Tag: NYC

South Street Seaport

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Heading to a concert at Pier 17 at the South Street Seaport recently, I was pleasantly surprised to find the area vibrant and busy – people were eating, drinking, there was a DJ outside playing music as people danced, all with spectacular views of the Brooklyn Bridge on one side, and an enormous four-masted schooner, the Pioneer, on the other. With the Fulton Street fish market having moved to the Bronx in 2005, the area no longer has a pervasive piscine smell, and the new shopping area that opened in 2018 mixes a variety of shopping and dining choices next to one of the oldest bars in the city (The Paris Cafe, from 1873) and the South Street Seaport Museum, one of several that make up America’s National Maritime Museum. Here’s what this revitalized mix of old and new in lower Manhattan has to offer.

Entering the Seaport area from Fulton Street as it dead ends on the East Side, right away the lighthouse and cobblestoned streets give one notice that you are entering one of the original areas of Manhattan settled by Europeans. In 1625, the Dutch West India Trading Company built the first pier nearby, and the port was a focus of trade with England. During the Revolutionary War, the port was occupied by the British for several years, and after the war many merchants returned to England, marking a slump in the Seaport’s fortunes. But by the mid-19th Century the port was booming again. Many of the buildings burned to the ground in a fire in 1835 but it recovered quickly and was at its peak as a maritime trading center again by 1850. Such history in this area, and you can sense it as you walk on cobblestoned streets past low brick buildings.

It’s also important not to forget that New York City had a market near here, between Water and Pearl Streets, in the early 18th Century for selling enslaved persons captured from Africa. We in NYC often choose not to look on this part of our history, but in 1730 42% of people in the city had enslaved persons, a higher percentage than any other city other than Charleston, SC. At this time in the city’s history, between 15 and 20% of the population was enslaved, and enslaved people literally built the city and fueled the economy that made the city run. There is a plaque nearby first installed in 2015 that reminds us of this, see it and read more here. I also highly recommend reading the 1619 Project from the New York Times to learn about this aspect of the city’s history.

The South Street Seaport was home to the Fulton Fish Market until it moved to the Bronx. Now with formerly commercial buildings turned into restaurants and bars, this area has become a very popular place to gather in the evenings. The new Jean-Georges development, Tin Building, just opened this month, and has everything from full-service restaurants and a wine bar to food to-go and a culinary shopping marketplace.

It wouldn’t feel like the Seaport if you didn’t have lovely ships to gaze at (and you can pay to visit or even take a sail on some of them). Check out the Clipper City if you want to go on a sunset sail. The Wavertree, a wrought iron tall ship typical of those that would have filled the Seaport in the mid 19th Century, and a few other ships can be visited as part of your ticket to the South Street Seaport Museum.

Industry Kitchen, under the FDR drive, has great views and I have enjoyed dining there on several occasions.

There’s an ipic movie theater and lots of shopping in the more recently developed sections of the South Street Seaport. Ipic has reserved stadium seating and food and drink service to your seat, like my personal favorite Alamo Drafthouse (which now has a theater near the Seaport in the Financial District to add to their original location in Brooklyn).

The view as you walk around the Seaport next to the East River encompasses Brooklyn, lower Manhattan, and the Brooklyn Bridge. When I was there a DJ was playing music and people were dancing in the open spaces with this view as a backdrop (see my Instagram video here).

I was at the Seaport a few weeks ago for a concert at Pier 17 (Nick Lowe opening for Elvis Costello). Having been to two concerts there before lockdown, I was happy to see that the magic of this space for a concert venue is unchanged. When there aren’t concerts happening, you can go up to this space for drinks and enjoy the views as well.

The South Street Seaport is a part of New York City that reflects on its history – good and bad – and is adapting to serve the needs of the 21st Century. I was taken by the vibrancy of the area when there a few weeks ago, and it reminded me in some ways of the area around One World Trade, which has completely transformed itself over the past decade to be a destination area for entertainment, shopping and nightlife. And like that area, there are new development residential condo buildings being built to keep people in lower Manhattan after work hours are over (or work-from-home hours!). 130 William, near the Seaport, is an important new development designed by famed British-Ghanian architect, Sir David Adjaye. Such a project would have been unimaginable even ten years ago, but is now part of this neighborhood which, as New York City constantly reminds us in so many ways, is evolving and will continue to do so.

Rise New York

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Have you ever been on the Disney ride “Soarin'”? It started out as “Soarin’ over California” at Disneyland’s California Adventure Park, and then a duplicate was installed at Disney World in Florida. You sit in a large device that simulates the experience of hang gliding while watching a large-format screen, originally showing scenes of different places in California, synching the visuals, movement, and even scents to create a sensory experience that I quite enjoy. (The visuals have been changed to fit the concept of soaring over the world, and now the ride in both American parks simulates flying over the Taj Mahal, an island in Fiji, Mount Kilimanjaro, the Great Wall of China, etc. There are also different versions of the ride now in Disney Parks in Tokyo and Shanghai which I have not yet experienced, but I digress . . .) Why am I discussing this Disney ride on a blog primarily about NYC? The answer is because there is a new venue in the Times Square area that culminates in what I can only accurately describe as “Soarin’ over New York City.” Well, of course I had to try it, and here is what I experienced.

