Backstage West by Les Spindle
Like Old Man River himself, the musical adaptation of Edna Ferber's epic novel
keeps rolling along, tallying up countless stage incarnations and three film
versions since its 1927 Broadway debut. The original premiere ran four hours,
and the complete score by Jerome Kern (music) and Oscar Hammerstein II (book
and lyrics), including songs added and excluded during various versions, takes
up a three-CD EMI Records set. By now a "definitive" version would be hard
to pinpoint, though Harold Prince's notably darker and more cohesive 1993
Toronto/Broadway version was hailed as an ingenious reinvention. Musical Theatre
West takes a safer, more traditional approach, mounting a peppy revival that
takes the limitations of Hammerstein's dated narrative for granted. Though
the show is considered the granddaddy of the modern book musical in its once
revolutionary integration of provocative dramatic subject matter--alcoholism,
spousal abandonment, miscegenation--with song and dance, by today's standards
its plot and characters play so thinly that they suggest a Reader's Digest
take on Ferber's sprawling tome. Most major story threads are quickly trotted
out in the brief second act, and none are developed in depth. It's that masterful
score--among the top tier of 20th century show music--that has endured and,
aside from the show's historical significance, provides the key rationale
for revisiting the property. For the most part, director David Galligan, an
accomplished cast and design team, and choreographer Lee Martino provide a
melodic, toe-tapping lark of an entertainment. Renowned actor/singer Dale
Kristien as budding showboat performer Magnolia is in superb voice, especially
in the climactic "After the Ball." She shares bravura duets "Make Believe"
and "You Are Love" with golden-voiced Sean McDermott, whose characterization
as the ne'er-do-well hero Ravenal unfortunately leans toward the stiff side.
The radiant Anne Runolfsson deserves a more substantial role than the ill-fated
mulatto performer Julie, though she takes full advantage of her opportunities
in the exuberant "Can't Help Loving Dat Man" and the poignant "Bill." Dan
Tullis Jr. and Sandy Yates Hall give mostly spirited performances as the Negro
servants, though Tullis' "Ol' Man River" lacks sufficient passion to elicit
the expected chills. Ever-dependable Chad Borden brings to mind lanky, nimble
Dick Van Dyke, playing Frank, the show-within-a-show villain, and his chemistry
with the supremely funny Melanie Nicholson as his girl Ellie is sublime. Their
"I Might Fall Back on You" is a charming showstopper, and Nicholson also sparkles
when she leads a bevy of wannabe actresses in "Life Upon the Wicked Stage."
Martino's resplendent dance sequences are a major plus. Despite scattered
opening-night glitches, design efforts are solid. The uncredited operetta-style
sets include lovely locales--most notably the Trocadero Night Club, created
with passionate pink hues. Thomas G. Marquez's period costumes are ravishing;
ditto Michael Gilliam's sumptuous lighting effects. Aside from a tepid-sounding
overture, musical director Stephen Gothold leads a buoyant orchestra. For
those who don't anticipate a Prince-esque opus awash with angst and gargantuan
sets, this Show Boat sails smoothly toward its fun-filled destination.
