The show: The Broadway musical "New York, New York"

What makes it special?: Very loosely inspired from the 1977 Martin Scorsese film that starred Liza Minnelli and Robert De Niro , this time with top creative Broadway talent crafting a stunning, re-imagined version.

Well, that was a depressing flop of a musical film: Yep and only now remembered — if at all — for a handful of terrific John Kander-Fred Ebb songs (including you-know-which-one that has become so ubiquitous one can't imagine wanting it hear it again). But wait. Trust me. You will — in a show-stopping ending that ranks with the best of Broadway.

So cut to the chase, whatcha think:? Simply put, "New York, New York" is the best musical of the season, bringing joy, heart and theatrical wonder back to Broadway — and the city.

Well that sounds like a rather corny quote: The musical sort of makes you appreciate sentiment, romance and our (sometimes) love of New York. The city. And this show.

So what makes it so good when the film wasn't?: The film's downbeat story of two mismatched musical lovers just after WWII in New York has been re-conceived, expanded and polished into a glorious new tapestry of a musical under the brilliant direction of Susan Stroman, who is the best musical theater director (and choreographer, too) of her generation. Maybe even several. Her ever-inventive, cinematic-fluid but always emotionally grounded work here is among her best, and this from a theater artist who staged "The Producers," "Contact," "The Scottsboro Boys" and many, many others.

But the story of that abusive husband? What a bully and a cad: The musician husband is still now troubled but essentially caring — and now someone who you can root for. Librettist David Thompson and Sharon Washington has smartly reimagined the tale, softening the psycho-drama of the film and the leads’ relationship, making it more romantic and aspirational. They make it something much more than a melodrama and turn it into a story of hope, set in a time of change, placed in a city of possibilities — and with characters you are invested and care about and are emotionally invested in their fates. The details of the multitude of characters, through sketchy at times, are, despite the archetypes, always clear, purposeful and human to the core.

The cast?: Couldn't be better. Colton Ryan ("The Girl from North Country,") gives a star-making performance as the out-of-work musician haunted by tragedy. But unlike the film, his character, though still flawed, is redeemable, not to mention sexy, charming, and truthful. With Ryan's sterling chops nailing each number, he is totally beguiling.

No wonder newly arrived singer Francine, played by Anna Uzele (who dazzled me in "Six"), falls for him quickly — but not too quickly. Uzele gives Francine awareness, intelligence and agency to her character and when she sings "Let's Hear It For Me" who would disagree? Another star performance.

The featured cast playing diverse New Yorkers (some newly arrived, others well-seasoned residents) is also splendid. Each is funny, touching, and fabulous in their own individual turns , all contributing in their own way to this meticulously constructed tapestry of the city where anything can happen — which is what the work is now about.

Emily Skinner as a voice teacher, Angel Sigala as a Latino musician, Janet Dacal as his loving mother, Clyde Alves as an Italian wingman (and what a dancer!), Oliver Prose as a striving Jewish refugee hoping for Juilliard, Ben Davis as a wily producer, and John Clay III as a black trumpeter looking for a break: all with their musical moments, all memorable.

Actors in small parts and ensemble members make memorable impressions, too: Jim Borstelman gets applause with just a look and an attitude, Gabriella Enriquez is a dancing dream that sparks Alves' character's libido, Allison Blackwell in a fabulous operatic turn of events. Many others, too.

The score? Masterful. Songs that you think you know are presented in a fresh way: When Ryan sings "A Quiet Thing" (a song from "Flora, The Red Menace"), it's so privately tender you might cry with happiness, too. (I was verklempt.) When Uzele steps up to the microphone for "And the World Goes Round" (from the film) she manages to make it part of her musical signature, too. John Clay steps out of the shadows to deliver a haunting "Light" (repurposed and retitled from "The Happy Time") and the result is transformative. And the new songs (some with additional lyrics by Lin Manuel Miranda) are all delicious delights., too

And the production values?: The musical delivers in every way that an audiences paying big bucks should expect — and deserve — from a big Broadway musical. In a season of spare productions, it's thrilling to see the best of Broadway’s designers working at the top of their craft. There's Beowulf Boritt's masterwork of a set design, capturing not only multiple iconic settings of New York in a gorgeously interpretive way (aided by projections by Christopher Ash), but also the city in all its seasons. Donna Zakowska dazzlingly costumes the large cast with specific period polish and character detail. And I can't remember the last time I teared up with a lighting design and in this production Ken Billington's work elicited several such moments. Oh, and did I mention Stroman’;s choreography is the best of the season, full off her trademark wit and imagination and care.

Bottom line: This is the show I would love to return to and bring friends and relatives, too.

One more thing: I remember interviewing Scorsese years ago and we talked about remakes and he said it’s best to remake something that wasn’t a classic or great but had the potential to be great. Point taken here to a resounding yes.