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Seven Characteristics To Look For In Wedding Caterers



While it’s not the only thing that will make your wedding special and memorable, delicious food is one of the main things that will make your wedding special and memorable. To celebrate the union of two loving individuals with anything besides delectable food, smooth drinks, and tasty dessert would inappropriate; cuisine and beverages enhance the excitement and sophistication of the event in a multitude of ways.

Accordingly, you’re probably aware of just how disastrous a less-than-stellar catering company can be. Missing food, tasteless food, tardiness—all these things and more come with unreliable caterers, and they will most definitely put a damper on what is meant to be a tremendously positive and pleasant experience.

To help you enjoy a top-notch wedding and assure that your guests are as happy as possible, here are seven qualities to look for in reliable caterers!

1. Experience

Experience isn’t the end-all in terms of a caterer’s suitability, but it is very important. The reason it isn’t the end-all is simple: today’s top caterers were, at one point, completely new to the business. If new companies were always turned down because of their inexperience, they’d never develop experience! However, with an occasion as special as your wedding, you probably shouldn’t take a chance on an inexperienced caterer without performing ample research.

Be on the lookout for caterers with not just multiple years of experience, but multiple completed jobs; staying in business is easy, while frequently doing business is not.

2. Dependability

Catering professionals who lack confidence and precision should be avoided. For example, if you ask a caterer what time they’ll arrive at the wedding and they respond by saying that they don’t know, you should look elsewhere. Inversely, a caterer who demonstrates dependability by outlining a clear-cut arrival, cooking, clean-up, and departure schedule is worth learning more about.

This is arguably the most significant quality included on this list. If you’re feeling brave, search “caterer doesn’t show up wedding” online. This happens more than you’d think, and worse than leaving you and your guests with bad food, the situation will leave you and your guests with no food.

And it’s hard to put a positive spin on a food-free wedding. Remember to look for dependability in your caterer!

3. Affordability

Quality catering costs money, but exuberant pricing is usually a sign that the caterer in-question is a bit more concerned with making cash than providing quality cuisine. On the other hand, caterers who charge a fair amount for their services are probably dedicated to making your special night as tasty as possible.

Moreover, the price caterers charge is in many ways an indicator of their respect for clients. Passionate, professional caterers wish to offer their services to as many people as possible; they aim to operate a volume-based business and be part of a sizable number of events. Caterers who opt to work notably fewer events for significantly more money probably aren’t passionate about what they do, and this lack of passion will be apparent in their work.

4. Attentiveness

Inattentive caterers are much more likely to make mistakes at your wedding, and it’s hard to be completely satisfied with the wrong foods (wrong in terms of being different from what guests ordered), undercooked foods, and/or missing staff members. Attentive caterers will produce attentive work, and that means your ordered food, style of cooking, and other catering needs will be noted and adapted to.

And pinpointing the attentiveness (or lack thereof) of a caterer isn’t particularly challenging. Companies like Honeywed Wedding Catering, for instance, are attentive in everything they do, from recording your specifications to offering helpful suggestions based on these specifications, as well as a whole lot else in between.

5. Kindness

This quality might come as a surprise, but the truth is that kindness is an ultra-valuable characteristic for a caterer to have. You and your partner are going to have to meet, communicate, and work with your caterer before and during your wedding; if these individuals are rude, unkind, and/or mean, the entire process will become that much harder.

More than this, your wedding is supposed to be a celebration—not an endurance exercise. Be sure to seek kindness in your caterer.

6. Reputation

If a caterer’s reputation in the local community and on the internet is solid, the chances of your receiving stress-free and decadent food will increase exponentially. Some reviews today are fake—they’re often placed by competing companies—and not every customer is perfectly reasonable. However, if a caterer’s reputation is completely bad, it might be worth selecting another professional or company to provide the food for your wedding.

A caterer can’t please all the people all the time, but if they don’t please any people at any time—well, that’s a major red flag!

7. Responsiveness

Even if your wedding is perfectly planned, there’s a good chance that something small will go wrong—particularly in terms of your catering. Guests deciding to switch meals, attempting to substitute portions of their meal, sending parts of their meal back, and more are distinct possibilities.

Responsive caterers—those that seem able to adapt to unexpected trials—will be best able to deal with these and other unforeseen issues and save the night. Each guest’s happiness will impact the overall mood and atmosphere of your wedding, and a responsive caterer will help to boost the former and, in turn, the latter.

If a caterer possesses all these positive characteristics, it’s probable that your wedding’s meals will be prepared and delivered without a hitch, and that great food and drink will be accompanied by great times. And at any special occasion, it’s hard to ask for more than good company, food, and experiences.

Thanks for reading, and here’s to the beauty, fun, and excitement of weddings!

