You’re the Top

Anything Goes – Music Theatre Works

 

Can there be a better way to escape from the Chicago heat than with a bright, bubbly, laughed-filled, carefree Broadway revival that offers star talent, opulent costumes a gorgeous set, a classic score played by a gifted pit orchestra, and more tap dancing than any show currently playing? This 2011 Tony Award winner for Best Musical Revival, which was directed and choreographed by the brilliant Kathleen Marshall for New York’s Roundabout Theatre, is now in residence at Evanston’s Cahn Auditorium. That New York production deservedly won Tonys for choreography and its lead actress, Sutton Foster. Rudy Hogenmiller’s entertaining, effervescent production is a match, featuring a boundlessly talented cast led by Erica Evans, one of Chicago’s finest musical theatre stars (Lola in MTW’s production of “Damn Yankees”), in the iconic role of  Reno Sweeney. Her grit, spirit and sheer energy drives this terrific cast of talented triple threats throughout the show, and makes this production seem almost effortless.

How does a show that’s had more incarnations than Shirley MacLaine hold up in the 21st century? To begin with, there’s Cole Porter’s delectable, timeless score, astounding for the number of hit classics it generated. There are tunes like the toe-tapping, titular “Anything Goes,” a ten-minute long full-cast production number that brings the audience to its feet…and that’s just the finale of Act I. Then there’s the rousing gospel-styled, “Blow, Gabriel, Blow,” another full-cast production number that builds and builds to a frenzied conclusion. Throw in other tunes, like “You’re the Top,” a kind of mini-history lesson that name-drops every famous person, place and invention of the 1930’s. There’s also “Friendship,” “Buddy, Beware,” “I Get a Kick Out of You” (going down like a smooth bourbon, as sung by Ms. Evans), “It’s De-Lovely,” “All Through the Night,” “Easy to Love” and so many other hummable standards from the American Songbook. Porter’s brassy score is played by sixteen of the most talented musicians ever to fill an orchestra pit, conducted by the inexhaustible Roger L. Bingaman. And that would be reason enough to revive this eternal favorite.

But the score is also matched by a great script, first written in 1934 by a collaboration between the likes of P. G. Wodehouse, Guy Bolton, Howard Lindsay and Russel Crouse. Timothy Crouse (Russel’s son) and John Weidman spruced up the book a bit for today’s audiences and Michael Gibson provided additional Cole Porter music and new orchestrations. Kristen Martino’s elegant set, Alexa Weinzierl’s gorgeous costume designs and hair and makeup designs by Christina L. Reszel complete this glossy, sophisticated package.

Mr. Hogenmiller’s entire company is absolutely first-rate. Erica Evans, the consummate leading lady, stars as a Mae West-flavored Reno Sweeney. With each tune, this accomplished actress offers a masterclass in how to properly deliver a song. But beyond this, Ms. Evans demonstrates her accomplished choreographic skills and comic timing in this role. In short, Erica Evans is the best reason to catch this musical in its short Chicago run.

However, without her supporting cast, Ms. Evans would simply be performing a concert version of Cole Porter hits (which would be enough for this reviewer). She’s working closely with a cast of experienced theatre professionals. They include handsome song-and-dance man, Ken Singleton (“Ragtime,” “Oklahoma”) as a very likable Billy Crocker; the master of the subtle comic take, Brian Zane (“South Pacific,” “Fiddler on the Roof”), as Moonface Martin, Public Enermy #13; talented singer-dancer and dashing Errol Flynn look-like, Max J. Detogne (“Jesus Christ Superstar”), as Sir Evelyn Oakleigh; bouncy bombshell Kayla Boyle (“Gypsy”) as the Betty Boop-voiced sexpot and gun moll, Erma; and a MTW favorite, character actor, Rick Rapp, as the charming, yet always inebriated, Elisha Whitney. Sweet, Lexis Danca (“Gypsy,” “Joseph…Dreamcoat”) is spunky and charming as Billy’s love interest, Hope Harcourt, and the divine Liz Norton mines every take and double-entendre as her mother, Mrs. Evangeline Harcourt. The large ensemble of sublime singing and dancing talent are The Top, and just have to be seen and heard to be appreciated.

Expertly directed by Rudy Hogenmiller and brilliantly choreographed by Clayton Cross, this production, although running a little long, is a blissful enchantment. In an era that strangely worships celebrities from every walk of life, including the notorious, the subplot of this musical doesn’t feel all that old-fashioned or far-fetched. All three love stories (and not just between the young‘uns either) delightfully play out to the very last moments of the show. By the finale, everyone lives happily ever after, which could only happen aboard an Art Deco cruise ship overflowing with ditzy debutantes, exuberant dancing and dry martinis.

Highly Recommended

by Colin Douglas

 

Presented August 18-26 by Music Theater Works at Cahn Auditorium, 600 Emerson St., Evanston, IL.

Tickets are available at the box office, by calling 847-920-5360 or by going to www.MusicTheaterWorks.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.