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Anything Goes: A History of American Musical Theatre
Ethan Mordden has been hailed as "a sharp-eared listener and a discerning critic," by Opera News, which compares his books to "dinner with a knowledgeable, garrulous companion." The "preeminent historian of the American musical" (New York Times), he "brings boundless energy and enthusiasm buttressed by an arsenal of smart anecdotes" (Wall Street Journal). Now Mordden offers an entirely fresh and infectiously delightful history of American musical theatre.
Anything Goes stages a grand revue of the musical from the 1920s through the 1970s, narrated in Mordden's famously witty, scholarly, and conversational style. He peers with us over Stephen Sondheim's shoulder as he composes at the piano. He places us in a bare rehearsal room as the cast of Oklahoma!changes history by psychoanalyzing the plot in the greatest of the musical's many Dream Ballets. And he gives us tickets for orchestra seats on opening night-raising the curtain on the pleasures of Victor Herbert's The Red Mill and the thrill of Porgy and Bess. Mordden examines the music, of course, but also more neglected elements. Dance was once considered as crucial as song; he follows it from the nineteenth century's zany hoofing to tap "combinations" of the 1920s, from the injection of ballet and modern dance in the 1930s and '40s to the innovations of Bob Fosse. He also explores the changing structure of musical comedy and operetta, and the evolution of the role of the star. Fred Stone, the avuncular Scarecrow in the Wizard of Oz, seldom varied his acting from part to part; but the versatile Ethel Merman turned the headlining role inside out in Gypsy, playing a character who was selfish, fierce, and destructive.
From "ballad opera" to burlesque, from Fiddler on the Roof to Rent, the history and lore of the musical unfolds here in a performance worthy of a standing ovation.
Anything Goes stages a grand revue of the musical from the 1920s through the 1970s, narrated in Mordden's famously witty, scholarly, and conversational style. He peers with us over Stephen Sondheim's shoulder as he composes at the piano. He places us in a bare rehearsal room as the cast of Oklahoma!changes history by psychoanalyzing the plot in the greatest of the musical's many Dream Ballets. And he gives us tickets for orchestra seats on opening night-raising the curtain on the pleasures of Victor Herbert's The Red Mill and the thrill of Porgy and Bess. Mordden examines the music, of course, but also more neglected elements. Dance was once considered as crucial as song; he follows it from the nineteenth century's zany hoofing to tap "combinations" of the 1920s, from the injection of ballet and modern dance in the 1930s and '40s to the innovations of Bob Fosse. He also explores the changing structure of musical comedy and operetta, and the evolution of the role of the star. Fred Stone, the avuncular Scarecrow in the Wizard of Oz, seldom varied his acting from part to part; but the versatile Ethel Merman turned the headlining role inside out in Gypsy, playing a character who was selfish, fierce, and destructive.
From "ballad opera" to burlesque, from Fiddler on the Roof to Rent, the history and lore of the musical unfolds here in a performance worthy of a standing ovation.
360 pages, Paperback
First published January 1, 2013
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Displaying 1 - 14 of 14 reviews
January 31, 2019
ANYTHING GOES by Ethan Mordden is one of the very best single-volume survey texts concerning Great White Way musicals. Note too that most of this volume is straight text, with no space or money wasted on coffee-table trim size or elaborate color plating.
You'll notice a couple of things about Mordden's writing: He is incredibly opinionated, but also incredibly well-informed. I can live with the sometimes over-the-top statements because there is so much to learn, and how well he joins the separate piece of each show (origin, rehearsal, performance, aftermath), and then fits each show into the panorama of what was going on in theater at that particular time.
From roughly the Eighties through the turn of the 21st Century, when revivals and British imports ruled the scene, do not expect Mordden to play the cheerleader. I do not know how the author now feels about HAMILTON; the show was only a few months old when this book was published in June of 2015. In fact, in June of 2016 Mordden was asked by the Los Angeles Times to opine about that highly successful show and returned that it was still "too new to qualify"* among a list of all-time-great musicals.
Sometimes people new to Broadway history will find theatrical terms or the names of individual artists too "expert" for them. No shame there: for them I'd recommend any of Mordden's decade-by-decade surveys of Broadway musicals, such as Open a New Window: The Broadway Musical in the 1960s or Coming Up Roses: The Broadway Musical in the 1950s.
