Lux Radio Theatre - Show Boat

Summary

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Podcast Summary: Lux Radio Theatre – Show Boat

Podcast: Harold's Old Time Radio
Host: Harold’s Old Time Radio
Episode: Lux Radio Theatre - Show Boat
Date: July 17, 2026

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Episode Overview

This episode features a full-length broadcast of "Show Boat" from the Lux Radio Theatre, adapted from the famous Jerome Kern and Oscar Hammerstein musical, itself based on Edna Ferber’s novel. Set aboard the showboat Cotton Blossom, the story follows the intertwining lives of performers and riverfolk as they navigate love, identity, prejudice, and hope on the Mississippi River. This dramatization stars Katherine Grayson (Magnolia), Ava Gardner (Julie), Howard Keel (Gaylord Ravenal), and others, recreating the beloved MGM motion picture for radio.

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Key Discussion Points & Insights

1. Introduction & Setup (00:28–03:20)

• Host William Keeley introduces "Show Boat" as the year’s most popular motion picture, per a nationwide poll, and welcomes the episode’s star-studded cast.
• There's an immediate immersion into the ensemble nature of showboats, introducing key players and the river show’s spirited, familial camaraderie.

Quote [02:08]—Captain Andy:
“Ladies and gentlemen, it is with exhilarating gratification that once again I bring my theatrical offering to your fair community.”

2. Life on the Showboat & Aspirations (03:20–08:09)

• The introduction of Magnolia ("Noly") and her longing to be part of the show, expressing a dream that the stage is where life’s joys come alive.
• First meeting between Noly and Gaylord Ravenal: An immediate romantic spark and playful musings about acting and make-believe love.

Quote [07:10]—Gaylord Ravenal:
“You want to be an actress because it makes everything come true. Every exciting thing you’ve ever dreamed about—even if it’s make believe. Isn’t that it?”

3. Racism and Julie’s Secret (14:44–17:40)

• Showboat’s singer, Julie Laverne, and her husband Steve are exposed as an interracial couple, triggering the state’s racist laws.
• The deeply emotional scene as Julie and Steve are forced to leave the Cotton Blossom, showing the era's harsh segregationist realities.

Quote [15:32]—Sheriff:
“It’s a criminal offense in this state for a white man to marry a Negro woman. … In these parts, mister, one drop of black blood makes you black.”

• William Warfield as Joe delivers the iconic "Ol’ Man River" (17:40), encapsulating the struggle and resilience of black workers on the river.

4. Noly’s Rise & Romance with Ravenal (21:24–24:34)

• Magnolia becomes the leading lady opposite Ravenal, beginning both her stage and real-life romance, despite her mother Parthy’s protests.
• The blossoming love faces class and stability concerns, but Noly affirms her devotion.

Quote [24:31]—Magnolia:
“I want to be your wife more than anything in the world.”

5. Struggles in Chicago – Love & Loss (26:19–32:09)

• After marrying, Noly and Ravenal struggle as his fortunes fade. The emotional and financial strain exposes Ravenal’s gambling addiction.
• On Christmas, after a fight, Ravenal leaves a farewell note, breaking Noly’s heart.

Quote [31:46]—Ravenal's letter:
“Remember our good times and forget all the rest so that at least you will never hate me.”

• Noly’s old friends, Frank and Ellie, find her and help her find work as a singer as she faces destitution.

6. Julie’s Sacrifice & Noly’s Break (32:23–37:27)

• At a Chicago nightclub, Julie, herself now fallen on hard times, gives up her gig so Noly can have a chance.
• Julie’s performance of “Bill” (34:47) stands out as a heart-wrenching highlight, expressing longing and resignation.
• Magnolia wins her audition with “Can’t Help Lovin’ Dat Man,” securing hope for a new start.

7. Reunion and Resolution (41:27–49:30)

• Years later, Captain Andy seeks out Noly, finding her with a new daughter, Kim. Noly admits Gay never knew about the baby when he left.
• Meanwhile, Ravenal, now working as a river gambler once more, encounters Julie and learns the truth about his daughter, leading to his emotional return.
• The final reunion between Noly, Ravenal, and young Kim, on the Cotton Blossom, delivers the narrative resolution.

Quote [49:00]—Magnolia and Ravenal:
“She plays a real wonderful mommy.”
“She’s lovely, Noly.”
“Yes. Yes, she is, isn’t she?”

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Notable Quotes & Memorable Moments

• [07:10] Gaylord Ravenal to Magnolia:
  “You want to be an actress because it makes everything come true. Every exciting thing you’ve ever dreamed about—even if it’s make believe. Isn’t that it?”

• [15:32] Sheriff on Julie’s secret:
  “In these parts, mister, one drop of black blood makes you black.”

