REVIEW: ‘New York, New York’ is wondrous entertainment on a grand scale
Photo: Anna Uzele stars in New York, New York at the St. James Theatre. Photo courtesy of Paul Kolnik / Provided by Polk & Co. with permission.
NEW YORK — The new musical New York, New York, inspired by the classic MGM movie of the same name, is exactly what New York needs right now. This big, glitzy, all-encompassing show packs a musical punch and features a hard-working, ever-talented cast, most notably Colton Ryan and Anna Uzele, who will no doubt be considered theatrical stars after audiences take in their touching, powerful performances.
The show’s premise is like many premises of yesteryear. Jimmy Doyle (Ryan) is trying to make a name for himself as a jazz musician in the Big Apple. Francine Evans (Uzele) is trying to do the same as a singer. The two meet up, realize their shared dreams, and try to make a go of it, both professionally and personally. Their adventures over the course of one year in New York City (summer 1946 to summer 1947) result in many obstacles, including lost opportunities, Jimmy’s unhealthy penchant for alcohol, a big executive with an eye for breaking up this relationship, and the prejudice and racism of the post-war years.
Along the way, there are many triumphs and lucky breaks, each one punctuated by winning numbers directed and choreographed with obvious skill by Susan Stroman. One can say that the odds of New York, New York succeeding at the St. James Theatre are quite high; after all, this is the same theater where Stroman found historic success with The Producers.
The songs, including the iconic title number and “But the World Goes ‘Round,” are expertly performed by the two leads and the rest of the stellar cast. Uzele, perhaps best known for being in the original Broadway company of Six, offers magical interpretations of “I’m What’s Happening Now” and “Happy Endings / Let’s Hear It for Me.” She is an impressive presence on the St. James stage and offers a unique take on “New York, New York” as the grand finale, putting her own spin on perhaps the most covered song in music history.
Ryan is perfectly cast as Jimmy, and his numbers are resoundingly beautiful and spot-on creations that seem as if they were made for his vocal talents. There’s “Can You Hear Me?,” “Marry Me” and the devastating “Music, Money, Love,” which captures and holds the audience’s attention near the end of the show. One joyous sequence finds Jimmy, Tommy (a marvelous Clyde Alves) and a suite of construction workers toe-tapping on skyscraper rafters, re-creating those memorable images of laborers enjoying lunch breaks from up on high.
Others in the cast fill the story with love and loss, strength and vulnerability. There’s an important storyline involving Angel Sigala’s Mateo Diaz, who eventually joins Jimmy’s jazz band, and his mother, Sofia Diaz (Janet Dacal). Emily Skinner plays Madame Veltri, a teacher and lover of classical music, who helps Oliver Prose’s Alex Mann. Both of these characters are still greatly impacted by the horrors of World War II. John Clay III and Ben Davis are excellent additions to this near-three-hour show that packs in many narrative threads (not too many, just enough).
Much credit for pulling off this musical feat must go to John Kander and Fred Ebb, the legendary writing team behind such hit shows as Chicago and Cabaret. Kander continues to carry on the legacy of this duo; Ebb died in 2004. Helping with the book and lyrics is a skilled creative team: David Thompson as writer, Sharon Washington as co-writer and Lin-Manuel Miranda, who is responsible for additional lyrics.
Still, the jump from movie to page to stage can be wobbly for some ventures, but not under the deft hand of Stroman, one of the most important theater interpreters of all time. This is exactly the type of show that fits into her wheelhouse: The triple threat of singing, dancing and acting are on full display, time and time again. The action plays out on a breathtakingly beautiful and multi-faceted set by Beowulf Boritt. Honestly, audiences almost give a standing ovation when Jimmy and company ascend to the top of a skyscraper, and wait until the grand finale (no spoilers here). Donna Zakowska’s costume design is exquisite and period-specific.
There will be parallels between New York, New York and another wonderful musical that recently opened: Some Like It Hot, located across the street at the Shubert Theatre. Both shows are worth a look from audiences, and connections are perhaps inevitable given that both are based on classic movies. Still, New York, New York stands as its own creation.
This show is a genuine love letter to New York City, with its many ups and downs, setbacks and steps toward progress. The musical doesn’t sidestep the difficult realities of these two artists’ life together. They outline the hurt and anguish, the closed doors and toxic racism, but the cast and creative team simultaneously believe in the opportunities that abound in this city that never sleeps. They believe that someone can “make it there” given the rewards that come from persistence and passion. Whether that’s true or not is up for honest debate, especially when considering historical tales of exclusion, but for these few hours in the theater, New York, New York makes one a believer in the possibility of possibilities.
By John Soltes / Publisher / John@HollywoodSoapbox.com
New York, New York features music and lyrics by John Kander and Fred Ebb. Written by David Thompson. Co-written by Sharon Washington. Additional lyrics by Lin-Manuel Miranda. Directed and choreographed by Susan Stroman. Starring Colton Ryan and Anna Uzele. Running time: 2 hours, 45 minutes, with one 15-minute intermission. Now playing at the St. James Theatre on Broadway. Click here for more information and tickets.
