Show Boat

The white owners, who progressively win our affection, are like their leading Negro help. Cook Queenie (substantial E. Faye Butler), keeps after husband Joe (Michael James Leslie, the center of every scene he's in) for being lazy. But after many years, when he maintains “I Still Suits Me,” she agrees with him (as do we).

Magnolia (sweet-smiling Marissa McGowen) falls in love at first sight with gambler Ravenal. Their “Make Believe” game of love, soon played out onstage, leads to real marriage and a child. Offstage, Gaylord returns to gambling to make more money and succeeds until a series of failures makes him leave – like Steve has left Julie, but in Gaylord's case, to persuade Magnolia to seek greater stability.

Ironically, Julie's sham quitting of her job (but not before Dalli's beautiful vocal portrait of imaginary “My Bill”) gives Magnolia her chance to sing professionally. Her audition's been arranged by former Cotton Blossom dynamic dancers Ellie May (Elisa Van Duyne) and Frank (Denis Lambert). They've succeeded in marriage as well as show biz, despite — or maybe because of — Van Duyne as Ellie's persuasive protest against “Life Upon the Wicked Stage.”

Like the dancing duo, singers Magnolia and Gaylord, who once again tells her “You Are Love,” will eventually unite. He's talked about as proving not to be cut out just for work, like Joe. Like her mother, Kim (Brittany Proia, a proficient doubler) stars on the Showboat and welcomes her dad. There are parallels but also contrasts, especially socially and economically: White youth and Negro workers.

If there are any flaws in this shortened but still musically full Show Boat, they are a few unanswered questions (like Julie's fate, why Kim welcomes her dad's return and what promises to make it successful this time) and the rather rushed falling action. Shortcomings are more than balanced, though, by the wonderfully sung score and Noah Racey's pulsating dances.

Dances show a range of styles from the opening “Cotton Blossom” to a group rendition of “Why Do I Love You” to vaudeville number “Goodbye My Lady Love” or the waltz of “After the Ball.” Glory be to everyone involved in the music. And, yes, “Ol' Man River” is a show-stopper by Joe (best I've heard since Paul Robeson), with a so-good rendering of racial tension in the chorus sung by the younger Stevedores.

Rob Ruggiero deserves praise a-plenty for his directorial concepts and how successfully they're realized. We take his direction to become a vital part of a show that runs on a wheel with so many spokes. Costumes, lighting, and sound reflect natural and symbolic changes in time as it passes and the tenor of eras. A ride on Asolo Rep's Show Boat is quite a trip!