Anything Goes
Stephen Sondheim Theatre
New York, NY
Sutton Foster’s success in this career transformation surprised many, despite her proven musical theater know-how. Born for the musical stage with the fastest taps since Ann Miller and a resounding belt of a voice, she still seemed destined for ever-the-ingénue status. Yet Foster brings a vibrant sassiness to a role originated by Ethel Merman in her prime and later the unconquerable Patti LuPone, both delivering memorable interpretations. Who was the definitive Reno Sweeney is up to you, but Foster certainly is a contender.
As Ethel Merman put it, Anything Goes “is about a girl and a boat.” Simple but true. The story takes place on an ocean liner traveling from New York to England. Reno Sweeney is on board to do a show, traveling with her four “angels” — Purity, Chastity, Charity and Virtue. She runs into handsome Billy Crocker (Colin Donnell), a stockbroker who only has eyes for the lovely Hope Harcourt (Laura Osnes), traveling with her fiancé Lord Evelyn Oakley — played with splendid goofiness by Adam Godley — and Hope’s ambitious and haughty mother, Mrs. Evangeline Harcourt (Jessica Walter). Billy is only onboard to deliver a passport to his boss, Elijah Whitney (John McMartin). However, he is so desperate to stay onboard and win over Hope that he stows away.
Other travelers include third-rate criminals: “Moonface” Martin, mugged for all it’s worth by Joel Grey, and his ditzy, lecherous cohort, Erma (Jessica Stone). With the sizable cast, the show is mayhem, dizzying farce, mistaken identities, slamming doors and near misses. Plus, of course, some of the most tuneful songs you’ll ever hear and top-notch dancing. The rousing title song is celebrated in a rhythmic workout by Foster tapping easily but building with energy and enthusiasm, drawing in other company members until you have to wonder how long can she keep up her music-making and pure exuberance.
In Act II, Foster has another smashing star moment with “Blow, Gabriel, Blow,” accompanied by her angels, and wearing a white silk robe with red trim that she sheds to reveal a devilish red teddy flashed with gold. Other Cole Porter standards include “I Get a Kick Out of You," “Easy to Love” and Billy and Hope’s delightful, delicious “It’s De-lovely.” Reno and her old pal Moonface josh their way through “Friendship,” and she pairs with Billy on “You’re the Top.” Colin Donnell is an engaging Billy Crocker, with a rich voice and accomplished dancing talent. Laura Osnes is a graceful Hope Harcourt, who shares Billy’s love in their sensuous “All Through the Night.” Meanwhile gangly Adam Godley’s Lord Evelyn seems stuffy but, oh, that boy! He shows his wild side in “The Gypsy in Me,” a galvanizing tango with Reno. Even Jessica Stone as the gun moll has her moment delivering a catchy “Buddie, Beware” to the sailors. John McMartin and Jessica Walter lend convincing support.
The script of Anything Goes was created by Guy Bolton and P.G. Wodehouse and later revised by Howard Lindsay and Russel Crouse. For the 1987 revival, the book was again revised by Timothy Crouse and John Weidman. In the current Roundabout Theatre Company revival, the book may not flow as fluidly as the song list, but director Kathleen Marshall deftly steers the ship with polished staging and choreography as invigorating as the first post-Prohibition cocktail. She rocks this early “Love Boat” with all the romance, fun and silly sex it can hold. Derek McLane’s set creation at the Stephen Sondheim Theatre is a spectacular white three-layered ship against a sharp blue sky with Peter Kaczorowski’s dramatic lighting. Martin Pakledinaz designed glorious 1930s costumes and Sutton Foster wears them like a runway model.
Anything Goes, as Cole Porter wrote: “It’s dilemma, it’s delimit, it’s deluxe, it’s de-lovely.”
(Pictured: Colin Donnell, Sutton Foster, Joel Grey. Photo by Joan Marcus)
Elizabeth Ahlfors
Cabaret Scenes
April 14, 2011
www.cabaretscenes.org