Off Broadway

Public Theater Brings “The Ally” Forward for an Intense Debate




So here’s the pickle. This play, The Ally, clocking in at a far too long two hours and forty minutes, throws controversy at you in numerous long-winded speeches one after the other, filling your brain with details and complexities that clash and do battle with each other from beginning to end. The structuring is intelligent, as the Public Theater‘s new play, The Ally, written by Itamar Moses (Outrage; The Band’s Visit) and directed with precision by Lila Neugebauer (Second Stage’s Appropriate), strides forward into dangerous territory with determination against all odds. Wickedly smart and articulate, the play, in general, overwhelms the intellectual senses. It’s factual and intricate, somewhat off-balanced and attacking, delivering detailed positions with fiery accuracy, which only made me question whether I wanted to sit this one out. Or step more in.

It’s unsafe and determined, placing the action (or inaction, if you really want to get into it) inside a college campus, and attempting to engage in deep-level conversations and arguments with the complicated issues of the world. These are exactly the debates worth having, says basically one character to another, in the tradition of arguing. Because banning free speech is “weird on a college campus.” These conundrums and conflicts are core to passionate dialogue, and just the idea of having them is meeting with fierce debate at universities and colleges across the country. The complexities and the tipping points are layered and real, swimming in a sea of questions about what free speech really truly means, and how differing points of view, civil dialogue, and the stark polarization contrasts collide and enflame. And how, in discussion, defensiveness and aggressive emotional stances are taken on and used against one another like weapons; bullets, and missiles. I even feel a bit worried that taking this stance of wanting to back away might be taken as ‘part of the problem’.

Ben Rosenfield and Josh Radnor in The Ally at The Public Theater. Photo credit: Joan Marcus.

The program notes that “the theatre is a safe space in the most literal sense of that term: no one is going to be physically harmed during this performance in the Anspacher. But it is most decidedly not a safe space if by that term we mean a space where everyone will feel comfortable and no one will feel angry, saddened, or offended. It can’t be that kind of space. The theater depends on conflict – the form itself refuses the idea of a single truth. It’s why I [Oskar Eustis; Artistic Director of The Public Theater] believe that theater is the ultimate democratic art form – just like citizens in democracy, the theater demands that we listen to and share opposing viewpoints, and that from that conflict, a greater truth will emerge.” And I couldn’t agree more with that.

Yet, even with such heightened emotions on stage, delivered full throttle by the excellent cast that includes Cherise Boothe (Signature’s Fabulation,) as Nakia; Elijah Jones (Signature’s Confederates) as Baron; Michael Khalid Karadsheh (Target Margin’s The Most Oppressed by All) as Farid; Joy Osmanski (“Stargirl“) as Gwen; Josh Radnor (LCT’s The Babylon Line) as Asaf; Ben Rosenfield (RTC’s Love, Love, Love) as Reuven; and Madeline Weinstein (BAM’s Medea) as Rachel, who each try to make it sound more authentic than the writing really allows, the play suffers from how deep of a dive the writing goes. But not without a solid attempt by this cast, bringing qualities and characteristics to the forefront whenever they are given the chance. But a lot of the time, like their main focus, Radnor’s Asaf, they must stand and listen to whoever has the microphone at that one particular speechified moment. And wait, just like us, for the next round. And viewpoint.

Madeline Weinstein, Michael Khalid Karadsheh, and Elijah Jones in Ally at The Public Theater. Photo credit: Joan Marcus.

Playwright Itamar has certainly dived fully into some of the most difficult topics of our time and asks us to patiently listen to all sides, even when the dialogue doesn’t really resemble discussion but more like informed lectures or one-framed speeches. On the plainest of sets, designed by Lael Jellinek (Public/Broadway’s Sea Wall/A Life), with costuming by Sarita Fellows (Broadway’s Death of a Salesman), lighting by Reza Behjat (ATC’s English) and sound design by Bray Poor (Broadway’s Take Me Out), The Public‘s The Ally, uncovers some emotional space within the manifestos presented. Itamar states in the note section: It “wasn’t that i had nothing to say,” he carefully explains, like the main character who has to stand back and take on the full force and brunt of the argument. “Rather, I didn’t know where to begin because what I had to say was too confused, too contradictory, too raw.” And if that was the complicated stance he was trying to unpack, the playwright succeeded tremendously well.

But does that make The Ally, at The Public Theater, especially this long-winded one, worth sitting through? I’d say yes, and I’d say no. I couldn’t wait to leave that debate hall, but I was also impressed and intrigued by the arguments presented and discussed, even if ‘debate’ would not exactly be the word I would use for the ideas thrown around at one another with brutal force. One of the later statements said to Radnor’s Asaf by his ex-girlfriend, Nakia (Boothe) at maybe one of the few truly emotional moments of actual human souls speaking their truth, sums up my stance. “The thing you need, may not be words.” I won’t argue with that.

For more information and tickets, click here.

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The Hotel Edison Opulent and Convenient with History



George Burns and Gracie Allen lived on the 9th floor of The Edison Hotel. Their friend Jack Benny lived on the 4th floor. Moss Hart lived there after his Once in a Lifetime was a Broadway hit. He then moved his parents there until he found them an apartment. The Edison Hotel is featured in the movies “The Godfather” and “Bullets Over Broadway”, so history abounds.

