My smile didn’t retreat one bit, despite the icy wind tearing at my face during the two-block walk from the restaurant. As I settled into line, some 40 feet ahead of me the bright yellow lights of the St. James Theater cast a cheery glow upon the bundled, waiting crowd.

"Isn’t this exciting?" exclaimed a shivering woman near the entrance. It was, I thought. Attending a show on Broadway is always special, yet what filled me with joy that evening was the sense of vibrancy and life that had returned to New York. The city had survived September 11 and, though forever scarred, was showing signs that it would come back stronger than ever.

The doors swung open, interrupting my momentary reflection, and we lucky ticket holders began to file our way in to see Broadway’s hottest production - "The Producers."

Having lived nearly two decades with quadriplegia, I understand, as do other individuals with disabilities, something about moving forward and thriving despite adversity. In the aftermath of September 11, returning to "life as normal" became almost a duty throughout all of America, particularly in New York City. The resumption of our lives in the face of terror was a refusal to hand our ill-wishers the victory they sought. If visiting Manhattan somehow lent support to this cause, as recent television ads touted, I was more than glad to volunteer.

I was determined, however, not to make my trip one of weepy visits to rubble-strewn streets and hospitals or mournful pilgrimages to ground zero. The constant stream of horrifying images on my television screen, accompanied by the heartbreaking stories from the victims’ loved ones, had afforded me ample opportunity to grieve. Instead, my journey to New York would be to celebrate the greatness of this city.

New York has always been one of my favorite cities. The Big Apple’s verve, culture and attitude are larger than life, and it is nearly impossible not to be swept away by the grandeur of it all.

It is extraordinary that an island measuring only 28 square miles is home to, arguably, the world’s foremost museums, top financial centres, leading theatre productions, best dining, finest shopping, hippest night life and loveliest urban park. And this doesn’t even take into account the city’s eclectic art scene, culturally diverse neighbourhoods and legendary cab drivers.

While the sheer number of activities in New York can pull visitors in several different directions, one particular attraction stands out as a perennial must-do. As many will attest, the cultural lifeblood of New York is the theatre, and the heart that pumps it - Broadway.

Manhattan’s theatre district stretches roughly from 41st to 53rd Streets, between Sixth and Eighth Avenues on the city’s west side. This vibrant area coincides with Times Square and includes such points of interest as MTV Studios, NASDAQ marketplace and Madame Tussaude’s Wax Museum, in addition to a plethora of hotels and eateries. Moreover, Rockefeller Center, NBC Studios and Radio City Music Hall are only blocks away.

Earlier that evening, as I was on my way to meet friends for pre-theatre dinner, Broadway was its typical river of humanity. Making my way down the theatre district’s central corridor, I was reminded of how overwhelming the city can be for the uninitiated. The streets and sidewalks were filled to capacity, horns sounded from passing cars and everyone moved at a frenetic pace. As I dodged oncoming pedestrians, weaving around the ever-present construction scaffolding, my eyes were naturally drawn upward.

The glittering, flashing spectacle of Times Square is hard to resist. Your gaze is pulled as though by a tractor beam to the multicoloured lights, massive billboards and giant television screens urging you to buy everything from Coca-Cola to Kodak film or informing you of breaking news stories and stock quotes. Entranced by an especially alluring underwear ad, I realized too late the consequences of my drifting attention, as the pavement dropped out from under my chair and a jolting bang welcomed me back to earth.

It may come as less of a surprise these days, but, despite their gruff reputation, New Yorkers will stop to help people in need. However, I was more embarrassed about not seeing the pothole than in any real need of assistance. After reassuring several good Samaritans that the jostle I had taken wasn’t of serious consequence, I continued onward - with eyes pointed straight ahead.

Although it is apparent that the Big Apple has made an effort to get its streets and sidewalks wheelchair accessible, the experience of travelling those pathways causes one to wonder about the veracity of that effort. Despite being the city’s tourist hub, curb cuts in the theatre district are occasionally one to two inches above street level and once in a while (more often on nearby Fifth Avenue) non-existent.

This is not to suggest that getting around Manhattan in a wheelchair is overly difficult. In fact, despite some uneven pavement - common to many cities - and a few lousy curb cuts, New York is rather wheelchair friendly. Compact city blocks, wide sidewalks and efficient traffic patterns make New York extremely "walk-able," and with so much to see and do in the vicinity, those lodging within the theatre district can easily enjoy their entire stay without getting into a cab or bus.