• [17:40] Joe sings “Ol’ Man River”:
  “He just keeps rolling along… You and me, we sweat and strain, body all aching and racked with pain…”

• [24:31] Magnolia declares love:
  “I want to be your wife more than anything in the world.”

• [31:46] Gaylord’s note:
  “Remember our good times and forget all the rest so that at least you will never hate me.”

• [34:47] Julie sings “Bill”:
  “But along came Bill, who’s not the type at all…”

• [49:00] Magnolia and Ravenal reunion:
  “He plays a real wonderful mommy.”
  “She’s lovely, Noly.”
  “Yes, she is, isn’t she?”

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Key Musical Highlights

• “Make Believe” (08:00, 47:58) – recurring theme for Noly and Ravenal’s love
• “Can’t Help Lovin’ Dat Man” (13:44, 35:22) – Julie’s and Magnolia’s signature song
• “Ol’ Man River” (17:40) – Joe’s timeless performance
• “Bill” (34:47) – Julie’s poignant solo

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Timestamps for Important Segments

• 03:20 – Introduction of showboat cast; Magnolia’s dreams
• 07:00 – Noly and Ravenal meet; “Make Believe”
• 14:44 – Confrontation about Julie’s secret and forced departure
• 17:40 – “Ol’ Man River” performance
• 21:24 – Magnolia’s debut as leading lady
• 24:31 – Noly and Ravenal’s love pledge
• 31:00 – Ravenal leaves Magnolia
• 34:47 – Julie sings “Bill”
• 35:22 – Noly sings “Can’t Help Lovin’ Dat Man” at nightclub
• 41:27 – Captain Andy and Noly’s reunion
• 44:17 – Ravenal learns about Kim from Julie
• 47:00 – Final, emotional family reunion

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Conclusion and Legacy

This radio adaptation captures the sweeping romance and societal struggles of "Show Boat," blending memorable Broadway melodies with powerful performances on the airwaves. Through heartbreak, prejudice, ambition, and reunion, the episode delivers a classic story, making it accessible to families and listeners just as it did in radio’s golden age.

A must-listen episode for fans of classic radio, musical theater, and American storytelling.

Transcript

[A]

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[B]

good life Sleep Hollywood Radio Theater. We get many enjoyable moments out of the books we read, the sights we see, and above all the things we hear. The Hollywood Radio Theater hopes to add to your enjoyment by bringing you each week the finest in dramatic and comedy entertainment. Featuring a stellar cast of movie personalities, many of whom will appear in their original motion picture roles. Now here is our producer, Mr. William Pele. Greetings from Hollywood, ladies and gentlemen. Tonight is a very special evening because once again we are pleased to present the screenplay that the American moviegoers have chosen as the most popular picture for the year 1951. Selected in a nationwide poll conducted by Photoplay magazine. It's Showboat, based on the Metro Golden Mayor picture adapted from the Jerome Kern and Oscar Hammerstein musical play Showboat, from the original novel by Edna Ferber. Our stars, Katherine Grayson, Ava Gardner, Howard Keel, Marge and Gower Champion, William Warfield and J.C. flippen. Now here comes the Showboat, starring Katherine Grayson as Magnolia, Ava Gardner as Julie, Howard Keel as Gaylord Ravenel, Marge Champion as Ellie Gower, Champion as Frank, William Warfield as Joe and JC Flippen as Captain Andy. Ladies and gentlemen, it is with exhilarating gratification that once again I bring my theatrical offering to your fair community. And I want you to meet a few of our artists. First off, Miss Ellie Mae Shipley. The coast of Cairo, Illinois.

[A]

It's always been my hope to play this wonderful town of Boonville. Thank you.

[B]

And here's Mr. Frank Schultz. Mr. Schultz is the villain in our play. Hi. Thank you. Yes, sir, we're just one big happy family. And I'm their father. And party here, she's my missus. Party is the mother.

[A]

Oh, you big bellowing catfish. Now get those handbills started.

[B]

Now, before I pass out the handbills, I want you to meet the little sweetheart of the south, our songstress and leading lady, Ms. Julie Laverne. Ah, Justin Norris. To lover, folks. And here's her leading man, that celebrated thespian, Mr. Stephen Baker. And they will now give you a sample of their soul stirring emotion.

[A]

No, no. Hamilton I cannot accept you, for I am not worthy of your noble desire.

[B]

On my mother's name tonight tell me why. Why?

[A]

Look into yonder room and view the secret of my downfall.

[B]

Ah, see the show tonight, folks, and learn her secret. Tempest and sunshine. A beautiful drama of tears and laughter. And as for dancing, here's Frank and Ellie with another sample.

[A]

Are you in business for your health? Now get these handbills out. Whoa. Now get.

