The Speyer Legacy School

Having been raised in New York, and involved in the performing arts since childhood, Rose Caiola went on to graduate from NYU's Tisch School of the Arts and fantasized about establishing her own pre-professional ballet program. It was always her desire to provide top-tier instruction in a nurturing environment that discouraged unhealthy competition. In 1994, Rose's dream became a reality when she opened Studio Maestro on 68th Street as a non-profit organization and began Manhattan Youth Ballet. Her program has been recognized the world over with students moving on to dance professionally here in New York with both American Ballet Theatre and New York City Ballet, as well as companies around the country and abroad. While spending time with Rose, she recounted that when the program outgrew its studio on 68th, she had difficulty finding a new space. She turned to her Italian immigrant, real estate mogul father, in the hopes that he could help her secure an appropriate location. After much negotiation, Rose and her father eventually found a beautiful space on 60th Street, and following three years of construction, the Manhattan Movement and Arts Center opened in 2008. Today, it is a multi-functional facility with bright dance studios streaming with sunlight and a 199 seat off-Broadway theater that efficiently transforms into two studios when not in use. Rose proudly told me that with enrollment reaching over 200 students, the center not only houses Ellison Ballet and Rose's Manhattan Youth Ballet, but that many consider MMAC as "home away from home. "Throughout the year, MMAC offers a number of workshops for adults including yoga classes, dance intensives by the Jerome Robbins Foundation, and martial arts training. The center also hosts an alternative preschool and offers children's dance classes. Rose told me that after a chance meeting with actress and author Julianne Moore, Rose wrote and workshopped a production of "Freckleface Strawberry the Musical" in one of the MMAC children's summer camps. The musical went on to premier off-Broadway at New World Stages and has now been performed around the world, launching Rose into a career as a Broadway producer. (Four shows that she recently produced, including "The Elephant Man" and "You Can't Take it With You, " are 2015 Tony Award hopefuls. )As new residential buildings are rising at an incredibly fast pace and surrounding the Center, Rose is looking forward to families and other artistic people finding a haven in MMAC. Rose's ultimate goal is to have more dance companies and Broadway productions utilize the space, which in turn could provide more scholarships to Manhattan Youth Ballet. Already there are organizations recognizing this oasis as Rose told me that Dodgers Theatrical, Alvin Ailey and Cirque du Soleil have been taking advantage of their remarkable facilities for auditions, castings, readings, and rehearsals.

