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Charleston Stage: Anything Goes Curriculum Guide

Anything Goes

Education Guide

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Charleston Stage: Anything Goes Curriculum Guide

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Setting The Stage Credits Book written by Guy Bolton, P.G. Wodehouse, Howard Lindsay, & Russel Crouse Music and Lyrics written by Cole Porter Directed by Julian Wiles Set Design by Ken Barnett Costume Design by Barbara Young Lighting Design by Paul Hartmann Theatre Etiquette

Discuss proper audience behavior with your students. While applause, laughter, and reaction, when appropriate, are appreciated and anticipated, unnecessary noise or movement can distract the actors and audience members, while also affecting the quality of the performance. It is very important that students understand how their behavior can affect a live performance. You, the teacher, and other adult chaperones for your group are responsible for your student’s behavior. We ask that the chaperones sit among the students rather than together in a group behind the students. Our ushers will react to disruptions and attempt to quell them. We reserve the right to remove any student causing a distraction from the theatre. When entering the theatre venue please make sure all of your students have name tags with their name and your school’s name.

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MEET THE CREATORS! Guy Bolton Guy Reginald Bolton (23 November 1884 – 4 September 1979) was a British-American playwright and writer of musical comedies. Born in England and educated in France and the U.S., he trained as an architect but turned to writing. Bolton preferred working in collaboration with others, principally the English writers P. G. Wodehouse and Fred Thompson, with whom he wrote 21 and 14 shows respectively, and the American playwright George Middleton, with whom he wrote ten shows. Among his other collaborators in Britain were George Grossmith Jr., Ian Hay and Weston and Lee. In the U.S., he worked with George and Ira Gershwin, Kalmar and Ruby and Oscar Hammerstein II. Bolton is best known for his early work on the Princess Theatre musicals during the First World War with Wodehouse and the composer Jerome Kern. These shows moved the American musical away from the traditions of European operetta to small scale, intimate productions with what the Oxford Encyclopedia of Popular Music calls, "smart and witty integrated books and lyrics, considered to be a watershed in the evolution of the American musical." Among his 50 plays and musicals, most of which were considered "frothy confections", additional hits included Primrose (1924), the Gershwins' Lady, Be Good (1925), and especially Cole Porter's Anything Goes (1935). Bolton also wrote stage adaptations of novels by Henry James and Somerset Maugham, and wrote three novels on his own and a fourth in collaboration with Bernard Newman. He worked on screenplays for such films as Ambassador Bill (1931) and Easter Parade (1948), and published four novels, Flowers for the Living (with Bernard Newman, 1958), The Olympians (1961), The Enchantress (1964), and Gracious Living (1966). With Wodehouse, he wrote a joint memoir of their Broadway years, entitled Bring on the Girls (1953).

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P.G. Wodehouse Sir Pelham Grenville Wodehouse, (15 October 1881 – 14 February 1975) was an English humorist, whose body of work includes novels, short stories, plays, poems, song lyrics, and numerous pieces of journalism. He enjoyed enormous popular success during a career that lasted more than seventy years and his many writings continue to be widely read. Despite the political and social upheavals that occurred during his life, much of which was spent in France and the United States, Wodehouse's main canvas remained that of pre-1914 English upperclass society, reflecting his birth, education and youthful writing career. An acknowledged master of English prose, Wodehouse has been admired both by contemporaries such as Hilaire Belloc, Evelyn Waugh and Rudyard Kipling and by modern writers such as Stephen Fry, Douglas Adams, Zadie Smith, J. K. Rowling, and John Le Carré. Best known today for the Jeeves and Blandings Castle novels and short stories, Wodehouse was also a playwright and lyricist who was part author and writer of 15 plays and of 250 lyrics for some 30 musical comedies, many of them produced in collaboration with Jerome Kern and Guy Bolton. He worked with Cole Porter on the musical Anything Goes (1934), wrote the lyrics for the hit song "Bill" in Kern's Show Boat (1927), wrote lyrics to Sigmund Romberg's music for the Gershwin – Romberg musical Rosalie (1928) and collaborated with Rudolf Friml on a musical version of The Three Musketeers (1928). He is in the Songwriters Hall of Fame.

