O'Connor was born in Oldham, Lancashire, England, to Irish parents and subsequently raised and trained in Sydney, Australia. She trained at the Royal Ballet School in London and worked full-time at the Australian Opera Ballet. She became an Australian Citizen in 2007 giving her dual citizenship.
O'Connor's film work includes the featured role of Nini Legs in the Air in Baz Luhrmann's film Moulin Rouge!, and as Ethel Merman in the Cole Porter biopic De-Lovely. She also featured on the De-Lovely soundtrack, singing Anything Goes.
In 2003 O'Connor made her Broadway debut as Velma Kelly in Chicago. Her West End theatre performances include Mabel in Mack & Mabel for which she received an Olivier nomination for Best Actress in a Musical. O'Connor was a member of the original 1986 revival cast of Me and My Girl at the Adelphi Theatre.
O'Connor's other UK theatre credits include A Chorus Line, Hold on Tight it's 60's Night, Chicago, Damn Yankees, West Side Story and as Ellie May in Showboat for the Royal Shakespeare Company and Opera North.
In 1998, O'Connor returned to Australia as Velma Kelly in Chicago for which she won a Green Room Award and the Mo Award for Female Musical Theatre Performer of the Year. Other Australian productions include the one woman play Bombshells written especially for Caroline O'Connor by playwright Joanna Murray-Smith, West Side Story, Man of La Mancha, Oklahoma! and concert productions of Funny Girl and Mack & Mabel. She has since filmed Bombshells for ABC Television. Her portrayal of Edith Piaf in Pam Gems's play Piaf gained her three Australian theatre awards.
Bombshells toured to sell-out performances at the Edinburgh Festival (where she won the coveted Fringe First Award), London's West End at the Arts Theatre (for which she received her second Laurence Olivier Award nomination), and at the World Stage Festival in Toronto, Canada. O'Connor starred as Judy Garland in the 2005 world premiere of Peter Quilter's play End of the Rainbow at the Sydney Opera House. Following its Sydney and Melbourne seasons, Caroline recorded the CD A Tribute to Judy Garland, and reprised her Helpmann Award winning role in Sydney at the Theatre Royal in 2006.
She starred in the premiere production of the musical The Hatpin, which opened in Sydney on 27 February 2008 to critical acclaim. In June 2008, she played the title role —a role specifically written for O'Connor— in the premiere of David Williamson's 2008 play Scarlett O'Hara at the Crimson Parrot at the Melbourne Theatre Company.
O'Connor has recorded four solo CDs (What I Did For Love, A Tribute To Piaf, From Stage to Screen, A Tribute to Garland), and has featured on numerous cast recordings and compilations.
In March 2009, O'Connor reprised her role as Velma Kelly in the 2009 Australian production of Chicago where she starred alongside Sharon Millerchip and Craig McLachlan.
In May 2010, she appeared as Mrs Cooper in the TV series, Lowdown.
Anything Goes
Caroline O'Connor Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Was looked on as something shocking
Now heaven knows, anything
goes
Good authors too who once knew better words
Now only use four letter words writing
prose
The world has gone mad today
And good's bad today
And black's white today
And
day's night today
When most guys today that women prize today
Are just silly gigolos
So though I'm
not a great romancer
I know that you're bound to answer
When I propose, anything goes
The song "Anything Goes" by Caroline O'Connor and Chorus is a reflection on the changing values of society. The lyrics describe how what was once considered improper and taboo is now accepted and even celebrated. The line "In olden days a glimpse of stocking was looked on as something shocking" highlights this idea by comparing a risqué showing of skin to the current norm of modern times where it seems “anything goes.”
The song also takes a critical look at the state of romance in modern times. The lyrics suggest that the traditional ideas of love and courtship have been replaced by a culture of frivolous and shallow materialism. The lines "When most guys today that women prize today are just silly gigolos" and "So though I'm not a great romancer I know that you're bound to answer when I propose, anything goes" point to the idea that true love and meaningful relationships have been replaced with superficiality and manipulation-driven tactics.
Line by Line Meaning
In olden days a glimpse of stocking
In the past, even a brief sight of a woman's legs was considered scandalous.
Was looked on as something shocking
This sight was viewed as highly inappropriate and improper.
Now heaven knows, anything goes
Today, there are no limits or boundaries to what is considered acceptable.
Good authors too who once knew better words
Even well-regarded writers who used to have a sophisticated vocabulary...
Now only use four letter words writing prose
...now only use crude, vulgar language when creating their works.
Anything goes
As stated earlier, there are no restrictions on what is deemed socially acceptable in modern times.
The world has gone mad today
Currently, many things seem to be out of control and nonsensical.
And good's bad today
What used to be considered virtuous is now often seen as undesirable.
And black's white today
Even fundamental concepts and norms are being challenged and reversed.
And day's night today
Things that were once predictable and stable have now become unpredictable and chaotic.
When most guys today that women prize today
Many of the men that women seek out today...
Are just silly gigolos
...are only interested in money and superficial pleasures, and are thus not very admirable or desirable.
So though I'm not a great romancer
Although I may not be very skilled at wooing women...
I know that you're bound to answer
...I am confident that you will accept my proposal regardless.
When I propose, anything goes
In short, I am willing to do whatever it takes to win your heart, no matter how unconventional or daring it may seem.
Lyrics © Warner/Chappell Music, Inc.
Written by: Cole Porter
Lyrics Licensed & Provided by LyricFind
Is This Ryan?
There’s something magical about Caroline O’Connor. When she played this role she exuded youth and energy. The woman should be a much bigger star.
ilfranchi
I totally agree
Brent Fabian Rayburn
This tap is MUCH more authentic to the style of the 30's. sorry Suttonites (and yes she was brilliant). But this is brilliant in its own way. Reno is an evangelist nightclub singer who is supposed to be a little passed her prime so the ageism presented within the comments doesn't really fit. I have directed and choreographed this show many times and I love this take on it. Caroline O'Conner is brilliant as a hoofer from the 30's. The style is dead on.
RoséAllDayy
I of course had Sutton Foster's Reno in my mind before seeing the Aussie version in Sydney. At first I was a bit shocked seeing Reno depicted as a slightly older woman, but I think it actually really worked with the storyline. Caroline was an absolute hoot - she had fantastic comedic timing, amazing chemistry with all the male characters particularly Todd and she had brilliant vocals. Never having seen her in anything before, I went in with no preconceptions about her abilities but she was fantastic. Maybe the cast worked out any issues in Brisbane or Melbourne because everything was seamless at the Sydney show and the cast brought an amazing energy and rocked the house. It was as good as anything I've seen in London's West End.
Digthatjive
Caroline O'Connor was born to play this role. She is amazing! Brilliant supporting cast too.
Brent Fabian Rayburn
Everyone here bitching about the set and her age are hilarious. First of all Ethel Merman (the original Reno for Christ's sake) played Reno a second time well into her upper 40's. Secondly this is basically an homage to the original 1934 production where the set was basically this. Chill out. Not everything has to be done the way Broadway does it now. Caroline O'Connor is legendary.
Jessia Medeiros
WHO IS BITCHING? SHE ROCKS!!
K.J. McElrath
And her physical resemblance to Ethel Merman is uncanny
JA YE
Yes, Caroline O'Connor's singing and dancing are perfect!
WizFizz
My 11 year old and I saw this on the weekend, and at first I was a little underwhelmed with the first act. However, near the end of Act 1 (where this moment is from) and all of Act 2, this production really came into its own. It was brilliant and my daughter loved it.