Anything Goes (Recording)

Louise Gold starred as Reno Sweeney, recorded on 11, 12 & 13 May 1995 at Abbey Road Studios.

STOP PRESS: Louise Gold has two nominations in the Broadway World West End Awards:

In particular she has been nominated for Understudy of The Year Female:  (for her performance as Momma Rose – she understudied Imelda Staunton)


Catalogue number: (Music Theatre Hour CD) CDTEH6011, (The Musicals Collection CD) MUS C N40, , (The Musicals Collection Cassette) MUS M N40

This album is also available on itunes

Website Recommended Album


Reno Sweeney - Louise Gold

Billy Crocker - Gregg Edelman

Moon-Face-Martin - Matt Zimmerman

Hope Harcourt - Katrina Murphy

Erma - Tara Hugo

Lord Evelyn Oakleigh - Paul Manuel

Elisha Whitney - Brian Greene

Captain - Simon Masterson-Smith

Purser - Nicolas Colicos

Girl - Julia Howson

Sailor - Gareth Snook

Sailor Quartet - ?

Company :

Karen Broughton, Dominic Curtis, Robert Fardell, David Firth, Carol Lesley Green, Phillip Griffiths, Peter Hickman, Liza Hobbs, Gaynor Keeble, Julie Livesey, Lara Marland, Richard Mitchell, Martin Nelson, Bruce Ogston, Shirley Pilgrim, William Pool, Jane Powell, Denise Silvey, Gareth Snook, Gareth Vaughan, and, Hilary Weston

with The National Symphony Orchestra conducted by John Owen-Edwards


Production Team

            Music & Lyrics – Cole Porter

            Original Production – 21 November 1934, The Alvin Theatre, Broadway, with Ethel Merman as Reno Sweeney

Original (unused) Book by – P.G.Wodehouse & Guy Bolton

Original (actual) Book by – Howard Lindsay & Russel Crouse

New Book by – Timothy Crouse & John Weidman

Orchestrations - Michael Gibson

Produced by John Yap for JAY/TER

Sleeve Notes - Rexton S Bunnet

Track Listing

CD: (Music Theatre Hour) CDTEH6011

1. Overture - Orchestra

2. I Get A Kick Out Of You - Reno Sweeney (Louise Gold)

3. There’s No Cure Like Travel / Bon Voyage - Girl, Sailor, Captain, and, Sailors (Julia Howson, Gareth Snook, ?, and Chorus)

4. You’re The Top - Reno Sweeney and Billy Crocker (Louise Gold and Gregg Edelman)

5. Easy To Love - Billy Crocker (Gregg Edelman)

6. There Will Always Be A Lady Fair - Sailor Quartet (????)

7. Friendship - Reno Sweeney and Moon-Face-Martin (Louise Gold and Matt Zimmerman)

8. It’s Delovely - Bill Crocker and Hope Harcourt (Gregg Edelman and Katrina Murphy)

9. Anything Goes - Reno Sweeney and Company (Louise Gold and Chorus)

10. Entr’acte - Orchestra

11. Public Enemy Number One - Captain, Purser, and, Company (Simon Masterson-Smith, Nicolas Colicos, and, Chorus)

12. Blow Gabriel Blow - Reno Sweeney and Company (Louise Gold and Chorus)

13. Goodbye Little Dream Goodbye - Hope Harcourt (Katrina Murphy)

14. Be Like The Bluebird - Moon-Face-Martin (Matt Zimmerman)

15. All Through The Night - Billy Crocker, Hope Harcourt, and, Sailor Quartet (Gregg Edelman, Katrina Murphy, and ????)

16. The Gypsy In Me - Lord Evelyn Oakleigh (Paul Manuel)

17. Buddy Beware - Erma (Tara Hugo)

18. Finale - Reno Sweeney, Lord Evelyn Oakleigh, Billy Crocker, Hope Harcourt, and Company (Louise Gold, Paul Manuel, Gregg Edelman, Katrina Murphy and Chorus)

