NEW YORK, NEW YORK On Broadway - Reviews Thread- Page 21

[Theaterlover83]

Posted: 4/22/23 at 9:06am

perfectpenguin said: "Theaterlover83 said: "Hey all, I want note that it’s very close to tony nomination season. A sad tactic a lot of these producers use is to infiltrate these sites and attack competitor shows. A big sign that that’s what’s happening here is that there was an attack and hate campaign before anyone really saw the show. Who would do that? Competitor producers. I saw this happen a lot in the past.


The show is good . there’s nothing about it that would equal the amount of hate on this board. it’s not a polarizing show. And the crowd is the most engaged I’ve seen in a show in a very long time

message to weird competitive producers: GET A LIFE!
"

Yikes. Ok. People are allowed to have opinions and critique the show. Some loved it, some hated it, some are in the middle. Trust me, no one’s going to take time to purposefully bash a show. Plus, what is said on these boards does not influence Tony nominations. Highly doubt the committee goes “let’s nominate based on what BroadwayWorld message board users think..”"


My quote didn’t come through. I quoted someone who said they were confused by negative comments who seemed to hate the show before it was even open for previews. 
 

it’s a long story to describe. I’ve worked behind the scenes on  Broadway for years. Yes, it is unfortunately common practice to try to dissuade public opinion from competitor shows 

[The Other One]

Posted: 4/22/23 at 9:21am

I've just read a few of these comments and have not seen the show, but respect should be paid to creatives who are adapting what is essentially a flop film with good pedigree to try to make it finally work for the theatre.  They have their work cut out for them but they are among the savviest people out there and I am rooting for them.

[BJR]

Posted: 4/22/23 at 9:35am

There's a fantastic show in there, but it needed an out of town.

I didn't so much mind all the stories, but it's that they don't all land. Works in theory, but I agree, could be essentially one scene for each and I'd be fine.

Stunning design, absolutely stunning. I expect design nods for sure and possibly a win for Scenic.

I get that Colton's affectation is divisive. I found it interesting, except for moments when I think it gets in the way of diction and storytelling, like his Major Chord number. But it's a beguiling performance that has the most range of anything in the show.

Emily Skinner is stellar and yes, underutilized. I'll say it, wish her song was stronger.

Didn't care for Anna. Great voice, no doubt. But in a weirdly underwritten role, she doesn't bring much other than sass and pluck. Adrienne Warren workshopped this and imagining that kind of presence in the role, I think it's clear this needs that level of charisma.

Definitely not a bad show. Much to admire. But heavily in need of focusing. Cut that Light number.

[musikman]

Posted: 4/22/23 at 9:37am

Caught the show earlier this week.  It’s a tale of two audiences for this one (maybe some spoilers)

Judging by the woman next to me who fell asleep constantly throughout act 1, the women next to her who couldn’t stop snickering at a particular actor’s vocals and the throng of teenagers in the rows in front of me going absolutely wild, it was an interesting experience to say the least.

Here’s the good: the sets and projections are beautiful, as is the lighting. The orchestra and orchestrations are fantastic.  Large ensemble is super talented and does well with what they’re given.  Anna Uzele’s singing is terrific.  Everything looks polished and slick.

The just fine/Ok: the overall performances from the lead and supporting players (no one is weak, but no one truly stands out either).  The new songs written for the show (there’s a huge discrepancy in quality between those and “world goes round,” and the tittle song). Most of the choreography (SO much more could have been down with the scaffold number, or any other numbers)
 

Here’s the bad/yikes:  the book.  The absolutely random scenes that just pop up out of nowhere for seemingly no other reason than “it’s NEW YORK! So many random things and happenings going on all the time.”  It reminded me of the Rhapsody in Blue section of Fantasia 2000, without the charm.  The lack of narrative focus or urgency, or continuity.  Half of Colton Ryan’s singing (who decided to give him that arrangement and key for A quiet thing?!).  Manhattanhenge is the reason why our heroine decides to stay in NYC (lol)?  The random opera singer tangent ? The person who gets shot? The closing number which - while exciting - completely comes out of nowhere dramatically and feels shoehorned in.  The length (this could have been cut down by at least an hour). 
 

