Broadway Musical: A Unique Gift To The World!

The Complete List Of 2025 Tony Winners!

It was Broadway's Biggest Night last night and it did not disappoint.

Here's the wrap up on the 2025 Tony Awards and the comple list of winners:

Here are the Tony wins by show:

Many Happy Endings – 6
Buena Vista Social Club – 4
Stranger Things: The First Shadow – 3
Sunset Blvd. – 3
Oh, Mary! – 2
The Picture Of Dorian Gray – 2
Purpose – 2
Death Becomes Her – 1
Eureka Day – 1
Operation Mincemeat: A New Musical – 1
Yellow Face – 1

And now, the list:

Best Musical
Maybe Happy Ending

Best Play
Purpose

Best Revival of a Play
Eureka Day

Best Revival of a Musical
Sunset Blvd.

Best Performance by a Leading Actor in a Musical
Darren Criss, Maybe Happy Ending (shown above)

Best Performance by a Leading Actress in a Musical
Nicole Scherzinger, Sunset Boulevard

Best Performance by a Leading Actor in a Play
Cole Escola, Oh, Mary!

Best Performance by a Leading Actress in a Play
Sarah Snook, The Picture of Dorian Gray

Best Performance by a Featured Actor in a Musical
Jak Malone, Operation Mincemeat: A New Musical

Best Performance by a Featured Actress in a Musical
Natalie Venetia Belcon, Buena Vista Social Club

Best Performance by a Featured Actor in a Play
Francis Jue, Yellow Face

Best Performance by a Featured Actress in a Play
Kara Young, Purpose

Best Scenic Design of a Play
Miriam Buether and 59, Stranger Things: The First Shadow

Best Scenic Design of a Musical
Dane Laffrey and George Reeve, Maybe Happy Ending

Best Costume Design of a Play
Marg Horwell, The Picture of Dorian Gray

Best Costume Design of a Musical
Paul Tazewell, Death Becomes Her

Best Lighting Design of a Play
Jon Clark, Stranger Things: The First Shadow

Best Lighting Design of a Musical
Jack Knowles, Sunset Blvd.

Best Sound Design of a Play
Paul Arditti, Stranger Things: The First Shadow

Best Sound Design of a Musical
Jonathan Deans, Buena Vista Social Club

Best Direction of a Play
Sam Pinkleton, Oh, Mary!

Best Direction of a Musical
Michael Arden, Maybe Happy Ending

Best Choreography
Patricia Delgado and Justin Peck, Buena Vista Social Club

Best Orchestrations
Marco Paguia, Buena Vista Social Club

Best Book of a Musical
Maybe Happy Ending Will Aronson and Hue Park

Best Original Score (Music and/or Lyrics) Written for the Theatre
Maybe Happy Ending Music: Will Aronson Lyrics: Will Aronson and Hue Park

Tony Memories: Mary And Ethel . . .

It's time for Broadway's Tony Awards and the event on Sunday evening reminds me of all the wonderful experiences I've had in Broadway theaters over the years, seeing more than 280 shows and spending thousands of hours in those darkened confines where disbelief is gloriously suspended.

When you've seen this much, chances are you've experienced most of greats when they were at the top of their form. And yes, I've seen Robert Preston and Carol Channing and Gwen Verdon and Liza Minelli and Jerry Orbach and Sammy Davis Jr. and Gloria Swanson and Julie Harris and Angela Lansbury and so many others all live, on stage. But two of the greatest that still stand out were the two undisputed reigning Queens of Broadway -- Ethel Merman and Mary Martin. What a joy it was to be able to witness their incandescent talent!

Mary Martin and Ethel Merman were towering figures of Broadway’s golden age—two women whose names became synonymous with the very essence of American musical theatre from the 1930s into the 1960s. Though their careers unfolded on the same grand stages, their paths, styles, and legacies reflect two very different sides of the Broadway coin, or for that matter the Tony Award itself, as both were Tony winners.

Mary Martin exuded warmth. With a lilting soprano voice, radiant smile, and natural grace, she brought a sense of sweetness and emotional depth to her roles. Audiences fell in love with her as Nellie Forbush in South Pacific, as the boy who wouldn't grow up in Peter Pan, and as the optimistic Maria in The Sound of Music. She became the quintessential Rodgers and Hammerstein heroine—wholesome, sincere, and utterly captivating. Her performances were not about overpowering the audience but about drawing them in. There was an emotional intimacy to Martin’s work; she seemed to sing from the heart, and her characters always felt grounded in a kind of gentle truth. I had the unique experience of seeing Martin perform both in concert and in a Broadway show and all of these qualities were on full display.