Located at 228 West 47th Street, you are down the street from Six, Hamilton, Prayer for the French Republic and Sweeney Todd. Across the street is the Barrymore Theatre, but all of Broadway and Times Square is a hop, skip and a jump away. Talk about location, location, location.Built in the late 1920’s, Art Deco abounds from the hotel lobby to the lights and the bed spread in the lush rooms. The hotel is elegant and feels like you stepped back in time. My room was spacious with a king-sized bed that was so comfortable, I wish this was a staycation where I could have spent more time catching up on sleep. I also had a small sitting room with a couch, desk and more windows with views.

The rooms are well designed with great features, such as a Keurig coffee maker and coffee, black-out drapes, windows that opened, and a full-marble bathroom. In the bathroom fluffy towels, designer toiletries and a hair dryer awaited me. The spacious shower also had a relaxing rain shower. In the closet a safe, iron, ironing board and fluffy robes.

There were also two flat-screen high-definition smart TVs, Bluetooth-enabled audio, high-speed Wi-Fi which made my life so much easier, and an alarm clock.

The room was ultra clean and to get to it you need a room key, which you also need for the elevator, so you feel incredibly safe.

Another fun fact…when you arrive you will have a personalized note waiting just for you and some lovely snacks, which were highly appreciated considering I had been running all day and needed a pick me up.

Amenities to the hotel are a gym, two fabulous restaurants, a piano bar, complimentary wine and cheese receptions (Tuesday & Friday), with entertainment, as well as complimentary walking tours of the neighborhood.

You would think for this much pampering and convivence this hotel would be overpriced but it is not. There are rooms are the best offer and prices in town.

If you are looking for history, comfort, boutique, friendliness and luxury, this is the perfect place to stay.

The Edison Hotel: 228 West 47th Street

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Going Down The Rabbit Hole To Discover A Fabulous Unheard Treasure of Linda Eder



In February one of my favorite singers is coming to 54 Below on the 6, 13, & 17. Linda Eder is forever linked to Broadway history via her Theatre World Award winning performance in Jekyll & Hyde. Her concerts sell out and the reason why is her voice is remarkable.

In 2020 she release an album that somehow slipped through my radar. Retro – volume two is full of Broadway and Standards. There are 17 tracks on the CD. Most are written by Frank Wildhorn with the exception of four tracks. There are two pop tracks, one written by Frank Wildhorn and one written by Jake Wildhorn. She recorded the vocals for four of the tracks at home by herself due to social distancing. This CD is only available at

Guest stars on the CD are Will Lee and Michael Lanning. Songs from Bonnie & Clyde, Svengali, Tears of Heaven, Havana andThe Last Five Years are heard here.

I can not believe this slipped through the cracks, but thrilled to find it. Can’t wait to see her at 54 Below.

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Celebrating Love in Times Square



There’s no better place to say “I love you” than Times Square. On Valentine’s Day 2024, New Yorkers and visitors alike will once again declare their love and celebrate their relationships at the Crossroads of the World through surprise proposals, weddings in the heart of Times Square, and a Vow Renewal Ceremony on Duffy Square’s iconic Red Steps.

Want to participate? Click here for proposals. Click here to get married and click here to renew your vows.



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Felicia Finley Shines in From Backwoods to Broadway



As Broadway veteran Felicia Finley proves in her one woman cabaret show, From Backwoods to Broadway, which she showcased at The Green Room 42 in NYC this week, you can take the girl out of the country but you can’t take the country out of the girl. And that’s a very good thing!

Ms. Finley chronicles her lifelong journey from her Appalacian roots to the Great White Way in a program of emotionally powerful songs spanning both worlds with vocal mastery and personal passion.

She began her journey as a performer when she started singing at age four. Her first big break came at age nine, when she was cast in the Broadway company of Annie…and her first big heartbreak came when the show closed the very next weekend. Her early career was a roller coaster of promising opportunities and dashed hopes. She might have co-starred in the film of Gypsy opposite Bette Midler had five foot one Ms. Midler not refused to stand on a box to look Ms. Findley in the eye. But that’s show biz.

Finally her talent prevailed. She made her Broadway debut in Smokey Joe’s Café, before going on to play Amnaris in Aida, April in the original cast of The Life, and to create the role of Linda in The Wedding Singer.

Along the way, Ms. Finley has never lost track of her gospel roots, or her love for Patsy Kline. Her rendition of “Sweet Dreams”, one of Patsy’s big hits, was a highlight of the evening, flavored with the smoky sound that makes Ms. Finley’s voice so distinctive. Not surprisingly, Ms. Finley won a “Best Actor” award for portraying Ms. Kline in A Closer Walk With Patsy Cline at the Meadowbrook Theatre in Rochester, NY.

Ms. Finley was ably accompanied for this performance by her talented musical director, Michael McBride.

Under the direction of JoAnne Zielinski, From Backwoods to Broadway is like spending a welcoming evening in the intimate warmth of Ms. Finleys living room.  The next chance you get to see her, dont miss her.

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