Anything Goes

What is there not to love about a Cole Porter iconic musical? Originally produced in 1934, Anything Goes is one of the iconic ‘boy meets girl’ musicals. Including hummable songs like, “You're the Top”, “Anything Goes” and “I Get a Kick Out of You”, this much-loved musical was a Tony Award winner as recently as 2011.

Following the rousing overture, Marie Clark Musical Theatre’s show opens with a warmly lit bar scene. Furniture is evocative of the era, and this term can be used for the elements of set dressing, furniture and costumes.

Conducted by Mark Stefanoff and Deborah Brennan, on opening night, the 14-piece orchestra ‘played up a storm’. They were well balanced, reflecting both the sound and style of the era. There were occasions where the orchestra and lead performers were ‘out of sync’ and this impacted on the opening, but the show settled from that point on. They are to be congratulated on creating a big band sound with relatively few musicians.

Marie Clark Musical Theatre has embraced this show with gusto and some very astute casting. The heart and soul of every musical is the work of the ensemble. They are the magic thread that links the songs, story and images. In this production, the ensemble is diverse, multi-skilled and cohesive and it is worth the ticket price to see the energetic, pacey first act finale.

The star of the show is Alana Shepherdson. In the role of Reno, she is sultry, well dressed for the role, has excellent timing and knows how to ‘plant a line’. Her musical performance, despite the opening, is strong, and importantly consistent. She dances and moves well, and uses comedy timing with aplomb.

The two ‘young lovers’, Billy Crocker, played by William Richards and Hope Harcourt, played by Maya Miller, are not so assured and confident. On opening night, Miller acquitted herself well musically, but there was little evidence that there was enough chemistry between them for Billy to stow away on an ocean liner in pursuit of her as the woman with whom he is irrevocably smitten. In dance numbers, Richards moves well, and may be regarded as ‘an actor’s singer’ because he appeared to struggle, particularly with the upper register notes.

Somewhat more charismatically played is the role of the gangster, Moonface Martin. Buddy Dawson presented rather more charming than as the threatening, number one criminal on the FBI’s most wanted list. Dawson used comedy opportunities well, but may benefit from considering that frequent shouting contributed little to him being menacing.

Chris Bierton as Lord Evelyn Oakleigh harnessed every nuance and opportunity for comedy and fun. His rendition of “The Gypsy In Me” was loved by all of the audience. Also in a supporting lead role, Brooke Washusen as Erma shows tons of potential in musical comedy. She commanded the stage in her solo, “Buddy Beware”, is vocally strong and moves well.

It would be remiss not to comment that the support lead roles of the Captain, Elisha Whitney and Evangeline Harcourt were well played linking roles in this fanciful, rollicking tale. Despite the limitation of a stuffed toy dog Sandy Wandel did well as the money driven, dog obsessed mother.

I am somewhat of a ‘stickler’ for period detail and thought that using a modern gin bottle that was brandished in full audience view, was a detail that could have been addressed to preserve the wonderful romantic deco feel that the 1930’s brought us all. Similarly, whilst some of the lead female performers, using wigs and careful styling, took their look to the era, this was not consistent with all characters, particularly the men’s and ensemble hair styling and clothing.

Having made some comments about the limitations of this musical, it is important to acknowledge that there are many more strengths. It is a very entertaining night out, and the opening night audience gave it a rousing standing ovation. So, be buoyed, hoist up your mainsail, and set course for a fun night out with Anything Goes before they set sail without you.

Jude Hines