81 years ago today – on October 10, 1935 – George Gershwin’s Porgy and Bess opened at the Alvin Theater in New York City. With a libretto by Dubose Heywood (whose play Porgy was the basis of the libretto) and Gershwin’s older brother Ira, Porgy and Bess ran a frankly unimpressive (by contemporary Broadway standards) 124 performances before it closed. Porgy and Bess was applauded for the beauty of its numbers but roundly criticized for being neither fish nor fowl. The critic Samuel Chotzinoff – ordinarily friendly to Gershwin – wrote: “As entertainment it is a hybrid, fluctuating constantly between music drama, musical comedy, and operetta.” Given the version of Porgy and Bess that he heard, Chotzinoff’s criticism is entirely justified. And therein lies a tale. George Gershwin’s amazing success as a composer of Broadway musicals and jazz-influenced concert works lit a fuse deep inside him: a desire to compose a full-length, no-holds-barred, knock-‘em-out-of-their seats American opera. His life-long affinity with the music of the African-American community – drumming, ragtime, jazz, and the spiritual – drew him like a bear to honey to a play called Porgy by Dubose Heywood. Heywood’s Porgy was produced on Broadway in 1927 and depicts […]