yeh! All good things we want come to Saratoga eventually.

Table Hopping
Eat, drink and be candid
By Steve Barnes | E-mail | About Table Hopping
Quintessence to open in former Bloomers location in MaltaApril 5, 2011 at 4:48 pm by Steve Barnes, senior writer
The partners responsible for reviving Quintessence in Albany have added another restored silver diner to their portfolio. Joseph Zappone, the local lawyer and developer who, with his business partner, Pat Fiore, restored the New Scotland Avenue Quintessence and reopened it in August 2009, tells me the pair have purchased the former Bloomers an American Bistro location, on Route 9 just south of Northway Exit 13; Bloomers closed in late March. Pre-Bloomers, the building was the longtime home of the former Chez Sophie.

Given that minimal work needs to be done on the new location, Zapponse says, the plan is to open within a couple of months, though alcohol may not be available at first, depending on arrival of the liquor license. As at the Albany Quintessence, management of the Malta business will be under the direction of Nick Riggione, whose family owns the local Inferno Pizzerias and who is a partner with the owners, while Riggione’s brother Gennaro will supervises the kitchen. The menu will be the same as in Albany, and the name will remain simply Quintessence.

Zappone and Fiore last fall bought the former Kirker’s location in Latham with the intention of putting a Quintessence there as well. The availability of the Malta diner has put that project temporarily on hold, Zappone says, as the pair concentrate on opening in Saratoga County. They still plan to develop the Latham property, but not immediately, he tells me.

Posted in News, Recommendations, Restaurants/chefs | 9 Comments
9 Comments »
1.Hip hip hooray.

Comment by dominic colose — April 5th, 2011 @ 6:56 pm

2.I’m excited.

Comment by Mr. Sunshine — April 5th, 2011 @ 7:05 pm

3.WINNING! That’s about 60 seconds from our house!

Comment by Mark H. Delfs — April 5th, 2011 @ 8:50 pm

4.They must have bought it completely as-is, you can still see the bottles behind the bar if you drive by. Glad something is moving in there right away.

Comment by Smythe — April 5th, 2011 @ 8:50 pm

5.Were do I apply?!!

Comment by salvino — April 5th, 2011 @ 9:42 pm

6.Yeah! Bring on the spinach noodles! Can’t wait.

Comment by lakesider — April 6th, 2011 @ 5:35 am

7.Great location

Comment by pw — April 6th, 2011 @ 7:08 am

8.can’t wait!

Comment by mattydread — April 6th, 2011 @ 8:17 am

9.I love the albany location, it brings me back in time, but can only get there maybe once a month leaving in nearby saratoga we will be there more often, GREAT NEWS, CAN’T WAIT

Comment by john — April 6th, 2011 @ 9:54 am

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Siro's to take Manhattan.

Iconic Saratoga Restaurant is Off To the Races in Turtle Bay April 1, 2011 1:24pm1commentshareprint
Siro's of Saratoga, a trackside landmark restaurant, is opening a new restaurant in Turtle Bay, backed by celebs.
•Story•Comments Siro's of Saratoga is bring its upscale horse race ambiance to Turtle Bay. (www.sirosny.com/)By Amy Zimmer

DNAinfo News Editor

MANHATTAN — A little bit of Saratoga Springs, the bucolic upstate town where New Yorkers like to escape to the horse races, is coming to Turtle Bay.

The famed Siro's of Saratoga is opening a fine dining restaurant and more casual "Club House" at 885 Second Ave., between 47th and 48th streets, and has some heavy hitters behind it.

Yankees relief ace Mariano Rivera is a partner in the Club House and "Entourage" star Kevin Connelly is part of the team behind the upscale half of the eatery, said Keith Kantrowitz, a mortgage banker who is part of the group of investors behind the project.

The popular trackside restaurant has been a staple on the Saratoga social circuit since it opened in 1930.

The Saratoga institution, once described as "a stamping ground for equestrian-minded magnates, grandes dames, dandies and the occasional miscreant," is only open during the six-week racing season.

"In an often repeated line once uttered by a waiter, Siro's is where 'Goodfellas' meets 'Gone With the Wind,'" the New York Times wrote in 2003.


Siro's will not only bring its cassoulet, lamb shanks and raw oysters, it will also bring some horse culture.

Kantrowitz said it will be decorated with pictures of famous horses and other horse-related artwork.

