Review: SUTTON FOSTER Sparkles in Performance with the Baltimore Symphony

The Joseph Meyerhoff Symphony Hall was packed last week-end to watch the two-time Tony Award winning performer Sutton Foster present an exceptional evening of music and the Baltimore Symphony Pops Orchestra was in top form under Pops Conductor Jack Everly. (I am happy to report that Everly's contract has just been extended to 2021. He has been Pops Conductor since 2003.)

Foster should be considered a Broadway DIVA. I've seen her on Broadway in THOROUGHLY MODERN MILLIER (Tony Award), THE DROWSY CHAPERONE, LITTLE WOMEN, and YOUNG FRANKENSTEIN. I was also fortunate to be at Radio City Music Hall to watch her perform during the 2002 Tony Awards.

I was delighted when I saw that Foster would be performing in Baltimore this year and she didn't disappoint. She sang, she danced, she tapped, and she demonstrated her comedic talents. It was also quite gratifying to see so many young people in attendance.

Accompanying Foster for the week-end were her music director and pianist, Michael Rafter (who did many of the gorgeous arrangements), Clint de Ganon on drums, and Kevin Kuhn who excelled on guitar, banjo, ukulele, and zither. Baltimore Symphony Associate Principal Bass Hampton Childress joined the trio front and center and was terrific.

The song selections highlighted the Broadway canon of Cole Porter and Jule Styne.

The Overture to Porter's ANYTHING GOES opened the concert and then Foster sang two numbers from the show, "I Get a Kick Out of You" and the title number. It was great to see her recreate her Tony Award-winning performance from the Broadway Revival. She looked gorgeous in a royal blue, sleeveless, ankle length gown.

"Duke" Ellington's "I'm Beginning to See the Light" featured a nice bass solo by Childress and a strong solo on the ukulele by Kuhn.

Everly reminisced about the 1955 televised version of Julie Styne's PETER PAN starring Mary Martin which was broadcast from the NBC studios in Brooklyn which brought in a mass audience and was given a new LIVE version in 2014 on NBC which my grandson adores. Foster brought a guest soloist, Megan McGinnis, who later in the program was wonderful singing "Neverland". They met when they did LITTLE WOMEN together. You can see her in the Off-Broadway production DADDY LONG LEGS. Remember her name. She is marvelous. They did a moving duet of Craig Cornelia's "Flight" with some delightful harmonies.

Following the "Overture to PETER PAN, Foster reappeared in black slacks, a sequined sleeveless blouse, and pulled her long hair back into a pony tail for the charming "Up on The Roof" which also featured Kuhn on guitar. She spoke of her mother who passed away two years ago and how she just loved John Denver's Greatest Hits album. She then sang a heartwarming rendition of "Sunshine on My Shoulders" and dedicated it to her Mom.

Her latest Broadway experience was in Jeanine Tesori's "VIOLET". She raved about a musical two blocks away by Jason Robert Brown called THE BRIDGES OF MADISON COUNTY. Brown won a Tony Award for BRIDGES and she sang a number sung originally by Steven Pasquale from the show...the haunting ballad "It All Fades Away". She began a cappella and slowing the orchestra joined in until it reached a crescendo. What a sterling rendition and the audience responded accordingly. Look for THE BRIDGES OF MADISON COUNTY on tour this summer at the Kennedy Center from June 28 to July 17, 2016. Brown is expected to conduct.

Foster is making a name for herself on television. She has her own series on TV Land (Wednesday nights at 10 p.m.) A nice surprise was her television co-star Nico Tortorella joining her in SINGIN' IN THE RAIN'S "Fit As A Fiddle" along with some nice tap dancing by them both.

Following Intermission, Everly offered a lively version of the Overture to THOROUGHLY MODERN MILLIE which won the Tony Award for Best Musical in 2002. I learned a little about Broadway overtures. Everly mentioned that few composers write their own overtures due to the fact that often they are working on shows out of town and writing new music. One composer who did in fact write his own overtures was Jule Styne and Everly proudly presented what can be considered by many as the best Overture ever, GYPSY. It was spectacular. I wonder what theatergoers must have thought hearing this music for the very first time during the Overture and thinking "This musical may be really something!"

I also enjoy when performers take two songs and weave them together. Foster did it twice. First with "If I Were a Bell" from GUYS AND DOLLS with "Singin' in the Rain" from SINGIN' IN THE RAIN. She did a lovely soft shoe to it. Then there was a combination of Stephen Sondheim's "Anyone Can Whistle" from ANYONE CAN WHISTLE with his "Being Alive" from COMPANY.

There were also lovely renditions of "Nearness of You" by Hoagy Carmichael and "Down With Love" by Harold Arlen.

