New York, New York, the latest Kander and Ebb musical on Broadway, announced Sunday that it will close in one week.
The musical, which also features additional lyrics by Lin-Manuel Miranda, is inspired by the 1977 film, which was directed by Martin Scorsese and featured Liza Minnelli and Robert De Niro. The show opened at the St. James Theatre on April 26 and will now play its final performance July 30.
The sudden closure comes as the large-scale production, which had a big cast and expansive scenery, has failed to pull in big numbers at the box office, amid unfavorable reviews. In recent weeks, capacity has hovered just above 70 percent. Additionally, the musical won only one Tony Award, for best scenic design, after being nominated for nine, including best musical.
New York, New York features direction and choreography by Susan Stroman and a book by David Thompson and Sharon Washington. The cast is led by Colton Ryan,...
The musical, which also features additional lyrics by Lin-Manuel Miranda, is inspired by the 1977 film, which was directed by Martin Scorsese and featured Liza Minnelli and Robert De Niro. The show opened at the St. James Theatre on April 26 and will now play its final performance July 30.
The sudden closure comes as the large-scale production, which had a big cast and expansive scenery, has failed to pull in big numbers at the box office, amid unfavorable reviews. In recent weeks, capacity has hovered just above 70 percent. Additionally, the musical won only one Tony Award, for best scenic design, after being nominated for nine, including best musical.
New York, New York features direction and choreography by Susan Stroman and a book by David Thompson and Sharon Washington. The cast is led by Colton Ryan,...
- 7/23/2023
- by Caitlin Huston
- The Hollywood Reporter - Movie News
The full cast and creative team for the upcoming Kander & Ebb Broadway musical New York, New York were announced by producers today, with, among others, Tony Award nominee Emily Skinner (Stage Show) joining the previously announced stars Colton Ryan and Anna Uzele.
Inspired by the 1977 Martin Scorsese movie (written by Earl M. Rauch), New York, New York begins performances Friday, March 24 at Broadway’s St. James Theatre, with an official opening on Wednesday, April 26.
In addition to Skinner, the stage actor most recently seen on Broadway in The Cher Show and who will play a character named Madame Veltri, the New York, New York cast will include Clyde Alves (On The Town), John Clay III (Choir Boy), Janet Dacal (In The Heights), Ben Davis (Dear Evan Hansen), and, in their Broadway debuts, Oliver Prose and Angel Sigala .
The ensemble will include Wendi Bergamini, Allison Blackwell, Giovanni Bonaventura, Jim Borstelmann, Lauren Carr,...
Inspired by the 1977 Martin Scorsese movie (written by Earl M. Rauch), New York, New York begins performances Friday, March 24 at Broadway’s St. James Theatre, with an official opening on Wednesday, April 26.
In addition to Skinner, the stage actor most recently seen on Broadway in The Cher Show and who will play a character named Madame Veltri, the New York, New York cast will include Clyde Alves (On The Town), John Clay III (Choir Boy), Janet Dacal (In The Heights), Ben Davis (Dear Evan Hansen), and, in their Broadway debuts, Oliver Prose and Angel Sigala .
The ensemble will include Wendi Bergamini, Allison Blackwell, Giovanni Bonaventura, Jim Borstelmann, Lauren Carr,...
- 2/1/2023
- by Greg Evans
- Deadline Film + TV
At the open of the Breast Cancer Research Foundation’s inaugural virtual Hot Pink Evening, the event’s lead co-chair Kinga Lampert reminded attendees that “breast cancer doesn’t stop for coronavirus and neither can we.” And, though the Bcrf’s annual fundraiser looked significantly different amid the pandemic, the show did in fact go on, raising more than $5.2 million for breast cancer research.
Elton John, Elizabeth Hurley, Karlie Kloss, Deborah Norville and Rachael Ray were among the Bcrf supporters who participated in the livestream event, with breast cancer survivors Edie Falco, Joan Lunden, Gretta Monahan, Amy Robach and Anne Thompson sharing their own experiences battling the disease.
“I was diagnosed with breast cancer in 2003, an experience I wouldn’t wish on my worst enemy — to have a doctor stand opposite you and tell you that you have cancer,” Falco said.
Professional ballet dancer Maggie Kudirka, who is currently battling stage IV metastatic breast cancer,...
Elton John, Elizabeth Hurley, Karlie Kloss, Deborah Norville and Rachael Ray were among the Bcrf supporters who participated in the livestream event, with breast cancer survivors Edie Falco, Joan Lunden, Gretta Monahan, Amy Robach and Anne Thompson sharing their own experiences battling the disease.
