Anyone Can Whistle

This lesser-known of Stephen Sondheim’s shows has all the usual unpredictable, musical segues and matching well-considered lyrics, and though they carry a less complex storyline and theme than one expects of Sondheim, this production makes the most of the absurdist, almost Pinteresque, theme and characters.

Take an idealistic psychiatric nurse and her patients, a man who may be a doctor, and the disenchanted townspeople of a bankrupt town. Add a fake miracle staged by the corrupt mayoress and her three henchmen to try to save the town and the resulting absurdity as their plans go awry, and you have the relatively unlikely plot. But the combination of quirky characters and the humour Arthur Laurents has the written into the script, allows the possibility of funny caricatures, a little slapstick and a few pratfalls to enliven the usual troubled love story.

Diane Wilson obviously realised these possibilities and made the most of them in casting and directing her vision. There is a lightness of touch that underlines the absurdity of the situation and the characters, yet the direction is tight and pushes a pace that accentuates the humour rather than the plot. The costumes and the set pick up and add to the “fun and comic book possibilities” Wilson envisioned when she took on the production. The set is a series of cartoon style buildings in a palette of strong colours that is picked up in the rainbow of bright dresses, flowery hats, mad waistcoats, a wicked check suit, pinks, greens, yellows, purple worn by the very enthusiastic cast.

Glenda Kenyon plays the lady mayor, Cora Hooper Hoover, with appropriate posturing, and lots of ‘mayoral bling’. Kenyon flaunts, pouts and cajoles her way through her songs as she tries desperately to save her skin – and ‘her’ town, which is disintegrating around her. A female villain is unusual in musical theatre, and Kenyon has obviously enjoyed getting every raunchy possibility out of the role.

Her main henchman, Comptroller Schub, is a similar, opportunistic villain. Christopher Thurgood makes the most of this character and his relationship with the mayoress, peppering their songs and interchanges with typical melodramatic poses and sneers that enlarge his character and engage the audience.

His ‘off-siders’ are Treasurer Cooley and Police Chief Magruder. Cooley, just as opportunistic, but easily led, is totally caught up in Schub’s schemes and manipulated by him. Neil Litchfield makes this character a bit of a bumbler, who is not quite ‘with it’ all the time, but follows Schub’s every lead with simple, wide-eyed acceptance.

Chief Magruder is the typical ‘cop’ character that gives playwrights the opportunity to ridicule the law. As such, Malcolm Haynes finds all the silliness that is written, and directed, into this role. A big man, he is very light on his feet, so his trips, little dances and rushing entrances and exits are even funnier.

These three stooges work well together. Their voices combine well and the simple choreography adds to the humour of their characters.

The romantic lead roles of Nurse Fay Apple and J. Bowden Hapgood have, typically, both funny and serious moments. Melissa Goman is outstanding as Apple. She has a lovely voice but as well is a strong performer who brings depth and believability into this character. Whether singing passionately about her pessimism in There Won’t Be Trumpets or playing her sexy French alter ego, she is a commanding and engaging presence on the stage.

Greg Kenyon is convincing and energetic as Hapgood, the doctor-cum-patient who steals Apple’s heart. They develop a strong chemistry that carries them through the silliness of their Come Play Wiz Me scene and leads into the seriousness of Apple’s confession that she can’t really be herself in Anyone Can Whistle.

The ‘chorus’ cast – the townsfolk and Apple’s ‘cookie’ patients – are bright and energetic, enthusiastically beating out their songs and protests as they march shouldering their banners or wait in line for their chance at a miracle. Directorial time and care have been taken to ensure they are not just a chorus. Each has developed an individual character that is identifiable and sustained throughout the production.

Diane Wilson is to be congratulated on this production of a musical that originally didn’t make it on Broadway, but has developed a bit of a cult following over the years. She has not overlooked the little bits of pathos and social comment in the plot; has made the most of its possible pace and texture and colour; and brought together a cast who are obviously enjoying themselves immensely … and isn’t that what community theatre’s all about?

Carol Wimmer

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