New York, New York: A New Musical is the talk of the streets in New York City. It dazzles with a strong cast and claim as a love letter to the Big Apple. The new entry to the film-to-stage pipeline stars Dear Evan Hansen’s Colton Ryan and Dear Edward’s Anna Uzele. Based on the 1977 Robert Deniro and Liza Minelli film, the musical boasts original music from the legendary duo of John Kander and Fred Ebb. Lin Manuel Miranda also chimes in with new lyrics. Meanwhile, Susan Stroman choreographs and directs. The story follows wannabe starlet Francine Evans (Uzele). She journeys through the gritty world of 1946 New York City’s music industry facing racial prejudice. There, she meets and falls in love with Irish musician Jimmy Doyle (Ryan). It’s a cliché, sure, but still a captivating tale all the same.
Finding its home at St. James’s Theatre at west of 44th Street, New York, New York: A New Musical is only a few months into is run. Even so, it has already received several accolades under its belt. For example, it was nominated for nine Tony Awards. Scenic designer Beowulf Boritt also won ‘Best Scenic Design of a Musical’. Today, it releases the original Broadway cast recording! Ensemble member Akina Kitazawa is living that New York City dream of making it in America. Originally from Japan, she came to the US to try her hand at theatre in the grandest stage of them all – Broadway. Now, she’s part of the swing under Stroman’s guidance and also a dance captain for New York, New York: A New Musical.
To prepare for the release of its official recording, which features original demo tracks by Kander and Ebb, we interview Akina Kitazawa. We talk to her on all things New York, New York: A New Musical.
How did you make it to America – were you born or did you grow up in New York?
I was actually born and grew up in Japan, in Chiba next to Tokyo. It’s a Manhattan versus Queens kind of situation, so it’s not really far away from the main city. That’s where I was born and raised, and then I moved to in New York in 2016. Before that, in 2014, I first came to America to do a summer intensive program for one month. I stayed for three months because that’s the longest I can stay for sightseeing. I just fell in love with this city!
What made you want to be a part of theatre and what is it about performing that you like?
Even at four years old—I just loved dancing! When I hear music, my body just naturally moves. I danced at super random moments like on the street, in the park—wherever I hear music. My mom told me that one day, I was sleeping but my body was moving. It was as if I was dancing in my dream. Dancing and performing are my passions, so naturally, I’m going to keep doing what I want to do for my job. Everything that’s connected to the theatre, I love.
How different is theatre in Japan from your experience on Broadway?
We have two big musical companies. One of them usually adapts Broadway musicals – their script and choreography – for a Japanese audience. But I didn’t get any opportunities. I actually have never been able to get into the auditions. I needed an agent, and at that time, I didn’t have any so I couldn’t even go to the auditions. This was a time when I had to decide if I either kept doing a theatre job or maybe quit because I didn’t get any opportunities. I was also twenty-three at the time.
With that, I thought, “I always wanted to go to America in New York and learn theatre”. I gave myself one year to just learn and see what would happen. If nothing happens, I come back and attend auditions in Japan, and if I don’t get any opportunities, I’ll just quit. Luckily, I got so many opportunities here so I decided to stay. Seven years later and I’m still doing what I love.
Have you watched any other Asian performers that made you realize that dancing or performing on a big stage was possible for you as a Japanese woman in America?
I never thought that was a thing on Broadway. When I moved here in 2016, it was still hard as an Asian to get into Broadway shows – there were very few Asians in the community. But I didn’t realize so I was like, “Wow, this is so cool”. When I started getting auditions and started talking to my agent within the Broadway community, I started to realize that it’s really hard to get into Broadway [as an Asian]. Of course, there’s The King and I or Miss Saigon that need Asian actors. But other shows didn’t care that much.
I don’t remember who or which performance, but when I see other Asians on Broadway, I think to myself that this is possible and that my dream can come true. There were these people who got in, and they were the best of the best, and they got to this amazing place—and I want to be like them! Even if I don’t know them and they don’t know me, I feel like I’m part of it and I cheer for everyone; there’s definitely a connection there. Maybe one day, I can inspire some young people and let them know that anything can happen here.
Do you remember your first gig in dancing and performing arts?
