Anything Goes on GMA- Page 2

[bwayfan7000]

Posted: 3/25/11 at 1:52pm

Saw this last night and really enjoyed the show and Sutton, who I thought was great in this role, but during the title number, which definitely was thrilling to see live, I couldn't help but wish the rest of the show could be that way. But I definitely had a lot of fun, especially to hear Porter's brilliant lyrics and that score sung and played so beautifully.

[PalJoey]

Posted: 3/25/11 at 2:15pm

I like Sutton even more in the "You're the Top."

that quick break to look upstage and be appropriately out of breath in character

I don't even know what that means.

Sutton is not the first triple-threat Reno. (Chita Rivera even played the part!) I'm just not sure that, in the end, having what you call "a rare star who can stay with the chorus with little if any dancing down" is actually worth the dancing down.

The point about having the star exit is that not only is there NO "dancing down" at all (let alone "little if any"), but the idea is to give the audience the kind of high-level adrenaline rush that only musical-comedy dancing can do. And after the audience gets THAT rush, there's a different kind of thrill when the star come back on and drives the number home with a vocal chorus that includes even bigger and louder and higher notes than she sang before for a knock-'em-out finish.

Also, there's a ancient dramatic tension to having the star disappear towards the end: Hamlet is off stage for all of Act IV and then comes back.

Choreographers like Gower Champion and Michael Kidd and Onna White used this structure instinctively. Michael Bennett used it brilliantly in Follies (Mary McCarty strolls off before the tap break in :who's That Woman?"--with a high sign!--and then re-enters for the final lord-lord-lord chorus), and then he deconstructed it in Chorus Line.

Anyway, these clips make me look forward to seeing it even more. Sutton's the real thing.

Updated On: 3/25/11 at 02:15 PM

[SonofRobbieJ]

Posted: 3/25/11 at 3:46pm

Just to be sure, and in my personal opinion, none of the choreography is dumbed down for Foster. And the build you want to see is in the full number...in spades...and across three levels (which makes a biiiiig difference when watching this particular choreography). And that last note? She took an optional note today. The note she hits in the show (at least at the first preview) is the same note Ms. Lupone hits on the cast recording of Anything Goes.

I thought the whole revival was heavenly. I mean...the book is what it is...and the ending of the show (as written, not played) is just rushed and absurd. But it all works and is a giant confection. And the score...I mean...it's perfection.

[WWF the Musical]

Posted: 3/25/11 at 5:15pm

" 'that quick break to look upstage and be appropriately out of breath in character'

I don't even know what that means."

Meaning that it isn't off- putting at all for Reno to have a brief "whew" moment after all the dancing and before belting her final statements.

I don't see the point in saying that Rivera also played the role, except that I must surmise that triple-threat Rivera did an exit and re-entry (At what age?) I simply said triple threat stars are rare, and it is only they who can do what Sutton did. And, of the two other Broadway Renos, Merman and Lupone, and even Eileen Rodgers of the major 1962, off-broadway revival, Foster would be considered to be the triple-threat of the group.

Your statement that you aren't so sure it is ever worth dancing down surmises that it is not worth it here and that it definitely has occurred. I really don't think it did and others flat-out say it didn't. And, as said by others too, Sutton took an optional note on a morning performance after performing the night before. And, optional note or not, she is still blowing the roof off with the ending anyway despite dancing through.

I previously stated my reasons for mentioning all the criticisms that have been cited of the Lupone performance in the past, that included the stand-behind-the-chorus thing that you ran with. Again, I mentioned all those criticism of the Lupone performance because it was immediately held up by the second poster as the way it is to be done, as opposed to Foster. And, in Lupone's case an exit for the dancing was more of a necessity. I would like Foster's singing of the number better than Lupone's even if Foster had not done all the dancing she did. So, in my opinion it isn't just the dancing that I think is better.

I am not against star exits and the reasons you give are valid as a general guide. I just think there are valid reasons that not exiting and dancing here instead works better and takes advantage of Sutton Foster's talents. And, I don't think we are even seeing dumbed-down dancing and we are still getting a powerful ending. You seem to be making a case for a hard-and-fast rule that a star exit and reentry should always be used and is better. I think Sutton's singing and staying on for the dancing is indeed a big musical comedy adrenaline rush here, beyond what may have been with an exit and reentry.

What we do profoundly agree on is that Sutton is the real thing. And, that is the important fact to recognize that is emerging from this production.

Updated On: 3/25/11 at 05:15 PM

[bwaylvsong]

Posted: 3/25/11 at 7:29pm

I think it looks wonderful! I can't wait to see it!

[ReggieonBway]

Posted: 3/25/11 at 8:35pm

Is it fair to say that Sutton has a guaranteed nom waiting for her?

