REVIEW: “Porgy and Bess is gripping

“Porgy and Bess will stick with you. Make no mistake about it.

While the rough-and-tumble scene changes, better-late-than-never projected titles and a soprano lead that took a song or two to get her legs under her might be passing thoughts, the overall weight of this UFOC production will still be working on your memory days — heck, weeks — later.

An ambitious effort, “Porgy and Bess” tosses the travails of early 20th century African-Americans in the Deep South right into the laps of UFOC patrons. The tight-knit community of Catfish Row is where we meet Porgy, crippled beggar, who is secretly in love with Bess, a girl looked down upon by the other women of Catfish Row and a constant companion to Crown, the neighborhood bully and drunk.

Death, trouble with police, hurricanes and funerals seem to mark the time for the beleaguered neighborhood. Even though Clara (Alaine Rodin) and Jake (Leon Turner) hauntingly and memorably sing “Summertime, and the livin’ is easy,” it is apparent that livin’ in Catfish Row is precisely the opposite, especially for Bess.

Bess is beset by her own personal devils, not to mention the dissonance felt between Porgy’s unconditional love of her and her own cracked self-esteem. Perfectly portraying the catalyst of this personal trauma is Haquamai Sharpe, who breathes unforgettable life and energy into Sporting Life. His strong tenor never wavering and his costuming reflecting a contrary lifestyle to the inhabitants of Catfish Row, Sharpe evolves into the devil himself and projects his strong voice to the back row of the Eccles Theatre, piercing the memories of all patrons.

Also firmly on the evil side of Bess’ ledger of life, Crown is powerfully portrayed by Ashley Howard Wilkinson, a large presence on stage, and actor who has undoubtedly made Crown come alive on many a stage across America — he’s made for the role.

But the stage is intended to belong to Porgy and Bess (Richard Hobson and Rachelle Perry Ward). Hobson has the unenviable task of spending the entire night on his knees, sometimes scooting himself about on a low-slung cart. His baritone proves to be very easy to listen to. The generosity of his character’s life spills over to Hobson’s emotional portrayal or Porgy. He is hard not to like and, yes, his character will stick with you. Opening night, Ward took a scene or two to take control of a wavering soprano but soon finds herself the recipient of theatergoer’s understanding as she battles enemies within and without of her own skin.

Ensembles were strong and interesting. Scene changes slowed down the production, though were multi-dimensional and sumptuous when completed. The story is hard to get your arms around, but the entire production highlights the tenacity of the opera company to take on a real challenge and meet it in a memorable way.

Grade B+

SHOWBOATThe bottom line on one of Broadway’s most popular musicals: This is a big, fill-the-stage kind of show and there’s not a soft spot in it.

Well, except for soft spot in the audience’s heart by the show’s end.

The UFOC production staff pulled out all the stops for set design and lighting and all the trappings that do so much to provide some of the oohs and aaahs of a large-scale Broadway musical. Richard Hobson (who we also come to know as Porgy in another production) also pulled out all the stops with his rendition of “Ol Man River” in an early scene. The song from Hobson proves to set the tone for the entire evening, as the audience gave Hobson a memorable sustained ovation for his initial rendition, one of the most demonstrative appreciations for an individual performance in recent years at the UFOC.

With a catch in their throat, patrons then fell in love with Bart Williams as Cap’n Andy, riverboat captain. As the henpecked, open-hearted leader of the traveling troupe, Williams is outstanding in a non-singing role. His timing is impeccable and his projection professional. He is a king of voice inflection and non-verbal expression.

We are introduced to Julie, who, at the production’s start, stars in the showboat’s song-and-dance offering. But racial questions force Julie to leave and we pick her up later down the river. Alaine Rodin is powerful of voice and spirit and we find ourselves longing to rewrite the script to give Rodin more opportunities to show her flawless singing skills.

Matt Lutz and Amie Einerson are fun as audience favorites Frank and Ellie, a comedy and dance team who work on the showboat.

Though well-known and often-produced, “Showboat” never looked or felt better than this UFOC production.

Grade: A.