Name: House of McQueen
Start: 2025-08-19
End: 2025-10-12
Location: The Mansion at Hudson Yards

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House of McQueen - NYC [44749]

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House of McQueen

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House of McQueen - NYC [44749] - Product Media

A person in a blue shirt wraps bandages around the arm of a woman wearing a nude-colored bodice and a head wrap, both standing against a dark background.

House of McQueen - Product Media - Images - Asset 1

A woman in a dramatic feathered costume stands in focus, while a man in casual clothes is blurred in the background.

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Emily Skinner stars as Joyce McQueen in [*House of McQueen*](https://www.downtownmelody.com/_x/d3d3Lm5ld3lvcmt0aGVhdHJlZ3VpZGUuY29t/show/44749-house-of-mcqueen) off Broadway at [The Mansion at Hudson Yards](https://www.downtownmelody.com/_x/d3d3Lm5ld3lvcmt0aGVhdHJlZ3VpZGUuY29t/venues/the-mansion-at-hudson-yards) from August 18, 2025.

Skinner is a prolific theatre actress and Broadway favorite. She is best known for her performance in *Side Show*, earning her a joint Tony Award nomination for Best Actress alongside Alice Ripley.

Her other Broadway credits include *New York, New York; Suffs, Prince of Broadway; The Cher Show; Jekyll & Hyde; James Joyce's The Dead; The Full Monty; Dinner at Eight*; and *Billy Elliot*.

Emily Skinner - NY

New York, New York on Broadway - NYC

New York, New York on Broadway

New York, New York on Broadway - NYC Product Media

There are neon marquee lights from days of old. There are bustling dancers showing off their prowess as they rush to work and back home. There are even a few classics from John Kander and Fred Ebb’s heyday. Unfortunately for [*New York, New York*](https://www.downtownmelody.com/_x/d3d3Lm5ld3lvcmt0aGVhdHJlZ3VpZGUuY29t/show/26043-new-york-new-york-tickets), now running on Broadway at the [St. James Theatre](https://www.downtownmelody.com/_x/d3d3Lm5ld3lvcmt0aGVhdHJlZ3VpZGUuY29t/theatres/st-james-theatre), there isn’t much else.

Loosely based on Martin Scorsese’s 1977 film, *New York, New York* follows a group of toxically optimistic performers trying to beat the odds and make it big in 1946. Francine Evans (Anna Uzele), a singer from Philly fresh off a USO tour, knows she will have to “work twice as hard to get half as far” in a segregated society.

Her love interest, Jimmy Doyle (a miscast Colton Ryan), believes Francine’s talent will override racial barriers. This idea comes up various times, expressed by white characters and characters of color, with the general conclusion that New York is special and different, a place with no discrimination.

Jimmy rebuffs Francine’s concerns over an interracial musical act with “This isn’t Texas. This is New York!” (The audience cheered.) Toward the end, Francine makes a career decision based on the racism and misogyny she’s experienced, and the characters take this as an offense against New York itself. “Don’t bet against New York,” one implores, as if her actions could possibly be construed that way.

Uzele’s Francine is the only character with a plot, and Uzele is the strongest performer. She carries the show as the self-sabotaging Jimmy grows to resent her success and recognition, leaving us without a reason to root for him. Her searing rendition of “But the World Goes Round” alone — during which projection designers Beowulf Boritt and Christopher Ash strip away the photorealistic backgrounds and leave Francine to bare her soul in a stark spotlight — outshines Ryan. His muffled voice doesn’t suit the broad and brassy Kander and Ebb numbers.

Ryan is done no favors, of course, by his character’s lack of plot or motive beyond landing Francine. We know he’s haunted by his past, but that doesn’t explain why he ambles about aimlessly until trumpet-playing veteran Jesse (John Clay III) and Cuban immigrant Mateo (Angela Sigala) hand him a second-act raison d’être. Characters in search of a plot, indeed.

Haranguing the show feels almost dirty, however, with Ebb long deceased and Kander now 96. (Lin-Manuel Miranda contributed additional lyrics, though his signature style is absent.) Theatregoers will recognize that Susan Stroman’s production, although it feels unfinished, is a love letter to the pair and their achievements in the genre. A revue would perhaps have been more appropriate than sticking half-developed characters with the songbook and hoping for the best.

At one point, a young violinist (Oliver Prose) tells his teacher, Madame Veltri (Emily Skinner, doing her best with little) that his whole family was murdered in Treblinka. She sings “A Simple Thing Like That” in response, a song about life’s randomness that, while pretty, doesn’t match the gravity of the moment.