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Howard Lindsay & Russel Crouse The Lindsay and Crouse partnership stands today as the longest collaboration of any writers in theatrical history, lasting for 32 years. Howard Lindsay was born in 1889 and died in 1968. He became an actor at nineteen and went on to become a successful Broadway playwright and director. Russel Crouse was born in 1893 and died in 1966. After serving in the Navy, he worked on New York newspapers, gaining his first renown through a signed column in the Post. In 1932 he became head of the publicity department for the Theatre Guild and in 1933 wrote his first Broadway show, collaborating with Corey Ford on the musical comedy HOLD YOUR HORSES. From 1934 on, Crouse wrote only with Lindsay. Their hits include THE SOUND OF MUSIC (with a score by Rodgers and Hammerstein); ANYTHING GOES and RED, HOT AND BLUE (with scores by Cole Porter); CALL ME MADAM (score by Irving Berlin); the long-running play LIFE WITH FATHER (which originally starred Lindsay); the Pulitzer Prize winning STATE OF THE UNION; and THE GREAT SEBASTIANS, written for the Lunts. Their producing credits included THE HASTY HEART, DETECTIVE STORY and ARSENIC AND OLD LACE. COLE PORTER – SEE Special Article in this Study Guide

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CHARACTERS Billy Crocker — a young Wall Street broker in love with Hope Reno Sweeney — An evangelist turned nightclub singer and an old friend of Billy's. Hope Harcourt — An American debutante and the object of Billy's affection. Moonface Martin — a second-rate gangster, "Public Enemy Number 13" Sir Evelyn Oakleigh — Hope's wealthy and stuffy English fiancé Mrs. Evangeline Harcourt — Hope's haughty and overbearing mother Bonnie / Erma (1987 revival) — Sidekick to Moonface Elisha J. Whitney — Ivy league Wall Street banker, Billy's boss. Reno's Angels (Purity, Charity, Chastity and Virtue) - Reno's back up singers. Ritz Quartette (1934 original) / Lady Fair Quartet (1987 revival) Ching and Ling ("Luke" and "John" in the 1987 revival and 2002 concert) — Two Chinese 'Converts' and reformed gamblers who accompany Bishop Henry T. Dobson o Captain, Steward, Purser on the ship o The Right Reverend, Bishop Henry T. Dobson o Ships crew, Passengers, Reporters, Photographers and F.B.I. Agents o o o o o o o o o o o

Synopsis of Anything Goes Spoiler alert, you may not want to read this before seeing the play. The entire action of Anything Goes takes place aboard the "S.S. American" sailing from New York to England. Just before departure newspaper cameramen are snapping pictures of celebrities. Among them are beautiful American Heiress Hope Harcourt, her foppish fiance Sir Evelyn Oakleigh and Hope's mother. Mrs. Wadsworth T. Harcourt may not be the beauty her daughter is, but she is slightly antique and therefore receives more attention from Sir Evelyn, obviously an admirer of fine old things. Other travelers arriving aboard are Bishop Dobson, shepherding two natively garbed Chinese converts, and Elisha J. Whitney, adipose and pompous Wall Street broker. Reno Sweeney, ex-evangelist turned to more profitable employments, and her bevy of not-so-angelic Angels are also passengers on the "S.S. American." The red dresses and cosmetic beauty of Angels Purity, Chastity, Charity and Virtue suggest that they are more sinning than sinned against. Next we meet Billy Crocker who is by his own later admission "a broken-down broker." Actually he is less than that. He is a flunky of irascible E. J. Whitney. Reno and Billy, old friends, meet again; they acknowledge their mutual admiration in You're the Top. Billy has not planned to sail, but when he learns that Hope Harcourt (another, dearer friend) is planning to marry the guffawing boob Sir Evelyn Oakleigh, he decides to stay aboard as a stowaway and somehow contrive to break up the proposed marriage. We learn from crew chit-chat that Moonface Martin, Public Enemy Number 13 and a fugitive from the Feds, has boarded the liner. Since he is disguised in clerical black, confusion is inevitable and Bishop Dobson is arrested and heard from no more. Moonface ingeniously assumes the title and name of Reverend Dr. Moon. His moll Bonnie sails with him. In Bon Voyage Hope, Sir Evelyn, Billy, Moon, other trippers and the ship's crew announce that the "S.S. American" is on her way.

