The Broadway season couldn’t have chosen a better way to end on a triumphant note. New York, New York, the final musical to be presented as part of the 2022–2023 season, is one of those works that remain unforgettable once seen. Created by David Thompson and Sharon Washington for the libretto, John Kander et Fred Ebb for music (with a contribution of Lin-Manuel Mirandafollowing the disappearance of Fred Ebb in 2004), New York, New York is a brilliant salute to Broadway and its “musicals” as well as a love song to the city that is home to them.
The film directed by Martin Scorsese in 1977 with Liza Minnelli et robert de niro, on a screenplay written by Earl Mac Rauch, was the inspiration for this work, which has kept the basic idea but also gives it a different and new meaning. The result is a love story set against a backdrop of New York City and the ethnic multiplicity of its neighborhoods in the years 1946–47.
Jimmy Doyle, a young musician looking for a job, meets on the street a young black woman, Francine Evans, who has just arrived and is looking for an apartment. Jimmy takes her to a building near the one where he lives, run by Madame Veltri, a music teacher. Gradually, Jimmy, who lives alone, and Francine grow closer until Jimmy proposes to marry him. She accepts and becomes his wife, slightly exceptional for the time due to their skin colors, but this is New York after all.…
Meanwhile Jimmy struggles to find work, and the only opportunities open to him don’t last long as his increasingly violent nature towards others causes him to lose those jobs. For her part, Francine is selected for a radio show where she is noticed by a show producer who offers her a small role in a musical that will open on Broadway.
Increasingly, the differences between Francine and Jimmy cause a cold between them, especially as Jimmy tries to drown his uncertainties in alcohol. Francine on her side becomes a noted singer under the tutelage of Gordon, the producer, who intends to take her on a tour to satisfy his own interests which are not artistic towards her. Francine reacts to this proposal by giving him a punch. And back home, she breaks up with Jimmy.
The latter then decides to seize the only proposal that will allow him to get out of this rut, and with the help of two musicians of his friends, Jesse and Mateo, a trumpet player and a Cuban drummer, he forms a small musical group which produced in a local cafe. Little by little, success enabled him to expand his group and attract consumers to the café, to the delight of the boss, who transformed his establishment into a club. Francine, who has chosen to leave New York, comes to see Jimmy one last time and is asked to sing a song celebrating the city. It will be “New York, New York” and the return to living together with Jimmy.
Very interestingly in the course of this action, there is rarely any mention of the racial differences that exist between the characters, which gives New York at the time an idea of ethnic balance in certain circles. The same goes for the Afro-Cuban characters who are now included in the narrative, no doubt thanks to Lin-Manuel Miranda, and whose musical and other interventions are an integral part of the action. Not to be outdone, there is also talk of a young Asian, recently arrived in the city, who is trying to learn to play the violin under the tutelage of Madame Veltri. And it’s remarkable to note that all of these actors are (or give the impression of being) accomplished musicians.
Adding further interesting and frequently captivating accents, the staging and above all the luminous choreography of Susan Stroman gives a large contingent of actors, singers and dancers an opportunity to demonstrate their talents in very well-conceived ballets, whether they are used to embellish certain scenes or more simply to serve as hyphens between them. For example an evocative “New York In The Rain”. A tap number with workers perched on steel supports used for the construction of a building, is one of the key moments of this show. Equally appealing is “San Juan Supper Club”, a ballet set to Cuban rhythms
Kander and Ebb’s vibrant score, punctuated here and there with Afro-Cuban accents, is a series of hit songs, and instrumental moments for the ballets, which rest on romantic accents when the occasion lends itself to it, and accents of swing and exotic jazz, which reflect the multiplicity of musical genres that can be heard in the city.
In the role of Jimmy, Colton Ryan, a remarkable multi-instrumentalist, actor, singer and dancer portrays an ambiguous character in search of himself; at her side during the performance, Vanessa Sears in the guise of Francine Evans (replacing Anna Uzele, holding the role) proved to be a vocalist of the first choice, and in particular in her solos including, of course, ” New York, New York”.
Among the other actors who particularly stand out in this large ensemble (more than 37 performers), it is also worth noting the presence of Darius Wright replacing John Clay III in the role of Jesse Webb, trumpet player; Angel Sigala (Mateo Diaz), a drummer experienced in Afro-Cuban rhythms, Clyde Alves (Tommy Caggiano, close friend of Jimmy), Janet Dacal (Sofia Diaz), Ben Davis (Gordon, the producer) and Emily Skinner (Madame Veltri).
On a technical level, the realistic sets of Beowulf Boritt (also responsible for projections with Christopher Ash) give a real vision of everyday New York both then and now, and particularly of the suburbs far from the center of the city. This vision, glaringly true, is made even more realistic in the lighting produced by Ken Billingtonincluding a vibrant sunset across a street running from west to east, while the costumes of Donna Zakowska give actors and especially actresses often shimmering looks.
Broadway creators, libretto writers, composers and lyricists have frequently brought honor to New York City. We immediately think of works that have held the poster as On The Town by Leonard Bernstein and Comden and Green, whose action also takes place at the same time, In The Heights from Miranda, Seesaw by Cy Coleman, and of course West Side Storymore New York, New York also benefits from a major advantage – the title song, performed by Liza Minnelli in the film, a huge success for Frank Sinatra, and covered by many other performers, has become a symbol of what the city of New York represents to the eyes of city dwellers and visitors. This is ultimately what holds the most attention in this extraordinary work for which the song serves as the final curtain.
– Advertisement –
2023-05-05 16:06:19
#York #York #Backstage
