NYT: Why ‘Show Boat’ Is America’s Most Enduring, Unstable Musical

[MezzA101]

Posted: 1/8/25 at 10:39pm

https://www.nytimes.com/2025/01/08/arts/music/show-boat-river-musical-revival.html?unlocked_article_code=1.n04.DtLj.TzmARJmq6_M-

[EricMontreal22]

Posted: 1/8/25 at 11:54pm

Thanks for sharing that as a gift article.  It's not a bad summary though there are some things that do make me shake my head :P

"Each decade of the story is indicated through musical signposts like spirituals and parlor songs in the 19th century, and an interpolation of George Gershwin’s “Rhapsody in Blue” in the 1920s."

Unless I've just missed it all these years, there's no quotation of Rhapsody in Blue or any Gershwin in the score. 

"And the World’s Fair scene in Act II included the human zoo number “In Dahomey,” which adds nothing to the plot and was written in a pseudo-African style."

While I get that no one has known what to do with In Dahomey since the 1940s revival (where it became a large dance number choreographed by Helen Tamiris, since integrated dance numbers became important by that time...)  But it was written with good intentions -- the point is that the black performers at the Wolds' Fair put on an African Village show (dunno where the human zoo description comes from) made up of what white viewers would expect Africans to look and sound like--which actually happened at the Chicago World's Fair.  But then of course in the chorus those performers all point out that it's actually entirely an act, and the.

" We're glad to see them go!
We're glad to see those white folks go!
We've had enough
Of all this stuff -
We wish we'd never come here
To join a Dahomey show!

In Dahomey -
Let the Africans stay
In Dahomey -
Gimme Avenue A
Back in old New York "

Like I said, it is probably totally unplayable in any revival now, but I think Hammerstein's intentions were clear (it's a bit similar to the infamous Totem Tom Tom from Rose-Marie, his first huge hit, where the original point of the show was it was a phony show the "Indians" put on for white tourists--but in the films of Rose Marie which deviated a lot from the original and Hammerstein played no part in, the song actually became a ridiculous "authentic" pow-wow.)

*EDIT* I see this version DOES reinstate In Dahomey.  I suppose I should have read till the end of the article....

Updated On: 1/9/25 at 11:54 PM

[ChiDoc]

Posted: 1/9/25 at 1:31pm

That's a well-thought article, so thank you for sharing.

Show Boat is an important work of American theatre history, and I think it holds up as a whole.  However, as the writer points out, things that were progressive in the 1920s are dated and sometimes offensive 100 years later.  When I watch an old movie, it's easy to forgive something as being from a "different" time, and it's interesting academically to examine what isn't acceptable now.  Theatre just isn't the same because the creative team now has to grapple with performing the old material now.  As much as I'd love a full-scale revival of the original Show Boat as it was with no cuts, I'm sure there would be performers and audiences who would balk at the first word of the original libretto.  And would the appearance of that word cover up the actual intention of why it was used, especially because its meaning has changed in 100 years?  Probably.  That's why I think it's a smart idea to change In Dahomey enough so that the original 1920s intention exists but it's now appropriately asked to a 2020s audience.

Am I just asking the same questions as the article but less clearly?  Probably.  But this is the sort of thing that I find fascinating.

[darquegk]

Posted: 1/9/25 at 2:36pm

There's a metafictional version of "Uncle Tom's Cabin" in which the character of Uncle Tom is put on trial for crimes against blackness, and the original melodrama is acted as the evidence for and against him. I don't remember who the author/adaptor was, but I saw a great production at Point Park University a few years ago. At the end, the courtroom characters are shouting accusations at him: "you are a collaborator!" "You are a slave!" "You are a stereotype!" Uncle Tom's final line in his own defense is "I am a human!"

I wonder if a similar examining, like the Uncle Tom's Cabin revision, or even a docudrama like "Shuffle Along" might be the way to go with the inevitable next revisal of "Show Boat."

[joevitus]

Posted: 1/9/25 at 7:09pm

That really is an overall great article, but not only as pointed out does it bizarrely state that "In Dahomey" was set in a "human zoo," but it also implies that the blackface number in the 1936 version, "Gallivantin' Around," had been a part of the stage version, which it wasn't. And, yeah, don't believe there was ever any Rhaposdy in Blue in the orchestrations. In terms of the revamping of "In Dahomey" for this production, it's odd to have the chorus sing at first in actual Zulu, as the whole point of the song is that they feel no connection to the (fake) African culture the Fair has imposed on them as a job. And unless the lyrics are being alterned in the chorus, they will still be expressing that sentiment. But the original Show Boat is in the public domain now, so if they want to change the lyrics to the chorus, they are certainly free to do so.

