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The Sublime, Stupid World of ‘Oh, Mary!,’ Cole Escola’s Surprise Broadway Hit

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The Sublime, Stupid World of ‘Oh, Mary!,’ Cole Escola’s Surprise Broadway Hit

A collage showing Cole Escola as Mary Todd Lincoln, historical photos of Mary Todd Lincoln, and other ephemera.

“Oh, Mary!” is the surprise hit of the current Broadway season: an outlandish comedy with an insistently ahistorical premise, depicting Mary Todd Lincoln as a self-involved alcoholic who dreams of becoming a cabaret star.

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Cole Escola in a clip from “Pee Pee Manor.”

The show is the brainchild of Cole Escola, an alt-cabaret performer who, through years of gender-bending sketches on YouTube and onstage, honed the parodic sensibility that informs “Oh, Mary!”

An old photograph of of Mary Todd Lincoln.

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The show’s central element is, of course, Mary herself — a warped version of the onetime first lady. Escola, who wrote the show and stars as Mary, created a character who is somehow both serious and ridiculous.

Escola as Mary, wearing a black gown and curls.

So how did the show’s creative team decide what “Oh, Mary!” should look like? Escola had some ideas.

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A sketch of the black dress costume.

Escola envisioned Mary’s main gown as heavy and black, her curls bouncy and absurd. “I wanted everything to move and to be fun to play with, but I also wanted it to look like she’s trapped,” Escola said.

The black moire dress, inspired by portraits of, and museum exhibitions about, Mary Todd Lincoln, is bell-shaped, with large puffy sleeves and a pointed bodice; the buttons are exaggerated and the trim is outsized. It “alludes to her inner story of having been a cabaret legend,” said Holly Pierson, the costume designer.

Escola on the stage floor in the black gown.

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As the show developed, the dress was shortened, because the more historically accurate floor-length version was causing Escola to trip. “The shortness was necessary for Cole to run around and jump on the desk and do all the stuff on the floor,” Pierson said.

Escola’s bloomers alongside the similar bloomers worn by the queen in the “Alice in Wonderland” cartoon.

The undergarments, which include black tights, white bloomers painted with red hearts, and a ruffled hoop skirt, had to be redesigned several times to make them about five pounds lighter, because the original version was so heavy it impeded Escola’s choreographed movement.

Mary’s hair, a dark brown long bob adorned with curls, is the creation of Leah Loukas, a veteran wig designer. Loukas said the severity of the wig, and its center part, is based on historical images.

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A still from “Gone With the Wind” of Aunt Pittypat with her many curls.

The curls, which bounce as Escola flounces, are inspired by characters including Aunt Pittypat in “Gone With the Wind” …

A still from “Cinderella.”

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… an evil stepsister in “Cinderella,” and a poetry book Loukas had from her own childhood.

A black and white drawing of a girl with curly hair, alongside a gif of Escola flipping their curls.

The number of curls increased as the show transferred to Broadway from downtown and the creative team decided to play up the absurdity, but striking the right balance — the quantity and bounce of the curls that would move but not obscure Escola’s face — required time and testing.

“It took us months to find the magical sweet spot of comedy and functionality,” Loukas said.

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A collage of Escola as Mary, surrounded by old Hollywood actresses.

Escola is a huge fan of old movies and the actresses who starred in them.

Margaret Sullavan

Barbara Stanwyck, and more.

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A clip from “The Heiress.”

Especially influential is “The Heiress,” a 1949 film adapted from Henry James’s “Washington Square,” with an Oscar-winning turn by Olivia de Havilland.

“It’s thematically similar,” Escola said: “A woman who doesn’t fit the role she’s supposed to play, and who may or may not be conspired against by the people who are supposed to love her the most.”

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A collage of Escola as Mary, surrounded by old Hollywood actresses.

“They’re all ingredients in me, and I’m an ingredient in Mary, so there’s just Old Hollywood microplastics throughout the DNA of my Mary Todd Lincoln,” Escola said.

A collage of Escola being held by another character in the play, surrounded by similar embraces from old movies and the cover of a romance novel.

