There are intriguing spaces sprinkled throughout the city that invite corporations to utilize their facilities, but stepping inside Offsite is a unique experience designed specifically for the business meeting clientele. The brainchild of Patrick Everett and Shawn Kessler, they have created a stunning turnkey facility where all day conferences can be held. Companies are invited to bring their employees together for a productive 9am-5pm meeting in the three levels of fully equipped space, which can then be flipped effortlessly into an appropriate venue for an evening event. The rooms are configured so that some forty people are able to sit around one gigantic table or be rearranged into smaller units. Attendees never have to feel confined to one space, as they can move around freely on each floor, dividing up into smaller breakout sessions, when necessary. The rooms are versatile and technology oriented, fully outfitted with AV equipment - as Patrick referred to it, "plug and play. " Endless pens and pads, drinks and snacks, including large jars of enticing candy, are provided throughout the day. The partners have paid attention to every detail, taking into consideration exactly what they believe their clients will require, including a small executive office that allows for a private phone conversation and a myriad of white walls that are actually whiteboards. Offsite works with some of the terrific catering facilities in the area to provide top lunches and dinners for groups, and everything is served on their attractive dishes. While being given a tour, Patrick told me that he had been an event planner. When he discovered that there was something important missing in the corporate world, he found his niche. As he began to imagine the possibilities, he worked diligently on his concept with Shawn. Basically all one has to do is book the space, and the rock star team at Offsite will handle the rest.
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.
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 multiple theaters inside this center are stunning and the list of performances impressive. Mikhail Baryshnikov had his dream become a reality in 2005 when he was able to provide a state of the art space for people in the dance, music and theater world to rehearse and perform.
New York City means a lot of things to a lot of people. For many members of the Sideways team, it means nothing if not basketball. But while the game historically flourished in and even helped define life in (parts of) the City, it is nowhere near its historical apex these days. Perhaps the playground ‘ball is as lively as it ever was. But the New York Knicks, the currently flawed tenants of Madison Square Garden, have not won an NBA championship in thirty years. Once beloved for its prowess, the team now seems more beloved for its power to inspire griping and grumbling among its loyal fans. Throughout it all, though, the Garden has remained a hallowed basketball ground, a place that has inspired basketball luminaries to some of their most electrifying performances. It is, perhaps, basketball’s most storied arena. The Garden wears many hats. The New York Rangers, the City’s NHL team, also calls this arena home. Musicians and stage performers come through here on tour (with Billy Joel recently being named the Garden’s first entertainment franchise, essentially a musician-in-residence), college basketball tournaments (and Saint John’s home games) are played, even wrestling events. Underneath, meanwhile, lies the transportation hub that is Pennsylvania Station. Once upon a time, this station was a beautifully built, high-ceilinged architectural masterpiece, an elegant way to arrive into Manhattan. It was torn down, however, in 1963, replaced by a much less grand iteration. (This loss of a great landmark was perhaps inspirational in the movement to preserve the beautiful Grand Central Terminal. ) Now, the future of the entire complex is up in the air as many are pushing for a new Penn Station. The Garden, meanwhile, has a ten-year operating permit, at the end of which, it may be forced to move.
The Maravel Arts Center is the home for Rosie O'Donnell's arts education organization, dedicated to providing as many underprivileged children as possible with a theater experience. Rosie's Theater Kids (RTK) also provides mentoring and academic guidance for its students, in an effort to help them to succeed on the stage and in the classroom. Offering both in-school and on-location programs, RTK serves approximately 1, 900 attendees each year. We felt fortunate to be able to tour the Maravel Arts Center that had been built in 2007 after gutting the decrepit building that stood there before. Today, this updated space is filled with studios and study rooms to accommodate the specially chosen 165 students who come each day. They head here after school to take tap classes, vocal lessons, and do homework with an on-site tutor. The building has a performance studio, two dance studios, a music studio, practice rooms, dressing rooms, a study room, a cafe and, to top it all off, a rooftop garden. Rosie's Theater Kids flourish because of the community that they form at Maravel. Throughout their years at the Center, kids take classes together, foster friendships, as well as develop a passion for the arts. Regardless of what they choose to pursue in the future, RTK prepares its students for life beyond Maravel's doors, providing them with SAT tutoring and help with the entire college process. In addition, each graduate is presented with a new computer. Located a couple of blocks from some of Broadway's most famous theaters, Rosie's Theater Kids do not have to look far to find inspiration for their artistic endeavors.
