A GLORIOUS NIGHT OF BROADWAY,
FRIENDSHIP AND FEMALE ICONOGRAPHY

Wolf Trap could not have conjured a more exquisite evening last night for Sutton Foster and Kelli O’Hara’s long-awaited joint concert with the blazing National Symphony Orchestra under Emil de Cou’s impeccable direction. After a relentless midsummer heatwave, the Filene Center welcomed its audience with a crisp breeze and cloudless sky—the kind of night that makes open-air performances feel like pure magic. Cradled by the venue’s signature acoustic shell—wrapped in warm wood and crowned with elegant sound tiles—the stage became the perfect setting for a celebration of harmony: musical, emotional, and historical.

And harmony there was—in every sense. Foster and O’Hara, friends for over two decades, have long admired each other from parallel Broadway paths. Yet it wasn’t until their joint debut at Carnegie Hall that they finally shared a stage. That milestone sparked this concert, lovingly conceived as a tribute to their own musical idols: Julie Andrews and Carol Burnett, and their legendary 1962 musical comedy special Julie and Carol at Carnegie Hall. This evening was a modern echo of that legacy—infused with reverence, originality, and joy—and plenty of show tunes.

The concert opened with The Foster & O’Hara Overture, an original composition arranged and conducted by Maestro de Cou. A glittering pastiche of their Broadway careers, it danced through themes and motifs from Anything Goes, The Light in the Piazza, The King and I, Thoroughly Modern Millie, The Bridges of Madison County, and The Music Man—a jubilant overture that set the tone for the night.

Clad in mirrored elegance—O’Hara in a strapless silver-and-white gown, Foster in a sleek sleeveless pantsuit—the duo began with “Great Adventure” from Kimberly Akimbo, a tender number that bloomed from simple ukulele accompaniment into a lush, full orchestral swell. Their voices—so distinct in timbre and style—blended with surprising intimacy, weaving a sound both radiant and deeply human.

Foster followed with a riotous “Shy” from Once Upon a Mattress, channeling Carol Burnett’s fearless comic timing and bright brassiness. O’Hara countered with a luminous “I Have Confidence,” a nod to Julie Andrews filled with poise and optimism. Their duet for Cole Porter’s “You’re the Top” sparkled with mutual admiration, their real-life friendship shining through every phrase. O’Hara’s solo set offered highlights of her signature vocal clarity—especially in Sondheim’s “What More Do I Need?” and a Rodgers & Hammerstein’s soaring “If I Loved You.” Foster returned for “Answer Me” from The Band’s Visit, a haunting, meditative piece that brought the amphitheater to an awed hush.

Yet this wasn’t an evening of only elegance and gravitas—it also delivered humor and heart. A delightful skit set in the Macaroni Grill found the two donning aprons and riffing on their early-career detours and aspirations with warm comedic ease. “How Do You Get to Carnegie Hall?” walked the fine line between self-deprecating charm and heartfelt homage. Foster brought the house to its feet with “Anything Goes”, tapping effortlessly alongside four young ensemble members. Act I closed on a deeply personal note with “Fable” from The Light in the Piazza, dedicated to their daughters, Emily and Charlotte—a tender gesture from two artists in the prime of their lives, singing as mothers and mentors.

Act II kicked off with a rowdy, boot-stomping “Big D” from Frank Loesser’s The Most Happy Fella, with both stars and ensemble clad in cowboy gear. (The arrangement they used for “Big D” is from the archives at UCLA, where Burnett donated her collection. Sutton texted Carol to ask about arrangements—you know—like ya do.) O’Hara’s comedic range sparkled again in a cabaret tune, “They Don’t Let You in the Opera (If You’re a Country Star),” a sly blend of operatic bravura and twangy defiance. Then came a moment of theatrical magic: over the house speakers—fondly known as the “God mic”—came the unmistakable voices of Julie Andrews and Carol Burnett, offering surprise words of love, encouragement, and pride to their “dear girls”. The audience erupted in delight.

The next number, a whirlwind 90s Mega Medley, was pure crowd-pleasing gold. From Cher to Nirvana, TLC to Seal, Madonna to Aerosmith, the duo charged through nine minutes of Walkman-era hits, leading viewers in arm-waving and flashlight-shining nostalgia. It was playful, powerful, and proof that Broadway stars can command a pop anthem just as fearlessly as a Sondheim ballad.

Foster returned to center stage for a hushed, ethereal version of Joni Mitchell’s “A Case of You,” her voice floating with restraint and longing like smoke above the orchestra. She followed with “Meantime” by Robert Allen and Al Stillman from the 1962 concert, delivered with wit, affection, and winking charm. The penultimate “Here’s to Life,” made famous by Shirley Horn, served as a reflective toast to growth, time, and resilience—a song sung not just to the crowd, but perhaps to themselves.

The finale, a two-part adieu of “So Long, Farewell” from The Sound of Music and “I’m So Glad We Had This Time Together” (written by Carol Burnett’s husband, Joe Hamilton), was quietly devastating in its simplicity. With a gentle tug of the ear—a nod to Burnett’s trademark goodbye—the evening came to a close.

This was more than a concert. It was a tribute, a torch-passing, and a testament to enduring artistry, generosity, and friendship. Sutton Foster and Kelli O’Hara didn’t just honor a legacy—they stepped into it. A once-in-a-lifetime evening and Musical Theatre Heaven… with a breeze.

One Night Only
Sutton Foster & Kelli O’Hara with the National Symphony Orchestra at Wolf Trap
Emil de Cou, conductor
played August 1, 2025
Filene Center, 1551 Trap Rd. in Vienna, VA
for more shows, visit Wolf Trap