E H C I S H ART by Paul Laster and Alexandra Peers OPERA by Zachary Woolfe A I C S S E THEATER by Kimberly Kaye, Jesse Oxfeld and Robert J. Hughes J Y B TELEVISION BOOKS N by Christopher Rosen by Christian Lorentzen I O T A R T MUSIC by Michael H. Miller MOVIES by Sara Vilkomerson S U L I L
u r 5 . e o g e S e p a Have a snappy Halloween! o n a d
Learn about this month’s tricks and treats at AddamsBroadway.com/events Ticketmaster.com (877) 250-2929 • Groups (877) ADDAMS1 • Lunt-Fontanne Theatre, 205 West 46th St. FALL ARTS PREVIEW Editor’s Note The New York Observer | 2
Season 2010–2011 fall season opens october 27
new production/ny premiere Leonard bernstein/Stephen wadsworth a quiet place october 27–November 21
r y e l a G s k r a M w e h t a M , r e t u l p Finally, u S c d e l t t i n U , y a R s e l r a h C © a Bold “One of Bernstein’s most impressive scores.” —Gramophone Bernstein’s final stage work receives its long-awaited New York premiere in a new production by visionary director Christopher Alden. This emotionally searing musical drama explores the alienation, strife, and reconciliation found in a dysfunctional American family. Season for richard Strauss intermezzo october 31–November 20 the Arts
ig names are back on the New York culture scene.
. c Whether it’s Spider-Man and Pacino I n , e n d r B o B on Broadway or a new diva and two new t e n a J , l s operas at the Met, this season is about the return of l a W d e c a panache after years of economic-bred hesitation. r o B e h T This time last year, bold bets were rare, as , y e r n a B producers and curators and directors didn’t know a i n T © whether their investments would pay off, so they “Delicate and delicious … an irresistable triumph.” — Opera Magazine didn’t take risks. In the spring, the cultural deep Leon Major’s lighthearted production highlights the c ontrast between conversational vignettes and lush orchestral interludes in this rarely performed freeze began a slow thaw, mostly through the rise of domestic comedy, based on real incidents from Strauss’s own marriage. fresh new voices. lucky to be me: an evening with The music of Now, we can declare the doldrums finally and christine brewer Leonard Bernstein officially over. In the theater, Bloody Bloody Andrew October 28 at 7:00 pm November 6 at 8:00 pm/November 7 at 1:30 pm Jackson is shaping up to be one of the Public’s biggest One of the world’s most sought-after Scheduled to appear: Michael Cerveris, sopranos sings Wagner, Puccini, Victoria Clark, Darius de Haas, successes ever—and that’s before the musical has and popular songs by Harold Arlen Christine Ebersole, Cheyenne Jackson, and Jerome Kern. Donna Murphy, Kelli O’Hara, and Michael Urie. even landed on Broadway. Kanye West and Bob Dylan
Season support provided by are back with new albums, and Philip Roth and ThePeter Jay SharpFoundation and The Andrew W. Mellon Foundation Tickets start at $12 PresentingSponsor Salman Rushdie are back in bookstores. NYCOPERA.COM • 212.721.6500 of AQuietPlace In short, New York’s arts world this fall is back in David H. Koch Theater Box Office (63rd & Columbus) season. Enjoy. —The Editors AMERICAN COLOR Lot 203, Sale 2395 © Eggleston Artistic Trust and Cheim & Read, New York
Auction Calendar New York · October 2010
christies.com Photographs Fine Musical Instruments Jewels: The New York Sale 500 Years: October 6–7 (2395) October 8 (2346) Including The JAR Decorative Arts Europe, Imperial Topaz, Ruby Including Oriental Carpets Viewing: October 2–6 Viewing: October 2–7 and Diamond Ear Pendants, October 21–22 (2350) Inquiries: Elaine Augustine Inquiries: Laura E. Armstrong The BVLGARI Blue, Jeweled [email protected] [email protected] Viewing: October 16–20 Elegance & The Vanderbilt +1 212 636 2330 +1 212 707 5974 Inquiries: Carleigh Queenth Diamond Necklace [email protected] October 20 (2347) A Historic Photographic Grand Important Silver and Objects +1 212 636 2200 Tour: Important Daguerreotypes by of Vertu Including the Stuart Viewing: October 16–19 Joseph-Philibert Girault de Prangey Collection of Magnificent Silver Inquiries: Rahul Kadakia Prints & Multiples October 7 (2396) October 19 (2349) [email protected] October 26–27 (2351) +1 212 636 2300 Viewing: October 1–6 Viewing: October 15–19 Viewing: October 22–25 Inquiries: Elaine Augustine Inquiries: Jennifer Pitman Inquiries: Tudor Davies [email protected] [email protected] [email protected] +1 212 636 2330 +1 212 636 2250 +1 212 636 2290
