by Sara Evans
Musical or opera? Opera or musical? Ever since “Porgy and Bess” was first launched in 1935, the controversy has raged. But while critics have foamed and fumed ever since the birth of this American icon, audiences continue to flock to its successive productions.
Its current iteration, “The Gershwin’s Porgy and Bess,” produced by award winners Diane Paulus and Suzan Lori-Parks, was launched last fall in Cambridge, Massachusetts by the American Repertory Theater. It was slammed by none other than Stephen Sondheim. Prior to its preview opening in New York, he took on the production sight-unseen in the New York Times, claiming that the iconic work wasn’t broke and did not need any fixing. He affirmed his belief that all productions should hew closely to the original, conceived as a folk-opera that lasts over three hours. He claimed that George Gershwin’s music and Ira Gershwin’s libretto are distorted in the current production, and that the vital roles of writers Dorothy and Duboise Heyward were under-valued. Sondheim maintained that the current production popularized and cheapened and dumbed-down the original intent of the piece. Critics leapt to the defense of the current production, and the ink literally flew.
But despite all the critical brouhaha, the current production is not only important and delightful, it is also a huge success. It has just passed its 100th sold-out performance, has launched the cd of the production, and has announced the extension of the run until September. In cooperation with the New York City Board of Education, it has launched a program so that high school students from around the city can see it. And, as a further affirmation of the excellence of the current revival, the producers of “The Gershwins’ Porgy and Bess” have just announced plans for the launch of a national tour in the fall of 2013.
Let’s face it: “Porgy and Bess” has always been a source of controversy. When it first opened in 1935, audiences, both white and black, reacted in a confused and negative way. But African-Americans, who for generations felt it to be clichéed and patronizing, are embracing the current production warmly. It’s a different “Catfish Row” for a different generation. And that is perhaps why it passes the test with each distinctive production. Porgy is evergreen; its perennial story of love and heartbreak and redemption resonates through time and space.
The original production, based on the story of a crippled beggar who haunted the impoverished streets of Charleston, South Carolina, was written by the Heywards (If anyone’s role has been undersung, it is no doubt Dorothy Heyward’s). Based on life in a slum of the city during the 1920’s, the Gershwin’s American folk opera opened in New York with a cast of classically trained African-American singers. It was from the outset a show that broke barriers and continues to do so.
In 1976, a magnificent production by the Houston Opera Company finally legitimized “Porgy and Bess,” and established it as a classic. Eight years later, a production at the Metropolitan Opera further cemented its role as an icon of American culture.
From the minute the curtain rises in the current production, and the glorious sounds of “Summertime” peal forth, we know where we are and what we are in for. (“Summertime” is an American hymn, one of the most beautiful songs in the English language, one that is believed to have been recorded over 25,000 times since it was first written.)
Audra MacDonald is beyond luminous as Bess; she dominates the stage in every scene she is in, and her voice is clear and true and born for this role. Norm Lewis, as the crippled Porgy, has traded in his goat cart for crutches in this production. His Porgy’s voice is rich and resonant, and like MacDonald, he owns his role. David Allen Grier is a slick and perfect Sportin’ Life. There is something reassuring in the familiarity of this production, while its innovations make for a show that is freshly appealing to a new generation of audience. Each song has become a component of the American songbook, not just “Summertime,” but also “I Got Plenty of Nothing” and “Bess, You is my Woman Now,” and many others.
Whether it’s called an opera or a musical at the end of the day is irrelevant. ”Porgy and Bess” is a part of our collective identity, a unique and important American work. This production is gorgeous. Don’t miss it.

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