Signature Theatre's production of Showboat demonstrates two things: that sometimes a hefty dose of an old-school musical is just what you need, and that even those old chestnuts can still have some surprises in store.

Take Terry Burrell's rendition of "Bill," Jerome Kern and Oscar Hammerstein's classic ode to inexplicable love (I remember the lyric, "I love him because he's...I don't know," getting a half hour-long rave from my college music professor). Burrell's chanteuse Julie sings this song through her whiskey, as she's careening toward both career and personal ruin. Burrell here is defiant, knowingly heartbreaking. It's as if she' saying with each tremor, "This is the talent I have, and I'm more than determined to waste it." It's mesmerizing.

Largely, though, this Showboat is a production of more standard pleasures: a soaring orchestra, a powerhouse ensemble, and an epic scope. The adaptation of Edna Ferber's novel (she also wrote Giant, of which Signature recently gave a sprawling musical treatment) packs a lot into two and a half hours, from interracial politics to disheartening tales of family abandonment, mostly set on the titular traveling ship. It also can be criticized for ending rather abruptly. Signature can do little to alleviate this quibble with the work, though it powerfully frames the show's parting image, ending things on a note of hope.

Eric Schaeffer's production lacks one noticeable tradition – a physical showboat, on which to set the action. This choice is at first conspicuous, but ultimately forgettable (if anyone can work masterfully with abstract lighting, it's Mark Lanks, who did an arresting job with last season's Les Miserables). Mostly, the move leaves us to concentrate on the singing and the drama. Showboat's score is one of those inescapably catchy ones, from the rousing "Can't Help Lovin' Dat Man" to the showstopping, oft-repeated "Ol' Man River" (VaShawn Savoy McIllwain is believably careless as Joe, but his take on the song doesn't have the kind of commanding heft that can really sell it).

Showboat benefits from brisk pacing. The show has been heavily streamlined to come in at that reasonable running time, and the cuts aren't missed. But it is the consistent performances dealt out by an able cast, from the jovial Captain Andy (a devil-may-care Harry A. Winter) to a bottled up Will Gartshore (who brings an edge to his irresponsible leading man, Ravenal) that keep it rolling along.

Showboat runs through Jan. 17 at Signature Theatre. Tickets are available online.

Filed in Arts and Events and tagged broadway musicals, eric schaeffer, showboat, signature theatre, theater, theatre

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