Broadway.com | See Sutton Foster as Reno Sweeney! Behind the Scenes at the Anything Goes Photo Shoot

One of Broadway's favorite darlings, Sutton Foster, prepares to play the role of Reno Sweeney in Roundabout Theatre Company's spring production of Anything Goes. In taking on this part, she steps into shoes previously filled by the likes of Ethel Merman and Patti LuPone. Tickets are available now at telecharge.com and the show hits the Stephen Sondheim Theatre in March of 2011. Foster is also joined by fellow Tony winner Joel Grey.

Broadway.com | See Sutton Foster as Reno Sweeney! Behind the Scenes at the Anything Goes Photo Shoot

Roles They Could Have Had

I've been reading a lot lately about prominent actors that audition for or were considered for parts in Broadway shows or movie musicals that either turned down or were denied the roles. I find this fascinating because I think we all feel that once you reach a certain point in your acting career, you can have any role you want. Well prepare to be surprised, because some of these names are big, I'm talking Patti LuPone and Meryl Streep big. Some of these casting situations are confirmed by the actors and some are just rumors, but nonetheless they are all juicy

• West Side Story (film)-Elvis was offered the role of Tony but his manager turned it down as "Elvis only does Elvis movies"
• Sunday in the Park with George-Patti LuPone auditioned to replace Bernadette Peters as Dot/Marie but was denied the role
• A Little Night Music(Broadway revival)-Patti LuPone reportedly contacted director Trevor Nunn about playing the role of Desiree but he never returned her call
• A Little Night Music(Broadway revival)-Broadway heavy hitters Sherie Rene Scott, Marin Mazzie, and Victoria Clark were considered for the role of Desiree but producers decided to go the way of "star casting" with Catherine Zeta Jones; Laura Benanti was also offered the role of Charlotte but turned it down to star in In the Next Room/The Vibrator Play
• Crazy For You-Karen Ziemba was up for the female lead but lost to Jodi Benson; Ziemba later toured with the show and was much more acclaimed in the role than Benson
• Wicked-Stephanie J Block played Elphaba in the first workshop but was later recast by Idina Menzel
• Thoroughly Modern Millie-Kristen Chenoweth was cast as the original Millie, but left to film her sitcom Kristin and was recast but Erin Dilly and ultimately Sutton Foster
• Little Shop of Horrors-Nathan Lane and Faith Prince were considered for the original Seymour and Audrey but neither got the part; ironically both were later cast together in the revival of Guys and Dolls
• Sunset Boulevard-Hollywood stars Meryl Streep, Faye Dunaway, and Barbra Streisand were considered for the role of Norma, which was ultimately played by Patti LuPone in London and Glenn Close in LA and New York
• Into the Woods-Patti LuPone reportedly auditioned to play the Witch, but it was given to Bernadette Peters
• Wicked-Sara Ramirez was considered for Elphaba before Idina Menzel was hired
• The Rocky Horror Show (revival)-Matthew Morrison was offered the role of Rocky but turned it down to be in a boy band; when the band failed he joined the production in the chorus
• Grease (movie)- Henry Winkler was offered the role of Danny but he turned it down because "it was too similar to the Fonz"
• Sunday in the Park with George- Kelsey Grammer played a soldier when the show debuted off-Broadway but left to play Frasier on Cheers
• Sweeney Todd (film)- Meryl Streep was offered Mrs. Lovett but turned it down to do the film version of Mama Mia
• Young Frankenstein- All 4 principle actors from Will & Grace auditioned, but only Megan Mullaly was cast, in the role of Elizabeth
• Wicked- Mandy Moore received an offer to replace Chenoweth as Glinda, but "didn't want to follow someone like Kristin"
• Hello Dolly- Ethel Merman was offered the role of Dolly Levi but turned it down and it went to Carol Channing; ironically Merman later played the role as the final  Broadway replacement and the last role of her career
• Passion- Patti LuPone was offered the role of Fosca but turned it down to do Sunset Boulevard in London
• Cabaret-Madonna seriously considered playing Sally in the revival but turned it down for "security reasons"; Anne Heche was rumored to headline the first national tour but the role ultimately went to Terri Hatcher
• Sweet Charity (revival)- Brittney Spears turned down the offer to replace Christina Applegate as Charity
• Moulin Rouge (film)- Renee Zellweger was on the short list for the Nicole Kidman role but ultimately lost out
• Chicago (film)- Kristin Chenoweth lost the role of Mary Sunshine to Christine Baranski and was also considered for Roxie; Catherine Zeta-Jones was cast and given the choice of Roxie or Velma
• Wicked- John Gallagher was considered for a role in the original production but told producers he "could never do musicals"
• Ragtime- LaChanze was almost cast as Sarah until the producers insisted in Audra McDonald
• The Light in the Piazza- Celia Keenan-Bolger was the original Clara out of town but producers thought she "read as too young" and promoted Kelli O'Hara to play Clara after originally playing Franca
• Evita (film)- It seems like everybody in New York and Hollywood was considered for this film role, from Patti LuPone to Michelle Pfeiffer but it ultimately went to Madonna
• American Idiot- Constantine Maroulis played the role of St. Jimmy in workshops until Tony Vincent joined the production

