Fifth Avenue Presbyterian Church

While the lineups at Radio City Music Hall have changed dramatically over the years, the "Showplace of the Nation" has long been at the center of the city's entertainment scene. Opened to the public in 1932, the Art Deco building, with almost six thousand seats, was initially intended to "house high-class variety entertainment. " However, the space was later converted to a movie hall, with films accompanied by stage shows. This lasted until 1979 when, for a variety of reasons, Radio City began transitioning into a concert hall. Besides consistently booking some of music's hottest stars, Radio City has also hosted numerous award shows, including The Grammys and The Tony Awards and is the home to the Radio City Christmas Spectacular featuring the Rockettes, a tradition that commenced in 1933.

This three-tiered observation deck at the top of Rockefeller Center offers an unobstructed 360-degree panoramic view of New York and beyond. Its view is somewhat different from that of the Empire State Building as one is at eye-level with surrounding skyscrapers, rather than gazing down upon them. Opened in 1933, it was designed to resemble the upper decks of a 1930s ocean liner. When Top of the Rock reopened in 2005 – after having been closed since 1986 – my family was one of the first to ascend to the 70th floor, as it held special memories for my parents when they were dating back in the 1940s. It has since become a favorite tourist stop for me when out-of-town guests are visiting. With its mezzanine photo exhibit and other items of interest on the way to the top, what a phenomenal place to wow people of any age and to begin their journey through the side streets of Manhattan.

One of the oldest congregations (not only in the city, but the country as well), Central Synagogue has been operating out of the same building since 1872. The interior, constructed in the Moorish style by a Jewish architect, Henry Fernbach, appears to be straight out of Central Europe, dappled with colored light twinkling in from the stained glass windows. Right off of the heavily trafficked Lexington Avenue, the calm interior of the synagogue inspires something approaching awe. Many New Yorkers will remember the horrific fire that destroyed much of the building in 1998. Not only did New Yorkers offer support, but so did people from around the world, as they came together in an effort to aid members of this magnificent synagogue. The synagogue reopened its doors in 2001, and today there appears to be no sign of the previous ruination. The Manhattan Sideways team joins me in encouraging people to visit: Tours are given on Wednesdays at 12: 45pm, and it is additionally open to the public on Tuesdays from 12pm-2pm.

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.

While the lineups at Radio City Music Hall have changed dramatically over the years, the "Showplace of the Nation" has long been at the center of the city's entertainment scene. Opened to the public in 1932, the Art Deco building, with almost six thousand seats, was initially intended to "house high-class variety entertainment. " However, the space was later converted to a movie hall, with films accompanied by stage shows. This lasted until 1979 when, for a variety of reasons, Radio City began transitioning into a concert hall. Besides consistently booking some of music's hottest stars, Radio City has also hosted numerous award shows, including The Grammys and The Tony Awards and is the home to the Radio City Christmas Spectacular featuring the Rockettes, a tradition that commenced in 1933.

The Manhattan Sideways team is always excited when they discover a shop that specializes in chocolate. On this particular day, we were also delighted to spend some time chatting with owner, Kamila Myzel. We learned that this heavenly little store has resided on 55th for over two decades, and has an old-fashioned candy shop charm to it. Kamila makes every effort to be sure that anyone who steps inside her door feels welcome, and she went on to say that she uses her grandma's recipes for the many different sweets she sells. She bakes all the cookies herself, right on the premises, with her signature being the "Ultimate Cookie, " a chocolate chip cookie that is then dipped in chocolate. Like many of the store's confectionary delights, Kamila is from Europe; she moved from Poland in 1981, and worked in a few other shops with sweet treats before opening this one. Licorice is a specialty at Myzel's, and Kamila explained to us that she carries over 130 different types of licorice made from licorice root that their loyal customers adore. On one of my visits, Myzel's was decked out for Halloween, with candied skulls, pumpkins, and a number of other appropriate decorations squeezed into every nook and cranny. Apparently, Kamila decorates extensively for each major holiday, but she said her personal favorite is Thanksgiving, as it has the "most sincere meaning. " Myzel's even makes chocolate turkeys for the occasion! Until recently, Kamila had a partner with whom she decorated, baked, and ran the store: her mother, Lucy. The mother/daughter team worked together in the sweet shop until the summer of 2015, when Lucy sadly passed away. We had the pleasure of meeting Lucy and seeing the love and devotion that the two women had both for the store and each other. What we derived from our conversations with Kamila was the joy the store brought to her and her mom over the years. Together they have put so much thought and love into Myzel’s Chocolate, and it is clear that her mother lives on in the warmth, color, and happiness that the store evokes. “It’s what’s inside that matters, ” Kamila insisted as she spoke about how much she loves connecting with people through sharing candies and sweet treats with them.