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Billy Crocker, having no good reason to suspect that Moon is not a man of the cloth (except that he is excessively furtive and fidgety and speaks fluently the patois of prisons) gratefully and unquestioningly accepts the passport and passage ticket belonging to Moon's colleague, Snake Eyes Johnson. Johnson, it develops, will not be making the trip with Moon: at the gangplank he yielded to the superior claim of Federal authorities. That night on deck, Hope tries to interest Sir Evelyn in the romantic implications of moonlight. Man of conservative taste that he is, he replies that the general setting is "somewhat overdone." Billy joins them and convinces the impressionable Oakleigh that he is uncontrollable seasick. Left alone, Hope and Billy comment with enthusiastic approval on the evening (It's Delovely). They are joined by sailors and female passengers who concur choreographically. In their stateroom Moon and Billy decide that Billy needs a disguise so that his boss, Whitney, will not recognize him and spoil things. Moon goes out into the corridor and returns with an armload of shoes. Billy puts this down to Dr. Moon's generous impulses. Next, Moon enters Whitney's stately stateroom and contrives to jostle the broker's glasses off and take them. Extremely nearsighted, E. J. is nearly blind without them. Moon has rendered Billy another good turn. At last Moon tells Billy he is a Public Enemy, albeit only Number 13. Since, however, Public Enemy Number One, Snake Eyes Johnson, is no longer active, there is room at the top. Billy realizes he needs more than a change of shoes to bring off an effective disguise. Bonnie volunteers a sailor suit - the sailor is still sleeping (in her cabin!). On deck Bonnie takes time out to lead Reno's Angels in Heaven Hop. A celestial scene is revealed where angels and sailors perform a dance routine recalling the cosmically lavish patterns of famed film musical choreographer, Busby Berkeley. Hope strolls on deck, comfortably attired in proper Thirties casuals: a halter and a pair of enormous, flaring satin slacks. With her is Sir Evelyn in natty knickers, and her mother. Hope tells her fiance that she was on deck with Billy till 7:30 that morning, but fails to ignite Oakleigh's sluggish passions. Hope despairs. Moon and Billy's disguises are no match for Reno Sweeney's sharp eyes. She recognizes them instantly (Reno, obviously, also knows Moonface Martin.) Billy asks Reno to vamp Oakleigh in his stateroom, compromise him (Moon as witness) and thus liberate Hope for himself. Reno, Billy and Moon declare the importance, in such emergencies, of Friendship. As Oakleigh is shaving and in semidishabille, Reno enters his quarters and proceeds to distract him. But Moon, timing his entrance badly, barely discovers them in flagrante, let alone delicto. He finds them, instead, merely discussing dashedly clever American slang expressions like "I go for you." Outside on deck, Reno describes a strange new affection she feels toward Sir Evelyn in I Get a Kick Out of You. On deck Billy, to be near Hope, assumes a number of disguises: first that of an old lady, then, by making a beard from a swatch of Mrs. Harcourt's fur stole, as a "Chinchillian" nobleman. Finally, the ship's Purser "recognizes" Billy as Snake Eyes Johnson. Billy, a little pridefully, accepts the error. All are thrilled to be in the company of a celebrity except Hope, who feels Billy may have assumed one identity too many. Reno gives voice to everyone's feelings about the proceedings when she sings a trumpeting assertion that Anything Goes. The girls and sailors, ever at the ready, join in with a marvelously complex tap routine. In the grand lounge of the liner, passengers and crew hymn their praises of Billy, Public Enemy Number One, for bringing a generous measure of glamor and excitement to the