"During the racing season many of our customers are from New York City and many of them are loyal," Kantrowitz said of the impetus for the downstate outpost.

Kantrowitz's group — which included New York Post publisher Paul Carlucci and Steven Schoenfeld, managing partner of a New York-based financial services firm — took over Siro's in 2009.

Kantrowitz expects the New York City restaurant and club house to open in 2 months.


Read more: http://www.dnainfo.com/20110401/murray-hill-gramercy/iconic-saratoga-restaurant-is-off-races-turtle-bay#ixzz1IMwFOWaw

We are so ready for Springtime and the snow to go away.

Victoria Pool is beginning to emerge from its winter cover. Yes, Spring will appear again this year.

Filly Victoria Pool wins at Aqueduct Racetrack on 3/17/11.

SECOND RACE: Victoria Pool, 8-1 dropping in for 50G maiden claiming tag after losing her debut vs. NY-bred special weights by 14 lengths at 50-1, gunned to the front under Eurico Da Silva, chased by 30-1 first-time starter Maspeth Princess, Jose Espinoza up, with Dita, third vs. special weights last out, tracking the pace under a snug hold by Channing Hill. Dita made her move turning for home but hung, while Maspeth Princess turned in a strong bid but was repulsed by Victoria Pool in a long stretch duel. Bazinga, even-money favorite in her debut for Linda Rice, never got involved.




This filly is named after our favorite pool.

Waiting for spring at the Warming Hut.

More cuts for NYS Parks

Officials: Less money, but no ax for state parks (with video)
Published: Wednesday, March 09, 2011

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By PAUL POST
The Saratogian

SARATOGA SPRINGS — State parks will have even less money for much-needed repairs this year, but at least there’s no danger of sites closing, officials said Wednesday.

Gov. Andrew Cuomo’s proposed budget calls for a 10 percent — $17.7 million — reduction in parks spending, coming on the heels of a similar-sized cut last year.



Only $25 million is allocated statewide for capital projects, for a system that has more than $1 billion worth of needed repairs and infrastructure improvements pending.

“We’ve got to do more with less,” said Heather Mabee, Saratoga-Capital District Regional Parks Commission chair. “As long as there’s no further reductions we think statewide we can keep all of our parks and historic sites open. As far as we understand from the governor, there should not be any more staffing reductions.”

The commission met Wednesday at Saratoga Spa State Park with regional state parks leaders. The Saratoga-Capital region has 10 parks and 10 historic sites.

Last year, some parks — such as John Boyd Thacher Park in the Heldebergs — were temporarily closed because of the state’s dire fiscal condition, forcing the cancelation of many events and private functions such as weddings. Despite this, attendance at Saratoga-Capital parks and historic sites rose 16 percent, the most of any region in the state.

Officials attributed this to good weather compared to the rainy summer of 2009, an economy that kept people close to home and strong support from “friends” groups at several state parks.

Assistant Regional Commissioner Robert Kuhn said there are no major state-funded capital projects slated for Saratoga Spa State Park this year. However, fundraising has made new walks, steps and interpretive signage possible at the park’s Geyser Springs area. A ribbon-cutting is slated for Tuesday, May 24.

Elsewhere, plans call for replacing old bathhouses and showers at Thompson’s Lake in East Berne and increasing the number of campsites from 20 to 30 at Cherry Plain State Park. Continued...

longing for a nice warm morning and breakfast at the magnificent Saratoga Track.

oh how we love edward gorey, his spooky sensibility and adoration of New York City Ballet was very Saratoga.

NEWS bulletin from the spirit world: The specter of Edward Gorey, who died in 2000 at the age of 75, is haunting our collective unconscious.

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In a sense that’s as it should be; Gorey was born to be posthumous. His poisonously funny little picture books — deadpan accounts of murder, disaster and discreet depravity, narrated in a voice that affects the world-weary tone of British novelists like Ronald Firbank and Ivy Compton-Burnett — established him as the master of high-camp macabre.

Told in verse and illustrated in a style that crosses Surrealism with the Victorian true-crime gazette, Gorey stories are set in some unmistakably British place, in a time that is vaguely Victorian, Edwardian and Jazz Age all at once. Though Gorey was a 20th-century American, he conjured a world of gramophones and cars that start with cranks, of boater-hatted men in Eton collars knocking croquet balls across the lawn while sloe-eyed vamps in cloches look on, and sinister things sink, bubbling, into the reflecting pond. His titles are instructive: “The Fatal Lozenge,” “The Deadly Blotter,” “The Hapless Child,” “The Haunted Tea-Cosy.”

