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Anything Goes Sets Sail at Musicals Tonight

Anything Goes Sets Sail at Musicals Tonight

I’ve never been to one of the many offerings of Musicals Tonight, the not-for profit theatre company that dares to stage big time musicals on a budget that probably is as small as the intimate Acorn Theatre where they are currently sailing away with Anything Goes at Theatre Row. But as my friend and I strolled down 9th Avenue on our way to the theatre, we pondered the idea of this musical, one that I remember very fondly from Roundabout’s glorious production in 2011 starring the incredible Sutton Foster. She not only could sing the part like no other (click here to watch her on the Tony Awards), but could tap dance through that big huge number, “Anything Goes“, at the end of Act 1, and still, without losing a beat, belt out the big finale (ok, ok, she had a moment to catch her breath but only one small moment). I remember being astounded by the lung power of that lady, and was pleased she received so much press because many a Reno sang the number but left the tap dancing to the ensemble, waiting in the back for the moment to come out center stage and bring Act 1 to a close with the rousing last verse and big note finish. Foster, who won the Drama Desk and Tony Awards for Best Actress in a Musical, was not going to stand back and let that happen, no, she was going to be center stage, kicking and tapping with the crew, and still power out those last few lines of lyrics, with a lung full of air and a big smile across her face. (And to be honest, I also can’t get enough of watching Jonathan Groff do his own version at Miscast, click here to watch, which was basically a huge salute to Foster’s greatness, and in turn, his own. So much fun!)

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Meredith Inglesby (center) and cast of Musicals Tonight’s Anything Goes.

My favorite musical diva, Patti LuPone did the part of Reno as well, back in 1987 (click here to watch) for which she won the Drama Desk Award for Outstanding Actress and was nominated for a Tony. She was my introduction to the musical and to Reno Sweeney, a performance that I, and everyone around me, fully enjoyed every time it played on the big video screen at Revolver Bar in West Hollywood back in the day.  And who wouldn’t love this 1934 ship-board farce with glorious music and lyrics by Cole Porter with the original book by Guy Bolton and P. G. Wodehouse, but heavily revised by the team of Howard Lindsay and Russel Crouse. There’s no denying the ride is a fun and festive night of high kicks and high jinxes on board this ocean liner bound for London. It is filled from ‘bow to stern’ with glorious and well-known classics by Porter, ones that will make you smile the moment they begin, so sit back, cause this is one smooth sailing across the ocean blue.

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from left Spencer S. Lawson –Ensemble; Briana Fallon (Ensemble); Nic Thompson (Captain); Alexandria Van Paris (Ensemble); Nick Walker Jones (Billy Crocker); Kristen Welsh (Ensemble); Becky Elizabeth Stout (Ensemble); Cameron Lucas (Ensemble); Daniel Scott Walton (Ensemble); Jessica Moore (Erma).

Billy Crocker, played by the handsome Nick Walker Jones (MT’s Oh, Kay!) is an absolute charmer, looking pretty darn good in a white tank top and suspenders, forced to stowaway on board in an attempt to woo the lovely heiress Hope Harcourt played charmingly by Beth Stafford Laird (WPPAC’s Sweeney Todd). The main problem is she is currently, and lovelessly engaged to the ridiculous Lord Evelyn Oakleigh, played by the brilliantly funny and nerd-ishly sexy Brian Ogilvie (Broadway’s Something Rotten). Jones is a joy to behold, especially when he starts out the lovely duet he has with Hope, “All Through the Night and Day“.  His voice is completely velvety and his focus clear, even with the hilarious trouble the production was having with the jail house bars behind them, falling and making quite the racket. Laird’s Hope is lovely as well, matching and melting in with his beautiful voice in the more difficult melody she has to play with. She gets her own moment in the moonlight with the very pretty “Goodbye, Little Dream, Goodbye” and “Easy to Love“, but for these two delightful actors, their chemistry is really on display in the most tempting kind of way with the delectable “It’s De-lovely“, a Cole Porter classic that will get stuck in your head (again) long after.