If it were more cohesive, *New York, New York* could be a great show for tourists (if they can stomach the disparagement of living anywhere else), complete with classic, tap-dancing tunes that employ a large number of dancers, designers, and musicians. But would it not serve both the company and audience more if the musical was a better-crafted tribute to Kander and Ebb and the city that made them?

The show concludes with the long-awaited title number, delivered by Uzele (with a delightful orchestral surprise) in unearned triumph. Perhaps the performance best summarizes the story’s message: to march on against the odds, whether they be societal or a result of misdirected efforts.

[*New York, New York* is at the St. James Theatre. Get *New York, New York* tickets on New York Theatre Guide.](https://www.downtownmelody.com/_x/d3d3Lm5ld3lvcmt0aGVhdHJlZ3VpZGUuY29t/show/26043-new-york-new-york-tickets)

*Photo credit: Anna Uzele and Colton Ryan in New York, New York. (Photo by Paul Kolnik)*

'New York, New York' review — Kander and Ebb musical is still searching for the very heart of it

Read our review of *New York, New York* on Broadway, which is directed and choreographed by Susan Stroman and features new lyrics by Lin-Manuel Miranda.

Located in the heart of New York City, the iconic St. James Theatre is a testament to the magical allure of Broadway. Since its inception in 1927, the St. James Theatre has hosted many unforgettable Broadway hits, featuring stars from Ethel Merman to Hugh Jackman. The interior is a marvel in itself, punctuated by a royal color scheme, gold-leaf accents, and stunning chandeliers that encapsulate the golden age of Broadway. The theatre has a seating capacity of 1,710, allowing for a wide audience range without compromising the intimate, immersive theatrical experience. In its near-century history, the St. James Theatre has seen the debut of many Broadway classics, including Oklahoma!, The King and I, and The Producers, thereby solidifying its milestone status in Broadway history.

**How to Get to the Venue**
St. James Theatre is located at 246 W. 44th Street. It's easily accessible via public transport. If you're traveling by subway, you can take the 1, 2, 3, 7, N, Q, R, W, or S trains to Times Square. Alternatively, buses M7, M20, M42, and M104 also stop nearby. For those who prefer driving, numerous paid parking lots are available in the vicinity.

St. James Theatre - NY

St. James Theatre

The historic St. James Theatre, located in New York City, has hosted iconic Broadway shows since 1927 and is easily accessible via various modes of transport.

Ages 10+. Children under 4 are not allowed in the theatre.

The Public Theater Covid Protocol

Suffs on Broadway - NYC [24495]