Almost as challenging as my sidewalk experience was manoeuvring my way through the crowded St. James Theater’s lobby to the seating bowl. Once past the maze of bodies, an usher reviewed my ticket, handed me the show’s program and politely directed me to my seat.

Wheelchair seating at the St. James is not ideal. Located toward the back of the theater, at the extreme ends of the orchestra level, are two spaces where once-permanent seats have been removed. Sightlines are not awful, as the whole stage is visible (this is not the case at some other theatres), but the view is from a fairly skewed angle. My biggest objection was the grading of the incline, which had me leaning forward and to the right, which would not have been comfortable through a two-and-a-half-hour show. In the theatre’s defense, a second wheelchair user, seated in the spot ahead of me, seemed not to mind.

Working my way back out to the lobby, I expressed my concerns to the head usher and was, without argument, allowed to sit several feet back from my assigned space, in a corner beside the aisle. This proved to work out nicely, though it precluded my sitting next to the rest of my party.

There are 39 Broadway theatres in operation, with productions ranging from musicals like "Phantom of the Opera," "Rent" and "Mama Mia," to dramas such as "Proof," "Contact" and "QED," to the more family-oriented "Aida" and "Beauty and the Beast." Most of the houses are owned by one of three companies: the Shubert Organization, Jujamcyn Theaters and the Nederlander Organization. All have taken steps to accommodate their patrons with disabilities.

"Some of our accessibility modifications have taken place during a complete theatre refurbishment," explained Bern Gautier, head of the Shubert Organization’s facilities department. "We’re not waiting [for scheduled theatre renovations], though. We’ve been moving ahead with making all of our houses ADA-compliant."

Adapting 80-year-old theatres to modern accessible guidelines has not been an easy, nor quick, process. As little as five years ago, virtually none of the major houses had wheelchair accessible bathrooms, ticket counters or phones. However, great strides have been made since that time.

Now, most theatres offer a variety of wheelchair seating, infrared listening devices, fully accessible unisex bathrooms, automatic doors, and TTY phones, along with other accessibility features. All of Shubert’s 17 houses, for example, boast an accessible pass-through window at the box office and Braille or raised-text signs, and many have lowered drinking fountains in the lobby.

The location and number of wheelchair and other disability seating varies from theatre to theatre. Some, like the Winter Garden, offer removable back-row, centre seats as well as the more common end-of-aisle configuration, while others have only the latter. Tele-charge and other ticket outlets have accessible seating charts and can tell you what is available.

For the most part, balcony seating, lounges and other areas of the theatres still require ambulation up or down stairs. Because of these access limitations, all three of the major theatre groups offer ticket discounts to wheelchair users. Both Shubert and Nederlander provide wheelchair seating at the cost of the least expensive seat in the house, and Jujamcyn sells its wheelchair spaces at 50 per cent off the normal price. Ask for the discount when ordering your tickets.

An independent group, the Theater Development Fund (TDF) offers its own accessibility program for theatre-goers. Persons who sign up for the free membership receive monthly mailings about sign-language-interpreted and open-captioned Broadway performances, and can purchase discounted tickets to TDF-featured shows.

Raised on ’80s pop culture, my biggest worry as the curtain parted was that I wouldn’t be able to stop myself from shouting "Save Ferris!" at the sight of former teen hero Matthew Broderick. Fortunately, "The Producers" begins with the show’s other star, Nathan Lane, and within minutes I was lost in hysterical laughter, focused completely on the play.

"The Producers" easily lives up to its billing as Broadway’s funniest production. Every element, including the music (songs entitled "Der Guten Tag Hop Clop" and "When You Got It, Flaunt It"), costuming, choreography (imagine a dozen senior women doing a dance routine with their walkers) and sets are side-splittingly funny.

The play tells the tale of down-and-out Broadway producer Max Bialystock and his sure-fire scheme to get rich by intentionally producing a huge flop, the musical "Springtime for Hitler," and absconding to Rio with the investors’ money. Lane and Broderick as Bialystock and his reluctant partner, Bloom, give incredible performances. Their roles are inherently amusing, but the pair’s acting, singing and comic timing bring these characters to another level.

Not for the politically correct, the Mel Brooks production takes deft comic aim at gays, accountants, seniors, people with disabilities and Broadway itself. The humour is over the top and puerile, but it is genuinely funny, and you find yourself laughing out loud from beginning to end.

Following two standing ovations, I exited the theatre through a side entrance located conveniently near where I was seated. The temperature had dropped even further and I longed for spring, when the city is at its most enjoyable. Opting not to join the rest of my group for drinks, I instead made my way back toward the hotel and a warm bed.

