Stage Review - Anything Goes (Reboot Theatre)

Stage Review - Anything Goes
Presented By: Reboot Theatre - Seattle, WA
Show Run: November 07 - November 24, 2025
Date Reviewed: Saturday, November 08, 2025 (Opening Weekend)
Run Time: 2 Hours, 45 Minutes (inclusive of a 15-minute intermission)
Reviewed By: Greg Heilman

Given the sheer number of shows I see each year, it’s rare that I experience a genuine “wow” moment during a performance — and even more rare when I experience more than one in a single evening. But that’s exactly what happened when I saw Reboot Theatre Company’s production of Anything Goes this past Saturday at the Theatre Off Jackson, in a production directed and choreographed by Harry Turpin, and running through November 24.

I’m familiar, of course, with Reboot’s formula: taking traditional musicals, like last season’s Damn Yankees and Oliver!, and reworking them in new and imaginative ways. With Anything Goes, they’ve truly outdone themselves. The original is a screwball romantic comedy that takes place aboard an ocean liner crossing the Atlantic. Billy Crocker, an up and coming Wall Street trader, stows away to pursue the love of his life, Hope Harcourt, who’s engaged to the wealthy Lord Evelyn Oakley. Along the way, Billy crosses paths with nightclub singer Reno Sweeney, gangster Moonface Martin, and a host of eccentric characters, all of whom get caught up in a whirlwind of mistaken identities, love triangles, and slapstick antics.

Fitting with its model, Reboot has taken Cole Porter’s timeless musical and moved it from the ocean to outer space — a setting that (perhaps to some sci-fi purists’ collective chagrin) becomes a delightful mash-up of Star Trek, Star Wars, The Six Million Dollar Man, and even a wink to Pixar’s “A113.”. The result is something that leans fully into the sci-fi spectacle without losing any of the heart or wit of the original musical. Klingons, Twi’leks, and other alien species belt out familiar tunes like “I Get a Kick Out of You,” “It’s De-Lovely,” and “Anything Goes” in their original orchestrations, making this production the best of all worlds—or galaxies—and a perfect example of Reboot’s creative audacity paying off.

Directed and choreographed by Harry Turpin, whose previous Reboot credits include Jesus Christ Superstar, Little Shop of Horrors, and Fly By Night, this production is a pure treasure for those of us who love musical theatre. Harry’s direction is sharp and imaginative, and his choreography is exquisite—big, stylish, and endlessly inventive. He uses the small space of Theatre Off Jackson as well as I’ve ever seen it used, making the ensemble numbers feel grand without ever feeling crowded, and allowing the more intimate moments the space to breathe.

Act 1 builds steadily toward the first “wow” moment: the ensemble’s powerhouse performance of “Anything Goes,” led by Kat McFadden’s Reno Sweeney. But Kat isn’t done there—her Act 2 rendition of “Blow, Gabriel, Blow” matches, if not surpasses, that earlier high, a dazzling display of vocal brilliance and perfectly synchronized choreography. Kat owns the stage as Reno, exuding a classic Broadway presence infused with fresh energy. Her command of the stage, along with her effortless charm, lifts the ensemble in those numbers and shines in her solo “I Get a Kick Out of You.”

The talent runs deep throughout the cast. Hannah Votel brings an impressive vocal range and genuine emotional depth to Hope Harcourt, transcending the alien makeup and costuming to deliver a heartfelt “Goodbye, Little Dream, Goodbye.” Mackenzie Malhotra is a strong and charismatic Billy Crocker, matching sharp comedic timing with a confident vocal performance. Rolando Cardona-Roman’s Moonface Martin adds levity and warmth, his duet “Friendship” with Kat’s Reno serving as a wonderful prelude to the sweet chemistry of Hannah’s Hope and Mackenzie’s Billy in “It’s De-Lovely.” That number, one of the show’s most charming moments, is quickly topped by the company’s jaw-dropping “Anything Goes” finale to Act 1.

Samuel Pettit’s Evelyn Oakley brings a subtle humor to his Vulcan alter ego, committing fully to the bit in a way that fits the production’s intergalactic whimsy. Steph Couturier’s Elisha Whitney is hilarious, stumbling through the ship without their glasses in a bit that never fails to land, while Audrey Brinkley’s ship’s captain is a comic gem—her habit of checking her hands for written dialogue a running gag that adds meta-theatrical humor to an already self-aware show. Audrey’s gift for expression-based comedy shines throughout.

It’s also a pleasure to watch actors evolve over time, and seeing Marnie Wingett’s growing confidence on stage has been a joy. As Erma, she brings both humor and incredible tap-dancing skill, earning some of the biggest laughs and loudest applause of the night. Her Act 2 tap number stops the show cold—in the best way possible.

The dancing, as one would expect from Harry Turpin, is a consistent highlight. His choreography draws on tap, ballroom, traditional Broadway, and modern movement, combining them seamlessly into a cohesive whole that feels effortless. To blend that many styles in one production without losing rhythm or focus is no easy feat, yet Harry makes it look as though Anything Goes was always meant to be performed this way.

Kali Pohle deserves special praise for her costume, makeup, and prosthetic design work. Bringing so many distinct, otherworldly species to life on stage is no small task, and she meets it head-on with spectacular creativity. The work is detailed, witty, and visually stunning. Jacob Viramontes’ scenic and lighting design perfectly complements the show’s tone, keeping the stage open and dynamic even with a large cast, while matching the humor and vibrancy of the piece. His collaboration with props designer Jack Bateman-Iino results in some truly hilarious moments—none more so than the “Star Trek”–inspired replicator gag during “You’re the Top,” a highlight of comic invention.

The band, led by music director Sam Peters (with Olivia Pedroza, Cody Clark, and Andrew Brooke rounding out the pit), delivers Porter’s score with a crisp, classic sound that retains all of its original charm, and Cody Clark’s clarinet solo in “Blow Gabriel Blow” is yet another musical highlight. Jay Johnson’s sound design ensures clarity, balance, and warmth throughout, allowing every lyric and harmony to come through beautifully.

Reboot’s production of Anything Goes doesn’t just revive a classic—it reimagines it for a new era, balancing nostalgia and innovation with wit and heart. This piece stands tall as both an homage to Broadway’s golden age and a testament to Reboot’s boundary-pushing spirit. It’s a show that reminds us why musical theatre endures: because when it’s done this well, anything truly goes.

The Reboot Theatre production of Anything Goes runs on stage at The Theatre Off Jackson through November 24. For more information, including ticket availability and sales, visit https://reboottheatre.org/.

Photo credit: Colin Madison Photography