Gotham Magazine

Dispatch: Princely Polo and a Starry Ballet

Thu, 23 May 2013 09:57:00 -0400

Photo: Gary Gershoff (Simpson); Stephen Lovekin (Neuwirth) via gettyimages.com

Monday, May 13: Ashlee Simpson and Bebe Neuwirth at the Ballet
When I overheard that the performance at the American Ballet Theatre opening night gala, a veritable tasting menu of ballet, might last up to three hours, I panicked. At the event, I mentioned this possibility to actress and dancer Bebe Neuwirth and her eyes looked up to heaven. “Yes, but it’s going to be three gorgeous hours,” she said. And not only was it really only two-and-a-half hours, the dance was so beautiful, time flew. The very last piece, Georges Bizet’s Symphony in C, choreographed by George Balanchine, was extraordinary. Scores of dancers in crisp tutus danced in sublime synchronization. Another highlight of the evening: Ashlee Simpson, wearing a pair of take-notice emerald green earrings, smooched me on the cheek when we both arrived at a ticket-taker simultaneously. Love her.

Tuesday, May 14: Upfronts with Debra Messing and Megan Hilty
The Gersh Agency invited Dispatches to Catch for its annual fanny-bumper of an upfront cocktail fête. Debra Messing was in the house, but not talking to press, because Smash had sadly just been cancelled. My heart goes out to her and costar Megan Hilty, who also popped by. Also spotted: Josh Radnor and Taylor Schilling (The Lucky One), wearing a pretty blouse from A.L.C.

Photo: Chris Jackson (Prince Harry); Michael Loccisano (Stam) via gettyimages.com

Wednesday, May 15: Polo in Greenwich with Prince Harry and Nacho Figueras
The next morning, a car whisked me off to Greenwich to witness Prince Harry’s Sentebale polo team face off against the St. Regis team, captained by Nacho Figueras. Rain poured in the a.m., but by the time I reached the lunch tent (the driver forgot my ticket and the Greenwich police nearly arrested me), the sun had come out. And the event bloomed into a delightful, sunny afternoon sponsored by Peter Brant and wife Stephanie Seymour and Royal Salute whisky. St. Regis hotels hosted my fun table with Jessica Stam.

Addressing the crowd, HRH Prince Harry talked about how wonderful it is to visit the orphans in Lesotho who benefit from his Sentebale charity, adding that the feeling could be testified by "the good looking Nacho," who is an ambassador for the cause. And when it was Figueras' turn to speak, he ribbed the Prince. “Very secretly, we are taking bets for the game,” said Figueras. “If you want to make a smart move, you obviously know you have to be for my team.” However, on the field, after Nacho fired in two goals, his Royal Highness won the match by knocking in the final shot.

Thursday, May 16: USA Upfronts and Aby Rosen's Star-Studded B-Day
Back in New York, at the USA Network upfront, Royal Pains star Mark Feuerstein mentioned that before he dated his wife, he had slept with at least three of his wife’s future bridesmaids. One was a longish relationship, one, maybe two weeks, and another, he indicated, “one night.” Ahem. Also spotted: Sofia Vergara.

That night, Aby Rosen (who owns the Seagram building and Lever House) celebrated his birthday at The Paramount Hotel. Bronson van Wyck had decorated a balcony window with giant red swags. And a woman in a white dress with a 20-foot train worked a swing near Bono and Guy Oseary. Upstairs, the Olsen twins were suckin’ on ciggies. And that was Owen Wilson in a plaid flannel shirt on the balcony.

Photo: Astrid Stawiarz via gettyimages.com

Saturday, May 18: Epic New York Screening
“There is violence in the film, but none of it is pulled off with any sense of malice or true terror,” kindly explained Colin Farrell, who stars in Epic, a kids' film about saving the environment. “I play Mub, he’s a slug,” offered Aziz Ansari. Jason Sudeikis’ big thrill about working on this project? “Oh, gosh, officially now working with Beyonce,” he quipped. The newly pregnant Beyoncé (who was absent from the premiere) lends her voice to the film's Queen Tara character, a magical forest queen.

For more entertainment and society news, visit jeffreyslonim.com or follow @JeffreyJSlo on Twitter

Memorial Day Weekend Recommender

Thu, 23 May 2013 08:38:00 -0400

Deadly She-Wolf Assassin at Armageddon! is this weekend's must-see theater pick

Windsor West Village Memorial Day BBQ
May 27, from 12 p.m.
Just because you're staying in the city this Memorial Day weekend doesn't mean you can't celebrate. Upscale sports bar the Windsor West Village presents a special Memorial Day barbecue with food and drink specials. From peach barbecue chicken wings to bourbon barbecue ribs, summer is on. 234 West 4th St., 212-206-1208

Love Hurts at Rooftop Films
May 24, 8 p.m.
Rain or shine, Love Hurts. Enjoy a screening of short films about "the beauty and anguish of love," from the comedic to bizarre. Love Hurts is part of a summer series by Rooftop Films, a non-profit that shows underground movies outdoors all summer long. Tickets are $13. Open Road Rooftop, 350 Grand St.

Deadly She-Wolf Assassin at Armageddon! at La MaMa
May 24 at 7:30 p.m., May 25 at 2:30 and 7:30 p.m., May 26 at 2:30 p.m.
Japanese Manga and experimental East Village theater may seem like unlikely Memorial Day bedfellows, but in the samurai-inspired new play Deadly She-Wolf Assassin at Armageddon!, recently opened at La MaMa for an all-to-brief run, they work. Directed by Sonoko Kawahara, the physical work presents graceful sword battles and epic martial arts that take movement to the level of dance. Written by Fred Ho and Ruth Margraff, the show features music by The Afro American Music Ensemble led by Masaru Koga. Tickets range from $25 to $30. La MaMa Experimental Theatre - Ellen Stewart Theater (Annex), 66 E. 4th St. 212-475-7710

BY SIMONA RABINOVITCH

Hublot LaFerrari Watch

Thu, 23 May 2013 00:00:00 -0400

—ROBERTA NAAS, ATimelyPerspective.com

While in BaselWorld, ATimelyPerspective.com posted on our Facebook page about the new Hublot LaFerrari watch—created to celebrate the partnership between Hublot and the sleek and stealth Ferrari brand. As those who love cars and watches know, the Ferrari brand has partnered with other watch brands before Hublot: Girard-Perregaux and Panerai are among them.

However, the relationship with Hublot may have been made with the idea in mind by both parties to create as something bold and uniquely different. The LaFerrari being the first example therein—created with input from both the car and watch sides. The question is, does it deliver what car and watch lovers want?

The new watch features a bold case shape that is designed to emulate the look of the stealth car. The materials used are high-tech, as is the technology. This watch holds a thus-far world record in the power reserve field. It offers a massive 50 days of power reserve—not 50 hours like many watches—50 days. Thus, one can wear this watch for just over a month and a half without having to wind it. The indication of power reserve is visible on a cylindrical readout.

The complex movement, which contains 637 pieces, includes 11 spring barrels lined up in the center of the watch and resembling a crank shaft; underscoring the automotive motif. With a full sapphire crystal, much of the movement is visible to the eye. Time (hour and minutes) is displayed on cylinders opposite the power reserve readout. The watch—which also houses a large 14.5mm flying tourbillon escapement—offers seconds on an aluminum cylinder attached to the tourbillon cage.

So, is the verdict in now? Is this what you expected from Hublot genius Jean-Claude Biver? Is this the new generation of Ferrari that everyone was waiting for? It should be noted that this world-first watch (remember 50 days of power reserve) created in a limited edition of 50 pieces retails for $345,000—certainly much less that the million-dollar car, but still a hefty figure.

Founder and editor-in-chief of ATimelyPerspective.com, Roberta Naas is a veteran award-winning journalist in the watch industry with more than 25 years of experience. She was the first woman watch editor in the US market—breaking in to an “all boys network” with a pioneering spirit that would be her signature to this day. Naas brings responsible, factual—yet always timely and insightful—reporting of the watch industry to the forefront.

Artist Uses Met Rooftop as Canvas

Wed, 22 May 2013 16:55:00 -0400

The floor of the Iris and B. Gerald Cantor Roof Garden at the Metropolitan Museum of Art served as the canvas (which viewers are welcome to walk on) for artist Imran Qureshi's latest work, The Roof Garden Commission: Imran Qureshi. In this acclaimed, site-specific installation, Qureshi explores his emotional response to violence around the world, but specifically in his home country of Pakistan. Yet despite the intense subject matter, at its essence, this project is actually a work of hope.

In splashes and spills of red acrylic paint, the piece is painted directly upon the nearly 8,000 square-foot surface. “The dialogue between life and death is an important element in my work," says Qureshi. "Leaves and nature, for example, represent the idea of life. And the particular color of red that I have been using in recent years can look so real, like blood. The red reminds me of the situation today in my country, Pakistan, and in the world around us, where violence is almost a daily occurrence. But somehow, people still have hope. The flowers that seem to emerge from the red paint in my work represent the hope that—despite everything—the people sustain somehow, their hope for a better future.”

Qureshi is known for combining Islamic motifs, symbolism, and techniques with the approach of conceptual modern art. His signature aesthetic references 16th century "miniature painting," a style of art popular in the Mughal courts of India at that time. The Roof Garden Commission is no exception: certain areas of red paint are worked into patterns of ornamental leaves—reminiscent of the Mughal courts of yore, but also present day Central Park.