19. Bows (Anything Goes - reprise) - Full Company


Musicals Collection CD: MUS C N40


1. Prelude - Orchestra

2. I Get A Kick Out Of You - Reno Sweeney (Louise Gold)

3. You’re The Top - Reno Sweeney and Bill Crocker (Louise Gold and Gregg Edelman)

4. Easy To Love - Billy Crocker (Gregg Edelman)

5. Friendship - Reno Sweeney and Moon-face-Martin (Louise Gold and Matt Zimmerman)

6. It’s De-Lovely - Billy Crocker and Hope Harcourt (Gregg Edelman and Katrina Murphy

7. Anything Goes - Reno Sweeney and Chorus (Louise Gold and Chorus)

8. Public Enemy Number One - Chorus

9. Blow Gabriel Blow - Reno Sweeney and Chorus (Louise Gold and Chorus)

10. All Through The Night - Billy Crocker and Hope Harcourt (Gregg Edelman and Katrina Murphy

11. The Gypsy In Me - Lord Evelyn Oakleigh (Paul Manuel)

12. Buddie, Beware - Erma (Tara Hugo)  


The Musicals Collection Cassette MUS M N40 follows the same listing as MUSICALS COLLECTION CD MUS C N40, with tracks1 to 6 on Side 1, and tracks 7 to 12 on Side 2.

Louise Gold and Matt Zimmerman had previously played Reno and Moon as the second cast in a stage revival of Anything Goes at The Prince Edward Theatre. For which Michael Gibson also did the orchestrations. John Owen-Edwards was also the original musical director, but he had left by the time these two performers came into the show. Philip Griffiths also appeared in that production of the show. The page for that show contains a lot more background information about the show, including details of the show’s complicated authorship history.

Friendship is a song that has undergone several variations. For this recording, with the exception of, the often unused, Refrain 2 (the one that begins “If you ever loose your way, come to May”) all the lyrics given in The Complete Lyrics Of Cole Porter were used. In this recording, rather than use the original opening line to Refrain 6 “If they hang you, pard, send a card” they sang its more often used replacement “If you ever crack your spine trussle mine”.  For more details on this see Anything Goes (Stage).

Louise Gold, Gregg Edelman, Katrina Murphy, Nicolas Colicos, Simon Masterson-Smith and, Gareth Snook, with: Karen Broghton, Dominic Curtis, Robert Fardell, David Firth, Carol Lesley Green, Philip Griffiths, Liza Hobbs, Gaynor Keeble, Julie Livesey, Lara Marland, Robert Mitchell, Martin Nelson, Bruce Ogston, Shirley Pilgrim,  Jane Powell, Denise Silvey, Gareth Vaughan, and, Hilary Weston all also appear with the NSO Ensemble conducted by John Owen-Edwards on the JAY/TER recording of On The Town, produced by John Yap.

Louise Gold, Gregg Edelman, Nicolas Colicos, and, Gareth Snook, with: Dominic Curtis, Robert Fardell, Bruce Ogston,  and also the NSO ensemble conducted by John Owen Edwards also appeared on the JAY/TER recording of Cabaret produced by John Yap.

Louise Gold, and, Katrina Murphy, also appear with the NSO Ensemble on Stop The World I Want To Get Off, also produced by John Yap.

Katrina Murphy is also featured on Encore The Very Best From The Musicals

Katrina Murphy and Paul Manuel also feature on Great Duets From The Musicals

Brian Greene also features on: Cole Porter - Night And Day

Louise Gold, David Firth, Liza Hobbs, Robert Mitchell, and, William Pool had previously sung under John Owen Edwards’s musical direction in Metropolitan Mikado

Louise Gold, David Firth, and, Liza Hobbs had also previously sung under John Owen Edwards’s musical direction in a concert of highlights from Ratepayers' Iolanthe & Metropolitan Mikado

Matt Zimmerman had previously appeared in The 1982 Royal Variety Performance .

