‘NEW YORK, NEW YORK’: Colton Ryan & Anna Uzele. Photo: Paul Kolnik.

NEW YORK, NEW YORK
Music & lyrics by John Kander & Fred Ebb
Additional lyrics by Lin-Manuel Miranda

Written by David Thompson
Co-written by Sharon Washington
Based on the MGM picture New York, New York
Direction & choreography by Susan Stroman
St. James Theatre
246 West 44th Street
(212-239-6200), NewYorkNewYorkBroadway.com/

By David NouNou

Beowulf Borritt should win the Tony Award for Best Set Design in a Musical as well as Ken Billington for his lighting design. That’s the best I can say for the new musical New York, New York. If it wasn’t for their sets and lighting, the show wouldn’t have even merited one star.

It truly boggles the mind and is also very sad to see how the creators and songsmiths of Hamilton and Chicago could have concocted such a boring and needless musical for this or any other season as New York, New York. It’s a sad ending for the legendary Broadway duo of John Kander and Fred Ebb. You really don’t know whom to blame for the dreary, sappy and cliché-ridden book written by both David Thompson and Sharon Washington. It’s monumentally bad, very loosely based on the 1977 movie of the same name starring Robert DeNiro and Liza Minnelli. What they attempted to do was to combine the epic grandeur of the musical Ragtime with the pizzazz of On the Town, and they failed miserably in both cases. The characters of Ragtime were heroic people and the pizzazz of On the Town was genuine.

In a musical, the songs and the choreography have to be organic, they have to be fluid and come naturally, and no one would know that better than director/choreographer Susan Stroman. After all, Ms. Stroman was the force behind the legendary musicals The Producers and Crazy for You, both for which she won Tonys. Here the songs are squeezed in by force and the dancers come out from anywhere, at any time for no apparent reason other than the fact that this is a musical. It’s a sad, sad day when one has to write that Susan Stroman, a leading Broadway director/choreographer, has run out of original ideas.

As I stated earlier, it is loosely based on the movie, it is summer of 1946 in New York City, the troops are back and among them is Jimmy Doyle (Colton Ryan), a hot-tempered Irish singer and musician. Also coming to the city from Pennsylvania is singer, Francine Evans (Anna Uzele). The story centers around the ups and downs of their relationship and marriage which is fraught with problems because Francine in this version is African American, and they both know the problems that will ensue. There is a myriad of supporting players that comprise different ethnic backgrounds: Black, Cuban, Irish, Italian, Polish, etc. They are all here because America is the land of opportunity and they are all waiting for their big break. All of this isn’t germane to the plot, other than filler and to say the cast is culturally diverse.

Another problem that arises is the lack of chemistry between the two leads, especially from Colton Ryan. Instead of being a charismatic but flawed and broken anti-hero who has to mend himself, Mr. Ryan is a stereotype of the blustering, whiny, ambling aimlessly tortured soul with the emotions that run from A to B and contorting his face to express emotions. (Didn’t any of the creators or Ms. Stroman watch his performance?) Ms. Uzele fares slightly better because she gets to belt out “Let’s Hear It for Me” from Barbra Streisand’s 1975 movie Funny Lady, also by Kander and Ebb, and you’ll ask yourself why is it in this musical? She also gets a crack at Liza Minnelli’s “But the World Goes ‘Round.” I must admit both songs are legendary, thanks in part to their original singers. However, Ms. Uzele tries valiantly.

By the way, let me caution you that you will hear the first five notes of the song “New York, New York” endlessly as a teaser throughout the entire show. You will ultimately hear the entire song. That is saved for the rousing finale sung in a Big Band-era style that has the audience at its feet, forgetting the previous dismal two hours and 45 minutes. Also be prepared that every time NYC is mentioned in a flattering way, the audience cheers on cue.

Finally, I have to send my sincere apologies to Andrew Lloyd Webber and his musical Bad Cinderella for calling it “the worst musical of the year.”

Edited by Scott Harrah
Published April 29, 2023
Reviewed at April 28, 2023 press performance.

‘NEW YORK, NEW YORK’: Jim Borstelmann. Photo: Paul Kolnik.

‘NEW YORK, NEW YORK’: The cast. Photo: Paul Kolnik.

‘NEW YORK, NEW YORK’: The cast. Photo: Paul Kolnik.

‘NEW YORK, NEW YORK’: Colton Ryan & Anna Uzele. Photo: Paul Kolnik.

‘NEW YORK, NEW YORK’: The cast. Photo: Paul Kolnik.

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‘SIX’: (Left to right) Abby Mueller (Jane Seymour), Samantha Pauly (Katherine Howard), Adrianna Hicks (Catherine of Aragon), Andrea Macasaet (Anne Boleyn), Brittney Mack (Anna of Cleves), & Anna Uzele (Catherine Parr). Photo: Joan Marcus.