Rise NY is located at 160 W 45th St, between Sixth and Seventh Avenues, and is open every day beginning at 10 AM, until 8PM on most nights but until 9PM on Fridays and Saturdays. There are timed tickets available in advance, and walk-up tickets subject to availability. Although I went primarily for the ride, I was interested in the walk through history of New York, with a focus on Times Square, that was more extensive than I had guessed in advance.

After a simulated subway ride with introductory video, you walk through the initial history of the city and then through exhibits related to specific themes.

I hadn’t fully appreciated the importance of the development of the elevator brake to the development of Manhattan as we now know it, with skyscrapers, but it makes a lot of sense!

After an interesting display about the skyline, the next exhibit related to the entertainment industry, specifically television.

Given my own special interest in Broadway, I really enjoyed seeing the room devoted to its importance to NYC, with costumes and videos.

There were also areas devoted to the iconic Beatles performance at the Ed Sullivan show, the music scene including the Village People, and NYC in the movies (all video so I didn’t take photos).

After all these displays, the set-up for “Soarin’ over NYC” (OK, not its actual name but I can’t seem to think of it as anything else!). You go back in time to see the ball drop in Times Square in 1958 (although the ball has been dropped there since 1907, these were the early days of it being televised nationally).

Entering “Sky Studio,” we find ourselves in the same kind of simulator used for “Soarin'” with our items stowed – so once I had done that, I had no more photos of the experience.

Basically in the film accompanying the simulation, we are first watching the ball drop in the past. But a storm is coming! Lightning hits our perch and – wait for it – we travel forward in time and soar among the skyscrapers and icons of New York City. It’s fun, no doubt about it, if over in only a few minutes.

Is it worth going if you live here? I say yes but then again, I do everything! I learned a few things in the exhibit, and truly enjoyed the ride portion even if it is short. The price for this varies depending on the date, time, and whether you get VIP tickets (really just a “jump the line” pass), but count on about $30 for an adult with no discounts in 2022. This would be a fun thing to take visitors to when they come to NYC – you can do it all in about an hour, and it’s near Broadway theaters so you could fit it in before or after taking your guests to a show. And if you aren’t a New Yorker, I think this would be an enjoyable addition to a trip to NYC (just don’t forget to check out one of the observatories in the city, like Summit at One Vanderbilt, or the Edge at Hudson Yards). And if you are consumed with wondering what it would be like to hang glide over New York City, I am confident that this is a much more enjoyable – and safer! – alternative.

Steinway Tower: 111 West 57th Street

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Among the super-tall skyscrapers along “Billionaire’s Row” on 57th Street, it’s impossible to miss Steinway Tower, at 111 West 57th Street. It looks impossibly skinny, tapering dramatically (see below for a recent side view I took from Central Park West recently).

The skyscraper sits on top of the building that was Steinway Hall, a 16-story landmarked building that was the marquee showroom for Steinway pianos. The condominium is now closing on residences, some in the landmarked building but most in the tower. The idea of skinny “pencil towers” like the tower portion of 111 West 57th took off in Hong Kong in the 1970’s, and the mechanics of creating a stable building that is this high and this slender are so complicated that there is a documentary about the engineering of the building (you can find it here and it is really interesting!).

After watching this impossible skyscraper rise over the past several years, this month I was fortunate enough to see a model apartment on the 43rd floor twice, and even go up to the 76th floor to see a triplex penthouse still being finished. As you can see in the photo above, the tower is perfectly centered for a unparalleled view of the entire length of Central Park.

First, entering the lobby, the scale and grandeur of the design is clear. I loved how details like door handles echoed the iconic look of the tower.

In the tower, each apartment is at least one entire floor. As the building tapers, the penthouses become duplexes or triplexes. For the model apartment, a full floor, the elevator opens into the home, and looking to the north, the open living/dining/kitchen area features those full Central Park views.

Just as the door handles in the lobby reflected the silhouette of the tower, I loved that the cabinets in the kitchen resembled piano keys, another sly nod to the history of the site.

While I knew to expect the Central Park views, I was not expecting to see that the bedrooms with south views had such incredible NYC skyline views. I posted a few videos on Instagram from these rooms (see them here and here).

And the primary dressing room – with window – and bathroom with giant golden tub! I loved the bathroom so much I posted a video of it as well, and used one of my favorite songs to represent it (Jill Scott’s “Golden”). See a 360 degree view of the primary bathroom here.

Going up to the high-floor penthouse, the windows were dirtier since it’s still be finished, but the difference in the the view was pretty obvious.

It’s always fun to see a project when not finished yet, and imagine what it will be like when completed and filled with fabulous decor. This spiral staircase is going to be pretty dramatic.

And although I was not able to go outside, this penthouse has outdoor space! This is the view looking south. I believe the top penthouse has a wrap-around terrace with 360 degree views.

This full-service building also has a fabulous pool and large outdoor terrace for the use of residents. Let me know if you’d like me to make an appointment to show you this one-of-a-kind place to live in New York City.

