Review: Anything Goes

Review: Anything Goes | Candlelight Dinner Theatre | Johnstown, CO | Curtain Up! | Eric Fitzgerald

Candlelight’s Anything Goes arrives with the easy confidence of a show that knows exactly what it is: a fizzy 1934 cocktail of tap shoes, farce, and Cole Porter at his most irresistible. And here, the included dinner isn’t just a prelude—it’s part of the evening’s rhythm, a kind of communal overture that softens the room before the first trumpet ever sounds. From there, Kate Vallee’s wink‑forward staging keeps the whole shipboard circus afloat, while Mason Siders’ bright, buoyant musical direction gives Porter’s score its snap and shimmer. And Charlotte Campbell’s costumes—sequins, sailor whites, and period glamour—nearly steal the show outright.

If anything, Anything Goes should probably come with a small warning label: “Contains 1934‑grade screwball plotting, feather‑light stakes, and generous amounts of hokum.” That’s part of the fun and the friction. You can feel the show’s age in its farcical zigzags and its utter refusal to take itself seriously — the kind of antics that either charm you outright or make you glance sideways at your tablemates to confirm you all just witnessed the same bit. But when a production leans into the artifice — when it treats the datedness not as a liability but as a style — the whole thing can feel oddly fresh, like opening a window onto a sillier, more effervescent era. Candlelight’s staging mostly lives in that space, inviting you to enjoy the confection rather than interrogate it.

This production uses the 2022 revival script, with Timothy Crouse and John Weidman’s streamlined book shaping the familiar shipboard chaos. The story follows Billy Crocker (Jacob Meyerson), a lovelorn Wall Street assistant who stows away on the S.S. American to pursue Hope Harcourt (Rachel Turner), the debutante inconveniently engaged to the ever‑courteous (and delightfully odd) Lord Evelyn Oakleigh (Jack Cordray Griffin). Reno Sweeney (Libby Shull), nightclub singer turned evangelist, takes Billy’s cause under her wing, while Moonface Martin (Brandon Sutorius)—“Public Enemy #13”—and his partner‑in‑crime Erma (Stephanie Garcia Ochs)  add their own brand of mischief to the voyage. Mistaken identities, swapped passports, and a few well‑timed disguises keep the plot happily afloat until love, as it tends to do in 1930s musical comedy, sorts itself out by the curtain call.

As is their habit, Candlelight has gathered a remarkably assured ensemble—performers who don’t just navigate Cole Porter’s score but send it sailing straight into the rafters. The vocal firepower is undeniable, and the evening’s brightest jolts come in the form of Porter’s greatest hits: a buoyant, quick‑witted “You’re the Top,” a warmly polished “De‑Lovely,” and a title number that lands with such brassy exuberance you can feel the room sit up a little straighter.

Libby Shull as Reno Sweeney with her Backup Angels | Photo credit: RDG Photography

Among the standouts, Libby Shull anchors the production with a Reno Sweeney who’s all sparkle and command, tossing off Porter’s zingers with effortless charm. Jacob Meyerson proves himself a true triple threat—acting, singing, and dancing with such ease that his Billy Crocker becomes one of the evening’s most polished and engaging performances. Rachel Turner’s Hope Harcourt brings a luminous presence and a clear, silvery soprano that lifts every duet. At the same time, Brandon Sutorius leans into Moonface Martin’s comic mischief with irresistible gusto, the kind that makes the audience perk up the moment he ambles into view.

The ensemble—ten gifted actors who slip nimbly between production numbers and a carousel of smaller roles—gives the show its buoyant engine. They handle the big musical numbers with crisp precision, then pivot into character bits that keep the story humming along. Once again, Candlelight has gathered a wonderfully cohesive group that elevates every scene they touch, proving that the company’s bench strength is as reliable as its headliners.

Kate Vallee’s direction and choreography give the production much of its snap, especially in the intricate ensemble work and the mandatory tap number that all but brings the house down. Her staging is thoughtful and clean, guiding the story with a sure hand and keeping the evening moving at a lively clip. If anything, the quirky, somewhat dated book might have benefited from a bit more sculpting to help it land with sharper clarity for a modern audience—but even so, Vallee’s overall approach remains confident and generous, foregrounding the music, movement, and character moments that make Anything Goes such an enduring delight.

Beneath it all, the ten‑piece orchestra provides the show’s heartbeat, delivering Cole Porter’s score with a richness that only live musicians can supply. Under the assured baton of Mason Siders—music director and conductor—the accompaniment becomes a testament to Candlelight’s unwavering commitment to presenting musicals at the highest caliber. And in a gesture that sets the company apart, Candlelight includes full musician bios in the program, giving each artist the recognition they deserve and underscoring just how integral they are to the evening’s success.

Charlotte Campbell’s costuming is nothing short of resplendent, her designs leaping off the stage with confidence and flair. Reno’s seemingly endless parade of spectacular outfits becomes a visual throughline of the evening, each look more deliciously crafted than the last. Casey Kearns’ set offers a crisp, cleverly arranged evocation of the S.S. American—tiered, nautical, and instantly readable—providing a lively playground for the cast without ever cluttering the stage picture. Brett Maughan’s lighting deepens that illusion, shifting from bright, sun‑on‑the‑deck vibrancy to more intimate, moonlit hues that guide the audience through each musical turn. Together, their work creates a visual environment that feels both inviting and smartly attuned to the show’s breezy, ocean‑liner charm.

Anything Goes flourishes under Kate Vallee’s spirited direction and Mason Siders’ expert musical stewardship, both of which shape a cast that meets the material with generosity and verve. Candlelight’s signature dining service enhances the experience, offering a wide range of options that ease the audience into the evening with comfort and charm. Playing through June 14 in Johnstown, this production is well worth the trip—a vibrant, lovingly rendered revival that reminds you just how effervescent Cole Porter’s world can be when handled with such care.

Information and tickets: https://coloradocandlelight.com/show/anything-goes/