Anything Goes, which first graced Broadway in 1934, remains one of musical theatre’s most enduring classics, and Kilworth House Theatre’s latest production is a testament to just how well it stands the test of time. Every year, Kilworth selects musicals that embrace glitz, glamour and pure escapism, and this year’s offering is no exception. The experience begins long before the curtain rises. Nestled in the Leicestershire countryside, Kilworth House itself feels like a mini holiday. The moment you cross the little bridge towards the outdoor auditorium, everyday life is left behind and you are transported into another world.

Walking into the auditorium, I am immediately struck by Philip Witcomb’s magnificent set. It is immense, cinematic and beautifully detailed, with multiple levels that allow the actors and dancers to make full use of the space throughout the production. More than simply a backdrop, the set becomes a character in its own right. The hull of the ship cleverly opens to reveal rotating cabins which seamlessly transform into everything from luxurious interiors to a prison cell and even a performance stage. The flexibility of the design is remarkable, while the attention to detail is second to none.

The atmosphere around the theatre is just as much a part of the experience. Gentle jazz drifts through the bar area before the performance, immediately creating that feeling of stepping aboard a glamorous 1930s ocean liner. It feels relaxed, welcoming and wonderfully indulgent. Then the overture begins.

Under the musical direction of Rick Coates, the orchestra immediately captures the jaunty optimism and infectious energy that define Anything Goes. Before Reno Sweeney even makes her entrance, I notice audience members subtly shuffling in their seats, tapping their feet and swaying along to the familiar opening bars. It is impossible not to smile.

Emily-Mae commands the stage as Reno Sweeney from her very first entrance. She possesses exactly the combination of confidence, charisma and sultry vocals that the role demands, delivering Cole Porter’s score with effortless style. Reno is a natural leader throughout the production, bringing sparkle, wit and infectious energy to every scene. Her chemistry with the rest of the company, particularly Billy Crocker, is electric.

Richard Carson is everything you could want from a leading man. A true quadruple threat, he combines strong vocals, polished dance ability, engaging acting and undeniable charm. There is a cheekiness to Carson’s portrayal of the lovelorn Billy Crocker that immediately endears him to the audience and makes us invest wholeheartedly in his pursuit of Hope Harcourt. Megan Gardiner brings elegance and poise to Hope, but beneath her refined exterior lies real strength of character. Her beautifully pure soprano shines during Goodbye, Little Dream, Goodbye, creating one of the production’s more tender moments.

Director and choreographer Lee Proud fully embraces the wonderfully farcical nature of the piece. The production is fast-paced, filled with mistaken identities, endless entrances and exits, slamming doors and wonderfully exaggerated characters. The performances remain grounded enough that the comedy feels believable rather than forced.

Tom Hopcroft almost steals the show as Lord Evelyn Oakleigh. Initially, his wonderfully heightened characterisation takes a moment to settle into, but it quickly becomes clear just how perfectly judged his performance is. Every movement, every facial expression and every line is delivered with impeccable comic timing. His performance of The Gypsy in Me, alongside Emily-Mae, has the audience laughing out loud throughout. The physical comedy is superb, his energy never drops, and he completely endears himself to the audience.

Dougie Carter’s Moonface Martin perfectly captures the lovable rogue. Every recurring joke surrounding his infamous gun lands brilliantly, while Sophie Naglik’s Erma is gloriously flirty, feisty and full of personality. Carter and Emily-Mae share excellent chemistry during the much-loved Friendship, effortlessly blending scripted comedy with natural ad-libs that make the number feel fresh and spontaneous. Naglik also shines in Buddy, Beware, delivering the song with infectious confidence and plenty of playful attitude.

The ensemble deserves enormous praise. Their energy rarely dips, and together they create several genuinely show-stopping moments. The choreography, created by Lee Proud with Emma Hunter, is exhilarating throughout. As soon as the tap shoes appear towards the end of Act One, I can hardly contain my excitement because I know exactly what is coming.

The title number, Anything Goes, is simply spectacular. It remains one of my favourite tap sequences in musical theatre, and this production absolutely delivers. The precision of the ensemble, the intricate formations and the sheer stamina required leave the audience in rapturous applause. I leave the interval convinced that nothing could possibly top it.

Then Act Two begins.

Blow, Gabriel, Blow somehow raises the bar even higher. It absolutely sizzles. The combination of the orchestra, dazzling choreography, sparkling costumes and Emily-Mae’s commanding performance creates an explosion of theatrical joy. It is gloriously decadent and almost sensory overload in the very best sense.

Yet what impresses me most is the production’s understanding that bigger is not always better. While the choreography is thrillingly ambitious, it also knows exactly when to step back. Moments of stillness allow the vocals and relationships to breathe, and it is often in these quieter scenes that the emotional heart of the production truly emerges. The open-air setting only heightens this further, particularly during Billy and Hope’s duets, where subtle lighting creates beautiful silhouettes against the evening sky.

Like many farces, Anything Goes occasionally threatens to become tangled beneath its multiple subplots and mistaken identities. However, even if you momentarily lose track of who is pretending to be whom, the cast works so skilfully that they immediately draw you back into the story.

Ultimately, this is far more than simply a musical; it is a complete theatrical event. As I leave the auditorium, I overhear audience members describing it as “uplifting”—and I couldn’t agree more. Kilworth House consistently delivers productions of exceptional quality, and Anything Goes is no exception. A huge well done to Director Lee Proud – you know just what your audiences wants, and you deliver year on year.

Whether you make an evening of it or treat yourself to an overnight stay at the hotel, this is one of the highlights of the summer theatre calendar. Quite simply, don’t miss it.

Photos credit: Fox Corporate Photography