The 43rd Annual Village Halloween Parade, the largest Halloween event in the world, got underway with extraordinary precision, as all the skeletons, ghouls and monsters – some 50,000 in all – got into order for the march up New York’s 6th Avenue to the rhythm of a host of bands.
“One thinks of Halloween as a chance to fantasize, but more than anything Halloween lets us realize, allowing us to play ourselves, leaving the remainder of the year for sleepwalking…. In these moments of reverie, our eyes are fresh, a child’s eyes. Our thoughts unfettered by habit, ideas and inspirations swirl in. So this year we celebrate Reverie, inviting one and all to recreate their waking dreams.”
Indeed, this is one day a year when New Yorkers, en masse, release their inner exhibitionist, their inner Action Hero. It’s Body English, when your entire being is a placard to transmit your message. For some, it is a way of releasing inner rage, anxiety, and confront demons. For others, it is a way to convey spiritual blessings, cheer.
This year had its Willy Wonkas, the Egyptian Pharoahs (one carried a “10 Commandments for the 21st Century that included “gender equality” and “no more wars”), Action Heroes and Cartoon characters, spirits from myth and folklore, and a good smattering of political characters and commentary, with candidates Donald Trump and Hillary Clinton (more mocking him than her), Anonymous, and against the NRA.
Tens of thousands of people lined the route, which extended a mile from Spring Street up to 16th Street, delighting all as the bigger-than-life skeleton puppets poked into the crowd and stilt walkers and costumed characters engaged.
It is amazingly artful, marvelous to behold – indeed, producer Jeanne Fleming, who took over the planning for the parade after its 8th year when the crowd reached 100,000, saw the Village Halloween Parade as an art installation.
And the scenics! with the lights of the Freedom Tower downtown, the church at Greenwich with its giant spider crawling down the side and the tower lighted, and the Empire State, lit in crackling light show for the occasion uptown, and the buildings lining 6th Avenue like canyon walls – creating a fantastical atmosphere in which the walking creatures and monsters feel most at home.
“New York’s Village Halloween Parade is committed to the cultural and imaginative life of New York City and to the advancement of large-scale participatory events in the belief that such events, when artistically inspired, can play a major role in the resurrection and rejuvenation of the City’s spirit, economy and the life of its people,” is the mission statement. “Fleeting as it may seem, the Annual Village Halloween Parade provides a subconsciously experienced time structure that lends a sense of durability, continuity and community to New York City life.”
Indeed, it is a collective giggle, a communal hug against the forces beyond control, and while you are in the spirit of it, you forget everything beyond.
Walking around Manhattan, with the oddest sights (half the time, you don’t know if people are wearing costumes), just adds to the special thrill of Halloween in New York City.
From humble beginnings in 1974 when Greenwich Village mask maker and puppeteer Ralph Lee started a walk from house to house for his children and friends, the Village Halloween Parade, now headed by Artist and Producer Jeanne Fleming, has become an iconic event of New York City, with some 60,000 participants and tens of thousands of onlookers.
The Village Halloween Parade, the only major night parade in the country, is the largest public Halloween celebration in the world. It has been named as “The Greatest Event on Earth” for October 31 by Festivals International, and has been listed as one of the “100 Things to Do Before You Die.”
I have come to Pittsburgh for the three-day, 120-mile Rails-to-Trails Conservancy’s Spring Sojourn on the Great Allegheny Passage, and used it as an opportunity to explore Pittsburgh, a city that once was known for steel mills, but which now has won accolades as “America’s most livable city.”
I am fascinated to see how it made such a transition from grey to green.
With only one full day to explore, I specifically seek out attractions that define Pittsburgh, all walkable within the downtown, getting advice from the Omni William Penn Hotel concierge.
I continue my walk from the Fort Pitt Museum, over the Fort Duquesne Bridge toward the National Aviary (it was the “national” that got my attention), fascinated how city planners managed to turn a city designed for industry and machines into one that can be so walkable and bikeable.
