Show Boat - Live from Lincoln Center broadcast

[bostonman]

PBS has been televising a concert version of Show Boat with the NY Philharmonic, taped live from last November at the (then) Avery Fisher Hall (now the David Geffen hall). Wondering about other impressions of this broadcast, and/or if anyone saw this live in-house and what that perspective was like.

 

Though there were plenty of good moments individually, I found myself rather unsatisfied.

 

Julian Ovenden (Ravenal) - the star of the evening. Sang beautifully, and knew how to play the space (this being a "semi-staged" affair, he came off as one of the best in terms of how to present himself).

 

Lauren Worsham (Magnolia) - the polar opposite. Played the role as if she were a little girl with ADHD. Sang with such distorted sounds that it was very hard to understand her. Sang as if she were connected to a helium tank instead of with oxygen.

 

Christopher Fitzgerald (Frank) - perfection.

 

Alli Mauzey (Ellie) - an equal partner to Mr. Fitzgerald, and wonderful in her own right.

 

Vanessa Williams (Julie) - for me, her best sung moment was her truly haunting solo in "Mis'ry's Comin' Around." But her character's more iconic "Bill" and "Can't Help Lovin' Dat Man" were hampered by contemporary stylings (aided by the choice of low keys) that were at odds with the 1927 score. She's not much of an actress (I've always felt this) but she did seem committed to doing what she could.

 

NaTasha Yvette Williams (Queenie) - very fun, and a great voice that could handle both the legit and vaudeville moments equally well. Great to watch, especially considering she had no partner to work off of (see next item).

 

Fred Willard (Cap'n Andy), Jane Alexander (Parthy) and in particular, unfortunately, Norm Lewis (Joe - the character who sings the score's most iconic song, "Old Man River") were entirely miscast and brought zilch to the evening.

 

Ted Sperling (who I really have huge respect for) led a workmanlike reading of the score. Or maybe the orchestra just wasn't all that interested in going the extra mile for him? Hard to say. Nothing sounded bad, but nothing sounded particularly inspired either.

 

I think one of the drawbacks of televising these concerts is that you can see, close up, that much of it is woefully underrehearsed. You could see this often in closeups of the small choral ensemble, who looked like they were still executing just-learned blocking and choreography (as well as music and lyrics) instead of really having a chance to get into the piece. This is one time where most of the live audience, with the benefit of distance from the stage, probably saw a better show than those of us watching it on TV. I know that these concerts DON'T get much rehearsal, and that's the way it is. But there must be a better way to film such events to make them look more professional.

 

Show Boat is, and always will be, a flawed piece - there is no "definitive" version of the score for stage use (though of course the late John McGlinn's comprehensive and essential recording has set the bar for everyone), Act II remains a messy patchwork of moments that never quite click, and so on. But Kern's score is full of (still) amazing inventiveness, and so many of the songs are undeniable classics. (And Hammerstein's "miscegenation scene" is a mighty standout, and a harbinger of his more mature work to come.) But watching this video, I didn't get a sense that everyone was on board to make a case for the piece's lasting value - and unfortunately I have to feel that some people watching this without previous exposure to the material may be wondering why this creaky, corny, yawn-inducing warhorse from all the way back in the dark ages of 1927 needs to be seen at all. And it's a shame that anyone should think that way. Show Boat deserves so much better.

[MrMiniver]

I disagree with you that Show Boat is a "flawed piece." It boasts one of the top 5 scores in musical theater history. I think what you see as a "messy patchwork" I see as a pastiche of different styles and moments.

 

I agree with your analysis of the recent version. No one's heart seemed completely in it. I thought Julian Ovenden was the only good thing, mostly, in it. A real theatre voice. The others seemed to have wandered in from a pop recording studio.

 

I've seen and heard so many versions of this over the years, mostly unsatisfying. I think the only truly satisfying version I've ever seen was James Whale's 1936 film version with an astonishingly exuberant 36 year old Irene Dunne making you believe she's a young girl. The rest of the cast is outstanding too. Helen Morgan breaks your heart.

[bostonman]

I disagree with you that Show Boat is a "flawed piece." It boasts one of the top 5 scores in musical theater history. I think what you see as a "messy patchwork" I see as a pastiche of different styles and moments.

 

I think you misunderstand - I think the score itself is masterful (even with the constant changes in songs and arrangements used in various productions). It's the show in toto (and particularly Act II) that is a bit problematic. Blame it on the book, if you will (meaning both Ferber's novel as a formidable source and Hammerstein's admirable attempt to try to adapt it.) And I tend to think your 3rd paragraph above bears that out. That doesn't get in the way of me enjoying it immensely as a show, however.

 

And yes, Morgan is, and perhaps always will be, the ultimate Julie.

[MrMiniver]

I agree with you. I just don't think it's that flawed but, rather, than most interpreters/productions just can't get it right. I do agree, though, that I think the book is probably the real problem. If only R&H estate would allow a new book to be written for Act 2 (just really to clean it up) it might solve the problem.

