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by the Editorial Team at IN New York & Where Publications



That’s My Cue

June 19th, 2013 by Troy Segal, Senior Editor

What are three things NYC is not known for?

  1. downhill skiing
  2. desert storms
  3. barbecue

Geography and climate being what they are, the first two aren’t likely to change soon. But the third one—well, that’s a different story. The art of smoking and slow cooking meat may not be bred in the (rib) bone here, but the rapidly growing number of BBQ joints in town suggests a clientele clamoring for pulled pork and baby backs.

As does the popularity of the Big Apple Barbecue Block Party held June 8 & 9—an annual event in Madison Square Park for the past 11 years. It began at 11 AM, and by 11:01 AM, lines had formed around the 17 booths of ‘cue eateries from all around the country. Smoke and live music filled the air as folks patiently waited for smoked sausage or brisket sandwich or “whole hog” or, of course, ribs—beef or pork, in styles ranging from St. Louis to North Carolinian to Texan. Each vendor sold one dish, usually accompanied by a side—who knew there were so many versions of cole slaw? The savvy would grab something from a less-crowded stand, and chow down on it while standing in line at a more popular joint.

Some of the waits were fierce—especially for nationally renowned places—which may have worked to the detriment of those vendors. Big Bob Gibson Bar-B-Q’s pulled pork shoulder (from Alabama) seemed a little dry if not slathered with one of its two sauces. Not bad, more of a not-worth-the-wait kind of feeling. Conversely, the baby back ribs from Pappy’s Smokehouse—a St. Louis place whose stand was relatively unmobbed—were some of the best I’d ever had: the meat succulent and flavorful, with the just the right amount of an almost caramelized sauce, so you got that sweet-and-sour thing going on. I’d always considered myself a dry-rub kind of gal, but my allegiance may be shifting.

A few of New York’s own were smokin’ at the party too. I avoided them, because I can visit anytime, and so can you. Here they are, along with another joint (not at the party, but a personal favorite):

<< Hill Country, 30 W. 26th St., 212.255.4544. Terrific Texas-style (that’s dry rub) grub, served by the pound on brown butcher’s paper.

<< Dinosaur Bar-B-Que, 700 W. 125th St., 212.694.1777. Living proof that the Northeast offers great homegrown ‘cue, from a chain that started in upstate New York.

<<Blue Smoke, 116 E. 27th St., 212.447.7733. “Upscale” and “barbecue” aren’t a contradiction at this site, from legendary local restaurateur Danny Meyer, which also houses a jazz club.

<< Daisy May’s BBQ USA, 623 11th Ave., 212.977.1500. A classically trained chef turns his hand to barbecue—which could explain why the sides (so often an afterthought) are as good as the main event.

Inside Style

June 18th, 2013 by Carly Pifer

New York City can appear overwhelming at first. All these crazy tall buildings, it’s rare to get a peek into what’s really going on inside. Unless of course, that is, you’ve gained VIP access. On a Style Room tour with fashion industry professional Karen Parker O’Brien, you can experience the fashion world just as a buyer from Bergdorf’s would.

In more explicit terms, O’Brien will chaperone you and your friends on a tailor-made tour suited to your budget, taste, and agenda for your shopping experience, visiting several designer showrooms where you will have access to items at wholesale price. Many showrooms have the designer present, adding a wow-factor to your purchase, and all of them will exude an exclusivity that gives you the feeling of a high fashion editor. In a sense that’s exactly the access granted. While many items are available to purchase on the spot, some pre-season may need to be ordered, and could arrive before they land in stores. Certainly the perfect tour for those who like to return home with bragging rights, as well as those looking to share a special experience with family or friends. The only requirement is that everyone agrees on their dedication to shopping. That and, dress accordingly.