CHRISTIE’S NEW YORK 20 Rockefeller Plaza, New York, NY 10020 REGISTRATION IS EASY Join us for the presale exhibitions and auctions, all of which are free and open to the public Monday-Saturday Register to bid in person or by telephone by calling our Bid Department at 212 636 2437. If you are unable 10am-5pm and Sunday 1pm-5pm. to attend the auction, visit christies.com to arrange for absentee and online bids. Also available on christies.com are For specific viewing times, please call 212 636 2000. the international auction calendar, online catalogues, and a full listing of upcoming valuation days around the globe. FALL ARTS PREVIEW Art The New York Observer | 4
Untitled , 2010. presents
D e c c a / M a c r o B o gr g er v e
Gergiev and Mariinsky’s Mahler Six Symphonies Body of Work in Five Concerts! A Pakistani artist’s dark totems mark the fall season By Paul Laster
t her first solo of-the-month is an accepted also comes out of a horror film.” October 17, 20–22, and 24 show in New York, phenomenon. But Ms. Bhabha, Growing up in Karachi, in 2004, Huma a standout since P.S.1’s Greater “I used to like drawing the Bhabha showed New York exhibition in 2005, has figure,” said the artist from The powerful Second, the mammoth Eighth, the Asculptures and continued to see her fortunes her Poughkeepsie, N.Y., art haunting Fourth, and more—all in one week with photographs rise with international solo studio. “I remember seeing Van that a New York Times critic shows and inclusion in this year’s Gogh’s paintings and drawings Valery Gergiev and his Mariinsky Orchestra. championed as “not like any Whitney Biennial. Best known of shoes and was influenced recent art I can think of.” Her for raw, figurative sculptures by him. I also remember being most recent solo show in New of fragmented bodies—think very impressed by the Colossus Save 15% on all five Mariinsky–Mahler concerts. York was three years ago, disembodied, almost sinister, of Constantine in Rome. The dubbed at the time by New York heads and feet—assembled from whole body is broken up into Save 10% on any three or four concerts. Dress magazine “a tour de force of detritus and clay, the artist separate parts. When I first Circle and Balcony only; seating locations may ... post-apocalyptic dreams,” mixes elements of Eastern and started drawing feet I was vary by concert. This November, Ms. Bhabha Western art with influences from actually thinking about it. ... It’s is braced to take on the city pop culture and science fiction. as if the sculpture had broken once again, with shows at two “When I first saw the work, I and just the feet remained. galleries. Peter Blum Chelsea was taken by her use of modest, It was like a figureless body. will display her hand-altered everyday materials to make The body had disappeared or carnegiehall.org | 212-247-7800 photographs, and, at Jeannie something both ritualistic and something had happened to it Artists, programs, dates, and ticket prices subject to change. © 2010 CHC. Greenberg Rohatyn’s gallery contemporary,” said art dealer and only the feet were left.” Salon 94 Bowery, Ms. Bhabha Ms. Greenberg Rohatyn. “She She was born in Pakistan will exhibit new sculpture. can interpret the image of a face in 1962; her mother was an Proud Season Sponsor Both shows op en Nov. 17. to make it look like it belongs artist and her father was a In the art world, the flavor- to the tradition of Picasso but successful businessman. She
FALL ARTS PREVIEW Art The New York Observer | 6
moved to America in 1981 to said. “I enjoy doing portraits. attend art school at Rhode If you look at Expressionism, Island School of Design, where you see a lot of use of the ‘She can interpret she received a B.F.A. in 1985 head—artists like Basquiat and later returned to earn an and Picasso. I look at whatever a face to make it M.F.A. from Columbia in 1989. few art books I have and look like it belongs While she returns annually there’s a lot of art history,” to Pakistan, in some respects But few of her art-historical to the tradition of she took to Western culture choices have been discussed immediately. “I watch a lot as much as her unusual choice Picasso but comes of movies and television,” of medium. She explained: said the artist. “I like a lot “The choice of materials for out of a horror film.’ of horror and science fiction many years came from not films and the idea of monsters. having