That notwithstanding, Anything Goes: A History of American Musical Theatre serves a real and vivid purpose. I would never turn anyone away from it, though personally I feel that Mordden has researched and written better books, before and since.
* cite: http://www.latimes.com/entertainment/...
You'll notice a couple of things about Mordden's writing: He is incredibly opinionated, but also incredibly well-informed. I can live with the sometimes over-the-top statements because there is so much to learn, and how well he joins the separate piece of each show (origin, rehearsal, performance, aftermath), and then fits each show into the panorama of what was going on in theater at that particular time.
From roughly the Eighties through the turn of the 21st Century, when revivals and British imports ruled the scene, do not expect Mordden to play the cheerleader. I do not know how the author now feels about HAMILTON; the show was only a few months old when this book was published in June of 2015. In fact, in June of 2016 Mordden was asked by the Los Angeles Times to opine about that highly successful show and returned that it was still "too new to qualify"* among a list of all-time-great musicals.
Sometimes people new to Broadway history will find theatrical terms or the names of individual artists too "expert" for them. No shame there: for them I'd recommend any of Mordden's decade-by-decade surveys of Broadway musicals, such as Open a New Window: The Broadway Musical in the 1960s or Coming Up Roses: The Broadway Musical in the 1950s.
That notwithstanding, Anything Goes: A History of American Musical Theatre serves a real and vivid purpose. I would never turn anyone away from it, though personally I feel that Mordden has researched and written better books, before and since.
* cite: http://www.latimes.com/entertainment/...
February 3, 2019
Ethan Mordden is clearly educated and passionate when it comes to the world of Theatre. His dialogue is extremely rich and consistently engaging.
February 17, 2017
This review originally published in Looking For a Good Book. Rated 2.5 of 5
I'm pretty much a sucker for any book about musical theatre. Who doesn't love, singing, dancing, colorful costumes and lights, fantastic sets, and a rousing good story? Of course, musical theatre hasn't always been just that, and author Ethan Mordden explores the history of this American institution in this book, Anything Goes.
I definitely learned a thing or two through this book and I would not consider this light, casual reading. One must really be a fan of the subject and probably already fairly knowledgeable, otherwise some of the names won't mean anything.
The book is subtitled "A History of American Musical Theatre" but Mordden is quite selective in giving us the history. In fact, more often than not this book comes across as reflections on historic theatre rather than a history of the musical theatre.
The most difficult aspect of this book, however, is the author's voice. Over and over I highlighted passages in my Kindle version that annoyed me or drove me crazy with the author's bias or, as I referred to it once "cattiness" (in writing about Sondheim, Mordden writes: "Rule Two: Marry smart lyrics to tuneless music, and if Jerry Herman complains, tell him, "My art's longer than your art."").
I think that in a history book, even a book about Musical Theatre, I prefer a less overt personality. Mordden often comes across as trying to be so clever, letting us know HE gets the inside joke (did he really need to share the idea that Sweet Charity managed to sneak in a smutty joke?). I think it's pretty clear what Mordden thinks of revivals and re-workings of classic tunes into new stories:
When Broadway needs to re-employ old music in show after show, it is reaching senility. In the past, authors quoted their hits as acts of desperation ... By the 1970's, however, Broadway was quoting entire old scores in what has become a genre all its own: the revival.
Wait a minute ... a revival is "quoting from" ... ?
Given Mordden's definite voice throughout this book, I was greatly amused when he writes about other works of this kind he mentions The World of Musical Comedy by Stanley Green, and American Musical Theatre: A Chronicle by Gerald Bordman and says: "Unlike the dispassionate Green, Bordman had not only fun but opinions." Mordden, too, definitely has opinions.
I've since gone to look at this book on Goodreads and I note that even in the description of the book, usually posted by the publisher, it says "narrated in Mordden's famously witty, scholarly, and conversational style." 'Witty' is certainly up for debate, but if the author's voice is sharp enough to bear mentioning in the book's description, then it's clearly going to come across when you read this. The danger is that some of us aren't going to enjoy that voice. Which is too bad since there is some useful information here for the musical theatre fans.
Looking for a good book? Anything Goes by Ethan Mordden is an interesting look at the history of musical theatre but the author's voice will just as likely put you off than draw you in.
I received a digital copy of this book from the publisher, through Netgalley, in exchange for an honest review.
