Anything Goes is screened in cinemas across the UK and Ireland from 28 November 2021.
Star rating: five stars ★ ★ ★ ★ ★
If you missed Kathleen Marshall’s phenomenally successful production of Cole Porter’s Anything Goes at the Barbican this year, then fear not: the cameras were in over a few nights to capture the effervescent action for the big screen.
From 28 November, you can see Sutton Foster (Reno Sweeney), Robert Lindsay (Moonface Martin) and Samuel Edwards (Billy Crocker) standing 10 feet tall in cinemas across the UK. And in fact, even if you were lucky enough to catch the multi-Tony-winning production on stage, I’d wholly recommend paying it a repeat visit at your local multiplex. Trafalgar Releasing’s film of the five-star show is scintillating, capturing every tap, flap, trench and toe clip in glorious high definition.
In the tradition of National Theatre Live, this movie of the live theatrical experience isn’t just a point-and-shoot exercise – it’s a fully edited, multi-camera interpretation of the production… affording you a way of seeing aspects of the performances that you don’t get even in the front row. The nifty camera work – swooping crane shots, close-ups, wides and asides – takes you right into the middle of the action, and the sound quality is stunning.
The story of the SS American and its madcap manifest of Wall Street billionaires, machine-gun-toting gangsters, seductive showgirls, lovelorn stowaways and English aristocrats dates to 1934 but was revived in 1962, when new numbers were added from Cole Porter’s back catalogue. It was then revivified in 1987 by John Weidman and Timothy Crouse, who heavily revised Guy Bolton and PG Wodehouse’s creaky script and rejigged the musical numbers.
It’s this version, directed and choreographed by Kathleen Marshall, that inspired the 2021 London revival, and saw Tony-winner Sutton Foster return to the role of Reno Sweeney. It’s a very comfortable fit, as Foster is the very personification of class. She also has wonderful chemistry with Robert Lindsay as Public Enemy No.13, Moonface Martin, and the show’s at its most delightful when they share the stage (‘Friendship’). Lindsay also fits the bill, and you can see in his close-ups that he’s loving every minute of it.
Indeed, the whole production is faultlessly cast. Felicity Kendal is a quivering bag of nerves as the recently broke Evangeline Harcourt; Gary Wilmot works every comic muscle in his body to flesh out the shortsighted banker Elisha Whitney; and Samuel Edwards doesn’t put a foot wrong as our ultra-charming Billy Crocker. (Why this talented leading Arts Ed alumnus isn’t given a more prominent billing is bordering on a crime – come on, Trafalgar, credit where it’s due!)
A nod is also due to fella Arts Ed graduate Carly Mercedes Dyer for her joyous Erma – a star turn that should serve as an audition piece for the role of Miss Adelaide in any upcoming Guys and Dolls.
So, do yourself a favour and visit – or revisit – this wonderful production on the big screen. You’ll be treated to Stephen Ridley’s exceptional band firing off one of the best scores in musical theatre history and Marshall’s choreo is electrifying – that Act I closer is worth the ticket price alone. The whole package more than does justice to this award-winning show so don’t miss out!
Craig Glenday
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