a lot of money. New You look at whatever inspires York is a marketplace where you.” After marrying a former people throw out everything. classmate, artist Jason Fox, I’ve been using different kinds heads and feet—on top of the the artist stayed in the states of found material for a long photographs, which sometimes and started experimenting time.” But why Styrofoam? “I’ve get completely covered. with sculpture—a medium that been using Styrofoam since I At Salon 94 Bowery, Ms. she had not favored in school, first started making sculpture Bhabha will exhibit new but soon came to master. because it’s very light, but also sculptural works. Cobbled- Influenced by Greek, Egyptian sturdy. I don’t know how to together pieces from diverse and Indian works, Ms. Bhabha weld and I’m not such a great material like Styrofoam and aimed towards an intuitive carpenter. I basically work the deritus, these assemblages earthiness, where things always way that I can do everything by poetically address the look a little gritty. “I look myself. I like using Styrofoam fragile state o f 21st-century around and know that there are because it’s easy to handle. I humanity. Asked if her vision devastating things going on, can carve it. I can stack it. I find is really post-apocalyptic, environmentally and man-made,” it a very interesting medium. Ms. Bhabha answered, “Not Jim Campbell’s Scattered said the artist. “If one is aware It’s almost like soft marble.” really. I think we’re living Light of things other than oneself, I At Peter Blum, the artist will in the apocalypse now.” don’t think you can avoid it.” show large-scale photographs Who are her artistic that are altered with ink and Huma Bhabha’s new work is inspirations? “I look at a lot collage The photographs on view at Salon 94 Bowery of Picasso [who taught me] are mostly landscapes from (243 Bowery Street), Nov. 17 it doesn’t matter if things Karachi, where she visits her –Dec. 23, 2010, and Peter Blum look a little dirty. It just adds family every year. Without Chelsea (526 West 29th Street), to the intuitive way that I’m a specific plan in mind, she Nov. 17, 2010–Jan. 15, 2011 . approaching the drawing,” she draws figures—especially
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FALL ARTS PREVIEW Theater The New York Observer | 20
Swinging for the Rafters Spider-Man set designer opts for a pop-up Peter Parker By Robert J. Hughes
he opera set pieces, art is to make Broadway audiences installations and stage feel the same elliptical thrill Tdesigns of Soviet-born without Hollywood’s green George Tsypin share a screens and special effects. glimmering strangeness. With “I thought,” he said, “‘ Well, Interior of the Oscorp Lab. dazzling lights, shiny surfaces this is completely impossible.’” and strange angles, it is as i f Mr. Tsypin and Spider-Man reality were heightened, or as if director Julie Taymor are tasked investment. (The production together. “George and I have the subconscious had somehow with bringing the web-slinger features elaborately costumed collaborated on five operas,” taken over the spaces he designs. to Broadway as a musical with villains, the “Sinister Seven,” said Julie Taymor, among Nonetheless, Mr. Tsypin was songs by Bono and the Edge. including a deadly serrated them the lavish and popular quite apprehensive when he The much-delayed production metal villainess dubbed Swiss production of Mozart’s The first read the script of Spider- (it opens Dec. 21) has been the Miss.) That, like Spider-Man Magic Flute for the Metropolitan Man: Turn On the Dark . While subject of endless theatrical himself, is still up in the air. But Opera, which featured a the iconic comic-book hero has speculation as to whether Mr. Tsypin said he has one secret plexiglass plastic box etched swung, in spectacular fashion, Broadway newcomer Bono can weapon. “In theater,” Mr. Tsypin with Egyptian hieroglyphs and from the pages of the comic book help craft a spectacle that will said, “anyone flying is exciting.” Masonic symbols. “His work to towering buildings in the play to the crowds long enough Mr. Tsypin and Ms. Taymor consistently pushes the envelope movies, Mr. Tsypin’s challenge to recoup its considerable are far from new to working and is a lways wonderfully Set designer George Tsypin. The New York Observer | 21 FALL ARTS PREVIEW Theater The New York Observer | S eptembe r 7, 2010 | 21 “THE NEXT BEST THING TO SEEING THE BEATLES!”