The National Aviary, America’s only independent indoor nonprofit zoo dedicated to birds, offers a lovely exhibit of birds, including being able to walk through massive habitat-style exhibits, where the birds – like the Victoria Crowned Pigeon (amazing headdress), Golden Breasted Starling (nesting) fly freely about you, often landing very close by.
There is also a bat exhibit (you can watch bat feeding), poke your head up into the penguin pen, As I walk about, I am surprised to read a marker that states this was the site of the Western Penitentiary (1826-1880) and held confederate prisoners here 1863-64.
The National Aviary (www.aviary.org), which was designated “national” by President Clinton, would certainly be a highlight for family travelers and am having such an amazing time taking pictures, seeing some birds that I had never seen before in such close proximity without cages, I lose all sense of time (which is why I didn’t have enough time to visit the Heinz History Center).
The National Aviary is also just a short walk to my next stop: the Warhol Museum. I had not realized that Andy Warhol was a native son of Pittsburgh (born to a Slovakian family of modest means, he attended Carnegie Mellon which was Carnegie Technical at the time) – this museum is in the tradition of the Dali Museum in St. Petersburg, totally extolling the life of one artist. It basically continues what Andy Warhol did most successfully his whole life: market his art to inflate prices. The best part, for me, was learning more about his biography – what made him “tick”, his creative process and about his techniques.
My own belief is that Warhol was more of a marketing genius than an artistic one (at least Salvador Dali was both a marketing genius and an artistic one), but I am willing to be convinced otherwise as I roam the museum.
Indeed, as a placard notes, since the seven-story museum opened in 1994, there has been a steady increasing level of recognition of Warhol’s “singular contribution to 20th century art and his extraordinary influence on contemporary art internationally. The museum is on the forefront of research into Warhol’s work.”
There is a timeline along the massive walls that document in excruciating detail Warhol’s life and learn such tidbits as: Andrew Warhola was born in 1928 to immigrants from Mikona in Slovakia; he graduated Carnegie Tech (which became Carnegie Mellon); in 1956 he met Edmond Walloaitch who used photography in his own works; most of Warhol’s early endeavors were self-published; he was inspired by popular culture and enlarged images from magazines and photographs with a projector, then painted the projection on canvas; he used a rubber stamp, then the silk screen process; the first silkscreen painting based on a photograph was a baseball, in 1962; he “replicated the look of commercial advertising, giving Warhol faithful duplication of his appropriated source image, while also allowing him to experiment with over-painting, off-register and endless chance combinations”.
After graduating Carnegie Tech, he took a “risk” and came to New York City where he got his big break, illustrating a story “What is Success” for Glamour Magazine. “He became one of the most successful commercial illustrators.” A particularly noteworthy item on the timeline: 1972- after publication of his “Vote McGovern,” the IRS audited Warhol annually until his death.” Warhol died in 1987, at the age of 58.
He created the “blotted line technique” – where he could trace or copy and an image “appropriating images from popular culture” – and reproduce any number of them, factory-style.
Warhol, we learn, made a fortune from portraits, once again, getting a giant commercial boost after an exhibit at the Whitney in 1979, curated by his close friend David Whitney consisting of 56 double portraits of artists, fashion designers, collectors, art dealers, which showcased an aspect of his painting “that he characterized as ‘business art’.”
After the 1979 show, his private portraits business hit heights- early 80s – he produced did 50 a year at $40K for 2-panel, or $2 million in annual profits.
“He was unapologetic in his imposition of lucrative business model as part of his art practice.”
I notice a prominently displayed portrait of Prince from 1984, which is up just after the musician’s death.
Andy Warhol was known for his passion as a collector – very possibly an outgrowth of his impoverished childhood and his expropriation of others’ art and design. Over his lifetime, he collected some 500,000 artifacts. There is an immense room, called the “Vault” that is filled with “time capsules” – 610 flimsy cartons, each with 500 objects.
