the science but takes the messy, kitchen-sink, everything-is-comedy approach Lord and Miller used in films like The Lego Movie. "This movie is not a Mac, it's a PC," Lord said. "It can be beautiful, it just can't be pretty."

Bambi in the public domain: A smart and bloody take on a childhood favourite
Bambi in the public domain: A smart and bloody take on a childhood favourite

The Advertiser

timea day ago

  • The Advertiser

Bambi in the public domain: A smart and bloody take on a childhood favourite

There's been an exciting trend in low-budget horror movies recently when iconic intellectual property, usually the ones associated with sweetness, hits that magic number where it enters into the public domain. Like the 2023 film Winnie the Pooh: Blood and Honey, where Christopher Robin has neglected his animal friends after leaving for college and so they go on a killing rampage. These twisted Winnie films - there's been a bunch of spin-offs and also-rans in the past two years - arrived on the scene just as AA Milne's original book, published in 1926, passed the 95-year mark required for the US public domain. 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Except this deer, with his enormous antlers, lives in a woods being poisoned by men dumping green carcinogens in the water, the same men running over the buck and his mate with their trucks as they leave. We'll come back to that buck in a moment, but in Rhys Warrington's screenplay, we also have a young mum caring for her child. It is Xana (Roxanne McKee), mum to the bookish Benji (Tom Mulheron), who has just been let down once again by Benji's dad Simon (Alex Cooke), who had promised to take his son to a weekend with Simon's relatives in the country. Rather than disappointing her son, Xana packs Benji into a taxi and head off into the deep forrest home that grandmother Mary (Nicola Wright) lives in. It seems that Simon isn't the only disappointment in the family, as granny's home is full of Benji's awful relatives, like his obnoxious cousin Harrison (Joseph Greenwood) and Harrison's uncaring step-mother Harriet (Samira Mighty). But, as in all good fairy tales, the taxi ride to Granny's house is interrupted, not by a wolf, but by an enormous set of antlers smashing into the taxi head-on. The taxi driver is killed as the giant deer, feral with razor sharp teeth that drip blood, stomps the car's cabin, and Xana and Benji escape, running to Granny's house. But Granny has dementia and in her vague moments, seems to be psychically linked to the deer, and it turns out there's a strong family link to the beast and the reason it is haunting the woods and the humans, any humans, it sees as being destroyers. Dan Allen and Rhys Warrington's film is fun, if you like horror, but it's not the tongue-in-cheek horror that usually hits the multiplex cinemas. Bambi doesn't throw off witty one-liners as he despatches his prey, it is kill-and-move-on. The film's technical team is a small crew, the end credits were mercifully short, but they achieve good believable work with their CGI, keeping their scenes dark, only revealing the horror creatures when they need to. Perhaps the small tech crew and judicious withholding is the secret to good CGI, I thought as I recalled how many thousands of names were in the technical credits to the second Wonder Woman or The Flash movies, and remember how butchered and rushed those film's CGI looked. There's been an exciting trend in low-budget horror movies recently when iconic intellectual property, usually the ones associated with sweetness, hits that magic number where it enters into the public domain. Like the 2023 film Winnie the Pooh: Blood and Honey, where Christopher Robin has neglected his animal friends after leaving for college and so they go on a killing rampage. These twisted Winnie films - there's been a bunch of spin-offs and also-rans in the past two years - arrived on the scene just as AA Milne's original book, published in 1926, passed the 95-year mark required for the US public domain. The juggernaut that is Disney couldn't stop enterprising filmmakers jumping on this adaptation bandwagon when Steamboat Willie, the first on-screen appearance of Mickey Mouse, entered public domain in 2014, with recent horror films like Mickey's Slayhouse and Mouseboat Massacre hitting - well, they're not hitting cinemas, they're mostly appearing on horror streaming services like Shudder. Even my childhood favourite TV show characters The Banana Splits went on a malfunctioning animatronic killing spree in 2019's The Banana Splits Movie. Bambi: The Reckoning takes, yes, your sweet childhood memory, though for legal reasons, it draws from author Felix Salten's 1923 novel Bambi: A Life in the Woods, and not the Disney adaptation that they still very much hold all rights for. Director Dan Allen starts the film with a rustic animation that certainly nods towards the Disney drawings, showing over the title credits a young fawn losing his mother and growing up