.THE PLAIN DEALER. SATURDAY. MAY 12. 1990

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By WlLMA SALISBURY DANCE/MUSIC CRITIC

A strong cast, excellent singing, lively dancing, believable acting, pretty costumes and attractive sets make the Cleveland Opera's production of .'Show Boat" a winner.

The classic musical, which opened last night at the State Theater for a 1O-performance run, is a sit of more than three hours with only one intermission. But the skillful pacing by director Mike Phillips and conductor Jim Coleman, the energetic choreography by Mary Jane Houdina and the rapid changes of Scenery designed by Herbert Senn and Helen Pond keep the action moving.

Based on Edna Ferber's novel of romance on a Mississippi riverboat, the 1927 musical stands up as a delectable period piece that has lost its original punch but retains the timeless appeal of Jerome Kern's melodious music and Oscar Hammerstein II's well-crafted libretto.

A musical that deals with racial prejudice was shocking in the 1920s.

Today, the sentimental approach to a serious social issue seems quaint, and the entertainment value of the show takes precedence over the message.

Still, the love story of an irresponsible gambler and the naive daughter of a riverboat captain has poignance. The enduring strength of the family's relationships in the novel rings true, and the comedy, though corny, wins honest laughter.

The numerous hit songs in the score were effectively performed by the Cleveland Opera principals, who waltzed through the music with style and kept sentimentality to a minimum. The closely knit cast played comic scenes with high spirits and subtly captured the tragic undertone of the drama.

Heading the ensemble was Broadway star Cris Groenendaal, who created a Gaylord Ravenal of leading-man presence and secure vocal technique. Singing in a fine-grained tenor he brought suaveness and warmth to memorable songs such as "Make Believe" and '.You Are Love." Soprano J.J. Leeds played his love, Magnolia, with Southern sweetness and a coloratura soprano that was right for the role. Soprano Lubitza Gregus expressed the moody temperament of Julie with a clear voice and a dancer's ease, and she sang her big number, "Bill," in a throwaway style that worked perfectly.

As Joe, bass Sherman Ray Jacobs initially understated the show's finest tune, "or Man River." But he built up to a grand tinale with the outstanding male chorus, and he sang a thrilling reprise in the second act.

The comic tone of the performance was set by singing actress Jeannette Palmer, who played Ellie in dizzy showgirl style with a bright voice and a light step. Keith Savage was her Frank, a klutzy character with twinkle toes. The queen of comedy, however, was Consuelo Hill as Queenie. A big woman with a big voice, she danced with astonishing agility and dominated the crowd scenes with her hearty presence.

Setting a high standard for the non-singing actors was Wayne S. Turney, who created a Capt. Andy of warmth and humor. Especially funny was his one-man fight scene during the riverboat show-within-a-show. As his domineering wife Parthy Ann, Claudia Wilkens was more than a match for Turney in size, speaking voice and comic timing.

Players in small roles handled their parts convincingly. Elizabeth Boggio was charming as the child, Kim, and the entire ensemble worked together with fine teamwork. The choruses, expertly trained by Mitchell Krieger, were occasionally out of balance. But the singing was firm and expressive, and the singers wh0--danced moved easily into choreographed sequences.

The choreography stuck to the style of the period, with frequent borrowings from cakewalks and other dances popular between the Gay '9Os and Roaring '2Os: The costumes by Molly Maginnis also identified the era and the passage of time between the first and second acts. . ..

The contrasting flavors or the Mississippi levee, the intimate show boat and the glittering Chicago Exposition were captured by the realistic Senn-Pond sets. The painted drops and portable set pieces were iIluminated With Duane Schuler's lighting, which was not fussy.

The final production Cleveland Opera's 1999-00 season, "Show Boat" displays the company's' flair for presenting. vintage musical .theater with vitality and conviction. The opening-night audience responded enthusiastically. Performances continue through May 20.

by Linda Gandee News Herald Correspondent

Fantasies of a visit to the bygone era or paddle steamers, ruffled parasols and cotton bales can be realized at

.The State Theatre at Playhouse Square Center where the classic American musical "Show Boat." is enjoying another run.

"Show Boat" is the romantic love story of a riverboat captain's daughter, Magnolia, and an unreliable gambler, Gaylord Ravenal, set at the turn of the .century in the Deep South.

Edna Ferber's novel opened as a musical in I 927. Enormously popular, "Show Boat" had several successful New York revivals that led to three movie versions in 1929, 1936 and 1952.

The Cleveland Opera's production of ."Show Boat' draws the audience into the late 18th and early 19th centuries as easily as flipping a switch on a time machine.

A drop scene that greets the orchestra's opening medley is with a trellis and painted motif surrounding a portrait of the showboat ton Blossom." It is as effective a prop as a camera sweep of the Tara plantation in the film "Gone with the Wind." Within only a few minutes of the musical's opening, the audience is treated to some of the most memorable show tunes ever written. Jerome Kern’s music and Oscar Hammerstein lyrics in "Ol' Man River ," "OnIy Make Believe" and "Can't Help Lovin’ Dat Man".. are as fresh and full of yearning as ever.

Sherman Ray Jacobs, in the role or Joe succeeds in infusing "Ol' Man River" with a feeling that can only be described as goose bumps.

Jacobs, who has performed with some of the most prestigious opera companies thoughout the United States, also has performed the role of Jake in "Porgy and Bess" with the Wichita and Oklahoma symphonies.

Tall and handsome Cris Groendaal fits tha part of the dashing Ravenal perfectly. He played the role with the reserve befitting a character type that always has had a certain mystique.

Groendaal is making his Cleveland debut after a successful run on Broadway in the title role of 'The Phantom of the Opera."

Turney is wel1 paired with Claudia Wilkins, who plays Andy's haughty, shrewish wife, Parthy Ann.

Keith Savage and Jeannette Palmer, as the song and dance team of Frank and Ellie, proide needed comic relief in a play loaded with reference to heavy social issues.

Consuelo Hill as Queenie and J.J. Leeds as Magnolia contribute spectacularlar talent to a show reflecting American musical theater at its best.

When Leeds sings "Can’t Help Lovin’ Dat Man," it’s difficult to resist raising one's

arms and swinging swaying along.

"Show Boat's" fantastic sets befit the hopes and dreams of the paddle steamers’ passengers. The 1893 World's Fair scene in Act I delivers a convincing carnival atmosphere with miniature lights outlining a skyline that includes a giant ferris wheel.

Although the Ohio Chamber Orchestra was a bit lackluster for thc strength and spirit of the musical, the production is overwhelmingly satisfying. .

A special mention goes to the "Show Boat'. chorus members, some of whom were recruited from local gospel groups and church choirs.