Greek In The City, Or At Least Astoria

Astoria is set to become a Greek television show titled “On 31st Street”:

“On 31st Street,” created by Woodside writer-director Demetri Demirakos, 26, and Greek Cypriot actor Andreas Georgio, 24, will follow the stories of several 20-something Greek-Americans living in Astoria. It is scheduled to shoot in the Astoria neighborhood as well as parts of Manhattan and Brooklyn. The episodes, which will be broadcast next fall on Greece’s Mega Channel and available to subscribers of the channel worldwide, will be broadcast mostly in Greek, but with some dialogue in English, said Konstantina Kontalipos, 28, associate producer for the show.

“Our aim is to, through the story, show different perspectives of how people live in New York,” Georgio said. “Greeks want to see how people live in Astoria and what it is like.”

The show’s creators said most people who travel to the United States from Greece end up visiting Astoria, which has one of the world’s largest Greek populations. Kontalipos said a number of Astoria cafes, restaurants and shops will make appearances in the show when it begins to air in Greece in October 2007.

In the show, Georgio, who has acted for several years on Greek television, will play lead character Alex Michaels, while Demirakos will act as writer and director of the episodes. The show’s other six cast members will be made up of local thespians and actors from Greece, but most of the show’s crew will be locals, Kontalipos said.

The show’s creators and producers recently set up their production office for the show on 31st Street near 30th Avenue, where they will be based for at least 1 1/2 years while the 28 episodes of “On 31st Street” are shot around the city. If the show is successful, the company will produce further seasons and possibly films.

I hope it’s not literally on 31st Street since the N train can get pretty loud . . .

But No One Is Cooler Than That One-Man Tango Couple . . . No One

The Sun explains the pecking order for subway musicians:

While performing in subway stations and on train platforms is legal even without an MTA-issued pass, freelancers are often forced to surrender lucrative, high-traffic spots to musicians licensed by the [Music Under New York] program, part of the MTA Arts For Transit initiative.

Competition for the good spots can get heated.

“We used to have a problem with acrobats and dancers,” Mr. [Lester] Schultz said. “There’d be 10 of them, one of us, and they could do somersaults, and they didn’t care if we had a pass. They just wouldn’t leave.”

Spats between musicians also arise when freelancers do not speak English and fail to understand why they are being forced to move along, according to other MUNY musicians.

Among subway musicians, there exists a social hierarchy underground that is invisible to daily commuters and tourists. It could be compared with a high school cafeteria, where the cool clique can scare away outsiders from a designated table with a practiced eye roll (in this case, the flash of a MUNY pass).

Subway musician Natalia Paruz, who plays the musical saw, performed as a freelancer for years until she became fed up with countless tickets from the transit police and too much time and money lost while searching for a free spot. “Sometimes I’d get to my spot and someone would already be there. I’d lose an hour just trying to find another place to play,” Ms. Paruz said. Eight years ago, she joined MUNY.

Now, Ms. Paruz performs on the high-traffic mezzanine at the Times Square station. Her lips parted slightly, it is difficult to tell whether it is she or her saw producing the eerie sound (it is, in fact, the saw that is singing).

A Shock That Unkinked James Levine’s Hair

Fine, Peter Gelb, you win — that little Times Square opera stunt seems to have worked:

The gaudy lights still doused the streets, and nothing could stop a waiter from the Bubba Gump Company from loudly trying to lure in customers — but the honks took a break, and those rushing home from the towers of Midtown stood to the side, taking in the opening night of “Madame Butterfly” on three giant screens. The opera was also broadcast on a screen outside Lincoln Center, though the crowd there was more black-tie than the spectrum of New Yorkers at 42nd Street.

“I think I’ll stay a little while,” a nurse at New York Hospital, Rose Chin, said. She had run into the sleek set-up — an array of more than 1,000 pure red and black chairs set up on the asphalt of Broadway — on her way from the bus to the subway. She said she had seen her share of musicals and movies, but never an opera.

A carpenter at New York University, Jean Demesmin, came across the broadcast on his way back to his home in Spring Valley, N.Y.

“It’s my first opera,” he said, leaning against a telephone booth with his arms crossed. “I’m going to stay for the whole thing.”

. .

The free broadcasts on the opening night of the Metropolitan Opera’s season are part of an effort led by the new general manager, Peter Gelb, to increase the appeal and access of the art form. Last night Mr. Gelb estimated that the opera was seen by more than 8,000 people, compared to the about 3,000 who ordinarily fill the opera house. The company gave out thousands of free tickets to the opera’s dress rehearsal last week.

. . .

A warehouse worker from Ashland, N.J., Don Mackle, stared up at the screen and said, “Never in my life.” By taking a seat he was delaying his commute across the Hudson for several hours, but it was a worthy diversion, he said. “I would never go to opera if it wasn’t free,” he said. “Who knows? I might like it.”

Yes, But At What Cost?

It’s “free” in the sense that the tickets do not cost actual money. Your time, patience and sanity are another matter:

Friday night’s performance of Bertolt Brecht’s “Mother Courage and Her Children” began about 8 p.m. at the Delacorte Theater in Central Park. David Suker showed up about 8:45 p.m. He was not late. He was early.

Mr. Suker, 38, was the first person in line for tickets to the next night’s performance. He had a long wait ahead of him — some 16 hours before the theater would hand out the free tickets — but he had his blue air mattress and its battery-powered pump, a bottle of seltzer, a sleeping bag, a lantern and his Army training.

. . .

The lines have become a Shakespeare in the Park tradition and the Delacorte’s unofficial second stage, as lively, improvised and quietly dramatic as the plays for which they form. For “Mother Courage,” the lines are two-act plays. The first line starts in the evening on the cobblestone sidewalk of Central Park West at the edge of the park, at 81st Street. The park closes between 1 a.m. and 6 a.m., and when it reopens, people in the first line reassemble outside the theater’s box office.

Time is indeed money in New York City: people were selling tickets to last night’s show on craigslist.com for $45 each and up to $150 for a pair. One ticket holder wrote, “$100 for my time on line or best reasonable offer.” But all of those interviewed said they were waiting for hours only to see the play or to get tickets for friends.

If I Can’t Pay $50 Then No One Should Be Able To Pay $50!

The Neue Galerie has scrapped plans for a special no-riff raff $50 off-hours deal:

Less than a week after announcing a special $50 opportunity to view its newly purchased Klimt portrait on a day its doors are normally shut, the Neue Galerie canceled that plan yesterday, saying the offer was misread by the public.

A museum spokesman, Scott Gutterman, said that a wave of callers had contacted the Neue Galerie yesterday leaving the museum with the impression that some found the price objectionable. The Neue Galerie had described the $50 ticket, which was to be offered each Wednesday from noon to 4 p.m. starting today, as a way for visitors to avoid crowds. “It was originally intended for members, who can get in for free,” Mr. Gutterman said of the Wednesday viewings. “But then we thought that we would offer the public a chance to come on Wednesdays for $50, when it would be less crowded.”

Previously on: Congestion Pricing Is Un-American!