into a giant buck. Except this deer, with his enormous antlers, lives in a woods being poisoned by men dumping green carcinogens in the water, the same men running over the buck and his mate with their trucks as they leave. We'll come back to that buck in a moment, but in Rhys Warrington's screenplay, we also have a young mum caring for her child. It is Xana (Roxanne McKee), mum to the bookish Benji (Tom Mulheron), who has just been let down once again by Benji's dad Simon (Alex Cooke), who had promised to take his son to a weekend with Simon's relatives in the country. Rather than disappointing her son, Xana packs Benji into a taxi and head off into the deep forrest home that grandmother Mary (Nicola Wright) lives in. It seems that Simon isn't the only disappointment in the family, as granny's home is full of Benji's awful relatives, like his obnoxious cousin Harrison (Joseph Greenwood) and Harrison's uncaring step-mother Harriet (Samira Mighty). But, as in all good fairy tales, the taxi ride to Granny's house is interrupted, not by a wolf, but by an enormous set of antlers smashing into the taxi head-on. The taxi driver is killed as the giant deer, feral with razor sharp teeth that drip blood, stomps the car's cabin, and Xana and Benji escape, running to Granny's house. But Granny has dementia and in her vague moments, seems to be psychically linked to the deer, and it turns out there's a strong family link to the beast and the reason it is haunting the woods and the humans, any humans, it sees as being destroyers. Dan Allen and Rhys Warrington's film is fun, if you like horror, but it's not the tongue-in-cheek horror that usually hits the multiplex cinemas. Bambi doesn't throw off witty one-liners as he despatches his prey, it is kill-and-move-on. The film's technical team is a small crew, the end credits were mercifully short, but they achieve good believable work with their CGI, keeping their scenes dark, only revealing the horror creatures when they need to. Perhaps the small tech crew and judicious withholding is the secret to good CGI, I thought as I recalled how many thousands of names were in the technical credits to the second Wonder Woman or The Flash movies, and remember how butchered and rushed those film's CGI looked. There's been an exciting trend in low-budget horror movies recently when iconic intellectual property, usually the ones associated with sweetness, hits that magic number where it enters into the public domain. Like the 2023 film Winnie the Pooh: Blood and Honey, where Christopher Robin has neglected his animal friends after leaving for college and so they go on a killing rampage. These twisted Winnie films - there's been a bunch of spin-offs and also-rans in the past two years - arrived on the scene just as AA Milne's original book, published in 1926, passed the 95-year mark required for the US public domain. The juggernaut that is Disney couldn't stop enterprising filmmakers jumping on this adaptation bandwagon when Steamboat Willie, the first on-screen appearance of Mickey Mouse, entered public domain in 2014, with recent horror films like Mickey's Slayhouse and Mouseboat Massacre hitting - well, they're not hitting cinemas, they're mostly appearing on horror streaming services like Shudder. Even my childhood favourite TV show characters The Banana Splits went on a malfunctioning animatronic killing spree in 2019's The Banana Splits Movie. Bambi: The Reckoning takes, yes, your sweet childhood memory, though for legal reasons, it draws from author Felix Salten's 1923 novel Bambi: A Life in the Woods, and not the Disney adaptation that they still very much hold all rights for. Director Dan Allen starts the film with a rustic animation that certainly nods towards the Disney drawings, showing over the title credits a young fawn losing his mother and growing up into a giant buck. Except this deer, with his enormous antlers, lives in a woods being poisoned by men dumping green carcinogens in the water, the same men running over the buck and his mate with their trucks as they leave. We'll come back to that buck in a moment, but in Rhys Warrington's screenplay, we also have a young mum caring for her child. It is Xana (Roxanne McKee), mum to the bookish Benji (Tom Mulheron), who has just been let down once again by Benji's dad Simon (Alex Cooke), who had promised to take his son to a weekend with Simon's relatives in the country. Rather than disappointing her son, Xana packs Benji into a taxi and head off into the deep forrest home that grandmother Mary (Nicola Wright) lives in. It seems that Simon isn't the only disappointment in the family, as granny's home is full of Benji's awful relatives, like his obnoxious cousin Harrison (Joseph Greenwood) and Harrison's uncaring step-mother Harriet (Samira Mighty). But, as in all good fairy tales, the taxi ride to Granny's house is interrupted, not by a wolf, but by an enormous set of antlers smashing into the taxi head-on. The taxi driver is killed as the giant