Anything Goes
Musical
Writers:Guy Bolton P.G. Wodehouse Howard Lindsay Russel Crouse John Weidman Timothy Crouse Cole Porter
Overview
Synopsis
The S. S. American is sailing between New York and England with a comically colorful assemblage of passengers: Reno Sweeney, a popular nightclub singer and former evangelist, her pal Billy Crocker, a lovelorn Wall Street broker who has come aboard to try to win the favor of his beloved Hope Harcourt (who is engaged to another passenger, Sir Evelyn Oakleigh), and a second-rate conman named Moonface Martin, aka “Public Enemy #13”. Song, dance, and farcical antics ensue as Reno and Moonface try to help Billy win the love of his life.
Show Information
Context
Anything Goes premiered in 1934 on Broadway at the present day Neil Simon Theater (then known as the “Alvin Theatre”) in a production directed by Howard Lindsay and starring William Gaxton as Billy, Ethel Merman as Reno Sweeney, and Victor Moore as Moonface Martin. It was produced the following year on the West End, and soon after was adapted for film. Anything Goes has enjoyed two Broadway revivals, an off-Broadway productions, two West End revivals, and a National Tour and is produced
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ACT ONE
The action opens in a smoky bar in Manhattan. Elisha J. Whitney, a Wall Street tycoon, is enjoying his seventh drink while waiting for his assistant, Billy Crocker. He tells the bartender, Fred, that he is headed to London in the morning to “boot the Yale boat home” at the Henley Regatta, an annual rowing event on the Thames. Billy enters, and Eli immediately begins singing the Yale Fight Song while Billy stands at attention. Whitney chastises Billy his tardiness; Billy explains
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| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Female |
Mezzo-Soprano |
|
|
Lead |
Male |
Baritone |
|
|
Lead |
Male |
Tenor |
|
|
Lead |
Male |
Tenor |
|
|
Lead |
Female |
Soprano |
|
|
Supporting |
Female |
|
|
|
Supporting |
Male |
Baritone |
|
|
Supporting |
Male |
Baritone |
|
|
Supporting |
Female |
Mezzo-Soprano |
|
|
Featured |
Male |
|
|
|
Featured |
Male |
|
|
|
Featured |
Male |
|
|
|
Featured |
Female |
|
|
|
Featured |
Female |
|
|
|
Featured |
Female |
|
|
|
Featured |
Female |
|
|
|
Featured |
Male |
Spoken |
|
|
Featured |
Male |
Tenor, Baritone |
|
|
Featured |
Male |
Tenor, Baritone |
|
|
Ensemble |
Either or Both |
|
Songs
Act One
Act Two
A song with an asterisk (*) before the title indicates a dance number.
Monologues
Scenes
Key Terms
The art of designing and arranging movement sequences for theatrical dance and physical storytelling.
Phrases with dual meanings, often one risqué, used in scripts to add humor or subtext without overt expression.
Farce is a comedic style that emphasizes exaggerated situations, improbable coincidences, mistaken identities, and rapid pacing. It often includes physical humor such as slamming doors, frantic chases, or characters hiding in plain sight. Farce is designed to generate nonstop laughter, often prioritizing chaos and absurdity over realistic storytelling.
The imaginary wall separating the audience from the actors onstage, often 'broken' for direct address. This term plays a vital role in understanding theatrical structure and is commonly encountered in stagecraft or performance settings.
A period of artistic flourishing, often referring to 1940s-60s Broadway or English Renaissance theatre. This term plays a vital role in understanding theatrical structure and is commonly encountered in stagecraft or performance settings.
The “Golden Age Musical” refers to Broadway shows written roughly between the 1940s and 1960s, a period known for integrating songs, story, and character development. These musicals often balanced romance, comedy, and social themes with memorable melodies and large ensembles. Classics from this era continue to shape the foundation of modern musical theatre.
A musical genre characterized by syncopation and improvisation, frequently integrated into musical theatre for style and rhythm.
Short for 'legitimate theatre,' referring to traditional stage drama as opposed to musical or commercial performance. The term is also used to describe a classical vocal tone suitable for operatic or legit musical theatre roles.
A period piece is a theatrical work set in a specific historical era, recreating its fashions, manners, and cultural atmosphere. Costumes, sets, and dialogue are often designed to reflect the chosen time period as accurately as possible. Period pieces allow audiences to step into another age and experience its unique style and traditions.
A revival is a new production of a play or musical after its original run has ended, often reimagined for a new generation of audiences. Revivals may stay faithful to the original staging or update elements like design, casting, or interpretation. They are a cornerstone of theatre tradition, keeping classic works alive and relevant.
A showstopper is a theatrical number so powerful, impressive, or emotionally charged that it provokes extended audience applause, temporarily halting the performance. These moments often highlight peak vocal, dance, or dramatic abilities and become signature highlights of a production. Showstoppers are carefully crafted to create excitement, release tension, or leave a lasting impression on the audience.
A production created to showcase the talents of a specific star performer, often tailored to their strengths.
Videos
Quizzes
Themes, Symbols & Motifs
Anything Goes joyfully satirizes the glamour, chaos,
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