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Sutton Foster

 In her twenties and thirties, Sutton Foster had musicals written for her. They often weren't very good--but they happened--one after the other after the other. "Little Women," "Young Frankenstein," "Shrek."


Then, a shift occurred. I don't know if this was deliberate. After "Shrek," Foster turned her attention to revivals. In a big way. On and off Broadway. "Anyone Can Whistle," "Into the Woods," "*Violet," "The Music Man," "Sweeney Todd," "Sweet Charity," "Once Upon a Mattress," "Anything Goes." At times, it seems as if Foster is on a mission to do *every* canonical role. The "Sweeney" phase--where Foster was Burnett by night and Lansbury by day--was particularly exciting.

I have a list of roles I'd now like to offer to Foster. Desiree Armfeldt, Phyllis in "Follies" (notice how the word "Phyllis" sounds like "Folly," and if you mix "Phyllis" and "Sally," you do sort of get "Folly"), Roxie in "Chicago," Madame Rose, Annie Oakley, Dolly Levi (yes, you can play Dolly when you are fifty), Helen Bechdel. It's striking to me that great new roles for post-ingenue actors are not popping up now that Sondheim is dead. Jeanine Tesori is available--but if you make Sutton essay the role of Patty in "Kimberly Akimbo," you aren't really allowing her to explore her own glamour and star power.

In her Second Act, Chita Rivera leaned on Kander and Ebb for new material. (Smart move.) Patti and Bernadette both returned--and returned and returned--to the Sondheim playbook. Sutton Foster clearly has a kind of partnership with Jeanine Tesori, but I wonder if this will prompt the creation of *more* work in the 2020s and 2030s.

It's unfortunate to lose composers to Disney--and I admire Sondheim for rejecting this possible path. I'm hopeful that the people behind "Six" might have Sondheim-esque plans up their sleeves. It's nice to dream.....


*Right. "Violet" hadn't been on Broadway before. But--also--it wasn't *brand new* material.
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