Show Boat

Show Boat
By Jerome Kern and Oscar Hammerstein II. The Production Company. Director: Roger Hodgman. Musical Director: Kellie Dickerson. Choreographer: Dana Jolly. State Theatre, Arts Centre Melbourne. August 16 – 24, 2014.

I have never seen an amateur production of Show Boat and The Production Company showed why. It is a massive show and one of the greats of twentieth century music theatre. Opening in 1927 when lightweight operettas were the norm, it was way ahead of its time and was to Jerome Kern what Porgy and Bess was to George Gershwin.

As with so many musicals, there are different versions on offer. Much music was cut before opening night in 1927, while an extra duet was written for Paul Robeson in the film. In 1988 a 3CD studio recording was produced which included all the original music and had “I Still Suits Me” as an appendix. One major change was the inclusion of the chorus “Mis’ry’s Comin’ Aroun’”, which was considered too dark and dropped before the original opening night.

The version used in this production appears to have struck a good balance. “Mis’ry’s Comin’ Aroun’” makes a couple of short appearances, “I Still Suits Me” is included, but I missed Ellie and Frank’s second duet, “I Might Fall Back on You”.

I was constantly amazed at the power of this musical. It was often through-composed with dialogue  over the music, then no pause as the character burst into song again. “Old Man River” was a theme running through the show, and this gem was handled magnificently by operatic bass Eddie Muliaumasaeli’i. His rich voice had a warmth that the largely untrained Paul Robeson never achieved.

The last Show Boat I attended featured Philip Gould as Gaylord Ravenal. This time he was Captain Andy and very funny too. He was a focus whenever he was on stage, but capable of tender moments with his daughter and wife. Judith Roberts was appropriately stern as his wife, Parthy.

Alinta Chidzey and Gareth Keegan worked well together as the two lovers, though love duets don’t work well when the lovers are metres apart. Both produced beautiful pianissimo notes, but the sound system gave them a harsh edge when singing full voice. The role of Julie doesn’t have much stage time, but includes two of the best known songs in the show, and Christina O’Neill made the most of them, showing great pathos in this role.

As Ellie and Frank, Nicole Melloy and Glenn Hill danced up a storm and were very funny. Heru Pinkasova was a very dry Queenie and sang well, though she tended to talk her way through “I still suits me”.

The minimalistic sets were effective, with projections being used on the back wall, and trucks being pushed onto stage for various scenes. The orchestra played well and was never intrusive. The choreography was tight. Some sound cues were late.

This is a rare opportunity to see one of the major musicals of the twentieth century, and it deserves to be sold out.

Graham Ford

Images (from top): Eddie Muliaumasealti'i, Alinta Chidzey and Gareth Keegan, Nicole Melloy and Glenn Hill, & Christina O'Neill. Photographer: Jeff Busby.

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