The sets and the staging are informed by a nostalgia for classic cinematic imagery. “Old American tropes are a signature piece of Cole’s work,” said Andrew Moerdyk, one of the scenic designers.

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For example, the brief clutch between Mary and her acting teacher looks like the cover of a romance novel, or a scene from a romantic movie.

A clip from “Gone With the Wind.”

“I’m of course inspired by romance in old movies, whether it’s Scarlett and Rhett or Heathcliff and Cathy,” Escola said, referring to the romantic couplings at the heart of “Gone With the Wind” and “Wuthering Heights.”

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A design mock-up of the saloon set alongside a photo of the real set.

A bar where the Lincolns go to drink looks like a saloon from an old western, with its dark wood and swinging door. Nobody worried about what a bar near the White House actually might have looked like in the 1860s.

An old photo of people drinking in a saloon.

“We looked at Victorian saloons of the period from all over America, and they had this beautiful heavy woodwork, and usually had a mirror,” Moerdyk added. “We wanted to distill it down to the essence of what a saloon was.”

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Silly props from the saloon set.

The set was created by the design collective dots. Moerdyk described the tone as “rigorously stupid.” “Usually we go to great lengths to mask the tops of walls and erase anything phony, but here we leaned into the theateriness of it all,” he said.

A design mockup of the White House office set for the play, alongside the real set.

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The show’s set is meant to be reminiscent of community theater — more stagey than naturalistic, so that when you look at it, you know you’re seeing actors in a play.

The White House office, for example, has two doors on the same side of the room to facilitate actor entrances and exits; the walls are angled to make it easier for audiences on the side of the theater to see.

Zooming in on the two sets of doors.

“That office makes zero sense architecturally — it just looks like a set, and that was intentional,” Sam Pinkleton, the show’s director, said. “Everything is cheated so that the audience can see it.”

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“The directive was, ‘You are not designing a play. You are playing designers designing a play,’” Escola said.

“It’s sort of the straight man to the comedy of the writing. The walls move every time we slam a door, but it’s not a ‘Ha ha, look at this set,’ it’s more ‘Look at how seriously we were taking this play with our limited resources.’ It’s literally the backdrop for the comedy.”

“The books on the shelves are painted spines that are totally flat, and you can see from the side that there are no books there,” Moerdyk said.

“We would never do that usually, but it was really fun to be allowed to be stupid.”

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A collage of the saloon bar with the R U M bottles.

Another example: “The labeling is the most basic version of what a prop would be,” Moerdyk said. “Downtown we didn’t spend any time thinking about what the liquors would be — we just wrote the word ‘Rum’ and ‘Whiskey’ on bottles and stacked them.

“And when we moved to Broadway, we needed to make that idea register to the back of the house, so we ended up labeling them ‘R’ and ‘U’ and ‘M.’ We had a lot of fun thinking about, ‘What is the dumbest version of this idea, and how can we make it be funny?’”

As the show developed, the creative team leaned into the set’s humor. “When we started there were some things that felt too underplayed or muted or naturalistic, like, ‘Oopsie, we’re doing Chekhov,’” Pinkleton said. Instead, he said, the show works best when “everything is taken a step too far.”

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A collage of Escola as Mary, with the Lincoln character, surrounded by reference images of the Lincoln assassination.

The show’s aesthetics get more precise as the story progresses.

An old drawing of the assassination.

For the assassination scene at Ford’s Theater, the designers opted for a greater degree of verisimilitude, imagining that some in the audience would have fairly specific expectations for what that would look like from photographs and paintings depicting the scene.

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“We wanted it to be the punchiest, most recognizable, easy-to-clock symbol of Ford’s Theater,” Moerdyk said.

A design mockup of the theater booth set alongside the real set.

“We tried versions that were high concept, but then Sam said, ‘What if we just put the booth in the middle of the stage, surrounded by darkness,’ and the image of that booth in the dark void is so successful.”

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A collage of Escola as Mary, wearing a blue dress, surrounded by a costume sketch, swatches, and an old drawing.

The blue dress that Mary Todd Lincoln wears in the assassination scene is a good example of how the show’s designers put their own spin on history, informed by midcentury film aesthetics.