Tony Nominations 2022

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The Tony Awards given out next month will represent Broadway’s lurching progress toward normalcy (with periodic covid positivity shutdowns continuing) after the pandemic shutdown from March 2020 to September 2021. The Tony Awards for the truncated 2019-2020 season were held last September, and also served as a way to promote the reopening of live theatre in New York City to a wider audience. Those awards were anything but typical, however, since many new musicals and plays open in the spring to capitalize on the Tony nominations and awards, and the shutdown occurred before many had been able to open. “Six,” for instance, was set to open the very night Broadway was closed (March 12, 2020). Because of the shortened season, some categories had no nominations at all (Best Revival of a Musical, for instance) and Best Actor in a Musical had only one nomination (Aaron Tveit – and while that is not a guarantee of winning as over 50% of voters need to actively vote yes instead of no, fortunately he did win!).

While this season again was an unusual period (to be eligible, shows had to open between February 20, 2020 and May 4, 2021), the time included encompassed the normal seasonality of openings and the Tony nominations for 2021-2022 are robust. Out of 34 eligible productions this year, 29 received at least one nomination (even “Diana” received a nomination in costume design). All categories are competitive, with one even having seven nominees, and several with six. Since I have seen the majority of the nominees, I thought I would weigh in a bit on the bigger categories, both with my own opinion and what the general buzz is.

New Play

“Clyde’s”

“Hangmen”

“The Lehman Trilogy”

“The Minutes”

“Skeleton Crew”

I think it’s going to be hard for anyone to beat “The Lehman Trilogy” here, and it would get my vote. The only new plays nominated here that are still running are “The Minutes” (which I saw in previews pre-pandemic when Armie Hammer was still in it) and “Hangmen” (which is set to close mid-June) so I don’t think that “Lehman” having only run last fall will be a factor against it.

Revival of a Play

“American Buffalo”

“For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

“How I Learned to Drive”

“Take Me Out”

“Trouble in Mind”

Again, it seems that “How I Learned to Drive” will be hard to beat, and it would certainly get my vote. Simply brilliant.

Actress in a Musical

Sharon D Clarke, “Caroline, or Change”

Carmen Cusack, “Flying Over Sunset”

Sutton Foster, “The Music Man”

Joaquina Kalukango, “Paradise Square”

Mare Winningham, “Girl From the North Country”

While I absolutely loved Carmen Cusack in “Flying Over Sunset” (check out the cast recording!) and Joaquina Kalukango is giving a bravura performance that is perhaps the best thing about “Paradise Square,” if I had a vote I would cast it easily for Sharon D. Clarke in “Caroline or Change.” This was a Caroline whose simmering anger over the state of her life boiled over in a thundering “Lot’s Wife.” It would be wonderful if they could bring her back to do this for the Tonys.

Leading Actor in a Musical

Billy Crystal, “Mr. Saturday Night”

Myles Frost, “MJ”

Hugh Jackman, “The Music Man”

Rob McClure, “Mrs. Doubtfire”

Jaquel Spivey, “A Strange Loop”

Rob McClure’s nomination here is the only one for “Mrs. Doubtfire,” Crystal and Jackman are the old pros, but I think this comes down to two newcomers in their first role on Broadway: Myles Frost and Jaquel Spivey. My vote would go for Spivey, who carried me through Usher’s journey with intelligence, heart, and tremendous vocals.

Featured Actor in a Musical

Matt Doyle, “Company”

Sidney DuPont, “Paradise Square”

Jared Grimes, “Funny Girl”

John-Andrew Morrison, “A Strange Loop”

A.J. Shively, “Paradise Square”

I posted the playbill from “Funny Girl” above because this category features its only nomination, and I am glad to see Grimes singled out. I will also note that I love John-Andrew Morrison in “A Strange Loop” and it was hard for him to stand out in the six excellent performances being given by Usher’s Thoughts (L. Morgan Lee was also recognized in Featured Actress). For me, though, this award has gone to Matt Doyle in “Company” from the first time I saw his bravura performance of “Not Getting Married Today” as Jamie (changed from Janie in the original) less than a week before Broadway shut down for the pandemic. I’ve seen it twice since and he never fails to dazzle me with his ability to make the lyrics so clean and acted out so clearly – while going so incredibly fast.

Featured Actress in a Musical

Jeannette Bayardelle, “Girl From the North Country”

Shoshana Bean, “Mr. Saturday Night”

Jayne Houdyshell, “The Music Man”

L Morgan Lee, “A Strange Loop”

Patti LuPone, “Company”

Jennifer Simard, “Company”

I’m glad to see L. Morgan Lee and Jennifer Simard recognized in this category, but Patti LuPone is just SO GOOD as Joanne in the revival of “Company” I would be unable to resist casting a vote for her.