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voyage. Bonnie moves that the assembly make the best of a good time in Let's Step Out, after which Reno seconds the motion in Let's Misbehave. Even Sir Evelyn is sufficiently inflamed to join in singing the lyrics. Reverend Dr. Moon is urged to hold a revivalist meeting with the notorious killer, naturally, as chief confessor. After Moon's impromptu, altogether incoherent sermon, Oakleigh confesses that once, while in the Orient, he led a Chinese girl astray. Now, Billy's turn. What should he say? Hope suggests he tell the truth; he agrees. He scolds them all for being proud to know a cold-blooded killer and tells them who he really is. Justice is swift he is arrested for impersonating a celebrity. Moon joins him in the ship's brig. Reno, however, is ready with a song and leads the entire company in a general confession of sins, remorse and a change in conduct - Blow, Gabriel, Blow. Five days later and with England's shore close at hand, Billy and Moon are still in the brig. Billy sings of his love for Hope in All Through the Night, while she, unseen by him, joins in from the bridge. Moon attempts to lift Billy's spirits with sound advice: Be Like the Bluebird. Bishop Dobson's conversion of the pair of Chinese has not been wholly successful, it seems, for they are cast into the brig for laundering the third-class passengers in a crap game. To bring them to their moral senses, the Captain has punished them with a two-hour sentence. Hope visits Billy and tells him her mother's heart is set on having Sir Evelyn as son-in-law and she cannot bear to disappoint her. When she leaves it occurs to Moon that he and Billy might introduce the two new occupants of their cell to a famous Occidental pasttime, strip poker. Moon's rules are hard to follow and in practically no time he and Billy are dressed as Chinese. On deck Reno and her Angels are already homesick. Take Me Back to Manhattan, they plead. A thoughtful sailor provides them with black, gold-headed canes with which to embellish their dance. Sir Evelyn tells Reno that he, an upright man, has no choice but to marry Hope. Mrs. Harcourt, somewhat impatiently, has arranged for their wedding to take place before they dock. The Captain has scarcely begun the ceremony when Billy and Moon, disguised, interrupt. Reno is also disguised as a Chinese girl (with what luckless girl she may have played poker is left unexplained). Billy, adept by now at all sorts of dialects, confronts Oakleigh with "Prum Brossom" - the girl he wronged. Both Hope and he brilliantly penetrate the disguises and play the game. To make fair restitution, Oakleigh generously sacrifices Hope to one of the Chinese. The offer is accepted. A man of honor, he proposes marriage to Plum Blossom. Reno accepts him. Disguises dispensed with, Billy introduces E. J. Whitney (he can see once more) to Mrs. Harcourt. They hit it off immediately. A telegram from Washington, D.C. reveals that Moon has been kicked all the way downstairs. No longer a Public Enemy, he is now at best a Public Nuisance.

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Curriculum Connections

Musical Numbers

Pay attention to the musical numbers! How many of them have you heard before? Some songs from Anything Goes became popular music and are considered “standards.” • • • • • • • • • • • • • • • • • • • • •

Prelude I Get a Kick Out of You There's No Cure Like Travel Bon Voyage You're the Top Easy To Love I Want To Row On the Crew Sailor's Chantey Friendship It's De-Lovely Anything Goes Entr'acte Public Enemy No. 1 Blow, Gabriel, Blow Goodbye, Little Dream, Goodbye Be Like the Bluebird All Through the Night The Gypsy In Me Buddy, Beware I Get a Kick Out of You (Reprise) Anything Goes (Reprise)

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Production History of Anything Goes!

The musical had a tryout in Boston, before opening on Broadway at the Alvin Theatre on November 21, 1934. It ran for 420 performances, becoming the fourth longest-running musical of the 1930s, despite the impact of the Great Depression on Broadway patrons' disposable income. Directed by Howard Lindsay with choreography by Robert Alton and sets by Donald Oenslager, it starred Ethel Merman as Reno Sweeney, William Gaxton as Billy Crocker and Victor Moore as Moonface Martin.

West End Charles B. Cochran, a British theatrical manager had bought the London performance rights during the show's Boston run, and he produced it at the West End's Palace Theatre. The musical opened on June 14, 1935 and ran for 261 performances. The cast included Jeanne Aubert as Reno Sweeney (the name changed to Reno La Grange), Sydney Howard as Moonface Martin and Jack Whiting as Billy Crocker. P. G. Wodehouse was engaged to replace the specifically American references in the book and lyrics with references more appropriate to an English audience.

