Anything Goes Musical Lyrics

Lewis Milestone – the director of the musical, which was originally staged in 1936 (and then was resurrected a few times – in 1956 and 1990, sometimes a couple of old actors remained in a part, surprisingly). The star of the screen and the theater those years, Bing Crosby, starred Billie. Ethel Merman played in this production much more successful role than she was in mediocre failing show in the musical Annie Get Your Gun.

Despite the heavy load with minor details of the plot, the main storyline is that a young man travels across the Atlantic by boat (from the USA to England) and during swimming falls in love with a rich English heiress, going home. It turns out that for some reason he is also hiding from his boss, who by mischance boarded also and now Billie has to be masked. What is remarkable – in USA in 1936 it was the Commission following the morality much more closely (and had more rights than it is now an organization that assigns ratings of movies, MPAA, has); many of the songs had to be rewritten so that play was done. And thus, Bing Crosby had left only 4 songs to sing with heavily changed words, and one of the songs – the title of all the action, Anything Goes – at all has changed to the point where it was left 1 couplet out of the original content.

Through participation in the play of such a famous person as Bing, creators were able to quickly get new songs written by different authors. In addition, in the 1930s it was common phenomenon that the film company owned by record labels and released new songs for the film with the aim to make more money. Then these two areas were divided, without being bound by the corporate culture, but only financially, under the joint co-operation.

Anything Goes is a classic musical that has left a significant mark on Broadway since its debut in 1934. Here’s an in-depth look at its history, notable facts, and cultural significance.

Overview and Background

• Music and Lyrics: Cole Porter


• Book: Guy Bolton, P.G. Wodehouse, Howard Lindsay, and Russel Crouse


• Original Premiere: November 21, 1934, at the Alvin Theatre (now the Neil Simon Theatre) in New York City


• Director: Lewis Milestone


• Notable Cast: Ethel Merman as Reno Sweeney, William Gaxton as Billy Crocker, and Victor Moore as Moonface Martin

The musical is set aboard the SS American, traveling from New York to London. The plot follows Billy Crocker, a stowaway who is hopelessly in love with heiress Hope Harcourt, who is engaged to Lord Evelyn Oakleigh. With the help of nightclub singer Reno Sweeney and the comedic antics of Public Enemy Number 13, "Moonface" Martin, Billy attempts to win Hope's heart amidst various misunderstandings and escapades.

Historical Context and Censorship

The original production faced significant challenges due to strict censorship laws of the time. The 1930s saw the enforcement of the Hays Code, which imposed moral standards on theatrical productions. As a result, many of Cole Porter's original lyrics had to be altered or sanitized for the show to meet these standards. For instance, the title song "Anything Goes" underwent substantial changes, with much of its original content being rewritten or removed entirely. Despite these constraints, the musical managed to capture the spirit of its era with clever wordplay and humor.

Revivals and Cultural Impact

Anything Goes has been revived multiple times since its original run:

• 1962 Off-Broadway Revival: This version featured a revised script that moved the entire story onto the ship and cut certain lesser-known Porter songs while incorporating more popular songs from his catalog.

  
  



• 1987 Broadway Revival: Starring Patti LuPone as Reno Sweeney, this production ran for 804 performances and won a Tony Award for Best Revival.

  
  



• 2011 Broadway Revival: Featuring Sutton Foster in the lead role, this version received critical acclaim and further solidified the musical's status in American theater.

  
  

The songs from Anything Goes, including "You're the Top," "I Get a Kick Out of You," and "All Through the Night," have become jazz standards and are frequently performed by artists across various genres.

Notable Facts

• Ethel Merman's Breakthrough: The role of Reno Sweeney catapulted Ethel Merman to stardom. Her powerful voice and commanding stage presence made her synonymous with the character. Interestingly, she had previously starred in Annie Get Your Gun, but her performance in Anything Goes is often regarded as her defining role.

  
  



• Bing Crosby's Involvement: In the 1936 film adaptation of Anything Goes, Bing Crosby played Billy Crocker. His star power helped popularize the musical further, although many songs were altered for the film version.

