Name: Once Upon A Mattress
Start: 2024-12-10
End: 2025-01-05
Location: Center Theatre Group at the Ahmanson Theatre

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Once Upon A Mattress - LA + OC [41975]

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Once Upon A Mattress

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Once Upon A Mattress- LA + OC [41975]

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Sutton Lenore Foster was born on March 18, 1975 in Statesboro, Georgia. She is a two-time Tony Award-winning Broadway actor, also known for her television role as Liza Miller on TV Land’s Younger.

Raised in Troy, Michigan, Foster attended Troy High School but left before graduating to join the National Tour of The Will Rogers Follies&nbsp;under the direction of Tommy Tune. She would also go on to study at Carnegie Mellon University for one year&nbsp;before departing to pursue a full-time career on the stage.

Foster’s most notable early stage credits include the leading role of Sandy Dumbrowski in the National Tour of Grease in 1995, which led to her Broadway debut, assuming the role at the Eugene O’Neill Theatre in 1996. She would also appear in the 1997 Broadway revival of Annie and 1997 Broadway premiere of The Scarlet Pimpernel. In 1999, she took over the coveted role of Éponine in the national tour of Les Misérables, later transferring to the musical’s Broadway production in 2000.

Her big break came later in 2000 after finally landing the starring role of Millie Dilmount in the La Jolla Playhouse production of Thoroughly Modern Millie. Following her turns in regional productions of The Three Musketeers in San Jose&nbsp;and South Pacific in Pittsburgh&nbsp;in 2001, Thoroughly Modern Millie would ultimately premiere on Broadway in 2002 to great acclaim, earning Foster her first Tony Award for Best Actress in a Musical.

Thanks to her new leading lady status, she became a regular on the Broadway stage and starred as Jo in Little Women (2005 Tony nomination), as Janet Van De Graaff in The Drowsy Chaperone (2006 Tony nomination), as Inga in Mel Brooks’ Young Frankenstein (2007-08), and as Princess Fiona in Shrek The Musical (2009 Tony nomination). She won her second Tony Award for Best Actress in a Musical&nbsp;for her turn as Reno Sweeney in the 2011 Broadway revival of Anything Goes,&nbsp;which also led to her first Grammy Award nomination for Best Musical Theater Album&nbsp;in 2012. She earned yet another Tony nomination in 2014 for her portrayal of the titular character in&nbsp;the Broadway premiere of <a href="https://www.newyorktheatreguide.com/reviews/violet">Violet</a>.

Foster’s Off-Broadway credits include the 2010 Second Stage Theater production of Trust and a Lucille Lortel and Drama Desk Award-nominated performance as Charity Hope Valentine in The New Group’s 2016 revival of Sweet Charity. She has also performed in a plethora of benefit concert productions on Broadway as well as Encores! productions at New York City Center. She also starred as The Baker’s Wife in Into the Woods at The Hollywood Bowl in 2019.

On television, she is best known for her starring role as Liza Miller on Younger,&nbsp;which aired from 2015 to 2021 on TV Land. Her earlier screen credits include the leading role of Michelle Simms on&nbsp;Bunheads&nbsp;(2012-13) and guest roles on the likes of Instinct,&nbsp;The Good Wife,&nbsp;Elementary,&nbsp;Psych,&nbsp;Royal Pains,&nbsp;Law &amp; Order: Special Victims Unit,&nbsp;and Flight of the Conchords,&nbsp;among others.

As a recording artist, Foster has also released two studio albums: Wish&nbsp;in 2009 and Take Me to the World&nbsp;in 2018, along with one live album, 2011’s An Evening with Sutton Foster: Live at the Café Carlyle.

Sutton Foster - NY

Children under 4 are not permitted in the theatre.