[B]

I started out with the handbills and then suddenly there was a yell from the crowd. My first meet Pete had come up to Julia and Steve. Before I knew it, Pete and Steve were swinging at each other. And then Pete was lying on the dock. I guess we fooled you that time. The boys just played another little seam from one of our shows. Get back on the boat, Pete. You too, Steve. I told him it doesn't time to stay away my wife.

[A]

Okay. Please, please, wife.

[B]

At least nothing. I told you to get back aboard. Yeah, sure. Joe, take care of it. Yes, sir.

[A]

Folks.

[B]

Yes. Look at him dance. Frank and Ellie Sho D of the Cotton. Please, Mr. Pete, please go back on board. Shut up. Where you going, Mr. Pete? I'm going to find the sheriff. I got a very interesting matter to discuss with the sheriff. Later that day we all went into town and while we were gone, a young man came down to the shop. Take it to the show next day? Possibly. Does this boat go to New Orleans? Yep, we wind up there. I'd like to speak to the order. Oh, they're all up in town giving the street content. Then who's that on deck? Well, that's Captain andy's daughter. That's Ms. Noly talking to herself. Oh, she's play acting, mister, just like she was in the show. Oh, I see. All right if I wait? Go right aboard, mister. Captain Andy will be back pretty soon. Now.

[A]

Is there no mercy in your evil soul? No kindness in your ugly heart? Oh, sir, I beg you, unbended knee, stop giving my little daughter diamonds and go home to your wife.

[B]

Bravo. Bravo. Your performance is magnificent. Small wonder you're the leading lady.

[A]

But I'm. I'm not.

[B]

You're not?

[A]

I'm not even a member of the company. Well, that is, not professionally.

[B]

But you want to be, don't you?

[A]

Oh, yes.

[B]

Well, I mean, why do you want to be an actress?

[A]

Why? Well. Well, an ordinary person wouldn't understand.

[B]

No, you want to be an actress because it makes everything come true. Every exciting thing you've ever dreamed about, even if it's make believe. Isn't that it?

[A]

Yes, there is it. But how did you know?

[B]

Well, for instance, right now, you and I could be Romeo and Juliet or Elizabeth and Essex or.

[A]

Or Lady Southwaite and Hamilton Barsdale.

[B]

Who?

[A]

They're in our play in Tempest in the Sunshine.

[B]

Oh. Oh, yes, of course.

[A]

As a matter of fact, we couldn't be anybody talking like this. We haven't been properly introduced.

[B]

Well, that makes no difference in make believe.

[A]

Well, I. I suppose that's true.

[B]

So we could make believe it was just falling in love at first sight. We couldn't make believe I love you. We couldn't make believe that you love me. What is my deep mind in pretending couldn't

[A]

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[B]

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[A]

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[B]

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[A]

My. True. If you want to see my father.

[B]

Oh, oh, yes. Yes, I see they're coming back from town to our next meeting. Noli. My daughter says you want to see me, son.

[A]

I'll take care of this. Hawks.

[B]

Allow me. Ma' Am Gaylord Ravenel of the Tennessee Ravenos. I understand that you're heading for Newark

[A]

and we don't carry passengers.

[B]

Oh, but I'm an actor. And while I don't have my notices here with me, I.

[A]

An actor without notices? A gambler would be more like it.

[B]

We're full up, Mr. Ravenel. Sorry. Well, it just doesn't seem to be my day, does it? My thanks just the same.

[A]

Andy, where's Magnolia, Noly?

[B]

Oh, in Julie's cabin, I suppose.

[A]

Well, tell me to help Queenie with the supper.

[B]

Yes, ma'. Am. Noly, your ma wants you to help Queenie with the supper.

[A]

In a minute, Papa. Julie. Oh, I know it's none of my business, Julie, but did anything happen in town? I mean, Stephen and Pete? No, honey, nothing. We didn't even see Thief. Julie, you love Steve so much, don't you? That rattle brain mule? Yes, honey, I love him. And, golly, how he loves you. Well, now, you go ahead and tell me about your handsome stranger. That's what you came in for, isn't it? Oh, Julie, he's so different. Oh, River Dan is a thickest locust angel. Oh, I know. I know about men. But then when he stood there and smiled. Julie, why do you love Steve so much? Why? Well, I love him because. Well, I don't even know why. He's not a very good actor on stage. Matter of fact, he's not a very good actor off stage. But he's all mine. There. Could you ever think of loving anyone else? No. No, I couldn't. Not ever. Fish gotta swim Birds gotta fly I gotta love one man till I die can't help loving that lady of mine. Tell me he's lazy Tell me he's slow Tell me I'm crazy maybe I know can't help But I've been that man of mine. When he goes away that's a rainy day but when he comes back that day is fine. The sun will shine. He can come home as late as can be without him Ain't no home to me in hell and that land oh, my. Oh, Julie, that's wonderful. I think I could feel that way, too. I'll bet you will someday.

