"Sunday In New York" Soundtrack Lyrics

"Sunday in New York (Christine Ebersole & Billy Stritch) – Album Guide to Tracks and Key Moments

Overview

Looking for a 2008 “musical” titled Sunday in New York? Here’s the twist — 2008 gave us a recorded cabaret/jazz vocal album rather than a new stage musical. Two-time Tony winner Christine Ebersole and pianist–vocalist Billy Stritch turned their New York nightclub act into a studio release called Sunday in New York — a love letter to classic songcraft and the city that inspires it. Think intimate club lights, deft swing, and a program that hops from Broadway standards to cabaret gems.

The title nods to the 1963 Jane Fonda film Sunday in New York (theme by Peter Nero; lyric by Carroll Coates), whose song Ebersole and Stritch reinterpret here. Styles move in phases — cabaret swing for city strut, Broadway standards for romance and wit, ballads for late-night quiet — all wrapped in close-miked warmth that feels like a small table by the piano.

How It Was Made

The pair captured material honed at venues like the Metropolitan Room and Birdland, then recorded a 13-track set for Sh-K-Boom/Ghostlight with legendary producer Russ Titelman. The album dropped on May 13, 2008, running about 39 minutes — a tidy arc from breezy opener to closing hush. The trio sound (piano, bass, drums) keeps things nimble; Ebersole and Stritch trade leads and harmonies, slipping from Rodgers & Hammerstein to Sondheim without breaking stride.

Tracks & Moments

Key cuts and how they “play” on record (track numbers correspond to the commercial album).

“Sunday in New York” (Peter Nero/Carroll Coates)

Where it appears:

Track 2. The title tune from the 1963 film, reset as urbane swing.

Why it matters:

Establishes the album’s premise — a city-miniature in wry, airy phrasing.

“My Favorite Things” (Rodgers & Hammerstein)

Where it appears:

Track 3. Piano-driven, brisk; leans more club than carousel.

Why it matters:

Shows the duo’s pocket — reharmonized corners, quicksilver tempo.

“Surrey with the Fringe on Top” (Rodgers & Hammerstein)

Where it appears:

Track 4. A canter that loosens into sly swing.

Why it matters:

Turns a Broadway chestnut into a sidewalk strut.

“So Many People” (Stephen Sondheim)

Where it appears:

Track 5. From Saturday Night; sung like a secret.

Why it matters:

Quiet ache; Ebersole’s conversational phrasing lands the confession.

“Errand Girl for Rhythm” (Nat King Cole/Johnny Mercer)

Where it appears:

Track 8. Snappy vocal–piano call-and-response.

Why it matters:

Club sparkle — Stritch’s rhythmic nudges keep it airborne.

“Walkin’ in New York / Walking My Baby Back Home” (medley)

Where it appears:

Tracks 9–10, sequenced as a city-stroll diptych.

Why it matters:

A postcard of sidewalks and shop windows; bass and brushes paint the frame.

“What’ll I Do?” (Irving Berlin)

Where it appears:

Track 11. Half-whispered, with room for resonance.

Why it matters:

Berlin’s simplicity lets Ebersole float a pristine, unforced line.

“Not While I’m Around” (Stephen Sondheim)

Where it appears:

Track 12. Intimate and protective, almost a lullaby.

Why it matters:

Sondheim as candlelight — the arrangement trusts the lyric.

“Sunday in New York (reprise vibe)” — closing arc

Where it appears:

Track order arcs from breezy day to nightcap ballads.

Why it matters:

The sequencing itself plays like a one-set cabaret with an encore.

Notes & Trivia

• The album was released by Sh-K-Boom/Ghostlight on May 13, 2008; producer: Russ Titelman.
• Personnel commonly listed: Ebersole (vocals), Stritch (piano/vocals), plus Steve Doyle (bass) and Tony Tedesco (drums) on the session.
• The title song originated in the 1963 film of the same name; pianist–composer Peter Nero wrote the theme, with a lyric by Carroll Coates.
• The program grew out of a sold-out club act developed at the Metropolitan Room/Birdland before heading into the studio.
• Streaming editions mirror the 13-track CD, running ~39 minutes.

Music–Story Links

Because this is a cabaret album, the “story” is in the ordering. City swing (Sunday in New York) sets the scene; Broadway standards sketch character and romance; Sondheim cuts (So Many People, Not While I’m Around) tighten focus; Berlin’s What’ll I Do? dims the lights. It’s the arc of a Sunday spent in Manhattan — streetlight to taxi home.

Reception & Quotes

Coverage praised the polish and intimate scale: a singer–pianist conversation produced with studio finesse.

“Ebersole and Stritch come out a-swinging… an irrepressible ride.” — Playbill, “On the Record”

“She sings as if for you alone.” — Broadway.com feature

Interesting Facts

• Label lineage: Ghostlight is the theater imprint of Sh-K-Boom; releases sometimes appear under either banner.
• Film roots: The 1963 movie’s title song (Nero/Coates) has also been covered by Mel Tormé — the album tips its hat to that cool-school lineage.
• Club-to-disc: The set list was refined in NYC rooms, then tracked with minimal overdubs to preserve “live” interplay.
• City miniatures: The sequencing functions like a stroll: uptown polish → midtown bustle → downtown hush.
• Catalog neighbors (2008): The album shares a release year with Sh-K-Boom/Ghostlight staples like In the Heights and Passing Strange.

Technical Info

• Title: Sunday in New York (Christine Ebersole & Billy Stritch)
• Year: 2008
• Type: Cabaret/jazz vocal album (not a new stage musical production)
• Producer: Russ Titelman
• Label: Sh-K-Boom / Ghostlight Records
• Length / Tracks: ~39 minutes / 13 tracks
• Selected titles: “Sunday in New York”; “My Favorite Things”; “Surrey with the Fringe on Top”; “So Many People”; “Errand Girl for Rhythm”; “Walkin’ in New York”; “Walking My Baby Back Home”; “What’ll I Do?”; “Not While I’m Around”.
• Availability: CD & major streaming platforms.
• Context note: The title comes from the 1961 play/1963 film; the 2008 release is a studio album by Ebersole & Stritch.

Questions & Answers

Is this a stage musical from 2008?

No — it’s a 2008 studio album of cabaret/jazz standards by Christine Ebersole and Billy Stritch.

Who produced the album?

Grammy-winning producer Russ Titelman.

What label released it?

Sh-K-Boom/Ghostlight Records; streaming listings attribute it to Sh-K-Boom.

What’s the connection to the 1963 film?

The title track is Peter Nero & Carroll Coates’ song from the film — reinterpreted here.

Where can I hear it?

It’s available on major platforms (Apple Music, Spotify) and on CD via theater retailers.

Key Contributors

Sources: Apple Music & Spotify album listings (date/label/length); Playbill “On the Record” review; Broadway.com feature; Discogs release notes (credits); All About Jazz release announcement; TheaterMania & Cabaret Scenes coverage of the live act; Wikipedia entries on the 1963 film and Sh-K-Boom’s 2008 catalog.

November, 27th 2025