George Gershwin's "Porgy and Bess" is first of all an exceptionally poignant story set to some of the finest music America has produced. Such famous songs as "Summertime" and the rhythmic death chants admirably depict the spirit of America's most colorful minority, the Negro. The love story of the lame beggar, Porgy, and his sultry Bess is the main theme, which is surrounded with the life in Catfish Row, its joys and sorrows, its day to day gayety and the sudden tragedies springing from a storm at sea or a crap-game brawl. In the first scene the huge stevedore, Crown, with his blood on fire by liquor and the caresses of Bess, his woman, kills a man and then flees from the white man's justice leaving Bess to seek refuge with Porgy. Then comes one of the most mystic scenes ever to be put on the stage--the "saucer burial" of the dead man. While the Negroes chant and moan melancholy airs in the darkened room, they slowly give the widow enough money to save her husband's body from the medical students and give it proper burial. Soon after that there comes the glorious love duet, "Bess, You Is My Woman Now." This idyllic scene between Porgy and Bess contrasts sharply with the brutal savage love scene as Crown, in hiding in the swamps, finds Bess separated from a picnic party and forces her to stay with him for the night. Further tragedy comes as a hurricane strikes suddenly and the women gather to wail and pray for their men at sea.

This present production is filled with excellent singers and actors. Todd Duncan as Porgy and Anne Brown as Bess, both from the original production, give outstanding performances. Duncan's rendition of "I've Got Plenty of Nuttin" is especially fine. Harriet Jackson who sings "Summer-time" is a stunning Negress with a beautiful voice and a fine presence. The entire cast played with the ease and rhythmic grace that is so typically Negro and the staging of the show is very fine especially in the love duet and the group scenes.

But "Porgy and Bess" is not only this love story with its surrounding characters, Maria the dowager of the community, Sportin' Life the peddler of "happy dust," and the many other finely drawn minor parts. It is really a story of the Negro and the life he leads. Here are all the sudden joys and sorrows, the fear of death, of the white man's law, and of God. Above all here is portrayed the spirit of lazy sunshine and happiness and the native rhythm which enables the Negro to sing of his pain as well as of his pleasure.