I found it totally ironic, though, that you are not allowed to take any photos since Warhol’s art was based on expropriating the images and designs created by others (ie. Campbell Soup Can, Marilyn Monroe photo). You can take part in workshops to learn the silkscreening techniques he used. The museum is a must-see for anyone who is a fan.
The Andy Warhol Museum was created by the Andy Warhol Foundation, Dia Center for the Arts, and the Carnegie Foundation which operates the museum. It is one of four Carnegie Museums of Pittsburgh (Carnegie Museum of Art, Carnegie Museum of National History and Carnegie Science Center are the others, www.carnegiemuseums.org).
The Andy Warhol Museum, 117 Sandusky Street, Pittsburgh, PA 15212, 412-237-8300, www.warhol.org ($20/adults, $10/students and children 3-18, half price on Fridays, 5-10 pm; closed Mondays).
(I have come to Pittsburgh to join the Rails-to-Trails Conservancy’s Sojourn three-day, 120-mile bike tour on the Great Allegheny Passage. I only have one full day in the city, so I set out on a walking tour aimed at focusing on what is uniquely Pittsburgh’s heritage. In the first part of the series, I experienced the Monongahela Incline, Mount Washington, Grandview Avenue, and the Duquesne Incline. I continue my walking tour at Point State Park.)
What a jewel Pittsburgh’s Point State Park is, literally at the confluence of three rivers: the Monongahela River at one side and where the Allegheny and Ohio Rivers meet on the other. Its location made it critical to control over this territory and later, the industrial and economic development of the nation.
The Point offers beautiful park land as well as some of Pittsburgh’s most significant heritage sites.
You first come upon the Fort Pitt Blockhouse, built in 1764, the oldest building in Pittsburgh and the only remaining structure from colonial times. Inside this small, dark space, it gives you a glimpse of western Pennsylvania’s role during the French & Indian War and the American Revolution (admission is free).
What proves to be the highlight of my visit to Pittsburgh is the Fort Pitt Museum (the newest member of the Senator John Heinz History Center, in association with the Smithsonian Institution), a modern, two-story, 12,000 square foot museum built on the site of Fort Pitt.
“From 1754 to today, Fort Pitt has shaped the course of American and world history as the birthplace of Pittsburgh.
The presentations are absolutely thrilling in conveying how at a critical point in the settlement of the New World, this point was the epicenter of world-changing events.
The museum tells the story of Western Pennsylvania’s pivotal role during the French & Indian War, the American Revolution, and as the birthplace of Pittsburgh (William Pitt never actually visited). It offers extremely well crafted interactive exhibits, life-like historical figures, rare artifacts that let you come away with a new appreciation for the strategic role the region played.
Known as The Point, this was once one of the most strategic areas in North America, controlling access to Ohio and Mississippi Rivers and much of interior of North America; it was the intersection of cultural exchange with native people, and a departure point for settlers moving west.
I appreciated the balance in the presentations between points of view – the colonists (actually split between the British and the French) and the Indian tribes. There is a sensational video that presents the different perspectives (the Indians still come up short) – the different perspectives that the British and French brought, and the Indians whose culture did not acknowledge that a person could own land, but by this point, the Indian tribes had already had already become dependent economically on imported European goods.
British and French clashed for control of the New World colonies constantly from 1689-1748: The French, most interested in trade, saw the Ohio River as a way to connect Canada and Louisiana and leverage their relations with Indians. The British, determined to control territory, also realized the strategic importance of this artery, “the Keystone of the Frontier.”
This becomes clear in a superbly produced video, “Whose Land?”: “The French couldn’t stand the British and the British wouldn’t rest until they owned [the territory].” Native Americans, were fully aware that they could not allow the Europeans to control the land, but they were caught in the middle – by this point, Indians were dependent upon trading for manufactured goods.
