document_title: Show Boat

question_text: the first two film versions of show boat (1929 and 1936 respectively) were produced by what studio

question_tokens: the first two film versions of show boat ( 1929 and 1936 respectively ) were produced by what studio

text: Show Boat

text: Background[edit]

text: In doing research for her proposed novel Show Boat, writer Edna Ferber spent several weeks on the James Adams Floating Palace Theatre in Bath, North Carolina, gathering material about a disappearing American entertainment venue, the river showboat. In a few weeks, she gained what she called a "treasure trove of show-boat material, human, touching, true". Jerome Kern was impressed by the novel and, hoping to adapt it as a musical, asked the critic Alexander Woollcott to introduce him to Ferber in October 1926. Woollcott introduced them that evening during the intermission of Kern's latest musical, Criss Cross.[4]

text: Ferber was at first shocked that anyone would want to adapt Show Boat as a musical. After being assured by Kern that he did not want to adapt it as the typical frivolous "girlie" show of the 1920s, she granted him and his collaborator Oscar Hammerstein II the rights to set her novel to music. After composing most of the first-act songs, Kern and Hammerstein auditioned their material for producer Florenz Ziegfeld, thinking that he was the person to create the elaborate production they felt necessary for Ferber's sprawling work.[5] Ziegfeld was impressed with the show and agreed to produce it, writing the next day, "This is the best musical comedy I have ever been fortunate to get a hold of; I am thrilled to produce it, this show is the opportunity of my life..."[5]Show Boat, with its serious and dramatic nature, was considered an unusual choice for Ziegfeld, who was best known for revues such as the Ziegfeld Follies.

text: Though Ziegfeld anticipated opening his new theatre on Sixth Avenue with Show Boat, the epic nature of the work required an unusually long gestation period and extensive changes during out-of-town tryouts. Impatient with Kern and Hammerstein and worried about the serious tone of the musical (he strongly disliked the songs Ol' Man River and Mis'ry's Comin' Around), Ziegfeld decided to open his theatre in February 1927 with Rio Rita, a musical by Kern's collaborator Guy Bolton. When Rio Rita proved to be a success, Show Boat's Broadway opening was delayed until Rita could be moved to another theatre.[6]

text: Synopsis[edit]

text: Note: Although the basic plot of Show Boat has always remained the same, over the years revisions and alterations were made by the creators, and over time by subsequent producers and directors. Some of these revisions were for length and some for convenience, as when a different actor played a certain role and was unable to perform a specialty piece written for the role's creator. Some have been made to reflect contemporary sensitivities toward race, gender and other social issues.

text: In 1887, the show boat Cotton Blossom arrives at the river dock in Natchez, Mississippi. The Reconstruction era had ended a decade earlier, and white-dominated Southern legislatures have imposed racial segregation and Jim Crow rules. The boat's owner, Cap'n Andy Hawks, introduces his actors to the crowd on the levee.  A fistfight breaks out between Steve Baker, the leading man of the troupe, and Pete, a rough engineer who had been making passes at Steve's wife, the leading lady Julie La Verne. Steve knocks Pete down, and Pete swears revenge, suggesting he knows a dark secret about Julie. Cap'n Andy pretends to the shocked crowd that the fight was a preview of one of the melodramas to be performed. The troupe exits with the showboat band, and the crowd follows.

text: A handsome riverboat gambler, Gaylord Ravenal, appears on the levee and is taken with eighteen-year-old Magnolia ("Nolie") Hawks, an aspiring performer and the daughter of Cap'n Andy and his wife Parthenia Ann (Parthy). Magnolia is likewise smitten with Ravenal ("Make Believe"). She seeks advice from Joe, a black dock worker aboard the boat, who has returned from buying flour for his wife Queenie, the ship's cook. He replies that there are "lots like [Ravenal] on the river." As Magnolia goes inside the boat to tell her friend Julie about the handsome stranger, Joe mutters that she ought to ask the river for advice. He and the other dock workers reflect on the wisdom and indifference of "Ol' Man River", who doesn't seem to care what the world's troubles are, but "jes' keeps rollin' along".

text: Magnolia finds Julie inside and announces that she's in love. Julie cautions her that this stranger could be just a "no-account river fellow". Magnolia says that if she found out he was "no-account", she'd stop loving him. Julie warns her that it's not that easy to stop loving someone, explaining that she'll always love Steve, singing a few lines of "Can't Help Lovin' Dat Man". Queenie overhears – she is surprised that Julie knows that song as she has only heard "colored folks" sing it. Magnolia remarks that Julie sings it all the time, and when Queenie asks if she can sing the entire song, Julie obliges.

text: During the rehearsal for that evening, Julie and Steve learn that the town sheriff is coming to arrest them. Steve takes out a large pocket knife and makes a cut on the back of her hand, sucking the blood and swallowing it. Pete returns with the sheriff, who insists the show cannot proceed because Julie is a mulatto who has been passing as white and local law prohibits mixed marriages. Julie admits that her mother was black, but Steve tells the sheriff that he also has "black blood" in him, so their marriage is legal in Mississippi. The troupe backs him up, boosted by the ship's pilot Windy McClain, a longtime friend of the sheriff. The couple have escaped the charge of miscegenation, but they still have to leave the show boat; identified as black, they can no longer perform for the segregated white audience. Cap'n Andy fires Pete, but in spite of his sympathy for Julie and Steve, he cannot violate the law for them.

text: Ravenal returns and asks for passage on the boat. Andy hires him as the new leading man, and assigns his daughter Magnolia as the new leading lady, over her mother's objections. As Magnolia and Ravenal begin to rehearse their roles and in the process, kiss for the first time (infuriating Parthy), Joe reprises the last few lines of "Ol' Man River".

text: Weeks later, Magnolia and Ravenal have been a hit with the crowds and have fallen in love. As the levee workers hum "Ol' Man River" in the background, he proposes to Magnolia, and she accepts. The couple joyously sings "You Are Love". They make plans to marry the next day while Parthy, who disapproves, is out of town. Parthy has discovered that Ravenal once killed a man, and arrives with the Sheriff to interrupt the wedding festivities. The group learns that Ravenal was acquitted of murder. Cap'n Andy calls Parthy "narrow-minded" and defends Ravenal by announcing that he also once killed a man. Parthy faints, but the ceremony proceeds.

text: Six years have passed, and it is 1893. Ravenal and Magnolia have moved to Chicago, where they make a precarious living from Ravenal's gambling. At first they are rich and enjoying the good life ("Why Do I Love You?") By 1903, they have a daughter, Kim, and after years of varying income, they are broke and rent a room in a boarding house. Depressed over his inability to support his family, Ravenal abandons Magnolia and Kim.  Frank and Ellie, two former actors from the showboat, learn that Magnolia is living in the rooms they want to rent. The old friends seek a singing job for Magnolia at the Trocadero, the club where they are doing a New Year's show. Julie is working there. She has fallen into drinking after having been abandoned by Steve. At a rehearsal, she tries out the new song "Bill." She appears to be thinking of Steve and sings it with great emotion. From her dressing-room, she hears Magnolia singing "Can't Help Lovin' Dat Man" for her audition, the song which Julie taught her years ago. Julie secretly quits her job so that Magnolia can fill it, without learning of her sacrifice.

text: Ravenal visit his daughter Kim at the convent where she goes to school to say goodbye before leaving her forever ("Make Believe" (reprise)). On New Year's Eve, Andy and Parthy go to Chicago for a surprise visit to their daughter Magnolia. He goes to the Trocadero without his wife, and sees Magnolia overcome with emotion and nearly booed off stage. Andy rallies the crowd by starting a sing-along of the standard, "After the Ball". Magnolia becomes a great musical star.

text: More than 20 years pass, and it is 1927. An aged Joe on the Cotton Blossom sings a reprise of "Ol' Man River". Cap'n Andy has a chance meeting with Ravenal and arranges his reunion with Magnolia. Andy knows that Magnolia is retiring and returning to the Cotton Blossom with Kim, who has become a Broadway star. Kim gives her admirers a taste of her performing abilities by singing an updated, Charleston version of "Why Do I Love You?" Ravenal sings a reprise of "You Are Love" to the offstage Magnolia. Although he is uncertain about asking her to take him back, Magnolia, who has never stopped loving him, greets him warmly and does. As the happy couple walks up the boat's gangplank, Joe and the cast sing the last verse of "Ol' Man River".

text: The 1951 MGM film changed the final scenes of the story, as well as many small details. It reconciles Ravenal and Magnolia a few years after they separate, rather than 23. When Ravenal leaves Magnolia in Chicago, she is pregnant.  By a chance meeting with Julie, Ravenal learns that Magnolia gave birth to his daughter. He returns to her and sees the child Kim playing. Magnolia sees them together and takes him back, and the family returns to the show boat. Joe and the chorus start singing "Ol' Man River" as the scenes unfold, then the paddlewheel starts turning in tempo with the music, as the ship heads down river. Julie is shown, viewing from a distance. She had watched the scene from the shadows.

text: Musical numbers[edit]

text: The musical numbers in the original production were as follows:

text:
Act 1
"Cotton Blossom" – Stevedores and Townspeople
"Cap'n Andy's Ballyhoo" – Cap'n Andy and Chorus
"Where's the Mate for Me?" – Gaylord Ravenal
"Make Believe" – Gaylord and Magnolia
"Ol' Man River" – Joe and Stevedores
"Can't Help Lovin' Dat Man" – Julie, Queenie, Joe, Magnolia and Ensemble
"Life Upon the Wicked Stage" – Ellie and Townswomen
"Till Good Luck Comes My Way" – Gaylord, Pete, Frank, and Townsmen
"Ol' Man River" (reprise) – Joe
"I Might Fall Back on You" – Ellie, Frank and Girls
"C'mon Folks (Queenie's Ballyhoo)" – Queenie, Stevedores, and Gals
"Olio Dance" – (instrumental)
"You Are Love" – Gaylord and Magnolia
Act I "Finale (Wedding Scene)" – Magnolia, Ravenal, Cap'n Andy, and Chorus

