I said I wouldn't quibble but I can't resist. They ought to lose the real-live baby in the first act. For one thing, it's a little distracting. And much was made of changing Summertime because, "after all" they said, "it's a lullaby." The actress sings it beautifully, but she holds the baby in the crook of her arm off to her right, and turns her head up and to her left when she sings, as though the song has nothing to do with the baby. Presumably this is so she won't sing this big song into the face of a so-far-so-good quiet baby. She looks off to the horizon as she sings looking blissful, as though she can’t believe her luck living here on Catfish Row (in a set designed to evoke a pigpen, I think.) It did not come across as a sad, mournful, ironic lullaby, or any sort of lullaby at all.
Totally agree about cutting the live baby. The audience audibly oohs and aahs over the kid (who does look adorable) and can't focus on the music. It's one of those ideas that sounds great but should have been cut long ago in previews.
"There are virtually no strings - apparently William David Brohn and Christopher Jahnke prefer piano, accordion, and reeds, because that's mainly what they use."
Christopher Jahnke seems to be the go-to person to ruin classic scores. His completely revised orchestrations for the Les Miserables revival were an embarrassment and sucked the music of any harmony and beauty.
It is infuriating what they're doing to Porgy and Bess. This has to stop.
Recreation of original John Cameron orchestration to "On My Own" by yours truly. Click player below to hear.
Absolutely no comparison. "Carmen Jones" couldn't be a more different case than this. It was presented as an obvious re-interpretation of "Carmen" and billed as "Oscar Hammerstein's Carmen Jones", not like this production which is billed as "The Gershwin's Porgy and Bess". No one thought they were seeing or hearing "Carmen" when they saw Hammerstein's production. Many people who see this P&B think they're seeing the real thing - they're not. It's a pale shadow of a great work.
And BTW, the music in "Carmen Jones" was not butchered:
"Although Oscar Hammerstein II translated the libretto for Georges Bizet's opera Carmen from French into English for his Broadway production, "The music was pretty much left intact," explains Arts and Entertainment Editor Elisabeth Vincentelli."