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THE GREAT AMERICAN SONGBOOK

JEROME KERN

SHOW BOAT

For her novel Show Boat, Edna Ferber had spent several weeks on the James Adams Floating Palace Theater in Bath (NC) gathering material about a disappearing American entertainment venue, the river showboat. In a few weeks, she gained “a treasure trove of material: human, touching, true.” Jerome was impressed by the novel and, hoping to adapt it as a musical, asked the critic Alexander Woollcott to introduce him to Ferber in October 1926. (Woollcott was later to become the model for “The Man Who Came to Dinner.”) Woollcott introduced them that evening during the intermission of Kern’s latest musical, “Criss Cross.”

Ferber was shocked that anyone would want to adapt Show Boat as a musical. After being assured by Kern that he did not want to adapt it as the typical frivolous musical of the Twenties, she granted him and Oscar Hammerstein the rights to set her novel to music.

After composing most of the first act songs, Kern and Hammerstein auditioned their material for producer Florenz Ziegfeld, thinking that he was the person to create the elaborate production they felt necessary for Ferber’s sprawling work. Ziegfeld was impressed and agreed to produce it, writing the next day, “This is the best musical comedy I have ever been fortunate to get a hold of; I am thrilled to produce it, this show is the opportunity of my life.” “Show Boat,” with its serious and dramatic nature, was considered an unusual choice for Ziegfeld, who was best known for revues. The story, which dealt with racism, marital strife and alcoholism, was unheard of in the escapist world of Broadway, populated by operettas, revues and musical comedy.

Theater historian John Kenrick: “After the opening night audience filed out of the Ziegfeld Theater in near silence, Ziegfeld thought his worst fears had been confirmed. He was pleasantly surprised when the next morning brought ecstatic reviews and long lines at the box office. In fact, ‘Show Boat’ proved to be the most lasting accomplishment of Ziegfeld’s career – the only one of his shows that is regularly performed today.”

It was without a doubt Kern’s best score with his most memorable songs. “Show Boat” opened the door for musicals like “Carousel” and “South Pacific” decades later and for Gershwin’s “Porgy and Bess.” Broadway would never be the same.

”MAKE BELIEVE”

This is from the 1951 MGM version from the Arthur Freed unit. Keel is just the right mix of gentleman and cad in the role.

Kathryn Grayson & Howard Keel: “Make Believe”