By Liz Eichler
One of my indicators of a truly good show is goosebumps.
Anything Goes gives goosebumps.
The Carnegie, under Theatre Director Tyler Gabbard’s leadership, has been on a remarkable run of success. And CCM Musical Theatre students are among the best in the country. So expectations were high for this partnership, ever since the season was announce last spring.
This production exceeds expectations.
The first thing that strikes you is the set. If you’ve ever stepped onto an older vessel, you recognize the authenticity immediately. The riveted portholes layered in years of white paint relay the sense of weight and history. Cleverly, there’s no rail at the front of the stage, only at the back, inviting the audience to feel as though we’re aboard the ship ourselves. Actors even enter and exit through the house, bridging the distance between performer and audience before the first big tap number even lands.
Then the performers appear with impeccable costumes, hair and makeup, they sing and dance their hearts out. What sets this production apart is its confidence and control. The cast breaks the fourth wall with a wink, reminding us: this is theatre, we’re in on the joke, and we’re going to have a wonderful time.
Background
If you’ve never seen Anything Goes, the music and lyrics were written by Cole Porter, debuting on Broadway in 1934. America was between wars and deep in the Depression. Audiences craved escape through wit, glamour, romance, and spectacle. Porter delivered all of it, wrapped in clever lyrics and irresistible melodies.
Over the decades, the show has undergone several revisions. The Carnegie presents the 2022 adaptation, which thoughtfully removes dated stereotypes and reshapes and re-inserts certain elements while preserving the show’s sophistication and sparkle. The original book was by P.G. Wodehouse, Guy Bolton, Howard Lindsay, and Russel Crouse; this updated version is by Timothy Crouse (Russel’s son) and John Weidman. The result keeps the comedy intact while allowing contemporary audiences to relax into the fun without awkward distractions.
The Plot in Brief
Billy Crocker, a young Wall Street broker, stows away on an ocean liner bound for England to win back his love, Hope Harcourt, who is engaged to the well-meaning British aristocrat Lord Evelyn Oakley. Billy’s boss Elisha Whitney is aboard, as is Hope’s formidable mother. Reno Sweeney, nightclub singer and Billy’s friend and confidant, adds glamour and good sense to the chaos, while gangster Moonface Martin adds both complications and solutions. Disguises multiply, stakes escalate, and, in true Aristotelian comic fashion, multiple couples find their proper partners by the final curtain.
That’s the tidy version. In reality, the deck bustles with sailors, waiters, backup singers, and more. There are at least twenty-four cast members, swings, standbys and understudies (most students from University of Cincinnati’s College Conservatory of Music) keeping the ship in constant motion. I lost count of the costumes, but most have at least four changes, and many are quick. I’m sure backstage is as busy as onstage.
Performances
This is Reno Sweeney’s show, and Indya Lincicome delivers the goosebumps. This girl brings the chutzpah to Sweeney, as well as the vocal and dancing power. There’s bite in her phrasing and command in her movement. When she launches into “Anything Goes,” tapping full out while sustaining those brassy notes, her voice shakes the rafters.
Josh Devine’s Billy Crocker offers warmth and technical control, especially in the challenging “Easy to Love,” cut from the original production for its demanding range and rhythmic intricacy. Devine handles it beautifully, blending romantic sincerity with vocal agility.
Monique Churchill’s Hope Harcourt brings elegance and vocal clarity to “It’s De-Lovely” and “Goodbye, Little Dream, Goodbye.” She captures the ingénue’s poise and quiet resolve.
The breakout performance of the evening may well be Joey Baciocco as Lord Evelyn. Tall, vocally assured, and armed with impeccable comic timing, he squeezes every ounce of humor from “The Byron in Me.” He is the sleeper hit, and judging from opening night chatter, audiences agree.
Abigail Kate Gatton Stokes shines as Erma in “Buddy, Beware,” revealing that beneath the Betty Boop façade lies a savvy operator. It’s a delightful turn that allows both character and performer to show range.
The quartet of sailors–Andy Bakun, Carter Minor, Griffin Simmons, and Jameson Zoller–could each headline a production. Together, they are a quadruple threat, delivering athleticism, harmony, and charisma in tight formation.
In addition to the CCM students, Diane Lala, recently retired faculty, anchors the show as Mrs. Evangeline Harcourt. Robert Pavlovich (Lala’s real-life partner) relishes Elisha Whitney’s buffoonery with expert comic timing.
The Production Team
Director and co-choreographer Eric Bird has shaped a production that feels cohesive and joyful. Visually, it’s a feast: Tyler Gabbard’s set design grounds us firmly aboard ship; Jessica Ann Drayton’s lighting bathes the stage in soft pastels and sparkling chasers; Clara Jean Kelly’s costumes celebrate every swirl and godet; and Missy J. White’s hair and makeup complete the period glamour.
Musical Director Julie Spangler and Sound Designer Jason Sebastian strike the perfect balance, allowing Porter’s score to shine without overwhelming the performers or audience. The live orchestra — Corbin Keene, Peter Koury, Gabriel Pimental, Georgia Holt, and Brian Malone — gives the show buoyancy. The piano sparkles, and sounds like a carnival in the Overture, preparing us for something fun. The brass soars throughout, especially in “Blow Gabriel Blow.”
The title number, “Anything Goes,” is the show’s tap-dancing extravaganza executed with ease and precision. “Blow, Gabriel, Blow” raises the roof, and “The Byron in Me” lands with comic finesse. In contrast, “Goodbye, Little Dream, Goodbye” offers a moment of stillness and beauty in a beautiful stage image.
This is Broadway Quality Musical Theatre
Anything Goes at the Carnegie is the ultimate escape, without talk of politics, without impending war or economic issues–the same things audiences were escaping in 1934. It is two and a half hours of wit, romance, rhythm, and joy. The performers and production values are Broadway quality. Full stop.
If you’re looking to introduce someone to musical theatre (or remind yourself why you fell in love with it) this is the production to see.
Get your tickets now. Seriously. This will sell out. Many performances are already close to a sell-out. Call 859-957-1940, Tuesday – Friday Noon – 5 p.m. or go to https://thecarnegie.com/ Anything Goes runs only through March 8, 2026.
