
It's not often I'm taken to the theatre. The last time was 1997 to see Michael Flattley dance from the waist down in the THREE HOUR production of River Dance. Ten years later and I'm offered to see a play called ‘Porgy and Bess’ about a 'cripple', Porgy who incidentally can only dance from the waist up.
‘Porgy and Bess’ places its focus on a Middle America town that somehow has an ocean meters from the front gate. Either that's a choppy lake or.. Well it might not have been Middle America. In any case, there was a nice setup of wooden building fronts and a ladder that was regularly used to ascend and descend from the upper floor. Sadly even my best attempts at willing an actor to put one foot wrong and end up on his arse didn't work but it made me giggle a few times just at the thought.
Opening the play was a scene where they were all inebriated and taking a drug called 'Happy Dust'. The sheer amount of people drunkenly dancing so close to a 12ft drop down to the orchestra had my mind in over drive at the potential mess that could be caused; but I was left as disappointed with this as I was with the ladder incident. I felt a bitter taste in my mouth when I realised they were acting drunk and probably quite sober and able to judge distances. They began to feel more like liars than actors.
We met each character in succession using the perfectly natural occurrence of using one another’s names 4-5 times in each sentence and they set the ground work for what crap was going to surface later on. Notable crap includes the transparency of each major character, with each personality trait magnified to the extent that even the dullest of theatregoers would get the gist that "He's a bady, he's a goody and she's from the wrong side of the tracks but wants to change her ways". We met Bess and a big guy who, even though the name was drummed into my skull, I cant remember his name. These two seemed from the outset to be the main characters but then I considered the play's name and figured that the guy Porgy must be pretty high up there too.
As Porgy's character was built into a tortured soul who'd lived a lonely life, (at one stage in his bedroom which cleverly extended out into centre stage) I found it hard to understand why this play had just crashed through the 1hr 30 mark. It really was dragging and the novelty of song had all but gone. Although one bit that made me appreciate the music was when a couple of bars coincidentally sounded like a score from 'O Brother Where Art Thou' so I spent the rest of the play thinking how out of character George Clooney had been to accept a 90% pay cut to do that film.
I heard the woman in front of me breathing a sharp sympathetic breath when Porgy was treated badly or pushed about. She seemed to be touched by the hardship that a life of being a 'cripple' has but I doubt she'd lift her heavy jewellery to help him in the street. On that, the theme of Porgy being a cripple was constant and weak. Instead of writing tricky lines of dialogue to express emotion they'd just ping him out of his chair and we'd all watch as he looked uncomfortable on the floor. After 3 times of him staggering back into his chair I lost patience with him.
It's a good time to mention that there wasn't a moment when I didn’t feel I was suffocating under the weight of the music; the orchestra were very excitable at every opportunity, especially on an entrance or exit of ANY character. When Porgy made another trip to the floor or struggled with his crutches we got a Disney esq swan song; when they were all happy at a picnic we got bold brass and crashing symbols. Predictable but I believe standard so I’ll let it that slide. I suppose really when I didn't even notice the music it was working at its best to simply provide a cinematic, subtle experience but when it was in your face, it just plain pissed me off.
The story rolled on with a murder, which was quite thrilling for a time. The murderer then fled and later came back to get his girl, Bess who'd conveniently shacked up with Porgy to complete the play's title. Porgy then rather out of character murdered the murderer and was dragged off to prison only to return a week later (mercifully only 20mins real time) and all was ignored and forgotten. Surely I wasn't the only person that found it hard to ignore Porgy had just brutally murdered a man? Then came a string of lines (sung, naturally) that I felt we were being asked to show sympathy. Of course, his girl Bess had run off with a drug dealer to New York, so there was some sympathy but more importantly this was setting us up for theatre’s comedic moment of the century.
Waiting for a three-hour punch line, I wasn't disappointed. To cut it short and ruin the ending, Porgy sang an uninspiring song that he was going to go get his girl back, got steadily to his feet… now bear in mind I'd lasted 2hrs 50mins without a peep but disaster struck when he threw his crutches away and walked off stage in such a way that it made me spit at the people sitting in front of me. Thankfully the loud applause drowned out my snorting and giggling.
In conclusion, theatre hasn’t changed significantly enough in the past ten years to compel me to go again. It's the same twisted storylines as the last one I saw and a same crossed fingers that the curtain would drop. If it wasn't for the free review tickets I doubt I'd have even considered attending such a show but even though the gripes are there, I did kind of enjoy being out on a tuesday.
Three hours I’ll never see again but a lifetime’s lesson that'll prevent such a reoccurrence. Although, that whole Lion King looks pretty…