REVIEW: Take a Ride on Signature's 'Showboat'

I take a keen interest in logos chosen for local Theater Productions. Take a look at the program for the Signature Theatre's 100^th production, the majestic musical Showboat.  The letters for the show are filled with light bulbs you'd find on a vanity or surrounding the backstage mirrors of a theater. But many of the light bulbs are no longer viable, some sockets are broken, and the "O" is off-kilter. What a metaphor for what was a successful venture, the "Cotton Blossom," a booming Mississippi River showboat that brought entertainment up and down the river from 1880 - 1927.

I am embarrassed to admit I've never seen a production of Showboat and only recall bits of the film. I did know the topic of miscegenation was an integral part of the story.  I spoke to Director Eric Schaeffer and wondered if he chose a play that concerned this topic since our current President is a product of mixed race parents. He replied he chose the musical over a year ago, prior to President Obama's election. How prescient he was.

The Signature has had a nice relationship with novelist Edna Ferber. Last season, they took her novel "Giant" and turned it into a musical. Now, celebrating its 20^th anniversary season, artistic director Schaeffer has returned to a former Ferber novel, "Showboat" which was written in 1925, had its original tryout at the National Theatre in Washington, DC (running more than four hours) and in 1927 made its successful debut on Broadway with music by Jerome Kern and lyrics and book by Oscar Hammerstein II.

I agree with Schaeffer's rationale for presenting this behemoth of a show. He states in the program, "This show - the first musical ever to deal with real social issues, politics and family dynamics, examined over the course of five decades of a changing American landscape - deserves to be rediscovered by a new generation of audiences."  I am happy to report that I noticed a nice portion of the audience were children under the age of 18.

So, bring the family to see this historic, meaningful, and entertaining production.

Signature may have learned from the recent Broadway production of Ragtime (which initially opened at the Kennedy Center), that large musicals can still be enjoyed without the large trappings theatergoers have been used to.  This is certainly apparent in this scaled-down production. Will you see a large Steamboat? No. But thanks to a clever set by James Kronzer, effective lighting by Mark Lanks, lovely period costumes by Kathleen Geldard, enjoyable choreography by Karma Camp, a fabulous 15 piece orchestra under Jon Kalbfleisch, and maybe most importantly, the genius of Tony-winner Jonathan Tunick who is responsible for the gorgeous orchestrations, this Showboat is definitely work the journey.

I will start with the ensemble. As Schaeffer did with Les Miserables, he has assembled an incredible ensemble. When they sing, you'll get shivers up your spine.

There are also many stand-out individual performers. Will Gartshore once again shines on the stage as the gambler Gaylord Ravenal. His love interest Magnolia (the lovely and talented Stephanie Waters) joins Gartshore in the memorable duet "Make Believe".

You'll always remember Terry Burrell in the plum role of Julie who's big number is "Bill".

Queenie is played by the wonderful King Williams and she nails the classic "Lovin' Dat Man" along with Burrell, Waters, and VaShawn Mcllain.  This song is so hummable that during intermission the whole men's room was humming this classic. (Yes, I'm even humming it as I write this review.)

Two more highlights are Bobby Smith as Frank and Sandy Bainum as Ellie who bring comic relief to a story that is both serious and sad.  Harry A. Winter is a delight as Cap'n Andy.  I did have trouble understanding the lyrics of the moving "Ol' Man River" sung by Mcllwain.

Audiences are warned to be on time. We were told there would be NO late seating.

I  wish the Signature could record this production. The cast is that good.

This show screams for a dramaturg. I strongly believe that the Signature could learn from Baltimore's Center Stage where in each program, there are numerous informative and educational articles to enhance the enjoyment of productions, especially a seminal work such as Showboat.

Want to see the film? On Dec. 7 at 7 p.m. the Shirlington Public Library (next to the theater) will have a free showing.

The first Thursday of the month you can get behind-the-scenes glimpse into the Signature Productions from 1-2 p.m. in the Mead Lobby. On Dec. 3, set designer James Kronzer will be featured and on January  7 you can meet Stephanie Waters (Magnolia).

Showboat runs through January 17. For tickets, call 703-573-7328 or visit www.signature-theatre.org.  There is also a gala New Year's Eve performance.

For comments, write to cgshubow@broadwayworld.com.

 

 

 

 

 

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