Guarded throughout the day and evening by friendly gentlemen, who were kind enough to allow me entry one afternoon (no photos allowed), I was in total awe of what was once upon a time the headquarters of the Bowery Savings Bank. Built across the way from Grand Central (and not to be confused with the Cipriani Dolci restaurant inside the terminal) in 1921, the Italian Romanesque Revival structure is considered one of the most spectacular in Manhattan with its chandeliers, marble columns, inlaid floors and incredibly high ceilings. Today, the lavish lobby is used to host private events.
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.
“We have a unique mission in this neighborhood, ” Judy Counts, the executive director of the House of the Redeemer, told me. It is true that the house was unlike anything else I had come across in over ninety side streets. The non-profit organization is under the umbrella of the Episcopal Church, but it is considered “a place apart for all faiths. ” The House serves many purposes for those in the neighborhood: it is a space for weddings, memorials, and other meaningful events; but it also offers housing. Judy made it very clear that the House of the Redeemer is “not a cheap hotel. ” The guest rooms in the house provide shelter for those who are in need. Over the years, they have offered lodging for religious retreats, not-for-profit art collectors, and traveling church officials. They also have rooms for those with family emergencies, such as people visiting relatives at the nearby hospitals. They particularly do a lot of work with Mount Sinai, providing a place for their cancer patients to recover from treatments. There is no online booking: instead, interested parties must call the House of the Redeemer and answer the questions of a House representative, at which point they may be invited to stay at the House for up to a week. The House is also home to a priest-in-residence from September to June. When I visited, the clergy-in-residence was a female bishop from the West Coast. Because the house is landmarked, it is not centrally air-conditioned, so many of its residents leave in the summer. Every weekday, there is a morning and evening prayer in the chapel at 8am and 5pm, which is “absolutely open to all. ” Additionally, the house offers yoga groups meditations, bible studies, and lectures. Beginning our tour of the house in the butler’s pantry, Judy showed me an ancient box filled with bells that had been used by people in upper rooms to call a servant. There is also a dumbwaiter and a safe that was used for the silverware (“It now holds wine and cereal, ” Judy informed me). Judy pointed to the upper level of the pantry, indicating that this was where the housekeeper’s office was so that she could keep an eye on the other servants through the partition. In the year 1920, the mansion was home to five family members and thirteen servants. The building has a fascinating history. It was completed in 1916 and housed a debutante ball in 1917. It was designed for Edith Shepard Fabbri, the granddaughter of Cornelius Vanderbilt. Edith married Ernesto Fabbri, a wealthy Italian, which could explain why the house is designed with a very Italian eye. As I entered the dining room, with the vaulted, round stone of an Italian villa, Judy suggested that the House of the Redeemer may be the only building in New York designed in the style of an Italian Palazzo. The dining room, which is now called “the refectory”, is decorated with eighteenth century paintings that have each been appraised by Sotheby's. In 1949, after being inspired by a sermon, Edith Fabbri donated the house to the Episcopal Church to be used as a religious retreat house, giving it the name “House of the Redeemer. ” Nuns occupied the building from 1950 to 1980, until they were unable to handle the finances, and then a secular staff was brought in to take care of the building's affairs. One of the biggest ways in which the house has earned an income is by renting out the rooms to television and movie producers. Judy revealed that a wide variety of shows have shot scenes here, including Law and Order, The Good Wife, Burn After Reading, and the Nanny Diaries. The House is particularly attractive to PBS – the network has conducted many interviews in the historic rooms. Judy assured me that she takes each request very seriously and is always sure to show the house in a good light. Continuing our walk into another room, we entered the salon, which