
Hollywood Casino food courts in Joliet, Aurora to get Stephanie Izard's Goat, Antique Taco
The new land-based Hollywood casinos coming to Joliet and Aurora are betting that the way to a gambler's heart is through their stomach.
Still months from opening its redeveloped suburban casinos, Hollywood parent company Penn Entertainment announced the latest restaurant additions Thursday: twin food halls featuring a trendy taste of Chicago, a slice of New York and another helping of culinary star power.
Boulevard Food & Drink Hall will include Lucky Goat, a new burger restaurant by celebrity chef Stephanie Izard, the first suburban locations for Antique Taco and Pretty Cool Ice Cream, and the debut of Five50 Pizza in the Chicago market.
'It's kind of the best of both worlds,' said Shawn McClain, whose hospitality group is developing the food halls in partnership with Penn. 'We get to expose great brands to the suburbs of Chicago, who obviously know these brands but can't always get downtown.'
Penn previously announced that celebrity chef Giada De Laurentiis will bring Italian restaurants to both locations, with the Joliet casino slated to open in the fourth quarter this year and the Aurora one next year.
The planned food halls have a more distinctively Chicago flavor.
A James Beard Award-winning chef and restaurateur, McClain cut his teeth as head chef at Trio in Evanston, later creating Chicago's Spring and Green Zebra restaurants before moving on to Las Vegas, where he opened Sage and Five50 Pizza at the Aria Resort & Casino in 2012.
Now based in Detroit, his restaurant group — McClain Camarota Hospitality — has a steakhouse atop that city's iconic RenCen tower, as well as several venues in Las Vegas. His last Chicago restaurant, the vegetarian Green Zebra, closed in 2018, but McClain said he 'jumped at the chance' to reenter the market where he launched his career.
His ongoing relationships with Chicago restaurateurs helped put together the new all-star lineup at the Hollywood Casino food halls.
McClain worked with Izard at Spring more than 20 years ago at the start of her culinary career — before she became the first woman to win Bravo's 'Top Chef,' in 2008.
Izard went on to open the acclaimed West Loop restaurant Girl & the Goat in 2010, and has since added Little Goat, Duck Duck Goat and Cabra in Chicago. She has also expanded the Goat brand to California, most recently opening Valley Goat in Silicon Valley.
Lucky Goat will be her first fast casual restaurant, featuring specialty burgers, fries and milkshakes.
'It's a concept that I've not done before,' Izard said. 'Folks love burgers and chicken sandwiches. It's just a fun thing, easy to eat, but bringing great flavors and just putting my own twist on things.'
An Evanston native who now lives in California, Izard, whose name means mountain goat in French, said the new concept may be ripe for broader expansion of the Goat brand, depending on how the first two suburban Chicago locations fare.
Other acclaimed Chicago restaurants are breaking new ground with the food halls as well.
Antique Taco, a hip taco joint with locations in Wicker Park and Bridgeport, which has been ranked among the best in the city by the Chicago Tribune, will venture for the first time into the suburbs. Pretty Cool Ice Cream, another city staple with locations in Logan Square and Lincoln Park, will also set up shop in Joliet and Aurora.
To celebrate the announcement, Antique Taco and Pretty Cool Ice Cream will be giving away free food and Hollywood Casino merchandise at their Chicago locations Friday from noon to 2 p.m.
McClain launched the Five50 Pizza concept at the Aria in Las Vegas in 2012, along with the upscale Sage restaurant, both of which closed at the onset of the pandemic in 2020. A mix of New York- and Neapolitan-style, McClain described the pizza as 'combining the best of both worlds,' with old school flavors and a more developed crust.
He believes Five50 will play well in the land of deep dish and tavern style.
'It was something near and dear to our heart, and we really were looking for a new home,' McClain said. 'It's taken us a few years, but we thought with this food hall and social dining hall, that would be a perfect opportunity to bring it back.'
In addition to the established brands, McClain will also bring a bespoke cafe called Dailies to both food halls, which will feature Chicago-based Big Shoulders Coffee.
The food halls will join previously announced Giada-branded Italian restaurants, adding more culinary pizzazz to the Joliet and Aurora casinos, two of oldest in the state, which are in the process of being reborn.
