Anything Goes on GMA- Page 3

[PalJoey]

Posted: 3/27/11 at 8:43pm

I liked Tari Kelly in that video--a lot!--but why did it have to cut off just as the number was picking up?

[shrekster224]

Posted: 3/27/11 at 8:53pm

That video is good, but apparently Reno=St. Jimmy. (Descending from moving staircase)

[i_love_megan]

Posted: 3/27/11 at 9:57pm

Since the show is expected to close in late July, I can't imagine they'd need more than one person to cover each role.

[zamedy]

Posted: 3/28/11 at 10:45pm

I'm a sucker for a good old fashioned musical comedy.. and they don't come much better than Cole Porter and "Anything Goes." Heck.. I'd go just to see those sailors dancing. Did anyone else notice how seemingly see-through their tight white pants are? You could practically see the outline of their (black?!?) briefs underneath. Not that too many people will be complaining about that or anything...

[PalJoey]

Posted: 4/22/11 at 10:38am

Finally getting around to seeing this tonight. Looking forward to it.

[PalJoey]

Posted: 4/23/11 at 4:32pm

All in all, I really loved it. The first act is 90 minutes but feels much shorter and the "Anything Goes" number at the end of the act is a knockout. The audience reaction is like a tidal wave.

The second act is even stronger, and the "Blow, Gabriel, Blow" number is the highlight of the show, and then the act zips along with a string of minor Cole Porter numbers that are done perfectly.

Sutton scores in the musical numbers, but she veers in the book scenes from sweet to bawdy, and a coherent Reno (if such a thing is possible given the Weidman/Crouse script) never emerges.

With her Cyd Charisse legs, pretty face and body better than any of the chorus girls, it doesn't make sense for her to be lovelorn in the manner she plays it. She's more beautiful than Laura Osnes, as costumed as Hope Harcourt. And when she makes references to her prior sexual conquests, they seem like the posturing of a man or a female character like Erma.

But when she sings, a completely believable Reno emerges. And she completely commands the "Anything Goes" numbers, even if Katherine Marshall's choreography leaves her a bit winded. She'll get the Tony nomination and deserves the award.

Colin Donnell has gotten a bad rap on this board but I thought he was charming, sang well and danced with Laura Osnes beautifully. The two of them bear the brunt of involving the audience emotionally, sing 3 Cole Porter love songs ("Easy to Love," It's De-Lovely" and "All Through the Night") while doing Kathleen Marhsall's versions of Fred and Ginger. They work hard, and both deserve more credit than they're receiving.

Joel Grey is adorable, not necessarily the perfect Moonface, but adorable nonetheless. John McMartin scores every single laugh and then some out of a single-note part, and British actor Adam Godley take the cliche-ridden part of Lord Evelyn Oakleigh and makes it endlessly funny. His rendition of "Be Like the Bluebird" and his tango with Sutton had me laughing uncontrollably, which was unexpected.

But between the creaky jokes and the poor structure, I think it's time to retire the Crouse/Weidman script and come up with nother. Reno needs more to do--he last number is the "The Gypsy in Me" duet with Evelyn...really?!?--and Hope and Billy need one fewer duet and Hope either needs a different ballad or someone has to tell the actresses who sing it that "Goodbye, Little Dream, Goodbye" was written with Porters tongue firmly in his cheek, as a parody of the kind of purple-flowery-prose, sit-on-a-piano-with-a-long-flowing-handkerchief teary ballad.

But the chorus boys and girls are stunning and stunningly talented and I walked out with a big smile on my face.