Riedel: PORGY AND BESS canceling Broadway run?- Page 5

[ljay889]

Posted: 9/7/11 at 12:06am

Riedel update: the transfer is still up in the air.


http://www.nypost.com/p/entertainment/theater/porgy_pickle_mG4XtcU6FyM7ZhkPDlCnCK

I love this: "And by June, after "Follies" sweeps the Tonys, "Porgy" investors will be on the phone to their accountants discussing the write-off."
Updated On: 9/7/11 at 12:06 AM

[Mildred Plotka]

Posted: 9/7/11 at 12:47am

I'd like this Porgy Pickle Riedel speaks of. I assume it's Norm Lewis naked and covered in vinegar?

[CurtainPullDowner]

Posted: 9/7/11 at 1:02am

How could the producers rent a theatre and put up a marguee without The Gershwins' approval of a transfer?
That takes balls.

[Mister Matt]

Posted: 9/7/11 at 10:22am

In 2006 Trevor Nunn, with the consent of the Gershwin estate did a revision entitled, Porgy and Bess: The Musical.

Actually, it was entitled "The Gershwins' Porgy and Bess", same as this production.

[FindingNamo]

Posted: 9/7/11 at 3:27pm

Just heard Norm on PRI's Here & Now with Robin Young. Besides the fact that Norm's speaking voice makes me ovulate, there was no mention of Broadway, pre-Broadway, post-Cambridge ... anything really.

[WiCkEDrOcKS]

Posted: 9/7/11 at 6:25pm

Does Riedel seriously think FOLLIES will sweep the Tonys...?

[Mister Matt]

Posted: 9/7/11 at 6:45pm

Besides the fact that Norm's speaking voice makes me ovulate

Seriously. Seeing him in Two Gentlemen of Verona was one of my favorite New York theatrical experiences. If he just personally recorded a few key sentences, I would probably be sexually satisfied for life.

[raker]

Posted: 9/7/11 at 7:46pm

I just saw the show. I'd never seen Porgy and Bess before and I loved it. They achieved the goal of having it look and sound like a Broadway musical rather than an opera, and I liked that. It's clear they're still making changes; I did not see the notorious "happy ending" I've read about. No "country bitches" either. At the end Bess is gone, Porgy's on his way, and they're both doomed as it should be, Porgy's can-do optimism notwithstanding.

All the actors were wonderful, but I think the male actors have been sold short by the critics. They were fabulous. Audra MacDonald was brilliant as everyone says, playing Bess with great intensity. There's lots to quibble with, but why quibble? I had a great time.

[CATSNYrevival]

Posted: 9/7/11 at 8:13pm

I still hope this makes it to Broadway just so we can get a recording of Audra singing these songs.

[barcelona20]

Posted: 9/8/11 at 12:18am

Riedel, as always is talking out of his #$%#$%#. See the show first, then decide. The show is not getting three curtain calls every night for nothing!

[FindingNamo]

Posted: 9/8/11 at 1:22am

I don't know what Brantley's issue is with men. Is it some sort of homosexual panic he feels, like he can only comment on the luminous beauty of female leads or something? He's like an early-'60s throwback in that sense.

I think the "country bitches" line was not a major focal point in Bess's final confrontation with the women, it was just sort of tossed in there but the way it's been discussed here it reads as if it's Albin's big "STOP THE MUSIC!" moment in "I Am What I Am" or something. You might have missed it since it comes in a flurry of activity and words.

And I still maintain the direction is fair-to-middling and in many cases just plain bad, and that more than anything else is the big problem with this production.

[CurtainPullDowner]

Posted: 9/8/11 at 1:53am

Namo, Freud or any other shrink would have a field day with Brantley and his Diva obsession. He seems to always relate and praise the beautiful, talented women who have some way to affect men.

[CATSNYrevival]

Posted: 9/8/11 at 1:55am

Is Brantley closeted or something?

[wesleystewart]

Posted: 9/8/11 at 10:09am

Hi all, I rarely post on here but keep up with news/opinions quite frequently. Anyway, I find this whole conversation really interesting. But just to weigh in with my thoughts on Audra...

She is one of those performers I would drop everything to see. Have seriously considered flying up to Boston JUST to see her in this. So, obviously, I don't have an unbiased view of the situation. But as to the question of her overpowering the room, if it's a question of simple stage presence or acting, after seeing her in "A Raisin in the Sun" I can say that is certainly not always the case. She gave an incredible performance, subdued when necessary and part of an outstanding ensemble cast (Sean Combs being sufficient, not stellar). She allowed others to shine but also took the moments presented in that role to dramatically and movingly portray the conflict Ruth faces. Loved every second of that performance and she was rightly awarded a Tony for it.

