Milwaukee’s Skylight Music Theater has a tradition of offering something special as its season finale. Last year brought a stunning Sunday in the Park with George, which featured laser effects to rival anything Broadway could offer. This year’s entry is no less than The Gershwins’ Porgy & Bess, which was acquired after long years of negotiations with the Gershwin Estate. This Porgywas worth the wait.
In a down-sized production of 15 actors/singers and an eight-person orchestra, the Skylight does what it has always done best – making the most of what it has. Under the seasoned direction of Artistic Director Bill Theisen, who leaves Skylight following this production, Porgy & Bess succeeds in telling the story of the hard-scrabble life within Catfish Row in Charleston, SC.
This Porgy is based on the recent Broadway revival, starring Audra McDonald. That production won the 2012 Tony for Best Revival.
As always, Porgy is set in an all-black neighborhood in the 1930s. The Depression years were a difficult time for all Americans, regardless of race. In this version of Porgy, the entire cast is African-American, with the exception of one white character. He’s a police detective who shows up when murder is committed within the tight-lipped ranks of Catfish Row. The detective isn’t choosy about whom he drags off to jail, leaving the residents to wonder when they’ll see their innocent friend again. One of these instances sets up the final, sad chapter in this American opera.
The slimmed-down cast becomes a double-edge sword. Each individual character is more recognizable, since there are fewer of them. However, one loses the overall sense of community that exists in the larger-scaled, original version. In the Skylight production, the crowd scenes do seem thin, especially in the church where one of the slain residents is mourned. Interestingly, the same effect doesn’t seem to exist in the smaller orchestra, which creates a sound large enough to support all those Gershwin standards. These numbers benefit from a smooth, polished delivery.
The first strains of “Summertime” are heard in a lullabye by the ill-fated Clara (Cecilia Davis, who has an extremely fine voice). A highlight of Act II is the jazzy “It Ain’t Necessarily So,” sung with verve and style by Sporting Life (Anthony P. McGlaun). Not to be outdone, the humorous “I Got Plenty of Nothing” is a chance for Porgy (Jason McKinney) to demonstrate his vocal range and power. His deep bass voice is outstanding. Porgy, a cripple, is usually seen on a makeshift wheeled cart.
Then there’s Bess, the other half of the show’s title. In a double-cast role, Rhea Olivacce does a fine job of displaying the conflicting elements of Bess’ life. Bess, once a hussy who is once shunned by the rest of Catfish Row, makes a convincing transition to a settled-down woman who eventually earns the community’s respect. But Bess’ weaknesses eventually get the best of her, whether it’s a weakness for the “magic dust” offered by Sporting Life, or the physical attraction of Crown (Nathaniel Stampley), her bullying boyfriend. Stampley gives depth and conviction to the pompous Crown. His physical connection to Bess is evident.
The show’s production elements are particularly effective, especially the montage of weathered doors and shutters that form a backdrop to the set. This crazy-quilt assembly gives lighting designer Annmarie Duggan ample opportunity to increase the show’s dramatic voltage.
The legacy of Porgy & Bess fares well in this production, and one imagines the administrators of the Gershwin Estate would be satisfied.
