Anything Goes

Summer Theatre Program

Photo credits: @summertheatreprogram on instagram

Welcome aboard the S.S. American: it’s a splash!

From the cruise deck of Bishop Ireton High School’s auditorium, Summer Theatre Program put on a tongue-in-cheek performance of “Anything Goes.” Times might have changed, but the heart and slapstick comedy of this classic Cole Porter musical held true thanks to its dedicated cast of students.

Make sure you’ve got all of your belongings; we’re about to set sail into this whirlwind of a story!

Anything Goes

Written in 1934 by P.G. Wodehouse and Guy Bolton, “Anything Goes” takes place aboard an ocean liner bound for London. What’s curious about this ocean liner, you might ask? Take its cast of characters: a lovesick stowaway, a beautiful heiress, a wanted gangster, a wealthy Englishman, and a nightclub singer… no grounds for trouble, surely. 

Known for its show-stopping numbers, the score of “Anything Goes” is a culmination of works by Cole Porter. While Porter did write a set of songs specifically for the show (with star Ethel Merman in mind), “Anything Goes” has been adapted and re-adapted a staggering number of times since 1934. Hence, some of Porter’s original numbers have been replaced over time by songs that he’d written for his other works.

If I were to mention the song “It’s De-Lovely,” it’s impossible not to think of Anything Goes, right? The number’s pretty central to the plot: not only does it introduce the primary romance between heiress Hope Harcourt and businessman Billy Crocker, but it closes out the eventual wedding that comes between them. Turns out, “It’s De-Lovely” was originally written for Porter’s 1936 musical “Ret, Hot, and Blue.” The song wasn’t part of “Anything Goes” until its 1962 revival, and didn’t even close out the show with its reprise until 2011. 

All this to say, “Anything Goes” isn’t the only musical that underwent score revisions to stand the test of time. “Grease,” for example, was also heavily rewritten after its film adaptation’s commercial success. 

Believe me, I was equally shocked to find out that the utterly iconic numbers “Hopelessly Devoted to You” AND “You’re the One That I Want” weren’t part of the show’s original score.

Ultimately, the bulk of the matter is this: old art is often modified to reflect society’s ever-changing cultural landscape. Luckily, the old-timey charm and slapstick humor of “Anything Goes” are still at the center of it. Hence the “golden” in golden-age musical theatre: a shiny representation of the time, though sometimes tweaked to fit the audiences of today.

History lesson over: onto the production at Summer Theatre Program!

This Production

Straight out of the gate, I was thrilled to see that this production had an orchestra almost entirely comprised of students! While conducted by an adult (music director Maggie Rabe), I’d like to say that 90% of the rest of the pit was student musicians: keys, brass, strings, you name it. They infused the show’s lush score with an incredible amount of heart, and safe to say, were one of my absolute favorite parts of the production. 

I mean, when they’ve all got tiny sailor hats, what’s not to love? The drummer even had a hat on his hi-hat cymbal: two hats in one (ba dum tss)!

After a stunning overture, the curtains opened to reveal a quaint bar. Before long, Ruby Carlon sashayed onto the stage as classy nightclub singer Reno Sweeney, and cleverly quipped alongside Daniel Brunson’s Billy Crocker. Carlon exuded old-timey elegance all throughout the show, with a perfectly rich voice to match. If there’s one thing about Reno Sweeney, she’s got to have impressive vocal chops--luckily for us, Carlon rose to the task. Her crystal-clear belt and velvety vibrato particularly shone in “Anything Goes” as she led the roaring ensemble to a crisp act one finale.

Brunson stepped into the shoes of Billy Crocker: charismatic businessman and lovesick fool for Hope Harcourt. With powerful vocals and stage presence, Brunson crooned a charming rendition of “Easy to Love” (yet another song added in 1987!) to the utter delight of Sofia Terpak’s Hope Harcourt. Terpak twirled across the stage with a graceful quality in “All Through the Night,” and expressed the yearnings of a moony-eyed girl locked away from her true lover in “Goodbye, Little Dream, Goodbye.” 

Let’s be real: if there’s one thing golden-age musicals are great at, it’s adhering to classic character archetypes. Hope Harcourt is a textbook ingenue role, and Terpak proved this fact by successfully portraying Harcourt’s hopelessness. Still, I applaud her for the fact that she didn’t shy away from the character’s more confident moments.

Last (but certainly not least), Pierce Aldridge and Tony Hillary brought impeccable characterization to Lord Evelyn Oakleigh and Moonface Martin: two of the show’s most farcical roles. Donning a perfectly posh British accent, Aldridge spoke every line with a singsong lilt and expert comedic timing. His every move was gentleman-like, whether it was a flick of the wrist or a flourish of his trailing tailcoat. 

Hillary sported an equally hilarious New York dialect for the role Moonface Martin. Each of his movements was comically cartoonish, and his enthusiastic rendition of “Be Like the Bluebird” was infectious. Hillary and Isabella Melendez’s playful Erma Latour put on a considerable number of antics: all complete with perfectly obnoxious accents, of course. Trust me, Melendez’s Jersey accent rivaled the signature nasality of recurring “Friends” character Janice Hosenstein. 

Final Thoughts

“Anything Goes” is undoubtedly a classic in the musical theatre canon, and you can’t help but hum along to some of its most iconic songs. Summer Theatre Program’s production was no exception, with an incredibly talented orchestra and luscious ensemble vocals all throughout the show. 

Golden age musicals are certainly not for the weak in terms of length, and “Anything Goes” is no exception with a runtime of around 2 hours and 45 minutes. Even still, that runtime is used to develop a wide cast of zany characters with a number of chaotic antics to unravel, so something new was always happening. Plus, when an adorable dog’s involved, the plot basically moves itself.

Summer Theatre Program has been producing summer musicals since 1997, which means “Anything Goes” marks their 29th annual production. They’re a ministry, and co-sponsored by Saint Bernadette Catholic Church as well as Bishop Ireton High School.

Visit summertheatreprogram.org for more information on Summer Theatre Program and their past productions.