Intended as a full guest production from Cape Town Opera (and set by that institute’s Artistic Director, Matthew Wild), the current pandemic ultimately blighted the original idea - but fortunately allowed for a kaleidoscope ensemble which was to sweep Theater an der Wien’s Covid-reduced audience off their feet on this occasion.

Wild’s production aptly broadens Gershwin’s original to a modern-day multi-cult asylum-seekers’ camp, with inhabitants housed in storage containers with characters who could potentially be drawn from camps on the islands of Lesbos or Lampedusa. 

A bleakly-lit pyramid of stacked housing blocks  (sets and costumes, Katrin Lea Tag and Lea Ganic) sits on the revolving stage well-filling the available expanse and providing individual options for varied settings and action.

The show begins in silence with a couple of young lads loafing around and setting up a ghetto-blaster for a breakdance session. One climbs the lamp post to tap power for their music-machine - and with the spark of a short-circuit the orchestra crashes in with their first chord. Just a small example of the surprising touches and originality that infuse Wild’s concept. 

The lighting (Bernd Purkrabek) and costumes are as colourful as the protagonists - with Sportin’ Life perhaps drawing the longest straw (no implication to his packets of white powder intended) with his flashy suits and shoes - and with Crown possibly drawing the shortest, considering the part’s potential potency.

Choreography (Louisa Ann Talbot) plays a significant role - guaranteeing zest and diversity throughout the three-and-a-half hour evening, with any weakness in the dramaturgy lying in rather monotone entrances and exits which occasionally lack tempo.  

The orchestral prelude goes on to see the community gathered for a little entertainment - “Porgy’s story”. Children reenact civil strife in some unnamed setting, including the shooting scene which destroys Porgy’s left leg, and his crossing by sea in search of refuge. To one side, the traumatised Porgy squirms as he relives his trauma.
    
The entire cast is homogenous and yet wonderfully diverse, with a broad variety of skin tone and ethnic elements making for a credible mix of individual creations as a foundation for the concept.

A true ensemble piece, the production brings together not just an impressive line-up of leads, but a fine combination of supports - too lengthy to list fully, but with special mention for Ronald Samm (Peter), Siphesihle Mdena (Crab Man/Nelson), Msimelelo Mbali (Undertaker), and April Koyejo-Audinger whose vocal quality as the Strawberry Women made an immediate impression.

Most of the leads are double cast in an en-suite run of ten performances - with the odd exception of Crown - a testing part and no mean feat - superbly mastered by Norman Garrett as an ideal physical and vocal foil to Eric Greene’s towering Porgy.

With Porgy’s physical disadvantage resulting from violence, the character is leant new colour and diversity (the Buzzard scene, for example, gains a chilling authenticity) which Greene’s powerful stature and looks ironically underscore in an existence of thwarted potential.
Vocally, Greene began with a somewhat porous and lacklustre timbre, but warmed as the evening progressed to span the role’s dramatic and lyrical challenges with the duet “Bess, you is my woman now” being one of the evening’s highlights. 

If Jeanine De Bique’s metallic timbre failed to immediately charm, the voice interestingly rounded out with Bess’ development as a character and ultimately proved an ideal combination in a captivating, beautifully-scaled, and personable creation.

 Brandy Sutton (Clara) - as the single Muslim depicted - scored well with the show’s biggest hit ("Summertime"), while Pumeza Matshikiza won full sympathy with her heartrending, velvet-toned Serena.
Ryan Speedo Green (familiar from the Vienna State Opera ensemble) was in his element as an outstanding Jake, while the young Zwakele Tshabalala delighted as a mercurial Sportin’ Life who avoided any risk of sinking into caricature. Last, but not least, Tichina Vaughn’s larger-than-life Maria was  well-crafted as the community’s surrogate Mamma.

An extended Wiener KammerOrchester under the baton of Wayne Marshall brought a consummate reading - taut and vital, while breathing every wave of emotion with the cast throughout an exceptionable evening.