The greatest treasures on the side streets often take the form of art studios, theaters, non-profits, innovative exercise spaces, and specialty lodging. I was delighted, therefore, to find all of these facilities inside the West Side YMCA. According to Wyndy Wilder Sloan, the senior director of the Y, I was not unlike numerous others who admitted to having had no idea that this extraordinary building existed on West 63rd. Sharing the fascinating history of the Y with me one morning while touring the building, Wyndy simply stated that not many people stroll down their street and those that do rarely notice what has been here since 1930. Wyndy was crowed that they have at least 5, 700 active members, 397 guest rooms, an off-Broadway theater, and an art space in addition to its vast array of fitness facilities. At the start, the Y even owned the McBurney School next door, which is still marked with a sign for "BOYS. " Wyndy informed me that the West Side Y is the largest YMCA in the country. My first stop on the tour was on the newly renovated tenth and eleventh floors to see the selection of guest rooms, which Wyndy described as "a hostel that is not a real hostel. " Wyndy shared with me that guests are frequently European travelers, mostly form the UK, with the average age between eighteen and twenty-four, but national youth groups, like the boy scouts, also take advantage of the facilities. Traipsing down the white walls marked with shapes in cheery bright colors and the names of countries from around the world, I peeked into a room and found a spotlessly clean bunk bed that had a view of Central Park. Descending down some flights, I went to the fitness floors, which were astonishing. There, I found enormous studios that offered classes from Aerobics to Zumba and everything in between. Learning that the YMCA "invented" basketball and volleyball, I gazed upon the spacious court encircled one floor up by an elevated track. When I commented on the spectacular racquetball courts, squash courts, and, particularly the original machinery still decorating the walls in the boxing room, Wyndy proudly admitted that they were available for promotional shoots. In the gym, I was met with one of the most enormous collection of ellipticals and treadmills I have ever seen. "You never have to wait for a machine, " Wyndy said. "We have every piece of equipment you can imagine, " and she went on to tell me that all Y's in the country lease their machines for three years so that they can easily update to new models. Through the clean, flower-filled women's locker room, I arrived at the magnificent pool. The space is a palace, decorated with red and yellow tiles in a stunning mosaic pattern. Wyndy explained that King Alfonso of Spain donated all the tiles to the Y as the building was being erected. Slipping inside to view the smaller pool - used more for classes and therapy sessions than for laps - was possibly even more extraordinary, with dazzling white and blue designs covering all four corners. Tearing myself away from the pools, I walked into the art annex to see a painting class in progress. Down the hall, students filled a ceramics studio that boasted two kilns. I now understood from where the cases full of colorful mugs for sale in the lobby hallway came. On my way to the "Little Theater, " which sported sloping bannisters and comfortable audience seating, I caught a glimpse of rounded traditional Spanish doors and more of the magnificent tiles in an event space named the "King Alfonso" room. After a whirlwind tour, where I saw so much original architecture, artistic craftsmanship, first-class facilities, and happy members, I was shocked that I had not heard more about the building as a lifelong New Yorker. Though I knew of its existence, I had no idea of all the valuable resources and facilities inside. Wyndy conceded that is a challenge that the West Side Y is trying to overcome: "When you're a landmark building on a side street, it's hard to maintain visibility. " It is, however, definitely worth seeking out. As Wyndy noted, "We are unique among other gyms because we are non-profit. When you sign up as a member, you know your money is going to a good cause. "

Content, Culture, and Coaching are Empire Baseball's three main tenets. Since its founding in 2009, it has been providing quality training for children ages four to seventeen with a focus on respect, teamwork, and smart decision-making, both on and off the field. Inside their brand new facility, opening in March, 2015, Empire will continue to offer instruction, summer camps and organized teams. There will be games played in Central Park and other outdoor areas in the city as they bring a new level of fun professionalism to youth sports in Manhattan.

Stepping inside Jim's Shoe Repair is like walking into a time capsule. At first glance, it appears that nothing has changed since the store opened in 1932. Wooden saloon-style booths line the wall opposite shoeshine chairs equipped with golden footrests and leather backrests, while the original cash register still stands proudly in the front of the shop. Jim's is the place for the customer who wants "the best shoe shine" with a bit of small talk or a glance through the daily newspapers. It is simple and unpretentious, which explains its long history of celebrity customers. Vito Rocco came to New York by way of Italy in the 1920s and opened up his shop in 1932, across the street from where it stands today. He called it Jim’s as an ode to America — short, simple, and recognizable. His son, Joseph, began working in the shop in 1940 and did not retire until 2019. “At age ninety, he still wants to come in, but I won’t let him anymore, ” his son, Joe, said lovingly. He and his son, Andrew, are now “honored” to be continuing this family business. Although Jim's has largely stayed the same since its inception, Joe noted that they no longer clean hats, as this was deemed a fire hazard in the 1940s. Joe emphasized, however, that their shoe repair is performed the traditional way, with most of it being done by hand. There are no nailing guns used and machine work is kept to a minimum — only for stitching and sanding. Walking through the back is like being granted a tour of Santa’s workshop. Joe strolls through the various departments of the repair services, patting his employees on the back and exchanging laughs along the way. There are rickety ladders to go up and down where one finds every nook and cranny converted into a cozy but busy workspace. “Even if we wanted to change up the place, our customers would never allow us. They appreciate it the way it is after four generations. ”

