Good Night Mr. Lewis: Nobu’s Richie Notar, from Busboy to Dubai

I sat with Richie Notar in his fabulous and famous restaurant Nobu 57, and as we talked, it felt like I was just catching up with an old friend from the neighborhood. The amazingly accessible Richie gave me an hour just before he set off to open more Nobu franchises in exotic places far away from his Queens roots. His partnership with Robert De Niro and his relationships with Steve Rubell and Ian Schrager may have kick-started his career, but success on this level is the result of someone who has given his heart, mind, and very soul in the pursuit of greatness. Working his way up from dishwasher -- and not ashamed to say it -- Richie is what this town is about; his hard work produced an empire. I am reminded of Caesars riding in triumphal chariots while a slave whispered mortality in their ears. Richie doesn’t need anyone to remind him from where he came from; he keeps his past real close, and despite triumphal success, remains humble and down to earth.

Steve Rubell once told me not to be “Steven,” he said to be “Steve.” He said “Steven” is too formal, and it puts people off. Is that the same story with Richie Notar?
You know what? It kind of is. When it’s formal, it reminds you of when you were in trouble as a kid. And you kind of want to believe—whether it’s true or not—that if someone is saying Richie or Steve, there’s more of a familiarity with it.

So you’re accessible, people can talk to you?
Yes, we’re in the hospitality business. Why not?

I worked for Steve Rubell, you worked for Steve Rubell, we have this in common.
It’s funny, the movie 54 ... Harvey Weinstein (who knew about my background) says to me, “Do me a favor, I want you to view this movie,” and I think this is going to be fantastic. So I’m sitting like a little kid in a screening room in Tribeca watching it, and I wasn’t liking it at all. It portrayed Steve to be a buffoon, with money sticking out, etc. And I thought, “This isn’t cool.” So how am I going to tell Harvey? I ended up telling him, “Well it’s great that you got the film there, the music is timeless and great.” I was kind of giving him backhanded compliments, and we left it at that. Steve was a brilliant man. It’s true. Steve had this lovability about him. He’s a little guy, he’s cuddly, and he’s everyone’s buddy. He’d even say it if he was being heavy with you: “Well, you know I can’t, buddy.” We had this love/hate relationship, because I was a brat, I was 15 or 16 and I drove for him. I worked at Enchanted Gardens, their first club in Queens, driving a beat-up old powder-blue Lincoln Continental with dents all over it. I probably couldn’t even really see over the wheel, but he just wasn’t interested in driving, and they liked having young people around.

Now, here you are, you’re a great success, you’re a partner in Nobu, which has 17 locations worldwide, and you’re opening more. And you carry with them the hospitality lessons you learned from Ian and Steve; at what point did Ian Schrager stop looking at you as the busboy or the driver Richie, and more as the business Richie?
That’s a very interesting question, because a wise man a long time ago said, “You’ll always be thought about how you were when you walked into the equation.” But there was a time about three years ago when he came to Nobu in Tribeca, and he stopped me in the middle of it, saying, “I want to tell you I’m very proud of you.” It was almost like your dad finally recognizing your accomplishments. “I want to just tell you I’m very proud of you, look what you’ve done, I can’t say enough, buddy.” He used the “buddy” term, even though he knows my name!

It was a safety net.
But it was also a reminder of those days, because he would say ‘buddy’ to everyone, but there was a different tone. There was “buddy” and then ”buddy.” You would get it.

I know what you mean ...
But there was a certain way you would say “buddy,” and he used the “buddy” in a way that was just a memory, you know? And funny enough, about a year later, he started calling me for advice and asking me what I do at Nobu, or “I have a concept that I need in the Gramercy Park,” and I knew at that point, to answer your question, that I was a made man! I was respected.

I knew that I had arrived with them when one day Steve told me that he wanted me at the door. And that to me, because I knew that Steve has always been at the door, that was big.
Yeah, he was so protective.

Yes, so protective. And he put me out there. And for me to be at the door at the club that he was running, it was almost like a passing of the torch. But really, I couldn’t walk in his shoes, and I don’t know if anybody else ever will.
There’s only one of everyone, but you can pass the knowledge, and only a select few can absorb it.

Back then, art was a much more important part of nightlife. Ian Schrager has done that over at the Gramercy Park Hotel, and it’s brilliant to sit there, amongst those paintings. I mean, how can you be pretentious when you’re looking at great art like this? It humbles you.
That’s a subtlety that’s missed on many people. He’s not out-spending, he’s out-tasting, and that’s important.

