Music and Lyric by: Cole Porter
Book by: P. G. Wodehouse, Guy Bolton, Howard Lindsay, and Russell Crouse.
Directed by: Sara Ferguson
Theatrical Review by: Paul Adam Smeltz
The Shawnee Playhouse in Shawnee on the Delaware, PA presented The Worthington Players’ production of Cole Porter’s classic musical “Anything Goes.” The play was written in 1934 when most musicals of the era were designed to simply entertain the audience to enable them to take their minds off the dire financial consequences of “The Great Depression” they encountered every day. To achieve this opium like effect, these musicals often contained a few likable tunes strung together by somewhat amusing dialogue which took place between wooden and shallow characters until some music began to signal the beginning of a song which seldom had anything to do with their conversation. I call it, “Theater of the contrived.”
Although the play reflects the era and it‘s approach to musical theater, The Worthington Players’ production of “Anything Goes” departs from the original version of the play as it’s the 1962 revival of the work whose storyline written by P. G. Wodehouse and Guy Bolton was greatly altered by Howard Lindsay and Russell Crouse to coincide with the film versions of the play. This resulted in changes in the characters and deleting some songs from the original work and replacing them with some compositions found in other plays containing Cole Porter’s music. Of course, those of you who have read previous reviews I’ve written by this reviewer may already know what he thinks about that.
The play takes place aboard a ship bound for Great Britain and is about an heiress named “Hope Harcourt” (as portrayed by Nicole Rideout) who is wooed by a young Wall St. Broker named “Billy Crocker” (as portrayed by Hunter Chadeayne who also served the production as its Assistant Musical Director). Hope boards the ship with her mother, Mrs. Wadsworth T. Harcourt (as portrayed by Pat Van Varick), and her fiancée, Lord Evelyn Oakleigh (as portrayed by Aaron Pappalardo), while Billy arrives with his boss, Elisha Whitney (as portrayed by Christopher Roche). Meanwhile, a former evangelist named, “Reno Sweeny” (as portrayed by Rachel Dickson), who is now a nightclub owner, boards with her “Angels” Chastity (as portrayed by Lauren Santorelli), Charity (as portrayed by Mary Ellen Valenti), Purity (as portrayed by Jillian Dente), and Virtue (as portrayed by Krystal Endrulat). Reno falls in love with Lord Evelyn Oakleigh while Hope falls in love with Billy.
Other characters include a gangster who isn’t really wanted all that much by The FBI named, “Moonface Martin” (as portrayed by Brandon Hanks) and is disguised as a priest who boards the ship with his Moll named, “Bonnie” (as portrayed by Shawna Serpe). In addition to all this, a Missionary Bishop (as portrayed by Paul Prelovsky) arrives on board with two Asian converts named, “Ling” (as portrayed by Samantha Wagner) and “Ching” (as portrayed by Shannon Felleter) and is arrested as the FBI mistakenly identifies him as a gangster they really do want. Rounding out the cast are members of the ship’s crew which comprise of its Captain (as portrayed by Benjamin Cohen), its Steward (as portrayed by William Brazdzionis), and its Purser (as portrayed by Cory Endrulat) along with Bridgette Endrulat as a reporter and Sarah Beairsto as a Camera Person along with Karen Raub, Eileen Cohen, Stephanie Hellman, and Emily Daning (who also served as the production’s Assistant Stage Manager) as the production’s ensemble. A great number of convoluted events occur tied together with some songs until some people get married.
Although the shear number of characters and their eventual far fetched relationship to one another may bring to mind a degree of dread as it does somewhat resemble an episode from the 1970s and 80s television show known as, “The Love Boat” which was program created to give has been actors a job, the collaboration between Cole Porter and P. G. Wodehouse doesn’t contain the same stigmatic effect as the television show as even this butchered version of the original work is not without a substantive theme. This theme addresses how society often creates objects of worship from materials which a previous generation would shun. But, as new generation seeks to galvanize its youthful approach to the world and differentiate itself from an older generation, it becomes a society in which, as the title suggests, anything goes. This theme is illustrated several times throughout the course of the play.
The first is by the line directed at the Reno Character when it’s mentioned that she’s famous to which the response was, “She’s not famous. She’s notorious.” The theme is also illustrated later in the play when Billy, disguised as a well known gangster in order to avoid being arrested for stowing away upon the ship, decided to cease his deception and reveal who he is. In doing so, he states, “I have killed many people and robbed my way to the top. Yet you have made me out to be a hero. Well, the jokes on you because I’m not the gangster you admire. I’m Billy Crocker.” He is then arrested for being an imposter.
