Anything Goes

Four times has New York seen Cole Porter’s ANYTHING GOES: the original production in 1934, Off Broadway in 1962, at Lincoln Center in 1987 and now at the Stephen Sondheim Theatre. In a way, ANYTHING GOES has been a work in progress, getting tweaked every time it gets a major production. P.G. Wodehouse is often given the most credit for the book, although the truth is that he wrote a scenario that Guy Bolton was to flesh out, that is to say, generally add the jokes. Porter would insert the songs into this mix. However, the show was about a shipwreck and in the middle of writing it the headlines were full of a real shipwreck off the coast of New Jersey and it was rightly felt that this event would render the book inappropriate for a musical comedy. So, P.G. Wodehouse and Guy Bolton being in London and unavailable for immediate assistance made necessary the inclusion of two new book collaborators, Howard Lindsay and Russel Crouse, who turned the show into ANYTHING GOES as we basically know it. Then, over the years, Cole Porters songs were added and subtracted until we have what emerged by 1987 at Lincoln Center––a tightened up version of what basically happened in 1934, but with modern know how (this revision was penned by Timothy Crouse––the son of Russel––and John Weidman). In other words, the clunkiness of 1930s book musicals was refined without taking the period spirit out of it. Tinkering has occurred again under the direction of director/choreographer Kathleen Marshall with new dance arrangements to accommodate her own original vision for the dances and a general de-Mermanizing of the Reno Sweeney numbers. Sutton Foster is a dancing Reno Sweeney this time, with less emphasis on the Merman belt. In fact, all of those big long held Merman notes that composers inserted into her numbers ever since she exploded onto Broadway with “I Got Rhythm” in GIRL CRAZY were excised, saving big belted notes only for the ends of “Anything Goes” and “Blow Gabriel Blow.” There is a little disappointment in this, for one of the things that makes ANYTHING GOES what it is, is that Merman influence. Patti LuPone didn’t disappoint us in 1987, for her Reno Sweeney was the modern age equivalent of Ethel Merman, as was also displayed in her turn as Rose in GYPSY. Still, Foster is a delight and it is smart to underline her talents as a dancer while allowing her to make the signature Merman numbers her own. Foster actually comes off a little too sweet, when the character is really a brassy broad. Her blonde wig doesn’t help her image either, but she is gorgeous in her Martin Pakledinaz gowns and sort of blends in as an ensemble member in a show actually dominated by the romantic leading man (the new talent, Colin Donnell as Billy), the ingenue girl (Laura Osnes as Hope), the British caricature (Adam Goodley as Evelyn) and the gangster in the form of a Broadway Legend (Joel Grey as Moonface).

Derek McLane has designed the ship setting lengthwise, rather than Lincoln Center’s frontal view. The pieces of this tri-level set open and close to aid in the illusion of changing locals. Wagons track in to supply the staterooms, jail cell and opening scene’s Manhattan bar. The set is more of a surprise than in 1987, for it has a greater variety of changes and yet it has an economical usefulness to it. It all looks properly art deco and functions just as required without being overly designed. The show is a pretty package.

“Your the Top” includes an extra verse of perviously unheard lyrics as a surprise and retains the old school use of the encore to everyone’s delight. Musicals in the 1930s were about clever lyrics rather than character or plot––that’s the point of the enjoyment of this kind of show. ANYTHING GOES could only be turned into an integrated “Rodgers and Hammerstien” style show to a point. In 1962, the changes were all made to try and transform the show into a more integrated and balanced one. That version, until 1987, was the only version that could be licensed. Two key song interpolations from that production have therefore become a part of the fabric of ANYTHING GOES: “Friendship” and “It’s De-lovely.” We would miss them if we simply went back to 1934, so they were kept in the Lincoln Center edition and they are in now as well.

Colin Donnell should be a delightful surprise to all. Several Broadway stalwarts might have played Billy, but we get the unknown Mr. Donnel in this key role. He is like Gene Kelly, dancing quite a lot more than the usual Billy would, but singing better than Gene Kelly ever could. He was seen in JERSEY BOYS, but otherwise has been out of town on various tours. ANYTHING GOES is bound to make a true Broadway star out of him. His “Easy to Love” and “It’s De-Lovely” with Ms. Osnes, both turn into charming “Fred and Ginger” numbers very effectively. Ms. Osnes sings her “Goodbye, Little Dream, Goodbye” beautifully (a song added for the character in 1987) and makes an underwritten character quite easy to love (as the lyric goes).

Adam Godley comes to Broadway from London and is ideal as Lord Evelyn. He has the voice of a character singer and has some trouble with higher held notes, but his perfection in the role triumphs. Joel Grey is adorable as Moonface Martin and is given a little extra time in “Blue Bird” to dance a soft shoe with a blue spot of light. This is a nice gesture to a legendary theatre man who deserves to have a special moment to shine. The other featured roles are all handled expertly by the likes of John McMartin, Jessica Walter, Jessica Stone, Walter Charles and Robert Creighton. The chorus is made up of pretty girls and the most uniform collection of sturdy straight seeming men to be seen in a single Broadway chorus. That is not a plus or a negative, but the uniformity of the type of male dancer cast was interesting and at the moment, unique.

For all the excellence of the cast, design, and choreography, the show comes off as only durable. There is a lack of precision in the book scenes with regards to the execution of all the walk across jokes and gags, but the show is in previews now and this could all tighten up and elevate the production to the level of pop and fizz it should rightly obtain. I may not be able to get over the loss of the Merman-esque arrangements, but that’s my problem. Ms. Foster should not have to be compared to Merman or LuPone, but she will be all the same. Still, after dancing up a storm with the entire cast for the title song, she somehow squares off with the audience and Mermanates her final note to the back of the theater! Where’s the air coming from? There is plenty of delight in this ANYTHING GOES, but it isn’t the exciting blast of old time musical comedy delight I was wishing for. I was hoping to be thrilled to pieces the way I was with recent revivals of 42ND STREET, SOUTH PACIFIC and FINIAN’S RAINBOW. ANYTHING GOES is still worth it, for there is no better place to hear some of the greatest Cole Porter songs sung beautifully with a live orchestra.