Anyway, to me, as a whole it just suffered from bland mediocrity. It wasn’t bad enough to be campy bad**** and it wasn’t good enough to really appreciate.   I think cutting down all the extraneous characters and plots and just focusing on Frankie and Jimmy would have served the show so much better and at least kept my interest.  Instead we just get a sparknotes version of their story.   There’s definitely the potential for a crowd pleasing show in here.  I just think they got bogged down in trying to do too many things.

**** I did have to mention the “don’t swing or you’ll miss!” line, followed by Jimmy half-heartedly trying to throw a punch and missing because he’s drunk.  That had me in unintentional stitches.  
 

If I had to rank the new musicals I’ve seen this year, it would unfortunately be near the bottom. 

[quizking101]

Posted: 4/22/23 at 9:38am

allofmylife said: "Sadly, it's an old theater tradition. People used the travel out from the city to New Haven hoping to see a show fail.Everyone knew the type; the viperous smile going into the theater. Alan Jay Lerner used to call them "Dear SH*Ts.""

*mentally replays Elaine Stritch’s “Pal Joey” monologue*

[Robbie2]

Posted: 4/22/23 at 12:50pm

 

Click Here To Toggle Spoiler Content

 He has the best line as the Act 1 curtain falls  - STFU!

 

Click Here To Toggle Spoiler Content

 

The Other One said: "I've just read a few of these comments and have not seen the show, but respect should be paid to creatives who are adapting what is essentially a flop film with good pedigree to try to make it finally work for the theatre. They have their work cut out for them but they are among the savviest people out there and I am rooting for them."

The show has been frozen since Wednesday when we saw it and opens next week Wed 4/26... it's now in the eyes of the critics.

Jim Borstelmann is the funniest and plays the most alive characters in the show. He's the sole standout. I was always watching him as he was the most entertaining. He has the best line as the Act 1 curtain falls -  Choreography is nonstop and overstaged if too busy though Stro has creative and fantastic rapid changeups in dance styles which are exciting but was expecting more especially from the finale - NY, NY, it's a mini wow moment but Anna Uzele's rendition is not powerful or impressive as Liza's and just ends. She should have staged an additional reprise with the entire cast dressed in white or black gowns and tuxes as that's the flashy showstopper I was expecting!  Anyway, all around show needs major editing of scenes trimmed (at least 20-25 min. could easily be cut). Also, overheard during intermission and after (almost 3 hours - 10:50PM) it's too damn long. It is!  Book is a terrible mess-plot is more vignettes than a narrative structure and terribly lacks character development. Get rid off or trim down: New York Summer, Better Than Before - sorry Emily Skinner (btw, she's wasted and actually forgot she was in this then realized it's her), New York in the Rain, New York in the Snow, New York Concerto and Light-Manhattanhenge the lighting is breathtaking but unecessary. Visually beautiful stage pictures - gorgeous lighting and an impressive set. Colton Ryan is fine, nothing special except for his celebratory moment in Music, Money, Love - one of the best new songs written for the show. Orchestrations are big, brassy and dynamic! Anna Uzele sings it but lacks charm and depth and both really don't seem like they are in Love more like friends. These roles need a star presence to shine as both are lacking that star quality. Calling ...Mike Faist & Adrienne Warren as Jimmy and Francine. Tourists will love it and flock to see it solely on the title so I anticipate a run for a while. 

Updated On: 4/23/23 at 12:50 PM

[shimmy shake]

Posted: 4/22/23 at 1:12pm

Has anyone rushed this later in the day?

[Listener]

Posted: 4/22/23 at 2:02pm

I did. I don't think you'll have trouble.

Also: I'm not trashing anything for fun or money. It's silly and insulting to claim a fair negative review was bought.

someone else asked why did they stage the show like that for the end... are you kidding me? People jump out of their seats for the ending!