Act 2
"At the Fair" – Sightseers, Barkers, and Dandies
"Dandies on Parade" – City Folk
"Why Do I Love You?" – Magnolia, Ravenal, Cap'n Andy, Parthy Ann Hawks, and Company
"In Dahomey" – Jubilee Singers and Dahomey Dancers
"Bill" (lyrics by P. G. Wodehouse and revised by Hammerstein) – Julie
"Can't Help Lovin' Dat Man" (reprise) – Magnolia
"Nuns' Processional" – Nuns
"Make Believe" (reprise) – Ravenal
"Goodbye, My Lady Love" (music and lyrics by Joseph E. Howard) – Frank and Ellie
"After the Ball" (from A Trip to Chinatown; music and lyrics by Charles K. Harris) – Magnolia and Ensemble
"Ol' Man River" (reprise) – Joe
"Hey, Feller" – Jubilee Singers and Queenie
"You Are Love" (reprise) – Gaylord
"Why Do I Love You?" (reprise) – Kim and Flappers
"Finale Ultimo (Ol' Man River)" – Joe and Chorus

text: History of revisions[edit]

text: The original production ran four-and-a-half hours during tryouts, but was trimmed to just over three by the time it got to Broadway. During previews, two songs, "Mis'ry's Comin' Aroun" and "Let's Start the New Year", were cut from the show. "Mis'ry's Comin' Aroun" was published in the complete vocal score,[7] and fragments of it are also heard in the scoring, notably in the original 1927 overture and in the miscegenation scene. The song "Be Happy, Too" was also cut after the Washington, D.C., tryout[8] The 1988 studio cast album reinstated the entire song, and it was also included in the 1994 Hal Prince revival. "Let's Start the New Year" was performed in the 1989 Paper Mill Playhouse production.

text: Two songs, "Till Good Luck Comes My Way" (sung by Ravenal) and "Hey Feller!" (sung by Queenie), were written mainly to cover scenery changes. They were discarded beginning with the 1946 revival, although "Till Good Luck" was included in the 1993 Harold Prince revival of the show. The comedy song, "I Might Fall Back On You," was also cut beginning in 1946. It was restored in the 1951 film version and several stage productions since the 1980s. On record, "Hey Feller!" appears only on the 1988 EMI album. Kern and Hammerstein wrote two new songs for revivals and three more for the 1936 film version.

text: The Harold Fielding production in London in the early 1970s claimed to use the entire original score, but it omitted "Hey, Feller!" and "In Dahomey", among others. This cast album broke ground in being the first two-LP version of Show Boat ever released.

text: The score also includes four songs not originally written for Show Boat: "Bill" was originally written by Kern and P. G. Wodehouse in 1917 and was reworked by Hammerstein for Show Boat. Two other songs not by Kern and Hammerstein, "Goodbye, My Lady Love" by Joseph E. Howard and "After the Ball" by Charles K. Harris, were included by the authors for historical atmosphere and are included in revivals.[9] The New Year's Eve scene features an instrumental version of "There'll Be a Hot Time in the Old Town Tonight".

text: Some of the following numbers have been cut or revised in subsequent productions, as noted below (the songs "Ol' Man River", "Can't Help Lovin' Dat Man", and "Bill" have been included in every stage and film production of Show Boat):

text:
Overture – The original overture, used in all stage productions up to 1946 (and heard on the three-disc EMI/Angel CD for the first time in nearly 50 years), is based chiefly on the deleted song "Mis'ry's Comin' Round", as Kern wanted to save this song in some form. The song was restored in the Harold Prince 1994 revival of the show. The overture also contains fragments of "Ol' Man River", "Can't Help Lovin' Dat Man", and a faster arrangement of "Why Do I Love You?" The overtures for the 1946 revival and the 1966 Lincoln Center revival consist of medleys of songs from the show. All three overtures were arranged by the show's orchestrator, Robert Russell Bennett, who orchestrated most of Kern's later shows.
"Cotton Blossom" – This number is performed in all the stage productions, and shorter versions were used in the 1936 and 1951 film versions.[10] It was not used in the 1929 film version.
"Where's the Mate for Me?" – Ravenal's first song; heard in all stage versions, partially sung in the 1936 film version, and sung complete in the 1951 film version. Not sung in the 1929 film version.
"Make Believe" – Performed in all stage versions, and in the 1936 and 1951 film versions, but not the 1929 film version.
"Life Upon the Wicked Stage" – This comic song is usually included in stage versions, but is heard in the 1936 film only in the orchestral score. Not included in the 1929 film, it is sung and danced in the 1951 film version.
"Till Good Luck Comes My Way" – Kern and Hammerstein cut it from the 1946 revival, but it was reinstated in the 1971 London stage revival. It is performed instrumentally in the 1936 film, and is omitted altogether in the 1929 and 1951 films.
"I Might Fall Back on You" – This was usually cut after 1946, but it has been reinstated in revivals beginning in 1966. It was absent from the 1929 and 1936 films, but included in the 1951 film.
"C'mon Folks (Queenie's Ballyhoo)" – Always included in the show, it was sung in the prologue to the 1929 film version,[11] It was omitted from the 1936 film and performed instrumentally in the 1951 film.
"Olio Dance" – This is rarely performed now, since it was composed simply to cover a change of scenery. It is an orchestral piece that partially uses the melody of "I Might Fall Back on You", and can be heard on the EMI 3-CD album (as "Villain Dance"). The 1936 film substituted the new Kern-Hammerstein number "Gallivantin' Around", performed as an olio by Irene Dunne (as Magnolia) in blackface. It was omitted from the 1989 PBS Paper Mill Playhouse production. Some modern productions move the song "I Might Fall Back on You" to this spot.
"You Are Love" – Kern considered this popular waltz to be the score's weakest song: he tried unsuccessfully to eliminate it from the 1936 film version. It has never been cut from any stage production. It was shortened, and the introductory section was omitted, in both the 1936 and the 1951 films. It was not performed in the 1929 film.
"Act I Finale" – This was shortened in the 1936 film and omitted from the 1929 and 1951 films. Its midsection, banjo-dominant, buck-and-wing dance theme became a repeating motif in the 1951 film, played onstage during the backstage miscegenation scene, and later as a soft-shoe dance for Cap'n Andy and granddaughter Kim.
"At the Chicago World's Fair" – Used in all stage productions except for the Harold Prince 1994 revival, it was omitted from all the film versions, but an instrumental version was performed in the 1936 film.
"Why Do I Love You?" – Used in all stage versions, this number was sung during the exit music to the 1929 film;[11] it was performed only as background music for the 1936 film, and was sung in the 1951 film version. In the 1994 Hal Prince revival, it was sung by Parthy.
"In Dahomey" – This was cut from the score after the 1946 Broadway production and has not been revived since due to its being potentially offensive, as well as unnecessary to the plot. It is sung at the Chicago World's Fair by a group of supposedly African natives. They chant in a supposed African language before breaking into modern English, singing about how glad they are to return to their apartments after the day's performance. It was not used in any film version of the show, but was included in the complete 1988 EMI recording and in a 1993 studio recording on the Jay label of the 1946 score.
"Goodbye, My Lady Love" – This is used only in American productions. It is included in the 1936 film, but not in the 1929 or 1951 films.
"After the Ball" – Performed in all stage productions and in both the 1936 and 1951 films, but not the 1929 one.
"Hey, Feller" – Used in nearly all stage productions up until 1946, and sung in the prologue to the 1929 film.[11] Not used in the 1936 film, but used as background score in the 1951 film during the opening post-credits scene as the show boat arrives.

text: Additional numbers have been included in films and revivals as follows:

text:
"Mis'ry's Comin' Round" – Though this was cut from the original production, Kern ensured that it was published in the complete vocal score.[4] The 1988 album reinstated it, and it was also included in the 1994 Hal Prince revival.
"Let's Start the New Year" – Cut from the original production but performed in the 1989 Paper Mill Playhouse production.
"I Have The Room Above Her" is a romantic duet written by Kern and Hammerstein for Ravenal and Magnolia in the 1936 film. It was included in the 1994 Broadway revival.
"Gallivantin' Around" is a cakewalk-style number written by Kern and Hammerstein for Magnolia for the 1936 film.
"Ah Still Suits Me" is a comic duet written by Kern and Hammerstein for the 1936 film, and sung by the characters Joe and Queenie (Paul Robeson and Hattie McDaniel). The number was also included in the 1989 Paper Mill Playhouse production.[12]
"Nobody Else But Me" was written by Kern and Hammerstein for the 1946 Broadway revival, to be sung in the spot where Kim usually sings a reprise of "Why Do I Love You". This was the last song written by Kern; he died shortly before the 1946 production opened.[13] In the 1971 London stage revival, the song was sung by Julie, in a new scene written especially for that production. It is not sung in any film version of the show, but was frequently heard in stage revivals up until about the 1980s.
"Dandies on Parade" is a dance number arranged for the 1994 Broadway production by David Krane, largely from Kern's music.

text: Principal roles[edit]

text:
Cap'n Andy Hawks, the owner and captain of the Cotton Blossom show boat. He is the husband of Parthy Ann, and the father of Magnolia.
Magnolia Hawks, the daughter of Parthy and Cap'n Andy. She marries Gaylord Ravenal and becomes the mother of Kim.
Gaylord Ravenal, a handsome river boat gambler. Later, the husband of Magnolia and father of Kim.
Julie La Verne, the leading lady of the troupe and the wife of Steve.
Steve Baker, the leading man of the Cotton Blossom and protective husband of Julie.
Parthy Ann Hawks, the stern wife of Cap'n Andy.
Pete, the tough engineer of the Cotton Blossom who tries to flirt with Julie.
Joe, a dock worker on the boat, and the husband of Queenie.
Queenie, the ship's cook and the wife of Joe.
Frank Schultz, a performer on the boat who often plays the villain characters. He is married to Ellie.
Ellie, a singer and dancer in an act with her husband Frank.
Kim, the daughter of Magnolia and Gaylord.
Windy McClain, the pilot of the Cotton Blossom.

text: Production history[edit]

text: Original 1927 production[edit]

text: Ziegfeld previewed the show in a pre-Broadway tour from November 15 to December 19, 1927. The locations included the National Theatre in Washington, D.C., the Nixon Theatre in Pittsburgh, the Ohio Theatre in Cleveland, and the Erlanger Theatre in Philadelphia.[14][15] The show opened on Broadway at the Ziegfeld Theatre on December 27, 1927. The critics were immediately enthusiastic, and the show was a great popular success, running a year and a half, for a total of 572 performances.

