Anything Goes

Following its hugely successful 2021–2022 professional run at London’s Barbican, it is wonderful to see this Cole Porter classic return once again. The show never loses its freshness, having undergone numerous revisions since its debut in 1934. It also proved to be an excellent choice for Lowestoft Players, who were revisiting the production 34 years after they last performed it.

There was a striking split set of a ship’s hull, complete with port holes and 2 sets of steps to a second level. Using a set of double doors at the rear centre stage, the various scenes within the ships bar and state rooms were very cleverly and slickly manoeuvred into position and back again. Lighting was well plotted and sound had been carefully balanced. Musical Director Catherine Oldman skilfully guided the cast, ensuring strong cohesion alongside the backing tracks.

Reno Sweeney (Harriet Chambers), opened proceedings, serenading Billy Crocker (Stephen Clark), with a timeless and delightfully smooth and jazzy “I Get a Kick Out of You”). Harriet and Stephen returned shortly after setting sail to deliver a wonderful duet of “You’re the Top.” The remaining cast and ensemble were introduced, as they entered through the auditorium to board the ship. Costumes were of a high quality, capturing the authenticity and elegance of the 1930s era.

John Marjoram delivered a very funny Lord Evelyn Oakleigh, the upper-class twit of the show-the understated comedy required to get this across in Oakleigh’s personality is not easy and John was excellent with his comic timing, culminating with a hilarious “The Gypsy in Me”, somehow throwing a rose from the balcony for Reno to catch, spot on queue with the last note of the number.

As the love interest of both Billy Crocker and Lord Evelyn, Emma‑Jayne Herbert delivered a sensitive performance as Hope Harcourt. Torn between the financial pressures imposed by her penniless mother, Evangeline Harcourt, and the competing affections of Billy and Evelyn, she conveyed Hope’s emotional conflict with great nuance. Her rendition of “Goodbye, Little Dream, Goodbye” poignantly captured the depth of this inner struggle, serving as a moving reflection of the difficult choice she faced. Gloria Dashwood was also excellent as Evangeline Harcourt, all turning out well as wealthy banker Elisha Whitney (Andrew Liddon), proposes marriage.

Chris Darnell’s Moonface Martin was suitably bumbling and comical, alongside a wonderful Taryn Taylor as Erma, whose accent along with her bubbly and flirty personality was brilliantly delivered.

There were further good performances from Jamie Collins, as Spit, Jack Bloomfield, as Dippy, Gerald Wilson, as Captain, and Clarissa Place, as Purser.

However, the highlight of this production, was at the end of Act One, as the show really took off and the whole company delivered an outstanding and mammoth tap number of the title song “Anything Goes,” to be followed up at the opening of Act Two with an equally outstanding “Blow, Gabriel, Blow.” Great credit must go to choreographer Shirley Hurren in managing to marshal the entire company to such a high standard, not only for these two numbers, which contain exceptionally long dance breaks, but also throughout the entire show.

Finally, a special mention to Reno’s Angel’s, Natasha Bird, Lily Bond, Rachel Bell, and Gabrielle Bennett for their amazing dancing, plus the Sailor’s quartet of Anthony Hughes, Casey Divall, Jamie Collins, and Simon Warren for their beautifully blended harmony singing. With an energetic ensemble giving it their all, this was a very enjoyable and uplifting production.

Congratulations to Director Deanne Dickson, and my thanks to all at Lowestoft Players.

 

 

 

 

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