First Look at ANYTHING GOES in Rehearsal! — Page 2

I liked the dance break. I just don't know how all those people (including Sutton) would be able to sustain that kind of stamina that number presently requires for 8 shows a week. IMO, Sutton didn't seem "brassy" enough, but I realize this is a rehearsal, so I will wait to judge when I see the show when it's up and running.

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The number starts dull--do something a little more interesting with that vocal chorus, Sutton! you are singing some of the greatest lyrics EVER WRITTEN! enjoy that, at least!--but it get thrilling when Sutton starts to dance with the line of yummy chorus boys.

And it ends spectacularly, with Sutton taking a sure-to-be-thrilling high note at the end. (I can hear Ethel smacking Cole in Musical Comedy Heaven and saying, "why didn't you give ME that note? I coulda hit it--all the way out to Hoboken!")

Kathleen Marshall remade "Too Darn Hot" into a spectacular dance number in the Kiss Me Kate revival, which was no small feat, given the Hermes Pan/ Bob Fosse version danced by Fosse, Bobby Van and Kurt Kasznar in the movie. I can watch that number over and over again on the DVD of the London production and completely forgive her for the Roundabout Follies.

So they may be on the way to doing the same here.

Sutton just has to STOP pacing herself and put out at the beginning of the number what's she's putting out at the end.

The stakes are high here. This is musical comedy. The two most glorious words in the English language. (To quote 42nd Street.)

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Actually Joey, Too Darn Hot was a tap dance performed by Ann Miller in the movie. Now THAT was a tap dance. I imagine you're referring to From This Moment On that was danced by the 3 couples, which is also a terrific number. It would be nice if Ms. Marshall hired a tap assistant to pump up her limited tap knowledge that would have elevated that title number into a rousing, percussive and syncopated experience. Not a jazz dance wearing tap shoes.

Where are they rehearsing? If I didn't know better, I'd say it was on the stage.

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Count me out. Seems sutton has no idea what any of those brilliant and saucy lyrics mean.

Ms. Foster knows EXACTLY what she's doing at the beginning of the song. The first part of the title song is rueful. From what I remember from the show, wshe's just watched Billy claim credit for being Public Enemy Whatever and being celebrated for it. The character of Reno Sweeney is non-plussed by this...but then, as the song grows, she gives over to the idea that anything does indeed go.

Ms. Foster did a remarkable job dilineating that character arc...with only three weeks rehearsal...on the 54 Stage...with no set, lights, costumes or amplification. She's going to be sensational.

But, bjh, I'm curious about what you mean by "too contemporary".

I was referring to both Sutton and the choreography. First of all, Sutton's body language the entire time was her sitting into one hip. A very slouched/arms crossed/tilted head look reads as a very modern sort of attitude. (Let's hope that's just her marking in a rehearsal setting and that her Reno won't seem like she's straight out of Mean Girls).

As for the choreography, I felt as though much of it (too much total of which a lot could and should be cut) had too much bendy arm/bendy leg stylization. It wasn't the crisp time-steppy, shuffle off to buffalo-y tap that one would associate with the 1920s and 1930s. I feel like Marshall is going for showy spectacle here rather than historical accuracy, and I am a huge stickler for choreography being time appropriate.

Agree with the comments regarding the contemporary feel of the choreography....couldn't put my finger on it, but it doesn't feel like 1930s dancing to me. (if that makes any sense).

I absolutely loved it.

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I am sorry, but Sutton is no Jean Harlow. Sutton Foster is many things, but a sex symbol she is not.

I know I sound silly. Please forgive, but for a theatre novice - what do you mean by marking?

Sutton can pull off sexy. She did it in Chaperone, she can do it here.