>> Style Room, 646.245.5316

Photo via tumblr.com

Wowed by the Whales

June 17th, 2013 by Lois Levine

There is a certain expectation in a visit to the American Museum of Natural History. Somewhere along the line, no matter what the exhibit is at this glorious museum, you know you are going to run into skulls, or bones, or some fossilized remains of an ancient creature/human. It is of course what defines this museum, devoted to human and animal cultural artifacts. The kind of museum that Indiana Jones would get lost in for hours, scribbling away furiously in his worn leathered notebook. The kind of museum that really makes you feel like you stepped into a time machine, dressed as an earnest anthropologist.

And so I walked into “Whales of the Deep” and I encountered, just as to be expected, skulls, and bones, and remains, but wow what skulls and bones and remains they were. Skulls the size of a small car that make your jaw drop: a life-size replica of the heart of a blue whale so big, you can literally crawl through it; a genuine skeleton of a male sperm whale measuring 58 feet long; and discovering that the most gigantic whales can weigh up to 1400 pounds, making you feel like you are having a very skinny day, indeed. It is at that moment when I realize how relatively small and at times insignificant the human race can be, when you look at the vast and complex spectrum of fossil history.

And then, I next felt the awe of evolution (something I have always been fascinated with). I discovered that whales actually started on land, but as the earth grew hotter and hotter, were drawn to the cool water and abundance of sea food at the shores, slowly adapting into aquatic mammals. They lost their external hind limbs; forelimbs developed into flippers and nostrils into blowholes. Although we all know how evolution works, learning how a creature of the earth can change and adapt so radically can’t help but make you feel there is some kind of magic at work here, something that even David Copperfield couldn’t pull off.

Those kind of moments at this museum, one of my favorite in the city, makes me fall silent, feel like a very small, and recent link on this giant chain of life on earth, and grateful that we have museums like this that keep us so connected to the world’s beginnings of life. >> American Museum of Natural History, Central Park West at W. 79th St., 212.769.5100

Intimate Exposure: Warhol at Christie’s

June 14th, 2013 by William Frierson, Senior Editorial Assistant

Everyone harbors a touch of Peeping Tom deep within. Whenever you steal a glance at that distracted yet desirable subway rider across the platform or gaze out from the hotel balcony onto the gallery of illuminated NYC windows, open and glowing like portals into strangers’ personal lives (this is your cue to rise from your seat and go close the blinds), that’s Tom rearing his big, fat head. It’s simply human nature to peer anonymously into another’s private sphere.

But you don’t have to keep your eye pressed to that keyhole any longer: Such creepy cravings are satisfied upon viewing the artworks that constitute Andy Warhol @ Christie’s: For Members Only: Eyes on the Guise (did you catch that pun?), an online auction that sheds light on the legendary pop-artist’s intimate world (thru Jun. 27). About 200 photographs, prints and drawings are up for grabs, many of which have never been exhibited. The majority are nostalgic, grainy Polaroids of nude male models—the kind of thing you’d expect to find in a secretive lover’s “memory box” (you know, the one he keeps under the bed, behind the winter sweaters). A high-octane sexuality runs through all the works, and there is something distinctly pornographic about the viewing experience: Intimate poses, unguarded nudity, animalistic aesthetics. But, as Warhol himself says, representations of intimacy often times beat the real thing: “Sex is more exciting on the screen and between the pages than between the sheets” (a debatable notion, for sure).

Start bidding now. These steamy pieces will sell like hot cakes.

>>Andy Warhol @ Christie’s: For Members Only: Eyes on the Guise, Christies Auction House Online, https://onlineonly.christies.com/s/andy-warhol-at-christies-for-members-only-eyes-on-the-guise/lots/7

10 Reasons to See “Reasons to Be Happy”

June 13th, 2013 by Francis Lewis, Executive Editor

1. Reasons to Be Happy is a play by Neil LaBute, who does double duty and also directs the world-premiere production at the Lucille Lortel Theatre.