Leading Actor in a Play

Simon Russell Beale, “The Lehman Trilogy”

Adam Godley, “The Lehman Trilogy”

Adrian Lester, “The Lehman Trilogy”

David Morse, “How I Learned to Drive”

Sam Rockwell, “American Buffalo”

Ruben Santiago-Hudson, “Lackawanna Blues”

David Threlfall, “Hangmen”

Look at this category – seven nominees! All three actors from “The Lehman Trilogy” are nominated, which might split votes and lead to none of them winning (although I could see Simon Russell Beale doing it). Sam Rockwell fully inhabited the character of Teach in “Buffalo.” But my vote would go to David Morse in “How I Learned to Drive.”

Featured Actor in a Play

Alfie Allen, “Hangmen”

Chuck Cooper, “Trouble in Mind”

Jesse Tyler Ferguson, “Take Me Out”

Ron Cephas Jones, “Clyde’s”

Michael Oberholtzer, “Take Me Out”

Jesse Williams, “Take Me Out”

Six nominees in this category, and no clear favorite. I would probably vote for Michael Oberholtzer in “Take Me Out,” although again, you have three nominees from the same play which might split that vote and lead to another actor taking the award.

Leading Actress in a Play

Gabby Beans, “The Skin of Our Teeth”

LaChanze, “Trouble in Mind”

Ruth Negga, “Macbeth”

Deirdre O’Connell, “Dana. H”

Mary-Louise Parker, “How I Learned to Drive”

All worthy performances, but I will be shocked if Mary-Louise Parker doesn’t win for “How I Learned to Drive.”

Featured Actress in a Play

Uzo Aduba, “Clyde’s”

Rachel Dratch, “POTUS”

Kenita R. Miller, “For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

Phylicia Rashad, “Skeleton Crew”

Julie White, “POTUS”

Kara Young, “Clyde’s”

I put the picture of the “POTUS” Playbill above because two in the ensemble were nominated here. By the way, I agree with the recent article in The New York Times that the Tonys need an ensemble category – none of the wives in “Six” were nominated singly but as a group they might have won. I might vote for Rachel Dratch in “POTUS,” or Uzo Aduba in “Clyde’s” – but anyone could win here.

Revival of a Musical

“Caroline, or Change”

“Company”

“The Music Man”

I would vote for “Caroline,” but with it having been a limited run and closing just after New Year’s, sometimes it is harder to stay fresh in the Tony voters’ minds. If so, then I think “Company” will win – although it is possible that Marianne Elliott might win (deservedly) for best director and “Caroline” win for Best Revival.

New Musical

“Girl From the North Country”

“MJ”

“Mr. Saturday Night”

“Paradise Square”

“Six: The Musical”

“A Strange Loop”

Until “A Strange Loop” arrived this spring, my vote would have been for “Six,” which I saw twice before the pandemic and have seen three times since. But having seen “A Strange Loop” twice now this spring, it would have my vote for Best New Musical without any hesitation. I also hope that Michael R. Jackson, who has been working on this musical for about two decades, wins for best book of a musical. It is possible that “Six” might win for best score. “Girl From the West Country” also has some critical acclaim so I would say it is likely the only dark horse if this win doesn’t go to “A Strange Loop” or “Six.”

Notable Snubs

As mentioned before, the revival of “Funny Girl” garnered only one nomination, for Featured Actor. “Plaza Suite,” the revival of Neil Simon’s play starring Sarah Jessica Parker and Matthew Broderick, had no acting nominations. The lead of the revival of “Company, ” Katrina Lenk, was not nominated for Lead Actress. I don’t necessarily disagree with these snubs, but I would have liked to have seen “Flying Over Sunset” – flawed as it was, it also was often quite brilliant and certainly original -nominated for Best Musical over “Mr. Saturday Night” and “Paradise Square.”

The Tony Awards will be held at Radio City Music Hall on Sunday, June 12, starting at 7pm on Paramount+ and continuing from 8-11pm on CBS. Hosted by Ariana DeBose, recent Academy Award winner and Broadway veteran, look for an abundance of musical numbers as Broadway hopes to lure the casual theatre-goer back. Whether casual or devoted, go support the Broadway community, so integral to the very spirit of New York City, and don’t forget the established productions that have made it back from the pandemic as well!

Top of the Rock – Sun and Stars

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I have blogged about going to One World Trade Observatory, to the Empire State Building Observatory at sunrise, to The Edge at Hudson Yards, and to the new kid on the block, Summit at One Vanderbilt (comparing day and night visits). There’s one last observatory to mention, Top of the Rock at Rockefeller Center. I went once during the day and again after dark, to see how the view changed. Here’s some information about going, lots of photos, and – at the end – my own thoughts on how all of these experiences compare.

You enter Top of the Rock from 50th Street between Fifth and Sixth Avenues. As you get checked in and head for the elevator, there are various facts about Rockefeller Center and about what you will see from the observation area (some, like the exact number of taxis and people you will see, seem unnecessarily and inaccurately precise!).

There are three observation decks, inside on the 67th and 69th floors, and then an outdoor deck on the 70th floor. This outdoor deck has stone barriers to above waist level, but then no obstructions to open air and open views.

One of the advantages to not being on the Empire State Building or One World Trade, of course, is being able to see the same!