Going past the area’s bars, electronics shops, newsstands and various other establishments, I was, once again, taken by the exhilarating feeling of being in a huge metropolis. Dinner with friends, a night at the theatre, gallery openings, after-hours clubs - the tremendous possibilities that abound in such a place... for me, the slogan "I love New York" said it all.

Then it happened.

Cutting over to Broadway on 48th Street, I saw it. In the heart of midtown, amid the theatres and lights and bustle of life, was Engine Company 54. It was an unassuming, red-brick firehouse; I might not have noticed it except for the virtual garden of flower arrangements, handwritten letters and dozens of flickering candles lining the sidewalk. There, also, were the pictures of 15 firemen, from this single station, who had lost their lives on September 11.

It was at that point that my resolution not to grieve on this trip faltered.

New York has always been an incredible city, and is now all the more so, for the character and strength that were forged by its recent tragedy. There is no experience like visiting the Statue of Liberty, watching a taping of "Saturday Night Live," marvelling at the panoply of Times Square, or, best of all, attending a Broadway show. New York is welcoming visitors with open arms, hoping to share the city’s flair and awe-inspiring spirit with all who come calling. Thanks to the relative ease and accessibility of Manhattan’s theatre district, and beyond, you should join them if you get the chance.

BOOKING YOUR TICKETS

Broadway Ticket Center at the Times Square Visitors Center: 1560 Broadway (between 46th and 47th Streets), or visit the theatre box offices for same-day or advance ticket sales.

TKTS: 47th St. and Broadway. Discounted tickets to same-day performances. Tickets are discounted either 50% or 25% (plus a $2.50 service charge); payment is by cash or traveller’s cheque only. Monday to Saturday, 3:00 p.m. to 8:00 p.m.; Wednesday and Saturday matinees, 10:00 a.m. to 2:00 p.m.; Sunday, 11:00 a.m. to closing.

Tele-Charge: Phone: (212) 239-6200, Toll-free: 1-800-432-7250

Ticketmaster: Phone: (212) 307-4100, Toll-free: 1-800-755-4000

Theater Development Fund (TDF): Phone: (212) 221-1103, TTY: (212) 719-4537, Website: www.tdf.org

ACCESSIBILITY IN THE THEATRE DISTRICT

Hotels:

Best Western President Hotel: 234 W. 48th St., Phone: (212) 246-8800

Crowne Plaza Manhattan: 1605 Broadway at 48th St., Phone: (212) 977-4000

Days Hotel: 790 Eighth Ave. at 48th St., Phone: (212) 581-7000

Hilton Times Square: 234 W. 42nd St., Phone: (212) 840-8222

Millennium Broadway: 145 W. 44th St., Phone: (212) 768-4400

New York Marriott Marquis: 1535 Broadway at 46th St., Phone: (212) 398-1900

Ramada Plaza: 481 Eighth Ave., Phone: (212) 971-0101

Sheraton Manhattan Hotel: 790 Seventh Ave. at 51st St., Phone: (212) 581-3300

Restaurants:

Cité (Steakhouse): 120 W. 51st St., Phone: (212) 956-7100

Ilo (New American): Bryant Park Hotel, 40 W. 40th St., Phone: (212) 642-2255

Ipanema (Latin American), 13 W. 46th St., Phone: (212) 730-5848

Judson Grill (New American), 152 W. 52nd St., Phone: (212) 582-5252

Le Bernadin (French), 155 W. 51st St., Phone: (212) 489-1515

Luxia (Continental), 315 W. 48th St., Phone: (212) 957-0800

Sea Grill (Seafood), 19 W. 49th St., Phone: (212) 332-7610

Soul Café (Southern / Caribbean), 444 W. 42nd St., Phone: (212) 244-7685

Stage Deli (Deli), 834 Seventh Ave. at 53rd St., Phone: (212) 245-7850

Virgil’s Real BBQ (Barbecue), 152 W. 44th St., Phone: (212) 921-9494

Transportation:

Manhattan, famous for its yellow cabs, is lagging behind when it comes to accessible taxi service. Currently, for those visitors who are unable to transfer easily from their wheelchairs, New York cabs are not an option. A delayed Taxi and Limousine Commission resolution calling for fully accessible cabs is hoped to go into effect this spring.

If you do require motorized transportation, there are private livery companies that provide pre-arranged accessible rides, but your best bet is to grab a bus. Over 4,000 of the city’s buses are equipped with kneelers, lifts and reserved wheelchair spaces, making this one of the most convenient methods for getting around town. The subway may also be an option, with 39 fully accessible stations.