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© 2005 LINDA M. FLORJANCIC ALL RIGHTS RESERVED “WE’LL FIND A NEW WAY OF LIVING”: RACISM IN SHOWBOAT, SOUTH PACIFIC, THE KING AND I AND WEST SIDE STORY A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Linda M. Florjancic August, 2005 “WE’LL FIND A NEW WAY OF LIVING: RACISM IN SHOWBOAT, SOUTH PACIFIC, THE KING AND I AND WEST SIDE STORY Linda M. Florjancic Thesis Approved: Accepted: ______________________ _____________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Mark S. Auburn _______________________ ______________________ Faculty Reader Dean of the Graduate School Dr. Michele Tannenbaum Dr. George Newkome ________________________ _______________________ School Director Date Dr. William Guegold ii DEDICATION To Mom, who is always there for me. iii ACKNOWLEDGEMENTS To Dr. Brooks Toliver-thank you for all of your support and guidance throughout this process. It has been a joy working with and taking classes from you. Special thanks for allowing me to pursue a topic which was not your specialty. I appreciate the freedom. To Dr. Michele Tannenbaum-thank you for being on my committee. Theory Review would not have been the same without you. To my other School of Music teachers and friends-thank you for great experiences and rehearsals that I will not forget. To my extended family-thank you for being so understanding when I had to miss family functions to work on my thesis! To my immediate family-thank you does not seem like enough words for what you have done. To Mom and Matt, thank you for being my proofreaders and support system, especially when it seemed like this project was never going to be complete. I love you! iv TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION………………………………………………………………..1 II. SHOWBOAT……………………………………………………………………..4 III. SOUTH PACIFIC………………………………………………………………20 IV. THE KING AND I………………………………………………………………32 V. WEST SIDE STORY…………………………………………………………..45 VI. CONCLUSION…………………………………………………………………60 END NOTES……………………………………………………………………………62 BIBLIOGRAPHY……………………………………………………………………….67 v vi CHAPTER I INTRODUCTION The Broadway stages have been echoing the sounds of music for nearly a century. Musicals are a defining genre in this performance arena. Before 1927, these productions functioned essentially as revue shows, where the songs became popular hits heard on the radio. This medium changed with the arrival of Showboat. This musical altered the history of the theater by incorporating social elements, such as racism. In this paper, I will discuss racism in four musicals: Showboat, South Pacific, The King and I and West Side Story. In this introduction, I will provide an overview of each show and a preview of the discussions to come. Showboat changed the face of the American musical. The team of Jerome Kern and Oscar Hammerstein II were inspired by Edna Ferber’s novel. This show takes place over the course of twenty-five years. We begin in the 1890s, just thirty years removed from the Civil War. Despite being free, blacks were treated as though they remained enslaved. Showboat contained several unique features. It was the first musical to have a mixed race cast. The musical was among the first to incorporate a “show within a show.” Showboat is considered one of the first shows to bridge two genres: musical comedy, with 1 its vernacular songs and dance music, and operetta, where music and drama were traditionally more integrated. This musical was one of the first to incorporate social elements, including miscegenation, alcoholism, and spousal desertion. In chapter two, I will discuss the origins of the musical, social elements, changes in the subsequent revivals, white stereotypes concerning blacks, the music, and perhaps the single most controversial aspect: the use of the word “niggers.” With South Pacific, Oscar Hammerstein II continued the discussion of racism he and his previous collaborator, Jerome Kern had begun. He and his new partner, Richard Rodgers, became one of the most esteemed musical teams of all time. After the success of their first musical, Oklahoma!, they were seeking a new project when they encountered Joshua Logan who owned the rights to James Michener’s Tales of the South Pacific. Rodgers and Hammerstein knew this would be a hit. South Pacific contains many unique features. To begin with, it has two serious leading couples. Generally, in previous shows, the second couple was comedic. Additionally, neither pair sings a love duet. In chapter three, I will work these oddities into a larger understanding of the musical, one that takes into account its origins, the book which inspired the composer and librettist, as well as other unique characteristics and an overview of the original runs. Also, I will discuss racism, the most controversial song in the musical, “You’ve Got to Be Carefully Taught,” awards, potential political ramifications