Anything Goes

Oh what a glorious evening of perfect old-fashioned entertainment we were treated to with the opening of Anything Goes. No angst, no rock music, no moralising,…just plenty of  marvellous music, elegant costumes and showy dance routines. The fact that the humour is pure slapstick and corny hocum most of the time simply adds to the charm of the show.

Dean Bryant’s direction is classy and restrained, and just perfect I have not been a fan in the past – but this show is already so over the top camp in its own right, that he hasn’t needed to take it any further. Andrew Hallsworth’s choreography is perfect. The tap routines are simple but flashy (and at least he avoids progressive time-steps in favour of snatches and breaks) and beautifully balanced to allow for the vocals. Bravo! Dale Ferguson’s costumes are just stunning, avoiding excessive sequins and bling. Instead he goes for slipper satins and chiffons and embroidered lace with gold thread for the wedding gown. They are all so flattering and absolute perfection.

Though the set has been greeted with less than enthusiasm in some quarters, I thought it was a perfect homage to the original and could have come straight from a 1930s production. Matt Scott’s lighting is equally stunning…in one number the juvenile leads are in pink and the other couples in steel blue. Michael Waters sound is brilliant throughout and Peter Casey’s Musical Direction of a wonderful orchestra that includes such luminaries as Michael Tyack cannot be praised enough.

Add to this a cast that could immediately open on Broadway or in the West End and you understand why this must be the number one MUST SEE show this year.

There simply aren’t enough superlatives for Caroline O’Connor (Reno Sweeney). She is a Superstar in the category of Ethel Merman – only better (and yes…I am old enough to have seen Merman several times in the flesh). Now of an age where she is no longer a sex bomb Velma Kelly, she has retained all of her triple threat skills and added to them the art of the clown, physical comedy once the realm of Lucille Ball and Betty Hutton. Andrew Lloyd Webber changed the face and function of the Leading Lady forever – but thank God there are enough revivals that only O’Connor can bring the right balance of talent and charisma to. She is astonishing…and can still get those great legs up above her head; do a 6 minute tap routine, and belt out a number with pipes so strong they would better the Town Hall organ, and yet not even seem out of breath. She is everything you expect…and far far more. Even without the rest of the show she is worth double the ticket price, just for her rendition of “Blow Gabriel Blow” – or her comedy in “Friendship” with the marvellously elastic Wayne Scott Kermond (Moonface Martin), who proves once again that when you’re born into the business with the right genes, your talent just keeps getting better with age – a great hoofer and a great comic.

Todd McKenney (Lord Evelyn) isn’t the leading man (or woman) this time round – but he’s a revelation in a comedy character role that he owns from his first entrance, and he’s delightful in his solo number “The Gypsy in Me”. The  super talented Alex Rathgeber (WAAPA again) with his fabulous voice as Billy Crocker and the delightful soprano Claire Lyon (Hope Harcourt) are just perfect and adorable as the young lovers; Carmen Duncan (Mrs Harcourt) and Bartholomew John (Elisha Whitney) bring charm and authority to their roles and young Josh Gates is a delight as The Purser. Gerry Connolly brings all his panache and channels the great Paul Lynde to make a feast out of a “snack” in his role as the captain, and Debora Krizak (Erma) is her usual sensational self…all legs and talent …and almost stops the show with her Act Two closer “Buddy Beware”. The very politically incorrect China-men are beautifully played by Nick Kong and Aljin Abella, who find every comic moment while keeping their dignity and steal the finale with an encore of Anything Goes in Mandarin.

Like many others, I couldn’t see the point in reviving this show again and was not at all excited beforehand. I left as a True Believer and a Convert to Miss Reno’s, Mr Bryant and Mr Frost’s credo to the audience….not to mention Mr Porter himself….give them talent, talent and MORE talent. It is “Oh so easy to love”.

Coral Drouyn

Photographer: Jeff Busby

Read our interview with Caroline O'Connor in the May / June edition of Stage Whispers - more details.