NEW YORK, NEW YORK On Broadway - Reviews Thread- Page 18

[bwayphreak234]

Posted: 4/14/23 at 10:59am

Well they pretty much blew that GMA performance out of the water... they showcased a lot of Colton Ryan (who has no charisma whatsoever IMO) singing "Music, Money, Love" then a super abbreviated version of Anna Uzele singing the title song... not the smartest move. Should have been the other way around (or just do the title number).

 

[quizking101]

Posted: 4/14/23 at 11:29am

Fordham2015 said: "quizking101 said: "Also, is there any show this season that doesn’t have an unnecessarily bloated first act?"

Kimberly Akimbo

"

This is true. I saw KA back in October so my memory wasn't exactly as fresh.

[JSquared2]

Posted: 4/14/23 at 11:52am

Did this show go through any developmental work? I know they didn't do an OOT tryout -- but did they even workshop it in NYC (like Some Like it Hot did?)  How could the creative team not see how completely wrong and lacking in charisma these 2 "leads" are -- ESPECIALLY Colton Ryan?  

[EDSOSLO858]

Posted: 4/14/23 at 12:28pm

What sticks out in that GMA performance is that Ryan seems to be playing a more disillusioned version of Corey Cott in Bandstand. If he’s really playing piano, that’s impressive. 
 

Updated On: 4/14/23 at 12:28 PM

[perfectpenguin]

Posted: 4/14/23 at 12:33pm

A week later, I’m still loving But The World Goes Round and New York, New York. The show otherwise isn’t memorable. 

[EAPEAPMO]

Posted: 4/14/23 at 12:33pm

I'd pretty much just view it like Reeve Carney in Hadestown, there's definitely a cohort that absolutely loves Colton Ryan and there's a cohort that thinks he's not great. I'm not a huge fan of Colton Ryan myself, but I have a few friends that are so I get it. I personally really really liked Reeve Carney and have a friend that hated him enough to leave Hadestown during the show... different strokes I guess.

As for the hot/cold sentiment, it seems like the majority of people who see the show like it quite a lot because it's a fun big musical. Then there's the virtiol posted online which is basically the same "worst show of all time" laughable review reposted in slightly different variations. The best part is when it criticizes elements that any objective observer would admit are great (like the poster criticising the set as cheap, when this show will almost assuredly win set design?)... while at the same time as praising Kimberly Akimbo... not that that's unique to this show, pretty much every show has to deal with someone posting about KA being 'the best show of all time,' despite their inability to pass $500k in gross ticket sales... like someone else said earlier in the thread, seems right out of the Rudin playbook! Just go back to page 16-17 when almost the exact same awful review was posted and they tried to claim 'famous people' were walking out during the show, and then the poster disappeared. It's almost impressive how many times the almost exact same review can be posted across different forums by different accounts.

 

[bdn223]

Posted: 4/14/23 at 12:54pm

EAPEAPMO said: "I'd pretty much just view it like Reeve Carney in Hadestown, there's definitely a cohort that absolutely loves Colton Ryan and there's a cohort that thinks he's not great. I'm not a huge fan of Colton Ryan myself, but I have a few friends that are so I get it. I personally really really liked Reeve Carney and have a friend that hated him enough to leave Hadestown during the show... different strokes I guess.

As for the hot/cold sentiment, it seems like the majority of people who see the show like it quite a lot because it's a fun big musical. Then there's the virtiol posted online which is basically the same "worst show of all time" laughable review reposted in slightly different variations. The best part is when it criticizes elements that any objective observer would admit are great (like the poster criticising the set as cheap, when this show will almost assuredly win set design?)... while at the same time as praising Kimberly Akimbo... not that that's unique to this show, pretty much every show has to deal with someone posting about KA being 'the best show of all time,' despite their inability to pass $500k in gross ticket sales... like someone else said earlier in the thread, seems right out of the Rudin playbook! Just go back to page 16-17 when almost the exact same awful review was posted and they tried to claim 'famous people' were walking out during the show, and then the poster disappeared. It's almost impressive how many times the almost exact same review can be posted across different forums by different accounts.

