Porgy and Bess (1959) Review

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(More customer reviews)I believe Porgy and Bess was the first movie I ever saw, when I was about three years old, in a movie theater in the Queensbridge Projects, Long Island City, NY. (My second movie was West Side Story.) Porgy and Bess has only appeared a couple of times on TV, and a few times in special screenings. The last screening was probably the year 2000 at either Brooklyn College or the Long Island University campus in Brooklyn, which had a panel discussion afterward over the film's supposed racism and other issues.
I'm not often one to knock political correctness, but please, knock your PC fears aside and release this movie! It's inspiring, fun, glorious, exciting, etc., etc., with wonderful performances by Dorothy Dandridge (Bess), Sammy Davis, Jr. (who dances up a storm as Sportin' Life), Pearl Bailey (Maria), and Brock Peters (outstanding as Crown). I've only thought this recently: Sidney Poitier, although he does an admirable job, is miscast as Porgy. Porgy is a good soul, but Poitier is too refined for an uneducated street beggar; Poitier's Porgy, I imagine, went to college to study law and had a bad accident which devastated his life. Too bad Brock Peters couldn't play two roles at once.
The movie even has a scene, which I think is in the play Porgy but isn't in the opera, where Serena offers to take an orphaned baby given to Bess, and Bess refuses.
I love P&B's verve, spirituality, fun, and grand Gershwin music. I've seen the full operatic version on Broadway (by the Houston Grand Opera) in the 1970s and at the Metropolitan Opera House in the 1980s or 90s, as well as the truncated New York City Opera version in 2000. Now please do us Porgy and Bess fans a favor and release this movie on DVD, too! (I'd prefer it on VHS, but people aren't making those anymore, are they?)
BTW, I am an African-American woman with a love of musical theater and American opera.


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Rodgers and Hammerstein's Oklahoma (London Stage Revival) (1999) Review

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(More customer reviews)The 1999 London production of "Oklahoma!", directed by Trevor Nunn with choreography by Susan Stroman, was the first major departure ever from the original Joshua Logan-Agnes De Mille production of 1943. It was a gamble that paid off big, for the performance recorded for posterity on this DVD is absolutely brilliant--funny, riveting, and deeply poignant. The dancing is astonishing, and the beloved Rodgers & Hammerstein songs have never sounded so good. Nunn and Stroman know how to stage each number for maximum dramatic effect, so that the songs come across less as songs than as dramatic monologues in music--which is, of course, exactly what Rodgers & Hammerstein wanted.The cast of this version is so wonderful that it is impossible to talk about them in anything but superlatives. (I might make a slight, regretful exception for Vicki Simon as Ado Annie, who is merely very good whereas everyone else is spectacular.) As Will Parker, Jimmy Johnston--an endearing if improbable cross between Will Rogers, Russ Tamblyn and Jack Black--barrels through his big number, "Kansas City," with infectious glee and astounding athleticism, including a dandy exhibition of trick roping. Some reviewers have pointed out that Peter Polycarpou's accent as Ali Hakim is shaky, but there's no quibbling with his singing or his comic timing; in appearance and talent, he reminds me more than a little of Tony Shalhoub. Maureen Lipman is a perfect Aunt Eller, tough as an old birch tree, plain-spoken and drily witty as she dispenses tough love to the residents of Claremore, Okla. Josefina Gabrielle is an earthier Laurey than we're used to, but she's a good singer and an exquisite dancer, and she makes Laurey's confused longings as painful as a punch in the gut. The real acting honors, however, must be divided between the romantic rivals--Hugh Jackman as Curly and Shuler Hensley as Jud. This production launched Jackman's international career, and no wonder--from the first few bars of "Oh, What a Beautiful Morning," you can't take your eyes off him. He is visually perfect as Curly, he dances well and sings beautifully, and--above all--he exudes charisma from every pore. Hensley combines a rich, operatic baritone with a brooding, menacing stage presence; he makes Jud a classic monster, evoking both pity and terror. His solo number, detailing both his pitiful loneliness and his doomed love for Laurey, is one of the most riveting pieces of dramatic singing I've ever seen or heard.

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