Today, as a corollary column to this week’s rave SOUND OFF review of the brand new 2011 cast recording of the revival of ANYTHING GOES starring Sutton Foster and Joel Grey, playing on Broadway eight times a week at the Stephen Sondheim Theater, we have a host of clips from the various versions of Cole Porter’s finest score and many examples of the countless iterations of the show that have been performed since its Broadway premiere in 1934 at the Alvin Theater (now the Neil Simon), originally starring the legendary Ethel Merman. With clips from the 1936, 1954 and 1956 film versions, as well as plenty of performance footage from the many revivals over the years - as well as a few surprises - we cover anything and everything ANYTHING GOES and trace its path over the years every which way it has gone. Patti LuPone to Leslie Uggams to Elaine Paige to Sally Ann Triplett to Sutton Foster; Frank Sinatra and Bert Lahr to Howard McGillen to John Barrowman to Joel Grey and Colin Donnell and far beyond - today’s FLASH FRIDAY is simply - well - the tip-top!
You’re Broccoli
Almost eighty years after its premiere, ANYTHING GOES still possesses one of the very finest scores ever to grace the Great White Way and Cole Porter stands as one of the very best of the men behind the music and lyrics in Broadway lore, yet what exactly is it about ANYTHING GOES that makes it endure, age after age after age? After all, there have been two film versions - in 1936, starring Ethel Merman, as well as in 1956, starring Mitzi Gaynor - as well as the hour-long 1954 television production starring Merman, Frank Sinatra and Bert Lahr. There have been five major revivals since its 1934 premiere and subsequent 1935 West End transfer - the 1962 Off-Broadway revival, directed by Lawrence Kasha, which interpolated a number of other Porter songs; the 1987 Broadway revival starring Patti LuPone, directed by Jerry Zaks, and its subsequent national tour starring Leslie Uggams; the 1989 West End revival starring Elaine Paige and John Barrowman; the 2002 West End revival, directed by Trevor Nunn, starring Sally Ann Triplett and John Barrowmanl; and, of course, the smash hit 2011 Broadway revival currently packing them in at the Stephen Sondheim Theater starring Sutton Foster and Joel Grey. Then, there are the countless cover versions of the classic songs that have kept the show and score in the collective cultural consciousness for the better part of a century - with good reason. Of course, that classic Cole Porter tune-sack is a marvel with more standards than you can count - the title song, “You’re The Top” and “I Get A Kick Out Of You” are all still well-known and constantly performed to this very day, in any number of entertainment venues - and every generation deserves to hear it anew. So, let’s take a look back at all the various incarnations of ANYTHING GOES over the years and consider what has made it one of Broadway’s best-loved musicals.
Part I: Made For Merman
Kicking off the countdown as only she can - and considering the role was written for and designed around her idiosyncratic charms and talents - here is Broadway legend Ethel Merman more than forty-five years after her debut in the leading role of ANYTHING GOES doing the title song one more time, as taken from the 1979 MUSICAL COMEDY TONIGHT! Special! Performing on a recreation of the original set, complete with original choreography and staging as created by Howard Lindsay and Robert Alton in 1934, Merman gives us a glimpse of what set the stage ablaze all those years before - and cemented her place in Broadway history. What a treasure it is that this moment was preserved - and what a game dame to knock it out of the part almost fifty years after she did it the first time! Only The Merm! Watch and be wowed!
Next, as an ideal way to set the merry and mischievous mood, here is the Overture from the original 1934 cast recording.
Now, for a triptych of duets with the two most iconic male voices of the twentieth century and the Cowardly Lion himself, here is Ethel Merman performing three of the most famous songs from the score of ANYTHING GOES in two filmed versions of the show - the 1936 film version and the 1954 TV capture. It should be noted that “Friendship” was actually written for Cole Porter’s PARIS “Let‘s Do It” being that show’s most famous song, not ANYTHING GOES, and it was later included in the 1962 Off-Broadway revival, as well as was “Let’s Misbehave”, also from PARIS, and “It’s De-Lovely”, from the Merman-starrer RED, HOT & BLUE as well as in this truncated TV version.
First, here is Ethel Merman and Frank Sinatra taking on “You’re The Top” in the 1954 television version of ANYTHING GOES and giving us all a moment to treasure for the ages in the process. Two of the top talents Broadway or Hollywood has ever seen tackling one of the finest compositions from Cole Porter’s masterful pen - it doesn’t get much better than this!
Second, here is Ethel Merman and Bing Crosby performing “You’re The Top” in the 1936 film version of ANYTHING GOES. Two individuals with such disparate vocal sounds would be near impossible to find coming after this combustible duo, but the more-than-merely winning results are crystal clear to see and hear here.
Thirdly, here is Bert Lahr, the Cowardly Lion himself, singing “Friendship” with The Merm in the 1954 television version of ANYTHING GOES. The Lion meets The Lioness!
As a special curiosity, check out Merman and Crosby in this new song written expressly for the 1936 film version of ANYTHING GOES, the Asian-themed and somewhat ignorantly, quaintly racist “Shanghai Di-Ho”. It is no wonder the number never made it past this version of the show’s score, that‘s for sure!
Next up, continuing the ANYTHING GOES on film contingent, here is the full trailer for the new DVD release of the abridged television version of ANYTHING GOES starring Ethel Merman, Frank Sinatra and Bert Lahr, from THE COLGATE COMEDY HOUR in 1954, to be released on DVD for the first time next month! Don’t miss it - especially if it is new to you!
Speaking of celluloid captures of Cole Porter’s classic, check out this incomparably sexy Mitzi Gaynor take on the title song in the disjointed 1956 film version of ANYTHING GOES as our final ANYTHING GOES on film entry for now.
