Anything Goes

Few musicals capture the delirious, escapist energy of the 1930s quite like Cole Porter's Anything Goes. Premiering on Broadway in 1934, at the height of the Great Depression, the show was a deliberate tonic for hard times—a madcap, glamorous, and gloriously silly romp set aboard an ocean liner crossing the Atlantic. Its original book, by Guy Bolton and P. G. Wodehouse, was rewritten before opening night following a tragic ferry disaster that made the original plot's shipwreck ending seem in poor taste. The resulting revision, with contributions from Howard Lindsay and Russel Crouse, became the framework for a classic. But what has truly ensured the show's immortality is Cole Porter's legendary score, featuring song after song of dazzling wit, melodic invention, and sophisticated wordplay: "I Get a Kick Out of You," "You're the Top," "Friendship," and of course the astonishing title number, "Anything Goes." Porter's lyrics remain unmatched for their urbane cleverness and innuendo-laden charm. Subsequent revivals have reshaped the book further, most notably the 1987 production that incorporated additional Porter gems from other shows, but the heart of Anything Goes has always been its irrepressible joy, its belief that no matter how chaotic life becomes, a good song and a good dance can make everything feel, for a moment, absolutely shipshape. It was this glorious golden-age classic that St. Patrick's Choral Society, Downpatrick, brought to the Great Hall, Downpatrick, on Friday 15 May 2026, under the direction of Matthew Campbell, with musical direction by Wilson Shields and choreography by Alex McFarlane. From the moment I stepped through the doors, I knew I was in for something special.

The evening began with a warm welcome from Marie Therese and the company, who were already in costume, greeting the audience and offering refreshments as we were welcomed on board the SS American. This immersive touch set the perfect tone: we were not merely attending a show; we were embarking on a voyage. The open stage, featuring a bar on stage for the audience to avail of refreshments, blurred the line between performer and spectator delightfully, making the Great Hall feel like the ship's grand saloon. A nine-piece orchestra, positioned with care, provided the musical foundation for the evening, and from the first notes of the overture, it was clear that Wilson Shields had drilled his players to a remarkable standard. All the musicians were great, but the brass section were exceptional—bright, punchy, and full of the period character that Cole Porter's sophisticated jazz-inflected score demands. The background music played before the show and during the interval was also thoughtfully chosen, remaining in keeping with the genre and period, a small but appreciated detail that demonstrated the company's commitment to atmosphere.

The set, while not without its flaws, was effective and allowed for a variety of levels using steps and an upper level, giving director Matthew Campbell and choreographer Alex McFarlane plenty of vertical space with which to work. The design captured the art-deco glamour of a 1930s ocean liner, and the upper level was particularly useful for creating split-focus scenes and dramatic entrances. However, the set was let down by the doors, which didn't fit well and wobbled distractingly during several scenes—a technical issue that a future production would do well to address with additional reinforcement. The costumes were generally good, capturing the elegance and whimsy of the period, though they would benefit from some attention to detail in future outings. Sleeve and trouser lengths for male principals needed more careful tailoring; Sean Harkin's Billy Crocker, for example, was hampered in the early scenes by a blazer that was too long in the sleeves, affecting his physical ease. Similarly, a more disciplined distinction between waiters (black bow ties and waistcoats) and guests or cruise passengers (white bow ties) would have sharpened the visual storytelling in the opening bar scene. One final small quibble: a passport used as a prop was not of the period nor from the USA, a minor anachronism that a sharp-eyed prop master might catch in future runs. These were, however, relatively small imperfections in an otherwise polished and hugely entertaining production.

The lighting design was something of a mixed blessing. There were moments of genuine atmospheric beauty, but I must query the overuse of spotlights during musical numbers. Rather than enhancing the performers, the constant spotting occasionally felt intrusive, isolating the singers from the world of the show rather than integrating them into it. A more subtle, wash-based approach for some of the ensemble numbers might have served the production better. That said, the lighting never entirely diminished the considerable talents on display.

