Anything Goes 

By Angie Bedford

Anything Goes

Anything Goes is a welcome addition to Melbourne's thriving musical theatre scene. Throughout this influx of international blockbusters, it is a joy for audiences to see this classic musical.

Cole Porter's Anything Goes is easily his most successful and greatest musical. First produced back in 1934 and updated in 1987 it is remarkable how contemporary this show is.

Anything Goes was pioneering for its musical comedy recipe, as few musicals of that era contain the perfect blend of romance, innuendo, farce, crime and blockbuster music and dance.

The majority of the show is set onboard the S.S American on route from Manhattan to London. We met a number of fascinating characters, including evangelist turned night club singer Reno Sweeney (Rachel Juhasz) and her wall street broker friend Billy Crocker (Nathan Toovey) who stows away in order to pursue sweet debutante Hope Harcourt (Amy Larsen).

The problem is Hope is set to marry her stuffy English fiancé, Lord Evelyn Oakleigh (Tony Burge).

Also on board is Reno’s gangster friend, the not so scary Moonface Martin (James Cutler) and gangster mole Erma (Katie Bull), disguised as a Minister and Missionary. Billy’s boss Elisha Whitney (Barry Mitchell), is also on board, pursuing Hope’s upper class mother, Evangeline Harcourt (Sallyanne Skeggs). A witty plot ensures that we don’t become confused with the hilarious twists and turns that challenge these relationships.

Visually, Whitehorse's production is a mixed bag. Jeremy Bailey-Smith takes on the massive task of designing both the set and costumes.

Whilst Bailey-Smith's overall 1930s palette of peach and golden tones was suitable and effective, the set lost its lustre due to the construction; some materials did not appear durable and the gold trims need some attention as they were visibly coming away from the surface.

The traditional staircase was effective, although too large as it restricted space downstage. I think the design had potential, but perhaps stripping back the bulk would allow more focus on the costumes, which are exceptional!

Anything Goes features some of the most innovative period costumes I've seen in a long time.

I eventually gave up on scribbling down how many amazing pieces there were! Some real standouts included Reno's iconic sailor inspired vest and flares ensemble, Erma’s gorgeous peach crop blazer and short shorts, the colour coordinated bathing and leisure costumes on Reno’s sexy ‘Angels’ and Moonface and Billy’s purple suits.

All these pieces were accessorised beautifully with 1930s caps, headpieces, hairstyles, footwear and jewellery.

Anything Goes features a fairly large lead cast, with Rachel Juhasz's Reno Sweeney at the helm. Juhasz is one of the most exciting performers around, with a voice and presence reminiscent of the golden era of stage and screen. Juhasz’s Reno is sassy and worldly, and is a joy to watch, with a voice that could melt butter, and the moves to match.

James Cutler was a standout as Moonface Martin. Cutler was the strongest comic performer, showing his versatility in the energetic role, including a consistent Nathan Lane style thick accent. I imagine he will only get better and better as the season continues.

Nathan Toovey looks the perfect leading man as Billy Crocker. I enjoyed his rapport with Reno, although vocally he was a little shaky, his opening number "Easy to Love" was a bit flat. This improved somewhat, although at times it was marred by his muffled microphone.

His love interest, Hope Harcourt, is sweetly portrayed by Amy Larsen, who has lovely resonance in her voice, at its best in "All Through the Night".

Another standout is Tony Burge as the bumbling Lord Evelyn Oakleigh. Burge succeeds in giving us the perfect blend of stuffy Englishman and endearing, misunderstood man of privilege. "The Gypsy in Me" is a delight.

The lead cast is rounded out by great performances by wonderful comic actress Sallyanne Skeggs as Evangeline Harcourt, the absolutely gorgeous and well behaved dog who played "Cheeky", Barry Mitchell as Elisha Whitney and Katie Bull as sexy woman with needs, Erma. The ensemble gave admirable performances as passengers and sailors.

A special mention to Sailor soloist, Timothy Phillips, who has a distinctive and refined voice for his young age. Well done.

Although it was sometimes difficult to hear the vocalists, the big band sounded fantastic, under the leadership of Musical Director, Tom Ryan. Overall, Ryan and musicians did justice to the rich score.

Tamara Finch and James Rooney share the dual role of Directors and Choreographers. I enjoyed the variation in movement and staging, particularly in the slower numbers, although the performers were at times hindered by the lack of space. I do think the pace of the show lagged at times, but I am sure as the run continues this will improve.

The dancing couples in "It’s De-lovely" were a nice touch, and of course, the magnificent tap sequence in the spectacular Act 1 finale, "Anything Goes".

Well done to Whitehorse on bringing this glorious musical back to the Melbourne stage.

"Anything Goes"

Presented : Whitehorse Musical Theatre
Music & Lyrics : Cole Porter
Book : Guy Bolton and P.G. Wodehouse
Directed & Choreographed : Tamara Finch and James Rooney
Musical Direction : Tom Ryan