and why a main character had to die. 2 After their success with South Pacific, Rodgers and Hammerstein were inspired by Margaret Landon’s book, Anna and the King of Siam. It was the only time in their illustrious careers Rodgers and Hammerstein wrote a role for a specific person (Gertrude Lawrence). One of the unique features in this musical involved our main couple, Anna and the King: they never declare their mutual attraction to each other due to the fact they have different ethnic backgrounds. In chapter four, I will discuss the origins of this work, the portrayal of Asian culture, similarities with South Pacific, and Western ideals in the musical. I will also examine the awards the work has received, the film version, the actor has most often played the King, the relationship between Anna and the King, and the famous “Shall We Dance?” scene. After the death of Oscar Hammerstein II, Leonard Bernstein carried on his legacy of incorporating social issues into musicals. He originally envisioned West Side Story as a love story where romance reigns victorious over religious differences. However, after a drive in New York City, he changed the focus to that of racial tensions. Bernstein credited choreographer Jerome Robbins with the Romeo and Juliet parallel. In chapter five, I will discuss the origins of the work using Bernstein’s diary entries, connections to Romeo and Juliet, racial tensions, problems inherent in the musical, and the concept of the American dream. A short conclusion will tie together the major themes of the previous chapters and speculate on the contribution these musicals have made to racial understanding in America. 3 CHAPTER II SHOWBOAT Imagine hearing about a new musical to be premiered in Washington D.C. The only aspect of the play you know is the title. You arrive on opening night at the National Theatre on Tuesday, November 15, 1927. Once you have been seated, you observe the remainder of the theatre. The audience consists of all white people, most of whom look affluent. The overture begins and the curtain rises. You see a boat docked on the levee and Negro stevedores are piling bails of cotton. The music begins and the first phrase sung is “Niggers all work on de Mississippi.” What did I just hear? “Niggers?” This cannot be. What kind of musical starts off with that word? This is the start to one of the most interesting and unique musicals ever written, Showboat. This work was among the first musicals to integrate social elements and the use of song to further the plot. A majority of the shows during this time were revues or ensemble shows whose musical numbers became popular hits heard on the radio. Showboat challenged American citizens to evaluate their personal values with regard to the treatment of others, specifically blacks. In this chapter, I will discuss the origins of the musical, social elements, changes in the subsequent revivals, white stereotypes concerning blacks, the 4 music, and perhaps the single most controversial aspect: the use of the word “niggers.” Showboat is based on the novel of the same name written by Edna Ferber, a Jewish woman. In her thesis, “Edna Ferber’s Showboat as literature and as film,” Gwen T. Anderson provides a glimpse into Ferber’s life and the persecution she faced being a Jew surrounded by Christians. As a child she lived in small towns that were very provincial and predominantly Protestant. She…was extremely sensitive to all forms of snobbery, hypocrisy and bigotry. Her legacy in Showboat is the clear presentation of southern life as she saw it in her characters-letting readers draw conclusions for themselves.1 Having been discriminated against had a profound impact on Ferber. I believe this led her to pursue these issues in her novels. Showboats were a fad in the1800s. However, these boats began to disappear toward the turn of the century. Since the popularity of the showboats were on the decline, Ferber had a difficult time finding one in order to be as historically accurate as possible in her novel. After completing her research, the novel was published in segments in the Women’s Home Companion. There are a few notable differences between the novel and the musical. In the novel, Cap’n Andy, the leader of the showboat, Cotton Blossom, his wife, Parthy Ann Hawks and Gaylord Ravenal, a local gambler who falls for Andy’s daughter, Magnolia, all die. By contrast, all of the characters are living at the end of the musical.2 Within a few years after their marriage and the birth of their daughter, Ravenal deserts them. Once he abandons his family in the novel, Ravenal never comes back. In the musical version, he returns. In the novel, Kim, 5 their daughter, becomes a leading lady of the theatre, marries a man named Ken and has a son.3 In the musical, she has grown to be a star of the showboat troupe.

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