Review: PORGY AND BESS at Kennedy Center

The pivotal and star-crossed main characters and the Catfish Row community come alive in the highly influential, thought-provoking, and engrossing opera Porgy and Bess. This much discussed opera has its partisans and detractors but there is a distinct need to ponder and consider a work of this quality. This Washington National Opera production beautifully melds content and form in this story of a crippled man (Porgy) who must travel the lonely road (“When Gawd make cripple, He means him to be lonely. Night time, day time, He got to travel that lonesome road.”) to find wholeness with the easily gratified yet complex and caring Bess.

Under the hands of director Francesca Zambello and associate director and choreographer Eric Sean Fogel, this production of Porgy and Bess highlights the richness of American music. In this meticulously crafted operatic homage to the resilience and caring of community, there is the    integral and pivotal story of the longings of two “star-crossed” protagonists who struggle against temptations and oppression.

Director Zambello has a long history with this opera, and it shows in the confident characterizations of this ensemble. The rich operatic talent that is assembled are totally immersed in service to the demands of their roles in this life-affirming opera; there is not even a hint of operatic singing that calls attention to itself beyond the actual requirements for the context and characterization of the role portrayed ---I intend this as a compliment. All components presented are in service to the organic unity of this opera.

The glorious melodic music of George Gershwin is the hallmark of this great opera --under the agile baton of conductor Kwamé Ryan, the eclectic music of Gershwin came to pulsating and dramatically variegated life. The Washington National Opera Orchestra played with appropriate sensitivity in the more romantic duets such as “Bess, you is my Woman now”, in arias such as “My Man’s Gone Now”, with witty droll flair in the song “It Ain’t Necessarily So” and with heartbreaking probing intensity in “Oh, Bess, Oh Where’s my Bess.”  The fusion of jazz, classical and American folk music was evident throughout this paradigm-altering opera.

The serious intertwining of dramatic themes with music that arrived with the production of the landmark musical Show Boat anticipated the distinctive elements of the opera Porgy and Bess. In turn, Porgy and Bess has influenced Kurt Weill’s opera Street Scene and was a major influence on the writing of Rodgers and Hammerstein.

The Christian themes of mercy, forgiveness, caring, and compassion are evident throughout the production. Frequent allusions to the Bible are in the libretto and director Francesca Zambello heightens the sense of unity amidst the community and the opera’s pivotal individuals as the opera progresses. The community’s outlier Bess is nursed back to health by the community and there is great compassion and camaraderie for each other in the community. In my estimation, the crippled Porgy and the morally nebulous Bess are drawn to each other with the realization that they are both outliers who can genuinely appreciate each other ---with the love that comes from mutual respect and true understanding.

An exceptionally large ensemble has been assembled in this production ----to portray the vigor and interaction of the characters in the community (from the libretto by Dubose and Dorothy Heyward and Ira Gershwin) with more immersion and texture. The community of Catfish Row functions akin to a central character in the opera. The individuals who are members of the Washington National Opera Chorus and the Washington National Opera Corps of Dancers perform with zeal and polish on the Kennedy Center Opera House stage---the stage often looks like a sepia toned image of warmth and golden amber/earthy tones (exceptionally evocative and warm lighting by lighting designer Mark McCullough and revival lighting designer A. J. Guban).

Biblical allusions abound as the Gospel stories live vividly in the hearts of the community. There are frequent references to the promised land. Faith in God and community give resilience and strength for coping during tough times in the community. This faith- driven life is mocked by the wily character of Sportin’ Life (the sparkling tenor of Chauncey Packer) when he tries to mock the Gospel stories in the amusing and biting song “It Ain’t Necessarily So.” Mr. Packer exuded a sense of gleeful fatalism with an agile and exuberant charisma in his role.

Michael Sumuel’s characterization of Porgy was highlighted by a sense of quiet courage and dignity. Mr. Sumuel’s resonant and earthy bass-baritone was used to powerful and moving effect in his duets with Bess (Brittany Renee) and in his open-hearted delivery of the classic aria “I Got Plenty O’ Nuttin’.” Mr. Sumuel was superb in his handling of several dramatically forceful scenes. His rendition of the opera’s closing “Oh Lawd, I’m On My Way” is replete with a sense of spiritual euphoria.

Soprano Brittany Renee as Bess was nuanced and specific in her acting choices as she portrayed a complex woman who is torn between her need for the immediate gratification of a strong brutalist (the character of Crown) and her need for the stable affection and respect that only Porgy can give her. Ms. Renee glided across the stage with a natural ease and brisk style that suited her character well. Ms. Renee’s lustrous soprano was full of a rich, pleasing tone and captivating control. Ms. Renee’s delivery of the classic “Summertime” (reprise) was sublime.

Kenneth Kellogg’s characterization of the domineering character Crown was magnetic and forceful. Mr. Kellogg’s bass operatic range was well-suited for this foreboding character. Mr. Kellogg’s delivery of “A Red-Headed Woman” was rich in virile operatic tone.

Soprano Amber R. Monroe as Serena delivered a tour de force –with the heart wrenching aria “My Man’s Gone Now.”  Each secondary role is played with authentic dramatic and realistic effect. Soprano Viviana Goodwin (as Clara) sang the ethereally beautiful Gershwin classic “Summertime.”  

Acclaimed mezzo-soprano Denyce Graves brought a jaundiced, biting authority to her role as Maria. In her retorts to the lowlife Sportin’ Life, she brought sass and vinegar to the assertive “I Hates Yo’ Struttin’ Style.”

The pivotal scene of romantic love and unity was embodied by Mr. Sumuel and Ms. Renee as they sing the ravishingly beautiful duets “Bess, you is my Woman now” and” I Loves you Porgy.” This central scene was a breathtaking moment of sheer emotive beauty and belonging and was encased with caressing lighting by revival lighting designer A. J. Guban.

Choreography by Eric Sean Fogel is an eclectic mix of earthy balletic movement, jumps of athleticism and strutting high steps. There is joyous, swirling choreographic movement in the picnic scene and vivid swooning and crying out with choreographed swaying in the funeral scene of Robbins. The carrying of cotton bales and selling goods such as strawberries, honey and deviled crabs conveys the work ethic of the community and it is portrayed here with natural movement and eye-catching detail.

Scenic design by Peter J. Davison is impressive. A stage-encompassing two-tiered structure of the close-knit homes of the Catfish Row residents envelops the set and, on stage left, there are two sets of sliding doors/gates.

I assume there must have been close collaboration between the revival lighting designer Mr. Guban and set designer Peter J Davison as the hurricane scene was harrowingly portrayed with flashes of lightning and windows buffeted and broken to bits by the howling winds. These external forces of nature mirrored the interior states of the opera’s characters.

Costume design by Oscar and Tony -winner Paul Tazewell enhances the many moods of the opera. Earthy basic costumes for the opening street scenes, black outfits for the funeral scene and white outfits for the picnic scene conveyed Mr. Tazewell’s sheer versatility.

The melodious music of George Gershwin and the perceptive direction of Francesca Zambello are artistic assets to the emotive power of Porgy and Bess. This Washington National Opera production is a testament to the transformative qualities of heartbreak, sorrow, joy, love, redemption, and the resilience of the individual amidst the solicitude of community.

Running Time: Two Hours and 50 minutes plus a twenty-five-minute intermission

Porgy and Bess runs through May 31, 2025, and is produced by the Washington National Opera at the Kennedy Center located at 2700 F Street, NW, Washington, DC, 20566.