Ethel Merman, by contrast, was Broadway’s brass and bravado. With a booming mezzo-soprano that could cut through a full orchestra without amplification, Merman didn’t just sing—she belted. Her voice and her stage presence were larger than life. She commanded attention in every scene, whether as the sharp-shooting Annie Oakley in Annie Get Your Gun, the evangelist-turned-singer Reno Sweeney in Anything Goes, or the fearsome Mama Rose in Gypsy, a role many critics consider the greatest female role in musical theatre. Where Martin soothed, Merman soared. She reveled in big, brassy showstoppers and punchy comedic timing, representing the quintessential showbiz dynamo. I also saw Merman in concert and on the Broadway stage in Annie Get Your Gun. Even in front of a full symphony orchestra, she never needed a microphone.

At the 1960 Tony Awards both Martin and Merman were nominated for Best Actress in a Musical, Merman for Gypsy and Martin for The Sound of Music. Merman's performance was a dazzling tour de force and she gave it her all, leaving everything on the stage. But Martin won the Tony for portraying Maria von Trapp whose story included her time as a novitiate. Merman's comment? "How are you gonna buck a nun?"

Their differences extended beyond performance styles. Martin was often described as gracious and maternal offstage—quietly influential and beloved by colleagues. Merman, meanwhile, had a famously bold personality. She was tough, outspoken, and unapologetically direct, much like the characters she played. While Martin worked closely with Rodgers and Hammerstein, Merman was the darling of composers like Irving Berlin, Cole Porter, and the Gershwins—masters of the pre-“book musical” era who valued vocal fireworks and vaudevillian flair.

Maybe the differences in style can in part be attributed to the fact that Mary Martin was married to a man who diligently handled all of her professional affairs through the bulk of her career while Merman never had much success at marriage and pretty much faced the music alone. Martin's husband/manager cushioned her from the rough 'n tumble of show business while Merman had no such built-in protection. And let's not forget that Merman hailed from New York City (Astoria, Queens) while Martin was born in the small town of Weatherford, Texas.

And yet, for all their differences, both Mary Martin and Ethel Merman defined what it meant to be a Broadway star. They both worked incredibly hard, toured with their shows ands never missed performances. Both theatrical troupers, they originated some of the most iconic roles in theatre history, won countless awards, and helped shape the very idea of the Broadway musical. If Martin represented the heart and soul of the evolving American musical—its turn toward emotional storytelling and sincerity—Merman embodied its exuberance and theatrical punch.

Yes, they were competitors but, in the end, they weren’t so much rivals as they were complementary, each keenly aware of her unique appeal and her audience. Merman and Martin each illuminated a different side of the stage, and together, they set a standard that Broadway performers still aspire to today.

As Tony Night approaches, let's remember them fondly and give thanks for Broadway's illustrious legacy.

From 1956: This Is A Real Find!

The Complete List Of 2025 Tony Nominees

They've just been announced, so here is the complete list of 2025 Tony nominees:

Best Musical
Buena Vista Social Club
Dead Outlaw
Death Becomes Her
Maybe Happy Ending
Operation Mincemeat

Best Play
English
The Hills of California
John Proctor Is the Villain
Oh, Mary!
Purpose

Best Revival of a Play
Eureka Day
Romeo and Juliet
Our Town
Yellow Face

Best Revival of a Musical
Floyd Collins
Gypsy
Pirates! The Penzance Musical
Sunset Blvd.