I love Show Boat to distraction, but have always said a revival wouldn't work right now. I have to say, this sounds like an interesting production that could maybe prove me wrong. Hope we hear from people who see it. 

[EricMontreal22]

Posted: 1/9/25 at 9:04pm

Right, making the opening performative part of In Dahomey now sung in an actual legit African language, instead of a made up one, is something that sounds like a good idea at first, but kinda obscures the point even more.  (Not exactly the same thing by any means, but I remember a regional Mikado recently that decided to change any word from the original that was "fake Japanese" into real Japanese...  which was well intentioned, I have no doubt, but...)

But I agree that this production sounds, at least, intriguing (I'm glad that the article makes it sound like it's at least being done from a place of love for the musical itself and what it was trying to do 100 years ago.)

Show Boat has long been an obsession of mine (I was 9 or 10 when I saved my allowance and gift money for months and months so I could buy the complete CD.)  But I get your point that right now probably is the wrong time to do a full scale revival.  But I'm still glad for articles like this...  Recently I came across a TEDtalk by Broadway Historian Margaret Hall (whose book about Paul Gemignani I like a lot) where she talked about what we should do about "problematic" (her word, not mine) musicals, and focused primarily on Hammerstein shows.  She put certain shows into categories--like King and I she felt was a show that a revival would really have to examine their approach but was still worth doing, which is a fair perspective...  So I admit I was kinda horrified when she ended her talk stating Show Boat was historically important but there was no benefit to ever performing it ever again, period...  And was afraid that had become the prevalent attitude.

[Jonathan Cohen]

Posted: 1/10/25 at 9:10am

I was at, what I believe was the first performance of Show/Boat: A River last night. The first half especially was a tough watch. The people sitting both to the right and left of me left at intermission and didn't come back. I'm glad leave I didn't but did consider it. 

The basic problem was most of the major changes they make takes you out of the story, instead of modernizing it. Except for Joe and Queenie, there's color-blind casting for the roles and the actors wear a white sash saying "whiteness" when they were playing a white character. A stage hand wearing modern clothes and a Covid mask conspicuously hands props to the actors.  The show goes in and out of trying to be a commentary on Show Boat, and actually performing it.  

It makes it really hard to follow what's going on, and I also bought the soundtrack when I was 9 years old. If I'm getting confused, good luck to the person seeing Show Boat for the first time in sorting all this out. 

It does become a little easier focusing on the story in the second half, and the songs which have always been the show's biggest selling point, mostly sounded great. The new non Kern opening song I'm not even going to comment on because of mike problems. The Zulu version of “In Dahomey” sounded pretty.

Obviously, a show originally involving blackface demands revisions to be staged. Maybe making more extensive changes to the book, giving the Black characters (in addition to Julie) actual storylines would have worked better? Staging a version that actively seemed to be fighting with the idea of performing Show Boat just didn't work for me. 

Updated On: 1/10/25 at 09:10 AM

[ErmengardeStopSniveling]

Posted: 1/10/25 at 11:30am

Jonathan Cohen said: "Maybe making more extensive changes to the book, giving the Black characters (in addition to Julie) actual storylines would have worked better?"
 

I haven't seen this production yet (going in a few weeks), but for me Julie has always been the most compelling character in SHOW BOAT. To me, it would make most sense to focus the show around HER journey and arc in a future revision of the piece.

Julie is also the storyline that feels the most contemporary, and "passing" is not something that's always been depicted in racially-focused work. Nola and Gay are good early archetypes of what Hammerstein would later refine with Rodgers but they're kind of an inert leading pair; Andy & Parthy are comic relief and parental heart; and nobody's ever seemed to know what to do with Joe & Queenie.

[raddersons]

Posted: 1/10/25 at 11:58am

I agree. Julie is basically the only thing I remember about Show Boat because her story is so compelling. 

The sashes discussed in the article kinda gave me the ick but I’ll reserve my judgement until I see it. Good to know it would help to refresh myself the plot a bit beforehand.

[ChiDoc]

Posted: 1/10/25 at 12:22pm

ErmengardeStopSniveling said: "I haven't seen this production yet (going in a few weeks), but for me Julie has always been the most compelling character in SHOW BOAT. To me, it would make most sense to focus the show around HER journey and arc in a future revision of the piece."

Say what you will about the 1951 film and Ava Gardner being cast over Lena Horne, but I do really like that Julie is given closure, or at least more closure than she receives in the novel or the libretto.  She may not have a bright future, but she gets both recognition for and gets to see the results of her sacrifices.

 

[Kad]

Posted: 1/10/25 at 12:54pm

Show Boat is so clearly an extremely well-intended and (for its time) progressive show, hamstrung today by its creators being white men who were products of their time. It's also an unwieldy show, spanning nearly half a century and not really sure where to focus, leaving some characters by the wayside.

