Anyone Can Whistle takes place in a run-down town that's revitalized by the discovery of a miracle spring, which turns out to be fake and orchestrated by the corrupt Mayoress (Mary Palazzolo) and her trio of supporters, Comptroller Schub (Benjamin Kruse), Treasurer Cooley (Andrew Schufman), and Police Chief Magruder (Quintin Michael). When the skeptical nurse Fay Apple (Hope Quinn) arrives with 49 patients from the local mental hospital in tow, referred to as Cookies, she is determined to prove that the spring is a fake by having the patients drink from it, and presumably, not be healed. She meets a mysterious newcomer named J. Bowden Hapgood (William Lucas), whom everyone presumes to be the new doctor when he starts sorting the sane from the insane, and finds a connection. The town government tries to stop them so they can continue their scheme, but, well... a lot of stuff happens. It's a wild ride, with some relevant commentary on the role of the government and how we define sanity.
MMT was wise to tap musical theater historian Max Wojtanowicz as director. He's added a bit of commentary in the form of a narrator (Marcie Panian), reading some stage directions describing props and sets and actions, as well as some tidbits about the original production, and parts they skip over. Max gets great performances from this terrific 12-person cast (also including Timothy Kelly, Aliyah Lamb, Alice McGlave, Mitra M. Sadeghpour, Caitlin Sparks, and Marty Swaden), who despite having the script in front of them do more than just read, they give full performances, if mostly stationary. The entire cast is seated in a row, stepping forward to the five microphones on stands when taking part in scenes. There's a bit of staging with some exits and entrances and even a little movement, and while not dressed in full costumes, each performer's clothing hints at their character. And a few tiny props charmingly refer to what a full production might feature.
The score is typically Sondheim, meaning clever lyrics and intricate melodies, ranging from funny and absurd songs to lovely and poignant ballads. I recognized several songs that have become popular ones to sing at cabarets and such, including the title song, which is sung by Nurse Apple about how things that come easily to most people are hard for her (I can relate!). It's beautifully sung by Hope Quinn, whom I don't believe I've seen before, and she's just wonderful. As is William Lucas as her romantic partner Hapgood, singing another one of the familiar songs, "Everybody Says Don't." The depth of talent in this town is such that I can still be surprised by fabulous performers I've never seen before.
Last but not least, Music Director Walter Tambor plays piano and leads the on-stage four-person orchestra, including the hardest working performer on that stage, woodwind player Katrina Mundinger juggling no less than five instruments, often cradling one in the crook of her arm whilst playing another. As a former clarinetist (who once also played the alto clarinet in the pit, but two was my max number of instruments), I was in awe. Along with percussion and upright bass, they played this tricky Sondheim score with aplomb.
Let's do more concert versions of rare, challenging, or difficult to stage musicals. This production is a great example of how to do that, highlighting the good parts of the piece (the music, some of the themes), adding some clever commentary, and doing it in a streamlined way that allows us to experience the piece without any of us having to commit to a full production (the script calls for running water in multiple colors - that's not easy or cheap to do). Once again, thanks to Minneapolis Musical Theatre for a well done production of a rare musical. Next up in their season - the regional premiere of Grumpy Old Men, The Musical in the spring. There's no one I'd rather see do this show than MMT.