2. Reasons to Be Happy is the follow-up play to LaBute’s 2009 Tony Award-nominated Reasons to Be Pretty. It’s three years later, and the two couples, Greg and Steph and Kent and Carly, have moved on. Or have they?

3. It’s not necessary to have seen (or read) Reasons to Be Pretty to appreciate Reasons to Be Happy. LaBute does a great job of economically setting up the situation and characters in the new play. Reasons to Be Happy stands on its own. But there’s no doubt it’s a richer experience, if you’re familiar with the companion piece.

4. The situation: Greg and Steph have broken up. Steph has married, but still yearns for Greg. Greg has taken up with Carly, Steph’s best friend, who has divorced Kent. Kent’s angry and jealous. Greg, who reads a lot of fiction (the classics), is now a substitute teacher with a view to becoming a full-time teacher. He’s willing to give a relationship with Steph, who has no interest in literature, another go. But can he? Carly, who has a child by Kent, is pregnant by Greg. This is a world of dead-end jobs, night shifts, unwanted pregnancies and crossed wires. Not exactly the stuff of which happily-ever-afters are made. Still, the characters and situation draw us in and keep us going for two and a half hours. Happiness, if it ever comes, won’t be easily won. And there will be a lot of talk. A lot of talk. And cursing.

5. The acting is uniformly on the money.

6. Josh Hamilton is Greg, a nice guy who can’t make up his mind, wants to please everyone and ends up pleasing no one, least of all himself. Hamilton does floppy hair to perfection. But beware of typecasting: Earlier in the season, he played Katie Holmes’ nice guy (read: passive) boyfriend in Dead Accounts on Broadway.

7. Jenna Fischer is potty-mouth Steph. Wow, what a volte-face from her character, Pam Beesly, on The Office. Girl on fire.

8. Leslie Bibb is Carly, a babe wrapped in the unbecoming uniform of a security guard in a factory. She’s cool and pragmatic.

9. Fred Weller is Kent, all muscle and inarticulate jock. He kicks his way around the stage. When he finally stands still and gives in to his emotions, you know this is a guy forever trapped in his limitations. He knows it, too. Ouch.

10. The ending is bittersweet (and not to be revealed here). Depressing? A bit, but in a really good way.

>> Reasons to Be Happy, MCC Theater at Lucille Lortel Theatre, 121 Christopher St., 212.352.3101. Limited engagement thru June 23.

A Word to the Wise

June 12th, 2013 by Carly Pifer

When you visit Wise Men, you may be surprised to find that the intimate East Village bar and restaurant is a well-kept secret set behind a facade featuring a full-blown vintage photograph of five Chinese women. In fact, Wise Men is full of pleasant surprises. Once you locate the place, which is at once obscure and obvious, subtly marked but with a striking storefront, you’ll enter the windowless room to find a welcoming, intoxicating glowy-red ambiance not unlike what you may imagine a late-night Hong Kong hot spot to look and feel like. Serving up classic cocktails with a fresh spin, such as Bee’s Knees and Sazerac, Wise Men also serves delicious small plates—the chicken wings are a must try and go nicely with bacon wrapped figs, oysters and fries with horseradish dipping sauce—making for bevvy and food pairings that equal a perfect start to any night Downtown.

The three wise women who opened Wise Men adopted the namesake from a 1970s steakhouse in Chinatown which was wildly successful and a favorite hangout for locals and tourists, hoping to achieve the same success. With their unique balance of ultra-friendly service and super hip vibes, they are making strides to becoming a serious fixture on the East Village circuit. A word to the wise—go there while it’s still (relatively) unknown.

>> Wise Men, 355 Bowery, 646.590.4244

The image on the entrance is from the collection of Betty Chin, owner of the original. Photo via wisemennyc.com

Family Value-less

June 11th, 2013 by Troy Segal, Senior Editor

David Morse and Rich Sommer in The Unavoidable Disapearance of Tom Durnin

I’ve been a Roundabout Theatre Company subscriber for nearly two decades now, and the joys of membership are many. One is getting a guaranteed seat to shows that often become the hottest tickets in town (as when Harry Connick Jr. made his Broadway debut in The Pajama Game). Another, conversely, is seeing a play—usually a new work, in the company’s Off-Broadway house, Laura Pels Theatre—that I probably wouldn’t have gone to on my own.

