Anything Goes, WAOS - NETG

NETG Showcase Festival 2024/2025

WAOS - Anything Goes

INTRODUCTION

Located at Witham Public Hall Music and Lyrics by Cole Porter Original book by P.G. Wodehouse, Guy Bolton, Howard Lindsay, and Russel Crouse New book by Timothy Crouse and John Weidman

Anything Goes is a madcap voyage full of mistaken identities, unrequited (then re-ignited) love, gangsters in disguise, and of course, toe-tapping numbers you can’t help but hum on your way out. WAOS launched us aboard their transatlantic romp with vintage flair, lively choreography, and a cast full of personality.

FRONT OF HOUSE

The front of house experience was spot on. The team were friendly and attentive, offering a warm welcome, refreshments, and navigating a busy venue with ease. Clear signage, helpful volunteers, and a cheerful energy all added to the professional and polished atmosphere.

SET DESIGN, STAGING, & EFFECTS (incl. lighting / sound / props)

The cruise ship set was both ambitious and visually effective. It offered multiple levels and provided opportunities for dynamic staging, especially helpful with such a large ensemble. The clever use of digital projections and screens allowed for more space dressing with less props / manual set changes and allowed split focus when needed.

That said, limited entry points (primarily upstage left and downstage corners) created a bottleneck that at times dulled the fast-paced farcical timing the show relies on. Quick entrances and exits were restricted, making some comic beats feel laboured.

A missed opportunity came early on during the transition from the bar to the deck—raising the curtain before striking the bar set diluted the magic. A slight reordering of the cues here could’ve made this a “wow” moment. Similarly, Lord Oakley’s cabin was somewhat lost in the half-stage space; a broader presentation might’ve given more comedic room to play.

Lighting was thoughtful, with saturated red and a lovely gradient oceanic blues adding mood and spectacle, particularly during the big musical numbers. Cue timing was sharp. A few more sound effects (for example the flash of photography early on) would’ve helped cement the cinematic quality the production was reaching for.

COSTUME DESIGN

A visual treat! Reno’s wardrobe alone was enough to stop traffic—sequins, silhouettes, and a sense of period glam all rolled into one. The Angels' outfits were colourful and expressive, perfectly suited to their status on the ship and their vibrant personalities. Regarding the Angels’ sailor costumes, pleated skirts might have been a better choice to flow with the choreography than the chosen white hotpants; however, the Angels still looked heavenly.

Hope’s costumes were elegant and looked stunning on Hannah, though some tailoring to her gorgeous frame could have improved fit. Her wig, while period-appropriate in theory, didn’t seem essential and felt a little out of step with her natural presence. Her natural hair pinned up would have suited this role perfectly.

For the Captain and sailors, slightly tilting back the hats would reduce shadowing and allow the audience to connect more fully with their expressions.

Overall, the costumes were divine and were an effective tool to visually immerse the audience into the larger than life world of the musical.

MUSIC DIRECTION & ORCHESTRA

The orchestra was in command from the first beat. Exceptionally tight in tempo, they supported the cast with richness and consistency. Crisp sound, steady rhythm, and a light touch when needed—this was professional work and one of the true highlights of the evening. The orchestra and music direction of the cast on stage were exemplary.

CHOREOGRAPHY

Choreography smartly reflected the diverse skill levels across the cast. Advanced dancers were given opportunities to shine (and they did!) while others had movement that showcased confidence without overreaching.

Dance breaks offered many “wow” moments—impressive tapping and ensemble unison—but they occasionally ran a tad long and felt disconnected when the rest of the cast dropped energy vocally or physically during those sections. Keeping background non-verbal reactions or ambient character noise alive would have helped maintain momentum and immersion. Still, that tap number? Showstopping. Making more space for the dancers for these moments would have been appreciated to see them embrace their full range of movement; however, the dancers clearly relished the moments they got to explode into movement regardless, and this was lovely to watch.

PERFORMANCES

PRINCIPALS

AIMEE HART (Reno Sweeney)

Aimee dazzled. Her voice was precise, polished, and powerful—easily filling the hall and carrying every song with confidence. Vocally, she was made for this role. Her commanding stage presence anchored the show. While at times her performance edged into presentational territory (striking poses or directing lines to the audience rather than scene partners), this may have been a directorial choice. Small adjustments — like keeping character alive through long dance breaks — would take an already excellent performance to the next level. A top-tier Reno. Outstanding.

PAUL FLYNN (Billy Crocker)

Full of energy and charisma, Paul gave a spirited performance. His falsetto was lovely, and he brought emotional intent to each song. Some inconsistencies in pitch — particularly when beginning phrases in a higher nasal placement — were occasionally noticeable, but with more vocal support and grounding, these could be smoothed out in future roles. His acting was engaging, though at times his approach leaned a touch too intense when charm might have served better. His chemistry with Hope was genuine, which made their shared scenes warm and believable. Well done.

HANNAH AMBROSE (Hope Harcourt)

Hannah brought grace and subtlety to Hope—a poised and sweet presence amidst the surrounding chaos. Her voice had a gentle purity, with a distinct tone that charmed. Diction in songs, especially in “Goodbye, Little Dream, Goodbye,” could be improved by bringing more forward placement to the sound; however, her tuneful songs easily swept the audience away. Her chemistry with Billy was clear - heartwarming to watch, and she embodied the character visually and emotionally with finesse.