“The Indians negotiated with weight and authority. They had a powerful confederacy
Iroquois – Seneca, Cayuga, Mohawk, Oneida. They had sophisticated government, freedom, a rich culture, complex trading relations. Agriculture was central but they did not have private ownership. They took a cue from nature. They enjoyed trade – and were heavily dependent on some European goods, and even took up the European religion, but kept their own ways.”
“God created all people but different,” an Indian chief said in 1742.
With French dominion on one side of the river and English on the other, where does the Indian claim lie?
George Washington, a 21-year old major in 1753 with experience as a surveyor, was given a mission to explore to Fort LeBoeuf and recommended the site for Fort Prince George.
Washington “had no diplomatic experience, and couldn’t speak French yet he was selected to bring message to French. He was selected because of his close connection with Ohio corporations and other Virginian land speculators in land. He knew ‘the West’.”
In 1754, Fort Duquesne (which was renamed Fort Pitt when the British took over), was the largest French military installation in Ohio, and evicted the Virginians.
William Pitt, for which the fort is named, never came to the colonies. The city originally was called “Pittsboro”. The Fort – perhaps because it was so foreboding, was attacked only once, during Pontiac’s War of 1763.
Its location made Pittsburgh a boom town. The Ohio River carried 18,000 settlers through in 1788. The population of Pittsburgh, just 150 in 1780, grew to 4,800 by 1810, making it the third largest in Pennsylvania after Philadelphia and Lancaster.
Its economy developed from coal mining, glass making, and boat building, fueling the nation’s industrial and physical expansion. The city was incorporated in 1816.
Illustration of Indians on what is now Mount Washington, with Fort Pitt below.
When I visit the museum, there are a number of school groups coming through. The school kids are sent out in teams on a scavenger hunt by a docent in period dress. What surprises the kids the most? That the Indians were not as primitive as they expected, she tells me. Indeed, many are pictured wearing European-style clothes and served in the military. By this point, the Indians were part of the world economy – the Indians traded their furs for items from as far away as China; the European traders were like Walmart to them. For the first time, I understand why the Indians did not kick the Europeans out when it was clear they were setting up outposts.
As I explore the exhibits, I learn of what may have been the first incidence of germ warfare: in 1763, an Indian trader, on orders from Ft. Pitt, is alleged to have given Indians two blankets and a handkerchief from the fort’s smallpox hospital.
I am most excited when I am introduced to an idea or a topic that I knew nothing about before, , that makes you really think.
‘Captured by Indians’
That experience happened at the Fort Pitt Museum, which happened to be presenting a fascinating exhibit, “Captured by Indians,” about European (white) colonists who were kidnapped by Indian tribes. The exhibit did not disguise the brutality, but most fascinating is that the individuals (who often were young when they were taken captive), particularly women, once they survived the arduous journey and a literal gauntlet (to weed out the weak), were adopted into the tribe, treated as equals, and generally had a better life than the colonial settlements they came from, especially if they were indentured servants or slaves or women, to the extent that when they had the chance to be “freed” and be returned to their community – such as in a hostage exchange – they would refuse and even escape back to the tribe.
The presentation, the artifacts and the connection to people living today, descendants of those people, was utterly fascinating.
“During the turbulent decades of the mid-18th century, thousands of European and African settlers were captured by American Indians whose dwindling numbers forced them to adopt non-Indians in an effort to survive. The subsequent experience of captivity and adoption forever altered both the captives and their captors as identities shifted, allegiances were tested, and once-rigid lines between cultures became forever blurred.”
The exhibit draws upon documentary evidence gleaned from 18th and early 19th century primary sources, dozens of rare artifacts, and a wide array of imagery, to examine the practice of captivity from its prehistoric roots to its impact on modern American Indians and other ethnicities.
The exhibit notes that the many of the wave of European settlers who came in the 18th century sold their freedom to come as indentured servants. Most who came were poor. The borderlands were already bitterly contested by rival Europeans and native tribes. These settlers were viewed by colonial legislators as buffers against the Indians.
The captives taken in brutal raids, massacres and abductions were mainly of young who were physically fit and could assimilate and women who would be married off and bear children. They would size people up in a raid, and decide who to take.