You made a statement in the New York Times, which I love: “Money doesn’t buy fun like it used to.” I thought it was brilliant.
You know, there was a time that I had just come back to New York. I was in Paris, and I love going to a place like that where whether you’re 5, 6, 15, or 80 years old, it’s just fun. And it’s more of an event, you don’t get a bunch of people on their phones, trying to be the next billionaire, and it just struck me—no one’s really having fun! So the Times asked me about nightlife, and what’s going on, so maybe I was a little more passionate about my remark then.

And you made another statement saying, “Nightlife is filled with poseurs and inebriated youths.”
I might’ve been referring to the Meatpacking District a little bit.

I think it’s club life in general. I think it’s a very very telling statement that in our era, the artist, the person who had arrived creatively was the VIP. Nowadays, it’s the broker with a black Amex.
You get it. I was reminiscing about what Steve would say was “tossed salad.” Too many straights, get some gays, too many gays, get some straights, too many guys, get some girls. And with this mix, eclectic mix, once you’re in the club, it didn’t matter if you had a pot to pee in or not, you were in for a reason. No one cared, because you were in there and you were christened that you’re either cool or in the arts or there’s a reason you’ve been invited to this party.

When I taught doormen the business, I always said, “You can always judge a book by its cover.” Now there are a very few exceptions—cops and robbers are professionals at hiding who they are—but for the most part, the public is screaming who they are, in their clothes, the way they carry themselves, the grooming. This was an important part of nightlife, and it no longer is. Nowadays it’s just uniforms, cheap clothes or expensive clothes that are just uniforms.
You can’t buy taste.

Now, I want to go into the Nobu experience. We’re sitting in Nobu on 57th Street. This is a highly styled David Rockwell-designed place, every inch, every detail is covered, and he’s a brilliant man, one of the best designers out there. This place has gotten critical acclaim for design. The design is part of an experience; Warner Leroy was one of the originators, and he was on this block with the Russian Tea Room and of course Maxwell Plum, in this neighborhood; he taught us about the experience of nightlife. Tell me how you balance food, design, attitude, and service in your restaurant.
My philosophy is you can put a great, grand design, and that’s fine. For ten minutes, you look at the design, and then you go onto why you’re there, eating with friends and so forth, and you don’t want to outshine that. I’m trying to sell an experience. You could fill your stomach anywhere, so why’re people going out? It’s for another reason, whether it’s to entertain, whether it’s to impress someone, whether you’re showing someone off, so I didn’t want to get caught up too much in this remarkable design because I didn’t want it to outshine what we were doing. Being up on 57th Street, I knew there was a little bit of a challenge because I didn’t want to be stereotypical or touristy. So how could we bring a little downtown cool uptown? I wanted to marry that downtown experience—which made us kind of famous—and bring it up here, and let people know they’d be safe and know that it’s not like a lot of people perceive. I knew there was a stigma, but I wanted to chip away at that a little bit.

It’s happening more and more; Greg Brier, who has the Brier Group, did Amalia and Aspen Social uptown.
Even Danny A. went into the Plaza! That’s groundbreaking.

At one point, I was doing promotions and being very much involved in the running of four nightclubs—Limelight, Tunnel, Palladium, and USA—and I had a hard time cloning myself, just in New York City. You have 17 locations, you’ve got London, Hong Kong, Dubai, you’re everywhere, you’ve stretched far. You and I have the same problem; how does Richie delegate, and who is that person that you delegate to? Who are these people?
You know Steve, it’s probably the hardest thing. First of all, it’s not a cookie-cutter operation ... each one’s a little bit different. But there’s an experience and a familiarity people want when they come into Nobu, and that’s really worked in our favor. So I’m very proud of the fact that anyone who’s running a restaurant for me started as a waiter, or a host, or a reservationist.

Is that because of your past, having to work your way up?
Yeah, I started out as a dishwasher. The first time I was in Enchanted Garden, I was 15 minutes into the job, 15 years old, I’m loading the racks, it’s a quiet night, and this little guy walks in, and he’s like, “What’re you doing?” and I said, “I’m washing dishes,” and he goes “No, no, no,” and I’m like, “Did I not put the glass in right?” And he goes “You’ve got a nice smile, buddy, (that was my first “buddy,” by the way), you should be out with the people. Bus, do something.” And it was Steve, and he plucked me out of the kitchen. And I realized that you have to do all of those things in order to be a good manager. And I’m very proud because they think I’m doing them a favor, which a little bit I am, but they’re actually doing me a favor because I’m keeping the consistency. So if you’ve been dining in New York and you go to Miami and you see a guy that used to be a waiter here and now he’s a manager, you go, “Wow, he knows me, he knows what I like,” and all of a sudden your experience is going to be better because that ties into an experience somewhere else. So all around the world, that’s how I try to keep the consistency.

Tune in tomorrow for more Richie Notar action.


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