And what talents they were. The principals assembled for this production were exceptional, led by a truly star-making turn from Jordan Rosborough as Reno Sweeney. Rosborough was perfect for the role, possessing not only a confident and appealing singing voice but also remarkable dancing talent and a wonderfully sharp comedic acting ability. I loved Reno's hairstyle and costumes, which evoked the sleek, sophisticated glamour of the period while allowing Rosborough the freedom to move. Her "I Get a Kick Out of You" was sultry and witty, and her partnership with Simon Pyper's Moonface Martin in the "Friendship" number gave both performers an opportunity to show off their considerable dance and acting talents. Pyper himself was a great comic presence, an actor with an ability to dance and a confident, competent singer who brought genuine warmth and roguish charm to the role of the gangster disguised as a clergyman. His timing was impeccable, and his physical comedy landed consistently throughout the evening.

Sean Harkin played a great Billy Crocker, the young stowaway in love with Hope Harcourt. Harkin possesses a strong, clear voice and a likeable, earnest stage presence, and his duet with Rosborough, "You're the Top," was absolutely fabulous—a masterclass in witty, rapid-fire trading of compliments delivered with perfect comic syncopation. As mentioned, his early scenes were slightly hampered by the ill-fitting blazer, but once the costume settled, so did his physical confidence, and he grew into a thoroughly charming romantic lead. Sara Kelly as Hope Harcourt brought a beautiful singing voice to the role, her soprano soaring through "Goodbye, Little Dream, Goodbye" and "It's De-Lovely" with purity and grace. The latter number was very well performed, capturing the song's sophisticated naughtiness without ever crossing into crudeness. Tim Pentland as Lord Evelyn Oakley, the delightfully daffy English aristocrat, was a constant source of laughter, his physical comedy and impeccable diction making every line land. Brian McElroy as Elisha Whitney brought befuddled dignity to the role of the wealthy businessman, while Karen Turley as Evangeline Harcourt, Hope's social-climbing mother, was suitably imperious and funny. Jess Sloan as Erma, the brassy showgirl, delivered "Buddie, Beware" with real verve and some lovely tap dancing that was appropriately pitched to the skills of the performers—not flashy for its own sake, but character-driven and charming.

The men's ensemble was very strong in the opening number, establishing the shipboard atmosphere with energy and vocal blend. The women's ensemble matched them throughout, and under Alex McFarlane's expert choreography, the dance numbers were consistently a highlight of the evening. The fabulous finale of Act I—the title number "Anything Goes"—was a triumph of staging. The tap dancing was great, with interesting patterns for the dancers and clever use of canon that built the energy to an irresistible crescendo. The dancers were fabulous and executed the choreography brilliantly, filling the stage with the kind of synchronized, joyful movement that makes golden-age musicals so eternally appealing. Act II opened with "Blow, Gabriel, Blow," which featured more fabulous choreography, pitched perfectly for the dancers, movers, and ensemble. The tango for "The Gypsy in Me" was very well choreographed and danced by Tim Pentland's Evelyn and Jordan Rosborough's Reno, featuring some very clever, playful pieces of choreography that drew spontaneous applause from the audience. "Bon Voyage" showcased beautiful harmonies from the ensemble, a moment of genuine musical elegance amid the comedy.

In summary, St. Patrick's Choral Society, Downpatrick, delivered a production of Anything Goes that was, in the finest tradition of Cole Porter, simply top-drawer. Despite minor quibbles with set details, costume fittings, and an over-reliance on spotlighting, this was an evening of joyous, sophisticated, and utterly disarming musical theatre. Director Matthew Campbell, Musical Director Wilson Shields, and Choreographer Alex McFarlane have every reason to be proud of what they and their talented company achieved. From the warm, immersive welcome to the fantastic finale ultimo that brought the audience to its feet, this Anything Goes sailed smoothly through every storm, proving that Cole Porter's wit, Wilson Shields's musical direction, and the sheer commitment of this cast remain as buoyant as ever. 

Congratulations to all involved on a wonderful voyage.

 

The views in this report are solely of the author.

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