A wide audience has long known Gorey’s work from the 31-year-old animations used to introduce the PBS series “Mystery!” (now “Masterpiece Mystery”). The playfully perverse vignettes include a skulking villain in a cape and a swooning ingénue.

Before “Mystery!” Gorey’s set for the 1977 Broadway production of “Dracula” — large-scale versions of his black-and-white drawings, each melodramatically highlighted with a single, blood-red detail — spread his fame far beyond theatergoers.

But until the last few years true Gorey devotees were a secret society, wearing Gorey-philia like a Masonic ring. Now, however, their numbers have swelled. The writer Daniel Handler, better known as Lemony Snicket, said, “When I was first writing ‘A Series of Unfortunate Events,’ I was wandering around everywhere saying, ‘I am a complete rip-off of Edward Gorey,’ and everyone said, ‘Who’s that?’ Now, everyone says, ‘That’s right, you are a complete rip-off of Edward Gorey.’ ”

Tim Burton owes an obvious debt to Gorey, as do Rob Reger, creator of the goth gamine Emily the Strange, and Neil Gaiman, the author of the novella “Coraline.” Mr. Gaiman has an original Gorey drawing of “children gathered around a sickbed” hanging on his bedroom wall; he wanted Gorey to illustrate “Coraline,” he said, but he “died the day I finished it.”

Gorey illustrations are even becoming voguish as tattoos. Last year the ninth-season “American Idol” finalist Siobhan Magnus had a biceps tattoo of Death playing nanny to a flock of soon-to-be-doomed children, from “The Gashlycrumb Tinies,” Gorey’s grimly funny alphabet book.

The market for Gorey books and merchandise buoys indie publishers like Pomegranate, which brings some of Gorey’s books back into print each year, and Fantagraphics, which is releasing a third edition of “The Strange Case of Edward Gorey,” a portrait by the novelist and longtime Gorey friend Alexander Theroux. Attendance has been climbing steadily at the Edward Gorey House in Yarmouth Port, Mass., and curators of the first major traveling exhibition of Gorey’s original art, “Elegant Enigmas” — originally shown at the Brandywine River Museum in Chadds Ford, Pa., and now on view at the Boston Athenaeum — have been stunned by the enthusiasm surrounding the show.

“I knew Gorey had a wide following, but I had no idea of the mania,” said David Dearinger, an Athenaeum curator, before the exhibition opened there in February. News media inquiries and calls from the public had been coming in for months, he said then, “and the show isn’t even here yet.” Since the opening, he said last month, “the response has been phenomenal.”

Opinions differ about why Gorey — whose name increasingly serves as shorthand for a postmodern twist on the gothic that crosses irony, high camp and black comedy — is casting a longer shadow these days. Mr. Handler attributes Gorey’s growing popularity partly to the sophisticated understatement of his hand-cranked world, a sensibility that stands out sharply against the exuberant vulgarity of our age of jeggings, “Bridalplasty” and “Jackass 3D.” “That worldview — that a well-timed scathing remark might shame an uncouth person into acting better — seems worthy to me,” Mr. Handler said.

Undoubtedly such romanticized visions of a more decorous, dapper past, which also inform the neo-Victorian and neo-Edwardian street styles of goths and steampunks, have as much to do with escapism as historical fact. But accurately or not, such subcultures see in Gorey’s work an invitation “to return to a time of gentility,” to quote the promoters of the annual Edwardian Ball, a celebration of Gorey.

In contrast, some fashion designers see Gorey’s anachronistic use of historical references as perfect for our age of mash-ups and remixes. The neo-Victorian couturier Kambriel, whose shows have featured Gorey-inspired sets and models reciting Gorey limericks, said that in her designs, as in Gorey’s tales, “the propriety of the past” is infused with the “playful mischief and irreverence” of the present.

Even a more established designer like Anna Sui has drawn inspiration from him. “My big attraction to Edward Gorey is that he picked up on all those cultures and was inspired by them but kind of spun them in his own brain and made his own world,” she said. Similarly, Martyn Jacques, the singer for the British “dark cabaret” act the Tiger Lillies — whose Grammy-nominated collaboration with the Kronos Quartet, “The Gorey End” (2003), set unpublished Gorey tales to the band’s seasick accordion and castrato vocals — celebrates Gorey’s refusal to bow to a boomer-dominated culture.