text: The production was staged by Oscar Hammerstein II.[16] Choreography for the show was by Sammy Lee. The original cast included Norma Terris as Magnolia Hawks and her daughter Kim (as an adult), Howard Marsh as Gaylord Ravenal, Helen Morgan as Julie LaVerne, Jules Bledsoe as Joe, Charles Winninger as Cap'n Andy Hawks, Edna May Oliver as Parthy Ann Hawks, Sammy White as Frank Schultz, Eva Puck as Ellie May Chipley, and Tess Gardella as Queenie. The orchestrator was Robert Russell Bennett, and the conductor was Victor Baravalle. The scenic design for the original production was by Joseph Urban, who had worked with Ziegfeld for many years in his Follies and had designed the elaborate new Ziegfeld Theatre itself. Costumes were designed by John Harkrider.[17]

text: In his opening night review for the New York Times, Brooks Atkinson called the book's adaptation "intelligently made", and the production one of "unimpeachable skill and taste". He termed Norma Terris "a revelation"; Charles Winninger "extraordinarily persuasive and convincing"; and Jules Bledsoe's singing "remarkably effective".[18]

text: Paul Robeson[edit]

text: The character Joe, the stevedore who sings "Ol' Man River", was expanded from the novel and written specifically by Kern and Hammerstein for Paul Robeson, already a noted actor and singer. Although he is the actor most identified with the role and the song, he was unavailable for the original production due to its opening delay. Jules Bledsoe premiered the part. Robeson played Joe in four notable productions of Show Boat: the 1928 London premier production, the 1932 Broadway revival, the 1936 film version and a 1940 stage revival in Los Angeles.

text: Reviewing the 1932 Broadway revival, the critic Brooks Atkinson described Robeson's performance: "Mr. Robeson has a touch of genius. It is not merely his voice, which is one of the richest organs on the stage. It is his understanding that gives 'Old Man River' an epic lift. When he sings...you realize that Jerome Kern's spiritual has reached its final expression."[19]

text: American revivals and 1936 film[edit]

text: After closing at the Ziegfeld Theatre in 1929, the original production toured extensively. The national company is notable for including Irene Dunne as Magnolia. Hattie McDaniel played Queenie in a 1933 West Coast production, joined by tenor Allan Jones as Ravenal.[20]

text: Dunne was soon offered a contract by RKO Studios and appeared in the 1936 Universal Studios film adaptation of Show Boat, as did Jones as Ravenal and McDaniel as Queenie. The film also featured Charles Winninger (Cap'n Andy), Helen Morgan (Julie), Sammy White (Frank), and Francis X. Mahoney (Rubberface) recreating their original Broadway stage roles.[21]

text: Show Boat was revived by Ziegfeld on Broadway in 1932 at the Casino Theatre with most of the original cast, but with Paul Robeson as Joe[22] and Dennis King as Ravenal.

text: In 1946, a major new Broadway revival was produced by Jerome Kern and Oscar Hammerstein II at the show's original home, the Ziegfeld Theatre. The 1946 revival featured a revised score and new song by Kern and Hammerstein, and a new overture and orchestrations by Robert Russell Bennett. The show was directed by Hammerstein and Hassard Short and featured Jan Clayton (Magnolia), Charles Fredricks (Ravenal), Carol Bruce (Julie), Kenneth Spencer (Joe), Helen Dowdy (Queenie), and Buddy Ebsen (Frank). The successful production ran for 418 performances and then toured extensively. Kern, however, died just weeks before the January 5, 1946 opening, making it the last show he worked on.

text: Additional New York revivals were produced in 1948 and 1954 at the New York City Center. The Music Theater of Lincoln Center company produced Show Boat in 1966 at the New York State Theater in a new production. It starred Barbara Cook (Magnolia), Constance Towers (Julie), Stephen Douglass (Ravenal), David Wayne (Cap'n Andy), Margaret Hamilton (Parthy) and William Warfield (Joe). It was produced by Richard Rodgers, and Robert Russell Bennett once again provided a new overture and revised orchestrations.

text: 1983 brought a production at the Kennedy Center, Washington, D.C., that starred Mickey Rooney as Cap'n Andy, and another at the Uris Theatre in New York. The latter revival was presented by Douglas Urbanski and starred Donald O'Connor as Cap'n Andy.[23]

text: In 1989 the Paper Mill Playhouse of Millburn, New Jersey, mounted a production which was noted for its intention to restore the show in accordance with the creators' original intentions. The production restored part of the original 1927 overture and one number discarded from the show after the Broadway opening, as well as the song Ah Still Suits Me, written by Kern and Hammerstein for the 1936 film version. It was directed by Robert Johanson and starred Eddie Bracken as Cap'n Andy. The Paper Mill production was preserved on videotape and broadcast on PBS.[12]

text: Livent Inc. presented the most recent major production of Show Boat on Broadway in 1994. Produced and directed by Harold Prince, it premiered in Toronto, Ontario, in 1993 prior to opening in New York on October 2, 1994, at the George Gershwin Theatre. It ran for 947 performances, Broadway's longest-running Show Boat to date.[24] This production went on tour, playing at the Kennedy Center; and it was also staged in London and Melbourne, Australia. Prince's production revived interest in the show by tightening the book, dropping and adding songs cut in various productions, and highlighting its racial elements. Perhaps the most notable change in the score was Prince's transforming "Why Do I Love You?" from a duet between Magnolia and Ravenal to a lullaby sung by Parthy Ann to Magnolia's baby girl. The change was partly to accommodate the song's being performed by stage actress Elaine Stritch. The love duet for Magnolia and Ravenal, "I Have the Room Above Her", originally written by Kern and Hammerstein for the 1936 film, was added to the production. Two new mime and dance "Montages" in Act 2 depicted the passage of time through changing styles of dance and music.[25]

text: London productions[edit]

text: The original London West End production of Show Boat opened May 3, 1928, at the Theatre Royal, Drury Lane and featured among the cast, Cedric Hardwicke as Capt. Andy,  Edith Day as Magnolia, Paul Robeson as Joe, and Alberta Hunter as Queenie.[26] Mabel Mercer, later famed as a cabaret singer, was in the chorus. Other West End presentations include a 1971 production at the Adelphi Theatre, which ran for 909 performances.[15][27]

text: The Hal Prince production ran at the Prince Edward Theatre in 1998,[28] and was nominated for the Olivier Award, Outstanding Musical Production (1999).[29] Other notable revivals in England have included the joint Opera North/Royal Shakespeare Company production of 1989,[14] which ran at the London Palladium in 1990, and the 2006 production directed by Francesca Zambello, presented by Raymond Gubbay at London's Royal Albert Hall. It was the first fully staged musical production in the history of that venue.[30]

text: A production was transferred from Sheffield's Crucible Theatre to London's New London Theatre with previews beginning on April 9, 2016, and an official opening on April 25 2016. It was directed by Daniel Evans using the Goodspeed Musicals version of the show. The cast included Gina Beck as Magnolia, Lucy Briers as Parthy Ann and Malcolm Sinclair as Cap'n Andy.[31][32] Despite very favorable reviews, the show closed at the end of August 2016.[33]

text: Adaptations[edit]

text: Film and television[edit]

text: Show Boat has been adapted for film three times, and for television once.

text:
1929 Show Boat. Universal. Released in silent and partial sound versions. Not a film version of the musical; its plot is based on the original Edna Ferber novel. Immediately after the silent film was completed, a prologue with some music from the show was filmed and added to a part-talkie version of the same film, which was released with two sound sequences.
1936 Show Boat. Universal. Directed by James Whale. A mostly faithful film version of the show, featuring four members of the original Broadway cast. Screenplay by Oscar Hammerstein II; music arrangements by Robert Russell Bennett; music direction and conducting by Victor Baraville.
1946 Till the Clouds Roll By. MGM. In this fictionalized film biography of composer Jerome Kern (played by Robert Walker), Show Boat's 1927 opening night on Broadway is depicted in a lavishly staged fifteen-minute medley of six of the show's songs. The number features Kathryn Grayson, Tony Martin, Lena Horne, Virginia O'Brien, Caleb Peterson, and William Halligan as, respectively, Magnolia, Ravenal, Julie, Ellie, Joe, and Cap'n Andy.
1951 Show Boat. MGM. Somewhat revised Technicolor film version. Follows the basic storyline and contains many songs from the show, but makes many changes in the details of plot and character. The most financially successful and frequently revived of the three film versions.
1989 A live performance by the Paper Mill Playhouse was videotaped for television and shown on Great Performances on PBS. It contains more of the songs (and fewer cuts) than any of the film versions. It includes the choral number "Let's Start the New Year", which was dropped from the show before its Broadway opening, and "Ah Still Suits Me", a song written by Kern and Hammerstein for the 1936 film version of the show.[12]

text: Radio[edit]

text: Show Boat was adapted for live radio at least seven times. Due to network censorship rules, many of the radio productions eliminated the miscegenation aspect of the plot. Notable exceptions were the 1940 Cavalcade of America broadcast[34] and the 1952 Lux Radio Theatre broadcast.

