ANYTHING GOES Reviews- Page 4

[wexy]

Posted: 4/8/11 at 10:56am

I thought this was a great production. I don't focus like many people here do if they like someone or not.
All I know is that Sutton nailed the sucker.
With my second/third row Roundabout seats that I have had for years sometimes I can see the people think in their eyes.

You could see in the whole company's eyes that they nailed it and they were having a great time doing so.

[Ryan4]

Posted: 4/8/11 at 11:10am

Is it common for Tony voters to go before a production has opened? Certainly they wouldn't be invited during previews...

I'm not convinced that there's any strategic road presenter voting happening in this category. As any marketing guru would say, there's exactly one Tony award that matters.

[Michael Bennett]

Posted: 4/8/11 at 11:30am

Of course Tony voters often go to previews- discreetly and on their own dime.

And I think most marketing gurus would argue that most audiences don't give more than cursory observation to what Tony a show wins- being able to say any show is a "Tony Award Winner" is far and away the most important thing regardless of category.

And it matters in a year when most of the awards are likely going to be dominated by one or two shows.

[BroadwayGuy12]

Posted: 4/8/11 at 11:36am

It was nice to see some of these positive reviews, especially the one from Brantley. I really enjoyed the show when I saw it and loved Sutton Foster, so I was happy to see that others agreed. I would love to see her take home another Tony (granted, I haven't seen Miller in Sister Act yet).

[Ryan4]

Posted: 4/8/11 at 11:39am

I'd love for that to be the case, it'd be good for everyone, but it's just not true. Time and again I've heard the same thing from people who have worked in marketing on Broadway for decades: best musical is the only one that matters.

[hockeynut2]

Posted: 4/8/11 at 12:42pm

Here is Richard Seff's review on DC Theatre Scene. If you saw the show let our DC area readers know what you thought by leaving a comment on DCTS after the article.

Broadway performer, agent, writer, and now librettist, among his many accomplishments, Richard Seff has written the book for Shine! The Horatio Alger Musical!, which debuted at the 2010 New York Musical Theatre Festival.

He is also author of Supporting Player: My Life Upon the Wicked Stage celebrating his lifetime on stage and behind the scenes.
Richard Seff reviews 'Anything Goes' on DC Theatre Scene

[Eris0303]

Posted: 4/8/11 at 12:52pm

Did Seff do ANY homework before writing that piece? It's an insult to real journalists who actually do research before they start writing.

He gives credit to Marshall for all of the changes. Um, what? I saw the show when I was in middle school and it was the same production that I saw at the Sondheim on Saturday.

I think the creative staff agreed it had a gen-u-ine star in Ms. Sutton Foster, who was brought aboard to play Reno Sweeney, the role that shot Ethel Merman into the big time first time out. So they wisely upped Reno from a supporting role to a starring role, and Sutton Foster will never be below the title again.

THIS creative staff had nothing to do with that. Reno was considered "lead" long before Marshall and crew got their hands on it.

Colin Donnell and Laura Ostes are the romantic leads that could hop from this one to Show Boat to Rio Rita to Seven Brides for Seven Brothers etc, etc

Who the crap is Laura Ostes?

There are novelty numbers which get lots of laughs; a ridiculous show stopper for Adam Godley as the silly Lord Evelyn Oakleigh, a song called “The Gypsy In Me”, which he shares with Ms. Sutton, a change from the original production’s pairing of Lord Evelyn with the so-called leading lady “Hope Harcourt”. Very clever of Ms. Marshall, for it offers us yet another color to this Reno Sweeney

This was not Kathleen Marshall's change

One choice I will question: I can’t figure out why it was decided to give the “eleven o’clock number” to a character who’d been way down on the support list until her big moment with “Buddie, Beware” Perhaps Ms. Marshall felt that with Reno inhabiting the “Gypsy” song, balance required someone else to do the final song. Jessica Stone, who got the big break, certainly held the stage with it. But for me, the more Reno the better.

Buddie Beware came at that point in the show when I saw it in 1990-something. So, I don't see how it was Kathleen Marshall's idea to just drop it there.