 

I can't even look at a Magnolia with the image of Dunne in my head ... that's what happens when you get a truly great actress who also happens to be a truly great singer. And then she's recorded for posterity and, well, what is a modern director to do? Kathryn Grayson? A complete non-starter for me. She can't act.

 

I also wish they'd start casting more "theater voices" in these things rather than the pop sounds. Or teach them how to sing a theatrical score. It reminds me of that recording of The King and I about 20 years ago or so .... I think ... they had some pop singer called Peabo Bryson as Lun Tha singing "wheeeesssspuh" instead of "whisper." It was godawful.

[+ WilliamM]

It boasts one of the top 5 scores in musical theater history.

 

It's good to have you back.. Glad you are still not shy about your opinions! Would love to know the other 4 top scores in theater history.

[dcguy20]

Norm Lewis was woefully miscast. He doesn't have the voice for Joe. I loved the '94 Hal Prince revival.

[MrMiniver]

It's good to have you back.. Glad you are still not shy about your opinions! Would love to know the other 4 top scores in theater history.

 

Billy Wilder once said "she is one of the two greatest actresses I have ever worked with ..." that avoids having to mention who the other one is .... but I'd certainly put Guys and Dolls, South Pacific, Gypsy, and The Music Man on that list ... and I should clarify that I mean during the Golden Age (ending around 1960).

[+ WilliamM]

but I'd certainly put Guys and Dolls, South Pacific, Gypsy, and The Music Man on that list ... and I should clarify that I mean during the Golden Age (ending around 1960).

 

My mother saw the OBC "Showboat." I saw the OBC "Gypsy." Agree on "South Pacific" and "Guys and Dolls."

And I would likely agree on "The Music Man," but need a bit more time to think. Billy Wilder was an amazing person!

[MrMiniver]

My mother saw the OBC "Showboat." I saw the OBC "Gypsy." Agree on "South Pacific" and "Guys and Dolls."

And I would likely agree on "The Music Man," but need a bit more time to think. Billy Wilder was an amazing person!

 

The sheer inventiveness of Willson's score is amazing. I first knew he was getting it right when friend of mine from Iowa HATED the show ... and I knew exactly why!

[MrMiniver]

Lists are always a tough thing but you can't really go wrong if your top 5 includes Music Man, ShowBoat, Gypsy, South Pacific, and Guys and Dolls. Of course, I would also have to put My Fair Lady on that list ... but then it starts to get bigger than 5. But please don't ask me about West Side Story. I loathe that show. Annie Get Your Gun is a contender and while there are several possibilities in 1930s scores I sometimes find that they are not quite as well integrated as the later 40s and 50s stuff. If you got a top 10 list, I'd probably put Damn Yankees on it.

[bostonman]

Billy Wilder was an amazing person!

 

Billy Wilder?

 

I would have a tough time deciding solely on South Pacific when there's also Carousel and The King And I. All three are pretty amazing, and Oklahoma isn't chopped liver either. I'm also a big fan of Allegro, but I know that that would not be considered a top Rodgers and Hammerstein show no matter what.

 

And although I definitely agree about Guys and Dolls, it's hard to leave out Loesser's How To Succeed and The Most Happy Fella - both shows are masterpieces IMO.

[bostonman]

...and while there are several possibilities in 1930s scores I sometimes find that they are not quite as well integrated as the later 40s and 50s stuff.

 

30's shows weren't really trying for that yet. Lots of experiments with music and book being more specific to each other (especially some of the Rodgers and Hart shows) but still a ways to go. But we do have the amazing legacy of the music itself.

[+ WilliamM]

The sheer inventiveness of Willson's score is amazing

I agree. My hesitation was from never seeing a stage production of "The Music Man."

[MrMiniver]

Billy Wilder?

 

I would have a tough time deciding solely on South Pacific when there's also Carousel and The King And I. All three are pretty amazing, and Oklahoma isn't chopped liver either. I'm also a big fan of Allegro, but I know that that would not be considered a top Rodgers and Hammerstein show no matter what.

 

And although I definitely agree about Guys and Dolls, it's hard to leave out Loesser's How To Succeed and The Most Happy Fella - both shows are masterpieces IMO.

 

The latter Loesser shows fall out of my list mostly because they fall beyond the time limit I set for the classic era. They feel like outliers to me and, frankly, I don't think the scores of either match up to Guys and Dolls which is on a whole different level although I agree with you they are both very good (well, Fella, feels a little below par to me).

 

I just like South Pacific better than Carousel and King and I -- although I do adore King and I -- and I suspect most critics rank it higher .. I like Oklahoma but don't really feel it has stood the test of time quite as well as South Pacific.

[MrMiniver]

30's shows weren't really trying for that yet. Lots of experiments with music and book being more specific to each other (especially some of the Rodgers and Hart shows) but still a ways to go. But we do have the amazing legacy of the music itself.

 

I meant the scores not the complete shows. And Show Boat was 1926/27 so you would think that more shows would have gone for that in the 30s but revues and "almost revues" were still the norm. I do think the scores of Anything Goes, On Your Toes, a few others are terrific .... I just don't think they make the top 5, but they'd be on any longer list.

 

I love a show like Kern's Sunny or the original Bandwagon .... but we could go on and on ...

