The curtain went up on “Anything Goes” Saturday — until, well, it didn’t.

After the lights went down, the scrim started to rise to reveal the set and actors on the Garde Arts Center stage but came to a halt a third of the way up. It was eased back down for another try. Nope, stuck at the same spot again. Third try — hurrah ­— proved the charm, unveiling a snappy production by NETworks Presentations of “Anything Goes,” where things went much more smoothly.

“Anything Goes” is a singing, dancing, broad-comedy-playing ray of sunshine. Of course, it doesn’t hurt that it’s powered by Cole Porter tunes. The score is, well, delightful and de-lovely. Songs like “I Get a Kick Out of You,” “You’re the Top,” “It’s De-Lovely” and, of course, “Anything Goes” make listeners even happier than that Pharrell song.

The show, born in 1934 but reincarnated in various versions over the years, is old fashioned in a lot of ways, particularly in its farce-happy plot. But its freshness comes from the cast’s energy and from the direction and design carried over from the 2011 Broadway revival.

Zaniness reigns, along with disguises and mistaken identities. Let the criss-crossing love stories begin: Nightclub singer Reno Sweeney is nursing a crush on her pal, Billy Crocker. He, meanwhile, has done the love-at-first-sight thing with debutante Hope Harcourt. Billy stows away on the same ocean liner that Hope boards to try to woo her away from her fiance, Lord Evelyn Oakleigh.

But wait! That’s not enough plot twisting yet! Also onboard is Moonface Martin, who’s so lowly a mobster that he’s called Public Enemy 13. He and his gal pal Erma dress up as a minister and missionary to sneak aboard the ship.

Emma Stratton plays a great broad as Reno and sings beautifully. Brian Krinsky is both dashing and humorous as Billy. Low-brow mobster Moonface and hoity-toity Evelyn might have nothing in common — except the crowd-pleasing comic touch of their respective portrayers, Dennis Setteducati and Richard Lindenfelzer.

Everyone gets into the dance action. The finale for the first act is a rip-roaring tap-dancing extravaganza set to the title song. Billy and Hope sway and sweep each other away in “It’s De-Lovely.” Everything builds to revivalist-style euphoria in “Blow, Gabriel, Blow.” Evelyn and Reno dabble in a comically overwrought tango in “The Gypsy in Me.”

The show was still running at deadline, but two quick notes: The costumes are era-fabulous, and the ship set is hugely effective, with two upper decks providing added levels for performers to stride across and, of course, to dance on.

k.dorsey@theday.com