BY SIMONA RABINOVITCH

Adam Richman Talks New Taste of the UWS

Wed, 22 May 2013 15:50:00 -0400

Along with Top Chef judge Gail Simmons, the Travel Channel's Adam Richman (Man vs. Food, Fandemonium) will host the sixth annual New Taste of the Upper West Side, taking place May 29 to June 1. With more than 70 participating restaurants (think Dovetail, Red Farm, Bar Boulud) this year's event honors Union Square Hospitality Group's Danny Meyer and Shake Shack CEO Randy Garutti. All proceeds from this community culinary festival benefit the Columbus Avenue Beautification Project and the O’Shea Wellness In Schools program. To get more insight on the event, and the neighborhood it honors, we chatted with co-host and former Upper West Sider Adam Richman.

For the third consecutive year, you'll be hosting this Friday's Comfort Classics at New Taste of the Upper West Side. What do you love about this community food festival?
ADAM RICHMAN: I used to live at 104 West End. I'm a Brooklyn kid, but I sublet up there, and I feel the UWS is one of the last vestiges of true neighborhoods on the island of Manhattan. What the Upper West Side still has, a little bit, is that great Woody Allen aesthetic; it's very evocative of Brooklyn in many respects—because of that community. You start out with this cultural touchstone of Lincoln Center, in the sixties. You have Time Warner Center, which is really beautiful, [and] restaurants like Landmarc and great chefs like Marc Murphy, but then you can go uptown and find cultural institutions; places like Barney Greengrass that are as much a part of New York as the Empire State Building.

The UWS certainly is a unique neighborhood with its own spirit.
AR: This is one neighborhood that has a culinary identity that the world may not necessarily know about. That's a very special thing as a native New Yorker, to be able to say, 'Hey, I live here, I love it here, my love of food was fostered by being here,' and this event will hopefully let you know why.

What are the great restaurant gems of the Upper West Side, in your opinion?
AR: The UWS has got that great Chino-Latino thing that's really only maybe found in a couple of restaurants on the West End of 14th Street as you approach Meatpacking. From Flor de Mayo and La Caridad 78 to the touchstones of the Upper West Side like V&T Pizza, Koronet, Zabar's, these are the major icons that typify the [neighborhood].

Your upcoming NBC game show, Food Fighters, features home cooks. In this era of celebrity chefs, where do talented home cooks fit in?
AR: I think a lot of people throw that [chef] title around, and in a million years, I would never be arrogant enough to consider myself a chef. A chef is really someone who has dedicated themselves, that has studied and run restaurants . . . there's a degree of training that's commensurate with that title, and I just think I'm an above average cook, not just on the job, but I learned from my mom, my aunt, my dad, my grandma, and also my friends' moms, and my friends' grandmas. Maybe the Brooklyn in me makes me root for the underdog, because I respect home cooks, maybe because I'm categorically opposed to the exclusionary nature of being very precious with food. I think it's cool to show that these dishes have their own culinary merit—as do the people who make them.

BY SIMONA RABINOVITCH

Clos du Bois Bash at Frying Pan

Wed, 22 May 2013 12:24:00 -0400

Roche Bobois Opens on the UES

Wed, 22 May 2013 08:11:00 -0400

An exclusive slice of domestic luxury hits the Upper East Side in the form of Roche Bobois' brand new showroom. Born in 1961 France, Roche Bobois is known for European furniture and accessories, like its iconic Mah Jong modular seating created by legendary designer Hans Hopfer.

With 11-foot mirrored walls and ceilings, custom wallpaper, and a massive floor-to-ceiling multimedia screen, the stunning new space—designed by Hopfer's daugher, Jacqueline—showcases the best of Roche Bobois’ "Les Contemporains" collection. Furniture highlights include the Mah Jong sofa, available in a brand new fabric collection courtesy of Missoni Home; the sculptural Voiles dining table made from a single sheet of steel; and newly-launched accent pieces by designer Cédric Ragot.

On its multimedia screen, the showroom will present Roche Bobois' new commercial film, La Jubilation, directed by Christian Larson, who has done music videos for the likes of Sigur Ros and Swedish House Mafia. Since opening its first New York City shop in 1974, Roche Bobois' North American network has grown to 28 stores (this marks number 29) and 240 showrooms around the world. 207 East 57th St., 212-980-2574

BY SIMONA RABINOVITCH

Carolina Herrera's Secrets to Success

Wed, 22 May 2013 00:00:00 -0400

After three decades in business, Carolina Herrera Ltd. reported more than a billion dollars in revenues for the first time last year. Although that wasn’t enough to put the designer on the Forbes billionaire list (along with such moguls as Ralph Lauren, Giorgio Armani, Miuccia Prada, and Tory Burch), it might not be long before the Venezuelan-born designer joins that most exclusive fashion club. At least if recent business growth is any indicator of future success. But despite the brand’s expanding global footprint and her glittery international background, Carolina Herrera says her company will always be “about New York. It is who we are.”

The Harvard Business School will likely look at reasons the company broke revenue records in tough economic times. Success in fashion, despite its ephemeral seasonality, is nothing if not an endurance test, and the House of Herrera has survived the recent downturn with remarkable resiliency—a 90 percent rise in global sales last year and a forward march into the Middle East. There are plans to open 16 new CH Carolina Herrera stores around the world this year.

But while runway analyses aren’t typically a part of a Harvard case study, all the elements that have helped fuel the designer’s spectacular growth are well represented in her 2013 Spring and Fall collections. There’s the subtle 10065 polish–Carolina Herrera, who lives the life of her customers, is instinctively aware of what will play on the charity circuit, at society weddings, or in the corner office. The C-suite female executive class has embraced Herrera and for good reason—she knows the image demands of women running huge businesses, after all she runs one herself.

Fall 2013 particularly shows Herrera’s deft hand. Fashion always drinks from the well of the past—paying homage to yesteryear is a reliable trope for designers whether in Paris, Milan, or New York. For Herrera, however, it’s homage to the past with discretion, restraint, the styling never suggestive of a costume drama. She says she found a 1940s Italian print, which prompted her to reference a favorite decade— Herrera adored the sharp glamour of movie stars from that period. In the Fall collection, she uses ’40s tailoring allusively—in the shape of a sleeve, the shoulder treatment, a tighter, higher waist. “It has to be in the details,” she says of borrowing from the past. “You can only hint at a decade to be modern. We’re in 2013 after all.”

Herrera also showed her sharp eye for prints for both spring and fall. (Textiles have always fascinated her—she originally wanted to be a fabric designer, but Diana Vreeland encouraged her to do a full collection instead.) From that one ’40s Italian textile, she designed other fabrics echoing the mood of the period. “We develop our own prints, so they belong to the House of Herrera,” she says. But it’s “how you mix them that makes them relevant today,” she adds, explaining how she paired abstract designs with lace and tulle to give them a fresh, modern look.

As a designer, Herrera reaches far and wide for ideas; an eclectic, constantly evolving mood board crammed with images, tear sheets, and fabrics is prominently displayed in her design rooms. For fall, Herrera supplemented her mood board with nonvisual inspiration, too. She commissioned a composition based on Beethoven’s Kreutzer Sonata for violin. “I’m always listening to music,” she says. “It’s transporting, as if you’re in a dream.” The work, dubbed “Capriccio for Carolina” was so well received, that other original works are planned.

Herrera’s atelier is in New York, and she says the workrooms’ proximity has been critical to her success. “It’s a way you can control everything directly,” she says. “Drape the fabric to the form, which is very important. A sketch will always look good, but the real art is in how the garment moves. Fashion is for the eye after all.”

A jet-setting mother, grandmother, and an A-list social presence on several continents, Herrera takes great comfort in seeing her business, which started with a handful of dresses, flourish. “It’s been very reassuring and satisfying,” she says modestly. “It’s like watching a child mature and grow.” 802 Madison Ave., 212-744-2076; 954 Madison Ave., 212-249-6552

La Terrazza Opens; GoldBar Debuts Spring Cocktails

Tue, 21 May 2013 10:15:00 -0400

La Terrazza at Lincoln Center

La Terrazza Opens in Lincoln Center: While it’s not quite on par with the piazzas of Italy, the plaza at Lincoln Center is one of our favorite spring lounging spots. And since Lincoln Ristorante opened La Terrazza for the season, the plaza is feeling more Italian every day. Stop by for a glass of prosecco and chef Jonathan Benno’s take on alfresco Italian fare, with a number of small plate and antipasti options. 142 West 65th St., 212-359-6500

Spring Cocktails at GoldBar: Head bartender Tim Cooper has crafted a roster of new spring cocktails to match this Nolita boîte's gilded atmosphere. Mix-ins range from peach purée to lavender syrup to Muscato grapes while spirits run the gamut from Vida mezcal to Elijah Craig bourbon. Try the Bluegrass Fire, made with bourbon, pok pok apple vinegar, ginger syrup, and chipotle tabasco, among other ingredients. 389 Broome St., 212-274-1566

Blue Ribbon Opening LES Beer Garden: Just in time for the official start of summer (aka Memorial Day weekend), the Bromberg brothers’ Blue Ribbon restaurants expands this week with the opening of a beer garden on the Lower East Side. Expect a variety of barbecue and classic sides like coleslaw, cornbread, and black-eyed pea salad. Of course, beer will flow in the outdoor space replete with a ping pong table, board games, and music. Hours are 5 to 10 p.m. weekdays and noon to 10 p.m. on weekends. 190 Allen St., 212-466-0404

Dominique Ansel Debuts "Cronut": People are lining up at Ansel's Soho bakery for a taste of this hybrid croissant-meets-donut treat. Made of deep-fried croissant dough with vanilla cream filling and rose-flavored frosting, the "cronut" is chewy on the outside and flaky on the inside. Go early to try it—the new pastry has sold out every day it has been offered. 189 Spring St., 212-219-2773

BY BAO ONG

Oscar de la Renta Launches Stationery

Mon, 20 May 2013 12:37:00 -0400

Oscar de la Renta has partnered with Paperless Post to bring the timeless elegance of his Fall 2013 bridal and ready to wear collections to stationery. The gorgeous new collaboration is replete with 30 original wedding designs, and soon to come later this year will be children's entertaining, general entertaining, and personal stationery.

