With Associate Artistic Kimberley Rampersad’s vision elevating and breathing new life into the Cole Porter classic, the Shaw Festival’s production of Anything Goes stands out as one of the best productions of the 2025 season. Directed and choreographed by Rampersad and Associate Choreographer Matt Alfano, this is a joyously escapist and visually stunning revival that crackles with eye-popping choreography, dynamic performances, and elegant design.
Set aboard the S.S. American, Anything Goes follows love-struck Wall Street broker Billy Crocker (Jeff Irving), who stows away on the ocean liner to win over heiress Hope Harcourt (Celeste Catena) – despite her engagement to bumbling British aristocrat Evelyn Oakleigh (Allan Louis). With help from sultry nightclub singer Reno Sweeney (Mary Antonini) and second-rate gangster Moonface Martin (Michael Therriault), Billy navigates a sea of mistaken identities, tangled love triangles, and comic mayhem. Under Rampersad’s assured direction, the hijinks are inspired and never mean-spirited, and the blend of old-school farce and modern flair is de-lovely.
The production simply bursts with vitality, especially in the show’s dazzling ensemble choreography. When the full cast launches into the title number— an extended, exuberant tap sequence that closes Act I — the energy is so infectious that it leaves you blinking, humming, and at loose ends during intermission. “Blow, Gabriel, Blow” is another standout, executed with jubilant precision. And Rampersad skilfully balances these kaleidoscopic, large-scale showstoppers with sincere character-driven moments, steering the production with both flair and finesse.
As Reno, Antonini brings vocal power, commanding charisma, and an easy confidence to one of musical theatre’s most iconic roles. And she is well-matched by Irving as Billy and Catena as Hope, whose chemistry feels genuine and grounded amidst the show’s farcical hijinks. Louis finds comedic gold in the role of Lord Evelyn, while Therriault (who seems to be enjoying himself enormously) adds warmth, levity and outright zaniness as old-time criminal Moonface Martin. The supporting ensemble, featuring notable contributions from David Adams, Kristi Frank, Jade Repeta, Alexander Batycki, and many others, deliver both comedic charm and crisp musical performances, with the result that no scene feels superfluous.
It’s worth noting also that Anything Goes resonates thematically. The production carries an undercurrent of social commentary that feels surprisingly current. Its playful jabs at class, the intersection of celebrity and criminality, and the idea of reinvention should be striking a chord with audiences who grapple daily with questions of status, adaptability and justice. At the same time, the show’s breezy irreverence helps smooth over spots where Porter’s lyrics feel dated, neatly blending giddy romp with a sly critique of convention.
Beyond its bubbly charm and romantic farce, this production also finds contemporary resonance in the way it frames the arcs of Reno, Hope, and Erma. Through these three sharply contrasted women, the show inspires us to consider how identity, desirability, and agency are performed—and often commodified—in both public and private life. Reno, with her blend of confidence, charm, and business savvy, reads almost like a proto-influencer, wielding magnetism as currency while revealing real vulnerability beneath the bravado. Hope, caught between duty and desire, embodies the pressures placed on young women to conform to expectations of propriety, status, and emotional restraint. And Erma, who is often played as a ditz for little more than broad laughs, asserts her independence through unapologetic flirtation and physical confidence – thereby challenging what are still all-too-common assumptions about autonomy, respectability and control. More than just types, these three offer insight into the obstacles and gratifications of women’s circumstances: the social expectations they must navigate, the roles they are permitted to play, and the strategies they develop to find love, freedom, or simple survival on their own terms. In this age of personal branding and presence curation, these character arcs feel relatable.
And visually, the production is a feast for the senses that transports us to the Jazz Age with pizzazz. Cory Sincennes’ costume and set design evoke period glamour. A versatile rotating twin staircase adds movement and dimension, while wheeled-on set pieces help to situate the story within various interior and exterior shipboard locations. Mikael Kangas’ lighting and sound design by Corey MacFadyen and Kaitlin MacKinnon enhance the buoyant atmosphere, while Paul Sportelli’s music direction keeps the orchestra swinging. From “I Get a Kick Out of You” to “Friendship” to “You’re the Top,” every number is delivered with an ebullient gusto.
Typical of classic musicals, Anything Goes features a sprawling cast of characters: in less skilled hands, this can make some moments feel bloated. However, Rampersad’s clear narrative focus, brisk pacing, and seamless scenic transitions ensure the production never loses momentum. And if joy itself can be a radical act, this production offers it generously. At curtain call, the audience at my performance leapt to its feet in an instant standing ovation, releasing loud cheers and whoops in cathartic celebration – a testament to both the musical’s enduring charm and the specialness of this magnificent production.
With Anything Goes, Rampersad has crafted a high-octane, feel-good, leave-you-wanting-more hit that is sure to inspire – and richly deserves – return visits. Anything Goes is onstage at the Festival Theatre, Shaw Festival, until October 4, 2025. Tickets are available on shawfest.com.
© Arpita Ghosal, Sesaya Arts Magazine 2025
