Review: Buoyant ANYTHING GOES Docks in Orlando

Beloved theatre standards, tap-dancing sailors, chorines in sequins, a farcically silly plot; what more could you want from a Cole Porter musical? After winning three Tony Awards in 2012, including Best Revival of a Musical, the National Tour of ANYTHING GOES ends its delightfully giddy run at Orlando's Dr. Phillips Center for the Performing Arts this week, concluding on Sunday, May 31st. This non-Equity tour boasts Kathleen Marshall's direction and choreography, the latter of which earned her a third Tony. A joyful celebration of old-fashioned musical theatre, the delightful cast will leave you with a smile on your face, but this ANYTHING GOES lacks the sharpness and playfulness to make you fall out of your seat laughing and/or cheering, which most certainly can happen when this classic is at its best.

Though the plot of ANYTHING GOES comes in a distant second to the show's goofy song-and-dance motif, the winning cast sells the absurdity with aplomb. Aboard the S.S. American, as she sails across the Atlantic, lovelorn vaudevillian "evangelist" Reno Sweeney (Emma Stratton) aids the object of her affection, Billy Crocker (Brian Krinsky), in stowing away, in order to prevent the woman that he loves, debutant Hope Harcourt (Rachelle Rose Clark), from marrying Lord Evelyn Oakleigh (Richard Lindenfelzer); got all that? With the assistance of her old friend, Public Enemy No. 13, Moonface Martin (Dennis Setteducati), Reno turns what is presumed to be a lackluster cruise across the pond, into a rollicking, slapstick good time. While the often ludicrous plot machinations are extremely entertaining, don't come to ANYTHING GOES for anything resembling high drama. Since the show has seen numerous iterations over the years, the story is a bit of a patch-work, but if you are able to turn off your analytical mind for two hours and 40 minutes, you certainly will enjoy yourself.

In addition to the iconic songs that Porter originally wrote for the show, the score interpolates a number of the composer's most appropriate numbers written for other projects. The current incarnation of ANYTHING GOES features the classics "I Get a Kick Out of You," "You're the Top," "Friendship," "It's De-Lovely," "All through the Night," the title song, and many more. Between the high-energy, toe-tapping tunes, and the beautiful, romantic melodies, it would be nearly impossible for any theatre lover not to get swept away by ANYTHING GOES' music.

Unfortunately, despite the show's pedigree, there always seems to be something missing from this production. To pull off the grand absurdity found in Timothy Crouse and John Weidman's updated book, the characters must possess a certain level of charm. Nearly all of them lie, cheat, and steal to get what they want, but their deceptions should feel more like a game than a crime. Nearly all of the actors have an undeniable individual appeal, combined with unquestionable talent, but it often felt like they were pulling one over on someone with a sneer, rather than a wink. While that might be the more honest approach to ANYTHING GOES, it occasionally robs the material of its daffy appeal.

Stepping into Reno's sexy sailor suit is no easy feat, given that some of musical theatre's most immortal actresses have given life to the character; Ethel Merman originated the role on Broadway in 1934, Patti LuPone legendarily revived the show in 1987, and Sutton Foster won her second Tony in the most recent revival. Stratton is a compelling lead, ably moving from the disappointment of unrequited love to scheming with a known fugitive, bouncing back-and-forth between belting and hoofing. Her characterization is a little more world-weary than we saw from Foster; a more distinctly outer-borough Reno to Sutton's sophisticated Sweeney. That rough-around-the-edges persona gave some believability to Reno's less-than-legal decisions, but Stratton couldn't maintain the charisma that the character needs to win the audience over. She certainly had it at times ("Friendship," "The Gypsy in Me"), but outside her most shining moments, she didn't seem able to completely command the stage.

As Billy and Hope, Krinsky and Clark make an engaging young couple. Billy does much of the comedic heavy lifting in the show, and while Krinsky seemed well suited to handle it, the jokes never seem to land like they should. Clark brings a compelling youthful vulnerability to Hope, a character that is often little more than a plot device. The duo is at its best when they are twirling about the stage in a romantic song and dance.

The comic surprise of ANYTHING GOES is almost always Lord Evelyn as he struggles to get the hang of American idioms and he reveals his own secret past. Lindenfelzer brings a distinctive nebbish charm to the part, and his hilarious tango in Act II nearly steals the show.

Setteducati's Martin and his accomplice, the vivacious vamp Erma (Mychal Phillips, who might have been wearing the longest eyelashes in the history of musical theatre) provide wacky, keystone criminal antics. As Elisha Whitney, Michael R. Douglass flexes some comic muscles, even if he is a bit difficult to understand at times; Tracy Bidleman is fun as Hope's meddling mother Evangeline; and Reno's back-up Angels (Gabriella Perez, Annie Wallace, Kaylee Olson, and Lexie Plath) provide an ample dose of talent and sex appeal. Plath's Virtue is especially alluring.

As always, this ANYTHING GOES is at its best in the large production numbers. With fancy footwork, dazzling colors, and crystalline voices, they are the epitome of what traditional musical theatre should be. While there were moments when certain aspects and dancers weren't completely in sync, the overall effect was still exciting.

The title song lacked the energy and precision required to completely sell the experience, but the tap dancing in "Anything Goes" is still one of the most exhilarating moments in recent musical theatre memory; and it had Orlando's Opening Night audience wildly cheering as the curtain fell on the first act.

ANYTHING GOES is a buoyant, feel-good blast from our musical theatre past. A terrific cast, remarkable choreography, and dazzling visuals make this the perfect show to introduce a new generation to the joys of the Great American classics. To hop aboard the S.S. American, visit the Dr. Phillips Center website, or call 844-513-2014

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Did you set sail with Reno and the rest of the ANYTHING GOES cast? Let me know what you thought of the show in the comments below, or by "Liking" and following BWW Orlando on Facebook and Twitter. You can also chat with me about the show on Twitter @BWWMatt.

Photo Credit:
1) Emma Stratton and the company of ANYTHING GOES: Jeremy Daniel
2) Emma Stratton and Brian Krinsky: Jeremy Daniel
3) Brian Krinsky and Rachelle Rose Clark: Jeremy Daniel
4) Mychal Phillips and sailors: Jeremy Daniel

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