Some days, New York City may be exhausting, but a Broadway musical about New York, celebrating New York, should never be.
The musical is one of those productions where you can see the cogs furiously turning, but ultimately for low returns and to baffling ends—with a central love story so unconvincing and borderline-alarming that instead of rooting for the couple to be together you hope against hope the female lead character kicks her male counterpart to the curb, and goes it alone. She’d fare much better, and certainly deserves much better.
“I love this city!” the electrician clinging to it, happy to see its bulbs blaze into life, shouts. The audience, hometown or not, cheers his expression of postwar joy; in another very different era we have watched the same city falteringly reawaken after the pandemic. Madame Veltri is a violin player and teacher, waiting for her son to return from war; Alex Mann , an immigrant from Eastern Europe, seeks her help. Jesse Webb is a Black former soldier and musician, while Mateo Diaz is a young queer Cuban who wants to save both himself and his mother Sofia from her abusive husband—and to dress her in a beautiful golden dress.
There is one well-written exchange between Francine and Jimmy, the kernel of which could and should be further developed. “How do you feel about taking the service elevator to your dressing room?” Jimmy asks about Francine going on tour as a Black female singer in that era of segregation. “Or eating in the kitchen with the help. And God forbid you put so much as yourHis eventual marriage proposal to Francine plays like hectoring harassment rather than romantic.
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