Anything Goes at Kilworth House Theatre – review

Cole Porter’s Anything Goes has been crossing the Atlantic for almost a century, yet its appeal remains remarkably intact. Director and choreographer Lee Proud steers this open-air revival of SS America’s antics with confidence and skill. The plot, with its tangle of mistaken identities, romantic complications and comedic chaos, is largely incidental. The real driving force is Porter’s score and the performances that animate it.

The story follows young stockbroker Billy Crocker (Richard Carson) as he pursues debutante and old flame Hope Harcourt (Megan Gardiner) on a voyage from New York to London. Despite her engagement to aristocratic eccentric Lord Evelyn Oakleigh (Tom Hopcroft), Crocker is determined to get his gal. Around them swirl nightclub singer Reno Sweeney (Emily-Mae), public enemy number thirteen Moonface Martin (Dougie Carter), and a collection of colourful passengers whose lives become increasingly entangled.

As Reno, Emily-Mae wows from her first entrance. Possessing effortless poise, sublime vocal presence and a captivating cadence, she embraces the role with aplomb. Shining in every number but most notably during the title song, which culminates in an exhilarating tap sequence. Carson delivers an engaging Billy, capturing his character’s determination without sacrificing charm. Gardiner’s Hope counters Billy beautifully, bringing a grounding warmth and sincerity.

Much of the comedy rests with the supporting players. Carter gives an enigmatic performance as Moonface Martin while Sophie Naglik is enchanting as Erma, sassy, sultry and not to be messed with. Hopcroft finds exactly the right note for Lord Evelyn, lending him an eccentricity that feels perfectly at home in the world of Wodehouse. Penelope Woodman is delightful as Evangeline Harcourt, bouncing off Thomas Sutcliffe as Elisha Whitney and bewitching the audience with her pet dog Cheeky (played by the impeccably well-behaved, real-life dachshund Ethel Hill [Effie]). The ensemble is energetic, effervescent and entertaining. Their singing is polished and their quick costume changes – along with the rest of the cast – are impressive.

Rick Coates’ musical supervision and direction, supported by a superb ten-piece orchestra, ensures Porter’s melodies sparkle. Phillip Witcomb’s set and costume design is visually spectacular. Costumes are sumptuous and authentic to the era. The multi-level ship structure, complete with a central section revealing different interiors, cements us at sea. The large staircases on either side look magnificent, although they restrict space for some dance sequences. Jason Taylor’s lighting bathes the stage in colours which reflect shifting moods, while Chris Whybrow’s sound design enhances every scene.

Not every comic moment lands, and some choreography lacks variation and oomph. Nevertheless, this rendition remains highly enjoyable and great fun. Filled with wonderful performances, a stunning score and oodles of pizazz, Anything Goes is a true celebration of Porter’s timeless songs and proves that this old liner still sails beautifully.