Show Boat

Show Boat (1927), a musical play by Oscar Hammerstein (book, lyrics), Jerome Kern (music). [Ziegfeld Theatre, 575 perf.] When Cap'n Andy ( Charles Winninger) and his wife, Parthy Ann ( Edna May Oliver), bring their show boat Cotton Blossom into town for a performance, their daughter, Magnolia ( Norma Terris), meets and falls for a handsome professional gambler, Gaylord Ravenal ( Howard Marsh). Magnolia seeks advice from the African‐American workhand Joe ( Jules Bledsoe), who tells her only the river knows what's to be and it “don't say nothin'.” The boat's leading lady, Julie ( Helen Morgan), begins to understand Magnolia's situation, but when Julie is accused of having Negro blood she is forced to leave, taking her husband (and the troupe's leading man) with her. Magnolia and Gaylord are pressed into assuming the lead roles on the show boat, eventually getting married (much against Parthy's wishes) and going off together. Years later, living in Chicago, Gaylord's gambling luck has run out so he deserts Magnolia and their young daughter, Kim. Magnolia applies for a job singing at a nightclub where Julie, now a drunkard, works. Julie recognizes Magnolia and sacrifices what is left of her own career to help Magnolia begin hers. On New Year's Eve Magnolia is a hit and goes on to become a famous entertainer. More years pass and Magnolia and Kim (also Terris) are visiting the Cotton Blossom when they meet up with the aging Gaylord. To his relief he is welcomed by Magnolia and the two are reunited as they joyfully watch their daughter launch her own career. Notable songs: Ol' Man River; Make Believe; Can't Help Lovin' Dat Man; You Are Love; Bill; Why Do I Love You?; Life upon the Wicked Stage. One of the greatest and best loved of all American operettas, the musical was based on Edna Ferber's popular novel and presented by Florenz Ziegfeld in a memorable (and atypical for him) production. Show Boat was recognized at once as a masterpiece and has never fallen out of favor. The 1932 revival included Paul Robeson, for whom the part of Joe was originally intended. A 1946 revival, which opened just after Kern's death, included the composer's last new song. Several other Broadway revivals followed, including ones in 1966, 1983, and 1994. There have also been three film versions. With hindsight, it has become obvious that this show was the precursor of the modern American “musical play,” the American operetta genre that resorted to the American past for its material and employed American musical idioms in its songs.