The Broadway Musical Blog – Musical theater news and gossip from the Great White Way

Dishing out daily (or almost daily) Broadway musical news and gossip. The companion site to The Broadway Musical Home (broadwaymusicalhome.com), a directory of Broadway musicals with the story, songs, merchandise, video clips, lyrics, tickets, rights & awards for almost 200 shows.

Archive for Kathleen Marshall

The Reviews for Nice Work if You Can Get It are In…

With comedy tailor-made for Matthew Broderick and the delightful Kelli O’Hara, Nice Work if You Can Get It is a tribute to Gershwin and the musicals of his era, with a thin, silly story, wonderful songs and all the mugging a girl could ever want. If you feel musicals tend to be over-the-top and trite, you’ll want to stay far away from this one, but if you find yourself pining for some silly, escapist fun, reviewers agree, this kitschy show might be just what you’re after.

NEW YORK TIMES

“Every now and then, a bubble of pure, tickling charm rises from the artificial froth of “Nice Work if You Can Get It,” the pastiche of a 1920s musical featuring songs by George and Ira Gershwin. Most of this show, which opened on Tuesday night at the Imperial Theater, registers as a shiny, dutiful trickle of jokes and dance numbers performed by talented people who don’t entirely connect with the whimsy of a bygone genre.”

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ASSOCIATED PRESS

“Kelli O’Hara has admitted that she was a little reluctant at first to sing some of the classic, heavily picked-over Gershwin songs before starting on “Nice Work If You Can Get It.” Thankfully that changed when she got to hold a gun.”

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HOLLYWOOD REPORTER

“The last time Matthew Broderick headlined a major musical was opposite Nathan Lane in the instant blockbuster The Producers, the 2001 show that ushered in a new age of irreverence on Broadway and scooped up a record 12 Tony Awards. Mel Brooks’ runaway hit was sublime silliness, a giddy valentine to old-time musical theater with nothing on its mind but delirious entertainment. The same could be said of Nice Work If You Can Get It, which brings Broderick back in a disarming ball of fluff that seems tailor-made to fit his droll brand of comedy.”

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AM NEW YORK

“Matthew Broderick, who hasn’t enjoyed much success on Broadway since “The Producers” a decade ago, manages to redeem himself in “Nice Work If You Can Get It,” a “new” Gershwin musical also starring Kelli O’Hara and other stage veterans who bring down the house in supporting comedic roles.”

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ENTERTAINMENT WEEKLY

“If you’re not a musical-theater fan, Nice Work If You Can Get It will probably confirm your worst fears about Broadway. The mugging. The wigs. The wheezing one-liners. Directed and choreographed by Kathleen Marshall (Anything Goes) with a light-as-air book by Joe DiPietro (Memphis), the show uses a screwball love story between a Prohibition-era playboy (Matthew Broderick) and a bootlegger (South Pacific’s Kelli O’Hara) as an excuse for a medley of classic George and Ira Gershwin tunes. It’s as joyfully airheaded and kitschy as a drag show, which should make it a must-see for anyone with a more-is-more stance on sequins.”

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The Reviews for Anything Goes are in…

NEW YORK TIMES REVIEW

“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. “

Click here to read the full “Anything Goes” review.

VARIETY REVIEW

“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.”

Click here to read the full “Anything Goes” review.

NEWSDAY REVIEW

“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.”

Click here to read the full “Anything Goes” review.

AM NEW YORK REVIEW

“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.”

Click here to read the full “Anything Goes” review.

THEATERMANIA REVIEW

“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 Goes, now being revived by the Roundabout Theatre Company at the Stephen Sondheim Theatre. “

Click here to read the full “Anything Goes” review.

WALL STREET JOURNAL REVIEW

“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.”

Click here to read the full “Anything Goes” review.

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