Fortunately, the cast includes a terrific group of principals, and director Glenn Casale makes sure nothing gets in the way of their songs.
Among the standouts is Ron Bohmer as the gambler Gaylord Ravenal, whose glorious tenor in "Where's the Mate for Me?" and "Make Believe" creates a stunning contrast with Phillip Boykin's impossibly rich bass in "Ol' Man River." Kern's score demands operatic skill from the singers, which can be off-putting if it isn't grounded in strong acting chops. But Bohmer, as the charming rake, and Boykin, as the stalwart representative of all African-Americans stuck doing the dirty work, give the characters much-needed depth.
Terry Burrell, as Julie, creates a wonderful arc for her character, the showboat star who loses everything after her mixed race is revealed. Years later, when we discover Julie in a Chicago nightclub, Burrell's delivery of "Bill" is wrenching in its simplicity. At one moment she turns and sees the look on the club manager's face and pulls herself together with a strength that is breathtaking.
Teri Dale Hansen makes a perfectly innocent young Magnolia, the daughter of the riverboat captain who falls for Ravenal, and their duet "You Are Love" never gets bogged down in saccharine sentiment. Sharon Wilkins is a feisty Queenie and Gordon Stanley's Cap'n Andy adds levity and common sense.
Besides her clever combinations in production numbers, Stroman's biggest contribution to the 1994 revival was two dance montages in the second act, which show the passage of time through dance styles - and Florence Klotz's vivid costumes. Although North Shore's dancers do a great job with the steps, without the space to spread out and allow other images to feed into the theme, the sequences feel a little lost.
Choreographer Ron Gibbs does manage to pull off a high-energy ending with "Kim's Charleston," which adds a positive note to a musical that leaves us feeling more wistful than hopeful.
