Roundabout Theatre Company at Studio 54

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.

Since it opened in 1921 as the Ritz, the Walter Kerr Theatre has had an extensive history of owners with many openings and closings along the way. After a two million dollar renovation in 1990, and given yet another name to honor the theater critic - Walter Kerr - it has hosted countless Tony-award winning shows and, this time, seems to be having a nice long run.

The Forrest Theatre opened its doors in 1925. In honor of the only American playwright to receive the Nobel Prize for Literature, the name was changed in 1959 to the Eugene O'Neill Theatre. Although many of the first shows to open were unsuccessful and relatively short-lived, the theater today is home to the exceptionally successful Book of Mormon.

It's her first venture in Manhattan and she's had to pick up some new skills along the way too, but hospitality veteran Nicola Campbell is feeling right at home in Hell's Kitchen as she opens brand-new Jamaican eatery Cafe 424 on W54th Street between 9th and 10th Avenue. Currently in soft-launch mode and open from Wednesday to Saturday 10am to 7pm, the team at Cafe 424 are planning a grand opening September 15 to 17, after which they will operate from 8am to 10pm Wednesday through Saturday, serving Jamaican-themed pastries, coffee, lunch and dinner. Nicola, known as “Chef Mom” grew up in Willowdene Estates in the parish of St Catherine, Jamaica, where she learned to cook alongside her grandmother. “I used to be in the kitchen with my grandma all the time, ” said Nicola. “Back then I didn’t love it — it felt like punishment, but as I got older I realized that I had natural talent. ”She moved to New York City in 1999, opening several Caribbean restaurants in Queens and earning a degree from the prestigious Institute of Culinary Education. “I started using the skill sets that I got from my grandmother, ” said Nicola. “I decided to go to culinary school to sharpen those skills, and the rest is history. ” Her professional nickname “came from culinary school and when I was graduated — my kids said, ‘What should we call you now? ’” All of her children have helped with the business through the years, including daughter Zhana Clacken, who works as her partner and technology expert at Cafe 424. After closing one restaurant in Long Island City due to damage from Hurricane Sandy and selling another establishment in Jamaica, Queens in 2016, “I swore that I would never do this again, ” said Nicola. But when she got the chance to collaborate with non-profit co-op Prime Produce, an organization dedicated to supporting entrepreneurs and artists with their multi-use space on W54th Street, Nicola decided to take the leap. “I met these fabulous people from Prime Produce who want to do good in the world, ” said Nicola. “Why wouldn’t I want to be a part of it? ”After signing on as the organization’s in-house concession provider and operator of the public-facing café, the next challenge for Nicola was to build the kind of environment that she hoped would attract regular neighborhood patrons. “We wanted to create a homey, relaxed vibe, ” she said. “We want you to stay — we offer free WiFi so that you can come on down and chill with us. ”Used to commercial kitchens, she was happy to find a convection oven to fit the smaller space, allowing her to develop a full menu of breakfast, lunch and dinner options cooked onsite. “I'm used to a full kitchen, ” said Nicola. “But from experience working in colleges and hotels, restaurants and catering, I've had to pull all those things together. ”Nicola and her team are happy to be able to offer freshly-baked, in-house seasonal pastries, including treats like apple pies, bread pudding and, come holiday time, a rum raisin fruit cake featuring raisins that Nicola has been lovingly tending to and soaking for five years. For lunch and dinner, she’s developed a small, constantly rotating seasonal menu with Jamaican classics like jerk chicken, oxtails, curry goat, seafood and jerk fried rice. Everything is cooked to order and they offer vegan options in their lunch, dinner and dessert menus. The process has allowed Nicola to experiment with Jamaican fusion cuisine, she added. “I try to mix up my Jamaican side and my culinary-training side and bring a little bit of French and a little bit of Italian-style to different dishes — oxtail cooked French-style and combinations like that. ” But when it came to creating the café’s beverage program, Nicola had a lot to learn. “I was challenged because I've never actually done a coffee shop before, ” she said. She got to work researching the coffee brewing process, and landed on using premium Jamaican Blue Mountain Coffee for the café’s offerings. “I wanted specifically to stay true to my heritage, and Jamaican Blue Mountain Coffee is what I was raised on — growing up back home in Jamaica with my grandmother, that's all we used to have, ” she said. “I wanted to go back to that tradition, so I went to a company called Jamrock Coffee to work with them and try different roasts. We’re offering dark roast because that's where the flavors were the most intense. ” Working with head barista Dovi Akouete, Nicola trained herself on the art of brewing, and proudly declares that while “it used to just be coffee to me, I learned so much about the beans and the roasting process and making these drinks that now I really know the difference between a Macchiato and a Cappuccino. ”Nicola is so well-versed that she’s proud to offer fully-customizable drinks (and dishes) based on a customer’s needs. “If you’re hungry or thirsty for something, we’ll make you a drink or dish especially for you, ” she added. “We don’t want to be cookie-cutter and we consider ourselves a boutique, niche café. ” Keeping in the spirit of experimentation, Nicola hopes to implement a private chef’s table tasting menu every Sunday starting in October, featuring a four-course, prix fixe menu perfect for group gatherings and special events. Nicola is excited for the road ahead, and bolstered by the amount of community support already shown to the café. “People are super excited we’re here, ” she said, just as several Hell’s Kitchen residents walked by and shouted “We can’t wait to come by! Welcome! ”. Reception from the local business community has also been warm, added Nicola — they’ve already connected with the owners of Jaz Indian Cuisine and Mamasita. “It’s on our list to circle all of the nearby businesses, ” she added. “It’s all about unity — we can’t do this alone, and that’s our model with Prime Produce too. We are a strong team, not just as a café, but as a community and a co-op. It’s all about team members. ” For now, Chef Mom is focusing on the lead up to their official opening weekend, and taking in the joyful, fast-paced energy of all it entails. “It’s a lovely space, with great people and a great mission, ” she said. “I’ve never operated in Manhattan, and this is a lovely neighborhood, so I was open to taking on the challenge, and as they would say, ‘jumping off the cliff! ’” This story originally appeared on W42ST. nyc as "Enjoy a Flavor of Jamaican Cuisine and Hospitality as Cafe 424 Opens in Hell's Kitchen" in August 2022.