Available on engraved and letter-pressed fine paper, digitally-printed card stock, as well as on web, mobile web, and iPhone app options, the Oscar de la Renta for Paperless Post wedding collection is inspired by the designer's personal style, his home in Punta Cana, and of course, the stunning prints and embroideries seen on his latest runway looks. Showcased in the collection are de la Renta's famously delicate Chantilly, Alençon, and guipure laces, plus some of his prints and plaids. And with some items being an exact match to the lacework on the designer's bridal gowns, you can even match your wedding invitation to your dress. Now that's something to write home about.

New Book: 'Foreign Policy Begins at Home'

Mon, 20 May 2013 10:14:00 -0400

Foreign policy beings at home, says Council on Foreign Relations President Richard Haass in his passionate new book, which he'll discuss with media mogul Arianna Huffington during a talk next month at the 92nd Street Y.

In Foreign Policy Begins at Home: The Case for Putting America's House in Order, Haass, who was previously director of policy planning for the Department of State under George W. Bush, describes his vision for restoring power and influence to America. Explaining that many of America's foundations of power are coming to an end, Haass argues that the consequences of this shift go far beyond domestic issues like infrastructure, employment, education, immigration, and debt, but rather, affect the country's ability "to project power and exert influence overseas, to compete in the global marketplace, to generate the resources needed to promote the full range of U.S. interests abroad, and to set a compelling example that will influence the thinking and behavior of others."

The book argues that America is in fact underperforming at home and overreaching abroad, an imbalance with dire consequences. "To mount an effective foreign policy the United States must first put its house in order," writes Haass. "The United States must also put its house in order if it is to avoid placing itself in a position of high vulnerability to forces or actions beyond its control."

Without a partisan agenda, Haass posits that instead of intervening in wars and humanitarian efforts intended to affect other countries, the U.S. should focus on "maintaining the balance of power in Asia, advancing North American economic integration and energy self-sufficiency, and promoting collective responses to global challenges." Restraint and discipline at home, he points out, are among the keys to putting America's house in order, thereby allowing the country to continue to fulfill its global leadership role.

Get more insight on Haass' new book at "Foreign Policy Begins at Home: Richard Haass with Arianna Huffington" at the Lexington Avenue at 92nd St. Y, Kaufmann Concert Hall on June 5 at 8 p.m.. Tickets start at $29 and can be purchased here.

Lunch with 1stdibs Founder Michael Bruno

Mon, 20 May 2013 00:00:00 -0400

“I’ve been curious about the place since it opened last year,” says 1stdibs founder and chairman Michael Bruno of the Atrio Wine Bar and Restaurant (102 North End Ave., 212-945-0100) as he tucks into a lunch of yellowtail crudo, kale salad, stone-fired chicken, and a side of steamed vegetables. Bruno, who likes dining spots with water views in good weather (the Atrio overlooks the Hudson) says, “I used to run past here, and that’s when I fell in love with the idea of being on the river.” He also mentions that the lobby art at the Conrad hotel, where the restaurant is located, intrigued him: “I thought this would be a really fun place to come for drinks and meet people.”

Bruno’s healthy lifestyle—in addition to favoring locavore-friendly menus and lots of green tea, he takes daily swims and practices Ashtanga yoga—helps him keep up with the demands of his ever-growing website, an aggregate of antiques dealers from around the globe. Founded in Paris in 2001, 1stdibs is expanding in May and June into Germany and Austria as part of Bruno’s goal to build 1stdibs’ European market.

What brings you to this part of the city?
I’ve always enjoyed running along the Hudson—the light, and the air are wonderful. I like dining riverside in good weather, although it’s hard for me to do as often as I’d like, as our offices are in the Flatiron District. The scene is changing rapidly in the area where we are today [in Battery Park City, right behind Goldman Sachs]—it’s an unusual part of Manhattan.

How often do you get out for a business lunch?
I tend to eat out more when I’m traveling, but I suppose most people do. I indulge a bit more then. In New York, I love lunch meetings—generally they’re with potential customers or magazine editors. Today is typical of what I usually order—the kale salad, lean chicken. I do the chicken when I’m tired of grilled fish, which is my mainstay. I stopped eating beef for the most part two years ago when I started doing a lot of yoga. Sometimes I’ll have a big juice of kale, ginger, and apple. It’s one of my favorite meals. That’s one I have to make myself because no one makes it the way I like it.

You lived in Paris, where it’s still common to have wine midday. You’ve barely touched the Italian white we ordered—do you ever drink wine at lunch?
I occasionally did in France. It took me a little bit to get used to it. It just seemed like a bad work ethic. I had a lot of people who worked for me who were French and they always wanted to order wine at lunch. I finally gave in and enjoyed it, but since I’ve been home, I can’t remember the last time I had wine during the day. For special occasions, for sure.

What do you drink at dinner?
I’m not usually the person at the table who will decide because I have a lot of friends who are major wine connoisseurs, so I get very lazy and let them decide. When I do choose, I opt for French—Bordeaux and Burgundies as well as whites from Châteauneuf-du-Pape—and Italian reds, because California wines have a higher alcohol content.

What wines do you collect?
I have a new-to-me wine cellar, which isn’t finished yet. My belief is if you have a wine cellar, you buy certain wines with the purpose of holding them and consuming them later. Without a cellar, you buy wine you’re going to consume soon.

With all your travels, which city do you think has the best dining?
I find New York still offers the best variety in cuisine and quality. Here you can experience a wide range of incredibly authentic, fresh regional food. The only hard work is narrowing down the choices. In some of the greatest cities in the world, it can be difficult to find a terrific menu.

How has your business been this year?
The traffic of our website is up dramatically, I think for two reasons. One, the business follows the economy and we can feel and see the economy improving. Two, we’ve made a lot of technological changes so the site is easier to find by search engines.

What are you seeing in terms of taste postrecession? Antiques go through cycles just like everything else.
I think antiques have definitely regained a level of interest we didn’t see three years ago, but taste still skews modern.

Which antique periods are generating new interest?
If you’re a collector, great 18th-century antiques are interesting because of price. The cost of really good contemporary design has gone so high you can buy an amazing, important, museum-quality 18th-century piece for the same price.

What’s next for 1stdibs?
After launching in Germany and Austria this summer, it’s Scandinavia and Switzerland in the fall.

And for Michael Bruno?
After finishing the house in Tuxedo Park, maybe a pied-a-terre in New York. My last apartment was on 62nd and Fifth, and I really liked the location a lot. Before that I lived in the West Village, so I might want to try another neighborhood. If I were going to be in the city again, I’d want to live where I could be near that path along the Hudson I mentioned so I could run there in the morning and also go out sailing on the river.

Prince Harry Takes Greenwich

Fri, 17 May 2013 11:50:00 -0400

Prince Harry, HRH Prince Henry of Wales, dazzled guests and spectators this week when he visited the Greenwich Polo Club in Connecticut for a luncheon and an afternoon of polo sponsored by St. Regis Hotels and Resorts to benefit his Sentebale charity.

Third in line to the British throne (at least until Kate Middleton gives birth), the prince charmed guests with a short, heartfelt speech before lunch, describing Sentebale's efforts on behalf of Lesotho youngsters' education and healthcare.

Every table in the tent, specially set up on the polo club grounds, was packed with New York socials and designers including Valentino Garavani, Giancarlo Giammetti, Jason Wu, Indre Rockefeller, Gayle King, Amanda Hearst, Hayley Bloomingdale, art collector and Greenwich Polo Club co-founder Peter Brant and his wife Stephanie Seymour, and Prince Harry's compatriot Torquhil Ian Campbell, the Duke of Argyll.

The prince, captain of the Land Rover Sentebale team, tore up the playing fields. He scored the winning goal, defeating Nacho Figueras' St. Regis team for a final score of 4 to 3.

Brunch Plans: The General

Fri, 17 May 2013 10:52:00 -0400

What We're Reading

Fri, 17 May 2013 09:59:00 -0400

Donatella Versace and J.W. Anderson

Bullet's Fiona Duncan attended this week's launch party and runway show for J.W. Anderson's capsule collection for Versus Versace (Donatella's project) at the Lexington Ave. Armory, and lived to tell the tale. The late-night party featured performances by Grimes, Maxwell, and Angel Haze. And apparently, she says, Woody Allen was in the house. [Bullet]

While British folklore often paints gin (aka "mother's ruin") in a depressing light, New York Times Magazine writer Rosie Schapp sings the praises of this spirit's summertime value, from gimlet to martini. [The New York Times Magazine]

As Cannes is in full swing, Sofia Coppola's new flick The Bling Ring stars Emma Watson in a surprising performance (as in "tramp-stamped" and "wild child"), writes New York magazine's Kyle Buchanan on Vulture. [New York]

In honor of famed composer Richard Wagner's 200th birthday on May 22, The New Yorker's Alex Ross offers up a fantasy walking tour of Wagner's New York —had the German composer ever made it to the new world. [The New Yorker]

Q&A: Daniel Boulud on 20 Years of Daniel

Thu, 16 May 2013 18:00:00 -0400

Daniel Boulud

Daniel Boulud’s restaurant empire extends from Bowery favorite DBGB Kitchen and Bar to the elegant Maison Boulud in Beijing. But it was on New York's Upper East Side that Boulud made his name with Restaurant Daniel, which is currently celebrating its 20th anniversary. Over the past two decades, the iconic restaurant's kitchen relocated once, garnered all stars from acclaimed critics, and most of all, sewed itself into the fabric of New York. Here, Boulud reflects on the milestone and ensures that Daniel—the restaurant and chef—is here to stay.

