Show Boat (1927)

Final Assignment
The Basics
Opened in 1927
Music by Jerome Kern, Lyrics/book/directed by Oscar
Hammerstein II, Produced by Florence Ziegfeld Jr.
Based on Edna Ferber’s book of the same name
One of the first musicals that is often revived
One of the first musicals that was racially integrated and took
on a serious subject matter (race)
Ran for 572 performances
Oscar Hammerstein II
(1895-1960)
Arguably the most important figure for the development of the
American musical
His grandfather was an impresario and father was a theatre
manager and producer
Began writing book/lyrics for operettas and musicals, his
operettas like Rose-Marie were more successful
Began collaborating with Jerome Kern on the musical Sunny in
1925
After Show Boat, returned to primarily operettas until his
partnership with Richard Rodgers
Invested in anti-racism, but many of his most radical numbers
are cut from shows, especially film versions
Genesis of Show Boat
Based on the 1926 novel of the same name by Edna Gerber, which was intended to capture
what was a dying institution in the United States
Jerome Kern read the novel and approached Ferber about turning it into a musical
◦ She only agreed if the show was going to be serious

Kern recruited Hammerstein to work with him, and auditioned material for Ziegfeld
◦ They wanted the money/spectacle that Ziegfeld would bring to the table
◦ Unusual choice for Ziegfeld because of its serious nature

During tryouts, the show ran 4.5 hours, but was cut down to 3 by Broadway
Includes 4 songs originally from other shows – “Bill,” “After the Ball,” “Goodbye, my Lady Love,”
and “There’ll be a Hot Time in the Old Town Tonight”
◦ Besides “Bill,” the other 3 were included to give the show a historical feel
Why a show
boat?
What is a show boat?
Backstage musical
Cross the Mason-
Dixon line
Operetta + Musical Comedy + Revue
Show Boat combined the three most common stage
musical forms of the 1920s
Operetta
◦ Coherent, serious, and intricate plot
◦ Clear operetta numbers (“Make Believe” “You are
Love”)
◦ Songs that go with the plot

Musical comedy
◦ Numbers that are of a jazz/pop style, excisable for radio
play/performance (“Bill” and “Can’t Help Lovin’ That
Man”)
◦ Numbers to show off specific skills of performers

Revue
◦ Lavish spectacle/sets/costumes
◦ Big chorus numbers
Race and Integration
in Show Boat
First racially-integrated show on Broadway
◦ White and Black people on stage at the same time

Immediately evident with the opening number

that contrasts the lives of white and Black
people
Race plays a major role the b-plot of the show
First Broadway musical to deal head-on with
issues of racism in the United States
Miscegenation and the One-Drop Rule
Miscegenation – derogatory term for
interracial sex/marriage
Interracial marriage was illegal in some states
until Loving v. Virginia in 1967
Between 1913 and 1948, 30 states had anti-
miscegenation laws
How to determine what race a mixed-race
person was?
◦ Blood quantum was often law
◦ But the “one-drop” rule was generally the “de
facto” law
Musical Integration in
Show Boat
Musical language plays a key role in the plot of this musical
◦ The song “Can’t Help Lovin’ that Man”

There are a mix of “white” songs and “Black” songs in this

show
◦ Operetta numbers, foxtrots, waltzes
◦ Jazz/popular numbers, “spirituals”

Originally, Gaylord and Magnolia were played by operetta

singers, but Julie was played by the white Helen Morgan,
who was a jazz singer
 Paul Robeson (1898-1976)
Singer, political activist, actor, professional football player
During the Harlem Renaissance became one of the most
recognized Black performers
The role of Joe was written for him, but it was played by Jules
Bledsoe
◦ He originated the role in London and in the film versions

Became known for singing spirituals, and “Old Man River” became
his signature song
Radical leftist, fighting for international racial and economic
justice
◦ Anti-imperialist, active in discussions around the Spanish Civil
War, Council on African Affairs
◦ During the McCarthy era, his passport was revoked

Toured and performed all the over the world until he began
developing health problems in 1961
Major Revivals of Show Boat
Because of it’s long run time and problematic material, the show is often revised for revivals
1946 revival by the original team, along with new orchestrations by Robert Russell Bennett
Small, short revivals at places like New York City Center and the Houston Grand Opera
1989 Paper Mill Playhouse – recreate the original, videotaped and broadcast on PBS
Toronto/Broadway in 1993 with Livent, directed by Harold Prince
◦ Lots of revisions to highlight racial elements, lots of spectacle

Film versions –1936 (Paul Robeson as Joe), 1951, and the 1989 recorded Paper Mill Playhouse
version
Discussion Questions
Learning about anti-miscegenation laws in the United States, how does Show Boat relate to the
discourse around race in the United States that was happening at the time?
The first word of the show is the n-word, intended to be framed in an ironic way to highlight
racism in the US. How do we deal with this fact? How do we deal with other characters in the
show using this word?
Think about our discussions around appreciation vs appropriation. How does this show reflect
these discussions? What exactly is Magnolia doing?
How do we cast this show? Who should play Julie? What should Magnolia’s voice sound like – an
opera singer? A musical theatre singer? Something else?
For Next Class
Work on Response 3, due in 1 week (later than on the syllabus)
Read: Wollman, Chapter 4, 77-108
Listen: Depression Era Playlist