Reviewed: Anything Goes

Trevelyan College Musical Society’s choice to perform “Anything Goes” was a risky one; as a favourite musical for many, featuring iconic songs which have become inextricably linked to iconic singers, there was always the danger of past productions casting a shadow. However, I think for the most part TCMS escaped this, and provided a fresh take on a classic show.

Emma Olley and Fleur Baikie did an outstanding job of replicating a large scale, Broadway chorus in just a quartet of dancers. They choreographed routines which fit the restrictions of the stage, whilst still preserving the energy and presence required by a show of this calibre. In fact the production crew used the space they had incredibly well, and considering there were no curtains and the orchestra were next to the audience, sound levels and scene changes were generally seamless.

From the offset, there were a number of actors who stood apart from the rest, as they understood the importance of comic timing in such a production. Notably, Michael Galea – as the money driven, heavily inebriated Elisha Whitney – had an infectious exuberance. He created a caricature of the rich, yet socially inept drunkard, and brought a new life to his lines. He was also one of the only members of the cast to have a continuously American accent, as there were, unfortunately, a number of scenes in which complications with accents detracted from the narrative.

Like Galea, both George Hanes (Moonface Martin) and Josh Edwards (Evelyn Oakleigh), did not fail to entertain and delight. Edwards’ interpretation of “The Gypsy in Me” was the highlight of the show, and he had the audience roaring with laughter throughout. Both actors had great stage presence and brought a sense of vigour and dynamism to their roles.

All of the members of the cast were extremely capable in acting, singing and dancing; however, in some scenes, when two or more of these disciplines were combined, I found that the actors became more overtly conscious that they were acting. Consequently, there was a tendency to overact and to indulge in the ‘tits and teeth and jazz hands’ stereotype which musical theatre is often associated with. That is not to say that the production should have been a more serious interpretation of the story, but rather that at times,

I felt as though the performances lacked a sense of truth and belief. Whilst the leads had spectacular voices, it was incredibly frustrating that on occasion the focus was entirely shifted to music and the acting neglected; a song cannot solely be carried by its mellifluence, a commitment to the lyrics is essential. Natalie Goodwin, as Hope Harcourt, was a noteworthy exception to this. Her performance of “Goodbye, Little Dream Goodbye” was simply sublime, being beautifully crafted both in terms of sound and dramatization.

All in all it was an enjoyable production filled with laughs. Whilst there were moments where I felt performances needed an extra kick, the majority of the show was extremely well put together and the cast definitely showcased how talented they are. “Anything Goes” runs until Saturday, and if you fancy a break from essay stress, I would certainly recommend it.