While the daylight views were enjoyable, to me the real magic was going back at sunset and watching the lights come on as night fell on New York City

The experience of being there and witnessing the city’s transformation can’t really be conveyed in words and photos. The best I can do is this series of photos showing the Empire State Building first in a shot taken during the day and then in several more beginning at twilight and ending at full darkness:

Which observation experience is the best? Hey, I loved them all! If you live here, don’t think you are above going to one of these to have a great time; and if you are visiting, try to work in a few different ones if you can. The Edge and SUMMIT One Vanderbilt are certainly the “cool kids” of the bunch. One World Trade has the best “reveal” – the elevator ride up is an integral part of the experience, and then the way you first see the view is in fact breathtaking. The Empire State Building is the classic of course, with the disadvantage that you can’t actually see the Empire State Building while on it! Top of the Rock is a classic and you can see all the iconic buildings from it. One World Trade is far south, so a better view of the Statue of Liberty but a more distant view of the midtown skyscrapers. The Edge is far west, which is why the primary views are oriented east and south. SUMMIT, Empire State Building, and Top of the Rock are all in midtown, so your views are more balanced in all directions. And The Edge and SUMMIT have the most fun “experiences” – especially, I would say, SUMMIT, which is basically an immersive art experience with views.

Finally, there is the issue of going during the day versus at night. I suppose you could argue that you “see the city better” during the day, but to me, the city transforms into its essential self when the unbiased glare of the sun is removed. Then New York City is allowed to show itself as it wants to be seen – lighting what it wants lit, leaving in darkness what it prefers to hide. To love the city as I do means being able to do the same on a daily basis – choosing to see this place as its essential essence and in the light of my own romanticized gaze. The romance of seeing the lights of the city at night from a lofty perch is a win in my book – who wants to go with me?

Sondheim at NYPL: “No One is Alone”

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When Stephen Sondheim died on November 26 of last year, we lost a towering figure in musical theatre. The New York Public Library for the Performing Arts at Lincoln Center quickly put together a pop-up installation of some of his correspondence from their archives, which proved to be so popular that they have recently enlarged it, adding set models from several of his musicals, and highlighting Sondheim’s interactions with collaborators. This exhibit will be on display through February 12, and if you are able to stop by, I believe it is well worth it (as with everything at the library, there is no charge). To me, the most interesting aspects were the way his playfulness and humor showed up in his correspondence with others. It’s easy to be so intimidated by someone’s talent that they seem more than human, but in this exhibition Stephen Sondheim’s personality and humanity shone through.

If you have never visited the Performing Arts Library, you need to put it on your radar. They often have very informative and entertaining displays about various areas of the performing arts. They also hold panel discussions and interviews with well-known artists. They are located just to the south of Lincoln Center Theatre. Bookmark their website!

The photos above show some of the additions made to the original display of Sondheim’s correspondence. The library has an interactive screen that allows you to go through and look at Playbills and production notes from many Sondheim musicals. In addition, they had an early design for a tree for Into the Woods, as well as early design sketches and models for the set design for Company and Follies.

On a screen, images of Sondheim with his collaborators, going all the way back to Gypsy and West Side Story, rotate through candid photos over the years.

The real heart of the display continues to be Sondheim’s correspondence, however.

Look at this thank you note to Broadway lyricist Betty Comden and her husband, “just A note” included!

I loved the personality shining through these notes to playwright Peter Stone and his wife, Mary. Given the date of the one on the left, he was presumably referring to A Little Night Music. After asking them whether they had seen it, he added,” If you adored it so much that you can’t keep away, come again as my guests. And if you didn’t like it, f*** off. Love, Steve.”

Here you can see lyrics written by Michael John LaChiusa in honor of Sondheim’s 80th birthday, and a congratulatory letter from Richard Rodgers to Sondheim on the opening of Company, with Sondheim’s reply (“no letter I have received on the show has meant more”).

I love these notes. In the upper right, he expresses thanks for the gift of a diary from Hal Prince and his wife, Judy, and then claims “I plan to do nothing whatsoever this year. Again.” In the upper left, he thanks them for a wire but says ” . . . we did get mugged. Surprise.” (Presumably, given the year, a bad review for Sunday in the Park with George?) And at the bottom, to Hal alone, notes on Sweeney Todd, which would have just opened a week before. After noting that the pies in the second act should look baked, and that the books coming down the chute when trying out the “special” barber chair should match the ones put in, he claims he dares not risk Hal’s wrath by giving the notes directly to the stage manager.

Stephen Sondheim won eight Tony Awards and a Presidential Medal of Freedom, and has theatres named after him in both New York City and London. He died at the age of 91 on a Friday, after having seeing both a matinee and an evening show on Broadway on Wednesday, and celebrating Thanksgiving with friends on Thursday. A few days later – on a Sunday – the Broadway community gathered on the red steps in Times Square to celebrate his life (I was there, and posted a clip on Instagram that you can see here). As they sang “Sunday” from Sunday in the Park with George the word that rang out was “forever.” Just as the people immortalized in the painting “A Sunday Afternoon on the Island of La Grande Jatte” by Georges Seurat will be viewed forever, Stephen Sondheim – the icon, and the man – has changed musical theatre and will be remembered with respect and affection forever.