"

Having not seen the show, but knowing several who have, those who say it early on in previews that loved it openly acknowledged it needed work, but assumed that would be done during the preview process. At this point those many are pointing to the same issues with the shows runtime especially in the first act, which still don't seem to be ironed out. I can't tell you the number of people I have talked to that have said the show needs to cut a plot line or two as they heavily weigh down the first act. Clearly this hasn't been done because I am assuming they don't want to/can't because this is not an out of town tryout and will have to buy someone out of their contract if they fire them or downgrade their role from principle to featured ensemble. Note everyone who I know who has seen it raves about its second act, they just kept pointing to the same problems in the first act with too many characters with little emotional ties to the audience. 

At this point I am going to assume its going to open to mixed to positive reviews along the lines of & Juliet and Shucked. But from what I am hearing from those who have seen it multiple times at this point it is clear that if they were able to have an out of town tryout where they were able to actually cut and develop characters based on performances and have revisions not being limited because of the shows impressive technical elements the show could of gone from a solid B to an A+ all around smash. 

Updated On: 4/14/23 at 12:54 PM

[Jarethan]

Posted: 4/14/23 at 12:55pm

EAPEAPMO said: "I'd pretty much just view it like Reeve Carney in Hadestown, there's definitely a cohort that absolutely loves Colton Ryan and there's a cohort that thinks he's not great. I'm not a huge fan of Colton Ryan myself, but I have a few friends that are so I get it. I personally really really liked Reeve Carney and have a friend that hated him enough to leave Hadestown during the show... different strokes I guess.

As for the hot/cold sentiment, it seems like the majority of people who see the show like it quite a lot because it's a fun big musical. Then there's the virtiol posted online which is basically the same "worst show of all time" laughable review reposted in slightly different variations. The best part is when it criticizes elements that any objective observer would admit are great (like the poster criticising the set as cheap, when this show will almost assuredly win set design?)... while at the same time as praising Kimberly Akimbo... not that that's unique to this show, pretty much every show has to deal with someone posting about KA being 'the best show of all time,' despite their inability to pass $500k in gross ticket sales... like someone else said earlier in the thread, seems right out of the Rudin playbook! Just go back to page 16-17 when almost the exact same awful review was posted and they tried to claim 'famous people' were walking out during the show, and then the poster disappeared. It's almost impressive how many times the almost exact same review can be posted across different forums by different accounts.

I actually thought of Donald Trump with that hyperbole about famous folks walking out it it.  I was wondering whether they were the people who cried at his arraignment.

[Kad]

Posted: 4/14/23 at 1:06pm

EAPEAPMO said: "I'd pretty much just view it like Reeve Carney in Hadestown, there's definitely a cohort that absolutely loves Colton Ryan and there's a cohort that thinks he's not great. I'm not a huge fan of Colton Ryan myself, but I have a few friends that are so I get it. I personally really really liked Reeve Carney and have a friend that hated him enough to leave Hadestown during the show... different strokes I guess.

As for the hot/cold sentiment, it seems like the majority of people who see the show like it quite a lot because it's a fun big musical. Then there's the virtiol posted online which is basically the same "worst show of all time" laughable review reposted in slightly different variations. The best part is when it criticizes elements that any objective observer would admit are great (like the poster criticising the set as cheap, when this show will almost assuredly win set design?)... while at the same time as praising Kimberly Akimbo... not that that's unique to this show, pretty much every show has to deal with someone posting about KA being 'the best show of all time,' despite their inability to pass $500k in gross ticket sales... like someone else said earlier in the thread, seems right out of the Rudin playbook! Just go back to page 16-17 when almost the exact same awful review was posted and they tried to claim 'famous people' were walking out during the show, and then the poster disappeared. It's almost impressive how many times the almost exact same review can be posted across different forums by different accounts.

"

Questioning the credibility, motives, and authenticity of other posters is a weird move for somebody who only joined this board a month ago and has posted nearly exclusively in defense (with increasing smears on KA) of this single show. 

Updated On: 4/14/23 at 01:06 PM

[EAPEAPMO]

Posted: 4/14/23 at 1:15pm

I only mentioned KA in response to the posters just now talking about KA... so I'm not sure what you want there! I thought the show was fine, but I'm tired of hearing about it in other show threads.

