THEATER REVIEW: 'Anything Goes' delightful

BY CAROLYN PETRIE
Special to the Pioneer Press

It isn't every day that the producer of a big-budget musical invites a stream of black-clad, last-minute stagehands to bask in the glow of a standing ovation.

But on opening night of "Anything Goes" at the Ordway Center on Thursday, life imitated art. As local members of the theatrical stage employees' union picketed outside, the company got caught up in the freewheeling spirit of the production.

Along with the impromptu curtain call, actors onstage managed to comically insert the words "stagehand," "strike," "scab" and "picket" into the play's irreverent script. "Anything Goes," indeed.

In a curtain speech before opening the show, Ordway President and CEO Kevin McCollum mentioned that the theater was experiencing some backstage differences — "but tonight's not about that," he added. When director David Armstrong's cast took the stage moments later, they proved McCollum right.

The evening was about music and love and saucy humor, courtesy of Armstrong and an awesome cast headed by Broadway actor Jim Walton and the supernaturally peppy Sandy Duncan.

Of course, the Ordway's ensemble has some of America's favorite music on its side. Cole Porter's amazing score (which includes "I Get a Kick Out of You," "You're the Top" and "Let's Misbehave") gives "Anything Goes" an automatic appeal.

But this talented cast doesn't just ride the coattails of Porter's great music. They revel in it: belting out songs, dancing like mad and having a delightful, delicious, de-lovely time. The big, huge, foot-stomping, tap-dancing production number of the title song is reason alone for musical theater fans to check out the show.

Duncan works every number with phenomenal energy as nightclub singer Reno Sweeney. Thirty-three years after her first Tony nomination, Duncan still may qualify as the world's cutest person — and I mean that in a good way. Her bright eyes, toothy smile and Debbie Reynolds-style effervescence add up to a stage presence that's great fun — just as authors Guy Bolton and P.G. Wodehouse intended for this witty, swinging romance.

Armstrong has infused this 1934 musical with a contemporary raciness, punching up the naughty bits of business with lots of va-va-voom — and while Duncan isn't perfect for the role of seductress, she comes across with a smirkingly vivacious vibe when called for.

Nanette Acosta's costumes are cut down to there and up to here, and Armstrong doesn't hesitate to showcase the eye candy among his good-looking cast. It's a choice that fits well with Porter's sophisticated lyrics.

As a whole, the production acknowledges that "Anything Goes" is a silly yet adult musical, and encourages viewers to appreciate love and sex for all their giddy pleasures. "Romp" is an overused word in theatrical criticism, but here, it fits.

Walton, last seen on Broadway in the title role of "The Music Man," brings a laugh-out-loud comic sensibility and a serious dose of cute-guy charisma to his role as the lovelorn Billy Crocker. And the largely local ensemble, which includes plenty of recognizable faces — from veteran local actress Claudia Wilkens to musical up-and-comer Jonathan Rayson — stands as proof that the Twin Cities is home to some amazing talent.

Chanhassen Dinner Theatres director Michael Brindisi is a soft-hearted goofball as Moonface Martin, and supporting actors Tari Kelly, Shannon Warne and Jay Russell add color to the proceedings with great voices and moves.

Like the ship it's set on, this production of "Anything Goes" is oversized and full of escapist fun — in spite of the last-minute strike.

From the audience's side of the footlights, this classic shipboard musical experienced smooth sailing from opening to close. Chaos may have reigned behind the scenery, but you'd never know it from the hot action onstage.

Carolyn Petrie is a Minneapolis free-lance theater critic.