Overall, very enjoyable. I wasn't familiar with the original opera at all going in, so I can't fully compare the new production to it, but to this P&G "newbie", it was a good time. McDonald and Lewis were sensational, as was expected. Very good supporting cast, too.
I did have a problem with portions of the adaptation from an opera to a musical, however. At times, it seemed like some portions that would work in an opera needed to be scaled back a bit. It's almost as if the show is trapped in a sort of no man's land between an opera and a musical. I'm going to hope and assume that will be addressed as the preview period goes on.
And I must say... I'm glad Norm Lewis has found a score to sing that is 100% worthy of his glorious voice. Us baritone fans deserve it after THE LITTLE MERMAID.
looking forward to seeing this and like timote 316 - not familiar with the oprea, in the least bit...amazing cast and talented director have me itching to see this
the pics i saw def made the production seem intimate and not over produced - just thoughtfuly designed. not familiar with the space at ART - i've only been there once, over ten years ago...
1. It was a real baby, and he was awake the whole song, captivated by the conductor. According to the program, it was one of NaTasha Yvette Williams's twin boys. Cute, but distracting to be honest.
And since SPOILERS were requested.... 2. I wouldn't call it a happy ending, really. I read a synopsis of the original ending... and it's not drastically different. Bess doesn't leave Porgy exactly, she's effectively kicked out of the town. The show ends with Porgy venturing out to join her. To me, the ending used is much more effective for the characters. Updated On: 8/18/11 at 01:19 AM
Thanks TImote! I've always expected this hype about a happy ending was merely spin and that the ending would prove, if anything, merely a nuance of an alteration toward optimism. Creative teams often spin things out of control to distinguish what they are doing from past productions. As I've said before, how often have we heard that a new production of Carousel will finally emphasize the dark qualities of a show that has always worn its pathos on its sleeve.
well, the baby thing is newsworthy, but more to the point regarding "summertime": did they in fact make the changes previously indicated (i.e., taking it down a couple of octaves and using an accordion)? if so, how'd it work?
RE: P&B, opera or musical. This debate goes back to the original production, to which the Times sent both their drama critic and music critic. The film version definitely presented it as a musical. Guess you might say that it's a musical with too much music or an opera with too much dialogue. It's still a masterpiece, no matter which way you slice it.
re: Summertime.... I'm listening to a recording of the song now, and it did seem a bit lower, but certainly not a couple octaves. It showed off Nicki Renee Daniels' lovely soprano voice, that much is for sure. As for an accordion, I didn't notice, but there is one listed in the program.
I was there last night as well and this was my very first exposure to Porgy and Bess. Heard about it about it, but was not familar with the music. I am a bit confused about the ending compared to the orginal. For the most part I enjoyed the perforement and my favorite was when Bess confronts the southern woman as country b**tches. Made my night.
You know, ma'am, ? there's nothing I wouldn't do for you. ,If there was a monster or an ogre or anything bad like that wot was after you, I'd rip it apart with my bare fists, I would. - Sweeney Todd
Even if the change proves significant, I'm not sure that's fatal. I'm keeping an open mind. How could I possibly know how I'll feel about it (even Sondheim had to concede that he couldn't be sure how he'll react to the finished product)?
It's ironic that "the theater! the theater!" which understandably delighted in the change that Lerner, Loewe and Hart gave to Shaw's famous and cherished ending to "Pygmalion" has to condemn the change that Paulus and Parks are now giving to Heyward and the Gershwins' famous and cherished ending to "Porgy and Bess," before we've even seen the damn thing!
And no, in this case, I don't find the fact that one is altering a play for its musical adaptation while the other is altering an opera for a new production thereof to be significant.
I'm not saying that I'll like what they've done. I'm merely saying that I will wait and see how I will feel about it.
Sporting Life sings of the boat to NY and how it'll be a better life for Bess, but Bess rejects him. Sporting Life insists she think about it, gives her the money for the boat and some happy dust (which she flat out refuses, but he forces into her pocket book). Porgy returns from prison, finds the happy dust, and accuses Bess of returning to her old ways. The people of Catfish Row side with Porgy, and she flees from the town (referring to the townspeople as "country bitches", as jlbpr00 referenced). When the townspeople all but celebrate, Porgy realizes how happy Bess made him, so he too leaves, taking off to find his Bess once more.
I only know the original ending from a synopsis I read, but to me, this ending is much more... fulfilling.
BTW. The picture I have as my profile is the curtain for the show.
You know, ma'am, ? there's nothing I wouldn't do for you. ,If there was a monster or an ogre or anything bad like that wot was after you, I'd rip it apart with my bare fists, I would. - Sweeney Todd
Total speculation on my part, but this new ending, as described, sounds like a star performer was worried her character wasn't sufficiently sympathetic.
Again "as decribed", all the new ending does is take all the responsibility away from Bess. Sportin' Life forces money on her; she's not to blame. Sportin' Life forces drugs on her; she's not to blame. Porgy and the townspeople reject her; again and still, she's not to blame.
I don't think this is a crisis in Western civilization. It's just the sort of shallow whitewash of a character that is often demanded by movie stars who want to play melodrama heros instead of complex tragic characters.
I can't help but notice the irony that after all the talk about cardboard characters, this ending seems to make Bess less complex rather than more.
Again, total speculation on my part. Ms. MacDonald may have had nothing to do with it. But I kind of doubt that.
"I only know the original ending from a synopsis I read, but to me, this ending is much more... fulfilling."
I don't know. The original ending has proved to be pretty fulfilling over the years. It makes me sob every time I've seen it, and generally I'm not the only one with that response.