Roles and Ranges

Anything Goes

Billy Crocker, high baritone (Bb2 to F4), mid to late 20s, junior broker on Wall Street

Hope Harcourt, soprano (Bb3 to F5), age 18-25, rich girl who has to marry a much older man

Reno Sweeney, belty alto (F3 to B4), 30s, evangelist turned nightclub singer

Moonface Martin,. comic baritone (A2 to E4), Public Enemy #13 – ALREADY CAST

Bonnie, brassy mezzo (Db4 to Gb5), Moonface’s chorus-girl accomplice

Sir Evelyn Oakleigh, comic baritone (Db3 to F4), 40s or 50s, rich British aristocrat

Reno’s Fallen Angels, sopranos and altos:

Elisha J. Whitney, Billy’s boss on Wall Street, 40s, no solo singing

Mrs. Harcourt, Hope’s mother, 40s, no solo singing



Two male sailors/passengers/converts

Yeast Nation
(Note: Jan is pronounced “Yahn”)

JAN-THE-UNNAMED: Female, alto, age unspecified but old enough to possess a certain whacked out wisdom and serious comedic chops. Unnamed is our guide to the world of the Yeasts and is sometimes one of them. Like the blind prophetess from Greek mythology and strangely prescient. Her comic skills must not prevent her embracing the style of world and the truth of its truths with commitment and conviction. She may evolve but never winks.

JAN-THE-ELDER: Male, baritone, late 50s- 60s to play 70s. The first creature to swim the seas, King of the Yeasts, Elder is authority. He is regal and unapproachable, but beginning to succumb to age and madness. Does not necessarily have to be very tall as his physical stature can be enhanced. He should have a natural charisma and a sense of true power.

JAN-THE-SWEET: Female, soprano who can rock out, early 20s. Low born but proud, fierce and noble. She appears to be the ingénue. The other Yeasts yearn for her and are moved by her sweetness but she possesses her father’s wisdom and something sterner and surprising of her own. She has will and strength and will never knuckle under. She has real beauty but it isn’t the kind you find on the cover of Vogue.

JAN-THE SECOND-OLDEST: Male, rock tenor, 20s to early 30s. Elder’s son and first in line for the throne. An idealist, a dreamer. Handsome and charismatic – could look like a young rock star or a gorgeous, sweet boy – above all, must possess a vulnerability as well as the bearing of someone who could be King of All Yeasts. Great Pop Rock singer. Must have an earnestness which never cloys.

JAN-THE-SLY: Female, alto, 20s. The smartest, the cleverest, the most ambitious and slyest of all the yeasts, Sly is a schemer and a plotter. She is patricidal, fratricidal, would be matricidal if she had a mother and is very appealing. She is Second’s younger sister and second in line for the throne.

JAN-THE-WISE: Male, rock baritone, late 30s – early 50s. Wise is Elder’s senior counselor and advisor. He schemes and plots to hold and gain power, he believes he is smarter than the other Yeasts but he is certainly not as smart as Sly. He has no direct claim on the throne. He has a surprising vulnerability to the charms of Sweet and a formal, courtly nature. Tries hard to be Dick Cheney but can only truly aspire to Rumsfeld. Should be physically eccentric and is not a natural leading man.

JAN-THE-WRETCHED: Male, bari-tenor, 40s – 60s. Wretched, desperate. A vagabond. He actually is smarter than all the other Yeasts and understands the way they live is unsustainable. Sweet’s father.

JAN-THE-FAMISHED: Female, mezzo, 30s – 40s. A desperate, bumbling single mother to be. She is perpetually hungry and constantly terrified. The actress playing this role should be very, very thin as she gives birth during the course of the play.

THE NEW ONE: Female, alto-mezzo, late teens to early 20s. Something new. Someone shiny. Lithe, sexual and exotic. She is alien to the yeasts though is born of them. She seems innocent and childlike but grows merciless and savage as her hunger increases. Must move extremely well. A dancer or gymnast preferred.

JAN-THE-YOUNGEST: Male (Female in drag?), tenor (alto?), 10 years old to early teens. Guileless, trusting but precocious and concerned with precision. Points out inaccuracies and ambiguities in the conceit of the play only the way a child could. Directly, simply and without mercy. Not a show kid.


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