Just back from the first preview of PORGY AND BESS.... — Page 3

The difference with film versions, of course, is the authors sell the rights to their work to the film-makers. And in case that is unclear, what that means is, the film-makers can do whatever they want to the property. We can all hope they respect it and keep the spirit of the stage work alive. But often they don't.

One of the most brilliant of film producers, Arthur Freed, threw out half of Bernstein's score for "On the Town" after spending a lot of money to purchase the rights for the movie version. That's only one example.

Right? Wrong? Immaterial. The filmmakers bought the right to do that.

In this case, the estates of Gershwin and Heyward have the right to do this ... they aim to create a "new work" that can be copyrighted fresh and supply a stream of revenue to the heirs, long after "Porgy and Bess" the opera has become public domain.

It's all about the money, and do not fool yourself one minute it is not. It may have very talented people working on it, but it's about the money.

^ Totaly off topic: Love justoldbill's avi. Saul Bass' "Carmen Jones" rose.

Okay y'all can go back to arguin'

Thanks. It's a TERRIFIC design, isn't it? I've always wondered, with all of Arthur Laurents' and Stephen Sondheim's carping about the film of WEST SIDE STORY, why they allowed the front of the Palace Theatre to recently look like a major revival of the film? I hope the Bass estate (or whoever) got their cut.

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See, but the new ending doesn't even sound that happy. If you're gonna do revisionist and spit on the intent of the original creators, go all the way darnit!

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Keep in mind, Eliza chooses to return. And in doing so, hasn't lost one bit of her freedom. But this is about Bess. The loss of Porgy and the persuasion of Sportin' Life (and his happy dust) debilitates her freedom. This is where A.R.T. goes awry. In demonstrating her "strength", Bess LEAVES OF HER OWN ACCORD, without mincing words, evidently. This cheapens, even negates, the final scene of the story. Even in the novel, where Bess is overpowered by a group of riverboat men and taken to Savannah, she's lost her freedom of decision. Many women can recognize this. THIS is why Porgy sets out to find her. (He doesn't do so in the novel. There, he is left old and alone. His lost love is truly tragic.) At least in the opera, there's a sense of hopeful uplift. At A.R.T., even Porgy seems to (momentarily) turn against her. I won't accept that.

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If someone told me there was a new musical of HAMLET where everyone remains alive and well and they all take a house together by the seashore, I wouldn't have to sit through it not to accept it.

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Changes to endings in adaptions are nothing new, unfortunately. Most of the time, they make absolutely no sense, but there is the rare occasion when it does.

In Gluck's opera version of the Orpheus and Eurydice myth (Orfeo), instead of Eurydice being sent back into Hades after being looked upon by Orpheus, Cupid comes to the rescue, saves Eurydice, and brings her back to the normal world. It's completely bizarre, especially after an entire depressing, melodramatic, 90 minute opera. It's totally pandering to the audience. I'm hoping that we're not getting the same deal here with Porgy and Bess. Still very anxious to see it.

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"Sorry, henrik, when I asked that question, I was assuming you had read what I read upthread about the new ending."

Thanks, Growl, actually I hadn't read your post describing the production's final narrative and I appreciate your posting it. I am not impressed with the substituted scenario as it appears in your post. But that doesn't change my position that I'm in no position to truly assess it until I see the entire show, and how the resolution plays in its context.

We live in an age where classics are being continually deconstructed. Which can, depending on many creative factors, be exciting or boring, elucidating or downright cheap. I still find it odd that this particular production of "Porgy and Bess" should engender so much premature outrage.

Justtold, the jeers started well before the show was seen by the jeerers, now that the show has been seen by some, the jeers continue from folks who have not seen the show: it's one thing to judge a production upon viewing and another to judge it by the stated intentions of its creative team; and, finally, creative teams are in the habit, for better or worse, of describing intentions that don't necessarily correspond to everyone's perception of what actually happens in performance.

I'm not surprised to hear the possibility that Norm Lewis is underwhelming. It was so disappointing when the casting was announced. He's got a terrific voice in the right parts, but as an actor he's boring as $h!+.

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And the aroma! The aroma!

I love the smell of burning artists in the morning. Anytime, really.

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Did any of you guys see the London version of Porgy and Bess the Musical directed by Trevor Nunn?

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I saw the production the other night. Parts were very good, parts were very messy. On the whole though, I would say it was solid but underwhelming. Didn't really buy McDonald as Bess. I felt she was REALLY pushing to convince us that she could pull off this role. It just felt like she laid it on a little too thick. I thought Lewis faired much better. He was in magisterial voice and I found his performance to be quite moving. I agree with other posters that he needs to find the pathos more in the second act but I think by the time the run at ART is over he will definitely get there. Also really liked Josh Henry a lot as Jake. Amazing voice, and great presence. As a whole I would say the biggest problem with the production is its consistency (or lack thereof.) It just seemed like all of the characters were not from the same world. Like they all just chanced upon each other in Catfish Row. My biggest reservation absolutely though were the vocal inconsistencies. Nikki Renee Daniels is a talented girl with a lovely soprano... so why are they having her sing Summertime in a low chesty key? And by far TOO. MUCH. RIFFING. This is Porgy and Bess, not In the Heights. It needs to be sung way more legit than it is now. The cuts were choppy. David Alan Greir's numbers though strong certainly, just didn't seem to fit in. I think it can be strengthened by the time it hits New York but they certainly have their work cut out for them.