Print
E-mail
Comment
Rate
‘Anything Goes’ at Porthouse is ‘the top’
Click image to enlarge
|
Reviewed by: FRAN HELLER Contributing Writer
Even Zeus, the Roman god of thunder and lightning, roared with approval.
The storm erupted following the fabulous duet “You’re the Top,” performed with unforgettable élan by Sandra Emerick and Justin Gentry. The song is but one from an incomparable score created by Cole Porter in his 1934 mega-hit musical comedy “Anything Goes.” It’s at Porthouse Theatre through June 28.
“You’re the Top” could easily be the mantra for the entire show, a sensational evening of nonstop delight in which every moment is another high. Hats off to charismatic Porthouse artistic director Terri Kent, who directs this amazing production.
The energy, talent and passion erupting from this great company are infectious. The 40-minute drive from Cleveland’s East Side is worth every construction site along the way.
“Anything Goes” was the quintessential comedy of the 1930s. For a nation beset by soup kitchens, breadlines, and corporate types leaping from office windows, the show offered an escapist tonic of pure, feel-good entertainment.
Here’s a short summary of the endlessly convoluted plot:
Ex-evangelist Reno Sweeney gets a kick out of stockbroker Billy Crocker, but Crocker only has eyes for socialite Hope Harcourt, who is engaged to an English peer.
Crocker winds up a stowaway on an ocean liner in pursuit of his love. So does Reno in pursuit of Billy. Also on board is gangster Moonface Martin, public enemy #13 and his moll Erma.
The star of “Anything Goes” (original book by P.G. Wodehouse and Guy Bolton and Howard Lindsay and Russel Crouse; new book by Timothy Crouse and John Weidman) is, of course, Cole Porter’s immortal music and lyrics, including such national treasures as “I Get a Kick out of You,” “It’s De-lovely,” and the title song “Anything Goes.”
The story is madcap farce and the jokes as corny as Kansas, but in the right hands and with the right spirit, never has vintage cornball remained so funny.
Robert F. Wolin’s delicious façade of an ocean liner is agog with portholes, gangplanks, and the many entrances and exits that are the hallmark of such fast-paced comedy.
Musical director Nancy Andersen Wolfgang strikes up the band with a whiplash of melodic fervor from overture to finale. Huzzahs for costumer Sarah Russell and her never-ending variations on a nautical theme; plus fire engine red and ebony black for Reno and her “fallen angels.” Lighting maven Cynthia Stillings paints sunlight and sky with a palette of blues, turquoise, yellow and mauve. Jason Potts’s pointed sound effects announce “Bon Voyage” with a resounding blast.
Belter Sandra Emerick is personality-plus as ex-evangelist and nightclub chanteuse Reno Sweeney. Her big, brassy delivery of the rousing gospel number “Blow, Gabriel, Blow” makes you want to stand up and shout “Hallelujah.”
Droll Rohn Thomas is a perfect Moonface Martin. “Friendship,” sung by Reno and Moonface, in which each catalogues the other’s virtues, bubbles over.
Justin Gentry’s sweet Billy Crocker croons like a nightingale in the hauntingly beautiful love ballad “All Through the Night.” As the equally smitten Hope Harcourt, Kayce Cummings has a golden voice that matches her ravishing good looks and charm.
Impish MaryAnn Black steals the stage whenever she’s on deck as the flirtatiously fickle Erma. Consummate ham Eric van Baars had me in stitches as proper Englishman Lord Evelyn Oakleigh.
As choreographer, Black injects a dose of Broadway with some dazzling dance maneuvers including tap, ballroom à la Fred Astaire and Ginger Rogers, and a Rockettes-style chorus line in which every kick and turn of face is perfectly synchronized.
As good as these principals are, this production would not be what it is were it not for the ensemble, who fill in as passengers, FBI agents, reporters, sailors, and angels. There isn’t a weak link in the cast of 30, including Yuko Kurahashi and Aaron Henley as a pair of Chinese crap-shooting sinners, Susan Murphy as Hope’s hopeful mother Evangeline Harcourt, and Yale man Elisha Whitney, played with relish by Mark Monday.
Even the live dog performed his part without mishap.
“Anything Goes” pulls out all the stops, and it shows.
Even Zeus, the Roman god of thunder and lightning, roared with approval.