A look back at NYC filming locations for West Side Story (2021)

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I saw the new 2021 remake of West Side Story last week, and it made me think of when they were shooting some exterior scenes in Harlem. This was in the “before times” – before COVID-19 lockdowns and restrictions -in the summer of 2019, July 13 and 14th. It was hot when they were shooting “America,” with temperatures in the 90’s. They had (I believe) wrapped that scene earlier on July 14th, and it was shot on St. Nicholas Avenue between 111th and 113th. As with most shots on location, when not actively filming, you are free to be in the area and look at exterior sets and equipment.

Old-fashioned telephone booth.
Partially covered set pieces; vintage magazine rack.
Gorgeous old cars!
How they get those fantastic shots zooming up over the dancers!
Equipment.
So difficult to shoot on location, but the result is worth it!

On E. 131st between Fifth and Lenox, there was signage about demolishing buildings to make way for Lincoln Center:

The film was enjoyable on so many levels, one of which being seeing so many Broadway stars on the big screen. Ariana DeBose (“Anita”), from the original company of Hamilton and on to A Bronx Tale and Summer; Mike Faist (“Riff”), from the original cast of Newsies to Dear Evan Hansen; even Brian d’Arcy James (“Officer Krupke” – unfortunately not a singing and dancing role!). with a long resume including Next to Normal, Shrek the Musical, Something Rotten!, and Hamilton. Sentimentally, my favorite was David Alvarez (“Bernardo”), who won a Tony Award in 2009 as one of the three original “Billys” in Billy Eliott the Musical. I remember taking my daughters, who were a little younger, to meet and have things signed by the three young men. It’s fantastic to see him giving such a vivid performance now as a grown man on the big screen.

Looking back on these photos, two-and-a-half years ago but feeling like much longer, it’s clear that the 2021 release of West Side Story involves not only time travel back to the time of the show but also to the time of the filming. Even now, with the film in theaters only, not everyone feels safe seeing it on the big screen with vaccines giving protection but a new variant of COVID-19 running rampant. When you can see this version of West Side Story, however, I do recommend you check it out as I greatly enjoyed it.

SUMMIT One Vanderbilt, day and night

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When One Vanderbilt, a commercial office building next to Grand Central Terminal in midtown Manhattan, was completed, it soared to 1,401 feet and became one of the tallest 30 buildings in the world. So – of course they had to create a public observation area! But, with the icons like the Empire State Building and Top of the Rock, and newer competitors like One World Trade and The Edge at Hudson Yards, certainly the developers realized they needed to do something a little different when they opened last month. Having been twice, once during daylight and once after sunset, I can affirm that they succeeded in doing just that with SUMMIT at One Vanderbilt.

To get there, enter just to the east of the Grand Concourse at Grand Central Station. At this point (November 2021), there is a vaccination check before seeing a brief film and getting booties to cover your shoes (the reason for that becomes pretty clear once at the observation area). After scanning your tickets, you have two photos taken – one of your group as well as an individual photo of each. All digital photos are linked to a wristband with a QR code that you wear while experiencing SUMMIT.

You go up to the 91st floor in a very fast elevator, and immediately see what is different about SUMMIT once you walk onto the first observation floor. There are floor to ceiling windows and you walk on mirrors (when you reserve, they do recommend that you not wear a skirt, for pretty obvious reasons!). The experience of seeing up and down, seemingly endlessly, is striking.

And what can you see? First is a picture-perfect view of the Empire State Building to the south, and much farther south, One World Trade at a distance. To the east, you look DOWN (a bit disconcerting!) onto the Chrysler Building, and to the west you can look down onto the New York Public Library and the skating rink in Bryant Park, over Times Square, and toward Hudson Yards. To the north, you see Central Park and the super-talls on Billionaire’s Row. You can see the Statue of Liberty, and every bridge, from the Verrazzano-Narrows to the George Washington.

And for bonus activities, there is a room with Yayoi Kusana’s Clouds sculptures, a place to get your picture taken stepping out over the side of the building onto clear glass, with clear glass all around you (called, natch, Levitation), and a very trippy room filled with floating silver mylar globes called Air by Kenzo Digital (see some videos of what that is like here).

When you go up one more level, you can see down to the people entering on the mirrored floor in addition to seeing the views from one level up.

One more level up has a Danny Meyer cafe as well as an outdoor observation deck with clear barriers but open to the sky above.

Of course there is a gift shop!

But what is it like at night, and with the Ascent elevator and enjoying a signature Danny Meyer cocktail? I was back two weeks later for the entire experience.

I found the experience to be much more exciting and beautiful at night, so much so that I feel just posting some full-sized photos is enough to make my point.

I mean, a full moon didn’t hurt! Also, this time I was able to catch my face in the clouds (below), triggered by scanning your wristband and linking the individual photo you took earlier to a moving cloudscape in one of the rooms.