Foster joked that she recently had a milestone birthday which made her think about roles she may not be ready for, but she anticipates she could see in the future. GYPSY has had many fabulous leads including the original Rose. Ethel Merman, to Patti LuPone, to Tyne Daley, to Angela Lansbury, to Bette Midler, to Rosalind Russell. No one expected Foster to attempt to sing "Rose's Turn" but she hit it "out of the park". The audience erupted with a standing ovation.

The expected "encore" was just what people were looking for... from her Tony winning performance of THOROUGHLY MODERN MILLIE, "Gimmee, Gimmee".

I recommend the BSO use logos from the various Broadway shows that were represented on the wall behind the orchestra to add to the enjoyment.

Following the performance, Foster signed autographs and her CDs for the adoring crowd. The line was huge. I recommend her CD "Wish". Just delightful. It includes the great duet "Flight" with Megan McGinnis.

It was truly a night to be remembered.

JOSHUA BELL HEADLINES BSO 100TH ANNIVERSARY

Everyone knew it was a special night when the Baltimore Symphony passed out free champagne during intermission and gave out complimentary cookies after the concert.

Yes, Marin Alsop was in rare form as she lead the BSO in celebrating their 100th Birthday with a Gala Concert that was just plain thrilling.

The Meyerhoff Lobby was festooned with gold balloons and slivers of gold. In an unusual move, as you entered the concert hall, the stage was empty. Then, all the members or the orchestra entered in unison like the introductions of a football game to a rousing ovation. There was a powerful rendition of the National Anthem sung by the amazing Janice Chandler-Eteme followed by the percussive infused "Cuban Overture" by George Gershwin.

Then onto the stage came the headliner, the incredible violinist Joshua Bell who performed the "Suite from WEST SIDE STORY" by Leonard Bernstein. The arrangement by William David Brohn (who received the composer's imprimatur in 1990 just before his passing) is just plain breathtaking. Brohn has created the orchestrations for such Broadway hits as MISS SAIGON, WICKED, and RAGTIME (for which he won the Tony Award in 1998). Bell in his trademark black shirt and slacks was mesmerizing.

Following intermission, the music shifted to the 21st century with two modern pieces. Kristin Kuster's "Moxie" is one of several BSO centennial commissions to be given this year. I found it delightful and a little "Coplandesque". Next was "Motherside" by Mason Bates which would wake anybody up if they were napping. The composer sat with the orchestra playing his electronics. There were also soloists Tim Green on saxophone and Chris Jacobs on the cigar box guitar.

But the highlight of the evening was Ravel's "Bolero" that featured a nice surprise. That surprise concerned Marin Alsop wonderful program "OrchKids" which brings classical movies into Baltimore City schools. A veteran of OrchKids, 13 -year-old Keith Fleming gave an impassioned speech about the program and how it changed his life.

As "Bolero" began, the BSO placed its Principal percussionist Christopher Williams in front of the violins and next to him was student Devron Dennis. It's unusual to watch the repetitive snare drum so associated with the piece front and center. Soon after "Bolero" began, the Baltimore Symphony Youth Orchestra entered from both sides of the stage and after the house lights were turned on, appearing from the rear of the hall came young and talented musicians known as OrchKids walking down the aisle playing their respective instruments onto the stage. They played oboes, flutes, clarinets, saxophones, trombones, French horns, violins, and a tuba. It was quite a scene. It was the best "Bolero" I've ever seen.

During the evening, Alsop talked about the Parsons School of Design working with Baltimore's Under Armour athletic attire company developing new wardrobes for the symphony musicians that would feature stretchable and breathable fabric. Eleven members of the BSO then modeled some of the new outfits. Who'd of thunk it! Is there anything that Under Armour's Kevin Plank will not get involved in?

For you Broadway lovers, check out "Broadway Divas" coming to Strathmore Hall in Bethesda March 31 and at the Meyerhoff April 1-3.

Also mark your calendars for Marin Alsop conducting a concert version of Gershwin's PORGY AND BESS coming to Strathmore April 9 and April 8 and 10 at the Meyerhoff. For BSO tickets, call 410-783-8000 or visit www.BSOmusic.org.

Alsop will be conducting WEST SIDE STORY on March 4-6 at the Knockdown Center, 52-19 Flushing Ave, Queens, NY with Broadway stars Skylar Astin, Bianca Marroquin, Chuck Cooper, Peter Gerety (HBO's "The Wire") and newcomer Morgan Hernandez as Maria. The cast includes 14 high school students from New York and New Jersey. In addition, nearly 200 teens from 25 high schools will sing new choral arrangements. For tickets, 212-247-7800.

cgshubow@broadwayworld.com

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