text:
Campbell Playhouse (CBS Radio, March 31, 1939). Directed and introduced by Orson Welles. This was a non-musical version of the story that was based more closely on Edna Ferber's novel than on the musical. From the original stage cast Helen Morgan repeated her portrayal of Julie, here singing one song not from the musical. Welles portrayed Cap'n Andy, Margaret Sullavan was Magnolia, and author Edna Ferber made her acting debut as Parthy. This version made Julie into an illegal alien who must be deported.
Cavalcade of America (NBC Radio, May 28, 1940). A half-hour dramatization with Jeanette Nolan, John McIntire, Agnes Moorehead and the Ken Christy Chorus. Although brief, it was remarkably faithful to the original show.
Lux Radio Theatre (CBS, June 1940). Introduced and produced by Cecil B. DeMille, it featured Irene Dunne, Allan Jones, and Charles Winninger, all of whom were in the 1936 film version. In this condensed version some songs from the show were sung, but Julie was played by a non-singing Gloria Holden. This version made the biracial Julie a single woman. Only a few lines of Ol' Man River were heard, sung by a chorus. While supposedly based on the 1936 film, this production used the ending of the original show, which the film did not use.
Radio Hall of Fame (1944). This production featured Kathryn Grayson, playing Magnolia for the first time.[15] Also in the cast were Allan Jones as Ravenal, Helen Forrest as Julie, Charles Winninger as Cap'n Andy, Ernest Whitman as Joe, and Elvia Allman as Parthy.
The Railroad Hour (ABC Radio, 1950). Condensed to a half-hour, this version featured singers Dorothy Kirsten, Gordon MacRae, and Lucille Norman. "Ol' Man River" was sung by MacRae instead of by an African-American singer. Explanation of Julie and Steve's departure went completely unmentioned in this version.
Lux Radio Theatre (CBS, February 1952). A radio version of the 1951 MGM film featuring Kathryn Grayson, Ava Gardner, Howard Keel, and William Warfield from the film's cast. Jay C. Flippen portrayed Cap'n Andy. This version was extremely faithful to the 1951 film adaptation.[35]
In 2011, a two-part version was broadcast on BBC Radio 4 in the Classic Serial spot. Solely based on the novel by Edna Ferber, it was dramatized by Moya O'Shea, and was produced and directed by Tracey Neale. It starred Samantha Spiro as Magnolia, Ryan McCluskey as Ravenal, Nonso Anozie as Joe, Tracy Ifeachor as Queenie, Laurel Lefkow as Parthy, Morgan Deare as Cap'n Andy and Lysette Anthony as Kim. Original music was by Neil Brand.[36]
On June 16, 2012, a revival of the musical by Lyric Opera of Chicago was broadcast by WFMT-Radio of Chicago.[37] This production of Show Boat reinstated the songs Mis'ry's Comin' Round, Till Good Luck Comes My Way and Hey, Feller!. It marked the first time a virtually complete version of Show Boat had ever been broadcast on radio.

text: Concert hall[edit]

text: In 1941, the Cleveland Orchestra, under the direction of Artur Rodziński, premiered the orchestral work Show Boat: A Scenario for Orchestra , a 22-minute orchestral work weaving together many themes from the show. Rodziński and the orchestra recorded it that same year,[38] and there have been several modern recordings of the work since, notably one by John Mauceri and the Hollywood Bowl Orchestra.[39]

text: Selected recordings[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2015) (Learn how and when to remove this template message)

text:
1928 – original London cast album, with the show's original orchestrations. This was released in England on 78 rpm records years before being sold in the United States. Because the U.S. had not yet begun making original cast albums of Broadway shows, the 1927 Broadway cast as a whole was never recorded performing the songs, although Jules Bledsoe, Helen Morgan, and Tess Gardella did record individual numbers from it. The cast on the 1928 London album included Edith Day, Howett Worster, Marie Burke and Alberta Hunter. Due to contractual restrictions, cast member Paul Robeson was replaced on the album as Joe by his understudy, baritone Norris Smith. But that same year, Robeson, with the same chorus that accompanied him in the show, did record "Ol' Man River" in its original orchestration. That recording was later released separately. His rendition appears on the EMI CD "Paul Robeson Sings 'Ol' Man River' and Other Favorites".
1932 – studio cast recording on 78rpm by Brunswick Records. Later re-released by Columbia Records on 78rpm, 33-1/3rpm and briefly on CD. This recording featured Helen Morgan, Paul Robeson, James Melton, Frank Munn, and Countess Olga Albani, and was issued in conjunction with the 1932 revival of the show, although it was not strictly an "original cast" album of that revival. The orchestra was conducted by Victor Young, and the original orchestrations and vocal arrangements were not used.
1946 – Broadway revival cast recording. Issued on 78rpm, LP and CD. The 78-RPM and LP versions were issued by Columbia, the CD by Sony. This was the first American recording of Show Boat which used the cast, conductor, and orchestrations of a major Broadway revival of the show. (Robert Russell Bennett's orchestrations for this revival thoroughly modified his original 1927 orchestrations.) Jan Clayton, Carol Bruce, Charles Fredericks, Kenneth Spencer, and Colette Lyons were featured. Buddy Ebsen also appeared in the revival, but not on the album. Includes the new song "Nobody Else But Me".
1951 – MGM Records soundtrack album, with cast members of the 1951 film version. The first film soundtrack of Show Boat to be issued on records. Appeared both on 45rpm and 33-1/3rpm, later on CD in a much expanded edition. Actress Ava Gardner, whose singing voice was replaced by Annette Warren's in the film, is heard singing on this album. The expanded version on CD contains both Warren's and Gardner's vocal tracks. This marked the recording debut of William Warfield, who played Joe and sang "Ol' Man River" in the film. Orchestrations were by Conrad Salinger, Robert Franklyn, and Alexander Courage.
1956 – RCA Victor studio cast album conducted by Lehman Engel. This album featured more of the score on one LP than had been previously recorded. It featured a white singer, famed American baritone Robert Merrill, as both Joe and Gaylord Ravenal. Other singers included Patrice Munsel as Magnolia and Rise Stevens as Julie. Issued on CD in 2009, but omitting Frank and Ellie's numbers, which had been sung on the LP version by Janet Pavek and Kevin Scott.[40] The original orchestrations were not used.
1958 – RCA Victor studio cast album. The first Show Boat in stereo, this recording starred Howard Keel (singing "Ol' Man River" as well as Gaylord Ravenal's songs), Anne Jeffreys, and Gogi Grant, and did not use the original orchestrations. It was issued on CD in 2010.[41]
1959 – EMI British studio cast album. It featured Marlys Walters as Magnolia, Don McKay as Ravenal, Shirley Bassey as Julie, Dora Bryan as Ellie, and Inia Te Wiata singing "Ol' Man River".
1962 – Columbia studio cast album. Starring Barbara Cook, John Raitt, Anita Darian, and William Warfield, this was the first "Show Boat" recording issued on CD. Although Robert Russell Bennett was uncredited, this used several of his orchestrations for the 1946 revival of the show, together with some modifications.
1966 – Lincoln Center cast album. Issued by RCA Victor, it featured Cook, Constance Towers, Stephen Douglass, and William Warfield. Robert Russell Bennett's orchestrations were modified even further. Also available on CD.
1971 – London revival cast album. Jazz singer Cleo Laine, soprano Lorna Dallas, tenor Andre Jobin, and bass-baritone Thomas Carey were the leads. It used completely new orchestrations bearing almost no resemblance to Robert Russell Bennett's. This was the first 2-LP album of Show Boat. It included more of the score than had been previously put on records. Issued later on CD.
1988 – EMI studio cast album. This is a three-CD set which, for the first time, contained the entire score of the show, with the authentic 1927 orchestrations, uncensored lyrics, and vocal arrangements. The cast includes Frederica von Stade, Jerry Hadley, Teresa Stratas, Karla Burns, Bruce Hubbard, and Paige O'Hara. The album is conducted by John McGlinn.
1993 – Toronto revival cast recording, starring Rebecca Luker, Mark Jacoby, Lonette McKee, Robert Morse, Elaine Stritch and Michel Bell (as Joe).

text: There have been many other studio cast recordings of Show Boat in addition to those mentioned above. The soundtrack of the 1936 film version has appeared on a so-called "bootleg" CD label called Xeno.[42]

text: Racial issues[edit]

text: Integration[edit]

text: Show Boat boldly portrayed racial issues and was the first racially integrated musical, in that both black and white performers appeared and sang on stage together.[43] Ziegfeld’s Follies featured solo African American performers such as Bert Williams, but would not have included a black woman in the chorus. Show Boat was structured with two choruses – a black chorus and a white chorus. One commentator noted that "Hammerstein uses the African-American chorus as essentially a Greek chorus, providing clear commentary on the proceedings, whereas the white choruses sing of the not-quite-real."[44] In Show Boat Jerome Kern used the AABA-chorus form exclusively in songs sung by African American characters (Ole Man River, Can't Help Lovin' dat Man), a form that later would be regarded as typical of 'white' popular music.[45]

text: Show Boat was the first Broadway musical to seriously depict an interracial marriage, as in Ferber's original novel, and to feature a character of mixed race who was "passing" for white.  (Although the musical comedy Whoopee! (1930), starring Eddie Cantor, supposedly depicted a romance between a mixed-blood Native American man and a white woman, the man turns out to be white.[46])

text: Language and stereotypes[edit]

text: The word "nigger"[edit]

text: The show has generated controversy for the subject matter of interracial marriage, the historical portrayal of blacks working as laborers and servants in the 19th-century South, and the use of the word niggers in the lyrics (this is the first word in the opening chorus of the show). Originally the show opened with the black chorus onstage singing:

text: In subsequent productions, "niggers" has been changed to "colored folk", to "darkies", and in one choice, "Here we all", as in "Here we all work on the Mississippi. Here we all work while the white folks play." In the 1966 Lincoln Center production of the show, produced two years after the Civil Rights Act of 1964 was passed, this section of the opening chorus was omitted rather than having words changed. The 1971 London revival used "Here we all work on the Mississippi". The 1988 CD for EMI restored the original 1927 lyric, while the Harold Prince revival chose "colored folk".[48][49][50]

text: The Paper Mill Playhouse production, videotaped and telecast by PBS in 1989, used the word "nigger" when said by an unsympathetic character, but otherwise used the word "Negro".

text: Many critics believe that Kern and Hammerstein wrote the opening chorus to give a sympathetic voice to an oppressed people, and that they intended its use in an ironic way, as it had so often been used in a derogatory way. They wanted to alert the audience to the realities of racism:

text: 'Show Boat  begins with the singing of that most reprehensible word – nigger – yet this is no coon song... [it] immediately establishes race as one of the central themes of the play. This is a protest song, more ironic than angry perhaps, but a protest nonetheless. In the singers' hands, the word nigger has a sardonic tone... in the very opening, Hammerstein has established the gulf between the races, the privilege accorded the white folks and denied the black, and a flavor of the contempt built into the very language that whites used about African Americans. This is a very effective scene.... These are not caricature roles; they are wise, if uneducated, people capable of seeing and feeling more than some of the white folk around them.[44]

text: The racial situations in the play provoke thoughts of how hard it must have been to be black in the South. In the dialogue, some of the blacks are called "niggers" by the white characters in the story. (Contrary to what is sometimes thought, black slavery is not depicted in the play; U.S. slavery was abolished by 1865, and the story runs from the 1880s to the late 1920s.) At first, it is shocking to believe they are allowed to use a word that negative at all in a play... But in the context in which it is used, it is appropriate due to the impact it makes. It reinforces how much of a derogatory term "nigger" was then and still is today.[51]

text: The word has not been used in any of the film versions of the musical. In the show, the Sheriff refers to Steve and Julie as having "nigger blood." In the 1936 and 1951 film versions, this was changed to "Negro blood". Likewise, the unsympathetic Pete calls Queenie a "nigger" in the stage version, but refers to her as "colored" in the 1936 film, and does not use either word in the 1951 film.