His work, said longtime collaborator Julie Taymor, is ‘simultaneously intimate and theatrically dangerous.’
thrilling.” she wrote in an email. reflected off sculptures in the water as For the solution to his Spider-Man people walked gingerly through the design problem, M r. Tsypin said, they space on planks, creating, Mr. Tsypin reread the comic book: Marvel Comics’ said, “a sense of being un stable,” as if 1962 Amazing Fantasy, where Stan Lee people were moving through h istory. and Steve Ditko introduced the original The work, he said, was a comment iconic antihero. Impressed with the on the shifting h istory of Moscow “primitive, primal power” of Mr. Lee’s and St. Petersberg, by way of Venice. creation myth and M r. Ditko’s bold Mr. Tsypin studied architecture in illustrations, and had the idea to bring Moscow, and architectural training the comic book to life in a d ifferent way has been a key to his designs, he sa id: than the hyper-realism of the movies. how the environment of the physical “My impulse was to ta ke graphic comic structure makes a person, a spectator, books and explode them into 3-D space, an inhabitant feel. (He admires, among almost pop-up style,” Mr. Tsypin said. others, Jean Nouvel and Frank Geh ry.) That way, he says, he can preserve the Designing for a Broadway show is period quality of the original comic much more complicated than designing books and sidestep the slickness for opera. With Broadway, “you’re of the films. The goal is to create creating a machine. If you’re lucky, a immersive, environmental theater. machine that should run a long time. Fans of Ms. Taymor’s The Lion King You’re creating an entertainment for A TRIBUTE TO THE BEATLES will remember how that musical opens, the mass audience. In opera, where with a parade of elegant, human-size first of all, it’s about the music—which animal puppets of the African savannah is slow—if you have a big scenic coming up the aisles alongside the effect in each act, you’re lucky. For ON BROADWAY audience and taking their places on the Broadway, you have to have a big stage, drawing the audience in with effect every two or t hree minutes.” them, as it were. But here, the immersion So amid the shifting perspective goes much furt her. “The entire theater of buildings and moving pieces, the is where the story takes place,” Mr. musical has, like certain operas, Tsypin says. “Not just the stage. I two big set pieces. One involves wanted to make it an environment Spider-Man discovering his powers, where every member of the audience in which he jumps from building to almost feels as if they’re part of it, not building in full vertiginous thrall just looking at a small Peter Parker or to his sudden gifts. The second Spider-Man jumping over buildin gs, but involves a climactic battle between creating an image of New York that is Spider-Man and the Green Goblin. perceived as if you were Spider-Man.” At the Foxwood Theatre, Spider-Man “George has managed to combine will fly through the house and onto both the original Marvel aesthetic with the balcony, the wall s—everywhere. his own truly unique expressionist And the scenery will be placed, as it style,” wrote Ms. Taymor in an email. were, throughout the house, and shift “George’s extraordinary use of space along with Spider-Man’s flights. “The has successfully made our huge entire environment we’ve created theatre feel simultaneously intimate is kinetic and dynam ic,” Mr. Tsypin and theatrically dangerous.” says, “but you al so see New York from Bringing the audience further into a different perspective, as if you were a created world is a hallmark of M r. able to jump buildings a nd to fly over Tsypin’s designs, and of his work as Manhattan. It’s a whole different an artist a nd sculptor. Invited to show experience of New York. And New York at the Russian Pavilion at the 2003 is, of course, as important a chapter in Venice Biennale, he first filled the this story as Spider-Man himsel f.” rooms with a few feet of water. Light [email protected]
A Spider-Man set in progress. A“ N IMPRESSIVE HOMAGE n n a m e d i e T n TO POP MUSIC’S o v a l y ” C y b s t o MOST BRILLIANT GEM. o h P
LIMITED ENGAGEMENT OCT 19 THRU JAN 2 ONLY! Ticketmaster.com 877-250-2929 Neil Simon Theatre, 250 W. 52nd St. RainTribute.com FALL ARTS PREVIEW Theater The New York Observer | 22 HYPER-HYPED “ A MASTERWORK! Bloody Bloody Andrew Jackson, Bernard B. Jacobs Theatre, Oct. 13 ” Alex Timbers and Michael Friedman’s emo- A TRIUMPH! rock musical presents Old Hickory as a moody teen and the country in growth spurts of adolescence. It arrives on Broadway after a sold-out and lauded run at the Public Theater last season—and after star Benjamin Walker dropped out of the new X-Men movie to stay on as Jackson.
Driving Miss Daisy , John Golden Theatre, Oct. 25 Vanessa Redgrave and James Earl Jones star in the Broadway debut Alfred Uhry’s Pulitzer- winning 1987 play (it ran then off-Broadway, at Playwrights Horizons) about the unlikely friend- ship between a Southern Jewish woman and the black man hired as her chauffeur.