Launched in the 1990s when the state legalized riverboat casinos, both Joliet and Aurora are still operating as permanently moored barges.
The state's sweeping 2019 gambling expansion bill, which added everything from six new casinos to sports betting, allowed all casinos to be built on or moved to dry land.
Rivers Des Plaines became the first to convert to a land-based casino, paying a $250,000 Gaming Board fee to expand over dry land in 2020. The state's newer casinos, including Bally's Chicago, Wind Creek Chicago Southland and Hard Rock Rockford, are all land-based.
Penn is building the new $185 million Hollywood Casino Joliet in the Rock Run Collection, a sprawling 310-acre mixed-use development adjacent to the Interstate 80 and Interstate 55 interchange. The facility will feature expanded gaming, with 1,000 slots, 43 table games, a retail sportsbook, a 10,000-square-foot event center and restaurants.
The $360 million Aurora casino complex being developed near I-88 and Chicago Premium Outlets mall will include 1,200 gaming positions, a 220-room hotel, a retail sportsbook, a spa, an outdoor entertainment area, a 12,000-square-foot event center and restaurants.
While the new facilities may provide a boost to gaming revenues, Penn executives are hoping the food offerings will differentiate the Joliet and Aurora casinos in an increasingly competitive market, attracting visitors who might have no interest in splitting aces or rolling the dice.
'We fully anticipate that we're going to see a lot of customers who just come in and they want to experience the amazing food that we're going to offer at the social hall, grab a drink and maybe never hit the casino floor,' said Jaime Williams, regional vice president of marketing for Penn Entertainment.
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Chicago Tribune
26 minutes ago
- Chicago Tribune
CSO hires a new chorus director; cancels next season's MusicNOW series
This week, Symphony Center saw a one-two punch of good news and bad news. On Tuesday, the Chicago Symphony Orchestra announced that Donald Palumbo, the former chorus master of the Metropolitan Opera, would lead its award-winning chorus on an initial three-year contract — a cheering development for an ensemble that has been without a director since 2022. That was followed on Thursday by word that MusicNOW, the CSO's contemporary music series, would be 'paused' next season. A statement from Cristina Rocca, the orchestra's vice president for artistic planning, said the organization intended to 'imagine new possibilities for connecting Chicago audiences with new music.' Once the domain of the CSO's composer-in-residence, MusicNOW programming is typically unveiled after the bulk of season programming has been announced. Instead, series subscribers were notified of the cancellation via a mailer. Palumbo will prepare the 2025-26 season's previously announced Chicago Symphony Chorus programs: Mozart's Requiem (Nov. 20-23), an Italian operatic potpourri conducted by music director emeritus Riccardo Muti (March 19-21, 2026) and Poulenc's 'Gloria' (May 14-16, 2026). He will also work with the chorus for 'Merry, Merry Chicago!', a CSO holiday tradition (Dec. 19-23). Palumbo spoke with the Tribune by phone between sessions with young singers at Lyric Opera's Ryan Opera Center. Rehearsals were well underway with the Chicago Symphony Chorus for Verdi's Requiem (June 19-24), his debut as chorus director designate. 'The rehearsals of the Verdi have gone really, really well so far,' Palumbo says. 'If I sound like a kid in a candy store, well, I kind of am.' Palumbo is only the third director of the Chicago Symphony Chorus in its nearly 70-year history. At 76, his tenure will doubtlessly be shorter than predecessors Duain Wolfe and founding director Margaret Hillis, the latter leading the chorus for a whopping 37 seasons. But Palumbo — whose remarkable career trajectory saw him ascend from being a primarily self-taught hobbyist musician to the most in-demand choral director in the country — says he's approaching the job like any other. 'I'm going to do my job, and it's going to go on as long as I'm doing a good job, I want to do it, and they want me,' he says. Palumbo's résumé made him a contender to watch after Wolfe's mid-season departure from the chorus in 2022. Prior to his appointment at the Met, the country's most storied opera house, Palumbo directed the Lyric Opera chorus from 1991 to 2007. He is still a known quantity to scores of local singers, including some who sang under him during his Lyric tenure. 'He prepares you in such a way that you feel so understanding of the piece of music that you're doing,' says Chicago Symphony Chorus alto Emily Price, whom Palumbo also hired to the Lyric Opera Chorus in his final season there. 