New York, New York. So nice they had to name it twice

      I was fairly confident that any show called New York, New York would be right up my alley and I was right.  The new Kander and Ebb musical (with additional lyrics by Lin-Manuel Miranda) at the St. James Theatre is a buoyant celebration of the place that became my city of destination at 11 and my home since 1985.  I have been called the personification of the old I Love New York poster and I accept that characterization proudly.

     This musical, directed and choreographed by Susan Stroman and inspired by the MGM movie of the same name, doesn’t break any new ground.  Written by David Thompson and Sharon Washington, it is set in 1947 and delightfully retells the story that’s as old as the city —young people, fueled by ambition and dreams, knowing there is nowhere else on earth they want to be.  In this case the seekers are a hot-headed Irish musician, Jimmy Doyle (Colton Ryan), who drinks too much (stereotype?), a Black singer from Philadelphia, Francine Evans (Anna Uzele), a Black trumpet-playing soldier, Jesse Webb (John Clay III), and Mateo Diaz (Angel Sigala), a drummer just arrived from Cuba with his mother (Janet Dacal).  Are they going to achieve their dreams?  Of course.  The fun is watching them get there.  As Jesse says, “Everybody in New York wants to do something you can’t do anywhere else.”

     Which is not to say the show couldn’t be better.  The first act, at 90 minutes, is too long.  It’s patchy and uneven, and doesn’t seem to fit with the second act, in which the plots are developed.  Act One feels repetitive as we hear in numerous ways how nothing is going to stop these young people from making it in New York.  The show runs nearly three hours.  I would cut it to two hours with no intermission.

     Donna Zakowska’s colorful period costumes are delightful and downright gorgeous for the gowns Francine wears once she becomes a hit radio singer.  Scenic designer Beowulf Boritt’s sets and projections, along with Christopher Ash, convey the romance of the city in those hopeful, post-war years, and the energy, with all those neon signs glowing bright.  The scene in Central Park at night with the ground covered in snow and more falling softly is New York at its loveliest. 

     The dance numbers are energetic.  I particularly liked the construction workers tapping on a beam high above the city.  It recalls that famous photo of workers eating their lunch with their feet dangling in the air.  That photo appears as a projection as the first act ends. 

     All of the principals are strong but Uzele stands out.  She uses her voice beautifully rather than to be yet another one of those tedious Broadway belters.  Her bio lists two Broadway credits, Six and Once on This Island.  She will have many more.  She is the star of every scene in which she appears and her story interested me the most — her climb up the ladder of success, intertwined with her romance with and then marriage to Jimmy, her stardom and eventual realization of the price she needs to pay to keep it, which includes her marriage, and how she resolves all for the show’s dazzling final number.  

     Wearing a luscious form-fitting gown for a night club appearance, she starts to sing as the show’s orchestra unexpectedly rises from the unseen pit to extend the stage in front of her.  My spirits soared as I heard those first notes of that title song we all know so well.  As she began to sing the audience also rose and Uzele beckoned us to join in.  She needn’t have bothered.  Nothing could have stopped us.  For that time we were all — natives, transplants and tourists — one big personification of the I Love New York poster, singing our hearts out about the greatest city on the face of the earth.