[B]

That night, about an hour before showtime, I was selling tickets when Parthy sent Joe after me. I couldn't figure it sending for me when I was taking in money.

[A]

Get in here, Hawk. I could have told you there'd be trouble with Julie.

[B]

It's Pete. Captain Andy. He just came aboard with the sheriff. Sheriff? I heard him talking about Miss Julie about her and Mr. Steve. Well, there's Steve now. Come in, will you, Captain? You too, Mrs. Hawks. Hurry, please. Look, would somebody mind telling me that? I'm sorry, but there's no time. I want you to witness.

[A]

It's all right, Captain Andy.

[B]

Captain Andy. That's a knife he's got, Steve. It won't hurt much, honey. Just scratch on your hand. He's. He's kissing her hand where he cut it. Right in there, Sheriff. Him and the woman. Captain Hawks. Well, sorry, but I got some unpleasant news for you. It's a criminal offense in this state for a white man to marry a Negro woman. Well, what's that got to do? The name of the white man is Steve Baker. The name of the Negress is Julie laverne.

[A]

I'm Julie laverne.

[B]

The record says you were born in this county. Your PA was white, your ma was black. Is that right?

[A]

Yes, that's right.

[B]

You two better get your things. You wouldn't call a man white that's got Negro blood in him, would you? In these parts, Misty, one drop of black blood makes you black. Well, I've got more than a drop in me. He's lying. Ask Captain Hawks and his wife. They can swear I got Negro blood in me right this minute. Then how come this first mate here comes and tells me that he's a white?

[A]

I'll tell you why. Because he's a no account river rat, Mag. He's been bothering Julie and she has nothing to do with him.

[B]

And that's why she's telling the truth, Sheriff. As for you, Pete, you're fired here and now.

[A]

Come along, Steve. Sheriff, we've got to get ready.

[B]

No. No, you don't. Word of this will be all over town in no time. But Julie's our star. If she don't go on the pier, it'll be a lot worse if she and her husband are here. When the people find out, take my advice and get down the river as soon as you can. Come on, Dar. We'll pack up and leave. Joe. Yes, sir, Captain. Tell Wendy to fire the boilers. They'll be leaving tonight.

[A]

Julie. Julie, wait. Your mom wouldn't like this, honey. And besides, there's Steve waiting for me on the dock. Julie. I had to say goodbye. Thanks, honey. Julie. Nothing's changed. Nothing. No, no. Always true. You. You'll write and let me know how things go. I'll never forget my Noly. Now you stay happy, honey. Oh, Julie. Julie.

[B]

Miss Julie.

[A]

Goodbye, Joe. You ride the river, Joe.

[B]

Oh, Miss Julie. I Wish as I could. Come on, honey.

[A]

We're gonna hurry. You keep riding that old river, Joe boy.

[B]

Keep riding the river, she said keep riding this old river. There's an old man called Miss Mississippi that's the old man that I want to be. What does he care if the world's got trouble? What does he care if the free. O man river that O man river. He must know something but don't say nothing. He just keeps rolling. He keeps on rolling along. He don't plant haters, he don't plant cotton. And then that plantain is soon forgotten. Bottom and river it just keeps rolling along. You and me, we sweat and strain body or aching and rack with pain. Post that fun it's that veil you get a little drunk until landing. Argue and seek a trying. I'm tired of living again.

[A]

D.

[B]

In a few moments, we'll return with act two of Showboat. Now our producer, Mr. William Keeley. Act two of Showboat, winner of Photoplay magazine's gold medal award. Starring Catherine Grayson as Magnolia. Ava Gardner as Julie. Howard Keel as Gaylord Ravenel. Mods champion as Ellie Gower. Champion as Frank. William Warfield as Joe and J.C. flippin as Captain Andy. By early morning, we were well down the river. But there wasn't a smile to be found anywhere aboard the Clop and Blossom Showboat.

[A]

So I figured we might just as well talk it over here and now at breakfast. We just don't have a show with our leading man and little leading lady, what's more.

[B]

Morning, Puffy, dear. Good morning, all. Everybody bright and chipper this morning?

[A]

Bright and chipper. How are we going to put on a show? Just answer me that.

[B]

Ah, patience, Parthy, patience. I have a little surprise for one and all Cabinets. It seems that last night, just before we left Boonville, somebody came aboard this vessel. Folks, meet our new leading man, Mr. Gaylord Ravenong. Ladies and gentlemen, it is an honor. You've met my wife, I believe. A repeated pleasure, Mrs. Hawks. And my daughter, Magnolia.

[A]

The. Good morning. So you've solved all our problems, have you? Who are we gonna get for a leading lady?