Louise Gold, Matt Zimmerman and Bruce Ogston have appeared in Let ‘Em Eat Cake

Louise Gold and Nicolas Colicos have appeared together in Mamma Mia, and in separate parts of Chicago & Company.

Louise Gold and Gareth Snook have appeared together in Merrily We Roll Along (Stage Production) and on the album Merrily We Roll Along (Recording).

Louise Gold, Gareth Snook and David Firth had previously appeared together in Assassins.

Louise Gold and David Firth have appeared together in concert productions of Love Life and Man Of La Mancha.

Julia Howson had previously appeared in, or at least been an understudy on Ziegfeld (stage)

Sleeve note writer Rexton S Bunnet was also the researcher for Ned Sherrin’s Review Of Revue

Brian Greene, Paul Manuel, Matt Zimmerman, and The National Symphony Orchestra conducted by John Owen Edwards also appear on The History Of The Musical which includes an excerpt of Louise Gold’s recording of I Get A Kick Out Of You.

Gregg Edelman, Paul Manuel, Katrina Murphy, and, The National Symphony Orchestra conducted by John Owen Edwards have also appeared on Simply Musicals.

Brian Greene, Simon Masterson-Smith, Matt Zimmerman, and, The National Symphony Orchestra conducted by John Owen Edwards have also appeared on The Greatest Musicals of the 20th Century.

Katrina Murphy, and, The National Symphony Orchestra conducted by John Owen Edwards have also appeared on The Great Musicals – Glamour And Majesty, The Great Musicals – Dashing Heroes, Blushing Maidens, Magic Of The Musicals, and, The Best Of The Musicals.

The National Symphony Orchestra conducted by John Owen Edwards can also be heard on Centre Stage Showtime!, and, The Great Musicals – Laughter And Tears.

Gareth Snook, Philip Griffiths, Liza Hobbs, Simon Green, Bruce Ogston, and, Rob Fardell may have taken part in Thing A Thon.

Gregg Edelman, and, Paul Manuel, along with The National Symphony Orchestra conducted by John Owen Edwards can also be heard on 100 Hits Musicals.

Paul Manuel can also be heard on Let’s Go On With The Show – Hit Songs From The West End & Broadway; accompanied by The National Symphony Orchestra, with maestro John Owen Edwards.

It’s Delovely from this album turned up on The Great Musicals - From Broadway to Hollywood, on which Simon Green, and, Paul Manuel also appeared, as did the National Symphony Orchestra, with maestro John Owen Edwards.

Louise Gold has, fortunately, had quite a number of opportunities to delight audiences with her performances of Cole Porter songs. She appeared on stage in a number of Cole Porter musicals, in particular the quintet of shows he wrote for Ethel Merman, namely: Anything Goes, Red Hot & Blue, Du Barry Was A Lady (see: Du Barry Was A Lady (1993 Production) and Du Barry Was A Lady (2001 Production)), Panama Hattie, and, Something For The Boys,. In addition she has starred in a production of Kiss Me Kate, and, Mexican Hayride. She has also sung Cole Porter’s songs in Noel/Cole: Let’s Do It, and A Lost Musicals Occasion

 amongst other places. However, she has made all too few recordings of his work, the only albums of her singing Cole Porter are this Anything Goes recording and the cast album for Noel/Cole: Let’s Do It. -  where incidentally she also recorded a very different version of Blow Gabriel Blow. However, Du Barry Was A Lady (2001 Production)  - which includes a slightly different (in fact the original) version of Friendship was broadcast on BBC Radio 3. In addition she also sang a parodies of I Get A Kick Out Of You, as I Get A Kick Out Of U, and, Anything Goes as Anyone’s Nose on Sesame Street.

