Porgy and Bess Program [pdf] - American Repertory Theater

Photo: Dario Acosta
Artistic Director’s Welcome
Welcome to the American Repertory Theater’s production
of The Gershwins’ Porgy and Bess!
This production is a homecoming of sorts. The first
performance of this American masterpiece took place on
September 30th, 1935 at the Colonial Theatre, right across
from Boston Common where Gershwin famously walked
for hours after the curtain came down, making forty-five
minutes of cuts to the score that very evening. That night
marked the beginning of a journey for Porgy and Bess
that tells a story about American history as much as it
does about the evolution of this iconic work.
In 1936, the show went on a tour that landed the cast in Washington, D.C. at
the National Theatre, which had a policy of segregation. Todd Duncan, the first
Porgy, was determined not to perform unless every seat was made available to
any person regardless of the color of their skin. Anne Brown, the original Bess,
stood by his side. The theater’s manager offered to allow African Americans to
attend Wednesday and Saturday matinees. When Duncan refused, he offered to
allow African Americans to sit in the second balcony for every performance.
But Duncan did not relent, and in March of 1936, the National Theatre was desegregated
for the first time in its history. It is to the memory of Todd Duncan
and Anne Brown that we dedicate this production. As we look to the future of
sharing this important classic with new generations, we honor the legacy of
these two artists and their impact on our cultural and social history.
We are very grateful to the estates of George Gershwin, Ira Gershwin, and
DuBose and Dorothy Heyward for their support of this production. They have
encouraged us to create a show for an intimate theatrical setting that focuses on
the story and characters as much as on the glorious score that we all cherish. I
could not imagine a better team to work on this than Suzan-Lori Parks, Diedre
Murray, Ron K. Brown, our designers, orchestrators, musical and production
staff, and the entire cast of performers who have thrown their hearts and souls
into this process.
Lastly, I must express gratitude to the A.R.T. Trustees and Advisors for their
belief in this project, and to all the individuals and companies who have come
forward to support Porgy and Bess and our mission to serve the broadest
possible audience in Boston with a version of this work that promotes dialogue,
education and access. The A.R.T. lost a longtime friend and supporter with the
passing of Myra Kraft, a true force within the Boston community. We honor her
spirit of inclusion and community building with this production.
Thank you for engaging with us at the A.R.T., and joining us for this next
chapter in the history of Porgy and Bess.
12 AMERICAN REPERTORY THEATER