text: African-American English[edit]

text: Those who consider Show Boat racially insensitive often note that the dialogue and lyrics of the black characters (especially the stevedore Joe and his wife Queenie) and choruses use various forms of African American Vernacular English. An example of this is shown in the following text:

text: Whether or not such language is an accurate reflection of the vernacular of blacks in Mississippi at the time, the effect of its usage has offended some critics, who see it as perpetuating racial stereotypes.[53] The character Queenie (who sings the above verses) in the original production was played not by an African American but by the Italian-American actress Tess Gardella in blackface (Gardella was perhaps best known for portraying Aunt Jemima in blackface).[54] Attempts by non-black writers to imitate black language stereotypically in songs like "Ol' Man River" was alleged to be offensive, a claim that was repeated eight years later by critics of Porgy and Bess.[55] But such critics sometimes acknowledged that Hammerstein's intentions were noble, since "'Ol' Man River' was the song in which he first found his lyrical voice, compressing the suffering, resignation, and anger of an entire race into 24 taut lines and doing it so naturally that it's no wonder folks assume the song's a Negro spiritual."[56]

text: The theatre critics and veterans Richard Eyre and Nicholas Wright believe that Show Boat was revolutionary, not only because it was a radical departure from the previous style of plotless revues, but because it was a show written by non-blacks that portrayed blacks sympathetically rather than condescendingly:

text: Instead of a line of chorus girls showing their legs in the opening number singing that they were happy, happy, happy, the curtain rose on black dock-hands lifting bales of cotton, and singing about the hardness of their lives. Here was a musical that showed poverty, suffering, bitterness, racial prejudice, a sexual relationship between black and white, a love story which ended unhappily – and of course show business. In "Ol' Man River" the black race was given an anthem to honor its misery that had the authority of an authentic spiritual.[57]

text: Revisions and cancellations[edit]

text: Since the musical's 1927 premiere, Show Boat has both been condemned as a prejudiced show based on racial caricatures and championed as a breakthrough work that opened the door for public discourse in the arts about racism in America. Some productions (including one planned for June 2002 in Connecticut) have been cancelled because of objections.[58]

text: Such cancellations have been criticized by supporters of the arts. After planned performances by an amateur opera company in Middlesbrough, England were "stopped because [they] would be 'distasteful' to ethnic minorities", a local newspaper declared that the actions were "surely taking political correctness too far".[59] A British theatre writer was concerned that "the kind of censorship we've been talking about – for censorship it is – actually militates against a truly integrated society, for it emphasizes differences. It puts a wall around groups within society, dividing people by creating metaphorical ghettos, and prevents mutual understanding".[59] Specifically, the cancellation was based on protests of plans to have all the black roles to be played in this production by white actors in blackface, as the company had no black members.[60]

text: As attitudes toward race relations have changed, producers and directors have altered some content to make the musical more "politically correct": "Show Boat, more than many musicals, was subject to cuts and revisions within a handful of years after its first performance, all of which altered the dramatic balance of the play."[44]

text: 1993 revival[edit]

text: The 1993 Hal Prince revival, originating in Toronto, was deliberately staged to cast attention on racial disparities; throughout the production, African-American actors constantly cleaned up messes, appeared to move the sets (even when hydraulics actually moved them), and performed other menial tasks.[61] After a New Year's Eve ball, all the streamers fell on the floor and African Americans immediately began sweeping them away. A montage in the second act showed time passing using the revolving door of the Palmer House in Chicago, with newspaper headlines being shown in quick succession, and snippets of slow motion to highlight a specific moment, accompanied by brief snippets of Ol' Man River. African-American dancers were seen performing a specific dance, and this would change to a scene showing white dancers performing the same dance. This was meant to illustrate how white performers "appropriated" the music and dancing styles of African Americans. Earlier productions of Show Boat, even the 1927 stage original and the 1936 film version, did not go this far in social commentary.[62]

text: During the production in Toronto, many black community leaders and their supporters expressed opposition to the show, protesting in front of the theatre, "shouting insults and waving placards reading SHOW BOAT SPREADS LIES AND HATE and SHOW BOAT = CULTURAL GENOCIDE".[63] Various theatre critics in New York, however, commented that Prince highlighted racial inequality in his production as to show its injustice, as well as to show the historical suffering of blacks. A critic noted that he included "an absolutely beautiful piece of music cut from the original production and from the movie ["Mis'ry's Comin' Round"] ... a haunting gospel melody sung by the black chorus. The addition of this number is so successful because it salutes the dignity and the pure talent of the black workers and allows them to shine for a brief moment on the center stage of the showboat".[61]

text: Analysis[edit]

text: Many commentators, both black and non-black, view the show as an outdated and stereotypical commentary on race relations that portrays blacks in a negative or inferior position. Douglass K. Daniel of Kansas State University has commented that it is a "racially flawed story",[64] and the African-Canadian writer M. Nourbese Philip claims:

text: The affront at the heart of Show Boat is still very alive today. It begins with the book and its negative and one-dimensional images of Black people, and continues on through the colossal and deliberate omission of the Black experience, including the pain of a people traumatized by four centuries of attempted genocide and exploitation. Not to mention the appropriation of Black music for the profit of the very people who oppressed Blacks and Africans. All this continues to offend deeply. The ol' man river of racism continues to run through the history of these productions and is very much part of this (Toronto) production. It is part of the overwhelming need of white Americans and white Canadians to convince themselves of our inferiority – that our demands don't represent a challenge to them, their privilege and their superiority.[53]

text: Supporters of the musical believe that the depictions of racism should be regarded not as stereotyping blacks but rather satirizing the common national attitudes that both held those stereotypes and reinforced them through discrimination. In the words of The New Yorker theatre critic John Lahr:

text: Describing racism doesn't make Show Boat racist. The production is meticulous in honoring the influence of black culture not just in the making of the nation's wealth but, through music, in the making of its modern spirit."[1]

text: As described by Joe Bob Briggs:

text: Those who attempt to understand works like Show Boat and Porgy and Bess through the eyes of their creators usually consider that the show "was a statement AGAINST racism. That was the point of Edna Ferber's novel. That was the point of the show. That's how Oscar wrote it...I think this is about as far from racism as you can get."[65]

text: According to Rabbi Alan Berg, Kern and Hammerstein's score to Show Boat is "a tremendous expression of the ethics of tolerance and compassion".[66] As Harold Prince (not Kern, to whom the quote has been mistakenly attributed) states in the production notes to his 1993 production of the show:

text: Throughout pre-production and rehearsal, I was committed to eliminate any inadvertent stereotype in the original material, dialogue which may seem "Uncle Tom" today... However, I was determined not to rewrite history. The fact that during the 45-year period depicted in our musical there were lynchings, imprisonment, and forced labor of the blacks in the United States is irrefutable. Indeed, the United States still cannot hold its head high with regard to racism.

text: Oscar Hammerstein's commitment to idealizing and encouraging tolerance theatrically started with his libretto to Show Boat. It can be seen in his later works, many of which were set to music by Richard Rodgers.[67] Carmen Jones is an attempt to present a modern version of the classic French opera through the experiences of African Americans during wartime, and South Pacific explores interracial marriage and prejudice. Finally, The King and I deals with different cultures' preconceived notions regarding each other and the possibility for cultural inclusiveness in societies.

text: Regarding the original author of Show Boat, Ann Shapiro states that

text: Edna Ferber was taunted for being Jewish; as a young woman eager to launch her career as a journalist, she was told that the Chicago Tribune did not hire women reporters. Despite her experience of antisemitism and sexism, she idealized America, creating in her novels an American myth where strong women and downtrodden men of any race prevail... [Show Boat] create[s] visions of racial harmony... in a fictional world that purported to be America but was more illusion than reality. Characters in Ferber's novels achieve assimilation and acceptance that was periodically denied Ferber herself throughout her life.[68]

text: Whether or not the show is racist, many contend that productions of it should continue as it serves as a history lesson of American race relations. According to African-American opera singer Phillip Boykin, who played the role of Joe in a 2000 tour,

text: Whenever a show deals with race issues, it gives the audience sweaty palms. I agree with putting it on the stage and making the audience think about it. We see where we came from so we don't repeat it, though we still have a long way to go. A lot of history would disappear if the show was put away forever. An artist must be true to an era. I'm happy with it.[69]

text: Notes[edit]

text:
^ Jump up to: a b Lahr, John (October 27, 1993). "Mississippi Mud". The New Yorker: 123–126.

Jump up ^ "American Musical Theatre: An Introduction", theatrehistory.com, republished from The Complete Book of Light Opera. Mark Lubbock. New York: Appleton-Century-Crofts, 1962, pp. 753–56, accessed December 3, 2008

Jump up ^ "Olivier Winners, 1991" Archived 2013-06-02 at the Wayback Machine. olivierawards.com, accessed August 10, 2012

^ Jump up to: a b Block, pp. 22–23

^ Jump up to: a b Kantor and Maslon, pp. 112–19

Jump up ^ Bloom and Vlastnik, pp. 290–93

Jump up ^ Block, p. 24.

Jump up ^ "Be Happy, Too", Ovrtur.com, accessed January 16, 2016

Jump up ^ "After the Ball". Tin Pan Alley Project. Retrieved May 28, 2010.

Jump up ^ Raymond Knapp. The American Musical, 2005: Princeton University Press.

^ Jump up to: a b c "Soundtracks for Show Boat (1929)". Internet Movie Database. Retrieved June 12, 2010.

^ Jump up to: a b c Klein, Alvin (June 11, 1989). "Theater; A 'Show Boat' as It's Meant to Be". New York Times.

Jump up ^ "Album Review:Show Boat 1946 Broadway Revival Cast". Answers.com. Retrieved May 15, 2010.

^ Jump up to: a b Vancheri, Barbara. "'Show Boat' continues successful voyage". Post-Gazette, August 23, 1998. Retrieved January 6, 2006.

^ Jump up to: a b c Kreuger, Miles (1977). Show Boat: The Story of a Classic American Musical. New York: Oxford University Press. pp. 226–27.

