NY, NY may be on its way to closing-NY Post — Page 7

Sutton Ross said: "I work at the theater and found out on Twitter that I’ll be unemployed as of next sunday"

Im incredibly sorry to hear that, there was talk you all found out last week but obviously that was a rumor. I can't imagine finding out one is losing their job in one week, I sincerely hope you find something else immediately.

Theatrefanboy1 said: "I hope this is the point where people realize that LMM is not a god of sorts. I’ve found him overrated since In the heights. (Not saying there’s no talent… just a lot of pretentiousness). Same as Hamilton. Interesting but not the most important piece of theatre. And yet it seemed to have him thrown into anything now to be the creative. Like not every fish New Yorker American, Hawaiian, needs to drop a beat in some sort of hip hop meh style. Anyway. Hopefully this will let him take a break for like a decade."

Delusional, racist and ridiculous. Lin-Manuel is an incredible artist and one of the greatest of our generation. He will be working tomorrow and the next day and for many decades to come. Enjoy!"

Is... not liking LMM racism now?

Should this go on tour, it will be billed as : "Direct from Broadway - the HIT musical..."

And those theater-goers who don't read up on Broadway news will assume this was a huge hit musical that ran on Broadway, and is now touring through their town.

Updated On: 7/24/23 at 06:57 PM

PipingHotPiccolo said: "this show never made any sense. so much talent, really a group of brilliant artists, the cream of the industry crop, wasting their efforts on an idea that could never work: a story-less, bland watering down of a no-longer-producable movie (that isnt that awesome to begin with)."

I think the germ of an idea of an old school New York love story between a singer and a musician with Kander and Ebb tunes is still a great idea. It just wasn’t executed well in the film because the characters are so unlikable. The musical, while vastly different from the film, still missed the mark. The two main characters got lost in an overstuffed spectacle and the creative team couldn’t decide to focus the story on our two leads, the city itself, or the underdeveloped secondary characters populating the city.

Mr. Wormwood said: "I wonder how this show would have done had it come out 20 years ago shortly after 9/11. It seems like the "love letter to NYC" just wasn't an effective marketing tool right now. Not that I thought they were super effective at marketing it that way anyway IMO.

This reminds me of another Stroman/Kander flop plagued in part by a bad book: Steel Pier. I have always wanted to see that show re-worked and I have a feeling that may be my sentiment for NYNY down the road."

Yikes, Steel Pier at least tried to be something.

NYNY was just a cheap attempt to attract tourism with little to no integrity.

I have a thought that could be totally wrong, but I think the Wiz has also been rumored for the St. James. I wonder if The Wiz has it booked for the Spring and Spamalot wants it for a limited run in the Fall. And, the sooner that NY NY is out, the sooner Spamalot can open and maximize the limited time they have the theatre available. They also needed the closing notice to be posted before they could announce and be able to start selling and advertising. Honestly, the latter might be the more important part because I don't know how flexible a show can be with their schedule.

Saw last night’s Wednesday evening perf of NYNY whose second act worked much better than its first act. At the intermission it reminded me of Jule Styne’s Sugar in the 70’s which at the time was surrounded by Hair and JC Superstar - dated in so many ways - but assembled by folks who were earlier at the top of their form. Colton Ryan is giving the most original, fascinating and exciting performance in a musical that I have seen in years and worth checking out before Sunday. Sadly the leading lady Anna Uzele is giving one of the most bland performance I’ve ever seen on Broadway. She has a flavorless belt that isn’t up for the classic Kander & Ebb songs. The set while, gorgeous is darkly overwhelming and the choreography drags the night down with sometimes embarrassing bridges between scenes. There were many empty seats in the back of the orchestra - if second acting is still a thing this show is worth a look - if for nothing other than Colton Ryan’s Jimmy - he’s giving a master class.

Up In One said: "Saw last night’s Wednesday evening perf of NYNY whose second act worked much better than its first act. At the intermission it reminded me of Jule Styne’s Sugar in the 70’s which at the time was surrounded by Hair and JC Superstar - dated in so many ways - but assembled by folks who were earlier at the top of their form. Colton Ryan is giving the most original, fascinating and exciting performance in a musical that I have seen in years and worth checking out before Sunday. Sadly the leading lady Anna Uzele is giving one of the most bland performance I’ve ever seen on Broadway. She has a flavorless belt that isn’t up for the classic Kander & Ebb songs. The set while, gorgeous is darkly overwhelming and the choreography drags the night down with sometimes embarrassing bridges between scenes. There were many empty seats in the back of the orchestra - if second acting is still a thing this show is worth a look - if for nothing other than Colton Ryan’s Jimmy - he’s giving a master class."

