Michael Rafter

One Night Only: An Evening with Sutton Foster & Kelli O’Hara and The New York Pops

November 24, 2023

The pairing of Broadway legends Sutton Foster and Kelli O’Hara proved felicitous just like the previous pairing of Julie Andrews and Carol Burnett, with each lady using her special gifts: Foster was best in the comic moments and O’Hara was ravishing in the semi-operatic musical numbers, just as had been Burnett and Andrews in their three concerts. Backed by the glorious New York Pops orchestra led by Maestro Steven Reineke, Foster and O’Hara made the most of this unique concert staging directed by Dick Scanlan. The many uncredited costume changes put the singers in either stunning red, black or white outfits. Throughout the evening the singers were supported by their own music directors at the piano, Dan Lipton for Kelli O’Hara and Michael Rafter for Sutton Foster. "One Night Only: An Evening with Sutton Foster & Kelli O’Hara" proved to be a memorable evening and one that is hoped to be the first of many. [more]

Funny Girl

April 29, 2022

Beanie Feldstein’s clunky rendition of “I'm the Greatest Star” crystalizes the absurdist dimension of this off-kilter first Broadway revival of the 1964 musical, "Funny Girl." With her nasal, often muffled singing, oddly emphatic line readings and smug mugging, in no way does she suggest a great star, yet this nearly three-hour show is centered around her. It instantly deflates with her wan introductory “Hello, gorgeous.” She does exhibit idiosyncratic pluck and stamina throughout. [more]

Sutton Foster: “Bring Me to Light”

April 30, 2021

Sutton Foster, one of the shining lights of New York City’s currently dimmed theater scene, glowed in Sutton Foster/Bring Me to Light. Her voice and interpretations were the richest they have ever been. Add to this her choice of repertoire and her talented guests and Bring Me to Light is a beacon of light in a dark year. As we see New York City Center’s backstage staff prepare for the performance, Foster performed the Rodgers and Hammerstein classic “Cockeyed Optimist” segueing to Stephen Sondheim’s “Everybody Says Don’t” and Kander and Ebb’s “Yes,” all upbeat, optimistic songs that should resonate with today’s pandemic-strained audiences. [more]

The Unsinkable Molly Brown

March 15, 2020

Although director/choreographer Kathleen Marshall has given the Transport Group production staged at The Abroms Arts Center a rousing production, the major problem still exists with the story: Molly goes from tomboy to wife to social activist but always seems to be the same. Basically Malone changes her outfits (costumes by Sky Switser) and becomes more mature and more sophisticated but never really changes from the girl at heart who wants riches and gaudy things. Costar David Aron Damane, with his powerful baritone, who plays J.J. Brown, the miner who strikes it rich and proceeds to give Molly almost everything she wants, helps a good deal but their love story is not made entirely believable, possibly because the stalwart Damane is still made to be a very retiring hero, a man of few words. [more]

The New York Pops at Forest Hills Stadium with Sutton Foster

August 11, 2015

“The epitomy of a true triple threat performer,” was how Mr. Reineke introduced Ms. Foster. “I’ve never been here or sung outside with a big orchestra before” was her sweet response to the huge audience response. First clad in a slinky blue dress, she later changed into a tailored gray tunic and then into a striking black gown with rhinestones. Her versatility was ever present as she opened with the thrilling Duke Ellington collaborative composition, “I’m Beginning to See The Light.” Then it was on to rollicking renditions of “Anything Goes” and “I Get a Kick Out of You,” from that Broadway revival for which she won her first Tony Award. [more]

New York Pops: “One Night Only: Sutton Foster”

March 19, 2015

The concert’s triumph was due largely to its headliner, the incomparable Sutton Foster. Since her Tony Award-winning portrayal of the title character in the 2002 Broadway production of Thoroughly Modern Millie, she has proven herself to be one of the most versatile leading ladies to grace the Great White Way. Her brassy, yet lithe voice soared over the melodies of Cole Porter classics; her feet glided precisely across choreographer Michelle Elkin’s tap number (yes, a tap number at a New York Pops concert!); and her storytelling chops shone during heartrending takes on a couple of choice Sondheim ballads. She is a true triple threat in a way that most, if not all, of her Broadway diva contemporaries simply are not. [more]