The tour of Jerome Kern's Show Boat

At some point during the last few decades the word "classic" - as both noun and adjective - became so completely debased that it is now almost meaningless. I think it was about the time someone came up with the term "classic rock".

Sometimes, though, it's the only word that fits, especially when we're talking about the 1927 Jerome Kern and Oscar Hammerstein collaboration Show Boat. The version that's on stage at the Fox through July 20th originated in Canada in 1994, directed by Broadway veteran Hal Prince. It's the fifth Broadway revival of this adaptation of Edna Ferber's sweeping 1925 portrait of life on the Mississippi, and incorporates elements of nearly every one of them, along with material from the 1936 film version. It's probably the most spectacular since Flo Ziegfeld's original as well, with dazzling sets, colorful period costumes, and brilliant choreography by Susan Stroman. In fact, my only serious criticism of this Show Boat is that it's almost too rich. In some of the montages that indicate the passage of time, for example, there's so much happening on stage that focus is lost and important details are missed.

The story of Show Boat combines the comedic and song-and-dance elements that were the meat and potatoes of early Broadway musicals with what was, at the time, a daring amount of touching human drama and commentary of the evils of racism in America. The story spans forty years - 1887 to 1927 - and revolves around two couples and the Cotton Blossom, the show boat of the title. Magnolia, the daughter of the ship's captain, Andy Hawks, falls for the handsome but unreliable gambler Gaylord Ravenal, and the ups, downs, and eventual reconciliation of their marriage form the basis for most of the action. A secondary plot line - and one which is never completely resolved, even in this version - involves the star Julie La Verne. The daughter of a white father and black mother, La Verne is exiled from the showboat for what was then the "crime" of marrying her white husband, Steve Baker. Steve stands by her and leaves with her, but when we see Julie again ten years later Steve is gone and she has become an alcoholic. None of what happens to Julie offstage is ever explained, and her story remains the only major flaw and an otherwise touching if somewhat melodramatic book.

The cast of this production of Show Boat is wonderfully talented, if a bit uneven vocally. One of the strongest voices is that of Teri Hansen as Magnolia. It's a bit of a shock to hear a big, operatic soprano come out of that diminutive body, and she somewhat overpowers the light tenor of Stephen Bogardus as Ravenal, but they're both completely convincing, their final reunion is appropriately moving.

Another big voice is that of bass Michel Bell, repeating the role he played on Broadway as the stevedore Joe. It's a part that has been sung by some of the finest voices of our age - it was originally intended for the great Paul Robeson, who played it in the 1932 revival - and Bell can take his place with the best of them. His rendition of "Ol' Man River" is a knockout, and Prince has staged it in a way that maximizes the song's power and turns it into a heartfelt cry for justice.

Len Cariou, a Broadway star for many years, is an energetic and charming Captain Andy, nicely matched with Cloris Leachman, cheerfully hamming her way through the role of Parthy, Andy's wife. Karen-Angela Bishop brings a fine voice and regal presence to the role of Julie and Anita Berry's operatic background shows in her forceful and energetic Queenie. Keith Savage and Kerry Clarke are winning and funny as the happy hoofers, Frank and Ellie. Savage, in particular, is a great physical comic, often reminding me of the late Ray Bolger.

The bottom line is that this Show Boat is a classy rendition of a Broadway classic. Best if all, the Jerome Kern score is one of his most well-thought-out and inspired, from familiar hits like "Bill", "Can't Help Lovin' Dat Man", "Make Belive" and Why Do I Love You", to less well-known but no less effective numbers like "Mis'ry's Comin' Aroun'" and "You Are Love". If it comes to your town, don't miss it.