What sets apart Daniel from your other restaurants?
DANIEL BOULUD: Daniel was the first restaurant I wanted to open. It’s the restaurant I wanted to reach the top with. If I had one choice, this would be the restaurant I would open. Daniel developed to be more contemporary in some ways, but it has the foundation of classic cooking and evolved and adapted to being in New York with having all these wonderful sources of ingredients. You could say, ‘Born in France, made in America.’

Does any one moment stick out in your mind in Daniel’s 20 years?
DB: I didn’t see them passing by. I have enjoyed every year of those 20 with excitement, with sometimes stress, sometimes joy, but always with a sense of accomplishment. I feel like we can’t change everything all the time, but we can change ourselves all the time. In those past 20 years, maybe 50 percent of the staff has been with me for more than half of those 20 years. They’re loyal to me, and I try to be loyal to them.

Is there a dish that truly personifies the restaurant?
DB: For 20 years, the paupiette of sea bass. I created that dish at Le Cirque, moved it to Daniel, and kept making that dish perfect. After 15 years, a chef said we need to change it. We had changed the look of the restaurant, the direction, etc., so I said yes and said we will change the dish, but I wanted to keep the components of the dish.

In celebrating your anniversary, you’ve talked a lot about the team of people supporting you. Has this always been your philosophy?
DB: I worked with chefs in France, who really have a sense of community and camaraderie. There’s a sense of fraternity. A sense of caring. I try to have the same type of relationship with everyone associated with me on the team.

What have you aimed to teach the generation of chefs that have worked in your kitchens?
DB: To really learn how to cook properly. Learn what it takes to be a great chef. They also need patience and confidence. Some kitchens, there may be a lot of cooks, but they may not have the opportunity to learn everything. I think at Daniel the good thing is those who succeed in the first task, we will keep training them over the years.

What do you want to achieve in the next 20 years with Daniel?
DB: To continue to maintain a high standard. To continue to evolve with Daniel. To continue to make it one of the best restaurants in this country. There’s a serious commitment on our part to do it. I’m sure five to ten years from now, we’ll be a little different, but we’ll very much still have the DNA of Daniel. Every restaurant has to find its identity, its personality, its image. Also, it’s not about being like the same guy next to me but to be myself. We believe in what we do.

The Ultimate Summer Rosé

Thu, 16 May 2013 00:01:00 -0400

Did you know that Champagne is one of the most versatile wine pairings in the world? Festive, refreshing, and elegant, a good Champagne is therefore your dream date while entertaining during this season's special occasions. So with that, we recommend Krug Rosé, a fine pink Champagne with an aromatic bouquet.

Aged for a minimum of six years and made from three different grapes (and several different years) this surprisingly dry Champagne's structure and volume can be traced to Pinot Noir wine. In terms of its texture, taste, and color (a pale salmon), this rosé is a non-conformist. Which begs the question? How does a host treat this unique Champagne right?

First, be bold. "Ignore the classic stereotypes," says Carl Heline, Krug's U.S. Director. "Contrary to popular belief, Champagne is best when served in an all purpose wine glass, rather than a flute. A flute tends to mask flavors. Its design is more focused on showcasing the bubbles, thus hindering the wine from breathing. A wine glass lets the wine fully come to life and breathe."

In this same non-conformist spirit, Heline points out that colder doesn’t always mean better. "One of the worst possible things to do is serve Champagne super cold," he attests. "When frosty, Champagnes become shy and the personality is lost. (An inside tip is to take the Champagne out of the refrigerator 20 minutes before drinking.) And finally, remember, Champagne is meant to be shared among friends and family. It may do its own thing, but Krug Rosé was created, like all Krug Champagnes, with the philosophy of pleasure and conviviality.

Weekend Recommender: May 16-19

Thu, 16 May 2013 00:00:00 -0400

Selected work form "Four Seasons" by Philip Haas

"Four Seasons" by Philip Haas at The New York Botanical Garden
Opens Thursday, May 16
Spring blooms in style this weekend with the opening of a solo show by internationally-renowned contemporary artist Philip Haas. Titled "Four Seasons," this latest commission of The New York Botanical Garden’s art program consists of four 15-foot tall "portrait busts," one for each season. Inspired by Renaissance master Giuseppe Arcimboldo's series of the same name, the exhibition is on view through October 27. 2900 Southern Boulevard, Bronx, 718-817-8700

Great GoogaMooga Celebrates Food and Music at Prospect Park
May 17 from 4 to 10 p.m., May 18-19 from 11 a.m. to 8 p.m.
The Flaming Lips, Yeah Yeah Yeahs, and De La Soul are just a few of the 20 musical acts performing in Prospect Park this weekend as part of the second annual Great GoogaMooga. In addition to music, three-day festival features food by 85 New York eateries, including The Meatball Shop, Salvation Taco, Umami Burger, Momofuku Milk Bar, Colicchio & Sons, as well as beer, wine, and cocktail "experiences." Plus, a special Culinary Masters program will present cooking demonstrations by chefs Daniel Boulud, Christopher Kostow, and Michelle Bernstein. While free general admission tickets are at capacity and $79.50 tickets to the VIP cocktail experience are sold out, tickets to the Friday night kickoff concert are still available for $54.50. Nethermead Meadow, Prospect Park, Brooklyn

Manhattan Cocktail Classic
May 17-21
Cocktail culture abounds with more than 100 events taking place at various bars, restaurants, museums, galleries, and event spaces across the city, plus a trade conference for cocktail professionals. From Friday's opening night gala at The New York Public Library (featuring 25,000 cocktails) to a bevy of seminars, tastings, parties, and parings around town, and of course, the three-day Industry Invitational, this annual fiesta is all about the cocktail.

Jamaican Juice in Downtown New York

Wed, 15 May 2013 19:53:00 -0400

With summer just around the corner, thoughts turn to sunshine and refreshing warm weather libations. Enter Miss Lily's, downtown Manhattan's beloved Jamaican diner. Inspired by Caribbean beach shacks (with a fun music and great Jamaican food) the restaurant has recently expanded and opened a variety shop, and bakery, and Melvin's Juice Box, which is helmed by Melvin Major Jr., who has more than 20 years of experience in the art of juicing. His totally organic menu of fresh juices and shakes include Jamaican-inspired delights like the Caribbean Coco shake, made with coconut, two choices of fruit, and wheatgrass. Other popular coolers include the Strawberry Riddim shake (apple, banana, strawberry), the Jamaican Green juice (kale, apple, lemon, ginger, celery) and the Rise-Up (wheatgrass, pineapple, apple, bee pollen, strawberry, banana). There are also simple juices, protein shakes, and several varieties of wheatgrass shots. 132 West Houston St., 646-588-5375

Q&A: The Artist Behind 'Inside Out'

Wed, 15 May 2013 16:24:00 -0400

A new HBO documentary follows 2011 TED Prize-winning French artist JR as he creates and executes the world's largest participatory art project. Entitled Inside Out, the project's concept is simple: submit a photograph of yourself (or have one taken by the artist) and JR will print it into a massive black-and-white poster and send it back to you to post in your community, perhaps alongside other Inside Out posters.

Over the past two years, more than 130,000 people from 100 plus countries have participated, pasting posters in places ranging from the Berlin Russian Embassy to the old city of Kabul, Afghanistan to Times Square. Interestingly, not only do the posters become pieces of art, sometimes, especially in politically unstable environments where the act can have dire consequences, they resonate as political statements of identity, and the joy of the human spirit. Here, we speak with the artist himself about the project and the accompanying documentary, Inside Out: The People's Art Project, which will air on HBO next Monday, May 20 at 9 p.m.

Are you surprised at the level of participation this project has garnered?
JR: For 13 years I've been doing photos in communities and asking them to help. Slowly, I realized I could step back, to let them do the process completely. In Inside Out, I decided to really step over and be like, 'Now it's in your hands, you take the photo, you choose where you want to paste it, and I'm just sending you the poster.' I'm just the printer. And it's been a really incredible experience just to watch them expressing themselves on walls.

Why do you think people have been so compelled submit photos?
JR: The interesting thing is, people do it for different reasons. In [one community in Park Slope] Brooklyn, the neighbors wanted to keep their corner store . . . They sent over photos, we sent them back, and then they pasted it on the steps in front of their house. They had a great article in The New York Times [where] they explained why they did that, and it had an impact on the community and on the shopkeeper.

Does the documentary follow the project from start to present?
JR: The movie is following the whole process from the real beginning of the project. I knew the director, that's why I was like, 'Do you want to film that? I'm starting this project, but I have no idea what impact it might have, if it might work.' Because when you think of the idea at the beginning, it sounds kind of crazy: whoever wants, with no selection, and it's free to everyone.

Did being the subject of a documentary affect the way you went about your work?
JR: I knew I needed to give a bit more of myself for that, to show how it's made and to go to some of the Inside Out places, where I normally don't like to go, because if you go there people think it's your project, and if you don't go, they really take complete ownership. Inside Out is just at the beginning, it's only two-years-old. This movie is coming out when the project is just starting, so it can grow and grow.

