Deja Vu Barber Shop

Although this small yet inviting barbershop is relatively new to Midtown East, Boris Sufayev—originally from Tel Aviv and a New Yorker since 2000—has fifteen years of experience in the barbershop business, much of which he spent in his previous barbershop at Fulton and William Street. The formula to his success, however, has not changed. “You have to be a good haircutter” Boris says, “give customer service, good atmosphere, a nice cozy place. ” Perhaps most importantly of all, clients look for “a good conversation” while they are getting their hair cut. One could easily be confused by the “Shoe Repair” and “Watch Repair” signs that accompany the European Barbershop’s exterior. Yet the explanation given by the attentive-to-detail Boris is quite simple. The space of the haircutting salon used to be entirely occupied by the shoe and watch repair store of his father for twenty five years, until in early 2015 he also made space for Boris to establish European Barbershop. So one can not only come out with a dashing haircut, but with their shoes repaired and a copy of their keys for safe-keeping. And, of course, that smile that comes after a pleasant chat.

Originally known as the Manhattan Opera House, 311 West has had an interesting history. Oscar Hammerstein built the theater in 1906, but after a few short years, the Metropolitan Opera House came to him requesting that he not compete with them, and made him an offer that he could not refuse. Shortly thereafter, Mr. Hammerstein sold the building to the Shubert brothers where they continued to feature a variety of shows and concerts. In 1922, it was sold again, and this time a Grand Ballroom was added. Unbeknownst to the builders, they had created an outstanding acoustic setup where musicians from Harry Belafonte to the Grateful Dead have performed and recorded. Over the past twenty plus years, construction has been on-going as more multimedia studios have been added and a refurbishing done to the Hammerstein Ballroom to accommodate large private events.

With construction starting in 1958 and finishing ten years later, Saint Vartan Cathedral represents the first Armenian Apostolic cathedral built in North America. Named after a saint who was martyred a millennium and a half ago defending Armenian Christianity, Saint Vartan Cathedral had a memorable beginning. During its construction and immediately following its completion, the building was visited by the highest authority within the Church, His Holiness Vasken I, marking the first such visit by a Supreme Patriarch and Catholicos of All Armenians in the United States. For a people so persecuted throughout history, and especially by the recent Armenian genocide, the building and consecration of this holy house was a monumental event in the community. His Holiness Vasken I, looking out at an assembled audience soon after Saint Vartan's completion, spoke of "an admirable picture of spiritual grace - a rare moment of spiritual bliss - to which we are all witnesses. " But far from being a relic, the church continues to thrive with the energy of the community it houses. I encourage any visitors to the church to walk through the intricately decorated doors and take some time to absorb the sheer size and depth of the church. Narrow strips of stained glass depicting biblical scenes and significant events in the history of the Armenian Church rise up to the impressive dome, which depicts Christian symbols in paint and stained glass, such as a human eye within a triangle (representing the omniscient Triune God), the wooden ship (representing the Church), and the white dove (representing the Holy Spirit). Closer to the altar, the “Head of Christ” is chiseled on a slate of stone in high relief. Silver and gold crosses decorate the distinctly Armenian altar. On the sides of the altar are paintings of St. Sahag and St. Mesrob, the two men credited with inventing the Armenian Alphabet, and a painting that seeks to honor the victims of the dreadful Armenian genocide.