Anything Goes, 1999

Hong Kong Standard

When first shown in 1932, the Cole Porter musical Anything Goes was the perfect anecdote for downtrodden Americans suffering through the depression. Sixty-seven years later in Asia, Anything Goes is presented by the The Hong Kong Singers to recession weary Hong Kong residents.

While times may have changed, Anything Goes remains a timeless classic. The story tells the tale of shipboard romances and the twists and trials of impersonation. A high-class ingenue is being forced by her mother to marry a man she does not love to ensure financial security. However, she has fallen in love with a most unsuitable fellow. Expect to hear Celine Dion wailing a title track? It is widely rumoured that James Cameron drew inspiration from Anything Goes when creating Titanic.

But nothing can mar the magic of the original, which The Hong Kong Singers have so applaudingly achieved. Shareen Sing, in the lead role of sensual nightclub-singer Reno Sweeney, is not only physically stunning, but has a set of pipes that reach the stars. Sing is magic as she strides across the stage, belting out hits such as Blow, Gabriel, Blow and I Get a Kick Out of You.

Sing shares the stage with other talent; the one time object of her affection, stockbroker Billy Crocker, is played to boyish perfection by Keith Gilges. Billy's true love, Hope Harcourt is sweetly portrayed by the lovely Priya Thompson. The twosome's It's De-Lovely is delightful and delicious.

The scene-stealer of the show is John Tustin as gangster Moonface Martin. Friendship, which he performs with the effervescent Sing, and his body and facial language throughout Be Like the Bluebird are worth the price of admission alone. Rick Gillman plays Lord Evelyn Oakleigh, a man fascinated by all things American, to befuddled perfection.

So convincing is Gillman, that his revelations of a darker side create a sense of amazed delight amongst the audience. It is not easy forcing a daughter into matrimony and holding eager suitors at bay, but Jill Derbie is delightful as Evangeline Harcourt, a woman who wants to be first on the lifeboat it there is a crash, and nowhere near a man when his stocks crash. Billy's employer, Yale-and-Evangeline obsessed Elisha Whitney is played by Alex Derbie. He has the honour of speaking the play's funniest line, and does it credit.

Gail Harban is the perfect Erma, the hooker with a heart of gold and a voice that could cut glass. Her asides are sarcastic and her facial expressions excellent. Huge accolades also go to the chorus, whose lively back-up makes listening to classic favourites such as Anything Goes a treat.

Many of the back-up singers as well as the principal actresses are garbed in authentic flapper style gowns, adding yet another touch of professionalism to the production.

Radio favourite Phil Whelan from 567am Radio 3 shifts smoothly from his day job to musical director for the production. The eight-year Hong Kong resident also conducted The Hong Kong Singers' November 1998 production of Annie. One of the reasons this production is so fantastic is because this is a local production.

The audience walks away with a real sense of community pride. The cast's dedication is apparent in every scene, particularly the tap dance sequence. Swiss Air deserves mention for their gift to the community in sponsoring Anything Goes.

While many airlines seemingly limit their donations to providing free tickets, Swiss Air's sponsorship allows all Hong Kong residents to benefit. Hopefully more airlines and companies will follow Swiss Air's most appreciated lead.

Anything Goes is playing for three more nights. Don't miss it.

Tess Lyons, October 8, 1999

South China Morning Post

The young lovers crooned: "It's delightful, it's delicious, it's de-lovely . . ." and so it was. The Hong Kong Singers' lively, lavish production of Cole Porter's classic show did justice to a masterpiece of American musical theatre, and made an enjoyable night out. Anything Goes, first staged in 1934, is a period piece, lovingly restored.

Whatever the subsequent rewrites of the book, it is still of its time; elegant, glittering and artificial, with stock characters and a feather-light plot. Judging from the audience reaction, escapism is appreciated in the 1990s as much as it was in the 1930s. The social satire of the plot, though good-humoured, neatly skewers its target: the upside-down values of a celebrity-mad world which admires a famous gangster more than a poor, obscure but honest young man.

Porter's songs, meanwhile, need no update: they are timeless and magical, and this show is crammed full of them. The glorious melodies were well-served by a competent chorus and strong leading players; the brash, dance-band sound of the orchestra created a 1930s feel.

In the first half of the show the orchestra was sometimes too loud, overpowering the chorus and occasionally the lead singers. But the balance settled, and Porter's witty lyrics came across with admirable clarity and gusto.

In musical theatre, acting is at least as important as musical ability, and there was no shortage of talent here. I particularly enjoyed Rick Gillman's goofy English aristocrat (eat your heart out, Hugh Grant); Gail Harban's tarty, brassy Erma; John Tustin's over-the-top showbiz pizazz as Moonface Martin; and the pleasing irony of Tyrone Seto and Leonard Wong's cameo double-act as two stereotypical Chinese. Keith Gilges was appealing as the love-struck Billy, and Priya Thomson was touching as Hope.

But the star of the show, undoubtedly, is Shareen Sing as Reno; in looks, vocal attack, style, and sheer stage presence, she is an authentic diva in the great tradition of Ethel Merman et al. This is her first appearance with the Hong Kong Singers - more please.

Pauline Burton, October 11, 1999