The Music Man on Broadway [18717]

The Music Man on Broadway

The Music Man on Broadway [18717] Product Media

When <a href="https://www.newyorktheatreguide.com/actor-profile/hugh-jackman" target="_blank">Hugh Jackman</a>'s Harold Hill whispers into the impressionable ears of River City whippersnappers, their minds and feet alight. <a href="https://www.newyorktheatreguide.com/show/the-music-man" target="_blank">The Music Man</a>, which arrives on Broadway following a two-year delay, likewise hopes to entice an especially receptive crowd, still sating pent-up appetite for seduction, spectacle, and bodies in motion.The big-ticket production from director Jerry Zaks heaps its wagon with comely and persuasive wares: Marquee stars Jackman and <a href="https://www.newyorktheatreguide.com/actor-profile/sutton-foster" target="_blank">Sutton Foster</a>, whose individual magnetism is so strong, any conflict between their characters seems to defy physics. Meredith Willson's score of nostalgia triggers so Pavlovian, even Proust would trash his madeleines. And, of course, a wormhole to the core of American ideologies — self-invention, groupthink, the manifest destiny of a man's libido — with proven staying power.Whether you'll pony up for the ride (which ain't cheap) and gladly tap your feet may depend on how liable you are to be convinced. Are there soothing and satisfying pleasures in familiarity, high voltage, and expert execution? By golly, yes. Will this Music Man's sweet nothings reveal anything previously unknown about the nature of life, love, or the pursuit of happiness right here in 2022? Egads! No.The traveling-salesman fable of deception and redemption has been updated so as not to appear out of step — a "shipoopi" is no longer a "hussy" who kisses on the first date, but a man who's tough to pin down (additional lyrics are by Marc Shaiman and Scott Wittman). But The Music Man doesn't attempt an argument for contemporary resonance, reinvent the wagon wheel, or entirely iron out the logic of its Febreze'd gender politics.&nbsp;And maybe that's just as well. After all, the boys in Harold's band, which he pledges to whip up while lining his pockets with townspeople's cash, can't play a note. But their parents are just as pleased with the diversion.&nbsp;In another way, the production is exquisitely timed, to the heights of its above-the-title talent. Jackman is a charm attack in suspendered slacks, nimble-footed, smooth but not slick, with suave vocals and a smile as assured as a railroad. His Harold makes quick and delectable work of small-town marks, with the exception of one, whose front is harder to crack until it shatters in a heap of impossible dramaturgy.Foster's Marian is wry but not cynical, sharp but still tender, a tough shell with a golden, runny heart like an egg. The Anything Goes star brings a precise wit to the role that is relentlessly delightful, attention to detail that buoys Marian's tenuous modernization here into a woman with some measure more agency (if a soft will). The pair's chemistry obviates the plot, though it goes a long way toward filling the vacuum of dramatic tension.Choreography from Warren Carlyle is smartly portioned into knockout numbers — "Seventy-Six Trombones," "Marian the Librarian" — that meet the weight of their anticipation with a vocabulary of movement that's refined and sensual, playful and fresh. Any effort to resist the virtuosic children in this production, particularly Benjamin Pajak as Marian's brother Winthrop, would prove a fool's errand.&nbsp;The storybook aesthetic of Zaks' production is appropriate for one that's been cracked open many times, flipping from one scene to the next with mollifying ease. Designer Santo Loquasto's set, which toys with flatness and dimension, likewise feels fitting for characters like paper dolls only selectively rendered palpable. Beautifully painted backdrops, which borrow heavily from "American Gothic" artist Grant Wood, depict rural Iowa's rolling hills and sprawling farms. Laborers are often pictured close at hand.&nbsp;But Zaks' production also makes plain (with help from Loquasto's luxe, embellished costumes) that money doesn't mean much to the residents of River City, until after it has leapt from their wallets and into Harold Hill's. Given that The Music Man is a grift, the stakes never get off the ground. It's another way the production's lavish attention to surface belies a blithe and curious hollowness.If American stories are fundamentally about enterprise, the most vivid one on display at the <a href="https://www.newyorktheatreguide.com/theatres/winter-garden-theatre" target="_blank">Winter Garden Theatre</a> may be the cost of admission.<a href="https://www.newyorktheatreguide.com/show/the-music-man" target="_blank">The Music Man is at the Winter Garden Theatre. Get The Music Man tickets on New York Theatre Guide.</a>Photo credit: Hugh Jackman, Sutton Foster, and the company of The Music Man. (Photo by Julieta Cervantes)

'The Music Man' review — Hugh Jackman and Sutton Foster lead a mollifying nostalgia trip