“When I was growing up you’d hear all these musicians, and they were all inspired by the Rolling Stones or Jimi Hendrix,” said Mr. Jacques, 51. “I thought to myself: ‘Why only be inspired by the 1960s? Why can’t you be inspired by the 1860s?’ ”

Mr. Dearinger attributes Gorey’s appeal to what he sees as the rise of cynicism in America since the ’60s. “I don’t mean cynicism in a totally negative way,” he said. “It’s the same kind of attitude that would look back and enjoy Jane Austen but enjoy Trollope even more. There wouldn’t be a Gorey, if there hadn’t been this late-20th-century fascination with camp and irony and cynicism.”

Gorey was an early adopter of this sensibility. At Harvard from 1946 to ’50, where he roomed with the poet Frank O’Hara, Gorey borrowed a page from the bourgeois-mocking wit of writers like Firbank and Oscar Wilde to create a deadpan, ironic worldview, one that appears strikingly contemporary in retrospect.

Such historically minded analyses can lose sight of the straightforward delights of Gorey’s art — his astonishing draftsmanship and pitch-perfect composition, informed by a lifelong love of film, theater and ballet. Many of the images “look like theater sets, so there’s that dramatic appeal to it,” Mr. Dearinger said. “They’re very well composed, easy to read, yet there’s enough detail in them that every time you look at them you’ll see something you hadn’t seen before.” Dizzily crosshatched or stippled, Gorey’s exquisitely rendered images reveal an encyclopedic knowledge of period architecture, wallpaper, fashion and interior design. They rejoice in repeated patterns, which contribute to what Mr. Dearinger called their “wonderfully decorative quality.”

Gorey-philes who take in the Boston Athenaeum show may be amazed to learn that Gorey’s original illustrations were no larger than their reproductions in books, typically just a few inches on a side. “You can picture him with his nose right on the paper, practically, and the pen just making tiny, tiny little strokes, each one where it’s supposed to be,” Mr. Dearinger said. “The amazing thing is that the mind that’s creating this already knows what it’s going to look like when you step back from it.”

Intriguingly, explanations for the mounting popularity of Gorey’s art rarely touch on its air of hidden, maybe even unknowable meaning. Whatever Gorey’s work appears to be about, it’s forever insinuating, in its poker-faced way, that it’s really, truly about something else. The philosopher Jacques Derrida might have said it is this very elusiveness — the sense that meaning can never be pinned down by language — that is Gorey’s overarching point.

For his part, Gorey, who rolled his eyes at anyone looking for deep meaning in his work, would doubtless have groaned (theatrically) at any attempt to make intellectual sense of his posthumous popularity.

As he liked to say, “When people are finding meaning in things — beware.”


A version of this article appeared in print on March 6, 2011, on page AR20 of the New York edition.

No Spring yet at Hawthorne Spring #1 on Spring St. or golf at Victoria Pool. We are sick of winter!

Record February 2011 snowfall for Saratoga.

A beatle comes to New York City Ballet,nytimes,2/23/11.

February 23, 2011, 2:17 pm
Paul McCartney Collaborates With City Ballet
By DANIEL J. WAKIN
In an unexpected intersection of celebrity pop music and ballet, that most refined of the performing arts, Paul McCartney has written a major orchestral work for New York City Ballet.

Richard Perry/The New York Times Paul McCartney, above at the Apollo Theater in December, has written an orchestral work for New York City Ballet.
It is a love story titled “Ocean’s Kingdom” and will be performed at the company’s fall gala on Sept. 22 and on other yet-to-be determined dates next season, Mr. McCartney and company officials said. Peter Martins, the company’s ballet master in chief, will create the choreography.

In its current state, the ballet lasts about 45 to 50 minutes, is divided into four acts and will feature a cast of about 40 to 45, including four or five main roles. A composer, John Wilson, is helping with the final orchestration, and the first act is to be played through at the David H. Koch Theater, the company’s home, on Thursday.

The other half of the gala program will consist of George Balanchine’s “Union Jack,” a sprawling work that Mr. Martins said would be a tribute to City Ballet’s latest Liverpudlian contributor.

