Review: Anything Goes - St. Agnes’ Choral Society

Society name: St. Agnes’ Choral Society

Show name: Anything Goes

Adjudicator date of attendance: 14/04/2026

St. Agnes’ Choral Society’s production of Anything Goes was a bright, polished and thoroughly enjoyable evening of musical theatre. This is a show that asks a great deal of any society, with its fast-paced comedy, demanding score, romantic storytelling and, of course, its iconic tap numbers. St. Agnes’ rose confidently to the challenge, presenting a production full of energy, charm and style.

Laura Kerr’s direction was assured and well-paced throughout. The storytelling was clear, the comedy was well handled, and the production moved with excellent momentum. What stood out most was the attention given to character and relationship development. The romance between Hope and Billy had real sincerity and depth, allowing the audience to invest in them emotionally rather than simply seeing them as the traditional romantic leads. Reno’s developing feelings for Evelyn were also nicely signposted, which helped that relationship feel natural and believable. The chorus acting was well considered too, with no sense of overplaying or unnecessary exaggeration. The stage space was used very effectively, with clear physical journeys and well-focused scenes that ensured the story was always easy to follow.

Musically, Adam Darcy delivered a strong and stylish interpretation of the score. The orchestra had a full, vibrant sound and captured the spirit of the 1920s beautifully. Tempos were upbeat and helped keep the production moving, while still allowing the more tender moments time to land. The diction across the company was crisp and clear, which was especially important in a show so rich in witty lyrics and fast-moving dialogue. The chorus harmony work was very strong, with “There’ll Always Be A Lady Fair” standing out as a particularly well-balanced and confident musical moment.

Ann Marie Morgan’s choreography was one of the real highlights of the production. The tap work in “Anything Goes” was fantastic: sharp, well-rehearsed, and impressively synchronised. It had the polish and impact needed for such a famous number and was performed with great confidence. “Blow Gabriel Blow” was another very strong sequence, full of energy and dynamic movement, while the partner work in “All Through The Night” was beautifully soft, flowing and romantic. The choreography always suited the music and the performers, creating numbers that felt exciting without ever appearing uncomfortable or overworked.

Lorraine Jackson gave an excellent performance as Reno Sweeney. She brought all the confidence, charisma and vocal power the role requires, but also found real depth beneath Reno’s bravado. There was a genuine sense of loneliness and vulnerability behind the glamour, which made the character feel human and engaging. Vocally, she was powerful and controlled, particularly impressive after the energetic tap work in “Anything Goes”. She was a true triple threat performer.

Allen Gordon was a charming and very likeable Billy Crocker. He had the natural warmth and ease of a classic leading man, and his chemistry with Aideen Fox’s Hope was one of the strengths of the production. Their scenes together felt sincere and emotionally connected. He also handled the comedy well, bringing lightness and good timing to the role. Vocally, his lovely tenor voice suited the score beautifully and blended very well with Hope.

Aideen Fox played Hope Harcourt with grace, warmth and elegance. She avoided making the character passive or overly delicate, instead giving her a quiet strength and understated charm. Her relationship with Billy felt natural, and her scenes with Evangeline had a believable mother-daughter dynamic. Vocally, she sang with beautiful control and a tone that suited the material extremely well.

Tony Young was delightful as Lord Evelyn Oakleigh. He captured the character’s sweet, slightly dorky nature with great comic charm. His accent was excellent and remained consistent in both dialogue and song. “The Gypsy In Me” was playful, funny and full of personality, and he brought great warmth to the role throughout.

Martin McDowell gave an entertaining performance as Moonface Martin. He had good comic presence and delivered “Be Like A Bluebird” with confidence and humour, making it one of the comic highlights of the evening. At times the characterisation could perhaps have been pushed a little further, but the performance remained enjoyable and well sustained. Ditanya McKinty brought good comic timing to Evangeline Harcourt, particularly in the finale around the proposal. She found the right level of domineering energy without losing the humour. Aoiffe White was a confident and lively Erma, bringing just the right amount of flirtatious brashness to the role. “Buddie Beware” was great fun and her interactions with the sailors were full of energy.

Paul Maguire gave a strong performance as Elisha Whitney, maintaining the physicality and illusion of blindness very well throughout. Sean Allen as the Captain and Neal Mullan as the Purser both helped ground the world of the ship and added to the overall realism of the setting. Stephen Donnan-Dalzell as Spit and Callan Hamill as Dippy made suitably shady gangsters, though there was room to push the comedy a little more. Pat Smyth made a nice, featured contribution as Henry T. Dobson, adding further life and detail to the shipboard world.

The ensemble were excellent throughout. They brought energy, focus and enthusiasm to every scene, consistently lifting the production whenever they appeared. Vocally, they produced a full and vibrant sound, with strong harmonies and excellent diction. Their acting work was also very good, with everyone appearing engaged and appropriately characterised. Movement standards were especially impressive, and the tap work was a real credit to the company. This was a hard-working and highly effective ensemble.

The set worked very well, filling the large stage and giving the production useful height and structure. It clearly established the shipboard setting and was both practical and attractive. Pauline Hughes’ stage management was generally smooth and well organised. The movement of the dollies for the cabins and jail was mostly well timed, with only one or two slightly uncertain moments that did not significantly affect the overall flow.

Technically, the lighting was effective, with good front cover across the stage and attractive colour choices that complemented the nautical style of the piece. The use of the star cloth in the nighttime scenes was particularly lovely. In the opening bar scene, the contrast between the warmer generic fixtures and the starker white of the moving light was a little distracting as performers moved between beams, but this was a minor issue in an otherwise strong design. Sound was well balanced, with clear vocals and good cueing throughout.

The costumes were very good and contributed strongly to the visual appeal of the production. Some chorus costumes leaned slightly more towards a 1930s style than strictly 1920s, but they were well fitted, attractively chosen and cohesive overall. The principal costumes suited each character well, while the sailor and devil costumes were especially stylish. Hair and makeup were well presented and appropriately period in feel.

Front of house was warm, smooth and welcoming, creating a professional and positive atmosphere from the moment audiences arrived. Audience management was efficient and organised, and there was a clear sense of enthusiasm surrounding the production before the curtain even rose.

Overall, this was a highly entertaining and accomplished production of Anything Goes. St. Agnes’ Choral Society delivered a show full of style, energy and heart, with strong direction, excellent musical work, standout choreography and a committed cast and ensemble. This was a joyful, polished and thoroughly engaging evening aboard the S.S. American.