"Ol'man River"

FLORENZ ZIEGFELD, alias the Old Master, shipped the ace of his musical play stable,"Show Boat", back into the Nixon Theater last night, where an audience of red and blueblooded Pittsburghers jumped on it with a lusty gusto, almost matching the accolade hurried at it in the same temple of the muses nearly three seasons ago.

 Running from 8:20 till 11:30, at $4.40 a head for the best of the Nixon's red plush chairs, "Show Boat" remains, in the humble opinion of your correspondent, the kingpin of dramas set to melody.

 Being a circumspect producer, and knowing on which side his bread is buttered, Mr. Ziegfeld has not permitted the ravages of time to dull the luster of his staging of Edna Ferber's river romance. All the curtains, scenery and costumes are as bright and glittering as the day the piece was first set before an audience, and the two or three changes in the cast have not harmed it one whit.

 No down-at-the-heel musical production sets out from New York run flying the proud banner of the House of Ziegfeld.

 As I have said before, when the Old Master puts on a show, it's a show, sometimes more, but never less. 

AS OF YORE, Jules Bledsoe's singing of "Ol'Man River," that darky soliloquy to the ancient Mississippi, is the greatest individual contribution to "Show Boat."

 Mr. Bledsoe was on the receiving end of a broadside of approbation last night that must have jarred several generations of his Dixie ancestors, and I am unashamed to set down in type that I joined with the other worshippers in the demonstration.

 When Mr. Bedsoe kneels in front of that curtain, at the head of his tatterdemalion troupe of levee roustabouts, and pours forth that magnificent baritone of his, I defy anyone to name me a more stirring inerlude in light opera entertainment.

 Also, as of yore, the most touching contribution to "Show Boat," is that of Howard Marsh, the dignified Ravenal of the play, crooning "Only Make Believe" to little Kim in the convent. Mr. Marsh's tenor is still tenoring, if you know what I mean, and the tear ducs let loose without an effort as he tiptoes about with his unfailing timidity.

THAT FINE comedian, Charles Winninger, remains in the post of Captain Andy Hawks, but Edna May Oliver has given way to Maud Ream Stover in the Parthy Ann role, and a capable shrew Miss Stover sets forth. Mr. Winninger of course, still carries a generous amount of the "Show Boat" cargo on his broad shoulders, and his introduction of the "Happy New Year" greeting is a screaming laugh triumph from start to end.

 Miss Irene Dunne has stepped into the Norma Terris character of "Magnolia," and she carries on a stertling role with splendid effect, as does Margaret Carlisle, who is filling the buxon Helen Morgan's "Julie" part.  Miss Carlisle sings that pretty piece of music, "Bill," every bit as nicely as Miss Morgan ever did.

  Sammy White and Eva Puck, the comedy team, are still capering about the "Show Boat" deck, Aunt Jemima is on hand, the big negro chorus and other singers continue to prance on and off and, unless I'm greatly mistaken the Jerome Kern score is just as effective as the day it was sent whizzling across the land.

 The early part of the play, that laid in the 80s, still has a big edge over the modern sets, but by the time 1927 rolls around in the story, three of four light operas have already passed in review.

(Pittsburgh Press, 02.18.1930)