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Anything Goes
Music and Lyrics by Cole Porter
Book by Guy Bolton, P.G. Wodehouse, Howard Lindsay, and Russel Crouse
Directed by Scott Miller and Mike Dowdy-Windsor
Choreographed by Michelle Sauer and Sara Rae Womack
New Line Theatre
March 2, 2018

Sarah Gene Dowling, Evan Fornachon, Aaron Allen
Photo by Jill Ritter Lindberg
New Line Theatre

Anything Goes is Anything Goes no matter who produces it, right? Well, maybe not. New Line Theatre, known for its productions of edgier and lesser known shows, has taken this classic, “fun” show and given it a presentation that’s in several ways different than what’s come to be expected as usual. There’s an emphasis on satire and less of an emphasis on dance than other productions I’ve seen, but still, it’s Anything Goes, and the overall effect is energetic, smart, and very very funny.

This is a version of the show I haven’t seen on stage before. Most more recent regional productions, and also the 2011 Broadway revival, have been based on the 1987 revival script of the show. For this production, directors Scott Miller and Mike Dowdy-Windsor are using the 1962 script of the show, which has the same basic characters and plot as the later revival, but with some differences in specifics and in the songs featured, and also in the prominence of some characters. While evangelist-turned-nightclub singer Reno Sweeney (Sarah Porter) is still a major focus, as is Billy Crocker (Evan Fornachon), the overworked stockbroker in love with young debutante Hope Harcourt (Eileen Engel), and “Public Enemy #13” Moonface Martin (Aaron Allen), but that focus is shifted a little, and through a combination of the different script and New Line’s intuitive directing, we get to see a somewhat different look at these characters, as well as others such as Hope’s seemingly stuffy English fiance, Sir Evelyn Oakleigh (Zachary Allen Farmer), and Moonface’s partner-in-crime, the brash, flirtatious Bonnie (Sarah Gene Dowling), who was renamed “Erma” in the 1987 version. The focus on dance isn’t quite a prominent here either, but what’s there is still spectacular, along with the ever-present broad, sketch-style comedy, which is perhaps even apparent so than in the other version. Here at New Line, what we get to see is a sharp, witty, tuneful, and well-cast production that’s a delight from start to finish.

New Line artistic director and Anything Goes co-director Scott Miller mentions in his director’s notes in the program the timeliness of this show. Many of the themes, he notes, are just as prominent today as they were in the 1930s, when this show was orginally written, and the time period in which it sill takes place. The show at New Line isn’t as big as other productions I’ve seen, but, especially in terms of costumes (designed by Colene Fornachon and Sarah Porter), it’s as glam and glitzy as anyone would expect. With the sumptuous evening gowns, dapper suits, and varous nautical and gangster attire, the spirit of the 1930s has been brought to the stage well. Rob Lippert’s excellent unit set, representing the luxury ocean liner on which the action takes place, is also on point, as is his equally effective lighting. There’s also great work from the excellent New Line band, doing justice to the marvelous Cole Porter score and outfitted in sailor hats in accordance with the theme of the show, ably led by Music Director and “captain” Nicolas Valdez.

The cast here is a treat, led by the always excellent Porter as the brassy, bold, and also surprisingly vulnerable Reno Sweeney, with standout moments such as the solo “I Get a Kick Out of You”, production numbers “Anything Goes” and “Bow, Gabriel, Blow”, and a fun bit of harmonizing with co-stars Fornachon and Allen in “Friendship”. Her scenes with the wonderful Farmer as the initially jaded, bewildered, and ultimately endearing Sir Evelyn are especially engaging. There’s also top-notch work from Dowling in a scene-stealing performance as Bonnie, and from Allen in an impressive comic term as Moonface, the small-time crook who wishes he were big-time. Fornachon and Engel make a good pair as Billy and Hope, as well, with great duets on “It’s De-Lovely” and “All Through the Night”. Reno is well-supported by her “Angels” Purity (Michelle Sauer), Chastity (Larissa White), Charity (Alyssa Wolf), and Virtue (Sara Rae Womack), and there are also hilarious supporting performances from Kimmie Kidd-Booker as Hope’s mother, Evangeline Harcourt, and Jeffrey M. Wright as Billy’s on-again, off-again boss, Elisha J. Whitney. There’s also a strong ensemble in support. The usually excellent New Line singing is there, of course, joined by impressive, energetic dancing as well.

This is a slightly different Anything Goes than you may be used to, but that’s a good thing. It’s a fresh look at an older show, with a bright, memorable score of hits by a legendary composer, as well as delightful moments of broad comedy and some pointed satirical touches. And the cast is great, as well. It might not be the type of show one might expect from New Line, but the level of excellence is certainly on par with New Line’s best. It’s refreshing, bold, and lots of fun.

