The long-awaited musical “New York, New York” has finally arrived on the Great White Way paying homage to the city that bears its name and dazzling audiences with its signature song. It is a big, splashy musical that makes the heart and soul of New York City it’s star, taking pride in this formidable melting pot, challenging those who have arrived, to try their best to “make it here.” It is not one story, but many stories weaved together to finally form the big picture. The result can be compared to the New York City public transit system; sometimes it gets messy, often you can miss connections but eventually you get there, and the ride ends up being a bit too long.

It is that old fashioned storyline of boy meets girl, boy loses girl, boy gets girl back surrounded and influenced by several subplots that involve different people trying to make a career in music or theater. The center revolves around Francine Evans (the dynamic and straightforward Anna Uzele) a young Black woman making the trek to New York to make it as a singer, where she meets Jimmy Doyle (a comical Colton Ryan) a white New Yorker of Irish heritage who is a musician with dreams of his own. Then there is Jesse Webb (a dynamic John Clay III) a black trumpet player trying to navigate the post World War Two landscape. They are joined by Mateo Diaz, (the delightful Angel Sigala), a Cuban immigrant who aspires to be a percussionist. A confusing subplot pairs up Alex Mann (the determined Oliver Prose), a young Jewish violinist and refugee from Poland seeking music instructions from Madame Veltri (a strong and sincere Emily Skinner), the landlady of the boarding house. The minor character references showcase a Japanese dancer, an opera singing housekeeper, and a salacious music producer.

The plots seem irrelevant because the entertainment comes when the music and dancing take center stage. Most notable is the remarkable tap number performed on the steel girders of an unfinished skyscraper high above the city streets. Mr. Ryan lends his sultry Sinatra like vocals to a great rendition of “Quiet Thing” and delivers his comical side in “Marry Me.” The always reliable Ms. Skinner once again reaffirms her place on the Broadway stage with a soothing “Better Than Before.” Ms. Uzele belts out a wonderful and powerful rendition of “But the World Goes Round” which acts only as a teaser for what everyone has come to hear. She does not disappoint, as she delivers that eleven o’clock number “New York. New York” with the power and stamina like a racehorse crossing the finish line. The audience has obviously bet on her as they begin their standing ovation shortly before those last notes fade away.

Director and Choreographer Susan Stroman manages to keep the action moving at a quick pace as she juggles the intermingled plotlines but is burdened with the weak and lengthy book by David Thompson and Sharon Washington. Scenic design by Beowolf Boritt is nothing less than stupendous, capturing the familiar and lively aspects of the big city. Donna Zakowska provides nonstop, eyepopping costumes of the period. Lighting design by Ken Billington is bold and exciting, radiating the beat of a vibrant city, but also subtle and moody as it explores its hidden secrets.

This story is set during 1946 and 1947 when the city needed to rebound from the horrific effects of a long war. It is fitting that it comes to Broadway at a time when we are presently trying to recover from the lasting effects of a terrible pandemic. The show acknowledges that it is not easy, but with positivity and endurance, people bounce back and reclaim their spirit. After it all is said and done, it is still “New York, New York.”