Summertime, and the Reviewing Is Easy: Gershwins’ Porgy and Bess at The Ritz

by Deitra Oliver

Gershwins’ Porgy and Bess, presented by The Ritz Theatre Company, directed by Darryl S. Thompson, Jr., is nothing short of a triumph. Set in a fictional African-American tenement called Catfish Row in Charleston, South Carolina, during the early 1920’s, the folk opera tells the story of Porgy, played by Stephan Burse, a disabled black man forced to live as a beggar, and his unlikely love affair with the free-spirited Bess, played by Erica Imani Liburd; both making their Ritz Theatre Company debuts. Their story is one of tragedy, resilience, and the lengths people will go to for love.  Loosely based on Dubose Heyward’s personal knowledge, it also tells a story about the Gullah Geechee people of South Carolina.

As with all my reviews, I will begin with seating. The Ritz is a wonderfully designed space, with traditional theater seating that is quite comfortable, with clear views of the stage. They have a nice concession stand where you can purchase freshly baked goods and beverages. The brownies were a real winner, so thank you to the young man working there, who recommended them. They also have an area where you can view and purchase art from featured artists. This atmosphere lends itself to an enjoyable theater experience.  I especially loved the architecture of The Ritz’s main stage; it has elements of classical theater architecture that make it feel special.

Upon entering the theater, you are greeted with Catfish Row constructed on the stage. The design and layout of the tenement building immediately create an anticipation for what is to come. Though technically just a façade, the details give it a life that makes the building seem to be teeming with life and stories. Every door is functional and leads somewhere. This is a fixed set, which feels appropriate as Catfish Row is at the heart of this story, so having it ever-present feels symbolic. Any changes of scenery or location are handled by adding details to give the stage depth and transport the viewer to another location. Master builder Seth Chafin and master electrician Brian Gensel designed a functional and vibrant set to showcase the lives of its inhabitants.

The world of Catfish Row was further brought to life through the use of lighting. The overall lighting gave a sepia-tinted feeling to the show, making it feel like a memory. The lighting design and operation by Jen Donsky and lighting technician Chrissy Wick were effective in moving the story and highlighting specific moments and emotions. During the storm scene, in combination with sound by engineer Matthew Gallagher and Technician Allen Jay the frenetic tension of a storm was fully realized on the stage and for the audience. I felt like I needed to get an umbrella.

Fashion of the 1920s among the African American community was very important as it served as a bold statement of self-expression and rebellion against racial stereotypes and social inequality. Even in the poorest communities, pride personal presentation was taken seriously. Costume design by Megan Iafolla does an excellent job of reflecting the fashions of the time period, region, and socioeconomic status of the characters. I especially liked the boldness of color and fashion choices for Bess and Sportin’ Life.

Properties by Tracy Jones were the final touch in bringing Catfish Row to life. One of my favorite moments is Street Cries, where various vendors are hawking their goods on the street. Each carries baskets that hold their offerings, from jars of honey to crabs and fish. These details were well done and made Catfish Row real. In recognizing the extraordinary design details and props, I must acknowledge Stage Manager Tilly LuBrant and Assistant Stage Manager Evelyn Passanante. While you don’t see them on stage, everything that happens backstage during a show to bring the magic onstage is often under their direction and guidance. Not a prop shift or a cue appeared to be missed, at least not that I saw (a testament to the work they were doing behind the curtains).

Under the musical direction of Benita Farmer, this cast has truly been able to soar vocally. This is a musically complex work, and it takes skill to direct and lead this type of production. Hats off to Farmer for helping to bring the cast together in a vocally cohesive and powerful way.

The Gullah Geechee people of South Carolina have a rich cultural heritage rooted in Western and Central Africa that endures today. Their culture is especially significant because many African Americans were forcibly separated from their ancestral traditions through slavery and systemic oppression. As survivors of the slave trade, along with the systematic destruction of their culture and the systemic racism of the United States, many African Americans do not maintain cultural ties to their history. Seeing this representation reflected in Porgy and Bess is especially meaningful, especially since the story originated in the early 1900’s. Choreography by Omar-Frederick Pratt beautifully depicts traditional movement along with influences from African dance and nods to African American church culture that paid homage to the history within this story.

