More than 55 years after the premiere of the groundbreaking hit Cabaret, John Kander and the late Fred Ebb have a new musical on Broadway. New York, New York is a new work loosely based on the 1977 Martin Scorsese movie that introduced the world to the Big Apple’s unofficial anthem. The book was reworked and has some issues, but the score and staging carry the day in this production. The finale of the titular hit song brings the house down and leaves an impact.
The score was created with music by the 96-year-old legend John Kander with pre-written lyrics from Fred Ebb, who passed away in 2004, and additional lyrics from Lin-Manuel Miranda. Some songs were written for the original film, some were written separately by Kander & Ebb, and some were written recently by Kander & Miranda. The bond between these two composers has been a joy, with Kander still as sharp as ever and Miranda getting to work with an elder Broadway icon. The result of the combination is a score with a classic Broadway feel while also feeling modern. It’s inspiring to see the genius of Kander still in action, with his music delightful and toe-tapping.
The staging and scenery of this production is a highlight. The scenic design by Beowulf Boritt is magnificent, with gigantic fire escapes, beautiful backdrops, and construction beams. The best number of the show (excluding the famous finale) is a tap dance that takes place high above the city by construction workers on steel girders. Director Susan Stroman’s choreography here shines, especially from Clyde Alves who stuns in his underutilized performance. Stroman also dazzles us with a rain sequence featuring umbrellas and impressive light projections.
The book, written by David Thompson and Sharon Washington, is the weak point. The leading characters of Jimmy and Francine have little reason to be a couple, with not much in common and little discernable chemistry. The story is largely focused on their journeys, but the audience isn’t given much motivation to invest in their success. Meanwhile there are more intriguing stories in the background that get some attention, but not in a cohesive way. Alex, a Jewish refugee who escaped the Holocaust, has come to New York with a passion for violin. Mateo is a drummer whose family fled Cuba for a better life but disappoints his father by being his true self. Ideally these characters would’ve interacted and combined their love of music, but it’s as if they’re in separate shows from each other and from the main plot. Another weak spot is the lack of buildup to the triumphant song “New York, New York” which closes the show. In Rent, we hear early on of Roger desperate to write his “One Song Glory.” In Bandstand, we hear the climactic song “Welcome Home” being constructed by the characters throughout the show. But here, there’s no mention of Jimmy wanting to write an anthem or being inspired by Francine’s journey. It just pops up at the end of the show as a concert version. It’s still a crowd-pleasing thrill, but the context of why it’s in the show is never expressed by the book writers.
The performers are generally excellent. Colton Ryan as Jimmy is extremely charismatic. His number ____ in which he plays a half dozen instruments (including the tuba) while singing and dancing is a showcase of his remarkable talent. The only choice I didn’t enjoy was him putting on a throaty voice that sounds distractingly like Kermit the Frog. Anna Uzele as Francine is enjoyable, but the character doesn’t give her too much to work with. Her rendition of the titular song is beautiful and powerful to close the show on a high. Clyde Alves shines as Tommy in all his scenes but doesn’t have nearly enough stage time to show off his skillset. Newcomer Angel Sigala breaks through as Mateo, with enthusiasm that transfers from the stage into the audience. Sigala is a Norristown-area native, a Temple University graduate, and a veteran of the Philadelphia stage. We saw an understudy in the role of Alex, but Mike Cefalo was excellent playing the sympathetic Jewish refugee.
New York, New York has a lovely score and delightful scenery to look at. The triumph of John Kander bringing a new show to Broadway is deeply heartening. The only shame of this production being frozen is the book not being able to be reworked. These gifted performers would be able to get us more invested in the characters if the focus was prioritized better and the primary couple had more to connect over. Still, it’s a charming time capsule of post-war New York City. The finale of “New York, New York” is a show-stopper that’s sure to leave you on a high note.