Suffs on Broadway

Suffs on Broadway - NYC Product Media

There's one moment in <a href="https://www.downtownmelody.com/_x/d3d3Lm5ld3lvcmt0aGVhdHJlZ3VpZGUuY29t/show/suffs" target="_blank">Suffs</a> that will make you want to get up and raise your fist. It's early on in Act One, during a 1913 protest where over 5,000 women, wearing white, marched on Washington to demand the right to vote. In real life, suffragist and lawyer Inez Milholland led the procession astride a white horse, wearing a crown and cape. Suffs&nbsp;impressively recreates that moment, with the powerful Phillipa Soo coming out on a full-size replica of a horse as she sings "women of the country" as high and clear as a bell. It's a chest-thumping moment that shows what Suffs is capable of in its best moments.Suffs is the mostly sung-through new musical by Shaina Taub, who created the musical versions of Twelfth Night and As You Like It for Shakespeare in the Park. Suffs is Taub's first large musical and tells the story of the decades-long fight for the 19th Amendment, which gave women the right to vote.&nbsp;It's an impressive achievement. Taub wrote the book and the songs and stars as Alice Paul, the National Women's Party leader who helped organize that 1913 suffrage parade. The story primarily follows Alice as she encourages her fellow suffragists to do more publicly disruptive political actions, butts heads with the older generation of suffragists, and compromises the movement for equality by prioritizing white women over Black women.It's a complex undertaking, with a lot of behind-the-scenes strategizing and infighting to dramatize. Taub and the Suffs&nbsp;team mostly succeed, though at times, the musical feels like a history lesson.&nbsp;After that 1913 march, which comes about half an hour into Act One (Suffs clocks in at 2 hours and 45 minutes), Suffs loses its narrative momentum. Act One then dramatizes the conversations with President Woodrow Wilson, the forming of the National Women's Party, the campaign against Wilson's reelection, and the death of a suffragist. Because Taub musicalizes multiple protests, each subsequent rallying cry takes on a certain monotony. By the end of Act One, when the suffragists hold the first public protest in history at the White House, the emotional and historical impact is lost.&nbsp;The benefit of doing a musical instead of a play is that music can be used as a shorthand, to make audiences emotionally connect to characters without needing to know their entire life story. Unfortunately, aside from Alice's catchy "I want" song, where she sings that she will "be the one to finish the fight, the fight for equality," the other characters'&nbsp;songs are mostly musicalized biographies, all verses and no chorus.&nbsp;In one scene, Soo's Inez asks Taub's Alice if they can talk about something other than suffrage. This seemed like a moment to get to know each woman on a deeper level. Instead, the characters discuss their next protests. It's a missed opportunity to show the humanity behind the women doing the work and get the audience emotionally invested in them as people, rather than as characters in a history book. Even&nbsp;Hamilton, which is similarly character-filled and narratively dense, gives time to drinking songs and lets the characters "wait for it."The cast of Suffs is sprawling, with 19 actors, all femme-identifying, who play suffragists as well as men. Under Leigh Silverman's expert direction, the women give virtuosic and energetic performances — in one group number, they simultaneously play the female suffragists and the men who harass them. Under less sensitive hands, these gender-bending moments could be played for laughs, but Silverman gives them the necessary menace while giving the cast room to vamp (Grace McLean, as Woodrow Wilson, is a particularly skilled scene chewer).&nbsp;The many Broadway powerhouses in the cast, such as Nikki M. James as Ida B. Wells and Jenn Colella as Carrie Chapman Catt, navigate their dense songs with skill. Aside from Alice, they have limited time to make an impression. But it's the stage presence of those women, such as the slight swagger in the way that James's Ida walks, that ensures that the characters stay in your mind even when they're not on stage.&nbsp;The second act of Suffs is less dense and more narratively focused than the first, and the ending is masterful. Considering that women's rights and voting rights continue to be undermined, it would be disingenuous for Suffs to end on a note of victory. Taub smartly ends her musical with enough satisfying closure while leaving the story open.In entertainment, there is the assumption that women's stories are small, while men's stories are universal. Just as the suffragists broke down the doors of the patriarchy, Suffs&nbsp;breaks down the doors of musical theatre, showing that a cast and creative team of mostly women can tell a story that is important, powerful, and about all of us. With Taub leading it, the future of musical theatre is female, and it's about time.<a href="https://www.downtownmelody.com/_x/d3d3Lm5ld3lvcmt0aGVhdHJlZ3VpZGUuY29t/show/suffs" target="_blank">Suffs&nbsp;is at The Public Theater through May 15. Get&nbsp;Suffs&nbsp;tickets on New York Theatre Guide.</a>Photo credit:&nbsp;Ally Bonino, Phillipa Soo, Shaina Taub, Hannah Cruz, and Nadia Dandashi in&nbsp;Suffs.&nbsp;(Photo credit: Joan Marcus)

'Suffs' review — a historical and history-making musical

Suffs is at The Public Theater through May 15. Get Suffs tickets on New York Theatre Guide.

Suffs Off-Broadway Review | New York Theatre Guide

The **Music Box Theatre** is a beautifully arranged Broadway venue, poised for epic performances at the heart of New York City. Built in 1921 by playwright, producer, and composer Irving Berlin, the theatre possesses a fascinating history with a capacity of 1,022 seats. Decorated intrically with an azure blue ceiling painted with stars, the theatre's ambiance is known for its grace and elegance. The theatre is home to multiple Tony Award-winning shows. Current and past productions impress with their artistic directions, stunning sets, and outstanding performances. Whether it's an enchanting musical or a dramatic play, each exquisite performance magnetizes audiences from all over the world.

 _**How To Get to The Venue**_

The Music Box Theatre is conveniently located at 239 West 45th Street. By Subway, you can take N, Q, R, or W to 49th Street and walk down, A, C, or E to 42nd Street and walk up, or 1, 2, or 3 to Times Square 42nd Street. Multiple bus routes also stop nearby. If driving, there numerous parking garages in and around Times Square. It's a bustling area, so allow extra time for traffic.

Music Box Theatre - NY

Music Box Theatre

The Music Box Theatre, a historic Broadway venue in NYC, is known for its artistic productions and elegant ambiance.

The Mansion at Hudson Yards

Emily Skinner

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