Every year for the fifth summer in a row, Patio Playhouse has brought a "big" show to Kit Carson Park Amphitheatre. With a cast of 26 and almost all on stage for major production numbers, Anything Goes certainly qualifies. Opening in 1934, it became the fourth longest running show of the thirties. Cole Porter's tuner, along with Gershwin's Porgy and Bess, is continually revived to run yet one more time on and off Broadway as well as throughout the land. With very singable songs including "You're the Top," "It's Delovely," and "All Through the Night," it is an audience pleaser. As with many productions during the depression, Anything Goes is a story of hope, happiness, and romance in which the guy always gets the right girl, propitious events save the day for the hero, and good conquers all.
Hope Harcourt (Anna Carlstrom) is traveling to England with her Mother (Caro Louis Aristei) to marry fellow passenger, Evelyn Oakleigh (Brian Weissman), at his estate outside of London. Reno Sweeney (Holly McDonald) has her heart set on Evelyn. Billy Crocker (Romeo Pasquariello) stows away, meeting up with his old flame, Hope. Mrs. Harcourt has an interest in the wealthy Elisha Whitney (Kim Taylor). Meanwhile Public Enemy number 13, currently pretending to be a minister named Dr. Moon, Moonface Martin (Bruce Blackwell), has intentions on Bonnie LaTour (Meredith Russo).
The normal number of complications for a couple of hours impedes the romances. Billy goes through a myriad of disguises to avoid the ship's purser. Billy and Moonface as well as two Chinese, Ching and Ling (Sandy Tate and J Darling), get thrown into the ship's small jail cell. Reno and Evelyn playfully sing "Let's Misbehave."
The two-story set is a marvel of engineering. Stairs flanking the sides reach from the main deck to the bridge. With swinging panels, the lower deck's exterior becomes two cabin interiors. Fortunately, co-director Richard Brousil is a contractor.
Costume Designer Lynne Puck and her highly accomplished crew designed excellent costumes, easily creating the flavor of the thirties. The uncredited hair designs exactly fit the period.
Choreographers Wendy Lemon and Holly MacDonald, assisted by Cassidy Schweibold, created many dance routines for their talented singers and dancers. Often the extremely energetic Meredith Russo leads the ensemble, with very accomplished Elliot Bigelbach joining. The tap numbers are well executed.
With many big productions like Anything Goes, problems occur. A body mike is not potted down, and the audience hears a comment . . . not written by Cole Porter. The follow spots are a large distance from the stage, which means any movement is highly amplified. The sound system still appears to have some problems. Still, the support and ensemble members added much to the production. Pasquariello's Billy appears a tad old for Carlstrom's Hope. McDonald gives Reno just the right amount of panache. Blackwell's Moonface Martin is a classic comedic hoodlum.
Patio annually takes on a huge task to create these major musicals at Kit Carson Amphitheatre. As with most productions of this size, the ability of the actors varies. Some singers simply don't have the range required for a given song, and the theater doesn't have a resident arranger to accommodate the talent. This is a difficulty that needs to be overcome to bring the highest possible production value to the audience.
