Best of 2011 Countdown: #7

*Note:  I originally named War Horse as my number 9 pick for Best Show of 2011, but when I looked back at my original “Best of” list, I realized the number 8 show had no business being on it.  So I’ve bumped War Horse up a spot.  You’re welcome, Lincoln Center.*

Best of 2011

#7 Anything Goes

Sutton Foster and the Anything Goes ensemble

It’s tricky to revive a pre-Rodgers & Hammerstein musical.  In the years since the team’s heyday, it has become standard for a show’s musical numbers to work with the book scenes in advancement of plot and/or characterization.  We as audience members expect this of all shows, and generally demand a damn good reason for a show to break from that format.  But before 1943, it was perfectly acceptable for a musical to consist of elaborate production numbers padded out by a loosely constructed and often nonsensical plot. 

Such is the problem with Anything Goes.  For all of its entertainment value, including a fantastic score by the great Cole Porter, nothing of consequence really happens.  Even with multiple rewrites over the years (there are now a whopping six credited bookwriters, and lord knows how many uncredited tweaks by actors and directors), the show’s plot makes no sense.  There’s something about a working class man trying to win the affections of an upper class debutante, a completely harmless “public enemy” trying to increase his street cred, and apparently lead character Reno Sweeney is an evangelist who saves souls for a living.  But in essence the story is an excuse to have various combinations of performers sing a hit parade of Porter tunes, all in the name of entertainment.

And entertaining it is.  Kathleen Marshall has crafted a perfectly fine revival of this reliable favorite, with a (mostly) game and talented cast doing an excellent job of delivering the material with style and flair.  Her Tony-winning choreography on the title song alone is worth the price of admission, as it is one of the most joyous demonstrations of talent and stagecraft currently on a Broadway stage.  But for all of her directorial skill, Marshall can’t quite maintain that level of enthusiasm throughout the entire show.  Sometimes the show starts to feel like the 70-year-old dinosaur that it is, rather than a fresh and relevant revival of an old favorite.  In fact, I would argue that there isn’t a whole lot going on at the Stephen Sondheim theatre that couldn’t be seen in a well-done regional production of the show.

So what makes this one of the best shows of 2011?  The answer is simple: Sutton Foster.  The eminently likable and multi-talented comedienne’s take on Reno Sweeney is the kind of star turn that will be talked about for decades, and she single-handedly elevates the production to must-see status.  Her phenomenal voice and solid dance skills would be enough to make her a great Reno, but once you throw her often underrated acting ability and emotional sincerity into the mix you have a truly transcendent performance that more than deserves all the Best Actress awards she received for it.  Anything Goes cements Foster as a once-in-a-generation kind of talent, an ebullient throwback to the musical comedy stars of yesteryear.  If you haven’t seen her, go now, and watch how the pros really do it.

How was the Show? (Part 1)

So one of the many joys of living in New York is the ability to go see Broadway theatre on a regular basis.  And after you go, it is a theatregoing tradition to distill everything you've just seen, which includes months of hard work by dozens if not hundreds of generally talented professionals, into a few short sentences so that you can quickly answer the question "How was the show?" when asked by your friends.

It is also theatregoing tradition to offer these overly biased, simplified opinions up without actually being asked for them, which is what I'm about to do. :-)

Now, I should point out that I am actually a big fan of legitimate reviews that take the time to dissect the hard work of the many, many artists and craftsmen involved in mounting a theatrical production.  My plan going forward is to write a full-fledged review of every Broadway show I see, and I would love to go back and write full reviews of all the productions I have already seen.  However, I do not have the time nor the memory to do so, given my two jobs and the fact that I haven't seen some of the long-running shows in years.  So this will have to do.

So let's pretend you've just asked me, "Hey, how was [insert show title]?"  Here's how I would respond:

Anything Goes:  Sutton Foster is fantastic and the production numbers are stellar, especially the 8-minute tap routine that accompanies the title song.  Unfortunately, Joel Grey seems to not know what is going on (or even his lines on occassion), and while the production is very slick, it's not significantly different from past productions of the same show.  Worth it to see Sutton completely earn her 2nd Tony Award, espcially if you can get in for cheap thanks to Roundabout's Hiptix program (one of the greatest deals on Broadway).

Man and Boy:  I haven't seen, so I'll have to get back to you.  From what I've heard Frank Langella is amazing but the show itself is kind of blah.

Billy Elliot:  I found the American production to be overrated, but I am probably biased because I saw the original London cast back in 2005 and they were spectacular (especially their Billy).  The choreography is astounding, but some of the show's heart seems to have been lost during the trans-Atlantic journey (and Elton John's score is pretty ho-hum).  Maybe the show is simply too British for American actors to be able to fully convey the nuance and emotion the Brits displayed.  Whatever the reason, I maintain the show has been over-praised and should have lost the Best Musical race to the far superior Next to Normal.

Chicago:  Needs. To. Close!  At one point it was probably really entertaining, but that was likely about 200 celebrity stunt castings ago.  Aparently if you manage to catch a celebrity-free cast the show is still really good, but I would just as soon rewatch the movie version.  I wish this show would shutter and free up that theatre for (gasp!) a new musical or play.

Chinglish:  Haven't seen.  Sounds mildly interesting, but it isn't at the top of my list of shows to go see.  Let me know what you think if you go.

Follies:  Is amazing!  It's seriously one of the best shows running right now, if not one of the best productions of the past few years.  It features some of the most glorious music and staging I've seen in quite some time (props to the producers for opting for a full orchestra).  Moments like "Who's That Woman?," where the fantastic Terri White leads the entire company of ladies (including Bernadette, Elaine Paige, and Jan Maxwell) in a tap routine where they dance with the ghosts of their former selves, will blow your mind.  I'm also in LOVE with the Loveland sequence, especially the transitions in and out of it.  All of the leads are fantastic, especially Jan Maxwell and Danny Burnstein (who is something of a revelation considering I have not enjoyed his previous Broadway outings).  You need to go see this before it closes in January.

That's about enough for now.  I'll be back later with more mini-reviews and recommendations for your viewing pleasure.