All aboard the ‘SS American’ – a luxury ocean liner setting sail from New York to London. This 1930’s musical voyage offers a glimpse through the portholes into the world of the passengers onboard with mistaken identities, questionable disguises, love triangles and romances with all inclusive glitz and glamour from the golden era. 

The 14 piece Orchestra with Andrew Woodford as Musical Director delivered Cole Porter’s legendary score with ease including; “I Get A Kick Out of You”, “Friendship” and “You’re the Top” just to name a few. An added bonus that they were part of the ship’s entertainment placed on the stage, which also helped with the sound balance. 

Some could argue that this 1930’s musical sits out of place amongst modern theatre of today, with many outdated jokes and lyrics, but it’s important to consider that this show first premiered at a time when audiences were in need of some light comedy relief. It was evident that Director Sarah Scotcher’s aim for this production was to offer just that – and bring those sillier elements of the show back to the surface, staying true to that original charm and likability factor – something that helps make this show a timeless ‘feel good’ classic. 

Initially, the production took its time to set sail and some scenes lacked a little pace and energy but that soon lifted when Daniel Farmer (Moonface Martin) entered. Sometimes he didn’t even have to say anything at all and just walked across the stage, yet our eyes were drawn to him as he oozed stage presence and character and could get a laugh from a simple look. Farmer added joy to every scene he was in and he was a pure delight to watch from start to finish.  

Nathan Stubbings gave Fred Astaire vibes as Billy Crocker as he glided across the stage during his numbers. His diction was clear throughout and his vocal was like melting butter. His portrayal of Crocker helped transport the audience back to the golden era and added some uplifting moments – it was hard not to smile whenever he was on stage. 

Andy Kay is the gift that keeps on giving on our Island stages. For any production Andy is involved in, he offers us another one of his hidden talents and his confidence blooms further. Andy’s comedic portrayal of Lord Evelyn Oakleigh was just sublime. A highlight of the whole show was his number’ The Gypsy in Me’ where he really made the part his own – Bravo old chap! 

Holly Gardiner lit up the stage as Reno Sweeney – an Evangelist turned sexy nightclub singer. A challenging role to take on, but from her very first entrance, Holly commanded the stage and her powerful vocal soared across the auditorium. The chemistry between Reno and Moonface appeared wholesome and authentic throughout their scenes. It would have been an added bonus to have seen more of Holly dancing, as that’s an aspect of that role that we’ve become familiar with over the years.  

How ‘De-lovely’ to watch Bryony Bishop as Hope Harcourt. Her pure, sweet vocal perfectly captured the vulnerability of the character and her routines with Billy were graceful and full of elegance – Their duet ‘All Through The Night’ was an aural delight.

The show offered some smaller supporting roles which were just as confidently delivered. Alexis Mackness brought glamour, sass and cheekiness to the role of Erma Latour. Paul Stevens and Angela Burton worked well together and the pair offered some individual comedy moments as Elisha Whitney and Evangeline Harcourt. 

It was also fantastic to see some younger talented Curtain Call Creative students involved in this production. Kieran Adams and Rafe Hodge-Thomas held their own as double act ‘Spit and Dippy’ and Finley Revert enhanced the sailor ensemble with his unwavering vocal. 

The choreographer’s vision, especially during the bigger numbers when the Angels and ensemble cast were added were visually appealing. There were waves of excitement and energy build up, particularly in ‘Blow Gabriel Blow’. The tapping effort from the whole cast was commendable and the use of more experienced tappers was utilised well. It was felt perhaps the title song ‘Anything Goes’ started a little static and more could have been made for the principal numbers, but overall the dancing throughout the performance was delivered with conviction and purpose. 

The costumes, wigs, makeup and props all added to the feel of the era and the constructed set design looked very effective, especially when it represented the cruise liner itself. You could see that lots of effort had gone into the smaller finer details and an added touch that the backstage crew were dressed as sailors, which helped make the multiple scene changes appear more fluid and efficient. 

The lighting enhanced the mood of the scenes and whilst sound levels were mostly very good, there were unfortunately some sound issues with the principals’ microphones, which meant some delivery of lines were lost during their initial entrances, however it soon balanced out. 

It was certainly worth watching with some fantastic creative moments. You only have 2 more chances to jump aboard ‘SS American’ at Shanklin Theatre before it disembarks: Saturday and Sunday performances are both 2.30pm matinees.

Have you got your boarding passes yet? 

Tickets can be purchased using this link: The Island Savoyards Presents Anything Goes – Shanklin Theatre

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Reviewed by Rosie Sales