That was me. The stage was bare. Big finale time...and no big dance number? Huh?? Weird. They didn't even expand the title song or anything, add a dance break, nothing. It's the thing this whole project is based around. But they do nothing inventive with it.

Also, they're giving away tickets to schools, that's why there are dozens of screaming teens. Found that out after the show.

They're trying to buy applause and word of mouth with free tickets. Kinda sad, honestly.

[ErmengardeStopSniveling]

Posted: 4/22/23 at 2:11pm

Add me to the chorus of those wishing this had gone out of town.

There's so much good stuff in here, and Stro's choreography has electrifying moments, but the book is so chaotic and most of the characters feel more like fragments than real people.

I found the 2 leads and Clyde Alves to be quite winning. Ultimately wanted a little more from Colton Ryan, but that role is so thinly written.

Above all it left me wishing for a Stroman revival of ON THE TOWN or WONDERFUL TOWN or GUYS & DOLLS as a better vehicle for showcasing bygone NYC.

[Robbie2]

Posted: 4/22/23 at 2:39pm

Listener said: "I did. I don't think you'll have trouble.

Also: I'm not trashing anything for fun or money. It's silly and insulting to claim a fair negative review was bought.

someone else asked why did they stage the show like that for the end... are you kidding me? People jump out of their seats for the ending!

That was me. The stage was bare. Big finale time...and no big dance number? Huh?? Weird. They didn't even expand the title song or anything, add a dance break, nothing. It's the thing this whole project is based around. But they do nothing inventive with it.

Also, they're giving away tickets to schools, that's why there are dozens of screaming teens. Found that out after the show.

They're trying to buy applause and word of mouth with free tickets. Kinda sad, honestly."

 

True, hundreds of school groups-teen at our performance. High energy and vocal during the whole show.

[ErmengardeStopSniveling]

Posted: 4/22/23 at 2:43pm

Comping tix to NYC DOE schools early in a run –– who might not otherwise be able to afford to see the show –– is not uncommon. It doesn't really build WOM, but it makes producers feel good and is better than going through a papering service or industry connex. Nice that the kids are getting to see it and, evidently, are enjoying it.

[Robbie2]

Posted: 4/22/23 at 2:47pm

ErmengardeStopSniveling said: "Comping tix to NYC DOE schools early in a run –– who might not otherwise be able to afford to see the show –– is not uncommon. It doesn't really build WOM, but it makes producers feel good and is better than going through a papering service or industry connex. Nice that the kids are getting to see it and, evidently, are enjoying it."

 

I agree, get those school groups in and introduce kids to Broadway!

[bdn223]

Posted: 4/22/23 at 3:20pm

Listener said: "I did. I don't think you'll have trouble.

Also: I'm not trashing anything for fun or money. It's silly and insulting to claim a fair negative review was bought.

someone else asked why did they stage the show like that for the end... are you kidding me? People jump out of their seats for the ending!

That was me. The stage was bare. Big finale time...and no big dance number? Huh?? Weird. They didn't even expand the title song or anything, add a dance break, nothing. It's the thing this whole project is based around. But they do nothing inventive with it.

Also, they're giving away tickets to schools, that's why there are dozens of screaming teens. Found that out after the show.

They're trying to buy applause and word of mouth with free tickets. Kinda sad, honestly."

Its not uncommon for shows to paper during previews and give away free tickets to help build word of mouth. Everyone is praising Shucked  for doing that, but now we are going to fault New York, New York  for doing the same thing?

Don't misunderstand me, I finally saw it on Thursday and I wholeheartedly agree with the consensus that this show needed an out of town tryout, because there are the trappings of a great show, it gets lost in the messiness of the book. I will would put this in a similar category I did Beetlejuice in that Stroman shows that good direction and spectacle can overcome some inherent structural flaws.

