Anything Goes

Anything Goes

Sidmouth Musical Theatre

Music & Lyrics by Cole Porter

New Book by Timothy Crouse & John Weidman

Directed by Nigel Broome

Musical Director: John Griswold

Choreographer: Vicky Evans

The Manor Pavilion Theatre, Sidmouth

Tuesday 30th April 2019

  ‘Tricia Barclay

NODA SW Representative District 6

 

Sidmouth Musical Theatre certainly made for a “humdinger” of a voyage from New York to London with their presentation of this updated and revised version of Cole Porter’s Anything Goes. With the  book rewritten more than 50 years after the first production and with four additional Porter songs, this certainly seemed to make for a tighter storyline and for sharper and more defined characters, while still retaining all the madcap antics of the original show. Evangelist turned nightclub singer Reno Sweeny established her presence from the start and simply smouldered in the role, bringing a perfect blend of sultriness and empathy to the character. The young actor playing her stowaway chum Billy Crocker managed to combine a maturity with his natural boyish charm, skilfully switching his various duplicitous identities, and certainly gave it his best shot with some of the numbers that were perhaps not quite within his range. Forlorn debutante Hope Harcourt, engaged to be married to wealthy Englishman Lord Evelyn Oakleigh, was beautifully and crisply played effectively portraying her dilemma, determined to do her duty and save the family finances while hiding her true feelings and her love for Billy. The character of Lord Evelyn was pitched just right, a typical upper class nimby concealing a completely different persona underneath, which was totally and dramatically revealed in his song and dance routine The Gypsy in Me – simply a “tour de force”! When “Public Enemy No 13 “Moonface” Martin and his “mobster moll” sidekick Erma Latour joined the ship, more mayhem, confusion and even a bit of good old-fashioned blackmail ensued! Flighty “broad” Erma was just so full of “attitude” you could almost taste the chewing–gum in the stalls, and soon had all the crew eating out of her hand.  Moonface gave a perfect and endearing interpretation with wonderful expressions, always with his eye on the main chance and of course his “violin” case, and his rendition of Be Like the Bluebird was particularly memorable!  Billy’s boss Elisha Whitney, Hope’s ambitious mother Evangeline attached at all times to a very realistic looking Pekinese dog, the Captain, and the Purser, were all effectively played. John and Luke, the Chinese “converts”, rather more like a pantomime “Ping and Pong”,  were just hilarious together and certainly scene stealing as they shuffled around the stage with their asides in “pigeon” English! The principals were very well supported by an energetic Company of passengers and crew and there were some excellent song and dance numbers. The costumes and the wigs were well chosen and just right for the era, with some particularly beautiful evening-dresses, and life must have been very hectic backstage with such a multitude of changes, although at times some did not seem quite vital to the storyline. For the most part the set was very well designed. DSR and DSL extensions for the stateroom and cabin avoided cumbersome scene changes but did on occasion make for difficult sightlines, and at times the cast seemed reluctant to come “in” and the action felt too much up-stage. The USR and USL swing doors were effective but perhaps a little overused, the central section beneath the upper-deck was a clever touch turning the area firstly into Lord Evelyn’s stateroom, although it did need a bed or chaise to make sense of the line on  Reno’s entrance and supposed seduction, and later representing the ship’s brig. Small points for what on the whole worked very well, and the revolving side flats with the flocked wallpaper, glitter ball, tables and chairs created a most effective nightclub scene. The Director steered a steady course, the MD brought his considerable expertise to the show having been called in just three weeks before opening, the Choreographer created some first class and spell-binding routines and together with an enthusiastic team on stage and behind the scenes all made for a “delicious and de-lovely” performance in this foot-tapping musical to the delight of the audience!

 

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