Review: PORGY AND BESS at Houston Grand Opera

 As Houston performing arts ventures grow for the 2025-26 season, Houston Grand Opera surpasses them all with a thrilling 50th anniversary production of Gershwin's Porgy and Bess. Starring powerhouse performers Angel Blue and Michael Sumuel in the title roles, this theatrical staging further cements HGO's monolithic presence not only in Houston but in the world of opera at large. 

Porgy and Bess is an American opera composed by George Gershwin, with a libretto by DuBose and Dorothy Heyward and lyrics by Heyward and Ira Gershwin. Set in the 1930s in the Black American community of Catfish Row in Charleston, South Carolina, this opera tells the story of Porgy, a poor but kindhearted disabled beggar, and Bess, a woman struggling to escape her troubling past. After Bess's violent lover, Crown, flees town following a murder, she finds refuge with Porgy, and the two fall in love. Their happiness is under threat when Crown returns to reclaim her, and the seductive drug dealer Sportin' Life tempts Bess with a new escape.

Blending elements of classical opera, jazz, blues, and spirituals, Porgy and Bess explores themes of love, poverty, addiction, faith, and resilience. Iconic songs such as Summertime, I Got Plenty o' Nuttin, and It Ain't Necessarily So have become standards of American music. Premiering in 1935, the opera has recognition as a groundbreaking work that brought Black American culture and voices to the forefront of the American operatic stage.

Performances by every performer are truly exceptional, leaving this reviewer unable to praise them all. However, there are true standouts amongst both HGO's illustrious chorus and in the principal roles. 

First, Angel Blue as the titular Bess. This role is one of the hardest in the operatic canon and, Soprano's across the ages rarely have the courage, stamina, or hubris to tackle it. Angel Blue defies the odds by providing a truly awe-inspiring turn in the role. Blue's rendition of What You Want With Bess? really did illicit many tears on the Opening evening of the production. Several folks around me clutched their partners' hands as faces slowly became tear-soaked when Blue's coloratura rang throughout the air. These small, intimate acting moments are only a taste of why the world reveres a performer like Angel Blue.

While Angel Blue is a force, Michael Sumuel as the titular Porgy is truly a performance to behold. A homecoming for Sumuel, an alumnus HGO Butler Studio Artist, Houston shall count its lucky stars for the ages that we are in allowance to see such a magnificent and stunning star-turn in the role. HGO has a long history with Porgy and Bess, and Sumuel not only lives up to the legacy of a legendary Porgy, but exceeds every possible expectation. From the first notes of his rendition of I Got Plenty of Nuttin, Sumuel is off to the races and cements his status.

Current HGO Butler Studio Artist, Demetrius Sampson, Jr., as the sly and “happy dust” dealing Sportin’ Life blows the roof off of the Wortham Theater Center. Not only does Sampson portray the character with utter brilliance, he does so with the most amazing charisma. For as young as Sampson is, Houston audiences are extremely fortunate to witness the birth of a future opera star.

Another alumnus of HGO's Butler Studio, Raven McMillon, takes on the role of Clara. Her numerous accolades in international opera competitions have been the best preparation for her performances. McMillon opens the production with the legendary Summertime, another song that is both poetic and prolific, and her singing allows audiences not only to ease into witnessing this brilliant production but also sets a fantastic tone for both her character and the overall production.

A further homecoming in this production is the originating Porgy in HGO's 1970s production of Gershwin's opera, as Lawyer Frazier, played by Donnie Ray Albert. Albert's portrayal of the role is clearly layered. He clearly understands the world of Catfish Row and portrays a potentially sleazy character with more depth and nuance than most performers can achieve. 

Other performances that will leave one excited are by current HGO Butler Studio Artists, Elizabeth Hanje and Sam Diobhany. Both have minor roles and are clearly the youngsters of the performers; However, they easily go toe to toe with the giants of music they share the stage with. Here is hoping for more performances from Hanje and Diobhany in the future.

The production elements of this Porgy and Bess truly elevate it to new heights. Houston audiences can see the glory of Wicked film Costume Designer Paul Tazewell's work come to life on stage. Every costume's design has so much attention to detail. For eagle-eyed viewers, the swishes of a skirt and intricate suiting provide a luscious display of texture and fabric, contributing to the overall beauty of the production. Scenic design by Peter J. Davison is revelatory, and it is clear that this designer knows his director. A frequent collaborator of director Francesca Zambello, Davison creates a Catfish Row that not only exalts the setting and time period but also provides audiences with a fantastical world to seep into. 

Finally, the ultimate praise and adulation go to Francesca Zambello, the director of this majestic production. Zambello is a director who does her homework, and it is evident that she genuinely loves not only Porgy and Bess but also the operatic art form as a whole. For new opera-goers, one should seek out a Francesca Zambello production, as it is guaranteed to be a thrilling experience. Many years ago, it was a Zambello production that led me to wrestle with Opera as an art form, and I have not been disappointed in her productions, as it is obvious, even with Porgy and Bess, that she wants her audiences to breathe easy. 

While this review is considerably long, this reviewer can't overstate that Houston audiences should, nay must, see this production. If there was ever any evidence that the performing arts in Houston are at a peak, one should look no further than Houston Grand Opera. Tickets begin at $25, and every seat at the Wortham Theater Center is worth every penny. This Porgy and Bess will be one for the ages, and one will be remiss for not attending. Do so before time runs out. 

Houston Awards - Live Stats

Best Musical - Top 3

1. BRIGHT STAR (Spark Theater)

7.6% of votes

2. ROCK OF AGES (Standing Ovation Theatre)

6.2% of votes

3. THE LIGHT IN THE PIAZZA (The Sankofa Collective)

5.8% of votes

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