Best Performance by a Leading Actor in a Musical
Darren Criss, Maybe Happy Ending
Andrew Durand, Dead Outlaw
Tom Francis, Sunset Boulevard
Jonathan Groff, Just in Time
James Monroe Iglehart, A Wonderful World
Jeremy Jordan, Floyd Collins

Best Performance by a Leading Actress in a Musical
Megan Hilty, Death Becomes Her
Audra McDonald, Gypsy
Jasmine Amy Rogers, Boop! The Musical
Nicole Scherzinger, Sunset Boulevard
Jennifer Simard, Death Becomes Her

Best Performance by a Leading Actor in a Play
George Clooney, Good Night, and Good Luck
Cole Escola, Oh, Mary!
Jon Michael Hill, Purpose
Daniel Dae Kim, Yellow Face
Harry Lennix, Purpose
Louis McCartney, Stranger Things: The First Shadow

Best Performance by a Leading Actress in a Play
Laura Donnelly, The Hills of California
Mia Farrow, The Roommate
LaTanya Richardson Jackson, Purpose
Sadie Sink, John Proctor Is the Villian
Sarah Snook, The Picture of Dorian Gray

Best Performance by a Featured Actor in a Musical
Brooks Ashmanskas, SMASH
Jeb Brown, Dead Outlaw
Danny Burstein, Gypsy
Jak Malone, Operation Mincemeat: A New Musical
Taylor Trensch, Floyd Collins

Best Performance by a Featured Actress in a Musical
Natalie Venetia Belcon, Buena Vista Social Club
Julia Knitel, Dead Outlaw
Gracie Lawrence, Just in Time
Justina Machado, Real Women Have Curves: The Musical
Joy Woods, Gypsy

Best Performance by a Featured Actor in a Play
Glenn Davis, Purpose
Gabriel Ebert, John Proctor is the Villain
Francis Jue, Yellow Face
Bob Odenkirk, Glengarry Glen Ross
Conrad Ricamora, Oh, Mary!

Best Performance by a Featured Actress in a Play
Tala Ashe, English
Jessica Hecht, Eureka Day
Marjan Neshat, English
Fina Strazza, John Proctor is the Villain
Kara Young, Purpose

Best Scenic Design of a Play
Marsha Ginsberg, English
Rob Howell, The Hills of California
Marg Horwell and David Bergman, The Picture of Dorian Gray
Miriam Buether and 59, Stranger Things: The First Shadow
Scott Pask, Good Night, and Good Luck

Best Scenic Design of a Musical
Rachel Hauck, Swept Away
Dane Laffrey and George Reeve, Maybe Happy Ending
Arnulfo Maldonado, Buena Vista Social Club
Derek McLane, Death Becomes Her
Derek McLane, Just in Time

Best Costume Design of a Play
Brenda Abbandandolo, Good Night, and Good Luck
Marg Horwell, The Picture of Dorian Gray
Rob Howell, The Hills of California
Holly Pierson, Oh, Mary!
Brigitte Reiffenstuel, Stranger Things: The First Shadow

Best Costume Design of a Musical
Dede Ayite, Buena Vista Social Club
Gregg Barnes, BOOP! The Musical
Clint Ramos, Maybe Happy Ending
Paul Tazewell, Death Becomes Her
Catherine Zuber, Just in Time

Best Lighting Design of a Play
Natasha Chivers, The Hills of California
Jon Clark, Stranger Things: The First Shadow
Heather Gilbert and David Bengali, Good Night, and Good Luck
Natasha Katz and Hannah Wasileski, John Proctor is the Villain
Nick Schlieper, The Picture of Dorian Gray

Best Lighting Design of a Musical
Jack Knowles, Sunset Blvd.
Tyler Micoleau, Buena Vista Social Club
Scott Zielinski and Ruey Horng Sun, Floyd Collins
Ben Stanton, Maybe Happy Ending
Justin Townsend, Death Becomes Her

Best Sound Design of a Play
Paul Arditti, Stranger Things: The First Shadow
Palmer Hefferan, John Proctor is the Villain
Daniel Kluger, Good Night, and Good Luck
Nick Powell, The Hills of California
Clemence Williams, The Picture of Dorian Gray

Best Sound Design of a Musical
Jonathan Deans, Buena Vista Social Club
Adam Fisher, Sunset Blvd.
Peter Hylenski, Just in Time
Peter Hylenski, Maybe Happy Ending
Dan Moses Schreier, Floyd Collins

Best Direction of a Play
Knud Adams, English
Sam Mendes, The Hills of California
Sam Pinkleton, Oh, Mary!
Danya Taymor, John Proctor is the Villain
Kip Williams, The Picture of Dorian Gray

Best Direction of a Musical
Saheem Ali, Buena Vista Social Club
Michael Arden, Maybe Happy Ending
David Cromer, Dead Outlaw
Christopher Gattelli, Death Becomes Her
Jamie Lloyd, Sunset Blvd.