I'm pretty much a sucker for any book about musical theatre. Who doesn't love, singing, dancing, colorful costumes and lights, fantastic sets, and a rousing good story? Of course, musical theatre hasn't always been just that, and author Ethan Mordden explores the history of this American institution in this book, Anything Goes.
I definitely learned a thing or two through this book and I would not consider this light, casual reading. One must really be a fan of the subject and probably already fairly knowledgeable, otherwise some of the names won't mean anything.
The book is subtitled "A History of American Musical Theatre" but Mordden is quite selective in giving us the history. In fact, more often than not this book comes across as reflections on historic theatre rather than a history of the musical theatre.
The most difficult aspect of this book, however, is the author's voice. Over and over I highlighted passages in my Kindle version that annoyed me or drove me crazy with the author's bias or, as I referred to it once "cattiness" (in writing about Sondheim, Mordden writes: "Rule Two: Marry smart lyrics to tuneless music, and if Jerry Herman complains, tell him, "My art's longer than your art."").
I think that in a history book, even a book about Musical Theatre, I prefer a less overt personality. Mordden often comes across as trying to be so clever, letting us know HE gets the inside joke (did he really need to share the idea that Sweet Charity managed to sneak in a smutty joke?). I think it's pretty clear what Mordden thinks of revivals and re-workings of classic tunes into new stories:
When Broadway needs to re-employ old music in show after show, it is reaching senility. In the past, authors quoted their hits as acts of desperation ... By the 1970's, however, Broadway was quoting entire old scores in what has become a genre all its own: the revival.
Wait a minute ... a revival is "quoting from" ... ?
Given Mordden's definite voice throughout this book, I was greatly amused when he writes about other works of this kind he mentions The World of Musical Comedy by Stanley Green, and American Musical Theatre: A Chronicle by Gerald Bordman and says: "Unlike the dispassionate Green, Bordman had not only fun but opinions." Mordden, too, definitely has opinions.
I've since gone to look at this book on Goodreads and I note that even in the description of the book, usually posted by the publisher, it says "narrated in Mordden's famously witty, scholarly, and conversational style." 'Witty' is certainly up for debate, but if the author's voice is sharp enough to bear mentioning in the book's description, then it's clearly going to come across when you read this. The danger is that some of us aren't going to enjoy that voice. Which is too bad since there is some useful information here for the musical theatre fans.
Looking for a good book? Anything Goes by Ethan Mordden is an interesting look at the history of musical theatre but the author's voice will just as likely put you off than draw you in.
I received a digital copy of this book from the publisher, through Netgalley, in exchange for an honest review.
January 13, 2014
Having seen an interview with Mr. Mordden regarding this book, I couldn't wait to dive in, it didn't disappoint. Thoughtful and well researched look at how the American Musical evolved and what it's origins were, but not dry. Full of amazing insight, and humor, it's a really easy read, but very informative. perfect for any student or fan of the musical theatre.
September 14, 2025
I've long been curious about musical theater, how it began and how it's evolved over time. Broadway historian Ethan Mordden's book is a fingernail sketch of musical theater history that's informative but also a jumping off point to learning more. In my mind, musical theater emerged in the 1920s/1930s, but Mordden's book goes much further in the past beginning in the 18th century, and dedicating about 2/3's of the book to late-19th and early-20th century musicals before reaching the time period I'm more familiar with.
Musical theater in the United States grew from numerous influences including operetta from Europe, the homegrown minstrel show, burlesques (the theatrical spoof version, not the striptease) as well as the more prosaic musical play in which the theater's house band would perform tunes throughout the performance of a play. L. Frank Baum's adaptation of The Wizard of Oz as a musical extravaganza is noted as a key moment in the development of musical theater, which is amusing since Wicked is the biggest thing on Broadway 125 years later.
The early 20th century was also the period in which Victor Herbert became the preeminent American composer of operettas which typical had successful Broadway runs followed by extensive touring productions. Around the same time Florenz Ziegfeld Jr. established the musical revue as a centerpiece of American theater with his Ziegfield Follies from 1907 to 1931. Ziegfield also produced Show Boat by Jerome Kerns and Oscar Hammerstein, Jr., a groundbreaking show that incorporated music into the storytelling and characterization, as well as being racially diverse.