Isla Fisher Talks 'Gatsby' with Kirsten Dunst

Wed, 15 May 2013 14:00:00 -0400

When Isla Fisher first met Kirsten Dunst, the encounter could have been scripted from one of the madcap comedies that put these two popular Hollywood actresses on the map. The setting: backstage at the Oscars. The setup: Dunst was attending the awards ceremony accompanied by her brother, Christian; Fisher was there with her then-fiancé, actor Sacha Baron Cohen, who was nominated for his film, Borat.

Dunst mistook Cohen–in black tie and without his thick mustache–for a waiter and sent him to fetch her Champagne, which in good fun, the comic attempted to retrieve. Fisher laughs at the memory. "He thought you knew who he was and were making a joke. He thought you had a great sense of humor!"

No harm done–Fisher and Dunst, who worked together in the 2012 comedy Bachelorette, have an easy rapport, which was on display during a recent chat about Fisher's latest role in the highly anticipated Baz Luhrmann film, The Great Gatsby, based on F. Scott Fitzgerald's classic novel about love, class tensions, and ambition in Roaring Twenties New York. The movie, set to be released May 10 and the opening film of the Cannes Film Festival, also stars Leonardo DiCaprio, Carey Mulligan, and Tobey Maguire. In the film, Fisher plays the doomed Myrtle Wilson. Stuck in an unhappy marriage and living on the wrong side of the tracks, Wilson carries on an affair with the wealthy Tom Buchanan (played by Joel Edgerton) with disastrous consequences.

KIRSTEN DUNST: Tell us about Myrtle Wilson, your character in The Great Gatsby.
ISLA FISHER: I wanted to portray Myrtle as a woman who is really in love. She thinks she married beneath herself and is stuck in a loveless marriage. Tom is authoritative and controlling–the opposite of [her husband] George—and she thinks his violence is a sign of masculinity. At the beginning, she may have been attracted to Tom for his wealth. I added the emotionally insecure side, but I also gave her a grounded, loving “Tom is my hero and he will rescue me from my status” vibe.

KD: Makes total sense; it’s not about the money at all.
IF: You feel sorry for Myrtle because she really doesn’t have the breeding or the class, and yet she’s in these aristocratic circles. She’s such a try-er. I really love Myrtle. I know when you talk to people about the book, they have conflicted feelings about her, but because I played her, it’s hard for me not to connect with her and feel her pain.

KD: Many of the themes of The Great Gatsby—the widening discrepancies in wealth and the dangers of self-invention—are still highly topical. What do you think audiences will take away from the film?
IF: I haven’t seen the film yet, so it’s hard for me to [say exactly, but] the characters are elitist, reinforce social boundaries, and put [an emphasis] on money and materialism. They lack compassion for one another. I think those messages will hit home because all those issues are so relevant today.

KD: Much of Gatsby was shot in Australia, where you grew up. How did it feel working on such a large-scale production at home?
IF: It was thrilling and terrifying. Given the caliber of the director and cast on Gatsby, I definitely felt out of my comfort zone. I did feel like I was going to be called out and sent home at some point—you always feel very insecure, at least I do. But I got to eat Vegemite toast for breakfast and swim on Bondi Beach.

KD: How was working with Baz Luhrmann?
IF: He’s clever, creative, and collaborative; and the set was like a playground of rich costumes (his wife Catherine Martin does them) and color and music and laughter. You do a lot of takes and a lot of improvisation. The camera is always moving; you don’t know [when] he’s going to come to you. During the party scenes, I’d be dancing, and there’s a camera in my face when I thought it was Tobey [Maguire]’s close-up. I love that. I will say this about Baz—he’s a perfectionist, so you relax because you know he’s thought of everything. Everybody cares on a Baz Luhrmann film set because everyone is so effing grateful to be there.

KD: Did you keep any souvenirs from this set or anything from the movies you have done?
IF: I just keep my notes on my scripts, and the music I use for a character. I always have to have songs for a character. Baz gave lots of music, which was wonderful, and lots of images, which I really appreciated.

KD: Do you ever worry about being labeled a comedic actress and not being considered for serious dramatic parts?
IF: I don’t want to consider someone’s interpretation about me—it freaks me out. I have to be me and disassociate that way. I think no one should be labeled. I go up for gigs, and if it’s the right character for me and it’s shot in [the right location].... a lot of me agreeing to do work is about logistics because of my kids.

KD: Many times comedians surprise with a dramatic turn.
IF: I wouldn’t describe myself as a comedienne. I’m a comic actress; I don’t really do standup or write my own material. I write my own improv within a movie, but I would say I enjoy working on a comedy more. I don’t really act with the goal of accolades in mind, I’m pretty happy in my genre. I just try to do my own thing. Life’s about the journey; you don’t want to think about the destination.

KD: Who do you look up to or want to emulate?
IF: Goldie Hawn [in] some of those movies in the ’80s.... Overboard is the best physical comedy I’ve seen. She’s a huge influence.

KD: How has becoming a wife and a mother changed the way you work?
IF: Even when you don’t take your kids with you, your mind and heart are busy with them. It would be very hard for me to play scenes where a mother lost a child—I wouldn’t want to play that scene in Jude, where Kate Winslet finds her babies murdered. I’m just not ready to put my head into that kind of stuff while mine are so small. That’s why I’m drawn to lighter material.

KD: You took a break in the beginning of your career to have kids.
IF: I did; I took three years off. It’s not like you’re taking a break and looking on IMDbPro to see your StarMeter falling. You’re doing the most important, incredible thing. When you come back in, the perspective has changed. I truly believe you can’t have it all and you shouldn’t want to. In [the kids’ book] Pinkalicious the mum goes, “You get what you get and you don’t get upset.” It’s written for toddlers, but I just love that expression. It’s kind of my catchphrase when it comes to the business.

KD: You just went to Brazil for Save the Children. Why did you become involved with this group?
IF: I heard that 830,000 babies lives would be saved every year if they were breast-fed. Save the Children and I feel that countries need to increase their breast-feeding rates. This is such a natural way to stop babies from dying. We’re targeting the developing world, where women don’t have access to clean water to mix with formula or to sterilize bottles. There’s this new report called “Superfood for Babies” about breast-feeding, and the stats are just scary. I felt that no matter where mummy lives, she needs access to the support and the information to help her breast-feed if she wants to.

KD: Where do you like to hang out in NYC?
IF: I love to go to Central Park, obviously, and I love it in winter when it’s covered in snow—it’s so magical. And I like to do tea at The Plaza with my girls. I love Battery Park City. I have the greatest time there; it is always quiet. [There is] such a beautiful view looking over at the Statue of Liberty. I like going on my bike along that little bikeway on the West Side Highway. I love nothing better than the inhalation of some fumes along the West Side Highway! [Laughs]

KD: You look like you’re 12. Is this because you’re a redhead and stay out of the sun? What’s the secret?
IF: My theory is the minute you stop partying, your skin rejuvenates. I haven’t partied in years. Not that I ever really partied. I’m definitely not that girl who’s exfoliating, moisturizing, plucking, waxing. I’m low maintenance.

KD: Are you and Sacha going to work together?
IF: Personally, I think we collaborate on enough behind closed doors. We’re working on some really important collaborations, and I think that’s more important. Obviously, I’m a big fan of his. My favorite movie will always be Bruno, and my favorite line will always be when he looks up at the sky and goes, “So many stars in the sky. Makes you think of all the hot guys in the world.” So freaking random and funny

Dispatch: Met Gala Mania

Wed, 15 May 2013 11:58:00 -0400

Anne Hathaway and Valentino Garavani; Beyoncé at the 2013 Met Gala

Gatsby at MoMA, Punk Style at the 2013 Met Gala
The starriest New York party I ever attended was The Metropolitan Museum of Art Costume Institute Gala benefit last Monday. But lets take it back 24 hours, to Sunday night, when Dispatches caught a screening of The Great Gatsby at The Museum of Modern Art. Host Quintessentially Lifestyle invited a flood of notables: Eve, Prabal Gurung, David Schwimmer.

Carey Mulligan talked to Dispatches about director Baz Luhrmann's elaborate sets. “They’re amazingly helpful getting into character,” she said. Luhrmann himself noted that Leonardo DiCpario hooked him up with Jay-Z, one of the film's executive producers. “I told him my hip hop idea,” said Luhrmann. “And DiCaprio said, ‘Jay-Z is up at The Mercer, come meet him.’” Jay-Z happened to be working on a song when the trio met up—a song which ended up on the film's soundtrack.

On to Monday: The Met Gala was a real life 2013 update of a Gastby fête (multiplied by 100)—with punk styling. Held in celebration of the new exhibit "Punk: Chaos to Couture," the gala was hosted by Anna Wintour and Vogue. Co-host Rooney Mara arrived in a sheer zipped-down gown with Givenchy designer Riccardo Tisci on her arm. “I’ve been dressing people I respect,” said Tisci. “And I’ve been working with Rooney and my gang very closely, to make a second skin.”

Fellow designer Tom Ford dressed in a classic tux, but the Mudd Club regular mentioned that his punk moment was New Wave. And I was jealous of Amare Stoudemire, because Calvin Klein loaned him a thin black leather tie, something I'd been hunting for all week.

Karolina Kurkova wore tons of first nuckle gold rings, one of which slipped off. She doubled back to Dispatches' spot on the carpet (while I was talking to Katie Holmes, also in Calvin Klein) searching for the lost bauble.

Madonna; Rooney Mara and Riccardo Tisci at the 2013 Met Gala

Zac Posen designed what he called a “mean and green” dress for Uma Thurman. “We both have punk inside us,” he offered. But Posen may have accidentally punked Thurman with the low cut of her dress.