Named after a gangster-turned-reformist, a Robin Hood-like figure who redistributed wealth from the rich to the poor, Tanner Smith’s Bar espouses the message that even those most seemingly set in their ways, as the old-school Irish, can reform. And Tanner Smith’s is certainly far from the stereotypical old-school Irish bars that saturate the city streets. The upper floor of Tanner Smith’s is light and laid back, serving mostly craft beers. There is a mix of wooden structures, shiny surfaces, and weathered brick walls. Downstairs, Winona bar, named after a former nightclub under the same ownership, is an entirely different venue with a separate sound system and dimmer lighting. A mix of whim and history, the accents throughout the bar play on an Alice-and-Wonderland-meets-prohibition aesthetic with cute teacups, an intriguing gin bathtub structure, old New York maps, mounted farm animal heads, and alcoholic paraphernalia like whiskey barrels protruding from the wall. The drinks, too, are spectacular, from classic mixes to standard beer brands to unique specialty drinks, and everything in-between. Guests can order them any way they want to without pretension - a Bud Light at the cocktail bar goes unquestioned. And the food menu, featuring a craze-inducing battered-and-fried eggplant chip with a honey drizzle, is more than sufficient on its own. Any eggplant-averted soul will discover a newfound appreciation for the underrated veggie in these crispy bites. But it is not the decorations, inventive drinks, nor impressive layout of this grand Midtown West speakeasy that make Tanner Smith’s a happening spot. While all of these factors, primed and cohesive, greatly compliment the magnificence of the bar, its finest attribute are the dynamic people who work here, committed to making each night a special one. The bar consultant to Tanner Smith’s, Kevin, started out collecting glasses for a nightclub in Ireland at the ripe age of thirteen, and has never left the bar scene. He ventured to America to promote a whiskey brand, Glendalough, which has since taken off. Kevin had also been to every New York City bar we threw at him, so when he told us why this spot stood out, we listened. “We are an entertainment-based bar, ” he explained, “I serve booze - that is literally living the dream. I give people a fun night. ” Sitting bar side on a Thursday afternoon-turned-evening as the space gradually filled up, these words rang more and more true for the fellow Manhattan Sideways members and me. This bar is not about being high-end, but about fun, about “lighting things on fire. ” Literally. Watching Kevin smoke a barrel-aged stevedore cocktail by using a “smoking gun” filled with bourbon-soaked oak chips was a mesmerizing sight. The effect took out some of the drink’s sweetness, and the longer the smoking goes on, the bitterer the drink becomes. The key lime pie martini I tried - citrus vodka mixed with lemon syrup, lemon preserve, and passion fruit, and topped with a smoked meringue - was superb, but the contagious vibes Kevin and the rest of the playful staff gave off made it memorable. “If you want a great drink, you can have a great drink, ” Kevin shared with me, “but, in addition to the alcoholic beverages, this is a place where all the employees are always happy. ”There is no doubt that Tanner Smith's is helping to redefine the city’s standards of bar service, and, therefore, no small wonder that they already have regulars after only being open for a few short months.