The opera was composed by George Gershwin, with the libretto written by author Dubose Heyward, Dorothy Heyward, and lyricist Ira Gershwin. It is an adaptation of the stage play and novel of the same name by Heyward. The Ritz presented the book adaptation by Suzan-Lori Parks and the score adaptation by Diedre L. Murray. Porgy and Bess premiered on Broadway in 1935 and is lauded as “the first great American opera” and one of the first shows to feature an all-black cast. In its time, it has received both praise and criticism for its portrayal of African American life. Some criticisms point to the use of stereotypes, as well as cultural appropriation. Care must be taken in the presentation of this show to avoid feeding into the caricaturizing of the African Americans portrayed and to truly give them life and universal recognition. Combined with Thompson’s direction and the incredible talent of the actors and the entire team behind this production, I believe the Ritz has given us a rounded and fully recognized portrayal that, while honoring the culture and heritage represented in the story, remains emotionally accessible to all audiences.

The titular characters of Porgy and Bess are played by Stephan Burse and Erica Imani Liburd to perfection. Burse as Porgy was a revelation. He brings intensity and intimacy to the role, that captures the audience immediately. From the softest notes to the power notes, Burse weaves the tale of Porgy’s resilience and determination, but most importantly, his intense love for Bess. Burse displays a sensitivity in his portrayal of Porgy’s disability that is both believable and respectful of those who may have a disability. There is a lot of ableist language in the show that lends itself to the time period, but may be challenging for some. Burse navigates the complexities of this role with ease and grace that is a joy to watch. Vocally, Burse is a gifted artist, and his range and ability make him a perfect fit for the role of Porgy. His voice transcends intellectual distance and forces an emotional response. It is a rare and special talent that I feel fortunate to have experienced. Burse, partnered with Liburd as Bess, bring the house down with their renditions of Bess, You Is My Woman Now and I Loves You, Porgy. Their voices together create a kind of harmonic magic that should be experienced. In this tale of two star-crossed lovers, their voices dance together across the theater, pushing and pulling in a beautifully intimate waltz that is captivating. Liburd is a classically trained opera singer with a Bachelor of Music in Vocal (Opera) Performance from SUNY Purchase Conservatory of Music, and her training and incredible technique are on full display in her portrayal of Bess. Her powerful soprano carries a weight and emotion that is pleasing to listen to and drives home the sentiments of the show. Bess is an extremely complex character who is torn between her past relationship and addictions and her new life and love. Liburd approaches Bess’s struggles with addiction with notable sensitivity and humanity. There are subtleties and nuances in her performance that are quite moving. Watching Liburd, as Bess, struggle with her sobriety and new lifestyle when faced with temptations from her past is a snapshot of what it can be like for a person in recovery.

Bess and Porgy face many trials in the course of their relationship, with the primary antagonists being Crown, played by Alexander Brown, and Sportin’ Life played by Jordan Konteh. Crown is Bess’s violent and controlling ex-partner, who murders Robbins, played by Taye Hopkins. Brown delivers a raw and complex performance as Crown. In What You Want With Bess? He accurately depicts the manipulation and coercion that often happens in toxic relationships. Beneath the surface of his false bravado, you also catch hints of his fear. Konteh as Sportin' Life, Bess’s drug dealer and would-be paramour, perfectly encapsulates the image and energy of the jazz age. Konteh glides across the stage with effortless charisma, making you both intrigued by him and also dislike his character. In discussing these characters, I need to mention Sean McGarry, the fight and intimacy director for this show. Violence is a central theme in this story, and the depiction of it was well executed and believable. Additionally, there are scenes of intimacy that were quite sensitive, particularly the scenes with Bess and Crown. They were well handled and presented, and I can imagine the actor's ability and comfort to perform them was positively impacted by McGarry’s direction.

