Anything Goes
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A Shipshape Sensation: Anything Goes on the West End
The West End has a storied tradition of hosting musicals that blend razzle-dazzle with timeless appeal, and Anything Goes sails proudly among them. Premiering at the Palace Theatre on June 14, 1935, this Cole Porter classic featuring a book by Guy Bolton and P.G. Wodehouse, revised by Howard Lindsay and Russel Crouse ran for 261 performances in its initial London outing. Revived multiple times, including a triumphant 2021 run at the Barbican Centre, Anything Goes has proven its staying power with Porter’s witty score and a shipboard farce that’s “de-lovely” in every sense. From its 1930s debut to its modern incarnations, it remains a West End beacon of musical comedy brilliance.
Origins and Evolution
Anything Goes began as a Broadway-bound romp, conceived by producer Vinton Freedley in 1934. The original plot about a shipwreck was scrapped after a real-life disaster, the SS Morro Castle fire, prompting a rewrite by Lindsay and Crouse into a lighter, ocean-liner farce. With Porter’s music and lyrics already in place, it debuted at New York’s Alvin Theatre on November 21, 1934, running for 420 performances with Ethel Merman as the brassy Reno Sweeney.
The West End premiere followed swiftly, produced by Charles B. Cochran, with Sydney Howard as Moonface Martin stepping in for the ailing Victor Moore. Subsequent revivals like the 1989 Prince Edward Theatre run (784 performances) and the 2021 Barbican production (August 4 to November 6, 152 performances) refined the show, often reverting to Bolton and Wodehouse’s sharper script over the 1962 revision. Directed by Kathleen Marshall in 2021, it earned a 2022 Olivier Award for Best Musical Revival, cementing its transatlantic legacy.
The Plot: Love and Lunacy Afloat
Aboard the SS American, Anything Goes spins a whirlwind of romance and mistaken identities. Reno Sweeney, a nightclub singer turned evangelist, boards the ship bound for London, pining for Billy Crocker, a Wall Street broker stowing away to chase Hope Harcourt, an heiress engaged to the stuffy Lord Evelyn Oakleigh. Moonface Martin, a bumbling gangster posing as a minister, and his moll Erma add chaos, while Hope’s mother, Evangeline, schemes to secure the match.
Billy’s pursuit of Hope disguised as everyone from a sailor to a gangster collides with Reno’s unrequited love and Moonface’s antics, leading to a shipwide farce of swapped identities and improbable rescues. By the finale, Billy wins Hope, Reno pairs with Evelyn, and the passengers celebrate in a tap-dancing, sermon-singing frenzy. It’s a screwball comedy buoyed by Porter’s tunes, where “anything goes” is both plot and philosophy.
A Musical Masterpiece
Cole Porter’s score is a glittering jewel box, blending sophistication with sass. “I Get a Kick Out of You” smolders as Reno’s torch song, “You’re the Top” sparkles with playful wordplay, and the title track, “Anything Goes,” roars with satirical bite. “Blow, Gabriel, Blow” ignites a gospel-tinged revival, while “All Through the Night” and “The Gypsy in Me” add romantic depth. The 2021 revival restored gems like “Friendship,” amplifying the ensemble’s verve.
Performed with a full orchestra 25 players at the Barbican under Stephen Ridley the music dazzled, earning raves as “buoyant” (The Guardian). Marshall’s choreography, with its tap-heavy “Anything Goes” finale, turned the stage into a rhythmic storm, proving Porter’s melodies remain as fresh as ever.
The West End Voyage
The 1935 Palace run starred Jeanne Aubert as Reno, Howard as Moonface, and Jack Whiting as Billy, with elegant sets evoking a luxury liner’s decks. Its 261 performances reflected a solid hit, though wartime loomed. The 1989 Prince Edward revival, directed by Jerry Zaks, brought Sutton Foster (later Broadway’s Reno) as Hope and John McMartin as Evelyn, running over two years and winning three Olivier Awards. The 2021 Barbican production, with Sutton Foster reprising Reno, Robert Lindsay as Moonface, and Felicity Kendal as Evangeline, drew over 200,000 spectators, its extended run a testament to post-pandemic hunger for joy.
Each iteration from Cochran’s intimate staging to Marshall’s lavish spectacle tailored the farce to London tastes, with Foster’s 2022 Olivier-winning turn a highlight. Filmed for cinema and TV, the Barbican run preserved its “de-luxe” magic (Evening Standard).
A Global Cruise
Anything Goes has sailed worldwide Broadway revivals in 1962, 1987 (with Patti LuPone), and 2011 (with Foster) kept it afloat, alongside tours in Australia, Asia, and beyond. The 2021 London cast recording topped UK charts, and a 2023 UK/Ireland tour starring Kerry Ellis spread its cheer. Films in 1936 and 1956, though altered, boosted its fame. Its adaptability swapping songs or scripts ensures it thrives across decades and cultures.
Why It Endures
Anything Goes’ West End staying power lies in its fizzy blend of escapism and elegance. Porter’s score witty, romantic, and rousing lifts a plot that’s gleefully absurd, while its shipboard setting offers a timeless playground for chaos. For London audiences, it’s a slice of American exuberance with a British twist Wodehouse’s droll touch a perfect fit. The 1935 run launched its legacy, the 1989 revival polished it, and 2021 proved it “still the top” (The Times), a musical that dances through eras with unflagging charm.
A Voyage Worth Taking
In the West End’s glittering history, Anything Goes shines as a perennial delight from its 1935 debut to its 2021 encore. Whether it’s Aubert’s Reno or Foster’s tap-dancing dynamo, the show’s cocktail of Porter’s genius and shipshape silliness keeps Theatreland buzzing. Its revivals like a well-timed horn blast remind us why “you’re the top” isn’t just a lyric, but a promise. In London’s theatrical harbor, Anything Goes remains a first-class ticket to pure, unadulterated fun.