“I was diagnosed with breast cancer in 2003, an experience I wouldn’t wish on my worst enemy — to have a doctor stand opposite you and tell you that you have cancer,” Falco said.
Professional ballet dancer Maggie Kudirka, who is currently battling stage IV metastatic breast cancer,...
- 5/21/2020
- by Angelique Jackson
- Variety Film + TV
With her debut solo album, My Standards, Janet Dacal perfectly marries her Cuban heritage with American standards. Carlos Jos Alvarez, as principal arranger with additional arrangements by Alexis aoePututia Arce, John Di Martino, Alberto Salas, and Ramn Stagnaro, brings a sublimely jazzy flair to these familiar songs and allows Dacal to breathe wonderous new life into each of them. If My Standards doesn't have you dancing as you listen to it, check your pulse.
- 2/21/2020
- by David Clarke
- BroadwayWorld.com
Janet Dacal is releasing her debut solo album My Standards in digital and streaming formats tomorrow, February 7. It will be released on CD on Friday, February 14. A collection of Dacal's favorite standards with a Cuban-American flair, the album features special guests vocalists Olivia C. Dacal and Javier Muoz. A veteran of Broadway's In the Heights and Wonderland, Dacal is currently starring in the national tour of the Tony Award-winning 'Best Musical' The Band's Visit. My Standards was produced by Alberto Salas and Janet Dacal, with Carlos Jos Alvarez serving as principle arranger. Alberto Salas is the Music Director for the 13 piece band.
- 2/6/2020
- by BWW News Desk
- BroadwayWorld.com
It’s not hard to see why someone imagined a stage musical could be made out of “The Sting,” the 1973 Oscar Best Picture winner starring Paul Newman and Robert Redford as Depression-era con artists who pull off the ultimate heist. After all, George Roy Hill’s artfully constructed film leaned heavily on Scott Joplin’s ragtime tunes — providing fodder for many a ’70s-era student-piano recital rendition of “The Entertainer” and “Rose Leaf Rag.”
There’s much to admire in the new stage musical version of “The Sting,” which opened Sunday for a pre-Broadway run at the Paper Mill Playhouse in Millburn, New Jersey — starting with the tap-tastic choreography of Tony winner Warren Carlyle, whose ensemble work is truly showstopping here.
The production has found an emerging star in J. Harrison Ghee as Booker, the green hothead con artist that Redford played on screen, even elevating a racial subplot of the film (Redford’s Booker was called a “n-word-lover” for helping a black man on the street) into a front-and-center element of the story. Ghee has a spry energy that suits his impetuous character, and a golden voice to match.
Also Read: 'Three Tall Women' Broadway Review: Glenda Jackson Charges Into the Night
Ghee almost manages to upstage the show’s above-the-marquee star, Harry Connick Jr., as Booker’s older, wiser con-artist mentor, first played by Newman in the film. Here, his wizard-like character, Gondorff, is introduced as a “piano monkey in a whorehouse” who spends more time tickling the ivories as he does palming cards or picking pockets.
Connick is a wiz at the piano, of course, riffing on Mark Hollman’s deliberately Joplin-esque score on stage, and he also proves to be surprisingly nimble on his feet during dance numbers like the Act 2 curtain-raiser “This Ain’t No Song and Dance.” (He’s also credited with additional music and lyrics.)
The difficulty is that not all of the movie’s virtues have been successfully integrated into the new medium. Hollman (“Urinetown”) serves up mostly jazz-lite pastiche, and the lyrics by longtime collaborator Greg Kotis seldom do much more than advance the plot or bide time till the next dance break.
Also Read: 'Rocktopia' Broadway Review: Beethoven's Not the Only One Rolling Over in This Musical Mashup
Photo: Evan Zimmerman for MurphyMade
As to the plot: Some of the best lines in Bob Martin’s book are lifted directly from David S. Ward’s original screenplay, and the very structure of musical theater allows us to linger over some of the less felicitous elements of the story.
Take for instance, the women, who were always more like accessories in the original film and again feel like missed opportunities to flesh out parallel romantic subplots. Connick’s brothel-owning buddy and on-again-off-again lover (Kate Shindle) is given a number or two of her own — but not much real agency, or even a duet with Connick’s Gondorff.
The same goes for Janet Dacal’s waitress Loretta, who gets a first-act duet and a second-act torch song but still feels more like an afterthought. When she agrees to invite Hooker into her apartment late in the second act, you can almost feel director John Rando handing notes to Carlyle to find a dance ballet sequence to fill in the gaps in the storytelling.