Mr. McCartney first mentioned that he was working on a ballet score in an interview with the BBC in June, then set off speculative babble among balletomanes and pop music fans this month when he said at an awards ceremony in London that an announcement about the piece was coming soon.

In his first interview about the work, Mr. McCartney on Wednesday called it “basically a romantic story” involving two worlds — the ocean kingdom, representing purity, and the earth kingdom, “the sort of baddies.” The daughter of the ocean king falls in love with the brother of the earth king, and “you’ll have to see whether the couple make it,” Mr. McCartney said. “There’s all sort of troubles along the way.”

Mr. McCartney has long staked a claim in the world of classical music, and branching out into ballet music is just his latest foray into other realms. He has published books of poetry and children’s literature, and mounted shows of his paintings.

Mr. Martins said the idea of a collaboration popped into his head when he ran into Mr. McCartney at a fund-raiser for the School of American Ballet, the company’s training ground, a year ago.

“Of course, being a Beatles fan — because that’s my generation — I was very intrigued,” Mr. Martins said. “I knew of course about his foray into classical music and his interest in it. I said to him, ‘Maybe we could do something together.’ ”

The two men said that over the course of the year they consulted regularly.

“This is Paul’s baby,” Mr. Martins said, adding with tongue in cheek, “The only thing he has left to do is choreograph.” He said Mr. McCartney created the libretto on his own.

“He knows exactly what this is going to look like,” Mr. Martins said. “He even has choreographic suggestions. He did a nice little jump for me. I said, ‘To me, Paul, that needs work.’ ”

Mr. McCartney said he took up the suggestion because “I can’t refuse an offer,” especially one to do something fresh and challenging.

“I’ve come to love working with orchestras,” he said. “It’s a great palette.”

He wrote some “speculative” music and began reading about dance and attending ballet performances.

“For me, the sheer athleticism is the most astounding thing about what I’m seeing,” he said. “It’s like a meeting of the Olympic games and art, and I find that fascinating and challenging for me, to see what can be done.”

Get your suits ready !!!

100 days until Memorial Day, traditional opening day of the Victoria Pool. Let it be!

Happy Valentine's Day to all our Victoria Pool Lovers.

Yaddo is Evermore but Saratoga's Broadway McDonalds is Nevermore. Scheduled to rise again in the Spring.

Opera Saratoga announces 2011 schedule. Tra-la, can Spring be far behind?

Opera Saratoga reveals season
By Michael Janairo Arts And Entertainment Editor
Published: 12:00 a.m., Thursday, February 10, 2011

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Opera Saratoga, which was formerly known as Lake George Opera, will be celebrating its 50th season this summer with a special anniversary concert and two operas produced in its first year: Strauss' "Die Fledermaus" and Mozart's "Cosi Fan Tutte."

This season marks the company's 14th summer at the Spa Little Theater at the Saratoga Spa State Park. In addition to the performances, the company also offers pre-performance talks about the operas (free for ticketholders), a free concert outdoors, the annual ball and a family-friendly opera to be performed during SaratogaArtsFest.

Subscriptions range in price from $130 to $190 and are now available at 584-6018. Single tickets go on sale mid-February. Visit the Opera's website at http://www.operasaratoga.org for additional information.

Here are the main events of the season:

Main Stage Productions at Spa Little Theater

"Die Fledermaus": 7:30 p.m. June 29, July 2; 2 p.m. July 5, 10. Performed in English and featuring Kyle Pfortmiller ("The Barber of Seville," 2006; "Don Pasquale," 2009) as Eisenstein; Curt Olds ("The Pirate of Penzance," 2008) as Dr. Falke; Elizabeth Pojanowski, a 2010 apprentice artist, as Prince Orlofsky; and Metropolitan Opera soprano Emily Pulley as Rosalinda. Opera Artistic Director Curtis Tucker will conduct and Nelson Sheeley will direct.

"Cosi Fan Tutte": 7:30 p.m. June 30, July 9; 2 p.m. July 3, 6. In Italian with English titles features John Stephens ("Don Pasquale," 2009) as Don Alfonso; Adriana Zabala ("The Barber of Seville," 2006) as Dorabella; and Andrew Garland ("La Boheme," 2007) as Guglielmo. David Lefkowich, who directed the 2008 production of "La Traviata," returns to direct and Albany Symphony Orchestra's Music Director David Alan Miller will conduct.