The building that houses Flute Bar & Lounge was once home to a speakeasy called Club Intime, run by the notorious chorus girl Texas Guinan. Today, Flute's owners pay homage to their predecessors with 1920's music and drinks served in mugs, as was the custom during Prohibition. The underground champagne bar has no windows and dim lighting, and its seating - plush sofas and ottomans clustered around low tables - give it a far more intimate feel than a traditional lounge. With countless brands from which to choose, champagne may be the focus, but Flute also serves a wide variety of cocktails - many of which feature champagne - and small accompanying food plates. Texas Guinan once called the speakeasy business an "essential and basic industry. " Though her Club Intime was shut down after only six months in business, she would certainly be heartened that its spirit lives on in Flute today - especially on the last Saturday of each month when Wit's End celebrates jazz music and dancing with an assortment of talent.

The Neighborhood Playhouse is both a great community resource and an old-fashioned reminder of the timelessness of great theater. Virtually invisible from the street, the only clue to its existence is a red, unmarked door and a modest sign. Once inside, however, I discovered that this almost one hundred year old building holds within it a proscenium theater, a full-size dance studio, and plenty of dressing rooms and classrooms. What a fascinating tour I was treated to by Emily Duncan, the admissions administrator, where I learned about their history and mission. The lobby, with its shabby elegance, features photos of famous graduates, as well as scenes from plays over the course of the school's history. The top two floors of the building are devoted to a beautiful dance studio with wood floors and soaring ceilings. A lover of dance, I was particularly moved when Emily announced that I was standing in the former domain of dancer and choreographer, Martha Graham, who taught at the Neighborhood Playhouse alongside actor and teacher, Sanford Meisner. I was also enrapt by Christine Cirker, the librarian, who proudly discussed their vast collection of plays and theatre criticism. Incredibly knowledgeable and passionate about the world of theater, she told me that she also teaches classes on script interpretation. Christine went on to explain the playhouse's claim to fame: the Meisner Technique, a method of acting that emphasizes that one should "live truthfully under given imaginary circumstances. " Sanford Meisner developed his famous improvisation-based technique at the Playhouse in the mid-1940s, which continues to train actors to this day. It counts among its list of prominent alumni names: Gregory Peck, Robert Duvall and Steve McQueen; and more recently, it has added to its roster, Allison Janney and Chris Noth. The playhouse trains about one hundred students at any given time, seventy-five first-years and twenty-five second-years who have been invited back as a result of a unanimous faculty vote. According to Emily, graduates have an easier time finding work than most aspiring actors due to their alma mater's extensive network of influential writers, directors, and actors. Much of the faculty is closely involved in the theater world, and as Pamela Moller Kareman, the playhouse's executive director, shared, "It's a big leap to become a professional actor; we want people to know that you can do this with your life. " And from the time that I spent here, it became apparent that the staff at Neighborhood Playhouse is there to guide and support students every step of the way.

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.

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 recently reopened Gallagher's Steakhouse is a New York classic. Founded by Helen Gallagher in 1927 as a speakeasy, Gallagher's was a favorite watering hole of writers, showgirls, and businessmen. In 2013, after Gallagher's announced its imminent closing, the restaurateur Dean Poll (owner of the Loeb Boathouse in Central Park) bought the legendary steakhouse and shut it down temporarily to undertake sweeping renovations. In February 2014, Gallagher's reopened with a new menu and an updated interior. The newly glass-fronted kitchen allows patrons to watch the chefs work their magic, offering tantalizing views of the charcoal burning ovens where huge slabs of steak sizzle. The old-fashioned bar is another highlight, inviting guests to linger over drinks while sitting atop burgundy barstools. The bartenders – many of whom have been working at Gallagher's for more than twenty years – serve classic cocktails along with stories of how in its speakeasy days, visitors would order "the other soup" and receive a soup cup filled with alcohol.

"Practice! " has been the immediate, entertaining response when asked how to get to Carnegie Hall - at least for its would-be performers. For the rest of us, the formal entrance to the concert hall is either on Seventh Avenue or 57th Street. Carnegie Hall has been a premier concert destination since 1891. Designated a National Historic Landmark in 1962, the building is a stunning ode to Italian Renaissance architecture and boasts excellent acoustics. A New York City icon, the hall continues to attract classically trained and modern musicians from the world over, including the Beatles who performed two shows during their first trip to the United States.