Dan's Papers - May 15, 2009 - Review: Anything Goes Hits the Mark at the John Drew

Community theatre is the performing arts wild card. Productions may be largely amateur ventures, taken incredibly seriously only by those involved (a la, Waiting for Guffman), and appreciated only by friends and loved ones. Other community theatres, many of them just outside New York City, are for those in limbo between conservatories or drama schools and Broadway - labs where budding stars have a shot at larger roles than they might score in the city.

Still others serve the intended purpose of a community theatre as a social and creative outlet for all - some daring to give performing a try, some seeking camaraderie of like minded folks, as well as polished veterans and up and comers. Those productions may be filled with surprises, wowing even audience members who don't have friends onstage. That describes the Springs Theatre Company's production of Anything Goes.

Of course, this being the Hamptons, ours is a very unusual community. How many local theatre groups can perform in a state of the art facility like the new John Drew Theatre? How many have sets designed by Broadway scenic artists (Brian Lever)? The wherewithal to fully produce elaborate costumes dreamed up by talented designers (Jayne Freedman and Barbara Mattson)? A live orchestra under able direction (Jay Bennett)? And the guidance of creative directors (Peter Fitzgerald) who understand the role of community theater, while never letting up on his actors?

Needless to say, Anything Goes (which played to near capacity crowds last weekend and returns this weekend) had a lot going for it - not the least of which was the talent on stage. Either Fitzgerald has an uncanny ability for casting, or he can mold any actor to convincingly portray the role. Not to mention, his comic touches throughout the show were dead on for the period and style. Porter would've been de-lighted.

Let's get on with it: Matthew Cossentino is a dyed in the wool Moonface Martin. With great comic physicality, the requisite shifty eyes and mugging, he was the epitome of the classic two-bit crook. His second act solo, "Be Like a Blue Bird," was the work of a brilliant madman, and his rich baritone is, as they say a little farther west, like buttah.

Freedman, with her wide blue eyes and mass of blonde curls, was tailor-made for the role of his partner in crime: the ditsy, tough broad, Bonnie. The vocals, dancing and take on the character were right on. Her obvious fun onstage was not self-indulgent - but infectious.

Brett Chizever has the perfect sound and look for Billy, plus energy and presence for days. This boy is ready to go: a polished, committed, totally engaging talent. Chizever succeeded in every turn of Billy's disguises - including the outrageous drag scene in Act II, where I believe he channeled Charles Busch. His "You're the Top" was well thought out and expertly executed - vocally, dramatically, physically. (He knows how to work a pair of white linen pants.) On this number, Chizever set the bar high, and it was met by Jessica Hewitt, as Reno Sweeney, who popped off each of her many solos with confidence and a rich, focussed belt. "Friendship" with Hewitt, Chizever and Cossentino was a highlight - clean staging and spot on harmony. Hewitt's "I Get a Kick" was tongue in cheek with a wash of elegance. She delivered all you could ask for in "Blow Gabriel" and the title song, "Anything Goes," a great full-out production number to end Act 1.

Bethany Dellapolla, as Hope Harcourt, captured the audience with her lyrical rendition of "It's De-lovely." She too is an actor who knows how to commit to a role. Looking de-lovely herself in a pink Grecian wrap dress, and having just the right fresh lyric soprano sound for this music, Dellapolla never made you think twice about the fact that she's not your typical ingénue. Hats off to Fitzgerald, who didn't cast 'type,' but talent.

Scott Kennedy, as Sir Evelyn, was the quintessential straight as an arrow Brit who comes out of his cockleshell on "Let's Misbehave." With a role that's mostly spoken dialogue, one didn't expect the solid vocals he provided.

Of the secondary roles, T.J. Clemente put in a great turn as E.J. Whitney, playing the perfect straight man to Cossentino's Moonface in the Act 1 cabin scene, and then becoming a hapless, happy Mr. Magoo, weaving his way though the show.

Jenevieve Struck, a senior at EHHS and a dance teacher at the Rec Center, was a standout among Reno's floozy Angels. With her radiant, classic '40s pin up girl look, Struck held the stage with her exuberance, presence and confident dancing.

Montauk Pioneer Editor David Rattiner cut a handsome figure as the often-duped Captain, delivering his lines with the naïve authority and touch of irony the role demanded. Shelley Bennett put forth a noble effort as the doting Mrs. Harcourt.

Musical Director Jay Bennett set a lively tempo from the start, and the rhythm section, led by pianist Christine Cadarette, drove the engine of the band. The costumes, from the Angels' navy shirtwaists and white sun hats to Reno's and Hope's stunning wardrobe (okay, one dress looked like a drapery) were expertly done.

Were there weak spots? Yes. That happens in community theatre - and beyond. But all told, this is a totally enjoyable production with more than a few great moments, put on by dedicated members of this unusual community.

Anything Goes: May 15, 16 and 17, John Drew Theater, Guild Hall, East Hampton. Friday and Saturday, at 8 pm; Sunday at 2. Tickets are $20. Advance purchase suggested. Call 866-811-4111, or order online at theatermania.com.