‘Anything Goes’ @ Repertory Company Theatre
—Carol M. Rice
It’s always great fun to open the New Year with theatre — and especially with a classic musical like Anything Goes.
While you may not have ever seen it on stage (you can fix that THIS WEEKEND ONLY at Richardson’s Repertory Company Theatre) you’ve probably heard some of the great Cole Porter songs. The original book was by the vintage team of Guy Bolton, P.G. “Jeeves” Wodehouse, Howard Lindsay & Russel Crouse — and the new book is by Timothy Crouse (yes, Russel’s son) & John Weidman. Whew! That’s a lot of writers!
The show first debuted on Broadway in 1934, and the libretto has been revised multiple times, most recently in 2022. The show has been seen on Broadway, London’s West End, and at regional and community theatres all over the world, as well as via several film and TV versions.
What makes this musical one that is still popular today? The plot (even as revised as it) is as thin as a rail, with stereotypical characters we can spot a mile away. Having seen multiple productions over the years, I can tell you the definitive answer: Cole Porter’s songs. While I wasn’t around in 1934, they still feel as fresh as the first time I heard them.
Anything Goes is set on board the ocean liner S. S. American, sailiing from New York to England with nightclub singer Reno Sweeney and her Angels on board. Reno’s friend Billy Crocker has borrowed the ticket and passport of a gangster commonly known as Public Enemy #1 to be near his love, Hope Harcourt, but Hope is engaged to the wealthy Lord Evelyn Oakleigh. Also on board are Public Enemy #13, Moonface Martin, and his sidekick-in-crime Erma.
With the help of some elaborate disguises, tap-dancing sailors, and good old-fashioned blackmail, Reno and Moonface join forces to help Billy in his quest to win Hope’s heart.
Byron Holder wears two hats as both director and music director for the show and has cast it well. The singing, especially the harmonies, is strong throughout, and it all coordinates nicely with Chloe Parrish’s energetic choreography. The highlight of the show involves the entire cast in “Blow, Gabriel, Blow,” in which everyone is singing and dancing their hearts out. Holder and Parrish have utilized Mike Carter’s simple yet effective set well.
Laura Carter Alley is obviously having a blast as Reno Sweeney. Her powerhouse voice and solid dance moves are fun to watch, though she does a few too many “takes” to the audience to be completely convincing. Her “Angels” (aka backup singers) are played by Kayla Starr Bryan, Kelsey McFarland, Chloe Parrish, and Kristi Lee Tomenga, all making very distinct character choices. Giving them such unique personalities sets them apart from other productions I’ve seen and makes them a lot more believable.
Garrett Holton and Megan A. Liles make a charming couple as Billy and Hope, and their rendition of “It’s De-Lovely” is...well, lovely. Could do with a bit more chemistry there, but that song…ah.
As the fly in the ointment (i.e. Hope’s fiancé), Heath Bromley is an absolute delight as Lord Evelyn Oakleigh. His goofy British way of attempting to pick up on American slang is laugh-out-loud funny, and I loved his complete abandon in “The Gypsy in Me.”
As Moonface Martin, Jack Agnew grows into the role and is especially good in the second act once he stops pretending to be a priest. “Be Like the Bluebird” was another highlight of the show with its combination of Agnew’s strong vocals and deadpan delivery.
Chelsea Catalano plays his man-crazy partner in crime, Erma, who gets her own chance to shine in “Buddie, Beware” with the sailors (played by Elijah Beck, Logan Beutel, Landon Breecheen, Jarrod McRae, and Brendan Tetter). Beutel and Tetter also brilliantly play unnamed petty crooks throughout—and in fact, they were my personal favorite part of the show.
Rounding out the cast are Aaron Adair as the stuffy Ship’s Captain, Alex Bigus as Billy’s boss Elisha Whitney (from whom Billy must keep hiding during the voyage), Kelly Schaaf as Mrs. Evangeline Harcourt (Hope’s money-conscious mother), and Laura Jennings as literally everyone else.
Anything Goes is a classic, yet not a dinosaur like many other musicals of this time period — and the music really is wonderful. Repertory Company Theatre’s production is solid and makes for an entertaining night at the theatre. I left with many of the songs rolling around in my brain, and it’s likely to happen to you too!
WHEN: December 31, 2025-January 4, 2026
WEB: rcttheatre.com
