Anything Goes

I was delighted to return to The Brindley Theatre this week to see Centenary Theatre Company’s 2022 season opener, Cole Porter’s Anything Goes. This production, due for Performance in 2020, finally hit the stage this week, albeit with a new production team and a few new cast members. Set mostly aboard the SS American, the story follows Billy Crocker who tries to hold everything together whilst stowing away on board. Directed by Mark Murphy, this production had it all. Great characters, clear storylines, stunning visuals and fantastic vocals. What I love about this musical is the focus constantly changes from one character to another, thus adding to the overall comedy. If I was to be a little picky, I would’ve preferred the cast to be a little slicker in entrances and exits to aid this. On the whole, the plot was clear, and the cast were well drilled in both staging and text. For me, I would’ve preferred a more naturalistic approach to some of the main cast, rather than a heightened performance but this is just a personal preference. Overall, this was a great night at the theatre, watching people loving doing their hobby!

The set was fantastic with the ship being the perfect backdrop to the production, almost becoming another character itself. The various entrances and exits aided to the comedy and scene changes were slick and minimal, often at times being part of the action. Costumes, for the most part were visually striking and help establish character. I would’ve preferred the sailor’s costumes and especially the Captain’s costume to be pressed (ironed) as they looked a little dishevelled and not in-keeping with the time period. (I realise this is a very picky comment).

Taking the helm as Musical Director was Matt Corrigan. Matt was brilliant and worked tirelessly throughout to conduct this fantastic score. I have to say that the orchestra were nothing short of excellence! I especially loved the trumpet and trombone; this score really showcases these instruments, and the players were excellent in their field. A huge well done to Michael Griffiths, Matt Corrigan and team for your efforts – just delightful!

Choreographer Ceris Shadwell had her work cut out with these well-known big dance numbers, but this seemed effortless for the cast. They were obviously well drilled. Whilst I would’ve preferred fewer straight lines with the angels at the front of every dance, to having more diversity within the movement. I would’ve also preferred the movement to come straight from the scene/text, rather than as a separate entity, again, I cannot fault the style and standard of choreography on stage – which was brilliant and I’m being extremely picky here!

The sound quality wasn’t perfect. A few times the mics popped or weren’t cued straight away. I also think the levels of some of the cast needed looking at further, but I suspect that the empty seats in the audience might’ve negatively impacted on the acoustics. The lighting design was nice. I liked the colours used and they aided the scenes. I liked the way in which shadows and darkness was used, especially in the moonlight scenes, however the pools of light were a little small which meant that we had cast members in darkness at times.

The protagonist Billy Crocker was played by Blair Smith. Blair was great in this role and had a suitable amount of angst and cheekiness to win the audience over from the beginning. Blair was able to showcase some great vocals, and I loved his rapport with everyone he came into contact with. Great storytelling too!

Reno Sweeney was brilliantly played by Lisa-Ann Connor. Lisa’s enthusiasm was great to watch which made her character very likeable. She had great stage presence and was able entertain us throughout. I would’ve preferred less looking out into the audience and breaking the fourth wall, but this is more of a directorial thing. Lisa-Ann’s vocals were superb! Her rendition of Blow Gabriel Blow was one of the standout performances of the night – It blew my, (and I’m sure Gabriel’s’) socks off!

The debutant Hope Harcourt was played by Kirstin Dunn. Kirsten’s rapport with Billy was great to see and she was able to showcase both her lovely singing and dancing skills, proving her as a triple threat. The pad-de-deux in ‘It’s De-lovely’ was greatly performed! Kirsten was well cast in this role.

Kenneth McConaghy was suitably camp and sweet as Elisha Whitney, adding to the overall comedic moments. Supported by Marilyn Baxter’s’ Evangeline Harcourt both were suitably funny and aided the storylines brilliant. Some great vocal and physical moments from Marilyn Baxter to add to the comedy too.

Tom McLoughlin and Jessie Scotson were simply delightful as Moonface Martin and Erma respectively. Both actors used their voices and physicality to convey character, and whilst both are heightened characters, they are still believable and brilliant to watch! Both were able to showcase their great vocals too in ‘Be Like The Bluebird’ (McLoughlin) and ‘Buddie Beware’ (Scotson) – outstanding from both!

Peter Brennan as the camp Lord Evelyn Oakleigh was brilliant to watch! His commitment to characterisation was delightful and I found myself watching him in full cast scenes and he stayed in character throughout! Peter’s diction, articulation and projection was fantastic as was his use of physicality to convey character. His version of ‘The Gypsy in Me’ was a highlight! A fantastic performance!

The four singing sailors were able to showcase some stunning vocals, and the four angels really added layers to scenes and dances. Mike Hall and Sara Worton were well cast as The Captain and The Purser, with some great one-liners, Mike Pirks added to the comedy as Rev Henry T Dobson, and despite being massively under-used (in my opinion), James Gibbons and Simon Pickup were fab as the comedy duo Luke and John.

All of the other cast really aided the scenes and the text and helped bring the whole production together. I like the way in which the ensemble were used throughout and would’ve loved to have seen even more of this. The whole cast numbers were brilliant. Visually stunning against the backdrop of the ship and a wonderful showcase for the vocal talents of this society. This was a great night at the theatre. The audience were entertained throughout.

It was delightful, it was delicious, it was de-lovely!

I dedicate this review to Centenary Theatre Company member (and my beautiful friend) Patsy Roberts.

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