Jump up ^ Zeke Colvan was officially credited as director of the production, but in his 1977 book Show Boat: The History of a Classic American Musical, musical historian Miles Kreuger says that when he interviewed Oscar Hammerstein II months before the latter's death, the always modest Hammerstein admitted that now that Colvan was dead, he could finally state that it was he (Hammerstein) who had directed the original production of the show, and that Colvan had actually served as stage manager.

Jump up ^ "John Harkrider". Answers.com. Retrieved May 24, 2010.

Jump up ^ Atkinson, J. Brooks (December 28, 1927). "Show Boat". New York Times.

Jump up ^ Atkinson, J. Brooks (May 20, 1932). "THE PLAY; Show Boat" as Good as New". New York Times.

Jump up ^ "Show Boat", Criterion Collection, Accessed November 27, 2012

Jump up ^ Show Boat, IMDB.com, Accessed November 27, 2012

Jump up ^ Advertisement for Show Boat 1932, Global Performing Arts Database, accessed April 29, 2010

Jump up ^ Broadway.

Jump up ^ "Show Boat". Internet Broadway Database. Retrieved May 28, 2010.

Jump up ^ Barbara Isenberg (October 9, 1994). "Prince at the Helm". Los Angeles Times.

Jump up ^ "Show Boat, London Production, 1928". ovrtur.com. Retrieved June 12, 2010.

Jump up ^ Information about 1971 West End revival

Jump up ^ "'Show Boat', Prince Edward Theatre, 1998" albemarle-london.com, accessed August 10, 2012

Jump up ^ "Olivier Winners 1999" Archived January 17, 2012, at the Wayback Machine. olivierawards.com, accessed August 10, 2012

Jump up ^ Dowden, Neil (June 6, 2006). "Show Boat at Royal Albert Hall". OMH. Retrieved November 27, 2012.

Jump up ^ "West End transfer for critically acclaimed Show Boat", Best of Theatre, February 11, 2016

Jump up ^ Billington, Michael. "Show Boat: the classic musical still shipshape after all these years", The Guardian, April 26, 2016

Jump up ^ "Despite five-star reviews, Show Boat closes five months early on 27 Aug", StageFaves.com, May 10, 2016

Jump up ^ "Archived copy". Archived from the original on 2011-07-26. Retrieved 2011-02-03.

Jump up ^ https://archive.org/details/Lux17

Jump up ^ "'Show Boat', Episode 1 of 2, 20 Feb 2011 and 26 Feb 2011" bbc.co.uk, accessed Febriaru 21, 2011

Jump up ^ "Archived copy". Archived from the original on 2012-06-03. Retrieved 2012-06-16.

Jump up ^ https://archive.org/details/KernShowBoat-AScenarioForOrchestra

Jump up ^ http://www.cduniverse.com/search/xx/music/pid/1453173/a/Hollywood+Bowl+On+Broadway.htm

Jump up ^ https://www.amazon.com/dp/B002QEXN0M

Jump up ^ https://www.amazon.com/dp/B003PIUC9I?qi

Jump up ^ "Show Boat (1936 Soundtrack)". Retrieved November 28, 2012.

Jump up ^ Despite its technical correctness, that Show Boat deserves this title has been disputed by some. See note No. 5 and corresponding text

^ Jump up to: a b c Keeling, Richard (a.k.a. musickna) (December 8, 2005). Music  –  "Show Boat". Blogger.com. Retrieved January 2, 2006

Jump up ^ Appen, Ralf von / Frei-Hauenschild, Markus "AABA, Refrain, Chorus, Bridge, Prechorus — Song Forms and their Historical Development". In: Samples. Online Publikationen der Gesellschaft für Popularmusikforschung/German Society for Popular Music Studies e.V. Ed. by Ralf von Appen, André Doehring and Thomas Phleps. Vol. 13 (2015), p. 14-15.

Jump up ^ Whoopee!, ibdb.com, Accessed November 27, 2012

Jump up ^ Hammerstein, Oscar II (1927). [1] Cotton Blossom Lyrics from Show Boat

Jump up ^ "Life Upon the Wicked Stage: Director Francesca Zambello on why "Show Boat" remains relevant". February 15, 2012. Retrieved November 28, 2012.

Jump up ^ "Show Boat (1951) – FAQ". Retrieved November 28, 2012.

Jump up ^ Thomas, Bob (August 20, 1991). "'Show Boat' Just Keeps Rolling Along". The Times Daily.

Jump up ^ Cronin, Patricia (June 1997). "Timeless 'Show Boat' Just Keeps on Rolling Along". Retrieved January 5, 2006.

Jump up ^ "Queenie's Ballyhoo Lyrics from Show Boat". Retrieved November 28, 2012.

^ Jump up to: a b Philip, M. Nourbese (1993). Showing Grit: Showboating North of the 44th Parallel (2nd ed.). Out of print. p. 59. Retrieved December 13, 2005

Jump up ^ Tess Gardella. The Actresses of Italian Origin Notebook. Retrieved January 14, 2006

Jump up ^ Ellison, Cori. "Porgy and the Racial Politics of Music", New York Times, December 13, 1998.

Jump up ^ Steyn, Mark (December 5, 1997). "Where Have You Gone, Oscar Hammerstein?". Slate. Retrieved January 5, 2006.

Jump up ^ Eyre, Richard; & Wright, Nicholas. Changing Stages: A View of British and American Theatre in the Twentieth Century. Random House. Retrieved December 31, 2005

Jump up ^ Norvell, Scott; & S., Jon (March 18, 2002). "The Show Can't Go On". Fox News. Retrieved January 2, 2006

^ Jump up to: a b Lathan, Peter (October 24, 1999). "A More Subtle Form of Censorship". The British Theatre Guide. Retrieved January 14, 2006

Jump up ^ "Production of Show Boat is sunk after race row over 'blacked-up' actors". Daily Mail. London. October 23, 2007.

^ Jump up to: a b Saviola, Gerard C. "Show Boat – Review of 1994 production", American Studies at University of Virginia, April 1, 1997, accessed January 5, 2006

Jump up ^ Richards, David (October 3, 1994). "Show Boat; Classic Musical With a Change in Focus". The New York Times. Retrieved November 27, 2012.

Jump up ^ Henry, William A. III (November 1, 1993)

Jump up ^ Daniel, Douglass K. "They Just Keep Rolling Along: Images of Blacks in Film Versions of Show Boat". Association for Education in Journalism and Mass Communication, Minorities and Communication Division. Retrieved December 31, 2005[dead link]

Jump up ^ Briggs, Joe Bob (May 7, 1993). Joe Bob Goes to the Drive In. The Joe Bob Report

Jump up ^ Laporte, Elaine. Why do Jews sing the blues?. The Jewish News Weekly of Northern California, February 9, 1996

Jump up ^ Gomberg, Alan (February 16, 2004). Making Americans: Jews and the Broadway Musical  –  Book Review. What's New on the Rialto?. Retrieved January 6, 2006

Jump up ^ Shapiro, Ann R. (2001). "Edna Ferber, Jewish American Feminist"[permanent dead link], Shofar: An Interdisciplinary Journal of Jewish Studies, vol. 20, #2, pp. 52–60

Jump up ^ Regan, Margaret. "Facing the Music – A Revival of Show Boat Confronts the Production's Historical Racism", Tucson Weekly, April 13, 2000, accessed July 2, 2016

tag: ol


document_title: Right-to-work law

question_text: when did indiana became a right to work state

root

text: Right-to-work law

text: History[edit]

text: Origins[edit]

text:
According to Slate,
right-to-work laws are derived from legislation forbidding unions from forcing strikes on workers, as well as from legal principles such as liberty of contract, which as applied here sought to prevent passage of laws regulating workplace conditions.[8]

tag: p

text: According to PandoDaily and NSFWCORP, the term itself was coined by Vance Muse, a Republican operative who headed an early right-to-work group, the "Christian American Association", to replace the term "American Plan" after it became associated with the anti-union violence of the First Red Scare.[9][10] Muse used racist rhetoric in his defense of "right-to-work" laws.[9][10]

text: According to the Conservative think tank, the American Enterprise Institute, the term "right to work" was coined by Dallas Morning News editorial writer William Ruggles.[11]

text: (An unrelated use of term "right to work" had been coined by French socialist leader Louis Blanc before 1848.[12])

text: Wagner Act (1935)[edit]

text: The National Labor Relations Act, generally known as the Wagner Act, was passed in 1935 as part of President Franklin D. Roosevelt's "Second New Deal." Among other things, the Act provided that a company could lawfully agree to be any of the following:

text:
A closed shop, in which employees must be members of the union as a condition of employment. Under a closed shop, an employee who ceased being a member of the union for whatever reason, from failure to pay dues to expulsion from the union as an internal disciplinary punishment, was required to be fired even if the employee did not violate any of the employer's rules.
A union shop, which allows for hiring non-union employees, provided that the employees then join the union within a certain period.
An agency shop, in which employees must pay the equivalent of the cost of union representation, but need not formally join the union.
An open shop, in which an employee cannot be compelled to join or pay the equivalent of dues to a union or be fired for joining the union.[13]

tag: ul

text: The Act tasked the National Labor Relations Board, which had existed since 1933, with overseeing the rules.

text: Taft–Hartley Act (1947)[edit]

text: In 1947 Congress passed the Labor Management Relations Act of 1947, generally known as the Taft–Hartley Act, over President Harry S. Truman's veto. The Act repealed some parts of the Wagner Act, including outlawing the closed shop. Section 14(b) of the Taft–Hartley Act also authorizes individual states (but not local governments, such as cities or counties) to outlaw the union shop and agency shop for employees working in their jurisdictions. Any state law that outlaws such arrangements is known as a "right-to-work state."

text: In the early development of the right-to-work policy, segregationist sentiment was used as an argument, as many people in the South felt that it was wrong for blacks and whites to belong to the same unions. Vance Muse, one of the early developers of the policy in Texas, used that argument in the development of anti-union laws in Texas in the 1940s.[14]

text: Current status[edit]

text: The federal government operates under open shop rules nationwide, but many of its employees are represented by unions. Unions that represent professional athletes have written contracts that include particular representation provisions (such as in the National Football League),[15] but their application is limited to "wherever and whenever legal," as the Supreme Court has clearly held that the application of a right-to-work law is determined by the employee's "predominant job situs."[16]  Players on professional sports teams in states with right-to-work laws are thus subject to those laws and cannot be required to pay any portion of union dues as a condition of continued employment.[17]

text: Twenty-three states, as well as the District of Columbia, do not have right-to-work laws.

