Review: Anything Goes - Coolmine Musical Society

Society name: Coolmine Musical Society

Show name: Anything Goes

Adjudicator date of attendance: 18/11/2025 

Coolmine Musical Society’s production of Anything Goes offered audiences a lively, buoyant, and thoroughly enjoyable evening of classic musical theatre. Cole Porter’s effervescent score remains one of the great cornerstones of the genre, brimming with wit, melodic charm, and infectious energy, and this production demonstrated a clear understanding of the joy and theatricality that sit at the heart of the piece. From the opening moments, there was an immediate sense of confidence and cohesion, with a company that knew exactly what kind of show they were presenting and committed fully to delivering it with pace, warmth, and good humour.

The overall tone of the production was upbeat and engaging, with a strong sense of momentum carrying the audience effortlessly through the story. The comedy was well-shaped, the narrative clearly told, and the performers worked hard to keep the audience onside throughout. While the production may not have delivered a single, defining “wow” moment that reimagined the material in a bold new way, it succeeded admirably in what it set out to do: provide a polished, entertaining, and characterful evening of theatre that respected both the score and its audience. There was a genuine affection for the material on display, paired with a willingness to embrace its silliness, charm, and larger-than-life characters without embarrassment.

The production itself was thoughtfully structured and energetically paced under the direction of EJ Reilly. One of the strongest elements of the direction was the attention paid to storytelling and comic detail. Anything Goes lives and dies by its rhythm, not only musically, but comedically, and this production demonstrated a strong understanding of how to keep scenes moving, jokes landing, and momentum sustained. The show whipped along at a lively pace, with smooth transitions, ensuring that the evening never felt overlong or self-indulgent.

Comedy benefited particularly from this sense of flow. Jokes were clearly set up and paid off, and physical comedy was integrated naturally into scenes rather than feeling bolted on for effect. The choice to place the band onstage was an appealing and effective conceptual decision, enhancing the sense of theatricality and reinforcing the show’s jazz roots. Visually and atmospherically, it suited the playful nature of the piece and worked well with the overall design of the set.

While the production was undeniably enjoyable and well-crafted, it stopped just short of feeling truly inspired or revelatory. This is not a criticism of its quality, but rather an observation that there were moments where the production could have pushed further, emotionally, visually, or stylistically, to elevate it from very good to truly memorable. Nevertheless, the direction delivered a cohesive, entertaining, and well-judged production that respected the material and served its audience well.

Musically, the show was in very safe hands. Under the direction of Caitríona Ní Threasaigh, the band sounded polished, cohesive, and stylistically assured throughout the evening. Balance across sections was particularly strong, with the brass kept firmly under control. This allowed the music to sparkle and swing without overwhelming either the singers or the space. Tempos were well judged and consistently held, giving the score a light, buoyant quality that perfectly suited the show’s tone, which supported both the choreography and the comic timing on stage.

Vocal support for the cast was strong throughout, with well-blended harmonies and several ensemble moments standing out for their clarity and balance. Diction across the cast was notably crisp, allowing Porter’s densely packed and often rapid-fire lyrics to land cleanly and effectively. Overall, the musical direction was a real strength of the production, creating a sound world that felt authentic to the period while remaining lively and present.

Choreographically, the production benefited from energetic, well-shaped work by Nicole McDonald. The choreography consistently supported both the storytelling and the musical style, with an emphasis on clean lines, strong formations, and musicality. The tap sequence closing Act One, set to the title number Anything Goes, was a particular highlight. It was tight, precise, and joyfully executed, bringing the first half to a rousing and satisfying conclusion. The clarity of rhythm, unison, and confidence on display here reflected both strong choreography and effective rehearsal.

Elsewhere, there were some lovely uses of space and shaping within the ensemble numbers, with formations that were visually pleasing and helped maintain clarity on stage during larger scenes. Blow, Gabriel, Blow was well staged and benefited from the inclusion of the full company, creating a strong sense of scale and communal energy. That said, this number also highlighted an area for development, as not all performers appeared equally secure in the choreography. In a show as dance-driven as Anything Goes, ensemble confidence is crucial, and even small moments of uncertainty can draw focus. With further attention to consistency across the ensemble, this element could be elevated even further.