There are too many plot lines without anything really tying them together and a lack of development in each. I can understand the creatives vision of wanting this to be seen as just a year in NYC where anything can happen, but that is not clear from the shows book. This is very evident from the shows score, which feels outside of maybe 2 songs is set up like a Jukebox musical. The jukebox musical feel of the score would be perfect though if the idea of this just being presented as a series of vignettes were clear to the audience. To do this properly the show/book needs some sort of framing device and not just the playbill song list that says "Summer 1945, Fall 1945, Winter 1946, Spring 1946, and Summer 1946." That or we don't have the ongoing plots of the tertiary characters interspersed with Frankie and Jimmy central plot, but instead these characters are only given the spotlight after directly interacting with Frankie and Jimmy, then disappear back into the background. 

And yet while I have problems and can be nit picky with the shows book and use of its score, Stroman keeps the stage to busy and dazzling that you can easily look past those flaws and focus on the beauty on stage. Anna also has a spark that causes her to radiate on stage, I just wish the show's book actually gave her material to work with. Colton was making strong choices adding to his character that while not all worked for me without them even more of the flaws in the shows book would become apparent. 

But back to the show needing an out of town tryout, I was told the main reason the show didn't have an out of town tryout was not because of the talent involved, but because of the set and technical elements. I was told that the set was so big and dynamic it had to be built directly inside the St James from the ground up, which was why Into the Woods couldn't extend into early February. Note this was before sales for Into the Woods took a nose dive and there were still feelers out there for a new winter cast. Having seen the show finally, I just don't understand that argument. Everything is either flown or slid in from the wings. I am not saying the scenic design isn't beautiful, but I think I was expecting more especially from the much hypes about tap number on a skyscraper construction sight number. I was expecting set to be erected from the floor creating a thrilling moment of stagecraft alla the candelabras in Phantom or the ice shards in Frozen,  but instead it was swung in from the sides and flew in from above with projections. Then to add to that the tap number was very generic and downright bland if you are comparing it to Some Like It Hot which is playing just across the street and also opened this season. 

I know this feels like I am bashing the show, but its fine. Its more so with all of the talent involved it the curse of high expectations and seeing all the glimpses of brilliance that make me wonder how great the show could of been. 

At this point though its lucky that there are going to be 5 nomination slots for best musical because I would have a tough time picking between it, Shucked, and & Juliet for the final 2 slots. As it would be picking between 2 musicals that while not to everyone's tastes still perfectly accomplish what they are trying to do, and a musical with glimpses of brilliance that's total is less than the sum of its parts. 

[bwayphreak234]

Posted: 4/22/23 at 3:36pm

bdn223 said: "I was told the main reason the show didn't have an out of town tryout was not because of the talent involved, but because of the set and technical elements. I was told that the set was so big and dynamic it had to be built directly inside the St James from the ground up, which was whyInto the Woodscouldn't extend into early February. Note this was before sales forInto the Woodstook a nose dive and there were still feelers out there for a new winter cast. Having seen the show finally, I just don't understand that argument. Everything is either flown or slid in from the wings. I am not saying the scenic design isn't beautiful, but I think I was expecting more especially from the much hypes about tap number on a skyscraper construction sight number. I was expecting set to be erected from the floor creating a thrilling moment of stagecraft alla the candelabras in Phantom or the ice shards in Frozen,but instead it was swung in from the sides and flew in from above with projections.Then to add to that the tap number was very generic and downright bland if you are comparing it toSome Like It Hotwhich is playing just across the street and also opened this season."

Could not agree more re: the set. I was shocked at how cheap the set looked and felt, to be honest. There are a lot of locations for sure, but nothing elaborate. The fire-escape scaffolding on both sides of the stage is there the entire show with some other pieces being rolled out and flown in... I honestly don't even think the set design warrants a Tony nomination.

 

[Listener]

Posted: 4/22/23 at 6:06pm

I loved the fire escapes.

I don't see this "brilliance" people keep mentioning, however. The show needs a mountain of work. The score, the characters and storytelling all need help.

