Review: ANYONE CAN WHISTLE, Southwark Playhouse

The Southwark Playhouse's revival of Stephen Sondheim's Anyone Can Whistle marks the first UK-based production of his work since his death in November last year. The choice to revive this show is an unusual one.

Taken from early in his catalogue, the show's original Broadway debut was largely panned by critics and theatregoers alike. In fact, it closed after a run of just 12 previews and nine performances, despite marking the Broadway debut of Angela Lansbury.

As a result, Anyone Can Whistle is perhaps one of Sondheim's least-performed productions. The reasoning for its omittance from the stage is clear; the plot is a little too cluttered, as though it cannot quite decide the story it's going to tell. The music, while showing glimpses of the characteristics that made Sondheim's work great, falls a little flat at times.

On paper, the show is muddling and doesn't really lift off. However, in leaning into the chaos within the script, director Georgie Rankom manages to breathe new life into the story giving it the elevation it needs to become truly entertaining.

Anyone Can Whistle tells the story of an unnamed town falling into bankruptcy, led by domineering Mayoress Cora Hoover Hooper (Alex Young) and her trio of conniving henchmen, Comptroller Schub (the fantastic Danny Lane), Treasurer Cooley (Samuel Clifford) and Chief of Police Magruder (Renan Teodoro in an exciting stage debut). Together, they fake a 'miracle' to save the town from economic failure.

While many people buy into the scheme, Nurse Fay Apple (Chrystine Symone) is less convinced, bringing her patients from a mental health institute known as The Cookie Jar (a dated analogy) to drink from the miraculous springs. In doing so, she hopes to unveil the deceit, as her patients will remain unchanged despite being in the presence of a miracle. When denied access, she encourages her patients to mingle out in the real world and refuses to turn them back in.

Further trouble ensues when 'Doctor' J. Bowden Hapgood (Jordan Broatch) arrives. He is also against deciding who does and does not belong in The Cookie Jar, instead splitting the crowd into separate sections: 'Group 1' and 'Group A'.

As you can probably tell, it's chaotic, convoluted, and a little all over the place, but in this bright production, it somehow works. You engage with the story because of its unpredictability. Think of it as a fairytale on steroids: morale allegories buried into cabaret-style solos, flashy dance numbers, and lots of confetti.

Anyone Can Whistle is very much an ensemble piece, which banks upon the cast really buying into the madness. However, there are standout performances from Alex Young as Cora Hoover Hooper, who seems part stand-up comedian and part woman on the brink. She is paired expertly with Danny Lane's Comptroller Schub, who doesn't miss a beat in drawing out laughs from the audience.

Jordan Broatch is similarly compelling in their professional debut. They have a stunning voice - and it's refreshing to see a non-binary performer playing a romantic lead. The choreography from Lisa Stevens is also fantastic, making expert use of what is a rather cramped staging.

In short, is Anyone Can Whistle Sondheim's best work? No. But, this revival is witty, self-aware and all-round delightful. It's a fun night out, providing you just surrender to the chaos.

Anyone Can Whistle at the Southwark Playhouse until 7 May