Sutton Foster recently brought her undeniable charm and powerful vocals to The Soraya in Northridge, California, captivating an audience with a jazz-infused performance that, for real, left everyone wanting more. The LA Show was a vibrant kickoff to The Soraya’s 2026-27 season, making it clear from the jump that this wasn’t just any concert. Backed by the Pacific Jazz Orchestra, the Tony-winner delivered a nearly two-hour set filled with show tunes and timeless classics, creating an atmosphere that was, according to the report, electric and deeply personal.
Kicking things off, Foster took a moment to introduce her key collaborators, including Michael Rafter, her music director and pianist for the evening, and Chris Walden, conductor of the Pacific Jazz Orchestra. She then hit home with a powerful message about the unique magic of live performances, emphasizing the shared human experience in a world often dominated by digital screens. As the article states, ‘We are all live humans, and this is a live orchestra, and you are a live audience. And we are so lucky that we get to gather and celebrate live music,’ a sentiment that resonated deeply with the appreciative crowd.
The setlist was, straight up, a masterclass in musical theater, featuring several Cole Porter classics. Fans were treated to iconic numbers like ‘I Get a Kick Out of You’ and ‘Blow, Gabriel, Blow’ from ‘Anything Goes,’ a show that, according to historical accounts, has seen numerous successful revivals over the decades, showcasing Porter’s enduring legacy. Foster also performed ‘Don’t Look at Me That Way,’ which she noted was fast becoming a personal favorite, and ‘Miss Otis Regrets,’ a song she’d reportedly danced to in her younger days. A cool tidbit shared was how Marc Shaiman arranged her version, based on a Bette Midler rendition, and Midler herself gave her blessing – that’s legit!
Beyond the powerful vocals, Foster charmed the audience with relatable personal anecdotes, painting a picture of her life off-stage. She spoke lovingly of her 9-year-old daughter, Emily, calling her ‘my favorite person that I’ve ever met,’ which, honestly, hits different. She also dished on her dad’s humorous quirks, like his love for the Weather Channel and the Atlanta Braves, and his hilariously blunt observations about her hair and makeup. A truly human moment occurred just before intermission when she paused ‘Anything Goes’ due to a tickle in her throat, telling the audience, ‘It is OK to stop.’ This unexpected pause was a real, raw display of vulnerability, offering a valuable lesson to young performers in the audience: it’s just a show, and self-care is key.
The second half of the concert delivered the ultimate surprise when Hugh Jackman, described in the report as Foster’s romantic partner for nearly two years, crashed the stage during ‘A Doodlin’ Song.’ Their playful banter was pure gold, with Jackman quipping, ‘It’s 2026; everybody has a microphone’ when Foster questioned his presence. The crowd went wild, no cap. What followed was an unscripted duet of ‘A Million Dreams’ from Jackman’s 2017 film ‘The Greatest Showman.’ Foster revealed they had workshopped the song together 12 years prior, long before the film’s release, making this performance a sweet callback to their shared professional history and a genuine treat for fans who were not expecting it to be in the program.
After a heartfelt kiss from Jackman before his departure, Foster, playing it cool, joked about how tough it would be to follow that moment. She closed out her set with ‘Meantime’ and ‘Till There Was You’ from ‘The Music Man,’ a musical that, according to historical records, saw a Broadway revival in 2022 starring both Foster and Jackman. The night wrapped up with a well-deserved standing ovation and a sing-along, marking a truly unforgettable opening for The Soraya’s 16th season and the first under its new executive and artistic director, Chad Hilligus. This concert was, without a doubt, a high-key success.If you enjoyed this article, share it with your friends or leave us a comment!
Livia Dorne covers film, television, music, and pop culture with a keen editorial perspective. She delivers engaging commentary, reviews, and behind-the-scenes insights that keep readers connected to the entertainment world. Her style blends critique with storytelling.
