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Regional Reviews: Florida - Southern Anything Goes
Anything Goes is the story of the voyage of the passenger liner the S.S. American, from New York to England. On board is an unusual group of passengers, including a dangerous gangster and a sexy moll (Moonface Martin and Erma), a wealthy debutante and her widowed mother (Hope and Evangeline Harcourt), a stuffy Englishman and a southern minister (Lord Evelyn Oakleigh and Henry T. Dobson), a business tycoon and his stowaway assistant (Elisha Whitney and Billy Crocker), and a sassy nightclub singer/evangelist (Reno Sweeney) and her bevy of beautiful chorus girls known as "Angels" (Purity, Chastity, Charity and Virtue). Characteristic of the innocence of the time period in which this was written, everyone ends up on the right path in the end, but on the way there—anything goes! Whether below or on deck, well-executed elements of scenic and lighting design provide depth and detail for our journey aboard the S.S. American. Conductor Robbie Cowan leads a live, 8-piece orchestra that beautifully plays this classic Cole Porter score with a big, full sound. Costuming is pure 1930's period elegance. The ladies are awash in sequins and furs, with the occasional provocative reveal of a shapely leg and bare shoulder. Reno and her Angels are masters of showing off both fashion sense and their assets at the same time. Emma Stratton is smashing as Reno Sweeney. Her seductive speaking tones are paired with a knowingly dry comedic delivery; her singing and dancing are both top-drawer. Brian Krinsky falls just shy of establishing the likable and charming nature of Billy Crocker. He doesn't ever win the audience over as he should right from the very beginning of the show. While his duet with Reno (Stratton) "You're The Top" is his most enjoyable moment, he has better chemistry with Rachelle Rose Clark as Hope. Clark's singing voice is a bit thin, however, and her character comes off as rather bland. Dennis Setteducati as Moonface makes full use of his glorious comedic moment in the song "Be Like The Bluebird." and Mychal Phillips as Erma is all sex appeal in "Buddy Beware." Both provide wonderful, comedic supporting character performances throughout the show. The surprise scene-stealing performance of the night is given by Richard Lindenfelzer as Lord Evelyn Oakleigh in "The Gypsy in Me." The hilarious choreography filled with awkwardly expressed passion seems to have been made just for him. It was my favorite moment in the show, and certainly received more laughs than any other number. Anything Goes really is one of the great tap-dance musicals. The second act is delightfully choreographed. "Blow, Gabriel, Blow" has huge energy, "Be Like The Bluebird" and "The Gypsy In Me" show wonderful humor, "All Through The Night" has elegance and romance, and "Buddie, Beware" is a great spectacle song. However, except for the title song, the first act is truly lacking in choreographed moments. Too many missed opportunities go by that should have been enhanced by better staging and choreography. The dance purist may be disappointed that in this production "Anything Goes"—the most iconic dance number in the show—the dancers are performing to recorded tap sounds. It doesn't even look like some of the women are wearing tap shoes. Still, the number seems to retain the original choreography, and one can't help but smile through the eagerly anticipated tap section. With solid production values, and so many familiar songs filled with clever lyrics and beautiful melodies, it is still a welcome voyage aboard this production of Anything Goes. Composer and songwriter Cole Porter's work also includes the musicals Kiss Me, Kate, Fifty Million Frenchman and DuBarry Was a Lady. Among his best known work are songs such as "Night And Day," "Be A Clown," "My Heart Belongs To Daddy," "Love For Sale," "Begin The Beguine," "You're The Top," "Too Darn Hot," "I've Got You Under My Skin," "I Love Paris," "Just One of Those Things" and "In The Still of The Night." Though the volume of his work speaks for itself, Cole Porter received but two Academy Award nominations during his lifetime. As a composer he was known for his wry wit, clever lyrics and sophisticated musical style. His bawdy lyrics and over-privileged lifestyle earned him a personal reputation that was a bit risqué. Alongside songwriters such as Irving Berlin, and George and Ira Gershwin, his songs live on today as part of the Great American Songbook. Anything Goes will be appearing on the Marden Stage, in Dreyfoos Hall, at the Kravis Center for the Performing Arts through March 15, 2015. The Kravis Center for the Performing Arts is located at 701 Okeechobee Boulevard in West Palm Beach, Florida. For tickets to this show, and/or information on their season, you may contact them by phone at 561-832-7469 (561-832-SHOW) or 1-800-572-8471 (1-800-KRAVIS-1), or online at www.kravis.org. For more information on the tour, please visit www.anythinggoesontour.com. Cast: Crew:
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