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Anything Goes

  • opened: 10/7/2003
  • closed: 8/28/2004
  • Drury Lane Theatre Royal
  • Box Office: 0870 908 1109
  • Details: Booking to Aug 28 2004
  • Summary: This 1934 Cole Porter musical fits like a dream into its new home, and - thanks not least to Stephen Mear's spry choreography - Trevor Nunn's revival leave you gurgling like a baby with pleasure. Visit theARCHIVE. Cole Porter's transatlantic 1934 musical-comedy Anything Goes, seen at the National last December, arrives at the Theatre Royal Drury Lane, and this time Trevor Nunn's revival has been greeted by critical confetti composed of nothing but pure superlatives. John Gross in the Sunday Telegraph spoke for many in writing: 'Trevor Nunn's production is even better the second time round. The production has an energy and attack which was once regarded as the monopoly of Broadway and which a British cast couldn't be expected to emulate. At the same time it displays a craftsmanship which you expect from British theatre at its best.' Michael Billington in the Guardian cheered: 'The show offers three hours of pure time-suspending pleasure. Above all, it recaptures a lost era of musical comedy when the paradisal innocence of the story was counterpointed by the sharp sophistication of the lyrics.' Michael Coveney in the Daily Mail declared: 'Christmas has arrived early at Drury Lane in this gift-wrapped, no-expense-spared production. Yes, it is overblown and yes, it sometimes feels too long and loud for its own fluffiness. But the Nunn genius is to fill the stage with detailed activity, though I fancy John Gunter's set - and Anthony Powell's exceptionally beautiful costumes - might look even better from the dress circle.' Robert Gore-Langton in the Daily Express simply proclaimed: 'The hits are awesome, the choreography a thunderous joy, and Trevor Nunn's production delivers on all fronts.' Kate Kellaway in The Observer also thought the transfer had brought benefits: 'The white ship still resembles a tiered wedding cake and the showmanship of the evening is as glorious as ever, especially the moment in which the ship/cake revolves to reveal the orchestra playing on its upper deck. In the smaller auditorium, the show feels less majestic but more intimate.' Georgina Brown in the Mail on Sunday declared: 'In its new home, Trevor Nunn's production seems to have come into sharper focus. In particular, Sally Ann Triplett, as the evangelist-turned-nightclub-singer soars into her element. She performs like the star she deserves to be - saucy, sassy and sensationally good.' Luke Clancy in the Times commended the roof-raising scenes: 'The production is at its best with the full-company numbers showing everyone hoofing like troupers. And all credit to Nunn for treating the material as the tap-dancing, high-kicking fluff that it is. The cast seem to enjoy themselves more as the show progresses and you will too.' Charles Spencer in the Daily Telegraph praised the lead performances: 'John Barrowman is perfect as the hero, Billy Crocker - handsome, funny, charming and blessed with a marvellous voice. Sally Ann Triplett matches him every step of the way as a Reno who is spunky, sexy and touchingly vulnerable, and there is a comic tour de force from Simon Day as that sublime silly ass, Lord Evelyn Oakleigh, a man with the honking laugh of an asthmatic sea lion, collapsing hair and a wonderful way of mangling the American language.'
  • Author: book revised by Timothy Crouse & John Weidman
  • Director: Trevor Nunn
  • Composer: Cole Porter
  • Lyricist: Cole PorterSet Designer: John Gunter
  • Lighting Designer: David Hersey
  • Costume Designer: Anthony Powell
  • Choreographer: Stephen Mear
  • Cast Details: Includes: John Barrowman (Billy Crocker); Sally Ann Triplett (Reno Sweeney); Simon Day (Lord Evelyn Oakleigh); Martin Marquez (Moonface Martin). Transferred from RNT (opened: 18/12/2002).
  • Reference: More Info