The storm erupted following the fabulous duet “You’re the Top,” performed with unforgettable élan by Sandra Emerick and Justin Gentry. The song is but one from an incomparable score created by Cole Porter in his 1934 mega-hit musical comedy “Anything Goes.” It’s at Porthouse Theatre through June 28.
“You’re the Top” could easily be the mantra for the entire show, a sensational evening of nonstop delight in which every moment is another high. Hats off to charismatic Porthouse artistic director Terri Kent, who directs this amazing production.
The energy, talent and passion erupting from this great company are infectious. The 40-minute drive from Cleveland’s East Side is worth every construction site along the way.
“Anything Goes” was the quintessential comedy of the 1930s. For a nation beset by soup kitchens, breadlines, and corporate types leaping from office windows, the show offered an escapist tonic of pure, feel-good entertainment.
Here’s a short summary of the endlessly convoluted plot:
Ex-evangelist Reno Sweeney gets a kick out of stockbroker Billy Crocker, but Crocker only has eyes for socialite Hope Harcourt, who is engaged to an English peer.
Crocker winds up a stowaway on an ocean liner in pursuit of his love. So does Reno in pursuit of Billy. Also on board is gangster Moonface Martin, public enemy #13 and his moll Erma.
The star of “Anything Goes” (original book by P.G. Wodehouse and Guy Bolton and Howard Lindsay and Russel Crouse; new book by Timothy Crouse and John Weidman) is, of course, Cole Porter’s immortal music and lyrics, including such national treasures as “I Get a Kick out of You,” “It’s De-lovely,” and the title song “Anything Goes.”
The story is madcap farce and the jokes as corny as Kansas, but in the right hands and with the right spirit, never has vintage cornball remained so funny.
Robert F. Wolin’s delicious façade of an ocean liner is agog with portholes, gangplanks, and the many entrances and exits that are the hallmark of such fast-paced comedy.
Musical director Nancy Andersen Wolfgang strikes up the band with a whiplash of melodic fervor from overture to finale. Huzzahs for costumer Sarah Russell and her never-ending variations on a nautical theme; plus fire engine red and ebony black for Reno and her “fallen angels.” Lighting maven Cynthia Stillings paints sunlight and sky with a palette of blues, turquoise, yellow and mauve. Jason Potts’s pointed sound effects announce “Bon Voyage” with a resounding blast.
Belter Sandra Emerick is personality-plus as ex-evangelist and nightclub chanteuse Reno Sweeney. Her big, brassy delivery of the rousing gospel number “Blow, Gabriel, Blow” makes you want to stand up and shout “Hallelujah.”
Droll Rohn Thomas is a perfect Moonface Martin. “Friendship,” sung by Reno and Moonface, in which each catalogues the other’s virtues, bubbles over.
Justin Gentry’s sweet Billy Crocker croons like a nightingale in the hauntingly beautiful love ballad “All Through the Night.” As the equally smitten Hope Harcourt, Kayce Cummings has a golden voice that matches her ravishing good looks and charm.
Impish MaryAnn Black steals the stage whenever she’s on deck as the flirtatiously fickle Erma. Consummate ham Eric van Baars had me in stitches as proper Englishman Lord Evelyn Oakleigh.
As choreographer, Black injects a dose of Broadway with some dazzling dance maneuvers including tap, ballroom à la Fred Astaire and Ginger Rogers, and a Rockettes-style chorus line in which every kick and turn of face is perfectly synchronized.
As good as these principals are, this production would not be what it is were it not for the ensemble, who fill in as passengers, FBI agents, reporters, sailors, and angels. There isn’t a weak link in the cast of 30, including Yuko Kurahashi and Aaron Henley as a pair of Chinese crap-shooting sinners, Susan Murphy as Hope’s hopeful mother Evangeline Harcourt, and Yale man Elisha Whitney, played with relish by Mark Monday.
Even the live dog performed his part without mishap.
“Anything Goes” pulls out all the stops, and it shows.
 |
||
| ‘Carpetbagger’s Children’ is storytelling at its best |
Article Rating
Reader Comments
The following are comments from the readers. In no way do they represent the view of clevelandjewishnews.com.
You must register with a valid email to post comments. Only your Member ID will be posted with the comments. Registration is free.
Registered users sign in here: |
Become a Registered User |
