Show Boat — Page 2

I did a little research (many thanks to Miles Kreuger, the SHOW BOAT expert).

The first film version of SHOW BOAT opened in Palm Beach on March 16, 1929, and in NYC on April 17, 1929. The NYC premiere was at the Globe Theatre, a legit house now known as the Lunt-Fontaine. (Similarly to the film GIGI which about 25 years or so later premiered at the Royale Theatre.) By coincidence the lobby of the Globe was where Kern met Ferber which led to the stage version of her novel.

The film rights were acquired by Universal only 2 months after Ferber's book was published in 1926, with no intent to film a musical. Filming began in July, 1928, with editing of the silent version completed in November. Hastily jumping on the sound bandwagon Universal had no choice by this time but to add sound to its major production, SHOW BOAT. Furthermore by now the score was inseparable from the story of SHOW BOAT and Universal had to quickly negotiate for rights to the score; and there were numerous restrictions. End result was a Prologue to the film where several original cast members (Morgan, Bledsoe, Gardella) sang several songs. Even Carl Lammle & Florenz Ziegfeld got themselves into the prologue by introducing the musical highlights.

So, the final first screen version includes the following songs in the prologue: C'mon Folks, Can't Help Lovin' Dat Man, Hey Feller!, Bill, and Ol' Man River. The film itself uses spirituals and atmospheric southern songs. The score songs used in the story included Ol' Man River, and Can't Help Lovin' Dat Man. No sound print of the 1929 film is known to survive.

Even if its of interest to just a few of us, this is a refreshing topic.

Bulldog.

Lonnette McKee pops up on television or a movie every once in a while. I only saw her do the role in the last revival and I thought she was so perfect. I hated that she was unable to be nominated for a Tony that year because she had played the same role a few years earlier on B'way. Not sure which production that was. I think it was Houston Grand Opera production of Showboat that came to B'way briefly. Someone probably knows that etter than me. I just recall that she was in-eligible for a Tony nom.

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I'll never forget that Lonnette McKee was Julie in the revival and pining to see it because I had just seen her in Francis Ford Coppola's The Cotton Club and thought she was wonderful.

Sonofagunn, the 1951 film will do spendidly for your party. Although many of us have expressed a preference for the 1936 film, the 1951 is a wonderful way to hear much of the lucious score in its context. Plus that easy-on-the-eyes Howard Keel (see photo at left)! NOTHING with Howard Keel could be bad. Well, except for Jupiter's Darling. That was pretty bad. Still, my heart belongs to Howard. And Ava Gardner was never more stunning.

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Updated On: 12/29/03 at 08:28 PM

Bulldog, I think your facts are a bit off.

I did an undergrad research paper on the History of American Musicals from 1866-1927. In 1866 THE BLACK CROOK opened. It was allegedly the first Musical Comedy. In 1927 (not '29) SHOWBOAT opened. SHOWBOAT took the dancing girls and buffoonery out of the show (although Florenz Zeigfeld insisted on a scene at the World's Fair so there could be a little female flesh shown!) and served up a serious story about racial tension and abandonment.

And ah...those melodies!

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My concern about Son's first exposure to SHOW BOAT being the 1951 film version is that after raving here about how the show was an innovator, that movie makes it look like an old-fashioned schmaltz-fest. It's a nice MGM musical, but it bears little resemblance to the stage SHOW BOAT.

Miles Krueger in his notes for the John McGlinn recording says it better than I can. Here, he was talking about how revisions to the text over the years for various revivals have altered the public's perception of what SHOW BOAT is, but it's true for that movie too.

"With an increasing tendency to minimize the drama of the miscegenation scene, omit so many vital songs from the score, and revise the lyrics and overture, recent productions of SHOW BOAT have evolved into quaintly nostalgic vehicles for showing off a half-dozen standards by Kern and Hammerstein, amid pretty sets and costumes. The grit and power of the drama are barely evident. It is no wonder that many theatre scholars and critics, unfamiliar with the original work, have dubbed SHOW BOAT an "operetta," when nothing could be farther from the truth. It is, in fact, a majestic musical drama."