[B]

Your daughter, madam. Now listen, Poppy. We can't get a leading lady till we get to New Orleans. And think of all the money we'd lose.

[A]

Yes, Mama. All that cotton crop money.

[B]

That's a lot to turn down, Mrs. Hawks.

[A]

Besides, we'd never find anybody prettier than Noly. And. And what's more, she can sing. And actress just Grandmother Ellie. I thank you and Frank to hush up. I'm dead set against my daughter performing in public. Oh, mama, please. And frank and I will. We'll all help her as much as we can. All right, all right. But mind your hopes. Just till we get to new orleans.

[B]

There'll be a rehearsal of tempers and sunshine in exactly five minutes starring gaylord ravanov and magnolia hawkins. Yes, sir. Right from their first performance, noly and ravenol were the hit of our show. But then, as the weeks went by, I knew there was something more between them than just play acting. And sooner or later, parthy was going to find out.

[A]

Don't lie to me, magnolia. I saw you with my own eyes making love to him, kissing him. Oh, my gay and I. Mrs. Hawks,

[B]

please may I talk to you?

[A]

You can do just one thing for me. Get yourself ashore. Now.

[B]

Now, hold on, parthy. Hold on, ma'. Am. I'm asking noli to be my wife.

[A]

You? A no account river gambler? How dare you?

[B]

Gambler? Yes, I'm a gambler. But captain andy, you know yourself that noly is meant for the life and happiness of the world. I love her, and I'm going to see that she gets them.

[A]

And you, my own daughter, are you proud and happy, looking forward to a life with such as him? Yes, mama, I am. Then that's a sight I never want to see again. Oh, mama.

[B]

I'll always love you, noly, no matter what you decide to do. As for you, son, I hope it's not just Saturday night with a cold Monday morning to follow. Nolie, are you still sure? Still sure this is what you want? Maybe you aren't taking a 100 to 1 chance.

[A]

I want to be your wife more than anything in the world.

[B]

Mrs. Gaylord Raveno,

[A]

you are alone here in my arms where you belong every day. I have not led you away. I walk day after day with you. You taught me to be one truth, all the truth. Wonder.

[B]

They got married and they went away. Oh, they're living in chicago now at the sherman house hotel. And everything in the world a girl can want ravenel bought for her. But there comes a time in a gambler's life when the cards and the dice and the wheels start turning against him. Dolly, stop looking so serious. Now put those things right back where they belong.

[A]

But, darling, the jewelry's worth thousands of dollars. You can sell them and then we'll stop.

[B]

Giving me your diamonds, madam, and go home to your husband's arms.

[A]

Gay, won't you listen to me? Won't you be sensible for just one?

[B]

Come here, you. Do you love me?

[A]

Yes, but I still.

[B]

All right, angel. All right. I'll take your praise. But I'll get another steak and we'll be walking on tall air again. Do you trust me, Nolan?

[A]

Always.

[B]

Just don't ever stop loving me. If ever I catch you batting your eyes on another fella, I'll.

[A]

I know, darling. I know. Why do I love you? Why do you love me?

[B]

Why should Mary go happy, love? Can you? I should be the one you care for.

[A]

You're a lucky boy. I am lucky, too.

[B]

I dream the joy, Maybe that become your love. Every week regular, we'd get a letter from Noli telling us how happy she was and how well Gail was doing. The only thing that changed were the addresses. But there just wasn't any way for us to know that the suite in the Sherman house was now just a couple of rooms in the shabbiest part of town. To tell the truth, honey, our stakes just about gone. My luck's sure been running shallow.

[A]

But there'll be another game tonight, won't they, Gay? There always is.

[B]

I'll get to the Nollie. I almost hit the bonanza last night.

[A]

If.

[B]

If only that third queen had came through.

[A]

What does she look like, Gay? Your queen?

[B]

Oh, no. Now, look, if you think there's anything going on with me and some other woman.

[A]

I know there's no other woman. No flesh and blood woman. I almost wish there were. I'd know how to fight then. But I can't fight this lady luck of yours. This fancy queen in her green felt dress. She's with me, Gay, for days and nights now, weeks and months. She's whipped me. And I won't be whipped anymore. I just won't.

[B]

Oh, now, honey, look. Look, tomorrow's Christmas. I've still got a little money left.

[A]

We go out and tomorrow isn't Christmas. No, it isn't. It's just like papa said. It's going to be Monday. It's all just like papa said.

[B]

No.

[A]

You love me, don't you? Only not enough game. Not quite enough. That third queen, she's the lucky one.

[B]

What does that mean?

[A]

It means that you're a weak man. You're weak. You're weak. You're weak.

[B]

No. I've said enough of this.

[A]

Take your hands off me. Take your hands off me before I hate you.