50th Anniversary Concert: 7:30 p.m. July 8. Artistic Director Curtis Tucker and returning guest conductor Mark Flint will take the audience on a musical journey through the company's first 50 years, with returning guest artists accompanied by the Opera Saratoga Orchestra. Flint has conducted more performances for the company than any other conductor.

Free Opera Insights: There will be free pre-performance opera talks for ticket holders one hour before each performance in the Spa Little Theater. Patrons will hear the history and stories behind each opera, as well as information regarding the casts and director.

Other events

"The Trial of BB Wolf": June 10-12. Opera Artistic Director Curtis Tucker has composed a new family-friendly opera that will be performed during SaratogaArtsFest weekend. The opera features elements of favorite children's stories set to music composed by Curtis Tucker with libretto by Nelson Sheeley. Tickets are available through http://www.SaratogaArtsFest.org.

2011 50th Anniversary Opera Ball: 7 p.m. July 1. The Saratoga Hilton Hotel. Opera Saratoga's gala will feature Albany band Spare Parts and will take place for the first time at the Saratoga Hilton Hotel. Ted and Carol Newlin serve as the 50th anniversary chairpersons and Helen Mastrion and Courtney Smith are auction co-chairs. Proceeds will benefit Opera Saratoga's numerous educational programs.

Free Concert in Congress Park: 5 p.m. July 4. Opera Saratoga will perform a free concert as part of Saratoga's annual Independence Day celebration. Listen to arias prior to the city's firework display.

Reach Janairo at mjanairo@timesunion.com or 454-5629.



Read more: http://www.timesunion.com/default/article/Opera-Saratoga-reveals-season-1005466.php#ixzz1DZ1Nx4qV

Hoping for no pool/park closures this year! times union 2/9/11.

ALBANY -- Don't expect a repeat of last spring's budget-driven threats to close state parks, the acting head of the park system told a panel of state lawmakers Tuesday during a hearing on Gov. Andrew Cuomo's proposed 2010-11 budget.

But get ready for a different kind of drama around the beginning of June, when the state Department of Environmental Conservation is slated to release proposed rules to regulate the controversial natural gas drilling technique called hydrofracking.

Andy Beers, acting commissioner of the Office of Parks, Recreation and Historic Preservation, credited layoffs during the waning days of the Paterson administration with giving the park system breathing room to absorb the additional spending cut of 6.2 percent, or $19 million, sought by Cuomo.

"We will not be repeating last year's scenario," Beers said during a hearing of the Assembly Ways and Means Committee. The budget also contains no changes in park fees, with Beers saying fee hikes last year have brought the parks "up to market rates."

A park advocacy group that includes former parks commissioner Carol Ash, who went through the political firestorm that followed last year's closure threats, took Beers' announcement with a grain of salt.

"While it may be reassuring to hear that the agency has no plans to close parks at this time, it is difficult to see how they will be able to achieve required savings without serious service reductions and even closure of some park operations," said Erik Kulleseid, director of the Alliance for New York State Parks.

His group called for the state to impose a 1-cent fee on disposable plastic grocery store shopping bags that would yield $60 million a year help pay for the parks. The group released a poll of 1,000 registered state voters that found 73 percent supported the idea of the bag fee.

"The crisis facing New York's state parks goes far beyond this year's budget proposal. Although parks may be open, there are pools and campsites not open due to the continuing deterioration of the system," Kulleseid said.

Chowderfest was a rip-roaring success today in spite of snow, sleet and lots of slipping/sliding.

Saratoga Spa State Park attendance up almost 500,000 in 2010. Victoria Pool attendance way up. Umbrella fundraiser being considered.

State parks see rise in attendance, but lose budget money
Story Discussion State parks see rise in attendance, but lose budget money
DREW KERR - dkerr@poststar.com The Post-Star | Posted: Thursday, February 3, 2011 11:45 am | (3) Comments

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Jason McKibben
Jason McKibben - jmckibben@poststar.com Moreau Lake State Park nature educator Rebecca Mullins, center, leads a snowshoe hike through the park's Red Oak Ridge trail Tuesday, January 25, 2011. The park maintains an active calendar with events targeting people of all ages. Attendance at state parks in the Saratoga-Capital region jumped significantly last year.


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Snowshoe through Moreau Lake State Park
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Parks attendance by the numbers
Gov. Andrew Cuomo's 2011-12 budget proposal calls for the state Office of Parks, Recreation and Historic Preservation to cut spending by more than 8 percent in the next budget cycle.

