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A TAMS-WITMARK TITLE
Full-Length Musical, Comedy / 3w, 4m plus ensemble
Music and Lyrics by Cole Porter Original Book by P.G. Wodehouse & Guy Bolton and Howard Lindsay & Russel Crouse New Book by Timothy Crouse & John Weidman
This version of Anything Goes was adapted from the 1987 Broadway revival, originally produced by Lincoln Center Theater.
It’s delightful, delicious and de-lovely! This 2022 revision of the hilarious shipboard romp features a revised script, updated in light of contemporary sensibilities.
Image: 2021 Barbican Theatre Production (Tristram Kenton)
Winner! Three 1988 Tony Awards, including Best Revival Winner! Three 1988 Drama Desk Awards, including Outstanding Revival Winner! Three 2011 Tony Awards, including Best Musical Revival Winner! Five 2011 Drama Desk Awards, including Best Revival Nominee: Two 2022 Olivier Awards, including Best Musical Revival
Music, dance, laughs and the age-old tale of boy meets girl… Anything Goes is delightful, delicious and de-lovely.
Two versions of Anything Goes are available for licensing: the 1962 version and this 2022 Revision. This version, based on the 1987 Lincoln Center production at the Vivian Beaumont Theater, features a revised script, updated in light of contemporary sensibilities. In this version, the race of the characters is not pivotal to the plot. We encourage you to consider diversity and inclusion in your casting choices.
Both versions may be accompanied by a piano, small instrumental combo or full orchestra. This 2022 Revision has twice as much dance music as the 1962 version and includes the hits “I Get a Kick Out of You,” “You’re the Top,” “Friendship,” “It’s De-Lovely” and the title song, along with “Easy to Love,” “Goodbye, Little Dream, Goodbye” and “Buddie, Beware.” (The 1962 version also includes “Heaven Hop,” “Let’s Step Out,” “Let’s Misbehave” and “Take Me Back to Manhattan.”)
Professional Artwork Available for Your Production of Anything Goes! Concord Theatricals has collaborated with Subplot Studio to create high-quality artwork that complies with your license. Promoting your show has never been easier! Learn more at Subplot Studio.
Anything Goes premiered on Broadway on 21 November 1934 at the Alvin Theatre, where it ran for 420 performances, becoming the fourth longest-running musical of the 1930s. A revised version of the show opened off-Broadway at the Orpheum Theatre on 15 May 1962, starring Eileen Rodgers as Reno Sweeney and Hal Linden as Billy Crocker. In 1987, Lincoln Center Theater produced an updated version of the show. Opening at Broadway’s Vivian Beaumont Theater on 19 October 1987, the show starred Patti LuPone, Howard McGillin and Bill McCutcheon, won the Tony Award for Best Revival, and played for 784 performances.
In 2011, the Beaumont version was revived at the Stephen Sondheim Theatre on Broadway, starring Sutton Foster and Joel Grey. Once again, Anything Goes won the Tony for Best Musical Revival, and the production ran for 521 performances.
Act I
In a New York City bar in the early 1930s, successful Wall Street banker Elisha Whitney waits impatiently for his assistant, Billy Crocker. Billy drops off some items for Whitney’s upcoming vacation, but forgets Whitney’s passport. Billy agrees to deliver it on the cruise ship the following morning. As Whitney exits, Billy’s old friend Reno Sweeny arrives. A sexy Evangelist turned nightclub singer, Reno plans to travel on the same boat as Whitney. Reno is quite fond of Billy (“I Get A Kick Out Of You”), but Billy is in love with a girl named Hope Harcourt.
The next morning, The SS American is set to sail (“There’s No Cure Like Travel”). The ship’s passengers include: American debutante Hope Harcourt; her wealthy English fiancé Lord Evelyn Oakleigh; Hope’s widowed mother, Evangeline Harcourt; Minister Henry T. Dobson and his two recent converts, a pair of rascally street toughs named Spit and Dippy; Reno Sweeny and her four showgirl Angels; and gangster (and Public Enemy #13) Moonface Martin, disguised as a minister, with his accomplice Erma. When Billy boards the ship, Whitney tells him to sell all shares of Amalgamated stock. But Billy is distracted when he discovers that Hope is sailing with her fiancé. He inadvertently identifies Minister Dobson as Moonface Martin, so two F.B.I. agents throw the minister in the ship’s brig, leaving Spit and Dippy – who turn out to be skilled pickpockets – to wander the ship without supervision.