And the leading guy had a very odd singing voice, I'm sorry to say. I don't see him appealing to the tourist groups I suspect they think will keep this thing afloat. It isn't clear or strong or appealing.

Was the stage bare for all the NYNY finales since it started previews? It looked like they moved the leads to the front of the stage to give the dancers room, but then omitted them or something.

[Someone in a Tree2]

Posted: 4/22/23 at 6:35pm

Very surprised to read some folks find the set cheap. I adored the show top to bottom when I saw it Easter weekend, and the stunning sets were part and parcel of that adoration. The collage of rolling fire escape units created a vivid stylized surround for the action, into which Beowulf Borritt dropped witty slices of the particular locations. These slices chopped through framed pictures, wall clocks and anything else that the slicing knife met. It was smart and simple and gave me a laugh with each new set reveal. The transformations to Penn Station or the Bow Bridge in Central Park were magical.  The machinery alone to form the skyscraper unit before our eyes and keep the surfaces safe for the tap dancers was just dazzling.  And blessedly, ALL the backings were old-school painted drops, perfect for the period, with nary an LED panel to be seen anywhere! If Borritt doesn’t win the Tony for set design, I’ll be gobsmacked. 

[BenjaminNicholas2]

Posted: 4/22/23 at 6:50pm

I'm in the camp of seeing Uzele as fine, but not outstanding.  I felt like she was using a character voice and it extended into her singing.  It made it feel as if she was sitting on her voice at times.

Her World Goes Round ending was solid.  Her NYNY was fine, but without that balls-out, go-for-broke energy that someone like Liza would sing it with.  It was a pretty NYNY.  The audience went nuts, but I kept hearing other versions in my head that I would have preferred to hear.  

Colton I didn't get at all.  His choices were odd.  His voice wasn't broadway.  It sounded like a non-singer putting on what he thought was a singing voice.  At times, he sounded like a Muppet.

As others have said, this show needed an out of town.

[EAPEAPMO]

Posted: 4/22/23 at 7:18pm

Someone in a Tree2 said: "Very surprised to read some folks find the set cheap. I adored the show top to bottom when I saw it Easter weekend, and the stunning sets were part and parcel of that adoration. The collage of rolling fire escape units created a vivid stylized surround for the action, into which Beowulf Borritt dropped witty slices of the particular locations. These slices chopped through framed pictures, wall clocks and anything else that the slicing knife met. It was smart and simple and gave me a laugh with each new set reveal. The transformations to Penn Station or the Bow Bridge in Central Park were magical. The machinery alone to form the skyscraper unit before our eyes and keep the surfaces safe for the tap dancers was just dazzling. And blessedly, ALL the backings were old-school painted drops, perfect for the period, with nary an LED panel to be seen anywhere! If Borritt doesn’t win the Tony for set design, I’ll be gobsmacked."

I mean, it's a group that apparently thinks the tap dance was boring, the set was cheap, and the music was bland. You have criticism on here about Jimmy owning instruments becuase he's always out of work as a 'big' plothole (when he had a successful road tour with his brother + army career as one of his major background points, so that critic on here was just factually incrorect), you have critcism about an ending that makes people leap to their feet before the show has ended, you have criticsm here claiming they heard 'famous people' walking out saying it's the worst show they've ever seen, you have criticsm that allegedly the show is inviting students to see the show for free (my god, what an affront to the theater world! Those studnets should be paying $199 for their tickets!... nevermind almost all shows do this, just look at Shucked avg ticket for the first 6 weeks...?)... and after being called out on such ridiculousness there's a shift in messaging of "oh it's a good show that would have been great if it had an out of town." There are some legitimate views on here, I wouldn't doubt someone legitimately belives the show could have been improved by an out of town, but the intermingling with some of the absurdities make it so patently obvious what's going on here, especially when the clear-cut front runner for their Tony category in set design is being not just talked about neutrally, but downright negatively.

