Who can resist an English-language opera in the U.S. capital, especially one whose original production starred two D.C. natives, Todd Duncan and Anne Wiggins Brown? If this production of Porgy and Bess is any indication, Washington National Opera’s regularly choosing English-language works in their seasons is the right decision. Not only did the entire cast have the audience enthralled, but also the experience overall felt like coming home due to the language and Gershwin’s jazz-influenced score.
After the lively overture, the curtain rose to reveal the set of Catfish Row. Peter J. Davison’s fantastic design felt almost prison-like in that all the metal doors to the homes slid shut and had no windows. This seemed apt to the situation of the community. They are not actually prisoners and may be free to come and go as they please, but there are certain things—like a lack of resources—that keep them tethered to the area and community. At the same time, the doors provide protection against unwanted visitors, such as police investigators. Design-wise, I also appreciated the variety of angles the set used – it made for much more interesting visuals than it would have if everything was facing directly front.
The show opens with the famous and beautiful “Summertime” lullaby, sung lusciously by Viviana Goodwin. Behind her, the Washington National Chorus brought an ethereal quality to their part, but never overpowering, so that one could fully appreciate the large size of the cast while still letting Goodwin shine in her role. This was consistently the case throughout the show. Porgy and Bess is a chorus-heavy opera, but the throughout, the stage direction of Francesca Zambello and chorus direction of Steven Gathman ensured that the principals were supported, not eclipsed. Staging-wise, the only thing I would have liked to see different was more tension during fights.
The most colorful principal character in this opera, Sportin’ Life, immediately grabbed my attention with Chauncey Packer’s interpretation. Not only was his physicality as smooth as the way the character talks, practically and sometimes literally dancing across the stage at every opportunity, but his singing was equally full of character. Little wonder, then, that Bess eventually gives in to his tempting offer for a better life and absconds to New York with him, albeit under the influence of the drugs he gives her.
Reginald Smith Jr.’s Porgy I found to be likeable and endearing. He plays this character with conviction and a sense of joy, as evidenced in his rendition of the playful yet sincere “I Got Plenty Of Nuttin’,” and also a sense of tenderness, as when singing the lovely “Bess, You Is My Woman Now.” Acting-wise, I also enjoyed seeing the trajectory of his character arc, going from someone who says he can’t be “soft” on any woman in the beginning, to enjoying sharing a home with Bess toward the end of Act I, to fighting and killing Bess’s former lover Crown at the end.
Speaking of Crown and Bess, Alyson Cambridge and Norman Garrett absolutely sold the abusive dynamic of their couple. In fact, at the end of Act I when Crown returns from hiding, I thought for a moment that Bess would give in and go with him willingly—the choreography involved Crown embracing her and her resistance wearing down—but she did ultimately put up a fight and left us on a cliffhanger at the end of Act I, her scream effectively resounding as Crown carries her off.
To best illustrate the vocal quality of the cast, one moment in particular stood out to me in this performance: Serena’s aria “My Man’s Gone Now,” sung by Amber R. Monroe. This aria comes during the funeral for Serena’s husband Robbins after Crown kills him in the first scene. I’ve heard it said before that the only thing better than a soprano with high notes is a soprano with low notes, and nowhere was that more evident than here. Monroe’s chest register was not only rich and resonant, but also felt raw and visceral, conveying the character’s pain and despair without breaking. She set the bar for the evening. My other favorite vocal performances of the evening were Marquita Raley-Cooper as Strawberry Woman and Anthony P. Ballard as Crabman, the two of whom owned their scenes, providing some comic relief
To complete the well-directed staging by Zambello, Kwamé Ryan led the Washington National Opera Orchestra more than capably. This is a score that requires everything from jazz, to romance, to drama and even violence, and congratulations to him for his WNO mainstage debut! It is an impressive feat, and I hope to see him on the Opera House podium again soon.
In conclusion, this was an excellent production that brought out the best in Gershwin’s work, and it made me look forward to next season, when WNO produces Treemonisha, West Side Story, and The Crucible.
Maggie Ramsey
Porgy and Bess
Opera composed by George Gershwin to a libretto DuBose Heyward and Ira Gershwin.
Cast and Production Staff:
Porgy; Michael Sumuel* (5/23, 5/24, 5/27, 5/29, 5/31m); Reginald Smith, Jr.* (5/24m, 5/25m, 5/28, 5/30, 5/31); Bess; Brittany Renee* (5/23, 5/24, 5/27, 5/29, 5/31m); Alyson Cambridge (5/24m, 5/25m, 5/28, 5/30, 5/31); Clara; Viviana Goodwin^; Serena; Amber R. Monroe†; Maria; Denyce Graves; Sportin’ Life; Chauncey Packer; Crown; Kenneth Kellogg† (5/23, 5/24, 5/27, 5/29, 5/31m) Norman Garrett† (5/24m, 5/25m, 5/28, 5/30, 5/31); Jake; Benjamin Taylor; Strawberry Woman; Marquita Raley-Cooper; Lily; Alexandria Crichlow; Annie; Brittani McNeill; Mingo; Jonathan Pierce Rhodes†; Robbins; Daniel Sampson; Peter the Honeyman; Keith Craig; Nelson; Ernest Jackson; Crabman; Anthony P. Ballard; Jim; Nicholas LaGesse; Undertaker; Jarrod Lee; Detective; Scott Ward Abernethy; Coroner; James Whalen*
Washington National Opera Orchestra; Washington National Opera Chorus; Washington National Opera Corps of Dancers. Kwamé Ryan*, Conductor. Francesca Zambello, Director. Eric Sean Fogel, Associate Director and Choreographer; Chorus Master, Steven Gathman.
m: Matinee Performance
* WNO mainstage debut
† Alumnus of the Cafritz Young Artist program
^ Member of the Cafritz Young Artist program
Top image: Michael Sumuel as Porgy and Brittany Renee as Bess
All photos by Cory Weaver