The Shaw Festival Theatre Review: Anything Goes
By Ross
All aboard the MS Americana, as the Shaw Festival‘s effervescent production of Anything Goes sets sail for a spirited crossing filled to overflowing with flavorfully festive music and lyrics by Cole Porter (Kiss Me Kate) with enough tap dancing, choreographed by the show’s director, Kimberly Rampersad (Stratford’s King Lear), to overly fulfill any requirements one might have for this delicious, delirious, delightful dream of a musical revival. The overture that summons us to its docking sparkles like champagne, thanks to the de-gorgeous Anything Goes Orchestra musically directed de-loverly by Paul Sportelli (Shaw’s Sweeney Todd), leading us up the gangway and onto this oceanliner crossing with exuberant energy and style. “You’re nuts about me,” the musical confidently suggests to us all in that first stunningly performed scene, as the set-up to the ship-tastic sailing sings itself forward to a beautiful Bon Voyage.
Billy Crocker, dynamically embodied by the handsome Jeff Irving (Shaw’s Prince Caspian), is an absolute charmer, looking pretty darn good in those costumes created by set designer Cory Sincennes (Toronto’s Chris, Mrs), even as he sidelines the romantic advances made by the stunning Reno Sweeney, fabulously embodied by the uber-talented Mary Antonini (Broadway’s Jesus Christ Superstar). Climbing herself enticingly about that dynamic bar set, she is a confident seductress, suggestively engaging with the oblivious Crocker, knowing exactly how to wear that gorgeous dress, even if he is barely paying attention. “Why are the cute ones so dumb?” she asks, wisely, and we wholeheartedly agree, before she runs off to the ship for a crossing that no one will ever forget.
Billy has his mind on someone else, for some reason, and soon finds himself in a certain type of love-sick predicament, forced to stowaway on board that same ship as his boss in an attempt to woo the lovely young lady, Hope Harcourt, sung gloriously by Celeste Catena (Stratford’s A Wrinkle in Time) who is engaged to marry another man and passenger. She’s certainly a divine young lad, worthy of his affection, and although Catena delights when she sings the famous “It’s De-lovely” song, the rest of her wandering ways pale in comparison to the well-formed and vibrant Reno. The main problem for Billy is that she is currently, and somewhat lovelessly, engaged to the ridiculous and rich Lord Evelyn Oakleigh, played by the brilliantly funny and nerdy Allan Louis (Shaw’s One Man, Two Guvnors). Let’s hope this goes better than the “Titanic“.
Jones, as the lovestruck Billy, is a handsome joy to behold, especially when he starts singing the lovely duet with his Hope, “All Through the Night and Day“. His voice is as lovely and velvety as you could hope for, and his focus is clear. Catena’s Hope matches his vocal abilities completely, but maybe not his acting chops, which feel a little flat and underdeveloped. Catena does gets to vocally shine in all of her few moments in the moonlight with the very pretty “Goodbye, Little Dream, Goodbye” and the repise of “Easy to Love,“ but it’s the delectable “It’s De-lovely“, a Cole Porter classic, that will get stuck in your head long after this ship docks.
Still, the main reason anyone comes to see Anything Goes is the sexy and flirty Reno Sweeney, who gifts us with the perfect wicked smile, gorgeous legs, and a stunning curvy form to unleash all the numbers she gets to shine within. “You never even laid a hand on me,” the dumbstruck Reno says to the distracted Billy, “and I’m not used to men treating me that way.” Constantly shining bright, during this toe tapping show, Antonini’s Reno rotates in with a delicious rendering of “I Get a Kick Out of You“, “You’re the Top” (a fantastically silly and sweet duet with the wonderful Irving), and “Blow Gabriel Blow,” backed by the sexy angel posse made up of Chastity (Jaden Kim), Charity (Jade Repeta), Purity (Kiera Sangster), and Virtue (Mikayla Stradiotto). They all come together in a delicious formulation that sparkles and sings with energy and talent, as well as some unique clarity that doesn’t go unnoticed.