1962 Off Broadway revival The production was revived in an Off Broadway production in 1962, opening on May 15, 1962 at the Orpheum Theatre. It was directed by Lawrence Kasha with a cast that included Hal Linden as Billy Crocker, Kenneth Mars as Sir Evelyn, and Eileen Rodgers as Reno Sweeney. For this revival, the script was revised to incorporate several of the changes from the movie versions. Most changes revolved around the previously minor character Bonnie.

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This revision was also the first stage version of Anything Goes to incorporate several songs from other Porter shows: "Take Me Back to Manhattan" from The New Yorkers, 1930, "It's DeLovely" from Red Hot and Blue, 1934, "Friendship" from DuBarry Was a Lady, 1939, and "Let's Misbehave" from Paris, 1928.

1987 Broadway revival For the 1987 Broadway revival, John Weidman and Timothy Crouse (Russel's son) updated the book and re-ordered the musical numbers, using Cole Porter songs from other Porter shows, a practice which the composer often engaged in. The music was rescored for a 16-piece swing band, in the style of early Benny Goodman, instead of the earlier 28-piece orchestrations.[8] This production opened at the Vivian Beaumont Theatre, in Lincoln Center, on October 19, 1987, and ran for 784 performances. With direction by Jerry Zaks and choreography by Michael Smuin, it starred Patti LuPone as Reno Sweeney, Howard McGillin as Billy, Bill McCutcheon as Moonface, and Anthony Heald as Lord Evelyn. It was nominated for ten Tony Awards (including LuPone, Heald and McGillin), winning for Best Revival of a Musical, Best featured actor (McCutcheon), and Best Choreography. The production also won the Drama Desk Awards for Outstanding Revival of a Musical and LuPone won the Outstanding Actress award. Leslie Uggams and Linda Hart were replacement Renos.

1989 West End revival When British actress/singer Elaine Paige heard of the success of the 1987 Broadway production, she attended a performance of it and was determined to bring the show to London. To secure a place in the show's cast, Paige decided it was best she co-produced the show with her then partner, lyricist Tim Rice. The London production opened in July 1989 at the Prince Edward Theatre. Paige starred as Reno Sweeney (she was replaced later in the run by Louise Gold) The original cast also starred Howard McGillin as Billy Crocker (who was replaced later in the show's run by John Barrowman[citation needed], Bernard Cribbins as Moonface and Kathryn Evans as Erma. The show transferred to Australia the same year and played in both Sydney and Melbourne starring Geraldine Turner in the role of Reno Sweeney.

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2011 Broadway revival A revival of the 1987 Broadway rewrite opened on April 7, 2011 at the Stephen Sondheim Theatre, produced by the Roundabout Theatre Company. Previews began on March 10, 2011. This production is directed and choreographed by Kathleen Marshall with musical supervision by Rob Fisher, dance arrangements by David Chase and designs by Derek McLane and Martin Pakledinaz. This revival retains much of the 1987 orchestrations by Michael Gibson with some additions from arranger Bill Elliott. The show's opening night cast featured Sutton Foster as Reno Sweeney, Joel Grey as Moonface Martin, Laura Osnes as Hope Harcourt, Jessica Walter as Evangeline Harcourt, Colin Donnell as Billy Crocker, Adam Godley as Lord Evelyn Oakleigh, John McMartin as Elisha Whitney, Jessica Stone as Erma, Robert Creighton as Purser, Andrew Cao as Luke, Raymond J. Lee as John, and Walter Charles as the Captain. The production was received generally very well by the critics and received a total of nine Tony Award nominations and ten Drama Desk Award nominations, including Best Actress in a Musical, Best Director of a Musical and Best Revival of a Musical. The revival won the Drama Desk Awards and Tony Awards for Best Revival and Best Choreography and Foster won the Drama Desk and Tony Awards for Best Actress in a Musical. The production was originally scheduled to run through July 31, 2011, and has been extended to September 9, 2012. A cast recording of this production became available as a digital download on August 23, 2011 and it arrived in stores on September 20, 2011. Stephanie J. Block took over for Sutton Foster as Reno Sweeney in a limited engagement (November 4–23, 2011) while Foster filmed a television pilot. Block took over as Reno on March 15, 2012, as Foster left the musical to take a role in a television series.

