De-lightful, de-licious, and undeniably dynamic! This spirited co-production delivers an evening of pure, communal joy and razzle-dazzle.
Review by Afshin Razi
A Classic Score With Timeless Appeal
When a musical has lasted nearly a century and still feels fresh the moment the overture begins, you know you are in the presence of something special. The Carnegie and University of Cincinnati College-Conservatory of Music collaboration brings this beloved musical comedy to life with a high-energy production that celebrates that legacy. Few shows capture escapist joy quite like Anything Goes, and this co-production goes all in.
If there’s one thing about Cole Porter’s Anything Goes that has stood the test of nearly a century, it’s that its blend of witty lyrics, madcap shipboard romancing, and unforgettable tunes keeps audiences tapping their toes and grinning from ear to ear. Since its Broadway premiere in 1934, where it introduced the world to Porter’s sparkling score and characters that are as clever as they are charming, Anything Goes has been revived on Broadway, toured internationally, and inspired Hollywood adaptations. From Ethel Merman’s original star turn as Reno Sweeney to the splashy Broadway revivals that reintroduced the tap-heavy spectacle to new generations, this musical has never drifted far from the cultural spotlight. It’s always been a show that feels timeless, perhaps because when life gets too serious, a musical comedy about lovers stuck on an ocean voyage reminds us all that sometimes, joy is the only proper destination.
A Powerful Cast That Knows How to Entertain
There are moments when the performers truly elevate the evening. Indya Lincicome is sensational as Reno Sweeney, the nightclub chanteuse with a past. When she sings, it feels like you’re at a Beyoncé concert, and her stage confidence is one of the clearest highlights of the production.
Josh Devine steps into the role of Billy Crocker with ease and sincerity, embodying the classic romantic lead with natural charm. As Hope Harcourt, Monique Churchill is “delovely” with demure expressions and understated elegance that suit her character wonderfully.
Dominic Carroll is a revelation as Moonface Martin. He fully leans into the lovable gangster disguised as a clergyman, and every moment feels intentional, playful, and perfectly timed. Joey Baciocco as Lord Evelyn Oakleigh is another standout. From his physical comedy to his perfectly posh accent and crisp line delivery, he creates a character that is both charming and consistently hilarious.
Even More Stand Outs
Abigayle Kate Gatton Stokes ignites the stage as Erma, the feisty and flirtatious diva, while Diane Lala and Robert Pavlovich as Evangeline and Eli Whitney are perfectly cast, with Diane’s comedic instincts and Robert’s sly delivery earning genuine laughs.
Jack Haroutunian is the kind of Captain you’d happily book passage with, steady at the helm, smooth in song, light on his feet, and delivering every line with confident command, making you believe he actually runs the ship.
Bringing immense energy to their roles, Zoo Finkelstein as Spit and Benjamin Schultz as Dippy deliver terrific comic timing. The sailor ensemble–Carter Minor, Griffin Simmons, Jameson Zoller, and Andy Bakun–are tap-dancing kings of the sea. (Bakun made me do a real double take because he looks so much like Canadian actor Hudson Williams from the hit television series Heated Rivalry.) During the dance number with Erma, the quartet’s choreography is so sharp and athletic and executed with unmistakable swagger.
Behind the Scenes Brilliance
Director Eric Byrd brings clarity to the staging, ensuring that even the most chaotic comic moments remain grounded and easy to follow for the audience. Jessica Harris’s choreography consistently elevates the production with powerful, memorable moments, particularly in the large ensemble tap sequences that showcase both precision and personality. Music Director Julie Spangler keeps Porter’s jazz-inflected score lively and engaging, allowing the orchestra and performers to ride the rhythm with confidence and polish.
Scenic and props designer Tyler Gabbard provides sets that evoke the shipboard world, using layered staging and roll-on cabins that keep the action fluid. Costume Designer Clara Jean Kelly’s work is a visual treat, full of period flair, from crisp nautical uniforms to Reno’s glamorous stage looks that shimmer under the lights. Lighting Designer Jessica Ann Drayton creates the steam ship atmosphere using color and focus, and even a bit of whimsy. Sound Designer Jason Sebastian ensures every lyric, bark and ship horn is heard. Missy J. White’s wig, hair and makeup design are true to period, and true to character. Production Stage Manager El Bowers and Technical Director Doug Stock keep the show running smoothly.
Final Verdict: This is a Cruise Worth Taking
This co-production of Anything Goes by The Carnegie and University of Cincinnati College-Conservatory of Music lives up to its promise of fun escapism. This is the kind of classic musical that reminds audiences why these titles endure.
For fans of musical theatre and anyone who enjoys a bit of nostalgic razzle-dazzle aboard the fictional steam ship the S.S. American, this is just the ticket.
Tickets to Anything Goes at the Carnegie
Anything Goes is anchored at The Carnegie February 27 through March 8, 2026. Grab your tickets and check showtimes by calling 859-957-1940 or visiting https://thecarnegie.com/
Running time: Approximately 2 hours, including a 15-minute intermission.
LCT reviews are edited by Liz Eichler, Stage Insights Chair and Member of American Theatre Critics Association
LCT reviews are edited by Liz Eichler, Stage Insights Chair and Member of American Theatre Critics Association
