In 1927, Jerome Kern and Oscar Hammerstein’s Show Boat broke new ground. It talked openly about segregation and racial hatred. When show-boat star Julie is discovered to have “negro” blood, she’s drummed off the boat by the local sheriff. In the second act, a Chicago nightclub owner says he’s not interested in hearing any “coon” songs. Show Boat’s score also created instant standards— “Ol’ Man River,” “Can’t Help Lovin’ Dat Man,” “Make Believe,” and “Bill.” The songs still soar—although a few are repeated over and over.

There’s a lot of talent onstage. Duke Ellington School of the Arts graduate VaShawn McIlwain has the deep, resonant voice to do justice to “Ol’ Man River.” Will Gartshore’s pure tenor, in his role as Gaylord Ravenal, could make angels sing. Stephanie Waters hits all the high notes as Magnolia. Harry Winter has a great comic turn as impresario Captain Andy when he’s forced to play all of the parts in a melodrama.

But Show Boat’s plot is so thin that it feels more like a musical revue than a musical. The action is slow, the plot predictable. Even director Eric Schaeffer, a master at reviving moribund musicals, can’t keep this one afloat.