SGMT’s ANYTHING GOES Cruises to Success

ST. GEORGE — From bow to stern, and port to starboard, the trip aboard the SS American in St. George Musical Theater’s production of Anything Goes is, to borrow a few words from the production itself, delightful and de-lovely. In fact, it’s de-wonderful!

Presented in the theater’s signature in-the-round style, this iteration of Cole Porter’s popular nautical musical was beautifully crafted at the hands of Director Cristin Mortenson Tillinghast, telling the story of a lovesick stowaway, a nightclub singer/evangelist, a debutant, a wealthy English lord, a gangster and his gun moll, an aging tycoon and more. With so many storylines coming across the gangplank, there is never a dull moment on this Atlantic crossing; with plenty of stellar dancing, hijinks and comic relief, all weaved together with a steady stream of emotional and energetic Cole Porter tunes.

From the original book by P.G. Wodehouse, Guy Bolton, Howard Lindsay and Russel Crouse, and the new book by Timothy Crouse and John Weidman, these numerous plotlines unfold against a 1930s backdrop as the evangelist/nightclub singer, Reno Sweeney, is getting ready to board the SS American heading from New York to England. When her friend, Billy Crocker, discovers his love interest Hope Harcourt will be on board the ship as well, he manages to stow away with the help of a hapless gangster, Moonface Martin, and his gun moll Erma. Sadly for Billy, Hope’s fiancée — a wealthy English lord named Evelyn Oakleigh — is also on board, a detail which threatens to stymie Billy’s plans to win Hope over as they sail. Happily, for the audience, every passenger is a character worth watching, and the slapstick comedy, mistaken identities and unrequited love eventually turns into a heartwarming, and happy ending.

Shining like the star her onstage character embodies, Rosa Lee White’s portrayal of the leading lady, Reno Sweeney, was utterly superb. Establishing herself as a true 1930s darling in her opening number, “I Get A Kick Out of You,” White went on to showcase beautiful onstage chemistry with every one of her counterparts. Whether watching her friendship with Billy Crocker (charmingly played by Timothy Merkley), or the fantastically funny “Friendship” duet with Moonface Martin (played by the hilariously talented Brennan Walters) White was at the top of her game. The only thing better than her raucous worship number “Blow Gabriel, Blow” and the top-tier tap dancing on multiple occasions, was her duet with David Leishman as Evelyn Oakley in “The Gypsy In Me.” And the only thing better than all of that, was the ease with which she handled herself on stage, appearing comfortable and at home regardless of the scene.

Playing the charismatic, charming businessman who is hopelessly in love with Hope Harcourt (played by Rylee Erickson), Timothy Merkley’s version of Billy Crocker hits it right on the mark. Genuinely at ease on stage, it felt relaxing to watch Merkley sing and glide around the dance floor with Reno Sweeney in “You’re the Top”, while his lovely tenor tones made his romantic ballad, “Easy to Love,” well, easy to love. Merkley’s more exuberant nature and natural charm was nicely balanced by Erickson’s calm, proper demeanor. The lilt in Erickson’s speaking voice as Hope made her a believable member of the upper class; though her more delicate vocals on “All Through the Night” walked a fine line between beautifully sweet, and somewhat weak.

Coming in as the opposite of anything weak, Brennan Walters’ lit up the stage with his portrayal of Moonface Martin, the notorious gangster who would like to be a little more notorious. Serving as both the onboard bad guy, and a key player in the production’s plentiful comedy, Walters proved himself to be an invaluable piece of the greater whole. His sidebar, mostly ad-libbed commentary during the major dance numbers was enough to get the laughter flowing; while his interactions with his right-hand gal Erma, played by the earnest and talented Paige Kennedy, kept the laughter going.

Even with his clear command of the audience, one might not expect Walters’ admirable talents to extend to include some of the fanciest footwork on stage, but he did just that. Matching Reno Sweeney tit for tat — and tap for tap — in the hilarious “Friendship” number, the audience got a glimpse of the pair’s tap-dancing talents. Then later, the entire cast unleashed toe-tapping skills in the climactic conclusion of Act 1 with “Anything Goes.”

While the cast itself deserves credit for executing these energetic dance numbers, their talents simply could not have been showcased so well without the strong choreography by Nicole Hadley. Thanks to the diversity of dance styles throughout the production, from beautiful ballroom to the aforementioned fantastic tap, much of the emotion of the storyline could be felt and seen through dance.

Equally important to the overall aesthetic of the show, the costumes in Anything Goes were an absolute pleasure to behold. Costume Designer Staci Martin deserves deep praise for the wide array of pieces all fitting nicely into the 1930s style. A few standouts include the red dresses worn by Reno and her angels during “Blow Gabriel, Blow” — the perfect color to standout again the rest of the cast’s black and white apparel. And Reno’s sailor-inspired navy blue pants and ruffled white shirt during “Anything Goes” managed to fit the time period, while being modern-day fashionable at the same time. (Seriously, I want this outfit in my wardrobe!)

With so many characters worth mentioning, including David Leishman’s adorably dorky version of Evelyn Oakley (how did he hold a straight face the whole time?) and kleptomaniacs Spit and Dippy (played by Reese Cunningham and Britnee Rodgers) and many more, it’s a show that simply has to be seen to be enjoyed. Whether you’re looking for romance, comedy, 1930s gangster crime, punny humor and more, you’ve got it all in Anything Goes.