Best Choreography
Joshua Bergasse, SMASH
Camille A. Brown, Gypsy
Christopher Gattelli, Death Becomes Her
Jerry Mitchell, BOOP! The Musical
Patricia Delgado and Justin Peck, Buena Vista Social Club

Best Orchestrations
Andrew Resnick and Michael Thurber, Just in Time
Will Aronson, Maybe Happy Ending
Bruce Coughlin, Floyd Collins
Marco Paguia, Buena Vista Social Club
David Cullen and Andrew Lloyd Webber, Sunset Blvd.

Best Book of a Musical

Buena Vista Social Club
Marco Ramirez

Dead Outlaw
Itamar Moses

Death Becomes Her
Marco Pennette

Maybe Happy Ending
Will Aronson and Hue Park

Operation Mincemeat: A New Musical
David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts

Best Original Score (Music and/or Lyrics) Written for the Theatre

Dead Outlaw
Music & Lyrics: David Yazbek and Erik Della Penna

Death Becomes Her
Music & Lyrics: Julia Mattison and Noel Carey

Maybe Happy Ending
Music: Will Aronson
Lyrics:  Will Aronson and Hue Park

Operation Mincemeat: A New Musical
Music & Lyrics: David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts

Real Women Have Curves: The Musical
Music & Lyrics: Joy Huerta and Benjamin Velez

We Take In Four B'way Shows Amidst Many Openings

Maybe Happy Ending, on Broadway now.

We've been back on Broadway and we've seen four shows we'd like to tell you about it. But first, a quick observation. For many years autumn was always the most exciting time on Broadway. It was the time of big openings with many shows debuting night after night, mostly through October and November. The openings were stellar affairs. So momentous was all this that it was heralded in the Great American Songbook classic Autumn In New York with a reference to "the thrill of first-nighting."

All of this changed as Broadway evolved with the advent of blockbuster hits that ran not simply for years, but for decades. Think Phantom of the Opera, Cats, Mama Mia, Chicago, Les Miserables, Hamilton, etc. The higher costs of producing shows on Broadway meant that they needed longer runs to recoup their investment. With such long residences for the mammoth forever hits, fewer theaters were available, even though not as many shows ventured onto Broadway. At the same time the growing importance of the Tony Awards shifted the whole season from the autumn to the spring -- a time when Broadway benefits both from the Tony promos and the beginning of an accelerated tourist season as well. 

Today, most new shows open right around this time as we come to the run-up to the Tonys. By the end of this week all of this Broadway season's shows will have debuted and the Tony nominations will be announced next week.

Now to the shows we've just seen -- two revivals and two newcomers. We'll start with the oldest one first:

Love Life. We took in Kurt Weil and Alan Jay Lerner's Love Life (described as a vaudeville in two plays) as part of the Encores series at City Center. Originally produced in 1948, the musical has not been seen in New York since then. The show tells the story of a married couple, Sam and Susan Cooper, who never age as they progress from 1791 to 1948, encountering difficulties in their marriage (and thus the very fabric of marriage) as they struggle to cope with changing social mores. At the same time the show mirrors and comments on the American experience over this long swath of history. In a sense it's all about the search for and evolution of the American Dream. With a huge cast, the magnificent City Center orchestra and stars Brian Stokes Mitchell and Kate Baldwin, this production accomplished what would seem to be an impossible task -- bringing this daring, sweeping story to life and making it newly relevant. This was a very limited engagement and we're so glad we got the chance to see it. Outstanding!

Pirates, The Penzance Musical. Originally known as The Pirates of Penzance, this updated Rupert Holmes adaptation of the Gilbert and Sullivan musical is a big, splashy, broad comedic celebration from the Roundabout Theatre Company. With pinpoint perfect direction by Scott Ellis and soaring, swashbuckling choreography by Warren Caryle, the show is a true dazzler with high production values. Of course, we were attracted to it by its stars, the dashing Ramin Karimloo as the Pirate King and the delightful David Hyde Pierce as Major General Stanley. We're happy to say that both gents deliver on all fronts. And, they are ably assisted by co-stars Jinkx Monsoon and Nicholas Barasch, all part of a cast of 41. Long before the Marx Brothers, there was Gilbert and Sullivan. Which is to say, Pirates is silly, zany, preposterous and altogether delightful! 

