Just three things are at the heart of New York, New York—music, money, and love.
New York, New York is loosely based on the 1977 film of the same name with music by John Kander, lyrics by Fred Ebb and Lin Manuel Miranda, a book by David Thompson and Sharon Washington, and directed and choreographed by Susan Stroman. The musical had its premiere on Broadway at the St. James Theatre, with previews beginning March 24, 2023, and opening on April 26. It received nine nominations at the 76th Tony Awards, winning one for Scenic Design of a Musical.
New York, New York was one of my most anticipated shows of the 2022-2023 season. I was even more excited to see Susan Stroman was choreographing the musical. I love pieces of media that capture New York’s essence, and I was ready to welcome this one with open arms.
I have to say, as visually stunning as this musical was, the storytelling was not quite as strong. I had gone into it with an open mind as possible, turning a blind eye to some of the mixed reviews that had come out.
The Tony Award for scenic design was incredibly well deserved. Set design is not typically a category where I have hard opinions, but this one was stunning. I loved how they used depth perception and creatively moved pieces of the set to create this poignant aesthetic.
Choreography is another strong point of this show. I love Stroman’s work, but especially how she puts little counts of choreography in the scene transitions. The opening act and the number in the rain were stunning. Stroman always uses this very direct but very fluid style of choreography that is visually stunning. “Wine and Peaches” takes the cake for being visually stunning and wowing the audience with some stellar tap. I always love to see a good tap number.
The book of the show was the weakest link in the production. A few other creators and critics have said it, but the idea that this show is “a love letter” to New York City often means it’s trying to say too many things, which then turns to not really saying anything with meaning. I felt like the show struggled with a central plot and ultimate goal. You, of course, have the love story between Francine and Jimmy at the forefront, but how do the other characters play into that? How do the stories all fit together? Is there something all of these characters have in common (besides living on the same block)? I think establishing a goal early on and then having the arch of achieving (or not achieving) that goal would have felt more satisfying.
The cast of this production is incredibly talented and takes this story to make it their own. Colton Ryan is a standout performer as Jimmy Doyle. He captures a carefree, down-on-his-luck character with ease, and easily has the audience wrapped around his finger. Ryan flexes his musical talents in “I Love Music,” much to the audience’s delight, and captures the heart in “Marry Me.”
Anna Uzele is a breakout star in this production. Her smooth vocals and leading lady spirit hold the attention of the room. Her chemistry with Ryan is so fun to watch on stage. Here powerhouse 11 o’clock number “But the World Goes Round,” gripped the audience before Uzele masterfully closes the show with “New York, New York.”
John Clay III was an unexpected standout performance as Jesse Webb. Though his story takes a backseat to the love story between Jimmy and Francine, his powerful vocals make his few solo moments memorable.
I see this production as more of a hit-or-miss, and it’s not for everyone. At face value, it is a lot of New York cliches strung together. But it is a very visually lush show, which have been few and far between lately, with so many shows opting for the minimalistic route for the artistry or the cost-effectiveness of the choice. I enjoyed the night out to see it, and was delighted by the talent in the cast. I think some of the critical reviews were a bit harsh, but the bar was so high with a well regarded creative team. It’s a solid middle of the road piece of theatre, for those of us who romanticize New York at heart.
The Broadway Edit 