For a musical written in 1934, Anything Goes still has a lot going for it. The national tour, based on the show’s 1987 revival, proves why it was such a hit on Broadway and beyond. Director/choreographer Kathleen Marshall wisely trimmed the script (which was never this musical’s strong suit). The revival focuses instead on the fabulous songs, which include: “It’s Delovely,” “I Get a Kick Out of You,” and “All Through the Night.” Act I closes with a rousing production number of “Anything Goes.” It builds and builds to become the evening’s first of several showstoppers.
The non-Equity cast number a skimpy 24. Yet it dazzles with talent, led by Emma Stratton as Reno Sweeney, a streetwise lounge singer. In a part originally written for the legendary Ethel Merman, Stratton demonstrates that she can likewise belt out a song. Unlike the hefty Merman, however, Stratton is a Marilyn Monroe-style blonde bombshell. She looks stunning in an endless series of delicious costumes. (One can only imagine how many of Sweeney’s wardrobe trunks had to be hoisted aboard the SS American, the cruise ship on which the musical takes place.)
The music in Anything Goes has always been far more intelligent than a plot involving several giddy shipboard romances. The passenger list aboard the SS American certainly adheres to the musical’s title, Anything Goes. It includes gangsters and socialites, sailors and wealthy businessmen, English nobility, and a Far East missionary traveling with two of his Chinese converts.
Kathleen Marshall’s choreography – whether it involves a duo or the entire cast -- is in perfect harmony with the music. Notably, songs with Cole Porter’s tricky lyrics (including “It’s Delovely” and “Anything Goes”), are sung straight to the audience. The result is that, more than 70 years after the first sailing of the SS American, audiences can still marvel at Porter’s masterful songwriting skills. It is almost inevitable that audiences will leave the theater humming at least one of the tunes.
Returning to Marshall’s snappy choreography, it borrows from a wide range of dance styles, showing nautical influences as well as some slinky moves one might find in Chicago. Overall, the show captures the glamour and style of a 1930s musical, interspersing tap numbers with the seemingly effortless moves associated with ballroom dancing.
Although Sweeney is most assuredly the show’s star, she is ably accompanied by the rest of the cast. This includes: an age-appropriate Rachelle Rose Clark as Hope, the young debutante; Tracy Bidleman as her mother; Richard Lindenfelzer as the debutante’s English fiancé; and Dennis Setteducati as the comical gangster, Moonface Martin. Sweeney’s sexy, full-throated back-up singers are Gabriella Perez, Annie Wallace, Kaylee Olson and Lexie Plath.
The show’s one casting flaw is Brian Krinsky as Billy Crockett. Despite pouring a lot of energy into his role, neither his voice nor his acting talent is up to the task. This is unfortunate, given the fact that Billy is a key character. At least Krinsky looks the part, which is important since both Hope and Reno are smitten with him. Although the show’s script has been sliced and diced, it still manages to convey the musical’s wry commentary on social classes, celebrity worship, and the sudden financial ups and downs during America’s Depression. A few of the corny gags have been left in, as well as some of the humorous dialogue. (An old man’s compliment to his middle-aged girlfriend, “you always knew how to fill a girdle,” elicits a loud groan from the audience.)
The show’s sumptuous costumes and equally brilliant lighting compensate for a one-dimensional set. It consists mainly of a cardboard cut-out of the ship.
Anything Goes comes together as a nicely done tribute to times gone by. It’s a bit of G-rated escapism that lifted spirits in the 1930s as well as today.