At last we reach the Golden Age of Musical Theatre, which Mordden frames with the "Rodgers and Hammerstein Handbook," the various "rules" that Richard Rodgers and Oscar Hammerstein followed in creating their game-changing run of shows in the 1940s, 1950s, and 1960s. Mordden also traces the big works and notable flops of George and Ira Gershwin, Rodgers and Hart, Irving Berlin, Cole Porter, and Lerner and Loewe. He uses a similar approach for musicals of the 1960s and 1970s but this time framed around the works of Stephen Sondheim.
It's not all surprising that Mordden is unimpressed by the megamusicals that have emerged since the 1980s (although he has kind words for some). I was more surprised at his distaste for the practice reviving musicals, which he considers lazy. In fact he's harsher on revivals than on "jukebox musicals," noting that as early as The Beggar's Opera in 1728, musicals relied on old music to tell new stories (personally I think it's more interesting to revive shows with new productions every so often than to have the same production run for decades with a rotating cast, but that's neither here nor there). It's too bad this book was published just before the opening of Hamilton because it would be interesting to see how Mordden thinks it fits in to the broader history.
Mordden's writing style tends to ramble, and as he's written extensively about Broadway history, I think he assumes the ordinary reader has a much greater existing knowledge of musical theater than I actually do. He is also highly opinionated about the various musicals and their productions, which is surprising since he could not have seen the majority of these shows (Mordden was born in 1947) that exist at best as imperfect cast recordings and with no real pro-shot films prior to the 1970s. An extensive discography at the end of the book (which also sometimes videography) is helpful, although it's written as a long essay, whereas I would find it more useful if it was a list of plays and their various recordings with Mordden's thoughts on each.
Musical theater in the United States grew from numerous influences including operetta from Europe, the homegrown minstrel show, burlesques (the theatrical spoof version, not the striptease) as well as the more prosaic musical play in which the theater's house band would perform tunes throughout the performance of a play. L. Frank Baum's adaptation of The Wizard of Oz as a musical extravaganza is noted as a key moment in the development of musical theater, which is amusing since Wicked is the biggest thing on Broadway 125 years later.
The early 20th century was also the period in which Victor Herbert became the preeminent American composer of operettas which typical had successful Broadway runs followed by extensive touring productions. Around the same time Florenz Ziegfeld Jr. established the musical revue as a centerpiece of American theater with his Ziegfield Follies from 1907 to 1931. Ziegfield also produced Show Boat by Jerome Kerns and Oscar Hammerstein, Jr., a groundbreaking show that incorporated music into the storytelling and characterization, as well as being racially diverse.
At last we reach the Golden Age of Musical Theatre, which Mordden frames with the "Rodgers and Hammerstein Handbook," the various "rules" that Richard Rodgers and Oscar Hammerstein followed in creating their game-changing run of shows in the 1940s, 1950s, and 1960s. Mordden also traces the big works and notable flops of George and Ira Gershwin, Rodgers and Hart, Irving Berlin, Cole Porter, and Lerner and Loewe. He uses a similar approach for musicals of the 1960s and 1970s but this time framed around the works of Stephen Sondheim.
It's not all surprising that Mordden is unimpressed by the megamusicals that have emerged since the 1980s (although he has kind words for some). I was more surprised at his distaste for the practice reviving musicals, which he considers lazy. In fact he's harsher on revivals than on "jukebox musicals," noting that as early as The Beggar's Opera in 1728, musicals relied on old music to tell new stories (personally I think it's more interesting to revive shows with new productions every so often than to have the same production run for decades with a rotating cast, but that's neither here nor there). It's too bad this book was published just before the opening of Hamilton because it would be interesting to see how Mordden thinks it fits in to the broader history.
Mordden's writing style tends to ramble, and as he's written extensively about Broadway history, I think he assumes the ordinary reader has a much greater existing knowledge of musical theater than I actually do. He is also highly opinionated about the various musicals and their productions, which is surprising since he could not have seen the majority of these shows (Mordden was born in 1947) that exist at best as imperfect cast recordings and with no real pro-shot films prior to the 1970s. An extensive discography at the end of the book (which also sometimes videography) is helpful, although it's written as a long essay, whereas I would find it more useful if it was a list of plays and their various recordings with Mordden's thoughts on each.