was set up for a bible study. The walls, I learned, had, at one time, been covered in red fabric. A large portrait of Edith Fabbri dominates the space, but the real centerpiece is the ceiling. Judy said that academics from the Frick, the Metropolitan Museum of Art, and Columbia University had all come to study the ceiling and had discovered that it came from the same exact part of Italy as the fixtures in their library. Judy then took me into the Chapel - originally the family’s living room. “The light in here at 3: 30 is unbelievable, ” Judy assured me, and I could see why, as the room was surrounded by large windows. As in the salon, the exquisite ceiling was transported from Italy. I was surprised to learn, however, that the triptych at the front of the room was not an antique, but was created by one of their board members. The library was our next stop, and I found it to be the most awe-inspiring part of the house. Not only is the two-tiered enclosure absolutely stunning, but it was also incredibly high-tech considering the year that it was built. The fixtures in the room had been dismantled from a castle on the outskirts of Urbino and shipped to New York in the middle of World War I. The pieces were sent on two boats, because if one boat was torpedoed, the artists would still have half the room from which to replicate the rest. The library is filled with hidden compartments, including one that leads to the servant’s elevator. Along the upper bookshelf, there is a hidden crawl space that some believe may have been where the family hid alcohol during Prohibition. Opening another secret panel, Judy announced, “I like to call this their stereo system. ” Inside were the rolls for a player organ, and the pipes for the organ are hidden behind the bookshelves. The clever engineering did not stop there: behind the main body of the organ is the original projector room. Early movies would be projected onto a sailcloth while someone played music on an organ. Music is still an important part of this room: the Fabbri concert series, which was started by board members as “a way of opening the house to others, since it was a very closed environment, ” takes place here every year. As we returned to the entrance, Judy pointed into the courtyard, showing us where there would have been a massive turntable to help turn around the motorcars, the early models of which only went forwards. I was shocked at how innovative the designs for the original house were. “This is a living museum, ” Judy agreed. She has worked at the House of the Redeemer since the early 2000s, so she has formed a fond attachment to the structure. “It is mostly a very peaceful place, ” and then reminded me that the House is always willing to give walking tours by appointment – something I highly recommend.
Peridance Capezio Center is a mecca for dance in NYC, fostering the arts in the local and international dance communities, for over 30 years. Peridance offers multiple platforms for dancers and non-dancers alike, including more than 250 weekly open classes, a Professional Training Programs, an F-1 Visa Program for International Students, and The School at Peridance - a comprehensive children and teen program. Their adult open classes are offered in all styles and levels, from Absolute Beginner to Advanced. Peridance Capezio Center is also home to the professional dance company, Peridance Contemporary Dance Company and its affiliated Peridance Youth Ensemble. In conjunction with their renowned faculty and partners (Capezio, Djoniba Dance Centre, Limón Dance Company, Baila Society, and Dance Informa), Peridance has gained an international reputation for the programs it offers. The Center is housed in a beautiful landmark building featuring six spacious studios, The Salvatore Capezio Theater, the Peridance Coffee Shop, and the Capezio dance-wear Boutique. One afternoon, I had the privilege of stopping by the Peridance Capezio Center to observe their students training. I witnessed the explosive athleticism and technical discipline at play in Shannon Gillen’s Advanced Contemporary class, as students tested the strength of their bodies in an array of conditioning and floor exercises. Later, in the large upstairs Studio 1, bathed in the sun’s rays from the skylights above, I watched as dancers chasséd and pirouetted across the room in Breton Tyner-Bryan’s Advanced-Intermediate Ballet class. I would not be surprised to find any one of these talented performers on stage someday.