The Washington National Opera has once again captivated audiences with its powerful production of the iconic opera Porgy and Bess, a work that remains as controversial and thought-provoking today as it was at its inception.
Directed by Francesca Zambello, a veteran of this opera, the production highlights the intertwined lives of its central characters, Porgy and Bess, set against the vibrant backdrop of the Catfish Row community.
Porgy, a crippled man, is depicted as traveling a solitary path in search of wholeness, as encapsulated in the poignant line, “When Gawd make cripple, He means him to be lonely. Night time, day time, He got to travel that lonesome road.”
Bess, on the other hand, is portrayed as a complex woman caught between immediate gratification and true affection. The opera delves deeply into their struggles with temptation and oppression, making their love story all the more compelling.
The production not only showcases the richness of American music but also emphasizes themes of community resilience and compassion. Zambello’s direction has culminated in a seamless fusion of content and form, enhancing the overall story.
The orchestra, under the baton of conductor Kwamé Ryan, brought Gershwin’s eclectic music to life with remarkable sensitivity and drama. From the romantic exchanges in “Bess, you is my Woman now” to the heartbreaking nuances of “Oh, Bess, Oh Where’s my Bess,” every note carried the weight of the narrative.
The production recalls the serious themes introduced in the landmark musical Show Boat, paving the way for the distinct characteristics that define Porgy and Bess. The influence of this opera extends to later works, such as Kurt Weill’s Street Scene and the creation of Rodgers and Hammerstein musicals.
Frequently referencing biblical themes, such as mercy and community, the libretto fosters a strong sense of unity. The outcast Bess is lovingly nursed back to health by the community, showcasing the collective strength found within it.
Porgy, with his quiet dignity, and Bess, as a fellow outlier, discover themselves in one another, supporting each other’s journeys toward acceptance and love. This intimate connection serves as the emotional heart of the opera.
An impressive ensemble cast reflects the vigorous life of Catfish Row, a character in its own right. The passion and dedication of the Washington National Opera Chorus and Corps of Dancers enrich the production, creating a warm and inviting atmosphere with evocative lighting designed by Mark McCullough and revival designer A. J. Guban.
The frequent biblical allusions in the community’s songs demonstrate their deep-rooted faith, providing resilience during tough times. The character of Sportin’ Life, played with charisma by Chauncey Packer, provides a counterpoint with his biting commentary on this faith through the song “It Ain’t Necessarily So.”
Michael Sumuel’s portrayal of Porgy shines with a blend of courage and dignity. His powerful bass-baritone voice elevates the character through poignant duets with Bess and the moving aria “I Got Plenty O’ Nuttin’.”
Brittany Renee’s nuanced performance as Bess captures the complexity of a woman navigating her turbulent emotions. Her rich soprano resonates beautifully in iconic pieces such as “Summertime,” showcasing her exceptional vocal talent.
Kenneth Kellogg’s portrayal of Crown is marked by a commanding presence, reinforced by a voice that complements his character’s foreboding nature. His performance of “A Red-Headed Woman” is a powerful display of operatic prowess.
The role of Serena, played by Amber R. Monroe, stands out for her stirring interpretation of “My Man’s Gone Now.” Each character, no matter how significant, has been portrayed with authentic depth.
Denyce Graves’ performance as Maria brings both sass and authority, particularly in her exchange with Sportin’ Life during the assertive number “I Hates Yo’ Struttin’ Style.”
A pivotal moment arises when Sumuel and Renee deliver hauntingly beautiful duets such as “Bess, you is my Woman now” and “I Loves you Porgy,” encapsulating the opera’s exploration of love and unity.
Choreography by Eric Sean Fogel imbues the work with vitality, weaving together diverse movements that range from athletic jumps to graceful sways, effectively depicting both joy and sorrow in community gatherings.
Scenic design by Peter J. Davison brings to life the close-knit world of Catfish Row with a two-tiered structure that envelops the performance space, creating an immersive environment for the audience.
The hurricane scene, a highlight of the production, impresses with its dynamic lighting and soundscapes that mirror the internal struggles of the characters against the forces of nature.
Costume design by Paul Tazewell further enhances the storytelling by visually conveying the opera’s shifting moods through earthy tones and well-considered outfits for various scenes.
The blend of Gershwin’s melodic mastery and Zambello’s insightful direction culminates in a rich tapestry of human emotion, reflecting heartbreak and joy, love and redemption, all under the umbrella of community support.
This Washington National Opera production of Porgy and Bess is a testament to the transformative power of art, running through May 31, 2025, at the Kennedy Center.
As audiences are invited to experience this classic opera, they are reminded of the enduring resilience of the human spirit, brought to life through music and community.
image source from：https://www.broadwayworld.com/washington-dc/article/Review-PORGY-AND-BESS-at-Kennedy-Center-20250527