July 19, 2023
As it turns out, with few exceptions, my interest in the American musical begins with Rodgers and Hammerstein, a duo whose work is first reflected on after 100 pages. It's great that the other information is there for those who are interested in it. For me, I find it difficult to invest too heavily in works that are largely lost (which I regret). I enjoyed reading about Ziegfeld in the first half of the book. Otherwise, I found myself heavily skimming.
The second half of the book read better, but I do think it could have been fleshed out more. There's maybe a page on Rent and paragraph or two on jukebox shows, for example. Sondheim's shows without Hal Prince are barely touched. I also think a key point is missed in his argument on revivals, which is that people want the opportunity to see shows they missed the first time around or were not even alive to see.
Definitely not my favorite theatre-history read, but it would be a good one for people interested in shows from the late 1800s or early 1900s, which I don't often hear about.
The second half of the book read better, but I do think it could have been fleshed out more. There's maybe a page on Rent and paragraph or two on jukebox shows, for example. Sondheim's shows without Hal Prince are barely touched. I also think a key point is missed in his argument on revivals, which is that people want the opportunity to see shows they missed the first time around or were not even alive to see.
Definitely not my favorite theatre-history read, but it would be a good one for people interested in shows from the late 1800s or early 1900s, which I don't often hear about.
January 21, 2024
Mordden's writing voice - worldly, witty, eternally amused, and highly invested - is the main feature here, and for me it's a knockout. Yes, this is a broad history of the American musical, including before it was American and before it was even that musical. I'm a fan of this world but not a maven, so I found it very enlightening, especially in terms of chronology and who inspired whom. But it's also a vehicle for Mordden to weigh and inveigh, clarifying WHY certain shows were successes or failures, regardless of financial outcome or contemporary opinion. There are infinite ways to make a good show, only half of them predictable. (Half of infinity?? Whatever. It makes a good song lyric.) Mordden wanders from the syllabus occasionally, and this won't be a five-star experience for everyone, but if you like musical theater AT ALL, and you like sitting next to the smartest aleck in the room, you'll eat this up like I did.
May 10, 2020
This is really great fun, and quite an exciting time – until we get to 1980. After that, Mordden stops tracking the development of the form and starts critiquing individual shows and grouping musicals together rather strangely. This is a pleasurable read, though, and even when Mordden is at his most opinionated he is interesting. One does wonder, though, why he bothers to go past 1980 – perhaps the only reason is to praise Grand Hotel as much as he can.
Others on GoodReads complain that the book is too much a history. This makes sense. One can understand why folks want more of an encyclopedia of great shows or fun gossip about Ethel Merman. Mordden helpfully points those readers to the books they're looking for in his Further Reading section (pp. 281-290). As for this book, it's a great piece of historiography.
Others on GoodReads complain that the book is too much a history. This makes sense. One can understand why folks want more of an encyclopedia of great shows or fun gossip about Ethel Merman. Mordden helpfully points those readers to the books they're looking for in his Further Reading section (pp. 281-290). As for this book, it's a great piece of historiography.
September 21, 2019
Read chapter on "Rodgers and Hammerstein Handbook" and skimmed other chapters. Will come back to it in the future.
This entire review has been hidden because of spoilers.
April 23, 2020
Not as easy to read as his previous books, but extremely well researched and definitely worth reading for serious musical theater aficionados.
June 10, 2016
This is an excellent book. I offer one word of warning about it though. This is not a fast, easy read. If this were a college text book it would definitely be an intermediate to advanced text. This doesn't mean that a general reader won't enjoy it. Thank God for Google. Following along with recordings of the shows Mordden discusses is very helpful and brings more life to the topic. The work that the reader needs to put into this book is well rewarded. A must read for anyone interested in the history of the musical.
December 21, 2013
A strong point of view combined with exceptional knowledge of music. Of all his works, this is the most thorough and the most useful. He dates the musical from The Beggars Opera and not The Black Crook and clearly justifies his reasons for doing so. Also champions recent works like All Shook Up as something more than others might suggest. It is full of useful information eloquently reported!
January 15, 2015
Read this only if you are super interested in the early, early history of musical theatre. This book focuses mainly on the early development of the American musical and doesn't really touch on shows and people that are known by most fans. Even the Sondheim chapter only discusses Sondheim for a few pages, Not my favorite book.
July 7, 2015
It was very informative :)
Displaying 1 - 14 of 14 reviews