Anything Goes review

Anything Goes review

Anything Goes Review - Broadway musical

Golden Gate Theatre on Broadway took staging of this musical, where quite soft and lively choreography was set by Kathleen Marshall. Thanks to her work, we see on stage very often, the prevailing part of the time, multiple different dances over one or several people. Groups were dancing almost always in large constitution. Perhaps her addiction to the choreography of a considerable number of people is her element, so she becomes quite easy and natural in work with large gathering of people – which is normally far more complex and ornate task than to make choreography of a modest amount of dancing actors. Probably because tap dance looks very nice from the stage (much later, Michael Flatley will prove it, who had even a nickname – The Lord of the Dance – because of his eponymous show lasting for years), the musical amongst earned awards of Tony possesses one for choreography. When awarding, a tap dance was mentioned as the main element, tipped the decision in the direction of this musical.

Of course, many of the actors and their roles deserve attention – for example, a former priest Reno Sweeney, who devoted his life to lead a burlesque promoter’s existence with his ward girls – angels (which, of course, behave as dominant demonesses). Maybe even all predecessors, who portrayed its role, were not so damn convincing in its versatility even up to 1934, when this role was first depicted by Ethel Merman. Hence, the songs in her performance because of the adorable husky voice and image, mixed with so many contradictions, are truly vivid.

T. Crouse & J. Weidman rewrote the book of 1934, adapted it for the production of 1987 and a few years later, it was again modified to be adapted. Initially, the book was written by H. Lindsay & R. Crouse – it is remarkable that the latter was the father of the abovementioned T. Crouse, who continued to work on the same musical. This dynasty is remarkable. And even the original book is a revision of W. G. Bolton, which was originally the libretto, written under the influence of emotions of the wreck of the ship, the cruise liner, on the coast of New Jersey.

This rich history of musical taken from life, serves as the perfect backdrop for an acting of Erich Bergen (at least if we look at the last staging, of 1987), who plays a character named Billy Crocker – amorous and romantic man who is in love by fate. And forced to depict half-spy costumed game during the whole play. Surrounding of the main character is of so many different people representing the most vivid vices of humanity. Still, removed of all the censure and filled with bright staging, which should certainly get a response in the souls of many viewers, the director has made an excellent play, which is sure to get more than one future resurrection.
Last Update:April, 06th 2016

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