Updated On: 4/8/11 at 12:52 PM

[PalJoey]

Posted: 4/8/11 at 1:49pm

I've got my tickets for two weeks from now.

[allofmylife]

Posted: 4/8/11 at 6:11pm

And, of course, Merman was already a sensation from "Girl Crazy" three years earlier.

[Hank]

Posted: 4/8/11 at 7:03pm

I was so excited when I first heard about this production, and am thoroughly pleased to see these reviews. I'll be back to see it again June 14, first performance after the Tonys. Can't wait.
Yay Sutton!

[justafan2]

Posted: 4/9/11 at 2:32pm

Here's Robert Feldberg's review (Bergen Record)-- He loved it!

http://www.northjersey.com/arts_entertainment/theater/119458339_As_much_fun_as__Anything__gets.html

[Patash]

Posted: 4/9/11 at 6:48pm

I've never heard of Richard Seff before, and I'll be happy if I never hear of him again. He's a complete idiot when it comes to writing theatre criticism. Why on earth would anyone write any of that crap without checking it out first? I'm surprised he didn't compliment Ms. Marshall on her choice of songs for the show.

I'm still trying to figure out Joel Grey in all this. Early reports here from previews seemed to be calling him anything from "dull" to "lost" to "just plain awful". But I can't even get a good handle on what the critics thought of him. Most seem to offer lukewarm praise for him at most, but nary a single outright rave that I've seen. Try as I might, I still can't picture him in the role -- but I'm sure anxious to see this production the second week of May. One of my favorite sightgags in the show is the usual big gangster-like Moonface in much too small priest's garb -- do they try to reverse it here with the little guy in an oversized one? I just don't get the humor of Public Enemy #13 who wants to be #1 looking like Amos in Chicago.

[OlBlueEyes]

Posted: 4/9/11 at 9:19pm

Easily the biggest audience response at today's matinee was the "Anthing Goes" production number that ended the first act.

And deservedly. Sutton Foster, initially at the third, top level of the three level set representing the ship, sings the verse and the chorus, while working herself down to the lower level. Then the entire ensemble of thirty, led by Foster, launches into a six minute plus tap extravaganza at the end of which Sutton, without seeming in the least winded, closes out the "Anything Goes" vocal and the first act to a very enthusiastic response by the audience.

I had never seen Sutton live on stage. She doesn't have the vocal chops of a Kristin Chenoweth or Kelli O'Hara, but she doesn't really need them here. What she does have is great stage presence and likeability. I can't even comprehend the pressure on a single 36 year old young woman to anchor a show on which so many will be affected by its success or failure. And she comes through.

I also admired the beauty and charm of Laura Osnes. I did not see her in South Pacific, as I saw the show the first week that Kelli O'Hara returned from maternity leave, but the two times that she successfully replaced Kelli must have done wonders for her self-confidence. In the dance segment to "It's De-Lovely," in which they look like they are attempting to copy Astaire/Rogers, with a little more practice with her partner she may move on the Ginger scale from good to special. She has the grace.

The book was weak as expected, but I was pleased to see that about 50% of the gags were actually funny and well received by the audience.

At the end of the curtain call, after Sutton had come out, the entire ensemble broke into about a minute of song and dance, which was well received by the audience. Is this a trend in Broadway musicals?

Despite the extra entertainment by the cast, I belive that they got only about half a standing ovation. Broadway is a tough business. New York is a tough town.

If I have mis-stated anything about the events of the production, it is only because my short-term memory grows only worse with age.

[[e-mail]]

Posted: 4/9/11 at 9:35pm

Has anyone tried to rush this lately??

[Patash]

Posted: 4/9/11 at 9:37pm

OlBlueEyes, I did have the pleasure of seeing Ms. Osnes in South Pacific and she really blew me away. She was glorious. But more recently I saw her (in Sarasota) as Bonnie in Bonnie and Clyde. If that show does indeed come to Broadway this next season, she will really have come into her own. And I'm delighted she has gotten such great comments as Hope in Anything Goes, a role that often goes almost unnoticed.