Case in point: the Laura Pels’ current production, The Unavoidable Disappearance of Tom Durnin, a beautifully written play by Steven Levenson. Unfolding in a series of fast-paced scenes, it sets up the story of Tom Durnin (David Morse, a fine veteran stage actor, though he’ll always be the idealistic young doctor from the TV series St. Elsewhere to me), a lawyer just released from prison. He’s trying to reconnect with his son (Christopher Denham), ex-wife (Lisa Emery) and son-in-law (Rich Sommer, aka Harry, the dweebish TV-ad exec on Mad Men). But it’s been five years, and their gut reaction is to treat him as forgotten, but not gone.

Although the play touches on several topical issues (stock-market manipulation, stagnant economy, unemployment), the focus is really on the relationships. What’s fascinating is the way your sympathies keep shifting from scene to scene, from Tom to a member of his family (almost every scene is a duet, most of them between Tom and someone). Are his relatives being hard and unforgiving, or understandably just trying to get on with their new lives? You feel for Tom as a victim, then squirm at the smooth-tongued way he manipulates others—and then wonder if, in fact, they could use some manipulating.

In short, a show that makes you think a bit—and wonder how you’d behave if placed in the characters’ situation. How nice it would be if all theatre were like that.

<< The Unavoidable Disappearance of Tom Durnin, Laura Pels Theatre, 111 W. 46th St., 212.719.1300, thru Aug. 25

Sleek and Fearless

June 10th, 2013 by Lois Levine

Sometimes, a woman simply needs to defrizz. And so that was my thinking when I recently walked into the Sahag workshop on Madison Avenue on a warm, muggy day. The aim: have a keratin express treatment and walk back out, sleek, shiny and fearless of of any future humidity. The salon is tucked away in an office building at 425 Madison, and when you walk into the salon (known as the “workshop”), you feel like you’ve entered some modernist version of a rainforest: huge granite rocks and lush greenery flank the entranceway; blowout and styling stations are anchored by poles resembling bamboo trees; mini-pebble streams in-between styling stations further the jungle/forest concept, and the pretty white stucco ceiling and clean white walls give the salon and overall peaceful, tropical feel. I was lucky enough to get treated by Doug, one of the major colorists and a stylist who clearly knows what he is doing (he instructed me on the best ways to give my hair body when flat-ironing (“iron up, not out,” he advised) and his blowout after the treatment had my hair looking fuller and shinier then…well, then I can remember. Hello, summer, here I come! >> Sahag Workshop, 425 Madison Ave., 2nd fl, 212.750.7772

Curry in ‘da Club

June 7th, 2013 by William Frierson, Senior Editorial Assistant

Sometimes you want a quaint, placid and serene dining experience, allowing you time to calmly and quietly re-nourish and recollect. Other times, you want some action.

Sea, a flashy Thai restaurant off Williamsburg’s bumping Bedford Ave., is for those latter moments. Stepping into the restaurant is like walking into a packed night club at 2 a.m.—thumping electronic music blasts from an elevated DJ booth to your right (as a slyly smiling man with headphones bops his head at the controls) while light reflects off of disco balls hanging overhead. Groups of dressed-to-go-out patrons gather by the bar, laughing and drinking. It’s a loud and busy place, but once inside, it’s hard not to feel like you’ve arrived at where all the action is going down. It simply feels alive. Contrasting with all the noise and excitement ias the restaurant’s centerpiece: an illuminated reflecting pool—with a single wooden boat bearing a bouquet of colorful flowers idling in the water—that extends out before a large statue of Siddhartha, calm and knowing as he surveys his terrain.

