By Carol Rocamora . . .
“Start spreading the news . . .” (da dadda da dum)
I’ll bet every review of this fabulous newcomer will start with that line—but, trust me, the news is BIG! A dream team of Broadway musical legends (from two generations) has come together to bring New York, New York to the Broadway stage. And what a sweet, juicy cherry on top of the 2022-23 season’s cake it is! It’s as if all the pent-up creativity and musical theater energy stifled during the pandemic has burst free and brought forth this marvelous mega-musical.
Loosely inspired by the 1977 movie (you know, the one starring Robert De Niro and Liza Minnelli), the story about “making it” in the Big Musical Apple has been reimagined by David Thompson with Sharon Washington (book) and delivered by Broadway veteran-superstar Susan Stroman (director and choreographer). The new New York, New York features 28 songs (ranging from brassy to beautiful) by the immortal musical duo John Kander and Fred Ebb—tunes that also include new ones composed by Kander with lyrics by Lin-Manuel Miranda (of Hamilton fame). Add set designer Beowulf Boritt to the creative mix and you have musical theater heaven.
“If I can make it there, I’ll make it anywhere . . . ” (as the Kander/Ebb song goes). That’s the premise of David Thompson’s new book. Constructed in a series of scenes set during 1946-47, in a post-war city erupting with renewed energy, the story follows the dreams of two newcomers to the Big Apple. Jimmy Doyle (Colton Ryan) is a gifted young musician looking for his “major chord” in life: namely, “Music, Money and Love” (one of the charming lyrics by Lin-Manuel Miranda). Francine Evans (Anna Uzele) is a young singer just off the bus from Philadelphia, ready to wait tables—or just wait—till she gets her “big break.” There are numerous other dream-seekers, too: Alex (Oliver Prose) is a Jewish refugee from Europe and a gifted classical violinist, eager to enter the Juilliard School. Mateo (Angel Sigala) is a Cuban-born drummer who wants to give his mother a chance to put on a golden dress and dance to his country’s exuberant music in their new hometown. Jesse (John Clay III) is a Black trumpeter who wants to escape his kitchen job and play the instrument he loves (“My Own Music,” lyrics again by Miranda). Meanwhile, Tommy (Clyde Alves) just wants to dance (and dance, and dance).
As each of the above pursues their individual dreams, they’re given memorable Big Musical Numbers (capitalized intentionally) in which to shine—all against the backdrop of Beowulf Boritt’s spectacular set. Each scene is distinctive in its own way. A sensational show-stopper features Tommy and Jimmy tap dancing on steel girders of a towering construction site, set high above the city streets (to the tune of “Wine & Peaches”). There’s Jimmy’s virtuosic solo number (“Major Chord”) wherein he plays his heart out on every instrument hanging in his tiny tenement flat. There’s Jesse’s heartfelt solo about playing the trumpet (“My Own Music,” an unmistakable Miranda creation). There’s a dreamy dance sequence (“New York in the Rain”) with colorful costumes (Donna Zakowska), lovely lighting (Ken Billington), and fanciful floating umbrellas. And you can’t help falling in love with “Gold,” Mateo’s Big Number with an irresistible salsa score (Miranda’s lyrics, again)
In between each of the scenes, the “start-spreading-the-news” tune serves as a leitmotif, as members of the ensemble dance their hearts away to Stroman’s glorious choreography. And whenever Tommy joins them (almost always), you can’t take your eyes off Clyde Alves’s dazzling dancing.
The cast is uniformly delightful. Consistent with the generous spirit of this inclusive production, Stroman has cast two emerging Broadway actors in the leading roles—Colton Ryan (Girl from the North Country) as Jimmy and Anna Uzele (Six) as Francine—giving them a chance to soar in starring roles. Supporting roles also include Janet Dacal as Mateo’s mother and Emily Skinner as Alex’s violin teacher. Especially touching is Skinner’s vocal duet with her new student (“A Simple Thing Like That”).
As Boritt’s set segues from iconic New York locales (Grand Central Station, the Oyster Bar, the subway, streets decked with fire escapes, the Empire State Building always in the backdrop), you get caught up in the warm-hearted spirit of this exuberant musical. It’s a love letter to the city we all share—a city that the Thompson/Washington script celebrates with lines like: “Everyone’s different, but we share the same island;” “New York is the greatest social experiment;” “You can be anyone here;” and “I am the son of the American dream.” The script is realistic as well as optimistic: “New York can break you, but it also can save you;” “It can turn around in one night;” and “Don’t bet against New York!”
In the finale, this fabulous Big Broadway Musical soars to unimaginable new heights when (wait for it, wait for it) the long-awaited sounds of that iconic song, “New York, New York,” ring out. Spoiler: the entire orchestra suddenly and spectacularly rises from the pit, bringing the audience to its feet along with it. “I want to be a part of it!” goes the song, and the lyrics fulfill that promise.
You are part of it. We all are. I challenge anyone who loves this city to swallow that lump in their throat or resist singing along.
New York, New York. Open run at the St. James Theatre (246 West 44th Street, between Seventh and Eighth Avenues). Two hours, 30 minutes with one intermission. www.newyorknewyorkbroadway.com
Photos: Paul Kolnik
