Anything Goes
By Cole Porter, P.G. Wodehouse, Guy Bolton, Howard Lindsay and Russel Crouse. Directed by Tyler Jones. The Judith Cottier Theatre, Perth College, Mt Lawley, WA. Mar 19-22, 2025
Perth College, equipped with its own professional standard theatre, always produces a good show, and their latest offering, the classic musical comedy Anything Goes, was well received by its audience. With high production values and a highly motivated cast, this was a show that sparkled with fun.
Featuring a cast of Perth College students and “borrowed” young men from schools around Perth, every scene and song was attacked with gusto and performed with panache.
Addi Blizzard anchored the show with verve as leading lady Reno Sweeney, a sassy 30s ‘Grande Dame’ with sophistication and wit. A lovely contrast was Gaby Laubscher, lending her beautiful soprano voice to sweet ingenue, debutant Hope Harcourt. The third young lady in the plot, gangster’s moll Erma, was superbly played by Sofia Bandini.
Elizabeth Kelly brought maturity and comedy skills to Hope’s mother Mrs. Harcourt, Milly Ammerer was an efficient Purser, while Reno’s Angels were played with great teamwork and swagger by Nadia di Silvio, Tess Taylor, Genevieve Franzen and Aliza Chopping. Tia Nguyen teamed up nicely with guest artist Aadidev Sajeevkumar to play missionary converts Dippy and Spit, while the plethora of cameo roles were very nicely handled.
Great work from the guest performers playing the major male roles. Matt Ballantine reprised the role of Billy Crocker that he played to acclaim for Bel Canto, owning the stage in his scenes. Ari Rangé was a beautifully British Lord Evelyn Oakleigh. Max Murray exuded wealth and power as Eli Whitney, while Walter Gittens charmed as gangster Moonface Martin. Great work from the crew, Captain James Leber and sailors Ash Brady and Jinx Cuddihy.
Supported by a large student and community orchestra, the show sounded fabulous under the care of Musical Director Jane Artelaris. Choreography, by Amy Raveendrakumar was strong, and a specialised dance chorus added spark.
A very professional set design was superbly constructed and well-lit by tech designer Matthew Brown. Krystal Meek’s hundreds of costumes were true to era, with clever use of colour.
As the curtain closed, there was an audible squeal of delight from a young cast that knew that they had performed to their utmost - a delight to hear, and a joy that was shared by the audience.
Kimberley Shaw