But yeah, back to the discussion, they could have cut a character and strengthened it probably. I saw the first preview and it was quite long. My sister saw it on the 11th and I asked her when she got out and said 10:50, so I have to imagine something got cut. I'll see it again when it's locked and it'll be fun to see what changed. I noticed in the GMA they changed the lyrics to music money love slightly, which is interesting. Changes the meaning of the song a bit. 

 

 

 

Updated On: 4/14/23 at 01:15 PM

[RUkiddingme]

Posted: 4/14/23 at 3:41pm

I wonder how many tickets that GMA performance sold?

It's under 10 so shouldn't be too hard to figure out.

[Someone in a Tree2]

Posted: 4/14/23 at 5:28pm

Having loved the show when we saw it this past Easter weekend, I’ll push back a little on the need to cut a plotline or two from Act I. I thought each subplot was fine to include, but it was the world-building scenes  that made Act 1 so great for me: the skyscraper tap dance, the Rain ballet, the overall choreo-movement carrying us along. For once I didn’t care if plot A or plot B excited me: the production as a whole kept me rapt. I’d say go see this with no preconceptions— let the theater wizards do their magic and see if you aren’t cheering by the finale. 

[WillyTheSalesman]

Posted: 4/14/23 at 5:42pm

The above note totally summarizes my feelings on NYNY.

Updated On: 4/14/23 at 05:42 PM

[dougs9797]

Posted: 4/14/23 at 7:30pm

WHO are the people who post here? I seriously would like these musical theatre experts to list their credits before attacking these shows. I suspect most are waiting tables at Juniors or teaching musical theatre at a community college somewhere in Florida Bitter bitter bitter. 

It's big old fashioned and a probably over produced. But when I pay NY prices to see a Broadway I appreciate a lavish production. 

Yes there are three story lines. But it's clear the love story is the main one. And it moves along with incredible singing and choreography. I had no trouble following all three. 

My favorite complaint has to be that Colton Ryan didnt't try to blow the roof of the house on "It's a Quiet Thing" The gaul! 

[perfectpenguin]

Posted: 4/14/23 at 7:41pm

Four. There’s four storylines. 

-Francine & Jimmy 

-Mann audition 

-Mateo Diaz

-Jesse Webb

The people who post here are theatre goers from all walks of life. No one has said anyone here’s an expert. We’re sharing our thoughts, feelings, likes, dislikes about these shows… just like you did.

Updated On: 4/14/23 at 07:41 PM

[Scarlet Leigh]

Posted: 4/14/23 at 7:58pm

Welp I never before understood people that would leave a show at intermission before. In the almost 30 years I have been going to Broadway shows, I have never had that feeling before.... but I get it now. I really get being so bored to near tears by intermission that you would rather be anywhere but where you were in that moment. This show gave me that feeling for the first time ever. Dare I say it, I found myself wishing I was back at Bad Cinderella because at least I was having SOME fun there.

Still, I would never leave a show because it can always turn around and yeah, act two here is SIGNIFICANTLY better. Yet I still don't think it was enough to save or forgive act one. Just absolute overloaded with subplots, nearly humorless, a criminal waste of so much talent on secondary roles the that stage. 

Anna is performing her heart out on that and easily runs away with your heart and devotion. I was unsure on my pick for the 5th leading actress slot but hands down she should get it. Her voice is a powerhouse, her character is fun and likeable and the whole mood of the show is instantly lifted whenever she is on stage and then it's like the floor dropping out from under your feet whenever she goes and we are left with one of the handful of subplots. And I WANTED to care more about the subplots, well MOST of them at least, but there is just one to many taking up time. The Violinist plot is a waste of time that could be spent either fleshing out one of the other subplot more or allowing us time to SEE Jimmy and Francine's relationship blossom more in real time rather than over a number of time skips were we jump from zero to fifty at a breakneck speed in the relationship.

I won the lotto for this so I was in seats that were close and to the side and it real showed off how sloppy things are in the wings. Because the curtains kept on moving around and I was constantly finding myself look at stage hands waiting around in the wings to move something or and actor waiting to make an entrance. And the blue tint of their work lights just kept on pulling my attention. Yeah, when the show is so boring that a flash of blue light is enough to pull attention, you might have a problem.

I would not call this show bad. I would however call it one of the most just plain mediocre things I have ever seen. At least if it was bad, I might feel some kind of emotion about it but it leaves so little of an impression I struggled to even talk about it on the ride home with my friend I went with.
 