[B]

Well, we'll have to do something about this, won't we? Noly couldn't stay angry at Gay. Nah, not for long. She came back to the rooming house. But as she climbed up the stairs, she heard voices you sure you haven't any other rooms you can show us?

[A]

Well, this is all at the moment, Mr. Schultz, but the rent's very reasonable. Oh, Frank, we can afford better than this. Well, if you should change. Oh, Mrs. Ravenol, I thought that you. Ellie. Whoa.

[B]

Just look at her. Well, how are you?

[A]

Oh, no. There are no two people I'd rather see in this whole world. How are you?

[B]

Well, we left the Cotton Blossom, but I guess your PA wrote you about that.

[A]

Oh, but that was months ago. We've been doing pretty good, Noly. We're booked into the truck. Oh, Ellie, how wonderful.

[B]

We opened New year's Eve.

[A]

You see. We just got into town. We were gonna drop in on you over at the. At the Sherman house.

[B]

You living here, Nolan?

[A]

Oh, just temporarily. I'll call Gay. Oh, Gay. Gay, darling, get up and see who's here. Well, seeing as y' all know each other, I'll drop by later. He's not in the bedroom. He's gone, Ellie. He's left a note. What is it, Noly? Noli. Let me read it, honey. My darling, by the time you read this, I will be on a train heading west. What you said was true from the beginning. Oh, Frank.

[B]

Remember our good times and forget all the rest so that at least you will never hate me. Gay.

[A]

Noly. No. Merry Christmas to you all. Oh, Gay.

[B]

Frank, Jack and Ellie had to get over to that cabaret, the Crocodile. They took Noly with them. There was a rehearsal going on and the management was having a little trouble with one of the singers. Look, Julie, I'm trying to put on a show. If you've got a drink, would you mind doing it in your dressing room?

[A]

Ah, but Jake, this is the holiday season.

[B]

It's over for you. Julie, this is work. You promised, remember?

[A]

Yeah, that's right. I promise.

[B]

That's a good girl. She's starting on a bust again. All these poor one man girls. Their fellows walk out on them. They gotta tear themselves apart until he hit bottom.

[A]

I used to dream that I would discover the perfect lover someday. I knew I'd recognize him if ever he came around my way. I always used to fancy then he'd be one of the godlike kind of men with a giant brain and a noble head like the hero's bone in the books I ran. But along came Bill who's not the type at all. You'd meet him on the street and never notice him. His form and face, his manly grave is not the kind that you would find in a statue. I. I can't Explain. It's surely not his brain that makes me thrill. I love. Love him because he is. I don't know. Because he's just my Bill. Anything else? Simon Legree?

[B]

Wish you'd try on your costume for the finale.

[A]

Yes, Martha.

[B]

It's in your dressing room.

[A]

Yes, Martha, right away.

[B]

Sorry to bother you, Mr. Green. Well, that song and dance team, Frank and Ellie Schultz, they're waiting in your office. Tell them I'll be right up then. That's right, Mr. Green. Schultz and Schultz. Say, we got some great new routines for you.

[A]

And if you have a minute, Mr. Green, we brought someone along with us. How do you do?

[B]

She sings, Mr. Green, just. Just like a nightingale. I already got a singer besides night. Well, go on, let's hear what you can do.

[A]

I'll play for you, Noly. Are you ready, honey? Thanks, Ellie. Fish. Got a swim? Gotta fly. I've got a love till I die Carey with a captain.

[B]

Julie, Jake's gonna be pretty sharp.

[A]

Who's that singing?

[B]

Well, some gal the dance act drags in. Needs a job. That, I guess.

[A]

Needs a job. Why?

[B]

Schultz was telling me she was married to some two bit gambler and he walked off and left her flapping. Us boys are all no good, you know that.

[A]

Shut up. Come on now, snap out slowly. He can come out as late as can you.

[B]

How?

[A]

Without fear, ain't no home to me can help love with that man.

[B]

Well, how about it, Mr. Green? Not bad. Leave word where we can reach you, honey. Something may turn up later, see?

[A]

Thank you very much. I'll be at the.

[B]

Oh, but these dance routines. Suppose we. Boss, Boss, you got a minute? Back in a minute, Schultz. Yeah, sure. Now, don't worry, Noly. We'll find something for you. Well, Julie, she just walked down. She what? She's gone. Just laughed in my face and quit. Well, what about my opening? She said if you don't hire the little girl who just sang, you're crazy because she's good. Why, that tramp. I'll go after her. Don't let her go. I'm through trying to. Hey, you.

[A]

Yes, Mr. Green.