Mary Todd Lincoln did have a blue velvet dress, but it’s not what she wore that fateful night, and it wasn’t as vibrant as the outfit in the show.

“Ours is a little more bright and in your face,” said Pierson, the costume designer. “We wanted it to be this empowerment dress — brash and almost tacky.”

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The full moodboard collage.

The show’s design winds up as both a homage and a spoof, made by people who love theater and also laugh about it.

Pinkleton, the director, summed up the approach, saying, “We wanted the whole thing to be a warm embrace of doing a play.”

Cole Escola is scheduled to star in “Oh, Mary!” until Jan. 19, and then Betty Gilpin will step into the title role for eight weeks. Tickets for the show are on sale through June 28; the production has not said who will play Mary Todd Lincoln following Gilpin.

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How a Parks Worker Lives on $37,500 in Tompkinsville, Staten Island

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How a Parks Worker Lives on ,500 in Tompkinsville, Staten Island

How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.

We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?

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Sara Robinson boarded a Greyhound bus from Oregon to New York City to attend Hunter College in the early 2000s, bright-eyed and eager to pick up odd jobs to fuel her dream of living there.

For a long time, she made it work. But recently, that has been more challenging than ever.

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Right around her 40th birthday, Ms. Robinson began to feel financially squeezed in Brooklyn, where she had lived for years. Ms. Robinson (no relation to this reporter) was also feeling too grown to live with roommates.

“As a child,” she said, “you don’t think you’re going to have a roommate at 40.” She decided to move into a place of her own: a one-bedroom apartment in the Tompkinsville neighborhood of Staten Island.

After she moved, the preschool where she’d worked for over a decade closed. Now, she works two jobs. She is a seasonal employee for the state Office of Parks, Recreation and Historic Preservation, working from Tuesday to Saturday. And on Monday nights, she sells concessions at the West Village movie theater Film Forum, which pays $25 an hour plus tips.

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Ms. Robinson, now 45, loves her job as an environmental educator at a state park on Staten Island. Her team runs the park’s social media accounts and comes up with event programming, like a recent project tapping maple trees to make syrup.

But the role is temporary. Her last stint was from June 2024 to January 2025. Then she was unemployed until August 2025. Ms. Robinson’s current contract will be up in April, unless she gets an extension or a different parks job opens up.

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Ms. Robinson’s biweekly pay stubs from the parks department amount to about $1,300 before taxes. She barely felt a difference, she said, while she was out of work and pocketing around $880 every two weeks from her unemployment checks. (Her previous parks gig paid $1,100 a check.)

Living in New York’s Greenest Borough

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“It used to be, ‘There’s no way I’m moving to Staten Island,’” Ms. Robinson said. “But the place is close to the water. I’m three minutes from the ferry. The rest is history.” She lives on the third floor of a multifamily house, above an art studio and another tenant. Her rent is $1,600 a month, plus $125 in utilities, including her phone bill.

“If my situation changes, I don’t know if I could find something similar,” she said. “So much of my New York life has been feeling trapped to an apartment. You get a place for a good price, and you’re like, ‘I can’t leave now.’”

Staten Island is convenient for Ms. Robinson’s parks job, but it’s become harder to justify living in a borough where she knows few people. It takes more than an hour to get to friends in Brooklyn, an especially hard trek during the winter. After four years of living on Staten Island, Ms. Robinson feels somewhat isolated.

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“All my friends on Staten Island are senior citizens,” she said. “It’s great. I love it. But I do want friends closer to my age.”

One of Ms. Robinson’s friends, Ray, took her on nature walks and taught her about tree identification, sparking an interest in mycology, the study of mushrooms. This led to a productive — and free — fungi foraging hobby during unemployment. She has found all sorts of mushrooms, including, after a month of searching, the elusive morel.

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The Budgeting Game

Ms. Robinson doesn’t update her furniture often, but when she does, she shops stoop sales in Park Slope or other parts of Brooklyn.

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“It’s like a treasure hunt,” she said. “You could make a whole apartment off the street, off the stuff that people throw away.”

