Riedel: PORGY AND BESS canceling Broadway run? — Page 4

I don't know, Namo. Whoever is writing for the Times has a ridiculous amount of power.

A friend of mine was working for the production company presenting ANGELS IN AMERICA. She said they basically sat down with Frank Rich's review of the LA production and fired anybody Rich didn't like before bringing the show to Broadway. That included the directors.

^^
While I agree that the NYT has some level of power, Frank Rich was at another level entirely. He *could* break shows with one sentence. Now, I'm not sure anyone has that particular level of influence.

I just suspect that, looking at the landscape this season, they knew they needed a smash production all around. The show doesn't seem to be that. There are problems. It can't be a cheap show, so it's likely that they just don't want to take any chance.

I do find it sad that the show now will always have a stigma largely based on unwise comments made by it's creative team and lead actress.

For all the bad press this production is receiving based on all the changes being implemented, this really is not the first time it has been done. In 2006 Trevor Nunn, with the consent of the Gershwin estate did a revision entitled, Porgy and Bess: The Musical. It flopped.

I really, really hope this show makes it to New York. That's all.

Didn't know that Paulus' husband was attached. Thought it was the same duo of commercial producers who helped move "Hair" to Broadway.

AND he's attached to Sleep No More in NYC, even though it's the work of Punchdrunk. Diane Paulus is the Tony Soprano of "non-profit" theatre. Badda-bing.

I've attached a link to the above-mentioned Globe article on Weiner. I suppose the biggest laugh in it is the part where they swear he was hired by Harvard independently and that Paulus had nothing to do with it. Oh, I am sure.

The thing that really pisses me off is the fact that Zero Arrow Theater was an ongoing concern that hosted edgy and experimental theater, not the current burlesque shows. The failed attempt by the Dresden Dolls to collaborate with ART on their adaptation of The Onion Cellar is where they got the set that doubled as a working bar. Paulus and Weiner come in, rename Zero Arrow "Club Oberon" to tie it into The Donkey Show, and suddenly he invented the thing and gets a royalty for use of the name. Now, a year and a half later, Donkey Show plays twice on Saturdays and the fricking space is STILL called "Club Oberon" for no logical reason.

And the fact is, he makes money and pays the cast of shows like The Donkey Show less than the coat check staff in the theater. Excuse me, CLUB. There's no moral center, and clearly, the world of non-profit theater in Cambridge is more like La Cosa Nostra than ever.

I enjoyed Porgy & Bess for the performances of the leads and firmly believe Paulus and Weiner deserve every failure that comes their way.

Globe article on Weiner

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Updated On: 9/4/11 at 01:52 AM

I caught the show last night - and have read the reviews - my two cents with the cavet that I am not lover of Opera nor have I ever seen/heard Porgy & Bess before

Went into the theater knowing a bit (the ART did this great mailing to ticket buyers with a program with essays and letters from Diane Paulus, Suzi-Lori Parks and a history of the show.)
I will say that helped somewhat to set up the show for me - but I had no idea this was basically an opera - and still being performed as such. I guess I was expecting something more modern, more identifiable and something more entertaining...

Audra McDonlad gives a rapterous performance - and indeed - I agree with the quote "a Bess for the ages" from Brantley. Audra's voice lifts the songs into the heavens. I'd actually say the same for Norm Lewis (although how could anyone NOT be overshadowed by the gorgeous and complex voice of McDonlad...and I'd say the same of the Opera Singer who plays Crown...David Allen Grier is also quite good as Sporting Life - his moments are strong as his voice (loved him in FUNNY THING...and THE WIZ...)

But my take is that I was expecting something MORE...because I find the narrative to be a simple Opera - yes, sacrilige, I don't find the story or the characters all that compelling - dont get me wrong, there are moments where because the songs flow into one another allowing the story to propel itself at an entertainingly rapid rate (save for some midland songs that frankly were kinda too operatic for my liking and slow down the show - the "strawberries/honey" song come to mind..) however there are moments that are hypnotic and pure theatrical magic - beautifully directed mometns utlizing lighting and staging - and rain...

With that being said, the show suffers from being OLD and CREEKY - and in-authentic in terms of the music to the time, characters or history (although I appreciate the use of African Drumming and Dance in a scene or two) This is just an old play...

It's a heavy show, I didn't leave the theater with a catharsis (although I might have felt a tad verklepmt at the end...) but more depressing - and by the way - that's ok and I don't need to me made to feel good at the end of every piece of theater - its just that the sum didn't equal the whole of its parts...

....I would love to see this talented cast and director with another show - something with more soul and life...and less operatic

I certainly will be interested to see where this ends up

and I wish everyone well...

Got to see an American classic finally and now have judged it for myself...

Updated On: 9/4/11 at 08:49 AM

I suppose the biggest laugh in it is the part where they swear he was hired by Harvard independently and that Paulus had nothing to do with it. Oh, I am sure.


As someone who works in college-level academia, I can tell you that it's not uncommon at all for a influential person (e.g., Paulus) to get their spouse a job or business contract at the university where they work/teach. In fact, it seems to be the norm. It's almost comical that Weiner and Paulus would try to deny that their wasn't a connection. Academia is a most incestuous industry, even more so than theatre.

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All of this because Riedel claims "a source" said so? I think I'll wait until they start refunding to Bway ticket holders before I get myself into a panic over this.

At the very least, I want a cast recording.

I'm erring on the side of caution with this one: bought a ticket for Sunday and doing an eighteen hour turn-around from New York to Boston and back. Not expecting a perfect P&B, only an incredible performance from one of theater's greatest talents. Everything else is just dessert.

By the way, the entire run is sold-out (except for the last two dates where Audra will not be appearing), but ART has regularly been allocating more tickets for each performance. I've kept the web page up and refreshed every hour or so before I got my tickets. As luck would have it, scored after a few hours of trying.

Sondheim said if you go see this production, you will burn in Hell. Do people really want to risk their souls for all eternity?

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