Moonface and Erma thank Billy by offering him the unused ticket of their friend, Snake Eyes Johnson, who is wanted by the FBI as Public Enemy #1. Billy, determined to win Hope’s heart, accepts the ticket just as the ship sets off (“Bon Voyage/There’s No Cure Like Travel”). Reno agrees to help Billy, but first she has to boost his confidence (“You’re The Top”). While Evelyn nurses a bout of seasickness, Billy spends some time alone with Hope (“Easy To Love”), but she feels obligated to marry Evelyn. Meanwhile, Whitney, an old Yale man, unsuccessfully attempts to woo Evangeline (“The Crew Song”).
Moonface and Erma come clean to Billy, and they help disguise him as a sailor (“There’ll Always Be A Lady Fair”). While Billy masquerades as a sailor, Spit and Dippy make a killing by expertly playing cards, picking pockets and shooting craps. Moon and Reno come up with a plan for Reno to seduce Evelyn and break off his engagement to Hope (“Friendship”). Though the plan fails, Reno develops a genuine romantic interest in Evelyn.
While donning crazy disguises, Billy and Moon tell Evangeline that Evelyn is insane, but Hope reveals Billy’s true identity. Hope is distraught by Billy’s antics, but – with Reno’s encouragement – she warms to his advances (“It’s De-lovely”). The Purser finally catches Billy and arrests him for being Snake Eyes Johnson, Public Enemy Number 1. The captain and passengers are thrilled to have a celebrity onboard, however, and they all rejoice (“Anything Goes”).
Act II
Billy and Moon continue to receive star treatment (“Public Enemy Number One”). Reno and her Angels lead a nightclub act that is part entertainment, part religious revival. Several passengers confess to immoral behavior in the past: Evelyn confesses to a youthful tryst with a young Hollywood actress who was playing Anne Boleyn, and Billy apologizes to Hope, admitting his deceit. Reno leads a rousing musical celebration (“Blow, Gabriel, Blow”), but the passengers are outraged that Billy is no celebrity, so Billy and Moon are sent to the ship’s brig. Evangeline announces that Hope and Evelyn will be married in the morning, and Hope is devastated (“Goodbye, Little Dream, Goodbye”).
In jail, Moon tries to cheer Billy up (“Be Like The Blue Bird”) and Billy receives a love note from Hope (“All Through The Night”). Meanwhile on deck, Evelyn realizes he’s in love with Reno (“The Gypsy in Me”). Spit and Dippy are jailed for gambling onboard. Reno visits the jail, and updates Billy and Moon. Spit reveals that he picked the Purser’s pocket, acquiring the jail cell keys. Before they escape, Spit and Dippy change clothes with Billy and Moon so everyone will be harder to detect. Meanwhile, on deck, Erma entertains a group of sailors (“Buddie, Beware”).
The wedding begins, but it’s soon interrupted by Billy and Moon, dressed in Spit and Dippy’s clothing, along with Reno, disguised as “Anne Boleyn.” The three impostors manage to cancel the wedding, and soon Hope and Billy end up together, as do Reno and Evelyn, and Evangeline and Whitney. Billy confesses that he never sold the shares of Amalgamated stock, but a telegram arrives saying that Amalgamated stock has gone through the roof, and Whitney is richer than ever! As the captain officiates a triple wedding, the entire company celebrates (Finale: “It’s De-lovely”).
Principals (3w, 4m) RENO SWEENEY – A brassy evangelist turned nightclub singer HOPE HARCOURT – A well-known debutante LORD EVELYN OAKLEIGH – A wealthy Englishman ELISHA WHITNEY – A google-eyed tycoon BILLY CROCKER – Whitney’s young assistant MOONFACE MARTIN – A hapless gangster, Public Enemy No. 13 ERMA – A tough gangster’s moll
Supporting Roles (5w, 8m) EVANGELINE HARCOURT – Hope’s mother, a widow [non-singing] SPIT and DIPPY – Two rascally New York City street toughs CAPTAIN – Of the S.S. American PURSER – Aboard the S.S. American PURITY – Showgirl Angel #1 with Reno’s act CHASTITY – Showgirl Angel #2 with Reno’s act CHARITY – Showgirl Angel #3 with Reno’s act VIRTUE – Showgirl Angel #4 with Reno’s act QUARTET – Four Sailors
Assorted Others FRED – A bartender HENRY T. DOBSON – A minister 2 REPORTERS NEWS PHOTOGRAPHER 2 FBI AGENTS OLD LADY IN A WHEELCHAIR
Ensemble SAILORS PASSENGERS – Men and women SHIP’S CREW – Male chorus/dancers SHIP’S PASSENGERS – Men and women, singers/dancers
The original Broadway production had a cast of 32 performers, including chorus. Some doubling was employed in the minor parts.
