Anything Goes

Over the past couple of years, I have had the pleasure of attending Solihull Theatre Company productions in my role as Regional Councillor for NODA West Midlands.

These visits have often coincided with the attendance of Joyce Eyre, the Regional Representative for the district, as indeed was the case this year.

The version of Anything Goes presented was the revised script, with elements no longer considered politically correct having been removed from the original show.

I was pleased to be met, albeit briefly due to his appearance in the show, by Rob Coleman, Chair of STC. Other members of the company were also welcoming to myself and the audience members. Some members of the cast greeted us as passengers beginning our journey aboard the S.S. American, bound from New York to London.

Upon entering the auditorium, which was almost at capacity, you could not fail to notice the orchestra and several striking features. Firstly, its size — twelve musicians plus the Musical Director, who was also playing. Secondly, how young the band members were, and thirdly, that they were dressed as sailors, further setting the scene for our crossing. I also liked the railings around the pit, another nice touch.

The music, of course, is that of the wonderful Cole Porter. The overture was superbly played, fully capturing the fabulous score. The musicians did not falter once and never overpowered the action on stage.

The opening scene, set in a Manhattan bar, must necessarily be simple. It is brief and quickly makes way for the afterdeck of the ship, which forms the basis for the remainder of the action. The stage was used well, incorporating the upper deck as well as the main stage area. Cabins hidden beneath the upper deck allowed the décor to be changed to suit each scene.

Before boarding, we encounter Reno Sweeney, played by Charley Turner. Charley started on a high with “I Get a Kick Out of You” and maintained this high standard throughout the crossing. “Blow, Gabriel, Blow” quite simply blew me away.

We also met Billy Crocker, played by Matt Brown, and Elisha Whitney, played by David Steele. Matt played the cheeky character to the full, whether through his vocals, movement, or comic timing. He worked well with each of the fellow passengers and crew members he shared the stage with, creating ever more confusion as the plot unfolded. The same was true of David, who perfectly portrayed the vain, short-sighted ex-Yale man, Elisha.

Steve Hayes was excellent as Moonface Martin, Public Enemy Number 13, desperately lacking the notoriety he craves. His comic timing was excellent throughout, particularly when taking Elisha’s glasses and during the mix-up between the violin case and the machine gun. He sang “Friendship” well and gave a strong rendition of “Be Like the Bluebird”.

His partner in crime, the man-hungry Erma Latour, was played with relish and great energy by Faye Hutt as she pursued members of the crew during “Buddy Beware”.

Helen Gibbs was an outstanding Evangeline Harcourt, the gold-digging mother. She was delightful in her search for her beloved dog Cheeky and in her scenes with the Captain after being told the ship was going to sink. She brought grace, elegance, and a wonderful sense of self-importance to the role.

Lord Evelyn Oakleigh needs to be played very tongue-in-cheek as the stereotypical English upper-class buffoon. He delights in collecting sayings such as “smooch” and “step on it”, only to use them somewhat out of context. Lloyd Scarsbrook captured this character perfectly. His rendition of “The Gypsy in Me” was one of the highlights of the show, as was his confession regarding the rehearsal of a scene from a drama about Anne Boleyn!

Hope Harcourt, due to be married at St Paul’s Cathedral to Lord Oakleigh but pursued by Billy Crocker, was well portrayed by Meg White. She sang and danced well, especially during “It’s De-Lovely” with Billy.

Katherine Allen and Larna Brooks worked extremely well together as the double act, Spit and Dippy, providing some lovely comic moments throughout the production.

The Angels — Purity (Jo Kendrick), Virtue (Lisa Lilwall), Charity (Donna Rhodes) and Chastity (Jayne Bryan) — were all well cast and worked effectively together throughout the show.

Crew members Bradley Crook, as the reputation-conscious Captain of the ship, and Dominic Wilson as the Purser, both played their roles well. Dominic managed to extract every ounce of humour from his lines and delivered them with excellent comic effect.

Vocals throughout were good and clear. The choreography was very well executed, whether in full company numbers or smaller duet routines.

Costumes and props were entirely in keeping with the characters and setting. Lighting was appropriate to each scene, and the sound was clear throughout.

I look forward to future performances from STC. Next year we are off to Oklahoma! by Rodgers and Hammerstein — and I am looking forward to it already.

Congratulations to everyone involved on a thoroughly enjoyable, feel-good production.

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