But what of the Ascent elevator? See above, for an extra price, you can stand in a clear glass elevator perched on the side of One Vanderbilt, go up even higher, have 90 seconds to take photos, and come back down. There is an enhanced ticket that you can get that includes the experience, the Ascent elevator, and a Danny Meyer cocktail (menu seen in a photo collage above). Did I enjoy the cocktail (I got the margarita) – of course, it was delicious! But do I think you necessarily need to pay for the Ascent plus cocktail to enjoy yourself? No – if you need to save a little money, just do Summit without any add-ons. Speaking of cost, tickets cost more at night than during daylight, with an extra surcharge for sunset times. There is a $5 per ticket discount for NYC residents. Find out more here.

I read a review of SUMMIT recently in Curbed (read it here) that called it “a ridiculous experience” and said it can’t replace enjoying NYC from ground level. Frankly, I think that misses the point. Of course the quintessential way to experience the city is to walk it (my first post was about just that). That doesn’t mean that it isn’t also tremendously enjoyable and exciting to see the city in a different way – and SUMMIT is a very different experience. Whether you are a New Yorker looking for a fun new sensory trip, or a visitor wanting to add to the ways NYC can wow you, I don’t think you will be disappointed if you decide to give SUMMIT a try.

Broadway Reopening

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I’ll never forget hearing on March 12, 2020, that Broadway was going to be shut down until the week of April 13th. It seemed inconceivable to me that it could be true – after 9/11 it was shut for two days, and here and there a blizzard would shut down shows for a day. The idea that there would be no Broadway theatre for over a month was stunning. If someone had told me at that point, as I struggled to process this unprecedented shut down, that in reality Broadway theatres would be closed for at least 18 months, I would not have been able to believe it (or, perhaps, take it). Even when I was taking photos in an entirely empty Times Square that spring (the experience of which I wrote about in this blog post), it still seemed impossible to believe that Broadway, the heart of NYC’s pulsing vitality, would be shuttered for so long. But now the sleeping beauty is waking up, and it’s exhilarating. This is my perspective on Broadway’s reopening, as of the end of September, 2021.

The first time I walked into a Broadway theatre was to see a Disney on Broadway concert (Live at the New Am) at the New Amsterdam theatre. Vaccination checks were in place before the normal security screen. To hear the sound of a ticket being scanned was a delight. When the usher (above) declared “Welcome back to Broadway!” it was almost too emotional. The concert was fantastic, and so many lyrics of Disney on Broadway songs took on new meaning and the performers and audience reacted (for instance, “In the First Time in Forever,” the following: There’ll be actual real live people/It’ll be totally strange/But wow, am I so ready for this change!/’Cause for the first time in forever/There’ll be music, there’ll be light.

The first Broadway play to open after pandemic shutdown was the new play Pass Over, by Antoinette Nwandu. The opening night of previews, August 4, the crowd stood and applauded with stage manager Cody Renard Richards made the preshow announcements (you can see his experience here). After the first preview, the block of West 52nd between Broadway and Eighth was closed off and there was a jubilant block party with DJ.

The next time I was in a Broadway theatre was the Majestic, to see the premiere of a documentary about the Broadway shutdown and a few touring companies that managed to stay open in South Korea. The entire experience was terrific, from being welcomed with Josh Groban singing “Can’t we start again please” (from Jesus Christ Superstar), though the film. But when the end credits were over, the screen rose to reveal the iconic Phantom’s lair, and a bevy of Broadway divas (including Adrienne Warren, Ariana Dubose, and Sierra Boggess) singing “As If We Never Said Goodbye” from Sunset Boulevard.

On September 2, the first Broadway musicals reopened: Waitress, with composer Sara Barielles stepping back into the lead for six weeks, and reigning Tony Best Musical Hadestown. I was at the first night for Waitress, and enjoyed the sticker on the front of the playbill saying “The Diner is Re-Open” along with the date. The audience gave a standing ovation (the first of perhaps 10 or 12 that evening) for the “turn off your cell phones” announcement – which at Waitress is a song. After initial bows, Amanda Kloots, the widow of original cast member Nick Cordero (who lost his battle with Covid-19 last year) came on the stage and everyone sang Nick’s song “Live Your Life.” His song is now also permanently included as one of the pies on the menu board on stage.

I was at the third reopening performance of Hadestown, and loved that their Playbill lists reopening night as well as opening night. The outside of the theatre is enrobed in the red flowers that feature so prominently in the production. Here they represent that “spring will come again” to Broadway as it returns and flourishes.

On September 14, Hamilton, The Lion King, Wicked, and Chicago all reopened. At 5PM that day, casts met in front of the Richard Rodgers Theatre and, led by Lin-Manuel Miranda, delivered a rousing version of “New York, New York.”

Two days before that, however, I had been very fortunate to be allowed to attend the final dress rehearsal of Wicked before reopening. These invited dress performances are not for purchase, and allow the show to run through with costumes, lighting, etc., with a crowd of friends and family. These are always special (I have been to a few) in part because what elicits applause is often very different for these crowds of insiders. I was able to compare that directly when I also attended the first reopening performance of Wicked on September 14. The audience for this was electric, from Kristin Chenowith’s welcome (including a witty “There’s no place like home!”) through bows. After the curtain came down and the lights went up, the audience refused to leave, however, applauding and standing for minutes until the curtain rose again. This time the cast was joined by composer Stephen Schwartz, who seemed unsure whether to say anything before finally stepping forward – almost to be hit by the curtain coming down!

