Hills Musical Theatre Company: Anything Goes - Review by Jessica Green
Over the past decade or two, I believe musical theatre has lost its sense of whimsy. Overall, there’s a focus on the serious, dark and realistic. Sure, there is absolutely a time and place for that. However, in this day and age where the average person is overworked, underpaid and looking for an escape, I think a bit of whimsy is needed now more than ever. Hills Musical Theatre Company latest production of Anything Goes delivers this in spades.
Some of the musicals written in the period of 1920 - 1940 have aged like sour milk. Cole Porter’s Anything Goes is not the case. The songs are timeless and the text has been updated to suit a modern audience. Director Jordan Anderson states that the crux of his vision was something that he and the cast discovered whilst rehearsing the piece and that, simply, was fun. This was evident because the fun the cast were having made this show a delight to watch.
The success of Anything Goes relies on the shoulders of whomever is cast in the illustrious, and extremely difficult, role of Reno Sweeney. Erin Pacholke's performance was a sheer delight. A soaring voice, dance and acting chops to match and the ability to enhance the performances of those around her Pacholke’s performance is the definition of star power.
Every Reno needs a Billy Crocker to spend a good half of the show pining over. Jamie Chetcuti takes on the role with immense enthusiasm and gusto using every ounce of his extensive performance training; especially his dance ability, to deliver a wonderful performance.
It's a hard gig being the straight man; or in this case woman (we really need a better term for this), in a comedy full of boisterous and absurd characters. Usually this is the character many audience members are waiting to leave stage so the jokes can come back. This was not the case in this production. Genevieve Grey as the torn between head and heart ingénue Hope Harcourt makes the most of what the text gives her, which is clearly evident in the penultimate number of Act One “De-lovely” where, on top of a great performance in her own right, her chemistry with Chetcuti was clearly palpable sold me on the relationship between Billy and Hope which without, the show falls flat.
Anything Goes is a musical comedy, thus the actors playing the comedic characters need to be on point. It could be said that Daniel Conway and Moonface Martin, Stephanie Bellchambers as Erma Latour and Luke Leeroy as Lord Evelyn Oakleigh all steal the show in their own right. These three got the note to have fun, said “yes and…” and provided some of the most standout moments of the night. From Bellchamber's delivery of every single line, Leeroy’s physicality and Conway's matter-of-fact seriousness about some of the silliest things I have ever heard, I and the people around me were all in stitches.
Supported by Tracy Payne as Evangeline Harcourt, Jonathan Barons as Elisha Whitney, Charlie Moriarty as Spit, Olivia Chaisumdet as Dippy, David Island as Captain and Jesse McDowell as Purser, and a fabulous ensemble of sailors, dancers and passengers, all these performers are having the time of their lives, which allows the audience to truly escape their lives and enjoy their time aboard the S.S. American.
Like all musicals from the 1920s - 1940s they are incomplete without multiple, long dance numbers. The best thing about Anything Goes is, none of the dances ever feel like they go on for too long. Co-choreographers Alyssa Nagy and Briana Nagy, supported by tap choreographer and featured dancer Brooke Rose. These three choreographed to the strengths of their cast allowing the work to be both polished and engaging. Complex pieces looked good, simple pieces looked good, you can’t ask for anything more. The Music team of Koren Beale, Gemma Rolph and Peter Thornton had their cast sounding clean and full with the rise of tracks. It was great to hear a live band again!
On that note, in a world of digital sets; some of them being AI (yuck), it was refreshing to see a constructed set again. Anderson’s set design consisted of two ship decks connected by stairs on stage left and right and double doors in the centre of the main deck, finished off with the iconic red and black chimney at the top. The construction was very effective and was utilised well in every scene and differentiated by lighting states and small set pieces when necessary.
No opening night is seamless, and with theatrical costs getting more expensive, it is getting harder and harder to get the production elements perfect prior to opening. Loud and Clear’s audio mixing is indicative of this. It’s a hard gig especially in a school hall where the acoustics are not the best and you are having to mix a live orchestra, upwards of 20 vocalists and then tap dancing so unfortunately there were times where things were just not audible. Alongside this, there were also some instrument tuning issues in Act 1; particularly the brass section, and some of the actors were out of light in various scenes. I hope these issues will be ironed out as the run continues.
Overall, Hills Musical Theatre Company’s Anything Goes is a sheer delight that I would recommend; and already have, to any theatre goer who wants to escape from the hustle and bustle of everyday life, turn their brains off and just have a fabulous and fun time. I give this show 4/5 blows of Gabriel’s horn!
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