Death Becomes Her. One of Broadway's most boisterous new musicals has landed in one of its most elegant, historic theaters. And you can't help but be struck by the way in which Death Becomes Her has taken over the Lunt-Fontanne. The show's purple panoply is literally everywhere, enveloping the walls, the proscenium arch, the lobby and, of course, the now mandatory souvenir/logo shop. With a book by Marco Pennette and music and lyrics by Julia Mattison and Noel Carey, Death is based on the 1992 film of the same name. Basically, it tells the story of two famous, viciously catty, self-absorbed women who don't want to grow old. They are supposedly "friends" but we all know how that works in a cynical tale such as this. The special effects are inventive, the backhanded insults are quick and sure-fired and the performances are fine. But the show and its stars come at you with all the subtlety of a runaway freight train and this never lets up. Maybe we should have seen the movie -- then again, perhaps not . . . 

Maybe Happy Ending. We've saved the most original and thought-provoking new musical for last. No big cast here (it's mostly a two-character show) but that suits this musical whose intimacy makes it all the more beguiling. This is a quirky show with a nonetheless universal appeal. From South Korea, the musical is set in the not-too-distant future in the Seoul metropolitan area. Oliver and Claire are helper robots that look completely human-like, created to help people, but were abandoned by their owners and now live in  side-by-side apartments where abandoned helper bots live. Darren Criss and Helen J. Shen play the bots and they are nothing short of amazing, especially Criss who plays a somewhat less advanced bot than Shen. This is a high-tech show with a big heart and it's suprsingly romantic. With book music and lyrics by Will Aronson and Hue Park, Maybe is poignant and evocative, soaring across cultures, time zones and generations in a way that will leave you astonished at what musicals can accomplish in the age of artificial intelligence. The ending, in particularly, will stay with you and maybe even have you guessing, which is the point of the outing in the first place. Highly recommended, and a sure contender for the Tony award!

Eat, Drink, Be Merry: 23 Great NYC Spots!

As theatergoers we spend lot of time in midtown Manhattan. And we've been frequenting this bustling corner of the world for decades. So, it's not surprising that people are always asking us for recommendations about how to get around, where to eat, etc.Now, in no particular order, we give you our updated observations and suggestions, including 23 of our favoite spots:

First, never ever assume that New Yorkers are to busy to help you. They are among the most helpful people in the world, provided you know what you're looking for and you get to the point. Ask directions simply and clearly of any New Yorker and you will get your answer. And if you're prompt and very polite, you're likely to get some great recommendations from a local as well. But don't tally and be especially careful not to bother someone who honestly seems to be on an urgent mission.
Uptown, downtown, east side, west side. The island of Manhattan is a perfect grid divided into four parts. Numbered streets run north and south. Avenues run east and west. Avenue blocks are long and take more time to traverse. Street blocks are short and rush by quickly. If you're headed north, that's uptown. Conversely, downtown is south. The west side is the side facing New Jersey along the Hudson River. The east side is the side facing Brooklyn and Queens along the East River. The upper east and upper west sides are divided by Central Park. The island is narrower at the bottom and comes to a point at the Battery.

If you're going north or south (uptown or downtown) you don't necessarily have to take a cab or call an Uber. You can hop on a convenient uptown bus on Fifth Avenue or an equally frequent downtown bus on Seventh Avenue and pay simply by tapping your credit card as you get on. The vehicles are clean and efficient and stops are announced by an automated voice so you can quickly and easily signal the stop you want and depart. There's honestly no better way to travel up and down Manhattan!

You can find any kind of food in Manhattan that you could possibly want and in any price range. Consider the variety of the following, from the sumptuous and sublime (SS) to the cozy and comforting (CC) and everywhere in between (IB). Our exclusive list, just for you!

Le Bernardin: (SS) Luxe French dining from chef Eric Ripert. This is top-of-the-line all the way and a place where Big Deals are brokered and special occasions are marked amidst hushed surroundings. If you want to appreciate it without spending a fortune, try it for lunch.

Astro Restaurant: (CC) An old-fashioned corner diner with a huge menu, it's tiny but mighty and very, very Noo Yawk. We count this as one of our best finds and the essence of old school, no nonsense meals served fresh, fast and delicious. Breakfast lunch, dinner, late night -- and the coffee is great, too. Wow!

