High Points Come and Go In Anything Goes

Well, Cole Porter, the musician and artist, would turn over in his grave. A few times. But Cole Porter, the entertainer, would smile indulgently. Rockin' the Boat Theater Company's rendition of Anything Goes has some serious work to do in the area of, well, let's say polish, but the show itself is so well-written that in combination with a few outstanding individual performances, it rises to the point of being good fun at the very least. And in its own way, the lack of polish adds a little folksiness to the show that even Porter himself might have appreciated.

The problems start out in the orchestra. First of all, synchrony is an issue: at points in the show, the instrumentalists are noticeably not together. And the brass section…it's nothing a little practice wouldn't hurt, but try to remember that even if the audience doesn't see, you, they really are going to hear you.

The cast does a good job of trying to deal with the pit's rhythm issues, but the dancing--quite the centerpiece of such a musical--leaves a little to be desired in the area of refinement. Choreographer Colleen Gargan '02, with the exception of a few slightly awkward moments, has done an excellent job putting together a program that fits well with Porter's show, showcasing the rambunctious fun of Anything Goes. So excellent a job, in fact, that it is a little too ambitious for the cast. Anything Goes should be a thrill to dance, but with a cast concentrating so laboriously on not getting behind and remembering the next step (Remember to breathe, guys), it's hard to see this essential aspect coming through.

The show is slightly redeemed by the solid performance of certain individuals in combination with the greatness of Anything Goes itself. While Moony's (played by Ken Herrera '03) Brooklyn accent takes a while to warm up, and while his character's jokes don't always come off quite right, he's got a lot of energy and heart, and it shows. Same for Jennifer Glick '00 (Hope Harcourt)--she starts out a little too plasticky for her character but warms to the task, and eventually shines during the jail scene. In Jac Huberman '01, the performance of Bonnie is made up for in vocal top-heaviness with well-played humor and a sophisticated intimacy with her unsophisticated character. And while the dancing of John Keefe '01 (Billy Crocker) makes one think Pacey Witter meets Carlton Banks meets a (very) immature Fred Astaire, he has great boyish vocals, and does extremely well with the hilarity of Billy's awkward position.

Without a doubt, though, hats go off to the two performers who save the show. The first, surprisingly, is Sir Evelyn Oakleigh. Played by Rodrigo Chazaro '99, Evelyn is the stuffy Englishman whose heart is turned by Reno Sweeny, the nightclub queen herself. And Chazaro plays his character like no other--his cutesy navet, his unfailingly proper demeanor, even his specific vocal inflections are flawless. The second, and even more outstanding, is Reno Sweeny herself, played by Vered Metson '01. Metson's performance is utterly captivating--in this sense, she literally saves the show. Imperfections in other portions of the production (the slightly-too-unprofessional set, for instance) melt away in the glow of Metson's talent. She has it all: grace, energy, charisma, and yes, polish. With a deep, musky voice exactly tailored to Reno, Metson pulls off "Let's Misbehave," "Anything Goes" and "Take Me Back to Manhattan" with a remarkable flair that is meticulously dynamic, right down to the position of her eyes. The key to her success is that she casts off the restraint that can ruin a show like this one and lets loose, filling her role with her own positive intensity. Together, Chazaro and Metson make "Let's Misbehave" (their duet) arguably the best number of the show.

Anything Goes is a great show. And it was meant to be enjoyed by everyday people. If the cast and maybe even the orchestra would relax just a little and have fun with it, this show would be great. While this performance is made, well, mediocre by problems of musical and dance refinement, it's worth seeing. If you've never seen the show, go. And if you have, well, it's your choice, but Anything Goes is a great masterpiece, entertaining in any staging, and certain performances within this production definitely merit attention.