The big names just didn’t stop arriving: Tiger Woods, Jennifer Lopez, my head couldn’t even bother turning for Kristen Stewart—although mobs of fans across Fifth Avenue were shrieking.

Kate Beckinsale wore Alberta Ferretti. “We went for rich punk,” she joked. And Hilaria Baldwin, dressed in Carmen Marc Valvo, said that she and fellow expectant mom Kim Kardashian bumped bellies when they hugged.

I took a deep breath from the heady celeb action; then Anne Hathaway and Valentino Garavani extended a cheery welcome. "I created this dress in 1992," said Valentino of Hathaway’s gown. She said she asked him if he’d ever done punk, and he said, “I don’t think so.”

Miranda Kerr had sharp silver spikes sticking out of the side of her purse. And not to be outdone, Sarah Jessica Parker wore a Philip Treacy mohawk headpiece. Vogue’s Hamish Bowles was her date. “Hamish has the after-afterparty to go to,” kidded SJP.

Beyoncé’s Givenchy boots laced way up her calves. I asked if Jay-Z had helped her tie them. “Jay is out of town!” she cried out, exasperated.

“Punk means not caring what people think [and] enjoying who I am!” said Madonna, who summed up how she was able to look hip in a short dress with a cross hanging from her ass on a chain in one word: "'tude." This gala was a ball.

Joseph Altuzarra at the New York City Ballet Spring Opening Night Gala; Chris Pine at the Star Trek Into Darkness premiere

Baz Luhrmann Talks Met Gala, New York City Ballet Fêtes Spring Opening Night
And on Tuesday, believe it or not, The Cinema Society and Town & Country magazine hosted yet another screening of The Great Gatsby. Lady Gaga and beau Taylor Kinney snuck in just before the film ran. She had long, straight blonde hair, a black dress, and big shoulders.

I chatted with Baz Luhrmann for 20 minutes, mostly about the previous night's Met Gala. “For me it was just the image of Rooney Mara in the punk look shaking everyone’s hands in the receiving line, very formally, with all the punk models running down the stairs,” he said. Luhrmann also said that he’d dreamed up the idea to do the film while traveling aboard the Orient-Express, drinking wine, and listening to The Great Gastby on Books on Tape.

As I had already seen the picture, I snuck off to designer (and collector) Jean Pigozzi’s apartment for the launch of his LimoLand swimwear for Barneys. Designed by Ettore Sottsass, the apartment is filled with Pigozzi’s collection of Japanese and African art. As for the swimwear, boat and airplane prints are inspired by the designer's friends' yachts and private planes. Loved that.

Then on Wednesday, designer Joseph Altuzarra debuted costumes that he created for the New York City Ballet at its Opening Night Spring Gala. Vacheron Constantin, the Swiss watch company, circa 1755, sponsored the event. “I'm wearing Band of Outsiders,” Altuzarra told Dispatches. “This freed me to do things I wouldn't normally,” he said of working with the Ballet. “It felt amazing!”

The next night, at the New York debut of Star Trek Into Darkness, Chris Pine let it slip that if asked he will play Captain Kirk yet again, “Whether I’m up for it or not,” he said, “I’m contractually obligated, but I can’t wait!” A thousand Trekies screamed as he signed autographs.

After Star Trek, I raced over to author Alexandra Lebenthal’s stately pad for the launch of her sister Claudia’s new website, Style of Sport. At the door, I told designer Bibhu Mohapatra (nice guy) how great Alexandra had looked in his gown at the Ballet's opening night.

For more entertainment and society news, visit jeffreyslonim.com or follow @JeffreyJSlo on Twitter

Jeff Koons Debuts New Work at Gagosian Gallery

Wed, 15 May 2013 10:33:00 -0400

New works by New York contemporary artist Jeff Koons are among the highlights of the artist's anticipated solo show at Gagosian New York. Running through June 29, the exhibition features paintings and sculptures that, together, represent a sampling of the Koons' major bodies of work.

Since his first solo show in 1980, Koons' conceptual constructs have spanned the spectrum of literal to Baroque. Whether his work finds inspiration in comic book characters, classical art, or iconic pop culture figures, recurring themes include innocence, beauty, sexuality, and happiness.

Among the works being shown at the new exhibition are Koons' Antiquity paintings. Against a highly detailed backdrop (ranging from expressionistic abstraction to an Arcadian vision), each scene features an oil painting rendering of a famous ancient or classical sculpture, symbolizing love, ardor, potency, or fertility. Surrounding this central image are paintings of other figurines, figures sourced from popular culture. The Antiquity series also includes two "Venus" sculptures made from mirror-polished stainless steel.

Consisting of paintings, precision-machined bronze sculptures, and granite monoliths inspired by inflatable toys and cartoons, the Hulk Elvis series is sure to be another exhibition treat. The eight-foot tall black granite Gorilla sculpture, for example, is based on a toy that Koons bought from a vending machine at the Los Angeles Zoo.

Finally, three new mesmerizing, large-scale sculptures, Balloon Swan (Blue), Balloon Rabbit (Yellow), and Balloon Monkey (Red), sit in dialogue for Koons' Celebration series, which is inspired by childlike consciousness. Sounds like a dreamland worth visiting. 555 West 24th St., 212-741-1111

La Palina Launches Limited Edition Cigar

Wed, 15 May 2013 10:08:00 -0400

La Palina Goldie Laguito No. 5

Meet the Goldie Laguito No. 5, the latest cigar from luxury cigar brand La Palina. Limited to 2,500 numbered boxes, the cigar is named after Goldie Drell Paley, wife of La Palina founder Samuel Paley, and celebrates women in the cigar industry. As such, the Goldie Laguito No. 5 is produced at Miami's El Titan de Bronze factory by master roller Maria Sierra. As one of the very first women trained to roll cigars in Cuba, Sierra's 32 year career includes training by Fidel Castro’s personal cigar roller.

“Whether experienced alone, or in the company of old friends or new acquaintances, smoking a cigar is a supremely pleasant gift to oneself,” says Bill Paley, who relaunched La Palina in 2010 and is excited to introduce the new Goldie Laguito No. 5. And Paley knows of what he speaks—he is, after all, the grandson of Samuel Paley. “The first thing that one experiences with a cigar is how it looks. A cigar, like fine food, should excite the consumer visually. It should promise the smoker a sensual event. The color, whether dark rich brown or black, light tan, or rosy, should communicate the essence of the product within.”

From the cigar's look to how it feels in the hand to, of course, the “cutting of the cigar,” and then, Paley explains, the “dry draw,” in which the cigar is placed between the lips and cool air is brought through and tasted, every moment of the ritual is part of the experience. On taste, Paley instructs that “the tongue is sensitive to four tastes: sweet, bitter, acidic, and salt.” The balance of these elements is the cigar maker’s most important task. And with Sierra attending to the new Goldie Laguito No. 5, a harmonious mix is ensured.

Tissot Celebrates 160 Years with the Powermatic 80

Wed, 15 May 2013 00:00:00 -0400

—ROBERTA NAAS, ATimelyPerspective.com

This year marks the 160th anniversary of Swiss watch brand, Tissot. To honor the milestone, the brand has been very busy, and this year unveils multiple new movements and a host of really cool new timepieces that move it to the next level of sophistication.

Among the new pieces is the Powermatic 80—an automatic watch with 80 hours of power reserve. The watch was made possible thanks to the revolutionary new caliber, the Powermatic 80 movement. To achieve this technical prowess, Tissot strongly reduces the consumption of energy of the watch. The oscillation frequency of the Powermatic 80 is therefore brought down from 4 to 3 Hz. A high-performance synthetic material is used in the construction of the escapement to reduce friction. Thanks to a reduction of the diameter of the barrel-arbor’s core, the mainspring is stretched, thereby increasing the power reserve even further. Finally, the precision is increased with a new and innovative balance.

Making the watch even better is the fact that it is a COSC-certified chronometer. It is available in two sizes appropriate for men and women—33mm and 41mm—and is crafted in steel, steel, and gold-plated, and in versions with diamond adornments. The watch, which looks great and offers superb craftsmanship and precision, retails for a wow price of $1,075 to $1,575 depending on the model.

Sheena Wright Leads the Way

Wed, 15 May 2013 00:00:00 -0400

Sheena Wright knew the first day at her new job was going to be historic—just not in the way she planned. On that Monday, October 29, Wright took up her role as the first female CEO and president of the United Way of New York City. But a few hours after she arrived at the group’s lower Park Avenue’s offices, Hurricane Sandy struck, causing unprecedented levels of destruction throughout the metropolitan region. Despite her newness to the position, Wright’s bosses asked her several days later to lead recovery efforts for sister chapters in areas devastated by the storm.

But if there was anyone who could deal with tough situations, it was Wright. As the former head of the Abyssinian Development Corporation, a Harlem not-for-profit, she was highly experienced in responding to community needs in impoverished areas. Her time as a lawyer at top Manhattan firm Wachtell, Lipton, Rosen & Katz gave her an arsenal of legal skills, which would come in handy when negotiating for services on behalf of hard-hit neighborhoods. More importantly, she once led the life of the people she was now tasked to serve and knew their problems from the inside out.

Wright grew up in the South Bronx, raised by a single mother who had given birth to Sheena and her sister by the time she was 17. “I call my mother St. Jude after the patron saint of lost causes,” says Wright. “She believed you can do anything you want no matter what obstacles you face.”

