Opinion: You'll Get A Kick, 'Cause It's The Tops
Opinion: You'll Get A Kick, 'Cause It's The Tops
CTC Theater Live has come up with what may be an all-time triumph: Its production of Cole Porter's "Anything Goes," now at Guild Hall's John Drew Theater, is a masterpiece.
Not since the company's rip-roaring "Guys and Dolls" have we seen such magical musical theater on the South Fork, with such a collection of thrilling voices soaring so effortlessly from so many talented, beautiful people.
On opening night, the capacity audience stopped the show again and again, clapping and stomping and whooping its delight. The kids in the crowd were bug-eyed - here was something to get excited about that wasn't on TV or in a sports arena. What a revelation!
Almost Perfect Musical
Of course, "Anything Goes" is a just about perfect musical. It opened in New York in 1934, right after the repeal of Prohibition but in the depths of the Depression and, despite its intricate melodies and sophisticated book, became an instant hit.
Cole Porter, whose privileged youth, inherited wealth, and Yale education would not seem to have prepared him to be the darling of our motley New York audiences, had produced a winner. Unfazed fans went wild, as they still do, and drop-kicked the witty work into the august canon of American musical theater almost overnight.
The real emotion elegantly contained beneath his urbane style caught in throats and moved hearts, sweeping audiences up in its heady embrace and carrying them to the heights of songs like "You're the Top," "I Get a Kick Out of You," and that great hymn to getting it all together and letting it all hang out, "Anything Goes" itself.
Ending Rewritten
According to a program note, the original book, by Guy Bolton and P.G. Wodehouse, was about a gambling cruise that featured a shipwreck as its "fun-filled climax."
When a real cruise ship sank in 1933 with many passengers still aboard, Russell Crouse and Howard Lindsay were called in to draft a cheerier ending, and the musical finally set sail.
Mr. Crouse's son Timothy rewrote the book with John Weidman for its acclaimed 1987 revival at Lincoln Center, creating the version we have here.
Situating the show aboard a gambling ship had freed its authors to sneak various shady characters up the gangplank to hobnob with the creme de la creme in first class, setting the stage for some great Upstairs/Downstairs laughs and romances.
Colorful Scum
We meet the ship's captain (Bill Stark), the ever-so-eligible Lord Evelyn Oakley (Ray Gobes Jr.), Evangeline Harcourt, a society widow (Gillian Ames), her debutante daughter Hope (Nancy Clausen), and the millionaire stockbroker Elisha Whitney (David Parker), a crusty old Yale grad who's survived the crash that sent lesser men "swan-diving" out of their Wall Street office windows.
Also aboard are the even more colorful scum of the earth: Public Enemy Number One, Billy Crocker (Thomas Rosamillia); Public Enemy Number 13, Moonface Martin (Glenn Bazazian), a gun-packing gangster masquerading as a minister (Richard Schneider), and the raunchy evangelist Reno Sweeney (Andrea Gross), a thinly disguised Aimee Semple McPherson, the 1920s evangelist, raring to "lead sinners beside distilled waters," as she puts it.
The huge cast is rounded out by her chorus of "angels," the ship's crew, assorted hoods and F.B.I. agents, and Erma (Meredith Spencer), a baby-talking gun moll who holds a bunch of leering sailors at bay with a punchy delivery of "Buddy Beware."
Steals The Show
From moment one the show belongs to the fabulous Ms. Gross, appearing in her third production for CTC Live this season. (She played the faltering maid in Noel Coward's "Waiting in the Wings," and the drill sergeant in Irwin Shaw's "Bury the Dead.")
Now she sings and dances to enthralling effect, sweeping across the stage with such evangelical props as a black feather boa and a bottle of champagne, hoofing up a storm in a closetful of drop-dead satin outfits, and stealing our hearts.
The rest of the cast also shines: the elegant Ms. Clausen with her lovely soprano, the amusing Ms. Ames with her little dog, the fantastically funny Mr. Gobes with his British mannerisms, and the darkly compelling Mr. Rosamillia with his romantic soul hiding beheath his sinister exterior, and his startlingly moving voice.
Mr. Bazazian is also wonderful as Moonface, especially singing "Be Like the Bluebird," which brought the house down on opening night. So are the always impressive Mr. Schneider in his padre disguise and Mr. Parker as the millionaire Whitney.
As for Ms. Seacat's exuberant direction and choreography, they're awesome. Hats off to a real professional with an unerring theatrical sense.
Hats Off
Chas W. Roeder's costume design positively soars with wit and beauty, as does John Mercurio's magnificently versatile ocean liner set. Kudos too to Eric Schlobohf's beautiful lighting design and Anthony Pasquale's fine musical direction of the nifty orchestra.
Just Pros, No Cons
It's been said that every rave review should contain at least one criticism in order to be plausible. Well, this is a rave review that just raves and raves - so you'd better believe it and go see for yourself.
"Anything Goes" will play for the next three weekends, Friday and Saturday evenings at 8, with Sunday matinees at 2:30. Don't miss it!