Sutton Foster

Once Upon a Mattress (New York City Center Encores!)

January 30, 2024

Of course, in true American musical theater form the elegant Princess has been transformed into the bedraggled and uncouth Winnifred (Foster, in her best goofy guise, proving her talent knows no boundaries). Winnie answers the call to audition to be the bride of the equally goofy Prince Dauntless (Michael Urie, funny, but hampered by his material’s lack of sophistication while taking a busman’s holiday after recently departing from "Spamalot)". The marvelously imperious Harriet Harris plays Dauntless’ mother, Queen Aggravain married to the mute, but highly communicative King Sextimus the Silent (David Patrick Kelly, adorable). [more]

One Night Only: An Evening with Sutton Foster & Kelli O’Hara and The New York Pops

November 24, 2023

The pairing of Broadway legends Sutton Foster and Kelli O’Hara proved felicitous just like the previous pairing of Julie Andrews and Carol Burnett, with each lady using her special gifts: Foster was best in the comic moments and O’Hara was ravishing in the semi-operatic musical numbers, just as had been Burnett and Andrews in their three concerts. Backed by the glorious New York Pops orchestra led by Maestro Steven Reineke, Foster and O’Hara made the most of this unique concert staging directed by Dick Scanlan. The many uncredited costume changes put the singers in either stunning red, black or white outfits. Throughout the evening the singers were supported by their own music directors at the piano, Dan Lipton for Kelli O’Hara and Michael Rafter for Sutton Foster. "One Night Only: An Evening with Sutton Foster & Kelli O’Hara" proved to be a memorable evening and one that is hoped to be the first of many. [more]

Anyone Can Whistle

March 20, 2022

Although when MasterVoices chose the third of the four Stephen Sondheim/Arthur Laurents collaborations, "Anyone Can Whistle," as part of their 80th season at Carnegie Hall, they had no way of knowing that it would prove to be a memorial to the late Mr. Sondheim rather than a tribute. This rarely revived show, now considered a “cult classic,” a euphemism for a quick flop in 1964 running only nine performances, was ahead of its time, attempting a new form, one that Sondheim has called “the first absurdist musical.” Performed by stars Vanessa Williams, Santino Fontana, Elizabeth Stanley, Douglas Sills, Eddie Cooper, Michael Mulheren, and Joanna Gleason as the narrator, it was beautifully sung under the direction of maestro Ted Sperling, but can’t hide the fact that Laurents’ libretto is extremely scattershot taking on far too many targets for one show. Subtitled “A Musical Fable” in its first publication, the musical is really a cartoon satirizing everything imaginable. The theme is one of individualism versus conformity, a big trope for shows and movies in the turbulent 1960’s, now symbolized by the more famous "King of Hearts" (1966), "Your Own Thing" (1968), "HAIR" (1968) and "Easy Rider" (1969). [more]

The Music Man

February 22, 2022

Because of changing social mores, some Broadway musicals are assumed to make audiences uncomfortable today. Take for example Rodgers and Hammerstein’s "Carousel" whose protagonist is a wife-beater. The recent revival did everything in its power to mitigate this problem but did not succeed. Now we have the long awaited revival of Meredith Willson’s "The Music Man" starring film megastar Hugh Jackman as Professor Harold Hill and two-time Tony Award-winner Sutton Foster as Marian Paroo, the librarian and music teacher. The problem the director and producers had with this classic piece of Americana, set in 1912, is that the hero Professor Hill is a con-artist and a serial seducer with whom we are supposed to be sympathetic. However, in 2022 this is an obstacle in an era when lovable rogues are not acceptable as heroes. As a solution, Jackman has been directed by Jerry Zaks to play Harold Hill as low-key and muted as he possibly can. What this does is straitjackets Jackman’s personal charm and charisma which he normally has in spades. The result is an undercooked Music Man even though it has been given a big, expensive production – six Tony Award winners on stage and six in the production team - maybe the starriest cast in New York right now. [more]

A Few Thoughts on Those Needless Changes to “The Music Man”

February 21, 2022

I want to be clear. "The Music Man" is such a masterfully written musical that making some changes here and there can’t really ruin it; but changes are not needed in this show and they certainly don’t help. I believe in the old saying: “If it ain’t broke, don’t fix it!” I also believe, as Tommy Tune once told me years ago in discussing a different show, many producers and directors feel a need to tinker with shows, making changes for the sake of making changes, even when the wiser choice would be to simply leave things alone. There’s just that desire to “improve” things, whether or not the changes actually improve anything. [more]