The principal performances were, overall, strong and engaging. Jennifer McGann delivered a commanding and assured performance as Reno Sweeney, with excellent stage presence and a confident vocal delivery that met the role’s demands with flair. She was consistently entertaining and brought a well-rounded, believable character to the stage, dancing with ease and style and anchoring the production effectively.

Stuart Pollock was a delight as Billy Crocker, offering smooth tenor vocals with a rich, warm tone and a natural, unforced acting style. His chemistry with Hope felt sincere, allowing the audience to invest fully in his romantic journey, while his comic timing ensured he navigated the show’s lighter moments with ease.

Alan McFeeley brought solid character work to Moonface Martin, exaggerating just enough to suit the style without tipping into caricature. His interactions with other characters were enjoyable, particularly in moments of comic partnership, and while there were slight signs of opening-night nerves in Friendship, these did not significantly detract from the performance. Vocally, he offered a strong, rounded sound that sat comfortably within the ensemble.

The role of Hope Harcourt played by Nicole Lamb, proved more challenging. Although the vocal ability is present, the characterisation lacked confidence and embodiment, making it harder for the audience to fully connect with Hope’s journey. With additional support in character development, this performance has clear potential for growth.

Séamus Sullivan was a standout as Lord Evelyn Oakleigh, delivering excellent comic timing, expressive facial work, and strong physical comedy. He captured the essence of the bumbling British aristocrat with great charm, and The Gypsy in Me was a particular highlight, played with confidence and precision. Mary Gamble stole scenes as Evangeline Harcourt, delivering a riotous performance full of physical comedy, expressive character work, and impeccable timing. Even when faced with an unfortunate slip on stage, she handled the moment with complete professionalism, maintaining character and composure throughout in a way that underscored her experience and skill.

The supporting cast added greatly to the richness of the production. Jenny Seery brought confidence, vitality, and infectious energy to Erma Latour, with Buddie Beware emerging as a real highlight. Justin Parkes pitched Elisha J. Whitney’s self-importance just right, particularly in his interactions with Evangeline, while Kevin Johnston’s Captain was appropriately stiff and formal, serving the story well. The Purser, Spit, and Dippy played by Ciaran Ingle, Jennifer Flanagan and Heather Dunne respectively, were all played with clear commitment, adding texture and humour without drawing undue focus. Reno’s Angels (Purity - Aoife Parkes, Chastity - Aoife Joy Keogh, Charity - Saibh Healy, Grace – Kathryn Browne, Virtue - Katie O’Connor, Patience - Siobhan McNamara) formed an excellent troupe, dancing strongly, singing confidently, and working beautifully as a unit, their sassy energy elevating every scene they appeared in.

The ensemble was strong overall, with good vocal blend and some lovely harmonic moments, though occasional uncertainty in choreography slightly undermined impact. There is also scope for deeper character work across the ensemble; Anything Goes is at its best when every performer has a clear sense of who they are and why they are on that ship, and encouraging this level of specificity would add further richness to group scenes.

Behind the scenes, the production was very well managed. Stage management under Gerry McCann ensured that the show ran smoothly and efficiently, with slick, unobtrusive scene changes that maintained momentum throughout the evening. The set design was visually appealing and thoughtfully constructed, making excellent use of space with sliding walls, multi-purpose trucks, and a raised platform that housed both the band and the ship’s upper level. The draped curtain opening was a particularly effective visual touch, setting the tone beautifully from the outset.

Technically, sound design was strong, with clear balance between orchestra and vocals and effective control of the brass section. Lighting was generally reliable, though some focus issues resulted in performers moving through varying colour temperatures and intensities. While there were several attractive picture moments, greater consistency in facial lighting would enhance clarity. Visually, costumes and hair styling were somewhat inconsistent, with some chorus looks leaning more towards a 1940s aesthetic than the intended 1920s setting, creating a slight visual disconnect. Make-up was clean and unobtrusive, allowing character work to remain front and centre.

Front of House operations played an important role in setting the tone for the evening, with a warm, efficient welcome and a clear sense of organisation. Audience members were greeted promptly and guided smoothly, allowing the evening to begin in a relaxed and upbeat manner. The calm and professional management of audience flow contributed to an atmosphere that felt inviting and well cared for.

Overall, this was a confident, enjoyable, and well-executed production that demonstrated strong leadership, musicality, and performance quality. Coolmine Musical Society has the potential to build on this success and deliver productions that are not only entertaining, but truly outstanding.

Photos by Darragh Carroll