Now, God knows, anything goes

…and I sort of wish it didn’t.

There’s nothing at all wrong with the production. In fact, I almost don’t have enough superlatives to describe the production. Under the artistic direction of Daniel Evans, Sheffield’s Crucible has produced an impressive series of musical revivals, many of them directed by Evans himself. His production of My Fair Lady a couple of years ago was impeccable, and this Anything Goes – now on a UK tour after a run in Sheffield at Christmas – is at least as good.

What makes this all the more impressive an achievement is that Anything Goes, despite a stellar score, is not exactly one of the most durable shows in the canon. This is a typical Thirties musical comedy, albeit one whose book has received several spruce-ups over the past eighty years (the version being performed here dates from 1987), which means Cole Porter’s peerless songs are strung around a set of barely-two-dimensional characters and groan-inducing jokes. That’s not necessarily a bad thing, and the show can be glorious, but it does mean it’s rather tricky to get it right. The upbeat songs are brassy, but make them too brassy and the characters singing them can become unpleasantly strident. The romantic numbers are meltingly lovely, but can seem melodramatic next to the comedy material if they aren’t delivered with a light touch. The jokes creak, and you can see half of them coming a mile off, but push the comedy too hard and the show rapidly deflates. It’s a soufflé, and all the ingredients have to be in perfect balance.

Happily, they are. Evans begins his production surprisingly quietly; the opening sequence, which takes place in a Manhattan nightclub, is accompanied only by a solo piano and a (very, very muted) trumpet, and we don’t hear the full band until the action shifts to the cruise ship on which most of the show takes place. What follows is a total delight. We have gorgeous costumes and an elegant forced-perspective Art Deco ocean liner set by Richard Kent, good-humoured but not too on-the-nose choreography by Alistair David, appropriately splashy lighting by Tim Mitchell, and sensitive, swinging musical direction from Tom Brady, leading an impeccably tight nine-piece band. Sure, the plot is outlandishly ridiculous, but when the action is led by Debbie Kurup’s sweet-but-hot evangelist nightclub singer (really!) Reno Sweeney and Matt Rawle’s goofily charming stockbroker Billy Crocker, who cares? They land every single laugh, and so does everybody else, and they find both the wit and the ache in Porter’s effervescent score. There are no stunt-cast X-Factor finalists or has-been pop stars here, and everybody involved clearly loves the material. More than that, everybody involved clearly trusts the material. Evans and his cast don’t try to force or in any way punch up the script’s hoary old groaners; they know the jokes work, ancient as they are, and they give the material room to breathe. Even Simon Baker’s sound design is a cut above what you usually get on the touring circuit – you can actually hear all the lyrics, and the sound system doesn’t assault your eardrums every time the music starts. A larger band might be nice, but this is otherwise about as good as revivals of classic musicals get.

So what’s my beef? Two things. First, cellphones. Yes, AGAIN. I didn’t hear any phones ring, but there were far too many people texting/checking email/whatever when the lights were down. In a darkened theatre, the light from smartphone screens can travel a surprisingly long way. It’s distracting and unnecessary, and it’s also incredibly rude to the actors, who can see those screens from the stage.

And then there are the programme notes. Oh my God, the programme notes. Programmes in this country are not free, like they are on Broadway. You pay for them, and they are relatively expensive – for this show it’s £4.00, and that’s for a programme, not a souvenir brochure. For this you get the usual – cast/creative bios, list of musical numbers, some kind of article about the production, and so on. You do not, in this instance, get bios of the people who actually wrote the show – no bio of Cole Porter, much less of Timothy Crouse and John Weidman, who wrote the version of the show’s book that’s being performed here. That’s bad enough, but it pales next to John Good’s lazy, inaccurate production history of the show, which is the first thing you’re likely to read when you open the (overpriced) programme. Among other things, we are informed that Mr. Crouse and Mr. Weidman wrote a new book for the National Theatre production of the show in 2002 (nope), and Patti LuPone starred in a London revival in 1969 (when she was in college… in New York). Now, OK, most people aren’t as geeky about this stuff as I am, but these are not obscure facts. This is the sort of stuff you can research in ninety seconds by visiting the show’s Wikipedia page, and the fact that this tripe made it into print in a programme we’re expected to pay for reeks of a certain disdain towards the audience – that it’s OK to dash off any old crap for the programme in five minutes without checking it because most people watching won’t know any better, and that it won’t matter if you omit the writers’ bios because they are not, Cole Porter aside, particularly famous in this country (never mind that one of the authors of the show’s original 1930s book is P.G. Wodehouse). When every single thing you see on the stage – every set-piece, every prop, every line, every note of music, every light cue, every dance step, every throwaway aside – is executed with such love of and care for the material, I’m afraid I find that profoundly depressing. It wouldn’t have been very difficult to make the programme as good as the production – or at least not loudly disrespectful towards both the material and the people who wrote it – but the powers-that-be, in this instance, simply couldn’t be bothered. The show’s authors deserve better, and so do we.

One more thing: the theatre (the Opera House in Manchester) was less than half full (granted, it’s one of the largest houses the tour will play). The show is on the road until the early autumn, and it’s well worth seeing. In case I haven’t said this enough, revivals as good as this one don’t come along very often, and this show deserves full houses.

Just maybe skip buying a programme.

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