Opening in 1948, the Paris initially show-cased French cinema on its single screen. Today, the theater continues to include foreign films as a core element. The theater seats 586 people, and features a balcony, which is a rarity in modern cinemas. With no ads preceding the start of a film, the Paris Theatre opens up the curtain and offers a more classy and classic movie watching experience.
Members of the Manhattan Sideways team stood in awe when we entered the New York City Center and realized that the extraordinary exterior matched the majestic interior. One of the most beautiful facades on the side streets is here on 55th, but behind its doors is a restored treasure trove. Hawley Abelow and Stanford Makishi, two passionate personnel from the marketing and programming departments, greeted us as we arrived and proceeded to give us a behind-the-scenes tour of what they termed to be “The family business of performing arts centers of New York. ” Stanford called it the “most ‘un-corporate’ large venue” he has witnessed, and he and Hawley both have the credentials to make that judgment, having worked at Carnegie Hall and Lincoln Center. Both went on to say that even though they have to book acts with a certain amount of popularity in order to be financially viable, they are mainly concerned with what they put on the stage, rather than the profits. City Center also displays a refreshing lack of competitive spirit: “Other philanthropic programs are our colleagues, not competitors, ” Stanford explained, while detailing his amicable dealings with some of the big theaters in the city. We started out walking on the center stage itself, where we could stare out at the breathtaking view of the tiers of seating. Each level was an intricately carved masterpiece, reminiscent of a Russian cathedral. Stanford said that dancers, actors and musicians love performing at City Center because the theater is built so that every seat feels close to the stage. He told us that their left wing is legendary, as there is a wall only a few feet from the edge of the stage. Apparently every ballerina knows not to make extravagant leaps off the left side unless they have someone waiting to prevent them from smashing into the wall. Stanford is qualified to speak about the performer’s experience, since he was a dancer for many years, and City Center was the first New York location at which he danced. On our particular visit, the stage was getting set up for that evening's performance by Bjork. Though Hawley is not a dancer, her career has similarly come full circle: when we explored the downstairs theater spaces, used by the Women’s Project and Manhattan Theater Company, she relayed that she started in the Production department at Manhattan Theater Company. Though not as grand as the main performance space, the downstairs theaters are more versatile. Stage 2 appears to be a “black box” theater, in which producers have more freedom with how they decide to set up the audience seating and set. Stage 1, on the day we saw it, was completely bare. This is not to say it was empty: cords and lights and ladders filled the stage, showing us a surgical biopsy of the theater. “This is as raw as it gets, ” Hawley commented. We also had the privilege to peek into one of the City Center’s dance studios, where we observed men and women twisting like tilted windmills. Stanford and Hawley told us that the spaces, which are rented out to different companies, are heavily sought after because they are much larger than many studios in New York. Broadway casts covet them, but they often go to not-for-profit groups. “Broadway is not our priority, ” Hawley stated. There was a "throne" at the back of the room, which was originally built as an auditorium for the Ancient Arabic Order of the Nobles of the Mystic Shrine, an appendant body to the Freemasons. Stanford told us that they used to hold their secret meetings in the spaces that are now studios, and the man presiding would sit on the throne. It was when Stanford and Hawley began speaking about “Fall for Dance, ” an event that aims to bring the “highest quality dance to the largest possible audience, ” that they became especially animated. As Holly declared, “You can’t come to this show and not fall in love with dance. ” The performances take place in the early fall, and apparently people line up in the middle of the night to be first to purchase tickets when they go on sale the following morning. Our tour continued to the lobby, which reminded us of a receiving hall in a palace. The design is neo-Moorish with murals depicting desert scenes. Hawley remarked that the colorful, intricate designs had been painted over in white during the 1970s due to a misguided sense of aestheticism, but in the recent renovations, they hired specialists who uncovered the original design. At the same time, screens were installed that display rainbow rivulets. Stanford informed us that the video was specially curated by the Parrish Art Museum in Southampton. Another dazzling piece of art was a mural that stretched across an entire wall of the Patron’s Lobby. It was created by a Cuban artist, and had been borrowed to complement his country's dance troupe’s performance. “We try to make performances meaningful for the audiences, ” Sanford commented. Every element of the theater is in place to enhance what is on the stage.