Directly across from the imposing statue of Christopher Columbus, marking both the epicenter of Columbus Circle and New York City as a whole, stands the Museum of Arts and Design. Founded in 1956 - and in this spectacular building since 2008 - the museum celebrates contemporary artists, designers, and artisans who apply the highest level of ingenuity and skill to their work. Inside the light-filled interior, this accessible museum explores a rotating series of exhibitions profiling makers, who work in a wide range of materials and processes, in an effort to explore the intersection of art, craft and design. When I visited the museum with members of the Manhattan Sideways team, I was thrilled to have them walk around with a dear friend who has been a docent at MAD for several years. We were fascinated by the global reach and depth of the Latin American exhibition, "New Territories, " as Felicia explained in detail what we were seeing. Our team was also intrigued by the museum's show celebrating its founder, Aileen Osborn Webb, entitled "What Would Mrs. Webb Do, " featuring objects from their permanent collection, curated by Jeanine Falino. We then went on our own to explore the technical skill made apparent in the neckpieces and sculptures of Joyce Scott in the exhibit, "From Maryland to Murano. " In addition to the shows on each floor, MAD invites guest artists to work in their studios, allowing visitors the opportunity to engage in conversation, and to observe them as they are sculpting, drawing or creating something unique with a mixture of materials. Having been to the museum many times, I consistently find myself absorbed in the variety of art displayed, and when possible, I make my way to the ninth floor where the innovative Robert restaurant allows guests a bird's eye view of Columbus Circle from its exquisite interior.

Guastavino's gets its name from the Spanish architect, Rafael Guastavino, who designed an arcade of Catalan Vaults to fit under the Queensboro Bridge in the early part of the twentieth century. Initially, the arcade was host to a year-round marketplace, but it was shut down during the depression. Not long after this, the NYC Department of Transportation took over the space. In 1973, Guastavino's was designated a landmark as part of the Queensboro Bridge. Terrance Conran opened his British home furnishings shop here for some time, and now on one side is the Food Emporium, while on the other is Guastavino's magnificent private event space. And a very special place, indeed, to one of my daughter's dearest friends, Jenny Posen Cohen, who got married here in 2012.

Named for a New York native who was the first woman to swim the English Channel, The Gertrude Ederle Recreation Center sports numerous facilities including a computer room, a basketball court, a workout center, and a dance studio. When it was first built in 1906, however, it was one of many baths opened under New York State law to bathe the poor and homeless. The term "baths" in this case meant showers, since actual tubs were hard to clean and caused jealousy among bathers who would soak for hours. The pool, housed by the magnificent Georgian bathhouse designed by architects Werner & Windolph, existed for those who had already cleaned themselves. When it was realized that most swimmers used the pool in the summer to get cool rather than clean, the center's purpose gradually shifted from sanitary to recreational.

Now residential condominiums, the building once housed the Hit Factory, a renowned recording studio. Learn more about the apartments up for sale in the W42ST article, "This May Hurt… Could The Hit Factory’s Remaining Studios Become a Dentist’s Office? "