Note: In this show, the race of the characters is not pivotal to the plot. We encourage you to consider diversity and inclusion in your casting choices.
In this show, the race of the characters is not pivotal to the plot. We encourage you to consider diversity and inclusion in your casting choices.
The SS American, a luxury liner sailing from New York to London. 1934.
“If you’re looking for sheer escape, this is your ticket!” – The Washington Post
“Reno Sweeney may get no kick from champagne, but the audience can't be blamed for drinking it all up.” – Frank Rich, The New York Times
“The score to the shenanigans-at-high-seas story includes a bevy of old-school delights, including the messianic barn-burner 'Blow, Gabriel, Blow,' the whimsically romantic 'It's De-lovely' and the unstoppable title tune.” – Chicago Sun-Times
“Anything Goes exists to put a daffy grin on your face... if you’re looking for sheer escape, this is your ticket!” – The Washington Post
“Cole Porter songs and tap-dancing sailors? What’s not to love?... The show is so packed with daffy physical shtick, comical dialogue and those still dazzlingly clever Cole Porter lyrics that it’s impossible not to surrender.” – The Hollywood Reporter
“Anything Goes is Cole Porter at his best.” – DC Metro Arts
Anything Goes - 65th Annual Tony Awards
Anything Goes - 1988 Tony Awards
"Blow, Gabriel, Blow" on Letterman
Anything Goes - Highlights
Anything Goes - Sizzle Reel
1. Overture – Orchestra 2. Underscore: Buddie, Beware – Orchestra 3. “I Get A Kick Out Of You” – Reno 3a. Reprise: “I Get a Kick Out Of You” – Reno 4. “There’s No Cure Like Travel” – Captain & Sailors 5. “Bon Voyage” – Sailors & Passengers 6. “You’re The Top” – Reno & Billy 6a. Playoff: You’re The Top – Orchestra 7. “Easy To Love” – Billy 7a. Reprise: “Easy To Love” – Hope 8. “The Crew Song” – Whitney 8a. Crew Move #1 – Orchestra 8b. Crew Move #2 – Orchestra 9. “There’ll Always Be A Lady Fair” – Quartet of Sailors 10. “Friendship” – Reno & Moon 10a. Chaser: Friendship – Orchestra 11. “It’s De-lovely” – Billy & Hope 12. “Anything Goes” – Reno & Chorus
13. Entr’acte – Orchestra 14. “Public Enemy Number One” – Captain, Purser & Passengers 15. Gabriel Entrance – Orchestra 16. “Blow, Gabriel, Blow” – Reno & Chorus 16a. “Dance: Blow, Gabriel, Blow” – Reno & Chorus 16b. Playoff: Blow Gabriel, Blow – Orchestra 17. “Goodbye, Little Dream, Goodbye” – Hope 17a. Scene Change: Goodbye – Orchestra 18. “Be Like The Bluebird” – Moon 19. “All Through The Night” – Billy, Hope & Quartet of Sailors 19a. Scene Change: All Through The Night – Orchestra 20. “The Gypsy In Me” – Evelyn* 20a. Playoff: Gypsy In Me – Orchestra 20b. Scene Change: Bon Voyage – Orchestra 21. “Buddie, Beware” – Erma & Quartet of Sailors 22. Wedding March – Orchestra 23. Finale: “It’s De-lovely” – Soloists & Chorus 24. Bows – Orchestra 25. Exit Music – Orchestra
*Alternate lyric (“The Byron in Me”) provided with every license package.
