New York, New York - Broadway

I have mixed feelings on the new musical New York, New York.  The positive - Director/Choreographer Susan Stroman’s dazzling and plentiful production numbers which include a back alley celebration of would-be dancers and musicians and a spectacular tap dancing routine on the steel girders of an unfinished skyscraper high above the New York skyline.  She also puts an exclamation point at the show’s conclusion as the orchestra rises from the pit during the belting of the celebrated title song.

Beowulf Boritt’s Scenic Design enhances the musical with large, flashy sets.  The most prominent being the backside of an apartment block where denizens of the city hang out from the heat on their small balconies.

Unfortunately, the book by David Thompson and Sharon Washington, loosely based on the 1977 Martin Scorsese film of the same name, tries to weave in too many secondary plots within the primary love story.  This proves frustrating as it falls short of fleshing out the stories that are more interesting than that of the main characters.  

The score is unsatisfying and falls short of expectations especially when the talents of John Kander and Fred Ebb and Lin-Manuel Miranda are part of the equation.  Kander and Miranda teamed up to write new songs for the production and for theater aficionados you’ll recognize Kander and Ebb tunes from their lesser known shows such as Flora, the Red Menace (“A Quiet Thing) and The Rink (“Marry Me).

The two leads - the singer Francine (Anna Uzele) and musician Jimmy (Colton Ryan) - meet by chance.  He, an out-of-work Irish musician, is smitten.  She, an equally unemployed Black vocalist, is not.  Even with their disparate backgrounds (the ugly spector of racism is woven into the plot), they eventually come together and succeed first, separately, and then together.  As they try to move forward in their relationship, we are introduced to other tales of The Big Apple where characters want to achieve the promise stated in the lyrics to the title song, “If I can make it there/I'll make it anywhere/It's up to you/New York, New York.”  There is a Cuban percussionist (Angel Sigala) and his long-suffering mother (Janet Dacal), a Black trumpet player (John Clay III), and a Polish violinist (Oliver Prose) mentored by an aging New York Philharmonic virtuoso (Emily Skinner).  All are seeking their big break.

Anna Uzele gives a fine performance as Francine.  She is effervescent and full of life and possesses a powerful singing voice.  Colton Ryan, a talented musician, which he shows off in the song “I Love Music,” where he plays a multitude of instruments, is disappointing in the role of Jimmy.  He is exceedingly melancholy, dispirited and too much of a jerk which begs the question why Francine continues to stay with him throughout the show.

The featured male performers mentioned above are superb musicians and deliver handsome portrayals.  Clyde Alves, as Jimmy’s best friend Tommy, is an excellent comic counterpoint and is one outstanding dancer. Ms. Dacal and Skinner, veterans of the musical theater, shine brightly in their brief moments on stage.