Anything Goes

It is some years now since I last enjoyed the voyage on SS ‘American’ and what tremendous fun this journey was. The rights holders have made adjustments to the show but these did not detract from the performances of night club singer Reno, of Billy a young man stowing away on the ship to continue his courtship with debutante Hope, of an English Lord caught up in the machinations of Hope’s mother and of the antics of gangster Moonface Martin. From the opening scene in a bar pre sail, Fiona Scott in the leading role of Reno Sweeney engaged us with her beautiful and effortless singing. Her portrayal of Reno was confident and secure and whether in duet with Billy in You’re The Tops or with Moonface in Friendship or leading the rousing Blow Gabriel Blow, she proved to be more than worthy of the role. Her pairing with Mark Wilson as Billy Crocker was nicely judged, their voices blending together. His fine tenor was well paced and moving, especially in All Through The Night. His attempts to hide from his boss and to derail the wedding, and his dependence on the gangster was fun and entertaining. And so too was the performance of John Knox as the gangster Moonface Martin who caught the essence of the character. His delivery and timing of his lines and actions were first class. I especially loved his deftness in removing Whitney’s glasses, his reaction when his violin case fell open to reveal a violin not his gun, and his well articulated Be Like A Bluebird. As Lord Evelyn, Zander Cruikshank gave us a rather stuffy character whom we grew to appreciate in moments like taking notes on English idioms and coming into his own with The Gypsy In Me. Mhairi Urquhart played the role of Hope with a nice balance of young love and duty to her mother with pathos in her song Goodbye Little Dream while Karri Byrne as the scheming mother Evangeline proved a great manipulator – and screamer. Karine Stalker showed great stage presence as Erma, with a well sung Buddy Beware, while Paul Hopkins as Elisha J Whitney came across as a demanding boss - handicapped by his short sightedness. All were supported by a host of minor principals, not least the characters of Spit, Jack Wallace, and Dippy, Becky Blyth, and a well balanced male quartet. With the chorus playing parts as passengers, press photographers, FBI agents and crew, the whole cast rose up to the mark with their singing in the likes of the well harmonised Public Enemy Number One, and with their movement as in the title song where a well choreographed and impressive tap number brought the first act to a memorable close. All was accompanied sympathetically by the musicians. The show was judiciously costumed with an impressive red and black theme to a well rendered Blow Gabriel Blow. The set of the ship was well proportioned and the extension of the floor space worked to the company’s advantage. Scenes changed smoothly. The characters’ antics in this busy storyline kept this audience laughing, and the buzz as they left the theatre told of the show’s success.

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