Not professional, but I did summer stuff for high school and college students. That was the first one I did in Texas in 2016. The other thing I did was American Showstoppers which was a one-night-only concert. I did back-up dancer for them and that was fun! That was the first kind of theatre/dance job I did here. My first professional one, after I got my visa, was Swing the Musical. I did regional theatre and luckily the choreographer was one of the original company members in Swing the Musical on Broadway, so I got to do original choreography for regional theatre. That was my first one and it was so fun. I got to dance like crazy!
How did you get your role in New York, New York: A New Musical – from the audition, and then to the call that confirmed you booked the part?
For New York, New York I did self-tape and then went to the callback for in-person auditions. I saw the audition information and they’re specifically looking for an Asian female swing – I was most interested in being in ensemble and swing. Maybe Susan Stroman knew who she wanted, so the audition process was really quick. But then I didn’t hear anything back for two weeks so I thought I didn’t book anything. One day, two weeks later, I just got a phone call from my agent saying that I got a part in New York, New York as swing and dance captain! I was like, “Are you kidding me? English is my second language, do they know that,” I asked my agent and they were like, “I think so”. That’s how I got into New York, New York.
The callback was end of September, then I got the phone call on October 17. That was Monday and I remember that was the day before I started Radio City. I guess on that day, I felt like something would happen. Because I went to the DMV thinking that I would have to stay there for a couple of hours. Because they usually take a long time to do everything! But I was just there for ten minutes. I thought it was a lucky day and maybe something was going to happen. When I got home, I immediately took the phone call. That was a lucky day.
What’s your relationship like with the rest of the cast members? Who have you grown closest with throughout this journey?
With the cast, I only knew a couple of them before the rehearsals started. I was like, “Yay, we can finally perform and work together”. I also made some new friends – they’re so talented and friendly, they have passion and energy. They know what they want and they have so many dreams! It’s just so fun to work, talk and hear their stories. I’m especially close with my swing friends. We talked about the dog I just adopted. I was asking everyone who has a dog what should I do for the puppy. It’s just random stuff or things related to the show. I share my story of how I moved to America, and other people share their stories as well. It’s fun to know other people’s stories of why they moved to America or why they started theatre. It also inspires me a lot.
What’s your favorite memory tied to New York, New York: A New Musical – whether that be rehearsals, opening night, or a particular performance that stays with you?
I just got a new nickname—some people call me ‘Doughnuts’. The rehearsal studio we were in, Open Jar, was right next to Krispy Kreme Doughnuts in Time Square. We can smell the doughnuts in the lobby. That was really bad because I kept buying Krispy Kreme Doughnuts almost everyday! Specifically, Ben Davis, he called me ‘Doughnuts’.
Also, I kept buying chocolate for everyone during the rehearsal. Everyone kept coming to my table saying, “Oh, this is bad” because people are eating chocolate. For me, I just felt guilty eating chocolate by myself, so I thought about giving it back to everyone else. Let’s share the calories, come on, sugar!
Then during the tech—our theatre is close to Shake Shack and Joseph Kander would talk about how he just bought Shake Shack before coming to the tech. Those legends got Shake Shack, so I have to get Shake Shack! Just collecting different kinds of inspiration from them. Of course, I get so much inspiration for the theatre side of things, but also the little things like getting Shake Shack.
In my swing room, I share it with Haley Fish, Vanessa Sears – she’s the understudy for Francine – and Lauren Carr. We don’t tell anyone but we just keep buying chips and eating everyone’s chips, and then the next time someone refills, over and over again. We don’t say anything, we don’t assign who’s getting the chips. But we just always have chips in our dressing room!
If you had one quote, to sum up your experience in New York City, what would it be?
I’m the luckiest one—I’m the luckiest girl in the world. It’s just amazing, wonderful—there’s no negative word for it. It’s the best city to ever live in, New York.
That’s a wrap on this Akina Kitazawa interview. Today is the release date for the original Broadway cast recording of New York, New York: A New Musical. Are you excited to hear the musical in clean and crisp studio recording? Which songs are you most excited to finally listen to on repeat? If you want to watch the magic in person for yourself, grab your tickets here now! Tell us all your thoughts on the release over on our Instagram or Twitter! Also read our previous article, a review of Tuesday By Alison Carr @ Saint Patrick’s College, Ballymena.