Outside of the central coupling, Louis’ Lord Evelyn and Reno get their absolutely delightful moment to play with their deliciously fun and engaging duet, “The Gypsy in Me,” which is a pure pleasure to behold. It sizzles with the kind of romantic chemistry that we’ve been wanting and wishing for, particularly for our wonderful Reno. But it truly is during the hilarious and charming duet, “Friendship” with Public Enemy #13 Moonface Martin, joyfully portrayed by Michael Therriault (YPT’s Charlie and the Chocolate Factory), that her (and his) comic chops are highlighted to the stars.
Beyond all these numbers, which focuses the spot light on the magnificent Antonini, it is her Act 1 finale, “Anything Goes,” that we are all waiting for. And the cast and crew of this ocean liner know exactly what their orders are: giving us all a fantastic joyfilled romp, turning that stage into some big-time fun, and deliver more impressive dance moments than one can pray for. Thanks to the director and choreographer Rampersad, with a solid assist from associate choreographer Matt Alfano (Drayton’s Sweet Charity), the cast engulfs the stage, tap dancing to all our heart’s content. Magic is all I can say, and even though it never reaches the tight memories I have of the last Anything Goes revival on Broadway, the Shaw Festival‘s production soars on an effusive energy that can’t be denied.
I fondly remember the Roundabout’s glorious Broadway production in 2011 starring the incredible Sutton Foster. She not only could sing the part like few can (click here to watch her on the Tony Awards), but she tap danced her way through that big huge number, “Anything Goes“, at the end of Act 1, and still, without losing a beat, belt out the big finale (ok, ok, she had a moment to catch her breath but only one small moment). I remember being blown away by the lung power of that lady, and was pleased that she received so much press because many a Reno sang the number but left the tap dancing to the ensemble, waiting in the back for the moment to come out center stage and bring Act 1 to a close with the rousing last verse and big note finish.
Foster, who won the Drama Desk and Tony Awards for Best Actress in a Musical, was not going to stand back and let that happen. No, she was going to be center stage, kicking and tapping with the crew, and still power out those last few lines of lyrics, with a lung full of air and a big smile across her face. (And to be honest, I also can’t get enough of watching the delicious Jonathan Groff do his own version at Miscast, click here to watch, which was basically a huge salute to Foster’s greatness, and in turn, his own. So much fun!) Antonini does the role and the song complete justice, in a way that honors the whole darn ship and all its passengers. She is most definitely “the Top,” shining bright and giving us her all.
Who can ignore this 1934 shipboard farce with all those glorious songs by Cole Porter combined with a pretty silly but fun new book floated out to us all by Timothy Crouse & John Weidman [original by P.G. Wodehouse, Guy Bolton, Howard Lindsay & Russel Crouse]. To try to explain the details of the plot seems quite pointless, really. It’s not in the details that we will find the fun, but in the joyful singing and dancing where Anything Goes really sets its sails a-blowing. One grand and delicious standout is the delightfully talented Kristi Frank (who wowed me in Shaw’s My Fair Lady & On the Razzle) giving us an unforgettable, sexy gangster moll, Erma Latour, deliciously giving us a “Buddie, Beware” that is worthy of the warning.
It’s the shiniest of ships, thanks to some solid work by lighting designer Mikael Kangas (Canadian Opera Company’s The Marriage of Figaro) and sound by Corey MacFadyed (Shaw’s Master Harold…and the Boys) & Kaitlyn MacKinnon (Shaw’s Gypsy), and it is obvious that the sailers of this ship are lovers of musical theatre. The music soars, sounding great and magical, and each of these actors is having the best of times playing these parts, especially as each character is given their own delicious moment of pleasure. Let’s not forget about Shawn Wright (Shaw’s A Christmas Carol) as the blind, drunken, good time older man, Elisha Whitney, who, stumbling perfectly around looking for love and his glasses, has the glorious “Let’s Misbehave” to entertain us as he attempts to seduce Hope’s mother, Evangeline Harcourt, well formed and on fire by Sharry Flett (Shaw’s The Secret Garden). There’s no denying the ride is a fun and festive voyage of high kicks and high jinxes on board this oceanliner bound for London. It is filled from ‘bow to stern’ with glorious and well-known classics by Porter, ones that will make you smile the moment they begin. So sit back and take it all in, cause this is one smooth sailing across the ocean blue. And it’s as de-lovely as you could hope for.
