Going to The Muny’s current production of Anything Goes was like going to a museum to see a great painting I have long admired in reproductions. Everything I loved before was even better at The Muny.
Anything Goes premiered on Broadway in 1934, when the only way to cross the Atlantic was on an ocean liner like the S.S. American, which is the setting for most of the show.
One of the ship’s passengers is debutante Hope Harcourt, who is traveling from New York to England with her fiancé, Lord Evelyn Oakleigh. Hope’s mother, Evangeline, is pushing Hope into the marriage with the wealthy Lord Evelyn because the Harcourts lost a fortune in the 1929 stock market crash.
Hope has another admirer—Billy Crocker, a handsome young stockbroker who recently fell head over heels for Hope. Billy boards S.S. American just prior to its departure to deliver a forgotten passport to his boss, financier Elisha J. Whitney. When Billy learns of Hope’s engagement, he stows away on the liner, risking his Wall Street career for one last chance to win Hope’s heart.
Also on the ship is Billy’s friend, Reno Sweeney, a nightclub singer of renown. Another passenger is Public Enemy Number 13, Moonface Martin.
The big tap numbers are bigger and bolder than ever at The Muny. Choreographer Jared Grimes unlocks the potential of the huge Muny stage with dancing that has amazing variety and drama, especially in “Anything Goes” and “Blow, Gabriel, Blow.” The irresistible musical numbers receive outstanding contributions from the cast and the Muny Orchestra under music director Ben Whiteley.
Director Marcia Milgrom Dodge brings out the show’s humor by cultivating a broad acting style reminiscent of 1930s films. This approach provides wonderful comedy in the splendid performances by Kevin Chamberlin as Moonface, George Abud as Lord Evelyn, Lara Teeter as Whitney, Ann Harada as Evangeline, Eric Jordan Young as the captain, Danny Gardner as the purser, Spencer Jones as Spit, and Joe Capstick as Dippy
The characters Spit and Dippy are new to the 2023 revision of the script The Muny is using. They replace the Chinese converts in earlier versions of the show. Ridding it of these ethnic stereotypes was long overdue.
As Reno, Jeanna de Waal has the charisma needed to portray a celebrity singer who makes saving souls a part of a racy nightclub act. De Waal is an extraordinary singer. Her voice is gorgeous, and her interpretations are penetrating. Even a song as familiar as “I Get a Kick Out of You” sounds fresh when de Waal sings it.
As Billy, Jay Armstrong Johnson commands attention with the beauty of his singing and the athleticism of his dancing. He portrays the romantic and comic aspects of his character with equal flair. Kimberly Immanuel’s Hope is a charmer who leaves no doubt about the emotional strain of being torn between her love for Billy and her duty to her family.
The splendor of travel on an ocean liner is evinced by Edward E. Haynes, Jr.’s scenic design, Tristan Raines’s costumes, and Kelley Jordan’s wigs. Kylee Loera’s video design cleverly evokes old movies when it introduces the cast during the overture. Another nice touch is the appearance of a cartoonish bluebird on the video screens when the bird is mentioned in the show. Rob Denton’s lighting and John Shivers and David Patridge’s sound add to the atmosphere.
The run of Anything Goes and The Muny’s excellent season conclude on August 25.
—Gerry Kowarsky
Photo © Phillip Hamer Photography
The company of Anything Goes aboard the S.S. American.