Note: There are two orchestrations available. The Full Orchestration is the Beaumont version. A Flexbo Orchestration is available for licensees looking for a smaller pit orchestra option. Full Orchestration (Beaumont): 1 Reed 1 – Piccolo, Flute, Clarinet & Alto Saxophone 1 Reed 2 – Flute, Clarinet, Soprano Saxophone & Alto Saxophone 1 Reed 3 – Oboe (or Clarinet), English Horn (or Clarinet), Clarinet & Tenor Saxophone 1 Reed 4 – Clarinet, Bass Clarinet, Tenor Saxophone & Baritone Saxophone 2 Trumpet 1&2 – Both dbl. Flügelhorn 1 Trumpet 3 – dbl. Flügelhorn 1 Trombone 1 1 Trombone 2 1 Trombone 3 – Bass Trombone 2 Percussion 1&2 – Trap Set Player: Bass Drum, Snare Drum, Tom-Toms, Floor Tom, Cow Bell, Wood Block, Small & Large Triangle, Temple Blocks, Cymbals (various Suspended, Splash, Chip, Ride), Hi-Hat & Gong. Mallet Player: Glockenspiel (Bells), Vibraphone, Xylophone, Marimba, Snare Drum, Field Drum (or Snare Drum w/o snares), Bongo Drums, Suspended Cymbal, Piatti, Finger Cymbals, Small Triangle, Cow Bell, Wood Block, Ship’s Bell, Temple Blocks, Maracas, Castanets, Cabasa, Tambourine, Ratchet, Sandpaper Blocks, Bird Whistle & Siren Whistle 1 Guitar – dbl. Banjo and 12-String Guitar 1 Piano – dbl. on Keyboard Synthesizer for Celesta, Harmonium, Harpsichord & Church Organ registrations 1 Violin (1 Player) 1 Bass Additional Material: A full score is available for this title for an additional fee. Please contact your licensing representative for additional information. Flexbo Orchestration: The Flexbo is the best way to have the advantage of orchestral writing while using a smaller ensemble. The foundation of a Broadway orchestration is the rhythm section: Piano, Bass and Drums. The remainder of the orchestra — woodwinds, brass and strings — are the “melodic” parts added to provide richness, depth and tonal color. The number of players required for these added parts may be as few as nine and more often twenty to twenty-five. The four Flexbo parts, A, B, C and D, contain the essential musical lines heard from the “melodic” instruments in the full orchestration. While the best results will be achieved using all four Flexbo parts, they have been cued so that even fewer of them can be used. 1 Piano-Conductor (rehearsal & performance) 1 Flexbo A – Trumpet 1 Flexbo B – Alto Saxophone, Clarinet & optional Flute & Piccolo 1 Flexbo C – Tenor Saxophone & Clarinet1 Flexbo D – Trombone 2 Percussion 1&2 (Mallet Player is optional) – Trap Set Player: Bass Drum, Snare Drum, Tom-Toms, Floor Tom, Cow Bell, Wood Block, Small & Large Triangle, Temple Blocks, Cymbals (various Suspended, Splash, Chip, Ride), Hi-Hat & Gong. Mallet Player: Glockenspiel (Bells), Vibraphone, Xylophone, Marimba, Snare Drum, Field Drum (or Snare Drum w/o snares), Bongo Drums, Suspended Cymbal, Piatti, Finger Cymbals, Small Triangle, Cow Bell, Wood Block, Ship’s Bell, Temple Blocks, Maracas, Castanets, Cabasa, Tambourine, Ratchet, Sandpaper Blocks, Bird Whistle & Siren Whistle1 Guitar – (optional) dbl. Banjo & Twelve String Guitar1 Bass
The Flexbo arrangement has been designed to sound complete when played by Piano only, or with the addition of one to eight players. The Piano is essential and must use the Piano-Conductor’s Score.
Parts A, B, C and D must be added in alphabetical order. (Part B may not be used without Part A, etc.)
The rhythm section players may be added to the Piano in any sequence, although Bass and one Percussion (on trap set) are more valuable than the two optional parts (Guitar and Mallet Percussion).
