Sondheim vs. Porgy & Bess - YIKES! — Page 2

Except Carmen Jones wasn't completely new in the way, say, Rent is a completely new take on Boheme. It used the same music. That's not minor nor is it incidental. I'm not all that familiar with something like The Hot Mikado, but I was under the impression that it was along the same lines of Carmen Jones. I could be completely wrong here. But the music isn't some small afterthought. I would veture to say that most non-opera buffs would not be able to tell you the whole plot of Carmen or any of the lyrics...but damn, they'll be able to say 'That's Carmen!' when they hear that glorious music (thanks Katarina Witt and Debbie 'I Choked' Thomas!)

I will agree, however, that the tone of the adapters in the original article was off-putting. And the erasing of DuBose Heyward is dreadful. I agree with those saying they should retitle it. Personally, I'd just go with Porgy and Bess: The Musical.

But I don't quite get the vitriol at the adaptation. Someone in this thread mentioned something about those classic works being in the public domain. Is that really all that makes changes to a work ok? Time? That's it?

One of my favorite theatrical evenings was seeing R&J in its original run in the city. That is one hacking of a script. I mean...Midsummer ended up in there. But it was thoroughly moving, and, for me, it worked.

I agree that the score of "Carmen" is vital; the most vital element. But "Carmen Jones" still is a completely different work, not just "Carmen" with a few new elements, I would argue.

I was thinking the same thing about public domain. I think what makes it seem like that's the difference is simply that they've had such a long life as the original work that any later adaptations really aren't going to affect their life much.

Whereas if the Gershwin estate finds this version to be a surefire money-maker--and they're the only ones who can say yea or nay to a production--it's possible that the original work won't continue to be performed; that it will exist only on paper and in old recordings.

I'll argue you to the death on Carmen Jones! But I agree that West Side Story has no place here. It's a completely new work, with just the broad outlines of the plot of Romeo and Juliet.

I don't know. I think theatre is generally a Frankenstein's monster of old stories and elements stitched together to make something...if not new, then different.

Adaptations of other works (be they wholesale or minor revisions) don't offend me. Medicore work offends me. As I do not know the quality of this work yet, I'll reserve judgement.

And who doesn't love a bunch of psychotic theatre people talking each other up and tearing each other down. IN PRINT!

To me, a bit part of the argument isn't actually the tinkering with the material -- what Sondheim is saying, is that its a respect issue; what the Gershwin estate through Paulus are in effect doing is trying to cash in on the name value of the Gershwins and maintain the name recognition of the original opera, all the while completely re-writing and changing the authors' original intentions, in effect creating a completely new musical.

The precedence isn't exactly new here. Whether its CARMEN JONES or CRAZY FOR YOU -- taking a familiar piece and re-writing it for a modern audience isn't anything I have an issue with.

But rewriting PORGY AND BESS - giving it a new ending, and insisting on calling it by its original title (and marketing it as the original work) is somewhat trying to have your cake and eat it too.

The problem in my opinion would be solved if they would just re-title this production.

Updated On: 8/10/11 at 02:38 PM

The comments are still there on my computer. 4 pages of them.

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Can we call it 'Porgy DuBose and Bess Heyward'?? All problems will be solved.

I do agree about the title. It should reflect that it's a new take on the material.

adaptations will always happen as long as plays are written and performed... heck, there was a period when King Lear has a happy ending! CRAZY STUFF!
I understand Sondheim's anger and I agree with his points and concern, but there really is no need to be so angry towards his colleagues in the business...
oh well... either way... that certainly steamed up some publicity for the production!

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And any half-way decent pr flack would tell you: 'Don't dilute your brand. Extend your brand!'

Making Porgy and Bess available to large houses, but having something else to offer smaller regional houses with a different title would probably be very lucrative for them. As of now, an audience won't be sure what it's getting if the titles are too similar.

I don't think the Carmen Jones analogy is what Paulus and Parks are doing here. They are saying that the "old" Porgy and Bess is faulty and they are fixing it for the future.

Hammerstein wrote a new book and lyrics for the Bizet score--which Reggie pointed out was in the public domain at the time--to reflect on the racial situation in the US--never intending it to replace the the original Carmen.

I think the more apt analogy is what that Alan Gribben--that "Mark Twain scholar"--is doing with Huckleberry Finn: He's saying the old Huckleberry Finn "doesn't work" anymore and he's taking it on himself to provide a "new" version for the future.

Either Paulus, Parks and Audra all happened to be misquoted or somehow they all misspoke--or, more likely, they had no idea that their intentions would seem dishonorable.

I love Audra as much as I love any living singer or performer, but to use a phrase like "only Gershwin purists will object" is insulting and condescending. It attempts to diminish anyone who disagrees with them into a crack-pot.

I predict the Gershwin estate will now ask them to remove some of Parks's "improvements."

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Updated On: 8/10/11 at 03:13 PM

(on a side note, I always found it fascinating that a hugely popular complaint about Rent is that Mimi survives, but nobody ever takes issue with Maria surviving the end of West Side Story)

I admit that I find it more tragic that Maria is still alive at the end of West Side Story. Yes it's tragic that both Romeo and Juliet die, but there's something heartbreaking about the fact that Tony is dead and Maria has to live the rest of her life knowing what happened and wondering what might have been.

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People get excited about stuff, think what they're doing is brilliant and then, well...it could all go to hell

And delay the opening again and again and again...

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Did Sondheim have these issues with Trevor Nunn's horrific production of A LITTLE NIGHT MUSIC, the one that was set in a deserted mortuary and had all the life and fun and energy of a funeral?

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