Anything Goes

Anything Goes received a highly acclaimed West End revival at The Barbican Centre in 2021, followed by a successful national tour. The updated version revitalised this classic musical with a refreshed libretto and the removal of a few outdated character portrayals, making it more accessible for modern audiences.

It’s still rare, however, to see a youth group take on this show—so I had high expectations for this performance. I’m pleased to say I was not disappointed. Judging by the audience’s enthusiastic reaction during the curtain call, it’s safe to say my thoughts were widely shared.

NODA was out in full force for this energetic production. As West Midlands Regional Councillor, I was delighted to be joined by the NODA National President, Graham Liverton, and his wife Ann—who were also celebrating their 32nd wedding anniversary—alongside Chairman of Trustees Ian G Cox and his wife Karen, as well as both the Regional Representative and Assistant Regional Representative for the district. As ever, we were warmly welcomed by the society, and we extend our heartfelt thanks for their hospitality and their ongoing commitment to NODA.

From the opening note, the production charted a smooth and successful crossing with every cast and crew member clearly "on board" in every sense of the word. The result was a vibrant, well-paced, and thoroughly enjoyable show.

With such a large cast, it’s sadly not possible to mention everyone individually, but several performances deserve special recognition.

The show opens in a Manhattan bar before the voyage to England aboard the SS American. Elisha J. Whitney, the blustering Yale man, was played with confidence by Daniel Morris—complete with enthusiastic cries of “Bulldog! Bulldog! Bow Wow Wow!”

Billy Crocker, Whitney’s assistant who becomes a stowaway on board, was played with charisma and charm by Alex Leggett. He delivered strong vocals and smooth movement and handled both the romantic and comedic moments with ease.

Billy’s counterpart, Reno Sweeney, was outstandingly portrayed by Neve Pilliner. The seemingly endless duet You’re the Top was handled with great energy by both Neve and Alex. However, Neve truly came into her own with her solo numbers I Get a Kick Out of You and Blow, Gabriel Blow—both of which she performed with stage presence and vocal strength that commanded attention.

Also aboard were public enemy number thirteen, Moonface Martin, and the flirtatious Erma Latour, played respectively by Reuben Southall and Lily Wooldright. Reuben delivered Moonface’s comedic clumsiness with a delightful awkwardness and gave a surprisingly tender rendition of Be Like a Bluebird. Lily’s Erma was fun, and she worked particularly well with the male ensemble in Buddie Beware.

One of the standout comedic performances came from Ethan Davies as Lord Evelyn Oakleigh. His physical comedy—a hybrid of Mr. Bean and Basil Fawlty—was a hit with the audience. His delivery was crisp, and his rendition of The Gypsy in Me was a comic highlight. The well-glued curled moustache deserves its own mention!

Georgie Jones portrayed the gold-digging Evangeline Harcourt with flair, capturing her character’s social ambitions perfectly. Her daughter, Hope Harcourt—torn between a life of convenience with Evelyn and her heart’s desire, Billy—was played with grace by Alice Hamilton. Alice delivered a lovely performance of All Through the Night and acted with sensitivity throughout.

The ship’s steady command came from Jacob Foot as the Captain and Daniel Cwiertak as the Purser—both delivered confident performances and handled their desperation to attract celebrities to their voyage (though Charlie Chaplin, had cancelled to sail on The Mauretania!).

Special mentions must also go to Dylan Henry and Ben Horton-Wrigley as Spit and Dippy, and to the four Angels: Ella-May Palmer (Purity), Izzy Pankhurst (Chastity), Chloe Eastoe (Charity), and Esme Lloyd (Virtue)—each bringing flair to their roles.

The choreography in Anything Goes needs to be not just good—it needs to dazzle. Rachel Davies, who directed and choreographed the production, certainly delivered. The tap number in the Act One finale Anything Goes was exceptional, as was the staging of Blow, Gabriel Blow.  

Technically, the show worked very well. Every word was clearly audible, which is a testament to both the sound design and the diction of the cast. The lighting was appropriate complementing the 1930s period setting. The set was effective, and practical props supported the action.

Congratulations to everyone involved! As Graham Liverton rightly said in his post-show speech: please continue your journey in theatre—whether it be at SAOS, university, or elsewhere across the UK.

From me - You should all be immensely proud of what you’ve accomplished—well done.

And so, onwards! There’s never time to rest with SAOS. I now eagerly look forward to Hello, Dolly! this October, performed by the adult membership, followed by next year’s youth production of Hadestown: Teen Edition—both of which promise to be must-see events.

Thank you once again for your warm hospitality and for another unforgettable evening of theatre.

© NODA CIO. All rights reserved.