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Bulldog, I owe you an apology. Your posting clearly indicates yoou are discussing the FILM version that opened in 1929. Can you believe that a show could open on Broadway in 1927 and its film incarnation could open two years later? Not by today's standards!

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No apology necessary Dolly.

I would certainly want to know if something was incorrect.

[Jump to "New Quiz" thread.]

I am very delighted in this interest in SHOW BOAT, and can't thank Magruder enough from raising this thread.

Thank you Magruder.

Bulldog.

Shucks. Thanks!

Would it be worth starting periodic threads on important older titles? When I was first getting interested in musical theatre, in my teens, I was thrilled to discover scores like Leave it to Jane, Lady, Be Good, Of Thee I Sing, Pal Joey, Lady in the Dark, etc. It might be helpful, though I would suspect we may never reach consensus on which recording to recommend. Just wait until we get to Candide! (OBCR, followed by Scottish Opera for me for some of the revisions).

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Updated On: 12/30/03 at 10:32 AM

I think it's a great idea. So many of the classic shows are considered out of date or cheesy without knowledge of their significance to the contribution of musical theatre. Maybe we could get some volunteers? Each person can tackle a specific show and do a bit a research and post their findings. Anyone else who has info for the show can add to the topic. Obviously, some people with know more than others, so each thread can lead to a huge amount of information on these classic shows. I'm going out of town this evening and won't be back until the 5th, so I can't do anything until then. There are so many shows I don't know much about, but am very curious to know. Possible suggestions anyone? My suggestions (including some of magruder's fine choices):

Threepenny Opera
Cradle Will Rock
Oklahoma
Company
Of Thee I Sing
West Side Story
Hair
Milk and Honey
No Strings
On Your Toes
Candide (musical or operetta?)
Lady in the Dark
Pal Joey
The Black Crook and The Red Mill (both considered to be the "first" Broadway musical")
Ziegfeld Follies

PS - I lost my Scottish Opera recording of Candide and haven't heard it in years. I have all the others, though and my favorite at the moment is the 1999 RNT revival, but also have a fondness for Erie Mills' Cunegonde in the NY City Opera recording.

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I agree with Magruder, it's a good list.

I would however add THE GOLDEN APPLE for style and satire and pastiche numbers which all add up to a totally coherent and satisfying whole. I'm afraid it might be a mite too intelligent for most of today's audiences.

Then there's HOUSE OF FLOWERS, and CABIN...

There are many shows to discuss.

Bulldog.

Let's digress from SHOW BOAT for just a moment...

I am enamoured and enraptured by GOLDEN APPLE. The only production I've seen was done by the York many moons ago back then the were still on 5th & 90th(?). It's so wonderfully inventive and satiric and melodic and lyrical. I managed to tracked down a hard bound copy w/dustjacket of the book and lyrics a number of years ago. Thank you Random House for publishing all those plays and musicals over the years!

I too have been saying that Encores! should do GOLDEN APPLE. Oftentimes I'm bewildered by their choices.

Now, Back to SHOW BOAT...

Yes, I read Edna Ferber's SHOWBOAT when I was in high school. At the time I loved it but wondered how this could possibly be transformed into a musical--which I didn't get to see for another eight or ten years.

It's refreshing to find a younger poster like Sonofagunn joining us. Obviously the lad has a curiosity about musical theater that is lacking in so many of our younger members. I mean the average kid on this board revels in the current Broadway scene but is clueless about Broadway's glorious past. (I know Billy Lawlor is the exception!)

Welcom aboard, Son. It's so nice to have you here where you belong!

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Happy to initiate a few of these, Matt. I was kinda thinking of moving on to Of Thee I Sing, but I may take a listen to it over the holiday to get back up to snuff on that crazy score.

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