Review: ANYTHING GOES at CM Performing Arts Center

Cole Porter’s ANYTHING GOES, the latest theatrical venture by CM Performing Arts Center (referred to hereinafter as CMPAC), is a surefire hit. Directed by Kevin Burns, the production dazzles from start to finish. Under Burns’ direction, viewing the production felt as though you were stepping back in time to 1934.

It was as if you were watching the original Broadway production. Burns choreographed the piece, and his choreography is thrilling to watch. Each minute detail was executed perfectly for the time in which the show took place, thanks to Burns’ masterful attention to detail. It is also worth noting, that the script was recently updated, by Timothy Crouse and John Weidman, to adjust some of the original book's more eyebrow-raising moments, most notably the recurring theme of Asian stereotypes. For example; “Luke” and “John,” originally written as two Asian gamblers who were impersonated by “Billy Crocker” and “Moonface Martin” at the end of the show (riddled with stereotypical dialects and mannerisms), are now “Spit” and “Dippy,” who are two stereotypical gangster-types with a gambling habit.

With these edits in place, the show flows better than it did with the original material. Musical direction was done by Samantha Free, and each number sounded impeccable, with energy that never wavered. John Mazzarella provided the set design, and once again, Mazzarella has designed a beautiful world. His trademark attention to detail was evident throughout, with Art Deco used around the proscenium, and in the staterooms as a nod to the 1920s, when the fictional S.S. American was likely built, prior to the story of ANYTHING GOES in the early 1930s. Stage manager Kaitlyn Otto and assistant stage manager Peter J. Ostermann provided a night with set, scene and lighting transitions as smooth as the music of the time period. Costume and wig designer Ronnie Green III hit the nail on the head with each look. From the back of the house, it is evident that Green’s attention to detail continues its streak of success.

Lighting designer Kevin Purdy did a wonderful job at creating a beautiful atmosphere, recreating the sunlight you only get in the ocean while aboard a ship. Silvio Sweet provided the sound design, and it was a noteworthy addition to the brilliance of the world that was created on that stage. The frequent seagull sounds and occasional wave crashes aided in the believability of what we were seeing. Heather Van Velsor designed incredible props, each one carefully executed to fit the era. A stand-out of the props was the dog of “Reno’s Angels.”

Veronica Fox dazzles in the leading role of “Reno Sweeney.” When she steps out on stage and says her first line, she does so with the same gusto as the dames of yesteryear. Fox’s voice is reminiscent of champagne, smooth and with an undeniable sparkle. “I Get A Kick Out Of You” is a song that has been around for ninety-one years, and Fox brought such a fresh approach to the song, it was as if the song was written with her in mind. Fox’s dancing was superb, and she flawlessly executed the most intense choreography of the century, and not losing any steam while doing it. 

“Billy Crocker” is portrayed by Patrick Silk, and not enough can be said about him in the role. Silk leads with his heart, delivering a masterclass in letting your voice convey your deepest thoughts through song, when spoken words alone are not enough. His comic timing was straight out of the golden age of Hollywood, with a strong understanding of facial expressions and vocal inflections. Silk’s dancing is top notch, with an Italian pas de chat thrown in! Silk’s warm vocals are tailor-made for this score, rendering the audience speechless, most notably in “All Through The Night.” 

Katy Trunz is glorious in the role of “Hope Harcourt.” She makes her first entrance from the audience, a la “Mama Rose” in GYPSY, and instantly captivates in her performance. “Goodbye, Little Dream, Goodbye” was a flawless representation of Trunz’s soprano, as she commanded the space with a delicate fervency, inviting us into “Hope’s” story. As a dancer, Trunz glides with purpose behind every movement, each beat evidently meticulously thought out. 

Ryan Nolin as “Moonface Martin,” otherwise-known-as Public Enemy 13 is a delight from beginning to end. Through his perfectly timed beats, and facial expressions wonderfully animated, Nolin makes it evident that he understands comedy, and the art of acting in general, at a level that is in rare form. Sarah Minto as “Erma” will leave you on the edge of your seat every time she is on stage, and have you leaving in stitches. Minto is a powerhouse actor, effortlessly connecting with everyone on that stage in the most incomparable way. Andrew Lenahan as “Lord Evelyn Oakleigh” brings the character to new levels. Lenahan delivers such a warm “Oakleigh,” that you can’t help but root for his success. Long Island Theatre Royalty Jenn Demopolous and Barry Johnson live up to their titles in their roles as “Mrs. Evangeline Harcourt” and “Elisha Whitney.” Demopolous plays the role of “Mrs. Harcourt” masterfully with her signature wit, pulling new surprises out at every turn. Johnson as “Whitney” is a great casting choice, as he brings new heart, refreshing humor, and some interesting layering to a typically one-note character. 

Playing “Spit” and “Dippy” are the dynamic duo of Charlie Roman and Mia Lange. This is a perfect pair you see before you, as they play off of each other so well, it’s clear that they would’ve been an unstoppable comedy pair in the era that this show took place. If you want to see the Muppets do vaudeville, watch Lange and Roman. 

Michael C. Sherwood makes an appearance as the “Ship’s Captain.” Sherwood delights with his scattered one-liners throughout the show, expertly bringing new twists and turns to the story. The “Ship’s Purser” is portrayed by Gene Juanich, and through his comic skill, Juanich makes this character unforgettable. 

The ensemble performers of this piece are what set this production of ANYTHING GOES apart from any of the others. Each actor was locked in to the moment, and nothing was going to waver that. Particularly, Will Brennan, Lorenzo Hilliard, Juliana Jagielo, Rebecca Olivieri, and Samantha Fiore stood out in their respective roles. Brennan’s tenor and Hilliard’s bass provide phenomenal contrast to one another, both with dancing capabilities right out of a 1930s Hollywood mega-musical. Jagielo, Olivieri and Fiore display noteworthy dance skill, complete with lifts, kicks and powerful stage presences. Yesenia Morales, Lianna Crisci, Rowan Anders, Ben Capilets, Jared Wofse, Arianna McMorris, Yolanda Penfield, Michelle Shapiro, and Emmariah Wyss complete the ensemble as the various passengers of the ship, hitting the nail on the head with electrifying dance skill. 

The production’s understudies are Peter J. Ostermann (”Billy Crocker”), Emmariah Wyss (”Hope Harcourt”), and Julia Villani (Swing). Check CMPAC’s social media for any information regarding cast members performing that day, as understudy performances are always announced via their social media channels. 

Get your tickets at CMPAC.com, they are going fast! The production plays through September 7, with no performances Labor Day Weekend. 
 

Photos by Jannette Pellegrini