It doesn’t make it here.
and it keeps the names, post–World War II setting, and rough configuration of the main characters, but it quickly turns into its own thing. Now it’s Colton Ryan’s Jimmy Doyle wooing Anna Uzele’s Francine Evans, among a group of other characters chasing their dreams, including a Black trumpeter from Mississippi , a Polish violinist , and a Cuban drummer .
With that level of talent involved, what could go wrong? A frustratingly large amount. The crucial flaw is in Jimmy and Francine’s story line, which theoretically would bind the show together but is underwritten and underperformed. Jimmy, we’re told, is an inveterate talker and drinker, charming despite his impulsive tendencies, but he’s never believably in a grim place for long.
There is nothing wrong with a little New York boosterism. This show has more than a little — and a frustrating lack of critical perspective. In, the city’s starting to return to itself after the war, and the musical’s marketing has leaned on the implied similarity between that era and our own recovery from the pandemic. It’s a worthy cause to get people excited about city life again, but it’s hard to embrace the run of clichés on offer.
For all the musical’s insistence on the city’s vitality, it’s glassy-eyed and complacent. It looks to old tropes and standards. You hear the tinkle of the famousvamp from the title song right at the top of the show, and it keeps popping up again like the shark fin fromuntil, finally, it rises up and devours everything during a group sing-along at the curtain call. We’re here to see New York, New York, in quotes, just as it appears in the name of the song.
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