text: On November 18, 2016, the Sixth Circuit Court of Appeals upheld the right of local governments to enact local right-to-work laws in Kentucky, Ohio, and the other states of its jurisdiction.[18]

text: In August 2018, 67% of Missouri voters rejected a right-to-work with 33% voting in favor.[19][20][21]

text: Arguments[edit]

text: Minority rights and due process[edit]

text: The first arguments concerning the right to work centered on the rights of a dissenting minority with respect to an opposing majoritarian collective bargain. President  Franklin Roosevelt's New Deal had prompted many U.S. Supreme Court challenges, among which were challenges regarding the constitutionality of the National Industry Recovery Act of 1933 (NIRA).  In 1936, as a part of its ruling in Carter v. Carter Coal Co. the Court ruled against mandatory collective bargaining, stating:

text: The effect, in respect to wages and hours, is to subject the dissentient minority ... to the will of the stated majority .... To 'accept' in these circumstances, is not to exercise a choice, but to surrender to force. The power conferred upon the majority is, in effect, the power to regulate the affairs of an unwilling minority.  This is legislative delegation in its most obnoxious form; for it is not even delegation to an official or an official body ... but to private persons .... [A] statute which attempts to confer such power undertakes an intolerable and unconstitutional interference with personal liberty and private property. The delegation is so clearly arbitrary, and so clearly a denial of rights safeguarded by the due process clause of the Fifth Amendment, that it is unnecessary to do more than refer to decisions of this Court which foreclose the question.[22]

text: Freedom of association[edit]

text: Besides the U.S. Supreme Court, other proponents of right-to-work laws also point to the Constitution and the right to freedom of association.  They argue that workers should both be free to join unions or to refrain, and thus, sometimes refer to non-right-to-work states as forced unionism states.  These proponents argue that by being forced into a collective bargain, what the majoritarian unions call a fair share of collective bargaining costs is actually financial coercion and a violation of freedom of choice. An opponent to the union bargain is forced to financially support an organization they did not vote for, in order to receive monopoly representation they have no choice over.[23]

text: The Seventh-Day Adventist Church discourages the joining of unions,[24] citing the writings of Ellen White, one of the church's founders, and what writer Diana Justice calls the "Loss of free will" that occurs when a person joins a labor union.

text: Unfairness[edit]

text: Proponents such as the Mackinac Center for Public Policy contend that it is unfair that unions can require new and existing employees to either join the union or pay fees for collective bargaining expenses as a condition of employment under union security agreement contracts.[25] Other proponents contend that unions may still be needed in new and growing sectors of the economy, for example, the voluntary and third party sectors, to assure adequate benefits for new immigrant, "part-time" aides in America (e.g., US Direct Support Workforce).

text: Political contributions[edit]

text: Right-to-work proponents, including the Center for Union Facts, contend that political contributions made by unions are not representative of the union workers.[26] The agency shop portion of this had previously been contested with support of National Right to Work Legal Defense Foundation in Communications Workers of America v. Beck, resulting in "Beck rights" preventing agency fees from being used for expenses outside of collective bargaining if the non-union worker notifies the union of their objection.[27] The right to challenge the fees must include the right to have it heard by an impartial fact finder.[28] It should be noted that Beck applies only to unions in the private sector, given agency fees were struck down for public-sector unions in Janus v. AFSCME in 2018.

text: Cost of Living[edit]

text: States enforcing union security provisions in union collective bargaining agreements generally have a higher cost of living,[29][30] however, no systematic analysis identifies union security agreements as a significant cause of this variance.

text: Free riders[edit]

text: Opponents such as Richard Kahlenberg have argued that right-to-work laws simply "gives employees the right to be free riders—to benefit from collective bargaining without paying for it".[31][32][6][33]  In Abood v. Detroit BoE, the Supreme Court of the United States permitted public-sector unions to charge non-members agency fees so that employees in the public sector could be required to pay for the costs of representation, even as they opted not to be a member, as long as these fees are not spent on the union's political or ideological agenda. This decision was reversed, however, in Janus v. AFSCME, with the Supreme Court ruling that such fees violate the first amendment in the case of public-sector unions, since all bargaining by a public-sector union can be considered political activity.

text: Freedom of contract and association[edit]

text: Opponents argue that right-to-work laws restrict freedom of association, and limit the sorts of agreements individuals acting collectively can make with their employer, by prohibiting workers and employers from agreeing to contracts that include fair share fees.  Moreover, American law imposes a duty of fair representation on unions; consequently non-members in right to work states can and do force unions to provide without compensation grievance services that are paid for by union members.[34]

text: In December 2012,  libertarian writer J.D. Tuccille, in Reason magazine, wrote:

text: I consider the restrictions right-to-work laws impose on bargaining between unions and businesses to violate freedom of contract and association. ... I'm disappointed that the state has, once again, inserted itself into the marketplace to place its thumb on the scale in the never-ending game of playing business and labor off against one another. ... This is not to say that unions are always good. It means that, when the state isn't involved, they're private organizations that can offer value to their members.[35]

text: Corporate interests[edit]

text: The unions also contend that the National Right to Work Legal Defense Foundation and National Right to Work Committee have received millions of dollars in grants from foundations controlled by major U.S. industrialists like the New York-based Olin Foundation, Inc., which grew out of a family manufacturing business, but now funds primarily conservative think tanks, media outlets, and university law programs.[36][37]

text: Kahlenberg and Marvit also argue that, at least in efforts to pass a right-to-work law in Michigan, excluding police and firefighter unions—traditionally less hostile to Republicans—from the law caused some to question claims that the law was simply an effort to improve Michigan's businesses climate, not to seek partisan advantage.[31]

text: Studies of economic effect[edit]

text: According to Tim Bartik of the W. E. Upjohn Institute for Employment Research, studies of the effect of right-to-work laws abound, but are not consistent. Studies have found both "some positive effect on job growth," and no effect.[38]  Thomas Holmes argues that it is difficult to analyze right-to-work laws by comparing states due to other similarities between states that have passed these laws. For instance, right-to-work states often have some strong pro-business policies, making it difficult to isolate the effect of right-to-work laws.[39] Looking at the growth of states in the Southeast following World War II, Bartik notes that while they have right-to-work laws they have also benefited from "factors like the widespread use of air conditioning and different modes of transportation that helped decentralize manufacturing".[40]

text: Economist Thomas Holmes compared counties close to the border between states with and without right-to-work laws (thereby holding constant an array of factors related to geography and climate). He found that the cumulative growth of employment in manufacturing in the right-to-work states was 26 percentage points greater than that in the non-right-to-work states.[41] However, given the study design, Holmes points out "my results do not say that it is right-to-work laws that matter, but rather that the 'probusiness package' offered by right-to-work states seems to matter."[42] Moreover, as noted by Kevin Drum and others, this result may reflect business relocation rather than an overall enhancement of economic growth, since "businesses prefer locating in states where costs are low and rules are lax."[43]

text: A February 2011 study by the Economic Policy Institute found:[32]

text:
Wages in right-to-work states are 3.2% lower than those in non-RTW states, after controlling for a full complement of individual demographic and socioeconomic variables as well as state macroeconomic indicators. Using the average wage in non-RTW states as the base ($22.11), the average full-time, full-year worker in an RTW state makes about $1,500 less annually than a similar worker in a non-RTW state. The study goes on to say "How much of this difference can be attributed to RTW status itself? There is an inherent endogeneity problem in any attempt to answer that question, namely that RTW and non-RTW states differ on a wide variety of measures that are also related to compensation, making it difficult to isolate the impact of RTW status."[32]
The rate of employer-sponsored health insurance (ESI) is 2.6 percentage points lower in RTW states compared with non-RTW states, after controlling for individual, job, and state-level characteristics. If workers in non-RTW states were to receive ESI at this lower rate, 2 million fewer workers nationally would be covered.
The rate of employer-sponsored pensions is 4.8 percentage points lower in RTW states, using the full complement of control variables in [the study's] regression model. If workers in non-RTW states were to receive pensions at this lower rate, 3.8 million fewer workers nationally would have pensions.

text: A 2008 editorial in The Wall Street Journal comparing job growth in Ohio and Texas stated that from 1998 to 2008, Ohio lost 10,400 jobs, while Texas gained 1,615,000. The opinion piece suggested right-to-work laws might be among the reasons for the economic expansion in Texas, along with the North American Free Trade Agreement (NAFTA), and the absence of a state income tax in Texas.[44]  Another Wall Street Journal editorial in 2012, by the president and the labor policy director of the Mackinac Center for Public Policy, reported 71% employment growth in right-to-work states from 1980 to 2011, while employment in non-right-to-work states grew just 32% during the same period.[45] The 2012 editorial also stated that since 2001, compensation in right-to-work states had increased 4 times faster than in other states.[45]

text: Polling[edit]

text: In January 2012, in the immediate aftermath of passage of Indiana's right-to-work law, Rasmussen Reports found that 74% of likely U.S. voters supported right-to-work laws, but "most also don't think a non-union worker should enjoy benefits negotiated by the union."[46]

text: In Michigan in January through March 2013, a poll found that 43 percent of those polled thought the law would help Michigan's economy, while 41 percent thought it would hurt.[47]

text: U.S. states with right-to-work laws[edit]

text: The following states (27) are right-to-work states:

text:
Alabama (adopted 1953, Constitution 2016)
Arizona (Constitution, State Constitution Article 25 approved 1946)[48] (adopted 1944)
Arkansas (Constitution, 1947, Amendment 34)
Florida (Constitution, 1944, revised 1968, Article 1, Section 6)[49]
Georgia (adopted 1947)
Idaho (adopted 1985)
Indiana[4] (State law, 2012)
Iowa (adopted 1947)
Kansas (Constitution, 1958, Article 15, Section 12)
Kentucky (adopted 2017)
Louisiana (adopted 1976)
Michigan (State law, 2012)[3]
Mississippi (Constitution, adopted 1954)
Nebraska (Constitution and statute, adopted 1946)
Nevada (adopted 1951)
North Carolina (adopted 1947)
North Dakota (adopted 1947)
Oklahoma (Constitution, adopted 2001)
South Carolina[50] (adopted 1954)
South Dakota (adopted 1946)
Tennessee (adopted 1947)
Texas[51] (adopted 1947, revised 1993)
Utah (adopted 1955)
Virginia (adopted 1947)
West Virginia (adopted 2016) (Went into effect September 2017 due to lower court injunctions)
Wisconsin (adopted 2015)
Wyoming (adopted 1963)

text: In addition, the territory of Guam also has right-to-work laws, and employees of the US Federal Government have the right to choose whether or not to join their respective unions.[52]

text: New Hampshire adopted a right-to-work bill in 1947, but it was repealed in 1949 by the state legislature and governor.[53] Missouri's legislature passed a right-to-work bill in 2017, however, the law was put on hold by a voter-initiative ballot and was defeated by the state's voters in a 2018 referendum before it could take effect.[54]


document_title: Like Water for Chocolate

question_text: who is narrating the story like water for chocolate

text: Like Water for Chocolate

text: Plot[edit]

text: The book is divided into 12 sections named after the months of the year, starting in January and ending in December. Each section begins with a Mexican recipe. The chapters connect each dish to an event in the protagonist's life.[3]

text: Tita de la Garza, the novel's main protagonist, is 15 at the start of the story. She lives on a ranch near the Mexico—US border with her mother, Mamá Elena, and her older sisters Gertrudis and Rosaura.