Sarah Porter, Zachary Allen Farmer, Eileen Engel
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting Anything Goes at the Marcelle Theatre until March 24, 2018.

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Anything Goes
Music and Lyrics by Cole Porter
Original Book by P.G. Wodehouse & Guy Bolton, and Howard Lindsay & Russel Crouse
New Book by Timothy Crouse and John Weidman
Directed by Michael Hamilton
Choreographed by Stephen Bourneuf
STAGES St. Louis
July 22, 2015

Cast of Anything Goes Photo by Peter Wochniak STAGES St. Louis

Cast of Anything Goes
Photo by Peter Wochniak
STAGES St. Louis

In a way, Anything Goes could well be called one of the orginal “jukebox musicals”. It’s been performed in various versions for decades, with many lyric, song, and book changes, and the plot, while entertaining, is fairly slight. The show exists, essentially, to be a showcase for the songs of celebrated 20th Century composer and lyricist Cole Porter. It’s a lively show with lots of silly comedy and spectacular dancing, and it’s currently being performed in top-notch fashion at STAGES St. Louis.

The story is somewhat silly, but entertaining nonetheless. It follows nightclub singer Reno Sweeney (Julie Cardia) and friends on an ocean liner traveling between New York and London in the 1930s. Reno’s got something of a crush on her old friend, the handsome stockbroker Billy Crocker (Brent Michael DiRoma), but Billy’s newly smitten with young debutante Hope Harcourt (Heidi Giberson), who is sailing on the cruise with her mother (Kari Ely) with the aim of marrying rich English nobleman Lord Evelyn Oakleigh (Dan Fenaughty). Meanwhile, gangster Moonface Martin (Bob Amaral), “Public Enemy #13”, is on the run from the law, and boards the ship in preacher’s disguise, bringing his friend Erma (Laura E. Taylor) along.  What ensues is a comedy of love triangles and quadrangles, as well as mistaken identity, gambling, singing and a whole lot of dancing.

The plot isn’t really one that bears a lot of scrutiny. It’s really just a platform for the songs and some some hilariously goofy comedy. Despite the various script updates over the years, the show does still come across as slightly dated, and there are some unfortunate stereotypes that are played for laughs. Still, for the most part it’s a fun show, and the real focus is on those lovely Cole Porter songs and Stephen Bourneuf’s spectacular choreography and excellent ensemble dancing.

This is a very ensemble-dependent show, considering all the stylish dance-numbers and intricately performed choreography. The ensemble sparkles on on numbers like the tap-dance heavy “Anything Goes” and the truly showstopping “Blow, Gabriel, Blow” led by the big-voiced Cardia as Reno.  Cardia also displays a strong sense of comedy, working well opposite both the charming DiRoma as Billy, the hilariously shady Amaral as Mooonface, and the delightfully goofy and thoroughly winning Fenaughty as Lord Evelyn.  All of these performers show great comedy skills and excellent voices, especially DiRoma, who also shares delightful chemistry with Giberson, who is also in excellent voice as Hope.  There are also fun comic performances from the always excellent Reichert as Billy’s nearsighted boss Elisha Whitney, and Kari Ely as Hope’s mother, socialite Evangeline Harcourt.  Flack as the Captain, Brennan Caldwell as the Ship’s Purser, and Taylor as Erma also give memorable performances. It’s a very strong cast, from the leads to the ensemble, working together to bring life to the classic Porter score and a great deal of laughs to the audience.

The set, designed by James Wolk, is striking, colorful and versatile, creating a vibrant 1930’s atmosphere. There are also some marvelously detailed and stylish costumes by Brad Musgrove. Sean M. Savoie’s lighting is effective and atmospheric, as well.

Ultimately, the point of Anything Goes is to entertain, and the production at STAGES does that well.  It’s a big, bold, stylish and energetic production that splendidly showcases the marvelous score and choreography. It’s also hilariously funny, with a decidedly silly sense of humor.  Despite a few drawbacks in the script, this is about as ideal a production of this show as I can imagine.

Brent Michael DiRoma, Heidi Giberson , and Ensemble Photo by Peter Wochniak STAGES St. Lousi

Brent Michael DiRoma, Heidi Giberson , and Ensemble
Photo by Peter Wochniak
STAGES St. Lousi

STAGES St. Louis’s production of Anything Goes is running at the Robert G. Reim Theatre in Kirkwood until August 16th, 2015.

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