The Mein Man Eats: Spicy Noodles at Little Ting’s Dumplings

Handmade noodles in spicy sauce
Handmade noodles in spicy sauce

Dish: Handmade Noodles in Spicy Sauce

Place: Little Ting’s Dumplings, Greenwood (Seattle)

Price: $7.50

On the plate: Hand-stretched noodles with thin-sliced cucumber, green onions, chile flakes, sugar, salt, five-spice powder, garlic, white vinegar, and cucumber juice.

Supporting cast/What to do: Mix well to ensure that all the noodles are soaked in sauce, then eat.

Noodling around: I’m a big fan of biang-biang noodles, so I was excited to learn that Little Ting’s has the hand-stretched wide noodles I constantly crave. Owners Ting (hence the restaurant name) and Jason have connection to Heibei province, so it’s not surprising that the noodles are done a little differently than the Shaanxi-style preparation I make at home. But not much, as both are “you po mian,” or hot oil-seared (or more literally “sprinkled”) noodles.

The noodles at Little Ting’s are served cool (Ting told me that plunging the cooked noodles in ice water for a few seconds makes them more silky and chewy) compared to the ones I like at Qin (formerly Biang!) in Edmonds. When I asked about the acidic, slightly sour taste, she explained that it comes from the vinegar (I use black vinegar for my biang-biang noodles) and perhaps the cucumber juice. I recommend a generous splash of soy sauce for additional flavor in this dish.

These wide, chewy noodles are a delight to try in all types of preparations—though ultimately I like them dry instead of soupy. Still, the other option of Handmade Noodles in Ribs and Seaweed Soup (also $7.50) is interesting to try. Have this before you set your mouth on fire with the hot oil-seared noodles, as the seaweed refers to basically a dashi broth that’s fairly delicate in flavor.

Handmade Noodles in Ribs and Seaweed Soup
Handmade Noodles in Ribs and Seaweed Soup

If you want more: Little Ting’s is primarily a dumpling shop (you can buy some for your freezer), so it only makes sense to get dumplings on the side. The chive and scallop dumplings are tempting, but the pork and chive is a good standard for starters. The pan-fried version ($8.89 for 15) is perfectly executed to exquisite crispiness—nice and juicy.

Pork and chive dumplings
Pork and chive dumplings

Be aware/beware: The adorable dumpling art on the wall? It’s by Jason.

Mostly Nordic Chamber Music Series Visits Sweden

Lena Moén, soprano
Lena Moén, soprano

I had no idea Swedish art song existed, but of course it does. At the Nordic Heritage Museum Sunday afternoon, Mostly Nordic treated the audience to a concert of such songs, largely from the 20th century but dipping back to the 19th, in the third of its annual performances highlighting the music of a specific Nordic country. (There are two more concerts in the Mostly Nordic series this spring, featuring music from Norway, May 2, and Iceland, May 31.)

Swedish soprano Lena Moén  with her frequent collaborator, pianist Lena Johnson, gave us songs by composers Wilhelm Peterson-Berger, Bo Linde, Wilhelm Stenhammar, Mogens Schrader, and Gustaf Nordqvist, and included a few from out of the country by Schubert, Grieg, and Richard Strauss. The audience was provided with all the words, a thoughtful gesture which made the songs even more enjoyable.

Moén began with a startling cow call, such as was given by girls calling their family’s cows home. Sounding like a cross between a Swiss yodel and an American cowboy’s “Eee-yoww!”, she explained after that every girl had her own individual call and the cows knew which call to come to.

It was guaranteed to gather everyone’s immediate attention, and Moén continued with a charming selection of songs, mostly about love or spring or both, in a voice unlike anything we usually hear here.

Robust and sturdy, pure but not silvery, with vibrato used artfully or not at all, her voice was ideal for these songs. She reached the highest notes effortlessly, no strain and hitting them squarely except in one song where she had a slight problem with them.

The beautiful songs themselves belong fully in the art song category, not folk, and have accompaniments which are a full component of each piece, performed by Johnson and Moén as a seamless pair.

Lena Johnson, pianist
Lena Johnson, pianist

Johnson also played a few solos, one group by Peterson-Berger, one a Fantasy in B minor by Stenhammar. We are so used to hearing the cream of the cream of world pianists here, that it can be hard to judge others fairly, but while Johnson easily had the technique for all the notes, she tended to be a bit slapdash with nuance and approach.

The more familiar Grieg song “I Love You” came off well, though the Strauss songs, “All Souls Day” and “Devotion” were a little less suited to Moén’s voice. The surprise came with Schubert’s “The Shepherd on the Rock,’ which emphatically did not suit Moen, or perhaps she didn’t suit it. With Seattle’s Sean Osborn providing a clarinet role to die for in its beauty, Moen’s strong voice did not provide the classical sound required. It needed more refinement, to be less “out” there, gentler, more nuanced for this song. On the other hand, the song is difficult in that the notes go fast all over the range with wide jumps and Moén encompassed all of them with rippling ease. Only her topmost notes in the last part of the song failed quite to reach their goal.

Moén and Johnson gave one encore: an arrangement of “Over the Rainbow,” which she sang softly, and well.

Indie Scare Flick ‘Spring’ Weaves a Dark and Affecting Spell

SpringWhen it comes down to brass tacks, you could call Spring (opening tonight at the Grand Illusion) a horror movie, but it sure doesn’t feel like one for much of its running time. That’s because co-directors Justin Benson and Aaron Scott Moorhead (working from a screenplay by Benson) have crafted a film that works believably as a drama and a romance, well before things get creepy.

Twenty-something sous chef Evan (Lou Taylor Pucci) loses his mother to cancer, and when his short-fuse temper leads him to kick the crap out of a drunk jerk at a bar, he finds himself in trouble with the California police. Seeking a literal and metaphoric change of scenery, Evan impulsively takes off for Italy, ending up in a small coastal town overlooking the Adriatic Sea. There he meets Louise (Nadia Hilker), an enigmatic local girl, and sparks fly between the two of them. Exotic, gorgeous, and fiercely intelligent, Louise almost seems too good to be true. After a heated night of lovemaking, Evan falls hard, but soon things get weird. It’s not impossible to gauge what happens next (even without the semi-spoiler-y trailer, ads, and advance reviews), but suffice it to say Evan’s new love isn’t all that she seems.

Spring takes its time getting to the scares, and that’s a significant part of its effectiveness. The unhurried pace effectively parallels the setting, a humbly beautiful locale that’s serenely untouched by time. Benson and Moorhead present this place with a refreshing lack of pretense, painting it with character and enough dark corners to sidestep superficial travelogue prettiness. The romance between Evan and Louise evolves gradually and realistically as the two open up aspects of themselves little by little: You’ll definitely see Richard Linklater’s Before films woven into Spring’s DNA, with Evan’s earnestness thawing out Louise’s initial aloofness amidst patches of effective and funny dialogue (Pucci and Hilker, both terrific here, establish an affecting chemistry right away).

Benson and Moorhead certainly navigate the mucous-and-tentacle-laden creepy bits well, but it’s the slow-burn atmosphere that makes their sophomore feature so special. Like the original 1940 Cat People and An American Werewolf in London, Spring is—at its heart—a darkly romantic fairy tale, masterfully wrapped in monster-movie drag.

Curious Georges in a conversation with Seattle