Despite having to work two and three jobs to keep the family afloat and with the girls’ father in prison, Wright’s mother, Debra Fraser-Howze, graduated from college and made sure her daughters would, too. At 16, Sheena Wright was admitted to Columbia, where she also later earned a law degree. (Her sister, Tanya, graduated from Vassar College.) “My mother’s attitude was, ‘I am working hard to make sure you have a roof over your head. Your job is to do your best at school,’” says Wright. This mandate was non-negotiable, but one Sheena and her sister willingly accepted. “Every day, we saw the sacrifices she made for us. She would go without a winter coat to make sure we had what we needed. Even if there was little food, my sister and I ate.”

Wright says seeing firsthand what people sacrifice to build a better future, and “the things my mother was able to lean on to get her out of poverty” has informed her whole career trajectory. With her Ivy League degree, Wright knew she could make millions as a partner at Wachtell, but corporate law became just a means to an end. “Working in the law firm was an opportunity to build a level of expertise and bring it back to my community,” she says.

Making sure that resources are available to those in need, as they once were to her mother, is one of the main reasons Wright found the job at the United Way so appealing... and challenging— she joins the 75-year-old nonprofit during one of the city’s most difficult times. A recent United Way report showed how poverty rose significantly in the city during the recession—1.8 million New Yorkers, or 21 percent of the city’s population, now qualify as poor; one in three children in New York City live in families below the poverty line. “People in this city absolutely are being stretched in ways that we haven’t seen in this generation,” she says.

With those grim statistics, Wright says her initial goal, after helping to alleviate the misery caused by Sandy, is making sure “that people are connecting to the benefits they need.” Another is connecting people to living-wage jobs. “Companies here need to step up, as they did in the Depression, and create jobs for the future stability of the city,” she points out. A third is finding ways to keep children in poor communities in school. Nearing her six-month mark on the job, Wright says “a huge priority will be education and working with young people and their families from early childhood through college readiness.”

Considering her own life story—her mother, after receiving a college degree, worked with the New York Urban League and founded the National Black Leadership Commission on AIDS; her father turned his life around, becoming an MTA engineer and a real estate broker—Wright knows full well that “no one is beyond education or improvement. I don’t think, certainly being my mother’s child, you should ever write anyone off, at any point of time in his or her life.” This is one of the reasons Wright adopted and raised a young woman whose mother died from a drug overdose, in addition to raising three children (ages 5 to 22). She adds, “You can make decisions to make change, to make improvement, and there should be opportunities and help for you to do it.”

Matt Harvey Takes the Ball for Year Two

Wed, 15 May 2013 00:00:00 -0400

Starting pitcher Matt Harvey remembers every moment of the time last July when he faced his first batter as a new member of the Mets. He quickly got ahead of the leadoff hitter, Arizona Diamondback Gerardo Parra, by firing off two quick strikes with a powerful fastball and curveball, before he threw a twisting off-speed pitch that dove beneath the hitter’s swing. After the strikeout, third baseman David Wright gave Harvey a knowing look. “It was a little head nod,” Harvey recalls. Wright seemed to say, “All right. You’re the real deal.”

So began the professional career of Matt Harvey, the 6’4” Connecticut native and rising star of the Mets’ pitching rotation. That first day, he went on to strike out 10 more batters, setting a franchise record for a debut pitcher and picking up his first major league career win in the process. With nearly 60 innings between July and September, Harvey struck out more than one batter each inning, with an earned-run average that would have tied for the fourth-best in baseball had he appeared in enough games to qualify.

At times during his rookie season Harvey found himself crashing on first baseman Ike Davis’s couch, but now he is living full time in Manhattan and adjusting quickly to a high-profile city life. During the offseason, he became good friends with New York Rangers goalie Henrik Lundqvist, and at a recent Rangers game he found himself the center of attention in Madison Square Garden. “I was sitting next to John McEnroe,” Harvey explains. “And a couple minutes later I was up on the Jumbotron.”

Lundqvist, an accomplished guitarist, has also brought out Harvey’s hidden musical talents. “We were hanging out one night, and he was jamming out pretty well,” Harvey remembers. “I mixed in a couple of singing lines, and he actually asked me into the studio [to record] with him, so hopefully we can make that happen.”

But in season, Harvey is focused on lifting the fortunes of a franchise that has missed the playoffs each of the past six seasons. He points to the team’s growing young core—infielders like Davis and Daniel Murphy and fellow arms like Jon Niese—as reasons for optimism. “I think we’re going to shock a lot of people,” he predicts gamely. “If people stay healthy and everybody does their job, I think we’ve got a real shot at competing, playing into October, and making a real run at it.”

Whatever the case, Harvey knows that the spotlight shines brightest in his new home. “Obviously playing in New York adds more spark to the fire of wanting to win,” he says. “New York is big on winning, and we’re here to win.”

ABOVE: Met Matt Harvey set a franchise record for debut pitching last season.

Spring at The Lambs Club; NYC 4 Boston at Porter House New York

Tue, 14 May 2013 15:03:00 -0400

Roasted beets with fromage blanc, watercress and blis elixir at The Lambs Club

New Spring Menu at The Lambs Club: Geoffrey Zakarian’s The Lambs Club has a new spring menu that, like the restaurant itself, is both classic and elegant. Try the house-made spaghetti with Maryland blue crab, black trumpet mushrooms, chili flake, and fish roe. Also perfect for the warmer months ahead is the roasted Chatham cod with artichokes, polenta, Castelvetrano olives, crispy garlic, and grilled ramp vinaigrette. “We really tried to creatively embrace the spring products in two ways: one, simply served by themselves with a minimum of fuss, and second, married to an appropriate dish or protein to really highlight the creativity of the chefs involved,” says Zakarian.132 West 44th St., 212-997-5262

NYC 4 Boston at Porter House New York: On Wednesday, May 15, chef Michael Lomonaco invites New Yorkers to help raise funds for The One Fund Boston. Dine at Porter House New York or Center Bar and ten percent of your tab will go straight to the cause. Part of a citywide NYC 4 Boston campaign, other nearby spots, including the Stone Rose Lounge and Epicerie Boulud, will also take part in the fundraiser on this night. 10 Columbus Cir., 212-823-9500

Portuguese Seafood Boil at Louro: Chef Dave Santos (an alum of kitchens at Per Se and Bouley) has quietly made his restaurant Louro a gem in the West Village. A new spring menu and a Monday night "Nossa Mesa" supper club add to to the draw. At the supper club ($55-$75, BYO), expect everything from guest chefs to a Portuguese seafood boil on May 28.142 West 10th St., 212-206-0606

Women's Speed Rack National Finals: Top female mixologists take center stage at the Speed Rack National Finals on May 16 at Element Night Club. They’ll be competing shaker-to-shaker to see who can make the tastiest Negroni or Tom Collins in the shortest amount of time. Tickets, $30 in advance or $35 at the door, get you drinks and bites beginning at 6 p.m. The competition is also helping raise funds for breast cancer research. [Tickets] 225 East Houston St.

Manhattan Cocktail Classic Kickoff Gala: With a slew of events, lectures, and both parties and afterparties, this five-day event kicks off on May 17 with a hugely popular gala at The New York Public Library in Bryant Park. While many of the Classic's events have sold out, some tickets are still available. [Tickets]

New Exhibit: 1963 in Pictures

Mon, 13 May 2013 10:39:00 -0400

What's in a year? Well, a lot. Especially in the case of 1963, a year of tremendous change in America's political and social history, a year of hope and innocence, as well as tragedy and disillusionment. From Beatlemania to civil rights protests; the Vietnam war to Martin Luther King, Jr.'s unforgettable "I have a dream" speech; and of course, President John F. Kennedy's assassination, so many 1963 events continue to affect contemporary culture.

A striking new photo exhibition at Howard Greenberg Gallery (though July 6) pays tribute to this pivotal year, and by consequence, invites us back in time to understand how history shapes our present day reality. Shot by a variety of photographers, images exhibited include a photograph of Martin Luther King, Jr. speaking the famous words of his aforementioned speech in Washington, D.C. (shot by Bob Adelman); Paul McCartney getting a haircut (shot by Dezo Hoffman); a boxer named Cassius Clay (aka Muhammad Ali) getting his mouth taped before a big fight with Doug Jones (shot by George Silk); actress Natalie Wood on the set of Sex and the Single Girl (shot by Bill Ray); and an iconic image of firemen hosing down civil rights demonstrators in Birmingham, Alabama's Kelly Ingram Park (also shot by Bob Adelman).

The exhibit is divided into three sections, one corresponding to each major historical event: the treatment of civil rights protesters, Martin Luther King, Jr.’s speech, and the assassination of President Kennedy, with additional images of music, fashion, science, and sports. 41 East 57th St, Suite 1406, 212-334-0010

Sixties-Inspired Swimwear by Lauren Moffatt

Mon, 13 May 2013 09:25:00 -0400

From 1920s Gatsby looks to 1980s punk style, retro fashion is all the rage these days. And with summer just a whisper away, womenswear designer Lauren Moffatt has launched a playful yet sexy flurry of '60s throwback bikinis, one-piece bathing suits, and cover-ups. The collection ($186-$395) is the designer's first foray into swimwear. Inspired by "prim and proper" '60s tennis regalia, as well as nostalgia for the "chaotic" public pool scene, pieces boast fun patterns and bright colors, with ruffle detailing and modern peek-a-boo cut-outs. Silhouettes are classic and incorporate a variety of tried-and-true cuts: triangle and bandeau tops, bikini, hipster, and high-waisted bottoms, and lovely one-piece suits. Cover-ups feature custom-designed silk prints like multicolored dots, breezy cotton voile, and hand-crocheted cotton. Known for her passion for art and design, and flair for vintage influences, Moffatt has been tagged by Vogue and WWD as a designer to watch. Last year she was inducted into the CFDA.

