Review: Anything Goes, filmed at the Barbican Centre, London

Source: Anything Goes Musical (@anythinggoesuk) • Instagram photos and videos

One of the biggest theatrical hots of 2021 was the revival of Cole Porter's Anything Goes at the Barbican Centre. Now this was a massive hit (and was on my list, but lower down, compared to the likes of Carousel say). In fact it made such a hit and so many 5-star reviews, that it was filmed for cinemas during its run, and screened at the beginning of December. 

Perfect - will do it that way. Until it was announced that very screening was going to be aired Boxing Day - so we can see it for free! Even better! Yay! 

You see, my initial hesitation, despite this being the well-regarded Kathleen Marshall revival that was done on Broadway a decade ago (!), is that Anything Goes is anything but my favourite musical. In fact, it is the example I bring up when I explain why I am not a fan of farces so much. I managed to catch the Sheffield production that toured some years ago (in fact, it wasn't long after I started writing) and it didn't particularly take to me. 

But I of course wanted to give it another go with the version that many a critic has said is the best one yet. 

Was it my cup of tea before. No. Is it my cup of tea now? Errrr.... not really. The biggest problem for me is the book; as it is the classic example of paper thin plot and things happen just 'cause. Anything Goes is a piece very much of its time, and it was typical then to have entertainment first and plot second. Remember, this was written 9 years before Oklahoma, the show that would change everything by including plot, song and dance as a whole thing. 

Source: Anything Goes Musical (@anythinggoesuk) • Instagram photos and videos

There is also this weird (in my book) obsession from the other passengers about travelling with celebrities. And to me it makes no sense. With a piece like Chicago, which has a similar theme, it adds to the story and the character development. 

But with Anything Goes, while I get it may well be a thing at the time, it doesn't make any sense to me at all and my modern brain. The end of the first act in particular got me thinking "What is going on with these people!" (Rant over, promise.)

Having said that, I can understand why people enjoy this show. Because it is no-shame guilty pleasure entertainment and escapism. And we need that sometimes. Especially now. 

And it is sometimes not the plain product, but the execution of it, that people will remember. 

Source: Anything Goes Musical (@anythinggoesuk) • Instagram photos and videos

Anything Goes is set on a cruise ship sailing from New York to London. It's the 30s. Against his boss' wishes, Billy Crocker stows away on board to win the love of his crush, heiress Hope Harcourt, who is set to be married to a British aristocrat. 

With help from nightclub singer Reno Sweeney, and Public Enemy No.13 Moonface Martin, can he win back her heart and stop the wedding?

I have had my rant about the plot, with its classical farce of 2 second love-stories, mistaken identities and general hijinks, but I need to get onto the good now. 

One thing anyone who has seen this revival will tell you is that the tap number at the end of Act 1, the title song is something else. That is the ONE thing I feel you miss by seeing it on a screen and not live. Marshall's slick choreography is classic tap, it is difficult, and it goes on for a LONG time. It is nearly a 10 minute number! 

It's a good thing the interval is right afterwards, because the company need it for the next number. 

Source: Anything Goes Musical (@anythinggoesuk) • Instagram photos and videos

Act 2 opens with Blow Gabriel Blow, during which Reno performs with her Angels, with the entire company present. It may have a different tone than Anything Goes, but it is just as energetic and just as slick as the title number. 

The fact that this company can do almost anything choreographically is a massive bonus. 

Leading the troupe as singer Reno Sweeney is Broadway legend Sutton Foster, who made her London stage debut with the production. She was fun, cheeky, snarky; I enjoyed her in the role a lot. 

But the problem is, it isn't really her story. It's Billy's. Speaking of the devil, Samuel Edwards (Wicked) was a great casting choice. Charming, suave, smooth voice, and his scenes with Nicole-Louise Basildon (Book of Mormon) who played Hope were nice, though it is a shame we missed out on the chemisty-building past. 

Source: Anything Goes Musical (@anythinggoesuk) • Instagram photos and videos

Supporting this story are British staple Robert Lindsey, Gary Wilmott, Felicity Kendal, and Haydn Oakley (An American in Paris) providing laughs and one-liners. 

But there is one more person I must mention, and that is the character of Erma, Moonface's sidekick, played by Carly Mercedes-Dyer (The Colour Purple). Erma is not a big part at all. In fact, she only has one song and it is right at the end. But Carly takes what little she has and plays it up to the max. Her comic timing is on point, her voice sultry as. People are saying she will win an Olivier for this role - we will have to wait and see, but we can all agree she is undeniably a star. 

Anything Goes, following the success of this year's run, will tour at a few venues before returning to the Barbican next summer with casting to be announced. Would I recommend this? 

I would advise to watch it on BBC iPlayer first. It is free after all, and then you can make your mind up from there. If after watching it on iPlayer, you fancy buying a ticket, go for it. If not, well, at least you had a free ticket to the SS American and got away with it; which no spoiler, is better than Billy fared.