Before this recording became widely available as an album in it’s own right, several tracks from it turned up in other places, these include: I Get A Kick Out Of You on The Best of Broadway Musicals, The Greatest Musicals of the 20th Century, and, The Great Musicals – Glamour And Majesty; Blow Gabriel Blow on Encore The Very Best From The Musicals , and, You’re The Top on Great Duets From The Musicals, and The Great Musicals – Laughter And Tears. Many of the tracks: I Get A Kick Out Of You, You’re The Top, Easy To Love, Friendship, It’s Delovely, Anything Goes, Public Enemy Number One, Blow Gabriel Blow, All Through The Night, and, Buddie Beware, also turn up on the Readers Digest album Cole Porter - Night And Day. Part of I Get A Kick Out Of You also managed to find its way onto The History Of The Musical. Since then Anything Goes  has appeared on Simply Musicals, The Great Musicals - Wonderful Tales, Magic Of The Musicals, and, The Best Of The Musicals.

It may be interesting to note, there is one line from the finale track of this album, which Louise Gold mentioned on Tim McArthur Interview.

Review (of CD: (Music Theatre Hour) CDTEH6011 )

by Emma Shane (© January 2004)

Well what can I say? This CD is The Top. I first read about this album, some eight and a half years ago (in a theatre programme), I thought, that with such a delovely singer of Cole Porter’s songs in the lead, it ought to be worth having, which it jolly well is. In fact I think it is the very best recording that Louise Gold has featured on to date. If you like: Louise Gold, or, Cole Porter, or, Sesame Street’s parodies of Ethel Merman, or the musical Anything Goes, then this is one recording you really have to hear.

Until now, except for those of us lucky enough to have The Musicals Collection’s CD of Anything Goes, the best widely available recording of Anything Goes has been the marvellous EMI Classics version, conducted by John McGlinn, with Kim Criswell as Reno Sweeney. Now that is a very fine recording, not least because it stars Kim Criswell, the only other singer I have heard who can sing those Merman roles anywhere near as well as Louise Gold can. It also set a standard for both quality, and a historical capture of the original show, by which any other recordings, or productions, of Anything Goes can be judged. However, while that recording is a beautiful one, some people do find it a little dull, a tad boring, a bit staid. And that’s where this “new” JAY/TER recording scores a smash hit. It is quite simply the most exciting, vibrant and stimulating recording of this show, and yet, with the National Symphony Orchestra under John Owen Edwards’s marvellous direction, it is performed to a high standard, but with an extra zing of lively enthusiasm. Although it uses Michael Gibson’s 1988 Broadway revival orchestrations (also seen in London in 1989 and 1990), and the ‘book’ from that production (meaning that that there are songs included that were not in the original production, and in addition other songs have been reallocated to different characters), it non-the-less captures the vibrant fresh spirit that must have existed when this show really was new. However, in sharp contrast to the EMI Classics’ recording, here the singers are a little freer to bring their own interpretations to their parts on this lively stimulating recording.

Giving singers such freedom has its risks, and there are occasions when it’s possible a staider approach could have worked better, indeed a few occasions when perhaps the EMI recording did a better job, namely: Be Like The Blue Bird, The Gypsy In Me, and, Buddie Beware, but then it takes time to get used to a new recording, especially if the performances are a little individual. That is very likely to be the case with Be Like The Blue Bird. Jack Gilford sang it beautifully on the EMI recording. Matt Zimmerman’s version is not as beautiful, but it does have an extra degree of conviction, and when he sings the line “he knows that his efforts are perfectly lousy” one has to wonder if perhaps Matt Zimmerman would have been perfectly capable of singing it more sweetly, but is deliberately doing it this way because he feels it suits the character better, the same reasoning might also apply to Louise Gold’s performance of I Get A Kick Out Of You (but more on that later). The Gypsy In Me suffers chiefly from the fact that Simon Green did it just a bit too well when he sang it in the Grange Park Opera production, making it difficult for anyone else to inhabit the part, and Paul Manuel is just not Simon Green. It is probably not helped by the fact that the song was originally sung in the show by another character, namely Hope and sung very well on the EMI Classics album by the wonderful Frederica Von Stade in that role. Buddie Beware suffers from a similar problem, and in this case compounded by the fact that the character it was originally written for was in fact Reno Sweeney, and Kim Criswell sang it exceedingly well as such on the EMI Classics album. Songs written for Ethel Merman have a tendency, however good they are, to not sound quite the same when they’re done by anyone else, especially with such a top Merman-esque singer as Louise Gold around. It’s Delovely, though beautifully sung by Gregg Edelman and Katrina Murphy also suffers from being originally a Merman song, in Red Hot & Blue. The other interpolated song, Friendship is the one alteration that doesn’t suffer in the least, because it is still being sung by the same sort of performers who inhabited it in Du Barry Was A Lady.

