SHOW BOAT

London Stoll Moss Theater with Peter Jones and the Arts Council presentation of an Opera North/Royal Shakespeare Co. revival of a musical in two acts with music by Jerome Kern, book and lyrics by Oscar Hammerstein 2d, based on the novel by Edna Ferber. Staged by Ian Judge. Set designer, Russell Claig; costume designer, Alexander Reid; musical director, Wyn Davies; choreographer, Lindsay Dolan; lighting designer, Robert Bryan; associate director, Jonathan Alver; sound, Sound Department; stage manager, Jonathan Stott. Opened July 25, '90, at the London Palladium. £22.50 top.
Cap'n Andy Hawks...................Geoffrey Hutchings
Parthy Ann Hawks..................Margaret Courtenay
Magnolia Hawks.....................................Janis Kelly
Frank Schultz......................................Philip Gould
Ellie May Chipley.....................................Janie Dee
Julie La Verne..................................Sally Burgess
Steven Baker.................................Mark Heenehan
Queenie...............................................Karla Burns
Joe.................................................Bruce Hubbard
Gaylord Ravenal...............................Peter Savidge
Also with: Ron Travis, Peter Johnston, Alan Spender, Clive Walton, Garrick Forbes, Trevor Alexander, Lucy Fenwick, Anna Daventry, Jacqueline Perkins, Teresa Wellard, Kate Lawson, Fiona Alexandra, Lorna Barnett, Averil Cameron, Jon Clairmonte, Peny Douglin, Karen Halliday, Robin Hunt, Ismail Taylor Kamara, Sally Lavelle, Jan Lloyd, Melanie Marshall, Alan Mayall, Jason Moore, Fiona O'Connor, Abraham Osuagwu, Barry Patterson, Kathy Richards, Lecia Robertson, Martin Rumble, Denise Silvey, Michael Smith-Stewart, Alan Spencer, Jordene Thomas, Larrington Walker, Donald Waugh, Nigel Wong.
Musical numbers: "Overture"; "Cotton Blossom"; "Cap'n Andy's Ballyhoo"; "Where's The Mate For Me"; "Make Believe"; "0l' Man River"; "Can't Help Lovin' Dat Man"; "Life Upon The Wicked Stage"; "Mis'ry's Comin' Aroun' 0l' Man River" (reprise); "You Are Love"; "Finale"; "At The Fair"; "Ah Still Suits Me"; "Why Do I Love You?"; "Make Believe" (reprise ); "Bill"; "Can't Help Lovin' Dat Man" (reprise); "Let's Make The New Year"; "Goodbye My Lady Love"; "After The Ball"; "0l' Man River" (reprise); "Hey Fella!"; "Cotton Blossom" (reprise); "Why Do I Love You?"; "Finale."

Dated though it may be, "Show Boat," particularly as presented by Opera North and the Royal Shakespeare Co., deserves to be seen. Deftly staged and beautifully sung, the production values overshadow eiements of the piece that might othewise frustrate a modern audience.

This revival has been touring the regions since last December, so the cast has had plenty of time to warm to its work. It shows. Despite some awkward cuts and rearranging of material, "Show Boat" makes for pleasurable viewing.

One difficulty with "Show Boat," a show revolutionary in 1927, is in the adaptation of Edna Ferber's novel. The sweep of history is conveyed eloquently, but since the entire first act is about Natchez in the 1880s, the second act must encompass three more decades. So the second act grows confusing, and character development, in the case of the tragic half-caste Julie, is neglected.

The melodramatic saga of the Hawks family, with its stock heroine, rakish husband and associated types, seems overly quaint, especially when compared with characterizations in recent musicals and the modern wit of "Big River."

Still, the mature view of race relations that "Show Boat" pioneered in a musical and use of the river as a symbol of American character are united in a successful blend of musical comedy and operetta. Jerome Kern's score ensures that the flow is as steady as the Mississippi itself.

The resounding "Ol' Man River" is as poignant today as ever. "Can't Help Lovin' Dat Man," whether performed as a joyous tribute by Julie and Queenie, or a soulful lament by an older and wiser Magnolia, still is memorable. This 60-year-old show is loaded with hits, and recognition is always a draw.

The combined efforts of Opera North and the RSC make for thoughtful and assured performances, with faultless singing. Sally Burgess' Julie and Janis Kelly's Magnolia have voices as good as any on the West End, and Karla Burns and Bruce Hubbard as Queenie and Joe give spirited and joyous deliveries. Because of cuts, Philip Gould is denied the opportunity to shine as his Frank Schultz might have, but he and Janie Dee as Ellie May are still significant in their lighter characterizations.

Ian Judge's direction and Lindsay Dolan's choreography fill the stage brightly so that whether on the show boat, the river bank or in Chicago, the flurry of activity is eye-catching while containable. Russell Craig's design takes care not to overtake an already busy stage. Londoners will appreciate the rare treat of a classic so classily offered. — Krug.