[NEohioPAL] Berko review: PORGY AND BESS @ PlayhouseSquare/Palace

[Roy Berko]

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PORGY AND BESS enthralls at the Palace

Roy Berko

(Member, American Theatre Critics Association, Cleveland Critics Circle)

It might surprise many to find that the original 1935 Broadway production
of "PORGY AND BESS" ran only 124 performances.  The reasons were many
including the all Black cast, some of the overtones of the script were
perceived by some to be "too Negro," the opera format was considered "not
Broadway," while some railed that it "had racial overtones."  Other
suppositions were that the heavy dependence of a strong story line was not
a familiar format during the era of escapist comedies, follies and
vaudeville.  Not to be overlooked was the fact that the production lasted
four hours, with two intermissions.

The intent of George Gershwin, who wrote the now revered classic music for
the show, was to create an "American folk opera."  Because it was first
performed on a Broadway stage, the "opera" recognition had to wait until
1976 when it was staged by the Houston Grand Opera, a "legitimate opera
company."  The final step toward operatic recognition was achieved in 1985
when the piece was presented by the Metropolitan Opera of New York.

The 2012 two and a half-hour Broadway revival, which carried the name "THE
GERSWINS' PORGY AND BESS," was a major remaking of the original, with an
eye on appealing to a contemporary audience.  It ran 322 performances, was
nominated for 10 Tony Awards, winning Best Revival of a Musical and Best
Performance for Audra McDonald as Best Actress in a Musical.

The revival was not without its nay-sayers.   Steven Sondheim criticized
the new title because, "it took credit away from DuBose Heyward," the
author of the novel, "PORGY," who also wrote the libretto and co-wrote the
lyrics with Ira Gershwin.  Sondheim, the reigning king of the contemporary
Broadway musical,  said the changes had "disdain toward the [original]
work."  He was not alone in his reaction.  Critics all praised McDonald,
but were divided on the "success of the adaptation, staging and setting."

It is a touring company, performing the 2012 version, which is now on stage
at the Palace Theatre.

What's the show about?  PORGY AND BESS tells the tale of Porgy, a disabled
Negro beggar who lives in Catfish Row, an impoverished Black area of
Charleston, South Carolina.  Porgy falls in love with Bess, a prostitute
who is being controlled by her violent and possessive lover, Crown, and is
beholden to Sportin' Life, her drug dealer.

The power of the show is the amazing musical score which includes "It Ain't
Necessarily So," "I Got Plenty o' Nuttin," and "I Loves You, Porgy."  Be
aware that Gershwin's underlying music has been eliminated.

The touring production sizzles.  From the dynamic "Summertime," which sets
the show's tone, to the plaintive "I'm on My Way," everything works well.
Diane Paulus's direction and Ronald K. Brown's choreography develop the
right mood.  The pacing, acting, dancing, singing, choral work, musical
sounds, sets and lighting all work.  The costumes are glorious, maybe too
upper class for these poor folk, but they add to the luminosity of the
production.

Alicia Hall Moran, who alternated with and understudied Audra McDonald  on
Broadway,  makes Bess a multi-leveled woman, driven by sexual desire and
drug dependency, with a strong need to be wanted.  She makes the character
both despicable and appealing.  She has a wonderful singing voice, avoiding
the often distracting soprano quivering vibrato.  She nicely sings
meanings, not just words.

We feel both sorry and uplifted by Porgy, as sensitively portrayed by
Nathaniel Stampley.  When he departed in his search for Bess, sounds of
"don't go," echoed through the audience.   The duet, "Bess, You Is My Woman
Now," was a show highlight

Physically imposing Alvin Crawford is properly evil incarnate as Crown.
Kingsley Leggs, with his flashy clothes and smooth ways, is effectively
snarky as Sporting Life.  Dannielle Lee Greaves gives the right earth
mother image and feeling to Mariah.  Denisha Ballew gives a special
plaintive sound of loss to "My Man's Gone Now."

The rest of the cast has high quality voices and acting abilities, while
the orchestral sounds fill the large theatre without drowning out the
performers.

*CAPSULE JUDGEMENT:  For those concerned because some touring companies
aren't as good or the productions as grand as Broadway shows, worry not
with the road performance of THE GERSHWINS' PORGY AND BESS.  It is, as its
title says, "The Broadway Musical."  For anyone who wants to see and hear a
fine staging of a very important classic, this is it!*

Tickets, for the show that runs through February 16, 2014,  can be ordered
by calling 216-241-6000 or going to www.playhousesquare.org.


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