New Watch Collection Glows in the Dark

Mon, 13 May 2013 00:00:00 -0400

Tondo by Night, de Grisogono ($9,400– $17,500).

As glamour-loving women know, not every timepiece is serious and conservative. Some are downright whimsical, such as the hit Tondo by Night watches from de Grisogono. Unveiled last year, the collection has just begun to make its way into luxury jewelry stores in the last few months. In addition to being mechanical works of art, these timepieces possess an unusual quality in the luxury watch world that begs them to be worn.

Designed by Fawaz Gruosi, the founder and president of de Grisogono, the Tondo by Night is intended to be a capricious, playful timepiece that stores light during the day and then frees it after the sun goes down. The case is created from a pearly photoluminescent fiberglass composite—with pieces of mother-of-pearl blended into the fiberglass for extra shimmer—then further bedecked with color-coordinated gemstones.

“It has such wide appeal because it is fashionable, hefty, and different from everything else on the market,” Gruosi says. “Still, I never dreamed Tondo by Night would be such an amazing success. The demand is much higher than what I produced, which was extremely unexpected.”

Each Tondo by Night watch is equipped with an exclusive in-house mechanical movement, specially developed to display the gem-set oscillating weight on the front side. Built in collaboration with an outside lab, the Tondo by Night timepieces are offered in an array of colors, each with a row of 48 gemstones on the bezel, plus another 60 on the dial (and a black diamond on the crown). The colors include white with white diamonds, yellow with yellow sapphires, pink with pink sapphires, green with tsavorites, purple with amethysts, and orange with orange sapphires. And three new shades were unveiled at the Baselworld show in April: a vivid green case with a tourmaline bezel, a blue case with a blue sapphire bezel, and a coral case with a spinel bezel. The most expensive watch in the collection is currently the white (diamond) version, which retails for $17,500.

“I dedicate this watch to happy summer days and glamorous nightlife,” Gruosi says. “It’s not only a luxury timepiece but also can be worn as a magnificent jewelry piece, with a twist.”

Q&A: The Stars of 'The Reluctant Fundamentalist'

Fri, 10 May 2013 12:45:00 -0400

Kate Hudson literally waltzes into the room. Wearing a cozy hot pink sweater with matching stilettos and skinny black pants, her aura is megawatt, the mark of a true celebrity. Following behind, with his hands tucked inside his pockets, is Riz Ahmed, who Hudson costars with in The Reluctant Fundamentalist, a riveting drama (based on a book of the same name) that screened at the Tribeca Film Festival.

As Ahmed doubles back to an adjacent room for something he forgot, I’m left alone with Hudson for an amount of time that seems both too long and too short. We make small talk about her lack of sleep and wish that she could attend the film's premiere "in a puffy coat." Then, just as we get on the subject of Long Island, my home, which Hudson seems curious about, Ahmed returns and the sands in the interview hourglass begin to fall.

With her legs perched up on the chair in front of her, Hudson seems comfortable and ready for the usual film press routine. Commenting on my question about what it was like to play a more serious role, as opposed to her usual comedic parts, she says with a sly smile, “From a journalistic perspective, I understand [the question].” Here starts a constant back and forth, during which I seem to be asking “provocative” questions, according to Ahmed.

“This isn’t your first political movie,” I say to Ahmed while recalling his role in 2006’s The Road to Guantanamo. “What attracts you to these kinds of parts?” I ask. “It’s funny you say that, because I think the personal is political," he quips. "I feel like the attempt to label some works of art as political and others as not is actually misguided. I kind of feel like it marginalizes things away from the mainstream cultural conversation, when actually that conversation lies in the heart of culture.”

I move on to the film's setting, 9/11, and plot, which sees Ahmed as a bright, young Pakastani immigrant living in New York City with a job in finance and a doting girlfriend (Hudson). However, when the Twin Towers crumble, his American Dream turns into a nightmare.

“Did you feel like the movie truly portrayed what it was like to be in New York on that day?” I ask Hudson, who was living in New York at the time of the attack. “That’s a tough question,” she says. “It is, in our time, not a defining, but the most defining moment in our history. For me, it was actually amazing. New York, as a city and as a community, is just phenomenal at times like that. I did not feel fear. I felt very safe. I felt very sad. It makes me emotional even thinking about it.” As her eyes begin to glisten, she pivots, “But that’s not what this movie is about . . . This movie uses [9/11] as a defining moment to tell a story about how when something shakes people in their life, it creates a sense of urgency.”

After discussing the impact they hope the film will have (Ahmed: "We wanted to give them something to talk about." Hudson: "And bridge the gap"), talk turns back to Hudson's rom-com oeuvre. "I get a little frustrated when people try to take [the] female comedy thing and put it in the 'rom-com' box. Because, well, I'd love to know . . . What do you call Wedding Crashers? People are calling Bride Wars a 'rom-com,' so Wedding Crashers must be a 'bro-com.' I don't like stereotypes," she says.

Ahmed jumps in, "That's what a lot of this film is about, resisting pigeonholing."

What We're Reading

Fri, 10 May 2013 09:48:00 -0400

Allison Williams' Met Gala gown gets the Fug Girls' seal of approval

The Fug Girls lament the overabundance of non-punk fashion at the punk-themed 2013 Met Gala while also applauding the ten women who "actually made an effort." [New York]

Characterized by their competing desires to do nothing and have it all, Millenials (the generation born between 1980 and 2000) are the subject of TIME magazine's latest cover story. Who's the most influential Millenial? The magazine's website has a poll going to find out. No surprise, Lena Dunham is a contender. [TIME]

Why not boogie your lunch hour away? The New York Times Style section offers this fun trend piece about New York's burgeoning lunch-hour dance party scene. [The New York Times]

Well, the reviews are in for Baz Luhrmann's rendition of The Great Gatsby. The New Yorker scribe David Denby balances his review of the film with insight and historical perspective. [The New Yorker]

Filmmaker Max Joseph II has a new mini-documentary about pivotal New York record label DFA. Bullet editor Ben Barna interviews the NYC director about "going viral," i.e. achieving Internet fame and, perhaps, fortune. [Bullet]

New Tolstoy-Inspired Popera and Supper Club

Thu, 09 May 2013 14:20:00 -0400

Natasha, Pierre, & the Great Comet of 1812 at Kazino

However you choose to describe Natasha, Pierre & the Great Comet of 1812, just don’t tell producers Howard and Janet Kagan that this electro-pop opera is dinner theater. While the War and Peace-inspired work follows in the footsteps of productions like Sleep No More with interactive moments between the audience and actors, there’s another component that sets it apart—the food.

Each guest is served a Russian dinner from a menu that includes everything from borscht and potato dumplings to smoked fish and caviar atop slices of toast. And of course, bottles of ice-cold vodka are placed at each table—some guests even indulge vodka flights. Bartenders create special cocktails and wine is poured throughout the night. Plus, at one point in the show, actors break the third wall and ask audience members to take a shot of vodka.

All of these elements fuel a sometimes over-the-top storyline about young lovers and the mystery and debauchery surrounding them. The characters are representative of elite Russian society at a time when many tried to mimic the French tastes for gourmet food and elegant wines. “This is a show about the wealthiest slice of society in early 1800s Moscow,” says Howard Kagan. “When people are in this room, we want to make them feel like they’re in this world.”

Natasha, Pierre & the Great Comet of 1812 opened on May 1 and will run through September 1 at Kazino, a Meatpacking District pop-up space that was created for the production. West 13th St. and Washington St.,866-811-4111

Weekend Recommender: May 9-12

Thu, 09 May 2013 12:27:00 -0400

The Master Builder opens this Sunday at BAM

Rebecca Minkoff Bi-Annual Sample Sale
May 10-11, 10 a.m.
Take mom on a pre-Mother's Day shopping spree at Rebecca Minkoff's anticipated sample sale, which comes but twice a year. Whether you fancy accessories, footwear, or clothing, prices are slashed up to 75 percent. 260 Fifth Avenue Showroom, 260 Fifth Ave.

"Endless Bummer II / Still Bummin’" and "Drew Heitzler: Comic Books, Inverted Stamps, Paranoid Literature" Open at Marlborough Chelsea
May 11, 6 p.m.
Two simultaneous group exhibitions open this weekend at Marlborough Chelsea Gallery. Curated by Drew Heitzler and Jan Tumlir, Endless Bummer II / Still Bummin' is a group exhibition inspired by the Southern California surf lifestyle, its dark side as well as its light. Meanwhile, "Drew Heitzler: Comic Books, Inverted Stamps, Paranoid Literature" is comprised of 37 works on paper and a new film, and continues Heitzler’s figurative treasure hunt through the past, as the artist discovers the invisible threads that link seemingly disparate sources. Both shows continue through June 29. 545 West 25th St., 212-463-8634

The Master Builder at BAM
May 12 at 7 p.m.
John Turturro stars in Henrik Ibsen's The Master Builder, opening this Sunday at the Brooklyn Academy of Music. Also starring Boardwalk Empire's Wrenn Schmidt, the psychological tale tells of a love triangle between the megalomaniacal Halvard Solness (Turturro), his wife Aline (Katherine Borowitz), and the young and beautiful Hilde (Schmidt). Andrei Belgrader directs. Tickets start at $25 and the show runs through June 9. BAM Harvey Theater, 651 Fulton St., Brooklyn, 718-636-4100