One of the key benefits of studio cast albums, is the opportunity to provide to include little known songs that got dropped from their shows. This album is no exception, including the full version There’s No Cure Like Travel, instead of just the Bon Voyage except. The work of specific individuals, especially Gareth Snook, stands out on this recording in a way that it doesn’t usually. Another piece particularly worth mentioning is Goodbye Little Dream Goodbye, inhabited by Katrina Murphy, a Cole Porter song I had not come across before. Meanwhile Easy To Love, All Through The Night, There Will Always Be A Lady Fair, and, Public Enemy Number One, are all handled well, this is a pretty high standard of performance throughout. The high quality of the performances not only applies to the singers but also to the musicians of the NSO. John Owen Edwards is a masterful conductor, at least when he is working with the NSO (he once recorded Anything Goes with a pit orchestra - Elaine Paige’s 1989 London revival recording, but that wasn’t anywhere near the high standard of this recording). There are many moments on this album where the wonderful performance of the music itself comes across well, but they do stand out in particular on: The Overture, Blow Gabriel Blow, and The Finale. In fact The Finale is a great bonus, while it is the 1988 revival version rather than the hastily written original, it is executed with such conviction by the company, that one can imagine it would not have been in the least out of place had it been in the original. Two things I particularly liked about it were Louise Gold’s spoken wild west type accent and the orchestra’s lively jazzy vibrant playing. Although they were playing tunes we’ve already heard earlier on the album, they sound so fresh in their arrangement, it’s almost like we’re hearing them for the first time in the show.

It’s a great album all round, especially with John Owen Edwards conducting, but what gives this recording of Anything Goes that extra special sparkle, is Louise Gold in the role of Reno Sweeney; and it is her numbers that really and truly stand out on this recording: Firstly, I Get A Kick Out Of You, while this isn’t necessarily the sweetest version of this song, that honour surely goes to Kim Criswell, it’s worth noting that while Ms Gold would have been capable of doing it just as sweetly, she has instead tried to capture the vocal effect it’s original inhabitor, and she is one of the very few singers who could possibly pull this parody off. However, the take used on this album is better (than The Musicals Collection one), simply because it’s a bit more Louise and a bit less parody, but still with a strong hint of just who this song was written for.  You’re The Top sums up this album perfectly. Convincing, and a high standard of performance, but vibrantly playful, and absolutely not boring. This is the kind of lengthy list song that could easily be dull, but with Louise Gold around to sing it, and John Owen Edwards to conduct it, it’s anything but. Gregg Edelman sings it quite straight, though with some enthusiasm, however Louise Gold is like a zany Muppet with her expert handling of the comical lyrics. She knows just when to change her accent, or vocal style to liven the song up, and just like The Muppets, she makes it work, her joyous irrepressibility actually enhances the song., bringing out its marvellously inventive lyrics. Friendship finds the glorious Gold just as playful, and on this lovely interpolation (from Du Barry Was A Lady) she’s on cracking , or should that be quacking, form, with a co-star who knows exactly how a singer should sing a duet with her. Matt Zimmerman rises to the occasion doing his level best to compete with her, so that they really do sound like a pair of good friends teasing each other, which is exactly the way this song should sound. Each of Ms Gold’s numbers on this album is better than the last, and with the magnificent title song she really hits her stride as one of the best singers to sing this song since The Mighty Merman herself, in fact, with the possible exception of Kim Criswell, probably the best since Merman. In some ways, Gold and Criswell might even beat Merman with this number, after all neither of them is afraid to emphasise some very risqué lyrics. If it’s Louise Gold you like singing Cole Porter you like, why you’ll love this sassy comic song, as sung by a real expert in the art of sung comedy, who treats the lyrics with her own brand of disarming vulgarity, and sings the melody with the kind of vocal power it truly demands. But an even bigger and better brassy belting tour de force is on display on the album’s pinnacle, Blow Gabriel Blow. Not even Criswell under McGlinn’s expert direction could scale this mountain quite like Gold can here. Even Gold herself, or for that matter musical director Owen-Edwards, might be hard put to rival the performance on this track. It is truly one of the most incredible pieces on record!