The exhibit tells the story through the experiences of real-life captives, and in stunning displays including three life-like vignettes that portray John Brickell, a local boy captured just a few miles from Fort Pitt at age 10; Massy Harbison, who heroically saved the life of her child after escaping from her captors; and the Kincade family, who were reunited on the Bouquet Expedition in 1764.
The exhibit, which does an outstanding view of making this rarely discussed history, makes it personal, presenting biographies and stories, draws upon artifacts borrowed from descendants of the captives, which make it all the more real and present:
There are personal artifacts on display that make this rarely discussed history all the more real:
A bullet-ridden 18th century door from a cabin near Ligonier, Pa., that was attacked by Indians during the American Revolution;
A Logan war club which was left at the site of a brutal Indian raid in southwest Virginia in 1774 which belonged to John Smith
A rare prisoner cord, used to bind captives taken during raids on frontier settlements;
An American Indian horn spoon given to Catharine Bard by her Delaware captors in 1758 (the owner who provided it to the exhibit is in her 90s)
An original pencil sketch of Mary Jemison, who was captured during the French & Indian War and lived out the rest of her days among her adoptive people; and
The hat and waistcoat of Jacob Miller, a frontier settler who was killed during a raid on Miller’s Blockhouse in Washington County in 1782.
I am amazed to learn that many of the captives preferred Indian society: Colonial society could be brutal, especially for those at the bottom (like slaves and indentured servants and poor), women were property of husband. But in native society, they had equality. “Many adopted captives lived and died among chosen people.”
At the end is a large wall of photos of people today who trace their origins to these captives.
“While many captives were returned to the society of their birth after months or years among the Indians, many others lived out the remainder of their lives with their adoptive people. Today, the descendants of captives represent a wonderfully diverse cross section of American society. In many cases they are alive today because of crucial decisions made in an instant, two centuries ago. They represent the living legacy of captivity, reminding us not only of our connection to the past, but also to the future.”
The exhibit engendered controversy when it first opened, but was so well appreciated, they extended viewing to October 2016.
The school children now are gathered around a massive, detailed model of early Pittsburgh and the docent urges them to spot the tiny, anachronistic motorcycle (to make you more observant).
In summer, the museum offers living history programs and reenactments –with staff dressed in period costumes, firing off cannons, playing fife and drum, doing carpentry.
Fort Pitt Museum (open daily, 10 am – 5 pm, $5/adults, $4/seniors/ $3 students and children 4-17), 101 Commonwealth Place, Pittsburgh, PA, 15222, 412-281-9285, www.heinzhistorycenter.org/fort-pitt/
Washington Irving’s macabre tale, “The Legend of Sleepy Hollow,” is the inspiration for Horseman’s Hollow, a spectacularly produced interactive Halloween haunted attraction at the colonial-era Philipsburg Manor in Sleepy Hollow, N.Y.
It is one of a series of Historic Hudson Valley’s Halloween season spectacular events taking place over an unprecedented 32 nights. They are the largest Halloween events in the tri-state area and are expected to draw more than 150,000 visitors to Sleepy Hollow Country. They take place in several Historic Hudson Valley venues, each one an important attraction.
Washington Irving’s macabre tale The Legend of Sleepy Hollow inspires Horseman’s Hollow, an interactive haunted attraction taking place over 14 nights at Philipsburg Manor in Sleepy Hollow, an estate that dates back to colonial times. But for Halloween, it is stocked with professional actors and state-of-the-art special effects and lighting. Take note: Horseman’s Hollow has a high fear factor, which is why it is so popular with teenagers. (Recommended for ages 10 and up.)
Irving’s ‘Legend,’ recommended for ages 10 and up, brings the master storyteller Jonathan Kruk into the historic, candlelit interior of Sleepy Hollow’s circa-1685 Old Dutch Church, where for 14 afternoons and evenings he offers a dramatic re-telling of The Legend of Sleepy Hollow accompanied by live organ music.
