Anything Goes

It was a refreshing change, after seeing so many modern productions lately, to be transported back to the 1930s in this extremely polished staging of Anything Goes, performed by St Agnes Choral Society. While it may be an older show and perhaps not as widely embraced by contemporary audiences, this production didn’t miss a beat. Under the inspired direction of Laura Kerr, with musical direction by Adam Darcy and choreography by Ann Marie Morgan, the audience was in very safe hands.

This production team delivered an exciting, nostalgic, and thoroughly entertaining evening of theatre. The iconic musical numbers came thick and fast, bursting with energy, style, and infectious momentum from start to finish. It was a performance that fully justified the standing ovations and warm reception it received, leaving the audience thoroughly entertained and buoyantly engaged throughout. 

The choreography, particularly the full-cast tap routines, were nothing short of exhilarating. Ann Marie Morgan delivered vibrant, high-energy show stopping numbers that practically lifted the roof off the Grand Opera House Belfast. 

The beautiful ship setting was functional and perfectly suited to the period, with the imaginative use of multiple levels which was visually striking throughout. Well-chosen props were used to great effect, while scene changes flowed seamlessly, maintaining momentum and never disrupting the storytelling. Sound remained secure and well balanced from start to finish, and the lighting was consistently well judged and atmospheric. Wigs and makeup were well executed. The costumes in this production were a particular highlight. Standout moments included the striking red, white, and blue ensemble in “Bon Voyage,” the classic sailor costumes, and the bold burst of red in “Blow, Gabriel, Blow” featuring dazzling showgirl outfits that significantly enhanced the show’s visual appeal.

Allen Gordon, as the handsome Billy Crocker, delivered a stylish and well-balanced performance, combining sharp wit with strong vocals and impressive dancing. His confident and assured stage presence securely anchored this production.

Lorraine Jackson, as Reno Sweeney, lit up the stage with a sassy, dazzling and commanding performance from start to finish. Singing, dancing, and acting with confidence and flair, she was undoubtedly the standout of the evening.

Aideen Fox brought grace and poise as the romantic lead Hope Harcourt, offering a beautifully controlled vocal performance, stunning costumes and elegant dancing.

Martin McDowell’s Moonface Martin provided consistent comic strength, shifting comfortably between slapstick humour and a subtle edge of menace, supported by good vocals, dancing, excellent timing and a well-rounded characterisation.

Ditanya McKinty, as Evangeline Harcourt, delivered an enjoyable performance as the overbearing, socially ambitious mother, played with clarity, humour, and confidence.

Tony Young’s Evelyn Oakleigh was a delight, blending refined upper-class mannerisms with an unexpected sense of abandon as the role developed. “The Gypsy in Me” was a standout comedic moment, showcasing sharp timing, a very enjoyable performance throughout.

Aoiffe White, as Erma, fully embraced the gangster moll stereotype with energy and style, complemented by excellent period hair and eye-catching costumes.

Paul Maguire, as Elisha J. Whitney, delivered a confident and assured performance, while Reno’s Angels were a dazzling force throughout—slick, stylish, and impeccably in sync. The supporting roles were all performed with great confidence and personality, with a special mention to Neal Mullan, who made the role of the ship’s purser entirely his own, complete with a fantastic accent. Many of the minor roles showcased well-executed accents, adding colour, charm, and an extra layer of authenticity that enriched the entire performance.

The ensemble of sailors and ship guests were excellent throughout, with fabulous, well-taught harmonies that brought richness and depth to the musical numbers. The large-scale dance and tap routines gave everyone a chance to shine, and they rose to the occasion with enthusiasm and precision.

Overall, this was a vibrant, nostalgic, and expertly delivered production that captured the spirit of Anything Goes with style and confidence. The sheer amount of time and effort that had gone into rehearsals for this massive production was evident in every moment on stage.

Thank you to St Agnes Choral Society for the lovely invitation to see this wonderful production, and I look forward to seeing what you do next.

 

The views in this report are solely of the author.

 

© NODA CIO. All rights reserved.