Bigger Not Better in ‘Porgy’

For years, those of us who have adored Gershwin’s “Porgy and Bess” have tried to persuade the world that it is a wonderful, poignant and powerful American opera, as the composer regarded it, not a Broadway musical.

Just when we thought we had won the battle, along comes the touring Living Arts Inc. production at the Cerritos Center for the Performing Arts, which by amplifying all the singers last weekend turned it right back into a musical.

Does amplification make such a difference? You bet it does.

For starters, you can’t tell the authentic size or quality of any of the voices. At Friday’s opening, for instance, Clara’s voice disappeared utterly on the reprise of “Summertime” during the Hurricane Scene. Sportin’ Life’s voice ricocheted from a huge baritone worthy of the Met with a sudden echo-chamber aura to a small pop-music sound. As did others.

Add the pitch, breathing (audible intake through the nose) and support problems that many--but luckily not all--of the cast were having, and it was a decidedly mixed and often unhappy aural experience.

It was a great pity because the dramatic values were so high. Director Elizabeth Graham, who also sang Bess, carefully delineated each character and brought them vividly to life.

Brian R. Gibson was a charismatic Porgy; Graham was a conflicted, complex Bess. Duane Moody made a spiffy Sportin’ Life; Leslie Terrell Hamilton, a touching Clara; Anne Fridal, a serious, vulnerable Serena. (These singers alternated with another cast over the five weekend performances.)

Stephen R. Finch made an edgy, violent powerhouse of a Crown, interestingly indicating the character’s insecurities as well.

Other strong cast members included Lawrence E. Street (Mingo), Danrell Williams (Jake) and Kim Sylvain (Maria).

Stefan Kozinski conducted the underpowered orchestra adequately. Standard cuts included Porgy’s “Buzzard Song” and the Detective interrogating some women of Catfish Row after Crown’s murder.