Sutton Foster: “Bring Me to Light”

April 30, 2021

Sutton Foster, one of the shining lights of New York City’s currently dimmed theater scene, glowed in Sutton Foster/Bring Me to Light. Her voice and interpretations were the richest they have ever been. Add to this her choice of repertoire and her talented guests and Bring Me to Light is a beacon of light in a dark year. As we see New York City Center’s backstage staff prepare for the performance, Foster performed the Rodgers and Hammerstein classic “Cockeyed Optimist” segueing to Stephen Sondheim’s “Everybody Says Don’t” and Kander and Ebb’s “Yes,” all upbeat, optimistic songs that should resonate with today’s pandemic-strained audiences. [more]

Sweet Charity

December 28, 2016

The real reason to see the new "Sweet Charity," its third major New York revival, is for Sutton Foster’s bravura performance. Aside from nightclub singer Reno Sweeney in Anything Goes, Foster has usually played innocent, clean-cut young women caught up in unusual situations. Here she again plays to type – but with a difference: Charity Hope Valentine works as a taxi dancer in a New York dance hall, a sleazy environment. However, she keeps her infectious innocence and her indomitable spirit despite one unfortunate romantic encounter after the other due to her gullibility. Under Leigh Silverman’s direction, Foster may just be the most convincing actress to ever play Charity. [more]

The New York Pops at Forest Hills Stadium with Sutton Foster

August 11, 2015

“The epitomy of a true triple threat performer,” was how Mr. Reineke introduced Ms. Foster. “I’ve never been here or sung outside with a big orchestra before” was her sweet response to the huge audience response. First clad in a slinky blue dress, she later changed into a tailored gray tunic and then into a striking black gown with rhinestones. Her versatility was ever present as she opened with the thrilling Duke Ellington collaborative composition, “I’m Beginning to See The Light.” Then it was on to rollicking renditions of “Anything Goes” and “I Get a Kick Out of You,” from that Broadway revival for which she won her first Tony Award. [more]

The Wild Party

July 18, 2015

Sutton Foster is electrifying as Queenie the sexually insatiable nightclub performer who incites men to violence in this revival of the 2000 Off-Broadway musical The Wild Party. Lean and fierce and slinking around in a taut white sequined flapper dress and wearing a curly blonde wig, Ms. Foster’s star quality and performing talents are on dazzling display in this problematic Jazz Age ode to decadence. She continues to grow in her versatile stage career that has included such light shows as "Thoroughly Modern Millie," "The Drowsy Chaperone," "Shrek," "Young Frankenstein," and the more recent serious "Violet." [more]

The New York Pops 32nd Birthday Gala: “The New Golden Age”

May 12, 2015

Maestro Steven Reineke, backed up by the largest pops orchestra in the United States, took us on an astonishing musical journey. The song selections made the perfectly-paced concert one of the most memorable nights of music in the past decade. [more]

New York Pops: “One Night Only: Sutton Foster”

March 19, 2015

The concert’s triumph was due largely to its headliner, the incomparable Sutton Foster. Since her Tony Award-winning portrayal of the title character in the 2002 Broadway production of Thoroughly Modern Millie, she has proven herself to be one of the most versatile leading ladies to grace the Great White Way. Her brassy, yet lithe voice soared over the melodies of Cole Porter classics; her feet glided precisely across choreographer Michelle Elkin’s tap number (yes, a tap number at a New York Pops concert!); and her storytelling chops shone during heartrending takes on a couple of choice Sondheim ballads. She is a true triple threat in a way that most, if not all, of her Broadway diva contemporaries simply are not. [more]

Violet

May 2, 2014

An interesting and touching early musical from the composer of "Shrek," "Caroline, or Change," and "Fun Home." It may be in keeping with the notional scar, but sometimes "minimalist" fades into "generic." An inherent problem with the show, it's possible that even a small Broadway house like this one (740 seats) will always be too big. The climactic sequence, following Violet's discouraging experience in Tulsa, takes place mostly in Violet's head and as such is almost unstagable, and in any case hard to understand. Last and most problematic is that these soldiers react relatively casually to Violet's allegedly repellent deformity. [more]

Little Women

February 28, 2005

What power the show has rests on the shoulders of Sutton Foster, the engaging performer and Tony winning star of "Thoroughly Modern Millie." Foster gives an amusing performance, marked by her tomboyish striding about in long skirts. Her robust body language and broad facial expressions get the laughs they deserve and are apparently meant to be slightly at odds with the quaintness of the rest of the musical. [more]