There are some productions that would have embraced the play’s theme and place it as a focal point of its presentation. After all, it’s theme does have certain elements relevant to a modern audience whose bombardment of “Reality” television shows continues to elevate the notorious to a celebrity status inspiring many to emulate their previously perceived as aberrant behaviors. Example of these are any programs with the name, “Hilton” in it or any that contain a disclaimer saying one should never attempt to do something but spends the next hour showcasing those who do it and therefore teaches the viewer how it’s done. Bringing a modern relevancy to theme contained within a play written several decades earlier can have an enlightening effect on an audience as they may realize the issues and circumstances experienced today are nothing new but those who experienced them in the past may have a perspective we can utilize in the present as we seek to end certain cycles of behavior that we realize doesn’t enhance us.
However, there are some productions that would simply present the play relying on the audience’s ability to nostalgically remember what their parents or grand parents told them about those bygone days and just enjoy the show leaving whatever theme it contains up to each member to notice it or not. This is an acceptable approach as it’s a good one to illicit some much needed good feeling of temporary amnesia among audience members who are experiencing some financial hardships due to the present state of the economy. It’s also a good way for a theater to make money as it’s been proven people are more likely willing to pay to see a production that is merely entertaining and not one that elicits much thought. Again, one can accurately guess which production this reviewer would prefer.
In this reviewer’s mind, it’s unfortunate the Worthington Players has opted to pursue the later theatrical approach to their audience. Yet, this is not an entirely unfortunate occurrence. It is still a well done production with some very good acting which includes an uncanny performance given by Brandon Hanks (who portrays Moonface Martin) presented in scenes in which elevated the entire production and made it all the more enjoyable to watch. It also had some great songs which, regardless from what show they actually came from, were well sung and nice to hear. So, in spite of my preferences, recommend seeing The Worthington Players’ production of “Anything Goes” to anyone who wants to simply enjoy a nice time at the theater.
One special note: The actor originally cast for the role of Moonface Martin was Marty Courtney. He recently suffered some chest pains and was placed in the Internal Care Unit (ICU) of a local hospital. It was later found there were some additional medical issues involving his lungs. Mr. Courtney has been a long time friend to the local theatrical community and has appeared in numerous productions throughout the years. Those who have met him have found themselves very fortunate to have done so. I happen to be one of those people and I hope his condition will improve to the point of experiencing a full recovery. I invite you to join with me and the those involved in the production in keeping a good thought for him as finds his way to wellness.
The Worthington Players serves as the artistic arm of The Shawnee Institute which was formed in December of 1999 as a 501-C3 organization designed to provide diverse, quality artistic programs to the residents of the historic village of Shawnee and the surrounding areas. Their production of “Anything Goes” by Cole Porter, P. G. Wodehouse, Guy Bolton, Howard Lindsay, and Russell Crouse continues its run until March 3rd.
The Worthington Players production of “Anything Goes” was directed by Sarah Ferguson who also served the production as its musical director, Choreographed by Joseph Ambrosia, and Stage Managed by Elizabeth Guarnieri. The Set designer, Light Board Operator, and Technical Director was David Schappert. Debbie Kilfoil served the production as its costumer as was assisted by Meredith Yanuzzi who also served as the production’s Technical Assistant. Special thanks was given to the Shawnee Inn and Golf Resort, Karl Viernstein, and Chef G.
Future presentations at The Shawnee Playhouse will include The SCOMC production of “Dancing at Lughnasa” taking place March 8th - 17th, The Worthington Players’ Productions of “An Easter Cantata: A Musical Celebration” taking place March 22nd - 31st and “The Best of Broadway” taking place April 5th - 14th, The Center Stage Players’ production of “The real Thing.” taking place April 19th - 28th, and The Worthington Players’ Productions of “Sin, Sex, and the CIA” taking place May 3rd - 19th and “Mozart - A Musical Timeline” taking place May 11th - June 15th.
The producers of the productions presented at The Shawnee Playhouse are Ginny and Charlie Kirkwood while the group sales manager is Mary Horn and Becky Haskell serves as the playhouse’s Sales and Marketing Director. The Executive Director of The Shawnee Playhouse is Midge McClosky. The playhouse’s webmaster is David Schrage and their accountant is Erica Stripp. Please contact The Shawnee Playhouse at 570-421-5093 or Explore their Facebook Page at www.facebook.com/shawneeplayhouse?ref=ts&fref=ts for more information and to reserve your ticket for their upcoming presentations.
Those who enjoy the Passionate Art Lover level of membership in The Forwardian Arts Society are offered a $3.00 discount off the admission fee of The Shawnee Playhouse Headlined and Featured Productions. Please note The Worthington Players production of “Anything Goes” is not included in this discount. Those who have seen the productions mentioned in this review are welcomed to share their thoughts and reflections by leaving a comment with this posting. To learn more about The Forwardian Arts Society and all they have to offer, please explore their website at www.theforwardianartssociety.com.
Photograph provided by The Shawnee Playhouse.
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