Production runs until October 4 at the Festival Theatre. 10 Queen’s Parade, Niagara-on-the-Lake.”Anything Goes is the Shaw Festival’s most exuberant musical in years—a smart, sparkly, and gloriously goofy romp through Cole Porter’s jazzy 1930s world. With stunning choreography and endless charm, this is musical comedy the way it’s meant to be.”
The Shaw Festival has launched a summer of high-seas hijinks with its excellent production of the beloved classic Anything Goes. Brimming with wit, charm, and toe-tapping Cole Porter tunes, this often-revived gem feels as fresh and buoyant as ever. If you see only one production at the Shaw this season, make it this one—you won’t want to miss the dazzling spectacle and sheer joy this show delivers.
Since the pandemic, the Shaw Festival has worked hard to reinvigorate its musical programming. While the results have varied, the company truly hit its stride with last season’s smash hit, My Fair Lady. Now, with its latest production, Shaw once again strikes gold, breathing new life into Cole Porter’s timeless world of romance, intrigue, and comedic bluster. This dazzling revival will have audiences humming Porter classics like “You’re the Top,” “Anything Goes,” and “Blow, Gabriel, Blow” long after the curtain falls.
This spirited production of Anything Goes is a joyous romp filled with infectious energy and comedic charm. Mary Antonini shines as Reno Sweeney, the vivacious nightclub singer whose sparkling wit and show-stopping numbers keep the pace lively and fun. Jeff Irving’s earnest portrayal of Billy Crocker, the lovestruck stowaway, brings heart to the hilarious chaos. At the same time, Celeste Catena’s Hope Harcourt adds a touch of innocence and grace to the tangled love triangle.
Allan Louis’s foppish Lord Evelyn Oakleigh provides plenty of comic relief, perfectly balancing his absurdity with lovable awkwardness. Michael Therriault’s over-the-top gangster “Moonface” Martin is a delight, adding a layer of madcap zaniness that pushes the farce to new heights.
Associate Artistic Director Kimberley Rampersad pulls double duty as both director and choreographer — and she gets it right, mostly. From farcical pacing to dynamic staging, she masterfully expresses three quintessential American art forms of the 1930s: tap dance, jazz music, and the musicale (a social entertainment centered around music). Rampersad demonstrates a sharp understanding of how to shape and drive a story through briskly paced scenes, seamless transitions, and spirited, era-specific choreography. The show bursts with energy, from intimate duets to electrifying ensemble numbers.
My only quibble lies in the delicate balancing act inherent in staging farce. Traditionally, farce thrives on placing ordinary people, such as Jeff Irving’s Billy Crocker and Celeste Catena’s Hope Harcourt, in absurd, improbable situations, with supporting characters often portrayed as broad, exaggerated types for comic effect. Performers like Shawn Wright (Elisha Whitney), Michael Therriault, and Allan Lewis effectively lean into this style. However, characters such as The Captain (David Adams) and Evangeline Harcourt (Sharry Flett) felt comparatively restrained. A more inflated, stylized approach from them might have better harmonized the overall tone.
While the pacing lagged midway through the first act, the show quickly regained its stride with the charming “Friendship” and the electrifying, nonstop energy of Anything Goes. Unfortunately, an abrupt lighting blackout at the end of that show-stopping number plunged what should have been a triumphant, well-deserved standing ovation into complete darkness—an awkward lead-in to intermission.
Musical director Paul Sportelli is a masterful musician and a calm and confident conductor. He innately understands how Porter’s music drives the narrative and informs character, solidly blending solos, harmonies and vocal transitions. His pit band is bright, tight, and brassy, capturing the high-energy glamour and wit of 1930s Broadway and jazz-influenced big band styles. Wonderful work!
Sets and costumes by Cory Sincennes are both clever and visually striking, both offering stunning contrasts in black and white. On the decks of this transatlantic liner, rotating platforms, railings, and staircases revolve around a towering central smokestack—serving not just as a visual anchor but also creating ample space for performers to dance, romp, and tap. The proscenium arch is styled like riveted steel, reinforcing the industrial ship aesthetic. During grand musical numbers, the rivets light up like marquee signs, infusing the stage with theatrical sparkle. Moveable railings seamlessly transport us between the ship’s upper decks and its prison cells, while compact staterooms glide gracefully on and off from the wings, allowing for fluid scene changes.