A master class in what? Weird mannerisms, pitch problems, off-putting characterization, and possibly the mushiest diction I’ve ever heard on stage?? (On one of the few songs I was able to understand - because I knew it already - the night I saw it I swear he sang the title phrase not once but 4 times as “It’s a quiet think” - [sic] )

It was no surprise when Anna Uzele got a much warmer ovation at the curtain call– maybe you think her voice is generic, but at least you can understand her, and she’s playing a solid approximation of an actual human being.

I thought Colton’s character was in the mob for 90% of the show. A mobster who liked music, not a struggling musician. Colton did not play that character correctly at all

No, you just didn't understand the show, obviously. No part of him was mob like or shady. None.

Anyways, this closing makes me sad. The show had its flaws (Anna's character was so unlikeable and drab) but a beautiful, big, gorgeous new musical are so rare these days and I'm so glad this existed at all. Bravo to all involved!!!!

One BIG problem with this show was the sound design. Half the time, I couldn't understand what anyone was saying. So that would certainly handicap Colton who was deliberately underprojecting many times.

NotASoundtrack said: "perfectpenguin said: "Kimbo said: "Up In One said: "There were many empty seats in the back of the orchestra - if second acting is still a thing this show is worth a look - if for nothing other than Colton Ryan’s Jimmy - he’s giving a master class."

A master class in what? Weird mannerisms, pitch problems, off-putting characterization, and possibly the mushiest diction I’ve ever heard on stage?? (On one of the few songs I was able to understand - because I knew it already - the night I saw it I swear he sang the title phrase not once but 4 times as “It’s a quiet think” - [sic] )"

I thought Colton’s character was in the mob for 90% of the show. A mobster who liked music, not a struggling musician. Colton did not play that character correctly at all"

There was absolutely nothing in the show outside of a strong NY accent and a punch thrown that would indicate that Colton’s character was in the mob. Outside of a 30 second transition, there’s absolutely no mob in the plot of the musical at all. If you sat through the show and interpreted Colton’s character as a music-loving mobster, that’s genuinely a personal problem, and not one of his performance that you very clearly didn’t understand."

I wasn’t going to weigh in again on this (it’s not worth it), but since for some reason the entirety of the above got incorrectly attributed to me I feel the neee to. (FWIW I wrote the first 2/3 about his acting, mannerisms and diction, but not any of the part about him seeming mobbed-up).

But sorry to break it to you, to have a strongly negative reaction to someone’s performance (and there are a few of us on here) does NOT actually mean that any of us “genuinely have a personal problem” or that the acting was such a next-level master class that we “very clearly didn’t understand it”. It just means we all think he wasn’t very good.

(And to turn around your own phrasing, to say there was nothing out of sorts other than a “strong New York accent” would imply that the accent was, in fact, “strong” - I would say mumbly, mush-mouthed and not redolent of any part of NYC in any era that I’ve ever heard - but to each their own.)

PipingHotPiccolo said: "the way Sutton cannot help but make every single post sound as if they are in charge around here, declaring who is right and who is wrong on literally every subject. It literally make me laugh out loud.



i thought Colton Ryan was one of the few highlights of this production, but i understand perfectpenguin's point. his demeanor, attitude, tone all would have worked wonderfully in Sopranos the Musical-- and since this show was Nothing In Particular the Musical, I thought his shtick worked great, actually."

Thank you. His demeanor, attitude, behaviors screamed mob.


But thank you Sutton and NotASoundtrack for accusing me of not understanding the show. Nowhere in my reply did I say I didn’t understand the show. If you would actually read the post I replied to, my comment was about his behavior and mannerisms gave off mob vibes, not struggling musician vibes.

windowwaving said: "I feel this show would’ve done better in the New York, New York hotel in Las Vegas as a 90-minute one act production/ad for NY.

They already have one there, Cirque's "Mad Apple." Haven't seen it, but they probably wouldn't want to pay licensing fees for the Kander & Ebb catalogue.