Also Read: 'Empire Records' to Become Broadway-Bound Musical - Just in Time for Rex Manning Day
Martin’s script has the unfortunate habit of protracting unimportant elements of the story — the overlong show could easily lose 20 minutes, including a drawn-out scene in a Western Union office — while passing up chances to explore other aspects of the story that the film gave short shrift.
There’s a moment when Hooker is on the spot, cornered by the feds who want him to turn on his partner in crime. But he hastily and uncharacteristically agrees, without a moment of reflection, or a song to explore the upsides, downsides or consequences of his apparent act of betrayal.
Despite these flaws, “The Sting” still has the power to enchant with its deliberate artifice and syncopated charm. There’s good reason why the film has forever been associated with “The Entertainer.”
Read original story ‘The Sting’ Theater Review: Harry Connick Jr Aims to Go From Ragtime to Riches At TheWrap...
There’s much to admire in the new stage musical version of “The Sting,” which opened Sunday for a pre-Broadway run at the Paper Mill Playhouse in Millburn, New Jersey — starting with the tap-tastic choreography of Tony winner Warren Carlyle, whose ensemble work is truly showstopping here.
The production has found an emerging star in J. Harrison Ghee as Booker, the green hothead con artist that Redford played on screen, even elevating a racial subplot of the film (Redford’s Booker was called a “n-word-lover” for helping a black man on the street) into a front-and-center element of the story. Ghee has a spry energy that suits his impetuous character, and a golden voice to match.
Also Read: 'Three Tall Women' Broadway Review: Glenda Jackson Charges Into the Night
Ghee almost manages to upstage the show’s above-the-marquee star, Harry Connick Jr., as Booker’s older, wiser con-artist mentor, first played by Newman in the film. Here, his wizard-like character, Gondorff, is introduced as a “piano monkey in a whorehouse” who spends more time tickling the ivories as he does palming cards or picking pockets.
Connick is a wiz at the piano, of course, riffing on Mark Hollman’s deliberately Joplin-esque score on stage, and he also proves to be surprisingly nimble on his feet during dance numbers like the Act 2 curtain-raiser “This Ain’t No Song and Dance.” (He’s also credited with additional music and lyrics.)
The difficulty is that not all of the movie’s virtues have been successfully integrated into the new medium. Hollman (“Urinetown”) serves up mostly jazz-lite pastiche, and the lyrics by longtime collaborator Greg Kotis seldom do much more than advance the plot or bide time till the next dance break.
Also Read: 'Rocktopia' Broadway Review: Beethoven's Not the Only One Rolling Over in This Musical Mashup
Photo: Evan Zimmerman for MurphyMade
As to the plot: Some of the best lines in Bob Martin’s book are lifted directly from David S. Ward’s original screenplay, and the very structure of musical theater allows us to linger over some of the less felicitous elements of the story.
Take for instance, the women, who were always more like accessories in the original film and again feel like missed opportunities to flesh out parallel romantic subplots. Connick’s brothel-owning buddy and on-again-off-again lover (Kate Shindle) is given a number or two of her own — but not much real agency, or even a duet with Connick’s Gondorff.
The same goes for Janet Dacal’s waitress Loretta, who gets a first-act duet and a second-act torch song but still feels more like an afterthought. When she agrees to invite Hooker into her apartment late in the second act, you can almost feel director John Rando handing notes to Carlyle to find a dance ballet sequence to fill in the gaps in the storytelling.
Also Read: 'Empire Records' to Become Broadway-Bound Musical - Just in Time for Rex Manning Day
Martin’s script has the unfortunate habit of protracting unimportant elements of the story — the overlong show could easily lose 20 minutes, including a drawn-out scene in a Western Union office — while passing up chances to explore other aspects of the story that the film gave short shrift.
There’s a moment when Hooker is on the spot, cornered by the feds who want him to turn on his partner in crime. But he hastily and uncharacteristically agrees, without a moment of reflection, or a song to explore the upsides, downsides or consequences of his apparent act of betrayal.
Despite these flaws, “The Sting” still has the power to enchant with its deliberate artifice and syncopated charm. There’s good reason why the film has forever been associated with “The Entertainer.”
Read original story ‘The Sting’ Theater Review: Harry Connick Jr Aims to Go From Ragtime to Riches At TheWrap...
- 4/9/2018
- by Thom Geier
- The Wrap
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