‘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.

The post ‘New York, NY’: This Apple’s rotten to the core appeared first on StageZine.

THE SHOW HEARD ROUND THE WORLD: Daveed Diggs (center) as Thomas Jefferson & ensemble in the revolutionary blockbuster musical ‘Hamilton’. Photo: Joan Marcus

HAMILTON
Music, book & lyrics by Lin-Manuel Miranda
Choreography by Andy Blankenbuehler
Inspired by the biography Alexander Hamilton by Ron Chernow
Directed by Thomas Kail
Richard Rodgers Theatre
226 West 46th Street
(877-250-2929), http://www.hamiltonbroadway.com/

By Scott Harrah

Once or twice in a decade, a Broadway show comes along that is so innovative and unprecedented that it changes the American musical theater as we know it. In the 1990s, it was Rent. Nearly five years ago, it was the irreverent The Book of Mormon. In 2015, the game-changing musical is, without question, the blockbuster Hamilton, which recently transferred to Broadway after a sold-out run downtown at the Public Theater.

Indeed, Alexander Hamilton is mostly known to Americans for being on the $10 bill because he was one of the founding fathers of the United States. Unless one is an American history buff, we forget that Hamilton was chief state aide to George Washington, advocate of the U.S. Constitution, founder of the U.S. financial system, the first Secretary of the Treasury, and founder of the world’s first voter-based political system, the Federalist Party, and more. Most know the stories of the other founding fathers of our nation, but not Hamilton, and the true genius of this show is how music, lyric and book writer Lin-Manuel Miranda used Ron Chernow’s biography of Hamilton as the basis for the story and created a theatrical masterpiece. Mr. Miranda has taken what’s normally considered a dry subject, early American history, and turned it into an entertaining epic that appeals to the masses of all ages. Yes, the chronology of events in the American Revolutionary War are all here, but Mr. Miranda adds depth and complexity to everyone from George Washington (Christopher Jackson) to Aaron Burr (Leslie Odom, Jr.) and Thomas Jefferson (Daveed Diggs). There hasn’t been a Broadway musical with this much youthful magnetism and solid storytelling in many moons.

Hype has surrounded this show ever since it debuted at the Public this past winter. Hamilton has been the hottest ticket in town and one has not been able to go online or open a newspaper or magazine without reading some blurb singing its praises in the past six months. The hoopla is all justified, because from the two opening numbers, “Alexander Hamilton” (an expository song that sums up the man’s early life) and “My Shot” in Act I, Hamilton at first seems more like a seamless, energetic pop music concert than a Broadway musical, but in essence there is really nothing gimmicky going on at all. Yes, there are hip-hop and pop-style songs, but also many beautiful ballads and more traditional show tunes, all of which propel the story forward exquisitely. Mr. Miranda has also created an intricate historical epic that unfolds with rapid-fire energy and never lets up. It is completely unlike any of Mr. Miranda’s previous efforts, namely In the Heights, which won the Tony Award for Best Musical in 2008.

We learn all the biographical details about Alexander Hamilton, the illegitimate son of a Scotsman and a prostitute born in the Caribbean, to his journey to America and how he helped the other founding fathers create the new USA after the Revolutionary War, but we also learn about Hamilton’s clashes with the third Vice President of the United States, Aaron Burr (Mr. Odom, Jr.), in the show-stopping song “The Room Where It Happens,” a number so infectious that it could easily be released as a pop song on the radio. The same holds true for George Washington’s ballad “One Last Time.” As Hamilton, Mr. Miranda’s performance is consistently solid, sincere and convincing, even if he’s not always the most dynamic performer on the stage.

Stage and TV star Jonathan Groff is a true scene-stealer as Mad King George III, America’s last monarch. Taking over the role originated Off Broadway at the Public by Brian d’Arcy James, Mr. Groff, clad in his huge regal crown and full king regalia, holding an imperial scepter, portrays the king as a petulant buffoon, seeing the revolting colonists as naughty, wayward children as he belts out such songs as “You’ll Be Back” with amusing, snarky aplomb.

The women in Hamilton’s life are just as influential, showing how they, too, made a difference in the early days of our nation. Renee Elise Goldsberry, as Angelica Schuyler, the sister of Hamilton’s wife, is especially moving whenever she sings “Satisfied” in her soaring voice. Phillipa Soo is equally outstanding as Eliza, Hamilton’s wife, a woman who petitioned Congress to publish her husband’s writings. Whenever Ms. Goldsberry and Ms. Soo sing, they bring down the proverbial house. Ms. Soo is absolutely haunting when singing “Burn,” a ballad about the pain of being Hamilton’s long-suffering wife.

Director Thomas Kail keeps the story moving along with fluid precision and at an exhausting, nonstop pace at all times. Andy Blankenbuehler’s choreography is graceful and marvelously stylized; the fusion of direction and choreography complement each other in the frenetic goings-on in this nearly three-hour, monumental show. Hamilton has truly started a Broadway revolution and will continue to influence the American musical theater for years to come.

GEORGE WASHINGTON: Christopher Jackson & ensemble in ‘Hamilton.’ Photo: Joan Marcus

GREAT WOMEN OF THE NEW AMERICAN NATION: Phillipa Soo, Renee Elise Goldberry & Jasmine Cephas Jones in ‘Hamilton.’ Photo: Joan Marcus

MAD KING GEORGE III: Jonathan Groff as America’s last monarch. Photo: Joan Marcus

AARON BURR: Leslie Odom, Jr. in ‘Hamilton.’ Photo: Joan Marcus

ELIZA & ALEXANDER HAMILTON: Phillipa Soo & Lin-Manuel Miranda. Photo: Joan Marcus

THOMAS JEFFERSON: Daveed Diggs in ‘Hamilton.’

AARON BURR & CO: Leslie Odom, Jr. & ensemble in ‘Hamilton.’ Photo: Joan Marcus

THE ‘RENT’ & ‘BOOK OF MORMON’ OF THE NEW MILLENNIUM TEENS: The cast of the monster hit ‘Hamilton.’ Photo: Joan Marcus

Video montage from Hamilton

Edited by Scott Harrah
Published August 15, 2015
Reviewed at press performance on August 13, 2015

The post ‘Hamilton’: Start of the Broadway revolution appeared first on StageZine.

HAMILTON

Friday, April 24 at 10 a.m.

A new block of seats to the musical HAMILTON on Broadway go on sale Friday, April 24 at 10 a.m.  Tickets are available for purchase through March 27, 2016 via phone, online or at the box office of the Richard Rodgers Theatre (246 W. 46 St.).

HAMILTON begins previews at the Richard Rodgers Theatre on July 13 prior to an official opening night August 6. The musical concludes its 4-month sold-out engagement at The Public Theater on May 4.

HAMILTON is inspired by the book Alexander Hamilton by Ron Chernow and features book, music, and lyrics by Lin-Manuel Miranda, choreography by Andy Blankenbuehler and direction by Thomas Kail, who previously collaborated on IN THE HEIGHTS.

The new musical is produced on Broadway by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theater.

Single tickets to HAMILTON Broadway range in price from $55 to $157.  Group tickets are on sale through the Group Sales Box Office at www.broadway.com/groups or by phone at 1.800.BROADWAY x2 For more information visit www.hamiltononbroadway.com    

The post ‘Hamilton’ Broadway Tickets On Sale appeared first on StageZine.