Trattoria Dell'Arte: (IB) Informal, engaging, colorful and wonderfully hospitable, this spacious mostly-Italian eatery is a perennial favorite of ours. It transports you to an Italian artist's studio, adorned with oversized sculptures, captivating drawings, and a unique wall gallery featuring famous Italian noses. But none of that would matter if the food wasn't fantastic. Fortunately, it is!

Wolfgang's Steakhouse (IB): This ultimate New York steakhouse has several locations but we like the one on 41st Street that is close to Times Square but also worlds apart. Step down into surpassingly spacious, airy surroundings with crisp white tablecloths, an efficient staff and great fare and cocktails facing an indoor garden. And, it's just steps away from nearby Broadway theaters. Marvelous!

Bemelmans Bar (SS): Tucked into the legendary Carlyle Hotel, you'll discover the most divine icy martini on the cushy upper east side. And, you'll be surrounded by the whimsical murals of Ludwig Bemelmans, the creator of the classic Madeline children’s books. The soft, golden glow and the live piano music will transport you to another era. You'll probably have to wait your turn to gain entry and it will co$t you but, trust us, it's all worth it!

Nerolab Italian Food Zone (CC): You'll find delight in this cozy continental bistro on the mezzanine level of Trump Tower. Here you'll get a great view of the glistening Trump Tower lobby while enjoying cappucino, espresso, Italian pastries or what's billed as the crispiest, most authentic pinsa you’ll ever taste. Give it a try!

La Goulue (IB): The name literally means "the glutton" but we doubt that you'll find anyone who looks or acts like a glutton here. Though the food could easily tempt you to gluttony, this place is much too chic for that -- chic though nonetheless informal, we might add. Still, we sought entry one day without a reservation and the maitre'd gently slapped our wrists. Very French! But after the admonishment, he kindly showed us to a table. You'll find the best Aperol spritz in the city here and great faire as well. Plus, it's a legendary lunch haven!

Osteria al Doge (IB): We've been going to this popular Italian trattoria in the theater district for more than 30 years and we've never had a bad meal. It consistently receives high marks for its delicious food, warm atmosphere, and excellent service, and is a favorite for pre and post Broadway theater dining so you're advised to make a reservation. There's a reason for its longevity!

The Lambs Club (IB): Just off Broadway, inside the Chatwal Hotel you'll find Chef Jack Logue's elevated and fun takes on American classics amidst a gleaming art deco atmosphere. And, as if that isn't enough to make this place unique, it's the successor to the legendary social club for the world's greatest thespians. So, the walls are adorned with the faces of renowned actors and actresses, mostly from the legitimate stage. The Lambs is a natural mecca and a hub of activity before and after showtime!

Tommy Bahama's Marlin Bar & Restaurant (IB): The website proclaims that "at the corner of 45th & Fifth, on one of the busiest shopping avenues in the world, your refuge awaits." Indeed it does! And though there are 28 Marlin bars and/or eateries throughout the country, each is tailored to a particular locale. For example, this one features a menu highlighting Hudson Valley produce and fresh Northeastern seafood. And it delivers -- along with refreshing libations, a wonderfully calming atmosphere and a super friendly staff. Be sure of this: this ain't no Margaritaville. This is (literally and figuratively) a decided step above!

Marea (SS): Featuring Italian coastal cuisine in an upscale contemporary atmosphere, this is quite simple one of the best dining experiences we've ever had. It's truly top-of-the-line without a lot of fussiness -- which means that you'll be treated regally sans the hovering. Marea garnered three stars from The New York Times, was named Best New Restaurant by Bon Appetit, Esquire, and GQ Magazines and was also named NYC’s Best Italian Restaurant by Zagat. From day one it's been a mecca for the best of the best!

Marsaille (IB/CC): If this delightfully informal French bistro in the gritty Hell's Kitchen neighborhood doesn't satisfy your taste buds, nothing will. Great uncomplicated French faire served up just as you like it. A convivial ambience is an added plus. Try the tiny table in the far corner with a great view of the entire panoplie.

Virgil's (CC): No pretenses here, folks. This is down home barbecue at its best. In fact, it's been acclaimed as one of America's top 10 BBQ restaurants. Virgil's features meats that are smoked at a low temperature over indirect heat for up to 10 hours with a unique mix of hickory, oak and fruit woods that impart maximum flavor. Virgil's big neon sign beckons you. You won't be disappointed!