All in all it’s an amazing album. Most of the performances on it are good, and all are listenable to. This is one of those albums that can be played over and over again, without being at all boring, the performances are all so fresh, alive and innovative. The sound is beautifully lush, giving the work a whole new lease of life, which such a wonderful Cole Porter musical might not necessarily need; but it certainly benefits from being performed so sparklingly and to such a high standard. This is one of Cole Porter’s best scores (a score rivalled only by Kiss Me Kate), and this is a recording to really do it justice. Overall it’s a brilliant recording, and one well worth getting, but there is one extra thing about this album that just gives it an extra special lift, and that is the leading lady singing the role of Reno Sweeney. The significant thing about this part (the role of “an evangelist-turned-night club singer) is that it was created for a mighty singing talent, the great Ethel Merman. 

With the notable exception of Kim Criswell, I have not heard any contemporary singer who can sing these sort parts as effectively, or as magnificently, as Louise Gold can. So it is a real thrill (especially for those of us who saw her in the Lost Musicals productions of the other four show’s in that quintet that Porter wrote for Merman) that at long last here is a CD starring Louise Gold in a Merman role. It is on this album that Ms Gold demonstrates just exactly why she has been described as “an English Ethel Merman”, demonstrating special talent for invoking Merman’s almost impossible to imitate styleless style. But, while, by the very similar nature of her vocal quality, and shear vocal power, she comes close to sounding like La Merman, don’t expect a straight imitation. Because that is not what Gold does. First and foremost she sings this as herself, and there are moments, especially on You’re The Top, where her handling of song is most definitely not the way Ethel Merman would have done it (or even have approved of it being done). Louise Gold sings the material in her own unique way. A way which just happens, almost by chance, to have more than a passing vocal similarity to Ethel Merman, and it is quite likely she has tried to play up the similarity, just as she did in the Lost Musicals productions. She is a marvellous performer of Cole Porter’s songs (especially the ones he wrote for Ethel Merman) and it is on this album she gets a real opportunity to display that shear talent. If you like the glorious Gold, and her big brassy voice, then this album truly is a real treat. It is my considered opinion that if you wanted to get just one of Louise Gold’s various recordings, this album is the one to get.


Review (of Musicals Collection CD: MUS C N40 )

by Emma Shane (© 2001)

If you thought that the EMI Classics recording of Anything Goes (conducted by John McGlinn and starring Kim Criswell) was very well performed and very accurate, but, a little tiny bit boring, then I would thoroughly recommend you try to hear this TER recording (conducted by John Owen-Edwards and starring Louise Gold), for, it is far livelier, and yet, none-the-less manages to capture the original spirit of the show (even if it does not stick so closely to it, note for note or interpretation for interpretation). This recording is a perfect combination of a brilliant songwriter, a clever conductor and a very talented leading lady. John Owen Edwards does a wonderful job of conducting Cole Porter’s music, in an exciting lively invigorating way, so that while the delightful tunes can be clearly heard they are never dull. In this endeavour he is well matched by his singers, especially the delovely Louise Gold. In my opinion Louise Gold is one of the very best people ever to sing Cole Porter! She sticks closely to the tune and lyrics, and yet at the same time injects a healthy dose of lively high spirits into any number she sings. The whole combination is one that can be heard again and again, without becoming stale.