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Biography of Cole Porter (Composer and Lyricist)

The only child of Samuel Fenwick, a druggist, and Kate Cole, Cole Porter, born in Peru, Indiana on June 9th, 1891, was given a lot of attention. His parents offered him opportunities to study music, acting, or anything else he wanted, but he opted to study violin and piano. Starting at an early age, Porter had completed his first song, "Song of the Birds," by the age of ten. A few years later, his mother had his piece, "The Bobolink Waltz," published. A few years later, his parents decided to send him to a private boarding school called Worcester Academy, in Massachusettes, which was said to have a strong music department. He entered Yale a few years later. The large size of the university allowed him to find many musical opportunities, from writing two of Yale's best known football songs ("Bull Dog" and "Bingo Eh Yale") to accompanying vocal groups and musical productions. Porter graduated with a "Most Entertaining," award. During his junior year of college, Cole Porter created his first show, See America First. Unfortunately, it was not very well-received by audiences, and as a result, ran for only 115 performances before closing. However, many say that had Porter not had this initial set-back, he would not have had the motivation to push forward and make one of the smartest moves of his life - he moved to France. While in France, Porter had an opportunity to practice songwriting, and wrote songs such as "An Old-Fashioned Garden," which was his first popular hit, for a 1919 show titled Hitchy Koo. That same year, Cole Porter met and married Linda Lee Thomas, a wealthy woman who was considered by many to be the most beautiful woman in the world. They remained married for thirty-five years, until her death in 1954. Although Cole Porter had a large group of friends, many of them didn't understand his career, and often encouraged him to "retire," living off of the abundant money from his wife. They saw his song-writing career and purely geared toward his friends, and thought he wrote only amusing party songs. However, Porter was very serious about his career, and in 1923, he shocked them all when he wrote the score for Within The Quota, a jazz ballet written by Gerald Murphy. Late in the 1920's, Cole Porter and his wife decided that the place to go, if Porter was going to make a name for himself, was Broadway. And so he did. In 1928, Porter introduced his first Broadway show, Paris, which featured songs such as "Let's Do It, Let's Fall In Love," which is now considered a timeless, sophisticated piece. The next year, Porter created Fifty Million Frenchmen, featuring "You Do Something To Me" and "You've Got That Thing." It was at this

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time that Cole Porter began developing a signature style, which blended humor, sensuality, and innuendo. Although the 1920's were important years in Porter's life, nothing could compare to the 1930's. In this decade, it seemed that Porter spat out hit after hit after hit_with no forseen end! Among his hit shows were The New Yorkers, Gay Divorce, Jubilee, Dubarry was a Lady, and Red Hot and Blue. In addition, Porter wrote the score for many Hollywood musicals (including Born to Dance and Rosalie). Toward the end of the decade, in 1937, however, Porter got in a serious horseback riding accident. Although the doctors finally decided (after much thought) against amputating his legs, the thirty surgeries in the years to come were no easier to take, especially because the majority of them were unsuccessful. Cole Porter attempted to remedy this by delving deeper into his work, and in the early 1940's, Porter created a few shows, including Panama Hattie, Let's Face It, and Something for the Boys. These were not well-received, and many thought he had lost his gift. However, as proven earlier, Porter was very motivated by failure, and he thus proceeded to create the shows which would be the biggest successes of his career. In 1948, Porter wrote Kiss Me Kate, a musical based on Shakespeare's "The Taming of the Shrew." It ran for ovre 1,000 performances. The next year, he came out with Anything Goes, which almost paralleled Kiss Me Kate's success. He had shown them all that there was still something left in him However, after proving his point, Porter's motivation began to die down, and although he did create a few more shows, among them Can-Can, Silk Stockings, and High Society, Porter's last years were far from wonderful. Having his wife die in 1954, and having his leg amputated in 1958, Porter was left somewhat alone and sad. However, these last years of Cole Porter's life are no representation of his career, which was filled with excitement, energy, and hapiness. In 1960, he was honored with an honorary doctorate from Yale. It let him know that no one would forget him, and that all his talent was understood and appreciated. Porter died four years later.

