Al Smith, four term governor of New York, was raised across from the Brooklyn Bridge for which he developed admiration and respect. Losing the 1928 election, he resolved to build the world’s tallest skyscraper and cement his legacy. Smith partnered with John J. Rascob who owned the land and Walter Chrysler. Construction of the 102 story Empire State Building (plus blimp docking post) symbolically began on March 17, 1930, St. Patrick’s Day. Just 13 months later, it opened on May 1st, 1931, a record.

“Raskob hired Shreve, Lamb and Harmon to be the architects for his new building. It is said that Raskob pulled a thick pencil out of a drawer and held it up to William Lamb and asked, “Bill, how high can you make it so that it won’t fall down?” ^{Jennifer Rosenberg for ThoughtCo}

Writers Caroline Sherman and Robert Hull have framed their story of the challenges, courage, skill and grit to construct this New York icon with character Slyvie Lee’s search for identity. (Tonight played by the excellent Julia Louise Hosack) Sylvie’s deceased Mohawk* mother was involved with the building in a way never made clear to her daughter; her Polish father fell to his death during construction. (Well handled in the piece.)

At root, this is a musical about people, not concrete or numbers. A scene near the end when everyone anticipates failure, has those involved reading aloud post cards from overstuffed mail sacks. They all anticipate being damned. Instead, people write relating to the optimism the building represents. One wonders whether the content was authentic.

As Sylvie goes through mom’s surprising papers, her Aunt Frances “Wally” Wolodsky (triple threat Kaitlyn Davidson – brava) appears, to play out the scenario of what occurred. It seems Wally was the secret mover and shaker behind Al Smith (Paul Salvatoriello), John J. Rascob (Howard Kaye also splendid as foreman Abe Klayman), and Wally’s former fiancé, architect Charles Kinney (Albert Guerzon, who swallows lyrics.) The men sing a vaudevillian “Moxie” with flair.

Wally was tasked with hiring, securing supplies, even PR. No research I’ve done has come up with a woman in this position, but it makes a good plotline. She gives a helluva pep talk, perpetually covering for the men who take credit.

The Empire State Building went up in the depths of the Great Depression. Bread lines were everywhere; unemployment rate was 15.9 percent. Though offering jobs appealed to city government, citizens objected to not focusing on homes for the poor and destitute. Franklin D. Roosevelt, then governor of New York, spoke at the ribbon-cutting ceremony. The new skyscraper, he said, was a symbol of “vision and faith.”

We meet a variety of immigrants working on site, many, initially prejudiced. Some are in it for the money, some for adventure, some for glory. Billy Betts (Joel Douglas), a corn-fed Midwestern boy, hitched to New York determined to get a job on site. Ethan O’Dowd (J. Savage) has promised his pregnant wife Emily (Morgan Cowling – good accent) to work inside. When the moment comes, however, he steps up proudly – and onto a suspended girder. The Italians and Polish are at odds. Sylvie’s determined, young mom, Rudy (Kiana Kabeary) and sympathetic dad Joseph (Devin Cortez) have a dangerous secret.

There’s so much going on, you’ll be lucky if you can keep track. What might be an interesting and entertaining show cries out for serious editing. Several characters could be jettisoned. Mrs. Janet Arthur (Alexandra Frohlinger), head of the Fifth Avenue Association, is completely expendable as is the speakeasy chanteuse played by April Ortiz, whose good voice rises while the cast sits around.

Scenes could be successfully cut. (We really don’t need the speakeasy to know when we are or a number with office staff.) Sylvie is not well integrated, seeming time and again as if she’s awkwardly wandered into the wrong play. Too many characters get songs; dance numbers run long.

The company is multi-talented, voices exemplary.

More than a few songs are well written. Caroline Sherman and Robert Hull have talent for both the jaunty and ballads. Lyrics are most often uncompromising – i.e., a song says what’s intended without taking an easy way out. The book is lively and informative. It’s just long.

Director Cady Huffman, who knows her way around a musical, keeps this one animated. Cameo roles are deft. Use of the complicated set is evocative and varied with men literally climbing walls, on platforms, ropes, and girders, front and back. Huffman skillfully manages intimate moments as well as a stage full of players. Background miming of construction works well.

Walt Spangler has excelled with scenic design. Movable stairs, levels, platforms, beams, ropes – we’re clearly at an industrial site. There’s just enough period furniture. A rear, lower level of the set allows people to come and go with heads visible adding realistic departure. (An unused chandelier with hanging spider webs remains puzzling.) Jamie Roderick’s lighting adds immeasurably. Costumes by Tina McCartney are wonderful – from attractive 20s garments to good looking shoes.

Choreography by Lorna Ventura is terrific – robust and fresh.

When production values are overall better than a show…the saga needs revision.

Photos by Matthew Murphy

*According to the Journal of American Indian Education, Mohawk culture values “physical bravery” and the ethic of taking risks for the greater good of the people. Members of the tribe, often called “skywalkers” have been employed in the construction of skyscrapers for 140 years.

Empire
Book, Music and Lyrics by Caroline Sherman and Robert Hull
Directed by Cady Huffman
Music Supervision and Orchestrations by Lena Gabrielle

Through September 22, 2024

New World Stages 340 West 50 Street