©The Wichita Eagle Music Theatre Stages 'Anything Goes' By Susan L. Rife
Music Theatre of Wichita's production of Anything Goes offers a luminous cast, fabulous Cole Porter score and lyrics, grand set and wonderful dancing elements that combine with theatrical alchemy to create a show that is more than the sum of its parts which, truth be told, are skimpy. There's not much of a plot: on a trans-Atlantic cruise in 1934, anightclub singer-turned-evangelist pursues her reluctant boyfriend, who pursues a reluctant debutante. The not-very-inspiring love story has a mildly amusing gangster subplot. The musical debuted on Broadway in 1934. After many revisions and rewrites, the Lincoln Center version in 1987 won three Tony Awards, including best revival. The show is precisely what upscale audiences in the 1930s were looking for: an escape from financial travails and an evening of pretty costumes, lovely music and romantic dancing. After a slightly bumpy departure (with too many choppy entrances and exits), Music Theatre's effort sails smoothly to its all-smiles destination. Under the direction of MTW producing director Wayne Bryan, the passengers aboard the cruise ship S.S. American shimmy and sing their way into our hearts. They are led by Toni Kaye as "New York's most notorious evangelist", Reno Sweeney. Kaye, who choreographed the show, manages to be both understated and starlike. She's lavishly costumed in glittering gowns and elegant cruisewear, and she delivers her songs with an easy elegance. She vamps it up a lot with her not-quite-boyfriend, Billy Crocker (Michael Gruber, looking very leading-mannish), but is at her best with the thoroughly charming Charles Goff, doing a very funny turn as Public Enemy No. 13, Moonface Martin. The pair's "Friendship" is lots of fun, with its sharp lyrics and ever-changing dance steps. Goff's Moonface is delightful, skipping and bouncing around the stage like Mr. Magoo on happy pills. The elevation of the role into something significant is an inspired choice by director Bryan. Gruber, who is getting a workout this season as the young star of several MTW shows, is witty and charming as the shallow Billy Crocker, who spurns Reno for the equally shallow debutante Hope Harcourt (a lukewarm Ashley Mortimer). Among the lesser characters, Steve Frazier is solid as always as Billy's inebriated boss, Eli Whitney (blindly pursuing Hope's mother, played by Laura Bergquist). Charles Parker is appealingly British as Hope's stuffy fiance, Lord Evelyn Oakleigh. Nedra Dixon doesn't get too much to do beyond squeaking as Moonface's moll, Erma. Kaye's choreography throughout Anything Goes is what boosts the show a notch or two. The ballroom sequences are lyrical, the tap dancing (heightened specifically to play to Kaye's and Gruber's abilities) is sublime, especially in the title sequence that closes the first act. The ocean liner set by Mark Morton, rented from the Santa Barbara Civic Light Opera, is big, simple and effective. Debbie Roberts' costumes are appropriate for an elegant cruise. Craig Barna keeps the orchestra lively, segueing nicely from the opening scratchy recording of Cole Porter singing "Anything Goes." main Anything Goes 1993 page

©The Wichita Eagle

Music Theatre Stages 'Anything Goes'
By Susan L. Rife

Music Theatre of Wichita's production of Anything Goes offers a luminous cast, fabulous Cole Porter score and lyrics, grand set and wonderful dancing elements that combine with theatrical alchemy to create a show that is more than the sum of its parts which, truth be told, are skimpy.

There's not much of a plot: on a trans-Atlantic cruise in 1934, anightclub singer-turned-evangelist pursues her reluctant boyfriend, who pursues a reluctant debutante. The not-very-inspiring love story has a mildly amusing gangster subplot.

The musical debuted on Broadway in 1934. After many revisions and rewrites, the Lincoln Center version in 1987 won three Tony Awards, including best revival.

The show is precisely what upscale audiences in the 1930s were looking for: an escape from financial travails and an evening of pretty costumes, lovely music and romantic dancing.

After a slightly bumpy departure (with too many choppy entrances and exits), Music Theatre's effort sails smoothly to its all-smiles destination. Under the direction of MTW producing director Wayne Bryan, the passengers aboard the cruise ship S.S. American shimmy and sing their way into our hearts.

They are led by Toni Kaye as "New York's most notorious evangelist", Reno Sweeney. Kaye, who choreographed the show, manages to be both understated and starlike. She's lavishly costumed in glittering gowns and elegant cruisewear, and she delivers her songs with an easy elegance. She vamps it up a lot with her not-quite-boyfriend, Billy Crocker (Michael Gruber, looking very leading-mannish), but is at her best with the thoroughly charming Charles Goff, doing a very funny turn as Public Enemy No. 13, Moonface Martin. The pair's "Friendship" is lots of fun, with its sharp lyrics and ever-changing dance steps.

Goff's Moonface is delightful, skipping and bouncing around the stage like Mr. Magoo on happy pills. The elevation of the role into something significant is an inspired choice by director Bryan.

Gruber, who is getting a workout this season as the young star of several MTW shows, is witty and charming as the shallow Billy Crocker, who spurns Reno for the equally shallow debutante Hope Harcourt (a lukewarm Ashley Mortimer). Among the lesser characters, Steve Frazier is solid as always as Billy's inebriated boss, Eli Whitney (blindly pursuing Hope's mother, played by Laura Bergquist). Charles Parker is appealingly British as Hope's stuffy fiance, Lord Evelyn Oakleigh. Nedra Dixon doesn't get too much to do beyond squeaking as Moonface's moll, Erma.

Kaye's choreography throughout Anything Goes is what boosts the show a notch or two. The ballroom sequences are lyrical, the tap dancing (heightened specifically to play to Kaye's and Gruber's abilities) is sublime, especially in the title sequence that closes the first act.

The ocean liner set by Mark Morton, rented from the Santa Barbara Civic Light Opera, is big, simple and effective. Debbie Roberts' costumes are appropriate for an elegant cruise. Craig Barna keeps the orchestra lively, segueing nicely from the opening scratchy recording of Cole Porter singing "Anything Goes."

main Anything Goes 1993 page