The costumes dazzle with 1930s glamour—flapper-inspired gowns with drop waists, sequins, fringe, and flowing fabrics echo the deck’s elegant curves. Men are outfitted in crisp linens, sharp tuxedos, and more than a few sailor suits, completing the look of period-perfect sophistication.
Mikael Kangas’ lighting design is bright, stylized, and quintessentially Broadway, evoking the glamour of the 1930s with generous use of amber and straw hues to create warm, nostalgic tones. The deck of the ship is lit with a bright, naturalistic palette that simulates open sky, offering a striking contrast. Meanwhile, cozy earth tones envelop the elegant ship’s quarters, making them feel rich, inviting, and full of character. Corey MacFayden and Kaitlyn MacKinnon’s sound design strikes a seamless harmony between the pit band and the performers’ vocals, ensuring every note and lyric lands with clarity and impact.
The cast seems to be having a wonderful time, and that energy is infectious! As Reno Sweeney—the evangelist turned nightclub singer—Mary Antonini is plucky and vivacious, with plenty of attitude. Her deeper mezzo voice is a refreshing departure from the traditional higher-belt renditions of the role, and it’s particularly well-suited to gospel-inspired numbers like “Blow, Gabriel, Blow.” She’s also a dynamite dancer, bringing flair and confidence to every number.
Reno’s Angels—a quartet of backup showgirls (Jaden Kim, Jade Repeta, Kiera Sangster, Mikayla Stradiotto)—are actual triple threats, bursting with pizzazz, personality, and dazzling dance moves. They bring sparkle to every scene they’re in. Jeff Irving plays Billy Crocker, the quick-witted young Wall Street broker, with nonstop energy and just the correct dose of hopeless romanticism. He’s charming, has excellent comic timing, dances with ease, and croons with a warm, lyrical voice. As Hope Harcourt, the beautiful heiress with a strong sense of duty but caught in an engagement to the wrong man, Celeste Catena sings with a lovely soprano. At times, her performance feels a bit too meek for the character’s emotional stakes. Curiously, she bears such a striking resemblance to Mary Antonini’s Reno that I occasionally found myself doing a double-take.
Allan Louis brings delightful eccentricity to Lord Evelyn Oakleigh, Hope’s aristocratic fiancé. He’s quirky, good-natured, and plays the dim-witted court jester type with charm. He’s got a lovely voice and doesn’t take himself too seriously—perfect for the role.
As the nearsighted, buffoonish Wall Street tycoon Elisha Whitney, Shawn Wright hams it up to significant effect. His caricatured performance—complete with proud Yale bluster and well-practiced drunkenness—is spot-on and full of comic relish. The other high-octane standout is Michael Therriault as Moonface Martin, a second-rate gangster with a heart of gold. His comic timing is outrageously sharp and boundless in energy. He may not be the youngest in the cast, but he sings and dances with the stamina of someone half his age. Watching him is exhilarating—and a little exhausting! Sharry Flett adds class and composure as Evangeline Harcourt, Hope’s socially conscious mother, while David Adams as the ship’s Captain is affable and charming, though he could do more with the role.
A particular highlight is Kristi Frank as Erma Latour. Last season, she charmed audiences as Eliza Doolittle in My Fair Lady—a Cockney flower girl with grit. This time around, she’s wonderfully transformed into a playful, sly, and hilariously clueless gun moll, complete with a thick ‘Joisey’ accent. Her versatility as both a singer and dancer makes it clear: she’s one to watch.
This production deftly navigates the twists of mistaken identities, romantic mix-ups, and witty banter, delivering a show that’s as charming as it is uproarious. From the toe-tapping tunes to the clever dialogue, Anything Goes aboard the S.S. American is a rollicking good time—guaranteed to leave audiences grinning from ear to ear.
Don’t miss the boat—see it!
Running time approx: 2 hours and 39 minutes with one intermission.
Production runs until October 4 at the Festival Theatre. 10 Queen’s Parade, Niagara-on-the-Lake.
For tickets, call the Box Office at 1-800-511-7429 or visit shawfest.com
The Shaw Festival Presents
“Anything Goes”
Directed and choreographed by Kimberley Rampersad
Music Direction by Paul Sportelli
Sets and costumes designed by Cory Sincennes
Lighting designed by Mikael Kangas
Sound designed by Corey MacFayden and Kaitlyn MacKinnon
Performers: Mary Antonini, Jeff Irving, Celeste Catena, Michael Therriault, Kristi Frank, Shawn Wright, Allan Louis, Sharry Flett and many other Canadian artists in the ensemble.