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They’re on a boat!

Some famous Ocean Liners: RMS Aquitania Statistics • • • • • • • • •

Gross Tonnage - 45,647 tons Dimensions - 264.76 x 29.56m (868.7 x 97ft) Construction - Steel Propulsion - Quadruple-screw Engines - Steam turbines Service speed - 23 knots Builder - John Brown & Co Ltd, Glasgow Launch date - 21 April 1913 597 1st class, 614 2nd class, 2,052 3rd class

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Details of Career The Aquitania was the longest serving Cunard liner built in the 20th century and survived service in both World Wars. Originally the ship was planned to to operate on the North Atlantic service alongside the Lusitania and Mauretania. The contract to build the ship went to John Brown & Co and great publicity was given to the fact that it would be the largest liner in the world. The Aquitania was launched on 21 April by the Countess of Derby in front of a crowd of over 100,000 people. Cunard made sure that lifeboat accommodation was provided for all those on board, in the light of the Titanic disaster. It was announced in February 1914 that Captain William Turner would be the first master of the ship.

SS Europa RMS Titanic RMS Queen Mary RMS Queen Elizabeth 2

SS Bismarck HMHS Britannic RMS Olympic RMS Lusitania

RMS Majestic SS United States RMS Queen Elizabeth SS Vaterland/Leviathan

Anything Goes is Everywhere! o Title song was used for PBS' American Experience documentary of President Franklin D. Roosevelt because of the last verse of the song. o In the 1972 movie What's Up, Doc?, the song "You're The Top" is sung for the opening and closing credits by Barbra Streisand. Ryan O'Neal joins her for the closing credits and this marks his only on-screen singing in a movie. The movie uses at least two other tunes from this musical as background music: "Anything Goes" and "I Get a Kick Out of You", are heard during the first hotel-lobby scene. o In the 1974 movie Blazing Saddles, "I Get a Kick Out of You" is performed comedically by Cleavon Little and the other actors portraying black railroad workers, complete with a full harmony arrangement. o "You're The Top" was also used in the movie "The evil under the sun"(1982). the song was performed by Diana Rigg. o In the 1984 film, "Indiana Jones and the Temple of Doom", Kate Capshaw performs the title song in Mandarin. o In the Family Guy episode "Saving Private Brian", the Sergeant trainer claims "Anything Goes" to be one of his most favorite shows. In another episode Lois wants to sing showtunes in the car. She begins to sing "Anything Goes". o In an episode of Summer Heights High Mr G cancels a production of "Anything Goes" one week before opening. o In the play Dancing at Lughnasa by Irish playwright Brian Friel, the song "Anything Goes" is played on the radio and sung by Gerry Evans to Aggie and Chris. The song basically sums up the entire concept of the play: times changing and people changing with them. o In an episode of Gilmore Girls, "You're The Top" is sung with slight lyrical changes. o The song "Anything Goes" is played on Galaxy News Radio, a fictional radio station, in the post-apocalyptic video game Fallout 3.

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o During the latter half of Bioshock, "You're The Top" can be heard playing from a Rapture radio. o Title song used as the title of the 2008 autobiography by John Barrowman, who starred as Billy Crocker in 1989, 2002 and 2003. o In an episode of Married...with Children called "Can't Dance, Don't Ask Me" Steve teaches Kelly to tap dance to "Anything Goes" o In the Mission: Impossible episode "The Fortune" (from the 1988 revival series), the movie was the favorite film of Luis Barazon—one of the targets. Further, the segment of the movie where the title song is performed is "the part he likes the best". Also, the phrase "Anything Goes" was the second level password needed to access Barazon's financial records so that the money the Barazons stole from their country's treasury could be returned. o Title song was used in a mash-up with "Anything You Can Do" on the TV show Glee. o Anything Went was a parody of Anything Goes, partly shown on Mathnet, the rest being left to the viewer's imagination.