text: Pedro is their neighbor, with whom Tita falls in love at first sight. The feeling turns out to be mutual, so Pedro asks Mamá Elena for Tita’s hand in marriage. Unfortunately, she forbids it, citing the de la Garza family tradition that the youngest daughter (in this case, Tita) must remain unmarried and take care of her mother until her mother's death. She suggests that Pedro marries Tita's sister, Rosaura, instead. In order to stay close to Tita, Pedro decides to follow this advice.

text: Tita has a deep connection with food and a love for cooking, enhanced by the fact that Tita's primary caretaker as a child was Nacha, the family cook. Her love for cooking also comes from the fact that she was born in the kitchen.

text: In preparation of the wedding, Tita is forced to prepare the cake with Nacha. While preparing the cake, Tita is overcome with sadness, and cries into the cake batter. At the wedding, everyone gets violently sick, vomiting everywhere. Suspecting Tita was behind the incident, Mama Elena punishes Tita. After the wedding, Nacha is found dead, with a picture of her fiancé.

text: Later, Pedro and Rosaura have a son, Roberto. Rosaura is unable to nurse Roberto, so Tita brings Roberto to her breast to stop the baby from crying. Tita begins to produce breast milk and is able to nurse the baby. This draws her and Pedro closer than ever. They begin meeting secretly, snatching their few times together by sneaking around the ranch and behind the backs of Mamá Elena and Rosaura.

text: Tita’s strong emotions become infused into her cooking, unintentionally affecting the people around her through her food. After one particularly rich meal of quail in rose petal sauce flavored with Tita’s erotic thoughts of Pedro, Gertrudis becomes inflamed with lust and leaves the ranch in order to make ravenous love to a revolutionary soldier on the back of a horse, later ending up in a brothel and subsequently disowned by her mother.

text: Rosaura and Pedro are forced to leave for San Antonio, Texas, at the urging of Mamá Elena, who suspects a relationship between Tita and Pedro. Rosaura loses her son Roberto and later becomes infertile from complications during the birth of her daughter, Esperanza.

text: Upon learning the news of her nephew's death, whom she cared for herself, Tita blames her mother, who responds by smacking Tita across the face with a wooden spoon. Tita, destroyed by the death of her beloved nephew and unwilling to cope with her mother's controlling ways, secludes herself in the dovecote until the sympathetic Dr. John Brown soothes and comforts her. Mamá Elena states there is no place for "lunatics" like Tita on the farm, and wants her to be institutionalized. However, the doctor decides to take care of Tita at his home instead. Tita develops a close relationship with Dr. Brown, even planning to marry him at one point, but her underlying feelings for Pedro do not waver.

text: While John is away, Tita loses her virginity to Pedro. A month later, Tita is worried she may be pregnant with Pedro’s child. Her mother's ghost taunts her, telling her that she and her child are cursed. Gertrudis visits the ranch for a special holiday and makes Pedro overhear about Tita’s pregnancy, causing Tita and Pedro to argue about running away together. This causes Pedro to get drunk and sing below Tita’s window while she is arguing with Mama Elena’s ghost. Just as she confirms she isn't pregnant and frees herself of her mother's grasp once and for all, Mamá Elena's ghost gets revenge on Tita by setting Pedro on fire, leaving him bedridden for a while and behaving like “a child throwing a tantrum”.[4] Meanwhile, Tita is preparing for John's return, and is hesitant to tell him that she cannot marry him because she is no longer a virgin. Rosaura comes to the kitchen while Tita is cooking and argues with her over Tita's involvement with Rosaura’s daughter Esperenza’s life and the tradition of the youngest daughter remaining at home to care for the mother until she dies, a tradition which Tita despises. She vows not to let it ruin her niece's life as it did hers. John and his deaf great-aunt come over and Tita tells him that she cannot marry him. John seems to accept it, “reaching for Tita’s hand...with a smile on his face”.[5]

text: Many years later, Tita is preparing for Esperanza’s and John's son Alex’s wedding to one another, now that Rosaura has died from digestive problems. During the wedding, Pedro proposes to Tita saying that he does not want to “die without making [Tita] [his] wife”.[6] Tita accepts and Pedro dies making love to her in the kitchen storage room right after the wedding. Tita is overcome with sorrow and cold, and begins to eat matches.[7] The matches are sparked by the heat of Pedro's memory, creating a spectacular fire that engulfs them both, eventually consuming the entire ranch.

text: The narrator of the story is the daughter of Esperanza, nicknamed "Tita", after her great-aunt. She describes how after the fire, the only thing that survived under the smoldering rubble of the ranch was Tita's cookbook, which contained all the recipes described in the preceding chapters.

text: Characters[edit]

text:
Josefita (Tita) de la Garza – main character; a talented cook and Pedro's lover
Pedro Muzquiz – Tita's lover, marries Rosaura to be closer to Tita.
Elena de la Garza (Mamá Elena) – Tita's mother who Tita thinks is cruel and controlling.
Gertrudis de la Garza – Tita's older sister, Mama Elena's illegitimate daughter. She runs away with Juan.
Rosaura de la Garza – Tita's oldest sister who marries Pedro; had a son (Roberto) who died. She later had a daughter (Esperanza)
Dr. John Brown – the family doctor who falls in love with Tita and has a son from a previous marriage.
Nacha – the family cook. She was like a mother to Tita.
Chencha – ranch maid for Mama Elena and her family; Married to Jesus
Roberto Muzquiz – son of Pedro and Rosaura. He dies young.
Esperanza Muzquiz – daughter of Pedro and Rosaura, she marries Alex Brown. She is also the mother of the narrator.
Alex Brown – son of John Brown, marries Esperanza.
Nicolas – the manager of the ranch.
Juan Alejandrez – the captain in the military who took Gertrudis and eventually marries her.
Jesus Martinez – Chencha's first love and husband.

text: Themes[edit]

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tag: table

text: Self growth[edit]

text: At the beginning of the novel, Tita was a generally submissive young lady. As the novel progresses, Tita learns to disobey the injustice of her mother, and gradually becomes more and more adept at expressing her inner fire through various means. Cooking through enlightenment she learned to express her feelings, and cope with her mother.

text: Violence[edit]

text: Mama Elena often resorts to violence as she forces Tita to obey her. Many of the responsibilities she imposes on Tita, especially those relating to Pedro and Rosaura's wedding, are blatant acts of cruelty, given Tita's pain over losing Pedro. Mama Elena meets Tita's slightest protest with angry tirades and beatings. If she even suspects that Tita has not fulfilled her duties, she beats her. For example, when she thought that Tita intentionally ruined the wedding cake. When Tita dares to stand up to her mother, blaming her for Roberto's death, Mama Elena smacks her across the face, breaking her nose. Since Mama Elena must protect herself and her family from bandits and revolutionaries, her cruelty could be interpreted for strength. Then again, Tita's later illusions indicate that Mama Elena's actions were far from typical and deeply scarred Tita.

text: Passion[edit]

text: The romantic love that is so exalted throughout the novel is forbidden by Tita's mother in order to blindly enforce the tradition that the youngest daughter be her mother's chaste guardian. However, the traditional etiquette enforced by Mama Elena is defied progressively throughout the novel. This parallels the setting of the Mexican Revolution growing in intensity. The novel further parallels the Mexican Revolution because during the Mexican Revolution the power of the country was in the hands of a select few and the people had no power to express their opinions. Likewise, in Like Water for Chocolate, Mama Elena represents the select few who had the power in their hands, while Tita represents the people because she had no power to express her opinions but had to obey her mother's rules.

text: Food

text: Food is also one of the major themes in the story which is seen throughout the story. It is used very creatively to represent the characters feelings and situations. Due to the magical nature of food in the series, it has literal effects on the people of the food in terms of infusing the cook Tita's emotions into the food which are thus transferred beyond the food into the hearts and minds of those who devour it.

text: Meaning of title[edit]

text: Like Water for Chocolate's full title is: Like Water for Chocolate: A novel in monthly installments with recipes, romances and home remedies.[8]

text: The phrase "like water for chocolate" comes from the Spanish phrase como agua para chocolate.[8] This is a common expression in some Spanish-speaking countries, and it means that one is very angry. In some Latin American countries, such as Mexico, hot chocolate is made not with milk, but with near-boiling water instead.

text: An alternate interpretation of the saying "like water for chocolate" is to be like water that is hot enough to receive the chocolate (when preparing hot chocolate to drink). It is a simile for describing a state of passion or sexual arousal (i.e. 'hot and ready'). This would describe the bubbling passion Tita and Pedro have for each other throughout the book.

text: Reception[edit]

text: The Washington Post summed up the novel's significance to the genre and cultural history: it “portray[s] the fantastical as everyday," and "aims to portray the onset of Mexican feminism."[9] The reviewer described the novel "an overly rich fable."[9]

text: Publication history[edit]

text: Like Water for Chocolate has been translated from the original Spanish into numerous languages; the English translation is by Carol and Thomas Christensen.[10] The novel has sold close to a million copies in Spain and Hispanic America and at last count, in 1993, more than 202,000 copies in the United States.[10]