 I'm also not sure that a wholesale revision of the book to modernize its sensibilities would be effective- such revisals rarely are successful. I think a deconstruction of it would be interesting, but nothing I've read or heard so far about Target Margin's production fills me with confidence and I'm really not sure Herskovits is the right person to be heading this. But I'd love to see an artist like Brendan Jacob-Jenkins give it the An Octoroon treatment.

[joevitus]

Posted: 1/10/25 at 1:08pm

ErmengardeStopSniveling said: "Jonathan Cohen said: "Maybe making more extensive changes to the book, giving the Black characters (in addition to Julie) actual storylines would have worked better?"


I haven't seen this production yet (going in a few weeks), but for me Julie has always been the most compelling character in SHOW BOAT. To me, it would make most sense to focus the show around HER journey and arc in a future revision of the piece."

You'd, uh, have to jettison something like 80% of the show if you did that. 

[joevitus]

Posted: 1/10/25 at 1:10pm

raddersons said: "The sashes discussed in the article kinda gave me the ick"

Same.

[raddersons]

Posted: 1/10/25 at 2:10pm

Kad said: "But I'd love to see an artist like Brendan Jacob-Jenkins give it the An Octoroon treatment."

Take my money now, I’d even invest.

[ErmengardeStopSniveling]

Posted: 1/10/25 at 3:54pm

joevitus said: "ErmengardeStopSniveling said: "Jonathan Cohen said: "Maybe making more extensive changes to the book, giving the Black characters (in addition to Julie) actual storylines would have worked better?"


I haven't seen this production yet (going in a few weeks), but for me Julie has always been the most compelling character in SHOW BOAT. To me, it would make most sense to focus the show around HER journey and arc in a future revision of the piece."

You'd, uh, have to jettison something like 80% of the show if you did that."

I never said it would be a small change! Don't know percentage but it would be a matter of refocusing and rewriting the book, modifying some lyrics, and perhaps reassigning some songs. But I'm not a director/writer mounting this. It was a fleeting thought.

But these are things that are allowed now that it's public domain, and the original version (and subsequent revisals) will always exist.

[EricMontreal22]

Posted: 1/10/25 at 5:41pm

ErmengardeStopSniveling said: "
I haven't seen this production yet (going in a few weeks), but for me Julie has always been the most compelling character in SHOW BOAT. To me, it would make most sense to focus the show around HER journey and arc in a future revision of the piece.

Julie is also the storyline that feels the most contemporary, and "passing" is not something that's always been depicted in racially-focused work.Nola and Gay are good early archetypes of what Hammerstein would later refine with Rodgers but they're kind of an inert leading pair; Andy & Parthy are comic relief and parental heart; and nobody's ever seemed to know what to do with Joe & Queenie."

And kudos to Hammerstein--obviously he was still figuring how to do things out, but while I enjoyed reading Edna Ferber's book much more than I expected, it's Hammerstein who makes the Julie storyline feel much more important than the side note it is in the book, and as mentioned Joe and Queenie have absolutely zero characterization in it whatsoever.  They're just the black workers (and it's a LONG book, I mean it's not like there wasn't room to expand these characters and subplots.)

 

[EricMontreal22]

Posted: 1/10/25 at 5:45pm

Kad said: "
I'm also not sure that a wholesale revision of the book to modernize its sensibilities would be effective- such revisals rarely are successful.."

I think the closest and best we can get to that was what Hal Prince did--even if I don't agree with all of his changes.  Certainly, he did the best job I've seen of trying to keep the focus tighter (especially in Act II which is, almost by design, unwieldy.)  Because Show Boat has had so many different versions, it's hard to know when to call something a revisal or a revival, but I think Hal Prince's production from a text stand point is certainly more of what I'd call a revisal than, say, anything that's ever been done with a Rodgers and Hammerstein show--except Flower Drum Song.  And then if you do look at Flower Drum Song, Prince's Show Boat doesn't look like a revisal at all, so...  (I have no idea what I'm saying anymore :P )

 

[ChiDoc]

Posted: 1/10/25 at 5:53pm

EricMontreal22 said: "I think the closest and best we can get to that was what Hal Prince did--even if I don't agree with all of his changes. Certainly, he did the best job I've seen of trying to keep the focus tighter (especially in Act II which is, almost by design, unwieldy.) Because Show Boat has had so many different versions, it's hard to know when to call something a revisal or a revival, but I think Hal Prince's production from a text stand point is certainly more of what I'd call a revisal than, say, anything that's ever been done with a Rodgers and Hammerstein show--except Flower Drum Song. And then if you do look at Flower Drum Song, Prince's Show Boat doesn't look like a revisal at all, so... (I have no idea what I'm saying anymore :P )"

I know this is somewhat off-topic, but I believe there's a way to revive Flower Drum Song with more sensitivity than its original incarnation but with a better book than the Hwang revision.  Rather than throwing the baby out with the bathwater, I've never understood why they didn't return to the original novel to give the Hammerstein libretto more substance and modernized sensibilities.