The Legend Behind the ‘Legend’ is a daytime experience at Washington Irving’s Sunnyside homestead in Tarrytown, N.Y., that highlights the author of the famous story.
And continuing for a record 32 selected evenings through Nov. 13, The Great Jack O’ Lantern Blaze® is the Hudson Valley’s biggest all-ages Halloween extravaganza. A small team of artists comes together to carve more than 7,000 jacks, many fused together in elaborate constructions such as life-size dinosaurs and eight-foot-tall working jack-o’lanterns-in-the-box, all lit up throughout the wooded walkways, orchards, and gardens of historic Van Cortlandt Manor in Croton-on-Hudson, N.Y.
Headless Horseman Rides Again
Philipsburg Manor, is but a few miles up the road from Washington Irving’s homestead at Sunnyside and, legend has it, is the setting for his classic story. The village, which was once known as North Tarrytown, actually changed its name to Sleepy Hollow in 1996.
But here at the 350-year old Philipsburg Manor, one of the Historic Hudson Valley historic sites, you can easily imagine the “Legend of Sleepy Hollow” as Irving saw it in his mind.
Now in its 7th year, Horseman’s Hollow, which welcomed more than 30,000 visitors last year, is a haunted experience in the heart of Sleepy Hollow that takes the tale of The Legend of Sleepy Hollow to its darkest extremes. Historic Philipsburg Manor transforms into a terrifying landscape ruled by the undead, the evil, and the insane, all serving the Headless Horseman himself.
For 14 nights, historic Philipsburg Manor transforms into a terrifying landscape ruled by the undead, the evil, and the insane, all serving the Headless Horseman himself.
The 300-year old manor house, barn and gristmill of the Philipses, a family of Anglo-Dutch merchants who owned the 50,000 acre- estate, become the sets and the backdrop for the really, really ghoulish hauntings by colonial spirits.
Haunted house professional Lance Hallowell is back this year to lead a crew of award-winning makeup and costume designers and a 45-member-strong cast of experienced actors to create an immersive, interactive, pleasantly terrifying experience, with state-of-the-spooky-art special effects.
Custom built set pieces and period-correct costumes help orient the experience in Philipsburg Manor’s traditional time period of the mid-1700s.
What is best about Horseman’s Hollow is the sheer number (and talent) of the live spirits – they are very considerate, too – they seem to know just how much to terrify you (though really squeamish and young children should not come). I have found that if the ghouls sense you are easily frightened (like me), they tend to take down a notch their scare factor (I basically announce that I am easily frightened as I enter one of the venues).
But the professional actors and state-of-the-art special effects, contributes to a high fear factor (it’s recommended for ages 10 and up and is not for the squeamish and you need to take heed of the warning: This event is NOT suitable for adults who are claustrophobic, have heart or respiratory conditions, are prone to seizures, or have other chronic health conditions.)
As we start our experience, walking up a dirt path that rings the pond, a faceless colonial escorts us for a time, then goes into the trees to surprise a group of teenagers who are following behind. With each step through the woods, you leave the modern world behind and suspend disbelief.
Timed tickets mean that it isn’t overcrowded (safety in numbers?) – but as we walk through (guided by helpful spirits with lanterns who lead us to the next haunted house), we hear the screams of a pack of teenage girls in the distant dark. It adds to the atmosphere.
Look carefully in the deepest, darkest shadow, and there is the Headless Horseman himself, astride his steed, standing quietly as if taking in the scene or simply delighting in the terror of recognition as the clueless passerby realizes who is lurking in the dark.
Horseman’s Hollow dates are Oct. 7-9, 14-16, 21-23, 27-31. Online tickets are $20 ($25 on Saturdays). Fast Track, for a $15 per ticket upgrade, lets visitors skip the line in their timeslot. Historic Hudson Valley members receive a$5 per ticket discount.
Philipsburg Manor is at 381 North Broadway (Route 9) in Sleepy Hollow. (There is a parking field.)
