Camtastic Newsletter April 2026

“Anything Goes” wraps four-show run to rave success  

The four performances of “Anything Goes,” the classic Cole Porter musical, marked a perfect finish to the Spring 2026 theater season. In an interview conducted by Mark Stoffel, play director Angela Shultz, an associate professor in Music Theater, elaborates on the path and process that led to the overwhelming success of yet another great collaboration between the schools of Music and Theater & Dance.  

In a brief synopsis, how would you describe the play’s nature and narrative?

t’s all aboard the London-bound USS American! “Anything Goes” is a satirical and escapist romp that explores celebrity, religion and gangster culture against the backdrop of romance, tap dance and familiar tunes by Cole Porter. 

What was your role in this production, and what were the biggest challenges you encountered? Was this the first production moved from McLeod Theater to Shryock Auditorium due to the Communications Building renovation, and if so, how did you adapt?  
 
I was fortunate to have the opportunity to direct “Anything Goes” alongside amazing SoM and SoTD colleagues. There were several challenges, one being that this was the largest cast we’ve had onstage! Rehearsing in Altgeld 116 with 24 tap dancers produces a cacophony of sound and tremendous energy confined to a small space. We had never worked in Shryock for a musical, so that in itself was a challenge. We, as the entire team, were not as familiar with the layout and how things would play in that space, so even when decisions were made in rehearsal space, some had to change once we were on the actual stage. 

Our time on the Shryock stage was also limited. We were first able to get on the stage nine days before opening. Of those days, one was the “crew view” which was our performance for all of those working backstage; three were dress rehearsals; two were technical rehearsals and one was a Sitzprobe* with the orchestra. In other words, we only got one day on the stage to focus on spacing needed to adjust to the new stage. However, was an extraordinary team of students, faculty and local professionals that comprised the cast, crew and production team, so it all came together beautifully. 
 
*Sitzprobe is the rehearsal where the singers work with the orchestra for the first time. It is completely focused on making sure that tempo and dynamics are synced between orchestra, conductor, and cast.
 
Could you elaborate on the symbiotic relationship between the SoM and the SoTD, especially as it relates to this production?
 
One of my favorite things about working at SIU is the collaboration between SoM and SoTD. In my full-time capacity, I am the head of the BFA in Musical Theater program, which is a shared program between the two schools. On a daily basis, there are myriad ways that collaboration manifests: piano support for classes, voice lessons, dance class, acting class, shared spaces, rehearsals.  
For “Anything Goes,” I had an incredible opportunity to collaborate, once again, with Chris Morehouse and Matt Williams. Being able to work with Chris on music and Matt on choreography meant I could trust them to bring the shared vision to life. They are fantastic colleagues and artists and bring out the absolute best in the students. I am grateful to them for their work in making this show look and sound stunning. The musicians in the pit were mostly sourced from the Wind Ensemble, led by Dr. Morehouse with a few local professionals as well. Everyone agreed it was one of the strongest pit orchestras we’ve ever had for a musical. I also want to note how the rest of the SoM faculty supports the fine artistry of the students in the pit. For instance, without Ricky Spears recruiting those magnificent trumpet players, we wouldn’t have had that wall of gorgeous brass sound that is so essential to Cole Porter’s score. 
 
On the SoTD side, I was able to continue meaningful and fun collaborations with the design team, including Grace Reuter on scenic design (a graduate student), Wendi Zea on costume design, Jaemin Park on lighting design, and the technical leadership of MK Hughes and Charlie Lockridge. They all provide mentorship to our stage managers, backstage crew, and those bringing the set, props and costumes to life.  
Lastly, I am always so grateful for the advice and support of our school directors: Dick Kelley for his listening ear and problem-solving ability and Jim Reifinger for his leadership in the producing element. 
 
I am ecstatic to begin work on next year’s season of amazing shows, including our SoM and SoTD collaborations on “Come From Away” and “Ragtime,” both performing again on the Shryock stage. 
 
Congrats to you and the whole team and thanks so much for this interview!
 
You’re more than welcome!