[Someone in a Tree2]

Posted: 4/15/23 at 11:33am

Sorry to hear you were so bored. For myself, had I been in a side seat, I would have been fascinated to see the workings in the wings— you actually got a peek into how the magic onstage is made. But clearly different strokes for different folks, I guess. 

[MayAudraBlessYou2]

Posted: 4/15/23 at 11:53am

This has got to be the biggest disappointment of the season for me. Really don't understand how creatives of this pedigree came up with this. The musical wants to be too many things.

One one hand, it yearns to be a "slice of life" series of vignettes with multiple characters/plots, to show you the people who make up this city. But those characters are SO thinly sketched and we spend such few time with many of them, and their story is basically "I want to make it" (whatever that means to them) that there is no way to latch on to any of the characters in a real way. 

On the other hand, the musical wants to be a classic love story between Ryan and Uzele. But they have no chemistry together, the romance is bizarrely charted (their first kiss happens so fast within a transition and isn't even the focus of the scene). So I didnt care about this story either. Also, the centralizing of these characters takes away from the side characters...which hurts the above stated secondary goal of being a series of New York vignettes.

Really bizarre script choices too. Some super clunky dialogue. They try to make the story about EVERY issue...from war to love to addiction to just everything. But none of those are fully explored. And one character chooses to stay in New York because of (I kid you not) ... Manhattanhenge???? I mean. Mama what is happening. Can I get some character development up in here instead?

The musical is also just so BUSY. There's a million things happening so your eyes cant focus, so many unnecessary dance transitions that are confusing and/or take up too much time/momentum and/or feature snowballs that bounce across the ground and/or feature ensemble members dressed as statues for literally no reason (I LOLd at both).

I thought the set was gorgeous. There are some cool lighting effects. The tap number on the skyscraper is great and should be their Tony performance (if they can get that set in there...dunno).

Colton Ryan is a fascinating performer to watch. Gorgeous voice and I want to see him in a different period musical where he gets to play with better material. Anna Uzele has a dynamite voice and probably the best number of the whole thing with The World Goes Round, but otherwise she doesn't have many defining character traits because all the writers gave her was "singer who wants to make it!"

This is a great example of why musicals often need years and years of development to reach their final form on Broadway. Maybe New York New York COULD be a competent musical if they really were willing to investigate what story they wanted to tell and cut material in order to tell it. But this just isn't it. 

[Scarlet Leigh]

Posted: 4/15/23 at 6:45pm

Someone in a Tree2 said: "Sorry to hear you were so bored. For myself, had I been in a side seat, I would have been fascinated to see the workings in the wings— you actually got a peek into how the magic onstage is made. But clearly different strokes for different folks, I guess."

I love tech stuff and if something interesting was going on in the wings, that would be one thing. I had a similar view into the wings when I won the lotto for Shucked but a totally different experience because Shucked covers movement in their wings with sliding doors that only open and close for set or performer entrance then close back up again. It does not remain open during long periods of time you you are not just staring at a stage manager sitting in the wing the whole show Here though it looked less like a choice and more like a mistake. It was like they forgot to weight the bottoms the masking curtains and as such they just move all over the place with the slightest movement near them so it's just techies and performers (out of character) walking around.  

[PipingHotPiccolo]

Posted: 4/16/23 at 1:21am

I'm trying to imagine the meeting at which Stroman and whoever else came up with this show.

"We'll do an ode to NYC, we need it post-pandemic, and Stro can choreograph some showstoppers, and we'll get the Kander/Ebb catalogue, and we'll throw millions into a lavish, gorgeous, old school set, and an actor with lungs of steel to belt out that famous song!"  And no one said "ok but what about the story?"  And no one said "ok but who can we hire to write some jokes?"