Angels in America, Signature Theatre, Oct. 28 The Signature devotes each season to a single playwright, and it’s kicking off a Tony Kushner Angels in America. year with Angels in America, his sprawling take on the United States in the 1980s—“a gay fan- tasia on national themes,” he subtitled it. It’s the directed LCT’s blockbuster South Pacificthree first New York revival of the Pulitzer winner since seasons ago; the cast includes—deep breath— its 1991 premiere, and the two parts—Millennium Patti LuPone, Brian Stokes Mitchell, Sherie Rene Approaches and Perestroika —will be performed Scott, Laura Benanti, and that great Broadway in repertory. legend, Justin Guarini.
Women on the Verge of a Nervous Breakdown, Merchant of Venice, Broadhurst Theatre, Nov. 7 Belasco Theatre, Nov. 4 Al Pacino returns as Shylock for a 78-perfor- Pedro Almodóvar’s 1988 films has been adapted mance limited Broadway run of Merchant of as a musical by playwright Jeffrey Lane and Venice after a very successful Shakepeare in the songwriter David Yazbek, the team behind Dirty Park outing this summer. The Daniel Sullivan Rotten ScoundrelsThe Lincoln Center Theater production will also bring back the spectacular production is directed by Bartlett Sher (who Lily Rabe as Portia, plus several other actors.
ALSO ON THE RADAR
The Pee-wee Herman Show .
music and lyrics by JOHN KANDER and FRED EBB
book by
R DAVID E L Y W THOMPSON T U E L direction and Y R choreography by N E H A Life in the Theatre, Gerald Schoenfeld Guthrie Theater in Minneapolis, it’s returning to Y SUSAN B S Theatre, Oct. 12 New York tweaked and somewhat reworked. O T STROMAN O This revival David Mamet’s 1977 two-hander, H P about the changing relationship between a The Pee-wee Herman Show , Stephen Sond- younger actor and an older one sharing a heim Theatre, Nov 11 dressing room, stars T.R. Knight and Patrick Pee-wee Herman was first introduced to the A Stewart. world as a stage show, developed by Paul Reu- bens with Groundlings comedy troupe in Los Rain, Neil Simon Theatre, Oct. 26 Angeles. Now, after movies, a CBS Saturday- and What appears to be formally titled “Rain – A morning show, an incident in Sarasota, and, Tribute to the Beatles on Broadway” promises finally, a successful return to the stage in L.A. “a totally live, note-for-note performance” that at the start of the year, The Pee-wee Herman mimics “every song, gesture and nuance of Show arrives in New York. the legendary group.” It could be awful, but it previews begin october 7 could also be fascinating. Free Man of Color , Vivian Beaumont Theater, Nov 18 Scottsboro Boys , Lyceum Theatre, Oct. 31 Lincoln Center Theater’s other anticipated fall Susan Stroman’s extraordinary staging of the production is John Guare’s new comedy, A Free OR half-posthumous Kander and Ebb minstrel Man of Color , depicting life in hedonistic New show about a particularly sordid incident in Orleans just before the Louisiana Purchase. Di- America’s generally sordid history of race rected by George C. Wolfe, it’s a huge produc- relations debuted at the Vineyard Theatre early tion (to fit the huge stage at the Beaumont), this year with a book that was less strong than with a cast of 32 led by Jeffrey Wright. TH TH TH & 7 the production. After an out-of-town run at the —Jesse Oxfeld FALL ARTS PREVIEW Music The New York Observer | 23
arnie Stern was is overtaken by thick chords. waiting for her Mr. Hill’s playing becomes rhythm guitar relentlessly frenetic. Ms. Stern’s player. She stood voice comes in, screeching and Min a cramped weird—Yoko Ono from hell. Ot her practice room near fast guitar fills are piled on top Penn Station, stacks of amps, while Mr. Hill plays along with keyboards, microphones, a drum the vocal melody, everything kit, the other two members of nearly overwhelmed by noise. her touring band and four walls The tempo changes once more. closing in around her. Her eight- The song sounds like it might week tour of Europe and America collapse under all the energy. approaching fast, only four That is only the first minute. practices left after today. Ms. Today, however, somethin g Stern fumbled with the reverb was missing. The band was and delay pedals for her guitar. playing at the same time but not “So the ‘out’ goes into together. Ms. Stern can’t do all SansAmp and the ‘in’ of those guitar parts by herself. goes into reverb?” She doesn’t have enough hands. The drummer, Vincent The practice space shook with Rogers, skinny, with a patchy noise. A coffee cup fell off an amp, beard, buzzed head and arms spilling some of its contents. Ms. covered in