SIX
Written by Toby Marlowe & Lucy Moss
Directed by Lucy Moss & Jamie Armitage
Choreography by Carrie-Anne Ingrouille
Brooks Atkinson Theatre
(877-250-2929), sixonbroadway.com

By David NouNou

Broadway has reopened with a lot of fanfare and shows announcing at the onset “we’re reopening Broadway.” Most of the reopening shows are musicals that have survived the Broadway closure of 19 months, and new shows that have opened are the proverbial canaries that are sent down the coalmine to see if it’s safe. Ironically, the show that was ready to open the night Broadway totally shut down back in March 2020 was Six. So, the only show that has the right to claim “Broadway has officially reopened” is Six. It has definitely been worth the wait.

Here is an original musical that I had the great pleasure to see in June 2019 in London with my partner. My first thought back then was that it would be a crime if this show didn’t transfer to Broadway, to which my partner replied “would it be as meaningful to American audiences as it is in Britain?” Let me give you a resounding yes. Never has English history been as entertaining as is demonstrated in Six. It does for the history of the House of Tudor and the British throne what Hamilton did for American history—it actually makes history fun. This is no easy task in 2021, a time when some know very little about world history prior to the year 2000, let alone the 1500s. Six entices younger generations, weaned on social media and memes for most of their information, to turn off their smartphones for 90 minutes, experience live theater and learn about the past. It is also pure joy for audiences of all ages—a life-affirming, colorful tonic bringing hope and light to a city and world just now coming back after nearly two years of a bleak, dark pandemic.

Written by Toby Marlowe and Lucy Moss, the premise is which of Henry VIII’s wives had the worst lot in life being married to Henry as illustrated in the brilliant opening number “Divorced, Beheaded, Survived.” This song sets the tone and the mood that is about to unfold. There is Catherine of Aragon (Adrianna Hicks), divorced; Anne Boleyn (Andrea Macasaet), beheaded; Jane Seymour (Abby Mueller),  died of complications from childbirth; Anna of Cleves (Brittney Mack), survived; Katherine Howard (Courtney Mack), beheaded; and finally, Catherine Parr (Anna Uzele); survived.

The score is an absolute delight from The Queens’ opening “Ex-Wives” to their closing number “Six.” The sound and rhythm are both so infectious and reminiscent of the 1990s “girl power” pop group The Spice Girls, but with better voices, singing and dancing. The choreography by Carrie-Anne Ingrouille and direction by Lucy Moss and Jamie Armitage both constantly keep the queens on the move and the action never lags.

Not since Moulin Rouge has there been such exquisite costumes (Gabriella Slade) and brilliant lighting (Tim Deiling) on Broadway. Though not as epic, but still eye-popping and visually appealing. The Ladies in Waiting consists of an all-female band with a sound that makes it hard to sit still in your seat.

The six queens are all brilliant with their own unique individual identity, so it is difficult and unfair to single out one over the other. They all deserve equal kudos and all have rich, vibrant voices and effervescent stage presences. Toward the end of the show, the question is asked what was so great and memorable about Henry VIII? Let me end it with these Six exquisite queens. Long may they reign on Broadway.

Edited by Scott Harrah
Published October 7, 2021
Reviewed at October 6, 2021 press performance.

‘SIX’: Adrianna Hicks (Catherine of Aragon, center) with (left to right) Brittney Mack (Anna of Cleves), Andrea Macasaet (Anne Boleyn), Anna Uzele (Catherine Parr), & Samantha Pauly (Katherine Howard). Photo: Joan Marcus.

‘SIX’: (Left to right) Samantha Pauly (Katherine Howard), Abby Mueller (Jane Seymour), Anna Uzele (Catherine Parr), Brittney Mack (Anna of Cleves), Andrea Macasaet (Anne Boleyn), & Adrianna Hicks (Catherine of Aragon). Photo: Joan Marcus.

‘SIX’: Abby Mueller (Jane Seymour). Photo: Joan Marcus.

‘SIX’: Brittney Mack (Anna of Cleves, center) with (left to right) Anna Uzele (Catherine Parr), Abby Mueller (Jane Seymour), Andrea Macasaet (Anne Boleyn), & Adrianna Hicks (Catherine of Aragon). Photo: Joan Marcus.

‘SIX’: Samantha Pauly (Katherine Howard, center) with (left to right) Adrianna Hicks (Catherine of Aragon), Andrea Macasaet (Anne Boleyn), Brittney Mack (Anna of Cleves), & Anna Uzele (Catherine Parr). Photo: Joan Marcus.

‘SIX’: Anna Uzele (Catherine Parr, center) with (left to right) Adrianna Hicks (Catherine of Aragon), Andrea Macasaet (Anne Boleyn), Abby Mueller (Jane Seymour), Brittney Mack (Anna of Cleves) & Samantha Pauly (Katherine Howard). Photo: Joan Marcus.

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