[ClapYo'Hands]

Posted: 3/25/11 at 9:08pm

Well, I think that the COSTUMES are much better in this production than in the 1987 revival (for the title song at least) but I think Sutton looks and sounds great. It may just be down to the fact they were on GMA, but there's definitely room for her to SELL the song to the audience a little more.

And for the record, THIS is how this song should be performed:


Elaine Paige Performs "Anything Goes"

[BwayTday]

Posted: 3/25/11 at 9:18pm

Now the whole time in this number in the back of my mind I will be thinking about whether Sutton will hit the high note. I love her though and think it looks great. Although it is a bit cramped on that stage.

[PalJoey]

Posted: 3/25/11 at 9:33pm

Two lousy sailors? That's all that Elaine Page production could afford?

TWO LOUSY SAILORS?

[ClapYo'Hands]

Posted: 3/25/11 at 9:37pm

That was on a TV show...

[PalJoey]

Posted: 3/25/11 at 9:50pm

Here's the number from National Tour of the production Patti was in, with Leslie Ugggams doing Reno:

http://www.youtube.com/watch?v=pHNoSTOO8P0

(preceded by a message from one of the chorus members to his tap students)

[ClapYo'Hands]

Posted: 3/25/11 at 10:05pm

Well the Elaine Paige production was a transfer of the Patti LuPone production...

[PalJoey]

Posted: 3/26/11 at 12:39am

Here's the Chita Rivera version of the title number, from the 2000 Paper Mill production:

http://www.youtube.com/watch?v=I03D7oB5JhE

[PalJoey]

Posted: 3/26/11 at 12:41am

Come to think of it...why, yes! I am!

Like Lord Hamlet disappearing for the 4th Act.

[PalJoey]

Posted: 3/26/11 at 12:41am

You seem to be making a case for a hard-and-fast rule that a star exit and reentry should always be used and is better.

Come to think of it...why, yes! I am!

Like Lord Hamlet disappearing for the 4th Act.

Updated On: 3/26/11 at 12:41 AM

[Eris0303]

Posted: 3/26/11 at 12:51am

ClapYo'Hands, so you think Sutton should forget the words too?

Two lousy sailors? That's all that Elaine Page production could afford?

Well the Elaine Paige production was a transfer of the Patti LuPone production...

If you go back and look at the LuPone Tony clip she only dances with two of the sailors so that would explain why Elaine only has two.

[wexy]

Posted: 3/26/11 at 2:02am

I saw it tonight and loved it as did my whole crew that I was.
Sutton was great and Joel Grey is 78 and amazing..
Very enjoyable evening.

[ClapYo'Hands]

Posted: 3/26/11 at 9:23am

"ClapYo'Hands, so you think Sutton should forget the words too?"

Haha, well, if she performs it like Elaine, I couldn't care!

[walt1896]

Posted: 3/26/11 at 11:13pm

"Reno, You and I should have teamed up years ago." "But I guess Colin will do :)"

[bwayfan7000]

Posted: 3/26/11 at 11:20pm

I think that anyone doubtful of Sutton as Reno should see it live. I was dubious before I saw it (though I do admit that I love Sutton in general), but she really delivered in this, in my opinion.

[egghumor]

Posted: 3/26/11 at 11:26pm

Based solely on the GMA performance and the 13-minute excerpt here, if I had to choose between seeing ANYTHING GOES and HOW TO SUCCEED..., I'd defintely choose ANYTHING GOES. As musical comedy material (libretto, score, etc.) I prefer HOW TO SUCCEED... but ANYTHING GOES looks much more inviting.

Some poster(s) have ssaid here that while the show is good, it's perhaps not Kathleen Marshall's best work. I think considering the material, she's limited on how great she can make it.

HOW TO SUCCEED... is already great, it's just up to the director/choreographer not to screw it up. From what I witnessed during those 13 minutes, it appears to me that's what Rob Ashford did; bury great material under senseless, athletic choreography.

[theatreguy]

Posted: 3/26/11 at 11:30pm

The most recent London revival also had a dancing Reno (Sally Ann Triplett) who didn't do the star-exit-and-re-entry. Billy and Moonface (a young Moonface, he's the guy in the black shirt and white tie) joined in the dancing too.

http://www.youtube.com/watch?v=UQZyHiaN8NY&feature=related

[JoeGillis]

Posted: 3/27/11 at 7:58pm

I came across this clip of Tari Kelly as Reno in a regional production of Anything Goes. I know Tari is in the current revival company - does anyone know if she is Sutton's standby/understudy?

Tari Kelly as Reno

[bwayfan7000]

Posted: 3/27/11 at 8:17pm

Don't have my playbill with me, but according to IBDB, yes, she is.

[shrekster224]

Posted: 3/27/11 at 8:21pm

Yes, she is the only Reno understudy. Does anyone know why there are is only one cover per character?