tattoos, laughed. Stern crossed the room, picked “Maybe we should get you a the cup up off the floor and drank pedal board so you don’t have whatever was left in it, then to deal with setting up?” The Unlikely Guitar Hero continued playing, half-invested. Nithin Kalvakota, the bassist, The room was loud and cranky, was hunched over a red Squire—a By Michael H. Miller and the song never really arrived. “clunker,” he called it, and he “It is what it is,” Mr. was right: It was missing a Rogers shrugged. string, and one of the tuning said. “Do you remember when Ash,” the first song on Ms. Stern’s and Tony Iommi. Her regular Ms. Stern sighed. “What knobs was coming loose. I had my existential crisis?” self-titled album. On the record, drummer, Zach Hill, pounds out are we gonna do?” “Where is Joe?” Ms. She nodded knowingly. the song, loud and immediate, five beats, the rhythm difficult Marnie Stern is Ms. Stern’s Stern asked him, though “So are we just starting at begins as if it has already been to place. Then the song takes third album. In the past, she has the question was almost the beginning and playing going on for an hour. Ms. Stern, off with a change in tempo. The sacrificed songwriting for guitar rhetorical at this point. through?” Ms. Stern asked. as usual, plays a frighteningly fast riff, strange now because wizardry, but here she focuses “Maybe he’s having an “Yep.” fast guitar fill, somewhere of the new time signature, on performing 10 compulsively H C R existential crisis,” Mr. Kalvakota They struggled through “For between Eddie Van Halen continues in the background but listenable songs, without losing O T I D V A D winner! 2010 tony award®BEST MUSICAL REVIVAL
R ! W I N N E D G E D O U G L A S H O A C T O R B E S T d n y a w a r 2 0 1 0 t o
R E B E W I L U Y B S O T O H P
TELECHARGE.COM/LACAGE OR 212-239-6200 LACAGE.COM LONGACRE THEATRE, 220 WEST 48TH STREET ADVERTISEMENT The New York Observer | 30
Firebird celebrates “pre-Revolutionary’ Russia in a Theatre District brownstone replete with jewel-toned furnishings and crystal lighting. The menu features classic Russian specialties such as borscht, chicken Kiev and an extensive selection of ne caviar. Nothing compliments caviar better than vodka and Firebird has plenty to offer; 200 labels, in fact, so you’re sure to nd one to your liking! Patrons may opt to try the caviar-tasting menu, starting at $50 and including 3 vodkas, 3 samples of mouth-watering caviar, along with the blini, dollop of sour cream and usual accompaniments. There’s also a prix-x menu starting at $45, consisting of 3 delicious courses and a wide variety of selections. This veritable landmark restaurant is located at 365 West 46th Street and they look forward to helping you plan your next, festive occasion or assisting with your reservation by calling 212 586-0244. Firebird is open for lunch Tue-Sat and for dinner Tue-Sun nights. For more information, please visit: www.frebirdrestaurant.com
What every neighborhood needs is a quaint, unassuming casual spot for French bistro classics and Madison Bistro at 238 Madison Ave. NY, NY 10016 is just that. Under the guidance of owner/chef Claude Godard’s culinary wizardry (and mastery), the menu consists of well- prepared French fare with an emphasis on ‘comforting’ selections, as highlighted by his stewed codsh, rabbit loin, and scrumptious short ribs. Of course, there is a nice selection of rustic French wines to pare with the tempting cuisine. Mr. Godard offers a wonderful prix-xe, three-course lunch menu for $24.50 and dinner at $35 — both of which deliver great value for your modest outlay. All credit cards are accepted and reservations can be made by calling 212.447.1919. www.madisonbistro.com Hours — Lunch: Mon – Fri 11:45am - 4pm; Dinner: Mon –Thurs: 4:30pm - 10:30pm, Fri & Sat: 4:30pm - 11pm, Sun: 4:30pm - 10pm
Zen Palate While still also at West 46th Street, Zen Palate, the most unique vegetarian restaurant has reopened its popular Union Square Restaurant at a new location at 115 East 18th Street. If it is healthy, delicious vegetarian dining you want, Zen Palate is the only place to go. It takes vegetarian dining to an entirely new level, with rice, sumptuous dishes such as the temple of Zen, the curry supreme, and the popular sweet and sour sensation. As the name signies, the rest. offers calm, soothing food and friendly service in a serene setting. Lunch and dinner prix x menus are great deals and as a grand opening bonus for one year, seventy-ve percent of the food on the menu is reduced by 20%. zenpalate.com
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