My Fave Five Broadway Belters

Patti Lupone
Need I say more? Well obviously I'm going to. This woman is stuffed to the gills with attitude and sass. She doesn't take any crap from anybody, and that intensity and passion comes out in her voice. Sure, she is known to be a bit of a diva and has even screamed at the occasional audience member for taking photos during performances, but my goodness can this broad belt! From the title role in Evita to Mrs. Lovett in Sweeney Todd and most recently, Mama Rose in Gypsy, she has played the roles that every actress dreams of taking on. Listen to "Buenos Aires" from Evita for a taste of Patti's belting.

Sherie Rene Scott
She burst onto the scene in 1993 as Sally Simpson in The Who's Tommy and hasn't looked back since. She is choosy when selecting theatre roles, careful to take on roles that truly show off her vocal skills. Highlights of her career include Amneris in AIDA, Cathy in The Last Five Years, Ursula in The Little Mermaid, and Christine in Dirty Rotten Scoundrels, where she ranges from sultry to quirky to heartbreaking. The best representation of Sherie as a performer is in her recent show Everyday Rapture, where she portrays a stylized version of her life story. Her range is incredible, from gospel and blues, to motown and ballads, but the most impressive thing...her crystal clear belt. She makes belting sound effortless, and any singer will tell you, it is certainly not an easy thing. Check out "My Strongest Suit" from AIDA for a great example of Sherie's soulful side.

Idina Menzel
Whether you know her as Maureen in Rent, Elphaba from Wicked, or Glee's Shelby Corcoran, you know Idina Menzel can belt her face off. She definitely doesn't have the clear effortless sound of some of these other ladies, but her powerful, rock sound has served her just fine. Fans love her sound and from personal experience, I know that she is quite thrilling live. For some, she is an acquired taste, and for others, her voice is a bit too grating and rough around the edges. But regardless, nobody can dispute that this lady can belt, and she can belt high. "Defying Gravity" from Wicked is a great example of Idina's belting range and soaring rock sound.

Stephanie J Block
She is certainly the least known of these five women, but in my own humble opinion, she has the best voice. She made her Broadway debut as Liza Minnelli in The Boy From Oz, and after being replaced by Idina Menzel for the Broadway production, went on to play Elphaba in the first national tour of Wicked. Recent roles have included Grace O'Malley in The Pirate Queen and Judy Bernly in 9to5: the musical. While some belters use sheer force to produce sound, Stephanie doesn't even sound like has to try to belt and I could listen to her for hours. This woman has unfortunately been a victim of the all too frequent "great performer, average show" syndrome with all of her Broadway endeavors resulting in flops, despite her outstanding performances. I have never seen a single performer live as many times as I've seen Stephanie and I will continue to see any production that has the privilege of casting her. This woman has so much to give to Broadway and I can only hope she gets a change to play a fabulous role in a blockbuster show. I'm crossing my fingers that she is offered the role of Fanny Brice in next year's revival of Funny Girl and maybe one day she will be Gypsy's next Mama Rose. Run, don't walk to listen to Stephanie sing "Get Out And Stay Out" from 9to5: the musical. Her voice will break your heart and lift you up all in the same song.

Ethel Merman
Last but not least, the woman who needs no introduction, the original Broadway belter, Ethel Merman. They broke the mold when they made this broad, and while we have some great voices on Broadway today, there will never be another Merman. She was bawdy, foul-mouthed, and the definition of the word "DIVA". She introduced audiences to some of the greatest musical theatre roles ever from Annie Oakley in Annie Get Your Gun to Mama Rose in Gypsy. Other actresses went on to play these roles (Bernadette Peters played both) but none could erase the memory of the incomparable Merman. Her rendition of "Rose's Turn" is not to be missed. She was a machine and a work horse who rarely missed performances, if ever, and did it all before the age of microphones. That only intensified her greatness, as her belt was entirely natural with no help from amplification or auto-tuning. Because she had to produce enough volume to be heard in a Broadway house over a full orchestra, her voice lacked the nuance and detail of some of today's singers, but in any case, she was a revelation. There isn't a Broadway belter alive who wasn't influenced by Ethel Merman, and if they say they weren't they are lying, because my lord, they don't make them like that anymore.

Special thanks to Rick Westerkamp for contributing to this post!