Show Boat (1966 Lincoln Center Cast)

Show Boat (1966 Lincoln Center Cast)

Show Boat (1966 Lincoln Center Cast)
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Music CD Cover

Edition: Music CD
Format: Cast Recording
CD Release Date: 1992-06-09
Music Label: RCA Victor Broadway
Soundtracks:
  1. Overture
  2. Cotton Blossom
  3. Make Believe
  4. Ol' Man River
  5. Can't Help Lovin' Dat Man
  6. Life upon the Wicked Stage
  7. You Are Love
  8. At the Chicago World's Fair (Opening Act II)
  9. Why Do I Love You? - Kern, Jerome
  10. Bill
  11. Good Bye, My Lady Love
  12. After the Ball
  13. Finale: Ol' Man River

Free Music Notes for Show Boat (1966 Lincoln Center Cast)

Free Music Review: Competent if awkward
Hit: 3 Stars

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.

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