[EricMontreal22]

Posted: 1/10/25 at 6:10pm

Jonathan Cohen said: "

Obviously, ashow originally involving blackface demands revisions to be staged. "

Thanks for your detailed review!

As to this point, while the (pretty great) 1936 movie does have a blackface number in a diegetic performance piece, the black face in the original was different.  Yes, Queenie was played by Italian actress Tess Gardella whose stage credit at the time was Aunt Jemima which now is just all kinds of gross.  But from all accounts, including the great book Show Boat: Performing Race in the American Musical, she played the role not as a blackface character but just with coloured makeup.  Which still of course now is gross but for 1927 was not all that different from how in 1951, despite best intentions, most of the Asians in King and I, not to mention two years earlier in South Pacific, were white actors in makeup (as if understanding this issue, 6 years later Hammerstein made a point that for Flower Drum Song they would only cast Asians, but in the end they used one white actor--without makeup--in a lead anyway.  And of course there's the interesting case of the great Juanita Hall who was black but played Asian leads in both South Pacific and Flower Drum Song but...

So in 1927 casting Queenie that way, wasn't regarded as blackface the way it would be in other shows.  If that makes sense--the role wasn't written as a blackface role.  Which of course doesn't excuse anything but gives some context.

 

[EricMontreal22]

Posted: 1/10/25 at 6:13pm

ChiDoc said:

I know this is somewhat off-topic, but I believe there's a way to revive Flower Drum Song with more sensitivity than its original incarnation but with a better book than the Hwang revision. Rather than throwing the baby out with the bathwater, I've never understood why they didn't return to the original novel to give the Hammerstein libretto more substance and modernized sensibilities."

I like that idea--it would fit so much better.  I haven't read the original novel since I was a teen, but I remember being pretty impressed with it and it still does follow the basic same story, it's just more weighted (in one case much more so...)  The musical's original book feels like a sitcom version of it (which might have been the point--people have pointed out that no matter what you think of the sexual politics of I Enjoy Being a Girl, the point Hammerstein wanted to make was that Linda is just as sexy, and with-it, as *any* white American young woman in 1957 :P )

 

Updated On: 1/10/25 at 06:13 PM

[ErmengardeStopSniveling]

Posted: 1/10/25 at 6:41pm

What I kind of love about SHOW BOAT is that there isn’t a definitive version of the book and score and it’s impossible to include all 3.5+ hours. Sort of like the CANDIDE conversation that happened on here a few weeks ago. But the piece is strong enough to withstand a lot of different versions cherry-picking an individual person’s preferred edition of the material. 

[Jonathan Cohen]

Posted: 1/10/25 at 9:09pm

joevitus said: "raddersons said: "The sashes discussed in the article kinda gave me the ick"

Same."

In the second act, they largely switch to a lapel ribbon with the letter "W" on it instead of the sashes. In the Trocadero scene when Julie quits so Magnolia can take her job, Julie take off her "W". Maybe this is supposed to symbolize Julie has given up trying to pass? 

When Magnolia finishes singing  "Can't Help Lovin' Dat Man" her "W" is off too. It's considered a Black song in the musical, but she's still a White character. If this is Magnolia's big Eminem finally breaking through in 8 Mile moment, she's not shedding her racial identity. Both Magnolia and Eminem were embraced by audiences in large part because they were White people performing Black music.    

It didn't really track for me.     

[CurtainsUpat8]

Posted: 1/12/25 at 2:15pm

wearing a sash that says "Whiteness" is about as close as you get to reverse racism as possible. It's as offensive to me as Blackface. Theatre has become a joke.  It's not about telling the story the author wrote anymore... Colorblind casting was begun by actors who want jobs. Nothing more. If colorblind casting works so well... can I do an all white cast of a August Wilson play? I should be able to.  It's colorblind. The author is the KING of any production. NOT the actor and their desires. Everyone is there to serve the intention of the author.

[Kad]

Posted: 1/12/25 at 2:17pm

CurtainsUpat8 said: "wearing a sash that says "Whiteness" is about as close as you get to reverse racism as possible."

It's... really not.

[verywellthensigh]

Posted: 1/12/25 at 3:31pm

What a sad state to reduce characters to sashes and buttons.