  
  



• Censorship Challenges: The original production's lyrics faced scrutiny from moral watchdogs of the time. For example, lines that referenced drinking or sexuality were often toned down or removed entirely. Cole Porter’s witty lyrics often pushed boundaries but had to be adjusted to comply with contemporary moral standards.

  
  



• Cultural Relevance: Despite being written nearly a century ago, Anything Goes continues to resonate with audiences today due to its themes of love, adventure, and comedic misunderstandings. The cleverness of Porter's lyrics combined with an engaging storyline ensures its lasting appeal.

  
  

Quotes from Interviews

In interviews about Anything Goes, Ethel Merman once remarked on her experience saying:

"I didn’t have to act; I just had to be myself... Reno was everything I wanted to be."

This sentiment reflects how closely she identified with her character and how it influenced her career trajectory.

Cole Porter’s work has also been described as “naughtiness” wrapped in cleverness. A critic noted:

“Porter’s lyrics pulse with a Latin beat and are filled with double entendres that keep audiences laughing.”

Conclusion

Anything Goes remains a hallmark of American musical theater. Its combination of catchy tunes, memorable characters, and comedic plotlines has allowed it to endure through generations. With numerous revivals and adaptations over the years, it continues to entertain audiences worldwide while showcasing Cole Porter's genius as a composer and lyricist.

The libretto of Anything Goes has undergone significant changes from its original 1934 version to the 1987 revival. Here are the most notable differences:

Major Changes in the Libretto

1. Book and Structure Adjustments

• The original book was a collaborative effort by Guy Bolton and P.G. Wodehouse, which was later revised by Howard Lindsay and Russell Crouse for the 1987 revival. This revision aimed to streamline the plot and enhance character development, making it more cohesive and engaging for modern audiences.

2. Character Development

• In the 1987 revival, characters were given more depth. For example, Reno Sweeney's role was expanded, allowing her to showcase her personality beyond just being a nightclub singer. The dynamics between characters, particularly between Reno, Billy, and Hope, were restructured to enhance their relationships and motivations.

3. Song Reassignments and Additions

• The score was significantly altered in the 1987 version. While many iconic songs like "Anything Goes," "I Get a Kick Out of You," and "You're the Top" remained, some songs from the original were cut or reassigned to different scenes or characters. For instance:
  
  
  • “I Get a Kick Out of You” was moved to a later position in Act I, changing its context within the narrative.
  
  
  • New songs were added from Cole Porter's catalog, such as "Let's Misbehave" and "Friendship," which were not part of the original score but fit well within the updated context of the show.
  
  
  
  

4. Dialogue and Lyrics Modifications

• Many of Cole Porter's original lyrics had to be rewritten due to censorship issues in the 1930s. The 1987 revival allowed for a return to more original content while still maintaining some humor and innuendo that resonated with contemporary audiences. This included restoring some of Porter's sharper wit that had been dulled in earlier versions.

5. Pacing and Timing

• The pacing of scenes was adjusted in the revival to better suit modern theatrical sensibilities. The comedic timing was enhanced through quicker scene transitions and tighter dialogue, making the show feel more dynamic.

6. Dance Numbers and Musical Arrangements

• The choreography in the 1987 revival featured more elaborate dance sequences compared to the original production, which was limited by the styles of its time. The revival incorporated a broader range of dance styles that reflected contemporary trends while still honoring the classic feel of the musical.

7. Ending Variations

• The ending of Act I in both versions features "Anything Goes," but the context surrounding it changed significantly. In the original, there was a dialogue scene following this number that set up further plot developments differently than in later versions.

Conclusion

The evolution of Anything Goes from its original 1934 version to the 1987 revival highlights how musicals can adapt over time while retaining their core charm and appeal. These changes not only reflect shifts in societal norms and audience expectations but also showcase Cole Porter's timeless music that continues to resonate across generations. Each revival has contributed to keeping Anything Goes relevant and entertaining for new audiences while celebrating its rich history in American musical theater.