So there's no story. Not a single ounce--not the teeniest drop-- of dramatic tension during the entire 2hr45min slog. And this ain't no opera- there are whole swaths of "dialogue" that are simply painful to sit through. As someone noted above, Manhattanhenge plays a prominent role.  One of the leads witnesses a murder, I think? Who knows, we move on immediately. There's an out-of-nowhere 3 minutes devoted to a cleaning lady at a museum who is suddenly given a plum role in an opera, wows the audience (on stage and off), and then disappears entirely for the rest of the night. The same actress previously plays a kitchen worker who longs to be a fashion designer, but she, too, is never heard from again. There's a brief nod to the perils of alcoholism, 90 seconds spent on spousal abuse and/or macho homophobia, half a minute reminding us about the Holocaust, occasional reminders about the horrors of American racism. And hey, if you're writing an ode to NYC, sure, ya gotta cover alot of ethnic background, I get it, but the writing is so bad, so INSULTINGLY BAD, its just painful. 

And thats a shame because they've lined up an impressive cast and designed a gorgeous stage/set. I'm not an artsy/visual guy but I was consistently impressed with what they put together to evoke different pieces of NYC--the projections, the backdrops, the ever moving sets. And Stroman sets up a few really impressive moments in Act 1--the high-in-the-sky construction set drew applause when revealed, and those minutes were magical. And yes, the big finale stunt is impressive. But all of this in the service of no dramatic tension or plotline to speak of. Maddening.

Count me (and the audience tonight) in the Colton Ryan camp. Had no idea he could sing like that. His character is quirky, yes, but in a show of boring one-note characters, this is a complaint? I'd listen to him sing anything, and actually found myself wondering how he'd do in Moulin Rouge (injecting a bit of personality where Tveit didn't or couldn't). Uzele knocked her numbers out the park and fills the leading lady shoes just fine, but struggles to keep her character interesting. Hard to blame her-- no one bothered to write anything worth saying. 

Emily Skinner and Janet Dacal are criminally underused- Dacal, especially, isn't given anything to do at all, even though her character calls out for a moment to speak/sing. I was sure Skinner's Madame Veltri would get to sing a bit in Act 2 given what she goes through, but nope. That would have required a modicem of thoughtful writing/plot development, so she disappears before anything interesting can happen. John Clay gets a nice number, and makes the most of it; Oliver Prose makes a wonderful Bway debut. Great to see Jim Bortelsmann dancing and mugging all night, but when one of his silly faces gets a round of loud laughter from the audience, it reminded me that he is literally the only remotely funny person on the stage.

But all of these ingredients are just left waiting for a recipe to make us care, to move the evening fwd. But no one bothered. 

 

 

Updated On: 4/16/23 at 01:21 AM

[Dolly80]

Posted: 4/16/23 at 2:22am

PipingHotPiccolo said: "I'm trying to imagine the meeting at which Stroman and whoever else came up with this show.

"We'll do an ode to NYC, we need it post-pandemic, and Stro can choreograph some showstoppers, and we'll get the Kander/Ebb catalogue, and we'll throw millions into a lavish, gorgeous, old school set, and an actor with lungs of steel to belt out that famous song!" And no one said "ok but what about the story?" And no one said "ok but who can we hire to write some jokes?"

So there's no story. Not a single ounce--not the teeniest drop-- of dramatic tension during the entire 2hr45min slog. And this ain't no opera- there are whole swaths of "dialogue" that are simply painful to sit through. As someone noted above, Manhattanhenge plays a prominent role. One of the leads witnesses a murder, I think? Who knows, we move on immediately. There's an out-of-nowhere 3 minutes devoted to a cleaning lady at a museum who is suddenly given a plum role in an opera, wows the audience (on stage and off), and then disappears entirely for the rest of the night. The same actress previously plays a kitchen worker who longs to be a fashion designer, but she, too, is never heard from again. There's a brief nod to the perils of alcoholism, 90 seconds spent on spousal abuse and/or macho homophobia, half a minute reminding us about the Holocaust, occasional reminders about the horrors of American racism. And hey, if you're writing an ode to NYC, sure, ya gotta cover alot of ethnic background, I get it, but the writing is so bad, so INSULTINGLY BAD, its just painful.

And thats a shame because they've lined up an impressive cast and designed a gorgeous stage/set. I'm not an artsy/visual guy but I was consistently impressed with what they put together to evoke different pieces of NYC--the projections, the backdrops, the ever moving sets. And Stroman sets up a few really impressive moments in Act 1--the high-in-the-sky construction set drew applause when revealed, and those minutes were magical. And yes, the big finale stunt is impressive. But all of this in the service of no dramatic tension or plotline to speak of. Maddening.

