Anything Goes

The first performance of this wonderful musical was in November,1934 at Alvin Theatre, New York. It ran for 420 performances before opening in London at the Palace Theatre in June 1935 where it ran for 261 performances.

Full of merriment, the witty Cole Porter score ranges from intense love songs – ‘All Through the Night’ - to old time revivalist numbers such as ‘Blow Gabriel Blow’. It is one of the few 1930’s shows to be successfully revived.

As this musical was one of the first ones I directed, and indeed the one I had worked on when I attended a Director’s Course at Loughborough University, it holds a special place for me.

The overture was beautifully played and set the tone for what was to follow.

In front of the main tabs was the ship’s bar and we were introduced to Elisha Whitney, Wall Street banker who enjoys a drink or two. This part was played strongly by Steve Dorset.  The tabs opened to reveal the splendid set of the SS American. Compliments to all those involved in the design and building of it – the sliding panels were an innovation.

Chorus involvement was very high and their depiction of so many different characters was admirable. They represented the wealthy and privileged, an extremely smart crew and officers, and of course one or two who were slightly less at home in the luxury of an ocean liner.

As the one-time evangelist turned night club singer Reno Sweeney, Sam was outstanding. She was charismatic, bursting with energy and each time she appeared on stage she lit it up with her enthusiasm and joie de vivre. Her comedic timing was first rate.

An excellent performance from Tim Beasley who was ideal as the charming young business man Billy Crocker, attracted to Hope but without a ticket for the voyage on the SS American. 

In the role of Moonface Martin - Public Enemy Number Thirteen but keen to be Number One - Patrick Coad played the lovable rogue most convincingly. His comedic timing was good and over the past years he’s developed into a most adaptable performer. His ‘Be Like the Bluebird’ was notable.

Hope was prepared to sacrifice love in order to please her Mother and Meg Hatch was praiseworthy in that role – as was her vocal ability.

The character of Sir Evelyn Oakley epitomises the old - fashioned American idea of the English upper classes – quirky and good natured. Jean Herbst coped well with the accent and the characterisation, however he really came into his own on stage in the Second Act when the gypsy in him came out! It was a joy to watch the transformation and extremely entertaining.

Emma portrayed the overbearing and aristocratic Mrs Harcourt beautifully and the fun role of Erma, the brazen ‘gangster’s moll’ was played with great assurance by Victoria O’Mahoney. Reno’s Angels (played by Marion Barton, Jen Jones, Sharon Forsyth and Lucy Ella-Foster) were animated, looked good and danced well. Great parts, and they were clearly enjoying them.

The ship’s Captain and Purser, played by Brian Higgs and Shaams Dally respectively, were authoritative and credible in their representations.

Amanda and Craig Marshall worked well together as the opportunists Spit and Dippy, and Kipper- as Cheeky (the dog) - behaved impeccably!

The ship’s crew were impressive. They had the correct stance and demeanour and never once relaxed into something less formal.

Absolutely every single musical number was a treat whether a solo, duet or company number. I enjoyed all of them. ‘Friendship’ was super, ‘Blow Gabriel’ fantastic, ‘Buddy Beware’ - not such a well-known song - I’ve noted how good it was. ‘Anything Goes’ was ‘the tops’, to name but a few!

Costumes were attractive and in keeping with the period - hairstyles and wigs also.

Choreography by Lorraine and Hannah was attractive and suitable for the different abilities amongst the cast. I loved the tap dancing and also the mimed afternoon tea.

The backstage crew worked quickly and almost soundlessly to adapt the set from public areas to cabins.

Lighting and sound were good.

Martine’s direction was excellent and I’m sure that her two assistants, Eevey and Georgina learned a considerable amount whist helping to bring the show to fruition.

Laura Brown’s band continued as they started; a perfectly controlled and correctly volumed accompaniment to the timeless musical numbers.

Your programme is attractively presented and put together for ease of reading.

Thank you to Martine for her hospitality on the evening and, as always, it was good to be able to meet the cast on stage at the end of the performance.

‘Anything Goes’ was a wonderfully uplifting production and I’m sure the audience went out with a spring in their step and one of the many memorable tunes in their head.

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