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Disasters happen when you deconstruct a sailing vessel. Remove planks from the hull, realign the rudder, place too much cargo in one end of steerage, and the sturdiest schooner will capsize in frigid, choppy waters.

As regards Jerome Kern and Oscar Hammerstein II’s Show Boat, a quantum leap in the evolution of Broadway musicals, seaworthiness was an issue long before director David Herskovits undertook his audacious makeover.

It’s not that Show Boat leaks, exactly: the 1927 stage megahit led to three movie versions and six Broadway revivals (the most recent of which closed in 1997). Still, this pioneering blend of drama and operetta has been patched and repainted over the decades for a reason: its attitude toward race.

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The prevalence of n-words and condescendingly cuddly Black characters may have been frank and even liberal in its day but reads in 2025 as a morally queasy remnant of Creepy Americana. Racial slurs have gradually been replaced by softer language, but the stereotypes remain.

As a cultural milestone, Show Boat stays afloat, but dare we board?

Herskovit

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