Although Louise Gold’s performance of I Get A Kick Out Of You is not quite as sweet as Kim Criswell’s EMI recording, Louise never-the-less singings it very well, with strength, complete conviction, and a slightly more authentically Merman-like sound.

This recording very much eclipses the extremely well done but somewhat staid EMI Classics version of You’re The Top. The number is an absolute joy, proof if ever any was needed that a lively playful interpretation does not necessarily spoil a good song. One just needs a conductor and singers who know exactly what they are doing when they play around with it. That gifted vocal-parodieist, Louise Gold, rises well to the challenge of livening up this number (ably assisted by John Owen Edwards’s conducting). I particularly liked her (possibly add-libbed) groan when being told “You’re Ovaltine”. Yet, when she gets to the line (about Jimmy Durante) that few singers can resist livening up (even Criswell did it under the direction of McGlinn!) she surprises us with her subtlety, by underplaying it. Truly the number is handled with skill. Although Gregg Edelman sings his part very well, he is rather overshadowed by his co-star.

Friendship finds the glorious Gold with a duestist who does attempt to compete with her Matt Zimmerman. The number is a riotous joy, perhaps the fact that they had performed it together in a stage production of Anything Goes helped. Certainly it is a very sparky performance. Both of them sing with feeling and enthusiasm, and get right into their characters performances of the number.

The title song, Anything Goes, finds comedy queen Louise Gold in her element, belting a: witty, satirical, risqué, Cole Porter song, and one originally introduced on stage by Ethel Merman. Although Kim Criswell sang it very sexily, Louise Gold gives it an earthier touch.

The highest point of this terrific recording, though, is Blow Gabriel Blow. In this number Gold’s singing and Owen-Edward’s conducting reign supreme. They sound like they are having the time of their lives. It is pure joy from start to finish. John Owen-Edwards brings to it a wonderfully lively jazzy feel, while Louise Gold sings it with all that power she can so strongly command. It is a truly wonderful example of how a song can be performed in a lively enthusiastic manner, without being degraded. If anything the interpretation actually enhances the number.

It is my considered opinion that to this studio cast recording of the show Anything Goes is the very best recording that Louise Gold has made to date. I only wish it were more widely available.

Webmaster’s footnote: The review of The Musicals Collection version of this album (MUS C 40) was written a few years before the release of the Music Theatre Hour version of the album (CDTEH6011).


Critics Comments

 “Louise Gold, as Reno Sweeney, harks back to the role's creator, Ethel Merman, giving an enthusiastic performance.” William Ruhlman, ALL MUSIC GUIDE, March 2004


Links about Anything Goes (recording)

JAY/TER’s page for the album (which also links to it’s itunes download): (for some strange reason they list it as catalogue no CDJAY1373)

Dress Circle’s website,  see in particular page for this album (and where you can order it):’s page for this album (and where you can order it):

The Cole Porter Reference Guide (includes a piece about recordings of Anything Goes including this one):

Allegro Music’s page for this album (and where you can order it):’s page for this album (and where you can order it): , Also: , this includes a lovely reference to the 1990 Stage production.

Amazon.Com’s page for this album (and where you can order it):

CD Universe’s page for this album (and where you can order it):

Musical’s page for this album (and where you can order it):

HMV’s page for this album (and where you can order it):;-1;-1;-1&sku=186806 (NB their listing is incorrect, it is actually a single CD, not a double CD as listed on their website)

Theatre Radio’s interview with Louise Gold (she mentions the stage show Anything Goes) 

Rialto’s interview with John Yap:

Talking Broadway, mentions the album as ‘Forthcoming’:

A fairly comprehensive review of a 2002 revival of Anything Goes, starring Kim Criswell:

Chris Curio’s review of the album:  

Cast database’s entries for this album: and’s page for the album:


Return To Site Guide | Return To Recordings | Anything Goes (Stage Show) |