Note: There are two orchestrations available. The Full Orchestration is the Beaumont version. A Flexbo Orchestration is available for licensees looking for a smaller pit orchestra option. Full Orchestration (Beaumont): 20 Libretto-Vocal Book 1 Piano-Conductor (rehearsal & stick conductor) 1 Reed 1 – Piccolo, Flute, Clarinet & Alto Saxophone 1 Reed 2 – Flute, Clarinet, Soprano Saxophone & Alto Saxophone 1 Reed 3 – Oboe (or Clarinet), English Horn (or Clarinet), Clarinet & Tenor Saxophone 1 Reed 4 – Clarinet, Bass Clarinet, Tenor Saxophone & Baritone Saxophone 2 Trumpet 1&2 – Both dbl. Flügelhorn 1 Trumpet 3 – dbl. Flügelhorn 1 Trombone 1 1 Trombone 2 1 Trombone 3 – Bass Trombone 2 Percussion 1&2 – Trap Set Player: Bass Drum, Snare Drum, Tom-Toms, Floor Tom, Cow Bell, Wood Block, Small & Large Triangle, Temple Blocks, Cymbals (various Suspended, Splash, Chip, Ride), Hi-Hat & Gong. Mallet Player: Glockenspiel (Bells), Vibraphone, Xylophone, Marimba, Snare Drum, Field Drum (or Snare Drum w/o snares), Bongo Drums, Suspended Cymbal, Piatti, Finger Cymbals, Small Triangle, Cow Bell, Wood Block, Ship’s Bell, Temple Blocks, Maracas, Castanets, Cabasa, Tambourine, Ratchet, Sandpaper Blocks, Bird Whistle & Siren Whistle 1 Guitar – dbl. Banjo and 12-String Guitar 1 Piano – dbl. on Keyboard Synthesizer for Celesta, Harmonium, Harpsichord & Church Organ registrations 1 Violin (1 Player) 1 Bass Additional Material: A full score is available for this title for an additional fee. Please contact your licensing representative for additional information. Flexbo Orchestration: 20 Libretto-Vocal Book 1 Piano-Conductor (rehearsal & performance) 1 Flexbo A – Trumpet 1 Flexbo B – Alto Saxophone, Clarinet & optional Flute & Piccolo 1 Flexbo C – Tenor Saxophone & Clarinet1 Flexbo D – Trombone 2 Percussion 1&2 (Mallet Player is optional) – Trap Set Player: Bass Drum, Snare Drum, Tom-Toms, Floor Tom, Cow Bell, Wood Block, Small & Large Triangle, Temple Blocks, Cymbals (various Suspended, Splash, Chip, Ride), Hi-Hat & Gong. Mallet Player: Glockenspiel (Bells), Vibraphone, Xylophone, Marimba, Snare Drum, Field Drum (or Snare Drum w/o snares), Bongo Drums, Suspended Cymbal, Piatti, Finger Cymbals, Small Triangle, Cow Bell, Wood Block, Ship’s Bell, Temple Blocks, Maracas, Castanets, Cabasa, Tambourine, Ratchet, Sandpaper Blocks, Bird Whistle & Siren Whistle1 Guitar – (optional) dbl. Banjo & Twelve String Guitar1 Bass
See Orchestrations button (above) for additional information about the Flexbo orchestration.
20 Libretto-Vocal Book 1 Piano-Conductor (rehearsal & performance)
Cole Porter was born in Peru, Indiana in 1891 and died in Hollywood 73 years later. In between, he wrote some of the most memorable songs ever heard on stage or screen, among them “Night and Day,” “Begin the Beguine,” “You’re The Top,” “I Get a Kick Out of You,” “Love For Sal ...
P.G. Wodehouse (1881-1975) and Guy Bolton (1884-1979) were both born in England. They were introduced by Jerome Kern, and he suggested they all work together. They did, tirelessly, and in the beginning of their collaboration wrote nearly one show per month: the famed Princess ...
Guy Bolton (1884-1979) was born in Broxbourne, Hertfordshire, England, on November 23, 1884. Bolton famously collaborated with Jerome Kern and P.G. Wodehouse on a series of buoyant musicals for the 299-seat Princess Theatre, including Have A Heart; Oh, Boy!; Leave It To Jane; ...
Howard Lindsay (1889-1968) was an actor, stage manager, director and playwright before teaming up with Russel Crouse. Lindsay and Crouse's partnership stands today as the longest collaboration of any writers in theatrical history, lasting for more than 28 years. The two men f ...
Russel Crouse (1893-1966) was a newspaperman, a press agent for the Theatre Guild, the author of several books and a librettist before partnering with Howard Lindsay. Lindsay and Crouse's partnership stands today as the longest collaboration of any writers in theatrical histo ...
Timothy Crouse has been a contributing editor of Rolling Stone and The Village Voice, as well as the Washington columnist for Esquire, writing numerous articles for these other publications, including the New Yorker. He is the author of The Boys on the Bus, a classic account ...
John Weidman wrote the book for Pacific Overtures (Tony nominations, Best Book and Musical), score by Stephen Sondheim, produced and directed by Harold Prince. He co-authored the Tony Award-winning 1987 revival of Cole Porter's Anything Goes and wrote the book for Assassins, ...
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