The Great Jack O’ Lantern Blaze, which drew more than 130,000 visitors last year, features more than 7,000 illuminated, individually hand-carved jack o’ lanterns. Elaborate single-pumpkin carvings and huge multi-jack o’lantern constructions are professionally lit throughout the landscape of Van Cortlandt Manor in various themed areas.
Favorite installations such as Jurassic Park and the giant spider web are joined this year by new creations including a plus-sized Pumpkin Planetarium, a Pumpkin Zee Bridge, and a brand-new herd of pint-sized dinosaursall made of jack o’lanterns.
Creative Director Michael Natiello leads a small team of Historic Hudson Valley staff and local artists who carve. In addition, more than 2,000 volunteers help scoop and light the pumpkins. You can watch Blaze artists carving on site during the event.
Café Blazé, by Geordane’s of Irvington, offers culinary treats including soup, veggie chili, muffins, pumpkin cookies, and cider. The Great Jack O’ Lantern Blaze Shop has a full bounty of Blaze-specific merchandise including hats, notepads, games, T-shirts, magnets, caps, mugs, and jewelry.
New music this year created by professional musician, radio personality, and Halloween fanatic Richard Christy will augment the visitor experience. The new tracks as well as music from Christy’s Blaze: The Soundtrack Volume I & II play throughout the event.(Soundtrack Volume II is available as a CD at the event and both volumes are available as digital downloads and streams from iTunes, Amazon, and Google Play.)
Blaze dates are Sept. 30, Oct. 1-2, 7-10, 13-16, 19-31, Nov. 3-6, 10-13. Online tickets are $20 for adults ($25 on Saturdays), $16 for children 3-17 ($20 on Saturdays), and free for children under 3 and Historic Hudson Valley members.
Van Cortlandt Manor is at 525South Riverside Avenue, just off Route 9 in Croton-on-Hudson (A parking field is on site).
Master storyteller Jonathan Krukoffers a dramatic re-telling of Washington Irving’s classic tale, The Legend of Sleepy Hollow, featuring the Headless Horseman, Ichabod Crane, Brom Bones, and Katrina Van Tassel. Flavored with live spooky organ music by Jim Keyes, Kruk’s storytelling takes place in the historic, candlelit setting of the Old Dutch Church in Sleepy Hollow. The circa-1685 stone church is across the street from Philipsburg Manor, where visitors will park. Performances last about 45 minutes.
Irving’s ‘Legend’ dates are Oct. 7-9, 14-16, 21-23, 27-31. Seating is very limited and there are three performances each evening. Online tickets are $25 for adults, $20 for children under 18. Historic Hudson Valley members receive a $5 per ticket discount.
Legend Behind the ‘Legend’
Sunnyside, the home of Washington Irving, celebrates its connection to Irving’s classic tale, The Legend of Sleepy Hollow, at this family friendly daytime event. The Legend Behind the ‘Legend includes tours of Irving’s home – a colorful blend of architectural styles – which showcase numerous objects from HHV’s collection related to Irving’s famous story. Visitors can also enjoy a shadow puppet performance of The Legend of Sleepy Hollow and experience one of Irving’s spooky tales on a walk through the woods. Sunnyside is on West Sunnyside Lane, off Route 9 in Tarrytown.
Legend Behind the ‘Legend’ dates areOct. 1-2, 8-9, 15-16, 22-23, 29-30. Online tickets are $16for adults, $12 for seniors, $8 for children 3-17, and free for those under 3 and Historic Hudson Valley members.
All events are held rain or shine. Proceeds support Historic Hudson Valley, the Tarrytown-based private, non-profit educational organization that owns and operates the historic sitesthat host these events.
Because of the popularity of these events, it is essential to purchase tickets in advance.
Buy tickets online at www.hudsonvalley.org or by calling 914-366-6900 ($2 per ticket surcharge for phone orders and for tickets purchased onsite, if available).