The total budget would fall from $228 million to $209 million. The proposed reduction comes as attendance at state parks reaches record highs.

In 2010, officials reported that attendance at state parks topped 56.9 million, up more than 1 million visitors from the year before.

Attendance is also growing locally.

A look at the numbers:

Saratoga Spa State Park

2010 - 1,948,587

2009 - 1,480,000

2008 - 1,449,000

2007 - 1,742,545

2006 - 1,483,000

2005 - 835,000

Moreau Lake State Park

2010 - 425,167

2009 - 396,000

2008 - 368,000

2007 - 357,000

2006 - 268,000

2005 - 338,000
Hard hit over the last several budget cycles, New York's state parks and historical sites are facing another austere year, even as the number of visitors coming to the venues grows.

Gov. Andrew Cuomo's 2011-12 budget proposal, released Tuesday, calls for a more than 8 percent cut in spending at the state Office of Parks, Recreation and Historic Preservation. The department's budget would fall from $228 million to $209 million under the proposal.

Supporters say the parks have absorbed severe cuts each of the last two years and further reductions could compromise infrastructure and deter visitors.

"The integrity of the system that's been built up over generations, really the fabric of our state park system, is just going to be torn," said Robin Dropkin, executive director at Parks and Trails New York.

Dropkin said she has been told that no parks or historic sites are expected to close, but parks officials on Wednesday refused to say how they would absorb the funding cuts, if approved by state lawmakers.

Testimony from parks leaders is due Feb. 8, and more details should be revealed about the budget impact at that time, officials said.

Last year, asked to cut $11 million from their budget, state parks officials said they would need to close more than 50 state parks and historic sites, while cutting back at another 24 parks.

The John Brown Historical Site near Lake Placid, where the abolitionist lived and is buried, was among the sites threatened with closure. Officials also considered shuttering the Victoria Pool at Saratoga Spa State Park.

Fierce opposition led to the withdrawal of the closure plans, but supporters say the parks system is, nonetheless, suffering from a lack of state support.

Even if no parks are closed this year, Dropkin and others say they are concerned that infrastructure is not being maintained and that putting off repairs could lead to more costly work in the future.

"The bottom line is parks are still hurting, they're still operating on a shoestring budget and they're in trouble," Dropkin said.

The cuts are surprising, supporters say, because attendance at parks is at an all-time high and parks have been shown to generate tax revenue for the communities where they're located.

In 2010, officials reported that 56.9 million visitors visited the state's 213 parks and historic sites, up by more than 1 million visitors from 2009.

Locally, Saratoga Spa State Park and Moreau Lake State Park drew more than 2.37 million visitors last year - up

more than 27 percent from 2009.

Parks supporters say they might have to begin augmenting the state budget with outside dollars.

Corporate donors or foundation money should be sought, or a dedicated funding stream created to help offset losses in state aid, they say.

The funding stream could come from a voluntary surcharge on motor vehicle registrations or a penny tax on plastic bags, according to Erik Kulleseid, the director of a new parks advocacy group, the Alliance for New York State Parks.

"You can debate whether the state should or should not be paying for these things, but at the end of the day if you want things to change we have to start looking elsewhere," he said.

Louise Goldstien of Saratoga Springs, a leader of the Save the Victoria Pool Society, said group members are considering an money-raising effort to support a project unlikely to get state support.

Group members want to bring in as many as 40 new umbrellas they believe are needed at the pool but which could cost up to $15,000, and they are thinking about holding a fundraiser to support the effort.

"We always felt like we were paying for the parks already with our tax dollars," she said. "But this year I don't think we have a chance. These are different times."

Not everyone is on board with the idea of expanding public-private partnerships.

Martha Swan, director of John Brown Lives, which supports education efforts at the John Brown Historic Site, said she is uncomfortable with the idea of raising money for the site.

The site, which will be particularly important this year as the country celebrates the sesquicentennial of the Civil War, should be supported by the state, she said.

"It's a very troubling scenario for me because I feel like parks and historic sites are a part of the public good, they're part of what makes people feel like part of this place," Swan said. "And it feels like the state is diminishing their commitment to the common good."

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Posted in Local, Saratoga on Thursday, February 3, 2011 11:45 am Updated: 5:11 pm. | Tags: New York, Andrew Cuo