Count me (and the audience tonight) in the Colton Ryan camp. Had no idea he could sing like that. His character is quirky, yes, but in a show of boring one-note characters, this is a complaint? I'd listen to him sing anything, and actually found myself wondering how he'd do in Moulin Rouge (injecting a bit of personality where Tveit didn't or couldn't). Uzele knocked her numbers out the park and fills the leading lady shoes just fine, but struggles to keep her character interesting. Hard to blame her-- no one bothered to write anything worth saying.

Emily Skinner and Janet Dacal are criminally underused- Dacal, especially, isn't given anything to do at all, even though her character calls out for a moment to speak/sing. I was sure Skinner's Madame Veltri would get to sing a bit in Act 2 given what she goes through, but nope. That would have required a modicem of thoughtful writing/plot development, so she disappears before anything interesting can happen. John Clay gets a nice number, and makes the most of it; Oliver Prose makes a wonderful Bway debut. Great to see Jim Bortelsmann dancing and mugging all night, but when one of his silly faces gets a round of loud laughter from the audience, it reminded me that he is literally the only remotely funny person on the stage.

But all of these ingredients are just left waiting for a recipe to make us care, to move the evening fwd. But no one bothered.



"
this is a great review

 

[Leaf Coneybear]

Posted: 4/16/23 at 7:54am

Add me to the disappointed group. 

Saw this last night and was pumped to see a musical’s musical, but god. Some of the script is just…. terrible. There wasn’t a single joke or like throughout the entire show that had me smile or chuckle (other than “there’s a man at the door I don’t think he’s your brother!&rdquo. My friend put it best when she said it was like an AI-generated book. Every single line seemed so cliche and almost taken directly from another musical throughout the last 100 years. 

The book aside, the plot, as everyone has discussed, is inflated. There’s like 5 different things going on and I care about absolutely none of them! We don’t get to spend enough time with either the main couple or any of the other characters to make me really invested in the story. 

To add to the fact that I don’t care a single bit about the main couple since I know nothing about them and we never see their relationship develop, this was so predictable. Everything about the violin plot made me roll my eyes.

The show is also trying to tackle SOOOO many issues. This is something a lot of newer shows do, not wanting to leave out anything that are rightly important to history and people in the audience. But there was just a lot: Anti-Black racism, homophobia, post WW11 America and the loss of soldiers, etc. It came off as very surface level for all of these since there’s no time to explore any of them. 

I don’t mean to be too harsh, but my friend said she felt like she was waiting for the painful dialogue to end and the dancing and singing to start, and I’m inclined to agree with her. This was basically Bandstand but much more scattered. 

I loved the vignettes and smaller scenes in between the main plots, definitely my favorite part. I feel like I could have watched 3 hours of just that. Obvi the set was amazing! Super cool to see.

And some smaller gripes. I could be overthinking it (I know I am) but the constant references to how anti-racist NYC was just rubbed me the wrong way.  I understand that no one’s saying the city’s perfect (and the show does portray that) but it really came off, to me, as showing the city as a haven and morally superior to other cities when in reality  of course there was some more racial harmony in the city but far from perfect. Again, I know I’m overthinking it I just really felt it was odd.

Finally, let’s talk about the cheap audience “time to clap!” lines. From the opening scene (“I ****ing love this city!&rdquo to the end there were sooo many lines that clearly were shoved in just to have the audience cheer even though they weren’t well written or needed in the show. I can think of any more off the top of my head, but every time they came around I willed the audience to keep quiet so we could just get on with the scene. Same thing with the anti-Jersey jokes. So many of them. Maybe funny the first time but they lay it on so thick for a joke that wasn’t that good in the first place.

Not a critique of the show itself, but the couple next to me also totally hindered my enjoyment. I knew it would be rough when the woman started singing along to the title song as the curtain came up but luckily she stopped. Her husband continued to talk to her in full volume, getting louder as the music did as if it was in his way from having a conversation. Kept going probably every 5 minutes for the entire show. So may e my review is because I’m grumpy lol  


 Between this and SLIH, the latter absolutely takes the cake. I found myself laughing and truly taken in by the characters in a way that NYNY could not. 
 