Running parallel to the tumultuous relationship of Porgy and Bess is that of Clara, played by Clara Pritchett, and Jake, played by Adam Johnson. In contrast to Porgy and Bess, Clara and Jake have a loving, stable, and established marriage. The show opens with one of the show’s most iconic songs, “Summertime,” a moving lullaby sung by Clara and Jake to their baby. It is a song full of their hopes and dreams for their child. Pritchett’s lilting soprano voice was an excellent fit for this role, and her emotive dancing, choreographed by Tilly Lubrant, in her final scene moved me to tears. Watching her hold and tend to her baby was a lovely picture of motherhood. Johnson’s portrayal of Jake conveyed both optimism and a strength of will that were needed to not only survive but to build a business and support his family and community as a black man in a world designed to work against him. In A Woman is a Sometime Thing and It Takes a Long Pull we really get to know Jake and develop a liking for him. Johnson brings an infectious energy and wonderful singing voice to the role, so it is especially devastating when things take a turn in the second act.

My Man’s Gone Now and Oh, Doctor Jesus highlight the story of Serena, played by Janine Dunlap-Kiah. She is the widowed wife of Robbins (Hopkins) and the matriarchal voice of the church in the show. She is the person people go to for prayer and healing, and it is powerful to see the evidence of her continued faith in the face of devastating loss and trauma. Dunlap-Kiah’s heart-wrenching performance of My Man’s Gone Now left me feeling emotionally overwhelmed.  I should have brought a box of Kleenex to this show.  Another matriarchal figure in the show is Mariah, played by April Johnson. Mariah is one of my favorite characters. Johnson brings a feistiness, wit, and strength to the character that I thoroughly enjoyed. She is a person who doesn’t take anything from anyone and will defend herself and her people as needed, as evidenced by her quick hand with her ever-present pocketknife. Her song I Hates Your Strutting Style brings some levity to the show. I have to say the height difference between Johnson and Koneth made their interactions even more entertaining to watch.

Featured in the song Street Cries are Justin C.M. Padmore as Peter (the honey vendor), Tracey Smith as Strawberry Woman, and Brandon Davis as Crab Man. Together, their voices fill the theater and bring Catfish Row to life with the vibrancy and energy of a community working and thriving together. Rounding out the main cast are Khain Jones as Mingo, Porgy’s steadfast friend, Gary Poetsch as the unlikable and bullying detective, and Daniel Morley as the compatriot of the detective. Poetsch and Morley dealt with sensitive situations in their roles. While their characters could be viewed as one-dimensional, they did a good job portraying them and helping to show the negative impact of racial profiling in black communities. Because of the relationship with the police, the community did not feel safe to report the crimes committed and turned more insular in a need for protection from brutality and wrongful convictions.

The ensemble cast truly did an outstanding job of creating the energy, community spirit, and life force of Catfish Row. Paige Bates, Aja Brown-Feliciano, Crystal King, Indiah Porter, Gabby Tanson, and Drew Thompson all worked together to impactfully create a living society. I enjoyed watching some of the backstories being played out in the background. I love it when actors fully develop their character and storyline, even if they have no spoken lines. It breathes life into a show and gives it so much interesting depth.  The ensemble cast did an amazing job of this. They were also vocally magnificent with beautiful harmonies that helped to power the show. Porgy and Bess is a heavily ensemble-based show, and the harmonies and dance movements of the ensemble cast presented in nearly every number of the show were phenomenal. Each ensemble member was given moments to highlight their vocal abilities in different songs, and no one disappointed. Particularly memorable moments for me were Bates and Brown-Feliciano’s solos in Doctor Jesus. I found them both to be emotionally and vocally strong.

I had many expectations and hopes going to see Porgy and Bess at The Ritz. It is a show that I have wanted to see on stage for a long time, but I have never had the opportunity. I am so glad that this was my first experience. This is a show that is rich in history and diversity, and tells a universal and timeless story of love and community. It deals with challenging issues, like abuse, violence, addiction, disability, loss, police brutality, murder, coercion, and more. This team has done an incredible job of approaching these subjects with dignity and respect, while remaining true to the original essence of the story. If you only see one show this year, I highly recommend that you see The Ritz’s presentation of Gershwins’ Porgy and Bess. The show is running through May 24^th so get your tickets now. This show is not to be missed. Tickets can be purchased at https://www.tix.com/ticket-sales/RitzTheatreCo/6520