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| Porgy and Bess |
| John DeMain |
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| Production |
| Conductor |
| Francesca Zambello |
| Director |
| Peter J. Davison* |
| Set Designer |
| Paul Tazewell* |
| Costume Designer |
| Lighting Designer |
| Chorus Director |
| Denni Sayers |
| Choreographer |
| Gerd Mairandres |
| Wig / Makeup |
| Paul Harris
Allen Perriello Carol Isaac Dennis Doubin |
| Musical Preparation |
| Susan Anderson |
| Supercaptions |
| Lawrence Pech |
| Dance Master |
| Garnett Bruce |
| Assistant to Stage Director |
| Lisa Anderson |
| Stage Manager |
| Christopher Verdosci |
| Costume Spervior |
| Paul Harris |
| Piano |
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| Slightly updated to the late 1940s from the original, set in the 1920s, the production's gritty, post-industrialist sets and tense racial standoffs reveal an impoverished Southern black community in all its richness and religious fervor, but foreshadows the beginning of the end of Jim Crow./ Review |
| ...one of the best things I've seen... Scenes flowed into one another with the fluidity of cinema. Some of the fights were less than impressive, with people swinging at air and missing. And I shudder to think of what a pediatrician might (think)when Clara's wrapped, unseen baby was tossed from hand to hand as though it were nothing more than a log in a blanket. Still the power and gravity of the story inevitably came through./ Review |
| Washington National Opera Reviews |
| Associate Director |
| Rita D'Angelo Tikador |
| Jonathan Rider |
| Fight Director |