Just OM« ▼ July 2 1 . 1 9 0 5 ▼ 27 BRIAN MARKI FRAMING 21 YEARS EXPERIENCE A N D SERVICE TO THE COMM UNITY O versize w o rk o u r specialty 2236 NE Broadway, Portland 503-249-5659 your MORTGAGE professional: Alvy Powell as Porgy and Marquita Lister as Bess I t ’ s “S ummertime ” T ime The controversial but perennial favorite Porgy and Bess returns to the Portland stage ▼ by Christopher Kamera. heart and soul of Porgy and Bess is the unlikely rejudice, intolerance, unacceptable ro­ love between the “cripple,” Porgy, and the “fallen mantic pairings and negative stereo­ woman,” Bess. And Clarke—and the Houston types are major themes that gay and team—keep the focus on the title characters. lesbian opera fans will identify with All four of the major characters are double during the Portland stay of Porgy and and Portland audiences are likely to see any Bess. The Gershwin brothers’ immortal cast, work mix of the eight leads. Earlier this year, more than continues at the Portland Civic Auditorium with 35,000 cheering Seattle Opera fans welcomed the performances through July 29. Houston production of Porgy and Bess to 11 sold- This staging, co-produced by 10 major U.S. out performances at the Opera House. Specific opera companies including Portland Opera, is the performance comments are based on the perfor­ mances in the Emerald City. On opening night Alvy Powell was an impres­ sive Porgy and Roberta Laws, a successful Bess. Both sang beautifully, and their “Bess, You Is My Woman Now” was a highlight of the show. It’s first to be directed by an African American— and one of the most moving love duets in all of opera, it may be the first to be directed by a woman. and Laws and Powell were simply magnificent. Hope Clarke, a former dancer and Broadway Stacey Robinson was an unforgettable actress with impressive choreography and opera Crown— all muscle and energy. His powerful direction in her r6sum6, serves the George and Ira stage presence made Bess’ sexual turmoil thor­ Gershwin classic well. Porgy and Bess blends oughly b eliev able. folk opera, Broadway R o b in so n ’s singing, musical comedy and however, was clearly grand opera into a dis­ amplified— one of the tinctive package. A lim­ controversial aspects of ited, mixed success in the co-production. An­ its 1935 debut, Porgy gela R. Simpson gave a a n d B ess has been show -sto p p in g “ My called in recent years Man’s Gone Now” that the greatest opera ever brought the audience to written in this country, — a roar of applause. even though some crit­ K im berly Jones ics feel that the opera is opened the production a derogatory depiction with a properly under­ of black life written by played “Summertime,” whites. While critics the best-known song of the score. Larry Marshall’s will be debating those claims for decades— if not Sportin’ Life was a crowd-pleaser, even though centuries— to come, there is no doubt that Porgy his big numbers, “It Ain’t Necessarily So” and and Bess is the most popular U.S. opera ever "There’s a Boat That’s Leavin’ Soon for New written. A much heralded 1976 Houston Grand Y ork,” were difficult to understand. Keith Opera revival returned the work to the top of popularity, this 1995 mounting will clearly keep Crawford scored with an amusing scene about a lawyer who charges more to “divorce” unmarried it there. couples than married ones. Clarke’s stage direction keeps Gershwin’s Ticket details are available from Portland original concepts stage center, while adding a bit Opera at 241-1802. It’s interesting to note that of Broadway pizzazz in some of the ensemble when Porgy and Bess sold out in Seattle this numbers. While the new production may go a bit spring, Portland Opera ran ads in both major overboard in being politically correct, to reverse Seattle daily papers advertising its summer per­ dated stereotypes, Clarke’s work helps bring Porgy and Bess vividly to life. No matter how many formance dates in the City of Roses. The company snappy songs are sung by secondary characters, noted “good response” from the Seattle ads— no matter how lively the citizens of Catfish Row demonstrating once again the importance of the become on Saturday night, no matter how many arts on the 1-5 corridor. folk legends influenced the original concept, the I P This staging, co-produced by 10 major U.S. opera companies including Portland Opera, is the first to be directed by an African American and it may be the first to be directed by a woman. Julee Felsman Truly an 'A' to 'Z' lending resource, I o ffe r such diverse programs as: ▼FHA and VA financing ▼The FHA 2 0 3 (k ) for fixer-uppers (Ask about it!!) ▼First-time homebuyers ▼Investment/rental properties ▼New construction ▼Loans for hard-to-finance properties and/or people "I will listen and find the best solution fo r your financing needs." 6 3 5 - 5 4 4 6 office ▼ 8 1 9 - 6 9 9 0 mobile ▼ 6 9 9 - 7 9 8 3 residence or email me at: demark mtg @ aol.com The N ation al L a w yers Guild Lesbian, Gay B isex u a l R igh ts C om m ittee presents INVASION FROM MARS starring New York Performance Artist & Renowned Drag King SHELLY MARS an amalgamation of stunning characters of all genders “An after-hours Lily Tomlin.” Amy Täubin, Village Voice “The personification of America’s Moral Rot!” Pat Robertson, Christian Broadcast News FRIDAY, AUGUST 11 8 p.m. GOVERNOR HOTEL PORTLAND, OREGON TICKETS: $15.00 before July 15, $20 at the door. $10.00 with Student ID (at drx>r only) Send check payable to NLG Lesbian, Gay, Bisexual Rights Committee, to: NLG Lesbian, Gay, Bisexual Rights Committee • 257 West 12th Street, No. 3E • New York, NY 10014 Reservations encouraged. Tickets not mailed. Names will be listed at d