Porgy and Bess at the Ordway

Soaring melodies! Big orchestrations and choruses of voices big enough to take it on! Diva voices larger than life! Oh, this is gorgeous! Thank you, Ordway, for bringing us our beloved “Porgy and Bess” in a form that befits this classic by George and Ira Gershwin and DuBose Heyward.

“The Gershwins’ Porgy and Bess” is the latest reworking of the modern opera, launched with the writers’ estates’ blessing by the American Repertory Theater, Harvard University, with Diane Paulus directing. With Gershwins’ original (a four-hour behemoth requiring a large chorus on a set the size of some small towns, and virtually impossible for all but the wealthiest and biggest theaters to mount) the time had come for a new modern interpretation of it, more in the style of musical theater.

And they did it, folks. This is not only Broadway-worthy, it is smallish-regional-opera-company possible. A cast of around 25 creates the close-knit Black community of “Catfish Row,” inspired by the Gullah culture of the South Carolina coast. This production is a chamber opera, really, in length and in scope, and although it’s a mini version of the original, it’s clearly respectful of it. There are moments that feel truncated, but not enough to derail the larger vision, which is intelligent and full of heart.

Bess’ story surges to the fore, and Alicia Hall Moran as Bess is absolutely thrilling. How one performer can rise above an ensemble that’s already at the top is a wonder to hear and see. In playing a young and troubled lover, we easily bought into her struggle to stay faithful to her man and her promises. And what an amazingly versatile and nuanced voice!

There was plenty of chemistry bubbling between her Bess and Nathaniel Stampley’s Porgy. Stampley chose to play up the pop singing style a bit more than I would have preferred, especially against Moran’s consistently more operatic approach. He has a voice that will do whatever he requests of it, so why not go for grand? Porgy would be just as sexy. (Yes, this Porgy is sexy!)

Rich with plum supporting and cameo roles, a cast of heavyweight singers also forms – and redefines – “chorus.” (The a cappella section in “I’m On My Way” was a simply glorious finish!) So many deserve mention: Sumayya Ali as Clara, cradling her infant son, the high soprano of “Summertime” effortlessly pouring out of her tiny frame; Alvin Crawford as Crown, his rich bass a perfect match for his commanding presence; the punch and power that David Hughey brings to the role of Jake; Denisha Ballew wailing Serena’s grief in “My Man’s Gone Now.” These are just some of the memorable solo performances.

Choreography appreciated the spontaneous expression of emotion in movement characteristic of the culture on which the story is based. Although carefully coordinated, there was no expectation that all the dancing had to “match.” Instead, the dancing seemed organic to each character and their emotional response to the moment in the story. Not exact, but exactly right.

The set was not my favorite part of this production. It worked as a backdrop for the lights’ color washes, but its two-dimensional construction was not visually inspiring. I suspect that it helped with the sound, however, and that was extraordinarily well done. A constructed deck created a well-defined and smaller performance space, which helped the small ensemble fill the space, and underneath it stored hand props could be quickly access without having to exit and re-enter. All-in-all, practical considerations won out, but they had their priorities straight.

What matters most is that this entire score is simply timeless. If you grew up on “I Got Plenty of Nothing,” and “Bess, You Is My Woman Now,” go hear why you still love these songs. If you’ve never heard them, go find out what you’re missing. . The show runs only through March 30. Rearrange your plans, if you have to, and go!