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Past Reviews Regional Reviews: Seattle Anything Goes Perfectly at the 5th Avenue Theatre Also see David's review of Carrie
This Anything Goes script and song list is the 1980s Lincoln Center revival version which is the one commonly produced nowadays. Timothy Crouse and John Weidman's jokey, jaunty and lighter than air adaptation of the 1934 original retains the basic plot of a cruise ship full of zany and/or wealthy folk who match up with one another after several romantic roundelays. It also neatly sandwiches in several stellar Cole Porter tunes not originally found in the original Ethel Merman production, which is not to say the score needed beefing up, containing such delights as "You're the Top," "I Get A Kick Out of You," "Blow, Gabriel, Blow" and the timeless title tune. Still, add in "Easy to Love," "Friendship," "It's De-lovely" and "Goodbye Little Dream, Goodbye," plus such seldom heard charmers as "Be Like the Bluebird" and "The Gypsy in Me" and you have a menu for classic musical nirvana. Director/Choreographer Marshall did very well by her acclaimed Kiss Me, Kate revival several seasons past, but her work on this feels fresh, fleet-footed and an homage to the kind of dancing you haven't seen since the Fred Astaire and Ginger Rogers vehicles of the '30s. But even in that golden era, a triple threat like Rachel York, as entertainer cum evangelist Reno Sweeney, was a rare commodity. Acting with a Mae Westian wicked delivery and gait, belting and then soaring into soprano on her big Porter songs, and dancing with as much zest and precision as any of the bravura gypsies alongside her, York is the kind of star they don't write well enough on Broadway for anymore. And as Billy Crocker, her pal who's in love with another gal, Josh Franklin is her equal, a peach of a leading man with comic chops, fancy footwork and a dreamy voice. Fred Applegate was simply born to embody the rascally charms of Public Enemy #13 Moonface Martin, and his "Bluebird" solo, complete with a blue spotlight as a dance partner, is a slice of heaven. Joey Sorge as the malaprop-spouting dandy Sir Evelyn Oakleigh is another dynamo, who tears it up with wicked glee and artistry to spare in the "Gypsy in Me" dance with Ms. York. Alex Finke is winsome and sweet of voice in the straightest role in the show, Billy's heiress fiancée Hope Harcourt, and her "Little Dream" solo is just that. Joyce Chittick finds new fun as Moonface's mischievous moll Erma, and manages a TKO of her own, surround by amply endowed sailor boys for "Buddie, Beware." Even the smaller roles are cast to perfection, including veterans Dennis Kelly as visually challenged millionaire Eli Whitney, Sandra Shipley as a Margaret Dumontesque Mrs. Harcourt, and Chuck Wagner as the wry ship's Captain. Along with the lovely ladies and gorgeous gentlemen of the ensemble, this a dream company for any musical. Technical elements here are all top flight as well, from the smashing and varied shipboard motifs in Derek McLane's scenic design, to the ingenious lighting design by Howell Binkley, the late Martin Pakledinaz's dazzling costumes (Ms. York is gowned in one shimmering delight of an outfit after another), and a remarkable sound design by Brian Ronan, which balances the singers and orchestra better than any I have heard at the 5th, ever! As is all important with a Porter musical, the orchestra (largely made up of laudable local talents to augment the travelling staff) is rich and full, under the musical direction of Jake Alger. This Anything Goes is that now rare case of a musical like they don't make anymore, a time machine trip back to a golden era of musicals that gave us songs and silliness that would sing in our hearts and dance in our memories forever. Anything Goes runs through November 3 at the 5th Avenue Theatre, 1308 5th Ave., in downtown Seattle. For tickets or information contact the 5th Avenue box office at 206-625-1900 or visit them online at www.5thavenue.org. For more information on the tour, visit anythinggoesontour.com.
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