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Discussion before the Performance All Language Arts completes the following standards: o Developing and using oral communication o Understanding and reading literary texts o Understanding and using informational texts o Building Better vocabulary o Developing written communication o Developing and using research strategies All Social Studies meets the following standards: o Understanding of different life around them and across the world o Understanding of different regions and human systems All Theatre Activities meet the following standards: – Connecting ideas and action – Understanding characters DISCUSSION PROMPTS 1. Have you seen the movie or Television versions of Anything Goes? If so, what do you remember about them? 2. The Story takes place on a boat! How do you think the set will help us feel as if the show is “on a boat”? What scenic elements are essential in creating this feeling? What do you expect to see? 3. Have you ever been on a boat? What was your experience like? Activities After the Performance DISCUSSION PROMPTS 1. What scenic elements and/or props and costumes that you saw convinced you that the play took place on a boat? What would you have added to create this experience? 2. Dramatic Irony is a device used in plays when the audience knows something – a secret – that the characters in the play do not. What are some examples of “dramatic irony” in the play? 3. In Anything Goes, there are many disguises. What are other plays, books, or movies that contain confusion from disguises? How are those disguises and their reveals different from those in the play?

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ACTIVITIES 1. Design the set? Using a drawing or a diorama (perhaps in a shoe box, sideways), show how you would create the setting for this play. 2. There have been many different productions of Anything Goes that contain major changes in script and with the songs—some cut songs and some add songs. If you were to put up a production, what would you cut or what could you add to make the piece more entertaining or make more sense.

Resources FI L M S Movie versions Main articles: Anything Goes (1936 film) and Anything Goes (1956 film) In 1936, Paramount Pictures turned Anything Goes into a movie musical. It starred Ethel Merman (again as Reno), with Bing Crosby in the role of Billy Crocker. Other cast members included Ida Lupino, Charles Ruggles, Arthur Treacher, and Margaret Dumont. The director was Lewis Milestone. Among those contributing new songs were Hoagy Carmichael, Richard A. Whiting, Leo Robin, and Friedrich Hollaender. The book was drastically rewritten for a second film version, also by Paramount, released in 1956. This movie again starred Bing Crosby (whose character was once more renamed) and Donald O'Connor. The female leads were Zizi Jeanmaire and Mitzi Gaynor. The script departed significantly from the original story and was written by Sidney Sheldon. The lesserknown Porter songs were cut, and new songs, written by Jimmy Van Heusen and Sammy Cahn, were substituted. In short, it became a new movie that used some Porter songs. Television version In 1954, Ethel Merman, at the age of forty-six, reprised her role as Reno in a specially adapted live television version of the musical, co-starring Frank Sinatra as the hero, now renamed Harry Dane, Merman's good friend Bert Lahr (who had co-starred with her on Broadway in DuBarry Was a Lady) as Moonface Martin, and Sheree North. This version was broadcast live on February 28, 1954 as an episode of the Colgate Comedy Hour, and has been preserved on kinescope. It used five of the original songs plus several other Porter numbers, retained the shipboard setting, but had a somewhat different plot.[23] It has been reported that Merman and Sinatra did not get along well; this was the only time they worked together MUSIC: RECORDINGS There are many popular cast recordings of the show including:

o 1934 Original recordings by Ethel Merman o 1935 Original London cast o 1936 Studio cast

Charleston Stage: Anything Goes Curriculum Guide o o o o o o o o o o o o o

1950 Studio recording with Mary Martin 1953 Studio cast 1954 Television cast 1956 Film cast 1962 Off Broadway revival cast Hal Linden 1969 London revival cast Marian Montgomery 1987 Broadway revival cast with Patti LuPone and Howard McGillin 1988 Studio cast with Kim Criswell conducted by John McGlinn 1989 Australian revival cast 1989 London revival cast with Elaine Paige 1995 Studio cast with Louise Gold 2003 London revival cast 2011 Broadway revival cast with Sutton Foster


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Anything Goes Study Guide  

Anything Goes Study Guide