GRAHAM BOWDEN (Moon Face Martin)

A comedic gem. Graham understood the role’s absurdity and leaned into it with brilliant timing and character detail. His accent, mannerisms, and physical comedy were all delightfully tailored. “Friendship” with Reno was a highlight to the production, and his chemistry opposite many others in the cast elevated each scene he was a part of. His vocals were characterful and musically secure—a tricky balance that he handled deftly.

SUSY HAWKES-DIGHTON (Erma)

Susy stepped into Erma with confidence and fun. Her dialogue was spirited, and she found a playful rhythm with Moonface and the gang that made her performance shine. With the characterisation in scenes so clear and sparkling, it was a strange contrast that “Buddy, Beware” lacked a bit of spark—it needed more overt flirtation / connection with the sailors and a bit more commitment to acting through the choreography to pop. In scenes with Moonface and Billy, and the occasional companion, Susy was a joy to watch as Erma in her ‘knowing’ feminine presence and did not hold back from the heightened comedic elements of her character. Well done.

TIM CLARKE (Lord Evelyn Oakley)

What an absolute delight! Tim’s Oakley was a physical comedy masterclass. His silly sincerity, bumbling upper-crust enthusiasm, and unexpected dance moves brought big laughs and real heart. Despite the age gap between characters, he sold the romance with commitment and charm. Tim gave his character a naivety and boyish energy that made his spirit young. The audience adored him—and rightly so. Tim’s performance was outstanding and joyous.

MICHAEL MUNDELL-POOLE (Elisha Whitney)

A steady and reactive presence, Michael played the uptight boss well. He offered some nice foil moments and responded believably amidst the show’s whirlwind of antics. Michael was a giving scene partner in the heightened farcical happenings and had nice, clear diction.

MAEVE BORGES (Evangeline Harcourt)

A fitting match as Hope’s high-drama mother. Maeve struck the tone well—hovering between comic exaggeration and parental propriety. Her handling of a lengthy cover scene where pacing lagged was admirable. Maeve was well suited to this role, and her lovely stage presence helped sustain momentum when needed.

STEPHEN TAYLOR (Captain)

Stephen was well cast, with a strong presence and excellent visual authority. Some cues slowed scenes and energy slightly, but when in full swing, his interactions with Evangeline and others were comedically satisfying - lovely silly little moments.

ED GROOMBRIDGE (Spit) & LUCY CHARLESWORTH (Dippy)

Ed and Lucy did a marvelous job bringing these rascally pickpockets to life on stage. Together they formed a mischievous duo who fit right into Moonface’s underground world, unifying them. Their shared timing and physicality told a great side story without ever distracting from the main action. These two played off of one another well and brought good characterisation texture regarding the class divide on the ship.

RICHARD MCNEILL (Rev T Dobson)

Richard gave us a believable, enthusiastic, and warm-hearted reverend—his contrast to Moonface’s disguise was well played. He brought a gentle energy that balanced the absurdity nicely.

BEN ROLPH (Purser) Alert and by-the-book, this Purser was eager to please and a devoted right hand man to the Captain. Ben brought some charisma to the role which was nice to see. His clarity and controlled, precise movement were a good match for the character.

RENOS ANGELS

(Amy Marsh, Rachel Ings, Sarah Miles, Gabriela Skinner, Corrina Groombridge, Holly Kerwick)

Absolutely stunning women with marvelous voices and a talent for dance. These performers were electric. Beautifully presented, each angel exuded a distinct personality through posture, tone, and expression—proving that ensemble work is about detail as much as uniformity. More stage space would’ve helped them shine even more, particularly in larger dance numbers. Sustaining character through movement and keeping those non-verbal reactions alive would’ve smoothed over the dance–dialogue divide. Their scenes always brought a giant dose of energy to the stage - gorgeous work.

SAILOR QUARTET (Louis Bartlett, Simon Posse, Richard Herring, Matthew Waldie)

A well-balanced and sweetly blended quartet. Vocally tight, expressively controlled. These voices sounded lovely together. More individual characterisation through song would have added dimension to the performance, but as a unit they were a welcome break from the bombastic numbers around them, and they did a great job.

ENSEMBLE Strong diction and clean musical lines across the board—what a treat to hear every lyric so clearly! They moved with intent and interacted convincingly within scenes. The group would benefit from a bit more urgency and higher stakes in transitions and more hubbub in moments of reaction / waiting, etc, and especially during dance breaks. Overall, their cohesion and vocal support were invaluable - the choral numbers sounded so impressive. Chorally, this is such a strong ensemble.

OVERALL PRODUCTION & DIRECTION

There’s a great deal to commend in this production. Nikki Mundell-Poole’s direction showcased her ability to wrangle a large cast into strong pictures and clear storytelling. Musical numbers soared, character work was rich, and chemistry between players was undeniable. The principals were outstanding in their vocal prowess and physical comedy.

However, a few pacing issues and stylistic choices held the show back from being utterly seamless. Transitions sagged at times and moments where actors were directed to pose outwardly rather than engage with their partners sometimes interrupted the comic flow. For example, the "missing Cheeky" filler scene to smoothe over a costume change was uncomfortable for the audience and shifted the energy in a bizarre way which didn’t support the humour in the scene that followed.

But these are minor ripples in an otherwise buoyant voyage. Anything Goes is a beast of a show, and WAOS proved more than capable of steering it with flair, talent, and a touch of sparkle. A joyful, jazzy night at sea.

Adjudicated by Cally Kline (11 April 2025) Becky Clemens (12 April 2025)