The Winter Garden Theatre, located in the heart of Broadway, New York, is a world-renowned theatre venue that has witnessed countless iconic performances. With a seating capacity of over 1,500, the theatre offers an intimate setting for experiencing theatrical spectacles amidst its illustrious historic ambience. The theatre's architectural design, exuding Edwardian Baroque aesthetics, boasts a stage large enough for grandest of productions. Since its inception in 1911, the Winter Garden Theatre has seen legendary showbiz figures gracing its stage and corridors, from Al Jolson to Catherine Zeta-Jones. The Theatre's repertoire spans both timeless classics and contemporary hits, fostering an eclectic mix that caters to varied tastes of its audiences. 

**How to Get to the Venue:** The Winter Garden Theatre is easily accessible via numerous modes. For those opting for subway, the closest stops are 49th Street at 7th Avenue, Times Square 42nd Street/Port Authority Bus Terminal, and 50th Street at Broadway. Buses M7, M20, M104 all stop near the theatre. If you’re driving, several public parking lots are available in the vicinity, including Icon Parking and Central Parking. More detailed directions and information can be found on the theatre’s website.

Winter Garden Theatre - NYC

Winter Garden Theatre

The Winter Garden Theatre is a historic and iconic Broadway venue in New York, known for both classic and contemporary performances.

Ages 12+. Guests under 5 are not permitted in the theatre.

Sweeney Todd on Broadway - NYC [26216]

Sweeney Todd on Broadway

Sweeney Todd on Broadway - NYC Product Media

[*Sweeney Todd*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets) is back on Broadway, and there’s much to savor in this musical revival starring [Josh Groban](https://www.newyorktheatreguide.com/stars-on-stage/josh-groban) and [Annaleigh Ashford](https://www.newyorktheatreguide.com/stars-on-stage/annaleigh-ashford). Stephen Sondheim’s sublime score sounds deliciously lush as played by the 26-piece orchestra, the singing is uniformly excellent, and Hugh Wheeler’s morbidly gripping story unfolds in crisp fashion. 

However, there’s an ingredient missing in [*Hamilton*](https://www.newyorktheatreguide.com/show/384-hamilton-tickets) director Thomas Kail’s star-studded but standard take on the 1979 musical: its essential dark edge. Subtitled *The Demon Barber of Fleet Street*, the show motors on Sweeney’s monstrous dimensions. Absent that, or even a faint whiff of borderline madness from what he’s been dealt, the production comes off as a bit too tame. 

Gorgeous music threads throughout this grisly thriller. Sweeney (Groban) returns to London after being wrongfully imprisoned for 15 years. Mourning the loss of his family because of a corrupt judge and his henchman, the barber swears revenge on the duo. He’ll use his straight razors for payback. Pie shop proprietor Mrs. Lovett (Ashford), who has a thing for Sweeney, becomes his accomplice. When Sweeney’s throat-slitting escalates, she grinds his victims into makings for meat pies. Business booms. But there’s no way this tale can have a happy ending. 

Mimi Lien’s two-tiered set makes use of the stage and a bridge above it. A counter pushed into place is the pie shop, and a crane contraption doubles as a madhouse. The bridge is used in a striking moment for a silhouetted dance. Elsewhere, Steven Hoggett’s choreography recalls awkward aerobics, particularly when all hell breaks loose near the end. Natasha Katz’s dramatic lighting is the star of the physical production.

Both leads deliver exactly what they’re best at. Groban, a Tony nominee for *Natasha, Pierre & the Great Comet of 1812*, has a nice-guy persona and lacks the sinister side to convince as a man "even rats fear," according to the title song. He also blends into the crowd in group scenes. But when he sings, Groban commands focus 100 percent. He taps directly into the mournful tones of “The Barber and His Wife,” in which he recalls his past, and the despair of “Epiphany,” as he faces his future.

Last seen on Broadway as Dot in Sondheim’s *Sunday in the Park With George*, Ashford is a very fine singer, but her comic chops set her apart. She won a Tony for *You Can’t Take It With You*, a play in which she bounced off the walls. She is clearly in her comfort zone here. 