Anita Gelato (CC): This fast-growing gelato behemoth (also known as La Mama Del Gelato) has arrived in Manhattan and is attracting big crowds. Don't be scared away by all the flash, fanfare and in-your-face promotion. The stuff is really good and the sidewalk lines prove it!

Ralph Lauren's Polo Bar (IB) It's become ça fait fureur for luxe fashion houses to offer bars and/or restaurants on the premises but few can measure up to Ralph's jewel box just off Fifth Avenue. You'll have to call well in advance as soon as reservations open for the date you want and then (if you're lucky) your name will be placed on a list allowing you to check in at the door. The gleaming bar awaits as you enter and downstairs, the clubby dining room, exquisite in every detail. And don't be surprised if Ralph and Ricky show up. Play it cool . . .

Le Pavillion (SS): This is a dazzler in the new One Vanderbilt building near Grand Central and it ranks near the top of the list of Manhattan's best. It's said to express chef Daniel Boulud's roots in New York City with a fresh and unique approach to fine dining in a dramatic setting. It promises what it delivers, and more. And though it's formidablé, it's never intimidating. You won't regret it!

5 Napkin Burger (IB): It's not quite a diner, not quite a dive, more than a mere burger joint and beyond a corner bar. And though the famous 5 napkin burger gave it its name, it also boasts all day breakfasts, slow roasted chimichurri chicken, happy hour specials, BOGO beer Monday, wine down Tuesday and more. This is a spacious, noisy, busy place in the heart of Hell's Kitchen that attracts a lively mix of out-of-towners and neighbors. It's a true original!

The Modern (SS): In the Museum of Modern Art you'll find Danny Meyer's ultimate dining experience. Sleekly contemporary, it's a perfect spot if you want to see and be seen. This place holds two Michelin stars, a Three Star review in the New York Times, four James Beard Awards, and the Grand Award from Wine Spectator. Imbibe, chill and slowly melt into the surroundings knowing this is where you were meant to be!

Myzel's Chocolates (CC): This tiny chocolate shop across from the grand City Center performing arts edifice on 55th Street is chocolate, licorice and chocolate chip cookie heaven. You'll find the owner, Kamila behind the counter. The cookie recipe here is touted as a traditional one refined by Kamila's mother over decades within a chocolate-making tradition exemplifying exceptional baking and cooking. Also, delight in more than 100 licorice flavors from Europe. PS: Jackie Kennedy Onassis bought her cookies here!

Annie Moore's (CC): A popular after work place for drinks, munchies and basic faire, this Irish pub near Madison Avenue is the sort of place where you might have found Don Draper once upon a time. But while the big ad agencies have long since abandoned Mad Ave, Annie's is still there and still serving lunch and dinner every day except Sunday. You can have bar food, salads, sandwiches, burgers, chicken pot pie, steak, salmon -- pretty much whatever you want!

Sarabeth's (IB/CC): There are four of them in Manhattan but we like the one on Central Park South. They say that this is the place for brunch and who are we to argue? Yeah, it can be crowded and touristy but so what? When they ask you to indulge in their signature eggs, fluffy pancakes, and famous French toast, they mean it because at this place it's all about indulging, in the best sense of the word!

Goodman's Bar (SS): You'll find Goodman's nestled into a second floor corner of Bergdorf Goodman's men's store on Fifth Avenue. Get there early because it's only open until 6 pm each day. Enjoy crafted cocktails while gazing at the art of the mixologist as well as wines curated by Master Sommelier Dustin Wilson and cuisine by Chef Austin Johnson. Goodman's manages to be simultaneously new and old world -- no small feat. This place is living proof that luxe can also be cozy.

Le Grande Boucherie (IB): It's exactly what it says it is and it's delightful -- well, not literally, as boucherie is a "butcher shop." But, hey, it's French so, this ain't no ordinary butcher shop. Instead, it combines artful spaciousness with intimacy as only the French can with fresh, tasty dishes served up as if you were in a Parisian arcade -- which you are, as this place stretches (under glorious arches) the entire block of Sixth-and-a-half Avenue. Yes, there really is such an address and yes, it really is worth finding!