Now, my suspicion is that it really has more to do with her vocal capacity. And I have to say, what a shame it would be to ask or expect her to restrain the incredible voice she has. Not saying that is necessarily what people are suggesting...but I guess I would just hope that someone would be found as a suitable partner to her vocal chops. Brian Stokes Mitchell is someone that holds that ability, in my opinion. And there are certainly those out there that can do the same. I happen to believe that she finds wonderfully nuanced ways of portraying every song she sings.

All that to say, I really hope this makes it to NY. If nothing else, just so that Audra can collect Tony #5, which would be her FIRST in a leading role.

[marknyc]

Posted: 9/9/11 at 1:56am

Just heard this and I wanted to report.

Gershwin's orchestrations have been >completely< scrapped.

Completely.

Not reduced, not revised - dumped entirely.

And the replacements are awful. Dreadful. Some of the greatest music of the 20th century has been replaced with garbage.

I'm gobsmacked. I can understand the desire to replace recitatives with spoken dialogue and even to rewrite the book - I don't like it, but I understand it. But why would you replace Gershwin's gorgeous music with something far inferior? It's not even "modernized" for contemporary ears. It's just redone - horribly.

Let me be clear (as if I haven't been so yet): the only thing of George Gerswhin's work that survives this incarnation are his melodies - even chord structures have been revised. There are virtually no strings - apparently William David Brohn and Christopher Jahnke prefer piano, accordion, and reeds, because that's mainly what they use.

All the gorgeous music in "My Man's Gone Now" is gone, gone, gone. Everything is stripped from "Bess You Is My Woman Now" - everything but piano, oboe and clarinet. "I Can't Sit Down" is now an entirely different song. "There's a Boat" sounds like Lawrence Welk trying to be hip. "I'm on My Way" sounds like TV background music.

As someone who loves P&B, I found it unlistenable. Painful. Parts sounded like Muzak, parts like a bad "jazzy" version (and I love jazz versions of P&B).

Beware: if this comes to Broadway and you see it, you will hear virtually none of Gershwin's glorious score, unless they make major changes. What people are hearing now is a travesty.

[Gypsy9]

Posted: 9/9/11 at 5:33am

marknyc: Your post about the Gershwin orchestrations has shattered me. Orchestrations to any show is of the utmost importance to me, seriously affecting my enjoyment of a musical. Great orchestrations can save a show for me: the flop and my guilty pleasure musical I HAD A BALL is saved by its outrageously wonderful brassy orchestrations. I have a ball listening to it.

To have the orchestrations to PORGY AND BESS scrapped and replaced by "modern" Lawrence Welk style orchestrations(with abundant use of the accordion?) has sealed its fate for me. Despite the wonderful Audra McDonald,
I can no longer anticipate seeing this production. Unless the Gershwin orchestrations are restored (highly unlikely) I will not see PORGY AND BESS in NYC. Period!

[PalJoey]

Posted: 9/9/11 at 10:19am

Ouch.

[Mattbrain]

Posted: 9/9/11 at 10:31am

Gonna have to agree with Mark, even watching this live, I knew these orchestrations were terrible.

[Katurian2]

Posted: 9/9/11 at 10:35am

Namo: I don't think Brantley has a 'panic' problem praising the men at all. In fact, I think he gets just as soppy the other way round when he wants to. Look at his review for Benjamin Walker in 'BBAJ' last season:

"the irresistible Mr. Walker plays him, Old Hickory is a petulant, impulsive outsider with a sulky charisma"

"His eyes rimmed in waterproof black liner, Mr. Walker leads this buoyant journey into the past — which really isn’t so past, after all — with a piquant air of aggressive defensiveness. This Jackson wears the chips on his shoulder as if they were epaulets, and he moves like a self-charmed snake."

I'm sure there have been other instances, but that one was the most memorable to me...

(Sorry for the OT bit)

[whatever2]

Posted: 9/9/11 at 11:14am

mark: this is huge (read: devastating) news ... i think it could be a game-changer. so i have to ask: what's the source?

[whatever2]

Posted: 9/9/11 at 11:14am

mark: this is huge (read: devastating) news ... i think it could be a game-changer. so i have to ask: what's the source?

[marknyc]

Posted: 9/9/11 at 11:22am

The source is me. It's my personal review of the music.

Others have written to me to say they agree.
Updated On: 9/9/11 at 11:22 AM

[lynnetoomey]

Posted: 9/9/11 at 11:28am

Those orchestrations? Are you kidding me? Gross.

[whatever2]

Posted: 9/9/11 at 12:10pm

got it. thanks.

this has tipped the balance for my theater-going foursome ... we'll pass.

[raker]

Posted: 9/9/11 at 12:38pm

The orchestra sounded thin and small, but that's fairly common today in musical theater, isn't it? Who knows, in some future revival Bess may be lugging around a tuba and we'll be nostalgic for this relatively lush orchestra. Updated On: 9/9/11 at 12:38 PM