ANYTHING GOES – Music and Lyrics by Cole Porter; Original Book by P.G. Wodehouse, Guy Bolton, Howard Lindsay, and Russel Crouse; New Book by Timothy Crouse and John Weidman; Directed and Choreographed by Kate Vallee; Music Direction by Mason Siders. Produced by Candlelight Dinner Playhouse (4747 Marketplace Drive, Johnstown) through June 14. Tickets available at 970-744-3747 or ColoradoCandlelight.com.
I have this vision of the people who auditioned for this dance-heavy production. The choreographer would say to the people on stage waiting to show their stuff, “All right, let’s see who can do fifty time-steps in a row. Five, Six, Seven, Eight!” The ones still standing at the end of the first fifty made it to callbacks. Watching the dance numbers now, you can only imagine what the rehearsals must have been like. Some of these dancing dynamos finish Act I with the spectacular ANYTHING GOES tap number – then go out into the house and complete their serving duties. Whew!!
Starting off a little slowly, the show quickly picks up speed, leading to the familiar “You’re the Top” and “Friendship.” By the time we get to the second act and the showstopper “Blow, Gabriel, Blow, all of us old-timers have resigned ourselves to humming along with the easy-to-remember melodies. When was the last time you walked out of a modern musical able to hum a song you had just heard? Where have you heard lyrics like “Friendship, friendship, just the perfect blendship”? Thanks to Cole Porter for the love songs, production numbers, and novelty pieces that pepper the score and add sparkle to your evening. And, thanks to Candlelight for having the moxie to bring back one of the good ol’ musicals.
While the leads in this production are excellent, we’ll get to them in just a moment. I want to sing the praises of the “Ensemble.” That usually unsung band of backup singers (a line or two to speak, if they are lucky) and dancers (maybe 15 seconds in a breakout move in a ten-minute musical number if they can impress the choreographer). But they keep coming back; they keep the dances set on their bodies for one production while they spend their afternoons in rehearsal for the next one. They may get a speaking role in May and move into the ensemble in June. They are the actual people who live out A CHORUS LINE over and over again.
So let’s say Hello to the new people who are making their Candlelight debut as members of the chorus – Melissa Foreman, Justin Pappas, Aaron Pardini, and Thaddius Williamson. Here’s hoping they have a long productive Candlelight life.
Let’s give special honor to those who are back for a second or more curtain call. Recent additions to the corps include Taylor Baker, Tia Bloom, Ian Doyle, Jack Griffin (who gets a solo as the stuffy Lord Evelyn), Kristine Hintz, Jessie Hobson, Christian Kintzley, Jacob Meyerson, Stephanie Ochs (who also gets a solo as Moonface’s girlfriend), and Caleb Reasy. There should be stars on each of their dressing room doors for the job they do in this show.
And how very special to welcome back old friends to the mix. Seasoned as they are, they bring a special glow of familiarity, reflecting your memories of past performances swirled into the fun of this present experience. Michelle Jeffres continues to delight with charm and whimsy in her role as the wealthy and demanding Mrs. Harcourt. As only an experienced actor can, Scott Severtson makes the most of his time on stage as the wealthy and drunken Ellisha Whitney. Stephen Turner and Hugh Butterfield are playing the S.S. American’s ship’s officers with dignity and deference until it’s time to tap. Then watch out!!
Our lead performers for the evening are an equal blend of the familiar and the new. Jacob Meyerson takes the crucial role of Billy Crocker and never lets go. His partner in romance is the talented Rachel Turner, a long-time regular in several front range theatres. You have to believe in this couple or the romance doesn’t work. From the moment Hope walked up to Billy on stage with her big, moony eyes on him, and he turned and looked at her, you believed them. Brandon Sutorius, a long-time favorite at Candlelight, has a very funny turn as Moonface Martin, Public Enemy No. 13, who sings like a bluebird.
But those who know the show know that the evening belongs to the actress who plays Reno, that raucous singing evangelist who – trust me! – is NOT holier than thou. But gets all the best songs and knocks them out of the ballpark. This would be the work of Libby Shull in her first role at Candlelight. Libby has been working all over town, waiting for her big break – and here it is! She brings fervor – not necessarily religious – to the production numbers and whimsy when she slows down. When she sings with her “Angels,” you know they are not being angelic.
Once again, the costumes in this production are spectacular. The looks are straight out of 1934 – except maybe the sexy red sequined dresses of the Angels after they have had their “come to Jesus” moment. The live band gets not one, but two overtures and makes the most of them. The forecastle deck, where a lot of the action takes place, is well built and a great place to dance. All in all, a spectacular show that works.
A WOW factor of 8.75!!