Engaging in conversation with Barbara Gerber-Krasner, the president of Or Olam, I learned that they have not always been on 55th Street. The synagogue, founded in 1906, started out in a storefront on Second Avenue. The congregation, known then as B'nei Leive, came to its current site in 1916. The building dates from the 1870s, and was originally a Baptist church. Barbara explained that, though the ceiling is now "acoustical, " if one were to remove it they would see "the normal structure of a church ceiling. " Originally an Orthodox congregation, in 1966 it became Conservative, followed by the hiring of long time Rabbi Reuven Siegel, who served for over forty years. Upon his arrival, he brought the stain glass windows - representing the twelve tribes of Israel and other Jewish symbols - from the Bronx synagogue where he had been. The congregation remains Conservative and was renamed to Or Olam (Everlasting Light) in 2012. Today, the synagogue's focus is on their older congregants, "empty-nesters" in their 50s or 60s, and suburban transplants. "They want to be able to listen to an adult sermon, " Barbara explained. Though Rabbi Ephraim Pelcovits leads weekly study classes on Torah and Jewish law where "everyone is welcome to attend, " Or Olam does not offer a children's education program. Instead, they encourage families to enroll in the courses offered through the 92nd Street Y. Generally speaking, Barbara characterized Or Olam as "a very open congregation. " A number of members are married to non-Jewish spouses who attend services with them, and Or Olam is home to an active LGBT community. Barbara told me, in no uncertain terms, that at Or Olam, "we don't have cliques. " New members are welcomed with open arms, and are often given aliyot - the opportunity to read from a Torah scroll in front of the congregation - their first time in the synagogue. Or Olam also offers financial assistance to younger congregants through a program called The Legacy Campaign, another way in which they hope to not have to turn anyone away. "So far we've been managing, " Barbara said. "We hope we can continue. "

While walking along 55th Street, a bright pink and white awning caught my attention. The entrance beneath the canopy was marked with a sign that said “A La Mode” with the 'A's and 'O' stacked like ice cream scoops. Inside was a cute handmade ice cream shop that could be the setting of an Eloise story. Catering to those with nut and dairy allergies, A La Mode is also a quaint, yet spacious boutique that sells children’s clothes, shoes, and toys. Additionally, the ice cream store hosts storytelling and seasonal arts and crafts events throughout the year. “We just always loved the space and so we decided to finally buy it and make A La Mode! ” said Sandy Roth, the California children’s clothing designer who founded A La Mode in 2015. The A La Mode team is also composed of her husband Marc and friend Marie Ann, both of whom are equally devoted to the business and love the work they do. The handmade, nut-free ice cream is created by Marc, who trained at the Ice Cream university in Switzerland. The Manhattan Sideways Team was given a chance to sample a few of his innovative flavors, including bubble gum and vanilla pretzel crunch. There are also always three dairy-free flavors available: chocolate, vanilla, and a rotating third flavor. A la Mode has various ice cream sizes, including a little three-inch scoop for $1. 50 that is perfect for toddlers. “It’s great to experiment with the flavors. When seasons come around we try to change it up, ” Marc told me, adding, “Right now Salted Caramel is one of our big sellers. ” A La Mode also distributes its ice cream to local ice cream stores and supermarkets. The family friendly location and the nearby schools have given A La Mode a lot of successful business, to the point where no advertisement was needed. Their events during after-school hours include music events in collaboration with ABC Do-Re-Me!, a program that provides music classes that kids and parents can both enjoy. Sandy has become a recognizable neighborhood face, to the point where young children see her on the street and say, "That's the ice cream girl! " “We have a lot of after-school rush, and its great because they can also see that we also do events and not just ice cream, ” she pointed out. She hopes that A La Mode will eventually expand, maybe even to California, where she still spends time working. “I will be living in Texas soon, ” says Marie Ann, “But I will be still involved. Maybe we can open a location there too! ” Their future plans look bright and cheery, just like their store.

As we walked into Christ Church, one of the members of the Sideways team commented, "Sometimes it's good to feel small, and that's exactly how I feel right now. " The United Methodist congregation has called Park Avenue home since 1929. In shades of gold and deep blues, the stunning metallic, mosaicked ceiling supported by towering marble columns glistened over our heads. The tiled patterns, however, were not completed until 1949, due to World War II. High on the walls, larger-than-life icons stared down upon us as we sat in the rows of traditional wooden pews for prayer and meditation. Despite the sheer size of the sanctuary, we did not feel intimidated or unwelcome; rather, a sense of peace and calm came over each of us, making this the perfect haven for rest in the midst of the bustling streets of the Upper East Side.