'The language is so important, and the intensity of each line has to be so specific.' Palumbo's preparation of the chorus for two Muti-led programs in 2022 and 2023 — an unstaged 'Un ballo in maschera' and Beethoven's 'Missa solemnis,' respectively — sealed the deal. Muti made his affinity for Palumbo known when, after 'Missa solemnis,' the outgoing CSO music director implored Palumbo to consider leading the chorus 'permanently' in onstage remarks. 'That was very unexpected,' he recalls, laughing. But in time, the prospect began to make natural sense. Palumbo feels he'd done his time in the opera world, where margins are getting ever tighter. At this stage in his career, he prefers to focus on the music — a stated position of Muti, once again his collaborator in the forthcoming Verdi Requiem concerts. The CSO post, Palumbo says, allows him to get down to fundamentals. 'I was just in Japan for a month doing a 'Traviata' production with a chorus of young singers. … I told them, 'For better or for worse, this could be my very last 'Traviata,' and it's your first,'' he says. 'It's a progression.' The appointment comes at a time when the CSO is in need of steady leadership. Klaus Mäkelä, the CSO's music director designate, does not begin his term at the organization until 2027. While he continues to spearhead orchestral hires, Mäkelä did not participate in Palumbo's search committee, owing to the timing of his own appointment, in 2024. 'When we engaged Klaus, we informed him of any number of things artistically that were going on here, including the search for a new chorus director. Knowing that he wouldn't be working with the full chorus for quite a while, he agreed that we should just move ahead and have the committee make the selection,' says CSO president Jeff Alexander. Mäkelä will, however, be part of Palumbo's renewal talks in 2028, which were intentionally timed to the end of Mäkelä's first season. Though Mäkelä and Palumbo are not working together next season, Alexander confirmed they would begin working together on programs beginning in the 2026-27 season. The CSO has pointed to the same contractual awkwardness in its curtailing of MusicNOW, its contemporary music series. Last year, the CSO did not appoint a composer-in-residence, citing the interregnum between music directors Muti and Mäkelä, who have hiring power over the position. (Despite this, the CSO filled a similar gap between Muti and former music director Daniel Barenboim 20 years ago with a twin appointment of composers Osvaldo Golijov and Mark-Anthony Turnage.) Alexander reaffirmed the CSO's commitment to hiring a new composer-in-residence, 'probably' during Mäkelä's first season in 2027-28. But he acknowledged that MusicNOW, or anything like it, may not be under that person's aegis. 'It may still include some curation of some kind regarding our contemporary music offerings, and the rest will probably remain pretty much the same: writing a new piece for the orchestra each year, et cetera,' Alexander says. Above all, economic factors prevailed. Alexander noted that MusicNOW — essentially a chamber series featuring members of the CSO — tended to follow the ticket-sale trends of those programs, filling just a fraction of Orchestra Hall's capacity. That's despite having costs not usually associated with those programs, like music licensing fees or guest artist expenses. (Featured composers and, occasionally, soloists and conductors were typically flown out for the series.) Instead, Alexander signaled that a short-term strategy may be to program more contemporary music on the CSO's mainstage. Though the CSO's 2025-26 season includes just one premiere (Matthew Aucoin's 'Song of the Reappeared' in December), subscription concerts feature works by 16 living composers: Camille Pépin, Carlos Simon, Thea Musgrave, Unsuk Chin, Jörg Widmann, Paquito d'Rivera, Gabriella Smith, Kevin Puts, Joel Thompson, Jennifer Higdon, Erkki-Sven Tüür, John Adams, Wynton Marsalis, Joe Hisaishi and former CSO composer-in-residence Jessie Montgomery. 'The word we're using is 'pause,' because, as we thought about it, we're a symphonic organization first of all,' Alexander says. 'If we put a contemporary piece on a CSO subscription program and it's performed three times, on a good week, 6,000 people are hearing it. If we put it on a MusicNOW concert, maybe 300 people were hearing it. … Part of our thinking is, let's beef up the contemporary offerings on the CSO main (series). Cautiously, of course. But more than normal.' Rocca's written statement went on to say that 'conversations with the artistic planning team' and Mäkelä 'are underway to guide future plans' for contemporary music programming at the CSO.