deer, feral with razor sharp teeth that drip blood, stomps the car's cabin, and Xana and Benji escape, running to Granny's house. But Granny has dementia and in her vague moments, seems to be psychically linked to the deer, and it turns out there's a strong family link to the beast and the reason it is haunting the woods and the humans, any humans, it sees as being destroyers. Dan Allen and Rhys Warrington's film is fun, if you like horror, but it's not the tongue-in-cheek horror that usually hits the multiplex cinemas. Bambi doesn't throw off witty one-liners as he despatches his prey, it is kill-and-move-on. The film's technical team is a small crew, the end credits were mercifully short, but they achieve good believable work with their CGI, keeping their scenes dark, only revealing the horror creatures when they need to. Perhaps the small tech crew and judicious withholding is the secret to good CGI, I thought as I recalled how many thousands of names were in the technical credits to the second Wonder Woman or The Flash movies, and remember how butchered and rushed those film's CGI looked. There's been an exciting trend in low-budget horror movies recently when iconic intellectual property, usually the ones associated with sweetness, hits that magic number where it enters into the public domain. Like the 2023 film Winnie the Pooh: Blood and Honey, where Christopher Robin has neglected his animal friends after leaving for college and so they go on a killing rampage. These twisted Winnie films - there's been a bunch of spin-offs and also-rans in the past two years - arrived on the scene just as AA Milne's original book, published in 1926, passed the 95-year mark required for the US public domain. The juggernaut that is Disney couldn't stop enterprising filmmakers jumping on this adaptation bandwagon when Steamboat Willie, the first on-screen appearance of Mickey Mouse, entered public domain in 2014, with recent horror films like Mickey's Slayhouse and Mouseboat Massacre hitting - well, they're not hitting cinemas, they're mostly appearing on horror streaming services like Shudder. Even my childhood favourite TV show characters The Banana Splits went on a malfunctioning animatronic killing spree in 2019's The Banana Splits Movie. Bambi: The Reckoning takes, yes, your sweet childhood memory, though for legal reasons, it draws from author Felix Salten's 1923 novel Bambi: A Life in the Woods, and not the Disney adaptation that they still very much hold all rights for. Director Dan Allen starts the film with a rustic animation that certainly nods towards the Disney drawings, showing over the title credits a young fawn losing his mother and growing up into a giant buck. Except this deer, with his enormous antlers, lives in a woods being poisoned by men dumping green carcinogens in the water, the same men running over the buck and his mate with their trucks as they leave. We'll come back to that buck in a moment, but in Rhys Warrington's screenplay, we also have a young mum caring for her child. It is Xana (Roxanne McKee), mum to the bookish Benji (Tom Mulheron), who has just been let down once again by Benji's dad Simon (Alex Cooke), who had promised to take his son to a weekend with Simon's relatives in the country. Rather than disappointing her son, Xana packs Benji into a taxi and head off into the deep forrest home that grandmother Mary (Nicola Wright) lives in. It seems that Simon isn't the only disappointment in the family, as granny's home is full of Benji's awful relatives, like his obnoxious cousin Harrison (Joseph Greenwood) and Harrison's uncaring step-mother Harriet (Samira Mighty). But, as in all good fairy tales, the taxi ride to Granny's house is interrupted, not by a wolf, but by an enormous set of antlers smashing into the taxi head-on. The taxi driver is killed as the giant deer, feral with razor sharp teeth that drip blood, stomps the car's cabin, and Xana and Benji escape, running to Granny's house. But Granny has dementia and in her vague moments, seems to be psychically linked to the deer, and it turns out there's a strong family link to the beast and the reason it is haunting the woods and the humans, any humans, it sees as being destroyers. Dan Allen and Rhys Warrington's film is fun, if you like horror, but it's not the tongue-in-cheek horror that usually hits the multiplex cinemas. Bambi doesn't throw off witty one-liners as he despatches his prey, it is kill-and-move-on. The film's technical team is a small crew, the end credits were mercifully short, but they achieve good believable work with their CGI, keeping their scenes dark, only revealing the horror creatures when they need to. Perhaps the small tech crew and judicious withholding is the secret to good CGI, I thought as I recalled how many thousands of names were in the technical credits to the second Wonder Woman or The Flash movies, and remember how butchered and rushed those film's CGI looked.

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