The University Club is an exclusive sanctuary that does not allow nonmembers to have a look around during the middle of the day; but by striking up a conversation with the doorman and doing my own research, I was able to learn the history of this magnificent building on the corner of Fifth Avenue. The club is older than the building in which it currently resides: it was started by a group of primarily Yale alumni in 1861, and received its charter four years later. In 1899 it moved to 1 West 54th Street, where a nine-story Italian Renaissance Revival palace had been designed and built for the sole purpose of housing the club. The landmarked building features the seals of the oldest East Coast colleges etched into its stately exterior. Its interior is reportedly even more ornate, with soaring ceilings, a reading room, an extensive library collection, and an impressive private art gallery. The club maintains an active member base today, as well as hosting weddings and benefits in its massive dining hall. Unfortunately, tourists will be forced to inspect the club's incredible architecture from the sidewalk and imagine the opulence within.
At the heart of midtown, St. Regis New York asserts itself with a resplendent flourish. This hotel's stately facade and gleaming lobby are trumpeters of a legacy that began in 1904 with the inspiration of Colonel John Jacob Astor I - a man whose place in the elite high society of Gilded Age America has not been forgotten. Simply by stepping inside, St. Regis immediately declares itself a veritable symbol of luxury, elegance and historic status. Those who seek the royal treatment will find a haven in the 229-room hotel, which upholds exceptional service as a foremost column of its prestige. Its signature Butler Service promises constant personalized attention; butlers pack and unpack luggage, perform wake-up calls, press clothes, deliver items, and attend to any number of other tailored requests for their customers. Through its more than century-long history, the hotel has hosted celebrities of every era. Marilyn Monroe was one of the most glamorous to visit, while Marlene Dietrich, William Paley, and Salvador Dalí - with his wife and pet ocelot - lived at the hotel for extended periods. But St. Regis New York is not exclusively a nest of the rich and famous. The more common among us in search of an impressive site for weddings and other exceptional occasions may find the coveted taste of specialness in this establishment. Even I had the honor of walking down the aisle in their magnificent ballroom in 1980, when I was a bridesmaid for one of my dearest friends.
This historic hotel was built in 1926 and has seen everyone from Tallulah Bankhead to Joe DiMaggio pass through its doors. After World War II, it was redesigned to allow each room to be unique, and suites were named after their famous occupants. Marlon Brando called Sayonara Suite home; Tennessee Williams lived - and died - in the infamous Sunset Suite. Today, customers can enjoy the lavish rooms and eclectic history of the hotel, and dine at the Monkey Bar, located just next door.
Beautifully decorated for the holiday season, Bistro Vendome was still abuzz with chatter when the Manhattan Sideways team stopped by at the tail end of lunch hour to meet with the delightful owner, Virginie Petiteau. Although she and her husband Pascal, who is the executive chef, hail from Brittany, France, they met in New York, where they both worked at Jubilee, a French restaurant on First Avenue. After fifteen years there, Virginie said they felt ready to open their own place. She told us that it was great to already have a base of customers in the area that knew and supported them when they opened Bistro Vendome in 2010. And she was pleased to tell us that they have maintained a loyal clientele ever since. As Virginie put it: "Some people who come here saw me when I was pregnant, and now my daughter is fourteen. "Pascal started working at high-end French restaurants in France at an early age. After coming to New York, he decided to focus on more casual French food. In 2014, he was inducted as Master Chef in Mątres Cuisiniers de France, a prestigious organization aiming "to preserve and spread the French culinary arts, encourage training in cuisine, and assist professional development. " An unusual occurrence continued to happen as we resumed our walking on 58th, as so many other businesses told us that they eat at Bistro Vendome on a regular basis because the food was as traditionally French as one could hope for in Manhattan.
Trendy, immense, packed at any hour and serving intriguing Pan-Asian food, Tao has been a sensation on 58th since opening its doors in 2000. Stepping inside, one cannot help but immediately feel transported to a different world. The interior design is exceptionally meticulous with beautiful calligraphy scrolls adorning the high ceilings, and a sixteen foot massive Buddha sculpture taking center stage down below. Despite the frenetic atmosphere, I have found Tao to be a fun restaurant to dine with friends and to enjoy an excellent meal.