Anything Goes – Kilworth House Theatre

Richard Carson and Emily-Mae in Anything Goes at Kilworth House Theatre. Picture: Fox Corporate Photography

Anything Goes continues at Kilworth House Theatre, Leicestershire until 2 August 2026.

Star rating: four stars ★ ★ ★ ★ ✩

Turning into the single track estate drive, on a late, sunny Sunday afternoon, one can already get a glimpse of another world of opulence and grandeur; we are greeted enthusiastically by car park attendants, ushers and bar staff alike – all eager to welcome us into the world of Anything Goes. Picnics at the ready, fine dining in the hotel, all guests eagerly await tonight’s performance.

Crossing the boardwalks into the woods, heading towards the lively jazz music and sparkling lights, you arrive at this secluded, enchanting, theatrical haven with a spectacular reveal of Philip Witcomb’s set. First, the existing tensile sails and ropes enhance the nautical themes, then we are being stunned by the hugely impressive, lifelike, shiny white, three-tiered, swanky luxury ocean liner the SS American, complete with revolving interior cabins, smoking funnels and scrubbed wooden decks. This could not be a better location for a revival of Cole Porter’s 1934 musical Anything Goes, the perfect show for the summer on board a ship of star-crossed romances, misidentified gangsters and endless comedy gags.

This playful romcom follows Billy Crocker as he becomes a stowaway on the ocean liner in a desperate plea to win over debutante Hope Harcourt’s heart. He fell in love with her three weeks earlier, despite the fact she is newly engaged to an eccentric Englishman Lord Evelyn Oakleigh. He is aided by fellow passenger and pal Reno Sweeney, a nightclub singer and her ‘angels’ (backing singers), Moonface Martin (aka Public Enemy No. 13) disguised in religious attire and his accomplice Erma.

The ship becomes an enabler for liberation, unpredictability and subverted expectations, making it a perfect production to revive in our current climate.

Porter’s score comes alive with Rick Coates’ musical direction, the live jazz playing in the wings from a nearby marquee, superb atmospheric lighting from Jason Taylor that changes dramatically as the sun goes down. This means that the space is transformed with bright, almost fluorescent pink portholes and clever use of two silhouettes every time any couple embrace, emphasising the romanticised version of life on board a ship.

The ravishing costumes, also by Witcomb, celebrate true 1930s glamour, with floral dresses, chic suits, smart blazers, sparking sequinned dresses and stark white sailor suits. Everyone excels on the club night, when they celebrate their new ‘celebrity gangsters’ – red sparkling sequins for the performers and gold for the guests, looking dapper in their top hats and tails.

While every single number is a standout – this score is sublime – the production is at its absolute best when the whole company is present on stage, as in the triumphant tap-dancing title number at the end of Act I which is an absolute showstopper. ‘Blow, Gabriel Blow’, led by Emily-Mae, is expertly choreographed – the collective energy is electric. The staging and movement are super slick and high-octane throughout, a triumph for choreographer and director Lee Proud and associate Emma Hunter.

Sarah Goggin has assembled an exceptional cast, each embracing the enchanting chaos with absolute conviction. Emily-Mae shines as Reno Sweeney with dazzling charisma and soaring vocals, commanding the stage with her sizzling persona. Richard Carson, as Billy Crocker, oozes charm and passion in his portrayal, embodying every top quality of the romantic lead.

Megan Gardiner brings an authenticity and sweetness to the role of Hope Harcourt with an angelic vocal tone and emotional warmth that makes her a perfect pairing with Carson. They are a true standout moment in ‘It’s De-Lovely’ – their performances and chemistry really making their love story ‘So Easy to Love’.

Tom Hopcroft’s Lord Evelyn is utterly hilarious with his old school, quirky manerisms and eccentricity. He really comes into his own in ‘The Gypsy in Me’ as he sashays around the stage, leaving the audience in fits of laughter with his unexpected true passions.

Thomas Sutcliffe brings a great presence as Elisha Whitney, the archetype of a proud Yale graduate/‘Wall Street’ tycoon. Penelope Woodman is hysterical as his romantic interest Evangeline Harcoart, Hope’s hoity-toity mother accompanied by her beloved dachshund ‘Cheeky’, played by a real-life dog – Ethel Hill (Effie!).

Sophie Naglik as Erma is sultry and flirty, mesmerising the audience with her confidence. Her rendition of ‘Buddy Beware’ is particularly authoritative and sassy.

While the plot is steered by romance, beneath all the farce this refreshing production celebrates the value of friendship, freedom, community and reinvention. The rendition of ‘It’s Friendship’ from Emily-Mae and Dougie Carter (Moonface Martin), with its ad-libs, structured mayhem and funny, topical references, really feels original in this staging.

What better excuse is there to ‘dress up’, relax and enjoy this fantastic opportunity to witness first-class performances in such a beautiful, rural setting.

Anything Goes is frivolous, fun and guaranteed fabulously joyful entertainment.

Marina Holmes