When “Anything Goes” opened on Broadway in 1934, America was in the throes of a difficult time. The stock market collapse ruined many, bank panic closures destroyed savings, and dust storms ravaged the middle-American states, creating huge migrations and farm foreclosures. Almost a quarter of the population were without jobs, and Hitler’s ascension led to the rise of Nazi Germany.
It’s easy to wonder why anyone would produce a tap-happy musical comedy like “Anything Goes” in the midst of so much misery. I believe producers put the show on stage for the same reason that Chicago’s Porchlight Music Theatre chose to kick off its 29th season by running the 90th anniversary production of Cole Porter’s enchanting show: Times now are hard with prices rising, crime increasing, and a threat of a world war on the horizon.
It’s a zany romp about star-crossed romances and madcap antics taking place aboard an ocean liner sailing from New York to London. The story centers on a young man who falls in love with a woman engaged to another man. He stows away onboard the ship to try to win her over. Simultaneously, there are other mismatched couples, some wacky criminals responsible for hilarious hijinks, sailors, celebrities, and a cute dog. Of course, there’s a happy ending where love conquers all.
While the plot twists and laugh-filled gags will lift one’s spirit, there are still other reasons to see the show. One is that today’s Broadway musicals lack the talent of great composers like Cole Porter. While shows today may have a couple of good songs, Porter’s “Anything Goes” features a cornucopia of terrific tunes that include “You’re the Top,” “It’s De-Lovely,” “Easy to Love,” “I Get a Kick Out of You,” “Blow, Gabriel Blow,” and “Anything Goes,” all of which sound spectacular with music direction by Nick Sula and conductor-pianist Linda Madonia.
Masterfully directed by Michael Weber with fantastic and fancy footwork choreography by Tammy Mader, the show takes place in Jeffrey D. Kmiec’s evocative set, with Max Maxin IV’s terrific lighting. Matthew R. Chase’s perfect sound design and Rachel Boylan’s colorful, period costuming complete the experience.
What sets this show apart from previous revivals is the performance quality. Meghan Murphy stars with a captivating portrayal of Reno Sweeney, the cabaret star at the center of the show. Murphy isn’t just a terrific actress: With a golden voice and electrifying dance moves, she almost stops the show when she belts “I Get a Kick Out of You” and “Blow, Gabriel Blow.”
Other riveting portrayals include handsome Luke Nowakowski, who as the young stockbroker Billy Crocker comes through with velvety rich vocalizations of “Easy to Love” and “You’re the Top.” Emma Ogea is sympathetic as Hope Harcourt, Genevieve VenJohnson delivers a nice turn as Hope’s mother Evangeline, and Steve McDonagh is a riot as Public Enemy No. 13, Moonface Martin.
Finally, Jackson Evans is a charming hoot as the rich, stuffy Lord Evelyn Oakleigh. The Englishman delivers an engaging “Let’s Misbehave” and also ends up saving the day. The talented ensemble of dancers enhance the show with a series of exquisite high kicks and athletic prowess. Their exhilarating energy stands out in the rousing finale number “Anything Goes.”
As audience members left the theater, it was easy to overhear a guest saying “they don’t make musicals like this anymore.” The reply? “It’s probably because we don’t have the likes of a Cole Porter.” That’s another reason to catch this exceptional show, which really is “delightful, delicious, de-lovely.”