Part II: Ship-Shaping
It is almost impossible to believe, but the score for ANYTHING GOES has gone through more changes than perhaps any classic score in Broadway history, as each revival uses a markedly different story structure and song-stack. To go back to where it all began, the now-classic romantic ballad “Easy To Love” was actually cut from the original 1934 production of ANYTHING GOES, as were a considerable amount of numbers that always tend fall to the wayside as a show is trying out usually out of town and finding its sea legs. Yet, these cut songs are Cole Porter cut songs, after all, and, if only for that reason, deserve further investigation. Additionally, other casualties of the original production include “Waltz Down The Aisle”, which was another duet for Billy and Hope that has fallen into obscurity. On the reverse side of that coin, some songs from the 1934 production have not survived past the original, admittedly quite creaky version of the show, such as Hope’s Act II solo, “What A Joy To Be Young”. Yet, some songs we so associate now with the score - such as “Goodbye, Little Dream, Goodbye” and “It’s De-Lovely” - were not in the score the first time around, so changes have been proven to strengthen the show when done effectively and sensitively.
So, check out Frederica von Stade performing the cut “What A Joy To Be Young” on the 1989 cast recording of ANYTHING GOES, conducted by John McGlinn with the London Symphony Orchestra. Once you hear it, you will probably agree that, while it is a winsome tune, it is quite clear to hear why it would have been cut and why it has not been reinstated to the score since then. A wonderful song all alone, alas.
Part III: Reno, Row Your Boat!
Without further ado, let’s take a look at the various revivals and Reno Sweeneys in ANYTHING GOES since 1934 and give ourselves a chance to make some side-by-side-by-side comparisons, when applicable. After all, what’s a more enjoyable pastime for Broadway babies than fantasy casting for their favorite shows and all-out diva battles supreme?
Starting with the most recent Reno, here is Joel Grey introducing Sutton Foster and the cast of the 2011 revival of ANTYHING GOES at this year’s Tony Awards and their subsequent electric performance of “Blow, Gabriel, Blow”! The Merm would be proud of the hardcore hoofing and belting of Ms. Foster, for sure!
Next, here is Sutton Foster’s heartfelt Tony Awards acceptance speech for her win as Best Actress In A Musical for her Reno Sweeney in ANYTHING GOES. It was destined to be, undoubtedly.
Now, here is Patti LuPone and the cast of the Lincoln Center Theater’s 1987 revival of ANYTHING GOES co-starring Howard McGillen performing a tap-heavy take on the title song.
The show went out on a national tour soon after that and Leslie Uggams took over the mantle of Reno Sweeney, so here is a rare clip from the Kennedy Center Honors showcasing the touring cast, complete with a new YouTube introduction by one of the performers himself! Compare and contrast Ms. Uggams to Ms. LuPone in the same production - whom do you prefer? While LuPone blasts the song to the rafters, Ms. Uggams gives it a lovely lilt and ample charm, to boot.
http://www.youtube.com/watch?v=pHNoSTOO8P0&feature=player_detailpage
Also, be sure to take a peek at this enlivening clip from Patti LuPone’s PBS television special recorded at the White House for an audience with George and Barbara Bush. How rifftastic!
So, which “Blow, Gabriel, Blow” do you prefer - Patti or Sutton?
Going across the pond, here is the West End’s answer to the 1987 revival of ANTYHING GOES, this one starring none other than current FOLLIES revival Carlotta, Elaine Paige, and internationally-recognized TORCHWOOD star John Barrowman! How young we all were then, back in 1989 - and how well sung, sexy and ingratiating this iteration of “You’re The Top” is! This may very well be the tops in “Top”!
Taken from the 1990 Royal Variety Performance held in honor of the Queen’s birthday, here is Elaine Paige headlining the title song from ANYTHING GOES as only she can and hitting it out of the park and blasting it to the hilt! What a belt - and, who knew she could tap that fiercely? What can’t this woman do?!
Now, Ms. Paige takes on “Blow, Gabriel, Blow”, takes no prisoners and scores a major win - almost blowing the roof off of the theater itself in the process!
Lastly, here is Sally Ann Triplett and John Barrowman from Trevor Nunn’s 2002 West End revival production. First up, here is Sally and John doing “Anything Goes” together, as well as a medley of songs from the show, on a British TV program from 2003.
And, finally, here is Barrowman taking on the title song in his affably charming way in a solo concert from 2008, also singing some alternate lyrics with particularly risqué content only Cole Porter could deliver!
As a special bonus, here is a real Cole Porter curiosity!
While many may have forgotten this elaborately staged and impressively filmed gem even exists in the movie that contains it, here is Kate Capshaw performing a multi-lingual version of the title song from ANYTHING GOES in the first frames of Steven Spielberg’s hit 1984 action comedy, INDIANA JONES AND THE TEMPLE OF DOOM.
For comparison’s take, check out this English-only version of the song from the special limited edition INDY soundtrack.
Which Reno is your favorite? The Merm originated it and did what only she could with the role, yet Patti LuPone, Elaine Paige, Leslie Uggams and Sally Ann Triplett each brought a particular charm, style and tone all their own to the artistically rewarding and endlessly entertaining material. Is Sutton Foster the 21st century’s answer to Ethel Merman or is she more in the LuPone/Paige mold? Or, in your estimation, does she make it all her own and manage to make it all magically work even better than before, as well? Whatever the case, the riches of ANYTHING GOES are many in their multitudes and no amount of clip consideration such as ours today would ever be enough to satiate a real Broadwya baby’s desire to delve into the depths of Cole Porter’s immense, awe-inspiring genius such as is evident in this score. ANYTHING GOES is certainly a prime example of that mastery of musicals and so very much more - any which way you take it.
Cole Porter takes us to the top, time and time again - every time!