I was at Hamilton at the second reopening performance on September 15. The cast is tight, and the energy level high. I could tell that the conductor was trying to prevent protracted applause from drawing out the show, however, as we can’t keep having shows that go three hours or more when they should clock in at 2 hours, 40 minutes!

Then I was at the third reopening performance of The Lion King. The energy level was still very high, and I liked the Welcome Back insert with an invitation to give feedback.

That weekend, September 17-19, Times Square hosted a huge outdoor welcome back to Broadway, with some performances at the large mainstage, and others at a more intimate outdoor cabaret space. The final two hour concert on September 19 featured most of the shows open or that will open this fall. A highlight was a performance of “Music of the Night” with the current Phantom as well as three previous ones.

That same weekend I went to see David Byrne’s American Utopia, which I had seen four times pre-pandemic at the Hudson Theatre. Now at the St. James, some of the narration has changed to reflect our changed times (his words “Thank you for leaving your homes” has an entirely new significance now!) but the joy and uplifting message remain the same.

On September 21, I was back to see Six, which I had seen twice in previews – and which was hours from opening night when Broadway was shuttered. Now back in previews as of September 17, all six original Broadway queens are back, and the energy level is always high at this show! I loved that they had a “virtual stage door” QR code, since normal stage door interactions and signing of Playbills is not prudent in terms of Covid protocol.

So, speaking of Covid, how is Broadway different due to the need to keep us as safe as possible? First of all, to attend a Broadway show you must show proof of full vaccination and a photo ID to match. Because of this, arrival times need to be earlier than usual. Doors always opened on Broadway about 30 minutes before showtime, but now are opening from 45 minutes to an hour early to allow for vaccine checks as well as the normal security screening. Then, you must wear a mask at all times while inside. Theatres I have been to so far all have “Covid safety teams” and I have seen them roaming the aisles to monitor and ask people to raise their mask when necessary. Meanwhile, every person on Broadway has to be vaccinated, wear masks when possible (obviously it’s not possible for performers on stage) and get tested regularly.

But isn’t any inconvenience worth it??? The exhilaration of being in an audience with other people, experiencing the live performance of these talented people, experiencing emotions together – this is unique and its absence left a huge void during those 18 months away. Even walking home after a show, I have had that thrill of having had somewhere to go, something to do, with other people, after so many nights watching “Bridgerton” or “Tiger King” and trying to set up zoom cocktail parties with friends. Please go and support live Broadway performances! We need it, as a city and as individuals – and they need us.

Showstoppers! Broadway Costumes Exhibit

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As Broadway reopens after 18 months of pandemic shutdown, there is an exhibit on West 42nd Street that highlights the incredible costumes that light up the stage (and screen). Open through September 26, tickets are required (go here for more information and to purchase) but proceeds go to help the talented people in the costume industry whose financial stability has been devastatingly impacted by the shuttering of the entertainment business. Here are my impressions from going a few weeks ago.

For a time-limited exhibition like this, I thought the layout and design was excellent. The exhibit aims to teach the observer about the work and design elements going behind these elaborate costumes, while giving the opportunity to see the details of the costumes up close.

Here you see costumes from the Broadway productions of The Cher Show (Bob Mackie), Side Show (a particularly challenging costume) and Six (which was going to have opening night on the very evening that Broadway was shuttered).

Disney productions are represented here: Aladdin, The Lion King, and Frozen.

Wicked – it’s interesting to see Elphaba’s costume up close and see that it is not a matte black. Adding texture and some subtle color gives the dress depth on the stage.

Costumes from Moulin Rouge, Chicago, and Cursed Child (Draco Malfoy).

Hamilton! I was fortunate to be able to go backstage before pandemic and see some of these costumes up close then. Apparently Lin-Manuel Miranda asked for Alexander Hamilton’s costume to be “the color of money” and after several tries this iconic green silk was confirmed. Being able to make the ensemble’s costumes able to dance in – without looking like stretchy dance clothes -is a particular challenge for most Broadway costumers.

I have also been backstage at Phantom and seen the costumes at close range. For solid black or white costumes like these for the Phantom and Christine, texture and small variations in color are used to keep them from appearing flat from the audience.

Costumes from non-Broadway productions were also highlighted. Here you see costumes from a cruise ship, from the circus, for a Broadway Cares production, from dance, and the iconic costume the Radio City Rockettes wear in the March of the Wooden Soldiers.

The exhibit also highlights the importance of cleaning and caring for costumes, with many from films being preserved since, unlike on Broadway where costumes wear through and are replaced constantly, a film is limited in time and requires fewer repairs or replacement of the costumes.

The exhibit ends on a positive note, with Broadway reopening happening on a rolling basis throughout the fall.If you are able to see the costume exhibit, it may improve your enjoyment of the costumes you see from your seat as you return to a Broadway theatre!