If you missed the Tony-winning Broadway revival of “Anything Goes,” do not repine. The show opened last week at the Ogunquit Playhouse, with Broadway’s Andrea McArdle anchoring the cast, and it’s hard to imagine a more exciting rendition of this Cole Porter classic.

What stands out most, even beyond the outstanding singing, dancing and onstage band, may be the cast’s handling of the words.

Photo by Gary Ng

IF YOU GO

WHAT: Anything Goes

WHERE: Ogunquit Playhouse

DATE REVIEWED: June 17; continues through July 9

HOW MUCH: $47 to $87

MORE INFO: ogunquitplayhouse.org

The storyline – a patchwork of the original book by Guy Bolton and P.G. Wodehouse, the original revision by Howard Lindsay and Russel Crouse, and the current revision by Timothy Crouse and John Weidman – is, at its best, a laugh-a-minute smorgasbord of pranks, pratfalls and nonsense.

The spoken lines, like Porter’s inimitable lyrics, are linguistically gymnastic and fast-paced enough to get lost in the flow if not expertly handled, so that in less polished productions the story – like the ship on which it takes place – can become merely a vessel for the songs.

This certainly doesn’t happen in Ogunquit. Every word is crisp and clear (thanks in part to Sound Designer Kevin Heard, as well as Director Jayme McDaniel and Music Director Charlie Reuter), allowing laughs for even the most offhand jokes, and the pacing is electric.

As the tough-but-vulnerable Reno Sweeney, McArdle captivates with a crooked smile and a glint in her eye. Sassy and magnetic, she belts out the title song and others with personality, wit and a marvelous combination of musicality and a meaning-rich, almost conversational, delivery. McArdle is simply perfect in the role, which was originated by Ethel Merman.

Josh Canfield portrays quirky leading man Billy Crocker with suavity and humor. He nails “You’re the Top” with McArdle, and “Easy to Love” and “It’s De-Lovely” with Patti-Lee Meringo as Hope Harcourt. With a velvety, agile voice, slick movement and quick transitions, Canfield is reminiscent of old-time hoofer-crooners.

The show is comedic throughout, featuring star-crossed lovers, mistaken and hidden identities, and enough one-liners and slapstick to keep the audience rolling on a sea of laughter.

Ray DeMattis catches every wave as Moonface Martin, the gangster with a heart of gold who is disappointed to be only public enemy No. 13. DeMattis is outrageously funny, from his accent to his facial expressions, and his duet with McArdle, “Friendship,” is brilliant. His sidekick, Erma, is well played by Mychal Phillips, with an over-the-top accent and strong stage presence.

A highlight of every season at Ogunquit Playhouse is the appearance of Sally Struthers, who visits at least once each summer. She was well cast in this show as Evangeline Harcourt, the bejeweled mother who wants Hope to marry Lord Evelyn Oakleigh (Ian Knauer) and attaches herself to blustering Yalie Elisha Whitney (Steve Brady).

Struthers excels at slapstick and sharing a sense of the ridiculous with the audience, and in this part she provides the audience with quite a few belly laughs. In some of her scenes, Struthers is joined by a small, fluffy scene-stealer making his stage premiere; Evangeline’s dog is played by Little Bradford T. Kenney, a rescued terrier whom Struthers adopted and named after Ogunquit Playhouse’s artistic director.

The show features a couple of all-out production numbers. The first act closes with the title song, “Anything Goes,” starting as a solo by McArdle and building to exuberant full-cast singing and dancing, including classic Broadway tapping.

The second act’s “Blow, Gabriel, Blow” doesn’t hit the mark quite as well. The singing is powerful, but subtler choreography and staging would better fit the satirical nature of the song.

Overall, Jason Wise’s choreography is well suited to the play’s character, with highlights including a sweet ballet solo by one of the chorus of sailors and smoothly integrated pantomime in Canfield’s songs.

Throughout the show, the cast is universally strong and apparently delighted to be singing and dancing together. Beyond this production’s impressively high artistic and technical standards, there is just a wonderfully positive feeling coming from the stage.

Jennifer Brewer of Saco is a freelance writer, teacher, musician and dancer.