After maneuvering his way into an emcee gig, Joey Evans leads a group of chorus dancers in rehearsal for that night’s show.
You Are So Fair
On-again, off-again sweethearts Gus and Dolores express their complicated feelings for one another in this comical “lovers’ spat” number.
The Lady Is a Tramp
With its witty, ironic Lorenz Hart lyric and unforgettable Richard Rodgers melody, “The Lady Is a Tramp” has earned a place of honor in the Great American Songbook. A playful satire of New York’s high society, the song embraces simplicity and skewers pretention. Notable artists who have recorded the song include Shirley Bassey, Tony Bennett and Lady Gaga, Bing Crosby, … Read More
All At Once
Part of Rodgers & Hart’s original 1937 score to Babes in Arms, this flirtatious duet about growing up was introduced by Mitzi Green and Ray Heatherton. In the song, Val and Billie look back on the highlights of their lives, playfully remarking that their falling in love was inevitable.
Imagine
After a long day of working on the farm, Baby Rose and the gang fantasize about an easier life. This jaunty number made its debut in the original 1937 Broadway production of Babes in Arms, but was not included in the 1939 film.
Johnny One-Note
This charming novelty number, introduced by Wynn Murray in 1937, tells the story of a forceful, if monotonous, young opera singer. A hit in the stage version of Babes in Arms, “Johnny One-Note” was not included in the 1939 film adaptation, though Judy Garland later sang it in the 1948 Rodgers & Hart biopic Words and Music. A favorite with … Read More
My Funny Valentine
First sung by Mitzi Green in the 1937 Broadway debut of Babes in Arms, “My Funny Valentine” is undoubtedly one of the most famous entries in the Great American Songbook. In the context of the musical, the lyric concerns Valentine “Val” LaMar, the show’s charming but “slightly dopey” protagonist. But the song’s gender-neutral lyrics, referencing the subject’s charms and endearing … Read More
Way Out West
After traveling through the American West, Baby Rose celebrates the joys of New York City, praising the city’s many attributes with a cowgirl flair.
I Wish I Were In Love Again
Dolores and Gus humorously recall the drawbacks of their former relationship, enumerating the many indignities they had endured as a couple. Introduced by Grace McDonald and Rolly Pickert in the 1937 Broadway premiere of Babes in Arms, the playful song was not included in the musical’s 1939 film adaptation. Still, it grew to be a cherished standard, recorded by Judy … Read More
Babes in Arms
In the title number from Rodgers & Hart’s hit 1937 musical, Val and his teenage friends declare their independence and vow to prove their worth.
Where or When
When Valentine and Billie first meet, they experience an odd sensation of déjà vu. Introduced by Ray Heatherton and Mitzi Green in 1937, the song has become an American standard, recorded by a wide range of artists, including Count Basie, The Beach Boys, Dave Brubeck, Nat King Cole, Ella Fitzgerald, Peggy Lee, Barry Manilow, Johnny Mathis, Kenny Rogers, Frank Sinatra, … Read More
Bill
Julie sings this bittersweet ballad of love and memory at an audition, emotionally recalling her own lost love. The song was originally written by Jerome Kern and P.G. Wodehouse for their musical comedy Oh Lady! Lady!!, but it was deemed too melancholy for the show. Repurposed by Oscar Hammerstein as an audition song in Show Boat, the song, though charming … Read More
Why Do I Love You?
Despite some challenges in their relationship – primarily, Ravenal’s compulsion to gamble on card games – Magnolia and Ravenal express their continued love for one another.
You Are Love
In this ravishing love song, Magnolia and Ravenal declare their devotion to one another. Though Show Boat was daring and experimental in many ways, the show also incorporated familiar elements of traditional operetta, and “You Are Love” – both lyrically and musically – is a prime example of a operetta staple: the soaring lover’s duet.
Life Upon the Wicked Stage
In this witty, sardonic comedy number, showgirl Ellie amusingly laments the lack of glamour in her show biz career. Ellie’s comical but clear-eyed assessment of the entertainment world foreshadows the difficulties Magnolia will later face as she pursues the life of a performer.
Can’t Help Lovin’ Dat Man
Julie and Queenie share their devotion to their respective loves, Steve and Joe. Though composed by Kern and Hammerstein, “Can’t Help Lovin’ Dat Man” functions in Show Boat‘s narrative as a traditional tune that would be familiar to Black men and women in America. When Julie, who is biracial but “passing” as white, sings the song, Queenie voices surprise that … Read More