She also makes a game out of grocery shopping, biking to Sunset Park in Brooklyn or Manhattan’s Chinatown to go to stores where there are better deals. She budgets about $300 for groceries each month.

Ms. Robinson bikes almost everywhere, sometimes traveling a little farther to enter the Staten Island Railway at one of the stations that don’t charge a fare. She spends $80 a month on subway and ferry fares, and $5 a month for a discounted Citi Bike membership she gets through a credit union, though she usually uses her own bike. She is handy and does repairs herself.

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There are certain splurges — Ms. Robinson drops $400 once or twice a year on round-trip airfare to Seattle, where her family lives. She also spent $100 last year to see a concert at Forest Hills Stadium in Queens.

She said she has many financial saving graces. She has no student loans and no car to make payments on. She doesn’t get health insurance from her jobs, but she qualifies for Medicaid.

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She mostly eats at home, though sometimes friends will treat her to dinner. She repays them with tickets to Film Forum movies.

Nothing Beats the Twinkling Lights

Ms. Robinson’s friends often talk about leaving the city — and the country.

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Two friends have their eyes set on Sweden, where they hope to get the affordable child care and social safety net they are struggling to access in New York.

Ms. Robinson can’t see herself moving elsewhere in the United States, but she is entertaining the idea of an international move if she can’t hack it on Staten Island.

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Yet the pull of the city is hard for her to resist.

“I just get a rush when I’m riding the Staten Island Ferry across the bay,” she said. “You see all the little twinkling lights. It’s this feeling of, ‘everything is possible here.’”

That feeling, plus the many friendly faces Ms. Robinson sees every day — the ferry operators, the conductors on the Staten Island Railway, her co-workers at Film Forum — are what tie her to New York.

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“My savings are not increasing, so there’s that,” she said. “But I’ve been OK so far. I think I’m going to figure it out.”

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How the Editor in Chief of Marie Claire Gets Styled for a Trip to Italy

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How the Editor in Chief of Marie Claire Gets Styled for a Trip to Italy

Nikki Ogunnaike, the editor in chief of Marie Claire magazine, did not grow up the scion of an Anna Wintour or a Marc Jacobs.

But, she said, “my mom and dad are both very stylish people.”

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They got dressed up to go to church every week in her hometown Springfield, Va. Her mother managed a Staples; her father, a CVS. “Presentation is important to them,” she said.

Since landing her first internship with Glamour magazine in college, Ms. Ogunnaike, 40, has held editorial roles there and at Elle magazine and GQ. She has been in the top post at Marie Claire since 2023.

She recently spent a Saturday with The New York Times as she prepared for Milan Fashion Week.

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How a Physical Therapist and a Retiree Live on $208,000 in Harlem

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How a Physical Therapist and a Retiree Live on 8,000 in Harlem

How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.

We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?

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It has never really occurred to Marian or Charles Wade to live anywhere but the city where they were born and where they raised their children.

New York is in their bones. “We have our roots here, and our families enjoyed life here before us,” Ms. Wade said.

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And they feel lucky. Between Mr. Wade’s pension, earned after more than 40 years as an analyst at the Manhattan district attorney’s office, and his Social Security benefits, along with Ms. Wade’s work as a physical therapist at a psychiatric center, they bring in about $208,000 a year.

Still, it’s hard for the couple not to notice how much the city has changed as it has become wealthier.

About 10 years ago, Ms. Wade, 65, and Mr. Wade, 69, sold the Morningside Heights apartment they had lived in for decades. The Manhattan neighborhood had become more affluent, and tensions over how their building should be managed and how much residents should be expected to pay for upkeep boiled over between people who had lived there for years and newer neighbors.

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They found a new home in Harlem, large enough to fit their two children, who are now adults struggling to afford the city’s housing market.

All in the Family

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Ms. Wade knew it was time to leave Morningside Heights when she spotted her husband hiding behind a bush outside their building, hoping to avoid an unpleasant new neighbor. They had bought their apartment in 1994 for $206,000, using some money they had inherited from their families, and sold it in 2015 for $1.13 million.