[B]

I just been thinking it over. Let's hear that number again. We pause now for Station Identity. The curtain rises on Act 3 of Showboat, winner of Photoplay Magazine's Gold Medal Awards. Starring Catherine Grayson as Magnolia. Ava Gardner as Julie. Howard Keel as Gaylord Ravenel. Mars Champion as Ellie Gower. Champion as Frank. William Warfield as Joe. And J.C. flippin as Captain Andy. That New Year's I made one of the great Decisions of my life. I told Parthenia, whether she liked it or not, I was going to go to Chicago. I was going to see Noly and Gay. And what's more, I was going to the Trocadero and watch Ellie and Frank knock them dead. And that's exactly what I did. Everything all right, sir? More champagne? Perhaps we do it. Thank you, sir. Say, where in the world did these beautiful ladies come from? From the chorus, sir. You invited them to sit down.

[A]

Happy New Year. You're telling us about your daughter, Pop? Yeah. Say, she must have plenty of money to be staying at the Sherman House.

[B]

Well, as a matter of fact, they got a place of their own now. Noly never told me much about it. Figured she want to surprise me. But I'm going to surprise Noly. Because Ellie and Frank, they know where she is.

[A]

See? Pu.

[B]

And now, the new sensational song and dance duo. Shows and shows. That's Ellie and Frank. Oh, wait till you catch them. Taught him everything to know myself.

[A]

Pinui Life upon the wicked day Jane Ever watch a girl positive stage door Johnny doll is raging over you with gems and roses when you let a fella hold your hand which means an extra beer or sandwich Everybody whispers Ain't her life a world

[B]

Though you're warned

[A]

against Rouay ruining your reputation when you played around the White House one night Trade around this great big nation Wild old men who give you jewels and fables only living esau fable A life upon the wicked age ain't nothing for a girl.

[B]

Oh, I'd listen to you moan and grieve. You must pardon me if I do not believe you. There is no doubt you're crazy about your awful state.

[A]

I admit it's fun to smear my face with paint Causing everyone to think I'm what I ain't. And I like to play a demimondy road with snow. Ask the hero does he like the way I lure When I play a hussy or a paramour? But when once the curtain's down, my life is pure and how I did it. I've got talent, but it ain't been tested. No one's even interested. A life upon the wicked days Ain't

[B]

nothing for a girl. Excuse me, girls. Gotta go back and say hello to Ellie and Frank. Now, wait right here. Don't nobody go away. And now, ladies and gentlemen, for the unannounced treat of the evening, that sweetheart of the Mississippi, Miss Magnolia. Ravenous my mood.

[A]

It's not much of a dressing room, Papa, but at least you can Sit down. No.

[B]

You sang just fine, honey.

[A]

It's all right, Papa. I know they didn't like that, Noly.

[B]

What about Giddy?

[A]

I told you everything, Papa.

[B]

He hasn't even written to you?

[A]

No. Just like he recorded Monday.

[B]

Just forget him, Noly, darling. He's a scoundrel, a no kid.

[A]

Oh, no, papa, no. He was only trying to think of me.

[B]

Well, from now on you can just be thinking of yourself.

[A]

No, I can't do that either, Papa. I'm going to have a baby.

[B]

Nolie. And you say Gay was thinking of you?

[A]

Papa, Gay didn't know, you see. Well, he was so worried and let down it. I was waiting for things to get better before I told him.

[B]

Oh, funny.

[A]

Papa. Papa, I want to come home. If you'll have me.

[B]

If we'll have you. Oh, no, no. Noli's baby was born late that spring. We named her Kim. Hard to say who spoiled her the most, Noly or me or Parthi. Years went by. 2, 3, 4. And all this time, Noly thought Raveno was still out west. Truth was, he was playing the gambler right here on the Mississippi. And one night, Ravenol met a woman. I'm not trying to bother you, miss, but the bartender told me you were the girl who was singing before.

[A]

Yeah, that's right. I work the boats too. Why?

[B]

Well, that song you sang. Fish gotta swim, bird gotta fly.

[A]

Huh?

[B]

Someone else used to sing that song. Someone who mattered very much. And I was hoping maybe you'd sing it again.

[A]

Oh, I don't know. Maybe I will later on.

[B]

Oh, thanks.

[A]

Hey, you. Barkeep.

[B]

Yeah, Julie.

[A]

Hey, who's that fella?

[B]

Him. Fair sized gambler. Travels with us now and then. Nemo. Ravenol.

[A]

Ravenol. So that's done no good. Hey, Max, give me a neat ride. I gotta get my courage.

[B]

Nice folks. Nachkie's in 10 minutes.

[A]

Nice place, Natchez. You getting off there?

[B]

Oh, hello. No, I'm going all the way to

[A]

normal, Natchez, seeing as there's a showboat tied up there. I used to know a lot of showboat people. One in particular. He was so pretty and sweet. So open up. Just and sweet.

[B]

What are you talking about?