Chicago Tribune
31 minutes ago
- Chicago Tribune
Review: ‘Alice's Adventures in Wonderland' is Joffrey Ballet's wacky and wonderful season closer
The Joffrey Ballet's season rarely extends this far into summer, but it's safe to say 'Alice's Adventures in Wonderland' was worth the wait. This beast of a ballet by the Tony Award-winning choreographer Christopher Wheeldon had its North American premiere at the Lyric Opera House on Thursday. If, like for me, Lewis Carroll's 1865 fairy tale about a girl who stumbles into Wonderland is a core memory, all those beloved characters are there, with a splendidly cogent (and at times delightfully grotesque) libretto. It's more Tim Burton than Disney, but you'll recognize moments no matter your preferred version (including my personal favorite, the 1985 TV movie musical starring Jayne Meadows and Carol Channing). Following a drowse-inducing garden party at her Victorian Oxford estate, Alice (magnificently danced Thursday by Amanda Assucena) awakens to find an anxiously tardy White Rabbit (Stefan Gonçalvez). She of course must follow him, kicking off a series of Don Quixote-style adventures with wild, wacky and terrifying characters. Letting her curiosity guide her, she encounters a tea party hosted by a tap-dancing Mad Hatter (Edson Barbosa) and a slithering Cheshire Cat (whose dismantlement is made possible by a corps of dancer-puppeteers). Indeed, 'Alice's Adventures in Wonderland' will resonate strongly with those who adore 'Alice' — so much so that Joffrey extended the production to three weekends before it opened. In any case, exploiting its usefulness as a ballet was far overdue. There is much within Wheeldon's zany world for everyone to admire. Very small children may not appreciate some scarier moments, most notably a scene at the Duchess' house, in which viewers quite literally see how the sausage gets made. The brutish Duchess (Dylan Gutierrez) and her ax-wielding cook (Lucia Connolly) contribute some of the night's most, um, salient imagery. The pair of them (along with henchmen Valentino Moneglia Zamora, Hyuma Kiyosawa and Xavier Núñez) are terrifically terrifying. 'Alice's' third and final act is devoted almost wholly to the search for who stole the Queen of Hearts' tart. It begins with a game of croquet, played with bendy flamingoes on pointe as the mallets, striking adorable summersaulting hedgehogs. This not-so-regal realm, ruled by prima ballerina Victoria Jaiani as supreme leader, embarks on a tribunal when it's uncovered that the Knave of Hearts — a two-eyed Jack danced by the princely Alberto Velazquez — is most likely the offender and about to lose his head. Hilarity ensues. As hard as it will be to peel your eyes from Jaiani, every once in a while, be sure to glimpse her ridiculous King (marking David Gombert's glorious return to the Joffrey stage 15 years after retirement). There are tender moments, too, particularly in a satisfyingly sweet duet for Assucena and Velazquez as Alice tries to accept the blame in tart-gate. She eventually prevails, if only by waking up back in Oxford. If there's a lesson to be learned from 'Alice's Adventures in Wonderland,' it might be that taking the blame for your boyfriend's impropriety could turn out poorly. That, and vindictive, power-hungry leaders whose kingdoms are built on a literal house of cards are not likely to succeed. Cleverly, 'Alice' borrows hallmarks from the ballets of Carroll's time, winking at canonical works like 'The Nutcracker,' 'Sleeping Beauty' and 'Cinderella.' There's a waltz of flowers; a for our protagonist and her scrappy love interest; a hilariously satirized 'Rose Adagio' for the Queen of Hearts and four suitors (in this case, hearts and clubs); and a shirtless, hookah-smoking sultan-turned-Caterpillar (Jonathan Dole) performing a seductive take on 'the worm' with a quartet of scantily clad temple women. I'm pretty sure we didn't need that last one when 'Alice' premiered in London in 2011, and I'm certain we don't need it in 2025 — though I'll take the cameo of academy kids as sparkly pointe-shoed caterpillar legs all day, every day, plus Sunday. To be clear, such tongue-and-cheek references now to 19th century ballet are generally welcome and especially fun for those who see the parallels — perhaps even more so to those familiar with Wheeldon's catalog, too, which