The couple found a new apartment in the Sugar Hill section of Harlem for $811,000, and put most of the money down upfront. They took out a loan with a good rate for the remaining cost, and had a $947 monthly payment. They recently finished paying off the mortgage, but they have monthly maintenance payments of $1,555, as well as two temporary assessments to help improve the building, totaling $415 a month.

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Their two children each moved home shortly after graduating from college.

The couple’s son, Jacob Wade, 28, split an apartment with three roommates nearby for a while, but spent down his savings and moved back in with his parents. He is searching for an affordable one bedroom nearby and plans to move out later in the year. Their daughter, Elka Wade, 27, came home after college but recently moved to an apartment in Astoria, Queens, with roommates.

Until their daughter moved out a few weeks ago, she and her brother each took a bedroom, and Mr. and Ms. Wade slept in the dining room, which they had converted into their bedroom with the help of a Murphy bed and a new set of curtains for privacy.

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There is very little storage space. A piano occupies an entire closet in their son’s bedroom, because the family has no other place to fit it.

The setup is cramped, but close quarters have their benefits: When their daughter, a classically trained cellist, was living there, she often practiced at home in the evenings. “I love listening to her play,” Ms. Wade said.

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Three Foodtowns and a Thrift Shop

The Wades do what they can to keep their costs low. They’ve decided against installing new, better insulated windows in their drafty apartment. They don’t go on vacations, instead visiting their small weekend home in rural upstate New York. And they’ve pulled back on takeout food and retail shopping.

Instead, Mr. Wade surveys the three Foodtown supermarkets near their home for the best deals, preferring one for produce and another for meat. The weekly grocery bill has been around $500 with both kids living at home, and the family usually orders delivery twice a week, rotating between Chinese and Indian food, which typically costs $70, including leftovers.

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For an occasional splurge, they love Pisticci, a nearby restaurant where the penne with homemade mozzarella costs $21.

The couple owns a car, which they park on the street for free. But they often use public transportation to avoid paying the $9 congestion pricing fee to drive downtown, or when they have a good parking spot they don’t want to give up. They have a senior discount for their transit cards, which allows them to pay $1.50 per subway or bus ride, rather than $3.

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Ms. Wade stopped shopping at the stores she used to frequent, like Eileen Fisher and Banana Republic, years ago. Instead, she visits a thrift store called Unique Boutique on the Upper West Side. She was browsing the aisles a few months ago, before a big Thanksgiving dinner, and spotted the perfect dress for the occasion for just $20.

But she has one nonnegotiable weekly expense: a private yoga lesson in an instructor’s apartment nearby, for $150 a session.

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Elka Wade, a cellist, often practices at home, to the delight of her parents. Bess Adler for The New York Times

Swapping Mortgage Payments for Singing Lessons

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For every member of the Wade family, life in New York is all about the arts.

The children each attended the Special Music School, a public school focused on the arts. Their son, an actor, teacher and director, works part time at the Metropolitan Opera and the Kaufman Music Center, a performing arts complex in Manhattan. His sister works in administration at the Kaufman Center.

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Mr. Wade is still close with friends from high school who are now professional musicians, and the couple often goes to see them play at venues like the Bitter End in Greenwich Village, where shows typically have a $12 cover and a two-drink minimum.

The couple has cut back on going to expensive concerts — they used to try to see Elvis Costello every time he came to New York, for example — but have timeworn strategies for getting affordable theater tickets.

They recently splurged on tickets to “Oedipus” on Broadway for themselves and their daughter, who they treated to a ticket as a birthday gift. The seats were in the nosebleed section, but still cost $80 apiece.

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The couple has a $75 annual membership to the Film Forum, which gives them reduced price tickets to movies. They occasionally get discounted tickets to the opera through their son’s work, and when they don’t, they pay for family circle passes, which are usually $47 a head, plus a $10 fee.

Ms. Wade, who grew up commuting from Flushing, Queens, to Manhattan to take dance lessons, sometimes takes $20 drop-in ballet classes during the week at the Dance Theater of Harlem, just a few blocks away from the apartment.

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Recently, when the couple paid off their mortgage, Ms. Wade celebrated by giving herself a treat: weekly private singing lessons, for $125 a session.

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