Sporting a messy hairdo a la Angela Lansbury, the original Mrs. Lovett, Ashford throws herself into the part – and onto the stage. She bump-bump-bumps down a staircase on her fanny. She channels the Three Stooges and spins while on her side on the floor. She’s a riot, and she also oozes vulnerability. As funny as she is, Mrs. Lovett is a villain because she keeps a life-and-death secret from Sweeney.

Gaten Matarazzo of *Stranger Things* plays Tobias, who becomes Mrs. Lovett’s helper. He makes the most of the famous song “Not While I’m Around.” Jordan Fisher and Maria Bilbao ably fill out the romantic subplot as the thwarted young lovebirds Anthony and Johanna. 

The beggar woman, played by Ruthie Ann Miles, looms extra large in this version. In a provocative stroke, when she enters the barber shop, she points here and there as if remembering something. Is her mind really gone? That question makes her fate all the more tragic – and Sweeney’s words more resonant.

“We all deserve to die,” Sweeney sings. He means himself and Mrs. Lovett. In this revival, the barber and the baker go hand in hand to hell.

[*Sweeney Todd* is at the Lunt-Fontanne Theatre. Get *Sweeney Todd* tickets on New York Theatre Guide. ](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)

*Photo credit: Annaleigh Ashford and Josh Groban in Sweeney Todd on Broadway. (Photo by Matthew Murphy and Evan Zimmerman)*

'Sweeney Todd' review — Josh Groban-led revival doesn't frighten, but still thrills

Read our four-star review of Stephen Sondheim's *Sweeney Todd* on Broadway, starring Josh Groban and Annaleigh Ashford, playing at the Lunt-Fontanne Theatre.

**Lunt-Fontanne Theatre** is one of the most prestigious theatrical venues in New York. Located at 205 West 46th Street in the heart of Manhattan, it's a place where countless iconic performances took place. Opened originally as the Globe Theatre in 1910, it was renamed in honor of Alfred Lunt and Lynn Fontanne in 1958. The theatre, with its eye-catching architecture and rich history, has a seating capacity of nearly 1,500. Being a centenarian venue, it has been through several renovations, but each time it retained its look of classical elegance. Many notable Broadway productions have played at the theatre, predominantly musicals. Impressive frescoes, luxurious red seats, mesmerizing ambient lighting, coupled with state of the art audio-visual elements, create an unforgettable experience. With each performance, audiences are enveloped in an atmosphere of grandeur and majesty, a testament to the theatre's legendary status.

**Getting to Lunt-Fontanne Theatre**: Conveniently situated in Manhattan, the theatre is easily accessible by mass transit. One recommended way is by subway; guests can take the N, Q, R, W, J or Z trains to 42nd Street, Times Square. From that point, it's just a short walk to reach the venue.

Lunt-Fontanne Theatre - NY

Lunt-Fontanne Theatre

The Lunt-Fontanne Theatre, located at 205 West 46th Street in Manhattan, is a historic Broadway theatre venue with a seating capacity of nearly 1,500.

Once Upon a Mattress on Broadway - NYC [31936]

Once Upon a Mattress on Broadway

Once Upon a Mattress on Broadway - NYC Product Media 

The **Hudson Theatre** located in the heart of New York City, is a prestigious broadway theatre on 44th street. Over a century old, it blends the rich history of New York with the modern NY life, rendering it an impeccable locale for a diverse range of events. It showcases traditional broadway shows, concerts, performing artist shows and many more. This quintessential theater boasts a seating capacity of around 970, spread over 3 levels, offering a meticulous proximity to the stage with unmatchable acoustics. It is adorned by a magically preserved antique design, offering a one-of-a-kind ambience that’s second to none.

**How to get to the venue:** The Hudson Theatre is accessible via various methods of transport. Driving to the theater provides the convenience of parking at Icon parking just across the street. Alternatively, the theater is easily reachable via public transit, being near to Times Square - 42nd Street Station served by multiple subway lines. The Port Authority Bus Terminal is just a short walk away, providing access to numerous bus routes.

Hudson Theatre - NY

Hudson Theatre

The Hudson Theatre is a historical Broadway theatre in New York City, accessible via car, subway, and bus.

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