Anything Goes BROADWAY REVIEWS

  • anythinggoes
  • NY TIMES

  • VARIETY

  • NEWSDAY

  • AMNY

  • TM

Opening Night:
April 7, 2011
Closing:
July 8, 2012

Theater: Stephen Sondheim Theatre / 124 West 43rd Street, New York, NY, 10036

Synopsis: 

The passengers on this luxury cruise include an evangelist turned nightclub singer, a gangster disguised as a minister, hopeless romantics and stowaways. The sparkling Cole Porter songs include "I Get a Kick" "You're the Top," "Friendship" and "Easy to Love." Bon voyage!

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  • NEW YORK TIMES REVIEW OF Anything Goes

    BEN BRANTLEY

    April 7, 2011: Who needs a brass section when you’ve got Sutton Foster? As the nightclub evangelist Reno Sweeney in the zesty new revival of “Anything Goes,” which opened on Thursday night at the Stephen Sondheim Theater, Ms. Foster has the voice of a trumpet and a big, gleaming presence that floods the house. When she leads the show-stopping “Blow, Gabriel, Blow,” you figure that if no horn-tooting archangel appears, it’s only because he’s afraid of the competition.

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  • VARIETY REVIEW OF Anything Goes

    April 7, 2011: Why, one wonders, should Roundabout see fit to trot out "Anything Goes," the frequently produced 1934 musical chestnut? Turns out it has a compelling reason: Sutton Foster. She doesn't just deliver those Cole Porter hits, she knocks 'em out of the park. Joel Grey gives his happiest performance in years as Public Enemy #13, and director-choreographer Kathleen Marshall has a field day, outdoing herself with several rousing dance numbers. This new "Anything Goes" is a daffy, shipshape romp.

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  • NEWSDAY REVIEW OF Anything Goes

    April 7, 2011: Ethel Merman used to say that "Anything Goes" was about "a girl on a boat." And that's pretty much the whole deal, except for the other girls, the guys and the fact that the boat is a deco ocean liner stocked with nonstop Cole Porter standards, standard-issue mistaken-identity convolutions and the usual bunch of '30s musical-comedy mugs.

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  • AM NEW YORK REVIEW OF Anything Goes

    April 7, 2011: Cole Porter’s “Anything Goes,” widely considered the definitive musical comedy of the 1930s, is a giddy explosion of escapist romance, combining old-fashioned farce, extended dance breaks and light, breezy songs.

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  • THEATERMANIA REVIEW OF Anything Goes

    April 7, 2011: Over the last decade, no leading lady has wowed innumerable audiences with her silvery voice and eager charm more than Sutton Foster. Now, as sassy evangelist-cum-nightclub singer Reno Sweeney, the Tony Award-winning star is simply scintillating in Kathleen Marshall's highly rousing revival of Anything GoesAnything Goes, now being revived by the Roundabout Theatre Company at the Stephen Sondheim Theatre.

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  • WALL STREET JOURNAL REVIEW OF Anything Goes

    April 7, 2011: Sutton Foster is a star without a sky. Like Kristin Chenoweth, she is a natural-born performer of good old-fashioned musical comedy who lives in an age when good old-fashioned musical comedies are no longer being written. A wholesome beauty with a voice as warm as summer sunshine, Ms. Foster has to date starred in only one first-rate show, "The Drowsy Chaperone," and until now she'd never appeared in a Broadway revival of a classic musical. The Roundabout Theatre Company's production of Cole Porter's "Anything Goes," directed and choreographed by Kathleen Marshall, isn't exactly that, nor is the show quite right for Ms. Foster, but her performance is so full of zowie as to overcome all possible objections. If she weren't already a star, this "Anything Goes" would make her one.

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  • NEW YORK POST REVIEW OF Anything Goes

    He’ll charm your pants off

    Frank Scheck

    January 22, 2012: You can tell that George Bernard Shaw was still a young man when he wrote “The Philanderer.” This infrequently performed comedy has a breezy playfulness, unlike the playwright’s more heavy-going later efforts. Its silly fun is perfectly realized in the Pearl Theatre Company’s rollicking new revival.

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  • THEATRE IS EASY REVIEW OF Anything Goes

    Myths and Hymns

    Benjamin Coleman

    February 6, 2012: An imaginative and visceral reinterpretation of Adam Guettel’s mythological song-cycle.

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