George Gershwin

“Porgy And Bess” Ethics

/ Jack Marshall / 9 Comments

“Porgy and Bess,” the now  iconic opera that premiered in the United States in 1935, tells the tragic and heroic  story of a Southern African-American ghettoemploying  some of the most memorable music in  the musical theater canon. Composer George Gershwin denied licensing rights to  companies that wanted to use white performers in the opera (requiring black make-up)  and his estate still stipulates that the work  be performed by an all-black cast, or rights will be denied.

It will not shock anyone who has read much here to learn that I oppose Gershwin’s all-black edict, just as I oppose objections to actors of any race being prohibited from playing characters of different races. The only question should be whether the production and artistic version is fair to the work and to the audience. Prior restraint of any vision is antithetical to the spirit of the performing arts. I happen to think that a white version of “A Raisin in the Sun” would be ill-advised, but how do I know for sure? I’ve been proven wrong before, and more to the point, I’ve proven others wrong with my own productions.

The inevitable result of Gershwin’s grandstanding, for I believe that’s what it was, is that most people never have a chance to see a full production of “Porgy and Bess.” Yet there is no reason why the cast would have to be all black. Let’s even put aside the inflammatory  issue of “black-face.” Some characters in the show, like the snake-like hustler Sporting Life, could be portrayed as white without distorting the show one bit. Non-traditional casting principles would argue that the whole cast could consist of whites, Asians and others playing the black characters. It would be fun—yes, I think of this kind of principled fight as fun—to cast the show with light skinned African-Americans and mixed race performers who identify as black. What would the Gershwin estate do about that, I wonder? Continue reading →

Morning Ethics Warm-Up,3/8/18: “What Can I Cover Before I’m Late For My Seminar In Atlanta?” Edition

/ Jack Marshall / 37 Comments

Good morning, from another ProEthics road trip!

1 A life in a lie, or delusion? Today’s obituaries mark a rare variety of hoax that I had somehow missed: Alan Gershwin died, after a virtual lifetime of claiming that he was the illegitimate son of the famous composer, who never made it to  his 39th birthday. Read the Times story: it’s amazing. Alan essentially lived on that claim after he was discharged from service after WWII, based primarily on an uncanny resemblance to George. Was he a con man? If he believed his tale, he was not lying, just deluded. Gershwin recalls the more famous story of the American woman who said she was the Princess Anastasia.

2. Stormy weather…The most important lesson of the ongoing tabloid story involving the porn satr who is now suing President Trump is not the obvious ones. The major take-away is that this is what happens when an unholy alliance between the news media, political opponents and the Presidents themselves strip away the traditional and vital shield of public appreciation of the honor and respect the office of the Presidency has had in the past, since George Washington. Does anyone honestly believe that other Presidents did not have shady people in their personal lives who could have come forward with claims and tales embarrassing to them? Why didn’t they play the game the Stormy Daniels is engaged in? Again, the answer was simple cognitive dissonance scale reality. Traditionally the President has been so high on the scale that any gratuitous, publicity seeking attacker would fear the fury of public opinion, and correctly so. The idea of someone as low on the scale as aa porn star facing off against the President would have been unthinkable, and the news media would have left it to the National Enquirer to emblazon on its front page along with “Boy trapped in refrigerator eats foot!” Continue reading →

Ethics Hero and Artistic Champion: Stephen Sondheim, Defending “Porgy and Bess”

/ Jack Marshall / 11 Comments

Steve has your back, George.

I read with horror last week that the Gershwin estate, lured by the temptation of an increased revenue stream from the works of their more talented forebears, have agreed to allow director Diane Paulus and the playwright Suzan-Lori Parks to mess with ( that is, “improve”) “Porgy and Bess,” the classic 1935 opera that is one of the towering works in the history of American musical theater. This is, of course, vandalism in the name of ego and commerce, and a full-fledged assault on the masterpiece of not one but four great artists: the Gershwins, George and Ira, and the Heywards, Dorothy and DuBose, who wrote the novel and the play the opera was based on.  It is also stunning disrespect and abuse of power, with the living director and adapter wielding the power of celebrity and influence, and the dead artists retaining no power at all (being dead), having unwisely entrusted the protection of their legacies to greedy and tasteless relatives all too willing to sell out their kin for thirty pieces of silver.  Now, as the New York Times reported, the creators of the New Improved Porgy and Bess are readying new scenes, jazzed up dialogue, back-stories for the characters and an upbeat ending.    

This, as you might imagine, struck to the core of my work as an ethicist and in my position as the co-founder and artistic director of a  professional theater devoted to classic 20th Century stage works. I began to prepare a post on the rape of “Porgy and Bess,” but was distracted by other matters, and didn’t get the piece finished.

That was lucky. I should have remembered that Stephen Sondheim, the only musical theater artist alive who can claim the right to be mentioned in the same breath as George Gershwin, had extolled “Porgy and Bess” as the very greatest American musical in his autobiographical work, “Finishing the Hat.”  Needless to say, Sondheim is an authority on these matters, and also an artist who can appreciate what Paulus and Parks are doing to his colleague, peer and fellow geniuses, the Gershwins. On top of that, he has the wit and rhetorical skills to defend the rights of artists and dissect the rationalizations of vandals like few others.

And he did. John Glass of Drama Urge kindly alerted me that Sondheim has written a letter to the New York Times explaining…not arguing, because there is no argument…why the new “Porgy and Bess” is wrong.  Here it is; you just can’t do it better than this: Continue reading →