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Appreciating talent

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I had the pleasure of attending a performance of the musical, “Showboat”, this past week as it stopped in our city as part of its tour schedule. Going to the theatre is always an exciting event from dressing up in ‘theatre clothes’ to the glitz of the auditorium lights. And of course, one always runs into fellow patrons of the arts and engages in lively discussions about shows, theatre and musicals in general.

While enjoying several of the musical numbers, I realized that I had my next article for my musical theatre topic on suite 101. I have dedicated a great number of my articles to actual shows, performers, composers and the like, but this was the first time I became inspired to discuss how one gets to belong to this elite circle who make their living working in the performing arts.

Education and training, an infinity of practice, rehearsing and studying, along with a willingness to travel all culminate in the creation of a production of this magnitude. This production of “Showboat” served up solos in numerous styles from the almost operatic ballads and ‘love duet’ to the comical songs sung by the Queenie character to the rousing ‘typical musical theatre chorus’ numbers. But one thing more than any other permeated the spectacle as I sat with my mouth open more than once. These singers had obviously trained long and hard to be able to perform in a show like this. (Reading their bios at intermission, I noticed just how many had actually either trained in opera or been in some opera performances as well as musical theatre).

This show also sported quite a large chorus element who not only sang but treated us to some wonderfully choreographed numbers that were very entertaining. Again, one could not help but notice the turns, lifts and jumps that had taken hours of persistent practice to become so polished. Although the choreography was oftentimes quite simple, it was very effective because of the execution of this fine troupe. Being a choreographer not only relies on having studied dance and its techniques to the highest level but also engages a creativity for using the element of dance in unique ways from entertaining numbers to advancing the plot. (One of the fellows was also able to demonstrate his comic acting and dancing abilities which proved to be the highlight of the dancing).

With music and lyrics by Jerome Kern and Oscar Hammerstein II, “Showboat” features wonderful songs like “Can’t help lovin’ dat man o’ mine” and it’s most famous offering, “Old Man River”. It is no wonder that a cast of highly trained individuals would be necessary to sing these pieces of varying styles and ranges. I also believe that this music is more traditional than the ‘musical theatre fare’ we are seeing in the newer shows of today which is much more contemporary.

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