[A]

And you know something, mister? Some big soft talking card player came along and took her right off the Cotton blossom. Right off where she belonged. And then left her broken, alone in Chicago when she was gonna have a baby. When there was nobody around to take care of.

[B]

Who are you?

[A]

Ah, you could find that out easy enough. Julie. Julie Laverne. Julie.

[B]

So here look what that you want is.

[A]

See what you left, Mister, Here's a newspaper clipping. Pictures too. See this week in Natchez, Cap. Mandy Hawk's daughter and granddaughter.

[B]

Give me that. Kim. Kim. Raven. Julia. I never knew. I never knew.

[A]

Yeah.

[B]

Bet you I take my oath I never knew.

[A]

Well, look, I gotta go now. I hope I did right. I know there's always two sides to everything. Anyway, mister, if you ever do get to see noli. Get together with her, I mean. But if you ever do get to talk to her, don't ever tell her you saw me. I mean, don't ever tell her you saw me like this.

[B]

I want you.

[A]

Good. Good luck.

[B]

Mister. The cotton blossom, Mister. Why, that's the cotton blossom just alongside the wharf there. Thank you.

[A]

M. Mr. Gay. It's Mr. Gay.

[B]

Joe. Lord.

[A]

Oh, lord.

[B]

Look. Look, Joe. You haven't seen me, you understand? Yes, sir. Joel. My little girl, Kim. Perspect. That's Kim on the dock. Mr. Gay over there playing with her dog. So you're Kim.

[A]

Hello, mister. Do I know you?

[B]

No, no, you don't know me any, but. But could you tell me something? Is. Is your mommy here?

[A]

Of course. She's on a boat.

[B]

And. And your daddy?

[A]

This is my daddy. Just stop. This one's gnolly and this one is gay. Of course, he isn't my real daddy. He's far away someplace. So I just play make believe. This is my daddy.

[B]

Make believe. Could. Could you make believe that. That I was your dad?

[A]

You know how to play make believe?

[B]

Oh, sure.

[A]

All right, you start.

[B]

Well, let's see. First of all, I'd put you up on my knee like this. And then I'd put my arms around you and I'd say, only make believe. I love you, darling. Look, if your daddy really did come back, could you make believe that he'd never been away? Could you, sweetheart?

[A]

Of course I could. Kim.

[B]

Kim. Kim.

[A]

We were playing make believe. Mommy. Kim, it's time for lunch, dear. Grandma's looking for you. He plays a real wonderful mommy.

[B]

Hello.

[A]

Hello, Gay.

[B]

She's. She's lovely, Noli.

[A]

Yes. Yes, she is, isn't she?

[B]

You. You look fine, too.

[A]

Thank you. Have things gone well for you, Gay?

[B]

Oh, yes. Yes. I. I just happened to see the picture and I. Well, I.

[A]

Did you.

[B]

Well, the one in the newspapers and I. Oh, no, Lena, there's so much that I want to say to you. So much.

[A]

Okay. Gabe, darling. My tongue.

[B]

Kim. Kim, he's back. Your daddy's back. It's Saturday night again. It's Saturday night forever you and me we sweat and strain Body all aching and rack with pain and lift and bed. You get a little drunk angel and tears. I get weary and sick of trying I'm tired of living and still dying. Now here's Mr. Keeley with our star. And I'd just like to add my thanks for an enchanting evening to Katherine Grayson, Ava Gardner, Howard Keel, Marge and Gower Champion, William Warfield and J.C. flippin. Now, I want you to meet the Gold Medal Award winner as producer of Showboat and first vice president of the screen Producers Guild, Mr. Arthur Freelance. Thank you, Bill. And may I introduce the Gold Medal Award winner as director of Shellboat and president of the Screen Directors Guild George Sidney. Thank you. Arthur Freed. Hello, Bill. We enjoyed the show tremendously and would like to add our congratulations to the cast. They were superb. You know, as I predicted last year you've gone ahead and developed some brand new stars out at mgm. Yes, Bill. And believe me, it's a real thrill to direct young players like Marge and Gower Champion and Showboat and have them jump to stardom in the very next picture. Everything I have is yours. Say, what is your play for next week? It's one of MGM's outstanding successes of past seasons Rudyard Kipling's famous Story of Kin. And starring in their original roles will be Errol Flynn and Dean Stockwell.

[A]

Well.

[B]

Well, it was a fine motion picture and should make a great radio show. Good night, Bill. Good night. Good night. And thank you, George Sidney and Arthur Cleed and all of tonight's great cast. The Hollywood Radio Theater is produced by Mr. William Keeley. Our orchestra is directed by Rudy Schrager. This is John Milton Kennedy inviting you to join us again next week at this same time for another presentation of the Hollywood Radio Theater.