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Front row L-R: Jessica Moore (Erma); Brian Ogilvie (Evelyn Oakley); Meredith Inglesby (Reno); Nick Walker Jones (Billy); Beth Stafford Laird (Hope).

Also on board for the crossing is the main reason anyone comes to see Anything Goes, the sexy and flirty Reno Sweeney. She is portrayed very sexily by the perfectly cast Meredith Inglesby (Broadway’s Beauty and the Beast) who has the perfect wicked smile, long gorgeous legs, and curvy form for Reno. She gets to shine constantly during this toe tapping show, especially during her delicious rendering of “I Get a Kick Out of You“, “You’re the Top” (a fantastically silly and sweet duet with the wonderful Jones), and “Blow Gabriel Blow” (backed by the sexy duo of Becky Elizabeth Stout as ‘Charity Angel’ and Alexandria Van Paris as ‘Chastity Angel’). Ogilvie’s Evelyn and Reno get their moment to play with their deliciously fun “The Gypsy in Me” which is a pure pleasure to behold, but it’s during the hilarious and charming duet, “Friendship” with Public Enemy #13 Moonface Martin, played hilariously by Carlos Lopez (NLFT’s Guys and Dolls), that her (and his) comic chops are truly highlighted. At moments, I sometimes wish Inglesby’s voice had a stronger vocal quality and sound, but what she lacks in volume (I don’t believe anyone is mic’d), she makes up in charm and an engaging wry smile. But beyond all these numbers which focus the spot light on the delicious Inglesby, it is her Act 1 finale, “Anything Goes” that we all are waiting for, and the cast and crew of this ocean liner do a fantastic job turning that small stage into some big time fun and impressive dance moments. Thanks to the director and choreographer Casey Colgan (MT’s Bells are Ringing, Funny Face), the cast engulfs the teeny stage in a way that I didn’t think possible when I took my seat, tap dancing to all our hearts content. Magic, is all I can say.

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Nic Thompson (Captain); Jessica Moore (Erma); Carlos Lopez (Moonface).

To try to explain the details of the plot seems quite pointless, really.  It’s not in the details that we will find the fun, but in the joyful singing and dancing that Anything Goes really blossoms.  It’s not the shiniest of ships nor even close to the largest of decks, but it is obvious that the drivers of this ship are lovers of musical theatre (music director/vocal arranger: Christopher Stephens). The music sounds great, and each of these actors are having a great time playing these parts, especially because each character is given their delicious moments of pleasure. Mark Coffin (BAM’s The Dreyfus Affair) as the drunken good time older man, Eli Whitney, has the glorious “Let’s Misbehave” to entertain us as he attempts to seduce Hope’s mother, Evangeline Harcourt, portrayed hilariously by the wonderful Jan Leigh Herndon (A Chorus Line). Siren Jessica Moore effortlessly portrays the sexy gangster mole, Erma as if she’s the long lost twin sister of Leslie Ann Warren in one of my favorites, “Victor/Victoria” and brings this ocean crossing to a rapturous close with “Buddie, Beware“. The whole voyage is pure unadulterated joy and a delight to be on board.  Take that ocean liner crossing for a ride, it’s not the fanciest ship to sail across the ocean on, but no life jackets are required, it’s too delicious and de-lovely to ever want to jump off.

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Musicals Tonight’s Anything Goes. Top: Nic Thompson (Captain); L-R: Spencer S. Lawson –Ensemble; Kristen Welsh (Ensemble); Cameron Lucas (Ensemble); Mark Coffin (Eli Whitney); Jan Leigh Herndon (Evangeline); seated – Alexandria Van Paris (Ensemble) and Becky Elizabeth Stout (Ensemble); Brian Ogilvie (Evelyn Oakley); Beth Stafford Laird (Hope); Cameron Benda (Ensemble); Briana Fallon (Ensemble); David Visini (Ensemble).
For more go to frontmezzjunkies.com

Off Broadway
@#frontmezzjunkies

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my last...so far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to frontmezzjunkies.com

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