 

Yes, Billy Wilder. Another genius. What was that line he said to his prospective wife Audrey? "I'd worship the ground you walk on, if only you lived in a better neighborhood."

 

They just don't make 'em like that anymore!

[actor61]

The latter Loesser shows fall out of my list mostly because they fall beyond the time limit I set for the classic era. They feel like outliers to me and, frankly, I don't think the scores of either match up to Guys and Dolls which is on a whole different level although I agree with you they are both very good (well, Fella, feels a little below par to me).

 

I just like South Pacific better than Carousel and King and I -- although I do adore King and I -- and I suspect most critics rank it higher .. I like Oklahoma but don't really feel it has stood the test of time quite as well as South Pacific.

I have done all 4 Loesser shows, including the lesser Loesser ("Where's Charley?"), and he is an American Master. I think he ranks with Porter, Wilson, and Gershwin for inventiveness, intelligence and wicked wit. It's a shame "Where's Charley?" isn't performed more often because it has a delightful score and some truly funny lyrics. With the right touch, it's delightful from the first note of the ouverture. "Business" is an astounding show, and "Guys and Dolls" is a classic, of course. "Most Happy Fella" is genuinely lovely and an audience pleaser but I prefer the "lighter" shows both as a performer and as a viewer.

[bostonman]

I have done all 4 Loesser shows, including the lesser Loesser ("Where's Charley?"), and he is an American Master. I think he ranks with Porter, Wilson, and Gershwin for inventiveness, intelligence and wicked wit. It's a shame "Where's Charley?" isn't performed more often because it has a delightful score and some truly funny lyrics. With the right touch, it's delightful from the first note of the ouverture. "Business" is an astounding show, and "Guys and Dolls" is a classic, of course. "Most Happy Fella" is genuinely lovely and an audience pleaser but I prefer the "lighter" shows both as a performer and as a viewer.

 

The score to Greenwillow is also quite wonderful. But does anyone ever do the show? (Are the rights even available?)

 

I also agree about Where's Charley - it's fun and clever and very tuneful. I suppose people feel that the comedy itself is too dated? (Does anyone ever do Charley's Aunt anymore either?)

[+ WilliamM]

I believe "South Pacific" was written for Martin and Pinza. If so, was "South Pacific" the only R&H musical specifically written for two stars?

[dcguy20]

Not sure if Gertrude Lawrence and The King and I qualifies, as I think she was the one who broached Rodgers and Hammerstein with that idea. I have to verify, but I think Mary Martin was the one who brought Yul Brynner to their attention.

[+ WilliamM]

I have to verify, but I think Mary Martin was the one who brought Yul Brynner to their attention.

 

I believe that is correct. Mary appeared in the musical "Lute Song" with Yul Brynner. In the 1980s, Martin presented a special Tony to Brynner on the Tony Awards.

[MrMiniver]

I believe "South Pacific" was written for Martin and Pinza. If so, was "South Pacific" the only R&H musical specifically written for two stars?

 

I'm pretty sure South Pacific was written for Martin, with Pinza approached later. It's pretty astonishing that they never actually sing together except for about one line. I'm also pretty sure that King was written for Gertrude Lawrence. Back then, Anna was the star of the show, not the King as later became the case.

 

Brynner's special Tony (in which he clearly looks ill) came about 3 months or so before his death from lung cancer at 65.

[+ WilliamM]

Brynner's special Tony (in which he clearly looks ill) came about 3 months or so before his death from lung cancer at 65.

 

Yes, thank you for remembering. I knew Brynner was ill, but did not realized he died so soon after the Tony Award.

[actor61]

The score to Greenwillow is also quite wonderful. But does anyone ever do the show? (Are the rights even available?)

 

I also agree about Where's Charley - it's fun and clever and very tuneful. I suppose people feel that the comedy itself is too dated? (Does anyone ever do Charley's Aunt anymore either?)

I completely forgot about Greenwillow; thanks for the reminder. I heard the cast album once (Anthony Perkins, right?) and thought it was haunting. I think it was done as a staged reading in New York a few years ago but can't remember the details. Years ago, I used to do "Never, Never Will I Marry" as an audition number and it always got me a callback. I should probably put it back into my audition book!

[+ WilliamM]

This is not Anthony Perkins's best version of "Never Will I Marry." It does not compare with the original Broadway cast recording, but it still a powerful song. Judy Garland also sang the song on TV and ar concerts.

 

https://www.youtube.com/watch?v=vQKwi91RvI0

[MrMiniver]

This is not Anthony Perkins's best version of "Never Will I Marry." It does not compare with the original Broadway cast recording, but it still a powerful song. Judy Garland also sang the song on TV and ar concerts.

 

https://www.youtube.com/watch?v=vQKwi91RvI0

 

I went to that concert in San Francisco. It was MONUMENTAL. They gathered a whole bunch of greats to re-create their original roles ... everyone from Carious/Johns in Little Night Music to Merman in Annie Get Your Gun and Gypsy, Bobby Morse in How to Succeed, Alexis Smith in Follies, you name it they were there.