I went for the first preview and I got rush tickets last night to see it ahead of open, and both times people seemed very happy on the whole. The changes were solid in tightening up the story. It made me happy. If all a show does is make people generally happy, I think that shows pretty succesful myself. 

Updated On: 4/22/23 at 07:18 PM

[rubytuesday]

Posted: 4/22/23 at 10:17pm

Plan to see it this week. The debate about it here has me even more eager to find out for myself.

[ChorusKitty]

Posted: 4/23/23 at 1:43am

This was the first show I saw on my 8 day trip to NYC, and I have to say I think it will only go up from here. It's lovely to hear some classic and lesser known Kander and Ebb songs, and the cast works earnestly and hard to sell every number. I thought the lighting and scenic design were extremely effective.  But the book... yikes! It's like the script was a ChatGPT experiment which somehow made it onto a Broadway stage.

 

 

[pethian]

Posted: 4/23/23 at 4:07pm

rubytuesday said: "Plan to see it this week. The debate about it here has me even more eager to find out for myself."

 

Me too! Exactly my reaction to this thread and how it is making me even more curious to see the show next weekend..

 

[Robbie2]

Posted: 4/23/23 at 6:03pm

"New York, New York" arrives on Broadway

https://www.cbsnews.com/video/new-york-new-york-arrives-on-broadway/

[DramaTeach]

Posted: 4/23/23 at 7:55pm

Thoughts-

1) The dancing, ensemble, costumes and sets are GREAT. Really great. Clyde Alves’ tap on the steel beams was fantastic. I also really enjoyed John Clay’s performance. He impressed me in Choir Boy, but I hadn’t heard him sing and dance like he did here.

2) Anna Uzele, while possessing a great voice, did not impress me AT ALL with her acting. She sounded too modern, like a 1940s Busy Phillips, and there was very little nuance to the performance. Because of that, I felt absolutely no chemistry between her and the male lead.

3) This board doesn’t seem to like Colton Ryan, but I really did. He kind of plays it like Austin Butler plays Elvis, affected voice and all, but I totally enjoyed it. He was confident and charismatic.

4) The title song could sell itself. Yes, it was great, but it’s always going to be great. My audience ate it up. They ate up the whole show. Lots on their way out talking about how they got their money’s worth.

5) The story was basically non-existent. It’s like the Hallmark movie of Broadway shows - throw in some “Guys and Dolls” scenery, add a bit of “On the Town” New York love, and sprinkle in a little “Working.” It’s all been done before, so this was formulaic. Even the joke about New Jersey felt reminiscent of “everything is legal in New Jersey” from Hamilton. That’s not to say it wasn’t enjoyable. Just depends what you’re looking for. People love Hallmark movies.

Would I recommend this? Yes. Would I qualify that recommendation by explaining its flaws? Yes.

Updated On: 4/23/23 at 07:55 PM

[thoroughlymodernbilly]

Posted: 4/23/23 at 8:17pm

Just chiming in with my rush experience from today. I was the first to arrive at 9 am. The next person got in line around 10:15/10:30, and there were about 25-30 people waiting by the time the box office opened at noon. It was rainy for much of the morning, which may have deterred some folks. 
 
I got front row orchestra on the left, seats A5 and A7. We were told they were partial view, but had no sightline issues for most of the show. Very obstructed view during the final number, but can’t exactly complain for the price. 
 
As for the show itself, I sadly have to join the chorus of people who really did not like it, for many of the reasons that others have already stated. There were some glints of greatness in “But the World Goes ‘Round” and the rain sequence, but otherwise, I thought it was a total mess. 

Updated On: 4/23/23 at 08:17 PM

[Listener]

Posted: 4/23/23 at 9:29pm

There really were some lovely visual moments, to be sure. And I really enjoyed the way areas of New York were brought to life visually. That all worked well. It's what was happening (or not) that made it all feel pointless and frustrating.

...wait, those weren't digital backgrounds up on a screen? It looked that way to me. The transitions at the start of the show...the sun setting, etc...all that screamed "digital screen" to me, even if they were subtle about it.