includes Joffrey's nearly decade-old 'Nutcracker.' In some instances, that ballet and this one parrot one another; Wheeldon went so far as to use some of the exact same ideas in his 'Nutcracker's' transformation and snow scenes, further tugging the plot parallels to these two coming-of-age stories set in magical fairy lands that may or may not have all been a dream. But 'Alice's' superpowers, all due respect to 'The Nutcracker,' are its magnificently evocative original score (by Joby Talbot) and Wheeldon's pinpointed attention to detail in every character, masterfully embraced by the Joffrey's excellent dancers, whose full-throttled performances and comedic prowess grab you and hold on for the entirety of this (very, very long) spectacle. Another thing: Wheeldon's imagination could only run this wild in a superbly-crafted Wonderland, made possible through the ingenuity of scenic and costume designer Bob Crowley, lighting designer Natasha Katz, projectionists Jon Driscoll and Gemma Carrington and puppeteer Toby Olié — seamlessly executed by a Joffrey team that, frankly, has never attempted something this big. 'Alice' was originally created for London's Royal Ballet, a company of 100 dancers and nearly 10 times Joffrey's budget. Until Thursday, it had not been performed this side of the Atlantic. Pulling it off was going to be a challenge. But they did. And Wonderland turned out to be a risk that will pay off in Joffrey Ballet presents 'Alice's Adventures in Wonderland' (4 stars) When: Through June 22 Where: Lyric Opera House, 20 N. Wacker Drive Running time: 2 hours, 50 minutes with 2 intermissions Tickets: $45-$233 at 312-386-8905 and
Yahoo
an hour ago
- Yahoo
Ubisoft sexual harassment trial: Up to three years suspended prison sentences requested
The trial of three former top executives from French video game giant Ubisoft – the maker of games like Assassin's Creed and Far Cry - took place this week in Bobigny, France. Serge Hascoët, Thomas François and Guillaume Patrux appeared before the Bobigny criminal court on charges of psychological abuse, sexual harassment and attempted sexual assault. The prosecutor called for suspended prison sentences of up to three years and fines for all three, describing the accusations as 'extremely serious'. The public prosecutor's office requested an 18-month suspended prison sentence and a €45,000 fine against the company's former No. 2, Serge Hascoët; one year's imprisonment and a €10,000 fine against game designer Guillaume Patrux; and a suspended sentence of three years in prison as well as a €30,000 fine against the former vice-president of the editorial department, Thomas François. The verdict is expected on 2 July. The trial, seen as a landmark #MeToo moment in the male-dominated video game publishing industry, followed the publication of an in-depth investigation by Libération and Numerama in 2020. It highlighted working conditions plagued by harassment, humiliation and discriminatory comments, as well as the psychological, sexist and sexual harassment that had been going on at Ubisoft for around ten years. The testimonies that poured in painted a damning picture of what went on behind the walls of the Ubisoft studios. When François was questioned about a sexual assault that a former colleague had accused him of committing, and for which she had testified on the stand the previous day, he replied that he had 'no recollection.' The three defendants pleaded amnesia and their denial was roundly rebutted by the civil parties' lawyers. According to them, the trial was really about the 'extremely virile and childish culture' at Ubisoft, the French flagship of an 'industry built by men and for men.' The civil parties and the defence also deplored the fact that no proceedings have been brought against the legal entity Ubisoft, its CEO Yves Guillemot and Marie Derain, the head of human resources. 'This trial could have been exemplary,' according to Marc Rutschlé, union delegate at Solidaires Informatique. He told L'Humanité: 'It wasn't three isolated individuals who created this atmosphere of widespread harassment. Their impunity was organised. There are no defendants and many victims. The whole structural aspect has been evacuated.' Previously, Guillemot allegedly referred to some of the accusations as 'generational differences of opinion' and 'creative friction'.