It can be said that we New Yorkers have a different kind of smart, we know what’s good, and what isn’t; we can sift through quickly what is talent and what is minutia.
In David Thompson and Sharon Washington’s book, we get fair. In the music and lyrics, you get mediocre from John Kander and Fred Ebb (additional lyrics by Lin-Manuel Miranda).
What is excellent is Beowulf Boritt’s scenic and co-projection design. Also excellent is the lighting design by Ken Billington, where he makes the stage at times a carnival of lights. He does his best to make this lackluster show pop. Susan Stroman too does an admirable job in the direction and choreography. With a good ensemble cast, the dancing is inspiring, much like they used to do at Diamond Dan’s in Times Square back in 1946 when this two-hour and forty-five-minute musical takes place.
The show runs into problems its lead actors. Both Colton Ryan and Anna Uzele are not good enough to lead this behemoth of a musical. Both actors are inconsistent- even weak at times.
The show itself has too many sub-plots within the main plot. The nexus is that Francine (Uzele) wants to be a singing star. She marries Jimmy (Ryan); they are an interracial couple in the ‘40s. As Jimmy mourns the loss of his brother, he drinks more and more. The drinking gets him fired from many of the clubs where he works. As Francine’s star rises, he becomes more jealous. Jimmy leans on his best friend Tommy (Clyde Alves). Alves is a standout in his role; an excellent dancer and actor, he keeps the audience entertained all evening.
As a tribute to the Big Apple, I wish “New York, New York” was better. With all its fanfare, the show never gains any momentum. The musical numbers are not memorable and the lead actors do not have any real chemistry between them.
