Customer Reviews

Show Boat (1966 Lincoln Center Cast)

5 star:		(2)
4 star:		(1)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

This is the first stereo recording of "Show Boat" based on an actual stage production, as opposed to the many studio cast recordings which came before it. It carries over some of the artists who worked on the 1962 Columbia Masterworks recording--orchestrator Robert Russell Bennett, conductor Franz Allers, Barbara Cook as Magnolia, and William Warfield as Joe. The production,however, offers a weak, uncharismatic Gaylord Ravenal in Stephen Douglass and a shrill Ellie in Allyn Ann McLerie (who some TV watchers may remember as Molly Dodd's mother in the short-lived cult-TV favorite "The Days and Nights of Molly Dodd"). These are both Broadway musical veterans whose singing voices have fallen on hard times. There are also many differences from the 1962 studio recording, however, and not always for the better. Nearly all the orchestrations have been revised and a new overture has been arranged, which does not capture the haunting atmosphere of the dramatic 1927 one (preserved on the 1988 Angel EMI "authentic" album), or even the agreeable 1946 one (also used in the 1962 album). And worst of all, this 1966 album, taken from a production staged during the height of the Civil Rights struggle, tries harder to be politically correct than any other "Show Boat" before or since. The opening chorus "Cotton Blossom" has been shorn in half to eliminate the "Colored folks work on the Mississippi" section, and in keeping with this approach, "Ol' Man River" has also been deprived of this section, with its "Lemme go 'way from de white man boss" lyric. Queenie's section of "Can't Help Lovin' Dat Man" has been rewritten so that "My man is shiftless/And good for nothin' too" now becomes "My man's a dreamer/He don't have much to say". (Of course, one can easily see that the recent 1994 Harold Prince production also pulled a similar trick.) But this production still offers some compensations. The beautiful score is still the best ever written for a Broadway musical, and because this is a recording of a stage revival, we get such goodies as a genuine black chorus rather than the usual group of standard contract singers, and a longer "Why Do I Love You?" (not played in its original 1927 tempo however) that adheres much more to its original arrangement than any other previous version of the song, as well as Ms. Cook and Mr. Warfield still giving excellent performances, although diehard Warfield fans will notice that his voice has here finally become a true bass-baritone and that he does have to strain somewhat for the high notes. Thankfully, however, we finally get to hear him in his bouncy, rhythmic section of "Can't Help Lovin' Dat Man", something we were deprived of in the 1962 album, and he is absolutely delightful in that. In addition, Constance Towers is a magnificent Julie. Her "Bill" is truly moving, and not the unintentionally over-acted howler that Anita Darian's was in the 1962 recording.

This cast album of the 1966 Music Theater of Lincoln Center's SHOW BOAT revival may not seem an essential addition to your collection (given the myriad albums in existence for this score), however the cast assembled must surely count as one of the finest assembled to perform the legendary work.

Barbara Cook (SHE LOVES ME, THE GAY LIFE) is a thrilling Magnolia. Cook previously sang the role for a well-received 1962 Columbia studio cast album, but her performance here is probably even better. She's partnered by the stridant Ravenal of Stephen Douglass (DAMN YANKEES). Their duet of "You Are Love" fairly crackles.

The role of tragic Julie LaVerne is in the capable hands of Constance Towers (THE KING AND I), and the eleven o'clocker "Bill" is performed to great effect. Allyn Ann McLerie (MISS LIBERTY) gives the soubrette role of Ellie just what is required ("Life Upon the Wicked Stage", one of the score's wittiest numbers, is nailed perfectly). William Warfield reprises the role of Joe, that he played to great acclaim in the 1951 M-G-M film version of the musical (and the 1962 Columbia recording). He's partnered by the solid Queenie of Rosetta Le Noire. David Wayne (FINIAN'S RAINBOW) played the troupe leader Captain Andy with Margaret Hamilton (GOLDILOCKS) as his flustered wife Parthy (sadly she does not appear on disc).

This star-studded production of SHOW BOAT opened at the New York State Theatre on July 19, 1966 and ran for 64 performances. Sound quality for this RCA recording is quite good (some harsh analogue hiss and distortion but nothing too obtrusive).