 

Updated On: 4/16/23 at 07:54 AM

[MayAudraBlessYou2]

Posted: 4/16/23 at 9:13am

PipingHotPiccolo and Leaf Coneybear you are spot on. A couple days removed from this show and I simply cannot stop thinking about just how BAD this was. To the point where I think the Tony nominators should band together and demand that they only need to vote on 4 Best Musical slots this year. There are clearly 4 musicals that are heads and tales above the rest this season and actually deserve a nomination. And then that 5th slot...is going to be THIS??? Just because of the resumes of the creatives? If they decide to go for something else its either Bad Cinderella, A Beautiful Noise, KPOP, Almost Famous...not great options. 

Just a couple days later and I can't even remember what songs were in this outside of the title song, The World Goes Round, Cheering for Me Now, and Quiet Thing. I know Emily Skinner sang something, but no idea what it was now. I know the other side characters sang things...no idea what. I know I enjoyed the tap number on the steel beams...no idea what song it was though. I can only really remember all the ridiculous dance transitions that were nonsensical. The murder Uzele witnesses (which is needed in order for her to get...Chinese food??), the ensemble members dressed as statues out of nowhere, the unnecessary trip to Central Park (I guess they wanted to include EVERY famous NY location??). And to think of the money they must have spent on such a massive endeavor. Mind boggling.

 

[BJR]

Posted: 4/16/23 at 9:19am

This was not only in development pre-pandemic, but it was in the middle of a workshop when the shutdown happened.

[PipingHotPiccolo]

Posted: 4/16/23 at 1:47pm

Leaf Coneybear said: " Saw this last night and was pumped to see a musical’s musical, but god. Some of the script is just…. terrible. There wasn’t a single joke or like throughout the entire show that had me smile or chuckle (other than “there’s a man at the door I don’t think he’s your brother!&rdquo

. My friend put it best when she said it was like an AI-generated book. Every single line seemed so cliche and almost taken directly from another musical throughout the last 100 years.

The show is also trying to tackle SOOOO many issues. This is something a lot of newer shows do, not wanting to leave out anything that are rightly important to history and people in the audience. But there was just a lot: Anti-Black racism, homophobia, post WW11 America and the loss of soldiers, etc. It came off as very surface level for all of these since there’s no time to explore any of them.

And some smaller gripes. I could be overthinking it (I know I am) but the constant references to how anti-racist NYC was just rubbed me the wrong way. I understand that no one’s saying the city’s perfect (and the show does portray that) but it really came off, to me, as showing the city as a haven and morally superior to other cities when in reality of course there was some more racial harmony in the city but far from perfect. Again, I know I’m overthinking it I just really felt it was odd.

Not a critique of the show itself, but the couple next to me also totally hindered my enjoyment. I knew it would be rough when the woman started singing along to the title song as the curtain came up but luckily she stopped. Her husband continued to talk to her in full volume, getting louder as the music did as if it was in his way from having a conversation. Kept going probably every 5 minutes for the entire show. So may e my review is because I’m grumpy lol


Between this and SLIH, the latter absolutely takes the cake. I found myself laughing and truly taken in by the characters in a way that NYNY could not.
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Were you sitting in Rear Orch right? If not, there was another couple behind me in Row O doing the same thing. And yes, thanks for reminding me: Colton Ryan had that one laugh-out-loud line at the end of Act 1, and Uzele had one funny line about being in the ocean. Thats it. Full stop. And I'm coming down hard here because its so clear to me that this team spent the cash on everything BUT a writer. Insulting is the only word for it. (The digs at NJ made my blood boil in their stupidity and laziness). 

I don't have a problem with different random storylines. I can accept that no one wanted to bother having them intersect in any interesting way---but then don't? Instead, they half-ass it. Same goes for addressing "issues"-- I can't decide what is worse, touching on 6 different Issues spread around to 6 different characters/storylines, or loading 6 different Issues onto the same family unit, ala Jagged Little Pill? I guess at least in the latter they sang/emoted/addressed the Issues? I'm still gobsmacked that Skinner never sang about her son, that the violinist was given 30 seconds to address his trauma, that Dacal was given none at all. 

With the drubbing Aaron Sorkin took this week, this show screams out in rebuttal "Maybe Camelot missed, but they tried to tell you a story, and paid a guy to write one."