As a proud New Yorker for many years, I would always stop by St. Patrick's Cathedral while showing visitors the city. After walking all of the side streets on the Manhattan grid, I have discovered many magnificent churches in New York. I am still incredibly moved, however, every time I step inside St. Pat's. For me, it possesses all the grandeur of a Western European cathedral, yet it is right here in the heart of Midtown. Home to the seat of the archbishop of the Roman Catholic Archdiocese of New York, St. Patrick's Cathedral was built between 1858 and 1878 (construction was halted during the Civil War). A National Landmark, it was designed by James Renwick Jr. in the image of a thirteenth-century-style Gothic church with flying buttresses snaking up the walls, supporting the almost 340-foot structure, it boasts beautiful stained glass windows that softly diffuse the afternoon light. In the fall of 2014, the church is halfway through their multi-year renovation and cleaning. Although the interior and exterior are currently covered in scaffolding, the church maintains its majestic appearance and generates exhilaration as its restored marble facing is meticulously unveiled from the spires downward.

Facing a dwindling congregation, increased costs, and an exterior in desperate need of renovation, Saint Peter's Church was razed in 1971. What rose from the ashes, however, was a structure that preserved all of the history and sanctity of the old church, built in 1905, while presenting an innovative, modern design. The new Saint Peter's is indeed a place of worship for the twenty-first century and beyond. The exterior looks nothing like a traditional church. In fact, if passers-by do not take the time to look closely at the lettering, they might not realize that St. Peter's houses one of New York's largest Lutheran congregations. The open, unadorned lobby gives few clues as to what lies beyond. The space is massive, beginning below ground and stretching up several stories to a soaring ceiling. It includes many rows of pews and even a full orchestra pit, where groups unaffiliated with the church are invited to practice and perform. In addition to the larger sanctuary, Saint Peter's second iteration offers a smaller private chapel designed by Louise Nevelson, the first American artist in the United States to have been chosen for this honor. My mother, an award-winning biographer, had the pleasure of interviewing and getting to know this grand woman of the twentieth century as she was writing Breaking Tradition: The Story of Louise Nevelson, published in 1984. To quote from Natalie S. Bober's biography on the Good Shepherd chapel: "the sculptures that suggest grapes and grain, the Trinity and the Apostles, the striking white and gold crucifix, the benches for meditation, even the priests' vestments, were all designed by Louise Nevelson. In the Chapel of the Good Shepherd she showed her tremendous versatility.... in the almost blindingly beautiful all-white chapel, an oasis of calm within the huge and bustling Citicorp Center. The tiny chapel, an oddly shaped five-sided room, seats only twenty-eight people in pews set herringbone fashion, instead of facing the altar. Each wall holds a typical Nevelson sculpture that manages to strike a delicate balance between religion and art. 'Why had a Russian-born Jewish artist been selected to design a Lutheran chapel in New York? ' the pastor of St. Peter's was asked. 'Because she's the greatest living American sculptor, ' was his reply. "A huge admirer of Dale Chihuly, I was exuberant when I discovered that St. Peter's also proudly displays original work by Mr. Chihuly, the American artist best known for his startling, brilliant glasswork. On permanent loan are two "Macchia" bowls safely placed in the senior pastor's office, as well as a striking painting that hangs in the outer office of the church for all to appreciate. The painting, done on the premises by Chihuly in 1994, is a study in vibrant reds and yellows. Apparently, he arranged a series of bowls ascending vertically in the church so that he could refer to them while sketching. Today, the only visual trace of the old St. Peter's is a large black and white photograph depicting the church as it stood in the early 1900s. The entire space, however, is suffused with its history. Though completely modern on the outside, its deep roots allow a continuity between New York's past and its present. The church has been in existence for over 150 years, and, no doubt, will continue to grow and adapt in the years to come.

In 1823, a group of prominent men joined together to form a new Episcopal church in New York. St. Thomas had a troubling history of fire and destruction until the consecration of its current building on 53rd and Fifth Avenue in 1913. Designed by Lee Lawrie and Bertram Goodhue - the same architecture team that is responsible for Saint Bartholomew on 50th Street and Park Avenue - St. Thomas is as magnificent as many English cathedrals. An avid fan of its limestone exterior, sandstone interior, French High Gothic Style, and stained glass windows, I have never missed an opportunity to step indoors to admire and appreciate this incredible work of art.