
Filled with vintage menus and photos from places like Delmonico's, Sardi's, and Schrafft's, and an interview with the inventor of the stainless-steel hot dog cart, the show also has a few poetry treasures--a signed copy of Frank O'Hara's Lunch Poems and a hand-written version of W.H. Auden's "In Schrafft's," which begins:
Having finished the Blue-plate Special
And reached the coffee stage,
Stirring her cup she sat,
A somewhat shapeless figure
Of indeterminate age
In an undistinguished hat.
But the biggest draw of the Lunch Hour show is their restored Horn & Hardart Automat. If you squeeze your eyes, and imagine the scene in black and white, you can almost feel transported through time.
The best part is--you can touch this Automat. You can open its glass and brass windows and reach inside, as if for a slice of honey pie or a fresh donut, or a plate of cholent (everybody around you saying, "What was cholent?"). I slipped a nickel in, just to see what would happen. It rang through the machine and thunked down in the dark hollow of its inside, unwanted.

They've also got a screen showing clips of Automat scenes from Hollywood movies and television--in all of them, an impoverished young woman seeks sustenance. In That Girl, Marlo Thomas makes a poor woman's tomato soup from a bowl of hot water and ketchup. Automat worker Audrey Meadows slips a free chicken potpie to Doris Day in That Touch of Mink. And in 1934's Sadie McKee, Joan Crawford looks hungrily at a fellow diner's abandoned slice of lemon meringue--into which he extinguishes his cigarette.
An older couple next to me picked up the listening device to hear the film's sound, a lush cafeterial clatter. "Dishes and silverware," said the woman to her husband, "That's just what they really sounded like!"