[Blockhead24]

Posted: 4/9/11 at 9:44pm

I rushed on Sunday got there at 8:15ish, was first on line and people didn't get there until around 9:30..seats were in the boxes.. all four of us in line got in


and re: Laura--I saw her in SOUTH PACIFIC twice and I loved her..didn't watch the tv show so I had no idea what to expect from her but she was wonderful Updated On: 4/9/11 at 09:44 PM

[[e-mail]]

Posted: 4/9/11 at 10:57pm

Thank you so much for the info Blockhead!! I'm really hoping to catch this show ASAP!

[OlBlueEyes]

Posted: 4/10/11 at 12:02am

Patash, after seeing Laura in ANYTHING GOES, I would love to watch her in SOUTH PACIFIC back-to-back with Kelli O'Hara. She must have been good in the role if they brought her back to finish the run after the maternity leave experience. In fact I thought at the time that it was a little unfair to Laura to bring Kelli back for the last week and the televised show.

After playing Ensign Nellie Forbush and heiress Hope Harcourt, I do have trouble visualizing her as Bonnie Parker.

[Eris0303]

Posted: 4/10/11 at 12:12am

I have seen Laura in Grease, South Pacific, & Anything Goes. It has been such a pleasure to see her go from experience to experience and grow as a performer each time. Getting in on the "ground floor" so to speak as been such a blessing and I look forward to the day when she accepts her first Tony (for B&C maybe )

[PitPro2004]

Posted: 4/10/11 at 12:45am

At the end of the curtain call, after Sutton had come out, the entire ensemble broke into about a minute of song and dance, which was well received by the audience. Is this a trend in Broadway musicals?

The revival of 42nd ST that played the Ford Center (when it was the Ford Center) did just this and it brought the house down. Whomever was playing Peggy Sawyer had to do one of the quickest changes in history from a gold gown to a short glittering navy blue dress right after she took her bow so she could re-join the dance troupe and do another encore.

As for Laura Osnes, I was really hoping to see her in Bonnie and Clyde which I heard was opening in NYC later this summer. I wonder if she'll leave this show to do it?

[Eris0303]

Posted: 4/10/11 at 1:33am

At the end of the curtain call, after Sutton had come out, the entire ensemble broke into about a minute of song and dance, which was well received by the audience. Is this a trend in Broadway musicals?

I keep hearing "fall" for Bonnie & Clyde. Anything Goes is slated to close in July unless it extends (which it probably will with these reviews). Unless it extends beyond Bonnie & Clyde opening (whenever that may be) I would think Laura would stay.

[adamschwartz]

Posted: 4/10/11 at 4:14pm

well, lets see, you view on libretto. your view on.....

well maybe you should try and write something...anything before you offer your "intelligent" (read as silly) review of a performance, a book or a score. Now go into the corner and take a time out. This show is great.

[BwayTday]

Posted: 4/10/11 at 4:25pm

"She doesn't have the vocal chops of a Kristin Chenoweth or Kelli O'Hara, but she doesn't really need them here."

I feel like that is kind of comparing apples to oranges. Sutton Foster is a belter. For the most part, Kristin Chenoweth and Kelli O'Hara are sopranos. Kristin does belt sometimes (in Promises, Promises) but Sutton's belt is far better then hers. Kelli's mix and head voice is absolutely glorious but a totally different style from Sutton. So they aren't really that comparable in my eyes.

[OlBlueEyes]

Posted: 4/10/11 at 5:24pm

"I feel like that is kind of comparing apples to oranges..."

Yes, I can understand what you are saying.

So does that mean that Sutton could not play Nellie and Kristin/Kelli could not play Reno? Right now it's hard to envisage any of them crossing over to the other role. But it would be fun to see them try.

[bwayfan7000]

Posted: 4/10/11 at 5:33pm

I agree that Sutton just has a different kind of voice than Kelli or Kristin...but I'd see Sutton as Nellie Forbush any day.