Cruising to London from New York by way of Gettysburg Community Theatre, legendary songwriter Cole Porter’s bubbly “Anything Goes” overshadows the fading days of summer with delightful madcap antics and seriously good music.
With its original book by P.G. Wodehouse, Guy Bolton, Howard Lindsay and Russel Crouse, the popular musical premiered on Broadway at what is now New York City’s Neil Simon Theatre 90 years ago. It has been revised, updated or revived on- and off-Broadway more than a dozen times over the years — captivating audiences with performances by the likes of Ethel Merman, William Gaxton, Hal Linden, Barbara Lang, Mitzi Gaynor, John Barryman, Kerry Ellis and many others.
The first Broadway revival (Timothy Crouse and John Weidman wrote the new book) with Patti Lupone, Howard McGillin and Bill McCutcheon won the Tony for Best Revival in1987. More than 20 years later, Sutton Foster, Joel Grey and Colin Donnell performed in the Stephen Sondheim Theatre show that snagged the 2011 Tony for Best Musical Revival.
GTC’s rendition of the hilarious shipboard romp — adapted from the 1987 Broadway revival’s libretto — offers a charming lineup of local talent to present what many consider one of the greatest classics in American musical theatre.
Director/Choreographer Bruce Moore — a Gettysburg native who’s appeared thrice on Broadway and sung in half a dozen well-known animated Disney films — pays lovely tribute to the magic of Cole Porter’s music and lyrics in a smartly staged production.
Lights designed by Chase Bowman rise on a set accentuated by a painted mural of a cruise ship crafted by scenic artist Juls Buehrer.
On the eve of the ship’s departure, Billy Crocker (a young Wall Street broker played by Sean Mott) scrambles to make the final arrangements for his boss (Drew Derreth as Elisha Whitney) to travel to London. Yale-man Whitney decides to cash in bigtime by unloading stock an insider has warned him is doomed to crash, and he assigns Billy the task of selling it the next day. Billy also promises to bring Whitney’s passport to the ship before it sails.
After leaving his boss, Billy runs into a friend, Reno Sweeny (Kate Sainer). An evangelist turned nightclub singer who’s booked on the same ship, Reno reveals her unrequited love for Billy and begs him to accompany her. Sainer’s first solo, “I Get a Kick Out of You,” fills the stage with her powerful stage presence, vocals, and dance that foretell many outstanding numbers to come.
Billy refuses Reno and confesses that he has fallen hopelessly in love with debutante Hope Harcourt (Carrie Conklin). [Billy has no idea that Hope is engaged in a marriage arranged by her mother to Lord Evelyn Oakley (Dave Bowman).]
As the ship prepares to set sail the next morning, the Ensemble’s “Bon Voyage” number sets a lively tone that never stalls. Hope, her mother (Lindsey Ringquist as Mrs. Evangeline Harcourt) and her fiancé are among the passengers who board. When Billy shows up to deliver Whitney’s passport, he sees Hope and stows away disguised as Snake Eyes Johnson (Public Enemy #1) to pursue her.
Enter Public Enemy #13 impersonating a priest (Paul Norfolk as Moonface Martin), his sidekicks Spit (Jesse Ringquist) and Dippy (Kyle Meisner), and Snake Eye’s promiscuous girlfriend Erma (Kaitlyn Ball). And thus begins a wild tale of mistaken identities and fizzing romance.
When Rena encounters Billy onboard, she decides to aid and abet him in winning his true love. In the “You’re the Tops” duet by Rena and Billy (and in his other numbers), Mott’s vocals are also first-rate.
The leads (standouts, all) and Company — including Ernie Kranias, Bevin Durant Fidler, Bernavel Sanchez, Jamie Bowman, Alexa Connelly, Roman Diaz, Devin Foster, Kevin Foster, Curtis Musselman, Allisa Baker, Jacob Hansen, Sharon Kaya, Kylee Lorah, Sue McLeaf Nespeca, Jim O’Dell, Jr., Vanessa Rice and Myka Walker — are a mix of returning and GCT-debuting actors who shine under Moore’s and vocal music director Jamie Bowman’s direction.
Dazzling costumes assisted by N. Kay Lenhart create wonderful moments of Broadway razzmatazz. Stage Manager Nespeca oversees smooth scene changes with props assistance by Rice, and Michael Connelly’s tech direction/sound design syncs flawlessly.
Moore’s choreography is consistently crisp with notable tap numbers by Sainer and Ball, not to mention Rice’s joyful dance performances in Act 2.
Lame jokes abound in a full evening of snappy music numbers; Bowman as Evelyn, for instance, just can’t get the hang of American idioms. But somehow, impossible situations manage to untangle happily at show’s end, and Sainer’s sexy performance in the Company’s finale, “It’s De-Lovely, Anything Goes” is literally a showstopper.
“Anything Goes” sails on through September 22 at Gettysburg Community Theatre, 49 York Street. Performances are 2 p.m. Sundays and 7 p.m. Fridays and Saturdays. General admission is $20. For tickets and more information, visit gettysburgcommunitytheatre.org.
Note: Samuel Eisenhuth will play Moonface Martin closing weekend.