The greatest treasures on the side streets often take the form of art studios, theaters, non-profits, innovative exercise spaces, and specialty lodging. I was delighted, therefore, to find all of these facilities inside the West Side YMCA. According to Wyndy Wilder Sloan, the senior director of the Y, I was not unlike numerous others who admitted to having had no idea that this extraordinary building existed on West 63rd. Sharing the fascinating history of the Y with me one morning while touring the building, Wyndy simply stated that not many people stroll down their street and those that do rarely notice what has been here since 1930. Wyndy was crowed that they have at least 5, 700 active members, 397 guest rooms, an off-Broadway theater, and an art space in addition to its vast array of fitness facilities. At the start, the Y even owned the McBurney School next door, which is still marked with a sign for "BOYS. " Wyndy informed me that the West Side Y is the largest YMCA in the country. My first stop on the tour was on the newly renovated tenth and eleventh floors to see the selection of guest rooms, which Wyndy described as "a hostel that is not a real hostel. " Wyndy shared with me that guests are frequently European travelers, mostly form the UK, with the average age between eighteen and twenty-four, but national youth groups, like the boy scouts, also take advantage of the facilities. Traipsing down the white walls marked with shapes in cheery bright colors and the names of countries from around the world, I peeked into a room and found a spotlessly clean bunk bed that had a view of Central Park. Descending down some flights, I went to the fitness floors, which were astonishing. There, I found enormous studios that offered classes from Aerobics to Zumba and everything in between. Learning that the YMCA "invented" basketball and volleyball, I gazed upon the spacious court encircled one floor up by an elevated track. When I commented on the spectacular racquetball courts, squash courts, and, particularly the original machinery still decorating the walls in the boxing room, Wyndy proudly admitted that they were available for promotional shoots. In the gym, I was met with one of the most enormous collection of ellipticals and treadmills I have ever seen. "You never have to wait for a machine, " Wyndy said. "We have every piece of equipment you can imagine, " and she went on to tell me that all Y's in the country lease their machines for three years so that they can easily update to new models. Through the clean, flower-filled women's locker room, I arrived at the magnificent pool. The space is a palace, decorated with red and yellow tiles in a stunning mosaic pattern. Wyndy explained that King Alfonso of Spain donated all the tiles to the Y as the building was being erected. Slipping inside to view the smaller pool - used more for classes and therapy sessions than for laps - was possibly even more extraordinary, with dazzling white and blue designs covering all four corners. Tearing myself away from the pools, I walked into the art annex to see a painting class in progress. Down the hall, students filled a ceramics studio that boasted two kilns. I now understood from where the cases full of colorful mugs for sale in the lobby hallway came. On my way to the "Little Theater, " which sported sloping bannisters and comfortable audience seating, I caught a glimpse of rounded traditional Spanish doors and more of the magnificent tiles in an event space named the "King Alfonso" room. After a whirlwind tour, where I saw so much original architecture, artistic craftsmanship, first-class facilities, and happy members, I was shocked that I had not heard more about the building as a lifelong New Yorker. Though I knew of its existence, I had no idea of all the valuable resources and facilities inside. Wyndy conceded that is a challenge that the West Side Y is trying to overcome: "When you're a landmark building on a side street, it's hard to maintain visibility. " It is, however, definitely worth seeking out. As Wyndy noted, "We are unique among other gyms because we are non-profit. When you sign up as a member, you know your money is going to a good cause. "

St. George moved to West 54th Street during the Great Depression, after splitting from the main line of the Greek Orthodox Church. The building St. George inhabits has an even longer history. When the congregation moved in, it had already been in use for the better part of a half-century, first as an offshoot of the Narragansett Club, a Democratic organization connected with Machine-controlled Tammany Hall. Later, in the early twentieth century, it housed the Irish-dominated New Amsterdam Council of the Knights of Columbus, as well as a cycling club. When the church moved in, it found itself cohabiting with the Epirus Hellenic Center, an organization dedicated to the promotion of Greek art and culture. Today, No. 307 comfortably houses St. George alone. Its outwardly modest exterior is slender, dwarfed on either side by much taller buildings, with the only decoration being a stained glass window depicting the church's patron saint. This belies the ornate decor of the chapel inside. Iconography is prominent, both on the walls and at the altar. We were warmly greeted by the head pastor, Father Jim Kordaris who arrived at St. George in 2004, at a time when its aging congregants were struggling to put Hell's Kitchen's bad years behind them and come up with funds for repairs for the increasingly decrepit interior. At this point in time, they were able to do little more than "hold on" and keep the place from closing. Father Jim was pleased to tell us that although it took almost five years to make any headway, the church is now moving in a positive direction, with new members and exciting plans for the future. It quickly became apparent to us that this shift was in large part due to his leadership and presence. Father Jim, however, stressed the collective nature of the church's recent revival and growth, insisting that it was "beyond any one person. " His faith in St. George's vibrant community foretells great things for the church in the years to come.

Founded in 1922, DuArt's post-production facility has been a film industry stalwart from silent films, to talkies, to color. Today, its twelve stories house thousands of preserved film cans and unprinted negatives; however, it has robustly moved into the digital age offering video editing, voice over recording, audio books and closed captioning services.