I sat alongside the water, next to a funky glowing table partition. The décor is decidedly bold and modern: a sleek, back-lit bar; mod egg chairs scattered about; colorful mood lighting; a swing hanging from chains in the ceiling. Even the bathrooms come in futuristic form: Instead of the traditional wash room, guests walk into an area sectioned off by heavy, metal beaded curtains where four “potty pods”—large, tiled cylindrical structures that make you feel like you’re expelling bodily waste in a space station—revolve around a communal sink. It may not be conventional, but it sure is novel. And, in a city that is always looking for the next best thing, novel is good.

The friendly servers (who you may or may not strain to hear above the bass-heavy din) are attentive and professional. And the food comes quick. A startlingly inexpensive menu (entrées average about $12) of curries, noodles, and chef specialties is vast and satisfying, with something for everyone (as long as you like Thai food, that is). Try the Malay Massaman curry and you won’t be disappointed: chunks of tender potato, peanuts, sautéed vegetables and slivers of tasty beef swim tantalizingly in a brown, sweet and sour broth. Portions are large (especially for the prices), so even the biggest of bellies will be sated.

I’m not usually overcome by the urge to eat Thai when I hear electro-dance music, but after my Sea experience, curry in ‘da club may just become a regular thing.

>>Sea, 114 N. 6th St., at Berry St., 1.718.384.8850

Drawing Conclusions

June 6th, 2013 by Francis Lewis, Executive Editor

The brilliant exhibition Old Masters, Newly Acquired proves (as if proof were needed) that The Morgan Library & Museum’s permanent collection of drawings made before 1900 is alive, well and growing—thanks to important gifts, generous bequests and judicious purchases.

More than 100 drawings are on view, and these include late-19th-century French works from Eugene V. Thaw, both gifts and promised gifts made since 2010. Standouts here are two small yet intensely evocative black-chalk self-portraits by Edgar Degas. Honoré Daumier’s “The Schoolmaster and the Drowning Child” turns the La Fontaine fable into a wonderfully droll morality in typical Daumier style (the schoolmaster’s holier-than-thou expression is priceless).

The Charles Ryskamp Bequest of Scandinavian and Northern European works is full of happy discoveries, including a sheet of Caspar David Friedrich “Cottage Studies.” Jean-Louis Forain’s “Men Groveling Before a Haughty Gentleman” from the Joseph F. McCrindle Bequest echoes the Daumier above in attitude and economy of execution.

The most pleasure for this viewer comes from a group of mainly British purchases on the Sunny Crawford von Bülow Fund. John Martin’s epic watercolor landscape with figure, “Diogenes Throwing Away His Cup;” “The Valley of Jehosaphat, Jerusalem” by the master of Holy Land scenes, David Roberts; and for those obsessed by Orientalism, as I am, John Frederick Lewis’ slice of Middle Eastern life, “A Bedouin Encampment at Gebel Tor in the Sinai Desert.” William Holman Hunt’s luminous small-scale “Landscape by Moonlight, Devon” sings with Pre-Raphaelite fervor.

Followers of New York society may be drawn to the handful of sheets from the estate of Mrs. Vincent (Brooke) Astor. The truth is—before this exhibition—most of us would only have seen Théodore Géricault’s handsome black chalk “Study of an Officer of the Guard, Seated” and Joseph Ducreux’s debonair “Portrait of a Gentleman” (Ducreux’s deft handling of black, brown, red and white chalk is masterful) if Mrs. Astor had invited us to tea or dinner.

Accompanying photographs show donors to this exhibit at home, surrounded by their beloved drawings, and in the case of Charles Ryskamp, practically engulfed by the fruits of his lifelong passion for the most intimate and immediate of artistic expressions. Once again, The Morgan scores a game-winning home run.

Old Masters, Newly Acquired is on view thru Aug. 11.

>> The Morgan Library & Museum, 225 Madison Ave., 212.685.0008