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About The skanner. (Portland, Or.) 1975-2014 | View Entire Issue (April 8, 2015)
Arts & Entertainment Show Boat Arrives at The Portland Opera The controversial musical about mixed race relationships comes with special talks, events By Arashi Young Of The Skanner News W hen the musical “Show Boat” opened at the Ziegfeld Theatre in New York City on Dec. 27, 1927, critics were immediately enthralled. Brooks Atkin- son, writing for the New York Times, called it “unim- peachable” and “intelligently made.” The production was adapted from Edna Ferber’s Previous musical theater pieces would have Black artists performing in sepa- rate acts from white artists. It was also the first musical to feature an interracial mar- riage and characters who attempted to “pass” as white. The Portland Opera is showing performances of “Show Boat” from May 1 – 9 and is hosting a series of events around Portland to explore the production in more depth. discussion. Portland Opera Commu- nications Manager Ingrid Arnett said the panel dis- cussion is a new addition to their outreach effort and an occasion to explore for- ward-thinking issues. “’Show Boat’ did so much for musical theatre because it was so progressive for its time,” Arnett said. “Even now it presents a great opportunity to sit down and talk about these large issues – the struggle against preju- “Show Boat” was the first racially integrated musical which had Black and white performers appearing and singing on stage together book of the same name. The story followed the lives of performers, crew and dock workers on the show boat Cotton Blossom as they pur- sue stardom, fall in love, separate and reunite. “Show Boat” was the first racially integrated musical which had Black and white performers appearing and singing on stage together. The first event in the series was a guided discus- sion on how race is portrayed in the musical. Portland Community Col- lege Professor Carmen Thompson will join cast members Angela Renee Simpson and Arthur Wood- ley and the Portland Opera educators Bob Kingston and Alexis Hamilton in a panel dice, racism and economic injustice.” The panel took place at Highland United Church of Christ on April 7. Hamilton said the out- reach for “Show Boat” is important because of the provocative nature of the work, which was set in 1895. “It deals with race in the We honor the many accomplishments of African Americans. It is our primary goal as a labor union to better the lives of all people working in the building trades through advocacy, civil demonstration, and the long-held belief that work- ers deserve a "family wage" - fair pay for an honest day's work. A family wage, and the benefits that go with it, not only strength- ens families, but also allows our communities to become stronger, more cohesive, and more responsive to their citizens' needs. Our family wage agenda reflects our commitment to people working in the building trades, and to workers everywhere. In this small way, we are doing our part to help people achieve the American Dream. This dream that workers can hold dear regard- less of race, color, national origin, gender, creed, or religious beliefs. The Pacific Northwest Regional Council of Carpenters Representing more than 5.000 construction workers in Oregon State. Do you want to know more about becoming a Union carpenter? Page 8 The Portland and Seattle Skanner April 8, 2015 The Portland Opera will perform the Hal Prince version, which was a 1994 revival of the show with a strong focus on the lives of the Black characters within the performance. United States at that time,” Hamilton said, adding that the language used and the historical stereotypes can be uncomfortable, even when used to examine issues of social justice and prejudice. The production of “Show Boat,” which has been remounted and revised many times in the years since 1927, becomes a reflection of racial attitudes at the time, according to Hamilton. Some versions would try to be politically correct by erasing any uncomfortable race stereo- type or language and would instead focus on beautiful costumes and the love songs for white performers. “Instead of mindfully por- traying a time and space, and mindfully dealing with the racial issues, often pro- ductions have tried to mitigate it by just excluding it, not dealing with it,” Hamilton said. The Portland Opera will perform the Hal Prince ver- sion, which was a 1994 revival of the show. Prince had a strong focus on the lives of the Black characters within the performance, showing the hard labor of the dock workers who live a life apart from the white folks. Another focus of Prince’s version is white appropria- tion of Black art and culture. Magnolia, a white singer from “Show Boat,” thrives as a performer because she can sing with a “Black voice,” while the Black artists who taught her to sing could not reach the same success. Hamilton believes the Prince take on “Show Boat” is an opportunity to pose large questions about race and privilege. She says the Hamilton and Kingston will also host an “Opera in Depth” lecture on the histo- ry and social implications behind the show at the Hampton Opera Center on April 20. One hour before every performance there will be free information session with Kingston. And after the show there will be a free 30- minute “Back Talk” Q and A with join General Direc- tor Christopher Mattaliano, performers and conductors. Portland Opera has also partnered with the Holly- wood Theatre to bring a The Portland Opera is showing performances of “Show Boat” from May 1 – 9 arguments found in the show still happen to this day. “We are taking art and using it as a springboard to have a discussion that needs to happen in the United States today, that needs to happen in our community in Portland,” Hamilton said. film screening of the 1936 version of “Show Boat” directed by James Whale. The critically acclaimed film features the work of Paul Robeson whose rendi- tion of “Ol’ Man River” remains one of the most famous and loved versions to this day.