Musical theatre is measured this way. Pre-SHOW BOAT and after SHOW BOAT. What a gorgeous musical! The tunes span the range of emotion from soul searching despair to can-can frivolity. I've listened to the roster of SHOW BOAT albums, and my opinion is this album showcases great performances and a wonderful variety of tempos and feelings. The original movie showtrack album with Howard Keel and Kathryn Grayson (love 'em both) is dated in style, with it's CD sounding suffocated and canned. Simulated stereo, like colorised black and white movies, always seems contrived. Likewise, the 1946 cast recording suffers from uninspired orchestration and thin sound. This RCA stereo recording, however, is authentic, vibrant and fresh. Barbara Cook as "Magnolia" and Constance Towers ("Julie") are sweet and passionate. The two show stoppers for me are William Warfield's "Ol' MAN RIVER" and Towers "CAN'T STOP LOVIN' DAT MAN." Warfield's heart wrenching rendition comes the closest to the power and majesty of Paul Robeson. And the latter, well, it's just a joyous, lively romp sure to shed your blues away. This Jerome Kern/Oscar Hammerstein II collaboration is a must listen for any lover of Broadway musicals. If you seek the complete musical you might consider the 1988 cast box set. But this lovingly presented little gem is sure to please. You won't go wrong adding the 1966 Lincoln Center performance to your collection.

I'm not sure what some of the other reviewers here have been... imbibing -This is without doubt the best single recording of this classic score to date. The entire cast is marvelous! Barbara Cook is sublime, Stephen Douglas sings with power and emotion, Constance Towers is at her absolute best, and Allyn Ann McLerie is utterly charming. The recording is clearly a cast recording, and not a quickly-mounted studio effort. Every song is sung with nuance and character. My only complaint is that it could have included a bit more music. Still, it's as complete as most other Show Boat recordings. The sound is excellent -vibrant and rich. Kern and Hammerstein would have been thrilled. If you're new to the score, or searching for a new recording, this is THE ONE to have.

It's tricky to catch on a recording the energy needed on the stage to push a production along. Unfortunately, this recording suffers from that lack of "oomph." Everything is a bit sterile and detached, and the theatricality of the piece never feels totally genuine here.

The elements are all there: a brilliant and haunting score, Jerome Kern's memorable songs, some of Oscar Hammerstein's greatest lyrics, and a story that has more going on in it than any musical written since. But this recording does little to recommend the show.

The overture is dispatched cleanly but with little passion.

Constance Towers is a classy and genuine Julie; her rendition of "Bill" has a clean, simple beauty. It's one of the most honest renditions I've heard. And it highlights how brilliant the song is.

Ms. Towers makes a solid stab at "Can't Help Lovin' Dat Man o' Mine" but the chorus is ghastly and awkward. Not to mention the conductor eventually takes the song at warp pace, like a record sped up. It's baffling and ultimately a sad loss.

Barbara Cook is a strident, forceful Magnolia with a pristine voice. I wish her forcefulness were put to better use, but the production does not do anything with it. William Warfield is an operatic Joe with a thrillingly strong bass voice. His approach to "Old Man River" works in this regard because the show is essentially the first true American opera. Like Ms. Towers, his clean attack works to his advantage and gives this song a pleasing honesty.

The rest of the cast is unremarkable (though some characters get short shrift in a highlights disc). Rosetta LeNoire as Queenie is fairly unmusical and her part of "Can't Help Lovin'" comes across awkwardly. I sense it worked better in the theatre. Stephen Douglass makes for a musically clean and genial Ravenal though we don't learn anything about the character this is particularly new.

Saddest of all, this recording misses any sort of southern sensibility. In fact, this production is utterly devoid of southern-ness: in both its lyrical beauty and its brutish ugliness. William Warfield comes the closest to capturing the social element of the time and place (though with a song like "Old Man River" how can you not?).

This production did not restore the haunting "Misery's Comin' Around." Subsequent productions and recordings have had the good sense to re-insert what should never have been cut in the first place. It's some of Jerome Kern's best music.

All in all, a respectable recording but far from what it could have been.